diff --git a/layout_cache/ps1024x1024/2wikimqa/corpus.jsonl b/layout_cache/ps1024x1024/2wikimqa/corpus.jsonl
new file mode 100644
index 0000000000000000000000000000000000000000..d2bffcdbe400f315f46181eed77d73d753a8ff47
--- /dev/null
+++ b/layout_cache/ps1024x1024/2wikimqa/corpus.jsonl
@@ -0,0 +1,300 @@
+{"doc_id":"doc_0","qid":"","text":"Passage 1:Margaret, Countess of BrienneMarguerite d'Enghien (born 1365 - d. after 1394), was the ruling suo jure Countess of Brienne and of Conversano, suo jure Lady of Enghien, and Lady of Beauvois from 1394until an unknown date.LifeMarguerite was born in 1365, the eldest daughter of Louis of Enghien, Count of Brienne and Conversano, Lord of Enghien, Titular Duke of Athens, and Giovanna of Sanseverino. Marguerite hada brother, Antoine who died at the age of sixteen, leaving her, the eldest daughter, heir to her father's estates and titles.  She inherited the counties of Brienne and of Conversano, and the Lordship of Enghien from herfather Louis of Enghien on 17 March 1394. She was the wife of John of Luxembourg, Sire of Beauvois and the mother of Peter of Luxembourg, Count of Saint-Pol, Count of Brienne and of Conversano who inherited herfiefs, and John II of Luxembourg, Count of Ligny.ReignMarguerite became the suo jure Countess of Brienne and Conversano, and Dame of Enghien upon her father's death on 17 March 1394. Her husband John alsobecame Count of Brienne and of Conversano by right of his wife.She died on an unknown date sometime after 1394. Her will was dated 19 September 1393. Her eldest son, Peter received her titles of Brienne and ofConversano.Marriages and issueOn an unknown date, Marguerite married  her first husband, Pierre de Baux, and following his death, she married as her second husband, a relative of her mother, Giacopo ofSanseverino. Both of these early marriages were childless. In 1380, after Giacopo's death, Marguerite married her third husband, John of Luxembourg, Sire of Beauvois (1370–1397).  He was the son of Guy ofLuxembourg, Count of Saint-Pol and Mahaut of Châtillon, Countess of Saint-Pol. By her third husband, Marguerite had five children:Peter of Luxembourg (1390–31 August 1433), Count of Saint-Pol (1430), which heinherited from his aunt Jeanne of Luxembourg, Countess of Saint-Pol and Ligny; he also inherited, on an unknown date, Marguerite's fiefs of Brienne and of Conversano, thus becoming Count of Brienne and ofConversano. He married on 8 May 1405, Margaret de Baux, by whom he had nine children, including Jacquetta of Luxembourg, mother of Elizabeth Woodville Queen-Consort of Edward IV of England.John II ofLuxembourg, Count of Ligny (1392–5 January 1441), inherited the title of Beauvois from his father, and the title of Ligny from his aunt, Jeanne of Luxembourg. On 23 November 1418, married Jeanne de Béthune,widow of Robert of Bar, Count of Marle and Soissons who had been killed at the Battle of Agincourt on 25 October 1415. John, who was an ally of the English during the Hundred Years War, received Joan of Arc as hisprisoner, and subsequently sold her to the English for 10,000 livres.Louis of Luxembourg (died 18 September 1443). He was a statesman and a high-ranking churchman. His posts and clerical titles included Cardinal(1439), Archbishop of Rouen (1437), Chancellor of France (1425), Governor of Paris (1436), Bishop of Thérouanne, Administrator of Ely (1437), Bishop of Frascati (1442). He was buried in Ely Cathedral.Catherine ofLuxembourg (born c. 1393)Jeanne of Luxembourg (died 1420), married firstly, on 8 September 1415, Louis, Seigneur de Ghistelles (killed at the Battle of Agincourt); she married secondly on 28 October 1419, Jean IV,Viscount of Melun, Constable of Flanders.Passage 2:Nocher II, Count of SoissonsNocher II (died 1019), Count of Bar-sur-Aube, Count of Soissons. He was the son of Nocher I, Count of Bar-sur-Aube. Nocher's brotherBeraud (d. 1052) was Bishop of Soissons.Nocher became Count of Soissons, jure uxoris, upon his marriage to Adelise, Countess of Soissons.  Nocher and Adelisa had three children:Nocher III (d. 1040), Count ofBar-sur-Aube, had at least two daughters by unknown wife:Adèle (d. 1053), Countess of Bar-sur-AubeIsabeauGuy, archbishop of ReimsRenaud I, Count of SoissonsNocher's son and namesake became Count ofBar-sur-Aube upon his death, and the countship of Soissons reverted to his wife.  His son Renaud would eventually become the Count of Soissons.Passage 3:Adelaide, Countess of SoissonsAdelaide (died 1105), wassovereign Countess of Soissons from 1057 until 1105.She was the daughter of Renaud I, Count of Soissons, and his wife, whose name is unknown, widow of Hilduin III, Count of Montdidier. .Adelaide became ruler ofthe County of Soissons upon the death of her father and brother, Guy II, Count of Soissons, in 1057.Adelaide married William Busac, Count of Eu, grandson of Richard I, Duke of Normandy.  Adelaide and William hadfive children:Renaud II, Count of SoissonsJohn I, Count of Soissons, married to Aveline de PierrefondsManasses of Soissons, Bishop of Cambrai, Bishop of SoissonsLithuise de Blois, married to Milo I ofMontlhéryUnnamed daughter, married to Yves le Vieux.William Busac became Count of Soissons, de jure uxoris, upon their marriage.NotesSourcesDormay, C., Histoire de la ville de Soissons et de ses rois, ducs, comteset gouverneurs, Soissons, 1664 (available on Google Books)Passage 4:Margaret, Countess of SoissonsMargaret (or Margaretha) of Soissons (died ca. 1350) was ruling Countess of Soissons in 1305-1344. She was theonly daughter of Hugh, Count of Soissons, and Johanna of Argies. In 1306 she succeeded her father as Countess of Soissons.Margaret was married to John of Beaumont, son of John II, Count of Holland. Margaret andJohn had five children:Johanna of Hainault (1323–1350), married first to Louis II, Count of Blois, (three sons), and second to William I, Marquis of Namur, no issue.John, Canon of Cambrai.William, Canon of Cambrai,Beauvais and Le Mans.Amalrik, Canon of Cambrai, Dole and Tours.Reinout, Canon of Cambrai.Upon their marriage, John became Count of Soissons, jure uxoris.SourcesDormay, C., Histoire de la ville de Soissons et deses rois, ducs, comtes et gouverneurs, Soissons, 1664 (available on Google Books)Passage 5:Jeanne of Bar, Countess of Marle and SoissonsJeanne de Bar, suo jure Countess of Marle and Soissons, Dame d'Oisy,Viscountess of Meaux, and Countess of Saint-Pol, of Brienne, de Ligny, and Conversano (1415 – 14 May 1462)  was a noble French heiress and Sovereign Countess. She was the only child of Robert of Bar, Count ofMarle and Soissons, Sire d'Oisy, who was killed at the Battle of Agincourt when she was a baby, leaving her the sole heiress to his titles and estates. In 1430, at the age of fifteen, Jeanne was one of the three womenplaced in charge of Joan of Arc when the latter was a prisoner in the castle of John II of Luxembourg, Count of Ligny, Jeanne's stepfather. She was the first wife of Louis of Luxembourg, Count of Saint-Pol, of Brienne, deLigny, and Conversano, Constable of France.FamilyJeanne was born in 1415, the only child of Robert of Bar, Count of Marle and Soissons, Sire d'Oisy (1390- 25 October 1415), whose own mother was Marie de Coucy,Countess of Soissons, granddaughter of English King Edward III of England. Her mother was Jeanne de Béthune, Viscountess of Meaux (c.1397- late 1450).On 25 October 1415, her father was killed in the Battle ofAgincourt, leaving Jeanne, who was a baby, as sole heiress to her father's titles and estates. In 1418, her mother married secondly John II of Luxembourg, Count of Ligny and de Guise (1392 – 5 January 1441), son ofJohn of Luxembourg, Sire de Beauvois and Marguerite of Enghien, Countess of Brienne and of Conversano. The marriage was childless.It was Jeanne's stepfather John who received Joan of Arc as his prisoner, and kepther at his castle of Beaurevoir. Joan, who was three years Jeanne's senior, was placed in the care of Jeanne, her mother and Jeanne of Luxembourg, John's elderly aunt. The three ladies did all they could to comfortJoan in her captivity, and unsuccessfully tried to persuade her to abandon her masculine clothing for feminine attire. They earned Joan's gratitude for their kind and compassionate treatment of her. Despite the pleas ofJeanne and the other two women, John sold Joan of Arc to the English, who were his allies, for 10,000 livres.Marriage and issueOn 16 July 1435, at the age of twenty, Jeanne married Louis of Luxembourg, Count ofSaint-Pol, Brienne, de Ligny, and Conversano, Constable of France (1418 – 19 December 1475). The marriage took place at the Chateau de Bohain. She was Louis' first wife. Louis was the eldest son of Peter ofLuxembourg, Count of Saint-Pol, Brienne, and Conversano, by his wife Margaret de Baux. Louis had been brought up by his paternal uncle, who was Jeanne's stepfather, John II of Luxembourg, Count of Ligny andGuise; therefore the young couple were well-acquainted with one another. John designated Louis as his heir to the counties of Ligny and Guise, but upon John's death in 1441, King Charles VII of France sequestered theestates and titles. The title of Ligny was eventually restored to Louis. The title and estates of Guise were given to Louis' youngest sister, Isabelle as her dowry, which passed to her husband, Charles, Count of Maine,upon their marriage in 1443.  Jeanne succeeded as Viscountess of Meaux suo jure upon the death of her mother in late 1450.Jeanne and Louis had seven children:John of Luxembourg, Count of Marle and Soissons,Governor of Burgundy (killed at the Battle of Morat on 22 June 1476)Jacqueline of Luxembourg (died 1511), married Philippe de Croy, 2nd Count of Porcien, by whom she had issue.Pierre II de Luxembourg, Count ofSaint-Pol, of Brienne, de Ligny, Marle and Soissons (1448 – 25 October 1482), on 12 July 1466, married Marguerite of Savoy (1439 Turin – 9 March 1483 Bruges), the daughter of Louis, Duke of Savoy and Anne deLusignan of Cyprus, and widow of Giovanni IV Paleologo, Margrave of Montferrat, by whom he had issue, including Marie de Luxembourg (c. April 1467 – 1 April 1547), wife of François de Bourbon, Count of Vendôme,and from whom Mary, Queen of Scots, King Henry IV of France, the subsequent Bourbon kings of France, and the Lorraine Dukes of Guise were directly descended.Helene of Luxembourg (died 23 August 1488), marriedJanus of Savoy, Count of Faucigny, Governor of Nice (1440–1491), the brother of her sister-in-law, Marguerite of Savoy, by whom she had a daughter, Louise of Savoy (1467 – 1 May 1530).Charles of Luxembourg,Bishop of Laon (1447 – 24 November 1509), had several illegitimate children by an unknown mistress.Anthony I, Count of Ligny, Brienne, and Roussy (died 1519), married firstly Antoinette de Bauffrémont, Countess deCharny, by whom he had issue; he married secondly, Françoise de Croÿ-Chimay, by whom he had issue; he married thirdly Gillette de Coélivy. His last marriage was childless. By his mistress, Peronne de Machefert, hehad an illegitimate son, Antoine of Luxembourg, Bastard of Brienne, who married and left descendants.Philippe of Luxembourg (died 1521), Abbesse at MoncelDeathJeanne died on 14 May 1462 aged about forty-sevenyears. Her husband married secondly Marie of Savoy (20 March 1448 – 1475), daughter of Louis, Duke of Savoy and Anne of Cyprus, by whom he had three more children. Marie was a younger sister of hisdaughter-in-law Marguerite of Savoy. Louis of Luxembourg was imprisoned in the Bastille and afterward beheaded in Paris on 19 December 1475 for treason against King Louis XI of France.AncestryPassage 6:John ofLuxembourg, Count of SoissonsJohn of Luxembourg (died 22 June 1476) was Count of Marle and Count of Soissons between 1462 and 1476, Lord of Dunkirk, Gravelines and Bourbourg.John was the eldest son of Louisde Luxembourg, Count of Saint-Pol and Jeanne de Bar, Countess of Marle and Soissons. He became Count of Marle and Soissons, following the death of his mother in 1462. In 1473, John became a member in the Orderof the Golden Fleece. He was unable to inherit his father's lands, since his father was beheaded for treason in 1475 and his lands confiscated.John was killed at the Battle of Morat, 22 June 1476. He never married andhis lands went to his younger brother Peter.Passage 7:William BusacWilliam Busac (1020–1076), son of William I, Count of Eu, and his wife Lesceline, was Count of Eu and Count of Soissons, de jure uxoris.  William wasgiven the nickname Busac by the medieval chronicler Robert of Torigni.William appealed to King Henry I of France, who gave him in marriage Adelaide, the heiress of the county of Soissons. Adelaide was daughter ofRenaud I, Count of Soissons and Grand Master of the Hotel de France. William then became Count of Soissons in right of his wife. William and Adelaide had four children:Renaud II, Count of Soissons (died 1099)John I,Count of Soissons (died after 1115), married to Aveline de PierrefondsManasses of Soissons, Bishop of Cambrai, Bishop of Soissons (died 1 Mar 1108)Lithuise de Blois, married to Milo I of MontlhéryRaintrude, married toRaoul I of Nesle, a member of the House of Nesle.His son Renaud became Count of Soissons upon William's death, and he was succeeded by his brother John.Passage 8:John V, Count of SoissonsJohn V (21 March 1281– 1304), son of John IV, Count of Soissons, and his wife Marguerite of Rumigny. Count of Soissons.John inherited the countship of Soissons from his father in 1302.  Nothing is known about his brief rule of the county.He never married and died with no heirs.  Upon his death, his brother Hugh became Count of Soissons.SourcesDormay, C., Histoire de la ville de Soissons et de ses rois, ducs, comtes et gouverneurs, Soissons, 1664(available on Google Books)Passage 9:John III, Count of SoissonsJohn III (died before 8 October 1286), son of John II, Count of Soissons, and Marie de Chimay.  Count of Soissons and Seigneur of Chimay.  Johninherited the countship of Soissons upon his father’s death in 1272.John married Marguerite de Montfort, daughter of Amaury, Count of Montfort, and his wife Beatrix de Viennois.  John and Marguerite had:Marie deNesle (d. after 1272), married to Guy de Saint-RémyJohn IV, Count of SoissonsUnnamed daughter, married Eustache IV de Conflans, Seigneur de Mareuil, son of Eustache III de ConflansRaoul de Nesle (killed in thebattle of Courtrai, 11 July 1302)Auchier de Nesle.Hugh de Nesle, d.1306Passage 10:Guy II, Count of SoissonsGuy II (d. 1057), son of Renaud I, Count of Soissons, and his wife (name unknown), widow of Hilduin III,Count of Montdidier. Guy was identified as Count of Soissons in 1042 in a charter in which Gaunilo of Marmoutiers, the treasurer of St. Martin, denoted property. Guy died with his father in 1057 at the siege ofSoissons.It is not known whether or not Guy was married and no children are recorded. Upon his death, his sister Adelaide assumed the countship of Soissons.SourcesDormay, C., Histoire de la ville de Soissons et deses rois, ducs, comtes et gouverneurs, Soissons, 1664 (available on Google Books)"}
+{"doc_id":"doc_1","qid":"","text":"Passage 1:Victoria's Secret Fashion Show 2003The Victoria's Secret Fashion Show is an annual fashion show sponsored by Victoria's Secret, a brand of lingerie and sleepwear. Victoria's Secret uses the show to promoteand market its goods in high-profile settings. The show features some of the world's leading fashion models, such as current Victoria's Secret Angels Tyra Banks, Heidi Klum, Gisele Bündchen, and Adriana Lima.TheVictoria's Secret Fashion Show 2003 was recorded in New York City, United States at the 69th Regiment Armory. The show featured musical performances by Sting, Mary J. Blige, and Eve. Angel Heidi Klum was wearingthe Victoria's Secret Fantasy Bra : Very Sexy Fantasy Bra worth $11,000,000.Fashion show segmentsSegment 1: Sexy Super HeroinesSegment 2: Razor Sharp Latex LadiesSpecial PerformanceSegment 3 : Rock ChicksRockin' OutSpecial PerformanceSegment 4 : Sexy KittensSpecial PerformanceSegment 5 : GlaaaaamaaazonsIndexFinaleAngels: Adriana Lima, Gisele Bündchen, Tyra Banks, Heidi Klum.Returning Models: Michelle Alves,Alessandra Ambrosio, Carmen Kass, Dewi Driegen, Naomi Campbell, Ana Beatriz Barros, Angela Lindvall, Frankie Rayder, Mini Andén, Eugenia Volodina, Oluchi Onweagba, Liya Kebede, Lindsay Frimodt, FernandaTavares, Letícia Birkheuer, Ujjwala Raut, Karolina Kurkova.Newcomers: Isabeli Fontana, Marcelle Bittar, Jacquetta Wheeler, Margarita Svegzdaite, Deanna Miller.External linksVSFS 2003 GalleryPassage 2:Victoria'sSecret Fashion Show 2001The Victoria's Secret Fashion Show is an annual fashion show sponsored by Victoria's Secret, a brand of lingerie and sleepwear. Victoria's Secret uses the show to promote and market itsgoods in high-profile settings. The show features some of the world's leading fashion models, such as current Victoria's Secret Angels Tyra Banks, Heidi Klum, Daniela Peštová, Gisele Bündchen, and Adriana Lima.TheVictoria's Secret Fashion Show 2001 was recorded in New York, United States at the Bryant Park. The show featured musical performances by Andrea Bocelli and Mary J. Blige. Angel Heidi Klum was wearing theVictoria's Secret Fantasy Bra: The Heavenly Star Bra worth $12,500,000.Fashion show segmentsSpecial PerformanceSegment 1Special PerformanceSegment 2IndexFinaleAngels: Gisele Bündchen, Heidi Klum, AdrianaLima, Tyra Banks, Daniela Peštová.Returning models: Karolína Kurková, Caroline Ribeiro, Eva Herzigová, Mini Andén, Fernanda Tavares, Trish Goff, Bridget Hall, Aurélie Claudel, Rhea Durham, Alessandra Ambrosio,Inés Rivero.Newcomers: Rie Rasmussen, Maggie Rizer, Alek Wek, Omahyra Mota, Karen Elson, Molly Sims, Audrey Marnay, Diána Mészáros, Anouck Lepere, Emma Heming.External linksVSFS 2001 GalleryPassage3:List of Victoria's Secret modelsThis is a list of current and former Victoria's Secret Angels and fashion models who have walked in the Victoria's Secret Fashion Show since its inception in 1995.Victoria's SecretAngelsModels who were chosen as Victoria's Secret Angels are listed in the table below. In June 2021, Victoria's Secret announced that it was ending its Angels brand.PINK spokesmodelsThe following is the list ofmodels who have been contracted as spokesmodels for Victoria's Secret's PINK brand.NotesPassage 4:Victoria's Secret Fashion Show 2002The Victoria's Secret Fashion Show is an annual fashion show sponsored byVictoria's Secret, a brand of lingerie and sleepwear. Victoria's Secret uses the show to promote and market its goods in high-profile settings. The show features some of the world's leading fashion models, such ascurrent Victoria's Secret Angels Tyra Banks, Heidi Klum, Gisele Bündchen, and Adriana Lima.The Victoria's Secret Fashion Show 2002 was recorded in New York, United States at the 69th Regiment Armory. The showfeatured musical performances by Destiny's Child, Marc Anthony, and Phil Collins. Karolína Kurková was wearing the Victoria's Secret Fantasy Bra : Star of Victoria Fantasy Bra worth $10,000,000.Fashion showsegmentsSpecial PerformanceSegment 1: Religious HolidaySpecial PerformanceSegment 2: Jungle AnimalsSpecial PerformanceSegment 3: Flamenco FrillsSegment 4: Neon AngelsFinaleAngels: Gisele Bündchen, HeidiKlum, Adriana Lima, Tyra Banks, Karolína Kurková.Returning models: Carmen Kass, Bridget Hall, Naomi Campbell, Fernanda Tavares, Alessandra Ambrosio, Frankie Rayder, Caroline Ribeiro, OluchiOnweagba.Newcomers: Yfke Sturm, Eugenia Volodina, Lindsay Frimodt, Michelle Alves, Nadine Strittmatter, Raquel Zimmermann, Liya Kebede, Dewi Driegen, Ana Beatriz Barros, Caitriona Balfe, Inga Savits, UjjwalaRaut, Ana Hickmann, Reka Ebergenyi, Letícia Birkheuer.IndexExternal linksVSFS 2002 GalleryPassage 5:Victoria's Secret Fashion Show 2005The Victoria's Secret Fashion Show is an annual fashion show sponsored byVictoria's Secret, a brand of lingerie and sleepwear. Victoria's Secret uses the show to promote and market its goods in high-profile settings. The show features some of the world's leading fashion models, such ascurrent Victoria's Secret Angels Tyra Banks, Heidi Klum, Gisele Bündchen, Adriana Lima, Karolína Kurková, Alessandra Ambrosio, Selita Ebanks, and Izabel Goulart.The Victoria's Secret Fashion Show 2005 was recordedin New York City, United States at the 69th Regiment Armory. The show featured musical performances by Chris Botti, Seal, and Ricky Martin. Gisele Bündchen was wearing the Victoria's Secret Fantasy Bra : SexySplendor Fantasy Bra worth $12,500,000.Fashion Show segmentsSegment 1: Sexy Santa HelpersSegment 2: Sexy Shadow DreamsSegment 3: Sexy Crystal PrincessesSegment 4: Sexy DeliciousThis segment wasswapped in order of appearance with the fifth segment, Sexy Russian Babes, in the edited TV version.Segment 5: Sexy Russian BabesThis segment was swapped in order of appearance with the fourth segment, SexyDelicious, in the edited TV version.Special PerformanceSegment 6: Sexy ToysFinaleTyra Banks led the finale. == Index ==Passage 6:The Gravity GroupThe Gravity Group is a wooden roller coaster design firm based inCincinnati, Ohio, United States. The firm was founded in July 2002 out of the engineering team of the famed but now defunct Custom Coasters International. The core group of designers and engineers at The GravityGroup have backgrounds in civil, structural and mechanical engineering.  Their experience comes from work on over 40 different wooden roller coasters around the world.  The first coaster designed under the GravityGroup opened as Hades at Mount Olympus Theme Park in 2005. The Gravity Group also designed The Voyage at Holiday World in Santa Claus, Indiana, which opened in May 2006 and is the second-longest woodenroller coaster in the world.  These first two accomplishments of the team have been received with great success by both the industry and coaster enthusiasts alike.In 2007, The Gravity Group opened Boardwalk Bullet,an intense wooden roller coaster that was built at Kemah Boardwalk and opened as the only wooden coaster in the Greater Houston area. The Gravity Group designed Ravine Flyer II at Waldameer in Erie, Pennsylvania,which was opened at the start of the 2008 season. In 2009, Wooden Coaster - Fireball was opened at Happy Valley in China, becoming China's first wooden roller coaster. In 2011 Quassy Amusement Park openedWooden Warrior, the company's sixth wooden roller coaster. The Gravity Group was also involved in the rebuilding of Libertyland's Zippin Pippin at Bay Beach Amusement Park in Green Bay, Wisconsin.In 2008,members of The Gravity Group announced the development of their own wooden coaster trains called Timberliners.  They are being produced by Gravitykraft Corporation, a sister company to The Gravity Group.  TheGravity Group promotes their trains as the only wooden coaster trains capable of steering through curves, resulting in a more comfortable and maintenance-friendly ride.  Timberliners were planned to debut on TheVoyage at Holiday World for the 2010 season, but after four years of delays, Holiday World officially cancelled the project on August 16, 2013.  However, in 2011, the Timberliners appeared on Wooden Warrior atQuassy Amusement Park in Connecticut and on Twister at Gröna Lund in Sweden, and in 2013 were added to Hades as part of its transformation to Hades 360.List of roller coastersAs of 2019, The Gravity Group hasbuilt 28 roller coasters around the world.Passage 7:The Cú Chulainn CoasterThe Cú Chulainn Coaster is a wooden roller coaster located at Emerald Park in Ashbourne, County Meath, Ireland. Manufactured by TheGravity Group, the wooden coaster features an overbanked turn and opened on 6 June 2015.HistoryThe Cú Chulainn Coaster was officially announced by Tayto Park in a press release on 19 February 2015, althoughconstruction started earlier in August 2014. Ohio-based company The Gravity Group was selected to build the roller coaster, marking their second installation in Europe following Twister at Gröna Lund in Sweden.Construction was completed in May 2015, and the roller coaster opened on 6 June 2015. It was part of a €26 million investment at Tayto Park, which also included 7 other new attractions for the 2015 season. Its themeis based on the mythological lore surrounding Irish hero Cú Chulainn, whom the ride is named after.ReceptionPassage 8:Victoria's SecretVictoria's Secret is an American lingerie, clothing, and beauty retailer known forhigh visibility marketing and branding, starting with a popular catalog and followed by an annual fashion show with supermodels dubbed Angels. As the largest retailer of lingerie in the United States, the brand hasstruggled since 2016 due to shifting consumer preferences and controversy surrounding corporate leadership's business practices.Founded in 1977 by Roy and Gaye Raymond, the company's five lingerie stores weresold to Leslie Wexner in 1982. Wexner rapidly expanded into American shopping malls, growing the company into 350 stores nationally with sales of $1 billion by the early 1990s when Victoria's Secret became thelargest lingerie retailer in the United States.From 1995 through 2018, the Victoria's Secret Fashion Show was an essential part of the brand's image featuring an annual runway spectacle of models promoted by thecompany as fantasy Angels. The 1990s saw the company's further expansion throughout shopping malls along with the introduction of the 'miracle bra', the new brand Body by Victoria, and the development of a line offragrances and cosmetics. In 2002 Victoria's Secret announced the launch of PINK, a brand that was aimed to appeal to teenagers. Starting in 2008, Victoria's Secret expanded internationally, with retail outlets withininternational airports, franchises in major cities overseas, and in company-owned stores throughout Canada and the UK.By 2016, Victoria's Secret's market share began to decline due to competition from other brandsthat embraced a wider range of sizes and a growing consumer preference for athleisure. The company canceled the circulation of their famous catalog in 2016. The brand struggled to maintain its market positionfollowing criticism and controversy over the unsavory behavior and business practices of corporate leadership under Wexner and Ed Razek. As of May 2020, with over 1,070 stores, Victoria's Secret remained the largestlingerie retailer in the United States.History1977–1981Victoria's Secret was founded by Roy Raymond, and his wife, Gaye Raymond, on June 12, 1977. The first store was opened in the Stanford Shopping Center in PaloAlto, California. Years earlier, Raymond was embarrassed when purchasing lingerie for his wife at a department store. Newsweek reported Roy Raymond stating: \"When I tried to buy lingerie for my wife, I was facedwith racks of terry-cloth robes and ugly floral-print nylon nightgowns, and I always had the feeling the department store saleswomen thought I was an unwelcome intruder.\" Raymond reportedly spent the next eightyears studying the lingerie market.At the time when the Raymonds founded Victoria's Secret, the undergarments market in the U.S. was dominated by pragmatic items from Fruit of the Loom, Hanes, and Jockey, oftensold in packs of three at department stores, while lingerie was reserved for special occasions such as one's honeymoon. Considered niche products, lingerie items (such as lacy thongs and padded push-up bras) wereonly found in specialty shops like Frederick's of Hollywood, located \"alongside feathered boas and provocative pirate costumes\". In 1977, Raymond borrowed $40,000 from family and $40,000 from a bank to establishVictoria's Secret: a store in which men could feel comfortable buying lingerie. The store was named in reference to Queen Victoria and the associated refinement of the Victorian era, while the \"secret\" was hiddenunderneath the clothes.Victoria's Secret grossed $500,000 in its first year of business, enough to finance the expansion from a headquarters and warehouse to four new store locations and a mail-order operation. Thefourth store, added in 1982 at 395 Sutter Street in San Francisco, operated at that location until 1990, when it was moved to the larger Powell Street frontage of the Westin St. Francis.In April 1982, Raymond sent outhis 12th catalog at a cost to customers of $3 (equivalent to $9.1 in 2022); catalog sales accounted for 55% of the company's $7 million annual sales that year. Victoria's Secret was a minor player in the underwearmarket at this time, with the business described as \"more burlesque than Main Street.\"1982–1990In 1982, Victoria's Secret had grown to five stores, a 40-page catalog, and was grossing $6 million annually. Raymondsold the company to Les Wexner, creator of Limited Stores Inc of Columbus, Ohio, for $1 million. In 1983, Wexner revamped Victoria's Secret's sales model towards a greater focus on female customers. Victoria'sSecret transformed into a mainstay that sold broadly accepted underwear with \"new colors, patterns and styles that promised sexiness packaged in a tasteful, glamorous way and with the snob appeal of Europeanluxury\" meant to appeal to female buyers.To further this image, the Victoria's Secret catalog continued the practice that Raymond began: listing the company's headquarters on catalogs at a fake London address, withthe real headquarters in Columbus, Ohio. The stores were redesigned to evoke 19th century England.The New York Times reported in 1982 that the financial success of the Victoria's Secret catalog influenced othercatalogs by presenting lingerie as \"romantic and sensual but tasteful\", \"in which models are photographed in ladylike poses against elegant backgrounds.\" Howard Gross became president in 1985. In October of thatyear, the Los Angeles Times reported that Victoria's Secret was stealing market share from department stores; in 1986, Victoria's Secret was the only national chain devoted to lingerie.The New York Times reported thatVictoria's Secret swiftly expanded to 100 stores by 1986. and described it in 1987 as a \"highly visible leader\" that used \"unabashedly sexy high-fashion photography to sell middle-priced underwear.\" In 1990, analystsestimated that sales had quadrupled in four years, making it one of the fastest growing mail-order businesses. Sales and profits from the catalog continued to expand due to the addition of clothing, swimwear and shoesand wider circulation.Cynthia Fedus-Fields oversaw the company's direct business, including its catalog, from the mid-1980s until 2000.  During her tenure, total revenues increased to nearly $1 billion. In 1987,Victoria's Secret was reported to be among the bestselling catalogs.1991–2005Victoria's Secret experienced quality problems with their product in the early 1990s and was working to resolve the issues. In 1991,Howard Gross was assigned to fix the L Brands subsidiary Limited Stores. In 1993, Business Week reported that both divisions suffered. Gross was succeeded by Grace Nichols, who worked to improve the productquality. The company's margins tightened, resulting in a slower growth of profits.Victoria's Secret expanded beyond apparel in the 1990s with the launch of their own line of fragrances in 1991, followed by theirentrance into the billion dollar cosmetics market in 1998.Victoria's Secret introduced the 'Miracle Bra' in 1993, selling two million within the first year. When faced with competition from Sara Lee's WonderBra a yearlater in 1994, the company responded with a TV campaign. At the same time, in 1994, Wexner discussed the creation of a company fashion event with Ed Razek. The first Victoria's Secret Fashion Show, held in 1995 inNew York, became a mainstay for the company's image for the next 23 years.By 1998, Victoria's Secret's market share of the intimate apparel market was 14 percent and the company also entered the $3.5 billioncosmetic market. The following year, in 1999, the company added the Body by Victoria line. The catalog had achieved \"an almost cult-like following\". In May 2000, Cynthia Fedus-Fields stepped down as CEO afterdelivering record profits in 1999 and early 2000. Fedus-Fields later stated that, up until the point of her departure, the company was guided by sensibilities of what a European woman would choose to wear. After herdeparture in 2000, the brand pursued an image that was \"much more blatantly sexy.\"In May 2000, Wexner installed Sharen Jester Turney, previously of Neiman Marcus Direct, as the new chief executive of Victoria'sSecret Direct to turn around catalog sales that were lagging behind other divisions. Forbes reported Turney stating, \"We need to quit focusing on all that cleavage.\" In 2000, Turney began to redefine Victoria's Secretcatalog from \"breasts—spilling over the tops of black, purple and reptile-print underthings\" to one that would appeal to an \"upscale customer who now feels more comfortable buying La Perla or Wolford lingerie.\";\"dimming the hooker looks\" such as \"tight jeans and stilettos\"; and moving from \"a substitute for Playboy in some dorm rooms,\" to something closer to a Vogue lifestyle layout, where lingerie, sleepwear, clothes andcosmetics appear throughout the catalog. Beginning in 2000, Grace Nichols, CEO of Victoria's Secret Direct, led a similar change at Victoria's Secret's stores—moving away from an evocation of 1800s England (or aVictorian bordello).2006–2020By 2006, Victoria's Secret's 1,000 stores across the United States accounted for one third of all purchases in the intimate apparel industry. In May 2006, Wexner promoted Turney from theVictoria's Secret catalog and online units to lead the whole company. In 2008, she acknowledged \"product quality that doesn't equal the brand's hype.\" In September 2006, Victoria's Secret reportedly tried to maketheir catalog feel more like magazines by head-hunting writers from Women's Wear Daily.The company had about a third of the market share in its category in 2013.In February 2016, Turney stepped down as CEO ofVictoria's Secret after being in the business for a decade. Victoria's Secret was split into three divisions: Victoria's Secret Lingerie, Victoria's Secret Beauty, and Pink, each with a separate CEO. In 2016, direct sales onlygrew 1.6% and fell by 7.4% in the last quarter of the year, typically a high revenue period due to the holidays. The company discontinued its use of a print catalog and dropped certain categories of clothing such asswimwear. Sales revenue continued to stagnate and drop in early 2017.In late 2018, CEO Jan Singer resigned amid declining sales. The Wall Street Journal reported that only one quarter showed an increase insame-store sales between 2016 and 2018. Singer's announcement came one week after CMO Ed Razek made a controversial comment that the company does not cast transgender or plus-size models in its annualfashion show \"because the show is a fantasy.\" After a 40% stock plunge in a single year, Victoria's Secret announced the closure of 53 stores in the U.S. in 2019, as well as the relaunch of its swimwear line. L Brands,the parent company of Victoria's Secret, came under public pressure in 2019 from an activist shareholder of Barrington Capital Group who took issue with the performance of Razek and urged the company to update itsbrand image and switch up its predominantly male board of directors.In August 2019, chief marketing officer, Ed Razek, resigned following a disastrous Vogue interview in which he made inflammatory statements abouttransgender models. Also in 2019, executive vice president April Holy stepped down after 16 years. In November 2019, Victoria's Secret announced it would no longer hold the annual fashion show featuring its angels,indicating a major change in marketing strategy.In January 2020, L Brands chairman and CEO Lex Wexner was in talks to step down. Reports of widespread bullying and harassment at Victoria's Secret surfaced in"}
+{"doc_id":"doc_2","qid":"","text":"Passage 1:Henry III, Duke of Münsterberg-OelsHenry III of Münsterberg-Oels (also: Henry III of Poděbrady, Henry III of Bernstadt; German: Heinrich III. von Podiebrad; Czech: Jindřich III-Minstrbersko Olešnický; 29April 1542, Oleśnica – 10 April 1587, Oleśnica) was Duke of Münsterberg from 1565 to 1574 and Duke of Bernstadt.  He also held the title of Count of Glatz.LifeHenry's parents were Henry II of Münsterberg and Oelsand Margaret (1515–1559), daughter of Henry V of Mecklenburg-Schwerin.  Henry III was married to Magdalena Meseritsch of Lomnitz (Czech: Magdaléna Mezeřícká z Lomnice).When his father died in 1548, Henry wasonly six years old, so he initially stood under the guardianship of his uncle John, who called himself \"Duke of Bernstadt\" from 1548 until his death in 1565.  In 1565, Henry III took up the rule of the Duchy ofBernstadt.  He was excessively in debt, and in 1574, he had to sell the Duchy of Bernstadt, including the castle and several more villages, to the von Schindel family.Henry III died childless in 1587.  The Duchy ofBernstadt was bought back in 1604 by Henry's brother Charles II.References ad sourcesHugo Weczerka: Handbuch der historischen Stätten: Schlesien, Stuttgart, 1977, ISBN 3-520-31601-3, p. 19  and genealogicaltables on p. 602–603.Rudolf Žáček: Dějiny Slezska v datech, Prague, 2004, ISBN 80-7277-172-8, p. 145, 410 and 436.External linksMarek, Miroslav. \"Genealogy of Poděbrady\". Genealogy.EU.Passage 2:Olaf III ofNorwayOlaf III or Olaf Haraldsson (Old Norse: Óláfr Haraldsson, Norwegian: Olav Haraldsson; c. 1050 – 22 September 1093), known as Olaf the Peaceful (Old Norse: Óláfr kyrri, Norwegian: Olav Kyrre), was King ofNorway from 1067 until his death in 1093.He was present at the Battle of Stamford Bridge in England in 1066 where his father, King Harald Hardrada, saw defeat and was killed in action, an event that directly precededhis kingship. During his rule, Olaf made peace with regards to earlier royal conflicts with the church, strengthened the power of the monarchy, and is traditionally credited with founding the city of Bergen circa 1070.Around 1225, Snorri Sturluson wrote  Olav Kyrres saga about King Olaf in the Heimskringla.BiographyOlaf was a son of King Harald Hardrada and Tora Torbergsdatter. Olaf joined his father during the invasion ofEngland during 1066. However, he was only 16 years old during the Battle of Stamford Bridge in September 1066. He stayed on a ship and did not participate in the fighting. After the Norwegian defeat, he sailed withthe remains of the Norwegian strike force back to Orkney, where they wintered. The return journey to Norway took place in summer 1067.After the death of his father, Olaf shared the kingdom with his brother MagnusII (Magnus 2 Haraldsson) who had become king the previous year. When King Magnus died during 1069, Olaf became the sole ruler of Norway.During his reign, the nation of Norway experienced a rare extended periodof peace. He renounced any offensive foreign policy, instead protecting Norway's sovereignty through agreements and marriage connections. Domestically he emphasized the church's organization and themodernization of the kingdom. The latter resulted in, among other things, the reorganization of the body-guard and of measures under which key cities, especially Bergen, could better serve as a royal residence.According to the Heimskringla by Snorri Sturluson, Olaf is said to have founded the city of Bergen (originally called Bjørgvin).The death of Harald Hardrada and the serious defeat suffered by the Norwegians in 1066tempted the Danish king, Svend Estridsen, to prepare for an attack on Norway. King Svend no longer felt bound by the ceasefire agreement signed with Harald Hardrada in 1064, since it would only be valid for the twokings during their own lives. However Olaf made peace with King Svend and married the king's daughter Ingerid. Later, Olav's half sister Ingegerd married King Svend's son  Olaf. Although there were some attacks onEngland by Danish forces, peace persisted between Denmark and Norway. Olaf also made peace with William the Conqueror of England.King Olaf broke with his father's line in his relationship to the church. HaraldHardrada had developed a continuing conflict with the Archbishopric of Bremen due to the archbishop's authority over the Norwegian church. Unlike his father, Olav recognized that authority fully. Political considerationsmay have been behind this conciliatory attitude, as may have been Olaf's concern with the church organization. Until his time bishops had formed part of the king's court and traveled with him around the country totake care of the ecclesiastical affairs while the king took care of worldly matters. The bishops established fixed residence in Oslo, Nidaros and Bergen. King Olaf also took the initiative for the construction of churches,including Christ Church in Bergen and Nidaros Cathedral in Trondheim.Olaf strengthened the power of the king and instituted the system of guilds in Norway. There are strong indications that the government of KingOlaf began writing secure provincial laws to a greater extent. The Norwegian law Gulatingsloven was probably put in writing for the first time during his reign.King Olaf died of illness on 22 September 1093 in Haukbø,Rånrike, then part of Norway (now Håkeby, Tanum Municipality, Sweden). He was buried at the Nidaros Cathedral. His marriage to Ingerid did not produce any children. His successor as king, Magnus III nicknamedMagnus Barefoot (Magnus Berrføtt), was acknowledged to be his illegitimate son.Appearance and characterThe Morkinskinna (c. 1220) describes Olaf III as:\"[A] tall man, and everyone agrees that there has never beenseen a fairer man or a man of nobler appearance.\"\"He had blond hair, a light complexion, and pleasing eyes, and he was well proportioned. He was taciturn for the most part, and not much of a speechmaker, though hewas good company after drink.\"Another description is found in the Heimskringla of Snorri Sturluson:\"Olaf was a stout man, well grown in limbs; and every one said a handsomer man could not be seen, nor of a noblerappearance.\"\"His hair was yellow as silk, and became him well; his skin was white and fine over all his body; his eyes beautiful, and his limbs well proportioned. He was rather silent in general, and did not speak mucheven at Things; but he was merry in drinking parties. He loved drinking much, and was talkative enough then; but quite peaceful.\"\"He was cheerful in conversation, peacefully inclined during all his reign, and lovinggentleness and moderation in all things.\"MemorialA memorial to King Olaf Kyrre was placed in Bergen, Norway in connection with the city's 900-year anniversary. The abstract equestrian statue by noted Norwegiansculptor Knut Steen was unveiled on 21 May 1998.The \"Maine penny\"The Maine penny - a Norwegian silver coin discovered in the US State of Maine in 1957 and suggested as evidence of Pre-Columbian trans-oceaniccontact - has been dated to the time of Olaf III. The circumstances of its arrival from Norway to a Native American village in the present US territory remain unclear and highly disputed.See alsoList of NorwegianmonarchsPassage 3:Ingerid of DenmarkIngerid Swendsdatter of Denmark (also spelt Ingrid; 11th century – after 1093) was a Danish princess who became Queen of Norway as the spouse of King Olaf III ofNorway.Ingerid Swensdatter was the daughter of King Sweyn II of Denmark. It is not known which one of her father's wives and concubines who was the mother of Ingerid.She was married to Olav Kyrre in 1067 in amarriage arranged as a part of the peace treaty between Denmark and Norway, and became Queen of Norway upon marriage the same year. To further strengthen the alliance Olav Kyrre's half-sister, IngegerdHaraldsdatter, married  King Olaf I of Denmark, who was the brother of Queen Ingerid.Ingerid Svendsdatter was Olaf Kyrre's official consort and queen. There are not much information about her personality or her actsas queen.  Queen Ingerid had no children by King Olaf. After the death of King Olav in 1093, queen dowager Ingerid, according to unconfirmed tradition, moved to Sogn and married Svein Brynjulfsson of Aurland, withwhom she reportedly had a daughter, Hallkattla  She seem to have retired to private life as a widow and there is nothing to indicate that she played any political part after the death of her spouse.AncestryNotesPassage4:Ingeborg of Denmark, Queen of NorwayIngeborg Eriksdotter (c. 1244 – 24/26 March 1287) was Queen of Norway and the wife of King Magnus VI. She was born a Danish princess, daughter of Eric IV of Denmark. Asqueen dowager, she played an important part in politics during the minority of her son King Eirik II of Norway in 1280-82.BiographyIngeborg was born to Eric IV of Denmark and Jutta of Saxony. Ingeborg was onlyabout six years-old when her father was killed. Her mother returned to Saxony and married Count Burchard VIII of Querfurt-Rosenburg.  In large part, Ingeborg and her three sisters lived in the court of her uncle KingChristopher I of Denmark and Queen Margaret Sambiria.  The four sisters were heirs to substantial lands in Denmark. The struggle to claim Ingeborg's inheritance from her murdered father would later involve Norway inintermittent conflicts with Denmark for decades to come.Ingeborg was promised in marriage by the Danish regency government to Magnus, the son of King Haakon IV of Norway. Ingeborg arrived in Tønsberg on 28 July1261, after she being retrieved  at the instruction of King Haakon from the monastery in  Horsens (dominikanerkloster ved Horsens).  On 11 September 1261, she married Magnus in Bergen.   Magnus and Ingeborgwere crowned directly after their marriage, and Magnus was given the district of Ryfylke for his personal upkeep. The marriage was described as happy.On 16 December 1263 King Haakon IV of Norway died whilefighting the Scottish king over the Hebrides, and Magnus became the ruler of Norway. Ingeborg is not known to have played any part in politics as queen. Her two older sons Olaf (1262 – 15 March 1267) and Magnus(b. and d. 1264) died in infancy, but the youngest two would later become Kings of Norway: Eric II (1268 – 13 July 1299) and Haakon V (ca. 10 April 1270 – 8 May 1319).In 1280, she became a widow. Ingeborg was animportant figure in the leadership of the country during the minority of King Eirik, though she was not formally named regent. Her influence grew after her son was declared adult in 1283. Her principal ally was AlvErlingsson, who had been a second cousin of her husband King Magnus and served as the governor Borgarsyssel which today makes up the county of Østfold.During the reign of her cousin King Eric V of Denmark,Ingeborg  begun a feud regarding  her inheritance, which she had never received.  This largely private feud caused hostility between Norway and the German Hanseatic cities and a tense relationship with Denmark.Several Danish nobles, including Count Jacob of Halland, took her side against the Danish monarch, but she died before the affair was finished.Passage 5:Hallvard TrættebergHallvard Trætteberg (21 April 1898 in Løten– 21 November 1987 in Oslo) was the leading Norwegian heraldic artist and the expert adviser on heraldry to the Government of Norway and the Norwegian Royal Family for much of the 20th century. From about 1930he played a central role in the renewal of public heraldry in Norway with an emphasis on simplification. He gave the Coat of arms of Norway a modern design and designed several county and municipal coats of arms,seals of the bishops of the Church of Norway, and monograms. He also wrote several books.He was a Knight First Class of the Order of St. Olav and a member of L'Académie Internationale d'Héraldique. He wasemployed at the National Archives of Norway from 1924. Trætteberg was the acting national archivist of Norway from 1963 to 1964.GalleryThe years shown are the years in which the arms were approved, notnecessarily the years in which the arms were designed. If the original drawings are signed with earlier dates, these will be indicated within parentheses. Drawings below may differ slightly from Hallvard Trætteberg'soriginal drawings.County armsMunicipal armsPublicationsFylkesmerker. Forslag fra Norges Bondelags fylkesmerkenevnd, Oslo 1930Norges våbenmerker - Norske by- og adelsvåben, Kaffe Hag AS, Oslo 1933\"Norgesstatssymboler inntil 1814\", Historisk Tidsskrift, vol. 29, no. 8 and 9, Oslo 1933\"Norges krone og våpen\". I Festskrift til Francis Bull, Oslo 1937\"Heraldiske farvelover\", Meddelanden från Riksheraldikerämbetet, bind 7,Stockholm 1938\"Statens forhold til heraldikken i Norge\", Meddelanden från Riksheraldikerämbetet, bind 7, Stockholm 1938\"Måne- og stjernevåpen\", Meddelelser til slekten Mathiesen, Oslo 1946\"The Coat of Arms ofNorway\", The American-Scandinavian Review, June 1964Borg i segl, mynt og våpen, Oslo 1967\"A History of the Flags of Norway\", The Flag Bulletin, (XVIII:3), 1978LiteratureHallvard Trætteberg - Offentlig heraldikk iNorge 1921-1975 - Våpen flagg segl symboler (Exhibition catalogue)Hans Cappelen: Règles pour utilisation des armoiries communales en Norvège. Archivum Heraldicum (1-2) 1976.Hans Cappelen: NorwegianSimplicity. The principles of recent public heraldry in Norway. The Coat of Arms, Vol. VII, No. 138, London 1988.FootnotesPassage 6:Where Do You GoWhere Do You Go may refer to:\"Where Do You Go\" (Chersong)\"Where Do You Go\" (La Bouche song), also covered by No Mercy\"Where Do You Go\", a song by Bryan Rice from Confessional\"Where Do You Go?\", a song by Frank Sinatra from No One CaresSee also\"Where DoYou Go To (My Lovely)?\", a song by Peter SarstedtPassage 7:Olaf III (disambiguation)Olaf III of Norway was King 1067–1093.Olaf III may also refer to:Olaf Guthfrithson, King of Dublin 934–939Olof Skötkonung, Kingof Sweden 980–1022Olaf II of Denmark, sometimes numbered as III when counting a previous anti-kingOlaf HaraldssonPassage 8:KyrreKyrre is a common Norwegian given name. The name comes from the Old Norseword kyrr, which translates to \"calm, peaceful\". It is believed to have been derived from Olaf III of Norway, who was nicknamed \"Olaf Kyrre\" (Olaf the Peaceful).People named KyrreAs first nameKyrre Andreassen,Norwegian authorKyrre Haugen Bakke, Norwegian actor and translatorKyrre Eggen, Norwegian lawyerKyrre Fritzner, Norwegian musicianKyrre Grepp (1879–1922), Norwegian politicianKyrre Gørvell-Dahll (born 1991),Norwegian DJ, known by stage name KygoKyrre Hellum, Norwegian actorKyrre Holm Johannessen, Norwegian hostKyrre Lekve (born 1968), Norwegian biologistKyrre Lindanger, Norwegian politicianKyrre Nakkim (born1966), Norwegian journalistKyrre Haugen Sydness, Norwegian actorKyrre Sæther, Norwegian author and humoristAs second nameKristen Kyrre Bremer, Norwegian theologian and bishopSee alsoAll pages with titlesbeginning with KyrreAll pages with titles containing KyrreKarrePassage 9:Inga of VarteigInga Olafsdatter of Varteig (Inga Olafsdatter fra Varteig) (Varteig, Østfold, 1183 or c. 1185 – 1234 or 1235) was the mistress ofKing Haakon III of Norway and the mother of King Haakon IV of Norway.BiographyInga, from Varteig in Østfold, maintained a relationship with King Haakon III who visited nearby in Borg (now Sarpsborg) during late1203. King Haakon subsequently died in early 1204. His reign had been marked by competition between the Bagler and Birkebeiner factions for control of Norway during a period of civil war. King Haakon was succeededas King of Norway, first by his nephew Guttorm Sigurdsson and later by the appointment of Inge Bardsson.Shortly after the death of King Haakon, Inga gave birth to a son who she claimed was the child of the recentlydeceased king. Inga's claim was supported by several of King Haakon's Birkebeiner followers. However, her claim placed both her and her son in a dangerous position. Consequently, a group of Birkebeiner loyalists fledwith Inga and her son from Lillehammer in eastern Norway over the mountains during the mid-winter 1205–06. The cross-country skiing trip continued north through Østerdalen to Trøndelag, where they came underthe protection of King Inge.After King Inge died in April 1217, Inga successfully performed a trial by ordeal to prove her son's right of succession. Her son Haakon succeeded to the Norwegian throne at the age of 13.Reportedly Inga became seriously ill and died before Christmas in Bergen during 1234.See alsoBirkebeinerrennetCivil war era in NorwayPrimary SourceThe primary source of information regarding Inga of Varteig is fromthe Saga of Haakon Haakonarson which was written following the death of King Haakon IV.Passage 10:Harald HardradaHarald Sigurdsson (Old Norse: Haraldr Sigurðarson; c. 1015 – 25 September 1066), also known asHarald III of Norway and given the epithet Hardrada (harðráði; modern Norwegian: Hardråde, roughly translated as \"stern counsel\" or \"hard ruler\") in the sagas, was King of Norway from 1046 to 1066. Additionally, heunsuccessfully claimed both the Danish throne until 1064 and the English throne in 1066. Before becoming king, Harald had spent around fifteen years in exile as a mercenary and military commander in Kievan Rus' andas a chief of the Varangian Guard in the Byzantine Empire.When he was fifteen years old, in 1030, Harald fought in the Battle of Stiklestad together with his half-brother Olaf Haraldsson (later Saint Olaf). Olaf sought toreclaim the Norwegian throne, which he had lost to the Danish king Cnut the Great two years prior. In the battle, Olaf and Harald were defeated by forces loyal to Cnut, and Harald was forced into exile to Kievan Rus'(the sagas' Garðaríki). He thereafter spent some time in the army of Grand Prince Yaroslav the Wise, eventually obtaining rank as a captain, until he moved on to Constantinople with his companions around 1034. InConstantinople, he soon rose to become the commander of the Byzantine Varangian Guard, and saw action on the Mediterranean Sea, in Asia Minor, Sicily, possibly in the Holy Land, Bulgaria and in Constantinople itself,where he became involved in the imperial dynastic disputes. Harald amassed considerable wealth during his time in the Byzantine Empire, which he shipped to Yaroslav in Kievan Rus' for safekeeping. He finally left theByzantine Empire in 1042, and arrived back in Kievan Rus' in order to prepare his campaign of reclaiming the Norwegian throne. Possibly to Harald's knowledge, in his absence the Norwegian throne had been restoredfrom the Danes to Olaf's illegitimate son Magnus the Good.In 1046, Harald joined forces with Magnus's rival in Denmark (Magnus had also become king of Denmark), the pretender Sweyn II of Denmark, and startedraiding the Danish coast. Magnus, unwilling to fight his uncle, agreed to share the kingship with Harald, since Harald in turn would share his wealth with him. The co-rule ended abruptly the next year as Magnus died,and Harald thus became the sole ruler of Norway. Domestically, Harald crushed all local and regional opposition, and outlined the territorial unification of Norway under a national governance. Harald's reign wasprobably one of relative peace and stability, and he instituted a viable coin economy and foreign trade. Probably seeking to restore Cnut's \"North Sea Empire\", Harald also claimed the Danish throne, and spent nearlyevery year until 1064 raiding the Danish coast and fighting his former ally, Sweyn. Although the campaigns were successful, he was never able to conquer Denmark.Not long after Harald had renounced his claim toDenmark, the former Earl of Northumbria, Tostig Godwinson, brother of the newly chosen (but reigning not for long) English king Harold Godwinson (also known as Harold of Wessex), pledged his allegiance to Haraldand invited him to claim the English throne. Harald went along and invaded northern England with 10,000 troops and 300 longships in September 1066, raided the coast and defeated English regional forces ofNorthumbria and Mercia in the Battle of Fulford near York on 20 September 1066. Although initially successful, Harald was defeated and killed in a surprise attack by Harold Godwinson's forces in the Battle of StamfordBridge on 25 September 1066, which wiped out almost his entire army. Modern historians have often considered Harald's death, which brought an end to his invasion, as the end of the Viking Age.EpithetsHarald's mostfamous epithet is Old Norse harðráði, which has been translated variously as 'hard in counsel', 'tyrannical', 'tyrant', 'hard-ruler', 'ruthless', 'savage in counsel', 'tough', and 'severe'. While Judith Jesch has argued for'severe' as the best translation, Alison Finlay and Anthony Faulkes prefer 'resolute'. Harðráði has traditionally been Anglicised as 'Hardrada', though Judith Jesch characterises this form as 'a bastard Anglicisation of the"}
+{"doc_id":"doc_3","qid":"","text":"Passage 1:The Museums at Washington and ChapinThe Museums at Washington and Chapin are several museums that share a campus in South Bend, Indiana. The name is derived from the location, at the corner ofWashington Street and Chapin Street in South Bend. Both museums have one common entrance off Thomas Street, one block south of Washington Street. The museums currently include the History Museum andStudebaker National Museum.External linksStudebaker National MuseumThe History MuseumPassage 2:William P. Didusch Center for Urologic HistoryThe William P. Didusch Center for Urologic History is a museum andthe headquarters of the American Urological Association in Linthicum, Maryland. It is described as encompassing \"a rich and varied collection of drawings, photographs, and instruments of historical importance tourology, many displayed in the urological exhibits during the American Urological Association (AUA) conventions.\"BackgroundThe center is named in honor of William Didusch, the museum's founder and first curator.Didusch was a notable scientific illustrator, and Executive Secretary of the AUA. Didusch had begun working at Johns Hopkins University in 1915 as an illustrator and eventually a lecturer. Didusch was an artist but morecommitted to the drawing of illustrations, rather than paintings, of anatomy. As result he became a legend during his time after his work in Johns Hopkins Hospital. Some of his many illustrations were those of theanatomy of the urinary tract and instruments used to treat the urinary diseases. The museum was formally established in 1971 as the William P. Didusch Museum, following Didusch's gift to the American UrologicalAssociation of his many original urological drawings. It was accommodated within the headquarters buildings of the AUA, then on Charles Street in Baltimore. Didusch curated the museum until his death in 1981, whenhe was succeeded by Herbert Brendler. After Brendler's death in 1986, William W. Scott (a colleague of Nobel Laureate Charles Huggins at the University of Chicago) became curator of the museum. When Scott retiredin 1993, the post of curator went to Rainer Engel of Johns Hopkins. In 2003 – when the AUA moved to Linthicum, Maryland – the museum also moved. Its scope was extended to relate to the topic of research in urologichistory. Engel remained curator until 2011, when Michael Moran took over the position.CollectionThe museum provides 300 years of the history of urology, beginning from early and extremely dangerous kidney stonesurgeries to modern ultra sound treatments that \"pulverizes these jagged mineral clumps without any need to enter the body\". It includes illustrations, urological tools such as catheters, cystoscopes (includes Nitzecystoscopes made in 1890 with platinum loops for illumination and rotating cystoscopes), operating resectoscopes, laparoscopes, lithotriptors, and resectoscopes; some of this urologic equipment was sterilized usingformaldehyde or cyanide. All was donated by urologists, including Ernest F. Hock of Binghamton, New York, Hans Reuter of Stuttgart, Germany and Adolf A. Kutzmann of Los Angeles.The Center also aids research in allfields of urologic history in the United States. It contains an extensive urological library, with early urological and medical texts, and the AUA archives.Current AUA Historian Engel considers the museum to show howmedical history in urology evolved, and notes that the implements on display frequently scare visitors. Amongst its items are \"long, thick metal tubes that once opened the floodgates between some unfortunate soul'sbladder and the outside world\", lassoes and nutcrackers on the end of steel tubes to break bladder stones, and Hugh Hampton Young's \"Prostate Punch\", which resembles a \"massively enlarged and curved hypodermicneedle designed for the blind resection of prostate tissues\", used in prostate surgery (to ream out the tube of prostate tissue blindly); this last implement was used on the wealthy railway magnate Diamond Jim Brady,who—cured of a prostate problem—gave a generous donation to Johns Hopkins which enabled the establishment of the Brady Urological Institute and also the museum.A number of very large mineral samples of kidneystones are also on display. The collection in the museum also includes more than 30 microscopes dating as far back as the 18th century, along with operating manuals; this acquisition on loan from a German urologyfamily.A popular display is the \"spermatorrhea ring\", a device from the early 20th century used to prevent ejaculations while sleeping. It is made of a double ring of metal, with the inner ring clipped over the penis andthe outer ring, which is lined on the inside with an armature of blunt metal teeth, on the shaft. These teeth constitute what could be called the \"medically active ingredient\". In the event of voluntary unknowing erectionwhile sleeping, \"the sensitive skin of the engorged part expands against the spiky outer ring, and the sleeper is pricked into consciousness in time to prevent nature from committing an unspeakable crime againstitself\".Passage 3:Lake City-Columbia County Historical MuseumLake City-Columbia County Historical Museum is a living history museum at the May Vinzant Perkins House in Lake City, Florida.HistoryThe LakeCity-Columbia County Historical Museum is located in the Vinzant House. The house was built in the 1880s and purchased by John Vinzant Jr. for $450. Vinzant had come to Lake City after serving in the American CivilWar as a sergeant in the 1st Florida Cavalry. Vinzant was the Columbia County Clerk of the Circuit Court and County Tax Collector. Vinzant also contributed to the Florida Agricultural College Fund when it wasestablished about 1 mile south from the house in 1888. Vinzant was married to Mattie Vinzant and had three daughters: Cronin Ives, Birdie Livingston and May Perkins. John Vinzant died in 1907. Vinzant's youngestdaughter May Perkins was married to Herbert Perkins and moved away to Washington, D.C. In 1912 May Perkins had a son but he died in infancy and then her husband died shortly afterwards. May Perkins returned toher father's house in Lake City. May Perkins' mother Mattied died in 1926 leaving her to live alone at the house until her death in 1981 at 102 years old. Perkins became a notable Lake City poet and historian. Since thedeath of Perkins in 1981 the house is still called the May Vinzant Perkins house. The Historic Preservation Board of Lake City and Columbia County jointly bought the house with the Blue-Grey Army, Inc. in 1983. Thetwo groups wanted to restore the house and make it a historical and cultural center as well as a museum. The house was renovated in 1984 by the Blue-Grey Army to turn the May Vinzant Perkins house into a museumas well as to save the house from being demolished since it was in poor condition. In 2000 a plaque was placed on the front of the house commemorating May Vinzant Perkins as a notable Floridian.Lake City holds anannual Battle of Olustee festival in downtown. Events are held at the Lake City-Columbia County Museum related to civil war history such as caring for wounded civil war soldiers or performing plays in relation to thecivil war. Due to the COVID-19 pandemic the museum had to close from March to the second week of May 2020.Blue-Grey ArmyThe Blue-Grey Army is an organization that has collected civil war artifacts and annuallysponsors the Battle of Olustee Festival in Lake City. The organization jointly bought the Vinzant house with the Lake City Columbia County Historical Society. A room in the museum holds the Blue-Grey Army's civil warartifacts and is called the Blue-Grey Army room.GalleryPassage 4:Historical Museum of SerbiaThe Historical Museum of Serbia (Serbian: Историјски музеј Србије/Istorijski muzej Srbije, IMUS) is a public institutiondedicated to documentation of history of Serbia from prehistory up to the present. The museum was established in 1963 and today it preserves over 35,000 exhibits in its collection. Over the years the museum waslocated at different locations around the capital city of Belgrade. In 2020, as a part of the Belgrade Waterfront development project, the museum was granted the historical building of the Belgrade Main railway stationas its new permanent base. The museum is one of the leading institutions of its kind in the city and the country.HistoryThe first unsuccessful initiative to establish the museum was taken in 1950 with the enactment ofthe Decree on the establishment of the History Museum of the People's Republic of Serbia. The proposal was reinitiated in 1954 with the establishment of the Serbian Revolution Museum (hosted by the Residence ofPrince Miloš) commemorating the 150th anniversary of the First Serbian Uprising.The Historical Museum of Serbia was established by the decision of the People's Republic of Serbia authorities on 20 February 1963 withthe new institution absorbing the Serbian Revolution Museum. The task of the Museum was defined in 1966 as follows: ″to collect, record, store, arrange, study and exhibit material from the history of the Serbianpeople and Serbia from the earliest times to the present day″.Until 2003 the museum published the  scientific journal Zbornik Istorijskog muzeja Srbije. Initially, from 1954 to 1965, it was published by the SerbianRevolution Museum.In November 2020 the Serbian government made the decision to relocate the museum to a far bigger building, which formerly served as Belgrade Main railway station.See alsoList of museums inSerbiaPassage 5:Museum of the Sea (Uruguay)The Museum of the Sea, opened in 1996, is a museum of natural history located in La Barra, in the department of Maldonado, Uruguay. It occupies about 2,300 m2(25,000 sq ft) and is divided into four large halls, which are open to the public all year round.OverviewThe museum contains over 5,000 specimens of marine fauna, all of which are clearly labelled. Among thesespecimens are whale skeletons, sea urchins, starfish and turtle shells. In addition, there are old photographs and an old bathing machine used by women in the early days of the 20th century, as well as telescopes andblunderbusses of the period. There is also an exhibit about the most famous pirates. This huge collection of objects, exhibits, photographs and stories is the work of the museum's creator, Pablo Etchegaray. Thisself-taught collector began his collection of marine-related items many years ago.Exhibit hallsThe Museum of the Sea is composed of four museums in one. In the Museum of the Sea, everything is related to marine life:whale skeletons, seashells, a deep sea room, interactive exhibits, an area where children can draw their own pictures, a section devoted to pirates and another to treasure. The Beach Resort Museum shows the historyof holiday resorts, some of which are now city neighbourhoods, such as Pocitos and Carrasco, while others are tourist destinations, such as Punta del Este, La Paloma, Piriápolis, Atlántida, Mar del Plata and Copacabana.The Nostalgia Museum holds collections of vintage objects such as jars, tins, radio sets, medical remedies, photographs, and beach-related items such as beach umbrellas and pails that were used decades ago. Threecollections and 38,000 specimens of insects are exhibited in the Insectarium. Most of the specimens are beetles, but there are also moths, cicadas, and grasshoppers, among other species.Passage 6:Joliet AreaHistorical MuseumThe Joliet Area Historical Museum is a historical museum located in Joliet, Illinois.  The museum documents the history of Joliet and surrounding Will County.Description and historyThe museumadaptively reuses an urban space formerly occupied by the Ottawa Street Methodist Church, which was designed by Joliet architect G. Julian Barnes and built in 1909.  Located on one of the alternate paths of oldhistoric U.S. Route 66, the museum's modern ground-floor addition features the Route 66 Welcome Center, which presents a permanent exhibit called the Route 66 Experience.  This newer part of the museum alsoconnects to the historic Joliet Chamber of Commerce Clubhouse next door (now known as the Renaissance Center of the City Center campus of Joliet Junior College) and to the JJC Renaissance Center's main diningroom, which is staffed by the college's hospitality and culinary school students and open to the public.During the late 20th century, formerly rural Will County townships grew rapidly, while properties in central city Jolietwere threatened.  In 2002, the former church's urban space was reconfigured as a historic museum.  A separate wing is home to an exhibit about the Joliet-raised NASA engineer and JJC graduate John C. Houbolt,honored as the chief conceptualizer of the lunar orbit rendezvous segment of the U.S. Apollo program and the use of a lunar module to shuttle astronauts to and from the surface of the Moon.The museum is located at204 N. Ottawa Street in central Joliet.  An admission fee is charged.As of 2014, the museum was seeking to establish guided tours of the landmark former Collins Street Prison for Route 66 travelers and other interestedtourists. As of 2018, the museum began providing tours of the Collins Street Prison.Passage 7:Aalborg Historical MuseumAalborg Historical Museum (Danish: Aalborg Historiske Museum) is a historical and culturalmuseum in the city of Aalborg in Denmark. The museum was established in 1863 and is now part of The Historical Museum of Northern Jutland (Nordjyllands Historiske Museum).HistoryAalborg Historical Museum wasorganized to explain the history of the city and the surrounding region for the past 1000 years. It was established in 1863, making it one of the earliest provincial museums in Denmark. The present museum wasconstructed in 1878 and expanded in the early 1890s to house the growing collection of items from the region's earliest inhabitants to modern times.Aalborg Historical Museum has rotating exhibitions from its largecollections and is particularly noted for its fine silver and glass collections. The museum also has a large collection of clothing and textiles items from the 18th century to the present.Of particular interest is theAalborgstuen 1602. This well-preserved Renaissance paneled wooden room is claimed to be 'The best preserved middle class Renaissance interior' in Denmark.In the 1950s Aalborg Historical Museum, conducted aseries of archaeological excavations at Iron Age and Viking sites in the area, including Lindholm Høje, resulting ultimately in Lindholm Høje Museet at Lindholm Høje.In 1994 and 1995 the museum conductedexcavations at the site of the former  Greyfriars Friary  (gråbrødrekloster)  in central Aalborg.  The excavations resulted in the creation of the \"in situ\" underground Gråbrødrekloster Museum (GråbrødreklosterMuseet).Recent historyIn 2004 several organizations banded together to form The Historical Museum of Northern Jutland. The museum system is administered by a 12-member committee made of members from theconstituent organizations which make up the museum.  These include: The Museum Society of Hadsund, the Museum Society for Hals Kommune, the Aalborg History Association, the North Jutland Association ofArchaeology for Jutland, the Historical Community of Himmerland and Kjaer District, and the Cultural Historic Society of North Jutland. The umbrella organization coordinates research, outreach programs, educationalprograms, as well as manages the many properties in North Jutland which have been preserved by the various organizations.GalleryPassage 8:Halifax Historical MuseumThe Halifax Historical Museum displays localhistory from 5,000 BC to the present day in a National Register of Historic Places listed building designed by Wilbur B. Talley in Daytona Beach, Florida, United States. The museum is housed in the former MerchantsBank building (1910), added to the U.S. National Register of Historic Places on January 6, 1986. It is located at 252 South Beach Street.Passage 9:National Historical Museum, AthensThe National Historical Museum(Greek: Εθνικό Ιστορικό Μουσείο, Ethnikó Istorikó Mouseío) is a historical museum in Athens. Founded in 1882, is the oldest of its kind in Greece. It is located in the Old Parliament House at Stadiou Street in Athens,which housed the Hellenic Parliament from 1875 until 1932. A branch of the National History Museum has been organized and operated there since 2001.CollectionsThe museum houses the collection of the Historicaland Ethnological Society of Greece (IEEE), founded in 1882. It is the oldest collection of its kind in Greece, and prior to its transfer to the Old Parliament, it was housed in the main building of the National TechnicalUniversity.The collection contains historical items concerning the period from the capture of Constantinopolis by the Ottomans in 1453 to the Second World War, emphasizing especially the period of the GreekRevolution and the subsequent establishment of the modern Greek state.Among the items displayed are weapons, personal belongings and memorabilia from historical personalities, historical paintings by Greek andforeign artists, manuscripts, as well as a large collection of traditional Greek costumes from various regions. The collection is displayed in the corridors and rooms of the building, while the great central hall of theNational Assembly is used for conferences.Passage 10:White River Valley MuseumWhite River Valley Museum is a historical museum located in Auburn, Washington.HistoryCreated through the combined effort of theCity of Auburn and the White River Valley Historical Society, the White River Valley Museum has been open to the public as far back as January 1996. Since then, the museum has published a monthly newsletter, \"WhiteRiver Journal\", while working to preserve regional historical artifacts and sites, including the Mary Olsen Farm. In 2001, the White River Valley Museum applied for and received the Mary Olson Farm's placement onto theNational Register of Historic Places.MissionThe White River Valley Museum's mission statement is: \"The White River Valley Museum is a partnership with the city of Auburn and combines history and culture to create anexciting and educational experience for visitors.\"ExhibitsThe White River Valley Museum has both permanent exhibits and four temporary exhibits per year. The museum's collections focus on local Puget Sound history,Northwest Indian culture, Japanese-Americans, and the Northern Pacific Railroad.1924 Auburn Depot - visitors can view and experience the Northern Pacific Railroad depot and caboose.1915 Japanese Farmhouse -teaches visitors about the Iseri Family of Thomas Washington, including picture brides, Buddhist home altars, and life on truck farms.Downtown Auburn in the 1920s  - includes the Auburn Public Market and the AuburnHat Shop with replica hats that museum visitors may handle.Muckleshoot Indian Tribe (the original settlers of the region) - includes a c 1890 river canoe display and a scale model of a winter house.Northern ClayCompany, aka Gladding, McBean - illustrates the architectural terra cotta of Seattle and Tacoma, and the clay industry of the Green River Valley, the Auburn laborers, and Vienna designers.Tourist Hotel of 1924 -illustrates Auburn as a boom town in the 1920s and includes photos of the 1924 mayor Otto Bersch and a conductor for the Northern Pacific Railroad.Examples of the museum's temporary exhibits include \"On Track\": acollection of railroad photographs of Warren McGee taken between the 1930s and 1970s, and a collection of Auburn \"Our Story\" Videos covering a variety of regional historical topics.CollectionsThe White River ValleyMuseum's collections include the historic site Mary Olson's Farm, as well as an archive of the monthly museum publication \"White River Journal\". The museum's photograph collection contains thousands of regionalhistoric images dating between 1894 and 1982, while the museum's small research library holds books, diaries and regional newspapers from the same period. The museum also has an extensive collection of regionalartifacts from both historic Auburn and its people, as well as objects from regional Native American tribes, including the Salish and Muckleshoot."}
+{"doc_id":"doc_4","qid":"","text":"Passage 1:The Rebel GladiatorsThe Rebel Gladiators (Italian: Ursus il gladiatore ribelle/ Ursus, the Rebel Gladiator) is a 1962 Italian peplum film directed by Domenico Paolella starring Dan Vadis, Josè Greci and Alan Steel.PlotThe newly crowned emperor Commodus kidnaps the beautiful Arminia, who happens to be betrothed to the mighty gladiator Ursus. Obsessed with a desire to physically best all other men, he uses the girl as a hostage to force Ursus to fight him in the arena, but when Ursus beats him up and actually forces the dictator to beg for his life, he accuses Ursus of being in league with a group of usurpers who oppose Commodus' tyrannical rule. Ursus finally leads a slave revolt that overthrows Commodus, who is killed in the uprising, and Ursus is reunited with Arminia.CastDan Vadis as UrsusJosè Greci as ArminiaAlan Steel as Commodo/CommodusTullio Altamura as AntoninoNando Tamberlani as Marco AurelioGloria MillandGianni Santuccio as Emilio LetoSal Borghese as gladiatorBruno ScipioniAndrea Aureli as gladiator instructorCarlo Delmi as SettimioPassage 2:Voice of Free ChinaThe Voice of Free China (Chinese: \u0000\u0000\u0000\u0000\u0000\u0000; pinyin: Zìyóu Zhōngguó Zhīshēng) was the international broadcasting station of the Republic of China from 1949 until 1998. During the Cold War era the station was the source of Chinese Nationalist propaganda largely aimed at discrediting the People's Republic of China and buttressing the Nationalists' claims to be the sole legitimate government of all of China.The Voice of Free China, for many years, was owned by the Broadcasting Corporation of China. This was a private company under a government contract to provide public radio programming. The BCC still exists today, but in 1998 the Voice of Free China and the government-owned Central Broadcasting System merged.With the easing of cross-strait relations and the liberalization of Taiwan's government, the Voice of Free China changed its name to Radio Taipei International in 1998 and also used the name \"Voice of Asia\" for some broadcasts. In 2003, it became Radio Taiwan International reflecting the defeat of the Kuomintang government in 2000 and the new government's orientation towards Taiwan independence from China. Today, this station is now known as Radio Taiwan International.See alsoPropaganda in the Republic of ChinaPassage 3:Ellen BassEllen Bass (born June 16, 1947) is an American poet and author.  She has won three Pushcart Prizes and a Lambda Literary Award for her 2002 book Mules of Love. She co-authored the 1991 child sexual abuse book The Courage to Heal. She received a fellowship from the National Endowment for the Arts in 2014 and was elected a chancellor of the Academy of American Poets in 2017. Bass has taught poetry at Pacific University and founded poetry programs for prison inmates.LifeBass grew up in Pleasantville, New Jersey, where her parents owned a liquor store. Her family later moved to Ventnor City, New Jersey. She attended Goucher College, where she graduated magna cum laude in 1968 with a bachelor's degree. She pursued a master's degree in creative writing at Boston University, where she studied with Anne Sexton, and graduated in 1970. From 1970 to 1974, Bass worked at Project Place, a social service center in Boston.From 1983 to 2003, she worked in the field of healing from childhood sexual abuse: writing the best-selling The Courage to Heal in 1991, developing training seminars for professionals, offering workshops for survivors, and lecturing to mental health professionals nationally and internationally. She is a co-founder of the Survivors Healing Center in Santa Cruz, a non-profit organization offering services to survivors of child sexual abuse.Bass has taught poetry at the low-residency Master of Fine Arts program at Pacific University in Oregon since 2007. She has taught workshops in Santa Cruz, California since 1974 and also nationally. In 2013, she founded the Poetry Program at the Salinas Valley State Prison, which offers a weekly workshop to incarcerated men. In 2014, she also founded the Santa Cruz Poetry Project, which offers six weekly workshops to men and women incarcerated in the Santa Cruz County jails.Among Bass' poetry books are Indigo, (2020) which was a finalist for the Paterson Poetry Prize, the Publishers Triangle Award and the Northern California Book Award; Like a Beggar (2014), which was a finalist for the Paterson Poetry Prize, the Publishing Triangle Award, the Milt Kessler Poetry Award, the Lambda Literary Award, and the Northern California Book Award; The Human Line (2007), and Mules of Love (2002), which won the Lambda Literary Award. Her poems have been published widely in journals and anthologies, including the New Yorker, the American Poetry Review, the Kenyon Review, and Ploughshares.Her nonfiction books include I Never Told Anyone: Writings by Women Survivors of Child Sexual Abuse (HarperCollins, 1983), Free Your Mind: The Book for Gay, Lesbian and Bisexual Youth and Their Allies (HarperCollins, 1996), and The Courage to Heal: A Guide for Women Survivors of Child Sexual Abuse (HarperCollins, 1988, 2008), which has been translated into twelve languages.In 2017, Bass was elected as a Chancellor of the Academy of American Poets.Bass was named the Santa Cruz County Artist of the Year in 2019.Bass lives in Santa Cruz, California with her wife, Janet Bryer. She has two children, Saraswati Bryer-Bass and Max Bryer-Bass.AwardsBass was awarded the Elliston Book Award for Poetry from the University of Cincinnati, Nimrod/Hardman's Pablo Neruda Prize, The Missouri Review’s Larry Levis Award, the Greensboro Poetry Prize, the New Letters Poetry Prize, the Chautauqua Poetry Prize, four Pushcart Prizes (2003, 2015, 2017), Fellowships from The Guggenheim Foundation, The National Endowment for the Arts, and the California Arts Council.Indigo, (2020) was a finalist for the Paterson Poetry Prize, the Publishers Triangle Award and the Northern California Book Award. Like a Beggar (Copper Canyon Press, 2014) was a finalist for the Paterson Poetry Prize, the Publishing Triangle Award, the Milt Kessler Poetry Award, the Lambda Literary Award, and the Northern California Book Award. The Human Line (Copper Canyon Press, 2007) was named among the notable books of 2007 in the poetry section by the San Francisco Chronicle, and Mules of Love (BOA Editions, 2002) won the 2002 Lambda Literary Award.Published worksPoetryI'm not your laughing daughter. University of Massachusetts Press. 1973. ISBN 9780870231285.No More Masks! An Anthology of Poems by Women. Co-edited with Florence Howe. Doubleday. 1973. ISBN 9780385025539.{{cite book}}:  CS1 maint: others (link)Of Separateness and Merging. Autumn Press, 1977. ISBN 978-0394734309.For Earthly Survival. A letter press chapbook, Moving Parts Press, 1980.Our Stunning Harvest. New Society Publishers, 1984. ISBN 978-0865710535.Mules of Love. BOA Editions. 2002. ISBN 9781929918225.The Human Line. Copper Canyon Press. 2007. ISBN 9781556592553.Like A Beggar. Copper Canyon Press. 2014. ISBN 9781556594649.Indigo. Copper Canyon Press. 2020. ISBN 9781556595752.NonfictionI Never Told Anyone: Writings by Women Survivors of Child Sexual Abuse. Co-authored with Louise Thornton and others. Harper Collins. 1991 [1983]. ISBN 9780060965730.{{cite book}}:  CS1 maint: others (link)The Courage to Heal: A Guide for Women Survivors of Child Sexual Abuse. Co-authored with Laura Davis. Harper Collins. 2008 [1988]. ISBN 9780061284335.{{cite book}}:  CS1 maint: others (link)Beginning to Heal: A First Book for Men and Women Who Were Sexually Abused as Children. Co-authored with Laura Davis. Harper Collins. 2003 [1993]. ISBN 9780062270597.{{cite book}}:  CS1 maint: others (link)Free Your Mind: The Book for Gay, Lesbian and Bisexual Youth—and Their Allies. Co-authored with Kate Kaufman. Harper Collins. 1996. ISBN 9780060951047.{{cite book}}:  CS1 maint: others (link)Children's booksI Like You to Make Jokes with Me, But I Don't Want You to Touch Me. Lollipop Power Books/Carolina Wren Press. 1993 [1981]. ISBN 9780914996279.Passage 4:The Wonderful World of Captain KuhioThe Wonderful World of Captain Kuhio (\u0000\u0000\u0000\u0000\u0000, Kuhio Taisa, lit. \"Captain Kuhio\") is a 2009 Japanese comedy-crime film, directed by Daihachi Yoshida, based on Kazumasa Yoshida's 2006 biographical novel, Kekkon Sagishi Kuhio Taisa (lit. \"Marriage swindler Captain Kuhio\"), that focuses on a real-life marriage swindler, who conned over 100 million yen (US$1.2 million) from a number of women between the 1970s and the 1990s.The film was released in Japan on 10 October 2009.CastMasato Sakai - Captain KuhioYasuko Matsuyuki - Shinobu NaganoHikari Mitsushima - Haru YasuokaYuko Nakamura - Michiko SudoHirofumi Arai - Tatsuya NaganoKazuya Kojima - Koichi TakahashiSakura Ando - Rika KinoshitaMasaaki Uchino - Chief FujiwaraKanji Furutachi - Shigeru KurodaReila AphroditeSei AndoAwardsAt the 31st Yokohama Film FestivalBest Actor – Masato SakaiBest Supporting Actress – Sakura AndoPassage 5:Chlorox, Ammonium and CoffeeChlorox, Ammonia and Coffee (Norwegian: Salto, salmiakk og kaffe) is a 2004 Norwegian comedy film written and directed by Mona J. Hoel, starring Benedikte Lindbeck, Kjersti Holmen and Fares Fares. The film follows multiple storylines, and is about having the courage to take chances in life.External linksChlorox, Ammonium and Coffee at IMDbChlorox, Ammonium and Coffee at Rotten TomatoesChlorox, Ammonium and Coffee at Filmweb.no (in Norwegian)Chlorox, Ammonium and Coffee! at the Norwegian Film InstitutePassage 6:Free China: The Courage to BelieveFree China: The Courage to Believe is a 2012 documentary film (61 minutes) about the persecution of Falun Gong, starring Jennifer Zeng and Dr. Charles Lee.DescriptionThe film is based on a true story of a mother and former Communist Party member, Jennifer Zeng, who along with more than 70 million Chinese were practicing Falun Gong, a belief that combined Buddhism and Daoism until the Chinese Government outlawed it. The Internet police intercepted an email and Jennifer was imprisoned for her faith. As she endured physical and mental torture, she had to decide: does she stand her ground and languish in jail, or does she recant her belief so she can tell her story to the world and be reunited with her family?A world away, Dr. Charles Lee, a Chinese American businessman, wanted to do his part to stop the persecution by attempting to broadcast uncensored information on state controlled television. He was arrested in China and sentenced to three years of re-education in a prison camp where he endured forced labor, making amongst other things, Homer Simpson slippers sold at stores throughout the US.With more than one hundred thousand protests occurring each year inside China, unrest among Chinese people is building with the breaking of each political scandal. As China's prisoners of conscience are subjected to forced labor and possibly organ harvesting, but at this time it is unconfirmed. This timely documentary exposes profound issues such as genocide and unfair trade practices with the West. The film also highlights how new Internet technologies are helping bring freedom to more than 1.3 billion people living in China and other repressive regimes throughout the world.Interviewees in the filmJennifer Zeng - author of Witnessing History: One Chinese Woman’s Fight for FreedomDr. Charles Lee - Chinese American businessman and labor camp survivorDavid Kilgour - human rights investigator and former Canadian Secretary of State (Asia-Pacific)Chris Smith - US Congressman and chair of the Congressional-Executive Commission on ChinaEthan Gutmann - China analyst, human rights investigator, author of The Slaughter: Mass Killings, Organ Harvesting, and China's Secret Solution to Its Dissident Problem and Losing The New China: A Story of Commerce, Desire, and Betrayal. Contributor for The Wall Street Journal AsiaAwards and other informationThe film won awards at 8 film festivals, including American INSIGHT's 2012 Free Speech Film Festival and WorldFest's 2012 Film Festival.The film was produced and directed by awarding winning filmmakers Kean Wong and Michael Perlman. The film has screened at over 700 private venues including the UK, European and Israeli parliaments and the US Congress. The film will be available in over 20 languages by the end of 2014.The soundtrack, trailers, and DVDs of the film are available on the Free China website.The most recent screenings of the film were on 5–7 December 2014 in Taiwan.The online premiere was on 3 February 2015.See alsoPersecution of Falun GongDocumentaries about the Persecution of Falun GongOrgan harvesting from Falun Gong practitioners in ChinaPassage 7:The Rebel SetThe Rebel Set is a 1959 American crime drama film in black and white directed by Gene Fowler Jr. It was later featured and riffed on Mystery Science Theater 3000 in Season 4.Plot summaryMr. Tucker (Platt), proprietor of a Los Angeles coffee house, hires three down-on-their-luck classic beatnik patrons: out-of-work actor John Mapes (Palmer); struggling writer Ray Miller (Lupton); and George Leland (Sullivan), the wayward son of movie star Rita Leland, to participate in an armored car robbery to take place during a four-hour stopover in Chicago during the trio's train trip from Los Angeles to New York. Mapes' worried wife Jeanne (Crowley) joins him on the train, concerned about his not having had a job in more than a year.Tucker and his henchman Sidney (Glass) fly ahead to set up the robbery, which goes off without a hitch. John, Ray and George take the train to Chicago.  George shoots out a tire on the armored truck.  Then Sidney drives a car into the truck.  As the security guards get out to check the accident, John and Ray drive up disguised as policemen in a police car.  The three guards are tied up and the almost one million dollars is transferred into the fake police car.  The five then drive off to another site to bury their clothes, guns and other crime gear.  The money is placed into a gift box and entrusted to George.  The men continue on the train to New York.  Tucker promised the three $200,000 apiece.However, once back on the train, Leland's greed gets the better of him and he decides to keep all of the money for himself.  John and Ray go to talk to him but find him murdered with a suicide note left behind.  Tucker has disguised himself as a man of the cloth and is on the train.  He double crosses the trio, first eliminating Leland and Miller next, leaving Mapes as the only one left to stop Tucker from getting away with murder and keeping the entire haul.John confesses to his wife Jeanne his role in the robbery.  When the cops board the train in Newark to investigate the Leland murder, John confesses.  Tucker jumps from the train with the money and Mapes chases after him.  Two cops chase and fire shots.  Tucker and Mapes tangle all over and through the train railyard.  Finally, Tucker falls onto an electric transformer and dies while Mapes surrenders to police.  As Jeanne gives her husband a goodbye hug, movie star Rita Leland waits for her son George to arrive on the train, unaware that he is dead.CastSoundtrackExternal linksThe Rebel Set at IMDbThe Rebel Set is available for free viewing and download at the Internet ArchivePassage 8:Free ChinaThe term \"Free China\" may mean:Free China (Second Sino-Japanese War), areas of China not under the control of the invading Imperial Japanese ArmyFree area of the Republic of China, a term used by the ROC government to contrast itself with the People's Republic of China and avoid acknowledging their control over mainland China; often shortened to \"Free China\" and used in contrast to \"Red China\"Free China Journal, a former publication of the government of the Republic of China (Taiwan)Free China (junk) (zh:\u0000\u0000\u0000\u0000\u0000), a Chinese junk boatThe Free China Movement, a coalition of about 30 pro-democracy and human rights organizations promoting democracy in ChinaFree China: The Courage to Believe a 2012 American filmFree China Relief Association, a non-governmental organizationSee alsoNationalist China (disambiguation)Red China (disambiguation)Communist China (disambiguation)Passage 9:Land of Make BelieveLand of Make Believe or The Land of Make Believe may refer to:Music\"Land of Make Believe\" (Easybeats song), 1968Land of Make Believe (Chuck Mangione album), 1973Land of Make Believe (Kidz in the Hall album), 2010\"The Land of Make Believe\", a 1980 song by Bucks Fizz\"The Land of Make-Believe\", a song by R. Nelson, U. Ray, D. Alex recorded by Fats Domino\"The Land of Make Believe\", a song by R. Miller and A. Miller, performed by Diana Ross and the Supremes from The Never-Before-Released Masters\"The Land of Make-Believe\", a song by The Moody Blues from the Seventh Sojourn album\"(In the) Land of Make Believe\", a song written by Burt Bacharach & Hal David and sung by The Drifters, Dionne Warwick, Dusty Springfield and othersOtherLand of Make Believe (amusement park), an amusement park in Hope Township, New Jersey, United StatesLand of Makebelieve, a former amusement park in Upper Jay, New York, United StatesThe Neighborhood of Make-Believe, a segment on the children's television program Mister Rogers' NeighborhoodPassage 10:Do You Believe?Do You Believe? or Do You Believe may refer to:\"Do You Believe?\" (The Beatnuts song)\"Do You Believe\" (Julie-Anne Dineen song)\"Do You Believe\" (Maurice Williams song)Do You Believe? (film)Do You Believe? (Cher tour)\"Believe\" (Cher song)See alsoDo You Believe in Magic (disambiguation)"}
+{"doc_id":"doc_5","qid":"","text":"Passage 1:Bill Smith (footballer, born 1897)William Thomas Smith (9 April 1897 – after 1924) was an English professional footballer.CareerDuring his amateur career, Smith played in 17 finals, and captained the ThirdArmy team in Germany when he was stationed in Koblenz after the armistice during the First World War. He started his professional career with Hull City in 1921. After making no appearances for the club, he joinedLeadgate Park. He joined Durham City in 1921, making 33 league appearances in the club's first season in the Football League.He joined York City in the Midland League in July 1922, where he scored the club's first goalin that competition. He made 75 appearances for the club in the Midland League and five appearances in the FA Cup before joining Stockport County in 1925, where he made no league appearances.Passage 2:ThomasScott (diver)Thomas Scott (1907 - date of death unknown) was an English diver.BoxingHe competed in the 10 metre platform at the 1930 British Empire Games for England.Personal lifeHe was a police officer at thetime of the 1930 Games.Passage 3:Fred Bradley (rower)Frederick Bradley (1908 – date of death unknown) was an English rower.RowingHe competed in the single sculls at the 1930 British Empire Games for Englandand won a bronze medal.Personal lifeHe was listed as having no occupation at the time of the 1930 Games.Passage 4:Parimala NagappaParimala Nagappa is a politician from the state of Karnataka and wife of Late H.Nagappa. Parimala was elected as M.L.A from Hanur constituency on a Janata Dal (Secular) ticket in the 2004 Karnataka assembly elections. On 16 March 2017, she joined the Bharatiya Janata Party.Passage 5:AlbertThompson (footballer, born 1912)Albert Thompson (born 1912, date of death unknown) was a Welsh footballer.CareerThompson was born in Llanbradach, Wales, and joined Bradford Park Avenue from Barry Town in1934. After making 11 appearances and scoring two goals in the league for Bradford, he joined York City in 1936. He was York City's top scorer for the 1936–37 season, with 28 goals. He joined Swansea Town in 1937,after making 29 appearances and scoring 28 goals for York. After making 4 appearances in the league for Swansea, he joined Wellington Town.== Notes ==Passage 6:Harry Wainwright (footballer)Harry Wainwright(born 1899; date of death unknown) was an English footballer.CareerWainwright played for Highfields before joining Port Vale as an amateur in December 1919. After making his debut in a 1–0 defeat at Barnsley onBoxing Day he signed as a professional the following month. He was unable to nail down a regular place however, and was released at the end of the season with just four appearances to his name.He returned toHighfields before moving on to Doncaster Rovers where he scored in their return to football following WW1, in the 2–1 defeat to Rotherham Town in the Midland League. He scored two more goals that season, and nonethe following season.He then went to Brodsworth Main, Frickley Colliery, Sheffield United, Boston Town, Scunthorpe & Lindsey United and Newark Town.Career statisticsSource:Passage 7:Etan BoritzerEtan Boritzer(born 1950) is an American writer of children’s literature who is best known for his book What is God? first published in 1989. His best selling What is? illustrated children's book series on character education and difficultsubjects for children is a popular teaching guide for parents, teachers and child-life professionals.Boritzer gained national critical acclaim after What is God? was published in 1989 although the book has causedcontroversy from religious fundamentalists for its universalist views. The other current books in the What is? series include: What is Love?, What is Death?, What is Beautiful?, What is Funny?, What is Right?, What isPeace?, What is Money?, What is Dreaming?, What is a Friend?, What is True?, What is a Family?, and What is a Feeling? The series is now also translated into 15 languages.Boritzer was first published in 1963 at theage of 13 when he wrote an essay in his English class at Wade Junior High School in the Bronx, New York on the assassination of John F. Kennedy. His essay was included in a special anthology by New York City publicschool children compiled and published by the New York City Department of Education.Boritzer now lives in Venice, California and maintains his publishing office there also. He has helped numerous other authors to getpublished through How to Get Your Book Published! programs. Boritzer is also a yoga teacher who teaches regular classes locally and guest-teaches nationally. He is also recognized nationally as an erudite speaker onThe Teachings of the Buddha.Passage 8:Harry Johnson (wrestler)Harry Johnson (born 1903, date of death unknown) was an English wrestler.WrestlingHe competed in the welterweight category at the 1930 BritishEmpire Games for England.Personal lifeHe was a turner at the time of the 1930 Games and lived in 31 Kambala Road, Battersea.Passage 9:H. NagappaH. Nagappa was a Janata Dal (United) political leader, two termmember of the Karnataka Legislative Assembly and minister for agricultural marketing in the J. H. Patel cabinet.He was abducted by forest brigand Veerappan and his gang members on 25 August 2002 from theKamagere village of Chamarajanagar district. On 8 December 2002, Nagappa was killed by Veerappan or his gang members or by Tamil nadu police at Changadi forest area near M. M. Hills bordering the state of TamilNadu.who killed him is a mystery .Passage 10:Theodred II (Bishop of Elmham)Theodred II was a medieval Bishop of Elmham.The date of Theodred's consecration unknown, but the date of his death was sometimebetween 995 and 997."}
+{"doc_id":"doc_6","qid":"","text":"Passage 1:Brian Kennedy (gallery director)Brian Patrick Kennedy (born 5 November 1961) is an Irish-born art museum director who has worked in Ireland and Australia, and now lives and works in the UnitedStates.  He was the director of the Peabody Essex Museum in Salem for 17 months, resigning December 31, 2020. He was the director of the Toledo Museum of Art in Ohio from 2010 to 2019. He was the director of theHood Museum of Art from 2005 to 2010, and the National Gallery of Australia (Canberra) from 1997 to 2004.CareerBrian Kennedy currently lives and works in the United States after leaving Australia in 2005 to directthe Hood Museum of Art at Dartmouth College. In October 2010 he became the ninth Director of the Toledo Museum of Art. On 1 July 2019, he succeeded Dan Monroe as the executive director and CEO of the PeabodyEssex Museum.Early life and career in IrelandKennedy was born in Dublin and attended Clonkeen College. He received B.A. (1982), M.A. (1985) and PhD (1989) degrees from University College-Dublin, where he studiedboth art history and history.He worked in the Irish Department of Education (1982), the European Commission, Brussels (1983), and in Ireland at the Chester Beatty Library (1983–85), Government Publications Office(1985–86), and Department of Finance (1986–89). He married Mary Fiona Carlin in 1988.He was Assistant Director at the National Gallery of Ireland in Dublin from 1989 to 1997. He was Chair of the Irish Association ofArt Historians from 1996 to 1997, and of the Council of Australian Art Museum Directors from 2001 to 2003. In September 1997 he became Director of the National Gallery of Australia.National Gallery of Australia(NGA)Kennedy expanded the traveling exhibitions and loans program throughout Australia, arranged for several major shows of Australian art abroad, increased the number of exhibitions at the museum itself andoversaw the development of an extensive multi-media site.  Although he oversaw several years of the museum's highest ever annual visitation, he discontinued the emphasis of his predecessor, Betty Churcher, onshowing \"blockbuster\" exhibitions.During his directorship, the NGA gained government support for improving the building and significant private donations and corporate sponsorship. However, the initial design for thebuilding proved controversial generating a public dispute with the original architect on moral rights grounds.  As a result, the project was not delivered during Dr Kennedy's tenure, with a significantly altered designcompleted some years later.  Private funding supported two acquisitions of British art, including David Hockney's A Bigger Grand Canyon in 1999, and Lucian Freud's After Cézanne in 2001. Kennedy built on theestablished collections at the museum by acquiring the Holmgren-Spertus collection of Indonesian textiles; the Kenneth Tyler collection of editioned prints, screens, multiples and unique proofs; and the Australian PrintWorkshop Archive. He was also notable for campaigning for the construction of a new \"front\" entrance to the Gallery, facing King Edward Terrace, which was completed in 2010 (see reference to the building projectabove).Kennedy's cancellation of the \"Sensation exhibition\" (scheduled at the NGA from 2 June 2000 to 13 August 2000) was controversial, and seen by some as censorship. He claimed that the decision was due to theexhibition being \"too close to the market\" implying that a national cultural institution cannot exhibit the private collection of a speculative art investor. However, there were other exhibitions at the NGA during histenure, which could have raised similar concerns. The exhibition featured the privately owned Young British Artists works belonging to Charles Saatchi and attracted large attendances in London and Brooklyn. Its mostcontroversial work was Chris Ofili's The Holy Virgin Mary, a painting which used elephant dung and was accused of being blasphemous. The then-mayor of New York, Rudolph Giuliani, campaigned against the exhibition,claiming it was \"Catholic-bashing\" and an \"aggressive, vicious, disgusting attack on religion.\" In November 1999, Kennedy cancelled the exhibition and stated that the events in New York had \"obscured discussion of theartistic merit of the works of art\". He has said that it \"was the toughest decision of my professional life, so far.\"Kennedy was also repeatedly questioned on his management of a range of issues during the AustralianGovernment's Senate Estimates process - particularly on the NGA's occupational health and safety record and concerns about the NGA's twenty-year-old air-conditioning system. The air-conditioning was finallyrenovated in 2003. Kennedy announced in 2002 that he would not seek extension of his contract beyond 2004, accepting a seven-year term as had his two predecessors.He became a joint Irish-Australian citizen in2003.Toledo Museum of ArtThe Toledo Museum of Art is known for its exceptional collections of European and American paintings and sculpture, glass, antiquities, artist books, Japanese prints and netsuke. Themuseum offers free admission and is recognized for its historical leadership in the field of art education.  During his tenure, Kennedy has focused the museum's art education efforts on visual literacy, which he defines as\"learning to read, understand and write visual language.\"   Initiatives have included baby and toddler tours, specialized training for all staff, docents, volunteers and the launch of a website, www.vislit.org. In November2014, the museum hosted the International Visual Literacy Association (IVLA) conference, the first Museum to do so. Kennedy has been a frequent speaker on the topic, including 2010 and 2013 TEDx talks on visualand sensory literacy.Kennedy has expressed an interest in expanding the museum's collection of contemporary art and art by indigenous peoples. Works by Frank Stella, Sean Scully, Jaume Plensa, Ravinder Reddy andMary Sibande have been acquired.  In addition, the museum has made major acquisitions of Old Master paintings by Frans Hals and Luca Giordano.During his tenure the Toledo Museum of Art has announced the returnof several objects from its collection due to claims the objects were stolen and/or illegally exported prior being sold to the museum.  In 2011 a Meissen sweetmeat stand was returned to Germany followed by anEtruscan Kalpis or water jug to Italy (2013), an Indian sculpture of Ganesha (2014) and an astrological compendium to Germany in 2015.Hood Museum of ArtKennedy became Director of the Hood Museum of Art in July2005. During his tenure, he implemented a series of large and small-scale exhibitions and oversaw the production of more than 20 publications to bring greater public attention to the museum's remarkable collections ofthe arts of America, Europe, Africa, Papua New Guinea and the Polar regions. At 70,000 objects, the Hood has one of the largest collections on any American college of university campus. The exhibition, BlackWomanhood: Images, Icons, and Ideologies of the African Body, toured several US venues. Kennedy increased campus curricular use of works of art, with thousands of objects pulled from storage for classes annually.Numerous acquisitions were made with the museum's generous endowments, and he curated several exhibitions: including Wenda Gu: Forest of Stone Steles: Retranslation and Rewriting Tang Dynasty Poetry, SeanScully: The Art of the Stripe, and Frank Stella: Irregular Polygons.PublicationsKennedy has written or edited a number of books on art, including:Alfred Chester Beatty and Ireland 1950-1968: A study in cultural politics,Glendale Press (1988), ISBN 978-0-907606-49-9Dreams and responsibilities: The state and arts in independent Ireland, Arts Council of Ireland (1990), ISBN 978-0-906627-32-7Jack B Yeats: Jack Butler Yeats,1871-1957 (Lives of Irish Artists), Unipub (October 1991), ISBN 978-0-948524-24-0The Anatomy Lesson: Art and Medicine (with Davis Coakley), National Gallery of Ireland (January 1992), ISBN978-0-903162-65-4Ireland: Art into History (with Raymond Gillespie), Roberts Rinehart Publishers (1994), ISBN 978-1-57098-005-3Irish Painting, Roberts Rinehart Publishers (November 1997),  ISBN978-1-86059-059-7Sean Scully: The Art of the Stripe, Hood Museum of Art (October 2008), ISBN 978-0-944722-34-3Frank Stella: Irregular Polygons, 1965-1966, Hood Museum of Art (October 2010), ISBN978-0-944722-39-8Honors and achievementsKennedy was awarded the Australian Centenary Medal in 2001 for service to Australian Society and its art. He is a trustee and treasurer of the Association of Art MuseumDirectors, a peer reviewer for the American Association of Museums and a member of the International Association of Art Critics. In 2013 he was appointed inaugural eminent professor at the University of Toledo andreceived an honorary doctorate from Lourdes University. Most recently, Kennedy received the 2014 Northwest Region, Ohio Art Education Association award for distinguished educator for art education.== Notes==Passage 2:Only the Lonely (film)Only the Lonely is a 1991 American romantic comedy-drama film written and directed by Chris Columbus, produced by John Hughes, and stars John Candy, Maureen O'Hara (in herfinal film role), Ally Sheedy and Anthony Quinn. The film is a comedic take on the premise established in the 1953 television play Marty and the 1955 film Marty, while the title comes from the song \"Only the Lonely\" byRoy Orbison. The story follows a bachelor who is looking to settle down and start a family with a mortuary beautician, while coping with his controlling mother who wants him all to herself.PlotDanny Muldoon, a38-year-old Chicago policeman, lives with his controlling Irish mother, Rose Muldoon. A lonely bachelor, he falls in love with Theresa Luna, an introverted girl who works in her father's funeral home. On their first date,they have a picnic on Comiskey Park field. Dating becomes difficult as Rose fears Theresa is trying to steal her son away.Danny's brother Patrick tries to convince him to remain unmarried and move to Florida with theirmother to take care of her; Salvatore \"Sal\" Buonarte, one of Danny's married friends and a fellow officer, advises him not to settle down just yet, as he did. Danny begins to feel guilty about his relationship, especiallytowards his mother. This leads to his interrupting dates with Theresa to check on her.When Theresa finally meets Rose at a fancy dinner, Rose immediately begins to put her down, mocking her Sicilian and Polishheritage. Theresa stands up to her, then berates Danny for not doing so himself. After Theresa leaves, Danny scolds his mother for being so cruel, saying that her way of \"telling it like it is\" hurts people. He reminds hershe lost a $450,000 account for his late father's company by making anti-Semitic remarks. He then tells Rose he will propose to Theresa, whether she approves or not.Danny apologizes to Theresa, proposing to herfrom the bucket of a Chicago fire truck. She says yes and they are set to be married. However, even though Rose finally approves, Danny calls to check on his mother in front of Theresa on the night before the wedding.Angered that they might never be alone, she walks off. Neither of them show up for the wedding. A few weeks later, Danny's friends ask why they called off the wedding, but he gives no answer. When a friend namedDoyle suddenly passes away, alone with no wife or children, Danny realizes he doesn't want to end up that way.Finally, the day Danny and Rose are scheduled to move to Florida, Danny tells Rose that he can't letTheresa go because she's the best thing that ever happened to him. Reluctant at first, Rose finally goes to Florida without him, telling him to get married, have a family and be happy. Danny then goes to the funeralhome, looking for Theresa.  However, her father tells him that she left for New York City by train. Danny contacts the railroad station manager, who stops the train at a station outside the city. There, Danny apologizesto Theresa and proclaims his love for her. He tells her that he will move to New York with her and join the NYPD. Having no more guilt about his mother, they board the train for New York to live the rest of their livestogether.Throughout the film, the Muldoons' Greek neighbor, Nick Acropolis — who has been encouraging Danny to pursue Theresa — attempts to woo Rose. She initially resists, but as she gradually softens her stanceregarding Danny's relationship with Theresa, she ultimately warms to Nick, who takes Danny's place on the flight to Florida with her.CastJohn Candy as Officer Daniel \"Danny\" Muldoon, Chicago PoliceDepartmentMaureen O'Hara as Rose MuldoonAlly Sheedy as Theresa LunaAnthony Quinn as Nick AcropolisJames Belushi as Officer Salvatore \"Sal\" Buonarte, Chicago Police DepartmentKevin Dunn as PatrickMuldoonMacaulay Culkin as Billy MuldoonKieran Culkin as Patrick Muldoon, Jr.Milo O'Shea as DoyleBert Remsen as SpatsJoe Greco as Joey LunaProductionCastingChris Columbus wrote the part of Rose specifically forMaureen O'Hara, but did not know that she had retired from acting and was living in the Virgin Islands. Columbus contacted O'Hara's younger brother Charles B. Fitzsimons, a producer and actor in the film industry, toask him to send O'Hara a copy of the script, which he did, telling her, \"This you do!\". O'Hara read the script and loved it. She was reported to have replied to Fitzsimons, \"This I do!\". However, she would not commituntil she met co-star John Candy.Co-star Jim Belushi recounted this story: On the set of Only the Lonely, the producers stuck Maureen O’Hara in a tiny trailer. When John Candy complained on her behalf, he was toldthe budget was being spent on the picture, not on accommodations for old movie stars. Candy responded by giving O'Hara his trailer and going without one until the studio finally caved in and got a trailer for eachactor.John Hughes co-produced the film. This movie marked Macaulay Culkin's third film with Hughes and Candy (after Home Alone and Uncle Buck). Other than New Port South, it was the only film Hughes producedthat he did not write.FilmingMost of the film was shot on location in Chicago. Danny and Rose Muldoon's house is located at the intersection of Clark Street and Roscoe Street, as is the front façade of O'Neils' Pub. Theinside of the pub was shot at Emmett's Pub, a Chicago landmark that was also used in Uncle Buck, another film with John Candy. At the request of producer John Hughes (a Chicagoan and big fan of the Chicago WhiteSox) and sports fan John Candy, the baseball stadium where Danny and Theresa's first date took place was arranged to be set at old Comiskey Park (home of the Chicago White Sox until 1990). Hughes hastily arrangedthe filming, as the stadium was slated to be torn down imminently. There is also a shot showing old Comiskey Park and the new Guaranteed Rate Field, the current home of the White Sox, under construction next door.Comiskey Park was located at the corner of 35th St. and Shields Ave., on the South Side of Chicago. The scene where Danny and Theresa kiss along Lake Michigan is located at Lincoln Park, Chicago, and the dinnerscene was shot at One Ambassador East, also known as the Ambassador East Hotel, located at 1301 North State Parkway in Chicago's Gold Coast. The church scenes were filmed at St. John Cantius Church in WestTown on 825 N Carpenter St.The final scene with Danny and Theresa was shot at the Amtrak station in Niles, Michigan, which was renamed to Willoughby and decorated with Christmas lights for the filming.MusicRoyOrbison's song \"Only the Lonely\" is played in its entirety in the movie's opening scene. \"Someone Like You\" by Van Morrison is played during one of Danny and Theresa's dates. \"Dreams to Remember\" by Etta James isplayed, also in its entirety. Also, \"Pachelbel's Canon\" is played briefly during the wedding scene. The film's original music was composed and conducted by Maurice Jarre.The soundtrack album was released by VarèseSarabande, featuring 28 minutes of Jarre's score and the songs \"Only the Lonely\" and \"Someone Like You.\"ReceptionOn Rotten Tomatoes, the film has an approval rating of 65% based on reviews from 23 critics, withan average rating of 6/10. On Metacritic, the film has a weighted average score of 47 out of 100 based on 21 critics, indicating \"mixed or average reviews\". Audiences polled by CinemaScore gave the film an averagegrade of \"B+\" on an A+ to F scale.Entertainment Weekly gave it a grade C.Passage 3:Now Where Did the 7th Company Get to?Now Where Did the 7th Company Get To? (French: Mais où est donc passée la septièmecompagnie?) is a 1973 French-Italian comedy war film directed by Robert Lamoureux. The film portrays the adventures of a French Army squad lost somewhere on the front in May 1940 during the Battle ofFrance.PlotDuring the Battle of France, while German forces are spreading across the country, the 7th Transmission Company suffers an air raid near the Machecoul woods, but survive and hide in the woods. CaptainDumont, the company commander, sends Louis Chaudard, Pithiviers and Tassin to scout the area. After burying the radio cable beneath a sandy road, the squad crosses the field, climbs a nearby hill, and takes positionwithin a cemetery. One man cut down the wrong tree for camouflage, pulling up the radio cable and revealing it to the passing German infantry. The Germans cut the cable, surround the woods, and order a puzzled 7thCompany to surrender. The squad tries to contact the company, but then witness their capture and run away.Commanded by Staff Sergeant Chaudard, the unit stops in a wood for the night. Pithiviers is content to slowdown and wait for the end of the campaign. The next day, he goes for a swim in the lake, in sight of possible German fighters. When Chaudard and Tassin wake up, they leave the camp without their weapons to look forPithiviers. Tassin finds him and gives an angry warning, but Pithiviers convinces Tassin to join him in the lake. Chaudard orders them to get out, but distracted by a rabbit, falls into the lake. While Chaudard teaches hismen how to swim, two German fighter planes appear, forcing them out of the water. After shooting down one of the German planes, a French pilot, Lieutenant Duvauchel, makes an emergency landing and escapesbefore his plane explodes. PFC Pithiviers, seeing the bad shape of one of his shoes, destroys what is left of his shoe sole. Tassin is sent on patrol to get food and a new pair of shoes for Pithiviers. Tassin arrives in a farm,but only finds a dog, so he returns and Chaudard goes to the farm after nightfall. The farmer returns with her daughter-in-law and Lt Duvauchel, and she welcomes Chaudard. Duvauchel, who is hiding behind the door,comes out upon hearing the news and decides to meet Chaudard's men.When Chaudard and Duvauchel return to the camp, Tassin and Pithiviers are roasting a rabbit they caught. Duvauchel realizes that Chaudard hasbeen lying and takes command.The following day, the men leave the wood in early morning and capture a German armored tow truck after killing its two drivers. They originally planned to abandon the truck and thetwo dead Germans in the woods, but instead realized that the truck is the best way to disguise themselves and free the 7th Company. They put on the Germans' uniforms, recover another soldier of the 7th Company,who succeeded in escaping, and obtain resources from a collaborator who mistook them for Germans.On their way, they encounter a National Gendarmerie patrol, who appear to be a 5th column. The patrol injures thenewest member of their group, a young soldier, and then are killed by Tassin. In revenge, they destroy a German tank using the tow truck's cannon gun.They planned to go to Paris but are misguided by their owncolonel, but find the 7th Company with guards who are bringing them to Germany. Using their cover, they make the guards run in front of the truck, allowing the company to get away. When Captain Dumont joins hisChaudard, Tassin, and Pithiviers in the truck, who salute the German commander with a great smile.CastingJean Lefebvre : PFC PithiviersPierre Mondy : Staff Sergent Paul ChaudardAldo Maccione: PFC TassinRobertLamoureux: Colonel BlanchetErik Colin: Lieutenant DuvauchelPierre Tornade: Captain DumontAlain Doutey: CarlierRobert Dalban : The peasantJacques Marin: The collaborationistRobert Rollis: A FrenchsoldierProductionThe film's success spawned two sequels:– 1975 : On a retrouvé la septième compagnie (The Seventh Company Has Been Found) by Robert Lamoureux;– 1977 : La Septième Compagnie au clair de lune(The Seventh Company Outdoors)) by Robert Lamoureux.The story is set in Machecoul woods, but it was actually filmed near Cerny and La Ferté-Alais, as well as Jouars-Pontchartrain and Rochefort-en-Yvelines. The"}
+{"doc_id":"doc_7","qid":"","text":"Passage 1:George AlagiahGeorge Maxwell Alagiah  ( born 22 November 1955) is a British newsreader, journalist and television news presenter.Since 3 December 2007, he has been the presenter of the BBC News at Sixand was previously the main presenter of GMT on BBC World News since its launch on 1 February 2010.BackgroundAlagiah was born in Colombo, Ceylon on 22 November 1955. His parents, Donald Alagiah, an engineer,and Therese, were Sri Lankan Tamil. In 1961, his parents moved to Ghana in West Africa, where he had his primary education at Christ the King International School. He has four sisters. His secondary education tookplace at St John's College, an independent Roman Catholic school in Portsmouth, England, after which he read politics at Van Mildert College, Durham University. Whilst at Durham, he wrote for and became editor of thestudent newspaper Palatinate and was a sabbatical officer of Durham Students' Union.In 2004, he returned to his grandfather's original home in Sri Lanka in the aftermath of the Asian tsunami to survey the damage.The family's former home had been destroyed, but he was able to recognise an old well where he had played with his sisters, although the well was unsalvageable.Broadcasting careerAlagiah joined the BBC in 1989after seven years in print journalism with South Magazine. Before becoming a presenter, he was Developing World correspondent, based in London, and then Southern Africa correspondent in Johannesburg. As one ofthe BBC's leading foreign correspondents, he reported on events ranging from the genocide in Rwanda to the plight of the Marsh Arabs in southern Iraq to the civil wars in Afghanistan, Liberia, Sierra Leone andSomalia.He was the presenter of BBC Four News from its launch in 2002; the programme was later relaunched as The World and then another edition of World News Today. In January 2003 he joined the BBC SixO'Clock News, which he co-presented with Sophie Raworth until October 2005, and with Natasha Kaplinsky until October 2007. Since 3 December 2007, he has been the sole presenter of the Six O'Clock News. Prior tothat, he had been the deputy anchor of the BBC One O'Clock News and BBC Nine O'Clock News from 1999. Since 3 July 2006, he has presented World News Today on BBC World News and BBC Two, which wasrebranded GMT on 1 February 2010. He last appeared on the programme in 2014. He was formerly a relief presenter on BBC News at Ten, presenting mainly Monday to Thursday when main presenters Huw Edwardsand Fiona Bruce were unavailable.A specialist on Africa and the developing world, Alagiah has interviewed, among others, Nelson Mandela, Archbishop Desmond Tutu, former Secretary-General of the United Nations KofiAnnan and President Robert Mugabe of Zimbabwe. His other documentaries and features include reports on why affirmative action in America is a 'Lost Cause', for the Assignment programme, Saddam Hussein'sgenocidal campaign against the Kurds of northern Iraq for the BBC's Newsnight programme and a report on the last reunion of the veterans of Dunkirk.Awards and interestsIn 2000, Alagiah was part of the BBC teamwhich collected a BAFTA award for its coverage of the Kosovo conflict. He has won numerous awards including Best International Report at the Royal Television Society in 1993 and in 1994 was the overall winner of theAmnesty International UK Media Awards. He was appointed Officer of the Order of the British Empire (OBE) in the 2008 New Year Honours.His appearances at literary festivals include Cheltenham, Keswick, Hay-on-Wyeand London, and he has spoken at the Royal Geographical Society, the Royal Society of Arts and at the Royal Overseas League. He is on the Board of the Royal Shakespeare Company.From 2002 to 2009, Alagiah was apatron of the Fairtrade Foundation from which in July 2009, he was obliged to resign by BBC Management who claimed professional conflict of interest. Complaints were received at the BBC from members of the publicwho were unhappy that Alagiah had been asked to step down. The BBC responded that in keeping with its principles of impartiality, it would be inappropriate for one of its leading journalists to be seen supporting amovement that clearly represents a controversial view of global trade. He has also been actively involved in supporting microfinance as a tool for development, including recent appearances in support of OpportunityInternational. He has been a patron of Parenting UK since 2000.In 2010, he received the Outstanding Achievement in Television award at the Asian Awards.In 2020, his debut novel The Burning Land was shortlisted fora Society of Authors' award. The book is described as a \"gripping, pacy thriller about corruption and homicide in South Africa\".Personal lifeHe is married to Frances Robathan, whom he met at Durham University. Thecouple have two children, Adam and Matthew. He lives in Stoke Newington, North London.On 17 April 2014, it was announced that Alagiah was being treated for colorectal cancer. A statement from the BBC said: \"He isgrateful for all the good wishes he has received thus far and is optimistic for a positive outcome.\" On 28 June, Alagiah announced on Twitter that he was making \"encouraging progress\". In late October 2015 heannounced on Twitter that the treatment was officially over, and he returned to the BBC on 10 November. In January 2018 it emerged that the cancer had returned and he would undergo further treatment.In March2018, in an interview with The Sunday Times, Alagiah noted that his cancer was terminal and could have been caught earlier if the screening programme in England, which is automatically offered from the age of 60,was the same as that in Scotland, where it is automatically offered from the age of 50.In June 2020 Alagiah said that the cancer had spread to his lungs, liver and lymph nodes, but was not at a \"chronic\" or \"terminal\"stage. In October 2022, Alagiah announced that his cancer had spread further and he took a break from TV to undergo a new series of treatment.Passage 2:William CrawleyWilliam Crawley, MRIA, is a Belfast-born BBCjournalist and broadcaster. He is the presenter of Talkback, a daily radio programme on BBC Radio Ulster, and he is a presenter of Sunday on BBC Radio 4. He has also made several television series for BBC NorthernIreland.Early lifeWilliam Hugh Galloway Crawley was born and raised in North Belfast. He was educated at Grove Primary School, Dunlambert Secondary School, Belfast Royal Academy and Queen's University, where hestudied Philosophy (B.A., M.Phil.). He read Theology (M.Div.) at Princeton Theological Seminary. In 1999 Crawley was awarded a PhD by Queen's for a thesis on the epistemology of the American philosopher AlvinPlantinga.Prior to his career in the media, Crawley worked as a university lecturer in Philosophy and Theology. Having been licensed, then subsequently ordained into the ministry of the Presbyterian Church in Ireland inthe mid-1990s, he worked as assistant minister in First Presbyterian Church, New York City, and Fisherwick Presbyterian Church, Belfast, before serving as Presbyterian chaplain at the University of Ulster. He laterresigned from the ordained ministry and from membership of the church before beginning his career as a journalist. He has described himself as \"a lapsed Protestant.\"Television programmesBlueprint NI, a three-partseries examining Ireland's natural history, first broadcast in 2008.The late-night television interview show, William Crawley Meets..., a series of 30 minutes in duration with leading thinkers and social reformers fromacross the world, including the philosopher Peter Singer, the scientist Richard Dawkins, the writer and broadcaster Melvyn Bragg, and the gay bishop Gene Robinson.Frozen North (BBC One, 2008), a documentaryexamining the possible future impact of global warming.Festival Nights (BBC Two), television coverage of the 2005, 2006 and 2007 Belfast Festival at Queens.Hearts and Minds, a Northern Ireland politicsprogramme.What's Wrong With ...? (BBC One), a six-part round-table current affairs discussion programme.More Than Meets The Eye (BBC Two, 2008), a series investigating folklore in contemporary Ireland.Heanchored the BBC's live coverage of the Queen's official visit to Northern Ireland in 2008.In 2010, he presented an episode of Spotlight (BBC One NI) concerning the Vatican.In 2012, he wrote and presented a60-minute documentary exploring the history of the Ulster Covenant.In 2013, his series An Independent People examined the history of Ireland's Presbyterians.His 2013 one-hour documentary It's a Blas followed hisyear-long effort to learn Irish sufficiently well to present a live radio programme in the language.The 2013 programme The Man Who Shrank The World told the story of the engineering feat carried out by the scientistLord Kelvin in the creation of a transatlantic communications cable was made as part of the Groundbreakers series for BBC Four.His 2014 four-part series for BBC Two Northern Ireland, It's a Brave New World -- NewZealand, examined the links between Northern Ireland and New Zealand.2015 Brave New World: USA (4 part series).2016 Brave New World: Australia (4 part series).2017 Brave New World: Canada (4 partseries).2018 Brave New World: Bringing It Home (1 episode).2019 Spend It Like Stormont.Radio programmesHe presented Sunday Sequence on BBC Radio Ulster from 2002 to 2014.Since 2008, he has presentedSunday on BBC Radio 4.He has presented the daily radio phone-in show Talkback on BBC Radio Ulster since 2015.He has presented Radio 4's Beyond Belief and The Moral Maze.Awards and membershipsFellow of theRoyal Society of the Arts (FRSA).Fellow of the British-American Project.Recipient of Eisenhower Fellowship (2012).Honorary Doctor of Letters (D.Lit.), Queen's University Belfast, 2012, for services tobroadcasting.Andrew Cross Award for Speech Broadcaster of the Year 2006, and other programme content awards.Thinker and Explainer of the Year, Slugger O'Toole/Channel 4 Political Awards 2011.Aisling Award,2013, for contribution to Irish language broadcasting.Patron, Belfast Film Festival.Member of advisory board of Irish Pages: A Journal of Contemporary Writing.2015 Royal Television Society Documentary Award forBrave New World: New Zealand.Member of the Royal Irish Academy.2022 IMRO Speech Broadcaster of the Year (Gold Award).Passage 3:Tim RussertTimothy John Russert (May 7, 1950 – June 13, 2008) was anAmerican television journalist and lawyer who appeared for more than 16 years as the longest-serving moderator of NBC's Meet the Press. He was a senior vice president at NBC News, Washington bureau chief and alsohosted an eponymous CNBC/MSNBC weekend interview program. He was a frequent correspondent and guest on NBC's The Today Show and Hardball. Russert covered several presidential elections, and he presentedthe NBC News/Wall Street Journal survey on the NBC Nightly News during the 2008 U.S. presidential election. Time magazine included Russert in its list of the 100 most influential people in the world in 2008. Russertwas posthumously revealed as a 30-year source for syndicated columnist Robert Novak.Early lifeRussert was born in Buffalo, New York, the son of Elizabeth \"Betty\" (née Seeley; January 9, 1929 – August 14, 2005), ahomemaker, and Timothy Joseph \"Big Russ\" Russert (November 29, 1923 – September 24, 2009), a sanitation worker. Elizabeth and Joseph were married for 30 years, before separating in 1976. Russert was the onlyson and the second of four children; his sisters are Betty Ann (B.A.), Kathleen (Kathy) and Patricia (Trish). His parents were Catholics, and he had German and Irish ancestry. He received a Jesuit education fromCanisius High School in Buffalo.He received his Bachelor of Arts in 1972 from John Carroll University and a Juris Doctor with honors from the Cleveland State University College of Law in 1976. Russert commented onMeet the Press that he went to Woodstock \"in a Buffalo Bills jersey with a case of beer.\" While in law school, an official from his alma mater, John Carroll University, called Russert to ask if he could book some concertsfor the school as he had done while a student. He agreed, but said he would need to be paid because he was running out of money to pay for law school. One concert that Russert booked was headlined by athen-unknown singer, Bruce Springsteen, who charged $2,500 for the concert appearance. Russert told this story to Jay Leno when he was a guest on The Tonight Show on NBC on June 6, 2006. John Carroll Universityhas since named its Department of Communication and Theatre Arts in Russert's honor.Professional careerPoliticalPrior to becoming host of Meet the Press, Russert ran one of U.S. Senator Daniel Moynihan's five majoroffices, based in Buffalo, New York. He later served as special counsel and as chief of staff to Moynihan, a Democrat from Hell's Kitchen, New York. In 1983, he became a top aide to New York Governor Mario Cuomo,also a Democrat.NBC News: Washington bureau chief and host of Meet the PressHe was hired by NBC News' Washington bureau in 1984 and became bureau chief by 1989. Russert became host of the Sunday morningprogram Meet the Press in 1991, and was the longest-serving host of the program. Its name was changed to Meet the Press with Tim Russert, and, at his suggestion, expanded to an hour in 1992. The show also shiftedto a greater focus on in-depth interviews with high-profile guests, where Russert was known for extensive preparatory research and cross-examining style. One approach he developed was to find old quotes or videoclips that were inconsistent with guests' more recent statements, present them on-air to his guests and then ask them to clarify their positions. With Russert as host the audience grew to more than four million viewersper week, and it was recognized as one of the most important sources of political news. Time magazine named Russert one of the 100 most influential people in the world in 2008, and Russert often moderated politicalcampaign debates.Political coverage and debatesDuring NBC's coverage of the 2000 presidential election, Russert calculated possible Electoral College outcomes using a whiteboard (now in the Smithsonian Institution)on the air and memorably summed up the outcome as dependent upon \"Florida, Florida, Florida.\" TV Guide described the scene as \"one of the 100 greatest moments in TV history.\" Russert again accurately predictedthe final battleground of the presidential election of 2004: \"Ohio, Ohio, Ohio.\" In the course of the debate leading up to that election, Russert used February 2004 interviews with the two candidates  to home in on theparadoxical fact (and the possible consequences for democracy) of their both apparently having been members of Yale University's Skull and Bones secret society. On the MSNBC show Tucker, Russert predicted thebattleground states of the 2008 presidential election would be New Mexico, Colorado, Arizona and Nevada, saying, \"If Democrats can win three of those four, they can lose Ohio and Florida, and win the presidency.\"Redstates and blue statesAccording to The Washington Post, the phrases red states and blue states were coined by Tim Russert, although in that same article Russert states that he wasn't the first to use the terminology.This term refers to those states of the United States of America whose residents predominantly vote for the Republican Party (red) or Democratic Party (blue) presidential candidates, respectively. John Chancellor,Russert's NBC colleague, is credited with using red and blue to represent the states on a US map for the 1976 presidential election, but at that time Republican states were blue, and Democratic states were red. (Howthe colors got reversed is not entirely clear.) During the 1984 presidential election, between Ronald Reagan and Walter Mondale, ABC News used a map which showed Republican states as red and Democratic states asblue. According to David Brinkley, that was because Red = R = Reagan. Mainstream political discussion following the 2000 presidential election used red state/blue state more frequently.CIA leak scandalIn the Plameaffair, Scooter Libby, convicted chief of staff for Vice President Dick Cheney, told special prosecutor Patrick Fitzgerald that Russert told him of the identity of Central Intelligence Agency officer Valerie Plame (who ismarried to former ambassador Joseph C. Wilson). Russert testified previously, and again in United States v. I. Lewis Libby, that he would neither testify whether he spoke with Libby nor would he describe theconversation. Russert did say, however, that Plame's identity as a CIA operative was not leaked to him. Russert testified again in the trial on February 7, 2007. According to The Washington Post, Russert testified that\"when any senior government official calls him, they are presumptively off the record,\" saying: \"when I talk to senior government officials on the phone, it's my own policy our conversations are confidential. If I want touse anything from that conversation, then I will ask permission.\"At the trial, the prosecution asserted that a Federal Bureau of Investigation agent had called Russert regarding Russert's phone call with Libby, and thatRussert had told the agent that the subject of Plame had not come up during his conversation with Libby. Russert was posthumously revealed as a thirty-year source of columnist Robert Novak, whose original articlerevealed Plame's affiliation with the CIA. In a Slate.com article, Jack Shafer argued that \"the Novak-Russert relationship poses a couple of questions. [...] Russert's long service as an anonymous source toNovak...requires further explanation.\" In a posthumous commentary, the L.A. Times wrote that, \"Like former New York Times reporter Judith Miller, Russert was one of the high-level Washington journalists who cameout of the Libby trial looking worse than shabby.\" The article's author, Tim Rutten, argued that although Russert and NBC had claimed that these conversations were protected by journalistic privilege, \"it emerged underexamination [that] Russert already had sung like a choirboy to the FBI concerning his conversation with Libby—and had so voluntarily from the first moment the Feds contacted him. All the litigation was for the sake ofimage and because the journalistic conventions required it.\"Iraq WarIn the lead-up to the Iraq War, Meet the Press featured interviews with top government officials including Vice President Dick Cheney. CBS EveningNews correspondent Anthony Mason praised Russert's interview techniques: \"In 2003, as the United States prepared to go to war in Iraq, Russert pressed Vice President Dick Cheney about White House assumptions.\"However, Salon.com reported a statement from Cheney press aide Cathie Martin regarding advice she says she offered when the Bush administration had to respond to charges that it manipulated pre-Iraq Warintelligence: \"I suggested we put the vice president on Meet the Press, which was a tactic we often used. It's our best format.\" David Folkenflik quoted Russert in his May 19, 2004, Baltimore Sun article:I don't think thepublic was, at that time, particularly receptive to hearing it,\" Russert says. \"Back in October of 2002, when there was a debate in Congress about the war in Iraq—three-fourths of both houses of Congress voted with thepresident to go. Those in favor were so dominant. We don't make up the facts. We cover the facts as they were.Folkenflik went on to write:Russert's remarks would suggest a form of journalism that does not raise theinsolent question from outside polite political discourse—so, if an administration's political foes aren't making an opposing case, it's unlikely to get made. In the words of one of my former editors, journalists can readthe polls just like anybody else.In the 2007 PBS documentary, Buying the War, Russert commented:My concern was, is that there were concerns expressed by other government officials. And to this day, I wish myphone had rung, or I had access to them.2008 presidential debateAt the February debate, Russert was criticized for what some perceived as disproportionately tough questioning of Democratic presidential contenderHillary Clinton. Among the questions, Russert had asked Clinton, but not Obama, to provide the name of the new Russian President (Dmitry Medvedev). This was later parodied on Saturday Night Live. In October 2007,liberal commentators accused Russert of harassing Clinton over the issue of supporting drivers' licenses for illegal immigrants.Enthusiasm for sportsRussert grew up as a New York Yankees fan, switching his allegianceto the Washington Nationals when they were established in Washington, D.C. Russert held season tickets to both the Nationals and the Washington Wizards and was elected to the board of directors of the Baseball Hall"}
+{"doc_id":"doc_8","qid":"","text":"Passage 1:OttakootharOttakoothar (c. 12th century CE) was a Tamil court poet to three Later Chola kings, namely Vikrama Chola, Kulotunga II and Rajaraja II. He wrote poems in praise of these three kings.The poet'smemorial is believed to be still in a place known as Darasuram in Kumbakonam, just opposite the famous Airavatesvara Temple. According to legend, the goddess Saraswati blessed him in Koothanur, then he became afamous poet.FamilyAccording to a legend, there was once a  Chola king called Muchukundan who had his capital at Karur. He is said to have won the favor of God Murugan after deep penances and the latter is said tohave bestowed upon him his personal bodyguards to aid him in his wars. Muchukundan Chola then married Chitravalli, daughter of the warrior chief and Murugan's bodyguard called Virabahu and spawned a new line.The poet Ottakoothar is presented as the scion of the family of this Sengunthar chief in his work Eeti-elupattu. It is worth mentioning that this Muchukunda Chola figures in the ancestry of Rajendra I as detailed in hisTiruvalangadu copper plates.Literary worksOttakoothar (Tamil: \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000) is renowned for his Ula poems on the three successive kings, Vikrama Chola, Kulothunga II and Rajaraja II.  The Ula poems aregenerally written in honor of the king and describe the triumphant procession of the king amidst the people and his subjects. He also authored a work dealing with the Kulottunga II's childhood called Kulottunga CholanPillai Tamil.Ottakoothar wrote Uttara Kandam, the seventh (last chapter) kandam of the Tamil epic Ramayanam. Ottakoothar's works can be found at the open access Tamil literature repository Project Madurai.Duringthis period when he was very popular, the Sengunthar community, the one to which he belonged, requested him to compose a work in their honor. He initially refused but then later agreed provided they brought him1008 heads of their first born sons. Accordingly, 1008 members of the community sacrificed their lives so that he could write about their history. The poet then wrote, Eeti-elupattu, a poem consisting of seventy versesin honor of the spear and extolled the glorious past of the Sengunthar chiefs and soldiers. He later wrote another poem called Elupp-elupattu in order to bring back the 1008 dead members to life. When he sang it theheads are said to have miraculously attached to their bodies and the dead became alive once again. The poet Koothar thus came to be known as Otta Koothar  for he attached the heads to the bodies and revivedthem.Popular cultureIn the 1957 Tamil film Ambikapathy, the character of Ottakoothar was portrayed and was performed by M. N. Nambiar. The character was also played by Rajesh in Mahasakthi Mariamman, a 1986Tamil film.See alsoKoothanur Maha Saraswathi TemplePassage 2:Rajaraja IIRajaraja II was a chola emperor who reigned from 1150 CE to 1173 CE. He was made his heir apparent and Co-Regent in 1146 and so theinscriptions of Rajaraja II count his reign from 1146. Rajaraja's reign began to show signs of the coming end of the dynasty.Growing weaknessThe extent of the Chola territories remained as it was during Rajaraja'spredecessors. The Vengi country was still firmly under the Chola rule.The Chola central administration did show weaknesses with regard to their control and effective administration over the outlying parts of the empire,which became pronounced towards the end of Raja Raja-II's reign.  However, Rajaraja regained adequate control of provinces like Vengi, Kalinga, Pandya and Chera territories. He probably even invaded Sri Lanka as isexplained in one of the Tamil poems written during his time.  This is borne out by the fact that not just Rajaraja, but also his successors like Kulothunga III bore titles like Tribhuvana Chakravartin attesting to theirmilitary capabilities and cultural achievements.During the last years of Rajaraja's reign, a civil unrest as a result of a succession dispute convulsed the Pandya country, further weakening Chola influence there. This wasonly to be expected as even though the Pandyas were subjugated by the Cholas since the time of Aditya I and were firmly controlled until the time of Virarajendra, the Madurai kingdom nevertheless kept making effortsfrom time to time, for gaining their independence from their occupiers.  Later Pandyas like Maravarman or Maravaramban Sundara Pandyan, Jatavarman Vira Pandyan and Jatavarman Sundara Pandyan steadily went onincreasing their power and prestige and were to emerge as the most powerful kingdom in South India during the period 1200–1300. These developments were to slowly but surely weaken the Chola kingdom, thoughthere was a minor revival during the fairly steady rule of Kulothunga III (1178–1218).In as much as the cholas during his time were dominant militarily is noted by some literature that mention Raja Raja's conquest andhis innovative management initiatives.Here is excerpt from an inscription of his from the Rajagopala Perumal temple:..Having won the heart (of the goddess) of the earth for countless ages, (he) was pleased to beseated on the throne of heroes, (made) of pure gold..while the Villavar (Cheras), Telungar, Minavar (Pandyas),..and other kings prostrated themselves (before him). In the 8th year (of the reign) of (this) kingParakesarivarman, alias the emperor of the three worlds, Sri-Rajarajadeva.Death and successionThe last regnal year cited in Rajaraja's inscription is 26. That makes the last year of his reign 1173. Rajaraja was notdestined to live long. Rajaraja did not have any suitable direct descendant to ascend the Chola throne so he chose Rajadhiraja Chola II a grandson of Vikrama Chola as his heir.  According to the Pallavarayanpettaiinscription, Rajaraja died four years after he made Rajadhiraja Chola II as heir-apparent.  Since, Rajadhiraja himself was quite young, he would require the help of Pallavarayar to usher the young sons of Rajaraja tosafety. According to the inscription, Pallavarayar took steps immediately after the death of Rajaraja for the protection of the king's children, aged one and two years. According to historian Krishnaswami Aiyangar,Kulothunga Chola III who is widely considered as the last great Chola sovereign was the son of Rajaraja II.Socio-Religious AchievementsKUMBAKONAMOne of the most important achievements of Rajaraja II was thatdespite being considered a weak king, it appears that he did enjoy periods of calm and peace especially during the later half of his 26-year rule.  It was during this period that he initiated construction of the very famousAiravatesvarar Temple at Darasuram, Kumbakonam .  This royal Siva temple, which is one of the trinity of the Great Living Chola Temples along with the Brihadeeswarar Temple Temples at  Thanjavur and GangaikondaCholapuram all of which are World Heritage Sites.  The Airavateswarar Temple was completed either by the time his rule ended or during the initial period of his successor, Rajadhiraja II. The Airavateswarar Temple isconsidered an  architectural marvel of the Later Chola  period and this tradition was carried on by Kulothunga III who built the Kampahareswarar Temple at Tribhuvanam in commemoration of his conquest of Madurai,Kalinga, Karuvur and his defeat of the Hoysala King Veera Ballala II  This temple contains innumerable miniature freezes containing stories from Ramayanam, Periya Puranam and other stories devoted to Siva-Parvati,Vinayagar, Karthikeya etc.  The temple is also a symbol of continuing architectural tradition of the Chola craftsmen for it also has musical stairs called the Saptasvaras near a small shrine for Ganapati. TheMukhamandapam or the Mukhyamandapam of this temple is a real architectural marvel containing many great architectural specimen and was a continuation of the Later Chola tradition of building temples in the shapeof giant elephant-driven Rathas or Chariots as like as in Melakadambur siva temple built by Kulothunga I, which was also carried on not just by later Chola kings such as Kulothunga III but also by the kings of Kalingaand culminated in construction of the Sun Temple of Konarak by Eastern Ganga king Narasinghdeo. This is one of the later Chola temples which have remained unparalleled in terms of architectural excellence to date,that left a lasting impression on the succeeding dynasties to the Chola rule.Rajaraja also made numerous grants to the temples at Tanjore, Chidambaram, Kanchi, Srirangam, Tiruchy as well as to the temples atMadurai.  He was also believed to be a regular visitor to the temples in Parasurama's country (Kerala), which were also recipients of his grants. During his time the chola navies did remain dominant in the western seaas well as eastern sea.Overall he was a benevolent king who did put up good administrative processes, including efficient revenue generation systems as evidenced by his relief measures to the people during the timesof both the famine and civil unrest, which though did take some effort to subdue, but which finally ensured that he retained the loyalty and respect of his ministers, commanders and the general sections of thepopulace.Extent of the Empire and Summary of the ruleEven though there was a famine which further caused a civil disturbance, Raja Raja-II nevertheless, kept most of his adversaries under control and also succeededin largely maintaining the Chola territories consisting of their possessions in Tamizhagam including Kongunadu, Madurai and Thirunelveli, Nellore-Guntur areas (with Renandu and Telugu Cholas having allegiance to RajaRaja-II but controlling their areas with more authority than before), Visaiyavadai(Vijayawada)-Eluru-Rajahmundry-Prakasham (Draksharama) areas traditionally controlled by Vengi kings, Kalinga (whose King was atribute paying subordinate and a supportive feudatory to Chola overlordship).. up to the banks of Hooghly.  In addition, he also had Northern Sri Lanka (as was the case during the time of his illustrious predecessor,Raja Raja-I) under his loose control while as compared to before, even though he had subdued Chera kings, due to the re-emergence of Pandya power, he was forced to allow more autonomy to Malainadu kings withwhom he was believed to be having marital relations. But somehow, Raja Raja-II proved not strong enough to regain control of the eastern Gangavadi province, which was lost to the Hoysalas by his predecessor, thegreat Vikrama Chola. Possibly, the Hoysalas themselves were trying to free themselves from the control of Western Chalukyas and other rapidly growing adversaries like Kalachuris and Kakatiyas, who were as hostile tothe Chalukyas and Hoysalas, as they were to the Cholas and even the Pandyas, as would be evidenced in the later years.NotesPassage 3:Ali RahumaAli Khalifa Rahuma (Arabic: \u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000)  (born May 16, 1982)is a Libyan football midfielder, also a Libyan national. He currently plays for Al-Ittihad, and is a member of the Libya national football team.External linksAli Rahuma at National-Football-Teams.comSoccerPunter. “AliKhalifa Rahuma Profile and Statistics.” SoccerPunter. SoccerPunter, n.d. Web. 6 Sept. 2016Passage 4:Nayelly HernándezNayelly Hernández (born 23 February 1986) is a former Mexican professional squash player. Shehas represented Mexico internationally in several international competitions including the Central American and Caribbean Games, Pan American Games, Women's World Team Squash Championships. Nayelly achievedher highest career ranking of 57 in October 2011 during the 2011 PSA World Tour. Her husband Chris Walker whose nationality is English is also a professional squash player. She joined the Trinity College in 2008 as thefirst Mexican female to join a US college for squash and graduated in 2010.CareerNayelly joined PSA in 2006 and took part in the PSA World Tour until 2016, the 2015-16 PSA World Tour was her last World Tour prior tothe retirement.Nayelly Hernandez represented Mexico at the 2007 Pan American Games and claimed a bronze medal as a part of the team event on her maiden appearance at the Pan American Games. In the 2011 PanAmerican Games she clinched gold in the women's doubles event along with Samantha Teran and settled for bronze in the team event. She has also participated at the Women's World Team Squash Championships onfour occasions in 2010, 2012, 2014 and in 2016.Passage 5:Eleni Gabre-MadhinEleni Zaude Gabre-Madhin (born 12 July 1964) is an Ethiopian-born Swiss economist, and former chief executive officer of the EthiopiaCommodity Exchange (ECX). She has had many years of experience working on agricultural markets – particularly in Sub-Saharan Africa – and has held senior positions in the World Bank, the International Food PolicyResearch Institute (Washington), and United Nations (Geneva).Eleni GebremedhnEleni was born in Addis Ababa, Ethiopian Empire on 12 July 1964. She grew up in four different African countries including Kenya,Tanzania and South Africa. She speaks fluent Swahili, English, Amharic and French. She graduated from Rift Valley Academy in Kenya with the highest of honours. She has a PhD in Applied Economics from StanfordUniversity, master's degrees from Michigan State University and bachelor's in economics from Cornell University. Eleni was selected as \"Ethiopian Person of the Year\" for the 2002 ET calendar year (2009/2010Gregorian) by the Ethiopian newspaper Jimma Times.CareerShe was the main driving force behind the development of the Ethiopia Commodity Exchange (ECX). Whilst working as a researcher for the International FoodPolicy Research Institute (IFPRI) she examined agricultural markets for many years and noticed, as had many others, that whilst in some years or regions there were severe shortages or droughts in others there weresurpluses or bumper harvests. Specifically in her survey of grain traders in 2002, she found that a key factor was the lack of effective infrastructure and services needed for grain markets to function properly.  Tradersoften failed to have access to sufficient credit, information about the market, transportation and other vital resources and contract compliance was difficult to enforce.  In 2004 she moved home from the US to lead anIFPRI program to improve Ethiopia's agricultural policies and markets. Specifically she undertook the important role of coordinating the advisory body developing the ECX.   She became CEO of the new exchange in2008, and argued that \"(W)hen farmers can sell their crops on the open market and get a fair price, they will have much more incentive to be productive, and Ethiopia will be much less prone to food crises\" .... and thatthe \"ECX will allow farmers and traders to link to the global economy, propelling Ethiopian agriculture forward to a whole new level.\"In February 2013, she became a director of Syngenta.In 2013, Eleni launched eleniLLC, a company intended to build and invest in commodity exchanges in markets in the developing world, including Africa.In November 2021, the Canadian novelist Jeff Pearce leaked a video that depicts Eleni'sparticipation in a virtual meeting discussion, along with Professor Ephraim Isaac, former Ethiopian Minister of Foreign Affairs and current TPLF spokesperson Berhane Gebre-Christos and several Western diplomats, thatmentioned a transitional government during Tigray War. Shortly, she was removed from membership of the Independent Economic Council, which formed to support Prime Minister Abiy Ahmed economic transition.  On25 November, Eleni released a statement that denying the allegation as \"deliberately misrepresented\". Two days before the leaked video unveiled, police forces searched her house and remained undisclosed forsuspected foul play.  The incident stirred public outrage in Ethiopia and its diaspora, condemning her as traitor. The University of Gondar also revoked an honorary doctorate it had awarded her.AwardsIn 2010, Eleni wasnamed Ethiopian Person of the Year for the 2002 Ethiopian year. Eleni was listed as one of the 50 Women Shaping Africa in 2011.In 2012, Eleni was awarded the Yara Laurate Prize from the Norwegian fertilizermanufacturer Yara International for her outstanding contributions to sustainable food production and distribution with socio-economic impact. Previous recipients of the prize include former prime minister of EthiopiaMeles Zenawi. That same year, she was recognized as one of New African Magazine's 100 Most Influential Africans, won the African Banker Icon Award, and invited to the G8 Summit at Camp David.She was granted ThePower with Purpose Award from Devex and McKinnsey in 2016.Formerly, Eleni Gabre-Madhin received an honorary doctorate, in 2013, from the University of Gondar in Ethiopia. However, later in November 2021, theUniversity of Gondar revoked the Honorary Doctorate of Eleni Gabre-Madhin in relation to her involved clandestine video meeting aimed at toppling the democratically elected government of Ethiopia.Passage6:Kulothunga Chola IIKulothunga II (died 1150 CE) was a Chola Emperor from 1133 CE to 1150 CE. He succeeded Vikrama Chola to the throne in 1135 CE. Vikrama Chola made Kulothunga his heir apparent andcoregent in 1133 CE, so the inscriptions of Kulothunga II count his reign from 1133 CE. According to historians Nilakanta Sastri and T.N Subramanian, Kulottunga Chola II was not the son of Vikrama Chola and theyhave suggested that there was a break in the line of succession.Personal life and familyKulothunga II preferred to live in Chidambaram rather than the royal capital at Gangaikonda Cholapuram. Of the various titles  hehad, Anapaaya was perhaps his favourite. It is found in his inscriptions as well in the poetic tribute Kulothunga Cholan Ula. He was also called Tirunirruchola.Kulothunga II was succeeded by Rajaraja Chola II in 1150CE.Extent of EmpireThe extent of empire as inherited from his predecessor Vikrama Chola was well maintained. The Western Chalukya kingdom was overthrown by the Yadava chiefs of Devagiri and Hoysalas ofDwarasamudra during this period. Kulottunga II took advantage of the internal skirmishes and rebellions in the Kannada and Chalukya country to establish his hold over Vengi and Eastern Chalukya territories. Gonka IIof the Velanadu Choda family who ruled over northern part of Vengi acknowledged his supremacy. Similarly the Kadapa-Nellore chief, Madurantaka Pottapi Choda, son of Betta I and Buddhavarman III of the Kondavidubranch and his son Mandaya II also acknowledged the king's authority in the Andhra country.Patron of ChidambaramChidambaram is one of those five places where Chola princes were invested with the crown.Kulothunga was a great devotee of the Chidambaram Temple to Lord Shiva in that city, and he celebrated his coronation there. An inscription of the king from Tirumanikuli hails this event and states that king celebratedhis coronation so as to add lustre to the city of Tillai (Chidambaram).He also financed an elaborate renovation of the temple as described in the poem Kulothunga Cholan Ula. It is possible that this renovation work was acontinuation of work started by Vikrama Chola. Kulottunga II is credited with gilding the Perambalam of the Nataraja Temple, Chidambaram with gold. He is also said to have constructed its gopurams and the ThousandPillared Hall.LiteratureKulottunga Chola II's reign was marked by literary activity as evidenced by the works of Sekkizhar and Ottakoothar. Sekkizhar composed the Periyapuranam, a religious treatise on Shaivism duringhis reign. The Kulottunga Cholan Ula and the Kulottunga Cholan Pillai Tamil, a work dealing with the king's childhood were authored by Ottakoothar in honor of the king.Persecution of VaishnavasSome scholars identifyKulothunga II with Krimikanta Chola or worm-necked Chola so called as he is said to have suffered from cancer of the throat or neck. The latter finds mention in the Vaishnava Guruparampara and is said to have been astrong opponent of the Vaishnavas. The work Parpannamritam (17th century) refers to the Chola king called Krimikanta who is said to have removed the Govindaraja idol from the Chidambaram Nataraja temple. TheKulothunga Cholan Ula states that during the reign of Kulottunga II, God Vishnu was sent back to his original abode, that is the sea. However, according to \"Koil Olugu\" (temple records) of the Srirangam temple,Kulottunga Chola was the son of Krimikanta Chola. The former, unlike his father, is said to have been a repentant son who supported Vaishnavism. Ramanuja is said to have made Kulottunga II as a disciple of hisnephew, Dasarathi. The king then granted the management of the Ranganathaswamy temple to Dasarathi and his descendants as per the wish of Ramanuja.InscriptionsThe Tyagarajaswami temple in Tiruvarur containsan inscription of the king in which he styles himself as Anapaaya and a bee at the lotus feet of Natesa at Chidambaram. As per the Muchukundasahasranamam, Anapaaya Mahipaala is another name of the deity"}
+{"doc_id":"doc_9","qid":"","text":"Passage 1:Dance of Death (disambiguation)Dance of Death, also called Danse Macabre, is a late-medieval allegory of the universality of death.Dance of Death or The Dance of Death may also refer to:BooksDance ofDeath, a 1938 novel by Helen McCloyDance of Death (Stine novel), a 1997 novel by R. L. StineDance of Death (novel), a 2005 novel by Douglas Preston and Lincoln ChildTheatre and filmThe Dance of Death (Strindbergplay), a 1900 play by August StrindbergThe Dance of Death, a 1908 play by Frank WedekindThe Dance of Death (Auden play), a 1933 play by W. H. AudenFilmThe Death Dance, a 1918 drama starring Alice BradyTheDance of Death (1912 film), a German silent filmThe Dance of Death (1919 film), an Austrian silent filmThe Dance of Death (1938 film), crime drama starring Vesta Victoria; screenplay by Ralph DawsonThe Dance ofDeath (1948 film), French-Italian drama based on Strindberg's play, starring Erich von StroheimThe Dance of Death (1967 film), a West German drama filmDance of Death or House of Evil, 1968 Mexican horror filmstarring Boris KarloffDance of Death (1969 film), a film based on Strindberg's play, starring Laurence OlivierDance of Death (1979 film), a Hong Kong film featuring Paul ChunMusicDance of Death (album), a 2003 albumby Iron Maiden, or the title songThe Dance of Death & Other Plantation Favorites, a 1964 album by John FaheyThe Dance of Death (Scaramanga Six album)\"Death Dance\", a 2016 song by SevendustSee alsoDance ofthe Dead (disambiguation)Danse Macabre (disambiguation)Bon Odori, a Japanese traditional dance welcoming the spirits of the deadLa danse des morts, an oratorio by Arthur HoneggerTotentanz(disambiguation)Passage 2:SennedjemSennedjem was an Ancient Egyptian artisan who was active during the reigns of Seti I and Ramesses II. He lived in Set Maat (translated as \"The Place of Truth\"), contemporaryDeir el-Medina, on the west bank of the Nile, opposite Thebes. Sennedjem had the title \"Servant in the Place of Truth\". He was buried along with his wife, Iyneferti, and members of his family in a tomb in the villagenecropolis. His tomb was discovered January 31, 1886. When Sennedjem's tomb was found, it contained furniture from his home, including a stool and a bed, which he used when he was alive.His titles included Servantin the Place of Truth, meaning that he worked on the excavation and decoration of the nearby royal tombs.See alsoTT1 – (Tomb of Sennedjem, family and wife)Passage 3:Kristján EldjárnKristján Eldjárn (Icelandic:[\u0000k\u0000r\u0000stjaun \u0000\u0000ltjaurtn\u0000]; 6 December 1916 – 14 September 1982) was the third president of Iceland, from 1968 to 1980.BiographyKristján was born in Tjörn, Svarfaðardal, Iceland. His parents were Þórarinn Kr.Eldjárn, a teacher in Tjörn, and Sigrún Sigurhjartardóttir. He graduated in archaeology from the University of Copenhagen and taught at the University of Iceland. In 1957 he was awarded a doctorate for his researchinto pagan burials in Iceland. He was a teacher at the Akureyri Grammar School and the College of Navigation in Reykjavík, becoming a curator at the National Museum of Iceland in 1945 and its Director in 1947, aposition he held until the 1968 presidential election.In 1966–68 he hosted a series of educational TV programs on the (then new) Icelandic National Television (RÚV), in which he showed the audience some of theNational Museum's artefacts and explained their historical context. These programs became quite popular, making him a well known and respected popular figure. This no doubt gave him the incentive needed to run inthe 1968 presidential election as a politically non-affiliated candidate.Starting as the underdog in the 1968 presidential election, running against Ambassador Gunnar Thoroddsen who initially had a 70% lead in theopinion polls, Kristján won 65.6% of the vote on a 92.2% voter turnout. He was re-elected unopposed in 1972 and 1976. In 1980 he decided not to run for another term, wanting to devote his remaining years entirelyto continuing his lifelong academic work.President Kristján Eldjárn died following heart surgery in Cleveland, Ohio on 13 September 1982.His son Þórarinn Eldjárn is one of Iceland's most popular authors, specializing inshort stories, but also writing poetry and an occasional novel. His daughter Sigrún Eldjárn is also an author and illustrator of several children's books. Þórarinn's son, Ari Eldjárn, is Iceland's most prominent stand-upcomedian.Passage 4:Place of birthThe place of birth (POB) or birthplace is the place where a person was born. This place is often used in legal documents, together with name and date of birth, to uniquely identify aperson. Practice regarding whether this place should be a country, a territory or a city/town/locality differs in different countries, but often city or territory is used for native-born citizen passports and countries forforeign-born ones.As a general rule with respect to passports, if the place of birth is to be a country, it's determined to be the country that currently has sovereignty over the actual place of birth, regardless of when thebirth actually occurred. The place of birth is not necessarily the place where the parents of the new baby live. If the baby is born in a hospital in another place, that place is the place of birth. In many countries, this alsomeans that the government requires that the birth of the new baby is registered in the place of birth.Some countries place less or no importance on the place of birth, instead using alternative geographicalcharacteristics for the purpose of identity documents. For example, Sweden has used the concept of födelsehemort (\"domicile of birth\") since 1947. This means that the domicile of the baby's mother is the registeredplace of birth. The location of the maternity ward or other physical birthplace is considered unimportant.Similarly, Switzerland uses the concept of place of origin. A child born to Swiss parents is automatically assignedthe place of origin of the parent with the same last name, so the child either gets their mother's or father's place of origin. A child born to one Swiss parent and one foreign parent acquires the place of origin of theirSwiss parent. In a Swiss passport and identity card, the holder's place of origin is stated, not their place of birth. In Japan, the registered domicile is a similar concept.In some countries (primarily in the Americas), theplace of birth automatically determines the nationality of the baby, a practice often referred to by the Latin phrase jus soli. Almost all countries outside the Americas instead attribute nationality based on thenationality(-ies) of the baby's parents (referred to as jus sanguinis).There can be some confusion regarding the place of birth if the birth takes place in an unusual way: when babies are born on an airplane or at sea,difficulties can arise. The place of birth of such a person depends on the law of the countries involved, which include the nationality of the plane or ship, the nationality(-ies) of the parents and/or the location of the planeor ship (if the birth occurs in the territorial waters or airspace of a country).Some administrative forms may request the applicant's \"country of birth\". It is important to determine from the requester whether theinformation requested refers to the applicant's \"place of birth\" or \"nationality at birth\". For example, US citizens born abroad who acquire US citizenship at the time of birth, the nationality at birth will be USA(American), while the place of birth would be the country in which the actual birth takes place.Reference list8 FAM 403.4 Place of BirthPassage 5:Beaulieu-sur-LoireBeaulieu-sur-Loire (French pronunciation: [boljø sy\u0000lwa\u0000], literally Beaulieu on Loire) is a commune in the Loiret department in north-central France. It is the place of death of Jacques MacDonald, a French general who served in the Napoleonic Wars.PopulationSeealsoCommunes of the Loiret departmentPassage 6:Place of originIn Switzerland, the place of origin (German: Heimatort or Bürgerort, literally \"home place\" or \"citizen place\"; French: Lieu d'origine; Italian: Luogo diattinenza) denotes where a Swiss citizen has their municipal citizenship, usually inherited from previous generations. It is not to be confused with the place of birth or  place of residence, although two or all three ofthese locations may be identical depending on the person's circumstances.Acquisition of municipal citizenshipSwiss citizenship has three tiers. For a person applying to naturalise as a Swiss citizen, these tiers are asfollows:Municipal citizenship, granted by the place of residence after fulfilling several preconditions, such as sufficient knowledge of the local language, integration into local society, and a minimum number of years livedin said municipality.Cantonal (state) citizenship, for which a Swiss municipal citizenship is required. This requires a certain number of years lived in said canton.Country citizenship, for which both of the above arerequired, also requires a certain number of years lived in Switzerland (except for people married to a Swiss citizen, who may obtain simplified naturalisation without having to reside in Switzerland), and involves acriminal background check.The last two kinds of citizenship are a mere formality, while municipal citizenship is the most significant step in becoming a Swiss citizen. Nowadays the place of residence determines themunicipality where citizenship is acquired, for a new applicant, whereas previously there was a historical reason for preserving the municipal citizenship from earlier generations in the family line, namely to specify whichmunicipality held the responsibility of providing social welfare. The law has now been changed, eliminating this form of allocating responsibility to a municipality other than that of the place of residence. Care needs to betaken when translating the term in Swiss documents which list the historical \"Heimatort\" instead of the usual place of birth and place of residence.However, any Swiss citizen can apply for a second, a third or even moremunicipal citizenships for prestige reasons or to show their connection to the place they currently live – and thus have several places of origin. As the legal significance of the place of origin has waned (see below), Swisscitizens can often apply for municipal citizenship for no more than 100 Swiss francs after having lived in the same municipality for one or two years. In the past, it was common to have to pay between 2,000 and 4,000Swiss francs as a citizenship fee, because of the financial obligations incumbent on the municipality to grant the citizenship.A child born to two Swiss parents is automatically granted the citizenship of the parent whoselast name they hold, so the child gets either the mother's or the father's place of origin. A child born to one Swiss parent and one foreign parent acquires the citizenship, and thus the place of origin, of the Swissparent.International confusionAlmost uniquely in the world (with the exception of Japan, which lists one's Registered Domicile; and Sweden, which lists the mother's place of domicile as place of birth), the Swiss identitycard, passport and driving licence do not show the holder's birthplace, but only their place of origin. The vast majority of countries show the holder's actual birthplace on identity documents. This can lead toadministrative issues for Swiss citizens abroad when asked to demonstrate their actual place of birth, as no such information exists on any official Swiss identification documents. Only a minority of Swiss citizens have aplace of origin identical to their birthplace. More confusion comes into play through the fact that people can have more than one place of origin.Significance and historyA citizen of a municipality does not enjoy a largerset of rights than a non-citizen of the same municipality. To vote in communal, cantonal or national matters, only the current place of residence matters – or in the case of citizens abroad, the last Swiss place ofresidence.The law previously required that a citizen's place of origin continued to bear all their social welfare costs for two years after the citizen moved away. In 2012, the National Council voted by 151 to 9 votes toabolish this law. The place of domicile is now the sole payer of welfare costs.In 1923, 1937, 1959 and 1967, more cantons signed treaties that assured that the place of domicile had to pay welfare costs instead of theplace of origin, reflecting the fact that fewer and fewer people lived in their place of origin (1860: 59%, in 1910: 34%).In 1681, the Tagsatzung – the then Swiss parliament – decided that beggars should be deported totheir place of origin, especially if they were insufficiently cared for by their residential community.In the 19th century, Swiss municipalities even offered free emigration to the United States if the Swiss citizen agreed torenounce municipal citizenship, and with that the right to receive welfare.See alsoAncestral home (Chinese)Bon-gwanRegistered domicile== Notes and references ==Passage 7:Motherland (disambiguation)Motherlandis the place of one's birth, the place of one's ancestors, or the place of origin of an ethnic group.Motherland may also refer to:Music\"Motherland\" (anthem), the national anthem of MauritiusNational Song (Montserrat),also called \"Motherland\"Motherland (Natalie Merchant album), 2001Motherland (Arsonists Get All the Girls album), 2011Motherland (Daedalus album), 2011\"Motherland\" (Crystal Kay song), 2004Film andtelevisionMotherland (1927 film), a 1927 British silent war filmMotherland (2010 film), a 2010 documentary filmMotherland (2015 film), a 2015 Turkish dramaMotherland (2022 film), a 2022 documentary film about theSecond Nagorno-Karabakh WarMotherland (TV series), a 2016 British television seriesMotherland: Fort Salem, a 2020 American science fiction drama seriesOther usesMotherland Party (disambiguation), the name ofseveral political groupsPersonifications of Russia, including a list of monuments called MotherlandSee alsoAll pages with titles containing MotherlandMother Country (disambiguation)Passage 8:Valley of DeathValley ofDeath may refer to:PlacesValley of Death (Bydgoszcz), the site of a 1939 Nazi mass murder and mass grave site in northern PolandValley of Death (Crimea), the site of the Charge of the Light Brigade in the 1854 Battleof BalaclavaValley of Death (Gettysburg), the 1863 Gettysburg Battlefield landform of Plum RunValley of Death (Dukla Pass), the site of a tank battle during the Battle of the Dukla Pass in 1944 (World War II)The Valleyof Death, an area of poisonous volcanic gas near the Kikhpinych volcano in RussiaThe Valley of Death, an area of poisonous volcanic gas near the Tangkuban Perahu volcano in IndonesiaValley of Death, a nickname forthe highly polluted city of Cubatão, BrazilOther usesThe Valley of Death (audio drama), a Doctor Who audio playThe Valley of Death (film), a 1968 western film\"Valley of Death\", the flawed NewsStand: CNN & Timedebut program that caused the Operation Tailwind controversyA literary element of \"The Charge of the Light Brigade\" by Alfred, Lord TennysonA reference to the difficulty of covering negative cash flow in the earlystages of a start-up company; see Venture capital\"The Valley of Death\", a song by the Swedish heavy metal band Sabaton from the 2022 album The War to End All WarsSee alsoAll pages with titles containing Valley ofDeathDeath Valley (disambiguation)Valley of the Shadow of Death (disambiguation)Passage 9:Halldóra EldjárnHalldóra Eldjárn (24 November 1923 – 21 December 2008) was the wife of Icelandic President KristjánEldjárn and First Lady of Iceland from 1968 to 1980.Halldóra Ingólfsdóttir was born and raised in Ísafjörður. Her parents were Ingólfur Árnason, a businessman, and his wife Ólöf Sigríður Jónasdóttir; she was the eldestof four children. She graduated from the Commercial College of Iceland in 1942 and worked in an office in Reykjavík until her marriage to archaeologist and museum director Kristján Eldjárn in 1947. They lived inReykjavík and had four children. He retired in 1980 after three terms as President; after his death in 1982, Halldóra worked for the University of Iceland dictionary for a number of years.Passage 10:Where Was I\"WhereWas I?\" may refer to:Books\"Where Was I?\", essay by David Hawley Sanford from The Mind's IWhere Was I?, book by John Haycraft 2006Where was I?!, book by Terry Wogan 2009Film and TVWhere Was I? (film), 1925film directed by William A. Seiter. With Reginald Denny, Marian Nixon, Pauline Garon, Lee Moran.Where Was I? (2001 film), biography about songwriter Tim RoseWhere Was I? (TV series) 1952–1953 Quiz show with thepanelists attempting to guess a location by looking at photos\"Where Was I?\" episode of Shoestring (TV series) 1980Music\"Where was I\", song by W. Franke Harling and Al Dubin performed by Ruby Newman and HisOrchestra  with vocal chorus by  Larry Taylor and Peggy McCall  1939\"Where Was I\", single from Charley Pride discography 1988\"Where Was I\" (song), a 1994 song by Ricky Van Shelton\"Where Was I (Donde EstuveYo)\", song by Joe Pass from Simplicity (Joe Pass album)\"Where Was I?\", song by Guttermouth from The Album Formerly Known as a Full Length LP (Guttermouth album)\"Where Was I\", song by Sawyer Brown (BillyMaddox, Paul Thorn, Anne Graham) from Can You Hear Me Now 2002\"Where Was I?\", song  by  Kenny Wayne Shepherd from Live On  1999\"Where Was I\", song by Melanie Laine (Victoria Banks, Steve Fox) from TimeFlies (Melanie Laine album)\"Where Was I\", song by Rosie Thomas from With Love (Rosie Thomas album)"}
+{"doc_id":"doc_10","qid":"","text":"Passage 1:Stella's oorlogStella's oorlog (Dutch for Stella's war) is a 2009 Dutch drama film directed by Diederik van Rooijen.CastPassage 2:Don Juan in a Girls' SchoolDon Juan in a Girls' School (German: Don Juan inder Mädchenschule) is a 1928 German silent comedy film directed by and starring Reinhold Schünzel. It is based on Hans Stürm's play The Unfaithful Eckehart.The film's art direction was by Gustav A. Knauer and WillySchiller.Two later film versions were The Unfaithful Eckehart (1931) and The Unfaithful Eckehart (1940).CastIn alphabetical orderErnst Behmer as Studienrat MeiselAdolphe Engers as Fritz StürmerCarl Geppert asStudienrat SchädenElse Groß as Mädchen für alles bei Susanne BachMax Gülstorff as Oberstudienrat Arminius NiedlichJulius E. Herrmann as Sala ManderCarola HöhnValerie Jones as EvaMaria Kamradek as SusanneBachLydia Potechina as Frau TiedemannF. W. Schröder-SchromReinhold Schünzel as Dr. Eckehart BleibtreuLotte Stein as Perle im Hause BleibtreuJakob Tiedtke as Herr TiedemannRolf von Goth as Prinz OsramHilde vonStolz as TrudePassage 3:The Unfaithful Eckehart (1931 film)The Unfaithful Eckehart (German: Der ungetreue Eckehart) is a 1931 German comedy film directed by Carl Boese and starring Ralph Arthur Roberts, FritzSchulz and Paul Hörbiger. The film is based on the play of the same title by Hans Stürm. It was remade in 1940. A silent film was made by Reinhold Schünzel in 1928 under the title Don Juan in a Girls' School.SynopsisAman who is faithful to his wife is mistakenly blamed for the philandering antics of his brother-in-law.CastPassage 4:Diederik van RooijenDiederik van Rooijen (born 26 December 1975) is a Dutch television and filmdirector.CareerFilmVan Rooijen graduated in 2001 from the Netherlands Film Academy with his English-language film Chalk. Chalk was also one of the graduation films of cinematographer Lennert Hillege. Van Rooijenand Hillege worked together on many films in the years that followed, including Mass (2005), De bode (2005), Bollywood Hero (2009), Stella's oorlog (2009), Taped (2012) and Daylight (Daglicht) (2013).In 2002, hedirected the film A Funeral for Mr. Smithee which follows an unnamed girl (Priscilla Knetemann) burying a dead bird. His short film Babyphoned won the NPS Award for Best Short Film at the 2002 Netherlands FilmFestival.Van Rooijen made his feature film debut with his 2003 film Zulaika. The film is the first Antillean youth film spoken entirely in Papiamento.Van Rooijen won the UNESCO Award Prix Jeunesse for his film Genji(2006).His 2007 film Een trui voor kip Saar was made during the 2007 Netherlands Film Festival on request of the guest of honor Burny Bos who asked to adapt his 1986 children's book of the same name.Van Rooijenmoved to Los Angeles late 2014 to work on projects in the United States. Van Rooijen made his debut in Hollywood with the 2018 horror film The Possession of Hannah Grace.In 2019, the film Penoza: The Final Chapterconcluded the story of the television series Penoza that he also directed. The film became the best visited Dutch film of 2019.TelevisionHe directed the Dutch television series Penoza as well as episodes of the televisionseries Meiden van de Wit, Parels & zwijnen, Keyzer & De Boer Advocaten and Spoorloos verdwenen. The television series Penoza was adapted into the 2013 American drama series Red Widow by Melissa Rosenberg.Penoza was also adapted into the 2015 Swedish television series Gåsmamman.Van Rooijen also directed many commercials for the Dutch supermarket chain Albert Heijn featuring Harry Piekema playing the role of asupermarket manager. Van Rooijen also made commercials for other companies and brands, such as McDonald's, KPN, Ziggo and Unox. He won a Bronze Lion award at the Cannes Film Festival in 2006 for hisVolkswagen GTI commercial.In 2019, Van Rooijen worked on the television series Heirs of the Night based on the German book series Die Erben der Nacht written by Ulrike Schweikert. The first episode aired in October2019 and a second season aired in 2020.He also directed the 2023 crime television series Anoniem.FilmographyFilm2001: Chalk2002: A Funeral for Mr. Smithee2002: Babyphoned2003: Zulaika2005: Mass2005: Debode2006: Dummy2006: Genji2007: Een trui voor kip Saar2007: Het boze oog2009: Bollywood Hero2009: Stella's oorlog2012: Taped2013: Daylight (Daglicht)2018: The Possession of Hannah Grace2019: Penoza: TheFinal ChapterTelevision2003 – 2005: Meiden van de Wit2005 – 2008: Parels & zwijnen2005: Keyzer & De Boer Advocaten2006: Spoorloos verdwenen2008: Deadline2010 – 2015: Penoza2019 – 2020: Heirs of theNight2023: AnoniemNotesPassage 5:Reinhold SchünzelReinhold Schünzel (7 November 1888 – 11 November 1954) was a German actor and director, active in both Germany and the United States. The son of a Germanfather and a Jewish mother, he was born in St. Pauli, the poorest part of Hamburg. Despite being of Jewish ancestry, Schünzel was allowed by the Nazis to continue making films for several years until he eventually leftin 1937 to live abroad.Life in GermanyReinhold Schünzel (or Schuenzel) started his career as an actor in 1915 with a role in the film Werner Krafft. He directed his first film in 1918's Mary Magdalene and in 1920directed The Girl from Acker Street and Catherine the Great. He was one of Germany's best-known silent film stars after World War I, a period during which films were significantly influenced by the consequences of thewar. Schünzel performed in both comedies and dramas, often appearing as a villain or a powerful and corrupt man.He was influenced by filmmakers such as his mentor Richard Oswald and Ernst Lubitsch, for whom heworked as an actor in the film Madame Du Barry in 1919.Schünzel's work was very popular in Germany and the Nazi regime gave him the title of Ehrenarier or Honorary Aryan, allowing him to continue to direct and actdespite his Jewish heritage (his mother was Jewish). He found that the government, first under Kaiser Wilhelm II and later under Adolf Hitler, interfered with his film projects, compelling him to leave in 1937. Schuenzeldescribed both the Kaiser and Hitler \"persons of recognized authority and the worst possible dramatic taste.\"Moving to the United States, he worked in Hollywood, playing Nazis and scientists. One of many exampleswas the film The Hitler Gang (1944), directed by John Farrow. Made in the style of a gangster film, it depicts the rise of Hitler from a small political adventurer to the dictator of Germany. Reinhold Schünzel played therole of General Erich Ludendorff.FamilySchünzel had a daughter Marianne Stewart, who was born in Berlin, Germany and followed her father by becoming an actress. She appeared in Broadway plays and was known forThe Facts of Life (1960), Hush...Hush, Sweet Charlotte (1964), and Time Table (1956).Schünzel in the United StatesSchünzel came to the United States in 1937, and began his American career in Hollywood atMetro-Goldwyn-Mayer. Among the films he directed were Rich Man, Poor Girl (1938), Ice Follies (1939), Balalaika (1939), and New Wine (1941). He also acted in films like The Hitler Gang (1944), Dragonwyck (1946),and The Vicious Circle (1948), among others. His most memorable performance was as Dr. Anderson, a Nazi conspirator, in the film Notorious released in 1946. Schünzel went to New York in 1945 to make a debut onBroadway. He acted in Temper the Wind in 1946 and Montserrat in 1949.Among the prizes he received was the Federal West German Film prize for the best supporting role in the movie My Father's Horses.He became aU.S citizen in 1943 and he returned to Germany in 1949. Schünzel died of a heart attack in Munich, Germany. Before returning to Germany, he starred in the 1949 Clifford Odets Broadway play The BigKnife.FilmographyGerman filmsAmerican filmsRich Man, Poor Girl (1938, director)The Ice Follies of 1939 (1939, director)Balalaika (1939, director)The Great Awakening (1941, director)Hangmen Also Die! (1943) asGestapo Insp. RitterFirst Comes Courage (1943) as Col. Kurt von ElserHostages (1943) as Kurt DaluegeThe Hitler Gang (1944) as Gen. LudendorffThe Man in Half Moon Street (1945) as Dr. Kurt vanBrueckenDragonwyck (1946) as Count De Grenier (uncredited)Notorious (1946) as Dr. AndersonPlainsman and the Lady (1946) as Michael H. ArnesenGolden Earrings (1947) as Prof. Otto KrosigkBerlin Express (1948)as WaltherThe Vicious Circle (1948) as Baron AradyWashington Story (1952) as Peter KralikWest German filmsThe Dubarry (1951, director)Meines Vaters Pferde I. Teil Lena und Nicoline (1954) as KonsulRittinghausMeines Vaters Pferde, 2. Teil: Seine dritte Frau (1954) as Konsul RittinghausA Love Story (1954) as Schlumberger, Schauspieldirektor (final film role)Passage 6:Don Juan (1969 film)Don Juan (Czech: DonŠajn) is a 1969 Czechoslovak short film by Jan Švankmajer, based on traditional Czech puppet plays of the Don Juan legend.PlotWithin an old dilapidated and seemingly automated theater, human-sized marionettesperform a production of the Don Juan legend without the aid of puppeteers or an audience.In the play, Don Juan's fiancée Maria is secretly seeing his brother Don Phillipe. Unbeknownst to the two lovers, Don Juan iswatching them from one of the balconies. Horrified by the thought of Maria leaving him for Philippe, he calls upon his Jester servant for help. So that he can pay for a wedding, Juan sends the Fool into town to ask formoney from the Mayor (Juan and Phillipe's father), under the false pretense that Juan needs the money to pay off medical bills. When Juan's father learns about his son's true intentions, he gives the Jester two coins sohe and Juan can buy some rope to hang themselves with. Outraged by this, Don Juan murders his own father backstage and heads over to the garden where Maria and Philippe were planning to meet.Maria arrivesshortly after, but is shocked to discover Don Juan there instead of her true love — Philippe. Demanding that she return his feelings or face the consequences, he chases after Maria but is stopped by her father, DonVespis, who now realizes Juan is unfit to marry his daughter and threatens to have him arrested. Don Juan dispatches of Maria's father by cutting his face off, and as he lay dying, he swears his ghost will haunt DonJuan to exact his revenge.Philippe soon discovers Maria mourning her dead father, and swears to avenge them both. He eventually finds Don Juan and the two engage in a duel which ends with Philippe's gory demise.The Jester then arrives to tell Juan that there is a spectral man who wants to speak with him in the cemetery. The man turns out to be the spirit of Maria's dead father, who warns Don Juan that his soul will be draggedto Hell at midnight.As in the traditional Czech puppet plays, Juan urges children not to commit evil deeds like him.Juan's physical body keels over dead into an open grave, while his spirit is lowered into a trapdoor.Instead of being dragged into Hell as the legend suggests, the lifeless puppet merely falls into a compartment beneath the stage. Upon discovering an inanimate Don Juan, The Jester asks how he is going to get paidwith his master dead.Passage 7:Don Juan in Hell (film)Don Juan in Hell (Spanish: Don Juan en los infiernos) is a 1991 Spanish drama film directed by Gonzalo Suárez. It was entered into the 17th Moscow InternationalFilm Festival.CastFernando Guillén as Don JuanMario Pardo as EsganarelCharo López as Doña ElviraHéctor Alterio as Padre de Don JuanAna Álvarez as Chiquilla IndiaManuel de Blas as BuhoneroIñaki Aierra as Rey FelipeII (as Ignacio Aierra)Olegar Fedoro as Marido Luis de MoorYelena Samarina as Dama ErmitaAyanta Barilli as DamaAlicia Sánchez as ProstitutaPassage 8:Henry Moore (cricketer)Henry Walter Moore (1849 – 20 August1916) was an English-born first-class cricketer who spent most of his life in New Zealand.Life and familyHenry Moore was born in Cranbrook, Kent, in 1849. He was the son of the Reverend Edward Moore and LadyHarriet Janet Sarah Montagu-Scott, who was one of the daughters of the 4th Duke of Buccleuch. One of his brothers, Arthur, became an admiral and was knighted. Their great grandfather was John Moore, Archbishop ofCanterbury from 1783 to 1805. One of their sisters was a maid of honour to Queen Victoria.Moore went to New Zealand in the 1870s and lived in Geraldine and Christchurch. He married Henrietta Lysaght of Hāwera inNovember 1879, and they had one son. In May 1884 she died a few days after giving birth to a daughter, who also died.In 1886 Moore became a Justice of the Peace in Geraldine. In 1897 he married Alice Fish ofGeraldine. They moved to England four years before his death in 1916.Cricket careerMoore was a right-handed middle-order batsman. In consecutive seasons, 1876–77 and 1877–78, playing for Canterbury, he madethe highest score in the short New Zealand first-class season: 76 and 75 respectively. His 76 came in his first match for Canterbury, against Otago. He went to the wicket early on the first day with the score at 7 for 2and put on 99 for the third wicket with Charles Corfe before he was out with the score at 106 for 3 after a \"very fine exhibition of free hitting, combined with good defence\". Canterbury were all out for 133, but went onto win the match. His 75 came in the next season's match against Otago, when he took the score from 22 for 2 to 136 for 6. The New Zealand cricket historian Tom Reese said, \"Right from the beginning he smote thebowling hip and thigh, going out of his ground to indulge in some forceful driving.\" Canterbury won again.Moore led the batting averages in the Canterbury Cricket Association in 1877–78 with 379 runs at an average of34.4. Also in 1877–78, he was a member of the Canterbury team that inflicted the only defeat on the touring Australians. In 1896–97, at the age of 47, he top-scored in each innings for a South Canterbury XVIIIagainst the touring Queensland cricket team.Passage 9:Don Juan in SicilyDon Giovanni in Sicilia, internationally released as Don Juan in Sicily, is a 1967 Italian comedy-drama film directed by Alberto Lattuada. It isloosely based on the novel with the same title by Vitaliano Brancati.CastLando Buzzanca: Giovanni PercollaKatia Moguy: Ninetta MarconellaKatia Christine: FrançoiseEwa Aulin: WandaStefania Careddu: LandladyCarlettoSposito: ScannapiecoElio CrovettoPassage 10:Julie Dawall JakobsenJulie Dawall Jakobsen (born 25 March 1998) is a Danish badminton player. She won gold medals in the girls' doubles at the 2015 European JuniorChampionships and in the girls' singles event in 2017.AchievementsEuropean Junior ChampionshipsGirls' singlesGirls' doublesBWF International Challenge/Series (7 titles, 5 runners-up)Women's singlesWomen'sdoubles  BWF International Challenge tournament  BWF International Series tournament  BWF Future Series tournament"}
+{"doc_id":"doc_11","qid":"","text":"Passage 1:O Valencia!\"O Valencia!\" is the fifth single by the indie rock band The Decemberists, and the first released from their fourth studio album, The Crane Wife.The music was written by The Decemberists and thelyrics by Colin Meloy. It tells a story of two star-crossed lovers. The singer falls in love with a person who belongs to an opposing gang. At the end of the song, the singer's lover jumps in to defend the singer, who isconfronting his lover's brother (the singer's \"sworn enemy\") and is killed by the bullet intended for the singer.Track listingThe 7\" single sold in the UK was mispressed, with \"Culling of the Fold\" as the B-side despite theartwork and record label listing \"After the Bombs\" as the B-side.Music videosFor the \"O Valencia!\" music video, The Decemberists filmed themselves in front of a green screen and asked fans to complete it by digitallyadding in background images or footage. Stephen Colbert of The Colbert Report, having recently asked fans to do the same with a video of him with a light saber in front of a green screen, brought up The Decemberistson his segment \"Look Who's Riding on My Coattails Now\" and accused the band of stealing the idea. The Decemberists' response was to challenge Stephen Colbert to a guitar solo showdown on December 20, 2006, onThe Colbert Report.On January 19, 2007, The Decemberists premiered an alternate music video of \"O Valencia!\", directed by Aaron Stewart-Ahn, on MTV2. The video follows a character named Patrick, played by Meloy,as he and his love Francesca (Lisa Molinaro), daughter of \"the Boss\", plan an escape to an unknown location. At a cafe, a man in a suit, portrayed by the band member Chris Funk, tells him to hide in the \"Valencia\" hotel(the Super Value Inn on North Interstate Avenue in Portland, Oregon) while he gets them the necessary documentation to escape. Above the name of the hotel, there is a neon sign that reads \"Office\". The letters haveall burnt out except for the \"O\", creating the title of the song. The video then introduces other characters - various assassination teams - who sit in different rooms of the hotel waiting for the chance to catch the twolovers. Most are portrayed by other members of the band (along with Meloy's wife, Carson Ellis). They kill off any potential witnesses to their plan. Patrick manages to take down one member from each team, beforethey gang up on him. The Boss arrives, along with the man from the cafe, who reveals that he snitched on Patrick and Francesca. They execute Francesca, while forcing Patrick to watch. After they leave, Patrick finds anote by Francesca, which reveals that she never fell in love with him, and only wanted protection. 2 months later, Patrick and the man, who has lost an eye from a previous assassination attempt, have a sit-down at thesame cafe. The man reveals that he snitched on Patrick just to take over the town. Patrick reveals that he poisoned a drink the man was having, but before he could get away, the man stabs Patrick in the neck with afork before dying, followed by Patrick.The video is somewhat influenced by the distinct style and themes of director Wes Anderson, with bold fonts being used to introduce characters and groups on the bottom of thescreen (much like in the film The Royal Tenenbaums). The band had previously (and more explicitly) drawn influence from Anderson's Rushmore in their video for \"Sixteen Military Wives\". The layout of the hotel is alsosimilar to the one used in Bottle Rocket.Kurt Nishimura was chosen as the winner by mtvU for his video that depicted a love affair between a woman and her television, with the TV containing the green-screenedDecemberists video footage.Passage 2:Mimi (song)\"Mimi\" is a popular song written by Richard Rodgers, with words by Lorenz Hart. It was featured in the movie Love Me Tonight (1932), in which it was first sung byMaurice Chevalier to Jeanette MacDonald, then later reprised by the entire company. Sergio Franchi performed this song January 2, 1964 on the ABC Television special, Victor Borge At Carnegie Hall. Sergio Franchi alsorecorded \"Mimi\" on his 1963 RCA Victor Red Seal album. Women In My Life.Passage 3:Caspar BabypantsCaspar Babypants is the stage name of children's music artist Chris Ballew, who is also the vocalist and bassist ofThe Presidents of the United States of America.HistoryBallew's first brush with children's music came in 2002, when he recorded and donated an album of traditional children's songs to the nonprofit Program for EarlyParent Support titled \"PEPS Sing A Long!\" Although that was a positive experience for him, he did not consider making music for families until he met his wife, collage artist Kate Endle. Her art inspired Ballew to considermaking music that \"sounded like her art looked\" as he has said. Ballew began writing original songs and digging up nursery rhymes and folk songs in the public domain to interpret and make his own. The first album,Here I Am!, was recorded during the summer of 2008 and released in February 2009.Ballew began to perform solo as Caspar Babypants in the Seattle area in January 2009. Fred Northup, a Seattle-based comedyimprovisor, heard the album and offered to play as his live percussionist.  Northrup also suggested his frequent collaborator Ron Hippe as a keyboard player. \"Frederick Babyshirt\" and \"Ronald Babyshoes\" were theCaspar Babypants live band from May 2009 to April 2012. Both Northup and Hippe appear on some of his recordings but since April 2012 Caspar Babypants has exclusively performed solo. The reasons for the changewere to include more improvisation in the show and to reduce the sound levels so that very young children and newborns could continue to attend without being overstimulated. Ballew has made two albums of Beatlescovers as Caspar Babypants. Baby Beatles! came out in September 2013 and Beatles Baby! came out in September 2015.Ballew runs the Aurora Elephant Music record label, books shows, produces, records, andmasters the albums himself. Distribution for the albums is handled by Burnside Distribution in Portland, Oregon.Caspar Babypants has released a total of 17 albums. The 17th album, BUG OUT!, was released on May 1,2020. His album FLYING HIGH! was nominated for a Grammy Award for Best Children's Album. All 17 of the albums feature cover art by Ballew's wife, Kate Endle.\"FUN FAVORITES!\" and \"HAPPY HITS!\" are twovinyl-only collections of hit songs that Caspar Babypants has released in the last couple of years.DiscographyAlbumsPEPS (2002)Here I Am! (Released 03/17/09) Special guests: Jen Wood, Fysah ThomasMore Please!(Released 12/15/09) Special guests: Fred Northup, Ron HippeThis Is Fun! (Released 11/02/10)  Special guests: Fred Northup, Ron Hippe, Krist Novoselic, Charlie HopeSing Along! (Released 08/16/11) Special guests:Fred Northup, Ron Hippe, \"Weird Al\" Yankovic, Stone Gossard, Frances England, Rachel LoshakHot Dog! (Released 04/17/12) Special guests: Fred Northup, Ron Hippe, Rachel Flotard (Visqueen)I Found You! (Released12/18/12) Special guests: Steve Turner (Mudhoney), Rachel Flotard (Visqueen), John RichardsBaby Beatles! (Released 09/15/13)Rise And Shine! (Released 09/16/14)Night Night! (Released 03/17/15)Beatles Baby!(Released 09/18/2015)Away We Go! (Released 08/12/2016)Winter Party! (Released 11/18/16)Jump For Joy! (Released 08/18/17)Sleep Tight! (Released 01/19/18)Keep It Real! (Released 08/17/18)Best Beatles!(Released 03/29/19)Flying High! (Released 08/16/19)Bug Out! (released 05/1/20)Happy Heart! (Released 11/13/20)Easy Breezy! (Released 11/05/21)AppearancesMany Hands: Family Music for Haiti CD (released2010) – Compilation of various artistsSongs Stories And Friends: Let's Go Play – Charlie Hope (released 2011) – vocals on AlouetteShake It Up, Shake It Off (released 2012) – Compilation of various artistsKeep HopingMachine Running – Songs Of Woody Guthrie (released 2012) – Compilation of various artistsApple Apple – The Harmonica Pocket (released 2013) – vocals on Monkey LoveSimpatico – Rennee and Friends (released2015) – writer and vocals on I Am Not AfraidSundrops – The Harmonica Pocket (released 2015) – vocals on Digga Dog KidPassage 4:Dáithí SprouleDáithí Sproule (born 23 May 1950) is a guitarist and singer oftraditional Irish music. He is the grandson of Frank Carney and uncle of singer Claire Sproule.BiographyBorn and raised in Derry, Northern Ireland, at the age of 18 he moved to Dublin in Ireland, where he attendeduniversity. Growing up, he listened to Bob Dylan, Bert Jansch, the Beatles, British folk songs and traditional Irish music. It was in Dublin that he entered the music scene which was prominent in Ireland at the time. As ateenager he had met the Ó Domhnaill family during trips to the Gaeltacht area of Rann na Feirste in Co. Donegal, and while in Dublin they formed a band, Skara Brae who would go on to have a great effect on Irishtraditional music.Dáithí is well known as a guitarist and was one of the first guitarists to use the DADGAD guitar tuning for Irish music after the originator Davy Graham. In 1992 he joined Irish supergroup Altan withwhom he sings and plays guitar. Of his use of DADGAD tuning, Sproule says, it \"just seemed to instantly gel with Irish music. The nature of the tuning meant that you didn't really produce anything that was terribly,drastically, offensively wrong to people. I was always a singer, but when I started playing with instrumentalists in sessions and pubs, I was able to develop a style by just playing along with them quietly and tactfully.\"He was deemed \"a seminal figure in Irish music\" by The Rough Guide to Irish Music.Sproule is also a member of various other bands and has recorded further solo albums; he also teaches DADGAD guitar and traditionalsongs at the Center for Irish Music in St. Paul, Minnesota.DiscographySolo albumsThe Crow in the Sun (2007)Lost River, Vol. 1 (New Folk, 2011)A Heart Made of Glass (1995)with AltanOther bandsBright and Early (withPaddy O'Brien and Nathan Gourley - 2015 - New Folk Records)From Uig to Duluth (with Laura MacKenzie and Andrea Stern - 2014)The Pinery (with Laura MacKenzie – 2009 – New Folk Records)Seanchairde (with TaraBingham and Dermy Diamond – 2008 – New Folk Records)Fingal (with Randal Bays and James Keane – 2008 – New Folk Records)Snug in the Blanket (with Jamie Gans and Paddy O'Brien – 2004)Overland (with RandalBays – 2004)Trian II (with Liz Carroll and Billy McComiskey – 1995)A Thousand Farewells (with Martin and Christine Dowling – 1995)Trian (with Liz Carroll and Billy McComiskey – 1992)Stranger at the Gate (with PaddyO'Brien – 1988)The Iron Man (with Tommy Peoples – 1984)Carousel (with Seamus and Manus McGuire – 1984)Spring in the Air (with James Kelly and Paddy O'Brien – 1981)Is it Yourself?  (with James Kelly and PaddyO'Brien – 1979)Skara Brae (Skara Brae – 1971)Guest appearancesFour & Eight String Favorites (Bone Tone Records) 2021 - Eric Mohring & FriendsMerrijig Creek - Fintan VallelySpinning Yarns (Two Tap Records) 2015- Norah RendellHeigh Ho, The Green Holly (New Folk Records) 2015 - Laura MacKenzieMinnesota Lumberjack Songs (Two Tap Records) 2011 - Brian MillerSide by Side (Dawros Music) 2010 - Liz and Yvonne Kane40Acre Notch (New Folk Records) 2008 – the HiBsThe Essential Chieftains (RCA) 2006 – The ChieftainsBlue Waltz 2004 – Julee GlaubEvidence (New Folk Records) 2003 – Laura MacKenzieOver the Water (HeartProductions) 2002 – Ross SutterLittle Sparrow (Sugarhill) 2001 – Dolly PartonLost in the Loop (Green Linnet) 2001 – Liz CarrollShine (Swallowtail) 2001 – Katie McMahonPersevere 2000 – The ProclaimersWater fromthe Well (RCA) 2000 – The ChieftainsTis the Season (Compass) 1997  – Laura MacKenzieIrish Women Musicians of America (Shanachie) 1995 – Cherish the LadiesHeartsongs (Sony) 1994 – Dolly PartonMamma, Willyou Buy Me a Banana? (Heart Productions) 1991 – Ross SutterBlue Mesa (Red House) 1989 – Peter OstroushkoLiz Carroll (Green Linnet) 1988 – with Liz CarrollSean O'Driscoll (Shanachie/Meadowlark) 1987 – SeanO'DriscollCapel Street (Capelhouse) 1986 – James KellyThe Streets of My Old Neighborhood (Rounder) 1983 – Peter OstroushkoSluz Duz Music (Rounder) 1982 – Peter OstroushkoCompilationsA Harvest Home: Centerfor Irish Music Live Recordings, Vol. 5 2013Strings Across the North Shore 2009Young Irish Musicians Weekend Live!  2008 – with James Kelly and Paddy O'BrienNew Folk Records Sampler 2007 (New Folk Records)2007Masters of the Irish Guitar (Shanachie) 2006The Independence Suite (Celtic Crossings) 2005 – with Randal BaysSimply Folk Sampler 3 (Wisconsin Public Radio) 2005Festival International des Arts Traditionnels deQuébec (Folklore) 2004 – with TrianThe Ice Palace – Irish Originals from Minnesota (IMDA) 2001The Last Bar – Irish Music from Minnesota (IMDA) 2000Alternate Tunings Guitar Collection (String Letter) 2000 – withTrianAs They Pass Through (Kieran's) 2000Best of Thistle and Shamrock, Vol. 1 (Hearts of Space) 1999 – with AltanCeltic Colours International Festival – the Second Wave (Stephen McDonald) 1999 – with AltanAWinter's Tale (Universal) 1998 – with AltanGaelic Roots (Kells) 1997 – with James Kelly, Paddy O'Brien and Gerry O'ConnorCeltic Music from Mountain Stage (Blue Plate) 1997 – with AltanHunger No More (Éire Arts)1997Passage 5:Bernie BonvoisinBernard Bonvoisin (French pronunciation: [b\u0000\u0000na\u0000 b\u0000̃vwaz\u0000̃]), known as Bernie Bonvoisin (French pronunciation: [b\u0000\u0000ni b\u0000̃vwaz\u0000̃], born 9 July 1956 in Nanterre, Hauts-de-Seine),is a French hard rock singer and film director. He is best known for having been the singer of Trust.He was one of the best friends of Bon Scott the singer of AC/DC and together they recorded the song \"Ride On\" whichwas one of the last songs by Bon Scott.External linksBernie Bonvoisin at IMDbPassage 6:Astrid NorthAstrid North (Astrid Karina North Radmann; 24 August 1973, West Berlin – 25 June 2019, Berlin) was a German soulsinger and songwriter. She was the singer of the German band Cultured Pearls, with whom she released five Albums. As guest singer of the band Soulounge she published three albums.CareerNorth had her firstexperiences as a singer with her student band Colorful Dimension in Berlin. In March 1992 she met B. La (Bela Braukmann) and Tex Super (Peter Hinderthür) who then studied at the Hochschule für Musik und TheaterHamburg and who were looking for a singer for their band Cultured Pearls. The trio entered the German charts with four singles and four albums.In 1994 North sang for the dance-pop band Big Light on their hit singleTrouble Is. In 1996 she was a guest on the side project Little Red Riding Hood by Fury in the Slaughterhouse brothers Kai and Thorsten Wingenfelder which resulted in the release of the single Life's Too Short from theeponymous album.The song Sleepy Eyes, texted and sung by North, appears in the soundtrack of the movie Tor zum Himmel (2003) by director Veit Helmer. In 2003 she appeared at the festival Das Fest in Karlsruheand sang alongside her own songs a cover version of the Aerosmith hit Walk This Way together with the German singer Sasha. North also toured with the American singer Gabriel Gordon.After the end of her bandCultured Pearls in 2003 North moved 2004 to New York City to write new songs, work with a number of different musicians and to experiment with her music.In 2005 she joined the charity project Home, whichproduced an album for the benefit of the orphans from the Beluga School for Life in Thailand which have been affected by the Indian Ocean earthquake in 2004 and the subsequent tsunami. Beside the orphansthemselves also the following artists have been involved, guitarist Henning Rümenapp (Guano Apes), Kai Wingenfelder (Fury in the Slaughterhouse), Maya Saban and others. With Bobby Hebb Astrid North recorded anew version of his classic hit Sunny. It was the first time Hebb sung this song as duett and it appeared on his last album That's All I Wanna Know.North sang in 2006 My Ride, Spring Is Near and No One Can Tell on thealbum The Ride by Basic Jazz Lounge, a project by jazz trumpeter Joo Kraus. In addition, she worked as a workshop lecturer of the Popkurs at the Hochschule für Musik und Theater Hamburg.In spring 2010 Northperformed as the opening act of the Fakebling-Tour of Miss Platnum. The magazine Der Spiegel described her as one of the \"leading ladies of the local soul scene\". On 20 July 2012 her solo debut album North wasreleased.On 16 September 2016 Astrid North released her second solo album, Precious Ruby, dedicated to her grandmother Precious Ruby North. North used crowdfunding to finance the album. The first single publishedfrom this album was the song Miss Lucy. In 2016 she also started her concert series North-Lichter in Berlin's Bar jeder Vernunft to which she invited singers such as Katharina Franck, Elke Brauweiler, Lizzy Scharnofske,Mia Diekow, Lisa Bassenge or Iris Romen.LifeAstrid North was born in West Berlin, West Germany to Sondria North and Wolf-Dieter Radmann. She commuted between her birth city and her family in Houston, Texasuntil she was nine years old. In the USA she lived mainly with her grandparents and her time there significantly shaped her musical development.Besides her music career Astrid North worked also as lecturer inHamburg at the Hochschule für Musik und Theater and as yoga teacher. North was the mother of two children, her daughter was born in 2001 and her son in 2006. Her sister Ondria North works as make-up artist andhair stylist in the German film industry.She died in June 2019 at the age of 45 years from pancreatic cancer.Discographywith Cultured PearlsAlbums1996: Sing Dela Sing (German chart position 92, 3 weeks)1997:Space Age Honeymoon (German chart position 54, 6 weeks)1999: Liquefied Days (German chart position 19, 9 weeks)2002: Life on a Tuesday (German chart position 74, 1 week)Singles1996: Tic Toc (1996) (Germanchart position 65, 10 weeks)1997: Sugar Sugar Honey (German chart position 72, 9 weeks)1998: Silverball (German chart position 99, 2 weeks)1999: Kissing the Sheets (German chart position 87, 9 weeks)withSoulounge2003: The Essence of the Live Event – Volume One2004: Home2006: Say It AllSolo2005: Sunny (Single, Bobby Hebb feat. Astrid North)2012: North (Album, 20. Juli 2012)2013: North Live (Album, liverecordings from different venues in Germany)2016: Sunny (Compilation, Bobby Hebb feat. Astrid North)2016: Precious Ruby (Album, 16. September 2016)as guest singer1994: Trouble Is – Big Light (Single)1996:Life's Too Short – Little Red Riding Hood (Single)2006: Basic Jazz Lounge: The Ride – Joo Kraus (Album)Passage 7:Panda (Astro song)Astro is the first album of long duration (after the EP Le disc of Astrou) of Chileanindie band Astro, released in 2011. The first single from the album was \"Ciervos\" and followed \"Colombo\", \"Panda\" and \"Manglares\".This album was chosen by National Public Radio among the 50 discs of 2012.TracklistingAll tracks written by Andrés Nusser, except where noted.Ciervos (Deer)Coco (Coconut)ColomboDruida de las nubes (Druid of the clouds)PandaMiu-MiuManglares (Mangroves)Mira, está nevando en las pirámides(Look, it's snowing in the pyramids)Volteretas (Tumbles)PepaNueces de Bangladesh (Nuts of Bangladesh)Miu-Miu reaparece (Miu-Miu reappears)PersonnelAstroAndrés Nusser – vocals, guitarOctavio Caviares –drumsLego Moustache – keyboards, percussionZeta Moustache – keyboards, bassProductionAndrés Nusser – producer, recording and mixingChalo González – mixing and masteringCristóbal Carvajal – recordingIgnacioSoto – recordingPassage 8:Billy MilanoBilly Milano (born June 3, 1964) is an American heavy metal and hardcore punk musician. He is the singer and occasionally guitarist and bassist of crossover thrash band M.O.D.,and was the singer of its predecessor, Stormtroopers of Death. Prior to these bands, Milano played in early New York hardcore band the Psychos, which also launched the career of future Agnostic Front vocalist RogerMiret. Milano was also the singer of United Forces, which included his Stormtroopers of Death bandmate Dan Lilker. Milano managed a number of bands, including Agnostic Front, for whom he also co-produced the 1997Epitaph Records release Something's Gotta Give and roadie for Anthrax.DiscographyStormtroopers of Death albumsStormtroopers of Death videosMethod of Destruction (M.O.D.)MasteryPassage 9:MauriceChevalierMaurice Auguste Chevalier (French: [mo\u0000is \u0000\u0000valje]; 12 September 1888 – 1 January 1972) was a French singer, actor and entertainer. He is perhaps best known for his signature songs, including \"Livin' InThe Sunlight\", \"Valentine\", \"Louise\", \"Mimi\", and \"Thank Heaven for Little Girls\" and for his films, including The Love Parade, The Big Pond, The Smiling Lieutenant, One Hour with You and Love Me Tonight. His"}
+{"doc_id":"doc_12","qid":"","text":"Passage 1:Lyon CohenLyon Cohen (born Yehuda Leib Cohen; May 11, 1868 – August 17, 1937) was a Polish-born Canadian businessman and a philanthropist. He was the grandfather of singer/poet Leonard Cohen.BiographyCohen was born in Congress Poland, part of the Russian Empire, to a Jewish family on May 11, 1868. He immigrated to Canada with his parents in 1871. He was educated at the McGill Model School and the Catholic Commercial Academy in Montreal. In 1888, he entered the firm of Lee & Cohen in Montreal; later became partner with his father in the firm of L. Cohen & Son; in 1895, he established W. R. Cuthbert & Co; in 1900, he organized the Canadian Improvement Co., a dredging contractor; in 1906, he founded The Freedman Co. in Montreal; and in May 1919, he organized and became President of Canadian Export Clothiers, Ltd.   The Freedman Company went on to become one of Montreal’s largest clothing companies.In 1897, Cohen and Samuel William Jacobs founded the Canadian Jewish Times, the first English-language Jewish newspaper in Canada. The newspaper promoted the Canadianization of recent East European Jewish immigrants and encouraged their acceptance of Canadian customs as Cohen felt that the old world customs of immigrant Jews were one of the main causes of anti-Semitism. In 1914, the paper was purchased by Hirsch Wolofsky, owner of the Yiddish-language Keneder Adler, who transformed it into the Canadian Jewish Chronicle.He died on August 17, 1937, at the age of 69.PhilanthropyCohen was elected the first president of the Canadian Jewish Congress in 1919 and organized the Jewish Immigrant Aid Services of Canada. Cohen was also a leader of the Young Men’s Hebrew Benevolent Society (later the Baron de Hirsch Institute) and the United Talmud Torahs, a Jewish day school in Montreal. He also served as president of Congregation Shaar Hashomayim and president of the Jewish Colonization Association in Canada.Personal lifeCohen married Rachel Friedman of Montreal on February 17, 1891. She was the founder and President of Jewish Endeavour Sewing School. They had three sons and one daughter:Nathan Bernard Cohen, who served as a lieutenant in the World War; he married Lithuanian Jewish immigrant Masha Klonitsky and they had one daughter and one son:Esther Cohen andsinger/poet Leonard Cohen.Horace Rives Cohen, who was a captain and quartermaster of his battalion in World War I;Lawrence Zebulun Cohen, student at McGill University, andSylvia Lillian Cohen.Passage 2:Trịnh CươngTrịnh Cương (Hán tự: \u0000\u0000; 9 July 1686 – 20 December 1729) was the lord who ruled Tonkin from 1709 to 1729 (his title as ruler was An Đô Vương). Trịnh Cương was born to Trịnh Bính, a grandson of the former lord Trịnh Căn. He belonged to the line of Trịnh lords who had ruled parts of Vietnam since 1545. Like his great-grandfather and predecessor, Trịnh Căn, his reign was mostly devoted to administrative reforms.BiographyTrịnh Cương ruled Việt Nam during a time of external peace but growing internal strife. He enacted many governmental reforms in both financial matters and judicial rules. His main concern was the growing problem of landless peasants. Unlike the Nguyễn lords who were constantly expanding their territory south, the Trịnh lords had little room for expansion. Hence, the land supply was essentially fixed but the population kept growing.Trịnh Cương tried various legislative means to solve the problem. He tried to limit private land holdings. He tried to redistribute the communal fields of the small villages. Nothing really worked and the problem became very serious over the succeeding decades. According to historian R. H. Bruce Lockhart, the governmental reforms enacted by Trịnh Cương and his great-grandfather, Trịnh Căn, made the government more effective but, they also made the government more of a burden to the people. This had the effect of increasing the hatred felt by the people towards the Trịnh rulers in Hanoi.Trịnh Cương passed an edict forbidding people to practice Christianity in 1712. Like previous efforts to suppress Christianity, this had little real effect in Vietnam. However, he tried to offer the people an alternative, and he had many Buddhist pagodas constructed during his rule.As far as the Lê dynasty was concerned, the emperor, Lê Dụ Tông, ruled throughout Trịnh Cương's lifetime. The two men died within a few months of each other in 1729.SourcesEncyclopedia of Asian History, Volume 4. 1988. Charles Scribner's Sons, New York.Annam and its Minor Currency Chapter 16 (downloaded May 2006)See alsoTrịnh lordsLê dynastyPassage 3:Kaya AlpKaya Alp (Ottoman Turkish: \u0000\u0000\u0000\u0000 \u0000\u0000\u0000, lit. 'Brave Rock') was, according to Ottoman tradition, the son of Kızıl Buğa or Basuk and the father of Suleyman Shah. He was the grandfather of Ertuğrul Ghazi, the father of the founder of the Ottoman Empire, Osman I. He was also famously known for being the successing name of Ertokus Bey’s son Kaya Alp. He was a descendant of the ancestor of his tribe, Kayı son of Gun son of Oghuz Khagan, the legendary progenitor of the Oghuz Turks.Passage 4:Nguyễn Thị Ngọc DiễmNguyễn Thị Ngọc Diễm (Hán tự: \u0000\u0000\u0000\u0000, 1721–1784), posthumous name Từ Trạch (\u0000\u0000), was a consort of lord Trịnh Doanh.BiographyLady Nguyễn Thị Ngọc Diễm was born in 1721 at Linh Đường village, Linh Đàm commune, Thanh Trì district, Southern of Phụng Thiên prefect. She was commended to Trịnh clan's palace by her father who was Duke Nguyễn Văn Luân (\u0000 \u0000\u0000, 1686–1739). She became a concubine of prince Trịnh Doanh and was granted the title Hoa Dung (\u0000\u0000).Passage 5:Zhao ShoushanZhao Shoushan (simplified Chinese: \u0000\u0000\u0000; traditional Chinese: \u0000\u0000\u0000; pinyin: Zhào Shòushān; 12 November 1894 – 20 June 1965) was a KMT general and later Chinese Communist Party politician. He is the grandfather of Zhao Leji.CareerZhao Shoushan was born in Hu County, Shaanxi in 1894. After the foundation of the People's Republic of China, Zhao was the CCP Chairman of Qinghai and Governor of Shaanxi.External links(in Chinese) Biography of Zhao Shoushan, Shaanxi Daily July 9, 2006.Passage 6:Trịnh DoanhTrịnh Doanh (4 December 1720 – 15 February 1767) ruled northern Vietnam (Tonkin) from 1740 to 1767 (he ruled with the title Minh Đô Vương). Trịnh Doanh was the third son of Trịnh Cương, and belonged to the line of Trịnh lords who ruled northern Vietnam. His rule was spent putting down rebellions against Trịnh rule.Trịnh Doanh took over from his brother, Trịnh Giang, who, through financial mismanagement and bad behavior, provoked a wave of revolts against his rule. This was a time of increasing peasant revolts in both the north and the south under the Nguyễn lords. In the north, some of the revolts were apparently led by members of the royal Lê family. The rebellions which broke out in Tonkin during this period, were almost without number. Princes belonging to the royal family, generals, civil mandarins, common people, and out-casts from the hills, all rose in the provinces against the tyranny of the Trịnh, as well as for their personal interests. Chapter 16 (continued) Despite the many revolts, Trịnh Doanh defeated them all and passed the rule of Vietnam to his son, Trịnh Sâm.As far as the Lê dynasty was concerned, there was just one emperor, Lê Hien Tông (1740–1786), who occupied the royal throne in Hanoi.See alsoLê dynastySourcesEncyclopedia of Asian History, Volumes 4. 1988. Charles Scribner's Sons, New York.Annam and its Minor Currency Chapter 16 (downloaded May 2006)Passage 7:Henry KrauseHenry J. \"Red\" Krause, Jr. (August 28, 1913 – February 20, 1987) was an American football offensive lineman in the National Football League for the Brooklyn Dodgers and the Washington Redskins.  He played college football at St. Louis University.Passage 8:Abd al-MuttalibShayba ibn Hāshim (Arabic: \u0000\u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000; c. 497–578), better known as \u0000Abd al-Mu\u0000\u0000alib, (Arabic: \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000, lit. 'Servant of Muttalib') was the fourth chief of the Quraysh tribal confederation. He was the grandfather of the Islamic prophet Muhammad.Early lifeHis father was Hashim ibn 'Abd Manaf,: 81 the progenitor of the distinguished Banu Hashim, a clan of the Quraysh tribe of Mecca. They claimed descent from Ismā'īl and Ibrāhīm. His mother was Salma bint Amr, from the Banu Najjar, a clan of the Khazraj tribe in Yathrib (later called Madinah). Hashim died while doing business in Gaza, before Abd al-Muttalib was born.: 81 His real name was \"Shaiba\" meaning 'the ancient one' or 'white-haired' because of the streak of white through his jet-black hair, and is sometimes also called Shaybah al-\u0000amd (\"The white streak of praise\").: 81–82 After his father's death he was raised in Yathrib with his mother and her family until about the age of eight, when his uncle Muttalib ibn Abd Manaf went to see him and asked his mother Salmah to entrust Shaybah to his care. Salmah was unwilling to let her son go and Shaiba refused to leave his mother without her consent. Mu\u0000\u0000alib then pointed out that the possibilities Yathrib had to offer were incomparable to Mecca. Salmah was impressed with his arguments, so she agreed to let him go. Upon first arriving in Mecca, the people assumed the unknown child was Muttalib's servant and started calling him 'Abd al-Muttalib (\"servant of Muttalib\").: 85–86Chieftain of Hashim clanWhen Mu\u0000\u0000alib died, Shaiba succeeded him as the chief of the Hāshim clan. Following his uncle Al-Mu\u0000\u0000alib, he took over the duties of providing the pilgrims with food and water, and carried on the practices of his forefathers with his people. He attained such eminence as none of his forefathers enjoyed; his people loved him and his reputation was great among them.: 61 'Umar ibn Al-Kha\u0000\u0000āb's grandfather Nufayl ibn Abdul Uzza arbitrated in a dispute between 'Abdul-Mu\u0000\u0000alib and \u0000arb ibn Umayyah, Abu Sufyan's father, over the custodianship of the Kaaba. Nufayl gave his verdict in favour of 'Abdul-Mu\u0000\u0000alib. Addressing \u0000arb ibn Umayyah, he said:Why do you pick a quarrel with a person who is taller than you in stature; more imposing than you in appearance; more refined than you in intellect; whose progeny outnumbers yours and whose generosity outshines yours in lustre? Do not, however, construe this into any disparagement of your good qualities which I highly appreciate. You are as gentle as a lamb, you are renowned throughout Arabia for the stentorian tones of your voice, and you are an asset to your tribe.Discovery of Zam Zam Well'Abdul-Mu\u0000\u0000alib said that while sleeping in the sacred enclosure, he had dreamed he was ordered to dig at the worship place of the Quraysh between the two deities Isāf and Nā'ila. There he would find the Zamzam Well, which the Jurhum tribe had filled in when they left Mecca. The Quraysh tried to stop him digging in that spot, but his son Al-\u0000ārith stood guard until they gave up their protests. After three days of digging, 'Abdul-Mu\u0000\u0000alib found traces of an ancient religious well and exclaimed, \" Allahuakbar!\" Some of the Quraysh disputed his claim to sole rights over water, then one of them suggested that they go to a female shaman who lived afar. It was said that she could summon jinns and that she could help them decide who was the owner of the well. So, 11 people from the 11 tribes went on the expedition. They had to cross the desert to meet the priestess but then they got lost. There was a lack of food and water and people started to lose hope of ever getting out. One of them suggested that they dig their own graves and if they died, the last person standing would bury the others. So all began digging their own graves and just as Abdul-Mu\u0000\u0000alib started digging, water spewed out from the hole he dug and everyone became overjoyed. It was then and there decided that Abdul-Muttalib was the owner of the Zam Zam well. Thereafter he supplied pilgrims to the Kaaba with Zam Zam water, which soon eclipsed all the other wells in Mecca because it was considered sacred.: 86–89 : 62–65The Year of the ElephantAccording to Muslim tradition, the Ethiopian governor of Yemen, Abrahah al-Ashram, envied the Kaaba's reverence among the Arabs and, being a Christian, he built a cathedral on Sana'a and ordered pilgrimage be made there.: 21 The order was ignored and someone desecrated (some saying in the form of defecation: 696 note 35 ) the cathedral. Abrahah decided to avenge this act by demolishing the Kaaba and he advanced with an army towards Mecca.: 22–23 There were thirteen elephants in Abrahah's army: 99 : 26 and the year came to be known as 'Ām al-Fīl (the Year of the Elephant), beginning a trend for reckoning the years in Arabia which was used until 'Umar ibn Al-Kha\u0000\u0000āb replaced it with the Islamic Calendar in 638 CE (17 AH), with the first year of the Islamic Calendar being 622 CE.When news of the advance of Abrahah's army came, the Arab tribes of Quraysh, Kinānah, Khuzā'ah and Hudhayl united in defence of the Kaaba. A man from the \u0000imyar tribe was sent by Abrahah to advise them that he only wished to demolish the Kaaba and if they resisted, they would be crushed. \" Abdul-Mu\u0000\u0000alib told the Meccans to seek refuge in the nearest high hills while he, with some leading members of Quraysh, remained within the precincts of the Kaaba. Abrahah sent a dispatch inviting 'Abdul-Mu\u0000\u0000alib to meet him and discuss matters. When 'Abdul-Mu\u0000\u0000alib left the meeting he was heard saying, \"The Owner of this House is its Defender, and I am sure He will save it from the attack of the adversaries and will not dishonour the servants of His House.\": 24–26 It is recorded that when Abrahah's forces neared the Kaaba, Allah commanded small birds (abābīl) to destroy Abrahah's army, raining down pebbles on it from their beaks. Abrahah was seriously wounded and retreated towards Yemen but died on the way.: 26–27 This event is referred to in the following Qur'anic chapter:Have you not seen how your Lord dealt with the owners of the Elephant?Did He not make their treacherous plan go astray?And He sent against them birds in flocks, striking them with stones of baked clay, so He rendered them like straw eaten up.Most Islamic sources place the event around the year that Muhammad was born, 570 CE, though other scholars place it one or two decades earlier. A tradition attributed to Ibn Shihab al-Zuhri in the musannaf of \u0000Abd al-Razzaq al-San\u0000ani places it before the birth of Muhammad's father.Sacrificing his son AbdullahAl-Harith was 'Abdul-Mu\u0000\u0000alib's only son at the time he dug the Zamzam Well.: 64 When the Quraysh tried to help him in the digging, he vowed that if he were to have ten sons to protect him, he would sacrifice one of them to Allah at the Kaaba. Later, after nine more sons had been born to him, he told them he must keep the vow. The divination arrows fell upon his favourite son Abdullah. The Quraysh protested 'Abdul-Mu\u0000\u0000alib's intention to sacrifice his son and demanded that he sacrifice something else instead. 'Abdul-Mu\u0000\u0000alib agreed to consult a \"sorceress with a familiar spirit\". She told him to cast lots between Abdullah and ten camels. If Abdullah were chosen, he had to add ten more camels, and keep on doing the same until his Lord accepted the camels in Abdullah's place. When the number of camels reached 100, the lot fell on the camels. 'Abdul-Mu\u0000\u0000alib confirmed this by repeating the test three times. Then the camels were sacrificed, and Abdullah was spared.: 66–68FamilyWivesAbd al-Muttalib had six known wives.Sumra bint Jundab of the Hawazin tribe.Lubnā bint Hājar of the Khuza'a tribe.Fatima bint Amr of the Makhzum clan of the Quraysh tribe.Halah bint Wuhayb of the Zuhrah clan of the Quraysh tribe.Natīla bint Janab of the Namir tribe.Mumanna'a bint Amr of the Khuza'a tribe.ChildrenAccording to Ibn Hisham, \u0000Abd al-Mu\u0000\u0000alib had ten sons and six daughters.: 707–708 note 97 However, Ibn Sa'd lists twelve sons.: 99–101 By Sumra bint Jundab:Al-\u0000ārith.: 708 He was the firstborn and he died before his father.: 99 Quthum.: 100 He is not listed by Ibn Hisham.By Fatima bint Amr:Al-Zubayr.: 707 He was a poet and a chief; his father made a will in his favour.: 99 He died before Islam, leaving two sons and daughters.: 101 : 34–35 Abu Talib, born as Abd Manaf,: 99 : 707 father of the future Caliph Ali. He later became chief of the Hashim clan.Abdullah, the father of Muhammad.: 99 : 707 Umm Hakim al-Bayda,: 100 : 707 the maternal grandmother of the third Caliph Uthman.: 32 Barra,: 100 : 707 the mother of Abu Salama.: 33 Arwa.: 100 : 707 Atika,: 100 : 707 a wife of Abu Umayya ibn al-Mughira.: 31 Umayma,: 100 : 707 the mother of Zaynab bint Jahsh and Abd Allah ibn Jahsh.: 33 By Lubnā bint Hājar:Abd al-'Uzzā, better known as Abū Lahab.: 100 : 708 By Halah bint Wuhayb:\u0000amza,: 707 the first big leader of Islam. He killed many leaders of the kufar and was considered as the strongest man of the quraysh. He was martyred at Uhud.: 100 \u0000afīyya.: 100 : 707 Al-Muqawwim.: 707 He married Qilaba bint Amr ibn Ju'ana ibn Sa'd al-Sahmia, and had children named Abd Allah, Bakr, Hind, Arwa, and Umm Amr (Qutayla or Amra).Hajl.: 707 He married Umm Murra bint Abi Qays ibn Abd Wud, and had two sons, named Abd Allah, Ubayd Allah, and three daughters named Murra, Rabi'a, and Fakhita.By Natīlah bint Khubāb:al-'Abbas,: 100 : 707 ancestor of the Abbasid caliphs.\u0000irār,: 707 who died before Islam.: 100 Jahl, died before IslamImran, died before IslamBy Mumanna'a bint 'Amr:Mus'ab, who, according to Ibn Saad, was the one known as al-Ghaydāq.: 100 He is not listed by Ibn Hisham.Al-Ghaydaq, died before Islam.Abd al-Ka'ba, died before Islam.: 100 Al-Mughira,: 100 who had the byname al-Ghaydaq.The family tree and some of his important descendantsDeathAbdul Muttalib's son 'Abdullāh died four months before Mu\u0000ammad's birth, after which Abdul Muttalib took care of his daughter-in-law Āminah. One day Muhammad's mother, Amina, wanted to go to Yathrib, where her husband, Abdullah, died. So, Muhammad, Amina, Abd al-Muttalib and their caretaker, Umm Ayman started their journey to Medina, which is around 500 kilometres away from Makkah. They stayed there for three weeks, then, started their journey back to Mecca. But, when they reached halfway, at Al-Abwa', Amina became very sick and died six years after her husband's death. She was buried over there. From then, Muhammad became an orphan. Abd al-Muttalib became very sad for Muhammad because he loved him so much. Abd al-Muttalib took care of Muhammad. But when Muhammad was eight years old, the very old Abd al-Muttalib became very sick and died at age 81-82 in 578-579 CE.Shaybah ibn Hāshim's grave can be found in the Jannat al-Mu'allā cemetery in Makkah, Saudi Arabia.See alsoFamily tree of MuhammadFamily tree of Shaiba ibn HashimSahabaPassage 9:Fred Le DeuxFrederick David Le Deux (born 4 December 1934) is a former Australian rules footballer who played with Geelong in the Victorian Football League (VFL). He is the grandfather of Tom Hawkins.Early lifeLe Deux grew up in Nagambie and attended Assumption College, after which he went to Bendigo to study teaching.FootballWhile a student at Bendigo Teachers' Training College, Le Deux played for the Sandhurst Football Club. He then moved to Ocean Grove to take up a teaching position and in 1956 joined Geelong.A follower and defender, Le Deux made 18 appearances for Geelong over three seasons, from 1956 to 1958 He was troubled by a back injury in 1958, which kept him out of the entire 1959 VFL season.In 1960 he joined Victorian Football Association club Mordialloc, as he had transferred to a local technical school.FamilyLe Deux's daughter Jennifer was married to former Geelong player Jack Hawkins. Jennifer died in 2015. Their son, Tom Hawkins, currently plays for Geelong.Passage 10:John WestleyRev. John Wesley (1636–78) was an English nonconformist minister. He was the grandfather of John Wesley (founder of Methodism).LifeJohn Wesly (his own spelling), Westley, or Wesley was probably born at Bridport, Dorset, although some authorities claim he was born in Devon, the son of the Rev. Bartholomew Westley and Ann Colley, daughter of Sir Henry Colley of Carbery Castle in County Kildare, Ireland. He was educated at Dorchester Grammar School and as a student of New Inn Hall, Oxford, where he matriculated on 23 April 1651, and graduated B.A. on 23 January 1655, and M.A. on 4 July 1657. After his appointment as an evangelist, he preached at Melcombe Regis, Radipole, and other areas in Dorset. Never episcopally ordained, he was approved by Oliver Cromwell's Commission of Triers in 1658 and appointed Vicar of Winterborne Whitechurch.The report of his interview in 1661 with Gilbert Ironside the elder, his diocesan, according to Alexander Gordon writing in the Dictionary of National Biography, shows him to have been an Independent. He was imprisoned for not using the Book of Common Prayer, imprisoned again and ejected in "}
+{"doc_id":"doc_13","qid":"","text":"Passage 1:La PuntaLa Punta, Spanish for \"the point\" or the promontory and may refer to:La Punta, San Luis, ArgentinaLa Punta District, PeruSan Giovanni la Punta, ItalySan Salvador de la Punta Fortress, CubaSeealsoPunta (disambiguation)Passage 2:Turning PointA turning point, or climax, is the point of highest tension in a narrative work.Turning Point or Turning Points may refer to:FilmThe Turning Point, a 1914 silent filmstarring Caroline CookeThe Turning Point (1920 film), an American film starring Katherine MacDonaldThe Turning Point (1945 film), a Soviet film by Fridrikh Markovitch ErmlerThe Turning Point (1952 film), a crimedrama starring Edmond O'BrienTurning Point (1960 film), an Australian TV playThe Turning Point (1977 film), a drama starring Shirley MacLaine and Anne BancroftThe Turning Point (1978 film), a Soviet drama filmdirected by Vadim AbdrashitovThe Turning Point (1983 film), an East German film by Frank BeyerTurning Point (2009 Hong Kong film), a spin-off to the 2009 Hong Kong television drama series E.U.Turning Point (2009American film), a documentary film on the travels of Michelle YeohTurning Point (2012 film), a 2012 drama film by Niyi TowolawiThe Turning Point (2022 film), an Italian filmLiteratureThe Turning Point (book), a 1982nonfiction book by Fritjof CapraBatman: Turning Points, a 5-issue limited series of comicsThe Turning Point, a 1942 autobiography by Klaus MannThe Turning Point, a 1988 short story by Isaac AsimovMusicTurning Point(American band), an American straight-edge hardcore bandTurning Point (UK band), a late 1970s UK fusion bandAlbumsTurning Point (Benny Golson album) (1962)Turning Point (Mario album) (2004)The Turning Point(John Mayall album) (1969)The Turning Point (McCoy Tyner album) (1992)Turning Point (Lonnie Smith album) (1969)Turning Point (Pink Lady album) (1980)Turning Point (Chuck Wicks album) (2016)Turning Point(Paul Bley album)Turning Point, a 1995 album by Rory BlockTurning Point (Dr SID album) (2010)Songs\"Turning Point\" (Tyrone Davis song) (1976)\"Turning Point\", a song by Buckwheat Zydeco\"Turning Point\", a 2013song by Killswitch Engage from Disarm the Descent\"Turning Point\", a song by Mighty Joe Young\"Turning Point\", a 1967 song by Nina Simone from Silk & Soul\"The Turning Point\", a song by Toto fromTambuOrganizationsTurning Point (institute), a training and counseling institute in IrelandTurning Point (charity), a social care organisation in the United KingdomTurning Point Alcohol and Drug Centre, in Melbourne,AustraliaTurning Point USA, an American conservative, right-wing organizationTurning Point UK, an off-shoot of Turning Point USATelevisionTurning Point (ministry), carried on TBN, broadcast from San Diego County,United StatesTurning Point, an American dramatic anthology series broadcast on NBC from April to October 1958 consisting of two unsold pilots and reruns from other seriesTurning Point (1991 TV series), an Indianscience magazine TV seriesTurning Point (TV program) (1994–1999), an American news programTurning Points of History, a History Television seriesImpact Wrestling Turning Point, a professional wrestlingpay-per-view event and episode of Impact WrestlingTurning Point (2004 wrestling), the first event in the seriesTurning Point (2005 wrestling), a professional wrestling pay-per-view eventTurning Point (2006 wrestling),a professional wrestling pay-per-view eventTurning Point (2007 wrestling), a professional wrestling pay-per-view eventTurning Point (2008 wrestling), a professional wrestling pay-per-view eventTurning Point (2009wrestling), a professional wrestling pay-per-view eventTurning Point (2010 wrestling), a professional wrestling pay-per-view eventTurning Point (2011 wrestling), a professional wrestling pay-per-view eventTurningPoint (2012 wrestling), a professional wrestling pay-per-view eventTurning Point (2013 wrestling), a professional wrestling episode of Impact WrestlingTurning Point (January 2015 wrestling), a professional wrestlingpay-per-view event as part of the One Night Only seriesTurning Point (August 2015 wrestling), a professional wrestling episode of Impact WrestlingTurning Point (2016 wrestling), a professional wrestling episode ofImpact WrestlingTurning Point (2019 wrestling), a professional wrestling exclusive event on Impact Plus\"Turning Point\" (Amphibia), an episode of Amphibia\"Turning Point\" (Planetes episode)\"Turning Point\"(Spider-Man), an episode of the 1994 animated series\"The Turning Point\" (The Vampire Diaries), a 2009 episode of The Vampire DiariesOther usesTurning Point: Fall of Liberty, a 2008 first-person shooter videogameTurning point, in mathematics: a stationary point at which the derivative changes signSee alsoCursus (classical)Turning (disambiguation)Passage 3:Edoardo MulargiaEdoardo Mulargia (10 December 1925 – 7September 2005) was an Italian director and screenwriter.Life and careerBorn in Torpè, Nuoro, Mulargia graduated in Law, first working as a journalist, then directing numerous scientific and industrial short films. Afterbeing assistant of Pietro Germi and Luciano Emmer, in 1963  he made his feature film debut  with Le due leggi. As a film director Mulargia specialized in the spaghetti western genre, in which he was usually creditedas  Tony Moore and Edward G. Muller. In the 1980s he abandoned cinema to work for RAI television.Selected filmographyThe Invincible Brothers Maciste (screenwriter, 1964)Three Swords for Rome (screenwriter,1964)Night of Violence (screenwriter, 1965)Perché uccidi ancora (director and screenwriter, 1965)Cjamango (director, 1967)The Reward's Yours... The Man's Mine (director and screenwriter, 1969)Shango (director andscreenwriter, 1970)W Django! (director, 1971)La figliastra (director, 1976)Orinoco: Prigioniere del sesso (director, 1979) – American re-edited version: Savage Island (1985, with Linda Blair)Escape from Hell (director,1980)Passage 4:Julie HollandJulie Holland (born December 13, 1965) is an American psychopharmacologist, psychiatrist, and author.  She is the author of five books, including  Weekends at Bellevue: Nine Years on theNight Shift at the Psych ER, a memoir documenting her experience as the weekend head of the psychiatric emergency room at Bellevue Hospital in New York City An advocate for the appropriate use of consciousnessexpanding substances as part of mental health treatment, she is a medical monitor for MAPS studies, which involve, in part, developing psychedelics into prescription medication.Personal backgroundJulie Holland wasborn on December 13, 1965, in New York City. She grew up in Framingham, Massachusetts, a suburb of Boston.She attended the University of Pennsylvania, where she majored in the Biological Basis of Behavior, aseries of courses combining the study of psychology and neural sciences, with a concentration on psychopharmacology.  She received her medical degree from Temple University; during her residency, at Mount SinaiHospital in New York, she served as Chief Resident of the Schizophrenia Research Ward.  A principal investigator in a research study examining a new medication for schizophrenia, Holland earned a National Institute ofHealth Outstanding Resident Award in 1994.While in college, Holland wrote an extensive research paper on MDMA; it became the foundation for her 2001 book Ecstasy: The Complete Guide.ProfessionalbackgroundFrom 1995 through 2004, Holland was an attending psychiatrist in the Comprehensive Psychiatric Emergency Program at Bellevue Hospital in New York.   Her national bestseller, Weekends at Bellevue: NineYears on the Night Shift at the Psych ER, was published in 2009. In describing the book, The New York Times wrote: \"Dr. Holland brings readers into the psychiatric emergency room, where she was in charge onweekends for nine years. She explains the language, characters, policies and politics of the highly charged environment of caring for those in crisis. At the same, she walks readers through her mind and its substantialstruggles. The book is as much a story about her own internal dramas as it is about mental health care in New York City.\" Weekends at Bellevue was optioned by Fox for a television pilot in 2011; the pilot was notpicked up. In November 2013, The Hollywood Reporter reported that HBO was developing a comedy based on Holland's book Moody Bitches: The Truth About the Drugs You're Taking, the Sex You're Not Having, TheSleep You're Missing and What's Really Making You Crazy.From 1995 through 2012, Holland was an Assistant Clinical Professor of Psychiatry at the New York University School of Medicine.Now a medical advisor toMAPS, Holland was the medical monitor for several therapeutic studies of MDMA assisted psychotherapy in the treatment of Post Traumatic Stress Disorder. In addition to serving as a forensic consultant for drug-relatedcases, Holland is a frequent lecturer, and has appeared as a drug and behavior expert on CNN, National Geographic Channel, Fox, VH1, MTV and Good Morning America. She has appeared on The Today Show overtwenty-five times and is in private practice in New York.Honors and awards2011: Norman Zinberg Award for Medical ExcellenceNational Institute of Health Outstanding Resident AwardPublished worksBooksHolland, Julie(2001). Ecstasy: The Complete Guide: A Comprehensive Look at the Risks and Benefits of MDMA, New York: Park Street Press, ISBN 0892818573Holland, Julie (2010). The Pot Book: A Complete Guide to Cannabis,New York: Park Street Press, ISBN 1594773688Holland, Julie (2010). Weekends at Bellevue: Nine Years on the Night Shift at the Psych ER, New York: Bantam, ISBN 0553386522Holland, Julie (2015). MoodyBitches:  The Truth About the Drugs You're Taking, the Sleep You're Missing, the Sex You're Not Having, and What's Really Making You Crazy,  New York, Penguin Press, ISBN 978-1-59420-580-4Holland, Julie (2020).Good Chemistry: The Science of Connection, from Soul to Psychedelics , New York; Harper Wave, ISBN 978-0062862884PapersFeduccia, A. A., Jerome, L., Mithoefer, M. C., & Holland, J. (2020). Discontinuation ofmedications classified as reuptake inhibitors affects treatment response of MDMA-assisted psychotherapy. Psychopharmacology, 1–8.Mithoefer, M. C., Mithoefer, A. T., Feduccia, A. A., Jerome, L., Wagner, M., Wymer,J., Holland, J. ... & Doblin, R. (2018). 3, 4-methylenedioxymethamphetamine (MDMA)-assisted psychotherapy for post-traumatic stress disorder in military veterans, firefighters, and police officers: a randomised,double-blind, dose-response, phase 2 clinical trial. The Lancet Psychiatry, 5(6), 486–497.Feduccia, A. A., Mithoefer, M. C., Jerome, L., Holland, J., Emerson, A., & Doblin, R. (2018). Response to the consensus statementof the PTSD Psychopharmacology Working Group. Biological psychiatry, 84(2), e21-e22.Feduccia, A. A., Holland, J., & Mithoefer, M. C. (2018). Progress and promise for the MDMA drug development program.Psychopharmacology, 1–11.Doblin, R., Greer, G., Holland, J., Jerome, L., Mithoefer, M. C., & Sessa, B. (2014). A reconsideration and response to Parrott AC (2013)“Human psychobiology of MDMA or ‘Ecstasy’: anoverview of 25 years of empirical research”. Human Psychopharmacology: Clinical and Experimental, 29(2), 105–108.Holland, J.A.; Nelson, L.W.; Ravikumar, P.R. (1998). \"Embalming Fluid-Soaked Drugs: New Drug orNew Guise for PHP?\". Journal of Psychoactive Drugs. 30 (2): 215–219. doi:10.1080/02791072.1998.10399693. PMID 9692385.Holland, Julie; and Kevin C. Riley. \"Characterizing Auditory Hallucinations: An Aid in theDifferential Diagnosis of Malingering\"Brašić JR, Holland JA. Reliable classification of case-control studies of autistic disorder and obstetric complications. J Dev Phys Disabil. 2006;18(4):355–381.</ref>Brašić JR, HollandJA. Reliable classification of case-control studies of autistic disorder and obstetric complications. J Dev Phys Disabil. 2006;18(4):355–381.</ref>Holland, Julie. \"Positron emission tomography findings in heavy users ofMDMA\"Holland, Julie. \"Hallucinogenic Drugs in Experimental Psychiatric Research\"Holland, Julie. \"Raves for Research or Psychedelic Researchers: The Next Generation\"See alsoPsychedelia – Film about the history ofpsychedelic drugsPassage 5:PointPoint or points may refer to:PlacesPoint, Lewis, a peninsula in the Outer Hebrides, ScotlandPoint, Texas, a city in Rains County, Texas, United StatesPoint, the NE tip and a ferryterminal of Lismore, Inner Hebrides, ScotlandPoints, West Virginia, an unincorporated community in the United StatesBusiness and financePoint (loyalty program), a type of virtual currency in common use amongmercantile loyalty programs, globallyPoint (mortgage), a percentage sometimes referred to as a form of pre-paid interest used to reduce interest rates in a mortgage loanBasis point, 1/100 of one percent, denoted bp,bps, and \u0000Percentage points, used to measure a change in percentage absolutelyPivot point (technical analysis), a price level of significance in analysis of a financial market that is used as a predictive indicator ofmarket movement\"Points\", the term for profit sharing in the American film industry, where creatives involved in making the film get a defined percentage of the net profits or even gross receiptsRoyalty points, a way ofsharing profit between companies and unit holdersVigorish point, the commission charged on a gambling bet or loanshark's loanMathematicsPoint (geometry), an entity that has a location in space or on a plane, but hasno extent; more generally, an element of some abstract topological spacePoint, or Element (category theory), generalizes the set-theoretic concept of an element of a set to an object of any categoryCritical point(mathematics), a stationary point of a function of an arbitrary number of variablesDecimal pointPoint-free geometryStationary point, a point in the domain of a single-valued function where the value of the functionceases to changeMeasurement unitsPoint (gemstone), 2 milligrams, or one hundredth of a caratPoint (typography), a measurement used in printing, the meaning of which has changed over timePoint, in hunting, thenumber of antler tips on the hunted animal (e.g. 9 point buck)Point, for describing paper-stock thickness, a synonym of mil and thou (one thousandth of an inch)Point, a hundredth of an inch or 0.254 mm, a unit ofmeasurement formerly used for rainfall in AustraliaParis point, 2/3 cm, used for shoe sizesPoints of the compass, one of the 32 directions on a traditional compass, equal to one eighth of a right angle (11.25degrees)SportsPoint (American football)Point (basketball)Point (ice hockey)Point (pickleball)Point (tennis)Point, fielding (cricket)Point, in sports ScorePoint guard, in basketballPoints (association football)Points decision,in boxing and some other fighting sportsThe point (ice hockey), the location of an ice hockey playerTechnology and transportPoint, a data element in a SCADA system representing a single input or outputPoints, acontact breaker in an ignition systemPoints, a railroad switch (British English)Points, the clock position of an object seen from a moving vessel or aircraft on an imaginary horizontal clock with 12:00 at the front; e.g.,two points to starboard is 2:00Points of sail, a sailing boat's course in relation to wind directionPoint system (driving), a system of demerits for driving offensesProjectile point, a hafted archaeological artifact used as aknife or projectile tipPublic Oregon Intercity Transit, styled POINT, a public transit systemArts, entertainment, and mediaMusicPoint (album), a 2001 album by CorneliusPoint #1, a 1999 album of ChevellePoint Music, arecord labelPoints (album), by jazz pianist Matthew Shipp\"The Points\",  a 1995 single and video from the Panther soundtrackPoint (Yello album), a 2020 album by Yello\"Point\", a song by the American band Bright fromtheir self-titled albumOther uses in arts, entertainment, and mediaHigh card points, used for hand evaluation in contract bridgeLe Point, a French weeklyOn Point, a radio showPoint Broadcasting, a radio broadcastingcompanyPointe technique, a ballet technique for dancing on the tips of toesTake Point (2018), a South Korean action filmOther usesPoint (coat color), animal fur coloration of the extremitiesPoint (geography), apeninsula or headlandPoint (surname), a surnameMake a point or come to a point, a hunting term referring to a pointing dog's standing rigid and facing the preyOn point, someone who possesses abundant and variousqualities of competence, leadership or style, or to specific acts which demonstrate such qualitiesPoint man, one who takes point (defined below) on patrol, the lookout in the commission of a crime, a defense position inice hockey, or someone who leads the defense of a political positionPoint mutation, a change in a single nucleotideTake point (or walk point, be on point, or be a point man), to be the lead, and likely most vulnerable,soldier, vehicle, or unit in a combat military formationPoint University, West Point, GeorgiaSee alsoEndpoint (disambiguation)Lapointe (disambiguation), also Lepoint/La Pointe/Le PointMidpoint (disambiguation)PointLookout (disambiguation)Pointing (disambiguation)Points system (disambiguation)Start Point (disambiguation)The Point (disambiguation)Tipping point (disambiguation)All pages with titles beginning with Point All pageswith titles containing PointPassage 6:La figliastraLa figliastra: Storia di corna e di passioni is a 1976 commedia sexy all'italiana film directed by Edoardo Mulargia. It features Bruno Scipioni with Austrian sexploitationstar Sonja Jeannine (credited as Sonia Jeanine).In France, the film was released in an adult version with added hardcore scenes and under the title Veuves excitées.PlotThe wife of the Sicilian barone Francesco 'Cocò'Laganà (Bruno Scipioni) dies of heart failure while having sex with the lecherous gardener Fefè (Nino Terzo). Cocò marries a Northerner widow named Nadia (Maristella Greco), her beautiful teenage daughter Daniela(Sonja Jeannine) later moving to her stepfather's house. Both Cocò and Fefè (who is now married to Cocò's nymphomaniac sister Agata (Lucrezia Love)) make sexual advances to Daniela but to no avail. MeanwhileCocò's heirship to a large inheritance is in jeopardy because his late wife did not beget him a child and Nadia cannot get pregnant, the Sicilian customary law barring a man without offspring from heirship.Passage7:Juan Bustillo OroJuan Bustillo Oro (2 June 1904 – 10 June 1989) was a Mexican film director, screenwriter and producer, whose career spanned  over 38 years.Among his works there are In the Times of Don Porfirio,Here's the Point, Arm in Arm Down the Street, Cuando los hijos se van and those listed below.Selected filmographyTwo Monks (1934)The Black Angel (1942)My Memories of Mexico (1944)Seven Women (1953)Passage8:You're Missing the PointYou're Missing the Point (Spanish: Ahí está el detalle) is a 1940 Mexican comedy film starring Cantinflas. It was produced by Jesús Grovas and directed by Juan Bustillo Oro, and also featuresJoaquín Pardavé, Sara García, Sofía Álvarez, and Dolores Camarillo. It was the twelfth film in Cantinflas's career, considered one of his best by Mexican film critics, as well as one of Mexico's best films.The film's setswere designed by the art director Carlos Toussaint.Plot summaryCantinflas is the boyfriend of Paz, the household maid of Cayetano Lastre. It is dinnertime and Cantinflas is waiting outside the mansion for Paz's whistle:a sign for Cantinflas to enter the kitchen to eat. This is because there is a dog in the front yard named \"Bobby\", and Paz's boss is unaware of Cantinflas's forays into the house. While waiting, another man also arrives todo the same, pulling out a cigarette and dropping his wallet in the process, which Cantinflas picks up when entering the house. Though like other times Cantinflas goes straight in to eat, this time his girlfriend has afavor to ask him: to kill the dog \"Bobby\" who has suffered a sudden onset of rabies and doesn't let Cayetano leave for an appointment. Seeing his hesitation, Paz is adamant: if he does not kill the dog, he does not getto eat. Cantinflas is nervous about the idea, but eventually kills the dog with a gun.Meanwhile, inside the house, after Cayetano leaves, his wife Dolores del Paso has given entrance to the other man: her ex-boyfriendBobby Lechuga, a con artist who plans to blackmail her with some undated letters with a new date unless she does as he says. However, Cayetano suddenly returns to the house, as his over-bearing jealousy has ledhim to think that his wife cheats on him and has plotted a scheme to expose her supposed \"adultery\" red-handed. Hearing his arrival, Paz hides Cantlinflas and later does the same with Bobby. Cayetano finds andcatches Cantinflas, assuming he is his wife's lover, but Dolores pretends that Cantinflas is her long-estranged brother, Leonardo del Paso. Being that his father-in-law (Dolores and Leonardo's father) needed the"}
+{"doc_id":"doc_14","qid":"","text":"Passage 1:Joely CollinsJoely Collins (born Joely Meri Bertorelli; August 8, 1972) is a Canadian actress. She is the daughter of Andrea Bertorelli and of English musician Phil Collins.Early lifeBorn and raised largely inVancouver, British Columbia, Collins studied at the Vancouver Youth Theatre, and later at London's Royal Academy of Dramatic Arts. She was adopted by her mother's husband, Phil Collins, upon their marriage in 1975.They later had one child, son Simon (born in 1976). She was named Canada's \"Best Leading Actress\" at the age of 22 for her work on the television series Madison. She appeared on the long-running drama Cold Squad.In 2009, she co-founded StoryLab Productions and produced the award-winning feature film Becoming Redwood.Actress Lily Collins is her half-sister, born to her father Phil Collins and his second wife Jill Tavelman afterhe and her mother Andrea Bertorelli divorced in 1980.Collins won the award for Best Actress in a Canadian Film at the Vancouver Film Critics Circle Awards 2004 for The Love Crimes of Gillian Guess.Personal lifeCollinsmarried Dutch-born Stefan Buitelaar on August 23, 2008, in Leiden, Netherlands. On October 26, 2009, Collins gave birth to their daughter, Zoë Amelie.FilmographyFilmTelevisionPassage 2:Phil CollinsPhilip DavidCharles Collins  (born 30 January 1951) is an English singer, drummer, songwriter, record producer and actor. He was the drummer and later lead singer of the rock band Genesis and also has a career as a soloperformer. Between 1982 and 1990, Collins achieved three UK and seven US number one singles as a solo artist. When his work with Genesis, his work with other artists, as well as his solo career are totalled, he wasresponsible for more US top 40 singles than any other artist during the 1980s. His most successful singles from the period include \"In the Air Tonight\", \"Against All Odds (Take a Look at Me Now)\", \"One More Night\",\"Sussudio\", \"Another Day in Paradise\" and \"I Wish It Would Rain Down\".Born and raised in west London, Collins began playing drums at five and completed drama school training, which secured him various roles as achild actor, with his first major role at 13 as the Artful Dodger in the West End musical Oliver!. He then pursued a musical career, joining Genesis in 1970 as their drummer and becoming lead singer in 1975 followingthe departure of Peter Gabriel. Collins began a successful solo career in the 1980s, initially inspired by his marital breakdown and love of soul music, releasing the albums Face Value (1981), Hello, I Must Be Going(1982), No Jacket Required (1985) and ...But Seriously (1989). Collins became, in the words of AllMusic, \"one of the most successful pop and adult contemporary singers of the '80s and beyond\". He also became knownfor a distinctive gated reverb drum sound on many of his recordings. In 1985, he was the only artist to perform at both Live Aid concerts. He also resumed his acting career, appearing in Miami Vice and subsequentlystarring in the film Buster (1988).Collins left Genesis in 1996 to focus on solo work; this included writing songs for Disney's animated film Tarzan (1999). He wrote and performed the songs, \"Two Worlds\", \"Son of Man\",\"Strangers Like Me\" and \"You'll Be in My Heart\", the latter of which earned him the Academy Award for Best Original Song. He rejoined Genesis for their Turn It On Again Tour in 2007. Following a five-year retirement tofocus on his family life, Collins released his memoir in 2016 and completed his Not Dead Yet Tour in 2019. He then rejoined Genesis in 2020 for a second reunion tour, ending in March 2022.Collins's discography includeseight studio albums that have sold 33.5 million certified units in the US and an estimated 150 million records sold worldwide, making him one of the world's best-selling artists. He is one of only three recording artists,along with Paul McCartney and Michael Jackson, who have sold over 100 million records both as solo artists and separately as principal members of a band. He has won eight Grammy Awards, six Brit Awards (winningBest British Male Artist three times), two Golden Globe Awards, one Academy Award, and a Disney Legend Award. He was awarded six Ivor Novello Awards from the British Academy of Songwriters, Composers andAuthors, including the International Achievement Award. He received a star on the Hollywood Walk of Fame in 1999, and was inducted into the Songwriters Hall of Fame in 2003 and the Rock and Roll Hall of Fame as amember of Genesis in 2010. He has also been recognised by music publications with induction into the Modern Drummer Hall of Fame in 2012, and the Classic Drummer Hall of Fame in 2013.Early lifePhilip DavidCharles Collins was born on 30 January 1951 at Putney Hospital in Wandsworth, south-west London. His father, Greville Philip Austin Collins (1907–1972), was an insurance agent for London Assurance and his mother,Winifred June Collins (née Strange, 1913–2011), worked in a toy shop and later as a booking agent at the Barbara Speake Stage School, an independent performing arts school in East Acton. Collins is the youngest ofthree children: his sister Carole competed as a professional ice skater and followed her mother's footsteps as a theatrical agent, and his brother Clive was a noted cartoonist. The family moved twice by the time Collinshad reached two; they settled at 453 Hanworth Road in Hounslow, Middlesex.Collins was given a toy drum kit for Christmas when he was five, and later his two uncles made him a makeshift set with triangles andtambourines that fitted into a suitcase. As Collins grew older, these were followed by more complete sets bought by his parents. He practised by playing along to music on the television and radio. During a familyholiday at a Butlin's, a seven-year-old Collins entered a talent contest singing \"The Ballad of Davy Crockett\", but stopped the orchestra halfway through to tell them they were in the wrong key. The Beatles were a majorearly influence on Collins, including their drummer Ringo Starr. He followed the lesser-known London band the Action, whose drummer he would copy and whose work introduced him to the soul music of Motown andStax Records. Collins was also influenced by jazz and big band drummer Buddy Rich, whose opinion on the importance of the hi-hat prompted him to stop using two bass drums and start using the hi-hat.Around twelve,Collins received basic piano and music tuition from his father's aunt. He studied drum rudiments under Lloyd Ryan and later under Frank King, and considered this training \"more helpful than anything else becausethey're used all the time. In any kind of funk or jazz drumming, the rudiments are always there.\" Collins never learned to read or write musical notation and devised his own system, which he regretted in later life. \"I'vealways felt that if I could hum it, I could play it. For me, that was good enough, but that attitude is bad.\"Collins attended Nelson Primary School until he was eleven. He was accepted into Chiswick County GrammarSchool, where he took to football and formed the Real Thing, a school band that had Andrea Bertorelli, his future wife, and friend Lavinia Lang, as backup singers. Both women would have an impact on Collins' personallife in later years. Collins' next group was the Freehold, with whom he wrote his first song, \"Lying, Crying, Dying\", and played in a group named the Charge.Career1963–1970: Early acting roles and bandsCollins quitschool at fourteen to become a full-time pupil at Barbara Speake. He had an uncredited part as an extra in the Beatles' film A Hard Day's Night (1964), where he is amongst the screaming teenagers during the televisionconcert sequence. Later in 1964, Collins was cast as the Artful Dodger in two West End runs of the musical Oliver! He was paid £15 a week, and called the role \"the best part for a kid in all London\". His days as theDodger were numbered when his voice broke during a performance and had to speak his lines for the rest of the show. Collins starred in Calamity the Cow (1967), a film produced by the Children's Film Foundation.After a falling out with the director, Collins decided to quit acting to pursue music. He was to appear in Chitty Chitty Bang Bang (1968) as one of the children who storm the castle, but his scene was cut. Collinsauditioned for the role of Romeo in Romeo and Juliet (1968), but the role went to Leonard Whiting. He also travelled the country teaching people the \"crunch\" dance made popular by a Smith's crisps advertisingcampaign.Collins's enthusiasm towards music grew during his acting years. He frequented the Marquee Club on Wardour Street so often, eventually the managers asked him to set out the chairs, sweep the floors, andassist in the cloakroom. It was here where Collins saw The Action and newcomers Yes perform, which greatly influenced him. When auditions for Vinegar Joe and Manfred Mann Chapter Three were unsuccessful, Collinssecured a position in the Cliff Charles Blues Band and toured the country. This was followed by a stint in The Gladiators, a backing band for a black vocal quartet, which also featured Collins's schoolmate Ronnie Caryl onguitar. Around this time, Collins learned that Yes were looking for a new drummer and spoke to frontman Jon Anderson, who invited him to an audition the following week. Collins failed to turn up, and later wonderedwhat his life would have been like had he gone ahead with it.In 1969, Collins and Caryl joined John Walker's backing band for a European tour, which also consisted of guitarist Gordon Smith and keyboardist BrianChatton. The tour finished, and the quartet formed a rock band, Hickory, which recorded one single (\"Green Light\"/\"The Key\").  Still in 1n 1969, they were later renamed Flaming Youth. They signed to Fontana Recordsand recorded Ark 2 (1969), a concept album written and produced by Ken Howard and Alan Blaikley that tells the story of man's evacuation from a burning Earth and its voyage into space. Each member sings a leadvocal.In May 1970, after Flaming Youth split, Collins played congas on George Harrison's song \"Art of Dying\", but his contribution was omitted. Years later, Collins asked Harrison about the omission. Harrison sentCollins a recording allegedly containing Collins's performance; Collins was embarrassed to hear that the performance was poor. When Collins apologised, Harrison confessed that the recording was a prank, which Collinsaccepted in good humour.1970–1978: Genesis, later role as lead singer, and Brand XIn July 1970, the rock band Genesis had signed with Charisma Records and recorded their second album Trespass (1970), butsuffered a setback following the departures of drummer John Mayhew and guitarist Anthony Phillips. They decided to continue, and placed an advert in the Melody Maker for a drummer \"sensitive to acoustic music\" anda 12-string acoustic guitarist. Collins recognised Charisma owner Tony Stratton-Smith's name on it, and he and Caryl went for the auditions. The group, who had been a full-time working band for less than a year,consisted of school friends from Charterhouse School, a private boarding school: singer Peter Gabriel, keyboardist Tony Banks, and bassist/guitarist Mike Rutherford. Collins and Caryl arrived early, so Collins took aswim in the pool at Gabriel's parents' house and memorised the pieces the drummers before him were playing. He recalled: \"They put on 'Trespass', and my initial impression was of a very soft and round music, notedgy, with vocal harmonies, and I came away thinking Crosby, Stills and Nash.\" On 8 August 1970, Collins became their fourth drummer. Genesis then took a two-week holiday, during which Collins earned money as anexterior decorator. Rutherford thought Caryl was not a good fit; in 1971, the band enlisted Steve Hackett.From 1970 to 1975, Collins played drums, percussion, and largely sang backing vocals on Genesis albums andconcerts. His first album as a member, Nursery Cryme, features the acoustic song \"For Absent Friends\" that has Collins singing lead vocal. He sang \"More Fool Me\" on their 1973 album Selling England by the Pound. In1974, during the recording of The Lamb Lies Down on Broadway, Collins played drums on Brian Eno's second album Taking Tiger Mountain (By Strategy) after Eno had contributed electronic effects to two songs on thealbum.In August 1975, Gabriel's departure from the band was publicly announced. Genesis advertised for a replacement in Melody Maker and received around 400 replies. After a lengthy auditioning process, duringwhich he sang backup vocals for applicants, Collins became the band's lead vocalist during the recording of their album A Trick of the Tail. The album was a commercial and critical success, reaching number 3 in the UKcharts and 31 in the US. Rolling Stone wrote that Genesis \"has managed to turn the possible catastrophe of Gabriel's departure into their first broad-based American success.\" For the tour, Collins accepted former Yesand King Crimson drummer Bill Bruford to play drums while Collins sang. Wind & Wuthering was the last Genesis album recorded with Hackett before he left the group. In 1976, Collins brought in American drummerChester Thompson, formerly of Frank Zappa and Weather Report who became a mainstay of Genesis' and Collins' backing bands until 2010. When Collins, Banks, and Rutherford decided to continue Genesis as a trio in1977, they recorded ...And Then There Were Three.... This marked a shift from their progressive rock roots to a more radio-friendly, pop rock sound, and included the band's first UK Top 10 and US Top 40 single,\"Follow You Follow Me\". The level of commercial success that Genesis had reached by this time allowed Collins and his wife to move into Old Croft, a home in Shalford, Surrey, in the spring of 1978.Collins pursuedvarious guest spots and solo projects from his time as Genesis's drummer. In 1973, he and Hackett were among the musicians who performed on the solo debut of ex-Yes guitarist Peter Banks. In 1975, Collins sang andplayed drums, vibraphone, and percussion on Hackett's first solo album, Voyage of the Acolyte; performed on Eno's albums Another Green World, Before and After Science, and Music for Films; and replaced drummerPhil Spinelli of the jazz fusion group Brand X before recording their first two albums, Unorthodox Behaviour and Moroccan Roll. Collins played percussion on Johnny the Fox by Thin Lizzy, and sang on Anthony Phillips'debut solo album, The Geese & the Ghost.1978–1984: Solo debut with Face Value and Hello, I Must Be Going!After Genesis finished touring in December 1978, the group went on hiatus after Collins went to Vancouver,Canada to try to save his failing marriage. The attempt failed, leaving his wife to return to England with their children while living apart. Collins returned to Old Croft, their home in Shalford, Surrey, and their divorce wasfinalised in 1981. Banks and Rutherford were recording their first solo albums during this time, so Collins rejoined Brand X for their album Product and its accompanying tour, played on John Martyn's album Grace andDanger, and started writing demos of his own at home. This was followed by Genesis resuming activity and recording and touring through 1980 with their album Duke (1980). The three members contributed two trackseach; Collins put forward \"Please Don't Ask\" and \"Misunderstanding\".In February 1981, Collins released his debut solo album Face Value. He signed with Virgin Records and WEA for American distribution in order todistance himself from the Charisma label, and oversaw every step of its production; he wrote the liner notes himself and by hand. His divorce was the focus of its lyrical themes and song titles: \"I had a wife, twochildren, two dogs, and the next day I didn't have anything. So a lot of these songs were written because I was going through these emotional changes.\" Collins produced the album in collaboration with Hugh Padgham,with whom he had worked on Peter Gabriel's self-titled 1980 album. Face Value reached number one on the UK Albums Chart. It was also an international success, reaching number one in six other countries andnumber seven in the US where it went on to sell 5 million copies. \"In the Air Tonight\", the album's lead single, became a hit and reached number two in the UK charts. The song is known for the gated reverb effect usedon Collins's drums, a technique developed by Padgham when he worked as an engineer on Gabriel's song \"Intruder\", on which Collins played drums.Following an invitation by record producer Martin Lewis, Collinsperformed live as a solo artist at an Amnesty International benefit show The Secret Policeman's Other Ball at the Theatre Royal, Drury Lane in London in September 1981, performing \"In the Air Tonight\" and \"The RoofIs Leaking\". Collins also worked again with John Martyn in this year, producing his album Glorious Fool. In September 1981, Genesis released Abacab. This was followed by its 1981 supporting tour and a two-month tourin 1982 promoting the Genesis live album Three Sides Live. In early 1982, Collins produced and played on Something's Going On, the third solo album by Anni-Frid Lyngstad of ABBA, and performed most of the drumparts on Pictures at Eleven, the first solo album by Led Zeppelin singer Robert Plant. In October 1982, Collins took part in the one-off Genesis reunion concert Six of the Best held at the Milton Keynes Bowl inBuckinghamshire, which marked the return of Gabriel on lead vocals and Hackett on guitar.Collins's second solo album, Hello, I Must Be Going!, was released in November 1982. His marital problems continued toprovide inspiration for his songs, including \"I Don't Care Anymore\" and \"Do You Know, Do You Care\". The album reached number 2 in the UK and number 8 in the US, where it sold 3 million copies. Its second single, acover of \"You Can't Hurry Love\" by the Supremes, became Collins's first UK number one single and went to number 10 in the US. Collins supported the album with the Hello, I Must Be Going! tour of Europe and NorthAmerica from November 1982 to February 1983. Following the tour, Collins played drums on Plant's second solo album, The Principle of Moments, and produced and played on two tracks for Adam Ant's album Strip,\"Puss 'n Boots\" and the title track. In May 1983, Collins, Banks and Rutherford recorded a self-titled Genesis album; its tour ended with five shows in Birmingham, England in February 1984. The latter shows werefilmed and released as Genesis Live – The Mama Tour.1984–1989: No Jacket Required and commercial ubiquityCollins wrote and performed on \"Against All Odds\", the main theme for the romantic film of the samename, which demonstrated a more pop-oriented and commercially accessible sound than his previous work. Released in February 1984, it was the first single of his solo career to reach number one on the Billboard Hot100 chart; it peaked at number two in the UK. Collins won a Grammy Award for Best Pop Vocal Performance, Male. The song also earned him an Academy Award nomination for Best Original Song, and he arranged his1985 tour to accommodate the possibility of performing it at the awards ceremony. However, a note to Atlantic Records from show producer Larry Gelbart explaining a lack of invitation stated: \"Thank you for your noteregarding Phil Cooper [sic]. I'm afraid the spots have already been filled\", and Collins watched actress and dancer Ann Reinking perform it. The Los Angeles Times said: \"Reinking did an incredible job of totallydestroying a beautiful song.\" Collins would introduce it at subsequent concerts by saying: \"I'm sorry Miss Ann Reinking couldn't be here tonight; I guess I just have to sing my own song.\"In 1984, Collins contributed tothe production on Chinese Wall by Earth, Wind & Fire vocalist Philip Bailey, which included a duet from the two, \"Easy Lover\". The song was number one in the UK for four weeks, and peaked at number 2 in the US. Healso produced and played drums on several tracks on Behind the Sun by Eric Clapton. In November, Collins was part of the charity supergroup Band Aid in aid of Ethiopian famine relief and played drums on its single,\"Do They Know It's Christmas?\".Collins's third album, No Jacket Required, was recorded in 1984 and marked a turning point in his output. He departed from lyrics about his personal life and wrote more upbeat anddance-orientated songs with strong hooks and melodies, such as \"Sussudio\", \"One More Night\", and \"Take Me Home\". The album also featured guest backing vocals from Sting, Peter Gabriel, and Helen Terry. No JacketRequired was released in February 1985 and became a huge worldwide success, reaching number one in several countries. \"Sussudio\" and \"One More Night\" topped the US singles chart, and \"Don't Lose My Number\"and \"Take Me Home\" made the US top ten. The album remains Collins's most successful of his career, selling over 12 million copies in the US and 1.9 million in the UK.Although the album was criticised for being overly"}
+{"doc_id":"doc_15","qid":"","text":"Passage 1:George IV, Count of Erbach-FürstenauGeorge IV, Count of Erbach-Fürstenau (12 May 1646 – 20 June 1678), was a member of the German House of Erbach who held the fiefs of Fürstenau, Michelstadt,Reichenberg, Bad König and Breuberg.Born in Hanau, he was the eighth child and fifth (but third surviving) son of George Albert I, Count of Erbach-Schönberg and his third wife Elisabeth Dorothea, a daughter of GeorgeFrederick II, Count of Hohenlohe-Waldenburg in Schillingsfürst.LifeBecause he and his brothers were still minors at the time of their father's death in 1647, the guardianship and rule over the Erbach domains wereassigned to their eldest half-brother George Ernest, who ruled alone until his death in 1669, without issue. George IV and his surviving younger brothers George Louis I and George Albert II jointly held the Erbach landsuntil 1672, when  formal division of their possessions was effected: George IV received the districts of Fürstenau, Michelstadt, Bad König and Breuberg.George IV pursued a military career, and eventually he wasappointed major-general in the Netherlands. He died in the Waal river near Tiel, aged 32, at the end of the Franco-Dutch War, and was buried in Michelstadt.Marriage and issueIn Arolsen on 22 August 1671 George IVmarried Louise Anna (18 April 1653 – 30 June 1714), heiress of Culemborg and daughter of Prince Georg Friedrich of Waldeck by his wife Elisabeth Charlotte of Nassau-Siegen. They had four children:Sophie Charlotte(23 September 1672 – April 1673)Amalie Mauritiana (1674 – 1675)William Frederick (March 1676 – 18 August 1676)Charlotte Wilhelmine Albertine (posthumously; 18 September 1678 – 20 March 1683)Because hedied without surviving male issue, his domains reverted to his brothers, who divided them between themselves.== Notes ==Passage 2:George Albert II, Count of Erbach-FürstenauGeorge Albert II, Count ofErbach-Fürstenau (26 February 1648 – 23 March 1717), was a member of the German House of Erbach who held the fiefs of Fürstenau, Schönberg, Seeheim, Reichenberg and Breuberg.Born in Fürstenau, he was theninth child and sixth (but fourth surviving) son of George Albert I, Count of Erbach-Schönberg and his third wife Elisabeth Dorothea, a daughter of George Frederick II, Count of Hohenlohe-Waldenburg in Schillingsfürst.He was born three months after his father's death, on 25 November 1647.LifeHe pursued a military career and became an Oberstleutnant of the Imperial army.Following the division of the Erbach patrimony in 1672,George Albert II received the districts of Schönberg, Seeheim and 1/4 of Breuberg; in 1678, following the death of his brother George IV, he added to his domains the districts of Fürstenau and Reichenberg.GeorgeAlbert II died in Fürstenau aged 69 and was buried in Michelstadt.== Notes ==Passage 3:George Albert I, Count of Erbach-SchönbergGeorge Albert I, Count of Erbach-Schönberg (16 December 1597 – 25 November1647), was a German prince member of the House of Erbach and ruler over Schönberg, Seeheim, Reichenberg, Fürstenau and since 1643 over all the Erbach family lands.Born in Erbach, he was the fourth child andsecond (but eldest surviving) son of George III, Count of Erbach-Breuberg and his fourth wife Maria, a daughter of Count Albert X of Barby-Mühlingen.LifeAfter the death of their father, George Albert I and his survivingelder half-brothers divided the Erbach domains in 1606: he received the districts of Schönberg and Seeheim.In 1617 he was captured by pirates and taken to Tunis, but shortly after he was ransomed.In 1623, after thedeath of his eldest half-brother Frederick Magnus without surviving issue, the remaining brothers divided his domains: George Albert I received the district of Reichenberg.In 1627, with the death of anotherhalf-brother, John Casimir, unmarried and without issue, was made another land division; this time George Albert I received Fürstenau. Finally, the death of his last surviving half-brother Louis I in 1643 without livingsons, allowed George Albert I to reunite all the Erbach family possessions.George Albert I died in Erbach aged 49 and was buried in Michelstadt.Marriages and IssueIn Erbach on 29 May 1624 George Albert I marriedfirstly with Magdalena (13 November 1595 – 31 July 1633), a daughter of Johann VI, Count of Nassau-Dillenburg and his third wife Johannetta of Sayn-Wittgenstein. They had six children:Ernest Louis Albert (6 October1626 – 10 May 1627).Louise Albertine (5 October 1628 – 20 October 1645).George Ernest, Count of Erbach-Wildenstein (7 October 1629 – 25 August 1669).Maria Charlotte (24 March 1631 – 8 June 1693), married on15 June 1650 to Count Johann Ernest of Isenburg-Büdingen in Wächtersbach.Anna Philippina (15 July 1632 – 16 March 1633).Stillborn son (31 July 1633).On 23 February 1634 George Albert I married secondly withAnna Dorothea (1612 – 23 June 1634), a daughter of Albert, Schenk of Limpurg-Gaildorf and his wife Emilie of Rogendorf. They had no children.In Frankfurt am Main on 26 July 1635 George Albert I married thirdly withElisabeth Dorothea (27 August 1617 – 12 November 1655), a daughter of George Frederick II, Count of Hohenlohe-Waldenburg in Schillingsfürst and his wife Dorothea Sophie of Solms-Hohensolms. They had ninechildren:George Frederick, Count of Erbach-Breuberg (6 October 1636 – 23 April 1653).William Louis (born and died 7 December 1637).Sophie Elisabeth (13 May 1640 – 18 June 1641).Juliana Christina Elisabeth (10September 1641 – 26 November 1692), married on 12 December 1660 to Count Salentin Ernest of Manderscheid in Blankenheim.George Louis I, Count of Erbach-Erbach (8 May 1643 – 30 April 1693).George Albert (14May 1644 – 27 March 1645).Mauritia Susanna (30 March 1645 – 17 November 1645).George IV, Count of Erbach-Fürstenau (12 May 1646 – 20 June 1678).George Albert II, Count of Erbach-Fürstenau (posthumously26 February 1648 – 23 March 1717).== Notes ==Passage 4:George Louis I, Count of Erbach-ErbachGeorge Louis I, Count of Erbach-Erbach (8 May 1643 – 30 April 1693), was a German prince member of the House ofErbach and ruler over Erbach, Freienstein, Wildenstein, Michelstadt and Breuberg.Born in Fürstenau, he was the fifth child and third (but second surviving) son of George Albert I, Count of Erbach-Schönberg and histhird wife Elisabeth Dorothea, a daughter of George Frederick II, Count of Hohenlohe-Waldenburg in Schillingsfürst.LifeBecause he and his brothers were still minors at the time of their father's death in 1647, theguardianship and rule over the Erbach domains were assigned to their eldest half-brother George Ernest, who ruled alone until his death in 1669, without issue. George Louis I and his surviving younger brothers GeorgeIV and George Albert II ruled jointly the Erbach lands until 1672, when was made the formal division of their possessions: George Louis I received the districts of Erbach, Freienstein and Wildenstein.The death of GeorgeIV in 1678 without surviving issue forced another division in the Erbach patrimony; this time George Louis received the districts of Michelstadt and Breuberg.George Louis I died in Arolsen aged 49 and was buried inMichelstadt.Marriage and issueIn Culemborg on 26 December 1664 George Louis I married with Countess Amalia Katharina of Waldeck-Eisenberg (13 August 1640 – 4 January 1697), a daughter of Philipp Dietrich,Count of Waldeck-Eisenberg and his wife Maria Magdalena von Nassau-Siegen. They had sixteen children:Henriette (27 September 1665 – 28 September 1665).Henriette Juliane (15 October 1666 – 27 February1684).Philipp Louis, Count of Erbach-Erbach (10 June 1669 – 17 June 1720).Charles Albert Louis (16 June 1670 – k.a. Dapfing a.d.Donau, 18 August 1704).George Albert (born and died 1 July 1671).Amalie Katharina(13 May 1672 – 18 June 1676).Frederick Charles (19 April 1673 – 20 April 1673).A son (born and died 16 September 1674).Wilhelmine Sophie (16 February 1675 – 20 August 1675).Magdalena Charlotte (6 February1676 – 3 December 1676).Wilhelm Louis (21 March 1677 – 19 February 1678).Amalie Katharina (born and died 18 February 1678).Fredericka Charlotte (19 April 1679 – 21 April 1679).Frederick Charles, Count ofErbach-Limpurg (21 May 1680 – 20 February 1731).Ernest (23 September 1681 – 2 March 1684).Sophia Albertine (30 July 1683 – 4 September 1742), married on 4 February 1704 to Ernest Frederick I, Duke ofSaxe-Hildburghausen.== Notes ==Passage 5:George Frederick, Count of Erbach-BreubergGeorge Frederick, Count of Erbach-Breuberg (6 October 1636 – 23 April 1653), was a German prince member of the House ofErbach and ruler over Breuberg.He was the eldest child of George Albert I, Count of Erbach-Schönberg and his third wife Elisabeth Dorothea, a daughter of George Frederick II, Count of Hohenlohe-Waldenburg inSchillingsfürst.LifeBecause he and his brothers were still minors at the time of their father's death in 1647, the guardianship and rule over the Erbach domains were assigned to their eldest half-brother George Ernest,who in 1653 gave George Frederick the district of Breuberg when he attained his majority; however, he died shortly after, unmarried and childless, and Breuberg merged back to the rule of George Ernest.== Notes==Passage 6:John Casimir, Count of Erbach-BreubergJohn Casimir, Count of Erbach-Breuberg (10 August 1584 – 14 January 1627), was a German prince member of the House of Erbach and ruler over Breuberg,Wildenstein and Fürstenau.Born in Erbach, he was the eleventh child and fourth (but third surviving) son of George III, Count of Erbach-Breuberg and his second wife Anna, a daughter of Frederick Magnus, Count ofSolms-Laubach-Sonnenwalde.LifeAfter the death of their father, John Casimir and his surviving brothers divided the Erbach domains in 1606: he received the districts of Breuberg and Wildenstein. In 1623, after thedeath of his eldest brother Frederick Magnus without surviving issue, the remaining brothers divided his domains: John Casimir received the district of Fürstenau.John Casimir died in Schweidnitz aged 41 and was buriedin Michelstadt. Because he never married or had children, his brothers divided his land after his death.== Notes ==Passage 7:George August, Count of Erbach-SchönbergGeorge August was the Count ofErbach-Schönberg and an Imperial counselor.BiographyHe was the youngest son of George Albert II, Count of Erbach-Fürstenau and Countess Anna Dorothea of Hohenlohe-Waldenburg. He was born on Sunday 17 June1691 in Waldenburg. Georg died on Wednesday 29 March 1758 in Konig, aged 66.FamilyAt the age of 28, Georg married Ferdinande Henriette, Countess of Stolberg-Gedern, aged 20, on Friday 15 December 1719 inGedern. She was born on Friday 2 October 1699 in Gedern, daughter of Ludwig Christian of Stolberg-Wernigerode and Duchess Christine of Mecklenburg-Güstrow. Ferdinande died on Saturday 31 January 1750 inErbach, aged 50.IssueCountess Christine of Erbach-Schonberg (b. Schönberg, Starkenburg, Hesse-Darmstadt, 5 May 1721 – d. Eschleiz, Reuss-Juengere-Linie, Thuringia, 26 November 1769), married in Schönberg on2 October 1742 to Heinrich XII, Count of Reuss-Schleiz (Schleiz 15 May 1716-Kirschkau 25 June 1784).Georg Ludwig II, Count of Erbach-Schonberg (b. Schönberg, 27 January 1723 – d. Plön, Holstein, 11 February1777), married in Plön on 11 November 1764 to Duchess Friederike of Schleswig-Holstein-Sonderburg-Plön (1736–1769).Count Franz Karl of Erbach (b. Schönberg, 28 July 1724 – d. Schönberg, 29 September 1788),married in Bergheim, Oberhesse, Hesse-Darmstadt on 4 September 1778 to Countess Auguste Karoline of Ysenburg und Büdingen zu Büdingen.Christian Adolf, Count of Erbach (b. Gedern, 23 August 1725 – d. Gedern,29 March 1726).Countess Karoline Ernestine of Erbach-Schönberg  (b. Gedern, 20 August 1727 – d. Ebersdorf, 22 April 1796), married Heinrich XXIV, Count Reuss-Ebersdorf, on 28 June 1754 in Thurnau, Bavaria.CountChristian of Erbach (b. Gedern, 7 October 1728 – d. Mergentheim, 29 May 1799).Countess Auguste Friederike of Erbach (b. Schönberg, 20 March 1730 – d. Thurnau, 5 September 1801), married in Schönberg on 13September 1753 to Christian Count of Giech-Wolfstein.Count Georg August of Erbach (b. Schönberg, 9 March 1731 – d. König, 8 February 1799).Count Karl of Erbach-Schonberg (b. Schönberg, 10 February 1732 – d.Schönberg, 29 July 1816) married in Cernetice, Strakonice, Bohemia then Habsburg monarchy, now Czech Republic, on 1 July 1783 to Maria Johanna Nepomucena Zadubsky von Schönthal.Count Friedrich of Erbach (b.Schönberg, 22 January 1733 – d. Schönberg, 6 April 1733).Countess Louise Leonore of Erbach (b. Schönberg, 26 August 1735 – d. Schönberg, 23 January 1816), married on 6 July 1750 to Leopold Casimir, Count ofRechteren.Count Kasimir of Erbach (b. Schönberg, 27 September 1736 – d. Prague, Bohemia then Habsburg monarchy, now Czech Republic, 6 April 1760).Count Gustav Ernst of Erbach-Schönberg  (b. Schönberg, 27April 1739 – d. Zwingenberg, 17 February 1812), married in Rottleberode on 3 August 1753 to Countess Henriette of Stolberg-Stolberg.Passage 8:George Ernest, Count of Erbach-WildensteinGeorge Ernest, Count ofErbach-Wildenstein (7 October 1629 – 25 August 1669), was a German prince member of the House of Erbach and ruler over Wildenstein, Kleinheubach und Breuberg.He was the third child and second (but eldestsurviving son) of George Albert I, Count of Erbach-Schönberg and his first wife Magdalena, a daughter of Johann VI, Count of Nassau-Dillenburg.LifeAfter the death of his father in 1648, he ruled jointly with hishalf-brothers their domains until 1653, when he ceded Breuberg to George Frederick, but his early death allowed him to reunite this district to his government. Because his other three half-brothers are still minors,George Ernest continue to be sole ruler until his death.In Fürstenau on 22 November 1656 George Ernest married with her step-aunt Charlotte Christiana (6 November 1625 – 13 August 1677), a daughter of GeorgeFrederick II, Count of Hohenlohe-Waldenburg in Schillingsfürst and his wife Dorothea Sophie of Solms-Hohensolms. They had no children.George Ernest died in Kleinheubach aged 39. Because he died without issue, hisdomains where inherited by his surviving half-brothers, who ruled jointly until 1672, when they divided their lands between them.== Notes ==Passage 9:Frederick Magnus, Count of Erbach-FürstenauFrederick Magnus,Count of Erbach-Fürstenau (18 April 1575 – 26 March 1618), was a German prince member of the House of Erbach and ruler over Fürstenau and Reichenberg.Born in Erbach, he was the third child and second (buteldest surviving) son of George III, Count of Erbach-Breuberg and his second wife Anna, a daughter of Frederick Magnus, Count of Solms-Laubach-Sonnenwalde. He was named after his maternal grandfather.LifeAfterthe death of their father, Frederick Magnus and his surviving brothers divided the Erbach domains in 1606: he received the districts of Fürstenau and Reichenberg.Frederick Magnus died in Reichenberg aged 42 and wasburied in Michelstadt. Because he died without surviving male issue, his brothers divided his domains between them.Passage 10:Louis I, Count of Erbach-ErbachLouis I, Count of Erbach-Erbach (3 September 1579 – 12April 1643), was a German prince member of the House of Erbach and ruler over Erbach, Freienstein, Michelstadt, Bad König and Wildenstein.Born in Erbach, he was the seventh child and third (but second surviving)son of George III, Count of Erbach-Breuberg and his second wife Anna, a daughter of Frederick Magnus, Count of Solms-Laubach-Sonnenwalde.LifeAfter the death of their father, Louis I and his surviving brothersdivided the Erbach domains in 1606: he received the districts of Erbach and Freienstein.When their older brother Frederick Magnus died in 1618 without surviving male issue, the brothers divided his domains amongthem, but this took place only in 1623, when Louis I received Michelstadt and Bad König. In 1627, the death of another of the brother, John Casimir, unmarried and childless, caused another division of the paternalinheritance: this time, Louis I received Wildenstein.Louis died in Erbach aged 63 and was buried in Michelstadt. Because he died without surviving male issue, his only remaining brother, George Albert I inherited hisdomains, and with this reunited all the Erbach family lands.== Notes =="}
+{"doc_id":"doc_16","qid":"","text":"Passage 1:Agatha (wife of Samuel of Bulgaria)Agatha (Bulgarian: Агата, Greek: Άγάθη; fl. late 10th century) was the wife of Emperor Samuel of Bulgaria.BiographyAccording to a later addition to the history of the late-11th-century Byzantine historian John Skylitzes, Agatha was a captive from Larissa, and the daughter of the magnate of Dyrrhachium, John Chryselios. Skylitzes explicitly refers to her as the mother of Samuel's heir Gavril Radomir, which means that she was probably Samuel's wife. On the other hand, Skylitzes later mentions that Gavril Radomir himself also took a beautiful captive, named Irene, from Larissa as his wife. According to the editors of the Prosopographie der mittelbyzantinischen Zeit, this may have been a source of confusion for a later copyist, and Agatha's real origin was not Larissa, but Dyrrhachium. According to the same work, it is likely that she had died by ca. 998, when her father surrendered Dyrrhachium to the Byzantine emperor Basil II.Only two of Samuel's and Agatha's children are definitely known by name: Gavril Radomir and Miroslava. Two further, unnamed, daughters are mentioned in 1018, while Samuel is also recorded as having had a bastard son.Agatha is one of the central characters in Dimitar Talev's novel Samuil.Passage 2:Nína TryggvadóttirNína Tryggvadóttir (March 16, 1913 – June 18, 1968) was born Jónína Tryggvadóttir in Seyðisfjörður, Iceland. She was one of Iceland's most important abstract expressionist artists and one of very few Icelandic female artists of her generation.Early lifeNína Tryggvadóttir was born on March 16, 1913, in Seyðisfjörður. In 1920 the family moved to Reykjavik. She studied art from Ásgrímur Jónsson, a close relative on her father’s side. From 1933 to 1935 she also attended classes of Finnur Jonsson and Johann Briem. She moved to Copenhagen in 1935 where she studied art at the Royal Academy of Art. After graduating from the Academy in 1939 she spent time studying in Paris and was quite taken by the city.CareerIn 1942 she and her fellow artist Louisa Matthíasdóttir moved to New York City to study at the Art Students League of New York and develop her art further. There she took an active part in the city’s art scene.In 1949 she married Alfred L. Copley (alter ego: L. Alcopley). Later that year she went to Iceland for a short visit. There she was informed that she was not able to return to the United States because she was suspected of being a Communist sympathizer.During her exile from the United States she lived in various places in Europe, Iceland being one of them. Copley joined her in Paris where they lived for a few years together with their daughter Una Dóra Copley, born 1951. During those years Nina kept making and practicing her art, exhibiting in many places and traveling through Europe. They returned to New York City in 1959 where Nína continued to work on her art and exhibiting mostly in Europe. During all her years abroad Nína kept exhibiting in Iceland and was her input very valuable to the art society in Iceland.Mainly working in painting she also did paper collage, stained glass work, mosaic and more. She frequently based her compositions on nature where Icelandic landscape and the Nordic light played an important role.DeathShe died on June 18, 1968, in New York.Legacy and recognitionIn 2012, a crater on Mercury was named after Tryggvadóttir.In May 2018, the Reykjavík City Council signed a declaration of intent between the city and couple Una Dóra Copley and Scott Jeffries to set up an art museum dedicated to Nína Tryggvadóttir. The couple donated their art collection to the city.In 2023 her work was included in the exhibition Action, Gesture, Paint: Women Artists and Global Abstraction 1940-1970 at the Whitechapel Gallery in London.See alsoList of Icelandic women artistsPassage 3:Alfred L. CopleyAlfred Lewin Copley (1910–1992) was a German-American medical scientist and an artist at the New York School in the 1950s. As an artist he worked under the name L. Alcopley. He is best known as an artist for his abstract expressionist paintings, and as a scientist for his work in the field of hemorheology. He was married to the Icelandic artist Nína Tryggvadóttir.Work as a medical scientistAs a scientist, Copley studied the rheology of blood. In 1948 he introduced the word biorheology to describe rheology in biological systems.In 1952 he introduced the word hemorheology, to describe the study of the way blood and blood vessels function as part of the living organism.In 1966 he established the International Society of Hemorheology, which changed its name and scope in 1969 to the International Society of Biorheology (ISB).  In 1972 the ISB awarded him its Poiseuille gold medal.Work as an artistIn 1949 he was one of twenty artists who founded the Eighth Street Club. The group also included Franz Kline, Willem de Kooning and Alcopley's close friend, the composer Edgard Varèse.He participated in the Ninth Street Show in 1951 and had a solo exhibition at the Stedelijk Museum, Amsterdam in 1962. His work is held in the collection of the National Museum of Modern Art, Tokyo.See alsoBiorheology, the study of flow properties(rheology) of biological fluids.Hemorheology, the study of flow properties of blood and its elements .Passage 4:James Copley (bobsleigh)James Copley (born October 18, 1951) is an American bobsledder. He competed in the four man event at the 1972 Winter Olympics.Passage 5:Pheonix CopleyPheonix Copley (born January 18, 1992) is an American professional ice hockey goaltender for the  Los Angeles Kings of the National Hockey League (NHL).Playing careerUSHL and CollegeUndrafted, Copley played in the United States Hockey League (USHL) with the Tri-City Storm and Des Moines Buccaneers before committing to play collegiate hockey with Michigan Tech of the Western Collegiate Hockey Association (WCHA). At the conclusion of his sophomore season, Copley opted to turn professional in agreeing to a two-year entry-level contract with the Washington Capitals on March 20, 2014.St. Louis Blues and Washington CapitalsCopley was assigned to AHL affiliate, the Hershey Bears, to begin his first full professional season in 2014–15. In sharing the crease, he impressed with the Bears, earning 17 wins in 26 games. In the off-season, Copley was included in a trade, which also included Troy Brouwer and a third-round pick in 2016, to the St. Louis Blues in exchange for T. J. Oshie on July 2, 2015.In the 2015–16 season, Copley made his NHL debut with the Blues in relief in a defeat to the Nashville Predators on February 27, 2016.During the 2016–17 season, on January 20, 2017, Copley was recalled from the Chicago Wolves of the AHL by the Blues. He made the first start of his NHL career on January 21 against the Winnipeg Jets, where the Blues lost 5–3. After he was returned to the Wolves, on February 27, 2017, Copley was traded back to the Capitals in a deadline trade along with Kevin Shattenkirk in exchange for Zach Sanford, Brad Malone, a 2017 first-round pick, and a conditional second-round pick in 2019. Copley was called up to the NHL during the Capitals' 2018 Stanley Cup playoffs run and although he did not play during the playoffs, he stayed with the team as they won the 2018 Stanley Cup.Copley made the Capitals opening-night roster to begin the 2018–19 season. He recorded his first NHL win in a 4–3 shootout win over the Calgary Flames on October 27, 2018. He spent the 2019–20 and 2020–21 seasons with the Hershey Bears, where he earned the Harry \"Hap\" Holmes Memorial Award with Zachary Fucale for the 2020–21 season's best save percentage.Los Angeles KingsAs a free agent following the 2021–22 season, Copley signed a one-year, $850,000 contract with the Los Angeles Kings on July 13, 2022. After Kings goaltenders Cal Petersen and Jonathan Quick struggled at the start of the 2022–23 season, the Kings called up Copley from the AHL in December 2022. Copley would quickly established himself as the team's starting goaltender, becoming just the fifth goaltender in franchise history to win seven games in a row.Personal lifeCopley was born on January 18, 1992, in North Pole, Alaska, to parents Peter Copley and Mary Sanford. His older brother Navarone also plays ice hockey. At a young age, his family moved to Ohio so his father could pursue an advanced degree. Eventually, his parents divorced and Mary, Navarone and Pheonix moved back to Alaska. In honor of his birthplace, Copley has candy canes on his goaltender mask.Career statisticsPassage 6:Paul CopleyPaul Mackriell Copley (born 25 November 1944) is an English actor and voiceover artist. From 2011 to 2015 he appeared as Mr. Mason, father of William Mason, in 16 episodes of Downton Abbey, and from 2020 to 2021, he appeared in the ITV soap opera Coronation Street as Arthur Medwin.Early lifeCopley was born in Denby Dale, West Riding of Yorkshire, and grew up beside a dairy farm there. His father, Harold, was involved with local amateur dramatic productions, as were the rest of his family. He went to Penistone Grammar School, then to the Northern Counties College of Education in Newcastle upon Tyne, where he received an Associate of the Drama Board (ADB) in Drama. He taught English and Drama in Walthamstow, before he joined the Leeds Playhouse Theatre-in-education Company in 1971.CareerCopley was the male lead character in the four-part BBC series Days of Hope in 1975, which depicted events between the First World War and the General Strike from a family involved in socialist politics.In 1976, Copley won the Laurence Olivier Award for Actor of the Year in a New Play for his role in John Wilson's For King and Country.After appearing as Private Wicks in the film A Bridge Too Far (1977), he played a small but noticeable role in Zulu Dawn (1979) as Cpl Storey in the British Army. He appeared in the then controversial ATV drama Death of a Princess (1980), playing a British witness to the killing of an Arabian princess and her lover. He has played Matthews in Hornblower, Ian in Roughnecks and Jerry in This Life and Peter Quinlan in The Lakes. In the critically acclaimed Queer as Folk he played Nathan Maloney's father. He was in Big Finish's July 2002 Doctor Who story Spare Parts and appeared in Shameless as a water sports enthusiast. In 1980 he appeared in the highly successful comedy drama series Minder playing George Palmer in episode The Old School Tie. He narrates the Channel 4 programme How Clean Is Your House?. He featured in the ITV children's hit show Best Friends in 2005–2006, playing the grandfather.He is a regular actor in Radio 4 drama, usually in gritty or romantic plays or series about hard-working folk set in the north of England, often repeated on BBC Radio 4 Extra. Whenever a genial Yorkshire accent has been cast in the BBC radio drama department, he has often been summoned. Copley played the long-suffering teacher Geoff Long in Radio 4's long running King Street Junior. Covering ten series and some seventy-six episodes, this ran on BBC Radio 4 from 1985 to 1998. He also narrated the Yorkshire Television nine-part serial adaptation of The Pilgrim's Progress (1985) entitled Dangerous Journey.On 13 February 2006, Copley appeared as an angry hostage-taker in an episode of the crime drama Life on Mars. Copley appeared in the TV Soap Coronation Street on 8 August 2007, portraying a character called Ivor Priestley, and in the TV adaptation of The Worst Witch by Jill Murphy, as wizard and former-frog Algernon Rowan-Webb.From 1998 to 2003, Copley played Mathews in the Meridian Television series Hornblower. He appeared as Clement MacDonald in Children of Earth, the third series of BBC One show Torchwood, in 2009. The following year, he was seen in episodes of BBC One shows Casualty and Survivors.  From 2011 to 2015 he appeared as Mr. Mason, father of William Mason, in 16 episodes of Downton Abbey; in 2012, he played Alan in the television series White Heat.Between 2012 and 2020 he played Harry in 5 seasons of the TV series Last Tango in Halifax. In 2014 he played the part of Malcolm Kenrich in the episode \"On Harbour Street\" of the TV series Vera.In 2014 he narrated the Channel 5 programme The Railway – First Great Western of which there are 12 episodes. He also features as the father in Tom Wrigglesworth's Hang-Ups, a comedy on BBC Radio 4.In 2016, he appeared in the BBC series The Coroner episode 2.4 \"The Beast of Lighthaven\" as John Roxwell.In 2017, Copley appeared in Jimmy McGovern's acclaimed series Broken, Red Production Company's Trust Me, and in episode 5 of Doc Martin he played the eccentric Walter O'Donnell. He also took part in What Does an Idea Sound Like promoting the Veterans Work Campaign and narrated A Celebrity Taste of Italy for Channel 5.In 2018, he played the role of Charlie Rainbird in the short film Thousand Yesterdays, currently in post production, and continues to voice Morrisons advertisements on radio and television in the UK.Additionally in 2018, Copley played Charity Dingle's father Obadiah in Emmerdale.On 7 February 2019, he made his first appearance as Leonard (Jill Archer's new love interest) in the BBC radio 4 soap Opera The Archers.On 9 January 2020 he appeared as Feste in Father Brown on BBC1.Personal lifeHe married the actress Natasha Pyne in 1972, after performing with her in a Leeds Playhouse production of Frank Wedekind's Lulu, adapted by Peter Barnes, directed by Bill Hays in 1971.FilmographyRadioPassage 7:Clara McMillenClara Bracken McMillen (October 2, 1898 – April 30, 1982) was an American researcher. The wife of Alfred Kinsey, whose nickname for her was \"Mac\", she contributed to the Kinsey Reports on human sexuality.Life and careerBorn in Bloomington, Indiana, the only child of Josephine (née Bracken) and William Lincoln McMillen. She enjoyed a middle class upbringing, growing up in Brookville, Indiana. Her father was an English professor and her mother studied music but gave up her career once her daughter was born. Clara described her parents as 'in-active Protestants'. She excelled at sports as a teenager, including swimming. She attended Fort Wayne Public High School. In 1924, tragedy struck and her father died of pneumonia, then her mother died six months later.In 1917, she enrolled to study chemistry at Indiana University, graduating with Phi Beta Kappa, Sigma Xi, and other honors.  She also attended graduate school which she eventually left after marrying Alfred Kinsey.  She first met him briefly when he visited Indiana University before joining the faculty and they met again at a zoology department picnic in 1920.  The couple were married from 3 June 1921 until Alfred's death in 1956. Alfred was bisexual and polyamorous. Clara and Kinsey had an open relationship.  Clara slept with other men (as well as with him), and Kinsey slept with other men, including his student Clyde Martin. Over the years, she supported and contributed to her husband's work and legacy.Alfred and Clara had four children: Donald (1922–1927), Anne (1924–2016), Joan (1925–2009), and Bruce (1928).  Donald died of diabetes shortly before his fifth birthday. Alfred died in 1956.DeathClara Kinsey died on April 30, 1982, and is buried with her husband in Bloomington, Indiana.Portrayal in mediaLaura Linney was nominated for the Academy Award for Best Supporting Actress for her portrayal of Clara McMillen in the 2004 film Kinsey.Passage 8:Empress ShōkenEmpress Dowager Shōken (\u0000\u0000\u0000\u0000\u0000, Shōken-kōtaigō, 9 May 1849 – 9 April 1914), born Masako Ichijō (\u0000\u0000\u0000\u0000, Ichijō Masako), was the wife of Emperor Meiji of Japan. She is also known under the technically incorrect name Empress Shōken (\u0000\u0000\u0000\u0000, Shōken-kōgō). She was one of the founders of the Japanese Red Cross Society, whose charity work was known throughout the First Sino-Japanese War.Early lifeLady Masako Ichijō was born on 9 May 1849, in Heian-kyō, Japan. She was the third daughter of Tadayoshi Ichijō, former Minister of the Left and head of the Fujiwara clan's Ichijō branch. Her adoptive mother was one of Prince Fushimi Kuniie's daughters, but her biological mother was Tamiko Niihata, the daughter of a doctor from the Ichijō family. Unusually for the time, she had been vaccinated against smallpox. As a child, Masako was somewhat of a prodigy: she was able to read poetry from the Kokin Wakashū by the age of 4 and had composed some waka verses of her own by the age of 5. By age seven, she was able to read some texts in classical Chinese with some assistance and was studying Japanese calligraphy. By the age of 12, she had studied the koto and was fond of Noh drama. She excelled in the studies of finances, ikebana and Japanese tea ceremony.The major obstacle to Lady Masako's eligibility to become empress consort was the fact that she was 3 years older than Emperor Meiji, but this issue was resolved by changing her official birth date from 1849 to 1850. They became engaged on 2 September 1867, when she adopted the given name Haruko (\u0000\u0000), which was intended to reflect her serene beauty and diminutive size.The Tokugawa Bakufu promised 15,000 ryō in gold for the wedding and assigned her an annual income of 500 koku, but as the Meiji Restoration occurred before the wedding could be completed, the promised amounts were never delivered. The wedding was delayed partly due to periods of mourning for Emperor Kōmei,  for her brother Saneyoshi, and the political disturbances around Kyoto between 1867 and 1868.Empress of JapanLady Haruko and Emperor Meiji's wedding was finally officially celebrated on 11 January 1869. She was the first imperial consort to receive the title of both nyōgō and of kōgō (literally, the emperor's wife, translated as \"empress consort\"), in several hundred years. However, it soon became clear that she was unable to bear children. Emperor Meiji already had 12 children by 5 concubines, though: as custom in Japanese monarchy, Empress Haruko adopted Yoshihito, her husband's eldest son by Lady Yanagihara Naruko, who became Crown Prince. On 8 November 1869, the Imperial House departed from Kyoto for the new capital of Tokyo. In a break from tradition, Emperor Meiji insisted that the Empress and the senior ladies-in-waiting should attend the educational lectures given to the Emperor on a regular basis about national conditions and developments in foreign nations.InfluenceOn 30 July 1886, Empress Haruko attended the Peeresses School's graduation ceremony in Western clothing. On 10 August, the imperial couple received foreign guests in Western clothing for the first time when hosting a Western Music concert.From this point onward, the Empress' entourage wore only Western-style clothes in public, to the point that in January 1887 Empress Haruko issued a memorandum on the subject: traditional Japanese dress was not only unsuited to modern life, but Western-style dress was closer than the kimono to clothes worn by Japanese women in ancient times.In the diplomatic field, Empress Haruko hosted the wife of former US President Ulysses S. Grant during his visit to Japan. She was also present for her husband's meetings with Hawaiian King Kalākaua in 1881. Later that same year, she helped host the visit of the sons of future British King Edward VII: Princes Albert Victor and George (future George V), who presented her with a pair of pet wallabies from Australia.On  26 November 1886, Empress Haruko accompanied her husband to Yokosuka, Kanagawa to observe the new Imperial Japanese Navy cruisers Naniwa and Takachiho firing torpedoes and performing other maneuvers. From 1887, the Empress was often at the Emperor's side in official visits to army maneuvers. When Emperor Meiji fell ill in 1888, Empress Haruko took his place in welcoming envoys from Siam, launching warships and visiting Tokyo Imperial University. In 1889, Empress Haruko accompanied Emperor Meiji on his official visit to Nagoya and Kyoto. While he continued on to visit naval bases at Kure and Sasebo, she went to Nara to worship at the principal Shinto shrines.Known throughout her tenure for her support of charity work and women's education during the First Sino-Japanese War (1894–95), Empress Haruko worked for the establishment of the Japanese Red Cross Society. She participated in the organization's administration, especially in their peacetime activities in which she created a money fund for the International Red Cross. Renamed \"The Empress Shōken Fund\", it is presently used for international welfare activities. After Emperor Meiji moved his military headquarters from Tokyo to Hiroshima to be closer to the lines of communications with his troops, Empress Haruko joined her husband in March 1895. While in Hiroshima, she insisted on visiting hospitals full of wounded soldiers every other day of her stay.DeathAfter Emperor Meiji's death in 1912, Empress Haruko was granted the title Empress Dowager (\u0000\u0000\u0000, Kōtaigō) by her adoptive son, Emperor Taishō. She died in 1914 at the Imperial Villa in Numazu, Shizuoka and was buried in the East "}
+{"doc_id":"doc_17","qid":"","text":"Passage 1:Abe MeyerAbe Meyer (1901–1969) was an American composer of film scores.Selected filmographyPainted Faces (1929)Honeymoon Lane (1931)Unholy Love (1932)A Strange Adventure (1932)Take the Stand(1934)Legong (1935)The Unwelcome Stranger (1935)Suicide Squad (1935)The Mine with the Iron Door (1936)The Devil on Horseback (1936)Song of the Trail (1936)County Fair (1937)The 13th Man (1937)Raw Timber(1937)Roaring Timber (1937)The Law Commands (1937)The Painted Trail (1938)My Old Kentucky Home (1938)The Secret of Treasure Island (1938)Saleslady (1938)Numbered Woman  (1938)The Marines Are Here(1938)Fisherman's Wharf (1939)Undercover Agent (1939)Passage 2:Tarcisio FuscoTarcisio Fusco was an Italian composer of film scores. He was the brother of the composer Giovanni Fusco and the uncle of operaticsoprano Cecilia Fusco.Selected filmographyBoccaccio (1940)Free Escape (1951)Abracadabra (1952)The Eternal Chain (1952)Beauties in Capri (1952)Milanese in Naples (1954)Conspiracy of the Borgias (1959)Passage3:Thomas MorseThomas Morse (born June 30, 1968) is a composer of film and concert music.Life and composing careerHe began his musical career while in high school, writing his first orchestral work. After receiving abachelor's degree in composition from the University of North Texas, Morse began a composition master's degree at USC in Los Angeles, changing over to the film scoring program in the second year.In the years thatfollowed, Morse composed orchestral scores for more than a dozen feature films including The Big Brass Ring, based on an Orson Welles script, with William Hurt & Miranda Richardson who received a Golden Globenomination for her performance; The Sisters (Maria Bello & Elizabeth Banks); and The Apostate (with Dennis Hopper), as well as the noted orchestral score for Jerry Bruckheimer's CBS series The Amazing Race.Workingparallel in the field of popular music, he created string arrangements on songs for numerous artists including a posthumous Michael Hutchence release entitled Possibilities.In 2013 he signed a worldwide publishingagreement with Music Sales Group in New York, parent company of G. Schirmer.Notable music for film and televisionNotable music for film and television:2014 Come Back to Me2005 The Sisters2001-2005 The AmazingRace (69 Episodes)2001 Lying in Wait2000 The Apostate1999 The Big Brass RingOpera2017 Frau SchindlerOther works2013 Code Novus (album)Passage 4:Yandé Codou, la griotte de SenghorYandé Codou, la griotte deSenghor is a 2008 Belgian-Senegalese documentary film written and directed by Angèle Diabang Brener and starring Yandé Codou Sène — two years prior to her death. The documentary is a portrayal of the life andwork of Yandé Codou Sène, official griot to President Léopold Sédar Senghor, and one of the most influential Senegalese and Senegambian artists for decades despite not recording her first album until the age ofsixty-five. The music is provided by Yandé Codou Sène, Wasis Diop and Youssou N'Dour.SynopsisThe griotte Yandé Codou Sène, who is now around 80 years old, is one of the last representatives of the Serer polyphonicpoetry. This documentary, shot over four years, is an intimate portrait of the diva that traveled through the history of Senegal by the side of one of the country's legendary figures, poet President, Léopold SédarSenghor. A sweet and bitter story about greatness, glory and the passage of time.AwardsFestival de Cine de Dakar 2008: Audience Award for Best Documentary (6 December 2008)Passage 5:André SenghorAndréKoupouleni Senghor (born 28 January 1986), is a Senegalese footballer who played as a striker. He is currently playing for Chinese Super League team Cangzhou Mighty Lions.Club careerSenghor was loaned to RajaCasablanca, where he scored two goals in his first league match, against CODM Meknès, the second was one of the best of season.Senghor also played an important role in Al-Karamah's run in the AFC ChampionsLeague 2007, while he was with the club on loan during 2007.International careerOn 28 March 2009, he made his debut for the Senegal national football team against Oman.Career statisticsAs of 3 January2023.NotesPassage 6:Bert GrundBert Grund (1920–1992) was a German composer of film scores.Selected filmographyCrown Jewels (1950)Immortal Light (1951)I Can't Marry Them All (1952)We're Dancing on theRainbow (1952)My Wife Is Being Stupid (1952)Knall and Fall as Detectives (1952)The Bachelor Trap (1953)The Bird Seller (1953)The Immortal Vagabond (1953)The Sun of St. Moritz (1954)The Witch (1954)The Majorand the Bulls (1955)Operation Sleeping Bag (1955)Love's Carnival (1955)The Marriage of Doctor Danwitz (1956)Between Time and Eternity (1956)That Won't Keep a Sailor Down (1958)Arena of Fear (1959)TheThousand Eyes of Dr. Mabuse (1960)The Count of Luxemburg (1972)Mathias Sandorf (1979, TV series)Die Wächter (1986, TV miniseries)Carmen on Ice (1990)Passage 7:Henri VerdunHenri Verdun (1895–1977) was aFrench composer of film scores.Selected filmographyNapoléon (1927)The Sweetness of Loving (1930)The Levy Department Stores (1932)The Lacquered Box (1932)The Weaker Sex (1933)The Flame (1936)Girls of Paris(1936)The Assault (1936)Les Disparus de Saint-Agil (1938)The Woman Thief (1938)Ernest the Rebel (1938)Rail Pirates (1938)The Fatted Calf (1939)Camp Thirteen (1940)The Man Without a Name (1943)The Bellman(1945)My First Love (1945)The Murderer is Not Guilty (1946)Distress (1946)The Fugitive (1947)The Ironmaster (1948)The Tragic Dolmen (1948)The Ladies in the Green Hats (1949)La Fugue de Monsieur Perle(1952)The Lovers of Midnight (1953)The Big Flag (1954)Blood to the Head (1956)Passage 8:Walter UlfigWalter Ulfig was a German composer of film scores.Selected filmographyDas Meer (1927)Venus im Frack(1927)Svengali (1927)Bigamie (1927)Homesick (1927)The Awakening of Woman (1927)The Famous Woman (1927)Alpine Tragedy (1927)The Strange Case of Captain Ramper (1927)Assassination (1927)Queen Louise(1927)Homesick (1927)Das Schicksal einer Nacht (1927)The Hunt for the Bride (1927)The Orlov (1927)Serenissimus and the Last Virgin (1928)Mariett Dances Today (1928))The Woman from Till 12 (1928)The Belovedof His Highness (1928)The Schorrsiegel Affair (1928)It Attracted Three Fellows (1928)Miss Chauffeur (1928)The King of Carnival (1928)The Weekend Bride (1928)Honeymoon (1928)Spring Awakening (1929)The Rightof the Unborn (1929)The Heath Is Green (1932)Höllentempo (1933)The Two Seals (1934)Pappi (1934)Mädchenräuber (1936)BibliographyJung, Uli & Schatzberg, Walter. Beyond Caligari: The Films of Robert Wiene.Berghahn Books, 1999.External linksWalter Ulfig at IMDbPassage 9:Alonso MudarraAlonso Mudarra (c. 1510 – April 1, 1580) was a Spanish composer of the Renaissance, and also played the vihuela, a guitar-shapedstring instrument.  He was an innovative composer of instrumental music as well as songs, and was the composer of the earliest surviving music for the guitar.BiographyThe place of his birth is not recorded, but hegrew up in Guadalajara, and probably received his musical training there.  He most likely went to Italy in 1529 with Charles V, in the company of the fourth Duke of the Infantado, Íñigo López de Mendoza, marqués deSantillana.  When he returned to Spain he became a priest, receiving the post of canon at the cathedral in Seville in 1546, where he remained for the rest of his life.  While at the cathedral, he directed all of the musicalactivities; many records remain of his musical activities there, which included hiring instrumentalists, buying and assembling a new organ, and working closely with composer Francisco Guerrero for variousfestivities.  Mudarra died in Seville, and his sizable fortune was distributed to the poor of the city according to his will.Mudarra wrote numerous pieces for the vihuela and the four-course guitar, all contained in thecollection Tres libros de musica en cifras para vihuela (\"Three books of music in numbers for vihuela\"), which he published on December 7, 1546 in Seville.  These three books contain the first music ever published forthe four-course guitar, which was then a relatively new instrument. The second book is noteworthy in that it contains eight multi-movement works, all arranged by \"tono\", or mode.Compositions represented in thispublication include fantasias, variations (including a set on La Folia), tientos, pavanes and galliards, and songs. Modern listeners are probably most familiar with his Fantasia X, which has been a concert and recordingmainstay for many years.   The songs are in Latin, Spanish and Italian, and include romances, canciones (songs), villancicos, (popular songs) and sonetos (sonnets).  Another innovation was the use of different signs fordifferent tempos:  slow, medium, and fast.References and further readingJohn Griffiths: \"Alonso Mudarra\", Grove Music Online ed. L. Macy (Accessed March 24, 2005), (subscription access)Gustave Reese, Music in theRenaissance.  New York, W.W. Norton & Co., 1954.  ISBN 0-393-09530-4Guitar Music of the Sixteenth Century, Mel Bay Publications (transcribed by Keith Calmes)The Eight Masterpieces of Alonso Mudarra, Mel BayPublications (transcribed by Keith Calmes)Fantasia VI in hypermedia (Shockwave Player required) at the BinAural Collaborative HypertextJacob Heringman and Catherine King: \"Alonso Mudarra songs and solos\".Magnatune.com (http://www.magnatune.com/artists/albums/heringman-mudarra/hifi_play)External linksFree scores by Alonso Mudarra in the Choral Public Domain Library (ChoralWiki)Free scores by Alonso Mudarra atthe International Music Score Library Project (IMSLP)Passage 10:Yandé Codou SèneYandé Codou Sène (also Yande Codou Sene) was a Senegalese singer from the Serer ethnic group. She was born in 1932 at Somb inthe Sine-Saloum delta and died on July 15, 2010 at Gandiaye in Sénégal. She was the official griot of president Léopold Sédar Senghor. Most of her music is in the Serer language.CareerYandé Codou sings in the oldSerer tradition and have had a significant impact on Senegambian music as well as artists including Youssou N'Dour whom she has inspired immensely. Although she has been singing since she was a child and have hada profound effect on Senegambia's music scene, she did not record her first album (Night Sky in Sine Saloum) until she was aged 65. Her first recording debut on an album \"Gainde\" was in 1995 that she shared withYoussou N'Dour in which she received rave reviews. In that same year, her vocals were showcased on the full-length album Youssou N'Dour Presents Yandé Codou Sène. RootsWorld described her as someone who:\"canmove mountains with her positively poetic voice.\"In Safi Faye's Mossane (a 1996 film), Yandé's powerful vocals received rave reviews whose song in the film is associated with the evocation of the Serer Pangool(ancestral spirits and Serer Saints in the Serer religion).President Senghor who is famous for adopting the African griot technique of \"naming\" in his poems is adopted from the Serer tradition as in his poem \"Auxtirailleurs Sénégalais morts pour la France.\"  Yandé Codou who is proficient in this technique used a similar technique in the funeral of President Senghor.AlbumsGainde, Yandé Codou Sène and Youssou N'Dour,1995Yandé Codou Sène, Night Sky in Sine Saloum, 1997TracksSalmon Faye (sang in a cappella)GaindeKeur Maang CodouBofia Tigue WagueneSalmon FayeGnaikha Gniore NdianesseNatangueKeur MangCodouFilmographyYandé Codou Sène, Diva Sérère, documentary film by Laurence Gavron, 2008Yandé Codou, la griotte de Senghor, documentary film by Angèle Diabang Brener, 2008Mossane, film by Safi Faye,1996Karmen Gei, film, directed by Joseph Gai Ramaka, 2001Ousmane Sembene's film Faat KineNotesExternal linksAll musicPortrait, Music. Télérama.frTelerama.frPortrait France24France24.comNew York Times reviewof MossanYandé Codou Sène, R.I.P. – Voice of America News"}
+{"doc_id":"doc_18","qid":"","text":"Passage 1:Secrets of a Door-to-Door SalesmanSecrets of a Door-to-Door Salesman is a 1973 sex comedy film directed by Wolf Rilla. Also known as Naughty Wives.PlotThe film is about a young man who gets a job as avacuum salesman and finds that he has to fight off advances from female customers.CastBrendan Price – David ClydeSue Longhurst – PennyFelicity Devonshire – SusanneVictoria Burgoyne – Sally CockburnGrahamStark - Charlie VincentChic Murray – PolicemanBernard Spear - Jake TripperJean Harrington – MartinaSteve Patterson – Anthony ClydeJacqueline Logan – Mrs. DonovanElizabeth Romilly – NancyJan Servais –JaneJacqueline Afrique – RachelJohnny Briggs - LomanKaren Boyes – GirlfriendDavid Rayner – Bruce, the art directorRon Alexander – Ron, the assistantNoelle Finch – Edith Simons, the reporterPassage 2:Bill Porter(salesman)William Douglas Porter (September 9, 1932 – December 3, 2013) was an American salesman, who worked for Watkins Incorporated based out of Winona, Minnesota. Born with cerebral palsy, Porter'sbackground and work was brought to the public's attention in 1995 when an Oregon-based newspaper published a series of feature stories about him.LifePorter was born in San Francisco, California, and at a young agemoved to Portland, Oregon along with his mother. He was unable to gain employment due to his cerebral palsy, but refused to go on disability. Porter eventually convinced Watkins Incorporated to give him adoor-to-door salesman job, selling its products on a seven-mile route in the Portland area. He eventually became Watkins' top seller, and worked for the company for over forty years.In 1995, the newspaper TheOregonian ran a feature story about Porter. The story of his optimistic determination made him the subject of media attention across the United States. He was featured in Reader's Digest and on ABC's 20/20. The20/20 broadcast received over 2000 phone calls and letters, which was the most ever for a 20/20 story. Porter was the subject of a 2002 made-for-TV movie on TNT called Door to Door, featuring William H. Macy, KyraSedgwick and Helen Mirren. In 2009 the Japanese TBS network aired a TV movie loosely based on Bill Porter, also called Door to Door. It starred Ninomiya Kazunari and Rosa Kato as fictional versions of Porter andBrady. Porter died of an infection in Gresham, Oregon, on December 3, 2013, at the age of 81.Passage 3:The Fuller Brush ManThe Fuller Brush Man is a 1948 American comedy film starring Red Skelton as adoor-to-door salesman for the Fuller Brush Company who becomes a murder suspect.PlotSuccess doesn't exactly stare the unfortunate street cleaner Red Jones (Red Skelton) in the eye, and when he decides to proposeto his sweetheart Ann Elliot (Janet Blair), who is a secretary at the Fuller Brush company, she demands that he makes something more of himself before she can accept the offer. She suggests he should follow theexample of a salesman and friend of hers, Keenan Wallick (Don McGuire), who works at her company. Red gets a chance to prove himself worthy sooner than he had expected when he is fired from his job as a cleanerby his boss, Gordon Trist (Nicholas Joy), because he accidentally sets a trash can on fire in the line of duty, and smashes Trist's car window. Ann gives him a chance to show his skills as a door-to-door salesman for theFuller Brush company, and he is teamed up with her friend Keenan. Both Ann and Red are unaware that Keenan himself has a romantic interest in Ann, and wants to get Red out of the way as soon as possible, so hecan pursue Ann without competition. Keenan assigns Red a list of the hardest homes, and Red fails tremendously with his task of selling to an almost impossible potential customer. He has a comical run-in with atroublesome small boy, and a beautiful model at another home tries to seduce him.Seeing how unsuccessful Red's sales attempts are, Keenan comes up with the idea of a bet – the winner gets to pursue Ann withoutinterference of the other man – which he suggests to Red. The bet is that Red won't be able to sell a single brush to the households on their run. Red takes the bet, and the next household on their run is the mansion ofhis old boss Gordon Trist. After Red tries to hide from Gordon and the groundskeeper, Gordon recognizes Red and sends him packing, but his wife comes after Red and buys ten brushes from him.Red returns to Annaand Keenan in high spirits, until he realizes he forgot to collect the payment money from Mrs. Trist. When Red comes back to the Trist home, he overhears a conversation between his former boss, Keenan, GregoryCruckston (Donald Curtis) and a few other persons, as they discuss their involvement in a racketeering operation. Red is caught eavesdropping and knocked unconscious after he is brought into the house. When hecomes back to life, Gordon has been murdered in the dark, and everyone present in the house is arrested by police lieutenant Quint (Arthur Space), all suspected of murder.Red is released since there is no evidencepointing to him being the killer, and when he comes home he discovers Mrs. Trist (Hillary Brooke) waiting for him with the money. Soon after, Sara arrives at his home, and shortly after that Freddie Trist (Ross Ford),Gordon's son, with two armed gangsters. The gangsters hold everyone hostage as they search in vain for the murder weapon that killed Gordon. Ann and Red conclude that the weapon must have been a Fuller brush,molded into a knife-looking object. Cruckston stops them from telling policeman Quint about the weapon, and it turns out Cruckston, who is Gordon's partner in crime, is the murderer. Ann and Red escape from him andhis gangsters. Cruckston is arrested and Red is the hero of the day, winning Ann's heart in the process.CastRed Skelton as Red JonesJanet Blair as Ann ElliottDon McGuire as Keenan WallickHillary Brooke as MildredTristAdele Jergens as Miss SharmleyRoss Ford as Freddie TristTrudy Marshall as Sara FranzenNicholas Joy as Commissioner Gordon TristDonald Curtis as Gregory CruckstonArthur Space as LieutenantQuintProductionThe project had been in development for four years. Producer Simon got permission from the Fuller Brush company and wrote the story with Skelton in mind but was unable to secure studio interest untilthe success of Miracle on 34th Street (1947) showed the benefits of commercial tie-ins for feature films. He set the project up at Columbia conditional upon MGM agreeing to loan him out.Producer Edward Small wasowed a favour by MGM as he agreed not to make a film called D'Artagnan to clash with their production of The Three Musketeers (1948). Small and Simon then purchased a story in the Saturday Evening Post by RoyHuggins.Fuller Brush gave their final approval provided it was clear in the final movie that the character Skelton played was an independent dealer and not an employee of the Fuller Brush company.See alsoThe FullerBrush GirlPassage 4:Wolf RillaWolf Peter Rilla (16 March 1920 – 19 October 2005) was a film director and writer of German background, although he worked mainly in the United Kingdom.Rilla is known for directingVillage of the Damned (1960). He wrote many books for students, such as The Writer and the Screen: On Writing for Film and Television and The A to Z of Movie Making.Early life and careerRilla was born in Berlin,where his father Walter Rilla was an actor and producer. In common with many others in entertainment and the arts, Walter recognised the dangers when Hitler came to power, and the family moved to London in 1934when Wolf was 14. He completed his schooling at the enlightened co-educational Frensham Heights School, Surrey, and went on to St Catharine's College, Cambridge. In 1942, he joined the BBC External Service'sGerman section, beginning as a script editor, but transferred to television in the late 1940s.Film and television careerRilla left the BBC staff in 1952 to pursue a career making films, but continued to take on televisionproductions as a freelance. For television, he directed episodes of series such as The Adventures of Aggie, a sitcom, and The Adventures of the Scarlet Pimpernel (both 1956), both produced for ITV, but also aimed atthe American market. Later, he wrote episodes of the Paul Temple television series.Meanwhile, in the cinema he worked for Group 3, a production company set up by the National Film Finance Corporation with MichaelBalcon, John Baxter and John Grierson in charge. The intention was to give young talent a chance to make modestly budgeted films (those costing less than £50,000), but the arrangement only survived until 1956. By1960, Rilla was working regularly for MGM-British Studios.His best remembered film, Village of the Damned (1960), dates from his period with the American studio's British subsidiary. Derived from John Wyndham'ssci-fi novel The Midwich Cuckoos. As well as directing the film, Rilla collaborated with producer Ronald Kinnoch (using the pseudonym George Barclay) and Stirling Silliphant on the adaptation. George Sanders co-starredwith Barbara Shelley. In his other film for MGM-British, Rilla directed his father, along with George Sanders and Richard Johnson, in Cairo (1963), a remake of John Huston's The Asphalt Jungle, with Tutankhamun'sjewels in a Cairo museum now the target of the robbers.His novels included Greek Chorus, The Dispensable Man, The Chinese Consortium and one simply entitled Movie.Rilla also wrote an episode of Doomwatch entitledThe Devil's Demolition  however the series was cancelled before it was produced.Personal lifeRilla married the actress and director Valerie Hanson after they appeared together in a BBC television production of ThePortugal Lady; the couple had a daughter, Madeleine, in 1955. In 1967, he married Shirley Graham-Ellis, a publicist for tea suppliers Jacksons of Piccadilly and London Films. Rilla and Graham-Ellis had a son, Nico, whohas been a filmmaker and chef. His daughter Madeline died in a car crash in 1985.After Rilla had held office in both the film technicians' union ACTT and the Directors' Guild, he and Shirley moved to the south of France,to buy and run a hotel at Fayence in Provence.FilmographyNoose for a Lady (1953)Glad Tidings (1953)The Large Rope (1953)Marilyn (US: Roadhouse Girl, 1953)The Black Rider (1954)The End of the Road (1954)StockCar (1955)The Blue Peter (1955)Pacific Destiny (1956)The Scamp (1957)Bachelor of Hearts (1958)Jessy (1959)Witness in the Dark (1959)Die zornigen jungen Männer (1960)Village of the Damned (1960)PiccadillyThird Stop (1960)Watch it, Sailor! (1961)The World Ten Times Over (1963)Cairo (1963)Pax? (1968)Secrets of a Door-to-Door Salesman (1973)Bedtime with Rosie (1974)Passage 5:Lee MiglinLee Albert Miglin (July 12,1924 – May 4, 1997) was an American business tycoon and philanthropist. After starting his career as a door-to-door salesman and then broker, Miglin became a successful real estate developer. He was an earlydeveloper of business parks. His firm, at one point, proposed the construction of the Miglin-Beitler Skyneedle, which was planned to be the tallest building in the world. Miglin was murdered in his home in May 1997 byAndrew Cunanan, a spreekiller.Life and careerMiglin was one of seven children born to a Roman Catholic family of Lithuanian descent. His father was a Czech immigrant who worked as a Central Illinois coal miner andalso owned a tavern, ice cream parlor, and soda distributorship. Miglin was born in Westville, Illinois.Miglin trained as an air cadet during World War II, before attending the University of Illinois.Miglin began hisprofessional career selling silverware door-to-door and pancake batter out of the trunk of his car. After this, he sold frozen cheesecakes, and subsequent to that sold TV dinners. He quit his salesman job to spend a sixmonth trip across Europe. After this, he decided to make an effort to go into real estate to make substantial money.In 1956, at the age of 31, Miglin began his real estate career. In the early 1960s, he took a job as abroker with Chicago real estate magnate Arthur Rubloff. At Arthur Rubloff & Co., Miglin would first get involved with warehouse construction, later moving into office development. One of the projects he  was involved inwas the development of the first two of the three towers at the President's Plaza office complex near Chicago's O'Hare International Airport. Miglin would later develop the third tower in 1985 with his firm Miglin-Beitler.Miglin was regarded as an early developer of the business park developments. He worked at Rubloff & Co. for 25 years.In 1959, Miglin married 20-year-old Marilyn Klecka, a Roman Catholic of Czech descent. Klecka, asuccessful entrepreneur known as the Queen of Makeovers, established a prominent perfume and cosmetics company and appeared on the Home Shopping Network. They would have two children together, Marlena(born 1968) and Duke Miglin (born 1971), the latter of whom would become an actor.Miglin formed a successful real estate development partnership with J. Paul Beitler, who had also worked at Rubloff & Co. Together,they founded the firm Miglin-Beitler Developments in 1982. Among the projects developed by the firm were Madison Plaza (200 West Madison), 181 West Madison Street, and Oakbrook Terrace Tower (the tallestbuilding in Illinois outside of Chicago). In addition to constructing developments, the firm also managed properties.In 1988, Miglin-Beitler Developments unveiled plans to construct a 1,999 foot 125-floor skyscraper inChicago to be called the Miglin-Beitler Skyneedle. This would have been the tallest building in the world at the time of its planned completion. However, the building was never built, with plans faltering during a 1990downturn of Chicago's downtown office market. Miglin-Beitler had held hopes of resurrecting the project, but these hopes would be dashed by Miglin's murder.After Miglin-Beitler Developments began shifting its focusaway from development and towards property management in the 1990s, Miglin gradually withdrew from the daily operations but still remained involved in the company.Miglin was a well-regarded figure in Chicago  andwas known for his philanthropy.Miglin was murdered on May 4, 1997, by the spree killer Andrew Cunanan. Miglin's body was found in the garage of his home in Chicago's Gold Coast Historic District. He had been boundat the wrists, and his head was bound with tape, with only a breathing space under his nostrils. He had been tortured with a saw and a screwdriver, his ribs had been broken, he had been beaten and stabbed, and histhroat had been slashed with a gardener's bow saw. Cunanan was already wanted in Minneapolis for murdering his friend Jeffrey Trail and his own ex-lover David Madson a few days earlier.LegacyMiglin-BeitlerDevelopments merged in 1998 with the New York City real estate Howard and Edward Milstein to form the Chicago-based firm Miglin Beitler Real Estate (MBRE). In 2022, it was announced that Houston-basedTranswestern was acquiring the firm. Some of the properties developed by Miglin are today managed by Miglin Properties, LLC.In popular cultureThe second season of the anthology television series American CrimeStory: The Assassination of Gianni Versace, recounted the Cunanan spree. It included appearances by Miglin, portrayed by Mike Farrell.  This portrayal was based on Vulgar Favors: Andrew Cunanan, Gianni Versace,and the Largest Failed Manhunt in U.S. History by Maureen Orth, who speculated that Miglin may have been a closeted bisexual man in a secret relationship with Cunanan. The Miglin family has refuted this story, andhas insisted that there was no relationship of any kind between Miglin and Cunanan. When the Federal Bureau of Investigation had investigated allegations that Cunnanan had known Miglin or a relative of Miglin's theywere unable to establish any link between Miglin and Cunanan.See alsoList of homicides in IllinoisPassage 6:Victoria BurgoyneVictoria Burgoyne (born 3 April 1953) is an English actress.She is known for being a guestactress in the infamously uncompleted 1979 Doctor Who serial Shada, the making of which was abandoned as the result of a BBC strike. She provided her voice to complete the serial using animation in 2017. Burgoynewas a regular cast member on the series Howards' Way as Vicki Rockwell during its 1989 series.Other TV credits include: Doctors Daughters, where she was one of the leads, The Professionals, Give Us a Break and EverDecreasing Circles.Her film credits include Mr Smith (1976), Secrets of a Door-to-Door Salesman (1973), Death Ship (1980), Where Is Parsifal? (1984), and a role as a prostitute in the costume drama Stealing Heaven(1988).FilmographyExternal linksVictoria Burgoyne at IMDbPassage 7:Ruth WeyherRuth Weyher (28 May 1901 – 27 January 1983) was a German film actress of the silent era. She appeared in 60 films between 1920and 1930. She starred in the 1926 film Secrets of a Soul, which was directed by Georg Wilhelm Pabst.Selected filmographyPassage 8:William Richard SuttonWilliam Richard Sutton (1833 – 20 May 1900) was thefounder of the UK's first door-to-door long distance parcel service and founder of the William Sutton housing trust.Early lifeWilliam Richard Sutton was born in 1833 at London's Cheapside.CareerSutton founded thebusiness of Sutton and Co., general carriers in 1861. He noted that the Royal Mail could carry letters from door to door, but they did not carry parcels; instead the sender had to arrange for delivery to a railway station,goods freight to a station near the destination, and then make separate arrangements for delivery to the final destination. Sutton Carriers would take care of all those stages. The railway companies obstructed this andSutton took them to court with a case that lasted over seven years; the House of Lords ruled to break the railway companies' monopoly on pricing and allowed him to deliver packages door-to-door. At his death in 1900his business had grown to 600 branches. Sutton Carriers was eventually nationalised in the 1950s.Sutton also had a partnership in Sutton, Carden and Co. which was a brewer, bottler, distiller, hotelier and merchant ofwines, tea, coffee, and tobacco.Death and legacySutton died at his home in Adelaide Crescent, Hove, and was buried in West Norwood Cemetery. His will bequeathed almost all of his considerable wealth intophilanthropic trusts for housing of the poor, although during his life he had held no public office and did no charity work. His will was disputed by his family and by existing large landlords, among them the LondonCounty Council, who were worried that these cheap and desirable dwellings would lead to lower rents. Nonetheless, his will was proved and The Sutton Model Dwellings Trust (now known as Clarion Housing Group) builtestates for the poor across England, beginning in Bethnal Green, then Chelsea, Islington, Rotherhithe, Plymouth and Birmingham.Passage 9:Live Now, Pay LaterLive Now, Pay Later is a 1962 British black-and-white filmstarring Ian Hendry, June Ritchie and John Gregson. Hendry plays a smooth-talking, conniving door-to-door salesman.PlotUnsavoury door-to-door salesman Albert Argyle's (Ian Hendry) technique involves bedding hisfemale customers in an attempt to seduce them to buy on credit. As well as being unfaithful to his pregnant girlfriend (June Ritchie), the unrepentant Albert is also cheating his boss (John Gregson) out of profits, andalso trying his hand at a spot of blackmail.Preservation statusThe only known print was discovered and finally made available on DVD in June 2020. The film premiered on Talking Pictures TV on 9 October2022.CastProductionFilming locations included London, Elstree and Luton. A collection of location stills and corresponding contemporary photographs is hosted at reelstreets.com.Critical receptionIn a contemporaryreview, Variety considered it to have \"many amusing moments, but overall it is untidy and does not develop the personalities of some of the main characters sufficiently\"; whereas more recently, the Radio Times gavethe film four out of five stars, noting \"...a remarkably cynical and revealing portrait of Britain shifting from postwar austerity into rampant consumerism and the Swinging Sixties.\"Passage 10:Our Willi Is the BestOurWilli Is the Best (German: Unser Willi ist der Beste ) is a 1971 German comedy film directed by Werner Jacobs and starring Heinz Erhardt, Ruth Stephan and Rudolf Schündler. Now retired from his civil service job, Willibecomes a door-to-door salesman. Is the third part of the 'Willi' series of films.CastHeinz Erhardt as Willi WinzigRuth Stephan as Heidelinde HansenRudolf Schündler as Ottokar MümmelmannElsa Wagner as AlteDamePaul Esser as Herr KaiserJutta Speidel as Biggi HansenHenry Vahl as Opa HansenMartin Hirthe as Hauswirt GraumannEdith Hancke as Elsetraut KnöpfkeHans Terofal as Emil KlingelbergMartin Jente as Butler"}
+{"doc_id":"doc_19","qid":"","text":"Passage 1:Karl Wilhelm WachKarl Wilhelm Wach (also Carl Wilhelm or Wilhelm Wach) (11 September 1787 – 24 November 1845) was a German painter.LifeWach was born in Berlin in 1787, studied art at the PrussianAcademy of Arts and was a pupil of painter Karl Kretschmar. At the age of just 20, Wach was commissioned to paint an altar piece for the Paretz village church and produced his \"Christ with four Apostles\" (1807).Fiveyears later came his artistic breakthrough, his painting of Königin Luise (1812). After spending 1813 to 1815 in the Prussian army, Wach then established himself in Paris. He met William Hensel and the two becamepupils of the painters Antoine Jean Gros and Jacques-Louis David. In 1817 Wach undertook a longer study trip to Italy, above all  to study artists from Quattrocento. His strongest influence – according to his ownstatements – was however Raphael. Two years later Wach returned to Berlin (1819) and set himself up himself as a freelance artist. His first large commission was a picture for Berlin Concert Hall. Wach created for it acover painting of the nine Muses. Prussian king Frederick William III made available to Wach premises in which he then furnished a studio. Due to its influence and its many pupils, this studio soon became a school. By1837 it had nearly 70 pupils, almost all of whom went on to forge artistic careers. His activity as a teacher did not noticeably impair his artistic work. Wach was honoured with the title professor and appointed a memberof Prussian Academy of Arts (1820). To mark his 40th birthday Wach was officially promoted to royal painter (1827).Wach died in 1845.Selected worksChrist with four Apostles (1807)Königin Luise (1812)TheCommunion and the Auferstehung Christ (in the Evangelist church of St Peter & Paul, Moscow)The beautiful Velletrinerin, (1820)Madonna picture (1826, for Prince Frederik of the Netherlands)The Three HimmlischenVirtues (1830, in Friedrichswerder Church in Berlin)Carl von Clausewitz (1830)Christ at the oil mountainPsyche of Amor surpriseA life-large NympheBildnis Bettina von Savigny (1834)Johannes in the desert (1838)Judithwith the head of the Holofernes (1838)Königin Elisabeth von Preußen (1840)Passage 2:Wilhelm Karl Ritter von HaidingerWilhelm Karl Ritter von Haidinger (or Wilhelm von Haidinger, or most often Wilhelm Haidinger) (5February 1795 – 19 March 1871) was an Austrian mineralogist.Early lifeHaidinger's father was the mineralogist Karl Haidinger (1756–1797), who died when Wilhelm was only two years old. The books on mineralogy andthe collection of rocks and minerals of his father will almost certainly have raised the interest of young Wilhelm. The collection of his uncle, banker Jakob Friedrich van der Nüll, was by far larger and much more precious,even to such a degree that the famous professor Friedrich Mohs of Freiberg (Germany) had been asked to describe it in detail. Young Wilhelm Haidinger and the professor often met in the house of Wilhelm's uncle. Aftercompleting the \"Normalschule\" and the \"Grammatikalschule\" Wilhelm started out his pre-academical training at the local \"Gymnasium\". However, after completing only his first year, the \"Humanitätsclasse\", Wilhelm(now 17 years old) was asked by professor Friedrich Mohs to join him as his assistant at the newly founded Universalmuseum Joanneum in Graz.Scientific careerDuring the next five years in Graz and the following sixyears in Freiberg Wilhelm Haidinger remained a devoted assistant and admirer of professor Friedrich Mohs. During these years Haidinger became more and more involved in scientific work. In 1821 Wilhelm Haidingerpublished his first scientific paper: \"On the crystallisation of copper-pyrites\" in the Memoirs of the Wernerian Natural History Society (Edinburgh), volume 4, pp. 1–18. This paper formed the start of a grand total of some350 scientific publications, all of which are listed in volume 3 of the Catalogue of Scientific Papers (1800–1863) and volume 10 of the same catalogue for the years 1864–1883. Apart from all these papers WilhelmHaidinger published several books: Anfangsgründe der Mineralogie, an account on the collection of the \"k. k. Hofkammer im Münz- und Bergwesen\"; a review of mineralogical research (which grew into a well-knownseries edited by Gustav Adolph Kenngott); his Handbuch der bestimmenden Mineralogie; an atlas to this textbook on mineralogy and the first complete geological map of Austria-Hungary.In 1822 Wilhelm Haidingeraccompanied August Graf von Breunner-Enckevoirt (1796–1877) on a six-month trip; they traveled from Linz to Munich, Basel, Paris, London and Edinburgh. In Edinburgh banker Thomas Allan provided Haidinger withthe means to translate Mohs' Grundriss der Mineralogie into English. (The translation appeared in 1823 in three volumes: Treatise on Mineralogy.)In 1823 Wilhelm Haidinger left Freiberg to re-settle in Edinburgh, wherehe stayed until the summer of 1825. In Edinburgh Haidinger met mineralogists Robert Jameson and Robert Ferguson of Raith, geologist James Hall, chemists Thomas Thomson and Edward Turner, and physicist DavidBrewster. The years in Edinburgh are among Haidinger's most productive: The translation of the comprehensive textbook by Mohs appeared in print and 33 scientific papers were written and published (in, for example,The Edinburgh Journal of Science of David Brewster and in the Philosophical Journal of Robert Jameson). While in Edinburgh Haidinger's friend Pierre Berthier named a new mineral (an iron antimony sulfide)\"Haidingérite\".Return to AustriaA long journey with Robert Allan (the son of Thomas Allan) in 1825 and 1826 brought Wilhelm Haidinger to Norway, Sweden, Denmark, Germany, Austria, and northern Italy. The wintermonths of 1825 and 1826 were spent by Wilhelm Haidinger in the highest scientific circles of Berlin; here he met for example Gustav Rose and Heinrich Rose, Friedrich Wöhler, Eilhard Mitscherlich, Heinrich GustavMagnus, and Johann Christian Poggendorff. In the spring of 1826 the journey was continued and visits to Friedrich Mohs in Freiberg, to Johann Friedrich Ludwig Hausmann and Friedrich Stromeyer in Göttingen,Hermann von Meyer in Frankfurt, Carl Cäsar Ritter von Leonhard and Leopold Gmelin in Heidelberg, Christian Gmelin, Franz von Kobell in Munich and Franz Xaver Riepl in Vienna completed their trip.In 1827 WilhelmHaidinger returned to Austria and became one of the directors of the \"Erste (böhmische) Porzellan-Industrie Aktien Gesellschaft (Epiag)\" in Elbogen (now Loket, Czech Republic). Working in the ceramics factory ownedby his brothers Eugen and Rudolf did not prevent Wilhelm from continuing his mineralogical research and writing scientific papers. In the years 1827 to 1840 Haidinger published some 24 papers (according to theCatalogue of Scientific Papers), which appeared in such well known journals as Poggendorff's Annalen and the Zeitschrift für Physik. One of the papers described the occurrence of fossil plants in the brown coal andsandstones of the surroundings of Elbogen (Loket).In 1840 Wilhelm Haidinger moved to Vienna to succeed his tutor Friedrich Mohs as director of the mineralogical collection of the \"Kaiserlich-Königlichen Hofkammer imMünz- und Bergwesen\". How much Haidinger devoted himself to science in general is evident from the fact that he founded a non-governmental scientific society: the \"Freunde der Naturwissenschaften in Wien\". Becker,in 1871, recalled how Haidinger had been able to organize his scientific society in spite of serious opposition from the Austrian police. Haidinger, founder and president of the \"Freunde der Naturwissenschaften in Wien\"undertook to publish its proceedings from 1840 to 1850. The last meeting of the \"Freunde der Naturwissenschaften in Wien\" took place on 29 November 1850. After that the learned society ceased to exist. In addition tohis work on the collections of the mineralogical museum, his lectures on mineralogy and geology to young mining engineers, Wilhem Haidinger found the time to continue his own research and published some 105papers during the years 1849 to 1860.DolomitizationHaidinger's scientific work became more and more concentrated on the phenomenon of \"pseudomorphosis\": that is minerals which have taken up the outer aspect ofanother mineral. For example, anhydrite would have changed into gypsum, but the original cleavage planes and crystal habitus would give the impression of anhydrite. Another example given by Haidinger was that ofcalcium carbonate, which would readily change into calcium magnesium carbonate (dolomite). In his own words:... part of the carbonate of lime is replaced by carbonate of magnesia, so as to form in the new species acompound of one atom each. How this change was brought about, is a difficult question to resolve, though the fact cannot be doubted, as we have in the specimen described a demonstration of it, approaching incertainty almost to ocular evidence.To geologists Haidinger is known especially for his postulate of the \"dolomitization\" reaction that would change calcium carbonate into dolomite at low temperatures (below 100degrees Celsius). A solution of magnesium sulfate would convert calcium carbonate into dolomite plus calcium sulfate in solution. Nonetheless, in 1844 Haidinger related how his friends, the well-known chemistsFriedrich Wöhler, Eilhard Mitscherlich, and Leopold Gmelin had explained to him, that powdered dolomite will react, even at room temperature, with a solution of calcium sulfate to give calcium carbonate plus a solutionof magnesium sulfate. (\"Durch meinem verehrten Freund Wöhler wurde ich auf die Beobachtung, die auch Mitscherlich und L. Gmelin anführen, aufmerksam gemacht, daß man Dolomit in Pulverform künstlich zerlegenkann, wenn man eine Auflösung von Gyps durch denselben dringen läßt. Bittersalz wird gebildet und kohlensaurer Kalk bleibt zurück. Dieser Versuch erläutert wohle mit hinreichender Evidenz die Bildung desKalkspathes aus Dolomit bei unserer gewöhnlichen Temperatur und atmosphärischer Pressung\": Haidinger, 1844, p. 250.) It was Haidinger's employee at the \"Kaiserlich-Königlichen Hofkammer im Münz- undBergwesen\", Adolph von Morlot, who undertook to investigate the formation of dolomite in the laboratory (no doubt at the request of Haidinger). The outcome of the experiments confirmed what Friedrich Wöhler hadpredicted in 1843: dolomite does not form from calcium carbonate plus a solution of magnesium sulfate unless high temperatures (more than 200 degrees Reamur = 250 degrees Celsius) and high pressures wereapplied. Von Morlot used calcite powder soaked in a concentrated solution of magnesium sulfate sealed in a glass tube. Heating the glass tube in an oil bath increased the pressure inside it to at least 15 bar. The glasstube was able to withstand this high pressure only because it had been placed inside a gun barrel filled with sand. In this way Von Morlot in 1847 had clearly demonstrated the existence of a minimum temperature forthe synthesis of the mineral dolomite. When Von Morlot (1847 A) reacted dolomite powder with a concentrated solution of calcium sulfate at room temperature, the result was (solid) calcium carbonate plus a solution ofmagnesium sulfate. (\"Wenn man nämlich durch gepulverten Dolomit eine Auflösung von Gyps filtriert, so entsteht die umgekehrte doppelte Zersetzung in der Art, daß Bittersalz aufgelöst durch's Filtrum geht, währendkohlensaurer Kalk zurück bleibt\": Von Morlot, 1847 A, p. 309.)Moral standardsRitter von Hauer (1871), in his necrology of Wilhelm Haidinger, recalled with great pride how open-minded Haidinger had been. The verythought of censoring any scientific publication would have been alien to Wilhelm Haidinger. In this regard, it must be remembered how Wilhelm Haidinger had allowed Adolph von Morlot to publish his accounts on thelaboratory syntheses of dolomite first and foremost in Haidinger's own Berichte über die Mittheilungen von Freunden der Naturwissenschaften in Wien (at the same time Morlot's paper on the synthesis of dolomiteappeared in four other well-known journals.)As part of his mineralogical research Haidinger studied the optical behaviour of minerals, which led to his discovery of the phenomenon of pleochroïsm.A major step inHaidinger's career took place in 1849: the founding of the \"Kaiserlich-Königliche geologische Reichs-Anstalt\" on 15 November 1849 in Vienna. Wilhelm Haidinger became its first director. The \"k. k. Hofkammer im Münz-und Bergwesen\" now became part of this newly founded geological office of Imperial Austria-Hungary. A detailed account of all events in relation with this major re-organization was published by Haidinger in 1864.Details of Haidinger's years as director of the Austrian geological survey were published by Haidinger's successor Franz Ritter von Hauer.There can be little or no doubt as to the scientific status that Wilhelm Haidingerachieved during the years 1850 to 1866: the \"Kaiserlich-Königliche Geologische Reichsanstalt\" became the epicentre of geological research of its time. Haidinger's unselfish attitude is best reflected in his motto:\"Förderung der Wissenschaft, nicht Monopolisirung der Arbeit\" (Advancement of science, not monopolisation of research).Political activityAccording to Döll (1871) Wilhelm Haidinger played a major role in the founding ofthe \"k. k. Geographischen Gesellschaft zu Wien\" (Becker, 1871 mentions how Haidinger had started the Austrian Geographical Society after the example of the famous Royal Geographical Society of London); the\"Werner-Verein zur geologischen Durchforschung Mährens und Schlesiens\", the \"Geologischer Verein für Ungarn\" in Pest, the \"Società Geologica\" in Milan, Italy and its successor the \"Società Italiana di Scienze naturali\".Haidinger remained convinced that such scientific organizations outside the official governmental societies were necessary, if not essential.In 1860 Wilhelm Haidinger read in the Wiener-Zeitung that his \"k. k.Geologischer Reichsanstalt\" was going to be incorporated into the \"Kaiserlichen Akademie der Wissenschaften\". Haidinger was shocked, not only because he had to read this news in the paper, but especially because thetwo institutes were truly incompatible. After several months of great uncertainty the Imperial Government, the Reichsrath, decided to cancel the planned forceful unification. Thus Haidinger was able to continue his workat the Imperial Geological Survey. With considerable pride Wilhelm Haidinger related, how Emperor Franz-Josef of Austria-Hungary had visited the building of the k. k. Geologischer Reichsanstalt in Vienna on 15February 1862. In 1866 Wilhelm Haidinger became seriously ill and asked the Government for early retirement; it was generously granted. After retirement Haidinger continued his studies at home; this time meteoritesheld his main interest (and several papers followed).Awards and honoursEmperor Franz Josef I of Austria-Hungary bestowed great honour onto Wilhelm Haidinger: the Order of Franz Joseph and the Order of Leopoldwith his elevation to knighthood (\"Ritter von Haidinger\") on 30 July 1864. Haidinger had received from the King of Prussia on 24 January 1857 the highly coveted civil version of the Königlich Preußischer Orden \"Pour leMérite\".Wilhelm Karl Ritter von Haidinger | ORDEN POUR LE MÉRITE Furthermore, the King of Bavaria bestowed the Bavarian Maximilian Order for Science and Art; the King of Sweden gave the Nordstern Orden; andthe King of Portugal made Wilhelm Haidinger Commander in the Portuguese Order of Christ. Although Wilhelm Haidinger had never completed his academic training, he was promoted to Doctor honoris causa inphilosophy by the Charles University in Prague and to Doctor honoris causa in medicine by the University of Jena (see: Von Wurzbach, 1861).After a short illness Wilhelm Haidinger died at his home in Vienna on 19March 1871.Optical ResearchHaidinger fringeSee alsoHaidinger's brushNotes and ReferencesFurther readingWoodward, Horace Bolingbroke (1911). \"Haidinger, Wilhelm Karl\" . Encyclopædia Britannica. Vol. 12 (11thed.). p. 820.Wevers, Joyce (1970–1980). \"Haidinger, Wilhelm Karl\". Dictionary of Scientific Biography. Vol. 6. New York: Charles Scribner's Sons. pp. 18–20. ISBN 978-0-684-10114-9.Passage 3:Wilhelm MeiseWilhelmMeise (12 September 1901 in Essen - 24 August 2002 in Hamburg) was a German ornithologist. He studied at the University of Berlin from 1924 to 1928, where he did his Ph.D. dissertation on the distribution of thecarrion crow and the hooded crow, and hybridization between them under the supervision of Professor Erwin Stresemann, (1889–1972). He also analysed taxonomic and historic relationships between the house sparrowand the Spanish sparrow in particular the status of the \"Italian sparrow\". He was curator of vertebrates at the Museum of Natural History in Dresden from 1929 until World War II.Meise produced the first review of birdspecies new to science in 1934 at the eighth International Ornithological Congress (IOC), followed by an update at the ninth IOC in 1938. He spent three years in a prison camp in Siberia after the war, and joined theBerlin's Natural History Museum in 1948. In 1951, he was appointed curator of ornithology at the Museum of Natural History in Hamburg and professor at the University of Hamburg.During the 1950s, Meise was thePresident of the Jordsand Club for the Protection of Seabirds at a time when such endeavours were at an early stage. He undertook an expedition to Angola in 1955 and, during the following years, published severalpapers on geographical variation, speciation, and evolution of African birds.Meise produced 47 parts of Max Schönwetter's handbook Handbuch der Oologie between 1960 and 1992, following Schönwetter's death in1960. The work consists of 3666 pages and presents in detail all species and subspecies whose eggs are known. According to Meise, there are 30000 - 35000 sub-species of birds, and the eggs of only half of these areknown to science.Meise's  170 publications dealt mainly with birds, but occasionally with the taxonomy of scorpions, spiders, lizards, snakes, and molluscs. He retired in 1972, and died aged 101 in 2002.Passage 4:MotuHafokaMotu Hafoka (13 March 1987 – 30 June 2012) was a Samoan footballer who played as a goalkeeper. He represented Samoa in the 2012 OFC Nations Cup and in the 2007 OFC U-20 Championship.He committedsuicide by hanging himself from a tree in his family's back yard on Saturday, 30 June 2012.  It is believed that \"differences with his family\" were the cause of the suicide.Passage 5:Wilhelm LoeweWilhelm Loewe (14November 1814 in Olvenstedt – 2 November 1886 in Meran, County of Tyrol) was a German physician and Liberal politician, also called Wilhelm Loewe-Kalbe or Wilhelm Loewe von Kalbe.He was president of the \"rumpparliament\" remnant of the Frankfurt Parliament.BiographyHe was educated at the University of Halle and became a practicing physician. In 1848, he was elected to the Frankfurt Parliament, was a prominent memberof the extreme Democratic Party, was soon chosen first vice-president of the Parliament. After it moved to Stuttgart, he was made president. At first acquitted on the charge of sedition for his part in this revolutionarymovement, he was finally sentenced to life imprisonment for contumacy. He spent several years in Switzerland, Paris, and London, and then practiced medicine for eight years in New York City.In 1861, he benefited bythe amnesty and returned to Germany. Two years later he was elected to the Prussian House of Deputies, and in 1867 to the North German Reichstag as a member of the Progressist Party. In 1874, he quarreled withhis party on the military law of that year, and tried to form with other independents a Liberal Party which would agree in political matters with the Progressist Party, but would be free on economic questions. In carryingout this policy, he eagerly defended the protective tariff of 1879. He was defeated for reelection in 1881.NotesPassage 6:Wilhelm BaurWilhelm Baur or Wilhelm Baur de Betaz (17 February 1883 in Metz – 26 May 1964 inLindenfels) was a German Lieutenant General (Generalleutnant) of the Heer during Second World War.BiographyWilhelm Baur was born in Metz (February 17, 1883), in Alsace-Lorraine, which was then part of Germany.He joined the army at twenty years old. He served in the 61st Artillery Regiment, from 1903 until 1914. Baur was detached to the Military Technical Academy in 1909, before being detached to the War-Academy from1912 to 1914. During the First World War, Baur served as a company-grade officer. He was awarded the Iron Cross.At the beginning of the Second World War, Wilhelm Baur was appointed Chief of Staff of the HigherFlying-Training-Commander. In March 1940, he took command of the Special-Purpose-Combat-Group in Norway. In September 1940, he was appointed commander of the air district of Greifswald, then commander of"}
+{"doc_id":"doc_20","qid":"","text":"Passage 1:S. N. MathurS.N. Mathur was the Director of the Indian Intelligence Bureau between September 1975 and February 1980. He was also the Director General of Police in Punjab.Passage 2:Brian Kennedy (gallery director)Brian Patrick Kennedy (born 5 November 1961) is an Irish-born art museum director who has worked in Ireland and Australia, and now lives and works in the United States.  He was the director of the Peabody Essex Museum in Salem for 17 months, resigning December 31, 2020. He was the director of the Toledo Museum of Art in Ohio from 2010 to 2019. He was the director of the Hood Museum of Art from 2005 to 2010, and the National Gallery of Australia (Canberra) from 1997 to 2004.CareerBrian Kennedy currently lives and works in the United States after leaving Australia in 2005 to direct the Hood Museum of Art at Dartmouth College. In October 2010 he became the ninth Director of the Toledo Museum of Art. On 1 July 2019, he succeeded Dan Monroe as the executive director and CEO of the Peabody Essex Museum.Early life and career in IrelandKennedy was born in Dublin and attended Clonkeen College. He received B.A. (1982), M.A. (1985) and PhD (1989) degrees from University College-Dublin, where he studied both art history and history.He worked in the Irish Department of Education (1982), the European Commission, Brussels (1983), and in Ireland at the Chester Beatty Library (1983–85), Government Publications Office (1985–86), and Department of Finance (1986–89). He married Mary Fiona Carlin in 1988.He was Assistant Director at the National Gallery of Ireland in Dublin from 1989 to 1997. He was Chair of the Irish Association of Art Historians from 1996 to 1997, and of the Council of Australian Art Museum Directors from 2001 to 2003. In September 1997 he became Director of the National Gallery of Australia.National Gallery of Australia (NGA)Kennedy expanded the traveling exhibitions and loans program throughout Australia, arranged for several major shows of Australian art abroad, increased the number of exhibitions at the museum itself and oversaw the development of an extensive multi-media site.  Although he oversaw several years of the museum's highest ever annual visitation, he discontinued the emphasis of his predecessor, Betty Churcher, on showing \"blockbuster\" exhibitions.During his directorship, the NGA gained government support for improving the building and significant private donations and corporate sponsorship. However, the initial design for the building proved controversial generating a public dispute with the original architect on moral rights grounds.  As a result, the project was not delivered during Dr Kennedy's tenure, with a significantly altered design completed some years later.  Private funding supported two acquisitions of British art, including David Hockney's A Bigger Grand Canyon in 1999, and Lucian Freud's After Cézanne in 2001. Kennedy built on the established collections at the museum by acquiring the Holmgren-Spertus collection of Indonesian textiles; the Kenneth Tyler collection of editioned prints, screens, multiples and unique proofs; and the Australian Print Workshop Archive. He was also notable for campaigning for the construction of a new \"front\" entrance to the Gallery, facing King Edward Terrace, which was completed in 2010 (see reference to the building project above).Kennedy's cancellation of the \"Sensation exhibition\" (scheduled at the NGA from 2 June 2000 to 13 August 2000) was controversial, and seen by some as censorship. He claimed that the decision was due to the exhibition being \"too close to the market\" implying that a national cultural institution cannot exhibit the private collection of a speculative art investor. However, there were other exhibitions at the NGA during his tenure, which could have raised similar concerns. The exhibition featured the privately owned Young British Artists works belonging to Charles Saatchi and attracted large attendances in London and Brooklyn. Its most controversial work was Chris Ofili's The Holy Virgin Mary, a painting which used elephant dung and was accused of being blasphemous. The then-mayor of New York, Rudolph Giuliani, campaigned against the exhibition, claiming it was \"Catholic-bashing\" and an \" aggressive, vicious, disgusting attack on religion.\" In November 1999, Kennedy cancelled the exhibition and stated that the events in New York had \"obscured discussion of the artistic merit of the works of art\". He has said that it \"was the toughest decision of my professional life, so far.\"Kennedy was also repeatedly questioned on his management of a range of issues during the Australian Government's Senate Estimates process - particularly on the NGA's occupational health and safety record and concerns about the NGA's twenty-year-old air-conditioning system. The air-conditioning was finally renovated in 2003. Kennedy announced in 2002 that he would not seek extension of his contract beyond 2004, accepting a seven-year term as had his two predecessors.He became a joint Irish-Australian citizen in 2003.Toledo Museum of ArtThe Toledo Museum of Art is known for its exceptional collections of European and American paintings and sculpture, glass, antiquities, artist books, Japanese prints and netsuke. The museum offers free admission and is recognized for its historical leadership in the field of art education.  During his tenure, Kennedy has focused the museum's art education efforts on visual literacy, which he defines as \"learning to read, understand and write visual language.\"   Initiatives have included baby and toddler tours, specialized training for all staff, docents, volunteers and the launch of a website, www.vislit.org. In November 2014, the museum hosted the International Visual Literacy Association (IVLA) conference, the first Museum to do so. Kennedy has been a frequent speaker on the topic, including 2010 and 2013 TEDx talks on visual and sensory literacy.Kennedy has expressed an interest in expanding the museum's collection of contemporary art and art by indigenous peoples. Works by Frank Stella, Sean Scully, Jaume Plensa, Ravinder Reddy and Mary Sibande have been acquired.  In addition, the museum has made major acquisitions of Old Master paintings by Frans Hals and Luca Giordano.During his tenure the Toledo Museum of Art has announced the return of several objects from its collection due to claims the objects were stolen and/or illegally exported prior being sold to the museum.  In 2011 a Meissen sweetmeat stand was returned to Germany followed by an Etruscan Kalpis or water jug to Italy (2013), an Indian sculpture of Ganesha (2014) and an astrological compendium to Germany in 2015.Hood Museum of ArtKennedy became Director of the Hood Museum of Art in July 2005. During his tenure, he implemented a series of large and small-scale exhibitions and oversaw the production of more than 20 publications to bring greater public attention to the museum's remarkable collections of the arts of America, Europe, Africa, Papua New Guinea and the Polar regions. At 70,000 objects, the Hood has one of the largest collections on any American college of university campus. The exhibition, Black Womanhood: Images, Icons, and Ideologies of the African Body, toured several US venues. Kennedy increased campus curricular use of works of art, with thousands of objects pulled from storage for classes annually. Numerous acquisitions were made with the museum's generous endowments, and he curated several exhibitions: including Wenda Gu: Forest of Stone Steles: Retranslation and Rewriting Tang Dynasty Poetry, Sean Scully: The Art of the Stripe, and Frank Stella: Irregular Polygons.PublicationsKennedy has written or edited a number of books on art, including:Alfred Chester Beatty and Ireland 1950-1968: A study in cultural politics, Glendale Press (1988), ISBN 978-0-907606-49-9Dreams and responsibilities: The state and arts in independent Ireland, Arts Council of Ireland (1990), ISBN 978-0-906627-32-7Jack B Yeats: Jack Butler Yeats, 1871-1957 (Lives of Irish Artists), Unipub (October 1991), ISBN 978-0-948524-24-0The Anatomy Lesson: Art and Medicine (with Davis Coakley), National Gallery of Ireland (January 1992), ISBN 978-0-903162-65-4Ireland: Art into History (with Raymond Gillespie), Roberts Rinehart Publishers (1994), ISBN 978-1-57098-005-3Irish Painting, Roberts Rinehart Publishers (November 1997),  ISBN 978-1-86059-059-7Sean Scully: The Art of the Stripe, Hood Museum of Art (October 2008), ISBN 978-0-944722-34-3Frank Stella: Irregular Polygons, 1965-1966, Hood Museum of Art (October 2010), ISBN 978-0-944722-39-8Honors and achievementsKennedy was awarded the Australian Centenary Medal in 2001 for service to Australian Society and its art. He is a trustee and treasurer of the Association of Art Museum Directors, a peer reviewer for the American Association of Museums and a member of the International Association of Art Critics. In 2013 he was appointed inaugural eminent professor at the University of Toledo and received an honorary doctorate from Lourdes University. Most recently, Kennedy received the 2014 Northwest Region, Ohio Art Education Association award for distinguished educator for art education.== Notes ==Passage 3:Richard HalliburtonRichard Halliburton (January 9, 1900 – presumed dead after March 24, 1939) was an American travel writer and adventurer who swam the length of the Panama Canal and paid the lowest toll in its history—36 cents in 1928. He disappeared at sea while attempting to sail the Chinese junk Sea Dragon across the Pacific Ocean from Hong Kong to the Golden Gate International Exposition in San Francisco, California.Early life and educationRichard Halliburton was born in Brownsville, Tennessee, to Wesley Halliburton, a civil engineer and real estate speculator, and Nelle Nance Halliburton. A brother, Wesley Jr., was born in 1903. The family moved to Memphis, where the brothers, who were not close, spent their childhood. Richard attended Memphis University School, where his favorite subjects were geography and history; he also showed promise as a violinist, and was a fair golfer and tennis player. In 1915 he developed a rapid heartbeat and spent some four months in bed before its symptoms were relieved. This included some time at the Battle Creek Sanitarium in Michigan, run by the eccentric and innovative John Harvey Kellogg, whose philosophy of care featured regular exercise, sound nutrition, and frequent enemas. In 1917, following an apparent bout of rheumatic fever, Wesley Jr., thought strong and in fine health, suddenly died.: 8 At 5'7\" (170 cm) and about 140 pounds (64 kg), Halliburton was never robust but would seldom complain of sickness or poor stamina. He graduated from the Lawrenceville School in 1917, where he was chief editor of The Lawrence. In 1921 he graduated from Princeton University, where he was on the editorial board of The Daily Princetonian and chief editor of The Princetonian Pictorial Magazine. He also attended courses in public speaking and considered a career as a lecturer.Career\"An even tenor\"Leaving college temporarily during 1919, Halliburton became an ordinary seaman and boarded the freighter Octorara that July, bound from New Orleans to England.: 19–23 He toured historic places in London and Paris, but soon returned to Princeton in early 1920 to finish his schooling.: 55–57 His trip inspired in him a lust for even more travel; seizing the day became his credo. The words of Oscar Wilde, who in works like The Picture of Dorian Gray enjoined experiencing the moment before it vanished, inspired Halliburton to reject marriage, family, a regular job, and conventional respectability as the obvious steps after graduation. He liked bachelorhood, youthful adventure, and the thrill of the unknown. To earn a living he intended to write about his adventures. He dedicated his first book to his Princeton roommates, \"...whose sanity, consistency and respectability ... drove [him] to this book\".Halliburton's father advised him to get the wanderlust out of his system, return to Memphis and adjust his life to \"an even tenor\":\"I hate that expression\", Richard responded, expressing the view that distinguished his life-style, \"and as far as I am able I intend to avoid that condition. When impulse and spontaneity fail to make my way uneven then I shall sit up nights inventing means of making my life as conglomerate and vivid as possible.... And when my time comes to die, I'll be able to die happy, for I will have done and seen and heard and experienced all the joy, pain and thrills—any emotion that any human ever had—and I'll be especially happy if I am spared a stupid, common death in bed.Witness to the wedding of the emperor of ChinaIn 1922 Halliburton witnessed the last ceremonial  marriage  of a Chinese Emperor, the wedding of Emperor Puyi to Empress Wanrong in Beijing. The Royal Family would be permanently expelled less than 2 years later. Halliburton wrote of the event in his memoir as follows: At four in the morning this gorgeous spectacle moved through the moonlit streets of Peking en-route to the prison-palace. The entire city was awake and the people thronged the line of march. A forest of pennants blazed and fluttered past ...gold dragons on black silk, blue dragons on gold silk; and swaying lanterns, and gilded kiosques containing the bride’s ceremonial robes, and princes on horseback surrounded by their colorful retinues. There was more than enough music. Last of all came the bride’s sedan hung with yellow brocade, roofed with a great gold dragon, and borne along by sixteen noblemen. I followed close behind the shrouded chair, and wondered about the state of mind of the little girl inside. Headed straight for prison, she was on the point of surrendering forever the freedom she had hitherto enjoyed... The procession wound its way to the 'Gate of Propitious Destiny,' one of the entrances to the palace, and halted before it. Torches flared. There was subdued confusion and whispers. mandarins and court officials hurried back and forth. Slowly, darkly, the great gates swung open,—I could look inside the courtyard and see the blazing avenue of lamps down which the procession would move up to the throne room where the emperor waited. Into the glitter and glamour of this 'Great Within' the trembling little girl, hidden in her flowered box, was carried. Then as I watched, the gates boomed shut and the princess became an empress.Lecturer and pioneer of adventure journalismWhile Halliburton was attending Princeton, Field and Stream magazine paid him $150 for an article (equivalent to $2,190 in 2022). This initial success encouraged him to choose travel writing as a career. His fortunes changed when a representative of the Feakins Agency heard him deliver a talk, and soon Halliburton was given bookings for lectures. Despite a high-pitched voice and occasional discomfort on the details, Halliburton displayed such enthusiasm and recounted such vivid recreations of his often bizarre foreign encounters that he became popular with audiences. On the strength of his lecturing and increasing celebrity appeal, publisher Bobbs-Merrill, whose editor-in-chief David Laurance Chambers was also a Princeton graduate, accepted Halliburton's first book, The Royal Road to Romance (1925), which became a bestseller.Two years later he published The Glorious Adventure, which retraced Ulysses' adventures throughout the Classical Greek world as recounted in Homer's Odyssey, and included his visiting the grave of English poet Rupert Brooke on the island of Skyros. In 1929, Halliburton published New Worlds To Conquer, which recounted his famous swim of the Panama Canal, his retracing the track of Hernán Cortés' conquest of Mexico, and his enactment in full goat-skin costume, of the role of Robinson Crusoe in Alexander Selkirk's, \"cast away\" on the island of Tobago. Animals figure prominently in this and many other of Halliburton's adventures.Ascent to fameHalliburton's friends during this time included movie stars, writers, musicians, painters, and politicians, including writers Gertrude Atherton and Kathleen Norris, Senator James Phelan, philanthropist Noël Sullivan, and actors Ramón Novarro and Rod La Rocque. Casual acquaintances were many, as lectures, personal appearances (notably to promote India Speaks), syndicated columns, and radio broadcasts made him a household name associated with romantic travel.Halliburton was acquainted with swashbuckling cinema star Douglas Fairbanks, Sr., who was also a world traveler. Halliburton himself, though several times approached about film versions of his adventures (notably by Fox Film Corporation in 1933 for The Royal Road to Romance), only appeared in one movie, the Walter Futter-produced semi-documentary India Speaks (1932; re-released in 1947 as Bride of Buddha or Bride of the East).Flying Carpet ExpeditionIn 1930 Halliburton hired pioneer aviator Moye Stephens on the strength of a handshake for no pay, but unlimited expenses—to fly him around the world in an open cockpit biplane. The modified Stearman C-3B was named the Flying Carpet after the magic carpet of fairy tales, subsequently the title of his 1932 best-seller. They embarked on \"one of the most fantastic, extended air journeys ever recorded\" taking 18 months to circumnavigate the globe, covering 33,660 miles (54,100 km) and visiting 34 countries.The pair started on Christmas Day 1930, making stops along the way, from Los Angeles to New York City, where they crated the airplane and boarded it on the oceanliner RMS Majestic. They sailed to England, where their extended mission began. They flew to France, then Spain, the British possession of Gibraltar, and on to Africa at Fez, Morocco (where Stephens performed aerobatics for the first air meet held in that country). They crossed the Atlas mountains and set out across the Sahara to Timbuktu, using the fuel caches of the Shell Oil Company. While in Timbuktu, they were guests of Pere Yakouba, a French Augustinian friar who had fled years before from the distractions of modern society and become a patriarch and a noted scholar of the community. They flew to their destination without mishap, then continued northward and eastward, spending several weeks in Algeria with the French Foreign Legion, and continuing via Cairo and Damascus, with a side trip to Petra.In Persia (now Iran) they met German aviator Elly Beinhorn, who was grounded by mechanical problems. They assisted her and then worked out shared itineraries. Later, Halliburton wrote a foreword to her book Flying Girl about the adventures she had in the air. In spite of being exhausted, and their plane becoming less safe, Stephens and Halliburton continued their eastward journey. In Persia, they took  Crown Princess Mahin Banu for a ride in the airplane; in neighbouring Iraq, they gave the young Crown Prince Ghazi a ride, flying him over his school yard.In India, Halliburton visited the Taj Mahal, which he had first visited in 1922. In Nepal, as The Flying Carpet flew past Mount Everest, Halliburton stood up in the open cockpit of the plane and took the first aerial photograph of the mountain, and to the delight of an amazed Maharajah of Nepal, Stephens and Beinhorn performed daring aerobatics. In Borneo, Halliburton and Stephens were feted by Sylvia Brett, wife of the White Rajah of Sarawak. They gave her a ride, making Ranee Sylvia the first woman to fly in that country. At the Rajang River, they took the chief of the Dyak head hunters for a flight; he gave them 60 kilos of shrunken heads, which they dared not refuse but dumped as soon as possible. They were the first Americans to fly to the Philippines; after arriving in Manila on April 27, the plane was again loaded onto a ship (SS President McKinley) to cross the ocean. They flew the final leg from San Francisco to Los Angeles. A fictionalized account of his travels in India and Asia was depicted in the 1933 film India Speaks.Moye Stephens was a skilled pilot. Halliburton, in a reassuring letter to his parents (January 23, 1932), recited his many flight skills. Stephens, for instance, during one aerobatic display, astutely aborted a slow roll the moment he realized that Halliburton had not fastened his seat belt. Stephens later became chief test pilot of the Northrop Flying Wing, which evolved into today's B-2 Spirit stealth bomber. The around-the-world trip had cost Halliburton over $50,000, plus fuel. In the first year, the book, entitled The Flying Carpet (after his valiant plane) earned him royalties of $100,000, in those depression-era days a remarkably large sum. Barbara H. Schultz's Flying Carpets, Flying Wings – The Biography of Moye Stephens (2011), besides recounting the Flying Carpet Expedition from a flier's viewpoint and documenting Stephens' (1906–1995) contributions to aviation history, contains Stephens' extended reports of the adventure. With rare glimpses into the travel writer's art, these give historic balance to Halliburton's often romanticized renditions.Commissioned research "}
+{"doc_id":"doc_21","qid":"","text":"Passage 1:Konstantin LopushanskyKonstantin Sergeyevich Lopushansky (Russian: Константин Сергеевич Лопушанский; born June 12, 1947) is a Soviet and Russian film director, film theorist and author. He is bestknown for directing the apocalyptic and post-apocalyptic films Dead Man's Letters (1986), A Visitor to a Museum (1989), Russian Symphony (1994), and The Ugly Swans (2006).In 1997, Lopushansky was awarded theHonored Artist of the Russian Federation honorary title. In 2007, he was awarded the People's Artist of Russia honorary title, the highest Russian civilian honor for performing arts.BiographyEarly lifeKonstantinLopushansky was born on June 12, 1947, in Dnepropetrovsk, Ukrainian SSR. His mother was Sofia Petrovna Lopushanskaya, who worked as a linguistic professor at Volgograd State University. His father was SergeiTimofeyevich Lopushansky, a front-line soldier who died in 1953 from wounds he sustained in war.Education and early careerIn 1970, Konstantin Lopushansky graduated from Kazan Conservatory as a violinist, and in1973 he completed a postgraduate course at Leningrad Conservatory with a Ph.D. thesis in art criticism. Afterwards, Lopushansky taught at the Kazan and Leningrad conservatories for several years. Lopushansky tookhigher courses for scriptwriters and film directors from the director's department at the workshop of Emil Loteanu.Upon graduating from the directorial courses in 1979, Lopushansky assisted Andrei Tarkovsky indirecting the legendary film Stalker, based on the novel Roadside Picnic by Boris Strugatsky.Lopushansky's thesis film Solo made in 1980 was about a musician playing his last concert during the Siege ofLeningrad.Since 1980 Lopushansky has worked as a production director at the Lenfilm cinema studio.Dead Man's Letters and breakthroughIn 1986, Konstantin Lopushansky made his feature film directorial debut withthe post-apocalyptic film Dead Man's Letters, which was co-written by Boris Strugatsky. It was screened at the International Critics' Week section of the Cannes Film Festival in 1987 and received the FIPRESCI prize atthe 35th International Filmfestival Mannheim-Heidelberg.Lopushanksy's 1989 film A Visitor to a Museum was entered into the 16th Moscow International Film Festival where it won the Silver St. George and the Prix ofEcumenical Jury.Lopushansky's 1994 film Russian Symphony was screened in the Forum section of the 45th Berlin International Film Festival where it received the Prize of the Ecumenical Jury.Lopushansky made the2006 film The Ugly Swans, based on the novel by Arkady and Boris Strugatsky. The science-fiction film was about a writer who visits a boarding school for gifted children where the teachers are mutants.Lopushansky's2013 drama film The Role told the story of an actor who decides to impersonate a deceased commander of the Red Army. It was shown in competition at the 35th Moscow International Film Festival. It received the NikaAward for Best Screenplay.Konstantin Lopushansky's drama film Through the Black Glass was released in 2019.FilmographyPassage 2:Vyacheslav RybakovVyacheslav Rybakov (Russian: Вячеслав МихайловичРыбаков; born January 1954 in Leningrad), is a Russian science fiction author and an orientalist, interested in the medieval bureaucracy of China. He is a frequent collaborator with science fiction director KonstantinLopushansky. Screenwriting for his films The Ugly Swans, based on the 1972 novel by Arkady and Boris Strugatsky. As well as Dead Man's Letters in 1986, which he would later receive a Governmental Award of theRSFSR for the screenplay in 1987 after its premiere at the Toronto Film Festival.BiographyRybakov graduated from the Oriental Studies Department of the Leningrad State University in 1976, mostly focusing on writingsabout the medieval bureaucracy of China and started. Soon after he studied at the Leningrad branch of the USSR Academy of Sciences Oriental Institute where he was able to publish over 40 thesis papers. Whilestudying at Leningrad, the KGB had gained access to rough drafts of his anti-Soviet novel Trust due to Rybakov sending drafts to friends and classmates. This resulted in the copies being seized by the KGB and awarning. Although the KGB has checked in with Rybakov several years later, Rybakov insisted on writing the final draft of the novel using previous remaining drafts and memory. The novel was later published a decadelater. In 1983, Rybakov had met Konstantin Lopushansky to discuss writing the screenplay for his film Dead Man's Letters. The process of developing the film allowed both artists to freely express their visions for theproduction of the film and further productions further on, this was a stark contrast to Russia's strict censorship rules at the time.Science fictionAmong Rybakov's works were first published and include the prize-winningnovels: Fireplace on a Tower (Ochag na bashne, 1990), and Gravilyot Tsesarevitch (1993) which depicts an alternative world featuring a Russian Empire in which communism is merely a religion, and our world is just aninsane scientific experiment.His Death of Ivan Ilyich (1997) reveals the inner world of a contemporary person in a moment before his death.The novel Na budushchiy god v Moskve (In the adjacent year in Moscow,2003) explores a Russia torn apart into small, poor countries, ruled by those idealists of the late Soviet Union who sincerely hated totalitarianism but didn't notice any good features of the nation, ruined the wholesystem of government and survived with help of the West. In the story, space is ruled by Darths and Vaders, and a Russian rocket scientist Ivan Obiwankin attempts to resurrect his people's feelings of nationalism bylaunching his own space ship.Rybakov preaches equality of cultures and states that cultures are often based on restrictions, and that simply removing the restrictions as anti-democratic may ruin the culture. Rybakov'snovel also examines the Russian mentality, criticizing its tendency to understand and agree with the positions of others as an inappropriate way to deal with the encroaching Western civilization. He argues that all livingcivilizations are unique, and that in the future it may become essential to save some other civilization from stagnation, because a world ruled by only one civilization has no future.He shows through an example of theruined family of the main character Alexey that, \"the surest way for you to cease being esteemed and appreciated... even just loved... is to implicitly cede something essential and principal.\"Vyacheslav Rybakov andIgor Alimov were also the authors  of There are no bad people. The work was originally attributed to Holm van Zaichik but was later proved to be a hoax. The series tells the story of the world of the Orduss, a fictionalcountry with a humane and rich culture, that unifies lands of China, Russia and the Near East.English translationsArtist (Story)The Trial Sphere (Story)Passage 3:The Dance of Death (1948 film)The Dance of Death(French: La danse de mort, Italian: La prigioniera dell'isola) is a 1948 French-Italian drama film directed by Marcel Cravenne and starring Erich von Stroheim, Denise Vernac and Palau. It is based on August Strindberg'sThe Dance of Death.The film's sets were designed by Georges Wakhévitch.PlotAn egocentric artillery Captain and his venomous wife engage in savage unremitting battles in their isolated island fortress off the coast ofSweden at the turn of the century. Alice, a former actress who sacrificed her career for secluded military life with Edgar, reveals on the occasion of their 25th wedding anniversary, the veritable hell their marriage hasbeen. Edgar, an aging schizophrenic who refuses to acknowledge his severe illness, struggles to sustain his ferocity and arrogance with an animal disregard for other people. Sensing that Alice, together with her cousinand would-be lover, Kurt, may ally against him, retaliates with vicious force. Alice lures Kurt into the illusion of sharing a passionate assignation and recruits him in a plot to destroy Edgar.CastErich von Stroheim asEdgarDenise Vernac as ThéaPalau as Le sergent / Il sergenteMassimo Serato as Stéphane / StefanoPaul Oettly as Le général / Il generaleMarie OlivierHenri Pons as Le timonier / Il timoniereRoberto VillaGaleazzoBentiMargo Lion as Mathilde - la servanteJean Servais as KurtMaría Denis as RitaRoberto BerteaPassage 4:Dead Man's LettersDead Man's Letters (Russian: Письма мёртвого человека, romanized: Pis'ma myortvogocheloveka), also known as Letters from a Dead Man, is a 1986 Soviet post-apocalyptic drama film directed and written by Konstantin Lopushansky. He wrote it along with Vyacheslav Rybakov and Boris Strugatsky. Itmarks his directorial debut.The film was screened at the International Critics' Week section of the Cannes Film Festival in 1987and received the FIPRESCI prize at the 35th International FilmfestivalMannheim-Heidelberg.In the aftermath of nuclear apocalypse, a group of people are forced to live underground in bunkers. They cannot go outside their dwellings without wearing protective clothing and gas masks.They try to find hope in the disturbing new world. Among these people is a history teacher who tries to contact via letters his missing son.PlotThe film is set in a town after a nuclear war; the town is destroyed andpolluted with radioactive elements. The main character, Professor Larsen, played by Rolan Bykov, is a Nobel Prize in Physics laureate, who lives in the basement of a museum along with his sick wife and several otherpeople who used to work at the museum. He often writes letters to his son Eric, though he has no way of contacting him. Larsen believes the war has ended and that more surviving humans exist outside the centralbunker, but nobody else believes his theories.Larsen visits an orphanage where the current caretaker of the surviving children explains that she's thinking of evacuating to the central bunker, though may have to leavethe children behind as they likely won't be allowed in since they're sick, to Larsen's disapproval. Larsen is informed that he also might be rejected from entering the central bunker due to his old age. With his wife'shealth declining, Larsen sneaks past several soldiers during curfew hours and attempts to find medicine for his wife, escaping from a military raid in the process. When he returns to the museum's basement, however,he finds that his wife died. The other museum employees bury her body.In one of his letters to Eric, Larsen tells a darkly humorous story on how someone failed to prevent the nuclear war. According to him, an operatorfrom an electronics center had a chance to cancel the first missile launch (which happened due to a computer error), but was unable to reach the computer in time to abort the launch as he was slowed down by a cup ofcoffee in his hands. The operator then hung himself in return.Larsen makes a trip to the central bunker in an effort to find Eric. After sneaking into a medical facility, he enters the children's department, only to find allthe children sick, injured, and screaming in agony, much to Larsen's horror.After returning to the museum's basement, he finds that a museum employee is about to take his life as he thinks the history of mankind hasended and that mankind was doomed from the very beginning. He then leaves the group, lies down in a grave, and shoots himself dead, to the horror of his son. Later, while salvaging books from a flooded library,Larsen talks with a man who disagrees with his theory on how there's hope for mankind, referencing how Jesus said mankind was doomed.Larsen visits the orphanage where he learns the children were rejected fromentering the central bunker. The caretaker leaves the children for Larsen to look after, as she is evacuating to the central bunker herself. The remaining museum employees also evacuate to the central bunker, thoughLarsen stays behind to look after the children (it's assumed they're the only people left in the town). On Christmas Day, Larsen creates a makeshift Christmas tree out of sticks and candles while the children designChristmas ornaments to decorate it with. In his final letter to Eric, Larsen writes that he finally found purpose in life and that he hopes his son doesn't leave him alone in the world.The final scene is narrated by one ofthe children Larsen looked after, who explains that Larsen died some time later. On his deathbed, he told the children to leave the museum and find somewhere else to go while they have the strength, still believing thatlife exists elsewhere. The film ends with the children wandering through the apocalyptic landscape together, their fates unknown.CastRolan Bykov - Professor LarsenVatslav Dvorzhetsky - PastorVera Mayorova -AnnaVadim LobanovViktor MikhaylovSvetlana Smirnova - TheresaVladimir BessekernyhVyacheslav Vasiliev - doctor dosimetristNatalya VlasovaThemesDue to the heated climate between North America and Russiaduring the events of The Cold War, many critics believe that Dead Man's Letters is a response to American films like WarGames and The Day After discussing their perspective on the Nuclear Arms Race. TBS purchasedthe rights to show Dead Man's Letters, deciding to air it alongside Amerika, a twelve-hour ABC miniseries about what the United States would be like as a Soviet satellite state. The heavy reliance on themes like warfare,uncertainty, and grief as well as Americans involved in the war are interwoven through the production design from Yelena Amshinskaya and Viktor Ivanov. The use of defense equipment in the film, including gas masksand shelter equipment,  makes its portrayal of a post-nuclear setting an eerie mirror image of the Soviet program.ProductionAround the time the film started production, it was common knowledge that Russia had astrict censorship policy following the death of Stalin, resulting in a three year waiting period for Lopushansky and the crew consisting of various re-rewrites, possibly most likely due to Vyacheslav Rybakov's involvementwith anti-Soviet literature and run-ins with the KGB. However, censorship started to loosen around the mid to late 80s towards discussing sensitive topics regarding current or previous events in Russia's history, soproducers and film studios became more lenient with what was shown in cinemas. Gorbachev established a policy of allowing more open discussion of previously sensitive political issues making it possible for wellconnected civil defense skeptics to popularize their views. The patronage of Anatoly Gromyko-historian, member of the USSR Academy of Sciences, and son of Soviet foreign minister Andrei Gromyko enabled theproduction by Lenfilm in 1986 of the first portrayal of the aftermath of nuclear war in Soviet cinema.Before production started on this film and his short Solo, Lopunshansky served as an apprentice for Tarkovsky andwould later work as a production assistant for his 1979 film Stalker. Tarkovsky's teachings played a huge influence on Lopushansky's directing style as well as many aspects of the film from the set design,cinematography, and signature slow yet otherworldly pacing. In a 2017 interview with Indie Cinema, Lopunshansky states  \"I noticed that his lectures, in fact, are not about certain professional skills, but are morephilosophical, about understanding the essence of art, its essence.\" This can be seen through the film's brutal realism and constant feelings of hopelessness and confusion, a sentiment shared with by various membersof the crew. The use of monochrome coloring on the film stock gives a resemblance to the greenish tint seen in various scenes in Stalker, in order to give the film a more foreboding atmosphere.ReceptionIn 1989, TheNew York Times  published a somewhat positive review of the film. Praising the film for its brutal realism and stunning set design, but found that the film was somewhat dismissed by its meandering in certain scenesstating \"despite its technical virtues, seems just a bit too contrived to truly convince, much less to deeply move. Yet, in stripping the ideological gloss from the vision of ultimate calamity, Mr. Lopushinsky does succeedin creating a cultural artifact that makes the specter of the most dreadful possible event common to both sides of the superpower divide\".See alsoVyacheslav RybakovList of nuclear holocaust fictionNuclear weapons inpopular culturePassage 5:Michael VerhoevenMichael Verhoeven (born 13 July 1938) is a German film director.Life and workVerhoeven is the son of the German film director Paul Verhoeven (not to be confused with theDutch film director Paul Verhoeven). He married actress Senta Berger in 1966; their sons are actor-director Simon Verhoeven (born 1972) and actor Luca Verhoeven (born 1979). Together, the couple have a productioncompany to make films. The 1970 anti-Vietnam War film, o.k. was entered into the 20th Berlin International Film Festival, but led to a scandal that forced the collapse of the festival without the awarding of any prizes.In1982, Verhoeven released Die weiße Rose (The White Rose), which, with the Best Foreign film nomination of Das schreckliche Mädchen (The Nasty Girl) in 1990, cemented his reputation as an important politicalcontributor to German film. Along with his films My Mother's Courage and documentary Der unbekannte Soldat (The Unknown Soldier), they have been hailed as an unstinting examination of Germany's Nazi period. In1992, he was a member of the jury at the 42nd Berlin International Film Festival.Awards1990 Silver Bear for Best Director, 40th Berlin International Film Festival for The Nasty Girl1995 Bavarian Film Awards, BestProduction2006 Bavarian Film Awards, Honorary AwardSelected filmographyDirectorFilmThe Dance of Death (1967) – based on The Dance of Death by August StrindbergUp the Establishment (1969) – screenplay byFranz GeigerStudent of the Bedroom (1970) – screenplay by Volker Vogeler, based on a novel by Finn Søeborgo.k. (1970)He Who Loves in a Glass House (1971)MitGift (1976)Scrounged Meals (1977) – screenplay byElke Heidenreich and Bernd SchroederSunday Children (1980) – based on a play by Gerlind ReinshagenDie weiße Rose (1982)Killing Cars (1986)The Nasty Girl (1990)My Mother's Courage (1995) – based on a story byGeorge TaboriLet's Go! (2014) – based on an autobiographical novel by Laura WacoTelevisionDer Kommissar: Dr. Meinhardts trauriges Ende (1970, TV series episode)Tatort: Kressin und der Mann mit dem gelbenKoffer (1972, TV series episode)Ein unheimlich starker Abgang (1973) – based on a play by Harald SommerKrempoli – Ein Platz für wilde Kinder (1975, TV series)Die Herausforderung (1975) – screenplay by ElkeHeidenreich and Bernd SchroederBier und Spiele (1977, TV series) – screenplay by Bernd SchroederDas Männerquartett (1978) – based on a novel by Leonhard Frank1982: Gutenbach (1978) – screenplay by MichaelMansfeldVerführungen (1979) – screenplay by Elke HeidenreichFreundinnen: Edith und Marlene (1979, TV series episode) – screenplay by Elke Heidenreich and Irene RodrianAm Südhang (1980) – screenplay byManfred Bieler, based on a novella by Eduard von KeyserlingDie Ursache (1980) – based on a novella and a play by Leonhard FrankDie Mutprobe (1982)Das Tor zum Glück (1984)Stinkwut (1986) – based on a play byFitzgerald KuszGundas Vater (1987)Gegen die Regel (1987) – screenplay by Daniel ChristoffIgnaz Semmelweis – Arzt der Frauen (1988) – biographical film about Ignaz SemmelweisDie schnelle Gerdi (1989, TVseries)Schlaraffenland (1990)Lilli Lottofee (1992, TV series)Eine unheilige Liebe (1993)Zimmer mit Frühstück (2000) – screenplay by Conny LensEnthüllung einer Ehe (2000) – screenplay with Nicole Walter-LingenDieschnelle Gerdi, second season (2004, TV series)Tatort: Die Spieler (2005, TV series episode)Bloch: Vergeben, nicht vergessen (2008, TV series episode)Bloch: Heißkalte Seele (2012, TV series episode)Bloch: DieLavendelkönigin (2013, TV series episode)Glückskind (2014) – based on a novel by Steven UhlyDocumentary and short filmsTische (1970)Bonbons (1971)Coiffeur (1973)Liebe Melanie (1983) – film about MelanieHoreschowskyDas Mädchen und die Stadt oder: Wie es wirklich war (1990)The Legend of Mrs. Goldman and the Almighty God (1996) – with George TaboriGeorge Tabori – Theater ist Leben (1998) – film about GeorgeTaboriDer Fall Liebl (2001)Die kleine Schwester – Die weiße Rose: Ein Vermächtnis (2002)Der unbekannte Soldat (The Unknown Soldier, 2006)Menschliches Versagen (Human Failure, 2008)The Second Execution ofRomell Broom (2012)ProducerDie Spider Murphy Gang (dir. Georg Kostya, 1983)Welcome to Germany (dir. Simon Verhoeven, 2016)ActorThe Flying Classroom (1954), as FerdinandMarianne of My Youth (1955), asAlexisThe Crammer (1958), as Peter WielandThat's No Way to Land a Man (1959), as Horst BurkhardtThe Juvenile Judge (1960), as Fred KaiserMit 17 weint man nicht (1960), as Richard DengerThe House in"}
+{"doc_id":"doc_22","qid":"","text":"Passage 1:Thomas Scott (diver)Thomas Scott (1907 - date of death unknown) was an English diver.BoxingHe competed in the 10 metre platform at the 1930 British Empire Games for England.Personal lifeHe was apolice officer at the time of the 1930 Games.Passage 2:William Jolliffe, 4th Baron HyltonWilliam George Hervey Jolliffe, 4th Baron Hylton (2 December 1898 – 14 November 1967), was a British peer and soldier.Hyltonwas the son of Hylton Jolliffe, 3rd Baron Hylton, and Lady Alice Adeliza Hervey. He achieved the rank of Lieutenant-Colonel in the Coldstream Guards and also served as Lord Lieutenant of Somerset from 1949 to 1964.Lord Hylton married Lady Perdita Rose Mary Asquith, daughter of Katharine and Raymond Asquith, eldest son of Prime Minister H. H. Asquith, in 1931. He died in November 1967, aged 68.He was succeeded in his titlesby his elder son Raymond. The writer (of eg. Raymond Asquith: Life and Letters) John Hedworth Jolliffe is his younger son; his daughter Mary is the wife of John Paget Chancellor, son of Christopher Chancellor ofReuters. Mary and John Chancellor are the parents of the actress Anna Chancellor and the financial historian Edward Chancellor.Passage 3:William Jolliffe, 1st Baron HyltonWilliam George Hylton Jolliffe, 1st BaronHylton  (7 December 1800 – 1 June 1876), known as Sir William Jolliffe, Bt, between 1821 and 1866, was a British soldier and Conservative politician. He was a member of the Earl of Derby's first two administrations asUnder-Secretary of State for the Home Department in 1852 and as Parliamentary Secretary to the Treasury between 1858 and 1859.BackgroundJolliffe was the son of Reverend William John Jolliffe, the son of WilliamJolliffe and his wife Eleanor Hylton, daughter and heir of Sir Richard Hylton, 5th Baronet (who had assumed the surname of Hylton in lieu of his patronymic Musgrave; see Musgrave Baronets) and his wife Anne, sisterand co-heiress of John Hylton, de jure 18th Baron Hylton. Jolliffe first served in the Army and achieved the rank of captain in the 15th Dragoons. He notably took part in the events at St Peter's Field in Manchester in1819 (the \"Peterloo Massacre\"). In 1821, at the age of twenty, Jolliffe was created a Baronet, of Merstham in the County of Surrey.Political careerJolliffe served a year as High Sheriff of Surrey in 1830 and then sat as aMember of Parliament for Petersfield from 1830 to 1832, 1837 to 1838 and 1841 to 1866 and served under the Earl of Derby as Under-Secretary of State for the Home Department in 1852 and as ParliamentarySecretary to the Treasury from 1858 to 1859. He was admitted to the Privy Council in 1859 and in 1866 he was raised to the peerage as Baron Hylton, of Hylton in the County Palatine of Durham and of Petersfield in theCounty of Southampton.CricketJolliffe played a single first-class match for Hampshire in 1825 against Sussex. Jolliffe scored 12 runs in the match.FamilyLord Hylton married, firstly, Eleanor Paget, daughter of the Hon.Berkeley Thomas Paget, in 1825. Their eldest son Hylton Jolliffe was a captain in the Coldstream Guards but died from cholera during the Crimean War. Hylton married, secondly, Sophia Penelope, daughter of Sir RobertSheffield, 4th Baronet, and widow of William Fox-Strangways, 4th Earl of Ilchester, in 1867. He died at Merstham House near Reigate on 1 June 1876, aged 75, and was succeeded in his titles by his second but eldestsurviving son from his first marriage, Hedworth. His granddaughter Gertrude Crawford became the first commandant of the Women's Royal Air Force.Passage 4:Bill Smith (footballer, born 1897)William Thomas Smith (9April 1897 – after 1924) was an English professional footballer.CareerDuring his amateur career, Smith played in 17 finals, and captained the Third Army team in Germany when he was stationed in Koblenz after thearmistice during the First World War. He started his professional career with Hull City in 1921. After making no appearances for the club, he joined Leadgate Park. He joined Durham City in 1921, making 33 leagueappearances in the club's first season in the Football League.He joined York City in the Midland League in July 1922, where he scored the club's first goal in that competition. He made 75 appearances for the club in theMidland League and five appearances in the FA Cup before joining Stockport County in 1925, where he made no league appearances.Passage 5:Etan BoritzerEtan Boritzer (born 1950) is an American writer of children’sliterature who is best known for his book What is God? first published in 1989. His best selling What is? illustrated children's book series on character education and difficult subjects for children is a popular teachingguide for parents, teachers and child-life professionals.Boritzer gained national critical acclaim after What is God? was published in 1989 although the book has caused controversy from religious fundamentalists for itsuniversalist views. The other current books in the What is? series include: What is Love?, What is Death?, What is Beautiful?, What is Funny?, What is Right?, What is Peace?, What is Money?, What is Dreaming?, Whatis a Friend?, What is True?, What is a Family?, and What is a Feeling? The series is now also translated into 15 languages.Boritzer was first published in 1963 at the age of 13 when he wrote an essay in his English classat Wade Junior High School in the Bronx, New York on the assassination of John F. Kennedy. His essay was included in a special anthology by New York City public school children compiled and published by the NewYork City Department of Education.Boritzer now lives in Venice, California and maintains his publishing office there also. He has helped numerous other authors to get published through How to Get Your Book Published!programs. Boritzer is also a yoga teacher who teaches regular classes locally and guest-teaches nationally. He is also recognized nationally as an erudite speaker on The Teachings of the Buddha.Passage 6:HenryHylton, de jure 12th Baron HyltonHenry Hylton, de jure 12th Baron Hylton (1586 – 30 March 1641) was an English nobleman.Hylton was the eldest son of Thomas Hylton (himself the son of William Hylton, de jure 11thBaron Hylton) and his wife, Anne née Bowes (daughter of Sir George Bowes of Streatlam Castle). In 1600, Hylton inherited the right to the barony of Hylton from his grandfather.SourcesHenry Hylton b.1585 -AncestryUK.comThe Gentlemen's Magazine, March 1821Passage 7:Theodred II (Bishop of Elmham)Theodred II was a medieval Bishop of Elmham.The date of Theodred's consecration unknown, but the date of his deathwas sometime between 995 and 997.Passage 8:Hylton Jolliffe, 3rd Baron HyltonHylton George Hylton Jolliffe, 3rd Baron Hylton (10 November 1862 – 26 May 1945) was a British peer and Conservative politician.Hyltonwas the eldest son of Hedworth Jolliffe, 2nd Baron Hylton, and Lady Agnes Mary Byng. Henry Paget, 1st Marquess of Anglesey was his maternal great-grandfather.CareerGeorge succeeded the barony in 1899; prior tothat he was educated at Eton college and Oriel College, Oxford. He pursued a brief military career as capital for the Somerset imperial yeomanry, then diplomatic service in 1888, then 3rd secretary in 1890 and 2ndsecretary in 1894. He became Justice of the peace and county Alderman for Somerset where he sat in politics.Hylton entered the Diplomatic Service in 1888, but in 1895 he was elected to the House of Commons forWells. He held this seat until 1899, when he succeeded his father as third Baron Hylton and entered the House of Lords. In June 1915 Hylton was appointed a Lord-in-waiting (government whip in the House of Lords) inthe newly formed coalition government, and in 1918 he was promoted him to Captain of the Yeomen of the Guard. The coalition government of David Lloyd George fell in 1922, but Hylton continued as Deputy ChiefWhip also under Bonar Law and Stanley Baldwin. However, after the first Baldwin government fell in January 1924, he never returned to office.He was created Viscount Hylton and owned much of Chaldon, of which hewas Lord of the manor.Lord Hylton married Lady Alice Adeliza Hervey, daughter of Frederick Hervey, 3rd Marquess of Bristol, in 1896. He died in May 1945, aged 82, and was succeeded in his titles by his son WilliamGeorge Hervey Jolliffe. Lady Hylton died in 1962.Passage 9:Hedworth Jolliffe, 2nd Baron HyltonHedworth Hylton Jolliffe, 2nd Baron Hylton DL (23 June 1829 – 31 October 1899), was a British peer and ConservativeMember of Parliament.Birth and educationHylton was the second son of William George Hylton Jolliffe, 1st Baron Hylton, and Eleanor Paget. He was educated at Eton and Oriel College, Oxford.Crimean War serviceIn1849, he joined the 4th Light Dragoons and served in the Crimean War, where his older brother was killed at Sebastopol. He was present at the Charge of the Light Brigade. He retired from the Army in 1856, followinghis election to Parliament.Parliamentary serviceHe was elected to the House of Commons for Wells in 1855, a seat he held until 1868.In 1870 he succeeded his father as second Baron Hylton and entered the House ofLords.MarriagesLord Hylton married his second cousin, Lady Agnes Mary Byng, daughter of George Byng, 2nd Earl of Strafford, in 1858. Their divorce was a Cause célèbre. There were children of this marriage, sons anda daughter, Agatha Eleanor Augusta Jolliffe, who married Ailwyn Fellowes MP.Lord Hylton married again to Anne, daughter of Henry Lambert, who was the second wife and the widow of the third Earl of Dunraven.Deathand successionHe died in October 1899, aged 70, and was succeeded in his titles by his surviving son Hylton George Hylton Jolliffe.NotesPassage 10:William Jolliffe (1745–1802)William Jolliffe (16 April 1745 – 20February 1802) was a British politician who sat in the House of Commons  from 1768 to 1802.LifeHe was the eldest son of the politician John Jolliffe and his wife Mary, daughter of Samuel Holden. He was educated atWinchester College and Brasenose College, Oxford.Jolliffe was elected as Member of Parliament for Petersfield in 1768, a seat controlled by his father, who died in 1771 leaving him a sitting patron. He held it until1802.He was a Lord of Trade from 1772 to 1779 and Lord of the Admiralty during 1783.He bought the lease for his residence on King Street in 1772 for what he called \"very cheap,\" but Edward Gibbon described theplace as \"excellent.\" After his death, his son Hylton sold it to Henry Francis Greville, who opened it as the Argyll Rooms.FamilyHe married Eleanor Hylton, daughter and heir of Sir Richard Hylton, 5th Baronet, and Anne,sister and co-heiress of John Hylton, de jure 18th Baron Hylton. Jolliffe died in February 1802, aged 56, after falling through a trapdoor into a cellar at his home. His wife died the same year. Their grandson WilliamGeorge Hylton Jolliffe became a prominent Conservative politician and was created Baron Hylton in 1866.Notes"}
+{"doc_id":"doc_23","qid":"","text":"Passage 1:Immilla of TurinImmilla (also Emilia, Immula, Ermengard, or Irmgard) (born c. 1020; died January 1078) was a duchess consort of Swabia by marriage to Otto III, Duke of Swabia, and a margravine ofMeissen by marriage to Ekbert I of Meissen. She was regent of Meissen during the minority of her son, Ekbert II.LifeImmilla was the daughter of Ulric Manfred II of Turin and Bertha of Milan and thereby a member of theArduinici dynasty. Her older sister was Adelaide of Susa.Her first husband was Otto III, Duke of Swabia, whom she married c. 1036. After Otto's death in September 1057, Immilla married again (c.1058). Her secondhusband was Ekbert I of Meissen.In 1067, shortly before his death, Ekbert I attempted to repudiate Immilla in order to marry Adela of Louvain, daughter of Lambert II, Count of Louvain and the widow of Otto I,Margrave of Meissen. After Ekbert's death in 1068, Immilla spent some time at the imperial court with her niece Bertha, before returning to Italy. It is possible that she acted as regent for her young son, Ekbert II, atthis time.Immilla died in Turin in January 10, 1078. She is sometimes said to have become a nun before her death.Marriages and childrenWith her first husband, Otto, Immilla had five daughters:Bertha (or Alberada)(died 1 April 1103), married firstly Herman II, Count of Kastl, and married secondly Frederick, Count of KastlGisela, inherited Kulmbach and Plassenburg, married Arnold IV, Count of AndechsJudith (died 1104), marriedfirstly Conrad I, Duke of Bavaria, and secondly Botho, Count of PottensteinEilika, abbess of NiedermünsterBeatrice (1040–1140), inherited Schweinfurt, married Henry II, Count of Hildrizhausen and Margrave of theNordgauWith her second husband, Ekbert I, Immilla had the following children:Ekbert IIGertrudePassage 2:VolkoldVolkold of Meissen (also Wolcold, Folcold, Folchold, Volhold, Volkhuld, Volchrad, Vocco; died 23 August992) was the second Bishop of Meissen.LifeBefore his elevation to the episcopate all that is known of Volkold's life is that he was at the court of Emperor Otto I as one of the tutors of the Emperor's son, the  future OttoII. He seems to have been appointed Bishop of Meissen in 969. Before his elevation Volkold was the patron of the young Willigis, later Saint Willigis, and used his influence to obtain for him a position in the Imperialservice. In 972 Volkold attended a synod in Ingelheim.When Boleslaus II, Duke of Bohemia, besieged the Albrechtsburg and the town of Meissen in 984 in support of the Imperial ambitions of Henry II of Bavaria afterthe death of Otto II, Volkold was obliged to seek refuge from the Sorbs in Erfurt, under the protection of Willigis, and was not able to return to his badly-damaged headquarters until after the re-conquest by Ekkehard I,Margrave of Meissen, in 987. In that year he put the diocese under Imperial protection.Doubtless as compensation for the bishopric's many losses he received from Otto II several gifts of estates, tolls and uses.While ona visit to Prague he suffered a stroke, on Good Friday 992, and returned paralysed to Meissen, where he died on 23 August and was buried.Passage 3:Albrecht I of MeissenAlbrecht I of Meissen (died 1 August 1152) wasBishop of Meissen from 1150 to 1152.LifeAlbrecht I is not extensively documented. He was supposedly from a family of the Sorbian nobility. Before his elevation to the bishopric he was a cathedral provost. Otto vonFreising mentions Albrecht in 1151 in connection with the dispute between Friedrich II of Berg and Herman van Horne over the office of bishop of Utrecht.With the agreement of the Pope, the bishopric of Meissen, likethat of Naumburg, was under the protection of Burggraf Conrad I of Meissen, in return for which the bishops were expected to undertake appropriate tasks from time to time. At the beginning of 1152 Conrad IIIentrusted Albrecht, who had the reputation of being talented at languages, with a diplomatic mission to the Byzantine Emperor Manuel I Komnenos. The bishop died either on the way to Constantinople or in the cityitself.Passage 4:John I, Duke of Brunswick-GrubenhagenJohn I, Duke of Brunswick-Grubenhagen (born: before 1322; died: 23 May 1367) was provost of the St. Alexandri Minster in Einbeck.He was the son of DukeHenry I \"the Marvelous\" of Brunswick-Grubenhagen and his wife Agnes of Meissen, daughter of Margrave Albert II of Meissen.Passage 5:Agnes of WaiblingenAgnes of Waiblingen (1072/73 – 24 September 1143), alsoknown as Agnes of Germany, Agnes of Poitou and Agnes of Saarbrücken, was a member of the Salian imperial family.  Through her first marriage, she was Duchess of Swabia; through her second marriage, she wasMargravine of Austria.FamilyShe was the daughter of Henry IV, Holy Roman Emperor, and Bertha of Savoy.First marriageIn 1079, aged seven, Agnes was betrothed to Frederick, a member of the Hohenstaufen dynasty;at the same time, Henry IV invested Frederick as the new duke of Swabia. The couple married in 1086, when Agnes was fourteen. They had twelve children, eleven of whom were named in a document found in theabbey of Lorsch:Hedwig-Eilike (1088–1110), married Friedrich, Count of LegenfeldBertha-Bertrade (1089–1120), married Adalbert, Count of ElchingenFrederick II of SwabiaHildegardConrad III ofGermanyGisihild-GiselaHeinrich (1096–1105)Beatrix (1098–1130), became an abbessKunigunde-Cuniza (1100–1120/1126), wife of Henry X, Duke of Bavaria (1108–1139)Sophia, married Konrad II, Count ofPfitzingenFides-Gertrude, married Hermann III, Count Palatine of the RhineRichildis, married Hugh I, Count of RoucySecond marriageFollowing Frederick's death in 1105, Agnes married Leopold III (1073–1136), theMargrave of Austria (1095–1136). According to a legend, a veil lost by Agnes and found by Leopold years later while hunting was the instigation for him to found the Klosterneuburg Monastery.Their childrenwere:AdalbertLeopold IVHenry II of AustriaBerta, married Heinrich of RegensburgAgnes, \"one of the most famous beauties of her time\", married Wladyslaw II of PolandErnstUta, wife of Liutpold von PlainOtto of Freising,bishop and biographerConrad, Bishop of Passau, and Archbishop of SalzburgElisabeth, married Hermann, Count of WinzenburgJudith, m. c. 1133 William V of Montferrat. Their children formed an important Crusadingdynasty.Gertrude, married Vladislav II of BohemiaAccording to the Continuation of the Chronicles of Klosterneuburg, there may have been up to seven other children (possibly from multiple births) stillborn or who diedin infancy.In 2013, documentation regarding the results of DNA testing of the remains of the family buried in Klosterneuburg Abbey strongly favor that Adalbert was the son of Leopold and Agnes.In 1125, Agnes'brother, Henry V, Holy Roman Emperor, died childless, leaving Agnes and her children as heirs to the Salian dynasty's immense allodial estates, including Waiblingen.In 1127, Agnes' second son, Konrad III, was electedas the rival King of Germany by those opposed to the Saxon party's Lothar III. When Lothar died in 1137, Konrad was elected to the position.Passage 6:Margaret of SicilyMargaret of Sicily (also called Margaret ofHohenstaufen or Margaret of Germany) (1 December 1241, in Foggia – 8 August 1270, in Frankfurt-am-Main) was a Princess of Sicily and Germany, and a member of the House of Hohenstaufen. By marriage she wasLandgravine of Thuringia and Countess Palatine of Saxony (German: Landgräfin von Thüringen und Pfalzgräfin von Sachsen).She was the daughter of Frederick II, Holy Roman Emperor, King of Sicily and Germany, byhis third wife, Isabella of England.  Her paternal grandparents were Henry VI, Holy Roman Emperor and Constance of Sicily. Her maternal grandparents were John of England and Isabella of Angoulême.BirthThe date ofher birth is difficult to ascertain because there is controversy over the exact number of children borne by her mother. Some sources say that she was the first or second child, born by the end of 1237; others say thatshe was the last child, born in December 1241, when Isabella died in childbirth. Historians commonly accept the latter date.LifeShortly after her birth (1242), Margaret was betrothed to Albert \"the Degenerate\", eldestson and heir of Henry III \"the Illustrious\", Margrave of Meissen. The marriage took place in June 1255, the bride receiving Pleissnerland (the towns of Altenburg, Zwickau, Chemnitz and Leisnig) as her dowry.The couplesettled at his residence in Eckartsberga and later moved to Wartburg, where she bore five children: three sons (Henry, Frederick and Dietzmann) and two daughters (Margaret and Agnes). Through her second sonFrederick – later Margrave of Meissen – Margaret was the direct ancestor of the Electors and Kings of Saxony and English Queen consorts Margaret of Anjou and Anne of Cleves.In 1265 her husband received the titles ofLandgrave of Thuringia and Count Palatine of Saxony (German: Pfalzgräf von Sachsen) after the abdication of his father, who retained control of Meissen.After the execution of her nephew Conradin (29 October 1268),Margaret, as the next legitimate relative, became the rightful Queen of Sicily and the general heiress of the Hohenstaufen claims over the Duchy of Swabia and the Kingdom of Jerusalem (despite the fact she was notdescended from the Kings of Jerusalem, her father Frederick II had claimed the kingdom for himself). Her son Frederick assumed by some time this titles on her right.After discovering the adultery of her husband withKunigunde of Eisenberg, Margaret left Wartburg; according to a legend, before her departure she bit her son Frederick in the cheek; he was called henceforth Frederick the Bitten (de: Friedrich der Gebissene). The flighttook place on 24 June 1270. Margaret went to Frankfurt-am-Main and was supported there by the citizens. She died there six weeks later.IssueMargaret and Albert had five children:Henry (b. 21 March 1256 – d. 25January/23 July? 1282), inherited the Pleissnerland in 1274.Frederick (b. 1257 – d. Wartburg, 16 November 1323), Margrave of Meissen.Theodoric, called Dietzmann (b. 1260 – murdered Leipzig, 10 December 1307),Margrave of Lusatia.Margaret (b. 1262 – d. young, after 17 April 1273).Agnes of Meissen (b. 1264 – d. September 1332), married before 21 July 1282 to Henry I, Duke of Brunswick-Grubenhagen.Passage 7:Elisabeth ofMeissenElisabeth of Meissen, Burgravine of Nuremberg (22 November 1329 – 21 April 1375) was the daughter of Frederick II, Margrave of Meissen and Mathilde of Bavaria and a member of the House ofWettin.Marriage and childrenShe was born in Wartburg.  On 7 September 1356, at the age of twenty six, she married Frederick V, Burgrave of Nuremberg in Jena. In 1357 her husband succeeded to the title, and fromthat time until her death in 1375, she was styled as Burgravine of Nuremberg. Together Frederick and Elisabeth had nine children, seven girls and two boys, who survived to adulthood:Elisabeth (1358–26 July 1411,Heidelberg), married in Amberg 1374 to Rupert of Germany.Beatrix (c. 1362, Nuremberg–10 June 1414, Perchtoldsdorf), married in Vienna 1375 Duke Albert III of AustriaAnna (c. 1364–after 10 May 1392), a nun inSeusslitz.Agnes (1366 – 22 May 1432), Convent in Hof (1376–1386) married in Konstance 1386 Baron Friedrich of Daber, Returned to Convent in Hof (1406) Abbess in Hof (1411–1432).John (c. 1369–11 June 1420,Plassenburg).Frederick (1371–1440) was the last Burgrave of Nuremberg from 1397 to 1427 (as Frederick VI), Margrave of Brandenburg-Ansbach from 1398, Margrave of Brandenburg-Kulmbach from 1420, and Electorof Brandenburg (as Frederick I) from 1415 until his death. He became the first member of the House of Hohenzollern to rule the Margraviate of Brandenburg.Margarete (died 1406, Gudensberg), married in Kulmbach1383 Landgrave Hermann of Hesse.Katharina (died 1409), Abbess in Hof.Veronica of Hohenzollern, married Barnim VI, Duke of Pomerania.Elisabeth died at the age of 45.Passage 8:Agnes II, Abbess ofQuedlinburgAgnes II (Agnes of Meissen; 1139 – 21 January 1203) was a member of the House of Wettin who reigned as Princess-Abbess of Quedlinburg.LifeShe was born in Meissen as the daughter of Conrad, Margraveof Meissen, and Luitgard of Swabia. In 1184, she was elected successor to Princess-Abbess Adelaide III.Agnes was a significant patron of art, as well as miniaturist and engraver. During her reign, the nuns ofQuedlinburg Abbey made large curtains that are indispensable in the study of the art industry of the era. She also wrote and illuminated books for divine service. However, her greatest masterpiece was the manufactureof wall-hangings, of which one set was intended to be sent to the Pope; this tapestry is the best preserved piece of Romanesque textile. She was known for combining her embroidering with her literary composition andeven composed Latin verses on a piece of tapestry.She died in Quedlinburg Abbey on 21 January 1203.LegacyAgnes is a featured figure on Judy Chicago's installation piece The Dinner Party, being represented as one ofthe 999 names on the Heritage Floor.Passage 9:Albert, Margrave of Meissen (1934–2012)Prince Albert Joseph Maria Franz-Xaver of Saxony, Duke of Saxony, Margrave of Meissen (30 November 1934 – 6 October 2012)was the head of the Royal House of Saxony and a German historian. The fourth child and youngest son of Friedrich Christian, Margrave of Meissen and his wife Princess Elisabeth Helene of Thurn and Taxis, he was theyounger brother of Maria Emanuel, Margrave of Meissen, who was his predecessor as head of the Royal House of Saxony. Had he been King he would have been known as Albert IILifeAlbert received his secondaryeducation at the Federal Gymnasium in Bregenz, Austria. He passed his matura in 1954.  His parents and their children then moved to Munich, with support from his mother's relatives from the Thurn und Taxisdynasty.  In Munich, Albert studied at the Ludwig Maximilian University. He initially studied macroeconomics, and later switched to history and ethnography.  On 13 February 1961, he received his PhD for a thesis on hisgreat-great-grandfather, King John of Saxony, and his reform of Saxon commercial law.On 30 January 1960 the Studiengruppe für Sächsische Geschichte und Kultur e.V. (\"Study group for Saxon history and culture\")was founded by Albert together with his parents, his elder brother Maria Emanuel, some other Saxon nobles, the Chapter of the Military Order of St. Henry, the chapter of the association of people from Dresden, and theassociation of Heimatvertriebene in the history department of the University of Munich. This study group became one of the largest historical societies in West Germany. After completing his studies, Albert worked as ahistorian and referent. He studied the history of the Duchy of Saxony and the Kingdom of Saxony, in particular the relationship of Saxony to Bavaria.At times, he was vice president of the Bund der Mitteldeutschen(\"Association of Central Germans\").  In 1972, he joined the Mitteldeutschen Kulturrat e.V. (\"Central German Culture Council\"), where he represented the interests of the Free State of Saxony.In the summer of 1982, hewas allowed to visit Saxony for the first time since his youth. He visited again in 1983 and 1985. He was then not allowed to enter the German Democratic Republic again, for unknown reasons, until 1989/1990. On 22January 1990, he participated in a Monday demonstration in Dresden and was unexpectedly asked to address the crowd. He told his audience about their task to rebuild Saxony and ended with the words \"Long liveSaxony, Germany, Europe and the western-Christian culture.\"In the subsequent elections for the Saxon parliament, he ran as a DSU candidate; he was not elected, nor did the newly elected government of Saxonyemploy him as an advisor. After the German reunification, he has tried to reclaim some of his family's former possessions.MarriageAlbert morganatically wed Elmira Henke in a civil ceremony on 10 April 1980 in Munich,and in a religious ceremony on 12 April 1980, in the Theatine Church, also in Munich. Elmira assisted Albert with his scientific and historical studies; she specialized in ethnographic topics. Albert and Elmira had nochildren.SuccessionThe headship of the Royal House of Saxony is a matter of dispute in the Saxon Royal Family. The conflict stems from the fact that the last undisputed head of the house Maria Emanuel, Margrave ofMeissen, and the other princes of his generation either had no children or, in the case of Prince Timo, had children (including Prince Rüdiger of Saxony) who were deemed not to be members of the Royal House ofSaxony.The first designated dynastic heir of Maria Emanuel was his and Albert's nephew Prince Johannes of Saxe-Coburg and Gotha, only son of their youngest sister Princess Mathilde of Saxony by her marriage toPrince Johannes Heinrich of Saxe-Coburg and Gotha, dynast of a ducal branch of the House of Wettin senior patrilineally to the royal branch. After the early death of Prince Johannes, the heirless Maria Emanuel thenconsidered as potential heir another nephew, Alexander Afif, the eldest son of Princess Anna of Saxony and her husband Roberto Afif, despite the Afif-Saxony marriage being contrary to the traditional laws of the Houseof Saxony which required equal marriages for descendants to inherit dynastic rights. On 14 May 1997 the Margrave of Meissen proposed his nephew Alexander Afif as heir and drew up a document that was signed bythe other male and female members of the Royal House (including previously non-dynastic spouses of princes) setting out that Alexander would succeed on his death. The document was signed by: Anastasia,Margravine of Meissen, Prince Albert and his wife, née Elmira Henke, Prince Dedo (for himself, for his brother Prince Gero and for their stepmother née Virginia Dulon – his brother Prince Timo had died in 1982), thePrincesses Maria Josepha, Anna and Mathilde, and Prince Timo's third wife, née Erina Eilts. Two years later on 1 July 1999 the Margrave adopted his nephew Alexander Afif, who had used the title Alexander, Prince ofSaxe-Gessaphe since 1972, based on his patrilineal descent from the once-sovereign Lebanese \"Afif\" (or Gessaphe) dynasty.The 1997 agreement proved to be controversial and in the summer of 2002 three of thesignatories, Princes Albert, Dedo and Gero (the latter consented via proxy but had not personally signed the document) retracted their support for the agreement. The following year Prince Albert wrote that it is throughPrince Rüdiger and his sons that the direct line of the Albertine branch of the House of Wettin will continue, and thus avoid becoming extinct. Until his death, however, the Margrave, as head of the former dynasty,continued to regard his nephew and adopted son, Prince Alexander, as the contractual heir entitled to succeed.Immediately following the death of Maria Emanuel in July 2012, Prince Albert assumed the position of headof the Royal House of Saxony. According to the Eurohistory Journal prior to the Margrave's funeral Albert met with his nephew, Alexander, and recognised him as Margrave of Meissen. However this claim is contradictedby Albert himself in his final interview, given after the funeral, where he states that he needs recognition as Margrave of Meissen. Prince Alexander, citing the 1997 agreement, has also assumed the headship. Albert,Margrave of Meissen died at a hospital in Munich on 6 October 2012 at the age of 77.Prior to the requiem for Margrave Maria Emanuel, Rüdiger, who had sought to be recognised by his cousin as a dynastic member ofthe House of Saxony but was refused, conducted a demonstration outside the cathedral with Saxon royalists in protest against the late Margrave Maria Emanuel's decision to appoint Alexander as heir. The familywebsite of Prince Rüdiger states that, prior to his death, Albert determined Rüdiger to be his successor and instituted a clear succession plan. On this basis following Albert's death Prince Rüdiger assumed the headshipof the house.AncestryPublications by Prince AlbertDie Reform der sächsischen Gewerbegesetzgebung (1840–1861), PhD thesis, University of Munich, 1970Dresden, Weidlich, Frankfurt 1974, ISBN 3-8035-0474-0Leipzigund das Leipziger Land, Weidlich, Frankfurt 1976, ISBN 3-8035-8511-2Die Albertinischen Wettiner — Geschichte des Sächsischen Königshauses (1763–1932), 1st ed., St.-Otto-Verlag, Bamberg, 1989, ISBN3-87693-211-4; 2d ed., Gräfelfing, 1992, ISBN 3-87014-020-8Weihnacht in Sachsen, Bayerische Verlagsanstalt, Munich, 1992, ISBN 3-87052-799-4Die Wettiner in Lebensbildern, Styria-Verlag, Vienna, Graz andCologne, 1995, ISBN 3-222-12301-2Die Wettiner in Sachsen und Thüringen, König-Friedrich-August-Institut, Dresden, 1996Das Haus Wettin und die Beziehungen zum Haus Nassau-Luxemburg, Bad Ems, 2003Bayern &"}
+{"doc_id":"doc_24","qid":"","text":"Passage 1:Cry of the HuntedCry of the Hunted is a 1953 American crime film noir directed by Joseph H. Lewis.  The drama features Vittorio Gassman, Barry Sullivan and Polly Bergen.PlotAn obsessive lawman (BarrySullivan) who works for the state chases an escaped fugitive (Vittorio Gassman) through the Louisiana bayou.CastVittorio Gassman as JoryBarry Sullivan as Lieutenant TunnerPolly Bergen as Janet TunnerWilliam Conradas GoodwinMary Zavian as EllaRobert Burton as Warden KeeleyHarry Shannon as Sheriff BrownJonathan Cott as Deputy DavisReceptionAccording to MGM records the film earned $376,000 in the US and Canada and$249,000 elsewhere resulting in a loss of $179,000.Critical responseFilm critic Hal Erickson, of Allmovie, has praised the directing of the film, writing, \"On the whole, the MGM B product of the 1950s contained some ofthe studio's best-ever 'small' pictures...Cry of the Hunted is directed with flair by Joseph H. Lewis, who always managed to rise above the slimmest of budgets and the barest of production values.\"TV Guide in its filmguide also wrote well of the film, \"Stylishly directed chase film from Lewis who had previously shown his talent in Gun Crazy...At one point he is caught but again breaks free, only to be recaptured again at the finale.Interesting subplot has Conrad waiting for Sullivan to make a wrong move so he can grab his job.\"Noir analysisCritics Alain Silver and Elizabeth Ward, in various sections of their analysis of the film, discuss a sub silentiotheme found in the movie: the homosexual undercurrent of the protagonists; they write, \"After an initial scene, in which Sullivan and Gassman wrestle each other to exhaustion and then sit sharing cigarettes likebrothers,\" and, \"...even in his sleep [Sullivan] is obsessive as he dreams of the escapee in homoerotic terms,\" and, \"Gassman too seems drawn to his pursuer.\"Film critic Eddie Muller, in an interview for Bright LightsFilm Journal, agrees, \"I once showed this goofy B film called Cry of the Hunted, with Barry Sullivan and William Conrad — it's swamp noir. In Los Angeles, the audience adored it. They howled, especially at theover-the-top gay subtext between the two lead actors. They fight, and when it's obvious the fight is over, they're still wrestling around the floor. Then they lie against the wall and smoke cigarettes. The L.A. audienceate it up.\"Passage 2:The Hunted (2015 film)The Hunted is a 2015 American film based on the action comedy web series The Hunted (2001) created and directed by Robert Chapin. Starring Chapin and MoniqueGanderton in lead roles. It tells the story of a struggling actor who leads a group of misfit slayers against an army of vampires. The film is one of the first to be produced under SAG’s New Media contract and wasdistributed online through Vimeo VOD.PlotComing to terms with his unsuccessful attempts at becoming an actor, Bob (Chapin) is bitten by a vampire named Susan, (Ganderton) who is the daughter of a crazed vigilanteslayer. Consequently, Bob becomes one of the Hunted, a small group of humans, bitten but not turned, who use cold steel and fighting technique to fend off vampires. The vampires, however, have developed animmunity to everything over the years, and the only way they can be killed is with a sword. Luckily, Bob knows how to wield a sword, mostly due to his starring role in a cheesy 80’s action flick called, “Vampslayer”.Find How Bob helps Susan and the Hunted defend the vampires forms the rest of the story.CastRobert Chapin as BobMonique Ganderton as SusanDavid Lain Baker as HarryGary Kasper as DragosTex Wall as LoreMasterAndrew Helm as KevinAnthony De Longis as VincentProductionConception and writingThe Hunted began in 2001 as a long-standing Internet series, created by Chapin in an effort to train his credentials as astuntman and VFX-artist. Embracing his skills with a sword and his technical abilities behind the camera, he collaborated with his friends and colleagues in order to combine their talents and undertake an underdog storyof LA-based vampire hunters. The fact that user-generated content created by fans became the main content source for the online series is reflected in the theme of the film, where soccer moms learn to becomevampire slayers, just like fans learning to become filmmakers, thus providing everyone a chance to discover their true potential. The dialogues in the film make use of copious lines from well-known films and poems,ranging from Scarface (1983) and Independence Day (1996) to Shakespeare.FilmingThe film received financial support in June 2011 via a Kickstarter campaign. The film was shot in Hollywood, California in 2012 and isco-produced by New Deal Studios, the Academy Award-winning effects studio behind numerous blockbuster films, including Inception (2010) and Interstellar (2014). Post-production was completed in March 2015. Themajority of the film's cast consisted of stunt people.Passage 3:Scotty FoxScott Fox is a pornographic film director who is a member of the AVN Hall of Fame.Awards1992 AVN Award – Best Director, Video (TheCockateer)1995 AVN Hall of Fame inducteePassage 4:Adrian BrunelAdrian Brunel (4 September 1892 – 18 February 1958) was an English film director and screenwriter. Brunel's directorial career started in the silentera, and reached its peak in the latter half of the 1920s. His surviving work from the 1920s, both full-length feature films and shorts, is highly regarded by silent film historians for its distinctive innovation, sophisticationand wit. With the arrival of talkies, Brunel's career ground to a halt and he was absent from the screen for several years before returning in the mid-1930s with a flurry of quota quickie productions, the majority of whichare now classed as lost. Brunel's last credit as director was in a 1940 comedy film, although he worked for a few years more as a \"fixer-up\" for films directed or produced by friends in the industry.After decades ofneglect, Brunel's work has latterly been rediscovered and has undergone a critical re-evaluation. His lost films are eagerly sought, and the British Film Institute includes two, The Crooked Billet (1929) and Badger'sGreen (1934), on its \"75 Most Wanted\" list of missing British feature films.Early life and careerBorn in Brighton in 1892, Brunel was educated at Harrow School. His mother Adey was a drama teacher so he grew up in astage milieu and dabbled in acting and writing plays, as well as training in opera. On leaving school he worked for a time as a local journalist in Brighton before taking employment in London in the bioscope showdistribution division of music hall chain Moss Empires. This spurred his interest in cinema, and in 1916 he and a friend formed a company called Mirror Films, which produced one film, The Cost of a Kiss, the followingyear.In 1920 Brunel joined with actor Leslie Howard and author A. A. Milne to set up Minerva Films, which produced six comedy shorts over a two-year period. Brunel's major break came in 1923, when he was offeredthe directorial role for the film The Man Without Desire, starring Ivor Novello. His feature film debut was a time-travelling story set in Venice and included location filming in the Italian city. Studio and post-productionwork took place in Germany, and the resulting work has been described as \"one of the stranger films to emerge from Britain in the 1920s\".Comedy shortsBetween 1923 and 1925, Brunel directed a series ofsophisticated comedy burlesque short films, frequently lampooning fads or institutions of the day. Initially these were produced and distributed independently, but their popularity among film insiders and cognoscentibrought them to the attention of Michael Balcon, who offered Brunel the opportunity to produce them through Gainsborough Pictures. These films were replete with punning intertitles and playful visual wit, with anumber parodying the silhouette animation technique pioneered by Lotte Reiniger by using live actors in place of animated cutouts (Two-Chinned Chow, Shimmy Sheik, and Yes, We Have No...! – in which a man isdriven to distraction by the ubiquity of the song \"Yes! We Have No Bananas\" and travels to ever-more exotic and outlandish locations to escape it, only to find that no matter where in the world he goes, the song has gotthere first).Other films were self-referential in highlighting the ability of film to produce a manipulated and distorted picture of reality. Brunel's most highly admired production of this period is 1924's Crossing the GreatSagrada, a spoof of the hugely popular travelogue genre of the time, in which its conventions are laid bare as the absurdities they are. Brunel uses the film to satirise the prevalent colonial view of \"native people\", whilehighlighting the dishonesty inherent in the genre with ludicrously incongruous intertitles, tagging a view of an African mud-hut village as Wapping, and a sequence of the heroes struggling across a desert landscape asBlackpool beach. Critic Jamie Sexton notes: \"The film's surreal humour prefigures that of later innovative British comedy, such as Monty Python's Flying Circus.Brunel also targeted the British film industry itself, with SoThis Is Jollygood bemoaning what he saw as its general ineptitude in comparison with its American counterpart, and Cut It Out attacking the over-zealousness of the British film censors.Gainsborough filmsImpressedwith Brunel's short film output, Balcon invited him to try his hand at directing full-length features for Gainsborough. This resulted in five films between 1926 and 1929, all of which were high profile, big-budgetproductions with star names, and were designed as serious prestige vehicles with none of the opportunities for the humour and facetiousness of most of Brunel's earlier work. The first release was Blighty, a class-basedstudy of life during World War I, written by Brunel's friend Ivor Montagu. It was reported that Brunel was initially uneasy about directing a \"war film\" as it went against his moral values; however the finished productcontained no militaristic or jingoistic material, concentrating instead on the effects of the unseen war on an English family.In 1928 there followed two films which reunited Brunel with Novello as his leading actor: thefirst screen adaptation of Margaret Kennedy's best-selling novel The Constant Nymph and a version of the Noël Coward play The Vortex. Brunel's third film of 1928 was A Light Woman starring Benita Hume, while 1929brought the Madeleine Carroll vehicle The Crooked Billet, which Brunel described in his autobiography as \"my last, and perhaps my best, silent film\". The film's \"lost\" status however precludes it from being criticallyevaluated alongside his surviving work.Later careerWith the introduction of talkies to British cinema, Brunel's career impetus came to a sudden halt. It is not exactly clear why Brunel in particular should have found hiscareer so comprehensively derailed at this time, although it is suggested that his pursuance of a legal claim against Gainsborough for alleged non-payment of fees may well have tarnished his reputation in the filmindustry by making him appear a potential trouble-maker. After writing and partly directing 1930's Elstree Calling for British International Pictures, he was sacked by the studio, who enlisted Alfred Hitchcock to finish thepicture, and no further film offers were forthcoming.Brunel returned to film directing in 1933, and over the following four years made 17 quota quickies, mainly for Fox British. As was the norm with quota quickiedirectors, Brunel's films in this period encompassed a range of genres from comedy and musicals, through drama, to thrillers and crime. However, few of these films are known to survive. Brunel's last three featurefilms, The Rebel Son (1938); The Lion Has Wings (1939), a three-way directorial venture with Michael Powell and Brian Desmond Hurst; and The Girl Who Forgot (1940), were more visible productions which dosurvive.Following these, Brunel drew a line under his directorial career, although he did continue for a time to offer uncredited help as a favour, most notably to his old friend Leslie Howard on The First of the Few (1942)and The Gentle Sex (1943). He published an autobiography Nice Work in 1949, and died in February 1958, aged 65.In an assessment of Brunel's significance in British cinema history, Geoff Brown concludes: \"...(his)career was clearly not what it might have been, and the apparent absence of surviving copies of many of his talkies makes a thorough re-evaluation of his work difficult. But the burlesque comedies alone give him adistinctive place in British cinema history as a satirical jester, and a key player in the film industry's uneasy war between art and commerce.\"Filmography (director)BibliographyBrunel wrote two guides to filmmaking anda memoir detailing his time in the industry.Filmcraft: the Art of Picture Production (1935)Film script: The Technique of Writing for the Screen (1948)Nice Work: Thirty Years in British Films (1949)Passage 5:Joseph H.LewisJoseph H. Lewis (April 6, 1907 – August 30, 2000) was an American B-movie film director whose stylish flourishes came to be appreciated by auteur theory-espousing film critics in the years following hisretirement in 1966. In a 30-year directorial career, he helmed numerous low-budget westerns, action pictures, musicals, adventures, and thrillers. Today he is remembered for mysteries and film noir stories: My NameIs Julia Ross (1945) and So Dark the Night (1946) as well as his most highly regarded features, 1950's Gun Crazy, which spotlighted a desperate young couple (Peggy Cummins and John Dall) who embark on a deadlycrime spree, and the 1955 film noir The Big Combo, with its stunning cinematography by John Alton.Life and careerBorn in Brooklyn, the son of Russian Jewish immigrants, Ernestine (née Miriamson) and Leopold Lewis.His father was an optometrist. He grew up on the Upper East Side of New York City and attended DeWitt Clinton High School in the Bronx and when his brother, Ben, moved to Hollywood in 1927, he decided to followwith the hope of becoming an actor. Ben found him a job as camera assistant and, subsequently, young Joseph became an assistant film editor just as the film industry was converting to sound.  He began his directorialcareer (1937–40) by turning out low-budget B-Westerns starring Bob Baker, Charles Starrett, and Bill Elliott. Film editors referred to Lewis as \"Wagon-Wheel Joe,\"  because of his tendency to use wagon wheels in theforeground to create interesting visual compositions.Lewis served with the United States Army Signal Corps as a Sergeant during World War II, making training films at the Army's Astoria Studios. One on how to shootthe M-1 rifle was shown well into the 1960s.Lewis was equally comfortable working in different genres: horror (Bela Lugosi, The Invisible Ghost), comedy (The East Side Kids, That Gang of Mine), detective mystery(Tom Conway, The Falcon in San Francisco), costume adventure (Larry Parks, The Swordsman), and musicals (Benny Fields, Minstrel Man). Lewis's creative compositions for Minstrel Man won him the assignment ofstaging the musical sequences for The Jolson Story.Today, Lewis is primarily known for his work in film noir during the 1940s and early 1950s. Gun Crazy is a dark romance about gun-obsession, notable for its use oflocation photography and, for film students and buffs, a particularly arresting shot which lasts for ten minutes, as the audience suddenly becomes a passenger in the getaway car following a bank robbery committed bythe young leads.Toward the end of Lewis's career, he worked in television, directing mostly westerns:  The Rifleman, Bonanza, The Big Valley, Gunsmoke, and the pilot for Branded. He also directed the 1961 CBS crimeadventure-drama series The Investigators.Lewis suffered a major heart attack at the age of 46, but continued working until his 59th birthday in April 1966, at the end of the 1965–66 TV season. He later lectured at filmschools and fan gatherings as well as at retrospectives such as the Telluride Film Festival, along with European venues in France, Germany and other locations.  In 1997 he became the recipient of the Los Angeles FilmCritics Association Lifetime Achievement Award.Nearly five months after his 93rd birthday, Lewis died at his home in Los Angeles County's seaside community of Marina del Rey.  Active until the end, he made his finalpublic appearance five weeks earlier to introduce a screening of Gun Crazy at the University of California at Los Angeles. He was married to Buena Vista Lewis; they had one daughter, Candy Lewis Sangster.SelectedfilmographyPassage 6:The Hunted (2003 film)The Hunted is a 2003 American action thriller film directed by William Friedkin and starring Tommy Lee Jones, Benicio del Toro, and Connie Nielsen.PlotU.S. Army SergeantFirst Class Aaron Hallam, a former Delta Force operator, has spent much of his career performing covert assassinations and black operations for the U.S. government. He is awarded the Silver Star for his service in theKosovo War, but is left wracked with PTSD from the atrocities he witnessed.In the wilderness of Silver Falls State Park, Oregon, Hallam encounters two hunters equipped with expensive scoped rifles. Hallam tells themthat, due to their use of guns and scopes, they are not \"true hunters\". Insulted, the hunters pursue him, but are overwhelmed by Hallam's tactics and traps and are killed.L.T. Bonham, a former civilian instructor ofmilitary survival and combat training, lives secluded deep in the woods of British Columbia. He is approached by the FBI, who ask him to help apprehend Hallam, one of his former students. Bonham agrees and joins theFBI task force pursuing Hallam, led by Assistant Special Agent in Charge Abby Durrell. Bonham discovers Hallam's personal effects in a tree and encounters Hallam. As the two of them fight, Hallam is struck by an FBItranquilizer and taken into custody.During his interrogation, Hallam is uncooperative and looks mainly to Bonham, who he views as a father figure. The FBI, unsure what to do, hand him to the custody of his fellow JSOCoperators, who tell the FBI that Hallam cannot stand trial due to the classified operations he had participated in. While being transported, the operators indicate that they intend to kill Hallam to ensure his silence;Hallam manages to kill all the operatives and escape.Alerted to the incident, Bonham and the FBI search for Hallam. Bonham finds him at the house of his ex-girlfriend and her daughter in Portland, but he flees afterAbby arrives to apprehend him. Pursued by the FBI and the Portland Police Bureau, Hallam ambushes and kills pursuing FBI agents in a sewer and attempts to board a streetcar to blend in. The police block the bridgethe streetcar is on, and he dives off the bridge, fleeing upstream.Resurfacing up the river, Hallam crafts a knife out of reclaimed metal, as Bonham taught him. Meanwhile, Bonham crafts his own knife out of stone andenters the wilderness alone in search of Hallam. Bonham is caught by one of Hallam's traps and is thrown down a waterfall. Surviving, he meets Hallam at the bottom, and they engage in hand-to-hand combat. The twosustain severe injuries, and Bonham's knife is broken, but Bonham manages to gain the upper hand and stab Hallam with his own knife, killing him as Abby and the FBI arrive.Bonham, mostly recovered, returns to hishome in British Columbia. He starts to burn Hallam's letters, in which he expressed his concerns over the things he witnessed during his service.CastTommy Lee Jones as L.T. BonhamBenicio del Toro as Sergeant AaronHallamConnie Nielsen as FBI Special Agent Abby DurrellLeslie Stefanson as Irene KravitzJohn Finn as FBI Special Agent Ted ChenowethJosé Zúñiga as FBI Special Agent Bobby MoretRon Canada as FBI Special AgentHarry Van ZandtMark Pellegrino as Dale HewittJenna Boyd as Loretta KravitzAaron DeCone as Stokes (as Aaron Brounstein)Carrick O'Quinn as KohlerLonny Chapman as ZanderRex Linn as Powell, The HunterEddie Velezas Richards, The HunterJohnny Cash as The Narrator (uncredited)ProductionThe film was partially filmed in and around Portland, Oregon and Silver Falls State Park. Portland scenes were filmed in Oxbow Park, theSouth Park Blocks, the Columbia Blvd Treatment Plant, and Tom McCall Waterfront Park. The technical adviser for the film was Tom Brown Jr., an American outdoorsman and wilderness survival expert. The story ispartially inspired by a real-life incident involving Brown, who was asked to track down a former pupil and Special Forces sergeant who had evaded capture by authorities. This story is told in Tom's book, Case Files OfThe Tracker. Chapter 2 of this book, \"My Frankenstein,\" describes Brown's tracking and fight with a former special operations veteran.The hand-to-hand combat and knife fighting in the film featured Filipino Martial Arts.Thomas Kier and Rafael Kayanan of Sayoc Kali were brought in by Benicio del Toro. They were credited as knife fight choreographers for the film.ReceptionBox officeThe box office for the film was less than its reported"}
+{"doc_id":"doc_25","qid":"","text":"Passage 1:Still of the NightStill of the Night  or In the Still of the Night may refer to:In the Still of the Night (film), a Czech filmStill of the Night (film), 1982 psychological thriller film, directed by Robert Benton\"Still ofthe Night\" (song), 1987, by Whitesnake\"Still of the Night\", a song by Quiet Riot from QR III\"In the Still of the Night\", a 1932 popular song written by Hoagy Carmichael and Jo Trent\"In the Still of the Night\" (Cole Portersong), a popular song by Cole Porter\"In the Still of the Night\" (The Five Satins song), 1956 doo-wop song, covered in 1992 by Boyz II MenIn the Still of the Night (album), a 1989 Johnny Mathis album\"Lost in the FiftiesTonight (In the Still of the Night)\", a 1985 medley containing the Five Satins songPassage 2:Emile ArdolinoEmile Ardolino (May 9, 1943 – November 20, 1993) was an American television and film director and producer,best known for his work on the films Dirty Dancing (1987) and Sister Act (1992). He won an Academy Award for Best Documentary Feature for his film He Makes Me Feel Like Dancin' (1983).Early life and careerArdolinowas born in Maspeth, a neighborhood of Queens, the son of Italian immigrants Ester (nee Pesiri) and Emilio Ardolino.He began his career as an actor in Off-Broadway productions, and then moved to the production sideof the business. In 1967, he founded Compton-Ardolino Films with Gardner Compton. In the 1970s and 1980s, Ardolino worked for PBS. He profiled dancers and choreographers for their Dance in America and Live fromLincoln Center series.Ardolino won an Academy Award for Best Documentary Feature for the 1983 film He Makes Me Feel Like Dancin'. He found commercial success with the Academy Award-winning 1987 hit DirtyDancing.DeathArdolino died in California on November 20, 1993 of complications from AIDS. His last films, The Nutcracker (based on George Balanchine's New York City Ballet adaptation) and the television productionof Gypsy starring Bette Midler, were released and shown posthumously. Ardolino is buried beside his parents at St. John Cemetery in New York.Personal lifeArdolino was openly gay.Awards1969 Obie Award for theBroadway production of Oh! Calcutta!19 Emmy Award nominations, winning three1983 Academy Award for Best Documentary Feature for He Makes Me Feel Like Dancin'.Partial filmographyHe Makes Me Feel LikeDancin' (1983)Dirty Dancing (1987)Chances Are (1989)Three Men and a Little Lady (1990)Sister Act (1992)The Nutcracker (1993)Gypsy (1993, TV movie)Passage 3:Ultimate Dirty DancingUltimate Dirty Dancing is asoundtrack album containing every song from the 1987 film Dirty Dancing, sequenced in the order it appears in the film. It was released on December 9, 2003, by RCA Records.Track listingTrack listing\"Be My Baby\" –The Ronettes\"Big Girls Don't Cry\" – Frankie Valli & The Four Seasons\"Merengue\" – Michael Lloyd & Le Disc\"Trot the Fox\" – Michael Lloyd & Le Disc\"Johnny's Mambo\" – Michael Lloyd & Le Disc\"Time of My Life\"(instrumental version) – The John Morris Orchestra\"Where Are You Tonight?\" – Tom Johnston\"Do You Love Me\" – The Contours\"Love Man\" – Otis Redding\"Gazebo Waltz\" – Michael Lloyd\"Stay\" – Maurice Williams andthe Zodiacs\"Wipe Out\" – The Surfaris\"Hungry Eyes\" – Eric Carmen\"Overload\" – Zappacosta\"Hey! Baby\" – Bruce Channel\"De Todo Un Poco\" – Michael Lloyd & Le Disc\"Some Kind of Wonderful\" – The Drifters\"These Armsof Mine\" – Otis Redding\"Cry to Me\" – Solomon Burke\"Will You Love Me Tomorrow\" – The Shirelles\"Love Is Strange\" – Mickey & Sylvia\"You Don't Own Me\" – The Blow Monkeys\"Yes\" – Merry Clayton\"In the Still of theNight\" – The Five Satins\"She's Like the Wind\" – Patrick Swayze\"Kellerman's Anthem\" – The Emile Bergstein Chorale\"(I've Had) The Time of My Life\" – Bill Medley & Jennifer WarnesChartsCertificationsPassage 4:DirtyDancing (disambiguation)Dirty Dancing is a 1987 film.Dirty Dancing may also refer to:Dirty Dancing (1988 TV series), an American television series that aired on CBSDirty Dancing (2006 TV series), an American realityseries that aired on WE tv networkDirty Dancing (2017 film), a musical television remake of the 1987 filmDirty Dancing (album), by Swayzak\"Dirty Dancing\" (song), by New Kids On The BlockDirty Dancing(soundtrack), soundtrack to the 1987 filmDirty Dancing: Havana Nights (also known as Dirty Dancing 2 or Dirty Dancing 2: Havana Nights), a 2004 filmDirty Dancing: The Classic Story on Stage, a stage musicalDirtyDancing: The Time of Your Life, a UK TV seriesPassage 5:La Bestia humanaLa Bestia humana is a 1957 Argentine film whose story is based on the 1890 novel La Bête Humaine by the French writer Émile Zola.ExternallinksLa Bestia humana at IMDbPassage 6:Dirty Dancing: Havana NightsDirty Dancing: Havana Nights (also known as Dirty Dancing 2 or Dirty Dancing 2: Havana Nights) is a 2004 American dance musical romance filmdirected by Guy Ferland and starring Diego Luna, Romola Garai, Sela Ward, John Slattery, Jonathan Jackson, January Jones, and Mika Boorem. The film is an unrelated prequel/\"re-imagining\" of the 1987 blockbusterDirty Dancing, reusing the same basic plot, but transplanting it from upstate New York to Cuba on the cusp of the Cuban Revolution. Patrick Swayze, star of the original Dirty Dancing, appears as a dance instructor. Itwas mostly filmed in Old San Juan, Puerto Rico.PlotIn 1958, Katey Miller (Romola Garai), her parents (Sela Ward and John Slattery), and her younger sister Susie (Mika Boorem) arrive in Cuba during the Cubanrevolution. A self-described bookworm, Katey is not very happy about having to move to a different country during her senior year of high school, as she had been planning to attend Radcliffe College, although the restof her family seem extremely pleased to be in Cuba.Meeting several other rich American teenagers down by the pool - including James Phelps (Jonathan Jackson), the son of her father's boss - Katey becomes disgustedwhen one of the teenagers insults a local waiter when he drops their drinks because Katey accidentally bumped into him. Katey attempts to talk to the waiter—Javier (Diego Luna), who works at the hotel to support hisfamily—because she feels awful about what had occurred, but he is not interested.Katey watches a film of her mother and father dancing and wishes she could dance as well as they did. She and her father dance a bit.The next day in class, Katey is asked to read aloud from the Odyssey - a passage about love and passion. After class, James invites her to a party at the country club the next day and she accepts.While walking homefrom school, she sees Javier dancing to street music, and he offers to walk her home. They stop to listen to a street band and police show up, stopping Javier while Katey runs away.The next day, Katey tries some of thedance moves she saw. Javier sees her and asks her to come see the real dancers Saturday night, but she says she is already going to the country club. Javier gets upset and leaves. Katey wears one of her maid'sdresses to the country club party and impresses James. Katey convinces him to take her to the Cuban nightclub La Rosa Negra (The Black Rose) where Javier is dancing with the ladies.Javier dances with Katey whileJames sits at the bar. Soon he is accosted by Javier's brother, Carlos, who tells him that they will eventually kick the Americans out of Cuba. Javier comes over and argues with his brother. James takes Katey back tothe car and assaults her after she refuses to kiss him. She slaps him and runs into the club, and Javier agrees to walk her home.The next day, Katey walks by a dance class. The teacher (Patrick Swayze) asks if anyonewants to enter the big dance contest and then dances with Katey for a bit. She grabs a flyer for the competition.While walking to the pool, James apologizes to Katey and then tells her that Susie saw Javier with her andgot him fired. Katey argues with Susie and goes to find Javier. He is now working at a chop shop with Carlos. She asks him to enter the dance contest with her, but he refuses. Meanwhile, it is becoming apparent thatCarlos is helping the revolutionaries.The next day, Javier shows up at Katey's school and agrees to enter the dance contest with her. They start teaching each other dance moves and Javier convinces her to \"feel themusic.\" They practice all the time, and Katey dances some more with the dance teacher, until it is the night of the dance. Katey and Javier dance with the other couples on the floor and are chosen to go on to the nextround.Katey's parents disapprove of her relationship with Javier, but Katey reconciles with them. On the night of the contest's final round, while Katey and Javier are on the dance floor, Javier sees his brother and somerevolutionaries disguised as waiters, and the police soon try to arrest them. The contest stops as everyone flees the club, and Javier has to save Carlos from the police. Javier and Carlos talk about how they miss theirdad, then they hear that Batista has fled the country and join the celebration.Later, Javier comes to the hotel and finds Katey. He takes her to the beach and they have sex. The next day, Katey's parents tell her theyare leaving Cuba and she has one last night with Javier. They go to the Cuban club where they first danced, and the floor is theirs as they are dubbed King and Queen. Katey's family is there to see her, and Kateynarrates that she doesn't know when she will see Javier again, but this will not be their last time to dance together.CastRomola Garai as Katey MillerDiego Luna as Javier SuarezSela Ward as Jeannie MillerJohn Slatteryas Bert MillerMika Boorem as Susie MillerJonathan Jackson as James PhelpsRene Lavan as Carlos SuarezPatrick Swayze as Dance Class InstructorJanuary Jones as EveMýa Harrison as Lola MartinezAngélica Aragón asMrs. SuarezKaly Cordova as DancerProductionHavana Nights is based on an original screenplay by playwright and NPR host Peter Sagal, based on the real life experience of producer JoAnn Jansen, who lived in Cuba asa 15-year-old in 1958–59. Sagal wrote the screenplay, which he titled Cuba Mine, about a young American woman who witnessed the Cuban revolution and had a romance with a young Cuban revolutionary. Thescreenplay was to be a serious political romance story, documenting, among other stories, how the Cuban revolution transformed from idealism to terror. It was commissioned in 1992 by Lawrence Bender, who wasrising to fame with his production of Quentin Tarantino's Reservoir Dogs and Pulp Fiction. The screenplay was bought by a film studio, which requested several rewrites before deciding not to produce the film. A decadelater, Bender decided to make a Dirty Dancing sequel, and the film was very loosely adapted from Sagal's script. Not a single line from Sagal's original screenplay appears in the final film and Sagal says that the onlyremnants of the political theme that existed in his script is a scene wherein some people are executed.Natalie Portman was offered the role of Katey Miller but she turned it down. Ricky Martin was also considered for therole of Javier Suarez. The film was British actress Romola Garai's first Hollywood film and she repeatedly has cited the filming of the movie as being an extremely negative experience which caused her to re-evaluateworking in Hollywood. In a 2004 interview with The Telegraph she explained that the filmmakers \"were obsessed with having someone skinny. I just thought, why didn't they get someone like Kate Bosworth, if that'swhat they wanted?\"In October 2017, in the midst of producer Harvey Weinstein's sexual abuse allegations in Hollywood, Garai later revealed that Weinstein, whose company Miramax was co-producing the film, hadrequired her to meet him alone in a hotel room while he was wearing only a bathrobe to obtain the part: \"I had to go to his hotel room in the Savoy, and he answered the door in his bathrobe. I was only 18. I feltviolated by it, it has stayed very clearly in my memory.\"ReceptionReview aggregator Rotten Tomatoes gives the film a 23% rating based on 108 reviews from critics, with an average rating of 4.2/10. The websiteprovides a brief critical consensus: \"Cheesy, unnecessary remake.\" On Metacritic, the film has a weighted average score of 39 out of 100, based on 32 critics, indicating \"generally unfavorable reviews\".RobertDenerstein of the Rocky Mountain News gave it a D+, saying: \"Tries to add Cuban flavor to a familiar plot but comes up with nothing more than a bubbling stew of cliches.\" Peter Howell of the Toronto Star thought it tobe \"Charmless, clumsy and culturally offensive all at the same time\" and merited it 1 out of 5 stars. Wesley Morris of The Boston Globe awarded it 2 out of 4 stars, saying: \"As you might expect, the movie is as squareas a sock hop.\" Philip Martin of the Arkansas Democrat-Gazette, who rated it B−, because \"aside from the triteness of the dialogue, the mathematical predictability of the script and the muddling of numbskulled politics,DD: HN is a fairly enjoyable experience.\" According to Louis Hobson of Jam! Magazine, who thought the movie was worth 3.5 out of 5 stars, the main redeeming factor was the choreography: \"You may have problemswith the obvious, clichéd story, but the dancing is incredible.\" Philip Wuntch of The Dallas Morning News gave the film a C, stating that \"both the dance numbers and the personal drama are largelylistless.\"Soundtrack\"Dance Like This\" – Wyclef Jean featuring Claudette Ortiz\"Dirty Dancing\" – The Black Eyed Peas\"Guajira (I Love U 2 Much)\" – Yerba Buena\"Can I Walk By\" – Phalon Alexander featuring MonicaArnold\"Satellite (From \"Havana Nights\")\" – Santana featuring Jorge Moreno\"El Beso Del Final\" – Christina Aguilera\"Represent, Cuba\" – Orishas featuring Heather Headley\"Do You Only Wanna Dance\" – Mýa Harrison\"YouSend Me\" – Shawn Kane\"El Estuche\" – Aterciopelados\"Do You Only Wanna Dance\" – Julio Daivel Big Band (conducted by Cucco Peña)\"Satellite (Spanish Version) Nave Espacial (From \"Havana Nights\")\" – Santanafeaturing Jorge MorenoPassage 7:Dirty DancingDirty Dancing is a 1987 American romantic drama dance film written by Eleanor Bergstein, produced by Linda Gottlieb, and directed by Emile Ardolino. Starring PatrickSwayze and Jennifer Grey, it tells the story of Frances \"Baby\" Houseman (Grey), a young woman who falls in love with dance instructor Johnny Castle (Swayze) at a vacation resort.The film was based on screenwriterBergstein's own childhood. She originally wrote a screenplay for the Michael Douglas film It's My Turn, but ultimately ended up conceiving a story for a film which became Dirty Dancing. She finished the script in 1985,but management changes at Metro-Goldwyn-Mayer put the film in development hell. The production company was changed to Vestron Pictures with Emile Ardolino as director and Linda Gottlieb as producer. Filmingtook place in Lake Lure, North Carolina, and Mountain Lake, Virginia, with the film's score composed by John Morris and dance choreography by Kenny Ortega.Dirty Dancing premiered at the 1987 Cannes Film Festivalon May 12, 1987, and was released on August 21, 1987, in the United States, earning over $214 million worldwide, and was the first film to sell more than a million copies for home video. It earned positive reviews fromcritics, who particularly praised the performances of Grey and Swayze, and its soundtrack, created by Jimmy Ienner, generated two multi-platinum albums and multiple singles. \"(I've Had) The Time of My Life\",performed by Bill Medley and Jennifer Warnes, won the Academy Award for Best Original Song, the Golden Globe Award for Best Original Song, and the Grammy Award for Best Pop Performance by a Duo or Group withVocals.The film's popularity led to a 2004 prequel, Dirty Dancing: Havana Nights, and a stage version which has had sellout performances in Australia, Europe, and North America. A made-for-TV remake was alsoreleased in 2017. A sequel is scheduled to be released in 2024, with Grey reprising her role.PlotIn the summer of 1963, 17-year-old Frances \"Baby\" Houseman is vacationing with her family—cardiologist father Jake,mother Marge and older sister Lisa—at Kellerman's, an upscale Catskills resort in the Borscht Belt owned by Jake's sarcastic best friend Max. Exploring one night, Baby secretly observes Max instructing the waiters, allIvy League students, to romance the guests' daughters, no matter how unattractive. Max also demeans the working class entertainment staff, including Johnny Castle, one of the dance instructors. Baby is attracted toJohnny and dances briefly with him after his kindhearted cousin, Billy, introduces them at a secret \"dirty dancing\" party for resort staff. Max's grandson Neil flirts with Baby in the meantime.Baby learns Johnny's dancepartner Penny is pregnant by Robbie, a waiter and womanizer who attends Yale School of Medicine and now has his eye on Lisa. When Robbie refuses to help Penny, Baby, without explaining why, borrows money fromher father to pay for Penny's abortion. At first, Penny declines as it would cause her and Johnny to miss a performance at a nearby resort, costing them the season's salary, but Baby volunteers to stand in for Penny.During her dance sessions with Johnny, they develop a mutual attraction, and despite their failure to execute a climactic lift, Johnny and Baby's performance is successful.Back at Kellerman's, Penny is gravely injured bythe botched abortion, and Baby enlists her father's help to stabilize Penny. Angered by Baby's deception, and assuming Johnny got Penny pregnant, Dr. Houseman orders Baby to stay away from them. Baby sneaks offto apologize to Johnny for her father's treatment, but Johnny feels he deserves it due to his lower status; Baby reassures him of his worth, declaring her love. They begin secretly seeing each other, and her fatherrefuses to talk to her.Johnny rejects an indecent proposal by Vivian Pressman, an adulterous wife, who instead sleeps with Robbie, inadvertently foiling Lisa's plan to lose her virginity to him. When Vivian spots Babyleaving Johnny's cabin, she feels spurned and attempts revenge on Johnny by claiming he stole her husband's wallet. Max is ready to fire Johnny, but Baby backs up his alibi, revealing she was with Johnny the night ofthe theft. The real thieves, Sydney and Sylvia Schumacher, are caught, but Johnny is still fired for mixing with Baby. Before leaving, Johnny tries to talk to Dr. Houseman but is accused of only trying to get at Baby.Baby later apologizes to her father for lying, but not for her romance with Johnny, and then accuses him of classism.At the end-of-season talent show, Dr. Houseman gives Robbie a recommendation letter for medicalschool, but when Robbie admits that he got Penny pregnant, and then insults her and Baby, Dr. Houseman angrily grabs the letter back. Johnny arrives and disrupts the final song by bringing Baby up on stage anddeclaring that she has made him a better person, and then they perform the dance they practiced all summer, ending with a successful climactic lift. Dr. Houseman admits he was wrong about Johnny and reconcileswith Baby, and all the staff and guests join Baby and Johnny dancing to \"(I've Had) The Time of My Life\".CastBruce Morrow appears in a cameo as a magician; Morrow himself could be heard as a DJ's voice in differentparts of the film. Emile Ardolino and Matthew Broderick (who was dating Grey at the time and co-starred with her in Ferris Bueller's Day Off) have cameos.SoundtrackThe Dirty Dancing album held the number one spoton the Billboard album chart for over four months. As of July 2022, the Dirty Dancing album has sold over 14 million copies.ProductionPre-productionDirty Dancing is based in large part on screenwriter EleanorBergstein's own childhood: she is the younger daughter of a Jewish doctor from New York and had spent summers with her family in the Catskills where she participated in \"Dirty Dancing\" competitions; she was alsonicknamed \"Baby\" herself as a girl. In 1980, Bergstein wrote a screenplay for the Michael Douglas film, It's My Turn; however, the producers cut an erotic dancing scene from the script, prompting her to conceive a newstory that took inspiration from her youth dance competitions. In 1984, she pitched the idea to Metro-Goldwyn-Mayer (MGM) executive Eileen Miselle, who liked it and teamed Bergstein with producer Linda Gottlieb.They set the film in 1963, with the character of Baby based on Bergstein's own life and the character of Johnny based on the stories of Michael Terrace, a dance instructor whom Bergstein met in the Catskills in 1985while she was researching the story. She finished the script in November 1985, but management changes at MGM put the script into turnaround, or limbo.Bergstein gave the script to other studios but was repeatedlyrejected until she brought it to Vestron Pictures. While honing their pitch to Vestron, Gottlieb had agreed to cut the proposed budget in half. Bergstein and Gottlieb then chose Emile Ardolino as the film's director;"}
+{"doc_id":"doc_26","qid":"","text":"Passage 1:O Valencia!\"O Valencia!\" is the fifth single by the indie rock band The Decemberists, and the first released from their fourth studio album, The Crane Wife.The music was written by The Decemberists and thelyrics by Colin Meloy. It tells a story of two star-crossed lovers. The singer falls in love with a person who belongs to an opposing gang. At the end of the song, the singer's lover jumps in to defend the singer, who isconfronting his lover's brother (the singer's \"sworn enemy\") and is killed by the bullet intended for the singer.Track listingThe 7\" single sold in the UK was mispressed, with \"Culling of the Fold\" as the B-side despite theartwork and record label listing \"After the Bombs\" as the B-side.Music videosFor the \"O Valencia!\" music video, The Decemberists filmed themselves in front of a green screen and asked fans to complete it by digitallyadding in background images or footage. Stephen Colbert of The Colbert Report, having recently asked fans to do the same with a video of him with a light saber in front of a green screen, brought up The Decemberistson his segment \"Look Who's Riding on My Coattails Now\" and accused the band of stealing the idea. The Decemberists' response was to challenge Stephen Colbert to a guitar solo showdown on December 20, 2006, onThe Colbert Report.On January 19, 2007, The Decemberists premiered an alternate music video of \"O Valencia!\", directed by Aaron Stewart-Ahn, on MTV2. The video follows a character named Patrick, played by Meloy,as he and his love Francesca (Lisa Molinaro), daughter of \"the Boss\", plan an escape to an unknown location. At a cafe, a man in a suit, portrayed by the band member Chris Funk, tells him to hide in the \"Valencia\" hotel(the Super Value Inn on North Interstate Avenue in Portland, Oregon) while he gets them the necessary documentation to escape. Above the name of the hotel, there is a neon sign that reads \"Office\". The letters haveall burnt out except for the \"O\", creating the title of the song. The video then introduces other characters - various assassination teams - who sit in different rooms of the hotel waiting for the chance to catch the twolovers. Most are portrayed by other members of the band (along with Meloy's wife, Carson Ellis). They kill off any potential witnesses to their plan. Patrick manages to take down one member from each team, beforethey gang up on him. The Boss arrives, along with the man from the cafe, who reveals that he snitched on Patrick and Francesca. They execute Francesca, while forcing Patrick to watch. After they leave, Patrick finds anote by Francesca, which reveals that she never fell in love with him, and only wanted protection. 2 months later, Patrick and the man, who has lost an eye from a previous assassination attempt, have a sit-down at thesame cafe. The man reveals that he snitched on Patrick just to take over the town. Patrick reveals that he poisoned a drink the man was having, but before he could get away, the man stabs Patrick in the neck with afork before dying, followed by Patrick.The video is somewhat influenced by the distinct style and themes of director Wes Anderson, with bold fonts being used to introduce characters and groups on the bottom of thescreen (much like in the film The Royal Tenenbaums). The band had previously (and more explicitly) drawn influence from Anderson's Rushmore in their video for \"Sixteen Military Wives\". The layout of the hotel is alsosimilar to the one used in Bottle Rocket.Kurt Nishimura was chosen as the winner by mtvU for his video that depicted a love affair between a woman and her television, with the TV containing the green-screenedDecemberists video footage.Passage 2:Donna SummerDonna Adrian Gaines (December 31, 1948 – May 17, 2012), known professionally as Donna Summer, was an American singer and songwriter. She gainedprominence during the disco era of the 1970s and became known as the \"Queen of Disco\", while her music gained a global following.Influenced by the counterculture of the 1960s, Summer became the lead singer of apsychedelic rock band named Crow and moved to New York City. In 1968, she joined a German adaptation of the musical Hair in Munich, where she spent several years living, acting, and singing. There, she met musicproducers Giorgio Moroder and Pete Bellotte, and they went on to record influential disco hits together such as \"Love to Love You Baby\" and \"I Feel Love\", marking Summer's breakthrough into international musicmarkets. Summer returned to the United States in 1976, and more hits such as \"Last Dance\", her version of \"MacArthur Park\", \"Heaven Knows\", \"Hot Stuff\", \"Bad Girls\", \"Dim All the Lights\", \"No More Tears (Enough IsEnough)\" with Barbra Streisand, and \"On the Radio\" followed.Summer amassed a total of 32 chart singles on the US Billboard Hot 100 in her lifetime, including 14 top ten singles and four number one singles. Sheclaimed a top-40 hit every year between 1976 and 1984, and from her first top-ten hit in 1976, to the end of 1982, she had 12 top-ten hits (10 were top-five hits), more than any other act during that time period. Shereturned to the Hot 100's top five in 1983, and claimed her final top-ten hit in 1989 with \"This Time I Know It's for Real\". She was the first artist to have three consecutive double albums reach the top of the USBillboard 200 chart and charted four number-one singles in the US within a 12-month period. She also charted two number-one singles on the R&B Singles chart in the US and a number-one single in the UnitedKingdom. Her last Hot 100 hit came in 1999 with \"I Will Go with You (Con te partirò)\". While her fortunes on the Hot 100 waned in subsequent decades, Summer remained a force on the Billboard Dance Club Songschart throughout her entire career.Summer died in 2012 from lung cancer, at her home in Naples, Florida. She sold over 100 million records worldwide, making her one of the best-selling music artists of all time. Shewon five Grammy Awards. In her obituary in The Times, she was described as the \"undisputed queen of the Seventies disco boom\" who reached the status of \"one of the world's leading female singers.\" Moroderdescribed Summer's work on the song \"I Feel Love\" as \"really the start of electronic dance\" music. In 2013, Summer was inducted into the Rock and Roll Hall of Fame. In December 2016, Billboard ranked her sixth onits list of the \"Greatest of All Time Top Dance Club Artists\".Early lifeDonna Adrian Gaines was born on December 31, 1948, in Boston, Massachusetts, to Andrew and Mary Gaines, and was third of seven children. Shewas raised in the Boston neighborhood of Mission Hill. Her father was a butcher, and her mother was a schoolteacher.Summer's performance debut occurred at church when she was ten years old, replacing a vocalistwho failed to appear. She attended Boston's Jeremiah E. Burke High School where she performed in school musicals and was considered popular. In 1967, just weeks before graduation, Summer left for New York City,where she joined the blues rock band Crow. After a record label passed on signing the group since it was only interested in the band's lead singer, the group agreed to dissolve.Summer stayed in New York andauditioned for a role in the counterculture musical, Hair. She landed the part of Sheila and agreed to take the role in the Munich production of the show, moving there in August 1968 after getting her parents' reluctantapproval. She eventually became fluent in German, singing various songs in that language, and participated in the musicals Ich bin ich (the German version of The Me Nobody Knows), Godspell, and Show Boat. Withinthree years, she moved to Vienna, Austria, and joined the Vienna Volksoper. She briefly toured with an ensemble vocal group called FamilyTree, the creation of producer Günter \"Yogi\" Lauke.In 1968, Summer released(as Donna Gaines) on Polydor her first single, a German version of the title \"Aquarius\" from the musical Hair, followed in 1971 by a second single, a remake of the Jaynetts' 1963 hit, \"Sally Go 'Round the Roses\", from aone-off European deal with Decca Records. In 1969, she issued the single \"If You Walkin' Alone\" on Philips Records.She married Austrian actor Helmuth Sommer in 1973, and gave birth to their daughter Natalia PiaMelanie \"Mimi\" Sommer, the same year. She provided backing vocals for producer-keyboardist Veit Marvos on his Ariola Records release Nice to See You, credited as \"Gayn Pierre\". Several subsequent singles includedDonna performing with the group, and the name \"Gayn Pierre\" was used while performing in Godspell with Helmuth Sommer during 1972. Their marriage subsequently ended in divorce, and she married singer-guitaristBruce Sudano in 1980.Music career1974–1979: Initial successWhile working as a model part-time and backing singer in Munich, Summer met producer Giorgio Moroder and Pete Bellotte during a recording session forThree Dog Night at Musicland Studios. The trio forged a working partnership, and Donna was signed to their Oasis label in 1974. A demo tape of Summer's work with Moroder and Bellotte led to a deal with theEuropean-distributed label Groovy Records. Due to an error on the record cover, Donna Sommer became Donna Summer; the name stuck. Summer's first album was Lady of the Night. It became a hit in theNetherlands, Sweden, Germany and Belgium on the strength of two songs, \"The Hostage\" and the title track \"Lady of the Night\". \"The Hostage\" reached the top of the charts in France, but was removed from radioplaylists in Germany because of the song's subject matter: a high ranking politician that had recently been kidnapped and held for ransom. One of her first TV appearances was in the television show, Van Oekel'sDiscohoek, which started the breakthrough of \"The Hostage\", and in which she gracefully went along with the scripted absurdity and chaos in the show.In 1975, Summer passed on an idea for a song to Moroder whowas working with another artist; a song that would be called \"Love To Love You Baby\". Summer, Moroder and Bellotte wrote the song together, and together they worked on a demo version with Summer singing thesong. Moroder decided that Summer's version should be released. Seeking an American release for the song, it was sent to Casablanca Records president Neil Bogart. Bogart played the song at one of his extravagantindustry parties, where it was so popular with the crowd, they insisted that it be played over and over, each time it ended. Bogart requested that Moroder produce a longer version for discothèques. Moroder, Bellotte,and Summer returned with a 17-minute version. Bogart tweaked the title and Casablanca signed Summer, releasing the single in November 1975. The shorter 7\" version of the single was promoted by radio stations,while clubs regularly played the 17-minute version (the longer version would also appear on the album).By early 1976, \"Love to Love You Baby\" had reached No. 2 on the US Hot 100 chart and had become a Goldsingle, while the album had sold over a million copies. The song generated controversy due to Summer's moans and groans, which emulated lovemaking, and some American stations, like those in Europe with the initialrelease, refused to play it. Despite this, \"Love to Love You Baby\" found chart success in several European countries, and made the Top 5 in the United Kingdom despite the BBC ban. Casablanca Records wasted no timereleasing the follow-up album A Love Trilogy, featuring \"Try Me, I Know We Can Make It\".In 1977, Summer released the concept album I Remember Yesterday. The song \"I Feel Love\", reached No. 6 on the Hot 100chart. and No. 1 in the UK. She received her first American Music Award nomination for Favorite Soul/R&B Female Artist. The single would attain Gold status and the album went Platinum in the US. Another conceptalbum, also released in 1977, was Once Upon a Time, a double album which told of a modern-day Cinderella \"rags to riches\" story. This album would attain Gold status. Summer recorded the song \"Down Deep Inside\"as the theme song for the 1977 film The Deep. In 1978, Summer acted in the film Thank God It's Friday, the film met with modest success; the song \"Last Dance\", reached No. 3 on the Hot 100. The soundtrack andsingle both went Gold and resulted in Summer winning her first Grammy Award, for Best Female R&B Vocal Performance. Its writer, Paul Jabara, won both an Academy Award and Golden Globe Award for thecomposition. Summer also had \"With Your Love\" and \"Je t'aime... moi non plus\", on the soundtrack. Her version of the Jimmy Webb ballad, \"MacArthur Park\", became her first No. 1 hit on the Hot 100 chart. It was alsothe only No. 1 hit for songwriter Jimmy Webb; the single went Gold and topped the charts for three weeks. She received a Grammy nomination for Best Female Pop Vocal Performance. The song was featured onSummer's first live album, Live and More, which also became her first album to hit number one on the US Billboard 200 chart and went double-Platinum, selling over 2 million copies. The week of November 11, 1978,Summer became the first female artist of the modern rock era to have the No. 1 single on the Hot 100 and album on the Billboard 200 charts, simultaneously. The song \"Heaven Knows\", which featured BrooklynDreams singer Joe \"Bean\" Esposito; reached No. 4 on the Hot 100 and became another Gold single.In 1979, Summer won three American Music Awards for Single, Album and Female Artist, in the Disco category at theawards held in January. Summer performed at the world-televised Music for UNICEF Concert, joining contemporaries such as ABBA; Olivia Newton-John; the Bee Gees; Andy Gibb; Rod Stewart; John Denver; Earth,Wind & Fire; Rita Coolidge; and Kris Kristofferson for a TV special that raised funds and awareness for the world's children. Artists donated royalties of certain songs, some in perpetuity, to benefit the cause. Summerbegan work on her next project with Moroder and Bellotte, Bad Girls. Moroder brought in Harold Faltermeyer, with whom he had collaborated on the soundtrack of film Midnight Express, to be the album's arranger.In1979, Summer gained 5 big hits such as \"Hot Stuff\" and \"Bad Girls\", \"Heaven Knows\", \"Dim All the Lights\", and No More Tears (Enough Is Enough)\". The week of June 16, 1979, Summer would again have thenumber-one single on the Hot 100 chart, and the number-one album on the Billboard 200 chart; when \"Hot Stuff\" regained the top spot on the Hot 100 chart. The following week, \"Bad Girls\" would be on top of the USTop R&B albums chart.1980–1985: She Works Hard For The Money, unreleased album, new record labelSummer received four nominations for the 7th Annual American Music Awards in 1980, and took home awards forFemale Pop/Rock and Female Soul/R&B Artist; and well as Pop/Rock single for \"Bad Girls\". In 1980, her single \"On the Radio\", reached No. 5, selling over a million copies in the US alone, making it a Gold single. \"TheWanderer\" reached #3 on the Hot 100. Summer would again receive a Grammy nomination for Best Female Pop Vocal Performance. Just over a week after the awards, Summer had her own nationally televised special,The Donna Summer Special, which aired on ABC network on January 27, 1980. After the release of the On the Radio album, Summer wanted to branch out into other musical styles, which led to tensions between herand Casablanca Records. Casablanca wanted her to continue to record disco only. Summer was upset with President Neil Bogart over the early release of the single \"No More Tears (Enough Is Enough)\", becauseCasablanca didn't wait until her previous single, \"Dim All the Lights\", had peaked; she had penned \"Dim All the Lights\" alone, and was hoping for a number-one hit as a songwriter. Summer and the label parted ways in1980, and she signed with Geffen Records, the new label started by David Geffen. Summer filed a $10 million lawsuit against Casablanca; the label counter-sued. In the end, she did not receive any money, but won therights to her own lucrative song publishing.Summer's first Geffen album, The Wanderer, featured an eclectic mixture of sounds, bringing elements of rock, rockabilly, new wave, and gospel music. The Wanderer wasrushed to market; the producers of the album wanted more production time. The album continued Summer's streak of Gold albums with the \"title track\" peaking at No. 3 on the Hot 100 chart. Its follow-up singles were,\"Cold Love\", No. 33; and \"Who Do You Think You're Foolin'\", No. 40. Summer was nominated for Best Female Rock Vocal Performance for \"Cold Love\", and Best Inspirational Performance for \"I Believe in Jesus\" at the1981 Grammy Awards.She would soon be working on her next album. It was to be another double album set. When David Geffen stopped by the studio for a preview, he was warned that it was a work in progress, but itwas almost done. That was a mistake, because only a few tracks had been finished, and most of them were in demo phase. He heard enough to tell producers that it was not good enough; the project was canceled. Itwould be released years later in 1996, under the title I'm a Rainbow. Over the years, a few of the tracks would be released. The song \"Highway Runner\" appears on the soundtrack for the film Fast Times at RidgemontHigh. \"Romeo\" appears on the Flashdance soundtrack. Both, \"I'm a Rainbow\" and \"Don't Cry for Me Argentina\" would be on her 1993 anthology album.David Geffen hired top R&B and pop producer Quincy Jones toproduce Summer's next album, the eponymously titled Donna Summer. The album took over six months to record as Summer, who was pregnant at the time, found it hard to sing. During the recording of the project,Neil Bogart died of cancer in May 1982 at age 39. Summer would sing at his funeral. The album included the top-ten hit \"Love Is in Control (Finger on the Trigger)\"; for which she received a Grammy nomination for BestFemale R&B Vocal Performance. Summer was also nominated for Best Female Rock Vocal Performance for \"Protection\", penned for her by Bruce Springsteen. Other singles included a cover of the Jon and Vangelis song\"State of Independence\" (No. 41 pop) and \"The Woman in Me\" (No. 33 pop).By then Geffen Records had been notified by Polygram Records, which now owned Casablanca, that Summer still needed to deliver to themone more album to fulfill her contract. Summer had her biggest success in the 1980s while on Geffen's roster with her next album She Works Hard for the Money and its title song—which were released by MercuryRecords in a one-off arrangement to settle Summer's split with the soon-to-be-defunct Casablanca Records, whose catalogue now resided with Mercury and Casablanca's parent company PolyGram.Summer recordedand delivered the album She Works Hard for the Money and Polygram released it on its Mercury imprint in 1983. The title song became a major hit, reaching No. 3 on the US Hot 100, as well as No. 1 on Billboard's R&Bchart for three weeks. It also garnered Summer another Grammy nomination, for Best Female Pop Vocal Performance. \"Unconditional Love\", which featured the British group Musical Youth, and \"Love Has a Mind of ItsOwn\" did not crack the top 40. The album itself was certified Gold, and climbed to No. 9 on the Billboard 200 chart; the highest chart position of any female artist in male-dominated 1983. The song \"He's a Rebel\" wouldwin Summer her third Grammy Award, this time for Best Inspirational Performance.British director Brian Grant was hired to direct Summer's video for \"She Works Hard for the Money\". The video was a success, beingnominated for Best Female Video and Best Choreography at the 1984 MTV Music Video Awards; Summer became one of the first African-American artists, and the first African-American female artist to have her videoplayed in heavy rotation on MTV. Grant would also be hired to direct Summer's Costa Mesa HBO concert special, A Hot Summers Night. Grant, who was a fan of the song \"State of Independence\", had an idea for a grandfinale. He wanted a large chorus of children to join Summer on stage at the ending of the song. His team looked for local school children in Orange County, to create a chorus of 500 students. On the final day ofrehearsals, the kids turned up and they had a full rehearsal. According to Grant, \"It looked and sounded amazing. It was a very emotional, very tearful experience for everyone who was there.\" He thought if this wasthat kind of reaction in rehearsal, then what an impact it would have in the concert. After the rehearsal Grant was informed that he could not use the kids because the concert would end after 10 pm; children could notbe licensed to be on stage at such a late hour (California had strict child labor laws in 1983). \"It's a moment that I regret immensely: a grand finale concept I came up with that couldn't be filmed in the end\". When the"}
+{"doc_id":"doc_27","qid":"","text":"Passage 1:S. N. MathurS.N. Mathur was the Director of the Indian Intelligence Bureau between September 1975 and February 1980. He was also the Director General of Police in Punjab.Passage 2:Sweepstakes(film)Sweepstakes is a 1931 American pre-Code comedy film directed by Albert S. Rogell from a screenplay written by Lew Lipton and Ralph Murphy. The film stars Eddie Quillan, James Gleason, Marian Nixon,  LewCody, and Paul Hurst, which centers around the travails and romances of jockey Buddy Doyle, known as the \"Whoop-te-doo Kid\" for his trademark yell during races. Produced by the newly formed RKO Pathé Pictures,this was the first film Charles R. Rogers would produce for the studio, after he replaced William LeBaron as head of production. The film was released on July 10, 1931, through RKO Radio Pictures.PlotBud Doyle is ajockey who has discovered the secret to get his favorite mount, Six-Shooter, to boost his performance. If he simply chants the phrase, \"Whoop-te-doo\", the horse responds with a burst of speed. There is a special bondbetween the jockey and his mount, but there is increasing tension between Doyle and the horse's owner, Pop Blake (who also raised Doyle), over Doyle's relationship with local singer Babe Ellis. Blake sees Ellis as adistraction prior to the upcoming big race, the Camden Stakes.The owner of the club where Babe sings, Wally Weber, has his eyes on his horse winning the Camden Stakes. When the issues between Pop and Doylecome to a head, Pop tells Doyle that he has to choose: either he stops seeing Babe, or he'll be replaced as Six-Shooter's jockey in the big race. Angry and frustrated, Doyle quits. Weber approaches him to become thejockey for Rose Dawn, Weber's horse, and Doyle agrees, with the precondition that he not ride Royal Dawn in the Camden Stakes, for he wants Six-Shooter to still win the race.  Weber accedes to that one precondition,however, on the day of the race, he makes it clear that Doyle is under contract, and that he will ride Rose Dawn in the race.Upset, Doyle has no choice but to ride Rose Dawn.  However, during the race, he manages tochant his signature \"Whoop-te-doo\" to Six-Shooter, causing his old mount to win the race. Furious that his horse lost, Weber goes to the judges, who rule that Doyle threw the race, pulling back on Rose Dawn, to allowSix-Shooter to win, and suspend Doyle from horse-racing.Devastated, Doyle wanders from town to town, riding in small local races, until his identity is uncovered, and he is forced to move on.  Soon, he is out of racingall together, and forced to taking one odd-job after another.  Eventually, he ends up south of the border, in Tijuana, Mexico, working as a waiter. Doyle's friend, Sleepy Jones, hears of Doyle's plight. Jones gets theracing commission to lift the ban, by proving Doyle's innocence.  He then, accompanied by Babe, gets a group to buy Six-Shooter from Pop, and they take the horse down to Tijuana, where there is another big race inthe near future, the Tijuana Handicap.Doyle is reluctant to ride at first, however, he is eventually cajoled into it by Sleepy and Babe, and of course, his bond with Six-Shooter is there.  He rides the horse to victory,re-establishing his credentials as a rider. The film ends by jumping a few years into the future, which shows Doyle and Babe happily married, with a child of their own.Cast(Cast list as per AFI database)Eddie Quillan asBud DoyleLew Cody as Wally WeberJames Gleason as Sleepy JonesMarian Nixon as Babe EllisKing Baggot as MikePaul Hurst as Cantina BartenderClarence Wilson as Mr. EmoryFrederick Burton as Pop BlakeBilly Sullivanas Speed MartinLillian Leighton as Ma ClancyMike Donlin as The DudeProductionCritical responseMordaunt Hall of The New York Times gave a very non-committal review of this film, with neither much praise or criticism.While he gave no indication of what he thought about the quality of the film, he enjoyed the performances of James Gleason and Lew Cody, and he called Quillan's performance as Doyle \"original\".See alsoList of filmsabout horse racingPassage 3:Albert S. RogellAlbert S. Rogell (August 21, 1901 Oklahoma City, Oklahoma - April 7, 1988 Los Angeles, California) was an American film director.Rogell directed more than a hundredmovies between 1921 and 1958. He was the uncle of producer Sid Rogell.FilmographyPassage 4:Ian Barry (director)Ian Barry is an Australian director of film and TV.Select creditsWaiting for Lucas (1973) (short)Stone(1974) (editor only)The Chain Reaction (1980)Whose Baby? (1986) (mini-series)Minnamurra (1989)Bodysurfer (1989) (mini-series)Ring of Scorpio (1990) (mini-series)Crimebroker (1993)Inferno (1998) (TVmovie)Miss Lettie and Me (2002) (TV movie)Not Quite Hollywood: The Wild, Untold Story of Ozploitation! (2008) (documentary)The Doctor Blake Mysteries (2013)Passage 5:Peter LevinPeter Levin is an Americandirector of film, television and theatre.CareerSince 1967, Levin has amassed a large number of credits directing episodic television and television films. Some of his television series credits include Love Is a ManySplendored Thing, James at 15, The Paper Chase, Family, Starsky & Hutch, Lou Grant, Fame, Cagney & Lacey, Law & Order and Judging Amy.Some of his television film credits include Rape and Marriage: The RideoutCase (1980), A Reason to Live (1985), Popeye Doyle (1986), A Killer Among Us (1990), Queen Sized (2008) and among other films. He directed \"Heart in Hiding\", written by his wife Audrey Davis Levin, for which shereceived an Emmy for Best Day Time Special in the 1970s.Prior to becoming a director, Levin worked as an actor in several Broadway productions. He costarred with Susan Strasberg in \"[The Diary of Ann Frank]\" buthad to leave the production when he was drafted into the Army. He trained at the Carnegie Mellon University. Eventually becoming a theatre director, he directed productions at the Long Wharf Theatre and the PacificResident Theatre Company. He also co-founded the off-off-Broadway Theatre [the Hardware Poets Playhouse] with his wife Audrey Davis Levin and was also an associate artist of The Interact Theatre Company.Passage6:Jason Moore (director)Jason Moore (born October 22, 1970) is an American director of film, theatre and television.Life and careerJason Moore was born in Fayetteville, Arkansas, and studied at NorthwesternUniversity. Moore's Broadway career began as a resident director of Les Misérables at the Imperial Theatre in during its original run. He is the son of Fayetteville District Judge Rudy Moore.In March 2003, Moore directedthe musical Avenue Q, which opened Off-Broadway at the Vineyard Theatre and then moved to Broadway at the John Golden Theatre in July 2003.  He was nominated for a 2004 Tony Award for his direction. Moore alsodirected productions of the musical in Las Vegas and London and the show's national tour. Moore directed the 2005 Broadway revival of Steel Magnolias and Shrek the Musical, starring Brian d'Arcy James and SuttonFoster which opened on Broadway in 2008. He directed the concert of Jerry Springer — The Opera at Carnegie Hall in January 2008.Moore, Jeff Whitty, Jake Shears, and John \"JJ\" Garden worked together on a newmusical based on Armistead Maupin's Tales of the City. The musical premiered at the American Conservatory Theater, San Francisco, California in May 2011 and ran through July 2011.For television, Moore has directedepisodes of Dawson's Creek, One Tree Hill, Everwood, and Brothers & Sisters. As a writer, Moore adapted the play The Floatplane Notebooks with Paul Fitzgerald from the novel by Clyde Edgerton. A staged reading ofthe play was presented at the New Play Festival at the Charlotte, North Carolina Repertory Theatre in 1996, with a fully staged production in 1998.In 2012, Moore made his film directorial debut with Pitch Perfect,starring Anna Kendrick and Brittany Snow. He also served as an executive producer on the sequel. He directed the film Sisters, starring Tina Fey and Amy Poehler, which was released on December 18, 2015. Moore'snext project will be directing a live action Archie movie.FilmographyFilmsPitch Perfect (2012)Sisters (2015)Shotgun Wedding (2022)TelevisionSoundtrack writerPitch Perfect 2 (2015) (Also executive producer)The Voice(2015) (1 episode)Passage 7:Brian Kennedy (gallery director)Brian Patrick Kennedy (born 5 November 1961) is an Irish-born art museum director who has worked in Ireland and Australia, and now lives and works inthe United States.  He was the director of the Peabody Essex Museum in Salem for 17 months, resigning December 31, 2020. He was the director of the Toledo Museum of Art in Ohio from 2010 to 2019. He was thedirector of the Hood Museum of Art from 2005 to 2010, and the National Gallery of Australia (Canberra) from 1997 to 2004.CareerBrian Kennedy currently lives and works in the United States after leaving Australia in2005 to direct the Hood Museum of Art at Dartmouth College. In October 2010 he became the ninth Director of the Toledo Museum of Art. On 1 July 2019, he succeeded Dan Monroe as the executive director and CEO ofthe Peabody Essex Museum.Early life and career in IrelandKennedy was born in Dublin and attended Clonkeen College. He received B.A. (1982), M.A. (1985) and PhD (1989) degrees from University College-Dublin,where he studied both art history and history.He worked in the Irish Department of Education (1982), the European Commission, Brussels (1983), and in Ireland at the Chester Beatty Library (1983–85), GovernmentPublications Office (1985–86), and Department of Finance (1986–89). He married Mary Fiona Carlin in 1988.He was Assistant Director at the National Gallery of Ireland in Dublin from 1989 to 1997. He was Chair of theIrish Association of Art Historians from 1996 to 1997, and of the Council of Australian Art Museum Directors from 2001 to 2003. In September 1997 he became Director of the National Gallery of Australia.NationalGallery of Australia (NGA)Kennedy expanded the traveling exhibitions and loans program throughout Australia, arranged for several major shows of Australian art abroad, increased the number of exhibitions at themuseum itself and oversaw the development of an extensive multi-media site.  Although he oversaw several years of the museum's highest ever annual visitation, he discontinued the emphasis of his predecessor, BettyChurcher, on showing \"blockbuster\" exhibitions.During his directorship, the NGA gained government support for improving the building and significant private donations and corporate sponsorship. However, the initialdesign for the building proved controversial generating a public dispute with the original architect on moral rights grounds.  As a result, the project was not delivered during Dr Kennedy's tenure, with a significantlyaltered design completed some years later.  Private funding supported two acquisitions of British art, including David Hockney's A Bigger Grand Canyon in 1999, and Lucian Freud's After Cézanne in 2001. Kennedy builton the established collections at the museum by acquiring the Holmgren-Spertus collection of Indonesian textiles; the Kenneth Tyler collection of editioned prints, screens, multiples and unique proofs; and theAustralian Print Workshop Archive. He was also notable for campaigning for the construction of a new \"front\" entrance to the Gallery, facing King Edward Terrace, which was completed in 2010 (see reference to thebuilding project above).Kennedy's cancellation of the \"Sensation exhibition\" (scheduled at the NGA from 2 June 2000 to 13 August 2000) was controversial, and seen by some as censorship. He claimed that the decisionwas due to the exhibition being \"too close to the market\" implying that a national cultural institution cannot exhibit the private collection of a speculative art investor. However, there were other exhibitions at the NGAduring his tenure, which could have raised similar concerns. The exhibition featured the privately owned Young British Artists works belonging to Charles Saatchi and attracted large attendances in London and Brooklyn.Its most controversial work was Chris Ofili's The Holy Virgin Mary, a painting which used elephant dung and was accused of being blasphemous. The then-mayor of New York, Rudolph Giuliani, campaigned against theexhibition, claiming it was \"Catholic-bashing\" and an \"aggressive, vicious, disgusting attack on religion.\" In November 1999, Kennedy cancelled the exhibition and stated that the events in New York had \"obscureddiscussion of the artistic merit of the works of art\". He has said that it \"was the toughest decision of my professional life, so far.\"Kennedy was also repeatedly questioned on his management of a range of issues duringthe Australian Government's Senate Estimates process - particularly on the NGA's occupational health and safety record and concerns about the NGA's twenty-year-old air-conditioning system. The air-conditioning wasfinally renovated in 2003. Kennedy announced in 2002 that he would not seek extension of his contract beyond 2004, accepting a seven-year term as had his two predecessors.He became a joint Irish-Australian citizenin 2003.Toledo Museum of ArtThe Toledo Museum of Art is known for its exceptional collections of European and American paintings and sculpture, glass, antiquities, artist books, Japanese prints and netsuke. Themuseum offers free admission and is recognized for its historical leadership in the field of art education.  During his tenure, Kennedy has focused the museum's art education efforts on visual literacy, which he defines as\"learning to read, understand and write visual language.\"   Initiatives have included baby and toddler tours, specialized training for all staff, docents, volunteers and the launch of a website, www.vislit.org. In November2014, the museum hosted the International Visual Literacy Association (IVLA) conference, the first Museum to do so. Kennedy has been a frequent speaker on the topic, including 2010 and 2013 TEDx talks on visualand sensory literacy.Kennedy has expressed an interest in expanding the museum's collection of contemporary art and art by indigenous peoples. Works by Frank Stella, Sean Scully, Jaume Plensa, Ravinder Reddy andMary Sibande have been acquired.  In addition, the museum has made major acquisitions of Old Master paintings by Frans Hals and Luca Giordano.During his tenure the Toledo Museum of Art has announced the returnof several objects from its collection due to claims the objects were stolen and/or illegally exported prior being sold to the museum.  In 2011 a Meissen sweetmeat stand was returned to Germany followed by anEtruscan Kalpis or water jug to Italy (2013), an Indian sculpture of Ganesha (2014) and an astrological compendium to Germany in 2015.Hood Museum of ArtKennedy became Director of the Hood Museum of Art in July2005. During his tenure, he implemented a series of large and small-scale exhibitions and oversaw the production of more than 20 publications to bring greater public attention to the museum's remarkable collections ofthe arts of America, Europe, Africa, Papua New Guinea and the Polar regions. At 70,000 objects, the Hood has one of the largest collections on any American college of university campus. The exhibition, BlackWomanhood: Images, Icons, and Ideologies of the African Body, toured several US venues. Kennedy increased campus curricular use of works of art, with thousands of objects pulled from storage for classes annually.Numerous acquisitions were made with the museum's generous endowments, and he curated several exhibitions: including Wenda Gu: Forest of Stone Steles: Retranslation and Rewriting Tang Dynasty Poetry, SeanScully: The Art of the Stripe, and Frank Stella: Irregular Polygons.PublicationsKennedy has written or edited a number of books on art, including:Alfred Chester Beatty and Ireland 1950-1968: A study in cultural politics,Glendale Press (1988), ISBN 978-0-907606-49-9Dreams and responsibilities: The state and arts in independent Ireland, Arts Council of Ireland (1990), ISBN 978-0-906627-32-7Jack B Yeats: Jack Butler Yeats,1871-1957 (Lives of Irish Artists), Unipub (October 1991), ISBN 978-0-948524-24-0The Anatomy Lesson: Art and Medicine (with Davis Coakley), National Gallery of Ireland (January 1992), ISBN978-0-903162-65-4Ireland: Art into History (with Raymond Gillespie), Roberts Rinehart Publishers (1994), ISBN 978-1-57098-005-3Irish Painting, Roberts Rinehart Publishers (November 1997),  ISBN978-1-86059-059-7Sean Scully: The Art of the Stripe, Hood Museum of Art (October 2008), ISBN 978-0-944722-34-3Frank Stella: Irregular Polygons, 1965-1966, Hood Museum of Art (October 2010), ISBN978-0-944722-39-8Honors and achievementsKennedy was awarded the Australian Centenary Medal in 2001 for service to Australian Society and its art. He is a trustee and treasurer of the Association of Art MuseumDirectors, a peer reviewer for the American Association of Museums and a member of the International Association of Art Critics. In 2013 he was appointed inaugural eminent professor at the University of Toledo andreceived an honorary doctorate from Lourdes University. Most recently, Kennedy received the 2014 Northwest Region, Ohio Art Education Association award for distinguished educator for art education.== Notes==Passage 8:Jesse E. HobsonJesse Edward Hobson (May 2, 1911 – November 5, 1970) was the director of SRI International from 1947 to 1955. Prior to SRI, he was the director of the Armour ResearchFoundation.Early life and educationHobson was born in Marshall, Indiana. He received bachelor's and master's degrees in electrical engineering from Purdue University and a PhD in electrical engineering from theCalifornia Institute of Technology. Hobson was also selected as a nationally outstanding engineer.Hobson married Jessie Eugertha Bell on March 26, 1939, and they had five children.CareerAwards andmembershipsHobson was named an IEEE Fellow in 1948.Passage 9:Dana BlanksteinDana Blankstein-Cohen (born March 3, 1981) is the executive director of the Sam Spiegel Film and Television School. She wasappointed by the board of directors  in November 2019.  Previously she was the CEO of the Israeli Academy of Film and Television. She is a film director, and an Israeli culture entrepreneur.BiographyDana Blanksteinwas born in Switzerland in 1981 to theatre director Dedi Baron and Professor Alexander Blankstein. She moved to Israel in 1983 and grew up in Tel Aviv.Blankstein graduated from the Sam Spiegel Film and TelevisionSchool, Jerusalem in 2008 with high honors. During her studies she worked as a personal assistant to directors Savi Gabizon on his film Nina's Tragedies and to Renen Schorr on his film The Loners.  She also directedand shot 'the making of' film on Gavison's film Lost and Found. Her debut film Camping competed at the Berlin International Film Festival, 2007.Film and academic careerAfter her studies, Dana founded and directed thefilm and television department at the Kfar Saba municipality. The department encouraged and promoted productions filmed in the city of Kfar Saba, as well as the established cultural projects, and educationalcommunity activities.Blankstein directed the mini-series \"Tel Aviviot\" (2012). From 2016-2019 was the director of the Israeli Academy of Film and Television.In November 2019 Dana Blankstein Cohen was appointed thenew director of the Sam Spiegel Film and Television School where she also oversees the Sam Spiegel International Film Lab. In 2022, she spearheaded the launch of the new Series Lab and the film preparatory programfor Arabic speakers in east Jerusalem.FilmographyTel Aviviot (mini-series; director, 2012)Growing Pains (graduation film, Sam Spiegel; director and screenwriter, 2008)Camping (debut film, Sam Spiegel; director andscreenwriter, 2006)Passage 10:Olav AaraasOlav Aaraas (born 10 July 1950) is a Norwegian historian and museum director.He was born in Fredrikstad. From 1982 to 1993 he was the director of Sogn Folk Museum, from1993 to 2010 he was the director of Maihaugen and from 2001 he has been the director of the Norwegian Museum of Cultural History. In 2010 he was decorated with the Royal Norwegian Order of St. Olav."}
+{"doc_id":"doc_28","qid":"","text":"Passage 1:Royal Tramp IIRoyal Tramp II is a 1992 Hong Kong film based on Louis Cha's novel The Deer and the Cauldron. The film is a sequel to Royal Tramp, which was released earlier in the same year.PlotHaving been revealed as the false Empress Dowager, Lung-er returns to the Dragon Sect camp. There, the sect leader reminds her of their mission to support Ng Sam-kwai's, a military general, campaign for the throne before abdicating her title to Lung-er.Siu-bo lounges at the brothel where he once worked but is then attacked by disciples of the One Arm Nun, an anti-Qing revolutionary figure, before being quickly subdued. When Siu-bo tries to take advantage of them, Ng Ying-hung, Ng Sam-kwai's son, exposes his lies. Scorned and unaware of the stranger's title, Siu-bo sends his men after Ying-Hung, but Lung-er, now disguised as Ying-hung's male bodyguard, easily fends them off.At the palace, The Emperor, wary of Ng Sam-kwai's intentions, marries off the Princess to Ying-hung and assigns Siu-bo to be the Imperial Inspector General of the wedding march, so that he can keep his eyes on the general's activities. This complicates Siu-bo's relationship with Princess when she tells Siu-bo she's pregnant with his child.The One Arm Nun and her disciple, Ah Ko, later ambushes the procession. Fighting to a standstill with Lung-er, the assailants escape with Ying-hung and Siu-bo. However, Siu-bo garners some respect from her when he reveals his dual identity as a Heaven and Earth Society commander. Lung-er finally catches up to them with reinforcements at an inn but only manages to rescue Siu-bo. Having been saved by Ying-hung before, Ah Ko elopes with him amid the confusion.At the Dragon Sect camp, Ying-hung and Fung Sek-fan secretly poisons Lung-er and turn the followers against her. She escapes with Siu-bo but must have sex with a man before dawn, otherwise she will die. However, this will transfer 4/5th of her martial arts' power to whomever she sleeps with. Despite Siu-bo's lecherous personality, Lung-er accepts his blunt honesty as a sign of virtue and chooses to sacrifice her virginity to Siu-bo and becomes his third wife.When Siu-bo gets back to the Princess, they execute a plan to castrate Ying-hung. With her betrothed no longer able to produce heirs, the Princess is taken by Siu-bo as his fourth wife. Enraged by the end of his family line, Ng Ying-hung prematurely gathers his troops and sets out to wage war with the Emperor. He tasks Fung Sek-fan with killing the Princess and Siu-bo. Though Chan Kan-nam manages to intervene and lets his disciple escape.Later, the One Arm Nun captures the elopers, Ying-hung and Ah Ko, and offers them to Siu-bo. Siu-bo pardons them and even takes Ah Ko as his fifth wife. Afterward, Fung Sek-fan is promoted when he surrenders Ng Sam-kwai's battle plans and Chan Kan-nam to the Emperor. Given Siu-bo's muddied history with the Heaven and Earth Society, the Emperor tasks him with Chan's execution. Siu-bo's newfound power is difficult for him to control, and Chan helps him master it in time for him to use it against Fung. Siu-bo also uncovers the secret of the 42 Chapters books after burning them in frustration, revealing hidden stones that are left unburned, revealing map coordinates to the location of the treasure all major parties have been attempting to locate.In order to save his master, Siu-bo defeats Fung with his newly acquired martial arts power after both falling into a hidden cave wherein the treasure is found, and swaps Feng's body with Chan's before the execution to save his master. And just as he was about to escape with his wives and Chan, the Emperor arrives with his troops, having been sold out by Siu-bo's opportunistic friend To-lung who is now involved romantically with Siu-bo's sister. But seeing that they are friends, his sister is in love with Siu-bo, and with Siu-bo bluffing that he's strong enough to demolish the Emperor and his entire army if he wanted, the Emperor lets them go, declaring that Siu-bo has died and no longer exists as far as he's concerned. Siu-bo laughs afterward that the Emperor fell for his bluff.CastStephen Chow as Wai Siu-boBrigitte Lin as Lung-erChingmy Yau as Princess Kin-ningMichelle Reis as Ah Ko/Li Ming-koNatalis Chan as To-lungDamian Lau as Chan Kan-namDeric Wan as Hong-hei EmperorKent Tong as Ng Ying-hung, Sam-kwai's sonPaul Chun as Ng Sam-kwaiSandra Ng as Wai Chun-faFennie Yuen as Seung-yee twinVivian Chan as Seung-yee twinYen Shi-kwan as Fung Sek-fanHelen Ma as Kau-nan/one-armed Divine nunSharla Cheung as Mo Tung-chu / Empress DowagerLaw Lan as founder of Divine Dragon SectTam Suk-moi as Ah NongHoh Choi-chow as Palace guard Wen Shan LunYeung Jing-jingWan Seung-lamLee FaiCheng Ka-sangHo Wing-cheungKwan YungTo Wai-woPassage 2:Coney Island Baby (film)Coney Island Baby is a 2003 comedy-drama in which film producer Amy Hobby made her directorial debut. Karl Geary wrote the film and Tanya Ryno was the film's producer. The music was composed by Ryan Shore. The film was shot in Sligo, Ireland, which is known locally as \"Coney Island\".The film was screened at the Newport International Film Festival. Hobby won the Jury Award for \"Best First Time Director\".The film made its premiere television broadcast on the Sundance Channel.PlotAfter spending time in New York City, Billy Hayes returns to his hometown. He wants to get back together with his ex-girlfriend and take her back to America in hopes of opening up a gas station. But everything isn't going Billy's way - the townspeople aren't happy to see him, and his ex-girlfriend is engaged and pregnant. Then, Billy runs into his old friends who are planning a scam.CastKarl Geary - Billy HayesLaura Fraser - BridgetHugh O'Conor - SatchmoAndy Nyman - FrankoPatrick Fitzgerald - The DukeTom Hickey - Mr. HayesConor McDermottroe - GerryDavid McEvoy - JoeThor McVeigh - MagicianSinead Dolan - JuliaMusicThe film's original score was composed by Ryan Shore.External linksConey Island Baby (2006) at IMDbMSN - Movies: Coney Island BabyPassage 3:The Wonderful World of Captain KuhioThe Wonderful World of Captain Kuhio (\u0000\u0000\u0000\u0000\u0000, Kuhio Taisa, lit. \"Captain Kuhio\") is a 2009 Japanese comedy-crime film, directed by Daihachi Yoshida, based on Kazumasa Yoshida's 2006 biographical novel, Kekkon Sagishi Kuhio Taisa (lit. \"Marriage swindler Captain Kuhio\"), that focuses on a real-life marriage swindler, who conned over 100 million yen (US$1.2 million) from a number of women between the 1970s and the 1990s.The film was released in Japan on 10 October 2009.CastMasato Sakai - Captain KuhioYasuko Matsuyuki - Shinobu NaganoHikari Mitsushima - Haru YasuokaYuko Nakamura - Michiko SudoHirofumi Arai - Tatsuya NaganoKazuya Kojima - Koichi TakahashiSakura Ando - Rika KinoshitaMasaaki Uchino - Chief FujiwaraKanji Furutachi - Shigeru KurodaReila AphroditeSei AndoAwardsAt the 31st Yokohama Film FestivalBest Actor – Masato SakaiBest Supporting Actress – Sakura AndoPassage 4:Lloyd (film)Lloyd is a 2001 American comedy film. The film was released on May 4, 2001.PlotLloyd is the \"class clown.\" He often gets in trouble with teachers, one of whom is very strict. When he tries to rebel, he is put into a class for \"less enthusiastic students.\" Once there, he joins the other students in the group: Troy, Carla, and Storm. He soon falls in love with the class's newest member, Tracy (Kristin Parker). However, she is taken by storm. When Lloyd talks to his mother, she tells him that he can still win her back by being himself.The role of Lloyd is played by Todd Bosley. Tom Arnold, a friend of the producers, played a small role.CastTodd Bosley - LloydBrendon Ryan Barrett - TroyMary Mara - JoannChloe Peterson - CarlaSammy Elliott - NathanPatrick Higgins - StormKristin Parker - TracyTom Arnold - TomTaylor Negron - Mr. WeidProductionThe film was shot in Sunnyvale, California, in 1997.External linksLloyd at IMDbPassage 5:La Princesse de Clèves (film)La Princesse de Clèves (Italian: La principessa di Cleves) is a 1961 French-Italian drama film based on the 1678 novel of the same name.CastMarina Vlady – La princesse de ClèvesJean Marais – Le prince de ClèvesJean-François Poron – Jacques, Duke of NemoursHenri Piégay – Le vidame de ChartresAnnie Ducaux – Diane de PoitiersLea Padovani – Catherine de' MediciPassage 6:Nous, princesses de ClèvesNous, princesses de Clèves is a French documentary film directed by Régis Sauder, filmed at the Lycée Diderot and released on 3 March 2011.SynopsisThe movie follows the thoughts and emotions of various teenagers as they prepare to take their Baccalauréat by reading the classic 1678 French novel, La Princesse de Clèves. The film highlights the differences and connections between the lives of the students, many of which are from immigrant and working-class families, and the passions and plots of the 17th century French court.Festivals and awardsThe film was screened at different film festivals throughout the world, including: 2011 Doc à Tunis - Tunis; 2011 Docudays - Beirut International Documentary Festival - Beyrouth (Liban); 2011 RIDM - Rencontres Internationales du Documentaire de Montréal - Montréal (Canada); 2011 SFFF - San Francisco International Film Festival - San Francisco (États-Unis); 2011 Visions du Réel - Nyon (Suisse), ... and received the 2011 Étoile de la Scam.Selected castSarah Yagoubi as herselfAbou Achoumi as himselfLaura Badrane as herselfMorgane Badrane as herselfManel Boulaabi as herselfVirginie Da Vega as herselfThérèse Demarque as herselfPassage 7:Invasion of the Neptune MenInvasion of the Neptune Men (\u0000\u0000\u0000\u0000\u0000, Uchū Kaisokusen) is a 1961 superhero film produced by Toei Company Ltd. The film stars Sonny Chiba as Iron Sharp (called Space Chief in the U.S. version).The film was released in 1961 in Japan and was later released in 1964 direct to television in the United States. In 1998, the film was featured on an episode of Mystery Science Theater 3000.PlotAstronomer Shinichi Tachibana has a secret identity as superhero \"Iron Sharp\" and has many children as friends. When they are attacked by a group of metallic aliens (\"Neptune Men\" in English), Iron Sharp drives the aliens away. The resourceful Tachibana helps develop an electric barrier to block the aliens from coming to the Earth.  After several losses by the aliens, they announce that they will invade the Earth, throwing the world into a state of panic. The aliens destroy entire cities with their mothership and smaller fighters. After Iron Sharp destroys multiple enemy ships, Japan fires nuclear missiles at the mothership, destroying it.CastSonny Chiba as scientist Shinichi Tachibana / Iron SharpKappei Matsumoto as Dr. TanigawaRyuko Minakami as Yōko (Tanigawa's daughter)Shinjirō Ehara as scientist YanagidaMitsue Komiya as scientist SaitōStyleInvasion of the Neptune Men is part of Japan's tokusatsu genre, which involves science fiction and/or superhero films that feature heavy use of special effects.ProductionInvasion of the Neptune Men was an early film for Sonny Chiba. Chiba started working in Japanese television where he starred in superhero television series in 1960. Chiba continued working back and forth between television and film until the late 1960s when he became a more popular star.ReleaseUchū Kaisokusen was released in Japan on 19 July 1961. The film was not released theatrically in the United States, but it was released directly to American television by Walter Manley on March 20, 1964, dubbed in English and retitled Invasion of the Neptune Men.The film was also released as Space Chief, Space Greyhound and Invasion from a Planet.Reception and legacyIn later reviews of the film, Bruce Eder gave the film a one-star rating out of five, stating that the film was \"the kind of movie that gave Japanese science fiction films a bad name. The low-quality special effects, the non-existent acting, the bad dubbing, and the chaotic plotting and pacing were all of a piece with what critics had been saying, erroneously, about the Godzilla movies for years.\" The review referred to the film's \"cheesy special effects and ridiculous dialogue taking on a sort of so-bad-they're-good charm\", and described the film as a \"thoroughly memorable (if not necessarily enjoyable, outside of the MST3K continuum) specimen of bad cinema.\"On October 11, 1997 the film was shown on the movie-mocking television show Mystery Science Theater 3000. In his review of the film, Bruce Eder of AllMovie described the episode as a memorable one, specifically the cast watching the repetitive aerial dogfights between spaceships, and one of the hosts remarking that \"Independence Day seems a richly nuanced movie\". Criticism of the film included excessive use of WWII stock footage in the action scenes (especially the obviously noticeable shot featuring a picture of Adolf Hitler in one building).In his book Japanese Science Fiction, Fantasy and Horror Films, Stuart Galbraith IV stated that the film \"had a few surprises\" despite a \"woefully familiar script\". Galbraith noted that the film was not as over-the-top as Prince of Space and that the opticals in the film were as strong as anything Toho had produced at the time. Galbraith suggested the effects may have been lifted from Toei's The Final War (aka World War III Breaks Out) from 1961.See alsoList of Japanese films of 1961List of Mystery Science Theater 3000 episodesList of science fiction films of the 1960sNotesPassage 8:It's a KingIt's a King is a 1933 British comedy film directed by Jack Raymond and starring Sydney Howard, Joan Maude and Cecil Humphreys. It was made at Elstree Studios by the producer Herbert Wilcox's British and Dominions company.PlotFarce in which insurance agent Albert King is discovered to be the exact double of the king of Helgia, and even has his name in reverse (King Albert). Insurance man Albert enjoys a romance with a princess, before finally saving the King from assassination by anarchists.CastSydney Howard as Albert King / King AlbertJoan Maude as Princess YasmaCecil Humphreys as Count YendoffGeorge De Warfaz as Colonel BrandtArthur Goullet as LeaderFranklyn Bellamy as SalvatoreBela Berkes as himselfLew Stone as himselfPassage 9:Vai Raja VaiVai Raja Vai (transl. Place It King, Place It) is a 2015 Indian Tamil language black comedy crime thriller film written and directed by Aishwarya Dhanush, and produced by AGS Entertainment featuring an ensemble cast starring Gautham Karthik, Priya Anand, Vivek, Gayathri Raguram and Daniel Balaji with S. J. Suryah, Taapsee Pannu and Dhanush playing guest appearances. The film was announced on 12 September 2013, along with the commencement of principal photography.Yuvan Shankar Raja composed the film's soundtrack and score. The film's plot summary is a mix of Hollywood movies Next and 21.The film was released on 1 May 2015 to mixed reviews from critics and was declared successful at the box office.PlotKarthik is a middle-class boy gifted with extrasensory perception who works at an IT company. He has a girlfriend Priya. During school days, he scores good in the exams using his power, so his father asks him to suppress this power to avoid suspicion due to prior incidents. Then Karthik meets Pandian aka Panda at his office and befriends him. Panda, a gambler, learns of Karthik's power and asks him to play cricket gambling by using his power. Rangarajan aka Rande is in charge of cricket gambling under an unknown man known as Kumar. Karthik wins a crore in gambling and uses 10 lakhs for his elder sister Gayathri's marriage. Panda, Karthik and Sathish vacation in Goa to spend the gambling money. There, Rande threatens Karthik to play roulette in the Casino Royale ship. Initially Karthik hesitates, but Rande threatens him by kidnapping Priya. Karthik accepts to play. By this incident, Priya realises Karthik's power. To train Karthik, Shreya comes to help. Karthik plays the game and tricks Rande to take his place in gambling. The casino officials arrest Rande. Karthik, with his money won in the gambling with Panda, Sathish and Priya, escapes and goes back home. Shreya helps Rande escape from guards by the saying of Kumar. Rande traces Karthik and takes him to his place. There, Karthik uses his power to fight Rande's sidekicks and threatens Rande. At that time, a Rolls-Royce Phantom arrives and is revealed that the unknown man Kumar is Kokki Kumar, and he asks Karthik to play for him in politics.CastProductionCastingInitially, director Aishwarya's choice for the lead actor was Atharvaa, but due to schedule conflicts he was unable to work on the project, therefore, Gautham Karthik was signed to play the male lead. It was later announced that Priya Anand was going to be the female lead opposite Gautham in the film. Velraj was confirmed as cinematographer for the film.Director Vasanth was cast as Gautham's father to make his acting debut, while choreographer Gayathri Raguram was signed to play Gautham's sister, making her return as an actress after a ten-year hiatus. Taapsee Pannu and Daniel Balaji were chosen to perform guest appearances in the film. Taapsee's role would be a surprise element in the film as for the first time she plays a character with a negative shade. She later stated that she was not playing the villain in the film but \"an aloof girl who is a regular at casinos\". In November 2014, Dhanush also shot for a cameo role, reprising the role he played in the film Pudhupettai, Kokki Kumar.FilmingThe film was mostly shot in Chennai, with major portions being shot at Pacifica Tech Park, OMR. The climax scenes were filmed in a cruise liner as the ship sailed a seven-night itinerary across Singapore, Thailand and Vietnam. In December 2013, the crew filmed a song in Osaka, Japan. Gayathri Raguram, besides acting in the film, choreographed the love duet. A few scenes and songs were also canned in Goa.SoundtrackYuvan Shankar Raja was chosen to compose the film's soundtrack and score, making his first collaboration with Aishwarya R. Dhanush. The soundtrack album featuring five tracks was released on 10 December 2014 in Chennai. Four months earlier, a single from the album, \"Move Your Body\", a song in the trap-and-bass genre, which was written by Aishwarya's husband, actor Dhanush and sung by Maestro Ilaiyaraaja, was released on YouTube on 18 August 2014. Besides Dhanush, Madhan Karky wrote two songs, while Gana Bala and Hiphop Tamizha wrote and performed each a song.ReleaseA first-look teaser of 70 seconds was released on 18 April 2014 which received a good response. The trailer was released alongside the soundtrack on 10 December 2014. The satellite rights of the film were sold to STAR Vijay.Critical receptionThe New Indian Express stated the film was \"compact, breezy, stylish and a pleasant watch\". Sify called the film \"a perfect recipe of a full-on entertainer without even a dash of obscenity or violence...the film is smartly packaged as an exciting and stylish entertainer\". The Times of India gave 3 stars out of 5 and wrote, \"The film isn't perfect, far from it, it has a few weak spots that could have been disastrous but the confidence with which Aishwaryaa manages to narrate this story helps us tide over its issues\".The Hindu wrote that \"her second film too suffers from bipolar disorder\". Indo-Asian News Service gave 2 stars out of 5 and wrote, \"Vai Raja Vai is a good effort gone completely awry\", noting that \"the first half is incredible fun\" but that the film \"goes haywire post interval\". Rediff gave the same rating and wrote, \"Despite a good storyline, young enthusiastic cast and an impressive technical crew, the film barely manages to hold your attention\", calling the film a \"let down\".Box officeThe film collected \u00003.35 crore (US$420,000) in Tamil Nadu in first day.Passage 10:Rakka (film)Rakka is a 2017 American-Canadian military science fiction short film made by Oats Studios and  directed by Neill Blomkamp. It was released on YouTube and Steam on 14 June 2017.PlotChapter 1: WorldIn the near future, Earth will be attacked by technologically superior and highly aggressive reptilian aliens called the Klum (pronounced \"klume\"). Humanity is nearing extinction with millions dead or enslaved. The Klum transform the Earth in favor of their own ideal living conditions. They do this at first by burning forests and destroying cities. Then they build megastructures that alter the atmosphere by pumping out methane. The gas makes it progressively harder for terrestrial life to breathe. And it warms the climate, which leads to flooding of coastal cities.The story begins in 2020, from the viewpoint of resistance fighters in Texas, a group of US Army soldiers and many others who have banded together. Most human survivors live underground or among ruins. They have barely enough provisions, weapons, and ammunition. The humans fight by using whatever they can against the primary Klum weapon: an omnipresent nanite in their weaponry, and telepathic control over any human that makes direct eye contact with them.The resistance makes \"brain-barriers\" that "}
+{"doc_id":"doc_29","qid":"","text":"Passage 1:Peter BurroughsPeter Burroughs (born 27 January 1947) is a British television and film actor and the director of Willow Management. He is the father-in-law of actor and TV presenter Warwick Davis.Early careerBurroughs initially ran a shop in his village at Yaxley, Cambridgeshire.His first dramatic role was that of the character \"Branic\" in the 1979 television series The Legend of King Arthur. He also acted in the television shows Dick Turpin, The Goodies, Doctor Who in the serial The King's Demons and One Foot in the Grave.Film careerBurroughs played roles in Hollywood movies such as Flash Gordon, George Lucas' Star Wars: Episode VI – Return of the Jedi (a swinging ewok), Willow, The Dark Crystal, Labyrinth and The Hitchhiker's Guide to the Galaxy. In 1995, Burroughs set up Willow Management, an agency for short actors, along with co-actor Warwick Davis. He portrayed a bank goblin in the Harry Potter series (Harry Potter and the Philosopher's Stone and Harry Potter and the Deathly Hallows – Part 2).Personal lifeHis daughter Samantha (born 1971), is married to Star Wars: Episode VI – Return of the Jedi and Willow film star Warwick Davis. He has another daughter, Hayley Burroughs, who is also an actress. His granddaughter is Annabelle Davis.FilmographyPassage 2:Ogawa MatajiViscount Ogawa Mataji (\u0000\u0000\u0000\u0000, 22 August 1848 – 20 October 1909) was a general in the early Imperial Japanese Army. He was also the father-in-law of Field Marshal Gen Sugiyama.Life and military careerOgawa was born to a samurai family; his father was a retainer to the daimyō of Kokura Domain, in what is now Kitakyushu, Fukuoka. He studied rangaku under Egawa Hidetatsu and fought as a Kokura samurai against the forces of Chōshū Domain during the Bakumatsu period.After the Meiji Restoration, Ogawa attended the Imperial Japanese Army Academy and was commissioned as a second lieutenant in January 1871 and promoted to lieutenant in February 1874. He participated in the Taiwan Expedition of April 1874. Afterwards, he served with the IJA 1st Infantry Regiment under the Tokyo Garrison, and as a battalion commander with the IJA 13th Infantry Regiment from April 1876. From February 1877, he fought in the Satsuma Rebellion, but was wounded in combat in April and promoted to major the same month.In March 1878, Ogawa was Deputy Chief-of-Staff to the Kumamoto Garrison. He was sent as a military attaché to Beijing from April to July 1880. In February 1881, he was promoted to lieutenant-colonel and chief of staff of the Osaka Garrison. In March 1882, he was chief of staff of the Hiroshima Garrison. Promoted to colonel in October 1884, he was assigned the IJA 8th Infantry Regiment. In May 1885, he joined the Imperial Japanese Army General Staff Office. German General Jakob Meckel, hired by the Japanese government as a foreign advisor and instructor in the Imperial Japanese Army Academy highly praised Ogawa and fellow colonel Kodama Gentarō as the two most outstanding officers in the Imperial Japanese Army. Ogawa was especially noted for his abilities as a military strategist and planner, and earned the sobriquet “the modern Kenshin\") from General Kawakami Soroku.First Sino-Japanese WarOgawa was promoted to major general in June 1890, and given command of the IJA 4th Infantry Brigade, followed by command of the 1st Guards Brigade. At the start of the First Sino-Japanese War in August 1894, he was chief of staff of the Japanese First Army. In August 1895, he was elevated to the kazoku peerage with the title of danshaku (baron). He commanded the 2nd Guards Brigade from January 1896 and was subsequently promoted to lieutenant general in April 1897, assuming command of the IJA 4th Infantry Division. In May 1903, he was awarded the Order of the Sacred Treasures, first class.Russo-Japanese WarDuring the Russo-Japanese War of 1904-1905, Ogawa retained command of the IJA 4th Division under the Japanese Second Army of General Oku Yasukata.  The division was in combat at the Battle of Nanshan, Battle of Telissu and Battle of Liaoyang. At the Battle of Liaoyang, Ogawa was injured in combat, and forced to relinquish his command and return to Tokyo. In January 1905, he was promoted to general, but took a medical leave from December 1905. He was awarded the Order of the Golden Kite, 2nd class in 1906.  In September 1907 he was elevated to viscount (shishaku) He officially retired in November.Ogawa died on 20 October 1909 due to peritonitis after being hospitalized for dysentery. His grave is located at Aoyama Cemetery in Tokyo, and he also has a grave in his hometown of Kokura.Decorations1885 –  Order of the Rising Sun, 3rd class  1895 –  Order of the Sacred Treasure, 2nd class 1895 –  Order of the Rising Sun, 2nd class 1895 –  Order of the Golden Kite, 3rd class 1903 –  Grand Cordon of the Order of the Sacred Treasure 1906 –  Grand Cordon of the Order of the Rising Sun1906 –  Order of the Golden Kite, 2nd classPassage 3:Prince Rupert of the RhinePrince Rupert of the Rhine, Duke of Cumberland,  (17 December 1619 (O.S.) [27 December 1619 (N.S.)] – 29 November 1682 (O.S.) [9 December 1682 (N.S)]) was an English army officer, admiral, scientist, and colonial governor. He first came to prominence as a Royalist cavalry commander during the English Civil War. Rupert was the third son of the German Prince Frederick V of the Palatinate and Elizabeth, eldest daughter of King James VI and I of Scotland and England.Prince Rupert had a varied career. He was a soldier as a child, fighting alongside Dutch forces against Habsburg Spain during the Eighty Years' War (1568–1648), and against the Holy Roman Emperor in Germany during the Thirty Years' War (1618–1648). Aged 23, he was appointed commander of the Royalist cavalry during the English Civil War, becoming the archetypal \"Cavalier\" of the war and ultimately the senior Royalist general. He surrendered after the fall of Bristol and was banished from England. He served under King Louis XIV of France against Spain, and then as a Royalist privateer in the Caribbean Sea. Following the Restoration, Rupert returned to England, becoming a senior English naval commander during the Second Anglo-Dutch War and Third Anglo-Dutch War, and serving as the first governor of the Hudson's Bay Company. He died in England in 1682, aged 62.Rupert is considered to have been a quick-thinking and energetic cavalry general, but ultimately undermined by his youthful impatience in dealing with his peers during the Civil War. In the Interregnum, Rupert continued the conflict against Parliament by sea from the Mediterranean to the Caribbean, showing considerable persistence in the face of adversity. As the head of the Royal Navy in his later years, he showed greater maturity and made impressive and long-lasting contributions to the Royal Navy's doctrine and development. As a colonial governor, Rupert shaped the political geography of modern Canada: Rupert's Land was named in his honour, and he was a founder of the Hudson's Bay Company.  Rupert's varied and numerous scientific and administrative interests, combined with his considerable artistic skills, made him one of the more colourful public figures in England of the Restoration period.Parents and ancestryRupert's father was Frederick V of the Palatinate, of the Palatinate-Simmern branch of the House of Wittelsbach. As Elector Palatine, Frederick was one of the most important princes of the Holy Roman Empire. He was also head of the Protestant Union, a coalition of Protestant German states. The Palatinate was a wealthy state, and Frederick lived in great luxury.Frederick's mother, Countess Louise Juliana of Nassau, was daughter of William the Silent and half-sister of Maurice, Prince of Orange, who as stadtholders of Holland and other provinces were the leaders of the Dutch Republic.Rupert's mother was Elizabeth Stuart, daughter of King James VI of Scotland and I of England. Thus Rupert was nephew of King Charles I of England and Scotland, and first cousin of King Charles II of England and Scotland, who made him Duke of Cumberland and Earl of Holderness. His sister Electress Sophia was the mother of George I of Great Britain.Rupert was named in honour of Rupert, King of Germany, a famous Wittelsbach ancestor.Early life and exileRupert was born in Prague, Bohemia, in 1619, and was declared a prince by the principality of Lusatia. His father had just been elected king by the largely Protestant estates of Bohemia. This was perceived as an act of rebellion by the Catholic House of Habsburg, who had been kings of Bohemia since 1526, and initiated the Thirty Years' War. Frederick was not supported by the Protestant Union, and in 1620 was defeated by Emperor Ferdinand II in the Battle of White Mountain. Rupert's parents were thus mockingly termed the \"Winter King and Queen\". Rupert was almost left behind in the court's rush to escape Ferdinand's advance on Prague, until courtier Kryštof z Donína (Christopher Dhona) tossed the prince into a carriage at the last moment.Rupert accompanied his parents to The Hague, where he spent his early years at the Hof te Wassenaer (the Wassenaer Court). Rupert's mother paid her children little attention even by the standards of the day, apparently preferring her pet monkeys and dogs. Instead, Frederick employed a French couple, Monsieur and Madame de Plessen, as governors to his children. They were raised with a positive attitude towards the Bohemians and the English, and as strict Calvinists. The result was a strict school routine including logic, mathematics, writing, drawing, singing, and playing instruments.As a child, Rupert was at times badly behaved, \"fiery, mischievous, and passionate\" and earned himself the nickname Robert le Diable, or \"Rupert The Devil\". Nonetheless, Rupert proved to be an able student. By the age of three he could speak some English, Czech, and French, and mastered German while still young, but had little interest in Latin and Greek. He excelled in art, being taught by Gerard van Honthorst, and found mathematics and science easy. By the time he was 18 he stood about 6 ft 4 in (1.93 m) tall.Rupert's family continued their attempts to regain the Palatinate during their time in The Hague. Money was short, with the family relying upon a relatively small pension from The Hague, the proceeds from family investments in Dutch raids on Spanish shipping, and revenue from pawned family jewellery. Frederick set about convincing an alliance of nations—including England, France and Sweden — to support his attempts to regain the Palatinate and Bohemia. By the early 1630s Frederick had built a close relationship with King Gustavus of Sweden, the dominant Protestant leader in Germany. In 1632, however, the two men disagreed over Gustavus' insistence that Frederick provide equal rights to his Lutheran and Calvinist subjects after regaining his lands; Frederick refused and set off to return to The Hague. He died of a fever along the way and was buried in an unmarked grave.Rupert had lost his father at the age of 13, and Gustavus' death at the Battle of Lützen in the same month deprived the family of a critical Protestant ally. With Frederick gone, King Charles proposed that the family move to England; Rupert's mother declined, but asked that Charles extend his protection to her remaining children instead.Teenage yearsRupert spent the beginning of his teenage years in England between the courts of The Hague and his uncle King Charles I, before being captured and imprisoned in Linz during the middle stages of the Thirty Years' War. Rupert had become a soldier early; at the age of 14 he attended the Dutch pas d'armes with the Protestant Frederick Henry, Prince of Orange. Later that year he fought alongside him and the Duke of Brunswick at the Anglo-German siege of Rheinberg, and by 1635 he was acting as a military lifeguard to Prince Frederick. Rupert went on to fight against imperial Spain in the successful campaign around Breda in 1637 during the Eighty Years' War in the Netherlands. By the end of this period, Rupert had acquired a reputation for fearlessness in battle, high spirits and considerable industry.In between these campaigns Rupert had visited his uncle's court in England. The Palatinate cause was a popular Protestant issue in England, and in 1637 a general public subscription helped fund an expedition under Charles Louis to try to regain the electorate as part of a joint French campaign. Rupert was placed in command of a Palatinate cavalry regiment, and his later friend Lord Craven, an admirer of Rupert's mother, assisted in raising funds and accompanied the army on the campaign. The campaign ended badly at the Battle of Vlotho (17 October 1638) during the invasion of Westphalia; Rupert escaped death, but was captured by the forces of the Imperial General Melchior von Hatzfeldt towards the end of the battle.After a failed attempt to bribe his way free of his guards, Rupert was imprisoned in Linz. Lord Craven, also taken in the battle, attempted to persuade his captors to allow him to remain with Rupert, but was refused. Rupert's imprisonment was surrounded by religious overtones. His mother was deeply concerned that he might be converted from Calvinism to Catholicism; his captors, encouraged by Emperor Ferdinand III, deployed Jesuit priests in an attempt to convert him. The emperor went further, proffering the option of freedom, a position as an Imperial general and a small principality if Rupert would convert. Rupert refused.Rupert's imprisonment became more relaxed on the advice of the Archduke Leopold, Ferdinand's younger brother, who met and grew to like Rupert. Rupert practised etching, played tennis, practised shooting, read military textbooks and was taken on accompanied hunting trips. He also entered into a romantic affair with Susan Kuffstein, the daughter of Count von Kuffstein, his gaoler. He received a present of a rare white poodle that Rupert called Boy or sometimes Pudel, and which remained with him into the English Civil War. Despite attempts by a Franco-Swedish army to seize Linz and free Rupert, his release was ultimately negotiated through Leopold and the Empress Maria Anna; in exchange for a commitment never again to take up arms against the emperor, Rupert would be released. Rupert formally kissed the emperor's hand at the end of 1641, turned down a final offer of an imperial command and left Germany for England.Career during the First English Civil WarRupert is probably best remembered today for his role as a Royalist commander during the English Civil War. He had considerable success during the initial years of the war, his drive, determination and experience of European techniques bringing him early victories. As the war progressed, Rupert's youth and lack of maturity in managing his relationships with other Royalist commanders ultimately resulted in his removal from his post and ultimate retirement from the war. Throughout the conflict, however, Rupert also enjoyed a powerful symbolic position: he was an iconic Royalist Cavalier and as such was frequently the subject of both Parliamentarian and Royalist propaganda, an image which has endured over the years.Early phases, 1642–1643Rupert arrived in England following his period of imprisonment and final release from captivity in Germany. In August 1642, Rupert, along with his brother Prince Maurice and a number of professional soldiers, ran the gauntlet across the sea from the United Provinces, and after one initial failure, evaded the pro-Parliamentary navy and landed in Newcastle. Riding across country, he found the King with a tiny army at Leicester Abbey, and was promptly appointed General of Horse, a coveted appointment at the time in European warfare. Rupert set about recruiting and training: with great effort he had put together a partially trained mounted force of 3,000 cavalry by the end of September. Rupert's reputation continued to rise and, leading a sudden, courageous charge, he routed a Parliamentarian force at Powick Bridge, the first military engagement of the war. Although a small engagement, this had a propaganda value far exceeding the importance of the battle itself, and Rupert became an heroic figure for many young men in the Royalist camp.Rupert joined the King in the advance on London, playing a key role in the resulting Battle of Edgehill in October. Once again, Rupert was at his best with swift battlefield movements; the night before, he had undertaken a forced march and seized the summit of Edgehill, giving the Royalists a superior position. When he quarrelled with his fellow infantry commander, Robert Bertie, however, some of the weaknesses of Rupert's character began to display themselves. Rupert vigorously interjected—probably correctly, but certainly tactlessly—that Lindsey should deploy his men in the modern Swedish fashion that Rupert was used to in Europe, which would have maximised their available firepower. The result was an argument in front of the troops and Lindsey's resignation and replacement by Sir Jacob Astley. In the subsequent battle Rupert's men made a dramatic cavalry charge, but despite his best efforts a subsequent scattering and loss of discipline turned a potential victory into a stalemate.After Edgehill, Rupert asked Charles for a swift cavalry attack on London before the Earl of Essex's army could return. The King's senior counsellors, however, urged him to advance slowly on the capital with the whole army. By the time they arrived, the city had organised defences against them. Some argue that, in delaying, the Royalists had perhaps lost their best chance of winning the war, although others have argued that Rupert's proposed attack would have had trouble penetrating a hostile London. Instead, early in 1643, Rupert began to clear the South-West, taking Cirencester in February before moving further against Bristol, a key port. Rupert took Bristol in July with his brother Maurice using Cornish forces and was appointed governor of the city. By mid-1643, Rupert had become so well known that he was an issue in any potential peace accommodation—Parliament was seeking to see him punished as part of any negotiated solution, and the presence of Rupert at the court, close to the King during the negotiations, was perceived as a bellicose statement in itself.Later stages, 1644–1646During the second half of the war, political opposition within the Royalist senior leadership against Prince Rupert continued to grow. His personality during the war had made him both friends and enemies. He enjoyed a \"frank and generous disposition\", showed a \"quickness of... intellect\", was prepared to face grave dangers, and could be thorough and patient when necessary. However, Prince Rupert lacked the social gifts of a courtier, and his humour could turn into a \"sardonic wit and a contemptuous manner\": with a hasty temper, he was too quick to say whom he respected and whom he disliked. The result was that, while he could inspire great loyalty in some, especially with his men, he also made many enemies at the Royal court. When Prince Rupert took Bristol, he also slighted the Marquess of Hertford, the lethargic but politically significant Royalist leader of the South-West. Most critically, he fell out with George Digby, a favourite of both the King and the Queen. Digby was a classic courtier and Rupert fell to arguing with him repeatedly in meetings. The result was that towards the end of the war Prince Rupert's position at court was increasingly undermined by his enemies.Rupert continued to impress militarily. By 1644, now the Duke of Cumberland and Earl of Holderness, he led the relief of Newark and York and its castle. Having marched north, taking Bolton and Liverpool along the way in two bloody assaults, Rupert then intervened in Yorkshire in two highly effective manoeuvres, in the first outwitting the enemy forces at Newark with speed; in the second, striking across country and approaching York from the north. Rupert then commanded much of the royalist army at its defeat at Marston Moor, with much of the blame falling on the poor working relationship between Rupert and the Marquess of Newcastle, and orders from the King that wrongly conveyed a desperate need for a speedy success in the north.In November 1644, Rupert was appointed general of the entire Royalist army, which increased already marked tensions between him and a number of the King's councillors. By May 1645, and now desperately short of supplies, Rupert captured Leicester, but suffered a severe reversal at the Battle of Naseby a month later. Although Rupert had counselled the King against accepting battle at Naseby, the opinions of Digby had won the day in council: nonetheless, Rupert's defeat damaged him, rather than Digby, politically. After Naseby, Rupert regarded the Royalist cause as lost, and urged Charles to conclude a peace with Parliament. Charles, still supported by an optimistic Digby, believed he could win the war. By late summer, Prince Rupert had become trapped in Bristol by Parliamentary forces. "}
+{"doc_id":"doc_30","qid":"","text":"Passage 1:One Does Not Play with LoveOne Does Not Play with Love (German: Man spielt nicht mit der Liebe) is a 1926 silent German drama film directed by G. W. Pabst. The film is an adaptation of the 1834 play byAlfred de Musset, On ne badine pas avec l'amour. The film is considered to be a lost film.CastWerner Krauss as Fürst Colalto (Prince Colalto)Lili Damita as CalixtaErna Morena as Florence, ehemalige Opernsängerin(alumna opera singer)Egon von Jordan as Eugen LewisArtur Retzbach as Nepallek, Hofmobiliardirektor (Director of the furniture of the court) (as Artur Retzbach-Erasiny)Oreste Bilancia as Der Freund (the friend)GustavCzimegTala Birell as Bit Role (as Thala Birell)Karl EtlingerMaria PaudlerMathilde SussinSee alsoList of lost filmsPassage 2:Gustav CzimegGustav Czimeg (December 20, 1877 – August 21, 1939) was a German actor ofthe silent period. He appeared in films such as Madame DuBarry (1919),  in which he played Duke Aiguillon, Die Rache des Titanen (1919), Glasprinzessin (1921), and One Does Not Play with Love (1926).Passage 3:TheFlesh Is WeakThe Flesh Is Weak is a 1957 British film directed by Don Chaffey. It stars John Derek and Milly Vitale. Distributors Corporation of America released the film in the USA as a double feature with Blonde inBondage.PlotTony Giani is a Soho pimp who preys on young provincial women who come to London seeking work. Marissa Cooper, one such girl, has just arrived in London. Giani spots her and offers her a job in theGolden Bucket, a nightclub. In her innocence, she does not realize the club is a front for prostitution. When she tries to escape from the pimp's control, she is set up by Giani and his brother Angelo and arrested by thepolice. Investigative journalist Lloyd Buxton persuades her to give evidence against the brothers leading to their imprisonment and her freedom.CastJohn Derek as Tony GianiMilly Vitale as Marissa CooperWilliamFranklyn as Lloyd BuxtonMartin Benson as Angelo GianiFreda Jackson as TrixieNorman Wooland as Inspector KingcombeHarold Lang as HenryPatricia Jessel as MillieJohn Paul as Sergeant FranksDenis Shaw asSaradineJoe Robinson as LoftyRoger Snowden as BennyPatricia Plunkett as Doris NewmanShirley Anne Field as SusanSource: BFIProductionThe film was based on the Messina vice gang who operated in the West End ofLondon. Its original title was Women of Night then Not for Love before being changed to The Flesh is Weak.ReceptionThe film was a box office success - according to Variety it was the fourth highest grossing film inEngland. The movie is not listed in Kinematograph Weekly as one of the most popular British films of 1957 but that magazine did say the movie was \"enjoying a triumphant West End run\".The reception to the filmenabled the producer and director to raise finance for another movie, A Question of Adultery.Passage 4:Blonde in BondageBlonde in Bondage (Swedish: Blondin i fara) is a 1957 Swedish drama crime film directed byRobert Brandt, who also wrote lyrics to the film's two songs.  Distributors Corporation of America released the film in the US as a double feature with The Flesh Is Weak. It was shot at the Metronome Studios inStockholm.PlotNew York City reporter Larry Brand is sent to Stockholm to do a story on Swedish morals.  A traffic accident leads him into rescuing a strip tease artiste from drug addiction and pits him against a ruthlesscriminal gang.CastMark Miller as Larry BrandAnita Thallaug as Mona MaceLars Ekborg as MaxRuth Johansson as LailaBirgitta Ander as BirgittaEva Laräng as IngridAnita Strindberg as Telephone operator (credited asAnita Edberg)Erik Strandmark as OlleStig Järrel as KreugerBörje Mellvig as Chief InspectorDangy Helander as a ProstituteNorma Sjöholm as a second ProstituteSangrid Nerf as a taxi driverAlexander von Baumgarten asKuger's valetJohn Starck ...  Chief of guardsSoundtrackThe Blues Music by Ulf CarlénLyrics by Robert BrandtShock Around the ClockMusic by Ulf Carlén Lyrics by Robert BrandtExternal linksBlonde in Bondage atIMDbPassage 5:But the Flesh Is WeakBut the Flesh Is Weak is a 1932 American pre-Code comedy film directed by Jack Conway and written by Ivor Novello based on his 1928 play The Truth Game. The film stars RobertMontgomery, Nora Gregor, Heather Thatcher, Edward Everett Horton, C. Aubrey Smith and Nils Asther. The film was released on April 9, 1932, by Metro-Goldwyn-Mayer.  But the Flesh Is Weak was remade in 1941 asFree and Easy.PlotMax Clement and his father Florian, short of money, take advantage of wealthy British women by romancing them. Max's problem is that he is far more attracted to more attractive women, oneswithout the means to support him.While seeing a pleasant but plain Lady Joan Culver socially, Max is introduced to Austrian widow Rosine Brown, quickly falling in love with her. Max is persistent in his romanticadvances, but Rosine reveals that she is penniless and, much like Max, counting on a richer but less exciting man, Sir George Kelvin, to marry and take care of her.Florian's gambling losses in the casino leave himheavily in debt. The only way Max knows how to aid his father is by marrying Lady Joan, who can afford to solve his financial difficulties. Max's guilty conscience and true love lead him back to Rosine, and the suddenengagement of Florian to a wealthy woman helps bring everyone together.CastRobert Montgomery as Max ClementNora Gregor as Mrs. Rosine BrownHeather Thatcher as Lady Joan CulverEdward Everett Horton as SirGeorge KelvinC. Aubrey Smith as Florian ClementNils Asther as Prince PaulFrederick Kerr as Duke of HampshireEva Moore as Lady Florence RidgwayForrester Harvey as GoochDesmond Roberts as FindleyPassage 6:TheFleshThe Flesh (Italian: La carne) is a 1991 Italian drama film directed by Marco Ferreri. It was entered into the 1991 Cannes Film Festival.PlotPaolo is a municipal employee, who in his spare time works at the piano barof a club, is divorced and has two children who live with his ex-wife. Paolo often recalls his mother and his First Communion, with which he seems to live a totalizing experience in the divine.In his friend Nicola'snightclub, Paolo meets the young Francesca, back from a relationship with an Indian guru, who has just had an abortion and is alone. Intimacy develops between the two: according to Paolo, this is the victory of theultra sex and of the fusion that completes and exalts everything, a fusion that Francesca assures him thanks to a special oriental technique, which allows the partner a state of permanent efficiency.They shut themselvesup in his beach house south of Rome where, after filling the fridge, they spend their time eating and making love, interrupted only by a quick incursion of Paolo's two sons visiting him and a small group of friends. ButFrancesca at a given moment thinks of leaving for other shores, while Paolo understands that in order to \"communicate\" there is really only one alternative: either to love each other totally, or to tear apart thatvoluptuous female body, put it in the fridge and eat it by the sea in front of the sun. Thus, after having made animalistic love in the kennel of the beloved dog Giovanni, Paolo's insane anxiety is satisfied: he killsFrancesca, cuts her up and keeps her in the refrigerator, eating her piece by piece.CastSergio Castellitto - PaoloFrancesca Dellera - FrancescaPhilippe LéotardFarid ChopelPetra ReinhardtGudrun GundelachNicolettaBorisClelia PiscitelliElena WiedermannSonia TopazioFulvio FalzaranoPino ToscaEleonora CecereMatteo RipaldiDaniele FralassiSalvatore EspositoPassage 7:Don ChaffeyDonald Chaffey (5 August 1917 – 13 November1990) was a British film director, writer, producer, and art director.Chaffey's film career began as an art director in 1947, and his directorial debut was in 1953.  He remained active in the industry until his death in 1990from heart failure. His film Charley One-Eye (1973) was entered into the 24th Berlin International Film Festival.He is chiefly remembered for his fantasy films, which include Jason and the Argonauts (1963), The ThreeLives of Thomasina (1963), One Million Years B.C. (1966), The Viking Queen (1967), Creatures the World Forgot (1971), Pete's Dragon (1977), and C.H.O.M.P.S. (1979), his final feature film.Concurrent with histheatrically released films, Chaffey directed episodes of numerous British television series, including multiple installments of Danger Man, The Prisoner, and The Avengers.  From the 1980s until his death, all of his workwas in American made-for-TV movies, and in such TV series as Fantasy Island, Stingray, MacGyver, Vega$, T. J. Hooker, Matt Houston, and Charlie's Angels.CareerChaffey began his career in the art department ofGainsborough Productions where he worked as a draftsman on Madonna of the Seven Moons (1945), The Rake's Progress (1945), and Caravan (1946). He was art director of The Adventures of Dusty Bates (1947) andThe Little Ballerina (1948). He directed the documentary shorts Thames Tideway (1948) and Cape Cargoes (1948).Chaffey directed the short features The Mysterious Poacher (1950) and The Case of the Missing Scene(1950). He returned to the art department for King of the Underworld (1950), The Stolen Plans (1952), Murder at the Grange (1952), Murder at Scotland Yard (1952), and Black 13 (1953).DirectorChaffey resumed hisdirecting career with the family film Skid Kids (1953). He made the short Watch Out (1953), then did Strange Stories (1953), Bouncer Breaks Up (1953, a short), The Mask (1952), and A Good Pull Up (1953).Chaffeydirected Time Is My Enemy (1954). After the short Dead on Time (1955) he made The Secret Tent (1956), The Flesh Is Weak (1957) and The Girl in the Picture (1957). He also directed \"The Man Upstairs\" (1958)starring Richard Attenborough.He directed episodes of TV series like Theatre Royal, The Adventures of the Big Man, Chevron Hall of Stars, The Errol Flynn Theatre, Assignment Foreign Legion, The Adventures of RobinHood, Dial 999, and The New Adventures of Charlie Chan. He interspersed these with features like A Question of Adultery (1958), The Man Upstairs (1958), Danger Within (1959), Dentist in the Chair (1960), Lies MyFather Told Me (1960), and Nearly a Nasty Accident (1961).Disney and FantasyHe did Greyfriars Bobby: The True Story of a Dog (1961) then A Matter of WHO (1961), a version of The Prince and the Pauper (1962) forDisney, and The Webster Boy (1962).He had a big hit with Jason and the Argonauts (1963) with Ray Harryhausen. Then it was back to Disney for The Three Lives of Thomasina (1963).Chaffey directed They All DiedLaughing (1964), The Crooked Road (1965), and One Million Years B.C. (1966) for Hammer. He returned to television to do episodes of Danger Man, The Baron, The Prisoner, Man in a Suitcase, Journey to the Unknown,The Avengers, The Pathfinders, and The Protectors.Chaffey did The Viking Queen (1967) for Hammer, A Twist of Sand (1968), Creatures the World Forgot (1971) for Hammer, Clinic Exclusive (1973), Charley-One-Eye(1973), and Persecution (1974).Australia and US TVChaffey went to Australia where he directed Ben Hall (1975), Ride a Wild Pony (1975), The Fourth Wish (1976), and Shimmering Light (1978).He worked in Americatoo making CHiPs, Pete's Dragon (1977) for Disney, The Magic of Lassie (1978), Lassie: A New Beginning (1978), The Gift of Love (1978), C.H.O.M.P.S. (1979), and Casino (1980).He eventually focused almostexclusively on episodic TV: Vega$, Charlie's Angels, Strike Force, Fantasy Island, Gavilan, The Renegade, Lottery!, Hotel, Matt Houston, Finder of Lost Loves, International Airport (1985, a pilot), Spenser: For Hire,Hollywood Beat, Airwolf, Hunter, Outlaws, MacGyver, Stingray and Mission: Impossible.Personal lifeChaffey married American actress Paula Kelly in 1985 and they had one child together. Chaffey died of a heart attackin 1990.FilmographyFilmTelevisionPassage 8:Promise of the FleshPromise of the Flesh (Korean: \u0000\u0000\u0000 \u0000\u0000; RR: Yukche-ui yaksok) is a 1975 South Korean film directed by Kim Ki-young.PlotA melodrama about a femaleprisoner who meets a man while on leave to visit her mother's grave. Not knowing that the man is a thief, she promises to meet him at a park two years later, after she is released from prison.CastKim Ji-meeLeeJung-gilPark Jung-jaPark AmJo Jae-seongHan Se-hunYu Chun-suYeo Han-dongKim Chung-chulLee Yong-hoAwardsGrand Bell Awards (1975)Best Actress (Kim Ji-mee)Best Supporting Actress (ParkJung-ja)NotesBibliographyBerry, Chris. \"Promise of the Flesh\". The House of Kim Ki-young. Archived from the original on 2004-05-05. Retrieved 2008-01-21.Berry, Chris. \"Whose Story Is It? Gender, Narrative andNarration in Promise of the Flesh\". The House of Kim Ki-young. Archived from the original on 2004-05-05. Retrieved 2008-01-21.\"Kim, Ki-young Master of Madness (From the 41st San Francisco International FilmFestival)\". www.cinekorea.com. Archived from the original on 2008-02-12. Retrieved 2008-01-19.External linksPromise of the Flesh at IMDbPassage 9:G. W. PabstGeorg Wilhelm Pabst (25 August 1885 – 29 May 1967)was an Austrian film director and screenwriter. He started as an actor and theater director, before becoming one of the most influential German-language filmmakers during the Weimar Republic.Early yearsPabst wasborn in Raudnitz, Bohemia, Austria-Hungary (today's Roudnice nad Labem, Czech Republic), the son of a railroad official. While growing up in Vienna, he studied drama at the Academy of Decorative Arts and initiallybegan his career as a stage actor in Switzerland, Austria and Germany. In 1910, Pabst traveled to the United States, where he worked as an actor and director at the German Theater in New York City.In 1914, hedecided to become a director, and he returned to recruit actors in Europe. Pabst was in France when World War I began, he was arrested and held as an enemy alien and interned in a prisoner-of-war camp near Brest.While imprisoned, Pabst organised a theatre group at the camp and directed French-language plays. Upon his release in 1919, he returned to Vienna, where he became director of the Neue Wiener Bühne, anavant-garde theatre.CareerPabst began his career as a film director at the behest of Carl Froelich who hired Pabst as an assistant director. He directed his first film, The Treasure, in 1923. He developed a talent for\"discovering\" and developing the talents of actresses, including Greta Garbo, Asta Nielsen, Louise Brooks, and Leni Riefenstahl.Pabst's best known films concern the plight of women, including The Joyless Street (1925)with Greta Garbo and Asta Nielsen, Secrets of a Soul (1926) with Lili Damita, The Loves of Jeanne Ney (1927) with Brigitte Helm, and Pandora's Box (1929) and Diary of a Lost Girl (1929) with American actress LouiseBrooks. He also co-directed with Arnold Fanck a mountain film entitled The White Hell of Pitz Palu (1929) starring Leni Riefenstahl.After the coming of sound, he made a trilogy of films that secured his reputation:Westfront 1918 (1930), The Threepenny Opera (1931) with Lotte Lenya (based on the Bertolt Brecht and Kurt Weill musical), and Kameradschaft (1931). Pabst also filmed three versions of Pierre Benoit's novelL'Atlantide in 1932, in German, English, and French, titled Die Herrin von Atlantis, The Mistress of Atlantis, and L'Atlantide, respectively. In 1933, Pabst directed Don Quixote, once again in German, English, and Frenchversions.After making A Modern Hero (1934) in the USA and Street of Shadows (1937) in France, Pabst (who was planning to emigrate to the United States) was caught in France in 1939, when war was declared, whilstvisiting his mother, and was forced to return to Nazi Germany. Under the auspices of propaganda minister, Josef Goebbels, Pabst made two films in Germany during this period: The Comedians (1941) and Paracelsus(1943).Pabst directed four opera productions in Italy in 1953: La forza del destino for the Maggio Musicale Fiorentino in Florence (conducted by Dimitri Mitropoulos, the cast included Renata Tebaldi, Fedora Barbieri,Mario del Monaco, Aldo Protti, Cesare Siepi), and a few weeks later, for the Arena di Verona Festival, a spectacular Aïda, with Maria Callas in the title role (conducted by Tullio Serafin, with del Monaco), Il trovatore andagain La forza del destino.He directed The Last Ten Days (1955), the first post-war German feature film to feature Adolf Hitler as a character.DeathOn 29 May 1967, Pabst died in Vienna at the age of 81. He wasinterred at the Zentralfriedhof in Vienna.Awards1941, Venice Film Festival: Gold Medal of the Biennale for Best Director for his film The ComediansFilmographySee alsoMax Deutsch, composerPassage 10:Devil in theFlesh 2Devil in the Flesh 2 (also known as Teacher's Pet) is a 2000 erotic thriller film directed by Marcus Spiegel. It is a sequel to Devil in the Flesh (1998), which stars Rose McGowan.PlotDebbie Strand a beautifulpsychopath, escapes from the mental institution she was sent off to in the first installment of the series. After a teenage girl who took Debbie in her car dies when retreating from Debbie and accidentally impalingherself, Debbie steals both the girl's identity and her car, and heads off to the college the dead girl was supposed to attend as a freshman.There, Debbie instantly develops a psychotic crush on her dashing writingprofessor, Dr. Sam Deckner after being impressed by their shared interests as well as his personality on their first interaction. Debbie assumed the role of a wealthy man's daughter while going by the deceased girl'sname \"Tracy Carlay\" as her new identity. She is checked into same room with Laney, a naive girl who she soon influences. Further interactions with Sam renders Debbie further psychotic and in order to strengthen theirlove she soon begins killing anyone who she believes served as a threat to their perceived relationship.Laney, her computer-literate roommate discovers the truth about Debbie's past, and instantly panics then falls toher death after being agitated by Debbie's presence. Debbie described this as a suicide to the cops and soon begins to stalk Sam, unable to move on from their earlier intimate encounter. She repeatedly threatens Carla,Sam's girlfriend, especially after Carla revealed to Sam she was pregnant by him. Debbie, out of jealousy,  throws a stone at the glass window while the couple were getting intimate and prompted a policeinquiry.Debbie becomes more unhinged and at night, goes over to Carla's house, finds a knife and lurked around, intent on murdering Carla but is hindered by the presence of two cops both of whom she woundedbefore inadvertently stabbing herself in a scuffle with Sam.The film ends with a stabbed Debbie being picked off the road by the father of the real Tracy Carlay, the teenage girl who had picked up Debbie in the film'sopening. Tracy's father comments on Debbie's striking resemblance with his daughter and made mention of his daughter's troubles at school.CastJodi Lyn O'Keefe as Debbie Strand /Tracy CarlayJsu Garcia as SamDecknerSarah Lancaster as Tracy CarlayKatherine Kendall as Carla BriggsJeanette Brox as LaneyChristiana Frank as Sydney HollingsTodd Robert Anderson as Deputy Toby TaylorBill Gratton as Sheriff Bill Taylor"}
+{"doc_id":"doc_31","qid":"","text":"Passage 1:Ian Barry (director)Ian Barry is an Australian director of film and TV.Select creditsWaiting for Lucas (1973) (short)Stone (1974) (editor only)The Chain Reaction (1980)Whose Baby? (1986)(mini-series)Minnamurra (1989)Bodysurfer (1989) (mini-series)Ring of Scorpio (1990) (mini-series)Crimebroker (1993)Inferno (1998) (TV movie)Miss Lettie and Me (2002) (TV movie)Not Quite Hollywood: The Wild,Untold Story of Ozploitation! (2008) (documentary)The Doctor Blake Mysteries (2013)Passage 2:Brian Kennedy (gallery director)Brian Patrick Kennedy (born 5 November 1961) is an Irish-born art museum director whohas worked in Ireland and Australia, and now lives and works in the United States.  He was the director of the Peabody Essex Museum in Salem for 17 months, resigning December 31, 2020. He was the director of theToledo Museum of Art in Ohio from 2010 to 2019. He was the director of the Hood Museum of Art from 2005 to 2010, and the National Gallery of Australia (Canberra) from 1997 to 2004.CareerBrian Kennedy currentlylives and works in the United States after leaving Australia in 2005 to direct the Hood Museum of Art at Dartmouth College. In October 2010 he became the ninth Director of the Toledo Museum of Art. On 1 July 2019,he succeeded Dan Monroe as the executive director and CEO of the Peabody Essex Museum.Early life and career in IrelandKennedy was born in Dublin and attended Clonkeen College. He received B.A. (1982), M.A.(1985) and PhD (1989) degrees from University College-Dublin, where he studied both art history and history.He worked in the Irish Department of Education (1982), the European Commission, Brussels (1983), and inIreland at the Chester Beatty Library (1983–85), Government Publications Office (1985–86), and Department of Finance (1986–89). He married Mary Fiona Carlin in 1988.He was Assistant Director at the NationalGallery of Ireland in Dublin from 1989 to 1997. He was Chair of the Irish Association of Art Historians from 1996 to 1997, and of the Council of Australian Art Museum Directors from 2001 to 2003. In September 1997 hebecame Director of the National Gallery of Australia.National Gallery of Australia (NGA)Kennedy expanded the traveling exhibitions and loans program throughout Australia, arranged for several major shows ofAustralian art abroad, increased the number of exhibitions at the museum itself and oversaw the development of an extensive multi-media site.  Although he oversaw several years of the museum's highest ever annualvisitation, he discontinued the emphasis of his predecessor, Betty Churcher, on showing \"blockbuster\" exhibitions.During his directorship, the NGA gained government support for improving the building and significantprivate donations and corporate sponsorship. However, the initial design for the building proved controversial generating a public dispute with the original architect on moral rights grounds.  As a result, the project wasnot delivered during Dr Kennedy's tenure, with a significantly altered design completed some years later.  Private funding supported two acquisitions of British art, including David Hockney's A Bigger Grand Canyon in1999, and Lucian Freud's After Cézanne in 2001. Kennedy built on the established collections at the museum by acquiring the Holmgren-Spertus collection of Indonesian textiles; the Kenneth Tyler collection of editionedprints, screens, multiples and unique proofs; and the Australian Print Workshop Archive. He was also notable for campaigning for the construction of a new \"front\" entrance to the Gallery, facing King Edward Terrace,which was completed in 2010 (see reference to the building project above).Kennedy's cancellation of the \"Sensation exhibition\" (scheduled at the NGA from 2 June 2000 to 13 August 2000) was controversial, and seenby some as censorship. He claimed that the decision was due to the exhibition being \"too close to the market\" implying that a national cultural institution cannot exhibit the private collection of a speculative art investor.However, there were other exhibitions at the NGA during his tenure, which could have raised similar concerns. The exhibition featured the privately owned Young British Artists works belonging to Charles Saatchi andattracted large attendances in London and Brooklyn. Its most controversial work was Chris Ofili's The Holy Virgin Mary, a painting which used elephant dung and was accused of being blasphemous. The then-mayor ofNew York, Rudolph Giuliani, campaigned against the exhibition, claiming it was \"Catholic-bashing\" and an \"aggressive, vicious, disgusting attack on religion.\" In November 1999, Kennedy cancelled the exhibition andstated that the events in New York had \"obscured discussion of the artistic merit of the works of art\". He has said that it \"was the toughest decision of my professional life, so far.\"Kennedy was also repeatedlyquestioned on his management of a range of issues during the Australian Government's Senate Estimates process - particularly on the NGA's occupational health and safety record and concerns about the NGA'stwenty-year-old air-conditioning system. The air-conditioning was finally renovated in 2003. Kennedy announced in 2002 that he would not seek extension of his contract beyond 2004, accepting a seven-year term ashad his two predecessors.He became a joint Irish-Australian citizen in 2003.Toledo Museum of ArtThe Toledo Museum of Art is known for its exceptional collections of European and American paintings and sculpture,glass, antiquities, artist books, Japanese prints and netsuke. The museum offers free admission and is recognized for its historical leadership in the field of art education.  During his tenure, Kennedy has focused themuseum's art education efforts on visual literacy, which he defines as \"learning to read, understand and write visual language.\"   Initiatives have included baby and toddler tours, specialized training for all staff,docents, volunteers and the launch of a website, www.vislit.org. In November 2014, the museum hosted the International Visual Literacy Association (IVLA) conference, the first Museum to do so. Kennedy has been afrequent speaker on the topic, including 2010 and 2013 TEDx talks on visual and sensory literacy.Kennedy has expressed an interest in expanding the museum's collection of contemporary art and art by indigenouspeoples. Works by Frank Stella, Sean Scully, Jaume Plensa, Ravinder Reddy and Mary Sibande have been acquired.  In addition, the museum has made major acquisitions of Old Master paintings by Frans Hals and LucaGiordano.During his tenure the Toledo Museum of Art has announced the return of several objects from its collection due to claims the objects were stolen and/or illegally exported prior being sold to the museum.  In2011 a Meissen sweetmeat stand was returned to Germany followed by an Etruscan Kalpis or water jug to Italy (2013), an Indian sculpture of Ganesha (2014) and an astrological compendium to Germany in 2015.HoodMuseum of ArtKennedy became Director of the Hood Museum of Art in July 2005. During his tenure, he implemented a series of large and small-scale exhibitions and oversaw the production of more than 20 publicationsto bring greater public attention to the museum's remarkable collections of the arts of America, Europe, Africa, Papua New Guinea and the Polar regions. At 70,000 objects, the Hood has one of the largest collections onany American college of university campus. The exhibition, Black Womanhood: Images, Icons, and Ideologies of the African Body, toured several US venues. Kennedy increased campus curricular use of works of art,with thousands of objects pulled from storage for classes annually. Numerous acquisitions were made with the museum's generous endowments, and he curated several exhibitions: including Wenda Gu: Forest of StoneSteles: Retranslation and Rewriting Tang Dynasty Poetry, Sean Scully: The Art of the Stripe, and Frank Stella: Irregular Polygons.PublicationsKennedy has written or edited a number of books on art, including:AlfredChester Beatty and Ireland 1950-1968: A study in cultural politics, Glendale Press (1988), ISBN 978-0-907606-49-9Dreams and responsibilities: The state and arts in independent Ireland, Arts Council of Ireland (1990),ISBN 978-0-906627-32-7Jack B Yeats: Jack Butler Yeats, 1871-1957 (Lives of Irish Artists), Unipub (October 1991), ISBN 978-0-948524-24-0The Anatomy Lesson: Art and Medicine (with Davis Coakley), NationalGallery of Ireland (January 1992), ISBN 978-0-903162-65-4Ireland: Art into History (with Raymond Gillespie), Roberts Rinehart Publishers (1994), ISBN 978-1-57098-005-3Irish Painting, Roberts Rinehart Publishers(November 1997),  ISBN 978-1-86059-059-7Sean Scully: The Art of the Stripe, Hood Museum of Art (October 2008), ISBN 978-0-944722-34-3Frank Stella: Irregular Polygons, 1965-1966, Hood Museum of Art(October 2010), ISBN 978-0-944722-39-8Honors and achievementsKennedy was awarded the Australian Centenary Medal in 2001 for service to Australian Society and its art. He is a trustee and treasurer of theAssociation of Art Museum Directors, a peer reviewer for the American Association of Museums and a member of the International Association of Art Critics. In 2013 he was appointed inaugural eminent professor at theUniversity of Toledo and received an honorary doctorate from Lourdes University. Most recently, Kennedy received the 2014 Northwest Region, Ohio Art Education Association award for distinguished educator for arteducation.== Notes ==Passage 3:George L. CoxGeorge L. Cox (1878–1947) was an American actor and film director.Selected filmographyThe House of Toys (1920)The Gamesters (1920)The Week-End (1920)TheThirtieth Piece of Silver (1920)A Light Woman (1920)The Blue Moon (1920)Sunset Jones (1921)Payment Guaranteed (1921)Their Mutual Child (1921)Passage 4:The Dangerous TalentThe Dangerous Talent is a lost1920 silent film  directed by George L. Cox and starring Margarita Fischer and Harry Hilliard. It was released by Pathé Exchange.CastMargarita Fischer - Leila MeadHarry Hilliard - Gilbert EllisBeatrice Van - MildredSheddHarvey Clark - HortonNeil Hardin - Bob AmesGeorge Periolat - Peyton DodgeMae Talbot - A DerelictPassage 5:Dana BlanksteinDana Blankstein-Cohen (born March 3, 1981) is the executive director of the SamSpiegel Film and Television School. She was appointed by the board of directors  in November 2019.  Previously she was the CEO of the Israeli Academy of Film and Television. She is a film director, and an Israeliculture entrepreneur.BiographyDana Blankstein was born in Switzerland in 1981 to theatre director Dedi Baron and Professor Alexander Blankstein. She moved to Israel in 1983 and grew up in Tel Aviv.Blanksteingraduated from the Sam Spiegel Film and Television School, Jerusalem in 2008 with high honors. During her studies she worked as a personal assistant to directors Savi Gabizon on his film Nina's Tragedies and toRenen Schorr on his film The Loners.  She also directed and shot 'the making of' film on Gavison's film Lost and Found. Her debut film Camping competed at the Berlin International Film Festival, 2007.Film andacademic careerAfter her studies, Dana founded and directed the film and television department at the Kfar Saba municipality. The department encouraged and promoted productions filmed in the city of Kfar Saba, aswell as the established cultural projects, and educational community activities.Blankstein directed the mini-series \"Tel Aviviot\" (2012). From 2016-2019 was the director of the Israeli Academy of Film and Television.InNovember 2019 Dana Blankstein Cohen was appointed the new director of the Sam Spiegel Film and Television School where she also oversees the Sam Spiegel International Film Lab. In 2022, she spearheaded thelaunch of the new Series Lab and the film preparatory program for Arabic speakers in east Jerusalem.FilmographyTel Aviviot (mini-series; director, 2012)Growing Pains (graduation film, Sam Spiegel; director andscreenwriter, 2008)Camping (debut film, Sam Spiegel; director and screenwriter, 2006)Passage 6:S. N. MathurS.N. Mathur was the Director of the Indian Intelligence Bureau between September 1975 and February1980. He was also the Director General of Police in Punjab.Passage 7:Jesse E. HobsonJesse Edward Hobson (May 2, 1911 – November 5, 1970) was the director of SRI International from 1947 to 1955. Prior to SRI, hewas the director of the Armour Research Foundation.Early life and educationHobson was born in Marshall, Indiana. He received bachelor's and master's degrees in electrical engineering from Purdue University and a PhDin electrical engineering from the California Institute of Technology. Hobson was also selected as a nationally outstanding engineer.Hobson married Jessie Eugertha Bell on March 26, 1939, and they had fivechildren.CareerAwards and membershipsHobson was named an IEEE Fellow in 1948.Passage 8:Jason Moore (director)Jason Moore (born October 22, 1970) is an American director of film, theatre and television.Life andcareerJason Moore was born in Fayetteville, Arkansas, and studied at Northwestern University. Moore's Broadway career began as a resident director of Les Misérables at the Imperial Theatre in during its original run.He is the son of Fayetteville District Judge Rudy Moore.In March 2003, Moore directed the musical Avenue Q, which opened Off-Broadway at the Vineyard Theatre and then moved to Broadway at the John GoldenTheatre in July 2003.  He was nominated for a 2004 Tony Award for his direction. Moore also directed productions of the musical in Las Vegas and London and the show's national tour. Moore directed the 2005Broadway revival of Steel Magnolias and Shrek the Musical, starring Brian d'Arcy James and Sutton Foster which opened on Broadway in 2008. He directed the concert of Jerry Springer — The Opera at Carnegie Hall inJanuary 2008.Moore, Jeff Whitty, Jake Shears, and John \"JJ\" Garden worked together on a new musical based on Armistead Maupin's Tales of the City. The musical premiered at the American Conservatory Theater, SanFrancisco, California in May 2011 and ran through July 2011.For television, Moore has directed episodes of Dawson's Creek, One Tree Hill, Everwood, and Brothers & Sisters. As a writer, Moore adapted the play TheFloatplane Notebooks with Paul Fitzgerald from the novel by Clyde Edgerton. A staged reading of the play was presented at the New Play Festival at the Charlotte, North Carolina Repertory Theatre in 1996, with a fullystaged production in 1998.In 2012, Moore made his film directorial debut with Pitch Perfect, starring Anna Kendrick and Brittany Snow. He also served as an executive producer on the sequel. He directed the filmSisters, starring Tina Fey and Amy Poehler, which was released on December 18, 2015. Moore's next project will be directing a live action Archie movie.FilmographyFilmsPitch Perfect (2012)Sisters (2015)ShotgunWedding (2022)TelevisionSoundtrack writerPitch Perfect 2 (2015) (Also executive producer)The Voice (2015) (1 episode)Passage 9:Olav AaraasOlav Aaraas (born 10 July 1950) is a Norwegian historian and museumdirector.He was born in Fredrikstad. From 1982 to 1993 he was the director of Sogn Folk Museum, from 1993 to 2010 he was the director of Maihaugen and from 2001 he has been the director of the Norwegian Museumof Cultural History. In 2010 he was decorated with the Royal Norwegian Order of St. Olav.Passage 10:Peter LevinPeter Levin is an American director of film, television and theatre.CareerSince 1967, Levin has amassed alarge number of credits directing episodic television and television films. Some of his television series credits include Love Is a Many Splendored Thing, James at 15, The Paper Chase, Family, Starsky & Hutch, Lou Grant,Fame, Cagney & Lacey, Law & Order and Judging Amy.Some of his television film credits include Rape and Marriage: The Rideout Case (1980), A Reason to Live (1985), Popeye Doyle (1986), A Killer Among Us (1990),Queen Sized (2008) and among other films. He directed \"Heart in Hiding\", written by his wife Audrey Davis Levin, for which she received an Emmy for Best Day Time Special in the 1970s.Prior to becoming a director,Levin worked as an actor in several Broadway productions. He costarred with Susan Strasberg in \"[The Diary of Ann Frank]\" but had to leave the production when he was drafted into the Army. He trained at theCarnegie Mellon University. Eventually becoming a theatre director, he directed productions at the Long Wharf Theatre and the Pacific Resident Theatre Company. He also co-founded the off-off-Broadway Theatre [theHardware Poets Playhouse] with his wife Audrey Davis Levin and was also an associate artist of The Interact Theatre Company."}
+{"doc_id":"doc_32","qid":"","text":"Passage 1:Traces of DeathTraces of Death is a 1993 Z movie mondo shockumentary that consists of various scenes of stock footage depicting death and real scenes of violence.Unlike most earlier Faces of Death whichusually included fake deaths and reenactments, Traces consists mostly of actual footage depicting death and injury, and consists also of public domain footage from other films. It was written and narrated by DamonFox.Since its release, Traces of Death has been followed by four sequels. The first sequel, Traces of Death II, was released in June 1994. This was followed by Traces of Death III in December 1994, Traces of Death IV:Resurrected in 1996 and Traces of Death V: Back in Action in April 2000.Film contentIn the first two films of the series, Damon Fox was the narrator. Darrin Ramage, who would later become the founder of BrainDamage Films, would become the host for the third, fourth and fifth volumes. Unlike Faces of Death, the footage throughout the entire films are real and are not staged or reenacted. Starting with Traces of Death II,scenes were accompanied by background music from death metal and grindcore bands.Also contained in the series, especially in the first one, is footage of step-by-step autopsy procedures, which are shown from acoroner's point of view. Most of the other footage is recognizably notable. Among the footage samples seen on Traces of Death and in the sequels that followed are listed below.Traces of Death (1993)The 1993 murderof Maritza Martin MunozThe 1988 police chase of armed bank robber Phillip HutchinsonThe 1980 Iranian Embassy siegeThe 1989 suicide attempt of Terry RosslandThe 1984 race car crash of Ricky RuddThe 1990 racecar crash of Allan McNishThe 1990 racing incident of Willy T. RibbsThe 1992 racing crash of Kerry MadsenThe 1986 Rally de Portugal crashThe 1992 crash of the monster truck Bad MedicineThe 1966 motorcycle stuntcrash of Evel KnievelThe 1967 Caesar Palace jump stunt crash of Evel KnievelThe 1990 Dinamo–Red Star riotThe 1986 Calgary Stampede chuckwagon accidentThe 1989 horse riding accident of Bill PeckThe 1990parachute skydiving accident of Mike Mcgee and Greg JonesThe 1992 Maracanã Stadium collapseAnatoly Kvochur's plane at the 1989 Paris Air Show crashing after a birdstrikeThe 1987 press conference suicide of R.Budd DwyerThe first film of the series also contains allegedly staged footage from Savage Man Savage Beast, where a tourist, Pit Dernitz supposedly gets mauled and eaten by African lions.Other scenes that featureanimals include undated footage of a pig experiment by military scientists at the Burn Center in Fort Sam Houston (derived from a 1987 mondo film entitled True Gore), an animal control officer, Florence Crowell beingattacked by a pit bull in Los Angeles, California in 1987, and a black bear getting shocked off a utility pole in Albuquerque, New Mexico in 1989.The first two films both contain scenes of sex reassignment surgery, whichis featured in the 1974 mondo film Shocking Asia. Some autopsy footages were taken from the 1961 U.S. Army training film Basic Autopsy Procedure.Also included is an interview with James Vance, who had attemptedsuicide with a shotgun at a church playground in Sparks, Nevada (taken from the documentary Dream Deceivers).The only known footage showing evidence of Ilse Koch is included as well.Traces of Death II(1994)Iranian soldiers slaughtered by the Iraqi Regime during the Iran–Iraq WarThe 1981 assassination of Anwar SadatBoston bomb expert Randolph G. LaMattina blasted in the face by a pipe bomb following itsremoval in 1985 [1]A robber blowing himself up after holding up a bank and being cornered by police at gunpoint in León, Spain in 1983A 1984 fire in a Rio de Janeiro apartment building, which led to four women fallingto their deathsThe 1974 Joelma fireThe 1979 Egyptian Embassy Siege in Ankara, TurkeyThe 1983 public execution of double murderer Ibrahim TarrafAnimal attacks such as a rodeo horse stomping its rider's face andgoring from running of the bullsThe 1963 self-immolation of Vietnamese monk Thích Quảng ĐứcNelson Piquet fighting with Eliseo Salazar after a collision during the 1982 German Grand PrixA brawl at a pressconference in Salt Lake City, UtahThe 1985 Sanrizuka Struggle riotsThe 1980 Scottish Cup Final riotFootball hooliganism in Germany in 1988The 1985 Heysel Stadium disasterA courtroom outburst in Mobile, Alabama,in 1992Riots in Seoul, South Korea in 1987The death of Karl WallendaThe 1984 shooting of Jeff Doucet by Gary PlauchéThe 1986 Peruvian prison massacresThe 1987 assault on Prime Minister Rajiv GandhiThe executionof Ishola OyenusiA 1984 hot air balloon accidentThe murder of Mark KilroyA deadly airshow crash in San Diego in 1978A Blue Angels air show crash in 1985The Controlled Impact DemonstrationThe 1988 crash of AirFrance Flight 296The 1981 Belgian Grand Prix racing crashThe 1966 Indy 500 crashThe death of Eddie SachsThe death of Riccardo PalettiThere is one unusual piece of footage taken at a monster truck show inBaltimore, Maryland, on March 23, 1992. What makes this footage so unusual is that the robot transformer at the show malfunctioned. A large rod from the malfunctioning robot went into the actor of the alien suit'schest, and exploded.Another notable air show crash in the film took place in Plainview, Texas, on September 11, 1983, where the pilot lost both his plane's wings in mid-air and plummeted into the field below. There aremany other various plane crashes and race car crashes during the middle and towards the end of the film.Traces of Death III (1995)The first Markale Massacre in 1994The 1994 Hadera bus station suicidebombingKillings of children during the Algerian Civil WarNecklacing in South AfricaVillager killings during the 1984 elections in El SalvadorEl Cordobés during his career in the bullringThe Sabra and Shatila MassacreThe1991 discovery of ÖtziA 1988 crash involving the monster truck Wild Stang, which was one of the first monster truck crashes to be captured on filmThe 1985 race car crash of Bosco LoweRare scenes of body parts fromvictims of the Cambodian genocide and Burundian Genocide in 1972The assassination of a Haitian lawyer in 1994The 1994 assassination of Luis Donaldo ColosioDiscoveries of skeletal remains in the Killing Fields inCambodiaThe third edition starts with crime scenes in urban American cities such as New York City, ranging from murders to traffic crashes. These pieces look as if taken from the '60s and '70s.This volume also showswhat it is like to survive an attack, as in a 1991 press conference of Frank Tempest, an English man disfigured in the face when he was attacked by two pit bulls.Also included is graphic content of gang violence inRussia, various motocross and amateur race car crashes, and cockfighting held in the Philippines.Traces of Death IV (1996)The 1972 assassination attempt of George WallaceThe stunt accident of Alexandre KareemThe1992 Agdam Massacre, which was a massacre of Azerbaijanian civilians by Armenian militants during the First Nagorno-Karabakh War.Executions of Kurdish civilians during the Anfal GenocideA terrorist attack on ayacht perpetrated by the PLO in Cyprus in 1985.The Amiriyah shelter bombingThe 1968 execution Of Nguyễn Văn LémRiots in Seoul, South Korea in 1994 and 1987.Riots in Moscow, Russia, in 1993Bosnian soldierscaught in sniper crossfire during the Bosnian WarThe 1984 Kent and Dollar Farm massacresA 1986 stabbing attack in East Jerusalem, where a Palestinian terrorist is shot in the head by Israeli soldiers after theywitnessed him stab a Jewish resident to death in the town square.A mortar attack in Bosnia that killed six people waiting for water in 1993.A mortar attack in Belgrade, Yugoslavia (now Serbia) that killed 16 civilians inline for water and bread on May 27, 1992.Villager killings during the 1984 elections in El SalvadorAnother piece of notable footage in the fourth volume is a moose killing a man in Anchorage, Alaska on January 9,1995.Towards the start of the film graphic photographs of birth defects are shown.There is also footage of traffic crashes from the graphic driving education film, Signal 30.Traces of Death V (2000)The 1980 murders ofU.S. missionaries in El SalvadorThe 1998 Cúa hostage crisisThe 1992 attack on Reginald DennyThe 1990 Poll Tax RiotsThe 1990 Temple Mount riots in Al Aqsa, Jerusalem, IsraelSouth Korean student clashing with riotpoliceThe 1998 suicide of Daniel V. Jonesbackyard wrestlingThe last volume starts with three police chases. The first was in Los Angeles in June 1996. The second was also in Los Angeles, but it took place in June 1995.The third took place in Whittier, California in September 1995. All were televised live by helicopter pilot Zoey Tur.SoundtrackThe music clearance were provided by Subtempeco Muzik (pseudonymously credited asT.O.D.), which derived from various film soundtracks. Later in Traces of Death 3, the first soundtrack album was released on CD. The soundtrack for the first installment were tracks by J.R. Bookwalter from the 1989film Robot Ninja.Traces of Death III SoundtrackThe soundtrack for Traces Of Death III was released on CD by Relapse Records in 1995. The music featured in the film include:Regina Confessorum by Dead WorldOrgy OfSelf-Mutilation by Dead WorldBrainpan Blues by Pungent StenchRevenge by Core (band)Traces Of Death by Mortician (band)Frozen In Time by KataklysmSlaughtered by Hypocrisy (band)Stained by PurgeSadistic Intentby Sinister (band)Violent Generation by Brutality (band)Skin Her Alive by Dismember (band)Into The Bizarre by Deceased (band)Low by GorefestVanished by MeshuggahOpen Season by Exit-13Nightstalker by Macabre(band)Blood Everywhere by Dead WorldDown On Whores by Benediction (band)God Is A Lie by Hypocrisy (band)Bodily Dismemberment by Repulsion (band)Darkened Soul by Core (band)I Lead You Towards GloriousTimes by MerzbowHome mediaIn 2003, a box set of the entire series was released on DVD by Brain Damage Films.ControversyThe original Traces of Death has run into controversy worldwide due to its graphic content.In 1997, Amy Hochberg, a woman living in Coaldale, Pennsylvania rented the film from a video store and was so disgusted by the film's content that she considered keeping the tape to prevent children from procuring itfrom the store. She also contacted multiple animal rights groups after witnessing a scene in the film wherein a pig is experimented on with a blowtorch. She also lodged a complaint with the video store she had rented itfrom, as she thought the film was simply \"911 calls with a little more\".In 2003, a DVD boxset of the film and its sequels were confiscated by the Australian Customs and Border Protection Service, after being deemed to\"contravene Regulation 4A(1A)(a) of the Customs (Prohibited Imports) Regulations.\"In 2005, the British Board of Film Classification refused to give the first film an age certificate, effectively banning it. The BBFCconsidered the film to have \"no journalistic, educational or other justifying context for the images shown\", while also suggesting that the film could potentially breach UK law under the Obscene Publications Act.SeealsoBanned from TelevisionPassage 2:Ravina (actress)Ravina is an Indian actress who acted in Dhallywood movies. She acted in the 1997 film Praner Cheye Priyo with Riaz. She also appeared in Sabdhan and Dolopoti,again opposite Riaz.Selected filmographyPraner Cheye PriyoSabdhanDolopotiPassage 3:QuerelleQuerelle is a 1982 West German-French English-language arthouse film directed by Rainer Werner Fassbinder and starringBrad Davis, adapted from French author Jean Genet's 1947 novel Querelle of Brest. It was Fassbinder's last film, released shortly after his death at the age of 37.PlotThe plot centers on the handsome Belgian sailorGeorges Querelle, who is also a thief and murderer. When his ship, Le Vengeur, arrives in Brest, he visits the Feria, a bar and brothel for sailors run by the Madame Lysiane, whose lover, Robert, is Querelle's brother.Querelle has a love/hate relationship with his brother: when they meet at La Feria, they embrace, but also punch one another slowly and repeatedly in the belly. Lysiane's husband Nono works behind the bar and alsomanages La Feria's underhanded affairs with the assistance of his friend, the corrupt police captain Mario.Querelle makes a deal to sell opium to Nono. During the execution of the deal, he murders his accomplice Vic byslitting his throat.  After delivering the drugs, Querelle announces that he wants to sleep with Lysiane.  He knows that this means he will have to throw dice with Nono, who has the privilege of playing a game of chancewith all of her prospective lovers. If Nono loses, the suitor is allowed to proceed with his affair. If the suitor loses, however, he must submit to anal sex with Nono first, according to Nono's maxim that \"That way, I cansay my wife only sleeps with arseholes.\" Querelle deliberately loses the game, allowing himself to be sodomized by Nono. When Nono gloats about Querelle's \"loss\" to Robert, who won his dice game, the brothers endup in a violent fight.  Later, Querelle becomes Lysiane's lover, and also has sex with Mario.Luckily for Querelle, a builder, Gil, murders his work mate Theo, who had been harassing and sexually assaulting him.  Gil hidesfrom the police in an abandoned prison, and Roger, who is in love with Gil, establishes contact between Querelle and Gil in the hopes that Querelle can help Gil flee. Querelle falls in love with Gil, who closely resembleshis brother.  Gil returns his affections, but Querelle betrays Gil by tipping off the police. Querelle cleverly arranged it so that the murder of Vic is also blamed on Gil.Querelle's superior, Lieutenant Seblon, is in love withQuerelle, and constantly tries to prove his manliness to him. Seblon is aware that Querelle murdered Vic, but chooses to protect him.  Later, Seblon reveals his love and concern to a drunken Querelle, and they kiss andembrace before returning to Le Vengeur.CastBrad Davis as QuerelleFranco Nero as Lieutenant SeblonJeanne Moreau as LysianeLaurent Malet as Roger BatailleHanno Pöschl as Robert / GilGünther Kaufmann asNonoBurkhard Driest as MarioRoger Fritz as MarcellinDieter Schidor as Vic RivetteNatja Brunckhorst as PauletteWerner Asam as WorkerAxel Bauer as WorkerNeil Bell as TheoRobert van Ackeren as DrunkenlegionnaireWolf Gremm as Drunken legionnaireFrank Ripploh as Drunken legionnaireProductionAccording to Genet's biographer Edmund White, Querelle was originally going to be made by Werner Schroeter, with ascenario by Burkhard Driest, and produced by Dieter Schidor. However, Schidor could not find the money to finance a film by Schroeter, and therefore turned to other directors, including John Schlesinger and SamPeckinpah, before finally settling on Fassbinder. Driest wrote a radically different script for Fassbinder, who then \"took the linear narrative and jumbled it up\". White quotes Schidor as saying \"Fassbinder did somethingtotally different, he took the words of Genet and tried to meditate on something other than the story. The story became totally unimportant for him. He also said publicly that the story was a sort of third-rate policestory that wouldn't be worth making a movie about without putting a particular moral impact into it\".Schroeter had wanted to make a black and white film with amateur actors and location shots, but Fassbinder insteadshot it with professional actors in a lurid, expressionist color, and on sets in the studio. Edmund White comments that the result is a film in which, \"Everything is bathed in an artificial light and the architectural elementsare all symbolic.\"SoundtrackJeanne Moreau – \"Each Man Kills the Things He Loves\" (music by Peer Raben, lyrics from Oscar Wilde's poem \"The Ballad of Reading Gaol\")\"Young and Joyful Bandit\" (Music by Peer Raben,lyrics by Jeanne Moreau)Both songs were nominated to the 1984 Razzie Awards for \"Worst Original Song\".ReleaseQuerelle sold more than 100,000 tickets in the first three weeks after its release in Paris, the first timethat a film with a gay theme had achieved such success. On review aggregator Rotten Tomatoes, which categorizes reviews as positive or negative only, the film has an approval rating of 57% calculated based on 14critics comments. By comparison, with the same opinions being calculated using a weighted arithmetic mean, the rating is 6.10/10. Writing for The New York Times critic Vincent Canby noted that Querelle was \"amess...a detour that leads to a dead end.\"Penny Ashbrook calls Querelle Fassbinder's \"perfect epitaph: an intensely personal statement that is the most uncompromising portrayal of gay male sensibility to come from amajor filmmaker.\" Edmund White considers Querelle the only film based on Genet's book that works, calling it \"visually as artificial and menacing as Genet's prose.\" Genet, in discussion with Schidor, said that he hadnot seen the film, commenting \"You can't smoke at the movies.\"Passage 4:J. Lee ThompsonJohn Lee Thompson (1 August 1914 – 30 August 2002) was a British film director, active in London and Hollywood, bestknown for award-winning films such as Woman in a Dressing Gown, Ice Cold in Alex and The Guns of Navarone along with cult classics like Cape Fear, Conquest of the Planet of the Apes and The White Buffalo.EarlylifeThompson was born in Bristol on 1 August 1914. His family had links to the theatre. Thompson studied at Dover College then went to work in the theatre, joining the Nottingham Repertory Company as an actor andstagehand. He later went to work for a repertory company in Croydon, Surrey.He wrote plays in his spare time, and had started when he was nine. One of them, Murder Happens? was performed at Croydon in 1934. Hissecond staged play, Double Error, had a brief West End run at the Fortune Theatre in 1935. An article from this time about the play said he had written 40 plays already, including four in between his first two stagedplays. A company worth £10,000 was formed to exploit Thompson's writings over the next seven years but this appears to have not had a long life.Thompson later said he had written a part for himself to perform, butwhen management asked him if he wanted to do so he said \"of course not,\" and \"the die was cast. Later I decided if I didn't have the guts to admit I wanted to play the role I should never act again and I neverdid.\"ScreenwriterThe film rights to Double Error were purchased for £100. Thompson was hired to work in the scriptwriting department at British International Pictures at Elstree Studios. While there he made his oneappearance as an actor in films, playing a small role in Midshipman Easy (1935).His first credit was The Price of Folly (1937), based on his play. He also worked on the scripts for Glamorous Night (1937), and he workedas dialogue coach on Jamaica Inn (1939), directed by Alfred Hitchcock.He wrote the scripts for The Middle Watch (1940), made at Associated British Picture Corporation (ABPC) and East of Piccadilly (1941).World WarIIThompson served in World War II as a tailgunner and wireless operator in the RAF. In 1942 a revised version of Double Error, titled Murder Without Crime, opened at the Comedy Theatre in London. The play had a runon Broadway in 1943.Post WarAfter the war Thompson returned to his work as scriptwriter under contract at Associated British on such films as No Place for Jennifer (1949) and For Them That Trespass (1949), thelatter starring Richard Todd in his debut.Thompson was dialogue director on The Hasty Heart (1949), which turned Todd into a star. He later said he gave up dialogue directing because he found the job \"impossible. Myjob was to take stars through their lines but I felt that I was also expected to be a spy for the front office. If a word was altered they wanted to know why. It was a way of keeping control.\"The same year his play TheHuman Touch, co written with Dudley Leslie, ran for more than a hundred performances at the Savoy Theatre in a production starring Alec Guinness.British film directorEarly filmsHis first film as a director was MurderWithout Crime (1950), made at ABPC, who put Thompson under contract.  Thompson was offered £500 for the screen rights to the play and £500 to direct. He said \"it was not so much that I wanted to direct movies itwas to get the money so I could continue writing plays. But while directing it I got the feeling that I wanted to be a movie director.\"Thompson said \"the fact is I found directing to be much easier than writing and Ienjoyed it much more than writing as well. So I became a film director.\"The film was about a man who thinks he has committed murder. Thompson also wrote the screenplay, based on his own play Double Error. In thewords of Thompson's Screenonline profile \"this well structured film went largely unnoticed but contained many of the themes which were to characterise Lee Thompson's work: a good person's struggle with their"}
+{"doc_id":"doc_33","qid":"","text":"Passage 1:Inoue Masaru (bureaucrat)Viscount Inoue Masaru (\u0000\u0000 \u0000, August 25, 1843 – August 2, 1910) was the first Director of Railways in Japan and is known as the \"father of the Japanese railways\".BiographyHe was born into the Chōshū clan at Hagi, Yamaguchi, the son of Katsuyuki Inoue. He was briefly adopted into the Nomura family and became known as Nomura Yakichi, though he was later restored to the Inoue family.Masaru Inoue was brought up as the son of a samurai belonging to the Chōshū fief. At 15, he entered the Nagasaki Naval Academy established by the Tokugawa shogunate under the direction of a Dutch naval officer. In 1863, Inoue and four friends from the Chōshū clan stowed away on a vessel to the United Kingdom. He studied civil engineering and mining at University College London and returned to Japan in 1868. After working for the government as a technical officer supervising the mining industry, he was appointed Director of the Railway Board in 1871. Inoue played a leading role in Japan's railway planning and construction, including the construction of the Nakasendo Railway, the selection of the alternative route (Tokaido), and the proposals for future mainline railway networks.In 1891 Masaru Inoue founded Koiwai Farm with Yanosuke Iwasaki and Shin Onogi.  After retirement from the government, Inoue founded Kisha Seizo Kaisha, the first locomotive manufacturer in Japan, becoming its first president in 1896. In 1909 he was appointed President of the Imperial Railway Association. He died of an illness in London in 1910, during an official visit on behalf of the Ministry of Railways.HonorsInoue and his friends later came to be known as the Chōshū Five. To commemorate their stay in London, two scholarships, known as the Inoue Masaru Scholarships, are available each session under the University College London 1863 Japan Scholarships scheme to enable University College students to study at a Japanese University. The value of the scholarships are £3000 each.His tomb is in the triangular area of land where the Tōkaidō Main Line meets the Tōkaidō Shinkansen in Kita-Shinagawa.Chōshū FiveThese are the four other members of the \"Chōshū Five\":Itō Shunsuke (later Itō Hirobumii)Inoue Monta (later Inoue Kaoru)Yamao Yōzō who later studied engineering at the Andersonian Institute, Glasgow, 1866-68 while working at the shipyards by dayEndō KinsukeSee alsoJapanese students in BritainStatue of Inoue MasaruPassage 2:Obata ToramoriObata Toramori (\u0000\u0000\u0000\u0000, 1491 – July 14, 1561) was Japanese samurai warrior of the Sengoku Period. He is known as one of the \"Twenty-Four Generals of Takeda Shingen\" He also recorded as having been wounded 41 times in 36 encounters. He was the father of Obata Masamori.See alsoIsao ObataPassage 3:Takayama TomoteruTakayama Tomoteru (\u0000\u0000\u0000\u0000) (1531–1596) was a Japanese samurai of the Azuchi–Momoyama period, who served Matsunaga Hisahide.He was the father of Takayama Ukon, and was a Kirishitan.Passage 4:Wendell WillkieWendell Lewis Willkie (born Lewis Wendell Willkie; February 18, 1892 – October 8, 1944) was an American lawyer, corporate executive and the 1940 Republican nominee for President. Willkie appealed to many convention delegates as the Republican field's only interventionist: although the U.S. remained neutral prior to Pearl Harbor, he favored greater U.S. involvement in World War II to support Britain and other Allies. His Democratic opponent, incumbent President Franklin D. Roosevelt, won the 1940 election with about 55% of the popular vote and took the electoral college vote by a wide margin.Willkie was born in Elwood, Indiana, in 1892; both his parents were lawyers, and he also became one. He served in World War I but was not sent to France until the final days of the war, and saw no action. Willkie settled in Akron, Ohio, where he was initially employed by Firestone, but left for a law firm, becoming one of the leaders of the Akron Bar Association. Much of his work was representing electric utilities, and in 1929 Willkie accepted a job in New York City as counsel for Commonwealth & Southern Corporation (C&S), a utility holding company. He was rapidly promoted, and became corporate president in 1933. Roosevelt was sworn in as U.S. president soon after Willkie became head of C&S, and announced plans for a Tennessee Valley Authority (TVA) that would supply power in competition with C&S. Between 1933 and 1939, Willkie fought against the TVA before Congress, in the courts, and before the public. He was ultimately unsuccessful, but sold C&S's property for a good price, and gained public esteem.A longtime Democratic activist, Willkie changed his party registration to Republican in late 1939. He did not run in the 1940 presidential primaries, but positioned himself as an acceptable choice for a deadlocked convention. He sought backing from uncommitted delegates, while his supporters—many youthful—enthusiastically promoted his candidacy. As German forces advanced through western Europe in 1940, many Republicans did not wish to nominate an isolationist like Robert A. Taft, or a non-interventionist like Thomas E. Dewey, and turned to Willkie, who was nominated on the sixth ballot. Willkie's support for aid to Britain removed it as a major factor in his race against Roosevelt, and Willkie also backed the president on a peacetime draft. Both men took more isolationist positions towards the end of the race. Roosevelt won an unprecedented third term, taking 38 of the 48 states.After the election, Willkie made two wartime foreign trips as Roosevelt's informal envoy, and as nominal leader of the Republican Party gave the president his full support. This angered many conservatives, especially as Willkie increasingly advocated liberal or internationalist causes. Willkie ran for the Republican nomination in 1944, but bowed out after a disastrous showing in the Wisconsin primary in April. He and Roosevelt discussed the possibility of forming a liberal political party after the war, but Willkie died in October 1944 before the idea could bear fruit. Willkie is remembered for giving Roosevelt vital political assistance in 1941, which helped the president to pass Lend-Lease to send supplies to the United Kingdom and other Allied nations.Youth, education and World War I serviceLewis Wendell Willkie was born in Elwood, Indiana, on February 18, 1892, the son of Henrietta (Trisch) and Herman Francis Willkie. Both of his parents were lawyers, his mother being one of the first women admitted to the Indiana bar. His father was born in Germany, son of Joseph Wilhelm Willecke or Willcke, born 1826. His mother was born in Indiana, to German parents; his grandparents were involved in the unsuccessful 1848 revolutions in Germany. The Trisches initially settled in Kansas Territory but, as they were abolitionists, moved to Indiana after the territory was opened to slavery in the mid-1850s. Willkie was the fourth of six children, all intelligent, and learned skills during the nightly debates around the dinner table that would later serve him well.Although given the first name Lewis, Willkie was known from childhood by his middle name. Herman Willkie, who had come from Prussia with his parents at age four, was intensely involved in progressive politics, and in 1896 took his sons to a torchlight procession for Democratic presidential candidate William Jennings Bryan, who had come to Elwood during his campaign. The Willkie boys had a sidewalk fight with Republican youths, and though the Willkies won their battle, Bryan lost his to William McKinley. When Bryan ran again in 1900, he stayed overnight at the Willkie home, and the Democratic candidate for president became the first political hero for the boy who would later seek that office.By the time Willkie reached age 14 and enrolled in Elwood High School, his parents were concerned about a lack of discipline and a slight stoop, and they sent him to Culver Military Academy for a summer in an attempt to correct both. Willkie began to shine as a student in high school, inspired by his English teacher; one classmate said that Philip \"Pat\" Bing \"fixed that boy up. He started preaching to Wendell to get to work and that kid went to town.\" Faced with a set of athletic brothers—Edward became an Olympic wrestler—Willkie joined the football team but had little success; he enjoyed the debate team more, but was several times disciplined for arguing with teachers. He was class president his final year, and president of the most prominent fraternity, but resigned from the latter when a sorority blackballed his girlfriend, Gwyneth Harry, as the daughter of immigrants.During Willkie's summer vacations from high school, he worked, often far from home. In 1909, aged 17, his journey took him from Aberdeen, South Dakota, where he rose from dishwasher to co-owner of a flophouse, to Yellowstone National Park, where he was fired after losing control of the horses drawing a tourist stagecoach. Back in Elwood, Herman Willkie was representing striking workers at the local tin plate factory, and in August journeyed with Wendell to Chicago in an attempt to get liberal attorney Clarence Darrow to take over the representation. They found Darrow willing, but at too high a price for the union to meet; Darrow told Wendell Willkie, \"there is nothing unethical in being adequately compensated for advocating a cause in which you deeply believe.\"After graduation from Elwood High in January 1910, Willkie enrolled at Indiana University in Bloomington. There, he became a student rebel, chewing tobacco, reading Marx, and petitioning the faculty to add a course on socialism to the curriculum. He also involved himself in campus politics, successfully managing the campaign of future Indiana governor Paul McNutt for student office, but when Willkie ran himself, he was defeated. He graduated in June 1913, and to earn money for law school, taught high school history in Coffeyville, Kansas, coaching debaters and several sports teams. In November 1914, he left his job there for one as a lab assistant in Puerto Rico arranged by his brother Fred. Wendell Willkie's  commitment to social justice was deepened by the sight of workers suffering abuse there.Willkie enrolled at Indiana School of Law in late 1915. He was a top student, and graduated with high honors in 1916. At the commencement ceremony, with the state supreme court present, he gave a provocative speech criticizing his school. The faculty withheld his degree, but granted it after two days of intense debate. Willkie joined his parents' law firm, but volunteered for the United States Army on April 2, 1917, the day President Woodrow Wilson asked Congress for a declaration of war against Germany. An army clerk transposed his first two names; with Willkie unwilling to invest the time to have the bureaucracy correct it, he kept his name as Wendell Lewis Willkie. Commissioned as a first lieutenant, Willkie was sent for artillery training. He arrived in France as the war was ending and  did not see combat. In January 1918 he married Edith Wilk, a librarian from Rushville, Indiana; the couple had one son, Philip. In France, Willkie was assigned to defending soldiers who had slipped away for time in Paris against orders. He was recommended for promotion to captain, but was discharged in early 1919 before the paperwork went through.Lawyer and executive (1919–1939)Akron attorney and activistDischarged from the army, Willkie returned to Elwood. He considered a run for Congress as a Democrat, but was advised that the district was so Republican he would be unlikely to keep the seat even if he could win it, and his chances might be better in a more urban area. Herman Willkie wanted Wendell and Robert to rejoin the family law firm, but Henrietta was opposed, feeling that opportunities in Elwood were too limited for her sons. She got her way, and in May 1919 Wendell Willkie successfully applied for a job with the Firestone Tire and Rubber Company in Akron, Ohio as head of the legal office that advised workers on wills and other personal matters. He was soon bored there, and on the advice of his wife, left for a law firm despite an offer from Harvey Firestone to double his salary. Firestone told the departing lawyer that he would never amount to anything because he was a Democrat.Willkie became active in the Akron Democratic Party, becoming prominent enough while still with Firestone to introduce the Democratic presidential nominee, Ohio Governor James M. Cox, when he came to town during the 1920 campaign. He was a delegate to the 1924 Democratic National Convention, and supported New York Governor Al Smith through the record 103 ballots, when the nomination fell to former West Virginia congressman John W. Davis. More important to Willkie, though, was a fight against the Ku Klux Klan, which had become powerful in much of the nation and in the Democratic Party, but he and other delegates were unsuccessful in their attempt to include a plank in the party platform condemning the Klan. He also backed a proposed plank in support of the League of Nations that ultimately failed. In 1925, Willkie led a successful effort to oust Klan members on the Akron school board.After leaving Firestone in 1920, Willkie joined leading Akron law firm Mather & Nesbitt, which represented several local public utilities. Although he quickly gained a reputation as a leading trial lawyer, he was especially noted for presenting utility cases before the Ohio Public Utilities Commission. In 1925, he became president of the Akron Bar Association. One of Willkie's clients, Ohio Power & Light, was owned by New York-based Commonwealth & Southern Corporation (C&S), whose chairman, B.C. Cobb, noticed him. Cobb wrote to the senior partner of Willkie's firm, \"I think he is a comer and we should keep an eye on him.\" In 1929, Cobb offered Willkie a salary of $36,000 (equal to $613,535 today) to be corporate counsel to C&S, a job which would involve a move to New York, and Willkie accepted.Commonwealth & Southern executiveWendell and Edith Willkie moved to New York in October 1929, only weeks before the Wall Street Crash of 1929, and found an apartment overlooking Central Park. Initially intimidated by the size and anonymity of the big city, Wendell Willkie soon learned to love it. He attended the Broadway theatre, and read through ten newspapers each day. Willkie and his wife had little in common, and grew apart through the 1930s. He acquired a social life, and met Irita Van Doren, the book review editor of the New York Herald Tribune who became a friend, and later his lover. Cultured, brilliant and well connected, Van Doren introduced him to new books, new ideas, and new circles of friends. Unlike Van Doren, Willkie was indiscreet about their relationship, and their affair was well known to the reporters covering him during his 1940 presidential campaign. None of them printed a word.At C&S, Willkie rose rapidly under the eye of Cobb, impressing his superiors. Much of his work was outside New York City; Willkie was brought in to help try important cases or aid in the preparation of major legal briefs. Cobb, a pioneer in the electricity transmission business, had presided over the 1929 merger of 165 utilities that made C&S the largest electric utility holding company in the country. He promoted Willkie over 50 junior executives, designating the younger man as his successor. In January 1933, Willkie became president of C&S.Willkie maintained his interest in politics, and was a delegate to the 1932 Democratic National Convention. Since the incumbent Republican president, Herbert Hoover, was widely blamed for the Depression that had followed the stock market crash, the nominee would have a good chance of becoming president. The major candidates were Smith (the 1928 nominee), Smith's successor as New York's governor, Franklin D. Roosevelt, Speaker of the House John Nance Garner, and former Secretary of War Newton D. Baker. Willkie backed Baker, and was an assistant floor manager for his campaign. With a two-thirds majority needed to gain the Democratic presidential nomination, Willkie and others tried to deadlock the convention in the hope that it would turn to Baker. Roosevelt was willing to swing his votes to Baker in the event of a stalemate, but this did not occur, as Governor Roosevelt gained the nomination on the fourth ballot. Willkie, although disappointed, backed Roosevelt, and donated $150 to his successful campaign.TVA battleSoon after taking office, President Roosevelt proposed legislation creating the Tennessee Valley Authority (TVA), a government agency with far-reaching influence that promised to bring flood control and cheap electricity to the impoverished Tennessee Valley. However, the TVA would compete with existing private power companies in the area, including C&S subsidiaries. Willkie appeared before the House Military Affairs Committee on April 14, 1933.  He approved of the ideas for development of the Tennessee Valley, but felt that the government role should be limited to selling power generated by dams. Although the House of Representatives passed a bill limiting the TVA's powers, the Senate took the opposite stance, and the latter position prevailed.Negotiations took place through the remainder of 1933 for C&S to sell assets, including a transmission line, to allow the TVA to distribute energy to retail customers, leading to an agreement on January 4, 1934. TVA head David Lilienthal was impressed by Willkie, who left him \"somewhat overwhelmed\" and \"pretty badly scared\". C&S agreed to sell some of its properties in part of the Tennessee Valley, and the government agreed that the TVA would not compete with C&S in many areas. In October 1934, holders of securities issued by a C&S subsidiary filed suit to block the transfer.  Willkie angrily denied that he had prompted the lawsuit, though plaintiffs' counsel proved later to have been paid by the Edison Electric Institute, of which Willkie was a board member. Willkie warned that New York capital might avoid Tennessee if the TVA experiment continued, and when Roosevelt gave a speech in praise of the agency, issued a statement rebutting him. By 1934, Willkie had become the spokesman for the private electric power industry.Amid this tension, Willkie and Roosevelt met for the first time, at the White House on December 13, 1934.  The meeting was outwardly cordial, but each man told his own version of what occurred: the president boasted of having outtalked Willkie, while the executive sent a soon-to-be-famous telegram to his wife: \"CHARM OVERRATED ... I DIDNT TELL HIM WHAT YOU THINK OF HIM\" Roosevelt decided that the utility holding companies had to be broken up, stated so in his 1935 State of the Union address and met with Willkie later in January to inform him of his intent. In the meantime, the companies did their best to sabotage the TVA; farmers were told by corporate representatives that lines from the new Norris Dam could not carry enough power to make a light bulb glow, and the company ran \"spite lines\" that might not even carry power in an effort to invoke the non-compete agreement over broad areas.Through 1935, as the breakup legislation wound through Congress, and litigation through the courts, Willkie was the industry's chief spokesman and lobbyist. When the Senate narrowly passed a bill for the breakup, Willkie made a series of speeches asking the public to oppose the legislation, and a storm of letters to congressmen followed. After the House of Representatives defeated the breakup clause, investigation proved that many of these communications were funded by the electric companies, signed with names taken from the telephone book, though Willkie was not implicated. Amid public anger, Roosevelt pressured Congress to pass a bill requiring the breakup to take place within three years.In September 1936, Roosevelt and Willkie met again at the White House, and a truce followed as both sides waited to see if Roosevelt would be re-elected over the Republican, Kansas Governor Alf Landon. Willkie, who voted for Landon, expected a narrow victory for the Republican, but Roosevelt won an overwhelming landslide as Landon won only Maine and Vermont. In December, a federal district court judge granted the C&S companies an injunction against the TVA, and negotiations broke off by Roosevelt's order as the litigation continued. Willkie took his case to the people, writing columns for major publications, and proposing terms for an agreement that The New York Times described as \"sensible and realistic\". He received favorable press, and many invitations to speak.The January 1938 Supreme Court ruling in Alabama Power Co. v. Ickes, resolving the 1934 case, and the lifting of the injunction by an appeals court, sent the parties back to the negotiating table. Willkie kept the public pressure on: like most corporate executives, he had not spoken out against Roosevelt's New Deal policies, but in January stated in a radio debate that anti-utility policies were depressing share prices, making it hard to attract investment that would help America to recover. \"For several "}
+{"doc_id":"doc_34","qid":"","text":"Passage 1:Louis, Count of GravinaLouis of Durazzo (1324 – 22 July 1362) was Count of Gravina and Morrone. He was the son of John of Durazzo and Agnes of Périgord.In 1337, he was named Vicar- andCaptain-General of the Kingdom of Albania. During the ascension of the Durazzeschi at the court of Naples during the reign of Joanna I, he was one of the royal ambassadors to the Roman Curia. Upon the invasion ofLouis I of Hungary and the execution of his elder brother, Charles, Duke of Durazzo, in 1348, he was imprisoned, with his younger brother Robert of Durazzo, until 1352. The rest of his life was spent stirring up revoltsagainst Joanna in Apulia with the aid of some Free Companions. These were ultimately quashed in 1360 by Louis of Taranto, and Louis of Durazzo was imprisoned in the Castel dell'Ovo in Naples and murdered bypoison.FamilyHe married Margaret of Sanseverino in 1343, by whom he had three children:Louis (1344–d. young)Charles III of Naples (1345–1386)Agnes (1347–d. young)Passage 2:Louisa Montagu Douglas Scott,Duchess of BuccleuchLouisa Jane Montagu Douglas Scott, Duchess of Buccleuch and Queensberry  (26 August 1836 – 16 March 1912) was the daughter of James Hamilton, 1st Duke of Abercorn.  In 1884, she becamethe Duchess of Buccleuch and Duchess of Queensberry, the wife of William Henry Walter Montagu Douglas Scott, 6th Duke of Buccleuch and 8th Duke of Queensberry. She was the paternal grandmother of PrincessAlice, Duchess of Gloucester, and of Marian Louisa, Lady Elmhirst, as well as a maternal great-grandmother of Prince William of Gloucester and Prince Richard, Duke of Gloucester, and a great-great-grandmother ofSarah, Duchess of York. Diana, Princess of Wales, is one of her great-great-great-nieces.Early life, marriage, and familyLouisa Jane Hamilton was born on Friday 26 August 1836 in Brighton, Sussex, England, the thirdchild of fourteen born to James Hamilton, 1st Duke of Abercorn, and the former Lady Louisa Russell, daughter of John Russell, 6th Duke of Bedford.She married William Montagu Douglas Scott, Earl of Dalkeith, on 22November 1859 in London. Lord Dalkeith was the eldest son of the Walter Montagu Douglas Scott, 5th Duke of Buccleuch, and his wife, the former Lady Charlotte Thynne. They had six sons and two daughters:WalterHenry Montagu Douglas Scott, Earl of Dalkeith (17 January 1861 – 18 September 1886)John Charles Montagu Douglas Scott, 7th Duke of Buccleuch (30 March 1864 – 19 October 1935)Lord George William MontaguDouglas Scott (31 August 1866 – 23 February 1947); married on 30 April 1903 Lady Elizabeth Emily Manners (daughter of John Manners, 7th Duke of Rutland and Janetta Hughan) and had issueLord Henry FrancisMontagu Douglas Scott (15 January 1868 – 19 April 1945)Lord Herbert Andrew Montagu Douglas Scott (30 November 1872 – 17 June 1944); married 26 April 1905 Marie Josephine Edwards and had issue, maternalgrandfather of Sarah, Duchess of YorkLady Katharine Mary Montagu Douglas Scott (25 March 1875 – 7 March 1951); married Thomas Brand, 3rd Viscount Hampden, and had issueLady Constance Anne MontaguDouglas Scott (10 March 1877 – 7 May 1970); married on 21 January 1908 The Hon. Douglas Halyburton Cairns (son of Hugh Cairns, 1st Earl Cairns and Mary Harriet McNeill) and had issueLord Francis George MontaguDouglas Scott (1 November 1879 – 26 July 1952); married on 11 February 1915 Lady Eileen Nina Evelyn Sibell Elliot-Murray-Kynynmound (daughter of Gilbert Elliot-Murray-Kynynmound, 4th Earl of Minto, and LadyMary Caroline Grey) and had issueCareerShe served as Mistress of the Robes to Queen Victoria from 1885 – 1892 (Conservative), and again from 1895 – 1901. She was appointed Mistress of the Robes to QueenAlexandra in 1901, a position in which she served until her death in 1912.DeathThe duchess died on Saturday 16 March 1912, in her 76th year, at Dalkeith Palace, Midlothian, Scotland.  She was survived by herhusband, and six of her children and their families.She was buried on Wednesday 20 March 1912 in the Buccleuch family crypt in St. Mary's Church, Dalkeith Palace, Midlothian, Scotland.Titles, styles, and honours16April 1884 – 1912: The Duchess of Buccleuch and QueensberryHonours1885: Invested as Lady, Royal Order of Victoria and Albert (VA), 3rd Class1885 – 1892 and 1895 – 1901:  Mistress of the Robes to QueenVictoria1901 – 1912: Mistress of the Robes to Queen AlexandraAncestryPassage 3:Joanna, Duchess of DurazzoJoanna of Durazzo (1344 – 20 July 1387) was the eldest daughter and eldest surviving child of Charles,Duke of Durazzo, and his wife, Maria of Calabria. She succeeded as duchess on the death of her father in 1348 when she was only a child of four years old. Joanna was a member of the House of Anjou-Durazzo.Shereigned as Duchess of Durazzo from 1348-1368. She married twice; firstly to Louis of Navarre and then to Robert IV of Artois, Count of Eu.LifeJoanna's father died in 1348 and Joanna succeeded him, being the eldestsurviving child. However, Joanna remained in Naples rather than going to Durazzo. It was here she was betrothed to her cousin Charles Martel, son of Queen Joan. Charles Martel was heir in Hungary due to a lack ofmale heirs. The boy was moved to Hungary, however the engagement was broken when the young boy died around 1348 in Hungary.In 1365 aged twenty one, Joanna married her first husband Louis of Navarre, whobecame Duke of Durazzo in right of his wife. He was the son of Joan II of Navarre. In 1368 Durazzo was captured by the Albanian Topia dynasty under the leadership of warlord Karl Thopia. Joanna and her husbandimmediately began planning the reconquest of not only Durazzo, but all the lands of the former Angevin Kingdom of Albania, conquered by the Bulgarian Sratsimir dynasty in 1332. They were successful in rallying thesupport of Louis' brother Charles II the Bad and Charles V King of France in this undertaking. In 1372, Louis brought over the Navarrese Company of mercenaries, who had fought with him during the war in France, toassist them in taking Durazzo. Their ranks swelled considerably in 1375 with new recruits directly from Navarre. Many documents survive telling us of the complex nature of the military planning and engineering whichwas undertaken to ensure success. This they attained, taking the city in midsummer 1376. Louis died shortly after. Louis and Joanna had no children. Joanna never fully regained full control of Durazzo and by 1385 theCity was back in the hands of Karl Thopia.Around 1376 Joanna remarried to Robert IV of Artois, Count of Eu. This marriage was also childless. Robert was not Count of Eu for long, he and Joanna were not informed ofhis father's death in 1387. Joanna and Robert were staying at Castel dell'Ovo in Naples where they were both poisoned on July 20, 1387 on the orders of Joanna's sister Margaret, queen dowager and regent ofNaples.Joanna is buried in San Lorenzo (Naples).Passage 4:Agnes of PérigordAgnes of Périgord (died 1345) was Duchess consort of Durazzo, through her marriage to John of Gravina, Duke of Durazzo, who was also theruler of the Kingdom of Albania. Although Agnes was never styled as Queen consort, she became politically influential. Following the death of Robert, King of Naples in 1343, she organised a marriage for her eldest sonto Robert's granddaughter, who was second-in-line to the Neapolitan throne. Agnes's ambition was to bring her family closer to the line of succession.Early life and marriageAgnes was daughter of Helie VII, Count ofPérigord and his second wife, Brunissende of Foix. Amongst her siblings was Hélie de Talleyrand-Périgord, a Cardinal who would become a major figure in the Avignon Papacy.The marriage between Agnes and John waslikely arranged by King Robert of Sicily due to his favour for the Avignon Papacy. The King had anti-Ghibelline ambitions in Northern Italy and desired support from the Papacy and the French in achieving them. Agnes'sfamily had marital ties to Pope John XXII as her sister Rosemburge was married to Jacques de Lavie, the Pope's grand-nephew. Acting upon this during his visit to Avignon, Robert arranged for his brother to marryJacques's sister-in-law.The marriage contract is dated 14 November 1321. The couple were married shy of fourteen years and had three sons:Charles, Duke of Durazzo (1323–1348)Louis of Durazzo (1324–1362),Count of GravinaRobert of Durazzo (1326–1356)Agnes became, through her husband's brotherly quarrel with Philip I, Prince of Taranto, duchess of Durazzo. Her husband died in 1335 and he was succeeded by theirson, Charles.Political intriguesAny plans that the Durazzo family may have had of marrying Joanna, heiress to Robert's throne, were thwarted in 1333 when Robert arranged for her to marry Andrew of Hungary.However, in his final will and testament, Robert instructed that if Joanna were to die without issue, the Neapolitan throne should pass to her sister, Maria, who was unmarried. Whilst the monarch was spoken for, theheir was not. Agnes did her best to make her family appear favourable towards the royals, in the hope that Robert would consider a Durazzo match for Maria. In 1338, she supported her son's position at the head ofRobert's armada to conquer Sicily. However, the campaign failed due to the outbreak of typhus. Agnes used her own position at court to her advantage, making friendly overtures towards Queen Sancha and the youngprincesses. This too did not result in any marriage plans.King Robert died in January 1343. Agnes's tactics during his final years had proven unsuccessful therefore, she took matters into her own hands. Immediatelyafter Robert's death, she orchestrated the marriage between her eldest son and Maria. The timing of this marriage was crucial as Joanna strongly favoured the Taranto faction, having an affair with Prince Robert, son ofCatherine, and Maria was promised in marriage to one of Andrew's brothers. The two matters would only have politically isolated the Durazzo clan and thwarted their chances of reaching the throne.Agnes used herconnection to her influential brother, Cardinal Talleyrand, to put aside the Hungarian match for Maria and obtain the Pope's permission for the ambitious marriage. Not relying on family feeling alone, Agnes bribed herbrother with 22,000 florins left over from her dowry in order to ensure absolute support. Building up a friendship with Queen Sancha also appears to have paid off as the dowager queen supported the match. On theother hand, the Taranto clan were horrified when they discovered Agnes's scheme and used their influence over Joanna to put an end to it. Catherine instructed the young queen to oppose the match, hoping that thelack of royal favour would act as a deterrent.Much to the dismay of the Tarantos, their control over Joanna was not enough to prevent Agnes, who responded by abducting Maria one night in April 1343 and marrying heroff to Charles. The marriage was a great insult to Joanna and Andrew as their royal authority was defied and the latter's family lost out on their chance for total control of the succession. The Tarantos were ready forarmed warfare against their Durazzo cousins, Naples stood on the brink of civil war. To remedy the matter, the Pope wrote letters to both Joanna and Agnes, confirming the validity of the papal dispensation, askingthem to put aside their differences and to urge Joanna to allow an official marriage ceremony. The letter to Agnes also informs that the Pope was sending Talleyrand's chamberlain, Roger of Vintrono, who hadexperience in the Papal service in Italy, to mend the breach amongst the Neapolitans. Roger's efforts clearly worked as Andrew pardoned Agnes and her family and the marriage was officially recognised on 14 July. Thefact that Maria was pregnant probably also helped resolve the issue, no more scandals were desired.Agnes then became involved in the marital disputes between Joanna and Andrew. As the latter was initially refusedjoint authority with his wife, he wrote to his mother Elisabeth, announcing plans to flee Naples. Elisabeth decided to make a state visit and threatened to take Andrew with her when she returned home. For the firsttime, Agnes, Catherine and Joanna worked together to persuade Elisabeth not to do so. All three women were aware that Andrew would only return with a Hungarian army; according to Domenico de Gravina, Joannaand Catherine were motivated purely by this threat however, Agnes was genuinely concerned with the welfare of Andrew. The appeals worked and Andrew remained. Despite her assistance in this matter, Joanna did notforgive Agnes for her marital scheming.DeathMuch like her life, Agnes's death was also surrounded by political intrigue. During the early months of 1345, the duchess had managed to make herself even more unpopularwith Joanna by meddling in diplomacy linked to the Papacy. In addition, she had attempted to have one of her sons married to Catherine's daughter, in the hope of penetrating the Taranto clan. In May, she fell ill.Allegedly, the doctor asked for a urine sample and when this was taken that evening, it was switched with that of a pregnant lady-in-waiting, who was a friend of Joanna's. When the doctor discovered that Agnes wassupposedly pregnant, it caused a scandal and led to her son, Charles, keeping his distance from her. This made for perfect conditions for the ladies-in-waiting to poison Agnes.Although, it is quite possible that theseevents are fictional, they are accounted by Domenico de Gravina, whom as noted from the encounter with Elisabeth, appeared sympathetic to Agnes rather than Joanna and Catherine. It is just as possible that Agnessuccumbed to a bacterial infection, worsened by the hot climate.Charles and Maria never ascended the throne, the former was executed three years after the death of his mother for his own political intrigues involvingJoanna and the Hungarians. Despite this, Charles, a grandson of Agnes through her son, Louis, succeeded to the throne in 1382. Much like his family, he clashed with Joanna but he managed to depose her and had herstrangled. He was married to Margaret, a daughter of Charles and Maria.AncestryPassage 5:Charles, Duke of DurazzoCharles of Durazzo (Italian: Carlo di Durazzo 1323 – 23 January 1348) was a Neapolitan nobleman,the eldest son of John, Duke of Durazzo and Agnes of Périgord.LifeHe succeeded his father as Duke of Durazzo and Count of Gravina in 1336.On 21 April 1343, he married Maria of Calabria, Countess of Alba, in Naples.She was the younger daughter of Charles, Duke of Calabria and sister of Joan I of Naples, and had been intended as a bride for Louis I of Hungary or John II of France, but was abducted by Charles and his mother tomake a marriage that would place Charles closer to the throne of Naples.Keeping carefully aloof from the conspiracy that murdered Joan's husband Andrew, Duke of Calabria, he led a faction opposing Joan and Louis ofTaranto. He contacted the Hungarian court, seeking their support. He hoped to turn the invasion of Louis of Hungary and the flight of Joan to his own ends: but he was seized and beheaded by the Hungarians atAversa.IssueCharles and Maria had:Louis (December 1343 – 14 January 1344)Joanna (1344–1387), Duchess of Durazzo; married first in 1366 Louis of Navarre, Count of Beaumont (d. 1372), married second Robert IVof Artois, Count of Eu (d. 1387)Agnes (1345–1383, Naples), married first on 6 June 1363 Cansignorio della Scala, Lord of Verona (d. 1375), married second James of Baux (d. 1383)Clementia (1346–1363,Naples)Margaret (28 July 1347 – 6 August 1412), married in February 1368 Charles III of NaplesPassage 6:Marie of Blois, Duchess of AnjouMarie of Blois (1345–1404) was a daughter of Joan of Penthièvre, Duchess ofBrittany and Charles of Blois, Duke of Brittany. Through her marriage to Louis I, Duke of Anjou, she became Duchess of Anjou, Countess of Maine, Duchess of Touraine, titular Queen of Naples and Jerusalem andCountess of Provence.BiographyMarie married Louis I, son of John II of France, in 1360. Throughout their marriage his official titles increased, though he would never actually rule the Kingdom of Naples. After his deathin 1384, most of the towns in Provence revolted against her son, Louis II. Marie pawned her valuables and raised an army.She, her young son and the army went from town to town to gain support. In 1387 Louis II wasformally recognized as Count in Aix-en-Provence. She then appealed to Charles VI of France to support her son in obtaining Naples. In 1390, Louis, supported by the pope and the French, set sail for Naples. Marienegotiated for a marriage between Louis and Yolande of Aragon, to prevent the Aragonese from obstructing him there.They finally wed in 1400.  Marie was an able administrator and on her deathbed revealed to Louisthat she had saved the amount of 200,000 écus. This was to make sure that she could pay his ransom in case he was captured.IssueWith Louis I she had the following children:Marie (1370 – after 1383)Louis II of Anjou(1377 – 1417)Charles (1380 – 1404, Angers), Prince of Taranto, Count of Roucy, Étampes, and GienPassage 7:Joanna, Duchess of BrabantJoanna, Duchess of Brabant (24 June 1322 – 1 December 1406), also knownas Jeanne, was a ruling Duchess (Duke) of Brabant from 1355 until her death. She was duchess of Brabant until the occupation of the duchy by her brother-in-law Louis II of Flanders. Following her death, the rights tothe duchy of Brabant went to her great-nephew Anthony of Burgundy, son of Philip the Bold.LifeJoanna was born 24 June 1322, the daughter of John III, Duke of Brabant and Marie d'Évreux. Her first marriage, in 1334,was to William II, Count of Hainaut (1307–1345), who subsequently died in battle and their only son William died young, thus foiling the project of unifying their territories.Joanna's second marriage was to Wenceslausof Luxemburg. The famous document, the foundation of the rule of law in Brabant called the Blijde Inkomst (\"Joyous Entry\"), was arrived at in January 1356, in order to assure Joanna and her consort peaceable entryinto their capital and to settle  the inheritance of the Duchy of Brabant on her \"natural heirs\", who were Joanna's sisters, they being more acceptable to the burghers of Brabant than rule by the House of Luxembourg.The document was seen as a dead letter, followed by a military incursion in 1356 into Brabant by Louis II of Flanders, who had married Margaret, Joanna's younger sister, and considered himself Duke of Brabant byright of his wife. With the Duchy overrun by Louis' forces, Joanna and Wencelaus signed the humiliating Treaty of Ath, which ceded Mechelen and Antwerp to Louis.  By August 1356 Joanna and Wencelaus had calledupon the Emperor, Charles IV to support them by force of arms. Charles met at Maastricht with the parties concerned, including representatives of the towns, and all agreed to nullify certain terms of the Blijde Inkomst,to satisfy the Luxembourg dynasty. The duchy continued to deteriorate with Wencelaus's defeat and capture at the battle of Baesweiler in 1371.On Joanna's death, by agreement the Duchy passed to her great-nephewAntoine, the second son of her niece Margaret III, Countess of Flanders.TombHer tomb was not erected in the Carmelite church in Brussels until the late 1450s; it was paid for in 1459 by her sister's great-grandson,Philip the Good. Though it was destroyed in the course of the French Revolutionary Wars, its appearance has been  reconstructed from drawings and descriptions by  Lorne Campbell, who concluded that the tomb wasan afterthought, providing an inexpensive piece of propaganda for Philip's dynastic rights.See alsoDukes of Brabant family treePassage 8:Louis, Duke of DurazzoLouis of Évreux (also called \"of Navarre\"; 1341 – 1376)was the youngest son of Philip III of Navarre and Joan II of Navarre. He inherited the county of Beaumont-le-Roger from his father (1343) and became Duke of Durazzo in right of his second wife, Joanna, in1366.Louis's first marriage was to Maria de Lizarazu in 1358. He took part on behalf of his brother Charles II of Navarre in the war against the Dauphin Charles.His second marriage to Joanna, Duchess of Durazzo,brought him the rights to Durazzo and the Kingdom of Albania, which he strove to recover. He received assistance from both his brother and the king of France in this undertaking, for Durazzo (the remnant of thekingdom) was in the hands of Charles Thopia. In 1372, he brought over the Navarrese Company of mercenaries, who had fought with him during the war in France, to assist him in taking Durazzo. Their ranks swelledconsiderably in 1375 with new recruits directly from Navarre. Many documents survive telling us of the complex nature of the military planning and engineering which was undertaken to ensure success. This they"}
+{"doc_id":"doc_35","qid":"","text":"Passage 1:Beatrice of Bourbon, Queen of BohemiaBeatrice of Bourbon (1320 – 23 December 1383) was a French noblewoman. A member of the House of Bourbon, she was by marriage Queen of Bohemia and Countess of Luxembourg.She was the youngest daughter of Louis I, Duke of Bourbon, and Mary of Avesnes.LifeMarriageOn 28 September 1330, Queen Elisabeth of Bohemia, wife of King John of Bohemia, died:\"The news was that the King, distraught for the loss of his wife manifested his feelings using mourning clothes, after all, they were married for twenty years, and yet remained completely himself with a brief time, this was in Bohemia, the other side used to be mostly in their county or elsewhere, where he discussed the matter.\"Despite the fact that John and Elisabeth became estranged during the last years of their marriage, the king remained a widower for the next four years. The French King Philip VI wanted to tie John more closely with France, and he suggested to the Bohemian king a second marriage. The proposed bride was Beatrice, youngest daughter of the Duke of Bourbon and member of a cadet branch of the House of Capet. Beatrice was already betrothed, however, to Philip, the second son of Philip I, Prince of Taranto, as of 29 May 1321. The engagement was broken soon after the marriage negotiations with Bohemia started.The marriage of King John of Bohemia and Beatrice of Bourbon was solemnized in the Château de Vincennes in December 1334, at which time she was fourteen years old. But because the two were related in a prohibited degree (they were second cousins through their common descent from Henry V, Count of Luxembourg, and his wife Margaret of Bar), Pope Benedict XII had to give dispensation for the marriage, which was granted in Avignon on 9 January 1335 at the request of Philip VI.The marriage contract stipulated that if a son was born from the marriage, the County of Luxembourg (King John's paternal heritage), as well as lands belonging to it, would go to him. King John's sons from his first marriage, Charles and John Henry, were not informed of the contents of the marriage contract, but both princes were compelled to accept it along with the knights and citizens of Luxembourg in August 1335.Life in BohemiaBeatrice arrived in Bohemia on 2 January 1336:\"...our father came to Bohemia and brought him a wife, named Beatrix, daughter of the Duke of Bourbon and relative of the King of the Frenchs...\"In the Bohemian court, Beatrice took care of the wife of her oldest stepson Charles, Blanche of Valois. Both women could easily communicate in French. The Queen soon felt ill-at-ease in Prague, where she was always compared unfavorably with the Margravine of Moravia (Blanche's title as wife of the Bohemian heir). Also, the Czech people were offended by her coldness, insolence and aversion to learning their language.The new Queen of Bohemia and Countess of Luxembourg brought with her an annual income of 4,000 livres extracted from her father's County of Clermont. On 25 February 1337, Beatrice gave birth in Prague to her only child, a son named Wenceslaus after the holy patron of the Přemyslid dynasty; probably calling her son with this name either the queen or her husband tried to gain the favor of the Bohemians. There is some indirect evidence that this was the first caesarean section that was survived by both the mother and child. However, the relationship between Beatrice and her new subjects remained estranged: her coronation as Queen of Bohemia in St. Vitus Cathedral three months later, on 18 May, was an event of spectacular indifference  from the citizens of Prague.Shortly after her coronation, in June 1337, Beatrice left Bohemia leaving her son behind, and went to live in Luxembourg. After this, she rarely visited the Bohemian Kingdom.Later YearsOn 26 August 1346 King John was killed in the Battle of Crécy and Beatrice ceased to be queen consort. Her stepson, now King Charles of Bohemia, confirmed the provisions of her marriage contract. Beatrice, now Dowager Queen of Bohemia, received in perpetuity lands in the County of Hainaut, the rent of 4,000 livres and the towns of Arlon, Marville and Damvillers (where she settled her residence) as her widow's estate. These revenues were used not only for their own needs, but also for the education of her son. King Charles also left her all the movable property and income from the mines in Kutná Hora. In addition, when her father Duke Louis I of Bourbon died in 1342, she received the sum of 1,000 livres, which was secured from the town of Creil.Around 1347, Beatrice married for a second time to Eudes II, Lord of Grancey, (then a widower) at her state of Damvillers. Despite her new marriage, she retained the title of Queen of Bohemia. The couple had no children. Soon after her second marriage, she arranged the betrothal of her son Wenceslaus with the widowed Joanna, Duchess of Brabant, daughter and heiress of John III, Duke of Brabant, who was fifteen years older than he was. The marriage took place in Damvillers four years later, on 17 May 1351.Despite all the grants of land and money given to Beatrice, the Bohemian king delayed the investiture of his young half-brother Wenceslaus as Count of Luxembourg. In fact, he held on to the title until 1353, when Wenceslaus finally obtained sovereignty over the County.  One year later (13 March 1354) the County was elevated to the rank of a Duchy.Beatrice died on 27 December 1383, having outlived her son (for only sixteen days) and all her stepchildren. She was buried in the now-demolished church of the Couvent des Jacobins in Paris - her effigy is now in the Basilica of St Denis. Her second husband survived her by six years.Passage 2:Obata ToramoriObata Toramori (\u0000\u0000\u0000\u0000, 1491 – July 14, 1561) was Japanese samurai warrior of the Sengoku Period. He is known as one of the \"Twenty-Four Generals of Takeda Shingen\" He also recorded as having been wounded 41 times in 36 encounters. He was the father of Obata Masamori.See alsoIsao ObataPassage 3:Bonne of ArmagnacBonne of Armagnac (19 February 1399 – 1430/35) was the eldest daughter of Bernard VII, Count of Armagnac and Constable of France, and his wife Bonne of Berry.MarriageOn 15 April 1410 at the age of 11, she married Charles, Duke of Orléans (left an orphan by his father Louis's assassination in 1407). This marriage made the constable not only Charles's father-in-law but also his natural defender. The Orléans party, left without a leader by Louis's death, thus became the Armagnac party, the name it held up to the treaty of Arras in 1435.Following the French defeat at the Battle of Agincourt on 25 October 1415, Charles was taken prisoner by the English. Bonne had not borne any children prior to his imprisonment. She died sometime between 1430 and 1435 while her husband was still in captivity.In literature and artBonne appears in the critically acclaimed historical novel Het woud der verwachting (1949) by Hella Haasse, (translated into English in 1989 under the title \"In a Dark Wood Wandering\"). The novel portrays the life of Bonne's husband Charles. Charles and Bonne's marriage at the Chateau de Dourdan is thought to be depicted in the elaborate illuminated manuscript entitled Très Riches Heures du duc de Berry (Very Rich Hours of the Duke of Berry) in the illustration for April.AncestryPassage 4:Mathilde of BourbonMathilde of Bourbon (French: Mahaut de Bourbon; c. 1165/69 – 18 June 1228) was a French noblewoman who was the ruling Lady of Bourbon from 1171 until her death.LifeMathilde was the only child of Archambault of Bourbon and his wife Alix (or Adelaide) of Burgundy (daughter of Odo II).  She was born in the second half of the 1160s.Her father, the heir apparent of Bourbon, died in 1169, without ever inheriting the lordship.  Her grandfather, Archambault VII, died in 1171.  Mathilde, as his only surviving grandchild, succeeded him.Before 1183, she married Gaucher IV of Vienne, Lord of Salins.  After he returned from the Third Crusade, they frequently quarreled.  In the end, he became violent and had her locked up.: p. 117   She fled to her grandmother's estate in Champagne: p. 217   During her escape, she allegedly also used violence,: p. 117 and for this she was excommunicated by Archbishop Henri de Sully of Bourges.  After she arrived in Champagne, she asked Pope Celestine III for a divorce from her husband, arguing that Gaucher IV and she were close relatives and that the marriage therefore had been inadmissible.  The Pope tasked the bishops of Autun and Troyes and the abbot of Monthiers-en-Argonne with investigating her claim.  These men found that Mathilde and her husband were third cousins, as they were both great-great-grandchildren of William II, Count of Burgundy, and that, therefore, her claim that they were too closely related was justified.  The pope granted the divorce, and also lifted the excommunication.In September 1196, only a few months after her divorce, she married Lord Guy II of Dampierre.  Thus, the Bourbonnais fell to the House of Dampierre.  This marriage lasted 20 years: he died in 1216.Mathilde died twelve years after her husband.  After her death, Margaret, her daughter from her first marriage claimed the Lordship of Bourbon.  Guy II had initially recognized Margaret as heir of Bourbon, however, he later claimed the Lordship for his oldest son, Archambault VIII.   In the end, Archambault prevailed.Marriages and issueMathilde married Gaucher IV of Vienne, Lord of Salins.  Together, they had one daughter:Margaret of Vienne (c. 1190/95 – c. 1259), married William III of Forcalquier, later she married Joceran, Lord of BrancionMathilde's second husband was Guy II of Dampierre.  With him, she had:Archambaud VIII (1189–1242), Lord of BourbonWilliam II (1196–1231), married Margaret II, Countess of Flanders and Hainaut (d. 1280), a daughter of Latin Emperor Baldwin I of ConstantinoplePhilippe (d. 1223), married in 1205 to Guigues IV, Count of Forez (d. 1241)Guy of Saint Just (d. 22 March 1275)Marie, married 1201 to Hervé of Vierzon, later married 1220 to Henry I of SullyMatilde, married Guigues V of ForezSourcesTheodore Evergates: The aristocracy in the county of Champagne, 1100–1300, University of Pennsylvania Press, Philadelphia, 2007, ISBN 978-0-8122-4019-1, pp. 117, 217, 343 (Partially online).Devailly, Guy (1973). Le Berry du X siecle au milieu du XIII (in French). Mouton & Co.Passage 5:John II, Duke of BourbonJean (John) de Bourbon, Duke of Bourbon (1426 – 1 April 1488), sometimes referred to as John the Good and The Scourge of the English, was a son of Charles I of Bourbon and Agnes of Burgundy. He was Duke of Bourbon and Auvergne from 1456 to his death.LifeJohn earned his nicknames \"John the Good\" and \"The Scourge of the English\" for his efforts in helping drive out the English from France.He was made constable of France in 1483 by his brother Peter and sister-in-law Anne, to neutralize him as a threat to their regency.In an effort to win discontented nobles back to his side, Louis XI of France made great efforts to give out magnificent gifts to certain individuals; John was a recipient of these overtures. According to contemporary chronicles, the King received John in Paris with \"honours, caresses, pardon, and gifts; everything was lavished upon him\".John is notable for making three brilliant alliances but leaving no legitimate issue.First MarriageIn 1447, his father, the Duke of Bourbon, had John married to a daughter of Charles VII, King of France, Joan of Valois. They were duly married at the Château de Moulins. They had no surviving issue.Second marriageIn 1484 at St. Cloud to Catherine of Armagnac, daughter of Jacques of Armagnac, Duke of Nemours, who died in 1487 while giving birth to:John of Bourbon (Moulins, 1487 - 1487), styled Count of ClermontThird marriageIn 1487 he married Jeanne of Bourbon-Vendôme, daughter of John of Bourbon, Count of Vendôme (from a cadet branch of the House of Bourbon), by whom he had one son:Louis of Bourbon (1488 - 1488), styled Count of ClermontIllegitimate issueBy Louise of Albret, daughter of Jean I d'Albret (- 8 September 1494): Charles, Bastard of Bourbon (- 1502), Viscount of Lavedan jure uxoris, married before 1462 Louise du Lion (- aft. 25 February 1505), Viscountess of Lavedan, and had issue, four sonsBy Marguerite de Brunant: Mathieu, the Great Bastard of Bourbon (- Château de Chambrou-en-Forez, 19 August 1505), Lord of Botheon and Lord and Baron of Roche-en-Régnier, unmarried and without issueBy unknown women: Hector, Bastard of Bourbon (- 1502, bur. Toulouse), 15th Archbishop of Toulouse (1491 - 1502), 17th Bishop of Lavaur (1497 - 1500)Peter, Bastard of Bourbon, died young, unmarried and without issueMarie, Bastard of Bourbon (- 22 July 1482), married at the Château de Beseneins-en-Dombes in 1470 Jacques de Sainte Colombe, Lord of ThilMarguerite, Bastard of Bourbon (1445 - 1482), legitimized in 1464, married in Moulins in 1462 Jean de Ferrières (- 1497)Death and aftermathJohn died in 1488 at the Château de Moulins and was succeeded by his younger brother Charles.  However, this succession was strongly contested due to the political strength of Peter and Anne.  Within a span of days, Charles was forced to renounce his claims to the Bourbon lands to Peter in exchange for a financial settlement.AncestryNotesPassage 6:Bernard d'Armagnac, Count of PardiacBernard d'Armagnac, Count of Pardiac (died 1462) was a younger son of Bernard VII, Count of Armagnac and Bonne of Berry.Bernard fought at the Battle of Patay in 1429. That year he married Eleanor of Bourbon-La Marche, daughter and ultimately heir of James II, Count of La Marche. Count James was the consort of Queen Joanna II of Naples. Bernard served as lieutenant-general in La Marche and governor of Limousin in 1441, and later as lieutenant-general of Languedoc and Roussillon in 1461.Bernard was the father of:Jacques d'Armagnac, Duke of NemoursJohn d'Armagnac (1440-1493)Passage 7:Princess Urraca of Bourbon-Two SiciliesPrincess Urraca of Bourbon-Two Sicilies (Italian: Urraca Maria Isabella Carolina Aldegonda Carmela, Principessa di Borbone delle Due Sicilie; 14 July 1913, Nymphenburg Palace, Munich, Kingdom of Bavaria – 3 May 1999, Sigmaringen, Baden-Württemberg, Germany) was a member of the House of Bourbon-Two Sicilies and a Princess of Bourbon-Two Sicilies.Early life and familyPrincess Urraca of Bourbon-Two Sicilies was born on 14 July 1913, at Nymphenburg Palace in Munich, Kingdom of Bavaria. She was the sixth and youngest child of Prince Ferdinand Pius of Bourbon-Two Sicilies, Duke of Castro (1869–1960) and his wife Princess Maria Ludwiga Theresia of Bavaria (1872–1954). Ferdinand Pius was the Head of the House of Bourbon-Two Sicilies and pretender to the defunct throne of the Kingdom of the Two Sicilies from 26 May 1934 to 7 January 1960. Urraca had five older siblings, four sisters and one brother: Princess Maria Antonietta (1898–1957), Princess Maria Cristina (1899–1985), Prince Ruggiero Maria, Duke of Noto (1901–1914), Princess Barbara Maria (1902–1927), and Princess Lucia (1908–2001).Through her father, Urraca was a granddaughter of Prince Alfonso of Bourbon-Two Sicilies, Count of Caserta (1841–1934) and his wife Princess Maria Antonietta of Bourbon-Two Sicilies (1851–1938). Urraca was descended from King Francis I of the Two Sicilies (1777–1830) through her paternal great-grandfathers, King Ferdinand II of the Two Sicilies (1810–1859) and Prince Francis of Bourbon-Two Sicilies, Count of Trapani (1827–1892). Through her mother, she was a granddaughter of King Ludwig III of Bavaria (1845– 1921) and his wife Archduchess Maria Theresa of Austria-Este (1849–1919).Urraca chose not to celebrate her birthday, stating: \"How can a Bourbon celebrate on the day of the Bastille's taking?\"Adult lifeAs the daughter of the heir-apparent, then head of the House of Bourbon-Two Sicilies, Urraca regularly represented her family at royal and aristocratic functions and charitable events. She attended the funeral of her great uncle Prince Leopold of Bavaria on 3 October 1930, at St. Michael's Church in Munich. Urraca, her mother, and her sister Lucia attended an afternoon dance tea at the Hotel Vier Jahreszeiten and the Hungarian Aid Association's Hungarian Ball in Munich in January 1934. She also took part in the closing events of Munich's Carnival celebrations in February 1936. On 16 April 1936, Urraca attended the wedding of her first cousin Infante Alfonso of Spain, Prince of Bourbon-Two Sicilies to Princess Alicia of Bourbon-Parma at the Minoritenkirche in Vienna. She was a guest of honor at the Austrian Armed Forces' Spring Parade in April 1936, along with Alfonso XIII of Spain, Princess Maria Anna of Bourbon-Parma, and Prince Elias of Bourbon-Parma. Urraca attended the Baltic Red Cross Ball and the ball of Countess Adelheid Arco-Valley in the Cherubinsälen of the Hotel Vier Jahreszeiten in February 1938. On 23 October 1957, she attended the wedding of her first cousin  Princess Marie Gabrielle of Bavaria and Georg, Prince of Waldburg zu Zeil und Trauchburg in Munich.On the night of 10 January 1957, Urraca was driving her eldest sister Maria Antonietta to her home in Lindau, Germany when their automobile collided with a truck that had skid on ice near Winterthur, Switzerland. Maria Antonietta was killed in the accident and Urraca was seriously injured.Urraca was also an active supporter of Duosicilian historical societies and other royalty and nobility organizations. In October 1993, she attended a conference of over 200 Italian nobles and aristocrats at the Palazzo Pallavicini-Rospigliosi in Rome, which advocated for the nobility's renewed leadership in the defense of Catholic principles in political and cultural institutions. Her first cousin once removed and claimant to the Duosicilian throne, Infante Carlos, Duke of Calabria, was also in attendance. In February 1994, Urraca traveled to Gaeta where she participated in a tribute to the centenary of the death of Francis II, King of the Two Sicilies and an observation of the 133rd anniversary of the conclusion of the Siege of Gaeta which marked the victory of the Kingdom of Sardinia over Two Sicilies.DeathUrraca died on 3 May 1999, in Sigmaringen, Baden-Württemberg, Germany.Titles, styles, honours and armsTitles and styles14 July 1913 – 3 May 1999: Her Royal Highness Princess Urraca of Bourbon-Two SiciliesHonoursDame Grand Cross of Justice of the Sacred Military Constantinian Order of Saint GeorgeDame of Honor and Devotion of the Sovereign Military Order of MaltaAncestryPassage 8:Peter II, Duke of BourbonPeter II, Duke of Bourbon (1 December 1438 – 10 October 1503 in Moulins), was the son of Charles I, Duke of Bourbon, and Agnes of Burgundy, and a member of the House of Bourbon. He and his wife Anne of France ruled as regents during the minority of Charles VIII of France.Life, marriage, and royal favourA loyal and capable subject of the crown, Peter earned the grudging respect of Louis XI through his demonstration of the Bourbon family's \"meekness and humility\". Initially he was betrothed to Marie d'Orleans, sister of Louis, Duke of Orleans (the future Louis XII); Louis XI, who wanted to prevent such an alliance between two of the greatest feudal houses in France, broke the engagement, and took measures to bind both families closer to the crown.A marriage between Peter and the King's elder daughter, Anne, was arranged (as was another marriage between Louis of Orleans and Anne's younger sister, Joan); as a mark of his favour, the King forced Peter's older brother John II, Duke of Bourbon to grant the Bourbon fief of Beaujeu (Beaujolais) to Peter, who was also given a seat on the royal council. Peter and Anne were married on 3 November 1473.Regent of France and Duke of BourbonAt the time of Louis XI's death in 1483, Peter was one of the few royal servants to have remained consistently in favour during the King's reign, and it was to him that Louis, on his deathbed, granted guardianship over the new King, Charles VIII. Peter and his wife Anne immediately took up their duties, and began to position themselves as leaders of a regency government. The King was swiftly crowned, preventing the need for a regency government; instead, the thirteen-year-old King undertook personal rule of the Kingdom—theoretically on his own, but in reality guided by the Beaujeu couple.Having assisted his wife in the governing of France, in 1488 both were able to begin building up a power-base of their own in the Bourbonnais. Anne was already Countess of Gien, and Peter was Count of Clermont and La Marche, as well as Lord of Beaujeu; but the death of his eldest brother, John II, and the subsequent enforced renunciation of the family rights by his next eldest brother, Charles II, delivered the Bourbon inheritance (the Duchies of Bourbon and Auvergne, and the Counties of Forez and l'Isle-en-Jordain) into Peter's hands.The new Duke and Duchess of Bourbon then proceeded to add to these domains, adding Bourbon-Lancy in December "}
+{"doc_id":"doc_36","qid":"","text":"Passage 1:John G. AdolfiJohn Gustav Adolfi (February 19, 1888 – May 11, 1933) was an American silent film director, actor, and screenwriter who was involved in more than 100 productions throughout his career. Anearly acting credit was in the recently restored 1912 film Robin Hood.BiographyHe was born in New York City to Gustav Adolfi and Jennie Reinhardt. Adolfi entered films as an actor in The Spy: A Romantic Story of theCivil War in 1907, but after appearing in thirty or so films he switched roles and concentrated on directing until his death in 1933 from a brain hemorrhage in British Columbia, Canada while huntingbears.FilmographyPassage 2:Who's Your Daddy? (film)Who's Your Daddy? is a 2002 American comedy film directed and directed by Andy Fickman.SynopsisChris Hughes (Brandon Davis), an adopted and geeky Ohiohigh school senior, discovers that his recently deceased birth parents are the proprietors of a vast pornography empire and he is the inherited heir. Dropped into a bitter power struggle, his new flock of beautifulco-workers come to his aid. Chris Hughes is an outsider and geek in Ohio. He is in the middle of his senior year at high school and he is 18 years old. Chris earns extra money working on a paper route riding a moped.Right now, he would do anything to get out of the job. Chris is raised by his religious parents, Carl Hughes (Dave Thomas) and Beverly Hughes (Colleen Camp). They own a grocery store and are very strict on nodrinking, smoking. sex until marriage. They also don't tolerate porn or porn magazines that Chris hides under his bed. His little adopted brother Danny Hughes (Justin Berfield) is popular and has a better chance with agirl than Chris. Danny usually gets away with murder from his parents; Chris always ends up getting in trouble. Chris is a reporter in the school newspaper, and he is a good writer. However, he is always late ondeadlines or dedication. He has a crush on the most popular girl Brittany Van Horn (Marnette Patterson), who is the mean girl of their school. She dreams about getting out of town and becoming a famous actress ormodel. She has an entourage, too, and she is dating Hudson Reed (Ryan Bittle) on and off. Hudson is the popular jock—handsome and able to get any girl he wants. Chris always wished he could be like him sometimes.Chris even fantasizes a lot of times, wishing he could hook up with Brittany. It is never going to happen, as she does not know Chris even exists. Brittany only dates good-looking popular guys. Chris and his friends, whoare nerdy perverts like Adam Torey (Charlie Talbert), Scooter (Martin Starr), Murphy (Robert Ri'chard) and Steven Chambers, are labeled as the outsiders and geeks of their high school. For once, they want to dosomething noticeable to earn a ticket to popularity. Chris had an idea to throw a party at his house while his parents are out of town. They need the booze to attract the popular crowd, especially Brittany and herentourage.Production and releaseThe film's producers intended for Who's Your Daddy? to capitalize on the start of the 21st century's teenage sex comedy revival, as spearheaded by 1999's American Pie.Fickman shotthe film in 2001, but after an unsuccessful test-screening process in 2002, the film was shelved for a number of years. Unreleased theatrically in North America, Who's Your Daddy? finally reached US audiences on DVDin January 2005, followed by a short run in Icelandic cinemas the following summer.Passage 3:Hassan ZeeHassan \"Doctor\" Zee is a Pakistani-American film director who was born in Chakwal, Pakistan.Early lifeDoctorZee grew up in Chakwal, a small village in Punjab, Pakistan. as one of seven brothers and sisters  His father was in the military and this fact required the family to move often to different cities. As a child Zee wasforbidden from watching cinema because his father believed movies were a bad influence on children.At age 13, Doctor Zee got his start in the world of entertainment at Radio Pakistan where he wrote and producedradio dramas and musical programs.  It was then that he realized his passion for storytelling At the age of 26, Doctor Zee earned his medical doctorate degree and did his residency in a burn unit at the PakistanInstitute of Medical Sciences. He cared for women who were victims of  \"Bride Burning,\" the archaic practice used as a form of punishment against women who fail to provide sufficient dowry to their in-laws aftermarriage or fail to provide offspring.  He also witnessed how his country’s transgender and intersex people, called “hijras”, were banned from having jobs and forced to beg to survive. These experiences inspired DoctorZee to tackle the issues of women’s empowerment and gender inequality in his films.In 1999, he came to San Francisco to pursue his dream of filmmaking and made San Francisco his homeEducationHe received hisearly education from Jinnah Public School, Chakwal. He got his medical doctor degree at Rawalpindi Medical College, Pakistan.Film careerDoctor Zee's first film titled Night of Henna was released in 2005. The theme ofthe film dealt with \"the conflict between Old World immigrant customs and modern Western ways...\" Night of Henna focused on the problems of Pakistani expatriates who found it hard to adjust in American culture.Many often landed themselves in trouble when it came to marrying off their children.His second film Bicycle Bride came out in 2010, which was about \"the clash between the bonds of family and the weight of tradition.\"His third film House of Temptation that came out in 2014 was about a family which struggles against the temptations of the Devil. His fourth film “Good Morning Pakistan”, concerned a young American’s journey back toPakistan where he confronts the contradictory nature of a beautiful and ancient culture that's marred by economic, educational and gender inequality His upcoming fifth film, \"Ghost in San Francisco\" is a supernaturalthriller starring Felissa Rose, Dave Sheridan, and Kyle Lowder where a soldier comes home from Afghanistan to discover that his wife is having an affair with his best friend. While battling with his inner ghosts anddemons, he meets a mysterious woman in San Francisco who promises him a ritual for his cure.Passage 4:Henry Moore (cricketer)Henry Walter Moore (1849 – 20 August 1916) was an English-born first-class cricketerwho spent most of his life in New Zealand.Life and familyHenry Moore was born in Cranbrook, Kent, in 1849. He was the son of the Reverend Edward Moore and Lady Harriet Janet Sarah Montagu-Scott, who was one ofthe daughters of the 4th Duke of Buccleuch. One of his brothers, Arthur, became an admiral and was knighted. Their great grandfather was John Moore, Archbishop of Canterbury from 1783 to 1805. One of their sisterswas a maid of honour to Queen Victoria.Moore went to New Zealand in the 1870s and lived in Geraldine and Christchurch. He married Henrietta Lysaght of Hāwera in November 1879, and they had one son. In May 1884she died a few days after giving birth to a daughter, who also died.In 1886 Moore became a Justice of the Peace in Geraldine. In 1897 he married Alice Fish of Geraldine. They moved to England four years before hisdeath in 1916.Cricket careerMoore was a right-handed middle-order batsman. In consecutive seasons, 1876–77 and 1877–78, playing for Canterbury, he made the highest score in the short New Zealand first-classseason: 76 and 75 respectively. His 76 came in his first match for Canterbury, against Otago. He went to the wicket early on the first day with the score at 7 for 2 and put on 99 for the third wicket with Charles Corfebefore he was out with the score at 106 for 3 after a \"very fine exhibition of free hitting, combined with good defence\". Canterbury were all out for 133, but went on to win the match. His 75 came in the next season'smatch against Otago, when he took the score from 22 for 2 to 136 for 6. The New Zealand cricket historian Tom Reese said, \"Right from the beginning he smote the bowling hip and thigh, going out of his ground toindulge in some forceful driving.\" Canterbury won again.Moore led the batting averages in the Canterbury Cricket Association in 1877–78 with 379 runs at an average of 34.4. Also in 1877–78, he was a member of theCanterbury team that inflicted the only defeat on the touring Australians. In 1896–97, at the age of 47, he top-scored in each innings for a South Canterbury XVIII against the touring Queensland cricket team.Passage5:Who's Your Brother?Who's Your Brother? is a 1919 American silent drama film directed by John G. Adolfi and starring Edith Taliaferro, Frank Burbeck and Paul Panzer. It was also released under the alternative titleKeep to the Right.CastEdith Taliaferro as Esther FieldFrank Burbeck as Stephen FieldPaul Panzer as Stephen Field (20 years earlier)Coit Albertson as Dr. William MorrisHerbert Fortier as Robert E. Graham Sr.GladdenJames as Robert E. Graham Jr.Elizabeth Garrison as Mrs. Robert GrahamElizabeth Kennedy as The kidEdith Stockton as Dorothy GrahamPassage 6:Wale AdebanwiWale Adebanwi (born 1969) is a Nigerian-born firstBlack Rhodes Professor at St Antony's College, Oxford where he was, until June 2021, a Professor of Race Relations, and the Director of the African Studies Centre, School of Interdisciplinary Area Studies, and aGoverning Board Fellow. He is currently a Presidential Penn Compact Professor of Africana Studies at the University of Pennsylvania. Adebanwi's research focuses on a range of topics in the areas of social change,nationalism and ethnicity, race relations, identity politics, elites and cultural politics, democratic process, newspaper press and spatial politics in Africa.Education backgroundWale Adebanwi graduated with a first degreein Mass Communication from the University of Lagos, and later earned his M.Sc. and Ph.D. in Political Science from the University of Ibadan. He also has an MPhil. and a Ph.D. in Social Anthropology from the Universityof Cambridge.CareerAdebanwi worked as a freelance reporter, writer, journalist and editor for many newspapers and magazines before he joined the University of Ibadan's Department of Political Science as a lecturerand researcher. He was later appointed as an assistant professor in the African American and African Studies Department of the University of California, Davis, USA. He became a full professor at UC Davis in2016.Adebanwi is the co-editor of Africa: Journal of the International African Institute and the Journal of Contemporary African Studies.WorksHis published works include:Nation as Grand Narrative: The Nigerian Pressand the Politics of Meaning (University of Rochester Press, 2016)Yoruba Elites and Ethnic Politics in Nigeria: Obafemi Awolowo and Corporate Agency (Cambridge University Press, 2014)Authority Stealing:Anti-corruption War and Democratic Politics in Post-Military Nigeria (Carolina Academic Press, 2012)In addition, he is the editor and co-editor of other books, including.The Political Economy of Everyday Life in Africa:Beyond the Margins (James Currey Publishers, 2017)Writers and Social Thought in Africa (Routledge, 2016)(co-edited with Ebenezer Obadare) Governance and the Crisis of Rule in Contemporary Africa (PalgraveMacmillan, 2016)(co-edited with Ebenezer Obadare) Democracy and Prebendalism in Nigeria: Critical Interpretations (Palgrave Macmillan, 2013).(co-edited with Ebenezer Obadare) Nigeria at Fifty: The Nation inNarration (Routledge, 2012)(co-edited with Ebenezer Obadare) Encountering the Nigerian State (Palgrave Macmillan, 2010).AwardsRhodes Professorship in Race Relations awarded by Oxford University to Faculty ofAfrican and Interdisciplinary Area Studies.Passage 7:Lewis R. FosterLewis Ransom Foster (August 5, 1898 – June 10, 1974) was an American screenwriter, film/television director, and film/television producer. Hedirected and wrote over one hundred films and television series between 1926 and 1960.Selected filmographyDirectorDouble Whoopee (1929)Berth Marks (1929)Angora Love (1929)Dizzy Dates (1930)Blondes PreferBonds (1931)Love Letters of a Star (1936)The Man Who Cried Wolf (1937)El Paso (1949)The Lucky Stiff (1949)Manhandled (1949)Captain China (1950)Passage West (1951)Hong Kong (1952)Tropic Zone (1953)ThoseRedheads From Seattle (1953) filmed in 3-DFour Star Playhouse (1 episode, 1954)Crashout (1955)The Bold and the Brave (1956)Cavalcade of America (2 episodes, 1955–1956)The Adventures of Jim Bowie (21episodes, 1956–1957)Tonka (1958)The Wonderful World of Disney (8 episodes, 1957–1960)WriterThe Merry Widower (1926)Wrong Again (Story, 1929)Broken Wedding Bells (1930)The Great Pie Mystery (1931)AirEagles (1931)The Girl in the Tonneau (1932)Cheating Blondes (1933)Stolen Harmony (1935)Two in a Crowd (1936)The Magnificent Brute (1936)She's Dangerous (1937)Tom Sawyer, Detective (1938)Mr. Smith Goes toWashington (Story, 1939)Million Dollar Legs (1939)Golden Gloves (1940)The Farmer's Daughter (1940)Adventure in Washington (1941)I Live on Danger (1942)Alaska Highway (1943)The More The Merrier (1943)Can'tHelp Singing (1944)It's in the Bag! (1945)I Wonder Who's Kissing Her Now (1947)The Lucky Stiff (1949)The Eagle and the Hawk (1950)Crosswinds (1951)The Blazing Forest (1952)Crashout (1955)The Adventures ofJim Bowie (5 episodes, 1956)Tales of Wells Fargo (2 episodes, 1957–1961)The Wonderful World of Disney (3 episodes, 1959–1960)Awards and nominationsExternal linksLewis R. Foster at IMDbLewis R. Foster atAllMovieLewis R. Foster at Find a GravePassage 8:Hartley LobbanHartley W Lobban (9 May 1926 – 15 October 2004) was a Jamaican-born first-class cricketer who played 17 matches for Worcestershire in the early1950s.Life and careerLobban played little cricket in Jamaica. He went to England at the end of World War II as a member of the Royal Air Force, and settled in Kidderminster in Worcestershire in 1947, where he workedas a civilian lorry driver for the RAF. He began playing for Kidderminster Cricket Club in the Birmingham League, and at the start of the 1952 season, opening the bowling for the club's senior team, he had figures of 7for 9 and 7 for 37.Worcestershire invited him to play for them, and he made his first-class debut against Sussex in July 1952. He took five wickets in the match (his maiden victim being Ken Suttle) and then held on for4 not out with Peter Richardson (20 not out) to add the 12 runs needed for a one-wicket victory after his county had collapsed from 192 for 2 to 238 for 9. A week later he claimed four wickets against Warwickshire,then a few days later still he managed 6 for 52 (five of his victims bowled) in what was otherwise a disastrous innings defeat to Derbyshire. In the last match of the season he took a career-best 6 for 51 againstGlamorgan; he and Reg Perks (4 for 59) bowled unchanged throughout the first innings. Worcestershire won the game and Lobban finished the season with 23 wickets at 23.69.He took 23 wickets again in 1953, but ata considerably worse average of 34.43, and had only two really successful games: against Oxford University in June, when he took 5 for 70, and then against Sussex in July. On this occasion Lobban claimed eightwickets, his most in a match, including 6 for 103 in the first innings. He also made his highest score with the bat, 18, but Sussex won by five wickets.In 1954 Lobban made only two first-class appearances, and managedonly the single wicket of Gloucestershire tail-ender Bomber Wells. In his final game, against Warwickshire at Dudley, his nine first-innings overs cost 51. He bowled just two overs in the second innings as Warwickshirecompleted an easy ten-wicket win. Lobban played one more Second XI game, against Glamorgan II at Cardiff Arms Park; in this he picked up five wickets.He was also a professional boxer and played rugby union forKidderminster.He later moved to Canada, where he worked as a teacher in Burnaby, British Columbia. He and his wife Celia had a son and two daughters.Passage 9:The Last Outpost (1951 film)The Last Outpost is a1951 American Technicolor Western film directed by Lewis R. Foster, set in the American Civil War with brothers on opposite sides. The film is character actor Burt Mustin's film debut at the age of 67.The film earned anestimated $1,225,000 at the US box office in 1951.  The Last Outpost had the distinction of being the most successful film for the prolific B movie company, Pine-Thomas Productions. The film was re-released in 1962by Citation Films Inc. under the title Cavalry Charge.PlotIn 1862, Confederate Army Captain Vance Britton (Reagan) and his cavalry force are capturing most of the supplies sent east along the Santa Fe Trail before theyreach the Union Army outpost at San Gil, Arizona, where trading post owner Sam McQuade (Ridgely) deals with the Apache Indians. Union Colonel Jeb Britton (Bennett), Vance's brother, is sent West to stop theConfederate raids, unaware that his brother is his adversary. When he arrives with only a small detachment of troops, McQuade tries to persuade Jeb to use the Apaches to subdue the Rebels, but Jeb rejects the idea,certain the Indians would kill settlers as well as Confederate soldiers.That evening McQuade, believing that Jeb rather than Vance is the Britton who was once the fiancé of McQuade's lonely and unhappy wife Julie(Fleming), tries to embarrass them both socially. McQuade angrily tells Julie that she is still pining for Vance and she leaves him. Vance turns the tables on Jeb’s attempt to trap the Rebels and humiliates him. Returningto the fort on foot and bootless, Jeb is informed by McQuade that he has persuaded the government to negotiate with the Apaches. Soon afterwards McQuade is attacked and killed by Apaches. Vance finds a letter onMcQuade's body stating that a Union officer is on his way from Washington, D.C. to parley with the Apache chiefs. Vance waylays the officer and takes his place, discovering that Chief Grey Cloud is actually a disgracedformer Army general who married an Apache. Gray Cloud knows the real emissary and Britton admits that he is a Confederate officer trying to keep the Apaches out of the war.A group of Apaches is arrested forMcQuade's murder. Gray Cloud gives Vance 24 hours to free the prisoners as the price of keeping the Apaches from joining forces with the Union troops. Still posing as a Yankee officer, Vance goes to the jail in San Gil,where the jailed Apaches tell him that McQuade was killed for selling them defective guns and tainted liquor. He encounters Julie, who angrily rejects his explanation that he jilted her because he chose the Confederacy.Before Vance can arrange the escape of the prisoners or seize a shipment of gold coin being sent east by stagecoach, Jeb returns from searching for the Rebels and captures his brother. Vance escapes and reluctantlydecides to return to Texas.Grey Cloud, under a flag of truce, comes to San Gil with his warriors and promises to stay out of the white man’s war if the prisoners are released, but is killed by a civilian. Vance and hiscommand learn of the ensuing Apache attack, and he orders his men to charge the Apaches and save the town. After the battle, Julie returns to the East, promising to reunite with Vance someday. The brothers shakehands before the Confederates ride away.CastRonald Reagan as Capt. Vance BrittonRhonda Fleming as Julie McQuadeBruce Bennett as Colonel Jeb BrittonBill Williams as Seargent TuckerNoah Beery Jr. as SeargentCalhounHugh Beaumont as Lieutenant FentonPeter Hansen as Lieutenant CrosbyLloyd Corrigan as Mr. DelacourtJohn Ridgely as Sam McQuadeBurt Mustin as Marshal (uncredited)Passage 10:Rumbi KatedzaRumbiKatedza is a Zimbabwean Film Producer and Director who was born on 17 January 1974.Early life and educationShe did her Primary and Secondary Education in Harare, Zimbabwe. Katedza graduated with a Bachelor ofArts in English from McGill University, Canada in 1995. In 2008 Katedza received the Chevening Scholarship that enabled her to further her studies in film. She also holds a MA in Filmmaking from Goldsmiths College,London University.Work and filmographyKatedza has experience in Film and TV Production, Directing, Writing as well as Producing and presenting Radio shows. From 1994 to 2000, She produced and presented radioshows on Women's issues, Arts and Culture, Hip Hop and Acid Jazz for the CKUT (Montreal) and ZBC Radio 3 (Zimbabwe). From 2004 - 2006, she served as the Festival Director of the Zimbabwe International FilmFestival. Whilst there, she produced the Postcards from Zimbabwe Series. In 2008, Katedza founded Mai Jai Films and has produced numerous films and television productions under the banner namelyTariro (2008);BigHouse, Small House (2009);The Axe and the Tree (2011);The Team (2011)Playing Warriors (2012)Her early works include:Danai (2002);Postcards from Zimbabwe (2006);Trapped (2006 – Rumbi Katedza, Marcus"}
+{"doc_id":"doc_37","qid":"","text":"Passage 1:Dana BlanksteinDana Blankstein-Cohen (born March 3, 1981) is the executive director of the Sam Spiegel Film and Television School. She was appointed by the board of directors  in November2019.  Previously she was the CEO of the Israeli Academy of Film and Television. She is a film director, and an Israeli culture entrepreneur.BiographyDana Blankstein was born in Switzerland in 1981 to theatre directorDedi Baron and Professor Alexander Blankstein. She moved to Israel in 1983 and grew up in Tel Aviv.Blankstein graduated from the Sam Spiegel Film and Television School, Jerusalem in 2008 with high honors. Duringher studies she worked as a personal assistant to directors Savi Gabizon on his film Nina's Tragedies and to Renen Schorr on his film The Loners.  She also directed and shot 'the making of' film on Gavison's film Lostand Found. Her debut film Camping competed at the Berlin International Film Festival, 2007.Film and academic careerAfter her studies, Dana founded and directed the film and television department at the Kfar Sabamunicipality. The department encouraged and promoted productions filmed in the city of Kfar Saba, as well as the established cultural projects, and educational community activities.Blankstein directed the mini-series\"Tel Aviviot\" (2012). From 2016-2019 was the director of the Israeli Academy of Film and Television.In November 2019 Dana Blankstein Cohen was appointed the new director of the Sam Spiegel Film and TelevisionSchool where she also oversees the Sam Spiegel International Film Lab. In 2022, she spearheaded the launch of the new Series Lab and the film preparatory program for Arabic speakers in eastJerusalem.FilmographyTel Aviviot (mini-series; director, 2012)Growing Pains (graduation film, Sam Spiegel; director and screenwriter, 2008)Camping (debut film, Sam Spiegel; director and screenwriter, 2006)Passage2:Brian Kennedy (gallery director)Brian Patrick Kennedy (born 5 November 1961) is an Irish-born art museum director who has worked in Ireland and Australia, and now lives and works in the United States.  He wasthe director of the Peabody Essex Museum in Salem for 17 months, resigning December 31, 2020. He was the director of the Toledo Museum of Art in Ohio from 2010 to 2019. He was the director of the Hood Museumof Art from 2005 to 2010, and the National Gallery of Australia (Canberra) from 1997 to 2004.CareerBrian Kennedy currently lives and works in the United States after leaving Australia in 2005 to direct the HoodMuseum of Art at Dartmouth College. In October 2010 he became the ninth Director of the Toledo Museum of Art. On 1 July 2019, he succeeded Dan Monroe as the executive director and CEO of the Peabody EssexMuseum.Early life and career in IrelandKennedy was born in Dublin and attended Clonkeen College. He received B.A. (1982), M.A. (1985) and PhD (1989) degrees from University College-Dublin, where he studied bothart history and history.He worked in the Irish Department of Education (1982), the European Commission, Brussels (1983), and in Ireland at the Chester Beatty Library (1983–85), Government Publications Office(1985–86), and Department of Finance (1986–89). He married Mary Fiona Carlin in 1988.He was Assistant Director at the National Gallery of Ireland in Dublin from 1989 to 1997. He was Chair of the Irish Association ofArt Historians from 1996 to 1997, and of the Council of Australian Art Museum Directors from 2001 to 2003. In September 1997 he became Director of the National Gallery of Australia.National Gallery of Australia(NGA)Kennedy expanded the traveling exhibitions and loans program throughout Australia, arranged for several major shows of Australian art abroad, increased the number of exhibitions at the museum itself andoversaw the development of an extensive multi-media site.  Although he oversaw several years of the museum's highest ever annual visitation, he discontinued the emphasis of his predecessor, Betty Churcher, onshowing \"blockbuster\" exhibitions.During his directorship, the NGA gained government support for improving the building and significant private donations and corporate sponsorship. However, the initial design for thebuilding proved controversial generating a public dispute with the original architect on moral rights grounds.  As a result, the project was not delivered during Dr Kennedy's tenure, with a significantly altered designcompleted some years later.  Private funding supported two acquisitions of British art, including David Hockney's A Bigger Grand Canyon in 1999, and Lucian Freud's After Cézanne in 2001. Kennedy built on theestablished collections at the museum by acquiring the Holmgren-Spertus collection of Indonesian textiles; the Kenneth Tyler collection of editioned prints, screens, multiples and unique proofs; and the Australian PrintWorkshop Archive. He was also notable for campaigning for the construction of a new \"front\" entrance to the Gallery, facing King Edward Terrace, which was completed in 2010 (see reference to the building projectabove).Kennedy's cancellation of the \"Sensation exhibition\" (scheduled at the NGA from 2 June 2000 to 13 August 2000) was controversial, and seen by some as censorship. He claimed that the decision was due to theexhibition being \"too close to the market\" implying that a national cultural institution cannot exhibit the private collection of a speculative art investor. However, there were other exhibitions at the NGA during histenure, which could have raised similar concerns. The exhibition featured the privately owned Young British Artists works belonging to Charles Saatchi and attracted large attendances in London and Brooklyn. Its mostcontroversial work was Chris Ofili's The Holy Virgin Mary, a painting which used elephant dung and was accused of being blasphemous. The then-mayor of New York, Rudolph Giuliani, campaigned against the exhibition,claiming it was \"Catholic-bashing\" and an \"aggressive, vicious, disgusting attack on religion.\" In November 1999, Kennedy cancelled the exhibition and stated that the events in New York had \"obscured discussion of theartistic merit of the works of art\". He has said that it \"was the toughest decision of my professional life, so far.\"Kennedy was also repeatedly questioned on his management of a range of issues during the AustralianGovernment's Senate Estimates process - particularly on the NGA's occupational health and safety record and concerns about the NGA's twenty-year-old air-conditioning system. The air-conditioning was finallyrenovated in 2003. Kennedy announced in 2002 that he would not seek extension of his contract beyond 2004, accepting a seven-year term as had his two predecessors.He became a joint Irish-Australian citizen in2003.Toledo Museum of ArtThe Toledo Museum of Art is known for its exceptional collections of European and American paintings and sculpture, glass, antiquities, artist books, Japanese prints and netsuke. Themuseum offers free admission and is recognized for its historical leadership in the field of art education.  During his tenure, Kennedy has focused the museum's art education efforts on visual literacy, which he defines as\"learning to read, understand and write visual language.\"   Initiatives have included baby and toddler tours, specialized training for all staff, docents, volunteers and the launch of a website, www.vislit.org. In November2014, the museum hosted the International Visual Literacy Association (IVLA) conference, the first Museum to do so. Kennedy has been a frequent speaker on the topic, including 2010 and 2013 TEDx talks on visualand sensory literacy.Kennedy has expressed an interest in expanding the museum's collection of contemporary art and art by indigenous peoples. Works by Frank Stella, Sean Scully, Jaume Plensa, Ravinder Reddy andMary Sibande have been acquired.  In addition, the museum has made major acquisitions of Old Master paintings by Frans Hals and Luca Giordano.During his tenure the Toledo Museum of Art has announced the returnof several objects from its collection due to claims the objects were stolen and/or illegally exported prior being sold to the museum.  In 2011 a Meissen sweetmeat stand was returned to Germany followed by anEtruscan Kalpis or water jug to Italy (2013), an Indian sculpture of Ganesha (2014) and an astrological compendium to Germany in 2015.Hood Museum of ArtKennedy became Director of the Hood Museum of Art in July2005. During his tenure, he implemented a series of large and small-scale exhibitions and oversaw the production of more than 20 publications to bring greater public attention to the museum's remarkable collections ofthe arts of America, Europe, Africa, Papua New Guinea and the Polar regions. At 70,000 objects, the Hood has one of the largest collections on any American college of university campus. The exhibition, BlackWomanhood: Images, Icons, and Ideologies of the African Body, toured several US venues. Kennedy increased campus curricular use of works of art, with thousands of objects pulled from storage for classes annually.Numerous acquisitions were made with the museum's generous endowments, and he curated several exhibitions: including Wenda Gu: Forest of Stone Steles: Retranslation and Rewriting Tang Dynasty Poetry, SeanScully: The Art of the Stripe, and Frank Stella: Irregular Polygons.PublicationsKennedy has written or edited a number of books on art, including:Alfred Chester Beatty and Ireland 1950-1968: A study in cultural politics,Glendale Press (1988), ISBN 978-0-907606-49-9Dreams and responsibilities: The state and arts in independent Ireland, Arts Council of Ireland (1990), ISBN 978-0-906627-32-7Jack B Yeats: Jack Butler Yeats,1871-1957 (Lives of Irish Artists), Unipub (October 1991), ISBN 978-0-948524-24-0The Anatomy Lesson: Art and Medicine (with Davis Coakley), National Gallery of Ireland (January 1992), ISBN978-0-903162-65-4Ireland: Art into History (with Raymond Gillespie), Roberts Rinehart Publishers (1994), ISBN 978-1-57098-005-3Irish Painting, Roberts Rinehart Publishers (November 1997),  ISBN978-1-86059-059-7Sean Scully: The Art of the Stripe, Hood Museum of Art (October 2008), ISBN 978-0-944722-34-3Frank Stella: Irregular Polygons, 1965-1966, Hood Museum of Art (October 2010), ISBN978-0-944722-39-8Honors and achievementsKennedy was awarded the Australian Centenary Medal in 2001 for service to Australian Society and its art. He is a trustee and treasurer of the Association of Art MuseumDirectors, a peer reviewer for the American Association of Museums and a member of the International Association of Art Critics. In 2013 he was appointed inaugural eminent professor at the University of Toledo andreceived an honorary doctorate from Lourdes University. Most recently, Kennedy received the 2014 Northwest Region, Ohio Art Education Association award for distinguished educator for art education.== Notes==Passage 3:William DearWilliam Dear (born November 30, 1943) is a Canadian actor, director, producer and screenwriter. He is known for directing the films Harry and the Hendersons, If Looks Could Kill, Angels inthe Outfield, Wild America, and Santa Who?.He also directed episodes of the television series Saturday Night Live, Television Parts, Amazing Stories, Dinosaurs, Covington Cross, and The Wannabes Starring Savvy.Dearwas born on November 30, 1943, in Toronto, Ontario. He is the father of actor and storyboard artist, Oliver Dear.FilmographyDirectorNymph (1973)Northville Cemetery Massacre (1976)PopClips (1980)Elephant Parts(1981)Timerider: The Adventure of Lyle Swann (1982)Harry and the Hendersons (1987)If Looks Could Kill (1991)Journey to the Center of the Earth (1993)Angels in the Outfield (1994)Wild America (1997)Balloon Farm(1999)Santa Who? (2000)School of Life (2005)Simon Says (2006)The Foursome (2006)The Sandlot: Heading Home (2007)Free Style (2008)The Perfect Game (2009)Mr. Troop Mom (2009)Politics of Love (2011)A Milein His Shoes (2011)ActorTimerider: The Adventure of Lyle Swann (1982) - 3rd TechnicianHarry and the Hendersons (1987) - Sighting ManDarkman (1990) - Limo DriverIf Looks Could Kill (1991) - Bomb TesterAngels inthe Outfield (1994) - Toronto ManagerMidnight Stallion (2013) - Whip T. VickerRazor (2017) - BillPassage 4:S. N. MathurS.N. Mathur was the Director of the Indian Intelligence Bureau between September 1975 andFebruary 1980. He was also the Director General of Police in Punjab.Passage 5:Ian Barry (director)Ian Barry is an Australian director of film and TV.Select creditsWaiting for Lucas (1973) (short)Stone (1974) (editoronly)The Chain Reaction (1980)Whose Baby? (1986) (mini-series)Minnamurra (1989)Bodysurfer (1989) (mini-series)Ring of Scorpio (1990) (mini-series)Crimebroker (1993)Inferno (1998) (TV movie)Miss Lettie and Me(2002) (TV movie)Not Quite Hollywood: The Wild, Untold Story of Ozploitation! (2008) (documentary)The Doctor Blake Mysteries (2013)Passage 6:Jason Moore (director)Jason Moore (born October 22, 1970) is anAmerican director of film, theatre and television.Life and careerJason Moore was born in Fayetteville, Arkansas, and studied at Northwestern University. Moore's Broadway career began as a resident director of LesMisérables at the Imperial Theatre in during its original run. He is the son of Fayetteville District Judge Rudy Moore.In March 2003, Moore directed the musical Avenue Q, which opened Off-Broadway at the VineyardTheatre and then moved to Broadway at the John Golden Theatre in July 2003.  He was nominated for a 2004 Tony Award for his direction. Moore also directed productions of the musical in Las Vegas and London andthe show's national tour. Moore directed the 2005 Broadway revival of Steel Magnolias and Shrek the Musical, starring Brian d'Arcy James and Sutton Foster which opened on Broadway in 2008. He directed the concertof Jerry Springer — The Opera at Carnegie Hall in January 2008.Moore, Jeff Whitty, Jake Shears, and John \"JJ\" Garden worked together on a new musical based on Armistead Maupin's Tales of the City. The musicalpremiered at the American Conservatory Theater, San Francisco, California in May 2011 and ran through July 2011.For television, Moore has directed episodes of Dawson's Creek, One Tree Hill, Everwood, and Brothers& Sisters. As a writer, Moore adapted the play The Floatplane Notebooks with Paul Fitzgerald from the novel by Clyde Edgerton. A staged reading of the play was presented at the New Play Festival at the Charlotte,North Carolina Repertory Theatre in 1996, with a fully staged production in 1998.In 2012, Moore made his film directorial debut with Pitch Perfect, starring Anna Kendrick and Brittany Snow. He also served as anexecutive producer on the sequel. He directed the film Sisters, starring Tina Fey and Amy Poehler, which was released on December 18, 2015. Moore's next project will be directing a live action Archiemovie.FilmographyFilmsPitch Perfect (2012)Sisters (2015)Shotgun Wedding (2022)TelevisionSoundtrack writerPitch Perfect 2 (2015) (Also executive producer)The Voice (2015) (1 episode)Passage 7:Jesse E.HobsonJesse Edward Hobson (May 2, 1911 – November 5, 1970) was the director of SRI International from 1947 to 1955. Prior to SRI, he was the director of the Armour Research Foundation.Early life andeducationHobson was born in Marshall, Indiana. He received bachelor's and master's degrees in electrical engineering from Purdue University and a PhD in electrical engineering from the California Institute ofTechnology. Hobson was also selected as a nationally outstanding engineer.Hobson married Jessie Eugertha Bell on March 26, 1939, and they had five children.CareerAwards and membershipsHobson was named anIEEE Fellow in 1948.Passage 8:Peter LevinPeter Levin is an American director of film, television and theatre.CareerSince 1967, Levin has amassed a large number of credits directing episodic television and televisionfilms. Some of his television series credits include Love Is a Many Splendored Thing, James at 15, The Paper Chase, Family, Starsky & Hutch, Lou Grant, Fame, Cagney & Lacey, Law & Order and Judging Amy.Some ofhis television film credits include Rape and Marriage: The Rideout Case (1980), A Reason to Live (1985), Popeye Doyle (1986), A Killer Among Us (1990), Queen Sized (2008) and among other films. He directed \"Heartin Hiding\", written by his wife Audrey Davis Levin, for which she received an Emmy for Best Day Time Special in the 1970s.Prior to becoming a director, Levin worked as an actor in several Broadway productions. Hecostarred with Susan Strasberg in \"[The Diary of Ann Frank]\" but had to leave the production when he was drafted into the Army. He trained at the Carnegie Mellon University. Eventually becoming a theatre director, hedirected productions at the Long Wharf Theatre and the Pacific Resident Theatre Company. He also co-founded the off-off-Broadway Theatre [the Hardware Poets Playhouse] with his wife Audrey Davis Levin and wasalso an associate artist of The Interact Theatre Company.Passage 9:Olav AaraasOlav Aaraas (born 10 July 1950) is a Norwegian historian and museum director.He was born in Fredrikstad. From 1982 to 1993 he was thedirector of Sogn Folk Museum, from 1993 to 2010 he was the director of Maihaugen and from 2001 he has been the director of the Norwegian Museum of Cultural History. In 2010 he was decorated with the RoyalNorwegian Order of St. Olav.Passage 10:Northville Cemetery MassacreNorthville Cemetery Massacre is a 1976 outlaw biker film written and directed by William Dear and Thomas L. Dyke.  Nick Nolte did an uncreditedvoice over for the film's lead actor, David Hyry.PlotAn outlaw motorcycle club commits illegal acts, but only to make a point against police corruption. They are normally law-abiding, even going so far as to help anelderly couple whose car stops running. When a police officer rapes a woman, he frames the crime on the bikers. The town's citizens attack the gang in revenge, leading to a battle.ProductionWilliam Dear asked MichaelNesmith to compose the film's music and Nesmith agreed. The film's crew was unable to pay him, but he composed the music for free. The author Steven Puchalski referred to the film as the \"perfect funeral wreath tothe biker movie phenomenon\". It was filmed using 16 mm film.ReceptionBill Gibron, writing for DVD Verdict, said, \"amid all its gory, blood-soaked brazenness, there's a message about personal and public perspectivethat is awfully hard to miss\". Scott Weinberg, of DVD Talk, said, \"Highly recommended to anyone who's old enough to remember and appreciate this type of low-budget, down & dirty, occasionally terrible but entirelywatchable genre fare.\"A TV Guide review said, \"Unimaginatively directed and too bloody for words\".Home mediaThe film was released on VHS under Northville Cemetery Massacre, as well as Freedom R.I.P. and Harley'sAngels. It was released on DVD in 2006 with three commentaries, behind the scenes pictures, previous film posters, three film trailers, and biographies. The DVD is the 30th Anniversary Director's Cut."}
+{"doc_id":"doc_38","qid":"","text":"Passage 1:Danny DeVitoDaniel Michael DeVito Jr. (born November 17, 1944) is an American actor, comedian, and filmmaker. He gained prominence for his portrayal of the taxi dispatcher Louie De Palma in thetelevision series Taxi (1978–1983), which won him a Golden Globe Award and an Emmy Award. He plays Frank Reynolds on the FX and FXX sitcom It's Always Sunny in Philadelphia (2006–present).He is known for hisfilm roles in One Flew Over the Cuckoo's Nest (1975), Terms of Endearment (1983), Romancing the Stone (1984), Throw Momma from the Train (1987), Twins (1988), The War of the Roses (1989), Batman Returns(1992), Jack the Bear (1993), Junior (1994), Get Shorty (1995), Matilda (1996), L.A. Confidential (1997), The Big Kahuna (1999), Big Fish (2003), Deck the Halls (2006), When in Rome (2010), Wiener-Dog (2016) andJumanji: The Next Level (2019). He is also known for his voice roles in such films as Hercules (1997), The Lorax (2012) and Smallfoot (2018).DeVito and Michael Shamberg founded Jersey Films. Soon afterwards,Stacey Sher became an equal partner. The production company is known for films such as Pulp Fiction, Garden State, and Freedom Writers. DeVito also owned Jersey Television, which produced the Comedy Centralseries Reno 911!. DeVito and wife Rhea Perlman starred together in his 1996 film Matilda, based on Roald Dahl's children's novel. DeVito was also one of the producers nominated for an Academy Award for Best Picturefor Erin Brockovich (2000).In 2017, he earned a Tony Award nomination for Best Featured Actor in a Play for his performance in the Broadway revival of Arthur Miller's The Price.Early lifeDeVito was born at RaleighFitkin-Paul Morgan Memorial Hospital in Neptune Township, New Jersey, the son of Daniel DeVito Sr., a small business owner, and Julia DeVito (née Moccello). He grew up in a family of five, with his parents and twoolder sisters. He is of Italo-Albanian descent; his family is originally from San Fele, Basilicata, as well as from the Arbëresh Albanian community of Calabria. He was raised in Asbury Park, New Jersey. He lived a fewmiles away from the original Jersey Mike's location and would eat there frequently, which would  inspire him to become the sub shop's first celebrity spokesman in a line of commercials that began to air in September2022.DeVito was raised as a Catholic. When he was 14, he persuaded his father to send him to boarding school to \"keep him out of trouble\", and graduated from Oratory Preparatory School in Summit, New Jersey, in1962. While working as a beautician at his sister's salon, his search for a professional makeup instructor led him to the American Academy of Dramatic Arts, where he graduated in 1966. In his early theater days, heperformed with the Colonnades Theater Lab at the Eugene O'Neill Theater Center in Waterford, Connecticut. Along with his future wife Rhea Perlman, he appeared in plays produced by the Westbeth Playwrights FeministCollective.CareerFilm workDeVito played Martini in the 1975 film One Flew Over the Cuckoo's Nest, reprising his role from the 1971 off-Broadway play of the same title.After his time on the Taxi series ended, DeVitodevoted more effort to a growing successful film career, appearing as Vernon Dalhart in the 1983 hit Terms of Endearment; as the comic rogue Ralph in the romantic adventure Romancing the Stone (1984), starringMichael Douglas and Kathleen Turner; and its sequel, The Jewel of the Nile (1985). In 1986, DeVito starred in Ruthless People with Bette Midler and Judge Reinhold, and in 1987 he made his feature-directing debut withthe dark comedy Throw Momma from the Train, in which he starred with Billy Crystal and Anne Ramsey. He reunited with Douglas and Turner two years later in The War of the Roses (1989), which he directed and inwhich he co-starred.Other work included Other People's Money with Gregory Peck; director Barry Levinson's Tin Men, as a rival salesman to Richard Dreyfuss' character; the comedies Junior (1994) and Twins (1988)with Arnold Schwarzenegger; playing the villain The Penguin in director Tim Burton's Batman Returns (1992); and the film adaptation Matilda (1996), which he directed and co-produced, along with playing the role ofMatilda's father, the villainous car dealer Harry Wormwood.Although generally a comic actor, DeVito expanded into dramatic roles with The Rainmaker (1997); Hoffa (1992), which he directed and in which he co-starredwith Jack Nicholson; Jack the Bear (1993); neo-noir film L.A. Confidential (1997); The Big Kahuna (1999); and Heist (2001), as a gangster nemesis of Joe Moore (Gene Hackman).DeVito has an interest indocumentaries. In 2006 he began a partnership with Morgan Freeman's company ClickStar, for whom he hosts the documentary channel Jersey Docs. He was also interviewed in the documentary Revenge of the ElectricCar, discussing his interest in and ownership of electric vehicles.TheatreIn April 2012, DeVito made his West End acting debut in a revival of the Neil Simon play The Sunshine Boys as Willie Clark, alongside RichardGriffiths. It previewed at the Savoy Theatre in London from April 27, 2012, opened on May 17, and played a limited 12-week season until July 28.DeVito made his Broadway debut in a Roundabout Theatre Companyrevival of the Arthur Miller play The Price as Gregory Solomon, for which he was nominated for a Tony Award. The production began preview performances at the American Airlines Theatre on February 16, 2017, andopened on March 16 for a limited run-through on May 7.ProducingDeVito has become a major film and television producer. DeVito founded Jersey Films in 1991, producing films like Pulp Fiction, Get Shorty, ErinBrockovich (for which he received an Academy Award nomination for Best Picture), Gattaca, and Garden State. In 1999, he produced and co-starred in Man on the Moon, a film about the unusual life of his former Taxico-star Andy Kaufman, played in the film by Jim Carrey. DeVito also produced the Comedy Central series Reno 911!, the film spin-off Reno 911!: Miami, and the revival on Quibi.DirectingDeVito made his directorialdebut in 1984 with The Ratings Game. He then directed and starred in Throw Momma from the Train (1987), The War of the Roses (1989), Hoffa (1992), Matilda (1996), Death to Smoochy (2002) and Duplex (2003).The War of the Roses was a commercial and critical success, as was the film adaptation of Roald Dahl's Matilda; Death to Smoochy and Duplex had mixed reviews. He also directed the TV movie Queen B in 2005.DeVitohas directed eight short films between 1973 and 2016, five of which were released across 2010 and 2011. These are The Sound Sleeper (1973), Minestrone (1975), Oh Those Lips (2010), Evil Eye (2010), Poison Tongue(2011), Skin Deep (2011), Nest of Vipers (2011) and Curmudgeons (2016).Television and voice-over workIn 1977, DeVito played the role of John \"John John the Apple\" DeAppoliso in the Starsky & Hutch episode \"TheCollector\". DeVito gained fame in 1978 playing Louie De Palma, the short but domineering dispatcher for the fictional Sunshine Cab Company, on the hit TV show Taxi.In 1986, he directed and starred in the blackcomedy \"The Wedding Ring\", a season 2 episode of Steven Spielberg's anthology series Amazing Stories, where his character acquires an engagement ring for his wife (played by DeVito's real-life wife, actress RheaPerlman). When the ring is slipped on his wife's finger, she is possessed by the ring's former owner, a murderous black widow. That year, DeVito also voiced the Grundle King in My Little Pony: The Movie. In 1990, heand Rhea Perlman played the couple Vic & Paula, commenting on the state of the environment in The Earth Day Special. In 1991 and 1992, DeVito voiced Herb Powell in The Simpsons episodes \"Brother, Can You SpareTwo Dimes?\" and \"Oh Brother, Where Art Thou?\". In 2013, he would voice Herb for a third time in the episode \"The Changing of the Guardian\".In 1996, he provided the voice of Mr. Swackhammer in Space Jam. In1997, he was the voice of Philoctetes in the Disney film Hercules.In 1999, DeVito hosted the last Saturday Night Live episode before the year 2000. He earned a 2004 Emmy nomination for Outstanding Guest Actor in aComedy Series for an episode of Friends, following four Emmy nominations (including a 1981 win) for Outstanding Supporting Actor in a Comedy for Taxi. In 2006, he joined the cast of It's Always Sunny in Philadelphiaas Frank Reynolds.In 2011, DeVito received a star on the Hollywood Walk of Fame for his work in television. In 2012, he voiced the title character in the animated version of Dr. Seuss' The Lorax. He appeared in theAngry Birds Friends \"Champions for Earth\" tournament advertisement in September 2015. Following the Japanese release of the Nintendo 3DS game Detective Pikachu, dedicated Pokémon fans submitted a40,000-signature petition requesting that DeVito be the English voice actor for the title character. However, he declined to audition for the role, commenting that he was unfamiliar with the franchise.Appearances inother mediaDeVito played a fictional version of himself in the music video of One Direction's song \"Steal My Girl\". He also appeared in the short film Curmudgeons, which he also produced and directed.In 2021, DeVitowrote a 12-page story centered on the Penguin and Catwoman for the anthology comic Gotham City Villains.Personal lifeDeVito stands 4 feet 10 inches (1.47 metres) tall. His short stature is the result of multipleepiphyseal dysplasia (Fairbank's disease), a rare genetic disorder that affects bone growth.On January 17, 1971, DeVito met Rhea Perlman when she went to see a friend in the single performance of the play TheShrinking Bride, which featured DeVito. They moved in together two weeks later and married on January 28, 1982. They have three children: Lucy Chet DeVito (born March 11, 1983), Grace Fan DeVito (born March1985), and Jacob Daniel DeVito (born October 1987).Perlman and DeVito have acted alongside each other several times, including in the television show Taxi and the feature film Matilda (where they played Matilda'sparents). They separated in October 2012, after 30 years of marriage and over 40 years together, then reconciled in March 2013. They separated for a second time in March 2017, but remained on amicable terms andPerlman stated they had no intent of filing for divorce. In 2019, Perlman told interviewer Andy Cohen that she and DeVito have become closer friends after their separation than they were in their final years as acouple.DeVito and Perlman resided in a 14,579-square-foot (1,354 m2) house in Beverly Hills, California, that they purchased in 1994, until selling it for US$24 million in April 2015. They also own a bungalow nearRodeo Drive in Beverly Hills, and a multi-residence compound on Broad Beach in Malibu. They also frequented a home they owned in Interlaken, New Jersey to get away from Los Angeles.Politically, DeVito is aDemocrat and a staunch supporter of Bernie Sanders.FilmographyDeVito has an extensive film career, dating back to the early 1970s.Selected work:Awards and nominationsDeVito has a large and varied body of workas an actor, producer and director in stage, television and film. He has been nominated for Academy awards, Creative Arts Emmy awards, Golden Globe awards, Primetime Emmy awards, Producers Guild awards,Screen Actors Guild awards and Tony awards. In 2011 he was honored with a star on the Hollywood Walk of Fame, at 6909 Hollywood Blvd., for his contributions to television.Passage 2:Henry Moore (cricketer)HenryWalter Moore (1849 – 20 August 1916) was an English-born first-class cricketer who spent most of his life in New Zealand.Life and familyHenry Moore was born in Cranbrook, Kent, in 1849. He was the son of theReverend Edward Moore and Lady Harriet Janet Sarah Montagu-Scott, who was one of the daughters of the 4th Duke of Buccleuch. One of his brothers, Arthur, became an admiral and was knighted. Their greatgrandfather was John Moore, Archbishop of Canterbury from 1783 to 1805. One of their sisters was a maid of honour to Queen Victoria.Moore went to New Zealand in the 1870s and lived in Geraldine and Christchurch.He married Henrietta Lysaght of Hāwera in November 1879, and they had one son. In May 1884 she died a few days after giving birth to a daughter, who also died.In 1886 Moore became a Justice of the Peace inGeraldine. In 1897 he married Alice Fish of Geraldine. They moved to England four years before his death in 1916.Cricket careerMoore was a right-handed middle-order batsman. In consecutive seasons, 1876–77 and1877–78, playing for Canterbury, he made the highest score in the short New Zealand first-class season: 76 and 75 respectively. His 76 came in his first match for Canterbury, against Otago. He went to the wicket earlyon the first day with the score at 7 for 2 and put on 99 for the third wicket with Charles Corfe before he was out with the score at 106 for 3 after a \"very fine exhibition of free hitting, combined with good defence\".Canterbury were all out for 133, but went on to win the match. His 75 came in the next season's match against Otago, when he took the score from 22 for 2 to 136 for 6. The New Zealand cricket historian Tom Reesesaid, \"Right from the beginning he smote the bowling hip and thigh, going out of his ground to indulge in some forceful driving.\" Canterbury won again.Moore led the batting averages in the Canterbury CricketAssociation in 1877–78 with 379 runs at an average of 34.4. Also in 1877–78, he was a member of the Canterbury team that inflicted the only defeat on the touring Australians. In 1896–97, at the age of 47, hetop-scored in each innings for a South Canterbury XVIII against the touring Queensland cricket team.Passage 3:Anne RamseyAngelina Anne Ramsey-Mobley (March 27, 1929 – August 11, 1988) was an Americanactress. She was best known for her film roles as Mama Fratelli in The Goonies (1985) and as Mrs. Lift in Throw Momma from the Train (1987), the latter of which earned her nominations for an Academy Award and aGolden Globe Award.Early lifeRamsey was born in Omaha, Nebraska, the daughter of Eleanor (née Smith), the former national treasurer of the Girl Scouts of the USA, and Nathan Mobley, an insurance executive. Hermother was a descendant of the Pilgrims (William Brewster), and her uncle was U.S. Ambassador David S. Smith. Ramsey was raised in Great Neck, New York and Greenwich, Connecticut. She attended BenningtonCollege where she became interested in theatre. She performed in several Broadway productions in the 1950s and married actor Logan Ramsey in 1954. They moved to Philadelphia where they formed the Theatre ofthe Living Arts.CareerIn the 1970s, Ramsey began a successful Hollywood career in character roles and appeared in such television programs as Little House on the Prairie, Wonder Woman, Three's Company andIronside. She appeared with her husband in seven films, including her first, The Sporting Club (1971), and her last, Meet the Hollowheads (1989). In 1988, Ramsey was nominated for the Academy Award for BestSupporting Actress and the Golden Globe Award for Best Supporting Actress – Motion Picture for her performance in Throw Momma from the Train (1987), with Billy Crystal and Danny DeVito. The film also earned her asecond Saturn Award for Best Supporting Actress; she had received her first for The Goonies (1985). In February 1988, she guest-starred on an episode of ALF that aired six months before her death. She also appearedin six films released in the two years after her death.DeathRamsey's somewhat slurred speech, a trademark of her later performances, was caused in part from having had some of her tongue and her jaw removedduring surgery for esophageal cancer in 1984.In 1988, Ramsey's cancer returned. She died on August 11 at the Motion Picture & Television Country House and Hospital in Woodland Hills, California. Ramsey is buried atForest Lawn Cemetery in North Omaha, Nebraska.FilmographyFilmTelevisionPassage 4:Joaquín PardavéJoaquín Pardavé Arce (30 September 1900 – 20 July 1955) was a Mexican film actor, director, songwriter andscreenwriter of the Golden Age of Mexican cinema. He was best known for starring and directing various comedy films during the 1940s. In some of them, Pardavé paired with one of Mexico's most famous actresses,Sara García. The films in which they starred are El baisano Jalil, El barchante Neguib, El ropavejero, and La familia Pérez. These actors had on-screen chemistry together, and are both noted for playing a wide variety ofcomic characters from Lebanese foreigners to middle-class Mexicans.Early lifePardavé was born to Spanish immigrants Joaquín Pardavé Bernal and Delfina Arce Contreras, theater actors, in Pénjamo, Guanajuato. Hisparents came to Mexico with the theatrical company \"Betril\".After the death of his mother in 1916, Pardavé decided to settle in the city of Monterrey where he worked as a telegrapher in the Ferrocarriles Nacionales deMéxico. There he composed the song \"Carmen\", dedicated to his girlfriend Carmen Delgado. Three years later, he returned to Mexico City after he  learned of the death of his father.CareerTheatrical careerAt age 18,Joaquín Pardavé followed in the footsteps of his parents. He began his acting career in the operetta Los sobrinos del capitán Grant, in the company of his uncle Carlos Pardavé, when he asked to meet an actor.  Later hejoined the company of Jose Campillo, where he met and teamed for 12 years, Roberto \"Panzón\" Soto.  His first role in this company was in the operetta La banda de las trompetas (1920). Later he won fame in theMexican Rataplan Journal (1925).Film careerHe started his film career in the silent film era. Pardavé's film debut was in Viaje redondo in 1919. He participated in other films such as El águila y el nopal (1929), Águilasfrente al sol (1932), La zandunga (1937), La tía de las muchachas (1938), En tiempos de Don Porfirio (1939).Juan Bustillo Oro contracted Pardavé to co-star with Cantinflas in the comedy film Ahí está el detalle (1940).In the film, Pardavé portrays \"Cayetano Lastre\", the rich and jealous husband of Sofía Álvarez's character Dolores del Paso. The character is later entreated to believe that Cantinflas' \"pelado\" character is his wife'slong-lost brother, the person whom Lastre was eagerly waiting for to reclaim his wife's inheritance. Other co-stars in the film were Sara García and Dolores Camarillo. Ahí está el detalle was ranked thirty-seventh amongthe top 100 films of Mexican cinema.Later in the 1940 decade, Pardavé worked in ¡Ay, qué tiempos señor don Simón! (1941) and Yo bailé con don Porfirio (1942). In 1942 he debuts as a film director with El baisano Jalilstarring himself and Sara García as \"Jalil and Suad Farad\", Lebanese entrepreneurs settled in Mexico. Film and theater actress Sara García would soon become Pardavé's on-screen partner. Both starred in the films Elbarchante Neguib (1946) also as Lebanese-immigrants, El ropavejero (1947), and La familia Pérez (1949).Personal lifeIn 1925, Pardavé met Soledad Rebollo, whom he married on October 26, 1925. Soledad becamethe love of his life and his inspiration for the songs \"Plegaria\", \"Bésame en la boca\", \"Negra consentida\", and \"Varita de Nardo\".DeathOn July 20, 1955, at three-o'clock in the morning, Joaquín Pardavé died victim of astroke caused by stress of excess of work, he was participating in two films simultaneously and in the theatrical play, Un Minuto de Parada. After his death, an urban legend started to circulate that Pardavé had beenburied alive. The actor's niece María Elena Pardavé Robles confirmed that the rumor was a lie. She quoted \"Joaquín Pardavé was not buried alive like many people believe. His remains have never been exhumed, noteven when his wife died. She, my aunt, occupies a place in the same tomb, but my uncle's remains were never exhumed... we insist that his coffin has never been opened. That is how we categorically deny the rumorsthat circulate\".FilmographyPassage 5:Larry BreznerLawrence Ira \"Larry\" Brezner (August 23, 1942 – October 5, 2015) was an American film producer, most notable for producing films such as Good Morning, Vietnam,Throw Momma from the Train, and Ride Along.Life and careerBorn in the Bronx in New York City in 1942,  Brezner studied at the University of Bridgeport and St. John's University from which he graduated with aMasters in Psychology. He then was a teacher at an elementary school in Spanish Harlem before he moved on to the entertainment industry. In 1974 he opened a night club in Manhattan, where he met the producerJack Rollins. In the same year he joined the company of Rollins & Charles H. Joffe with Buddy Morra and was their partner in the late 1970s. After Rollins and Joffe withdrew from the company, he, Buddy Morra, David"}
+{"doc_id":"doc_39","qid":"","text":"Passage 1:Worskla ForestThe Worskla Forest (на Ворскле) is in the Belgorod Oblast of Russia. It is part of the (Sapowednik) Belogorye Nature Reserve.It lies on the high right side of the Worskla river, between theWorskla and the Gotnja rivers. It covers an area of 1,038 hectares (2,560 acres). Geographically the area belongs to the southern part of the forest-steppe zone. The nature reserve is bordered to the north-west by thevillage of Krasny Kutok, to the southeast by Borisovka, and in the north and the south and west by the Worsklatal. On the left bank of the Vorskla, is the village of Dubino (Landsgemeinde Belenkoje). The territory of theforest itself is part of the rural community Kryukovo.GeographyThe western, northwestern and southern edges form the river terraces and slopes of Woskla and Loknjatal Rivers. The highest point in the forest at 217metres (712 ft) is located in the northeastern part of the forest. The lowest point (137 metres (449 ft)) is located in Worsklatal. Through the forest run numerous small gullies that are called in this region \"Jar\".In theforest there are no springs and watercourses although the forest is quite wet at the beginning of spring, after the snow melts, flowing rivulets at the bottom of canyons. The rivers Vorskla, Gotnja and Loknja flow alongthe forest edge for a distance of 10 to 900 metres (33 to 2,953 ft).On the territory of the forest there is no natural pond. Only in the protection zone of the nature reserve, in the Worsklatalaue, there are smallbackwaters. In the 20th century, ponds were built in the Klosterrunse whose dams broke through snow meltwater. Only a pond remained at the top of the gully.SoilsThe soils of the forest at the Vorskla developed ondifferent parent materials, especially on the loam, which is found in the eastern half of the forest. In the northwestern part of the forest, old alluvium sands play a role. They are distributed on the river terraces of Gotnjaand Loknja. At the southern and south-eastern edge of the forest an oligozänischer sandy loam is common parent rock. In some places in the southern part of the forest, a rust-colored clay comes out. The oligozänischesandy loam and the rust-colored clay are the starting materials of soil formation, where erosion has removed the loess. Under the oligozänischen clay are rocks from the Cretaceous, which do not appear on the surfacein the territory of the forest.Here 20 different soil types are distinguished. They differ on the degree of podsolisation and the humus content. All floors of the Forest on the Vorskla are based on the Russian soilclassification from 1977 about the types of gray forest soils.  According to the USDA soil classification they belong to the Alfi sols, after the German soil classification if they were classified as Luvisols.HistoryUntil the17th century, the Worskla forest was a part of an undivided oak forest that stretched along the high right bank of the Vorskla River. Forest was used as a natural barrier against depredations of the Tartars. Therefore,logging of the woods was strictly forbidden. At the end of the 17th century, however, the Tartar threat had diminished.In the Early 18th century the forest was protected from being cut down by regulations of Peter I. In1701, the deforestation along the rivers was banned, then in 1703, the ban was extended to the small rivers. The edict included a ban on grazing and oaks, pines, maples and elms with trunk thicknesses of more than54 centimetres (21 in) were excluded from felling.In 1705 the forest was owned by Count Boris Sheremetev who created a conservation area and hunting reserve. In 1714 Count Sheremetev founded a nunnery inBorisovka on the edge of the forest, today it is a nature reserve.In the 1880s and 1890s the first major deforestation in the fourth section of the forest and in the northern part of the tenth section the deforestationcontinued into the 20th century.After the October Revolution, the forest on the Vorskla was in danger with felling beginning in 1917, with grazing and vegetable gardens being introduced. Larger native animals almostdisappeared.It fell to the entomologist Malyshev to begin a movement to save the forest. He knew the forest at the Vorskla from the time before the revolution when as a student he undertook entomological researchthere. In 1919 he wrote appeals to various authorities. He also appeared in the People's Assembly of the residents of Borisovka and made propaganda work for forest conservation in schools and village libraries. Hisefforts were successful, and after the establishment of Zoopsychologischen Station (in 1922) the forest was made a nature reserve in 1924.  Malyshev organized the protection of forests. In the nature reserve beganscientific research, the nature reserve, the Natural History Museum was founded. In Russian and Germany  scientific journals first article on the forest at the Vorskla were published. However, Malyshev was subject to apolitical witch-hunt under Joseph Stalin and he was dismissed from his role at the Nature Reserve and in 1934, Malyshev was transported to Leningrad.In 1934 the forest was transferred to control of LeningradUniversity. During World War II, the forest fell under German occupation who felled tens of thousands of trees. During the Battle of Kursk, trenches were laid out in the forest, causing soil erosion, which can be seen tothis day.In 1994, the Nature Reserve of the University of St. Petersburg was handed over to the Ministry of Natural Resources. Today an area of 160 hectares (400 acres), is the only forest with 300-year-old oak treesto have survived in the European part of the former Soviet Union.GalleryPassage 2:Pearl AirwaysPearl Airways or Pearl Airways Compagne Haitienne was an airline based in Haiti.Passage 3:Olavina UdugoreOlavinaUdugore is a 1987 Indian Kannada-language film directed, written and co-produced by D. Rajendra Babu. The film stars Ambareesh, Manjula Sharma and Ramakrishna. The music was composed by M. Ranga Rao andthe script was written by B. L. Venu.CastAmbareesh as SureshIlavarasi(Manjula Sharma) as Suma and Uma (Dual Role)Leelavathi as Rathnamma, Suresh's MotherRamakrishna as Ramesh, Suresh's CousinKeerthiraj asPrathapBalakrishna as RagannaDinesh as Shridhara Raya, Suma's Adoptive FatherN. S. Rao as Baalu, Suresh's ClassmateUmashree as Baby, Suresh's ClassmateShanthammaSoundtrackAll songs were composed by M.Ranga Rao, with lyrics by R. N. Jayagopal and Shyamasundara Kulkarni. The album consists of five tracks. The title song will recreated for his son's debut film AmarAwardsFilmfare Award for Best Actor - Kannada -AmbareeshPassage 4:Operation LeopardLa légion saute sur Kolwezi, also known as Operation Leopard, is a French war film directed by Raoul Coutard and filmed in French Guiana. The script is based on the true story ofthe Battle of Kolwezi that happened in 1978. It was diligently described in a book of the same name by former 1st Foreign Parachute Regiment Captain Pierre Sergent. He published his book in 1979, and the film cameout in 1980. Coutard shot the film in a documentary style.PlotThe film is based on true events. In 1978, approximately 3,000 heavily armed fighters from Katanga crossed the border to the Zaire and marched intoKolwezi, a mining centre for copper and cobalt. They took 3,000 civilians as hostages. Within a few days, between 90 and 280 hostages were killed. The rebels appeared to be unpredictable and are reported to havethreatened to annihilate all civilians.Mobutu Sese Seko, Zaire's head of state, urged Belgium, France and the United States to help. France sent the Foreign Legion's 2nd Foreign Parachute Regiment, which were flownfrom Corsica to Kolwezi. Following their arrival, they secured the perimeter, in co-operation with Belgian soldiers from Zaire, and then started to evacuate the civilians. Within two days more than 2,000 Europeans andabout 3,000 African citizens were saved. The film strives to depict the events in a dramatised form, concentrating on the Europeans' plight.ProductionThe late Jean Seberg had filmed scenes on location for the film, buther death caused her to be replaced by another French American actress, Mimsy Farmer, who reshot Seberg's scenes.CastBruno Cremer: Pierre DelbartJacques Perrin:Ambassador BerthierLaurent Malet: PhillipeDenrémontPierre Vaneck: Colonel GrasserMimsy Farmer: Annie DevrindtGiuliano Gemma: Adjudant FédéricoRobert Etcheverry : Colonel DubourgJean-Claude Bouillon : MauroisPassage 5:A Pearl in the ForestA Pearl inthe Forest (Mongolian: Мойлхон, Moilkhon, Buckthorn) is a 2008 Mongolian historical film.This is a story about a young couple whose newly planned life was destroyed by the impact of the Great Purge of 1934–1938 inMongolia.The main goal of this movie was to provide a testimony for the many Buryats and Mongolians who were persecuted during the Great Purges initiated by Joseph Stalin. In 1937 and 1938, many people, andeven entire families, were killed after being wrongfully accused of conspiracies.The movie was shot on location near the Buryat village of Dadal in the Khentii province of Mongolia. The acting and other participation ofmany local villagers was a great addition to the authenticity of the film.SynopsisIn the 1930s in Mongolia, a former villager returns as a government informer, and is determined to use his authority to crush a village inorder to take by force what he cannot win by love: a young woman who is engaged to another man.CastBayarmaa Baatar : SendemZolboot Gombo : MarkhaaNarankhuu Khatanbaatar : DugarG. Altanshagai :SodnomPassage 6:Cristaria (bivalve)Cristaria is a genus of freshwater mussels or pearl mussels, aquatic bivalve mollusks in the family Unionidae.SpeciesSpecies in the genus Cristaria include:Cristaria beirensisCristariaplicataCristaria radiataCristaria tenuisCristaria truncataHuman relevanceIn China, one of the species in this genus, Cristaria plicata is \"one of the most important freshwater mussels for pearl production\" in the country.It is also used for medicinal purposes.Passage 7:Pearl in the CrownPearl in the Crown (Polish: Perła w koronie) is a 1972 Polish drama film directed by Kazimierz Kutz. It was entered into the 1972 Cannes Film Festival.The film was also selected as the Polish entry for the Best Foreign Language Film at the 45th Academy Awards, but was not accepted as a nominee.PlotThe film takes place in August 1934 in the Polish part of UpperSilesia. The film tells the story of a strike in the fictional mine \"Zygmunt\". Jaś, a young miner who works in the mine in question, has a wife and two young sons. Jaś comes home from shift. The next day he learns thatthe unprofitable mine is to be closed by flooding with water. A strike breaks out. Families help the strikers, despite the fact that the mine is surrounded by a police cordon. Petitions to the Government remainunanswered, the management persists, so the miners announce a hunger strike. The police retaliate by violently breaking up the demonstration. The determined miners decide to continue the strike undergrounddespite the imminent threat of the mine being flooded, as per the original plan.  Finally though, the management signs a settlement, and the miners come to the surface and they go back to their families.CastŁucjaKowolik - WiktaOlgierd Łukaszewicz - JasJan Englert - Erwin MaliniokFranciszek Pieczka - Hubert SierszaJerzy Cnota - August MolBernard Krawczyk - Franciszek BulaTadeusz Madeja - OchmanHenryk Maruszczyk - AlojzGrudniokMarian Opania - AlbertJerzy Siwy - MilendaSee alsoList of submissions to the 45th Academy Awards for Best Foreign Language FilmList of Polish submissions for the Academy Award for Best Foreign LanguageFilmPassage 8:Pearl Diver (disambiguation)Pearl Diver (1944–1971) was a French Thoroughbred racehorse which won the Derby in 1947.Pearl Diver or Pearl Divers may also refer to:Pearl diver, one who recovers pearlsfrom wild molluscs.BooksPearl Diver, a 1930 biography of pioneering diver Victor Berge (1891–1974)The Pearl Diver, a 2004 novel by Sujata MasseyFilmSisid (TV series)  (International title: Pearl Diver), a Philippineunderwater action dramaPearl Diver, a film which won 2005 award at Indianapolis International Film FestivalMusicThe Pearl Diver: A Japanese Legend (Ship At Sea), a 2016 violin composition and single by Edward W.HardyLes pêcheurs de perles (The Pearl Fishers) opera by BizetOther usesDead Pearl Diver, a sculpture by Benjamin Paul AkersPearl Diver, one of the LNER Peppercorn Class A2 steam locomotives named in 1948Thepearl diver cocktail, a tiki cocktail developed by Donn BeachPassage 9:Greta (given name)The name Greta is derived from the name Margareta, which comes from the Greek word margarites or \"pearl\".Notable peoplewith the name include:Greta Almroth (1888–1981), Swedish actressGreta Andersen (1927–2023), Danish swimmerGréta Arn (born 1979), Hungarian tennis playerGreta Svabo Bech (born 1987), Faroese singerGretaBösel (1908–1947), German Nazi concentration camp guard and nurse executed for war crimesGreta Chi, Danish actressGreta Christina (born 1961), American atheist author and activistGreta Cicolari (born 1981),Italian beach volleyball playerGreta Duréel (died 1696), Swedish fraudGreta Espinoza (born 1995), Mexican footballerGreta Garbo (1905–1990), Swedish-American actressGreta Gerwig (born 1983), American actressand filmmakerGreta Grönholm (1923–2015), Finnish canoeistGreta Gynt (1916–2000), Norwegian singer, dancer and actressGreta Hällfors-Sipilä (1899–1974), Finnish painterGreta Hodgkinson (born 1973),American-Canadian ballet dancerGrethe Hjort (1903–1967), Danish  writer and professor of Danish and English literatureGreta Johansson (1895–1978), Swedish diver and swimmerGreta Johnson (born 1977), Americanlawyer and politicianGreta Kempton (1901–1991), American painterGréta Kerekes (born 1992), Hungarian hurdlerGreta Kline, (born 1994), American musicianGreta Knutson (1899–1983), Swedish artist, poet andcriticGreta Lee (born 1983), American actressGreta M. Ljung (born 1941), Finnish-American statisticianGreta Magnusson-Grossman (1906–1999), Swedish designer and architectGreta Mikalauskytė, Lithuanian beautypageant contestantGreta Molander (1908–2002), Swedish-Norwegian rally driver and writerGreta Morkytė (born 1999), Lithuanian figure skaterGreta N. Morris, American diplomatGreta Naterberg (1772–1818), Swedishfolk singerGreta Neimanas (born 1988), American Paralympic cyclistGreta Nissen (1906–1988), Norwegian-American actressGreta Podleski, Canadian chef, author and television hostGreta De Reyghere, BelgiansopranoGreta Richioud (born 1996), French cyclistGreta Scacchi (born 1960), Italian-Australian actressGreta Schröder (1891–1967), German actressGreta Salpeter (born 1988), American singerGreta Skogster(1900–1994), Finnish textile artistGreta Salóme Stefánsdóttir (born 1986), Icelandic singer and violinistGreta Mjöll Samúelsdóttir (born 1987), Icelandic singer and footballerGreta Schiller (born 1954), American filmdirectorGreta Small (born 1995), Australian alpine skierGreta Stevenson (1911–1990), New Zealand botanist and mycologistGréta Szakmáry (born 1991), Hungarian volleyball playerGreta Thunberg (born 2003),climate change activist from SwedenGreta Thyssen (1927–2018), Danish-American actressGreta Vaillant (1942–2000), French actressGreta Van Susteren (born 1954), American television journalistGreta Wrage vonPustau (1902–1989), German dancerFictional charactersGreta, character from Liar Liar portrayed by Anne HaneyGreta, character on Lost portrayed by Lana ParrillaGreta (Chuck), one of several characters onChuckGreta, character from The Sisterhood of the Traveling Pants 2 portrayed by Blythe DannerGreta, hair salon assistant at Christian Grey's choice salon in Fifty Shades DarkerGreta von Amberg, character on the soapopera Days of Our LivesGreta, a female Gremlin from the 1990 horror comedy movie Gremlins 2: The New BatchGreta Catchlove, witch from the Harry Potter series, also known as Gerda CurdGreta Gibson, character inA Nightmare on Elm Street 5: The Dream Child portrayed by Erika AndersonGreta Grimly from TV's Fargo, portrayed by Joey KingDr. Greta Guttman, character on Mad MenGreta Hayes, Secret (Greta Hayes) in DCComicsGreta James, a struggling musician played by Keira Knightley in Begin AgainDr. Greta Mantleray, famous therapist and mother to another character in Maniac (miniseries)Greta Martin, character on The VampireDiaries, portrayed by Lisa TuckerGreta Matthews, character from short-lived CW cult show Hidden PalmsGreta McClure, character on Family Matters portrayed by Tammy TownsendGreta O'Donnell, main character fromthe movie According to Greta played by Hilary DuffGreta Ohlsson, character from Murder on the Orient ExpressGreta Wolfcastle, the daughter of Rainier Wolfcastle from The Simpsons voiced by Reese WitherspoonGreta,the main character in Projection: First LightPassage 10:Mount Cole State ForestThe Mount Cole State Forest is in western Victoria, Australia, near the town of Beaufort. The forest is around Mount Cole, which formed390 million years ago. The Indigenous Australians, the Beeripmo balug people, called it Bereep-bereep, which means wild. The forest covers an area of 12,150 hectares, including the forest around Mount Lonarch.Theforest is on a plateau which is above grassy plains. The plateau is about 760 metres above sea level. High peaks in the forest include Mount Buangor (1,090 metres), Mount Cole (899 metres) and Ben Nevis (877metres).The main trees in the southern part of the forest are Messmate (Eucalyptus obliqua), Manna Gum (Eucalyptus viminalis), and Blue Gums (Eucalyptus globulus). In the north, which is drier, there are Yellow Box(Eucalyptus melliodora), and Red Stringybark (Eucalyptus macrorhyncha). There is also the rare Mount Cole Grevillea, Grevillea montis-cole. On the high peaks there are groups of Snow Gums (Eucalyptuspauciflora).There have been 130 different birds seen in the forest, including the Powerful owl (Ninox strenua). Animals include kangaroos, wallabies, echidna, koalas and possums. In 1954, 160 koalas were set free inthe forest to as part of a plan to re-establish the animals in Victorian forests. In the 19th century, deer were introduced and Sambar deer are still living in the wet gullies in the south of the forest.Activities in the forestinclude camping, walking, four wheel driving, horse riding, and bird watching.The purpose of the forest is to supply good quality hardwood logs for sawmills. The management plan for the forest also protects the watercatchments of several creeks which supply water to nearby towns.On 24 June 2021, the Andrews State Government, following an extensive review and recommendation, declerated that the Mt Cole State Forest wouldbe added to the National Park register, providing it with additional protections. The proposed Mt Buangor National Park would be staged over the next 8 years in addition to 60,000 hectares of State forests and parksalso to be added.Mount Buangor State ParkAn area of 1,940 hectares, the Mount Buangor State Park, was protected from logging in 1973. This park includes the waterfalls on Middle Creek, and the large rock faces andcaves on Cave Hill.ClimateAs the ranges face into the prevailing westerly storm track, maximum temperatures are particularly cold for the altitude and latitude. Heavy snowfalls occur regularly throughout the year, andsub-freezing daily maximum temperatures have been recorded well into spring at Lookout Hill (965 metres). Cold weather is present even at the height of summer: on 02 February 2005, the daily maximumtemperature did not exceed 4.5 °C (40.1 °F) at Lookout Hill. The ranges can be classed as having a cool mediterranean climate. Winters are extraordinarily cloudy, evident from the afternoon relative humidity readingsat Lookout Hill."}
+{"doc_id":"doc_40","qid":"","text":"Passage 1:Olav AaraasOlav Aaraas (born 10 July 1950) is a Norwegian historian and museum director.He was born in Fredrikstad. From 1982 to 1993 he was the director of Sogn Folk Museum, from 1993 to 2010 hewas the director of Maihaugen and from 2001 he has been the director of the Norwegian Museum of Cultural History. In 2010 he was decorated with the Royal Norwegian Order of St. Olav.Passage 2:John DonatichJohnDonatich is the Director of Yale University Press.Early lifeHe received a BA from New York University in 1982, graduating magna cum laude. He also got a master's degree from NYU in 1984, graduating summa cumlaude.CareerDonatich worked as director of National Accounts at Putnam Publishing Group from 1989 to 1992.His writing has appeared in various periodicals including Harper's, The Atlantic Monthly and The VillageVoice.He worked at HarperCollins from 1992 to 1996, serving as director of national accounts and then as vice president and director of product and marketing development.From 1995 to 2003, Donatich served aspublisher and vice president of Basic Books. While there, he started the Art of Mentoring series of books, which would run from 2001 to 2008.  While at Basic Books, Donatich published such authors as ChristopherHitchens, Steven Pinker, Samantha Power, Alan Dershowitz, Sir Martin Rees and Richard Florida.In 2003, Donatich became the director of the Yale University Press.  At Yale, Donatich published such authors as MichaelWalzer, Janet Malcolm, E. H. Gombrich, Michael Fried, Edmund Morgan and T. J.  Clark.  Donatich began the Margellos World Republic of Letters, a literature in translation series that published such authors as Adonis,Norman Manea and Claudio Magris. He also launched the digital archive platform, The Stalin Digital Archive and the Encounters Chinese Language multimedia platform.In 2009, he briefly gained media attention whenhe was involved in the decision to expunge the Muhammad cartoons from the Yale University Press book The Cartoons that Shook the World, for fear of Muslim violence.He is the author of a memoir, Ambivalence, aLove Story, and a novel, The Variations.BooksAmbivalence, a Love Story: Portrait of a Marriage (memoir), St. Martin's Press, 2005.The Variations (novel), Henry Holt, March, 2012ArticlesWhy Books Still Matter, Journalof Scholarly Publishing, Volume 40, Number 4, July 2009, pp. 329–342, E-ISSN 1710-1166 Print ISSN 1198-9742Personal lifeDonatich is married to Betsy Lerner, a literary agent and author; together they have adaughter, Raffaella.Passage 3:Dana BlanksteinDana Blankstein-Cohen (born March 3, 1981) is the executive director of the Sam Spiegel Film and Television School. She was appointed by the board of directors  inNovember 2019.  Previously she was the CEO of the Israeli Academy of Film and Television. She is a film director, and an Israeli culture entrepreneur.BiographyDana Blankstein was born in Switzerland in 1981 totheatre director Dedi Baron and Professor Alexander Blankstein. She moved to Israel in 1983 and grew up in Tel Aviv.Blankstein graduated from the Sam Spiegel Film and Television School, Jerusalem in 2008 with highhonors. During her studies she worked as a personal assistant to directors Savi Gabizon on his film Nina's Tragedies and to Renen Schorr on his film The Loners.  She also directed and shot 'the making of' film onGavison's film Lost and Found. Her debut film Camping competed at the Berlin International Film Festival, 2007.Film and academic careerAfter her studies, Dana founded and directed the film and television departmentat the Kfar Saba municipality. The department encouraged and promoted productions filmed in the city of Kfar Saba, as well as the established cultural projects, and educational community activities.Blankstein directedthe mini-series \"Tel Aviviot\" (2012). From 2016-2019 was the director of the Israeli Academy of Film and Television.In November 2019 Dana Blankstein Cohen was appointed the new director of the Sam Spiegel Filmand Television School where she also oversees the Sam Spiegel International Film Lab. In 2022, she spearheaded the launch of the new Series Lab and the film preparatory program for Arabic speakers in eastJerusalem.FilmographyTel Aviviot (mini-series; director, 2012)Growing Pains (graduation film, Sam Spiegel; director and screenwriter, 2008)Camping (debut film, Sam Spiegel; director and screenwriter, 2006)Passage4:Michael GovanMichael Govan (born 1963) is the director of the Los Angeles County Museum of Art. Prior to his current position, Govan worked as the director of the Dia Art Foundation in New York City.Early life andeducationGovan was born in 1963 in North Adams, Massachusetts, and was raised in the Washington D.C. area, attending Sidwell Friends School.He majored in art history and fine arts at Williams College, where he metThomas Krens, who was then director of the Williams College Museum of Art. Govan became closely involved with the museum, serving as acting curator as an undergraduate. After receiving his B.A. from Williams in1985, Govan began an MFA in fine arts from the University of California, San Diego.CareerAs a twenty-five year old graduate student, Govan was recruited by his former mentor at Williams, Thomas Krens, who in 1988had been appointed director of the Solomon R. Guggenheim Foundation. Govan served as deputy director of the Solomon R. Guggenheim Museum under Krens from 1988 to 1994, a period that culminated in theconstruction and opening of the Frank Gehry designed Guggenheim branch in Bilbao, Spain. Govan supervised the reinstallation of the museum's permanent collection galleries after its extensive renovation.Dia ArtFoundationFrom 1994 to 2006, Govan was president and director of Dia Art Foundation in New York City. There, he spearheaded the conversion of a Nabisco box factory into the 300,000 square foot Dia:Beacon in NewYork's Hudson Valley, which houses Dia's collection of art from the 1960s to the present. Built in a former Nabisco box factory, the critically acclaimed museum has been credited with catalyzing a cultural and economicrevival within the formerly factory-based city of Beacon. Dia's collection nearly doubled in size during Govan's tenure, but he also came under criticism for \"needlessly and permanently\" closing Dia's West 22nd Streetbuilding. During his time at Dia, Govan also worked closely with artists James Turrell and Michael Heizer, becoming an ardent supporter of Roden Crater and City, the artists' respective site-specific land art projectsunder construction in the American southwest. Govan successfully lobbied Washington to have the 704,000 acres in central Nevada surrounding City declared a national monument in 2015.LACMAIn February 2006, asearch committee composed of eleven LACMA trustees, led by the late Nancy M. Daly, recruited Govan to run the Los Angeles County Museum of Art. Govan has stated that he was drawn to the role not only because ofLACMA's geographical distance from its European and east coast peers, but also because of the museum's relative youth, having been established in 1961. \"I felt that because of this newness I had the opportunity toreconsider the museum,\" Govan has written, \"[and] Los Angeles is a good place to do that.\"Govan has been widely regarded for transforming LACMA into both a local and international landmark. Since Govan's arrival,LACMA has acquired by donation or purchase over 27,000 works for the permanent collection, and the museum's gallery space has almost doubled thanks to the addition of two new buildings designed by Renzo Piano,the Broad Contemporary Art Museum (BCAM) and the Lynda and Stewart Resnick Pavilion. LACMA's annual attendance has grown from 600,000 to nearly 1.6 million in 2016.Artist collaborationsSince his arrival, Govanhas commissioned exhibition scenography and gallery designs in collaboration with artists. In 2006, for example, Govan invited LA artist John Baldessari to design an upcoming exhibition about the Belgian surrealistRené Magritte, resulting in a theatrical show that reflected the twisted perspective of the latter's topsy-turvy world. Baldessari has also designed LACMA's logo. Since then, Govan has also commissioned Cuban-Americanartist Jorge Pardo to design LACMA's Art of the Ancient Americas gallery, described in the Los Angeles Times as a \"gritty cavern deep inside the earth ... crossed with a high-style urban lounge.\"Govan has alsocommissioned several large-scale public artworks for LACMA's campus from contemporary California artists. These include Chris Burden's Urban Light (2008), a series of 202 vintage street lamps from differentneighborhoods in Los Angeles, arranged in front of the entrance pavilion, Barbara Kruger's Untitled (Shafted) (2008), Robert Irwin's Primal Palm Garden (2010), and Michael Heizer's Levitated Mass, a 340-ton bouldertransported 100 miles from the Jurupa Valley to LACMA, a widely publicized journey that culminated with a large celebration on Wilshire Boulevard. Thanks in part to the popularity of these public artworks, LACMA wasranked the fourth most instagrammed museum in the world in 2016.In his first three full years, the museum raised $251 million—about $100 million more than it collected during the three years before he arrived. In2010, it was announced that Govan will steer LACMA for at least six more years. In a letter dated February 24, 2013, Govan, along with the LACMA board's co-chairmen Terry Semel and Andrew Gordon, proposed amerger with the financially troubled Museum of Contemporary Art, Los Angeles and a plan to raise $100 million for the combined museum.Zumthor ProjectGovan's latest project is an ambitious building project, thereplacement of four of the campus's aging buildings with a single new state of the art gallery building designed by architect Peter Zumthor. As of January 2017, he has raised about $300 million in commitments.Construction is expected to begin in 2018, and the new building will open in 2023, to coincide with the opening of the new D Line metro stop on Wilshire Boulevard. The project also envisages dissolving all existingcuratorial departments and departmental collections. Some commentators have been highly critical of Govan's plans. Joseph Giovannini, recalling Govan's technically unrealizable onetime plan to hang Jeff Koons' Trainsculpture from the facade of the Ahmanson Gallery, has accused Govan of \"driving the institution over a cliff into an equivalent mid-air wreck of its own\". Describing the collection merging proposal as the creation of a\"giant raffle bowl of some 130,000 objects\", Giovannini also points out that the Zumthor building will contain 33% less gallery space than the galleries it will replace, and that the linear footage of wall space available fordisplays will decrease by about 7,500 ft, or 1.5 miles. Faced with losing a building named in its honor, and anticipating that its acquisitions could no longer be displayed, the Ahmanson Foundation withdrew itssupport.On the merging of the separate curatorial divisions to create a non-departmental art museum, Christopher Knight has pointed out that \"no other museum of LACMA's size and complexity does it\" that way, andcharacterized the museum's 2019 \"To Rome and Back\" exhibition, the first to take place under the new scheme, as \"bland and ineffectual\" and an \"unsuccessful sample of what's to come\".Personal lifeGovan is marriedand has two daughters, one from a previous marriage. He and his family used to live in a $6 million mansion in Hancock Park that was provided by LACMA - a benefit worth $155,000 a year, according to most recent taxfilings - until LACMA decided that it would sell the property to make up for the museum's of almost $900 million in debt [2]. That home is now worth nearly $8 million and Govan now lives in a trailer park in Malibu'sPoint Dume region.Los Angeles CA 90020United States. He has had a private pilot's license since 1995 and keeps a 1979 Beechcraft Bonanza at Santa Monica Airport.Passage 5:Etan BoritzerEtan Boritzer (born 1950) isan American writer of children’s literature who is best known for his book What is God? first published in 1989. His best selling What is? illustrated children's book series on character education and difficult subjects forchildren is a popular teaching guide for parents, teachers and child-life professionals.Boritzer gained national critical acclaim after What is God? was published in 1989 although the book has caused controversy fromreligious fundamentalists for its universalist views. The other current books in the What is? series include: What is Love?, What is Death?, What is Beautiful?, What is Funny?, What is Right?, What is Peace?, What isMoney?, What is Dreaming?, What is a Friend?, What is True?, What is a Family?, and What is a Feeling? The series is now also translated into 15 languages.Boritzer was first published in 1963 at the age of 13 when hewrote an essay in his English class at Wade Junior High School in the Bronx, New York on the assassination of John F. Kennedy. His essay was included in a special anthology by New York City public school childrencompiled and published by the New York City Department of Education.Boritzer now lives in Venice, California and maintains his publishing office there also. He has helped numerous other authors to get publishedthrough How to Get Your Book Published! programs. Boritzer is also a yoga teacher who teaches regular classes locally and guest-teaches nationally. He is also recognized nationally as an erudite speaker on TheTeachings of the Buddha.Passage 6:Tanikella BharaniTanikella Bharani (born 14 July 1954) is an Indian actor, screenwriter, poet, playwright and director who works predominantly in Telugu cinema. He has worked asan actor in more than 750 films, including some in Tamil and Hindi; while he was also screenwriter for 52 films. He has won three Andhra Pradesh State Nandi Awards.Early lifeTanikella Bharani's ancestors includespoets and literary figures of Telugu literature. Diwakarla Venkatavadhani and Viswanatha Satyanarayana were his grand uncles. Divakarla Tirupati Sastry, one of the Telugu poet duo Tirupati Venkata Kavulu, was hisgreat-granduncle.He was born into a Telugu Brahmin family. He is fluent in Telugu, English, Hindi, Tamil.He is a religious Hindu who is known for singing devotional songs in praise of Sri Shiva and Devi Parvati, andpropagates to his fellow Hindus to not just read the Bhagavad Gita but to follow what it teaches.CareerTanikella did stage plays in the mid 70s and during this time he made the acquaintance of Rallapalli, a Tollywoodactor. With his help Tanikella started writing small dialogues and stage scenes. Later, he took a diploma in Theatre arts. Following Rallapalli's advice he moved to Chennai.He started his career as a dialogue writer forKanchu Kavachum in 1984 and has written dialogues for various movies like Ladies Tailor (1985), Sri Kanaka Mahalakshmi Recording Dance Troupe (1987), Varasudochhadu (1988), Chettu Kinda Pleader (1989), SwaraKalpana (1989), Shiva (1989) and Seenu Vasanthi Lakshmi (2004). He also penned and sung the lyrics of Gundamma Gaari Manavadu (Bhale Bhaleti Mandu).He has acted in more than 750 movies starting with LadiesTailor (1985) & Sri Kanaka Mahalakshmi Recording Dance Troupe (1987) in which he was seen as Dora Babu. In 1989 he appeared in the hit film Shiva, by Ram Gopal Varma, which starred Nagarjuna. With the releaseof the film Shiva, he received much recognition and his character Nanaji impressed the whole Telugu audience.He also played a supporting role in the comedy film Bombay Priyudu in 1996. His powerful antagonism inSamudram won him the Nandi award as the Best Villain. After 2000, he started playing more mature roles in movies like Manmadhudu (2002), Okariki Okaru (2003), Samba (2004), Malliswari, Godavari (2006), andHappy (2006).He directed Telugu Drama film Mithunam is a 2012 featuring S. P. Balasubrahmanyam and Lakshmi. He received CineMAA Award Special Jury Award for Best Direction for this film.He wrote seven Telugudevotional songs song for the album \"Nee Lona Shivudu Galudu, Na Lona Shivudu Galadu,\" literally translating as \"The Lord Shiva in you and the Lord Shiva in me can rule the world.\" He also sang the title song forNalona sivudu galadu and Shahabash Raa Shankara which were written by him.Personal lifeHe married Durga Bhavani in 1988. The couple has two children, Teja and Soundarya Lahari. They reside in Yousufguda,Hyderabad.Teja made his debut as an actor in the film Mr Lavangam (2012).AwardsNandi AwardsBest Villain – SamudhramBest Character Actor  – Nuvvu NenuNandi Award for Best Dialogue Writer – MithunamLiteraryAwardsSri Pada Subhramanya Sastry Literary Award – PolamuruBhanumathi Award – HyderabadSri Vanamamalai Varadacharyulu Literary Award – AdilabadFellowship Jawahar Bharathi – KavaliAllu RamalingayyiahNational Award – HyderabadAkkineni Swarna Kankanam – HyderabadNagabhairava Koteswara Rao literary Award – NelloreCineMAA AwardsSpecial Jury Award for Best Director – Mithunam (2013)Sangam AcademyAwardsSangam Academy award for completing Twenty five years in Telugu CinemaAwards for Short Films (as a Director)Tenth Mumbai International Film Festival AwardIdaho Panhandle – Hyderabad International FilmFestival Award for Sira-The InkLok Nayak Foundation Sahitya PuraskarLok Nayak Foundation Sahitya Puraskar presented to Tanikella Bharani in Visakhapatnam.Literary worksBooksParikiniNakshatraDarsanamMaathraluEndaro MahanubavuluPlays (Drama)Jambu DweepamKokkorokkoChal Chal GurramGaardhabhaandamGograhanamNaalugo KothiPlaylets (Telugu)GaardhabhandaGograhanamKokkorokoChalchalGurramJambudweepamGrahanam Pattina RatriSani GrahaluGoyyiPanjaram Lo ElakaHulakkiSong compositions\"Naalona Sividu Kaladu\" is a composition of 7 songs written by Tanikella.\"Sabhash raa sankara!\" Iscomposition by Tanikella about the concept of Shiva.\"Naamanasu Kothi raa Raama!\"Spiritual BooksAata Gadaraa SivaSabhashuraa SankaraFilmographyTelugu filmsActorWriterDubbing artistTamil filmsHindifilmsKannada filmsNaga Devathe (2000)See alsoList of Indian writersPassage 7:John Farrell (businessman)John Farrell is the director of YouTube in Latin America.EducationFarrell holds a joint MBA degree from theUniversity of Texas at Austin and Instituto Tecnologico de Estudios Superiores de Monterrey (ITESM).CareerHis business career began at Skytel, and later at Iridium as head of Business Development, in Washington DC,where he supported the design and launched the first satellite location service in the world and established international distribution agreements.He co-founded Adetel, the first company to provide internet access toresidential communities and businesses in Mexico. After becoming General Manager of Adetel, he developed a partnership with TV Azteca in order to create the first internet access prepaid card in the country known asthe ToditoCard.  Later in his career, John Farrell worked for Televisa in Mexico City as Director of Business Development for Esmas.com. There he established a strategic alliance with a leading telecommunicationsprovider to launch co-branded Internet and telephone services. He also led initial efforts to launch social networking services, leveraging Televisa’s content and media channels.GoogleFarrel joined Google in 2004 asDirector of Business Development for Asia and Latin America. On April 7, 2008, he was promoted to the position of General Manager for Google Mexico, replacing Alonso Gonzalo. He is now director of YouTube in LatinAmerica, responsible for developing audiences, managing partnerships and growing Google’s video display business. John is also part of Google’s Latin America leadership management team and contributes to Google’sstrategy in the region. He is Vice President of the IAB (Interactive Advertising Bureau), a member of the AMIPCI (Mexican Internet Association) Advisory Board, an active Endeavor mentor, and member of YPO.Passage8:Peter LevinPeter Levin is an American director of film, television and theatre.CareerSince 1967, Levin has amassed a large number of credits directing episodic television and television films. Some of his televisionseries credits include Love Is a Many Splendored Thing, James at 15, The Paper Chase, Family, Starsky & Hutch, Lou Grant, Fame, Cagney & Lacey, Law & Order and Judging Amy.Some of his television film creditsinclude Rape and Marriage: The Rideout Case (1980), A Reason to Live (1985), Popeye Doyle (1986), A Killer Among Us (1990), Queen Sized (2008) and among other films. He directed \"Heart in Hiding\", written by hiswife Audrey Davis Levin, for which she received an Emmy for Best Day Time Special in the 1970s.Prior to becoming a director, Levin worked as an actor in several Broadway productions. He costarred with Susan"}
+{"doc_id":"doc_41","qid":"","text":"Passage 1:Jesse E. HobsonJesse Edward Hobson (May 2, 1911 – November 5, 1970) was the director of SRI International from 1947 to 1955. Prior to SRI, he was the director of the Armour Research Foundation.Earlylife and educationHobson was born in Marshall, Indiana. He received bachelor's and master's degrees in electrical engineering from Purdue University and a PhD in electrical engineering from the California Institute ofTechnology. Hobson was also selected as a nationally outstanding engineer.Hobson married Jessie Eugertha Bell on March 26, 1939, and they had five children.CareerAwards and membershipsHobson was named anIEEE Fellow in 1948.Passage 2:Ashwamedha (film)Ashwamedha is a 1990 Indian Kannada language action film directed by C. R. Simha. It stars Kumar Bangarappa and Geethanjali with Srividya, Srinath, Balakrishna,Avinash and Ramesh Bhat essaying other important roles.The story was written by C. R. Simha who co-wrote the screenplay and dialogues with Keerthi. The film was produced by Shanthilal Jain in the banner of SriRenukamba Enterprises. The film was edited by S. Manohar while R. Deviprasad handled the cinematography.The film met with positive reviews upon release and is often regarded as one of the best films in KumarBangarappa's career.CastSoundtrackSangeetha Raja composed the background score for the film and to the soundtracks, with the lyrics for all the soundtracks penned by Doddarange Gowda. The album consists of fivesoundtracks. The soundtrack \"Hrudaya Samudra Kalaki\" sung by actor and playback singer, Rajkumar, was received very well and is often considered one of his best songs. The song is still being played in cultural andreligious activities, and concerts across Karnataka.Passage 3:Peter LevinPeter Levin is an American director of film, television and theatre.CareerSince 1967, Levin has amassed a large number of credits directingepisodic television and television films. Some of his television series credits include Love Is a Many Splendored Thing, James at 15, The Paper Chase, Family, Starsky & Hutch, Lou Grant, Fame, Cagney & Lacey, Law &Order and Judging Amy.Some of his television film credits include Rape and Marriage: The Rideout Case (1980), A Reason to Live (1985), Popeye Doyle (1986), A Killer Among Us (1990), Queen Sized (2008) andamong other films. He directed \"Heart in Hiding\", written by his wife Audrey Davis Levin, for which she received an Emmy for Best Day Time Special in the 1970s.Prior to becoming a director, Levin worked as an actor inseveral Broadway productions. He costarred with Susan Strasberg in \"[The Diary of Ann Frank]\" but had to leave the production when he was drafted into the Army. He trained at the Carnegie Mellon University.Eventually becoming a theatre director, he directed productions at the Long Wharf Theatre and the Pacific Resident Theatre Company. He also co-founded the off-off-Broadway Theatre [the Hardware Poets Playhouse]with his wife Audrey Davis Levin and was also an associate artist of The Interact Theatre Company.Passage 4:C. R. SimhaChannapatna Ramaswami Simha (16 June 1942 – 28 February 2014), better known as C. R.Simha, was an Indian actor, director, dramatist and playwright. He was best known for his work in Kannada films and for his work in stage shows. Starting his career in Prabhat Kalavidaru, a theatre group based inBangalore, he acted in numerous Kannada plays which reached the cult status. He started his own theatre group called \"Nataranga\" in 1972 and directed many successful plays such as Kakana Kote, Thughlaq andSankranthi.Simha also directed and acted in the Kannada adaptation of Shakespeare's Midsummer Night's Dream and Othello. These plays found a widespread presentation across many states in India. Following this,he directed and acted in many English plays written by eminent personalities such as Moliere, Bernard Shaw, Edward Albee and Neil Simon among others. Apart from theatre, Simha acted in more than 150 feature filmsin Kannada which include both artistic and commercially viable projects. He also directed about five feature films with the most prominent being his own film adaptation of Kakana Kote.Simha received many awards inboth the cinema and theatre fields. In 2003, he was awarded with the prestigious Sangeet Natak Akademi Award by the Government of India recognising his contribution to theatre acting and direction.Early lifeSimhawas born in Karnataka on 16 June 1942 into a Hoysala Karnataka Brahmin family. His younger brother Srinath is a film actor who acted in several mainstream Kannada cinema as both the leading actor and supportingactor.Simha appeared on stage at the age of twelve. He wrote a book at the age of thirteen titled \"Family Doctor\" and got a publisher for a remuneration of \u000015. He was a student of National College at Basavanagudi,Bangalore. In 1959, he joined the National College Histrionics Club, an institution nurtured by Dr. H. Narasimhaiah. Simha then acted in many Kannada plays like \"Bahaddur Ganda\" and \"ManavembaMarkata\".CareerTheatreSimha, along with his friends, started a theatre group called \"Nataranga\" in 1972. He acted in and directed many successful plays like Kakana Kote and Tughlaq.Simha also acted in and directedstraight translations of Shakespeare's plays such as Midsummer Night's Dream and Othello, which besides Karnataka, were also performed in Delhi, Bombay (Mumbai), Madras (Chennai) & Calcutta (Kolkata). In 1960,Simha became a member of \"Bangalore Little Theatre\" (BLT) and since then directed some of the reputed English plays which included his portrayal of Cyrano de Bergerac which was hailed as a memorable performance.His other notable works for BLT were Utpal Dutt's Suryashikar and Girish Karnad's Thuglaq.In 1983, Simha started another theatre group called \"Vedhike\" in which his one-man show Typical Kailasam became a success.It was the first amateur Kannada play to be performed abroad (in the United States of America, Canada and England). Some of the other notable plays which made news through \"Vedhike\" are Meese Bandoru, Bhairavi,Karna, Rasa Rishi Kuvempu, Macbeth, Maduve Maduve, Haavu Yeni and 8/15. Among these, Rasa Rishi Kuvempu, based on the life and literature of Kuvempu, was made into a film, directed by Simha's son RithwikSimha, in which Simha plays the role of Kuvempu.FilmsBesides making his strong presence in theatre, Simha was also a popular mainstream character actor in numerous Kannada films. He acted in close to 150 featurefilms. His portrayal of roles varied from critically acclaimed award-winning films like Samskara, Bara, Chithegoo Chinte and Anuroopa and also in commercially acclaimed films such as Indina Ramayana, Nee BaredaKadambari, Parameshi Prema Prasanga, Rayaru Bandaru Mavana Manege and Nee Thanda Kanike. Simha played negative roles, against Anant Nag in Ramapurada Ravana (1984) and with Dr. Rajkumar in Parashuram(1990). Simha's villainous role in Parashuram was said to be very menacing.Besides acting, Simha has directed five films including Kakana Kote (1977), Shikaari, Simhasana, Ashwamedha (1990) and Angayalli Apsare(1993).TelevisionSimha made his strong presence in television too and acted in several tele-serials in Kannada, Hindi and English languages. This includes the serial Malgudi Days. Another serial was Goruru in Americabased on the travelogue written by the humorist Gorur Ramaswamy Iyengar. Simha played the part of Gorur and the serial was shot extensively in America including New York, Washington D.C., Niagara Falls,Disneyland and Universal Studios – Hollywood.PublicationsSimha wrote and published five plays in Kannada. He was a popular columnist, he wrote a column called \"Nimma Simha\" every Friday for six years in thepopular daily newspaper Vijaya Karnataka and three volumes of this are published in the Book forum.FilmographyActorDirectorShikari (1981)Ashwamedha (1992)Angaili Apsare (1993)DeathIn February 2014, Simhawas admitted to Sevakshetra Hospital, Bangalore having been suffering from prostate cancer from over a year. He died on 28 February 2014. On 1 March, his body was kept at the Samsa Bayalu Rangamandira forpeople to pay homage and his favourite songs were sung by theatre artists. He was cremated at the Banashankari crematorium in Bangalore the same day. Simha's last public appearance was at the press meet of thefilm Rasarishi Kuvempu in which he played the lead role.Passage 5:Ian Barry (director)Ian Barry is an Australian director of film and TV.Select creditsWaiting for Lucas (1973) (short)Stone (1974) (editor only)The ChainReaction (1980)Whose Baby? (1986) (mini-series)Minnamurra (1989)Bodysurfer (1989) (mini-series)Ring of Scorpio (1990) (mini-series)Crimebroker (1993)Inferno (1998) (TV movie)Miss Lettie and Me (2002) (TVmovie)Not Quite Hollywood: The Wild, Untold Story of Ozploitation! (2008) (documentary)The Doctor Blake Mysteries (2013)Passage 6:Dana BlanksteinDana Blankstein-Cohen (born March 3, 1981) is the executivedirector of the Sam Spiegel Film and Television School. She was appointed by the board of directors  in November 2019.  Previously she was the CEO of the Israeli Academy of Film and Television. She is a film director,and an Israeli culture entrepreneur.BiographyDana Blankstein was born in Switzerland in 1981 to theatre director Dedi Baron and Professor Alexander Blankstein. She moved to Israel in 1983 and grew up in TelAviv.Blankstein graduated from the Sam Spiegel Film and Television School, Jerusalem in 2008 with high honors. During her studies she worked as a personal assistant to directors Savi Gabizon on his film Nina'sTragedies and to Renen Schorr on his film The Loners.  She also directed and shot 'the making of' film on Gavison's film Lost and Found. Her debut film Camping competed at the Berlin International Film Festival,2007.Film and academic careerAfter her studies, Dana founded and directed the film and television department at the Kfar Saba municipality. The department encouraged and promoted productions filmed in the city ofKfar Saba, as well as the established cultural projects, and educational community activities.Blankstein directed the mini-series \"Tel Aviviot\" (2012). From 2016-2019 was the director of the Israeli Academy of Film andTelevision.In November 2019 Dana Blankstein Cohen was appointed the new director of the Sam Spiegel Film and Television School where she also oversees the Sam Spiegel International Film Lab. In 2022, shespearheaded the launch of the new Series Lab and the film preparatory program for Arabic speakers in east Jerusalem.FilmographyTel Aviviot (mini-series; director, 2012)Growing Pains (graduation film, Sam Spiegel;director and screenwriter, 2008)Camping (debut film, Sam Spiegel; director and screenwriter, 2006)Passage 7:Olav AaraasOlav Aaraas (born 10 July 1950) is a Norwegian historian and museum director.He was born inFredrikstad. From 1982 to 1993 he was the director of Sogn Folk Museum, from 1993 to 2010 he was the director of Maihaugen and from 2001 he has been the director of the Norwegian Museum of Cultural History. In2010 he was decorated with the Royal Norwegian Order of St. Olav.Passage 8:S. N. MathurS.N. Mathur was the Director of the Indian Intelligence Bureau between September 1975 and February 1980. He was also theDirector General of Police in Punjab.Passage 9:Brian Kennedy (gallery director)Brian Patrick Kennedy (born 5 November 1961) is an Irish-born art museum director who has worked in Ireland and Australia, and nowlives and works in the United States.  He was the director of the Peabody Essex Museum in Salem for 17 months, resigning December 31, 2020. He was the director of the Toledo Museum of Art in Ohio from 2010 to2019. He was the director of the Hood Museum of Art from 2005 to 2010, and the National Gallery of Australia (Canberra) from 1997 to 2004.CareerBrian Kennedy currently lives and works in the United States afterleaving Australia in 2005 to direct the Hood Museum of Art at Dartmouth College. In October 2010 he became the ninth Director of the Toledo Museum of Art. On 1 July 2019, he succeeded Dan Monroe as the executivedirector and CEO of the Peabody Essex Museum.Early life and career in IrelandKennedy was born in Dublin and attended Clonkeen College. He received B.A. (1982), M.A. (1985) and PhD (1989) degrees from UniversityCollege-Dublin, where he studied both art history and history.He worked in the Irish Department of Education (1982), the European Commission, Brussels (1983), and in Ireland at the Chester Beatty Library (1983–85),Government Publications Office (1985–86), and Department of Finance (1986–89). He married Mary Fiona Carlin in 1988.He was Assistant Director at the National Gallery of Ireland in Dublin from 1989 to 1997. He wasChair of the Irish Association of Art Historians from 1996 to 1997, and of the Council of Australian Art Museum Directors from 2001 to 2003. In September 1997 he became Director of the National Gallery ofAustralia.National Gallery of Australia (NGA)Kennedy expanded the traveling exhibitions and loans program throughout Australia, arranged for several major shows of Australian art abroad, increased the number ofexhibitions at the museum itself and oversaw the development of an extensive multi-media site.  Although he oversaw several years of the museum's highest ever annual visitation, he discontinued the emphasis of hispredecessor, Betty Churcher, on showing \"blockbuster\" exhibitions.During his directorship, the NGA gained government support for improving the building and significant private donations and corporate sponsorship.However, the initial design for the building proved controversial generating a public dispute with the original architect on moral rights grounds.  As a result, the project was not delivered during Dr Kennedy's tenure, witha significantly altered design completed some years later.  Private funding supported two acquisitions of British art, including David Hockney's A Bigger Grand Canyon in 1999, and Lucian Freud's After Cézanne in 2001.Kennedy built on the established collections at the museum by acquiring the Holmgren-Spertus collection of Indonesian textiles; the Kenneth Tyler collection of editioned prints, screens, multiples and unique proofs; andthe Australian Print Workshop Archive. He was also notable for campaigning for the construction of a new \"front\" entrance to the Gallery, facing King Edward Terrace, which was completed in 2010 (see reference to thebuilding project above).Kennedy's cancellation of the \"Sensation exhibition\" (scheduled at the NGA from 2 June 2000 to 13 August 2000) was controversial, and seen by some as censorship. He claimed that the decisionwas due to the exhibition being \"too close to the market\" implying that a national cultural institution cannot exhibit the private collection of a speculative art investor. However, there were other exhibitions at the NGAduring his tenure, which could have raised similar concerns. The exhibition featured the privately owned Young British Artists works belonging to Charles Saatchi and attracted large attendances in London and Brooklyn.Its most controversial work was Chris Ofili's The Holy Virgin Mary, a painting which used elephant dung and was accused of being blasphemous. The then-mayor of New York, Rudolph Giuliani, campaigned against theexhibition, claiming it was \"Catholic-bashing\" and an \"aggressive, vicious, disgusting attack on religion.\" In November 1999, Kennedy cancelled the exhibition and stated that the events in New York had \"obscureddiscussion of the artistic merit of the works of art\". He has said that it \"was the toughest decision of my professional life, so far.\"Kennedy was also repeatedly questioned on his management of a range of issues duringthe Australian Government's Senate Estimates process - particularly on the NGA's occupational health and safety record and concerns about the NGA's twenty-year-old air-conditioning system. The air-conditioning wasfinally renovated in 2003. Kennedy announced in 2002 that he would not seek extension of his contract beyond 2004, accepting a seven-year term as had his two predecessors.He became a joint Irish-Australian citizenin 2003.Toledo Museum of ArtThe Toledo Museum of Art is known for its exceptional collections of European and American paintings and sculpture, glass, antiquities, artist books, Japanese prints and netsuke. Themuseum offers free admission and is recognized for its historical leadership in the field of art education.  During his tenure, Kennedy has focused the museum's art education efforts on visual literacy, which he defines as\"learning to read, understand and write visual language.\"   Initiatives have included baby and toddler tours, specialized training for all staff, docents, volunteers and the launch of a website, www.vislit.org. In November2014, the museum hosted the International Visual Literacy Association (IVLA) conference, the first Museum to do so. Kennedy has been a frequent speaker on the topic, including 2010 and 2013 TEDx talks on visualand sensory literacy.Kennedy has expressed an interest in expanding the museum's collection of contemporary art and art by indigenous peoples. Works by Frank Stella, Sean Scully, Jaume Plensa, Ravinder Reddy andMary Sibande have been acquired.  In addition, the museum has made major acquisitions of Old Master paintings by Frans Hals and Luca Giordano.During his tenure the Toledo Museum of Art has announced the returnof several objects from its collection due to claims the objects were stolen and/or illegally exported prior being sold to the museum.  In 2011 a Meissen sweetmeat stand was returned to Germany followed by anEtruscan Kalpis or water jug to Italy (2013), an Indian sculpture of Ganesha (2014) and an astrological compendium to Germany in 2015.Hood Museum of ArtKennedy became Director of the Hood Museum of Art in July2005. During his tenure, he implemented a series of large and small-scale exhibitions and oversaw the production of more than 20 publications to bring greater public attention to the museum's remarkable collections ofthe arts of America, Europe, Africa, Papua New Guinea and the Polar regions. At 70,000 objects, the Hood has one of the largest collections on any American college of university campus. The exhibition, BlackWomanhood: Images, Icons, and Ideologies of the African Body, toured several US venues. Kennedy increased campus curricular use of works of art, with thousands of objects pulled from storage for classes annually.Numerous acquisitions were made with the museum's generous endowments, and he curated several exhibitions: including Wenda Gu: Forest of Stone Steles: Retranslation and Rewriting Tang Dynasty Poetry, SeanScully: The Art of the Stripe, and Frank Stella: Irregular Polygons.PublicationsKennedy has written or edited a number of books on art, including:Alfred Chester Beatty and Ireland 1950-1968: A study in cultural politics,Glendale Press (1988), ISBN 978-0-907606-49-9Dreams and responsibilities: The state and arts in independent Ireland, Arts Council of Ireland (1990), ISBN 978-0-906627-32-7Jack B Yeats: Jack Butler Yeats,1871-1957 (Lives of Irish Artists), Unipub (October 1991), ISBN 978-0-948524-24-0The Anatomy Lesson: Art and Medicine (with Davis Coakley), National Gallery of Ireland (January 1992), ISBN978-0-903162-65-4Ireland: Art into History (with Raymond Gillespie), Roberts Rinehart Publishers (1994), ISBN 978-1-57098-005-3Irish Painting, Roberts Rinehart Publishers (November 1997),  ISBN978-1-86059-059-7Sean Scully: The Art of the Stripe, Hood Museum of Art (October 2008), ISBN 978-0-944722-34-3Frank Stella: Irregular Polygons, 1965-1966, Hood Museum of Art (October 2010), ISBN978-0-944722-39-8Honors and achievementsKennedy was awarded the Australian Centenary Medal in 2001 for service to Australian Society and its art. He is a trustee and treasurer of the Association of Art MuseumDirectors, a peer reviewer for the American Association of Museums and a member of the International Association of Art Critics. In 2013 he was appointed inaugural eminent professor at the University of Toledo andreceived an honorary doctorate from Lourdes University. Most recently, Kennedy received the 2014 Northwest Region, Ohio Art Education Association award for distinguished educator for art education.== Notes==Passage 10:Jason Moore (director)Jason Moore (born October 22, 1970) is an American director of film, theatre and television.Life and careerJason Moore was born in Fayetteville, Arkansas, and studied atNorthwestern University. Moore's Broadway career began as a resident director of Les Misérables at the Imperial Theatre in during its original run. He is the son of Fayetteville District Judge Rudy Moore.In March 2003,"}
+{"doc_id":"doc_42","qid":"","text":"Passage 1:Barthold A. Butenschøn Sr.Hans Barthold Andresen Butenschøn (27 December 1877 – 28 November 1971) was a Norwegian businessperson.He was born in Kristiania as a son of Nils August Andresen Butenschøn and Hanna Butenschøn, and grandson of Nicolay Andresen. Together with Mabel Anette Plahte (1877–1973, a daughter of Frithjof M. Plahte) he had the son Hans Barthold Andresen Butenschøn Jr. and was through him the father-in-law of Ragnhild Butenschøn and grandfather of Peter Butenschøn. Through his daughter Marie Claudine he was the father-in-law of Joakim Lehmkuhl, through his daughter Mabel Anette he was the father-in-law of Harald Astrup (a son of Sigurd Astrup) and through his daughter Nini Augusta he was the father-in-law of Ernst Torp.He took commerce school and agricultural school. He was hired in the family company N. A. Andresen & Co, and became a co-owner in 1910. He eventually became chief executive officer. The bank changed its name to Andresens Bank in 1913 and merged with Bergens Kreditbank in 1920. The merger was dissolved later in the 1920s. He was also a landowner, owning Nedre Skøyen farm and a lot of land in Enebakk. He chaired the board of Nydalens Compagnie from 1926, having not been a board member before that.He also chaired the supervisory council of Forsikringsselskapet Viking and Nedre Glommen salgsforening, and was a supervisory council member of Filharmonisk Selskap. He was a member of the gentlemen's club SK Fram since 1890, and was proclaimed a lifetime member in 1964.He was buried in Enebakk.Passage 2:Peter BurroughsPeter Burroughs (born 27 January 1947) is a British television and film actor and the director of Willow Management. He is the father-in-law of actor and TV presenter Warwick Davis.Early careerBurroughs initially ran a shop in his village at Yaxley, Cambridgeshire.His first dramatic role was that of the character \"Branic\" in the 1979 television series The Legend of King Arthur. He also acted in the television shows Dick Turpin, The Goodies, Doctor Who in the serial The King's Demons and One Foot in the Grave.Film careerBurroughs played roles in Hollywood movies such as Flash Gordon, George Lucas' Star Wars: Episode VI – Return of the Jedi (a swinging ewok), Willow, The Dark Crystal, Labyrinth and The Hitchhiker's Guide to the Galaxy. In 1995, Burroughs set up Willow Management, an agency for short actors, along with co-actor Warwick Davis. He portrayed a bank goblin in the Harry Potter series (Harry Potter and the Philosopher's Stone and Harry Potter and the Deathly Hallows – Part 2).Personal lifeHis daughter Samantha (born 1971), is married to Star Wars: Episode VI – Return of the Jedi and Willow film star Warwick Davis. He has another daughter, Hayley Burroughs, who is also an actress. His granddaughter is Annabelle Davis.FilmographyPassage 3:Brijlal NehruBrijalal Nehru (5 May 1884 – 27 May 1964) was a noted civil servant and member of the Nehru family.He was the son of Pandit Nandlal Nehru (the elder brother of Motilal Nehru) and the cousin of Jawaharlal Nehru. Nandlal Nehru was Diwan of Khetri State for 11 years.Brijlal was born on 5 May 1884 in Allahabad and he grew up in Anand Bhawan. Brijlal had been sent to Oxford in 1905 to compete for the Indian Civil Service by Motilal Nehru.  He was a senior officer of the Audit and Accounts Service. After his retirement, he served Finance Minister of Princely State of Jammu & Kashmir during reign of Maharaja Hari Singh.He was married to Rameshwari Raina, a noted social and women activist and a freedom fighter and recipient of Padma Bhushan in 1955, Later she also won the Lenin Peace Prize in 1961.Their son was Braj Kumar Nehru (1909-2001), an administrator and Padma Vibhushan recipient.Brijlal died on 27 May 1964, the same day on which his illustrious cousin died.Passage 4:James Armour (Master mason)James Armour (15 January 1731 – 20 September 1798) was a master mason and father of Jean Armour, and therefore the father-in-law of the poet Robert Burns. His birth year was shown here as 1730. The Scotland's People database has no record of this year of birth for a James Armour. Wikitree and several other data sources have his birth date as 10th/24th January 1731. The Scotland's People database has this record but showing his baptism on 24 January 1731. His birth on the original Old Parish Record is shown as 15 January 1731 to John Armour and Margrat(sic) Picken in Kilmarnock. James named his first son John which would normally be after James's father i.e. John. The chances of there being two James's born on exactly the same date exactly one year apart appear very remote and the naming of the first child seems to validate the conclusion that James Armour was born in 1731 and not 1730.Life and backgroundAt Mauchline on 7 December 1761 he married Mary Smith, the daughter of stonemason Adam Smith. James died on 30 September 1798 and was buried in the family lair in Mauchline churchyard. His wife died in 1805 and was buried with her husband.FamilyJames' eleven offspring with Mary, were, in birth order, John, Jean, James, Robert, Adam, Helen, Mary, Robert (2nd), Mary (2nd), Janet and Robert (3rd). Three siblings died in childhood. Dr John Armour was the eldest son who was born in Mauchline on 14 November 1762 and died in 1834. He had his practice in Kincardine-on-Forth where he died and was buried. He had two children, Janet and John, and married Janet Coventry on 10 March 1787. James and Mary's son James was born in Mauchline on 26 April 1767, married Betthaia Walker in 1794, Martha in 1818 and Janet in 1822. Their offspring were James and Betthaia. Adam Armour was named after Adam Smith, James Armour's father-in-law.The Armours' single-storey house stood in Cowgate, separated from John Dove's Whitefoord Arms by a narrow lane. Jean's bedroom window looked on to a window of the inn, thereby allowing Burns to converse with her from the public house itself. The Whitefoord Inn was often frequented by Burns and was also the meeting place of the so-called Court of Equity and linked to a significant incident in the life of Jean's brother Adam regarding the mistreatment of Agnes Wilson.Occupation and social standingJames was a master mason and contractor rather than an architect, regardless of Burns' attempts to describe him as one. He is known to have carried out contract work at Dumfries House near Cumnock and tradition links him to the building of Howford Bridge on the River Ayr, Greenan Bridge on the River Doon; Skeldon House, Dalrymple; and several other bridges in Ayrshire. Both the Armours and his wife's family had been stone-masons for several generations. William Burnes, Robert Burns' cousin, was apprenticed to James Armour.James was an adherent of the 'Auld Licht' style of religion and rented at 10/8 per year one of the most expensive pews in Mauchline church. James was rigid and austere, apparently living an exemplary life. Robert Burns-Begg, Burns' great-nephew, states that in contrast to her husband, Mary Armour was \"Partaken somewhat of the gay and frivolous.\".William 'Willie' Patrick, a source of many anecdotes about Robert and his family, stated about James that \"he was only a bit mason body, wha used to snuff a guid deal and gae afen tak a bit dram!\" He went on to say regarding James' attitude to Robert Burns that \"The thing was, he hated him, and would raither hae seen the Deil himsel comin to the hoose to coort his dochter than him! He cu'dna bear the sicht o'm, and that was the way he did it!\".Association with Robert BurnsJames had disapproved of Burns's courtship of Jean, being aware of his affair with Elizabeth Paton, his 'New Licht' leanings and his poor financial situation. When informed in March 1786 by his distraught wife that Jean was pregnant he fainted and upon recovering consciousness and being given a strong cordial drink he enquired who the father was, fainting again when he was told that it was Robert Burns. The couple persuaded Jean to travel to Paisley and lodge with their relative Andrew Purdie, husband of her aunt Elizabeth Smith. Robert Wilson lived in Paisley, a possible suitor who had shown a romantic interest in Jean previously, appears to have been only part of the reason for this action, for on 8 April Mary Armour had vehemently denied to James Lamie, a member of the Kirk Session, that Jean was pregnant.Robert Burns produced a paper, probably a record of their \"Marriage by Declaration\" possibly witnessed by James Smith. This document, no longer extant, was defaced under James Armour's direction, probably by the lawyer Robert Aitken, with the names of both Robert and Jean being cut out. This act did not in fact effect its legality.  Robert wrote that James Armour's actions had \"...cut my very veins\", a feeling enhanced by Jean having handed over \"the unlucky paper\" and had agreed to go to Paisley.James Armour in the meantime forced his daughter to sign a complaint and a warrant \"in meditatione fugae\" against Robert was issued to prevent his abandoning her. Burns fled to Old Rome Forest near Gatehead in South Ayrshire, where Jean Brown, Agnes Broun's half-sister and therefore an aunt of Burns, lived with her husband, James Allan.Twins were born to Jean and Robert on 3 September 1786, named after their parents as was the kirk's protocol for children born out of wedlock. Robert, notified of the birth by Adam Armour, that Sunday went to the Armour's house with a gift of tea, sugar and a Guinea that proved most acceptable.  Robert only returned from Edinburgh in the summer of 1787 to find that he was, thanks to his newly found fame as a published poet, actively welcomed into the family.Jean however fell pregnant out of official wedlock once more, with the result that she felt forced to leave the Armour's home due to her father's anger. She was taken in by Willie Muir and his wife at Tarbolton Mill. It had previously been agreed that baby Jean would stay with her mother and baby Robert would join Bess at Mossgiel. The second set of twins did not live long and are buried, unnamed, in the Armour lair in Mauchline churchyard. Robert was in Edinburgh and did not arrive back until 23 February 1788; he then arranged accommodation for Jean.Whilst at the Brow Well Robert Burns wrote two of his last letters to his father-in-law asking that Mary Armour, who was away visiting relatives in Fife, be sent to Dumfries to help care for Jean who was heavily pregnant. On 10 July 1796 his last letter was signed \"Your most affectionate son. R. Burns.\"Upon the death of Robert Burnes his nephew Robert arranged for his cousin William to become a mason or building worker, working with James Armour, Burns' father-in-law.The Inveraray marble Punch BowlOf the many surviving Robert Burns artefacts few have such distinguished provenance as the punch bowl that was a nuptial gift in 1788 from James Armour to his daughter Jean and her new husband Robert Burns. As a stone-mason James had carved it himself (22cm x 14cm ) from dark green Inveraray marble and after residing at their various homes, Jean in 1801 presented it to her husband's great friend and Burns family benefactor Alexander Cunningham whilst she was on a visit to Edinburgh and staying with George Thomson. He had it mounted with a silver base and a rim, engraved upon which are the words “Ye whom social pleasure charms .. Come to my Bowl! Come to my arms, My FRIENDS, my BROTHERS!” taken from Burns’s “The Epistle to J. Lapraik.”Alexander died in 1812 and it was then sold at auction in 1815 for the impressive price of 80 Guineas to a London publican who, falling upon hard times,  sold it to Archibald Hastie Esq of London. A copy is held by the Robert Burns Birthplace Museum at Alloway, whilst the original is in the British Museum in London, presented to that institution by Archibald Hastie in 1858.See alsoAdam ArmourJean ArmourRobert BurnesWilliam BurnesPassage 5:John Adams (merchant)John Adams (1672 or 1673 – c. 1745) was an American-born Canadian merchant and member of the Nova Scotia Council. He was the father-in-law of Henry Newton.BiographyAdams was born in Boston in either 1672 or 1673 to John and Avis Adams. Growing up as a petty merchant, Adams joined Sir Charles Hobby's New England regiment, participating in the capture of Port-Royal in 1710. Shortly thereafter, Adams settled in Annapolis Royal, Nova Scotia, returning to civilian life. There, he traded manufactured goods with the province's Acadian and Native Americans, and took up the role of a real estate agent and contractor. Adams joined the Executive Council of Nova Scotia on 28 April 1720, holding his position there for 20 years; the records show that few served as long as he did. He also held several other public positions in the province. Adams was appointed a notary public and deputy collector of customs for Annapolis Royal in 1725, and he was commissioned a justice of the peace in March 1727.Around the mid-1720s, Adams' poor eyesight began to fail, leading to his near-blindness in 1730. After this, he was less active in community activities and trade. Adams petitioned to the king for a pension several times, but failed. He blamed his disability on over-exposure to the sun during an Indian attack on Annapolis Royal in 1724. In December 1739, Lieutenant Governor Lawrence Armstrong died. With the absence of Major Mascarene to take Armstrong's place, Adams became the new president of the council and head of the civil government. (Alexander Cosby was also vying for the position.) In a meeting on 22 March 1740, with the return of Mascarene, the councilors declared that he was the council's rightful president. This turn of events led Adams to retire to Boston in late August or early September 1740, where he stayed for the rest of his life. He died some time after 1745.NotesPassage 6:Mohammad Ilyas (cricketer)Mohammad Ilyas Mahmood  (Urdu: \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000 ; born 19 March 1946) is a former Pakistani cricketer who played in ten Test matches between 1964 and 1969.Cricket careerIlyas was an opening batsman and occasional leg-spin bowler. He played first-class cricket in Pakistan from 1961 to 1972. He scored 126 in the Third Test against New Zealand in Karachi in April 1965, when Pakistan needed 202 to win in five and half hours, and reached the target with a session to spare for the loss of only two wickets. He made his highest first-class score in December 1964, when he scored 154 against South Australia.He toured Australia a second time with the Pakistan team in 1972–73, but was injured early in the tour and omitted from the team before it left for the New Zealand leg of the tour. At the time he decided to stay in Australia to live, but he later returned to Pakistan. He served for a time as a national selector, but was dismissed in 2011 for allegedly violating the Pakistan Cricket Board's code of conduct.FamilyHe is the father-in-law of Imran Farhat and Kamran Akmal. Nazar Mohammad was his uncle.Passage 7:Rameshwari NehruRameshwari Nehru (née Rameshwari Raina; 10 December 1886 – 8 November 1966) was a social worker of India. She worked for the upliftment of the poorer classes and of women. In 1902, she married Brijlal Nehru, a nephew of Motilal Nehru and cousin of the first prime minister of independent India, Jawaharlal Nehru. Her son Braj Kumar Nehru was an Indian civil servant who served as governor of several states.She edited Stri Darpan, a Hindi monthly for women, from 1909 to 1924. She was one of the founders of All India Women's Conference (AIWC) and was elected its president in 1942. She led delegations to the  World Women's Congress in Copenhagen and the first Afro-Asian Women's Conference in Cairo (1961).Nehru was awarded the Padma Bhushan by the Government of India for her social work, in 1955, and won the Lenin Peace Prize in 1961.She was one of the signatories of the Agreement to convene a convention for drafting a world constitution. As a result, for the first time in human history, a World Constituent Assembly convened to draft and adopt a Constitution for the Federation of Earth.Passage 8:Ludwig von WestphalenJohann Ludwig von Westphalen (11 July 1770 – 3 March 1842) was a liberal Prussian civil servant and the father-in-law of Karl Marx.BiographyEarly lifeJohann Ludwig von Westphalen was born on 11 July 1770 in Bornum am Elm. He was the youngest son of Philipp von Westphalen (1724–92), who himself was the son of a Blankenburg postmaster. Philipp von Westphalen had been ennobled in 1764 with the predicate Edler von Westphalen by Duke Ferdinand of Brunswick for his military services. He had served as the duke's de facto \"chief of staff\" during the Seven Years' War. Through his mother, Jane Wishart of Pittarrow, he was the descendant of many Scottish and European noble families.He received extensive education and spoke German and English, and read Latin, Greek, Italian, French and Spanish. He studied at the Collegium Carolinum, the forerunner of today's Braunschweig University of Technology, and at Göttingen.CareerIn 1794, he entered government's service in Brunswick. In 1797 he married Elisabeth von Veltheim, who bore him four children. In 1804 he entered the government service of the Duchy of Brunswick and Lunenburg (Wolfenbüttel).With the establishment of the Napoleonic state in Westphalia (the Kingdom of Westphalia) in 1807, he entered its service. He was likely motivated in this by a desire to see reforms carried out. He did, however, oppose the French dominance of the local government, and other policies, and for his critique he was eventually arrested by orders from Louis-Nicolas Davout and imprisoned in the fortress of Gifhorn. In the same year, he lost his first wife. In the summer of 1809 Louis was appointed sub-prefect of Salzwedel, where three years later in 1812 he married Karoline Heubel; they had three children. After Salzwedel was again under Prussian administration, in 1816 Ludwig von Westphalen was transferred to the newly established regional government in Trier.Personal lifeIt was in Trier that he met and befriended Heinrich Marx, the father of Karl Marx. The children of the respective families, in particular Jenny and Edgar von Westphalen, and Sophie and Karl Marx, became close friends as well. In 1836, Jenny von Westphalen and Karl Marx became engaged; at first secretly but Ludwig approved the marriage in 1837, even though some saw Marx, who was both middle class and younger than her, as well as of Jewish descent, as an inappropriate partner for the noble daughter. In fact, Ludwig was seen as the mentor and role model of Karl Marx, who referred to him as a \"dear fatherly friend\". Ludwig filled Marx with enthusiasm for the romantic school and read him Homer and Shakespeare, who remained Marx's favorite authors all his life. Marx also read Voltaire and Racine with Ludwig. Ludwig devoted much of his time to the young Marx and the two went for intellectual walks through \"the hills and woods\" of the neighbourhood. It was Ludwig who first introduced Marx to the personality and socialist teachings of Saint-Simon. Marx dedicated his doctoral thesis \"The Difference Between the Democritean and Epicurean Philosophy of Nature\" written in 1841 to Ludwig in a most effusive manner in which Marx wrote \"You, my fatherly friend, have always been for me the living proof that idealism is no illusion, but the true reality\" In 1842, Marx was present at the deathbed of Ludwig von Westphalen. Jenny and Karl became married in 1843, a year after Ludwig's death.He was the father of Ferdinand von Westphalen, a conservative and reactionary Prussian Minister of the Interior.DeathHe died on 3 March 1842 in Trier.Passage 9:Bill DundeeWilliam Cruickshanks (born 24 October 1943) is a retired Scottish-born Australian professional wrestler and author better known by his stage name Bill Dundee. Cruickshanks is the father of Jamie Dundee and was the father-in-law of wrestler Bobby Eaton.CareerDundee was born in Angus, Scotland, and raised in Melbourne. At 16, he joined the circus as a trapeze artist. He started wrestling in Australia in 1962 and finally arrived in the United States as \"Superstar\" Bill Dundee in 1974 with his tag team partner George Barnes.Dundee made a name for himself in the Memphis Territory, where he regularly teamed and feuded with Jerry Lawler and Jimmy Valiant for years. Dundee and Lawler ventured to the American Wrestling Association in 1987 and captured the AWA World Tag Team Championship twice.As a singles wrestler, he held the Southern Heavyweight Championship belt several times from 1975 to 1985. Also, he had a successful team with \"Nature Boy\" Buddy Landel that wreaked havoc in Tennessee.Dundee had a brief run in the NWA's Jim Crockett Promotions, Central States Wrestling and Florida Championship Wrestling in 1986, where he teamed with Jimmy Garvin and feuded with Sam Houston for the NWA Central States Heavyweight Championship. He also briefly managed The Barbarian and The "}
+{"doc_id":"doc_43","qid":"","text":"Passage 1:TjuyuThuya (sometimes transliterated as Touiyou, Thuiu, Tuya, Tjuyu or Thuyu) was an Egyptian noblewoman and the mother of queen Tiye, and the wife of Yuya. She is the grandmother of Akhenaten, and great grandmother of Tutankhamun.BiographyThuya is believed to be a descendant of Queen Ahmose-Nefertari, and she held many official roles in the interwoven religion and government of ancient Egypt. She was involved in many religious cults; her titles included 'Singer of Hathor' and 'Chief of the Entertainers' of both Amun and Min. She also held the influential offices of Superintendent of the Harem of the god Min of Akhmin and of Amun of Thebes.  She married Yuya, a powerful ancient Egyptian courtier of the Eighteenth Dynasty.  She is believed to have died in around 1375 BC in her early to mid 50s.ChildrenYuya and Thuya had a daughter named Tiye, who became the Great Royal Wife of Pharaoh Amenhotep III. The great royal wife was the highest Egyptian religious position, serving alongside of the pharaoh in official ceremonies and rituals.Yuya and Thuya also had a son named Anen, who carried the titles Chancellor of Lower Egypt, Second Prophet of Amun, sm-priest of Heliopolis and Divine Father.They also may have been the parents of Ay, an Egyptian courtier active during the reign of pharaoh Akhenaten who became pharaoh after the death of Tutankhamun. However, there is no conclusive evidence regarding the kinship of Yuya and Ay, although certainly, both men came from Akhmim.TombThuya was interred in tomb KV46 in the Valley of the Kings, together with her husband Yuya, where their largely intact burial was found in 1905. It was the best-preserved tomb discovered in the Valley before that of Tutankhamun, Thuya's great-grandson. The tomb was discovered by a team of workmen led by archaeologist James Quibell on behalf of the American millionaire Theodore M. Davis. Though the tomb had been robbed in antiquity, much of its contents were still present, including beds, boxes, chests, a chariot, and the sarcophagi, coffins, and mummies of the two occupants.Thuya's large gilded and black-painted wooden sarcophagus was placed against the south wall of the tomb. It is rectangular, with a lid shaped like the sloping roof of the per-wer shrine of Upper Egypt, and sits on ornamental sledge runners, their non-functionality underscored by the three battens attached below them. Ancient robbers had partially dismantled it to access her coffins and mummy, placing its lid and one long side on a bed on the other side of the tomb; the other long side had been leaned against the south wall. Her outer gilded anthropoid coffin had been removed, its lid placed atop the beds, and the trough put into the far corner of the tomb; the lid of her second (innermost) coffin, also gilded, had been removed and placed to one side although the trough and her mummy remained inside the sarcophagus. Quibell suggests this is due to the robbers having some difficulty in removing the lid of this coffin.MummyThuya's mummified body was found covered with a large sheet of linen, knotted at the back and secured by four bandages. These bands were covered with resin and opposite each band were her gilded titles cut from gold foil. The resin coating on the lower layers of bandages preserved the impression of a large broad collar. The mummy bands that had once covered her wrapped mummy were recovered above the storage jars on the far side of the room.The first examination of her body was conducted by Australian anatomist Grafton Elliot Smith. He found her to be an elderly woman of small stature, 1.495 metres (4.90 ft) in height, with white hair. Both of her earlobes had two piercings. Her arms are straight at her sides with her hands against the outside of her thighs. Her embalming incision is stitched with thread, to which a carnelian barrel bead is attached at the lower end; her body cavity is stuffed with resin-soaked linen. When Dr. Douglas Derry, (who later conducted the first examination of Tutankhamun's mummy) assisting Smith in his examination, exposed Thuya's feet to get an accurate measurement of her height, he found her to be wearing gold foil sandals. Smith estimated her age at more than 50 years based on her outward appearance alone. Recent CT scanning has estimated her age at death to be 50–60 years old. Her brain was removed, though no embalming material was inserted, and both nostrils were stuffed with linen. Embalming packs had been placed into her eye sockets, and subcutaneous filling had been placed into her mid and lower face to restore a lifelike appearance; embalming material had also been placed into her mouth and throat. Her teeth were in poor condition at the time of her death, with missing molars. Heavy wear and abscesses had been noted in earlier x-rays. The scan revealed that she had severe scoliosis with a Cobb angle of 25 degrees. No cause of death could be determined. Her mummy has the inventory number CG 51191.Archaeological items pertaining to ThuyaPassage 2:Kaoru HatoyamaKaoru Hatoyama (\u0000\u0000 \u0000, Hatoyama Kaoru, 21 November 1888 – 15 August 1982) was an educator and an administrator, the schoolmaster of Kyoritsu Women's University, which was founded by her mother-in-law, Haruko Hatoyama. She is well known as the wife of Ichirō Hatoyama, who was the 52nd–54th Prime Minister of Japan, serving terms from December 10, 1954 through December 23, 1956. She was the mother of Iichirō Hatoyama, who was Japan's Foreign Minister from 1976 through 1977.After the elections of 2009, she became more widely known as the grandmother of Prime Minister Yukio Hatoyama and his politician brother Kunio Hatoyama.See alsoHatoyama Hall (Hatoyama Kaikan)NotesPassage 3:Anne DenmanAnne Denman (1587–1661) was born in Olde Hall, Retford, Nottinghamshire. Through a second marriage with Thomas Aylesbury, she became the grandmother of Lady Anne Hyde, Duchess of York and great-grandmother of Queen Mary II and Queen Anne.Early lifeAnne was born in Olde Hall, West Retford in around 1587. She was the younger daughter of Francis Denman of Retford and Anne (Blount) Denman. Francis (born c. 1531, died 1599) was the rector of West Retford, Notts from 1578. He was the second son of Anne Hercy by her first husband, Nicholas Denman esq of East Retford, Notts. Francis had several sons who pre-deceased him and left two daughters as his heirs: Barbara (born c. 1583) who married Edward Darell (born c. 1582); and Anne.Anne's nephew, Dr John Darrell, was the youngest child of Barbara Denman and Edward Darell, and inherited substantial properties from both the Denman and Darell families. In 1665 just before his death he made a will dividing his estate between three charities. He donated the childhood home of Anne and Barbara, Olde Hall, to create a hospital for elderly men (an alms house), which became the site for Trinity Hospital, Retford (a Grade II listed building).MarriagesAnne was married at 20 and left a widow at 23 after the death of her first husband William, the younger son of Sir Thomas Darell. William was the half-brother of her sister Barbara's husband Edward.Anne left Retford due to some unknown trouble, or loss of fortune, in 1610 and proceeded to London by waggon-coach. Wilmshurst (1908) records that there had been a lawsuit between the two sisters in 1605.After reaching London, Anne is said to have halted at a hostel called the 'Goat and Compasses', where she rested before looking out for an occupation suitable for a country lady of good birth and family. The owner (not the landlord) of the hostel was Mr Thomas Aylesbury, a rich brewer of the Parish of St Andrew's, Holborn who happened to be making an inspection of his 'Houses' and required a housekeeper for his household, engaging Anne to this position. Thomas was a widower of 34, and a year later made Anne an offer of marriage.The marriage of Anne and Thomas was recorded in the Bishop of London's Registry, dated 3 October 1611, giving the couple's address as St Andrew's, Holborn. The registry notes that the marriage has 'the consent of his father, William Aylesbury, Esquire'. She is described in the register as 'Anne Darell, of the City of London, widow, whose husband died a year before'. Edwin Wilmshurst (1908) notes that Anne's first husband, William Darrel is described as 'of London', and apparently died there. He says this suggests Anne 'may have become acquainted with Mr Thomas Aylesbury before she became so young a widow and he a widower'. He also comments that on 17 April 1611, there was a partition of Estate between Edward Darrel and Barbara his wife, and her sister Anne, by an Indenture. This took place while she was working for Thomas Aylesbury but before she married him.Marrying Thomas was fortunate for Anne, as in 1627, he was created a Baronet, Master of the Mint, and Master of the Requests, by Charles I. After the King's death, the family moved to Antwerp with other Royalists. During this time in exile, Barbara, Anne's daughter died. Lady Anne Hyde, Duchess of York, and granddaughter of Anne Denman, later noted in her pocket book that her aunt Barbara died in Antwerp in 1652 and unmarried. 'My dear Aunt Bab was, when she died, 24 years of age.' Barbara, when in exile in Holland, was attached to the then Princess of Orange, as a lady in waiting at the Hague.ChildrenThe issue of Anne Denman's marriage with Thomas Aylesbury were:William baptised in 1612 at St Margaret's Lothbury in London, died in Jamaica in 1656Thomas (probably died young)Frances born 1617 died 1667, married Edward Hyde in 1634, had issueLady Anne (1637–1671), married King James II/VIIHon. Henry, later 2nd Earl of Clarendon (1638–1709)Hon. Laurence, later 1st Earl of Rochester (1641–1711)Hon. Edward, (born c 1645, died 1665) buried 13 January 1665 having died at age 19 while a student at OxfordHon. James drowned in HMS Gloucester in 1682 in the suite of the Duke of YorkLady Frances, married Thomas Keightley, Irish revenue commissioner and privy councillor in 1675.Anne, baptised at St Margaret's and married there in 1637 to John BrighamJane (probably died young)Barbara baptised at St Margaret's, Westminster, 9 May 1627 died 1652 in Antwerp, no issue.Through her daughter Frances, Anne Denman is the maternal grandmother of Anne Hyde, the first wife of James II, and is the maternal great-grandmother of Mary II of England and Queen Anne.Sir Thomas' death and willIn 1657, Sir Thomas died in exile in Breda, aged 81. Anne returned to London. Sir Thomas's will was in favour of Anne and her daughter Frances, but was disputed. Fortunately, Anne had the help of the eminent lawyer Edward Hyde (b. 18 February 1608/9 d. 1674) who was married to her daughter Frances. The deaths of Frances' brothers and sisters meant that by the time of her father's death she was the heiress for her father's estate.Edward HydeEdward Hyde was Anne's son-in-law. The Registers of Westminster Abbey show that he married Frances, daughter of Sir Thomas Aylesbury and his wife Anne, at the Church of St Margaret's, Westminster (in which Parish Sir Thomas and Anne were resident), on 10 July 1634, under a Licence from the Dean and Chapter of Westminster, issued the same day. He was said to be 26 years of age having been born in the ninth year of King Charles' reign (1609), and was already a widower. He married his first wife Anne in 1629, and she died about six months later after catching smallpox. His second wife, Frances was about 21 upon her marriage.Edward Hyde had risen rapidly in his profession. When King Charles was at Oxford, he was knighted on 22 February 1642–3, and was then made Lord Chancellor and Privy Councillor at the age of 34. Upon King Charles' death, he had to flee from Puritan vengeance. He was with King Charles II in exile in Flanders, and in Bruges on 29 January 1657–58, he was again appointed Lord Chancellor in prospectu. With the restitution of the monarchy, Edward and Frances Hyde were now in high favour. For his long service to the King, and his fidelity to the Crown, Edward was created Baron Hyde of Hindon, Wiltshire in 1660. In 1661, he was raised to be Viscount Cornberry (in which year Frances died). He was later created Earl of Clarendon (1662), taking his title from the Estate and Park of Clarendon, near Salisbury.Edward and Frances had six children. Their daughter Lady Anne (1637–1671), married King James II/VII.Death and burialAnne Denman is interred in the Hyde family vault in Westminster Abbey. She seems to have secured the regard of her grandson-in-law, James, Duke of York, as Samuel Pepys notes in his Diary that, in 1661, The Duke of York was in mourning for his wife's grandmother, who (he adds) was thought of with a great deal of fondness — and which grandmother was Anne Denman, of the Old Manor House, West Retford, Notts, now the Trinity Hospital.Queen Anne portraitAnne Denman's childhood home, the Old Hall in Retford, was given by her nephew John Darrell in his will to become a hospital for old men of good repute. As the last member of the Denman-Darrell family, he carried out the wishes of his father, Edward, in this respect. The Old Hall became Trinity Hospital, on Hospital Road, Retford. It is administered by a Trust which owns considerable property around Retford. A portrait of Queen Anne in Trinity Hospital was recently attributed (1999) by the auctioneers Phillips to Sir Godfrey Kneller. John was the nephew of Anne Denman, the first cousin of Frances Hyde, and therefore a cousin twice removed of Queen Anne.== Notes ==Passage 4:Mona Hopton BellMona Hopton Bell (1867–1940) was a British artist, best known for her portraits of civic figures.She was the grandmother of the painter Jean H. Bell.Passage 5:Archduke Leopold Salvator of AustriaArchduke Leopold Salvator, Prince of Tuscany (Leopold Salvator Maria Joseph Ferdinand Franz von Assisi Karl Anton von Padua Johann Baptist Januarius Aloys Gonzaga Rainer Wenzel Galius von Österreich-Toskana) (15 October 1863 – 4 September 1931), was the son of Archduke Karl Salvator of Austria and Princess Maria Immaculata of Bourbon-Two Sicilies.BiographyLeopold was born in Stará Boleslav, Bohemia. He was a member of the House of Habsburg-Lorraine, and held the title Archduke of Austria.He was a Knight in the Order of the Golden Fleece and was awarded Order of the White Eagle.Marriage and issueOn October 24, 1889 Leopold Salvator married Infanta Blanca of Spain (1868-1949), eldest daughter of Carlos, Duke of Madrid. They had 10 children: Archduchess Dolores of Austria (5 May 1891 – 10 April 1974)Archduchess Immaculata of Austria (9 September 1892 – 3 September 1971); married in 1932 Nobile Igino Neri-Serneri.Archduchess Margaretha of Austria (8 May 1894 – 21 January 1986); married in 1937 Francesco Maria Taliani de Marchio.Archduke Rainer of Austria (21 November 1895 – 25 May 1930)Archduke Leopold of Austria (30 January 1897 – 14 March 1958); married morganatically in 1919 Dagmar Baroness Nicolics-Podrinska; they were married until 1931. He married secondly in 1932 (also morganatically) Alicia Gibson Coburn.Archduchess Maria Antonia of Austria (13 July 1899 – 22 October 1977); married in 1924 Don Ramón de Orlandis y Villalonga (died 1936); married secondly in 1942 Luis Perez Sucre.Archduke Anton of Austria (20 March 1901 – 22 October 1987); was married from 1931 to 1954 to Princess Ileana of Romania.Archduchess Assunta of Austria (10 August 1902 – 24 January 1993); was married from 1939 to 1950 to Joseph Hopfinger.Archduke Franz Josef of Austria (4 February 1905 – 9 May 1975); married morganatically in 1937 Maria Aloisa Baumer; the marriage ended the following year in 1938. He married secondly in 1962 (also morganatically) Maria Elena Seunig.Archduke Karl Pius of Austria (4 December 1909 – 24 December 1953); was married from 1938 to 1950 to Christa Satzger de Bálványos.AncestryPassage 6:Archduchess Dolores of AustriaArchduchess Dolores of Austria German: Dolores Erzherzogin von Österreich-Toskana;(5 May  1891 – 10 April 1974) was a daughter of Archduke Leopold Salvator of Austria. She was member of the Tuscan branch of the Imperial House of Habsburg, an Archduchess of Austria and Princess of Tuscany by birth. After the fall of the Austro Hungary Empire, she lived under reduced circumstances with her family in Spain, Austria, and Italy. She died unmarried.Early lifeArchduchess Dolores was born in Lemberg, Austria, the eldest child of Archduke Leopold Salvator of Austria (1863–1931) and of his wife Blanca de Borbón y de Borbón-Parma (1868–1949). Her mother was the eldest daughter of Carlos, Duke of Madrid, Carlist claimant to the throne of Spain. Dolores was given the baptismal names Maria de los Dolores Beatrix Carolina Blanca Leopoldina  von Habsburg-Lothringen.Archduchess Dolores grew up in the last period of the   Austrian-Hungarian Empire. She was educated in splendor. Her father, who had followed a career in the army, was also an inventor with a number of military patents under his name. Her mother was the domineering force in the family. Theirs was a multi-cultural household. Dolores's paternal ancestors had reigned in Austria, Tuscany and the Kingdom of the Two Sicilies. Her mother's family had reigned in Spain, Parma and France.Archduchess Dolores was educated with her sisters Immaculata and Margaretha. The three sisters, very close in age, were artistically inclined.  Dolores was particularity skillful at drawing. Her education emphasised languages, and in addition to her native German, she learned French, Spanish, Hungarian and Italian. The family was wealthy. They had the Palais Toskana in Vienna and Schloss Wilhelminenberg as their country state. Vacations were spent in Italy where Infanta Blanca owned a rural property near Viareggio. During World War I, Archduchess Dolores's father and two eldest brothers fought with the Austro-Hungarian army.ExileAt the fall of Habsburg monarchy, the republican government of Austria confiscated all the properties of the Habsburgs. Dolores' family lost all their fortune. Her two eldest brothers, Archdukes Rainer and Leopold, decided to remain in Austria and recognized the new republic. Dolores with her parents and her other siblings emigrated to Spain. In January  1919 they arrived in Barcelona where they settled for over a decade. They lived modestly. While in Wilhelminenberg the family employed no less than 80 servants to attend their large household, by contrast in Barcelona, Dolores her mother and sisters had to fence for themselves doing the house chores. With income from her father's military patents in France and with the sell of some of her mother jewels they were able to buy a house in Barcelona. Archduchess Dolores remained unmarried. She was mildly handicapped by a limp since childhood.The convulsed political situation in Spain during  the Second Spanish Republic made the family returned to Austria. They were able to rent three rooms at their former residence in Vienna, the Palais Toskana. In March 1938 Hitler annexed Austria and Archduchess Dolores with her mother and youngest brother moved to Tenuta Reale, a villa belonging to his mother's family near Viareggio in Italy. As the situation there became increasingly dire due to the war, Archduchess Dolores her mother, her youngest brother, Archduke Karl, and his family moved back to  Barcelona. When the war ended they returned to Viareggio.After the death of her mother, Archduchess Dolores returned to live in Barcelona. In the 1960s her family lost contact with her. It was later discovered that she was living in Lleida being held in semi imprisonment by the family of the postman who used to deliver her letters. They were trying to get hold on her inheritance. Rescued by her sister Margaretha, Dolores remained at Tenuta Reale for the rest of her life living with her sisters  Margaretha and Immaculata who were by then widows. She died on 10 April 1974 at age 82 at Viareggio, Italy.AncestryNotesBibliographyHarding, Bertita. Lost Waltz: A Story of Exile. Bobbs-Merrill, 1944. ASIN: B0007DXCLYMcIntosh, David. The Unknown Habsburgs. Rosvall Royal Books, 2000, ISBN 91-973978-0-6Mateos Sainz de Medrano, Ricardo. An Unconventional Family. Royalty Digest N 37 July 1994.Passage 7:Hubba bint HulailHubba bint Hulail (Arabic: \u0000\u0000\u0000 \u0000\u0000\u0000 \u0000\u0000\u0000\u0000) was the grandmother of Hashim ibn 'Abd Manaf, thus the great-great-great-grandmother of the Islamic prophet Muhammad.BiographyHubbah was the daughter of Hulail ibn Hubshiyyah ibn Salul ibn Ka’b ibn Amr al-Khuza’i of Banu Khuza'a who was the trustee and guardian of the Ka‘bah (Arabic: \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000, 'Cube'). She married Qusai ibn Kilab and after her father died, the keys of the Kaaba were committed to her. Qusai, according to Hulail's will, had the trusteeship of the Kaaba after him.Hubbah never gave up ambitious hopes for the "}
+{"doc_id":"doc_44","qid":"","text":"Passage 1:Ben PalmerBen Palmer (born 1976) is a British film and television director.His television credits include the Channel 4 sketch show Bo' Selecta! (2002–2006), the second and third series of the E4 sitcom TheInbetweeners (2009–2010) and the Sky Atlantic comedy-drama Breeders (2020). Palmer has also directed films such as the Inbetweeners spin-off, The Inbetweeners Movie (2011) and the romantic comedy Man Up(2015).BiographyPalmer was born and raised in Penny Bridge, Barrow-in-Furness. He attended Chetwynde School.His first directing job was the Channel 4 sketch show Bo' Selecta!, which he co-developed with its mainstar, Leigh Francis. Palmer directed the second and third series of the E4 sitcom The Inbetweeners in 2009 and 2010, respectively.FilmographyBo' Selecta! (2002–06)Comedy Lab (2004–2010)Bo! in the USA (2006)TheInbetweeners (2009–2010)The Inbetweeners Movie (2011)Comedy Showcase (2012)Milton Jones's House of Rooms (2012)Them from That Thing (2012)Bad Sugar (2012)Chickens (2013)London Irish (2013)Man Up(2015)SunTrap (2015)BBC Comedy Feeds (2016)Nigel Farage Gets His Life Back (2016)Back (2017)Comedy Playhouse (2017)Urban Myths (2017–19)Click & Collect (2018)Semi-Detached (2019)Breeders(2020)Passage 2:Mel WellesMel Welles (February 17, 1924 – August 19, 2005) was an American film actor and director. His best-remembered role may be that of hapless flower shop owner Gravis Mushnick in the 1960low-budget Roger Corman dark comedy, The Little Shop of Horrors.Life and careerWelles was born Ira W. Meltcher in the Bronx, New York City, son of Max and Sally Grichewsky Meltcher. He was raised in MountCarmel, Pennsylvania and graduated from Mt. Carmel High School, in 1940. He went on to receive a Bachelor of Arts degree from Penn State University, a Master of Arts degree from West Virginia University, and aPh.D. in psychology from Columbia University.Welles held a number of jobs during his lifetime; at one time or another he worked as a clinical psychologist, radio DJ, television actor, writer and film director. He did somestage work before traveling to Hollywood, where in 1953 he appeared in his first film, Appointment in Honduras. His favorite role (The Little Shop of Horrors) was also his last in the U.S. for many years.In the early1960s, he left the United States initially to make a film in Germany. After the producer was arrested he travelled to Rome to act, produce and direct mostly uncredited primarily in Europe several film productionsincluding the cult horror films Maneater of Hydra (1967) and Lady Frankenstein (1971). His fluency in five languages proved to be most helpful where he started a dubbing company that by his own estimate dubbedover 800 European made films. He also served as a film consultant. Later, he returned to the U.S., appearing in a number of films, doing voice work, and teaching voice acting.Probably his most widely seen work in thelate 1970s was his English adaptation of the Japanese television show, Spectreman which was seen on UHF and cable across the United States. While he shares writing credit with two other people, it's clear that most ofthe English voice work, and the offbeat humor, is his. Reportedly, Welles also wrote gag material for Lord Buckley at some point in his career.In 1998, Welles took to the stage in a community theater production of LittleShop of Horrors as Mushnik, the role he created in the original Roger Corman film. Welles had never performed in the musical and was happy to be asked to do the role, which he described as a \"mitzvah\" for ScottsValley Performing Arts. Jonathan Haze, who played Seymour in the original film, attended the opening, and Welles also received a visit from Martin P. Robinson, the designer of the Audrey II plant puppets used in theoff-Broadway production (Robinson is also famous for his puppetry on Sesame Street).Arguably his most remembered piece is the beat poem he wrote for the classic film High School Confidential (1958).  Famouslydelivered by Phillipa Fallon, Dragsville, has become a classic piece of literary and cinema history.Welles was working on a horror screenplay, tentatively titled House of a Hundred Horrors, at the time of hisdeath.FilmographyNotesExternal linksMel Welles at IMDbPassage 3:Edward LudwigEdward Irving Ludwig (October 7, 1899 – August 20, 1982) was a Russian-born American film director and writer. He directed nearly100 films between 1921 and 1963 (some under the names Edward I. Luddy and Charles Fuhr).Ludwig was born in Ukraine, then part of the Russian Empire, entered the United States from Canada on March 6, 1911,became a naturalized citizen December 23, 1932, and died in Santa Monica, California.Partial filmographyPassage 4:The Fighting SeabeesThe Fighting Seabees is a 1944 war film, directed by Edward Ludwig and starringJohn Wayne and Susan Hayward. The supporting cast includes Dennis O'Keefe, William Frawley, Leonid Kinsky, Addison Richards and Grant Withers. The Fighting Seabees portrays a heavily fictionalized account of thedilemma that led to the creation of the U.S. Navy's \"Seabees\" in World War II. At the 17th Academy Awards, the film received a nomination for Best Scoring of a Dramatic or Comedy Picture for Walter Scharf and RoyWebb but the award went to Max Steiner for Since You Went Away.Plot\"Wedge\" Donovan is a tough construction boss, building airstrips in the Pacific for the US Navy during World War II. He clashes with his liaisonofficer, Lieutenant Commander Robert Yarrow, over the fact that his men are not allowed to arm themselves against the Japanese.When the enemy lands in force on the island, Donovan's men want to help fight.Donovan initially tries to dissuade them, but after a Japanese fighter kills or wounds several workers, he changes his mind and leads his men into the fray. This prevents Yarrow from springing a carefully devised trapthat would have wiped out the invaders in a murderous machine gun crossfire, with minimal American losses. Instead, many of Donovan's men are killed unnecessarily.As a result of this tragedy, Yarrow finallyconvinces the Navy to form Construction Battalions (CBs, or the more familiar \"Seabees\") with Donovan's assistance, despite their mutual romantic interest in war correspondent Constance Chesley. Donovan and manyof his men enlist and receive formal military training.The two men are teamed together on another island. The Japanese launch a major attack, which the Seabees barely manage to hold off, sometimes using heavyconstruction machinery such as bulldozers and a clamshell bucket.When word reaches Donovan of another approaching enemy column, there are no sailors left to counter this new threat. In desperation, he rigs abulldozer with explosives on its blade, intending to ram it into a petroleum storage tank. The plan works, sending a cascade of burning liquid into the path of the Japanese, who retreat in panic, right into the sights ofwaiting machine guns.  However, Donovan is shot in the process and dies in the explosion.CastProductionThe Fighting Seabees had the biggest budget in Republic's history, $1.5 million. The film was completed incollaboration with the US Navy and the US Marine Corps, and took place on several bases in California (Camp Hueneme and Camp Pendleton), Virginia (Camp Peary) and Rhode Island (Camp Endicott). Principalphotography took place from September 20  to early December 1943.The bulk of the outdoor locations for The Fighting Seabees was filmed on the Iverson Movie Ranch in Chatsworth, Calif., widely considered to be themost heavily filmed outdoor filming location in the history of film and television. The production took over virtually the entire 500-acre location ranch for a period of time in 1943, constructing extensive sets on both theUpper Iverson and the Lower Iverson. Palm trees were brought in to transform Iverson's rocky Western landscape into a version of the Pacific islands where the film's action was set.A massive landing strip wasconstructed on the Upper Iverson to simulate the takeoffs and landings of combat aircraft, as well as enemy bombing raids on the U.S.-built installation. On other parts of the ranch, Quonset huts, observation towers,large fuel tanks and other props were built, with the construction process in many cases filmed and featured as part of the film. Graphic scenes depicting tank battles, sniper attacks and hand-to-hand combat werefilmed in the Iverson Gorge, Garden of the Gods and other sections of the movie ranch, in one of the largest productions in the ranch's history.The aircraft in The Fighting Seabees were:Brewster F2A-3 BuffaloDouglasTBD DevastatorDouglas SBD DauntlessMitsubishi Ki-21Grumman F4F-3 WildcatPropagandaDuring World War Two, the enemy in Europe was Nazism, while the enemy in the Pacific was the entire race of Japanesepeople, according to Dower. Japanese atrocities including the Rape of Nanking, the Bataan Death March, and the kamikaze pilots were partly to blame for these attitudes, but other aspects such as the Attack on PearlHarbor were also at work. As a result of these attitudes, anti-Japanese attitudes were common, including in films of the time. In 'The Fighting Seabees', Dennis O'Keefe informs John Wayne \"We're not fighting menanymore, we're fighting animals.\"  The films climactic scene shows Wayne as he punctures and ignites a large fuel tank, flooding the advancing enemy with burning oil. '\"That'll scorch those Nips back six generations,\"he exults.'ReceptionFilm historian Leonard Maltin in Leonard Maltin's 2013 Movie Guide (2012) considered The Fighting Seabees, \"action-packed\" and \"spirited\". Film historian Alun Edwards in Brassey's Guide to WarFilms (2000) was more effusive in his evaluation: \"With oodles of eulogies and even a Seabees song to sing, you can't fail to leave the Roxy dewey-eyed and with Stars and Stripes fluttering.\"A positive review in theRushville Republican included as highlights expertly scened battle sequences, tense dramatic interludes, moments of comedy contrasting with moments of suspense; concluding that this film is 'among the mostspectacular ever filmed in Hollywood.' This review also drew attention to the fact that the 'Seabees' are less known to the public than most other branches of service, despite providing invaluable service: 'They are, quiteliterally, the \"men in front of the man behind the gun.\" They land in combat zones ahead of the troops, and prepare docks, landing fields, barracks, everything that the invading troops require.'See alsoJohn WaynefilmographyList of American films of 1944Passage 5:Edward YatesEdward J. Yates (September 16, 1918 – June 2, 2006) was an American television director who was the director of the ABC television program AmericanBandstand from 1952 until 1969.BiographyYates became a still photographer after graduating from high school in 1936. After serving in World War II, he became employed by Philadelphia's WFIL-TV as a boommicrophone operator. He was later promoted to cameraman (important as most programming was done live and local during the early years of television) and earned a bachelor's degree in communications in 1950 fromthe University of Pennsylvania.In October 1952, Yates volunteered to direct Bandstand, a new concept featuring local teens dancing to the latest hits patterned after the \"950 Club\" on WPEN-AM. The show debuted withBob Horn as host and took off after Dick Clark, already a radio veteran at age 26, took over in 1956.It was broadcast live in its early years, even after it became part of the ABC network's weekday afternoon lineup in1957 as American Bandstand. Yates pulled records, directed the cameras, queued the commercials and communicated with Clark via a private line telephone located on his podium.In 1964, Clark moved the show to LosAngeles, taking Yates with him.Yates retired from American Bandstand in 1969, and moved his family to the Philadelphia suburb of West Chester.He died in 2006 at a nursing home where he had been for the last twomonths of his life.External linksEdward Yates at IMDbPassage 6:Catherine I of RussiaCatherine I Alekseevna Mikhailova (Russian: Екатери́на I Алексе́евна Миха́йлова, tr. Ekaterína I Alekséyevna Mikháylova; bornPolish: Marta Helena Skowrońska, Russian: Ма́рта Самуи́ловна Скавро́нская, tr. Márta Samuílovna Skavrónskaya; 15 April [O.S. 5 April] 1684 – 17 May [O.S. 6 May] 1727) was the second wife and empress consort ofPeter the Great, and empress regnant of Russia from 1725 until her death in 1727.Life as a servantThe life of Catherine I was said by Voltaire to be nearly as extraordinary as that of Peter the Great himself. Onlyuncertain and contradictory information is available about her early life. Said to have been born on 15 April 1684 (o.s. 5 April), she was originally named Marta Helena Skowrońska. Marta was the daughter of SamuelSkowroński (later spelled Samuil Skavronsky), a Roman Catholic farmer from the eastern parts of the Polish–Lithuanian Commonwealth, born to Minsker parents. In 1680 he married Dorothea Hahn at Jakobstadt. Hermother is named in at least one source as Elizabeth Moritz, the daughter of a Baltic German woman and there is debate as to whether Moritz's father was a Swedish officer. It is likely that two stories were conflated, andSwedish sources suggest that the Elizabeth Moritz story is probably incorrect. Some biographies state that Marta's father was a gravedigger and handyman, while others speculate that he was a runaway landlessserf.Marta's parents died of the plague around 1689, leaving five children. According to one of the popular versions, at the age of three Marta was taken by an aunt and sent to Marienburg (the present-day Alūksne inLatvia, near the border with Estonia and Russia) where she was raised by Johann Ernst Glück, a Lutheran pastor and educator who was the first to translate the Bible into Latvian. In his household she served as a lowlyservant, likely either a scullery maid or washerwoman.  No effort was made to teach her to read and write and she remained illiterate throughout her life.Marta was considered a very beautiful young girl, and there areaccounts that Frau Glück became fearful that she would become involved with her son. At the age of seventeen, she was married off to a Swedish dragoon, Johan Cruse or Johann Rabbe, with whom she remained foreight days in 1702, at which point the Swedish troops were withdrawn from Marienburg. When Russian forces captured the town, Pastor Glück offered to work as a translator, and Field Marshal Boris Sheremetev agreedto his proposal and took him to Moscow.There are unsubstantiated stories that Marta worked briefly in the laundry of the victorious regiment, and also that she was presented in her undergarments to Brigadier GeneralRudolph Felix Bauer, later the Governor of Estonia, to be his mistress. She may have worked in the household of his superior, Sheremetev. It is not known whether she was his mistress, or household maid.  Shetravelled back to the Russian court with Sheremetev's army.Afterwards she became part of the household of Prince Alexander Menshikov, who was the best friend of Peter the Great of Russia. Anecdotal sources suggestthat she was purchased by him. Whether the two of them were lovers is disputed, as Menshikov was already engaged to Darya Arsenyeva, his future wife. It is clear that Menshikov and Marta formed a lifetimealliance.It is possible that Menshikov, who was quite jealous of Peter's attentions and knew his tastes, wanted to procure a mistress on whom he could rely. In any case, in 1703, while visiting Menshikov at his home,Peter met Marta. In 1704, she was well established in the Tsar's household as his mistress, and gave birth to a son, Peter. In 1703, she converted to Orthodoxy and took the new name Catherine Alexeyevna (YekaterinaAlexeyevna). She and Darya Menshikova accompanied Peter and Menshikov on their military excursions.Marriage and family lifeThough no record exists, Catherine and Peter are described as having married secretlybetween 23 October and 1 December 1707 in Saint Petersburg. They had twelve children, two of whom survived into adulthood, Anna (born 1708) and Elizabeth (born 1709).Peter had moved the capital to St.Petersburg in 1703. While the city was being built he lived in a three-room log cabin with Catherine, where she did the cooking and caring for the children, and he tended a garden as though they were an ordinarycouple. The relationship was the most successful of Peter's life and a great number of letters exist demonstrating the strong affection between Catherine and Peter. As a person she was very energetic, compassionate,charming, and always cheerful. She was able to calm Peter in his frequent rages and was often called in to do so.Catherine went with Peter on his Pruth Campaign in 1711. There, she was said to have saved Peter andhis Empire, as related by Voltaire in his book Peter the Great. Surrounded by overwhelming numbers of Turkish troops, Catherine suggested before surrendering, that her jewels and those of the other women be used inan effort to bribe the Ottoman grand vizier Baltacı Mehmet Pasha into allowing a retreat.Mehmet allowed the retreat, whether motivated by the bribe or considerations of trade and diplomacy. In any case Peter creditedCatherine and proceeded to marry her again (this time officially) at Saint Isaac's Cathedral in St. Petersburg on 9 February 1712.  She was Peter's second wife; he had previously married and divorced EudoxiaLopukhina, who had borne him the Tsarevich Alexis Petrovich. Upon their wedding, Catherine took on the style of her husband and became Tsarina. When Peter elevated the Russian Tsardom to Empire, Catherinebecame Empress. The Order of Saint Catherine was instituted by her husband on the occasion of their wedding.IssueCatherine and Peter had twelve children, all of whom died in childhood except Anna andElizabeth:Peter Petrovich (1704–1707), died in infancyPaul Petrovich (October 1705–1707), died in infancyCatherine Petrovna (7 February 1707–7 August 1708)Grand Duchess Anna Petrovna (27 January 1708–15 May1728)Grand Duchess Elizabeth Petrovna (29 December 1709–5 January 1762)Grand Duchess Mary Natalia Petrovna (20 March 1713–17 May 1715)Grand Duchess Margaret Petrovna (19 September 1714–7 June1715)Grand Duke Peter Petrovich (9 November 1715–6 May 1719)Grand Duke Paul Petrovich (13 January 1717–14 January 1717)Grand Duchess Natalia Petrovna (31 August 1718–15 March 1725)Grand Duke PeterPetrovich (7 October 1723–7 October 1723)Grand Duke Paul Petrovich (1724–1724)SiblingsUpon Peter's death, Catherine found her four siblings, Krystyna, Anna, Karol, and Fryderyk, gave them the newly created titlesof Count and Countess, and brought them to Russia.Krystyna Skowrońska, renamed Christina (Russian: Христина) Samuilovna Skavronskaya (1687–14 April 1729), had married Simon Heinrich (Russian: СимонГейнрих) (1672–1728) and their descendants became the Counts Gendrikov.Anna Skowrońska, renamed Anna Samuilovna Skavronskaya, had married one Michael-Joachim N and their descendants became the CountsEfimovsky.Karol Skowroński, renamed Karel Samuilovich Skavronsky, was created a Count of the Russian Empire on 5 January 1727 and made a Chamberlain of the Imperial Court; he had married Maria Ivanovna, aRussian woman, by whom he had descendants who became extinct in the male line with the death of Count Paul Martinovich Skavronskyi (1757-1793), father of Princess Catherine Bagration.Fryderyk Skowroński,renamed Feodor Samuilovich Skavronsky, was created a Count of the Russian Empire on 5 January 1727 and was married twice: to N, a Lithuanian woman, and to Ekaterina Rodionovna Saburova, without havingchildren by either of them.Reign as empress regnantCatherine was crowned in 1724. The year before his death, Peter and Catherine had an estrangement over her support of Willem Mons, brother of Peter's formermistress Anna, and brother to one of the current ladies in waiting for Catherine, Matryona. He served as Catherine's secretary. Peter had fought his entire life to clear up corruption in Russia. Catherine had a great dealof influence over who could gain access to her husband. Willem Mons and his sister Matryona had begun selling their influence to those who wanted access to Catherine and, through her, to Peter. Apparently this hadbeen overlooked by Catherine, who was fond of both. Peter found out and had Willem Mons executed and his sister Matryona exiled. He and Catherine did not speak for several months. Rumors flew that she and Monshad had an affair, but there is no evidence for this.Peter died (28 January 1725 Old Style) without naming a successor. Catherine represented the interests of the \"new men\", commoners who had been brought to"}
+{"doc_id":"doc_45","qid":"","text":"Passage 1:Gerald Rudolff FordGerald Rudolff Ford (December 9, 1890 – January 26, 1962) was an American businessman and Republican politician who was the stepfather of U.S. President Gerald Ford and for whomFord legally changed his name.Early lifeFord was born in Grand Rapids, Michigan, where he raised the future President. His parents were George R. and Frances (Pixley) Ford.The senior Ford's father George Ford died ina train accident in 1903 forcing him to drop out of school to support the family.  He was working as a paint salesman at the Grand Rapids Wood Finishing Company when he met the future president's mother DorothyAyer Gardner King. Dorothy had fled to Michigan from Omaha, Nebraska, in 1913, 16 days after the President's birth, after her husband (and her son's birth father), Leslie Lynch King Sr., had physically abused her. Shecame to Grand Rapids to be near her parents, Levi Addison Gardner and Adele Augusta Ayer Gardner, who lived in the town.FamilyThe couple married on February 1, 1917, following Dorothy's divorce from King whenthe future president was three and began calling Dorothy's first son \"Gerald.\"Gerald Rudolff Ford and Dorothy Ford had three children – sons Thomas Gardner Ford (July 15, 1918 – August 28, 1995); Richard AddisonFord (June 3, 1924 – March 20, 2015); and James Francis Ford (August 11, 1927 – January 23, 2001).The president was to write later that in the household there were three rules for him and his half brothers: \"tell thetruth, work hard and come to dinner on time.\"The elder Ford founded the Ford Paint and Varnish Company in 1929 just before the Great Depression. After the Depression hit, Ford asked his employees to work for$5/week and likewise paid himself the same salary until all could be paid more.The future president was enrolled in the Grand Rapids school system under the name of his stepfather.   When the president's birth fatherLeslie Lynch King reappeared in 1929 (or 1930 depending on accounts), he stopped at schools searching for a \"Leslie King\" before finding him at Grand Rapids South High School after asking for a \"Junior Ford.\"Thefuture president turned down an offer from his biological father to move with him to Wyoming.Leslie's father Charles King had been paying child support for Ford until 1929 when the stock market crash wiped out hisfortune. After Leslie's father died, Dorothy sought an order to get money from the $50,000 Leslie had inherited. However, since Leslie had moved to Wyoming he was out of the jurisdiction of the Nebraska court.Theelder Ford never legally adopted the president. The president changed his name in 1935 after the deaths of his paternal King family grandparents to an Anglicized version of his stepfather's name: Gerald RudolphFord.Early careerThe elder Ford was active on various functions including the formation of the Youth Commonwealth to help disadvantaged youth. He was director of the Grand Rapids Chamber of Commerce andchairman of the Kent County, Michigan Republican Committee from 1944 until 1948 when he stepped down after the future President began his first run for Congress.The elder Ford was active with his four sons in theBoy Scouts of America. The future President would be the first Eagle Scout to become Vice President or President. The President was to say later that the award was one of his proudest accomplishments.The Presidentwas to write later:He was the father that I grew up to believe was my father, the father I loved and learned from and respected. He was my dad... Dad was one of the truly outstanding people I ever knew in mylife.DeathThe elder Ford died on January 26, 1962, in Grand Rapids, Michigan. He and his wife are buried in Woodlawn Cemetery in Grand Rapids.Passage 2:Caroline KennedyCaroline Bouvier Kennedy (born November27, 1957) is an American author, attorney, and diplomat serving as the United States Ambassador to Australia since 2022. She previously served in the Obama administration as the United States Ambassador to Japanfrom 2013 to 2017. A prominent member of the Kennedy family, she is the only surviving child of former U.S. president John F. Kennedy (JFK) and former first lady Jacqueline Bouvier Kennedy.JFK won the 1960presidential election when Caroline was two years old. Spending her early childhood years in the White House during the Kennedy Administration, she was almost six when he was assassinated on November 22, 1963.The following year, she and her brother John F. Kennedy Jr. moved with their mother Jacqueline to the Upper East Side of Manhattan, where Caroline attended grade school.Kennedy graduated from Harvard Universityand worked at Manhattan's Metropolitan Museum of Art, where she met her future husband, exhibit designer Edwin Schlossberg. She later earned a J.D. degree from Columbia Law School. Most of Kennedy'sprofessional life has been in law, politics, education reform, and charitable work. She has also acted as a spokesperson for her family's legacy, especially that of her father, and co-authored two books with EllenAlderman on civil liberties.Early in the primary race for the 2008 presidential election, Kennedy and her uncle, Ted Kennedy, endorsed Democratic candidate Barack Obama. She later stumped for him in Florida, Indiana,and Ohio, served as co-chair of his Vice Presidential Search Committee, and addressed the 2008 Democratic National Convention in Denver.After Obama selected United States senator Hillary Clinton to serve assecretary of state, Kennedy expressed interest in being appointed to Clinton's vacant Senate seat from New York, but later withdrew from consideration for personal reasons. In 2013, President Obama appointedKennedy as the United States ambassador to Japan. Eight years later, Joe Biden appointed Kennedy as United States ambassador to Australia and she took office following her confirmation on June 10, 2022.EarlylifeWhite House yearsCaroline Bouvier Kennedy was born by caesarean section on November 27, 1957, at New York Hospital in Manhattan's Upper East Side to John Fitzgerald Kennedy (then a U.S. senator fromMassachusetts) and Jacqueline Lee Bouvier Kennedy.  A year before Caroline's birth, her parents had a stillborn daughter. Caroline had a younger brother, John Jr., who was born just before her third birthday in 1960.Another brother, Patrick, died two days after his premature birth in 1963. Caroline lived with her parents in Georgetown, Washington, D.C. during the first three years of her life. When Caroline was three years old, thefamily moved to the White House after her father was sworn in as the president of the United States.Caroline frequently attended kindergarten in classes that were organized by her mother, and she was oftenphotographed riding her pony \"Macaroni\" around the White House grounds. One such photo in a news article inspired singer-songwriter Neil Diamond to write his Top Ten hit song, \"Sweet Caroline\", which he revealedwhen he performed it for Caroline's 50th birthday. As a small child, Caroline received numerous gifts from dignitaries, including a puppy from Soviet Premier Nikita Khrushchev and a Yucatán pony from Vice PresidentLyndon B. Johnson.  A short-lived comic strip was created about her.Historians described Caroline's childhood personality as \"a trifle remote and a bit shy at times\" yet \"remarkably unspoiled.\" \"She's too young torealize all these luxuries\", her paternal grandmother, Rose Kennedy, said of her. \"She probably thinks it's natural for children to go off in their own airplanes. But she is with her cousins, and some of them dance andswim better than she. They do not allow her to take special precedence. Little children accept things\".On the day of JFK's assassination on November 22, 1963, nanny Maud Shaw took Caroline and John Jr. away fromthe White House to the home of their maternal grandmother, Janet Bouvier Auchincloss, who insisted that Shaw would be the one to tell Caroline that her father was assassinated. That evening, Caroline and John Jr.returned to the White House, and while Caroline was sleeping in her bed, Shaw broke the news to her. Shaw soon found out that Jacqueline had wanted to be the one to tell the two children; this caused a rift betweenShaw and Jacqueline. On December 6, two weeks after the assassination, Jacqueline, Caroline, and John Jr. moved out of the White House and returned to Georgetown. However, their new home soon became a populartourist attraction. The family left Georgetown the following year and later moved to a penthouse apartment at 1040 Fifth Avenue on the Upper East Side.Later childhood yearsIn 1967, Caroline christened the U.S. Navyaircraft carrier USS John F. Kennedy in a widely publicized ceremony in Newport News, Virginia. Over that summer, Jacqueline took the children on a six-week \"sentimental journey\" to Ireland, where they met PresidentÉamon de Valera and visited the Kennedy ancestral home at Dunganstown. In the midst of the trip, Caroline and John were surrounded by a large number of press photographers while playing in a pond. The incidentcaused their mother to telephone Ireland's Department of External Affairs and request the issuing of a statement that she and the children wanted to be left in peace. As a result of the request, further attempts by pressphotographers to photograph the threesome ended with arrests by local police and the photographers being jailed.Robert F. Kennedy became a major presence in the lives of Caroline and John Jr. following their father'sassassination, and Caroline saw her uncle as a surrogate father. However, when Bobby Kennedy was assassinated in 1968, Jacqueline sought a means of protecting her children, stating: \"I hate this country.  I despiseAmerica and I don't want my children to live here anymore.  If they're killing Kennedys, my kids are the number one targets.  I have the two main targets.  I want to get out of this country\". Jacqueline Kennedy marriedGreek shipping tycoon Aristotle Onassis several months later and she and the children moved to Skorpios, his Greek island. The next year, 11-year-old Caroline attended the funeral of her grandfather, Joseph P.Kennedy Sr. Her cousin, David, asked her about her feelings towards her mother's new husband and she replied, \"I don't like him\".In 1970, Jacqueline wrote her brother-in-law Ted Kennedy a letter stating that Carolinehad been without a godfather since Robert Kennedy's death and would like Ted to assume the role. Ted began making regular trips from Washington to New York to see Caroline, where she was in school. In 1971,Caroline returned to the White House for the first time since her father's assassination when she was invited by President Richard Nixon to view the official portrait of her father.Onassis died in March 1975, and Carolinereturned to Skorpios for his funeral. A few days later she and her mother and brother attended the presentation by French president Valéry Giscard d'Estaing of the Legion of Honor award to her aunt, Eunice KennedyShriver. Later that year, Caroline was visiting London to complete a year-long art course at the Sotheby's auction house, when an IRA car bomb placed under the car of her hosts, Conservative MP Sir Hugh Fraser andhis wife, Antonia, exploded shortly before she and the Frasers were due to leave for their daily drive to Sotheby's. Caroline had not yet left the house, but a neighbor, oncologist Professor Gordon Hamilton Fairley, waspassing by when he was walking his dog and was killed by the explosion.Education and personal lifeKennedy began her education with kindergarten classes in the White House organized by her mother. Before thefamily's move to New York, she was registered at Stone Ridge School of the Sacred Heart. She attended The Brearley School and Convent of the Sacred Heart in New York City and graduated from Concord Academy inMassachusetts in 1975.  She was a photographer's assistant at the 1976 Winter Olympics in Innsbruck, Austria. In 1977, she worked as a summer intern at the New York Daily News, earning $156 a week ($753 in 2022dollars), \"fetching coffee for harried editors and reporters, changing typewriter ribbons and delivering messages.\" Kennedy reportedly \"sat on a bench alone for two hours the first day before other employees even saidhello to her\"; and, according to Richard Licata, a former News reporter, \"Everyone was too scared.\"  Kennedy also wrote for Rolling Stone about visiting Graceland shortly after the death of Elvis Presley.In 1980, sheearned a Bachelor of Arts from Radcliffe College at Harvard University.  During college, Kennedy had \"considered becoming a photojournalist, but soon realized she could never make her living observing other peoplebecause they were too busy watching her.\" After graduating, Kennedy was hired as a research assistant in the Film and Television Department of the Metropolitan Museum of Art in New York. She later became a \"liaisonofficer between the museum staff and outside producers and directors shooting footage at the museum\", helping coordinate the Sesame Street special Don't Eat the Pictures. On December 4, 1984, Caroline wasthreatened when a man telephoned the museum and stated his name and address while reporting that a bomb had been planted there. Three days later, he was arrested for the threat. In 1988, she earned a JurisDoctor from Columbia Law School, graduating in the top ten percent of her class.Caroline was romantically linked to many famous men, including Mark Shand, Guillermo Vilas, Sebastian Taylor, and JonathanGuinness.While working at the Met, Kennedy met her future husband, exhibit designer Edwin Schlossberg. They married in 1986 at Our Lady of Victory Church in Centerville, Massachusetts. Kennedy's first cousin MariaShriver served as the bride's matron of honor, and Ted later walked her down the aisle. Kennedy is sometimes incorrectly referred to as \"Caroline Kennedy Schlossberg\", but she did not change her name at the time shemarried. Kennedy has three children: Rose Kennedy Schlossberg (born 1988), Tatiana Celia Kennedy Schlossberg (born 1990), and John Bouvier Kennedy Schlossberg, known as Jack (born 1993).Raised in Manhattanand somewhat separated from their Hyannisport cousins, Caroline and John Jr. were very close, and especially so following their mother's death in 1994. After John Jr. died in a plane crash in 1999, Caroline was theonly remaining survivor of President Kennedy's immediate family, and she preferred not to have a public memorial service for her brother. She decided that his remains would be cremated and his ashes scattered intothe Atlantic Ocean off the coast of Martha's Vineyard, where he met his fate. John Jr. bequeathed Caroline his half ownership of George magazine, but Caroline believed that her brother would not have wanted themagazine to continue following his death, and the magazine ceased publication two years later.Kennedy owns her mother's 375-acre (152 ha) estate known as Red Gate Farm in Aquinnah (formerly Gay Head) onMartha's Vineyard. The New York Daily News estimated Kennedy's net worth in 2008 at over $100 million. During her 2013 nomination to serve as ambassador to Japan, financial disclosure reports showed her net worthto be between $67 million and $278 million, including family trusts, government and public authority bonds, commercial property in New York, Chicago and Washington, and holdings in the Cayman Islands.Publiccareer: 1989–presentKennedy is an attorney, writer, and editor who has served on the boards of numerous non-profit organizations. With Ellen Alderman, she co-wrote the book, In Our Defense: The Bill of Rights InAction, which was published in 1991. During an interview regarding the volume, Kennedy explained that the two wanted to show why the Fourth Amendment of the United States Constitution was written. She attendedthe Robin Hood Foundation annual breakfast on December 7, 1999. Her brother John had been committed to the organization, which she spoke of at the event. In 2000, she supported Al Gore for the presidency andmentioned feeling a kinship with him since their fathers served together in the Senate. Kennedy spoke at the 2000 Democratic National Convention which was held in Los Angeles, California, the first time since the 1960Democratic National Convention, where her father had been nominated by the Democratic Party for the presidency.From 2002 through 2004, she worked as director of the Office of Strategic Partnerships for the NewYork City Department of Education, appointed by School Chancellor Joel Klein. The three-day-a-week job paid her a salary of $1 and had the goal of raising private money for the New York City public schools; shehelped raise more than $65 million. She served as one of two vice chairs of the board of directors of The Fund for Public Schools and is currently honorary director of the fund. She has also served on the board oftrustees of Concord Academy, which she attended as a teen.Kennedy and other members of her family created the Profile in Courage Award in 1989. The award is given to a public official or officials whose actionsdemonstrate politically courageous leadership in the spirit of John F. Kennedy's book, Profiles in Courage. In 2001, she presented the award to former president Gerald Ford for his controversial pardon of formerpresident Richard M. Nixon almost 30 years prior. She is also president of the Kennedy Library Foundation and an adviser to the Harvard Institute of Politics. Kennedy is a member of the New York and Washington, D.C.,bar associations. She is also a member of the boards of directors of the Commission on Presidential Debates and the NAACP Legal Defense and Educational Fund, and is an honorary chair of the American Ballet Theatre.Kennedy represented her family at the funeral services of former presidents Ronald Reagan and Gerald Ford and former First Ladies Lady Bird Johnson and Barbara Bush. She also represented her family at thededication of the Bill Clinton Presidential Center and Park in Little Rock, Arkansas, in November 2004, and at the dedication of the George H. W. Bush Presidential Library in 1997. Kennedy attended thefiftieth-anniversary ceremony of the March on Washington on August 28, 2013. On December 7, 2019, Kennedy christened the new USS John F. Kennedy (CVN-79) at Newport News Shipbuilding.After her post asambassador to Japan ended, the Boeing Company elected her in August 2017 to serve on its board of directors.She resigned her position on the board of directors on January 15, 2021.2008 and 2012 presidentialelectionsOn January 27, 2008, Kennedy announced in a New York Times op-ed piece entitled, \"A President Like My Father,\" that she would endorse Barack Obama in the 2008 U.S. presidential election. Her concludinglines were: \"I have never had a president who inspired me the way people tell me that my father inspired them. But for the first time, I believe I have found the man who could be that president—not just for me, but fora new generation of Americans.\"Federal Election Commission records show that Kennedy contributed $2,300 to the Hillary Rodham Clinton presidential campaign committee on June 29, 2007. She previously contributeda total of $5,000 to Clinton's 2006 senatorial campaign. On September 18, 2007, she contributed $2,300 to Barack Obama's presidential campaign committee.On June 4, 2008, Obama named Kennedy, along with JimJohnson and Eric Holder, to co-chair his Vice Presidential Search Committee. (Johnson withdrew one week later.) Filmmaker Michael Moore called on Kennedy to \"Pull a Cheney\", and name herself as Obama's vicepresidential running mate (Dick Cheney headed George W. Bush's vice presidential vetting committee in 2000—Cheney himself was chosen for the job). On August 23, Obama announced that Senator Joe Biden ofDelaware would be his running mate. Kennedy addressed the 2008 Democratic National Convention in Denver, introducing a tribute film about her uncle, Senator Ted Kennedy. The Topps trading card companymemorialized Caroline Kennedy's involvement in the campaign by featuring her on a card in a set commemorating Obama's road to the White House.Kennedy was among the 35 national co-chairs of Obama's 2012re-election campaign. On June 27, 2012, Kennedy made appearances in Nashua and Manchester, New Hampshire, to campaign for the re-election of President Obama.There was media speculation that she mightbecome a possible candidate for the 2020 Presidential primaries and election but this did not come to pass.United States Senate seatIn December 2008, Kennedy expressed interest in the United States Senate seatoccupied by Hillary Clinton, who had been selected to become Secretary of State. This seat was to be filled through 2010 by appointment of New York Governor David Paterson. This same seat was held by Kennedy's"}
+{"doc_id":"doc_46","qid":"","text":"Passage 1:Spy KidsSpy Kids is an American family action-adventure spy comedy franchise created by Robert Rodriguez. The plot follows adventures of Carmen and Juni Cortez, two children who become involved in theirparents' espionage organization. The films include Latino themes, as Rodriguez is of Mexican descent.BackgroundInfluencesSpy Kids was influenced by James Bond films. The first film was \"a fusion of Willy Wonka andJames Bond\" and the second was the \"Mysterious Island and James Bond mix\".The spy organization in the films is called the OSS. These initials are from the Office of Strategic Services, a former U.S. intelligenceorganization during World War II which later evolved into the CIA. The character Donnagon Giggles was named after William Joseph Donovan, the director of the original OSS. The initials in the Spy Kids universe arenever specified on screen, but, in one of the books, they stand for the Organization of Super Spies.ThemesOne of the main themes of Spy Kids is the unity of family. The children have adult responsibilities, and a lessonis that keeping secrets from family members can have a negative effect on relationships. The first film also deals extensively with sibling rivalry and the responsibility of older children. There is also a strong sense ofLatino heritage.Technical innovationsThe other films were shot with High Definition digital video, parts of the third film using an anaglyphic process to create the 3-D effect. Audiences were given red/blue 3D glasseswith their tickets in movie theatres. Four sets of these glasses were also included in the DVD release. The third film was used as a test for a special Texas Instruments digital projector which can project polarized 3D,which does not require the red-blue lenses, later reused for The Adventures of Sharkboy and Lavagirl in 3-D (2005).FilmsSpy Kids (2001)After retiring from espionage for ten years, Gregorio and Ingrid (AntonioBanderas and Carla Gugino) are pulled back into duty for their important assignment despite the fact they were out of practice, and were captured. Their two children, Carmen and Juni (Alexa Vega and Daryl Sabara),stay with their uncle Felix Gumm (Cheech Marin) and discover the truth of their parents' past, which they had neglected to tell them because they were afraid that if they knew, they would picture danger at everycorner; and decide to rescue them. On their first mission, Carmen and Juni manage to bring around their estranged uncle, Isador \"Machete\" Cortez (Danny Trejo), a genius gadget inventor and Juni helps to redeem a TVshow host named Fegan Floop (Alan Cumming). Together, Carmen and Juni thwart the plan of Floop's notorious second in-command Alexander Minion (Tony Shalhoub) to develop an army of androids resembling youngchildren (including Carmen and Juni themselves) for a mastermind named Mr. Lisp (Robert Patrick) and his partner Ms. Gradenko (Teri Hatcher). The robots based on Carmen and Juni became part of Floop's show.SpyKids 2: The Island of Lost Dreams (2002)As agents of the OSS, Carmen and Juni try to save the daughter (Taylor Momsen) of The President Of The United States (Christopher McDonald) while facing a particularly hardcompetition with Gary and Gerti Giggles (Matt O'Leary and Emily Osment), the two children of a double-dealing agent Donnagon Giggles (Mike Judge), whom Carmen and Juni helped to rescue them from the first film.Juni gets fired from the OSS after fighting with Gary over a smaller version of the transmooker, a device that can shut off all electronic devices even though it was Gary who started the fight. Juni loses his spot for thebest spy kid of the year award, while Donnagon plans to steal the transmooker to take over the world. On their second mission, Carmen and Juni follow the trail to the mysterious island of Leeke Leeke which is home toRomero (Steve Buscemi), an eccentric scientist who attempted to create genetically miniaturised animals, but instead ended up with his island inhabited by mutant monsters. Eventually, Donnagon is fired and Gary issuspended, and the transmooker is destroyed. Juni is offered his job back, but in order to take a break from the OSS, he retires to start his own private eye agency.Spy Kids 3-D: Game Over (2003)After retiring fromthe OSS, Juni is thrust back into service when an evil mastermind named Sebastian \"The Toymaker\" (Sylvester Stallone) creates a fictional video game called Game Over, which hypnotizes its users. Carmen was sent ona mission to disable the game, but disappeared on Level 4. With the help of his maternal grandfather, Valentin Avellan (Ricardo Montalban), who uses a wheelchair, Juni is sent after Carmen and helps her to disable thegame in order to save the world. It is revealed that Sebastian was the one who disabled Valentin in the first place. Instead of avenging his former partner, Valentin forgives Sebastian who is redeemed.Spy Kids: All theTime in the World (2011)The OSS has become the world's top spy agency, while the Spy Kids department has become defunct. A retired spy Marissa (Jessica Alba) is thrown back into the action along with her twostepchildren, Rebecca and Cecil (Rowan Blanchard and Mason Cook), when a maniacal Timekeeper (Jeremy Piven) attempts to take over the world. In order to save the world, Rebecca and Cecil must team up withMarissa.Spy Kids: Armageddon (2023)The fifth installment, Spy Kids: Armageddon, serving as a reboot of the franchise, is in development, with a film involving a plot that centers around a multicultural family. RobertRodriguez again serves as writer/director, while the project is a joint-venture production between Skydance Media and Spyglass Media Group. The film is scheduled for distribution on Netflix, making it the second SpyKids project produced for the platform. Gina Rodriguez, Zachary Levi, Everly Carganilla and Connor Esterson were set to star, along with Billy Magnussen and D. J. Cotrona. The plotline for the film is as follows: \"Whenthe children of the world's greatest secret agents unwittingly help a powerful Game Developer unleash a computer virus that gives him control of all technology, they must become spies themselves to save their parentsand the world\". Production of the film wrapped in late August 2022, and is set to be released on Netflix in Q3-Q4 2023.TelevisionSpy Kids: Mission Critical (2018)An animated series based on the films, Spy Kids: MissionCritical, was released on Netflix in 2018. The first and second seasons both consist of 10 episodes and is produced by Mainframe Studios. Robert Rodriguez served as one of the executive producers on the show.Maincast and charactersAdditional crew and production detailsReceptionBox office performanceCritical and public responseThough the first and second film received positive reviews, the series experienced a steadilydeclining critical reception with each film.Home mediaSeptember 18, 2001 (Spy Kids) on DVD by Buena Vista Home EntertainmentFebruary 18, 2003 (Spy Kids 2: The Island of Lost Dreams) on DVD by Buena VistaHome EntertainmentFebruary 24, 2004 (Spy Kids 3D: Game Over) on DVD by Buena Vista Home EntertainmentAugust 2, 2011 (Spy Kids, Spy Kids 2: The Island of Lost Dreams, and Spy Kids 3-D: Game Over) on DVDand Blu-ray Disc by Lionsgate (However, all 3 DVDs are still the original Buena Vista Home Entertainment copies.)November 15, 2011 (Spy Kids, Spy Kids 2: The Island of Lost Dreams, and Spy Kids 3-D: Game OverTriple Feature) on Blu-ray Disc by LionsgateNovember 22, 2011 (Spy Kids: All the Time in the World) on DVD and Blu-ray by Anchor Bay EntertainmentDecember 4, 2012 (Spy Kids 3-D: Game Over, The Adventures ofSharkboy and Lavagirl in 3-D 3D Double Feature) on Blu-ray 3D Disc by LionsgateSeptember 22, 2020 (Spy Kids, Spy Kids 2: The Island of Lost Dreams, and Spy Kids 3-D: Game Over Triple Feature) on DVD andBlu-ray Disc reissue by ParamountOther mediaVideo gamesSpy Kids Challenger (Game Boy Advance)Spy Kids Mega Mission Zone (PC/Mac)Spy Kids 3-D: Game Over (Game Boy Advance and PC/Mac)Spy Kids: LearningAdventures series (PC/Mac)Spy Kids: All the Time in the World (Nintendo DS)See alsoRelated film seriesIsador \"Machete\" Cortez, who appeared in all four Spy Kids film series as a supporting character, additionally hada series of two stand-alone films: Machete and Machete Kills, also written and directed by Robert Rodriguez. However, the Machete films share little in common with the Spy Kids films thematically and are notconsidered direct spin-offs, the first film instead being an adult-oriented action exploitation film, with the second film introducing science fiction elements; both films additionally share several cast members andcharacters with the Spy Kids films. The idea for a Machete film came from a fake trailer promoting the Grindhouse double-feature by Rodriguez and Quentin Tarantino. Trejo and Rodriguez have made two conflictingstatements regarding its canonicity to the Spy Kids films; Trejo claimed that the films depict \"what Uncle Machete does when he's not taking care of the kids\", while Rodriguez said in a Reddit AMA that they are alternateuniverses. Regardless, Rodriguez claimed that he was prompted by an incident on the set of the first Machete film to start envisioning a fourth film in the main Spy Kids film series, casting Jessica Alba as Machete'ssister Marissa, a different character to the one she portrayed in Machete, with Trejo additionally reprising his role alongside her.NotesPassage 2:Legion of Lost FlyersLegion of Lost Flyers (aka Legion of Lost Fliers) is a1939 American B movie drama film directed by Christy Cabanne. It stars Richard Arlen, Andy Devine, and Anne Nagel. Legion of Lost Flyers was released by Universal Pictures on November 3, 1939.PlotA group of pilots,because of unsavory or unearned reputations, establish an outpost of their own, running charter-flights and hauling supplies in the frozen wastelands of Alaska. Gene \"Loop\" Gillian (Richard Arlen), Gillian came to Alaskabecause he has been blamed for a crash where four men where killed. Bill Desert (Theodore Von Eltz), the head of the commercial airlines, refuses to hire him as a pilot, but at the request of aircraft mechanic \"Beef\"Brumley (Andy Devine), Desert hires Loop as a \"grease jockey\".Brumley knows Gillian and does not believe the story about the deaths. Regarded as a coward by the other pilots, Ralph Perry (William Lundigan), JakeHalley (Guinn \"Big Boy\" Williams) and Smythe  (Leon Ames), Gillian claims he is innocent of causing the deaths because it was really Perry who had taken the flight that night. Rumours continue to swirl about theincident.Perry decides he has had enough and takes off in an stolen aircraft loaded with gold from a local mine. He ends up crashing in the wilderness in a remote canyon, with Gillian, the only one willing to fly to hisrescue. After loading Perry on board, the take off ends in the aircraft suffering heavy damage.On the return flight, the aircraft is falling to pieces. Perry panics and as Gillian nears the airfield, he forces Perry to confesson the radio about his involvement in the men's death. Gillian is reinstated as a pilot and falls in love with Paula (Anne Nagel) who had been the boss's sweetheart.CastProductionProduction dates for principalphotography for Legion of Lost Flyers began on July 26, 1939.The aircraft used in Legion of Lost Flyers was: Stearman C3BFleet 1 c/n 374, NC792VFokker F.10Travel Air 2000 NC446WReceptionFrank Nugent in his filmreview for The New York Times described the film as \"You've seen all this before in your Class \"C\" dreams: Shacklike hangar, old crates to fly, mountainous terrain, handful of desperate crag-hoppers and so on. But thisone has some new features which we'll wager you had never visualized as possibilities: for one, Richard Arlen wasn't the man who violated the code by bailing out of that big transport, leaving his passengers to perish,though how the guilty pilot was substituted in midair is not explained. For another, Mr. Arlen thrice performs the impossible: (1) lands his plane safely in a snow-clogged canyon, (2) takes off again without landing gearin spite of stumps, boulders and underbrush, and (3) after his plane has lost a wing and he himself has been concussively conked by his enemy, who does another bailout, what do you think becomes of Mr. Arlen? Well,sir, the broken plane crashes in a skidding, sickening heap on a convenient modern landing field, with streamlined ambulance service, and Mr. Arlen emerges from the wreckage with nothing worse than a bandagebound picturesquely around his brow.\"Passage 3:Spy Kids 2: The Island of Lost DreamsSpy Kids 2: The Island of Lost Dreams is a 2002 American spy action comedy film written, shot, edited and directed by RobertRodriguez. Rodriguez also produced with Elizabeth Avellán. It stars Antonio Banderas, Carla Gugino, Alexa Vega, Daryl Sabara, Mike Judge, Ricardo Montalbán, Holland Taylor, Christopher McDonald, and SteveBuscemi.The second installment in the Spy Kids film series, which began with 2001's Spy Kids, the film premiered at the Grauman's Chinese Theatre in Hollywood on July 28, 2002. Dimension Films theatrically releasedthe film on August 7. Upon release, Spy Kids 2 received mostly positive reviews from critics and grossed over $119 million worldwide.PlotThe OSS now has a full child spy section, of which Carmen Cortez and Juni Cortezare now Level 2 agents. Although they are the first of the new Spy Kids Division, they face fierce competition from Gary and Gerti Giggles, the children of Donnagon Giggles (the agent whom Carmen and Juni rescued ontheir first mission). Carmen defends Gary, even after the two outperform them on a mission to rescue the president's daughter Alexandra from an out of control theme park ride, straining her relationship with Juni.Atthe OSS awards banquet, Donnagon hacks into the president's teleprompter, and is named director of the OSS instead of Gregorio Cortez. In his acceptance speech, Donnagon announces his two children are beingpromoted from Level 3 to Level 1. However, the adults are rendered unconscious by a group of \"Magna Men\", who are seeking the \"Transmooker\", a highly coveted device owned by the president, which can shut off allelectronic devices around the world. The Spy Kids hold them off but the Magna Men manage to steal the Transmooker after Gary causes Juni to drop it in a scuffle. Gary blames Juni for the theft, resulting in him beingfired from the OSS.The next morning Carmen hacks into the database, reinstating Juni as an agent and taking the Ukata assignment, a mission originally meant for Gary and Gerti, to recover the stolen Transmooker.Using some hints from their former arch-nemesis, Alexander Minion, they follow the trail to a mysterious island where no electronics work. Meanwhile, Gary and Gerti are rerouted to the Gobi Desert and while trying topinpoint their position fall into a pit of camel feces, whereupon they swear revenge.Carmen and Juni manage to reach the island, but realize that none of their gadgets work. After falling into a volcano, the two meetRomero, a scientist and sole human inhabitant of the island who has been attempting to create genetically miniaturized animals to sell to kids as \"miniature zoos\". After creating hybrid animals, Romero accidentallypoured a growth concoction over them, greatly increasing their size. He also reveals that he created the Transmooker device, as a mean of hiding his island from the outside world, meaning that the stolen Transmookerwas a prototype and the real one is on the island somewhere. Romero fears being eaten, so is unwilling to leave his lab, but shows Carmen and Juni the way to the real Transmooker. As both Gregorio and Ingrid aretracking where Juni and Carmen are, they are joined by Ingrid's parents who want to help them find their children.Carmen is captured by a Spork, a flying pig, and dropped into its nest with Gerti, who tells her thatGary is genuinely evil. Her feelings for Gary change after he and a Slizard he tamed attack Juni and his Spider Monkey. Carmen manages to incapacitate Gary and she and Juni leave to retrieve the Transmooker.Romero, encouraged by Juni, leaves his lab and discovers his creatures are much friendlier than he thought. Carmen and Juni eventually find and recover the Transmooker, eliminating the cloaking around the island,and are surprised when their family joins them. Donnagon then confronts the group, takes the Transmooker and, after a fight with Gregorio tries to destroy the Cortez family with it, but it malfunctions. Gerti reveals shesabotaged it and threatens Donnagon with telling everything to her mother, which he detests. Romero arrives alongside his creatures and destroys the prototype Transmooker as well.The President and his staff arriveon the island. He and his daughter fire Donnagon; Gary is temporarily disavowed, and Alexandra appoints Gregorio as director of the OSS on her father's behalf. Even though offered a promotion to Level 1, Juni resignsdue to the impersonal treatment he had received by the OSS after being framed. As the Cortez family leaves the island, Romero gives Juni a miniature spider-monkey as a gift, and the island's inhabitants bid farewell tothe Cortez family.During the credits, Isador \"Machete\" Cortez hosts a concert featuring Carmen (with a microphone which helps her sing, and a belt that helps her dance), and Juni (with a guitar that plays itself), butrealizes too late that he never put any batteries in the devices before they went onstage. When he breaks this news to Carmen and Juni, this shocks them, realizing they have musical talent. Meanwhile, Dinky Winks,the owner of Troublemakers theme park where Juni rescued Alexandra, paddles to Romero's island to offer a business deal.CastAntonio Banderas as Gregorio Cortez, the father of Juni and Carmen who is now calledback to the OSSCarla Gugino as Ingrid Cortez, the mother of Juni and CarmenAlexa Vega as Carmen Cortez, daughter of Gregorio and Ingrid who is now an OSS member of their spy kid divisionDaryl Sabara as JuniCortez, son of Gregorio and Ingrid and Carmen's brother, also a member of the OSS's spy kid divisionMike Judge as Donnagon Giggles, an OSS agent turned director who was previously rescued by Carmen and Juni, butis now seeking world dominationRicardo Montalbán as Grandfather Valentin AvellanHolland Taylor as Grandmother Helga AvellanChristopher McDonald as the President of the United StatesDanny Trejo as Isador\"Machete\" Cortez, gadget inventor and Juni and Carmen's uncleAlan Cumming as Fegan Floop, host of Floop's FoogliesTony Shalhoub as Alexander Minion, Floop's assistantMatt O'Leary as Gary Giggles, the son ofDonnagon Giggles and a rival OSS agent of Juni and Carmen's love interestTaylor Momsen as Alexandra, the President's daughterEmily Osment as Gerti Giggles, daughter of Donnagon Giggles and a rival OSS agent ofCarmenCheech Marin as Felix Gumm, an OSS agentSteve Buscemi as RomeroAdditionally, Bill Paxton appears as Dinky Winks, a theme park owner.ProductionSpy Kids 2 was filmed entirely on High Definition digitalvideo. After seeing George Lucas using digital video for Star Wars: Episode II – Attack of the Clones, Rodriguez tested the technology during re shoots for the first Spy Kids film. Rodriguez used the camerasunfiltered.Filming sitesArenal Lake, Costa RicaAustin, Texas, USABig Bend National Park, Texas, USAManuel Antonio, Costa RicaSan Antonio, Texas, USASix Flags Over Texas, Arlington, Texas, USASpecial effectsDespiteusing over twice the amount of special effects than the first film, Rodriguez did not ask the producers for a larger budget; he said that he wanted to be more creative instead of asking the studio for more money forspecial effects. Rodriguez picked some visual effects companies who were eager and less established, as well as starting up his own Troublemaker Studios, and reemploying Hybrid, who had worked with him on the firstfilm. Gregor Punchatz, the film's lead animator, employed a certain technique to make the movements of the computer generated creatures resemble the stop-motion work of filmmaker Ray Harryhausen, who has acameo in the film. The scene with the army of live skeletons was shot on a real rock formation, with the two young actors on safety wires, and the computer generated skeletons added later to over three dozenshots.MusicThe film score was co-written by director Robert Rodriguez and composer John Debney, who had also co-written the score for Spy Kids. The sound is a mix of rock, pop, and indie rock, and includes songsperformed by Alan Cumming and Alexa Vega. Unusually, the orchestral score was recorded in the auditorium of a local high school in Austin, Georgetown High School.All tracks composed by Debney and Rodriguez, andperformed by the Texas Philharmonic Orchestra.\"The Juggler\"\"Spy Ballet\"\"Magna Men\"\"Treehouse\"\"R.A.L.P.H.\"\"Floop's Dream\" (performed by Alan Cumming)\"Escape from Dragon-spy\"\"Spy-parents\"\"Island of Lost"}
+{"doc_id":"doc_47","qid":"","text":"Passage 1:Buffalo Bill, Hero of the Far WestBuffalo Bill, Hero of the Far West  (Buffalo Bill, l'eroe del far west) is a 1964 Italian Spaghetti Western directed by Mario Costa.StoryBuffalo Bill is sent west by PresidentUlysses S. Grant to settle an Indian uprising started by Yellow Hand and supported by gun smugglers.CastGordon Scott as Colonel William \"Buffalo Bill\" CodyMario Brega as DonaldsonJan Hendriks as MonroeCatherineRibeiro as Rayon-de-Lune/MoonbeamPiero Lulli as RedMirko Ellis as Yellow HandHans von Borsody as Captain HunterRoldano Lupi as Colonel PetersonIngeborg Schöner as Mary PetersonFeodor Chaliapin, Jr.  as ChiefWhite FoxUgo Sasso as SnackLuigi Tosi as barmanFranco Fantasia as George, a poker playerAndrea Scotti as poker playerPassage 2:Battling with Buffalo BillBattling with Buffalo Bill is a 1931 American pre-CodeWestern serial film directed by Ray Taylor and starring Tom Tyler, Lucile Browne, William Desmond, Rex Bell, and Francis Ford.Based on the book The Great West That Was by William F. \"Buffalo Bill\" Cody, the film isabout a cowboy named Buffalo Bill who goes up against a shady gambler who is attempting to scare off the townspeople so he can gain possession of a gold strike. When a nearby Indian tribe is provoked into attackingthe town, the cavalry rides in to the rescue. Cody's book was also used as the inspiration for the studio's highly successful 1930 serial The Indians Are Coming.Battling with Buffalo Bill was Universal Pictures's 78thserial, the 10th with sound and 4th with full sound, of the studio's total of 137 serials.PlotThe plot is a variation on the standard B-Western \"Land Grab\" plot: Gold has been discovered in the area and gambler JimRodney intends to make sole claim to it by pushing the rightful owners off the land and taking it for himself. To do so he has his henchmen kill an Indian woman, provoking attacks from her tribe. This brings Buffalo Billand the United States Cavalry into the town. Buffalo Bill proceeds to defeat Rodney and his schemes.CastTom Tyler as William \"Buffalo Bill\" CodyLucile Browne as Jane Mills, Buffalo Bill's love interestWilliam Desmond asJohn MillsRex Bell as Dave Archer, Buffalo Bill's sidekick.Francis Ford as Jim Rodney, villainous gambler trying to illicitly claim a local gold strikeGeorge Regas as 'Breed' JohnsYakima Canutt as Scout Jack BradyBudOsborne as Joe Tampas, one of Rodney's henchmenJoe Bonomo as Joe BradyJim Thorpe as Swift ArrowProductionAlong with the more successful The Indians Are Coming (1930) this serial was based on the book \"TheGreat West That Was\" by Buffalo Bill Cody.StuntsJoe BonomoYakima CanuttCliff LyonsChapter titlesCaptured by RedskinsCircling DeathBetween Hostile TribesThe Savage HordeThe Fatal PlungeTrappedThe UnseenKillerSentenced to DeathThe Death TrapA Shot from AmbushThe Flaming DeathCheyenne VengeanceSource:See alsoList of American films of 1931List of film serials by yearList of film serials by studioPassage 3:BuffaloBillWilliam Frederick Cody (February 26, 1846 – January 10, 1917), known as Buffalo Bill, was an American soldier, bison hunter, and showman. He was born in Le Claire, Iowa Territory (now the U.S. state of Iowa), buthe lived for several years in his father's hometown in modern-day Mississauga, Ontario, Canada, before the family returned to the Midwest and settled in the Kansas Territory.Buffalo Bill started working at the age of 11,after his father's death, and became a rider for the Pony Express at age 15. During the American Civil War, he served the Union from 1863 to the end of the war in 1865. Later he served as a civilian scout for the U.S.Army during the Indian Wars, receiving the Medal of Honor in 1872.One of the most famous and well-known figures of the American Old West, Buffalo Bill's legend began to spread when he was only 23. Shortlythereafter he started performing in shows that displayed cowboy themes and episodes from the frontier and Indian Wars. He founded Buffalo Bill's Wild West in 1883, taking his large company on tours in the UnitedStates and, beginning in 1887, in Great Britain and continental Europe.Early life and educationCody was born on February 26, 1846, on a farm just outside Le Claire, Iowa. His father, Isaac Cody, was born onSeptember 5, 1811, in Toronto Township, Upper Canada, now part of Mississauga, Ontario, directly west of Toronto. Mary Ann Bonsell Laycock, Bill's mother, was born about 1817 in Trenton, New Jersey. She moved toCincinnati to teach school, and there she met and married Isaac. She was a descendant of Josiah Bunting, a Quaker who had settled in Pennsylvania. There is no evidence to indicate Buffalo Bill was raised as a Quaker.In 1847 the couple moved to Ontario, having their son baptized in 1847, as William Cody, at the Dixie Union Chapel in Peel County (present-day Peel Region, of which Mississauga is a part), not far from the farm of hisfather's family. The chapel was built with Cody money, and the land was donated by Philip Cody of Toronto Township. They lived in Ontario for several years.In 1853, Isaac Cody sold his land in rural Scott County, Iowa,for $2000 (around $68,000 in today's money) and the family moved to Fort Leavenworth, Kansas Territory. In the years before the Civil War, Kansas was overtaken by political and physical conflict over the slaveryquestion. Isaac Cody was against slavery. He was invited to speak at Rively's store, a local trading post where pro-slavery men often held meetings. His antislavery speech so angered the crowd that they threatened tokill him if he did not step down. A man jumped up and stabbed him twice with a Bowie knife. Rively, the store's owner, rushed Cody to get treatment, but he never fully recovered from his injuries.In Kansas, the familywas frequently persecuted by pro-slavery supporters. Cody's father spent time away from home for his safety. His enemies learned of a planned visit to his family and plotted to kill him on the way. Bill, despite his youthand being ill at the time, rode thirty miles (48 km) to warn his father. Isaac Cody went to Cleveland, Ohio, to organize a group of thirty families to bring back to Kansas, to add to the antislavery population. During hisreturn trip, he caught a respiratory infection which, compounded by the lingering effects of his stabbing and complications from kidney disease, led to his death in April 1857.After his death, the family sufferedfinancially. At age 11, Bill took a job with a freight carrier as a \"boy extra\". On horseback he would ride up and down the length of a wagon train and deliver messages between the drivers and workmen. Next, he joinedJohnston's Army as an unofficial member of the scouts assigned to guide the United States Army to Utah, to put down a rumored rebellion by the Mormon population of Salt Lake City.According to Cody's account inBuffalo Bill's Own Story, the Utah War was where he began his career as an \"Indian fighter\":Presently the moon rose, dead ahead of me; and painted boldly across its face was the figure of an Indian. He wore thiswar-bonnet of the Sioux, at his shoulder was a rifle pointed at someone in the river-bottom 30 feet [9 meters] below; in another second he would drop one of my friends. I raised my old muzzle-loader and fired. Thefigure collapsed, tumbled down the bank and landed with a splash in the water. \"What is it?\" called McCarthy, as he hurried back. \"It's over there in the water.\" \"Hi!\" he cried. \"Little Billy's killed an Indian all by himself!\"So began my career as an Indian fighter.At the age of 14, in 1860, Cody was caught up in the \"gold fever\", with news of gold at Fort Colville and the Holcomb Valley Gold Rush in California. On his way to the goldfields,however, he met an agent for the Pony Express. He signed with them, and after building several stations and corrals, Cody was given a job as a rider. He worked at this until he was called home to his sick mother'sbedside.Cody claimed to have had many jobs, including trapper, bullwhacker, \"Fifty-Niner\" in Colorado, Pony Express rider in 1860, wagonmaster, stagecoach driver, and a hotel manager, but historians have haddifficulty documenting them. He may have fabricated some for publicity. Namely, it is argued that in contrast to Cody's claims, he never rode for the Pony Express, but as a boy, he did work for its parent company, thetransport firm of Russell, Majors, and Waddell. In contrast to the adventurous rides, hundreds of miles long, that he recounted in the press, his real job was to carry messages on horseback from the firm's office inLeavenworth to the telegraph station three miles away.Military servicesAfter his mother recovered, Cody wanted to enlist as a soldier in the Union Army during the American Civil War but was refused because of hisyoung age. He began working with a freight caravan that delivered supplies to Fort Laramie in present-day Wyoming. In 1863, at age 17, he enlisted as a teamster with the rank of private in Company H, 7th KansasCavalry, and served until discharged in 1865.The next year, Cody married Louisa Frederici. They had four children. Two died young, while the family was living in Rochester, New York. They and a third child are buriedin Mount Hope Cemetery, in Rochester.In 1866, he reunited with his old friend Wild Bill Hickok in Junction City, Kansas, then serving as a scout. Cody enlisted as a scout himself at Fort Ellsworth and scouted betweenthere and Fort Fletcher (later renamed and moved to Fort Hays). He was attached as a scout, variously, to Captain George Augustus Armes (Battle of the Saline River) and Lieutenant Colonel George Armstrong Custer(guide and impromptu horse race to Fort Larned). It was during this service at Fort Ellsworth that he met William Rose, with whom he would found the short-lived settlement of Rome.In 1867, with the construction ofthe Kansas Pacific Railway completing through Hays City and Rome, Cody was granted a leave of absence to hunt buffalo to supply railroad construction workers with meat. This endeavor continued into 1868, which sawhis hunting contest with William Comstock.Cody returned to Army service in 1868. From his post in Fort Larned, he performed an exceptional feat of riding as a lone dispatch courier from Fort Larned to Fort Zarah(escaping brief capture), Fort Zarah to Fort Hays, Fort Hays to Fort Dodge, Fort Dodge to Fort Larned, and, finally, Fort Larned to Fort Hays, a total of 350 miles in 58 hours through hostile territory, covering the last 35miles on foot. In response, General Philip Sheridan assigned him Chief of Scouts for the 5th Cavalry Regiment.He was also Chief of Scouts for the Third Cavalry in later campaigns of the Plains Wars.In January 1872,Cody was a scout for the highly publicized hunting expedition of the Grand Duke Alexei Alexandrovich of Russia.Medal of HonorCody was awarded the Medal of Honor in 1872 for documented gallantry above and beyondthe call of duty as an Army scout in the Indian Wars. It was revoked in 1917, along with medals of 910 other recipients dating back to the Revolutionary War, when Congress decided to create a hierarchy of medals,designating the \"Medal of Honor\" as the highest military honor it could bestow. Subsequent regulations authorized the War Department to revoke prior Medal of Honor awards it considered not meeting requirementssince the introduction of strict regulations promulgated under the 1917 law. Those regulations required the medal to be awarded for acts of bravery above and beyond the call of duty by officers or enlisted soldiers.Ironically, the law was enacted days before Buffalo Bill died, so he never knew a law might rescind the medal awarded to him. All civilian scout medals were rescinded since they did not appear to meet the basic criterionof being officers or enlisted soldiers, which had been expressly listed in every authorizing statute ever enacted for the Medal of Honor. Cody was one of five scouts affected. Their medals were stripped shortly after Codydied in 1917.Cody's relatives objected, and, for over 72 years, they wrote repeatedly to the US Congress seeking reconsideration. All efforts failed, until a 1988 letter to the Senate from Cody's grandson received by theoffice of senator Alan K. Simpson of Wyoming, when a newly minted legislative assistant (K. Yale) took up the cause in 1989. The legal brief he drafted and submitted to the Department of Defense on behalf of therelatives of Buffalo Bill argued that civilian scouts were technically officers, as their native American counterparts were nominally scouts. However, they were given the rank and pay of officers – both for retentionpurposes. Also, scouts were the equivalent of \"reconnaissance\" for the military and thus provided highly valued services. In addition, a practical reason was to avoid mistaking them for opponents in skirmishes.Moreover, although civilian scouts might have normally been officers because of their highly valued skills, the military drawdown and related budget cuts after the Civil War left no billets available for the civilian scoutsto fill, and thus they were relegated to a highly qualified status that treated them as valuable military assets without the designation or retirement benefits of officers. Nevertheless, they were treated as high-rankingmilitary officials and had status of officers alongside their native American brethren. The brief argued for retroactive restoration of the Medal of Honor to Buffalo Bill, and the Department of Defense required the appealto be adjudicated by the Army Board for Correction of Military Records. After months of deliberation, the Board agreed with the persuasive legal brief and made the decision to restore the Medal of Honor, not only toBuffalo Bill but also several other civilian scouts whose medals had also been rescinded.Long after the medal was restored, the decision was thought to be controversial for several reasons. Some people interpretedSimpson's submission as arguing that the law had never required Cody to be a soldier. However, this was never a key element of Simpson's brief. According to these interpretations, Simpson's submission cited a book,Above and Beyond, to illustrate the lack of requirement to be a soldier. However, it was recognized in the legal brief that Medal of Honor recipients had to be an officer or enlisted soldier. Another problem cited by somewas the authority of the Board to contravene several federal statutes because the Medal of Honor revocation had been expressly authorized by Congress, meaning that the restoration went against the law in force in1872, the law requiring the revocation in 1916, and the modern statute enacted in 1918 that remains substantially unmodified today. However, the legal brief clearly did not suggest overturning of the law, but ratherconforming the status of civilian scouts to that of other scouts similarly situated (source: copy of the actual legal brief, by the author).Since the Board of Correction is merely a delegation of the Secretary of the Army'sauthority, some suggest a separation of powers conflict, since even the president cannot contravene a clear statute and, although Cody's case was dealt with below the cabinet level, the legal brief was written inconformance with the statutes. Modern Medal of Honor cases originating from the board, such as the recent case of Garlin Conner, required both executive action as well as a statutory waiver from Congress, whichunderscores the point that some cases might be in conflict with statutes.In the Cody case, the board's governing assistant secretary recognized that it lacked the authority to reinstate the medal directly, and so decidedto return the case to the board for reconsideration. As a result, the board amended Cody's record to make him an enlisted soldier – aligning it with the legal argument that civilian scouts were the equivalent to officersor enlisted soldiers – so that he would fall within the legal requirements and did the same for four other civilian guides who had also had their medals rescinded. In doing so, the board overlooked the fact that Cody wasa civilian guide with far greater employment flexibility than a soldier, including the ability to resign at will. Nevertheless the Board did recognize the value that all scouts provided, whether Native American or otherwise,and how they volunteered to put themselves in harm's way (in the case of Buffalo Bill, saving the lives of several soldiers by rushing onto an active battlefield and pulling them to safety while under fire) instead ofpursuing less demanding civilian jobs.NicknameCody received the nickname \"Buffalo Bill\" after the American Civil War, when he had a contract to supply Kansas Pacific Railroad workers with buffalo (American bison)meat. Cody is purported to have killed 4,282 buffalo in eighteen months in 1867 and 1868. Cody and another hunter, Bill Comstock, competed in an eight-hour buffalo-shooting match over the exclusive right to use thename, which Cody won by killing 68 animals to Comstock's 48. Comstock, part Cheyenne and a noted hunter, scout, and interpreter, used a fast-shooting Henry repeating rifle, while Cody competed with a larger-caliberSpringfield Model 1866, which he called Lucretia Borgia, after the notorious Italian noblewoman, the subject of a popular contemporary Gaetano Donizetti opera Lucrezia Borgia, based on Victor Hugo's play of the samename. Cody explained that while his formidable opponent, Comstock, chased after his buffalo, engaging from the rear of the herd and leaving a trail of killed buffalo \"scattered over a distance of three miles\", Cody –likening his strategy to a billiards player \"nursing\" his billiard balls during \"a big run\" – first rode his horse to the front of the herd to target the leaders, forcing the followers to one side, eventually causing them to circleand create an easy target, and dropping them close together.Birth of the legendIn 1869, the 23-year-old Cody met Ned Buntline, who later published a story based on Cody's adventures (largely invented by the writer)in Street and Smith's New York Weekly and then published a highly successful novel, Buffalo Bill, King of the Bordermen, which was first serialized on the front page of the Chicago Tribune, beginning that December 15.Many other sequels followed by Buntline, Prentiss Ingraham and others from the 1870s through the early part of the twentieth century. Cody later became world-famous for Buffalo Bill's Wild West, a touring show whichtraveled around the United States, Great Britain, and Continental Europe. Audiences were enthusiastic about seeing a piece of the American West. Emilio Salgari, a noted Italian writer of adventure stories, met BuffaloBill when he came to Italy and saw his show; Salgari later featured Cody as a hero in some of his novels.Buffalo Bill's Wild WestIn December 1872, Cody traveled to Chicago to make his stage debut with his friend TexasJack Omohundro in The Scouts of the Prairie, one of the original Wild West shows produced by Ned Buntline. The effort was panned by critics – one critic compared Cody's acting to a \"diffident schoolboy\" – but thehandsome performer was a hit with the sold-out crowds.In 1873, Cody invited \"Wild Bill\" Hickok to join the group in a new play called Scouts of the Plains. Hickok did not enjoy acting and often hid behind scenery; inone show, he shot at the spotlight when it focused on him. He was therefore released from the group after a few months. Cody founded the Buffalo Bill Combination in 1874, in which he performed for part of the yearwhile scouting on the prairies the rest of the year. The troupe toured for ten years. Cody's part typically included a reenactment of an 1876 incident at Warbonnet Creek, where he claimed to have scalped a Cheyennewarrior.In 1883, in the area of North Platte, Nebraska, Cody founded Buffalo Bill's Wild West, a circus-like attraction that toured annually. (Contrary to the popular misconception, the word Show was not a part of thetitle.) In 1886, Cody and Nate Salsbury, his theatrical manager, entered into partnership with Evelyn Booth (1860–1901), a big-game hunter and scion of the aristocratic Booth family. It was at this time Buffalo Bill'sCowboy Band was organized. The band was directed by William Sweeney, a cornet player who served as leader of the Cowboy Band from 1883 until 1913. Sweeney handled all of the musical arrangements and wrote amajority of the music performed by the Cowboy Band.In 1893, Cody changed the title to Buffalo Bill's Wild West and Congress of Rough Riders of the World. The show began with a parade on horseback, withparticipants from horse-culture groups that included the US and another military, cowboys, American Indians, and performers from all over the world in their best attire. Turks, gauchos, Arabs, Mongols and Georgiansdisplayed their distinctive horses and colorful costumes. Visitors would see main events, feats of skill, staged races, and sideshows. Many historical western figures participated in the show. For example, Sitting Bullappeared with a band of 20 of his braves.Cody's headline performers were well-known in their own right. Annie Oakley and her husband, Frank Butler, were sharpshooters, together with the likes of Gabriel Dumont and"}
+{"doc_id":"doc_48","qid":"","text":"Passage 1:Henry II, Count of Reuss-GeraHenry II of Reuss (younger line) (10 June 1572 in Gera – 23 December [O.S. 13 December] 1635 in Gera), nicknamed the Posthumous because his father died two monthsbefore he was born,  was Lord of Gera, Lord of Lobenstein and Lord of Oberkranichfeld.LifeHenry II was born posthumously, as the only son of Henry XVI of Reuss-Gera (1530-1572), the founder of the Younger Line,and his wife, Countess Dorothea of Solms-Sonnewalde (1547-1595), daughter of Frederick Magnus I, Count of Solms-Laubach.Henry successfully promoted education and the economy of his country.  In 1608, hefounded the Rutheneum Gymnasium in Gera (now the Goethe-Gymnasium/Rutheneum).  Against the advice of his theological councillor, he granted asylum to Calvinist refugees from Flanders and housed them in hiscapital city Gera.  This led to an upsurge in wool production and an economic boom.  During his reign, Gera also developed into the cultural centre of the Reuss areas.  He had a particular fondness for \"ring riding\", andwas a frequent guest at the courts in Vienna and Dresden.Henry II died on 23 December 1635 and was buried in the Salvator Church in Gera.  The composer Heinrich Schütz wrote his Musikalische Exequien for thisoccasion.  His elaborately decorated copper outer coffin, with biblical proverbs and evangelical chorals, was transferred from the Salvator Church to the St. John church in 1995.  In 2011, it was displayed in an exhibitionabout funeral practices in the early modern age in the city museum of Gera.  It has also been on display in the Museum for Sepulchral Culture in Kassel.Marriages and issueIn Weikersheim on 7 February 1594, Henry IImarried firstly Magdalena (28 December 1572 – 2 April 1596), daughter of Wolfgang, Count of Hohenlohe-Weikersheim-Langenburg. They had one daughter:Dorothea Magdalena (25 February 1595 – 29 October 1647),married in 1620 to Burgrave George of Kirchberg.In Rudolstadt on 22 May 1597, Henry II married secondly Magdalena (12 Apr 1580 – 22 Apr 1652), daughter of Count Albert VII of Schwarzburg-Rudolstadt. They hadseventeen children:Juliane Marie (1 February 1598 – 4 January 1650), married in 1614 to Count David of Mansfeld-Schraplau.Henry I (21 February 1599 – 27 July 1599)Agnes (17 April 1600 – 1 February 1642),married in 1627 to Count Ernest Louis of Mansfeld-Heldrungen.Elisabeth Magdalene (8 May 1601 – 4 April 1641).Henry II (14 August 1602 – 28 May 1670), Lord of Gera and Saalburg.Henry III (31 Oct 1603 – 12 July1640), Lord of Schleiz.Henry IV (21 December 1604 – 3 November 1628).Henry V (3 November 1606 – 3/7 November 1606), twin with Henry VI.Henry VI (3 November 1606 – 3/7 November 1606), twin with HenryV.Sophie Hedwig (24 February 1608 – 22 January 1653).Dorothea Sibylle (7 October 1609 – 25 November 1631), married in 1627 to Baron Christian Schenk of Tautenburg.Henry VII (15 October 1610 – 24 July1611).Henry VIII (19 June 1613 – 24 September 1613).Anna Katharina (24 March 1615 – 16 February 1682).Henry IX (22 May 1616 – 9 January 1666), Lord of Schleiz.Ernestine (19 March 1618 – 23 February 1650),married in 1639 to Otto Albert of Schönburg-Hartenstein.Henry X (9 September 1621 – 25 January 1671), Lord of Lobenstein and Ebersdorf.HonorsSince 2008, the motor car of one of the trams in Gera bears hisname.Passage 2:Enguerrand V de CoucyEnguerrand V, Lord of Coucy (-after 1321) inherited the title of Lord of Coucy and castle from his maternal uncle, Enguerrand IV in 1311.  He was also lord of Oisy andMontmirail.BiographyEnguerrand was the second son of Arnould III, Count of Guînes and Alix de Coucy, daughter of Enguerrand III, Lord of Coucy. His father, Arnould, sold the county of Guines to King Louis IX ofFrance, forcing Enguerrand to find his fortune abroad. After arriving in Scotland, he married Christiana Lindsay in Scotland. Christiana was the daughter of William Lindsay and Ada Balliol, sister of John Balliol. Theirwedding was arranged by their mutual cousin, King Alexander III of Scotland. Enguerrand was present at the recognition of Margaret as Alexander III's heir and the Treaty of Birgham in 1290.On 28 May 1283,Enguerrand pledged his service to King Edward I of England.When Enguerrand's maternal uncle, Enguerrand IV, died without leaving any heirs, the titles and lands of Coucy were passed to Enguerrand.IssueEnguerrandand Christiana had four sons:Guillaume de Coucy, Lord of Coucy,  Marle, La Fère, Oisy and Montmirel, married Isabeau de Châtillon-Saint-Pol, had issue.Enguerrand de Coucy, Viscount of Meaux, Lord of LaFerté-Ancoul, Tresmes and Belonnes, married firstly Marie de Vianden, Dame de Rumpt and secondly Allemande Flotte de Revel, had issue.Baudouin de CoucyRobert de Coucy, Lord of La Ferté-Gaucher.Passage3:Charles II Henri van de Werve, Lord of SchildeBaron Charles-Henri van de Werve (1672-1721), Lord of Schilde, Lord of Giessen-Oudkerk, Lord of Wavre-Notre-Dame and Lord of Wavrans, formed part of a very old,important and noble family of Antwerp, House van de Werve.FamilyHe was the son of Charles I Bruno van de Werve, Lord of Schilde; and of Cornélie van de Werve, daughter of the Lord of Westkercke. Through hisgrandmother side he is one of the descendants of Erasmus II Schetz. He married Eléonore de Varick in 1696. Eléonore was the daughter of Charles-Hyacinthe de Varick, Lord of Court St-Etienne and of Witterzée; and ofEléonore-Louise de Haynin, Lady of Wavrans.They had 4 children's:Eléonore-Marie van de Werve (1698–1726).X1(1716): She married Charles-François Boot, Lord of Veltem, Oppem, Sombeke and La Motte.X2(1724):She married Ferdinand-Joseph, marquess de la Puente y Reiffenberg, baron of Limal, Lord of Bierges.Gertrude-Madeleine van de Werve (1700–1746): She married in 1725 her cousin Philippe-Adrien de Varick, viscountof Brussels, baron of Woluwe-Saint-Lambert and of Libersart, Lord of Boendaal, Ixelles, Huizingen and Eizingen.Baron Charles-Philippe van de Werve (1702–1744), Lord of Schilde, Giessen-Oudkerk andWavre-Notre-Dame.Charles III Philippe van de Werve, 1st Count of Vorsselaer (1706–1776): baron of Lichtaert and of Rielen, Lord of Giessen-Oudkerk. He married Marie-Anne de Pret, Lady of Vorsselaer, Lichtaert andRielen.AncestryExternal linkshttps://web.archive.org/web/20070312045421/http://vandewerve.skyblog.com/Passage 4:Eric Longlegs, Lord of LangelandErik Eriksøn, also known as Eric Longlegs (Danish: ErikLangben), (1272–1310), Lord of Langeland, was the second son of Eric I, Duke of Schleswig and younger brother of Valdemar IV, Duke of Schleswig.LifeEric was born in 1272 as the second son of Eric I, Duke ofSchleswig, by his wife Margaret of Rugia. He held the island of Langeland in fief and inherited the properties of the ducal family in southern Funen, just as his uncle, Abel, Lord of Langeland, had before him. He ismentioned for the first time as responsible for the killing of the seneschal Skjalm Stigsen on 23 August 1292. The murder was probably a result of the enmity caused when King Eric VI of Denmark, after coming of age,confiscated the fief of Langeland and the properties of the ducal family in southern Funen.Together with his brother, Duke Valdemar, he joined the king's enemies. In 1293, there was a clash between the two parties atSommersted Heath near Haderslev which resulted in a compromise where Eric received Langeland as a fief.Subsequently, he married Sophia of Querfurt, a daughter of Jutta of Saxony, widow of King Eric IV of Denmarkin her second marriage to Burchard VIII, Count of Querfurt-Rosenburg. Sophia was thus a half-sister of King Eric IV's daughters, among which were the deceased Queen Ingeborg of Norway, mother of King Eric II ofNorway. The marriage thus connected Eric to the king of Norway, who knighted him, and also led to a new conflict with King Eric VI, who retained his wife's inheritance from her half-sisters.On 3 February 1296 acompromise was entered in Vordingborg, in which the king promised to hand over Sophia's inheritance, but where the ducal family's properties in southern Funen, which had formerly belonged to Abel, Lord ofLangeland, were kept by the king as lawfully acquired from Abel's daughter. Only the city of Rudkøbing was transferred to become part of the fief of Langeland, and Eric confirmed the city's rights on the same day.Ericdied in 1310. In 1315, Sophia, in the presence of the king and several noblemen, donated the inheritance of her sisters to Saint Agnes' Priory in Roskilde, keeping only the city of Skælskør for herself.Marriage andissueEric married Sophia of Querfurt, a daughter of Burchard VIII, Count of Querfurt-Rosenburg, Burgrave of Magdeburg and Jutta of Saxony, widow of Eric IV of Denmark. The marriage was childless.AncestryPassage5:Abel, Lord of LangelandAbel Abelsøn (1252 – 2 April 1279), Lord of Langeland, was the third son of King Abel of Denmark, Duke of Schleswig, and younger brother of Valdemar III, Duke of Schleswig and Eric I, Dukeof Schleswig. As a member of the ducal family, he held several fiefs in Southern Denmark.LifeAbel was born in 1252 as the third and posthumous son of King Abel of Denmark, Duke of Schleswig, by his wife, Mechtild ofHolstein. In the settlement with his brother Eric after the death of their elder brother Duke Valdemar III, Abel received the cities of Svendborg, Rudkøbing, and possibly also Faaborg on the island of Funen, and as a fiefthe island of Langeland. Abel died on Easter Day 1279 in Svendborg and was buried in Greyfriars’ Abbey.At his death, he left only a daughter Margaret, who entered the convent of Zarrentin in Mecklenburg and donatedher father's properties to her relatives, the counts of Holstein. They later sold it to King Eric VI of Denmark.Marriage and issueAbel appears to have married a daughter of Gunzelin III, Count of Schwerin:Margaret,abbess of Zarrentin. As abbess, she instituted a requiem mass for her father in 1317.AncestryPassage 6:John I, Lord of PolanenJohn I, Lord of Polanen (c. 1285 – 26 September 1342) was Lord of Polanen, Lord of DeLek and Lord of Breda.LifeJohn was a son of Philips III van Duivenvoorde (?-c. 1308) and Elisabeth van Vianen.Lord of PolanenUpon the death of his father, John I became Lord of Polanen Castle. In his early years, Johngot help from his uncle Diederik van der Wale.Lord of HeemskerkIn 1327 John bought Oud Haerlem  Castle and the lordships (ambachtsheerlijkheden) of Heemskerk and Castricum. The price was only 100 pounds.In1328 John took part in the Battle of Cassel, and in 1329 he was knighted. In 1339 he became bailiff of KennemerlandLord of BredaIn 1322 John married Catharina van Van Brederode (died 1372). He was the father ofJohn II, Lord of Polanen.Passage 7:John I, Lord of EgmondJohn I, Lord of Egmond (before 1310 – 28 December 1369) was Lord of Egmond, Lord of IJsselstein, bailiff of Kennemerland (1353-1354) and stadtholder ofHolland.LifeHe was a son of Walter II and his wife, Beatrix of Doortogne.  He is first mentioned in 1328, when he fights in the Battle of Cassel and accompanies Count William III of Holland to Flanders, to assist theCount of Flanders suppressing a rebellion in Bruges and the surrounding area.In 1343, he is a member of a group of bailiffs who administer Holland while the Count is travelling.  In 1344, he is enfeoffed withNieuwendoorn castle.  He participated in the third crusade of Count William IV to Prussia and in the Siege of Utrecht in 1345, but not in the disastrous Battle of Warns later that year.In subsequent years, he played animportant role in the politics of Holland.  In 1350, he was one of the signatories of the Cod Alliance Treaty that set off the Hook and Cod wars.  He fought in the Battle of Naarden in 1350 and in the Battle of Zwartewaalin 1351.  He was then sent to England to mediate in the dispute between Countess Margaret and her son, Count William V, however, he was unsuccessful.After he returned to Holland, he began a campaign against thecitizens of Bunschoten in 1355.  In the winter of 1356, he besieged the castle of Nyevelt, on the orders of the count, and took it after a seven-week siege.  In 1356, William V appointed him governor of the area abovethe Meuse, jointly with his brother Gerry.  In 1358, William V was declared insane by his brother Albert.  John I was a member of the regency council.  In 1359, he is one of the Cod leaders to sign a reconciliation withthe city of Delft.In 1363, his father-in-law, Lord Arnold of IJsselstein died and John I inherited the Lordship of IJsselstein.He died in 1369 and was buried in the church of IJsselstein.Marriage and issueHe married Guidaof IJsselstein and had the following children:Arnold (c. 1337– 1409), his successorGerryAlbert, a canon in UtrechtBeatrix, married Ghisbert of VianenBearteMaria (d. c. 1384), married Philip IV of WassenaerCatherine,married Bartholomew of RaephorstAntonia, abbess in 's-HertogenboschElisabethGretaPassage 8:Eric I, Duke of SchleswigEric I Abelsøn (Danish: Erik 1. Abelsøn af Danmark) (died 27 May 1272) was a Danish nobleman.He was the ruling Duke of Schleswig from 1260 until his death in 1272. He was the second son of King Abel of Denmark, Duke of Schleswig and Mechtild of Holstein.Early lifeAfter the death of his elder brother DukeValdemar III in 1257, Eric inherited the claim to the Duchy of Schleswig. However, his uncle and potential feudal overlord King Christopher I of Denmark refused to install him as duke.Subsequently, Eric participated inthe coalition of Bishop Peder Bang of Roskilde and Prince Jaromar II of Rugia against King Christopher. He took part in the military campaign of 1259 which resulted in the conquest of Copenhagen.Duke ofSchleswigAfter the death of Christopher in 1259, he was created Duke of Schleswig by the new king Eric V in 1260.Already the following year, fighting with the king broke out anew. The Queen Dowager, MargaretSambiria, acting as regent for her under age son, feared aggression from the Duke. However, Duke Eric was able to defeat the royal army at the Battle of Lohede and capture the young King Eric and his mother. As aresult, he was able to obtain huge advantages for his duchy at the subsequent treaty in 1264.In 1268, he acquired Gottorp Castle from Bishop Bonde of Schleswig, who then moved his residence to Schwabstedt.DukeEric died 27 May 1272.Marriage and issueEric married Margaret of Rugia, a daughter of Jaromar II, Prince of Rugia in 1259 or 1260. They had the following children:Margaret (died after 1313), married Helmold III,Count of SchwerinValdemar IV, Duke of Schleswig (app. 1265–1312)Eric (Longbone), from 1295 Lord of Langeland (1272–1310), married Sophia Burghardsdatter (died 1325), daughter of Queen dowager Jutta ofDenmark and Count Burchard VIII of Querfurt-Rosenburg, Burgrave of Magdeburg== Ancestry ==Passage 9:John II, Lord of PolanenJohn III, Lord of Polanen (c. 1325 – 3 November 1378 in Breda) was Lord of Polanen,Lord of De Lek and Lord of Breda.LifeHe was a son of John I, Lord of Polanen and Catherine of Brederode. Polanen Castle near Monster was the ancestral seat of the family. In 1327 John I had acquired Oud HaerlemCastle. In 1339, John II purchased the Lordship of Breda and built Breda Castle, together with his father.John succeeded his father in 1342 and also took over his father's position as councilor of the Count of Holland andZeeland. In the autumn of 1343, he accompanied Count William IV on a pilgrimage to the Holy Land. He also participated in a crusade against the Prussians. He was not present in the September 1345 campaign againstthe Frisians, which saw William IV killed during the disastrous Battle of Warns. On 17 November 1345, John II granted Polanen Castle in arrear fief to his younger brother Philip I of Polanen.First phase of the Hook andCod WarsWilliam of Duivenvoorde and his nephew John II were leaders of what would become known as the 'Hook' party during the Hook and Cod wars. In 1350, they travelled to Hainaut to pay homage to CountessMargaret II. Somewhere between 1347 and 1350, John was appointed Burgrave of Geertruidenberg. In 1350, he purchased the Land of Breda for 43000 florins from John III, Duke of Brabant. He also acquired highjustice over Breda.The Hook and Cod wars started in earnest in about March 1351. Polanen Castle was besieged for 2 weeks and then demolished. Oud Haerlem Castle was taken after a siege which lasted more than 6months, even though John van not present. The Siege of Geertuidenberg Castle lasted from October 1351 to August 1352. Here John's brother Philip commanded as his lieutenant. As a result of the war John lost theLordship of De Lek.During the regency of Albert of BavariaIn 1358, Albert of Bavaria became regent of Holland for his brother. This was good for the members of the old Hook faction. In 1358 John was somewhatcompensated for his losses with other fiefs and possessions.In BrabantWhatever the later events in Holland, John seems to have concentrated his efforts on extending his holdings in the Breda area. It made him more ofa Brabant than a Holland lord.John II was captured during the 1371 Battle of Baesweiler. He was released several months later, after his relatives had paid a ransom. In 1375, he was appointed stadtholder of the GreatHolme.John II died in 1378 and was buried in the Church of Our Lady in Breda.Marriages and issueJohn II of Polanen married three times.In 1340, he married Oda of Horne-Altena (1318-1353), daughter of Willem IV ofHorne. They had three children:John III, his heirBeatrice (c. 1344 – 1394); married Henry VIII, the son of Henry VII, Lord of Bautershem, who was also Lord of Bergen op Zoom as Henry I, and his wife, MariaMerxheim, Lady of Wuustwezel and BrechtOda (c. 1351 – 15th century), married Henry III, Burgrave of MontfoortIn 1353, he married Matilda (c. 1324 – 1366), an illegitimate daughter of John III, Duke ofBrabant.  They had two sons:Dirck of the Leck (d. 1416), married Gilisje of Cralingen.  He was outlawed for a while, because he was suspected of having participated in the murder of Aleid van PoelgeestHenry of theLeck (d. 1427), married Jeanne of Ghistelles, and was a councillor of Countess Jacqueline of HollandIn 1370, he married Margaret, a daughter of Otto, Lord of Lippe and Irmgard of the Marck.  They had one son:Otto (d.before 20 October 1428), married before 1396 to Sophia, a daughter of Count Frederick III of Bergh-'s-Heerenberg and Catherine of BurenPassage 10:Anne HolckAnne Holck (7 December 1602, Tryggevælde - 5 June1660, Stensgaard, Langeland) was a Danish noble. She became famous for her defense of the island of Langeland against the Swedish army during the Dano-Swedish War (1658–1660) in 1659.She was the daughter ofnoble Ditlev Holck and married nobleman Vincents Steensen until Stensgaard from Langeland in 1623. In 1659, her spouse died from the wounds he received when he led the defense of Langeland against Swedishinvasion, and after his death, she took over and defended the island against the attack until she was forced to surrender. After having been captured and imprisoned on her estate, she managed to trick a Swedishtroupe down a vine cellar, where they were killed by local peasantry."}
+{"doc_id":"doc_49","qid":"","text":"Passage 1:Judah Even ShemuelYehuda Even Shemuel (Ukraine, 1886-Jerusalem, 1976) was an Israeli Jewish scholar, translator and lexicographer. He won the Israel Prize in 1973. Yehuda Kaufman (later EvenShemuel) was born in Balta, Ukraine. He studied in three yeshivot. At the age of eighteen, after passing the examination of a six-years’ course in a Russian gymnasium, he studied in London and then Paris, where hewas accepted to the law school of the University of Paris. He immigrated to Montreal, Canada in 1913.His English-Hebrew dictionary was known as The Kaufman Dictionary.Passage 2:Erik KilpatrickErik Kilpatrick (born1952) is an American actor who is best known for playing Curtis Jackson on the CBS television series The White Shadow.  He is the son of Lincoln Kilpatrick.  Erik and his father co-starred in \"Here's Mud in Your Eye\", anepisode from the first season of The White Shadow.  Kilpatrick has a younger brother, Lincoln Kilpatrick Jr., and a sister, DaCarla Kilpatrick, who also are actors.  Kilpatrick is the father of Erika Kurzawa and ToussaintKilpatrick. Married to Chris Anthony. Today, Kilpatrick devotes much of his time directing and is the founder and Artistic Director of KOLA Theatre.Passage 3:Lincoln KilpatrickLincoln Kilpatrick (February 12, 1931 – May18, 2004) was an American film, television, and stage actor.BiographyCareerBorn in St. Louis, Missouri, Kilpatrick attended Lincoln University and earned a degree in drama before he began acting. Encouraged by BillieHoliday, Kilpatrick began his career in 1959 in the Broadway production of A Raisin in the Sun. In the 1960s, he mainly guest-starred in television roles and bit parts in movies. His primary acting talents were showcasedin stage and theater work, which he remained active in until his death. Kilpatrick was co-founder of the Kilpatrick-Cambridge Theatre Arts School in Hollywood, California. He was also the first African-American memberof the Lincoln Center Repertory Company.Personal life and deathKilpatrick was married 47 years to the singer and stage performer Helena Ferguson from 1957 until his death from lung cancer in 2004. Kilpatrick hadfive children: actor and composer Lincoln Kilpatrick Jr.; writer, director and actor DaCarla Kilpatrick; actor and director Erik Kilpatrick; actor Jozella Reed; and producer Marjorie L. Kilpatrick. He was buried at the ForestLawn, Hollywood Hills Cemetery in Los Angeles.FilmographyPassage 4:Jean DaninosJean Daninos (2 December 1906 – 13 October 2001) was a Greek-French constructor of luxury cars Facel Vega, born in Paris.Thebrother of the Pierre Daninos, Jean Daninos had founded the company FACEL (Forges et Ateliers des Constructions d'Eure-et-Loir, forge and construction workshop for the department of Eure-et-Loir) in 1939 with hopesof one day designing and manufacturing his own automobile. An engineer, he had previously collaborated with Citroën on the Traction Avant and had worked in the aviation field.The FACEL company produced the bodiesof custom cars like the Panhard Dyna cabriolet and the Ford Comète.He had also a long time business partnership with Henri Théodore Pigozzi CEO of Simca. All the stylish Aronde sports derivatives (coupes andconvertibles called PLein Ciel and Océane, targeted for well to do women customers ) were manufactured by Facel.However Pigozzi and Simca chose cheaper and more trendy Carrozeria Bertone for the later the Simca1000 derivatives (Simca 1200S) and ended the Simca partnership. The first Facel Vega model, designed by Daninos himself, debuted in 1954, equipped with a Chrysler engine. Daninos counted among his clientscelebrities including (Tony Curtis, Ava Gardner) and racing drivers (Stirling Moss, Maurice Trintignant). Several sports car models followed until the company's demise in the mid-1960s. During ten years of production,FACEL had manufactured 3,000 automobiles.Daninos died in Cannes at age 94 from cancer. He was buried with his relatives in Jouy-en-Josas.Passage 5:Alexander FuksAlexander Fuks (30 May 1917 – 29 November1978) was a German-born, later Israeli historian, archaeologist and papyrologist. He worked with Victor Tcherikover and Menahem Stern on the standard edition of Jewish papyri. He was a specialist in the study ofHellenistic Judaism.Passage 6:Patrick KilpatrickPatrick Kilpatrick (born August 20, 1949), is an American actor, director, screenwriter, producer, journalist, international entertainment speaker and teacher. He hasappeared in over 180 films and television series.Kilpatrick ran for Governor of California in the 2021 recall election as a Democrat.Early lifeKilpatrick was born in Orange, Virginia, the son of Robert Donald Kilpatrick Sr.and Ellie Faye (born Ellwood Fay) Hines Kilpatrick. His ancestors are Scottish, Scots-Irish, a bit of Welsh, and English, having come to the U.S. as early as 1620, and he has relatives who fought in both the AmericanRevolution and for the Confederacy in the Civil War. His father was a World War II \"Beach Jumper\", a predecessor to the modern U.S. Navy Seals, who received a Silver Star and Purple Heart in the Pacific and was awinner of the National Collegiate Baseball Championship for the University of Richmond.When Kilpatrick was six, the family moved to Connecticut from Virginia, where his father (formerly a teacher) began his career ininsurance underwriting. Kilpatrick Sr. was head of Connecticut General, and was a key figure in the merger that created the Cigna Corporation; he died on January 27, 1997, at age 72. His mother was a public schooleducator, coach, councilor and psychologist in private practice. The family bought property in Virginia in 1980. After nearly dying in a car crash at the age of 17 on November 17, 1967, he was rehabilitated to the pointwhere he could later perform his own stunts.Kilpatrick graduated from the University of Richmond in 1972 with a Bachelor of Arts degree in English, History, and Teaching and attended New York University'sProfessional Film and Television Graduate Program.CareerFilm and televisionKilpatrick's entertainment career has spanned more than 180 films and television shows as lead actor, producer, screenwriter, director andacting coach/entertainment teacher. Most commonly playing the role of a villain, Kilpatrick has joked, \"I’ve been killed, beaten-up or jailed by nearly every leading actor on earth and in outer space.\"His action-filmvillain appearances include Class of 1999 (1990), Showdown (1993), The Replacement Killers  (1998), Eraser (1996), Last Man Standing (1996), Minority Report (2002), Under Siege 2: Dark Territory (1995), DeathWarrant (film) (1990),The Presidio (1988), and two Westerns opposite Tom Selleck, Last Stand at Saber River (1997)  and Crossfire Trail (2001). Kilpatrick also starred in Free Willy 3: The Rescue (1997).In one18-month period Kilpatrick, reportedly acted in five major-studio films and two independent films while making 27 television guest-star spots on 18 different shows. Other appearances include films such as RemoWilliams: The Adventure Begins (1985); 3 Ninjas Knuckle Up (1995), and the PBS miniseries American Playhouse: Roanoak (1981), which became the largest production in the history of PBS.Television appearancesinclude Dark Angel; Lois & Clark: The New Adventures of Superman (1994); Walker, Texas Ranger (1994); Babylon 5 (1995); Dr. Quinn, Medicine Woman as Sergeant O'Connor for 9 episodes from 1996 to 1997; ER(1997); JAG (1997 & 2000); The X-Files (2001); General Hospital (2003); CSI: Crime Scene Investigation (2005); 24 (2005); Terminator: The Sarah Connor Chronicles (2008) and Chuck (\"Chuck Versus theGravitron\"). He guess-starred in the Star Trek: Voyager episodes \"Initiations\" (1995) and \"Drive\" (2000) and in the Star Trek: Deep Space Nine episode \"The Siege of AR-558\" (1998). In January 2019, he began filmingCatalyst (scheduled for 2021 release).StageKilpatrick had a theatrical run at Los Angeles Theater Center for Shakespeare's Antony and Cleopatra, acted Off-Broadway in Hanoi Hilton at the Harold Clurman Theater(1984), Linda Her and The Fairy Garden (1984) at the Second Stage, and in regional theater, Requiem for a Heavyweight (1985).He has directed Off-Broadway and was a founding member of Divine Theater in New YorkCity. His play, Zone of Bells/Room of Seesaws,  premiered at the 1984 East Village Arts Festival. He was assistant director on Broadway with The Golden Age (1984) and Entertaining Mr. Sloane, (1984, Cherry LaneTheatre), and on Death Trap (1984) in the West End of London.AuthorIn 2018, Kilpatrick released a memoir, Dying for living: Sins & Confessions of a Hollywood Villain & Libertine Patriot Vol. 1 – Upbringing, publishedby Boulevard Books (NYC) on October 1, 2018, launched October 3, 2018 at National Press Club and Kennedy Center for Performing Arts. The book received the \"Best of LA\" Award 2018 with 5-star reviews.Kilpatrick'sfollow-up, Dying for living: Wasted Talent in the Valley of Debacle (Vol. 2 - Showbiz), was set for publication at the end of 2019.2021 California gubernatorial recall electionIn July 2021, Kilpatrick announced that he wasrunning as a candidate in the 2021 California gubernatorial recall election as one of nine Democrats attempting to recall California's governor, Gavin Newsom. The 50% threshold to recall Newsom was not reached, andKilpatrick received 1.2% of the replacement candidate vote.FilmographyFilmTelevisionAwards and nominationsPassage 7:Lincoln HurstLincoln Douglas Hurst (May 6, 1946 – November 11, 2008), also known as \"LincolnHurst\", \"L. D. Hurst\", or \"Lincoln D. Hurst\", was an American scholar of the Bible, religious history and film. He was Emeritus Professor at the University of California, Davis (1983–2006), and adjunct professor at FullerTheological Seminary, Pasadena, California (1987–2008).Life and careerBorn in Chicago and raised in Arlington Heights, Illinois, Hurst graduated from Arlington High School, and later received the Bachelorof Artsdegree in history from Trinity College (now Trinity International University), Deerfield, Illinois (1969). He was then grantedthe Master of Divinity (1973) and Master of Theology (1976) degrees from PrincetonTheological Seminary (where he worked under the late Bruce M. Metzger) andthe Doctor of Philosophy (1982) degree from Oxford University (Mansfield College), England, where he worked under the late G. B.Caird.  Anglican Bishop N.T. Wright also did his doctoral work under Caird, and three years after Caird's death Hurst and Wright co-edited a volume in his memory. Hurst also acted as Caird's family-appointed literaryexecutor, insofar as some of Caird's work was left hanging in mid-air when he died. Before taking up a post at the University of California, Davis in 1983, he was an Instructor at BloomfieldCollege, New Jersey(1973–74), lecturer (1979–80) and junior dean (1980–81) at Mansfield College, Oxford, and visiting fellow at Princeton Theological Seminary (fall, 1982).  He was a lifelong proponent of animal welfare. Committed topreserving the memories of G. B. Caird and Errol Flynn, he spent the final weeks of his life writing about the historic achievements of both men. Hurst died suddenly from a heart attack in November 2008.Areas ofActivityBiblical studiesHaving written extensively on the Epistle to the Hebrews, Hurst's work has also focused on a variety of other topics, including ethics in religion, the Aramaic language of the Gospels and Acts, theDead Sea scrolls, the development of early Christian thought about Jesus, New Testament Theology, and the relationship of religion and film. His work has shown a maverick tendency, with a willingness to take upunpopular positions that go against the mainstream. His discussion of Hebrews (Hurst 1990) accordingly is unconcerned about the identity of the unknown author - a common preoccupation - but is rather directed atuncovering the particular religious milieu out of which he or she came. He is insistent that the author was not a disciple of either Plato or Philo, or that he was a former member of the Qumran community - prevailingviews for much of the twentieth century. The writer instead was a mainstream first century Christian who was heavily influenced by Paul the Apostle and the Jewish Apocalyptic tradition. He also maintains, againstvirtually all scholars and commentators, that the first chapter of Hebrews is designed to illustrate not the deity of Christ, but his perfect humanity. The first-century writer wishes his readers to know that in Jesus Godhas restored the human race to its proper predestined place \"above the angels\" (Psalm 8:4-6; Hurst 1987).  His interest in the question of the Historical Jesus led him to question the linguistic techniques by which themajority of scholars have attempted to reconstruct Jesus's original Aramaic words beneath the later Greek gospels (Hurst 1986). The ethical dimensions of Jesus's teaching is another area into which he has delved; heconsiders Jesus's ethics to be indissolubly linked to Realized eschatology - the idea (associated with C. H. Dodd) that for Jesus the Kingdom of God had already, in substantial form, arrived in the teaching, life, and deathof Jesus (Hurst 1992). A central facet of Christian doctrine since the early centuries of the church has been the Pre-existence of Christ, and this is another area that has attracted his attention.His claim (following G. B.Caird) that Paul the Apostle represents both the earliest and the highest thinking about Jesus in the New Testament (as opposed, for instance, to the Gospel of John) runs counter to the view of the majority of scholars,and in this case he has had a notable disagreement with  University of Durham theology Professor James Dunn (Hurst, 1986); he and Dunn have appeared in the same volume \"discussing\" the question (Martin andDodd, 1998). Hurst's interest in the subject of New Testament Theology, sparked by his posthumous completion of G. B. Caird's work of that title, remains a continuing thrust of his research.The messianism of the DeadSea scrolls has been one of the most widely discussed topics of the past sixty years in western religious circles; here it has been almost a dogma among scholars that the members of the Qumran community wereidiosyncratic in that they expected not one, but two Messiahs. Hurst has stood against this idea, claiming that the members of the desert sect held to a thoroughly orthodox Jewish belief in one Messiah (Hurst 1999)(there is little, if any, evidence that his arguments in this regard have made even a negligible impact on the field). He is also concerned to explore the influence of Christianity in general, and the Bible in particular, onthe films of the twentieth and twenty-first centuries - especially those that use the Bible symbolically in \"modern\" settings (Hurst 2004).Film HistoryIn addition to studies in religion and the Bible, Hurst has maintained along interest in the history of film. For most of his life he studied cinema as an avocation, but in his later years it consumed an increasing amount of his time. For approximately ten years he taught a popular course onfilm at the University of California, Davis, where his work tended to center on the relationship of film and music andof film and religion.  He was an accredited film historian, having appeared in manydocumentaryfeatures (on DVD and television, including Britain (the BBC) and Australia (the ABC)) dealing with various aspects of some of the most significant films in American cinematic history. He displayed a specialfondness for crime films, having publicly commented on three of what he considered (in addition to The Godfather trilogy) to be among the most historically crucial: Angels with Dirty Faces, The Roaring Twenties and(most significantly) White Heat.He is seen notably in features accompanying the Warner Brothers DVD releases of the classic 1941 release of \"The Maltese Falcon\", and in various 'signature collection' DVDs, includingthose of Humphrey Bogart and Errol Flynn, featuring on the commentaries alongside Martin Scorsese, Eric Lax, Michael Madsen, and Theresa Russell,  among others. In 2005 he recorded the full-length audiocommentary for the Warner Home Video DVD release of the 1939 classic James Cagney crime film, The Roaring Twenties, included in  \"The Warner Gangsters Collection\".Selected worksBooks(with N. T. Wright, ed.),The Glory of Christ in the New Testament: Studies in Christology in Memory of George Bradford Caird.  Oxford: Clarendon Press, Oxford, 1987.The Epistle to the Hebrews: Its Background of Thought. SNTS MonographSeries No. 65. Cambridge: Cambridge University Press, 1990.New Testament Theology, by G. B. Caird, Completed and Edited by L. D. Hurst. Oxford and New York:  Oxford University Press, 1994 (Paperback1995).Swashbuckler at the Front: Errol Flynn, the Spanish Civil War, Religion, and Fascism. Lanham, MD: Scarecrow Press (forthcoming).Articles & Essays\"How 'Platonic' are Hebrews viii.5 and ix.23ff.?\", Journal ofTheological Studies n.s. 34 (1983), pp. 156ff.\"Eschatology and 'Platonism' in the Epistle to the Hebrews,\" Society of Biblical Literature Seminar Papers 23, Chico (1984), pp. 41ff.\"Apollos, Hebrews and Corinth: BishopMontefiore's Theory Examined,\" Scottish Journal of Theology 38 (1986), pp. 505ff.\"The Christology of Hebrews 1 and 2,\" in Hurst and Wright (eds.), The Glory of Christ in the New Testament (see above), pp. 151ff.\"TheEthics of Jesus,\" in Joel B. Green, Scot McKnight, and I. Howard Marshall (eds.), Dictionary of Jesus and the Gospels.  Downers Grove: InterVarsity, 1992, pp. 210ff.\"The Neglected Role of Semantics in the Search forthe Aramaic Words of Jesus,\"  Journal for the Study of the New Testament 28 (1986), pp. 63ff. (reprinted in Craig A. Evans and Stanley E. Porter [eds.], The Historical Jesus: A Sheffield Reader. Sheffield: SheffieldAcademic Press, 1995, pp. 219ff.)\"New Testament Theological Analysis,\" Introducing New Testament Interpretation, ed. Scot McKnight (Grand Rapids, MI: Baker Books, 1989), pp. 133-161.\"Priest, High Priest,\" in RalphP. Martin and Peter H. Davids (eds.), Dictionary of the Later New Testament and Its Developments.  Downers Grove: InterVarsity, 1997, pp. 963ff.(with Joel B. Green), \"Priest, Priesthood,\" in Joel B. Green, ScotMcKnight, and I. Howard Marshall (eds.), Dictionary of Jesus and the Gospels.  Downers Grove: InterVarsity, 1992, pp. 633ff.\"Qumran,\" in Ralph P. Martin and Peter H. Davids (eds.), Dictionary of the Later NewTestament and Its Developments.  Downers Grove: InterVarsity, 1997, pp. 997ff.\"Re-Enter the Pre-Existent Christ in Philippians 2.5-11?\",  New Testament Studies 32 (1986), pp. 449ff. (reprinted, with new material, as\"Christ, Adam, and Pre-Existence Revisited,\" in Ralph P. Martin and Brian Dodd (eds.), Where Christology Began.  Louisville, Ky.:  Westminster/John Knox, 1998), pp. 84ff.\"George Bradford Caird,\" A Historical Handbookof Major Biblical Interpreters, ed. Donald McKim (Downers Grove, Il:  Intervarsity, 1998), 456-462.\"Did Qumran Expect Two Messiahs?\", Bulletin of Biblical Research 9 (1999), pp. 157ff.\"Foreword,\" G. B. Caird,Principalities and Powers. Eugene, Or: Wipf and Stock, 2003, pp. 1–9.\"Six-Gun Savior: George Stevens' 'Shane' and Paul's Letter to the Romans,\" in Sheila E. McGinn (ed.),  Celebrating Romans: Template for PaulineTheology. Essays in Honor of Robert Jewett. Grand Rapids: Eerdmans, 2004, pp. 240ff.External links\"Popular former UC Davis professor dies at age 62,\" The California Aggie, 4 December 2008.Eulogy in Memory of L. D.Hurst, Fremont Presbyterian Church, Sacramento, CA, 17 January 2009.Lincoln Hurst at IMDbLincoln Hurst UC Davis Wiki profileBruce M. Metzger's review of New Testament Theology, by George B. Caird and Lincoln D.HurstPassage 8:Lincoln Kilpatrick Jr.Lincoln Kilpatrick Jr. (born October 4, 1961) is a former child star and American actor during the 1970s.BiographyEarly lifeKilpatrick was born on October 4, 1961 in North Hollywood,California. He was born the eldest of five children born to actor Lincoln Kilpatrick and former performer Helena Ferguson.CareerKilpatrick appeared in his first film and began his career at the age of 10 in the movie DeadMen Tell No Tales in 1971 as the role of Mike Carter. Kilpatrick also played the minor role of Jeff in the 1977 TV movie Alexander: The Other Side of Dawn.Kilpatrick made his first television appearance on the March 9,1973 episode of the NBC sitcom Sanford and Son. Kilpatrick also made a television appearance on the CBS sitcom Good Times in the episode Michael, the Warlord as Ratbone, the leader of the \"Junior Warlords\" streetgang Michael has been bullied into. The episode aired on October 13, 1976.FamilyKilpatrick is the son of longtime film and television actor Lincoln Kilpatrick and performer Helena Ferguson. He is also the nephew ofactor John Kilpatrick. Kilpatrick is also the brother of actress DaCarla Kilpatrick, actor/director Erik Kilpatrick, actress Jozella Reed, and producer Marjorie L. Reed.FilmographyDead Men Tell No Tales (Mike Carter)"}
+{"doc_id":"doc_50","qid":"","text":"Passage 1:Nayelly HernándezNayelly Hernández (born 23 February 1986) is a former Mexican professional squash player. She has represented Mexico internationally in several international competitions including the Central American and Caribbean Games, Pan American Games, Women's World Team Squash Championships. Nayelly achieved her highest career ranking of 57 in October 2011 during the 2011 PSA World Tour. Her husband Chris Walker whose nationality is English is also a professional squash player. She joined the Trinity College in 2008 as the first Mexican female to join a US college for squash and graduated in 2010.CareerNayelly joined PSA in 2006 and took part in the PSA World Tour until 2016, the 2015-16 PSA World Tour was her last World Tour prior to the retirement.Nayelly Hernandez represented Mexico at the 2007 Pan American Games and claimed a bronze medal as a part of the team event on her maiden appearance at the Pan American Games. In the 2011 Pan American Games she clinched gold in the women's doubles event along with Samantha Teran and settled for bronze in the team event. She has also participated at the Women's World Team Squash Championships on four occasions in 2010, 2012, 2014 and in 2016.Passage 2:Eleni Gabre-MadhinEleni Zaude Gabre-Madhin (born 12 July 1964) is an Ethiopian-born Swiss economist, and former chief executive officer of the Ethiopia Commodity Exchange (ECX). She has had many years of experience working on agricultural markets – particularly in Sub-Saharan Africa – and has held senior positions in the World Bank, the International Food Policy Research Institute (Washington), and United Nations (Geneva).Eleni GebremedhnEleni was born in Addis Ababa, Ethiopian Empire on 12 July 1964. She grew up in four different African countries including Kenya, Tanzania and South Africa. She speaks fluent Swahili, English, Amharic and French. She graduated from Rift Valley Academy in Kenya with the highest of honours. She has a PhD in Applied Economics from Stanford University, master's degrees from Michigan State University and bachelor's in economics from Cornell University. Eleni was selected as \"Ethiopian Person of the Year\" for the 2002 ET calendar year (2009/2010 Gregorian) by the Ethiopian newspaper Jimma Times.CareerShe was the main driving force behind the development of the Ethiopia Commodity Exchange (ECX). Whilst working as a researcher for the International Food Policy Research Institute (IFPRI) she examined agricultural markets for many years and noticed, as had many others, that whilst in some years or regions there were severe shortages or droughts in others there were surpluses or bumper harvests. Specifically in her survey of grain traders in 2002, she found that a key factor was the lack of effective infrastructure and services needed for grain markets to function properly.  Traders often failed to have access to sufficient credit, information about the market, transportation and other vital resources and contract compliance was difficult to enforce.  In 2004 she moved home from the US to lead an IFPRI program to improve Ethiopia's agricultural policies and markets. Specifically she undertook the important role of coordinating the advisory body developing the ECX.   She became CEO of the new exchange in 2008, and argued that \"(W)hen farmers can sell their crops on the open market and get a fair price, they will have much more incentive to be productive, and Ethiopia will be much less prone to food crises\" .... and that the \"ECX will allow farmers and traders to link to the global economy, propelling Ethiopian agriculture forward to a whole new level.\"In February 2013, she became a director of Syngenta.In 2013, Eleni launched eleni LLC, a company intended to build and invest in commodity exchanges in markets in the developing world, including Africa.In November 2021, the Canadian novelist Jeff Pearce leaked a video that depicts Eleni's participation in a virtual meeting discussion, along with Professor Ephraim Isaac, former Ethiopian Minister of Foreign Affairs and current TPLF spokesperson Berhane Gebre-Christos and several Western diplomats, that mentioned a transitional government during Tigray War. Shortly, she was removed from membership of the Independent Economic Council, which formed to support Prime Minister Abiy Ahmed economic transition.  On 25 November, Eleni released a statement that denying the allegation as \"deliberately misrepresented\". Two days before the leaked video unveiled, police forces searched her house and remained undisclosed for suspected foul play.  The incident stirred public outrage in Ethiopia and its diaspora, condemning her as traitor. The University of Gondar also revoked an honorary doctorate it had awarded her.AwardsIn 2010, Eleni was named Ethiopian Person of the Year for the 2002 Ethiopian year. Eleni was listed as one of the 50 Women Shaping Africa in 2011.In 2012, Eleni was awarded the Yara Laurate Prize from the Norwegian fertilizer manufacturer Yara International for her outstanding contributions to sustainable food production and distribution with socio-economic impact. Previous recipients of the prize include former prime minister of Ethiopia Meles Zenawi. That same year, she was recognized as one of New African Magazine's 100 Most Influential Africans, won the African Banker Icon Award, and invited to the G8 Summit at Camp David.She was granted The Power with Purpose Award from Devex and McKinnsey in 2016.Formerly, Eleni Gabre-Madhin received an honorary doctorate, in 2013, from the University of Gondar in Ethiopia. However, later in November 2021, the University of Gondar revoked the Honorary Doctorate of Eleni Gabre-Madhin in relation to her involved clandestine video meeting aimed at toppling the democratically elected government of Ethiopia.Passage 3:Khalid al-HabibKhalid Habib (Arabic: \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000)  (died October 16, 2008), born Shawqi Marzuq Abd al-Alam Dabbas (Arabic: \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000), was an ascending member of al-Qaeda's central structure in Pakistan and Afghanistan. His nationality was reported as Egyptian (by CBS News) and as Moroccan (by The New York Times).Habib was the operations commander for the region. He was one of several al-Qaeda members who were more battle-hardened by combat experience in Iraq, Chechnya, and elsewhere. This experience rendered them more capable than their predecessors. According to The New York Times, this cadre was more radical than the previous generation of al-Qaeda leadership. The FBI described Habib as \"one of the five or six most capable, most experienced terrorists in the world.In 2008, Habib relocated from Wana to Taparghai, Pakistan to avoid missile strikes launched from US-operated MQ-1 Predator aircraft which targeted al Qaeda and Taliban personnel.  Khalid Habib was killed by a Predator strike near Taparghai on October 16, 2008. Habib was reportedly sitting in a Toyota station wagon which was struck by the missile. On October 28, militants confirmed to the Asia Times that Habib was killed in the drone attack.Passage 4:Baglan MailybayevBaglan Mailybayev (Kazakh: Ба\u0000лан Асаубай\u0000лы Майлыбаев, Bağlan Asaubaiūly Mailybaev) was born on 20 May 1975 in Zhambyl region, Kazakhstan. His nationality is Kazakh. He is a politician of the Republic of Kazakhstan, Deputy Head of the Presidential Administration of the Republic of Kazakhstan, Doctor of Law (2002) (under the supervision of Professor Zimanov S.Z. – scientific advisor and academician of National Academy of Sciences of the Republic of Kazakhstan) and PhD in political science (1998).BiographyIn 1996 he obtained a bachelor's degree in journalism from the Kazakh State National University named after Al-Farabi.In 1998 he was awarded a degree of PhD in political science after graduating from a graduate school of Political Science and Political Administration of the Russian Academy of Public Administration under the president of the Russian Federation.Between 1998 and 2002 he used to work as a senior researcher at the Institute of State and Law of the National Academy of Sciences of the Republic of Kazakhstan as well as a lecturer at the Kazakh State University of International Relations and World Languages named after Abylai Khan.Between February and May 2002 he worked as the Head of Mass Media Department of the Ministry of Culture, Information and Public Accord of the Republic of Kazakhstan.Between May 2002 and September 2003 he was a President of the Joint Stock Company \"Republican newspaper \"Kazakhstanskaya Pravda\"\".Between September 2003 and December 2004 he was a President of the Joint Stock Company \"Zan\".Since December 2004 he had served as the Head of the Press office of the President of the Republic of Kazakhstan.Since October 2008 he had been a Chairman of the Committee of Information and Archives of Ministry of Culture and Information of the Republic of Kazakhstan.Since December 2008 he had been a Vice Minister of Culture and Information of the Republic of Kazakhstan.Between June 2009 and October 2011 he worked as Press Secretary of the President of the Republic of Kazakhstan.In October 2011 he was appointed as a Deputy Head of the Presidential Administration of the Republic of Kazakhstan by the Presidential decree.Personal lifeMarital status: He is married and has two children.AwardsBaglan Mailybayev was awarded \"Kurmet\", \"Parasat\" orders, medals and a letter of acknowledgement of the President of the Republic of Kazakhstan. In 1998 he became a prizewinner at the award of Young Scientists of National Academy of Sciences of the Republic of Kazakhstan.PublicationsHe is the author of 4 monographs and more than 150 scientific publications, published in Kazakhstani as well as in foreign editions. He is also the author of a number of feature stories, supervisor and a scriptwriter of television projects and documentaries.Research interestsComparative Political Science, Theory of State and Law, History of State and Law, Constitutional Law.Language abilities: He speaks Kazakh, Russian and English fluently.NoteThe predecessor of Baglan Mailybayev at the position of a Deputy Head of the Presidential Administration of the Republic of Kazakhstan was Maulen Ashimbayev.Passage 5:Roberto SavioRoberto Savio (born in Rome, Italy, but also holding Argentine nationality) is a journalist, communication expert, political commentator, activist for social and climate justice  and advocate of global governance. He has spent most of his career with Inter Press Service (IPS), the news agency which he founded in 1964 along with Argentine journalist Pablo Piacentini.Savio studied Economics at the University of Parma, followed by post-graduate courses in Development Economics under Gunnar Myrdal, History of Art and International Law in Rome. He started his professional career as a research assistant in International Law at the University of Parma.Early activitiesWhile at university, Roberto Savio acted as an international officer with Italy’s National Student Association and the Youth Movement of Italy’s Christian Democracy party, eventually taking on responsibility for Christian Democracy’s relations with developing countries. After leaving university, he became international press chief for former Italian Prime Minister Aldo Moro. After the 1973 Chilean coup d’etat, Roberto Savio left Italian politics to pursue journalism.Early journalistic careerRoberto Savio’s career in journalism began with Italian daily ‘Il Popolo’ and he went on to become Director for News Services for Latin America with RAI, Italy’s state broadcasting company. He received a number of awards for TV documentaries, including the Saint-Vincent Award for Journalism, the most prestigious journalism award in Italy.Inter Press Service (IPS)Throughout his student years, Roberto Savio had cultivated an interest in analysing and explaining the huge information and communication gap that existed between the North and the South of the world, particularly Latin America. Together with Argentine journalist Pablo Piacentini, he decided to create a press agency that would permit Latin American exiles in Europe to write about their countries for a European audience.That agency, which was known in the early days as Roman Press Agency, was the seed for what was to become the Inter Press Service (IPS) news agency, which was formally established at a meeting in the Schloss Eichholz conference centre of the Konrad Adenauer Foundation (the foundation of the CDU), in Wesseling near Bonn, then the capital city of West Germany.From the outset, it was decided that IPS would be a non-profit cooperative of journalists and its statute declared that two-thirds of the members should come from the South.Roberto Savio gave IPS its unique mission – “giving a voice to the voiceless” – acting as a communication channel that privileges the voices and the concerns of the poorest and creates a climate of understanding, accountability and participation around development, promoting a new international information order between the South and the North.The agency grew rapidly throughout the 1970s and 1980s until the dramatic events of 1989-91 – the fall of the Berlin Wall and the collapse of the Soviet Union – prompted new goals and definitions: IPS was the first news outlet to identify itself as “global” and define the new concept of neoliberal globalisation as contributing to the distancing of developing countries from wealth, trade and policy-making.IPS offers communication services to improve South–South cooperation and South-North exchanges and carries out projects with international partners to open up communication channels to all social sectors.IPS has been recognised by the United Nations and granted NGO consultative status (category I) with ECOSOC.With the strengthening of the process of globalisation, IPS has dedicated itself to global issues, becoming the news agency for global civil society: more than 30,000 NGOs subscribe to its services, and several million people are readers of its online services.Under Roberto Savio, IPS won the Washington-based Population Institute’s “most conscientious news service” award nine time in the 1990s, beating out the major wire services year in and year out.IPS won FAO’s A.H. Boerma Award for journalism in 1997  for its \"significant contribution to covering sustainable agriculture and rural development in more than 100 countries, filling the information gap between developed and developing countries by focusing on issues such as rural living, migration, refugees and the plight of women and children\".On the initiative of Roberto Savio, IPS established the International Journalism Award in 1985 to honour outstanding journalists whose efforts, and often lives, contributed significantly to exposing human rights violations and advancing democracy, most often in developing countries. In 1991, the scope of the award was broadened to reflect the tremendous changes taking place in the world following the historic break-up of the Soviet Union and the end of the Cold War. The Award, renamed the International Achievement Award, was given in recognition of the work of individuals and organisations that “continue to fight for social and political justice in the new world order”.Roberto Savio is now President Emeritus of IPS and Chairman of the IPS Board of Trustees, which also includes former U.N. Secretary-General Boutros Boutros-Ghali, former Portuguese President Mario Soares, former UNESCO Director-General Federico Mayor Zaragoza, former Finnish President and Nobel Peace Prize laureate Martti Ahtisaari, former Costa Rican President and Nobel Peace Prize laureate Oscar Arias and former Japanese Prime Minister Toshiki Kaifue.After stepping down as Director-General of IPS, Roberto Savio has continued his interest in “alternative” communication and information, founding Other News as an international non-governmental association of people concerned about the decline of the information media.Other NewsIn 2008, Roberto Savio launched the online Other News service to provide “information that markets eliminate”.Other News publishes reports that have already appeared in niche media but not in mass circulation media, in addition to opinions and analyses from research centres, universities and think tanks – material that is intended to give readers access to news and opinion that they will not find in their local newspapers but which they might wish to read “as citizens who care about a world free from the pernicious effects of today’s globalisation”.Other News also distributes daily analysis on international issues, particularly the themes of global governance and multilateralism, to several thousand policy-makers and leaders of civil society, in both English and Spanish.Communication initiativesAn internationally renowned expert in communications issues, Roberto Savio has helped launched numerous communication and information projects, always with an emphasis on the developing world.Among others, Roberto Savio helped launch the National Information Systems Network (ASIN) for Latin America and the Caribbean,  the UNESCO-sponsored Agencia Latinoamericana de Servicios Especiales de Informacion [Latin American Special Information Services Agency] (ALASEI), and the Women’s Feature Service (WFS), initially an IPS service and now an independent NGO with headquarters in New Delhi.He also founded the Technological Information Promotion System (TIPS), a major U.N. project to implement and foster technological and economic cooperation among developing countries, and he developed Women into the New Network for Entrepreneurial Reinforcement (WINNER), a TIPS training project aimed at educating and empowering small and medium woman entrepreneurs in developing countries. The activities of TIPS are currently carried by the executing agency, Development Information Network (DEVNET), an international association which Roberto Savio helped create and which has been recognised by the United Nations as an NGO holding consultative status (category I) with the U.N. Economic and Social Council (ECOSOC).Roberto Savio has also been actively involved in promoting exchanges between regional information services, such as between ALASEI and the Organisation of Asian News Agencies (OANA) now known as the Organisation of Asia-Pacific News Agencies, and between the PanAfrican News Agency (PANA) and the Federation of Arab News Agencies (FANA).Roberto Savio was instrumental in placing the concept of a Development Press Bulletin Service Tariff on the agenda of UNESCO’s International Commission for the Studyof Communication Problems (MacBride Commission).Roberto Savio has also worked closely in the field of information and communication with many United Nations organisations, including the United Nations Development Programme (UNDP), the United Nations Environment Programme (UNEP), the United Nations Educational, Scientific and Cultural Organisation (UNESCO), the United Nations Population Fund (UNFPA), the United Nations Children’s Fund (UNICEF) and the United Nations Institute for Training and Research (UNITAR).Achievements and awardsIn 1970, Roberto Savio received the Saint-Vincent Award for Journalism, the most prestigious journalism award in Italy, for a five-part series on Latin America which was recognised as “best TV transmission”.He was awarded the Hiroshima Peace Award in 2013 for his “contribution towards the construction of a century of peace by ‘giving voice to the voiceless’ through Inter Press Service for nearly five decades”. The award was established by Soka Gakkai, a lay Buddhist organisation based in Tokyo.He received the Joan Gomis Memorial Award (Catalunya) for Journalism for Peace in 2013.In October 2016, during the 31st Festival of Latin American Cinema in Trieste, Italy, Roberto Savio received the \"Salvador Allende\" award, given to honour a personality from the world of culture, art or politics who actively supported the conservation of Latin America's rich history and culture.In 2019, he received a special diploma from the President of Chile, Michelle Bachelet, for his role of solidarity during the Chilean military dictatorship.He was appointed by President of the Republic Mattarella, one of the twelve Knights of the Order of Merit of the Italian Republic for 2021. He also received an honorary degree in political science from the United Nations Peace University in 2021.Advisory activitiesRoberto Savio served as Senior Adviser for Strategies and Communication to the Director General of the International Labour Organization (ILO) from 1999 to 2003. He also served as an internal communication consultant to Catherine Bertini, Executive Director of the World Food Programme (WFP), in 2000.AffiliationsFrom 1999 to 2003, Roberto Savio was a board member of the Training Centre for Regional Integration, based in Montevideo, Uruguay.After several years as a member of the Governing Council "}
+{"doc_id":"doc_51","qid":"","text":"Passage 1:Jack GoohsenJack Goohsen (born November 7, 1942) is a farmer and former political figure in Saskatchewan, Canada.Goohsen was born in Gull Lake, Saskatchewan and studied agricultural management atthe University of Saskatchewan. He established a farm in the Gull Lake area. He served on the council for the rural municipality of Carmichael, serving as reeve from 1981 to 1992, and was elected to represent MapleCreek in the 1991 Saskatchewan general election and again in the new Cypress Hills district in the 1995 Saskatchewan general election to the Legislative Assembly of Saskatchewan as a Progressive Conservative.In thespring of 1997, Goohsen was criminally charged after he was accused of trying to buy sex from a 14-year-old girl. As a result of this scandal, he was not invited to join the caucus of the newly founded SaskatchewanParty when it was formed by the remaining Progressive Conservative members along with some Saskatchewan Liberal Party MLA's that summer. Goohsen remained in the legislature as an independent member while hiscase made its way through the courts.Gooshen resigned as an MLA after being convicted in 1999 on the child prostitution charge. He lost his appeal to the SK Court of Appeal.Passage 2:Ray DanylukRaymond Bruce\"Ray\" Danyluk  (born 1952 or 1953) is a farmer and former provincial politician from Alberta, Canada. He served as a Member of the  Legislative Assembly of Alberta from 2001 to 2012 with the ProgressiveConservative caucus before being defeated by Wildrose Party candidate Shayne Saskiw in the 2012 election. During his time in office Danyluk served as a cabinet minister in the government of Premier Ed Stelmach,serving in various portfolios since 2006.Early lifeDanyluk was born in Calgary, Alberta, Canada. He attended post secondary education at the University of Alberta. He farms near the community of Elk Point,Alberta.Political careerDanyluk ran for a seat to the Alberta Legislature as a Progressive Conservative candidate in the 2001 Alberta general election. He ran in the electoral district of Lac La Biche-St. Paul in a hotlycontested three candidate race. The seat was open due to the departure of incumbent Paul Langevin. Danyluk held the seat for the Progressive Conservatives to win his first term in office. He faced a strong challengefrom Liberal candidate Vital Ouellette but still finished first by a couple thousand votes.Danyluk ran for a second term in office in the 2004 Alberta general election. He faced three opposition candidates including theformer Sergent at Arms of the Legislature Oscar Lacombe who ran under the Alberta Alliance banner. Danyluk held his seat winning just over half the popular vote, despite seeing a decline in his support. The Liberalcandidate saw his party's popular vote almost cut in half but still managed to finish a distant second, while Lacombe finished a close third out of fourth place.Premier Ed Stelmach appointed Danyluk to his first cabinetportfolio in the Executive Council of Alberta as Minister of Municipal Affairs and Housing on December 15, 2006.Danyluk ran for a third term in office in the 2008 Alberta general election with ministerial advantage. Hefaced two other candidates significantly increasing his popular vote returning to office with a landslide majority.Premier Stelmach slightly changed Danyluk's cabinet portfolio after the 2008 election. On March 12, 2008he became Minister of Municipal Affairs. He held that portfolio until Stelmach appointed him as Minister of Infrastructure on January 15, 2010.Passage 3:Adam ZolotinAdam Zolotin (born November 29, 1983, in NewYork City, New York) is an American actor, best known for appearing in Leave It to Beaver and Jack.FilmographyFilmJack (1996) as Louis DuranteLeave It to Beaver (1997) as Eddie HaskellDog's Best Friend (1997) asWylie ThompsonZerophilia (2005) as ChadWhat News? (2007) as TommyLonely Boy (2013) as MikeTelevisionLaw & Order (1996) as Lonnie Rickman (1 episode)Love and Marriage (1996) as Christopher NardiniStorm ofthe Century (1996) as Davey HopewellLaw & Order: SVU (2000) as Justin McKenna (1 episode)What I Like About You (2005) as Chris's Friend (1 episode)The New Adventures of Old Christine (2006) as Mark (1episode)Scrubs (2004) as Reuben (1 episode)Mr. Robot (2016) as David (1 episode)TheaterSirensRecognitionAwards and nominations1996, YoungStar Awards nomination for 'Best Young Actor in a Comedy Film' forJack1996, Young Artist Awards nomination for 'Best Performance in a Feature Film - Supporting Young Actor' for Jack1998, Young Artist Awards nomination for 'Best Performance in a Feature Film - Supporting YoungActor' for Leave It to BeaverPassage 4:Alexander McKenzie (footballer)Alexander McKenzie was an Australian rules footballer for Port Adelaide. He was noted to be able to kick a football 75 yards without the assistanceof wind.Port Adelaide (1889)In the lead up to the 1889 SAFA season a football reporter writing under the pseudonym 'Centre' for the Port Adelaide News forecasted that \"A. McKenzie (as I have mentioned before) and P.Begg have indications of making really first class players. When the Association matches start I think the Port club will have a team that will stand a lot of knocking about, and also take a lot to beat\". McKenzie made hisdebut in the first game of the 1889 SAFA season in a win against Medindie (North Adelaide) on Alberton Oval with 'Goalpost' writing for the Evening Journal commenting on Alexander's likeness to his brother Johnstating that \"McKenzie has his brothers style, both marking and kicking well\".During 1889 the North Melbourne Football Club visited South Australia and played a game on the Adelaide Oval against Port Adelaide. Starforward Charlie Fry was a late withdrawal for the game allowing then rookie Alex McKenzie to be named as a late inclusion for the match. McKenzie kicked a goal in Port Adelaide's six goal defeat of NorthMelbourne.Adelaide (1890)During the 1890 season McKenzie's older brother John, who also played as a key position forward, was keeping Alexander out of the Port Adelaide side. As a result, Alexander McKenzie movedto the Adelaide Football Club halfway though the 1890 SAFA season seeking greater opportunities to play as a key forward. Alexander's best game for Adelaide was in a game against Medindie (North Adelaide) where hekicked three goals in a two-goal win on Adelaide Oval. At the time Adelaide were struggling and at the beginning of the 1891 season John prematurely flagged his retirement thus enticing his brother Alex back to PortAdelaide.Port Adelaide (1891–1895)McKenzie's move back to his original club proved a good decision as he would go on to lead that clubs goal-kicking four times in 1892, 1893, 1894 and 1895.In 1892 McKenzie wasselected in the South Australian state side for the first time. During the match against Victoria on the Melbourne Cricket Ground Alexander kicked two goals.In a game against Old Adelaide on Alberton Oval during the1893 SAFA season Alexander McKenzie kicked 13 goals.Western Australia (1896–1900)In 1896 McKenzie moved to the Western Australian Goldfields likely drawn by that states gold rush. During June and July 1896McKenzie appeared for the Imperials Football Club (a club which later disbanded with the majority of players forming the East Fremantle Football Club) in the Western Australian Football Association, kicking four goals inhis first game against the Rovers on the WACA.By August 1896 Alexander McKenzie had moved to the goldfields and began playing football and cricket for Coolgardie. In 1897 McKenzie won a premiership withKalgoorlie City. That year he led the Goldfields Football League goal kicking with 27 majors. In 1898 McKenzie had retired as a player and helped umpire the Goldfields Football League.In 1900 McKenzie won first prizein the W.A. Tattersalls Ballarat Charles Sweep netting £1,098. McKenzie used this windfall to relocate to South Africa.Move to South AfricaIn 1902 Alexander McKenzie had made it to South Africa and was inJohannesburg. By 1913 Alexander McKenzie was running a hotel in Johannesburg.Personal lifeMcKenzie had four brothers – Rod, Duncan, Ken and Jack; the latter two played for Port Adelaide with Alexander. Alexandermarried Edith Jane Lloyd and fathered two girls, Maisie Jessie McKenzie and Lorna Jean McKenzie. McKenzie died on 25 September 1914 in South Africa.Passage 5:David JiDavid Longfen Ji is an American businessmanwho co-founded Apex Digital, an electronics manufacturer.In 2004, he was arrested in China following a dispute with Sichuan Changhong Electric, a supplier owned by the city of Mianyang and the province of Sichuan.Changhong accused him of defrauding them through bad checks. Ji was taken, according to an account by his lawyer, to the senior management and told, \"I decide whether you live or die.\" He has been held in Chinawithout charges.Ji's case highlighted an \"implicit racism\" in dealings with American businessmen. As a U.S. citizen he was not granted the same treatment by authorities as non-ethnically Chinese businessmen sharingthe same nationality.Passage 6:Ed StelmachEdward Michael Stelmach  (; born May 11, 1951) is a Canadian politician who served as the 13th premier of Alberta, from 2006 to 2011. The grandson of Ukrainianimmigrants, Stelmach was born and raised on a farm near Lamont and fluently speaks the distinctive Canadian dialect of Ukrainian. He spent his entire pre-political adult life as a farmer, except for some time spentstudying at the University of Alberta. His first foray into politics was a 1986 municipal election, when he was elected to Lamont County council. A year into his term, he was appointed reeve.  He continued in this positionuntil his entry into provincial politics.In the 1993 provincial election, Stelmach was elected as the Member of the Legislative Assembly (MLA) for Vegreville-Viking (later Fort Saskatchewan-Vegreville). A ProgressiveConservative, he served in the cabinets of Ralph Klein—at various times holding the portfolios of Intergovernmental Relations, Transportation, Infrastructure, and Agriculture, Food, and Rural Development—where hedeveloped a reputation as a low-key politician who avoided the limelight. When Klein resigned the party's leadership in 2006, Stelmach was among the first to present his candidature to replace him. After a third-placefinish on the first ballot of the leadership race, he won an upset second ballot victory over former provincial treasurer Jim Dinning.Stelmach's premiership was heavily focused on management of the province's oilreserves, especially those of the Athabasca Oil Sands. He rejected calls from environmentalists to slow the pace of development in the Fort McMurray area, and similarly opposed calls for carbon taxes. Other policyinitiatives included commencing an overhaul of the province's health governance system, amendments to the Alberta human rights code, a re-introduction of all-party committees to the Legislature, and the conclusionof a major labour agreement with Alberta's teachers. His government also attracted controversy for awarding itself a 30% pay increase shortly after its re-election, and featured strained relations with Calgary, one ofKlein's former strongholds. Despite this, Stelmach increased the Progressive Conservatives' already substantial majority in the 2008 election. With the advent of the late-2000s recession, Stelmach had to cope with adeteriorating economic situation and the Alberta government's first budget deficit in 16 years.Stelmach was succeeded as Premier by Alison Redford on October 7, 2011. He joined the board of Covenant Health a yearlater, and has been its chair since January 2016.BackgroundEdward Michael Stelmach was born on a farm near Lamont, Alberta, the grandson of immigrants from Zavyche, Ukraine. His grandparents settled nearAndrew, Alberta in 1898, after bypassing Saskatchewan because they did not care for the terrain. His parents, Nancy (née Koroluk) and Michael N. Stelmach, had five children, of whom Edward was the youngest, tenyears younger than his closest sibling. Stelmach was raised speaking Ukrainian, and did not learn English until he started attending school. He was raised a Ukrainian Catholic, and continues to attend church regularly,sing in the church choir, and act as a volunteer caretaker for the cemetery. Through high school, he worked as a well-digger and a Fuller Brush salesman, where he said his grasp of Ukrainian helped him make sales.After graduating high school—his grade 12 yearbook called him a future Prime Minister of Canada—he attended the University of Alberta, intending to become a lawyer. He continued there, working as an assistantmanager at Woodward's, until 1973, when his oldest brother, Victor, died.  While his family had intended for Victor to take over the farm that his grandparents had settled 75 years before, Stelmach dropped out ofuniversity, returned home, and bought the land from his parents. He continues to farm the land today.As a teenager, he met Marie Warshawski at the wedding of a mutual friend. They married in 1973, and have threesons and a daughter.Stelmach entered politics in 1986 with his election to the council of Lamont County; one year later, he was appointed county reeve, a position he held until his entry into provincial politics in1993.MLA and ministerStelmach ran for the Legislative Assembly of Alberta as a Progressive Conservative in the 1993 provincial election, defeating incumbent New Democrat Derek Fox in the riding of Vegreville-Viking.Stelmach became a member of the Deep Six, a group of enthusiastically fiscally conservative rookie MLAs; in addition to supporting Premier Ralph Klein's aggressive deficit-cutting, Stelmach practiced fiscal restrainthimself, incurring low office expenses and declining a government vehicle.  During his first term, Stelmach served as Deputy Whip and, later, Chief Government Whip for the P.C. caucus.  As a backbencher, hesponsored the Lloydminster Hospital Act Repeal Act. This was a government bill that dissolved the then-existing Lloydminster hospital board in preparation for an arrangement compliant with both the Albertagovernment's new system of regional health authorities and the Saskatchewan government's system. Lloydminster sits on the border of Alberta and Saskatchewan, and the hospital, although built and operated by theAlberta government, sits on the Saskatchewan side. It passed the legislature with little debate. In 1996, shortly before an April by-election in Redwater, Stelmach was accused of \"pork barrel politics\" for presenting,along with colleague Peter Trynchy and P.C. candidate Ross Quinn, a large cheque to a local seniors centre. Stelmach said that he had only stepped in to help the riding after its MLA, Nicholas Taylor, had been appointedto the Senate.After the 1997 provincial election, Klein appointed Stelmach Minister of Agriculture, Food, and Rural development. While he held this office, his department encouraged the establishment of feedlots. Theopposition parties charged that the government was not regulating these sufficiently, but Stelmach responded that municipalities had the authority necessary to effectively regulate them. On the Canadian Wheat Boardcontroversy, Stelmach sided with farmers who wanted an end to the federal body's monopoly on grain sales in the western provinces. Legislatively, Stelmach sponsored five bills while in the Agriculture, Food, and RuralDevelopment portfolio, all of which passed through the legislature.  1997's Meat Inspection Amendment Act required meat inspectors to acquire a search warrant before entering a private dwelling, but also allowed forfines to be voluntarily paid without requiring a court case. It was called by Liberal agriculture critic Ken Nicol \"a really good bill\". The Livestock and Livestock Products Amendment Act of the same year eliminatedgovernment guarantee of the Livestock Patrons' Assurance Fund, designed to protect cattle producers from payment defaults by livestock dealers, in favour of leaving the Fund entirely in the hands of the industry. It toowas supported by the Liberals, with Nicol calling it \"very easy for us to accept\".  In 1998, Stelmach sponsored the Agriculture Statutes (Penalties) Amendment Act, which overhauled the penalty system for violation ofvarious agricultural statutes, setting maximum fines and leaving the precise amount up to judges on a case-by-case basis. It also passed with Liberal support, as MLA Ed Gibbons said that it \"really makes a lot ofsense\". Another 1998 bill was the Marketing of Agricultural Products Amendment Act, which allowed provincial agricultural marketing boards to revise their marketing plans, and was supported by theopposition.  Finally, Stelmach initiated the Agriculture Statutes (Livestock Identification) Amendment Act, which allowed the government to delegate the inspection of branding to the cattle industry. The bill was thesubject of considerable debate on second reading, but was ultimately supported by the Liberals on the third and final reading.In 1999, Klein shifted Stelmach to the new Infrastructure portfolio, where he made trafficsafety a priority, increasing fines for traffic offenses, sometimes by as much as 700%. He also briefly aroused controversy by proposing reversing the slow and fast lanes on provincial highways, on the grounds that thiswould equalize the rate at which the lanes broke down and therefore save on maintenance costs; nothing came of the proposal.  He established a fund for capital projects, but was criticized for not doing enough toaddress the deterioration of the province's infrastructure. In 2001, Klein separated Transportation out of the Infrastructure portfolio and appointed Stelmach to it, where the new minister advocated the use ofpublic-private partnerships to build ring roads around Edmonton and Calgary. He also introduced a program of graduated driver licensing and initiated a review of traffic safety programs.  Stelmach was re-elected by hislargest majority yet during the 2001 election, and retained the Transportation portfolio until 2004, when he was reassigned to the position of Minister of Intergovernmental Relations. He resigned this position in 2006 inorder to contest the P.C. leadership election (Klein had required that ministers intending to campaign to succeed him resign from cabinet).As minister, Stelmach kept a low profile. Mark Lisac, who was the EdmontonJournal's provincial affairs columnist during much of Stelmach's time in cabinet, later recalled that Stelmach \"never did anything that was flashy or controversial in any way\" and that \"not a thing\" stood out aboutStelmach's ministerial service. This low-key style earned Stelmach the moniker \"Steady Eddie\", which would follow him to the Premier's office.2006 leadership electionStelmach was the first candidate to declare hisintention to run for the P.C. leadership, and picked up endorsements from nineteen members of his caucus (including cabinet ministers Pearl Calahasen and Iris Evans).  However, former provincial Treasurer JimDinning had twice as many caucus endorsements (despite not having held elected office since 1997) and was generally considered the race's front-runner. Stelmach ran a low-profile campaign, touring the province in acustom-painted campaign bus, while most media attention was focussed on the rivalry between Dinning and the socially conservative Ted Morton.According to the race's rules, the three candidates receiving the mostvotes on the first ballot would move on to a second ballot, which would use a preferential voting system to select a winner. Stelmach finished third on the first ballot with 15.3% of the vote, 3,329 votes ahead of fourthplace Lyle Oberg and 10,647 votes behind second place Morton.  However, the fourth, fifth, and sixth place candidates (Oberg, Dave Hancock, and Mark Norris) all endorsed Stelmach for the second ballot. On thisballot, he finished in first place on the first count, fewer than five hundred votes ahead of Dinning. A majority of Morton's votes went to Stelmach on the second count, and he was elected leader.FinancingStelmachraised more than $1.1 million for his leadership campaign. After his victory, he revealed the names of the donors of 85% of this money, but declined to release the names of eighty supporters, citing their requests forprivacy.  These supporters had donated a total of more than $160,000. Party rules did not require any disclosure, and the disclosures by candidates varied—Norris named all of his donors, while Morton did not revealany.  Stelmach's partial disclosure was deemed insufficient by opposition leaders and Democracy Watch, whose head suggested that Albertans should assume that Stelmach's anonymous donors placed him in a conflictof interest until he proved otherwise. Stelmach also acknowledged receiving a $10,000 donation from the Beaver Regional Waste Management Service's Commission, a landfill operator owned by five municipalities in"}
+{"doc_id":"doc_52","qid":"","text":"Passage 1:Peter LevinPeter Levin is an American director of film, television and theatre.CareerSince 1967, Levin has amassed a large number of credits directing episodic television and television films. Some of histelevision series credits include Love Is a Many Splendored Thing, James at 15, The Paper Chase, Family, Starsky & Hutch, Lou Grant, Fame, Cagney & Lacey, Law & Order and Judging Amy.Some of his television filmcredits include Rape and Marriage: The Rideout Case (1980), A Reason to Live (1985), Popeye Doyle (1986), A Killer Among Us (1990), Queen Sized (2008) and among other films. He directed \"Heart in Hiding\", writtenby his wife Audrey Davis Levin, for which she received an Emmy for Best Day Time Special in the 1970s.Prior to becoming a director, Levin worked as an actor in several Broadway productions. He costarred with SusanStrasberg in \"[The Diary of Ann Frank]\" but had to leave the production when he was drafted into the Army. He trained at the Carnegie Mellon University. Eventually becoming a theatre director, he directed productionsat the Long Wharf Theatre and the Pacific Resident Theatre Company. He also co-founded the off-off-Broadway Theatre [the Hardware Poets Playhouse] with his wife Audrey Davis Levin and was also an associate artistof The Interact Theatre Company.Passage 2:Benjamin StoloffBenjamin Stoloff (October 6, 1895 – September 8, 1960) was an American film director and producer. He began his career as a short film comedy directorand gradually moved into feature film directing and production later in his career.Director filmography1940s–1950sHome Run Derby (1959) – TV SeriesFootlight Varieties (1951)It's a Joke, Son! (1947)Johnny ComesFlying Home (1946)Take It or Leave It (1944)Bermuda Mystery (1944)The Mysterious Doctor (1943)The Hidden Hand (1942)Secret Enemies (1942)Three Sons o' Guns (1941)The Great Mr. Nobody (1941)The MarinesFly High (1940)1930sThe Lady and the Mob (1939)The Affairs of Annabel (1938)Radio City Revels (1938)Fight for Your Lady (1937)Super-Sleuth (1937)Sea Devils (1937)Don't Turn 'Em Loose (1936)Two in the Dark(1936)To Beat the Band (1935)Swellhead (1935)Transatlantic Merry-Go-Round (1934)Palooka (1934)Night of Terror (1933)Obey the Law (1933)The Devil Is Driving (1932)The Night Mayor (1932)By Whose Hand?(1932)Destry Rides Again (1932)Perfect Control (1932)Slide, Babe, Slide (1932)Goldie (1931)Three Rogues (1931)Not Exactly Gentlemen (1931)Soup to Nuts (1930)New Movietone Follies of 1930 (1930)1920sThe Girlfrom Havana (1929)Happy Days (1929/I)Protection (1929)Speakeasy (1929)The Bath Between (1928)Plastered in Paris (1928)A Horseman of the Plains (1928)Mind Your Business (1928)Silver Valley (1927)The GayRetreat (1927)The Circus Ace (1927)The Canyon of Light (1926)It's a Pipe (1926)Matrimony Blues (1926)The Mad Racer (1926)The Fighting Tailor (1926)East Side, West Side (1925/II)The Heart Breaker (1925)SweetMarie (1925)Roaring Lions at Home (1924)Stolen Sweeties (1924)In-Bad the Sailor (1924)Stretching the Truth (1924)When Wise Ducks Meet (1924)On the Job (1924)ScreenwriterGas House Kids Go West(1947)ProducerLaw of the Tropics (1941)The Spiritualist (1948) also known as The Amazing Mr. XThe Cobra Strikes (1948)External linksBenjamin Stoloff at IMDbPassage 3:Howard W. KochHoward Winchel Koch (April11, 1916 – February 16, 2001) was an American producer and director of film and television.Life and careerKoch was born in New York City, the son of Beatrice (Winchel) and William Jacob Koch. His family was Jewish.He attended DeWitt Clinton High School and the Peddie School in Hightstown, New Jersey. He began his film career as an employee at Universal Studios office in New York then made his Hollywood filmmaking debut in1947 as an assistant director. He worked as a producer for the first time in 1953 and a year later made his directing debut. In 1964, Paramount Pictures appointed him head of film production, a position he held until1966 when he left to set up his own production company. He had a production pact with Paramount for over 15 years.Among his numerous television productions, Howard W. Koch produced the Academy Awards showon eight occasions. Dedicated to the industry, he served as President of the Academy of Motion Picture Arts and Sciences from 1977 to 1979. In 1990 the Academy honored him with The Jean Hersholt HumanitarianAward and in 1991 he received the Frank Capra Achievement Award from the Directors Guild of America.Together with actor Telly Savalas, Howard Koch owned the thoroughbred racehorse Telly's Pop, winner of severalimportant California races for juveniles including the Norfolk Stakes and Del Mar Futurity.Howard W. Koch suffered from Alzheimer's disease and died in at his home in Beverly Hills, California on February 16, 2001. Hehad two children from a marriage of 64 years to Ruth Pincus, who died in March 2009. In 2004, his son Hawk Koch was elected to the Board of Governors of the Academy of Motion Picture Arts andSciences.FilmographyDirectorFilm (director)Shield for Murder (1954)Big House, U.S.A. (1955)Untamed Youth (1957)Bop Girl Goes Calypso (1957)Jungle Heat (1957)The Girl in Black Stockings (1957)Fort Bowie(1957)Violent Road (1958)Frankenstein 1970 (1958)Born Reckless (1958)Andy Hardy Comes Home (1958)The Last Mile (1959)Badge 373 (1973)Television (director)Maverick (1957) (1 episode)Hawaiian Eye (1959) (2episodes)Cheyenne (1958) (1 episode)The Untouchables (1959) (4 episodes)The Gun of Zangara (1960) (TV movie taken from The Untouchables (1959 TV series))Miami Undercover (1961) (38 episodes)TexacoPresents Bob Hope in a Very Special Special: On the Road with Bing (1977)ProducerFilm (producer):War Paint (1953)Beachhead (1954)Shield for Murder (1954)Big House, U.S.A. (1955)Rebel in Town(1956)Frankenstein 1970 (1958)Sergeants 3 (1962)The Manchurian Candidate (1962)Come Blow Your Horn (1963)Robin and the 7 Hoods (1964)The Odd Couple (1968)On a Clear Day You Can See Forever (1970)ANew Leaf (1971)Plaza Suite (1971)Last of the Red Hot Lovers (1972)Jacqueline Susann's Once Is Not Enough (1975)The Other Side of Midnight (1977)Airplane! (1980)Some Kind of Hero (1982)Airplane II: The Sequel(1982)Ghost (1990)Television (producer)Magnavox Presents Frank Sinatra (1973)Passage 4:Barney Platts-MillsBarney Platts-Mills (15 October 1944 – 5 October 2021) was a British film director, best known for hisaward-winning films, Bronco Bullfrog and Private Road.BiographyPlatts-Mills was born in 1944 in Colchester, England, a son of barrister John Platts-Mills (who was briefly a Labour MP), and was educated at UniversityCollege School, London, and at Bryanston School, Blandford, Dorset.He entered the film industry in 1960, as 3rd assistant editor at Shepperton Studios and worked on Stanley Kubrick's Spartacus, Lewis Gilbert's TheGreengage Summer and John Schlesinger's A Kind of Loving among other films, for editors including Peter R. Hunt and Reggie Beck. Platts-Mills worked as editor for Anglia TV's Survival and Granada TV's World inAction.In 1966, he established Maya Films with James Scott, Adam Barker-Mill and Andrew St. John. Platts-Mills produced and edited Love's Presentation, a 30-minute documentary on the work of David Hockney,directed by James Scott, and also produced and directed St Christopher, a 45-minute documentary on children in the care of St Christopher's School, Bristol, and the Camphill Village Trust, Botton, Yorkshire. He wrote,produced and directed The War, a cinema short, starring Colin Welland and Eric Burdon (15 minutes, B&W 35 mm Panavision). He wrote and directed Everybody's an Actor, Shakespeare Said, a documentary on thework of Joan Littlewood, with young people in the East End of London (35 minutes, 16 mm Eastmancolor).In 1969, he wrote and directed Bronco Bullfrog with young people from the East End (83 minutes, 35 mm B&W)Selectione a l'Unanimite pour Semain de la Critique, Festival de Cannes. The film won a Screenwriters' Guild award for Best Original Screenplay.In 1971, he wrote and directed Private Road (86 minutes, 35 mmEastmancolor), starring Bruce Robinson, Susan Penhaligon and Michael Feast. It was awarded the Golden Leopard at the Locarno Festival for Best Film.In 1972, Platts-Mills was made a Governor and Honorary LifeMember of the British Film Institute and Director of the Prodigal Trust, Inner London School's video project. He took piano lessons with Trevor Fisher.Platts-Mills' screenplay Double Trouble was published as a novel byDuckworth in 1976. The following year, he wrote screenplays for The Scotsman and Hero. After two years' preparation he directed Hero (82 minutes, 16 mm Eastmancolor) for Film Four in ancient Gaelic with actorsdrawn from a Glasgow youth gang. Hero was an official entry at the Venice Film Festival.In 1983, Platts-Mills wrote the screenplay for Ebb Tide by Robert Louis Stevenson, to be filmed for Film Four in Sri Lanka starringHarry Dean Stanton and Christopher Lee. The project abandoned when war broke out in that country. Between 1984 and 1988, he was resident in Sussex with his two young children, Roland and Ruby.In 1989,Platts-Mills wrote and directed Blasphemy for Channel Four's Dispatches.In 1990, he worked in The Special Unit at HMP Barlinnie, Glasgow, on various projects, including a musical to be staged by prisoners in the jailand the first-ever performance by a circus (Archaos) in a British jail. He edited John Steele's The Bird That Never Flew, an autobiography of a prison trouble-maker published by Sinclair-Stevenson in 1992.Platts-Millswas advisor to the development of Wornington Green Residents' Association Video Project for disadvantaged youth in 1993, and in 1994 he set up and supervised the first year of the North Kensington Video DramaProject (NKVDP), including work for the Metropolitan Police Scam scheme and the Youth Enterprise Scheme.In 1995, together with students from the NKVDP he established Massive Videos at North KensingtonCommunity Centre and worked on the development of Courttia Newland's The Scholar. Between 1996 and 1999, Massive Videos made many short films by and about disadvantaged young people and founded the Filmand Video Festival. In Liverpool they established the Workhaus project in a five-storey building in the city centre and the North X Northwest Film Festival.In 1999, Platts-Mills met Tunde Olayinka and acted as adviser toThe Alpha Male, Olayinka's first film.Platts-Mills went to Morocco in 2000 and lived for a year on a farm near Larache, writing the screenplay for Lovesways.He built a house in Mejlaou near Assilah in 2004 and wrote thescreenplay for Zohra: A Moroccan Fairytale.Bronco Bullfrog and Private Road were re-released in 2010 by the BFI and the National Film Theater. Platts-Mills' films were screened in retrospectives at the Edinburgh FilmFestival, Gijion Film Festival, BAFICI, Copenhagen Film Festival and the opening night Premiere at the East End Film Festival.Platts-Mills joined the film production company Miraj Films in 2010 as a producer andcompleted the production of Zohra: A Moroccan Fairytale, his love poem to Morocco and his comeback after 30 years, which had its world premiere at the 40th International Rotterdam Film Festival.Platts-Mills iscredited with founding the independent production company, Peabody Productions.He died on 5 October 2021, at the age of 76.Passage 5:Hanro SmitsmanHanro Smitsman, born in 1967 in Breda (Netherlands), is awriter and director of film and television.Film and Television CreditsFilmsBrothers (2017)Schemer (2010)Skin (2008)Raak (aka Contact) (2006)Allerzielen (aka All Souls) (2005) (segment \"Groeten uit Holland\")Engel enBroer (2004)2000 Terrorists (2004)Dajo (2003)Gloria (2000)Depoep (2001)Television20 leugens, 4 ouders en een scharrelei (2013)De ontmaskering van de vastgoedfraude (TV mini-series, 2013)Moordvrouw(2012-)Eileen (2 episodes, 2011)Getuige (2011)Vakantie in eigen land (2011)De Reis van meneer van Leeuwen(2010)De Punt (2009)Roes (2 episodes, 2008)Fok jou! (2006)Van Speijk (2006)AwardsIn 2005, Engel enBroer won Cinema Prize for Short Film at the Avanca Film Festival.In 2007, Raak (aka Contact) won the Golden Berlin Bear Award at the Berlin International Film Festival, the Spirit Award at the Brooklyn Film Festival,the first place jury prize for \"Best Live Action under 15 minutes\" at the Palm Springs International Short Film Festival, and the Prix UIP Ghent Award for European Short Films at the Flanders International Film Festival.In2008, Skin won the Movie Squad Award at the Nederlands Film Festival, an actor in the film also won the Best Actor Award.  It also won the Reflet d’Or for Best Film at the Cinema tous ecrans Festival in Geneva in thesame year.Passage 6:Brian Johnson (special effects artist)Brian Johnson (born 29 June 1939 or 29 June 1940) is a British designer and director of film and television special effects.Life and careerBorn Brian Johncock,he changed his surname to Johnson during the 1960s. Joining the team of special effects artist Les Bowie, Johnson started his career behind the scenes for Bowie Films on productions such as On The Buses, and forHammer Films.  He is known for his special effects work on TV series including Thunderbirds (1965–66) and films including Alien (1979), for which he received the 1980 Academy Award for Best Visual Effects (sharedwith H. R. Giger, Carlo Rambaldi, Dennis Ayling and Nick Allder). Previously, he had built miniature spacecraft models for Stanley Kubrick's 1968 film 2001: A Space Odyssey.Johnson's work on Space: 1999 influencedthe effects of the Star Wars films of the 1970s and 1980s. Impressed by his work, George Lucas visited Johnson during the production of the TV series to offer him the role of effects supervisor for the 1977 film. Havingalready been commissioned for the second series of Space: 1999, Johnson was unable to accept at the time. He worked on the sequel, The Empire Strikes Back (1980), whose special effects were recognised in the formof a 1981 Special Achievement Academy Award (which Johnson shared with Richard Edlund, Dennis Muren and Bruce Nicholson).AwardsJohnson has won Academy Awards for both Alien (1979) and The Empire StrikesBack (1980). He was further nominated for an Academy Award for his work on Dragonslayer (1981). In addition, Johnson is the recipient of a Saturn Award for The Empire Strikes Back and a BAFTA Award for JamesCameron's  Aliens.FilmographySpecial effectsDirectorScragg 'n' Bones (2006)Passage 7:Rachel FeldmanRachel Feldman is an American director of film and television and screenwriter of television films.Life andcareerBorn in New York City, New York, Feldman began her career as a child actor performing extensively in commercials and television series.Her credits as a television director include: ((The Rookie)), ((CriminalMinds)), ((Blue Bloods)), and some beloved shows like Doogie Howser, M.D., The Commish, Dr. Quinn, Medicine Woman, Picket Fences, Sisters,Lizzie McGuire, at the start of her career. She has written and directedseveral features including: Witchcraft III: The Kiss of Death (1991), Post Modern Romance (1993), She's No Angel (2001) starring Tracey Gold, Recipe for a Perfect Christmas (2005) starring Christine Baranski, LoveNotes (2007) starring Laura Leighton, Lilly (2023) starring Patricia Clarkson.FilmsFeature FilmsLilly (2023) - Director/WriterLove Notes (2007) - WriterRecipe for a Perfect Christmas ((2005) - WriterShe's No Angel(2001) - Writer/DirectorWitchcraft III: The Kiss of Death (1991)  - DirectorShortsHere Now (2017) - Writer/DirectorHappy Sad Happy (2014) - Writer/DirectorPost Modern Romance (1993) - Writer/DirectorWunderkind(1984) - Writer/DirectorGuistina (1981) - Writer/DirectorActivismFeldman is active in the fight for gender equality in the film and television industry. Her activism takes form in speaking out about issues such as equalpay, job stability for women, sexual harassment, sexual discrimination and female representation within the industry. Feldman is also an activist for women behind the camera, who can be seen in the Geena Davisproduced documentary This Changes Everything.Feldman was the former chair of the DGA Women's Steering Committee (WSC). The focus of the WSC is to support and uplift women in the film and televisionindustry.Personal life and educationFeldman grew up in the Bronx and now lives in Los Angeles. She attended New York University where she received a Master of Fine Arts Degree and has taught classes in directingand screenwriting at the USC School of Cinematic Arts.Feldman is married to artisan contractor and colorist Carl Tillmanns; together they have two children, Nora and Leon. They are both alumni of Sarah LawrenceCollege, where they first met.Passage 8:Ian Barry (director)Ian Barry is an Australian director of film and TV.Select creditsWaiting for Lucas (1973) (short)Stone (1974) (editor only)The Chain Reaction (1980)WhoseBaby? (1986) (mini-series)Minnamurra (1989)Bodysurfer (1989) (mini-series)Ring of Scorpio (1990) (mini-series)Crimebroker (1993)Inferno (1998) (TV movie)Miss Lettie and Me (2002) (TV movie)Not QuiteHollywood: The Wild, Untold Story of Ozploitation! (2008) (documentary)The Doctor Blake Mysteries (2013)Passage 9:Hero (1982 film)Hero is a 1982 British  independent adventure-fantasy film written and directed byBarney Platts-Mills. Set in the medieval age, it is spoken entirely in Scottish Gaelic.The film was entered into the main competition at the 39th edition of the Venice Film Festival.PlotCastDerek McGuire as DermidO'DuinneCaroline Kenneil as Princess GranniaAlastair Kenneil as Finn MacCumhaillStewart Grant as OsinHarpo Hamilton as OscarPassage 10:Happy Days (1929 film)Happy Days  is a 1929 American pre-Code musicalfilm directed by Benjamin Stoloff, which was the first feature film shown entirely in widescreen anywhere in the world, filmed using the Fox Grandeur 70 mm process. French director Abel Gance's Napoléon (1927) had afinal widescreen segment in what Gance called Polyvision. Paramount released Old Ironsides (1927), with two sequences in a widescreen process called \"Magnascope\", while MGM released Trail of '98 (1928) in awidescreen process called \"Fanthom Screen\".The film features an array of stars who were contracted to William Fox's  Fox Film Corporation at that time, including Marjorie White, Will Rogers, Charles Farrell, JanetGaynor, George Jessel, El Brendel, Ann Pennington, Victor McLaglen, Dixie Lee, Edmund Lowe, and Frank Richardson. It also featured the first appearance of Betty Grable on film, aged 12, as a chorus girl, and Sir HarryLauder's nephew, Harry Lauder II, a conductor for Fox, who was drafted into the chorus.PlotOriginally titled New Orleans Frolic, the story centers around Margie (played by Marjorie White), a singer on a showboat who,when she hears that the showboat is in financial trouble, travels to New York City in an effort to persuade all the boat's former stars to perform in a show to rescue it. She is successful and the stars all fly to New Orleansto surprise the showboat's owner, Colonel Billy Blacher, with a grand show, the proceeds of which will go to rescue the showboat.CastCharles E. Evans as Colonel Billy BatcherMarjorie White as MargieRichard Keene asDickStuart Erwin as JigMartha Lee Sparks as Nancy LeeClifford Dempsey as Sheriff BentonJames J. Corbett as Interlocutor - Minstrel ShowGeorge MacFarlane as Interlocutor - Minstrel ShowJanet Gaynor as JanetGaynorCharles Farrell as Charles FarrellVictor McLaglen as Minstrel Show PerformerEdmund Lowe as Minstrel Show PerformerEl Brendel as Minstrel Show PerformerWilliam Collier Sr. as End Man - Minstrel ShowWalterCatlett as End Man - Minstrel ShowTom Patricola as Minstrel Show PerformerGeorge Jessel as Minstrel Show PerformerWill Rogers as Minstrel Show PerformerWarner Baxter as Minstrel Show PerformerAnn Penningtonas \"Snake Hips\" Speciality DancerReleaseAfter a preview on September 17, 1929, Happy Days premiered at the Roxy Theater in New York City on February 13, 1930 with a Niagara Falls widescreen short on a Grandeurscreen of 42x20 ft, compared to the standard 24x18 ft screen. It was also shown in Grandeur at the Carthay Circle Theatre in Los Angeles, from February 28, 1930.At a screening at the Roxy Theater, film criticMordaunt Hall praised the cinematography, which was noted to be enhanced by the wider format. However, he regarded the film itself as \"not one that gives as full a conception of the possibilities as future films of thistype will probably do.\"Owing to the Great Depression, few movie theaters invested in equipment for this format and it was soon abandoned. Fox Film Corporation's heavy investment in Grandeur technology led to"}
+{"doc_id":"doc_53","qid":"","text":"Passage 1:Heather D. GibsonHeather Denise Gibson (Greek: Χέδερ Ντενίζ Γκίμπσον) is a Scottish economist currently serving as Director-Advisor to the Bank of Greece (since 2011). She was the spouse of EuclidTsakalotos, former Greek Minister of Finance.Academic careerBefore assuming her duties at the Bank of Greece and alternating child-rearing duties with her husband, Gibson worked at the University of Kent, where shepublished two volumes on international exchange rate mechanisms and wrote numerous articles on this and other topics, sometimes in cooperation with her husband, who was teaching at Kent at the time.PersonallifeGibson first came to Greece in 1993, with her husband, with whom she took turns away from their respective economic studies to raise their three children while the other worked.The couple maintain two homes inKifisia, along with an office in Athens and a vacation home in Preveza. In 2013, this proved detrimental to Tsakalotos and his party when his critics began calling him «αριστερός αριστοκράτης» (aristeros aristokratis,\"aristocrat of the left\"), while newspapers opposed to the Syriza party seized on his property holdings as a chance to accuse the couple of hypocrisy for enjoying a generous lifestyle in private while criticizing the \"ethicof austerity\" in public. One opposition newspaper published on the front page criticism reasoning that Tsakalotos own family wealth came from the same sort of investments in companies as made by financialinstitutions JP Morgan and BlackRock.WorksEditorEconomic Bulletin, Bank of GreeceBooksThe Eurocurrency Markets, Domestic Financial Policy and International Instability (London, etc., Longman: 1989) ISBN0312028261International Finance: Exchange Rates and Financial Flows in the International Financial System (London, etc., Longman: 1996) ISBN 0582218136Economic Transformation, Democratization and Integrationinto the European Union (London: Palgrave Macmillan: 2001) ISBN 9780333801222Articles and papers\"Fundamentally Wrong: Market Pricing of Sovereigns and the Greek Financial Crisis,\" Journal of Macroeconomics,Elsevier, vol. 39(PB), pp. 405–419 (with Stephen G. & Tavlas, George S., 2014)\"Capital flows and speculative attacks in prospective EU member states\" (with Euclid Tsakalotos, Economics of Transition Volume 12, Issue3, pages 559–586, September 2004)\"A Unifying Framework for Analysing Offsetting Capital Flows and Sterilisation: Germany and the ERM\" (with Sophocles Brissimis & Euclid Tsakalotos, International Journal of Finance& Economics, 2002, vol. 7, issue 1, pp. 63–78)\"Internal vs External Financing of Acquisitions: Do Managers Squander Retained Profits\" (with Andrew Dickerson and Euclid Tsakalotos, Studies in Economics, 1996; OxfordBulletin of Economics and Statistics, 2000)\"Are Aggregate Consumption Relationships Similar Across the European Union\" (with Alan Carruth & Euclid Tsakalotos, Regional Studies, Volume 33, Issue 1, 1999)TakeoverRisk and the Market for Corporate Control: The Experience of British Firms in the 1970s and 1980 (with Andrew Dickerson and Euclid Tsakalotos, 1998) PDF\"The Impact of Acquisitions on Company Performance:Evidence from a Large Panel of UK Firms\" (with Andrew Dickerson and Euclid Tsakalotos, Oxford Economic Papers New Series, Vol. 49, No. 3 (Jul., 1997), pp. 344–361)\"Short-Termism and Underinvestment: TheInfluence of Financial Systems\" (with Andrew Dickerson and Euclid Tsakalotos, The Manchester School of Economic & Social Studies, 1995, vol. 63, issue 4, pp. 351–67)\"Testing a Flow Model of Capital Flight in FiveEuropean Countries\" (with Euclid Tsakalotos, The Manchester School of Economic and Social Studies, Volume 61, Issue 2, pp. 144–166, June 1993)Full list of articles by Heather D Gibson. researchgate.net. Recovered 7July 2015Passage 2:Adib KheirAdib Kheir (Arabic: \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000) was a leading Syrian nationalist of the 1920s. He was the owner of the Librairie Universelle in Damascus. His granddaughter is the spouse of ManafTlass.Passage 3:Sophia Magdalena of DenmarkSophia Magdalena of Denmark (Danish: Sophie Magdalene; Swedish: Sofia Magdalena; 3 July 1746 – 21 August 1813) was Queen of Sweden from 1771 to 1792 as thewife of King Gustav III. Born into the House of Oldenburg, the royal family of Denmark-Norway, Sophia Magdalena was the first daughter of King Frederick V of Denmark and Norway and his first consort, Princess Louiseof Great Britain. Already at the age of five, she was betrothed to Gustav, the heir apparent to the throne of Sweden, as part of an attempt to improve the traditionally tense relationship between the two Scandinavianrealms. She was subsequently brought up to be the Queen of Sweden, and they married in 1766. In 1771, Sophia's husband ascended to the throne and became King of Sweden, making Sophia Queen of Sweden. Theircoronation was on 29 May 1772.The politically arranged marriage was unsuccessful. The desired political consequences for the mutual relations between the two countries did not materialize, and on a personal level theunion also proved to be unhappy. Sophia Magdalena was of a quiet and serious nature, and found it difficult to adjust to her husband's pleasure seeking court. She dutifully performed her ceremonial duties but did notcare for social life and was most comfortable in quiet surroundings with a few friends. However, she was liked by many in the Caps party, believing she was a symbol of virtue and religion. The relationship between thespouses improved somewhat in the years from 1775 to 1783, but subsequently deteriorated again.After her husband was assassinated in 1792, Sophia Magdalena withdrew from public life, and led a quiet life asdowager queen until her death in 1813.Early lifePrincess Sophie Magdalene was born on 3 July 1746 at her parents' residence Charlottenborg Palace, located at the large square, Kongens Nytorv, in central Copenhagen.She was the second child and first daughter of Crown Prince Frederick of Denmark and his first consort, the former Princess Louise of Great Britain, and was named for her grandmother, Queen Sophie Magdalene. Shereceived her own royal household at birth.Just one month after her birth, her grandfather King Christian VI died, and Princess Sophie Magdalene's father ascended the throne as King Frederick V. She was the heirpresumptive to the throne of Denmark from the death of her elder brother in 1747 until the birth of her second brother in 1749, and retained her status as next in line to the Danish throne after her brother until hermarriage. She was therefore often referred to as Crown Princess of Denmark.In the spring of 1751, at the age of five, she was betrothed to Gustav, the heir apparent to the throne of Sweden, and she was brought up tobe the Queen of Sweden. The marriage was arranged by the Riksdag of the Estates, not by the Swedish royal family. The marriage was arranged as a way of creating peace between Sweden and Denmark, which had along history of war and which had strained relations following the election of an heir to the Swedish throne in 1743, where the Danish candidate had lost. The engagement was met with some worry from Queen Louise,who feared that her daughter would be mistreated by the Queen of Sweden, Louisa Ulrika of Prussia. The match was known to be disliked by the Queen of Sweden, who was in constant conflict with the Parliament; andwho was known in Denmark for her pride, dominant personality and hatred of anything Danish, which she demonstrated in her treatment of the Danish ambassadors in Stockholm.After the death of her mother early inher life, Sophia Magdalena was given a very strict and religious upbringing by her grandmother and her stepmother, who considered her father and brother to be morally degenerate. She is noted to have had goodrelationships with her siblings, her grandmother and her stepmother; her father, however, often frightened her when he came before her drunk, and was reportedly known to set his dogs upon her, causing in her alifelong phobia.In 1760, the betrothal was again brought up by Denmark, which regarded it as a matter of prestige. The negotiations were made between Denmark and the Swedish Queen, as King Adolf Frederick ofSweden was never considered to be of any more than purely formal importance. Louisa Ulrika favored a match between Gustav and her niece Philippine of Brandenburg-Schwedt instead, and claimed that she regardedthe engagement to be void and forced upon her by Carl Gustaf Tessin. She negotiated with Catherine the Great and her brother Frederick the Great to create some political benefit for Denmark in exchange for a brokenengagement. However, the Swedish public was very favorable to the match due to expectations Sophia Magdalena would be like the last Danish-born Queen of Sweden, Ulrika Eleonora of Denmark, who was very lovedfor her kindness and charity. This view was supported by the Caps political party, which expected Sophia Magdalena to be an example of a virtuous and religious representative of the monarchy in contrast to thehaughty Louisa Ulrika. Fredrick V of Denmark was also eager to complete the match: \"His Danish Majesty could not have the interests of his daughter sacrificed because of the prejudices and whims of the SwedishQueen\". In 1764 Crown Prince Gustav, who was at this point eager to free himself from his mother and form his own household, used the public opinion to state to his mother that he wished to honor the engagement,and on 3 April 1766, the engagement was officially celebrated.When a portrait of Sophia Magdalena was displayed in Stockholm, Louisa Ulrika commented: \"why Gustav, you seem to be already in love with her! Shelooks stupid\", after which she turned to Prince Charles and added: \"She would suit you better!\"Crown PrincessOn 1 October 1766, Sophia Magdalena was married to Gustav by proxy at Christiansborg Palace inCopenhagen with her brother Frederick, Hereditary Prince of Denmark, as representative of her groom. She traveled in the royal golden sloop from Kronborg in Denmark over Öresund to Hälsingborg in Sweden; whenshe was halfway, the Danish cannon salute ended, and the Swedish started to fire. In Helsingborg, she was welcomed by her brother-in-law Prince Charles of Hesse, who had crossed the sea shortly before her, theDanish envoy in Stockholm, Baron Schack, as well as Crown Prince Gustav himself. As she was about to set foot on ground, Gustav was afraid that she would fall, and he therefore reached her his hand with the words:\"Watch out, Madame!\", a reply which quickly became a topic of gossip at the Swedish court.The couple then traveled by land toward Stockholm, being celebrated on the way. She met her father-in-law the King and herbrothers-in-law at Stäket Manor on 27 October, and she continued to be well-treated and liked by them all during her life in Sweden. Thereafter, she met her mother-in-law the Queen and her sister-in-law at SäbyManor, and on the 28th, she was formally presented for the Swedish royal court at Drottningholm Palace. At this occasion, Countess Ebba Bonde noted that the impression about her was: \"By God, how beautiful sheis!\", but that her appearance was affected by the fact that she had a: \"terrible fear of the Queen\". On 4 November 1766, she was officially welcomed to the capital of Stockholm, where she was married to Gustav inperson in the Royal Chapel at Stockholm Royal Palace.Sophia Magdalena initially made a good impression upon the Swedish nobility with her beauty, elegance and skillful dance; but her shy, silent, and reserved naturesoon made her a disappointment in the society life. Being of a reserved nature, she was considered cold and arrogant. Her mother-in-law Queen Louisa Ulrika, who once stated that she could comprehend nothing morehumiliating than the position of a Queen Dowager, harassed her in many ways: a typical example was when she invited Gustav to her birthday celebrations, but asked him to make Sophia Magdalena excuse herself bypretending to be too ill to attend. Louisa Ulrika encouraged a distance between the couple in various ways, and Gustav largely ignored her so as not to make his mother jealous.Sophia Magdalena was known to bepopular with the Caps, who were supported by Denmark, while Louisa Ulrika and Gustav sided with the Hats. The Caps regarded Sophia Magdalena to be a symbol of virtue and religion in a degenerated royal court, andofficially demonstrated their support. Sophia Magdalena was advised by the Danish ambassador not to involve herself in politics, and when the spies of Louisa Ulrika reported that Sophia Magdalena received letters fromthe Danish ambassador through her Danish entourage, the Queen regarded her to be a sympathizer of the Danish-supported Caps: she was isolated from any contact with the Danish embassy, and the Queenencouraged Gustav to force her to send her Danish servants home. This she did not do until 1770, and his demand contributed to their tense and distant relationship. In 1768, Charlotta Sparre tried to reconcile thecouple at their summer residence Ekolsund Castle, but the marriage remained unconsummated.After King Adolf Frederick of Sweden died in 1771, Gustav III became King of Sweden. The following year, on 29 May,Sophia Magdalena was crowned Queen.Early reign as QueenThe coronation of Gustav III and Sophia Magdalena took place on 29 May 1772. She was not informed about the coup of Gustav III, which reinstated absolutemonarchy and ended the parliamentary rule of the Estates in the revolution of 1772. At the time she was deemed as suspicious and politically untrustworthy in the eyes of the King, primarily by her mother-in-law, whopainted her as pro-Danish. Denmark was presumed to oppose the coup; there were also plans to conquer Norway from Denmark.Sophia Magdalena was informed about politics nonetheless: she expressed herselfpleased with the 1772 parliament because Count Fredrik Ribbing, for whom she had taken an interest, had regained his seat. The conflict between her and her mother-in-law was publicly known and disliked, and thesympathies were on her side. In the contemporary paper Dagligt Allehanda, a fable was presented about Rävinnan och Turturduvan (\"The She Fox and the Turtle Dove\"). The fable was about the innocent turtle dove(Sophia Magdalena) who was slandered by the wicked she fox (Louisa Ulrika), who was supported by the second she fox (Anna Maria Hjärne) and the other foxes (the nobility). The fable was believed to have been sentfrom the Caps party.Queen Sophia Magdalena was of a shy and reserved character, and was never a member of the King's inner circle. At the famous amateur court theater of Gustav III, Sophia Magdalena isoccasionally named as participator in the documents. In 1777, for example, she dressed as an Italian sailor and participated in a battle between Italian and Spanish sailors. Usually it was rather her role to act as thepassive lady of games and tournaments, and to decorate the winner with the award. She did her ceremonial duties, but disliked the vivid lifestyle of the court around her outgoing spouse.As queen, she was expected todo a great deal of representation – more than what had been expected from previous queens due to her husband's adoration of representation. On formal occasions, she was at her best: she performed beautifullyaccording to royal court etiquette, and was seen as dignified and impressive. For instance, on 17 September 1784, she cut the cord to let off the first air balloons from the Stockholm observatory. During the King'sItalian journey in 1783–84, she hosted a grand formal public dinner every two weeks. During that time, she appeared at the Royal Swedish Opera and at the French Theater, but otherwise preferred her solitude. Thisattracted attention as during the absence of the King she had been expected to represent the royal couple all the more.Sophia appeared to have enjoyed nature trips in the country side with only one lady-in-waiting andtwo footmen, however, her country side visitations were stopped because it was deemed 'unsuitable'. Several of her ladies-in-waiting were well known Swedish women of the era, among them The Three Graces:Augusta von Fersen, Ulla von Höpken and Lovisa Meijerfelt, as well as Marianne Ehrenström and Charlotta Cedercreutz, who were known artists.Sophia Magdalena was a popular Queen: on 22 July 1788, for example,during the absence of her spouse in Finland, several members of the Royal Dramatic Theater and the musical society Augustibröder, among them Bellman, took a spontaneous trip by boat from the capital to UlriksdalPalace, where she was, and performed a poem by Bellman to her honor at the occasion of her name day.In the famous diary of her sister-in-law, Princess Hedwig Elizabeth Charlotte, Sophia Magdalena is described asbeautiful, cold, silent and haughty, very polite and formal, reserved and unsociable. When she performed her duties as Queen, her sister-in-law, Hedwig Elizabeth Charlotte of Holstein-Gottorp, described her as \"Forcedto meet people\".Sophia Magdalena preferred to spend her days in solitude whenever she could. She had two very intimate friends, Maria Aurora Uggla and Baroness Virginia Charlotta Manderström, but otherwise rarelyparticipated in any social life outside of what was absolutely necessary to perform her representational  duties. She frequently visited the theater, and she also had a great interest for fashion. As a result of this, she wassomewhat criticized for being too vain: even when she had no representational duties to dress up for and spend her days alone in her rooms, she is said to have changed costumes several times daily, and according herchamberlain Adolf Ludvig Hamilton, she never passed a mirror without studying herself in it. She was also interested in literature, and educated herself in various subjects: her library contained works about geography,genealogy and history. She educated herself in Swedish, English, German and Italian, and regularly read French magazines. According to Augusta von Fersen, Sophia Magdalena was quite educated, but she was notperceived as such because she rarely engaged in conversation.In 1784, after the King had returned from his trip to Italy and France, the relationship between the King and Queen soured. At this time, Gustav III spentmore and more time with male favorites. In 1786, this came to an open conflict. The King had taken to spend more time at intimate evenings with his favorite Gustaf Mauritz Armfelt, from which he excluded hercompany. When he gave some of her rooms at the Royal Palace to Armfelt, Sophia Magdalena refused to participate in any representation until the rooms were given back to her, and she also banned herladies-in-waiting from accepting his invitations without her permission.In 1787, she threatened him with asking for the support of the parliament against him if he took their son with him to Finland, which she opposed,and the year after, she successfully prevented him from doing so. She also reprimanded him from allowing his male favorites to slander her before him.Queen Sophia Magdalena was never involved in politics, except forone on one occasion. In August 1788, during the Russo-Swedish War (1788–1790), the King gave her the task to enter in negotiations with Denmark to prevent a declaration of war from Denmark during the ongoingwar against Russia. He asked her to call upon the Danish ambassador Reventlow and give him a letter to be read in the Danish royal council before her brother, the Danish King. He gave her the freedom to write as shewished, but to use the argument that she spoke as a sister and mother to a son with the right to the Danish throne and upon her own initiative.Sophia Magdalena called upon the Danish ambassador, held a speech tohim followed by a long conversation and then handed him a letter written as a \"warm appeal\" to her brother. A copy was sent to Gustav III, and her letter was read in the royal Danish council, where it reportedly madea good impression. However, her mission was still unsuccessful, as the Russo-Danish alliance made it unavoidable for Denmark to declare war shortly afterward. At the time, there was a note that she met two Russianprisoners of war in the park of the Haga Palace, and gave them 100 kronor each.At the parliament of 1789 Gustav III united the other estates against the nobility and to gain support for the war and for his constitutionalreform. Coming into conflict with the nobility, he had many of its representatives imprisoned. This act led to a social boycott of the monarch by the female members of the aristocracy, who followed the example ofJeanna von Lantingshausen as well as the King's sister and sister-in-law, Sophie Albertine of Sweden and Hedvig Elisabeth Charlotte. The Queen did not participate in this political demonstration and refused to allow any"}
+{"doc_id":"doc_54","qid":"","text":"Passage 1:Demos ChiangDemos Yu-bou Chiang (Chinese: \u0000\u0000\u0000), born on 10 September 1976 in Taipei, Taiwan, is a Taiwanese and Canadian businessman. He founded DEM Inc. (\u0000\u0000\u0000\u0000), a popular design studio in Taiwan in July 2003 and has served as its chairman since then. He is also known for being the great-grandson of the late Republic of China (ROC) President Chiang Kai-shek and the grandson of late President Chiang Ching-kuo. His grandmother was Faina Ipatyevna Vakhreva, also known as Chiang Fang-liang.BiographyBorn to Chiang Ching-kuo's third son Chiang Hsiao-yung and his wife Chiang Fang Chi-yi, he is the eldest of three sons. Demos Chiang was raised in Taipei until his grandfather's death in 1988. After his grandfather's death, Chiang's parents sent him to live in Canada and later the United States, though he still retained his ROC nationality, it also started the departure from politics for Demo's parents. Chiang received a bachelor's degree in Information Management from New York University in late 1990s. After graduating, Chiang worked in the entertainment and fashion industries in Taiwan, Hong Kong and Singapore, until founding DEM Inc. in 2003.In Spring 2001, Chiang began a relationship with local starlet Lin Heng-yi (\u0000\u0000\u0000), the daughter of Buddhist Tzu Chi General Hospital's then president Lin Hsin-jung (\u0000\u0000\u0000). The couple married in February 2003 and now have a daughter born in 2003 and a son born in 2005.Despite his pedigree and celebrity identity, Demos Chiang has repeatedly announced in recent years that he is not interested in political affairs. He has also accused both the Kuomintang and the Democratic Progressive Party for \"poor political tactics\", especially for utilizing Chiang Kai-shek and Chiang Ching-kuo as figures of worship or denigration. In contrast to other prominent members of the Chiang family, such as John Chiang and his mother Chiang Fang Chi-yi, Demos Chiang has expressed his belief that the controversies of his ancestors should be faced fairly and left to history. He started a personal blog in January 2008 to further explain his beliefs.Passage 2:Chiang Hsiao-wenChiang Hsiao-wen (Chinese: \u0000\u0000\u0000; also known as Alan Chiang; 14 December 1935 – 14 April 1989) was the eldest son of Chiang Ching-kuo, the President of the Republic of China in Taiwan from 1978 to 1988. His mother is Faina Ipatyevna Vakhreva, also known as Chiang Fang-liang. He had one younger sister,  Hsiao-chang, and two younger brothers, Hsiao-wu and Hsiao-yung.  He had two half-brothers, Winston Chang and John Chiang, with whom he shared the same father.He married Xu Nai Jin (Nancy) (Chinese: \u0000\u0000\u0000\u0000) in 1960 and had a daughter, Yomei, in 1961. He suffered brain damage in 1970 while being treated for diabetes. He died of throat cancer on April 14, 1989.Passage 3:John Adams (merchant)John Adams (1672 or 1673 – c. 1745) was an American-born Canadian merchant and member of the Nova Scotia Council. He was the father-in-law of Henry Newton.BiographyAdams was born in Boston in either 1672 or 1673 to John and Avis Adams. Growing up as a petty merchant, Adams joined Sir Charles Hobby's New England regiment, participating in the capture of Port-Royal in 1710. Shortly thereafter, Adams settled in Annapolis Royal, Nova Scotia, returning to civilian life. There, he traded manufactured goods with the province's Acadian and Native Americans, and took up the role of a real estate agent and contractor. Adams joined the Executive Council of Nova Scotia on 28 April 1720, holding his position there for 20 years; the records show that few served as long as he did. He also held several other public positions in the province. Adams was appointed a notary public and deputy collector of customs for Annapolis Royal in 1725, and he was commissioned a justice of the peace in March 1727.Around the mid-1720s, Adams' poor eyesight began to fail, leading to his near-blindness in 1730. After this, he was less active in community activities and trade. Adams petitioned to the king for a pension several times, but failed. He blamed his disability on over-exposure to the sun during an Indian attack on Annapolis Royal in 1724. In December 1739, Lieutenant Governor Lawrence Armstrong died. With the absence of Major Mascarene to take Armstrong's place, Adams became the new president of the council and head of the civil government. (Alexander Cosby was also vying for the position.) In a meeting on 22 March 1740, with the return of Mascarene, the councilors declared that he was the council's rightful president. This turn of events led Adams to retire to Boston in late August or early September 1740, where he stayed for the rest of his life. He died some time after 1745.NotesPassage 4:Barthold A. Butenschøn Sr.Hans Barthold Andresen Butenschøn (27 December 1877 – 28 November 1971) was a Norwegian businessperson.He was born in Kristiania as a son of Nils August Andresen Butenschøn and Hanna Butenschøn, and grandson of Nicolay Andresen. Together with Mabel Anette Plahte (1877–1973, a daughter of Frithjof M. Plahte) he had the son Hans Barthold Andresen Butenschøn Jr. and was through him the father-in-law of Ragnhild Butenschøn and grandfather of Peter Butenschøn. Through his daughter Marie Claudine he was the father-in-law of Joakim Lehmkuhl, through his daughter Mabel Anette he was the father-in-law of Harald Astrup (a son of Sigurd Astrup) and through his daughter Nini Augusta he was the father-in-law of Ernst Torp.He took commerce school and agricultural school. He was hired in the family company N. A. Andresen & Co, and became a co-owner in 1910. He eventually became chief executive officer. The bank changed its name to Andresens Bank in 1913 and merged with Bergens Kreditbank in 1920. The merger was dissolved later in the 1920s. He was also a landowner, owning Nedre Skøyen farm and a lot of land in Enebakk. He chaired the board of Nydalens Compagnie from 1926, having not been a board member before that.He also chaired the supervisory council of Forsikringsselskapet Viking and Nedre Glommen salgsforening, and was a supervisory council member of Filharmonisk Selskap. He was a member of the gentlemen's club SK Fram since 1890, and was proclaimed a lifetime member in 1964.He was buried in Enebakk.Passage 5:Chiang Ching-kuoChiang Ching-kuo (27 April 1910 – 13 January 1988) was a politician of the Republic of China. The eldest and only biological son of Generalissimo Chiang Kai-shek, he held numerous posts in the government of the Republic of China and ended martial law in 1987. He served as premier of the Republic of China between 1972 and 1978, and was president of the Republic of China from 1978 until his death in 1988.Born in Zhejiang, Ching-kuo was sent as a teenager to study in the Soviet Union during the First United Front in 1925, when his father's Nationalist Party and the Chinese Communist Party were in alliance. He attended university there and spoke Russian fluently, but when the Chinese Nationalists violently broke with the Communists, Stalin sent him to work in a steel factory in the Ural Mountains. There, Chiang met and married Faina Vakhreva. With war between China and Japan imminent in 1937, Stalin sent the couple to China. During the war, Ching-kuo's father gradually came to trust him, and gave him more and more responsibilities, including administration.After the Japanese surrender, Ching-kuo was given the job of ridding Shanghai of corruption, which he attacked with ruthless efficiency. The victory of the Communists in 1949 drove the Chiang family and their ROC government to retreat to Taiwan. Ching-kuo was first given control of the secret police, a position he retained until 1965 and in which he used arbitrary arrests and torture to ensure tight control as part of the White Terror. He then became Minister of Defense (1965–1969), Vice-Premier (1969–1972) and Premier (1972–1978). After his father's death in 1975, he took leadership of the Kuomintang (KMT) as chairman, and was elected president in 1978 and again in 1984.Under his tenure as president, the government of the Republic of China in Taiwan, while remaining authoritarian, became more open and tolerant of political dissent. Chiang courted Taiwanese voters, and reduced the preference for those who had come from the mainland after the war. Toward the end of his life, Chiang decided to relax government controls on the media and speech, and allowed Han born in Taiwan into positions of power, including his eventual successor Lee Teng-hui. He is the last president of the Republic of China to be born during the rule of the Qing dynasty. Ching-kuo was credited for his Soviet-inspired city planning policies, economic development with Ten Major Construction Projects in Taiwan, efforts to clamp down on corruption, as well as the democratic transition of Taiwan and gradually shifting away from the authoritarian dictatorial rule of his own father Chiang Kai-shek.BiographyEarly lifeThe son of Chiang Kai-shek and his first wife, Mao Fumei, Chiang Ching-kuo was born in Fenghua, Zhejiang, with the courtesy name of Jiànfēng (\u0000\u0000). He had an adopted brother, Chiang Wei-kuo. \"Ching\" literally means \"longitude\", while \"kuo\" means \"nation\"; in his brother's name, \"wei\" literally means \"parallel (of latitude)\". The names are inspired by the references in Chinese classics such as the Guoyu, in which \"to draw the longitudes and latitudes of the world\" is used as a metaphor for a person with great abilities, especially in managing a country.While the young Chiang Ching-kuo had a good relationship with his mother and grandmother (who were deeply rooted to their Buddhist faith), his relationship with his father was strict, utilitarian and often rocky. Chiang Kai-shek appeared to his son as an authoritarian figure, sometimes indifferent to his problems. Even in personal letters between the two, Chiang Kai-shek would sternly order his son to improve his Chinese calligraphy. From 1916 until 1919 Chiang Ching-kuo attended the \"Grammar School\" in Wushan in Hsikou. Then, in 1920, his father hired tutors to teach him the Four Books, the central texts of Confucianism. On 4 June 1921, Ching-kuo's grandmother died. What might have been an immense emotional loss was compensated for when Chiang Kai-shek moved the family to Shanghai. Chiang Ching-kuo's stepmother, historically known as the Chiang family's \"Shanghai Mother\", went with them. During this period Chiang Kai-shek concluded that Chiang Ching-kuo was a son to be taught, while Chiang Wei-kuo was a son to be loved.During his time in Shanghai, Chiang Ching-kuo was supervised by his father and made to write a weekly letter of 200–300 Chinese characters. Chiang Kai-shek also underlined the importance of classical books and of learning English, two areas he was hardly proficient in himself. On 20 March 1924, Chiang Ching-kuo was able to present to his now-nationally famous father a proposal concerning the grass-roots organization of the rural population in Hsikou. Chiang Ching-kuo planned to provide free education to allow people to read and to write at least 1000 characters. In his own words:I have a suggestion to make about the Wushan School, although I do not know if you can agree to it. My suggestion is that the school establish a night school for common people who cannot afford to go to the regular school. My school established a night school with great success. I can tell you something about the night school:Name: Wuschua School for the Common PeopleTuition fee: Free of charge with stationery suppliedClass hours: 7 pm to 9 pmAge limit: 14 or olderSchooling protocol: 16 or 20 weeks.At the time of the graduation, the trainees will be able to write simple letters and keep simple accounts. They will be issued a diploma if they pass the examinations. The textbooks they used were published by the Commercial Press and were entitled \"One thousand characters for the common people.\" I do not know whether you will accept my suggestion. If a night school is established at Wushan, it will greatly benefit the local people.In early 1925, Chiang entered Shanghai's Pudong College, but Chiang Kai-shek decided to send him on to Beijing because of warlord action and spontaneous student protests in Shanghai. In Beijing, he attended the school organized by a friend of his father, Wu Zhihui, a renowned scholar and linguist. The school combined classical and modern approaches to education. While there, Ching-kuo started to identify himself as a progressive revolutionary and participated in the flourishing social scene inside the young Communist community. The idea of studying in Moscow now seized his imagination. Within the help program provided by the Soviet Union to the countries of East Asia there was a training school that later became the Moscow Sun Yat-sen University. The participants to the university were selected by the CPSU and KMT members, with a participation of CPC Central Committee.Chiang Ching-kuo asked Wu Zhihui to name him as a KMT candidate. Wu did not try to dissuade him, even though Wu was a key figure of the right-leaning and anti-Communist \"Western Hills Group\" of the KMT. In the summer of 1925, Chiang Ching-kuo traveled south to Whampoa Military Academy to discuss his plans for study in Moscow with his father. Chiang Kai-shek was not keen, but after a discussion with Chen Guofu he finally agreed. In a 1996 interview, Ch'en's brother, Chen Li-fu, recalled that Chiang Kai-shek accepted the plan because of the need to have Soviet support at a time when his hold over the KMT was tenuous.MoscowWith or without his father's enthusiastic approval, Chiang Ching-kuo went on to Moscow in late 1925. He stayed in the Soviet Union for nearly twelve years. While there, Chiang was given the Russian name Nikolai Vladimirovich Elizarov (Николай Владимирович Елизаров) and put under the tutelage of Karl Radek at the Communist University of the Toilers of the East. Noted for having an exceptional grasp of international politics, his classmates included other children of influential Chinese families, most notably the future Chinese Communist party leader, Deng Xiaoping. Chiang Ching-kuo joined the Communist Youth League under Deng. Soon Ching-kuo was an enthusiastic student of Communist ideology, particularly Trotskyism; though following the Great Purge, Joseph Stalin privately met with him and ordered him to publicly denounce Trotskyism. Chiang even applied to be a member of the All-Union Communist Party, although his request was denied.In April 1927, however, Chiang Kai-shek purged KMT leftists, had Communists arrested or killed, and expelled his Soviet advisers. Chiang Ching-kuo responded from Moscow with an editorial that harshly criticized his father's actions but was nonetheless detained as a \"guest\" of the Soviet Union, a practical hostage. Debate still continues as to whether he was forced to write the editorial, but he had seen Trotskyist friends arrested and killed by the Soviet secret police. The Soviet government sent him to work in the Ural Heavy Machinery Plant, a steel factory in the Urals, Yekaterinburg (then Sverdlovsk), where he met Faina Ipat'evna Vakhreva, a native Belarusian. They married on 15 March 1935, and she would later take the Chinese name, Chiang Fang-liang. In December of that year, their son, Hsiao-wen was born.Chiang Kai-shek refused to negotiate a prisoner swap for his son in exchange for a Chinese Communist Party leader. He wrote in his diary, \"It is not worth it to sacrifice the interest of the country for the sake of my son.\" In 1937, he maintained that \"I would rather have no offspring than sacrifice our nation's interests\", since he had no intention of stopping the war against the Communists.Return to China and WWIIStalin allowed Chiang Ching-kuo to return to China with his Belarusian wife and son in April 1937 after living in the USSR for 12 years.By then, the NRA under Chiang Kai-shek and the Communists under Mao Zedong had signed a ceasefire to create the Second United Front and fight the Japanese invasion of China, which began in July 1937. Stalin hoped the Chinese would keep Japan from invading the Soviet Pacific coast, and he hoped to form an anti-Japanese alliance with the senior Chiang.On Ching-kuo's return, his father assigned a tutor, Hsu Dau-lin, to assist with his readjustment to China. Chiang Ching-Kuo was appointed as a specialist in remote districts of Jiangxi where he was credited with training of cadres and fighting corruption, opium consumption, and illiteracy. Chiang Ching-kuo was appointed as commissioner of Gannan Prefecture (\u0000 \u0000) between 1939 and 1945; there he banned smoking, gambling and prostitution, studied governmental management, allowed for economic expansion and a change in social outlook. His efforts were hailed as a miracle in the political war in China, then coined as the \"Gannan New Deal\" (\u0000\u0000\u0000\u0000). During his time in Gannan, from 1940 he implemented a \"public information desk\" where ordinary people could visit him if they had problems, and according to records, Chiang Ching-kuo received a total of 1,023 people during such sessions in 1942.In regard to the ban on prostitution and closing of brothels, Chiang implemented a policy where former prostitutes became employed in factories. Due to the large number of refugees in Ganzhou as a result from the ongoing war, thousands of orphans lived on the street; in June 1942, Chiang Ching-kuo formally established the Chinese Children's Village (\u0000\u0000\u0000\u0000\u0000\u0000) in the outskirts of Ganzhou, with facilities such as a nursery, kindergarten, primary school, hospital and gymnasium. During the last years of the 1930s, he met Wang Sheng, with whom he would remain close for the next 50 years.The paramilitary \"Sanmin Zhuyi Youth Corps\" was under Chiang's control. Chiang used the term \"big bourgeoisie\", in a disparaging manner to call H.H. Kung and T. V. Soong.While in mainland China, Chiang and his wife had a daughter, Hsiao-chang, born in Nanchang (1938), and two more sons, Hsiao-wu, born in Chungking (1945), and Hsiao-yung, born in Shanghai (1948).Relationship with Chang Ya-juo and her deathChiang met Chang Ya-juo when she was working at a training camp for enlistees and he was serving as the head of Gannan Prefecture during the war. The two had a relationship that brought twin sons: Chang Hsiao-tz'u and Chang Hsiao-yen, born in 1942. In August 1942, Chang felt sick at a dinner party, and died the next day in a Guilin hospital. The circumstances of her death raised speculation that it was murder. Over the years, many of her relatives, including her sons and highly ranked ex-security personnel, insisted that KMT's security apparatus orchestrated her murder to keep a lid on CCK's marital affair, and to protect CCK's political career.Hostage claimJung Chang and Jon Halliday claim Chiang Kai-shek allowed the Communists to escape on the 1934–1935 Long March because he wanted Stalin to return Chiang Ching-kuo. This is contradicted by Chiang Kai-shek's diary, \"It is not worth it to sacrifice the interest of the country for the sake of my son.\" He refused to negotiate for a prisoner swap of his son in exchange for the Chinese Communist Party leader. Again in 1937 he stated about his son: \"I would rather have no offspring than sacrifice our nation's interests.\" Chiang had absolutely no intention of stopping the war against the Communists. Chang and Halliday likewise claim that Chiang Ching-kuo was \"kidnapped\" in spite of the evidence that he went to study in the Soviet Union with his father's own approval.Economic policies in ShanghaiAfter the Second Sino-Japanese War and during the Chinese Civil War, Chiang Ching-kuo briefly served as a liaison administrator in Shanghai, trying to eradicate the corruption and hyperinflation that plagued the city. He was determined to do this because of the fears arising from the Nationalists' increasing lack of popularity during the Civil War. Given the task of arresting dishonest businessmen who hoarded supplies for profit during the inflationary spiral, he attempted to assuage the business community by explaining that his team would only go after big war profiteers.Chiang Ching-kuo copied Soviet methods, which he learned during his stay in the Soviet Union, to start a social revolution by attacking middle class merchants. He also enforced low prices on all goods to raise support from the Proletariat.As riots broke out and savings were ruined, bankrupting shopowners, Chiang Ching-kuo began to attack the wealthy, seizing assets and placing them under arrest. The son of the gangster Du Yuesheng was arrested by him. Ching-kuo ordered KMT agents to raid the Yangtze Development Corporation's warehouses, which was privately owned by H.H. Kung and his family, as the company was accused of hoarding supplies. H.H. Kung's wife was Soong Ai-ling, the sister of Soong Mei-ling who was Chiang Ching-kuo's stepmother. H.H. Kung's son David was arrested, and the Kungs responded by blackmailing the Chiangs, threatening to release information about them. He was eventually freed "}
+{"doc_id":"doc_55","qid":"","text":"Passage 1:Maria Manuela, Princess of PortugalDona Maria Manuela (15 October 1527 – 12 July 1545) was the eldest daughter and second child of King John III of Portugal and his wife Catherine of Austria. She was Princess of Asturias and Duchess of Milan as the first wife of the future Philip II of Spain, and Princess of Portugal as heir presumptive to the Portuguese throne between 1527 and 1535.Early lifeMaria was born in Coimbra on 15 October 1527 and was one of the two children of John III to survive childhood. In her youth, Maria received a humanistic education that was considered typical for a princess of her time.Marriage and later lifeShe married her double first cousin Philip II of Spain on 12 November 1543 at Salamanca. As she was to be married to the Prince of Asturias, heir apparent to the Spanish crown, and being an Infanta of Portugal, their wedding became one of the most remarkable in the history of Spain due to its opulence. Contemporary writers have left detailed descriptions of the journey from Madrid to Badajoz to Salamanca to receive the princess and of the luxuries she was given by the Duke of Medina Sidonia in Badajoz.She gave birth to their son Carlos on 8 July 1545 in Valladolid, but died four days later due to a haemorrhage. She was initially buried in the Royal Chapel of Granada on 30 March 1549 but was later transferred to Royal Crypt of the Monastery of El Escorial.AncestryNotesPassage 2:Philip II of SpainPhilip II (21 May 1527 – 13 September 1598), also known as Philip the Prudent (Spanish: Felipe el Prudente), was King of Spain from 1556, King of Portugal from 1580, and King of Naples and Sicily from 1554 until his death in 1598. He was also jure uxoris King of England and Ireland from his marriage to Queen Mary I in 1554 until her death in 1558. He was also Duke of Milan from 1540. From 1555, he was Lord of the Seventeen Provinces of the Netherlands.The son of Emperor Charles V and Isabella of Portugal, Philip inherited his father's Spanish Empire in 1556 and succeeded to the Portuguese throne in 1580 following a dynastic crisis. The Spanish conquests of the Inca Empire and of the Philippines, named in his honor by Ruy López de Villalobos, were completed during his reign. Under Philip II,  Spain reached the height of its influence and power, sometimes called the Spanish Golden Age, and ruled territories in every continent then known to Europeans. Philip led a highly debt-leveraged regime, seeing state defaults in 1557, 1560, 1569, 1575, and 1596. This policy was partly the cause of the declaration of independence that created the Dutch Republic in 1581. Philip finished building the royal palace El Escorial in 1584.Deeply devout, Philip saw himself as the defender of Catholic Europe against the Ottoman Empire and the Protestant Reformation. In 1584, Philip signed the Treaty of Joinville funding the French Catholic League over the following decade in its civil war against the French Huguenots. In 1588, he sent an armada to invade Protestant England, with the strategic aim of overthrowing Elizabeth I and re-establishing Catholicism there, but his fleet was defeated in a skirmish at Gravelines (northern France) and then destroyed by storms as it circled the British Isles to return to Spain. The following year Philip's naval power was able to recover after the failed invasion of the English Armada into Spain. Two more Spanish armadas unsuccessfully tried to invade England in 1596 and 1597. The Anglo-Spanish war carried on until 1604, six years after Philip's death.Under Philip, an average of about 9,000 soldiers were recruited from Spain each year, rising to as many as 20,000 in crisis years. Between 1567 and 1574, nearly 43,000 men left Spain to fight in Italy and the Low Countries (modern-day Belgium, Luxembourg, and the Netherlands).Philip was described by the Venetian ambassador Paolo Fagolo in 1563 as \"slight of stature and round-faced, with pale blue eyes, somewhat prominent lip, and pink skin, but his overall appearance is very attractive. ... He dresses very tastefully, and everything that he does is courteous and gracious.\" Philip was married four times; all his wives predeceased him.Early life: 1527–1544A member of the House of Habsburg, Philip was the son of Emperor Charles V, who was also king of Castile and Aragon, and Isabella of Portugal. He was born in the Castilian capital of Valladolid on 21 May 1527 at Palacio de Pimentel, which was owned by Don Bernardino Pimentel (the first Marqués de Távara). The culture and courtly life of Castile were an important influence in his early life. He was entrusted to the royal governess Leonor de Mascareñas, and tutored by Juan Martínez Siliceo, the future archbishop of Toledo. Philip displayed reasonable aptitude in arts and letters alike. Later he would study with more illustrious tutors, including the humanist Juan Cristóbal Calvete de Estrella. Though Philip had good command over Latin, Spanish, and Portuguese, he never managed to equal his father, Charles V, as a polyglot. While Philip was also an archduke of Austria, he was seen as a foreigner in the Holy Roman Empire. The feeling was mutual. Philip felt himself to be culturally Spanish; he had been born in Castile and raised in the Castilian court, his native language was Spanish, and he preferred to live in the Spanish kingdoms. This ultimately impeded his succession to the imperial throne.In April 1528, when Philip was eleven months old, he received the oath of allegiance as heir to the crown from the Cortes of Castile. From that time until the death of his mother Isabella in 1539, he was raised in the royal court of Castile under the care of his mother and one of her Portuguese ladies, Doña Leonor de Mascarenhas, to whom he was devotedly attached. Philip was also close to his two sisters, María and Juana, and to his two pages, the Portuguese nobleman Rui Gomes da Silva and Luis de Requesens, the son of his governor Juan de Zúñiga. These men would serve Philip throughout their lives, as would Antonio Pérez, his secretary from 1541.Philip's martial training was undertaken by his governor, Juan de Zúñiga, a Castilian nobleman who served as the commendador mayor of Castile. The practical lessons in warfare were overseen by the Duke of Alba during the Italian Wars. Philip was present at the Siege of Perpignan in 1542 but did not see action as the Spanish army under Alba decisively defeated the besieging French forces under the Dauphin of France. On his way back to Castile, Philip received the oath of allegiance of the Aragonese Cortes at Monzón. His political training had begun a year previously under his father, who had found his son studious, grave, and prudent beyond his years, and having decided to train and initiate him in the government of the Spanish kingdoms. The king-emperor's interactions with his son during his stay in Castile convinced him of Philip's precocity in statesmanship, so he determined to leave in his hands the regency of the Spanish kingdoms in 1543. Philip, who had previously been made the Duke of Milan in 1540, began governing the most extensive empire in the world at the young age of sixteen.Charles left Philip with experienced advisors—notably the secretary Francisco de los Cobos and the general Duke of Alba. Philip was also left with extensive written instructions that emphasised \"piety, patience, modesty, and distrust\". These principles of Charles were gradually assimilated by his son, who would grow up to become grave, self-possessed and cautious. Personally, Philip spoke softly and had an icy self-mastery; in the words of one of his ministers, \"he had a smile that was cut by a sword\".Domestic policyAfter living in the Netherlands in the early years of his reign, Philip II decided to return to Castile. Although sometimes described as an absolute monarch, Philip faced many constitutional constraints on his authority, influenced by the growing strength of the bureaucracy. The Spanish Empire was not a single monarchy with one legal system but a federation of separate realms, each jealously guarding its own rights against those of the House of Habsburg. In practice, Philip often found his authority overruled by local assemblies and his word less effective than that of local lords.Philip carried several titles as heir to the Spanish kingdoms and empire, including Prince of Asturias. The newest constituent kingdom in the empire was Navarre, a realm invaded by Ferdinand II of Aragon mainly with Castilian troops (1512), and annexed to Castile with an ambiguous status (1513). War across Navarre continued until 1528 (Treaties of Madrid and Cambrai). Charles V proposed to end hostilities with King Henry II of Navarre—the legitimate monarch of Navarre—by marrying his son Philip to the heiress of Navarre, Jeanne III of Navarre. The marriage would provide a dynastic solution to instability in Navarre, making him king of all Navarre and a prince of independent Béarn, as well as lord of a large part of southern France. However, the French nobility under Francis I opposed the arrangement and successfully ended the prospects of marriage between the heirs of Habsburg and Albret in 1541.In his will, Charles stated his doubts over Navarre and recommended that his son give the kingdom back. Both King Charles and his son Philip II failed to abide by the elective (contractual) nature of the Crown of Navarre and took the kingdom for granted. This sparked mounting tension not only with King Henry II and Queen Jeanne III of Navarre but also with the Parliament of the Spanish Navarre (Cortes, The Three States) and the Diputación for breach of the realm specific laws (fueros)—violation of the pactum subjection is as ratified by Ferdinand. Tensions in Navarre came to a head in 1592 after several years of disagreements over the agenda of the intended parliamentary session.In November 1592, the Parliament (Cortes) of Aragón revolted against another breach of the realm-specific laws, so the Attorney General (Justicia) of the kingdom, Juan de Lanuza, was executed on Philip II's orders, with his secretary Antonio Perez taking exile in France. In Navarre, the major strongholds of the kingdom were garrisoned by troops alien to the kingdom (Castilians) in a conspicuous violation of the local laws, and the Parliament had long been refusing to pledge loyalty to Philip II's son and heir apparent without a proper ceremony. On 20 November 1592 a ghostly Parliament session was called, pushed by Philip II, who had arrived in Pamplona at the head of an unspecified military force, and with one only point on his agenda—attendance to the session was kept blank on the minutes: unlawful appointments of trusted Castilian officials and imposition of his son as the future king of Navarre at the Santa Maria Cathedral. A ceremony was held before the bishop of Pamplona (22 November), but its customary procedure and terms were altered. Protests erupted in Pamplona, but they were quelled.Philip II also grappled with the problem of the large Morisco population in the Spanish kingdoms, who had been forcibly converted to Christianity by his predecessors. In 1569, the Morisco Revolt broke out in the southern province of Granada in defiance of attempts to suppress Moorish customs. Philip ordered the expulsion of the Moriscos from Granada and their dispersal to other provinces.Despite its immense dominions, the Spanish kingdoms had a sparse population that yielded a limited income to the crown (in contrast to France, for example, which was much more heavily populated). Philip faced major difficulties in raising taxes, and the collection was largely farmed out to local lords. He was able to finance his military campaigns only by taxing and exploiting the local resources of his empire. The flow of income from the New World proved vital to his militant foreign policy, but his exchequer several times faced bankruptcy.Spanish culture flourished during Philip's reign, beginning the \"Spanish Golden Age\", creating a lasting legacy in literature, music, and the visual arts. One of the notable artists from Philip II's court was Sofonisba Anguissola, who gained fame for her talent and unusual role as a woman artist.EconomyCharles V had left his son Philip with a debt of about 36 million ducats and an annual deficit of 1 million ducats. This debt caused Philip II to default on loans in 1557, 1560, 1575, and 1596 (including debt to Poland, known as Neapolitan sums). Lenders had no power over the King and could not force him to repay his loans. These defaults were just the beginning of Spain's economic troubles as its kings would default six more times in the next 65 years. Aside from reducing state revenues for overseas expeditions, the domestic policies of Philip II further burdened the Spanish kingdoms and would, in the following century, contribute to its decline, as maintained by some historians.The Spanish kingdoms were subject to different assemblies: the Cortes in Castile, the assembly in Navarre, and one each for the three regions of Aragon, which preserved traditional rights and laws from the time when they were separate kingdoms. This made the Spanish kingdoms and its possessions difficult to rule, unlike France, which while divided into regional states, had a single Estates-General. The lack of a viable supreme assembly led to power defaulting into Philip II's hands, especially as manager and final arbiter of the constant conflict between different authorities. To deal with the difficulties arising from this situation, authority was administered by local agents appointed by the crown and viceroys carrying out crown instructions. Philip II felt it necessary to be involved in the detail, and he presided over specialised councils for state affairs, finance, war, and the Inquisition.Philip II played groups against each other, leading to a system of checks and balances that managed affairs inefficiently, even to the extent of damaging state business, as in the Perez affair. Following a fire in Valladolid in 1561, he resisted calls to move his Court to Lisbon, an act that could have curbed centralisation and bureaucracy domestically as well as relaxed rule in the Empire as a whole. Instead, with the traditional Royal and Primacy seat of Toledo now essentially obsolete, he moved his Court to the Castilian stronghold of Madrid. Except for a brief period under Philip III of Spain, Madrid has remained the capital of Spain. It was around this time that Philip II converted the Royal Alcázar of Madrid into a royal palace; the works, which lasted from 1561 until 1598, were done by tradesmen who came from the Netherlands, Italy, and France.King Philip II ruled at a critical turning point in European history toward modernity whereas his father Charles V had been forced to an itinerant rule as a medieval king. He mainly directed state affairs, even when not at Court. Indeed, when his health began failing, he worked from his quarters at the Palace-Monastery-Pantheon of El Escorial that he had built in 1584, a palace built as a monument to Spain's role as a center of the Christian world. But Philip did not enjoy the supremacy that King Louis XIV of France would in the next century, nor was such a rule necessarily possible at his time. The inefficiencies of the Spanish state and the restrictively regulated industry under his rule were common to many contemporary countries. Further, the dispersal of the Moriscos from Granada – motivated by the fear they might support a Muslim invasion – had serious negative effects on the economy, particularly in that region.Foreign policyPhilip's foreign policies were determined by a combination of Catholic fervour and dynastic objectives. He considered himself the chief defender of Catholic Europe, both against the Ottoman Turks and against the forces of the Protestant Reformation. He never relented from his fight against heresy, defending the Catholic faith and limiting freedom of worship within his territories. These territories included his patrimony in the Netherlands, where Protestantism had taken deep root. Following the Revolt of the Netherlands in 1568, Philip waged a campaign against Dutch heresy and secession. It also dragged in the English and the French at times and expanded into the German Rhineland with the Cologne War. This series of conflicts lasted for the rest of his life. Philip's constant involvement in European wars took a significant toll on the treasury and caused economic difficulties for the Crown and even bankruptcies.In 1588, the English defeated Philip's Spanish Armada, thwarting his planned invasion of the country to reinstate Catholicism. But war with England continued for the next sixteen years, in a complex series of struggles that included France, Ireland and the main battle zone, the Low Countries. It would not end until all the leading protagonists, including himself, had died. Earlier, however, after several setbacks in his reign and especially that of his father, Philip did achieve a decisive victory against the Turks at Lepanto in 1571, with the allied fleet of the Holy League, which he had put under the command of his illegitimate brother, John of Austria. He also successfully secured his succession to the throne of Portugal.The administration of overseas conquests was reformed. Extensive questionnaires were distributed to every major town and region in New Spain called relaciones geográficas. These surveys helped the Spanish monarchy to govern Philip's overseas possessions more effectively.ItalyCharles V abdicated the throne of Naples to Philip on 25 July 1554, and the young king was invested with the kingdom (officially called \"Naples and Sicily\") on 2 October by Pope Julius III. The date of Charles' abdication of the throne of Sicily is uncertain, but Philip was invested with this kingdom (officially \"Sicily and Jerusalem\") on 18 November 1554 by Julius. In 1556, Philip decided to invade the Papal States and temporarily held territory there, perhaps in response to Pope Paul IV's anti-Spanish outlook. According to Philip II, he was doing it for the benefit of the Church.In a letter to the Princess Dowager of Portugal, Regent of the Spanish kingdoms, dated 22 September 1556, Francisco de Vargas wrote:I have reported to your Highness what has been happening here, and how far the Pope is going in his fury and vain imaginings. His Majesty could not do otherwise than have a care for his reputation and dominions. I am sure your Highness will have had more recent news from the Duke of Alva, who has taken the field with an excellent army and has penetrated so far into the Pope's territory that his cavalry is raiding up to ten miles from Rome, where there is such panic that the population would have run away had not the gates been closed. The Pope has fallen ill with rage, and was struggling with a fever on the 16th of this month. The two Carafa brothers, the Cardinal and Count Montorio, do not agree, and they and Piero Strozzi are not on as good terms as they were in the past. They would like to discuss peace. The best thing would be for the Pope to die, for he is the poison at the root of all this trouble and more which may occur. His Majesty's intention is only to wrest the knife from this madman's hand and make him return to a sense of his dignity, acting like the protector of the Apostolic See, in whose name, and that of the College of Cardinals, his Majesty has publicly proclaimed that he has seized all he is occupying. The Pope is now sending again to the potentates of Italy for help. I hope he will gain as little thereby as he has done in the past, and that the French will calm down. May God give us peace in the end, as their Majesties desire and deserve!In response to the invasion, Pope Paul IV called for a French military intervention. After minor fights in Lazio and near Rome, Fernando Alvarez de Toledo (Duke of Alba and Viceroy of Naples) met Cardinal Carlo Carafa and signed the Treaty of Cave as a compromise: French and Spanish forces left the Papal states and the Pope declared a neutral position between France and the Spanish kingdoms.Philip led the Spanish kingdoms into the final phase of the Italian Wars. A Spanish advance into France from the Low Countries led to their important victory at the Battle of St. Quentin in 1557. The French were defeated again at the Battle of Gravelines in 1558. The resulting Treaty of Cateau-Cambresis in 1559 secured Piedmont to the Duchy of Savoy, and Corsica to the Republic of Genoa. Both Genoa and Savoy were allies of Spain and, although Savoy subsequently declared its neutrality between France and Spain, Genoa remained a crucial financial ally for Philip during his entire reign. The treaty also confirmed Philip's direct control over Milan, Naples, Sicily, and Sardinia. Therefore, all of southern Italy was under direct Spanish rule. Sicily and Naples were viceroyalties of the Crown of Castile, while Sardinia was part of the Crown of Aragon. In the north, Milan was a Duchy of the Holy Roman Empire held by Philip. Attached to the Kingdom of Naples, the State of Presidi in Tuscany gave Philip the possibility to monitor maritime traffic to southern Italy. The Council of Italy was set up by Philip in order to co-ordinate his rule over the states of Milan, Naples and Sicily. Ultimately, the treaty ended the 60-year Franco-Habsburg wars for supremacy in Italy. It marked also the beginning "}
+{"doc_id":"doc_56","qid":"","text":"Passage 1:Maurice FitzGerald, 2nd Earl of DesmondMaurice FitzMaurice FitzGerald, 2nd Earl of Desmond (d. 1358) (Maurice Óg) was the son of Maurice FitzGerald, 1st Earl of Desmond, and his first wife, Catherine deBurgh. (Some sources list her as Margaret.)The 2nd Earl married Beatrice de Stafford, daughter of Ralph de Stafford, 1st Earl of Stafford and Margaret Audley, but died at Castle Maine without any male issue, and wastherefore succeeded in the Earldom of Desmond by his half-brother Gerald FitzGerald, 3rd Earl of Desmond. FitzGerald's widow married Thomas de Ros, 4th Baron de Ros around a year after FitzGerald's death. He wasburied in Tralee Abbey.Passage 2:William Feilding, 1st Earl of DenbighAdmiral William Feilding, 1st Earl of Denbigh (c. 1587 – 8 April 1643, Cannock) was an English naval officer and courtier.BiographyWilliam Feildingwas the son of Basil Fielding of Newnham Paddox in Warwickshire (High Sheriff of Warwickshire in 1612) and of Elizabeth Aston, daughter of Sir Walter Aston (1530–1599).Feilding matriculated at Emmanuel College,Cambridge in 1603. In 1606 Feilding married Susan, daughter of Sir George Villiers and sister of George Villiers, 1st Duke of Buckingham, who was ennobled as the favourite of King James I. With the rise of Villiers,both Feilding and his wife received various offices and dignities.Knighted on 4 March 1607, William Feilding was created Baron and Viscount Feilding in 1620. Two years later he was appointed Master of the GreatWardrobe and Custos Rotulorum of Warwickshire and Earl of Denbigh on 14 September 1622. He attended Prince Charles on the Spanish adventure, served as admiral in the unsuccessful Cadiz Expedition in 1625, andcommanded the disastrous attempt upon Rochelle in 1628, becoming the same year a member of the Council of war, and in 1633 a Member of the Council of Wales and the Marches.In 1631, Lord Denbigh ventured tothe East as erstwhile ambassador to the court of Safi of Persia. He visited the East India Company's fledgling Indian possessions where, in 1632, Lord Denbigh met with the Mogul emperor. He returned to England in late1633.On 6 July 1641 a barge carrying Feilding, his daughter Elizabeth, Lady Kinalmeaky, Lady Cornwallis, and Anne Kirke capsized while shooting the rapids at London Bridge. Kirke was drowned but the otherpassengers were rescued.On the outbreak of the English Civil War he served under Prince Rupert of the Rhine and was present at the Battle of Edgehill. On 3 April 1643 during Rupert's attack on Birmingham he waswounded and died from the effects on the 8th, being buried at Monks Kirby in Warwickshire. His courage, unselfishness and devotion to duty are much praised by Edward Hyde, Earl of Clarendon.FamilySir William andhis wife, Susan Villiers, had six children:Basil Feilding, 2nd Earl of Denbigh (c. 1608–1675)George Feilding, 1st Earl of Desmond (c. 1614–1665)Lady Mary Feilding (1613–1638), married James Hamilton, 1st Duke ofHamilton.Lady Anne Feilding (died 1636), married Baptist Noel, 3rd Viscount CampdenElizabeth Feilding, Countess of Guildford (died 1667), married Lewis Boyle, 1st Viscount Boyle.Lady Henrietta Marie Feilding (diedyoung)His daughter, Lady Mary Feilding (1613–1638), also known as Margaret, was married to James Hamilton, 1st Duke of Hamilton, one of the heirs to the throne of Scotland after the descendants of James VI(James I of England). Her portrait was painted by Anthony van Dyck and Henry Pierce Bone. His eldest son, Basil, inherited the title of Earl of Denbigh. His second son, George Feilding, was awarded the right to the titleof Earl of Desmond at the same time as his father was made Earl of Denbigh in 1622. George Feilding was around eight years old at the time. Earl of Desmond was a lesser title than Earl of Denbigh, being a title in theIrish, rather than English, peerage.AncestryNotesPassage 3:George Feilding, 1st Earl of DesmondGeorge Feilding, 1st Earl of Desmond (c. 1614 – 31 January 1665) was an English aristocrat, awarded the title of Earl ofDesmond in the Peerage of Ireland by Charles I  of England under the terms of a letter patent issued by James I of England.George Feilding was the second son of William Feilding, 1st Earl of Denbigh, and his wife, theformer Susan Villiers. Susan was the sister of George Villiers, 1st Duke of Buckingham, confidant and lover of James I, and her family were showered with titles and preferment as a result of George Villiers' immenseinfluence.In 1622, when George Feilding was around 8 years old, James I created him Baron Fielding, of Lecaghe in the County of Tipperary, and Viscount Callan, of Callan in the County of Kilkenny. At the same time,George was given the right to the title Earl of Desmond as and when the previous holder of that title, Richard Preston, died without a male heir. Preston had also been a favourite and probably a lover of James I; he hada daughter who, the plan was, George Feilding would marry, but this did not happen. In 1628 Preston died and George inherited the title.All three titles were in the Peerage of Ireland. Earl of Desmond is an ancient Irishtitle, the 1622 creation was its 4th, and current, creation.George married Bridget Stanhope, who was the daughter of Sir Michael Stanhope and  Elizabeth Read and a sister-in-law of George Berkeley, 8th BaronBerkeley.The couple had several children:Lady Frances Feilding (died 1680), who married Sir Edward Gage, 1st Baronet, as his third wifeLady Mary Feilding (died 1691), who married Sir Charles Gawdy, 1st BaronetLadyBridget Feilding (died 1669), who married Arthur ParsonsWilliam Feilding, 2nd Earl of Desmond, later 3rd Earl of DenbighHon. George Feilding, who married a daughter of Sir John LeeColonel Hon. Sir Charles Feilding(1641–1722), who married Ursula Stockton, daughter of Sir Thomas Stockton and Ursula Bellot, and widow of Sir William Aston, (both Stockton and Aston were High Court judges in Ireland) and had two daughtersRev.Hon. John Feilding (1641–1697), who married Bridget Cokayne and had children, including John, secretary to the Governor of JamaicaHon. Basil Feilding (died May 1667), killed in a quarrel by his brotherChristopherHon. Christopher Feilding, sentenced to death in July 1667 for killing his brother Basil in a drunken quarrel.\"No one pitied him\" was the terse verdict of Samuel Pepys.Passage 4:Gerald FitzGerald, 3rd Earl ofDesmondGerald FitzMaurice FitzGerald (1335–1398), also known by the Irish Gaelic Gearóid Iarla (Earl Gerald), was the 3rd Earl of Desmond, in southwestern Ireland, under the first creation of that title, and a memberof the Hiberno-Norman dynasty of the FitzGerald, or Geraldines. He was the son of Maurice FitzGerald, 1st Earl of Desmond, by his third wife Aveline (Eleanor), daughter of Nicholas FitzMaurice, 3rd Lord of Kerry.  Hewas half-brother to Maurice FitzGerald, 2nd Earl of Desmond.Maurice Fitzgerald, 2nd Earl of Desmond, would have been followed by Gerald's older brother, Nicholas, but Nicholas was described as \"an idiot\", and so waspassed over for the earldom. Because of this, some older histories list Gerald as the 4th Earl.LifeIn 1356 he was brought to England as a hostage for his father's good behaviour, but as his father died that same year, hewas soon released. Three years later, he succeeded his brother Maurice, who had died without male heirs, and became the 3rd Earl of Desmond.King Edward III confirmed Gerald in his large estates in Munster, providedthat he marry Eleanor Butler, daughter of the Justiciar, James Butler, 2nd Earl of Ormond. Gerald did so, but did not make peace with Ormond, nor adopt English ways and customs as expected.Career andpoetryAccording to Alfred Webb:\"[He was] surnamed 'Gerald the Poet', [and] succeeded to the estates and honours of the family. He married, by the King's command, Eleanor, daughter of James, 2nd Earl of Ormond,who brought with her as her portion the barony of Inchiquin in Imokelly. Gerald was Lord Justice of Ireland, 1367. In 1398 he disappeared, and is fabled to live beneath the waters of Lough Gur, near Kilmallock, onwhose banks he appears once every seven years. O'Donovan quotes the following concerning his character: 'A nobleman of wonderful bountie, mirth, cheerfulness in conversation, charitable in his deeds, easy of access,a witty and ingenious composer of Irish poetry, and a learned and profound chronicler; and, in fine, one of the English nobility that had Irish learning and professors thereof in greatest reverence of all the English inIreland, died penitently after receipt of the sacraments of the holy church in proper form.' Fragments of Anglo-Norman verse attributed to him, known as Proverbs of the Earl of Desmond, survive.\"Duanaire GhearóidIarla (‘'The Poem-Book of Earl Gerald’') is preserved in a fifteenth-century manuscript, the Book of Fermoy. In addition, nine of his poems are preserved in the Book of the Dean of Lismore. Duanaire Ghearóid Iarla waspublished by Gearóid Mac Niocaill in Studia Hibernica 3 (1963): 7-59.In 1367 Desmond was made Lord Chief Justice of Ireland, but was soon replaced by Sir William de Windsor. In 1370 Brian O'Brien of Thomondexpelled his cousin Turlough. Desmond attempted to reinstate him. Brian marched on Limerick, and defeated Desmond, burning the city and Desmond's lands and imprisoning him.While in prison, Gerald wrote poetry inIrish, most famously the poem Mairg adeir olc ris na mnáibh (Speak not ill of womankind). Also an accomplished poet in Norman French, Gerald was instrumental in the move by the Desmond Geraldines towardsgreater use of the Irish language.In legendIn legend, Gerald's conception was the result of his father's romantic relationship with, or rape of, the goddess Áine, a legend that draws upon a pre-existing Celtic legendabout the King of Munster Ailill Aulom raping this deity, updating it with themes drawn from the Francophone courtly love poetry of Continental Europe, in particular the motif of the man who falls in love with a swanmaiden. The Geraldine claim to an association with Áine is typical of the family's Gaelicisation.After his disappearance in 1398, another legend grew up that Gerald sleeps in a cave beside (or under) Lough Gur, and willsomeday awaken and ride forth on a silver-shod steed to rule again in Desmond, – one of the many worldwide versions of the King asleep in mountain mythologisation of heroes.Marriage and issueIn 1359 Geraldmarried Eleanor (or Ellen) Butler, daughter of James Butler, 2nd Earl of Ormond. She died in 1404. They had four sons:John FitzGerald, 4th Earl of DesmondMaurice FitzGeraldJames FitzGerald, 6th Earl of Desmond,'the Usurper'Robert FitzGerald de Adairand two daughters:Joan, who married Maurice FitzJohn, Lord of KerryCatherine, who married John FitzThomasSee alsoList of people who disappearedAncestryPassage 5:MauriceFitzGerald, 9th Earl of DesmondMaurice FitzGerald, 9th Earl of Desmond (died 1520) was the brother of James FitzGerald, 8th Earl of Desmond.LifeUpon the murder of James FitzThomas FitzGerald, the 8th Earl ofDesmond, in 1487, his brother Maurice became the 9th Earl of Desmond. The murderer, John Murtagh was apprehended and put to death.In 1489 a plague ravaged the country, followed by a famine in 1497, and manydied.According to Alfred Webb: \"Being lame, and usually carried in a horse-litter, he was styled 'Vehiculus,' and by some, on account of his bravery, 'Bellicosus.'\"In 1495, Maurice FitzThomas FitzGerald supported thepretender, Perkin Warbeck, in the Siege of Waterford and other expeditions. Nevertheless, making a humble submission, King Henry VII not only forgave, but took him into favour, 26 August 1497, and granted him allthe 'customs, pockets, poundage, and prize-wines of Limerick, Cork, Kingsale, Baltimore, and Youghall, with other privileges and advantages.'About the year 1500, Maurice FitzGerald rebuilt Desmond Castle, athree-story tower house in the town of Kinsale, to serve as a Customs House for wine and gunpowder.\"The condition of the inhabitants within the Pale at this period is thus described by a contemporary writer: 'Whatwith the extortion of coyne and lyverye dayly, and wyth the wrongful exaction of osteing money, and of carryage and cartage dayly, and what with the Kinge's great subsydye yerely, and with the said trybute, andblak-rent to the Kinge's Iryshe enymyes, and other infynyt extortions, and dayly exactions, all the Englyshe folke of the countys of Dublyn, Kyldare, Meathe, and Uryell ben more oppressyd with than any other folke ofthis land, Englyshe or Iryshe, and of worsse condition be they athysside than in the marcheis.' O'Daly thus writes of Earl Maurice: 'This man was subsequently far famed for his martial exploits. He augmented his powerand possessions — for all his sympathies were English — and a furious scourge was he to the Irish, who never ceased to rebel against the crown of England. The bitterest enemy of the Geraldines he made his prisoner,to wit, MacCarthy Mor, Lord of Muskerry; and now having passed thirty years opulent, powerful, and dreaded, he died [1520] to the sorrow of his friends and the exultation of his enemies.' He was buried at Tralee. Hisfirst wife was daughter of Lord Fermoy; his second, daughter of the White Knight.\"Marriage and issue Maurice first married Ellen, daughter of Maurice Roche, 2nd Lord of Fermoy (distantly related to the Barons Fermoy),and his wife Lady Joan FitzGerald, daughter of James FitzGerald, 8th Earl of Desmond, and had issue:Thomas FitzMaurice, who predeceased his father, leaving behind one daughterJames FitzGerald, 10th Earl ofDesmondJoan, who married Cormac Óg MacCarthyEllis, who married Connor O'Brien, King of ThomondMaurice's second wife was Honora, daughter of the White Knight.Passage 6:John FitzGerald, de facto 12th Earl ofDesmondJohn FitzGerald, de facto 12th Earl of Desmond (died December 1536) was the brother of Thomas FitzGerald, 11th Earl of Desmond. Upon his brother's death in 1534, John disputed the title to the earldom ofhis brother's grandson, James FitzGerald, de jure 12th Earl of Desmond.According to the Annals of the Four Masters, John FitzThomas FitzGerald was believed to have instigated the murder of his older brother, JamesFitzGerald, 8th Earl of Desmond in 1487, and had been expelled by his brother Maurice FitzGerald, 9th Earl of Desmond.John died in 1536. His grandnephew, the de jure earl, died in 1540, and was succeeded by John'sson, James FitzGerald, 13th Earl of Desmond.Alfred Webb tells us of this earl that he, \"being supported by a large faction, was de facto [12th] Earl. This Sir John died about Christmas 1536.\"Passage 7:James FitzGerald,6th Earl of DesmondJames FitzGerald, 6th Earl of Desmond (d. 1462), called 'the Usurper', was a younger son of Gerald FitzGerald, 3rd Earl of Desmond, and Lady Eleanor, daughter of James Butler, 2nd Earl ofOrmond.LifeThe younger brother of John FitzGerald, 4th Earl of Desmond, James was uncle to the 4th Earl's only son Thomas FitzGerald, 5th Earl of Desmond, whom he was able to deprive of his earldom anddispossess in 1418 for marrying far below his station. The marriage between a man of Norman ancestry and a woman of Gaelic blood was in violation of the Statutes of Kilkenny. James FitzGerald took a leading role inforcing his nephew into exile in France where he died at Rouen two years later.Although not acknowledged until 1422, he was in 1420 made Seneschal of Imokilly, Inchiquin, and the town of Youghal, by James Butler,4th Earl of Ormond. Also in 1420, he founded the Franciscan friary at Askeaton Abbey.In 1423 he was made Constable of Limerick for life. In 1445 he was excused attendance at Parliament. Along with his son-in-lawThomas FitzGerald, 7th Earl of Kildare, James was a prominent Irish supporter of the House of York.He was also godfather to George Plantagenet, 1st Duke of Clarence.Dying in 1462 or 1463, Desmond was buried atthe Franciscan friary in Youghal.Marriage and issueJames married Mary, daughter of William de Burgh, and they had issue two sons:Thomas FitzGerald, 7th Earl of DesmondSir Gerald Mor FitzGerald, ancestor of theFitzGerald Lords of Decies of County Waterfordand two daughters:Honor, married Thomas Fitzmaurice., Lord of KerryJoan/Jane, married Thomas FitzGerald, 7th Earl of KildareAncestryNotesPassage 8:John FitzGerald,4th Earl of DesmondJohn FitzGerald, 4th Earl of Desmond (died 1399) was the son of Gerald FitzGerald, 3rd Earl of Desmond.  He married and had one son, Thomas, who succeeded him as Earl of Desmond.According toBurke, John FitzGerald married Joan Roche, the daughter of Lord Fermoy. On 4 March 1399, FitzGerald drowned at Ardfinnan on the River Suir, returning from an incursion into the territory of the Earl of Ormond..Hewas buried at Youghal, and succeeded by his son Thomas FitzJohn FitzGerald, 5th Earl of Desmond.Passage 9:William Feilding, 3rd Earl of DenbighWilliam Feilding, 3rd Earl of Denbigh, 2nd Earl of Desmond (29December 1640 – 23 August 1685) was an aristocrat in the Peerage of England. He was the son of George Feilding, 1st Earl of Desmond, and his wife, the former Bridget Stanhope, daughter of Sir MichaelStanhope.Feilding inherited the title of Earl of Denbigh from his paternal uncle Basil Feilding, 2nd Earl of Denbigh, who died without heirs in 1675.He married, firstly, Mary King (died 1669), daughter of Sir Robert Kingand Frances Folliott, daughter of Henry Folliott, 1st Baron Folliott and Anne Strode, and widow of Sir William Meredyth. Secondly, he married Lady Mary Carey, daughter of Henry Carey, 2nd Earl of Monmouth. He diedon 23 August 1685 at age 44.By his first wife, Mary King, Feilding had the following children:Lady Mary Feilding (c. 1668 – c. December 1697), who married Evelyn Pierrepont, 1st Duke of Kingston-upon-Hull, and hadchildren.Basil Feilding, 4th Earl of Denbigh (1668 – 18 March 1717), who married Hester Firebrace, and had childrenThere were no children from the earl's second marriage.Passage 10:James FitzGerald, 1st Earl ofDesmondJames FitzGerald (c. 1570 – November 1601), an Irish nobleman, was the successor of Gerald FitzGerald, 14th Earl of Desmond. He assumed the title of Earl of Desmond, which had been suppressed in 1582after the Desmond Rebellions. He spent much of his life in captivity, and was temporarily, but unsuccessfully, restored to the earldom in 1600–01 by the English in an attempt to pacify Munster during the Nine YearsWar. He thus became the 1st Earl of Desmond, but soon returned to England, where he died in obscurity.Early lifeJames FitzGerald, the son of the 14th Earl and Eleanor Butler, was born during the earlier of theDesmond Rebellions; Queen Elizabeth of England was his godmother. He was resident in Ireland in 1579, when his father joined the later rebellion against the crown, and at that time his mother chose to deliver him toSir William Drury, lord deputy of Ireland, who placed him in custody in Dublin Castle. In August 1582, his mother complained bitterly to Lord Burghley that her son's education was being neglected and sought bettercare for him. After the death of his fugitive father, FitzGerald's gaolers made a petition to the English government for his removal to the Tower of London. The petition was granted in 1584, and before the end of theyear, he was removed to the Tower, where he remained for the next 16 years.CaptivityFitzGerald was the heir to the earldom of Desmond, but in 1585 his late father's estate was attainted by the Irish parliament and allits property confiscated by the crown. Most of the hereditary lands in the province of Munster then underwent a radical plantation by English settlers (see Plantation of Munster), but such was the loyalty attached to theFitzGerald name there that the government had good cause to fear a future rebellion. These events occurred during the Anglo-Spanish War (1585–1604), and English fear was increased with the prospect of anintervention by the Spanish, who had a historical affinity with the west coast of Ireland.It was in this context that the young heir found himself nurtured in London, where he was to lead a miserable existence. Heappears to have been sickly, as shown by the accounts kept between 1588 and 1598 of payments for medicines, ointments, pills and syrups administered to him. In 1593, he wrote in pathetic terms to the queen'ssecretary, Sir Robert Cecil, but the government really only had one use for him.Irish campaignIn 1600, during the Nine Years War (Ireland) and following hostile intrusions into Munster at the direction of Hugh O'Neill,3rd Earl of Tyrone, it was suggested by Sir George Carew that FitzGerald be paraded through the province as the true Earl of Desmond, to counter the popularity of the pretender to the earldom, James FitzThomasFitzGerald, (known as the Súgán – i.e. Hayrope – Earl). The queen hesitated at this suggestion, but was convinced by Cecil that the risk was worth taking.A patent for the title of Earl of Desmond (the second creation)"}
+{"doc_id":"doc_57","qid":"","text":"Passage 1:Pooja BhattPooja Bhatt (born 24 February 1972) is an Indian film director, actress, voice over artist and film maker. Born into the Bhatt family, she is the daughter of Indian filmmaker, Mahesh Bhatt and the half-sister of Alia Bhatt and cousin of Emraan Hashmi. Bhatt played her first leading role in Mahesh Bhatt's television film Daddy in 1989. For the film, she won the Filmfare Award for Lux New Face of the Year for Best Female Debut. She is also seen in the Bigg Boss OTT (Hindi season 2)Early lifePooja Bhatt was born on 24 February 1972 to Mahesh Bhatt and Kiran Bhatt (born Loraine Bright). On her father's side, Bhatt is of Gujarati descent and on her mother's side, she is of English, Scottish, Armenian, and Burmese ancestry. She is the step-daughter of Soni Razdan. She has a brother, Rahul Bhatt and half-sisters Shaheen and Alia Bhatt. Her cousins are Hitarth Bhat and Emraan Hashmi.CareerBhatt made her acting debut at age 17, in 1989 with Daddy, a TV film directed by her father Mahesh Bhatt. In the film she portrayed a soul-searching teenage girl in an estranged relationship with her alcoholic father, played by actor Anupam Kher.Her biggest solo hit and her big screen debut came with the musical hit Dil Hai Ke Manta Nahin (1991), which was a remake of the Oscar-winning Hollywood classic It Happened One Night. Pooja Bhatt appeared in many bold shoots like Stardust.Her most well-known films in the 1990s included Sadak opposite Sanjay Dutt (1991), Junoon, Jaanam, and Phir Teri Kahani Yaad Aayee opposite Rahul Roy, Sir (1993) and Guneghar (1995) opposite Atul Agnihotri, Tadipaar (1993) and Naaraaz (1994) opposite Mithun Chakraborty, Hum Dono opposite Rishi Kapoor, Angrakshak opposite Sunny Deol (1995), Chaahat opposite Shah Rukh Khan (1996), Tamanna (1997), the super-hit and multi-starrer Border (1997) and Zakhm (1998), opposite Ajay Devgan. Her last film appearance was in the English language film Everybody Says I'm Fine! in 2001.From 2003 to 2012, she focused on producing and directing. She made her directorial debut with Paap in 2004, starring John Abraham and Udita Goswami. Since then, she has made four more directorial ventures: Holiday (2006), Dhokha (2007), Kajraare (2010) and Jism 2 (2012).In 2020, Bhatt returned to acting with Sadak 2, a sequel to the hit 1991 film. Her father returned to directing with this film after 20 years. It was released on 28 August 2020 on the streaming platform Disney+ Hotstar.In 2021, Bhatt made her web series debut in the Netflix series Bombay Begums. It also featured Rahul Bose, Amruta Subhash, Shahana Goswami, Plabita Borthakur and Aadhya Anand.In 2022, she appeared in the film Chup: Revenge of the Artist.Currently , She is a Participant of Bigg Boss OTT 2FilmographyActing rolesTelevisionAwards and recognitionsPassage 2:Peter HamelPeter Hamel (1911–1979) was a German screenwriter and a director of film and television. He appeared as himself in the 1948 comedy Film Without a Title. He is the father of the composer Peter Michael Hamel.Selected filmographyFilm Without a Title (1948)Artists' Blood (1949)Oh, You Dear Fridolin (1952)The Daring Swimmer (1957)Passage 3:Ian Barry (director)Ian Barry is an Australian director of film and TV.Select creditsWaiting for Lucas (1973) (short)Stone (1974) (editor only)The Chain Reaction (1980)Whose Baby? (1986) (mini-series)Minnamurra (1989)Bodysurfer (1989) (mini-series)Ring of Scorpio (1990) (mini-series)Crimebroker (1993)Inferno (1998) (TV movie)Miss Lettie and Me (2002) (TV movie)Not Quite Hollywood: The Wild, Untold Story of Ozploitation! (2008) (documentary)The Doctor Blake Mysteries (2013)Passage 4:Yasuichi OshimaYasuichi Oshima (\u0000\u0000 \u0000\u0000\u0000\u0000, Ōshima Yasuichi, born 24 March 1954 in Kyoto) is a Japanese manga artist. In 1984, he won the Kodansha Manga Award for shōnen for Bats & Terry.He is the father of manga artist Towa Oshima.Selected worksKenkaku Shōbai (2008–2021)Passage 5:Paul BrookePaul Brooke (born 22 November 1944) is a retired English actor of film, television and radio. He made his film debut in 1972 in the Hammer film Straight on till Morning, followed by performances in For Your Eyes Only (1981), Return of the Jedi (1983), Scandal (1989), Saving Grace (2000), Bridget Jones's Diary (2001), Alfie (2004), The Phantom of the Opera (2004), and Oliver Twist (2005). Brooke is the father of actor Tom Brooke.CareerBrooke began as a stage actor and has played in many London productions, including several years as a member of Frank Dunlop's original Young Vic Company. He played Malakili the Rancor Keeper in the 1983 Star Wars film Return of the Jedi (his voiced dubbed over by Ernie Fosselius). He played British Conservative politician Ian Gow in the 2004 BBC series The Alan Clark Diaries. In 2006, he guest starred in the Doctor Who audio adventure Year of the Pig as well as the 1990 Mr. Bean sketch \"The Library\". He played Mr. Fitzherbert in the 2001 film Bridget Jones's Diary.Other appearances in television dramas and comedies featuring Brooke include The Blackadder, Bertie and Elizabeth, the BBC adaptation of Blott on the Landscape, Lovejoy, Foyle's War, Rab C. Nesbitt, Kavanagh QC, Sharpe's Revenge, Midsomer Murders, Hustle, Covington Cross, The Kit Curran Radio Show, Between the Lines, Relic Hunter and Mornin' Sarge. He appeared in the miniseries Nostromo in 1997.He played Gríma Wormtongue in the 1981 BBC radio adaptation of The Lord of the Rings.He, Linal Haft and Frank Mills are the only actors to appear in both the Classic and New series of Minder, but playing different roles in each.FilmographyFilmTelevisionExternal linksPaul Brooke at IMDbPassage 6:Cleomenes IICleomenes II (Greek: Κλεομένης; died 309 BC) was king of Sparta from 370 to 309 BC. He was the second son of Cleombrotus I, and grandfather of Areus I, who succeeded him. Although he reigned for more than 60 years, his life is completely unknown, apart from a victory at the Pythian Games in 336 BC. Several theories have been suggested by modern historians to explain such inactivity, but none has gained consensus.Life and reignCleomenes was the second son of king Cleombrotus I (r. 380–371), who belonged to the Agiad dynasty, one of the two royal families of Sparta (the other being the Eurypontids). Cleombrotus died fighting Thebes at the famous Battle of Leuctra in 371. His eldest son Agesipolis II succeeded him, but he died soon after in 370. Cleomenes' reign was instead exceptionally long, lasting 60 years and 10 months according to Diodorus of Sicily, a historian of the 1st century BC. In a second statement, Diodorus nevertheless tells that Cleomenes II reigned 34 years, but he confused him with his namesake Cleomenes I (r. 524–490).Despite the outstanding length of his reign, very little can be said about Cleomenes. He has been described by modern historians as a \"nonentity\". Perhaps that the apparent weakness of Cleomenes inspired the negative opinion of the hereditary kingship at Sparta expressed by Aristotle in his Politics (written between 336 and 322). However, Cleomenes may have focused on internal politics within Sparta, because military duties were apparently given to the Eurypontid Agesilaus II (r. 400–c.360), Archidamus III (r. 360–338), and Agis III (r. 338–331). As the Spartans notably kept their policies secret from foreign eyes, it would explain the silence of ancient sources on Cleomenes. Another explanation is that his duties were assumed by his elder son Acrotatus, described as a military leader by Diodorus, who mentions him in the aftermath of the Battle of Megalopolis in 331, and again in 315.Cleomenes' only known deed was his chariot race victory at the Pythian Games in Delphi in 336. In the following autumn, he gave the small sum of 510 drachmas for the reconstruction of the Temple of Apollo at Delphi, which had been destroyed by an earthquake in 373. Cleomenes might have made this gift as a pretext to go to Delphi and engage in informal diplomacy with other Greek states, possibly to discuss the consequences of the recent assassination of the Macedonian king Philip II.One short witticism of Cleomenes regarding cockfighting is preserved in the Moralia, written by the philosopher Plutarch in the early 2nd century AD:Somebody promised to give to Cleomenes cocks that would die fighting, but he retorted, \"No, don't, but give me those that kill fighting.\"As Acrotatus died before Cleomenes, the latter's grandson Areus I succeeded him while still very young, so Cleomenes' second son Cleonymus acted as regent until Areus' majority. Some modern scholars also give Cleomenes a daughter named Archidamia, who played an important role during Pyrrhus' invasion of the Peloponnese, but the age difference makes it unlikely.Passage 7:Obata ToramoriObata Toramori (\u0000\u0000\u0000\u0000, 1491 – July 14, 1561) was Japanese samurai warrior of the Sengoku Period. He is known as one of the \"Twenty-Four Generals of Takeda Shingen\" He also recorded as having been wounded 41 times in 36 encounters. He was the father of Obata Masamori.See alsoIsao ObataPassage 8:Lars EliassonLars Eliasson  (December 8, 1914 – June 5, 2002) was a Swedish politician. He was a member of the Centre Party. He was the party's first vice chairman 1957-69 and a member of the Parliament of Sweden 1952–1970. For a short time in 1957, he was a minister in the Government of Sweden, in the Second cabinet of Erlander.He is the father of the later Member of Parliament Anna Eliasson.Passage 9:KajraareKajraare (transl. Collyrium) is a 2010 Indian Hindi-language film directed by Pooja Bhatt, starring Himesh Reshammiya and Sara Loren in the lead roles. Reshammiya plays a singer who falls in love with a bar dancer and the film is centred on how they find true love. It is the first Hindi film to be shot in Petra, often called \"the eighth wonder of the world.\"PlotRajiv Bhel (Himesh Reshammiya) is haunted by his very own past which torments him. He moves to Jordan where he has a job as a bartender, however Avtaar Singh forbids him to stay and immediately wants him to return to India. Rajiv then contemplates suicide but the eyes of a ravishing beauty strikes his own eyes. A chase ensues, until another man appears and takes the \"beauty\" in his own hands. The guy tells Rajiv if he wants to see what she does, he must come to the bar to \"watch her dance\".Rajiv visits the aquarium and he sees the lady again and develops immense love for her. The woman is Nargis who is revealed as a prostitute. He then falls in love. One night, Rajiv visits the \"bar\", and watches her (Nargis) dance. Embarrassed and feeling unworthy, Rajiv runs away, however, after the end of the night, its time to head home. Nargis and her colleagues get in a taxi which Rajiv follows. At the end of the trip, Rajiv gets closer to Nargis only for Rajiv to return the scarf that Nargis dropped at the bar. Mockingly, Nargis refuses it but Rajiv says if she keeps disappearing like this, he will hang himself with the scarf. Nargis offers for a longer one in a jokingly way.Regardless, Rajiv wants to marry Nargis. Rajiv wants Nargis to be free from prostitution. Rajiv must now get past Zohra Baano. She owns a prostitution business and hires other women to do their dirty work, the only source of income. Zohra Baano wants a price in exchange and Rajiv is willing to do that. Slowly, Nargis begins to develop feelings for Rajiv. One night, Nargis escapes the brothel, Rajiv finds her and takes her to a hotel. Nargis realises this was a mistake so she must return to the brothel. As soon as the \"couple\" leave the hotel, 3 drunkards approach them and one of them recognizes Rajiv as \"Rocky\". In fact, this is his real name, although \"Rajiv\" denies it. Rajiv fights off the drunkards and realises that Nargis knows the truth. So he decides to come clean about his life story.Rocky Desai (also Himesh Reshammiya), a singer, is on the aeroplane. An ardent boy, who's a fan of Rocky, and his granny wants an autograph so Rocky writes one for them. On the plane, an uneasy passenger heads for the restroom but he is a terrorist. He threatens the entire crew, until Rocky sees this. He gets into a fight but suddenly the gun goes off killing the terrorist. Avtaar tells Rocky, he just killed Babbar's brother. Babbar is a most-wanted terrorist. He vows revenge on Rocky. Avtaar recommends Rocky to change his identity and start afresh. And this is how Rocky becomes Rajiv.Rajiv breaks Avtaar's oath by going back to UK. He's playing with his sister in the park until he receives a call. It is Avtaar who wants him to return to London (as a cover up) Babbar is targeting his sister. After the call, his sister is gone. The white woman who witnessed the event says a man just took her. Babbar then tells Rocky he's sister is dead. This shatters him completely.What follows is the underlying quest for true love. At the climax, Babbar captures Zohra Baano and Nargis. Rajiv / Rocky rescues them and kills Babbar. At the end, they are married.CastHimesh Reshammiya as Rajiv Behl / Rocky DesaiSara Loren as Nargis (Mona Lizza)Amrita Singh as Zohra BaanoNatasha Sinha as Nargis (Mona Lizza)'s motherGaurav Chanana as Sadiq - DeadJaved Sheikh as Tariq AnwarGulshan Grover as Avtaar SinghAnupam Shyam as  NawazAdnan Shah as Babur Altaf KhanVeeru KrishnanReleaseThe film was supposed to be released on 6 August 2010, along with Aisha, but due to clashes between director Pooja Bhatt and the producer, Bhushan Kumar, the release was delayed. According to sources, Kumar later sold the satellite rights to a television channel, which wanted it to have an official theatrical release before they could air it. On 15 October 2010, the film was released in only two theatres in Mumbai.Bhushan Kumar stated in an interview that the film will release worldwide on the TV channel Colors in December 2010.The film was previewed on UTV Movies on 28 May 2011. The Film was also previewed on Star Gold Channel.Home mediaThe DVDs and VCDs of Kajraare were released by Eros in the first week of December 2010.SoundtrackThe soundtrack of Kajraare was released on 30 May 2010. The album has 7 tracks and 4 remixes. All songs are composed and sung by Himesh Reshammiya with lyrics by Sameer.Track listingPassage 10:Inoue Masaru (bureaucrat)Viscount Inoue Masaru (\u0000\u0000 \u0000, August 25, 1843 – August 2, 1910) was the first Director of Railways in Japan and is known as the \"father of the Japanese railways\".BiographyHe was born into the Chōshū clan at Hagi, Yamaguchi, the son of Katsuyuki Inoue. He was briefly adopted into the Nomura family and became known as Nomura Yakichi, though he was later restored to the Inoue family.Masaru Inoue was brought up as the son of a samurai belonging to the Chōshū fief. At 15, he entered the Nagasaki Naval Academy established by the Tokugawa shogunate under the direction of a Dutch naval officer. In 1863, Inoue and four friends from the Chōshū clan stowed away on a vessel to the United Kingdom. He studied civil engineering and mining at University College London and returned to Japan in 1868. After working for the government as a technical officer supervising the mining industry, he was appointed Director of the Railway Board in 1871. Inoue played a leading role in Japan's railway planning and construction, including the construction of the Nakasendo Railway, the selection of the alternative route (Tokaido), and the proposals for future mainline railway networks.In 1891 Masaru Inoue founded Koiwai Farm with Yanosuke Iwasaki and Shin Onogi.  After retirement from the government, Inoue founded Kisha Seizo Kaisha, the first locomotive manufacturer in Japan, becoming its first president in 1896. In 1909 he was appointed President of the Imperial Railway Association. He died of an illness in London in 1910, during an official visit on behalf of the Ministry of Railways.HonorsInoue and his friends later came to be known as the Chōshū Five. To commemorate their stay in London, two scholarships, known as the Inoue Masaru Scholarships, are available each session under the University College London 1863 Japan Scholarships scheme to enable University College students to study at a Japanese University. The value of the scholarships are £3000 each.His tomb is in the triangular area of land where the Tōkaidō Main Line meets the Tōkaidō Shinkansen in Kita-Shinagawa.Chōshū FiveThese are the four other members of the \"Chōshū Five\":Itō Shunsuke (later Itō Hirobumii)Inoue Monta (later Inoue Kaoru)Yamao Yōzō who later studied engineering at the Andersonian Institute, Glasgow, 1866-68 while working at the shipyards by dayEndō KinsukeSee alsoJapanese students in BritainStatue of Inoue Masaru"}
+{"doc_id":"doc_58","qid":"","text":"Passage 1:Köpekler AdasıKöpekler Adası is a 1997 Turkish film, directed by Halit Refiğ and starring Mursit Bag, Ekrem Dümer, and Tanju Gürsu.Passage 2:Borsalino & Co.Borsalino & Co. is a 1974 French crime filmdirected by Jacques Deray and starring Alain Delon, Riccardo Cucciolla and Daniel Ivernel. It is the sequel to the 1970 film Borsalino, opening with the criminal Siffredi as he searches Marseille for the gang thatmurdered his friend Capella.PlotSiffredi, a prominent gangster in 1930s Marseille, learns that the murder of his associate and closest friend Capella was ordered by a new arrival in the city, Volpone. In revenge, he killsVolpone's brother by throwing him from a moving train. A gang war ensues. Volpone's men win, capturing Siffredi and putting his mistress Lola in a brothel. Siffredi is humiliated by the gang by turning him into analcoholic wreck who is shut up in a psychiatric hospital. Rescued by the only other survivor of the gang, he escapes by boat to Italy. Left supreme in Marseille, Volpone is backed by the government of Nazi Germany andhas the police in his pocket.Three years later, Siffredi has recovered his health, made some money and assembled a new gang. Returning to Marseille, they free Lola from the brothel and in a new war eliminate most ofVolpone's men. Capturing his right-hand man together with the police commissioner who kowtows to him, Siffredi makes the two roaring drunk and calls in journalists to publicise the shameful spectacle. A new policecommissioner decides to let Siffredi finish the job. When Volpone tries to flee to Germany, Siffredi captures him on the train and stuffs him into the firebox of the locomotive. Not wanting to start again in Marseille, withLola and his gang he then takes a ship for the United States.Partial castAlain Delon - Roch SiffrediRiccardo Cucciolla - VolponeDaniel Ivernel - Inspector FantiReinhard Kolldehoff - SamAndré Falcon - InspectorCazenaveLionel Vitrant - FernandAdolfo Lastretti - LucianoGreg Germain - Le 'Nègre'Pierre Koulak - SpadaMarius Laurey - TeissereSerge Davri - CharlieGünter Meisner - Le médecinJacques Debary - Le préfetDjéloulBeghoura - LucienBruno Balp - Un spectateur de l'AlcazarCatherine Rouvel - LolaAnton Diffring - GermanMireille Darc - CameoProductionFilming took place from 29 March to 25 June 1974.ReceptionThe film was a boxoffice disappointment, especially considering the success of the first movie.Passage 3:Hassan ZeeHassan \"Doctor\" Zee is a Pakistani-American film director who was born in Chakwal, Pakistan.Early lifeDoctor Zee grewup in Chakwal, a small village in Punjab, Pakistan. as one of seven brothers and sisters  His father was in the military and this fact required the family to move often to different cities. As a child Zee was forbidden fromwatching cinema because his father believed movies were a bad influence on children.At age 13, Doctor Zee got his start in the world of entertainment at Radio Pakistan where he wrote and produced radio dramas andmusical programs.  It was then that he realized his passion for storytelling At the age of 26, Doctor Zee earned his medical doctorate degree and did his residency in a burn unit at the Pakistan Institute of MedicalSciences. He cared for women who were victims of  \"Bride Burning,\" the archaic practice used as a form of punishment against women who fail to provide sufficient dowry to their in-laws after marriage or fail to provideoffspring.  He also witnessed how his country’s transgender and intersex people, called “hijras”, were banned from having jobs and forced to beg to survive. These experiences inspired Doctor Zee to tackle the issues ofwomen’s empowerment and gender inequality in his films.In 1999, he came to San Francisco to pursue his dream of filmmaking and made San Francisco his homeEducationHe received his early education from JinnahPublic School, Chakwal. He got his medical doctor degree at Rawalpindi Medical College, Pakistan.Film careerDoctor Zee's first film titled Night of Henna was released in 2005. The theme of the film dealt with \"theconflict between Old World immigrant customs and modern Western ways...\" Night of Henna focused on the problems of Pakistani expatriates who found it hard to adjust in American culture. Many often landedthemselves in trouble when it came to marrying off their children.His second film Bicycle Bride came out in 2010, which was about \"the clash between the bonds of family and the weight of tradition.\" His third film Houseof Temptation that came out in 2014 was about a family which struggles against the temptations of the Devil. His fourth film “Good Morning Pakistan”, concerned a young American’s journey back to Pakistan where heconfronts the contradictory nature of a beautiful and ancient culture that's marred by economic, educational and gender inequality His upcoming fifth film, \"Ghost in San Francisco\" is a supernatural thriller starringFelissa Rose, Dave Sheridan, and Kyle Lowder where a soldier comes home from Afghanistan to discover that his wife is having an affair with his best friend. While battling with his inner ghosts and demons, he meets amysterious woman in San Francisco who promises him a ritual for his cure.Passage 4:Edward YatesEdward J. Yates (September 16, 1918 – June 2, 2006) was an American television director who was the director of theABC television program American Bandstand from 1952 until 1969.BiographyYates became a still photographer after graduating from high school in 1936. After serving in World War II, he became employed byPhiladelphia's WFIL-TV as a boom microphone operator. He was later promoted to cameraman (important as most programming was done live and local during the early years of television) and earned a bachelor'sdegree in communications in 1950 from the University of Pennsylvania.In October 1952, Yates volunteered to direct Bandstand, a new concept featuring local teens dancing to the latest hits patterned after the \"950Club\" on WPEN-AM. The show debuted with Bob Horn as host and took off after Dick Clark, already a radio veteran at age 26, took over in 1956.It was broadcast live in its early years, even after it became part of theABC network's weekday afternoon lineup in 1957 as American Bandstand. Yates pulled records, directed the cameras, queued the commercials and communicated with Clark via a private line telephone located on hispodium.In 1964, Clark moved the show to Los Angeles, taking Yates with him.Yates retired from American Bandstand in 1969, and moved his family to the Philadelphia suburb of West Chester.He died in 2006 at anursing home where he had been for the last two months of his life.External linksEdward Yates at IMDbPassage 5:Catherine I of RussiaCatherine I Alekseevna Mikhailova (Russian: Екатери́на I Алексе́евна Миха́йлова,tr. Ekaterína I Alekséyevna Mikháylova; born Polish: Marta Helena Skowrońska, Russian: Ма́рта Самуи́ловна Скавро́нская, tr. Márta Samuílovna Skavrónskaya; 15 April [O.S. 5 April] 1684 – 17 May [O.S. 6 May] 1727)was the second wife and empress consort of Peter the Great, and empress regnant of Russia from 1725 until her death in 1727.Life as a servantThe life of Catherine I was said by Voltaire to be nearly as extraordinary asthat of Peter the Great himself. Only uncertain and contradictory information is available about her early life. Said to have been born on 15 April 1684 (o.s. 5 April), she was originally named Marta Helena Skowrońska.Marta was the daughter of Samuel Skowroński (later spelled Samuil Skavronsky), a Roman Catholic farmer from the eastern parts of the Polish–Lithuanian Commonwealth, born to Minsker parents. In 1680 he marriedDorothea Hahn at Jakobstadt. Her mother is named in at least one source as Elizabeth Moritz, the daughter of a Baltic German woman and there is debate as to whether Moritz's father was a Swedish officer. It is likelythat two stories were conflated, and Swedish sources suggest that the Elizabeth Moritz story is probably incorrect. Some biographies state that Marta's father was a gravedigger and handyman, while others speculatethat he was a runaway landless serf.Marta's parents died of the plague around 1689, leaving five children. According to one of the popular versions, at the age of three Marta was taken by an aunt and sent toMarienburg (the present-day Alūksne in Latvia, near the border with Estonia and Russia) where she was raised by Johann Ernst Glück, a Lutheran pastor and educator who was the first to translate the Bible into Latvian.In his household she served as a lowly servant, likely either a scullery maid or washerwoman.  No effort was made to teach her to read and write and she remained illiterate throughout her life.Marta was considered avery beautiful young girl, and there are accounts that Frau Glück became fearful that she would become involved with her son. At the age of seventeen, she was married off to a Swedish dragoon, Johan Cruse or JohannRabbe, with whom she remained for eight days in 1702, at which point the Swedish troops were withdrawn from Marienburg. When Russian forces captured the town, Pastor Glück offered to work as a translator, andField Marshal Boris Sheremetev agreed to his proposal and took him to Moscow.There are unsubstantiated stories that Marta worked briefly in the laundry of the victorious regiment, and also that she was presented inher undergarments to Brigadier General Rudolph Felix Bauer, later the Governor of Estonia, to be his mistress. She may have worked in the household of his superior, Sheremetev. It is not known whether she was hismistress, or household maid.  She travelled back to the Russian court with Sheremetev's army.Afterwards she became part of the household of Prince Alexander Menshikov, who was the best friend of Peter the Great ofRussia. Anecdotal sources suggest that she was purchased by him. Whether the two of them were lovers is disputed, as Menshikov was already engaged to Darya Arsenyeva, his future wife. It is clear that Menshikovand Marta formed a lifetime alliance.It is possible that Menshikov, who was quite jealous of Peter's attentions and knew his tastes, wanted to procure a mistress on whom he could rely. In any case, in 1703, whilevisiting Menshikov at his home, Peter met Marta. In 1704, she was well established in the Tsar's household as his mistress, and gave birth to a son, Peter. In 1703, she converted to Orthodoxy and took the new nameCatherine Alexeyevna (Yekaterina Alexeyevna). She and Darya Menshikova accompanied Peter and Menshikov on their military excursions.Marriage and family lifeThough no record exists, Catherine and Peter aredescribed as having married secretly between 23 October and 1 December 1707 in Saint Petersburg. They had twelve children, two of whom survived into adulthood, Anna (born 1708) and Elizabeth (born 1709).Peterhad moved the capital to St. Petersburg in 1703. While the city was being built he lived in a three-room log cabin with Catherine, where she did the cooking and caring for the children, and he tended a garden as thoughthey were an ordinary couple. The relationship was the most successful of Peter's life and a great number of letters exist demonstrating the strong affection between Catherine and Peter. As a person she was veryenergetic, compassionate, charming, and always cheerful. She was able to calm Peter in his frequent rages and was often called in to do so.Catherine went with Peter on his Pruth Campaign in 1711. There, she was saidto have saved Peter and his Empire, as related by Voltaire in his book Peter the Great. Surrounded by overwhelming numbers of Turkish troops, Catherine suggested before surrendering, that her jewels and those of theother women be used in an effort to bribe the Ottoman grand vizier Baltacı Mehmet Pasha into allowing a retreat.Mehmet allowed the retreat, whether motivated by the bribe or considerations of trade and diplomacy. Inany case Peter credited Catherine and proceeded to marry her again (this time officially) at Saint Isaac's Cathedral in St. Petersburg on 9 February 1712.  She was Peter's second wife; he had previously married anddivorced Eudoxia Lopukhina, who had borne him the Tsarevich Alexis Petrovich. Upon their wedding, Catherine took on the style of her husband and became Tsarina. When Peter elevated the Russian Tsardom toEmpire, Catherine became Empress. The Order of Saint Catherine was instituted by her husband on the occasion of their wedding.IssueCatherine and Peter had twelve children, all of whom died in childhood except Annaand Elizabeth:Peter Petrovich (1704–1707), died in infancyPaul Petrovich (October 1705–1707), died in infancyCatherine Petrovna (7 February 1707–7 August 1708)Grand Duchess Anna Petrovna (27 January 1708–15May 1728)Grand Duchess Elizabeth Petrovna (29 December 1709–5 January 1762)Grand Duchess Mary Natalia Petrovna (20 March 1713–17 May 1715)Grand Duchess Margaret Petrovna (19 September 1714–7 June1715)Grand Duke Peter Petrovich (9 November 1715–6 May 1719)Grand Duke Paul Petrovich (13 January 1717–14 January 1717)Grand Duchess Natalia Petrovna (31 August 1718–15 March 1725)Grand Duke PeterPetrovich (7 October 1723–7 October 1723)Grand Duke Paul Petrovich (1724–1724)SiblingsUpon Peter's death, Catherine found her four siblings, Krystyna, Anna, Karol, and Fryderyk, gave them the newly created titlesof Count and Countess, and brought them to Russia.Krystyna Skowrońska, renamed Christina (Russian: Христина) Samuilovna Skavronskaya (1687–14 April 1729), had married Simon Heinrich (Russian: СимонГейнрих) (1672–1728) and their descendants became the Counts Gendrikov.Anna Skowrońska, renamed Anna Samuilovna Skavronskaya, had married one Michael-Joachim N and their descendants became the CountsEfimovsky.Karol Skowroński, renamed Karel Samuilovich Skavronsky, was created a Count of the Russian Empire on 5 January 1727 and made a Chamberlain of the Imperial Court; he had married Maria Ivanovna, aRussian woman, by whom he had descendants who became extinct in the male line with the death of Count Paul Martinovich Skavronskyi (1757-1793), father of Princess Catherine Bagration.Fryderyk Skowroński,renamed Feodor Samuilovich Skavronsky, was created a Count of the Russian Empire on 5 January 1727 and was married twice: to N, a Lithuanian woman, and to Ekaterina Rodionovna Saburova, without havingchildren by either of them.Reign as empress regnantCatherine was crowned in 1724. The year before his death, Peter and Catherine had an estrangement over her support of Willem Mons, brother of Peter's formermistress Anna, and brother to one of the current ladies in waiting for Catherine, Matryona. He served as Catherine's secretary. Peter had fought his entire life to clear up corruption in Russia. Catherine had a great dealof influence over who could gain access to her husband. Willem Mons and his sister Matryona had begun selling their influence to those who wanted access to Catherine and, through her, to Peter. Apparently this hadbeen overlooked by Catherine, who was fond of both. Peter found out and had Willem Mons executed and his sister Matryona exiled. He and Catherine did not speak for several months. Rumors flew that she and Monshad had an affair, but there is no evidence for this.Peter died (28 January 1725 Old Style) without naming a successor. Catherine represented the interests of the \"new men\", commoners who had been brought topositions of great power by Peter based on competence. A change of government was likely to favor the entrenched aristocrats. For that reason during a meeting of a council to decide on a successor, a coup wasarranged by Menshikov and others in which the guards regiments with whom Catherine was very popular proclaimed her the ruler of Russia. Supporting evidence was \"produced\" from Peter's secretary Makarov and theBishop of Pskov, both \"new men\" with motivation to see Catherine take over. The real power, however, lay with Menshikov, Peter Tolstoy, and other members of the Supreme Privy Council.Catherine viewed the deposedempress Eudoxia as a threat, so she secretly moved her to Shlisselburg Fortress near St. Petersburg to be put in a secret prison under strict custody as a state prisoner.DeathCatherine I died two years after Peter I, on17 May 1727 at age 43, in St. Petersburg, where she was buried at St. Peter and St. Paul Fortress. Tuberculosis, diagnosed as an abscess of the lungs, caused her early demise.Before her death she recognized Peter II,the grandson of Peter I and Eudoxia, as her successor.Assessment and legacyCatherine was the first woman to rule Imperial Russia, opening the legal path for a century almost entirely dominated by women, includingher daughter Elizabeth and granddaughter-in-law Catherine the Great, all of whom continued Peter the Great's policies in modernizing Russia.  At the time of Peter's death the Russian Army, composed of 130,000 menand supplemented by another 100,000 Cossacks, was easily the largest in Europe.  However, the expense of the military was proving ruinous to the Russian economy, consuming some 65% of the government's annualrevenue.  Since the nation was at peace, Catherine was determined to reduce military expenditure.  For most of her reign, Catherine I was controlled by her advisers.  However, on this single issue, the reduction ofmilitary expenses, Catherine was able to have her way.  The resulting tax relief on the peasantry led to the reputation of Catherine I as a just and fair ruler.The Supreme Privy Council concentrated power in the hands ofone party, and thus was an executive innovation. In foreign affairs, Russia reluctantly joined the Austro-Spanish league to defend the interests of Catherine's son-in-law, the Duke of Holstein, against GreatBritain.Catherine gave her name to Catherinehof near St. Petersburg, and built the first bridges in the new capital. She was also the first royal owner of the Tsarskoye Selo estate, where the Catherine Palace still bearsher name.The city of Yekaterinburg is named after her, Yekaterina being the Russian form of her name.She also gave her name to the Kadriorg Palace (German: Katharinental, meaning \"Catherine's Valley\"), itsadjacent Kadriorg Park and the later Kadriorg neighbourhood of Tallinn, Estonia, which today houses the Presidential Palace of Estonia. The name of the neighbourhood is also used as a metonym for the institution ofthe President.In general, Catherine's policies were reasonable and cautious.  The story of her humble origins was considered by later generations of tsars to be a state secret.See alsoBibliography of Russian history(1613–1917)Rulers of Russia family treeNotesPassage 6:Jacques DerayJacques Deray (born Jacques Desrayaud; 19 February 1929 – 9 August 2003) was a French film director and screenwriter. Deray is prominentlyknown for directing many crime and thriller films.BiographyBorn Jacques Desrayaud in Lyon, France, in 1929 to a family of Lyon industrialists. At the age of 19 he went to Paris to study drama under René Simon. Derayplayed minor roles on the stage and in films from the age of 19. From 1952, Deray worked as assistant to a number of directors, including Luis Buñuel, Gilles Grangier, Jules Dassin, and Jean Boyer.Deray's first film wasthe drama Le Gigolo released in 1960. Deray was fascinated by  American film noir and began to focus on crime stories. Deray's early work includes Du rififi à Tokyo, an homage to Jules Dassin's Rififi. Deray's reputationwas established with the 1969 film La Piscine which starred Romy Schneider and Alain Delon. La Piscine was not distributed widely outside France, but the follow-up gave Deray his biggest international hit withBorsalino, a film starring Delon and Jean-Paul Belmondo about two small-time gangsters who murder their way to the top in bustling 1930s Marseilles.Deray became dedicated to the genre that won him favor withaudiences and continued to make thrillers, action films, and spy films throughout the rest of his career adapting works of both French and English authors including Georges Simenon, Jean-Patrick Manchette, and DerekRaymond. In 1981, Deray served as president of the jury of the 34th Cannes Film Festival. Deray's last theatrical release was L'Ours en peluche in 1994. Deray worked professionally in television until his death in 2003.On his death, French President Jacques Chirac praised Deray, noting his \"innate sense of storytelling and action\" and adding that \"France has lost one of its most talented filmmakers.\"Jacques Deray PrizeCreated by in2005 to honor Deray, who served as vice-president of the Institut Lumière until his death, the Jacques Deray Prize rewards the best French crime-thriller film of the year. Among the first laureates are 36 Quai desOrfèvres by Olivier Marchal, The Beat That My Heart Skipped by Jacques Audiard, Tell No One by Guillaume Canet, The Second Wind by Alain Corneau, and later Polisse by Maïwenn (2012).FilmographyPassage 7:Halit"}
+{"doc_id":"doc_59","qid":"","text":"Passage 1:Henry KrauseHenry J. \"Red\" Krause, Jr. (August 28, 1913 – February 20, 1987) was an American football offensive lineman in the National Football League for the Brooklyn Dodgers and the Washington Redskins.  He played college football at St. Louis University.Passage 2:Carlo I Cybo-MalaspinaCarlo I Cybo-Malaspina (18 November 1581 - 13 February 1662) was an Italian nobleman, who was prince of Massa and marquis of Carrara from 1623 until his death.Born in Ferrara, he was the son of Alderano Cybo-Malaspina and Marfisa d'Este. He was also Duke of Ferentillo and held other patrician positions in several of the numerous Italian states of the time. In 1605, he married the Genoese noblewoman Brigida Spinola, from whom he had numerous children.The eldest of them, Alberico, succeeded him after his death in 1662.Passage 3:Abd al-MuttalibShayba ibn Hāshim (Arabic: \u0000\u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000; c. 497–578), better known as \u0000Abd al-Mu\u0000\u0000alib, (Arabic: \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000, lit. 'Servant of Muttalib') was the fourth chief of the Quraysh tribal confederation. He was the grandfather of the Islamic prophet Muhammad.Early lifeHis father was Hashim ibn 'Abd Manaf,: 81 the progenitor of the distinguished Banu Hashim, a clan of the Quraysh tribe of Mecca. They claimed descent from Ismā'īl and Ibrāhīm. His mother was Salma bint Amr, from the Banu Najjar, a clan of the Khazraj tribe in Yathrib (later called Madinah). Hashim died while doing business in Gaza, before Abd al-Muttalib was born.: 81 His real name was \"Shaiba\" meaning 'the ancient one' or 'white-haired' because of the streak of white through his jet-black hair, and is sometimes also called Shaybah al-\u0000amd (\"The white streak of praise\").: 81–82 After his father's death he was raised in Yathrib with his mother and her family until about the age of eight, when his uncle Muttalib ibn Abd Manaf went to see him and asked his mother Salmah to entrust Shaybah to his care. Salmah was unwilling to let her son go and Shaiba refused to leave his mother without her consent. Mu\u0000\u0000alib then pointed out that the possibilities Yathrib had to offer were incomparable to Mecca. Salmah was impressed with his arguments, so she agreed to let him go. Upon first arriving in Mecca, the people assumed the unknown child was Muttalib's servant and started calling him 'Abd al-Muttalib (\"servant of Muttalib\").: 85–86Chieftain of Hashim clanWhen Mu\u0000\u0000alib died, Shaiba succeeded him as the chief of the Hāshim clan. Following his uncle Al-Mu\u0000\u0000alib, he took over the duties of providing the pilgrims with food and water, and carried on the practices of his forefathers with his people. He attained such eminence as none of his forefathers enjoyed; his people loved him and his reputation was great among them.: 61 'Umar ibn Al-Kha\u0000\u0000āb's grandfather Nufayl ibn Abdul Uzza arbitrated in a dispute between 'Abdul-Mu\u0000\u0000alib and \u0000arb ibn Umayyah, Abu Sufyan's father, over the custodianship of the Kaaba. Nufayl gave his verdict in favour of 'Abdul-Mu\u0000\u0000alib. Addressing \u0000arb ibn Umayyah, he said:Why do you pick a quarrel with a person who is taller than you in stature; more imposing than you in appearance; more refined than you in intellect; whose progeny outnumbers yours and whose generosity outshines yours in lustre? Do not, however, construe this into any disparagement of your good qualities which I highly appreciate. You are as gentle as a lamb, you are renowned throughout Arabia for the stentorian tones of your voice, and you are an asset to your tribe.Discovery of Zam Zam Well'Abdul-Mu\u0000\u0000alib said that while sleeping in the sacred enclosure, he had dreamed he was ordered to dig at the worship place of the Quraysh between the two deities Isāf and Nā'ila. There he would find the Zamzam Well, which the Jurhum tribe had filled in when they left Mecca. The Quraysh tried to stop him digging in that spot, but his son Al-\u0000ārith stood guard until they gave up their protests. After three days of digging, 'Abdul-Mu\u0000\u0000alib found traces of an ancient religious well and exclaimed, \"Allahuakbar!\" Some of the Quraysh disputed his claim to sole rights over water, then one of them suggested that they go to a female shaman who lived afar. It was said that she could summon jinns and that she could help them decide who was the owner of the well. So, 11 people from the 11 tribes went on the expedition. They had to cross the desert to meet the priestess but then they got lost. There was a lack of food and water and people started to lose hope of ever getting out. One of them suggested that they dig their own graves and if they died, the last person standing would bury the others. So all began digging their own graves and just as Abdul-Mu\u0000\u0000alib started digging, water spewed out from the hole he dug and everyone became overjoyed. It was then and there decided that Abdul-Muttalib was the owner of the Zam Zam well. Thereafter he supplied pilgrims to the Kaaba with Zam Zam water, which soon eclipsed all the other wells in Mecca because it was considered sacred.: 86–89 : 62–65The Year of the ElephantAccording to Muslim tradition, the Ethiopian governor of Yemen, Abrahah al-Ashram, envied the Kaaba's reverence among the Arabs and, being a Christian, he built a cathedral on Sana'a and ordered pilgrimage be made there.: 21 The order was ignored and someone desecrated (some saying in the form of defecation: 696 note 35 ) the cathedral. Abrahah decided to avenge this act by demolishing the Kaaba and he advanced with an army towards Mecca.: 22–23 There were thirteen elephants in Abrahah's army: 99 : 26 and the year came to be known as 'Ām al-Fīl (the Year of the Elephant), beginning a trend for reckoning the years in Arabia which was used until 'Umar ibn Al-Kha\u0000\u0000āb replaced it with the Islamic Calendar in 638 CE (17 AH), with the first year of the Islamic Calendar being 622 CE.When news of the advance of Abrahah's army came, the Arab tribes of Quraysh, Kinānah, Khuzā'ah and Hudhayl united in defence of the Kaaba. A man from the \u0000imyar tribe was sent by Abrahah to advise them that he only wished to demolish the Kaaba and if they resisted, they would be crushed. \"Abdul-Mu\u0000\u0000alib told the Meccans to seek refuge in the nearest high hills while he, with some leading members of Quraysh, remained within the precincts of the Kaaba. Abrahah sent a dispatch inviting 'Abdul-Mu\u0000\u0000alib to meet him and discuss matters. When 'Abdul-Mu\u0000\u0000alib left the meeting he was heard saying, \"The Owner of this House is its Defender, and I am sure He will save it from the attack of the adversaries and will not dishonour the servants of His House.\": 24–26 It is recorded that when Abrahah's forces neared the Kaaba, Allah commanded small birds (abābīl) to destroy Abrahah's army, raining down pebbles on it from their beaks. Abrahah was seriously wounded and retreated towards Yemen but died on the way.: 26–27 This event is referred to in the following Qur'anic chapter:Have you not seen how your Lord dealt with the owners of the Elephant?Did He not make their treacherous plan go astray?And He sent against them birds in flocks, striking them with stones of baked clay, so He rendered them like straw eaten up.Most Islamic sources place the event around the year that Muhammad was born, 570 CE, though other scholars place it one or two decades earlier. A tradition attributed to Ibn Shihab al-Zuhri in the musannaf of \u0000Abd al-Razzaq al-San\u0000ani places it before the birth of Muhammad's father.Sacrificing his son AbdullahAl-Harith was 'Abdul-Mu\u0000\u0000alib's only son at the time he dug the Zamzam Well.: 64 When the Quraysh tried to help him in the digging, he vowed that if he were to have ten sons to protect him, he would sacrifice one of them to Allah at the Kaaba. Later, after nine more sons had been born to him, he told them he must keep the vow. The divination arrows fell upon his favourite son Abdullah. The Quraysh protested 'Abdul-Mu\u0000\u0000alib's intention to sacrifice his son and demanded that he sacrifice something else instead. 'Abdul-Mu\u0000\u0000alib agreed to consult a \"sorceress with a familiar spirit\". She told him to cast lots between Abdullah and ten camels. If Abdullah were chosen, he had to add ten more camels, and keep on doing the same until his Lord accepted the camels in Abdullah's place. When the number of camels reached 100, the lot fell on the camels. 'Abdul-Mu\u0000\u0000alib confirmed this by repeating the test three times. Then the camels were sacrificed, and Abdullah was spared.: 66–68FamilyWivesAbd al-Muttalib had six known wives.Sumra bint Jundab of the Hawazin tribe.Lubnā bint Hājar of the Khuza'a tribe.Fatima bint Amr of the Makhzum clan of the Quraysh tribe.Halah bint Wuhayb of the Zuhrah clan of the Quraysh tribe.Natīla bint Janab of the Namir tribe.Mumanna'a bint Amr of the Khuza'a tribe.ChildrenAccording to Ibn Hisham, \u0000Abd al-Mu\u0000\u0000alib had ten sons and six daughters.: 707–708 note 97 However, Ibn Sa'd lists twelve sons.: 99–101 By Sumra bint Jundab:Al-\u0000ārith.: 708 He was the firstborn and he died before his father.: 99 Quthum.: 100 He is not listed by Ibn Hisham.By Fatima bint Amr:Al-Zubayr.: 707 He was a poet and a chief; his father made a will in his favour.: 99 He died before Islam, leaving two sons and daughters.: 101 : 34–35 Abu Talib, born as Abd Manaf,: 99 : 707 father of the future Caliph Ali. He later became chief of the Hashim clan.Abdullah, the father of Muhammad.: 99 : 707 Umm Hakim al-Bayda,: 100 : 707 the maternal grandmother of the third Caliph Uthman.: 32 Barra,: 100 : 707 the mother of Abu Salama.: 33 Arwa.: 100 : 707 Atika,: 100 : 707 a wife of Abu Umayya ibn al-Mughira.: 31 Umayma,: 100 : 707 the mother of Zaynab bint Jahsh and Abd Allah ibn Jahsh.: 33 By Lubnā bint Hājar:Abd al-'Uzzā, better known as Abū Lahab.: 100 : 708 By Halah bint Wuhayb:\u0000amza,: 707 the first big leader of Islam. He killed many leaders of the kufar and was considered as the strongest man of the quraysh. He was martyred at Uhud.: 100 \u0000afīyya.: 100 : 707 Al-Muqawwim.: 707 He married Qilaba bint Amr ibn Ju'ana ibn Sa'd al-Sahmia, and had children named Abd Allah, Bakr, Hind, Arwa, and Umm Amr (Qutayla or Amra).Hajl.: 707 He married Umm Murra bint Abi Qays ibn Abd Wud, and had two sons, named Abd Allah, Ubayd Allah, and three daughters named Murra, Rabi'a, and Fakhita.By Natīlah bint Khubāb:al-'Abbas,: 100 : 707 ancestor of the Abbasid caliphs.\u0000irār,: 707 who died before Islam.: 100 Jahl, died before IslamImran, died before IslamBy Mumanna'a bint 'Amr:Mus'ab, who, according to Ibn Saad, was the one known as al-Ghaydāq.: 100 He is not listed by Ibn Hisham.Al-Ghaydaq, died before Islam.Abd al-Ka'ba, died before Islam.: 100 Al-Mughira,: 100 who had the byname al-Ghaydaq.The family tree and some of his important descendantsDeathAbdul Muttalib's son 'Abdullāh died four months before Mu\u0000ammad's birth, after which Abdul Muttalib took care of his daughter-in-law Āminah. One day Muhammad's mother, Amina, wanted to go to Yathrib, where her husband, Abdullah, died. So, Muhammad, Amina, Abd al-Muttalib and their caretaker, Umm Ayman started their journey to Medina, which is around 500 kilometres away from Makkah. They stayed there for three weeks, then, started their journey back to Mecca. But, when they reached halfway, at Al-Abwa', Amina became very sick and died six years after her husband's death. She was buried over there. From then, Muhammad became an orphan. Abd al-Muttalib became very sad for Muhammad because he loved him so much. Abd al-Muttalib took care of Muhammad. But when Muhammad was eight years old, the very old Abd al-Muttalib became very sick and died at age 81-82 in 578-579 CE.Shaybah ibn Hāshim's grave can be found in the Jannat al-Mu'allā cemetery in Makkah, Saudi Arabia.See alsoFamily tree of MuhammadFamily tree of Shaiba ibn HashimSahabaPassage 4:John WestleyRev. John Wesley (1636–78) was an English nonconformist minister. He was the grandfather of John Wesley (founder of Methodism).LifeJohn Wesly (his own spelling), Westley, or Wesley was probably born at Bridport, Dorset, although some authorities claim he was born in Devon, the son of the Rev. Bartholomew Westley and Ann Colley, daughter of Sir Henry Colley of Carbery Castle in County Kildare, Ireland. He was educated at Dorchester Grammar School and as a student of New Inn Hall, Oxford, where he matriculated on 23 April 1651, and graduated B.A. on 23 January 1655, and M.A. on 4 July 1657. After his appointment as an evangelist, he preached at Melcombe Regis, Radipole, and other areas in Dorset. Never episcopally ordained, he was approved by Oliver Cromwell's Commission of Triers in 1658 and appointed Vicar of Winterborne Whitechurch.The report of his interview in 1661 with Gilbert Ironside the elder, his diocesan, according to Alexander Gordon writing in the Dictionary of National Biography, shows him to have been an Independent. He was imprisoned for not using the Book of Common Prayer, imprisoned again and ejected in 1662. After the Conventicle Act 1664 he continued to preach in small gatherings at Preston and then Poole, until his death at Preston in 1678.FamilyHe married a daughter of John White, who was related also to Thomas Fuller. White, the \"Patriarch of Dorchester\", married a sister of Cornelius Burges. Westley's eldest son was Timothy (born 1659). Their second son was Rev. Samuel Wesley, a High Church Anglican vicar and the father of John and Charles Wesley. A younger son, Matthew Wesley, remained a nonconformist, became a London apothecary, and died on 10 June 1737, leaving a son, Matthew, in India; he provided for some of his brother Samuel's daughters.NotesAdditional sourcesMatthews, A. G., \"Calamy Revised\", Oxford University Press, 1934, page 521. This article incorporates text from a publication now in the public domain: \"Wesley, Samuel (1662-1735)\". Dictionary of National Biography. London: Smith, Elder & Co. 1885–1900.Passage 5:Fred Le DeuxFrederick David Le Deux (born 4 December 1934) is a former Australian rules footballer who played with Geelong in the Victorian Football League (VFL). He is the grandfather of Tom Hawkins.Early lifeLe Deux grew up in Nagambie and attended Assumption College, after which he went to Bendigo to study teaching.FootballWhile a student at Bendigo Teachers' Training College, Le Deux played for the Sandhurst Football Club. He then moved to Ocean Grove to take up a teaching position and in 1956 joined Geelong.A follower and defender, Le Deux made 18 appearances for Geelong over three seasons, from 1956 to 1958 He was troubled by a back injury in 1958, which kept him out of the entire 1959 VFL season.In 1960 he joined Victorian Football Association club Mordialloc, as he had transferred to a local technical school.FamilyLe Deux's daughter Jennifer was married to former Geelong player Jack Hawkins. Jennifer died in 2015. Their son, Tom Hawkins, currently plays for Geelong.Passage 6:Lyon CohenLyon Cohen (born Yehuda Leib Cohen; May 11, 1868 – August 17, 1937) was a Polish-born Canadian businessman and a philanthropist. He was the grandfather of singer/poet Leonard Cohen.BiographyCohen was born in Congress Poland, part of the Russian Empire, to a Jewish family on May 11, 1868. He immigrated to Canada with his parents in 1871. He was educated at the McGill Model School and the Catholic Commercial Academy in Montreal. In 1888, he entered the firm of Lee & Cohen in Montreal; later became partner with his father in the firm of L. Cohen & Son; in 1895, he established W. R. Cuthbert & Co; in 1900, he organized the Canadian Improvement Co., a dredging contractor; in 1906, he founded The Freedman Co. in Montreal; and in May 1919, he organized and became President of Canadian Export Clothiers, Ltd.  The Freedman Company went on to become one of Montreal’s largest clothing companies.In 1897, Cohen and Samuel William Jacobs founded the Canadian Jewish Times, the first English-language Jewish newspaper in Canada. The newspaper promoted the Canadianization of recent East European Jewish immigrants and encouraged their acceptance of Canadian customs as Cohen felt that the old world customs of immigrant Jews were one of the main causes of anti-Semitism. In 1914, the paper was purchased by Hirsch Wolofsky, owner of the Yiddish-language Keneder Adler, who transformed it into the Canadian Jewish Chronicle.He died on August 17, 1937, at the age of 69.PhilanthropyCohen was elected the first president of the Canadian Jewish Congress in 1919 and organized the Jewish Immigrant Aid Services of Canada. Cohen was also a leader of the Young Men’s Hebrew Benevolent Society (later the Baron de Hirsch Institute) and the United Talmud Torahs, a Jewish day school in Montreal. He also served as president of Congregation Shaar Hashomayim and president of the Jewish Colonization Association in Canada.Personal lifeCohen married Rachel Friedman of Montreal on February 17, 1891. She was the founder and President of Jewish Endeavour Sewing School. They had three sons and one daughter:Nathan Bernard Cohen, who served as a lieutenant in the World War; he married Lithuanian Jewish immigrant Masha Klonitsky and they had one daughter and one son:Esther Cohen andsinger/poet Leonard Cohen.Horace Rives Cohen, who was a captain and quartermaster of his battalion in World War I;Lawrence Zebulun Cohen, student at McGill University, andSylvia Lillian Cohen.Passage 7:Camillo CyboCamillo Cybo Malaspina (April 25, 1681 in Massa Carrara – January 12, 1743 in Rome) was an Italian cardinal of the Catholic Church.Early lifeBorn into the aristocratic Cybo Malaspina family, he was the son of Carlo II Cybo, duke of Massa, who was a descendant of Pope Innocent VIII and Teresa Pamfili. Cybo was great grand nephew of Pope Innocent X, and nephew of Cardinal Benedetto Pamphili.Ecclesiastical career1705 — Ordained as Priest1718 — Appointed as Titular Patriarch of Constantinople. He was ordained Bishop that same year, and named Auditor general of the Apostolic Chamber.1729 — Elevated to Cardinal Santo Stefano al Monte Celio in the Consistory of March 23, under Benedict XIII.1731 — Appointed Cardinal-Priest of Santa Maria del Popolo1741 — Appointed Protector of Santa Maria degli AngeliPatronage of the artsAs many important figures of the time, Cybo was a patron of the arts. One of his proteges was Pietro Locatelli, who dedicated his Concerti Grossi Op 1 to him in 1721.Passage 8:Zhao ShoushanZhao Shoushan (simplified Chinese: \u0000\u0000\u0000; traditional Chinese: \u0000\u0000\u0000; pinyin: Zhào Shòushān; 12 November 1894 – 20 June 1965) was a KMT general and later Chinese Communist Party politician. He is the grandfather of Zhao Leji.CareerZhao Shoushan was born in Hu County, Shaanxi in 1894. After the foundation of the People's Republic of China, Zhao was the CCP Chairman of Qinghai and Governor of Shaanxi.External links(in Chinese) Biography of Zhao Shoushan, Shaanxi Daily July 9, 2006.Passage 9:Marfisa d'EsteMarfisa d'Este (c.1554 in Ferrara – 16 October 1608 in Ferrara) was a Ferrarese noblewoman. She was the illegitimate daughter of Francesco d'Este and Maria Folch de Cardona. She and her sister Bradamante (born 1559) were legitimised by both pope Gregory XIII and Alfonso II d'Este. She was also notable as a patron of the arts and the protector of Torquato Tasso.On 5 May 1578 she married her cousin Alfonsino di Montecchio, son of Alfonso di Montecchio, who died just under four months after the wedding. She was also left a palace that year by her father, who began building it in 1559; it was called after her Palazzina Marfisa d'Este and was slowly abandoned after her death. She also inherited the San Silvestro building and Palazzo Schifanoia from him.On 30 January 1580, she married Alderano Cybo-Malaspina, heir apparent of the Principality of Massa and Carrara. After the Duchy of Ferrara's devolution to the Papal States in 1598, due to the absence of legitimate male heirs of the House of Este, Marfisa refused to join her family in Modena, and remained in Ferrara with her husband in the palace she inherited from her father.IssueAlderano and Marfisa had eight children:Carlo (1581-1662), his father's heir. Married Brigida Spinola, with issue;Francesco (1584-1616);Odoardo (1585-1612), colonel in the Spanish army;Cesare (1587-1588), died in infancy;Vittoria (1588-1635), married Ercole Pepoli, count of Castiglione;Ferdinando (1590-1623), canon of San Lorenzo in Genoa;Alessandro (1594-1639), knight of the Order of Malta;Alfonso (1596).== Note ==Passage 10:Kaya AlpKaya Alp (Ottoman Turkish: \u0000\u0000\u0000\u0000 \u0000\u0000\u0000, lit. 'Brave Rock') was, according to Ottoman tradition, the son of Kızıl Buğa or Basuk and the father of Suleyman Shah. He was the "}
+{"doc_id":"doc_60","qid":"","text":"Passage 1:The Brave ArcherThe Brave Archer, also known as Kungfu Warlord, is a 1977 Hong Kong film adapted from Louis Cha's novel The Legend of the Condor Heroes. The film was produced by the Shaw BrothersStudio and directed by Chang Cheh, starring Alexander Fu Sheng and Tien Niu in the lead roles. The film is the first part of a trilogy and was followed by The Brave Archer 2 (1978) and The Brave Archer 3 (1981). Thetrilogy has two unofficial sequels, The Brave Archer and His Mate (1982) and Little Dragon Maiden (1983).PlotGuo Jing and Yang Kang are the sons of two rebels. The rebels are killed by imperial soldiers, and then, theboys are rescued by six skilled pugilists. The pugilists agree to separate the two boys, tutor them separately in martial arts, and let them meet again when they have grown up, to determine whose abilities are better.Guo becomes the student of the \"Seven Freaks of Jiangnan\" while Yang Kang becomes the foster son of a Jurchen prince inadvertently.When he reaches adulthood, Guo Jing travels to a local town, where he meets andbefriends a beggar named Huang Rong, who is actually the daughter of Huang Yaoshi, master of Peach Blossom Island. He also meets Yang Kang, without knowing Yang's true identity, during a contest to win thehand-in-marriage of Mu Nianci, the adopted daughter of Yang's father. Yang's father is actually still alive. Yang Kang is tempted by the wealth and fame of being a noble, and he refuses to acknowledge and betrays hisfather, while his mother commits suicide.Huang Rong reveals to Guo Jing later that she is actually a woman and they go on adventure together. Guo Jing learns the \"Eighteen Dragon-Subduing Palms\" from the\"Nine-fingered Beggar\" Hong Qigong, while Huang Rong is groomed by Hong to become his successor as chief of the Beggars' Sect. Guo and Huang travel to Peach Blossom Island later to meet Huang's father. HuangYaoshi is does not approve of his daughter's marriage to Guo Jing. While exploring the island, Guo Jing meets a strange man called Zhou Botong who teaches him special martial arts techniques and forces him to read amanual, which is later revealed to be written by Huang Rong's late mother.Ouyang Feng visits Peach Blossom Island with his nephew Ouyang Ke, and he proposes a marriage between his nephew and Huang Rong. Justthen, Hong Qigong also arrives and he strongly supports Guo Jing to marry Huang Rong. Eventually, Huang Yaoshi arranges for a contest between Guo Jing and Ouyang Ke to determine who is worthy of his daughter'shand-in-marriage. The last part of the contest involves both of them having to read a manual and recite it from memory later. As Guo had already read the manual earlier, he recites it easily and wins the contest. HuangYaoshi agrees to his daughter's marriage to Guo Jing. However, Ouyang Feng realizes that the manual is actually the fabled Nine Yin Manual and he wants it for himself.CastExternal linksThe Brave Archer at IMDbTheBrave Archer at the Hong Kong Movie DataBasePassage 2:Little Dragon MaidenLittle Dragon Maiden, also known as The Brave Archer 5, is a 1983 Hong Kong film adapted from Louis Cha's novel The Return of theCondor Heroes. Little Dragon Maiden is seen as an unofficial sequel to the The Brave Archer, The Brave Archer 2, The Brave Archer 3, and The Brave Archer and His Mate.CastExternal linksLittle Dragon Maiden atIMDbLittle Dragon Maiden at the Hong Kong Movie DataBasePassage 3:Robert RossenRobert Rossen (March 16, 1908 – February 18, 1966) was an American screenwriter, film director, and producer whose film careerspanned almost three decades.His 1949 film All the King's Men won Oscars for Best Picture, Best Actor and Best Supporting Actress, while Rossen was nominated for the Academy Award for Best Director. He won theGolden Globe for Best Director and the film won the Golden Globe Award for Best Picture. In 1961, he directed The Hustler, which was nominated for nine Oscars and won two.After directing and writing for the stage inNew York, Rossen moved to Hollywood in 1937. From there, he worked as a screenwriter for Warner Bros. until 1941, and then interrupted his career to serve until 1944 as the chairman of the Hollywood WritersMobilization, a body to organize writers for the effort in World War II. In 1945, he joined a picket line against Warner Bros. After making one film for Hal B. Wallis's newly formed production company, Rossen made onefor Columbia Pictures, another for Wallis and most of his later films for his own companies, usually in collaboration with Columbia.Rossen was a member of the American Communist Party from 1937 to about 1947, andbelieved the Party was \"dedicated to social causes of the sort that we as poor Jews from New York were interested in.\"He ended all relations with the Party in 1949. Rossen was twice called before the HouseUn-American Activities Committee (HUAC), in 1951 and in 1953. He exercised his Fifth Amendment rights at his first appearance, refusing to state whether he had ever been a Communist. As a result, he found himselfblacklisted by Hollywood studios as well as unable to renew his passport. At his second appearance he named 57 people as current or former Communists and his blacklisting ended. In order to repair finances heproduced his next film, Mambo, in Italy in 1954. While The Hustler in 1961 was a great success, conflicts on the set of  Lilith in 1964 so disillusioned him that it was his last film before his death two yearslater.BiographyEarly life and careerRobert Rosen was born on March 16, 1908, and raised on the Lower East Side of New York City. His parents were Russian Jewish immigrants and his father, Philip Rosen, was a housepainter. As a youth, he attended New York University, hustled pool and fought some prizefights - the latter two providing crucial background for his two greatest films, The Hustler and Body and Soul, respectively. Hechanged his name from \"Rosen\" to \"Rossen\" in 1931.He started his theatrical career as a stage manager and director in stock and off-Broadway productions, mainly in the social and radical theaters that flourished inNew York in the early and mid-1930s, as did John Huston, Elia Kazan and Joseph Losey. In 1932 Rossen directed John Wexley's Steel, about labor agitation, and Richard Maibaum's The Tree, about a lynching. A yearlater Rossen directed Birthright, in which Maibaum attacked Nazism, which had just triumphed in Germany with the dictatorship of Adolf Hitler in 1933.In 1935, Rossen wrote and directed his first play, The BodyBeautiful, a comedy about a naive burlesque dancer. Although the play closed after four performances, Warner Bros. director Mervyn LeRoy was so impressed that he signed Rossen to a personal screenwritingcontract.MarriageIn 1936, Rossen married Susan Siegal; the couple had three children: Carol, Stephen and Ellen.Work in HollywoodFor his first credit in Hollywood, in 1937 Rossen co-wrote with Abem Finkel a scriptbased on the prosecution of crime lord Lucky Luciano and eventually titled Marked Woman. Although some of Warner Bros. management saw Rossen as an unknown quantity, the result won praise from both Jack L.Warner and the Daily Worker. Rossen's first solo script was for They Won't Forget (1937), a fictionalized account of the lynching of Leo Frank, featuring Lana Turner in her debut performance.Dust Be My Destiny,co-written in 1939 by Rossen, is the story of a fugitive from justice who is eventually acquitted with help from an attorney and a journalist, the latter arguing that \"a million boys all over the country\" were in a similarplight. Warner Bros. then ordered producer Lou Edelman to cut the script, adding that \"This is the story of two people – not a group. It is an individual problem – not a national one.\" Rossen was one of three writers onthe gangster melodrama The Roaring Twenties, released in 1939. A remake of the 1932 play and film Life Begins was written in 1939 by Rossen and released in 1940 as A Child Is Born. The plot recounted theexperiences of six expectant mothers, and there was little scope to modify the original.The Sea Wolf, released in 1941, was based on Jack London's novel. Although the film had a strong cast and production, Rossen'sre-draft of the script may be the greatest influence on the film. While the character of Captain Larsen remained both victim and oppressed in a capitalist hierarchy, he became a symbol of fascism. He split the novel'sidealist hero into an intellectual bosun and a rebellious seaman. Warner Bros. cut many political points during production.Blues in the Night, written by Rossen and two colleagues and released in 1941, shows a group ofjazz musicians traveling in the Depression. Their informal methods represent working-class culture rather than the commercialized music of the big bands. However, The New York Times' reviewer thought thesoundtrack was \"about all the film has to offer\", and Warner was disappointed with the sales.After the attack on Pearl Harbor on December 7, 1941, the Screen Writers Guild set up on December 8, 1941, the HollywoodWriters Mobilization, a body to organize writers for the war effort. Rossen served as the body's chairman until 1944 and advocated the opening of a Second Front to support West European resistance against the Nazis.His earnings were much greater than in 1937. However, his work for Hollywood Writers Mobilization and for the Communist Party forced him to abandon some partly developed film projects, including The Treasure ofthe Sierra Madre, which John Huston eventually directed in 1948.In 1945 Rossen joined a picket line against Warner Bros, making an enemy of Jack Warner. Rossen signed a contract with an independent productioncompany formed by Hal Wallis, who had previously been Warner Bros.' head of production. However Rossen wrote only two full scripts for this company, The Strange Love of Martha Ivers in 1946 and Desert Fury in1947. In The Strange Love of Martha Ivers Rossen used a short story by John Patrick to introduce the main plot, which was set 15 years later and which Rossen wrote. The relationship between Rossen and Wallis brokedown when Rossen received offers from other production companies.Dick Powell had been a crooner but was making a new career as a dramatic actor. When Columbia Pictures agreed to make Johnny O'Clock for him in1947, Powell successfully campaigned for Rossen to direct, and this became Rossen's debut in directing. As this crime melodrama proved a modest success, Roberts Productions signed Rossen to direct AbrahamPolonsky's script of Body and Soul, described by Bob Thomas as \"possibly the best prizefight film ever made.\" Rossen preferred an ending in which the hero wins a boxing match and then is killed by a gangster, butPolonsky insisted on his own ending, in which the hero escapes into obscurity before the fight. Following the success of Body and Soul, Rossen formed his own production company and signed with Columbia Pictures acontract that gave him wide autonomy over every second film that he made at the studio.All the King's Men (1949) was based on the novel of the same name by Robert Penn Warren, which in turn was based on thecareer of politician Huey Long. Rossen introduced a new concept, that the defenders of the ordinary people can in turn become the new exploiters. As a requirement for his participation in the film, Rossen had to write toColumbia's Harry Cohn saying that he was no longer a Communist Party member. Cohn's critiques of the draft of Rossen's script included scrapping a framing structure that was difficult for audiences to follow andseveral improvements in the relationships and motivations of characters. A meeting of the Communist Party in Los Angeles severely criticized the film, and Rossen severed all relations with the Party. All the King's Menwon the Academy Award for Best Picture, Broderick Crawford won the award for Best Actor and Mercedes McCambridge was honored as Best Supporting Actress. Rossen was nominated for the Academy Award for BestDirector but lost to Joseph L. Mankiewicz for A Letter to Three Wives. Rossen won the Golden Globe for Best Director and the film won the Golden Globe for Best Picture. His next film, The Brave Bulls, was directed in1950 and released in 1951. This was Rossen's last work before the studios blacklisted him. New York Times critic Bosley Crowther called this \"the best film on bull-fighting yet.\"Examinations by HUACAfter the end ofWorld War II in 1945, the spread of Coummunism became the major concern in the United States. In 1946, the Republicans gained an overwhelming majority in the Congressional elections. and used this power toinvestigate Communist elements in the media. The Communist victory of China in 1949 and the start of the Korean War in 1950 reinforced the anti-communist concerns present at the time.During hearings in 1947, JackWarner included Rossen among the many openly leftist writers whom his studio Warner Bros. had hired as the earliest and most openly anti-Nazi studio in Hollywood. (Warner Bros. had made Confessions of a Nazi Spy[1939] and was criticized by the Republicans for their leftist writers at the time.) Warner reportedly accused Rossen of incorporating communist propaganda in scripts and fired him as a result, though some believe hewas also unhappy with the writers’ union activities.Rossen was one of 19 \"unfriendly witnesses\" subpoenaed in October 1947 by the House Un-American Activities Committee (HUAC) during the second Red Scare butwas one of eight not called to testify. In 1951, Rossen was named as a Communist by several HUAC witnesses and he appeared before HUAC for the first time in June 1951. He exercised his rights under the FifthAmendment against self-incrimination, taking what came to be known as the \"augmented Fifth\".  He testified that he was not a member of the Communist Party and that he disagreed with the aims of the party, butwhen asked to state whether he had ever been a member of the party, Rossen refused to answer. He was placed on the unofficial blacklist by the Hollywood studios, and Columbia broke its production contract withhim.In a widespread practice during HUAC investigations, the U.S. State Department refused to renew Rossen's passport. This, and his inability to find work, brought Rossen, like his friend, ex-Communist Elia Kazan,back to the committee in May 1953, where he identified 57 people as Communists.  He explained to the committee why he chose to testify: \"I don't think, after two years of thinking, that any one individual can indulgehimself in the luxury of personal morality or pit it against what I feel today very strongly is the security and safety of this nation.\" Stephen Rossen later shed light on his father's decision:It killed him not to work. He wastorn between his desire to work and his desire not to talk, and he didn't know what to do. What I think he wanted to know was, what would I think of him if he talked? He didn't say it in that way, though. Then heexplained to me the politics of it—how the studios were in on it, and there was never any chance of his working. He was under pressure, he was sick, his diabetes was bad, and he was drinking. By this time I understoodthat he had refused to talk before and had done his time, from my point of view. What could any kid say at that point? You say, 'I love you and I'm behind you.' Like Elia Kazan's testimony, Rossen's HUAC admissionsdestroyed many lifelong friendships, along with impacting the careers of many of Rossen's colleagues. Kazan's career flourished and Rossen's career also quickly regained the productivity he had enjoyed prior to theblacklist.  He produced, directed and co-wrote The Hustler, in 1961, and he was nominated for Best Picture, Best Director, and Best Writing, Screenplay Based on Material from Another Medium Academy Awards,sharing the nomination with his co-writer Sidney Carroll.Return to filmmakingFrom 1952 to 1953, Rossen wrote Mambo, trying to repair his finances after almost two years without work following the 1951 HUAChearing. He had to produce the film in Italy, and it was premiered in Italy in 1954 and the USA in 1955. Rossen later said \"Mambo was to be for fun only,\" but he \"took it seriously, and it didn't come off.\" Criticsdismissed the film. However, in 2001, Dorothea Fischer-Hornung concluded that the film achieved more than Rossen and contemporary critics realized. The female lead resolves her own conflicts by devoting herself todance. Katherine Dunham's choreography highlights this process; and innovative cinematography intensifies the dance scenes.Rossen hoped Alexander the Great (1956) would be a blockbuster, but the majority of thereviews criticized the film for failing to keep the audience's interest. However, the review from The New York Times wrote that \"its moments of boredom are rare...an overlong but thoughtful and spectacularentertainment.\"In 1961, Rossen co-wrote, produced and directed The Hustler. Drawing upon his own experiences as a pool hustler, he teamed with Sidney Carroll to adapt the novel of the same name for the screen.The Hustler was nominated for nine Academy Awards and won two. Rossen was nominated as Best Director, and with Carroll for Best Adapted Screenplay, but did not win either award. He was named Best Director bythe New York Film Critics Circle and shared with Carroll the Writers Guild of America Award for Best Written Drama. The Hustler was an enormous popular success and is credited with sparking a resurgence in thepopularity of pool in the United States, which had been on the decline for decades.Rossen was already ill when he started on his final film, Lilith (1964), and it was poorly received in the United States. After it Rossenlost interest in directing, reportedly because of conflicts with the film's star, Warren Beatty. The filmmaker said, \"It isn't worth that kind of grief. I won't take it any more. I have nothing to say on the screen right now.Even if I never make another picture, I've got The Hustler on my record. I'm content to let that one stand for me.\" However, at the time of his death Rossen was planning Cocoa Beach, a script he conceived in 1962,showing the hopes and struggles of transients in a local community and contrasting this with nearby Cape Canaveral, which Leftist writer Brian Neve described as a \"symbol of America's imperial [sic]reach\".DeathRossen died in New York City at age 57 on February 18, 1966, following a series of illnesses and is interred at Westchester Hills Cemetery in Hastings-on-Hudson, New York. His grandchild, Daniel Rossen, isthe guitarist/vocalist of alternative bands Grizzly Bear and Department of Eagles.ReceptionRossen was one of the directors who developed film gris (French for \"grey film\"). In his films for Warner Brothers between 1937and 1944, consistent themes were the conditions of working people, the portrayal of gangsters and racketeers, and opposition to fascism. After Dust Be My Destiny, written by Rossen and released in 1939, FrankNugent, who regularly reviewed for The New York Times, complained about Warner Brothers' long line of melodramas about boys from poor neighborhoods. Unlike filmmakers such as John Ford and Howard Hawks,Rossen was willing to explain his aims as a director: \"The element common to many of my films is the desire for success, ambition, which is an important element in American life. It is an important element, and hasbecome increasingly more important in what is known as Western Civilization.\" Polonsky commented that \"Rossen's talent is force applied everywhere without let-up.\" Neve acknowledged that social concerns werecentral in most of Rossen's works, but commented that Lilith was different from Rossen's earlier films as it emphasized mood rather than narrative and examined through pictures and silences the nature ofmaladjustment and madness.Farber noted the strong female characters of the 1930s and 1940s, and laments the replacement of them by all-male relationships from the 1950s onward. For the earlier pattern Farbercited Rossen's 1946 script The Strange Love of Martha Ivers, which was over melodramatic but portrayed a woman consumed by power, money and success. Lilith created one of the few strong women in the 1960s.Rossen generally destroyed the main character.All of Rossen's playscripts were adaptations except Marked Woman, Racket Buster and Alexander the Great, based on real events. Before he was blacklisted in 1951, onlytwo of Rossen's adaptions were of serious novels, and Rossen's early drafts of the script for All the King's Men received serious criticisms within Columbia.While head of production at Warner, Hal Wallis considered thatsome of his best films – including The Roaring Twenties, Marked Woman and The Sea Wolf – were written by Rossen. Wallis was very pleased with Rossen's script in 1946 for The Strange Love of Martha Ivers, which"}
+{"doc_id":"doc_61","qid":"","text":"Passage 1:Vera MiletićVera Miletić (Serbian Cyrillic: Вера Милетић; 8 March 1920 – 7 September 1944) was a Serbian student and soldier. She was notable for being the mother of Mira Marković, posthumously makingher the mother-in-law of Serbian president Slobodan Milošević.Personal lifeHer cousin was Davorjanka Paunović who was the personal secretary of Communist Party of Yugoslavia leader Josip Broz Tito.Passage2:Beatrice of ProvenceBeatrice of Provence (c. 1229 – 23 September 1267), was ruling Countess of Provence and Forcalquier from 1245 until her death, as well as Countess of Anjou and Maine, Queen of Sicily andNaples by marriage to Charles I of Naples.She was the fourth and youngest daughter of Ramon Berenguer IV, Count of Provence and Forcalquier by his wife Beatrice, in turn daughter of Count Thomas I of Savoy andMargaret of Geneva.LifeInheritance of Provence and ForcalquierBeatrice, like her sisters, mother and grandmother was known for her beauty. A description of Beatrice said she\"set men's hearts thumping and the fingersof troubadours to fevered twanging of lyres. Two of the balladists at the Provencal court were temporarily deprived of reason for love of the entrancing Beatrice\"All Ramon Berenguer IV's three older daughters marriedto titles of status: The eldest, Margaret, was Queen of France by marriage to Louis IX; the second, Eleanor, was Queen of England by marriage to Henry III, and the third, Sanchia, was titular Queen of Germany bymarriage to Henry's brother Richard, Earl of Cornwall. King Louis IX's marriage to Margaret had been arranged by his mother, Blanche of Castile, with the hopes that he would inherit Provence and Forcalquier when herfather died.In his will signed on 20 June 1238 at Sisteron, Ramon Berenguer IV unexpectedly left the Counties of Provence and Forcalquier to his youngest and still unmarried daughter, Beatrice.Countess of Provenceand ForcalquierRamon Berenguer IV died on 19 August 1245 at Aix-en-Provence, and according to his will, Beatrice became Countess of Provence and Forcalquier in her own right, with the provision that the DowagerCountess could retain the usufruct of the County of Provence for her lifetime.Now, Beatrice became one of the most attractive heiresses in medieval Europe, and soon several suitors appeared for her hand. Firstly, theneighboring rulers of her domains began their claims: the twice-divorced Raymond VII, Count of Toulouse and King James I of Aragon, who, despite being married to Violant of Hungary, invaded Provence and seized theresidence of the countess. In addition, the thrice-widowed Frederick II, Holy Roman Emperor, dispatched the imperial navy to Provence to ensure Beatrice could marry one of his sons or even himself.In such a difficultsituation, the Dowager Countess decided to act quickly, placing herself and Beatrice in a safe fortress in Aix, secured the trust of its people and then asked Pope Innocent IV for his protection. In Cluny during December1245, a secret meeting between Pope Innocent IV, Louis IX of France, his mother Blanche of Castile, and his youngest brother Charles took place. It was decided that in return for Louis IX supporting the Pope militarilyagainst Frederick II, the Pope would allow that Charles marry Beatrice. Mother and daughter were satisfied with this selection,  but under the terms of the treaty, Provence was to never go to France outright throughCharles. It was agreed that if Charles and Beatrice had children, the Counties would go to them; if there was no issue, then the Provence and Forcalquier would go to Sanchia of Provence, and if she died without heirs,the Counties would go to the King of Aragon. Henry III of England protested these terms, arguing that he had not yet received the full dowry for his wife Eleanor nor his brother for Sanchia. He also still had the castlesin Provence against the loan he had made to the late Count.Charles, along with Philip of Savoy and five hundred knights, rode from Lyon to Provence. On their way, they ran into Raymond VII of Toulouse, who also hadan army on the way to Provence. Raymond VII had been deceived by knights in favour of Charles and for that reason he had brought fewer men, and Charles and his army were quicker. When Charles got toAix-en-Provence, James I of Aragon, who had been there all along but was not allowed to see Beatrice, had his soldiers surrounding the castle in which the young Beatrice and her mother were. There was a briefstruggle, but the King of Aragon retreated with dignity.To the young Beatrice, Charles (who was described as \"an admirable young man\") was a satisfactory resolution to her problems. Their marriage took place on 31January 1246 at Aix-en-Provence. They had soldiers on guard and the bride was escorted down the aisle by her uncle, Thomas, Count of Flanders.The inheritance of Beatrice also caused conflicts with her older sisters,who hoped that once their father had died, his domains would be divided between the four; Charles refused to share the Counties with his sisters-in-law. In consequence, the relationship of Charles and Beatrice with thethree sisters, who felt cheated by their father's will, remained always tense.As soon as Charles became Count of Provence, he brought in his own team of French lawyers and accountants. He excluded his mother-in-lawfrom the running of the county and began taking castles, power and fees away from the nobles who had previously enjoyed a certain degree of independence in the running of their cities. Charles made himself veryunpopular. The Dowager Countess moved herself to Forcalquier in protest, and in Marseille, Charles's officials were thrown out of the city. In the family conflict, Beatrice sided with her husband.Seventh CrusadeIn May1247, Charles and Beatrice were recorded as being in Melun, where Charles was knighted by his brother Louis. Beatrice accompanied Charles on the Seventh Crusade in 1248. Led by Louis IX, the crusaders made anextended procession through France. Before they left, Charles and Beatrice met with the Dowager Countess in Beaucaire to try to come to some terms of agreement concerning Provence. Whilst the more importantmatters were left until Charles and Beatrice returned, it was decided that Beatrice of Savoy would give up the rights to \"the castle at Aix in exchange for a percentage of the county's revenue.\"In Nicosia, Beatrice gavebirth to her first child, \"a very elegant and wellformed son\", as her brother-in-law Robert of Artois wrote home to his mother the Queen; the child lived only a few days. Beatrice stayed with her sister Margaret inDamietta, when they lost contact with the King and his army; here Beatrice gave birth to her second child, while her sister Margaret too gave birth. Later in 1250, they were reunited with the rest of the crusade at Acre,where the King's ransom was paid. Charles and Beatrice, along with several other nobles, left soon after and journeyed to the court of Emperor Frederick II, to ask him to send the King of France more men for hiscrusade. The Emperor, who had been excommunicated, needed his army to fight the Pope, and refused.Beatrice and Charles returned to Provence in 1251, where some riots erupted at Arles and Avignon, instigated byBeatrice's mother, who felt Charles had failed to respect her claims in Provence. By July 1252 Charles had managed to defeat the revolt and was in the process of exercising his power as Count of Provence. In Novemberof the same year, Blanche of Castile, regent of France while her son Louis IX was on crusade, died. Charles and Beatrice had to go to Paris, where Charles became co-regent of France with his brother, Alphonse. ThePope offered Charles the Kingdom of Sicily in 1252, but Charles had to turn the offer down, as he was preoccupied with other affairs and he also did not have sufficient funds.The crusaders returned in 1254. Charles andBeatrice spent Christmas in Paris that year, where all of Beatrice's sisters and their mother were present; it was noted that the other four women treated the younger Beatrice coldly, due to Raymond Berenguer'swill.Queen of SicilyBeatrice's sister Margaret, the new Queen of France, publicly offended her in 1259, by not seating her at the family table; she claimed because Beatrice was not a queen like her sisters, she could notsit with them. Margaret had hoped to provoke her sister in treacherous behaviour so she would have a valid reason to invade Provence. Beatrice \"with great grief\", went to Charles and he reportedly told her:\"Be atpeace, for I will shortly make thee a greater Queen than them\".When the newly elected Pope Clement IV granted Charles the Kingdom of Sicily, he had to defeat King Manfred, who had fallen out of papal favour.Another contender to win the throne of Sicily was Beatrice's nephew, Edmund Crouchback, but it soon became clear that Charles was the more promising candidate. In order to achieve his goal, Charles needed an armyand Beatrice helped her husband raise one. She called on all her knights as well as the young men of France, and according to the later historian Angelo di Costanzo she pledged all her jewels, to make sure they joinedher husband's army:Beatrice, to aid [Charles] in the gratification of her ambition, sold all her jewels and personal ornaments, and expended her private treasure in collecting round her standard, not only her ownvassals, but the chivalric youth of France, who were attracted to her service not less by her personal solicitations than by her rich gifts.In 1265 Charles of Anjou, with a small contingent, embarked and by sea arrived inRome, where, on 28 June, he was invested as King of Sicily by the Pope. According to the storia di Manfredi, re di Sicilia e di Puglia of Giuseppe di Cesare who followed the narrative of the storia di Saba Malaspina,Beatrice followed her husband with the remaining army by sea, arriving to Italy only four months later. In November of that year, the army of Charles, composed by 5,000 soldiers and 25,000 infantrymen entered Italyand arrived in Rome in January 1266, where on 6 January both Charles and Beatrice were crowned King and Queen of Sicily by five cardinals sent by the Pope (who was sheltering in Perugia). As soon as the coronationfestivities had ended, Beatrice stayed in Rome with a small force to hold the city, whilst Charles rode out to the battle of Benevento. After her husband's victory, she chose the castle of Melfi as theirresidence.DeathBeatrice died on 23 September 1267, a little over a year after becoming queen in either the Castello del Parco at Nocera Inferiore or in Naples (according to the storia di Saba Malaspina). The cause ofher death was not recorded, although it is believed that complications following a pregnancy could be the reason. She was initially buried at Cathedral of San Gennaro in Naples, but in 1277 her husband transferred herremains to Aix-en-Provence at the Church of Saint-Jean-de-Malta.Beatrice was the last ruling Countess of Provence and Forcalquier from the House of Barcelona; on her death, she left her Counties to her husbandCharles.IssueCharles and Beatrice had the following children:Blanche (1250 – bef. 10 January 1270), married in 1265 Robert of Flanders, Lord of Béthune and Dendermonde (he became Count Robert III in 1305, longafter Blanche's death), by whom she had one son, Charles, who died young.Beatrice (1252 – 17 November/12 December 1275), married in 1273 Philip of Courtenay, titular emperor of Constantinople, by whom she hadone daughter, Catherine I of Courtenay, titular Empress of Constantinople.Charles II (1254 – 6 May 1309), Count of Anjou and Provence, King of Naples, married Maria of Hungary, by whom he had issue.Philippe (1256– 1 January 1277), titular King of Thessalonica from 1274 and Prince of Achaïea, married in 1271 Isabella of Villehardouin, Princess of Achaïea and Morea.Robert (1258 – bef. 9 May 1265).Isabelle (1261 – October1303), married to Ladislaus IV of Hungary. Their marriage was childless.AncestryNotesPassage 3:Priscilla PointerPriscilla Marie Pointer (born May 18, 1924) is an American retired actress. She began her career in thetheater in the late 1940s, including productions on Broadway. Later, Pointer moved to Hollywood and making appearances on television in the early 1950s. She didn't however become a regular screen actress until the1970s.She is the mother of actress and singer Amy Irving, (whom she often appeared alongside as her mother or mother-in-law) therefore making her the former mother-in-law of filmmakers Steven Spielberg andBruno Barreto and the mother-in-law of documentary filmmaker Kenneth Bowser, Jr.Personal lifePointer was born on May 18, 1924, in New York City. Her mother Augusta Leonora (née Davis) was an artist and anillustrator, and her father Kenneth Keith Pointer was an artist. One of her maternal great-grandfathers, Jacob Barrett Cohen, was from a Jewish family that had lived in the United States since the 1700s.Marriages andfamilyPointer was previously married to film and stage director Jules Irving, former artistic director of Lincoln Center, from 1947 until his death in 1979; they are the parents of Katie Irving, director David Irving, andactress Amy Irving. In 1980, she married actor/director/producer Robert Symonds, who had been Jules Irving's producing partner at Lincoln Center. She appeared several times in stage productions with Symonds, andthey remained married until the latter's death in 2007. Her granddaughter is artist and photographer Austin IrvingCareerEarly careerPointer has been a performer since thee late 1940s starting her career in theatre andappearing on Broadway, and she featured in the TV series China Smith  (The New Adventures of China Smith) in 1954. After a long hiatus, she seemed to have caught the acting bug again, in the early 1970s and hasbeen a regular performer ever since.Pointer' first major starring role was on the TV soap opera Where the Heart Is as Adrienne Harris Rainey from 1972 and 1973FilmsPointer has appeared in many films, includingCarrie (1976), in which she played the onscreen mother of Amy Irving's character; The Onion Field (1979); Mommie Dearest (1981); Twilight Zone: The Movie (1983); A Nightmare on Elm Street 3: Dream Warriors(1987); David Lynch's Blue Velvet; and Coyote Moon (1999). In addition to Carrie, she has played the onscreen mother to Amy Irving in Honeysuckle Rose (1980) and Carried Away (1996). They were both in the filmsThe Competition in 1980 and Micki & Maude in 1984.Pointer appeared in three films that her son David Irving directed: Rumpelstiltskin (a 1987 musical version, which starred her daughter), Good-bye, Cruel World, andC.H.U.D. II: Bud the C.H.U.D.TelevisionShe has made many guest appearances on television, including Adam-12, L.A. Law, The A-Team, Judging Amy, The Rockford Files, and Cold Case.From 1981 to 1983, Pointer hada recurring role on the soap opera Dallas as Rebecca Barnes Wentworth, the mother of Cliff Barnes (Ken Kercheval), Pamela Barnes Ewing (Victoria Principal), and Katherine Wentworth (MorganBrittany).FilmographyFilmPartial Television CreditsPassage 4:Eldon HowardEldon Howard was a British screenwriter. She was the mother-in-law of Edward J. Danziger and wrote a number of the screenplays for films byhis company Danziger Productions.Selected filmographyA Woman of Mystery (1958)Three Crooked Men (1958)Moment of Indiscretion (1958) (with Brian Clemens)Innocent Meeting (1959)An Honourable Murder(1960)The Spider's Web (1960)The Tell-Tale Heart (1960)Highway to Battle (1961)Three Spare Wives (1962)Passage 5:Charles I of AnjouCharles I (early 1226/1227 – 7 January 1285), commonly called Charles ofAnjou or Charles d'Anjou, was a member of the royal Capetian dynasty and the founder of the second House of Anjou. He was Count of Provence (1246–1285) and Forcalquier (1246–1248, 1256–1285) in the HolyRoman Empire, Count of Anjou and Maine (1246–1285) in France; he was also King of Sicily (1266–1285) and Prince of Achaea (1278–1285). In 1272, he was proclaimed King of Albania, and in 1277 he purchased aclaim to the Kingdom of Jerusalem.The youngest son of Louis VIII of France and Blanche of Castile, Charles was destined for a Church career until the early 1240s. He acquired Provence and Forcalquier through hismarriage to their heiress, Beatrice. His attempts to restore central authority brought him into conflict with his mother-in-law, Beatrice of Savoy, and the nobility. Charles received Anjou and Maine from his brother, LouisIX of France, in appanage. He accompanied Louis during the Seventh Crusade to Egypt. Shortly after he returned to Provence in 1250, Charles forced three wealthy autonomous cities—Marseilles, Arles and Avignon—toacknowledge his suzerainty.Charles supported Margaret II, Countess of Flanders and Hainaut, against her eldest son, John, in exchange for Hainaut in 1253. Two years later Louis IX persuaded him to renounce thecounty, but compensated him by instructing Margaret to pay him 160,000 marks. Charles forced the rebellious Provençal nobles and towns into submission and expanded his suzerainty over a dozen towns and lordshipsin the Kingdom of Arles. In 1263, after years of negotiations, he accepted the offer of the Holy See to seize the Kingdom of Sicily from the Hohenstaufens. This kingdom included, in addition to the island of Sicily,southern Italy to well north of Naples and was known as the Regno. Pope Urban IV declared a crusade against the incumbent Manfred of Sicily and assisted Charles in raising funds for the military campaign.Charles wascrowned king in Rome on 5 January 1266. He annihilated Manfred's army and occupied the Regno almost without resistance. His victory over Manfred's young nephew, Conradin, at the Battle of Tagliacozzo in 1268strengthened his rule. In 1270 he took part in the Eighth Crusade organised by Louis IX, and forced the Hafsid Caliph of Tunis to pay a yearly tribute to him. Charles's victories secured his undisputed leadership amongthe Papacy's Italian partisans (known as Guelphs), but his influence on papal elections and his strong military presence in Italy disturbed the popes. They tried to channel his ambitions towards other territories andassisted him in acquiring claims to Achaea, Jerusalem and Arles through treaties. In 1281 Pope Martin IV authorised Charles to launch a crusade against the Byzantine Empire. Charles's ships were gathering at Messina,ready to begin the campaign when the Sicilian Vespers rebellion broke out on 30 March 1282 which put an end to Charles's rule on the island of Sicily. He was able to defend the mainland territories (or the Kingdom ofNaples) with the support of France and the Holy See. Charles died while making preparations for an invasion of Sicily.Early lifeChildhoodCharles was the youngest child of King Louis VIII of France and Blanche of Castile.The date of his birth has not survived, but he was probably born posthumously in early 1227. Charles was Louis' only surviving son to be \"born in the purple\" (after his father's coronation), a fact he often emphasised inhis youth, as the contemporaneous chronicler Matthew Paris noted in his Chronica Majora. He was the first Capetian to be named for Charlemagne.Louis VIII died in November 1226 and his eldest son, Louis IX,succeeded him. The late King willed that his youngest sons were to be prepared for a career in the Roman Catholic Church. The details of Charles's tuition are unknown, but he received a good education. He understoodthe principal Catholic doctrines and could identify errors in Latin texts. His passion for poetry, medical sciences, and law is well documented.Charles later said that his mother had a strong impact on her children'seducation; in reality, Blanche was fully engaged in state administration, and could likely spare little time for her youngest children. Charles lived at the court of a brother, Robert I, Count of Artois, from 1237. About fouryears later he was put into the care of his youngest brother, Alphonse, Count of Poitiers. His participation in his brothers' military campaign against Hugh X of Lusignan, Count of La Marche, in 1242 showed that he wasno longer destined for a Church career.Provence and AnjouRaymond Berengar V of Provence died in August 1245, bequeathing Provence and Forcalquier to his youngest daughter, Beatrice, allegedly because he hadgiven generous dowries to her three sisters. The dowries were actually not fully discharged, causing two of her sisters, Margaret (Louis IX's wife) and Eleanor (the wife of Henry III of England), to believe that they hadbeen unlawfully disinherited. Their mother, Beatrice of Savoy, claimed that Raymond Berengar had willed the usufruct of Provence to her.The Hohenstaufen Emperor Frederick II (whom Pope Innocent IV had recentlyexcommunicated for his alleged \"crimes against the Church\"), Count Raymond VII of Toulouse and other neighbouring rulers proposed themselves or their sons as husbands for the young Countess. Her mother put her"}
+{"doc_id":"doc_62","qid":"","text":"Passage 1:Pablo AlboránPablo Moreno de Alborán Ferrándiz (born 31 May 1989), popularly known as Pablo Alborán, is a Spanish musician and singer-songwriter. Throughout his career, Alborán has released five studioalbums, two live albums, and various musical collaborations. His records are distributed by Warner Music Spain which he was signed to in 2013. That year he released \"Solamente Tú\", the lead single from his 2011self-titled debut album. The track topped the charts in his home country for two consecutive weeks. The album peaked at number one in its first week of sales, making Alborán the first solo artist to sign a completedebut album to rank to the top since 1998 in Spain. Alborán was nominated for Best New Artist at the 12th Latin Grammy Awards.Alborán's sophomore record Tanto (2012) spawned the number one singles \"Quién\" and\"El Beso\". It received a Latin Grammy Award for Album of the Year. His third studio album Terral (2014) spawned the chart-topping singles \"Por Fin\" and \"Pasos de Cero\" and received a Grammy Award nomination forBest Latin Pop Album. Alborán embarked on a huge concert tour Tour Terral, which visited Europe, North, and South America. Its respective live album Tres Noches en Las Ventas marked Alborán's second Album of theYear nomination. In 2017, Alborán released his fourth studio album Prometo to critical and commercial success. It spawned the singles \"Saturno\" and \"No Vaya a Ser\", among others. He released his fifth album Vértigoin 2020, followed by his sixth album La Cuarta Hoja in 2022.Throughout his career, Alborán has won a Goya Award for Best Original Song, nine LOS40 Music Awards, two Gaviota de Oro and two Premios Dial, amongothers. Throughout the years, Alborán has been nominated for three Grammy Awards as well as twenty-three Latin Grammy Awards.Music careerFrom a very young age, he was interested in learning to play variousmusical instruments such as piano, classical guitar, flamenco guitar, and acoustic guitar, and attended singing lessons with professional artists in Málaga and Madrid. In 2002, at the age of 12, he composed his firstsongs, \"Amor de Barrio\" (Neighbourhood Love) and \"Desencuentro\" (Disagreement) which would be featured 10 years later on his debut album. In Málaga he performed for the first time with a Flamenco band in arestaurant, and he was nicknamed El Blanco Moreno (The White Moreno), because he \"was very pale-skinned and Moreno was my family name\", as he stated in an interview in early 2011. Later, Pablo met producerManuel Illán and recorded a demo, which included a cover of \"Deja de Volverme Loca\" (Stop Driving Me Crazy) by Diana Navarro. Upon hearing this recording, Navarro expressed great interest in Alborán and becamehis musical mentor.In preparation for his first album, Alborán composed a total of 40 songs from which the playlist would be selected. During the recording of this studio album, Pablo Alborán, he uploaded a few songson YouTube, which gained the attention of many, including singer Kelly Rowland who was amazed by his voice, as far as saying \"I'm in love with Pablo Alboran!\". His videos have since received millions ofviews.\"Solamente Tú\" (Only You) was digitally released in Spain in October 2010 as the first single of his debut album, which was released in February 2011. Both the single and the album were a huge success,managing to top the Spanish music charts for several consecutive weeks. The album won multiple awards, including RTVE's Album of the Year for 2011, and became Spain's best-selling album of that year.Alborán beganhis first world tour on 27 May 2011 in Madrid at the Palacio Vistalegre, and has since performed in many Latin American countries, among which are Argentina, Chile and Mexico. Following his success, he released hisfirst live album, En Acústico, in November of the same year. It included acoustic versions of most of the tracks in his debut album, as well as two new songs and four bonus tracks. The song \"Perdóname\" (Forgive Me)was re-recorded featuring Portuguese singer Carminho, and was released as the first single of the album, peaking at number one on the Spanish singles chart on 13 November 2011, thus helping En Acústico to debutalso at number one on the albums chart one week later, on 20 November 2011, and to top the Portuguese Albums Chart in January 2012.On 19 December 2011, Alborán received the 2011 Best New Act award in LosPremios 40 Principales. Both his albums Pablo Alborán and En Acústico were featured in Spain's official list of top-selling albums of 2011, at number 1 and number 6, respectively, and singles \"Solamente Tú\" and\"Perdóname\" were the respective third and nineteenth best-selling songs in Spain in 2011.In January 2012, Alborán collaborated on the charity single, \"Cuestión de Prioridades por el Cuerno de África\" (A matter ofpriorities for the horn of Africa).In September 2012, Alborán released the lead single \"Tanto\" from his forthcoming album Tanto which was released in November 2012. The album was certified 10× Platinum in Spain andwas the highest selling album in Spain in 2012 and 2013. The album included two number one singles in Spain, \"El Beso\" (The Kiss) and \"Quién\" (Who). The album received Latin Grammy Awards.Alborán released histhird studio album Terral in November 2014. The album became his fourth straight number 1 album in Spain and has been certified 8× Platinum. It was the highest selling album in Spain in 2014.In April 2016, \"SePuede Amar\" was released, which is the first single of the forthcoming fourth studio album. Throughout 2016, Alborán toured Central America. In August, Alboran re-released \"Dónde está el Amor\" with Brazilian singerTiê. It was included in the telenovela soundtrack Haja Coração.On 8 September 2017, after a two-year break, Alborán announced on his social networks that he was finishing preparing what would be his fourth studioalbum, Prometo. He released two singles (\"Saturno\" and \"No Vaya a Ser\") on the same day. \"Saturno\" is a ballad, reminiscent of his beginnings as a singer, while \"No Vaya a Ser\" is a different style flirting withelectronics and African rhythms. Prometo was released on 17 November 2017 and debuted at number 1 in Spain.Personal lifeAlborán is the son of Spanish architect Salvador Moreno de Alborán Peralta and ElenaFerrándiz Martínez. From a father from Malaga and a French mother, the daughter of Spaniards born in Casablanca during the French protectorate of Morocco.In June 2020, Alborán came out as gay. As of December2020, Alborán resides in Málaga.DiscographyStudio albumsLive albumsSinglesAs main artistAs featured artistOther charting songsAwardsGrammy AwardsThe Grammy Awards are awarded annually by the NationalAcademy of Recording Arts and Sciences in the United States. Alborán has received three nominations.Latin Grammy AwardsThe Latin Grammy Awards are awarded annually by the Latin Academy of Recording Arts &Sciences in the United States. Alborán has received twenty-four nominations.TVyNovelas AwardsThe TVyNovelas Awards are presented annually by Televisa and the magazine TVyNovelas to honor the best Mexicantelevision productions, including telenovelas.Goya AwardsThe Goya Awards, known in Spanish as los Premios Goya, are awarded annually by the Academia de las Artes y las Ciencias Cinematográficas de España(Spanish Academy of Cinematic Art and Science) in Spain. Alborán has received one award.NotesPassage 2:Kristian LeontiouKristian Leontiou (born February 1982) is an English singer. Formerly a solo artist, he is thelead singer of indie rock band One eskimO.Early lifeKristian Leontiou was born in London, England and is of Greek Cypriot descent. He went to Hatch End High School in Harrow and worked several jobs in and aroundLondon whilst concentrating on music when he had any free time.  In 2003 he signed a major record deal with Polydor. At the time, Leontiou was dubbed \"the new Dido\" by some media outlets. His debut single \"Storyof My Life\" was released in June 2004 and reached #9 in the UK Singles Chart. His second single \"Shining\" peaked at #13 whilst the album Some Day Soon was certified gold selling in excess of 150,000 copies.Leontioutoured the album in November 2004 taking him to the US to work with L.A Reid, Chairman of the Island Def Jam music group.  Unhappy with the direction his career was going, on a flight back from the US in 2004 hedecided to take his music in a new direction.  Splitting from his label in late 2005, he went on to collaborate with Faithless on the song \"Hope & Glory\" for their album ‘'To All New Arrivals'’.  It was this release that sawhim unleash the One eskimO moniker.  It was through working with Rollo Armstrong on the Faithless album, that Rollo got to hear an early demo of \"Astronauts\" from the One eskimO project. Being more thanimpressed by what he heard, Rollo opened both his arms and studio doors to Leontiou and they began to co-produce the ‘'All Balloons’' album.It was at this time that he paired up with good friend Adam Falkner, adrummer/musician, to introduce a live acoustic sound to the album. They recorded the album with engineer Phill Brown (engineer for Bob Marley and Robert Plant) at Ark studios in St John's Wood where they recordedlive then headed back to Rollo's studio to add the cinematic electro touches that are prominent on the album.Shortly after its completion, One eskimO's \"Hometime\" was used on a Toyota Prius advert in the USA. Thefunds from the advert were then used to develop the visual aspect of One eskimO. He teamed up with friend Nathan Erasmus (Gravy Media Productions) along with animation team Smuggling Peanuts (Matt Latchfordand Lucy Sullivan) who together began to develop the One eskimO world, the first animation produced was for the track ‘Hometime’ which went on to win a British animation award in 2008.In 2008 Leontiou started anew management venture with ATC Music. By mid-2008 Time Warner came on board to develop all 10 One eskimO animations which were produced the highly regarded Passion Pictures in London.  Now with allanimation complete and a debut album, One eskimO prepare to unveil themselves fully to the world in summer 2009.Leontiou released a cover version of Tracy Chapman's \"Fast Car\", which was originally released as asingle in 2005. Leontiou's version was unable to chart, however, due to there being no simultaneous physical release alongside the download single, a UK chart rule that was in place at the time. On 24 April 2011, thesong entered the singles chart at number 88 due to Britain's Got Talent contestant Michael Collings covering the track on the show on 16 April 2011.DiscographyAlbumsSinglesNotesA  - Originally released as a single inApril 2005, Leontiou's version of \"Fast Car\" did not chart until 2011 in the UK.Also featured onNow That's What I Call Music! 58 (Story of My Life)Win a Date with Tad Hamilton! OST, Love Love Songs - The Ultimate LoveCollection (Shining)Summerland OST (The Crying)Passage 3:Billy MilanoBilly Milano (born June 3, 1964) is an American heavy metal and hardcore punk musician. He is the singer and occasionally guitarist and bassist ofcrossover thrash band M.O.D., and was the singer of its predecessor, Stormtroopers of Death. Prior to these bands, Milano played in early New York hardcore band the Psychos, which also launched the career of futureAgnostic Front vocalist Roger Miret. Milano was also the singer of United Forces, which included his Stormtroopers of Death bandmate Dan Lilker. Milano managed a number of bands, including Agnostic Front, for whomhe also co-produced the 1997 Epitaph Records release Something's Gotta Give and roadie for Anthrax.DiscographyStormtroopers of Death albumsStormtroopers of Death videosMethod of Destruction(M.O.D.)MasteryPassage 4:O Valencia!\"O Valencia!\" is the fifth single by the indie rock band The Decemberists, and the first released from their fourth studio album, The Crane Wife.The music was written by TheDecemberists and the lyrics by Colin Meloy. It tells a story of two star-crossed lovers. The singer falls in love with a person who belongs to an opposing gang. At the end of the song, the singer's lover jumps in to defendthe singer, who is confronting his lover's brother (the singer's \"sworn enemy\") and is killed by the bullet intended for the singer.Track listingThe 7\" single sold in the UK was mispressed, with \"Culling of the Fold\" as theB-side despite the artwork and record label listing \"After the Bombs\" as the B-side.Music videosFor the \"O Valencia!\" music video, The Decemberists filmed themselves in front of a green screen and asked fans tocomplete it by digitally adding in background images or footage. Stephen Colbert of The Colbert Report, having recently asked fans to do the same with a video of him with a light saber in front of a green screen,brought up The Decemberists on his segment \"Look Who's Riding on My Coattails Now\" and accused the band of stealing the idea. The Decemberists' response was to challenge Stephen Colbert to a guitar soloshowdown on December 20, 2006, on The Colbert Report.On January 19, 2007, The Decemberists premiered an alternate music video of \"O Valencia!\", directed by Aaron Stewart-Ahn, on MTV2. The video follows acharacter named Patrick, played by Meloy, as he and his love Francesca (Lisa Molinaro), daughter of \"the Boss\", plan an escape to an unknown location. At a cafe, a man in a suit, portrayed by the band member ChrisFunk, tells him to hide in the \"Valencia\" hotel (the Super Value Inn on North Interstate Avenue in Portland, Oregon) while he gets them the necessary documentation to escape. Above the name of the hotel, there is aneon sign that reads \"Office\". The letters have all burnt out except for the \"O\", creating the title of the song. The video then introduces other characters - various assassination teams - who sit in different rooms of thehotel waiting for the chance to catch the two lovers. Most are portrayed by other members of the band (along with Meloy's wife, Carson Ellis). They kill off any potential witnesses to their plan. Patrick manages to takedown one member from each team, before they gang up on him. The Boss arrives, along with the man from the cafe, who reveals that he snitched on Patrick and Francesca. They execute Francesca, while forcing Patrickto watch. After they leave, Patrick finds a note by Francesca, which reveals that she never fell in love with him, and only wanted protection. 2 months later, Patrick and the man, who has lost an eye from a previousassassination attempt, have a sit-down at the same cafe. The man reveals that he snitched on Patrick just to take over the town. Patrick reveals that he poisoned a drink the man was having, but before he could getaway, the man stabs Patrick in the neck with a fork before dying, followed by Patrick.The video is somewhat influenced by the distinct style and themes of director Wes Anderson, with bold fonts being used to introducecharacters and groups on the bottom of the screen (much like in the film The Royal Tenenbaums). The band had previously (and more explicitly) drawn influence from Anderson's Rushmore in their video for \"SixteenMilitary Wives\". The layout of the hotel is also similar to the one used in Bottle Rocket.Kurt Nishimura was chosen as the winner by mtvU for his video that depicted a love affair between a woman and her television, withthe TV containing the green-screened Decemberists video footage.Passage 5:Astrid NorthAstrid North (Astrid Karina North Radmann; 24 August 1973, West Berlin – 25 June 2019, Berlin) was a German soul singer andsongwriter. She was the singer of the German band Cultured Pearls, with whom she released five Albums. As guest singer of the band Soulounge she published three albums.CareerNorth had her first experiences as asinger with her student band Colorful Dimension in Berlin. In March 1992 she met B. La (Bela Braukmann) and Tex Super (Peter Hinderthür) who then studied at the Hochschule für Musik und Theater Hamburg and whowere looking for a singer for their band Cultured Pearls. The trio entered the German charts with four singles and four albums.In 1994 North sang for the dance-pop band Big Light on their hit single Trouble Is. In 1996she was a guest on the side project Little Red Riding Hood by Fury in the Slaughterhouse brothers Kai and Thorsten Wingenfelder which resulted in the release of the single Life's Too Short from the eponymousalbum.The song Sleepy Eyes, texted and sung by North, appears in the soundtrack of the movie Tor zum Himmel (2003) by director Veit Helmer. In 2003 she appeared at the festival Das Fest in Karlsruhe and sangalongside her own songs a cover version of the Aerosmith hit Walk This Way together with the German singer Sasha. North also toured with the American singer Gabriel Gordon.After the end of her band Cultured Pearlsin 2003 North moved 2004 to New York City to write new songs, work with a number of different musicians and to experiment with her music.In 2005 she joined the charity project Home, which produced an album forthe benefit of the orphans from the Beluga School for Life in Thailand which have been affected by the Indian Ocean earthquake in 2004 and the subsequent tsunami. Beside the orphans themselves also the followingartists have been involved, guitarist Henning Rümenapp (Guano Apes), Kai Wingenfelder (Fury in the Slaughterhouse), Maya Saban and others. With Bobby Hebb Astrid North recorded a new version of his classic hitSunny. It was the first time Hebb sung this song as duett and it appeared on his last album That's All I Wanna Know.North sang in 2006 My Ride, Spring Is Near and No One Can Tell on the album The Ride by Basic JazzLounge, a project by jazz trumpeter Joo Kraus. In addition, she worked as a workshop lecturer of the Popkurs at the Hochschule für Musik und Theater Hamburg.In spring 2010 North performed as the opening act of theFakebling-Tour of Miss Platnum. The magazine Der Spiegel described her as one of the \"leading ladies of the local soul scene\". On 20 July 2012 her solo debut album North was released.On 16 September 2016 AstridNorth released her second solo album, Precious Ruby, dedicated to her grandmother Precious Ruby North. North used crowdfunding to finance the album. The first single published from this album was the song MissLucy. In 2016 she also started her concert series North-Lichter in Berlin's Bar jeder Vernunft to which she invited singers such as Katharina Franck, Elke Brauweiler, Lizzy Scharnofske, Mia Diekow, Lisa Bassenge or IrisRomen.LifeAstrid North was born in West Berlin, West Germany to Sondria North and Wolf-Dieter Radmann. She commuted between her birth city and her family in Houston, Texas until she was nine years old. In theUSA she lived mainly with her grandparents and her time there significantly shaped her musical development.Besides her music career Astrid North worked also as lecturer in Hamburg at the Hochschule für Musik undTheater and as yoga teacher. North was the mother of two children, her daughter was born in 2001 and her son in 2006. Her sister Ondria North works as make-up artist and hair stylist in the German film industry.Shedied in June 2019 at the age of 45 years from pancreatic cancer.Discographywith Cultured PearlsAlbums1996: Sing Dela Sing (German chart position 92, 3 weeks)1997: Space Age Honeymoon (German chart position54, 6 weeks)1999: Liquefied Days (German chart position 19, 9 weeks)2002: Life on a Tuesday (German chart position 74, 1 week)Singles1996: Tic Toc (1996) (German chart position 65, 10 weeks)1997: Sugar SugarHoney (German chart position 72, 9 weeks)1998: Silverball (German chart position 99, 2 weeks)1999: Kissing the Sheets (German chart position 87, 9 weeks)with Soulounge2003: The Essence of the Live Event –Volume One2004: Home2006: Say It AllSolo2005: Sunny (Single, Bobby Hebb feat. Astrid North)2012: North (Album, 20. Juli 2012)2013: North Live (Album, live recordings from different venues in Germany)2016:Sunny (Compilation, Bobby Hebb feat. Astrid North)2016: Precious Ruby (Album, 16. September 2016)as guest singer1994: Trouble Is – Big Light (Single)1996: Life's Too Short – Little Red Riding Hood (Single)2006:Basic Jazz Lounge: The Ride – Joo Kraus (Album)Passage 6:Caspar BabypantsCaspar Babypants is the stage name of children's music artist Chris Ballew, who is also the vocalist and bassist of The Presidents of theUnited States of America.HistoryBallew's first brush with children's music came in 2002, when he recorded and donated an album of traditional children's songs to the nonprofit Program for Early Parent Support titled\"PEPS Sing A Long!\" Although that was a positive experience for him, he did not consider making music for families until he met his wife, collage artist Kate Endle. Her art inspired Ballew to consider making music that"}
+{"doc_id":"doc_63","qid":"","text":"Passage 1:Troy AndesTroy Andes (born April 16, 1981, in Pittsburgh, Pennsylvania) is an American politician and a Republican member of the West Virginia House of Delegates representing District 58 since January 12, 2013. Andes served consecutively from January 2007 until January 2013 in a District 14 seat.EducationAndes earned his BS from Virginia Tech and his MBA from Marshall University.Elections2012 Redistricted to District 15, and with its incumbents redistricted to District 16, Andes was challenged in the May 8, 2012 Republican Primary, winning with 1,792 votes (82.0%), and was unopposed for the November 6, 2012 General election, winning with 7,004 votes.2006 When District 14 Republican Representative Mike Hall ran for West Virginia Senate and left a district seat open, Andes placed in the five-way 2006 Republican Primary and was elected in the three-way two-position November 7, 2006 General election against Democratic nominee Gene Estel.2008 Andes and fellow Republican incumbent Representative Patti Schoen were unopposed for the May 13, 2008 Republican Primary, where Andes placed first with 2,337 votes (52.2%), and placed first in the four-way two-position November 4, 2008 General election with 9,323 votes (31.4%) ahead of Representative Schoen and Democratic nominees Jeffrey Martin and Karen Corea.2010 When Representative Schoen retired and left a district seat open, Andes placed first in the five-way May 11, 2010 Republican Primary, winning with 2,034 votes (42.8%), and placed first in the three-way two-position November 2, 2010 General election with 8,159 votes (40.3%) ahead of fellow Republican nominee Brian Savilla and Democratic nominee Catherine Larck.Passage 2:LeRoy D. BrownLeRoy D. Brown was the first president of University of Nevada.HistoryNevada became a state in 1864. Its constitution mandated the establishment of a state university with departments in agriculture, the mechanic arts, and mining, along with a state normal school for teacher training. The constitution specified that the state university would be controlled by an elected Board of Regents. The Nevada Legislature established the first State University campus in Elko, Nevada. Its Preparatory Department opened for enrollment in October 1874 with the goal of enhancing Nevada's young people to be ready for college-level study. D. R. Sessions served as Principal of the preparatory department. The Elko campus closed on July 15, 1885, when it was determined that Reno would provide a larger population for higher education students.The Board of Regents selected Dr. Leroy D. Brown to be the first president of the University of Nevada at the new Reno campus. A veteran of the American Civil War, he had taught in Ohio for twenty years and had been elected to the office of Commissioner of Education in Ohio. He was working for a bank in Ohio when he was recruited to Nevada. His administration began in September, 1887, before the first campus building, Morrill Hall, was completely constructed.By October, 50 students were enrolled. The Board of Regents selected Hannah Keziah Clapp of Carson City to be his assistant and a faculty member of the university. President Brown established the departments of mining and metallurgy, natural science and the Nevada State Normal School. The Secretary of War detailed a U. S. Army officer to provide drill and military tactics instruction to all male students. The first group of cadets was organized in the fall of 1888. Lieutenant Arthur C. Ducat was also employed as Professor of Modern Languages, later providing drawing instruction and calisthenics training for female students the first physical education curriculum at the university. President Brown and the other faculty developed organized a curriculum involving three areas of study: the School of Liberal Arts, the School of Agriculture, and the School of Mechanic Arts and Mining. The Nevada Agricultural Experiment Station was founded in response to the Congressional Hatch Act of March 2, 1887. Hatch Hall was completed in 1889, becoming the second building on the Reno campus. By the end of Brown's administration, the School of Mechanic Arts was separate from the School of Mining, and a Business (Commercial)  Department had been created. The Commercial Department was for non-college students. Its first diplomas were issued in 1889. He resigned on January 1, 1890, later sending his son to attend the university.Timeline1848 - Born in Center Township, Noble County, Ohio on November 3. Developed a reading habit, early in his life and visited the old township library in his neighborhood.1864 - Ran away from home and enlisted as a member of Company H, 116 O. V. I. in which he served until the end of the war.1866-1867 – Taught school1867 – Brown prepared for college at an academy in Athens, Ohio1869 – Became a student and was later awarded graduation at Ohio Wesleyan University at Delaware, Ohio.  (A.B. ’79, A.M ’82)1871 – Appointed Noble County Examiner1873 – Principal of graded school in Newport, Ohio1874 – Called to superintendency of the Belpre Ohio schools1875 – Superintendent at Eaton, Ohio1878 – Married Miss Esther Emma Gable of Eaton, Ohio1879 – Brown was elected to position of Superintendent of Public schools at Hamilton, Ohio and was reelected and held the office until he became State Commissioner.1883 – Earned Ph.D. at Baker University, San Luis Obispo.1884-1887 – Entered into a three-year office as Ohio State Commissioner of Common Schools.1887 – Brown moved his family to Alliance, Ohio to pursue the banking business.1887 – 1890 - At age 38, LeRoy Brown received an offer and moved his family of seven (wife, Esther, plus five small children) to Reno, Nevada to become Nevada State University President (September 1887 - January 1, 1890).1890-1892 – Became supervising Principal of Santa Monica Schools from 1890 to 18921893 to 1894 – moved to Los Angeles and became superintendent of city schools.  He was reelected for another year and his salary was raised from $2,700 to $3,000 per year.  Two weeks later he resigned, as he preferred the principal position of a High School and there was a vacant position.1898 – Died January 13. San Luis Obispo, CaliforniaPassage 3:Tsuruichi HayashiTsuruichi Hayashi (\u0000 \u0000\u0000, Hayashi Tsuruichi, June 13, 1873 – October 4, 1935) was a Japanese mathematician and historian of Japanese mathematics. He was born in Tokushima, Japan.He was the founder of the Tohoku Mathematical Journal.Passage 4:Keith AndesKeith Andes (born John Charles Andes, July 12, 1920 – November 11, 2005) was an American film, radio, musical theater, stage and television actor.Early life and educationAndes was born to Mr. and Mrs. William G. Andes in Ocean City, New Jersey. By the age of 12, he was featured on the radio.The family moved to Upper Darby, Pennsylvania, near Philadelphia. Andes attended Upper Darby High School and found work on radio singing and acting throughout his high school years.He attended St Edward's School in Oxford, England, and graduated from Temple University in Philadelphia, where he was a member of Sigma Pi fraternity, in 1943 with a bachelor's degree in education. While at Temple, he did not participate in the university's theater program, but spent his time working as a disc jockey for several Philadelphia-area radio stations, including KYW, WFIL, and WIP. After graduating from Temple, he studied voice at the Philadelphia Conservatory of Music in Center City Philadelphia. He was known for his baritone voice.CareerEarly performancesHe began his acting career while serving in the United States Army Air Forces during World War II. He served three years and sang and acted in United Service Organization shows. He was cast in the play Winged Victory and then cast by 20th Century Fox in the film Winged Victory (1944).In 1947, Andes received a Theater World Award for his Broadway debut performance in a revival of the operetta The Chocolate Soldier.In 1947, he had a role in the movie The Farmer's Daughter, the film that won Loretta Young her Best Actress Oscar. Andes, Lex Barker and James Arness played the title character's powerfully built and highly protective brothers.Andes' first leading role in a feature film came with Project X (1949), a low-budget, independent movie.In June 1950, he joined the cast of Kiss Me, Kate on Broadway, taking over the lead from Alfred Drake, starring in the show for over a year, in New York and on tour. This re-ignited Hollywood's interest in him.RKO and UniversalAndes appeared as Marilyn Monroe's sweetheart and Barbara Stanwyck's brother in the cult film Clash by Night (1952), directed by Fritz Lang and co-written by Clifford Odets, for RKO.Also for that studio, he played the heroic Lt. Maynard in Blackbeard, the Pirate (1952) and a supporting role in Split Second (1953).In 1953 he starred in a short-lived Broadway musical, Maggie.In 1954, he signed a new contract with RKO even though that studio had kept him idle for a year, causing him to miss a part in The High and the Mighty. He was under contract to RKO for three years.He co-starred with Angela Lansbury in the film noir A Life at Stake (1954) and was one of several male leads in The Second Greatest Sex (1955) at Universal, where he signed a long-term contract.Andes begin guest starring on TV shows like Celebrity Playhouse, The Ford Television Theatre, Matinee Theatre, The Loretta Young Show, Conflict and Playhouse 90. He also starred in TV adaptations of The Great Waltz (playing Johann Strauss, Jr.), Bloomer Girl (1956) and Holiday (based on The Grand Tour) (1956).He made two films with Jeff Chandler at Universal, Away All Boats (1956) and Pillars of the Sky (1956), and did Back from Eternity (1956) at RKO. In 1956, he starred in a pilot for the series Doctor Mike, that was not picked up.At Universal, he had a role in Interlude (1957), then he appeared in The Girl Most Likely (1958), the last film made by RKO.Andes guest starred on Jane Wyman Presents The Fireside Theatre, Goodyear Theatre, Alcoa Theatre and The Gale Storm Show: Oh! Susanna.In 1958, Andes starred as crusading former Louisiana State Police Superintendent Francis Grevemberg in the film Damn Citizen at Universal. His co-stars were Margaret Hayes as Dorothy Maguire Grevemberg and Gene Evans as Police Major Al Arthur.He starred in two low-budget features: Model for Murder (1959) in England and Surrender - Hell! (1960) in the Philippines.TelevisionAndes was cast in a regular series, playing Frank Dawson in the police drama This Man Dawson (1959–60), the story of a former United States Marine Corps colonel who is hired to stop police corruption in a large, unnamed city. William Conrad did the series narration.On Broadway, Andes starred opposite Lucille Ball in the musical Wildcat (1960–61) which ran for 175 performances.When Wildcat ended Andes resumed his television career, guest starring on Sea Hunt, Have Gun - Will Travel, Follow the Sun, Vacation Playhouse and The Rifleman.In 1963, Andes was cast with Victor Buono and Arch Johnson in the episode \" Firebug\" of the anthology series GE True, hosted by Jack Webb. In the story line, Buono portrays Charles Colvin, a barber in Los Angeles, who is by night a pyromaniac. The United States Forest Service works to find Colvin before he can set more fires.Later in 1963, Andes was cast in a regular role as the lawyer-husband on the 1963 sitcom Glynis, starring Glynis Johns as his wife, a mystery writer and amateur sleuth.He guest-starred on 77 Sunset Strip, Perry Mason (in the episode \"Illicit Illusion\"), The Outer Limits (in the episode \"Expanding Human\"), Mickey Rooney's short-lived sitcom Mickey, The Littlest Hobo, Death Valley Days, Valentine's Day, Branded, The Lucy Show, and Run for Your Life.Andes starred as the manager of a radio station in the serial Paradise Bay, which debuted September 27, 1965.He returned to guest-star roles in Daniel Boone, The Andy Griffith Show, Star Trek (in the episode \"The Apple\"), and I Spy.His work included voice acting in the animated Birdman and the Galaxy Trio (1967) as Birdman. In 1967, he toured in a production of Man of La Mancha.Later careerHe appeared as General George C. Marshall in the film Tora! Tora! Tora! and in the biker movie Hell's Bloody Devils (1970).He guest-starred on Petticoat Junction, The Bold Ones: The New Doctors, Dan August, The Streets of San Francisco, Search, Gunsmoke, Cannon, Caribe, and The Magical World of Disney (\"Twister, Bull from the Sky\").His later appearances included the films ...And Justice for All (1979) and The Ultimate Impostor (1979) as well as playing Minister Darius in the Buck Rogers in the 25th Century episode \"Buck's Duel to the Death\".His last appearance was in the TV movie Blinded by the Light (1980). He then retired. He later said \"I was divorced, my kids were grown, and that is when I bought a boat and lived on it and ran charters on it over to Catalina and down to Mexico and back. I just had a ball.\"Personal lifeOn November 30, 1946, Andes married Jean A. Cotton, a nurse, in Upper Darby, Pennsylvania. The couple divorced in 1961. They had two sons: musicians Mark Andes (in bands Spirit, Jo Jo Gunne, Firefall and Heart) and Matt Andes (also a member of Spirit and Jo Jo Gunne).In 1961, he married Sheila Hackett during a break in Wildcat.DeathOn November 11, 2005, Andes was found dead at the age of 85 at his home in Santa Clarita, California.He had been suffering from bladder cancer and other ailments (he had been a smoker). His death was ruled as suicide by asphyxiation, according to a report from the Los Angeles County Coroner's Office. His remains were donated to medical science.FilmographyPassage 5:Mario Laserna PinzónMario Laserna Pinzón (August 21, 1923 – July 16, 2013) was a Colombian educator and politician born in Paris of Colombian parents. Laserna Pinzón is credited for being the founder of the Los Andes University in Bogotá, which was incorporated in 1948 and is a private institution modeled on the United States liberal arts educational system. He also served as Senator of Colombia, and Ambassador to France and Austria and is an author of several books.CareerEducationHe was born in Paris, France, on August 21, 1923, to Colombian parents, Francisco Laserna Bravo and Elena Pinzón Castillo, and was raised first in Colombia where he attended the Instituto La Salle and then from 1931 to 1932 in Queens in NYC. He graduated from the Gimnasio Moderno in 1940 and went on to study Law for three years at Our Lady of the Rosary University to later change his career and move to the United States to attend Columbia University where he completed his undergraduate studies in Mathematics, Physics, and Humanities in 1948. He would go on to obtain a master's degree at Princeton University and to study German and philosophy at the University of Heidelberg in Germany, and he later obtained a Doctorate at the Free University of Berlin. For his life's work he was awarded a Doctorate Honoris Causa by Brandeis University.Mario Laserna Pinzón is widely admired in his country as an educator, a politician, and a passionate seeker of knowledge, with numerous books and studies to his credit.  During the late 1940s and 1950s he became acquainted with many important scientific figures of the day, including Albert Einstein, whom he met while studying at Princeton, and Nicolás Gómez Dávila, his mentor.In 1948, upon graduating from Columbia, he returned to Colombia and dedicated himself to the creation of a private secular institution of higher learning in Bogotá. His dream became a reality on November 16, 1948, when Los Andes University was founded, institution of which he became rector between 1953 and 1954. He also served as rector of the National University of Colombia (1958–1960).PoliticsGiven his high-profile Laserna was absorbed into politics by those who wanted to present the world with one of the best examples of Colombian intellect, and so he served as the Colombian Ambassador to his native France (1976–1979) and to Austria (1987–1990), served in the Senate of Colombia and served as councillor of Bogotá.He worked in politics as a philosopher interested in learning the workings of government and people which led him to run as Senator representing the radical liberal party of the M-19 Democratic Alliance, even though he himself belonged to the Colombian Conservative Party, he said he joined the M-19 in spite of being a conservative because he \"wanted to know how the people who had been [hiding] in the mountain and had returned to civil life thought. Also because they had Bolivarian roots\", as he himself was a believer of Bolivarianism.As a Senator he had to answer to accusations of working with the fugitive Roberto Soto Prieto who had allegedly stolen US$13.5 million and with whom Laserna had connections in Austria through his work as Ambassador, at which time Soto Prieto was an alleged refugee in that country, and through alleged business deals in which Soto was found to be indirectly involved. At the request of the Colombian Minister of Foreign Affairs Noemí Sanín the last five ambassadors to Austria and all employees of the embassy were investigated by the Inspector General of Colombia and the Attorney General of Colombia, among those was Mario Laserna Pinzón. Laserna was later cleared of all charges in respect to the case.Because of his life's work and contribution to the country, President Álvaro Uribe Vélez honored him with the Order of Boyacá in the Rank of the Grand Cross, the highest civilian honour bestowed by the Republic of Colombia.WorksMario Laserna was a very prolific reader and writer, which led him to write for various newspapers and to become the director of Revista Semana and the newspaper La República. He also authored various books and essays on Colombian history and government, development in the Third World, and philosophy.Mario Laserna Pinzón; Alberto Lleras Camargo (1955), Misión y problema de la universidad [Mission and Problem of the University], Bogotá: Universidad de los Andes, OCLC 24004078Mario Laserna Pinzón (1961), Estado fuerte o caudillo: el dilema colombiano [Strong State or Leader: The Colombian Dilemma], Bogotá: Ediciones Mito, OCLC 1969093Mario Laserna Pinzón (1963), \" Klassenlogik und formale Einteilung der Wissenschaft\" [Class logic and Formal Classification in Science], (Dissertation) (in German), Berlin: E. Reuter-Gesellschaft, OCLC 22468251Mario Laserna Pinzón (1965), Rousseau y la antinomia de la libertad de Loewenthal [Rousseau and the Antinomy of the Liberty of Loewenthal], Bogotá, OCLC 54993021Mario Laserna Pinzón (1966), Estado, consenso, democracia y desarrollo [State, Consensus, Democracy and Development], Bogotá: Ediciones Tercer Mundo, OCLC 3201311Mario Laserna Pinzón (1966), La revolución, ¿para qué? : y otros ensayos [The Revolution, For What?: And Other Essays], Bogotá: Ed. Revista Colombiana, LCCN 66077255Mario Laserna Pinzón (1969), Individuo y sociedad [Individual and Society], Bogotá: Editorial Revista Colombiana, LCCN 78473074Mario Laserna Pinzón (c. 1970), Sociedad post-industrial y países sub-desarrollados [Post-Industrial Society and Underdeveloped Countries], Bogotá: Universidad de los Andes, Programa Alta GerenciaMario Laserna Pinzón (1974), Informe sobre las UPAC y sus incidencias sociales y económicas, Bogotá: Tall. Ed. de la Impr. Nacional de Colombia, ISBN 958-601-074-0Mario Laserna Pinzón (1986), Bolívar, un euro-americano frente a la Ilustración : y otros ensayos de interpretación de la historia indo-iberoamericana [Bolivar, a Euro-American in Front of the Enlightenment: and Other Interpretive Essays about Latin-American History], Bogotá: Ediciones Tercer Mundo, ISBN 958-601-074-0Mario Laserna Pinzón (1999), Dos ensayos sobre la posibilidad de la historia: Carta de Heidelberg [Two Essays about the Possibility of History: Letter of Heidelberg], Bogotá: Ediciones Uniandes, ISBN 958-695-030-1Mario Laserna Pinzón (2003), Reflexiones sobre la Revolución Científica del siglo XVII. [Reflections on the Scientific Revolution of the 17th Century], Bogotá: Universidad de los Andes, ISBN 958-695-102-2Mario Laserna Pinzón (2004), La Crítica de la Razón Pura, Metalenguaje de la Ciencia. [The Critique of Pure Reason, Metalanguage of Science], Bogotá: Universidad de los Andes, ISBN 958-695-136-7Passage 6:John De MargheritiJohn De Margheriti (born July 1962) is an Italian-born Australian electrical engineer, software developer and entrepreneur. De Margheriti is widely seen as a founding 'father' of Australia's video games industry and Australia's most experienced interactive entertainment business executive.He is the founder and former CEO of BigWorld Pty Limited and the founder of parent company Micro Forté Pty Limited. De Margheriti is also the Executive Chairman of the Academy of Interactive Entertainment, the Chairman of Canberra Technology Park, the founder of the Game Developers' Association of Australia, the "}
+{"doc_id":"doc_64","qid":"","text":"Passage 1:Wonny SongWonny Song (born 1978) is a Canadian pianist.BiographySong was born in South Korea and grew up in Montreal. He began piano studies at the age of eight and received a full scholarship to Philadelphia's Curtis Institute of Music in 1994. He earned a bachelor's degree from Montreal University in 1998 and continued his studies with Anton Kuerti at the University of Toronto and at The Glenn Gould School with Marc Durand. He completed his doctoral studies at the University of Minnesota in 2004, studying with Lydia Artymiw. He has also studied with Leon Fleisher, Jorge Chaminé and Marie-Francoise Bucquet. He has performed as a soloist with the Cincinnati Symphony, the Peoria Symphony Orchestra, the Orchestre Symphonique de Montréal, the Toronto Symphony Orchestra, the National Arts Centre Orchestra and the EuroAsian Philharmonic Orchestra in Korea and Thailand.Song was director and director of artists-in-residence project of Lambda School of Music and Fine Arts in Montreal from 2008 to 2020. Wonny Song has been appointed Artistic Director of Orford Music (formerly the Orford Arts Centre) in May 2015. Mr. Song officially assumed his position at the beginning of summer 2015, at which time he began to prepare the 2016 program.Awards and recognitions1994 – Gold Medal at the World Piano Competition, Cincinnati.1995 – First Prize and Best Artistic Interpretation Prize at the Montreal Symphony Piano Competition.1997 – Ludmila Knezkova Piano Competition, Nova Scotia.2000 – First Elinor Bell Fellowship, University of Minnesota.2001 – First and Grand Prize winner of the Minnesota Orchestra's WAMSO Competition.2002 – Galaxy Rising Stars Award, Ottawa.2003 – Prix d'Europe, Canada.2010 – Young Canadian Musicians Award.Claire Tow Prize.Miriam Brody Aronson Prize.Fergus Orchestra Soloist Prize.Washington Performing Arts Society Prize.Saint Vincent College Concert Series Prize.DiscographySee alsoPianistsCanadian classical musicYoung Concert ArtistsLambda School of Music and Fine ArtsPassage 2:Hwang Te-songHwang Te-Song (born December 20, 1989) is a South Korean football player.Club statisticsPassage 3:CiaraCiara Princess Wilson ( see-AIR-\u0000; née Harris; born October 25, 1985) is an American singer, songwriter, businesswoman, dancer, model and actress. She rose to prominence with her debut studio album Goodies (2004), which spawned the top five singles \"1, 2 Step\" (featuring Missy Elliott), \"Oh\" (featuring Ludacris), and \"Goodies\" (featuring Petey Pablo), the latter of which topping the Billboard Hot 100 and the UK Singles Chart. The album was certified triple platinum by the Recording Industry Association of America (RIAA), and garnered two nominations at the 48th Annual Grammy Awards. Ciara was also featured on Missy Elliott's \"Lose Control\" and Bow Wow's \"Like You\", both of which reached number three on the Billboard Hot 100.Her second studio album, Ciara: The Evolution (2006), topped the Billboard 200 and spawned the hit singles \"Get Up\" (featuring Chamillionaire), \"Promise\", \"Like a Boy\" and \"Can't Leave 'em Alone\" (featuring 50 Cent). Ciara's third studio album Fantasy Ride (2009), produced the international top-ten single \"Love Sex Magic\" (featuring Justin Timberlake), which received a Grammy Award nomination for Best Pop Collaboration with Vocals. Her fourth studio album Basic Instinct (2010), included the R&B top-five single \"Ride\" (featuring Ludacris). After Basic Instinct was met with low sales, Ciara signed a new record deal with Epic Records in 2011. Ciara's fifth studio album, Ciara (2013), peaked at number two on the Billboard 200 and spawned the hit single \"Body Party\".Her sixth album, Jackie (2015), included the singles \"I Bet\" and \"Dance like We're Making Love\". The next year, Ciara would sign a modeling contract with IMG, become a Global Brand Ambassador for the cosmetics giant Revlon, and marry quarterback Russell Wilson. Her seventh album, Beauty Marks (2019), included the hit single \"Level Up\". Ciara signed a new record deal with Republic Records and Uptown Records, in partnership with her label Beauty Marks Entertainment. She released her single \"Jump\" as the lead for her upcoming eighth studio album on July 8, 2022.Ciara is also an actress, having appeared in All You've Got (2006), Mama, I Want to Sing! (2012), That's My Boy (2012), and The Game (2013). In March 2022, it was announced that Ciara had joined the cast of the 2023 remake of The Color Purple as Nettie. Ciara has received multiple accolades, including a Grammy Award, two BET Awards, the Woman of the Year award from Billboard Women in Music, two MTV Video Music Awards, seven Soul Train Awards, and thirteen Ascap Music Awards. As of 2019, Ciara's worldwide sales total over 45 million.Early lifeCiara Princess Harris was born in Fort Hood, Texas, on October 25, 1985, the only child of Jackie and Carlton Clay Harris. An army brat, she grew up in Georgia, New York, Utah, California, Arizona, and Nevada. She was named after the Revlon fragrance Ciara which was introduced in 1973. During her teens, Ciara and her family settled in College Park, Georgia, a suburb of Atlanta, where she attended North Clayton High School before graduating from Riverdale.In her mid-teens, Ciara formed the all-girl group Hearsay with two of her friends. The group recorded demos, but as time went on, they began to have differences and eventually parted ways. Despite this setback, Ciara signed a publishing deal as a songwriter.Her first writing credit was on Blu Cantrell's debut album, So Blu, for the song \"10,000 Times\". She also wrote the song \"Got Me Waiting\" for R&B singer Fantasia Barrino's debut album, Free Yourself. It was when she was writing songs that she met music producer Jazze Pha, whom she called her \"music soulmate\". In 2002, the two recorded four demos: \"1, 2 Step\", \"Thug Style\", \"Pick Up the Phone\", and \"Lookin' at You\", which all appeared on her debut album that was released two years later. \"1, 2 Step\" was the second single released from the album and it was a hit.Career2003–2005: GoodiesAfter graduating from Riverdale High School in Riverdale, Georgia, in 2003, she was signed by LaFace Records executive, L.A. Reid, whom she was introduced to by Jazze Pha. She began production on her debut album later that year. In early 2004, she wrote a demo with record producer, Sean Garrett, which came to the attention of Lil Jon and became her debut single \"Goodies\". Lil Jon stated later that he knew it would be big seeing how it sounded similar to Usher's international hit, \"Yeah!\".Ciara released her debut album Goodies on September 28, 2004. The album debuted at number three on the U.S. Billboard 200, selling 125,000 copies in its initial week and topped the Top R&B/Hip-Hop Albums chart. Following the release of the album, Ciara was called the \"First Lady of Crunk&B\". Goodies had a 71-week run on the Billboard 200, and was certified triple platinum by the Recording Industry Association of America on October 10, 2006. Charting at twenty-two on the Canadian Albums Chart, it was certified Platinum by the Canadian Recording Industry Association. The album charted at 26 on the UK Albums Chart, and spent 20 weeks on the chart. It was certified Gold by the British Phonographic Industry.Goodies' lead single, the title track, featuring Petey Pablo, was released on June 8, 2004. Conceived as a crunk female counterpart to Usher's \"Yeah!\", the lyrical content goes against the grain, speaking of abstinence, rejecting advances because \"the goodies will stay in the jar.\" Critics hailed it as an \"anthem of the summer\" and one of the best singles of the year, complementing its dance-feel and beat, and the irony of the \"clever\" lyrics. The single performed well worldwide, topping the charts in Canada, the United States and the United Kingdom, and charting in the top 10 of other charts, receiving Platinum certification in the United States. \"1, 2 Step\" featuring Missy Elliott was released as the album's second single. The song peaked in the top 10 of many countries, topping the charts in Canada, and went on to become Platinum or Gold in many countries. \"Oh\" featuring Ludacris was released as the third single on March 5, 2005. The song performed well worldwide, appearing in the top 10 of seven charts, and certified either Platinum or Gold in multiple regions.Following the success of the album, Ciara released a CD/DVD entitled Goodies: The Videos & More in the United States on July 12, 2005, which featured remixes to \"1, 2 Step\" and \"Oh\", as well as two new songs. The release was certified platinum in the United States. She made guest appearances on Missy Elliott's single \"Lose Control\" and on Bow Wow's single \"Like You\", which both peaked at number three in the United States and obtained worldwide success. She was an opening act for Gwen Stefani's Harajuku Lovers Tour 2005 and went on tour with Chris Brown and Bow Wow on the Holiday Jam Tour in December 2005. At the 48th Annual Grammy Awards, Ciara received four nominations for Best New Artist, Best Rap/Sung Collaboration for \"1, 2 Step\", Best Rap Song for Missy Elliott's single \"Lose Control\", and won her last nomination, Best Short Form Music Video for \"Lose Control\".2006–2007: Ciara: The Evolution and acting debutOn December 5, 2006, Ciara released her second studio album, Ciara: The Evolution. According to the singer, the title of the album is \"about so much more than just my personal growth – it's about the evolution of music, the evolution of dance, the evolution of fashion.\" The source of the album's creativity such as the sound and edge comes from Ciara in general. Ciara: The Evolution became Ciara's first and only number one album on the U.S. Billboard 200, and her second number one on the Top R&B/Hip-Hop Albums charts with sales of 338,000 in the first week. The album went on to be certified platinum by the RIAA in the United States, and has sold 1.3 million copies according to Nielsen SoundScan.The album's international lead single, \"Get Up\", which features Chamillionaire, reached number seven in the United States and gained a platinum accreditation. It reached number five in New Zealand. The song was used for the film Step Up (2006) and featured on the film's soundtrack. The album's US lead single, \"Promise\", reached number 11 on the Billboard Hot 100 and became her third number one single on the Hot R&B/Hip-Hop Songs chart. \"Like a Boy\" was released as the second international single which reached within the top 20 in the UK, Finland, France, Ireland, Sweden Switzerland, and also in the United States. The fourth and final single from the album, \"Can't Leave 'em Alone\", reached number 10 on the Hot R&B/Hip-Hop Songs chart and number 40 on the Billboard Hot 100. The song became Ciara's fifth single to peak in the top in New Zealand, peaking at number 4. The song achieved moderate success in other international markets.In support of the album, Ciara went on her first headlining tour in October 2006. The tour went to seventeen different clubs in cities throughout the United States. The tour was met with mixed to positive reviews; critics were divided regarding the pre-recorded backing tracks and remarked that Ciara was slightly under-prepared to host her headlining tour, but ultimately praised her energetic choreography. In August 2007, she headlined the Screamfest '07 tour with fellow rapper, T.I. Critics praised her performance for her gracious dancing and being able to command a sold-out arena. Ciara, along with Chris Brown and Akon, was a support act for Rihanna's Good Girl Gone Bad Tour in the United Kingdom. She made a guest appearance on \"So What\" by Field Mob. The single went on to become a top 10 hit on the Billboard Hot 100. She also appeared on Tiffany Evans' single \"Promise Ring\". The song achieved little success on the Hot R&B/Hip-Hop Songs chart.In addition to her music, Ciara made her acting debut in the MTV Films production All You've Got in May 2006. In the movie she played Becca Whiley, a teenager who is competing in a volleyball tournament. The movie received mixed to positive reviews; critics said the movie was predictable but still enjoyable.2008–2011: Fantasy Ride, Basic Instinct and label changeIn October 2008, Ciara was honored as Billboard's \"Woman of the Year\", because of her success as a recording artist and leadership in embracing the changing music business.Although her third album was originally scheduled for a September 2008 release, Fantasy Ride was released after several delays in May 2009. The album combines her R&B and hip hop sound from her previous albums along with a new pop and dance sound. While talking to MTV News, Ciara said, \"I'm having a bit more fun with my lyrics. I'm not afraid. In the beginning, I was conscious and really protective and somewhat scared about doing some things. With this album I'm not holding back, there's freedom. It's just the space I'm in right now.\" It became Ciara's first top ten album in the UK.\"Go Girl\" was the first single released from the album. It was originally the lead single from the album, but the single achieved minimum success and was later deemed a promo single. However, the single managed to reach the top of the charts in Japan. The album's official lead single, \"Never Ever\", which features Young Jeezy, was released in the United States in January 2009 and reached a peak of number nine on the U.S. Hot R&B/Hip-Hop Songs. The second single, \"Love Sex Magic\", featuring Justin Timberlake, became a worldwide hit, peaking within the top 10 in 20 countries including the U.S., where it peaked at number 10 on the Billboard Hot 100. It went on to be certified platinum in Australia and received a gold accreditation in New Zealand. It received a nomination for \"Best Pop Collaboration with Vocals\" at the 52nd Annual Grammy Awards and also for Best Choreography in a Video at the 2009 MTV Video Music Awards. \"Work\", the final single, achieved moderate success in international markets.In July 2009, Ciara headlined the Jay-Z & Ciara Live tour with Jay-Z. Her performance received mixed reviews; critics said although her dancing was top-notch, she seemed disconnected from the crowd. She was also the support act for Britney Spears's Circus tour, where she performed eight nights at London's prestigious O2 Arena during June 2009. Her performance received rave reviews from critics and fans alike, who noted her dancing skills as being spectacular and arguably better than Britney Spears'. Ciara made a guest appearance on Nelly's single \"Stepped On My J'z\" from his album Brass Knuckles. The song achieved minimal success in the U.S.. Ciara was also featured on Enrique Iglesias' single, \" Takin' Back My Love\", from his Greatest Hits album. The song became an international hit, peaking in the top 10 of over 15 countries, and being certified Gold in Russia, with sales of over 100,000. In February 2010, Ciara along with Pitbull was featured on the remix to Ludacris' hit single \"How Low\". The following month, Ciara made a cameo appearance in the music video of Usher's single, \"Lil' Freak\".Ciara released her fourth studio album, Basic Instinct, on December 14, 2010. She told Pete Lewis of Blues & Soul magazine that the album is about her trusting her instinct and going back to the R&B/urban basics, in the days of \"Goodies\" and \"1, 2 Step\". It was executive-produced by the singer alongside her A&R agent Mark Pitts and writing/production duo Tricky Stewart and The-Dream who also produced records for her previous album, Fantasy Ride. Basic Instinct debuted at number forty-four on the U.S. Billboard 200 chart, with first-week sales of 37,000 copies, becoming her first album to not peak within the top three. On the U.S. R&B/Hip-Hop Albums chart, the album opened at number 11, her only album to not peak within the top two of the chart.The lead single, \"Ride\", which features Ludacris, was released on April 26, 2010. It peaked at number 42 on the U.S. Billboard Hot 100, number three on the U.S. Hot R&B/Hip-Hop Songs chart, becoming her twelfth top ten hit on the chart, and number seventy-five on the UK Singles Chart. The accompanying music video won the award for \"Best Dance Performance\" at the 2010 Soul Train Music Awards. \"Speechless\" was released as the second single from the album and achieved minimal success, peaking at only number 74 on the Hot R&B/Hip-Hop Songs chart. \" Gimmie Dat\", the third single from the album was praised by critics but failed to become a hit, peaking at only 63 on the Hot R&B/Hip-Hop Songs chart, and number 27 on the urban charts in the UK. In November 2010, Ciara performed at the Summerbeatz tour alongside Flo Rida, Jay Sean, Akon, Travie McCoy and Ja Rule. In the summer of 2011, Ciara was a part of the Malibu Rum Tour. She performed in seven shows across the US.In February 2011, following rumors that Ciara had been dropped by Jive Records, she released an official statement to her Facebook page complaining of inadequate promotion and funding from the label. She stated that she received a lack of support from the label, and even paid for the promotion of some singles, such as \"Gimmie Dat\", herself. The frustration she felt while working with her third and fourth albums led her to request that she be released from her contract. In May 2011, Ciara was removed from the Jive Records website roster. On July 12, 2011, it was reported that she had reunited with L.A. Reid by signing with his record label Epic Records, and was confirmed in September 2011.2012–2013: Ciara and further actingDuring an interview with Sway in the Morning in February 2012, Ciara revealed that she would be taking her time recording her fifth studio album, stating: \"It's just really about the vibe, and I'll just tell you that it's a good vibe going. It's really important for me to take my time with this record and it's important for the whole team. It's really, really good energy.\" She has been working on the album with a number of producers and songwriters, including Hit-Boy, Soundz, Diane Warren, Tricky Stewart, and The Underdogs. In an interview, Ciara said \"I worked with some people that are very fresh, which I'm excited about... When it comes to artists, when it comes to writers, when it comes to producers, I really wanted to push. We pretty much reached out and worked with a lot of people that I've never worked with before, which is really fun.\"During a press conference with MTV in May 2012, Ciara announced her fifth studio album would be titled One Woman Army and said the lead single, \" Sweat\", would be out very soon. The single, which features rapper 2 Chainz, premiered online on June 4, 2012, and was to be released via iTunes on June 19, 2012. However, the release of the single was scrapped at the last minute for unknown reasons. On August 13, 2012, Ciara revealed that the official lead single for the album would be titled \"Sorry\". On September 13, 2012, the official music video for \"Sorry\" was premiered on BET's 106 & Park as well as VEVO. \"Sorry\" was made available for purchase as a digital download on September 25, 2012, and impacted U.S. Urban contemporary and Rhythmic radio stations on October 9, 2012. In the United States, \"Sorry\" reached a peak at 40 on the U.S. Billboard Hot R&B/Hip-Hop Songs chart while charting at number 22 on Billboard's Bubbling Under Hot 100 Singles chart listing of the top 25 songs that have yet to enter the Billboard Hot 100.On October 21, 2012, Rap-Up magazine posted a behind-the-scenes sneak peek of \"Got Me Good\", the second single from the album. The song and video, which was directed by Joseph Kahn, premiered on the Sony JumboTron in Times Square in New York City on October 25, 2012. The single was released via digital download on November 6, 2012. \"Got Me Good\" impacted rhythmic radio on November 13, and mainstream radio on December 4.On April 15, 2013, the same day the album's track listing was revealed, it was also announced that the album is not titled One Woman Army anymore and that the new title is Ciara. Due to their low performance on the charts, the label decided not to include \"Sweat\", \"Sorry\", and \"Got Me Good\" on the tracklist. Instead, it was later announced that a new song titled \"Body Party\" would serve as the lead single. It was released in March 2013 and reached number 22 on the Billboard Hot 100 and number two on the U.S. Billboard \"Hot R&B/Hip-Hop Songs\" chart. The second single was \"I'm Out\" featuring Nicki Minaj. The album was released on July 9, 2013. The album debuted at number two on the Billboard 200 chart, with first-week sales of 59,000 copies in the U.S. The album became Ciara's fourth album to chart within the top three of the Billboard chart. The album charted at number two on the Top R&B/Hip-Hop AlbumsAside from music in 2012, Ciara also starred in two movies during this time. She starred in the straight-to-DVD film, Mama, I Want to Sing!. She played Amara Winter, a preacher's daughter who was discovered by a well-established musician. She appeared as Brie in the 2012 comedy film, That's My Boy. Ciara made an appearance as "}
+{"doc_id":"doc_65","qid":"","text":"Passage 1:Michael GovanMichael Govan (born 1963) is the director of the Los Angeles County Museum of Art. Prior to his current position, Govan worked as the director of the Dia Art Foundation in New York City.Earlylife and educationGovan was born in 1963 in North Adams, Massachusetts, and was raised in the Washington D.C. area, attending Sidwell Friends School.He majored in art history and fine arts at Williams College, wherehe met Thomas Krens, who was then director of the Williams College Museum of Art. Govan became closely involved with the museum, serving as acting curator as an undergraduate. After receiving his B.A. fromWilliams in 1985, Govan began an MFA in fine arts from the University of California, San Diego.CareerAs a twenty-five year old graduate student, Govan was recruited by his former mentor at Williams, Thomas Krens,who in 1988 had been appointed director of the Solomon R. Guggenheim Foundation. Govan served as deputy director of the Solomon R. Guggenheim Museum under Krens from 1988 to 1994, a period that culminatedin the construction and opening of the Frank Gehry designed Guggenheim branch in Bilbao, Spain. Govan supervised the reinstallation of the museum's permanent collection galleries after its extensive renovation.DiaArt FoundationFrom 1994 to 2006, Govan was president and director of Dia Art Foundation in New York City. There, he spearheaded the conversion of a Nabisco box factory into the 300,000 square foot Dia:Beacon inNew York's Hudson Valley, which houses Dia's collection of art from the 1960s to the present. Built in a former Nabisco box factory, the critically acclaimed museum has been credited with catalyzing a cultural andeconomic revival within the formerly factory-based city of Beacon. Dia's collection nearly doubled in size during Govan's tenure, but he also came under criticism for \"needlessly and permanently\" closing Dia's West 22ndStreet building. During his time at Dia, Govan also worked closely with artists James Turrell and Michael Heizer, becoming an ardent supporter of Roden Crater and City, the artists' respective site-specific land artprojects under construction in the American southwest. Govan successfully lobbied Washington to have the 704,000 acres in central Nevada surrounding City declared a national monument in 2015.LACMAIn February2006, a search committee composed of eleven LACMA trustees, led by the late Nancy M. Daly, recruited Govan to run the Los Angeles County Museum of Art. Govan has stated that he was drawn to the role not onlybecause of LACMA's geographical distance from its European and east coast peers, but also because of the museum's relative youth, having been established in 1961. \"I felt that because of this newness I had theopportunity to reconsider the museum,\" Govan has written, \"[and] Los Angeles is a good place to do that.\"Govan has been widely regarded for transforming LACMA into both a local and international landmark. SinceGovan's arrival, LACMA has acquired by donation or purchase over 27,000 works for the permanent collection, and the museum's gallery space has almost doubled thanks to the addition of two new buildings designedby Renzo Piano, the Broad Contemporary Art Museum (BCAM) and the Lynda and Stewart Resnick Pavilion. LACMA's annual attendance has grown from 600,000 to nearly 1.6 million in 2016.Artist collaborationsSincehis arrival, Govan has commissioned exhibition scenography and gallery designs in collaboration with artists. In 2006, for example, Govan invited LA artist John Baldessari to design an upcoming exhibition about theBelgian surrealist René Magritte, resulting in a theatrical show that reflected the twisted perspective of the latter's topsy-turvy world. Baldessari has also designed LACMA's logo. Since then, Govan has alsocommissioned Cuban-American artist Jorge Pardo to design LACMA's Art of the Ancient Americas gallery, described in the Los Angeles Times as a \"gritty cavern deep inside the earth ... crossed with a high-style urbanlounge.\"Govan has also commissioned several large-scale public artworks for LACMA's campus from contemporary California artists. These include Chris Burden's Urban Light (2008), a series of 202 vintage street lampsfrom different neighborhoods in Los Angeles, arranged in front of the entrance pavilion, Barbara Kruger's Untitled (Shafted) (2008), Robert Irwin's Primal Palm Garden (2010), and Michael Heizer's Levitated Mass, a340-ton boulder transported 100 miles from the Jurupa Valley to LACMA, a widely publicized journey that culminated with a large celebration on Wilshire Boulevard. Thanks in part to the popularity of these publicartworks, LACMA was ranked the fourth most instagrammed museum in the world in 2016.In his first three full years, the museum raised $251 million—about $100 million more than it collected during the three yearsbefore he arrived. In 2010, it was announced that Govan will steer LACMA for at least six more years. In a letter dated February 24, 2013, Govan, along with the LACMA board's co-chairmen Terry Semel and AndrewGordon, proposed a merger with the financially troubled Museum of Contemporary Art, Los Angeles and a plan to raise $100 million for the combined museum.Zumthor ProjectGovan's latest project is an ambitiousbuilding project, the replacement of four of the campus's aging buildings with a single new state of the art gallery building designed by architect Peter Zumthor. As of January 2017, he has raised about $300 million incommitments. Construction is expected to begin in 2018, and the new building will open in 2023, to coincide with the opening of the new D Line metro stop on Wilshire Boulevard. The project also envisages dissolvingall existing curatorial departments and departmental collections. Some commentators have been highly critical of Govan's plans. Joseph Giovannini, recalling Govan's technically unrealizable onetime plan to hang JeffKoons' Train sculpture from the facade of the Ahmanson Gallery, has accused Govan of \"driving the institution over a cliff into an equivalent mid-air wreck of its own\". Describing the collection merging proposal as thecreation of a \"giant raffle bowl of some 130,000 objects\", Giovannini also points out that the Zumthor building will contain 33% less gallery space than the galleries it will replace, and that the linear footage of wall spaceavailable for displays will decrease by about 7,500 ft, or 1.5 miles. Faced with losing a building named in its honor, and anticipating that its acquisitions could no longer be displayed, the Ahmanson Foundation withdrewits support.On the merging of the separate curatorial divisions to create a non-departmental art museum, Christopher Knight has pointed out that \"no other museum of LACMA's size and complexity does it\" that way,and characterized the museum's 2019 \"To Rome and Back\" exhibition, the first to take place under the new scheme, as \"bland and ineffectual\" and an \"unsuccessful sample of what's to come\".Personal lifeGovan ismarried and has two daughters, one from a previous marriage. He and his family used to live in a $6 million mansion in Hancock Park that was provided by LACMA - a benefit worth $155,000 a year, according to mostrecent tax filings - until LACMA decided that it would sell the property to make up for the museum's of almost $900 million in debt [2]. That home is now worth nearly $8 million and Govan now lives in a trailer park inMalibu's Point Dume region.Los Angeles CA 90020United States. He has had a private pilot's license since 1995 and keeps a 1979 Beechcraft Bonanza at Santa Monica Airport.Passage 2:The Seventh CompanyOutdoorsThe Seventh Company Outdoors (French: La Septième Compagnie au clair de lune) is a 1977 French comedy film directed by Robert Lamoureux. It is a sequel to Now Where Did the 7th Company Getto?.CastJean Lefebvre - PithivierPierre Mondy - ChaudardHenri Guybet - TassinPatricia Karim - Suzanne ChaudardGérard Hérold - Le commandant GillesGérard Jugnot - GorgetonJean Carmet - M. Albert, lepasseurAndré Pousse - LambertMichel BertoPassage 3:Peter LevinPeter Levin is an American director of film, television and theatre.CareerSince 1967, Levin has amassed a large number of credits directing episodictelevision and television films. Some of his television series credits include Love Is a Many Splendored Thing, James at 15, The Paper Chase, Family, Starsky & Hutch, Lou Grant, Fame, Cagney & Lacey, Law & Order andJudging Amy.Some of his television film credits include Rape and Marriage: The Rideout Case (1980), A Reason to Live (1985), Popeye Doyle (1986), A Killer Among Us (1990), Queen Sized (2008) and among otherfilms. He directed \"Heart in Hiding\", written by his wife Audrey Davis Levin, for which she received an Emmy for Best Day Time Special in the 1970s.Prior to becoming a director, Levin worked as an actor in severalBroadway productions. He costarred with Susan Strasberg in \"[The Diary of Ann Frank]\" but had to leave the production when he was drafted into the Army. He trained at the Carnegie Mellon University. Eventuallybecoming a theatre director, he directed productions at the Long Wharf Theatre and the Pacific Resident Theatre Company. He also co-founded the off-off-Broadway Theatre [the Hardware Poets Playhouse] with his wifeAudrey Davis Levin and was also an associate artist of The Interact Theatre Company.Passage 4:Colin Low (filmmaker)Colin Archibald Low  (July 24, 1926 – February 24, 2016) was a Canadian animation anddocumentary filmmaker with the National Film Board of Canada (NFB). He was known as a pioneer, one of Canada's most important filmmakers, and was regularly referred to as \"the gentleman genius\". His numeroushonors include five BAFTA awards, eight Cannes Film Festival awards, and six Academy Award nominations.Early lifeLow was born and raised in Cardston, Alberta, to Gerald and Marion Low, ranchers who weremembers of The Church of Jesus Christ of Latter-day Saints. The town borders the Kainai Nation (Blood Tribe), which later became the subject of two of his films; his 1960 film Circle of the Sun marked the first time theKainai Nation's sacred Sun Dance was filmed.CareerLow studied graphic design and animation at the Banff School of Fine Arts and then the Calgary Institute of Technology. In 1946, while he was at the latter, theNational Film Board of Canada was hiring and put out a call for student submissions; one of Low's teachers suggested that he send in his portfolio and, a week later, he was hired by the prominent NFB filmmakerNorman McLaren. McLaren placed Low under the tutelage of George Dunning, who would act as his mentor for five years. To hone his animation skills, he was also put to work with NFB animator Evelyn Lambart.Lowwas recognized as a filmmaker in 1949. In 1950, he was appointed Head of the Animation Unit. From 1972 to 1976, he was an executive producer for the NFB's Studio C; in 1976, he became Director of RegionalProduction. He would stay with the NFB for the rest of his life, making 203 films and acting as a researcher and advisor on many others. He officially retired in 1997, but continued to write about animation andlarge-format film, and to work on film projects.Influence on Stanley Kubrick and Ken BurnsLow's 1957 documentary City of Gold made use of slow pans and zooms across archival photos and has been cited by KenBurns as a key inspiration for the so-called 'Ken Burns effect'.In 1960, Low and Roman Kroitor co-directed Universe, capturing the attention of Stanley Kubrick, who was preparing to make 2001: A Space Odyssey. Lowwas invited to work on 2001: A Space Odyssey but had to decline because he was making In the Labyrinth, a multi-screen production for Expo 67. Some of his ideas and techniques were incorporated into Kubrick's filmand Kubrick used the narrator from Universe (Douglas Rain) as the voice of his HAL 9000 computer.Challenge for ChangeFrom 1966 to 1968, Low worked with the people of Fogo Island, Newfoundland to shoot 27 filmsfor the NFB's Challenge for Change program, using media as a tool to bring about social change and combat poverty.IMAXLow was involved in a series of firsts in the wide-screen genre. The experimental multi-screenproduction In the Labyrinth helped lead to the creation of the IMAX format. Low co-directed the first IMAX 3D production Transitions for Expo 86 in Vancouver, and co-directed Momentum, the first film in 48 framesper-second IMAX HD for Expo 92 in Seville, Spain.Lifetime achievement recognitionIn 1972, at the 24th Canadian Film Awards, Low received the inaugural Grierson Award for \"an outstanding contribution to Canadiancinema.\"In 2002, the Large Format Cinema Association presented Low and the NFB with its Abel Gance Award for outstanding work in large format filmmaking.In 1997, Low was awarded the Prix Albert-Tessier, given toindividuals for an outstanding career in Québec cinema. In 2013, the DOXA Documentary Film Festival created the annual Colin Low Award, presented to the best Canadian documentary film in the festival program.Lowwas a member of the Royal Canadian Academy of Arts and, in 1996, in recognition of his extraordinary contributions to cinema in Canada and around the world, was invested as a Member of the Order ofCanada.Personal life and deathShortly after joining the NFB, Low met Eugénie (Jean) St. Germain in Montreal. They married in 1947 and had three sons. He was survived by his wife and sons when he died in Montrealon February 24, 2016.FilmographyAll for the National Film Board of CanadaCadet Rousselle - animated short, George Dunning 1946 - co-animator with George DunningChristmas Carols - animated short, Jim MacKay1947 - co-animator with Grant Munro, Helen MacKay, Robert Verrall, George Dunning and Lyle EnrightTime and Terrain - documentary short 1948 - director, animator, co-editor with Robert VerrallTeamwork - Past andPresent - animated short, Michael Spencer 1950 - editor, animatorChallenge: Science Against Cancer - documentary short, Morten Parker 1950 - co-animator with Evelyn LambartThe Fight: Science Against Cancer -documentary short, Morten Parker 1950 - co-animator with Evelyn LambartThe Outlaw Within - documentary short, Morten Parker 1951 - co-animator with Evelyn LambartAge of the Beaver - documentary short 1952 -directorThe Romance of Transportation in Canada, Part 1 - animated short 1952 - directorThe Romance of Transportation in Canada, Part 2 - animated short 1953 - directorA Thousand Million Years - documentary short1954 - directorOne Little Indian - puppet film, Grant Munro 1954 - co-producer with Tom DalyCorral - documentary short 1954 - writer, directorRiches of the Earth - documentary short 1954 - directorGold -documentary short 1955 - directorThe Jolifou Inn - documentary short 1955 - editor, directorIt's a Crime - animated short Wolf Koenig 1957 - production designerCity of Gold - documentary short 1957 - with WolfKoenig, co- cinematographer and co-directorThe Living Stone - documentary short, John Feeney 1958 - co-cinematographer with Patrick Carey and Wally GentlemanCity Out of Time - documentary short 1959 -directorA is for Architecture - documentary short, Gerald Budner and Robert Verrall 1960 - co-producer with Tom DalyHors-d'oeuvre - animated short, Gerald Potterton, Robert Verrall, Arthur Lipsett, Derek Lamb, JeffHale and Kaj Pindal 1960 - co-producer with Victor JobinUniverse - documentary short 1960 - co-director with Roman KroitorCircle of the Sun - documentary short 1960 - writer, directorThe Days of Whiskey Gap -documentary short 1961 - directorVery Nice, Very Nice - documentary short, Arthur Lipsett 1961 - co-producer with Tom DalyDo You Know the Milky Way? - documentary short 1961 - directorMy Financial Career -cartoon, Gerald Potterton 1962 - co-producer with Tom DalyThe Peep Show - cartoon, Kaj Pindal 1962 - producerThe World of David Milne - documentary short, Gerald Budner 1962 - co-producer with TomDalyPot-pourri - montage, Jeff Hale, Derek Lamb, Austin Campbell, Kaj Pindal, Grant Munro, Cameron Guess, Rhoda Leyer 1962 - co-producer with Victor Jobin21-87 - documentary short, Arthur Lipsett 1963 -co-producer with Tom DalyThe Ride - short film, Gerald Potterton 1963 - producerI Know an Old Lady Who Swallowed a Fly - animated short, Derek Lamb 1963 - producerThe Hutterites - documentary short 1964 -directorFree Fall - experimental short, Arthur Lipsett 1964 - co-producer with Tom DalyAn Essay on Science - documentary short, Guy L. Coté 1964 - co-animator with Pierre L'AmareRiches of the Earth, Revised -documentary short 1966 - directorMcGraths At Home and Fishing - documentary short 1967 - directorThe Mercer Family - documentary short 1967 - directorThe Merchant and the Teacher - documentary short 1967 -directorThe Songs of Chris Cobb - documentary short 1967 - directorTom Best on Co-Operatives - documentary short 1967 - directorA Wedding and a Party - documentary short 1967 - directorCitizen Discussions -documentary short 1967 - directorDan Roberts on Fishing - documentary short 1967 - directorDiscussion on Welfare - documentary short 1967 - directorFishermen's Meeting - documentary short 1967 - directorSomeProblems of Fogo - documentary short 1967 - directorThe Story of the Up Top - documentary short 1967 - directorTwo Cabinet Ministers - documentary short 1967 - directorThe Fogo Island Improvement Committee -documentary short 1967 - directorFogo's Expatriates - documentary short 1967 - directorThe Founding of the Co-operatives - documentary short 1967 - directorJim Decker Builds a Longliner - documentary short 1967 -directorJim Decker's Party - documentary short 1967 - directorJoe Kinsella on Education - documentary short 1967 - directorThoughts on Fogo and Norway - documentary short 1967 - directorAndrew Britt at Shoal Bay- documentary short 1967 - directorBilly Crane Moves Away - documentary short 1967 - directorBrian Earle on Merchants and Welfare - documentary short 1967 - directorThe Children of Fogo Island - documentaryshort 1967 - directorWilliam Wells Talks About the Island - documentary short 1967 - directorA Woman's Place - documentary short 1967 - directorIn the Labyrinth - documentary short 1967 - co-director with RomanKroitor and Hugh O'ConnorIntroduction to Fogo Island - documentary short 1968 - directorThe Winds of Fogo - documentary short 1969 - directorOf Many People - documentary short, Stanley Jackson 1970 - co-editorwith Malca Gillson and John SpottonCell 16 - documentary short, Martin Duckworth 1971 - producerThe Sea - documentary short, Bané Jovanovic 1971 - co-producer with Tom Daly and William BrindTime Piece -documentary short, Albert Kish 1971 - producerGod Help the Man Who Would Part with His Land - documentary, George C. Stoney 1971 - co-producer with Tom DalyI Don't Think It's Meant For Us... - documentaryshort, Kathleen Shannon 1971 - co-producer with George C. StoneyHere is Canada - documentary short, Tony Ianzelo 1972 - producerThe Question of TV Violence - documentary, Graeme Ferguson 1972 - producerThatGang of Hoodlums? - documentary short, Robert Nichol 1972 - co-executive producer with Len ChatwinA Memo from Fogo - documentary, Roger Hart 1972 - producerWhen I Go...That's It! - documentary short 1972 -co-producer and co-director with George C. Stoney, Ron Alexander and Dennis SawyerChild, Part 1: Jamie, Ethan and Marlon: The First Two Months - documentary short, Robert Humble 1973 - executive producerChild,Part 2: Jamie, Ethan and Keir: 2-14 Months - documentary short, Robert Humble 1973 - executive producerChild, Part 3: Debbie and Robert: 12-24 Months - documentary short, Robert Humble 1973 - executiveproducerThe Greenlanders - documentary short, Hubert Schuurman 1973 - co-executive producer with Len ChatwinRock-A-Bye - documentary short, Jacques Bensimon 1973 - executive producerKainai - documentaryshort, Raoul Fox 1973 - producerDo Your Thing - documentary short, Len Chatwin 1973 - production teamThe Man Who Can't Stop - documentary, Michael Rubbo 1973 - executive producerComing Home -documentary, Bill Reid 1973 - co-producer with Tom DalySub-Igloo - documentary short, James de Beaujeu Domville and Joseph B. MacInnis 1973 - executive producerFreshwater World - documentary short, GilesWalker 1974 - executive producerKing of the Hill - documentary, William Canning and Donald Brittain 1974 - executive producerAnother Side of the Forest - documentary short, Raoul Fox and Strowan Robertson 1974 -executive producerRunning Time - feature, Mort Ransen 1974 - executive producerSananguagat: Inuit Masterworks - documentary short, Derek May 1974 - executive producerThoughts on the Future with George"}
+{"doc_id":"doc_66","qid":"","text":"Passage 1:Practical JokersPractical Jokers is a 1938 Our Gang short comedy film directed by George Sidney.  It was the 174th Our Gang short (175th episode, 86th talking short, 87th talking episode, and sixth MGMproduced episode) that was released.PlotHoping to get even for all the practical jokes perpetrated by neighborhood troublemaker Butch, the Gang plans to sabotage Butch's birthday party. The weapon of choice is afirecracker, which is substituted for one of the birthday candles. Unfortunately, the kids in general and Alfalfa in particular are unable to escape from the party before the big (and tasty) explosion.CastThe GangDarlaHood as DarlaEugene Lee as PorkyGeorge McFarland as SpankyCarl Switzer as AlfalfaBillie Thomas as BuckwheatAdditional castTommy Bond as ButchGary Jasgur as GarySidney Kibrick as WoimLeonard Landy asLeonardMarie Blake as Butch's motherGrace Bohanon as Party extraJoe Levine as Party extraSee alsoOur Gang filmographyPassage 2:Henry Moore (cricketer)Henry Walter Moore (1849 – 20 August 1916) was anEnglish-born first-class cricketer who spent most of his life in New Zealand.Life and familyHenry Moore was born in Cranbrook, Kent, in 1849. He was the son of the Reverend Edward Moore and Lady Harriet Janet SarahMontagu-Scott, who was one of the daughters of the 4th Duke of Buccleuch. One of his brothers, Arthur, became an admiral and was knighted. Their great grandfather was John Moore, Archbishop of Canterbury from1783 to 1805. One of their sisters was a maid of honour to Queen Victoria.Moore went to New Zealand in the 1870s and lived in Geraldine and Christchurch. He married Henrietta Lysaght of Hāwera in November 1879,and they had one son. In May 1884 she died a few days after giving birth to a daughter, who also died.In 1886 Moore became a Justice of the Peace in Geraldine. In 1897 he married Alice Fish of Geraldine. They movedto England four years before his death in 1916.Cricket careerMoore was a right-handed middle-order batsman. In consecutive seasons, 1876–77 and 1877–78, playing for Canterbury, he made the highest score in theshort New Zealand first-class season: 76 and 75 respectively. His 76 came in his first match for Canterbury, against Otago. He went to the wicket early on the first day with the score at 7 for 2 and put on 99 for the thirdwicket with Charles Corfe before he was out with the score at 106 for 3 after a \"very fine exhibition of free hitting, combined with good defence\". Canterbury were all out for 133, but went on to win the match. His 75came in the next season's match against Otago, when he took the score from 22 for 2 to 136 for 6. The New Zealand cricket historian Tom Reese said, \"Right from the beginning he smote the bowling hip and thigh,going out of his ground to indulge in some forceful driving.\" Canterbury won again.Moore led the batting averages in the Canterbury Cricket Association in 1877–78 with 379 runs at an average of 34.4. Also in 1877–78,he was a member of the Canterbury team that inflicted the only defeat on the touring Australians. In 1896–97, at the age of 47, he top-scored in each innings for a South Canterbury XVIII against the touringQueensland cricket team.Passage 3:John McMahon (Surrey and Somerset cricketer)John William Joseph McMahon (28 December 1917 – 8 May 2001) was an Australian-born first-class cricketer who played for Surreyand Somerset County Cricket Clubs in England from 1947 to 1957.Surrey cricketerMcMahon was an orthodox left-arm spin bowler with much variation in speed and flight who was spotted by Surrey playing in clubcricket in North London and brought on to the county's staff for the 1947 season at the age of 29. In the first innings of his first match, against Lancashire at The Oval, he took five wickets for 81 runs.In his first fullseason, 1948, he was Surrey's leading wicket-taker and in the last home game of the season he was awarded his county cap – he celebrated by taking eight Northamptonshire wickets for 46 runs at The Oval, six ofthem coming in the space of 6.3 overs for seven runs. This would remain the best bowling performance of his first-class career, not surpassed, but he did equal it seven years later. In the following game, the last awaymatch of the season, he took 10 Hampshire wickets for 150 runs in the match at Bournemouth. In the 1948 season as a whole, he took 91 wickets at an average of 28.07. As a tail-end left-handed batsman, hemanaged just 93 runs in the season at an average of 4.22.The emergence of Tony Lock as a slow left-arm bowler in 1949 brought a stuttering end of McMahon's Surrey career. Though he played in 12 first-classmatches in the 1949 season, McMahon took only 19 wickets; a similar number of matches in 1950 brought 34 wickets. In 1951, he played just seven times and in 1952 only three times. In 1953, Lock split the firstfinger of his left hand, and played in only 11 of Surrey's County Championship matches; McMahon played as his deputy in 14 Championship matches, though a measure of their comparative merits was that Lock's 11games produced 67 wickets at 12.38 runs apiece, while McMahon's 14 games brought him 45 wickets at the, for him, low average of 21.53. At the end of the 1953 season, McMahon was allowed to leave Surrey to joinSomerset, then languishing at the foot of the County Championship and recruiting widely from other counties and other countries.Somerset cricketerSomerset's slow bowling in 1954 was in the hands of leg-spinnerJohnny Lawrence, with support from the off-spin of Jim Hilton while promising off-spinner Brian Langford was on national service. McMahon filled a vacancy for a left-arm orthodox spinner that had been there since theretirement of Horace Hazell at the end of the 1952 season; Hazell's apparent successor, Roy Smith, had failed to realise his promise as a bowler in 1953, though his batting had advanced significantly.McMahon instantlybecame a first-team regular and played in almost every match during his four years with the county, not missing a single Championship game until he was controversially dropped from the side in August 1957, afterwhich he did not play in the Championship again.In the 1954 season, McMahon, alongside fellow newcomer Hilton, was something of a disappointment, according to Wisden: \"The new spin bowlers, McMahon and Hilton,did not attain to the best standards of their craft in a wet summer, yet, like the rest of the attack, they would have fared better with reasonable support in the field and from their own batsmen,\" it said. McMahon took85 wickets at an average of 27.47 (Hilton took only 42 at a higher average). His best match was against Essex at Weston-super-Mare where he took six for 96 in the first innings and five for 45 in the second to finishwith match figures of 11 for 141, which were the best of his career. He was awarded his county cap in the 1954 season, but Somerset remained at the bottom of the table.The figures for the 1955 were similar: McMahonthis time took 75 wickets at 28.77 apiece. There was a small improvement in his batting and the arrival of Bryan Lobb elevated McMahon to No 10 in the batting order for most of the season, and he responded with 262runs and an average of 9.03. This included his highest-ever score, 24, made in the match against Sussex at Frome. A week later in Somerset's next match, he equalled his best-ever bowling performance, taking eightKent wickets for 46 runs in the first innings of a match at Yeovil through what Wisden called \"clever variation of flight and spin\". These matches brought two victories for Somerset, but there were only two others in the1955 season and the side finished at the bottom of the Championship for the fourth season running.At the end of the 1955 season, Lawrence retired and McMahon became Somerset's senior spin bowler for the 1956season, with Langford returning from National Service as the main support. McMahon responded with his most successful season so far, taking 103 wickets at an average of 25.57, the only season in his career in whichhe exceeded 100 wickets. The bowling average improved still further in 1957 to 23.10 when McMahon took 86 wickets. But his season came to an abrupt end in mid-August 1957 when, after 108 consecutiveChampionship matches, he was dropped from the first team during the Weston-super-Mare festival. Though he played some games for the second eleven later in August, he regained his place in the first team for only asingle end-of-season friendly match, and he was told that his services were not required for the future, a decision, said Wisden, that \"proved highly controversial\".Sacked by SomersetThe reason behind McMahon'ssacking did not become public knowledge for many years. In its obituary of him in 2002, McMahon was described by Wisden as \"a man who embraced the antipodean virtues of candour and conviviality\". It went on:\"Legend tells of a night at the Flying Horse Inn in Nottingham when he beheaded the gladioli with an ornamental sword, crying: 'When Mac drinks, everybody drinks!'\" The obituary recounts a further escapade in secondeleven match at Midsomer Norton where a curfew imposed on the team was circumvented by \"a POW-type loop\" organised by McMahon, \"with his team-mates escaping through a ground-storey window and thenpresenting themselves again\". As the only Somerset second eleven match that McMahon played in at Midsomer Norton was right at the end of the 1957 season, this may have been the final straw. But in any case therehad been \"an embarrassing episode at Swansea's Grand Hotel\" earlier in the season, also involving Jim Hilton, who was also dismissed at the end of the season. Team-mates and club members petitioned for McMahonto be reinstated, but the county club was not to be moved.After a period in Lancashire League cricket with Milnrow Cricket Club, McMahon moved back to London where he did office work, later contributing some articlesto cricket magazines.== Notes and references ==Passage 4:Hartley LobbanHartley W Lobban (9 May 1926 – 15 October 2004) was a Jamaican-born first-class cricketer who played 17 matches for Worcestershire in theearly 1950s.Life and careerLobban played little cricket in Jamaica. He went to England at the end of World War II as a member of the Royal Air Force, and settled in Kidderminster in Worcestershire in 1947, where heworked as a civilian lorry driver for the RAF. He began playing for Kidderminster Cricket Club in the Birmingham League, and at the start of the 1952 season, opening the bowling for the club's senior team, he hadfigures of 7 for 9 and 7 for 37.Worcestershire invited him to play for them, and he made his first-class debut against Sussex in July 1952. He took five wickets in the match (his maiden victim being Ken Suttle) and thenheld on for 4 not out with Peter Richardson (20 not out) to add the 12 runs needed for a one-wicket victory after his county had collapsed from 192 for 2 to 238 for 9. A week later he claimed four wickets againstWarwickshire, then a few days later still he managed 6 for 52 (five of his victims bowled) in what was otherwise a disastrous innings defeat to Derbyshire. In the last match of the season he took a career-best 6 for 51against Glamorgan; he and Reg Perks (4 for 59) bowled unchanged throughout the first innings. Worcestershire won the game and Lobban finished the season with 23 wickets at 23.69.He took 23 wickets again in 1953,but at a considerably worse average of 34.43, and had only two really successful games: against Oxford University in June, when he took 5 for 70, and then against Sussex in July. On this occasion Lobban claimed eightwickets, his most in a match, including 6 for 103 in the first innings. He also made his highest score with the bat, 18, but Sussex won by five wickets.In 1954 Lobban made only two first-class appearances, and managedonly the single wicket of Gloucestershire tail-ender Bomber Wells. In his final game, against Warwickshire at Dudley, his nine first-innings overs cost 51. He bowled just two overs in the second innings as Warwickshirecompleted an easy ten-wicket win. Lobban played one more Second XI game, against Glamorgan II at Cardiff Arms Park; in this he picked up five wickets.He was also a professional boxer and played rugby union forKidderminster.He later moved to Canada, where he worked as a teacher in Burnaby, British Columbia. He and his wife Celia had a son and two daughters.Passage 5:Sepideh FarsiSepideh Farsi (Persian: \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000; born 1965) is an Iranian director.Early yearsFarsi left Iran in 1984 and went to Paris to study mathematics.  However, eventually she was drawn to the visual arts and initially experimented in photographybefore making her first short films. A main theme of her works is identity. She still visits Tehran each year.Awards/RecognitionFarsi was a Member of the Jury of the Locarno International Film Festival in Best FirstFeature in 2009. She won the FIPRESCI Prize (2002), Cinéma du Réel and Traces de Vie prize (2001) for \"Homi D. Sethna, filmmaker\" and Best documentary prize in Festival dei Popoli (2007) for \"HARAT\".RecentNewsOne of her latest films is called Tehran Bedoune Mojavez (Tehran Without Permission).  The 83-minute documentary shows life in Iran's crowded capital city of Tehran, facing international sanctions over its nuclearambitions and experiencing civil unrest.  It was shot entirely with a Nokia camera phone because of the government restrictions over shooting a film.  The film shows various aspects of city life including following womenat the hairdressers talking of the latest fads, young men speaking of drugs, prostitution and other societal problems, and the Iranian rapper “Hichkas”.  The  dialogue is in Persian with English and Arabic subtitles. InDecember 2009, Tehran Without Permission was shown at the Dubai International Film Festival.FilmographyRed Rose (2014)Cloudy Greece (2013)Zire Âb / The house under the water (2010)Tehran bedoune mojavez /Tehran without permission (2009)If it were Icarus (2008)Harat (2007)Negah / The Gaze (2006)Khab-e khak / Dreams of Dust (2003)Safar-e Maryam / The journey of Maryam (2002)Mardan-e Atash / Men of Fire(2001)Homi D. Sethna, filmmaker (2000)Donya khaneye man ast / The world is my home (1999)Khabe Âb / Water dreams (1997)Bâd-e shomal / Northwind (1993)Passage 6:Claude WeiszClaude Weisz is a French filmdirector born in Paris.FilmographyFeature filmsUne saison dans la vie d'Emmanuel (1972) with Germaine Montéro, Lucien Raimbourg, Florence Giorgetti, Jean-François Delacour, Hélène Darche, Manuel Pinto,etc.Festival de Cannes 1973 - Quinzaine des réalisateursJury Prize: Festival Jeune Cinéma 1973La Chanson du mal aimé (1981) with Rufus, Daniel Mesguich, Christine Boisson, Věra Galatíková, Mark Burns, PhilippeClévenot, Dominique Pinon, Madelon Violla, Paloma Matta, Béatrice Bruno, Catherine Belkhodja, Véronique Leblanc, Philippe Avron, Albert Delpy, etc.Festival de Cannes 1982 - Perspectives du cinémafrançaisCompetition selections: Valencia, Valladolid, Istanbul, MontréalOn l'appelait... le Roi Laid (1987) with Yilmaz Güney (mockumentary)Valencia Festival 1988 - Grand Prix for documentaries \"LaurelWreath\"Competition selections: Rotterdam, Valladolid, Strasbourg, Nyon, Cannes, Lyon, CairoPaula et Paulette, ma mère (2005) Documentary - Straight to DVDShort and mid-lengthLa Grande Grève (1963 -Co-directed CAS collective, IDHEC)L'Inconnue (1966 - with Paloma Matta and Gérard Blain - Prix CNC Hyères, Sidney)Un village au QuébecMontréalDeux aspects du Canada (1969)La Hongrie, vers quel socialisme ?(1975 - Nominated for best documentary - Césars 1976)Tibor Déry, portrait d'un écrivain hongrois (1977)L'huître boudeuseAncienne maison Godin ou le familistère de Guise (1977)Passementiers et RubaniersLequinzième moisC'était la dernière année de ma vie (1984 - FIPRESCI Prize- Festival Oberhausen 1985 - Nomination - Césars 1986)Nous aimons tant le cinéma (Film of the European year of cinema - Delphes1988)Participation jusqu'en 1978 à la réalisation de films \"militants\"TelevisionSeries of seven dramas in GermanNumerous documentary and docu-soap type films (TVS CNDP)Initiation à la vie économique (TV series -RTS promotion)Contemplatives... et femmes (TF1 - 1976)Suzel Sabatier (FR3)Un autre Or Noir (FR3)Vivre en GéorgiePortrait d'une génération pour l'an 2000 (France 5 - 2000)Femmes de peine, femmes de coeur (FR3- 2003)Television documentariesLa porte de Sarp est ouverte (1998)Une histoire balbynienne (2002)Tamara, une vie de Moscou à Port-au-Prince (unfinished)Hana et Khaman (unfinished)En compagnie d'Albert Memmi(unfinished)Le Lucernaire, une passion de théâtreLes quatre saisons de la Taillade ou une ferme l'autreHistoire du peuple kurde (in development)Les kurdes de Bourg-Lastic (2008)Réalisation de films institutionnels etindustrielsPassage 7:Wale AdebanwiWale Adebanwi (born 1969) is a Nigerian-born first Black Rhodes Professor at St Antony's College, Oxford where he was, until June 2021, a Professor of Race Relations, and theDirector of the African Studies Centre, School of Interdisciplinary Area Studies, and a Governing Board Fellow. He is currently a Presidential Penn Compact Professor of Africana Studies at the University of Pennsylvania.Adebanwi's research focuses on a range of topics in the areas of social change, nationalism and ethnicity, race relations, identity politics, elites and cultural politics, democratic process, newspaper press and spatialpolitics in Africa.Education backgroundWale Adebanwi graduated with a first degree in Mass Communication from the University of Lagos, and later earned his M.Sc. and Ph.D. in Political Science from the University ofIbadan. He also has an MPhil. and a Ph.D. in Social Anthropology from the University of Cambridge.CareerAdebanwi worked as a freelance reporter, writer, journalist and editor for many newspapers and magazinesbefore he joined the University of Ibadan's Department of Political Science as a lecturer and researcher. He was later appointed as an assistant professor in the African American and African Studies Department of theUniversity of California, Davis, USA. He became a full professor at UC Davis in 2016.Adebanwi is the co-editor of Africa: Journal of the International African Institute and the Journal of Contemporary AfricanStudies.WorksHis published works include:Nation as Grand Narrative: The Nigerian Press and the Politics of Meaning (University of Rochester Press, 2016)Yoruba Elites and Ethnic Politics in Nigeria: Obafemi Awolowoand Corporate Agency (Cambridge University Press, 2014)Authority Stealing: Anti-corruption War and Democratic Politics in Post-Military Nigeria (Carolina Academic Press, 2012)In addition, he is the editor andco-editor of other books, including.The Political Economy of Everyday Life in Africa: Beyond the Margins (James Currey Publishers, 2017)Writers and Social Thought in Africa (Routledge, 2016)(co-edited with EbenezerObadare) Governance and the Crisis of Rule in Contemporary Africa (Palgrave Macmillan, 2016)(co-edited with Ebenezer Obadare) Democracy and Prebendalism in Nigeria: Critical Interpretations (Palgrave Macmillan,2013).(co-edited with Ebenezer Obadare) Nigeria at Fifty: The Nation in Narration (Routledge, 2012)(co-edited with Ebenezer Obadare) Encountering the Nigerian State (Palgrave Macmillan, 2010).AwardsRhodesProfessorship in Race Relations awarded by Oxford University to Faculty of African and Interdisciplinary Area Studies.Passage 8:The Ugly OnesThe Ugly Ones (es: El precio de un hombre, lit. \"The Price of a Man\", it: TheBounty Killer, later La morte ti segue... ma non ha fretta, lit. \"Death follows you... but not in a hurry\") is a 1966 Spanish-Italian Spaghetti Western film directed by Eugenio Martín.The film marked the debut of TomásMilián in the western genre and was the first film score of composer Stelvio Cipriani. It was also the first Spanish western to receive a state funding for the \"artistic interest of the work\". The film was based on the 1958novel The Bounty Killer by Marvin H. Albert.It was shown as part of a retrospective on Spaghetti Western at the 64th Venice International Film Festival. On October 11, 2017 Eugenio Martín was honored for the fiftiethanniversary of this at the 7º Almería Western Film Festival.PlotThe notorious bounty hunter, Luke Chilson, pursues Mexican fugitive Jose Gomez. He follows him through the desert and arrives in a Mexican village whereGomez manages to turn the peasants against his pursuer. Unaware of the danger, Chilson finds himself trapped.CastPassage 9:Eugenio MartínEugenio Martín Márquez (15 May 1925 – 23 January 2023) was a Spanishfilm director and screenwriter. He was known for the low-budget genre films he made in the 1960s and 1970s, including Bad Man's River, The Bounty Killer, and Horror Express, the latter being particularly notable for its"}
+{"doc_id":"doc_67","qid":"","text":"Passage 1:The Slaughter RuleThe Slaughter Rule is a 2002 independent film directed by Alex Smith and Andrew J. Smith and starring Ryan Gosling and David Morse.  The film, set in contemporary Montana, exploresthe relationship between a small-town high school football player (Gosling), and his troubled coach (Morse). The film was nominated for the Grand Jury Prize at the 2002 Sundance Film Festival.PlotRoy Chutney is a highschool senior in the fictional Montana town of Blue Springs. Roy does not have an especially close relationship with his mother Evangeline and has not seen his father in years. That does not prevent Roy from feelingemotionally devastated when he learns that his father has killed himself, and Roy's self-esteem takes a beating when he is cut from the high school football team shortly afterward. Roy whiles away his time by swillingbeer with his best friend, Tracy Two Dogs, and falling into a romance with Skyla, a barmaid at a local tavern, but Roy's short time on the high school gridiron seems to have impressed Gideon Ferguson, a local characterwho coaches an unsanctioned high school six-man football team when he is not delivering newspapers or trying to score a gig singing country songs at nearby honky-tonks.Gideon thinks that Roy has potential and askshim to join his team; encouraged by Gideon's belief in him, Roy agrees, and he persuades Tracy and his friend Russ to tag along. While playing hardscrabble six-man football helps restore Roy's self-confidence, he findsit does not answer his questions about his future or his relationship with Skyla. When Gideon's overwhelming interest in Roy begins to lend credence to town rumors that Gideon is gay, Roy starts to wonder just why hewas asked to join the team.CastRyan Gosling as Roy ChutneyDavid Morse as Gideon FergusonClea DuVall as Skyla SiscoKelly Lynch as Evangeline ChutneyDavid Cale as StudebakerEddie Spears as Tracy Two DogsAmyAdams as DoreenKen White as Russ ColfaxProductionJay Farrar, founder of the alternative country bands Uncle Tupelo and Son Volt, composed the film's musical score. New songs were written and performed by VicChesnutt and Freakwater, and existing songs by Ryan Adams, Uncle Tupelo, and the Pernice Brothers were also included.Filming for the movie largely took place in Great Falls, Montana, and a series of small towns inthe Great Falls vicinity.The title of the film comes from the term \"slaughter rule.\" The unofficial rule provides for an athletic competition's premature conclusion if one team is ahead of the other by a certain number ofpoints prior to game's end. The rule helps to avoid humiliating the losing team further.ReleaseThe film premiered in January 2002 during the Sundance Film Festival. Later that year, the film entered the South bySouthwest Film Festival and the AFI Film Festival. It went into limited release nationwide beginning January 2003.Critical receptionOn review aggregator website Rotten Tomatoes, the film has an approval rating of 74%based on 31 reviews, and an average rating of 5.9/10. The website's critical consensus reads, \"A bleak but original indie, The Slaughter Rule benefits from outstanding performances by Ryan Gosling and David Morse.\"On Metacritic, the film has a weighted average score of 65 out of 100, based on 13 critics, indicating \"generally favorable reviews\".While the performances by Morse and Gosling were generally received positively, somereviews of the film criticized the script. Reviewing the film for The New York Times, Stephen Holden praised the performances of Gosling and Morse, but opined that the film is \"confused\" and \"doesn't have muchdramatic momentum\". In her review for the Los Angeles Times, Manohla Dargis praised the film's cinematography but wrote that although the film has the virtue of sincerity, the story is \"over-explained\".Joe Leydon ofVariety claimed the script \"plays like a first draft\". However, Marjorie Baumgarten of The Austin Chronicle thought that the \"writing and directing team of twin brothers Alex and Andrew Smith have made anastonishingly good first feature\". J. R. Jones, writing in Chicago Reader, described the film as \"powerful\" and especially praised David Morse's performance.AccoladesThe film received the FIPRESCI Prize at the 2002Stockholm Film Festival and the Milagro Award at the 2002 Santa Fe Film Festival. The film was also nominated for the John Cassavetes Award at the 2003 Film Independent Spirit Awards and the Grand Jury Prize at the2002 Sundance Film Festival.See alsoList of American football filmsPassage 2:It's Never Too Late (1956 film)It's Never Too Late is a 1956 British comedy film directed by Michael McCarthy and starring Phyllis Calvert,Patrick Barr, Susan Stephen and Guy Rolfe. It was based on a 1952 play of the same name by Felicity Douglas.PlotFeeling her combative family has long taken her for granted, genteel British housewife Laura Hammondsomehow finds time to write a film script amidst the chaos of her home life. Her work catches the attention of a Hollywood producer, and Laura unexpectedly finds herself the author of a hit film. She also finds she canonly write when she's surrounded by her dysfunctional family. Eventually, Laura must choose between being a highly paid writer and celebrity or a housewife.CastPhyllis Calvert as Laura HammondPatrick Barr asCharles HammondSusan Stephen as Tessa HammondGuy Rolfe as Stephen HodgsonJean Taylor Smith as GrannieSarah Lawson as Anne HammondDelphi Lawrence as Mrs Madge DixonPeter Hammond as TonyRichardLeech as John HammondRobert Ayres as Leroy CranePeter Illing as GuggenheimerIrene Handl as NeighbourSam Kydd UncreditedFred Griffiths as Removal Man (uncredited)Critical receptionTV Guide noted, \"someclever moments, but the film suffers from a staginess that makes it a mildly amusing comedy at best\" ; while the Radio Times found it \"an amiable comedy...This is very much of its time, with its West End originsmasked by skilful art direction, but the period cast is a British film fan's delight: Guy Rolfe, Patrick Barr, Susan Stephen, Irene Handl, and even a young Shirley Anne Field. Director Michael McCarthy whips up a fair oldstorm in this particular teacup, and, although nothing really happens, there's a great deal of pleasure to be had from watching Calvert attempt to rule over her unruly household.\"Passage 3:Never Too Late (1997film)Never Too Late is a 1996 Canadian comedy-drama film starring Olympia Dukakis, Jean Lapointe, Cloris Leachman and Corey Haim. It was filmed in Montreal, Quebec.Plot summaryJoseph, Rose, and Olive suspectCarl, the owner of a retirement home, of misusing the funds of the home's residents. Together they set out to see that no one takes advantage of their unhealthy friend Woody.CastOlympia Dukakis as RoseClorisLeachman as OliveJan Rubeš as JosephMatt Craven as CarlJean Lapointe as WoodyCorey Haim as MaxAwardsAt the 17th Genie Awards in 1996, Paola Ridolfi received a nomination for Best Art Direction/ProductionDesign, and Donald Martin was nominated for Best Original Screenplay.Passage 4:Never Too Late (1935 film)Never Too Late is a 1935 American crime film directed by Bernard B. Ray and stars Richard Talmadge,Thelma White and Robert Frazer.PlotCastRichard Talmadge as Det. Dick ManningThelma White as Helen LloydRobert Frazer as Commissioner George HartleyMildred Harris as Marie Lloyd HartleyVera Lewis as MotherHartleyRobert Walker as Matt Dunning - Henchman bidding at auctionGeorge Chesebro as Dude Hannigan - Second Henchman At AuctionBull Montana as Monte, an escaped convictPaul Ellis as Lavelle, the jewelthiefLloyd Ingraham as Chief of Detectives WinterPassage 5:It's Never Too Late to MendIt's Never Too Late to Mend (alternatively just Never Too Late to Mend; US release title Never Too Late) is a 1937 Britishmelodrama film directed by David MacDonald and starring Tod Slaughter, Jack Livesey and Marjorie Taylor. In the film, a villainous squire and Justice of the Peace conspires to have his rival in love arrested on falsecharges.It is based on the 1856 novel It Is Never Too Late to Mend by Charles Reade. The film was made at Shepperton Studios as a quota quickie for release by Metro-Goldwyn-Mayer. It was popular enough to bere-released in 1942.The novel was adapted once before, as a British silent film in 1922, starring Russell Thorndike as Squire Meadows.Plot summaryCastTod Slaughter as Squire John MeadowsJack Livesey as TomRobinsonMarjorie Taylor as Susan MertonIan Colin as George FieldingLaurence Hanray as Lawyer CrawleyD.J. Williams as Farmer MertonRoy Russell as Reverend Mr. EdenJohn Singer as Matthew JosephsLeonard Sharpas BradshawMavis Villiers as BettyCecil Bevan as Prison InspectorDouglas Stewart as Prison InspectorJack Vyvian as InnkeeperCritical receptionTV Guide wrote, \"Great fun in the old cloak-and-dagger melodramastyle...Played in an exaggerated, bigger-than-life manner, this melodrama is a good enough outing, particularly for fans of camp.\" and Sky Movies wrote, \"As usual, Tod Slaughter ignores the intimacy of the filmmedium and roars through this movie at full throttle, giving the kind of marvellously storming performance that would easily have reached the back row of the upper circle...David MacDonald is more a referee than aconventional director, coming up with a highly entertaining slice of ripe and fruity hokum.\"Passage 6:Alex Smith (golfer)Alexander Smith (28 January 1874 – 21 April 1930) was a Scottish-American professional golferwho played in the late 19th and early 20th century. He was a member of a famous Scottish golfing family. His brother Willie won the U.S. Open in 1899, and Alex won it in both 1906 and 1910. Like many Britishprofessionals of his era he spent much of his adult life working as a club professional in the United States.Early lifeSmith was born in Carnoustie, Scotland, on 28 January 1874, the son of John D. Smith and Joann Smithnée Robinson. On 18 January 1895 he was married to Jessie Maiden—sister of James Maiden—and they had two daughters, Fannie and Margaret, born in 1896 and 1899, respectively. Smith was sometimes referred toas \"Alec\" Smith, especially early in his career.Golf careerHe was the head professional at Nassau Country Club in Glen Cove, New York, from 1901 through 1909. James Maiden, who would forge a successful golf careerof his own, served as assistant professional under Smith at Nassau.In 1901, Smith lost to Willie Anderson in a playoff for the U.S. Open title. Smith's 1906 U.S. Open victory came at the Onwentsia Club in Lake Forest,Illinois. His 72-hole score of 295 was the lowest at either the U.S. Open or the British Open up to that time, and he won $300. The 1910 U.S. Open was played over the St. Martin's course at the Philadelphia CricketClub. Smith won a three-man playoff against American John McDermott and another of his own brothers, Macdonald Smith. Alex Smith played in eighteen U.S. Opens in total and accumulated eleven top tenplacings.Smith, who partnered with C. A. Dunning in the 1905 Metropolitan Open four-ball tournament held on 16 September 1905 at Fox Hills Golf Club on Staten Island, tied for first place with George Low and FredHerreshoff with a score of 71. A playoff wasn't held due to the fact that Smith was also competing in the medal competition which he won from Willie Anderson.Smith also won the Western Open twice and theMetropolitan Open four times.Later lifeIn 1910, Smith was a widower and lived with his two young daughters and sister-in-law, Allison Barry, in New Rochelle, New York. He was the head professional at the WestchesterCountry Club in Rye, New York. After the death of his brother, Willie Smith, he took over responsibility for the design of Club de Golf Chapultepec, which has hosted the Mexican Open multiple times, and theWGC-Mexico Championship since 2017.Death and legacySmith died on 21 April 1930 at a sanatorium in Baltimore, Maryland.Tournament winsNote: This list may be incomplete1903 Western Open1905 MetropolitanOpen1906 U.S. Open, Western Open1909 Metropolitan Open1910 U.S. Open, Metropolitan Open1913 Metropolitan OpenMajor championshipsWins (2)1Defeated John McDermott and MacDonald Smith in an 18-holeplayoff – A. Smith 71 (−2), McDermott 75 (+2) & M. Smith 77 (+4).Results timelineSmith died before the Masters Tournament was founded.NYF = Tournament not yet foundedNT = No tournamentDNP = Did notplayWD = Withdrew\"T\" indicates a tie for a placeGreen background for wins. Yellow background for top-10Team appearancesFrance–United States Professional Match (representing the United States): 1913Passage 7:ItIs Never Too Late to Mend (1911 film)It Is Never Too Late to Mend is an Australian feature-length silent film written and directed by W. J. Lincoln. It was based on a stage adaptation of the popular 1865 novel It IsNever Too Late to Mend: A Matter-of-Fact Romance by Charles Reade about the corrupt penal system in Australia. It was called \"certainly one of the best pictures ever taken in Australia.\"The novel has been creditedwith exposing cruelties in the Australian prison system and having helped end the convict system.It is considered a lost film. It was filmed again in 1913 and in 1937 (the latter film being the definitive version starringTod Slaughter as the evil squire).The film was made by the Tait family, who also made the first Australian feature film, The Story of the Kelly Gang. The Taits went on to make several more films with Lincoln, includingThe Mystery of a Hansom Cab (1911), The Luck of Roaring Camp (1911), Called Back (1911), The Lost Chord (May 1911), The Bells (1911) and The Double Event (1911). This was Lincoln's first film in a rather shortcareer, as he died soon after in 1917 in Sydney, Australia at age 47.PlotThe film begins at Grance Farm in England, rented by Georgie and William Fileing. The farm is struggling and the brothers have to sell their newhay to stave off the landlord. The Honorable Frank Winchester contemplates going abroad and asks George to accompany him. However, George is in love with his cousin, Susan Merton, and does not want to make thetrip.Susan is also loved by the villainous John Meadows. He refuses to lend money to Georgie and there is an eviction sale on the farm.George Fielding travels to Australia to make enough money to marry Susan. Georgediscovers gold and a bushranger gang tries to rob him but the other miners come to George's rescue.There is a subplot about a thief acquaintance of George, Tom Robinson, who is sent to gaol and suffers brutaltreatment at the hands of the guards. Susan is about to marry the evil Meadows but he is unmasked at the wedding by Isaac Levy. The wedding goes ahead with Susan marrying George instead.The film consisted of 60scenes. It was issued with a summary of the story and featured chapter titles which prepared the audiences for incidents before they happened. It was also often accompanied by a lecturer.According to The Age\"Interesting phases of early Australian life are revealed, including the fascinating stories of the gold discoveries... in the construction of the story for picture purposes, the salient features of the novel have been retainedand a descriptive address accompanies the production.\"CastStanley WalpoleProductionStage adaptations of the novel had been popular since 1865.In February 1911 The Bulletin reported that:The Taits are going toproduce It’s Never Too Late To Mend in biograph drama form at Melbourne Glaeiarium.   \"Willie\" Lincoln, who was an Australian playwright in his youth, and is nowadays running the \"Paradise\" Pictures at St. Kilda, isunderstood to be responsible for this biograph version of Charles Reade’s drama.   Picture show condensations of familiar stories, also original film dramas of the sort now imported from America and Europe, might aswell be locally fixed up.  There’s no better country than Australia for open-air photography, and few that are nearly as good.The film was shot in Melbourne and \"enacted by a specially-selected company of Victorianartists\" who were \"a selected metropolitan company of 60 performers.\" The estimated budget was £300-£400.ReceptionBox officeThe movie debuted at the Olympia Theatre in Haymarket, Sydney in January 1911. Alecturer accompanied screenings and would explain the action that took place.The movie broke box office records at the Olympia. It later drew strong crowds in Melbourne as well.CriticalThe Bulletin called it:Aninteresting piece... adapted by W.J. Lincoln for dumb show purposes, and Johnson and Gibson had prepared three or four thousand feet of photographs for reproduction on the screen. The picture promised well for thefuture of the Australian \"art film\" industry. Theadapter has \"potted\" the novel, rather than the drama of the same name, and done it very well. The actors look their parts and play them dramatically, and the heroine,who is a first consideration and the only girl in the piece, fills the bill quite charmingly. For about an hour   \"It’s Never Too Late To Mend \" kept a packed house interested. A man with a ripe, sonorous voice supplied briefdescriptive details, and kept the story in a state of coherency, the only noticeable shortcoming being the absence of a moral tag, to the effect that the conversion of the English thief, Tom Robinson, had been fullycompleted in The Sunny South.The Sydney Sunday Times said there \"was special performances by a company of Australian actors.\"Melbourne's Table Talk called it \"a most gratifying success in all ways. The pictures areclear and the acting is adequate, while to our ideas it is more natural, for it has not the Gallic mannerisms and excessive gesture noticeable in some of the imported pictorial dramas, which are usually interpreted byFrench artists.\"The Riverine Herald stated \"the cast was well chosen and well balanced, and the dramatic action of the play was finely brought out.\"The Launceston Examiner said \"in its construction the adapter hasendeavoured to retain all the main and most salient features of the novel, allowing for the bridging over of many incidents, to make a natural sequence and clear-cut story.\"The Launceston Daily Telegraph said the novelhad been \"exceedingly well adapted by W. J. Lincoln... [a] magnificent pictorial representation, so full of strong human interest\".USA ReleaseThe film was released in the US in August 1914.LegacyThe box office successof the film encouraged the Tait brothers and Millard and Johnson to appoint Lincoln as the main director for their new company, Amalgamated Pictures, which operated for over a year.Passage 8:It's Never Too Late(1953 film)It's Never Too Late (Italian: Non è mai troppo tardi) is a 1953 Italian comedy film directed by Filippo Walter Ratti. The film is based on the 1843 novella A Christmas Carol by Charles Dickens.PlotAntonioTrabbi is a greedy old man with a very rough personality and obsessed by money. He deprecates charity and love and has no friends or love interest, being lonely and avoided by people. On Christmas Eve he is visitedby the ghost of his former business partner, who warns him about his life-style and announces the visit of three spirits, who will show Antonio past, present and future Christmas days. During the night, the three spiritsactually appear to Trabbi, showing him his sad past, the bad reputation he has with everyone and the bad outcome of his actions, which will lead him to a lonely death and to terrible punishments in Hell. When Trabbiwakes up he is greatly distressed by the visions and eager to change his life, starting with that very same Christmas Day.CastPaolo Stoppa as Antonio TrabbiGuglielmo BarnabòIsa Barzizza as Rosanna GennariLuigiBatzella (as Gigi Batzella)Sergio BergonzelliLola Braccini as Antonio's motherArturo Bragaglia as L'ominoEnzo Cerusico as Antonio as childOlinto Cristina as FranciGiorgio De Lullo as The Strange Man in the PubGiulioDonnini as Orazio ColussiAttilio Dottesio as The man who poses the riddle at the partyLeda Gloria as Anna ColussiSusanne Lévesy as Giulia - Daniele's wifeEllida Lorini as Rosanna as childMarcello Mastroianni asRiccardoLeonilde MontesiValeria Moriconi as MartaLuisa RivelliDaniela SpallottaLuigi Tosi as Daniele TrabbiSee alsoList of Christmas filmsList of ghost filmsAdaptations of A Christmas CarolPassage 9:Alberto ManziAlbertoManzi (Italian pronunciation: [al\u0000b\u0000rto \u0000mandzi]; Rome, 3 November 1924 – Pitigliano, 4 December 1997) was an Italian school teacher, writer and television host, best known for being the art director of Non è maitroppo tardi (Italian for It's never too late), an educational TV programme broadcast between 1959 and 1968.BiographyHe attended navy studies before ending his primary training high school degree and followed apeculiar path of studies, achieving three academic degrees: in biology, pedagogy and philosophy.He worked as an educator in a teen-age prison in Rome before a full-time job as a primary school teacher.He was chosen"}
+{"doc_id":"doc_68","qid":"","text":"Passage 1:Roy Rowland (film director)Roy Rowland (December 31, 1910 – June 29, 1995) was an American film director. The New York-born director helmed a number of films in the 1950s and 1960s including OurVines Have Tender Grapes, Meet Me in Las Vegas, Rogue Cop, The 5000 Fingers of Doctor T, and The Girl Hunters. Rowland married Ruth Cummings, the niece of Louis B. Mayer and sister of Jack Cummings (MGMproducer/director). They had one son, Steve Rowland, born in 1932, who later became a music producer in the UK.BiographyEarly lifeRoy Rowland was born in Brooklyn, the son of Russian Jewish immigrants. Thefamily moved to Edendale, California, when Roy was ten. He graduated from the University of Southern California with a law degree before beginning his career at Metro-Goldwyn-Mayer (MGM) as a script clerk. He thenbegan working as a prop man, grip, and assistant cameraman. In 1927 he met Ruth Cummings at the Santa Monica Beach Club. She was the niece of Louis B. Mayer and the sister of producer Jack Cummings. Herfamily disapproved of Rowlands, so they eloped. This resulted in Rowland being blacklisted. But Ruth Cummings arranged a rapprochement with Mayer.He was assistant director on most of the Tarzan films, starringJohnny Weissmuller in the 1930s.Short filmsRowland made his reputation directing short films, particularly the \"How to\" series of shorts starring Robert Benchley. One of them, How to Sleep (1937), won an AcademyAward. He also worked with producer Pete Smith as the director of several of the short films in the Pete Smith Specialties series, and directed several of the short films in the Crime Does Not Payseries.FeaturesRowland's debut feature was A Stranger in Town (1943). He made three films with the child actress Margaret O'Brien: Lost Angel (1943), Our Vines Have Tender Grapes (1945), and Tenth Avenue Angel(1948). He also directed musicals such as Hit the Deck (1955), Meet Me in Las Vegas (1956), and The Seven Hills of Rome (1957). He also made The 5,000 Fingers of Dr. T. (1953), from a story by Dr. Seuss. Hedirected Many Rivers to Cross with Robert Taylor and Gun Glory (1957) with Stewart Granger and Rowland's son Steve.Rowland was survived by his wife Ruth and their son.Partial filmographyHollywood Party (1934) –co-directorSunkist Stars at Palm Springs (1936) – shortCinema Circus (1937) – shortHollywood Party (1937) – shortSong of Revolt (1937) – shortHow to Start the Day (1937) – shortA Night at the Movies (1937) –short film with Robert BenchleyMusic Made Simple (1938) – shortAn Evening Alone (1938) – shortHow to Raise a Baby (1938) – shortThe Courtship of the Newt (1938) – shortHow to Read (1938) – shortHow to WatchFootball (1938) – shortOpening Day (1938) – shortMental Poise (1938) – shortHow to Sub-Let (1939) – shortAn Hour for Lunch (1939) – shortDark Magic (1939) – shortHome Early (1939) – shortHow to Eat (1939) –shortThink First (1939) – shortJack Pot (1940) – shortPlease Answer (1940) – short (documentary)You, the People (1940) – shortSucker List (1941) – shortChanged Identity (1941) – shortA Stranger in Town(1943)Lost Angel (1943)Our Vines Have Tender Grapes (1945)Boys' Ranch (1946)The Romance of Rosy Ridge (1947)Killer McCoy (1947)Tenth Avenue Angel (1948)Scene of the Crime (1949)The Outriders (1950)TwoWeeks with Love (1950)Excuse My Dust (1951)Bugles in the Afternoon (1952)The 5,000 Fingers of Dr. T (1953)Affair with a Stranger (1953)The Moonlighter (1953)Rogue Cop (1954)Witness to Murder (1954)Light'sDiamond Jubilee (1954, TV special, with six other directors)Many Rivers to Cross (1955)Hit the Deck (1955)Meet Me in Las Vegas (1956)These Wilder Years (1956)Slander (1956)Gun Glory (1957)Seven Hills of Rome(1957)The Life and Legend of Wyatt Earp (1959–60, TV series) – also producerThe Girl Hunters (1963) – also writerGunfighters of Casa Grande (1964)Man Called Gringo (1965)The Sea Pirate (1966) – also producerIlgrande colpo di Surcouf (1966)Land Raiders (1970) – associate producer onlyPassage 2:QuerelleQuerelle is a 1982 West German-French English-language arthouse film directed by Rainer Werner Fassbinder andstarring Brad Davis, adapted from French author Jean Genet's 1947 novel Querelle of Brest. It was Fassbinder's last film, released shortly after his death at the age of 37.PlotThe plot centers on the handsome Belgiansailor Georges Querelle, who is also a thief and murderer. When his ship, Le Vengeur, arrives in Brest, he visits the Feria, a bar and brothel for sailors run by the Madame Lysiane, whose lover, Robert, is Querelle'sbrother. Querelle has a love/hate relationship with his brother: when they meet at La Feria, they embrace, but also punch one another slowly and repeatedly in the belly. Lysiane's husband Nono works behind the barand also manages La Feria's underhanded affairs with the assistance of his friend, the corrupt police captain Mario.Querelle makes a deal to sell opium to Nono. During the execution of the deal, he murders hisaccomplice Vic by slitting his throat.  After delivering the drugs, Querelle announces that he wants to sleep with Lysiane.  He knows that this means he will have to throw dice with Nono, who has the privilege of playinga game of chance with all of her prospective lovers. If Nono loses, the suitor is allowed to proceed with his affair. If the suitor loses, however, he must submit to anal sex with Nono first, according to Nono's maxim that\"That way, I can say my wife only sleeps with arseholes.\" Querelle deliberately loses the game, allowing himself to be sodomized by Nono. When Nono gloats about Querelle's \"loss\" to Robert, who won his dice game,the brothers end up in a violent fight.  Later, Querelle becomes Lysiane's lover, and also has sex with Mario.Luckily for Querelle, a builder, Gil, murders his work mate Theo, who had been harassing and sexuallyassaulting him.  Gil hides from the police in an abandoned prison, and Roger, who is in love with Gil, establishes contact between Querelle and Gil in the hopes that Querelle can help Gil flee. Querelle falls in love withGil, who closely resembles his brother.  Gil returns his affections, but Querelle betrays Gil by tipping off the police. Querelle cleverly arranged it so that the murder of Vic is also blamed on Gil.Querelle's superior,Lieutenant Seblon, is in love with Querelle, and constantly tries to prove his manliness to him. Seblon is aware that Querelle murdered Vic, but chooses to protect him.  Later, Seblon reveals his love and concern to adrunken Querelle, and they kiss and embrace before returning to Le Vengeur.CastBrad Davis as QuerelleFranco Nero as Lieutenant SeblonJeanne Moreau as LysianeLaurent Malet as Roger BatailleHanno Pöschl asRobert / GilGünther Kaufmann as NonoBurkhard Driest as MarioRoger Fritz as MarcellinDieter Schidor as Vic RivetteNatja Brunckhorst as PauletteWerner Asam as WorkerAxel Bauer as WorkerNeil Bell as TheoRobert vanAckeren as Drunken legionnaireWolf Gremm as Drunken legionnaireFrank Ripploh as Drunken legionnaireProductionAccording to Genet's biographer Edmund White, Querelle was originally going to be made by WernerSchroeter, with a scenario by Burkhard Driest, and produced by Dieter Schidor. However, Schidor could not find the money to finance a film by Schroeter, and therefore turned to other directors, including JohnSchlesinger and Sam Peckinpah, before finally settling on Fassbinder. Driest wrote a radically different script for Fassbinder, who then \"took the linear narrative and jumbled it up\". White quotes Schidor as saying\"Fassbinder did something totally different, he took the words of Genet and tried to meditate on something other than the story. The story became totally unimportant for him. He also said publicly that the story was asort of third-rate police story that wouldn't be worth making a movie about without putting a particular moral impact into it\".Schroeter had wanted to make a black and white film with amateur actors and location shots,but Fassbinder instead shot it with professional actors in a lurid, expressionist color, and on sets in the studio. Edmund White comments that the result is a film in which, \"Everything is bathed in an artificial light and thearchitectural elements are all symbolic.\"SoundtrackJeanne Moreau – \"Each Man Kills the Things He Loves\" (music by Peer Raben, lyrics from Oscar Wilde's poem \"The Ballad of Reading Gaol\")\"Young and Joyful Bandit\"(Music by Peer Raben, lyrics by Jeanne Moreau)Both songs were nominated to the 1984 Razzie Awards for \"Worst Original Song\".ReleaseQuerelle sold more than 100,000 tickets in the first three weeks after its releasein Paris, the first time that a film with a gay theme had achieved such success. On review aggregator Rotten Tomatoes, which categorizes reviews as positive or negative only, the film has an approval rating of 57%calculated based on 14 critics comments. By comparison, with the same opinions being calculated using a weighted arithmetic mean, the rating is 6.10/10. Writing for The New York Times critic Vincent Canby noted thatQuerelle was \"a mess...a detour that leads to a dead end.\"Penny Ashbrook calls Querelle Fassbinder's \"perfect epitaph: an intensely personal statement that is the most uncompromising portrayal of gay male sensibilityto come from a major filmmaker.\" Edmund White considers Querelle the only film based on Genet's book that works, calling it \"visually as artificial and menacing as Genet's prose.\" Genet, in discussion with Schidor, saidthat he had not seen the film, commenting \"You can't smoke at the movies.\"Passage 3:Angna EntersAnita \"Angna\" Enters (April 18, 1897 – February 25, 1989) was an American dancer, mime, painter, writer, novelistand playwright. She studied at the Art Students League of New York and was a 1934 Guggenheim fellow. She wrote a novel and three autobiographies as well as the films Lost Angel (1943) and Tenth Avenue Angel(1948).Early lifeEnters was born in Milwaukee, Wisconsin and graduated from North Division High School in Milwaukee, Wisconsin. She saw the first Denishawn concert tour in 1925, and the following year, an Americantour of Sergei Diaghilev's Les Ballets Russes.Emergence as a dancerEnters moved to New York to study at the Art Students League of New York in 1920, and began to study dance with Michio Itō the following year,eventually performing as Michio's partner in 1933. That year she created her first piece, an evocation of a statue of a Gothic Virgin, entitled Ecclesiastique. The piece later became Moyen Age. In 1934, she borrowed $25with which to present her first solo program at the Greenwich Village Theater. Her solo program, The Theatre of Angna Enters, toured the United States and Europe until 1939 and was performed, though less often, until1960. In 1934, Enters was awarded a Guggenheim Fellowship to study Hellenistic art forms in Athens, Greece.Visual artistEnters created a large body of visual art, including sketches, landscape drawings, archaeologicalstudies, costume plates, water colors and oil portraits. Many of her sketches and paintings were exhibited in the United States and Europe. Her sketches were often costume designs for characters of her mimeperformances or set designs for plays. The Metropolitan Museum of Art in New York holds selected works by Enters, as do other museums.Personal lifeEnters met journalist Louis Kantor in 1921. The two began datingsecretly in 1924, wed quietly in Spain in 1936 but maintained separate households. In 1924, Enters changed her first name to Angna and began using 1907 as her birth year. Kantor also changed his name to LouisKalonyme in 1924 and began writing art criticism for Arts and Decoration magazine. Kalonyme was friends with many notable thinkers of the day: Eugene O'Neill, George Bernard Shaw, and Georgia O'Keeffe amongthem. The couple did not have any children and Kalonyme died in 1961 after a long illness.In 1924 the realist painter and printmaker John Sloan, along with his fellow artists Robert Henri and George Bellows, attendedone of Enters’s shows. They were enchanted. The following year Sloan asked Enters to pose for him in one of her dance routines, “Contre Danse.” Sloan’s etching of this subject was the first of seven etchings that heproduced, from 1925 to 1930, showing Enters performing various of her compositions. Although Enters posed for Sloan’s etching of Contre Danse, his six subsequent etchings were done from drawings executed by himwhile he was attending her shows. These etchings convincingly portray the attitudes of the characters that Enters created, and they convey a vivid sense of what must have made “The Theatre of Angna Enters” socompelling.WritingEnters wrote three volumes of autobiography – First Person Plural (1937), Silly Girl (1944) and Artist's Life (1958). She also wrote a novel, Among the Daughters (1956), and a book on her work, OnMime (1966). Her plays, Love Possessed Juana: A Play of the Inquisition in Spain, co-written with Louis Kalonyme, and The Unknown Lover, were presented by the Houston Little Theater in 1946 and 1947. Enters is alsocredited with having co-written two Hollywood films, Lost Angel (1943) and Tenth Avenue Angel (1948).TeachingEnters' first teaching work came at the Stella Adler Studio, where she taught from 1957 to 1960. She wasartist-in-residence at the Dallas Theatre Center in 1961 and 1962, and taught mime at Baylor University during that year. She spent the following school year at Wesleyan University in Middletown, Connecticut. In 1970and 1971 she was artist-in-residence at Pennsylvania State University, during which time she gave her last known public performance.Enters' booksFirst Person Plural. New York: Stackpole Sons, 1937.Love PossessedJuana (queen of Castile) a play in four acts. New York: Twice a Year Press, 1939.Silly Girl, a Portrait of Personal Remembrance. Cambridge, MA: Houghton Mifflin company, 1944.Among the Daughters, a Novel. NewYork: Coward-McCann, 1955.Artist's Life. New York: Coward-McCann, 1958.On Mime, second edition. Middletown, CT: Wesleyan University Press, 1968 (first edition 1965).Passage 4:Tenth Avenue AngelTenth AvenueAngel is a 1948 American drama film directed by Roy Rowland and starring Margaret O'Brien, Angela Lansbury, and George Murphy. It chronicles the life and family of Flavia Mills (Margaret O'Brien) in the late 1930s.Filming took place 11 March–15 May 1946, with retakes in April 1947. However, the film was not released until February 20, 1948.PlotEight-year-old Flavia (Margaret O'Brien) lives in a New York tenement during theGreat Depression with mother Helen (Phyllis Thaxter) and father Joe (Warner Anderson), who's nearly broke and needs a job. Her aunt Susan (Angela Lansbury) lives with them, too. Flavia's thrilled because her aunt'ssweetheart, Steve (George Murphy), is returning from a one-year absence. The little girl is unaware that Steve has been in jail for associating with a gangster.Flavia sees a mouse and is afraid. Her mother tells Flavia afable that if you catch a mouse and make a wish, it will turn into money. This leads her to hide a mouse in a cigar box in the alley near Mac (the blind newspaper man)'s stand. Two neighborhood youths rob Mac(RhysWilliams) and, by coincidence, hide the money right by the girl's box with the mouse. Flavia finds it and is overjoyed until the adults accuse her of stealing it from Blind Mac. Her mother has to tell her the truth about thefable and Flavia realizes that so many stories she has heard are \"lies\".Everybody's desperate for money. Helen's pregnant and faces physical complications. Steve's unable to get his old job, driving a taxi. The gangsteroffers him a payday for stealing a truck, but Steve's conscience gets the better of him at the last minute. Flavia tries to find the kneeling cow near a railroad before it's too late.  Helen is all right, Joe finds a job, andFlavia's thrilled because Susan's going to marry Steve.CastMargaret O'Brien as Flavia MillsAngela Lansbury as Susan BrattenGeorge Murphy as Steve AbbottPhyllis Thaxter as Helen MillsWarner Anderson as JosephMillsRhys Williams as Blind MacBarry Nelson as Al ParkerConnie Gilchrist as Mrs. MurphyCharles Cane as Parole OfficerRichard Lane as Street VendorReceptionThe film was an expensive failure at the box office, earningonly $725,000 in the US and Canada and $75,000 elsewhere, resulting in a loss of $1,227,000.It has received mixed to negative reviews.Passage 5:Thulasi (1987 film)Thulasi is a 1987 Indian Tamil-language romanticdrama film directed by Ameerjan. The film stars Murali and Seetha. It was released on 27 November 1987.PlotThirunavukarasu is considered as a God by his villagers. Nevertheless, his son Sammadham is an atheistand he doesn't believe in his father's power. Sammadham and Ponni, a low caste girl, fall in love with each other. Sammadham's best friend Siva, a low caste boy, passes the Master of Arts degree successfully.Thirunavukarasu's daughter Thulasi then develops a soft corner for Siva.Thirunavukarasu cannot accept for his son Sammadham's marriage with Ponni due to caste difference. Sammadham then challenges him tomarry her. Thirunavukarasu appoints henchmen to kill her and Ponni is found dead the next day in the water. In the meantime, Siva also falls in love with Thulasi. The rest of the story is what happens to Siva andThulasi.CastMurali as Sivalingam \"Siva\"Seetha as ThulasiChandrasekhar as SammadhamMajor Sundarrajan as ThirunavukarasuSenthilCharle as KhanThara as PonniMohanapriya as SarasuVathiyar RamanA. K.Veerasamy as KaliyappanSoundtrackThe music was composed by Sampath Selvam, with lyrics written by Vairamuthu.ReceptionThe Indian Express gave a negative review calling it \"thwarted love\".Passage 6:IngmarBergmanErnst Ingmar Bergman (14 July 1918 – 30 July 2007) was a Swedish screenwriter and film and theatre director. Widely considered one of the greatest and most influential directors of all time, Bergman's filmsare known as \"profoundly personal meditations into the myriad struggles facing the psyche and the soul.\" Some of his most acclaimed works include The Seventh Seal (1957), Wild Strawberries (1957), Persona (1966),and Fanny and Alexander (1982); these four films were included in the Sight & Sound Greatest Films of All Time 2012 critics poll. Bergman was ranked 8th in Sight & Sound's 2002 poll of The Greatest Directors of AllTime.Bergman directed more than 60 films and documentaries for cinematic release and for television screenings, most of which he also wrote. Most of his films were set in Sweden, and many films from 1961 onwardwere filmed on the island of Fårö. He also had a theatrical career that ran in parallel with his film career. It included periods as Leading Director of the Royal Dramatic Theatre in Stockholm and of the Residenztheater inMunich. He directed more than 170 plays. He forged a creative partnership with his cinematographers Gunnar Fischer and Sven Nykvist. Among his company of actors were Harriet Andersson, Bibi Andersson, LivUllmann, Gunnar Björnstrand, Erland Josephson, Ingrid Thulin, Gunnel Lindblom and Max von Sydow.BiographyEarly lifeErnst Ingmar Bergman was born on 14 July 1918 in Uppsala, Sweden, the son of Erik Bergman, aLutheran minister and later chaplain to the King of Sweden, and Karin (née Åkerblom), a nurse who also had Walloon ancestors. The Bergman family was originally from Järvsö in Gävleborg county. Bergman's paternalgrandfather worked as a pharmacist in Stockholm, and his paternal great-grandfather Henrik Bergman worked as an assistant vicar and was married to Erika Augusta Agrell, daughter of vicar Erik Agrell and ElsaMargareta Hermanni, a daughter of chief accountant Hieronymus Emanuel Hermanni and Anna Katarina Neostadia. The Hermannis were merchants in Stockholm, Hieronymus' father, Simon Daniel, was wholesaler likehis grandfather. Via Elsa Margareta Hermanni, Bergman descended from the noble families Bröms, Stockenström, Ehrenskiöld, clergy families of Swedish, Swedish-Finnish origin and burghers of Swedish and Germanorigin. Via his paternal grandmother Alma Katarina Eneroth, Bergman descended from the German noble families Flach and de Frese introduced at the Swedish Riddarhuset. Alma Katarina Eneroth was a cousin ofBergman's maternal grandfather traffic manager Johan Åkerblom. Thus Bergman's parents were second cousins. Bergman's maternal grandmother, Anna Calwagen, was the daughter of Ernst Gottfrid Calwagen, a lectorof German and English, and his wife Charlotta Margareta Carsberg. The progenitor of the Calwagen family, the merchant Paul Calwagen, had emigrated from Holland to Karlshamn, Sweden in the 17th century. Paul'swife, the Dutch-Swedish Maria van der Hagen, was descendant of the Dutch-Swedish court painter Laurens van der Plas. Via Ernst Gottfried, Bergman was descendant of the noble families Tigerschiöld and Weinholz as"}
+{"doc_id":"doc_69","qid":"","text":"Passage 1:Infanta Adelgundes, Duchess of GuimarãesInfanta Adelgundes, Duchess of Guimarães (10 November 1858 – 15 April 1946) was the fifth child and fourth daughter of Miguel of Portugal and his wife Adelaideof Löwenstein-Wertheim-Rosenberg. A member of the House of Braganza by birth, Adelgundes became a member of the House of Bourbon-Parma through her marriage to Prince Henry of Bourbon-Parma, Count ofBardi. She was also the Regent of the Monarchic Representation of Portugal and for that reason assumed the title of Duchess of Guimarães, usually reserved for the Head of the House.Early lifeAdelgundes de JesusMaria Francisca de Assis e de Paula Adelaide Eulália Leopoldina Carlota Micaela Rafaela Gabriela Gonzaga Inês Isabel Avelina Ana Estanislau Sofia Bernardina, Infanta de Portugal, Duquesa de Guimarães, was born inBronnbach, Wertheim, Germany. Her father died on November 14, 1866, a few days after her eighth birthday, and Adelgundes and her siblings were educated in a Catholic and conservative environment by theirmother. Her maternal uncle, Prince Carl zu Löwenstein-Wertheim-Rosenberg, was like a second father to the children.MarriageAdelgundes married Prince Henry of Bourbon-Parma, Count of Bardi, fourth child andyoungest son of Charles III, Duke of Parma and his wife Princess Louise Marie Thérèse of France, on 15 October 1876 in Salzburg, Austria-Hungary. Henry, who was 25 years old, had been previously married to PrincessLuisa Immacolata of the Two Sicilies, who had died three months after their marriage at the age of 19 in 1874. Henry had taken part in the Carlist war and fought in the Battle of Lacar. War wounds turned him into aninvalid.Their union produced no issue, as her nine pregnancies all ended in miscarriages. The failed pregnancies, the last of which she suffered in 1890, were a source of great grief to the couple. They divided their timebetween the Castle of Seebenstein in Austria and the Ca' Vendramin Calergi in Venice. After almost 30 years of marriage, Adelgundes became a widow in 1905.She was close to her many nephews and nieces,particularly Grand Duchess Marie-Adélaïde of Luxembourg, from the time of her abdication to her early death.. The composer, Richard Wagner died of a heart attack at the age of 69 on 13 February 1883 at Ca'Vendramin Calergi, a 16th-century palazzo on the Grand Canal as a guest of Prince Henry, Count of Bardi and Infanta Adelgundes.Regent-in-absentiaBetween 1920 and 1928, Adelgundes acted as the regent-in-absentiaon behalf of her nephew and Miguelist claimant to the Portuguese throne, Duarte Nuno, Duke of Braganza, who was only twelve years old when his father Miguel renounced his claim to the throne in his favor. At thebeginning of her regency in 1920, Adelgundes assumed the title of Duchess of Guimarães. In 1921 she authored a manifesto outlining the House of Braganza's goals for the restoration of the Portuguese monarchy.During her regency, the ex-King Manuel II of Portugal agreed that owing to an heir, the rights of succession could pass to Duarte Nuno (although Duarte Nuno's grandfather Miguel I of Portugal was excluded from thethrone and the Miguelist line deprived of its dynastic rights of succession). But Infanta Adelgundes failing to get an agreement mentioning the reestablishment of a traditional monarchy, the Integralists withheld theirsupport to an accord, and on September 1925,  Adelgundes, in a letter to King Manuel, repudiated the incomplete agreement. Since any pact resolved the issue of succession (former Dover Pact and Paris Pact havingbeen both repudiated) and without known documents, there was no direct heir to the defunct throne, but at the death of King Manuel, however, the monarchist Integralismo Lusitano movement acclaimed Duarte Nuno,Duke of Braganza as King of Portugal. Duarte Nuno lived with Adelgundes at Seebenstein until the German occupation of Austria when the whole family relocated to Bern, Switzerland, where she died in Gunten on 15April 1946 at age 87.AncestryPassage 2:Carlota Joaquina of SpainDoña Carlota Joaquina Teresa Cayetana of Spain (25 April 1775 – 7 January 1830) was Queen of Portugal and Brazil as the wife of King Dom John VI.She was the daughter of King Don Charles IV of Spain and Maria Luisa of Parma.Detested by the Portuguese court — where she was called \"the Shrew of Queluz\" (Portuguese: a Megera de Queluz) — Carlota Joaquinagradually won the antipathy of the people, who accused her of promiscuity and influencing her husband in favor of the interests of the Spanish crown. After the escape of the Portuguese court to Brazil, she beganconspiring against her husband, claiming that he had no mental capacity to govern Portugal and its possessions, thus wanting to establish a regency. She also planned to usurp the Spanish crown that was in the handsof Napoleon's brother, Joseph Bonaparte.After the marriage in 1817 of her son Pedro with the Archduchess Leopoldina of Austria and the later return of the royal family to Portugal in 1821, Carlota Joaquina wasconfined in the Royal Palace of Queluz, where she died alone and abandoned by her children on 7 January, 1830.LifeChildhoodBorn in the Royal Palace of Aranjuez on 25 April 1775 as the second (but eldest surviving)child of Charles, Prince of Asturias, and his wife Maria Luisa of Parma, she was baptized with the names of Carlota Joaquina Teresa Cayetana, but she was called only by her first name, Carlota, a name that honoredboth her father and paternal grandfather, King Charles III of Spain—Carlota was his favorite granddaughter. Despite the rigidity of her education and court etiquette, the Infanta was described as mischievous andplayful.She received a rigid and deeply Catholic education, with bases in the fields of study of religion, geography, painting, and riding (Carlota's favorite sport). The closed and austere temperament of the Spanishmonarchy imposed on the family and on the whole court rigid norms of behavior and etiquette. King Charles III, a man of reserved behavior, devoted more time to his family than to the animations of the courtesan life,where his daughter-in-law Maria Luisa took an active part. Carlota's mother soon assumed the organization of entertainments at court, with luxurious parties, where morals were easily forgotten. Soon the Princess ofAsturias' image would be linked to that of a promiscuous woman who betrayed her husband to other men. Among them, possibly, was the Prime Minister Manuel Godoy, whose alleged love affair was widely explored bythe press at the time. Not even the successive pregnancies and long-hoped birth of a living male heir to the throne in 1784 saved Maria Luísa from the contempt of the population. She would go down in history as one ofthe most unpopular queens in Spain and her bad reputation deeply affected her children, especially Carlota, the firstborn daughter.MarriageThe subject of Carlota Joaquina's marriage was arranged by both King CharlesIII and his sister Mariana Victoria, Dowager Queen of Portugal, in the late 1770s when Mariana went to Spain to encourage diplomatic relations between the estranged countries. Carlota Joaquina was to marry InfanteJohn, Duke of Beja (youngest grandson of Mariana Victoria), and Infante Gabriel of Spain (Carlota Joaquina's paternal uncle) was to marry Infanta Mariana Vitória of Portugal (only surviving granddaughter andnamesake of the Dowager Queen of Portugal).Carlota's apprenticeship would be tested when she underwent a series of public examinations in front of the Spanish court and Portuguese ambassadors sent on behalf ofQueen Maria I of Portugal to evaluate the qualities of the princess destined to marry her second son. In October 1785, the Gazeta of Lisbon published an account of the tests:\"Everything has satisfied so completely thatone can not express the admiration which such a vast instruction ought to cause at such a tender age: but...the decided talent with which God has endowed this most serene Lady, her prodigious memory,understanding and that everything is possible, especially with the awakening and capacity with which the above-mentioned master promotes such useful and glorious applications.\"Having proven the talent of the bride,there was therefore no impediment to the union with the Portuguese prince, so on 8 May 1785 was celebrated the proxy marriage; three days later, on 11 May, the 10-year-old Carlota Joaquina and her retinue leftSpain for Lisbon. On the day she left the Spanish court, Carlota Joaquina asked her mother to make a painting of her in a red dress to place on the wall, instead of the painting of Infanta Margaret Theresa of Spain(which Carlota Joaquina claimed to be more beautiful). As a part of the infanta cortege were Father Felipe Scio, famous Spanish theologian and scholar, Emília O'Dempsy, as lady-in-waiting, and Anna Miquelina,personal maid of Carlota Joaquina. The official wedding ceremony between Infante John of Portugal and Carlota Joaquina took place on 9 June 1785; she was only 10 years old while her husband was 18. Due to thebride's young age, the consummation of the union was delayed until 9 January 1790, when Carlota Joaquina was then able to conceive and bear children.Life in the Portuguese courtNevertheless, the climate in theBraganza court differed in many respects from that of the cheerful Spanish court. While in other parts of the Europe they represented the mark of a new society based on the Age of Enlightenment principles, in Portugalthe Catholic Church still imposed norms prohibiting all types of amusement. The dramatization of comedies was banned, including the performance of dances and parties. The reign of Queen Maria I was marked by therise of a conservative group of the nobility and clergy of Portugal; an extremely \"boredom\" environment, as defined by Dowager Queen Mariana Victoria (Carlota Joaquina's great-aunt). In this way, Carlota Joaquinafound herself in the midst of a very religious and austere environment, in contrast to the extravagance and the faust to which she was accustomed. Despite this, her relationship with her mother-in-law was very tender,as the letters exchanged between them proved. The joy and vivacity of Carlota were responsible for the rare hours of relaxation of the Queen.Her more liberal habits and customs differed in many ways from that ofother women at court. Quite traditional in relation to female behavior, Portuguese men disapproved of the ease with which Carlota Joaquina transited in public space, her performance in the political field and herdistemper in the family routine. Since most Portuguese women were deprived of social life, Carlota Joaquina's offending behavior allowed some malicious rumors about her in the court. Some of them were prejudiced,like the Duchess of Abrantès, wife of the French General Junot, who later invaded Portugal. During her time in Lisbon, Madame Junot had ridiculed Carlota Joaquina both for her manner of acting and for her dressing,and she had slain her as an extremely ugly woman.Princess of BrazilIn 1788, when his eldest brother Joseph, Prince of Brazil died, Infante John became the first in line to his mother's throne. Soon he received the titlesPrince of Brazil and 15th Duke of Braganza. Between 1788 and 1816, Carlota Joaquina was known as Princess of Brazil as the wife of the heir-apparent of the Portuguese throne. Some scholars believe that she has hada rough and superficial behavior, attributing to her the fact that she hated Brazil.His religious observances bored her, and they were quite incompatible. Nevertheless, she gave birth to nine children during theirmarriage and, because they were all handsome, it was rumoured that especially the younger ones had a different father.After Queen Maria I became insane in 1792, Prince John took over the government in her name,even though he only took the title of Prince Regent in 1799. This change in events suited Carlota Joaquina's ambitious and sometimes violent nature. In the Portuguese court she would interfere frequently in matters ofstate, trying to influence the decisions of her husband; this attempts to meddling in politics displeased the Portuguese nobility and even the population.Because she was excluded from the government decisions manytimes, Carlota Joaquina organized a plot with the intention to take the reins of power from the Prince Regent, arresting him and declaring that he was incapable of rule like his mother.However, in 1805 this plot wasdiscovered; the Count of Vila Verde proposed the opening of an investigation and the arrest of all those involved, but Carlota Joaquina was saved because her husband, wishing to avoid a public scandal, opposed to herarrest, preferring to confine his wife to Queluz Palace and Ramalhão Palace, while he himself moved to Mafra Palace, effectively separating from her. At that time Carlota Joaquina's enemies claimed that she had boughta retreat where she indulged in sexual orgies.In BrazilIn 1807, the Portuguese royal family left Portugal for Brazil because of the Napoleonic invasion.While in Brazil, Carlota Joaquina made attempts to obtain theadministration of the Spanish dominions in Hispanic America, a project known as Carlotism. Spain itself was controlled by Napoleon and its kings, her father and brother Ferdinand, were held by Napoleon in France.Carlota Joaquina regarded herself as the heiress of her captured family. Allegedly among her plans was to send armies to occupy Buenos Aires and northern Argentina to style herself \"Queen of La Plata\". ThePortuguese-Brazilian forces, however, only managed to temporarily annex the eastern banks of the Rio de la Plata as Cisplatina, which were kept in the Empire of Brazil after 1822 and seceded in 1828 as the Republic ofUruguay.QueenWhen the Portuguese royal family returned to Portugal in 1821 after an absence of 14 years, Carlota Joaquina met a country that had changed much since their departure. In 1807, Portugal had livedstably under absolutism. Napoleonic troops and political attitudes fostered by Spain's Cortes of Cádiz had brought revolutionary ideas to Portugal. In 1820, a liberal revolution commenced in Porto. A constitutionalCortes Gerais had been promulgated, and in 1821 it gave Portugal its first constitution. The queen had arch-conservative positions and wanted a reactionary response in Portugal. Her husband, however, did not want torenege on his vows to uphold the constitution. Carlota Joaquina made an alliance with her youngest son Miguel, who shared his mother's conservative views. In 1824, using Miguel's position as army commander, theytook power and held the king a virtual prisoner in the palace, where the queen tried to make him abdicate in favor of Miguel. The king received British help against his wife and son and regained power, finally compellinghis son to leave the country. The queen had also to go briefly into exile.King John VI lived in Bemposta Palace and Queen Carlota Joaquina in Queluz. Though she lived there quietly, she became decidedly eccentric indress and behaviour. However, their eldest son Pedro, left behind as regent in Brazil, was proclaimed and crowned on 1 December 1822 as its independent Emperor. John VI refused to accept this until he was persuadedby the British to do so, signing in August 1825 the Treaty of Rio de Janeiro by which he and Carlota Joaquina were granted the honorific title of Emperors of Brasil. He died in March 1826. Claiming ill-health, CarlotaJoaquina refused to visit his deathbed and started the rumour that her husband had been poisoned (which was true) by the Freemasons (which likely was not).Pedro, Emperor of Brazil, now became King of Portugal aswell, but knowing that carrying out the duties of both positions would be impossible, Pedro abdicated in Portugal and made his eldest daughter Maria the Queen of Portugal as well as betrothing her to Miguel, hisyounger brother. In the meantime, Carlota Joaquina's daughter, the Infanta Isabel Maria was to be Regent in Portugal instead of Carlota Joaquina, who ordinarily would have held such a post as Queen Dowager. Abouttwo years later the little queen set out for Portugal, only to find upon arrival at Gibraltar that her uncle and fiancé had not only removed the regent, but declared himself King of Portugal.Queen Carlota Joaquina died atthe Queluz Royal Palace, outside of Sintra. It is speculated whether she died because of natural causes or whether she, in fact, killed herself.IssueCarlota Joaquina married King João VI of Portugal in 1785 and had ninechildren.Carlota in film and televisionAfter her death, Carlota Joaquina (mainly in Brazil) became part of popular culture and an important historical figure, being the subject of several books, films and othermedia.Carlota Joaquina, Princess of Brazil (1994) – Feature film directed by Carla Camurati, tells a summarized tale, mixing history with legend, of the Princess's life, from her childhood until her (mythical) suicide.Marieta Severo plays adult Carlota, while Ludmila Dayer portrays her as a child.O Quinto dos Infernos (2003) – Betty Lago portrays Carlota in this television miniseries produced by Rede Globo, telling the story of howthe Portuguese Royal Family escaped to Brazil.Liberdade, Liberdade (2016) - Susana Ribeiro portrays Carlota in this Globo telenovela that eventually features the Portuguese Royal family going to Brazil.Novo Mundo(2017) - Débora Olivieri portrays Carlota in this Globo telenovela set in 1817 Brazil.AncestorsPassage 3:Isabel of Portugal, Lady of ViseuIsabella of Portugal (1364–1395) was the natural daughter of King Ferdinand I ofPortugal, from an unknown mother.BiographyBefore 1386 she was betrothed to João Afonso Telo de Menezes, 1st Count of Viana (do Alentejo), son of the powerful João Afonso Telo, 4th Count of Barcelos. However,this project was abandoned or dissolved.She married Alfonso Enríquez, Count of Gijón and Noreña, natural son of King Henry II of Castile. Her marriage was one of the clauses of the Treaty of Santarém, signed in 1373,between Portugal and Castile.Through a royal letter issued on 1 October 1377, her father granted her the Lordship of Viseu, Celorico, Linhares and Algodres.She left to the Royal Court of King Henry II of Castile whereshe lived while waiting for an appropriate age to get married. They finally married in 1377 in the city of Burgos. This marriage gave rise to the Noronha family, still represented in several aristocratic houses, both inPortugal and in Spain.The couple had six children:Pedro de Noronha (1379 – 20 August 1452), Archbishop of Lisbon (1424 – 1452), father of João, Pedro and Fernando de Noronha;Fernando de Noronha, second countof Vila Real by his marriage to Beatrice de Meneses, second countess of Vila Real, daughter and heiress of Pedro de Menezes;Sancho de Noronha, first Count of Odemira, comendador mayor of the Order of Santiago,alcalde-mor of Estremoz and Elvas, Lord of Vimieiro, Mortágua, Aveiro and other territories, married to Mécia de Sousa;Henrique de Noronha, captain in Ceuta, without legitimate male issue;João de Noronha,participated in the siege of Balaguer and was knighted by Infante Duarte in the siege of Ceuta where he was injured. He died from his wounds shortly afterwards without having left any offspring.Constance of Noronha,the second wife of Afonso, Duke of Braganza, without issue.Isabella eventually returned to her native Portugal where her uncle, King John I of Portugal, gave her a warm welcome and protection, both to her and to herchildren.See alsoNoronhaNoreñaPassage 4:Manuel, Prince of Portugal (1531–1537)Manuel (11 November 1531 – 14 April 1537), was the Hereditary Prince of Portugal from 1535 to his death in 1537. He was the fifthchild and second son of king John III of Portugal and Catherine of Austria.In 1535, his father officially designated him as Prince of Portugal, taking the place of his eldest sister Infanta Maria Manuela. However, after hispremature death at five years old, his younger brother Infante Filipe became the next Prince of Portugal.AncestryPassage 5:Infanta Maria Antonia of PortugalInfanta Maria Antónia of Portugal (Portuguese: Maria AntóniaAdelaide Camila Carolina Eulália Leopoldina Sofia Inês Francisca de Assis e de Paula Micaela Rafaela Gabriela Gonzaga Gregória Bernardina Benedita Andrea; 28 November 1862 – 14 May 1959) was the seventh and lastchild of Miguel I of Portugal and Adelaide of Löwenstein.Early lifeShe was born in exile as the youngest child of her parents in the Grand Duchy of Baden as her father, Infante Miguel, had been banished from Portugal byhis brother, Pedro I of Brazil, after usurping and losing the Portuguese throne in the Liberal Wars.MarriageOn 15 October 1884 at Schloss Fischorn, Maria Antonia married Robert I, Duke of Parma as his second wife.They had twelve children. Maria Antonia was widowed when Robert died at Villa Pianore on 16 November 1907.  Later on she resided with her daughter Zita while in exile. By 1940, Zita and her family, Maria Antonia"}
+{"doc_id":"doc_70","qid":"","text":"Passage 1:Melis AbzalovMelis Abzalov (Uzbek: Melis Abzalov, Мелис Абзалов; Russian: Мелис Абзалов; November 18, 1938  – October 26, 2016) was an Uzbek actor, film director, screenwriter, and film producer. Hismost famous films include Suyunchi (1982), Kelinlar qo\u0000zg\u0000oloni (1984), Armon (1986), and O\u0000tgan kunlar (1997).Abzalov is celebrated as one of the founders and prominent members of the Uzbek film makingindustry. During his lifetime, he received many honorary titles and awards, including the title Meritorious Artist of Uzbekistan (1987).Life and workMelis Oripovich Abzalov was born on November 18, 1938, in Yangiyul,then the Uzbek SSR. He graduated from the Ostrovsky Tashkent Theatre Arts Institute in 1961. A year later, in 1962, he started working at Uzbekfilm. He died on October 26, 2016, in Stockholm.FilmographyAsdirectorChinor tagidagi duel (Russian: Дуэль под чинарой) (The Duel under a Plane Tree)  (1979)Suyunchi (Russian: Бабушка-генерал) (1982)Kelinlar qo\u0000zg\u0000oloni (Russian: Бунт невесток) (The Rebellion of theBrides) (1985)Armon (Russian: Уходя, остаются) (Sorrow) (1986)Maysaraning ishi (Russian: Восточная плутовка) (The Case of Maysara) (1989)O\u0000tgan kunlar (Russian: Минувшие дни) (Days Gone By)(1997)Chimildiq (1999)Meshpolvon (2000)Baribir hayot go\u0000zal (Russian: Жизнь прекрасна или киллер поневоле) (After All, Life is Good) (2004)Sirli sirtmoq (The Secret Trap) (2008)Ta\u0000ziyadagi to\u0000y (Russian:Свадьба на поминках) (The Wedding at a Funeral) (2010)As actorLaylak keldi, yoz bo\u0000ldi (Russian: Белые, белые аисты) (White Storks) (1966) (not credited)Влюбленные (The Lovers) (1969)Седьмая пуля (TheSeventh Bullet) (1972)Встречи и расставания (Meetings and Partings) (1973)Поклонник (The Worshiper) (1973)Ты, песня моя (You, My Song) (1975)Inson qushlar ortidan boradi (Russian: Человек уходит заптицами) (Man is after the Birds) (1975)Далекие близкие годы (Far, Near Years) (1976)Птицы наших надежд (The Birds of Our Hopes) (1976)Седьмой джинн (The Seventh Genie) (1976)Буйный «Лебедь» (The Wild\"Swan\") (1977)Qo\u0000qon voqeasi (Russian: Это было в Коканде) (This Happened in Kokand) (1977)Olovli yo\u0000llar (Russian: Огненные дороги) (The Fiery Roads) (1978) (series)Любовь моя — революция (My Love —Revolution) (1981)Встреча у высоких снегов (The Meeting at High Snow Mountains) (1982)Новые приключения Акмаля (The New Adventures of Akmal) (1983) (not credited)Уроки на завтра (Lessons for Tomorrow)(1983)Прощай, зелень лета... (Good-Bye, Summer) (1985) (not credited)Я тебя помню (I Remember You) (1985)Armon (Russian: Уходя, остаются) (Sorrow) (1986)Kлиника (The Clinic) (1987)ПриключенияАрслана (The Adventures of Arslan) (1988)Чудовище или кто-то другой (A Monster or Somebody Else) (1988)Maysaraning ishi (Russian: Восточная плутовка) (The Case of Maysara) (1989)Кодекс молчания (TheCode of Silence) (1989)Шок (Shock) (1989)La Batalla de los Tres Reyes (Russian: Битва трех королей) (Battle of the Three Kings) (1990)Tangalik bolalar (Russian: Мальчики из Танги) (1990) (not credited)Ангел вогне (The Angel on Fire) (1992)Маклер (The Broker) (1992)Shaytanat (Russian: Шайтанат — царство бесов) (1998)Alpomish (Russian: Алпомыш) (2000)Дронго (The Drongo) (2002)Синедиктум (Cinedictum)(2002)Devona (Russian: Влюбленный) (2004)Baribir hayot go\u0000zal (Russian: Жизнь прекрасна или киллер поневоле) (After All, Life is Good) (2004)Vatan (Fatherland) (2006)Ходжа Насреддин: Игра начинается(Hodja Nasreddin: The Game Starts) (2006)Застава (The Outpost) (2007) (TV series)Tilla buva (Russian: Золотой дедушка) (Golden Grandpa) (2011)As screenwriterO\u0000tgan kunlar (Russian: Минувшие дни) (DaysGone By) (1997)AwardsAbzalov is celebrated as one of the founders of the Uzbek film making industry. He received many honorary titles and awards throughout his career, including the title Meritorious Artist ofUzbekistan (1987). In 2008, he received a Shuhrat Order.Passage 2:Pham Viet Anh KhoaPhạm Việt Anh Khoa (born May 11, 1981) is a Vietnamese movie producer, entrepreneur and founder of Saiga Films, notable bysome of Victor Vu films  including  Inferno (2010), Battle of the Brides (2011), Blood letter (2012), Scandal (2012) và Battle of the Brides 2FilmographyInferno – Giao Lo Dinh Menh (2010)Battle of the Brides(2011)Blood letter (2012)Scandal (2012)Battle of the Brides 2 (2013)The Mask (2016)Passage 3:Gaius Suetonius PaulinusGaius Suetonius Paulinus (fl. AD 40–69) was a Roman general best known as the commanderwho defeated the rebellion of Boudica.Early lifeLittle is known of Suetonius' family, but it likely came from Pisaurum (modern Pesaro), a town on the Adriatic coast of Italy. He is not known to be related to the biographerSuetonius.Mauretanian campaignHaving served as praetor in 40 AD, Suetonius was appointed governor of Mauretania the following year. In collaboration with Gnaeus Hosidius Geta, he suppressed the revolt led byAedemon in the mountainous province that arose from the execution of the local ruler by Caligula. In 41 AD Suetonius was the first Roman commander to lead troops across the Atlas Mountains, and Pliny the Elderquotes his description of the area in his Natural History.Governor of BritainIn 58, before being consul, he was appointed governor of Britain, replacing Quintus Veranius, who had died in office. He continued Veranius'spolicy of aggressively subduing the tribes of modern Wales, and was successful for his first two years in the post. His reputation as a general came to rival that of Gnaeus Domitius Corbulo. Two future governors servedunder him: Quintus Petillius Cerialis as legate of Legio IX Hispana, and Gnaeus Julius Agricola as a military tribune attached to II Augusta, but seconded to Suetonius's staff.In 60 or 61 Suetonius made an assault on theisland of Mona (Anglesey), a refuge for British fugitives and a stronghold of the druids. The tribes of the south-east took advantage of his absence and staged a revolt, led by queen Boudica of the Iceni. The colonia ofCamulodunum (Colchester) was destroyed, its inhabitants tortured, raped, and slaughtered, and Petillius Cerialis's legion routed. Suetonius brought Mona to terms and marched along the Roman road of Watling Streetto Londinium (London), the rebels' next target, but judged he did not have the numbers to defend the city and ordered it evacuated. The Britons duly destroyed it, the citizens of Londinium suffering the same fate asthose of Camulodunum, and then did the same to Verulamium (St Albans).Suetonius regrouped with the XIV Gemina, some detachments of the XX Valeria Victrix, and all available auxiliaries. The II Augusta, based atExeter, was available, but its prefect, Poenius Postumus, declined to heed the call. Nonetheless, Suetonius was able to assemble a force of about ten thousand men. Heavily outnumbered (the Britons numbered 230,000according to Cassius Dio), the Romans stood their ground. The resulting battle took place at an unidentified location in a defile with a wood behind him, probably in the West Midlands somewhere along Watling Street –at Cuttle Mill, 2 miles southeast of Towcester in Northamptonshire, in front of a narrow defile which answers the topographical description of Tacitus, human bones have been found over a large area; High Cross inLeicestershire and Manduessedum near the modern day town of Atherstone in Warwickshire have also been suggested - where Roman tactics and discipline triumphed over British numbers. The Britons' flight wasimpeded by the presence of their own families, whom they had stationed in a ring of wagons at the edge of the battlefield, and defeat turned into slaughter. Tacitus heard reports that almost eighty thousand Britonswere killed, compared to only four hundred Romans. Boudica poisoned herself, and Postumus, having denied his men a share in the victory, fell on his sword.Suetonius reinforced his army with legionaries and auxiliariesfrom Germania and conducted punitive operations against any remaining pockets of resistance, but this proved counterproductive. The new procurator, Gaius Julius Alpinus Classicianus, expressed concern to theEmperor Nero that Suetonius's activities would only lead to continued hostilities. An inquiry was set up under Nero's freedman, Polyclitus, and an excuse, that Suetonius had lost some ships, was found to relieve him ofhis command. He was replaced by the more conciliatory Publius Petronius Turpilianus. But Suetonius was not disgraced: a lead tessera found in Rome features both his and Nero's names and symbols of victory, and aman named Gaius Suetonius Paulinus was consul in 66, either a son of the same name  or the general himself appointed for a second time.Year of Four EmperorsIn 69, during the year of civil wars that followed thedeath of Nero (see Year of Four Emperors), he was one of Otho's senior generals and military advisors. He and Aulus Marius Celsus defeated Aulus Caecina Alienus, one of Vitellius's generals, near Cremona, butSuetonius would not allow his men to follow up their advantage and was accused of treachery as a result. When Caecina joined his forces with those of Fabius Valens, Suetonius advised Otho not to risk a battle but wasoverruled, leading to Otho's decisive defeat at Bedriacum. Suetonius was captured by Vitellius and obtained a pardon by claiming that he had deliberately lost the battle for Otho, although this was almost certainlyuntrue. His eventual fate remains unknown.NotesPassage 4:The Rebellion of the BridesThe Rebellion of the Brides (Uzbek: Келинлар \u0000ўз\u0000олони, romanized: Kelinlar qo\u0000zg\u0000oloni; Russian: Бунт невесток) is a 1984Uzbek comedy film based on an eponymous play by the Uzbek writer Said Ahmad and directed by Melis Abzalov. Kelinlar qo\u0000zgvoloni is one of the most critically acclaimed Uzbek films of the Soviet period. Like MelisAbzalov's previous film Suyunchi, Kelinlar qo\u0000zg\u0000oloni tells the story of an authoritative grandmother.PlotFarmon bibi (played by Tursunoy Ja\u0000farova) is a wise and loving, but strict mother who lives with the familiesof her seven sons in one house. Nigora, the wife of her youngest son, rebels against Farmon Bibi and the other wives sympathize with her. In one scene, the mother and her daughters-in-law go to the bazaar. Towardthe end of the film, Farmon bibi changes her attitude and gives in to the demands of her daughters-in-law.Passage 5:Le Masque de la MéduseLe masque de la Méduse (English: The Mask of Medusa) is a 2009 fantasyhorror film directed by Jean Rollin. The film is a modern-day telling of the Greek mythological tale of the Gorgon and was inspired by the 1964 classic Hammer Horror film of the same name and the 1981 cult classicClash of the Titans. It was Rollin's final film, as the director died in 2010.CastSimone Rollin as la MéduseSabine Lenoël as EuryaleMarlène Delcambre as SthénoJuliette Moreau as JulietteDelphine Montoban asCorneliusJean-Pierre Bouyxou as le gardienBernard Charnacé as le collectionneurAgnès Pierron as la colleuse d'affiche au Grand-GuignolGabrielle Rollin as la petite contrebassisteJean Rollin as l'homme qui enterre latêteThomas Smith as ThomasProductionIt was thought that Rollin's 2007 film La nuit des horloges was the final film of his career, as he had mentioned in the past. However, in 2009, Rollin began preparation foe Lemasque de la Méduse. Rollin originally directed the film as a one-hour short, which was screened at the Cinémathèque de Toulouse, but after the release, Rollin decided to add 20 minutes of additional scenes and thencut the film into two distinct parts, as he did with his first feature, Le Viol du Vampire.  The film was shot on location at the Golden Gate Aquarium and Père Lachaise Cemetery, as well as on stage at the Theatre duGrande Guignol, which is where the longest part of the film takes place. It was shot on HD video on a low budget of €150,000. Before the release, it was transferred to 35mm film.ReleaseThe film was not releasedtheatrically, although it premiered on 19 November 2009 at the 11th edition of the Extreme Cinema Film Festival at the Cinémathèque de Toulouse. As part of \"An Evening with Jean Rollin\", it was shown as a doublefeature with Rollin's 2007 film La nuit des horloges.Home mediaNo official DVD was released, although for a limited time, a DVD of La masque de la Méduse was included with the first 150 copies of Rollin's book JeanRollin: Écrits complets Volume 1.Passage 6:Charles Canning, 1st Earl CanningCharles  Canning, 1st Earl Canning,  (14 December 1812 – 17 June 1862), also known as The Viscount Canning and  Clemency Canning, wasa British statesman and Governor-General of India during the Indian Rebellion of 1857 and the first Viceroy of India after the transfer of power from the East India Company to the Crown of Queen Victoria in 1858 afterthe rebellion was crushed.Canning is credited for ensuring that the administration and most departments of the government functioned normally during the  rebellion and took major administrative decisions even duringthe peak of the Rebellion in 1857, including establishing the first three modern Universities in India, the University of Calcutta, University of Madras and University of Bombay based on Wood's despatch. Canning passedthe Hindu Widows' Remarriage Act, 1856 which was drafted by his predecessor  Lord Dalhousie before the rebellion. He also passed the General Service Enlistment Act of 1856.After the rebellion he presided over asmooth transfer and reorganisation of government from the East India company to the crown,  the Indian Penal Code was drafted in 1860 based on the code drafted by Macaulay and came into force in 1862. Canningmet the rebellion '\"with firmness, confidence, magnanimity and calm\" as per his biographer. Canning was very firm during the rebellion but after that he focused on reconciliation and reconstruction rather thanretribution and issued a clemency proclamation.BackgroundBorn at Gloucester Lodge, Brompton, near London, Canning was the youngest child of George Canning and Joan, Viscountess Canning, daughter ofMajor-General John Scott, his father was Prime Minister for a few months in 1827. He was educated at Christ Church, Oxford, where he graduated B.A. in 1833, as first class in classics and second class inmathematics.Political careerIn 1836 he entered Parliament, being returned as member for the town of Warwick in the Conservative interest. He did not, however, sit long in the House of Commons; for, on the death ofhis mother in 1837, he succeeded to the peerage and entered the House of Lords. His first official appointment was that of Parliamentary Under-Secretary of State for Foreign Affairs, in the administration formed by SirRobert Peel in 1841, his chief being the Earl of Aberdeen. This post he held till January 1846; and from January to July of that year, when the Peel administration was broken up, Lord Canning filled the post of FirstCommissioner of Woods and Forests.He served on the Royal Commission on the British Museum (1847–49). He declined to accept office under the Earl of Derby; but on the formation of the coalition ministry under theEarl of Aberdeen in January 1853, he received the appointment of Postmaster General. In this office, he showed not only a large capacity for hard work but also general administrative ability and much zeal for theimprovement of the service. He retained his post under Lord Palmerston's ministry until July 1855, when, in consequence of the departure of Lord Dalhousie and a vacancy in the governor-generalship of India, he wasselected by Lord Palmerston to succeed to that great position. This appointment appears to have been made rather on the ground of his father's great services than from any proof as yet given of special personal fitnesson the part of Lord Canning. The new governor sailed from England in December 1855 and entered upon the duties of his office in India at the close of February 1856.According to the Encyclopædia Britannica of 1911,\"In the year following his accession to office, the deep-seated discontent of the people broke out in the Indian Rebellion of 1857. Fears were entertained, and even the friends of the Governor-General to some extentshared them, that he was not equal to the crisis. But the fears proved groundless. He had a clear eye for the gravity of the situation, a calm judgment, and a prompt, swift hand to do what was really necessary. ... Hecarried the Indian empire safely through the stress of the storm, and, what was perhaps a harder task still, he dealt wisely with the enormous difficulties arising at the close of such a war. ... The name of ClemencyCanning, which was applied to him during the heated animosities of the moment, has since become a title of honour.\" He was derisively called \"Clemency\" on account of a Resolution dated 31 July 1857, whichdistinguished between sepoys from regiments which had mutinied and killed their officers and European civilians, and those Indian soldiers who had disbanded and dispersed to their villages, without being involved inviolence. While subsequently regarded as a humane and sensible measure, the Resolution made Canning unpopular at a time when British popular opinion favoured collective and indiscriminate reprisals.TheEncyclopædia Britannica of 1911 continues, \"While rebellion was raging in Oudh he issued a proclamation declaring the lands of the province forfeited, and this step gave rise to much angry controversy. A secretdespatch, couched in arrogant and offensive terms, was addressed to Canning by Lord Ellenborough, then a member of the Derby administration, which would have justified the Governor-General in immediatelyresigning. But from a strong sense of duty, he continued at his post, and ere long the general condemnation of the despatch was so strong that the writer felt it necessary to retire from office. Lord Canning replied to thedespatch, calmly and in a statesman-like manner explaining and vindicating his censured policy\" and in 1858 he was rewarded by being made the first Viceroy of India.The Encyclopædia Britannica of 1911 adds, \"InApril 1859 he received the thanks of both Houses of Parliament for his great services during the rebellion. He was also made an extra civil grand cross of the Order of the Bath, and in May of the same year he was raisedto the dignity of an Earl, as Earl Canning. ...By the strain of anxiety and hard work his health and strength were seriously impaired, while the death of his wife was also a great shock to him; in the hope that rest in hisnative land might restore him, he left India, reaching England in April 1862. But it was too late. He died in London on 17 June. About a month before his death he was created a Knight of the Garter. As he died withoutissue the titles became extinct.\"Prior to the rebellion, Canning and his wife, Charlotte, had desired to produce a photographic survey of Indian people, primarily for their own edification. This project was transformed intoan official government study as a consequence of the rebellion, after which it was seen as useful documentation in the effort to learn more about native communities and thereby better understand them. It waseventually published as an eight-volume work, The People of India, between 1868 and 1875.Places named after CanningCanning Town in LondonFort Canning Hill, a hill in Singapore, is named after Viscount CharlesCanning, although many people mistakenly believe that it is named after his father, George CanningCanning Street in Kemptown, Brighton is named after Viscount CanningCannington, a neighbourhood in Prayagraj(Allahabad), Uttar Pradesh, India, now known as Civil LinesCanning, South 24 Parganas in West Bengal, IndiaUniversity of Lucknow, India, was formerly named Canning CollegeSee alsoCharlotte Canning, CountessCanningCanning in West BengalPassage 7:Sam NewfieldSam Newfield, born Samuel Neufeld (December 6, 1899 – November 10, 1964), also known as Sherman Scott or Peter Stewart, was an American B-moviedirector, one of the most prolific in American film history—he is credited with directing over 250 feature films in a career which began during the silent era and ended in 1958. In addition to his staggering feature output,he also directed one -and two-reel comedy shorts, training films, industrial films, TV episodes and pretty much anything anyone would pay him for. Because of this massive output—he would sometimes direct more than20 films in a single year—he has been called the most prolific director of the sound era.Many of Newfield's films were made for PRC Pictures. This was a film production company headed by his brother Sigmund Neufeld.The films PRC produced were low-budget productions, the majority being westerns, with an occasional horror film or crime drama.Family and educationNewfield completed one year of high school, according to the 1940"}
+{"doc_id":"doc_71","qid":"","text":"Passage 1:Nancy BaronNancy Baron is an American rock singer who was active in New York City in the early 1960s, known for the singles \"Where Did My Jimmy Go?\" and \"I've Got A Feeling\".Early lifeBorn into a familyof singers and writers, Baron was introduced to many musical genres by her family at an early age. Noting her singing talents, her parents brought their young child to auditions for musical theater productions in NewYork City. The singer joined Glee clubs at school and formed her own female singing groups at school. At the age of 11, she heard her first \"Rock and Roll\" song. This affected her taste in music and desire to emulate thestyle; it was the first time she heard a Rock group with a female lead singer. This was significant since she realized that she could be a lead singer.Recording careerAt the age of 15, her parents sent her for vocalcoaching in Manhattan, N.Y. After a while her coach sent her to record a demonstration record in a sound studio near Broadway. Upon hearing her sing, the sound engineer contacted his friend who was a producer of asmall record company in N.Y.C.; he was impressed by her voice and immediately signed her to a contract. The singer's mother co-signed the document since Baron was a fifteen-year-old minor at the time.Baronbecame one of the many girl group/girl sound singers of the early 1960s. Baron was not a member of a group; her producers would hire \"pay for hire\" backup groups for her recordings. This \"sound\" as it is referred tohad much to do with Phil Spector, one of its major creators; Spector produced recordings of this genre prolifically. The groups were composed of young adult or teenage girls, each with a lead singer and any number ofback up singers.At the time, the troubled label (a small N.Y.C. record company owned by Wally Zober) could not promote Baron's \"I've Got A Feeling\"/\"Oh Yeah\" 45 vinyl and so she eventually signed a contract withJerry Goldstein producer of FGG productions, also located in Manhattan. \"Where Did My Jimmy Go\"/\"Tra la la, I Love You\" was the result (Diamond).Later lifeBaron left the music industry at the age of 19, choosing toenter higher education due to changes in the music industry of those days; she eventually received an advanced degree.Baron's \"I've Got a Feeling\" was covered by The Secret Sisters on their 2010 self-titled album aswell as being released as a single. AllMusic describes Baron's song as \"an early-'60s pop/rock obscurity\".Passage 2:Elizabeth Brooke (1503–1560)Elizabeth Brooke, Lady Wyatt (1503–1560) was the wife of Sir ThomasWyatt, the poet, and the mother of Thomas Wyatt the younger who led Wyatt's Rebellion against Mary I. Her parents were Thomas Brooke, 8th Baron Cobham and Dorothy Heydon, the daughter of Sir HenryHeydon.  She was the sister of George Brooke, 9th Baron Cobham and was considered a possible candidate for the sixth wife of Henry VIII of England.Marriage and issueElizabeth married twice.First MarriageIn 1520,Elizabeth married Sir Thomas Wyatt (1503 – 6 October 1542) and a year later, bore him a son:Sir Thomas (1521–1554), who led an unsuccessful rebellion against Mary I in 1554. The aim of the rebellion was to replacethe Catholic Queen Mary with her Protestant half-sister, Elizabeth.Early in the marriage, marital difficulties arose, with Wyatt claiming they were  'chiefly'  her fault. He repudiated her as an adulteress, although there isno record linking her with any specific man. Elizabeth separated from Thomas Wyatt in 1526 and he supported her until around 1537, when he refused to do so any longer and sent her to live with her brother, LordCobham. In that same year, Lord Cobham attempted to force Wyatt to continue his financial support. He refused. It wasn't until 1541, when Wyatt, accused of treason, was arrested and his properties confiscated, thatthe Brooke family was able to force a reconciliation as a condition for Wyatt’s pardon.In a letter to Charles V, the imperial ambassador, Eustace Chapuys wrote that Wyatt had been released from the Tower at therequest of Catherine Howard. Chapuys noted that the king had imposed two conditions; that Wyatt  'confess his guilt'  and that  'he should take back his wife from whom he had been separated upwards of 15 years, onpain of death if he be untrue to her henceforth.'  There is no evidence that this provision was ever enforced or existed. After pursuing Anne Boleyn, before her relationship with the King, Wyatt had begun a long-termaffair with Elizabeth Darrell and he continued his association with his mistress.On 14 February 1542, the night after Catherine Howard had been condemned to death for adultery, Henry VIII held a dinner for many menand women. The king was said to have paid great attention to Elizabeth and to Anne Basset and both were thought to be possible choices for his sixth wife. In early 1542, more than a year before Wyatt’s death,Elizabeth Brooke's name appeared in Spanish dispatches as one of three ladies in whom Henry VIII was said to be interested as a possible sixth wife.The imperial ambassador, Chapuys, wrote that the lady for whom theking \"showed the greatest regard was a sister of Lord Cobham, whom Wyatt, some time ago, divorced for adultery. She is a pretty young creature, with wit enough to do as badly as the others if she were to try.\" Itwould appear that the ambassador was mistaken, as at the time, Elizabeth Brooke was nearly forty years old. Perhaps Elizabeth Brooke had been confused with her beautiful young niece, Elisabeth Brooke, the eldestdaughter of George Brooke, 9th Baron Cobham, who married William Parr, 1st Marquess of Northampton. Elisabeth Brooke, Lord Cobham’s daughter, may have been at court on this occasion, since she was definitelythere the following year. She would have been nearly sixteen in January 1542 and in later years was accounted one of the most beautiful women of her time. More important to a king who had just rid himself of a wife(Catherine Howard) who had committed adultery, this second  Elisabeth had a spotless reputation.Second marriageFollowing Wyatt’s death, Elizabeth Brooke married Sir Edward Warner (1511–1565), of Polstead Halland Plumstead, Norfolk,  Lord Lieutenant of the Tower. The couple had three sons:Edward, who died in infancyThomasHenryWarner was removed from his position on July 28, 1553, at the start of the reign of Mary I,and was arrested on suspicion of treason the following January at his house in Carter Lane when Thomas Wyatt the younger rebelled against the Crown. Warner was held for nearly a year. Elizabeth’s son was executed.Edward, the son she had with Warner, died young. Two other sons died in infancy. The family fortunes were restored under Elizabeth I and Warner reclaimed his post at the Tower of London. His wife died there inAugust 1560 and was buried within its precincts.AncestryPassage 3:Elizabeth JocelinElizabeth Brooke Jocelin (sometimes spelled \"Joceline\" or \"Joscelin\") was an English writer believed to have lived from 1595–1622.She is best known for her work The Mother's Legacy to her Vnborn Child. The book was first published two years after Jocelin's death in childbirth.Early lifeShe was the daughter of Sir Richard Brooke of Norton,Cheshire, and his wife Joan, daughter of William Chaderton, bishop of Lincoln. Her parents separated, and her mother returned home. Jocelin's grandfather, Bishop Chaderton, was mainly responsible for her upbringing.Elizabeth's childhood was therefore passed in the house of Bishop Chaderton, who educated her. She was extremely well versed in art, religion and language. According to her editor Thomas Goad, she had anexceptional memory.Later lifeIn 1616 she married Tourell Jocelin of Cambridgeshire. Foreboding her death in childbirth, she wrote a letter which gently but earnestly exhorted her son or daughter to piety and goodconduct; and a letter to her husband, giving him advice as to the bringing up of the child. These works are thought to have been written at Crowlands, Oakington. She bore a daughter on 12 October 1622, and died ninedays afterwards. The child, named Theodora, became the wife of Samuel Fortrey.The Jocelins appeared to lead a rather happy marriage, one that appeared to be mainly based on genuine love. In The Mother's Legacyto her Vnborn Child Jocelin writes of how excited she is to be carrying her husband's child and that they have been working together to plan the best possible life for their childJocelin is noted for being \"one of the mostnotable young women of the times of James I”The LegacieThe Legacie was first published in 1624 with a long Approbation by Thomas Goad giving some account of Elizabeth Jocelin's life. The second edition is dated1624 and the third 1625. An exact reprint of the third edition, with an introduction by an anonymous Edinburgh editor, appeared in 1852. The edition printed at Oxford, 'for the satisfaction of the person of quality hereinconcerned,' in 1684, and reprinted at the end of C. H. Cranford's Sermons in 1840, is an altered one, the editor having made changes in religious matters. The manuscript of the Legacie is in the British Museum (Addit.MS. 27467). It is still somewhat contentious whether the manuscript is by Jocelin, and whether Goad's editorial work brought in substantive change in the content.Jocelin wrote The Mother’s Legacy to her Vnborn Childduring the Early Modern period when women were typically defined by their existence in the domestic sphere. Jocelin's work kept in line with the expectations of women during the period because of her clear dedicationto her position as a mother.One of the idiosyncratic things about the mother's advice text is Jocelin's choice of tone and word use to insure that whether her child is a boy or a girl he or she will be able to follow theadvice she leaves behind. There are clearly different expectations and techniques to raising a son or daughter and Jocelin makes sure to acknowledge these differences while leaving advice for both. For example, sheaddresses her daughter to respect, obey and be a good mother. Jocelin writes about her desire to protect her daughter “from a potentially difficult and uncomfortable way of life.” Jocelin has been criticised for herdifferent approaches to raising her child based on its gender. Much like women of her time Jocelin desired for her daughter to be acceptable to society even if it meant limiting her intelligence or unhappiness.One of thelargest parts of The Mother’s Legacy to her Vnborn Child is the religious advice that Jocelin offers to her unborn child. She urges the child to pray regularly, avoid temptations, acknowledge holy days and becharitable.The tone of the book is one filled with optimism and pride over becoming a new mother. Jocelin is clearly excited about meeting her child even though she seems to understand that birthing the child will be agreat risk to herself.Much of the books instruction is directed toward Jocelin's husband including how to properly select a wet nurse for their child if Elizabeth should die.Excerpts from The Mother's Legacy to her VnbornChild:“I desire her bringing up may bee learning the Bible, as my sisters doe, good housewifery, writing, and good works: other learning a woman needs not; though I admire it in those whom God hath blest withdescretion, yet I desired not much in my owne, having seene that sometimes women have greater portions of learning than wisdome, which is of no better use to them than a main saile to a flye-boat, which runs itunder water. But where learning and wisdom meet in a vertuous disposed woman she is the fittest closet for all goodnesse. She is like a well-balanced ship that may beare all her saile. She is, Indeed, I should butshame my selfe, if I should goe about to praise her more...Yet I leave it to thy will...If thou desirest a learned daughter, I pray God give her a wise and religious heart, that she may use it to his glory, thy comfort, andher own salvation.”“And if thou beest a daughter, thou maist perhaps thinke I have lost my labour; but reade on, and thou shalt see my love and care of thee and thy salvation is as great, as if thou wert a sonne, andmy feare greater”.Posthumous legacyElizabeth Jocelin is remembered as a dedicated mother and an iconic woman of her time because of her dedication to making sure her child was raised properly even after her death.The Mother's Legacy to her Vnborn Child is regarded as one of the most significant works of the time because of the intimate view it gives of the mindset, beliefs and ideals of women of the time.NotesPassage 4:ThomasWyatt (poet)Sir Thomas Wyatt (1503 – 11 October 1542) was a 16th-century English politician, ambassador, and lyric poet credited with introducing the sonnet to English literature. He was born at Allington Castle nearMaidstone in Kent, though the family was originally from Yorkshire. His family adopted the Lancastrian side in the Wars of the Roses. His mother was Anne Skinner, and his father Henry, who had earlier been imprisonedand tortured by Richard III, had been a Privy Councillor of Henry VII and remained a trusted adviser when Henry VIII ascended the throne in 1509. Thomas followed his father to court after his education at St John'sCollege, Cambridge. Entering the King's service, he was entrusted with many important diplomatic missions. In public life, his principal patron was Thomas Cromwell, after whose death he was recalled from abroad andimprisoned (1541). Though subsequently acquitted and released, shortly thereafter he died.  His poems were circulated at court and may have been published anonymously in the anthology The Court of Venus (earliestedition c. 1537) during his lifetime, but were not published under his name until after his death; the first major book to feature and attribute his verse was Tottel's Miscellany (1557), printed 15 years after hisdeath.Early lifeThomas Wyatt was born at Allington, Kent, in 1503, the son of Sir Henry Wyatt by Anne Skinner, the daughter of John Skinner of Reigate, Surrey. He had a brother Henry, assumed to have died an infant,and a sister, Margaret who married Sir Anthony Lee(died 1549) and was the mother of Queen Elizabeth's champion, Sir Henry Lee.Education and diplomatic careerWyatt was over six feet tall, reportedly both handsomeand physically strong. He was an ambassador in the service of Henry VIII, but he entered Henry's service in 1515 as \"Sewer Extraordinary\", and the same year he began studying at St John's College, Cambridge. Hisfather had been associated with Sir Thomas Boleyn as constable of Norwich Castle, and Wyatt was thus acquainted with Anne Boleyn.Following a diplomatic mission to Spain, in 1526, he accompanied Sir John Russell,1st Earl of Bedford, to Rome to help petition Pope Clement VII to annul Henry VIII's marriage to Catherine of Aragon, freeing him to marry Anne Boleyn. Russell being incapacitated, Wyatt was also sent to negotiatewith the Republic of Venice.  According to some, Wyatt was captured by the armies of Emperor Charles V when they captured Rome and imprisoned the Pope in 1527, but he managed to escape and make it back toEngland.Between 1528 and 1530 Wyatt acted as high marshal at Calais. In the years following he continued in Henry's service; he was, however, imprisoned in the Tower of London for a month in 1536, perhapsbecause Henry hoped he would incriminate the queen. He was knighted in 1535 and appointed High Sheriff of Kent for 1536. At this time he was sent to Spain as ambassador to Charles V, who was offended by thedeclaration of Princess Mary's illegitimacy; he was her cousin and they had once been briefly betrothed. Although Wyatt was unsuccessful in his endeavours, and was accused of disloyalty by some of his colleagues, hewas protected by his relationship with Cromwell, at least during the latter's lifetime.Wyatt was elected knight of the shire (MP) for Kent in December 1541.Marriage and issueIn 1520 Wyatt married Elizabeth Brooke(1503–1560). A year later, they had a son Thomas (1521–1554) who led Wyatt's rebellion some twelve years after his father's death. In 1524, Henry VIII assigned Wyatt to be an ambassador at home and abroad, andhe separated from his wife soon after on grounds of adultery.Wyatt's poetry and influenceWyatt's professed object was to experiment with the English language, to civilise it, to raise its powers to equal those of otherEuropean languages. His poetry may be considered as a part of the Petrarchism movement within Renaissance literature. A significant amount of his literary output consists of translations and imitations of sonnets byItalian poet Petrarch; he also wrote sonnets of his own. He took subject matter from Petrarch's sonnets, but his rhyme schemes are significantly different. Petrarch's sonnets consist of an \"octave\" rhyming abba abba,followed by a \"sestet\" with various rhyme schemes. Wyatt employs the Petrarchan octave, but his most common sestet scheme is cddc ee. Wyatt experimented in stanza forms including the rondeau, epigrams, terzarima, ottava rima songs, and satires, as well as with monorime, triplets with refrains, quatrains with different length of line and rhyme schemes, quatrains with codas, and the French forms of douzaine and treizaine. Heintroduced the poulter's measure form, rhyming couplets composed of a 12-syllable iambic line (Alexandrine) followed by a 14-syllable iambic line (fourteener), and he is considered a master of the iambictetrameter.Wyatt's poetry reflects classical and Italian models, but he also admired the work of Geoffrey Chaucer, and his vocabulary reflects that of Chaucer; for example, he uses Chaucer's word newfangleness,meaning fickleness, in They Flee from Me. Many of his poems deal with the trials of romantic love and the devotion of the suitor to an unavailable or cruel mistress. Other poems are scathing, satirical indictments of thehypocrisies and pandering required of courtiers who are ambitious to advance at the Tudor court.Wyatt's poems are short but fairly numerous. His 96 love poems appeared posthumously (1557) in a compendium calledTottel's Miscellany. The most noteworthy are thirty-one sonnets, the first in English. Ten of them were translations from Petrarch, while all were written in the Petrarchan form, apart from the couplet ending which Wyattintroduced. Serious and reflective in tone, the sonnets show some stiffness of construction and a metrical uncertainty indicative of the difficulty Wyatt found in the new form. Yet their conciseness represents a greatadvance on the prolixity and uncouthness of much earlier poetry. Wyatt was also responsible for the important introduction of the personal note into English poetry, for although he followed his models closely, he wroteof his own experiences. His epigrams, songs, and rondeaux are lighter than the sonnets, and they reveal the care and the elegance typical of the new romanticism. His satires are composed in the Italian terza rima,again showing the direction of the innovating tendencies.AttributionThe Egerton Manuscript is an album containing Wyatt's personal selection of his poems and translations which preserves 123 texts, partly in hishandwriting. Tottel's Miscellany (1557) is the Elizabethan anthology which created Wyatt's posthumous reputation; it ascribes 96 poems to him, 33 not in the Egerton Manuscript. These 156 poems can be ascribed toWyatt with certainty on the basis of objective evidence. Another 129 poems have been ascribed to him purely on the basis of subjective editorial judgment. They are mostly derived from the Devonshire ManuscriptCollection and the Blage manuscript. Rebholz comments in his preface to Sir Thomas Wyatt, The Complete Poems, \"The problem of determining which poems Wyatt wrote is as yet unsolved\".AssessmentCritical opinionshave varied widely regarding Wyatt's work. Eighteenth-century critic Thomas Warton considered Wyatt \"confessedly an inferior\" to his contemporary Henry Howard, and felt that Wyatt's \"genius was of the moral anddidactic species\" but deemed him \"the first polished English satirist\". The 20th century saw an awakening in his popularity and a surge in critical attention. His poems were found praiseworthy by numerous poets,including Ezra Pound, Marianne Moore, John Berryman, Yvor Winters, Basil Bunting, Louis Zukofsky and George Oppen. C. S. Lewis called him \"the father of the Drab Age\" (i.e. the unornate), from what he calls the\"golden\" age of the 16th century. Patricia Thomson describes Wyatt as \"the Father of English Poetry\".Rumoured affair with Anne BoleynMany have conjectured that Wyatt fell in love with Anne Boleyn in the early- tomid-1520s. Their acquaintance is certain, but it is not certain whether the two shared a romantic relationship. George Gilfillan implies that Wyatt and Boleyn were romantically involved. In his verse, Wyatt calls hismistress Anna and might allude to events in her life:Gilfillan argues that these lines could refer to Anne's trip to France in 1532 prior to her marriage to Henry VIII and could imply that Wyatt was present, although his"}
+{"doc_id":"doc_72","qid":"","text":"Passage 1:Ian Barry (director)Ian Barry is an Australian director of film and TV.Select creditsWaiting for Lucas (1973) (short)Stone (1974) (editor only)The Chain Reaction (1980)Whose Baby? (1986)(mini-series)Minnamurra (1989)Bodysurfer (1989) (mini-series)Ring of Scorpio (1990) (mini-series)Crimebroker (1993)Inferno (1998) (TV movie)Miss Lettie and Me (2002) (TV movie)Not Quite Hollywood: The Wild,Untold Story of Ozploitation! (2008) (documentary)The Doctor Blake Mysteries (2013)Passage 2:The Seventh Company OutdoorsThe Seventh Company Outdoors (French: La Septième Compagnie au clair de lune) is a1977 French comedy film directed by Robert Lamoureux. It is a sequel to Now Where Did the 7th Company Get to?.CastJean Lefebvre - PithivierPierre Mondy - ChaudardHenri Guybet - TassinPatricia Karim - SuzanneChaudardGérard Hérold - Le commandant GillesGérard Jugnot - GorgetonJean Carmet - M. Albert, le passeurAndré Pousse - LambertMichel BertoPassage 3:Now Where Did the 7th Company Get to?Now Where Did the7th Company Get To? (French: Mais où est donc passée la septième compagnie?) is a 1973 French-Italian comedy war film directed by Robert Lamoureux. The film portrays the adventures of a French Army squad lostsomewhere on the front in May 1940 during the Battle of France.PlotDuring the Battle of France, while German forces are spreading across the country, the 7th Transmission Company suffers an air raid near theMachecoul woods, but survive and hide in the woods. Captain Dumont, the company commander, sends Louis Chaudard, Pithiviers and Tassin to scout the area. After burying the radio cable beneath a sandy road, thesquad crosses the field, climbs a nearby hill, and takes position within a cemetery. One man cut down the wrong tree for camouflage, pulling up the radio cable and revealing it to the passing German infantry. TheGermans cut the cable, surround the woods, and order a puzzled 7th Company to surrender. The squad tries to contact the company, but then witness their capture and run away.Commanded by Staff SergeantChaudard, the unit stops in a wood for the night. Pithiviers is content to slow down and wait for the end of the campaign. The next day, he goes for a swim in the lake, in sight of possible German fighters. WhenChaudard and Tassin wake up, they leave the camp without their weapons to look for Pithiviers. Tassin finds him and gives an angry warning, but Pithiviers convinces Tassin to join him in the lake. Chaudard ordersthem to get out, but distracted by a rabbit, falls into the lake. While Chaudard teaches his men how to swim, two German fighter planes appear, forcing them out of the water. After shooting down one of the Germanplanes, a French pilot, Lieutenant Duvauchel, makes an emergency landing and escapes before his plane explodes. PFC Pithiviers, seeing the bad shape of one of his shoes, destroys what is left of his shoe sole. Tassin issent on patrol to get food and a new pair of shoes for Pithiviers. Tassin arrives in a farm, but only finds a dog, so he returns and Chaudard goes to the farm after nightfall. The farmer returns with her daughter-in-lawand Lt Duvauchel, and she welcomes Chaudard. Duvauchel, who is hiding behind the door, comes out upon hearing the news and decides to meet Chaudard's men.When Chaudard and Duvauchel return to the camp,Tassin and Pithiviers are roasting a rabbit they caught. Duvauchel realizes that Chaudard has been lying and takes command.The following day, the men leave the wood in early morning and capture a German armoredtow truck after killing its two drivers. They originally planned to abandon the truck and the two dead Germans in the woods, but instead realized that the truck is the best way to disguise themselves and free the 7thCompany. They put on the Germans' uniforms, recover another soldier of the 7th Company, who succeeded in escaping, and obtain resources from a collaborator who mistook them for Germans.On their way, theyencounter a National Gendarmerie patrol, who appear to be a 5th column. The patrol injures the newest member of their group, a young soldier, and then are killed by Tassin. In revenge, they destroy a German tankusing the tow truck's cannon gun.They planned to go to Paris but are misguided by their own colonel, but find the 7th Company with guards who are bringing them to Germany. Using their cover, they make the guardsrun in front of the truck, allowing the company to get away. When Captain Dumont joins his Chaudard, Tassin, and Pithiviers in the truck, who salute the German commander with a great smile.CastingJean Lefebvre :PFC PithiviersPierre Mondy : Staff Sergent Paul ChaudardAldo Maccione: PFC TassinRobert Lamoureux: Colonel BlanchetErik Colin: Lieutenant DuvauchelPierre Tornade: Captain DumontAlain Doutey: CarlierRobertDalban : The peasantJacques Marin: The collaborationistRobert Rollis: A French soldierProductionThe film's success spawned two sequels:– 1975 : On a retrouvé la septième compagnie (The Seventh Company Has BeenFound) by Robert Lamoureux;– 1977 : La Septième Compagnie au clair de lune (The Seventh Company Outdoors)) by Robert Lamoureux.The story is set in Machecoul woods, but it was actually filmed near Cerny andLa Ferté-Alais, as well as Jouars-Pontchartrain and Rochefort-en-Yvelines. The famous grocery scene was filmed in Bazoches-Sur-Guyonne.Robert Lamoureux based this film on his own personal experiences in June1940 during the war.The final scene with the parachute is based on a true story. The 58 Free French paratroopers were parachuted into Brittany in groups of three, on the night of 7 June 1944 to neutralize the railnetwork of Normandy Landings in Brittany, two days before.Box officeThe movie received a great success in France reaching the third best selling movie in 1974.NotesExternal linksMais où est donc passée la septièmecompagnie? at IMDbPassage 4:Dana BlanksteinDana Blankstein-Cohen (born March 3, 1981) is the executive director of the Sam Spiegel Film and Television School. She was appointed by the board of directors  inNovember 2019.  Previously she was the CEO of the Israeli Academy of Film and Television. She is a film director, and an Israeli culture entrepreneur.BiographyDana Blankstein was born in Switzerland in 1981 totheatre director Dedi Baron and Professor Alexander Blankstein. She moved to Israel in 1983 and grew up in Tel Aviv.Blankstein graduated from the Sam Spiegel Film and Television School, Jerusalem in 2008 with highhonors. During her studies she worked as a personal assistant to directors Savi Gabizon on his film Nina's Tragedies and to Renen Schorr on his film The Loners.  She also directed and shot 'the making of' film onGavison's film Lost and Found. Her debut film Camping competed at the Berlin International Film Festival, 2007.Film and academic careerAfter her studies, Dana founded and directed the film and television departmentat the Kfar Saba municipality. The department encouraged and promoted productions filmed in the city of Kfar Saba, as well as the established cultural projects, and educational community activities.Blankstein directedthe mini-series \"Tel Aviviot\" (2012). From 2016-2019 was the director of the Israeli Academy of Film and Television.In November 2019 Dana Blankstein Cohen was appointed the new director of the Sam Spiegel Filmand Television School where she also oversees the Sam Spiegel International Film Lab. In 2022, she spearheaded the launch of the new Series Lab and the film preparatory program for Arabic speakers in eastJerusalem.FilmographyTel Aviviot (mini-series; director, 2012)Growing Pains (graduation film, Sam Spiegel; director and screenwriter, 2008)Camping (debut film, Sam Spiegel; director and screenwriter, 2006)Passage5:The Eagle's EyeThe Eagle's Eye is a 1918 American serial film consisting of 20 episodes that dramatizes German espionage in the United States during World War I. The stories are based on the experiences of WilliamJ. Flynn during his career as chief of the United States Secret Service from 1912–1917.It features King Baggot as the president of the Criminology Club and Marguerite Snow as a Secret Service agent who investigatespies. Among the events depicted are the sending of the Zimmermann Telegram, Franz von Rintelen's attempts to sabotage cargo loading in San Francisco Harbor, and the capture of the German espionage plans. It wasdirected by George Lessey, Wellington A. Playter, Leopold Wharton, and Theodore Wharton, and produced by the Whartons Studio. The serial is now considered lost. Because this serial was a commercial failure, it wasthe last one made by Whartons due to the studio being forced to declare bankruptcy.BackgroundAfter Flynn's retirement from the Secret Service his work investigating sabotage during the war were interwoven withfictitious characters and events by Courtney Ryley Cooper into a 20-part spy thriller. These were also published as weekly installments in The Atlanta Constitution's magazine section during 1918 under the title TheEagle's Eye: A True Story of the Imperial German Government's Spies and Intrigues in America. Fifteen of the episodes were republished as chapters in a book the following year.CastKing Baggot as HarrisonGrantMarguerite Snow as Dixie MasonWilliam Bailey as Heinrich von LertzFlorence Short as Madame Augusta StephanBertram Marburgh as Count Johann von BernstorffPaul Everton as Captain Franz von PapenJohn P.Wade as Captain Karl Boy-EdFred C. Jones as Dr. Heinrich AlbertWellington A. Playter as Franz von RintelenLouise HotalingLouis C. Bement as Uncle SamAllan MurnaneF.W. StewartRobin H. TownleyBessie Wharton asMrs. BlankChapter titlesHidden DeathThe Naval Ball ConspiracyThe Plot Against the FleetVon Rintelen, the DestroyerThe Strike BreedersThe Plot Against Organized LaborBrown Port FolioThe Kaiser's DeathMessengerThe Munitions CampaignThe Invasion of CanadaThe Burning of HopewellThe Canal ConspiratorsThe Reign of TerrorThe Infantile Paralysis EpidemicThe Campaign Against CottonThe Raid of the U-53Germany'sU-Base in AmericaThe Great Hindu ConspiracyThe Menace of the I.W.W.The Great DecisionPassage 6:George LesseyGeorge Lessey (June 8, 1879 – June 3, 1947) was an American actor and director of the silent era. Heappeared in more than 120 films between 1910 and 1946. He also directed more than 70 films between 1913 and 1922. Lessey was born in Amherst, Massachusetts, and as a boy he acted in theatrical productionsthere. He graduated from Amherst College.For a year, Lessey was a leading man for Edison Studios, after which he directed films for the company for two years. In 1914, he joined Universal Studios as a director. Heportrayed Romeo in the initial film version of Romeo and Juliet, directed the first serial, What Happened to Mary, and played the first dual role in film as twins in The Corsican Brothers.On stage, Lessey appeared in theoriginal Broadway production of Porgy and Bess (1935) in one of the few white roles, that of the lawyer Mr. Archdale.In the 1930s, Lessey worked as a model for men's clothes.Lessey was married to the former MayAbbey. On June 3, 1947, Lessey died on vacation in Westbrook, Connecticut, aged 67.Selected filmographyPassage 7:Arrington HighArrington High (1910 - 1988) was an American journalist and newspaper publisher.He published the Eagle Eye newspaper in Jackson, Mississippi and was an advocate for African American civil rights.BiographyArrington High was born in 1910 to an African American mother and a Euro-American father.He published the Eagle Eye newspaper in Jackson, Mississippi. High wrote and published the Eagle Eye from his own home, located on Maple Street in Jackson. Copies of the newspaper were sold for ten cents and wereavailable for purchase directly from High or from the Farish Street Newsstand. High was known for being a strong, outspoken advocated for social equality and civil rights. The banner of Eagle Eye read, \"America'sgreatest newspaper, bombarding segregation and discrimination.\"High was fined for publishing criticism of school segregation. He was surveilled by the Mississippi Sovereignty Commission. He was arrested for sellingliterature without a permit. After publishing criticism of segregationists, he was held in the Mississippi State Asylum in Whitfield until he escaped to Chicago. He reported escaping in a casket. He made allegations againsta brothel he said employed African Americans to serve white clients. He continued publishing his newssheet from Chicago. He promoted conspiracy theories in his later publishing career. He died while living with hisdaughter in Chicago.Further readingJackson Eagle Eye (September 1954–May 1967) in Jet magazine May 16, 1988Passage 8:Eye of the Eagle 2: Inside the EnemyEye of the Eagle 2: Inside the Enemy (released in thePhilippines as Killed in Action) is a 1989 film directed by Carl Franklin. It is the sequel to the 1987 film Eye of the Eagle.It was shot in the Philippines.CastWilliam Todd FieldShirley TesoroReleaseEye of the Eagle 2 wasreleased in the United States in 1989. In the Philippines, the film was released as Killed in Action on August 11, 1989.Critical receptionEric Reifschneider of bloodbrothersfilms.com gave the film a rating of 2.5/5, writing,\"It surprisingly is an 'emotionally' driven low-budget war film that's main focus is on characters, not low budget action antics.\"Nils Bothmann of actionfreunde.de wrote that director Carl Franklin, \"illustrates theAmerican disappointment in this unheroic war.\"Reviewer Vern of outlawvern.com wrote, \"this is an example of the kind of thing I like where a director is able to put their stamp on lowbrow genre movies and later evolveinto whatever it is they want to do\".Timothy Young of mondo-esoterica.com called the film \"A complete change of pace for the series, Inside the Enemy is well written, covering some very interesting ideas but somepoor editing and generic music leaves the action scenes feeling flat - fortunately this is not an action picture and the rest of the film looks good with some strong acting. Of interest to fans of the more serious warmovies.\"Passage 9:Peter LevinPeter Levin is an American director of film, television and theatre.CareerSince 1967, Levin has amassed a large number of credits directing episodic television and television films. Some ofhis television series credits include Love Is a Many Splendored Thing, James at 15, The Paper Chase, Family, Starsky & Hutch, Lou Grant, Fame, Cagney & Lacey, Law & Order and Judging Amy.Some of his televisionfilm credits include Rape and Marriage: The Rideout Case (1980), A Reason to Live (1985), Popeye Doyle (1986), A Killer Among Us (1990), Queen Sized (2008) and among other films. He directed \"Heart in Hiding\",written by his wife Audrey Davis Levin, for which she received an Emmy for Best Day Time Special in the 1970s.Prior to becoming a director, Levin worked as an actor in several Broadway productions. He costarred withSusan Strasberg in \"[The Diary of Ann Frank]\" but had to leave the production when he was drafted into the Army. He trained at the Carnegie Mellon University. Eventually becoming a theatre director, he directedproductions at the Long Wharf Theatre and the Pacific Resident Theatre Company. He also co-founded the off-off-Broadway Theatre [the Hardware Poets Playhouse] with his wife Audrey Davis Levin and was also anassociate artist of The Interact Theatre Company.Passage 10:Olav AaraasOlav Aaraas (born 10 July 1950) is a Norwegian historian and museum director.He was born in Fredrikstad. From 1982 to 1993 he was thedirector of Sogn Folk Museum, from 1993 to 2010 he was the director of Maihaugen and from 2001 he has been the director of the Norwegian Museum of Cultural History. In 2010 he was decorated with the RoyalNorwegian Order of St. Olav."}
+{"doc_id":"doc_73","qid":"","text":"Passage 1:A Slave of VanityA Slave of Vanity is a 1920 American silent drama film starring Pauline Frederick, and directed and written by Henry Otto. The film, which was adapted from Arthur Wing Pinero's 1901 playIris, was produced and distributed by the Robertson-Cole Pictures Corporation that eventually became part of Film Booking Office of America. The film is now considered lost.PlotIris (Frederick), a British aristocrat, mustchoose between the poor Laurence (Barrie) and the rich Frederick (Louis). She decides to marry the wealthier Frederick, but at the last minute she changes her mind and runs off to Italy with Laurence. However, thingsdo not work out quite the way she planned.CastPauline Frederick as Iris BellamyArthur Hoyt as Croker HarringtonNigel Barrie as Laurence TrenwithWillard Louis as Frederick MaldonadoMaude Louis as FannySullivanDaisy Jefferson as Aurea VyseRuth Handforth as Miss PinsentHoward Gaye as Arthur KaneSee alsoList of lost filmsPassage 2:Shape of My HeartShape of My Heart may refer to:\"Shape of My Heart\" (Sting song),a 1993 song by Sting from the album Ten Summoner's Tales\"Shape of My Heart\" (Backstreet Boys song), a 2000 song by the Backstreet Boys\"Shape of My Heart\" (Noah and the Whale song), 2008 song by Noah andthe Whale, charting 94 in the UKShape of My Heart, a 2009 album by Katia Labèque\"Shape of My Heart\", a 2012 single by Rick Price from The Water's EdgeThe Shape of My Heart, the UK title of God-Shaped Hole, a2003 novel by Tiffanie DeBartoloPassage 3:Half of My Heart (disambiguation)\"Half of My Heart\" is a 2009 song by John Mayer from his album Battle Studies featuring Taylor Swift.Half of My Heart may also refer to:\"Halfof My Heart\", the love theme from the 1957 film Jeanne Eagels\"Half of My Heart\", a 1961 song by Emile Ford\"Half of My Heart\", a 2000 song by The Mooney Suzuki from People Get Ready\"Half of My Heart\", a 2019song by Megan McKennaPassage 4:Grace of My HeartGrace of My Heart is a 1996 American musical comedy-drama film written and directed by Allison Anders, and starring Illeana Douglas, Matt Dillon, Eric Stoltz, PatsyKensit and John Turturro. The film charts the fictional music career of Denise Waverly, an aspiring singer who writes for other artists in the pop music world of the mid-1960s. It premiered at the 1996 TorontoInternational Film Festival and went into limited release on September 13, 1996. The soundtrack features artists Burt Bacharach, Elvis Costello, Joni Mitchell, Gerry Goffin and Jill Sobule, replicating the musical style thatemerged from the Brill Building, New York City's  music factory in the heyday of girl groups and \"pre-fab\" acts like The Monkees.PlotIn 1958, Philadelphia steel heiress Edna Buxton enters and wins a talent contest.When she attempts to record a demo, a studio producer tells her that girl singers are not currently getting signed and record companies are even trying to get rid of the ones on their rosters. However, when Edna tellshim that she wrote the song she wants to record, he is impressed enough to direct her to producer Joel Milner, who takes her under his wing, renames her \"Denise Waverly\" and invents a blue-collar persona for her.Milner reworks her song for a male doo-wop group, the Stylettes, as male groups are far more marketable, and the song becomes a hit.Denise moves to New York City and becomes a songwriter in the Brill Building. Ata party, she meets the arrogant songwriter Howard Caszatt, and despite an awkward initial meeting, they begin a relationship. Denise offers to write a song specifically for her three girlfriends, which culminates in Joelauditioning the girls and creating the girl group the Luminaries. Howard and Denise also begin writing together and eventually get married and have a child. They pen a song called “Unwanted Number,” based on ayoung girl's unwanted pregnancy. Although it is banned from radio, it attracts the attention of prominent and influential disc jockey John Murray, who, despite the negative attention around the song, credits Denise withsparking the girl group craze.Joel recruits the beautiful English songwriter Cheryl Steed, who immediately catches Howard's eye, and initially, Denise's disdain. Cheryl diffuses Denise’s suspicion by informing her thatshe already has a songwriting partner – her husband Matthew. Joel tasks Denise and Cheryl with writing a song for the ingénue singer Kelly Porter. The two women bond over the realization that the young songstress isin a closeted lesbian relationship with her roommate Marion. They write the coded song \"My Secret Love\" for Kelly, which becomes a hit.Denise’s relationship with Howard becomes strained due to his philandering withother women. When she learns she is pregnant with Howard's second baby, Cheryl convinces her to see an obstetrician, who safely performs an illegal abortion. Denise and Cheryl then become close friends and Deniseeventually breaks up with Howard.In 1966, Milner offers to send Denise to the studio to sing for herself. As an added incentive, he offers the production assistance of Jay Phillips, the frontman of California rock groupthe Riptides, to produce her single. Although initially hesitant as she says she finds the whole \"surf and turf\" sound laughable, she writes and sings the song \"God Give Me Strength\" and is delighted by Jay's skillfulorchestral arrangement. The record she puts out with him, however, is a commercial failure. Between the loss suffered by her foundering single and the advent of the British Invasion, Milner's fortunes are depleted.Denise blames herself for making the song too personal and bankrupting Joel. He tells her she did more for him than she realized and that it was time for them both to move on.Denise and Jay become a couple andresettle in California. Jay treats Denise’s daughter Luna as his own, but he is reclusive and a user of recreational drugs like marijuana and peyote. Denise has since joined forces with the newly-divorced Cheryl to writesongs for a bubblegum pop TV show, Where the Action Is, though Jay insists to Denise that writing music for TV is beneath her.Jay's behavior becomes more erratic and he becomes increasingly paranoid, causing hisbandmates to distance themselves from him. He falls into a period of deep depression that seemingly abates after a visit from his friend \"Jonesy\", who reminds him of the things that are important in his life, includinghis \"groovy new old lady\", Denise.Thinking that the worst is over, Denise invites Jay to join her and Cheryl at the Whisky a Go Go to see Doris, a former Luminary member who embarked on a solo career after the girlgroup broke up, perform. Jay declines, saying he has a song idea he wants to explore, so Denise ends up going with Cheryl. While the women celebrate, Jay is revealed to be still in the throes of his depression; havingput on a brave face for Denise's benefit. He walks into the ocean, taking his own life. Denise is further distraught to discover that Jay's fans blame her for not intervening in his death.Numbed by the loss, Denise retireswith her family to a hippie commune in northern California and tries to make sense of everything that has happened. Some time later, Joel visits Denise at the commune and takes her and the children to dinner. Thatnight, he criticizes how far down she's allowed her grieving to take her and says that it's destroying her and her talent. Denise angrily lashes out, telling Milner that he'd be nothing without her success. He agrees;however, the more he agrees with her, the angrier she becomes. She strikes him then collapses in tears, grieving for Jay. Milner consoles her and the two are reconciled.With Joel's help, Denise creates theplatinum-selling work \"Grace of My Heart\". As she lays down the piano track for the song, her life is recounted in pictures, leading to the moment when her own mother receives a copy of her album in the mail with ahandwritten note. Seemingly proud of her daughter's success, she smiles.CastProductionThe story is loosely based on the career arc of singer-songwriter Carole King, who, like Denise, started out writing songs in theBrill Building for artists like Aretha Franklin, The Drifters, and Little Eva. The character Jay Phillips is loosely modeled on Brian Wilson of The Beach Boys.Allison Anders said she was inspired to make the film as a fan ofthe girl group The Shangri-Las. She was also inspired by the Alan Betrock book Girl Groups: The Story of A Sound, which contained photos of \"Carole King and Gerry Goffin then others like Cynthia Weil and BarryMann...it was interesting to read what Alan had to say about what that time was like back then and how they were all really just kids when they had been a part of that.\"Martin Scorsese is credited as Grace of MyHeart's executive producer, and the film is co-edited by Scorsese’s longtime editor Thelma Schoonmaker.ReceptionReleaseGrace of My Heart debuted at the Toronto International Film Festival on September 8, 1996. Itwas theatrically released a few days later on September 13, 1996, just weeks ahead of Oscar-winning actor Tom Hanks' directorial debut That Thing You Do!, which also covered the early to mid-1960s pop music sceneand featured original, retro-styled songs on the soundtrack. Grace of My Heart grossed $660,313 worldwide.Critical responseOn the review aggregator website Rotten Tomatoes, 79% of 28 critics' reviews are positive,with an average rating of 6.9/10.David Ansen of Newsweek praised the film and wrote while it \"is not the smoothest trip\" story-wise, \"Anders's rough edges are more than offset by the story's contagiousvitality...Denise's funky journey to self-discovery is a fresh feminist take on an era that has always been seen through men's eyes. It may not be precision-tooled, but it's triumphantly alive.\"Time Out wrote, \"There's alovely sequence about a third of the way into Anders' delightful movie which follows a song from conception - the street scene that inspires it - through the writing, to the recording session. This seamlessly editedpassage swings like the snappy '60s girl pop it emulates. Like the film as a whole, it works as a musical in its own right, and as history and critique of the pop process.\"Critics roundly praised the film's music, particularlythe Brill Building scenes, and lauded the film's approach of pairing popular songwriters of the 1960s with contemporary artists. Mark Caro of the Chicago Tribune wrote:What Anders captures is the feel of the time: thenervous thrill of singing a song you love; the sanctified atmosphere of a recording studio, with red padded walls that match the singer's lipstick and a slit of a window that reveals a live bassist; the songwriter'sexcitement in realizing that songs can be about people's actual lives and still be commercial; the breathlessness of keeping up with an industry that may love a cappella vocal groups one day and rock bands thenext.Criticism centered on the film's shift of the action from New York City to California to center on Denise's relationship with Jay, with many arguing it is where the story loses focus. Roger Ebert praised the music andDouglas' performance, but said Anders tries to cover too much ground and would have liked a less condensed story.In a 2020 episode of his podcast Kermode on Film, film critic Mark Kermode named Grace of My Heartnumber one on his countdown of the top five most underrated films of all time. Jim Hemphill of Filmmaker wrote the film \"feels both completely of the period in which it takes place and like something that could onlyhave been made in the mid-1990s, an age when the American independent film movement and the studio system intersected in a way that allowed auteurs like Anders to broaden their ambitions and expand theircanvasses.\"MusicActress Douglas’ singing voice is dubbed by singer Kristen Vigard, while the fictional Luminaries are dubbed by girl group For Real.In the beginning, Edna/Denise performs a version of \"Hey There\", fromthe musical The Pajama Game, and popularized by singers such as Rosemary Clooney. Another of Denise's big musical moments occurs in the studio to sing tracks for \"God Give Me Strength\", an expensively producedsingle that fails to generate excitement on the charts, alluding to Phil Spector's recording of \"River Deep – Mountain High\" for Tina Turner (written by Spector, Ellie Greenwich and Jeff Barry). Singer Elvis Costello, whoco-wrote \"God Give Me Strength\" with Burt Bacharach for the film, also wrote \"Unwanted Number\", which is crafted by Denise and Cazsatt for the Luminaries and causes a scandal due to its story of a young, unmarriedmother.Singer-composer Lesley Gore co-wrote the song \"My Secret Love\", performed by the character of young singer Kelly Porter. Gore chose not to be credited as a co-writer because she felt she'd \"been brought intoo late for a real collaboration\" and was not invited to the film's New York City premiere, a logistical oversight Anders regretted.SoundtrackThe soundtrack was released in September 1996 by MCA Records. It wasproduced by Larry Klein, Joni Mitchell's former husband and producer. Klein contributed to the writing of several songs on the soundtrack and appears briefly in the movie as a recording engineer. Joni Mitchellcontributed the song \"Man from Mars\", which is performed by Vigard as heard in the fillm. The soundtrack's initial pressing of 40,000 CD copies contained a version featuring Mitchell's vocals instead of Vigard's. This CDwas recalled and re-released a week later with Vigard's vocal restored. Mitchell later re-recorded the song with different-styled music for her 1998 album Taming the Tiger.Other songsSeveral songs did not make thealbum soundtrack, such as both of Vigard's renditions of \"Hey There\"—the contest version and the polished demo. Her version of \"In Another World\" is swapped out for the fictional Stylettes' rendition (via Portrait).Vigard's \"God Give Me Strength\" is also swapped for the Costello/Bacharach version. \"A Wave Dies\", written and performed by Andrew Allen-King and produced by Klein, was also not included in the final cut. TheWilliams Brothers perform two songs, \"Heartbreak Kid\" and \"Love Doesn't Ever Fail Us\", but only the latter is on the album.Home mediaGrace of My Heart was released as a Blu-ray Collector’s Edition by ScorpionReleasing on November 17, 2020. The Blu-ray includes an audio commentary by Anders and a making-of featurette.Passage 5:Piece of My Heart (disambiguation)\"Piece of My Heart\" is a song written by Jerry Ragovoyand Bert Berns, best known through performances by Janis Joplin.Piece of My Heart may also refer to:Film and televisionPiece of My Heart (film), a 2009 New Zealand filmA Piece of My Heart (film), a 2019 Swedishfilm\"Piece of My Heart\" (Grey's Anatomy), a television episodeLiteraturePiece of My Heart (novel), a 2006 Inspector Banks novel by Peter RobinsonPiece of My Heart, a 2020 Under Suspicion novel by Mary Higgins Clarkand Alafair BurkeA Piece of My Heart, a 1976 novel by Richard FordMusic\"Piece of My Heart\" (Intermission song), 1993\"Piece of My Heart\" (Tara Kemp song), 1991Piece of My Heart, a 1996 album by Faith Hill\"A Piece ofMy Heart\", a song by Gang of Four from HardPiece of My Heart: The Bert Berns Story, a 2014 jukebox musicalPassage 6:King of My HeartKing of My Heart may refer to:\"King of My Heart\", a song by Taylor Swift fromReputation (2017)\"King of My Heart\", a song by Tara Dettman from Sea to Sea: I See the Cross (2005)\"King of My Heart\", a song by Bethel Music from Starlight (2017)\"King of My Heart\", a song by Leeland fromInvisible (2016)\"King of My Heart\", a song from the 2007 London revival of Joseph and the Amazing Technicolor Dreamcoat\"King of My Heart\", a song by Melba Moore from Read My Lips (1985)Passage 7:Burden of MyHeartBurden of My Heart (Sydämeni taakka) is a 2011 Finnish documentary film about the surviving victims of the genocide in Rwanda. It was directed by Yves Montand Niyongabo. The documentary was chosen forpremiere at the 2011 DOK Leipzig film festival. The documentary also received the Jury Youth Prize and Best Domestic Documentary Award at the Tempo film festival in Finland.Passage 8:From the Bottom of MyHeartFrom the Bottom of My Heart may refer to:\"From the Bottom of My Heart\" (Chuck Willis song), recorded by both The Clovers and The Diamonds\"From the Bottom of My Heart\" (Stevie Wonder song), 2006Passage9:Allison AndersAllison Anders (born November 16, 1954) is an American independent film director whose films include Gas Food Lodging, Mi Vida Loca and Grace of My Heart. Anders has collaborated with fellow UCLASchool of Theater, Film and Television graduate Kurt Voss and has also worked as a television director. Anders' films have been shown at the Cannes International Film Festival and at the Sundance Film Festival. Shehas been awarded a MacArthur Genius Grant as well as a Peabody Award.Early lifeAnders was born in Ashland, Kentucky, to mother Alberta \"Rachel\" Anders (née Steed) and father Robert \"Bob\" Anders. She has foursisters, one of whom, Luanna Anders, starred in her first film, Border Radio. Her paternal side has ancestry that traces back to the Southern Hatfield family and, more distantly, to George Washington's spy, CalebBrewster, while her maternal side includes another Washington spy, Abraham Woodhull.When Anders was 4 years old, her father abandoned the family. Anders' mother and father were divorced when she was 5.  At age12, she was gang raped by three boys at a party in Cape Canaveral, Florida, an event that influenced several of her films. After her mother moved her and her sisters to Los Angeles, Anders suffered a mentalbreakdown at the age of 15 and was hospitalized. When she came out of the psychiatric ward, she was placed into foster care but ran away. She hitchhiked across the country, at one point ending up in jail. After turning17, Anders dropped out of her Los Angeles high school and moved back to Kentucky. She later moved to London with the man who fathered her first child.In her early 20s, Anders moved back to Los Angeles with herdaughter and attended junior college, Los Angeles Valley College, while working odd jobs. Due to constant relocation as a child, Anders had not had a steady education. She said that growing up, most of her time wasspent watching TV and going to movie theaters. Inspired by the films of Wim Wenders and other filmmakers, Anders applied to UCLA Film School. During her time at UCLA, Anders produced her first sound film. Wendersattended the screening. She has called Wenders' 1974 film Alice in the Cities \"one of my very favorite films, and a guiding light, since I first saw it at the Nuart in Santa Monica in the 1970s.\" In 1986, Anders got herB.A. in Motion Picture-Television from the University of California Los Angeles.CareerFilmIn 1986, Anders won a Samuel Goldwyn Writing Award for a script called Lost Highway that she wrote about her father. She saidthat after writing the script she shared it with her father, and was able to have a relationship with him again.Anders' first film, the punk music-heavy Border Radio, was co-written and co-directed with Kurt Voss andDean Lent and was made while they were at UCLA. It was nominated for Best Feature of 1988 by the Independent Feature Project for Best First Feature. The film told the story of three musicians who stole money owedto them from a job and then fled to Mexico. The story is set amid the Los Angeles punk-rock scene of the 1980s. With a $2,000 contribution from actor Vic Tayback and loans from Voss's parents to fund the film, thefilmmakers made up for the small budget by using local locations and casting performers they knew. For the starring role, they cast Anders' sister, Luanna Anders, and musician Chris D., as the leading man, as well asAnders' daughter, Devon Anders, who played Luanna's daughter in the film. Violating UCLA policy, the filmmakers cut the film at night in the school's editing bays, while Anders' two young daughters slept on the floor.In 2007, Border Radio was given a special release on DVD as part of the Criterion Collection and was lauded as groundbreaking independent cinema.Anders' second feature, the 1992 film Gas Food Lodging, earned her aNew York Film Critics Circle Award and National Society of Film Critics honors for Best New Director; and nominations from the Independent Spirit Awards for Best Screenplay and Best Director. Actress Fairuza Balk wona Spirit Award for her role in the film. The film also won the Deauville Film Festival Critics Award and was also nominated for the Golden Bear at the 42nd Berlin International Film Festival. Gas Food Lodging is acoming-of-age story about a truck stop waitress and her two daughters, three vibrant, restless women in an isolated Western town. The screenplay was loosely adapted by Anders from the novel Don't Look and It Won'tHurt by Richard Peck.Her next film, Mi Vida Loca (My Crazy Life), was about girl gangs in the poor Hispanic Echo Park neighborhood of Los Angeles, where Anders lived. It premiered at the Cannes Film Festival in 1993,"}
+{"doc_id":"doc_74","qid":"","text":"Passage 1:La voix (song)\"La voix\" (French pronunciation: [la vwa]; \"The voice\") is a song by Swedish singer Malena Ernman, which served as the Swedish entry at the 2009 Eurovision Song Contest, held in Moscow,Russia. It was composed by Fredrik Kempe, with lyrics by both Kempe and Ernman. It is the first Swedish entry to contain lyrics in French, as well as being the last Swedish entry to have contained lyrics in a languageother than English. Despite the fact that France's Patricia Kaas would get a relatively good placing in the final, Ernman drew further attention to Francophone culture in the semi-final, as well in the grand final (byclassing 3rd in the OGAE Second Chance round), despite her ultimate placing (21st).The song was the winner of Melodifestivalen 2009 on 14 March 2009, earning the right to compete for Sweden in the first semi-finalof Eurovision 2009 on 12 May 2009. The song qualified for the final round where it finished 21st place with 33 points, making it Sweden's second lowest placing in the contest since 1992's \"I morgon är en annan dag\"(22nd), and also the second time the country failed to place within the Top 20.In 2010, the song was covered by Russian pop singer Philipp Kirkorov and opera singer Anna Netrebko with Kirkorov singing verses andNetrebko singing chorus. They recorded two versions of the song, one with original French and English lyrics and other sang exclusively in Russian.The song has also been used as the backing track for the musicaldocumentary Spaceplane Sailing. The short film covers the 33-mission career of the Space Shuttle Atlantis and was premiered on YouTube in February 2013.Melodifestivalen and Eurovision\"La voix\" participated in thefourth heat of the 2009 Melodifestivalen which was held on 28 February 2009 at the Malmö Arena in Malmö. The song was the last of the eight competing entries to perform and directly qualified to the contest final asone of the two songs song which received the most telephone votes. On 14 March, during the final held at the Globe Arena in Stockholm, Ernman were the last of the eleven competing acts to perform, and \"La voix\"won the contest with 182 points, receiving the highest number of votes from the viewing public via telephone voting despite placing only eighth with the regional and international juries.Sweden participated in the firstsemi-final of the 2009 Eurovision Song Contest in Moscow, Russia on 12 May 2009. Ernman was the fifth competing artist to perform and Sweden were subsequently announced at the end of the broadcast as one of theten countries to have qualified for the final. Ernman performed again in the final on 16 May, with Sweden drawn to perform as the fourth country on stage, and subsequently finished in twenty-first place with a total of33 points. The full breakdown of results published after the final revealed that in the first semi-final Sweden had finished in fourth place with 105 points.Chart performanceThe song debuted on the Swedish Singles Charton the week of 13 March 2009 at number 31, before climbing to number 10 the following week and then number four in its third.On 26 April 2009, \"La voix\" went straight to number one on the Svensktoppen radiochart.In May 2009, the single entered at 29 in the Belgium Ultratip, moved up to 27 in its second week and then fell off the chart.Track listingCD: (Sweden)\"La voix\" (radio edit)\"La voix\" (karaoke)ChartsPassage2:Malena ErnmanSara Magdalena Ernman (born 4 November 1970) is a Swedish mezzo-soprano opera singer. Besides operas and operettas, she has also performed chansons, cabaret, jazz, and appeared in musicals.She is a member of the Royal Swedish Academy of Music. Ernman represented Sweden in the Eurovision Song Contest 2009 with the song \"La Voix\", finishing in 21st place.Life and careerEarly lifeErnman was born inUppsala, Sweden, spent her childhood and school years in Sandviken, and was educated at the Royal College of Music in Stockholm, the Music Conservatory in Orléans, France, and the school of the Royal SwedishOpera. She is married to actor Svante Thunberg, with whom she had appeared in a 2000 Swedish television musical documentary about the composer Joseph Martin Kraus, played by Thunberg. Together they have twodaughters: singer Beata Ernman, and climate activist Greta Thunberg.OperasIn 1997, Ernman sang in the premiere of Ivar Hallström's 1897 opera Liten Karin in Vadstena; Opera magazine noted that \"the mezzoMalena Ernman was very expressive as Princess Cecilia, King Erik XIV's sister\". In 1998, her Rosina in The Barber of Seville at the Royal Opera in Stockholm was described as \"displaying impressive technique\" and\"shaping the character with mocking good humour\". The same year, she sang Kaja in the premiere of Sven-David Sandström's Staden under Leif Segerstam also at the Royal Opera in Stockholm, where one reviewercommented that \"in vocal focus and expression, her full, rich voice is not that far behind Bartoli\". In July 1999, Ernman sang the trouser role of Ziöberg in the premiere of Jonas Forssell's Trädgården (The Garden) at theDrottningholm Palace Theatre in Stockholm, conducted by Roy Goodman, the first new opera to be premiered at the theatre in modern times.In Brussels in 2000, her Nerone in Handel's Agrippina, alongside RosemaryJoshua's Poppea and Anna Caterina Antonacci's Aggripina was described as \"the most convincingly brattish young man imaginable\".In 2001, Ernman sang Sesto in Handel's Giulio Cesare at the Drottningholm Festival.She sang at the Glyndebourne Festival, in the Summer of 2002 as Nancy in Albert Herring and the next summer as Prince Orlovsky in Johann Strauss's Die Fledermaus, which was also performed at the BBC Proms thatyear.In 2002/2003 Ernman appeared in Vienna as Diana in La Calisto. In 2003/2004 she sang the part of Donna Elvira in Don Giovanni at La Monnaie in Brussels and appeared at the Aix-en-Provence Festival as Lichasin Hercules by George Frideric Handel, with Les Arts Florissants under conductor William Christie, revived at the Paris Opera and at the Vienna Festival.In the spring and summer of 2005, Ernman created the title role inPhilippe Boesmans's Julie, appearing at la Monnaie, at the Vienna Festival, and in Aix-en-Provence. In 2006 she sang as Nerone in L'incoronazione di Poppea in Brussels and Berlin, then as Dido in Dido and Aeneas withWilliam Christie at the Vienna Festival. She also sang in Agrippina at Oper Frankfurt.In August 2006, Ernman made her debut at the Salzburg Festival as Annio in La clemenza di Tito under conductor NikolausHarnoncourt. In 2007, her roles included Sesto in Giulio Cesare with René Jacobs in Vienna, Cherubino in Le nozze di Figaro with Daniel Harding in Aix-en-Provence, and Nerone in L'incoronazione di Poppea inAmsterdam. In 2008 she sang Angelina in La Cenerentola with the Royal Swedish Opera and Dido and Aeneas with Christie and the Opéra-Comique in Paris. In 2009 she reprised Angelina in La Cenerentola with OperFrankfurt and the Swedish Royal Opera, and Dido in Dido and Aeneas with Christie in Vienna and Amsterdam. In 2010, she sang the castrato role of Idamante in Idomeneo under Jérémie Rhorer at the Theatre de laMonnaie in Brussels, where her \"feisty\" portrayal of the prince was \"as if to the gender born, her efforts rewarded by the inclusion of the usually cut aria 'No, la morte'. Vienna saw her in the title role of Serse by Handelin October 2011 at the Theater an der Wien, and the following season she sang Eduige in the Nicolas Harnoncourt-led production of Handel's Rodelinda at the same house, later released on DVD. Back in the city asElena in La donna del lago in August 2012, she was \"impressive... dealing with the vocal difficulties with aplomb and managing the extra dramatic demands made on her with genuine expressivity\". She added Béatriceto her repertoire in 2013 in performances at Theater an der Wien of Berlioz's late opéra-comique. Also in 2013 she returned to the part of Aggripina at the Gran Teatre del Liceu in Barcelona, in a production by DavidMcVicar conducted by Harry Bicket.Ernman has sung several major roles with the Staatsoper Berlin, including Cherubino in Le nozze di Figaro and Zerlina in Don Giovanni, both under conductor Daniel Barenboim. Shealso performed Rosina in Rossini's Il barbiere di Siviglia with Staatsoper Berlin and the Finnish National Opera. With the Royal Opera Stockholm she has also sung the title role in Carmen.Ernman worked with conductorRené Jacobs in the roles of Nerone in Agrippina, Roberto in Scarlatti's Griselda and Diana in Cavalli's La Calisto.In 2018, she sang Gabriella in the Swedish musical Så som i himmelen (As It Is in Heaven), based on a2004 film of the same name, with words by Kay Pollak and Carin Pollak and the score by Fredrik Kempe, which premiered at the Oscarsteatern in September 2018.ConcertsEarly recitals on Swedish Radio includedRachmaninov in 1994, The airconditioned nightmare by Olov Olofsson, songs by Gunnar de Frumerie, and an eclectic mix of Fauré, Debussy, Jolivet, Ravel, Bizet, Barber, Ives and Lehrer in 1996, Brahms lieder, andworks by Carlid, Mahler and Berio in 1998.Ernman has performed several concert pieces as well. At the Salzburg Festival she sang Mozart's \"Waisenhausmesse\" with conductor Frans Brüggen. She performed Berio's\"Folksongs\" with the Stockholm Royal Philharmonic Orchestra under Carlo Rizzi, and at the Verbier Festival with Gustavo Dudamel. She sang the world premiere of \"Nachtgesänge\" by Fabian Müller with the ZurichTonhalle Orchestra. In Minneapolis she sang Mozart's \"Requiem\" with Arnold Östman.2009 Melodifestivalen and EurovisionOn 28 November 2008, it was announced that Ernman would enter Melodifestivalen 2009 forthe Eurovision Song Contest 2009 with the song \"La voix,\" written by Fredrik Kempe. On 28 February 2009, Ernman competed in the 4th semi-final of Melodifestivalen in Malmö and became a finalist. She went on to winthe final on 14 March at the Globe Arena in Stockholm, and to represent Sweden in the Eurovision Song Contest in Moscow. She qualified as a finalist on 12 May and performed in the finals on 16 May, where she finished21st with 33 points. \"La voix\" was the first Swedish entry to contain a substantial amount of French lyrics; it was written by Ernman herself, who speaks French fluently. Prior to the competition a documentary about thelife and career of Ernman was broadcast on Swedish television entitled 'Rösternas Malena' ('The voice of Malena').Ernman revealed that the dress for her Eurovision performance cost 400,000 kronor (€37,471) and wasmade by designer Camilla Thulin. Singer Dea Norberg joined Ernman as one of the choirgirls. Ernman later participated in the Second Chance round of Melodifestivalen 2015 as a guest singer for Behrang Mirisentry.Personal lifeErnman is married to Swedish actor Svante Thunberg. Their first daughter Greta Thunberg rose to worldwide prominence when she initiated the School Strike for Climate. She also has a youngerdaughter, who is three years younger. Ernman’s career was taking off when Greta was born, and Svante stayed at home to look after their children.In August 2014, 11-year-old Greta suddenly stopped eating, talking,reading, or wanting to do anything. This condition lasted for several months, until she was diagnosed with Asperger syndrome. The acute period of her daughter's condition affected Ernman and her family to such anextent that she had three breakdowns during her professional activity and five performances had to be cancelled. After the crisis was overcome, she turned to the nationwide daily newspaper Expressen, which reportedit in detail, because she wanted to help other families in a similar situation.Ernman has been politically active in support of the Paris Agreement; in June 2017 she wrote a collaborative debate piece in Dagens Nyheter.With her husband, she co-wrote the book Scenes from the Heart about her family, the environment, and sustainability. It was published in August 2018.Awards2010: appointed Hovsångerska (lit. \"[royal] court singer\")by Carl XVI Gustaf of Sweden2017: WWF-Sweden \"Environmental Hero of the Year\"DiscographyAlbums2000: Naïve (KMH) – songs by Olov Olofsson, Bo Linde, Bror Samuelson, Sandström, among others, withensemble directed by Chrichan Larson2001: Cabaret Songs – songs by William Bolcom, Kurt Weill, Friedrich Hollander and Benjamin Britten; with Bengt-Åke Lundin, piano (BIS)2003: Songs in Season (Nytorp Musik) –songs related to nature and the seasons by Mendelssohn, Grieg, Respighi, Storm, Copland, Koechlin, Mahler, Gefors, Schreker, Fauré, Liszt, Finzi, Sibelius, Tchaikovsky, and Jennefelt. With Francisca Skoogh (piano),recorded in January 2002 at Swedish Radio in Stockholm.2003: My Love – opera arias (by Rossini, Bizet, Mozart) and songs (by Ravel, Legrand, Mozart, Schubert, Ellington, Lindberg, Nilsson) arranged with guitaraccompaniment from Mats Bergström (BIS)2009: La Voix du Nord – 'pop works', 'One Step From Paradise', 'La voix', 'Min plats på jorden', 'Sempre libera', 'What Becomes of Love', 'Un bel dì', 'Breathless Days', 'Perdus','Tragedy', 'All the Lost Tomorrows'; and arias 'Quando me n'vò' (Puccini), 'Voi che sapete' (Mozart), Solveig's song from Peer Gynt (Grieg), 'O mio babbino caro' (Puccini), 'Vedrai, carino' (Mozart), 'Una voce poco fa'(Rossini), 'Lascia ch'io pianga' (Händel), 'Caro mio ben' (Giordani), 'Non più mesta' (Rossini), 'Ombra mai fu' (Händel) and 'When I am laid in earth' (Purcell), conducted by Alberto Hold-Garrido. The record is dedicatedto \"my daughters Greta and Beata and to my husband Svante\".2010: Santa Lucia – En klassisk jul (Christmas album)2011: Opera di Fiori (Roxy Recordings/Universal)2013: I decembertid2014: SDS (Fyra sånger förMalena and Missa brevis by Sven-David Sandström, with the Musica Vitae, Gustaf Sjökvist Kammarkör conducted by Gustaf Sjökvist)2015: Advent2016: SverigeOthersAlfred Schnittke: Symphony No. 2 'St. Florian';Mikaeli Chamber Choir, Royal Stockholm Philharmonic conducted by Leif Segerstam, with Göran Eliasson, Mikael Bellini, Torkel Borelius (BIS, 1995)Nachtgesänge – song-cycle by Fabian Müller, with the PhilharmoniaOrchestra, conducted by David Zinman (Col legno)Maurice Duruflé: Requiem, Op. 9 with the Swedish Radio Choir. Recorded 2004, Stockholm.Sven-David Sandström: The High Mass, with the Gewandhaus OrchesterLeipzig & MDR Chor Leipzig, Herbert Blomstedt. DG, 2005Romantic Swedish Vocal Works Vol. 2, with Olle Persson, Bengt-Åke Lundin. Includes Gustav Nordqvist: Tre Bo Bergman-dikter; Ingemar Liljefors: Tre Sånger\"Den utvalda\", Jag vantar manen, and Lagg din hand i min om du har lust; Åke Uddén: Tre Sånger ur Chansons de Bilitis; Hilding Hallnäs: Fem Dikter \"I skogen om natten\", Op. 17. (Phono Suecia, 2005)Berio: FolkSongs – part of 'Verbier Festival: 25 Years of Excellence', with the Verbier Festival Orchestra conducted by Gustavo Dudamel (recorded July 2005) (Deutsche Grammophon)Arias by Johann Christoph Bach \"Ach, daß ichWassers genug hätte\", Bacri \"Lamento\", and JS Bach \"Wie jammern mich doch die verkehrten Herzen\" from Cantata BWV 170, with Ensemble Matheus, directed by Jean-Christophe Spinosi, part of 'Miroirs' (2013,Deutsche Grammophon)Mozart: Così fan tutte, K588; with Christopher Maltman, Simone Kermes, Kenneth Tarver, Konstantin Wolff, Anna Kasyan; MusicAeterna, Teodor Currentzis (Sony, 2014) – asDorabellaSingles2009: \"La voix\" - sung at the Eurovision Song Contest 20092010: \"Min plats på jorden\"DVDStrauss: Die Fledermaus with Pamela Armstrong, Thomas Allen, Lyubov Petrova, Håkan Hagegård, LondonPhilharmonic Orchestra, Vladimir Jurowski. Filmed at Glyndebourne 2003 (Opus Arte) – Prince Orlovsky.Handel: Hercules with William Shimell, Joyce DiDonato, Toby Spence, Les Arts Florissants, William Christie. Filmedat the Festival d'Aix-en-Provence 2004 (Bel Air Classiques) – Lichas.Boesmans: Julie with Gary Magee, Kerstin Avemo, the Chamber Orchestra of la Monnaie, Kazushi Ono. Aix-en Provence 2005 (Bel Air Classiques) –title role.Purcell: Dido and Aeneas with Christopher Maltman, Les Arts Florissants, William Christie (conductor). Filmed at the Paris Opéra Comique 2008 (FRA) – Dido.Handel: Rodelinda with Danielle de Niese, BejunMehta, Kurt Streit, Concentus Musicus Wien, Nikolaus Harnoncourt. Filmed at the Theater an der Wien, 2011 (Belvedere) – Eduige.Mozart: Don Giovanni with Erwin Schrott, Anna Netrebko, Luca Pisaroni, CharlesCastronovo, Katija Dragojevic, Balthasar-Neumann-Orchestra, Thomas Hengelbrock (Sony) 2013 – Donna Elvira.See alsoFlight shame (aka 'Flygskam')Passage 3:Bernie BonvoisinBernard Bonvoisin (Frenchpronunciation: [b\u0000\u0000na\u0000 b\u0000̃vwaz\u0000̃]), known as Bernie Bonvoisin (French pronunciation: [b\u0000\u0000ni b\u0000̃vwaz\u0000̃], born 9 July 1956 in Nanterre, Hauts-de-Seine), is a French hard rock singer and film director. He is bestknown for having been the singer of Trust.He was one of the best friends of Bon Scott the singer of AC/DC and together they recorded the song \"Ride On\" which was one of the last songs by Bon Scott.ExternallinksBernie Bonvoisin at IMDbPassage 4:Paule DesjardinsPaule Desjardins (29 April 1929 — 31 December 2007), also known as Paule Canat, was a French singer and fashion designer. She represented France in theEurovision Song Contest 1957 with the song \"La belle amour\" which finished second with 17 points.In the early 1960s, she ended her musical career to marry the French industrialist Charles Canat. She started a newcareer as a lingerie designer in Millau. From 1960 to 1992, Paule was responsible for the creation of collections, developing new clothing lines that played an important role in the development of the company.Paule andCharles had a son, Joël. He ran his father’s company from 1991-1996, before selling it to Saaly Holding. Charles passed away on 1 December 2007, at the age of 86. Paule passed away exactly 30 days after hisdeath.Passage 5:Another Girl\"Another Girl\" is a song by the English rock band the Beatles from their 1965 album Help! and included in the film of the same title. The song was written by Paul McCartney and credited tothe Lennon–McCartney partnership. The song is addressed to the singer's girlfriend, who is informed that the singer has found \"another girl.\"Composition and recordingMcCartney wrote the song while holidaying inHammamet, a resort in Tunisia. With an up-tempo swing-beat that McCartney favoured (\"Can't Buy Me Love\", \"She's a Woman\") it opens with a short refrain, powered by block vocal harmonies, that segues straight intothe verse, which is constructed on the blues-mode chord changes the group currently favoured. The bridge theme makes a sudden key change up a minor third from A to C (a harmonic strategy also used on the record'snext track \"You're Going to Lose That Girl\") and features more close three-part harmonies as the aggressively sung verse's apparent threat to a jealous girl turns into a sweet tribute to the \"other\" girl who \"will alwaysbe my friend\".The Beatles recorded the song on 15 February 1965, having also worked that day on \"Ticket to Ride\" and \"I Need You\". The backing track was quickly recorded in a single take. George Harrison added aguitar \"flourish\" at the end which was omitted from the final mix: McCartney added lead guitar the next day. This is one of several Beatles songs recorded at the time on which McCartney played lead guitar in addition tohis usual bass. Four-track recording allowed the group to refine songs' arrangements in the studio and McCartney often had clear ideas about the guitar lines he wanted. He also contributed lead guitar to \"Ticket to Ride\"and played an electric guitar duet with Harrison on \"The Night Before\". The song was mixed down on 18 February and again on 23 February.This song features the often-utilized three-part harmonies between Lennon,McCartney and Harrison, but it is one of the only instances in which Lennon sings the highest harmony.McCartney said of this song and other album tracks, \"It's a bit much to call them fillers because I think they were abit more than that, and each one of them made it past the Beatles test. We all had to like it.\"Live performancesThe song was performed live for the first time by a Beatle when Paul McCartney returned to the NipponBudokan, Tokyo, on 28 April 2015; this was 49 years after the Beatles had first played at the venue, in June and July 1966. In a released statement, McCartney said, \"It was sensational and quite emotionalremembering the first time and then experiencing this fantastic audience tonight.\"In the film Help!In the film Help!, McCartney lip-syncs \"Another Girl\" while standing on a coral reef on Balmoral Island in the Bahamas,and plays a girl in a bikini as if she is a guitar. Since McCartney's hands are occupied (with either bass or girl), George Harrison mimes McCartney's guitar fills as if playing them himself. The four of them each change"}
+{"doc_id":"doc_75","qid":"","text":"Passage 1:Lethal Weapon 3Lethal Weapon 3 is a 1992 American buddy cop action film directed by Richard Donner and written by Jeffrey Boam and Robert Mark Kamen. The sequel to Lethal Weapon 2 (1989), it is thethird installment in the Lethal Weapon film series and stars Mel Gibson, Danny Glover, Joe Pesci, Rene Russo, and Stuart Wilson.In Lethal Weapon 3, LAPD Sergeants Martin Riggs (Gibson) and Roger Murtaugh (Glover)pursue Jack Travis (Wilson), a former LAPD lieutenant turned ruthless arms dealer, during the six days prior to Murtaugh's retirement. Riggs and Murtaugh are joined by Leo Getz (Pesci) as well as internal affairsSergeant Lorna Cole (Russo).The film was a box office success, grossing over $320 million worldwide. It was the fifth-highest-grossing film of 1992 and the highest-grossing installment in the series overall. The film wasfollowed by Lethal Weapon 4 in 1998.PlotA week before his retirement, L.A.P.D. Sergeant Roger Murtaugh and his partner Martin Riggs are demoted to uniform duties after failing to defuse an office building bomb. Whileon street patrol they witness the theft of an armored car, and help to thwart the crime assisted by armored car driver Delores. One of the two thieves gets away, but the other is taken into police custody. The suspect isfound to be a known associate of Jack Travis, a former LAPD lieutenant who is running an arms smuggling ring in Los Angeles. The department is further concerned that the thieves were using armor-piercing bullets.Riggs and Murtaugh are re-promoted and assigned to work with Sergeant Lorna Cole from internal affairs to track down Travis.Travis is currently negotiating with mobster Tyrone regarding his arms deal. The armoredcar thief that escaped is brought to Travis, who subsequently kills him in front of Tyrone for putting the police on his trail. Travis then uses his old police credentials to enter the interrogation room and kill the suspect incustody before he can be interviewed. Travis is unaware that closed-circuit cameras have been installed in the station, and Cole is able to confirm Travis' identity. While the three are reviewing the footage, their goodfriend Leo Getz, who has been helping Murtaugh sell his house, arrives and immediately recognizes Travis from several prior business deals and his love of ice hockey. Murtaugh, Riggs, and Getz narrowly miss capturingTravis at a hockey match, and Getz is wounded. However, Getz manages to provide them with information of a warehouse Travis owns, which they suspect is where he has stored his arms shipments.Riggs andMurtaugh contact Cole for backup before they raid the warehouse, and stop at a food truck to wait for her. As they wait for their food, they witness a drug deal and attempt to stop it. Murtaugh kills a gunman who firedat them, while the rest escape. Murtaugh recognizes the gunman, Darryl, a close friend of his son Nick. With Murtaugh emotionally distraught, Riggs and Cole head to the warehouse, where they successfully secure hisnext arms shipment delivery. That night, Riggs and Cole find they have feelings for each other and sleep together. Riggs later finds a guilt-ridden Murtaugh drunk in his boat and consoles him in time for Darryl's funeral.There, Darryl's father passionately insists that Murtaugh find the person responsible for giving Darryl the gun.Cole finds that Darryl's gun, the armor-piercing bullets, and the arms they recovered were originally in policecustody, meant to be destroyed, and were stolen by Travis; they revoke his credentials from the system. They further tie the guns to Tyrone and interrogate him. Tyrone directs them to an auto garage where many ofhis henchmen work from. Riggs, Murtaugh, and Cole are able to arrest several of the men. Meanwhile, Travis has one of his men hack into the computer system to find another arms storage area. He then forces CaptainMurphy under gunpoint to take him to this new facility so he can steal the guns using Murphy's credentials. Cole finds the evidence of hacking and Murphy's absence, and the three, along with a rookie cop, Edwards,who looks up to Riggs and Murtaugh, intercept Travis. They are able to rescue Murphy and stop Travis and his men before he can take the weapons, but Edwards is killed during their pursuit.Getz provides informationon a housing development owned by Travis's shell company. Riggs, Murtaugh, and Cole infiltrate the site at night and enter a large-scale gunfight. Riggs sets the construction site on fire and most of Travis' men arekilled, while Travis wounds Cole. When Travis uses a bulldozer to chase down Riggs, using its blade as a bullet shield, Murtaugh tosses Daryl's gun, now loaded with the armor-piercing bullets, to Riggs, who then shootsand kills Travis through the blade. After finding out Cole wore two layers of kevlar vests, Riggs admits his love for her as she is taken away in a chopper.The next day, Murtaugh's family is celebrating his retirement,when Murtaugh reveals to Getz that he has decided to not sell the house and stay with the force, preserving his partnership with Riggs. As the film ends, Riggs announces his relationship with Cole toMurtaugh.CastProductionThe movie was filmed from October 1991 to January 1992.Richard Donner, an animal-rights and pro-choice activist, placed many posters and stickers for these causes in the film. Of note arethe T-shirt worn by one of Murtaugh's daughters (the actress's idea), an 18-wheeler with an anti-fur slogan on the side, and a sticker on a locker in the police station.Demolition scenesIn the film's first scene, Riggsaccidentally sets off a bomb that destroys the ICSI Building. The ICSI Building was actually the former City Hall building of Orlando, Florida, located at the intersection of Orange Avenue and South Street in DowntownOrlando. Warner Bros. decided to use the destruction of the building in the film, and as a result paid $500,000 for the demolition. From August to October 1991, the production crew fitted the old Orlando City Hallbuilding featured in the opening scene with carefully placed explosives to create the visual effect of a bomb explosion. Bill Frederick, then mayor of Orlando, Florida, was the policeman who sarcastically claps and said\"Bravo!\" to Murtaugh and Riggs after the explosion.The building was demolished so that it would collapse slightly forward (toward Orange Avenue), minimizing the chances of it damaging the new City Hall building, builtdirectly behind it. The space was cleared out and became a plaza for the new City Hall, with a fountain and a monument.The film's climax scene, where an under-construction housing development is set ablaze, wasfilmed at an unfinished housing development in Lancaster, California. The unfinished houses, which had been sitting abandoned and slated to be torn down, were coated in flame retardant and propane gas lines toensure that the houses could withstand re-shoots. The original homes were eventually demolished and was eventually redeveloped into another housing development.During the closing credits, Riggs and Murtaughdrive up to an old hotel where another bomb has been placed. Before they (their doubles) can exit the car, the bomb explodes and destroys the building. The hotel was actually the former Soreno Hotel in downtown St.Petersburg, Florida. The film's producers agreed to help with the cost of the 68-year-old building's implosion for the purposes of their film.Hockey gameA November 26, 1991 NHL game between the Los Angeles Kingsand the Toronto Maple Leafs at the Great Western Forum served as the basis for the hockey scene featured in the movie.The league allowed production to capture the real-life action, although goaltender Kelly Hrudeyeventually became annoyed with the additional lights used by the crew and asked filming to stop.The NHL also let Donner stage part of the scene, where Riggs commandeers the arena's PA system to lure out JackTravis, during the game's second intermission. It was completed in two takes. However, the director was not allowed to film the segment where Riggs chases down Travis onto the ice that evening. It was completedafter a Kings practice. In closer shots, these sequences used extras dressed in unlicensed jerseys that only roughly resemble those worn by the actual teams. A contemporary AP report cites Lethal Weapon's excessiveviolence as the reason why the NHL limited its collaboration. However, the organization took a relaxed stance towards the more intense Sudden Death a few years later. The Los Angeles Kings later featured in a seasonthree episode of the Lethal Weapon TV series, entitled \"What The Puck?\".WritingJeffrey Boam's first two drafts of the script were different from the final film. The character of Lorna for example was not a woman inoriginal drafts, but the original character still had the same personality and was just as lethal and crazy as Riggs, making him his match. Riggs also had an affair with Roger's daughter Rianne, and a few parts in the finalfilm where Roger suspects that Riggs and Rianne are interested in each other are only parts left from the original drafts.Director Richard Donner demanded some big changes on the script which included changing theoriginal character of Lorna (who had a different name in earlier drafts) into a woman and turning her into Riggs's girlfriend. He also re-worked the script to be less story-oriented and not focus on the main villains butinstead on the relationship between Riggs and Murtaugh. He also toned down action scenes from the script and brought back Leo Getz into the story. All of his scenes were written in afterwards. In the original script Leohad left L.A. for New York. Boam had some disagreements with changes that Donner made, but he was not against them. Boam was fired after he wrote his first two drafts of the script. One of the reasons for this wasbecause Donner wasn't interested in the script and he disagreed with some parts of Boam's original draft. After another writer, Robert Mark Kamen, was hired to re-write the script, Boam was called to return to work onit again. The filmmakers realized that Kamen's re-writes were not working. Boam asked to work alone on the script and ended up constantly changing it from October 1991 until January 1992 while filming was takingplace. These types of changes also occurred during the filming of Lethal Weapon 2.According to Kamen in a 2012 interview, many of his writing contributions ended up in the final film. Kamen also wrote many parts ofthe previous film in the series, with the most significant portions being the South African villains.Screenwriter Jeffrey Boam is credited twice in the 'screenplay by' credits. This is because he did one draft by himself(granting him the first credit) and a second draft collaborating with Robert Mark Kamen (granting him the second credit). In this rare scenario, Boam was hired to rewrite his own script with a second writer. Afterreceiving the unusual writing credits, the advertising department assumed it was a misprint and produced posters with the credits \"Story by Jeffrey Boam, Screenplay by Jeffrey Boam and Robert Mark Kamen\". After afew of the posters had been sent out, the WGA contacted the department, telling them that the initial credits were the correct ones, and ordering the posters to be recalled and destroyed.Carrie Fisher was an uncreditedscript doctor on the film.Martial artsRusso received martial arts training for a month before shooting from Cheryl Wheeler-Dixon, who had a karate background and was a former kickboxing champion, andWheeler-Dixon was also her stunt double. Brazilian Jiu-Jitsu instructor Rorion Gracie, who had taught Gibson and Gary Busey in the first movie of the series in 1987, also provided training to Russo and acted asstuntman for a fight scene.PromotionTo promote the film, theater lobbies featured a 3-D cutout of the film poster of Riggs and Murtaugh posing with their guns and Leo Getz peeking from the background. On thedisplay, there was a motor which helped Leo's head bob up and down from behind them.ReleaseBox officeLethal Weapon 3 made $33.2 million during its opening weekend. The $35 million film was a big box-officesuccess, earning $145 million. Although slightly less than the $150 million domestic gross of the first sequel, it was nevertheless the second-most successful summer film of 1992 (after Batman Returns) and the fifthmost profitable film of the year, as well as the highest-grossing in the film series worldwide with $320 million worldwide.After the film's success, Warner Bros. head Robert A. Daly bought Land Rovers for Gibson, Glover,Pesci, Russo, Donner, Boam, and producer Joel Silver. Daly later said \"It cost us $320,000 to buy those Land Rovers, and we were criticized left and right for the expense. Do you know what it got us? Lethal Weapon 4,which made $285 million\".Critical receptionRotten Tomatoes gives the film a score of 58%, with an average rating of 5.6/10, based on 48 reviews from critics. The website's \"Critics Consensus\" for the film reads,\"Murtaugh and Riggs remain an appealing partnership, but Lethal Weapon 3 struggles to give them a worthy new adventure as it cranks up the camp along with the mean-spiritedness\". Metacritic gives a weightedaverage rating of 40/100 from 26 critics, indicating \"mixed or average reviews\". Audiences polled by CinemaScore gave the film an average grade of \"A−\" on an A+ to F scale.Roger Ebert of the Chicago Sun-Times gavethe film a positive review, awarding it 3 out of 4 stars.Home mediaLethal Weapon 3 has been released on VHS and DVD numerous times. The first DVD was released in 1997 and featured the film's theatrical version.The 1997 DVD contains both the widescreen and the pan and scan editions. The Director's Cut was released in 2000. Since then, numerous sets have been released that contain all four films in the series (featuring thesame DVDs). The film was released on Blu-ray Disc in 2011.SoundtrackLethal Weapon 3 (Original Motion Picture Soundtrack) was released on June 9, 1992, on audio cassette and CD. The soundtrack was performedand composed by Michael Kamen, Eric Clapton, and David Sanborn. Its title songs, \"It's Probably Me\", and \"Runaway Train\" were written and performed by Eric Clapton with the assistance of Sting and Elton Johnrespectively.In 2013 La-La Land Records issued the complete score on a two-disc set as part of Lethal Weapon Soundtrack Collection.Track listingOriginal album\"It's Probably Me\" by Sting and Eric Clapton\"RunawayTrain\" by Elton John and Eric Clapton\"Grab the Cat\"\"Leo Getz Goes to the Hockey Game\"\"Darryl Dies\"\"Riggs and Rog\"\"Roger's Boat\"\"Armour Piercing Bullets\"\"God Judges Us by Our Scars\"\"Lorna – A Quiet Evening bythe Fire\"La-La Land albumTracks with one asterisk are previously unreleased, tracks with two asterisks contain previously unreleased material.Disc one\"Trust Me\" – 3:34 *\"Afterglow\" – 0:57\"Jaywalker\" – 2:01*\"Armoured Car Chase\" – 4:33 *\"Leo Getz\" – 3:20 **\"Concrete Death\" – 1:59 **\"Rianne's Big Break\" – 2:16 *\"Locker Room\" – 0:43 *\"Firing Range\" – 0:59 *\"Jack Kills Billy\" – 3:15 *\"Hockey Game\" – 0:58*\"Dum-Dum Wound\" – 1:07 *\"Shooting Darryl, Part 1\" – 3:12 **\"Shooting Darryl, Part 2/Step into My Office\" – 2:17 **\"Man's Best Friend/Lorna's First Fight\" – 6:41 **, *\"Scars/Love Scene\" – 3:45 *\"Roger's Boat\" –5:28 **\"Shaving\" – 1:17 *\"Gun Montage/Lorna's Second Fight\" – 3:33 *\"Captain Abducted/Captain and Travis\" – 1:34 *\"Unauthorized Access\" – 1:57 *\"Gun Battle\" – 3:47 **\"Riggs Falls\" – 2:11 *\"Drive to HousingDevelopment/On Three\" – 3:34 *\"Fire/Fire Battle/A Quiet Evening by the Fire\" – 7:01 *Disc twoOriginal album as above, followed by:Additional tracks\"Leo Getz\" (alternate) – 2:38 *\"Armoured Car Chase\" (no overlay) –4:33 *\"Gun Battle\" (alternate) – 5:26 *\"I Can't Retire\" – 1:30 **Video gamesSeveral versions of a Lethal Weapon video game were released in conjunction with this sequel's release, appearing on the NES, SNES, GameBoy, Amiga, Atari ST, and Commodore 64 platforms.Also released was a Lethal Weapon 3 pinball game.Passage 2:Lethal Weapon 2Lethal Weapon 2 is a 1989 American buddy cop action comedy film directed by RichardDonner, and starring Mel Gibson, Danny Glover, Joe Pesci, Joss Ackland, Derrick O'Connor and Patsy Kensit. It is a sequel to the 1987 film Lethal Weapon and the second installment in the Lethal Weapon filmseries.Gibson and Glover respectively reprise their roles as LAPD officers Martin Riggs and Roger Murtaugh, who protect an irritating federal witness (Pesci), while taking on a gang of South African drug dealers hidingbehind diplomatic immunity. The film was nominated for an Academy Award for Best Sound Editing (for Robert G. Henderson). The film received mostly positive reviews and earned more than $227 millionworldwide.PlotTwo years after the events of the first film, LAPD sergeants Martin Riggs and Roger Murtaugh are pursuing unidentified suspects suspected of drug trafficking, only to find they have been transporting anillegal shipment of gold in the form of krugerrand coins from the Afrikaner apartheid government of South Africa.  Later, consul-general Arjen Rudd and security agent Pieter Vorstedt kill Hans, their man who lost theshipment of krugerrands, and debate how to stir the police away from their activities. Pieter suggests warning Murtaugh off the investigation and commits a home invasion on his residence, causing Captain Murphy toreassign Riggs and Murtaugh to protecting an obnoxious federal witness, Leo Getz.It soon becomes clear that both cases are related: after an attempt on Leo's life, Riggs and Murtaugh learn of the former's murky pastlaundering funds for vengeful drug smugglers. Leo provides them with information about how laundering works and leads them to the gang, but upon dispatching his would-be assassin and returning with backup theyare confronted by Rudd, who invokes diplomatic immunity on behalf of his unscrupulous \"associates\", leaving the LAPD powerless to take action against them.Though instructed to leave the case alone, Riggs begins toopenly harass the South African consulate, defying Rudd and romancing his secretary, Rika van den Haas, a liberal-minded Afrikaner who despises her boss and his racial philosophy. Murtaugh enlists Leo's help increating a scene at the consulate that wins the support of anti-apartheid protesters outside. Vorstedt is dispatched to murder all of the officers investigating them while Murtaugh deduces that Rudd is attempting to shipfunds from his smuggling ring in the United States to Cape Town via Los Angeles Harbor. Two assassins attack Murtaugh at his home, but he kills them both with his contractor's nail gun, though Leo is abducted in theprocess.After killing many of the investigating officers, Vorstedt seizes Riggs at van den Haas' apartment and discloses that he was responsible for the death of Riggs's wife years earlier during a botched assassinationattempt on him. He has his men kill Rika by drowning her and orders them to do the same to Riggs, who escapes and brutally kills both of the men. He phones Murtaugh, declaring an intention to pursue Rudd andavenge his wife, Rika, and their fallen friends; Murtaugh willingly forsakes his badge to aid his partner. After rescuing Leo and destroying Rudd's house, they head for the Alba Varden, Rudd's freighter docked in the Portof Los Angeles, as the South Africans prepare their getaway with hundreds of millions in drug money.While investigating a guarded 40-foot cargo container at the docks, Riggs and Murtaugh discover Rudd's laundereddrug money, but are locked inside by Rudd's men. They break out of the box, scattering two pallets of the money into the harbor in the process. Riggs and Murtaugh engage in a firefight with some of Rudd's menaboard the Alba Varden before separating to hunt down Rudd.  Riggs confronts and fights Vorstedt hand-to-hand, culminating when Riggs stabs Vorstedt with his own knife and crushes him to death by dropping acontainer on him. Rudd retaliates by shooting Riggs in the back multiple times. Rudd again invokes diplomatic immunity upon seeing Murtaugh aim his gun at him; Murtaugh fatally shoots him and declares that hisimmunity has \"just been revoked\". Murtaugh then tends to Riggs, whom he believes may be dying and encourages him to hang on and that he is not dead until he says he is.  Discovering Riggs survived the shooting,they share a laugh as more LAPD personnel respond to the scene.CastProductionShane Black and Warren Murphy's original Play Dirty scriptFollowing the success of the first film, Warner Bros. and producers decided tomake the sequel. Producer Joel Silver asked writer of the first film Shane Black to write the script for the sequel in the spring of 1987 and Black agreed. Although he was struggling with personal issues, Black stillmanaged to write the first draft along with his friend, novelist Warren Murphy, co-creator of Remo Williams (the lead character of The Destroyer novels). Their original title for the script was Play Dirty. Although many"}
+{"doc_id":"doc_76","qid":"","text":"Passage 1:Ladies in DistressLadies in Distress is a 1938 American drama film directed by Gus Meins and written by Dorrell McGowan and Stuart E. McGowan. The film stars Alison Skipworth, Polly Moran, Robert Livingston, Virginia Grey, Max Terhune and Berton Churchill. The film was released on June 13, 1938, by Republic Pictures.PlotCastAlison Skipworth as Josephine BonneyPolly Moran as Lydia BonneyRobert Livingston as Pete BraddockVirginia Grey as SallyMax Terhune as Dave EvansBerton Churchill as Fred MorganLeonard Penn as Daniel J. RomanHorace McMahon as 2nd ThugAllen Vincent as SpadeEddie Acuff as HoraceCharles Anthony Hughes as LieutenantJack Carr as PolicemanWalter Sande as DuncanBilly Wayne as BrownPassage 2:Kyōen KobanzameKyōen Kobanzame (\u0000\u0000\u0000\u0000\u0000, Kyōen Kobanzame) is a 1958 black-and-white Japanese film directed by Nobuo Nakagawa.There are two parts of the film: the first part Kyōen Kobanzame zenpen (\u0000\u0000\u0000\u0000\u0000 \u0000\u0000) and the second part Kyōen Kobanzame kōhen (\u0000\u0000\u0000\u0000\u0000 \u0000\u0000). Both parts have the same staff and the same actors.CastKanjūrō Arashi (\u0000\u0000\u0000\u0000)Misako Uji (\u0000\u0000 \u0000\u0000\u0000)Ryūzaburō Nakamura (\u0000\u0000\u0000\u0000\u0000) - dual roleUreo Egawa (\u0000\u0000 \u0000\u0000\u0000)Tomohiko Ōtani (\u0000\u0000\u0000\u0000)Saburō Sawai (\u0000\u0000\u0000\u0000)Tetsurō Tamba (\u0000\u0000\u0000\u0000)Masao Takamatsu (\u0000\u0000\u0000\u0000)Kōtarō Bandō (\u0000\u0000\u0000\u0000\u0000)Fumiko Miyata (\u0000\u0000\u0000\u0000)Namiji Matsuura (\u0000\u0000\u0000\u0000)Passage 3:A Damsel in Distress (1919 film)A Damsel in Distress is a silent romantic comedy film released in 1919, starring June Caprice and Creighton Hale. The film is based on the 1919 novel A Damsel in Distress by English humorist P. G. Wodehouse. The director was George Archainbaud. The same novel later inspired a 1937 film.Plot summaryCastJune Caprice as Maud MarshCreighton Hale as George BevanWilliam H. Thompson as John W. MarshCharlotte Granville as Mrs. Caroline ByngArthur Albro as Reggie ByngGeorge Trimble as KeggsKatherine Johnson as Alice FarradayMark Smith as Percy MarshProductionThe film was directed by George Archainbaud, with Philip Masi as assistant director. The art director was Henri Menessier.Passage 4:Sidney OlcottSidney Olcott (born John Sidney Allcott, September 20, 1872 – December 16, 1949) was a Canadian-born film producer, director, actor and screenwriter.BiographyBorn John Sidney Allcott in Toronto, he became one of the first great directors of the motion picture business. With a desire to be an actor, a young Sidney Olcott went to New York City where he worked in the theatre until 1904 when he performed as a film actor with the Biograph Studios.In 1907, Frank J. Marion and Samuel Long, with financial backing from George Kleine, formed a new motion picture company called the Kalem Company and were able to lure the increasingly successful Olcott away from Biograph. Olcott was offered the sum of ten dollars per picture and under the terms of his contract, Olcott was required to direct a minimum of one, one-reel picture of about a thousand feet every week. After making a number of very successful films for the Kalem studio, including Ben Hur (1907) with its dramatic chariot race scene, and Dr. Jekyll and Mr. Hyde (1908), Olcott became the company's president and was rewarded with one share of its stock.In 1910 Sidney Olcott demonstrated his creative thinking when he made Kalem Studios the first ever to travel outside the United States to film on location.Of Irish ancestry, and knowing that in America there was a huge built-in Irish audience, Olcott went to Ireland where he made a film called A Lad from Old Ireland. He would go on to make more than a dozen films there and later on only the outbreak of World War I prevented him from following through with his plans to build a permanent studio in Beaufort, County Kerry, Ireland. The Irish films led to him taking a crew to Palestine in 1912 to make the first five-reel film ever, titled From the Manger to the Cross, the life story of Jesus.The film concept was at first the subject of much scepticism but when it appeared on screen, it was lauded by the public and the critics. Costing $35,000 to produce, From the Manger to the Cross earned the Kalem Company profits of almost $1 million, a staggering amount in 1912. The motion picture industry acclaimed him as its greatest director and the film influenced the direction many great filmmakers would take such as D.W. Griffith and Cecil B. DeMille. From the Manger to the Cross is still shown today to film societies and students studying early film making techniques. In 1998 the film was selected for the National Film Registry of the United States Library of Congress.Despite making the studio owners very rich men, they refused to increase his salary beyond the $150 a week he was then earning. From the enormous profits made for his employers, Olcott's dividend on the one share they had given him amounted to $350. As a result, Sidney Olcott resigned and took some time off, making only an occasional film until 1915 when he was encouraged by his Canadian friend Mary Pickford to join her at Famous Players–Lasky, later Paramount Pictures. The Kalem Company never recovered from the mistake of losing Olcott and a few years after his departure, the operation was acquired by Vitagraph Studios in 1916.Olcott was a founding member of the East Coast chapter of the Motion Picture Directors Association, a forerunner to today's Directors Guild of America and would later serve as its president. Like the rest of the film industry, Sidney Olcott moved to Hollywood, California, where he directed many more successful and acclaimed motion pictures with the leading stars of the day.Olcott married actress Valentine Grant, the star of his 1916 film, The Innocent Lie.During World War II, Olcott opened his home to visiting British Commonwealth soldiers in Los Angeles. In his book titled Stardust and Shadows: Canadians in Early Hollywood, writer Charles Foster tells of this period in Olcott's life, and of how he was introduced to many members of Hollywood's Canadian community through Olcott. Olcott died in Hollywood, California, in the house of his friend Robert Vignola where he lived after the death of Valentine Grant. Wanting to be buried in Canada, he is buried in Park Lawn cemetery in Toronto, Ontario.Partial filmography190719081909191019111912191319141915191619181919Marriage for Convenience (1919)1920Scratch My Back (1920)1921The Right Way (1921)God's Country and the Law (1921)Pardon My French (1921)1922Timothy's Quest (1922)1923The Green Goddess (1923)Little Old New York (1923)1924The Humming Bird (1924)Monsieur Beaucaire (1924)The Only Woman (1924)1925Salome of the Tenements (1925)The Charmer (1925)Not So Long Ago (1925)The Best People (1925)1926The White Black Sheep (1926)Ranson's Folly (1926)The Amateur Gentleman (1926)1927The Claw (1927)See alsoCanadian pioneers in early HollywoodPassage 5:When Lovers PartWhen Lovers Part is an American silent film produced by Kalem Company and directed by Sidney Olcott with Gene Gauntier, Jack J. Clark, Robert Vignola and JP McGowan in the leading roles.A copy is kept in the Desmet collection at Eye Film Institute (Amsterdam).PlotIn the Antebellum South, Nell is banned from seeing her lover by her father. They decide to elope, but their plans are thwarted by the father. When the American Civil War begins both Nell's father and former lover enlist the Confederate Army. Nell's father returns and her lover is traumatized and matured by the war, and at her father's funeral Nell finally accepts his hand in marriage.CastGene Gauntier - NellJack J. Clark -Robert Vignola - Back servantJP McGowan - Nell's fatherProduction notesThe film was shot in Jacksonville, Florida.Passage 6:Damsels in Distress (film)Damsels in Distress is a 2011 American comedy-drama film written and directed by Whit Stillman and starring Greta Gerwig, Adam Brody, and Lio Tipton. It is set at a United States East Coast university. First screened at the 68th Venice International Film Festival and the Toronto International Film Festival, it opened in New York and Los Angeles on April 6, 2012.PlotNewly transferred college student Lily becomes friends with Violet, Heather and Rose, a clique who run the campus' suicide prevention center. They date less attractive men to help the men's confidence; they try to clean up the \"unhygenic\" Doar Dorm; they clash with the editor of the campus newspaper, The Daily Complainer, who wants to close down the \"elitist\" fraternities; and they try to start a new dance craze, The Sambola!CastDevelopmentDamsels in Distress was Stillman's first produced feature since The Last Days of Disco (1998). In August 1998, he had moved from New York to Paris with his wife and two daughters. In that time, he wrote a novelization of The Last Days of Disco, in addition to several original film scripts which were not made, including one set in Jamaica in the 1960s. He resolved to make a lower-budgeted film in the style of his debut, Metropolitan (1990). In 2006, he met with Liz Glotzer and Mart Shafer at Castle Rock Entertainment, who had financed his second and third films. According to Shafer:Whit said, 'I want to write a movie about four girls in a dorm who are trying to keep things civil in an uncivil world.' It took him a year to write 23 pages. Six months later, a few more dribbled in. He just doesn't work very fast. Finally we had a draft. When we started production he said, 'I think 12 years is the right amount of time between movies.'Castle Rock provided most of the $3 million budget.ProductionThe movie was filmed on location in New York City on Staten Island at the Sailors' Snug Harbor Cultural Center. Filming finished on November 5, 2010.Stillman has said that the film was cut between its festival and theatrical runs:I felt the MPAA helped us out there. I'd hoped to get a PG-13 even with the Venice cut, but in the first viewing they thought it was R. So we looked at it, the editor [Andrew Hafitz] and I, and we saw immediately some things that would make it pretty clearly PG-13, and we felt would help the movie. There could've been a little heaviness of talking a little too much about what was going on, and it would delay the laugh until later – which I think is always good. We were really happy with the small changes we made. We made tiny changes in two scenes: we took out the text for what the ALA stood for... I think it gave it a Lubitschean vagueness and delayed the laugh.MusicThe film features an original score by Mark Suozzo. The song \"Sambola!\" is written by Suozzo, Michael A. Levine, and Lou Christie.ReceptionOn review aggregator Rotten Tomatoes, the film has an approval rating of 75% based on reviews from 143 critics. The website's critics consensus reads, \"Damsels in Distress can sometimes feel mannered and outlandish, but it's redeemed by director Whit Stillman's oddball cleverness and Greta Gerwig's dryly funny performance.\" On Metacritic, it has a score of 67% based on reviews from 33 critics.In Variety, Leslie Felperin wrote, \"a film that raises laughs even with its end credits, Whit Stillman's whimsical campus comedy Damsels in Distress is an utter delight.\" In Time, critic Richard Corliss wrote, \"Innocence deserted teen movies ages ago, but it makes a comeback, revived and romanticized, in this joyous anachronism.\" Andrew O'Hehir of Salon praised Gerwig's \"powerful and complicated performance\" and said that \"it's both a relief and a delight to discover that Stillman remains one of the funniest writers in captivity.\" He concluded, \"I laughed until I cried, and you may too (if you don't find it pointless and teeth-grindingly irritating). Either way, Whit Stillman is back at last, bringing his peculiar brand of counterprogramming refreshment to our jaded age.\" Jordan Hoffman of About.com gave the film four stars out of five, calling Gerwig \"a massive, multi-faceted talent\" and the film a \"love it or hate it movie. Personally, I think the ones who aren't charmed to pieces by its endless banter and preposterous characters very much need our help to expand their tastes and accept a more enlightened purview of what, indeed, is refined and acceptable motion picture entertainment.\"NotesPassage 7:Nigel HessNigel John Hess (born 22 July 1953) is a British composer, best known for his television, theatre and film soundtracks, including the theme tunes to Campion, Maigret, Wycliffe, Dangerfield, Hetty Wainthropp Investigates, Badger and Ladies in Lavender.BiographyHess was born in Weston-super-Mare, Somerset. He was educated at Weston-super-Mare Grammar School for Boys, and went on to study music at Cambridge University, where he was Music Director of the famous Footlights Revue Company. He has since worked extensively as a composer and conductor in television, theatre and film.Hess has composed numerous scores for both American and British television productions, including A Woman of Substance, Vanity Fair, Campion, Testament (Ivor Novello Award for Best TV Theme), Summer's Lease (Television & Radio Industries Club Award for Best TV Theme), Chimera, Titmuss Regained, Maigret, Classic Adventure, Dangerfield, Just William, Wycliffe (Royal Television Society Nomination for Best TV Theme), The One Game, Every Woman Knows a Secret, Hetty Wainthropp Investigates (Ivor Novello Award for Best TV Theme and Royal Television Society Nomination for Best TV Theme), Badger, Ballykissangel, New Tricks  and Stick With Me Kid for Disney. His best-known film score is Ladies in Lavender (Classical Brits Nomination for Best Soundtrack Composer) starring Dame Judi Dench and Dame Maggie Smith. The music has become popular worldwide, and was performed in the film by violinist Joshua Bell with the Royal Philharmonic Orchestra.While Hess was House Composer for the Royal Shakespeare Company he contributed twenty scores for RSC productions, and highlights from his Shakespeare scores have been recorded and performed by the RPO in concert as The Food of Love, hosted by Dame Judi Dench and Sir Patrick Stewart. His most recent RSC scores were for Christopher Luscombe's productions of Love's Labour's Lost and Love's Labour's Won. Hess was awarded the New York Drama Desk Award for ‘Outstanding Music in a Play’ for the productions of Much Ado About Nothing and Cyrano de Bergerac on Broadway. His most recent theatre scores have been written for Shakespeare's Globe in London and include The Merry Wives of Windsor, Romeo and Juliet, Henry VIII, The Knight of the Burning Pestle and Nell Gwynn.The debut album of Hess’s vocal group Chameleon (recently reissued as Saylon Dola) won the Music Retailers Association Award for Best MOR Vocal Album, with tracks from the album subsequently covered by several artists, including tenor Russell Watson.Hess has also composed much concert music, particularly for symphonic wind band, including commissions from Royal Air Force Music Services and the Band of the Coldstream Guards. July 2007 saw the première of Hess’s Concerto for Piano and Orchestra (Classical Brits Nomination for Composer of the Year), commissioned by the Prince of Wales in memory of his grandmother. The soloist was internationally renowned pianist Lang Lang. Other commissions include a new ballet based on The Old Man of Lochnagar, a children’s story written by the Prince of Wales in 1980, commissioned and premiered by the National Youth Ballet of Great Britain; A Christmas Overture, commissioned by John Rutter and premiered by the Royal Philharmonic Orchestra at the Royal Albert Hall, and A Celebration Overture, commissioned by the Royal Liverpool Philharmonic Orchestra for its 175th anniversary and also premiered at the Royal Albert Hall in 2015.Hess is the great nephew of British pianist Dame Myra Hess. He named his music publishing company Myra Music in her honour.In 2023, Hess was announced as one of the composers who would each create a brand new piece for the Coronation of Charles III and Camilla.Notable TV compositionsHess's notable television compositions includeTestament  — awarded the Ivor Novello Award for best television themeSummer's Lease  — awarded the Television and Radio Industries Club award for best television themeWycliffe  — nominated for the Royal Television Society best television themeHetty Wainthropp Investigates  — awarded the Ivor Novello Award for best television theme and nominated for the Royal Television Society best television theme awardPassage 8:I Want Your Love (film)I Want Your Love is the title of both a 2010 short film and a 2012 feature-length film. Both films were directed and written by Travis Mathews. The drama films both revolve around the friends and ex-lovers of Jesse Metzger, a gay man in his mid-30s who is forced to move back to his hometown from San Francisco due to financial reasons.The actors' own names, along with much of their real-life stories, were used for their characters in both films, which features graphic sexual scenes. The production of both films was aided by the gay pornographic studio NakedSword. This led to the full-length film being refused exemption from classification, which would have allowed it to screen at the Melbourne Queer Film Festival, a decision to which actor James Franco (who invited Mathews to collaborate on Franco's film Interior. Leather Bar.) reacted negatively.2010 short filmCastJesse Metzger as JesseBrenden Gregory as BrendenPlotJesse and Brenden playfully negotiate their way toward having sex together for the first time on Metzger's last night in San Francisco before he returns to the Midwest.2012 filmCastJesse Metzger as Jesse a performance-arts director and the main character, who's forced to move back to his hometownBrontez Purnell as Brontez, a friend of Jesse, who works at a clothing shopBen Jasper as Ben, Jesse's ex-boyfriend, who works in advertising and stops by to say goodbyeKeith McDonald as Keith, Jesse's friend and roommateWayne Bumb as WayneFerrin Solano as Ferrin, Wayne's boyfriend, who moves in with WayneJorge Rodolfo as Jorge, Wayne's friend, of whom Ferrin is initially jealous, but who eventually joins Wayne and Ferrin for a threesomePeter Knegt as Peter, Jesse's one-night standOthers; Shannon O'Malley as ShannonCourtney Trouble as CourtneyBob Mathews as Jesse's Dad (voice)Justin Time as Boy Outside of Aunt Charlie'sMike Ojeda as Boy Outside of Aunt Charlie'sGinno Castro as Party PersonRyan Crowder as Party PersonPlotJesse Metzger, a gay man in his mid-30s who works in the domain of performance arts, finds himself forced to move back to his hometown because he can no longer afford living in San Francisco. As he plans his move, his best friend Wayne is having his boyfriend Ferrin move in. The two have trouble acclimating through the movie, and Ferrin is worried about Wayne's increasing interest in Jorge, a friend of Wayne.Jesse discusses his fears about moving with his other roommate, Keith, who seems to always help Jesse by saying the right things. Meanwhile, Jesse is having trouble with his job, which involves creativity, a quality he is losing under all the pressure. He contacts his ex-boyfriend Ben to say goodbye. Ben is excited, and goes shopping to impress Jesse, where he meets with friend Brontez. The two chat and agree to meet in a goodbye party for Jesse, which Wayne had planned for later that night. Jesse, despite having reminisced his love-making with Ben, and Ben feel good about meeting each other, but upon meeting, they both realize their feelings are gone. Later that day, Ben calls Brontez to confirm seeing him later at night in Jesse's party.At the party, Jesse does not show up and stays downstairs with Keith, who is leaving for the weekend. The guests arrive. Ferrin suggests a threesome with Wayne and Jorge, to which they both agree. During the sex, Jorge leaves the two lovers. Meanwhile, Ben and Brontez flirt and eventually have sex. Downstairs, Jesse wears Keith's clothes and lays down listening to music. Keith shows up, surprising Jesse. The two chat until their sexual tension reaches the point where they have sex, which is interrupted by Jesse, who tells Keith that this \"isn't what he wants.\"In the morning, Ben picks up Jesse. On their way to the airport, Jesse laughs loudly, claiming he is, despite his fears, strangely excited.ProductionI Want Your Love is about gay relationships among a group of San Francisco friends. The short film was released in April 2010, with the cooperation of NakedSword, a gay porn studio, and proceeded to be shown at a number of LGBT film festivals around the world. The full-length film was shown at a number of LGBT film festivals in 2012.Restriction in AustraliaThe Australian Classification Board denied I Want Your Love festival exemption for the Sydney Mardi Gras Film Festival. The move has been controversial, with critics highlighting the fact that Donkey Love, a documentary about zoophilia in Colombia, was permitted to screen at the Sydney Underground Film Festival. In 2013, actor James Franco spoke out in defense of the film, stating that the refusal to grant a festival exemption to the film was \" "}
+{"doc_id":"doc_77","qid":"","text":"Passage 1:Ole Arntzen LützowOle Arntzen Lützow (14 November 1801 – 2 November 1871) was a Norwegian politician.He was elected to the Parliament of Norway in 1839, 1842 and 1845, representing the ruralconstituency of Hedemarkens Amt. He worked as a farmer.Passage 2:Harry A. McMackinHarry Albert McMackin (February 10, 1880 – October 13, 1946) was a Canadian politician. He served in the Legislative Assemblyof New Brunswick as member of the Progressive Conservative party from 1939 to 1944.Passage 3:Harry A. KeeganHarry Albert Keegan (November 18, 1882 – August 25, 1968) was a member of the Wisconsin StateAssembly.BiographyKeegan was born on November 18, 1882 in what is now Madison, South Dakota. He later moved to Monroe, Wisconsin. Keegan died in August 1968.CareerKeegan was a member of the Assemblytwice. First, from 1939 to 1946 and second, from 1949 to 1956. He was a Republican. He was a dairy farmer and also worked in the grocery business. Keegan served on the Monroe Common Council.Passage 4:HarrySieben Sr.Harry Albert Sieben II (August 23, 1914 - April 25, 1979) was an American public servant, active in government and politics in Minnesota throughout his life.Family, early life, and educationSieben was born onAugust 23, 1914, in Hastings, Minnesota into a family active in government and politics. Sieben's father, also named Harry Albert Sieben (1890-1945), a 1911 graduate of the University of Illinois, served as mayor ofHastings from 1922 to 1926. Sieben's grandfather, J. George Sieben, served three terms as mayor of Hastings, while also serving on the city council for twelve years.Sieben's mother, Irene H. Buckley Sieben(1891-1982), was a 1911 graduate of the University of Minnesota and was a delegate to the Democratic National Convention in 1948.The Sieben family originally arrived in the United States from Firmenich, nearCologne, Germany, in the then-Kingdom of Prussia, in 1847.Sieben graduated from the University of Minnesota and, later, from William Mitchell College of Law.Early careerBefore his career in law and government,Sieben managed his family's drug store, which was founded by his grandfather in 1885. During World War II, Sieben joined the Army and served at the bomber modification center at Holman Field in St. Paul.Siebenmarried his wife, the former Mary Luger, in April 1940, in Minneapolis, where they later made their home before moving to Hastings.Political careerSieben was a long-time member of the MinnesotaDemocratic–Farmer–Labor Party (DFL) and active in local and state politics for over thirty years. After assisting with the political activity of his father in Hastings, an early political experience of Sieben's came duringHubert Humphrey's successful 1948 bid for US Senate.In 1950, Sieben ran for Minnesota's 2nd Congressional District of the US Congress, against incumbent-since-1941, Joseph O'Hara. Sieben supported the MarshallPlan and providing military assistance to Europe and Asia, including Korea, where his brother James G. Sieben served. Sieben ultimately lost 69,304 to 46,452.In February 1951, he was also appointed acting director ofthe Office of Price Stabilization in Minnesota after being recommended for it by then-Senator Hubert Humphrey.In 1954, Sieben again ran for US Congress in the 2nd District. A highlight of Sieben's campaign was afundraising dinner for 700 people in Mankato with sitting Senator Hubert Humphrey at $5 per plate.In January 1955, Minnesota Governor Orville Freeman appointed Sieben as liquor control commissioner. In 1957,Governor Freeman appointed Sieben as the Minnesota highway safety director, a role in which he served for four years.Sieben was appointed as US Marshal for Minnesota by President John F. Kennedy on May 1,1961.Sieben stepped down from US Marshal position in the summer of 1962 to become the regional director of the Small Business Administration for Minnesota, North and South Dakota, and northern Wisconsin. Duringthis time, Sieben was also a confidante of Governor Karl Rolvaag.In 1966, at the age of 52, he graduated from William Mitchell College of Law and worked as a lawyer. In 1968, Sieben was elected president of the TwinCities chapter of the Federal Bar Association.From 1971 until his death, Sieben served as chief clerk of the United States District Court for the District of Minnesota.Death & legacyOn April 22, 1979, Sieben he suffered astroke or a heart attack and was hospitalized. He died shortly afterwards on April 25, 1979, in Hastings.Two of Sieben's sons, Harry A. Sieben, Jr. and Mike Sieben, served in the Minnesota House of Representatives:Harry, Jr. served 14 years, including as Speaker of the House, while Mike served 10 years. Harry, Jr. also served as a Major General and Adjutant General of the Minnesota National Guard. Another of Sieben's sons,William, served on Walter Mondale's senate staff in Minnesota, and later, on his White House staff during his vice presidency. Sieben's granddaughter, Katie Sieben, served in the Minnesota Senate. Sieben was also thebrother of Major General James G. Sieben, who served as Adjutant General of the Minnesota National Guard.Passage 5:Harry Atkinson (socialist)Harry Albert Atkinson (15 October 1867 – 21 January 1956) was a NewZealand engineer, socialist and insurance agent. He was born in Urenui, Taranaki, New Zealand on 15 October 1867, and was educated at Nelson College.Passage 6:Ole ArntzenOle Arntzen (4 February 1910 – 7 August1973) was a Norwegian businessman and resistance member during World War II. He was a brother of Sven Arntzen. He was a member of the Central Committee of Milorg, where he served as General Inspector (\"StorI\") from April 1944 to May 1945. His cover name was \"Ørnulf\". In his World War II memoirs, Gunnar Sønsteby devotes one chapter to the arrest of Milorg leaders Jens Christian Hauge and Arntzen by the State police on10 April 1945, but their central role was not discovered.Passage 7:Harry Albert WillisHarry Albert Willis (July 11, 1904 – March 23, 1972) was a Canadian Senator and long-time fundraiser and organizer for theProgressive Conservative Party of Canada in Ontario.Born in Belfountain, Ontario, Wilson was Ontario chairman of the federal party's Ontario wing from 1943 until 1963.A lawyer by training, Willis was a graduate ofMcMaster University and Osgoode Hall Law School. He was appointed to his party position by then federal leader John Bracken.Under John Diefenbaker, Willis was one of the \"three musketeers\" who ran the Ontario wingalong with Edwin A. Goodman and Senator William Brunt.Diefenbaker appointed Willis to the Senate in June 1962. He stepped down as Ontario chairman following the 1963 federal election in which the Tories weredefeated by Lester Pearson's Liberals with only 26 Progressive Conservative MPs being elected in Ontario.In the business world, Willis sat on several boards of directors, including those of Denison Mines and StandardTrust. He was president of Caledon Holdings Limited, which developed residential subdivisions. The company owned 1,000 acres (4.0 km2) near which Wilson wished to develop despite the province's plans to createpark Forks of the Credit Provincial Park. Wilson continued buying property in the area despite the province's plans. The provincial Progressive Conservative government purchased the land from Wilson in 1971, givinghim an 81% profit, which resulted in complaints by the parliamentary opposition and a formal inquiry which found no wrongdoing on the part of Willis but which criticized the government for not bargaining for a lowerprice.Willis died in flight from Ottawa to Toronto.Passage 8:Charalampos MavriasCharalampos Mavrias (Greek: Χαράλαμπος Μαυρίας; born 21 February 1994), known as \"Charis\" (Greek: Χάρης) or \"Harry\", is a Greekprofessional footballer who plays as a right back and right midfielder for Greece national team.Club careerPanathinaikosMavrias joined Panathinaikos' youth academy in 2007, aged 13, and was promoted to thefirst-team squad in 2010, after signing a professional contract in the previous year. On 20 October 2010 he made his first-team – and UEFA Champions League – debut, playing the last 12 minutes of a 0–0 home drawagainst Rubin Kazan, thus becoming the youngest Greek ever to appear in the competition, and the second youngest overall (only behind Celestine Babayaro, being surpassed later by Alen Halilović, Youri Tielemans andRayan Cherki). Four days later he made his league debut, again as a substitute in a 0–1 loss at AEK.Mavrias scored his first professional goal on 18 February 2012, netting his side's last of a 2–0 success at Ergotellis; hescored his first European goal on 31 July 2012, again netted the last of a 2–0 win at Motherwell in the first leg of the third qualifying round of the Champions League, one minute after coming onto the pitch as asubstitute.SunderlandOn 22 August 2013, Mavrias joined English Premier League side Sunderland on a four-year contract, for an undisclosed fee, rumoured to be £2-3 million. However, he was left out of the squad toplay Southampton due to lack of match fitness.Mavrias made his debut five days later, coming on as a second-half substitute in a 4–2 home success over Milton Keynes Dons, for the campaign's Football League Cup. Hescored his first goal on 25 January of the following year, netting the winner against Kidderminster Harriers in the fourth round of the FA Cup.On 2 February 2015, it was confirmed Mavrias had joined his former clubPanathinaikos on loan until the end of the 2014–15 season.Mavrias returned to Sunderland where he has been training and playing for the Black Cats Under-21s – and is understood to have impressed the club'scoaching staff with his attitude and contribution. But Mavrias has not come close to being included in the first-team squad, however is not bitter over seeing his career stall on Wearside. “I took the decision to leavePanathinaikos and go to Sunderland, and I think anyone in my position would take this decision,” he told the Greek press. On 9 January 2016, almost two years after his last match with the first team, Mavrias enteredthe game in second half as a substitute in a 3–1 away loss against Arsenal for FA Cup.Fortuna DüsseldorfHe was loaned to Fortuna Düsseldorf on 27 January 2016.Mavrias - who has 18 months remaining on hisSunderland contract - now has a chance to play regular first-team football after joining Düsseldorf until the end of the campaign, with a view to a permanent switch next summer. On 6 February 2016, he made his debutwith a club, in a 0–1 home loss against Heidenheim.Mavrias performance in Düsseldorf was satisfying, leading the club to set an offer for the Greek international winger. Unfortunately on 24 June 2016, Sunderlandreject Fortuna Düsseldorf's lower bid than the £400,000 clause to convert the loan into a permanent switch.Karlsruher SCOn 6 September 2016, after three seasons spent playing for Sunderland, only 7 official capsoverall collected as a Black Cats man, plus 2 experiences as a loanee (at Fortuna Düsseldorf and Panathinaikos), he joined 2. Bundesliga side Karlsruher SC for a three-years contract. On 10 September 2016, he madehis debut with the club in a 4–0 away loss against Union Berlin. Unfortunately, KSC harboured hopes of promotion back to the Bundesliga this summer, after finishing seventh last term had erupted during the year asthe club relegated to Germany's third tier.RijekaOn 24 August 2017, Mavrias joined Rijeka in the Croatian First Football League on a one-year contract with a three-year extension option.HibernianMavrias signed withScottish Premiership club Hibernian in October 2018 on a short-term contract, following a trial period. He made two first-team appearances for Hibernian, but then suffered a hamstring injury and was released at theend of his contract.OmoniaOn 29 December 2018, Omonia officially announced the signing of Mavrias on a 2,5 year contract. He made his debut for the team on 13 January 2019, on a match against Apollon Limassolfor the Cypriot First Division, replacing Saša Živec on the 41st minute. On February 10, he scored his first goal on a match against Doxa Katokopias.Apollon LimassolOn 11 June 2021, Apollon Limassol announced him,with a contract lasting until 2023.International careerOn 19 March 2019, Greece head coach Angelos Anastasiadis announced the call up of Mavrias for the match against Liechtenstein and Bosnia and Herzegovina forUEFA Euro 2020. Mavrias's talent is undoubted and has added versatility to his game, demonstrating he is able to operate as a right back if need be. His form in Cyprus has been patchy which again makes his selectionfascinating. Anastasiadis may see him as a ‘wildcard’ option to throw on off the bench as his speed could add another dimension to a team severely lacking such a trait. He has already featured for the Greece nationalteam on five occasions, but his last appearance came in 2014 as the Greece lost to Serbia in a friendly.Career statisticsAs of 22:01, 08 May 2022 (UTC).HonoursClubRijekaAtlantic Cup: 2017OmoniaCypriot FirstDivision: 2020–21Apollon LimassolCypriot First Division: 2021–22InternationalGreece U19UEFA European Under-19 Championship runner-up: 2012Passage 9:John J. CasbarianJohn J. Casbarian is an Americanarchitect, currently the Harry K. & Albert K. Smith Professor at Rice University. He is a Fellow at American Academy in Rome.He received a B.A. ('69) and B.Arch. ('72) from Rice University and a MFA in Design from theCalifornia Institute of the Arts. In 2002, he founded the Rice School of Architecture in Paris (RSAP), an advanced program of study for Rice graduate architecture students, located in 12th arrondissement in Paris. Theprogram places students in the top architecture firms in Paris to be involved in year-long practicums, while they expand their cultural, political, artistic, and social horizons.Passage 10:Harry Lorraine (English actor)HarryLorraine (26 March 1885 – 27 March 1970), born Harry Albert Heard in Brighton, Sussex, England, was an actor in English silent films.Early lifeHarry Heard was the oldest of three children born to Thomas Heard andHarriett (née Ashdown). At age 16 he was working as a painter for his father, but then established himself as a magician, daredevil, and escapologist, sometimes with the spelling Harry Herd, as \"The world’s youngestHandcuff King,\" an English version of Harry Houdini, although it's uncertain whether he met Houdini or saw him perform.Acting careerHeard began his film career in 1912 and used the name Harry Lorraine throughouthis acting career. It appears to have been strictly a stage name, as he used the surname Heard on his marriage certificate in 1932, and there is no known documentation of a legal name change.Lorraine's first actingrole was Little John in Robin Hood Outlawed. The next month, he took the lead role of Lieutenant Rose in Lieutenant Rose and the Train Wreckers. In this movie, typical for the time period, Lorraine's character istraveling on a train which has been directed to a siding by the enemy, and – all while the smallest slip means certain death – as the train is hurtling along, he climbs out of the carriage, swings himself between twocoaches, and disconnects the couplings, thereby saving the day by sending on the bulk of the train to destruction while his own carriage remains safely on the track.Lorraine did his own stunts in movies, drawing on hisnatural strength and the physical skills he had developed prior to acting. During a time when it seemed audiences wanted more and every action movie had to outdo previous movies – and with only visual effects andmusic – some were quite challenging and even dangerous. Examples of some of the daredevil stunts Lorraine performed include diving into a pool of sharks (filming on location in Jamaica), being thrown bound hand andfoot from Walton Bridge into the river thirty feet below, fighting six men single-handedly and getting thrown down onto a table with such force that it splintered (this was an unrehearsed and unexpected thrill), jumpingfrom an airplane, dangling from the jib of a very tall crane while bound, being dragged by a taxicab, and sundry chase scenes.Lorraine's acting career spanned three decades, and its end probably had as much to dowith the near-standstill of the British film industry during World War II as with his advancing age for the types of characters he usually played.Personal lifeIn 1932, Lorraine married Gladys Seals in Kingston. His namewas recorded as Harry Heard on the marriage certificate. He was forty-five years old and his occupation was listed as film director; she was twenty-four. Gladys used the name Tonie throughout her life. They had twoboys, both born in Staines, whose surnames were registered as both Heard and Lorraine, and adopted to use the surname Lorraine.The British film industry was decimated by the effects of World War II, and after thewar Lorraine left acting to manage his father’s building business. Known as Lorraine Estates, it was initially involved in repairing bomb damage to property in Battersea and other sites in and around London. Lorrainecontinued working in the building business almost until his death at age 85 on 27 March 1970, and was recorded as \"film director (retired)\" on his death certificate. Tonie died in 2002, at age 94.SelectedfilmographyNotesCopies of some of Lorraine's movies are no longer extant, and there are only brief synopses for some. For others, even story lines and listing of credits are not available.During Lorraine's career, therewas another actor name Harry Lorraine, an American silent film actor who was noted for comedy and romance films, not action films. Their careers largely overlapped, and due to incomplete records and because theEnglish Harry Lorraine spent time and is thought to filmed movies in the United States, their filmographies have not yet been disambiguated with certainty."}
+{"doc_id":"doc_78","qid":"","text":"Passage 1:The Wonderful World of Captain KuhioThe Wonderful World of Captain Kuhio (\u0000\u0000\u0000\u0000\u0000, Kuhio Taisa, lit. \"Captain Kuhio\") is a 2009 Japanese comedy-crime film, directed by Daihachi Yoshida, based on Kazumasa Yoshida's 2006 biographical novel, Kekkon Sagishi Kuhio Taisa (lit. \"Marriage swindler Captain Kuhio\"), that focuses on a real-life marriage swindler, who conned over 100 million yen (US$1.2 million) from a number of women between the 1970s and the 1990s.The film was released in Japan on 10 October 2009.CastMasato Sakai - Captain KuhioYasuko Matsuyuki - Shinobu NaganoHikari Mitsushima - Haru YasuokaYuko Nakamura - Michiko SudoHirofumi Arai - Tatsuya NaganoKazuya Kojima - Koichi TakahashiSakura Ando - Rika KinoshitaMasaaki Uchino - Chief FujiwaraKanji Furutachi - Shigeru KurodaReila AphroditeSei AndoAwardsAt the 31st Yokohama Film FestivalBest Actor – Masato SakaiBest Supporting Actress – Sakura AndoPassage 2:We Dive at DawnWe Dive at Dawn is a 1943 war film directed by Anthony Asquith and starring John Mills and Eric Portman as Royal Navy submariners in the Second World War. It was written by Val Valentine and J. B. Williams with uncredited assistance from Frank Launder. It was produced by Edward Black. The film's sets were designed by Walter Murton.PlotIt is April, 1942. Lieutenant Freddie Taylor and some crew of the submarine Sea Tiger are given a week's leave after an unsuccessful patrol. Leading Seaman Hobson goes home to save his marriage, while a reluctant Torpedo Gunner's Mate Corrigan departs for his wedding in London. When the crew are recalled early Corrigan is relieved, though later regrets not completing his marriage. Sea Tiger has been assigned the top secret mission to sink Nazi Germany's new battleship, the Brandenburg, before she transits the Kiel Canal for sea trials in the Baltic Sea. Sea Tiger must put to sea immediately.Crossing the North Sea, the submarine picks up three shot-down Luftwaffe pilots from a rescue buoy, and prevents their radio alert to German forces. When the submarine enters a minefield, an airman panics and reveals the Brandenburg is further ahead than thought. The airman is attacked by a countryman and subsequently dies. Taylor decides on a desperate gamble to pursue the Brandenburg into the German-controlled Baltic Sea.When the Brandenburg is spotted, Sea Tiger fires all its torpedoes, but dives before assessing their impact due to German destroyers dropping depth charges. By expelling oil and other debris including the body of the German airman, Taylor deceives the Germans into believing that the submarine has sunk. Although successfully escaped, Sea Tiger no longer has enough oil to reach Britain. The Germans, convinced that the Sea Tiger has been sunk, have Lord Haw Haw broadcast to Britain announcing the destruction of the Sea Tiger.Taylor decides to have his crew abandon ship on the Danish island of Hågø (which is in fact the island of Bågø). Hobson, a former merchant seaman who speaks German and knows the port on the island, persuades Taylor to let him go ashore and search for oil. He succeeds, and Sea Tiger enters the harbour under cover of darkness, using Hobson's intelligence about the harbour depth. Aided by friendly Danish sailors, they refuel while Hobson and other crewmen hold off the German garrison. Although Pincher (the cook) is killed and Oxford and Lieutenant Johnson are wounded, they get back to the re-fuelled submarine and start to leave the port. While they leave though, the tanker they were able to refuel from is hit by German shells and catches fire. Taylor, not wanting to risk the Sea Tiger any longer, continues to leave the port and makes it out to the open sea.While returning to Britain, the crew are met by an escorting trawler and learn from them that they sank the Brandenburg. The Sea Tiger returns to base, flying the Jolly Roger for the first time.CastJohn Mills as Lieutenant Freddie Taylor, CaptainLouis Bradfield as Lieutenant Brace, First OfficerRonald Millar as Lieutenant Ronnie Johnson, Third OfficerJack Watling as Lieutenant Gordon, Navigating OfficerReginald Purdell as C/P.O. (Chief Petty Officer) \"Dicky\" Dabbs, CoxswainCaven Watson as C/P.O. Jock Duncan, Chief Engine Room ArtificerNiall MacGinnis as C/P.O. Mike Corrigan, Torpedo Gunner's MateEric Portman as L/S (Leading Seaman) James Hobson, on hydrophonesLeslie Weston as L/S Tug Wilson, Leading Torpedo OperatorNorman Williams as \"Canada\", Periscope OperatorLionel Grose as \"Spud\", Torpedo OperatorDavid Peel as \"Oxford\", HelmsmanPhilip Godfrey as \"Flunkey\", StewardRobb Wilton as \"Pincher\", CookJoan Hopkins as Ethel DabbsWalter Gotell as the ardent Nazi pilot, uncreditedJohn Slater as CharliePhilip Friend as Captain HumphriesProductionWe Dive at Dawn was filmed at Gaumont-British Studios in London, with the co-operation of the British Admiralty. John Mills prepared for his role as the captain of Sea Tiger by sailing in a submarine on a training mission down the Clyde. He recalled a crash dive: The ship then seemed to stand on her nose and I felt her speeding like an arrow towards the sea bed; charts and crockery went flying in all directions; I hung on to a rail near the periscope trying to look heroic and totally unconcerned; the only thing that concerned me was the fact that I was sure that my face had turned a pale shade of pea-green.Exterior shots of the submarines P614 and P615 were used for Sea Tiger (with the final number painted over to make \"P61\"). The vessels were a Turkish S-class submarine that had been part of a consignment ordered by the Turkish Navy from the British company Vickers in 1939. But with the outbreak of World War II, the four boats were requisitioned by the Royal Navy and designated the P611 class in the British Fleet. They were similar in design but slightly smaller than the British S class, although with a higher conning tower. The S-class boat HMS Safari also appears in the film.Home mediaThe film has been issued on VHS by Madacy Records and Timeless Multimedia among others, and on DVD by ITV DVD and Carlton.Passage 3:Coney Island Baby (film)Coney Island Baby is a 2003 comedy-drama in which film producer Amy Hobby made her directorial debut. Karl Geary wrote the film and Tanya Ryno was the film's producer. The music was composed by Ryan Shore. The film was shot in Sligo, Ireland, which is known locally as \"Coney Island\".The film was screened at the Newport International Film Festival. Hobby won the Jury Award for \"Best First Time Director\".The film made its premiere television broadcast on the Sundance Channel.PlotAfter spending time in New York City, Billy Hayes returns to his hometown. He wants to get back together with his ex-girlfriend and take her back to America in hopes of opening up a gas station. But everything isn't going Billy's way - the townspeople aren't happy to see him, and his ex-girlfriend is engaged and pregnant. Then, Billy runs into his old friends who are planning a scam.CastKarl Geary - Billy HayesLaura Fraser - BridgetHugh O'Conor - SatchmoAndy Nyman - FrankoPatrick Fitzgerald - The DukeTom Hickey - Mr. HayesConor McDermottroe - GerryDavid McEvoy - JoeThor McVeigh - MagicianSinead Dolan - JuliaMusicThe film's original score was composed by Ryan Shore.External linksConey Island Baby (2006) at IMDbMSN - Movies: Coney Island BabyPassage 4:Murder at DawnMurder at Dawn is a 1932 American Pre-Code film directed by Richard Thorpe. The film is also known as The Death Ray in the United Kingdom.CastJack Mulhall as DannyJosephine Dunn as Doris FarringtonEddie Boland as FreddieMarjorie Beebe as GertrudeMartha Mattox as The HousekeeperMischa Auer as HenryPhillips Smalley as Judge FolgerCrauford Kent as ArnsteinFrank Ball as Dr. FarringtonAlfred Cross as GoddardExternal linksMurder at Dawn at IMDbMurder at Dawn at the TCM Movie DatabaseMurder at Dawn is available for free viewing and download at the Internet ArchivePassage 5:HMS Al Rawdah (1911)HMS Al Rawdah was a ship of the Royal Navy. She was built in 1911 and originally christened Chenab for the Nourse Line of London.In 1930 the ship was sold to Khedivial Mail Steamship & Graving Dock and renamed Ville De Beyrouth. In 1939 the ship was sold again and renamed Al Rawdah.In 1940 the British Ministry of Shipping requisitioned the vessel and she was managed by the British-India Steam Navigation Company Ltd. In 1946 Al Rawdah was returned to her owners, and scrapped in 1953.InternmentBetween 1940 and 1946 the vessel (described as a \"hulk\") was used as a military base and prison ship for Irish Republican internees and prisoners. Internment on the Al Rawdah began in 1939 as it was moored just off Killyleagh in Strangford Lough. Conditions on board the ageing ship were not good - food was described as \"abominable\" by survivors. Internees were packed in \"bronchitic squalor\" for months or years. On 18 November 1940 Irish Republican internee Jack Gaffney from Belfast died onboard the Al Rawdah. Some of the Irish detainees placed in the hold of Al Rawdah had also been interned on the British prison ship HMS Argenta.See alsoHMS ArgentaHMS MaidstonePassage 6:Tomorrow at DawnTomorrow at Dawn (French: Demain dès l'aube) is a 2009 French drama film directed by Denis Dercourt. It competed in the Un Certain Regard section at the 2009 Cannes Film Festival.CastVincent Perez as MathieuJérémie Renier as PaulAurélien Recoing as Capitaine DépréesAnne Marivin as JeanneFrançoise Lebrun as Claire GuibertGérald Laroche as Major RogartBarbara Probst as ChristelleBéatrice Agenin as The DuchessPassage 7:Invasion of the Neptune MenInvasion of the Neptune Men (\u0000\u0000\u0000\u0000\u0000, Uchū Kaisokusen) is a 1961 superhero film produced by Toei Company Ltd. The film stars Sonny Chiba as Iron Sharp (called Space Chief in the U.S. version).The film was released in 1961 in Japan and was later released in 1964 direct to television in the United States. In 1998, the film was featured on an episode of Mystery Science Theater 3000.PlotAstronomer Shinichi Tachibana has a secret identity as superhero \"Iron Sharp\" and has many children as friends. When they are attacked by a group of metallic aliens (\"Neptune Men\" in English), Iron Sharp drives the aliens away. The resourceful Tachibana helps develop an electric barrier to block the aliens from coming to the Earth.  After several losses by the aliens, they announce that they will invade the Earth, throwing the world into a state of panic. The aliens destroy entire cities with their mothership and smaller fighters. After Iron Sharp destroys multiple enemy ships, Japan fires nuclear missiles at the mothership, destroying it.CastSonny Chiba as scientist Shinichi Tachibana / Iron SharpKappei Matsumoto as Dr. TanigawaRyuko Minakami as Yōko (Tanigawa's daughter)Shinjirō Ehara as scientist YanagidaMitsue Komiya as scientist SaitōStyleInvasion of the Neptune Men is part of Japan's tokusatsu genre, which involves science fiction and/or superhero films that feature heavy use of special effects.ProductionInvasion of the Neptune Men was an early film for Sonny Chiba. Chiba started working in Japanese television where he starred in superhero television series in 1960. Chiba continued working back and forth between television and film until the late 1960s when he became a more popular star.ReleaseUchū Kaisokusen was released in Japan on 19 July 1961. The film was not released theatrically in the United States, but it was released directly to American television by Walter Manley on March 20, 1964, dubbed in English and retitled Invasion of the Neptune Men.The film was also released as Space Chief, Space Greyhound and Invasion from a Planet.Reception and legacyIn later reviews of the film, Bruce Eder gave the film a one-star rating out of five, stating that the film was \"the kind of movie that gave Japanese science fiction films a bad name. The low-quality special effects, the non-existent acting, the bad dubbing, and the chaotic plotting and pacing were all of a piece with what critics had been saying, erroneously, about the Godzilla movies for years.\" The review referred to the film's \"cheesy special effects and ridiculous dialogue taking on a sort of so-bad-they're-good charm\", and described the film as a \"thoroughly memorable (if not necessarily enjoyable, outside of the MST3K continuum) specimen of bad cinema.\"On October 11, 1997 the film was shown on the movie-mocking television show Mystery Science Theater 3000. In his review of the film, Bruce Eder of AllMovie described the episode as a memorable one, specifically the cast watching the repetitive aerial dogfights between spaceships, and one of the hosts remarking that \"Independence Day seems a richly nuanced movie\". Criticism of the film included excessive use of WWII stock footage in the action scenes (especially the obviously noticeable shot featuring a picture of Adolf Hitler in one building).In his book Japanese Science Fiction, Fantasy and Horror Films, Stuart Galbraith IV stated that the film \"had a few surprises\" despite a \"woefully familiar script\". Galbraith noted that the film was not as over-the-top as Prince of Space and that the opticals in the film were as strong as anything Toho had produced at the time. Galbraith suggested the effects may have been lifted from Toei's The Final War (aka World War III Breaks Out) from 1961.See alsoList of Japanese films of 1961List of Mystery Science Theater 3000 episodesList of science fiction films of the 1960sNotesPassage 8:Pistols at DawnPistols at Dawn may refer to:Pistols at Dawn, a 2000 album by Cauda PavonisPistols at Dawn (EP), a 2004 EP by AqueductPistols at Dawn (Consumed album)See alsoDuelPassage 9:Promise at DawnPromise at Dawn may refer to:Promise at Dawn (novel), 1960 autobiographical novel by Romain GaryPromise at Dawn (1970 film), American film directed by Jules Dassin based on the novelPromise at Dawn (2017 film), Franco-Belgian film directed by Éric Barbier based on the novelPassage 10:Eager BodiesEager Bodies (French: Les Corps impatients) is a 2003 French drama film directed by Xavier Giannoli.CastLaura Smet - CharlotteNicolas Duvauchelle - PaulMarie Denarnaud - NinonCatherine Salviat - La Mère"}
+{"doc_id":"doc_79","qid":"","text":"Passage 1:Bernie BonvoisinBernard Bonvoisin (French pronunciation: [b\u0000\u0000na\u0000 b\u0000̃vwaz\u0000̃]), known as Bernie Bonvoisin (French pronunciation: [b\u0000\u0000ni b\u0000̃vwaz\u0000̃], born 9 July 1956 in Nanterre, Hauts-de-Seine), is aFrench hard rock singer and film director. He is best known for having been the singer of Trust.He was one of the best friends of Bon Scott the singer of AC/DC and together they recorded the song \"Ride On\" which wasone of the last songs by Bon Scott.External linksBernie Bonvoisin at IMDbPassage 2:Margery CuylerMargery Cuyler is an American children's book author. She has written many picture books, including That's Good!That's Bad! and the rest of its series.Cuyler grew up in Princeton, NJ. She graduated from Sarah Lawrence College in 1970. Besides writing her own books, she has worked as a children's book editor and in executivepositions at Amazon.com, Marshall Cavendish, Golden Books Family Entertainment, Henry Holt and Company, and Holiday House. In 2011, she appeared on The Celebrity Apprentice television show, judging thecontestants on their work creating a children's book.Cuyler lives in Lawrenceville, New Jersey.BibliographyPicture booksSir William and the Pumpkin Monster, Henry Holt, 1984Freckles and Willie: A Valentine's DayStory, Henry Holt, 1986Fat Santa, Henry Holt, 1987Freckles and Jane, Henry Holt, 1989Shadow's Baby, Clarion Books, 1989Daisy's Crazy Thanksgiving, Henry Holt, 1990Baby Dot: A Dinosaur Story, Clarion Books,1990Buddy Bear and the Bad Guys, Clarion Books, 1990That's Good! That's Bad!, Henry Holt, 1991The Christmas Snowman, Arcade Books, 1992The Biggest, Best Snowman, Scholastic, 1998From Here to There, HenryHolt, 1999100th Day Worries, Simon & Schuster, 2000Road Signs, Winslow Press, 2000Stop, Drop and Roll, Simon & Schuster, 2001Ah-choo!, Scholastic, 2002That's Good! That's Bad! In the Grand Canyon, Henry Holt,2002Skeleton Hiccups, Margaret K. McElderry, 2002Big Friends, Walker and Company, 2004Please Say Please! Penguin's Guide to Manners, Scholastic, 2004Groundhog Stays Up Late, Walker/Bloomsbury, 2005TheBumpy Little Pumpkin, Scholastic, 2005Please Play Safe! Penguin's Guide to Playground Safety, Scholastic, 2006Kindness Is Cooler, Mrs. Ruler, Simon & Schuster, 2007That's Good! That's Bad! In Washington, D.C.,Henry Holt, 2007Hooray for Reading Day!, Simon & Schuster, 2008Monster Mess, Margaret McElderry Books/Simon & Schuster, 2008We’re Going on a Lion Hunt, Marshall Cavendish, 2008The Little Dump Truck, HenryHolt, 2009That's Good! That's Bad! On Santa's Journey, Henry Holt, 2009Bullies Never Win, Simon & Schuster, 2009Princess Bess Gets Dressed, Simon & Schuster, 2009I Repeat, Don't Cheat!, Simon & Schuster,2010Guinea Pigs Add Up, Walker and Company, 2010Tick Tock Clock, HarperCollins, 2012Skeleton for Dinner, Albert Whiteman, 2013The Little School Bus, Henry Holt, 2014The Little Dump Truck, Henry Holt,2014NovelsThe Trouble with Soap, E.P. Dutton, 1982Weird Wolf, Henry Holt, 1989Invisible in the Third Grade, Henry Holt, 1995The Battlefield Ghost, Scholastic, 1999NonfictionJewish Holidays, Henry Holt, 1978TheAll-Around Pumpkin Book, Henry Holt, 1980The All-Around Christmas Book, Henry Holt, 1982Passage 3:That's Good, That's Bad (Frankie Laine song)\"That's Good, That's Bad\" is a 1951 hit song sung by Jo Stafford andFrankie Laine. It was written by Ervin Drake and Jimmy Shirl.Passage 4:Kristian LeontiouKristian Leontiou (born February 1982) is an English singer. Formerly a solo artist, he is the lead singer of indie rock band OneeskimO.Early lifeKristian Leontiou was born in London, England and is of Greek Cypriot descent. He went to Hatch End High School in Harrow and worked several jobs in and around London whilst concentrating on musicwhen he had any free time.  In 2003 he signed a major record deal with Polydor. At the time, Leontiou was dubbed \"the new Dido\" by some media outlets. His debut single \"Story of My Life\" was released in June 2004and reached #9 in the UK Singles Chart. His second single \"Shining\" peaked at #13 whilst the album Some Day Soon was certified gold selling in excess of 150,000 copies.Leontiou toured the album in November 2004taking him to the US to work with L.A Reid, Chairman of the Island Def Jam music group.  Unhappy with the direction his career was going, on a flight back from the US in 2004 he decided to take his music in a newdirection.  Splitting from his label in late 2005, he went on to collaborate with Faithless on the song \"Hope & Glory\" for their album ‘'To All New Arrivals'’.  It was this release that saw him unleash the One eskimOmoniker.  It was through working with Rollo Armstrong on the Faithless album, that Rollo got to hear an early demo of \"Astronauts\" from the One eskimO project. Being more than impressed by what he heard, Rolloopened both his arms and studio doors to Leontiou and they began to co-produce the ‘'All Balloons’' album.It was at this time that he paired up with good friend Adam Falkner, a drummer/musician, to introduce a liveacoustic sound to the album. They recorded the album with engineer Phill Brown (engineer for Bob Marley and Robert Plant) at Ark studios in St John's Wood where they recorded live then headed back to Rollo's studioto add the cinematic electro touches that are prominent on the album.Shortly after its completion, One eskimO's \"Hometime\" was used on a Toyota Prius advert in the USA. The funds from the advert were then used todevelop the visual aspect of One eskimO. He teamed up with friend Nathan Erasmus (Gravy Media Productions) along with animation team Smuggling Peanuts (Matt Latchford and Lucy Sullivan) who together began todevelop the One eskimO world, the first animation produced was for the track ‘Hometime’ which went on to win a British animation award in 2008.In 2008 Leontiou started a new management venture with ATC Music.By mid-2008 Time Warner came on board to develop all 10 One eskimO animations which were produced the highly regarded Passion Pictures in London.  Now with all animation complete and a debut album, OneeskimO prepare to unveil themselves fully to the world in summer 2009.Leontiou released a cover version of Tracy Chapman's \"Fast Car\", which was originally released as a single in 2005. Leontiou's version was unableto chart, however, due to there being no simultaneous physical release alongside the download single, a UK chart rule that was in place at the time. On 24 April 2011, the song entered the singles chart at number 88due to Britain's Got Talent contestant Michael Collings covering the track on the show on 16 April 2011.DiscographyAlbumsSinglesNotesA  - Originally released as a single in April 2005, Leontiou's version of \"Fast Car\"did not chart until 2011 in the UK.Also featured onNow That's What I Call Music! 58 (Story of My Life)Win a Date with Tad Hamilton! OST, Love Love Songs - The Ultimate Love Collection (Shining)Summerland OST (TheCrying)Passage 5:Frankie LaineFrankie Laine (born Francesco Paolo LoVecchio; March 30, 1913 – February 6, 2007) was an American singer and songwriter whose career spanned nearly 75 years, from his first concertsin 1930 with a marathon dance company to his final performance of \"That's My Desire\" in 2005. Often billed as \"America's Number One Song Stylist\", his other nicknames include \"Mr. Rhythm\", \"Old Leather Lungs\", and\"Mr. Steel Tonsils\". His hits included \"That's My Desire\", \"That Lucky Old Sun\", \"Mule Train\", \"Jezebel\", \"High Noon\", \"I Believe\", \"Hey Joe!\", \"The Kid's Last Fight\", \"Cool Water\", \"Rawhide\", and \"You Gave Me aMountain\".He sang well-known theme songs for many Western film soundtracks, including 3:10 To Yuma, Gunfight at the O.K. Corral, and Blazing Saddles, although his recordings were not charted as a country &western. Laine sang an eclectic variety of song styles and genres, stretching from big band crooning to pop, western-themed songs, gospel, rock, folk, jazz, and blues. He did not sing the soundtrack song for High Noon,which was sung by Tex Ritter, but his own version (with somewhat altered lyrics, omitting the name of the antagonist, Frank Miller) was the one that became a bigger hit. He also did not sing the theme to another showhe is commonly associated with—Champion the Wonder Horse (sung by Mike Stewart)—but released his own, subsequently more popular, version.Laine's enduring popularity was illustrated in June 2011 when aTV-advertised compilation called Hits reached No. 16 on the UK Albums Chart. The accomplishment was achieved nearly 60 years after his debut on the UK chart, 64 years after his first major U.S. hit and four yearsafter his death.Early lifeFrankie Laine was born Francesco Paolo LoVecchio on March 30, 1913, to Giovanni and Cresenzia LoVecchio (née Salerno). His Cook County, Illinois, birth Certificate, No. 14436, was alreadyAmericanized at the time of his birth, with his name written as \"Frank Lovecchio,\" his mother as \"Anna Salerno,\" and his father as \"John Lovecchio,\" with the \"V\" lower case in each instance, except in the \"Reported by\"section with \"John Lo Vecchio (father)\" written in. His parents had emigrated from Monreale, Sicily, to Chicago's Near West Side, in \"Little Italy,\" where his father worked at one time as the personal barber for gangsterAl Capone. Laine's family appears to have had several organized crime connections, and young Francesco was living with his grandfather when the latter was killed by rival gangsters.The eldest of eight children, Lainegrew up in the Old Town neighborhood (first at 1446 N. North Park Avenue and later at 331 W. Schiller Street) and got his first taste of singing as a member of the choir in the Church of the Immaculate Conception'selementary school across the street from the North Park Avenue home. He later attended Lane Technical High School, where he helped to develop his lung power and breath control by joining the track and field andbasketball teams. He realized he wanted to be a singer when he missed time in school to see Al Jolson's current talking picture, The Singing Fool. Jolson would later visit Laine when both were filming pictures in 1949,and at about this time, Jolson remarked that Laine was going to put all the other singers out of business.Early career and stylistic influencesEven in the 1920s, his vocal abilities were enough to get him noticed by aslightly older \"in crowd\" at his school, who began inviting him to parties and to local dance clubs, including Chicago's Merry Garden Ballroom. At 17, he sang before a crowd of 5,000 at The Merry Garden Ballroom tosuch applause that he ended up performing five encores on his first night. Laine was giving dance lessons for a charity ball at the Merry Garden when he was called to the bandstand to sing:Soon I found myself on themain bandstand before this enormous crowd, Laine recalled. I was really nervous, but I started singing 'Beside an Open Fireplace,' a popular song of the day. It was a sentimental tune and the lyrics choked me up.When I got done, the tears were streaming down my cheeks and the ballroom became quiet. I was very nearsighted and couldn't see the audience. I thought that the people didn't like me.Some of his other earlyinfluences during this period included Enrico Caruso, Carlo Buti, and especially Bessie Smith—a record of whose somehow wound up in his parents' collection:I can still close my eyes and visualize its blue and purplelabel. It was a Bessie Smith recording of 'The Bleeding Hearted Blues,' with 'Midnight Blues' on the other side. The first time I laid the needle down on that record I felt cold chills and an indescribable excitement. It wasmy first exposure to jazz and the blues, although I had no idea at the time what to call those magical sounds. I just knew I had to hear more of them! — Frankie Laine: 15 Another singer who influenced him at this timewas the singer-songwriter Gene Austin, who is generally considered the first “crooner.” Laine worked after school at a drugstore that was situated across the street from a record store that continually played hit recordsby Gene Austin over their loudspeakers. He would swab down the windows in time to Austin's songs. Many years later, Laine related the story to Austin when both were guests on the popular television variety showShower of Stars. He would also co-star in a film, Rainbow 'Round My Shoulder, with Austin's daughter, Charlotte.Shortly after graduating from high school, Laine signed on as a member of The Merry Garden's marathondance company and toured with them, working dance marathons during the Great Depression (setting the world record of 3,501 hours with partner Ruthie Smith at Atlantic City's Million Dollar Pier in 1932). Still billedas Frank LoVecchio, he would entertain the spectators during the fifteen-minute breaks the dancers were given each hour. During his marathon days, he worked with several up-and-coming entertainers, including RoseMarie, Red Skelton, and a 14-year-old Anita O'Day, for whom he served as a mentor (as noted by Laine in a 1998 interview by David Miller).Other artists whose styles began to influence Laine at this time were BingCrosby, Louis Armstrong (as a trumpet player), Billie Holiday, Mildred Bailey, and, later, Nat \"King\" Cole. Laine befriended Cole in Los Angeles, when the latter's career was just beginning to gain momentum. Colerecorded a song, \"It Only Happens Once\", that fledgling songwriter Laine had composed. They remained close friends throughout the remainder of Cole's life, and Laine was one of the pall bearers at Cole's funeral.Hisnext big break came when he replaced Perry Como in the Freddy Carlone band in Cleveland in 1937; Como made a call to Carlone about Laine. Como was another lifelong friend of Laine's, who once lent Laine themoney to travel to a possible gig.Laine's rhythmic style was ill-suited to the sweet sounds of the Carlone band, and the two soon parted company. Success continued to elude Laine, and he spent the next 10 years\"scuffling\"; alternating between singing at small jazz clubs on both coasts and a series of jobs, including those of a bouncer, dance instructor, used car salesman, agent, synthetic leather factory worker, and machinist ata defense plant. It was while working at the defense plant during the Second World War that he first began writing songs (\"It Only Happens Once\" was written at the plant). Often homeless during his \"scuffling\" phases,he hit the lowest point of his career, when he was sleeping on a bench in Central Park.I would sneak into hotel rooms and sleep on the floor. In fact, I was bodily thrown out of 11 different New York hotels. I stayed inYMCAs and with anyone who would let me flop. Eventually I was down to my last four cents, and my bed became a roughened wooden bench in Central Park. I used my four pennies to buy four tiny Baby Ruth candybars and rationed myself to one a day. — Frankie Laine: 41 He changed his professional name to Frankie Laine in 1938, upon receiving a job singing for the New York City radio station WINS. The program director, JackCoombs, thought that \"LoVecchio\" was \"too foreign sounding, and too much of a mouthful for the studio announcers,\" so he Americanized it to \"Lane\", an homage to his high school. Frankie added the \"i\" to avoidconfusion with a girl singer at the station who went by the name of Frances Lane. It was at this time that Laine got unknown songbird Helen O'Connell her job with the Jimmy Dorsey band. WINS, deciding that they nolonger needed a jazz singer, dropped him. With the help of bandleader Jean Goldkette, he got a job with a sustainer (non-sponsored) radio show at NBC. As he was about to start, Germany attacked Poland, and allsustainer broadcasts were pulled off the air in deference to the needs of the military.Laine next found employment in a munitions plant, at a salary of $150.00 a week. He quit singing for what was perhaps the fifth orsixth time of his already long career. While working at the plant, he met a trio of girl singers, and became engaged to the lead singer. The group had been noticed by Johnny Mercer's Capitol Records, and convincedLaine to head out to Hollywood with them as their agent.In 1943, he moved to California, where he sang in the background of several films, including The Harvey Girls, and dubbed the singing voice for an actor in theDanny Kaye comedy The Kid from Brooklyn. It was in Los Angeles in 1944 that he met and befriended disc jockey Al Jarvis and composer/pianist Carl T. Fischer, the latter of whom was to be his songwriting partner,musical director, and piano accompanist until his death in 1954. Their songwriting collaborations included \"I'd Give My Life,\" \"Baby, Just For Me,\" \"What Could Be Sweeter?,\" \"Forever More,\" and the jazz standard \"We'llBe Together Again.\"When the war ended, Laine soon found himself \"scuffling\" again, and was eventually given a place to stay by Jarvis. Jarvis also did his best to help promote the struggling singer's career, and Lainesoon had a small, regional following. In the meantime, Laine would make the rounds of the bigger jazz clubs, hoping that the featured band would call him up to perform a number with them. In late 1946, HoagyCarmichael heard him singing at Billy Berg's club in Los Angeles, and this was when success finally arrived. Not knowing that Carmichael was in the audience, Laine sang the Carmichael-penned standard \"Rockin' Chair\"when Slim Gaillard called him up to the stage to sing. This eventually led to a contract with the newly established Mercury records. Laine and Carmichael would later collaborate on a song, \"Put Yourself in My Place,Baby\".First recordingsLaine cut his first record in 1944, for a fledgling company called \"Bel-Tone Records.\" The sides were called \"In the Wee Small Hours of the Morning\", (an uptempo number not to be confused withthe Frank Sinatra recording of the same name) and a wartime propaganda tune entitled \"Brother, That's Liberty\", though the records failed to make much of an impression. The label soon folded, and Laine was pickedup by Atlas Records, a \"race label\" that initially hired him to imitate his friend Nat \"King\" Cole. Cole would occasionally \"moonlight\" for other labels, under pseudonyms, while under contract to Capitol, and as he hadpreviously recorded some sides for Atlas, they reasoned that fans would assume that \"Frankie Laine\" was yet another pseudonym for \"Cole\".Laine cut his first two numbers for Atlas in the King mode, backed by R&Bartist Johnny Moore's group, The Three Blazers which featured Charles Brown and Cole's guitarist (from \"The King Cole Trio\"), Oscar Moore. The ruse worked and the record sold moderately well, although limited to the\"race\" market. Laine cut the remainder of his songs for Atlas in his own style, including standards such as \"Roses of Picardy\" and \"Moonlight in Vermont\".It was also at this time that he recorded a single for MercuryRecords: \"Pickle in the Middle with the Mustard on Top\" and \"I May Be Wrong (But I Think You're Wonderful).\" He appears only as a character actor on the first side, which features the comedic singing of Artie Auerbach(a.k.a., \"Mr. Kitzel\") who was a featured player on the Jack Benny radio show. In it, Laine plays a peanut vendor at a ball game and can be heard shouting out lines like \"It's a munchy, crunchy bag of lunchy!\" The flipside features Laine, and is a jazzy version of an old standard done as a rhythm number. It was played by Laine's friend, disc jockey Al Jarvis, and gained the singer a small West Coast following.First successesEven afterhis discovery by Carmichael, Laine still was considered only an intermission act at Billy Berg's. His next big break came when he dusted off a fifteen-year-old song that few people remembered in 1946, \"That's MyDesire\". Laine had picked up the song from singer June Hart a half a dozen years earlier, when he sang at the College Inn in Cleveland. He introduced \"Desire\" as a \"new\" song—meaning new to his repertoire atBerg's—but the audience mistook it for a new song that had just been written. He ended up singing it five times that night. After that, Laine quickly became the star attraction at Berg's, and record company executivestook note.Laine soon had patrons lining up to hear him sing \"Desire\"; among them was R&B artist Hadda Brooks, known for her boogie woogie piano playing. She listened to him every night, and eventually cut her ownversion of the song, which became a hit on the \"harlem\" charts. \"I liked the way he did it\" Brooks recalled; \"he sings with soul, he sings the way he feels.\"He was soon recording for the fledgling Mercury label, and\"That's My Desire\" was one of the songs cut in his first recording session there. It quickly took the No. 3 spot on the R&B charts, and listeners initially thought Laine was black.The record also made it to the No. 4 spoton the Mainstream charts. Although it was quickly covered by many other artists, including Sammy Kaye who took it to the No. 2 spot, it was Laine's version that became the standard.\"Desire\" became Laine's first Gold"}
+{"doc_id":"doc_80","qid":"","text":"Passage 1:Pete TownshendPeter Dennis Blandford Townshend (; born 19 May 1945) is an English musician. He is the co-founder, leader, guitarist, second lead vocalist and principal songwriter of the Who, one of themost influential rock bands of the 1960s and 1970s. Due to his aggressive playing style and innovative songwriting techniques, Townshend's works with the Who and in other projects have earned him criticalacclaim.Townshend has written more than 100 songs for 12 of the Who's studio albums. These include concept albums, the rock operas Tommy (1969) and Quadrophenia (1973), plus popular rock radio staples such asWho's Next (1971); as well as dozens more that appeared as non-album singles, bonus tracks on reissues, and tracks on rarities compilation albums such as Odds & Sods (1974). He has also written more than 100songs that have appeared on his solo albums, as well as radio jingles and television theme songs.While known primarily as a guitarist, Townshend also plays keyboards, banjo, accordion, harmonica, ukulele, mandolin,violin, synthesiser, bass guitar, and drums; he is self-taught on all of these instruments and plays on his own solo albums, several Who albums, and as a guest contributor to an array of other artists' recordings.Townshend has also contributed to and authored many newspaper and magazine articles, book reviews, essays, books, and scripts, and he has collaborated as a lyricist and composer for many other musical acts. In1983, Townshend received the Brit Award for Lifetime Achievement and in 1990 he was inducted into the Rock and Roll Hall of Fame as a member of the Who. Townshend was ranked No. 3 in Dave Marsh's 1994 list ofBest Guitarists in The New Book of Rock Lists. In 2001, he received a Grammy Lifetime Achievement Award as a member of the Who; and in 2008 he received Kennedy Center Honors. He was ranked No. 10 inGibson.com's 2011 list of the top 50 guitarists, and No. 10 in Rolling Stone's updated 2011 list of the 100 greatest guitarists of all time. He and Roger Daltrey received The George and Ira Gershwin Award for LifetimeMusical Achievement at UCLA on 21 May 2016.Early life and educationTownshend was born in Chiswick, West London, at the Chiswick Hospital, Netheravon Road, in the UK. He came from a musical family: his father,Cliff Townshend, was a professional alto saxophonist in the Royal Air Force's dance band the Squadronaires and his mother, Betty (née Dennis), was a singer with the Sydney Torch and Les Douglass Orchestras. TheTownshends had a volatile marriage, as both drank heavily and possessed fiery tempers. Cliff Townshend was often away from his family touring with his band while Betty carried on affairs with other men. The two splitwhen Townshend was a toddler and he was sent to live with his maternal grandmother Emma Dennis, whom Pete later described as \"clinically insane\". The two-year separation ended when Cliff and Betty purchased ahouse together on Woodgrange Avenue in middle-class Acton, and the young Pete was happily reunited with his parents. His neighbourhood was one-third Polish, and a devout Jewish family upstairs shared theirhousing with them and cooking with them—many of his father's closest friends were Jewish.Townshend says he did not have many friends growing up, so he spent much of his boyhood reading adventure novels likeGulliver's Travels and Treasure Island. He enjoyed his family's frequent excursions to the seaside and the Isle of Man. It was on one of these trips in the summer of 1956 that he repeatedly watched the 1956 film RockAround the Clock, sparking his fascination with American rock and roll. Not long thereafter, he went to see Bill Haley perform in London, Townshend's first concert. At the time, he did not see himself pursuing a careeras a professional musician; instead, he wanted to become a journalist.Upon passing the eleven-plus exam, Townshend was enrolled at Acton County Grammar School. At Acton County, he was frequently bullied becausehe had a large nose, an experience that profoundly affected him. His grandmother Emma purchased his first guitar for Christmas in 1956, an inexpensive Spanish model. Though his father taught him a couple of chords,Townshend was largely self-taught on the instrument and never learned to read music. Townshend and school friend John Entwistle formed a short-lived trad jazz group, the Confederates, featuring Townshend on banjoand Entwistle on horns. The Confederates played gigs at the Congo Club, a youth club run by the Acton Congregational Church, and covered Acker Bilk, Kenny Ball, and Lonnie Donegan. However, both becameinfluenced by the increasing popularity of rock 'n' roll, with Townshend particularly admiring Cliff Richard's debut single, \"Move It\". Townshend left the Confederates after getting into a fight with the group's drummer,Chris Sherwin, and purchased a \"reasonably good Czechoslovakian guitar\" at his mother's antique shop.Townshend's brothers Paul and Simon were born in 1957 and 1960, respectively. Lacking the requisite grades toattend university, Pete was faced with the decision of art school, music school, or getting a job. He ultimately chose to study graphic design at Ealing Art College, enrolling in 1961. At Ealing, Townshend studiedalongside future Rolling Stones guitarist Ronnie Wood. Notable artists and designers gave lectures at the college such as auto-destructive art pioneer Gustav Metzger. Townshend dropped out in 1964 to focus on musicfull-time.Musical career1961–1964: the DetoursIn late 1961, Entwistle joined the Detours, a skiffle/rock and roll band, led by Roger Daltrey. The new bass player then suggested Townshend join as an additionalguitarist. In the early days of the Detours, the band's repertoire consisted of instrumentals by the Shadows and the Ventures, as well as pop and trad jazz covers. Their lineup coalesced around Roger Daltrey on leadguitar, Townshend on rhythm guitar, Entwistle on bass, Doug Sandom on drums, and Colin Dawson as vocalist. Daltrey was considered the leader of the group and, according to Townshend, \"ran things the way hewanted them.\" Dawson quit in 1962 after arguing too much with Daltrey, who subsequently moved to lead vocalist. As a result, Townshend, with Entwistle's encouragement, became the sole guitarist. ThroughTownshend's mother, the group obtained a management contract with local promoter Robert Druce, who started booking the band as a support act for bands including Screaming Lord Sutch, Cliff Bennett and the RebelRousers, Shane Fenton and the Fentones, and Johnny Kidd and the Pirates. In 1963, Townshend's father arranged an amateur recording of \"It Was You\", the first song his son ever wrote. The Detours became aware ofa group of the same name in February 1964, forcing them to change their name. Townshend's roommate Richard Barnes came up with \"The Who\", and Daltrey decided it was the best choice.1964–1982: The WhoNotlong after the name change, drummer Doug Sandom was replaced by Keith Moon, who had been drumming semi-professionally with the Beachcombers for several years. The band was soon taken on by a mod publicistnamed Peter Meaden who convinced them to change their name to the High Numbers to give the band more of a mod feel. After bringing out one failed single (\"I'm the Face/Zoot Suit\"), they dropped Meaden and weresigned on by two new managers, Chris Stamp and Kit Lambert, who had paired up with the intention of finding new talent and creating a documentary about them. The band anguished over a name that all feltrepresented the band best, and dropped the High Numbers name, reverting to the Who. In June 1964, during a performance at the Railway Tavern, Townshend accidentally broke the top of his guitar on the low ceilingand proceeded to destroy the entire instrument. The on-stage destruction of instruments soon became a regular part of the Who's live shows.With the assistance of Lambert, the Who caught the ear of American recordproducer Shel Talmy, who had the band signed to a record contract. Townshend wrote a song, \"I Can't Explain\", as a deliberate sound-alike of the Kinks, another group Talmy produced. Released as a single in January1965, \"I Can't Explain\" was the Who's first hit, reaching number eight on the British charts. A follow-up single (\"Anyway, Anyhow, Anywhere\"), credited to both Townshend and Daltrey, also reached the top 10 in theUK. However, it was the release of the Who's third single, \"My Generation\", in November that, according to Who biographer Mark Wilkerson, \"cemented their reputation as a hard-nosed band who reflected the feelingsof thousands of pissed-off adolescents at the time.\" The Townshend-penned single reached number two on the UK charts, becoming the Who's biggest hit. The song and its famous line \"I hope I die before I get old\" was\"very much about trying to find a place in society\", Townshend stated in an interview with David Fricke.To capitalise on their recent single success, the Who's debut album My Generation (The Who Sings My Generationin the US) was released in late 1965, containing original material written by Townshend and several James Brown covers that Daltrey favoured. Townshend continued to write several successful singles for the band,including \"Pictures of Lily\", \"Substitute\", \"I'm a Boy\", and \"Happy Jack\". Lambert encouraged Townshend to write longer pieces of music for the next album, which became \"A Quick One, While He's Away\". The albumwas subsequently titled A Quick One and reached No. 4 in the charts upon its release in December 1966. In their stage shows, Townshend developed a guitar stunt in which he would swing his right arm against theguitar strings in a style reminiscent of the vanes of a windmill. He developed this style after watching Rolling Stones guitarist Keith Richards warm up before a show.The Who commenced their first US tour on 22 March1967. Townshend took to trashing his hotel suites, though not to the extent of his bandmate Moon. He also began experimenting with LSD, though stopped taking the drug after receiving a potent hit after the MontereyPop Festival on 18 June. Released in December, their next album was The Who Sell Out—a concept album based on pirate radio, which had been instrumental in raising the Who's popularity. It included severalhumorous jingles and mock commercials between songs, and the Who's biggest US single, \"I Can See for Miles\". Despite the success of \"I Can See for Miles\", which reached No. 9 on the American charts, Townshendwas surprised it was not an even bigger hit, as he considered it the best song he had written up to that point.By 1968, Townshend became interested in the teachings of Meher Baba. He began to develop a musical pieceabout a deaf, dumb, and blind boy who would experience sensations musically. The piece would explore the tenets of Baba's philosophy. The result was the rock opera Tommy, released on 23 May 1969 to critical andcommercial success. In support of Tommy, the Who launched a tour that included a memorable appearance at the Woodstock Festival on 17 August. While the Who were playing, Yippie leader Abbie Hoffman jumped thestage to complain about the arrest of John Sinclair. Townshend promptly knocked him offstage with his guitar, shouting, \"Fuck off my fucking stage!\"In 1970, the Who released Live at Leeds, which several music criticscite as the best live album of all time. Townshend began writing material for another rock opera. Dubbed Lifehouse, it was designed to be a multi-media project that symbolised the relationship between a musician andhis audience. The rest of the band were confused by its convoluted plot and simply wanted another album. Townshend began to feel alienated, and the project was abandoned after he suffered a nervous breakdown.Much of the material intended for Lifehouse was released as a traditional studio album, Who's Next. It became a commercial smash, reaching number one in the UK, and spawned two successful hit singles, \"BabaO'Riley\" and \"Won't Get Fooled Again\", that featured pioneering use of the synthesizer. \"Baba O'Riley\" in particular was written as Townshend's ode to his two heroes at the time, Meher Baba and composer TerryRiley.Townshend began writing songs for another rock opera in 1973. He decided it would explore the mod subculture and its clashes with Rockers in the early 1960s in the UK. Entitled Quadrophenia, it was the onlyWho album written entirely by Townshend, and he produced the album as well due to the souring of relations with Lambert. It was released in November, and became their highest charting cross-Atlantic success,reaching No. 2 in the UK and US. NME reviewer Charles Shaar Murray called it \"prime cut Who\" and \"the most rewarding musical experience of the year.\" On tour, the band played the album along to pre-recordedbacking tapes, causing much friction. The tapes malfunctioned during a performance in Newcastle, prompting Townshend to drag soundman Bob Pridden onstage, scream at him and kick over all the amplifiers, partiallydestroying the malfunctioning tapes. On 14 April 1974, Townshend played his first solo concert, a benefit to raise funds for a London community centre.A film version of Tommy was directed by Ken Russell, and starredRoger Daltrey in the title role, Ann-Margret as his mother, and Oliver Reed as his step-father, with cameos by Tina Turner, Elton John, Eric Clapton, and other rock notables; the film premiered on 18 March 1975.Townshend was nominated for an Academy Award for scoring and adapting the music in the film. The Who by Numbers came out in November of that year and peaked at No. 7 in the UK and 8 in the US. It featuredintrospective songs, often with a negative slant. The album spawned one hit single, \"Squeeze Box\", that was written after Townshend learned how to play the accordion. After a 1976 tour, Townshend took a year-longbreak from the band to focus on spending time with his family.The Who continues despite the deaths of two of the original members (Keith Moon in 1978 and John Entwistle in 2002). The band is regarded by many rockcritics as one of the best live bands from the 1960s to the 2000s. The Who continues to perform critically acclaimed sets into the 21st century, including highly regarded performances at The Concert For New York Cityin 2001, the 2004 Isle of Wight Festival, Live 8 in 2005, and the 2007 Glastonbury Festival.Townshend remained the primary songwriter and leader of the group, writing over 100 songs which appeared on the band'seleven studio albums. Among his creations is the rock opera Quadrophenia. Townshend revisited album-length storytelling throughout his career and remains associated with the rock opera form. Many studio recordingsalso feature Townshend on piano or keyboards, though keyboard-heavy tracks increasingly featured guest artists in the studio, such as Nicky Hopkins, John Bundrick, or Chris Stainton.Townshend is one of the keyfigures in the development of feedback in rock guitar. When asked who first used feedback, Deep Purple guitarist Ritchie Blackmore said:Pete Townshend was definitely the first. But not being that good a guitarist, heused to just sort of crash chords and let the guitar feedback. He didn't get into twiddling with the dials on the amplifier until much later. He's overrated in England, but at the same time you find a lot of people like JeffBeck and Hendrix getting credit for things he started. Townshend was the first to break his guitar, and he was the first to do a lot of things. He's very good at his chord scene, too.Similarly, when Jimmy Page was askedabout the development of guitar feedback, he said:I don't know who really did feedback first; it just sort of happened. I don't think anybody consciously nicked it from anybody else. It was just going on. But PeteTownshend obviously was the one, through the music of his group, who made the use of feedback more his style, and so it's related to him. Whereas the other players like Jeff Beck and myself were playing more singlenote things than chords.Many rock guitarists have cited Townshend as an influence, among them Slash, Alex Lifeson, and Steve Jones.1972–present: solo careerIn addition to his work with the Who, Townshend hasbeen sporadically active as a solo recording artist. Between 1969 and 1971 Townshend, along with other devotees to Meher Baba, recorded a trio of albums devoted to his teachings: Happy Birthday, I Am, and WithLove. In response to bootlegging of these, he compiled his personal highlights (and \"Evolution\", a collaboration with Ronnie Lane), and released his first major-label solo title, 1972's Who Came First. It was a moderatesuccess and featured demos of Who songs as well as a showcase of his acoustic guitar talents. He collaborated with the Faces' bassist and fellow Meher Baba devotee Ronnie Lane on a duet album (1977's Rough Mix). In1979 Townshend produced and performed guitar on the novelty single \"Peppermint Lump\" by Angie on Stiff Records, featuring 11-year-old Angela Porter on lead vocals.Townshend made several solo appearances duringthe 1970s, two of which were captured on record: Eric Clapton's Rainbow Concert in January 1973 (which Townshend organized to revive Clapton's career after the latter's heroin addiction), and the PaulMcCartney-sponsored Concerts for the People of Kampuchea in December 1979. The commercially available video of the Kampuchea concert shows the two rock icons duelling and clowning through Rockestramega-band versions of \"Lucille\", \"Let It Be\", and \"Rockestra Theme\"; Townshend closes the proceedings with a characteristic split-legged leap.Townshend's solo breakthrough, following the death of Who drummer KeithMoon, was the 1980 release Empty Glass, which included the top-10 single \"Let My Love Open the Door\", and lesser singles \"A Little Is Enough\" and \"Rough Boys\". This release was followed in 1982 by All the BestCowboys Have Chinese Eyes, which included the popular radio track \"Slit Skirts\". While not a huge commercial success, noted music critic Timothy Duggan listed it as \"Townshend's most honest and introspective worksince Quadrophenia.\" Through the rest of the 1980s and early 1990s Townshend would again experiment with the rock opera and related formats, releasing several story-based albums including White City: A Novel(1985), The Iron Man: A Musical (1989), and Psychoderelict (1993).Townshend also got the chance to play with his hero Hank Marvin for Paul McCartney's \"Rockestra\" sessions, along with other rock musicians such asDavid Gilmour, John Bonham, and Ronnie Lane.Townshend has also recorded several concert albums, including one featuring a supergroup he assembled called Deep End, with David Gilmour on guitar, who performedjust three concerts and a television show session for The Tube, to raise money for his Double-O charity, supporting drug addicts. In 1993 he and Des McAnuff wrote and directed the Broadway adaptation of the Whoalbum Tommy, as well as a less successful stage musical based on his solo album The Iron Man, based upon the book by Ted Hughes. McAnuff and Townshend later co-produced the animated film The Iron Giant, alsobased on the Hughes story.A production described as a Townshend rock opera and titled The Boy Who Heard Music debuted as part of Vassar College's Powerhouse Summer Theater program in July 2007.On 2September 2017 in Lenox, Massachusetts, Townshend embarked with fellow singer and musician Billy Idol, tenor Alfie Boe, and an orchestra on a short (5-date) \"Classic Quadrophenia\" US tour which ended on 16September 2017 in Los Angeles, California.1996–present: latest Who workFrom the mid-1990s through the present, Townshend has participated in a series of tours with the surviving members of the Who, including a2002 tour that continued despite Entwistle's death.In February 2006, a major world tour by the Who was announced to promote their first new album since 1982. Townshend published a semi-autobiographical story TheBoy Who Heard Music as a serial on a blog beginning in September 2005. The blog closed in October 2006, as noted on Townshend's website. It is now owned by a different user and does not relate to Townshend's workin any way. On 25 February 2006, he announced the issue of a mini-opera inspired by the novella for June 2006. In October 2006 the Who released their first album in 24 years, Endless Wire.The Who performed at theSuper Bowl XLIV half-time show on 7 February 2010, playing a medley of songs that included \"Pinball Wizard\", \"Who Are You\", \"Baba O'Riley\", \"See Me, Feel Me\", and \"Won't Get Fooled Again\". In 2012, the Whoannounced they would tour the rock opera Quadrophenia.The Who were the final performers at the 2012 Summer Olympics closing ceremony in London, performing a medley of \"Baba O'Riley\", \"See Me, Feel Me\", and"}
+{"doc_id":"doc_81","qid":"","text":"Passage 1:The Man with the Glass EyeThe Man with the Glass Eye (German: Der Mann mit dem Glasauge) is a 1969 West German crime film directed by Alfred Vohrer and starring Horst Tappert, Karin Hübner andHubert von Meyerinck. It is part of Rialto Film's long-running series of Edgar Wallace adaptations.The film's sets were designed by the art directors Walter Kutz and Wilhelm Vorwerg. It was shot at the SpandauStudios and on location in West Berlin, Hamburg and London.CastPassage 2:The Return of Pom PomThe Return of Pom Pom (Chinese: \u0000\u0000\u0000\u0000) is a 1984 Hong Kong comedy film directed by Philip Chan and starringRichard Ng and John Shum. It is the second film in the Pom Pom film series which is a spin-off the Lucky Stars series.PlotHaving been together for years, police officer Beethoven (John Shum) must find a new place tolive as his friend and fellow officer Ng Ah Chow (Richard Ng) is marrying his fiancée Anna (Deanie Yip). Furthermore, the two officers are transferred to a new department run by fearsome Inspector Tien (James TinChuen). While here their former boss inspector Chan (Philip Chan) is set up after evidence is stolen by \"The Flying Spider\" (Lam Ching-ying), the two officers must track down the thief to prove Chan'sinnocence.CastRichard Ng as officer Ng Ah ChiuJohn Shum as officer BeethovenDeannie Yip as Anna, Ng's love interestLam Ching-Ying as The Flying SpiderPhilip Chan as Inspector ChanJames Tin Chuen as InspectorTienPassage 3:Mr. Boo Meets Pom PomMr. Boo Meets Pom Pom (Chinese: \u0000\u0000\u0000\u0000) is a 1985 Hong Kong comedy film directed by Wu Ma and starring Richard Ng and John Shum. It is the third film in the Pom Pom filmseries which is a spin-off the Lucky Stars series.PlotWorking at the police forensic department Mr Boo (Michael Hui) although absent-minded and scruffy is successful at his job. His beautiful wife (Terry Hu) begin to becourted by handsome billionaire Yang (Stuart Ong) and now Mr Boo must try to win back her love. While on a job involving a bank robbery he befriend detectives Chow (Richard Ng) and Beethoven (John Shum) whopromise to help him with his love life.CastMichael Hui as Mr. BooTerry Hu as Mr. Boo's wifeRichard Ng Yiu-Hon as officer Ng Ah ChiuJohn Shum Kin-Fun as officer BeethovenDeannie Yip Tak-Han as Anna, Ng'sloverStuart Ong as YangPassage 4:The Man with the Fake BanknoteThe Man with the Fake Banknote or The Man with the Counterfeit Money (German: Der Mann mit der falschen Banknote) is a 1927 German silentcrime film directed by Romano Mengon and starring Nils Asther, Vivian Gibson and Margarete Lanner.The film's art direction was by Robert A. Dietrich.CastNils AstherVivian GibsonMargarete LannerSig ArnoPhilippManningKarl PlatenPassage 5:Pom Pom Strikes BackPom Pom Strikes Back is a 1986 Hong Kong comedy film directed by Wu Ma and starring Richard Ng and John Shum. It is the fourth and final film in the Pom Pomfilm series which is a spin-off the Lucky Stars series.PlotPolice officers Chow (Richard Ng) and Beethoven (John Shum) are close friend who must protect a witness May (May Lo Mei Mei) after she witnesses a ganglandmurder. Meanwhile Beethoven mistakenly discovers that Chow is dying of cancer and sets out to make his last few months memorable.CastRichard Ng as officer Ng Ah ChiuJohn Shum as officer BeethovenDeannie Yipas Mrs Anna Ng, Ng's wifeMay Lo Mei-Mei as MayPassage 6:The Man with Two Faces (1975 film)The Man with Two Faces (Korean: \u0000\u0000\u0000 \u0000\u0000\u0000\u0000; RR: Gongpoui ijongingan) is a 1975 South Korean horror film.CastLeeYe-chunKim Ok-jinJin Bong-jinPassage 7:The Pom Pom GirlsThe Pom Pom Girls (also known as Palisades High) is a 1976 American film directed by Joseph Ruben. The screenplay was written by Ruben and based on astory by him and Robert J. Rosenthal. The movie was shot on location at Chaminade High School in Los Angeles. The Pom Pom Girls is a teensploitation film, female relationships and cheerleaders in locations that are \"any town\" American, and includes disobedient teens in a date movie with romance and sex, plenty of outdoor activities, stunts that are coordinated for actors and actresses, and indoor activities for a newaudience.PlotA football player falls for a girl who is dating another guy, while another cannot figure out which girl he likes.The big game against rival Hardin High School is looming while a full scale prank war isunderway.ProductionThe modest profits of the prior exploitation/teensploitation film The Cheerleaders (1975) inspired The Pom Pom Girls writers with cheerleader themes and scenes. Easy Rider had an influence onthe film, the huge success of that film had film makers like the scriptwriters Robert Rosenthal and Joseph Ruben, who is the director, include the theme of the value of freedom. Many shots and automobiles wereincluded, drive-in restaurant, \"suicide chicken\" race, many scenes of nostalgia that was incorporated from the present day. Even a tagline was borrowed from a \"50s picture\", the exploitation film Rebel Without aCause (1955). The tagline \"How can anyone ever forget the girls who really turned us on?\", is a promotional line and used in the film's cover art, and is to express nostalgia.CastRobert Carradine as JohnnieJenniferAshley as LaurieMichael Mullins as JesseLisa Reeves as SallyBill Adler as DuaneJames Gammon as CoachSusan Player as Su AnnCheryl Smith (Credited as Rainbeaux Smith) as RoxanneDiane Lee Hart as JudySondraLowell as Miss PritchettReceptionThe film earned $4.3 million in rentals during its initial release.DVDThis film has been issued on Too Cool For School: 12 Movie Collection from Mill Creek Entertainment September 29,2009 and on The Starlite Drive-In Theater: (The Pom Pom Girls / The Van ) from BCI / Eclipse September 26, 2006Passage 8:Alfred VohrerAlfred Vohrer (29 December 1914 – 3 February 1986) was a German filmdirector and actor. He directed 48 films between 1958 and 1984. His 1969 film Seven Days Grace was entered into the 6th Moscow International Film Festival. His 1972 film Tears of Blood was entered into the 8thMoscow International Film Festival. His 1974 film Only the Wind Knows the Answer was entered into the 9th Moscow International Film Festival.Selected filmographyPassage 9:Joseph RubenJoseph Porter Ruben (bornMay 10, 1950) is an American retired filmmaker.Movie careerHis earlier films, such as The Stepfather, have become cult classics. In the 1990s, he went to direct high-grossing mainstream films such as Sleeping withthe Enemy starring Julia Roberts (which grossed over $150,000,000 at the box office), the controversial thriller The Good Son starring Macaulay Culkin and Elijah Wood, Money Train starring Woody Harrelson andWesley Snipes, and Return to Paradise starring Vince Vaughn and Joaquin Phoenix. He frequently collaborates with film editor George Bowers.He has won awards at various film festivals for his films The Stepfather,True Believer, starring Robert Downey Jr. and James Woods, and Dreamscape, starring Dennis Quaid. His 2013 feature, Penthouse North, stars Michael Keaton and Michelle Monaghan. He will return to direct the serialkiller thriller Jack after not working for six years. Ruben is also attached to direct the film The Politician's Wife written by Nicholas Meyer.The Ottoman Lieutenant was released around the period of the film ThePromise, a film depicting the Armenian genocide. The perceived similarities between the films resulted in accusations that The Ottoman Lieutenant existed to deny the Armenian genocide.FilmographyPassage 10:TheMan with the GunThe Man with the Gun (Russian: Человек с ружьём, romanized: Chelovek s ruzhyom, lit. 'Person with a rifle') is a 1938 Soviet history drama film directed by Sergei Yutkevich.PlotThe film takes placeduring the October Revolution, when the army is approaching the army of General Krasnov. Ivan Shadrin, a peasant who became a soldier, goes to Petrograd in order to convey a letter to Vladimir Lenin with questionsthat concern his comrades.CastMaksim Shtraukh as Vladimir LeninMikheil Gelovani as Joseph Stalin (removed from cut version)Boris Tenin as Ivan ShadrinVladimir Lukin as Nikolai ChibisovZoya Fyodorova asKatyaFaina Ranevskaya as mansion owner, séance psychic (uncredited)Boris Chirkov as YevtushenkoNikolay Cherkasov as generalNikolai Sosnin as Zakhar Zakharovich Sibirtsev, millionaireSerafima Birman as VarvaraIvanovna, his wifeMark Bernes as Kostya ZhigilyovStepan Kayukov as Andrei Dymov, sailorPavel Sukhanov as Matushkin, captiveKonstantin Sorokin as honor guardNikolai Kryuchkov as SidorovPavel Kadochnikov assoldier with seedsMikhail Yanshin as officer, séance guestYuri Tolubeyev as revolutionary sailorPyotr Aleynikov as soldierVladimir Volchik as soldierYelizaveta Uvarova as freeloaderVasili Vanin as general's batman"}
+{"doc_id":"doc_82","qid":"","text":"Passage 1:The Bloom of YesterdayThe Bloom of Yesterday (German: Die Blumen von gestern) is a 2016 German-Austrian comedy film directed by Chris Kraus.CastReceptionThe film won the Grand Prize and theAudience Award at the 2016 Tokyo International Film Festival and subsequently won several awards and nominations.  Martin Schwickert, of Zeit Online, said the dialogue had \"almost Woody Allen's brilliance andspeed.\"Passage 2:Shima (film)Shima is a 2007 film from Uzbekistan.PlotAt the end of the Second World War, imperial Japanese fanaticism seals the fate of an island's inhabitants and its garrison, through a massacre,interrupting the love between a soldier and a fisherman's daughter. The daughter survives, but the other survivor Taro- a soldier cut off from all communication- continues to serve the emperor for another thirty years.Tormented in his dreams by memories and his secret aspiration for eternal peace.Taro is regularly 'inspected' by his former military inspector Yamada, who exploits the situation to entertain former Japanese officers,nostalgic of Imperial Japan, by luring visitors to the island through his War Veterans Association. The visitors are held captive and enrolled by Taro to serve in the army of the Great Emperor. For the sadistic pleasure ofthe former Japanese officers, Yamada organises \"inspections\" during which the new recruits must prove their devotion to the emperor by sacrificing their lives.Many years later Shintaro, the son of the fisherman'sdaughter, finds himself on the island after searching for his father. He learns his father disappeared on the island just before the massacre. He contacts Yamada through the War Veterans Association, who agrees to takehim and others to the island. But once they arrive he abandons them and puts Taro in charge. For Shintaro and his comrades this means forced enrolment, military drills and suffering. After months of torture Shintaroand the other captives start to accept Taro's twisted sense of reality. The training intensifies as Taro prepares the recruits to fight a mysterious enemy.CastSeidula Moldakhanov as TaroMikhail Vodzumi as ShintaroAnvarKenjaev as YamadaInfluencesBased on the true story of Lieutenant Hiroo Onoda, a Japanese holdout who did not surrender until 1974. During his service, it has been estimated that he killed about thirty people,including American soldiers and local police militia.Passage 3:Circus of LoveCircus of Love (German: Rummelplatz der Liebe) is a 1954 drama film directed by Kurt Neumann and starring Eva Bartok, Curd Jürgens andBernhard Wicki. It was made as a co-production between West Germany and the United States. It premiered at the Berlin International Film Festival.The film was shot at the Bavaria Studios in Munich and on location inthe city. The film's sets were designed by the art directors Hans Kuhnert and Theo Zwierski. It was produced by King Brothers and released in West Germany by RKO Pictures. A separate English-language versionCarnival Story was shot simultaneously.CastEva Bartok as LilliCurd Jürgens as ToniBernhard Wicki as FranzRobert Freitag as RichardWilli Rose as KarlAdy Berber as Groppo the WildmanHelene Stanley as LoreJacobMöslacher as The DwarfJosef Schneider as The Sword-swallowerAmalie Lindinger as The Fat LadyLy Maria as The Snake LadyAnni Trautner as The Bearded LadyJadin Wong as The Chinese DancerPassage 4:Dragon'sGoldDragon's Gold is a 1954 American crime film directed by Aubrey Wisberg and Jack Pollexfen and starring John Archer, Hillary Brooke and Philip Van Zandt.PlotCastJohn Archer as Mack RossiterHillary Brooke asVivian CrosbyNoel Cravat as General Wong Kai HaiPhilip Van Zandt as SenMarvin Press as ChengDayton Lumis as Donald McCutcheonWilliam Kerwin as GenePassage 5:Kal: Yesterday and TomorrowKal: Yesterday andTomorrow is a 2005 Indian Hindi-language thriller drama film written and directed by Ruchi Narain. Produced by Sudhir Mishra under Sudhir Mishra Productions, the film features an ensemble cast of Chitrangda Singh,Shiney Ahuja, Smriti Mishra, Ram Kapoor, Malaika Shenoy, Sarika and Boman Irani. Shantanu Moitra composed the soundtrack and Sneha Khanwalkar composed the title track and the background score. While PrakashKutty and Ranjeet Bahadur handled cinematography and editing respectively. The film was premiered at 7th Osian's Cinefan Festival of Asian and Arab Cinema in July 2005 won Indian Critics’ Award and released on 16September 2005.PlotBhavna Dayal and Maya Jalan had been fellow collegians and close friends, both come from very wealthy families. Bhavna is in love with another ex-fellow collegian, Tarun Haksar, who also comesfrom a wealthy family, and is also in love with Bhavna. Their respective families' expect both to marry each other. However, Tarun and Maya suddenly announce their engagement, and get married, leaving a shockedand heart-broken Bhavna to deal with this situation on her own. She eventually breaks off all contact with her former lover and friend respectively. One night, several months later, a disturbed Tarun returns to her lifeand apartment, and stays there overnight. The next day she is shocked to find out that Maya has been shot dead, and the police suspect Tarun of killing her. The question remains if Tarun had spent the entire night withBhavna, then who killed Maya, and further why did Tarun decide to return to Bhavna's life all of a sudden?CastReceptionTaran Adarsh writing for Bollywood Hungama gave 1 out of 5 stars stating, \"Ruchi has a differentstyle of narrating a story, but cinema such as KAL - YESTERDAY & TOMORROW is not everybody's cup of tea. It gets too complicated as it unfolds!\".Passage 6:Cry VengeanceCry Vengeance is a 1954 American film noircrime film directed by and starring Mark Stevens. The cast also includes Joan Vohs and Martha Hyer. It was produced by Lindsley Parsons and distributed by Allied Artists.PlotSan Francisco ex-cop Vic Barron's family hasdied in a car bombing and he has been disfigured, framed and imprisoned when he crossed the wrong mobsters. After his release, he wants revenge on gangster Tino Morelli, whom he considers responsible.Morelli ishiding out in Ketchikan, Alaska. After his arrival there, Vic finds Morelli and Morelli's charming little daughter. With the help of tavern owner Peggy Harding, Barron discovers that Morelli did not order the bombing andthat the true murderer was a hitman named Roxey. Harding also takes Barron on scenic tours of Alaska, hoping to calm his rage and make him realize that life is still worth living.Barron intends to kidnap Morelli's youngdaughter Marie as \"leverage\", but the little girl is so friendly toward him and blind to his disfigurement that he cannot go through with it. Morelli's death also cools his initial anger.Roxey, who has followed Barron,murders Morelli, but is wounded by Barron in a shootout, then falls from atop a dam. After saying farewell to Peggy and to Morelli's orphaned daughter, Barron travels back to San Francisco, but with a hint that he mightreturn.CastMark Stevens as Vic BarronMartha Hyer as Peggy HardingSkip Homeier as RoxeyJoan Vohs as Lily ArnoldDouglas Kennedy as Tino MorelliCheryl Callaway as Marie MorelliMort Mills as Johnny Blue-eyesWarrenDouglas as Mike WaltersLewis Martin as Nick BudaDon Haggerty as Lt. Pat RyanJohn Doucette as Red MillerDorothy Kennedy as Emily MillerRichard Deacon as San Francisco bartender (uncredited)Edward Clark asPawnbroker (uncredited)Passage 7:The Dark Angel (1925 film)The Dark Angel is a 1925 American silent drama film, based on the play The Dark Angel, a Play of Yesterday and To-day by H. B. Trevelyan, released byFirst National Pictures, and starring Ronald Colman, Vilma Bánky (in her first American film), and Wyndham Standing.PlotDuring the First World War, Captain Alan Trent, while on leave in England with his fiancée KittyVane, is suddenly recalled to the front before being able to get a marriage license. Alan and Kitty spend a night of love at a country inn \"without benefit of clergy\" and he sets off.At the front things go badly for Alan,who is blinded and becomes a Prisoner of War after being captured by the Germans. He is reported dead, and his friend, Captain Gerald Shannon, discreetly woos Kitty, seeking to soothe her grief with his gentlelove.After the war, however, Gerald discovers that Alan is still alive, in a remote corner of England, writing children's stories for a living. Loyal to his former comrade in arms, Gerald informs Kitty of Alan's reappearance.She goes to him, and Alan conceals his blindness and tells Kitty that he no longer cares for her. She sees through his deception, however, and they are reunited.CastReceptionThe film has a 100% fresh rating on RottenTomatoes, based on 9 positive contemporary reviews.Mordaunt Hall's October 12, 1925, review for The New York Times conveys what made this film a compelling success 7 years after the end of the First WorldWar.PreservationA print of The Dark Angel has been recently located in a film archive, so it is currently not considered a lost film.See alsoList of lost filmsPassage 8:A Kind of AmericaA Kind of America (Hungarian:Valami Amerika) is a Hungarian comedy film from 2002.PlotThe film is situated in Budapest, where the brothers Ákos, András, and Tamás live. Tamás is a director of video clips and commercials, but dreams of directinga feature film. He has written a script with the title 'The Guilty City', but has trouble financing the project. At his surprise, he receives an email from an American film producer named Alex Brubeck, who writes that helikes the script. Offering to pay half the budget, he wants to meet Tamás personally in Budapest to talk things through. With the help of his brothers Ákos, a successful manager and sex addict, and András, a failed poet,he does everything to impress the American producer.External linksA Kind of America at IMDbPassage 9:Fireworks (1954 film)Fireworks (German: Feuerwerk) is a 1954 West German period musical comedy filmdirected by Kurt Hoffmann and starring Lilli Palmer, Karl Schönböck, and Romy Schneider. Palmer's rendition of the song \"O mein Papa\" became a major hit. It was Palmer's debut film in her native Germany, havingspent many years in exile in Britain, and launched her career as a major star in the country.The film is based on the 1950 stage musical Das Feuerwerk partly written by Erik Charell. It was made at the Bavaria Studiosin Munich and on location in Switzerland. The film's sets were designed by the art director Werner Schlichting.It is a circus film set at the beginning of the twentieth century.CastPassage 10:Morena ClaraMorena Clara isa 1954 film directed by Luis Lucia starring Lola Flores and Fernando Fernán Gómez.PlotThe film begins by depicting the fabled tale of how the gypsies came to be. According to folklore gypsies are descendants of anEgyptian pharaoh. In the film, actors are dressed in ancient Egyptian costumes as they dance to flamenco music. As the story continues, the gypsies are run out of their lands and are forced to live nomadic lives,stealing and thieving as a means to survive. The Monty Pythonesque history lesson then continues to present the protagonists’ ancestors and the scene that drives the rest of the film: Trinidad’s (Lola Flores) ancestorplaces a spell on Enrique’s (Fernando Fernán Gómez) ancestor that will cause his descendant to fall in madly in love with her descendant.The story continues to the present day, that is to say the 1950s, where Trinidadand her uncle Regalito (Miguel Ligero) are charged with stealing six hams from a shop window. This scene presents some of the most entertaining banter in the entire film as Trinidad and Regalito argue their innocencewith very matter-of-fact language and mannerisms common to Andalusian gypsies. Their witty mockery, while creating uproars of laughter from the courtroom audience, causes the judges to grow more infuriated withthe pair. It is then that Enrique, a lawyer, steps in to defend Trinidad and Regalito. After much deliberation, the two gypsies, after having to pay a fee, are set free.The fee they are required to pay forces Trinidad to findemployment. Coincidentally, she finds a job as a maid in Seville at the home of Enrique, the lawyer. Instead of dismissing Trinidad, Enrique decides to make her part of an experiment he plans to conduct. Hisexperiment is to see if he can turn Trinidad from a thieving gypsy into a functioning member of Spanish society. He plans to track change in his Pygmalion-like experiment by playing a song and seeing how she reacts toit. The more refined she becomes, the less she should react to the folkloric music. Trinidad’s reaction to Enrique’s statement, while humorous, presents the moral of the story: she tells him that the spirit of a gypsy issomething that no one can tame and that, even though she will try because he has asked her to do this for him, it is an impossible task. Fitted with new, modern clothing, Trinidad’s reaction to the music is a rompingperformance full of beautiful arm movements and earth-shaking stomps. Trinidad’s performance is so spell binding that, not only is Enrique entranced, but her impromptu tune is so catchy that he hums along to it thevery next morning.As the months go by, Enrique’s experiment grows more futile as Trinidad’s charisma wins him over. As Enrique’s coworker sees how entranced he has become by her, he plots to convince Trinidad toleave with the pretense that Enrique’s career might be jeopardized by her presence in his household. Trinidad instantly decides to leave as the last thing she wants to do is hurt Enrique. She makes the decision to saygoodbye to him by performing a song dedicated to him. In an emotionally driven performance, Trinidad performs a powerful rendition of “Te Lo Juro Yo,” quickly leaving as soon as the song is done.In the end, Enriquetracks down Trinidad and declares his love for her.CastLola FloresFernando Fernán GómezMiguel LigeroManuel LunaJulia LajosAna MariscalJulia Caba AlbaFrancisco PierráThemesMorena Clara, while primarily a comedicmovie, deals with issues such as poverty, sexism, socioeconomic discrimination against gypsies, dispelling of the gypsy stereotype, and of course, love."}
+{"doc_id":"doc_83","qid":"","text":"Passage 1:Hiding PlaceThe Hiding Place or Hiding Place may refer to:FilmThe Hiding Place (Playhouse 90), March 22, 1960 episode of American TV series; based on Robert Shaw's 1959 novelThe Hiding Place (film), 1975 American drama based on the 1971 book by Corrie ten BoomThe Hiding Place, 2000 American drama starring Kim Hunter and Timothy Bottoms, from the play by Mitch GiannunzioThe Hiding Place, 2008 American drama by Jeff WhittyLiteratureThe Hiding Place, 1959 British novel by Robert ShawThe Hiding Place (biography), 1971 memoir by Corrie ten Boom, who hid Dutch Jews during WWIIHiding Place (Wideman novel), 1981 middle volume of \"Homewood Trilogy\" by American John Edgar WidemanThe Hiding Place (Azzopardi novel), 2000 Welsh Booker Prize shortlistThe Hiding Place (Bell novel), 2012 American mysteryMusicHiding Place (band), Scottish rock band, active from 2004 to 2007Hiding Place (Selah album), 2004Hiding Place (Don Moen album), 2006Hiding Place (Tori Kelly album), 2018See alsoNo Hiding Place, 1959–1967 British police detective TV seriesHiding Places, 2019 American album by Brooklyn rapper Billy WoodsPassage 2:Hotel ReserveHotel Reserve is a 1944 British spy film starring James Mason as an innocent man caught up in pre-Second World War espionage. Other cast members include Lucie Mannheim, Raymond Lovell and Herbert Lom. It was based on Eric Ambler's 1938 novel Epitaph for a Spy. Unusually, it was both directed and produced by a trio: Lance Comfort, Mutz Greenbaum and Victor Hanbury. It was shot at Denham Studios with sets designed by the art director William C. Andrews. The film was produced and distributed by the British branch of RKO Pictures.PlotIn 1938, refugee Peter Vadassy decides to take a holiday at the Hotel Reserve to celebrate both his completion of medical school and his impending French citizenship. When he goes to pick up some photographs at the local pharmacy, he is taken away and questioned by Michel Beghin of French naval intelligence. When his negatives had been developed, some of them turned out to be of French military installations. It is discovered that while the camera is the same make as Peter's, the serial number is different. Peter is released on condition that he find out which other hotel guests have cameras like his.Peter does some snooping and eavesdrops on a suspicious conversation between Paul Heimberger and the hotel's proprietor, Madame Suzanne Koch. He searches Heimberger's room and finds several passports, all with different names and nationalities. Heimberger catches him in the act, but eventually matters are straightened out. Heimberger explains that he was originally a Social Democratic newspaper publisher who was anti-Nazi and been sent to a concentration camp for two years. After he was released, he joined an underground movement against the German regime.Peter spots his camera in the pocket of a dressing-gown belonging to Odette and Andre Roux, a couple on their honeymoon. Andre first tries to bribe Peter into giving him the negative and, when that fails, threatens him with a pistol. The police arrive at that moment and arrest Peter for espionage.The Rouxs leave the hotel, but find Heimberger trying to disable the hotel's car. Andre shoots him dead and the couple speed off to Toulon, unaware that they are being tracked by the police. Beghin had known the identity of the spies all along and merely used Peter to further his true goal; to find out who the Rouxs are reporting to. The spy ring is captured. Andre gets away, but is caught on a roof by Peter. Andre slips and falls to his death.CastJames Mason as Peter VadassyLucie Mannheim as Madame Suzanne KochRaymond Lovell as Robert Duclos, a hotel guest given to exaggerationJulien Mitchell as Michel BeghinHerbert Lom as Andre RouxMartin Miller as Walter VogelClare Hamilton as Mary Skelton, a hotel guest who is attracted to Peter. A sister of Maureen O'Hara, her real name was Florrie Fitzsimons. This was her only film appearance.Frederick Valk as Emil Schimler, alias Paul HeimbergerPatricia Medina as Odette RouxAnthony Shaw as Major Anthony Chandon-Hartley, a guestLaurence Hanray as Police Commissioner (as Lawrence Hanray)David Ward as Henri Asticot, a guestValentine Dyall as Warren SkeltonJoseph Almas as Albert, the waiter (as Josef Almas)Patricia Hayes as Servant (waitress)Hella Kürty as Hilda VogelIvor Barnard as P. Molon, the pharmacistErnst Ulman as Detective in Black SuitCritical receptionThe Radio Times noted, \"this subdued thriller, set just before the Second World War, is lifted by James Mason's performance as a 'wronged man',\" and concluded, \"The plot has enough suspense and intrigue built in, but this movie only fitfully comes to life as Mason sets out discover who the real villain is\"; Dennis Schwartz found it \"a visually attractive film, though hampered because it's so slow moving\"; whereas Leonard Maltin thought more highly of the piece, finding it a \"Suspenseful, moody film.\"Passage 3:The Hiding Place (film)The Hiding Place is a 1975 film based on the autobiographical book of the same name by Corrie ten Boom that recounts her and her family's experiences before and during their imprisonment in a Nazi concentration camp during the Holocaust during World War II.The film was directed by James F. Collier. Jeanette Clift George received a Golden Globe nomination for Most Promising Newcomer - Female. The film was given limited release in its day and featured the last appearance from Arthur O'Connell.CastJeannette Clift as Corrie ten BoomJulie Harris as Betsie ten BoomArthur O'Connell as Casper ten Boom, 'Papa'Robert Rietti as Willem ten BoomPamela Sholto as TinePaul Henley as Peter ten BoomRichard Wren as Kik ten BoomBroes Hartman as Dutch PolicemanLex van Delden as Young German OfficerTom van Beek as Dr. HeemstraNigel Hawthorne as Pastor De RuiterJohn Gabriel as Professor ZeinerEdward Burnham as Underground LeaderCyril Shaps as Building Inspector SmitForbes Collins as Mason SmitEileen Heckart as KatjeReviewsOne review noted that the performers’ “Dutch accents sound quite Swedish on occasion.”See alsoList of American films of 1975List of Holocaust filmsPassage 4:The Wonderful World of Captain KuhioThe Wonderful World of Captain Kuhio (\u0000\u0000\u0000\u0000\u0000, Kuhio Taisa, lit. \"Captain Kuhio\") is a 2009 Japanese comedy-crime film, directed by Daihachi Yoshida, based on Kazumasa Yoshida's 2006 biographical novel, Kekkon Sagishi Kuhio Taisa (lit. \"Marriage swindler Captain Kuhio\"), that focuses on a real-life marriage swindler, who conned over 100 million yen (US$1.2 million) from a number of women between the 1970s and the 1990s.The film was released in Japan on 10 October 2009.CastMasato Sakai - Captain KuhioYasuko Matsuyuki - Shinobu NaganoHikari Mitsushima - Haru YasuokaYuko Nakamura - Michiko SudoHirofumi Arai - Tatsuya NaganoKazuya Kojima - Koichi TakahashiSakura Ando - Rika KinoshitaMasaaki Uchino - Chief FujiwaraKanji Furutachi - Shigeru KurodaReila AphroditeSei AndoAwardsAt the 31st Yokohama Film FestivalBest Actor – Masato SakaiBest Supporting Actress – Sakura AndoPassage 5:Coney Island Baby (film)Coney Island Baby is a 2003 comedy-drama in which film producer Amy Hobby made her directorial debut. Karl Geary wrote the film and Tanya Ryno was the film's producer. The music was composed by Ryan Shore. The film was shot in Sligo, Ireland, which is known locally as \"Coney Island\".The film was screened at the Newport International Film Festival. Hobby won the Jury Award for \"Best First Time Director\".The film made its premiere television broadcast on the Sundance Channel.PlotAfter spending time in New York City, Billy Hayes returns to his hometown. He wants to get back together with his ex-girlfriend and take her back to America in hopes of opening up a gas station. But everything isn't going Billy's way - the townspeople aren't happy to see him, and his ex-girlfriend is engaged and pregnant. Then, Billy runs into his old friends who are planning a scam.CastKarl Geary - Billy HayesLaura Fraser - BridgetHugh O'Conor - SatchmoAndy Nyman - FrankoPatrick Fitzgerald - The DukeTom Hickey - Mr. HayesConor McDermottroe - GerryDavid McEvoy - JoeThor McVeigh - MagicianSinead Dolan - JuliaMusicThe film's original score was composed by Ryan Shore.External linksConey Island Baby (2006) at IMDbMSN - Movies: Coney Island BabyPassage 6:C.J. TudorC.J. Tudor is a British author whose books include The Chalk Man and The Hiding Place (The Taking of Annie Thorne). She was born in Salisbury, England but grew up in Nottingham, where she still lives.The Chalk ManThe Chalk Man was published in January 2018 by Crown Publishing. Reviews were mixed. The Sun said \"[Tudor] weaves a complex and captivating story in her first novel.\". The Irish Independent said the book \"has an intriguing and creepy premise - but ultimately falls apart after a series of improbable, shading to outlandish, plot twists.\" The book received the 2019 Barry Award for Best First Novel.The SixthA book which to be called \"The Sixth\" was planned in 2022. But with a difficult 12 months between 2020 and 2021, a manuscript was written (approximately 86,000 words) and submitted to the publisher. Unhappy with the result, Tudor got a return from her editor that the book didn't work and needed a complete re-write. Not willing to do the job, Tudor preferred to offer a new book to be published in January 2023 and her publisher will instead publish her first short story collection in Autumn 2022.BibliographyBooksThe Chalk ManThe Taking of Annie Thorne (The Hiding Place)The Other PeopleThe Burning Girls“A Sliver of Darkness”“The Drift”Short storiesThe Man in the Box-Included in \"The Other People\" audiobookThe Lion at the Gate-Included in \"The Other People\" audiobookThe February House-Included in \"The Other People\" audiobookButterfly Island in After Sundown anthologyPassage 7:Return to the Hiding PlaceReturn to the Hiding Place is a 2013 film based upon the factual accounting of Hans Poley's World War II encounter with Corrie ten Boom, her involvement in the Dutch resistance and the wartime harboring of Jewish refugees. A non-Jewish fugitive after he refused to pledge his allegiance to the Nazis, Poley was the first person hidden from the Nazis in the Ten Boom House, which is today a museum in Haarlem, Netherlands.   The film is adapted, in part, from Poley's book, Return to the Hiding Place (1993),  personal recollections, relayed to screenwriter Dr. Peter C. Spencer, and research from the Dutch National Archives. The film is neither a prequel nor is it a sequel to the 1975 film The Hiding Place, instead, it is a congruent accounting of the Dutch underground's resistance efforts from Poley's perspective.  It was directed by Peter C. Spencer and starred John Rhys-Davies, Mimi Sagadin and Craig Robert Young.BackgroundOn May 15, 1940, German occupation of the Netherlands begins with the nation's surrender, food and materials are rationed and evening curfews are imposed, gradually tightening from 10:00 p.m. to 6:00 a.m. Persecution of the Jewish population also is gradually implemented, starting with the requirement of wearing a yellow star bearing the word \"Jew\" and attacks against Jewish businesses and places of worship and culminating in the mass transport of Jewish citizens to unknown locations. Conspiracy theories begin to emerge on the fate of those being transported to the concentration camps.Corrie ten Boom (15 April 1892 – 15 April 1983) and her family are actively involved in the Dutch underground, invite the persecuted to live in their home and create a hidden room to conceal them during searches. Hans Poley, a young Christian, is the first guest and benefactor of the ten Boom family's extraordinary hospitality in May 1943.Poley's persecution begins with his refusal to sign the Nazi Manifesto, which reads in part:23. We demand legal opposition to known lies and their promulgation through the press. In order to enable the provision of a German press, we demand, that:a. All writers and employees of the newspapers appearing in the German language be members of the race;b. Non-German newspapers be required to have the express permission of the State to be published. They may not be printed in the German language;c. Non-Germans are forbidden by law any financial interest in German publications, or any influence on them, and as punishment for violations the closing of such a publication as well as the immediate expulsion from the Reich of the non-German concerned. Publications that are counter to the general good are to be forbidden. We demand legal prosecution of artistic and literary forms which exert a destructive influence on our national life, and the closure of organizations opposing the above-made demands.24. We demand freedom of religion for all religious denominations within the state so long as they do not endanger its existence or oppose the moral senses of the Germanic race. The Party as such advocates the standpoint of a positive Christianity without binding itself confessionally to any one denomination. It combats the Jewish-materialistic spirit within and around us, and is convinced that a lasting recovery of our nation can only succeed from within the framework: The good of the state before the good of the individual.25. For the execution of all of this we demand the formation of a strong central power in the Reich. Unlimited authority of the central parliament over the whole Reich and its organizations in general. The forming of state and profession chambers for the execution of the laws made by the Reich within the various states of the confederation. The leaders of the Party promise, if necessary by sacrificing their own lives, to support the execution of the points set forth above without consideration.CastCast overview, first billed only:Filming locationsHaarlem, North Holland, NetherlandsHolland, Michigan, USAManistee, Michigan, USAAwardsSee alsoReturn to the Hiding Place, by Hans Poley, Lifejourney Books (1993) ISBN 0781409322The Hiding Place, a 1971 autobiography by Corrie ten BoomThe Hiding Place, a 1975 film based on the book by Corrie ten BoomPassage 8:ReserveReserve or reserves may refer to:PlacesReserve, Kansas, a US cityReserve, Louisiana,  a census-designated place in St. John the Baptist ParishReserve, Montana, a census-designated place in Sheridan CountyReserve, New Mexico, a US villageReserve, Wisconsin, a census-designated place in the town of CouderayReserve Mines, a community in Cape Breton Regional Municipality, Nova Scotia, CanadaAuctionsAuction reserve, a minimum amount of money bid required for a sale, e.g., in an English auctionNo-reserve auction (NR), also known as an absolute auction, an auction in which the item for sale will be sold regardless of priceEconomics and financeReserve (accounting), any part of shareholders' equity, except for basic share capitalActuarial reserves, a liability equal to the present value of the future expected cash flows of a contingent eventBank reserves, holdings of deposits in central banks plus currency that is physically held in bank vaultsForeign-exchange reserves, the foreign currency deposits held by central banks and monetary authoritiesReserve currency, a currency which is held in significant quantities as part of foreign exchange reservesMineral reserve, natural resources that are economically recoverableOfficial gold reserves, gold held by central banks as a store of valueReserve study, a long-term capital budget planning toolLand managementGame reserve, land set aside for maintenance of wildlife, for tourism or huntingIndian reserve, a tract of land reserved for the use and benefit of a bandIndian colony, the concept in the United StatesIndian reservation, equivalent concept in the United StatesIndian reserve, equivalent concept in CanadaUrban Indian reserve, equivalent concept in CanadaNature reserve, a protected area of importance for wildlife, flora, fauna or features of geological or other special interestOpen space reserve, an area of protected or conserved land or water on which development is indefinitely set asideMilitaryMilitary reserve, military units not initially committed to battleMilitary reserve force, a military organization composed of citizens who combine a military role with a civilian careerReserve fleet, a collection of partially or fully decommissioned naval vessels not currently needed.SportsReserve (sport), a player not in the starting lineupInjured reserve list, a list of injured players temporarily unable to playReserve clause, part of a player contract in North American professional sportsReserve team, the second team fielded by a sports clubOther usesAboriginal reserve, historical government-run settlement in AustraliaCourse reserve, library materials reserved for particular usersDynamic reserve, the set of metabolites that an organism can use for metabolic purposesFuel reserve, an extra fuel tank, or extra fuel in the main fuel tankInjury Reserve, an Arizona hip hop trio formed in 2013Reserve Police Officers, auxiliary police officersReserve power, a power that may be exercised by the head of state without the approval of another branch of the governmentReserve wine, a wine that is specially designatedReserved, a Polish clothing store chainStockpile, a reserve of bulk materials for future useSee alsoHoldLayawayNative Reserve (disambiguation)Preserve (disambiguation)Reserva (disambiguation)Reservation (disambiguation)Reservoir (disambiguation)Western Reserve (disambiguation)All pages with titles beginning with Reserve All pages with titles containing ReservePassage 9:Situation Hopeless... But Not SeriousSituation Hopeless... But Not Serious is a 1965 oddball comedy film shot in black and white directed by Gottfried Reinhardt and starring Alec Guinness, Mike Connors and Robert Redford. It is based on the 1960 novel The Hiding Place by Robert Shaw.The title is a derived from Viennese Alfred Polgar's quip, \"The situation is desperate but not serious.\"PlotOn 27 November 1944, during World War II, two American fliers, Captain Hank Wilson and Sergeant Lucky Finder, have to bail out over Germany. They land in the small town of Altheim, where Wilhelm Frick reads his horoscope and it says an exciting change will happen that day.In town, the fliers hide in Frick's cellar. He initially locks them in and is going to inform the authorities when one claims German descent and he softens. They sing German songs together. Frick decides to hide them from the authorities. He leaves them locked there and goes to his job as the pharmacist's assistant at Drogerie Neusel. His boss listens to the radio regarding the Allied advance: the Germans have lost Aachen ... the end of the war is close. American troops march through Altheim outside Frick's work.The two Americans (Finder and Wilson) share the cellar with Frick's cats. They get hobbies: one sketching cartoons while the other does metalwork, which enables him to make a lockpick and they unlock themselves just as Frick returns. Finder has Frick's gun and turns it on him. They debate what will happen if they leave. He convinces them to stay. To ensure they stay, he puts them in shackles while they sleep. He tells them they must stay until the end of the war. He gives them the key to unlock themselves.He brings them a very pretty little Christmas tree. The story then jumps to VE Day (May 1945) with Frick listening to the radio announcement regarding the end of the war.The two have to reshackle themselves when Frick brings them food. On VE Day, he brings a large bottle of 10 year old Swiss kirsch and is about to tell them the news. By the third tumbler of kirsch, Frick is spilling as he pours and all are singing. Frick offers to give them cushions, books... and sunshine.Frick's boss is arrested as a Nazi sympathiser. Finder grows a long beard. Outside, this part of Germany comes under American occupation. Frick tries to barter for extra supplies from the local American quartermaster.In his struggle to keep them entertained, Frick lets slip some Americanisms and Finder queries how he knows them. Frick gives them a false history of the war and simply says that the Americans have captured Strasbourg. He gives them an orange stamped with the word California and they become suspicious. Struggling to explain, he distracts them by saying Paris is totally destroyed.Finder demands a woman and Frick starts to search. He peers in the window of the Daffodil Club and gets invited inside. Inside, he meets Lissie, a madam, who offers him a choice of girls at the bar. He prefers to use her and starts to explain things to her. His conversation in her back office worries her so much that she presses her silent alarm and he gets thrown out.Frick seems to go a bit crazy and is put in a hospital, but security is lax and he steals a bike and goes home. His house is dilapidated... it is unclear how long he has been gone. He unlocks the men. Two police appear outside (for the stolen bike). They ask if "}
+{"doc_id":"doc_84","qid":"","text":"Passage 1:Yan Yan (Three Kingdoms)Yan Yan (fl. 211–214 A.D.) was a Chinese military general and politician who served under Liu Zhang, the Governor of Yi Province (covering present-day Sichuan and Chongqing), during the late Eastern Han dynasty of China. Although there is very little information about Yan Yan in historical records, he is given a much prominent role in the 14th-century historical novel Romance of the Three Kingdoms as a general who initially serves under Liu Zhang before switching allegiance to Liu Bei later.LifeYan Yan was from Linjiang County (\u0000\u0000\u0000), Ba Commandery (\u0000\u0000), which is around present-day Zhong County, Chongqing. He served as a military officer in Ba Commandery under Liu Zhang, the Governor of Yi Province (covering present-day Sichuan and Chongqing); Ba Commandery was one of the commanderies in Yi Province.In 211, Liu Zhang invited the warlord Liu Bei to lead his troops into Yi Province to help him counter the threat posed by his rival, Zhang Lu, in Hanzhong Commandery. When Yan Yan heard about it, he remarked: \"This is equivalent to sitting on an isolated hill and setting a tiger free to protect oneself!\"Around 212, conflict broke out between Liu Zhang and Liu Bei when the latter turned against his host and tried to seize control of Yi Province. In 214, Liu Bei summoned reinforcements from his base in Jing Province to enter Yi Province and assist him in attacking Liu Zhang. Zhang Fei, a general under Liu Bei, led troops to attack Jiangzhou (\u0000\u0000; around present-day Yuzhong District, Chongqing), which was defended by Yan Yan. Zhang Fei defeated Yan Yan, captured him alive, and asked him: \"When my army showed up, why did you put up resistance instead of surrendering?\" Yan Yan replied: \"You people launched an unwarranted attack on my home province. There may be generals in my province who will lose their heads, but there are none who will surrender.\" Zhang Fei was enraged and he ordered Yan Yan's execution. Yan Yan remained expressionless and said: \"If you want to chop off my head, then do it! What's with that outburst of anger?\" Zhang Fei was so impressed with Yan Yan's courage that he released him and treated him like an honoured guest. Nothing was recorded in history about Yan Yan from this point onwards.In Romance of the Three KingdomsYan Yan has a greater role as a character in the 14th-century historical novel Romance of the Three Kingdoms, which romanticises the events before and during the Three Kingdoms period. In Chapter 63 of the novel, as in history, he is defeated and captured by Zhang Fei, who initially wants to execute him but changes his mind and spares him after feeling impressed with Yan Yan's strong sense of loyalty. Zhang Fei also manages to convince Yan Yan to switch his allegiance to Liu Bei. Yan Yan appears again later in Chapters 70 and 71, when he joins Huang Zhong to attack Cao Cao's forces at the Battle of Mount Dingjun.See alsoLists of people of the Three KingdomsNotesPassage 2:Marco BortolamiMarco Bortolami ([\u0000marko b\u0000rto\u0000lami]; born 12 June 1980) is a rugby union coach and retired Italian international player, whose career includes experience playing in the national top-level Italian (Petrarca Padova), French (RC Narbonne), and English (Gloucester Rugby) championships, before joining the then recently-born Pro14 (with Aironi Rugby and then Zebre). Praised for his leadership skills, he captained all the teams he played for at professional level. At international level, he also captained the Italian side since 2002 till the 2007 Rugby World Cup, before being replaced in the permanent role by Sergio Parisse. He currently serves as head coach for Benetton Rugby in the United Rugby Championship.Club careerBortolami began his playing career with the team of his native Padua, making his debut as a second row aged only 18.After a two-year spell with RC Narbonne in the French Top14, in the summer of 2006 he joined English Premiership side Gloucester Rugby when he was considered by many to be one of the best players in the world around the time, being selected into the starting team for their first game of the season and immediately taking the role of captain. At Gloucester he made up a formidable partnership with Alex Brown and shared captaincy with Peter Buxton. Due to injuries and his World Cup commitments, the 2007–08 season ended up not being as consistent in performance and he lost the Italian captaincy to Italian No. 8 Sergio Parisse, but continued to put in powerful performances for Gloucester. His outstanding leadership qualities meant he retained captaincy. He made 23 appearances for Gloucester in 2008–09.In 2010 he returned to Italy signing for the new Aironi team which started to compete in the Celtic League from the 2010–11 season. After Aironi folded due to financial problems, Bortolami signed for the new franchise Zebre in the Pro12 for the 2012/13 season.On 7 May 2016, Bortolami announced his retirement from professional rugby with immediate effect.International careerBortolami was made captain of Italy's Under-21 side, before making his international debut at elite level against Namibia in June, 2001, when he was just 20. At the age of 22, Bortolami was made Italy's youngest ever captain by then coach John Kirwan.In his first-ever World Cup start, against Tonga, he suffered an injury and missed the decisive group-stage match against Wales, which saw the Azzurri eliminated from the competition.After impressing in the 2004 Six Nations Championship, he was once awarded the full captaincy for the 2005 Summer tour of Japan by coach Pierre Berbizier. After this tour he joined French club Narbonne.In the 2007 Six Nations Championship, Bortolami led Italy to their first away win in the competition against Scotland at Murrayfield, which was also the first time Italy have won more than one game in a single Six Nations Championship. At the 2007 Rugby World Cup, he led the Italian team to a decisive final group-stage match against Scotland, again missing access to the knock-out stage.With the 2007 Six Nations Championship, under new coach Nick Mallett, Bortolami was replaced as Italian skipper by Sergio Parisse.Bortolami suffered an injury against Australia in June 2012, but in May 2013 it was announced that he would be returning to the international stage.Coaching careerBortolami left Zebre at the end of the Celtic League 2015/16 season, and became Assistant Coach at Benetton Treviso from the start of the 2016/17 season.Other informationIn an interview in 2006, Bortolami stated that he wishes to become a mechanic for Ferrari after he retires from professional rugby, using the mechanical skills that he picked up in college. Shortly after the interview had taken place, he received a letter from Ferrari offering him a position as soon as he completed his rugby career. Something must be changed since then because now Bortolami moved into coaching the forwards for Benetton Treviso in Italy, after his last match on 7 May 2016.Although he has never been considered a violent player, his rough and direct playing style and his sometimes conflictual approach with the referees have led Bortolami to collect seven yellow cards in his long international career, surpassed in this unenviable ranking only by the Australian Michael Hooper and the Georgian Viktor Kolelishvili, both with eight.Passage 3:XiaxueCheng Yan Yan Wendy (born Cheng Yan Yan; 28 April 1984), better known by her pseudonym Xiaxue, is a Singaporean blogger and online television personality who writes about her life, fashion and local issues in a provocative style. Her main blog, which attracts about 50,000 readers daily, has won prestigious blog awards and earned her sponsorship deals, as well as stints as a columnist and TV show host, but some of her posts have sparked national controversies. She is married to American engineer Mike Sayre and they have one child.Personal lifeBorn in Singapore on 28 April 1984, Wendy Cheng studied at River Valley High School and graduated from Singapore Polytechnic with a diploma in mass media, then briefly worked as a project coordinator. Her father, an antique dealer, and her mother, a property agent, are divorced; she also has a younger brother. For a year, she maintained a paper diary, which her ex-boyfriend's new girlfriend threw away during a Chinese New Year spring cleaning. Wanting to air her thoughts in a space that nobody could throw away, she started blogging in April 2003. She underwent plastic surgery, sponsored by MediaCorp TV, to \"correct her bulbous nose\" in 2006.In 2010, she married American engineer Mike Sayre, whom she met online and had dated for three years, and in March 2013, she gave birth to a boy named Dashiel.In 2023, she announced that she and Mike Sayre had split up.BloggingWendy Cheng has several blogs, including her untitled main blog (usually known as xiaxue.blogspot.com), and several private blogs. Although she writes in the English language, she selected her pseudonym Xiaxue (\u0000\u0000, pronounced something like sh'ya-shweh), which means \"snowing\" in Mandarin Chinese, because it \"had that tinge of mysterious, beautiful girl thing about it\". On her main blog, which attracts about 50,000 readers daily, she provides updates about her personal life, posts photographs, writes about topics such as fashion, discusses local issues such as \"nasty taxi drivers\", and posts paid advertorials. She often uses profanity in her posts and her success has been attributed to her provocative writing style. According to a survey she conducted, which attracted 6000 responses, her readers are mainly Singaporean, female, young adults interested in fashion and \"looking for an alternative voice\". Awards that her main blog has won include the 2004 and 2005 Wizbang Weblog Awards Best Asian Blog and the 2005 Bloggies Best Asian Weblog. In July 2005, a hacker defaced the blog, but she managed to restore its contents. Her main blog, the first from Singapore to enter the Technorati Global Top 100 Blogs List, was selected for the National Library Board archive in 2008.Other mediaDue to the popularity of her main blog, Xiaxue has earned jobs in mainstream media, notably as a columnist for national newspapers TODAY and The New Paper, Maxim magazine and Snag magazine. In addition, she has served as an editor for blog aggregator Tomorrow.sg, a Star Blogger for the STOMP portal and a presenter at the 2005 Singapore Writer's Festival. She has struck sponsorship deals with many companies, including online eyewear store HoneyColor, childcare merchandise retailer Mothercare, T-shirt maker LocalBrand, hair salon Kimage and nail studio Voxy. In 2006, she and DJ Rosalyn Lee co-hosted Girls Out Loud, a reality TV series on MediaCorp Channel 5, where they engage in \"outrageous antics and no-holds-barred banter\". She has a fortnightly series, called Xiaxue's Guide to Life, on the web television channel clicknetwork.tv; its highest-rated episode had more than a million views. The Health Promotion Board selected her as an ambassador for their Get Fresh campaign to discourage women from smoking and help female smokers quit.ControversyIn October 2005, Xiaxue wrote an entry condemning a disabled man, who scolded a non-disabled man for using the toilet for the disabled, leading to an online backlash that prompted two sponsors to cancel their deals. Two months later, she suggested that foreign workers be banned from Orchard Road, as they were molesting Singaporean girls; many netizens condemned her posts as \"racist rants\" and signed an online petition to ban her from Orchard Road. She was accused of impersonating another blogger and abusing her position as a Tomorrow.sg editor to remove comments critical of her in January 2006. In July 2007, she made a post about the \"seven most disgusting bloggers\" in Singapore, sparking flame wars that were extensively covered by local media. In April 2008, she made a video about the iPhone, which she insists \"was meant to be funny\", but was dubbed \"the worst iPhone review\" by American technology writer Daniel Lyons and ridiculed on other technology websites, including Gizmodo. Xiaxue also has a heated rivalry with blogger Dawn Yang, who threatened to sue her for an allegedly defamatory post in June 2008.In February 2020, Xiaxue was accused of “fatphobia” on social media after she called morbidly obese people “disgusting” and that they “don’t live past” the age of 40. Xiaxue claimed in an Instagram story that “they gorge themselves with 30 burgers a day and when they inevitably get a clogged artery or diabetes, taxpayers have to help foot their medical bills when their health conditions are entirely caused by their irresponsible behaviour”. Xiaxue's posts were deleted by Instagram after users reported her for harassment.In July 2020, Xiaxue lost brand sponsorships following police reports over racist tweets, including  tweets that were targeted at foreign workers, alleging “they molest people and f*** our maids and leer at girls and flood Little India” and the attempt to use the N-word in certain context. Beauty brand Fresh and Swedish timepiece company Daniel Wellington have publicly confirmed that they have ended their partnerships with Xiaxue following this incident. Reality and lifestyle channel Clicknetwork, with whom Xiaxue has worked with since 2011, dropped Xiaxue as a host.Passage 4:Nieng YanYan Ning (Chinese: \u0000\u0000; born 21 November 1977) is a Chinese structural biologist and the founding dean of the Shenzhen Medical Academy of Research and Translation. She previously served as the Shirley M. Tilghman Professor of Molecular Biology at Princeton University where her laboratory studied the structural and chemical basis for membrane transport and lipid metabolism.Early life and educationYan was born in Zhangqiu, Jinan, Shandong province in 1977. She received her B.S. degree from the Department of Biological Sciences & Biotechnology, Tsinghua University, in 2000. She then studied molecular biology at Princeton University, under the supervision of Shi Yigong, and received her Ph.D. degree in 2004. Her doctoral dissertation was titled \"Biochemical and structural dissection of the regulation of apoptotic pathways in Drosophila and C. elegans.\" She was the regional winner of the Young Scientist Award in North America, which is co-sponsored by Science/AAAS and GE Healthcare, for her thesis on the structural and mechanistic study of programmed cell death. She continued her postdoctoral training at Princeton, focusing on the structural characterization of intramembrane proteases, until 2007.CareerIn 2007, she returned to Tsinghua University with an invitation by Zhao Nanming, director of the Department of Biology at the time. At the age of 30, she became the youngest professor and Ph.D. advisor in Tsinghua. Her research focused on the structure and mechanism of membrane transport proteins, exemplified by the glucose transporter GLUT1 and voltage-gated sodium and calcium channels.In 2017, Yan decided to leave Tsinghua and join Princeton University. The move gained widespread attention in China and led to a national discussion both within the science community and the general public. The cause was widely speculated to be the difficulty to do what she wanted to do under China's academic system, as she had criticized the China National Natural Science Foundation's reluctance to support high risk research in a series of blogs. However, Yan dismissed this claim later, and stated \"changing one's environment can bring new pressure and inspiration for academic breakthroughs\".For her research achievements, Dr. Yan has won a number of prizes. She was an HHMI international early career scientist in 2012–2017, the recipient of the 2015 Protein Society Young Investigator Award, the 2015 Beverley & Raymond Sackler International Prize in Biophysics, the Alexander M. Cruickshank Award at the GRC on membrane transport proteins in 2016, the 2018 FAOBMB Award for Research Excellence, and the 2019 Weizmann Women & Science Award. Yan was elected a foreign associate of the US National Academy of Sciences in April 2019. Yan was elected as a member of the American Academy of Arts and Sciences in 2021.On November 1, 2022, while speaking at the Shenzhen Global Innovation Forum of Talents, Yan announced that she will be resigning from her position at Princeton and will return to China to become a founding dean of the Shenzhen Medical Academy of Research and Translation. In December 2022, she resigned from Princeton and returned to China, where she accepted her new position.On March 22, 2023, Yan was appointed as director of the Shenzhen Bay Laboratory.Honors and awards2019National Academy of Sciences Foreign Associate, National Academy of SciencesWeizmann Women & Science Award, Weizmann Institute of Science2018FAOBMB Award for Excellence, Federation of National Societies of Biochemistry and Molecular Biology in the Asian and Oceanian Region2017Wu-Janssen Award in Biomedical Basic Research, ChinaTeaching award, Tsinghua University2016Alexander M. Cruickshank Award for the Gordon Research Conference on Membrane Transport Proteins: Molecules to Medicine2015The Protein Science Young Investigator Award, Protein SocietyThe Raymond and Beverly Sackler International Prize in Biophysics, Tel Aviv University2014Cell \"40under40\", CellPromega Awards for Biochemistry, PromegaCheung Kong Scholar, Ministry of Education, ChinaThe Ho Leung Ho Lee Award for Advancement in Science and Technology, China2012Howard Hughes Medical Institute International Early Career Scientist, HHMIAward for “Women in Science” of ChinaCC Tan Award for Innovation in Life Sciences, China2011National Outstanding Young Scientist Award, China2006Young Scientist Award (North America Regional Winner), AAAS/Science and GEPassage 5:Yan Xing (Han dynasty)Yan Xing (pronunciation ) (fl. 190s–210s), courtesy name Yanming, later renamed Yan Yan, was a Chinese military general and politician serving under the warlord Han Sui during the late Eastern Han dynasty of China.LifeYan Xing was from Jincheng Commandery (\u0000\u0000\u0000), which is around present-day Yuzhong County, Gansu. He started his career as a military officer under the warlord Han Sui. When conflict broke out between Han Sui and another warlord Ma Teng, during the melee Yan Xing nearly killed Ma Teng's eldest son Ma Chao by piercing him with a spear; the shaft broke so the tip only grazed Ma Chao's head.In 209, Han Sui sent him as an emissary to meet the warlord Cao Cao, who controlled the Han central government and the figurehead Emperor Xian. Cao Cao treated Yan Xing well and appointed him as the Administrator (\u0000\u0000) of Jianwei Commandery (\u0000\u0000\u0000; around present-day Meishan, Sichuan). Yan Xing received permission to bring his family to the imperial capital, Xu (\u0000; present-day Xuchang, Henan), after which he returned to Han Sui. He advised Han Sui to become a vassal under Cao Cao and send one of his sons to Xu as a \"hostage\", so as to express his loyalty to the central government. Although Han Sui was initially reluctant to do so, he eventually agreed and sent his family to Xu as hostages.In 211, when Ma Chao and other warlords in the Guanzhong region were planning to start a rebellion, they approached Han Sui and invited him to join them. Ma Chao even told Han Sui, \"Previously, Zhong Yao ordered me to harm you. Now, I know that the people from Guandong (east of Tong Pass) cannot be trusted. Now, I abandon my father, and I'm willing to acknowledge you as my father. You should also abandon your son, and treat me like your son.\" Yan Xing advised Han Sui not to cooperate with Ma Chao but Han Sui still agreed to the alliance. Ma Chao, Han Sui and the warlords then engaged Cao Cao at the Battle of Tong Pass. During the battle, when Cao Cao requested to meet Han Sui, an old acquaintance of his, for a chat, Yan Xing accompanied Han Sui to the meeting. Cao Cao pointed at Yan Xing and told Han Sui, \"Take good care of this filial son.\"After Cao Cao defeated the warlords at the Battle of Tong Pass, Han Sui and his remaining followers retreated to Jincheng Commandery. As Cao Cao had heard that Yan Xing was reluctant to participate in the rebellion, he spared Yan Xing's family members who were in Xu at the time but executed the families of the other rebels. He then wrote a letter to Yan Xing to inform him that even though his family members were alive and well, the central government could not permanently provide for them. When Han Sui found out that Cao Cao had spared Yan Xing's family members, he plotted to harm them so as to force Yan Xing to remain loyal to him. He then forced Yan Xing to marry his daughter. As Han Sui expected, Cao Cao became suspicious of Yan Xing. At the time, as Han Sui had ordered Yan Xing to take charge of Xiping Commandery (\u0000\u0000\u0000; around present-day Xining, Qinghai), Yan Xing seized the opportunity to gather his followers and turn against Han Sui. However, he never managed to defeat Han Sui so he gave up and "}
+{"doc_id":"doc_85","qid":"","text":"Passage 1:Bernie BonvoisinBernard Bonvoisin (French pronunciation: [b\u0000\u0000na\u0000 b\u0000̃vwaz\u0000̃]), known as Bernie Bonvoisin (French pronunciation: [b\u0000\u0000ni b\u0000̃vwaz\u0000̃], born 9 July 1956 in Nanterre, Hauts-de-Seine), is aFrench hard rock singer and film director. He is best known for having been the singer of Trust.He was one of the best friends of Bon Scott the singer of AC/DC and together they recorded the song \"Ride On\" which wasone of the last songs by Bon Scott.External linksBernie Bonvoisin at IMDbPassage 2:Billy MilanoBilly Milano (born June 3, 1964) is an American heavy metal and hardcore punk musician. He is the singer and occasionallyguitarist and bassist of crossover thrash band M.O.D., and was the singer of its predecessor, Stormtroopers of Death. Prior to these bands, Milano played in early New York hardcore band the Psychos, which alsolaunched the career of future Agnostic Front vocalist Roger Miret. Milano was also the singer of United Forces, which included his Stormtroopers of Death bandmate Dan Lilker. Milano managed a number of bands,including Agnostic Front, for whom he also co-produced the 1997 Epitaph Records release Something's Gotta Give and roadie for Anthrax.DiscographyStormtroopers of Death albumsStormtroopers of DeathvideosMethod of Destruction (M.O.D.)MasteryPassage 3:Just Playing (Dreams)Just Playing (Dreams) is a promotional single by American hip hop artist The Notorious B.I.G. for his 1994 debut album Ready to Die. It wasproduced by Rashad Smith, and contains a sample of James Brown's \"Blues and Pants\" from Hot Pants. Complex magazine ranked the song number two on its list of \"The 50 Funniest Rap Songs\".Although the song doesnot appear on the original version of Ready to Die, it appears on the 2004 remastered version.BackgroundSome of the lyrics initially appeared on Mary J. Blige's \"What's the 411?\" remix. The song was released as apromotional single for Biggie's debut album Ready to Die.Composition\"Just Playing (Dreams)\" was written by The Notorious B.I.G. and Rashad \"Ringo\" Smith. The song is built on a sample of \"Blues and Pants\" writtenby James Brown, and its production was done by Ringo.In the song, Biggie takes aim at 20 of his favorite R&B singers and lists what he'd like to do to them. The list includes female R&B singers Mary J. Blige, PattiLaBelle, Mariah Carey, Chaka Khan, and Rupaul, who didn't take offense to the song. However, Raven-Symoné was 8 years old when Biggie rapped the line, “make Raven-Symoné call date rape.”The R&B quartetXscape didn't appreciate the song, which contained the line \"those ugly-ass Xscape bitches.\" In a 2009 interview, group member Kandi Burruss said that her bandmate Tameka \"Tiny\" Cottle ran into Biggie on theevening of his death, and he apologized for the lyric.Cover versions and remixesIn 1996, Lil Kim's song \"Dreams Freestyle\" sampled the lyrics of \"Just Playing\" on her debut studio album Hard Core.In 1996, Mad Skillz,sampled the line “Everybody, move ya body” as the chorus of his song \"Move Ya Body\" on his debut album From Where???In 2015, rapper Young M.A dropped her \"Dreams Freestyle\" from her debut 13-track mixtapeSleep Walkin.In 2018, rapper Nicki Minaj sampled the song for her studio album Queen in the song \"Barbie Dreams\". The single reached number 18 on the Billboard Hot 100 and number 36 on the UK SinglesChart.Passage 4:The Notorious B.I.G.Christopher George Latore Wallace (May 21, 1972 – March 9, 1997), better known by his stage names the Notorious B.I.G., Biggie Smalls, or simply Biggie, was an Americanrapper. Rooted in East Coast hip hop and particularly gangsta rap, he is cited in various media lists as one of the greatest rappers of all time. Wallace became known for his distinctive laid-back lyrical delivery, offsettingthe lyrics' often grim content. His music was often semi-autobiographical, telling of hardship and criminality, but also of debauchery and celebration.Born and raised in Brooklyn, New York City, Wallace signed to Sean\"Puffy\" Combs' label Bad Boy Records as it launched in 1993, and gained exposure through features on several other artists' singles that year. His debut album Ready to Die (1994) was met with widespread criticalacclaim, and included his signature songs \"Juicy\" and \"Big Poppa\". The album made him the central figure in East Coast hip hop, and restored New York's visibility at a time when the West Coast hip hop scene wasdominating hip hop music. Wallace was awarded the 1995 Billboard Music Awards' Rapper of the Year. The following year, he led his protégé group Junior M.A.F.I.A., a team of himself and longtime friends, including Lil'Kim, to chart success.During 1996, while recording his second album, Wallace became ensnarled in the escalating East Coast–West Coast hip hop feud. Following Tupac Shakur's murder in a drive-by shooting in LasVegas in September 1996, speculations of involvement in Shakur's murder by criminal elements orbiting the Bad Boy circle circulated as a result of Wallace's public feud with Shakur. On March 9, 1997, six months afterShakur's murder, Wallace was murdered by an unidentified assailant in a drive-by shooting while visiting Los Angeles. Wallace's second album Life After Death, a double album, was released two weeks later. It reachednumber one on the Billboard 200, and eventually achieved a diamond certification in the United States.With two more posthumous albums released, Wallace has certified sales of over 28 million copies in the UnitedStates, including 21 million albums. Rolling Stone has called him the \"greatest rapper that ever lived\", and Billboard named him the greatest rapper of all time. The Source magazine named him the greatest rapper of alltime in its 150th issue. In 2006, MTV ranked him at No. 3 on their list of The Greatest MCs of All Time, calling him possibly \"the most skillful ever on the mic\". In 2020, he was inducted into the Rock and Roll Hall ofFame.Life and career1972–1991: Early lifeChristopher George Latore Wallace was born at St. Mary's Hospital in the New York City borough of Brooklyn on May 21, 1972, the only child of Jamaican immigrant parents.His mother, Voletta Wallace, was a preschool teacher, while his father, Selwyn George Latore, was a welder and politician. His father left the family when Wallace was two years old, and his mother worked two jobswhile raising him. Wallace grew up at 226 St. James Place in Brooklyn's Clinton Hill, near the border with Bedford-Stuyvesant. Raised Catholic, Wallace excelled at Queen of All Saints Middle School, winning severalawards as an English student. He attended St Peter Claver Church in the borough. He was nicknamed \"Big\" because he was overweight by the age of 10. Wallace claimed to have begun dealing drugs at about age 12.His mother, often at work, first learned of this during his adulthood.He began rapping as a teenager, entertaining people on the streets, and performed with local groups, the Old Gold Brothers as well as the Techniques.His earliest stage name was MC CWest. At his request, Wallace transferred from Bishop Loughlin Memorial High School in Fort Greene to George Westinghouse Career and Technical Education High School in DowntownBrooklyn, which future rappers Jay-Z and Busta Rhymes were also attending. According to his mother, Wallace was still a good student but developed a \"smart-ass\" attitude at the new school. At age 17 in 1989,Wallace dropped out of high school and became more involved in crime. That same year in 1989, he was arrested on weapons charges in Brooklyn and sentenced to five years' probation. In 1990, he was arrested on aviolation of his probation. A year later, Wallace was arrested in North Carolina for dealing crack cocaine. He spent nine months in jail before making bail.1991–1994: Early career and first childAfter release from jail,Wallace made a demo tape, Microphone Murderer, while calling himself Biggie Smalls, alluding both to Calvin Lockhart's character in the 1975 film Let's Do It Again and to his own stature and obesity, 6 feet 3 inches(1.91 m) and 300 to 380 pounds (140 to 170 kg). Although Wallace reportedly lacked real ambition for the tape, local DJ Mister Cee, of Big Daddy Kane and Juice Crew association, discovered and promoted it, thus itwas heard by The Source rap magazine's editor in 1992.In March, The Source column \"Unsigned Hype\", dedicated to airing promising rappers, featured Wallace. He then spun the attention into a recording. Uponhearing the demo tape, Sean \"Puffy\" Combs, still with the A&R department of Uptown Records, arranged to meet Wallace. Promptly signed to Uptown, Wallace appeared on labelmates Heavy D & the Boyz's 1993 song\"A Buncha Niggas\". Mid-year, or a year after Wallace's signing, Uptown fired Combs, who, a week later, launched Bad Boy Records, instantly Wallace's new label.On August 8, 1993, Jan Jackson, Wallace's long-timegirlfriend, gave birth to his first child, T'yanna, although the couple had parted by then. Himself a high-school dropout, Wallace promised his daughter \"everything she wanted\", reasoning that if only he had that inchildhood, he would have graduated at the top of his class. Wallace continued dealing drugs, but Combs discovered this, and obliged him to stop. Later that year, Wallace gained exposure on a remix of Mary J. Blige'ssingle \"Real Love\". Having found his moniker Biggie Smalls already claimed, he took a new one, holding for good, The Notorious B.I.G.Around this time, Wallace became friends with fellow rapper Tupac Shakur. Lil'Cease recalled the pair as close, often traveling together whenever they were not working. According to him, Wallace was a frequent guest at Shakur's home and they spent time together when Shakur was in Californiaor Washington, D.C. Yukmouth, an Oakland emcee, claimed that Wallace's style was inspired by Shakur.The \"Real Love\" remix single was followed by another remix of a Mary J. Blige song, \"What's the 411?\" Wallace'ssuccesses continued, if to a lesser extent, on remixes of Neneh Cherry's song \"Buddy X\" and of reggae artist Super Cat's song \"Dolly My Baby\", also featuring Combs, all in 1993. In April, Wallace's solo track \"Party andBullshit\" was released on the Who's the Man? soundtrack. In July 1994, he appeared alongside LL Cool J and Busta Rhymes on a remix of his own labelmate Craig Mack's \"Flava in Ya Ear\", the remix reaching No. 9 onthe Billboard Hot 100.1994: Ready to Die and marriage to Faith EvansOn August 4, 1994, Wallace married R&B singer Faith Evans, whom he had met eight days prior at a Bad Boy photoshoot. Five days later, Wallacehad his first pop chart success as a solo artist with double A-side, \"Juicy / Unbelievable\", which reached No. 27 as the lead single to his debut album.Ready to Die was released on September 13, 1994. It reached No. 13on the Billboard 200 chart and was eventually certified four times platinum. The album shifted attention back to East Coast hip hop at a time when West Coast hip hop dominated US charts. It gained strong reviews andhas received much praise in retrospect. In addition to \"Juicy\", the record produced two hit singles: the platinum-selling \"Big Poppa\", which reached No. 1 on the U.S. rap chart, and \"One More Chance\", which sold 1.1million copies in 1995. Busta Rhymes claimed to have seen Wallace giving out free copies of Ready to Die from his home, which Rhymes reasoned as \"his way of marketing himself\".Wallace also befriended basketballplayer Shaquille O'Neal. O'Neal said they were introduced during a listening session for \"Gimme the Loot\"; Wallace mentioned him in the lyrics and thereby attracted O'Neal to his music. O'Neal requested a collaborationwith Wallace, which resulted in the song \"You Can't Stop the Reign\". According to Combs, Wallace would not collaborate with \"anybody he didn't really respect\" and that Wallace paid O'Neal his respect by \"shouting himout\". Wallace later met with O'Neal on Sunset Boulevard in 1997. In 2015, Daz Dillinger, a frequent Shakur collaborator, said that he and Wallace were \"cool\", with Wallace traveling to meet him to smoke cannabis andrecord two songs.1995: Collaboration with Michael Jackson, Junior M.A.F.I.A., success and coastal feudWallace worked with pop singer Michael Jackson on the song \"This Time Around\", featured on Jackson's 1995album HIStory: Past, Present and Future, Book I. Lil' Cease later claimed that while Wallace met Jackson, he was forced to stay behind, with Wallace citing that he did not \"trust Michael with kids\" following the 1993child sexual abuse allegations against Jackson. Engineer John Van Nest and producer Dallas Austin recalled the sessions differently, saying that Wallace was eager to meet Jackson and nearly burst into tears upon doingso.In the summer, Wallace met Charli Baltimore and they became involved in a romantic relationship. Several months into their relationship, she left him a voicemail of a rap verse that she had written and he beganencouraging her to pursue a career in rap music.Wallace was booked to perform in Sacramento. When his group arrived at the venue there weren't many people there, and when they started performing they weregetting coins tossed at them. When they left they were held at gunpoint in the venue's parking lot, allegedly set up by E-40's goons, who were angry about an interview Wallace did with a Canadian magazine. Whenasked to rank a handful of artists on a scale from one to 10, Wallace gave E-40 a zero. One of Wallace's entourage said to get E-40 on the phone, Wallace explained how they had \"got him drunk\" and had got him \"tosay anything\", E-40 told his men to stand down and safely escorted them to the airport.In August 1995, Wallace's protégé group, Junior M.A.F.I.A. (\"Junior Masters At Finding Intelligent Attitudes\"), released their debutalbum Conspiracy. The group consisted of his friends from childhood and included rappers such as Lil' Kim and Lil' Cease, who went on to have solo careers. The record went gold and its singles, \"Player's Anthem\" and\"Get Money\", both featuring Wallace, went gold and platinum. Wallace continued to work with R&B artists, collaborating with R&B groups 112 (on \"Only You\") and Total (on \"Can't You See\"), with both reaching the top20 of the Hot 100. By the end of the year, Wallace was the top-selling male solo artist and rapper on the U.S. pop and R&B charts. In July 1995, he appeared on the cover of The Source with the caption \"The King ofNew York Takes Over\", a reference to his alias Frank White, based on a character from the 1990 film King of New York. At the Source Awards in August 1995, he was named Best New Artist (Solo), Lyricist of the Year,Live Performer of the Year, and his debut Album of the Year. At the Billboard Awards, he was Rap Artist of the Year.In his year of success, Wallace became involved in a rivalry between the East and West Coast hip hopscenes with Shakur, now his former friend. In an interview with Vibe in April 1995, while serving time in Clinton Correctional Facility, Shakur accused Uptown Records' founder Andre Harrell, Sean Combs, and Wallace ofhaving prior knowledge of a robbery that resulted in him being shot five times and losing thousands of dollars worth of jewelry on the night of November 30, 1994. Though Wallace and his entourage were in the sameManhattan-based recording studio at the time of the shooting, they denied the accusation.Wallace said: \"It just happened to be a coincidence that he [Shakur] was in the studio. He just, he couldn't really say who reallyhad something to do with it at the time. So he just kinda' leaned the blame on me.\" In 2012, a man named Dexter Isaac, serving a life sentence for unrelated crimes, claimed that he attacked Shakur that night and thatthe robbery was orchestrated by entertainment industry executive and former drug trafficker, Jimmy Henchman.Following his release from prison, Shakur signed to Death Row Records on October 15, 1995. This madeBad Boy Records and Death Row business rivals, and thus intensified the quarrel.1996: More arrests, accusations regarding Shakur's death, car accident and second childOn March 23, 1996, Wallace was arrestedoutside a Manhattan nightclub for chasing and threatening to kill two fans seeking autographs, smashing the windows of their taxicab, and punching one of them. He pleaded guilty to second-degree harassment andwas sentenced to 100 hours of community service. In mid-1996, he was arrested at his home in Teaneck, New Jersey, for drug and weapons possession charges.During the recording for his second album, Wallace wasconfronted by Shakur for the first time since \"the rumors started\" at the Soul Train Awards and a gun was pulled.In June 1996, Shakur released \"Hit 'Em Up\", a diss track in which he claimed to have had sex with FaithEvans, who was estranged from Wallace at the time, and that Wallace had copied his style and image. Wallace referenced the first claim on Jay-Z's \"Brooklyn's Finest\", in which he raps: \"If Faye have twins, she'dprobably have two 'Pacs. Get it? 2Pac's?\" However, he did not directly respond to the track, stating in a 1997 radio interview that it was \"not [his] style\" to respond.On September 7, 1996, Shakur was shot multipletimes in a drive-by shooting in Las Vegas and died six days later. Rumors of Wallace's involvement with Shakur's murder spread. In a 2002 Los Angeles Times series titled \"Who Killed Tupac Shakur?\", based on policereports and multiple sources, Chuck Philips reported that the shooting was carried out by a Compton gang, the Southside Crips, to avenge a beating by Shakur hours earlier, and that Wallace had paid for the gun.LosAngeles Times editor Mark Duvoisin wrote that \"Philips' story has withstood all challenges to its accuracy, ... [and] remains the definitive account of the Shakur slaying.\" Wallace's family denied the report, producingdocuments purporting to show that he was in New York and New Jersey at the time. However, The New York Times called the documents inconclusive, stating: The pages purport to be three computer printouts fromDaddy's House, indicating that Wallace was in the studio recording a song called Nasty Boy on the night Shakur was shot. They indicate that Wallace wrote half the session, was in and out/sat around and laid down aref, shorthand for a reference vocal, the equivalent of a first take. But nothing indicates when the documents were created. And Louis Alfred, the recording engineer listed on the sheets, said in an interview that heremembered recording the song with Wallace in a late-night session, not during the day. He could not recall the date of the session but said it was likely not the night Shakur was shot. We would have heard about it, Mr.Alfred said.\" Evans remembered her husband calling her on the night of Shakur's death and crying from shock. She said: \"I think it's fair to say he was probably afraid, given everything that was going on at that timeand all the hype that was put on this so-called beef that he didn't really have in his heart against anyone.\" Wayne Barrow, Wallace's co-manager at the time, said Wallace was recording the track \"Nasty Boy\" the nightShakur was shot. Shortly after Shakur's death, he met with Snoop Dogg, who claimed that Wallace declared he never hated Shakur.Two days after the death of Shakur, Wallace and Lil' Cease were arrested for smokingmarijuana in public and had their car repossessed. The next day, the dealership chose them a Chevrolet Lumina rental SUV as a substitute, despite Lil' Cease's objections. The vehicle had brake problems but Wallacedismissed them. The car collided with a rail in New Jersey, shattering Wallace's left leg, Lil' Cease's jaw and leaving Charli Baltimore with numerous injuries.Wallace spent months in a hospital following the accident. Hewas temporarily confined to a wheelchair, forced to use a cane, and had to complete physiotherapy. Despite his hospitalization, he continued to work on the album. The accident was referred to in the lyrics of \"Long KissGoodnight\": \"Ya still tickle me, I used to be as strong as Ripple be / Til Lil' Cease crippled me.\"On October 29, 1996, Evans gave birth to Wallace's son, Christopher \"C.J.\" Wallace Jr. The following month, JuniorM.A.F.I.A. member Lil' Kim released her debut album, Hard Core, under Wallace's direction while the two were having a \"love affair\". Lil' Kim recalled being Wallace's \"biggest fan\" and \"his pride and joy\". In a 2012interview, Lil' Kim said Wallace had prevented her from making a remix of the Jodeci single \"Love U 4 Life\" by locking her in a room. According to her, Wallace said that she was not \"gonna go do no song with them\",likely because of the group's affiliation with Tupac and Death Row Records.1997: Life After DeathOn January 27, 1997, Wallace was ordered to pay US$41,000 in damages following an incident involving a friend of aconcert promoter who claimed Wallace and his entourage beat him following a dispute in May 1995. He faced criminal assault charges for the incident, which remains unresolved, but all robbery charges were dropped."}
+{"doc_id":"doc_86","qid":"","text":"Passage 1:World and Time EnoughWorld and Time Enough is a 1994 independent gay-themed romantic comedy-drama written and directed by Eric Mueller and starring Gregory Giles, Matt Guidry, and KraigSwartz.CastPlotNarrated by their friend David (Swartz), World and Time Enough is the story of Mark (Guidry) and Joey (Giles). Mark is an HIV-positive art student who creates temporary \"sculptures\" on topics includingAIDS, abortion and the Bush economy. Joey works as a garbage collector, picking up trash along the roadways. He sometimes brings home interesting items that he finds on the job.Mark's mother was killed when hewas a child, in a freak accident in a church when she was crushed by a large falling cross. Since that day, his father has been obsessed with building model cathedrals. Mark and his father are somewhat distant and outof touch and Mark reaches out to him through a series of phone calls, leaving messages on his father's answering machine. Unknown to Mark, his father has died alone in his home but hasn't yet been discovered.Joey'srelationship with his adoptive parents is also strained because of his father's issues with Joey's homosexuality. Although he remains close with his sister, Joey feels the need to seek out his birth parents through theadoption social service agency.Mark discovers his father's body and in his grief he assumes his father's obsession with cathedral building. Rather than a model, however, Mark begins work on a full-size cathedral in alocal open field.Joey learns the identity of his birth parents, but also learns that they have died. He visits their gravesite and says the things there that he would have told them while they were alive.Mark experiences avision of his father, who tells him that he's making a mistake, to go home. Mark feverishly climbs the scaffolding and falls off it to the ground. Joey discovers him there.Later, together, out of the scaffolds, surviving bitsof Mark's sculptures and the things Joey's gathered, they build their own \"cathedral.\"ProductionIt was filmed on location in Edina and Minneapolis, Minnesota. The film was made with grants from the NationalEndowment for the Arts, the American Film Institute, and a local film organization. The final budget was about $60,000.ReceptionThe film was generally well-received by critics, although having 2 heterosexual actorsplay romantic leads in an LGBTQ+ film was noted in reviews.AwardsPassage 2:Michael GovanMichael Govan (born 1963) is the director of the Los Angeles County Museum of Art. Prior to his current position, Govanworked as the director of the Dia Art Foundation in New York City.Early life and educationGovan was born in 1963 in North Adams, Massachusetts, and was raised in the Washington D.C. area, attending Sidwell FriendsSchool.He majored in art history and fine arts at Williams College, where he met Thomas Krens, who was then director of the Williams College Museum of Art. Govan became closely involved with the museum, servingas acting curator as an undergraduate. After receiving his B.A. from Williams in 1985, Govan began an MFA in fine arts from the University of California, San Diego.CareerAs a twenty-five year old graduate student,Govan was recruited by his former mentor at Williams, Thomas Krens, who in 1988 had been appointed director of the Solomon R. Guggenheim Foundation. Govan served as deputy director of the Solomon R.Guggenheim Museum under Krens from 1988 to 1994, a period that culminated in the construction and opening of the Frank Gehry designed Guggenheim branch in Bilbao, Spain. Govan supervised the reinstallation ofthe museum's permanent collection galleries after its extensive renovation.Dia Art FoundationFrom 1994 to 2006, Govan was president and director of Dia Art Foundation in New York City. There, he spearheaded theconversion of a Nabisco box factory into the 300,000 square foot Dia:Beacon in New York's Hudson Valley, which houses Dia's collection of art from the 1960s to the present. Built in a former Nabisco box factory, thecritically acclaimed museum has been credited with catalyzing a cultural and economic revival within the formerly factory-based city of Beacon. Dia's collection nearly doubled in size during Govan's tenure, but he alsocame under criticism for \"needlessly and permanently\" closing Dia's West 22nd Street building. During his time at Dia, Govan also worked closely with artists James Turrell and Michael Heizer, becoming an ardentsupporter of Roden Crater and City, the artists' respective site-specific land art projects under construction in the American southwest. Govan successfully lobbied Washington to have the 704,000 acres in centralNevada surrounding City declared a national monument in 2015.LACMAIn February 2006, a search committee composed of eleven LACMA trustees, led by the late Nancy M. Daly, recruited Govan to run the Los AngelesCounty Museum of Art. Govan has stated that he was drawn to the role not only because of LACMA's geographical distance from its European and east coast peers, but also because of the museum's relative youth,having been established in 1961. \"I felt that because of this newness I had the opportunity to reconsider the museum,\" Govan has written, \"[and] Los Angeles is a good place to do that.\"Govan has been widely regardedfor transforming LACMA into both a local and international landmark. Since Govan's arrival, LACMA has acquired by donation or purchase over 27,000 works for the permanent collection, and the museum's gallery spacehas almost doubled thanks to the addition of two new buildings designed by Renzo Piano, the Broad Contemporary Art Museum (BCAM) and the Lynda and Stewart Resnick Pavilion. LACMA's annual attendance hasgrown from 600,000 to nearly 1.6 million in 2016.Artist collaborationsSince his arrival, Govan has commissioned exhibition scenography and gallery designs in collaboration with artists. In 2006, for example, Govaninvited LA artist John Baldessari to design an upcoming exhibition about the Belgian surrealist René Magritte, resulting in a theatrical show that reflected the twisted perspective of the latter's topsy-turvy world.Baldessari has also designed LACMA's logo. Since then, Govan has also commissioned Cuban-American artist Jorge Pardo to design LACMA's Art of the Ancient Americas gallery, described in the Los Angeles Times as a\"gritty cavern deep inside the earth ... crossed with a high-style urban lounge.\"Govan has also commissioned several large-scale public artworks for LACMA's campus from contemporary California artists. These includeChris Burden's Urban Light (2008), a series of 202 vintage street lamps from different neighborhoods in Los Angeles, arranged in front of the entrance pavilion, Barbara Kruger's Untitled (Shafted) (2008), Robert Irwin'sPrimal Palm Garden (2010), and Michael Heizer's Levitated Mass, a 340-ton boulder transported 100 miles from the Jurupa Valley to LACMA, a widely publicized journey that culminated with a large celebration onWilshire Boulevard. Thanks in part to the popularity of these public artworks, LACMA was ranked the fourth most instagrammed museum in the world in 2016.In his first three full years, the museum raised $251million—about $100 million more than it collected during the three years before he arrived. In 2010, it was announced that Govan will steer LACMA for at least six more years. In a letter dated February 24, 2013,Govan, along with the LACMA board's co-chairmen Terry Semel and Andrew Gordon, proposed a merger with the financially troubled Museum of Contemporary Art, Los Angeles and a plan to raise $100 million for thecombined museum.Zumthor ProjectGovan's latest project is an ambitious building project, the replacement of four of the campus's aging buildings with a single new state of the art gallery building designed by architectPeter Zumthor. As of January 2017, he has raised about $300 million in commitments. Construction is expected to begin in 2018, and the new building will open in 2023, to coincide with the opening of the new D Linemetro stop on Wilshire Boulevard. The project also envisages dissolving all existing curatorial departments and departmental collections. Some commentators have been highly critical of Govan's plans. JosephGiovannini, recalling Govan's technically unrealizable onetime plan to hang Jeff Koons' Train sculpture from the facade of the Ahmanson Gallery, has accused Govan of \"driving the institution over a cliff into anequivalent mid-air wreck of its own\". Describing the collection merging proposal as the creation of a \"giant raffle bowl of some 130,000 objects\", Giovannini also points out that the Zumthor building will contain 33%less gallery space than the galleries it will replace, and that the linear footage of wall space available for displays will decrease by about 7,500 ft, or 1.5 miles. Faced with losing a building named in its honor, andanticipating that its acquisitions could no longer be displayed, the Ahmanson Foundation withdrew its support.On the merging of the separate curatorial divisions to create a non-departmental art museum, ChristopherKnight has pointed out that \"no other museum of LACMA's size and complexity does it\" that way, and characterized the museum's 2019 \"To Rome and Back\" exhibition, the first to take place under the new scheme, as\"bland and ineffectual\" and an \"unsuccessful sample of what's to come\".Personal lifeGovan is married and has two daughters, one from a previous marriage. He and his family used to live in a $6 million mansion inHancock Park that was provided by LACMA - a benefit worth $155,000 a year, according to most recent tax filings - until LACMA decided that it would sell the property to make up for the museum's of almost $900million in debt [2]. That home is now worth nearly $8 million and Govan now lives in a trailer park in Malibu's Point Dume region.Los Angeles CA 90020United States. He has had a private pilot's license since 1995 andkeeps a 1979 Beechcraft Bonanza at Santa Monica Airport.Passage 3:Ian Barry (director)Ian Barry is an Australian director of film and TV.Select creditsWaiting for Lucas (1973) (short)Stone (1974) (editor only)TheChain Reaction (1980)Whose Baby? (1986) (mini-series)Minnamurra (1989)Bodysurfer (1989) (mini-series)Ring of Scorpio (1990) (mini-series)Crimebroker (1993)Inferno (1998) (TV movie)Miss Lettie and Me (2002)(TV movie)Not Quite Hollywood: The Wild, Untold Story of Ozploitation! (2008) (documentary)The Doctor Blake Mysteries (2013)Passage 4:Peter LevinPeter Levin is an American director of film, television andtheatre.CareerSince 1967, Levin has amassed a large number of credits directing episodic television and television films. Some of his television series credits include Love Is a Many Splendored Thing, James at 15, ThePaper Chase, Family, Starsky & Hutch, Lou Grant, Fame, Cagney & Lacey, Law & Order and Judging Amy.Some of his television film credits include Rape and Marriage: The Rideout Case (1980), A Reason to Live (1985),Popeye Doyle (1986), A Killer Among Us (1990), Queen Sized (2008) and among other films. He directed \"Heart in Hiding\", written by his wife Audrey Davis Levin, for which she received an Emmy for Best Day TimeSpecial in the 1970s.Prior to becoming a director, Levin worked as an actor in several Broadway productions. He costarred with Susan Strasberg in \"[The Diary of Ann Frank]\" but had to leave the production when hewas drafted into the Army. He trained at the Carnegie Mellon University. Eventually becoming a theatre director, he directed productions at the Long Wharf Theatre and the Pacific Resident Theatre Company. He alsoco-founded the off-off-Broadway Theatre [the Hardware Poets Playhouse] with his wife Audrey Davis Levin and was also an associate artist of The Interact Theatre Company.Passage 5:M. VenkatarajuM Venkataraju(1916-1969) was a music director/composer of Kannada cinema.FilmographyList of filmsBhakta Kanakadasa (1960)Raja Satyavrata (1961)Swarna Gowri (1962)Thejaswini (1962)Sri Dharmasthala Mahathme(1962)Nanda Deepa (1963)Jeevana Tharanga (1963)Chandra Kumara (In association with T.Chalapathi Rao) (1963)Passage 6:John DonatichJohn Donatich is the Director of Yale University Press.Early lifeHe received aBA from New York University in 1982, graduating magna cum laude. He also got a master's degree from NYU in 1984, graduating summa cum laude.CareerDonatich worked as director of National Accounts at PutnamPublishing Group from 1989 to 1992.His writing has appeared in various periodicals including Harper's, The Atlantic Monthly and The Village Voice.He worked at HarperCollins from 1992 to 1996, serving as director ofnational accounts and then as vice president and director of product and marketing development.From 1995 to 2003, Donatich served as publisher and vice president of Basic Books. While there, he started the Art ofMentoring series of books, which would run from 2001 to 2008.  While at Basic Books, Donatich published such authors as Christopher Hitchens, Steven Pinker, Samantha Power, Alan Dershowitz, Sir Martin Rees andRichard Florida.In 2003, Donatich became the director of the Yale University Press.  At Yale, Donatich published such authors as Michael Walzer, Janet Malcolm, E. H. Gombrich, Michael Fried, Edmund Morgan and T.J.  Clark.  Donatich began the Margellos World Republic of Letters, a literature in translation series that published such authors as Adonis, Norman Manea and Claudio Magris. He also launched the digital archiveplatform, The Stalin Digital Archive and the Encounters Chinese Language multimedia platform.In 2009, he briefly gained media attention when he was involved in the decision to expunge the Muhammad cartoons fromthe Yale University Press book The Cartoons that Shook the World, for fear of Muslim violence.He is the author of a memoir, Ambivalence, a Love Story, and a novel, The Variations.BooksAmbivalence, a Love Story:Portrait of a Marriage (memoir), St. Martin's Press, 2005.The Variations (novel), Henry Holt, March, 2012ArticlesWhy Books Still Matter, Journal of Scholarly Publishing, Volume 40, Number 4, July 2009, pp. 329–342,E-ISSN 1710-1166 Print ISSN 1198-9742Personal lifeDonatich is married to Betsy Lerner, a literary agent and author; together they have a daughter, Raffaella.Passage 7:Olav AaraasOlav Aaraas (born 10 July 1950) isa Norwegian historian and museum director.He was born in Fredrikstad. From 1982 to 1993 he was the director of Sogn Folk Museum, from 1993 to 2010 he was the director of Maihaugen and from 2001 he has beenthe director of the Norwegian Museum of Cultural History. In 2010 he was decorated with the Royal Norwegian Order of St. Olav.Passage 8:Dana BlanksteinDana Blankstein-Cohen (born March 3, 1981) is the executivedirector of the Sam Spiegel Film and Television School. She was appointed by the board of directors  in November 2019.  Previously she was the CEO of the Israeli Academy of Film and Television. She is a film director,and an Israeli culture entrepreneur.BiographyDana Blankstein was born in Switzerland in 1981 to theatre director Dedi Baron and Professor Alexander Blankstein. She moved to Israel in 1983 and grew up in TelAviv.Blankstein graduated from the Sam Spiegel Film and Television School, Jerusalem in 2008 with high honors. During her studies she worked as a personal assistant to directors Savi Gabizon on his film Nina'sTragedies and to Renen Schorr on his film The Loners.  She also directed and shot 'the making of' film on Gavison's film Lost and Found. Her debut film Camping competed at the Berlin International Film Festival,2007.Film and academic careerAfter her studies, Dana founded and directed the film and television department at the Kfar Saba municipality. The department encouraged and promoted productions filmed in the city ofKfar Saba, as well as the established cultural projects, and educational community activities.Blankstein directed the mini-series \"Tel Aviviot\" (2012). From 2016-2019 was the director of the Israeli Academy of Film andTelevision.In November 2019 Dana Blankstein Cohen was appointed the new director of the Sam Spiegel Film and Television School where she also oversees the Sam Spiegel International Film Lab. In 2022, shespearheaded the launch of the new Series Lab and the film preparatory program for Arabic speakers in east Jerusalem.FilmographyTel Aviviot (mini-series; director, 2012)Growing Pains (graduation film, Sam Spiegel;director and screenwriter, 2008)Camping (debut film, Sam Spiegel; director and screenwriter, 2006)Passage 9:Eric MuellerEric C. Mueller (born November 6, 1970) is a former Olympic and National team rower,representing the United States at the 1996 and 2000 Olympics.He was born in Kansas City, Missouri.Mueller, one of the most successful men's rowers in Wisconsin history, begins his third season as the Badgers'freshmen coach.Mueller returns to Madison for the second time as an assistant coach. He spent 1998–99 as the assistant varsity coach, before leaving to train for the 2000 Olympic Summer Games in Sydney, Australia.During his previous stint, he was responsible for the Badgers' small boats and led them to four gold medals and one silver medal at the Intercollegiate Rowing Association national championships. The result helpedWisconsin begin a four-year run as winners of the Ten Eyck Trophy as national team points champion.Since his return, the UW freshmen have improved from a bottom six national finish in the year before his joining theprogram to a return to the national grand finals.As a rower, Mueller secured three letters at Wisconsin while a member of the varsity eight from 1991–93. At national championships during his career, the boat placedsixth, once, and ninth, twice. A Cedarburg, native, Mueller earned a bachelor's degree in mechanical engineering from Wisconsin in 1994.Following his Badger career, Mueller went on to win an Olympic silver medal inthe men's quadruple sculls in 1996 in Atlanta. He also placed fifth at the 2000 Olympics with the men's four. U.S. national team member in 1995, ‘96, ‘00, ‘01 and ‘02, he was part of the men's eight champion at the2002 World Cup in Lucerne, Switzerland, and finished third at the 2002 World Championships in Seville, Spain. His men's four took fourth at the 2001 World Championships, while his men's eight was a bronze medalistat the 2000 World Cup, again in Lucerne. He also won a bronze medal with the men's quadruple sculls in Lucerne at the 1996 World Cup.Passage 10:John Farrell (businessman)John Farrell is the director of YouTube inLatin America.EducationFarrell holds a joint MBA degree from the University of Texas at Austin and Instituto Tecnologico de Estudios Superiores de Monterrey (ITESM).CareerHis business career began at Skytel, andlater at Iridium as head of Business Development, in Washington DC, where he supported the design and launched the first satellite location service in the world and established international distribution agreements.Heco-founded Adetel, the first company to provide internet access to residential communities and businesses in Mexico. After becoming General Manager of Adetel, he developed a partnership with TV Azteca in order tocreate the first internet access prepaid card in the country known as the ToditoCard.  Later in his career, John Farrell worked for Televisa in Mexico City as Director of Business Development for Esmas.com. There heestablished a strategic alliance with a leading telecommunications provider to launch co-branded Internet and telephone services. He also led initial efforts to launch social networking services, leveraging Televisa’scontent and media channels.GoogleFarrel joined Google in 2004 as Director of Business Development for Asia and Latin America. On April 7, 2008, he was promoted to the position of General Manager for GoogleMexico, replacing Alonso Gonzalo. He is now director of YouTube in Latin America, responsible for developing audiences, managing partnerships and growing Google’s video display business. John is also part of Google’sLatin America leadership management team and contributes to Google’s strategy in the region. He is Vice President of the IAB (Interactive Advertising Bureau), a member of the AMIPCI (Mexican Internet Association)Advisory Board, an active Endeavor mentor, and member of YPO."}
+{"doc_id":"doc_87","qid":"","text":"Passage 1:Salang RiverThe Salang is a 438 kilometre long river of Afghanistan, flowing through Parwan Province. It is a tributary of the Indus River and the Ghorband River and the Panjshir River and the KabulRiver.GeographyThe Salang River originates on the south side of the central mountains of the Hindu Kush in the north-east of Salang Pass, which links the region to Kabul with the northern part of the country.Its valleyand the Salang Pass form an important international waterway. It is north–south oriented. The Salang flows into the Ghorband River at the locality of Jabal Saraj in Parwan. In Jabal Saraj, the average annual flowmodule between 1961 and 1964 was about 763 millimeters per year, which is considered a high rate.Passage 2:Pigna Barney RiverPigna Barney River, a partly perennial river of the Manning River catchment, is locatedin the Upper Hunter district of New South Wales, Australia.Course and featuresPigna Barney River rises on the eastern slopes of Mount Royal Range, south of the locale of Glenrock, and flows generally east by southbefore reaching its confluence with the Manning River, south of Mount Myra. The river descends 818 metres (2,684 ft) over its 40 kilometres (25 mi) course.See alsoRivers of New South WalesList of rivers of New SouthWales (L–Z)List of rivers of AustraliaPassage 3:Trubizh RiverThe Trubizh (Ukrainian: Трубі́ж, Russian: Трубе́ж) is a river entirely located in Ukraine, a left tributary of Dnieper. It falls into the Dnieper's Kaniv Reservoir(named after Kaniv). It is 113 kilometres (70 mi) long, and has a drainage basin of 4,700 square kilometres (1,800 sq mi).Major cities: Pereiaslav.Passage 4:Tesechoacan RiverThe Tesechoacan River is a river of Mexicoin Veracruz state.It is formed where the Cajones River joins the Manso River, both flowing eastward from the Sierra Madre de Oaxaca and is a tributary of the Papaloapan River.See alsoList of rivers of MexicoPassage5:Lunga River (Zambia)The Lunga River is the name of two rivers in Zambia. One is a tributary of the Kafue River and the other a tributary of the Kabompo River, both of which are tributaries of the Zambezi.Passage6:Yadboro RiverYadboro River, a perennial river of the Clyde River catchment, is located in the Southern Tablelands and the upper ranges of the South Coast regions of New South Wales, Australia.Course andfeaturesYadboro River rises below Currockbilly Mountain on the eastern slopes of the Budawang Range within Budawang National Park, east northeast of Braidwood, and flows generally northerly parallel to the range,then east, joined by one minor tributary before reaching its confluence with the Clyde River at Campus Head, near Yadboro Flat. The river descends 965 metres (3,166 ft) over its 26 kilometres (16 mi) course.SeealsoRivers of New South WalesList of rivers of New South Wales (L–Z)List of rivers of AustraliaPassage 7:Peters Creek (Pennsylvania)Peters Creek is a 16.8-mile-long (27.0 km) tributary of the Monongahela River andpart of the Ohio River and Mississippi River watersheds, flowing through southwestern Pennsylvania in the United States.Variant namesAccording to the Geographic Names Information System, it has also been knownhistorically as:Peter's CreekCoursePeters Creek starts in Nottingham Township in Washington County and runs generally northerly until it joins the Monongahela River at Clairton in Allegheny County.WatershedThePeters Creek watershed is a diverse fifty square miles in southwestern Allegheny County and northeastern Washington County. From the heavy industry in the east where Peters Creek enters the Monongahela River, tothe commercial northeast, the suburban northern communities, and the still rural and farming south, the watershed is a veritable patchwork of land use types. There is also a county park, a turnpike, a landfill, and acoal mining legacy to add to the mix. Some communities are relatively stable while others are undergoing rapid development. Peters Creek and its tributaries provide utility to them all in a myriad ofways.TributariesLewis Run, in Jefferson HillsBeam's Run, in Jefferson HillsLick Run, in South Park TownshipPiney Fork Run, in South Park TownshipPeters Creek also collects numerous unnamed tributaries along itscourse.Water quality and recreationBecause of past water quality issues, Peters Creek was not considered to have any recreational purpose, but since the 1990s the water quality has improved dramatically. Onceplagued with garbage and acid mine drainage, the water quality is now high enough to support its own fish population, which includes trout, bass, catfish, carp, and bluegill.  It is now again possible to enjoy the streamthrough such activities as fishing, swimming, and during high water, kayaking. There is also a new bike trail that runs along its bank, formerly part of the Montour Railroad.See alsoList of rivers of PennsylvaniaPassage8:Crocodile River (Limpopo)The Crocodile River (Tswana: Oodi, Afrikaans: Krokodilrivier) is a river in South Africa. At its confluence with the Marico River, the Limpopo River is formed.CourseThe Crocodile River has itssource in the Witwatersrand mountain range, originating in Constantia Kloof, Roodepoort, Gauteng province. The first dam on the river is the Lake Heritage Dam just west of Lanseria International Airport. Just north ofthis airport is its confluence  with the Jukskei River. Further downstream into the North West province are the Hartbeespoort Dam and the Roodekoppies Dam. Beyond the Hartbeespoort Dam, the stream passes thetown of Brits. The Elands River joins downstream from the Vaalkop Dam, about 20 km further the Pienaars River joins its right bank, shortly after exiting the Klipvoor Dam.In Limpopo province, about 35 km further, theriver passes the town of Thabazimbi and meanders for many miles through a sparsely inhabited area before joining the Marico River just west of Rooibokkraal at the limit of North West province to form the start of theLimpopo River.TributariesThe tributaries of the Crocodile River include the Bloubankspruit, Hennops River, Jukskei River, Magalies River, Sterkstroom River, Rosespruit, Skeerpoort River, Kareespruit, Elands River,Bierspruit River and Sundays River.PollutionThe Crocodile River is one of the most polluted river systems in South Africa. The effects of pollution from two of South Africa's metropolitan areas, Johannesburg andTshwane, has been detrimental to the ecology of the system. Untreated industrial, mining, agricultural and household waste has deteriorated the water quality throughout most of its course and led to massive algalblooms in the Hartbeespoort Dam and Roodekoppies Dam. Invasive plant species have negatively affected the integrity of the system. Unsustainable farming practices have led to sediment overloads and erosion furtherharming the river.DamsThe Crocodile River is part of the Crocodile (West) and Marico Water Management Area. Dams in the river basin are:Hartbeespoort DamRoodekoppies DamRietvlei Dam, in the Rietvlei RiverBonAccord Dam and Leeukraal Dam, in the Apies RiverKlipvoor Dam and Roodeplaat Dam, in the Pienaars/Moretele RiverVaalkop Dam, in the Elands RiverBospoort Dam, in the Hex River (Matshukubjana)See alsoDrainagebasin AList of rivers of South AfricaList of reservoirs and dams in South AfricaPassage 9:São Sebastião RiverThere are two rivers named São Sebastião River in Brazil:São Sebastião River (Espírito Santo)São SebastiãoRiver (Paraná)See alsoSão Sebastião (disambiguation)Passage 10:Etheostoma obamaEtheostoma obama, the spangled darter,  is a species of freshwater ray-finned fish, a darter from the subfamily Etheostomatinae,part of the family Percidae, which also contains the perches, ruffes and pikeperches. It is endemic to the eastern United States where it is only known to occur in the Duck River and the Buffalo River, both inTennessee.Discovery and namingSteven Layman of Geosyntec Consultants and Rick Mayden of Saint Louis University studied the freshwater darters, most of which are native to Alabama and Tennessee in the UnitedStates. While they were studying color variation of Etheostoma stigmaeum, the speckled darter, Layman and Mayden discovered that there were populations with enough variation that they should be described asunique species.This species was one of five distinct species of fish that were named after former U.S. presidents and a vice-president, based on their leadership in conservation. E. obama was named after BarackObama, for his work \"particularly in the areas of clean energy and environmental protection, and because he is one of our first leaders to approach conservation and environmental protection from a more global vision,\"according to Layman.DescriptionEtheostoma obama males have bright orange and iridescent blue speckles, stripes, and checked patterns, with a bright fan-shaped fin that has orange stripes. The males can reach up to48 mm (1.9 in) long, while the females reach 43 mm (1.7 in) long. 29% of the studied fish had palatine teeth.See alsoList of organisms named after famous people (born 1950–present)"}
+{"doc_id":"doc_88","qid":"","text":"Passage 1:George Gordon, 2nd Earl of HuntlyGeorge Gordon, 2nd Earl of Huntly (died 8 June 1501) was a Scottish nobleman and Chancellor of Scotland from 1498 to 1501.LifeGeorge was the son of Alexander (Seton)Gordon, 1st Earl of Huntly and his second wife Elizabeth Crichton, daughter of William Crichton, 1st Lord Crichton. George is first mentioned by name in 1441 when the lands which later became part of the Earldom weresettled on him and his heirs. George was almost certainly born shortly before this time, c. 1441 as his parents married before 18 March 1439–40.In his contract with Elizabeth Dunbar, Countess of Moray, dated 20 May1455 he is styled the Master of Huntley. He is addressed as \"Sir George Seton, knight\", in a royal precept dated 7 March 1456–7, and in a crown charter dated a year later he uses the name of Gordon for the first time,indicating he had assumed that surname. As George, Lord Gordon, he was keeper of the castles of Kildrummy, Kindrochat and Inverness. He succeeded his father as Earl of Huntly c. 15 July 1470.Shortly after becomingEarl of Huntly he was involved with the Earl of Ross in a private war in which the king, James III of Scotland, interceded. Ross was charged with treason, but after refusing a summons from the king, was outlawed. Oneof the expeditions sent against the errant Earl of Ross was led by Alexander. After he captured Dingwall Castle and pressed his army into Lochaber, Ross relented and sought pardon for his actions from the king. In 1479he was justiciary north of the River Forth, one of his primary duties was the suppression of feuds between Highland clans. In 1497 George Gordon was appointed High Chancellor of Scotland, the honour probablybestowed at the same time as his daughter Catherine married Perkin Warbeck, an adventurer in favour with King James IV of Scotland. George was Chancellor until 1500. George, the second earl, died at Stirling Castleon 8 June 1501.FamilyOn 20 May 1455, George Gordon was married by contract to Lady Elizabeth Dunbar, daughter of James Dunbar, 7th Earl of Moray. The marriage was annulled due to affinity, before March1459–60; the couple had no children.George secondly married, before March 1459–60, Princess Annabella of Scotland, youngest daughter of King James I of Scotland and Joan Beaufort (the granddaughter of John ofGaunt). After several years of marriage, the Earl of Gordon instituted proceedings to have this marriage annulled as well, on the grounds that Princess Annabella was related in the third and fourth degrees ofconsanguinity to his first wife, Elizabeth Dunbar, and the marriage was dissolved on 24 July 1471.George Gordon had a number of children, but with few exceptions, there remains no clear consensus as to which childwas of the second marriage and which was of the third:Lady Isabella Gordon (d. 1485), wife of William Hay, 3rd Earl of Erroll (d. 1507).Alexander Gordon, 3rd Earl of Huntly (died 21 January 1523/24)Adam Gordon,who married Lady Elizabeth de Moravia, daughter and heir of John de Moravia, 8th Earl of Sutherland, and in her right became Countess of Sutherland after her brother's death. Their son was Alexander Gordon, Masterof Sutherland.William Gordon, who married Janet Ogilvy and was the ancestor of the Gordons of Gight, from whom Lord Byron was a descendant.James Gordon, mentioned in an entail in 1498.Lady Janet Gordon, whomarried firstly, Alexander Lindsay, Master of Crawfurd; secondly, Patrick, Master of Gray (annulled); thirdly, Patrick Buttar of Gormark; and fourthly, James Halkerston of Southwood. She died before February1559.Lady Elizabeth Gordon, mother was Annabella, who was contracted to marry William Keith, 3rd Earl Marischal, in 1481.George obtained an annulment from his second marriage on 24 July 1471. He then married,thirdly, his mistress, Lady Elizabeth Hay, daughter of William Hay, 1st Earl of Erroll, and swore a solemn oath to have no 'actual delen' with the lady until after they were married. He married Elizabeth Hay on 12 May1476, and they had the following children:Lady Catherine Gordon (died October 1537), probably a daughter of Elizabeth Hay, she married firstly, Perkin Warbeck (d. 1499), notorious for claiming to be Richard ofShrewsbury, 1st Duke of York, one of the young princes who disappeared from history in the Tower of London; she married secondly, James Strangeways of Fyfield (d. 1515); she married thirdly, Matthew Cradock ofSwansea (d. 1531); and she married fourthly, Christopher Assheton of Fyfield. She was well received at the court of King Henry VII of England, who styled her \"the White Rose.\" She had no issue by any of her fourhusbands.Lady Eleanor GordonLady Agnes GordonNotesPassage 2:Hubba bint HulailHubba bint Hulail (Arabic: \u0000\u0000\u0000 \u0000\u0000\u0000 \u0000\u0000\u0000\u0000) was the grandmother of Hashim ibn 'Abd Manaf, thus thegreat-great-great-grandmother of the Islamic prophet Muhammad.BiographyHubbah was the daughter of Hulail ibn Hubshiyyah ibn Salul ibn Ka’b ibn Amr al-Khuza’i of Banu Khuza'a who was the trustee and guardian ofthe Ka‘bah (Arabic: \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000, 'Cube'). She married Qusai ibn Kilab and after her father died, the keys of the Kaaba were committed to her. Qusai, according to Hulail's will, had the trusteeship of the Kaabaafter him.Hubbah never gave up ambitious hopes for the line of her favourite son Abd Manaf. Her two favourite grandsons were the twin sons Amr and Abd Shams, of ‘Ātikah bint Murrah. Hubbah hoped that theopportunities missed by Abd Manaf would be made up for in these grandsons, especially Amr, who seemed much more suitable for the role than any of the sons of Abd al-Dar. He was dear to the ‘ayn (Arabic:\u0000\u0000\u0000\u0000\u0000, eye) of his grandmother Hubbah.FamilyQusai ibn Kilab had four sons by Hubbah: Abd-al-Dar ibn Qusai dedicated to his house, Abdu’l Qusayy dedicated to himself, Abd-al-Uzza ibn Qusai to his goddess(Al-‘Uzzá) and Abd Manaf ibn Qusai to the idol revered by Hubbah. They also had two daughters, Takhmur and Barrah. Abd Manaf's real name was 'Mughirah', and he also had the nickname 'al-Qamar' (the Moon)because he was handsome.Hubbah was related to Muhammad in more than one way. Firstly, she was the great-great-grandmother of his father Abdullah. She was also the great-grandmother of Umm Habib andAbdul-Uzza, respectively the maternal grandmother and grandfather of Muhammad's mother Aminah.Family tree* indicates that the marriage order is disputedNote that direct lineage is marked in bold.See alsoFamilytree of MuhammadList of notable HijazisPassage 3:James Gordon, 2nd Viscount AboyneJames Gordon, 2nd Viscount Aboyne (c. 1620 – February 1649) was the second son of George Gordon, 2nd Marquess of Huntly, aScottish royalist commander in the Wars of the Three Kingdoms.Early lifeAboyne was a member of the powerful Gordon family, who were notable for their Roman Catholic sympathies in a kingdom where supporters ofthe Protestant Reformation controlled the central government. Although there is little direct evidence for Aboyne's personal religious views, he was clearly opposed to extreme Protestantism, and he played a significantrole in recruiting Catholics for the royalist cause.He was educated at King's College, Aberdeen, and earned youthful military experience in France, where his father commanded of the Garde Écossaise. Unusually for ayounger son, James Gordon also inherited a peerage, becoming 2nd Viscount Aboyne in 1636.The Bishops' WarsIn 1639, the First Bishops' War broke out, in which the Protestant faction known as the Covenantersattempted to seize control of church and state. The Covenanter army dispatched the dashing young James Graham, Earl of Montrose to deal with the Gordons.Viscount Aboyne was just nineteen, but he seems to havebeen regarded throughout the campaign as the effective leader of the anti-Covenanter forces, even before his father and elder brother surrendered. Later, he continued the war in spite of a lack of effective support fromKing Charles's royal government.The teenage general suffered two reverses in June 1639 at Megray Hill and Brig o' Dee, attributed to unsteady infantry and dissent between his officers, but his losses were light, and hiscavalry performed credibly, remaining in the field until they learned that the king had made peace with the Covenanters. It is also worth noting that Aboyne's defence of Aberdeen at Brig o'Dee was so determined thatthe battle lasted two days (18 and 19 June) before Montrose finally dislodged him.In this short campaign, the Gordon cavalry anticipated the tactics of the English Civil War: they often moved as a mounted columnwithout infantry support, and they usually charged with the sword, discovering how ineffective a pistol caracole could be at Megray. Unusually, it seems that Aboyne's elite troop of one hundred \"gentleman volunteercuirassiers\" were clad in full armour, in contrast to the buff coats and breastplate now favored by most cavalry regiments. This was still sought-after equipment, as it gave protection against bullet and sword-thrusts,and in the English Civil War it was worn by generals' bodyguards and the famous London lobsters.Scottish Civil WarFor the next few years, a tenuous peace held in Scotland. Viscount Aboyne seems to have kept a lowprofile, living partially in England, but in 1642, the First English Civil War broke out, setting King Charles against his Parliament.Aboyne now worked hard to arrange a military alliance with Clan Donald and the IrishConfederates, and came to be associated politically with the Scottish earls of Nithsdale, Crawford and Airlie - all open or suspected Catholics. Not unreasonably, their enemies saw this as a war plan to restore the oldreligion.But Aboyne also found common cause with his former opponent Montrose, a loyal royalist as well as  a committed Presbyterian; both of them believed the Scottish Covenanters were now likely to enter the waron Parliament's side.Aboyne spent 1644 with royalist forces around Carlisle, while his brothers raised the family's forces in the north. The next spring, he returned to Scotland, fighting in Montrose's victories atAuldearn, Alford, and at Kilsyth; in each battle, he led a flanking charge on the left wing that broke the Covenanters' right. After Alford, there is some evidence that he was promoted in the peerage, under the title ofEarl of Aboyne.Yet while the army was victorious on the field, Aboyne's personal position was increasingly difficult. His father, the Marquess of Huntly, believed the family's troops should be used to eliminate theCovenanters in the north - in contrast with Montrose, who intended to march south into England. At the same time, the relationship between Montrose and Aboyne was becoming strained, not least when the Earl ofCrawford was appointed to command the army's cavalry, an awkward role when Aboyne commanded the only large mounted force.In September 1645, Aboyne and the Gordon cavalry withdrew to the north, shortlybefore the Battle of Philiphaugh. With hindsight, Aboyne's action is sometimes said to have cost the royalists the battle and the war.In reality, the war was far from over at Philiphaugh. Montrose moved north, and inspite of Huntly's increasingly pathological inability to cooperate with him, the royalist armies proved largely successful in the field. Aboyne, caught between his father and his general, busied himself raising troops in thecentral Highlands.The cause was undermined not by the Scottish war, but by the weakening position of the king in England. At the end of April 1646, King Charles decided that the best course was joining theCovenanters, and ordered his Scottish troops to lay down their arms.Outlaw and exileHuntly and Aboyne doubted the Covenanters' mercy, and with their cavalry, they withdrew into the Highlands to wage a guerilla war.They remained under arms until December 1647, when the Marquess was captured in a Covenanter raid.Aboyne escaped, but he had only a few troops left. Excluded from the general pardons issued to Scots royalists,he is said to have fled to France and died in exile in Paris around February 1649 - of a fever according to some, while others say he died of grief at the news of King Charles's beheading.Viscount Aboyne had nevermarried, and his title thus became extinct, although the title of Earl of Aboyne was later revived for his younger brother. Since his elder brother's death at Alford, he had also been heir to the Marquessate (with thecourtesy title Earl of Enzie, although this was rarely used); these dignities now passed to his younger brother, Lord Lewis Gordon.== Bibliography ==Passage 4:John Gordon, 3rd Earl of AboyneJohn Gordon, 3rd Earl ofAboyne (April 1700 – 7 April 1732) was the son of Charles Gordon, 2nd Earl of Aboyne and Elizabeth Lyon. He succeeded his father as 3rd Earl of Aboyne in April 1702. On the date of his death 7 April 1732, he wassucceeded in his titles by his eldest son. He was just 32 years old.FamilyHe married Grace Lockhart, daughter of George Lockhart and Lady Euphemia Montgomerie, on 20 June 1724, and had issue:1. Charles Gordon,4th Earl of Aboyne (c1726-1794):by his first wife, Lady Margaret Stewart, daughter of Alexander Stewart, 6th Earl of Galloway and Lady Catherine CochraneLady Margaret Gordon b. 1760, d. 23 May 1786, marriedWilliam Thomas Beckford, son of William Beckford and Maria Hamilton, daughter of the Hon. George HamiltonGeorge Gordon, 9th Marquess of Huntly b. 28 Jun 1761, d. 17 Jun 1853, married Catherine Cope, daughterof Sir Charles Cope, 2nd Bt. and Catherine Bishoppby his second wife, Lady Mary Douglas, daughter of James Douglas, 14th Earl of Morton and Agatha HalyburtonLord Douglas Halyburton b. 10 Oct 1777, d. 25 Dec1841, married Louisa Leslie, daughter of Sir Edward Leslie, 1st Baronet2. Lt.-Col. Hon. John Gordon (1728–1778)Major-General John Gordon b. 8 Jul 1765, d. 26 Dec 1832, married Eliza Morris, daughter of RobertMorrisGrace Margaret Gordon b. 27 Sep 1766, married William Graham3. Lt.-Col. Hon. Lockhart Gordon (1732–1788), married Catherine (1746–1813), daughter of John Wallop, Viscount LymingtonCaroline Gordon b.1772 d. 13 December 1801, married Lt.-Col. William James, son of Lt.-Col. Sir Charles James and Catherine Napier, daughter of Sir Gerrard Napier, 5th BaronetReverend Lockhart GordonLoudon HarcourtGordonNotesPassage 5:TjuyuThuya (sometimes transliterated as Touiyou, Thuiu, Tuya, Tjuyu or Thuyu) was an Egyptian noblewoman and the mother of queen Tiye, and the wife of Yuya. She is the grandmother ofAkhenaten, and great grandmother of Tutankhamun.BiographyThuya is believed to be a descendant of Queen Ahmose-Nefertari, and she held many official roles in the interwoven religion and government of ancientEgypt. She was involved in many religious cults; her titles included 'Singer of Hathor' and 'Chief of the Entertainers' of both Amun and Min. She also held the influential offices of Superintendent of the Harem of the godMin of Akhmin and of Amun of Thebes.  She married Yuya, a powerful ancient Egyptian courtier of the Eighteenth Dynasty.  She is believed to have died in around 1375 BC in her early to mid 50s.ChildrenYuya andThuya had a daughter named Tiye, who became the Great Royal Wife of Pharaoh Amenhotep III. The great royal wife was the highest Egyptian religious position, serving alongside of the pharaoh in official ceremoniesand rituals.Yuya and Thuya also had a son named Anen, who carried the titles Chancellor of Lower Egypt, Second Prophet of Amun, sm-priest of Heliopolis and Divine Father.They also may have been the parents of Ay,an Egyptian courtier active during the reign of pharaoh Akhenaten who became pharaoh after the death of Tutankhamun. However, there is no conclusive evidence regarding the kinship of Yuya and Ay, althoughcertainly, both men came from Akhmim.TombThuya was interred in tomb KV46 in the Valley of the Kings, together with her husband Yuya, where their largely intact burial was found in 1905. It was the best-preservedtomb discovered in the Valley before that of Tutankhamun, Thuya's great-grandson. The tomb was discovered by a team of workmen led by archaeologist James Quibell on behalf of the American millionaire Theodore M.Davis. Though the tomb had been robbed in antiquity, much of its contents were still present, including beds, boxes, chests, a chariot, and the sarcophagi, coffins, and mummies of the two occupants.Thuya's largegilded and black-painted wooden sarcophagus was placed against the south wall of the tomb. It is rectangular, with a lid shaped like the sloping roof of the per-wer shrine of Upper Egypt, and sits on ornamental sledgerunners, their non-functionality underscored by the three battens attached below them. Ancient robbers had partially dismantled it to access her coffins and mummy, placing its lid and one long side on a bed on theother side of the tomb; the other long side had been leaned against the south wall. Her outer gilded anthropoid coffin had been removed, its lid placed atop the beds, and the trough put into the far corner of the tomb;the lid of her second (innermost) coffin, also gilded, had been removed and placed to one side although the trough and her mummy remained inside the sarcophagus. Quibell suggests this is due to the robbers havingsome difficulty in removing the lid of this coffin.MummyThuya's mummified body was found covered with a large sheet of linen, knotted at the back and secured by four bandages. These bands were covered with resinand opposite each band were her gilded titles cut from gold foil. The resin coating on the lower layers of bandages preserved the impression of a large broad collar. The mummy bands that had once covered herwrapped mummy were recovered above the storage jars on the far side of the room.The first examination of her body was conducted by Australian anatomist Grafton Elliot Smith. He found her to be an elderly womanof small stature, 1.495 metres (4.90 ft) in height, with white hair. Both of her earlobes had two piercings. Her arms are straight at her sides with her hands against the outside of her thighs. Her embalming incision isstitched with thread, to which a carnelian barrel bead is attached at the lower end; her body cavity is stuffed with resin-soaked linen. When Dr. Douglas Derry, (who later conducted the first examination ofTutankhamun's mummy) assisting Smith in his examination, exposed Thuya's feet to get an accurate measurement of her height, he found her to be wearing gold foil sandals. Smith estimated her age at more than 50years based on her outward appearance alone. Recent CT scanning has estimated her age at death to be 50–60 years old. Her brain was removed, though no embalming material was inserted, and both nostrils werestuffed with linen. Embalming packs had been placed into her eye sockets, and subcutaneous filling had been placed into her mid and lower face to restore a lifelike appearance; embalming material had also been placedinto her mouth and throat. Her teeth were in poor condition at the time of her death, with missing molars. Heavy wear and abscesses had been noted in earlier x-rays. The scan revealed that she had severe scoliosiswith a Cobb angle of 25 degrees. No cause of death could be determined. Her mummy has the inventory number CG 51191.Archaeological items pertaining to ThuyaPassage 6:Charles Gordon, 1st Earl of AboyneCharlesGordon, 1st Earl of Aboyne (c1638 - March 1681). The fourth son of George Gordon, 2nd Marquess of Huntly and Lady Anne Campbell, he was created 1st Earl of Aboyne and 1st Lord Gordon of Strathaven and Glenlivetby Letters Patent on 10 September 1660. At the time of his death in March 1681, he was succeeded in the earldom and lordship by his son.FamilyHe married firstly, Margaret Irvine, daughter of Alexander Irvine, c1662,and had issue:Lady Ann Gordon (d. c1665)His first wife died in 1662.He married secondly, Elizabeth Lyon, daughter of John Lyon, 2nd Earl of Kinghorne and Lady Elizabeth Maule, on 28 August 1665, and hadissue:Charles Gordon, 2nd Earl of Aboyne (c1670-1702)Hon. George GordonHon. John Gordon (d.1762)Lady Elizabeth Gordon, married John Mackenzie, 2nd Earl of Cromartie (1685)Passage 7:Hannah ArnoldHannahArnold may refer to:Hannah Arnold (née Waterman) (c.1705–1758), mother of Benedict ArnoldHannah Arnold (beauty queen) (born 1996), Filipino-Australian model and beauty pageant titleholderPassage 8:CharlesGordon, 2nd Earl of AboyneCharles Gordon, 2nd Earl of Aboyne (c. 1670 – April 1702). The eldest son of Charles Gordon, 1st Earl of Aboyne and Elizabeth Lyon, he succeeded his father as 2nd Earl of Aboyne in March1681. At the time of his death in April 1702, he was succeeded in his titles by his son.FamilyHe married Elizabeth Lyon, daughter of Patrick Lyon, 3rd Earl of Strathmore and Kinghorne and Helen Middleton, c1662, and"}
+{"doc_id":"doc_89","qid":"","text":"Passage 1:Jason Moore (director)Jason Moore (born October 22, 1970) is an American director of film, theatre and television.Life and careerJason Moore was born in Fayetteville, Arkansas, and studied at NorthwesternUniversity. Moore's Broadway career began as a resident director of Les Misérables at the Imperial Theatre in during its original run. He is the son of Fayetteville District Judge Rudy Moore.In March 2003, Moore directedthe musical Avenue Q, which opened Off-Broadway at the Vineyard Theatre and then moved to Broadway at the John Golden Theatre in July 2003.  He was nominated for a 2004 Tony Award for his direction. Moore alsodirected productions of the musical in Las Vegas and London and the show's national tour. Moore directed the 2005 Broadway revival of Steel Magnolias and Shrek the Musical, starring Brian d'Arcy James and SuttonFoster which opened on Broadway in 2008. He directed the concert of Jerry Springer — The Opera at Carnegie Hall in January 2008.Moore, Jeff Whitty, Jake Shears, and John \"JJ\" Garden worked together on a newmusical based on Armistead Maupin's Tales of the City. The musical premiered at the American Conservatory Theater, San Francisco, California in May 2011 and ran through July 2011.For television, Moore has directedepisodes of Dawson's Creek, One Tree Hill, Everwood, and Brothers & Sisters. As a writer, Moore adapted the play The Floatplane Notebooks with Paul Fitzgerald from the novel by Clyde Edgerton. A staged reading ofthe play was presented at the New Play Festival at the Charlotte, North Carolina Repertory Theatre in 1996, with a fully staged production in 1998.In 2012, Moore made his film directorial debut with Pitch Perfect,starring Anna Kendrick and Brittany Snow. He also served as an executive producer on the sequel. He directed the film Sisters, starring Tina Fey and Amy Poehler, which was released on December 18, 2015. Moore'snext project will be directing a live action Archie movie.FilmographyFilmsPitch Perfect (2012)Sisters (2015)Shotgun Wedding (2022)TelevisionSoundtrack writerPitch Perfect 2 (2015) (Also executive producer)The Voice(2015) (1 episode)Passage 2:Ian Barry (director)Ian Barry is an Australian director of film and TV.Select creditsWaiting for Lucas (1973) (short)Stone (1974) (editor only)The Chain Reaction (1980)Whose Baby? (1986)(mini-series)Minnamurra (1989)Bodysurfer (1989) (mini-series)Ring of Scorpio (1990) (mini-series)Crimebroker (1993)Inferno (1998) (TV movie)Miss Lettie and Me (2002) (TV movie)Not Quite Hollywood: The Wild,Untold Story of Ozploitation! (2008) (documentary)The Doctor Blake Mysteries (2013)Passage 3:Now Where Did the 7th Company Get to?Now Where Did the 7th Company Get To? (French: Mais où est donc passée laseptième compagnie?) is a 1973 French-Italian comedy war film directed by Robert Lamoureux. The film portrays the adventures of a French Army squad lost somewhere on the front in May 1940 during the Battle ofFrance.PlotDuring the Battle of France, while German forces are spreading across the country, the 7th Transmission Company suffers an air raid near the Machecoul woods, but survive and hide in the woods. CaptainDumont, the company commander, sends Louis Chaudard, Pithiviers and Tassin to scout the area. After burying the radio cable beneath a sandy road, the squad crosses the field, climbs a nearby hill, and takes positionwithin a cemetery. One man cut down the wrong tree for camouflage, pulling up the radio cable and revealing it to the passing German infantry. The Germans cut the cable, surround the woods, and order a puzzled 7thCompany to surrender. The squad tries to contact the company, but then witness their capture and run away.Commanded by Staff Sergeant Chaudard, the unit stops in a wood for the night. Pithiviers is content to slowdown and wait for the end of the campaign. The next day, he goes for a swim in the lake, in sight of possible German fighters. When Chaudard and Tassin wake up, they leave the camp without their weapons to look forPithiviers. Tassin finds him and gives an angry warning, but Pithiviers convinces Tassin to join him in the lake. Chaudard orders them to get out, but distracted by a rabbit, falls into the lake. While Chaudard teaches hismen how to swim, two German fighter planes appear, forcing them out of the water. After shooting down one of the German planes, a French pilot, Lieutenant Duvauchel, makes an emergency landing and escapesbefore his plane explodes. PFC Pithiviers, seeing the bad shape of one of his shoes, destroys what is left of his shoe sole. Tassin is sent on patrol to get food and a new pair of shoes for Pithiviers. Tassin arrives in a farm,but only finds a dog, so he returns and Chaudard goes to the farm after nightfall. The farmer returns with her daughter-in-law and Lt Duvauchel, and she welcomes Chaudard. Duvauchel, who is hiding behind the door,comes out upon hearing the news and decides to meet Chaudard's men.When Chaudard and Duvauchel return to the camp, Tassin and Pithiviers are roasting a rabbit they caught. Duvauchel realizes that Chaudard hasbeen lying and takes command.The following day, the men leave the wood in early morning and capture a German armored tow truck after killing its two drivers. They originally planned to abandon the truck and thetwo dead Germans in the woods, but instead realized that the truck is the best way to disguise themselves and free the 7th Company. They put on the Germans' uniforms, recover another soldier of the 7th Company,who succeeded in escaping, and obtain resources from a collaborator who mistook them for Germans.On their way, they encounter a National Gendarmerie patrol, who appear to be a 5th column. The patrol injures thenewest member of their group, a young soldier, and then are killed by Tassin. In revenge, they destroy a German tank using the tow truck's cannon gun.They planned to go to Paris but are misguided by their owncolonel, but find the 7th Company with guards who are bringing them to Germany. Using their cover, they make the guards run in front of the truck, allowing the company to get away. When Captain Dumont joins hisChaudard, Tassin, and Pithiviers in the truck, who salute the German commander with a great smile.CastingJean Lefebvre : PFC PithiviersPierre Mondy : Staff Sergent Paul ChaudardAldo Maccione: PFC TassinRobertLamoureux: Colonel BlanchetErik Colin: Lieutenant DuvauchelPierre Tornade: Captain DumontAlain Doutey: CarlierRobert Dalban : The peasantJacques Marin: The collaborationistRobert Rollis: A FrenchsoldierProductionThe film's success spawned two sequels:– 1975 : On a retrouvé la septième compagnie (The Seventh Company Has Been Found) by Robert Lamoureux;– 1977 : La Septième Compagnie au clair de lune(The Seventh Company Outdoors)) by Robert Lamoureux.The story is set in Machecoul woods, but it was actually filmed near Cerny and La Ferté-Alais, as well as Jouars-Pontchartrain and Rochefort-en-Yvelines. Thefamous grocery scene was filmed in Bazoches-Sur-Guyonne.Robert Lamoureux based this film on his own personal experiences in June 1940 during the war.The final scene with the parachute is based on a true story.The 58 Free French paratroopers were parachuted into Brittany in groups of three, on the night of 7 June 1944 to neutralize the rail network of Normandy Landings in Brittany, two days before.Box officeThe moviereceived a great success in France reaching the third best selling movie in 1974.NotesExternal linksMais où est donc passée la septième compagnie? at IMDbPassage 4:Olav AaraasOlav Aaraas (born 10 July 1950) is aNorwegian historian and museum director.He was born in Fredrikstad. From 1982 to 1993 he was the director of Sogn Folk Museum, from 1993 to 2010 he was the director of Maihaugen and from 2001 he has been thedirector of the Norwegian Museum of Cultural History. In 2010 he was decorated with the Royal Norwegian Order of St. Olav.Passage 5:Andrzej FidykAndrzej Fidyk (born in 1953, Warsaw) is a  Polish documentaryfilmmaker, producer, and professor of the Krzysztof Kieślowski Film School in Katowice. He is best known for work his 1989 documentary Defilada (The Parade), which depicts the mass parades choreographed tocelebrate the fortieth anniversary of the Democratic People's Republic of Korea (North Korea) in 1988.Initially, Fidyk planned to be an economist.  During 1972 and 1977 he studied foreign trade atthe Central School ofPlanning and Statistics at the Warsaw School of Economics. After graduation, he worked at the ForeignTrade Bureau for two years, work which he hated He first started working for television in 1980, since when he hasmade over 40 documentary films shown primarily on Polish and British television. From 1991 to 1996 he worked for the BBC in the Music and Arts Department.  Between 1996 and 2004 he was Head of Documentariesat Polish Television.Filmography1982Idzie Grześ przez wieś, production, script,1983Optymistyczny film o niewidomych, director,1984Ich teatr,  director, script,1985Prezydent,  director,1986Noc w pałacu,  director,script,Praga,  director, script,1987Królewna Śnieżka, telefon i krowa,  director, script,1988Paryż, miasto kontrastów,  director, script,1989Defilada,  production, script,1990Ostatki, script, production1993Sen Staszka wTeheranie,  director, script,1994Niebo oplutych,  production,Pocztówka z Japonii,  production, script,The Russian Striptease,  director, production,1995Carnaval. The Biggest Party In The World,  production,production,Ostatki,  production, script,1997Ciężar nieważkości,  editing,Cross,  art consultation,Dziewczyny z Szymanowa,  production,East Of Eastenders,  director,Historia Jednej Butelki,  art consultation,Jeden dzieńz życia Tomka Karata,  art consultation,Kanar,  production,El Porvenir de Una Ilusion,  production,1998Dotknięci,  art consultation,Ganek,  production,Kiniarze z Kalkuty,  director, script, production,Marzenia iśmierć,  art consultation,199924 dni,  production,Oni,  editing,Takiego pięknego syna urodziłam,  art consultation,Twarzą w twarz z Papieżem,  editing,1989-1999 w dziesiątkę,  editing,2000Jan Paweł II w ZiemiŚwiętej,  editing,Ziemia podwójnie obiecana. Jan Paweł II w Ziemi ŚwiętejŚlub w Domu Samotności,  editing,Taniec trzcin,  production, script,2001Prawdziwe psy (TV documentary/novel),  editing,Serce ZWęgla,  editing,2002Bobrek Dance,  editing,Mój syn Romek,  editing,Przedszkolandia (TV documentary/novel), editing,2003Imieniny,  art consultation,2008Yodok Stories,  director i script,2009Balcerowicz. Gra owszystko, director, script.2016Lech Walesa, A Portrait, director.Passage 6:Brian Kennedy (gallery director)Brian Patrick Kennedy (born 5 November 1961) is an Irish-born art museum director who has worked in Irelandand Australia, and now lives and works in the United States.  He was the director of the Peabody Essex Museum in Salem for 17 months, resigning December 31, 2020. He was the director of the Toledo Museum of Artin Ohio from 2010 to 2019. He was the director of the Hood Museum of Art from 2005 to 2010, and the National Gallery of Australia (Canberra) from 1997 to 2004.CareerBrian Kennedy currently lives and works in theUnited States after leaving Australia in 2005 to direct the Hood Museum of Art at Dartmouth College. In October 2010 he became the ninth Director of the Toledo Museum of Art. On 1 July 2019, he succeeded DanMonroe as the executive director and CEO of the Peabody Essex Museum.Early life and career in IrelandKennedy was born in Dublin and attended Clonkeen College. He received B.A. (1982), M.A. (1985) and PhD (1989)degrees from University College-Dublin, where he studied both art history and history.He worked in the Irish Department of Education (1982), the European Commission, Brussels (1983), and in Ireland at the ChesterBeatty Library (1983–85), Government Publications Office (1985–86), and Department of Finance (1986–89). He married Mary Fiona Carlin in 1988.He was Assistant Director at the National Gallery of Ireland in Dublinfrom 1989 to 1997. He was Chair of the Irish Association of Art Historians from 1996 to 1997, and of the Council of Australian Art Museum Directors from 2001 to 2003. In September 1997 he became Director of theNational Gallery of Australia.National Gallery of Australia (NGA)Kennedy expanded the traveling exhibitions and loans program throughout Australia, arranged for several major shows of Australian art abroad, increasedthe number of exhibitions at the museum itself and oversaw the development of an extensive multi-media site.  Although he oversaw several years of the museum's highest ever annual visitation, he discontinued theemphasis of his predecessor, Betty Churcher, on showing \"blockbuster\" exhibitions.During his directorship, the NGA gained government support for improving the building and significant private donations and corporatesponsorship. However, the initial design for the building proved controversial generating a public dispute with the original architect on moral rights grounds.  As a result, the project was not delivered during DrKennedy's tenure, with a significantly altered design completed some years later.  Private funding supported two acquisitions of British art, including David Hockney's A Bigger Grand Canyon in 1999, and Lucian Freud'sAfter Cézanne in 2001. Kennedy built on the established collections at the museum by acquiring the Holmgren-Spertus collection of Indonesian textiles; the Kenneth Tyler collection of editioned prints, screens, multiplesand unique proofs; and the Australian Print Workshop Archive. He was also notable for campaigning for the construction of a new \"front\" entrance to the Gallery, facing King Edward Terrace, which was completed in2010 (see reference to the building project above).Kennedy's cancellation of the \"Sensation exhibition\" (scheduled at the NGA from 2 June 2000 to 13 August 2000) was controversial, and seen by some as censorship.He claimed that the decision was due to the exhibition being \"too close to the market\" implying that a national cultural institution cannot exhibit the private collection of a speculative art investor. However, there wereother exhibitions at the NGA during his tenure, which could have raised similar concerns. The exhibition featured the privately owned Young British Artists works belonging to Charles Saatchi and attracted largeattendances in London and Brooklyn. Its most controversial work was Chris Ofili's The Holy Virgin Mary, a painting which used elephant dung and was accused of being blasphemous. The then-mayor of New York,Rudolph Giuliani, campaigned against the exhibition, claiming it was \"Catholic-bashing\" and an \"aggressive, vicious, disgusting attack on religion.\" In November 1999, Kennedy cancelled the exhibition and stated thatthe events in New York had \"obscured discussion of the artistic merit of the works of art\". He has said that it \"was the toughest decision of my professional life, so far.\"Kennedy was also repeatedly questioned on hismanagement of a range of issues during the Australian Government's Senate Estimates process - particularly on the NGA's occupational health and safety record and concerns about the NGA's twenty-year-oldair-conditioning system. The air-conditioning was finally renovated in 2003. Kennedy announced in 2002 that he would not seek extension of his contract beyond 2004, accepting a seven-year term as had his twopredecessors.He became a joint Irish-Australian citizen in 2003.Toledo Museum of ArtThe Toledo Museum of Art is known for its exceptional collections of European and American paintings and sculpture, glass,antiquities, artist books, Japanese prints and netsuke. The museum offers free admission and is recognized for its historical leadership in the field of art education.  During his tenure, Kennedy has focused the museum'sart education efforts on visual literacy, which he defines as \"learning to read, understand and write visual language.\"   Initiatives have included baby and toddler tours, specialized training for all staff, docents,volunteers and the launch of a website, www.vislit.org. In November 2014, the museum hosted the International Visual Literacy Association (IVLA) conference, the first Museum to do so. Kennedy has been a frequentspeaker on the topic, including 2010 and 2013 TEDx talks on visual and sensory literacy.Kennedy has expressed an interest in expanding the museum's collection of contemporary art and art by indigenous peoples.Works by Frank Stella, Sean Scully, Jaume Plensa, Ravinder Reddy and Mary Sibande have been acquired.  In addition, the museum has made major acquisitions of Old Master paintings by Frans Hals and LucaGiordano.During his tenure the Toledo Museum of Art has announced the return of several objects from its collection due to claims the objects were stolen and/or illegally exported prior being sold to the museum.  In2011 a Meissen sweetmeat stand was returned to Germany followed by an Etruscan Kalpis or water jug to Italy (2013), an Indian sculpture of Ganesha (2014) and an astrological compendium to Germany in 2015.HoodMuseum of ArtKennedy became Director of the Hood Museum of Art in July 2005. During his tenure, he implemented a series of large and small-scale exhibitions and oversaw the production of more than 20 publicationsto bring greater public attention to the museum's remarkable collections of the arts of America, Europe, Africa, Papua New Guinea and the Polar regions. At 70,000 objects, the Hood has one of the largest collections onany American college of university campus. The exhibition, Black Womanhood: Images, Icons, and Ideologies of the African Body, toured several US venues. Kennedy increased campus curricular use of works of art,with thousands of objects pulled from storage for classes annually. Numerous acquisitions were made with the museum's generous endowments, and he curated several exhibitions: including Wenda Gu: Forest of StoneSteles: Retranslation and Rewriting Tang Dynasty Poetry, Sean Scully: The Art of the Stripe, and Frank Stella: Irregular Polygons.PublicationsKennedy has written or edited a number of books on art, including:AlfredChester Beatty and Ireland 1950-1968: A study in cultural politics, Glendale Press (1988), ISBN 978-0-907606-49-9Dreams and responsibilities: The state and arts in independent Ireland, Arts Council of Ireland (1990),ISBN 978-0-906627-32-7Jack B Yeats: Jack Butler Yeats, 1871-1957 (Lives of Irish Artists), Unipub (October 1991), ISBN 978-0-948524-24-0The Anatomy Lesson: Art and Medicine (with Davis Coakley), NationalGallery of Ireland (January 1992), ISBN 978-0-903162-65-4Ireland: Art into History (with Raymond Gillespie), Roberts Rinehart Publishers (1994), ISBN 978-1-57098-005-3Irish Painting, Roberts Rinehart Publishers(November 1997),  ISBN 978-1-86059-059-7Sean Scully: The Art of the Stripe, Hood Museum of Art (October 2008), ISBN 978-0-944722-34-3Frank Stella: Irregular Polygons, 1965-1966, Hood Museum of Art(October 2010), ISBN 978-0-944722-39-8Honors and achievementsKennedy was awarded the Australian Centenary Medal in 2001 for service to Australian Society and its art. He is a trustee and treasurer of theAssociation of Art Museum Directors, a peer reviewer for the American Association of Museums and a member of the International Association of Art Critics. In 2013 he was appointed inaugural eminent professor at theUniversity of Toledo and received an honorary doctorate from Lourdes University. Most recently, Kennedy received the 2014 Northwest Region, Ohio Art Education Association award for distinguished educator for arteducation.== Notes ==Passage 7:Dana BlanksteinDana Blankstein-Cohen (born March 3, 1981) is the executive director of the Sam Spiegel Film and Television School. She was appointed by the board of directors  inNovember 2019.  Previously she was the CEO of the Israeli Academy of Film and Television. She is a film director, and an Israeli culture entrepreneur.BiographyDana Blankstein was born in Switzerland in 1981 totheatre director Dedi Baron and Professor Alexander Blankstein. She moved to Israel in 1983 and grew up in Tel Aviv.Blankstein graduated from the Sam Spiegel Film and Television School, Jerusalem in 2008 with highhonors. During her studies she worked as a personal assistant to directors Savi Gabizon on his film Nina's Tragedies and to Renen Schorr on his film The Loners.  She also directed and shot 'the making of' film onGavison's film Lost and Found. Her debut film Camping competed at the Berlin International Film Festival, 2007.Film and academic careerAfter her studies, Dana founded and directed the film and television departmentat the Kfar Saba municipality. The department encouraged and promoted productions filmed in the city of Kfar Saba, as well as the established cultural projects, and educational community activities.Blankstein directed"}
+{"doc_id":"doc_90","qid":"","text":"Passage 1:Ludwig II (2012 film)Ludwig II is a 2012 German-Austrian historical film directed by Peter Sehr and Marie Noëlle, starring Sabin Tambrea as the younger Bavarian King Ludwig II and Sebastian Schipper asthe king in his later years.PlotCrown Prince Ludwig suffers under the authoritarian education of his father King Maximilian II and has no interest in his militaristic attitude. In addition, because of his love for music andthe fine arts, Ludwig repeatedly incurs the displeasure of his father. For Ludwig, art is more important than daily bread.Maximilian II dies unexpectedly of erysipelas, so Ludwig, full of idealism, ascends the Bavarianthrone at the age of 18. At a time when war and poverty are omnipresent, he believes in a better world and wants to use his power to ensure that his people can live in peace and happiness. He wants his kingdom tobecome a place where beauty, art and culture will flourish; instead of weapons, Ludwig wants to invest public money in theatre, music and education.He spends his free time with his young cousin, Sophie, the sister ofthe Austrian Empress Sissi. With her he can philosophise about music and the beauty of the world. Moreover, he has all of his rooms in the castle remodelled and designed according to his ideas.He loves RichardWagner's operas, and his passion and admiration for the controversial composer's works and their legends are so great that he wants to bring Wagner to his court. To achieve this, he instructs the well-known musiclover Johann von Lutz to track down Wagner and bring him to his court. He awaits the arrival of his idol impatiently and receives him with great respect. He settles Wagner's debts and obtains a pardon for therevolutionary and politically persecuted composer. However, his ministers rebel against his expensive sponsorship of the composer.At first, Ludwig throws himself into political business with enthusiasm. He initiates aschool reform and distributesmusical instruments instead of weapons to his young cadets. He is of the opinion that if Bavaria should ever be attacked, the sound of Wagner's music will immediately disarm them. Even aconversation with his cousin, Elisabeth of Austria, who wants to ask for help in preventing Prussia from waging war against Austria, fails because of his naive belief that music alone is capable of keeping people's heartsin a peaceful .Ludwig's ministers are not satisfied with the power that Wagner's ideas seem to have over the young king. Ludwig increasingly neglects the affairs of government. The news of an impending war reacheshim while he is on the road with Wagner in the Bavarian mountains. The composer suggests that he replace the ministers who now want to go to war. They in turn threaten to resign from their positions if Ludwig doesnot part with Wagner and his influence. Since the king fears for his friend's life, he urges him to leave Bavaria. He realises that circumstances are against him, and his beloved kingdom gets involved in the war withPrussia against his will. Disheartened, and showing first signs of delusional illnesses, Ludwig withdraws from public life.The news of the defeat of his army hits him hard, since he has spent the money that was intendedfor modern rifles on musical instruments. His stable master, Richard Hornig, is at his side and is willing to support him, but Ludwig does not want to admit his affection for men. In order to deal with the war defeat, hetravels his country and shows himself to his people. Moreover, he plans his wedding with Sophie because he is convinced that the people expect this from him. As part of the wedding preparations, Wagner arrives atcourt again to take over the musical design. As a result, Ludwig meets a young singer, Heinrich Vogel, whom he wants to hear singing as Lohengrin, which incurs Wagner's displeasure.Sophie demands proof of love inthe form of a kiss from her future husband. This leads to a scandal, and Ludwig cancels his already planned and longed-for wedding because he realises that, due to his homosexuality, which he does not confess to heror to others, he cannot have more than friendship with his fiancée. In a letter, he asks Sophie's forgiveness and understanding. In his opinion, she has the right to be happy, which would not be possible at his side in thelong run.In addition to those private problems, political events are catching up with him again. Bavaria's defeat by Prussia forces the country to enter the 1870-71 war against France as a compulsory ally of Otto vonBismarck. Bismarck's efforts to create an all-German empire, headed by an emperor, destroys the dream of a sovereign Bavarian kingdom continuing to exist. Ludwig's brother Otto suffers a nervous breakdown and hasto be taken to a sanatorium. The attending physician assumes that Otto will not recover from his mental derangement. Ludwig promises to build his brother a castle where he can be who he is, just as he also longshimself to have a place where he can be who he is. With this in mind, he has Neuschwanstein Castle built.Nevertheless, Ludwig does not achieve peace: the abysses of his soul are too deep, tormenting him and makinghim despair. Disillusioned, he retires again from public life and takes refuge in the world of opera melodies. He does not want to admit the financial problems that the state budget has to suffer due to hisexcessive  construction activities. But reality catches up with him, and Ludwig's opponents team up to depose him and the castles in his dream realm of fantasy. Even his long-standing devotee Johann von Lutz, whomhe had made minister, comes to doubt Ludwig's common sense. After a fire breaks out in the castle, Richard Hornig is seriously injured. The sadness of never being allowed to stand by his love for the stable masterdrives him even further into madness, which his opponents are now increasingly aware of. One of his ministers has a medical report drawn up in order to justify deposing the king.Ludwig senses the plan and intends toblow himself up with his castles before he can be chased away from them, but the project fails due to the inappropriate explosives. Following that, the minister succeeds in taking the king into medical care against hiswill in Castle Berg.Desperate about the disregard for his royal privileges, and his treatment as a \"poor lunatic\", he decided to escape his treatment. While taking a walk with his doctor, he escapes him and runs into LakeStarnberg, where he drowns.Historical inaccuraciesThe death of King Maximilian II, Ludwig's father, in the film is shown as if it were extremely sudden. Actually, the sickness which led to his death lasted for manyweeks, during which Ludwig was criticized for the audiences he granted to the tenor Albert Niemann, a behaviour considered disrespectful towards his sick father.The meeting between Ludwig and Richard Hornig whereHornig himself finds Wagner, which in the film takes place in March 1864, happened instead in May 1867In the film the famous official portrait of Ludwig is painted in 1867 while in reality it was already painted in1865.In the film Richard Wagner is found by Hornig while in reality he was found by the king's minister Pfistermeister. Indeed, it was to him that Ludwig gave the photograph with the ruby to give to the composer, andnot to Lutz as seen in the film.Ludwig decides to curl his hair for the arrival of Wagner, but this decision was actually made when he was still crown prince to hide his protruding ears, a physical defect that he could notbear.In the film Ludwig signs the famous Kaiserbrief in the Residenz, while it happened in Hohenschwangau, which is neither shown nor mentioned, although it was a castle very dear to Ludwig.CastSabin Tambrea asKing Ludwig II (young)Sebastian Schipper as King Ludwig IIHannah Herzsprung as Empress Elisabeth of AustriaEdgar Selge as Richard WagnerTom Schilling as Prince OttoJustus von Dohnányi as Johann vonLutzFriedrich Mücke as Richard HornigSamuel Finzi as Lorenz MayrChristophe Malavoy as Napoleon IIIAxel Milberg as King Maximilian IIKatharina Thalbach as Queen MarieUwe Ochsenknecht as Prince LuitpoldPaulaBeer as Duchess Sophie in BavariaAugust Wittgenstein as Alfred Eckbrecht von Dürckheim-MontmartinPassage 2:Marie of PrussiaMarie of Prussia (German: Marie Friederike Franziska Auguste Hedwig von Preußen;October 15, 1825 – May 17, 1889) was Queen of Bavaria by marriage to Maximilian II of Bavaria, and the mother of Kings Ludwig II and Otto of Bavaria.LifeBorn and raised in Berlin, she was the daughter of PrinceWilhelm of Prussia, a younger brother of King Friedrich Wilhelm III of Prussia, and his wife, Landgravine Marie Anna of Hesse-Homburg. The family spent half of the year at Fischbach (today Karpniki) Castle in Silesia,where they loved to hike in the Giant Mountains. In her youth, Marie was seriously considered as a wife for Ernest II, Duke of Saxe-Coburg and Gotha, until her engagement to Maximilian was announced.QueenOn 12October 1842, she married the Crown Prince, and later King of Bavaria, Maximilian II.Marie was loved equally by both the Catholic and Protestant populations. (At that time, Bavaria was mostly Catholic, whilst Prussiawas mostly Evangelical.) A specific emphasis of her \"great social engagement\" was a reactivation of the Bavarian Women's Association, which took place on 18 December 1869 with the aid of her son, Ludwig II. Its aimwas \"Pflege und Unterstützung der im Felde verwundeten und erkrankten Krieger\" (Care and support of soldiers wounded and injured in the field). The Bavarian Red Cross was officially founded as a result of theBavarian Women's Association. The Red Cross eventually took over for the Queen.Queen dowagerWith the sudden death of Maximilian II on 10 March 1864, Marie became a widow. On 12 October 1874, she convertedto Catholicism.As a widow she lived at Nymphenburg Palace. She spent her summer holidays at Schloss Hohenschwangau near Füssen, a castle her husband had redecorated in Gothic Revival style, and at her countryestate in Elbigenalp in the Lechtal Alps. She enjoyed hiking the mountains, which she had often done with her sons when they were young. Marie looked after her second son Otto, who was declared insane. She outlivedher elder son, Ludwig II, by nearly three years; his unusual death occurring on 13 June 1886. He had not liked her very much (just as he disliked most of his other relatives) and had tried to avoid contact as far aspossible. Marie died in 1889 in Hohenschwangau.She is interred in the Theatine Church in Munich in a side chapel opposite her husband.IssueLudwig II of Bavaria (25 August 1845 - 13 June 1886); succeeded as King ofBavaria as Ludwig II. Declared mentally incompetent without examination and deposed in a coup in favour of his uncle, Prince Luitpold, on 10 June 1886; died under disputed circumstances.Otto I of Bavaria (27 April1848 - 11 October 1916); succeeded as King of Bavaria as Otto I, but reigned only in name due to the regency of his uncle, Prince Luitpold. Declared mentally incompetent and deposed on 5 November 1913 by hiscousin Prince Ludwig, later King Ludwig III of Bavaria.HonoursKingdom of Bavaria: Grand Mistress of the Order of Theresa Kingdom of Prussia:Dame of the Order of Louise, 1st DivisionCross of Merit for Women andGirls Spain: Dame of the Order of Queen Maria Luisa, 17 June 1856 Kingdom of Saxony: Dame of the Order of Sidonia, 1871AncestryPassage 3:Ernst LubitschErnst Lubitsch (; January 29, 1892 – November 30, 1947)was a German-born film director, producer, writer, and actor. His urbane comedies of manners gave him the reputation of being Hollywood's most elegant and sophisticated director; as his prestige grew, his films werepromoted as having \"the Lubitsch touch\". Among his best known works are Trouble in Paradise (1932), Design for Living (1933), Ninotchka (1939), The Shop Around the Corner (1940), To Be or Not to Be (1942) andHeaven Can Wait (1943). He was nominated for the Academy Award for Best Director three times for The Patriot (1928), The Love Parade (1929), and Heaven Can Wait (1943). In 1946, he received an HonoraryAcademy Award for his distinguished contributions to the art of the motion picture.Early lifeLubitsch was born in 1892 in Berlin, the son of Simon Lubitsch, a tailor, and Anna (née) Lindenstaedt. His family was AshkenaziJewish; his father was born in Grodno in the Russian Empire (now Belarus), and his mother was from Wriezen outside Berlin. He turned his back on his father's tailoring business to enter the theater, and by 1911 was amember of Max Reinhardt's Deutsches Theater.CareerEarly work, 1913–1921In 1913, Lubitsch made his film debut as an actor in The Ideal Wife. He gradually abandoned acting to concentrate on directing. He appearedin approximately 30 films as an actor between 1912 and 1920. His last film appearance as an actor was in the 1920 drama Sumurun, opposite Pola Negri and Paul Wegener, which he also directed.In 1918, he made hismark as a serious director with Die Augen der Mumie Ma (The Eyes of the Mummy), starring Pola Negri. Lubitsch alternated between escapist comedies and large-scale historical dramas, enjoying great internationalsuccess with both. His reputation as a grand master of world cinema reached a new peak after the release of his spectacles Madame Du Barry (retitled Passion, 1919) and Anna Boleyn (Deception, 1920). Both of thesefilms found American distributorship by early 1921. They, along with Lubitsch's Carmen (released as Gypsy Blood in the U.S. in 1921) were selected by The New York Times on its list of the 15 most important movies of1921.With glowing reviews under his belt and American money flowing his way, Lubitsch formed his own production company and set to work on the high-budget spectacular The Loves of Pharaoh (1921). Lubitschsailed to the United States for the first time in December 1921 for what was intended as a lengthy publicity and professional factfinding tour, scheduled to culminate in the February premiere of Pharaoh. However, withWorld War I still fresh, and with a slew of German \"New Wave\" releases encroaching on American movie workers' livelihoods, Lubitsch was not gladly received. He cut his trip short after little more than three weeks andreturned to Germany. But he had already seen enough of the American film industry to know that its resources far outstripped the spartan German companies.Hollywood silent films, 1922–1927Lubitsch finally leftGermany for Hollywood in 1922, contracted as a director by Mary Pickford. He directed Pickford in the film Rosita; the result was a critical and commercial success, but director and star clashed during its filming, and itended up as the only project that they made together. A free agent after just one American film, Lubitsch was signed to a remarkable three-year, six-picture contract by Warner Brothers that guaranteed the director hischoice of both cast and crew, and full editing control over the final cut.Settling in America, Lubitsch established his reputation for sophisticated comedy with such stylish films as The Marriage Circle (1924), LadyWindermere's Fan (1925), and So This Is Paris (1926). But his films were only marginally profitable for Warner Brothers, and Lubitsch's contract was eventually dissolved by mutual consent, with Metro-Goldwyn-Mayerand Paramount buying out the remainder. His first film for MGM, The Student Prince in Old Heidelberg (1927), was well regarded, but lost money. The Patriot (1928), produced by Paramount, earned him his firstAcademy Award nomination for Best Directing.Sound films, 1928–1940Lubitsch seized upon the advent of sound films to direct musicals. With his first sound film, The Love Parade (1929), starring Maurice Chevalier andJeanette MacDonald, Lubitsch hit his stride as a maker of worldly musical comedies (and earned himself another Oscar nomination). The Love Parade (1929), Monte Carlo (1930), and The Smiling Lieutenant (1931)were hailed by critics as masterpieces of the newly emerging musical genre. Lubitsch served on the faculty of the University of Southern California for a time.His next film was a romantic comedy, written with SamsonRaphaelson, Trouble in Paradise (1932). Later described (approvingly) as \"truly amoral\" by critic David Thomson, the cynical comedy was popular both with critics and with audiences. But it was a project that could onlyhave been made before the enforcement of the Production Code, and after 1935, Trouble in Paradise was withdrawn from circulation. It was not seen again until 1968. The film was never available on videocassette andonly became available on DVD in 2003.Writing about Lubitsch's work, critic Michael Wilmington observed:At once elegant and ribald, sophisticated and earthy, urbane and bemused, frivolous yet profound. They weredirected by a man who was amused by sex rather than frightened of it – and who taught a whole culture to be amused by it as well.Whether with music, as in MGM's opulent The Merry Widow (1934) and Paramount'sOne Hour with You (1932), or without, as in Design for Living (1933), Lubitsch continued to specialize in comedy. He made only one other dramatic film, the antiwar Broken Lullaby (also known as The Man I Killed,1932).In 1935, he was appointed Paramount's production manager, thus becoming the only major Hollywood director to run a large studio. Lubitsch subsequently produced his own films and supervised the productionof films of other directors. But Lubitsch had trouble delegating authority, which was a problem when he was overseeing sixty different films. He was fired after a year on the job, and returned to full-time moviemaking.In 1936, he became a naturalized citizen of the United States.On July 27, 1935, he married British actress Vivian Gaye. They had one daughter, Nicola Anne Patricia Lubitsch, on October 27, 1938. When war wasdeclared in Europe, Vivian Lubitsch and her daughter were staying in London. Vivian sent her baby daughter, accompanied by her nursemaid, Consuela Strohmeier, to Montreal aboard the Donaldson Atlantic Line's SSAthenia, which was sunk by a German submarine on September 3, 1939 with a loss of 118 passengers. The child and the nurse survived.In 1939, Lubitsch moved to MGM, and directed Greta Garbo in Ninotchka. Garboand Lubitsch were friendly and had hoped to work together on a movie for years, but this would be their only project. The film, co-written by Billy Wilder, is a satirical comedy in which the famously serious actress'laughing scene was promoted by studio publicists with the tagline \"Garbo Laughs!\"In 1940, he directed The Shop Around the Corner, an artful comedy of cross purposes. The film reunited Lubitsch with his Merry Widowscreenwriter Raphaelson, and starred James Stewart and Margaret Sullavan as a pair of bickering co-workers in Budapest, each unaware that the other is their secret romantic correspondent. David Thomson wrote:TheShop Around the Corner...is among the greatest of films...This is a love story about a couple too much in love with love to fall tidily into each other's arms. Though it all works out finally, a mystery is left, plus the fear ofhow easily good people can miss their chances. Beautifully written (by Lubitsch's favorite writer, Samson Raphaelson), Shop Around the Corner is a treasury of hopes and anxieties based in the desperate faces ofStewart and Sullavan. It is a comedy so good it frightens us for them. The café conversation may be the best meeting in American film. The shot of Sullavan's gloved hand, and then her ruined face, searching an emptymail box for a letter is one of the most fragile moments in film. For an instant, the ravishing Sullavan looks old and ill, touched by loss.Later films, 1941–1947Lubitsch next directed That Uncertain Feeling (1941), aremake of his 1925 film Kiss Me Again; an independent production by Lubitsch with Sol Lesser, it was not a commercial success. Lubitsch followed with a film that has become one of his best regarded comedies, To Beor Not to Be, a witty, dark and insightful film about a troupe of actors in Nazi-occupied Poland. He spent the balance of his career at 20th Century Fox, but a heart condition curtailed his activity, and he spent much ofhis time in supervisory capacities. His next picture was Heaven Can Wait (1943), his first color film and another Raphaelson collaboration. The film is about Henry Van Cleve (played by Don Ameche), who presentshimself at the gates of Hell to recount his life and the women he has known from his mother onward, concentrating on his happy but sometimes difficult 25 years of marriage to Martha (Gene Tierney).After Heaven CanWait, Lubitsch began work on A Royal Scandal (1945), a remake of his silent film Forbidden Paradise.  Edwin Justus Mayer wrote the screenplay for A Royal Scandal and had worked with Lubitsch on To Be or Not to Be(1942). A Royal Scandal's pre-production and rehearsals were completed under Lubitsch, the original director of this film. He became ill during shooting, so Lubitsch hired Otto Preminger to finish the film. After A Royal"}
+{"doc_id":"doc_91","qid":"","text":"Passage 1:Jesse E. HobsonJesse Edward Hobson (May 2, 1911 – November 5, 1970) was the director of SRI International from 1947 to 1955. Prior to SRI, he was the director of the Armour Research Foundation.Earlylife and educationHobson was born in Marshall, Indiana. He received bachelor's and master's degrees in electrical engineering from Purdue University and a PhD in electrical engineering from the California Institute ofTechnology. Hobson was also selected as a nationally outstanding engineer.Hobson married Jessie Eugertha Bell on March 26, 1939, and they had five children.CareerAwards and membershipsHobson was named anIEEE Fellow in 1948.Passage 2:Bobby ColemanRobert Moorhouse \"Bobby\" Coleman III (born May 5, 1997) is an American actor.  He is best known for his roles as a child actor in the films Martian Child (2007), as thetitle character, and The Last Song (2010).Life and careerRobert Coleman was born in Los Angeles, California, the son of Doris Berg and Robert Moorhouse Coleman Jr. He is the younger brother of actress HollistonColeman, and lives with his family in the Los Angeles area.Coleman began acting at the age of five in commercials, and has since appeared in several film and television productions. He had brief appearances in anumber of series such as Medium and JAG, before moving into film roles. He appeared in the feature films Must Love Dogs and Friends with Money, and also had a recurring role in the television series Surface, beforetaking leading roles in the films Glass House: The Good Mother and Take. He played the title lead role in the film Martian Child, his second role alongside John Cusack and is set to appear with his sister in ProvingGround: From the Adventures of Captain Redlocks, in which he will play the younger brother of his real-life sister. They are both set to star together again in the science-fiction adventure film, Robosapien: Rebooted. Heappeared in the 2010 film The Last Song as Jonah Miller, the younger brother of Miley Cyrus's character.FilmographyAwards2008 Young Artist AwardBest Performance in a Feature Film - Young Actor Age Ten or Youngerfor Martian Child — NominatedPassage 3:Martian ChildMartian Child is a 2007 American comedy-drama film directed by Menno Meyjes and based on David Gerrold's 1994 novelette (not the expanded 2002 novel) of thesame name. The film stars John Cusack as a writer who adopts a strange young boy (Bobby Coleman) who believes himself to be from Mars. The film was theatrically released on November 2, 2007, by New LineCinema.PlotDavid Gordon, a popular science fiction author, widowed two years prior as they were trying to adopt a child, is finally matched with a young boy, Dennis. Initially hesitant to adopt alone, he is drawn to him,seeing aspects of himself in him.Believing he is from Mars, Dennis protects himself from the sun's harmful rays, wears weights to counter Earth's weak gravity, eats only Lucky Charms, and hangs upside down tofacilitate circulation. He refers often to his mission to study Earth and its people, taking pictures, taking things to catalog, and spending time consulting an ambiguous toy-like device with flashing lights that producesseemingly unintelligible words.Once David decides to adopt Dennis, he spends time getting to know him, patiently coaxing him out of the large cardboard box he hides in. Soon, David is cleared to take Dennis home andmeet David's dog, \"Somewhere.\" In Dennis's bedroom is a projector of the solar system that he pronounces inaccurate. With the help of his friend Harlee and sister Liz, David tries to help Dennis overcome his delusionby both indulging it and encouraging him to act like everyone else. Dennis attends school but is quickly expelled for repeatedly 'stealing' items for his collection. Frustrated, David tells Liz that perhaps Dennis is fromMars.Meanwhile, David's literary agent, Jeff, pushes him to finish writing his commissioned sequel, which is due soon. He struggles to make time for writing, regularly pulled away from it to deal with Dennis. Whilesitting down to write, the flash from Dennis's Polaroid camera catches him off-guard and he accidentally breaks some glass. David picks Dennis up and carries him across the room. Upset by David's abrupt action, theboy fears he is going to be sent away. David explains that he was just worried he'd get cut by the glass and that he loves him more than his material possessions. Assuring him that he will never send him away, heencourages Dennis to break more things. They move to the kitchen and break dishes and then spray ketchup and dish detergent at each other. Lefkowitz, from Social Services, appears in the window and sees themayhem. He rebukes David, setting up a case review.David encourages Dennis to be from Mars only at home; though he must be from Earth everywhere else. Passing his interview by saying he was pretending, hestays with David. Now his adoptive father, he insists Dennis acknowledge being from Earth, making him hurt and angry. David leaves him with Liz to attend the reveal of his new book, supposedly a sequel. He confessesto Tina, the publisher, that rather than being a sequel, it is a new book titled Martian Child, about Dennis. In her fury, Tina makes a scene, but takes the manuscript as David leaves to be with Dennis.Meanwhile, Dennishas left the house with his suitcase of earthly artifacts. When David arrives home, he finds the police and learns the boy is gone, he remembers the place he'd said he was found. David asks Harlee to drive him to thelocation, where they spot Dennis high up on the outside ledge of the museum's domed roof. David climbs up to him as the police and Liz arrive. Dennis points out a bright searchlight in a nearby cloud as someonecoming to take him home, but David assures him it's just a helicopter. David professes his love for Dennis and asserts he will never ever leave him. Eventually Dennis trusts David and they hug.David's voiceover tellsabout the parallel of children who come into our world, struggling to understand it, being like little aliens. As Tina reads the manuscript aboard an airplane, she begins to cry.CastIn addition, Anjelica Huston plays Tina,David's publisher.ProductionDespite persistent misperceptions, this film is not based on David Gerrold's 2002 semi-autobiographical novel The Martian Child, (although it shares some of the same incidents) but rather isbased on his 1994 fictional Hugo and Nebula Award-winning novella of the same name, which has caused much confusion about the source material, especially for Gerrold's fans in segments of the gay community.  Theshort story does not specify the protagonist's sexual orientation.  Only when, years later, Gerrold rewrote and expanded his story to novella length did he choose to include his sexuality. While Gerrold had, in real life,adopted a son as an openly gay man, in the film the protagonist is straight and has a female love interest. Because of the confusion surrounding the different publication dates of the original short story and the latternovella, some members of the gay community have criticized the lead role in the film being portrayed as straight, even though the main character in the short story was never identified as gay. Gerrold has expresseddisappointment that the producers forced the protagonist to be changed from a gay man to a straight widower but felt it was a worthwhile trade-off to get published a story about a child in a group home needing aparent.The film began shooting in Vancouver on May 2, 2005, and completed filming in July 2005, with the studio repeatedly pushing back the release date. Jerry Zucker was hired to direct uncredited reshoots shortlybefore the film's release.ReleaseBox officeMartian Child opened in 2,020 venues on November 2, 2007 and earned $3,376,669 in its first weekend, ranking seventh in the domestic box office and third among theweekend's new releases. The film closed six weeks later on December 13, having grossed $7,500,310 domestically and $1,851,434 overseas, totaling $9,351,744 worldwide.Critical receptionThe film received mixedreviews from critics. On Rotten Tomatoes, the film has a 33% score, based on 106 reviews, with an average rating of 5/10. The site's consensus states: \"Despite some charms, overt emotional manipulation and aninconsistent tone prevents Martian Child from being the heartfelt dramedy it aspires to be.\" Metacritic reports a 48 out of 100 rating, based on 26 critics, indicating \"mixed or average reviews\".Home mediaMartian Childwas released on DVD on February 12, 2008. It opened at #20 the DVD sales chart, selling 69,000 units for revenue of $1.3 million. As per the latest figures, 400,000 DVD units have been sold, acquiring revenue of$7,613,945. This does not include DVD rentals/Blu-ray sales.  The film is available on Netflix streaming.AwardsPassage 4:Brian Kennedy (gallery director)Brian Patrick Kennedy (born 5 November 1961) is an Irish-bornart museum director who has worked in Ireland and Australia, and now lives and works in the United States.  He was the director of the Peabody Essex Museum in Salem for 17 months, resigning December 31, 2020.He was the director of the Toledo Museum of Art in Ohio from 2010 to 2019. He was the director of the Hood Museum of Art from 2005 to 2010, and the National Gallery of Australia (Canberra) from 1997 to2004.CareerBrian Kennedy currently lives and works in the United States after leaving Australia in 2005 to direct the Hood Museum of Art at Dartmouth College. In October 2010 he became the ninth Director of theToledo Museum of Art. On 1 July 2019, he succeeded Dan Monroe as the executive director and CEO of the Peabody Essex Museum.Early life and career in IrelandKennedy was born in Dublin and attended ClonkeenCollege. He received B.A. (1982), M.A. (1985) and PhD (1989) degrees from University College-Dublin, where he studied both art history and history.He worked in the Irish Department of Education (1982), theEuropean Commission, Brussels (1983), and in Ireland at the Chester Beatty Library (1983–85), Government Publications Office (1985–86), and Department of Finance (1986–89). He married Mary Fiona Carlin in1988.He was Assistant Director at the National Gallery of Ireland in Dublin from 1989 to 1997. He was Chair of the Irish Association of Art Historians from 1996 to 1997, and of the Council of Australian Art MuseumDirectors from 2001 to 2003. In September 1997 he became Director of the National Gallery of Australia.National Gallery of Australia (NGA)Kennedy expanded the traveling exhibitions and loans program throughoutAustralia, arranged for several major shows of Australian art abroad, increased the number of exhibitions at the museum itself and oversaw the development of an extensive multi-media site.  Although he oversawseveral years of the museum's highest ever annual visitation, he discontinued the emphasis of his predecessor, Betty Churcher, on showing \"blockbuster\" exhibitions.During his directorship, the NGA gained governmentsupport for improving the building and significant private donations and corporate sponsorship. However, the initial design for the building proved controversial generating a public dispute with the original architect onmoral rights grounds.  As a result, the project was not delivered during Dr Kennedy's tenure, with a significantly altered design completed some years later.  Private funding supported two acquisitions of British art,including David Hockney's A Bigger Grand Canyon in 1999, and Lucian Freud's After Cézanne in 2001. Kennedy built on the established collections at the museum by acquiring the Holmgren-Spertus collection ofIndonesian textiles; the Kenneth Tyler collection of editioned prints, screens, multiples and unique proofs; and the Australian Print Workshop Archive. He was also notable for campaigning for the construction of a new\"front\" entrance to the Gallery, facing King Edward Terrace, which was completed in 2010 (see reference to the building project above).Kennedy's cancellation of the \"Sensation exhibition\" (scheduled at the NGA from 2June 2000 to 13 August 2000) was controversial, and seen by some as censorship. He claimed that the decision was due to the exhibition being \"too close to the market\" implying that a national cultural institutioncannot exhibit the private collection of a speculative art investor. However, there were other exhibitions at the NGA during his tenure, which could have raised similar concerns. The exhibition featured the privatelyowned Young British Artists works belonging to Charles Saatchi and attracted large attendances in London and Brooklyn. Its most controversial work was Chris Ofili's The Holy Virgin Mary, a painting which used elephantdung and was accused of being blasphemous. The then-mayor of New York, Rudolph Giuliani, campaigned against the exhibition, claiming it was \"Catholic-bashing\" and an \"aggressive, vicious, disgusting attack onreligion.\" In November 1999, Kennedy cancelled the exhibition and stated that the events in New York had \"obscured discussion of the artistic merit of the works of art\". He has said that it \"was the toughest decision ofmy professional life, so far.\"Kennedy was also repeatedly questioned on his management of a range of issues during the Australian Government's Senate Estimates process - particularly on the NGA's occupational healthand safety record and concerns about the NGA's twenty-year-old air-conditioning system. The air-conditioning was finally renovated in 2003. Kennedy announced in 2002 that he would not seek extension of his contractbeyond 2004, accepting a seven-year term as had his two predecessors.He became a joint Irish-Australian citizen in 2003.Toledo Museum of ArtThe Toledo Museum of Art is known for its exceptional collections ofEuropean and American paintings and sculpture, glass, antiquities, artist books, Japanese prints and netsuke. The museum offers free admission and is recognized for its historical leadership in the field of arteducation.  During his tenure, Kennedy has focused the museum's art education efforts on visual literacy, which he defines as \"learning to read, understand and write visual language.\"   Initiatives have included babyand toddler tours, specialized training for all staff, docents, volunteers and the launch of a website, www.vislit.org. In November 2014, the museum hosted the International Visual Literacy Association (IVLA)conference, the first Museum to do so. Kennedy has been a frequent speaker on the topic, including 2010 and 2013 TEDx talks on visual and sensory literacy.Kennedy has expressed an interest in expanding themuseum's collection of contemporary art and art by indigenous peoples. Works by Frank Stella, Sean Scully, Jaume Plensa, Ravinder Reddy and Mary Sibande have been acquired.  In addition, the museum has mademajor acquisitions of Old Master paintings by Frans Hals and Luca Giordano.During his tenure the Toledo Museum of Art has announced the return of several objects from its collection due to claims the objects werestolen and/or illegally exported prior being sold to the museum.  In 2011 a Meissen sweetmeat stand was returned to Germany followed by an Etruscan Kalpis or water jug to Italy (2013), an Indian sculpture ofGanesha (2014) and an astrological compendium to Germany in 2015.Hood Museum of ArtKennedy became Director of the Hood Museum of Art in July 2005. During his tenure, he implemented a series of large andsmall-scale exhibitions and oversaw the production of more than 20 publications to bring greater public attention to the museum's remarkable collections of the arts of America, Europe, Africa, Papua New Guinea andthe Polar regions. At 70,000 objects, the Hood has one of the largest collections on any American college of university campus. The exhibition, Black Womanhood: Images, Icons, and Ideologies of the African Body,toured several US venues. Kennedy increased campus curricular use of works of art, with thousands of objects pulled from storage for classes annually. Numerous acquisitions were made with the museum's generousendowments, and he curated several exhibitions: including Wenda Gu: Forest of Stone Steles: Retranslation and Rewriting Tang Dynasty Poetry, Sean Scully: The Art of the Stripe, and Frank Stella: IrregularPolygons.PublicationsKennedy has written or edited a number of books on art, including:Alfred Chester Beatty and Ireland 1950-1968: A study in cultural politics, Glendale Press (1988), ISBN978-0-907606-49-9Dreams and responsibilities: The state and arts in independent Ireland, Arts Council of Ireland (1990), ISBN 978-0-906627-32-7Jack B Yeats: Jack Butler Yeats, 1871-1957 (Lives of Irish Artists),Unipub (October 1991), ISBN 978-0-948524-24-0The Anatomy Lesson: Art and Medicine (with Davis Coakley), National Gallery of Ireland (January 1992), ISBN 978-0-903162-65-4Ireland: Art into History (withRaymond Gillespie), Roberts Rinehart Publishers (1994), ISBN 978-1-57098-005-3Irish Painting, Roberts Rinehart Publishers (November 1997),  ISBN 978-1-86059-059-7Sean Scully: The Art of the Stripe, HoodMuseum of Art (October 2008), ISBN 978-0-944722-34-3Frank Stella: Irregular Polygons, 1965-1966, Hood Museum of Art (October 2010), ISBN 978-0-944722-39-8Honors and achievementsKennedy was awarded theAustralian Centenary Medal in 2001 for service to Australian Society and its art. He is a trustee and treasurer of the Association of Art Museum Directors, a peer reviewer for the American Association of Museums and amember of the International Association of Art Critics. In 2013 he was appointed inaugural eminent professor at the University of Toledo and received an honorary doctorate from Lourdes University. Most recently,Kennedy received the 2014 Northwest Region, Ohio Art Education Association award for distinguished educator for art education.== Notes ==Passage 5:Ian Barry (director)Ian Barry is an Australian director of film andTV.Select creditsWaiting for Lucas (1973) (short)Stone (1974) (editor only)The Chain Reaction (1980)Whose Baby? (1986) (mini-series)Minnamurra (1989)Bodysurfer (1989) (mini-series)Ring of Scorpio (1990)(mini-series)Crimebroker (1993)Inferno (1998) (TV movie)Miss Lettie and Me (2002) (TV movie)Not Quite Hollywood: The Wild, Untold Story of Ozploitation! (2008) (documentary)The Doctor Blake Mysteries(2013)Passage 6:Peter LevinPeter Levin is an American director of film, television and theatre.CareerSince 1967, Levin has amassed a large number of credits directing episodic television and television films. Some ofhis television series credits include Love Is a Many Splendored Thing, James at 15, The Paper Chase, Family, Starsky & Hutch, Lou Grant, Fame, Cagney & Lacey, Law & Order and Judging Amy.Some of his televisionfilm credits include Rape and Marriage: The Rideout Case (1980), A Reason to Live (1985), Popeye Doyle (1986), A Killer Among Us (1990), Queen Sized (2008) and among other films. He directed \"Heart in Hiding\",written by his wife Audrey Davis Levin, for which she received an Emmy for Best Day Time Special in the 1970s.Prior to becoming a director, Levin worked as an actor in several Broadway productions. He costarred withSusan Strasberg in \"[The Diary of Ann Frank]\" but had to leave the production when he was drafted into the Army. He trained at the Carnegie Mellon University. Eventually becoming a theatre director, he directedproductions at the Long Wharf Theatre and the Pacific Resident Theatre Company. He also co-founded the off-off-Broadway Theatre [the Hardware Poets Playhouse] with his wife Audrey Davis Levin and was also anassociate artist of The Interact Theatre Company.Passage 7:Marcus Child (field hockey)Marcus \"Marky\" Andrew Law Child (born 2 March 1991) is a retired New Zealand field hockey player, who played as a midfielder orforward for the New Zealand national team.Personal lifeMarcus Child was born and raised in Auckland, New Zealand. He has an older brother, Simon, who also plays representative hockey for New Zealand.CareerChildstarted playing hockey when he was four years old. He plays for Auckland in the New Zealand Hockey League. In the 2018–19 season he played for Pinoké in the Dutch Hoofdklasse.Child made his senior internationaldebut for the Black Sticks in 2010. Since his debut, he has been a regular inclusion in the side. In 2018, he was a silver medallist at the Commonwealth Games held in Gold Coast, Australia. In December 2020 heannounced his retirement from the national team.Passage 8:S. N. MathurS.N. Mathur was the Director of the Indian Intelligence Bureau between September 1975 and February 1980. He was also the Director General ofPolice in Punjab.Passage 9:Menno MeyjesMenno Meyjes (born 1954, Eindhoven) is a Dutch-born American screenwriter, film director, and film producer.Meyjes moved to the United States in 1972 and studied at San"}
+{"doc_id":"doc_92","qid":"","text":"Passage 1:Dana BlanksteinDana Blankstein-Cohen (born March 3, 1981) is the executive director of the Sam Spiegel Film and Television School. She was appointed by the board of directors  in November2019.  Previously she was the CEO of the Israeli Academy of Film and Television. She is a film director, and an Israeli culture entrepreneur.BiographyDana Blankstein was born in Switzerland in 1981 to theatre directorDedi Baron and Professor Alexander Blankstein. She moved to Israel in 1983 and grew up in Tel Aviv.Blankstein graduated from the Sam Spiegel Film and Television School, Jerusalem in 2008 with high honors. Duringher studies she worked as a personal assistant to directors Savi Gabizon on his film Nina's Tragedies and to Renen Schorr on his film The Loners.  She also directed and shot 'the making of' film on Gavison's film Lostand Found. Her debut film Camping competed at the Berlin International Film Festival, 2007.Film and academic careerAfter her studies, Dana founded and directed the film and television department at the Kfar Sabamunicipality. The department encouraged and promoted productions filmed in the city of Kfar Saba, as well as the established cultural projects, and educational community activities.Blankstein directed the mini-series\"Tel Aviviot\" (2012). From 2016-2019 was the director of the Israeli Academy of Film and Television.In November 2019 Dana Blankstein Cohen was appointed the new director of the Sam Spiegel Film and TelevisionSchool where she also oversees the Sam Spiegel International Film Lab. In 2022, she spearheaded the launch of the new Series Lab and the film preparatory program for Arabic speakers in eastJerusalem.FilmographyTel Aviviot (mini-series; director, 2012)Growing Pains (graduation film, Sam Spiegel; director and screenwriter, 2008)Camping (debut film, Sam Spiegel; director and screenwriter, 2006)Passage2:Richard T. JonesRichard Timothy Jones (born January 16, 1972) is an American actor. He has worked extensively in both film and television productions since the early 1990s. His television roles include Ally McBeal(1997), Judging Amy (1998–2005), CSI: Miami (2006), Girlfriends (2007), Grey's Anatomy (2010), Hawaii Five-0 (2011–2014), Narcos (2015), and Criminal Minds (2017). Since 2018, he has played Police SergeantWade Grey on the ABC police drama The Rookie.His film roles include portrayals of Lamont Carr in Disney's Full Court Miracle (2003), Laveinio \"Slim\" Hightower in Rick Famuyiwa's coming-of-age film The Wood (1999),Mike in Tyler Perry's dramatic films Why Did I Get Married? (2007) and Why Did I Get Married Too? (2010), and Captain Russell Hampton in the Hollywood blockbuster Godzilla (2014).Early lifeJones was born in Kobe,Japan, to American parents and grew up in Carson, California. He is the son of Lorene, a computer analyst, and Clarence Jones, a professional baseball player who at the time of Jones' birth was playing for the NankaiHawks in Osaka. He has an older brother, Clarence Jones Jr., who works as a high school basketball coach. They would return to North America after Clarence's retirement following the 1978 season. His parents laterdivorced. Jones attended Bishop Montgomery High School in Torrance, California, then graduated from Tuskegee University.CareerSince the early 1990s, Jones has worked in both film and television productions.His firsttelevision role was in a 1993 episode of the series California Dreams. That same year, he appeared as Ike Turner, Jr. in What's Love Got to Do with It. From 1999 to 2005, he starred as Bruce Calvin van Exel in the CBSlegal drama series Judging Amy.Over the next two decades, Jones starred or guest-starred in high-profile television series such as Ally McBeal (1997), CSI: Miami (2006), Girlfriends (2007), Grey's Anatomy (2010),Hawaii Five-0 (2011–2014), Narcos (2015), and Criminal Minds (2017).His film roles include portrayals of Lamont Carr in the Disney film Full Court Miracle (2003), Laveinio \"Slim\" Hightower in Rick Famuyiwa'scoming-of-age film The Wood (1999), and Mike in Tyler Perry's dramatic films Why Did I Get Married? (2007) and Why Did I Get Married Too? (2010), and Captain Russell Hampton in the Hollywood blockbuster Godzilla(2014).From 2017 to 2018, Jones played Detective Tommy Cavanaugh in the CBS drama series Wisdom of the Crowd.Since February 2018, Jones has played the role of Sergeant Wade Gray in the ABC police proceduraldrama series The Rookie with Nathan Fillion.Personal lifeJoshua Media Ministries claims that its leader, David E. Taylor, mentors Jones in ministry, and that Jones has donated $1 million to itsefforts.FilmographyFilmTelevisionPassage 3:Brian Kennedy (gallery director)Brian Patrick Kennedy (born 5 November 1961) is an Irish-born art museum director who has worked in Ireland and Australia, and now livesand works in the United States.  He was the director of the Peabody Essex Museum in Salem for 17 months, resigning December 31, 2020. He was the director of the Toledo Museum of Art in Ohio from 2010 to 2019.He was the director of the Hood Museum of Art from 2005 to 2010, and the National Gallery of Australia (Canberra) from 1997 to 2004.CareerBrian Kennedy currently lives and works in the United States after leavingAustralia in 2005 to direct the Hood Museum of Art at Dartmouth College. In October 2010 he became the ninth Director of the Toledo Museum of Art. On 1 July 2019, he succeeded Dan Monroe as the executive directorand CEO of the Peabody Essex Museum.Early life and career in IrelandKennedy was born in Dublin and attended Clonkeen College. He received B.A. (1982), M.A. (1985) and PhD (1989) degrees from UniversityCollege-Dublin, where he studied both art history and history.He worked in the Irish Department of Education (1982), the European Commission, Brussels (1983), and in Ireland at the Chester Beatty Library (1983–85),Government Publications Office (1985–86), and Department of Finance (1986–89). He married Mary Fiona Carlin in 1988.He was Assistant Director at the National Gallery of Ireland in Dublin from 1989 to 1997. He wasChair of the Irish Association of Art Historians from 1996 to 1997, and of the Council of Australian Art Museum Directors from 2001 to 2003. In September 1997 he became Director of the National Gallery ofAustralia.National Gallery of Australia (NGA)Kennedy expanded the traveling exhibitions and loans program throughout Australia, arranged for several major shows of Australian art abroad, increased the number ofexhibitions at the museum itself and oversaw the development of an extensive multi-media site.  Although he oversaw several years of the museum's highest ever annual visitation, he discontinued the emphasis of hispredecessor, Betty Churcher, on showing \"blockbuster\" exhibitions.During his directorship, the NGA gained government support for improving the building and significant private donations and corporate sponsorship.However, the initial design for the building proved controversial generating a public dispute with the original architect on moral rights grounds.  As a result, the project was not delivered during Dr Kennedy's tenure, witha significantly altered design completed some years later.  Private funding supported two acquisitions of British art, including David Hockney's A Bigger Grand Canyon in 1999, and Lucian Freud's After Cézanne in 2001.Kennedy built on the established collections at the museum by acquiring the Holmgren-Spertus collection of Indonesian textiles; the Kenneth Tyler collection of editioned prints, screens, multiples and unique proofs; andthe Australian Print Workshop Archive. He was also notable for campaigning for the construction of a new \"front\" entrance to the Gallery, facing King Edward Terrace, which was completed in 2010 (see reference to thebuilding project above).Kennedy's cancellation of the \"Sensation exhibition\" (scheduled at the NGA from 2 June 2000 to 13 August 2000) was controversial, and seen by some as censorship. He claimed that the decisionwas due to the exhibition being \"too close to the market\" implying that a national cultural institution cannot exhibit the private collection of a speculative art investor. However, there were other exhibitions at the NGAduring his tenure, which could have raised similar concerns. The exhibition featured the privately owned Young British Artists works belonging to Charles Saatchi and attracted large attendances in London and Brooklyn.Its most controversial work was Chris Ofili's The Holy Virgin Mary, a painting which used elephant dung and was accused of being blasphemous. The then-mayor of New York, Rudolph Giuliani, campaigned against theexhibition, claiming it was \"Catholic-bashing\" and an \"aggressive, vicious, disgusting attack on religion.\" In November 1999, Kennedy cancelled the exhibition and stated that the events in New York had \"obscureddiscussion of the artistic merit of the works of art\". He has said that it \"was the toughest decision of my professional life, so far.\"Kennedy was also repeatedly questioned on his management of a range of issues duringthe Australian Government's Senate Estimates process - particularly on the NGA's occupational health and safety record and concerns about the NGA's twenty-year-old air-conditioning system. The air-conditioning wasfinally renovated in 2003. Kennedy announced in 2002 that he would not seek extension of his contract beyond 2004, accepting a seven-year term as had his two predecessors.He became a joint Irish-Australian citizenin 2003.Toledo Museum of ArtThe Toledo Museum of Art is known for its exceptional collections of European and American paintings and sculpture, glass, antiquities, artist books, Japanese prints and netsuke. Themuseum offers free admission and is recognized for its historical leadership in the field of art education.  During his tenure, Kennedy has focused the museum's art education efforts on visual literacy, which he defines as\"learning to read, understand and write visual language.\"   Initiatives have included baby and toddler tours, specialized training for all staff, docents, volunteers and the launch of a website, www.vislit.org. In November2014, the museum hosted the International Visual Literacy Association (IVLA) conference, the first Museum to do so. Kennedy has been a frequent speaker on the topic, including 2010 and 2013 TEDx talks on visualand sensory literacy.Kennedy has expressed an interest in expanding the museum's collection of contemporary art and art by indigenous peoples. Works by Frank Stella, Sean Scully, Jaume Plensa, Ravinder Reddy andMary Sibande have been acquired.  In addition, the museum has made major acquisitions of Old Master paintings by Frans Hals and Luca Giordano.During his tenure the Toledo Museum of Art has announced the returnof several objects from its collection due to claims the objects were stolen and/or illegally exported prior being sold to the museum.  In 2011 a Meissen sweetmeat stand was returned to Germany followed by anEtruscan Kalpis or water jug to Italy (2013), an Indian sculpture of Ganesha (2014) and an astrological compendium to Germany in 2015.Hood Museum of ArtKennedy became Director of the Hood Museum of Art in July2005. During his tenure, he implemented a series of large and small-scale exhibitions and oversaw the production of more than 20 publications to bring greater public attention to the museum's remarkable collections ofthe arts of America, Europe, Africa, Papua New Guinea and the Polar regions. At 70,000 objects, the Hood has one of the largest collections on any American college of university campus. The exhibition, BlackWomanhood: Images, Icons, and Ideologies of the African Body, toured several US venues. Kennedy increased campus curricular use of works of art, with thousands of objects pulled from storage for classes annually.Numerous acquisitions were made with the museum's generous endowments, and he curated several exhibitions: including Wenda Gu: Forest of Stone Steles: Retranslation and Rewriting Tang Dynasty Poetry, SeanScully: The Art of the Stripe, and Frank Stella: Irregular Polygons.PublicationsKennedy has written or edited a number of books on art, including:Alfred Chester Beatty and Ireland 1950-1968: A study in cultural politics,Glendale Press (1988), ISBN 978-0-907606-49-9Dreams and responsibilities: The state and arts in independent Ireland, Arts Council of Ireland (1990), ISBN 978-0-906627-32-7Jack B Yeats: Jack Butler Yeats,1871-1957 (Lives of Irish Artists), Unipub (October 1991), ISBN 978-0-948524-24-0The Anatomy Lesson: Art and Medicine (with Davis Coakley), National Gallery of Ireland (January 1992), ISBN978-0-903162-65-4Ireland: Art into History (with Raymond Gillespie), Roberts Rinehart Publishers (1994), ISBN 978-1-57098-005-3Irish Painting, Roberts Rinehart Publishers (November 1997),  ISBN978-1-86059-059-7Sean Scully: The Art of the Stripe, Hood Museum of Art (October 2008), ISBN 978-0-944722-34-3Frank Stella: Irregular Polygons, 1965-1966, Hood Museum of Art (October 2010), ISBN978-0-944722-39-8Honors and achievementsKennedy was awarded the Australian Centenary Medal in 2001 for service to Australian Society and its art. He is a trustee and treasurer of the Association of Art MuseumDirectors, a peer reviewer for the American Association of Museums and a member of the International Association of Art Critics. In 2013 he was appointed inaugural eminent professor at the University of Toledo andreceived an honorary doctorate from Lourdes University. Most recently, Kennedy received the 2014 Northwest Region, Ohio Art Education Association award for distinguished educator for art education.== Notes==Passage 4:Love on the GroundLove on the Ground (French: L'Amour par terre) is a 1984 French film directed by Jacques Rivette. The film stars Jane Birkin, Geraldine Chaplin, André Dussollier and Jean-Pierre Kalfon.It was released in France on 17 October 1984.PlotOn the streets of Paris, a man mysteriously collects a group of people, finally leading them into a small apartment to witness a theatre performance. The audience, inclose proximity to the actors, become voyeurs. As they walk from room to room, they watch as bumbling Silvano (Bo) attempts to hide his two girlfriends, Charlotte (Chaplin) and Emily (Birkin), from each other in thissame crowded apartment. While the actors feel frustrated at the shambles of a set they must work with, the play's author, Clément Roquemaure (Kalfon), is silently auditioning them for his new play, to be held at hisstrangely empty mansion. After arriving at the unusual mansion, which has many wildly painted rooms, Charlotte and Emily start to experience disturbing visions, in part due to the presence of a magician, Paul, whoalso lives at the mansion. As the rehearsal progresses, the two actresses' visions start to unearth a romantic calamity that took place at the mansion. The final performance of the play places the two actresses into apossible tragic re-enactment of the very horror they are only now beginning to understand.CastGeraldine Chaplin as CharlotteJane Birkin as EmilyAndré Dussollier as PaulJean-Pierre Kalfon as ClémentRoquemaureIsabelle Linnartz as BéatriceSandra Montaigu as EléonoreLászló Szabó as VirgilFacundo Bo as SilvanoReceptionJanet Maslin of The New York Times noted that the screenplay \"wittily affords the director agreat many opportunities for a brand of gamesmanship that enlivens the film without trivializing it. Mr. Rivette is able to sustain a complex, shifting relationship between the real and the theatrical without losing thefilm's overriding sense of fun.\" Maslin continued her analysis; \"The process by which Clement's theatrical work is molded to fit reality, and vice versa, is rendered in a clever, entertaining style that fits perfectly with thebehavior of the participants, since Mr. Rivette displays a cool ingenuity that matches that of the performers. Even when it becomes entangled in the romances that take shape during the course of the week, the filmsustains its trickiness and sophistication.\" Maslin also praised the casting; \"Miss Birkin and Miss Chaplin make an invigorating team, and the combination of their offbeat styles is full of surprises.\"Colin Greenlandreviewed L'amour par terre for Imagine magazine, and stated that \"A teasing mystery, with wry, sensitive performances from Geraldine Chapman and Jane Birkin.\"Passage 5:Lamman RuckerLamman Rucker  (bornOctober 6, 1971) is an American actor. Rucker began his career on the daytime soap operas As the World Turns and All My Children, before roles in The Temptations, Tyler Perry's films Why Did I Get Married?, Why DidI Get Married Too?, and Meet the Browns, and its television adaptation. In 2016, he began starring as Jacob Greenleaf in the Oprah Winfrey Network drama series, Greenleaf. Rucker is married to Kelly Davis Rucker, agraduate of Hampton University. As of 2022, he stars in BET+ drama The Black Hamptons.Early lifeRucker was born in Pittsburgh, Pennsylvania, the son of Malaya (née Ray) and Eric Rucker. He has partial ancestryfrom Barbados. Rucker spent his formative years in the greater Washington, DC, Maryland area. He first had an interest in acting after he was placed in many child pageants.  His first acting role was as Martin LutherKing in the 4th grade. He was in the drama club in 7th grade and then attended high school at the Duke Ellington School of the Arts in Washington, D.C. Rucker studied at Carnegie-Mellon University and DuquesneUniversity.On August 29, 2019, he shared personal life experiences that he credits for his success with the Hampton University football team.CareerHis major role came in 2002 when he assumed the role of attorney T.Marshall Travers on the CBS daytime soap opera As the World Turns opposite Tamara Tunie. He left the series the following year and portrayed Garret Williams on ABC soap opera All My Children in 2005. He also hadthe recurring roles on the UPN sitcoms All of Us and Half & Half.Rucker is best known for his roles in the Tyler Perry's films. He co-starred in Why Did I Get Married? (2007) and  Why Did I Get Married Too? (2010). Heplayed Will Brown in 2008 film Meet The Browns. He later had a starring role on Perry's sitcom Meet the Browns reprising his role as Will from 2009 to 2011. The following year after Meet the Browns, Rucker was cast inthe male lead role opposite Anne Heche in the NBC comedy series Save Me, but left after pilot episode. He later had roles in a number of small movies and TV movies. Rucker also had regular role opposite Mena Suvariin the short-lived WE tv drama series, South of Hell.In 2015, Rucker was cast as one of leads in the Oprah Winfrey Network drama series, Greenleaf. He plays Jacob Greenleaf, the eldest son of Lynn Whitfield' and KeithDavid's characters.FilmographyFilmTelevisionAward nominationsPassage 6:Jacques RivetteJacques Rivette (French: [\u0000ak \u0000iv\u0000t]; 1 March 1928 – 29 January 2016) was a French film director and film critic mostcommonly associated with the French New Wave and the film magazine Cahiers du Cinéma. He made twenty-nine films, including L'Amour fou (1969), Out 1 (1971), Celine and Julie Go Boating (1974), and La BelleNoiseuse (1991). His work is noted for its improvisation, loose narratives, and lengthy running times.Inspired by Jean Cocteau to become a filmmaker, Rivette shot his first short film at age twenty. He moved to Paris topursue his career, frequenting Henri Langlois' Cinémathèque Française and other ciné-clubs; there, he met François Truffaut, Jean-Luc Godard, Éric Rohmer, Claude Chabrol and other future members of the New Wave.Rivette began writing film criticism, and was hired by André Bazin for Cahiers du Cinéma in 1953. In his criticism, he expressed an admiration for American films – especially those of genre directors such as John Ford,Alfred Hitchcock and Nicholas Ray – and was deeply critical of mainstream French cinema. Rivette's articles, admired by his peers, were considered the magazine's best and most aggressive writings, particularly his1961 article \"On Abjection\" and his influential series of interviews with film directors co-written with Truffaut. He continued making short films, including Le Coup de Berger, which is often cited as the first New Wavefilm. Truffaut later credited Rivette with developing the movement.Although he was the first New Wave director to begin work on a feature film, Paris Belongs to Us was not released until 1961, by which time Chabrol,Truffaut and Godard released their own first features and popularised the movement worldwide. Rivette became editor of Cahiers du Cinéma during the early 1960s and publicly fought French censorship of his secondfeature film, The Nun (1966). He then re-evaluated his career, developing a unique cinematic style with L'amour fou. Influenced by the political turmoil of May 68, improvisational theatre and an in-depth interview with"}
+{"doc_id":"doc_93","qid":"","text":"Passage 1:Alexandru CristeaAlexandru Cristea (1890–1942) was the composer of the music for \"Limba Noastră\", current national anthem of Moldova.BiographyA choir director, a composer and music teacher. Taught atthe  \"Vasile Kormilov\" music school (1928) with Gavriil Afanasiu and the  \"Unirea\" Conservatory (1927–1929) in Chişinău with Alexandru Antonovschi (canto), he was the master of vocal music from Chişinău(1920–1940), professor of music and conductor of the choir in the boys gymnasium \"Ion Heliade Rădulescu\" in Bucure\u0000ti (1940–1941). Later, between 1941 and 1942, he directed the choir at the \"Queen Mother Elena\"high school from Chişinău. In 1920, he was ordained as a deacon of the St. George Church in Chişinău, from 1927 to 1941 was a deacon holds the Metropolitan Cathedral of Chişinău.CreationHis main creation isconsidered the music for \"Limba Noastră\", current national anthem of Moldova, composed in the lyrics of the priest-poet Alexei Mateevici. He was awarded the “Răsplata muncii pentru biserică”.Passage 2:Karl Wilhelm(conductor)Karl Wilhelm, also Carl Wilhelm (5 September 1815, Schmalkalden – 26 August 1873, Schmalkalden) was a German choral director. He is best known as the composer of the music of the song “Die Wacht amRhein.”BiographyWilhelm was born in Schmalkalden. He studied at Cassel under Louis Spohr, and then in Frankfurt am Main with Aloys Schmitt and A. André. From 1841 to 1864 he was the director of the KrefeldLiedertafel for which he composed numerous male choruses. In Krefeld in 1854 he set to words “Die Wacht am Rhein,” the poem Max Schneckenburger wrote in 1840. In recognition of the success and the nationalimportance of this song, he received the title of “Royal Prussian Musical Director” in 1860, and four years later received a gold medal from Queen (later Empress) Augusta.On 24 June 1871, he received a personalacknowledgement from Chancellor of the German Empire Otto von Bismarck. In the same year, he received an annual gift from the government of 3,000 marks, which was then more than four times a typicalsalary.From 1865 on, Wilhelm worked as the director of the music society in Schmalkalden, where he died eight years later.NotesPassage 3:Pydimarri Venkata Subba RaoPydimarri Venkata Subba Rao (10 June 1916 –1988) was a Telugu author who is best remembered as the composer of the National Pledge of India.Writer and polyglotSubba Rao was a native of Anneparthy village in the Nalgonda District of Telangana. He was apolyglot, having mastered Sanskrit, Telugu, English and Arabic. He was also a naturopathy doctor and a bureaucrat who wrote several books in Telugu, the most famous of which is the novel Kalabhairavudu.Composerof the National PledgeSubba Rao composed the National Pledge in Telugu in 1962 while he was serving as the District Treasury Officer of Vishakhapatnam District of Andhra Pradesh. He was a close associate of thenationalist leader Tenneti Viswanadham, who forwarded the pledge to the then Education Minister of Andhra Pradesh, P.V.G. Raju who was also known as the Raja Saheb of Vizianagaram. Raju directed all the schools inthe district to have the students take the pledge and it was subsequently taken up at the national level. The Advisory Committee of the Department of Education, Government of India at its meeting in Bangalore in 1964decided to introduce the pledge in all schools nationally from 26 January 1965. The Government of India had it translated into seven languages and directed that it be taken in schools every day.  Curiously, Subba Raohimself remained unaware of the status of this pledge as the National Pledge. It was only when, after his retirement, he happened to hear his granddaughter read the pledge from a textbook that he and his familyrealised this. The records with the Union Human Resources Development Ministry also record him as the author of the Pledge although his family's letters to the central and state governments remained unanswereduntil his death in 1988.Golden Jubilee Celebrations2012 marks the golden jubilee year of the National Pledge and there are plans afoot to commemorate it and the author as part of the celebrations.Passage 4:AlexanderCourageAlexander Mair Courage Jr. (December 10, 1919 – May 15, 2008) familiarly known as \"Sandy\" Courage, was an American orchestrator, arranger, and composer of music, primarily for television and film. He isbest known as the composer of the theme music for the original Star Trek series.Early lifeCourage was born in Philadelphia, Pennsylvania. He received a music degree from the Eastman School of Music in Rochester,New York, in 1941. He served in the United States Army Air Forces in the western United States during the Second World War. During that period, he also found the time to compose music for the radio. His credits inthis medium include the programs Adventures of Sam Spade Detective, Broadway Is My Beat, Hollywood Soundstage, and Romance.CareerCourage began as an orchestrator and arranger at MGM studios, whichincluded work in such films as the 1951 Show Boat (\"Life Upon the Wicked Stage\" number); Hot Rod Rumble (1957 film); The Band Wagon (\"I Guess I'll Have to Change My Plan\"); Gigi (the can-can for the entrance ofpatrons at Maxim's); and the barn raising dance from Seven Brides for Seven Brothers.He frequently served as an orchestrator on films scored by André Previn (My Fair Lady, \"The Circus is a Wacky World\", and \"You'reGonna Hear from Me\" production numbers for Inside Daisy Clover), Adolph Deutsch (Funny Face, Some Like It Hot), John Williams (The Poseidon Adventure, Superman, Jurassic Park, and the AcademyAward-nominated musical films Fiddler on the Roof and Tom Sawyer), and Jerry Goldsmith (Rudy, Mulan, The Mummy, et al.).  He also arranged the Leslie Bricusse score (along with Lionel Newman) for Doctor Dolittle(1967).Apart from his work as a respected orchestrator, Courage also contributed original dramatic scores to films, including two westerns: Arthur Penn's The Left Handed Gun (1958) and André de Toth's Day of theOutlaw (1959), and the Connie Francis comedy Follow the Boys (1963). He continued writing music for movies throughout the 1980s and 1990s, including the score for Superman IV: The Quest for Peace (1987), whichincorporated three new musical themes by John Williams in addition to Courage's adapted and original cues for the film. Courage's score for Superman IV: The Quest for Peace was released on CD in early 2008 by theFilm Music Monthly company as part of its boxed set Superman - The Music, while La-La Land Records released a fully expanded restoration of the score on May 8, 2018, as part of Superman's 80th anniversary.Couragealso worked as a composer on such television shows as Daniel Boone, The Brothers Brannagan, Lost in Space, Eight Is Enough, and Voyage to the Bottom of the Sea. Judd, for the Defense, Young Dr. Kildare and TheBrothers Brannagan were the only television series besides Star Trek for which he composed the main theme.The composer Jerry Goldsmith and Courage teamed on the long-running television show The Waltons inwhich Goldsmith composed the theme and Courage the Aaron Copland-influenced incidental music. In 1988, Courage won an Emmy Award for his music direction on the special Julie Andrews: The Sound ofChristmas.  In the 1990s, Courage succeeded Arthur Morton as Goldsmith's primary orchestrator.Courage and Goldsmith collaborated again on orchestrations for Goldsmith's score for the 1997 film \"The Edge.\"Couragefrequently collaborated with John Williams during the latter's tenure with the Boston Pops Orchestra.FamilyAt the age of 35, Courage married Mareile Beate Odlum on October 6, 1955.Mareile, born in Germany, was thedaughter of Rudolf Wolff and Elisabeth Loechelt. After Wolff's suicide Elisabeth married Carl Wilhelm Richard Hülsenbeck, renowned for his involvement in the Dada movement in Europe. Hülsenbeck brought his wife(Elisabeth), son (Tom) and step-daughter (Mareile) to the United States in 1938 to avoid the political situation rapidly developing in Europe. After arriving in the US he changed his last name to Hulbeck.Mareile'smarriage to Courage was her third. Her second marriage was to Bruce Odlum (son of financier Floyd Odlum) in 1944. That union produced two sons, Christopher (1947) and Brian (1949). When Courage married Mareilehe accepted the responsibility of acting stepfather to them. The family originally lived together on Erskine Dr. in Pacific Palisades, but later moved to a mountainside home on Beverly Crest Drive in Beverly Hills.Asidefrom his musical abilities Courage was also an avid and accomplished photographer. He took many dramatic photos of bullfights and auto racing. He was a racing enthusiast, and his interest in that sport andphotography brought him into contact with many racing personalities of the era, notably Phil Hill and Stirling Moss, both of whom he considered friends. Moss paid at least one social visit to the Erskine residence.Thougha dedicated stepfather to Christopher and Brian, Courage's musical career took precedence over his familial responsibilities. He sought to interest his step-children in music, and was responsible for arranging Brian's firstmusical lessons, on alto saxophone. Later in life Brian became a composer of serious electronic music, though the vocation was not apparent during his childhood, as he was a poor saxophone student.Alexander andMareile were divorced April 1, 1963. Courage subsequently married Kristin M. Zethren on July 14, 1967. That marriage also ended in divorce in 1972.Star Trek themeCourage is best known for writing the theme musicfor the original Star Trek series, and other music for that series. Courage was hired by Star Trek creator Gene Roddenberry to score the original series at Jerry Goldsmith's suggestion, after Goldsmith turned down thejob.  Courage went on to score incidental music for episodes \"The Man Trap\" and \"The Naked Time\" and some cues for \"Mudd's Women.\"Courage reportedly became alienated from Roddenberry when Roddenberryclaimed half of the theme music royalties. Roddenberry wrote words for Courage's theme, not because he expected the lyrics to be sung on television, but so that he (Roddenberry) could receive half of the royaltiesfrom the song by claiming credit as the composition's co-writer. Courage was replaced by composer Fred Steiner who was then hired to write the musical scores for the remainder of the first season. After sound editorshad difficulty finding the right effect, Courage himself made the iconic \"whoosh\" sound heard while the Enterprise flies across the screen.He returned to Star Trek to score two more episodes for the show's third and finalseason, episodes \"The Enterprise Incident\" and \"Plato's Stepchildren,\" allegedly as a courtesy to Producer Robert Justman.Notably, after later serving as Goldsmith's orchestrator, when Goldsmith composed the musicfor Star Trek: The Motion Picture,  Courage orchestrated Goldsmith's adaptation of his original Star Trek theme.Following Star Trek: The Motion Picture, Courage's iconic opening fanfare to the Star Trek theme becameone of the franchise's most famous and memorable musical cues. The fanfare has been used in multiple motion pictures and television series,  notably Star Trek: The Next Generation and the four feature films basedupon that series, three of which were scored by Goldsmith.DeathCourage had been in declining health for several years before he died on May 15, 2008, at the Sunrise assisted-living facility in Pacific Palisades,California. He had suffered a series of strokes prior to his death. His mausoleum is in Westwood Village Memorial Park Cemetery.Passage 5:Petrus de DomartoPetrus de Domarto (fl. c. 1445–1455) was a Franco-Flemishcomposer of the Renaissance.  He was a contemporary and probable acquaintance of Ockeghem, and was the composer of at least one of the first unified mass cycles to be written in continental Europe.LifeDomarto'slife is poorly documented.  He was listed as a singer at the Church of Our Lady in Antwerp in 1449, five years after Ockeghem was known to be there, and there is evidence he was in Tournai in 1451.  He had a highreputation (which makes the lack of documentation on his life curious), but even so was passed over for a post as master of the choirboys (in favor of Paulus Iuvenis).  No other documentation on his life has yet come tolight.Music and reputationDomarto's two mass settings, the Missa Spiritus almus and a Missa sine nomine, were famous at the time.  The latter of the two may have been one of the earliest cyclic masses composed onthe continent, most likely in the 1440s, and imitates some features of contemporary English composers such as Leonel Power.  The Missa Spiritus almus, likely dating from the 1450s, is a cantus-firmus mass, with themelody always in the tenor, but with a changing rhythmic profile as it changes mensuration throughout the piece.  The procedure was evidently influential on the next generation of composers, for it was still beingcopied in the 1480s, and Busnois may have based one of his own masses on the same method (the Missa O crux lignum). The theorist and writer Johannes Tinctoris criticised it for exactly the features that inspired othercomposers.The two surviving secular compositions by Domarto are both rondeaux, formes fixes of the type popular with the Burgundian School.WorksMassesMissa Spiritus almus (four voices)Missa sine nomine (threevoices)SecularRondeaux, each for three voices:Chelui qui est tant plain de duelJe vis tous jours en esperanceNotesPassage 6:Inescapable (song)\"Inescapable\" is a song by Australian recording artist Jessica Mauboy. Itwas written by Diane Warren and produced by Youngboyz, Anthony Egizii and David Musumeci. \"Inescapable\" was sent to Australian contemporary hit radio on 4 July 2011, and was released for digital download on 15July 2011 as the first single from the deluxe edition of Mauboy's second studio album Get 'Em Girls. The song's lyrics revolve around \"a relationship all gone wrong but also a celebration.\"\"Inescapable\" peaked atnumber four on the ARIA Singles Chart and became Mauboy's highest-charting single since 2008's \"Burn\". It was certified double platinum by the Australian Recording Industry Association (ARIA). The accompanyingmusic video was directed by Mark Alston and features scenes of Mauboy on different coloured backdrops and a dedication to Jay Dee Springbett.Background and composition\"Inescapable\" was written by Diane Warrenand produced by Youngboyz, Anthony Egizii and David Musumeci. It was one of the songs Warren and Mauboy worked on in Los Angeles for her second studio album Get 'Em Girls (2010). However, the song did notmake the final track list on the standard edition of Get 'Em Girls and was later included on the deluxe edition. \"Inescapable\" is a pop song written in the key of E minor. Mauboy told The Daily Telegraph that it \"is justabout a relationship all gone wrong but also a celebration.\" Her manager David Champion said \"Inescapable\" was a dedication to Sony Music record-label executive Jay Dee Springbett, who was found dead at hisSydney apartment on 30 June 2011. Champion said, \"Jess and JD worked very closely together on making 'Inescapable' and she is devastated by his passing... His spirit lives on in the recording.\"ReceptionJonathonMoran of The Daily Telegraph praised \"Inescapable\" for being \"catchy, sexy, [and] radio-friendly\", while a writer for 97.3 FM called it \"an absolute smash.\" For the week commencing 1 August 2011, \"Inescapable\"debuted at number 20 on the ARIA Singles Chart and number eight on the ARIA Urban Singles Chart. The song peaked at number four on the ARIA Singles Chart on 15 August 2011, and became Mauboy's fifth top-tensingle. On the ARIA Urban Singles Chart, \"Inescapable\" peaked at number one. It was certified double platinum by the Australian Recording Industry Association (ARIA), for selling over 140,000 copies.MusicvideoBackgroundThe music video was directed by Mark Alston and filmed in Sydney. A behind-the-scenes video of the shoot was posted on The Daily Telegraph website on 3 July 2011. The completed video premieredon Mauboy's Vevo account on 15 July 2011.SynopsisThe video opens showing Mauboy on a blue backdrop singing with a gold microphone inside a gold cube without walls. The next scene shows her in front of a goldbackdrop wearing a leopard-print dress with black boots; she is standing beside a man who is tied up and sings to him with a megaphone. Another scene shows Mauboy wearing a navy blue jumpsuit in a room full ofmirrors. Throughout the video, Mauboy is seen with two male dancers performing choreography on a dark grey backdrop. The video ends with a dedication to Jay Dee Springbett saying, \"To Jay, We did it! This is oursong. Your forever in my heart. Love Jess.\"ReceptionA writer for 97.3 FM called the video \"vibrant, fun, [and] colourful fantastic\" and wrote that it \"showcases Jess at her best & is exactly what the Australian public loveabout our girl.\" A biographer of Mauboy's for The Celebrity Bureau commented, \"Her single 'Inescapable' was written by renowned US songwriter Diane Warren and went on to achieve DOUBLE PLATINUM sales and over1 million views on YouTube/Vevo.\"Live performancesMauboy performed \"Inescapable\" live for the first time at the 2011 ASTRA Awards on 21 July 2011. On 2 August 2011, she performed the song on the Australia's GotTalent grand finale, wearing a leopard-print jacket, black dress and black heels. She also performed \"Inescapable\" on Sunrise on 9 August 2011, wearing a black and white dress with black heels. A live version of\"Inescapable\" was included on Mauboy's extended play iTunes Session (2014).Track listingDigital download\"Inescapable\" (Youngboyz Mix) – 3:35\"Inescapable\" (OFM Mix) – 3:33ChartsWeekly chartsYear-endchartsCertificationsRelease historyPassage 7:Michelangelo FaggioliMichelangelo Faggioli (1666–1733) was an Italian lawyer and celebrated amateur composer of humorous cantatas in Neapolitan dialect. A founder of anew genre of Neapolitan comedy, he was the composer of the opera buffa La Cilla in 1706.Passage 8:Diane WarrenDiane Eve Warren (born September 7, 1956) is an American songwriter. She has won an AcademyHonorary Award, Grammy Award, an Emmy Award, two Golden Globe Awards, and, three consecutive Billboard Music Awards for Songwriter of the Year.Warren's career was jump-started in 1985 with \"Rhythm of theNight\" by DeBarge. In the late 1980s, she joined forces with the UK music company EMI, where she became the first songwriter in the history of Billboard magazine to have seven hits, all by different artists, on thesingles chart at the same time, prompting EMI's UK Chairman Peter Reichardt to call her \"the most important songwriter in the world\". She has been rated the third most successful female artist in the UK.Warren haswritten nine number-one songs and 32 top-10 songs on the Billboard Hot 100 including \"If I Could Turn Back Time\" (Cher, 1989), \"Because You Loved Me\" (Celine Dion, 1996), \"How Do I Live\" (LeAnn Rimes, 1997), and\"I Don't Want to Miss a Thing\" (Aerosmith, 1998).  Two of the top 13 hits in the Hot 100's 57-year history were composed by Warren.  She has been inducted into the Songwriters Hall of Fame and received a star on theHollywood Walk of Fame. Her UK success saw her win an Ivor Novello Award when she received the Special International Award in 2008. Warren has been nominated for 14 competitive Academy Award nominationswithout a win; she received an honorary Oscar at the Governors Awards in November 2022.She controls the rights over her music through her publishing company, Realsongs. Her debut album was released on August27, 2021.Early lifeWarren, the youngest of three daughters, was born to David, an insurance salesman, and Flora Warren, in the Los Angeles community of Van Nuys, where she said she felt misunderstood and\"alienated\" as a child growing up. Her family's surname \"Warren\" was originally \"Wolfberg\", but her father changed the name because he wanted it to sound less Jewish. Warren says she was rebellious as a child andtold NPR's Scott Simon that she got into trouble and ran away as a teen but returned because she missed her cat.As a child, Warren loved listening and dreamed of performing on the radio herself. She was alsoinfluenced by music by her parents and her sisters, who would play music. She began writing music when she was 11 but took a more serious approach at 14, commenting \"music saved me.\" Warren has said that hermother asked her to give up her dream of a songwriting career and take a secretarial job. However, her father continued to believe in her and encouraged her. In addition, he bought her a 12-string guitar and a metal"}
+{"doc_id":"doc_94","qid":"","text":"Passage 1:Don River (North Queensland)The Don River is a river in North Queensland, Australia.Course and featuresThe Don River rises in the Clarke Range, part of the Great Dividing Range, below Mount Roundhill and west of Proserpine. The river flows generally north by northeast through the Eungella National Park and is joined by thirteen minor tributaries, towards its mouth and empties into the Coral Sea north of Bowen. With a catchment area of 1,200 square kilometres (460 sq mi), the river descends 253 metres (830 ft) over its 60-kilometre (37 mi) course.High salinity levels have been recorded at the mouth of the river. Land use in the upper catchment is mostly beef cattle production with crops grown in the richer soils downstream.The river is crossed by the Bruce Highway via the Don River Bridge at Bowen.FloodingThe highest recorded flood was in 1970 when the river reached 7.25 metres (23.8 ft) at the Bowen Pumping Station. The river delta is particularly vulnerable to flooding during cyclones.Floods in 2008 left deposits of sand which raised the riverbed considerably. Approval to dredge sand was granted by the Queensland Government, however only about half of that has been removed in recent years. A flood in 2008 lead the Whitsunday Regional Council to create a channel so that similar flooding could be avoided.A management plan for the river was established late in 2008.  It included measures to encourage further sand extraction.See alsoList of rivers of Australia § QueenslandPassage 2:Bowen River (Queensland)The Bowen River is a river in North Queensland, Australia.Course and featuresFormed by the confluence of the Broken River and the Little Bowen River near Tent Hill in the Normanby Range, part of the Great Dividing Range, the Bowen River flows in a north-westerly direction along the base of the range then flows west across Emu Plains and is crossed by the Bowen Developmental Road just north of Havilah. The river then flows north-west again between the Herbert Range and Leichhardt Range then discharges into the Burdekin River, south southeast of Ravenswood. The river descends 98 metres (322 ft) over its 129-kilometre (80 mi) course.The catchment area of the river occupies 9,452 square kilometres (3,649 sq mi) of which an area of 236 square kilometres (91 sq mi) is composed of riverine wetlands. The catchment is in poor condition with much of the riparian habitat having been cleared and prone to erosion. The area is mostly used for cattle grazing with the towns of Collinsville and Glendon both drawing their town water supply from the Bowen River Weir. The river has a mean annual discharge of 1,618 gigalitres (3.56×1011 imp gal; 4.27×1011 US gal).The Bowen River Weir supplies water to a coal mine, power station and the township of Collinsville.HistoryThe river was named in 1861 by the Queensland Government, derived from the name of the town Bowen which was named in honour of Sir George Bowen, a  Governor of Queensland.In the 1860s, Richard Daintree made mineral discoveries along the river. Daintree made the first systematic examination of the Bowen River coal seams near Collinsville.Circa 1865, the Bowen River Hotel was built at the top of a steep bank of the river (20.534°S 147.5562°E\u0000 / -20.534; 147.5562\u0000 (Bowen River Hotel)). The hotel is now listed on the Queensland Heritage Register.Construction of the Bowen River Weir commenced in April 1982 and was completed in August 1983. The A$6.5 million project is situated approximately 25 kilometres (16 mi) south of Collinsville and delivers water to the Newlands Coal Mine.See alsoList of rivers of Australia § QueenslandPassage 3:Alder Creek (Siskiyou County, California)Alder Creek is a  river located in Siskiyou County, California.Passage 4:Bighead RiverThe Bighead River is a river in Grey County in southern Ontario, Canada, that flows from the Niagara Escarpment between the communities along Ontario Highway 10 of Arnott and Holland Centre in the township of Chatsworth to empty into Nottawasaga Bay, an inlet of Georgian Bay on Lake Huron, at Meaford.The river crosses the Bruce Trail in the valley between the Spey River Forest Area and the Walters Falls Conservation Area.TributariesEast Minniehill Creek (right)Minniehill Creek (right)Rocklyn Creek (right)Walters Creek (right)See alsoList of rivers of OntarioPassage 5:Aibiki RiverThe Aibiki River (\u0000\u0000\u0000, Aibiki-gawa) is a river located in Takamatsu, Kagawa, Japan.NameThe river is named \"Aibiki\" (roughly translating as \"mutual pulling\") because both its source and its mouth are in the Seto Inland Sea. During low tide, the river flows towards both the mouth and the origin, making it seem like it is being pulled both ways.It is also said that the name came about during the Battle of Yashima, which was fought between the Minamoto and Taira clans.Passage 6:Haughton RiverThe Haughton River is a river in North Queensland, Australia.Course and featuresThe headwaters of the river rise in the Haughton Valley of the Leichhardt Range near Mingela and flow in a north easterly direction almost immediately crossing the Flinders Highway. The river then passes between Mount Prince Charles and Mount Norman then past Glendale. Major Creek discharges into the Haughton under Major Creek Mountain and the river continues crossing the Bruce Highway just south of Giru. The Haughton enters Bowling Green Bay National Park and finally discharges into Bowling Green Bay south of Townsville near Cungulla and then into the Coral Sea.The assessed catchment area of the river varies, with one estimate of the area at 8,690 square kilometres (3,360 sq mi) and another assessed at 4,051 square kilometres (1,564 sq mi). Of this latter area, 316 square kilometres (122 sq mi) is composed of estuarine wetlands.The floodplain area of the catchment also holds valuable wetlands, parts of the Bowling Green Bay National Park and Ramsar site (QDEH 1991) are listed in the Directory of Important Wetlands. The upper part of the catchment has few permanent waterholes. An estimated 77% of the catchment is cleared, cattle grazing is the dominant land use in the area, with the production of sugarcane and other forms of horticulture taking up most of the catchment area. An area of 328 square kilometres (127 sq mi) is protected.A total of 27 species of fish have been found in the river, including the glassfish, Pacific Short-finned Eel, blue catfish, milkfish, Fly-specked hardyhead, mouth almighty, Empire gudgeon, barred grunter, barramundi, oxeye herring, mangrove jack, eastern rainbowfish, Bony bream, Freshwater Longtom and Seven-spot Archerfish.EtymologyThe river was named in 1861 after Richard Houghton, a stockman, by his friend the pastoralist and explorer James Cassady. Originally named Houghton River it was renamed to the current spelling by the Surveyor General in 1950 at the request of local residents and the electoral office.See alsoList of rivers of Australia § QueenslandPassage 7:Stuart River (Minnesota)The Stuart River is a river located in Minnesota, in the United States.See alsoList of rivers of MinnesotaPassage 8:Kakwa RiverThe Kakwa River is a tributary of the Smoky River in western Alberta, Canada.The river is named for Kakwa, the Cree word for porcupine. Porcupines are abundant in Kakwa Provincial Park and Protected Area.Tourism along the river revolves around bull trout fishing and white water rafting. Kakwa Falls (54.10913°N 119.92350°W\u0000 / 54.10913; -119.92350\u0000 (Kakwa Falls)) are developed in the course of the river, over a 30-metre (98 ft) high ledge formed by an outcrop of the Cadomin Formation. The area was designated a protected wildland (Kakwa Wildland Park). It can be accessed through the forestry road network south of Highway 666, approximately 35 kilometres (22 mi) south of Two Lakes Provincial Park.CourseThe Kakwa River originates in Kakwa Lake, north of McBride, in British Columbia, at an elevation of 1,495 metres (4,905 ft). The surrounding area is protected by Kakwa Provincial Park and Protected Area. The river flows north-east into the province of Alberta in Kakwa Wildlands Park, then flows east and north-east through the foothills. It is crossed by the Bighorn Highway before it converges into the Smoky River, at an elevation of 670 metres (2,200 ft).TributariesFrom its origins to its mouth, Kakwa River receives waters from:Kakwa LakeCecilia CreekMouse Cache CreekMusreau CreekFrancis Peak CreekSouth Kakwa RiverLynx CreekRavine CreekChicken CreekDaniel CreekCopton CreekRedrock CreekRoute CreekPrairie CreekSee alsoList of rivers of AlbertaPassage 9:Dawson River (Queensland)The Dawson River is a river in Central Queensland, Australia.Course and featuresThe Dawson River rises in the Carnarvon Range, draining through the Carnarvon National Park, northwest of the settlement of Upper Dawson. The flows generally south by east, crossed by the Carnarvon Highway and then flows generally east through the settlement of Taroom where the river is crossed by the Leichhardt Highway. The river then flows in a northerly direction through the settlement of Theodore where the river is again crossed by the Leichhardt Highway. The river flows north through the settlement of Baralaba and towards Duaringa, crossed by the Capricorn Highway. A little further north, the Dawson River forms confluence with the Mackenzie River to form the Fitzroy River. From source to mouth, the river is joined by sixty-four tributaries, including the Don River, and descends 587 metres (1,926 ft) over its 735-kilometre (457 mi) course. Several weirs have been constructed along the river to provide water for cotton and dairy farming in the region. The river catchment covers an area of 50,800 square kilometres (19,600 sq mi).Expedition National Park and the Precipice National Park are protected areas along the Dawson River.The Dawson River was one of a number of Queensland rivers affected by the 2010–11 Queensland floods. As the river inundated the town of Theodore it was completely evacuated, a first in Queensland's history.HistoryGungabula (also known as Kongabula and Khungabula) is an Australian Aboriginal language of the headwaters of the Dawson River in Central Queensland. The language region includes areas within the local government area of Maranoa Region, particularly the towns of Charleville, Augathella and Blackall and as well as the Carnarvon Range.Ludwig Leichhardt explored the area in 1844 and named the river in honour of Robert Dawson, one of Leichhardt's financial backers.In the 1920s, shortly after the First World War, Australian Labor Party politician Ted Theodore (1884-1950) launched an irrigation program on the Dawson River for returning soldiers. His intentions was to provide them with arable land along the river for them to take up farming, thus eschewing a post-war recession. After the 1922 Irrigation Act was passed, he started irrigation schemes on the Dawson River, for an initial 8,000 new farmers. However, the scheme was abandoned after he realized the soil was unsuitable for farming and the returning soldiers had no agrarian skills.See alsoBoggomossList of rivers of Australia § QueenslandPassage 10:Dee River (Queensland)The Dee River is a river in Central Queensland, Australia.Course and featuresPart of the Fitzroy River system, the Dee River rises in the Razorback Range south of Bouldercombe Gorge Resources Reserve near Mount Gavial, south of Bouldercombe. The river flows generally south by west through the mining settlement of Mount Morgan, Waluml and Dululu, where the river is crossed by the Burnett Highway. The river is joined by seven minor tributaries including Limestone Creek, Horse Creek, Hamilton Creek, Nine Mile Creek, Boulder Creek, Oaky Creek and Pruce Creek.  The Dee River forms its confluence with the Don River near Rannes.The largest dam on the river is Number 7 Dam, built for the Mount Morgan Mine, which has a history of acid mine discharge from gold and copper mining entering the Dee River.Mine pitIn January 2013, the mine pit overflowed. Approximately 700 millimetres (28 in) of rain fell after ex-tropical Cyclone Oswald resulted in the 2013 Eastern Australia floods.  Towards the end of February the dam was spilling acid and heavy metals into the river.  Concerns regarding the discolouration of the river's water and fears of contamination causing irreversible damage to the river were raised in mid-2011.See alsoList of rivers of Australia § Queensland"}
+{"doc_id":"doc_95","qid":"","text":"Passage 1:Jesse E. HobsonJesse Edward Hobson (May 2, 1911 – November 5, 1970) was the director of SRI International from 1947 to 1955. Prior to SRI, he was the director of the Armour Research Foundation.Earlylife and educationHobson was born in Marshall, Indiana. He received bachelor's and master's degrees in electrical engineering from Purdue University and a PhD in electrical engineering from the California Institute ofTechnology. Hobson was also selected as a nationally outstanding engineer.Hobson married Jessie Eugertha Bell on March 26, 1939, and they had five children.CareerAwards and membershipsHobson was named anIEEE Fellow in 1948.Passage 2:The Time, the Place and the Girl (1946 film)The Time, the Place and the Girl is a 1946 American musical film directed in Technicolor by David Butler. It is unrelated to the 1929 film TheTime, the Place and the Girl.PlotSteve and Jeff are about to open a nightclub when a man named Martin Drew who represents conductor Ladislaus Cassel claims that Cassel, who is living next door, objects to the club'smusic and that it disturbs his granddaughter, Victoria, an aspiring opera singer.It turns out that Cassel himself is fine with the club but Vicki's grandmother Lucia is against it. Cassel also urges Vicki not to marryAndrew, her fiance, without being certain. After she meets Steve, she is attracted to him. Steve has a girlfriend, Elaine Winters, who is trying to persuade John Braden, a rich Texan, to finance the club. Elaine is upsetabout Vicki's presence and threatens to marry Braden.Jeff and his girlfriend, singer Sue Jackson, hope to get a new show off the ground, but both Vicky's grandmother and Steve's girl Elaine keep interfering. Casseloffers to finance the show provided Vicky can be in it. Lucia is livid until she reluctantly attends the show, at which she is charmed and gives her approval.CastSoundtrack\"A Rainy Night in Rio\"'Music by ArthurSchwartzLyrics by Leo RobinPerformed by Jack Carson, Dennis Morgan, Janis Page and Martha Vickers (dubbed by Sally Sweetland)\"Oh, But I Do\"Music by Arthur SchwartzLyrics by Leo RobinSung by Dennis Morgan\"AGal in Calico\" (Nominated for an Academy Award for Best Original Song of 1948)Music by Arthur SchwartzLyrics by Leo RobinPerformed by Dennis Morgan, Jack Carson, Martha Vickers (dubbed by Sally Sweetland) andchorus\"Through a Thousand Dreams\"Music by Arthur SchwartzLyrics by Leo Robin\"A Solid Citizen of the Solid South\"Music by Arthur SchwartzLyrics by Leo RobinPerformed by Jack Carson and the Condos Brothers\"IHappened to Walk Down First Street\"Music by Arthur SchwartzLyrics by Leo RobinBox officeAccording to Warner Bros. records, it was the studio's most financially successful film of 1946–47, earning $3,461,000domestically and $1,370,000 in foreign territories.Passage 3:The Divine NymphThe Divine Nymph (Italian: Divina creatura) is a 1975 Italian drama film directed by Giuseppe Patroni Griffi and starring Laura Antonelli,Marcello Mastroianni, Michele Placido and Terence Stamp. It was entered into the 26th Berlin International Film Festival. It was distributed in the U.S. by Analysis Film Releasing Corp.PlotDuring the Roaring Twenties, abeautiful woman (Laura Antonelli) is engaged to one man, but has an affair with both a young nobleman (Terence Stamp) and later his cousin (Marcello Mastroianni), playing them against each other.CastLaura Antonelli- Manoela RoderighiTerence Stamp - Dany di BagnascoMichele Placido - Martino GhiondelliDuilio Del Prete - ArmelliniEttore Manni - Marco PisaniCarlo Tamberlani - Majordomo PasqualinoCecilia Polizzi - Dany's MaidPieroDi Iorio - Cameriere di StefanoMarina Berti - Manoela's AuntDoris Duranti - Signora FonesMarcello Mastroianni - Michele BarraTina AumontRita SilvaCorrado AnnicelliGino CassaniSee alsoList of Italian films of1975Passage 4:Giuseppe Patroni GriffiGiuseppe Patroni Griffi (26 February 1921 – 15 December 2005) was an Italian playwright, screenwriter, director and author.He was born in Naples in an aristocratic family andmoved to Rome immediately after the end of World War II and spent his professional life there. Patroni Griffi is considered one of the most prominent contributors to Italian theater and film in post-war Italy.RobertoRossellini made a film from his play Anima nera.His first listed film writing credit was on the 1952 musical Canzoni di mezzo secolo. Patroni Griffi would later direct Charlotte Rampling, Elizabeth Taylor, MarcelloMastroianni, Laura Antonelli, Florinda Bolkan, Terence Stamp, Fabio Testi.Patroni Griffi was also involved with numerous television productions of lyric opera, including Verdi's La Traviata. His many theatrical productionsinclude works by Pirandello, Eduardo De Filippo, Jean Cocteau and Tennessee Williams. As a writer, he published a first collection of stories in 1955, Ragazzo di Trastevere. Later, he contributed significantly to the bodyof Italian gay literature with Scende giù per Toledo and La morte della bellezza, both set in Naples.He died in Rome.Selected filmographyAs a director, he is most noted for:Il Mare (1962)Metti una sera a cena(1969)Addio, fratello crudele (1971, film adaptation of 'Tis Pity She's a Whore with Charlotte Rampling and Oliver Tobias)Identikit (1974) with Elizabeth TaylorThe Divine Nymph (1975)La gabbia (1985)La romana(1988)Tosca (1992)La traviata (2000)Passage 5:S. N. MathurS.N. Mathur was the Director of the Indian Intelligence Bureau between September 1975 and February 1980. He was also the Director General of Police inPunjab.Passage 6:Brian Kennedy (gallery director)Brian Patrick Kennedy (born 5 November 1961) is an Irish-born art museum director who has worked in Ireland and Australia, and now lives and works in the UnitedStates.  He was the director of the Peabody Essex Museum in Salem for 17 months, resigning December 31, 2020. He was the director of the Toledo Museum of Art in Ohio from 2010 to 2019. He was the director of theHood Museum of Art from 2005 to 2010, and the National Gallery of Australia (Canberra) from 1997 to 2004.CareerBrian Kennedy currently lives and works in the United States after leaving Australia in 2005 to directthe Hood Museum of Art at Dartmouth College. In October 2010 he became the ninth Director of the Toledo Museum of Art. On 1 July 2019, he succeeded Dan Monroe as the executive director and CEO of the PeabodyEssex Museum.Early life and career in IrelandKennedy was born in Dublin and attended Clonkeen College. He received B.A. (1982), M.A. (1985) and PhD (1989) degrees from University College-Dublin, where he studiedboth art history and history.He worked in the Irish Department of Education (1982), the European Commission, Brussels (1983), and in Ireland at the Chester Beatty Library (1983–85), Government Publications Office(1985–86), and Department of Finance (1986–89). He married Mary Fiona Carlin in 1988.He was Assistant Director at the National Gallery of Ireland in Dublin from 1989 to 1997. He was Chair of the Irish Association ofArt Historians from 1996 to 1997, and of the Council of Australian Art Museum Directors from 2001 to 2003. In September 1997 he became Director of the National Gallery of Australia.National Gallery of Australia(NGA)Kennedy expanded the traveling exhibitions and loans program throughout Australia, arranged for several major shows of Australian art abroad, increased the number of exhibitions at the museum itself andoversaw the development of an extensive multi-media site.  Although he oversaw several years of the museum's highest ever annual visitation, he discontinued the emphasis of his predecessor, Betty Churcher, onshowing \"blockbuster\" exhibitions.During his directorship, the NGA gained government support for improving the building and significant private donations and corporate sponsorship. However, the initial design for thebuilding proved controversial generating a public dispute with the original architect on moral rights grounds.  As a result, the project was not delivered during Dr Kennedy's tenure, with a significantly altered designcompleted some years later.  Private funding supported two acquisitions of British art, including David Hockney's A Bigger Grand Canyon in 1999, and Lucian Freud's After Cézanne in 2001. Kennedy built on theestablished collections at the museum by acquiring the Holmgren-Spertus collection of Indonesian textiles; the Kenneth Tyler collection of editioned prints, screens, multiples and unique proofs; and the Australian PrintWorkshop Archive. He was also notable for campaigning for the construction of a new \"front\" entrance to the Gallery, facing King Edward Terrace, which was completed in 2010 (see reference to the building projectabove).Kennedy's cancellation of the \"Sensation exhibition\" (scheduled at the NGA from 2 June 2000 to 13 August 2000) was controversial, and seen by some as censorship. He claimed that the decision was due to theexhibition being \"too close to the market\" implying that a national cultural institution cannot exhibit the private collection of a speculative art investor. However, there were other exhibitions at the NGA during histenure, which could have raised similar concerns. The exhibition featured the privately owned Young British Artists works belonging to Charles Saatchi and attracted large attendances in London and Brooklyn. Its mostcontroversial work was Chris Ofili's The Holy Virgin Mary, a painting which used elephant dung and was accused of being blasphemous. The then-mayor of New York, Rudolph Giuliani, campaigned against the exhibition,claiming it was \"Catholic-bashing\" and an \"aggressive, vicious, disgusting attack on religion.\" In November 1999, Kennedy cancelled the exhibition and stated that the events in New York had \"obscured discussion of theartistic merit of the works of art\". He has said that it \"was the toughest decision of my professional life, so far.\"Kennedy was also repeatedly questioned on his management of a range of issues during the AustralianGovernment's Senate Estimates process - particularly on the NGA's occupational health and safety record and concerns about the NGA's twenty-year-old air-conditioning system. The air-conditioning was finallyrenovated in 2003. Kennedy announced in 2002 that he would not seek extension of his contract beyond 2004, accepting a seven-year term as had his two predecessors.He became a joint Irish-Australian citizen in2003.Toledo Museum of ArtThe Toledo Museum of Art is known for its exceptional collections of European and American paintings and sculpture, glass, antiquities, artist books, Japanese prints and netsuke. Themuseum offers free admission and is recognized for its historical leadership in the field of art education.  During his tenure, Kennedy has focused the museum's art education efforts on visual literacy, which he defines as\"learning to read, understand and write visual language.\"   Initiatives have included baby and toddler tours, specialized training for all staff, docents, volunteers and the launch of a website, www.vislit.org. In November2014, the museum hosted the International Visual Literacy Association (IVLA) conference, the first Museum to do so. Kennedy has been a frequent speaker on the topic, including 2010 and 2013 TEDx talks on visualand sensory literacy.Kennedy has expressed an interest in expanding the museum's collection of contemporary art and art by indigenous peoples. Works by Frank Stella, Sean Scully, Jaume Plensa, Ravinder Reddy andMary Sibande have been acquired.  In addition, the museum has made major acquisitions of Old Master paintings by Frans Hals and Luca Giordano.During his tenure the Toledo Museum of Art has announced the returnof several objects from its collection due to claims the objects were stolen and/or illegally exported prior being sold to the museum.  In 2011 a Meissen sweetmeat stand was returned to Germany followed by anEtruscan Kalpis or water jug to Italy (2013), an Indian sculpture of Ganesha (2014) and an astrological compendium to Germany in 2015.Hood Museum of ArtKennedy became Director of the Hood Museum of Art in July2005. During his tenure, he implemented a series of large and small-scale exhibitions and oversaw the production of more than 20 publications to bring greater public attention to the museum's remarkable collections ofthe arts of America, Europe, Africa, Papua New Guinea and the Polar regions. At 70,000 objects, the Hood has one of the largest collections on any American college of university campus. The exhibition, BlackWomanhood: Images, Icons, and Ideologies of the African Body, toured several US venues. Kennedy increased campus curricular use of works of art, with thousands of objects pulled from storage for classes annually.Numerous acquisitions were made with the museum's generous endowments, and he curated several exhibitions: including Wenda Gu: Forest of Stone Steles: Retranslation and Rewriting Tang Dynasty Poetry, SeanScully: The Art of the Stripe, and Frank Stella: Irregular Polygons.PublicationsKennedy has written or edited a number of books on art, including:Alfred Chester Beatty and Ireland 1950-1968: A study in cultural politics,Glendale Press (1988), ISBN 978-0-907606-49-9Dreams and responsibilities: The state and arts in independent Ireland, Arts Council of Ireland (1990), ISBN 978-0-906627-32-7Jack B Yeats: Jack Butler Yeats,1871-1957 (Lives of Irish Artists), Unipub (October 1991), ISBN 978-0-948524-24-0The Anatomy Lesson: Art and Medicine (with Davis Coakley), National Gallery of Ireland (January 1992), ISBN978-0-903162-65-4Ireland: Art into History (with Raymond Gillespie), Roberts Rinehart Publishers (1994), ISBN 978-1-57098-005-3Irish Painting, Roberts Rinehart Publishers (November 1997),  ISBN978-1-86059-059-7Sean Scully: The Art of the Stripe, Hood Museum of Art (October 2008), ISBN 978-0-944722-34-3Frank Stella: Irregular Polygons, 1965-1966, Hood Museum of Art (October 2010), ISBN978-0-944722-39-8Honors and achievementsKennedy was awarded the Australian Centenary Medal in 2001 for service to Australian Society and its art. He is a trustee and treasurer of the Association of Art MuseumDirectors, a peer reviewer for the American Association of Museums and a member of the International Association of Art Critics. In 2013 he was appointed inaugural eminent professor at the University of Toledo andreceived an honorary doctorate from Lourdes University. Most recently, Kennedy received the 2014 Northwest Region, Ohio Art Education Association award for distinguished educator for art education.== Notes==Passage 7:Peter LevinPeter Levin is an American director of film, television and theatre.CareerSince 1967, Levin has amassed a large number of credits directing episodic television and television films. Some of histelevision series credits include Love Is a Many Splendored Thing, James at 15, The Paper Chase, Family, Starsky & Hutch, Lou Grant, Fame, Cagney & Lacey, Law & Order and Judging Amy.Some of his television filmcredits include Rape and Marriage: The Rideout Case (1980), A Reason to Live (1985), Popeye Doyle (1986), A Killer Among Us (1990), Queen Sized (2008) and among other films. He directed \"Heart in Hiding\", writtenby his wife Audrey Davis Levin, for which she received an Emmy for Best Day Time Special in the 1970s.Prior to becoming a director, Levin worked as an actor in several Broadway productions. He costarred with SusanStrasberg in \"[The Diary of Ann Frank]\" but had to leave the production when he was drafted into the Army. He trained at the Carnegie Mellon University. Eventually becoming a theatre director, he directed productionsat the Long Wharf Theatre and the Pacific Resident Theatre Company. He also co-founded the off-off-Broadway Theatre [the Hardware Poets Playhouse] with his wife Audrey Davis Levin and was also an associate artistof The Interact Theatre Company.Passage 8:Dana BlanksteinDana Blankstein-Cohen (born March 3, 1981) is the executive director of the Sam Spiegel Film and Television School. She was appointed by the board ofdirectors  in November 2019.  Previously she was the CEO of the Israeli Academy of Film and Television. She is a film director, and an Israeli culture entrepreneur.BiographyDana Blankstein was born in Switzerland in1981 to theatre director Dedi Baron and Professor Alexander Blankstein. She moved to Israel in 1983 and grew up in Tel Aviv.Blankstein graduated from the Sam Spiegel Film and Television School, Jerusalem in 2008with high honors. During her studies she worked as a personal assistant to directors Savi Gabizon on his film Nina's Tragedies and to Renen Schorr on his film The Loners.  She also directed and shot 'the making of' filmon Gavison's film Lost and Found. Her debut film Camping competed at the Berlin International Film Festival, 2007.Film and academic careerAfter her studies, Dana founded and directed the film and televisiondepartment at the Kfar Saba municipality. The department encouraged and promoted productions filmed in the city of Kfar Saba, as well as the established cultural projects, and educational communityactivities.Blankstein directed the mini-series \"Tel Aviviot\" (2012). From 2016-2019 was the director of the Israeli Academy of Film and Television.In November 2019 Dana Blankstein Cohen was appointed the newdirector of the Sam Spiegel Film and Television School where she also oversees the Sam Spiegel International Film Lab. In 2022, she spearheaded the launch of the new Series Lab and the film preparatory program forArabic speakers in east Jerusalem.FilmographyTel Aviviot (mini-series; director, 2012)Growing Pains (graduation film, Sam Spiegel; director and screenwriter, 2008)Camping (debut film, Sam Spiegel; director andscreenwriter, 2006)Passage 9:Ian Barry (director)Ian Barry is an Australian director of film and TV.Select creditsWaiting for Lucas (1973) (short)Stone (1974) (editor only)The Chain Reaction (1980)Whose Baby?(1986) (mini-series)Minnamurra (1989)Bodysurfer (1989) (mini-series)Ring of Scorpio (1990) (mini-series)Crimebroker (1993)Inferno (1998) (TV movie)Miss Lettie and Me (2002) (TV movie)Not Quite Hollywood: TheWild, Untold Story of Ozploitation! (2008) (documentary)The Doctor Blake Mysteries (2013)Passage 10:Olav AaraasOlav Aaraas (born 10 July 1950) is a Norwegian historian and museum director.He was born inFredrikstad. From 1982 to 1993 he was the director of Sogn Folk Museum, from 1993 to 2010 he was the director of Maihaugen and from 2001 he has been the director of the Norwegian Museum of Cultural History. In2010 he was decorated with the Royal Norwegian Order of St. Olav."}
+{"doc_id":"doc_96","qid":"","text":"Passage 1:Shaadi Ka LaddooShaadi Ka Laddoo is a 2004 Indian Hindi comedy film directed by Raj Kaushal. The film was released on 23 April 2004.Plot SummaryShomu and his wife Meenu are a happily married couplewith two children. Shomu decides to travel to Britain for business purposes, as well as to meet his childhood friend, Ravi Kapoor. Once in Britain, Shomu finds himself getting close to single women, and realises that heis now ready for an extra-marital affair. His friend, Ravi Kapoor, on the contrary believes that Shomu is the luckiest man on earth, as he is in love with his wife, and their marriage is rock steady. Not trusting herhusband, Meenu asks a U.K. based friend to check up on him. The friend reports back that Shomu is involved with a woman named Tara. Meenu decides to go to Britain as well and catch Shomu red-handed. In themeantime, Ravi meets with a waitress named Menaka Choudhary and decides to propose marriage to her, apprehensive that she too will turn him down. The stage is all set for sparks to fly, and emotions torise.CastSanjay Suri as Som DuttaMandira Bedi as TaraAashish Chaudhary as Ravi KapoorDivya Dutta as GeetuSamita Bangargi as Meneka ChoudharySameer Malhotra as Geetu's UncleNegar Khan as SheenaJohnClubbSoundtrackPassage 2:Gertrude of BavariaGertrude of Bavaria (Danish and German: Gertrud; 1152/55–1197) was Duchess of Swabia as the spouse of Duke Frederick IV, and Queen of Denmark as the spouse ofKing Canute VI.Gertrude was born to Henry the Lion of Bavaria and Saxony and Clementia of Zähringen in either 1152 or 1155. She was married to Frederick IV, Duke of Swabia, in 1166, and became a widow in 1167.In 1171 she was engaged and in February 1177 married to Canute of Denmark in Lund. The couple lived the first years in Skåne. On 12 May 1182, they became king and queen. She did not have any children. Duringher second marriage, she chose to live in chastity and celibacy with her husband. Arnold of Lübeck remarked of their marriage, that her spouse was: \"The most chaste one, living thus his days with his chaste spouse\" ineternal chastity.Passage 3:Marie-Louise CoidavidQueen Marie Louise Coidavid (1778 – 11 March 1851) was the Queen of the Kingdom of Haiti 1811–20 as the spouse of Henri Christophe.Early lifeMarie-Louise was borninto a free black family; her father was the owner of Hotel de la Couronne, Cap-Haïtien. Henri Christophe was a slave purchased by her father. Supposedly, he earned enough money in tips from his duties at the hotelthat he was able to purchase his freedom before the Haitian Revolution. They married in Cap-Haïtien in 1793, having had a relationship with him from the year prior. They had four children: François Ferdinand (born1794), Françoise-Améthyste (d. 1831), Athénaïs (d. 1839) and Victor-Henri.At her spouse's new position in 1798, she moved to the Sans-Souci Palace. During the French invasion, she and her children livedunderground until 1803.QueenIn 1811, Marie-Louise was given the title of queen upon the creation of the Kingdom of Haiti. Her new status gave her ceremonial tasks to perform, ladies-in-waiting, a secretary and herown court. She took her position seriously, and stated that the title \"given to her by the nation\" also gave her responsibilities and duties to perform. She served as the hostess of the ceremonial royal court life performedat the Sans-Souci Palace. She did not involve herself in the affairs of state. She was given the position of Regent should her son succeed her spouse while still being a minor.  However, as her son became of age beforethe death of his father, this was never to materialize.After the death of the king in 1820, she remained with her daughters Améthyste and Athénaïs at the palace until they were escorted from it by his followers togetherwith his corpse; after their departure, the palace was attacked and plundered. Marie-Louise and her daughters were given the property Lambert outside Cap. She was visited by president Jean Pierre Boyer, who offeredher his protection; he denied the spurs of gold she gave him, stating that he was the leader of poor people. They were allowed to settle in Port-au-Prince. Marie-Louise was described as calm and resigned, but herdaughters, especially Athénaïs, were described as vengeful.ExileThe Queen was in exile for 30 years. In August 1821, the former queen left Haiti with her daughters under the protection of the British admiral Sir HomePopham, and travelled to London. There were rumours that she was searching for the money, three million, deposited by her spouse in Europe. Whatever the case, she did live the rest of her life without economicdifficulties. The English climate and pollution during the Industrial Revolution was determintal to Améthyste's health, and eventually they decided to leave.In 1824, Marie-Louise and her daughters moved in Pisa in Italy,where they lived for the rest of their lives, Améthyste dying shortly after their arrival and Athénaïs in 1839. They lived discreetly for the most part, but were occasionally bothered by fortune hunters and throne claimerswho wanted their fortune. Shortly before her death, she wrote to Haiti for permission to return. She never did, however, before she died in Italy. She is buried in the church of San Donnino. A historical marker wasinstalled in front of the church on April 23, 2023 to commemorate the Queen, her daughter and her sister.See alsoMarie-Claire Heureuse FélicitéAdélina LévêquePassage 4:Raj KaushalRaj Kaushal (15 August 1970 –30  June 2021) was an Indian director, producer who was active during the 1990s and mid 2000s. He was married to actress and TV presenter Mandira Bedi. He died on 30 June 2021 due to a heartattack.FilmographyPassage 5:Samita BangargiSamita Bangargi is an Indian actress who is most known for her roles in Ramji Londonwaley (2005), Shaadi Ka Laddoo (2004) and Yeh Kya Ho Raha Hai? (2002).PersonallifeSamita Bangargi married Ashish Chaudhary on 27 January 2006. The couple has 3 children, a son born in 2008 and twin daughters in 2014. Ashish lost his sister and brother in law in the 26 November attacks in2008, since then Ashish's nephew and niece also live with them.FilmographyPassage 6:Princess Auguste of Bavaria (1875–1964)Princess Auguste of Bavaria (German: Auguste Maria Luise Prinzessin von Bayern; 28April 1875 – 25 June 1964) was a member of the Bavarian Royal House of Wittelsbach and the spouse of Archduke Joseph August of Austria.Birth and familyAuguste was born in Munich, Bavaria, the second child ofPrince Leopold of Bavaria and his wife, Archduchess Gisela of Austria. She had one older sister, Princess Elisabeth Marie of Bavaria and two younger brothers, Prince Georg of Bavaria and Prince Konrad ofBavaria.Marriage and issueShe married Joseph August, Archduke of Austria, on 15 November 1893 in Munich. The couple had six children;Archduke Joseph Francis of Austria, born on 28 March 1895; died on 25September 1957(1957-09-25) (aged 62)Archduchess Gisela Auguste Anna Maria, born on 5 July 1897; died on 30 March 1901(1901-03-30) (aged 3)Archduchess Sophie Klementine Elisabeth Klothilde Maria, born on 11March 1899; died on 19 April 1978(1978-04-19) (aged 79)Archduke Ladislaus Luitpold, born on 3 January 1901; died on 29 August 1946(1946-08-29) (aged 44)Archduke Matthias Joseph Albrecht Anton Ignatius, bornon 26 June 1904; died on 7 October 1905(1905-10-07) (aged 1)Archduchess Magdalena Maria Raineria, born on 6 September 1909; died on 11 May 2000(2000-05-11) (aged 90)AncestryWorld War IOn the outbreak ofwar with Italy in 1915, Augusta Maria Louise, though in her 40s and the mother of a son serving as an officer, went to the front with the cavalry regiment of which her husband, the Archduke Josef August, a corpscommander, was honorary colonel, and served a common soldier, wearing a saber and riding astride, until the end of the war.Passage 7:Mehdi AbrishamchiMehdi Abrishamchi (Persian: \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000 bornin 1947 in Tehran) is a high-ranking member of the People's Mujahedin of Iran (MEK).Early lifeAbrishamchi came from a well-known anti-Shah bazaari family in Tehran, and participated in June 5, 1963, demonstrationsin Iran. He became a member of Hojjatieh, and left it to join the People's Mujahedin of Iran (MEK) in 1969. In 1972 he was imprisoned for being a MEK member, and spent time in jail until 1979.CareerShortly afterIranian Revolution, he became one of the senior members of the MEK. He is now an official in the National Council of Resistance of Iran.Electoral historyPersonal lifeAbrishamchi was married to Maryam Rajavi from 1980to 1985. Shortly after, he married Mousa Khiabani's younger sister Azar.LegacyAbrishamchi credited Massoud Rajavi for saving the People's Mojahedin Organization of Iran after the \"great schism\".Passage 8:Heather D.GibsonHeather Denise Gibson (Greek: Χέδερ Ντενίζ Γκίμπσον) is a Scottish economist currently serving as Director-Advisor to the Bank of Greece (since 2011). She was the spouse of Euclid Tsakalotos, former GreekMinister of Finance.Academic careerBefore assuming her duties at the Bank of Greece and alternating child-rearing duties with her husband, Gibson worked at the University of Kent, where she published two volumes oninternational exchange rate mechanisms and wrote numerous articles on this and other topics, sometimes in cooperation with her husband, who was teaching at Kent at the time.Personal lifeGibson first came to Greecein 1993, with her husband, with whom she took turns away from their respective economic studies to raise their three children while the other worked.The couple maintain two homes in Kifisia, along with an office inAthens and a vacation home in Preveza. In 2013, this proved detrimental to Tsakalotos and his party when his critics began calling him «αριστερός αριστοκράτης» (aristeros aristokratis, \"aristocrat of the left\"), whilenewspapers opposed to the Syriza party seized on his property holdings as a chance to accuse the couple of hypocrisy for enjoying a generous lifestyle in private while criticizing the \"ethic of austerity\" in public. Oneopposition newspaper published on the front page criticism reasoning that Tsakalotos own family wealth came from the same sort of investments in companies as made by financial institutions JP Morgan andBlackRock.WorksEditorEconomic Bulletin, Bank of GreeceBooksThe Eurocurrency Markets, Domestic Financial Policy and International Instability (London, etc., Longman: 1989) ISBN 0312028261International Finance:Exchange Rates and Financial Flows in the International Financial System (London, etc., Longman: 1996) ISBN 0582218136Economic Transformation, Democratization and Integration into the European Union (London:Palgrave Macmillan: 2001) ISBN 9780333801222Articles and papers\"Fundamentally Wrong: Market Pricing of Sovereigns and the Greek Financial Crisis,\" Journal of Macroeconomics, Elsevier, vol. 39(PB), pp. 405–419(with Stephen G. & Tavlas, George S., 2014)\"Capital flows and speculative attacks in prospective EU member states\" (with Euclid Tsakalotos, Economics of Transition Volume 12, Issue 3, pages 559–586, September2004)\"A Unifying Framework for Analysing Offsetting Capital Flows and Sterilisation: Germany and the ERM\" (with Sophocles Brissimis & Euclid Tsakalotos, International Journal of Finance & Economics, 2002, vol. 7,issue 1, pp. 63–78)\"Internal vs External Financing of Acquisitions: Do Managers Squander Retained Profits\" (with Andrew Dickerson and Euclid Tsakalotos, Studies in Economics, 1996; Oxford Bulletin of Economics andStatistics, 2000)\"Are Aggregate Consumption Relationships Similar Across the European Union\" (with Alan Carruth & Euclid Tsakalotos, Regional Studies, Volume 33, Issue 1, 1999)Takeover Risk and the Market forCorporate Control: The Experience of British Firms in the 1970s and 1980 (with Andrew Dickerson and Euclid Tsakalotos, 1998) PDF\"The Impact of Acquisitions on Company Performance: Evidence from a Large Panel ofUK Firms\" (with Andrew Dickerson and Euclid Tsakalotos, Oxford Economic Papers New Series, Vol. 49, No. 3 (Jul., 1997), pp. 344–361)\"Short-Termism and Underinvestment: The Influence of Financial Systems\" (withAndrew Dickerson and Euclid Tsakalotos, The Manchester School of Economic & Social Studies, 1995, vol. 63, issue 4, pp. 351–67)\"Testing a Flow Model of Capital Flight in Five European Countries\" (with EuclidTsakalotos, The Manchester School of Economic and Social Studies, Volume 61, Issue 2, pp. 144–166, June 1993)Full list of articles by Heather D Gibson. researchgate.net. Recovered 7 July 2015Passage 9:SophiaMagdalena of DenmarkSophia Magdalena of Denmark (Danish: Sophie Magdalene; Swedish: Sofia Magdalena; 3 July 1746 – 21 August 1813) was Queen of Sweden from 1771 to 1792 as the wife of King Gustav III.Born into the House of Oldenburg, the royal family of Denmark-Norway, Sophia Magdalena was the first daughter of King Frederick V of Denmark and Norway and his first consort, Princess Louise of Great Britain.Already at the age of five, she was betrothed to Gustav, the heir apparent to the throne of Sweden, as part of an attempt to improve the traditionally tense relationship between the two Scandinavian realms. She wassubsequently brought up to be the Queen of Sweden, and they married in 1766. In 1771, Sophia's husband ascended to the throne and became King of Sweden, making Sophia Queen of Sweden. Their coronation wason 29 May 1772.The politically arranged marriage was unsuccessful. The desired political consequences for the mutual relations between the two countries did not materialize, and on a personal level the union alsoproved to be unhappy. Sophia Magdalena was of a quiet and serious nature, and found it difficult to adjust to her husband's pleasure seeking court. She dutifully performed her ceremonial duties but did not care forsocial life and was most comfortable in quiet surroundings with a few friends. However, she was liked by many in the Caps party, believing she was a symbol of virtue and religion. The relationship between the spousesimproved somewhat in the years from 1775 to 1783, but subsequently deteriorated again.After her husband was assassinated in 1792, Sophia Magdalena withdrew from public life, and led a quiet life as dowager queenuntil her death in 1813.Early lifePrincess Sophie Magdalene was born on 3 July 1746 at her parents' residence Charlottenborg Palace, located at the large square, Kongens Nytorv, in central Copenhagen. She was thesecond child and first daughter of Crown Prince Frederick of Denmark and his first consort, the former Princess Louise of Great Britain, and was named for her grandmother, Queen Sophie Magdalene. She received herown royal household at birth.Just one month after her birth, her grandfather King Christian VI died, and Princess Sophie Magdalene's father ascended the throne as King Frederick V. She was the heir presumptive to thethrone of Denmark from the death of her elder brother in 1747 until the birth of her second brother in 1749, and retained her status as next in line to the Danish throne after her brother until her marriage. She wastherefore often referred to as Crown Princess of Denmark.In the spring of 1751, at the age of five, she was betrothed to Gustav, the heir apparent to the throne of Sweden, and she was brought up to be the Queen ofSweden. The marriage was arranged by the Riksdag of the Estates, not by the Swedish royal family. The marriage was arranged as a way of creating peace between Sweden and Denmark, which had a long history ofwar and which had strained relations following the election of an heir to the Swedish throne in 1743, where the Danish candidate had lost. The engagement was met with some worry from Queen Louise, who feared thather daughter would be mistreated by the Queen of Sweden, Louisa Ulrika of Prussia. The match was known to be disliked by the Queen of Sweden, who was in constant conflict with the Parliament; and who was knownin Denmark for her pride, dominant personality and hatred of anything Danish, which she demonstrated in her treatment of the Danish ambassadors in Stockholm.After the death of her mother early in her life, SophiaMagdalena was given a very strict and religious upbringing by her grandmother and her stepmother, who considered her father and brother to be morally degenerate. She is noted to have had good relationships withher siblings, her grandmother and her stepmother; her father, however, often frightened her when he came before her drunk, and was reportedly known to set his dogs upon her, causing in her a lifelong phobia.In1760, the betrothal was again brought up by Denmark, which regarded it as a matter of prestige. The negotiations were made between Denmark and the Swedish Queen, as King Adolf Frederick of Sweden was neverconsidered to be of any more than purely formal importance. Louisa Ulrika favored a match between Gustav and her niece Philippine of Brandenburg-Schwedt instead, and claimed that she regarded the engagement tobe void and forced upon her by Carl Gustaf Tessin. She negotiated with Catherine the Great and her brother Frederick the Great to create some political benefit for Denmark in exchange for a broken engagement.However, the Swedish public was very favorable to the match due to expectations Sophia Magdalena would be like the last Danish-born Queen of Sweden, Ulrika Eleonora of Denmark, who was very loved for herkindness and charity. This view was supported by the Caps political party, which expected Sophia Magdalena to be an example of a virtuous and religious representative of the monarchy in contrast to the haughtyLouisa Ulrika. Fredrick V of Denmark was also eager to complete the match: \"His Danish Majesty could not have the interests of his daughter sacrificed because of the prejudices and whims of the Swedish Queen\". In1764 Crown Prince Gustav, who was at this point eager to free himself from his mother and form his own household, used the public opinion to state to his mother that he wished to honor the engagement, and on 3April 1766, the engagement was officially celebrated.When a portrait of Sophia Magdalena was displayed in Stockholm, Louisa Ulrika commented: \"why Gustav, you seem to be already in love with her! She looksstupid\", after which she turned to Prince Charles and added: \"She would suit you better!\"Crown PrincessOn 1 October 1766, Sophia Magdalena was married to Gustav by proxy at Christiansborg Palace in Copenhagenwith her brother Frederick, Hereditary Prince of Denmark, as representative of her groom. She traveled in the royal golden sloop from Kronborg in Denmark over Öresund to Hälsingborg in Sweden; when she washalfway, the Danish cannon salute ended, and the Swedish started to fire. In Helsingborg, she was welcomed by her brother-in-law Prince Charles of Hesse, who had crossed the sea shortly before her, the Danish envoyin Stockholm, Baron Schack, as well as Crown Prince Gustav himself. As she was about to set foot on ground, Gustav was afraid that she would fall, and he therefore reached her his hand with the words: \"Watch out,Madame!\", a reply which quickly became a topic of gossip at the Swedish court.The couple then traveled by land toward Stockholm, being celebrated on the way. She met her father-in-law the King and herbrothers-in-law at Stäket Manor on 27 October, and she continued to be well-treated and liked by them all during her life in Sweden. Thereafter, she met her mother-in-law the Queen and her sister-in-law at SäbyManor, and on the 28th, she was formally presented for the Swedish royal court at Drottningholm Palace. At this occasion, Countess Ebba Bonde noted that the impression about her was: \"By God, how beautiful sheis!\", but that her appearance was affected by the fact that she had a: \"terrible fear of the Queen\". On 4 November 1766, she was officially welcomed to the capital of Stockholm, where she was married to Gustav inperson in the Royal Chapel at Stockholm Royal Palace.Sophia Magdalena initially made a good impression upon the Swedish nobility with her beauty, elegance and skillful dance; but her shy, silent, and reserved naturesoon made her a disappointment in the society life. Being of a reserved nature, she was considered cold and arrogant. Her mother-in-law Queen Louisa Ulrika, who once stated that she could comprehend nothing morehumiliating than the position of a Queen Dowager, harassed her in many ways: a typical example was when she invited Gustav to her birthday celebrations, but asked him to make Sophia Magdalena excuse herself bypretending to be too ill to attend. Louisa Ulrika encouraged a distance between the couple in various ways, and Gustav largely ignored her so as not to make his mother jealous.Sophia Magdalena was known to be"}
+{"doc_id":"doc_97","qid":"","text":"Passage 1:Shaheen KhanShaheen Khan may refer to:Shaheen Khan (Indian actress), Indian actressShaheen Khan (Pakistani actress) (born 1960), Pakistani actressShaheen Khan (British actress) (born 1960), BritishactressShaheen Khan (cricketer) (born 1987), South African cricketerPassage 2:Brooks, Meadows and Lovely FacesBrooks, Meadows and Lovely Faces (Arabic: \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000, translit.Brooks, Meadows and Lovely Faces) is a 2016 Egyptian comedy film directed by Yousry Nasrallah. It was selected to be screened in the Contemporary World Cinema section at the 2016 Toronto International FilmFestival.CastLaila ElouiBassem SamraMenna ShalabiPassage 3:Thou Wast Mild and LovelyThou Wast Mild and Lovely is a 2014 experimental thriller film written and directed by Josephine Decker and starring JoeSwanberg, Sophie Traub, and Robert Longstreet.CastJoe Swanberg as AkinSophie Traub as SarahRobert Longstreet as JeremiahKristin Slaysman as DrewMatt Orme as CarenGeoff Marslett as RichardPlotAkin is hired towork a summer job on a farm owned by Jeremiah and his daughter Sarah. As he arrives at the property, he removes his wedding ring before getting out of the car, and tells the other two he is single and has nochildren. He is given a room to live at the farm for the summer. Jeremiah drinks a lot, and gives Akin the nickname \"shoulders\" because he thinks the man's shoulders are always tense from keeping a secret. Akin triesto talk to his wife Drew on the phone, but the poor cell service makes it difficult. Sarah and Akin become interested in each other from afar, and spy on each other multiple times. While the two of them are trackingdown a lost cow at the edge of the property, Sarah finds a frog and bites its head off, which causes Akin to finally kiss her and ultimately rape her. She smiles afterwards.When Akin tells the other two at dinner that hehas a roommate, Jeremiah reveals that he knows Akin's secret: the tan line on his finger makes it obvious that he's married. Jeremiah jokes that he too has a roommate that he has kept alive for a long time bycontinuing to clean his wounds. Sarah finds a family photo in Akin's room the next day, which shows he also has a son. Sarah and Akin continue to spend time together, and she teaches him how to improve hishorseback skills.The landline phone rings, and Drew is on the other end explaining that she's been trying to contact them because she hasn't heard from Akin in a while. She tells him that she and their son are going tocome visit the farm. The visit goes well at first, but during dinner when Drew comments about Akin being \"quiet\", Sarah responds that he has been very talkative to her. Jeremiah explains that Akin had been lying abouthis marriage to get closer to Sarah, causing an awkward silence. That night, Drew is lying on the couch drunk, barely conscious. Jeremiah starts saying vulgar, sexual things about her, so Akin carries her to his room.He awakes later to an empty bed, and finds Drew back in the house chatting with Sarah. They mention that Drew and Akin had a daughter who had passed away. Sarah blindfolds Akin and the three of them begin tohave sex together. In the middle of the act, Akin removes the blindfold and sees that Jeremiah and a neighbor have been watching them. Jeremiah attacks the neighbor and tries to force himself on Drew. Akin tries tocarry Drew away, but Jeremiah knocks him out.Akin awakes tied up inside the barn, where he sees a man's face that is covered in wounds and blood. Sarah appears and cuts Akin loose. They return to the house to findJeremiah with a knife. He stabs Akin, but Sarah reacts by shooting him. As Sarah is crying over Jeremiah's dying body, Drew storms in with an axe and swings it on both Sarah and Jeremiah. Akin and Drew grab theirson who is wandering the yard crying, and drive away.ProductionTo raise money for the film's post-production, Decker ran a crowdfunding campaign on the website Kickstarter with a goal of $15,500.  The campaignclosed on August 22, 2013, having successfully raised $18,517.  Decker has cited John Steinbeck's novel East of Eden as inspiration for elements of the film, though David Rooney of The Hollywood Reporter hascompared the visuals of the film to the works of Terrence Malick. The visual style continues some of the experimental camera techniques Decker and cinematographer Ashley Connor had used in their previouscollaboration, Butter on the Latch, including some shots that were recorded without a lens on the camera.ReleaseMediaIn September 2014, Thou Wast Mild and Lovely was picked up for theatrical and VOD distributionby Cinelicious Pics along with Decker's 2013 film Butter on the Latch with a release set for November 2014.ReceptionCritical responseThou Wast Mild and Lovely received a positive response from critics. Richard Brodyof The New Yorker highly praised the film, saying \"Like most classic stories, this one is simple, but its realization is so surprising in its details, so original in its visual invention, as to make most other movies seem shotby the numbers.\" and \"Normally it would be an insult to say that a movie that runs a mere hour and a quarter feels as if it were much longer, but here it’s both accurate and high praise: vast realms of emotionalexperience are condensed into the movie’s brief span.\" In a subsequent piece for The New Yorker, Brody named Thou Wast Mild and Lovely the second best film of 2014, just behind Wes Anderson's The Grand BudapestHotel.  Brody also listed Robert Longstreet as \"Best Supporting Actor\"; Ashley Connor in \"Best Cinematography\". Decker's other 2014 film, Butter on the Latch, also made the Brody's top ten, clocking in at tenth place.Subsequent to its Berlinale 2014 premiere, Peter Knegt of Indiewire called Thou Wast Mild and Lovely \"The talk of the Berlin International Film Festival… with tense eroticism and experimental, largely free-formfilmmaking\". Josh Slater-Williams of Sound on Sight called it \"one of the strongest, most striking American Gothic works of recent memory.\"  In his review of the film, Eric Kohn of Indiewire gave the film a B+ rating andcommented, \"Its labyrinthine characteristics suggest the unholy marriage of Ingmar Bergman and David Lynch\" and \"Decker concocts a wholly enveloping vision of isolation told with a grimly poetic style that wandersall over the place but never stops playing by its own eerie rulebook.\"  Jenni Miller of The A.V. Club moderately praised the film and described Sophie Traub's Sarah as \"fascinating\", despite noting \"There are a few toomany experimental flourishes to effectively build the sort of tension that’s necessary to really make the ending pay off.\"  Nicolas Rapold of The New York Times gave the film a more mixed review, noting \"The setup'sclichés grow harder to ignore, despite a welcome mischievous streak and some bucolic imagery.\"  David Rooney of The Hollywood Reporter stated, \"It's not uninteresting but too self-consciously arty to rank Decker as amature filmmaking voice.\"AccoladesThou Wast Mild and Lovely premiered in the U.S. at the Sarasota Film Festival, and internationally at the 2014 Berlin International Film Festival in the Forum section.  It has alsoplayed at the AFI Fest, the BFI London Film Festival, the Torino Film Festival, the Hong Kong International Film Festival, the Gothenburg Film Festival, the Athens International Film Festival, the Denver Film Festival, theDallas VideoFest, the Flyway Film Festival, the Sidewalk Film Festival, the Fantasia International Film Festival, the Galway Film Fleadh, the BAMcinemFest and the Imagine Film Festival in the Netherlands.The film wasnominated for the FIPRESCI prize at the Hong Kong International Film Festival, and has won awards on the festival circuit, including the Dallas VideoFest Winner 2014: Best Narrative Feature, Sarasota Film Festival2014 Winner: Independent Visions Grand Prize & Tangerine Entertainment's Juice Award, Flyway Film Festival 2014: Breakout Filmmaker, Indie Memphis Film Festival 2014: Craig Brewer Emerging Filmmaker Award. Itwas acquired by Cinelicious Pics in fall of 2014.Passage 4:Mark Lewis (filmmaker)Mark Lewis is an Australian documentary film and television producer, director and writer. He is famous for his film Cane Toads: AnUnnatural History and for his body of work on animals. Unlike many other producers of nature films, his films do not attempt to document the animals in question or their behaviors but rather the complex relationshipsbetween people and society and the animals they interact with.His films have earned him many awards, including a British Academy Award nomination, a nomination from the Directors Guild of America, two Emmy's forOutstanding Direction in documentary film, and an Emmy Award for Outstanding Science Program on American Television.As a student Lewis helped planning Philippe Petit's famous 1974 high-wire walk between theTwin Towers of the World Trade Center. He talks about his involvement in the acclaimed documentary Man on Wire (2008).Filmography(2010) Cane Toads: The Conquest(2007) The Pursuit of Excellence(2006) TheFloating Brothel(2006) The Standard of Perfection: Show Cats(2006) The Standard of Perfection - Show Cattle(2000) The Natural History of the Chicken(1999) Animalicious(1998) Rat(1994) Gordy.(1990) TheWonderful World of Dogs(1989) Round the Twist(1988) Cane Toads: An Unnatural HistoryPassage 5:Mike JudgeMichael Craig Judge (born October 17, 1962) is an American actor, animator, filmmaker, and musician. Heis the creator of the animated television series Beavis and Butt-Head (1993–1997, 2011, 2022–present), and the co-creator of the television series King of the Hill (1997–2010, 2023–present), The Goode Family(2009), Silicon Valley (2014–2019), and Mike Judge Presents: Tales from the Tour Bus (2017–2018). He wrote and directed the films Beavis and Butt-Head Do America (1996), Office Space (1999), Idiocracy (2006),and Extract (2009), and co-wrote the screenplay to Beavis and Butt-Head Do the Universe (2022).Judge was born in Guayaquil, Ecuador, and raised in the U.S. state of New Mexico. He graduated from the University ofCalifornia, San Diego, where he studied physics. After losing interest in a career in science, Judge focused on animation and short films. His animated short Frog Baseball was developed into the successful MTV seriesBeavis and Butt-Head, and the spin-off series Daria (with which Judge had no involvement).In 1995, Judge and the former Simpsons writer Greg Daniels developed King of the Hill, which debuted on Fox in 1997 andquickly became popular with both critics and audiences. Running for 13 seasons, it became one of the longest-running American animated series. During the run of the show, Judge took time off to write and direct OfficeSpace, Idiocracy and Extract. As King of the Hill was coming to an end, Judge created his third show, ABC's The Goode Family, which received mixed reviews and was cancelled after 13 episodes. After a four-yearhiatus, he created his fourth show, the live-action Silicon Valley for HBO, which has received critical acclaim. In 2017, Judge's fourth animated series, the music-themed Tales from the Tour Bus, premiered on Cinemax,to acclaim.Judge has won a Primetime Emmy Award and two Annie Awards for King of the Hill and two Critics' Choice Television Awards and Satellite Awards for Silicon Valley.Early lifeMichael Craig Judge was born onOctober 17, 1962, in Guayaquil, Ecuador. He is the middle of three children born to Margaret Yvonne (née Blue), a librarian, and William James Judge, an archaeologist. At the time of his birth, his father was working fora nonprofit organization in Guayaquil and other parts of Ecuador, promoting agricultural development. Judge was raised from age three in Albuquerque, New Mexico, where he spent a small portion of his life working ona chicken farm. He attended St. Pius X High School and graduated with a Bachelor of Science in physics from the University of California, San Diego, (UCSD) in 1985.Career1985–1997: Early science career; musician;animation and Beavis and Butt-HeadAfter graduating from the University of California, San Diego, in 1985, he held several brief jobs in physics and mechanical engineering, but found himself growing bored with science.In 1987, he moved to Silicon Valley to join Parallax Graphics, a startup video card company with about 40 employees based in Santa Clara, California. Disliking the company's culture and his colleagues, Judge quit afterless than three months, describing it as, \"The people I met were like Stepford Wives. They were true believers in something, and I don't know what it was\". Shortly after quitting his job, he became a bass player with atouring blues band.He was a part of Anson Funderburgh's band for two years, playing on their 1990 Black Top Records release Rack 'Em Up, while taking graduate math classes at the University of Texas at Dallas. Hewas planning to earn a master's degree as \"a back-up plan\" to become a community college math teacher after relocating to the north Dallas area for his ex-wife's new job. In 1989, after seeing animation cels ondisplay in a movie theater, Judge purchased a Bolex 16 mm film camera and began creating his own animated shorts in his home in Richardson, Texas. In 1991, his short film Office Space (also known as the Miltonseries of shorts) was acquired by Comedy Central, following an animation festival in Dallas. Shortly thereafter, he dropped out of school to focus on his career. In the early 1990s, he was playing blues bass with DoyleBramhall.In 1992, he developed Frog Baseball, a short film featuring the characters Beavis and Butt-Head, which was to be featured on Liquid Television, a 1990s animation showcase that appeared on MTV. The shortled to the creation of the Beavis and Butt-Head series on MTV, in which Judge voiced both title characters as well as the majority of supporting characters and wrote and directed the majority of the episodes. The showcenters on two socially incompetent, heavy metal-loving teenage wannabe delinquents, Beavis and Butt-Head, who live in the fictional town of Highland, Texas. The two have no adult supervision, are dim-witted,sex-obsessed, uneducated, barely literate, and lack any empathy or moral scruples, even regarding each other. Over its run, Beavis and Butt-Head drew a notable amount of both positive and negative reaction from thepublic with its combination of lewd humor and implied criticism of society.Judge himself is highly critical of the animation and quality of earlier episodes, in particular the first two – Blood Drive/Give Blood and Door toDoor – which he described as \"awful, I don't know why anybody liked it ... I was burying my head in the sand.\" The series spawned the feature-length film Beavis and Butt-Head Do America and the spin-off showDaria.After two decades, the series aired its new season on October 27, 2011. The premiere was a ratings hit, with an audience of 3.3 million total viewers. On January 10, 2014, Judge announced that there is still achance to pitch Beavis and Butt-Head to another network and that he wouldn't mind making more episodes.1997–2009: King of the Hill, Office Space, and IdiocracyIn early 1995, after the successful first run of Beavisand Butt-Head, Judge decided to create another animated series, King of the Hill. Judge conceived the idea for the show, drew the main characters, and wrote a pilot script. Fox was uncertain of the viability of Judge'sconcept for an animated comedy based in reality and set in the American South, so the network teamed him up with The Simpsons writer Greg Daniels. Judge was a former resident of Garland, Texas, upon which thefictional community of Arlen was loosely based, but as Judge stated in a later interview, the show was based more specifically on the Dallas suburb of Richardson. Judge voiced characters Hank Hill and Jeff Boomhauer.The show is about a middle-class Methodist family named the Hills living in a small town called Arlen, Texas. It attempts to retain a naturalistic approach, seeking humor in the conventional and mundane aspects ofeveryday life while dealing with issues comically. After its debut in 1997, the series became a large success for Fox and was named one of the best television series of the year by various publications, includingEntertainment Weekly, Time, and TV Guide.For the 1997–1998 season, the series became one of Fox's highest-rated programs and even briefly outperformed The Simpsons in ratings. Although ratings remainedconsistent throughout the 10th, 11th and 12th seasons and had begun to rise in the overall Nielsen ratings (up to the 105th most watched series on television, from 118 in season 8), Fox abruptly announced in 2008that King of the Hill had been cancelled. The cancellation coincided with the announcement that Seth MacFarlane, creator of Family Guy and American Dad!, would be creating a Family Guy spin-off called The ClevelandShow, which would take over King of the Hill's time slot. Hopes to keep the show afloat surfaced as sources indicated that ABC (which was already airing Judge's new animated comedy, The Goode Family) wasinterested in securing the rights to the show, but in January 2009, ABC president Steve McPherson said he had \"no plans to pick up the animated comedy.\" On April 30, 2009, it was announced that Fox ordered at leasttwo more episodes to give the show a proper finale. The show's 14th season was supposed to air sometime in the 2009–10 season, but Fox later announced that it would not air the episodes, opting instead forsyndication. On August 10, 2009, however, Fox released a statement that the network would air a one-hour series finale (which consisted of a regular 30-minute episode followed by a 30-minute finale) on September13, 2009. The four remaining episodes of the series aired in syndication the week of May 3, 2010, and again on Adult Swim during the week of May 17, 2010. During the panel discussion for the return of Beavis andButt-Head at Comic-Con 2011, Mike Judge said that no current plans exist to revive King of the Hill, although he would not rule out the possibility of it returning.Judge began to develop one of his four animated shortfilms titled Milton, about an office drone named Milton that Judge created, which first aired on Liquid Television and Night After Night with Allan Havey and later aired on Saturday Night Live. The inspiration came from atemp job he once had that involved alphabetizing purchase orders and a job he had as an engineer for three months in the San Francisco Bay Area during the 1980s, \"just in the heart of Silicon Valley and in the middleof that overachiever yuppie thing, it was just awful\". Judge sold the completed film Office Space to 20th Century Fox based on his script and a cast that included Jennifer Aniston, Ron Livingston, and David Herman.Originally, the studio wanted to make a film out of the Milton character but Judge was not interested, opting instead to make more of an ensemble cast–based film. The studio suggested that he should make a film likeCar Wash but \"just set in an office\". Judge made the relatively painless transition from animation to live-action with the help of the film's director of photography who taught him about lenses and where to put thecamera. Judge says, \"I had a great crew, and it's good going into it not pretending you're an expert.\" Studio executives were not happy with the footage Judge was getting. He remembers them telling him, \"Moreenergy! More energy! We gotta reshoot it! You're failing! You're failing!\" In addition, Fox did not like the gangsta rap music used in the film until a focus group approved of it. Judge hated the ending and felt that acomplete rewrite of the third act was necessary. In the film, he made a cameo appearance as Stan (complete with hairpiece and fake mustache), the manager of Chotchkie's, a fictionalized parody of chain restaurantslike Chili's, Applebee's and TGI Friday's, and the boss of Jennifer Aniston's character, whom he continually undermines and interrogates over her lack of sufficient enthusiasm for the job and the insufficient quantity of\"flair\" (buttons, ribbons, etc.) she wears on her uniform. The film was released on February 19, 1999, and it was well received by critics. Although not particularly successful at the box office, it sold well on VHS andDVD, and it has come to be recognized as a cult classic.Beginning in fall 2003, Judge and fellow animator Don Hertzfeldt created an animation festival called \"The Animation Show\". \"The Animation Show\" toured thecountry annually for several years, screening animated shorts. In 2005, Judge was presented with the Austin Film Festival's Outstanding Television Writer Award by Johnny Hardwick.Judge has made supporting andcameo appearances in numerous films. Judge had a voice cameo as Kenny in South Park: Bigger, Longer and Uncut (1999), the feature-length film adaptation of the popular Comedy Central series; he voiced Kenny"}
+{"doc_id":"doc_98","qid":"","text":"Passage 1:Valley of DeathValley of Death may refer to:PlacesValley of Death (Bydgoszcz), the site of a 1939 Nazi mass murder and mass grave site in northern PolandValley of Death (Crimea), the site of the Charge ofthe Light Brigade in the 1854 Battle of BalaclavaValley of Death (Gettysburg), the 1863 Gettysburg Battlefield landform of Plum RunValley of Death (Dukla Pass), the site of a tank battle during the Battle of the DuklaPass in 1944 (World War II)The Valley of Death, an area of poisonous volcanic gas near the Kikhpinych volcano in RussiaThe Valley of Death, an area of poisonous volcanic gas near the Tangkuban Perahu volcano inIndonesiaValley of Death, a nickname for the highly polluted city of Cubatão, BrazilOther usesThe Valley of Death (audio drama), a Doctor Who audio playThe Valley of Death (film), a 1968 western film\"Valley of Death\",the flawed NewsStand: CNN & Time debut program that caused the Operation Tailwind controversyA literary element of \"The Charge of the Light Brigade\" by Alfred, Lord TennysonA reference to the difficulty of coveringnegative cash flow in the early stages of a start-up company; see Venture capital\"The Valley of Death\", a song by the Swedish heavy metal band Sabaton from the 2022 album The War to End All WarsSee alsoAll pageswith titles containing Valley of DeathDeath Valley (disambiguation)Valley of the Shadow of Death (disambiguation)Passage 2:Beaulieu-sur-LoireBeaulieu-sur-Loire (French pronunciation: [boljø sy\u0000 lwa\u0000], literallyBeaulieu on Loire) is a commune in the Loiret department in north-central France. It is the place of death of Jacques MacDonald, a French general who served in the Napoleonic Wars.PopulationSee alsoCommunes of theLoiret departmentPassage 3:Place of originIn Switzerland, the place of origin (German: Heimatort or Bürgerort, literally \"home place\" or \"citizen place\"; French: Lieu d'origine; Italian: Luogo di attinenza) denotes wherea Swiss citizen has their municipal citizenship, usually inherited from previous generations. It is not to be confused with the place of birth or  place of residence, although two or all three of these locations may beidentical depending on the person's circumstances.Acquisition of municipal citizenshipSwiss citizenship has three tiers. For a person applying to naturalise as a Swiss citizen, these tiers are as follows:Municipalcitizenship, granted by the place of residence after fulfilling several preconditions, such as sufficient knowledge of the local language, integration into local society, and a minimum number of years lived in saidmunicipality.Cantonal (state) citizenship, for which a Swiss municipal citizenship is required. This requires a certain number of years lived in said canton.Country citizenship, for which both of the above are required, alsorequires a certain number of years lived in Switzerland (except for people married to a Swiss citizen, who may obtain simplified naturalisation without having to reside in Switzerland), and involves a criminal backgroundcheck.The last two kinds of citizenship are a mere formality, while municipal citizenship is the most significant step in becoming a Swiss citizen. Nowadays the place of residence determines the municipality wherecitizenship is acquired, for a new applicant, whereas previously there was a historical reason for preserving the municipal citizenship from earlier generations in the family line, namely to specify which municipality heldthe responsibility of providing social welfare. The law has now been changed, eliminating this form of allocating responsibility to a municipality other than that of the place of residence. Care needs to be taken whentranslating the term in Swiss documents which list the historical \"Heimatort\" instead of the usual place of birth and place of residence.However, any Swiss citizen can apply for a second, a third or even more municipalcitizenships for prestige reasons or to show their connection to the place they currently live – and thus have several places of origin. As the legal significance of the place of origin has waned (see below), Swiss citizenscan often apply for municipal citizenship for no more than 100 Swiss francs after having lived in the same municipality for one or two years. In the past, it was common to have to pay between 2,000 and 4,000 Swissfrancs as a citizenship fee, because of the financial obligations incumbent on the municipality to grant the citizenship.A child born to two Swiss parents is automatically granted the citizenship of the parent whose lastname they hold, so the child gets either the mother's or the father's place of origin. A child born to one Swiss parent and one foreign parent acquires the citizenship, and thus the place of origin, of the Swissparent.International confusionAlmost uniquely in the world (with the exception of Japan, which lists one's Registered Domicile; and Sweden, which lists the mother's place of domicile as place of birth), the Swiss identitycard, passport and driving licence do not show the holder's birthplace, but only their place of origin. The vast majority of countries show the holder's actual birthplace on identity documents. This can lead toadministrative issues for Swiss citizens abroad when asked to demonstrate their actual place of birth, as no such information exists on any official Swiss identification documents. Only a minority of Swiss citizens have aplace of origin identical to their birthplace. More confusion comes into play through the fact that people can have more than one place of origin.Significance and historyA citizen of a municipality does not enjoy a largerset of rights than a non-citizen of the same municipality. To vote in communal, cantonal or national matters, only the current place of residence matters – or in the case of citizens abroad, the last Swiss place ofresidence.The law previously required that a citizen's place of origin continued to bear all their social welfare costs for two years after the citizen moved away. In 2012, the National Council voted by 151 to 9 votes toabolish this law. The place of domicile is now the sole payer of welfare costs.In 1923, 1937, 1959 and 1967, more cantons signed treaties that assured that the place of domicile had to pay welfare costs instead of theplace of origin, reflecting the fact that fewer and fewer people lived in their place of origin (1860: 59%, in 1910: 34%).In 1681, the Tagsatzung – the then Swiss parliament – decided that beggars should be deported totheir place of origin, especially if they were insufficiently cared for by their residential community.In the 19th century, Swiss municipalities even offered free emigration to the United States if the Swiss citizen agreed torenounce municipal citizenship, and with that the right to receive welfare.See alsoAncestral home (Chinese)Bon-gwanRegistered domicile== Notes and references ==Passage 4:SennedjemSennedjem was an AncientEgyptian artisan who was active during the reigns of Seti I and Ramesses II. He lived in Set Maat (translated as \"The Place of Truth\"), contemporary Deir el-Medina, on the west bank of the Nile, opposite Thebes.Sennedjem had the title \"Servant in the Place of Truth\". He was buried along with his wife, Iyneferti, and members of his family in a tomb in the village necropolis. His tomb was discovered January 31, 1886. WhenSennedjem's tomb was found, it contained furniture from his home, including a stool and a bed, which he used when he was alive.His titles included Servant in the Place of Truth, meaning that he worked on theexcavation and decoration of the nearby royal tombs.See alsoTT1 – (Tomb of Sennedjem, family and wife)Passage 5:Place of birthThe place of birth (POB) or birthplace is the place where a person was born. This placeis often used in legal documents, together with name and date of birth, to uniquely identify a person. Practice regarding whether this place should be a country, a territory or a city/town/locality differs in differentcountries, but often city or territory is used for native-born citizen passports and countries for foreign-born ones.As a general rule with respect to passports, if the place of birth is to be a country, it's determined to bethe country that currently has sovereignty over the actual place of birth, regardless of when the birth actually occurred. The place of birth is not necessarily the place where the parents of the new baby live. If the babyis born in a hospital in another place, that place is the place of birth. In many countries, this also means that the government requires that the birth of the new baby is registered in the place of birth.Some countriesplace less or no importance on the place of birth, instead using alternative geographical characteristics for the purpose of identity documents. For example, Sweden has used the concept of födelsehemort (\"domicile ofbirth\") since 1947. This means that the domicile of the baby's mother is the registered place of birth. The location of the maternity ward or other physical birthplace is considered unimportant.Similarly, Switzerland usesthe concept of place of origin. A child born to Swiss parents is automatically assigned the place of origin of the parent with the same last name, so the child either gets their mother's or father's place of origin. A childborn to one Swiss parent and one foreign parent acquires the place of origin of their Swiss parent. In a Swiss passport and identity card, the holder's place of origin is stated, not their place of birth. In Japan, theregistered domicile is a similar concept.In some countries (primarily in the Americas), the place of birth automatically determines the nationality of the baby, a practice often referred to by the Latin phrase jus soli.Almost all countries outside the Americas instead attribute nationality based on the nationality(-ies) of the baby's parents (referred to as jus sanguinis).There can be some confusion regarding the place of birth if thebirth takes place in an unusual way: when babies are born on an airplane or at sea, difficulties can arise. The place of birth of such a person depends on the law of the countries involved, which include the nationality ofthe plane or ship, the nationality(-ies) of the parents and/or the location of the plane or ship (if the birth occurs in the territorial waters or airspace of a country).Some administrative forms may request the applicant's\"country of birth\". It is important to determine from the requester whether the information requested refers to the applicant's \"place of birth\" or \"nationality at birth\". For example, US citizens born abroad who acquireUS citizenship at the time of birth, the nationality at birth will be USA (American), while the place of birth would be the country in which the actual birth takes place.Reference list8 FAM 403.4 Place of BirthPassage6:Dance of Death (disambiguation)Dance of Death, also called Danse Macabre, is a late-medieval allegory of the universality of death.Dance of Death or The Dance of Death may also refer to:BooksDance of Death, a1938 novel by Helen McCloyDance of Death (Stine novel), a 1997 novel by R. L. StineDance of Death (novel), a 2005 novel by Douglas Preston and Lincoln ChildTheatre and filmThe Dance of Death (Strindberg play), a1900 play by August StrindbergThe Dance of Death, a 1908 play by Frank WedekindThe Dance of Death (Auden play), a 1933 play by W. H. AudenFilmThe Death Dance, a 1918 drama starring Alice BradyThe Dance ofDeath (1912 film), a German silent filmThe Dance of Death (1919 film), an Austrian silent filmThe Dance of Death (1938 film), crime drama starring Vesta Victoria; screenplay by Ralph DawsonThe Dance of Death(1948 film), French-Italian drama based on Strindberg's play, starring Erich von StroheimThe Dance of Death (1967 film), a West German drama filmDance of Death or House of Evil, 1968 Mexican horror film starringBoris KarloffDance of Death (1969 film), a film based on Strindberg's play, starring Laurence OlivierDance of Death (1979 film), a Hong Kong film featuring Paul ChunMusicDance of Death (album), a 2003 album by IronMaiden, or the title songThe Dance of Death & Other Plantation Favorites, a 1964 album by John FaheyThe Dance of Death (Scaramanga Six album)\"Death Dance\", a 2016 song by SevendustSee alsoDance of the Dead(disambiguation)Danse Macabre (disambiguation)Bon Odori, a Japanese traditional dance welcoming the spirits of the deadLa danse des morts, an oratorio by Arthur HoneggerTotentanz (disambiguation)Passage7:RainiharoField Marshal Rainiharo (died on 18 October 1852 in Rabodomiarana) was from 1833 to 1852 prime minister of the Kingdom of Imerina in the central highlands of Madagascar.BiographyRainiharo was born asRavoninahitriniarivo into the Hova (freeman) class of the Merina people in the central highlands of Madagascar. His father, Andriantsilavonandriana, served as an adviser to the king Andrianampoinimerina. Afterdistinguishing himself as a military officer in a series of campaigns of pacification in the southeastern part of the island, he was chosen as a spouse by Queen Ranavalona I following the death of her first husband in1833, and was thereupon promoted to Commander-in-Chief of the military and Prime Minister of Madagascar. He retained these roles until his death in 1853, when he was interred in a distinctive tomb constructed incentral Antananarivo by Frenchman Jean Laborde. This tomb would later hold the bodies of Rainiharo's two sons, Rainivoninahitriniony and Rainilaiarivony, who would each succeed him as Commander-in-Chief, PrimeMinister and consort.He was buried in Fasan-dRainiharo, Isoraka.LiteraryRainiharo is mentioned in The Fugitives by R. M. Ballantyne.Passage 8:Motherland (disambiguation)Motherland is the place of one's birth, theplace of one's ancestors, or the place of origin of an ethnic group.Motherland may also refer to:Music\"Motherland\" (anthem), the national anthem of MauritiusNational Song (Montserrat), also called\"Motherland\"Motherland (Natalie Merchant album), 2001Motherland (Arsonists Get All the Girls album), 2011Motherland (Daedalus album), 2011\"Motherland\" (Crystal Kay song), 2004Film and televisionMotherland(1927 film), a 1927 British silent war filmMotherland (2010 film), a 2010 documentary filmMotherland (2015 film), a 2015 Turkish dramaMotherland (2022 film), a 2022 documentary film about the SecondNagorno-Karabakh WarMotherland (TV series), a 2016 British television seriesMotherland: Fort Salem, a 2020 American science fiction drama seriesOther usesMotherland Party (disambiguation), the name of severalpolitical groupsPersonifications of Russia, including a list of monuments called MotherlandSee alsoAll pages with titles containing MotherlandMother Country (disambiguation)Passage 9:RainilaiarivonyRainilaiarivony (30January 1828 – 17 July 1896) was a Malagasy politician who served as the prime minister of Madagascar from 1864 to 1895, succeeding his older brother Rainivoninahitriniony, who had held the post for thirteen years.His career mirrored that of his father Rainiharo, a renowned military man who became prime minister during the reign of Queen Ranavalona I. Despite a childhood marked by ostracism from his family, as a young manRainilaiarivony was elevated to a position of high authority and confidence in the royal court, serving alongside his father and brother. He co-led a critical military expedition with Rainivoninahitriniony at the age of 24and was promoted to commander-in-chief of the army following the death of the queen in 1861. In that position he oversaw continuing efforts to maintain royal authority in the outlying regions of Madagascar and actedas adviser to his brother, who had been promoted to prime minister in 1852. He also influenced the transformation of the kingdom's government from an absolute monarchy to a constitutional one, in which power wasshared between the sovereign and the prime minister. Rainilaiarivony and Queen Rasoherina worked together to depose Rainivoninahitriniony for his abuses of office in 1864. Taking his brother's place as prime minister,Rainilaiarivony remained in power as Madagascar's longest-serving prime minister for the next 31 years by marrying three queens in succession: Rasoherina, Ranavalona II and Ranavalona III.As prime minister,Rainilaiarivony actively sought to modernize the administration of the state, in order to strengthen and ensure Madagascar remained independent from foreign colonial empires who wished to absorb it. The army wasreorganized and professionalized, public schooling was made mandatory, a series of legal codes patterned on English law were enacted and three courts were established in Antananarivo. The statesman exercised carenot to offend traditional norms, while gradually limiting traditional practices, such as slavery, polygamy, and unilateral repudiation of wives. He legislated the Christianization of the monarchy under Ranavalona II. Hisdiplomatic skills and military acumen assured the defense of Madagascar during the Franco-Hova Wars, successfully preserving his country's sovereignty until a French column captured the royal palace in September1895. Although holding him in high esteem, the French colonial authority deposed the prime minister and exiled him to French Algeria, where he died less than a year later in August 1896.Early lifeRainilaiarivony wasborn on 30 January 1828 in the Merina village of Ilafy, one of the twelve sacred hills of Imerina, into a family of statesmen. His father, Rainiharo, was a high-ranking military officer and a deeply influential conservativepolitical adviser to the reigning monarch, Queen Ranavalona I, at the time that his wife, Rabodomiarana (daughter of Ramamonjy), gave birth to Rainilaiarivony. Five years later Rainiharo was promoted to the positionof prime minister, a role he retained from 1833 until his death in 1852. During his tenure as prime minister, Rainiharo was chosen by the queen to become her consort, but he retained Rabodomiarana as his wifeaccording to local customs that allowed polygamy. Rainilaiarivony's paternal grandfather, Andriatsilavo, had likewise been a privileged adviser to the great King Andrianampoinimerina (1787–1810). Rainilaiarivony andhis relatives issued from the Andafiavaratra family clan of Ilafy who, alongside the Andrefandrova clan of Ambohimanga, constituted the two most influential hova (commoner) families in the 19th-century Kingdom ofImerina. The majority of political positions not assigned to andriana (nobles) were held by members of these two families.According to oral history, Rainilaiarivony was born on a day of the week traditionally viewed asinauspicious for births. Custom in much of Madagascar dictated that such unlucky children had to be subjected to a trial by ordeal, such as prolonged exposure to the elements, since it was believed the misfortune oftheir day of birth would ensure a short and cursed life for the child and its family. But rather than leave the child to die, Rainilaiarivony's father reportedly followed the advice of an ombiasy (astrologer) and insteadamputated a joint from two fingers on his infant son's left hand to dispel the ill omen. The infant was nonetheless kept outside the house to avert the possibility that evil might still befall the family if the child remainedunder their roof. Relatives took pity and adopted Rainilaiarivony to raise him within their own home. Meanwhile, Rainilaiarivony's older brother Rainivoninahitriniony enjoyed the double privilege of his status as elder sonand freedom from a predestined evil fate. Rainiharo selected and groomed his elder son to follow in his footsteps as commander-in-chief and prime minister, while Rainilaiarivony was left to make his way in the world byhis own merits.At age six, Rainilaiarivony began two years of study at one of the new schools opened by the London Missionary Society (LMS) for the children of the noble class at the royal palace in Antananarivo.Ranavalona shut down the mission schools in 1836, but the boy continued to study privately with an older missionary student. When Rainilaiarivony reached age 11 or 12, the relatives who had raised him decided hewas old enough to make his own way in the world. Beginning with the purchase and resale of a few bars of soap, the boy gradually grew his business and expanded into the more profitable resale of fabric. The youngRainilaiarivony's reputation for tenacity and industriousness, as he fought against his predestined misfortunes, eventually reached the palace, where at the age of 14 the boy was invited to meet Queen Ranavalona I.She was favorably impressed, awarding him the official ranking of Sixth Honor title of Officer of the Palace. At 16 he was promoted to Seventh Honor, then promoted twice again to Eighth and Ninth Honor at age 19, anunprecedented ascent through the ranks.As a regular among the foreigners at the palace, young Rainilaiarivony was tasked by an English merchant as a courier for his confidential business correspondence. Themerchant was impressed by the young man's punctuality and integrity and would regularly refer to him as the boy who \"deals fair.\" With the addition of the Malagasy honorific \"ra\", the expression was transformed into"}
+{"doc_id":"doc_99","qid":"","text":"Passage 1:W. Augustus BarrattW. Augustus Barratt (3 June 1873 – 12 April 1947) was a Scottish-born, later American, songwriter and musician.Early life and songsWalter Augustus Barratt was born 3 June 1873 inKilmarnock, the son of composer John Barratt; the family later lived in Paisley. In 1893 he won a scholarship for composition to the Royal College of Music.In his early twenties he contributed to The Scottish Students'Song Book, with three of his own song compositions and numerous arrangements.By the end of 1897 he had published dozens of songs, such as Sir Patrick Spens, The Death of Cuthullin, an album of his owncompositions, and arrangements of ten songs by Samuel Lover.He then, living in London, turned his attention to staged musical comedy, co-creating, with Adrian Ross, The Tree Dumas Skiteers, a skit, based on SydneyGrundy's The Musketeers that starred Herbert Beerbohm Tree. He co-composed with Howard Talbot the successful Kitty Grey (1900).He continued to write songs and to receive recognition for them. The 1901 and 1902BBC Promenade Concerts, \"The Proms\", included four of his compositions, namely Come back, sweet Love, The Mermaid, My Peggy and Private Donald.His setting of My Ships, a poem by Ella Wheeler Wilcox, wasperformed by Clara Butt and republished several times. It also appeared four times, with different singers, in the 1913 and 1914 Proms.AmericaIn September 1904 he went to live in New York City, finding employmentwith shows on Broadway, including the following roles:on-stage actor (Sir Benjamin Backbite) in Lady Teazle (1904-1905), a musical version of The School for Scandal;musical director of The Little Michus (1907), alsofeaturing songs by Barratt;co-composer of Miss Pocahontas (1907), a musical comedy;musical director of The Love Cure (1909–1910), a musical romance;composer of The Girl and the Drummer (1910), a musicalromance with book by George Broadhurst. Tried out in Chicago and elsewhere, it did not do well and never reached Broadway;musical director of The Quaker Girl (1911–1912);co-composer and musical director of MyBest Girl (1912);musical director of The Sunshine Girl (1913);musical director of The Girl who Smiles (1915), a musical comedy;musical director and contributor to music and lyrics of Her Soldier Boy(1916–1917);composer, lyricist and musical director of Fancy Free (1918), with book by Dorothy Donnelly and Edgar Smith;contributor of a song to The Passing Show of 1918;composer and musical director of LittleSimplicity (1918), with book and lyrics by Rida Johnson Young;contributor of lyrics to The Melting of Molly (1918–1919), a musical comedy;musical director of What's in a Name? (1920), a musical revue1921 inLondonThough domiciled in the US, he made several visits back to England. During an extended stay in 1921 he played a major part in the creation of two shows, both produced by Charles B. Cochran, namelyLeague ofNotions, at the New Oxford Theatre, for which he composed the music and co-wrote, with John Murray Anderson, the lyrics;Fun of the Fayre, at the London Pavilion, for which similarly he wrote the music and co-wrotethe lyricsBack to BroadwayBack in the US he returned to Broadway, working ascomposer and lyricist of Jack and Jill (1923), a musical comedy;musical director of The Silver Swan (1929), a musical romanceRadioplaysIn later years he wrote plays and operettas mostly for radio, such as:Snapshots: a radioperetta (1929)Sushannah and the Brush Wielders: a play in 1 act (1929)The Magic Voice: a radio series (1933)Men ofAction: a series of radio sketches (1933)Say, Uncle: a radio series (1933)Sealed Orders: a radio drama (1934)Sergeant Gabriel (with Hugh Abercrombie) (1945)PersonalIn 1897 in London he married Lizzie May Stoner.They had one son. In 1904 he emigrated to the US and lived in New York City. His first marriage ended in divorce in 1915 and, in 1918, he married Ethel J Moore, who was American. In 1924, he became a naturalizedAmerican citizen. He died on 12 April 1947 in New York City.Note on his first nameThe book British Musical Biography by Brown & Stratton (1897) in its entry for John Barratt refers to \"his son William Augustus Barratt\"with details that make it clear that Walter Augustus Barratt is the same person and that a \"William\" Augustus Barratt is a mistake. For professional purposes up to about 1900 he appears to have written as \"W. AugustusBarratt\", and thereafter mostly as simply \"Augustus Barratt\".Passage 2:AlludugaruAlludugaru or Alludu Garu  is a 1990 Indian Telugu-language drama film directed by K. Raghavendra Rao and produced by Mohan Babuunder Lakshmi Prasanna Films. This film stars Mohan Babu and Shobhana in lead roles, while Ramya Krishna also appeared in an important supporting role. It was commercially and critically successful running for morethan 100 days. The music of the movie was composed by K. V. Mahadevan.This film is a remake of Malayalam blockbuster Chithram.CastMohan Babu as VishnuShobana as KalyaniRamya Krishna as RevathiJaggayya asRamachandra PrasadChandramohan as AnandKaikala Satyanarayana as JailerGollapudi Maruthi RaoSudhakarNizhalgal RaviSoundtrackSoundtrack composed by K. V. Mahadevan is owned by Aditya Music.AwardsK. J.Yesudas won Nandi Award for Best Male Playback Singer for the song \"Muddabanthi Navvulo\".Passage 3:The Laughing Policeman (film)The Laughing Policeman (released in the UK as An Investigation of Murder) is a1973 American neo-noir thriller film loosely based on the 1968 novel of the same name by Maj Sjöwall and Per Wahlöö. The setting of the story is transplanted from Stockholm to San Francisco. It was directed by StuartRosenberg and features Walter Matthau as Detective Jake Martin.PlotA busload of passengers, including off-duty police detective Dave Evans, are gunned down and killed. Evans, on his own time, has been following aman named Gus Niles in search of information linking businessman Henry Camarero to the murder of his wife, Teresa, two years earlier.Evans was the partner of Detective Sergeant Jake Martin, a veteran but cynicalmember of the Homicide Detail working the bus massacre investigation. Jake originally investigated the Teresa Camarero case and has been obsessed with his failure to \"make\" Camarero for the murder. Jake returns toit after many dead-end leads (including a disastrous confrontation with a deranged amputee who takes hostages at gunpoint) in the bus investigation. Niles was killed on the bus as well, and it was Niles who providedthe alibi that enabled Camarero to cover up his wife's murder.The sullen Jake and enthusiastic but impulsive Inspector Leo Larsen are paired to interview suspects. Jake shuts out Larsen from his deductions, whileLarsen, despite a loose-on-the-rules and brutal side, tries to understand and gain the confidence of his new partner. Defying the orders of their police superior Lt. Steiner, they seek, find and then smoke out Camarero,leading to a chase through the streets of San Francisco and a confrontation aboard another bus.CastWalter Matthau as Sgt. Jake Martin (Martin Beck in the novel)Bruce Dern as Insp. Leo Larsen (Gunvald Larsson in thenovel)Louis Gossett Jr. as Insp. James LarrimoreAnthony Zerbe as Lt. Nat SteinerAlbert Paulsen as Henry CamereroVal Avery as Insp. John PappasPaul Koslo as Duane HaygoodCathy Lee Crosby as Kay ButlerJoannaCassidy as MonicaClifton James as MaloneyGregory Sierra as Ken VickeryMatt Clark as CoronerReceptionOn review aggregator website Rotten Tomatoes the film has a score of 57% based on reviews from 14 critics,with an average rating of 5.5/10.Roger Ebert of the Chicago Sun-Times said, The Laughing Policeman is an awfully good police movie: taut, off-key, filled with laconic performances. It provides the special delight we getfrom gradually unraveling a complicated case... The direction is by Stuart Rosenberg, and marks a comeback of sorts... With The Laughing Policeman, he takes a labyrinthine plot and leads us through it at a gallop; herespects our intelligence and doesn't bother to throw in a lot of scenes where everything is explained. All the pieces in the puzzle do fit together, you realize after the movie is over, and part of the fun is assemblingthem yourself. And there are a couple of scenes that are really stunning, like the bus shooting, and an emergency room operation, and scenes where the partners try to shake up street people to get a lead out of them.Police movies so often depend on sheer escapist action that it's fun to find a good one.Variety praised the film saying that \"After an extremely overdone prolog of violent mass murder on a bus, The Laughing Policemanbecomes a handsomely made manhunt actioner, starring Walter Matthau and Bruce Dern in excellent performances as two San Francisco detectives\".According to Chris Petit of Time Out, \"By the end, complete with carchase and split-second shooting, the film has become indistinguishable from all those movies it's trying so hard to disown\".The Laughing Policeman was released on Blu-ray on November 15, 2016. Matthew Hartman ofHigh-Def Digest, who reviewed it, wrote \"[the film] could have been a great and gritty 70s thriller, unfortunately, it's primary story doesn't live up to the potential of the opening scene\".See alsoList of American films of1973Passage 4:Piero SchivazappaPiero Schivazappa (born  14 April 1935) is an Italian film and television director and screenwriter.Life and careerBorn in Colorno, Schivazappa entered the film industry in 1959 as anassistant director, collaborating with Valerio Zurlini, Mario Monicelli and  Carlo Lizzani, among others. In 1963, he started collaborating with RAI for news reports and documentaries.Schivazappa made his feature filmdebut in 1969, with the controversial BDSM-themed The Laughing Woman, which at the time had many problems with censorship. Following the success of his 1973 miniseries Vino e pane, in the following years hefocused on television films and TV-series.In 1986 Schivazappa directed Serena Grandi in the erotic drama La signora della notte , produced by Giovanni Bertolucci.Personal lifeSchivazappa is married to actress ScillaGabel.Selected filmographyL'Odissea (TV, 1968)The Laughing Woman (1969)Una sera c'incontrammo (1975)Dov'è Anna? (TV, 1976)Lady of the Night (1986)An American Love (TV, 1994)Passage 5:The LaughingCavalier (film)The Laughing Cavalier  is a 1917 British silent adventure film directed by A. V. Bramble and Eliot Stannard and starring Mercy Hatton, Edward O'Neill and George Bellamy. It is an adaptation of the 1913novel The Laughing Cavalier by Baroness Emmuska Orczy.CastMercy Hatton - Gilda BeresteynGeorge Bellamy - Lord StoutenbergEdward O'Neill - Governor BeresteynA.V. Bramble - DiogenesFrederick Sargent -Nicholas BeresteynEva Westlake - Lady StoutenbergPassage 6:The Laughing WomanThe Laughing Woman (Latin: Femina ridens), also known as The Frightened Woman, is a 1969 Italian erotic thriller film directed byPiero Schivazappa.PlotDr. Sayer, the director of a philanthropic foundation, spends his weekends at his luxurious villa outside of Rome toying with sadistic fantasies. His games are usually acted out with the help of aprostitute conversant with his desires. When his regular prostitute becomes unavailable at the last minute, Sayer substitutes Maria, a young journalist on his staff. After the drugged Maria regains consciousness at hisvilla, Sayer realizes that he now has a real victim on his hands. She is subjected to his unpleasant games but soon begins subverting him.CastPhilippe Leroy: Doctor SayerDagmar Lassander: MaryLorenza Guerrieri:GidaVaro Soleri: AdministratorMaria Cumani Quasimodo: Sayer's SecretaryMirella Pamphili: StreetwalkerSoundtrackThe soundtrack to the film was composed by Stelvio Cipriani and released in 1969.Track listingSideAWeek-End With MaryLove SymbolHot SkinChorus And Brass \"Fugato\"Rendez-Vous In The CastleSophisticated ShakeSide B\"Femina Ridens\" SongMary's ThemeThe ShowerThe Run In The AlleyFight Of LovePassage7:Rumbi KatedzaRumbi Katedza is a Zimbabwean Film Producer and Director who was born on 17 January 1974.Early life and educationShe did her Primary and Secondary Education in Harare, Zimbabwe. Katedzagraduated with a Bachelor of Arts in English from McGill University, Canada in 1995. In 2008 Katedza received the Chevening Scholarship that enabled her to further her studies in film. She also holds a MA inFilmmaking from Goldsmiths College, London University.Work and filmographyKatedza has experience in Film and TV Production, Directing, Writing as well as Producing and presenting Radio shows. From 1994 to 2000,She produced and presented radio shows on Women's issues, Arts and Culture, Hip Hop and Acid Jazz for the CKUT (Montreal) and ZBC Radio 3 (Zimbabwe). From 2004 - 2006, she served as the Festival Director of theZimbabwe International Film Festival. Whilst there, she produced the Postcards from Zimbabwe Series. In 2008, Katedza founded Mai Jai Films and has produced numerous films and television productions under thebanner namelyTariro (2008);Big House, Small House (2009);The Axe and the Tree (2011);The Team (2011)Playing Warriors (2012)Her early works include:Danai (2002);Postcards from Zimbabwe (2006);Trapped(2006 – Rumbi Katedza, Marcus Korhonen);Asylum (2007);Insecurity Guard (2007)Rumbi Katedza is a part-time lecturer at the University of Zimbabwe, in the department of Theatre Arts. She is a judge and monitor atthe National Arts Merit Awards, responsible for monitoring new film and TV productions throughout the year on behalf of the National Arts Council of Zimbabwe. She has also lobbied Zimbabwean government to activelysupport the film industry.Passage 8:Hassan ZeeHassan \"Doctor\" Zee is a Pakistani-American film director who was born in Chakwal, Pakistan.Early lifeDoctor Zee grew up in Chakwal, a small village in Punjab, Pakistan.as one of seven brothers and sisters  His father was in the military and this fact required the family to move often to different cities. As a child Zee was forbidden from watching cinema because his father believedmovies were a bad influence on children.At age 13, Doctor Zee got his start in the world of entertainment at Radio Pakistan where he wrote and produced radio dramas and musical programs.  It was then that herealized his passion for storytelling At the age of 26, Doctor Zee earned his medical doctorate degree and did his residency in a burn unit at the Pakistan Institute of Medical Sciences. He cared for women who werevictims of  \"Bride Burning,\" the archaic practice used as a form of punishment against women who fail to provide sufficient dowry to their in-laws after marriage or fail to provide offspring.  He also witnessed how hiscountry’s transgender and intersex people, called “hijras”, were banned from having jobs and forced to beg to survive. These experiences inspired Doctor Zee to tackle the issues of women’s empowerment and genderinequality in his films.In 1999, he came to San Francisco to pursue his dream of filmmaking and made San Francisco his homeEducationHe received his early education from Jinnah Public School, Chakwal. He got hismedical doctor degree at Rawalpindi Medical College, Pakistan.Film careerDoctor Zee's first film titled Night of Henna was released in 2005. The theme of the film dealt with \"the conflict between Old World immigrantcustoms and modern Western ways...\" Night of Henna focused on the problems of Pakistani expatriates who found it hard to adjust in American culture. Many often landed themselves in trouble when it came tomarrying off their children.His second film Bicycle Bride came out in 2010, which was about \"the clash between the bonds of family and the weight of tradition.\" His third film House of Temptation that came out in 2014was about a family which struggles against the temptations of the Devil. His fourth film “Good Morning Pakistan”, concerned a young American’s journey back to Pakistan where he confronts the contradictory nature of abeautiful and ancient culture that's marred by economic, educational and gender inequality His upcoming fifth film, \"Ghost in San Francisco\" is a supernatural thriller starring Felissa Rose, Dave Sheridan, and KyleLowder where a soldier comes home from Afghanistan to discover that his wife is having an affair with his best friend. While battling with his inner ghosts and demons, he meets a mysterious woman in San Franciscowho promises him a ritual for his cure.Passage 9:Edward YatesEdward J. Yates (September 16, 1918 – June 2, 2006) was an American television director who was the director of the ABC television program AmericanBandstand from 1952 until 1969.BiographyYates became a still photographer after graduating from high school in 1936. After serving in World War II, he became employed by Philadelphia's WFIL-TV as a boommicrophone operator. He was later promoted to cameraman (important as most programming was done live and local during the early years of television) and earned a bachelor's degree in communications in 1950 fromthe University of Pennsylvania.In October 1952, Yates volunteered to direct Bandstand, a new concept featuring local teens dancing to the latest hits patterned after the \"950 Club\" on WPEN-AM. The show debuted withBob Horn as host and took off after Dick Clark, already a radio veteran at age 26, took over in 1956.It was broadcast live in its early years, even after it became part of the ABC network's weekday afternoon lineup in1957 as American Bandstand. Yates pulled records, directed the cameras, queued the commercials and communicated with Clark via a private line telephone located on his podium.In 1964, Clark moved the show to LosAngeles, taking Yates with him.Yates retired from American Bandstand in 1969, and moved his family to the Philadelphia suburb of West Chester.He died in 2006 at a nursing home where he had been for the last twomonths of his life.External linksEdward Yates at IMDbPassage 10:K. Raghavendra RaoKovelamudi Raghavendra Rao (born 23 May 1942) is an Indian film director, screenwriter, and producer known for his workspredominantly in Telugu cinema besides having directed a few Hindi films. He has garnered four state Nandi Awards and five Filmfare Awards South. In a film career spanning more than four decades, Rao has directedmore than a hundred feature films across multiple genres such as romantic comedy, fantasy, melodrama, action thriller, biographical and romance films.Rao received the state Nandi Award for Best Director for hisworks such as Bobbili Brahmanna (1984), and Pelli Sandadi (1996). He garnered the Filmfare Award for Best Director – Telugu for the drama film Prema Lekhalu (1977), the fantasy film Jagadeka Veerudu AthilokaSundari (1990), and the romance film Allari Priyudu (1993). Rao is known for his works in hagiographical films such as Annamayya (1997), which won two National Film Awards, and was also showcased at the 1998International Film Festival of India in the mainstream section. Rao also received the Nandi Award for Best Direction, the Filmfare Award for Best Direction for his work in the film. His other hagiographic works such as SriManjunatha (2001), Sri Ramadasu (2006), Shirdi Sai (2012) and Om Namo Venkatesaya (2017), received several state honours.His mainstream works such as the 1987 social problem film Agni Putrudu, and the 1988action thriller Aakhari Poratam, were screened at the 11th and 12th International Film Festival of India respectively in the mainstream section. In 1992, he directed the melodrama Gharana Mogudu which premiered atthe 1993 International Film Festival of India in the mainstream section. It became the first Telugu film to gross over \u000010 crore (US$1.3 million) at the box office. Next, he directed the instant hit Allari Priyudu (1993),which also premiered at the 1994 International Film Festival of India in the mainstream section.He is also credited with introducing many actors, actresses, and technicians to the Telugu film industry, like Sridevi, Tabu,Tapsee Pannu, Manchu Lakshmi, Sreeleela, Venkatesh, Mahesh Babu, Allu Arjun, S. S. Rajamouli, and Marthand K. Venkatesh.Personal lifeRaghavendra Rao was born on 23 May 1942 to veteran director K. S. PrakashRao and Koteswaramma. He is also the father of actor turned filmmaker Prakash Kovelamudi. Raghavendra Rao was an executive member in the Tirumala Tirupati Devasthanams Board from 2015 to 2019.Awards andhonorsNandi AwardsNTR National Award - 2015B. N. Reddy National Award for lifetime contribution to Telugu cinema (2009)Best Director – Annamayya (1997)Best Choreographer – Pelli Sandadi (1996)Best Director –Pelli Sandadi (1996)Best Director – Allari Priyudu (1993)Best Director – Bobbili Brahmanna (1984)Filmfare Awards SouthBest Director – Prema Lekhalu (1977)Best Director – Jagadeka Veerudu Athiloka Sundari"}
+{"doc_id":"doc_100","qid":"","text":"Passage 1:Esdras HartleyEsdras Hartley (1892–1946) was the art director for the 1935 film Don't Bet on Blondes. He worked on over a hundred films during his career, many of them at the Hollywood studio Warner Brothers.Selected filmographyMiss Pacific Fleet (1935)A Night at the Ritz (1935)Bengal Tiger (1936)Times Square Playboy (1936)Talent Scout (1937)South of Suez (1940)River's End (1940)Ladies Must Live (1940)An Angel from Texas (1940)King of the Lumberjacks (1940)Three Cheers for the Irish ( 1940)The Case of the Black Parrot (1941)Flight from Destiny (1941)Highway West (1941)The Body Disappears (1941)Passage 2:The Only GirlThe Only Girl may refer to:The Only Girl (book), a 2018 memoir by Robin GreenThe Only Girl (film), 1933 filmThe Only Girl (musical), 1914 Broadway musical by Victor Herbert and Henry BlossomPassage 3:The Empress and IThe Empress and I (German: Ich und die Kaiserin) is a 1933 German musical comedy film directed by Friedrich Hollaender and starring Lilian Harvey, Mady Christians and Conrad Veidt. It is also known by the alternative title of The Only Girl. The film was produced as a multi-language version. Moi et l'impératrice a separate French-language version was released as well as The Only Girl in English. The multilingual Harvey played the same role in all three films.It was shot at the Babelsberg Studios in Berlin. The film's sets were designed by the art directors Robert Herlth and Walter Röhrig. It was made by Erich Pommer's production unit at UFA, several of whom left the country after the film's release due to the Nazi Party's assumption of power.SynopsisAfter a fall from a horse, a wealthy Marquis is believed to be dying. While he lies there, he is comforted by the singing of a beautiful woman. When he unexpectedly recovers, he tries to seek out this young woman. Due to a series of confusions, he believes her to be Empress Eugenie, the wife of Napoleon III of France. In fact, the woman was a Eugenie's hairdresser, a vivacious young woman engaged to be married to an aspiring composer and conductor currently working for the celebrated Jacques Offenbach.CastLilian Harvey as JulietteMady Christians as EmpressConrad Veidt as Marquis de PontignacHeinz Rühmann as DidierFriedel Schuster as AnnabelHubert von Meyerinck as FlügeladjutantJulius Falkenstein as Jacques OffenbachPaul Morgan as Erfinder des FahrradesHans Hermann Schaufuß as DoctorKate Kühl as MarianneHeinrich Gretler as SanitäterEugen Rex as Etienne, Diener des MarquisHans DeppeHans Nowack as Erfinder des TelefonsMargot HöpfnerPassage 4:Don't Bet on LoveDon't Bet on Love is a 1933 American comedy film directed by Murray Roth and written by Howard Emmett Rogers, Murray Roth and Ben Ryan. The film stars Lew Ayres, Ginger Rogers, Charley Grapewin, Shirley Grey, Tom Dugan and Merna Kennedy. The film was released on July 1, 1933, by Universal Pictures.PlotMolly Gilbert won't accept a marriage proposal from Bill McCaffery unless he promises to quit betting money on horse races. He gives her his word, but Molly is miffed when she realizes he wants to honeymoon in Saratoga, New York, due to its proximity to the racetrack.Behind her back, Bill unethically uses money from his dad Pop McCaffery's plumbing business to continue gambling. He gets on a hot streak, winning $50,000, then buys a horse of his own, cheats by disguising a faster horse as his, then loses all his money. Bill agrees to become a plumber, pleasing Molly.CastLew Ayres as Bill McCafferyGinger Rogers as Molly GilbertCharley Grapewin as Pop McCafferyShirley Grey as Goldie WilliamsTom Dugan as ScottyMerna Kennedy as Ruby 'Babe' NortonLucile Gleason as Mrs. GilbertRobert Emmett O'Connor as Edward SheltonPassage 5:Onmyōji (film)Onmyōji (\u0000\u0000\u0000) is a 2001 Japanese film directed by Yōjirō Takita. It tells of the exploits of famed onmyōji Abe no Seimei, who meets and befriends bungling court noble, Minamoto no Hiromasa. Together they protect the capital of Heian-kyō against an opposing onmyōji, Dōson, who is secretly plotting the downfall of the emperor.A sequel, Onmyōji 2, appeared in 2003.  Both movies are based on the Onmyōji series of novels by author Baku Yumemakura, which also inspired a manga series by Reiko Okano.PlotThe Heian period (9th–12th centuries) was a time when human beings and various supernatural beings still coexisted with each other, the latter occasionally causing trouble to humans. Practitioners of the art of onmyōdō, the onmyōji, were held to be able to control and subdue these malevolent entities and other paranormal phenomena, and were thus held in high regard, being employed by the imperial court.In Heian-kyō, nobleman Minamoto no Hiromasa meets court onmyōji Abe no Seimei, a mysterious man about whom many rumors have been told. On a dare by some courtiers, Seimei demonstrates his exceptional skills in onmyōdō by killing a butterfly without touching it (i.e. casting a spell on a leaf which then flies and cuts through it).Hiromasa later visits Seimei at his home, where he sees Seimei's shikigami in human form, one of whom was Mitsumushi, the butterfly he had killed (and subsequently revived) earlier. Seimei joins Hiromasa in inspecting a mysterious gourd growing from a pine tree in Lord Kaneie's house; Seimei reveals the gourd to have been caused by a curse cast by a former lover of Kaneie who committed suicide.One night, Hiromasa impresses an unseen lady on an oxcart with his flute playing. Unbeknownst to him, this woman is Sukehime, Minister of the Right Fujiwara no Motokata's daughter and one of the current emperor's wives, who is worried that she is losing the emperor's favor as another wife, Lady Tōko, the daughter of Minister of the Left Fujiwara no Morosuke, had just given birth to a baby boy, who is to be the heir to the throne.Meanwhile, the head onmyōji of the imperial Bureau of Onmyō, Dōson, is secretly plotting to overthrow the emperor by trying to awaken the vengeful spirit of Prince Sawara, who had died 150 years ago. Wrongfully accused of treason by his brother, the Emperor Kanmu, Sawara committed suicide, but not before swearing eternal vengeance on the Son of Heaven (i.e. the emperor). When Dōson curses the emperor's newborn son, Prince Atsuhira, to be possessed by an evil spirit, Seimei combats his spells and drives the demon away with the help of Hiromasa and the immortal Lady Aone, who was ordered by Kanmu to guard the burial mound where Prince Sawara's spirit is sealed away.Hiromasa once again meets Sukehime (again unseen by Hiromasa) on the oxcart. He confesses his feelings for Sukehime, who he calls 'Lady of the Full Moon' (\u0000\u0000\u0000\u0000 Mochizuki no kimi), but Sukehime, who still loves the emperor, rejects his advances.Both Seimei and Aone are put under arrest by Motokata and accused of cursing the infant prince. They are saved in the nick of time by Morosuke, who points out it is unlawful to kill a court onmyōji without imperial permission. Dōson, who is implied to be behind the allegation, enchants one of the imperial police to attack the two; Aone is severely wounded, but proves to be unharmed due to her immortality.Taking advantage of Sukehime's jealousy against Tōko, Dōson uses his powers to turn her into a namanari (a woman halfway to becoming an oni) that harasses both Tōko and the newborn Atsuhira. Seimei uses onmyōdō to transform straw effigies into the likenesses of the Emperor and the infant prince. Sukehime arrives and assaults the effigies, thinking them to be the real emperor and Atsuhira. The emperor, moved by a waka poem she recites (the same poem Hiromasa hears the lady on the oxcart recite earlier), speaks out loudly, breaking Seimei's spell. Hiromasa, recognizing Sukehime to be his 'Lady of the Full Moon', steps in to accost her.Sukehime briefly comes back to her senses when Seimei removes a paper talisman attached to her back, but Dōson doubles his efforts, and she completely transforms into an oni. When Hiromasa sacrifices himself by allowing her to bite on his arm, Sukehime comes back to her senses once more and kills herself with Hiromasa's tachi. In her final moments, Sukehime - now a human once more - begs to hear Hiromasa's flute one last time.Seimei shoots an arrow with the paper talisman towards the sky, ordering the curse to go back to its sender. The arrow, now on fire, lands in Dōson's secret lair, burning it to the ground. Dōson, swearing vengeance on Seimei, finally releases the spirit of Prince Sawara from its confinement in the burial mound. Sawara's ghost enters Dōson's body and summons a horde of vengeful spirits to attack Heian-kyō. Aone reveals to Seimei that he and Hiromasa are foretold by the stars to become the two protectors of the city: one cannot survive without the other. She, Seimei and Mitsumushi then go off in search of Hiromasa.Dōson makes his way to the imperial palace. Hiromasa tries to stop him in his tracks, but he is no match for his superhuman abilities; he is mortally wounded when Dōson throws back an arrow Hiromasa shot towards him. Seimei and Aone find him, but it is too late. Aone suggests that Seimei resurrect Hiromasa by performing the rite of Taizan-fukun, the Chinese god of the dead (\u0000\u0000\u0000\u0000\u0000 Taizan-fukun no matsuri), offering to sacrifice her immortality and life to do so.Hiromasa, brought back to life by the ritual, and Seimei go to face Dōson. Aone's spirit, speaking through Hiromasa's body, convinces Sawara to give up his hatred. While Sawara at first refuses to do so, he is finally moved by the prospect of being with Aone - who was the prince's lover during his lifetime - forever; he then passes peacefully with Aone into the afterlife. Although now without Sawara's spirit to empower him, Dōson resumes the fight. Seimei, using his wits, traps Dōson within a magical barrier. Finally admitting defeat, Dōson slashes his throat with the sword from Sawara's burial mound.At the end of the movie, Seimei and Hiromasa drink sake together in Seimei's house. Hiromasa teases Seimei for crying when he died and reflects on what Seimei said to him earlier: that the human heart can turn one into a demon or a buddha. Seimei tells Hiromasa that he is a 'very good man'; Hiromasa answers, \"So are you.\" The two share a laugh together.CastMansai Nomura as Abe no Seimei (\u0000\u0000\u0000\u0000): An exceptionally talented onmyōji whose very origins are shrouded in mystery. Although an onmyōji of the imperial court, he initially shows little regard for it or Heian-kyō itself, preferring instead to stay home with his shikigami and drink sake, yet eventually finds himself fulfilling his destined role as the capital's protector along with Hiromasa.Hideaki Itō as Minamoto no Hiromasa (\u0000\u0000\u0000): A nobleman in the court with a bumbling personality skilled in playing the flute. Although wary of onmyōji at first, he eventually becomes close friends with Seimei, being destined to become the guardian of Heian-kyō along with him.Eriko Imai as Mitsumushi (\u0000\u0000): A butterfly apparently killed by Seimei as a display of his power and subsequently brought back to life. She serves him as one of his shikigami.Hiroyuki Sanada as Dōson (\u0000\u0000): The head of the Bureau of Onmyō (\u0000\u0000\u0000 Onmyō-ryō), he secretly plots the downfall of the imperial line and attempts to use the vengeful spirit of Prince Sawara to further his goals.Ittoku Kishibe as the Emperor (\u0000 Mikado): Loosely based on the historical Emperor Murakami (reigned 946–967), who was the reigning emperor in the year the story takes place (944 CE). The emperor's newborn son and heir is named 'Atsuhira' (\u0000\u0000) in the film, which is actually the name of a later emperor (Go-Ichijō, reigned 1016-1036). The historical son and successor of Murakami, Emperor Reizei, was named 'Norihira' (\u0000\u0000) .Ken'ichi Yajima as Fujiwara no Morosuke (\u0000\u0000\u0000\u0000): The Emperor's Minister of the Left. The historical Morosuke was in reality Emperor Murakami's Minister of the Right.Akira Emoto as Fujiwara no Motokata (\u0000\u0000\u0000\u0000): The Emperor's Minister of the Right, who, at Dōson's instigation  falsely accuses Seimei of cursing the newborn Prince Atsuhira (which was actually Dōson's doing). The historical Motokata had been a Dainagon under Murakami.Sachiko Kokubu as Tōko (\u0000\u0000): The Emperor's consort and Morosuke's daughter who bears him Prince Atsuhira. Based on the historical Fujiwara no Anshi (aka Yasuko).Yui Natsukawa as Sukehime (\u0000\u0000): Motokata's daughter and one of the Emperor's wives. Her son, Prince Hirohira, was originally supposed to be the heir to the throne; the birth of Atsuhira, however, caused her to be sidelined. She is enamored by Hiromasa's flute playing; Hiromasa, in turn, falls in love with her, unaware of her true identity. Dōson later takes advantage of her jealousy against Tōko and Atsuhira to turn her into an oni.Masato Hagiwara as Prince Sawara (\u0000\u0000\u0000\u0000 Sawara-shinnō): An imperial prince who died swearing vengeance on the imperial throne 150 years before the story takes place. Dōson seeks to awaken and harness his spirit in order to depose the current emperor.Hōka Kinoshita as Emperor Kanmu (\u0000\u0000\u0000\u0000 Kanmu-tennō): Prince Sawara's elder brother who charged him with treason, driving Sawara to suicide. Fear of Sawara's restless spirit led Kanmu to move the capital from Nagaoka-kyō to Heian-kyō and to pacify Sawara's ghost by sealing it inside a burial mound.Kyōko Koizumi as Aone (\u0000\u0000): A woman who was Prince Sawara's lover in life. Rendered immortal by consuming the flesh of a mermaid 150 years ago, she was appointed by Kanmu to ensure that Sawara's spirit will never reawaken.Ken'ichi Ishii as Fujiwara no Kaneie (\u0000\u0000\u0000\u0000): A nobleman who finds a gourd growing out of a pine tree in his house, which was actually the manifestation of a curse laid by a jilted lover of his who had killed herself.Kenji Yamaki as Tachibana no Ukon (\u0000\u0000\u0000): Captain of the imperial police force, the Kebiishi (\u0000\u0000\u0000\u0000), who arrests Seimei. He is later seen fighting his men who have been possessed by spirits summoned by Dōson.Hitomi Tachihara as Ayako (\u0000\u0000): Another one of the Emperor's wives worried that he is spending more time with Tōko.Ni'ichi Shinhashi as Nagamasa (\u0000\u0000)Kenjirō Ishimaru as Kanmu's head onmyōjiMasane Tsukayama as NarratorDub castTerrence Stone: Abe no SeimeiLex Lang: Minamoto no HiromasaSteve Kramer: DōsonSimon Prescott: EmperorRichard Cansino: Fujiwara no MorosukeTom Wyner: Fujiwara no MotokataEllyn Stern: TōkoMona Marshall: SukehimeTony Oliver: Prince SawaraKari Wahlgren: AoneBob Papenbrook: Tachibana no UkonJim Taggert: NagamasaReleaseOnmyōji was released theatrically in Japan on October 6, 2001 where it was distributed by Toho. The film was a commercial success, grossing ¥3,010,000,000 ($36,567,313) and becoming the fourth-highest earning Japanese production of 2001. The film was also giving a limited theater release in North America where it grossed $16,234 in three theaters.It was released in the United States on April 18, 2003, under the title Onmyoji: The Yin Yang Master. It was followed by the sequel Onmyōji 2 in 2003.ReceptionThe film won the awards for Best Sound Recording and the Mainichi Film Concours and Best Sound at the Japanese Academy Awards.See alsoTokyo: The Last Megalopolis: A blockbuster fantasy film which, along with its source novel Teito Monogatari, are widely credited with starting the \"onmyōji boom\" in Japanese popular culture.FootnotesPassage 6:Konjiki no Gash Bell!! Movie 2: Attack of the Mecha-VulcanZatch Bell: Attack of Mechavulcan  (Japanese: \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000 \u0000, Hepburn: Konjiki no Gash Bell!! Mechavulcan no Raishuu) is a 2005 Japanese animated film directed by Takuya Igarashi. It is the second animated film adaptation of the manga and anime series, Zatch Bell!. The first was Zatch Bell: 101st Devil, released in 2004.Discotek Media released both movies on Blu-ray and DVD for the first time in North America on March 27, 2018.PlotThe movie begins with a mysterious figure, Dr. M2, rallying a group of robots that he calls Death Mechanics (which all look like gigantic robotic blue versions of Vulcan, a plastic box with wooden sticks for arms that Kiyomaro Takamine \"gifted\" to Gash). He orders one of the units, Death 18, to kidnap Kiyomaro.Meanwhile, Kiyomaro is rushing to get to the bus for Coast School, since he slept in late. He leaves Gash behind, who chases after Kiyomaro. During the chase, Vulcan, who Gash brought along with him, is partially broken. Stuck in a tree and unable to stop Kiyomaro, Gash asks him if he'll at least fix Vulcan, but Kiyomaro says that he'll \"make him a new one\". As Kiyomaro tries to chase the already-moving bus down, his friends spot him and try to tell the others to stop the bus. However, while they're not paying attention, Death 18 swoops down from the sky and abducts Kiyomaro, carrying him away and leaving his friends baffled. Once Kiyomaro arrives at Dr. M2's lab, he is contained inside an orange bubble. Dr. M2 then orders Death 18 to go down and distract Gash to keep him away from Kiyomaro by making Gash think that he's his friend.As Gash walks home, he thinks about the previous versions, or \"generations\", of Vulcan that had been ruined in the past (leading up to the third that he currently had), and how they are all important friends of his. Screaming out that Kiyomaro's an idiot, Naomi, the local bully, believes that Gash was talking about her, so she starts pummeling him. However, Death 18 comes down from the sky and interrupts her. As he's about to harm Naomi, Gash realizes that he looks just like Vulcan, and tells him not to hurt Naomi. Naomi runs off and Death 18 fixes Gash's Vulcan. Gash thinks that Death 18 is another Vulcan that Kiyomaro built, and calls him \"Yondaime\", or \"Fourth Generation\". Gash and Vulcan then ride in Yondaime's giant mouth into town.In Dr. M2's lab, the demon explains that Kiyomaro kun is to be his new partner, and that he can take Kiyomaro to the future demon world. Dr. M2 shows Kiyomaro the Death Mechanics, but Kiyomaro tells him that they're just rip-offs of Vulcan. To prove him wrong, Dr. M2 shows Kiyomaro a robotic model of Vulcan from the future that Kiyomaro will someday build; however, as a prototype, it's loaded up with bugs. Dr. M2 had realized that the best way to fix the Death Mechanics was to have Kiyomaro repair them. Kiyomaro asks Dr. M2 whether the battle to decide the next ruler of the Demon World is still going on, but Dr. M2 simply states that he isn't interested in that battle, leaving it vague. Dr. M2 offers again to bring Kiyomaro to the future, but he refuses. Dr. M2 tells him that the idiots of his time can't understand him, but Kiyomaro says that Gash changed his view of people around him.Meanwhile, after venturing into town, Gash and Yondaime go under a bridge and find graffiti. As the two start painting the walls themselves, Gash paints \"Yondaime\" in Kanji onto the robot's body. Gash's demon friends, Tio, Kanchome, and Umagon, then arrive under the bridge. While Kanchome is terrified by Yondaime, Gash explains that he is a present from Kiyomaro, so the five of them then play together in the park. As Dr. M2 opens the portal to the future to return with Kiyomaro, a dark cloud is created over the city. Citizens of Mochinoki Town are advised to leave, and there is mass panic. Gash says that they should all go to investigate, but Yondaime's programming makes him try to keep them all away. After much prodding from Gash, though, Yondaime realizes that he and Gash have become friends, and he changes his mind. The four demons get into Yondaime's mouth and, revealing that he can fly, Yondaime soars towards the cloud.Upon entering the dark cloud, they discover Dr. M2's giant floating castle. Infuriated that Death 18 disobeyed his orders, Dr. M2 tries to reprimand him, but the robot doesn't respond. Kiyomaro manages to break free from his prison and communicates with Gash using a giant monitor on the side of the castle. Dr. M2 summons all of the Death Mechanics to fight off Gash and the others, but Kiyomaro manages to get Gash to fire his Zakeru spell, blasting away the Death Mechanics' missiles. The attack also tears a hole in a part of the castle, though, leaving Kiyomaro to fall from the sky; however, Yondaime manages to catch him.Kiyomaro gets ready to attack the army of Vulcans, but Gash, believing them all to be Vulcans and, therefore, all his friends, runs towards them to try to talk to them, while Yondaime keeps Kiyomaro restrained. The Vulcans don't respond to Gash's words, though, and all begin to pummel him. Tio, Kanchome, Umagon, and Yondaime all try to hold back the Vulcans from attacking him, but to no avail. As all of the Vulcans try to take Kiyomaro, Gash yells at them to stop. They all stop momentarily, but are immediately called back to the castle by Dr. M2. One of Dr. M2's lightning bolts hits Yondaime, reverting him to his original programming. Despite Gash's efforts, Yondaime flies off to join the others, who all fuse together with the castle to become one giant Vulcan.As the giant Vulcan attacks the group, Megumi, Folgore, and Sunbeam "}
+{"doc_id":"doc_101","qid":"","text":"Passage 1:Brian Kennedy (gallery director)Brian Patrick Kennedy (born 5 November 1961) is an Irish-born art museum director who has worked in Ireland and Australia, and now lives and works in the UnitedStates.  He was the director of the Peabody Essex Museum in Salem for 17 months, resigning December 31, 2020. He was the director of the Toledo Museum of Art in Ohio from 2010 to 2019. He was the director of theHood Museum of Art from 2005 to 2010, and the National Gallery of Australia (Canberra) from 1997 to 2004.CareerBrian Kennedy currently lives and works in the United States after leaving Australia in 2005 to directthe Hood Museum of Art at Dartmouth College. In October 2010 he became the ninth Director of the Toledo Museum of Art. On 1 July 2019, he succeeded Dan Monroe as the executive director and CEO of the PeabodyEssex Museum.Early life and career in IrelandKennedy was born in Dublin and attended Clonkeen College. He received B.A. (1982), M.A. (1985) and PhD (1989) degrees from University College-Dublin, where he studiedboth art history and history.He worked in the Irish Department of Education (1982), the European Commission, Brussels (1983), and in Ireland at the Chester Beatty Library (1983–85), Government Publications Office(1985–86), and Department of Finance (1986–89). He married Mary Fiona Carlin in 1988.He was Assistant Director at the National Gallery of Ireland in Dublin from 1989 to 1997. He was Chair of the Irish Association ofArt Historians from 1996 to 1997, and of the Council of Australian Art Museum Directors from 2001 to 2003. In September 1997 he became Director of the National Gallery of Australia.National Gallery of Australia(NGA)Kennedy expanded the traveling exhibitions and loans program throughout Australia, arranged for several major shows of Australian art abroad, increased the number of exhibitions at the museum itself andoversaw the development of an extensive multi-media site.  Although he oversaw several years of the museum's highest ever annual visitation, he discontinued the emphasis of his predecessor, Betty Churcher, onshowing \"blockbuster\" exhibitions.During his directorship, the NGA gained government support for improving the building and significant private donations and corporate sponsorship. However, the initial design for thebuilding proved controversial generating a public dispute with the original architect on moral rights grounds.  As a result, the project was not delivered during Dr Kennedy's tenure, with a significantly altered designcompleted some years later.  Private funding supported two acquisitions of British art, including David Hockney's A Bigger Grand Canyon in 1999, and Lucian Freud's After Cézanne in 2001. Kennedy built on theestablished collections at the museum by acquiring the Holmgren-Spertus collection of Indonesian textiles; the Kenneth Tyler collection of editioned prints, screens, multiples and unique proofs; and the Australian PrintWorkshop Archive. He was also notable for campaigning for the construction of a new \"front\" entrance to the Gallery, facing King Edward Terrace, which was completed in 2010 (see reference to the building projectabove).Kennedy's cancellation of the \"Sensation exhibition\" (scheduled at the NGA from 2 June 2000 to 13 August 2000) was controversial, and seen by some as censorship. He claimed that the decision was due to theexhibition being \"too close to the market\" implying that a national cultural institution cannot exhibit the private collection of a speculative art investor. However, there were other exhibitions at the NGA during histenure, which could have raised similar concerns. The exhibition featured the privately owned Young British Artists works belonging to Charles Saatchi and attracted large attendances in London and Brooklyn. Its mostcontroversial work was Chris Ofili's The Holy Virgin Mary, a painting which used elephant dung and was accused of being blasphemous. The then-mayor of New York, Rudolph Giuliani, campaigned against the exhibition,claiming it was \"Catholic-bashing\" and an \"aggressive, vicious, disgusting attack on religion.\" In November 1999, Kennedy cancelled the exhibition and stated that the events in New York had \"obscured discussion of theartistic merit of the works of art\". He has said that it \"was the toughest decision of my professional life, so far.\"Kennedy was also repeatedly questioned on his management of a range of issues during the AustralianGovernment's Senate Estimates process - particularly on the NGA's occupational health and safety record and concerns about the NGA's twenty-year-old air-conditioning system. The air-conditioning was finallyrenovated in 2003. Kennedy announced in 2002 that he would not seek extension of his contract beyond 2004, accepting a seven-year term as had his two predecessors.He became a joint Irish-Australian citizen in2003.Toledo Museum of ArtThe Toledo Museum of Art is known for its exceptional collections of European and American paintings and sculpture, glass, antiquities, artist books, Japanese prints and netsuke. Themuseum offers free admission and is recognized for its historical leadership in the field of art education.  During his tenure, Kennedy has focused the museum's art education efforts on visual literacy, which he defines as\"learning to read, understand and write visual language.\"   Initiatives have included baby and toddler tours, specialized training for all staff, docents, volunteers and the launch of a website, www.vislit.org. In November2014, the museum hosted the International Visual Literacy Association (IVLA) conference, the first Museum to do so. Kennedy has been a frequent speaker on the topic, including 2010 and 2013 TEDx talks on visualand sensory literacy.Kennedy has expressed an interest in expanding the museum's collection of contemporary art and art by indigenous peoples. Works by Frank Stella, Sean Scully, Jaume Plensa, Ravinder Reddy andMary Sibande have been acquired.  In addition, the museum has made major acquisitions of Old Master paintings by Frans Hals and Luca Giordano.During his tenure the Toledo Museum of Art has announced the returnof several objects from its collection due to claims the objects were stolen and/or illegally exported prior being sold to the museum.  In 2011 a Meissen sweetmeat stand was returned to Germany followed by anEtruscan Kalpis or water jug to Italy (2013), an Indian sculpture of Ganesha (2014) and an astrological compendium to Germany in 2015.Hood Museum of ArtKennedy became Director of the Hood Museum of Art in July2005. During his tenure, he implemented a series of large and small-scale exhibitions and oversaw the production of more than 20 publications to bring greater public attention to the museum's remarkable collections ofthe arts of America, Europe, Africa, Papua New Guinea and the Polar regions. At 70,000 objects, the Hood has one of the largest collections on any American college of university campus. The exhibition, BlackWomanhood: Images, Icons, and Ideologies of the African Body, toured several US venues. Kennedy increased campus curricular use of works of art, with thousands of objects pulled from storage for classes annually.Numerous acquisitions were made with the museum's generous endowments, and he curated several exhibitions: including Wenda Gu: Forest of Stone Steles: Retranslation and Rewriting Tang Dynasty Poetry, SeanScully: The Art of the Stripe, and Frank Stella: Irregular Polygons.PublicationsKennedy has written or edited a number of books on art, including:Alfred Chester Beatty and Ireland 1950-1968: A study in cultural politics,Glendale Press (1988), ISBN 978-0-907606-49-9Dreams and responsibilities: The state and arts in independent Ireland, Arts Council of Ireland (1990), ISBN 978-0-906627-32-7Jack B Yeats: Jack Butler Yeats,1871-1957 (Lives of Irish Artists), Unipub (October 1991), ISBN 978-0-948524-24-0The Anatomy Lesson: Art and Medicine (with Davis Coakley), National Gallery of Ireland (January 1992), ISBN978-0-903162-65-4Ireland: Art into History (with Raymond Gillespie), Roberts Rinehart Publishers (1994), ISBN 978-1-57098-005-3Irish Painting, Roberts Rinehart Publishers (November 1997),  ISBN978-1-86059-059-7Sean Scully: The Art of the Stripe, Hood Museum of Art (October 2008), ISBN 978-0-944722-34-3Frank Stella: Irregular Polygons, 1965-1966, Hood Museum of Art (October 2010), ISBN978-0-944722-39-8Honors and achievementsKennedy was awarded the Australian Centenary Medal in 2001 for service to Australian Society and its art. He is a trustee and treasurer of the Association of Art MuseumDirectors, a peer reviewer for the American Association of Museums and a member of the International Association of Art Critics. In 2013 he was appointed inaugural eminent professor at the University of Toledo andreceived an honorary doctorate from Lourdes University. Most recently, Kennedy received the 2014 Northwest Region, Ohio Art Education Association award for distinguished educator for art education.== Notes==Passage 2:Ian Barry (director)Ian Barry is an Australian director of film and TV.Select creditsWaiting for Lucas (1973) (short)Stone (1974) (editor only)The Chain Reaction (1980)Whose Baby? (1986)(mini-series)Minnamurra (1989)Bodysurfer (1989) (mini-series)Ring of Scorpio (1990) (mini-series)Crimebroker (1993)Inferno (1998) (TV movie)Miss Lettie and Me (2002) (TV movie)Not Quite Hollywood: The Wild,Untold Story of Ozploitation! (2008) (documentary)The Doctor Blake Mysteries (2013)Passage 3:Jesse E. HobsonJesse Edward Hobson (May 2, 1911 – November 5, 1970) was the director of SRI International from1947 to 1955. Prior to SRI, he was the director of the Armour Research Foundation.Early life and educationHobson was born in Marshall, Indiana. He received bachelor's and master's degrees in electrical engineeringfrom Purdue University and a PhD in electrical engineering from the California Institute of Technology. Hobson was also selected as a nationally outstanding engineer.Hobson married Jessie Eugertha Bell on March 26,1939, and they had five children.CareerAwards and membershipsHobson was named an IEEE Fellow in 1948.Passage 4:Peter LevinPeter Levin is an American director of film, television and theatre.CareerSince 1967,Levin has amassed a large number of credits directing episodic television and television films. Some of his television series credits include Love Is a Many Splendored Thing, James at 15, The Paper Chase, Family,Starsky & Hutch, Lou Grant, Fame, Cagney & Lacey, Law & Order and Judging Amy.Some of his television film credits include Rape and Marriage: The Rideout Case (1980), A Reason to Live (1985), Popeye Doyle(1986), A Killer Among Us (1990), Queen Sized (2008) and among other films. He directed \"Heart in Hiding\", written by his wife Audrey Davis Levin, for which she received an Emmy for Best Day Time Special in the1970s.Prior to becoming a director, Levin worked as an actor in several Broadway productions. He costarred with Susan Strasberg in \"[The Diary of Ann Frank]\" but had to leave the production when he was drafted intothe Army. He trained at the Carnegie Mellon University. Eventually becoming a theatre director, he directed productions at the Long Wharf Theatre and the Pacific Resident Theatre Company. He also co-founded theoff-off-Broadway Theatre [the Hardware Poets Playhouse] with his wife Audrey Davis Levin and was also an associate artist of The Interact Theatre Company.Passage 5:The Little Door Into the WorldThe Little Door Intothe World is a 1923 British silent drama film directed by George Dewhurst and starring Lawford Davidson, Nancy Beard and Olaf Hytten.CastLawford Davidson as LefargeNancy Beard as Maria Jose / CelestineOlaf Hyttenas MountebankPeggy Patterson as DancerVictor Tandy as AgentArthur Mayhew as TroubadorBob Williamson as ManagerPassage 6:Jung-Ho PakJung-Ho Pak (born February 4, 1962 in Burlingame, California) is anAmerican symphony conductor. He was Artistic Director of the San Diego Symphony and of the New Haven Symphony Orchestra, of which he is now Conductor Emeritus. He was Music Director of the Diablo Ballet andthe NEXT Generation Chamber Orchestra.  He was the artistic director of the now-defunct Orchestra Nova San Diego. Pak has guest conducted internationally. He is the Director of the Cape Cod Symphony Orchestra,and is a former musical director of the World Youth Symphony Orchestra and the director of orchestras at the Interlochen Center for the Arts. In May 2023, he announced that he was stepping down as the ArtisticDirector and Conductor of the Cape Symphony at the end of the summer.EducationPak began studying the piano at age 6. Three years later, he was awarded a scholarship to the San Francisco Conservatory andenrolled in a college music theory class.  He began studying clarinet at age 11, and played in multiple bands and orchestras into college. Graduated Lynbrook High School, San Jose, (1980)B. A., Music, University ofCalifornia, Santa Cruz, (1980-2)Assoc. of California Symphony Orch. Conducting Seminar, Franz Allers (1982)San Francisco Conservatory of Music, Michael Senturia, Jahja Ling (1982-4)Tanglewood ConductingSeminar, (1983)M.M. University of Southern California, Daniel Lewis (1984-6)Herbert Blomstedt Conducting Institute, Master Class (1985)Redlands Symphony Conducting Institute (1986-7)American Conductors GuildSeminar, Harold Farberman, Dan Lewis (1987)Music Academy of the West, (1989)CareerEarly in his career, Pak was a conductor and professor at several schools including the University of California, Berkeley andUniversity of California, Santa Barbara, Idyllwild Arts Academy, and Lehigh University. In 1988, he won a national conducting competition with the Young Musicians Foundation's Debut Orchestra.In 1997, Pak wasappointed music director the San Diego Symphony to lead it out of bankruptcy, which eventually became an artistic and financial success, receiving one of the largest endowment pledges in American orchestral history(over $110 million). In 1998, Pak succeeded Daniel Lewis as music director of the University of Southern California Symphony and was also named music director at the San Francisco Conservatory of Music Orchestra.In 1999, he additionally became music director of the New Haven Symphony Orchestra, with which he was named Music Director Emeritus in 2007.Since 2003, Pak has been director of orchestras and music director ofthe World Youth Symphony Orchestra at the Interlochen Center for the Arts, one of the largest and oldest arts camps in the country. In 2006, the San Diego Chamber Orchestra appointed Pak as artistic director andconductor; in 2009 the ensemble changed their name to Orchestra Nova San Diego to reflect their aspirations under Pak's leadership. The ensemble filed for Chapter 7 bankruptcy in 2012 due to an impasse betweenPak and the Musician's Union, with Pak stating that he would prefer to choose members in his ensembles. In 2007, Pak began his tenure as artistic director and conductor of the Cape Cod Symphony Orchestra, one ofthe largest orchestras in Massachusetts. In 2008, Pak was a guest conductor for the 2008 ASTA National High School Honors Orchestra. In 2015, Pak was the conductor for the 2015 NAfME All-National HonorsSymphony Orchestra. In May 2023, he announced that he was stepping down as the Artistic Director and Conductor of the Cape Symphony at the end of the summer.Passage 7:The Time, the Place and the Girl (1946film)The Time, the Place and the Girl is a 1946 American musical film directed in Technicolor by David Butler. It is unrelated to the 1929 film The Time, the Place and the Girl.PlotSteve and Jeff are about to open anightclub when a man named Martin Drew who represents conductor Ladislaus Cassel claims that Cassel, who is living next door, objects to the club's music and that it disturbs his granddaughter, Victoria, an aspiringopera singer.It turns out that Cassel himself is fine with the club but Vicki's grandmother Lucia is against it. Cassel also urges Vicki not to marry Andrew, her fiance, without being certain. After she meets Steve, she isattracted to him. Steve has a girlfriend, Elaine Winters, who is trying to persuade John Braden, a rich Texan, to finance the club. Elaine is upset about Vicki's presence and threatens to marry Braden.Jeff and hisgirlfriend, singer Sue Jackson, hope to get a new show off the ground, but both Vicky's grandmother and Steve's girl Elaine keep interfering. Cassel offers to finance the show provided Vicky can be in it. Lucia is lividuntil she reluctantly attends the show, at which she is charmed and gives her approval.CastSoundtrack\"A Rainy Night in Rio\"'Music by Arthur SchwartzLyrics by Leo RobinPerformed by Jack Carson, Dennis Morgan, JanisPage and Martha Vickers (dubbed by Sally Sweetland)\"Oh, But I Do\"Music by Arthur SchwartzLyrics by Leo RobinSung by Dennis Morgan\"A Gal in Calico\" (Nominated for an Academy Award for Best Original Song of1948)Music by Arthur SchwartzLyrics by Leo RobinPerformed by Dennis Morgan, Jack Carson, Martha Vickers (dubbed by Sally Sweetland) and chorus\"Through a Thousand Dreams\"Music by Arthur SchwartzLyrics byLeo Robin\"A Solid Citizen of the Solid South\"Music by Arthur SchwartzLyrics by Leo RobinPerformed by Jack Carson and the Condos Brothers\"I Happened to Walk Down First Street\"Music by Arthur SchwartzLyrics by LeoRobinBox officeAccording to Warner Bros. records, it was the studio's most financially successful film of 1946–47, earning $3,461,000 domestically and $1,370,000 in foreign territories.Passage 8:Olav AaraasOlavAaraas (born 10 July 1950) is a Norwegian historian and museum director.He was born in Fredrikstad. From 1982 to 1993 he was the director of Sogn Folk Museum, from 1993 to 2010 he was the director of Maihaugenand from 2001 he has been the director of the Norwegian Museum of Cultural History. In 2010 he was decorated with the Royal Norwegian Order of St. Olav.Passage 9:S. N. MathurS.N. Mathur was the Director of theIndian Intelligence Bureau between September 1975 and February 1980. He was also the Director General of Police in Punjab.Passage 10:George Dewhurst (director)George Dewhurst (1889 in Preston, Lancashire,England - 8 November 1968 in Tooting, London, England) was a British actor, screenwriter and film director. He directed several film versions of the play A Sister to Assist 'Er.Partial filmographyScreenwriterThe Lunaticat Large (1921)The Narrow Valley (1921)Dollars in Surrey (1921)No Lady (1931)The Price of Wisdom (1935)Adventure Ltd. (1935)King of the Castle (1936)DirectorThe Live Wire (1917)A Great Coup (1919)TheHomemaker (1919)The Uninvited Guest (1923)The Little Door Into the World (1923)What the Butler Saw (1924)Sweeney Todd (1926)Irish Destiny (1926)The Rising Generation (1928)ActorThe Woman Wins (1918)TheToilers (1919)The Tinted Venus (1921)Never Trouble Trouble (1931)Men Without Honour (1939)Deadlock (1943)"}
+{"doc_id":"doc_102","qid":"","text":"Passage 1:Frederick I, Count Palatine of SimmernFrederick I, the Hunsrücker (German: Friedrich I.; 19 November 1417 – 29 November 1480) was the Count Palatine of Simmern from 1459 until 1480.Frederick wasborn in 1417 to Stephen, Count Palatine of Simmern-Zweibrücken and his wife, Anna of Veldenz. In 1444 his father partitioned his territories between Frederick and his younger brother Louis. Frederick marriedMargaret of Guelders, daughter of Duke Arnold, on 16 August 1454. Frederick died in Simmern in 1480 and was buried in the Augustinian Abbey of Ravengiersburg.ChildrenWith Margaret (1436 – 15 August 1486),daughter of Arnold, Duke of Guelders:Katherine of Palatinate-Simmern (1455 – 28 December 1522), Abbess in the St Klara monastery in TrierStephen (25 February 1457 – 1488/9) Canon in Strasbourg , Mainz andCologneWilliam (2 January 1458 – 1458)John I (15 May 1459 – 27 January 1509)Frederick (10 April 1460 – 22 November 1518) Canon in Cologne, Speyer , Trier , Mainz, Magdeburg and StrasbourgRupert (16 October1461 – 19 April 1507), bishop of Regensburg.Anne (30 July 1465 – 15 July 1517)  Nun in TrierMargaret (2 December 1466 – August 1506) Nun in TrierHelene (1467 – 21 February 1555) Prioress in the St. Agnesmonastery in TrierWilliam (20 April 1468 – 1481) Canon in TrierPassage 2:Reichard, Count Palatine of Simmern-SponheimReichard (25 July 1521 – 13 January 1598) was the Count Palatine of Simmern-Sponheim from1569 until 1598.Reichard was born in Simmern in 1521 to Johann II, Count Palatine of Simmern. In 1569 he succeeded his brother Georg as Count Palatine of Simmern-Sponheim. Reichard died in Simmern in 1598.Without any surviving children, Simmern-Sponheim was inherited by his great-nephew Frederick IV.MarriageReichard married Juliane of Wied (c. 1545 - 30 April 1575, daughter of Count Johann IV of Wied, on 30 July1569 and had several children:Juliana (21 November 1571 – 4 February 1592)Katherine (10 May 1573 – 12 October 1576)unnamed son (1574)unnamed son (30 April 1575)Reichard married Emilie of Württemberg (19August 1550 - 4 June 1589), daughter of Christoph, Duke of Württemberg, on 26 March 1578.Reichard married Anne Margaret of Palatinate-Veldenz (17 January 1571 - 1 November 1621), daughter of Count PalatineGeorg Johann I, on 14 December 1589.Passage 3:Louis Henry, Count Palatine of Simmern-KaiserslauternLouis Henry (German: Ludwig Heinrich) (11 October 1640 - 3 January 1674) was the Count Palatine ofSimmern-Kaiserslautern from 1653 until 1673.LifeLouis Henry was born in 1640 as the only surviving son of Louis Philip, Count Palatine of Simmern-Kaiserslautern. He succeeded his father in 1655, and was under theregency of his mother, Marie Eleonore von Brandenburg, till 1658. He retired from ruling in 1673. He died less than a year later, and was buried in the St-Stephan's Church in Simmern.MarriageLouis Henry marriedMaria of Orange-Nassau (5 September 1642 - 20 March 1688) in 1666, daughter of the Dutch prince Frederick Henry. The marriage remained childless.Passage 4:John I, Count Palatine of SimmernJohn I (15 May 1459– 27 January 1509) was the Count Palatine of Simmern from 1480 until 1509.John was born in 1459 to Frederick I, Count Palatine of Simmern. He married Joanna of Nassau-Saarbrücken (1464 - 1521) the daughter ofJohann II of Nassau-Saarbrücken on 29 September 1481. John died in Starkenburg in 1509 and was buried in Simmern.ChildrenWith Joanna of Nassau-Saarbrücken (1464 - 1521) (14 April 1464 – 7 May 1521)Frederick(1490)John II (21 March 1492 – 18 May 1557)Frederick (1494–?)Passage 5:Sabina, Duchess of BavariaSabina, Duchess of Bavaria (1528–1578) was the daughter of John II, Count Palatine of Simmern and Beatrix ofBaden.MarriageIn 1544 she married Lamoral, Count of Egmont with whom she had twelve children. When her husband was arrested and accused of treason in 1567, she wrote king Philip II, the king of Spain, a letter toplead for his release. It was to no avail and he was decapitated in the following year. Sabina was buried in Egmont's crypt in Zottegem.ChildrenCharles, 7th Count of Egmont, Prince de Gavre: married to Marie deLens,  Lady of Aubigny.WidowhoodAfter her death in 1578, she was buried next to her husband in Zottegem.Passage 6:Georg, Count Palatine of Simmern-SponheimGeorg (20 February 1518 – 17 May 1569) was theCount Palatine of Simmern-Sponheim from 1559 until 1569.George was born in 1518 to Johann II, Count Palatine of Simmern. In 1559 his elder brother Frederick inherited the Electorate of the Palatinate and gaveGeorge his old territories inherited from his father in 1557. George married Elisabeth of Hesse, daughter of Landgrave Wilhelm I, on 9 January 1541. George died in 1569 and was succeeded in Simmern by his youngerbrother Reichard.ChildrenWith Elisabeth of Hesse (4 March 1503 - 4 January 1563)John (c. 7 October 1541 – 28 January 1562)George also had a mistress in Elisabeth of Rosenfeld and fathered two illegitimate childrenwith herAdam (c.1565–1598)George (c.1566–1598)See alsoList of Counts Palatine of the RhinePassage 7:Stephen, Count Palatine of Simmern-ZweibrückenStephen of Simmern-Zweibrücken (German: Stefan Pfalzgrafvon Simmern-Zweibrücken) (23 June 1385 – 14 February 1459, Simmern) was Count Palatine of Simmern and Zweibrücken from 1410 until his death in 1459.LifeHe was the son of King Rupert of Germany and his wifeElisabeth of Nuremberg. After the death of Rupert the Palatinate was divided between four of his surviving sons. Louis III received the main part, John received Palatinate-Neumarkt, Stephen receivedPalatinate-Simmern and Otto received Palatinate-Mosbach.In 1410, Stephen married Anna of Veldenz, who died in 1439. After the death of Anna's father in 1444, Stephen also gained control of Veldenz and of theVeldenz share of Sponheim. In the same year, he also divided the country between his sons Frederick I, who became Count Palatine of Simmern, and Louis I, who became Count Palatine of Zweibrücken. In 1448 hesucceeded to one part of Palatinate-Neumarkt and sold the other to his younger brother Otto.He was buried in the Schlosskirche (German: palace church), formerly the church of the Knights Hospitallers inMeisenheim.FamilyStefan of Simmern-Zweibrücken and Anna of Veldenz had issue:Anne (1413 – 12 March 1455)Margaret (1416 – 23 November 1426)Frederick I (24 April 1417 – 29 November 1480)Rupert (1420 – 17October 1478)Stephen (1421 – 4 September 1485) Canon in Strasbourg, Mainz, Cologne, Speyer and LiègeLouis I (1424 – 19 July 1489)John (1429–1475), Archbishop of MagdeburgAncestryPassage 8:John Christian,Count Palatine of SulzbachJohn Christian (23 January 1700 – 20 July 1733; in German: Johann Christian Joseph) was the Count Palatine of Sulzbach from 1732–33. He was the second and youngest surviving son ofduke Theodore Eustace, Count Palatine of Sulzbach (1659–1732) with his consort Eleonore Maria Amalia of Hesse-Rotenburg (1675–1720). His elder brother was Joseph Charles, Count Palatine of Sulzbach.LifeAfter thedeath of his elder brother Joseph Charles, John Christian Joseph became the eventual designated heir of the Electoral Palatine. In 1732 he succeeded his father as Count Palatine of Sulzbach, but died in Sulzbach in1733 before inheriting the Palatinate.Charles III Philip, Elector Palatine, a member of the Palatine Neuburg line of Wittelsbach failed to produce a legitimate male heir, and his brothers also. By 1716 it was evident thatthe Neuburg line would become extinct and that the Sulzbach branch would succeed them.MarriageHe married twice:Marie Anne Henriëtte Leopoldine de La Tour d'Auvergne (24 October 1708 – 28 July 1728), daughterof Francois Egon de la Tour d'Auvergne, Prince of Auvergne, and had the following children:Charles Theodore (11 December 1724 – 16 February 1799); became Elector Palatine in 1742, and Elector of Bavaria in1777Maria Anne (30 May 1728 – 25 June 1728)Eleonore Philippina Christina Sophia of Hesse-Rotenburg  (1712-1759); married on 1731 but had no issue.== Ancestry ==Passage 9:Elisabeth of NurembergElisabeth ofNuremberg (1358 – 26 July 1411) was Queen of Germany and Electress Palatine as the wife of Rupert, King of the Romans.LifeElisabeth was born in 1358, the daughter of Frederick V, Burgrave of Nuremberg and hiswife Elisabeth of Meissen, daughter of Frederick II, Margrave of Meissen.In Amberg, on 27 June 1374, Elisabeth married Rupert, the son and heir of Rupert II, Elector Palatine. Upon Rupert's succession to the Palatinatein 1398, she became Electress consort of the Palatinate. When Rupert was elected King of the Romans in 1400, Elisabeth became Queen of the Romans. She survived her husband, who died on 18 May 1410, by a year,dying on 26 July 1411. Elisabeth was buried alongside her husband in the Church of the Holy Spirit, Heidelberg.IssueRupert Pipan (20 February 1375, Amberg – 25 January 1397, Amberg)Margaret (1376 – 27 August1434, Nancy), married on 6 February 1393 to Duke Charles II of LorraineFrederick (c. 1377, Amberg – 7 March 1401, Amberg)Louis III, Elector Palatine (23 January 1378 – 30 December 1436, Heidelberg)Agnes (1379– 1401, Heidelberg), married in Heidelberg shortly before March 1400 to Duke Adolph I of ClevesElisabeth (27 October 1381 – 31 December 1408, Innsbruck), married in Innsbruck 24 December 1407 to Duke FrederickIV of AustriaCount Palatine John of Neumarkt (1383, Neunburg vorm Wald – 13–14 March 1443)Count Palatine Stephen of Simmern-Zweibrücken (23 June 1385 – 14 February 1459, Simmern)Count Palatine Otto I ofMosbach (24 August 1390, Mosbach – 5 July 1461)Passage 10:Rudolph II, Count Palatine of TübingenRudolph II, Count Palatine of Tübingen (died 1 November 1247) was Count Palatine of Tübingen and Vogt ofSindelfingen.  He was the younger son of Rudolph I and his wife Matilda of Gleiberg, heiress of Giessen.LifeRudolph II inherited the County Palatine of Tübingen when his elder brother Hugo III died in 1216.  From 1224onwards, he is described as Count Palatine in many imperial documents, while his younger brother William is merely styled as Count.  Rudolph II supported Bebenhausen Abbey, which his parents had founded. Next tohis father, Rudolph II is the second most mentioned Count Palatine of Tübingen in imperial documents, mostly in documents by King Henry (VII) of Germany, the son of Emperor Frederick II, who had been elected Kingof Germany in 1220, at the age of 8.  Frederick II spent much of his time in Italy, leaving his ancestral Swabia in the hands of his son.  Later, in 1232, Henry revolted against his father, and did everything in his powerto win the Swabian nobility over to his side.  Rudolph II appears to have been among the noblemen who sided with Henry VII, at least, he is mentioned in 10 different documents of Henry VII and never by FrederickII.  Considering Rudolph's energetic character, one can assume that he intended to use the conflict between Henry VII and Frederick II to expand his own power and aim at an independent position.Swabian noblemen,including Rudolph II and his brother William, Count Hartmann I of Württemberg and a Count of Dillingen, visited Henry VII in Worms on 8 January 1224.  They met Margrave Herman V of Baden was also present, aswas Eberhard, Sénéchal of Waldburg and councillor and former guardian of Henry VII in Oppenheim on 5 April 1227 and in Hagenau on 1 May.  In the same year, Rudolph met Duke Louis I of Bavaria, who was animperial vicar and Conrad of Winterstetten, who was imperial cup-bearer and also a councilor of Henry VII.  He met the Lords of Neuffen and the imperial marshal Anselm of Justingen in Ulm on 23 February 1228.  On31 August 1228, Rudolph II appears, together with Margrave Herman V of Baden, Count Henry of Wirtemberg, a Count of Dillingen, Conrad of Weinsperg and the councillors mentioned above, as witnesses of a deed inwhich King henry VII confirms the privileges of Adelber Abbey in Esslingen.  Later that year, Rudolph II appeared as a witness in four deed by Duke Louis I of Bavaria and Bishop Ekbert of Bamberg, together with,among others, Margrave Herman V of Baden, Count Ulrich and Eberhard of Helfenstein, Counts Eberhard and Otto of Eberstein, Count Gottfried of Hohenlohe, and two councilors.Rudolph II stood at the head of adelegation of eight Swabian counts, among them Albert IV of Habsburg, Frederick IV of Zollern and a Count of Eberstein, at the Imperial Diet in Worms on 29 April 1231.  On 22 November 1231, Rudolph II and hisbrother William met Counts Albert of Rottenburg, Ulrich of Hefenstein and Eberhard of Walpurg at Henry VII's castle in Ulm.  On 31 December 1231, Rudolph witnessed a deed benefiting Neresheim Abbey in Wimpfen,together with Duke Conrad I of Teck and Margrave Hermann V of Baden.  The last time Rudolph II witnessed a deed of Henry VII was on 4 June 1233 in Esslingen, again with his brother William.In 1235, Pope GregoryIX called on the princes of the empire to organize a new crusade into the Holy Land, to render assistance to the beleaguered church there.  Rudolph II is the only Swabian nobleman named in this call to arms; whetherhe actually went to the Holy Land is unknown.  The fact that he is not mentioned in any deed between 1235 and 1243 suggests that he may have been absent for an extended period.  In particular, no mention is madeof his position in the struggle between King Conrad IV of Germany and anti-King Henry Raspe IV, which is remarkable, since this struggle took place mainly in Swabia.  However, a deed in favour of Bebenhausen Abbeywhich the papal legate made at Rudolph II's request in the army camp outside Ulm on 28 January 1247, suggests that he supported Henry Raspe.FamilyThe name of Rudolph II's wife has not been preserved.  She wasa daughter of a Margrave Henry from the House of Ronsberg and Udilhild of Gammertingen. They had the following children:Hugo IV, Count Palatine of TübingenRudolf III of Scheer (d. 12 May 1277), Count ofTübingen-HerrenbergUlrichMathilda, married Burchard II, Count of Hohenberg (d. 14 July 1253, struck by lightning).  Their daughter Gertrude Anna (c. 1225 – 16 February 1281) married Emperor Rudolf I, the firstEmperor from the House of Habsburg.== Footnotes =="}
+{"doc_id":"doc_103","qid":"","text":"Passage 1:Louise Elisabeth of CourlandLouise Elisabeth of Courland (12 August 1646 in Jelgava – 16 December 1690 in Weferlingen) was Landgravine of Hesse-Homburg by marriage to Frederick II, Landgrave ofHesse-Homburg.LifeLouise Elisabeth was a daughter of Duke Jacob of Courland (1610-1662) from his marriage to Charlotte Louise (1617-1676), eldest daughter of Elector George William of Brandenburg.On 23 October1670 in Cölln, she married the later Landgrave Frederick II of Hesse-Homburg, the famous Prince of Homburg.  Frederick had converted to the Calvinist faith for the sake of their marriage.  This conversion brought himinto closer relations with the princely houses in Brandenburg and Hesse-Kassel, who were also Calvinist.  Louise Elisabeth's sister Maria Amalia married Landgrave Charles of Hesse-Kassel in 1673.  Louise Elizabeth wasa niece of Elector Frederick William of Brandenburg.  This relationship allowed Frederick to join the Prussian army and become commander of all the troops of the Electorate only two years later, in 1672.The CalvinistLouise Elisabeth played a significant role in the settlement of displaced Huguenots and Waldenses in Friedrichsdorf and Dornholzhausen in as well as in the formation of Calvinist congregations in Weferlingen and BadHomburg.IssueCharlotte Dorothea Sophia (1672–1738)married 1694 Johann Ernst III, Duke of Saxe-Weimar (1664–1707)Frederick III Jacob (1673–1746), Landgrave of Hesse-Homburgmarried 1. 1700 PrincessElisabeth Dorothea of Hesse-Darmstadt (1676–1721)married 2. 1728 Princess Christiane Charlotte of Nassau-Ottweiler (1685–1761)Karl Christian (1674–1695), fell at the Siege of NamurHedwig Luise(1675–1760)married 1718 Count Adam Friedrich von Schlieben (1677–1752)Philipp (1676–1706), fell at the Battle of Speyerbach in the War of the Spanish SuccessionWilhelmine Maria (1678–1770)married 1711 CountAnton II of Aldenburg (1681–1738)Eleonore Margarete (1679–1763)Elisabeth Juliana Francisca (1681–1707)married 1702 Prince Frederick William Adolf, Prince of Nassau-Siegen (1680–1722)Johanna Ernestine(1682–1698)Ferdinand (born and died 1683)Karl Ferdinand (1684–1688)Casimir William (1690–1726)Passage 2:Adelaide of HesseAdelaide of Hesse (Polish: Adelajda heska) (after 1323 – after May 26, 1371) wasqueen consort of Poland by marriage to Casimir III of Poland. She was daughter of Henry II, Landgrave of Hesse, and his wife Elisabeth of Thuringia, daughter of Frederick I, Margrave of Meissen. Adelaide was amember of the House of Hesse.BiographyShe was named after her paternal grandmother.Unhappy marriageOn September 29, 1341, in Poznań, Adelaide married Casimir III the Great, King of Poland. The marriage wasa result of an agreement between Casimir III and Luxemburgs.The marriage was Casimir's second marriage, after the death of his first wife, Aldona of Lithuania. Casimir had no male heir, though he had two daughters,Elizabeth and Kunigunde. On September 29, 1341, Adelaide was crowned in Poznań Cathedral. The marriage was an unhappy one, Casimir started living separately from Adelaide soon after theirmarriage.AnnulmentTheir loveless marriage lasted until 1356. Casimir separated from Adelaide and married his mistress Christina. Christina was the widow of Miklusz Rokiczani, a wealthy merchant. The bigamy and hiswomanizing got Casimir into severe trouble with the clergy.Casimir continued living with Christina despite complaints by Pope Innocent VI on behalf of Adelaide. The marriage lasted until 1363/1364 when Casimir againdeclared himself divorced. They had no children. The marriage to Adelaide was annulled in 1368. Then Casimir married his fourth wife, Jadwiga (Hedwig) of Żagań.This marriage produced another three daughters.WithAdelaide still alive and Christina possibly as well, the marriage to Jadwiga was also considered bigamous. The legitimacy of the three last daughters was disputed. Casimir managed to have two of his daughters, Annaand Kunigunde, legitimatized by Pope Urban V on December 5, 1369. Jadwiga the younger, was legitimatized by Pope Gregory XI on October 1, 1371.Later lifeAfter the annulment of her marriage, Adelaide went backhome to Hesse. She spent the rest of her life in Hesse.After her ex-husband's death, she fought for her property rights. She intervened in this case to Pope Gregory XI. On May 26, 1371, the Pope urged King Louis togive back her property.In popular cultureFilmQueen Adelaide is one of the main characters in the second season of Polish historical TV drama series \"Korona Królów\" (\"The Crown of the Kings\"). She is played byAleksandra Przesław.Further readingBalzer Oswald: Genealogia Piastów. Kraków 1895, p. 386-387.Paszkiewicz H.: Adelajda. In: Polski Słownik Biograficzny. Vol. 1. 1935, p. 28.Semkowicz Aleksander: Adelajda,Krystyna, Jadwiga, żony Kazimierza Wielkiego. Kwartalnik Historyczny 12. 1898, p. 561-566.Passage 3:Philip, Landgrave of Hesse-PhilippsthalPhilip of Hesse-Philippsthal (14 December 1655 – 18 June 1721) was theson of William VI, Landgrave of Hesse-Kassel and Hedwig Sophia of Brandenburg. He was the first landgrave of Hesse-Philippsthal from 1663 to 1721 and the founder of the fifth branch of the house of Hesse.Marriageand issueIn 1680, Philip of Hesse-Philipsthal married Catherine of Solms-Laubach (1654–1736) (daughter of Count Charles Otto of Solms-Laubach).  They had 8 children:Wilhelmine of Hesse-Philipstahl(1681–1699)Charles I of Hesse-Philippsthal, landgrave of Hesse-PhilippsthalAmélie of Hesse-Philippsthal (1684–1754)Amoene of Hesse-Philippsthal (1685–1686)Philip of Hesse-Philipsthal (1686–1717) who, in 1714,married Marie von Limburg (1689–1759, (daughter of comte Albert von Limburg) and had children with herHenriette of Hesse-Philippsthal (1688–1761)William of Hesse-Philippsthal-Barchfeld, landgrave ofHesse-Philippsthal-Barchfeld, founder of the sixth branch of the House of HesseSophie of Hesse-Philippsthal (1695–1728) who in 1723 married Peter August, Duke of Schleswig-Holstein-Sonderburg-Beck (who died in1775).BranchPhilip of Hesse-Philippsthal belonged to the Hesse-Philipsthal branch - this fifth branch was issued from the first branch of the House of Hesse, itself issuing from the first branch of the House ofBrabant.After the abdication of landgrave Ernest of Hesse-Philippsthal (1846-1925) in 1868, the Hesse-Philippsthal branch perpetuated itself through the sixth branch of Hesse-Philippsthal-Barchfeld, currentlyrepresented by William of Hesse-Philippsthal (1933-).AncestrySourcesgenroy.free.frPassage 4:Charles I, Landgrave of Hesse-KasselCharles of Hesse-Kassel (German: Karl von Hessen-Kassel; 3 August 1654 – 23 March1730), of the House of Hesse, was the Landgrave of Hesse-Kassel from 1670 to 1730.ChildhoodCharles was the second son of William VI, Landgrave of Hesse-Kassel, and Hedwig Sophia of Brandenburg(1623–1683).  Until 1675 his mother ruled as his guardian and regent before Charles was old enough to take over the administration for the next 5 years.  His older brother, William VII, had died in 1670 shortly afterreaching adulthood, even before he had had the chance to make any changes with the administration.PoliciesUnder the reign of Charles, the consequences of the Thirty Years' War in the agricultural county could beovercome more quickly than they were in the more industrialized regions of the Holy Roman Empire.  He pushed for the recreation of a large army and put it in the service of other countries in the War of SpanishSuccession.   His soldiers, he gave, as well as other princes of his time, to foreign service for the Subsidiengelder [ subsidies ].  This policy remained controversial for its dealings with the mercenaries, according to the1908 Brockhaus (Volume 9, page 96) :\"Dieses System verbesserte die Finanzen, aber nicht den Wohlstand des Landes,und brachte den glänzenden Hof selbst in ausländische Familienverbindungen.\"[ This systemimproved the finances but not the prosperity of the country,and brought to the brilliant court itself foreign familial connections. ]Charles left in 1685 to his younger brother Philipp as the latter's Paragium a small part ofthe Landgraviate of Hesse, the so-called Landgraviate of Hesse–Philippsthal, named after Philippsthal [ \"Philipp's Valley\" ] (formerly Kreuzberg, a place near Vacha on the Werra River).EconomyEven before the Edict ofFontainebleau (October 1685), Charles adopted on 18 April 1685 the Freiheits-Concession [ \"Freedom Concession\" ], promising the exiles from France, the Huguenots and Waldensians, free settlement and their ownchurches and schools.  In the following years, about 4000 the Protestants fled persecution in their homelands for Northern Hesse and, for example, about 1700 of them settled in Oberneustadt, the newly createdborough of Kassel.Following the ideas of mercantilism, Charles founded in 1679 the Messinghof, one of the first metal-processing plants in Hesse, in Bettenhausen, east of Kassel.In 1699 Charles founded Sieburg (since1717 Karlshafen) and also moved some of the Huguenots and Waldensians there.  With the construction of the Landgrave-Carl-Canal from the Diemel River to Kassel (and beyond), he tried to circumvent the existingcustoms borders but, after only a few kilometers, the construction was discontinued.CultureLandgrave Charles continued the design of the hillside park, Wilhelmshöhe (\"William's Peak\") in the Habichtswald (\"HawkForest\"), now a nature preserve west of Kassel. In particular, it was the construction of the Hercules monument that brought the Italian-inspired cascades and other water features to the park. Under his rule, theMoritzaue (\"Maurice's Meadow\") park near the town was extended over a large area to another park, the Karlsaue (\"Charles's Meadow\"), which still exists today, and the Schloss Orangerie was built.With theparticipation of the Landgrave, who was interested in history, the first archaeological excavations began in 1709 on the Mader Heide.FamilyCharles married his first cousin, Maria Amalia of Courland (1653–1711), thedaughter of Jacob Kettler, Duke of Courland, and had with her 24 children, fourteen of which lived long enough to have names:William (29 March 1674 – 25 July 1676)Charles (24 February 1675 – 7 December1677)Friedrich (28 April 1676 – 5 April 1751), who succeeded his father as Frederick, the Landgrave of Hesse-Kassel, and became, in 1720, the King of Sweden∞ 1 1700 Princess Louisa Dorothea of Brandenburg(1680–1705)∞ 2 1715 Ulrika Eleonora, Queen of Sweden (1688–1741)Christian (2 July 1677 – 18 September 1677)Sophie Charlotte (16 July 1678 – 30 May 1749)∞ 1704 Frederick William, Duke ofMecklenburg-Schwerin (1675–1713)Son (12 June 1679)Charles (12 June 1680 – 13 November 1702)Daughter (12 April 1681)William (10 March 1682 – 1 February 1760), who succeeded his brother Frederick asWilliam VIII, the Landgrave of Hesse-Kassel∞ 1717 Dorothea Wilhelmina of Saxe-Zeitz (1691–1743)Daughter (12 June 1683)Leopold (30 December 1684 – 10 September 1704)Son (12 November 1685)Louis (5September 1686 – 23 May 1706)Marie Louise (7 February 1688 – 9 April 1765)∞ 1709 Johan Willem Friso, Prince of Orange (1687–1711)Maximilian (28 May 1689 – 8 May 1753)∞ 1720 Friederike Landgravine ofHesse-Darmstadt (1698–1777)Daughter (5 July 1690)George Charles (8 January 1691 – 5 March 1755)Son (1692)Eleonore Antoine (11 January 1694 – 17 December 1694)Wilhelmine Charlotte (8 July 1695 – 27November 1722)Son (1696)Daughter (1697)Son (1699)Daughter (1701)Other RelationshipsAfter the death of his wife in 1713, Charles had a relationship with Jeanne Marguerite de Frere, Marquise de Langallerie, withwhom he had a son, Charles Frederic Philippe de Gentil, Marquis de Langallerie, who died early.  Charles secured in the same way the financial security of children who had come with his mistress.After the Marquise deLangallerie, the next mistress and confidante was Barbara Christine von Bernhold (1690–1756), who rose to Großhofmeisterin (\"Senior Mistress of the Court\") under Charles's son William VIII and was raised to the rankof Reichsgräfin (\"Imperial Countess\") in 1742 by the Holy Roman Emperor Charles VII. She was housed in the Bellevue Palace.AncestryPassage 5:Christine of SaxonyChristine of Saxony (25 December 1505 – 15 April1549) was a German noble, landgravine consort of Hesse by marriage to Philip I, Landgrave of Hesse. She was the regent of Hesse during the absence of her spouse in 1547–1549.She was the daughter of George theBearded, Duke of Saxony and Barbara Jagiellon. On 11 December 1523 in Kassel, she married Landgrave Philip I, Landgrave of Hesse. The marriage was arranged to forge an alliance between Hesse and Saxony andwas unhappy; Philip claimed to be disgusted by her and only shared her bed by duty. They had ten children.Whilst married to Christine, Philip practised bigamy and had another nine children with his other (morganatic)wife, Margarethe von der Saale; in 1540, Christine gave her consent to her husband's bigamy with his lover because of her view upon him as her sovereign. Margarethe von der Saale, however, was never seen atcourt.During Philip's absence and captivity during 1547–1549, Christine was regent jointly with her oldest son. She died before Philip's release in 1552.Children with Philip of HesseAgnes (31 May 1527 – 4 November1555), married:in Marburg on 9 January 1541 to Maurice, Elector of Saxony;in Weimar on 26 May 1555 to John Frederick II, Duke of Saxe-Gotha.Anna (26 October 1529 – 10 July 1591), married on 24 February 1544to Wolfgang, Count Palatine of Zweibrücken.William IV of Hesse-Kassel (or Hesse-Cassel) (24 June 1532 – 25 August 1592).Philipp Ludwig (29 June 1534 – 31 August 1535).Barbara (8 April 1536 – 8 June 1597),married:in Reichenweier on 10 September 1555 to Duke George I of Württemberg-Mömpelgard;in Kassel on 11 November 1568 to Count Daniel of Waldeck.Louis IV of Hesse-Marburg (27 May 1537 – 9 October1604).Elisabeth (13 February 1539 – 14 March 1582), married on 8 July 1560 to Louis VI, Elector Palatine.Philip II of Hesse-Rheinfels (22 April 1541 – 20 November 1583).Christine (29 June 1543 – 13 May 1604),married in Gottorp on 17 December 1564 to Adolf, Duke of Holstein-Gottorp.Georg I of Hesse-Darmstadt (10 September 1547 – 7 February 1596).AncestryPassage 6:Prince Wilhelm ofHesse-Philippsthal-BarchfeldChlodwig, Landgrave of Hesse-Philippsthal-Barchfeld (Chlodwig Alexis Ernst; 30 July 1876 – 17 November 1954) was an officer in the Prussian Army and head of the Hesse-Philippsthal line ofthe House of Hesse.As head of the house he was styled His Highness the Landgrave of Hesse-Philippsthal-Barchfeld.Early lifeLandgrave Chlodwig, the seventh of ten children of Prince William ofHesse-Philippsthal-Barchfeld, was born at Burgsteinfurt. He was the only surviving son from his father's second marriage with Princess Juliane of Bentheim and Steinfurt; his only surviving full sibling, Princess Bertha,was married to Leopold IV, Prince of Lippe.Although the third son Landgrave Chlodwig became heir to the headship of the House of Hesse-Philippsthal-Barchfeld upon the death of his uncle in 1905 due to his elder halfbrothers Prince Friedrich Wilhelm and Prince Carl Wilhelm von Ardeck's exclusion from the succession on account of their parents morganatic marriage.Landgrave Chlodwig served in the Prussian Army reaching the rankof lieutenant colonel. On 26 May 1904 he married Princess Caroline of Solms-Hohensolms-Lich, the daughter of Prince Hermann, in her home town of Lich. The couple had five children: Wilhelm Ernst Alexis Hermann(1905-1942) who married Princess Marianne of Prussia, Ernst Ludwig (1906-1934), Irene (1907-1980), Alexander Friedrich (1911-1939) and Viktoria Cäcilie (1914-1998).LandgraveOn 16 August 1905, Chlodwigsucceeded his uncle Landgrave Alexis as head of the House of Hesse-Philippsthal-Barchfeld, giving him a seat in the House of Lords of Prussia. On 22 December 1925 he inherited the assets and headship of the House ofHesse-Philippsthal following the death of Landgrave Ernst.In the early 1930s three of Landgrave Chlodwig's children (Wilhelm, Alexander Friedrich and Viktoria Cäcilie) joined the Nazi party. His third son PrinceAlexander Friedrich, who suffered from epilepsy, was sterilised by the Nazis on 27 September 1938, he died a year later. The landgrave's eldest son Prince Wilhelm, an SS-Hauptsturmführer, was killed in action duringWorld War II.Landgrave Chlodwig died aged 78 in Bad Hersfeld, he was survived by his wife and daughters, his three sons having predeceased him. His grandson Wilhelm succeeded him as head of the House ofHesse-Philippsthal.HonoursKnight of the House Order of the Golden Lion of Hesse, 21 December 1898Grand Cross of the Order of Ludwig of Hesse, 14 May 1910Grand Cross of the Princely House Order of LippeGrandCross of the Order of the Red Eagle of PrussiaKnight of the Order of St. John of PrussiaGrand Cross of the Ducal Saxe-Ernestine House OrderGrand Cross of the Princely House Order of Schaumburg-LippeCross of Meritof Waldeck and PyrmontAncestryPassage 7:Elisabeth of Hesse, Electress PalatineElisabeth of Hesse (13 February 1539 – 14 March 1582) was a German noblewoman.She was a daughter of Philip I, Landgrave of Hesseand Christine of Saxony, daughter of George, Duke of Saxony.On 8 July 1560 she married Louis VI, Elector Palatine. They had the following children:Anna Marie (1561–1589), married Charles IX of SwedenElisabeth (15June – 2 November 1562)Dorothea Elisabeth (12 January – 7 March 1565)Dorothea (1566–1567)Frederick Philip (19 October 1567 – 14 November 1568)Johann Friedrich (died within a month of birth)Ludwig (diedwithin three months of birth)Katharina (1572–1586)Christine (1573–1619)Frederick (1574–1610), succeeded as Elector PalatinePhilip (4 May 1575 – 9 August 1575)Elisabeth (1576–1577)== Ancestors ==Passage8:Elisabeth of the PalatinateElisabeth of the Palatinate (26 December 1618 – 11 February 1680), also known as Elisabeth of Bohemia, Princess Elisabeth of the Palatinate, or Princess-Abbess of Herford Abbey, was theeldest daughter of Frederick V, Elector Palatine (who was briefly King of Bohemia), and Elizabeth Stuart. Elisabeth of the Palatinate was a philosopher best known for her correspondence with René Descartes. She wascritical of Descartes' dualistic metaphysics and her work anticipated the metaphysical concerns of later philosophers.LifeElisabeth Simmern van Pallandt was born on December 26, 1618, in Heidelberg. She was the thirdof thirteen children and eldest daughter of Frederick V, Elector Palatine, and Elizabeth Stuart, daughter of James VI of Scotland and I of England and sister of Charles I.Much of Elisabeth's early life outside of her familialrelations is unknown.  After a short, unsuccessful reign in Bohemia, Elisabeth's parents were forced into exile in the Netherlands in 1620. Elisabeth stayed with her grandmother Louise Juliana of Nassau in Heidelbergbefore moving to the Netherlands at the age of nine.Elisabeth had a wide ranging education, studying philosophy, astronomy, mathematics, jurisprudence, history, modern and classical languages.  Her siblingsnicknamed her \"La Grecque\" (\"The Greek\") based on her skill with the ancient language.Elisabeth also studied the fine arts including painting, music and dancing.  She may have been tutored by Constantijn Huygens.In1633, Elisabeth received a proposal of marriage from Władysław IV Vasa, King of Poland.  The marriage would have been beneficial to the Palatine fortunes, but the king was a Catholic, and Elisabeth refused to convertfrom her Protestant faith in order to facilitate the marriage.Edward Reynolds dedicated his Treatise on the passions and the faculties of the soule of man (1640) to Elisabeth.  Although the exact context of the dedicationis unknown, the dedication suggests that Elisabeth had seen a draft of the work.In 1642, Elisabeth read Descartes' Meditations on First Philosophy.In 1646, Elisabeth's brother Philip killed a man in a duel.  Elisabeth wassent to stay with family in  Germany where she tried to interest professors in Descartes' work.In 1660, Elisabeth entered the Lutheran convent at Herford, and in 1667 she became abbess of the convent.  While theconvent was Lutheran, Elisabeth was a Calvinist. Although the previous abbess (Elisabeth's cousin) had also been a Calvinist, this difference in faith created some initial distrust.As abbess, she presided over the conventand also governed the surrounding community of 7,000 people.    While Elisabeth was abbess, the convent became a refuge from religious persecution for people and she welcomed more marginal religious sects,"}
+{"doc_id":"doc_104","qid":"","text":"Passage 1:The Grey Lady(The) Grey Lady or (The) Gray Lady may refer to:FilmsThe Grey Lady (film), 1937 German film also known as Sherlock Holmes: The Grey LadyGrey Lady (film), 2017 American film directed by John SheaFolkloreGrey Lady, a ghost reputed to haunt Rufford Old Hall, Lancashire, EnglandGrey Lady, a ghost reputed to haunt Theatre Royal, Bath, EnglandGrey Lady, a ghost reputed to haunt Fort St. Angelo, Birgu, MaltaThe Grey Lady, a spirit reputed to haunt Cumberland College, in Dunedin, New ZealandThe Gray Lady Ghost, reputed to haunt the old parsonage in Sims, North Dakota, United StatesThe Grey Lady, a ghost reputed to haunt the Dark Hedges, County Antrim, Northern IrelandThe Grey Lady, a ghost reputed to haunt Gainsborough Old Hall, Lincolnshire, EnglandEntertainmentThe Gray Lady, a spirit from GhostbustersThe Grey Lady, a character in The Good WitchThe Grey Lady, a character in Harry Potter; see Hogwarts staffOther usesMV Grey Lady, American catamaran ferryA member of the Gray Ladies, volunteers working with the American Red Cross in WWIIThe Gray Lady, a nickname for The New York TimesSee alsoThe Old Grey Lady, a nickname for Legion Field in Birmingham, Alabama, USThe Little Grey Lady of the Sea, a nickname for Nantucket Island, Massachusetts, USPassage 2:Governor GreyGovernor Grey or Gray may refer to:Charles Edward Grey (1785–1865), Governor of Barbados from 1841 to 1846 and Governor of Jamaica from 1847 to 1853George Grey (1812–1898), Governor of South Australia from 1841 to 1845, Governor of New Zealand 1845 to 1854 and from 1861 to 1868, and Governor of Cape Colony from 1854 to 1861Isaac P. Gray (1828–1895), 18th and 20th Governor of the U.S. state of IndianaMatthew Gray (Governor of Bombay) (fl. 1670s), acting Governor of Bombay from 1669 to 1672Ralph Grey, Baron Grey of Naunton (1910–1999), Governor of British Guiana from 1958 to 1964, Governor of the Bahamas from 1964 to 1968, and Governor of Northern Ireland from 1968 to 1973William Grey (governor) (1818–1878), Governor of Jamaica from 1874 to 1877Governor Grey (horse), second-place finisher in the 1911 Kentucky DerbyPassage 3:The Little Gray LadyThe Little Gray Lady is a lost 1914 silent film drama directed by Francis Powers and starring Jane Grey of the Broadway stage. It was produced by Adolph Zukor continuing his making films with Broadway actors and stars, hence the name of his company Famous Players Film Company.CastJane Grey as Anna GrayJames Cooley as Perry CarlyleJane Fearnley as Ruth JordanHal Clarendon as Sam MeadeJulia Walcott as Mrs. JordanRobert Cummings as Richard GrahamMathaleen Aarnold as Mrs. GrahamEdgar Davenport as John MooreSue Balfour as Mrs. CarlylePassage 4:Gray Lady DownGray Lady Down is a 1978 American submarine disaster film directed by David Greene and starring Charlton Heston, David Carradine, Stacy Keach, Ned Beatty, Ronny Cox and Rosemary Forsyth, and includes the feature film debut of Michael O'Keefe and Christopher Reeve. It is based on David Lavallee's 1971 novel Event 1000.PlotAging, respected Captain Paul Blanchard is on his final submarine tour before promotion to command of a submarine squadron (COMSUBRON). Surfaced and returning to port, the submarine, USS Neptune, is struck by a Norwegian freighter en route to New York in heavy fog. With the engine room flooded and its main propulsion disabled, the Neptune sinks to a depth of 1,450 feet (440 meters) or approx. 241.6 fathoms) on a canyon ledge above the ocean floor. A United States Navy rescue force, commanded by Captain Hal Bennett, arrives on the scene, but Neptune is subsequently rolled by a gravity slide to a greater angle that does not allow the Navy's Deep-submergence rescue vehicle (DSRV) to complete its work. As technical malfunctions increase, the submarine's sections get flooded and men die, crewmen have nervous breakdowns and tensions grow between the commanding officers.A small experimental submersible, Snark, is brought in to assist with the rescue. Snark is very capable, but run by a U.S. Navy officer misfit, Captain Don Gates. The tiny submersible is the only hope for a rescue. Ultimately, the surviving members of the crew are rescued by the DSRV, thanks to Gates sacrificing himself by using the Snark to jam the Neptune in place as another gravity slide begins while the rescue is taking place. Moments later the gravity slide pushes the Neptune and the Snark off the ledge and into the ocean's abyss. The film ends with a somber Blanchard climbing out of the DSRV and being welcomed aboard the rescue ship USS Pigeon by Bennett and his officers.CastCharlton Heston as Captain Paul BlanchardDavid Carradine as Captain Don GatesStacy Keach as Captain Hal BennettNed Beatty as MickeyStephen McHattie as Lieutenant Danny MurphyRonny Cox as Commander David SamuelsonDorian Harewood as Lieutenant FowlerRosemary Forsyth as Vickie BlanchardHilly Hicks as HM3 PageCharles Cioffi as Vice Admiral Michael BarnesWilliam Jordan as WatersJack Rader as Chief HarknessMichael O'Keefe as RM2 HarrisCharlie Robinson as McAllisterChristopher Reeve as Lieutenant (JG) PhillipsMelendy Britt as Liz BennettLawrason Driscoll as Lieutenant BloomDavid Wilson as SK1 HansonRobert Symonds as Secretary of NavyTed Gehring as Admiral at Pentagon MeetingCharles Cyphers as LarsonWilliam Bryant as Admiral at Pentagon MeetingJeffrey Druce as Neptune Executive OfficerJames Davidson as Lt. Commander at SACLANTDavid Clennon as Neptune CrewmemberMichael Cavanaugh as P03 Peña (uncredited)Bob Harks as Radio Operator (uncredited)Robert Ito as Jim, Lieutenant at SACLANT (uncredited)Sandra De Bruin as Irma Barnes (uncredited)John Stuart West as Submariner (uncredited)ProductionEven though the submarine depicted in the movie is a Skate-class submarine, in the opening credits, footage of the real-life submarine USS Trout (SS-566) was filmed specifically for Gray Lady Down, depicting the fictional USS Neptune.  Gray Lady Down also re-used submarine special-effects footage and the large-scale submarine model originally used to portray the fictional submarine USS Tigerfish in the 1968 movie Ice Station Zebra to depict USS Neptune. The US Navy's USS Cayuga (LST-1186) appeared in the film as the fictional USS Nassau. The USS Pigeon (ASR-21) and her DSRV were prominently featured in the movie.See alsoA Fall of Moondust, 1961 science fiction novel about vehicle trapped under the lunar surface with similar plot elementsExternal linksGray Lady Down at IMDbGray Lady Down at Rotten TomatoesGray Lady Down at AllMoviePassage 5:Edmund GreyEdmund Grey or Gray is the name of:Edmund Grey (MP for Lynn) (died 1547), MP for LynnEdmund Grey (All My Children), fictional television character in U.S. soap opera, All My ChildrenEdmund Grey, 1st Earl of Kent (1416–1490), English noblemanEdmund Dwyer Gray (1845–1888), Home Rule League MP in the Parliament of the United Kingdom and newspaper proprietorEdmund Dwyer-Gray (1870–1945), his son, also a politician and newspaper proprietor, who became Premier of TasmaniaEdmund Gray (1878–1964), Australian politicianSee alsoEdward Gray (disambiguation)Edward Grey (disambiguation)Passage 6:Singapore DreamingSingapore Dreaming is a 2006 Singaporean drama film. It follows the Loh family, a typical Singaporean working-class family, through their aspirations and dreams for a better and affluent life and the reality that would make it difficult for them to fulfill these aspirations.The film is inspired by a 2000 Singaporean essay titled Paved with Good Intentions, that the writers of the film had written for the Singapore International Foundation. A concatenation of e-mails Singaporeans sent to writers Colin Goh and Woo Yen Yen on their life stories in relation to the Singaporean dream eventually led them to write, produce and direct Singapore Dreaming. The film stars Richard Low as Poh Huat, Alice Lim as Siew Luan, Serene Chen as Irene, Yeo Yann Yann as Mei, Lim Yu-Beng as CK and Dick Su as Seng.The film was theatrically released on 7 September 2006, and at one time ranked fifth on the Singaporean box office. It has been acclaimed as one of the best Singaporean films of the 2000s. It won the Montblanc New Screenwriters Award at the 54th San Sebastián International Film Festival, and was the first such Singaporean film to receive an IFFPA-recognised international feature film award. Owing to its nature as a local film, Singapore Dreaming received much attention from Singaporean viewers, film critics and public figures alike, including S. R. Nathan, the then President of Singapore. It has been praised by local critics as a relatable portrayal of working-class life in Singapore.PlotPoh Huat (Richard Low), the father of the Loh family, works as a lawyer's clerk. He is married to Siew Luan (Alice Lim), a housewife who likes to brew liang teh (herbal tea) for the family. Poh Huat has a habit of buying lottery tickets in hope of winning and enjoying a better life. He also keeps newspaper cuttings of car models and condominiums and stores them in a box in his room.The family has one son, Seng (Dick Su), and one daughter, Mei (Yeo Yann Yann). Despite Mei's superior academic performance, the family has consistently shown favouritism for Seng. Even though he was ostensibly the academically poorer sibling, dropping out of school in Secondary 3, his parents still chose to fund his overseas polytechnic education instead of furthering his sister's education. Seng is due to return after two years at Dubois Polytechnical University (at Idaho). To fund his overseas studies, he had to borrow extra money from his fiancée, Irene (Serene Chen), who stays with Seng's parents.Mei works as a secretary who maintains a friendly working relationship with her boss. She is due for delivery in two months' time, and for maternity leave in a month's time. Her husband, Chin Keong (Lim Yu-Beng), quit his job in the Singapore Armed Forces a month before and is now selling insurance, though unsuccessfully. He is therefore belittled by Mei. Even though they cannot afford it, they frequently go to a condominium showroom to take a look, revealing their aspirations for a more luxurious lifestyle.Seng returns from the United States. Tensions escalate in the family between Mei and Seng, due to the family's apparent favouritism for Seng. Seng goes for several job interviews, but is unsuccessful. He becomes immensely disappointed, and lies to his family about the sanguinity of his job prospects.Poh Huat strikes the Toto lottery, winning S$2 million, and the family is ecstatic. Seng decides that he wants to try starting a business. He gains his father's approval, who gives him effectively unlimited funding through a credit card. Seng also buys a car, without Irene's knowledge. Irene is infuriated when she learns Seng has been overspending without working first.Initially thrilled by his sudden elevation to the higher social class, Poh Huat dies suddenly of a heart attack while he was at a country club for a membership interview. Siew Luan goes into shock. At the funeral, Seng quarrels with Mei over the funeral expenses. Mei vents her anger on Chin Keong, who shows his displeasure by throwing the carton of drinks on the floor and storming off. Mei is called back to work one afternoon, even though she is still managing the funeral. Chin Keong expresses his outrage at this unreasonable request, but Mei says out of frustration, \"Singapore is like that, everywhere is like that, do we have a choice?\" and returns to work. At work, Mei's boss, frustrated at the incapable temporary secretary, vents his anger at Mei and demands her to photocopy a stack of documents and brew coffee for him. Mei flips at the triviality of the task.Back at the funeral, Mei realizes that S$500 has gone missing from the pek kim, and wrongly accuses her Filipino maid, Pinky, of stealing the money. Chin Keong reveals shortly after that the money is actually with him. Pinky, indignant at the wrong accusation, spits at Mei. Chin Keong goes to a nearby coffee shop for a drink. A beer girl from Mainland China approaches him at his table to talk to him, and Chin Keong ends up confiding his worries about life. The girl notes, \"You Singaporeans are always complaining. Do you think your life is tough?\". During the funeral wake, Seng reveals to his family that he did not graduate. Initially unbeknownst to him, Irene is standing nearby at the door, and hears his confession. Irene is greatly disappointed with Seng, and resolves to leave him.A few months later, Chin Keong, Seng and Mei, with her newly-born son, are called to a lawyer's office. It is revealed that Poh Huat's will has been found (made before either of them are born): he had left all his assets to his wife Siew Luan. However, the family has chalked up a debt of S$800,000 in sending Seng overseas. Siew Luan is absent from the meeting, so the lawyer announces that, of the remaining S$1, 200,000, Mei is getting S$300,000, while Seng is getting S$1,000. At the movie's end, Siew Luan hands some money over to Poh Huat's mistress and illegitimate son in a show of benevolence, and leaves Seng. Irene decides to go abroad to pursue a degree in photography.CastA team of local actors composed the cast for Singapore Dreaming. Some casting decisions were made when the producers were penning the script in New York while others were made in Singapore.The characters of the film were based on the experiences of the people around the writers, that of the writers themselves, and on the e-mail responses that they received to their essay.Richard Low as Poh Huat: MediaCorp actor Richard Low had a role in one of the MediaCorp productions that was filming during the time Singapore Dreaming was set to film. However, he was not engaged as his character in that production was in coma. In the film, Poh Huat is the patriarch of the Loh family. He persistently favours and sides with his son, Seng over his daughter, Mei. Like the rest of the family, he yearns for a better life and, in particular, for a car and a country club membership.Alice Lim as Siew Luan: Alice Lim was one of the actresses that were cast later. She is the first female MC for major events in Singapore, and used to be active in the 1970s. The directors admired her 'beautiful' delivery of Hokkien in the film. In the film, Siew Luan married Poh Huat when she was young and remained a housewife ever since. She is seen to brew bottles of herbal tea perpetually (for members of the family, who, except for Irene, tend to reject them). She shares part of her life story with the audience as the film concludes.Serene Chen as Irene: The producers had a good relationship with Serene Chen from their previous work together on an earlier production, 3Meals. They planned to cast Serene Chen early on, during the initial script-writing. In the film, Serene plays the live-in fiancée of Seng, Irene. Irene is deeply attached to Seng and hankers for a marriage with him in the beginning of the film. She, together with Poh Huat, funded his overseas studies. Irene is also very close to Siew Luan.Yeo Yann Yann as Mei: Although the producers were unacquainted with Yann Yann, they used her face as a reference when writing for the character, Mei. Back in Singapore, Yann Yann accepted their offer to cast as Mei. In the film, Mei is the underappreciated daughter of the family, married to CK, whom she occasionally henpecks. Indignant that Seng was sent overseas when she was the one whose academic performance was more distinguished, she bears a patent grudge against Seng.Lim Yu-Beng as CK: The part of CK was written for Lim Yu-Beng, who agreed to join the film's production. In the film, CK resigned as an army officer and turned to selling insurance, a career at which he does not appear to be successful.Dick Su as Seng: Dick Su was involved in the production only after Serene Chen brought him in. In the film, Seng is the son in the family, who failed in graduating from his overseas studies. There were times when he tries to convince his family, especially his father, that he can succeed in life. Unfortunately, his plans never seem to work out and he ends up disappointing the people around him.DevelopmentConceptionThe development of Singapore Dreaming began in 2000 when New York-based couple Colin Goh and Woo Yen Yen wrote an essay for Singaporeans Exposed, a publication to commemorate the Singapore International Foundation's ten-year anniversary. The 5200-word essay, Paved with Good Intentions, explained the difference between the Singapore Dream and the Singapore Plan, and discussed the source and fashion of many Singaporeans' aspirations.  Paved with Good Intentions was later circulated round the Internet, where many Singaporeans read the essay.Confessional responses the couple received thereafter reached the hundreds. In a podcast with mrbrown, Woo explained the typical reader response was \"How is it that I now have a house, I now have a car, a job, why I am still unhappy?\" The couple \"felt a responsibility to do something\", which inspired them to write the film, the original working title of which was The 5Cs.ProductionThe film was a number of firsts in the film industry; Singapore Dreaming was the first Singaporean film to be digitally encoded and projected. It was also the first collaboration between Singaporean and New York film-makers; the Director of photography Martina Radwan, editor Rachel Kittner and sound designer Paul Hsu were based in New York, along with the production staff, while composer Sydney Tan was based in Singapore.Singapore Dreaming was an independent, low-budget production, costing only S$800 000 in total to produce — 80% of which was raised by Executive Producer Woffles Wu. The film was Woffles Wu's first production, and the Colin Goh–Woo Yen Yen team's second. The rigors of production forced Producer Woo Yen Yen to take a no-pay leave from her job as an assistant professor.Filming began in August 2005, with the scenes in the house shot in an actual 3-room HDB flat in a bid for authenticity. This led to situations in which the cast and crew had to squeeze into the rooms in the small flat for hours on end. The team also had to endure heat and stuffy conditions, especially during the scene in which the family shared steamboat in the living room.In an attempt at authenticity and realism, the producers allowed the characters speak in a mix of Hokkien, English and Mandarin, in the typical Singaporean manner. The film would later be subtitled in English and Mandarin during post-production so that the audience would be able to understand the characters' lexicon without knowing how the average Singaporean speaks.Unlike in larger productions, the team of directors had to assume numerous roles during the independent production, some of which included the transportation of furniture and buying drinking water for the crew during the shoot. Colin Goh and Steven Chin, the assistant director, also had to take the unusual step of staging a fight to distract curious passers-by and prevent them from gathering round when they were shooting a certain scene.  After the filming was complete, the movie was digitally encoded in New York and digitally projected at a number of select cinemas.Publicity and releasePremieresBefore being commercially released, Singapore Dreaming was screened at two charity premieres. The first, on 12 April 2006 at Lido, was a pre-opener to the Singapore International Film Festival. Tickets were sold at $15 and all proceeds went to the Festival. The tickets were sold out by 6.00 pm on the day they were released. Among the guests were public figures including president Sellapan Ramanathan and wife, Foreign Minister George Yeo and Opposition Member of Parliament Chiam See Tong. Directors like Jack Neo and Eric Khoo also attended this premiere. A total of about 700 people attended the event.The second charity premiere was on 30 August 2006, and the beneficiary was the Association of Women for Action and Research. The producers organized a Teachers' Day Giveaway, allowing students to nominate teachers for a free screening. In total, 100 pairs of tickets were given away this way. The audience filled up all five cinema halls at GV Grand at Great World City. Like the first premiere, the event was sold-out.Commercial releaseSneak previews began on 1 September 2006 while the film was commercially released on 7 September 2006. The film opened on a total of eighteen screens islandwide, which encompasses all GV and Cathay screens and selected Shaw and Eng Wah screens.The producers were initially concerned about the small independent film lasting in the cinemas with the influx of American blockbusters. Thus, the producers continually urged on the film's blog for those interested to watch the film as early as possible, in case of a short theatrical run. However, the film's theatrical run was to continue for eight weeks; it outlasted all other films that opened in the same week. After a "}
+{"doc_id":"doc_105","qid":"","text":"Passage 1:Steven TaylorSteven or Steve Taylor may refer to:Steve Taylor (missiologist) (born 1968), New Zealand theologianSteve Taylor (psychologist) (born 1967), English author and lecturer in psychologyStevenJohn Taylor, American singer and keyboardist for the band Rogue WaveSteve Taylor (politician) (born 1956), American politician and Delaware state legislatorSteven W. Taylor (born 1949), American politician andOklahoma Supreme Court justiceSteve Taylor (footballer) (born 1955), English footballer in The Football LeagueSteve Taylor (born 1957), American singer, songwriter and film directorSteve Taylor & The Perfect Foil, asupergroup led by Steve TaylorSteven Taylor (cricketer, born 1963) (born 1963), English cricketerSteve Taylor (Canadian football) (born 1967), quarterbackSteven Taylor (American cricketer) (born 1993), AmericancricketerSteven Taylor (footballer) (born 1986), English footballerSteve Taylor, the narrator for the YouTube channel KurzgesagtJohn Mahan (1851–1883), also known as Steve Taylor, Irish-born American bare-knuckleboxer and pugilistFictional charactersSteven Taylor (Doctor Who), one of the First Doctor's companionsSteve Taylor, a character in the 2008 British slasher movie Eden LakeSee alsoStephen Taylor (disambiguation)Listof people with surname TaylorPassage 2:Steven ParkerSteven Parker may refer to:Steven Parker (defensive back) (born 1995), American football playerSteven Parker, military police officer whose actions were thesubject of the U.S. Supreme Court case Saucier v. KatzSteven Parker, co-creator of the website NeowinSteven Christopher Parker (born 1989), actorSteven J. Parker (died 2009), Boston pediatrician and co-author ofthe 7th edition of The Common Sense Book of Baby and Child CareSee alsoStephen Parker (disambiguation)Steve Parker (disambiguation)Passage 3:Steven EllisSteven or Steve Ellis may refer to:Steve Ellis (comics)(born 1971), American comic book artist and illustratorSteve Ellis (musician) (born 1950), English singerSteve Ellis (literary scholar) (born 1952), British literary scholar and poetSteve Ellis (rower) (born 1968), Britishlightweight rowerSteven J. R. Ellis (born 1974), Australian archaeologistSee alsoStephen Ellis (disambiguation)Passage 4:Stephen GriffithsStephen or Steve Griffiths may refer to:Stephen Shaun Griffiths (born 1969),convicted of the Bradford murders in 2010Steve Griffiths (footballer) (1914–1998), English footballerSteve Griffiths (athlete) (born 1964), Jamaican sprinterSteve Griffiths (rugby union) (born 1973), English-bornScotland rugby union playerSteven Griffiths (born 1962), Australian politicianSteven Griffiths (cricketer) (born 1973), English cricketerPassage 5:Stephen PalmerStephen or Steve Palmer is the name of: Steve Palmer(footballer) (born 1968), English footballerStephen Palmer (orienteer), British orienteerStephen Palmer, guitarist with The High StrungPassage 6:Steve BarancikSteve Barancik (born September 23, 1961, in Chicago,Illinois) is a screenwriter whose first screenplay, Buffalo Girls, was filmed and released as The Last Seduction in 1994. The film premiered as an HBO movie before going on shortly after to art house success. ActressLinda Fiorentino received notoriety for playing the movie's femme fatale, Bridget Gregory/Wendy Kroy, and Barancik was nominated for an Edgar Allan Poe Award for best mystery/crime screenplay of 1994.Barancikreceived critical acclaim for his screenplay for The Last Seduction. James Berardinelli called his dialogue \"scintillating, often hilarious, and occasionally insightful\", while Variety said his development of the narrative \"isvery skillful and original\". The Washington Post claimed it was \"a viciously funny first screenplay\" from Barancik, and Kim Newman of Empire called his screenplay \"superb\". Barancik worked steadily in the industry butwith little to show for it until receiving shared screenplay credit for 2002's No Good Deed. He also received shared story credit for 2005's Domino. Barancik is also the founder and a regular performer in Monolog Cabin, agroup featuring writers performing comedic personal essays, which performs at Club Congress in Tucson, Arizona. He has developed a website devoted to the subject of quality children's books and another to collectingthe experiences of authors who have self-published.Passage 7:Steven RobertsSteven or Steve Roberts may refer to:Steven K. Roberts (born 1952), American journalist, writer, cyclist, archivist, and explorerSteven V.Roberts (born 1943), American journalist and writerSteven Roberts (British Army soldier) (died 2003), first British soldier to die in the 2003 invasion of IraqSteve Roberts (American football) (born 1964), collegefootball coach at Arkansas State UniversitySteve Roberts (comics), British comics artistSteve Roberts (drummer) (died 2022), British drummer (UK Subs)Steven Roberts (Missouri politician), Missouri State SenatorSeealsoStephen Roberts (disambiguation)Passage 8:Stephen ClarkStephen or Steve(n) Clark(e) may refer to:Arts and entertainmentStephen Carlton Clark (1882–1960), art collector and president of the Baseball Hall ofFameSteve Clark (tap dancer) (1924–2017), member of the tap-dancing duo The Clark BrothersStephen Clarke (writer) (born 1958), British journalist and novelistSteve Clarke (drummer) (born 1959), British rock andheavy metal drummerSteve Clark (1960–1991), British guitarist for rock band Def LeppardStephen Clark (playwright), British playwright, librettist and lyricistSteven A. Clark, American pop and R&B singer, active2011–presentStephen Clark (musician), American bassist for heavy metal band DeafheavenSteve Clarke, British rock bassist for DumdumsSteve Clark (animator), animator and director of animated televisionseriesStephen Clarke-Willson, video game and software developerSteve Clarke (EastEnders), fictional character in the British soap opera EastendersPoliticsStephen Clark (New York treasurer) (1792–?), New York StateTreasurer 1856–1857Stephen D. Clark (1916–1997), Canadian politician, New BrunswickStephen P. Clark (1924–1996), Mayor of Miami, FloridaStephen R. Clark (born 1966), American federal judge from MissouriSteveClark (Canadian politician) (born 1960), Canadian politician, OntarioSteve Clark (Arkansas politician), Arkansas Attorney GeneralSportsSteve Clark (swimmer) (born 1943), American swimmerStevan Clark (born 1959),American football defensive endSteve Clark (American football, born 1960), American pro football tackleSteve Clark (defensive back) (born 1962), American football defensive backSteven Clark (Australian footballer)(1961–2005), VFL/AFL player for three clubsSteve Clarke (born 1963), Scottish football player and managerStephen Clarke (swimmer) (born 1973), Canadian swimmerSteven Clark (English footballer) (born 1982),English footballerSteven Clark (cricketer) (born 1982), Leicestershire cricketerSteve Clark (soccer) (born 1986), American soccer playerSteven Clarke (gridiron football) (born 1991), Canadian football defensivebackSteve Clark (referee), rugby refereeOthersStephen C. Clark (bishop) (1892–1950), bishop of the Episcopal Diocese of UtahStephen R. L. Clark (born 1945), British philosopherSteven Clarke (born 1949),biochemistStephen Clarke (archaeologist), Welsh archaeologistSee alsoStephen Clark Foster (1822–1898), mayor of New York CityStephen Clark Foster (Maine politician) (1799–1872), U.S. representative fromMaineShooting of Stephon Clark, 2018 shooting in Sacramento, California involving a man similarly named Stephon ClarkPassage 9:Helen CliftonHelen Clifton (née Ashman) (4 May 1948 – 14 June 2011) was a BritishSalvation Army Commissioner. She spent her childhood in London, connected to the Edmonton Corps of The Salvation Army. She was a teacher before entering the International Training College at Denmark Hill,London, to become a full-time Officer of The Salvation Army. She married the 18th General of The Salvation Army, Shaw Clifton, in 1967. He died in May 2023.She held a Bachelor of Arts (Honours) degree in Englishlanguage and literature from Westfield College, University of London and a Post-Graduate Certificate of Education from Goldsmiths’ College, University of London.External linksThe Salvation Army internationalhomepage Archived 2007-05-11 at the Wayback MachineGeneral Shaw Clifton and Commissioner Helen Clifton Archived 2017-04-25 at the Wayback MachineWelcome and Dedication Meeting General Shaw Clifton andCommissioner Helen CliftonCliftons elected to leadCommissioner speaks out against traffickingDeath notice of Commissioner Helen Clifton Archived 2011-07-05 at the Wayback MachinePassage 10:Steven BakerStevenor Steve Baker is the name of:SportsmenSteve Baker (baseball) (born 1956), major league pitcherSteve Baker (footballer, born 1962), English footballerSteve Baker (footballer, born 1978), English footballerSteveBaker (ice hockey) (born 1957), American ice hockey goaltenderSteve Baker (motorcyclist) (born 1952), former Grand Prix motorcycle road racerSteve Baker (speedway rider), Australian motorcycle speedwayriderSteven Baker (American football), American football player with the St. Louis RamsSteven Baker (Australian footballer) (born 1980), Australian rules footballerSteven Baker (figure skater), Croatian figure skater,winner of the Golden Bear of ZagrebOthersSteve Baker, designer of the Space Crusade boardgameSteve Baker (illusionist) (1938–2017), American comedian, magician and escape artistSteve Baker (politician) (born1971), British Conservative Party MP for WycombeSteven Baker (producer) (born 1976), Australian arranger, orchestrator and record producerSee alsoStephen Baker (disambiguation)"}
+{"doc_id":"doc_106","qid":"","text":"Passage 1:Ian Barry (director)Ian Barry is an Australian director of film and TV.Select creditsWaiting for Lucas (1973) (short)Stone (1974) (editor only)The Chain Reaction (1980)Whose Baby? (1986)(mini-series)Minnamurra (1989)Bodysurfer (1989) (mini-series)Ring of Scorpio (1990) (mini-series)Crimebroker (1993)Inferno (1998) (TV movie)Miss Lettie and Me (2002) (TV movie)Not Quite Hollywood: The Wild,Untold Story of Ozploitation! (2008) (documentary)The Doctor Blake Mysteries (2013)Passage 2:Peter LevinPeter Levin is an American director of film, television and theatre.CareerSince 1967, Levin has amassed alarge number of credits directing episodic television and television films. Some of his television series credits include Love Is a Many Splendored Thing, James at 15, The Paper Chase, Family, Starsky & Hutch, Lou Grant,Fame, Cagney & Lacey, Law & Order and Judging Amy.Some of his television film credits include Rape and Marriage: The Rideout Case (1980), A Reason to Live (1985), Popeye Doyle (1986), A Killer Among Us (1990),Queen Sized (2008) and among other films. He directed \"Heart in Hiding\", written by his wife Audrey Davis Levin, for which she received an Emmy for Best Day Time Special in the 1970s.Prior to becoming a director,Levin worked as an actor in several Broadway productions. He costarred with Susan Strasberg in \"[The Diary of Ann Frank]\" but had to leave the production when he was drafted into the Army. He trained at theCarnegie Mellon University. Eventually becoming a theatre director, he directed productions at the Long Wharf Theatre and the Pacific Resident Theatre Company. He also co-founded the off-off-Broadway Theatre [theHardware Poets Playhouse] with his wife Audrey Davis Levin and was also an associate artist of The Interact Theatre Company.Passage 3:John Farrell (businessman)John Farrell is the director of YouTube in LatinAmerica.EducationFarrell holds a joint MBA degree from the University of Texas at Austin and Instituto Tecnologico de Estudios Superiores de Monterrey (ITESM).CareerHis business career began at Skytel, and later atIridium as head of Business Development, in Washington DC, where he supported the design and launched the first satellite location service in the world and established international distribution agreements.Heco-founded Adetel, the first company to provide internet access to residential communities and businesses in Mexico. After becoming General Manager of Adetel, he developed a partnership with TV Azteca in order tocreate the first internet access prepaid card in the country known as the ToditoCard.  Later in his career, John Farrell worked for Televisa in Mexico City as Director of Business Development for Esmas.com. There heestablished a strategic alliance with a leading telecommunications provider to launch co-branded Internet and telephone services. He also led initial efforts to launch social networking services, leveraging Televisa’scontent and media channels.GoogleFarrel joined Google in 2004 as Director of Business Development for Asia and Latin America. On April 7, 2008, he was promoted to the position of General Manager for GoogleMexico, replacing Alonso Gonzalo. He is now director of YouTube in Latin America, responsible for developing audiences, managing partnerships and growing Google’s video display business. John is also part of Google’sLatin America leadership management team and contributes to Google’s strategy in the region. He is Vice President of the IAB (Interactive Advertising Bureau), a member of the AMIPCI (Mexican Internet Association)Advisory Board, an active Endeavor mentor, and member of YPO.Passage 4:Brian Kennedy (gallery director)Brian Patrick Kennedy (born 5 November 1961) is an Irish-born art museum director who has worked inIreland and Australia, and now lives and works in the United States.  He was the director of the Peabody Essex Museum in Salem for 17 months, resigning December 31, 2020. He was the director of the Toledo Museumof Art in Ohio from 2010 to 2019. He was the director of the Hood Museum of Art from 2005 to 2010, and the National Gallery of Australia (Canberra) from 1997 to 2004.CareerBrian Kennedy currently lives and worksin the United States after leaving Australia in 2005 to direct the Hood Museum of Art at Dartmouth College. In October 2010 he became the ninth Director of the Toledo Museum of Art. On 1 July 2019, he succeeded DanMonroe as the executive director and CEO of the Peabody Essex Museum.Early life and career in IrelandKennedy was born in Dublin and attended Clonkeen College. He received B.A. (1982), M.A. (1985) and PhD (1989)degrees from University College-Dublin, where he studied both art history and history.He worked in the Irish Department of Education (1982), the European Commission, Brussels (1983), and in Ireland at the ChesterBeatty Library (1983–85), Government Publications Office (1985–86), and Department of Finance (1986–89). He married Mary Fiona Carlin in 1988.He was Assistant Director at the National Gallery of Ireland in Dublinfrom 1989 to 1997. He was Chair of the Irish Association of Art Historians from 1996 to 1997, and of the Council of Australian Art Museum Directors from 2001 to 2003. In September 1997 he became Director of theNational Gallery of Australia.National Gallery of Australia (NGA)Kennedy expanded the traveling exhibitions and loans program throughout Australia, arranged for several major shows of Australian art abroad, increasedthe number of exhibitions at the museum itself and oversaw the development of an extensive multi-media site.  Although he oversaw several years of the museum's highest ever annual visitation, he discontinued theemphasis of his predecessor, Betty Churcher, on showing \"blockbuster\" exhibitions.During his directorship, the NGA gained government support for improving the building and significant private donations and corporatesponsorship. However, the initial design for the building proved controversial generating a public dispute with the original architect on moral rights grounds.  As a result, the project was not delivered during DrKennedy's tenure, with a significantly altered design completed some years later.  Private funding supported two acquisitions of British art, including David Hockney's A Bigger Grand Canyon in 1999, and Lucian Freud'sAfter Cézanne in 2001. Kennedy built on the established collections at the museum by acquiring the Holmgren-Spertus collection of Indonesian textiles; the Kenneth Tyler collection of editioned prints, screens, multiplesand unique proofs; and the Australian Print Workshop Archive. He was also notable for campaigning for the construction of a new \"front\" entrance to the Gallery, facing King Edward Terrace, which was completed in2010 (see reference to the building project above).Kennedy's cancellation of the \"Sensation exhibition\" (scheduled at the NGA from 2 June 2000 to 13 August 2000) was controversial, and seen by some as censorship.He claimed that the decision was due to the exhibition being \"too close to the market\" implying that a national cultural institution cannot exhibit the private collection of a speculative art investor. However, there wereother exhibitions at the NGA during his tenure, which could have raised similar concerns. The exhibition featured the privately owned Young British Artists works belonging to Charles Saatchi and attracted largeattendances in London and Brooklyn. Its most controversial work was Chris Ofili's The Holy Virgin Mary, a painting which used elephant dung and was accused of being blasphemous. The then-mayor of New York,Rudolph Giuliani, campaigned against the exhibition, claiming it was \"Catholic-bashing\" and an \"aggressive, vicious, disgusting attack on religion.\" In November 1999, Kennedy cancelled the exhibition and stated thatthe events in New York had \"obscured discussion of the artistic merit of the works of art\". He has said that it \"was the toughest decision of my professional life, so far.\"Kennedy was also repeatedly questioned on hismanagement of a range of issues during the Australian Government's Senate Estimates process - particularly on the NGA's occupational health and safety record and concerns about the NGA's twenty-year-oldair-conditioning system. The air-conditioning was finally renovated in 2003. Kennedy announced in 2002 that he would not seek extension of his contract beyond 2004, accepting a seven-year term as had his twopredecessors.He became a joint Irish-Australian citizen in 2003.Toledo Museum of ArtThe Toledo Museum of Art is known for its exceptional collections of European and American paintings and sculpture, glass,antiquities, artist books, Japanese prints and netsuke. The museum offers free admission and is recognized for its historical leadership in the field of art education.  During his tenure, Kennedy has focused the museum'sart education efforts on visual literacy, which he defines as \"learning to read, understand and write visual language.\"   Initiatives have included baby and toddler tours, specialized training for all staff, docents,volunteers and the launch of a website, www.vislit.org. In November 2014, the museum hosted the International Visual Literacy Association (IVLA) conference, the first Museum to do so. Kennedy has been a frequentspeaker on the topic, including 2010 and 2013 TEDx talks on visual and sensory literacy.Kennedy has expressed an interest in expanding the museum's collection of contemporary art and art by indigenous peoples.Works by Frank Stella, Sean Scully, Jaume Plensa, Ravinder Reddy and Mary Sibande have been acquired.  In addition, the museum has made major acquisitions of Old Master paintings by Frans Hals and LucaGiordano.During his tenure the Toledo Museum of Art has announced the return of several objects from its collection due to claims the objects were stolen and/or illegally exported prior being sold to the museum.  In2011 a Meissen sweetmeat stand was returned to Germany followed by an Etruscan Kalpis or water jug to Italy (2013), an Indian sculpture of Ganesha (2014) and an astrological compendium to Germany in 2015.HoodMuseum of ArtKennedy became Director of the Hood Museum of Art in July 2005. During his tenure, he implemented a series of large and small-scale exhibitions and oversaw the production of more than 20 publicationsto bring greater public attention to the museum's remarkable collections of the arts of America, Europe, Africa, Papua New Guinea and the Polar regions. At 70,000 objects, the Hood has one of the largest collections onany American college of university campus. The exhibition, Black Womanhood: Images, Icons, and Ideologies of the African Body, toured several US venues. Kennedy increased campus curricular use of works of art,with thousands of objects pulled from storage for classes annually. Numerous acquisitions were made with the museum's generous endowments, and he curated several exhibitions: including Wenda Gu: Forest of StoneSteles: Retranslation and Rewriting Tang Dynasty Poetry, Sean Scully: The Art of the Stripe, and Frank Stella: Irregular Polygons.PublicationsKennedy has written or edited a number of books on art, including:AlfredChester Beatty and Ireland 1950-1968: A study in cultural politics, Glendale Press (1988), ISBN 978-0-907606-49-9Dreams and responsibilities: The state and arts in independent Ireland, Arts Council of Ireland (1990),ISBN 978-0-906627-32-7Jack B Yeats: Jack Butler Yeats, 1871-1957 (Lives of Irish Artists), Unipub (October 1991), ISBN 978-0-948524-24-0The Anatomy Lesson: Art and Medicine (with Davis Coakley), NationalGallery of Ireland (January 1992), ISBN 978-0-903162-65-4Ireland: Art into History (with Raymond Gillespie), Roberts Rinehart Publishers (1994), ISBN 978-1-57098-005-3Irish Painting, Roberts Rinehart Publishers(November 1997),  ISBN 978-1-86059-059-7Sean Scully: The Art of the Stripe, Hood Museum of Art (October 2008), ISBN 978-0-944722-34-3Frank Stella: Irregular Polygons, 1965-1966, Hood Museum of Art(October 2010), ISBN 978-0-944722-39-8Honors and achievementsKennedy was awarded the Australian Centenary Medal in 2001 for service to Australian Society and its art. He is a trustee and treasurer of theAssociation of Art Museum Directors, a peer reviewer for the American Association of Museums and a member of the International Association of Art Critics. In 2013 he was appointed inaugural eminent professor at theUniversity of Toledo and received an honorary doctorate from Lourdes University. Most recently, Kennedy received the 2014 Northwest Region, Ohio Art Education Association award for distinguished educator for arteducation.== Notes ==Passage 5:Dana BlanksteinDana Blankstein-Cohen (born March 3, 1981) is the executive director of the Sam Spiegel Film and Television School. She was appointed by the board of directors  inNovember 2019.  Previously she was the CEO of the Israeli Academy of Film and Television. She is a film director, and an Israeli culture entrepreneur.BiographyDana Blankstein was born in Switzerland in 1981 totheatre director Dedi Baron and Professor Alexander Blankstein. She moved to Israel in 1983 and grew up in Tel Aviv.Blankstein graduated from the Sam Spiegel Film and Television School, Jerusalem in 2008 with highhonors. During her studies she worked as a personal assistant to directors Savi Gabizon on his film Nina's Tragedies and to Renen Schorr on his film The Loners.  She also directed and shot 'the making of' film onGavison's film Lost and Found. Her debut film Camping competed at the Berlin International Film Festival, 2007.Film and academic careerAfter her studies, Dana founded and directed the film and television departmentat the Kfar Saba municipality. The department encouraged and promoted productions filmed in the city of Kfar Saba, as well as the established cultural projects, and educational community activities.Blankstein directedthe mini-series \"Tel Aviviot\" (2012). From 2016-2019 was the director of the Israeli Academy of Film and Television.In November 2019 Dana Blankstein Cohen was appointed the new director of the Sam Spiegel Filmand Television School where she also oversees the Sam Spiegel International Film Lab. In 2022, she spearheaded the launch of the new Series Lab and the film preparatory program for Arabic speakers in eastJerusalem.FilmographyTel Aviviot (mini-series; director, 2012)Growing Pains (graduation film, Sam Spiegel; director and screenwriter, 2008)Camping (debut film, Sam Spiegel; director and screenwriter, 2006)Passage6:John DonatichJohn Donatich is the Director of Yale University Press.Early lifeHe received a BA from New York University in 1982, graduating magna cum laude. He also got a master's degree from NYU in 1984,graduating summa cum laude.CareerDonatich worked as director of National Accounts at Putnam Publishing Group from 1989 to 1992.His writing has appeared in various periodicals including Harper's, The AtlanticMonthly and The Village Voice.He worked at HarperCollins from 1992 to 1996, serving as director of national accounts and then as vice president and director of product and marketing development.From 1995 to 2003,Donatich served as publisher and vice president of Basic Books. While there, he started the Art of Mentoring series of books, which would run from 2001 to 2008.  While at Basic Books, Donatich published such authorsas Christopher Hitchens, Steven Pinker, Samantha Power, Alan Dershowitz, Sir Martin Rees and Richard Florida.In 2003, Donatich became the director of the Yale University Press.  At Yale, Donatich published suchauthors as Michael Walzer, Janet Malcolm, E. H. Gombrich, Michael Fried, Edmund Morgan and T. J.  Clark.  Donatich began the Margellos World Republic of Letters, a literature in translation series that published suchauthors as Adonis, Norman Manea and Claudio Magris. He also launched the digital archive platform, The Stalin Digital Archive and the Encounters Chinese Language multimedia platform.In 2009, he briefly gainedmedia attention when he was involved in the decision to expunge the Muhammad cartoons from the Yale University Press book The Cartoons that Shook the World, for fear of Muslim violence.He is the author of amemoir, Ambivalence, a Love Story, and a novel, The Variations.BooksAmbivalence, a Love Story: Portrait of a Marriage (memoir), St. Martin's Press, 2005.The Variations (novel), Henry Holt, March, 2012ArticlesWhyBooks Still Matter, Journal of Scholarly Publishing, Volume 40, Number 4, July 2009, pp. 329–342, E-ISSN 1710-1166 Print ISSN 1198-9742Personal lifeDonatich is married to Betsy Lerner, a literary agent and author;together they have a daughter, Raffaella.Passage 7:Dell HendersonGeorge Delbert \"Dell\" Henderson (July 5, 1877 – December 2, 1956) was a Canadian-American actor, director, and writer. He began his long andprolific film career in the early days of silent film.BiographyBorn in the southwestern Ontario city of St. Thomas, Dell Henderson started his acting career on the stage, but appeared in his first movie Monday Morning in aConey Island Police Court in 1908. Henderson was a frequent associate of film pioneer D.W. Griffith since 1909 and appeared in numerous early Griffith shorts in Hollywood. Henderson also acted on a less prolific basisin the movies of producer Mack Sennett at Keystone Studios. In addition to acting, Henderson directed nearly 200 silent films between 1911 and 1928. Most of those films are forgotten or lost, but he also directedmovies with silent stars like Harry Carey and Roscoe Arbuckle. Henderson also worked as a writer on numerous screenplays.After retiring from directing in 1927, Henderson returned to acting full time and playedimportant supporting roles in King Vidor's The Crowd (1928) and as General Marmaduke Pepper in Show People (1928). The advent of sound film damaged Henderson's acting career, and he often had to play smallerroles. In the 1930s, he appeared on several occasions as a comic foil for such comedians as The Three Stooges, W. C. Fields and Laurel and Hardy. He often played somewhat pompous figures like judges, businessmen,detectives or mayors. Modern audiences will remember Henderson as the annoyed hospital president Dr. Graves in The Three Stooges film Men in Black (1934) and the put-upon chaperone in the Our Gang filmChoo-Choo! (1932). He also appeared as a night court judge in Laurel and Hardy's Our Relations (1936) and as a friendly car salesman in Leo McCarey's drama Make Way for Tomorrow (1937). Henderson ended his filmcareer after numerous small roles in 1950.  He did make one final appearance on NBC-TV's \"This Is Your Life\" on March 10, 1954, during a tribute to Mack Sennett.Henderson died at the age of 79 of a heart attack inHollywood. He was married to actress Florence Lee until his death. The couple made several silent films together.Selected filmographyPassage 8:Olav AaraasOlav Aaraas (born 10 July 1950) is a Norwegian historian andmuseum director.He was born in Fredrikstad. From 1982 to 1993 he was the director of Sogn Folk Museum, from 1993 to 2010 he was the director of Maihaugen and from 2001 he has been the director of theNorwegian Museum of Cultural History. In 2010 he was decorated with the Royal Norwegian Order of St. Olav.Passage 9:The Shark (1920 film)The Shark is a lost 1920 American silent film produced and distributed byFox Film Corporation. It was directed by Dell Henderson and starred George Walsh.CastGeorge Walsh as Shark RawleyRobert Broderick as Rodman SelbyWilliam Nally as SanchezJames T. Mack as Hump LoganHenryPemberton as Juan NajeraMarie Pagano as CarlottaMary Hall as Doris SelbyPlotThe story revolves around Shark Rawley, a sailor on a tramp steamer who saves a woman by the name of Doris Hall from the crew of theship and its captain Sanchez. The film climaxes with the ship burning when a fire breaks out. Rawley and Hall escape and while waiting for the rescue boat they fall in love with each other.See alsoList of Fox Filmfilms1937 Fox vault firePassage 10:Michael GovanMichael Govan (born 1963) is the director of the Los Angeles County Museum of Art. Prior to his current position, Govan worked as the director of the Dia Art Foundationin New York City.Early life and educationGovan was born in 1963 in North Adams, Massachusetts, and was raised in the Washington D.C. area, attending Sidwell Friends School.He majored in art history and fine arts atWilliams College, where he met Thomas Krens, who was then director of the Williams College Museum of Art. Govan became closely involved with the museum, serving as acting curator as an undergraduate. Afterreceiving his B.A. from Williams in 1985, Govan began an MFA in fine arts from the University of California, San Diego.CareerAs a twenty-five year old graduate student, Govan was recruited by his former mentor at"}
+{"doc_id":"doc_107","qid":"","text":"Passage 1:Ahmet BozerAhmet C. Bozer (born 1960) is a Turkish business executive. He is executive vice president and president of Coca-Cola International, which consists of The Coca-Cola Company's Asia Pacific,Europe, Eurasia & Africa, and Latin America operations.Early yearsBozer was born to Ali Bozer, an academic of Commercial Law and politician, 1960 in Istanbul, Turkey. He finished TED Ankara Koleji and studiedBusiness Administration at the Middle East Technical University in Ankara. Later, he earned a MBA degree in Business Information Systems from Georgia State University.CareerAfter beginning as a consultant andinstructor, Bozer was employed by Coopers and Lybrand, where he had various roles in audit, consultancy and management in the five years there.In 1990, he joined Coca-Cola USA as Financial Control Manager at thecompany's headquarters in Atlanta, Georgia. Bozer was appointed Region Finance Manager at the Turkish Enterprise in 1992.He was Finance Director and Deputy Managing Director of The Coca-Cola Company BottlingOperations in Turkey from 1994 to 1999. After serving as the Managing Director of Coca-Cola Bottlers of Turkey (CCBT), Bozer became the President of Eurasia & Middle East Division based in Istanbul, Turkey onJanuary 1, 2006. On July 1, 2007, he was appointed President of the Eurasia and Africa Group, which comprises a total of more than 90 countries, and served until December 31, 2012. In 2013, he became ExecutiveVice President and President of Coca-Cola International.Passage 2:Carl WareCarl Ware (born 1943, Newnan, Georgia) is an American businessman. He is a retired executive vice-president of The Coca-ColaCompany.BiographyEarly lifeCarl Ware holds a bachelor's degree in political science from Clark College, a master's degree in Public Administration from the Graduate School of Public and International Affairs at theUniversity of Pittsburgh, and is a 1991 graduate of the Harvard Business School's International Senior Management Program.CareerHe was elected to the Atlanta City Council in 1973 and served as president of theCouncil from 1976 until 1979.In 1979, he was named Vice President of Special Markets for Coca-Cola USA, with responsibility for expanding African-American and Hispanic marketing and advertising programs. In 1982,Ware was promoted to Vice President of Urban Affairs. In 1986, he was elected Senior Vice President of Coca-Cola. Ware was named Deputy Group President, Northeast Europe and Africa in 1991, and was appointedpresident of the Africa Group in 1993.He was elected a director of Chevron Corporation in 2001. He is a former senior adviser to the chief executive officer of The Coca-Cola Co., a position he held from 2003 to 2006. Healso sits on the board of directors of the Council on Foreign Relations and Georgia Power.Passage 3:Frank Mason RobinsonFrank Mason Robinson (September 12, 1845 – July 8, 1923) was an important early marketerand advertiser of what became known as Coca-Cola.CareerDuring the winter of 1885, Robinson and his business partner, David Doe, came to the South in order to sell a machine they invented called a \"chromaticprinting device\" which had the capability to produce two colors in one imprint. Upon arrival in Atlanta, Robinson and David Doe approached Dr. John S. Pemberton, a chemist and pharmacist, and struck a deal. In 1886Frank Robinson officially settled in Atlanta where a new business was made called the Pemberton Chemical Company consisting of Robinson, Pemberton, David Doe and Pemberton's old partner, EdHolland.Coca-ColaPemberton was experimenting with a medicinal formula which included coca leaves and kola nuts as sources of its ingredients. Robinson, who served as bookkeeper and partner to Pemberton, gavethe syrup formula the name Coca-Cola, where Coca came from the coca leaves used and Cola for the kola nuts. The name Coca-Cola was also chosen \"because it was euphonious, and on account of my familiarity withsuch names as 'S.S.S; and 'B.B.B'\" said Robinson himself. He was also responsible for writing the Coca-Cola name in Spencerian script which was popular with bookkeepers of the era and remains one of the mostrecognized trademarks in the world. The formula was introduced in May 1886 at the Jacobs Pharmacy in Atlanta. It sold 25 US gallons (95 L) the first year. The next year sales increased to 1,049 US gallons (3,970 L).In 1888 Pemberton sold the formula to Asa G. Candler, another Atlanta pharmacist and businessman, for a total investment of $2,300 before Pemberton died. Coca-Cola was granted a charter in 1892 and became theofficial Georgia Corporation named the Coca-Cola Company with Asa G. Candler, his brother John S. Candler, Frank M. Robinson and two other associates.  Robinson served as treasurer and secretary and changed theCoca-Cola syrup formula so as not to include any faint traces of cocaine by the time of the Pure Food and Drug Act initiated by the Federal Government in 1906. The starting capitalization for the company was at$100,000.Robinson overall was responsible for the early advertising of Coca-Cola before and after Candler bought the name and syrup formula from Pemberton, the first ads appearing in The Atlanta Journal in 1887.While still working with Pemberton, Robinson had the initial ads display short phrases such as \"Coca-Cola! Delicious! Refreshing! Exhilarating! Invigorating! The new and popular soda fountain drink containing theproperties of the wonderful Coca plant and the famous Cola nut.\" Marketing for the drink showed the syrup beverage with medicinal properties curing headaches but with a unique taste. The initial ads distributed invitedcitizens to try \"the new and popular soda fountain drink.\" Hand painted oil cloth signs were put outside stores displaying the Coca-Cola brand name with catchy words such as \"Drink\" in order to inform customers andother people passing by about the new medicinal beverage that was also a soda fountain drink. First year sales showed an average of nine bottles sold per day.Robinson later retired in 1914, but remained one of thecompany's directors. In The Columbus Enquirer-Sun a newspaper founded in 1874, published an article in 1906 praising Robinson's work with Coca-Cola: \"there is one person to whom particular credit is due for the factthat the Coca-Cola formula remained, in the hands of the Georgians, and the further fact that the drink soon became so popular. He is Mr. Robinson, and the present secretary of the Coca-Cola Company...In developingthe drink, Mr. Robinson has also developed. He is said to be one of the best posted experts on advertising in America today, all due to his experience in advertising and pushing Coca-Cola.\"Personal lifeOriginally fromMaine, as a young man he was in Iowa where he married Laura Clapp. Robinson had a home in Druid Hills, an early suburb of Atlanta. He also had a 40-acre (160,000 m2) country home on the Cobb County banks ofthe Chattahoochee River. The property had been a southern fortification defending the railroad bridge. The property is currently the Frank Mason Robinson Nature Preserve. He owned six residences which were occupiedrent free by family and friends.Robinson taught a large Bible class at the First Christian Church of Atlanta. A large English stained glass window dedicated to his memory is above the pulpit of Peachtree Christian Church.He was a Republican in national politics but a Democrat in state and local politics.Robinson died in July 1923 and was buried in Atlanta's Westview Cemetery.Passage 4:Douglas IvesterDouglas Ivester (born 1947) is anAmerican businessman. He served as the chairman and chief executive officer of The Coca-Cola Company from 1997 to 2000.Early lifeMelvin Douglas Ivester was born in 1947 in New Holland, Georgia. He attended NewHolland Elementary School, where he met Kay Grindle in the third grade.  He grew up to marry her.  He attended North Hall High School and went on to the University of Georgia, where he earned a degree inaccounting, graduating with honors in 1969.CareerIvester began his career with the accounting firm of Ernst and Ernst.In 1979, Ivester joined Coca-Cola as assistant controller and director of corporate auditing, and in1981 he became the youngest vice president in the company's history. Two years later he was elected senior vice president of finance, and in 1985 he was elected CFO at the age of 37. Ivester was elected chairman ofthe board and chief executive officer of The Coca-Cola Company on October 23, 1997.  Ivester received a retirement package estimated to be worth $166 million. Ivester received the FIFA Order of Merit in 1996.Ivesterserves on the board of director of SunTrust Banks.In 1996 Ivester was honored with an Edison Achievement Award for his commitment to innovation throughout his career.PhilanthropyIvester contributes to theUniversity of Georgia, Terry College of Business as Executive-at-Large through the \"Deer Run Fellows\" program.Passage 5:Ayul KaithiAyul Kaithi (transl. Life sentence prisoner) is a 1991 Indian Tamil-language crimedrama film written and directed by K. Subash, starring Prabhu and Revathi. The film revolves around an escaped prisoner seemingly seeking to kill his ex-girlfriend. It was released on 29 June 1991.PlotChandrasekhar,a prisoner sentenced to life imprisonment, escapes from prison to seemingly kill his ex-girlfriend Nithiya. Sudharshan, a police officer, tries to catch him.CastSoundtrackThe music was composed by Shankar–Ganesh,with lyrics by Vaali.ReceptionSundarji of Kalki lauded the cinematography and Prabhu's performance.Passage 6:The Coca-Cola KidThe Coca-Cola Kid is a 1985 Australian romantic comedy film. It was directed by DušanMakavejev and stars Eric Roberts and Greta Scacchi. The film is based on the short stories The Americans, Baby, and The Electrical Experience by Frank Moorhouse, who wrote the screenplay. It was entered into the1985 Cannes Film Festival.PlotBecker, a hotshot American marketing executive (played by Roberts) from The Coca-Cola Company, visits their Australian operations in Sydney and tries to figure out why a tiny corner ofAustralia (the fictional town of Anderson Valley) has so far resisted all of Coke's products. He literally bumps into the secretary (played by Scacchi) who is assigned to help him.Becker discovers that a local producer ofsoft drinks run by an old eccentric has been successfully fending off the American brand name products. The executive vows an all out marketing war with the eccentric but eventually comes to reconsider his role as acog in Coca-Cola's giant corporate machinery. Along the way there are humorous subplots involving the office manager's violent ex-husband, Becker's attempt to find the 'Australian sound', and an odd waiter who isunder the mistaken belief that Becker is a secret agent.CastProductionDavid Stratton gave a copy of Frank Moorhouse's book The Americans, Baby to Dusan Makavejev when he attended the Sydney Film Festival in1975 with Sweet Movie. Production of the movie was difficult in part because of Makavejev's work methods, which were different from the way films were normally made in Australia. Denny Lawrence came on board thefilm as a consultant.The Coca-Cola Kid was shot on location in Sydney–various city landmarks can be seen briefly throughout the film.ReceptionRotten Tomatoes gives The Coca-Cola Kid a rating of 47% from 17reviews. Roger Ebert gave the film 3 out of 4 stars and said that the movie was \"filled with moments of inspiration,\" but believed that \"the last half of the film [...] does not quite deliver on the promises of the firsthalf.\"Box officeThe Coca-Cola Kid grossed $36,365 at the box office in Australia.Home mediaMGM Home Entertainment released the Region 1 DVD in the United States on 16 April 2002. Umbrella Entertainment releaseda region free version in May 2009. The DVD includes special features such as the theatrical trailer, and an interview with Greta Scacchi and David Roe titled The Real Thing. Fun City Edition released the film on Blu-ray inthe United States on 16 June 2022. In addition to the features included in the 2009 DVD, the Blu-ray contains an interview with Eric Roberts and a new audio commentary.AccoladesSee alsoCinema of AustraliaPassage7:Rebecca SmartRebecca Elizabeth Smart (born 30 January 1976) is an Australian actress, who began acting for television at the age of eight. Her first movie role was one year later in The Coca-Cola Kid. She playedthe lead in the 1988 film Celia and went on to do many more supporting roles in movies and television shows, including miniseries and soap operas. Smart has worked with Australian directors of film, television andtheatre. Companies include Sydney Theatre Company and Belvoir St Theatre.Early life and educationSmart was born in Tamworth, New South Wales, and was educated at St Catherine's School, Waverley, anindependent, Anglican, day and boarding school for girls, located in the eastern suburbs of Sydney.Awards and nominationsSmart won the Most Popular Actress in a Miniseries/Telemovie Silver Logie at the Logie Awardsfor her performance in the 1987 Australian Miniseries The Shiralee.  She was also nominated for Best Supporting Actress at the Australian Film Institute Awards and the Film Critics Circle of Australia Awards for herperformance in Blackrock.FilmographyFilmographyFILMTelevisionTELEVISIONPassage 8:The KidThe Kid or The Kids may refer to:Fictional charactersThe kid (Blood Meridian), a character in Cormac McCarthy's 1985novel Blood MeridianThe Kid (The Matrix), a character in the Matrix film seriesThe Kid (The Stand), a character in Stephen King's 1978 novel The StandMarshall Eriksen or The Kid, a character in How I Met YourMotherThe Kid, a character in the 1984 film Purple Rain, played by PrinceThe Kid, the narrator of Samuel R. Delany's 1975 novel DhalgrenThe Kid, a character in BastionThe Kid, a character in Driver: Parallel LinesTheKid, a character in Freedom FightersThe Kid, a character in I Wanna Be the GuyThe Kid, a character in Jak IIFilmsThe Kid (1910 film), a film by Frank PowellThe Kid (1921 film), a Charlie Chaplin filmThe Kid (1950 film),a Hong Kong film that stars a young Bruce LeeThe Kid (1997 film), a film  featuring Rod SteigerThe Kid (1999 film), a Hong Kong filmDisney's The Kid, a 2000 film starring Bruce WillisThe Kid (2001 film), an animatedTV film based on a story by Gahan WilsonThe Kid (2010 film), an adaptation by Nick Moran of Kevin Lewis's bookThe Kids (film), a 2015 Taiwanese filmThe Kid (2019 film), a film by Vincent D'OnofrioMusicThe Kid(musical), a 2010 musical based on the book by Dan SavageThe Kids (Belgian band), a punk rock bandThe Kids (Norwegian band), a rock bandThe Kids (garage rock band), a 1960s band whose song \"Nature's Children\"is included on the compilation album Pebbles, Volume 10The Kids, a South Florida rock band that included Johnny Depp\"The Kids\", a song by B.o.B from B.o.B Presents: The Adventures of Bobby Ray\"The Kid\", a songby Eric Burdon from Survivor\"The Kids\", a song by Eminem from The Marshall Mathers LP\"The Kids\", a song by Hollywood Undead\"The Kids\", a song by Lou Reed from BerlinNickname or ring nameFrank Bourne(1854–1945), British soldier, last known survivor of the Battle of Rorke's DriftBilly the Kid (1859–1881), American Old West outlawTed Williams (1918–2002), Major League Baseball playerStu Ungar (1953–1998),professional poker and gin rummy playerGary Carter (1954-2012), Major League Baseball playerRobin Yount (born 1955), Major League Baseball playerMark Ryan (guitarist) (1959-2011), English punk rock guitaristand playwrightCarlos Valderrama (footballer) (born 1961), Colombian footballerGary Jacobs (boxer) (born 1965), professional Scottish boxerKen Griffey Jr. (born 1969), American retired Major League BaseballplayerSean Waltman (born 1972), professional wrestlerJohn Higgins (born 1975), professional snooker playerKevin Garnett (born 1976), National Basketball Association playerJulian Gardner (poker player) (born 1978),professional poker playerYossi Benayoun (born 1980), Israeli footballerKerby Raymundo (born 1981), Filipino professional basketball playerFernando Torres (born 1984), Spanish footballerSidney Crosby (born 1987),National Hockey League playerJoseph Marquez (born 1991), professional Super Smash Bros. Melee playerOther usesThe Kid (artist), contemporary artistThe Kid (book), a book by Dan SavageThe Kids (book), a 2021poetry book by Hannah Lowe, Costa Book of the YearHaedi or the Kids, a pair of stars in the constellation AurigaSee alsoKid (disambiguation)Kidd (disambiguation)Kydd (disambiguation)All pages with titles beginningwith The KidPassage 9:Dušan MakavejevDušan Makavejev (Serbian Cyrillic: Душан Макавејев, pronounced [d\u0000\u0000an maka\u0000ěje\u0000]; 13 October 1932 – 25 January 2019) was a Serbian film director and screenwriter,famous for his groundbreaking films of Yugoslav cinema in the late 1960s and early 1970s—many of which belong to the Black Wave. Makavejev's most internationally successful film was the 1971 political satire W.R.:Mysteries of the Organism, which he both directed and wrote.CareerMakavejev's first three feature films, Man Is Not a Bird (1965, starring actress and icon of the \"Black Wave\" period in film, Milena Dravić), Love Affair,or the Case of the Missing Switchboard Operator (1967, starring actress and icon of the \"Black Wave\" period in film, Eva Ras) and Innocence Unprotected (1968), all won him international acclaim. The last-mentionedwon  the Silver Bear Extraordinary Prize of the Jury at the 18th Berlin International Film Festival. In 1970 he was a member of the jury at the 20th Berlin International Film Festival. In 1991 he was a member of the juryat the 17th Moscow International Film Festival.His 1971 movie W.R.: Mysteries of the Organism (starring Milena Dravić, Jagoda Kaloper, and Ivica Vidović) was banned in Yugoslavia due to its sexual and politicalcontent. He described authoritarian figures in the film as people who are not in control of themselves striving to control others. The political scandal surrounding Makavejev's film was symptomatic of an increasinglyoppressive political climate in Yugoslavia that effectively ended the director's domestic career and resulted in his leaving Yugoslavia to live and work abroad in Europe and North America. Makavejev's next film, SweetMovie (1974), was the first feature work that the director produced entirely outside of Yugoslavia (the film was made in Canada). The film's explicit depiction of sex together with its bold treatment of the more taboodimensions of sexuality reduced the size of its audience (i.e. it was largely confined to the art house context) and also resulted in the film's being censored in several countries. Makavejev said: \"After Sweet Movie it wasas if I had burned all my bridges. I just lost the chance to talk to producers.\"After a seven-year hiatus in feature film production, Makavejev released the comparatively more conventional black comedy entitledMontenegro (1981). The director's next feature film, The Coca-Cola Kid (1985), which was based on short stories by Frank Moorhouse and featured performances by Eric Roberts and Greta Scacchi, is arguably his mostaccessible picture.Makavejev appears as one of the narrators in the 2007 Serbian documentary film Zabranjeni bez zabrane (Banned without being banned), which gives profound insight into the history and the natureof Yugoslav film censorship through its investigation of the country's distinctive political-cultural mechanisms for unofficially banning politically controversial films. The film contains original interviews with keyfilmmakers from the communist era.He published two books of selected articles: Poljubac za drugaricu parolu (1960) and 24 sličice u sekundi (1965).ViewsIn 1993 Makavejev wrote and appeared in a half hour televisedOpinions lecture in Britain, produced by Open Media for Channel 4 and subsequently published in The Times. Makavejev speaks of himself as a citizen of the world but \"of the leftovers of Yugoslavia too\". He citesJacques Tourneur's Hollywood horror classic Cat People as one of the rare films in the history of the cinema that mention Serbs, \"a people from an obscure region who were haunted by evil; when hurt they turn intoferocious cats, like panthers, and killed those whom they thought to be the source of hurt of rejection\". He comments on the division of Bosnia on ethnic lines:\"Creators of nationalist myths, both Serbs and Croats, camefrom the same mountainous region that was probably the source of this Hollywood story. Before the armed conflict, these people were whipping up nationalist fever and indoctrination until conflict became inevitable andboth nations were trapped in a bloody embrace...How long will it take for an ethnically \"clean\" state for every single person who miraculously stays alive? A state for each family, a state for the father in case he is a"}
+{"doc_id":"doc_108","qid":"","text":"Passage 1:Michael NozikMichael Nozik is an American film producer. He won a BAFTA award for The Motorcycle Diaries in the category of 'Best Film Not in the English Language' in 2004. His credits also include Love inthe Time of Cholera, Syriana, Quiz Show, and The Legend of Bagger Vance.FilmographyHe was a producer in all films unless otherwise noted.FilmProduction managerLocation managementSecond unit director orassistant directorThanksTelevisionProduction managerPassage 2:The Legend of Ero of ArmenteiraThe legend of Saint Ero of Armenteira. The romanic monastery of Armenteira has always been related to the legend of itsfounder, the abbot Ero.The miracle of Saint MaryOnce upon a time in the 12th century, a knight named Don Ero lived with his wife in his palace in Armenteira, a beautiful natural setting located in the slopes of MountCastrove, in the Province of Pontevedra (Galicia, Spain).Don Ero and his wife were not able to have children, so they kept asking God to send them some descendants. God answered their prayers with the revelationthat they would only have spiritual descent. For this reason they decided to found their own monasteries. Don Ero founded Santa María de Armenteira, right there in his lands.He requested help from Saint Bernard ofClairvaux, the founder of the Cistercian order, who sent him four monks to start the monastery. Years later, he became the abbot of the monastery himself.Ero the Abbot was always begging the Virgin Mary to show himjust a little vision of what the divine grace would be like. He longed for the day when he would be able to understand the concept of paradise bliss, however he lived under the impression that his beloved Virgin did notlisten to his prayers.One day, he decided to go for a walk around the woods that surrounded the monastery,  a beautiful setting full of pine trees, oaks and other native species. He took a rest and sat on a stone.Suddenly, the joyous chirp of a bird caught his attention. He sat there for a while, listening,  entranced by the peace and beauty that the bird's singing brought to his soul.Not long after that, he headed back to hismonastery, since it was already getting dark and he did not want his brethren to worry about him. When he knocked at the door of the monastery, he was received by a monk completely unknown to him. Distrustful,the monk asked him who he was. When he answered him that he was the abbot Ero, the monk, bewildered, started to call his brothers, not sure if the man was in his right mind. Ero told them who he was and what hehad been doing. When the brethren explained what year they were in, Ero realized to his astonishment that three hundred years had passed by! And suddenly, he became aware that what he thought to have been onlythree minutes listening to a bird sing, had really been three hundred  years contemplating the glory of paradise. Virgin Mary had finally granted him his wish.Popularity of the legendThis legend, related to others ofsimilar content related to the Celtic tradition, became really popular in the 13th century when the King Alfonso X the Wise included it in his famous Cantigas de Santa Maria, a recompilation of miracles attributed toVirgin Mary. He dedicated his cantiga (poem or song)  number 103 to the legend of Saint Ero.The great Galician writer Ramón María del Valle Inclán also contributed to spreading the legend by including it in his work“Aromas de Leyenda” (1907), a collection of 14 poems inspired in several Galician traits like scenery, traditions and superstitions.Passage 3:The Odd Couple IIThe Odd Couple II is a 1998 American buddy comedy filmand the sequel to the 1968 film The Odd Couple. It was the final film written and produced by Neil Simon, and starring Jack Lemmon and Walter Matthau. Released nearly three decades later, it is unique among sequelsfor having one of the longest gaps between the release of both films in which all leads return. The Odd Couple II premiered on April 10, 1998, and was a critical and commercial failure, grossing less than half than itspredecessor at the box office.PlotIt has been seventeen years since Oscar Madison and Felix Ungar have seen one another. Oscar is still hosting a regular poker game and is still an untidy slob, now living in Sarasota,Florida, but still a sportswriter. One day, he is called by his son Brucey with an invitation to California for his wedding the following Sunday. A second shock for Oscar—the woman his son is marrying is Felix's daughter,Hannah.On the flight from New York to Los Angeles, it becomes clear that Felix has not changed his ways—he is still a fussy, allergy-suffering neat freak nuisance. Oscar and Felix are reunited at the airport and veryhappy to be together again after 17 years of separation—at least for a couple of minutes. They share a rental car to San Malina for the wedding. however the trip begins with Oscar forgetting Felix's suitcase at theBudget car rental, including wedding gifts and wardrobe inside. On the trip, Felix falls asleep and Oscar takes a wrong turn onto the freeway, then loses the directions to San Malina when his cigar ashes burn them.Heand Felix become hopelessly lost, and cannot remember the name of the town where they are headed, so many California cities sounding alike. They end up in a rural area and argue about Felix's lost suitcase, when therental car rolls off a cliff and catches fire. If that were not enough, they get arrested several times by the same local police in Santa Menendez, first for catching a ride in a truck carrying illegal Mexicanimmigrants.  They are released after the truck driver confesses, and learn the name of the town where the wedding will take place.  At a bar in town, they meet two extroverted women, Thelma and Holly, and buy themdrinks. Accepting an offer of a ride from a stranger even older than themselves, Felix and Oscar end up inside a $150,000 vintage Rolls-Royce Silver Wraith and trapped on the wrong side of the road when the strangerdies unexpectedly. Felix and Oscar are arrested a second time by the same Santa Menendez police, but again are released when it is discovered that the elderly man died of natural causes.  Frustrated that this is secondtime they have been arrested in Santa Menendez, the police chief advises Oscar and Felix to take a bus to San Malina.On the bus, they meet Thelma and Holly, who are running away from their redneckhusbands.  However, the bus gets stopped by the husbands, who take their wives, along with Oscar and Felix, at gunpoint, and in their car tell them that they are going to \"cook a couple of fine geezers\" in the woods forflirting with their wives.Somehow the bus driver is able to inform the police of the husbands' use of a gun on a public vehicle, and their car is stopped at a police roadblock before anything happens to Oscar and Felix.Everyone is again taken into custody by the Santa Menendez police.After meeting with the police chief for the third time, the boys are freed and driven directly to the local airport by the police, who are only too pleasedto be rid of them, especially the chief, who tells his deputies not to arrest them again even if they were to commit notorious crimes. A woman boarding the airplane is also en route to the wedding and recognizes them.She is Felice Adams, the sister of Oscar's ex-wife, Blanche. Felix's eyes light up when he learns that her husband died of a heart attack, and they are mutually attracted. He calls her \"Lise,\" which causes Oscar to askFelix if she calls him \"Lix.\" They arrive at the wedding house, only to find that Brucey is having second thoughts about the wedding due to his parents' bad history with marriage. Felix and Oscar argue with theirex-wives, after which Oscar persuades his son to go through with it. Felix's suitcase is returned and the wedding goes off without a hitch.The next day, Felix and Felice leave together on one flight to her home in SanFrancisco, and part ways with Oscar, who returns to Florida. Oscar is telling his poker friends about the wedding when the doorbell rings. It is Felix, who says things with Felice didn't work out. Felix wonders if he couldmove in with Oscar until he finds his own place. Oscar refuses, but eventually relents, insisting their days of being roommates will be over if Oscar catches Felix matching any of his socks, to which Felix very happilyagrees. Before long Felix cleans up the apartment and Oscar is overcome with a sense of having been through all this before.CastProductionHoward W. Koch, the producer of the original 1968 film by writer Neil Simon,had frequently discussed his desire for a sequel. Koch was unsuccessful in convincing Paramount Pictures to approve a sequel, despite the original film's success and the return of Simon as the writer. Simon had 37pages written for The Odd Couple 2, which he said were left \"sitting in the drawer\" for 10 years. John Goldwyn and Paramount studio chairman Sherry Lansing began serious consideration of a sequel in July 1996,before announcing it on March 30, 1997, without the involvement of Koch; instead, Paramount chose Robert W. Cort and Dave Madden as producers for the project. Silverman, Baranski, and Hughes were cast in May1997.Filming began on June 9, 1997, in Los Angeles, California. Filming continued throughout the summer in various southern and central California cities, including Arcadia, Guadalupe, Lancaster, Palmdale, Pomona,San Luis Obispo, Santa Maria, and Shafter. In August 1997, filming was underway at the same Paramount Studios stage where the original film had been shot. Filming also took place at Hidden Valley, located in VenturaCounty, California. The film was shot with the title The Odd Couple II — Travelin' Light. The film marked the tenth and final collaboration between Lemmon and Matthau. Jean Smart described the characters of Thelmaand Holly as \"a bad '90s version of the Pigeon sisters,\" characters who appeared in the original film.ReceptionThe Odd Couple II  was a critical and commercial failure. Despite the fact Lemmon and Matthau had successwith similar roles in their Grumpy Old Men films in the mid-1990s, this project was not as successful as expected. The film grossed $18 million at the North American domestic box office, and although Lemmon andMatthau's previous film Out to Sea also disappointed, it was better received by critics and had a slightly higher box office gross.It holds a total of 27% on Rotten Tomatoes. Stephen Holden of The New York Times calledit \"a dispiriting, flavorless travesty, the equivalent of moldy tofu mystery meat\".Audiences surveyed by CinemaScore gave the film a grade of \"B+\" on scale of A+ to F.At the 1998 Stinkers Bad Movie Awards, the filmwas nominated for Worst Sequel and Most Painfully Unfunny Comedy.Passage 4:Je suis né d'une cigogneJe suis né d'une cigogne (English: Children of the Stork) is a 1999 French road movie directed by Tony Gatlif,starring Romain Duris, Rona Hartner, Ouassini Embarek, Christine Pignet and Marc Nouyrigat. Following its French release, it received mixed reviews but was nominated for a Golden Bayard at the International Festivalof Francophone Film in Namur, Belgium.The film deals with themes like social exclusion and illegal immigration, along with references to the Romani, as in the other films by the director. Gatlif has also employed theFrench director Jean-Luc Godard's New Wave techniques in this film.PlotTwo French pals, one an unemployed young man named Otto (Romain Duris) living with his mother in state housing, and the other his girlfriendLouna (Rona Hartner), who is a hairdresser and has the bailiffs after her, reflect on the lack of meaning in their lives, their society and the system. In a spirit of rebellion against everything, they hit the road and whatfollows is an anarchic adventure. A teenage Arab immigrant named Ali (Ouassini Embarek) enters the story. Ali's family tries to hide its ethnic origins by going to extreme measures in switching to French customs.Thetrio start wreaking havoc, robbing shops and stealing cars. On their way, they come across an injured stork with a broken wing. The stork speaks to them and says that it is an Algerian refugee, on its way to Germany toreunite with its family. The trio adopt the stork as their father, name it Mohammed, and forge a passport to enable the stork to cross the French–German border.Casting and characterisationThe film's four maincharacters represent the \"most vulnerable sections\" of society, in tune with Gatlif's earlier films portraying \"social outcasts and racial minorities\".  Otto represents the section of unemployed youth who are neither richnor qualified, with no hopes for a job in the future. Louna represents the underpaid who are exploited by their employers. The above characters are played by the same duo, Romain Duris and Rona Hartner, who playedthe leading roles in Gatlif's previous film, Gadjo dilo.  The third character, the Arab immigrant, Ali (played by Ouassini Embarek), is going through an identity crisis and has run away from his family, who are trying todistance themselves from their ethnic origins by, for example, adopting French names. Ali is shown to be interested in current affairs and is also shown reading Karl Marx. The other character, the stork, representsillegal immigrants.The film encountered production problems due to a quarrel between Rona Hartner and Gatlif which led to her walking out midway. This resulted in her abrupt disappearance from the plot in the middleuntil they patched up much later.Themes and analysisThe film adopts the \"New Wave\" technique of early films by Godard, to explore themes of border crossings and social alienation.Gatlif's take on the New WaveThereviewer in Film de France remarked that with its themes like absurdity and nonconformity, making use of characters like a speaking stork,  and also its filming techniques like jump cuts and multiple exposures, the filmfeels like \"a blatant homage to the works of Jean-Luc Godard\", and the plot \"looks like a crazy mélange of Godard's À bout de souffle, Pierrot le Fou and Weekend\". In the reviewer's opinion, Gatlif has overdone thesetechniques, leading to the film's ending up \"far more substantial and worthy than a shameless appropriation of another director's technique\". ACiD remarked that with his boldness and unconventional style, Gatlif hasstarted a new New Wave trend, which would serve as a notice for both amateur filmmakers and professional film-makers. Chronic'art remarked that the film can be placed between the worse and the better among theworks inspired by Godard. Though the filming techniques are similar to Godard's, the film falls short in its dealing with the unconventional themes, avoiding providing solutions, and rather ending up being a mere\"passive acquiescence\" reflecting on the works of revolutionaries of the era, which is far from rising up to revolt as one would expect in a Godard movie. Time Out London was also critical of Gatlif's attempts at Godard,calling it \"offbeam\".Satirical elementsThe film is packed with a number of references to \"social issues and political theory\", especially on the border crossings. Yet a reviewer for Films de France found it to be not so\"heavy\", thanks to the unintentional flaws in the techniques used. He observed that the film treats them using \"black comedy and surrealism\". The stork character is a \"metaphorical stand-in\" for the illegal immigrant,he added. \"While birds can cross international borders at ease, human beings generally cannot\": Tony Gatlif deals with this lesser freedom that human beings possess with his \"well intended irony\", using the stork. Onforging the passports for the stork and the need for 'papers' while crossing borders, Gatlif said mockingly in an interview that \"in France there are 1.5 million birds and 1.5 million foreigners. The difference is that thebird is free, because he has no ID. He flies to Africa, to the wealthy countries and to developing countries. It makes no difference to him. He is an alien everywhere\". ACiD called this \"poetic\" while Time Out Londonfound it \"woolly and unilluminating\". The word cigogne is pronounced very similarly to tsigane which is one of the words used for Romani people. There are also a number of \"in-jokes and references to French cinema\"which a viewer might miss in the first viewing, observed Films de France, citing scenes such as one which is a parody on an awards ceremony and one of an austere reviewer \"rubber stamping films with trite stockphrases\". Chronic'art found these scenes heavy because of the limitations of a work in which the director \"at his pleasure distills his personal tastes\".Political alienationThe film's references to revolutionaries like KarlMarx, Che Guevara and Guy Debord coupled with Godard's techniques give it a 1970s feel, observed a reviewer for Télérama. Though it re-lives the avant-garde of the past, it is a bit retro for the current times, whichbores its viewers, he added. Les Inrockuptibles also found the theme \"dated\", adding that it could very well have been a documentary by some non-profit organisation like GISTI. Chronic'art remarked that mere quotingof Marx or Che Guevera would not make the film, with its rather common theme of socially disillusioned, unemployed youth in revolt, achieve anything. It also called the depictions of idiotic CRS personnel and militantNF activists clichéd.ReleaseThe film was screened at the 1999 Festival International du Film Francophone de Namur, in Belgium, competing against films from Québec, France, Vietnam, Belgium, Sénégal and Egypt forthe Golden Bayard award in the Best Film category, which was won by Christine Carrière's Nur der Mond schaut zu. The film received rave reviews for its rare courage in presenting disconcerting themes such asunemployment and illegal immigration. In 2000, it was screened at the International Film Festival Rotterdam in the official section and received praise for its unconventional elements, such as the talking stork.TheFestival Internacional de Cine de Río de Janeiro screened the film in the non-competitive Panorama du cinéma mondial section, along with 27 other films from around the world.In 2008, the film was screened atL'Alternativa, Festival de Cine Independiente de Barcelona in the parallels section, La pasión gitana, along with a selection of other films directed by Tony Gatlif with Romani themes.ReceptionCritical receptionTime OutLondon called it \"far more fanciful and pretentitious\" than Gatlif's earlier films and also regarded Gatlif's treatment of Godard as a failure. ACiD gave it a positive review, lauding Gatlif's bold depiction of absurdity.Romain Duris and Rona Hartner's performance was described as \"beautiful\" and as complemented by Ouassini Embarek's, which was described as \"brilliant\". In summary, the reviewer suggested the film be called \"TheGood, the Bad and the Ugly\", citing the mixed topics dealt with, and added that it takes the viewers \"beyond the real, beyond the borders and everything one can imagine\".A review by James Travers forFilms de Francecalled it the \"most unconventional\" of all road movies, with its \"insanely anarchic portrait of adolescent rebellion\", adding that it is an \"ingenious parable of social exclusion and immigration in an uncaring society\".Travers also wrote that the film's editing and narrative techniques turn into a plus, making it \"refreshingly fresh and original\", adding that the \"patchwork narrative style\" suits the rebellious nature of the characters verywell. Owing to the unconventionality of the film, Louna's disappearance from the plot in the middle does not look very obvious, he added. Les Inrockuptibles called it a \"tragicomic fable on the notions of borders and freemovement of people\" and added that the film's use of comedy and disjunctive narrative style is only partially successful. Though not conventionally beautiful, the  film impresses the viewers with its \"energy, boldnessand humor in places when it doesn't leave them stranded\", the reviewer concluded.Passage 5:Mónika Juhász MiczuraMónika Juhász Miczura is a Hungarian Roma singer, also known as Mitsou and Mitsoura. She is aformer member of the folk ensemble Ando Drom, and a founding member of the electronic/world music group Mitsoura. She has contributed to film soundtracks; in Tony Gatlif's film Gadjo dilo (1997) she provided thevoice of an unseen singer pivotal to the story. She has also sung in the films Kísértések (2002), Swing (2002), Vengo (2000) (uncredited), and Je suis né d'une cigogne (1999). She formed the ensemble Mitsoura thatreleased two albums so far:  Mitsoura (2003) and Dura Dura Dura (2008). She has been a guest artist on the albums of other groups, including Fanfare Ciocărlia's Queens and Kings (2007), Bratsch's Rien Dans LesPoches (2000), Besh O Drom's Once I Catch the Devil (2006), GYI! (2005) and Can't Make Me! - Nekemtenemmutogatol (2003). She is a member of the \"Global Vocal Meeting\" project.Early lifeMónika Miczura was bornin Berettyóújfalu, Hungary on 3 November 1972. She has four sisters. Very early, at the age of 5 she lost her father. She spent her childhood in Békéscsaba. The traditional romani-culture had been part of her daily life,"}
+{"doc_id":"doc_109","qid":"","text":"Passage 1:Keku\u0000iapoiwa IIKeku\u0000iapoiwa II was a Hawaiian chiefess and the mother of the king Kamehameha I.BiographyShe was named after her aunt Keku\u0000iapoiwa Nui (also known as Keku\u0000iapoiwa I), the wife of King Kekaulike of Maui.Her father was High Chief Ha\u0000ae, the son of Chiefess Kalanikauleleiaiwi and High Chief Kauaua-a-Mahi of the Mahi family of the Kohala district of Hawai\u0000i island, and brother of Alapainui. Her mother was Princess Kekelakekeokalani-a-Keawe (also known as Kekelaokalani), daughter of the same Kalanikauleleiaiwi and Keawe\u0000īkekahiali\u0000iokamoku, king of Hawaii. Her mother had been sought after by many who wished to marry into the Keawe line. She was the niece of Alapainui through both her father and mother.She married the High Chief Keōua to whom she had been betrothed since childhood. Through her double grandmother Kalanikauleleiaiwi, Keōua's own paternal grandmother, she was the double cousin of Keōua. When her uncle was staying at Kohala superintending the collection of his fleet and warriors from the different districts of the island preparatory to the invasion of Maui, in the month of Ikuwa (probably winter) Kamehameha was born probably in November 1758.: 135–136   He had his birth ceremony at the Mo\u0000okini Heiau, an ancient temple which is preserved in Kohala Historical Sites State Monument.Many stories are told about the birth of Kamehameha.One says that when Keku\u0000iapoiwa was pregnant with Kamehameha, she had a craving for the eyeball of a chief. She was given the eyeball of a man-eating shark and the priests prophesied that this meant the child would be a rebel and a killer of chiefs. Alapainui, the old ruler of the island of Hawai\u0000i, secretly made plans to have the newborn infant killed.Keku\u0000iapoiwa's time came on a stormy night in the Kohala district, when a strange star with a tail of white fire appeared in the western sky. This could have been Halley's Comet which appeared near the end of 1758. According to one legend, the baby was passed through a hole in the side of Kekuiapoiwa's thatched hut to a local Kohala chief named Nae\u0000ole, who carried the child to safety at Awini  on the island's north coast. By the time the infant in Nae\u0000ole's care was five, Alapainui had accepted him back into his household.After Kamehameha, Keku\u0000iapoiwa bore a second son, Keliimaikai. A few years later, Keōua died in Hilo, and the family moved with Alapainui to an area near Kawaihae, where she married a chief of the Kona district (and her uncle) Kamanawa.She had one daughter, Pi\u0000ipi\u0000i Kalanikaulihiwakama, from this second husband, who would later become an important military ally of Kamehameha, who was both step son and cousin through several relationships. Pi\u0000ipi\u0000i became first the wife of Keholoikalani, the father of her son Kanihonui, and later she married Kaikioewa, who she had a daughter Kuwahine with.: 18Kamehameha dynastyPassage 2:Billy MilanoBilly Milano (born June 3, 1964) is an American heavy metal and hardcore punk musician. He is the singer and occasionally guitarist and bassist of crossover thrash band M.O.D., and was the singer of its predecessor, Stormtroopers of Death. Prior to these bands, Milano played in early New York hardcore band the Psychos, which also launched the career of future Agnostic Front vocalist Roger Miret. Milano was also the singer of United Forces, which included his Stormtroopers of Death bandmate Dan Lilker. Milano managed a number of bands, including Agnostic Front, for whom he also co-produced the 1997 Epitaph Records release Something's Gotta Give and roadie for Anthrax.DiscographyStormtroopers of Death albumsStormtroopers of Death videosMethod of Destruction (M.O.D.)MasteryPassage 3:Bernie BonvoisinBernard Bonvoisin (French pronunciation: [b\u0000\u0000na\u0000 b\u0000̃vwaz\u0000̃]), known as Bernie Bonvoisin (French pronunciation: [b\u0000\u0000ni b\u0000̃vwaz\u0000̃], born 9 July 1956 in Nanterre, Hauts-de-Seine), is a French hard rock singer and film director. He is best known for having been the singer of Trust.He was one of the best friends of Bon Scott the singer of AC/DC and together they recorded the song \"Ride On\" which was one of the last songs by Bon Scott.External linksBernie Bonvoisin at IMDbPassage 4:Robin ThickeRobin Alan Thicke (born March 10, 1977)  is an American singer, songwriter and record producer. He is best known for his 2013 hit single \"Blurred Lines\" (featuring T.I. and Pharrell Williams), which is one of the best-selling singles of all time. At the 56th Annual Grammy Awards, he received nominations for Record of the Year and Best Pop Duo/Group Performance.Thicke is a son of actress Gloria Loring and actor Alan Thicke. He has collaborated with numerous artists, such as Nicki Minaj, Nas, 3T, T.I., Christina Aguilera, Jessie J, K. Michelle, Pharrell, DJ Cassidy, Usher, Jennifer Hudson, Flo Rida, Brandy, Kid Cudi, Mary J. Blige, Emily Ratajkowski and composed songs for Marc Anthony. He worked on albums such as Usher's Confessions and Lil Wayne's Tha Carter III, while releasing his own R&B singles in the United States including \"Lost Without U\", \"Magic\", and \" Sex Therapy\". He is currently a judge on the Fox musical competition show The Masked Singer.Life and career1977–1998: early years and familyThicke was born in Los Angeles, California, on March 10, 1977. His parents are American actress-singer Gloria Loring, who appeared on the NBC daytime drama Days of Our Lives, and Canadian actor Alan Thicke (1947–2016), known for his role on the TV sitcom Growing Pains. They divorced when Thicke was 7 years old. He has an older brother, Brennan, who worked as a voice actor and voiced the titular character on the Dennis the Menace cartoon, and a younger half-brother, Carter. Robin Thicke also appeared in small roles on The Wonder Years, The New Lassie, Just the Ten of Us and several episodes of Growing Pains.Thicke's parents were supportive of his musical inclinations; his father helped him to write and structure his first songs. According to Robin Thicke, his father would not pay for him (then in his early teens) and his vocal group, As One, to record a professionally produced demo tape, wanting Robin to focus on his studies and graduate from school before committing to the pursuit of a career in music. The demo ultimately was paid for by jazz vocalist Al Jarreau, an uncle of one of the group members. His demo made its way to R&B singer Brian McKnight, who was impressed enough by Thicke to invite him into the studio to work with him. Thicke was signed to McKnight's production company; \"Anyway\", a song co-written with Thicke, was featured on McKnight's second album I Remember You. Thicke's peers jokingly nicknamed him \"Brian McWhite\". It was Thicke's association with McKnight, who Thicke counts as one of his first mentors, that led him to his acquaintance with Jimmy Iovine and helped him to land his first recording contract with Interscope Records at the age of 16. Thicke later joined a hip hop duo with future Beverly Hills 90210 actor Brian Austin Green.Thicke moved out on his own at the age of 17, during his senior year of high school, earning a living and supporting himself as a professional record producer and songwriter. Thicke has noted that while his parents did not attempt to dissuade him from his desire to be in the music industry, their own experience with the nature of the entertainment business made them leery in the beginning. As Thicke's list of credits grew so did his parents' confidence in his decision.While initially signed as a singer and artist in his own right, Thicke first made a name for himself within the industry as a songwriter and producer for other artists before releasing and performing his own music. Among his work for other artists, Thicke co-wrote \"Love Is on My Side\" on Brandy's eponymous debut album; he also wrote for 3T's Brotherhood, and collaborated with Jordan Knight, Jimmy Jam and Terry Lewis on several songs in Knight's 1999 album Jordan Knight including the Billboard top 10 hit \"Give It to You\". According to Thicke, Knight also invested in the ability of the young songwriter early on by purchasing studio equipment for him.He also co-wrote the song \"When You Put Your Hands on Me\" for Christina Aguilera's debut album and co-wrote and produced three songs for Mýa's sophomore release, Fear of Flying. In 1999, Thicke co-wrote the song \"Fall Again\" with Walter Afanasieff, which was intended to be a track on Michael Jackson's 2001 album Invincible, but it failed to be presented as a completed song. The demo Michael recorded in 1999 was released on November 16, 2004, as an album track of his limited edition box set The Ultimate Collection. As an artist, he recorded and performed solely under his surname, Thicke. He would continue to do so until 2005.1999–2003: A Beautiful World and early successAt the age of 22, after an involvement with Tommy Mottola and Epic Records following the end of his first deal with Interscope, Thicke resolved himself to work chiefly on material for his debut album, initially titled Cherry Blue Skies, planning to use his own money to fund the project. As Thicke told Billboard, \"I decided I was going to save money to make my album, and I hoped to offer it to labels–take it or leave it–so I didn't have to negotiate how to make my music.\" While piecing his album together, Thicke began working with veteran producer and label executive Andre Harrell and, under his guidance, eventually signed with Interscope for a second time as part of Harrell's and Kenneth \"Babyface\" Edmonds' Nu America imprint label in 2001.In 2002, Thicke released his debut single \"When I Get You Alone\". The track samples Walter Murphy's \"A Fifth of Beethoven\", which itself is a disco rendition of Beethoven's Fifth Symphony. The music video for the song received some rotation on MTV2 and BET's Rated Next and was spun moderately on pop and urban radio, peaking at number 49 on Radio & Records Pop chart. Globally, however, \"When I Get You Alone\" became a chart success when it peaked in the Top 20 in Australia, Belgium, and Italy, and reached the Top 10 of the singles charts in New Zealand and the Top 3 in the Netherlands.The moderate success was enough to signal the release of the album in 2003 with its name changed to A Beautiful World. Despite the release of a second single, \"Brand New Jones\", the album received very little promotion and debuted at number 152 on the Billboard 200 albums chart, selling 119,000 copies as of January 2012. A Beautiful World fell below the label's commercial expectations. The album's under-performance troubled Thicke personally, but it proved enough to make him a wanted collaborator. Thicke has cited Mary J. Blige, Usher, and Lil' Wayne, among others, as those who subsequently reached out to him.Reflecting on A Beautiful World in 2013, Usher stated to The New York Times, \"I was blown away — I thought Beatles, Earth Wind & Fire, Shuggie Otis, Marvin Gaye — all in one album. [Robin's] got a soul you can't buy, man.\"Runner-up Blake Lewis performed \"When I Get You Alone\" during the 2007 season of American Idol when the Top 3 chose a song to sing. Lewis has often put Robin Thicke in his list of musical influences in interviews and on the American Idol website. The song was also performed by Blaine Anderson (played by Darren Criss) on Glee during the Season 2 episode \"Silly Love Songs\".2004–07: The Evolution of Robin Thicke and commercial breakthroughFollowing A Beautiful World, Thicke was keen to begin work on his sophomore album but financial and creative disagreements stemming from the performance of his first album led to a several month-long stalemate between Robin and his record label.Regarding this time in his career, Thicke said, \"The label pretty much lost faith in my ability to sell. It became a question of, 'Where does he fit? Is he not rock or pop enough? Is he not soul enough?'\" Pharrell Williams, having established a distribution deal with Interscope for his record label, Star Trak, expressed to Jimmy Iovine his interest in Thicke, whose talent he thought of highly.Signed to Star Trak in 2005, Thicke continued work on his second album, The Evolution of Robin Thicke. The first single, \"Wanna Love U Girl\", featured producer Williams and charted successfully on urban radio in the United Kingdom. In 2006, a remix version of the song was filmed with rapper Busta Rhymes. Nearly a year after the single was released, the album was released on October 3, 2006. To promote it, Thicke toured with India.Arie, then opened for John Legend in late 2006.The video for his second single, the ballad \"Lost Without U\", was released in fall 2006. The song began appearing on Billboard R&B charts in November of that year. With the assistance of radio airplay, it became Thicke's breakout hit. It reached number 14 on the Billboard Hot 100 and spending 11 weeks at number one on the Billboard Hot R&B/Hip-Hop Songs, making him the first white male artist to top that chart since George Michael did so in 1988 with \"One More Try\".In the February 24, 2007, issue of Billboard, Thicke concurrently topped four Billboard charts: Top R&B/Hip-Hop Albums, Hot R&B/Hip-Hop Songs, Hot R&B/Hip-Hop Airplay, and Adult R&B Songs, a feat he would duplicate in the March 17 issue. Following its re-release as a Deluxe Edition (with three new bonus tracks) on February 13, 2007, the album peaked at number five on the Billboard 200. On March 23, 2007, The Evolution of Robin Thicke was certified Platinum by the RIAA. With album sales of over 1.5 million copies sold domestically, The Evolution of Robin Thicke became a commercial success in the United States.Thicke and his record label Interscope soon considered potential tracks to be released as the album's next and third single. Thicke's preference was the track \"Can U Believe\", which peaked at number 16 on the Billboard Hot R&B/Hip-Hop Songs and at number 99 on the Billboard Hot 100 chart. On October 2, 2007, the track \"Got 2 Be Down\" was released as the album's fourth official single. The single peaked at number 60 on Billboard's Hot R&B/Hip-Hop Singles & Tracks.On April 19, 2007, Thicke performed on The Oprah Winfrey Show, singing \"Lost Without U\". He returned to the show a month later, on May 29, performing \"Complicated\" and Oprah's favorite song from the album, \"Would That Make U Love Me\", while also promoting Beyoncé's tour, on which he would be an opening act. Oprah revealed that Thicke's initial appearance garnered a strong reaction, noting that people called the show to say that they didn't know he would be on. Oprah explained, \"So what I wanted to do was to accommodate all of the people who missed it the first time ... In order to do that, I had to do something I've never done before. I got on the phone and asked this very special guest if he would consider coming back.\"In late 2007, Thicke finished promotion for the album as the featured opening act for the North American leg of Beyoncé's US tour, The Beyoncé Experience. Other notable performances in support of the album and its single \"Lost Without U\" include the 2007 BET Awards, The 2007 MOBO Awards,American Idol, and the 2007 Soul Train Music Awards. He also performed a one-off UK concert at KOKO in London on September 24, 2007.2008–2010: Something Else and Sex TherapyThicke released his third solo album, titled Something Else, on September 30, 2008. It debuted at number three on the Billboard 200 charts and sold 137,000 copies in the first week. The first single from the album, \"Magic\", was a further expansion of the R&B sound that powered his 2006 breakthrough, The Evolution of Robin Thicke. \"Magic\" went on to peak at number two on the Adult R&B chart, number six on the Hot R&B/Hip-Hop chart and number 59 on the Billboard Hot 100 chart. He followed this success with the second single, \"The Sweetest Love\", which peaked at number two on the Adult R&B chart and number 20 on the Hot R&B/Hip-Hop chart.On February 8, 2009, at the 51st Annual Grammy Awards, Thicke took the stage alongside Lil' Wayne to perform their song \"Tie My Hands\" from the Grammy-winning album Tha Carter III (the song was also featured on Something Else) which was followed by Thicke and Lil' Wayne participating in a medley of \"Big Chief\" and \"My Feet Can't Fail Me Now\" led by jazz musicians Allen Toussaint, Terence Blanchard, and the Dirty Dozen Brass Band in tribute to New Orleans and the victims of Hurricane Katrina.Thicke appeared on an episode of ABC's The Bachelor to perform \"Magic\" and \"The Sweetest Love\" for the remaining female contestants. Thicke wrote and produced a track for the movie Precious in which his wife Paula Patton also starred, though it did not appear on the soundtrack and remains unreleased. He co-headlined a U.S. tour with Jennifer Hudson, which began March 31, 2009, in Albany, New York, and wrapped up 25 shows later in Biloxi, Mississippi. At the start of the tour, Thicke released \"Dreamworld\" as the official third single from Something Else. As of April 2009, Something Else has shifted over 435,000 units in the U.S.Seven months after the release of Something Else, Billboard.com announced that Thicke would release his fourth studio album in the fall of 2009, his first to not be mainly self-produced. The album, titled Sex Therapy, had its release date postponed to winter, on December 15, 2009. The first single from the album was the title track, produced by Polow Da Don, which in March 2010 became Thicke's second song to top the Hot R&B/Hip-Hop Songs chart. The lead single for international markets was \"Rollacosta\" featuring singer Estelle. The second U.S. single was \"It's in the Mornin'\" featuring Snoop Dogg. \"Shakin' It for Daddy\", featuring rapper Nicki Minaj, produced by Polow Da Don, was supposed to be released as a single at some point, however, its release was eventually canceled.Speaking of the musical background to Sex Therapy, Thicke told Pete Lewis – Deputy Editor of Blues & Soul – \"I'm always gonna have the influence of Marvin Gaye, Stevie Wonder and Al Green in my music. But with this album I also wanted to show my hip hop side. I grew up listening to Run-DMC and N.W.A and Biggie and Pac and Jay-Z ... So I really wanted to make a record that represented how much that music has influenced me.\" Earlier in 2009, on October 14, Leighton Meester's debut single \"Somebody to Love\", featuring Thicke, was released. Thicke told MTV he hoped to have Lil Wayne on the album. He also pointed out that he was featured on Lil Wayne's last two albums, and Lil Wayne was on his last two albums. \"We're kind of good luck charms for each other.\"Thicke appeared on ABC's New Year's Rockin' Eve on January 1, 2010, and performed three songs in Las Vegas, in a pre-recorded segment. Also in 2010, it was confirmed that he, along with Melanie Fiona, would feature on The Freedom Tour with Alicia Keys. As of October 2011, the album has sold 289,000 copies in the United States. On February 5, 2010, Thicke participated in BET's SOS Saving Ourselves: Help For Haiti telethon concert, held in response to the 2010 Haiti earthquake.2011–12: Love After War and DuetsDuring 2011, Thicke was confirmed to go on tour with Jennifer Hudson, with whom he toured in 2009. Later that year, Robin Thicke released his fifth studio album, Love After War, on December 6, 2011. The album debuted at number twenty-two on the Billboard 200 and number six on the \"Top R&B/Hip-Hop Albums\" selling 41,000 in its first week. In an interview to promote the album, Thicke has stated that a lot of the inspiration for the album came from his family.The album has produced three singles. The first is the title track, \"Love After War\" released on October 11, 2011, and has peaked at number fourteen on the \"Hot R&B/Hip-Hop Songs\" chart and topped the Adult R&B chart making it his second song after \"Lost Without U\" to top that chart. The music video for the song premiered November 21, 2011. The music video features his wife Paula Patton and consists of Thicke making up with his wife after a fight.The second single is \"Pretty Lil' Heart\", which features Lil Wayne and was released on November 8, 2011. The music video for that premiered on March 2, 2012. It peaked at number fifty-one on the Hot R&B/Hip-Hop Songs chart. On May 31, 2012, Thicke released a video for his promo single, which was a cover of the Whitney Houston classic \"Exhale (Shoop Shoop\"). The third official single is \"All Tied Up\" which was released to Urban AC radio on April 10, 2012. The music video premiered on June 7, 2012, on Vevo.Thicke performed \"Love After War\" on the 2011 Soul Train Music Awards and later returned to the stage to sing \"Reasons\", trading verses with Joe and Eric Benét, as part of an all-star tribute to Legend Award recipients Earth, Wind & Fire.Thicke appeared on season 2 of NBC's The Voice as a guest adviser/mentor to the contestants on Adam Levine's team.In July 2012, Thicke made his feature film debut starring alongside Jaime Pressly in Jimbo Lee's Abby in the Summer, produced by Gabriel Cowan, John Suits, Dallas Sonnier and "}
+{"doc_id":"doc_110","qid":"","text":"Passage 1:Conaire CóemConaire Cóem (\"the beautiful\"), son of Mug Láma, son of Coirpre Crou-Chend, son of Coirpre Firmaora, son of Conaire Mór, was, according to medieval Irish legend and historical tradition, the 111th High King of Ireland. He came to power on the death of his father-in-law Conn Cétchathach, and ruled for seven or eight years, at the end of which he was killed by Nemed, son of Sroibcenn, in the battle of Gruitine. He was succeeded by Conn's son Art.Time frameThe Lebor Gabála Érenn synchronises his reign with that of the Roman emperor Commodus (180–192). The chronology of Geoffrey Keating's Foras Feasa ar Éirinn dates his reign to 136–143, that of the Annals of the Four Masters to 157–165.IssueConaire had three sons by Conn's daughter Saraid. From his third son came the Síl Conairi, named after Conaire Cóem himself or his ancestor Conaire Mór.Cairpre Músc, ancestor of the Múscraige and Corcu DuibneCairpre Baschaín, ancestor of the Corcu BaiscindCairpre Riata, ancestor of the Dál RiataPassage 2:Guillaume WittouckGuillaume Wittouck (1749 - 1829) was a Belgian lawyer and High Magistrate. He was the Grandfather of industrialist Paul Wittouck and of Belgian navigator Guillaume Delcourt.BiographyGuillaume Wittouck, born in Drogenbos on 30 October 1749 and died in Brussels on 12 June 1829, lawyer at the Brabant Council, became Counselor at the Supreme Court of Brabant in 1791. During the Brabant Revolution, he sided with the Vonckists, who were in favor of new ideas. When Belgium joined France, he became substitute for the commissioner of the Directory at the Civil Court of the Department of the Dyle, then under the consulate, in 1800, judge at the Brussels Court of Appeal, then from 1804 to 1814, under the Empire, counselor at the Court of Appeal of Brussels, then advisor to the Superior Court of Brussels. He married in Brussels (Church of Saint Nicolas) on 29 June 1778, Anne Marie Cools, born in Gooik on 25 January 1754, died in Brussels on 11 April 1824, daughter of Jean Cools and Adrienne Galmaert descendants of the Seven Noble Houses of Brussels.Guillaume Wittouck acquired on 28th Floreal of the year VIII (18 May 1800) the castle of Petit-Bigard in Leeuw-Saint-Pierre with a field of one hundred hectares. Petit-Bigard will remain the home of the elder branch until its sale in 1941.Passage 3:Coirpre mac FogartaigCoirpre mac Fogartaig (died 771) was a King of Brega of the Uí Chernaig sept of Lagore of the Síl nÁedo Sláine branch of the southern Ui Neill. He was the son of the high king Fogartach mac Néill (died 724).He is not listed in the poem on the Síl nÁedo Sláine rulers in the Book of Leinster, however at his death obit in the annals for 771 he is called King of Brega. His accession to the rule of the Uí Chernaig sept in south Brega cannot be dated with certainty. His brother Fergus mac Fogartaig (died 751) is called King of South Brega at his death obit. The annals then record the deaths of his cousin Domnall mac Áeda in 759 and his brother Finsnechta mac Fogartaig in 761 with no titles. As for his accession to all of Brega, the death of the Brega king Dúngal mac Amalgado of the rival northern Uí Chonaing sept of Cnogba (Knowth) occurred in 759.Coirpre is first mentioned in the annals with regard to the death of his son Cellach, who was killed by robbers in 767. Then Coirpre is driven into exile in 769 by Donnchad Midi (died 797) of the rival southern Ui Neill branch of Clann Cholmáin based in Mide. A battle had been fought between the men of Mide and Brega in 766. The year after Coirpre's exile the men of southern Brega were defeated at the Battle of Bolgg Bóinne in 770 and two members of the sept were slain, Cernach mac Flainn (a grandson of Fogartach) and Flaithbertach mac Flainn as well as the vassal king Uarchride mac Baeth of the Deisi Brega. This was in conjunction with a campaign of Donnchad Midi versus Leinster and may have been part of that or Donnchad may have defeated the men of southern Brega on is way home. Coirpre then reappears in the year 771 at his death obit with the title King of Brega.NotesSee alsoKings of BregaPassage 4:Fogartach mac NéillFogartach Mac'Artain (died 724), sometimes called Fogartach ua Cernaich, was an Irish king who is reckoned a High King of Ireland. He belonged to the Uí Chernaig sept of the Síl nÁedo Sláine branch of the southern Uí Néill. He was King of Brega and was the son of Niall mac Cernaig Sotal (died 701) and great-grandson of the high king Diarmait mac Áedo Sláine (died 665).King of BregaFogartach may be identified with the \"Focortoch\" who signed as a guarantor of the Cáin Adomnáin at Birr in 697.The earliest report of him in the Irish annals is his flight from the battlefield at the Battle of Claenath (Clane, Co. Kildare) in 704 following the defeat of a number of southern Uí Néill kings by Cellach Cualann (died 715), King of Leinster.In 714, Fogartach was deposed as king of Brega and exiled in Britain. It has been suggested that it was the High King, Fergal mac Máele Dúin (died 722), who deposed him, but it appears more likely that this was a dispute within the fractious Síl nÁedo Sláine, and that Fogartach was removed by his uncle Conall Grant (died 718), assisted by Murchad Midi (died 715) of Clann Cholmáin. Conall killed Murchad the following year and Fogartach returned in 716.He caused some manner of disturbance in 717 at the Oenach Tailtiu—an annual Uí Néill gathering held at Teltown—where \"Ruba's son and Dub Sléibe's son\" were killed, but the annalistic record lacks sufficient context to explain what happened there and why.The following year Conall Grant won a battle against a coalition of southern Uí Néill kings at Kells, but was killed by Fergal mac Máele Dúin later that year.In the early 720s, Fogartach's lands were under attack by the kings of Leinster and Cathal mac Finguine, king of Munster. Fergal mac Máele Dúin undertook campaigns against Leinster in revenge, but was killed by the Leinstermen on one of these, at the battle of Allen, on 11 December 722. His brother Áed Laigin was slain in this battle.High KingFogartach replaced Fergal as High King, but himself fell victim to the war within the Síl nÁedo Sláine, being killed in the battle of Cenn Deilgden by his distant kinsman and successor Cináed mac Írgalaig of the Uí Chonaing sept of North Brega. This was an old feud, Cináed's father having assassinated Fogartach's father in 701. The report of his death in the Annals of Ulster does not refer to him as High King.DescendantsHis sons included:Flann Foirbthe (died 716) who died in his father's lifetime.-His son Cernach was slain at the Battle of Bolg Bóinne in 770.Cernach mac Fogartaig (died 738) killed by his criminal adherents.Fergus mac Fogartaig (died 751) called King of South Brega at his death obit.Finsnechta mac Fogartaig (died 761)Coirpre mac Fogartaig (died 771) called King of Brega in his death obit.Fogartach mac Cummascaig (died 786) king of South BregaCummuscach mac Fogartaig (flourished 778)His descendants representing the main line of the Uí Chernaig sept based at Lagore were in rivalry with his uncle Conall Grant's descendants, the Síl Conaill Graint based at Calatruim for the rule of southern Brega.NotesPassage 5:Kaya AlpKaya Alp (Ottoman Turkish: \u0000\u0000\u0000\u0000 \u0000\u0000\u0000, lit. 'Brave Rock') was, according to Ottoman tradition, the son of Kızıl Buğa or Basuk and the father of Suleyman Shah. He was the grandfather of Ertuğrul Ghazi, the father of the founder of the Ottoman Empire, Osman I. He was also famously known for being the successing name of Ertokus Bey’s son Kaya Alp. He was a descendant of the ancestor of his tribe, Kayı son of Gun son of Oghuz Khagan, the legendary progenitor of the Oghuz Turks.Passage 6:Prithvipati ShahPrithvipati Shah (Nepali: \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000) was the king of the Gorkha Kingdom in the South Asian subcontinent, present-day Nepal. He was the grandfather of Nara Bhupal Shah and reigned from 1673–1716.King Prithvipati Shah ascended to the throne after the demise of his father. He was the longest serving king of the Gorkha Kingdom but his reign saw a lot of struggles.Passage 7:John WestleyRev. John Wesley (1636–78) was an English nonconformist minister. He was the grandfather of John Wesley (founder of Methodism).LifeJohn Wesly (his own spelling), Westley, or Wesley was probably born at Bridport, Dorset, although some authorities claim he was born in Devon, the son of the Rev. Bartholomew Westley and Ann Colley, daughter of Sir Henry Colley of Carbery Castle in County Kildare, Ireland. He was educated at Dorchester Grammar School and as a student of New Inn Hall, Oxford, where he matriculated on 23 April 1651, and graduated B.A. on 23 January 1655, and M.A. on 4 July 1657. After his appointment as an evangelist, he preached at Melcombe Regis, Radipole, and other areas in Dorset. Never episcopally ordained, he was approved by Oliver Cromwell's Commission of Triers in 1658 and appointed Vicar of Winterborne Whitechurch.The report of his interview in 1661 with Gilbert Ironside the elder, his diocesan, according to Alexander Gordon writing in the Dictionary of National Biography, shows him to have been an Independent. He was imprisoned for not using the Book of Common Prayer, imprisoned again and ejected in 1662. After the Conventicle Act 1664 he continued to preach in small gatherings at Preston and then Poole, until his death at Preston in 1678.FamilyHe married a daughter of John White, who was related also to Thomas Fuller. White, the \"Patriarch of Dorchester\", married a sister of Cornelius Burges. Westley's eldest son was Timothy (born 1659). Their second son was Rev. Samuel Wesley, a High Church Anglican vicar and the father of John and Charles Wesley. A younger son, Matthew Wesley, remained a nonconformist, became a London apothecary, and died on 10 June 1737, leaving a son, Matthew, in India; he provided for some of his brother Samuel's daughters.NotesAdditional sourcesMatthews, A. G., \"Calamy Revised\", Oxford University Press, 1934, page 521. This article incorporates text from a publication now in the public domain: \"Wesley, Samuel (1662-1735)\". Dictionary of National Biography. London: Smith, Elder & Co. 1885–1900.Passage 8:Fujiwara no NagaraThis is about the 9th-century Japanese statesman.  For the 10th-century Japanese poet also known as Nagayoshi, see Fujiwara no Nagatō.Fujiwara no Nagara (\u0000\u0000\u0000\u0000, 802 – 6 August 856), also known as Fujiwara no Nagayoshi, was a Japanese statesman, courtier and politician of the early Heian period. He was the grandfather of Emperor Yōzei.LifeNagara was born as the eldest son of the sadaijin Fujiwara no Fuyutsugu, a powerful figure in the court of Emperor Saga. He was also a descendant of the early Japanese emperors and was well trusted by Emperor Ninmyō since his time as crown prince, and attended on him frequently. However, after Ninmyō took the throne, Nagara's advancement was overtaken by his younger brother Fujiwara no Yoshifusa. He served as director of the kurōdo-dokoro (\u0000\u0000\u0000) and division chief (\u0000) in the imperial guard before finally making sangi and joining the kugyō in 844, ten years after his younger brother.In 850, Nagara's nephew Emperor Montoku took the throne, and Nagara was promoted to shō shi-i no ge (\u0000\u0000\u0000\u0000) and then ju san-mi (\u0000\u0000\u0000), and in 851 to shō san-mi (\u0000\u0000\u0000). In the same year, though, Nagara was overtaken once more as his brother Fujiwara no Yoshimi, more than ten years his junior, was promoted to chūnagon. In 854, when Yoshimi was promoted to dainagon, Nagara was promoted to fill his old position of chūnagon. In 856 he was promoted to \u0000\u0000\u0000 (ju ni-i), but died shortly thereafter at the age of 55.LegacyAfter Nagara's death, his daughter Takaiko became a court lady of Emperor Seiwa. In 877, after her son Prince Sadaakira took the throne as Emperor Yōzei, Nagara was posthumously promoted to shō ichi-i (\u0000\u0000\u0000) and sadaijin, and again in 879 to daijō-daijin.Nagara was overtaken in life by his brother Yoshifusa and Yoshimi, but he had more children, and his descendants thrived. His third son Fujiwara no Mototsune was adopted by Yoshifusa, and his line branched into various powerful clans, including the five regent houses.Before the Middle Ages, there may have been a tendency to view Mototsune's biological father Nagara rather than his adoptive father Yoshifusa as his parent, making Nagara out as the ancestor of the regent family. This may have impacted the Ōkagami, leading it to depict Nagara as the head of the Hokke instead of Yoshifusa.PersonalityNagara had a noble disposition, both tender-hearted and magnanimous. Despite being overtaken by his brothers, he continued to love them deeply. He was treated his subordinates with tolerance, and was loved by people of all ranks. When Emperor Ninmyō died, Fuyutsugu is said to have mourned him like a parent, even abstaining from food as he prayed for the happiness of the Emperor's spirit.When he served Emperor Montoku in his youth, the Emperor treated him as an equal, but Nagara did not abandon formal dress or display an overly familiar attitude.GenealogyFather: Fujiwara no FuyutsuguMother: Fujiwara no Mitsuko (\u0000\u0000\u0000\u0000\u0000), daughter of Fujiwara no Matsukuri (\u0000\u0000\u0000\u0000)Wife: Nanba no Fuchiko (\u0000\u0000\u0000\u0000)Eldest son: Fujiwara no Kunitsune (\u0000\u0000\u0000\u0000, 828–908)Second son: Fujiwara no Tōtsune (\u0000\u0000\u0000\u0000, 835–888)Wife: Fujiwara no Otoharu (\u0000\u0000\u0000\u0000), daughter of Fujiwara no Fusatsugu (\u0000\u0000\u0000\u0000)Third son: Fujiwara no Mototsune (\u0000\u0000\u0000\u0000, 836–891), adopted by Fujiwara no YoshifusaFourth son: Fujiwara no Takatsune (\u0000\u0000\u0000\u0000, ?–893)Fifth son: Fujiwara no Hirotsune (\u0000\u0000\u0000\u0000, 838–883)Sixth son: Fujiwara no Kiyotsune (\u0000\u0000\u0000\u0000, 846–915)Daughter: Fujiwara no Takaiko (\u0000\u0000\u0000\u0000, 842–910), court lady of Emperor Seiwa, mother of Emperor YōzeiUnknown wife (possibly Nanba no Fuchiko (\u0000\u0000\u0000 \u0000))Daughter: Fujiwara no Shukushi (\u0000\u0000\u0000\u0000, 838–906), wife of Fujiwara no Ujimune, adoptive mother of Emperor Uda, Naishi-no-kami (\u0000\u0000)Daughter: Fujiwara no Ariko (\u0000\u0000\u0000\u0000, ?–866), wife of Taira no Takamune, Naishi-no-suke (\u0000\u0000)NotesPassage 9:Lyon CohenLyon Cohen (born Yehuda Leib Cohen; May 11, 1868 – August 17, 1937) was a Polish-born Canadian businessman and a philanthropist. He was the grandfather of singer/poet Leonard Cohen.BiographyCohen was born in Congress Poland, part of the Russian Empire, to a Jewish family on May 11, 1868. He immigrated to Canada with his parents in 1871. He was educated at the McGill Model School and the Catholic Commercial Academy in Montreal. In 1888, he entered the firm of Lee & Cohen in Montreal; later became partner with his father in the firm of L. Cohen & Son; in 1895, he established W. R. Cuthbert & Co; in 1900, he organized the Canadian Improvement Co., a dredging contractor; in 1906, he founded The Freedman Co. in Montreal; and in May 1919, he organized and became President of Canadian Export Clothiers, Ltd.  The Freedman Company went on to become one of Montreal’s largest clothing companies.In 1897, Cohen and Samuel William Jacobs founded the Canadian Jewish Times, the first English-language Jewish newspaper in Canada. The newspaper promoted the Canadianization of recent East European Jewish immigrants and encouraged their acceptance of Canadian customs as Cohen felt that the old world customs of immigrant Jews were one of the main causes of anti-Semitism. In 1914, the paper was purchased by Hirsch Wolofsky, owner of the Yiddish-language Keneder Adler, who transformed it into the Canadian Jewish Chronicle.He died on August 17, 1937, at the age of 69.PhilanthropyCohen was elected the first president of the Canadian Jewish Congress in 1919 and organized the Jewish Immigrant Aid Services of Canada. Cohen was also a leader of the Young Men’s Hebrew Benevolent Society (later the Baron de Hirsch Institute) and the United Talmud Torahs, a Jewish day school in Montreal. He also served as president of Congregation Shaar Hashomayim and president of the Jewish Colonization Association in Canada.Personal lifeCohen married Rachel Friedman of Montreal on February 17, 1891. She was the founder and President of Jewish Endeavour Sewing School. They had three sons and one daughter:Nathan Bernard Cohen, who served as a lieutenant in the World War; he married Lithuanian Jewish immigrant Masha Klonitsky and they had one daughter and one son:Esther Cohen andsinger/poet Leonard Cohen.Horace Rives Cohen, who was a captain and quartermaster of his battalion in World War I;Lawrence Zebulun Cohen, student at McGill University, andSylvia Lillian Cohen.Passage 10:Abd al-MuttalibShayba ibn Hāshim (Arabic: \u0000\u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000; c. 497–578), better known as \u0000Abd al-Mu\u0000\u0000alib, (Arabic: \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000, lit. ' Servant of Muttalib') was the fourth chief of the Quraysh tribal confederation. He was the grandfather of the Islamic prophet Muhammad.Early lifeHis father was Hashim ibn 'Abd Manaf,: 81 the progenitor of the distinguished Banu Hashim, a clan of the Quraysh tribe of Mecca. They claimed descent from Ismā'īl and Ibrāhīm. His mother was Salma bint Amr, from the Banu Najjar, a clan of the Khazraj tribe in Yathrib (later called Madinah). Hashim died while doing business in Gaza, before Abd al-Muttalib was born.: 81 His real name was \"Shaiba\" meaning 'the ancient one' or 'white-haired' because of the streak of white through his jet-black hair, and is sometimes also called Shaybah al-\u0000amd (\"The white streak of praise\").: 81–82 After his father's death he was raised in Yathrib with his mother and her family until about the age of eight, when his uncle Muttalib ibn Abd Manaf went to see him and asked his mother Salmah to entrust Shaybah to his care. Salmah was unwilling to let her son go and Shaiba refused to leave his mother without her consent. Mu\u0000\u0000alib then pointed out that the possibilities Yathrib had to offer were incomparable to Mecca. Salmah was impressed with his arguments, so she agreed to let him go. Upon first arriving in Mecca, the people assumed the unknown child was Muttalib's servant and started calling him 'Abd al-Muttalib (\"servant of Muttalib\").: 85–86Chieftain of Hashim clanWhen Mu\u0000\u0000alib died, Shaiba succeeded him as the chief of the Hāshim clan. Following his uncle Al-Mu\u0000\u0000alib, he took over the duties of providing the pilgrims with food and water, and carried on the practices of his forefathers with his people. He attained such eminence as none of his forefathers enjoyed; his people loved him and his reputation was great among them.: 61 'Umar ibn Al-Kha\u0000\u0000āb's grandfather Nufayl ibn Abdul Uzza arbitrated in a dispute between 'Abdul-Mu\u0000\u0000alib and \u0000arb ibn Umayyah, Abu Sufyan's father, over the custodianship of the Kaaba. Nufayl gave his verdict in favour of 'Abdul-Mu\u0000\u0000alib. Addressing \u0000arb ibn Umayyah, he said:Why do you pick a quarrel with a person who is taller than you in stature; more imposing than you in appearance; more refined than you in intellect; whose progeny outnumbers yours and whose generosity outshines yours in lustre? Do not, however, construe this into any disparagement of your good qualities which I highly appreciate. You are as gentle as a lamb, you are renowned throughout Arabia for the stentorian tones of your voice, and you are an asset to your tribe.Discovery of Zam Zam Well'Abdul-Mu\u0000\u0000alib said that while sleeping in the sacred enclosure, he had dreamed he was ordered to dig at the worship place of the Quraysh between the two deities Isāf and Nā'ila. There he would find the Zamzam Well, which the Jurhum tribe had filled in when they left Mecca. The Quraysh tried to stop him digging in that spot, but his son Al-\u0000ārith stood guard until they gave up their protests. After three days of digging, ' Abdul-Mu\u0000\u0000alib found traces of an ancient religious well and exclaimed, \"Allahuakbar!\" Some of the Quraysh disputed his claim to sole rights over water, then one of them suggested that they go to a female shaman who lived afar. It was said that she could summon jinns and that she could help them decide who was the owner of the well. So, 11 people from the 11 tribes went on the expedition. They had to cross the desert to meet the priestess but then they got lost. There was a lack of food and water and people started to lose hope of ever getting out. One of them suggested that they dig their own graves and if they died, the last person standing would bury the others. So all began digging their own graves and just as Abdul-Mu\u0000\u0000alib started digging, water spewed out from the hole he dug and everyone became overjoyed. It was then and there decided that Abdul-Muttalib was the owner of the Zam Zam well. Thereafter he supplied pilgrims to the Kaaba with Zam Zam water, which soon eclipsed all the other wells in Mecca because it was considered sacred.: 86–89 : 62–65The Year of the ElephantAccording to Muslim tradition, the Ethiopian governor of Yemen, Abrahah al-Ashram, envied the Kaaba's reverence among the Arabs and, being a Christian, he built a cathedral on "}
+{"doc_id":"doc_111","qid":"","text":"Passage 1:Henry Bryant (naturalist)Henry Bryant (May 12, 1820 – February 2, 1867) was an American physician and naturalist.Early lifeBryant was born in Boston, and graduated from Harvard University in 1840, and then followed this from a degree at Harvard Medical School in 1843. Following this, he went to Paris to study medicine, but his health broke down while researching at a Paris hospital. In order to restore his health, he joined the French army in Algeria as a surgeon. In October 1847, Bryant returned to Boston to work with Dr. Henry Jacob Bigelow as a surgeon, but after a few months his health broke down again. After being forced to abandon medicine because of ill health, Bryant turned to natural history, especially ornithology, which was a childhood passion. Bryant visited nearby Cohasset, Massachusetts for one of his first collecting trips, but he seriously injured his stomach from a fall while landing his boat. After his recovery, he decided to push himself further in an attempt to strengthen his body. His collecting trips became more frequent and more far flung.Civil War serviceBryant took a break from natural history to volunteer as a surgeon during the American Civil War. He accepted an appointment as a surgeon for the 20th Regiment Massachusetts Volunteer Infantry, which was also known as \"The Harvard Regiment.\" By September 1861, Bryant was promoted to brigade surgeon. Soon after, he served on the staff of General Frederick W. Lander until March 2, 1862, when the general died of pneumonia.After Lander's death, Bryant was appointed Medical Director for General James Shield, a future senator. While serving as this post, Bryant fell off his horse so hard that his knee was nearly amputated. Despite the pain, he continued his duties. In the middle of 1862, he was placed in charge of organizing several hospitals, including Cliffburn Hospital and Lincoln Hospital. However, his mental and physical health collapsed again, and he resigned his commission in May 1863.Life after the Civil WarAfter the Civil War ended, Bryant made several trips to France, including to purchase the Frédéric de Lafresnaye collection of birds in 1865, which he presented to the Boston Society of Natural History. This collection contained nearly 9,000 mostly non-American specimen. The unpacking and remounting of the specimen was conducted by younger naturalists, including Charles Johnson Maynard, and took about a year to complete.In addition to his visits to France, Bryant collected birds in Florida, the Bahamas, Ontario and Labrador, North Carolina, Cuba, Jamaica and Puerto Rico. He was one of the first American ornithologists in the Caribbean.He died in Puerto Rico on February 2, 1867 during a brief illness on a collecting trip.Passage 2:Abd al-MuttalibShayba ibn Hāshim (Arabic: \u0000\u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000; c. 497–578), better known as \u0000Abd al-Mu\u0000\u0000alib, (Arabic: \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000, lit. 'Servant of Muttalib') was the fourth chief of the Quraysh tribal confederation. He was the grandfather of the Islamic prophet Muhammad.Early lifeHis father was Hashim ibn 'Abd Manaf,: 81 the progenitor of the distinguished Banu Hashim, a clan of the Quraysh tribe of Mecca. They claimed descent from Ismā'īl and Ibrāhīm. His mother was Salma bint Amr, from the Banu Najjar, a clan of the Khazraj tribe in Yathrib (later called Madinah). Hashim died while doing business in Gaza, before Abd al-Muttalib was born.: 81 His real name was \"Shaiba\" meaning 'the ancient one' or 'white-haired' because of the streak of white through his jet-black hair, and is sometimes also called Shaybah al-\u0000amd (\"The white streak of praise\").: 81–82 After his father's death he was raised in Yathrib with his mother and her family until about the age of eight, when his uncle Muttalib ibn Abd Manaf went to see him and asked his mother Salmah to entrust Shaybah to his care. Salmah was unwilling to let her son go and Shaiba refused to leave his mother without her consent. Mu\u0000\u0000alib then pointed out that the possibilities Yathrib had to offer were incomparable to Mecca. Salmah was impressed with his arguments, so she agreed to let him go. Upon first arriving in Mecca, the people assumed the unknown child was Muttalib's servant and started calling him 'Abd al-Muttalib (\"servant of Muttalib\").: 85–86Chieftain of Hashim clanWhen Mu\u0000\u0000alib died, Shaiba succeeded him as the chief of the Hāshim clan. Following his uncle Al-Mu\u0000\u0000alib, he took over the duties of providing the pilgrims with food and water, and carried on the practices of his forefathers with his people. He attained such eminence as none of his forefathers enjoyed; his people loved him and his reputation was great among them.: 61 'Umar ibn Al-Kha\u0000\u0000āb's grandfather Nufayl ibn Abdul Uzza arbitrated in a dispute between 'Abdul-Mu\u0000\u0000alib and \u0000arb ibn Umayyah, Abu Sufyan's father, over the custodianship of the Kaaba. Nufayl gave his verdict in favour of 'Abdul-Mu\u0000\u0000alib. Addressing \u0000arb ibn Umayyah, he said:Why do you pick a quarrel with a person who is taller than you in stature; more imposing than you in appearance; more refined than you in intellect; whose progeny outnumbers yours and whose generosity outshines yours in lustre? Do not, however, construe this into any disparagement of your good qualities which I highly appreciate. You are as gentle as a lamb, you are renowned throughout Arabia for the stentorian tones of your voice, and you are an asset to your tribe.Discovery of Zam Zam Well'Abdul-Mu\u0000\u0000alib said that while sleeping in the sacred enclosure, he had dreamed he was ordered to dig at the worship place of the Quraysh between the two deities Isāf and Nā'ila. There he would find the Zamzam Well, which the Jurhum tribe had filled in when they left Mecca. The Quraysh tried to stop him digging in that spot, but his son Al-\u0000ārith stood guard until they gave up their protests. After three days of digging, 'Abdul-Mu\u0000\u0000alib found traces of an ancient religious well and exclaimed, \" Allahuakbar!\" Some of the Quraysh disputed his claim to sole rights over water, then one of them suggested that they go to a female shaman who lived afar. It was said that she could summon jinns and that she could help them decide who was the owner of the well. So, 11 people from the 11 tribes went on the expedition. They had to cross the desert to meet the priestess but then they got lost. There was a lack of food and water and people started to lose hope of ever getting out. One of them suggested that they dig their own graves and if they died, the last person standing would bury the others. So all began digging their own graves and just as Abdul-Mu\u0000\u0000alib started digging, water spewed out from the hole he dug and everyone became overjoyed. It was then and there decided that Abdul-Muttalib was the owner of the Zam Zam well. Thereafter he supplied pilgrims to the Kaaba with Zam Zam water, which soon eclipsed all the other wells in Mecca because it was considered sacred.: 86–89 : 62–65The Year of the ElephantAccording to Muslim tradition, the Ethiopian governor of Yemen, Abrahah al-Ashram, envied the Kaaba's reverence among the Arabs and, being a Christian, he built a cathedral on Sana'a and ordered pilgrimage be made there.: 21 The order was ignored and someone desecrated (some saying in the form of defecation: 696 note 35 ) the cathedral. Abrahah decided to avenge this act by demolishing the Kaaba and he advanced with an army towards Mecca.: 22–23 There were thirteen elephants in Abrahah's army: 99 : 26 and the year came to be known as 'Ām al-Fīl (the Year of the Elephant), beginning a trend for reckoning the years in Arabia which was used until 'Umar ibn Al-Kha\u0000\u0000āb replaced it with the Islamic Calendar in 638 CE (17 AH), with the first year of the Islamic Calendar being 622 CE.When news of the advance of Abrahah's army came, the Arab tribes of Quraysh, Kinānah, Khuzā'ah and Hudhayl united in defence of the Kaaba. A man from the \u0000imyar tribe was sent by Abrahah to advise them that he only wished to demolish the Kaaba and if they resisted, they would be crushed. \" Abdul-Mu\u0000\u0000alib told the Meccans to seek refuge in the nearest high hills while he, with some leading members of Quraysh, remained within the precincts of the Kaaba. Abrahah sent a dispatch inviting 'Abdul-Mu\u0000\u0000alib to meet him and discuss matters. When 'Abdul-Mu\u0000\u0000alib left the meeting he was heard saying, \"The Owner of this House is its Defender, and I am sure He will save it from the attack of the adversaries and will not dishonour the servants of His House.\": 24–26 It is recorded that when Abrahah's forces neared the Kaaba, Allah commanded small birds (abābīl) to destroy Abrahah's army, raining down pebbles on it from their beaks. Abrahah was seriously wounded and retreated towards Yemen but died on the way.: 26–27 This event is referred to in the following Qur'anic chapter:Have you not seen how your Lord dealt with the owners of the Elephant?Did He not make their treacherous plan go astray?And He sent against them birds in flocks, striking them with stones of baked clay, so He rendered them like straw eaten up.Most Islamic sources place the event around the year that Muhammad was born, 570 CE, though other scholars place it one or two decades earlier. A tradition attributed to Ibn Shihab al-Zuhri in the musannaf of \u0000Abd al-Razzaq al-San\u0000ani places it before the birth of Muhammad's father.Sacrificing his son AbdullahAl-Harith was 'Abdul-Mu\u0000\u0000alib's only son at the time he dug the Zamzam Well.: 64 When the Quraysh tried to help him in the digging, he vowed that if he were to have ten sons to protect him, he would sacrifice one of them to Allah at the Kaaba. Later, after nine more sons had been born to him, he told them he must keep the vow. The divination arrows fell upon his favourite son Abdullah. The Quraysh protested 'Abdul-Mu\u0000\u0000alib's intention to sacrifice his son and demanded that he sacrifice something else instead. 'Abdul-Mu\u0000\u0000alib agreed to consult a \"sorceress with a familiar spirit\". She told him to cast lots between Abdullah and ten camels. If Abdullah were chosen, he had to add ten more camels, and keep on doing the same until his Lord accepted the camels in Abdullah's place. When the number of camels reached 100, the lot fell on the camels. 'Abdul-Mu\u0000\u0000alib confirmed this by repeating the test three times. Then the camels were sacrificed, and Abdullah was spared.: 66–68FamilyWivesAbd al-Muttalib had six known wives.Sumra bint Jundab of the Hawazin tribe.Lubnā bint Hājar of the Khuza'a tribe.Fatima bint Amr of the Makhzum clan of the Quraysh tribe.Halah bint Wuhayb of the Zuhrah clan of the Quraysh tribe.Natīla bint Janab of the Namir tribe.Mumanna'a bint Amr of the Khuza'a tribe.ChildrenAccording to Ibn Hisham, \u0000Abd al-Mu\u0000\u0000alib had ten sons and six daughters.: 707–708 note 97 However, Ibn Sa'd lists twelve sons.: 99–101 By Sumra bint Jundab:Al-\u0000ārith.: 708 He was the firstborn and he died before his father.: 99 Quthum.: 100 He is not listed by Ibn Hisham.By Fatima bint Amr:Al-Zubayr.: 707 He was a poet and a chief; his father made a will in his favour.: 99 He died before Islam, leaving two sons and daughters.: 101 : 34–35 Abu Talib, born as Abd Manaf,: 99 : 707 father of the future Caliph Ali. He later became chief of the Hashim clan.Abdullah, the father of Muhammad.: 99 : 707 Umm Hakim al-Bayda,: 100 : 707 the maternal grandmother of the third Caliph Uthman.: 32 Barra,: 100 : 707 the mother of Abu Salama.: 33 Arwa.: 100 : 707 Atika,: 100 : 707 a wife of Abu Umayya ibn al-Mughira.: 31 Umayma,: 100 : 707 the mother of Zaynab bint Jahsh and Abd Allah ibn Jahsh.: 33 By Lubnā bint Hājar:Abd al-'Uzzā, better known as Abū Lahab.: 100 : 708 By Halah bint Wuhayb:\u0000amza,: 707 the first big leader of Islam. He killed many leaders of the kufar and was considered as the strongest man of the quraysh. He was martyred at Uhud.: 100 \u0000afīyya.: 100 : 707 Al-Muqawwim.: 707 He married Qilaba bint Amr ibn Ju'ana ibn Sa'd al-Sahmia, and had children named Abd Allah, Bakr, Hind, Arwa, and Umm Amr (Qutayla or Amra).Hajl.: 707 He married Umm Murra bint Abi Qays ibn Abd Wud, and had two sons, named Abd Allah, Ubayd Allah, and three daughters named Murra, Rabi'a, and Fakhita.By Natīlah bint Khubāb:al-'Abbas,: 100 : 707 ancestor of the Abbasid caliphs.\u0000irār,: 707 who died before Islam.: 100 Jahl, died before IslamImran, died before IslamBy Mumanna'a bint 'Amr:Mus'ab, who, according to Ibn Saad, was the one known as al-Ghaydāq.: 100 He is not listed by Ibn Hisham.Al-Ghaydaq, died before Islam.Abd al-Ka'ba, died before Islam.: 100 Al-Mughira,: 100 who had the byname al-Ghaydaq.The family tree and some of his important descendantsDeathAbdul Muttalib's son 'Abdullāh died four months before Mu\u0000ammad's birth, after which Abdul Muttalib took care of his daughter-in-law Āminah. One day Muhammad's mother, Amina, wanted to go to Yathrib, where her husband, Abdullah, died. So, Muhammad, Amina, Abd al-Muttalib and their caretaker, Umm Ayman started their journey to Medina, which is around 500 kilometres away from Makkah. They stayed there for three weeks, then, started their journey back to Mecca. But, when they reached halfway, at Al-Abwa', Amina became very sick and died six years after her husband's death. She was buried over there. From then, Muhammad became an orphan. Abd al-Muttalib became very sad for Muhammad because he loved him so much. Abd al-Muttalib took care of Muhammad. But when Muhammad was eight years old, the very old Abd al-Muttalib became very sick and died at age 81-82 in 578-579 CE.Shaybah ibn Hāshim's grave can be found in the Jannat al-Mu'allā cemetery in Makkah, Saudi Arabia.See alsoFamily tree of MuhammadFamily tree of Shaiba ibn HashimSahabaPassage 3:Fujiwara no NagaraThis is about the 9th-century Japanese statesman.  For the 10th-century Japanese poet also known as Nagayoshi, see Fujiwara no Nagatō.Fujiwara no Nagara (\u0000\u0000\u0000\u0000, 802 – 6 August 856), also known as Fujiwara no Nagayoshi, was a Japanese statesman, courtier and politician of the early Heian period. He was the grandfather of Emperor Yōzei.LifeNagara was born as the eldest son of the sadaijin Fujiwara no Fuyutsugu, a powerful figure in the court of Emperor Saga. He was also a descendant of the early Japanese emperors and was well trusted by Emperor Ninmyō since his time as crown prince, and attended on him frequently. However, after Ninmyō took the throne, Nagara's advancement was overtaken by his younger brother Fujiwara no Yoshifusa. He served as director of the kurōdo-dokoro (\u0000\u0000\u0000) and division chief (\u0000) in the imperial guard before finally making sangi and joining the kugyō in 844, ten years after his younger brother.In 850, Nagara's nephew Emperor Montoku took the throne, and Nagara was promoted to shō shi-i no ge (\u0000\u0000\u0000\u0000) and then ju san-mi (\u0000 \u0000\u0000), and in 851 to shō san-mi (\u0000\u0000\u0000). In the same year, though, Nagara was overtaken once more as his brother Fujiwara no Yoshimi, more than ten years his junior, was promoted to chūnagon. In 854, when Yoshimi was promoted to dainagon, Nagara was promoted to fill his old position of chūnagon. In 856 he was promoted to \u0000\u0000\u0000 (ju ni-i), but died shortly thereafter at the age of 55.LegacyAfter Nagara's death, his daughter Takaiko became a court lady of Emperor Seiwa. In 877, after her son Prince Sadaakira took the throne as Emperor Yōzei, Nagara was posthumously promoted to shō ichi-i (\u0000\u0000\u0000) and sadaijin, and again in 879 to daijō-daijin.Nagara was overtaken in life by his brother Yoshifusa and Yoshimi, but he had more children, and his descendants thrived. His third son Fujiwara no Mototsune was adopted by Yoshifusa, and his line branched into various powerful clans, including the five regent houses.Before the Middle Ages, there may have been a tendency to view Mototsune's biological father Nagara rather than his adoptive father Yoshifusa as his parent, making Nagara out as the ancestor of the regent family. This may have impacted the Ōkagami, leading it to depict Nagara as the head of the Hokke instead of Yoshifusa.PersonalityNagara had a noble disposition, both tender-hearted and magnanimous. Despite being overtaken by his brothers, he continued to love them deeply. He was treated his subordinates with tolerance, and was loved by people of all ranks. When Emperor Ninmyō died, Fuyutsugu is said to have mourned him like a parent, even abstaining from food as he prayed for the happiness of the Emperor's spirit.When he served Emperor Montoku in his youth, the Emperor treated him as an equal, but Nagara did not abandon formal dress or display an overly familiar attitude.GenealogyFather: Fujiwara no FuyutsuguMother: Fujiwara no Mitsuko (\u0000\u0000\u0000\u0000\u0000), daughter of Fujiwara no Matsukuri (\u0000\u0000\u0000\u0000)Wife: Nanba no Fuchiko (\u0000\u0000\u0000\u0000)Eldest son: Fujiwara no Kunitsune (\u0000\u0000\u0000\u0000, 828–908)Second son: Fujiwara no Tōtsune (\u0000\u0000\u0000\u0000, 835–888)Wife: Fujiwara no Otoharu (\u0000\u0000\u0000\u0000), daughter of Fujiwara no Fusatsugu (\u0000\u0000\u0000\u0000)Third son: Fujiwara no Mototsune (\u0000\u0000\u0000\u0000, 836–891), adopted by Fujiwara no YoshifusaFourth son: Fujiwara no Takatsune (\u0000\u0000\u0000\u0000, ?–893)Fifth son: Fujiwara no Hirotsune (\u0000\u0000\u0000\u0000, 838–883)Sixth son: Fujiwara no Kiyotsune (\u0000\u0000\u0000\u0000, 846–915)Daughter: Fujiwara no Takaiko (\u0000\u0000\u0000\u0000, 842–910), court lady of Emperor Seiwa, mother of Emperor YōzeiUnknown wife (possibly Nanba no Fuchiko (\u0000\u0000\u0000 \u0000))Daughter: Fujiwara no Shukushi (\u0000\u0000\u0000\u0000, 838–906), wife of Fujiwara no Ujimune, adoptive mother of Emperor Uda, Naishi-no-kami (\u0000\u0000)Daughter: Fujiwara no Ariko (\u0000\u0000\u0000\u0000, ?–866), wife of Taira no Takamune, Naishi-no-suke (\u0000\u0000)NotesPassage 4:John WestleyRev. John Wesley (1636–78) was an English nonconformist minister. He was the grandfather of John Wesley (founder of Methodism).LifeJohn Wesly (his own spelling), Westley, or Wesley was probably born at Bridport, Dorset, although some authorities claim he was born in Devon, the son of the Rev. Bartholomew Westley and Ann Colley, daughter of Sir Henry Colley of Carbery Castle in County Kildare, Ireland. He was educated at Dorchester Grammar School and as a student of New Inn Hall, Oxford, where he matriculated on 23 April 1651, and graduated B.A. on 23 January 1655, and M.A. on 4 July 1657. After his appointment as an evangelist, he preached at Melcombe Regis, Radipole, and other areas in Dorset. Never episcopally ordained, he was approved by Oliver Cromwell's Commission of Triers in 1658 and appointed Vicar of Winterborne Whitechurch.The report of his interview in 1661 with Gilbert Ironside the elder, his diocesan, according to Alexander Gordon writing in the Dictionary of National Biography, shows him to have been an Independent. He was imprisoned for not using the Book of Common Prayer, imprisoned again and ejected in 1662. After the Conventicle Act 1664 he continued to preach in small gatherings at Preston and then Poole, until his death at Preston in 1678.FamilyHe married a daughter of John White, who was related also to Thomas Fuller. White, the \"Patriarch of Dorchester\", married a sister of Cornelius Burges. Westley's eldest son was Timothy (born 1659). Their second son was Rev. Samuel Wesley, a High Church Anglican vicar and the father of John and Charles Wesley. A younger son, Matthew Wesley, remained a nonconformist, became a London apothecary, and died on 10 June 1737, leaving a son, Matthew, in India; he provided for some of his brother Samuel's daughters.NotesAdditional sourcesMatthews, A. G., \"Calamy Revised\", Oxford University Press, 1934, page 521. This article incorporates text from a publication now in the public domain: \"Wesley, Samuel (1662-1735)\". Dictionary of National Biography. London: Smith, Elder & Co. 1885–1900.Passage 5:Kaya AlpKaya Alp (Ottoman Turkish: \u0000\u0000\u0000\u0000 \u0000\u0000\u0000, lit. 'Brave Rock') was, according to Ottoman tradition, the son of Kızıl Buğa or Basuk and the father of Suleyman Shah. He was the grandfather of Ertuğrul Ghazi, the father of the founder of the Ottoman Empire, Osman I. He was also famously known for being the successing name of Ertokus Bey’s son Kaya Alp. He was a descendant of the ancestor of his tribe, Kayı son of Gun son of Oghuz Khagan, the legendary progenitor of the Oghuz Turks.Passage 6:Yazdegerd IIIYazdegerd III (also spelled Yazdgerd III and Yazdgird III; Middle Persian: \u0000\u0000\u0000\u0000\u0000\u0000\u0000) was the last Sasanian King of Kings of Iran from 632 to 651. His father was Shahriyar and his grandfather was Khosrow II.Ascending the throne at the age of eight, the young shah lacked authority and reigned as figurehead, whilst real power was in the hands of the army commanders, courtiers, and powerful members of the aristocracy, who engaged in internecine warfare. The Sasanian Empire was weakened severely by these internal conflicts, resulting in invasions by the Göktürks from the east, and Khazars from the west. It was, however, the Arabs, united under the banner of Islam, who dealt the decisive blow. Yazdegerd was unable to contain the Arab invasion of "}
+{"doc_id":"doc_112","qid":"","text":"Passage 1:John VI, Duke of MecklenburgJohn VI, Duke of Mecklenburg (1439–1474) was a Duke of Mecklenburg.LifeJohn was the second son of Henry IV, Duke of Mecklenburg, and his wife Dorothea, daughter ofElector Frederick I of Brandenburg.His earliest documented official act (jointly with the father) was in 1451.  In 1464 he ruled an apanage of several districts jointly with his brother Albert VI, but did not participateactively in administering them.In 1472, John VI was engaged to Sophie, the daughter of Duke Eric II of Pomerania.  The marriage was set to be celebrated in 1474.  However, John VI died before the marriage tookplace.  The exact date of his death is unknown; he is last mentioned in a document dated 20 May 1474.His last illness was contracted on a journey to Franconia to visit his uncle Elector Albrecht III Achilles ofBrandenburg.  In Kulmbach, he was infected with the plague and died.  He was probably buried in Poor Clares monastery in Hof.External linksGenealogical table of the House of MecklenburgPassage 2:Eric II, Duke ofMecklenburgEric II, Duke of Mecklenburg (German: Erich II., Herzog zu Mecklenburg; 3 September 1483 – 21/22 December 1508) was Duke of Mecklenburg, a son of Magnus II, Duke of Mecklenburg, and his wifeSophie of Pomerania-Stettin.Eric ruled Mecklenburg-Schwerin jointly with his brothers Henry V and Albert VII and his uncle Balthasar after his father's death on 27 December 1503.  Eric himself probably died on 21December or 22 December 1508. He was buried in the Doberan Minster in Bad Doberan. He never married and died childless.Passage 3:John I, Duke of Mecklenburg-StargardJohn I, Duke of Mecklenburg-Stargard(1326 – 9 August 1392 or 9 February 1393), Duke of Mecklenburg from 1344 to 1352 and Duke of Mecklenburg-Stargard from 1352 to 1392.FamilyHe was probably the youngest child from the second marriage of LordHenry II \"the Lion\" of Mecklenburg and Anna of Saxe-Wittenberg, a daughter of Duke Albert II of Saxe-Wittenberg.LifeJohn I was probably born in 1326.  His father died in 1329, and he remained under guardianshipuntil 1344, when he came of age and began to carry a seal as a participant in the governance of Mecklenburg.  On 8 July 1348, Holy Roman Emperor Charles IV raised John and his brother Albert II to the rank of Dukein Prague.  John, Albert and Charles initially supported the False Waldemar, but in 1350 they reconciled with his supporter Duke Louis V of Bavaria.Upon the division of Mecklenburg on 25 November 1352, John wasawarded the Lordships of Stargard, Sternbuerg and Ture.  He supported his nephew Albert III of Mecklenburg in his attempts to be recognized as King of Sweden.Marriages and issueJohn married three times. His firstwife Rixa (background unknown) probably died soon after the wedding and the marriage remained childless.His second wife Anna was a daughter of the count Adolf VII of Pinneberg and Schauenburg.  She probablydied in 1358.  John and Anna had a daughter Anna, who married Wartislaw VI of Pomerania-Wolgast on 4 April 1363.John's third wife Agnes was the daughter of Ulrich II of Lindow-Ruppin and widow of Lord Nicholas IVof Werle.  They probably married in 1358 and had five children together:John II (died between 6 July and 9 October 1416), co-regent, then Duke of Mecklenburg-Stargard, from 1408 Lord of Sternberg, Friedland,Fürstenberg and LychenUlrich I (died 8 April 1417), co-regent, then Duke of Mecklenburg-Stargard (1392–1417), from 1408 Lord of Neubrandenburg, Stargard, Strelitz and Wesenberg (with Lize)Rudolf (died after 28July 1415), was initially Bishop of Skara and from 1390 as Rudolf III Bishop of SchwerinAlbert I (died 1397), co-regent of Mecklenburg, from 1396 Coadjutor of DorpatContance (born c. 1373, died 1408)ExternallinksGenealogical table of the House of MecklenburgPassage 4:Eilika of SaxonyEilika of Saxony (c. 1080 – 16 January 1142) was a daughter of Magnus, Duke of Saxony and a member of the Billung dynasty. Throughmarriage to Otto of Ballenstedt, she was countess of Ballenstedt.LifeEilika was the younger daughter of Magnus, Duke of Saxony and Sophia, daughter of King Béla I of Hungary. Since Eilika had no brothers, after herfather's death in 1106, Eilika and her sister, Wulfhilde of Saxony, inherited his property. Eilika received property in Bernburg, Weißenfels, Werben and perhaps also in Burgwerden and Kreichau, as well as the Palatinateof Saxony.In 1130 Eilika was in conflict with the citizens of the city of Halle, probably because of her support for Archbishop Norbert of Magdeburg. Fighting broke out, during which Conrad of Eichstadt was killed, andfrom which Eilika only escaped with difficulty.  Around 1131 Eilika wrested the advocacy of the monastery of Goseck (monastery) from Louis of Thuringia, and took it for herself. In 1133 Eilika expelled Abbot Bertoldfrom Goseck for incompetency. In 1134 she introduced his successor, Abbot Penther, to the abbey with a solemn address to the monks. In 1138 Eilika was accused of tyranny (tyrannis), and attacked at her castle ofBernburg.Marriage and childrenEilika married Count Otto of Ballenstedt before 1095. With Otto, Eilika had two children: Albert the Bear and Adelaide of Ballenstedt, who married Henry II, Margrave of theNordmark.Passage 5:Henry IV, Duke of MecklenburgHenry IV, Duke of Mecklenburg (1417 – 9 March 1477) was from 1422 to 1477 Duke of Mecklenburg.LifeHenry IV of Mecklenburg, because of his obesity and lavishlifestyle also called the \"Henry the Fat\", was the son of the Duke John IV of Mecklenburg and Catherine of Saxe-Lauenburg.He inherited Mecklenburg when his father died in 1422.  His mother, Catherine, and his uncle,Albert V, acted as Regents until 1436.  He then ruled jointly with his brother John V, until his brothers death in 1442.  In May 1432, he married Dorothea of Brandenburg, the daughter of Elector Frederick I ofBrandenburg.With the death of Prince William of Werle in 1436, the male line of the Werle branch of the House of Mecklenburg died out, and Werle fell to the Duchy of Mecklenburg.  After Duke Ulrich II ofMecklenburg-Stargard died in 1471, Mecklenburg was again united under one ruler.The Stettin War of Succession between the Pomeranian Dukes and the Brandenburg Electors ended in late May 1472 through Henry'smediation.At the end of his life, he gradually transferred his power to his sons Albert, John and Magnus.  After Henry's death they ruled jointly, until John died in 1474 and Albert in 1483.  After Albert's death, Magnusruled alone.  His younger brother Balthasar cared little about the business of government.Henry died in 1477 and was buried in the Doberan Abbey.IssueAlbert VI († 1483), Duke of MecklenburgJohn VI († 1474), Dukeof MecklenburgMagnus II, Duke of MecklenburgBalthasar Duke of Mecklenburg, coadjutor of the diocese of Schwerin until 1479.External linksGenealogical table of the House of MecklenburgPassage 6:John III, Duke ofMecklenburg-StargardJohn III, Duke of Mecklenburg-Stargard (1389 – after 11 November 1438) was from 1416 to 1438 Duke of Mecklenburg, Lord of Stargard, Sternberg, Friedland, Fürstenberg, and Lychen.  Todistinguish him from John V, Duke of Mecklenburg, he is sometimes called John the Elder.FamilyHe was the oldest child of Duke John II and his wife Catherine (Wilheida) of Lithuania.LifeJohn III was probably born in1389.  In 1416, he took over the reign of Sternberg from his father.  He was taken prisoner by Brandenburg, for unknown reasons.  He was released on 28 June 1427, under the condition that he had to swear an oathof allegiance to the Margrave of Brandenburg.In 1436, he and his cousin Henry and his remote cousin Henry IV of Mecklenburg-Schwerin, jointly inherited the Lordship of Werle.He married Luttrud, the daughter ofAlbert IV of Anhalt-Köthen.  She was probably a sister of Anna, the first wife of William of Werle, the last Lord of Werle.  The marriage remained childless.John III died in 1438 and was probably buried in Sternberg.  Hiscousin Henry of Mecklenburg-Stargard inherited his possessions.Passage 7:Magnus I, Duke of MecklenburgMagnus I, Duke of Mecklenburg (1345 – 1 September 1384) was Duke of Mecklenburg from 1383 until hisdeath.  Magnus was the third son of Duke Albert II of Mecklenburg and his wife Euphemia of Sweden, the sister of the King Magnus IV of Sweden.  Sometime after 1362, he married Elizabeth of Pomerania-Wolgast,daughter of Barnim IV, Duke of Pomerania.Magnus had two children:John IV, Regent of Mecklenburg from 1384 to 1395 and co-regent from 1395 to 1422Euphemia (d. 16 October 1417);married on 18 October 1397with Lord Balthasar of WerleAfter the death of his brother Henry III in 1383, he ruled Mecklenburg jointly with Henry's son Albert IV until his own death in 1384.External linksGenealogical table of the House ofMecklenburgPassage 8:Euphemia of SwedenEuphemia of Sweden (Swedish: Eufemia Eriksdotter; 1317 – 16 June 1370) was a Swedish princess. She was Duchess consort of Mecklenburg, heiress of Sweden and ofNorway, and mother of King Albert of Sweden. (c. 1338-1412) .BiographyEarly lifeEuphemia was born in 1317 to Eric Magnusson (b. c. 1282-1318), Duke of Södermanland, second son of King Magnus I of Sweden, andPrincess Ingeborg of Norway (1300–1360), the heiress and the only legitimate daughter of King Haakon V of Norway (1270– 1319).In 1319, her infant elder brother Magnus VII of Norway (1316–1374) succeeded theirmaternal grandfather to the throne of Norway. That same year, Swedish nobles exiled their uncle, King Birger of Sweden, after which the infant Magnus was elected King of Sweden. Their mother Ingeborg had a seat inthe guardian government as well as the position of an independent ruler of her own fiefs, and played an important part during their childhood and adolescence.The 24 July 1321 marriage contract for Euphemia wassigned at Bohus in her mother's fief in Bohuslän. Her mother had plans to take control over Danish Scania, next to her duchy. The marriage was arranged with the terms that Mecklenburg, Saxony, Holstein, Rendsburgand Schleswig would assist Ingeborg in the conquest of Scania. This was approved by the council of Norway but not Sweden. When Ingeborg's forces under command of Knut Porse of Varberg, invaded Scania in1322–23, Mecklenburg betrayed her and the alliance was broken. Eventually, the affair of Euphemia's marriage led to a conflict between Ingeborg and the governments of Sweden and Norway, which led to the demiseof Ingeborg's political position in the guardian governments. The marriage took place anyway, after a fifteen-year engagement. Euphemia did not lack influence in Sweden. She is known to have acted as the witness ofseals in several documents. In 1335, when King Magnus appointed Nils Abjörnsson (Sparre av Tofta) to drots, the condition that Euphemia would act as his adviser was included in his appointment.Duchess ofMecklenburgEuphemia was married in Rostock on April 10, 1336, to her distant kinsman, Albert II, Duke of Mecklenburg (1318 – 2 February 1379), a North-German lord deeply interested in obtaining some power inScandinavia. Later the same year, the couple returned to Sweden with Rudolf of Saxony and Henry of Holstein to be present at the coronation of her brother and sister-in-law Blanche of Namur. In Germany, Euphemia'slife as a Duchess consort of Mecklenburg does not appear to have affected her status in Sweden, as she was still a political factor there and her name was still placed on various documents. She was the mistress of avery expensive ducal court. In 1340–41, she convinced Magnus to grant renewed trading privileges in Norway to the Hanseatic cities of Mecklenburg, Rostock and Wismar. On 15 April 1357, she granted her the estatesHammar and Farthses  to Skänninge Abbey following the deaths of her half-brothers Haakon and Canute in 1350. She was last confirmed alive 27 October 1363, when she gave up the ownership of her dower estate inMecklenburg. Her death year is not known, but she is confirmed dead 16 June 1370, when her widower made a vicaria to her memory. Euphemia lived  to see her own second son depose her brother from the Swedishthrone, and ascend as King Albert of Sweden in 1364.IssueAt the time of her death, she had five surviving children:Henry III, Duke of Mecklenburg (c. 1337–1383); Married, firstly, Ingeborg of Denmark (1347–c.1370), eldest daughter of sonless King Waldemar IV of Denmark. They had children: Albert (claimant to position of Hereditary Prince of Denmark), Euphemia, Mary, and Ingeborg. Henry III married, secondly, Matilda ofWerle.Albert III, Duke of Mecklenburg  (1340–1412), King of Sweden from 1364 to 1389. Married, firstly, in 1359, Richardis of Schwerin (died 1377); they had children: Eric I, Duke of Mecklenburg (Hereditary Prince ofSweden) and Richardis Catherine. Albert married, secondly, Agnes of Brunswick-Lüneburg (d. 1434).Magnus I, Duke of Mecklenburg (d. 1385); married, in 1369, Elisabeth of Pomerania-Rügen. They had at least oneson, John and possibly the daughter, EuphemiaIngeborg of Mecklenburg (d. c. 1395); she married, firstly, Louis VI the Roman, Duke of Bavaria (1330–1365);  Married  secondly, Henry II, Count of Holstein-Rendsburg(c. 1317–1384); had several children: Gerhard, Albert, Henry, and Sophia.Anna of Mecklenburg (died 1415); married in 1362/6 Count Adolf of Holstein (died 1390).AncestryPassage 9:Henry III, Duke ofMecklenburgHenry III, Duke of Mecklenburg (c. 1337 – 24 April 1383) was Duke of Mecklenburg from 1379 until his death.LifeHenry was the first son of Duke Albert II of Mecklenburg and his wife Euphemia of Sweden,the sister of King Magnus IV of Sweden.Henry III was first married in 1362 to Ingeborg of Denmark, daughter of King Valdemar IV of Denmark.  They had four children:Albrecht IV, co-regent of Mecklenburg from 1383to 1388Euphemia, married from 1377 to John V of Werle-GüstrowMaria of Mecklenburg-Schwerin, mother of Eric of Pomerania, married to Duke Wartislaw VII of PomeraniaIngeborg, from 1398 the abbess of the PoorClares abbey in Ribnitz.After Ingeborg's death, Henry was married on 26 February 1377 to Matilda of Werle, the daughter of Lord Bernard II of Werle.  This marriage remained childless.After an accident at a tournamentin Wismar, Henry III died on 24 April 1383 at his castle in Schwerin and was buried in the Doberan Minster.  His brother Magnus I and his son Albert IV took up a brief joint rule of Mecklenburg, which lasted until1384.External linksGenealogical table of the House of Mecklenburg== Footnotes ==Passage 10:Christopher, Duke of MecklenburgChristopher, Duke of Mecklenburg-Gadebusch (30 July 1537 – 4 March 1592) was a sonof Albrecht VII, Duke of Mecklenburg.  He was Duke of Mecklenburg-Gadebusch, as well as administrator of Ratzeburg and of the Commandery of Mirow.LifeChristopher was born in Augsburg. At the urging of his elderbrother John Albert I, the cathedral chapter appointed Christopher as the successor of Bishop Christopher I of Ratzeburg in 1554.  Christopher thus became the first Lutheran administrator of the Bishopric.In 1555, hewas also elected coadjutor of Bishop William of Riga, with the right of succession.  His election was controversial and led to armed clashes.  During a clash on 1 July 1556 in Koknese, Christoper and William were bothtaken prisoner.  They were released in 1557, and Christopher was recognized as coadjutor.  However, when William died in 1563, Christopher found himself unable to exercise his right of succession.  Instead, he wastaken prisoner again during renewed fighting against Poland.  He was released in 1569, after he had renounced all claims on Riga.  After his release, he returned to Mecklenburg.He died on 4 March 1592 at TempzinAbbey and was buried in the northern chapel of the high choir of Schwerin Cathedral.  His widow commissioned a grave monument, which shows a couple kneeling before a prie-dieu.  It was crafted in the workshop ofthe Flemish sculptor Robert Coppens, with assistance from the Pomeranian painter Georg Strachen.Marriages and issueChristopher married his first wife on 27 October 1573 in Kolding.  She was Princess Dorothea ofDenmark (1528 – 11 November 1575), a daughter of King Frederick I of Denmark.  She died only two years later, in Schönberg, which was the capital of the Prince-Bishopric of Ratzeburg.He married his second wife on7 May 1581 in Stockholm. She was Princess Elizabeth of Sweden (4 April 1549 – 12 November 1597), a daughter of King Gustav I of Sweden. With her he had a daughter:Margaret Elisabeth (11 July 1584 – 16November 1616), married on 9 October 1608 to John Albert II, Duke of Mecklenburg.After Christopher's death, she returned to Sweden, where she lived in Norrköping.  She died in 1616 and was buried in UppsalaCathedral."}
+{"doc_id":"doc_113","qid":"","text":"Passage 1:Vadim VlasovVadim Nikolayevich Vlasov (Russian: Вадим Николаевич Власов; born 19 December 1980) is a former Russian football player.Vlasov played in the Russian Premier League with FC LokomotivNizhny Novgorod.He is a younger brother of Dmitri Vlasov.Passage 2:Claude BraceyClaude Bracey (June 8, 1909 – September 23, 1940), known variously as the \"Texas Flyer,\" the \"Dixie Flyer,\" and the \"TexasTornado,\" was an American sprinter who tied world records in the 100-yard and 100-meter races between 1928 and 1932.  He competed for the United States at the 1928 Summer Olympics in Amsterdam and also wonthe 100-yard and 220-yard sprints at the 1928 NCAA Men's Track and Field Championships.Early lifeBracey grew up in Humble, Texas and attended Humble High School.  As a boy, he participated in games of\"hare-and-hound,\" in which the children would chase each other from one end of town to the other.  Bracey was so fast that rival sides would quarrel over who which side would have him.  He gained prominence as arunner at Humble High.Rice UniversityBracey attended Rice Institute located in Houston, Texas.  He competed in intercollegiate track for the Rice Owls from 1927 to 1930 and for the United States at the 1928 SummerOlympics in Amsterdam.  He was regarded as \"the first man to bring Rice Institute athletic fame.\"  Bracey was considered a \"big and rangy\" runner.  Between 1928 and 1929, he gained weight and was reported in 1929to be six feet tall and approximately 160 pounds.  In 1929, Bracey described his minimalist approach to training as follows:\"Sprinters are born, not made, and running comes natural with me.  As long as I take care ofmyself and eat reasonably, I get along fine. I don't train any during the summer.  That's vacation time and I make it that by spending those weeks fishing.  Laying off like that doesn't bother me.  After all, a dash mandoesn't need much wind.  I only take two or three breaths in 100 yards.\"A feature story published in 1929 described Bracey as \"almost a recluse,\" a quiet person who rarely left campus, never wears formal clothes, and\"thinks society is all wet.\"Championships and recordsIn June 1928, Bracey won both sprint events at the 1928 NCAA Men's Track and Field Championships with times of 9.6 seconds in the 100-yard race and 20.9seconds in the 220-yard race.  He was the first athlete from Rice to win an NCAA track championship in any event, and it was 1938 before another Rice athlete (Fred Wolcott) accomplished the feat.He qualified for theU.S. Olympic team in 1928 and traveled with the team to the 1928 Summer Olympics in Amsterdam.  He finished fifth in the semifinals of the 100-meter race at the Olympic games with a time of 10.8 seconds. He wasthe first Rice athlete to compete in the Olympic games; it was 1948 before another Rice athlete competed in the Olympics.At the Texas Relays in March 1929, Bracey tied the world record in the 100-yard sprint with atime of 9.5 seconds.  The next day, he ran the event in 9.4 seconds, but the record was not recognized due to wind conditions.  Football coach Knute Rockne officiated the sprint event in which Bracey's world record wasdisallowed due to wind conditions.  Rockne told reporters that Bracey was the best sprinter he had seen and added: \"Bracey is a streak.  He is as good as any of them off the marks and runs the last 40 yards faster thanany man I ever saw.  He had the wind with him when he did 9.4 at Dallas but on both that occasion and the day before he beat George Simpson of Ohio State by about four yards.  You all know how good Simpson is.\"Atthe 1929 NCAA Men's Track and Field Championships, Bracey lost his title in the sprint events as Ohio State's George Simpson won both events, and Bracey finished second in the 100-yard race and third in the220-yard event.Bracey continued to compete through 1932.  He tied the world record in the 100-meter race with a time of 10.4 seconds in June 1932.  In July 1932, he qualified in the preliminaries of the 100-meterand 200-meter events at the Far Western Olympic team trials at Long Beach, California.  However, he was taken to a hospital the following day after an attack of appendicitis and was unable to participate in the finals,which were held while he was in the hospital.Death and posthumous honorsBracey died in Buckeye, Arizona on September 23, 1940, leaving behind wife, Anna Bess Singleton Bracey and daughter, Linda Anne Bracey(Mulpagano) who was 4 months of age at the time of her father's death.In 1970, Bracey was selected as one of the initial inductees into the Rice Athletic Hall of Fame.Passage 3:John G. AdolfiJohn Gustav Adolfi(February 19, 1888 – May 11, 1933) was an American silent film director, actor, and screenwriter who was involved in more than 100 productions throughout his career. An early acting credit was in the recentlyrestored 1912 film Robin Hood.BiographyHe was born in New York City to Gustav Adolfi and Jennie Reinhardt. Adolfi entered films as an actor in The Spy: A Romantic Story of the Civil War in 1907, but after appearing inthirty or so films he switched roles and concentrated on directing until his death in 1933 from a brain hemorrhage in British Columbia, Canada while hunting bears.FilmographyPassage 4:Charles J. HuntCharles J. Hunt(April 8, 1881 – February 3, 1976) was an American film editor and director. He also worked at various times as an actor, production manager and associate producer.Selected filmographyThe Fate of a Flirt (1925)TheSmoke Eaters (1926)The Dixie Flyer (1926)The Warning Signal (1926)Modern Daughters (1927)The Show Girl (1927)On the Stroke of Twelve (1927)The Midnight Watch (1927)South of Panama (1928)Queen of theChorus (1928)Thundergod (1928)Smoke Bellew (1929)Rider of the Plains (1931)Riders of the North (1931)Police Court (1932)Trailing the Killer (1932)Law of the West (1932)The Devil on Horseback (1936)We're in theLegion Now! (1936)Go-Get-'Em, Haines (1936)Captain Calamity (1936)Passage 5:La Bestia humanaLa Bestia humana is a 1957 Argentine film whose story is based on the 1890 novel La Bête Humaine by the Frenchwriter Émile Zola.External linksLa Bestia humana at IMDbPassage 6:Bucky MooreWilliam Elton \"Bucky\" Moore (May 5, 1905 – December 18, 1980) was an American football player who played two seasons in theNational Football League with the Chicago Cardinals and Pittsburgh Pirates. He played college football at Loyola University New Orleans and attended Loyola High School in New Orleans, Louisiana. He was inducted intothe Loyola Wolf Pack Hall of Fame in 1964. Morre was also nicknamed the \"Dixie Flyer\".Passage 7:Hugh Moore (businessman)Hugh Everett Moore (1887–1972) was an advertising expert and the founder and longtimepresident of the Dixie Cup Company, manufacturer of the disposable paper Dixie Cup. Inspired by William Vogt’s book Road to Survival, Moore started to work outside his business, using his fortune and expertise tosupport the development of transatlantic structures facilitating international peace and influence population discourse and policy for the primary purpose of decreasing the number of humans.Diplomatic, political andadvocacy activitiesIn addition to his success in the cup business, Moore held many functions in the field of international relations, playing a role in the stabilization of world politics during and after the Second World War.He was founding member of the Committee to Defend America by Aiding the Allies in 1940; chairman of the executive committee of the US League of Nations Association from 1940 to 1943 and president of AmericansUnited for World Organization, 1944.In 1944, Moore founded the Hugh Moore Fund for International Peace to fund organizations involved in population control. The Fund published Moore's pamphlet \"The PopulationBomb is Everyone's Baby\" in 1954. He was credited by the authors of the globally bestselling 1968 book \"The Population Bomb\", Anne Howland Ehrlich and Paul R. Ehrlich to have used these words first.Moore was aconsultant to the State Department at the United Nations Conference in 1945.Moore was a member of the American Association for the United Nations from 1945 to 1954. He served as treasurer of the Committee forthe Marshall Plan in 1948. Moore was a member of the Atlantic Union Committee from 1949 to 1960 and Chair of the Executive Committee from 1949 to 1951. He was chairman of the finance committee of the WoodrowWilson Foundation from 1951 to 1952 and chairman of the fundraising arm of the UN education program in 1955.He was a member of the US Committee on NATO from 1961 to 1972. Moore was Chairman of the Boardof the Population Reference Bureau, vice-president of International Planned Parenthood Federation in 1964, president of the Association for Voluntary Sterilization from 1964 to 1969, and cofounder of the PopulationCrisis Committee in 1965.Awards and honorsHugh Moore received an honorary degree of Humane Letters from Lafayette College in 1961.Passage 8:College LoversCollege Lovers is a 1930 American talkiePre-Code   comedy film produced and released by First National Pictures, a subsidiary of Warner Bros., and directed by John G. Adolfi. The movie stars Jack Whiting, Marian Nixon, Frank McHugh and Guinn 'Big Boy'Williams. The film was based on the story by Earl Baldwin.PlotGuinn 'Big Boy' Williams, a star football player, decides to leave Sanford college after he has found that his girlfriend has eloped with another man. He isdriven to the train station by Russell Hopton, his best friend, and also a football player for the same college. Jack Whiting, who plays the part of the student manager of the Sanford college athletic association as well aspart of the president of the student body, knows that the college needs Williams to win the important game against Colton college.Whiting conspires with his girlfriend, played by Marian Nixon, to stop Williams fromleaving. He also makes use of Frank McHugh, who plays the part of Whiting's assistant in the film. Nixon fakes a suicide on a bridge when she notices Hopton and Williams approaching. They quickly run to help  her andboth of them fall in love with her, without realizing that she really love Whiting. Williams and Hopton soon become suspicious of each other and constantly spy on each other, leaving Nixon to spend her time withWhiting. Just before the big game, Hopton and Williams have an argument and show no interest in the upcoming game. Whiting suggests that Nixon write each of them an identical love note, telling the recipient thatshe loves him alone.When Williams and Hopton receive these notes, they end their quarrelling, each thinking that Nixon prefers them to the other. Halfway through the game, one of them discovers the other's note andthey begin  accusing each other of stealing their notes. Their fighting causes them to be benched. Colton ties the score and promises to be the winner, which so scares Hopton and Williams that they shake hands and goback into the game. When the winning touchdown for Sanford is a matter of inches away from the goal line, the two backs waste the last minute of the game trying to decide which of them will have the honor of makingthe final touchdown and the game ends in a tie.CastJack Whiting as Frank TaylorMarian Nixon as Madge HuttonFrank McHugh as Speed HaskinsGuinn 'Big Boy' Williams as Tiny CourtleyRussell Hopton as EddieSmithWade Boteler as Coach DonovanPhyllis Crane as Josephine CraneRichard Tucker as Gene HuttonCharles Judels as SpectatorPauline Wagner as Frank McHugh's girl friendProductionThe film was planned as afull-scale musical comedy. The majority of the musical numbers of this film, however, were cut out before general release in the United States because the public had grown tired of musicals by late 1930. Althoughmusic was mentioned when the film was first released, ads and reviews soon mentioned that, even though Jack Whiting was a musical comedy star, there was no singing in the picture. These cuts accounts for the veryshort length of the film. The film was marketed as a straight comedy film. The complete musical film was released intact in countries outside the United States where a backlash against musicals neveroccurred.SongsAlthough some modern sources mention the songs \"One Minute of Heaven\" and \"Up and At 'Em\" as being performed in this film, they were actually written for the 1929 musical comedy The Forward Pass.Since the film is now lost, and the music was cut from circulating prints in the United States, it is not certain what songs were written for this picture.PreservationNo film elements are known to survive, although there isa copy of the screenplay in the Department of Rare Books and Special Collections at  Princeton University Library. The soundtrack, which was recorded on Vitaphone disks, may survive in private hands. It is unknownwhether a copy of this full version still exists.See alsoList of lost filmsPassage 9:Miloš ZličićMiloš Zličić (Serbian Cyrillic: Милош Зличић; born 29 December 1999) is a Serbian football forward who plays for Smederevo1924. He is a younger brother of Lazar Zličić.Club careerVojvodinaBorn in Novi Sad, Zličić passed Vojvodina youth school and joined the first team at the age of 16. Previously, he was nominated for the best player ofthe \"Tournament of Friendship\", played in 2015. He made his senior debut in a friendly match against OFK Bačka during the spring half of the 2015–16 season, along with a year younger Mihajlo Nešković. Zličić madean official debut for Vojvodina in the 16th fixture of the 2016–17 Serbian SuperLiga season, played on 19 November 2016 against Novi Pazar.Loan to CementIn July 2018, Zličić joined the Serbian League Vojvodina sideCement Beočin on half-year loan deal. Zličić made his debut in an official match for Cement on 18 August, in the first round of the new season of the Serbian League Vojvodina, in a defeat against Omladinac. He scoredhis first senior goal on 25 August, in victory against Radnički.International careerZličić was called in Serbia U15 national team squad during the 2014, and he also appeared for under-16 national team between 2014 and2015. He was also member of a U17 level later. After that, he was member of a U18 level, and scored goal against Slovenia U18.Career statisticsAs of 26 February 2020Passage 10:The Dixie FlyerThe Dixie Flyer is a1926 American silent action film directed by Charles J. Hunt and starring Cullen Landis, Eva Novak and Ferdinand Munier.CastCullen Landis as 'Sunrise' SmithEva Novak as Rose Rapley / Rose JonesFerdinand Munier asPresident John J. RapleyJohn Elliott as Vice-president Arthur BedfordArt Rowlands as Tom BedfordPat Harmon as Chief Clerk J. K. BurkeFrank Davis as Mike ClancyMary Gordon as Mrs. Clancy"}
+{"doc_id":"doc_114","qid":"","text":"Passage 1:Jon LeachJonathan Leach (born April 18, 1973) is a former professional tennis player from the United States. He is the husband of Lindsay Davenport.Professional careerLeach, an All-American player at USC,made his Grand Slam debut at the 1991 US Open when he partnered David Witt in the men's doubles. He competed in the doubles at Indian Wells in 1992 with Brian MacPhie and before exiting in the second round theydefeated a seeded pairing of Luke Jensen and Laurie Warder. A doubles specialist, his only singles appearance came at Indian Wells in 1994. With Brett Hansen-Dent as his partner, Leach made the second round of the1995 US Open, with a win over Dutch players Richard Krajicek and Jan Siemerink. At the 1996 US Open, his third and final appearance at the tournament, Leach partnered with his brother Rick. He also played in themixed doubles, with Amy Frazier. His only doubles title on the ATP Challenger Tour came at Weiden, Germany in 1996.Personal lifeThe son of former USC tennis coach Dick Leach, he was brought up in California andwent to Laguna Beach High School. Leach married tennis player Lindsay Davenport in Hawaii on April 25, 2003. Their first child, a son named Jagger, was born in 2007. They have had a further three children, alldaughters. An investment banker, Leach is also involved in coaching and worked with young American player Madison Keys in the 2015 season. His elder brother, Rick Leach, was also a professional tennis player, whowon five Grand Slam doubles titles and reached number one in the world for doubles.Challenger titlesDoubles: (1)Passage 2:LapidothLapidoth (Hebrew: \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000 Lapī\u0000ō\u0000, \"torches\") was the husband ofDeborah the fourth Judge of Israel. Lapidoth is also a Hebrew male given name.Passage 3:Alan PownallStephen Alan Fletcher Pownall (born 30 December 1984) is an English singer-songwriter and the husband ofactress Gabriella Wilde.MusicThe son of Orlando Pownall, QC, he grew up in Richmond-upon-Thames and was educated at Windlesham House School, Marlborough College and Shiplake College. Originally interested infashion, he worked for French designer Roland Mouret for two years, where he was advised to study in Milan. He went on to study fashion design but dropped out a year later in 2006 to pursue a music career inLondon.After meeting Adele at one of her early gigs, he told her that he was making music and she should look it up. To his surprise, he was contacted via his MySpace profile and asked to support her on her first Britishtour. As he only had a four-song set, he wrote a lot of his material whilst on tour. He also toured with Paloma Faith, Lissie, Marina and the Diamonds, Noah and the Whale and Florence and the Machine.He shared a flatin London with fellow singer/songwriter Jay Jay Pistolet (who would go on to become the front man of The Vaccines). He later moved in with Marcus Mumford and Winston Marshall from Mumford and Sons, who hesupposedly introduced to Ted Dwane.In one interview he claims to be \"all but deaf in right ear.\"Pownall's debut EP was released on 5 April 2010 through Mercury Records and his album True Love Stories was releasedon 25 June 2010. They parted company shortly after the release in late 2010, with Pownall taking a two and a half year break from music.Pownall and   formed the electro-pop duo Pale in late 2012, with Pownall as thesinger. Pale has supported The Vaccines and Sky Ferreira on tour.  They worked with Jas Shaw of Simian Mobile Disco to produce their first two singles, released through the independent label 37 Adventures. As ofNovember 2017, their Facebook and Soundcloud pages show that Pale has been dormant since releasing an EP, The Comeback, in 2014.Since 2019, Pownall has been releasing and performing under the pseudonymAlan Power.Personal lifeOn 13 September 2014, Pownall married actress Gabriella Wilde. The couple's first son, Sasha Blue Pownall, was born on 3 February 2014. In 2016, Wilde gave birth to their second son, ShilohSilva Pownall. Gabriella has since given birth to their third son Skye in 2019.DiscographyStudio albumPassage 4:James Randall MarshJames Randall Marsh (1896–1966) was an American artist and the husband of AnneSteele Marsh.BiographyMarsh was born in 1896 in Paris, France. He was the son of Frederick Dana Marsh and Alice Randall Marsh. He was the brother of the painter Reginald Marsh.He married Anne Steele in 1925 andthe couple settled in Essex Fells, New Jersey. There Marsh set up a metal forge which he used to create industrial and residential lighting fixtures. In 1948, the Marshes relocated to Pittstown, New Jersey where Jamescontinued operating a forge, expanding the operation to include decorative metal work. His work was mainly in the American Arts and Craft style.In 1952, Marsh was instrumental in establishing the Hunterdon ArtMuseum. When an 1836 stone mill became available for sale, Marsh and his neighbors decided to turn it into an art center, with Marsh providing most of the purchase price. The museum, with workshops, is still inoperation and the building is listed as Dunham's Mill on the National Register of Historic Places listings in Hunterdon County, New Jersey.In 1964, he purchased the M. C. Mulligan & Sons Quarry, also listed on the NRHP,and donated it to the Clinton Historical Museum, now known as the Red Mill Museum Village. On October 9, 1965, the James Randall Marsh Historical Park was dedicated at the museum.Marsh died on January 20, 1966,in Flemington.Passage 5:Devisingh Ransingh ShekhawatDevisingh Ramsingh Shekhawat (c. 1934 – 24 February 2023) was an Indian agriculturist and politician who served as the first gentleman of India as the husbandof President Pratibha Patil. He also served as the first gentleman of Rajasthan and also as mayor of Amravati. He was a member of the Indian National Congress.Early lifeDevisingh Ramsingh Shekhawat, who was then alecturer in chemistry, married Pratibha Patil on 7 July 1965. The couple had a daughter and a son, Raosaheb Shekhawat, who is also a politician.Shekhawat was awarded a PhD from the University of Mumbai in 1972.Prior to his wife's elevation to her presidential role, he had been principal of a college operated by his wife's Vidya Bharati Shikshan Sanstha foundation and also a First Mayor of Amravati (1991–1992). Like his wife, hewas a member of the Indian National Congress party. He was also an agriculturalist and a former member of the Legislative Assembly, being elected for the period 1985–1990 from the Amravati constituency in theMaharashtra state legislature. He lost his deposit in the 1995 contest for that constituency.Various accusations against Shekhawat and Patil emerged after the latter was nominated for the office of president. Amongthese was the case of Kisan Dhage, a teacher in a school run by Vidya Prasarak Shikshan Mandal in Buldana district, who committed suicide in November 1998. He left a note saying that he was committing suicidebecause he was tired of the mental harassment caused by Shekhawat, who was chairman of the institution, and four others. When the police registered the case as \"accidental death\", Dhage's wife appealed to theJudicial Magistrate First Class (JMFC) in Jalgaon Jamod, a tehsil in Buldana district. The JMFC ordered the police to start criminal proceedings. Shekhawat petitioned the courts seeking dismissal of charges of abettingDhage's suicide. Two lower courts turned down this plea and by June 2007 the issue was pending in the Bombay High Court. A judge at that court dismissed the charges against Shekhawat in 2009 on the grounds thatthere was no proof of direct involvement, although one of his co-accused remained subject to the proceedings.In 2009, a court ruled that Shekhawat had colluded with five relatives and local officials to illegally transferinto his ownership 2.5 acres (1.0 ha) of land in Chandrapur belonging to a Dalit farmer. This was one of several allegations of corruption and irregularities to emerge during Patil's presidency in relation to her and herfamily.First Gentleman of Rajasthan (2004–2007)Upon Shekhawat's wife's succession as governor of Rajasthan, he moved into Raj Bhavan, Jaipur succeeding as the first gentleman of Rajasthan for 3 years.FirstGentleman of India (2007–2012)On 25 July 2007 Shekhawat became the first first gentleman of India upon his wife's succession as the twelfth — and first woman — President of India for a full five-yearterm.DeathShekhawat died on 24 February 2023 at the age of 89.Passage 6:Periyar E. V. RamasamyErode Venkatappa Ramasamy (17 September 1879 – 24 December 1973), revered as Periyar or Thanthai Periyar,was an Indian social activist and politician who started the Self-Respect Movement and Dravidar Kazhagam. He is known as the 'Father of the Dravidian movement'. He rebelled against Brahminical dominance andgender and caste inequality in Tamil Nadu. Since 2021, the Indian state of Tamil Nadu celebrates his birth anniversary as 'Social Justice Day'.Ramasamy joined the Indian National Congress in 1919, but resigned in1925 when he felt that the party was only serving the interests of Brahmins. He questioned the subjugation of non-Brahmin Dravidians as Brahmins enjoyed gifts and donations from non-Brahmins but opposed anddiscriminated against non-Brahmins in cultural and religious matters. He declared his political/social views to be \"no god; no religion; no Gandhi; no Congress; and no brahmins.\"In 1924, Ramasamy participated innon-violent agitation (satyagraha) in Vaikom, Travancore. From 1929 to 1932 Ramasamy made a tour of British Malaya, Europe, and Soviet Union which influenced him. In 1939, Ramasamy became the head of theJustice Party, and in 1944, he changed its name to Dravidar Kazhagam. The party later split with one group led by C. N. Annadurai forming the Dravida Munnetra Kazhagam (DMK) in 1949. While continuing theSelf-Respect Movement, he advocated for an independent Dravida Nadu (land of the Dravidians).Ramasamy promoted the principles of rationalism, self-respect, women’s rights and eradication of caste. He opposed theexploitation and marginalisation of the non-Brahmin Dravidian people of South India and the imposition of what he considered Indo-Aryan India.BiographyEarly yearsErode Venkata Ramasamy was born on 17September 1879 to a Kannada Balija merchant family in Erode, then a part of the Coimbatore district of the Madras Presidency. Ramasamy's father was Venkatappa Nayakar (or Venkata), and his mother Chinnathyee,Muthammal was a Tamilian. He had one elder brother named Krishnaswamy and two sisters named Kannamma and Ponnuthoy. He later came to be known as \"Periyar\" meaning 'respected one' or 'elder' in theTamil.Ramasamy married when he was 19, and had a daughter who lived for only 5 months. His first wife, Nagammai, died in 1933. Ramasamy married for a second time in July 1948. His second wife, Maniammai,continued Ramasamy's social work after his death in 1973, and his ideas then were advocated by Dravidar Kazhagam.In 1929, Ramasamy announced the deletion of his caste title Naicker from his name at the FirstProvincial Self-Respect Conference of Chengalpattu. He could speak three Dravidian languages: Kannada,Telugu and Tamil. Ramasamy attended school for five years after which he joined his father's trade at the age of12. He used to listen to Tamil Vaishnavite gurus who gave discourses in his house enjoying his father's hospitality. At a young age, he began questioning the apparent contradictions in the Hindu mythological stories. AsRamasamy grew, he felt that people used religion only as a mask to deceive innocent people and therefore took it as one of his duties in life to warn people against superstitions and priests.Kashi Pilgrimage IncidentIn1904, Ramasamy went on a pilgrimage to Kashi to visit the revered Shiva temple of Kashi Vishwanath. Though regarded as one of the holiest sites of Hinduism, he witnessed immoral activities such as begging, andfloating dead bodies. His frustrations extended to functional Hinduism in general when he experienced what he called Brahmanic exploitation.However, one particular incident in Kasi had a profound impact onRamasamy's ideology and future work. At the worship site there were free meals offered to guests. To Ramasamy's shock, he was refused meals at choultries, which exclusively fed Brahmins. Due to extreme hunger,Ramasamy felt compelled to enter one of the eateries disguised as a Brahmin with a sacred thread on his bare chest, but was betrayed by his moustache. The gatekeeper at the temple concluded that Ramasamy wasnot a Brahmin, as Brahmins were not permitted by the Hindu shastras to have moustaches. He not only prevented Ramasamy's entry but also pushed him rudely into the street.As his hunger became intolerable,Ramasamy was forced to feed on leftovers from the streets. Around this time, he realised that the eatery which had refused him entry was built by a wealthy non-Brahmin from South India. This discriminatory attitudedealt a blow to Ramasamy's regard for Hinduism, for the events he had witnessed at Kasi were completely different from the picture of Kasi he had in mind, as a holy place which welcomed all. Ramasamy was a theistuntil his visit to Kasi, after which his views changed and he became an atheist.Member of Congress Party (1919–1925)Ramasamy joined the Indian National Congress in 1919 after quitting his business and resigningfrom public posts. He held the chairmanship of Erode Municipality and wholeheartedly undertook constructive programs spreading the use of Khadi, picketing toddy shops, boycotting shops selling foreign cloth, anderadicating untouchability. In 1921, Ramasamy courted imprisonment for picketing toddy shops in Erode. When his wife as well as his sister joined the agitation, it gained momentum, and the administration was forcedto come to a compromise. He was again arrested during the Non-Cooperation movement and the Temperance movement. In 1922, Ramasamy was elected the President of the Madras Presidency Congress Committeeduring the Tirupur session, where he advocated strongly for reservation in government jobs and education. His attempts were defeated in the Congress party due to discrimination and indifference, which led to hisleaving the party in 1925.Vaikom Satyagraha (1924–1925)Vaikom Satyagraha was a  nonviolent agitation for access to the prohibited public environs of the Vaikom Temple in the Kingdom of Travancore by theCongress Party. Kingdom of Travancore was known for its rigid and oppressive caste system and hence Swami Vivekananda called Travancore a \"lunatic asylum\".In Vaikom, a small town in Kerala state, thenTravancore, there were strict laws of untouchability in and around the temple area. Dalits, also known as Harijans, were not allowed into the close streets around and leading to the temple, let alone inside it. Anti-castefeelings were growing and in 1924 Vaikom was chosen as a suitable place for an organised Satyagraha. Under his guidance a movement had already begun with the aim of giving all castes the right to enter the temples.Thus, agitations and demonstrations took place.Ramasamy  was invited to led the movement as he was the President of the Madras Presidency Congress.On 14 April, Ramasamy and his wife Nagamma arrived inVaikom. They were immediately arrested and imprisoned for participation.Ramasamy  and his followers continued to give support to the movement until it was withdrawn during which he was arrested again.The way inwhich the Vaikom Satyagraha events have been recorded provides a clue to the image of the respective organisers. In an article entitle Gandhi and Ambedkar, A Study in Leadership, Eleanor Zelliot relates the 'VaikomSatyagraha', including Gandhi's negotiations with the temple authorities in relation to the event. Furthermore, the editor of Ramasamy's Thoughts states that Brahmins purposely suppressed news about Ramasamy'sparticipation. A leading Congress magazine, Young India, in its extensive reports on Vaikom never mentions Ramasamy.After the intervention of Mahatma Gandhi, the agitation was given up and a compromise reachedwith Regent Sethu Lakshmi Bayi who released all those arrested and opened the north, south and west public roads leading to Vaikom Mahadeva Temple to all castes.She refused to open the eastern road.Thecompromise was criticized by Ramasamy. Only in 1936, after the Temple Entry Proclamation, was access to the eastern road and entry into the temple allowed to the lower castes.In 1925 the Madras PresidencyCongress passed an unanimously resolution hailing Ramasamy  as Vaikom Veerar or Hero of Vaikom in the Kanchipuram Session.Self-Respect MovementRamasamy and his followers campaigned constantly to influenceand pressure the government to take measures to remove social inequality,(abolish untouchability, manual scavenging system etc.) even while other nationalist forerunners focused on the struggle for politicalindependence. The Self-Respect Movement was described from the beginning as \"dedicated to the goal of giving non-Brahmins a sense of pride based on their Dravidian past\".In 1952, the Ramasamy Self-RespectMovement Institution was registered with a list of objectives of the institution from which may be quoted as for the diffusion of useful knowledge of political education; to allow people to live a life of freedom fromslavery to anything against reason and self respect; to do away with needless customs, meaningless ceremonies, and blind superstitious beliefs in society; to put an end to the present social system in which caste,religion, community and traditional occupations based on the accident of birth, have chained the mass of the people and created \"superior\" and \"inferior\" classes... and to give people equal rights; to completelyeradicate untouchability and to establish a united society based on brother/sisterhood; to give equal rights to women; to prevent child marriages and marriages based on law favourable to one sect, to conduct andencourage love marriages, widow marriages, inter caste and inter-religious marriages and to have the marriages registered under the Civil Law; and to establish and maintain homes for orphans and widows and to runeducational institutions. Propagation of the philosophy of self respect became the full-time activity of Ramasamy since 1925. A Tamil weekly Kudi Arasu started in 1925, while the English journal Revolt started in 1928carried on the propaganda among the English educated people. The Self-Respect Movement began to grow fast and received the sympathy of the heads of the Justice Party from the beginning. In May 1929, aconference of Self-Respect Volunteers was held at Pattukkotai under the presidency of S. Guruswami. K.V. Alagiriswami took charge as the head of the volunteer band. Conferences followed in succession throughout theTamil districts of the former Madras Presidency. A training school in Self-Respect was opened at Erode, the home town of Ramasamy. The object was not just to introduce social reform but to bring about a socialrevolution to foster a new spirit and build a new society.International travel (1929–1932)Between 1929 and 1935, under the strain of the Great Depression, political thinking worldwide received a jolt from the spread ofinternational communism. Indian political parties, movements and considerable sections of leadership were also affected by inter-continental ideologies. The Self-Respect Movement also came under the influence of theleftist philosophies and institutions. Ramasamy, after establishing the Self-Respect Movement as an independent institution, began to look for ways to strengthen it politically and socially. To accomplish this, he studiedthe history and politics of different countries, and personally observed these systems at work.Ramasamy toured Malaya for a month, from December 1929 to January 1930, to propagate the self-respect philosophy.Embarking on his journey from Nagapattinam with his wife Nagammal and his followers, Ramasamy was received by 50,000 Tamil Malaysians in Penang. During the same month, he inaugurated the Tamils Conference,convened by the Tamils Reformatory Sangam in Ipoh, and then went to Singapore. In December 1931 he undertook a tour of Europe, accompanied by S. Ramanathan and Erode Ramu, to personally acquaint himselfwith their political systems, social movements, way of life, economic and social progress and administration of public bodies. He visited Egypt, Greece, Turkey, the Soviet Union, Germany, England, Spain, France andPortugal, staying in Russia for three months. On his return journey he halted at Ceylon and returned to India in November 1932.The tour shaped the political ideology of Ramasamy to achieve the social concept of"}
+{"doc_id":"doc_115","qid":"","text":"Passage 1:Margaret Clifford, Countess of DerbyMargaret Stanley, Countess of Derby (née Lady Margaret Clifford; 1540 – 28 September 1596) was the only surviving daughter of Henry Clifford, 2nd Earl of Cumberlandand Lady Eleanor Brandon. Her maternal grandparents were Charles Brandon, 1st Duke of Suffolk and Mary Tudor, Queen of France. Mary was the third daughter of King Henry VII of England and Elizabeth of York.EarlylifeMargaret was born at Brougham Castle in 1540. Her mother died when she was seven and her father left court.Claim to the throneAccording to the will of Henry VIII, Margaret was in line to inherit the throne ofEngland. Upon the death of her mother, Margaret became seventh in line. However, both her cousins Lady Jane Grey and Lady Mary Grey died without issue, and their sister, her other cousin, Lady Catherine Grey, diedwithout the legitimacy of her two sons ever being proven (this was later established but only after the death of Elizabeth I). Margaret quickly moved up to becoming the first in line to the throne but died prior to thedeath of Elizabeth I.Marriage and familyIn 1552, John Dudley, 1st Duke of Northumberland suggested a marriage of his youngest son Guildford to Margaret, yet, although the proposal had the warm support of EdwardVI, her father was against it. A year later, in June 1553, the Imperial ambassador Jehan Scheyfve reported that Northumberland's brother Andrew Dudley would marry Margaret. The Dudleys were imprisoned whenMary I gained the throne.Margaret joined Mary's court and married Henry Stanley, 4th Earl of Derby on 7 February 1555 in the Chapel Royal at Whitehall Palace. They had something of a stormy relationship. Margaretwrote that there were several \"breaches and reconciliations\", but that her husband finally left her leaving serious debt. In 1567, Lady Le Strange petitioned the Queen's advisor, William Cecil, for a financial settlementfrom her estranged husband.With whom she had at least four children:Edward Stanley. Died young.Ferdinando Stanley, 5th Earl of Derby (c. 1559 – 16 April 1594).William Stanley, 6th Earl of Derby (c. 1561 – 29September 1642).Francis Stanley (b. 1562). Died young.She later married Thomas Fitzwilliam Le Strange, and in 1563 gave birth to a daughter Frances Jenison (née Le Strange) and possibly several otherchildren.Disgrace and deathIn 1579, Margaret was arrested after she had been heard discussing a proposed marriage of Queen Elizabeth to the Duke d'Alençon. She was opposed to it as it threatened her own possibleaccession to the crown. She was then accused of using sorcery to predict when Elizabeth would die, and even of planning to poison Elizabeth.Simply predicting the death of a monarch was a capital offence at the time.The countess was put under house arrest. She wrote to Francis Walsingham insisting on her innocence. She claimed that the accused sorcerer, William Randall, was in fact her physician, who was staying with herbecause he could cure \"sickness and weakness in my body\". Randall was subsequently executed. No charges were brought against the countess, but she was banished from court. She wrote repeatedly to the queencomplaining that she was in a \"black dungeon of sorrow and despair....overwhelmed with heaviness through the loss of your majesty's favour and gracious countenance.\" She continued to be plagued by demands fromcreditors.Margaret died in 1596 without having recovered royal favour, and having outlived her eldest son, Ferdinando. Her granddaughter, Lady Anne Stanley, Ferdinando's oldest daughter, inherited her claim.Elizabeth I was eventually succeeded by the genealogically senior claimant, James VI of Scotland.PortraitThere is a discrepancy as to who the sitter is in the Hans Eworth portrait which is featured. The coat of arms inthe top left corner, which may have been added later, are the impaled arms (those of a husband and wife) of Henry Clifford, 2nd Earl of Cumberland, and his wife Lady Eleanor, daughter of Charles Brandon, 1st Duke ofSuffolk, and Mary Tudor, Dowager Queen of France. As a result, the painting has been frequently exhibited in the past as a portrait of Lady Eleanor, regardless of the fact that she died in 1547, well before the date ofthis portrait. It is, however, a rule of heraldry that impaled arms are not used by the children of a marriage, as they would have their own. Hence the later addition and erroneous use of the arms here suggests that theidentity of the portrait was already unclear only two or three generations after it was painted, a situation by no means unusual amid the frequent early deaths, multiple marriages, and shifting alliances and fortunes ofthe most powerful families of the Tudor era. Later the portrait was thought to represent the only child of Eleanor and Henry to survive infancy, Margaret. The inscription on the right which might have provided a check(Margaret would have been aged 25–28 at the time of this portrait) has been truncated; although the Roman numerals of the year can apply only to 1565–8, the age of the sitter cannot be ascertained with any usefulaccuracy.The National Portrait Gallery has an online sketch of this portrait identified as Lady Eleanor, but the portrait remains in dispute.Passage 2:Henry Clifford, 2nd Earl of CumberlandHenry Clifford, 2nd Earl ofCumberland (1517 – January 1570) was a member of the Clifford family, seated at Skipton Castle from 1310 to 1676. His wife was Lady Eleanor Brandon, a niece of King Henry VIII.OriginsHenry was a son of HenryClifford, 1st Earl of Cumberland, by his wife, Margaret Percy, daughter of Henry Algernon Percy, 5th Earl of Northumberland, and Catherine Spencer.AncestryHis maternal great-grandfather was Henry Percy, 4th Earl ofNorthumberland, whose wife was Maud Herbert, Countess of Northumberland. His maternal grandmother was a daughter of Sir Robert Spencer and Eleanor Beaufort. Eleanor was a daughter of Edmund Beaufort, 2ndDuke of Somerset, and Eleanor Beauchamp. She was a granddaughter of Richard de Beauchamp, 13th Earl of Warwick, and Elizabeth Berkeley. He served as hereditary High Sheriff of Westmorland.Marriages andprogenyHenry Clifford married twice.Firstly, before June 1537, Henry married Lady Eleanor Brandon (she was his fourth-cousin through his mother's side), the second daughter of Charles Brandon, 1st Duke of Suffolk,by his third wife, Mary Tudor, former Queen Consort of France. According to the Third Succession Act of 23 March 1544, Lady Eleanor Brandon was the seventh-in-line to the throne of the Kingdom of England. With herdeath, her daughter, Lady Margaret Clifford, took her place in the line of succession. The expenses of this alliance seriously impoverished Henry's estate and obliged him to alienate the great manor of Temedbury,Herefordshire, the oldest estate then remaining in the family. Eleanor was a younger sister of Henry Brandon (who died very young) and Lady Frances Brandon, and an older sister of Henry Brandon, 1st Earl of Lincoln(named after their dead brother). Her paternal grandparents were Sir William Brandon and Elizabeth Bruyn. Her maternal grandparents were King Henry VII of England and his queen consort, Elizabeth ofYork.  Following her death in 1547, Henry retired to the country and concentrated on increasing his paternal inheritance, and is said to have visited the court only thrice: at the coronation of Queen Mary I, on hisdaughter's marriage, and again soon after the accession of Queen Elizabeth I. By his wife Eleanor Brandon, Henry had three children:Lady Margaret Clifford (1540 – 29 September 1596), wife of Henry Stanley, 4th Earlof Derby.Henry Clifford, died an infant.Charles Clifford, died an infant.Secondly, Henry married Anne Dacre (c. 1521 – July 1581), the daughter of William Dacre, 3rd Baron Dacre, and Lady Elizabeth Talbot, daughter ofGeorge Talbot, 4th Earl of Shrewsbury, and Anne Hastings. Anne Hastings was a daughter of William Hastings, 1st Baron Hastings, and Lady Katherine Neville. Lady Katherine Neville was a daughter of Richard Neville,5th Earl of Salisbury, and Alice Montacute, 5th Countess of Salisbury. By Anne Dacre, Henry had at least three children:George Clifford, 3rd Earl of Cumberland (8 August 1558 – 30 October 1605)Francis Clifford, 4thEarl of Cumberland (1559–1641)Lady Frances Clifford (d. 1592), wife of Philip Wharton, 3rd Baron Wharton.CareerIn July 1561 Henry and Lord Dacre, his father-in-law, were accused of protecting the popish priests inthe north. A similar charge was advanced in February 1562. He was in 1569 strongly opposed to the contemplated marriage of Mary Queen of Scots and Thomas Howard, 4th Duke of Norfolk, and readily promisedsupport to the great rebellion of that year. In May 1569 he was in London. As the year wore on he gave in his adherence to the scheme for proclaiming Mary queen of England; but when the critical moment arrived hedid not act with vigour, but as a 'crazed man, leaving his tenants to the leadership of Leonard Dacres'. He assisted Lord Scrope in fortifying Carlisle against the rebels. Henry is described by his daughter as having 'agood library,' being 'studious in all manner of learning, and much given to alchemy.'Death and burialHe died shortly after 8 January 1569–70, at Brougham Castle, and was buried at Skipton Castle.Passage 3:HenryClifford, 5th Earl of CumberlandHenry Clifford, 5th Earl of Cumberland (28 February 1592 – 11 December 1643) was an English landowner and politician who sat in the House of Commons between 1614 and 1622. Hewas created a baron in 1628 and succeeded to the title Earl of Cumberland in 1641.Clifford was the son of Francis Clifford, 4th Earl of Cumberland, and Grisold Hughes and a member of the Clifford family which held theseat of Skipton from 1310 to 1676. He was educated at Christ Church, Oxford. In 1607, he became joint Lord Lieutenant of Cumberland, Northumberland and Westmorland. He was elected Member of Parliament forWestmorland in 1614, and was returned in 1621. In 1621, he became Custos Rotulorum of Westmorland. He was created Baron Clifford in 1628.Clifford was a supporter of Charles I during the so-called Bishops' Wars inScotland, and also during the Civil War until his death. He succeeded to the title of Earl of Cumberland in 1641 and died two years later in 1643 at the age of 52; as he left no sons the earldom became extinct.Cliffordmarried Lady Frances Cecil (1593 – 14 February 1644), daughter of Robert Cecil, 1st Earl of Salisbury and Elizabeth Brooke on 25 July, 1610, at St Mary Abbots Church, Kensington. They had one child: Lady ElizabethClifford who married Richard Boyle, 1st Earl of Burlington.Passage 4:Eleanor Brandon, Countess of CumberlandEleanor Clifford, Countess of Cumberland (née Lady Eleanor Brandon; 1519 – 27 September 1547) was thethird child and second daughter of Charles Brandon, 1st Duke of Suffolk and Princess Mary Tudor, the Dowager Queen consort of France. She was a younger sister of Lady Frances Brandon and an elder sister of HenryBrandon, 1st Earl of Lincoln. She was also a younger paternal half-sister of Lady Anne Brandon and Lady Mary Brandon from her father's second marriage. After her mother's death in 1533, her father remarried toCatherine Willoughby and Eleanor became an elder half-sister of Henry Brandon, 2nd Duke of Suffolk and Charles Brandon, 3rd Duke of Suffolk.Her paternal grandparents were Sir William Brandon and Elizabeth Bruyn.Her maternal grandparents were Henry VII of England and his queen consort Elizabeth of York. She was thus a niece of Henry VIII.Countess of CumberlandLady Eleanor was a descendant of a member of the Tudordynasty and therefore her marriage would advance the political ambitions of any given husband. In March 1533, a marriage contract was written up for Lady Eleanor and Henry Clifford, the eldest son and heir of HenryClifford, 1st Earl of Cumberland by Lady Margaret Percy. However, since her mother died nine months later, she waited to go and live with her young husband and in-laws. In anticipation of Eleanor's arrival, the Earl ofCumberland built two towers and the great gallery within Skipton Castle. Eleanor married Clifford in June 1535; her uncle King Henry VIII was present.In January 1536, Eleanor was designated the chief mourner for thefuneral service of Catherine of Aragon, first Queen consort of Henry VIII, at Peterborough Cathedral.There is not much known about her later life and she left only one letter:\"Dear heart, After my most heartycommendations, this shall be to certify you that since your departure from me I have been very sick and at this present my water is very red, whereby I suppose I have the jaundice and the ague both, for I have noneabide [no appetite for] meat and I have such pains in my side and towards my back as I had at Brougham, where it began with me first. Wherefore I desire you to help me to a physician and that this bearer my bringhim with him, for now in the beginning I trust I may have good remedy, and the longer it is delayed, the worse it will be. Also my sister Powys [Anne Brandon] is come to me and very desirous to see you, which I trustshall be the sooner at this time, and thus Jesus send us both health.At my lodge at Carlton, the 14th of February.And, dear heart, I pray you send for Dr Stephens, for he knoweth best my complexion for such causes.Byyour assured loving wife, Eleanor Cumberland\"IssueWith Henry Clifford:Lady Margaret Clifford (1540 - 28 September 1596); she married Henry Stanley, 4th Earl of Derby.Henry Clifford; died an infant.Charles Clifford;died an infant.PortraitThere is a discrepancy as to who the sitter is in the Hans Eworth portrait which is featured. The coat of arms in the top left corner, which may have been added later, are the impaled arms (those ofa husband and wife) of Henry Clifford, 2nd Earl of Cumberland, and his wife Lady Eleanor, daughter of Charles Brandon, 1st Duke of Suffolk, and Mary Tudor, Dowager Queen of France. As a result, the painting has beenfrequently exhibited in the past as a portrait of Lady Eleanor, regardless of the fact that she died in 1547, well before the date of this portrait. It is, however, a rule of heraldry that impaled arms are not used by thechildren of a marriage, as they would have their own. Hence the later addition and erroneous use of the arms here suggests that the identity of the portrait was already unclear only two or three generations after it waspainted, a situation by no means unusual amid the frequent early deaths, multiple marriages, and shifting alliances and fortunes of the most powerful families of the Tudor era. Later the portrait was thought torepresent the only child of Eleanor and Henry to survive infancy, Margaret. Unfortunately the inscription on the right which might have provided a check (Margaret would have been aged 25–28 at the time of thisportrait) has been truncated; although the Roman numerals of the year can apply only to 1565-8, the age of the sitter cannot be ascertained with any useful accuracy. The National Portrait Gallery has an online sketchof this portrait identified as Lady Eleanor, but the portrait remains in dispute. There is, however, a portrait of Lady Eleanor featured at Skipton Castle. It is reportedly a very poor work of art, but nonethelessinteresting.Passage 5:Margaret Clifford, Countess of CumberlandMargaret Clifford (née Russell), Countess of Cumberland (7 July 1560 – 24 May 1616) was an English noblewoman and maid of honor to Elizabeth I. LadyMargaret was born in Exeter, England to Francis Russell, 2nd Earl of Bedford and Margaret St John.On 24 June 1577 she married George Clifford, 3rd Earl of Cumberland the son of Henry Clifford, 2nd Earl of Cumberlandand Anne Dacre. Her sister, Anne Russell, Countess of Warwick, was married to Ambrose Dudley, brother of Robert Dudley, the Earl of Leicester, and Anne too was a great literary patron and a close friend to QueenElizabeth I, attending her on her death bed.In 1603 she travelled from London with her daughter Lady Anne Clifford and the Countess of Warwick to join others greeting Anne of Denmark and Prince Henry at Dingley,the house of Thomas Griffin on 24 June. Afterwards they rode with Anne Vavasour (later Lady Warburton) through Coventry to see Princess Elizabeth at Coombe Abbey. At this time her husband was not maintainingher, and she wrote to Sir Robert Cecil asking for his intervention so that she could buy suitable clothes to \"furnish her self\" to attend the new queen. The royal couple were entertained at Grafton Regis by her husband.Although the Countess was present, according to her daughter, she was marginalised, \"not held as mistress of the house\".She was a patron of the poet Emilia Lanier.In 1593, Lady Margaret Russell founded BeamsleyHospital, an almshouse for local widows. She was interested in physic and alchemy, and had an alchemical recipe book compiled for her.She died at Brougham Castle, on 24 May 1616.The tomb of the Countess is at StLawrence's Church, Appleby along with that of her daughter, Lady Anne Clifford. Lady Anne Clifford built the Countess Pillar to commemorate her.ChildrenFrancis Clifford (1584 – 8 December 1589)Robert Clifford (21September 1585 – 24 May 1591)Lady Anne Clifford (30 January 1590 – 22 March 1676), who married Richard Sackville, 3rd Earl of Dorset, and secondly Philip Herbert, 4th Earl of PembrokeLady Margaret Clifford (29March 1594 - 4 February 1647)Passage 6:Thomas Bruce, 2nd Earl of AilesburyThomas Bruce, 2nd Earl of Ailesbury (later styled Aylesbury) and 3rd Earl of Elgin (1656 – 16 December 1741), styled Lord Bruce between1663 and 1685, was an English politician and memoirist. He was the son of Robert Bruce, 2nd Earl of Elgin, and Lady Diana Grey. His maternal grandparents were Henry Grey, 1st Earl of Stamford, and Lady Anne Cecil,daughter of William Cecil, 2nd Earl of Exeter. His Memoirs, which were not published until long after his death, are a valuable source for English history in the last quarter of the seventeenth century.Early lifeLord Brucewas elected member of parliament for Marlborough between 1679 and 1681, and for Wiltshire in 1685. He became a Gentleman of the Bedchamber in 1676. From 1685, when he inherited the earldom, to 1688, he wasa Lord of the Bedchamber, Lord Lieutenant of Bedfordshire and Huntingdonshire (the latter in the absence of the Earl of Sandwich) and was a Page of Honour, at the coronation of King James II on 23 April 1685. He wasdevoted to Charles II, who remarked on his deathbed \"I see you love me dying as well as living\"; Bruce wrote later of Charles' death that \"Thus ended my happy days at a Court, and to this hour I bewail my loss\". Healso admired Charles's brother and successor James II, though he was not blind to his faults as a ruler.FamilyHe married, firstly, Lady Elizabeth Seymour, daughter of Henry Seymour, Lord Beauchamp and Mary Capelland granddaughter of William Seymour, 2nd Duke of Somerset, on 31 August 1676. She died in 1697 in premature childbirth, apparently brought on by a false report that her husband had been executed for treason.They had three children:Robert Bruce, Lord Bruce (1679–1685)Charles Bruce, 4th Earl of Elgin (1682–1747)Lady Elizabeth Bruce (1689–1745), married George Brudenell, 3rd Earl of Cardigan and had issue.He married,secondly, Charlotte d'Argenteau, comtesse d'Esneux, in Brussels (St Jacques sur Coudenberg) on 27 April 1700. They had one daughter:Lady Marie Thérèse Bruce (1704–1736), married Prince Maximilian Emmanuel ofHornes and had issue.Later lifeHe was one of only four peers who continued to support James II after the Prince of Orange embarked for England. On 18 December 1688 he accompanied King James to Rochester whenhe fled London. Elgin himself chose to remain in England; he was prepared in the short term to offer his support to the new regime, although his loyalty to it was always deeply suspect.In May 1695, Lord Elgin wasaccused, almost certainly with good reason, of having conspired to plan the restoration of King James II and in February 1696 he was imprisoned in the Tower of London, but admitted to bail a year later and allowed toleave England for Brussels. After more than 40 years in exile, he died in Brussels and was buried there. Some historians have accused him of double-dealing in swearing allegiance to William III while plotting therestoration of James; others argue that his true loyalty was to the institution of the monarchy, and that he supported whichever monarch seemed best fitted to rule at any given time. William III clearly did not regardhim as a dangerous character, as shown by the fact that he was left in peace once he fled from England; he was fortunate in having a great many friends and very few enemies. It seems that from about 1710 he wasfree to return to England, but he was by then happily settled in Brussels, where he had made a second marriage for love to Charlotte, comtesse d'Esneux, and, since he was able to draw at least part of the revenue from"}
+{"doc_id":"doc_116","qid":"","text":"Passage 1:Marie-Louise CoidavidQueen Marie Louise Coidavid (1778 – 11 March 1851) was the Queen of the Kingdom of Haiti 1811–20 as the spouse of Henri Christophe.Early lifeMarie-Louise was born into a free blackfamily; her father was the owner of Hotel de la Couronne, Cap-Haïtien. Henri Christophe was a slave purchased by her father. Supposedly, he earned enough money in tips from his duties at the hotel that he was able topurchase his freedom before the Haitian Revolution. They married in Cap-Haïtien in 1793, having had a relationship with him from the year prior. They had four children: François Ferdinand (born 1794),Françoise-Améthyste (d. 1831), Athénaïs (d. 1839) and Victor-Henri.At her spouse's new position in 1798, she moved to the Sans-Souci Palace. During the French invasion, she and her children lived underground until1803.QueenIn 1811, Marie-Louise was given the title of queen upon the creation of the Kingdom of Haiti. Her new status gave her ceremonial tasks to perform, ladies-in-waiting, a secretary and her own court. She tookher position seriously, and stated that the title \"given to her by the nation\" also gave her responsibilities and duties to perform. She served as the hostess of the ceremonial royal court life performed at the Sans-SouciPalace. She did not involve herself in the affairs of state. She was given the position of Regent should her son succeed her spouse while still being a minor.  However, as her son became of age before the death of hisfather, this was never to materialize.After the death of the king in 1820, she remained with her daughters Améthyste and Athénaïs at the palace until they were escorted from it by his followers together with his corpse;after their departure, the palace was attacked and plundered. Marie-Louise and her daughters were given the property Lambert outside Cap. She was visited by president Jean Pierre Boyer, who offered her hisprotection; he denied the spurs of gold she gave him, stating that he was the leader of poor people. They were allowed to settle in Port-au-Prince. Marie-Louise was described as calm and resigned, but her daughters,especially Athénaïs, were described as vengeful.ExileThe Queen was in exile for 30 years. In August 1821, the former queen left Haiti with her daughters under the protection of the British admiral Sir Home Popham,and travelled to London. There were rumours that she was searching for the money, three million, deposited by her spouse in Europe. Whatever the case, she did live the rest of her life without economic difficulties. TheEnglish climate and pollution during the Industrial Revolution was determintal to Améthyste's health, and eventually they decided to leave.In 1824, Marie-Louise and her daughters moved in Pisa in Italy, where theylived for the rest of their lives, Améthyste dying shortly after their arrival and Athénaïs in 1839. They lived discreetly for the most part, but were occasionally bothered by fortune hunters and throne claimers whowanted their fortune. Shortly before her death, she wrote to Haiti for permission to return. She never did, however, before she died in Italy. She is buried in the church of San Donnino. A historical marker was installedin front of the church on April 23, 2023 to commemorate the Queen, her daughter and her sister.See alsoMarie-Claire Heureuse FélicitéAdélina LévêquePassage 2:Sophia Magdalena of DenmarkSophia Magdalena ofDenmark (Danish: Sophie Magdalene; Swedish: Sofia Magdalena; 3 July 1746 – 21 August 1813) was Queen of Sweden from 1771 to 1792 as the wife of King Gustav III. Born into the House of Oldenburg, the royalfamily of Denmark-Norway, Sophia Magdalena was the first daughter of King Frederick V of Denmark and Norway and his first consort, Princess Louise of Great Britain. Already at the age of five, she was betrothed toGustav, the heir apparent to the throne of Sweden, as part of an attempt to improve the traditionally tense relationship between the two Scandinavian realms. She was subsequently brought up to be the Queen ofSweden, and they married in 1766. In 1771, Sophia's husband ascended to the throne and became King of Sweden, making Sophia Queen of Sweden. Their coronation was on 29 May 1772.The politically arrangedmarriage was unsuccessful. The desired political consequences for the mutual relations between the two countries did not materialize, and on a personal level the union also proved to be unhappy. Sophia Magdalenawas of a quiet and serious nature, and found it difficult to adjust to her husband's pleasure seeking court. She dutifully performed her ceremonial duties but did not care for social life and was most comfortable in quietsurroundings with a few friends. However, she was liked by many in the Caps party, believing she was a symbol of virtue and religion. The relationship between the spouses improved somewhat in the years from 1775to 1783, but subsequently deteriorated again.After her husband was assassinated in 1792, Sophia Magdalena withdrew from public life, and led a quiet life as dowager queen until her death in 1813.Early lifePrincessSophie Magdalene was born on 3 July 1746 at her parents' residence Charlottenborg Palace, located at the large square, Kongens Nytorv, in central Copenhagen. She was the second child and first daughter of CrownPrince Frederick of Denmark and his first consort, the former Princess Louise of Great Britain, and was named for her grandmother, Queen Sophie Magdalene. She received her own royal household at birth.Just onemonth after her birth, her grandfather King Christian VI died, and Princess Sophie Magdalene's father ascended the throne as King Frederick V. She was the heir presumptive to the throne of Denmark from the death ofher elder brother in 1747 until the birth of her second brother in 1749, and retained her status as next in line to the Danish throne after her brother until her marriage. She was therefore often referred to as CrownPrincess of Denmark.In the spring of 1751, at the age of five, she was betrothed to Gustav, the heir apparent to the throne of Sweden, and she was brought up to be the Queen of Sweden. The marriage was arrangedby the Riksdag of the Estates, not by the Swedish royal family. The marriage was arranged as a way of creating peace between Sweden and Denmark, which had a long history of war and which had strained relationsfollowing the election of an heir to the Swedish throne in 1743, where the Danish candidate had lost. The engagement was met with some worry from Queen Louise, who feared that her daughter would be mistreated bythe Queen of Sweden, Louisa Ulrika of Prussia. The match was known to be disliked by the Queen of Sweden, who was in constant conflict with the Parliament; and who was known in Denmark for her pride, dominantpersonality and hatred of anything Danish, which she demonstrated in her treatment of the Danish ambassadors in Stockholm.After the death of her mother early in her life, Sophia Magdalena was given a very strictand religious upbringing by her grandmother and her stepmother, who considered her father and brother to be morally degenerate. She is noted to have had good relationships with her siblings, her grandmother andher stepmother; her father, however, often frightened her when he came before her drunk, and was reportedly known to set his dogs upon her, causing in her a lifelong phobia.In 1760, the betrothal was again broughtup by Denmark, which regarded it as a matter of prestige. The negotiations were made between Denmark and the Swedish Queen, as King Adolf Frederick of Sweden was never considered to be of any more than purelyformal importance. Louisa Ulrika favored a match between Gustav and her niece Philippine of Brandenburg-Schwedt instead, and claimed that she regarded the engagement to be void and forced upon her by CarlGustaf Tessin. She negotiated with Catherine the Great and her brother Frederick the Great to create some political benefit for Denmark in exchange for a broken engagement. However, the Swedish public was veryfavorable to the match due to expectations Sophia Magdalena would be like the last Danish-born Queen of Sweden, Ulrika Eleonora of Denmark, who was very loved for her kindness and charity. This view wassupported by the Caps political party, which expected Sophia Magdalena to be an example of a virtuous and religious representative of the monarchy in contrast to the haughty Louisa Ulrika. Fredrick V of Denmark wasalso eager to complete the match: \"His Danish Majesty could not have the interests of his daughter sacrificed because of the prejudices and whims of the Swedish Queen\". In 1764 Crown Prince Gustav, who was at thispoint eager to free himself from his mother and form his own household, used the public opinion to state to his mother that he wished to honor the engagement, and on 3 April 1766, the engagement was officiallycelebrated.When a portrait of Sophia Magdalena was displayed in Stockholm, Louisa Ulrika commented: \"why Gustav, you seem to be already in love with her! She looks stupid\", after which she turned to Prince Charlesand added: \"She would suit you better!\"Crown PrincessOn 1 October 1766, Sophia Magdalena was married to Gustav by proxy at Christiansborg Palace in Copenhagen with her brother Frederick, Hereditary Prince ofDenmark, as representative of her groom. She traveled in the royal golden sloop from Kronborg in Denmark over Öresund to Hälsingborg in Sweden; when she was halfway, the Danish cannon salute ended, and theSwedish started to fire. In Helsingborg, she was welcomed by her brother-in-law Prince Charles of Hesse, who had crossed the sea shortly before her, the Danish envoy in Stockholm, Baron Schack, as well as CrownPrince Gustav himself. As she was about to set foot on ground, Gustav was afraid that she would fall, and he therefore reached her his hand with the words: \"Watch out, Madame!\", a reply which quickly became a topicof gossip at the Swedish court.The couple then traveled by land toward Stockholm, being celebrated on the way. She met her father-in-law the King and her brothers-in-law at Stäket Manor on 27 October, and shecontinued to be well-treated and liked by them all during her life in Sweden. Thereafter, she met her mother-in-law the Queen and her sister-in-law at Säby Manor, and on the 28th, she was formally presented for theSwedish royal court at Drottningholm Palace. At this occasion, Countess Ebba Bonde noted that the impression about her was: \"By God, how beautiful she is!\", but that her appearance was affected by the fact that shehad a: \"terrible fear of the Queen\". On 4 November 1766, she was officially welcomed to the capital of Stockholm, where she was married to Gustav in person in the Royal Chapel at Stockholm Royal Palace.SophiaMagdalena initially made a good impression upon the Swedish nobility with her beauty, elegance and skillful dance; but her shy, silent, and reserved nature soon made her a disappointment in the society life. Being of areserved nature, she was considered cold and arrogant. Her mother-in-law Queen Louisa Ulrika, who once stated that she could comprehend nothing more humiliating than the position of a Queen Dowager, harassedher in many ways: a typical example was when she invited Gustav to her birthday celebrations, but asked him to make Sophia Magdalena excuse herself by pretending to be too ill to attend. Louisa Ulrika encouraged adistance between the couple in various ways, and Gustav largely ignored her so as not to make his mother jealous.Sophia Magdalena was known to be popular with the Caps, who were supported by Denmark, whileLouisa Ulrika and Gustav sided with the Hats. The Caps regarded Sophia Magdalena to be a symbol of virtue and religion in a degenerated royal court, and officially demonstrated their support. Sophia Magdalena wasadvised by the Danish ambassador not to involve herself in politics, and when the spies of Louisa Ulrika reported that Sophia Magdalena received letters from the Danish ambassador through her Danish entourage, theQueen regarded her to be a sympathizer of the Danish-supported Caps: she was isolated from any contact with the Danish embassy, and the Queen encouraged Gustav to force her to send her Danish servants home.This she did not do until 1770, and his demand contributed to their tense and distant relationship. In 1768, Charlotta Sparre tried to reconcile the couple at their summer residence Ekolsund Castle, but the marriageremained unconsummated.After King Adolf Frederick of Sweden died in 1771, Gustav III became King of Sweden. The following year, on 29 May, Sophia Magdalena was crowned Queen.Early reign as QueenThecoronation of Gustav III and Sophia Magdalena took place on 29 May 1772. She was not informed about the coup of Gustav III, which reinstated absolute monarchy and ended the parliamentary rule of the Estates inthe revolution of 1772. At the time she was deemed as suspicious and politically untrustworthy in the eyes of the King, primarily by her mother-in-law, who painted her as pro-Danish. Denmark was presumed to opposethe coup; there were also plans to conquer Norway from Denmark.Sophia Magdalena was informed about politics nonetheless: she expressed herself pleased with the 1772 parliament because Count Fredrik Ribbing, forwhom she had taken an interest, had regained his seat. The conflict between her and her mother-in-law was publicly known and disliked, and the sympathies were on her side. In the contemporary paper DagligtAllehanda, a fable was presented about Rävinnan och Turturduvan (\"The She Fox and the Turtle Dove\"). The fable was about the innocent turtle dove (Sophia Magdalena) who was slandered by the wicked she fox(Louisa Ulrika), who was supported by the second she fox (Anna Maria Hjärne) and the other foxes (the nobility). The fable was believed to have been sent from the Caps party.Queen Sophia Magdalena was of a shyand reserved character, and was never a member of the King's inner circle. At the famous amateur court theater of Gustav III, Sophia Magdalena is occasionally named as participator in the documents. In 1777, forexample, she dressed as an Italian sailor and participated in a battle between Italian and Spanish sailors. Usually it was rather her role to act as the passive lady of games and tournaments, and to decorate the winnerwith the award. She did her ceremonial duties, but disliked the vivid lifestyle of the court around her outgoing spouse.As queen, she was expected to do a great deal of representation – more than what had beenexpected from previous queens due to her husband's adoration of representation. On formal occasions, she was at her best: she performed beautifully according to royal court etiquette, and was seen as dignified andimpressive. For instance, on 17 September 1784, she cut the cord to let off the first air balloons from the Stockholm observatory. During the King's Italian journey in 1783–84, she hosted a grand formal public dinnerevery two weeks. During that time, she appeared at the Royal Swedish Opera and at the French Theater, but otherwise preferred her solitude. This attracted attention as during the absence of the King she had beenexpected to represent the royal couple all the more.Sophia appeared to have enjoyed nature trips in the country side with only one lady-in-waiting and two footmen, however, her country side visitations were stoppedbecause it was deemed 'unsuitable'. Several of her ladies-in-waiting were well known Swedish women of the era, among them The Three Graces: Augusta von Fersen, Ulla von Höpken and Lovisa Meijerfelt, as well asMarianne Ehrenström and Charlotta Cedercreutz, who were known artists.Sophia Magdalena was a popular Queen: on 22 July 1788, for example, during the absence of her spouse in Finland, several members of theRoyal Dramatic Theater and the musical society Augustibröder, among them Bellman, took a spontaneous trip by boat from the capital to Ulriksdal Palace, where she was, and performed a poem by Bellman to her honorat the occasion of her name day.In the famous diary of her sister-in-law, Princess Hedwig Elizabeth Charlotte, Sophia Magdalena is described as beautiful, cold, silent and haughty, very polite and formal, reserved andunsociable. When she performed her duties as Queen, her sister-in-law, Hedwig Elizabeth Charlotte of Holstein-Gottorp, described her as \"Forced to meet people\".Sophia Magdalena preferred to spend her days insolitude whenever she could. She had two very intimate friends, Maria Aurora Uggla and Baroness Virginia Charlotta Manderström, but otherwise rarely participated in any social life outside of what was absolutelynecessary to perform her representational  duties. She frequently visited the theater, and she also had a great interest for fashion. As a result of this, she was somewhat criticized for being too vain: even when she hadno representational duties to dress up for and spend her days alone in her rooms, she is said to have changed costumes several times daily, and according her chamberlain Adolf Ludvig Hamilton, she never passed amirror without studying herself in it. She was also interested in literature, and educated herself in various subjects: her library contained works about geography, genealogy and history. She educated herself in Swedish,English, German and Italian, and regularly read French magazines. According to Augusta von Fersen, Sophia Magdalena was quite educated, but she was not perceived as such because she rarely engaged inconversation.In 1784, after the King had returned from his trip to Italy and France, the relationship between the King and Queen soured. At this time, Gustav III spent more and more time with male favorites. In 1786,this came to an open conflict. The King had taken to spend more time at intimate evenings with his favorite Gustaf Mauritz Armfelt, from which he excluded her company. When he gave some of her rooms at the RoyalPalace to Armfelt, Sophia Magdalena refused to participate in any representation until the rooms were given back to her, and she also banned her ladies-in-waiting from accepting his invitations without herpermission.In 1787, she threatened him with asking for the support of the parliament against him if he took their son with him to Finland, which she opposed, and the year after, she successfully prevented him fromdoing so. She also reprimanded him from allowing his male favorites to slander her before him.Queen Sophia Magdalena was never involved in politics, except for one on one occasion. In August 1788, during theRusso-Swedish War (1788–1790), the King gave her the task to enter in negotiations with Denmark to prevent a declaration of war from Denmark during the ongoing war against Russia. He asked her to call upon theDanish ambassador Reventlow and give him a letter to be read in the Danish royal council before her brother, the Danish King. He gave her the freedom to write as she wished, but to use the argument that she spokeas a sister and mother to a son with the right to the Danish throne and upon her own initiative.Sophia Magdalena called upon the Danish ambassador, held a speech to him followed by a long conversation and thenhanded him a letter written as a \"warm appeal\" to her brother. A copy was sent to Gustav III, and her letter was read in the royal Danish council, where it reportedly made a good impression. However, her mission wasstill unsuccessful, as the Russo-Danish alliance made it unavoidable for Denmark to declare war shortly afterward. At the time, there was a note that she met two Russian prisoners of war in the park of the Haga Palace,and gave them 100 kronor each.At the parliament of 1789 Gustav III united the other estates against the nobility and to gain support for the war and for his constitutional reform. Coming into conflict with the nobility,he had many of its representatives imprisoned. This act led to a social boycott of the monarch by the female members of the aristocracy, who followed the example of Jeanna von Lantingshausen as well as the King'ssister and sister-in-law, Sophie Albertine of Sweden and Hedvig Elisabeth Charlotte. The Queen did not participate in this political demonstration and refused to allow any talk of politics in her presence. She wasnevertheless involved in the conflict. When the King informed his son about the event, he discovered the child to be already informed in other ways than what he had intended. He suspected Sophia Magdalena to beresponsible, and asked the governor of the prince, Count Nils Gyldenstolpe, to speak to her. Gyldenstolpe, however, sent one of the king's favorites, Baron Erik Boye. The Queen, who despised the favorites of the King,furiously told Boye that she spoke to her son how she wished and that only her contempt for him prevented her from having him thrown out of the window. She was known to dislike the reforms of 1789, and she did let"}
+{"doc_id":"doc_117","qid":"","text":"Passage 1:Charles James Irwin Grant, 6th Baron de LongueuilCharles James Irwin Grant, only son of Charles William Grant, 5th Baron de Longueuil and Caroline Coffin, was born in Montreal on 1 April 1815. He servedin the 79th Regiment as a lieutenant for a while. He later married Henriet Colmore, from whom he fathered two sons (Alexander Frederick, died age 2 and Charles Colmore) as well as a daughter. His wife Henriet died in1847 and he remarried in Charleston, South Carolina on 18 January 1849 to Anne Trapman, second daughter of Louis Trapman, a consul. He had many children from this union including Reginald Charles and JohnCharles Moore. He died on 26 February 1879 at age 63.AncestryPassage 2:James BillmyerJames Irwin Billmyer (May 14, 1897 - July 9, 1989) was an American modern painter and illustrator.Early yearsJames Billmyerwas born in Union Bridge, Maryland and received his BA from Western Maryland College. He continued his studies at the National Academy of Design, Beaux Arts, the Art Students’ League, Cooper Union, MarylandInstitute, Baltimore Charcoal Club, and Baltimore Grand Central School of Art.Some of his influential teachers included John Sloan, George Luks, Frank Vincent Dumond, George Bridgeman, William De Leftwüch Dodge,Dean Cornwell, and Harvey Dunn.Billnyer was involved with the commercial art of periodicals and advertising, working as an illustrator for magazines such as “Cosmopolitan”, “Family Circle”, “House and Garden”,“Ladies Home Journal”, “Parents Magazine”, and Collier’s \"Good Housekeeping”.  In 1931, he became a member of the American Society of Illustrators.WorkBillmyer travelled extensively in Latin and Central America,Canada, the Near East, and Europe, exploring the history and cultures of these locations, which ultimately impacts his work. In the 1950s and 1960s, he was a part of the 10th Street galleries scene. For twelve years,he studied plastics under the tutelage of Hans Hofmann in New York and Provincetown.  Hofmann showed him the importance of objects moved out from the canvas and resolved back into it.  This type of painting thatdeals with multiple rhythms, colors, and angles, offers viewers a higher-dimensional experience. Billmyer has created patterns in and out of divided planes that go in independent directions before receding back into thecanvas, which is his unique adaption of Hofmann’s methods. Many of his patterns and forms appear in the film “The Hypercube: Projections and Slicing.” Billmyer has taught and lectured at the New York School ofInterior Design, The Hudson River School, Spellman College, Miami Art Center,  the Naskeay School, Maine, and his own New York School.Passage 3:John Charles Moore Grant, 9th Baron de LongueuilJohn CharlesMoore de Bienville Grant, 9th Baron de Longueuil was born in 1861 at Bath, Somerset. He was the son of Charles James Irwin Grant and Anne Marie Catherine Trapman. He succeeded to the title of Baron de Longueuilon 3 August 1931. He died on 17 October 1935 at Pau, France.AncestryPassage 4:Charlie PartridgeCharles James Partridge (born December 7, 1973) is an American college football coach. He is the assistant headfootball coach and defensive line coach at the University of Pittsburgh, a position he has held since 2018. Partridge served as the head football coach at Florida Atlantic University from 2014 to 2016.Playing careerAnative of Plantation, Florida, Partridge attended Drake University, where he was a team captain of the football team. Later he also attended Iowa State University.Coaching careerPartridge's first coaching experience wasas a graduate assistant with the Drake Bulldogs and the Iowa State Cyclones. From there he became the defensive line coach of the Eastern Illinois Panthers. Partridge served as defensive line coach, linebackers coach,and special teams coordinator of the Pitt Panthers for five seasons before joining the Wisconsin Badgers. He was named co-defensive coordinator at Wisconsin in January 2011. On December 15, 2012 the University ofArkansas announced the hiring of Partridge as the defensive line coach. Partridge was widely credited as Wisconsin's lead recruiter in the state of Florida, and helped land five-star running back Alex Collins for theRazorbacks in his first two months on the job. Partridge followed former Wisconsin Badgers head coach Bret Bielema to Arkansas.Partridge was hired as the head coach at Florida Atlantic on December 16, 2013. He wasfired on November 27, 2016.On February 14, 2017 Partridge was announced as the defensive line coach at Pittsburgh.Personal lifePartridge is married with two children.Head coaching recordPassage 5:Charles WilliamGrant, 5th Baron de LongueuilCharles William Grant was born in 1782. He was the son of Captain David Alexander Grant and Marie-Charles-Joseph Le Moyne, Baronne de Longueuil. He served during the War of 1812 asLieutenant Colonel of the Boucherville militia battalion and as a staff officer. He was taken prisoner by the Americans on 8 December 1813, and was held hostage in Worcester, Massachusetts. He married Caroline Coffin,daughter of General John Coffin and Anne Mathews, on 21 May 1814. He became a member of the Legislative Council of Lower Canada. He succeeded to the title of Baron de Longueuil on 17 January 1841. He died on 5July 1848 at his residence of Alwington House in Kingston.AncestryPassage 6:Charles James (footballer)Charles James (1882–1960) was an English footballer who played for Stoke.CareerJames was born inStoke-upon-Trent and played for amateur side Halmerend before joining Stoke in 1908. He became a bit-part player for Stoke in this three seasons there making a modest 13 appearances. He later worked at theFlorence Colliery and also played for the works football team.Career statisticsPassage 7:Anthony Robinson (Unitarian)Anthony Robinson (1762–1827) was an English Unitarian minister and friend of Charles JamesFox.LifeRobinson was born in January 1762 at Kirkland near Wigton in Cumberland.  He was educated at Bristol Baptist Academy, under James Newton (1733-1790).  Robinson was baptized at The Pithay Meeting,Bristol, in 1784.  He became a minister, at the General Baptist Church, Glasshouse Yard, Worship Street, London.  About 1790, having succeeded to his father's estate, he retired to Wigan.  About 1796, he returned toLondon, where he became a successful sugar refiner.Robinson had an influential circle of acquaintance, including Joseph Priestley, William Belsham, and Henry Crabb Robinson.He died in Hatton Garden, 20 January1827, and was buried in the Worship Street Baptist churchyard.FamilyRobinson's son Anthony, who disappeared in 1824, is alleged one of the victims of Burke and Hare.PublicationsA Short History of the Persecution ofChristians by Jews, Heathens, and Christians (Carlisle, 1793)A View of the Causes and Consequences of English Wars (London, 1798)An Examination of a Sermon preached at Cambridge by Robert Hall on ModernInfidelity (London, 1800)Passage 8:Jonnie IrwinJonathan James Irwin (born 18 November 1973) is an English television presenter, writer, lecturer, business and property expert.Early lifeIrwin grew up on a small farm inthe village of Bitteswell, Leicestershire. Irwin was educated at Lutterworth Grammar School and Community College. He obtained a degree from Birmingham City University in estate management.He is of Irishdescent.CareerIrwin worked for business transfer specialists Christie & Co, becoming an associate director within three years, before going on to work for Colliers International.In 2004, Irwin was selected from hundredsof applicants along with co-presenter Jasmine Harman to present Channel 4's show A Place in the Sun – Home or Away, and has filmed over 200 episodes all around Britain. The programme is also broadcast daily onMore4, Discovery Real Time and Discovery Travel & Living, as well as channels throughout Europe and the rest of the world, including New Zealand, Australia, and South Africa. In 2022 Irwin accused A Place in the Sunproducers of axing him as presenter after 18 years due to a cancer diagnosis, leaving his mood “really low.”Irwin also presents episodes of BBC property shows Escape to the Country and To Buy or Not to Buy. Irwin hasalso presented the spin-off to Escape to the Country, Escape to the Perfect Town. In January 2011, Sky 1 broadcast Irwin's own show called Dream Lives for Sale, which saw him help people leave behind their lives inthe UK and buy a business. In late 2011 he began a new series, The Renovation Game, which aired on weekday mornings on Channel 4.Over the past ten years, Irwin has advised clients on business and property,ranging from small high street gift shops to multimillion pound corporate hotel packages. He still runs a property and business consultancy.Irwin writes a regular column for A Place in the Sun magazine. He appears at APlace in the Sun Live giving presentations on his tips for buying property abroad. Irwin also regularly hosts seminars and corporate events.Personal lifeIrwin is a keen sportsman. He played rugby for Lutterworth RFCand then for Rugby Lions RFC, until an accident in a sevens tournament in which he broke his back and subsequently retired.Irwin married Jessica Holmes in September 2016. Together they have three sons. Rex born2018 and twin sons Rafa and Cormac born 2020. Irwin and his family moved to the Hertfordshire town of Berkhamsted in 2018 and then to the Newcastle upon Tyne area.Health and illnessIn November 2022, Irwinshared that he had terminal lung cancer, after being diagnosed in 2020. In an interview with Hello!, Irwin said, \"I don't know how long I have left, but I try to stay positive and my attitude is that I'm living with cancer,not dying from it. I set little markers – things I want to be around for [...] I'm doing everything I can to hold that day off for as long as possible. I owe that to Jess and our boys. Some people in my position have bucketlists, but I just want us to do as much as we can as a family.\"Passage 9:Charles Colmore Grant, 7th Baron de LongueuilCharles Colmore Grant, 7th Baron de Longueuil was the son of Charles James Irwin Grant, 6thBaron de Longueuil and Harriet Cregoe-Colmore. He was born on 13 April 1844 at Cheltenham, Gloucestershire, England. In 1878, he married Mary Wayne, daughter of Thomas Wayne. In 1880, he claimed a royalrecognition of his right to the barony of Longueuil. By the treaty of Quebec the sovereignty of Canada passed from the Kings of France to the Kings of Great Britain but with the reservation that all rights and privileges\"of what kind soever\" should be reserved and secured to all individuals of French descent to which they had been entitled under the previous regime. Queen Victoria was graciously pleased to recognise the claim ofCharles Colmore Grant to the title of Baron de Longueuil. He died on 13 December 1898 at age 54 at New York City. He was without issue and his half-brother Reginald Charles succeeded him.Passage 10:HenryKrauseHenry J. \"Red\" Krause, Jr. (August 28, 1913 – February 20, 1987) was an American football offensive lineman in the National Football League for the Brooklyn Dodgers and the Washington Redskins.  He playedcollege football at St. Louis University."}
+{"doc_id":"doc_118","qid":"","text":"Passage 1:Thomas de Mowbray, 1st Duke of NorfolkThomas de Mowbray, 1st Duke of Norfolk, KG (22 March 1366 – 22 September 1399) was an English peer. As a result of his involvement in the power struggles whichled up to the fall of King Richard II, he was banished and died in exile in Venice.Background and youthThe Mowbrays were an old family in the English peerage, having been first raised to the baronage in 1295. Severaladvantageous marriages, combined with loyal service to the crown and rewards from it made them, by the late 14th century, a great political standing. Thomas was the son of John de Mowbray, 4th Baron Mowbray andhis wife Elizabeth Segrave, the daughter and heiress of John Segrave, 4th Baron Segrave by his wife Margaret, Duchess of Norfolk, daughter and heiress of Thomas of Brotherton, 1st Earl of Norfolk,  the fifth son of KingEdward I.Thomas Mowbray was born in 1366; the precise date is unknown. He was probably named after the cult of St Thomas Becket, of which his mother was a follower. His elder brother John was their father's heir;he died in 1368. Four years later, they became the ward of their great-aunt, Blanche of Lancaster. John was created Earl of Nottingham on the coronation of King Richard II in 1377, but died in early 1383. Almostimmediately—within a few days—the earldom was re-granted to Thomas, and even though he was still legally a minor, he was allowed seisin of his patrimony and the comital penny.Political backgroundRichard IIsucceeded to the throne in 1377 on the death of his grandfather, Edward III, but his unpopularity had been growing since Richard's suppression of the Peasants' Revolt in 1381. He was increasingly criticised for hispatronage of a few select royal favourites, to an extent that has been described as \"lavish to the point of foolishness\" by a biographer, historian Anthony Tuck. Parliament was also coming to the view that the Kingneeded to rule as economically as possible, and they observed with displeasure the King's distribution of extravagant patronage to a limited circle, the greatest recipient of which was Michael de la Pole, Earl of Suffolk.Furthermore, the Hundred Years' War was going poorly for England. Several expeditions had left for France in the early years of Richard's reign to defend English territory, but they were almost all military and politicalfailures.As a second son, little is recorded of Mowbray's youth, although his background and status \"virtually guaranteed him a place at court\", says Saul. The King and Mowbray had probably been childhood friends, andwas a royal favourite from at least 1382, when he was granted hunting rights in certain royal forests and was knighted. It was around this time that Bolingbroke began to fall out of favour with the King, with Mowbraysupplanting him. Mowbray also married the ten-year-old Lady Elizabeth Lestrange, heiress of John, Lord Blakemere, whose marriage cost the King around £1000. Elizabeth died in 1383, not long after thewedding.Career to 1390Mowbray remained high in royal favour following the death of his wife, and he was elected to the Order of the Garter in October the same year, even though he was militarily unproven. The Kinggranted him grace and favour rooms at the royal palaces of Eltham and Kings Langley. Reflecting his role as an important courtier, Mowbray accompanied Richard on his tour of East Anglia in 1383. His closeness to theKing drew the opprobrium of the King's uncle, John of Gaunt, Duke of Lancaster—probably the most powerful man in the Kingdom after the King—upon him. Gaunt accused Mowbray, along with Robert, Earl of Oxfordand William, Earl of Salisbury of plotting against the King. Gaunt himself was becoming increasingly unpopular and had withdrawn from the council. As a result, says the chronicler Thomas Walsingham, Mowbray, deVere and Montacute plotted to kill the duke in February 1385. The King held jousts between the 13th and 14th of the month, and Gaunt's murder was to be committed on the 14th; it is possible that Richard did notdisapprove, such had relations between him and his uncle broken down. Originally, this had been over foreign policy; Gaunt favoured a restoration of the war with France, while Richard was keen to invade ScotlandGaunt had also recently told Richard that he viewed the King's advisors as \"unsavoury\", and Mowbray and his friends deliberately exacerbated the two men's antagonism by proffering a series of accusations against theduke. Gaunt received a forewarning of the attack, however, and fled in the night.On 30 June 1385—as the royal army was about to leave for Scotland—Mowbray received his great-grandfather's office of Marshal ofEngland, although he could not have foreseen this eventuality as at the time the campaign was announced the marshalcy was possessed by the Earl of Kent. Mowbray led a force of 99 men-at-arms and 150 archers,serving with Gaunt in the vanguard. Mowbray helped draw up the King's ordinances for the campaign when the royal army reached Durham, although by now, suggests Given-Wilson, Mowbray's relations with Richard\"may have been cooling\". Less than a year after his first wife's death, Mowbray married Elizabeth Fitzalan. Elizabeth was a daughter of Richard, Earl of Arundel, and, although the King attended their wedding and theweek-long festivities accompanying it, it is unlikely that the marriage was popular with Richard. His second marriage must have been a turning point. Richard doubtless saw Arundel as a negative influence on Mowbrayand feared the strengthening of the earl's position against him. Mowbray and Elizabeth had also wed without his permission, and so the King distrained Mowbray's estates until he had received the value of the license.Tuck argues, in fact, that \"nor was the king's concern unfounded\"; Mowbray had been increasingly isolated at court by the King's latest favourites, such as Oxford, and had moved into the circle of those who opposedthe new royal intimates, perhaps seeing them as the best way to dispose of his rival. This circle also included not only Richard's father-in-law but his uncle, Thomas, Duke of Gloucester. In a sign that Mowbray was notcompletely out of favour, Elizabeth received her robes as a Lady of the Garter in 1386.Both men had played an important role in parliament's attack on Richard's chancellor, Michael de la Pole, Earl of Suffolk at theWonderful Parliament of 1386. The Wonderful Parliament had taken place against a backdrop of genuine fear of a French invasion—Walsingham described how Londoners, in his view, like \"timid mice they scurried hitherand thither—and Arundel had been appointed Admiral of England. In March the following year he, in turn, appointed Mowbray his deputy, and they took a fleet out of Margate and encountered a French-Flemish fleetalmost immediately. The result was its crushing defeat. Between 50 and 100 French-Flemish ships were captured or destroyed. The King was unimpressed. When Arundel and Mowbray returned to court, Richard coollyclaimed they had only defeated merchants, and Oxford turned his back on the earls.AppellantFor most of the 1380s, Mowbray received what he doubtless considered his due from the King, in lands, offices and grants.But by 1387 he became increasingly estranged from Richard's court. The main reason for this was probably jealousy of de Vere. While he was wealthy enough not to have to rely on royal favour, as de Vere did, heexpected the honour and dignity that his birth and status demanded. This he saw increasingly syphoned off to his rival. Although the Wonderful Parliament had set up a commission to effectively restrain the King, itfailed so to do. Richard emasculated the commission by leaving London straight away, and not only ignored its deliberations but his own councils in the provinces. He also took legal advice from his judges who,unsurprisingly, found in his favour that those responsible for parliament's treatment of the King should be deemed traitors. In response, Mowbray joined Bolingbroke, Gloucester, Arundel and Warwick in appealingseveral of the King's friends, including Oxford, of treason, and raised an army at Hornsey, north of London. The Appellants' army engaged Oxford's at the Battle of Radcot Bridge, inflicting a crushing defeat on theroyalists in December. Mowbray did not take part, as he was guarding the road back to the West Midlandsl at Moreton in Marsh, although he may have sent a portion of his retinue to the Appellant army.Mowbrayappears to have been responsible for dissuading Gloucester, Arundel and Warwick from marching to London and deposing the King. Indeed, he and Bolingbroke may have been a moderating influence on the others.Converseley, due to his position as Earl Marshal—one of the two heads of the Court of Chivalry—his presence with the Appellants enabled them to frame their offensive juridically rather than as a traditional noblerebellion. He was one of the group that attended Richard in the Tower of London—with arms linked—on 30 December and accused the King of treachery towards them. They also demanded Richard order the arrest ofthe appellees; Walsingham reports that he only agreed to do so on being threatened, once again, with deposition. The King attempted to divide Mowbray from his colleagues, asking him to stay behind when the otherswere ready to leave.  With the King now under their control, Mowbray and the Appellants called parliament for early 1388. This session became known as the Merciless Parliament on account of the vengeance it laid onthe King's closest supporters. with Mowbray overseeing the executions with \"the aid and authority of the mayor, sheriffs, and aldermen of London\". Mowbray was to take the condemned to the Tower and \"‘from theredrag him through the city of London as far as the gallows at Tyburn, and there hang him by the neck\".Rapprochment with the KingFor his part, there are signs that Mowbray was becoming dissatisfied with his comradesthrough the course of the parliament, which Tuck suggests was because Mowbray was \"never as committed to the destruction of the court faction as Gloucester, Arundel, and Warwick\". Given-Wilson suggests thatincluding Mowbray by the Appellants broadened their base among the nobility, by virtue of his having had less acrimonious relations with the King, but also weakened them as a body by diluting their grievances. Asindicated by Mowbray's dispute with Warwick over the Gower lordship, they were already \"shot through with personal and political differences\" as it was. Tuck suggests that, while Mowbray seems able to havestomached the convictions of the others, \"the real rift occurred over the question of Sir Simon Burley's fate\". Gloucester and Warwick accused him of exercising undue influence over Richard; Burley, theunder-chamberlain, had been tutor to the King, who wanted to save him. Mowbray and Bolingbroke agreed, but to no avail, and in May 1388 Burley was hanged at Tyburn. Mowbray was loyal to the King and court.Earlyindications of Mowbray's return to favour with the came in early 1389 when he had his estates restored to him and was pardoned for having married without the King's licence. In March he was appointed warden of theEast March and castellan of Berwick Castle, receiving wages of £6,000 in peacetime and twice that in time of war. His appointment was not a success; he alienated the traditional lord of the north, Henry Percy, Earl ofNorthumberland, who retired to court. Mowbray held no lands in the north and had few contacts among the gentry, upon whom he needed to rely to raise his army. Mowbray's tenure in the East March was effectivelydisabled from the start; Mowbray's ineffectiveness to highlighted in June that year, when a Scottish incursion ravaged the north of England and, facing little opposition, went as far south as Tynemouth. Mowbray, theWestminster Chronicle reports, refused the Scottish offer of a pitched battle and retreated to Berwick Castle.The King regained sole control of government around in May 1389, and Mowbray attended a royal councilmeeting in Clarendon Palace that September, demonstrating the gulf that existed by then between him and his ex-comrades. At another meeting the following month the King attempted to increase Mowbray'sremuneration in March. The council, headed by William of Wykeham as chancellor, refused—\"in the name and by the will of all the other lords of the council\"—and Richard was forced to acquiesce, albeit vultuquodammodo indignanti, or \"with an angry expression\". Henry Percy had been recompensed for the loss of the wardenship with the captaincy of Calais; in 1391, he and Mowbray exchanged offices, returning Percy tothe March and sending Mowbray to France.Martial serviceAs a result of Mowbray's return to the court party, his undertaking of royal service for the King increased. He jousted before Richard's chamberlain at StInglevert, near Boulogne, in April 1390, where he proved himself a champion against the French, who were led by the well-regarded knight, Jean de Boucicaut. Mowbray led a group of up to 60 English knights andesquires. The following month another joust was held at Smithfield, outside London. Mowbray's presence in the King's party was a part of Richard's policy of reconciling the appellants to his personal rule and, byextension, furthering his own power. Here, before the King, Mowbray defeated John Dunbar, Earl of Moray—who later died, says one chronicler, of his wounds—after six jousts with an unrebated lance. Froissart wrotehow, at Smithfield \"everyone exerted himself to the utmost to excel: many were unhorsed and more lost their helmets\".Mowbray joined the King on his campaign to Ireland in 1394. Richard's strategy was to plant hisnobility across the country in direct confrontation with Gaelic kings in order to force them into submission. Mowbray occupied Carlow, of which he was granted the lordship. Mowbray led several raids against the King ofLeinster, Art Macmurrough, and a royal letter to the council reported how he \"had several fine encounters with the Irish\". Mowbray burned nine villages, killing many, and captured around 8,000 head of cattle. On oneoccasion he nearly captured MacMurrough \"and his wife in their beds\". MacMurrough's escape left Mowbray \"sorely vexed\", and in revenge he had the house razed, as well as 14 surrounding villages. He then marchedthrough the Blackstairs Mountains \"which was all bog... no Englishman has commonly entered before\". A number of enemies were captured. The leader was executed and his head sent to Richard.Mowbray eventuallysecured MacMurrough's indenture of submission to Richard. During these negotiations, Mowbray possessed full in locum regis powers, and persuaded Macmurrough to evacuate Leinster for the English. His sub-chieftainsfollowed. In the event neither macMurrough nor his armies left Leinster, and Mowbray was in no position to force them. His attempts to install English lordship in the province came to nothing, he returned to England inMay 1395.Royal service to 1398On his return, Mowbray almost immediately became involved, with his comrades-in-arms from the Irish campaign Lord Scrope and the Earl of Rutland, in the negotiations over Richard'sproposed marriage to Isabella, daughter of the French King, Charles VI. Mowbray made many trips to France, finally concluding negotiations in March 1396. The betrothal was made official in September, and Mowbrayescorted the French King to Calais. Mowbray was also deputised by Richard to conduct secret negotiations with Philip, Duke of Burgundy and John, Duke of Berry. Given-Wilson suggests that the King \"had considerablefaith in Mowbray's diplomatic ability\", since in May the next year Mowbray represented the crown at the Imperial Diet in Frankfurt. This had been called to debate an Anglo-French proposal on how to address the latestPapal Schism by forcing the resignation of the two partisan popes. Richard's faith in Mowbray is reflected in the numerous grants the earl received in this period. Tuck suggests that Mowbray could afford to spend anestimated 40% of his total income just on wages to retainers, which enabled him to build up a substantial affinity \"that could rival that of most earls\".In 1397, at Warwick's expense, Mowbray received the lordship ofGower, which their two families had been quarrelling for possession of for most of the preceding century. Saul suggests that Mowbray relied on his friendship with the King to retrieve the grant, which had been inBeauchamp's hands since 1354. This was \"doubly disastrous\" for Warwick, comments Saul; not only was it the richest lordship he possessed—thus having a major impact on his income—but he was ordered to repayMowbray the profits he had earned since 1361, amounting to around £5333 per annum. The atmosphere at court was tense. Richard may have felt threatened, suspecting that the Appellants would have another crackat him; this may have led him to get in there first. In July, the King settled all family accounts with the Appellants. He invited Arundel, Gloucester and Warwick to a feast—of Herodian infamy, reported Walsingham—atwhich they would be arrested. Only Warwick attended. All three were tried, separately, and convicted for treason in September. Warwick forfeit his titles and estates and was sentenced to life imprisonment. Arundel wasbeheaded; Mowbray, as Earl marshal, oversaw the sentence of his erstwhile comrade. Gloucester was exiled to Calais where he died in curious circumstances the same month. It was probably Mowbray's attempts tosave Simon Burley's life years before that saved his in 1397.Murder of Gloucester and elevationGloucester was secretly arrested on the night of 10–11 July 1397, and \"bundled out of England to Calais\". It was popularlyspeculated that the King personally ordered Gloucester's assassination, and it was later alleged—in the 1399 parliament—that Mowbray was likely instrumental, in his role of Captain of Calais. Rumours of Gloucester'sdeath had been circulating since August, and Given-Wilson speculates that this may be a sign that Richard had ordered Mowbray to kill the duke then, but that the latter hesitated several weeks. Richard ordered WilliamRickhill, Justice of the King's Bench, to Calais, \"in the company of our dearest kinsman Thomas, earl marshal and earl of Nottingham ... and there that you do and perform each and everything which is enjoined on youby the aforesaid earl on our behalf\". In the event they travelled separately. Rickhill left England on 7 September and was to receive Mowbray's instructions when they arrived. The writs he was in possession of, notesMcVitty, \"were deliberately left undated or were post-dated to fit a falsified timeline\". When they met, Mpwbray's instructions were that Rickhill was to have a \"colloqium ... clearly and openly certified under his seal\".Gloucester made his confession, in the presence of witnesses, on 8 September. The following day, when Rickhill requested another meeting with the Duke, Mowbray refused him. A few days later Mowbray wasrequested by parliament to bring Gloucester back to England and stand trial before it. Mowbray returned the writ replying, baldly, that he was unable to do so, because the duke was dead: \"I held this duke in mycustody in the lord king’s prison in the town of Calais, and there, in that same prison, he died\". The historian Amanda McVitty suggests that \"historians generally agree that by this point, Richard must have known thatGloucester was already dead\".On 29 September the same year, Mowbray received a formal royal pardon for his role as an Appellant. Further, \"it is perhaps no coincidence\", suggests the scholar Matthew Lewis, that atthe same time Mowbray was elevated to Duke of Norfolk as part of Richard's re-establishment of his aristocracy known as the Duketti: \"dukelings\" or \"little dukes\". Given-Wilson has suggested that Mowbray's new title\"cheapened the great titles at the crown's disposal\", while Rowena Archer has argued that, although he may not have been related to the King by blood, \"he had lineage and wealth to merit so high an honour\". He alsosuggests that this does not necessarily indicate the true relationship between the two men. As an (albeit ex) appellant, Richard must have found it difficult to forget Mowbray's earlier treason, irrespective of hissubsequent loyalty. For Mowbray's part, he was too experienced a political operator at the court not to realise this. To celebrate their return to the King's grace, Bolingbroke and Mowbray held a ceremonial requiemmass and feast, last which the King and Queen attended. Ostensibly this was to commemorate the return from the Holy Land of Mowbray's father's bones for reinternment; John Mowbray had built up a posthumousreputation as vir catholicus and something of a cult surrounded him. The bones were displayed at the Carmelite church and was clearly intended to reflect personally on Mowbray also, increasing his political stature just"}
+{"doc_id":"doc_119","qid":"","text":"Passage 1:Erard II, Count of BrienneErard II of Brienne (died 1191) was count of Brienne from 1161 to 1191, and a French general during the Third Crusade, most notably at the Siege of Acre. He was the son of GautierII, count of Brienne, and Humbeline Baudemont, daughter of Andrew, lord of Baudemont and Agnes of Braine.  His paternal grandparents were Erard I, Count of Brienne and Alix de Roucy. During this siege he saw hisbrother André of Brienne die on 4 October 1189, before being killed himself on 8 February 1191.  Erard II's nephew was Erard of Brienne-Ramerupt.Before 1166 he married Agnès of Montfaucon († after 1186), daughterof Amadeus II of Montfaucon and of Béatrice of Grandson-Joinville.  Their children were:Walter III of Brienne (died 1205) count of Brienne and claimant to the throne of Sicily.William of Brienne (died 1199) lord ofPacy-sur-Armançon, married Eustachie of Courtenay, daughter of Peter I of Courtenay and Elisabeth of Courtenay.John of Brienne (1170–1237), king of Jerusalem (1210–1225), then emperor of Constantinople(1231–1237).AndrewIda of Brienne who married Ernoul of Reynel lord of Pierrefitte.Passage 2:John Montgomery GloverJohn Montgomery Glover (September 4, 1822 – November 15, 1891) was a  North Americanpolitician, who served as a U.S. Representative from Missouri, he was the uncle of John Milton Glover.Early lifeBorn in Harrodsburg, Kentucky, Glover attended the public schools in Kentucky.He moved to Missouri in1836 with his parents, who settled in Knox County, near Newark, and continued his schooling.He attended Marion and Masonic Colleges, Philadelphia, Missouri.He studied law.He was admitted to the bar and commencedpractice in St. Louis, Missouri.He moved to California in 1850 and continued the practice of his profession.He returned to Knox County, Missouri, in 1855 to take charge of his father's affairs.CareerDuring the Civil Warserved as colonel of the Third Regiment, Missouri Volunteer Cavalry, beginning September 4, 1861.  His service with the regiment was in a variety of points within Missouri and Arkansas.  At various points during hisservice, he detached as the Commander of the District of Rolla, the Sub-District of Pilot Knob and the 2nd Brigade, Cavalry Division, Department of the Missouri.  On February 23, 1864 he tendered his resignation inSpringfield, Illinois, on account of impaired health.He served as collector of internal revenue for the third district of Missouri from December 1, 1866, until March 3, 1867.Glover was elected as a Democrat to theForty-third, Forty-fourth, and Forty-fifth Congresses (March 4, 1873 – March 3, 1879).He served as chairman of the Committee on Expenditures in the Department of the Treasury (Forty-fifth Congress).He was anunsuccessful candidate for renomination in 1878.He engaged in agricultural pursuits.He died near Newark, Missouri, November 15, 1891.He was interred on his farm near Newark, Missouri.He was reinterred inWoodland Cemetery, Quincy, Illinois.Passage 3:Christopher H. ClarkChristopher Henderson Clark (1767 – November 21, 1828) was a congressman and lawyer from Virginia. He was the brother of James Clark, the uncleof John Bullock Clark, Sr. and the great-uncle of John Bullock Clark, Jr.BiographyBorn in Albemarle County, Virginia, Clark attended Washington College, studied law in the office of Patrick Henry and was admitted to thebar in 1788, commencing practice in New London, Campbell County, Virginia. He was a member of the Virginia House of Delegates in 1790 and was elected a Democratic-Republican to the United States House ofRepresentatives to fill a vacancy in 1804, serving until his resignation in 1806. He resumed practicing law until his death near New London on November 21, 1828. He was interred at a private cemetery at Old LawyersStation near Lynchburg, Virginia.External linksUnited States Congress. \"Christopher H. Clark (id: C000424)\". Biographical Directory of the United States Congress.Passage 4:John of BrienneJohn of Brienne (c. 1170 –19–23 March 1237), also known as John I, was King of Jerusalem from 1210 to 1225 and Latin Emperor of Constantinople from 1229 to 1237. He was the youngest son of Erard II of Brienne, a wealthy nobleman inChampagne. John, originally destined for an ecclesiastical career, became a knight and owned small estates in Champagne around 1200. After the death of his brother, Walter III, he ruled the County of Brienne onbehalf of his minor nephew Walter IV (who lived in southern Italy).The barons of the Kingdom of Jerusalem proposed that John marry their queen, Maria. With the consent of Philip II of France and Pope Innocent III, heleft France for the Holy Land and married the queen; the couple were crowned in 1210. After Maria's death in 1212 John administered the kingdom as regent for their infant daughter Isabella II; an influential lord, Johnof Ibelin, attempted to depose him. John was a leader of the Fifth Crusade. Although his claim of supreme command of the crusader army was never unanimously acknowledged, his right to rule Damietta (in Egypt) wasconfirmed shortly after the city fell to the crusaders in 1219. He claimed the Armenian Kingdom of Cilicia on behalf of his second wife, Stephanie, in 1220. After Stephanie and their infant son died that year, Johnreturned to Egypt. The Fifth Crusade ended in failure (including the recovery of Damietta by the Egyptians) in 1221.John was the first king of Jerusalem to visit Europe (Italy, France, England, León, Castile andGermany) to seek assistance for the Holy Land. He gave his daughter in marriage to Holy Roman Emperor Frederick II in 1225, and Frederick ended John's rule of the Kingdom of Jerusalem. Although the popes tried topersuade Frederick to restore the kingdom to John, the Jerusalemite barons regarded Frederick as their lawful ruler. John administered papal domains in Tuscany, became the podestà of Perugia and was a commanderof Pope Gregory IX's army during Gregory's war against Frederick in 1228 and 1229.He was elected emperor in 1229 as the senior co-ruler (with Baldwin II) of the Latin Empire, and was crowned in Constantinople in1231. John III Vatatzes, Emperor of Nicaea, and Ivan Asen II of Bulgaria occupied the last Latin territories in Thrace and Asia Minor, besieging Constantinople in early 1235. John directed the defence of his capital duringthe months-long siege, with the besiegers withdrawing only after Geoffrey II of Achaea and united fleets from Italian towns defeated their fleet in 1236. The following year, John died as a Franciscan friar.Early lifeJohnwas the youngest of the four sons of Count Erard II of Brienne and Agnes of Montfaucon. He seemed \"exceedingly old ... about 80\" to the 14-year-old George Akropolites in 1231; if Akropolites' estimate was correct,John was born around 1150. However, no other 13th-century authors described John as an old man. His father referred to John's brothers as \"children\" in 1177 and mentioned the tutor of John's oldest brother, WalterIII, in 1184; this suggests that John's brothers were born in the late 1160s. Modern historians agree that John was born after 1168, probably during the 1170s.Although his father destined John for a clerical career,according to the late-13th-century Tales of the Minstrel of Reims he \"was unwilling\". Instead, the minstrel continued, John fled to his maternal uncle at the Clairvaux Abbey. Encouraged by his fellows, he became aknight and earned a reputation in tournaments and fights. Although elements of the Tales of the Minstrel of Reims are apparently invented (for instance, John did not have a maternal uncle in Clairvaux), historian GuyPerry wrote that it may have preserved details of John's life. A church career was not unusual for youngest sons of 12th-century noblemen in France; however, if his father sent John to a monastery he left beforereaching the age of taking monastic vows. John \"clearly developed the physique that was necessary to fight well\" in his youth, because the 13th-century sources Akropolites and Salimbene di Adam emphasize hisphysical strength.Erard II joined the Third Crusade and died in the Holy Land in 1191. His oldest son, Walter III, succeeded him in Brienne. John was first mentioned in an 1192 (or 1194) charter issued by his brother,indicating that he was a prominent figure in Walter's court. According to a version of Ernoul's chronicle, John participated in a war against Peter II of Courtenay. Although the Tales of the Minstrel of Reims claimed thathe was called \"John Lackland\", according to contemporary charters John held Jessains, Onjon, Trannes and two other villages in the County of Champagne around 1200. In 1201, Theobald III granted him additionalestates in Mâcon, Longsols and elsewhere. Theobald's widow, Blanche of Navarre, persuaded John to sell his estate at Mâcon, saying that it was her dower.Walter III of Brienne died in June 1205 while fighting insouthern Italy. His widow, Elvira of Sicily, gave birth to a posthumous son, Walter IV, who grew up in Italy. John assumed the title of count of Brienne, and began administering the county on his nephew's behalf in 1205or 1206. As a leading vassal of the count of Champagne, John frequented the court of Blanche of Navarre, who ruled Champagne during the minority of her son, Theobald IV. According to a version of Ernoul's chronicle,she loved John \"more than any man in the world\"; this annoyed King Philip II of France.The two versions of Ernoul's chronicle tell different stories about John's ascent to the throne of Jerusalem. According to oneversion, the leading lords of Jerusalem sent envoys to France in 1208 asking Philip II to select a French nobleman as a husband for their queen, Maria. Taking advantage of the opportunity to rid himself of John, Philip IIsuggested him. In the other version an unnamed knight encouraged the Jerusalemite lords to select John, who accepted their offer with Philip's consent. John visited Pope Innocent III in Rome. The pope donated 40,000marks for the defence of the Holy Land, stipulating that John could spend the money only with the consent of the Latin patriarch of Jerusalem and the grand masters of the Knights Templar and the KnightsHospitaller.King of JerusalemCo-rulerJohn landed at Acre on 13 September 1210; the following day, Patriarch of Jerusalem Albert of Vercelli married him to Queen Maria. John and Maria were crowned in the Cathedral ofTyre on 3 October. The truce concluded by Maria's predecessor Aimery and the Ayyubid sultan Al-Adil I had ended by John's arrival. Although Al-Adil was willing to renew it, Jerusalemite lords did not want to sign a newtreaty without John's consent. During John and Maria's coronation, Al-Adil's son Al-Mu'azzam Isa pillaged the area around Acre but did not attack the city. After returning to Acre, John raided nearby Muslim settlementsin retaliation.Although about 300 French knights accompanied him to the Holy Land, no influential noblemen joined him; they preferred participating in the French Albigensian Crusade or did not see him as sufficientlyeminent. John's cousin, Walter of Montbéliard, joined him only after he was expelled from Cyprus. Montbéliard led a naval expedition to Egypt to plunder the Nile Delta. After most of the French crusaders left the HolyLand, John forged a new truce with Al-Adil by the middle of 1211 and sent envoys to Pope Innocent urging him to preach a new crusade.ConflictsMaria died shortly after giving birth to their daughter, Isabella, in late1212. Her death triggered a legal dispute, with John of Ibelin (who administered Jerusalem before John's coronation) questioning the widowed king's right to rule. The king sent Raoul of Merencourt, Bishop of Sidon, toRome for assistance from the Holy See. Pope Innocent confirmed John as lawful ruler of the Holy Land in early 1213, urging the prelates to support him with ecclesiastical sanctions if needed. Most of the Jerusalemitelords remained loyal to the king, acknowledging his right to administer the kingdom on behalf of his infant daughter; John of Ibelin left the Holy Land and settled in Cyprus.The relationship between John of Brienne andHugh I of Cyprus was tense. Hugh ordered the imprisonment of John's supporters in Cyprus, releasing them only at Pope Innocent's command. During the War of the Antiochene Succession John sided with BohemondIV of Antioch and the Templars against Raymond-Roupen of Antioch and Leo I, King of Cilician Armenia, who were supported by Hugh and the Hospitallers. However, John sent only 50 knights to fight the Armenians inAntiochia in 1213. Leo I concluded a peace treaty with the Knights Templar late that year, and he and John reconciled. John married Leo's oldest daughter, Stephanie (also known as Rita), in 1214 and Stephaniereceived a dowry of 30,000 bezants. Quarrels among John, Leo I, Hugh I and Bohemond IV are documented by Pope Innocent's letters urging them to reconcile their differences before the Fifth Crusade reached theHoly Land.Fifth CrusadePope Innocent proclaimed the Fifth Crusade in 1213, with the \"liberation of the Holy Land\" (the reconquest of Jerusalem) its principal object. The first crusader troops, commanded by Leopold VIof Austria, landed at Acre in early September 1217. Andrew II of Hungary and his army followed that month, and Hugh I of Cyprus and Bohemond IV of Antioch soon joined the crusaders. However, hundreds ofcrusaders soon returned to Europe because of a famine following the previous year's poor harvest. A war council was held in the tent of Andrew II, who considered himself the supreme commander of the crusader army.Other leaders, particularly John, did not acknowledge Andrew's leadership. The crusaders raided nearby territory ruled by Al-Adil I for food and fodder, forcing the sultan to retreat in November 1217. In December Johnbesieged the Ayyubid fortress on Mount Tabor, joined only by Bohemond IV of Antioch. He was unable to capture it, which \"encouraged the infidel\", according to the contemporary Jacques de Vitry.Andrew II decided toreturn home, leaving the crusaders' camp with Hugh I and Bohemond IV in early 1218. Although military action was suspended after their departure, the crusaders restored fortifications at Caesarea and Atlit. After newtroops arrived from the Holy Roman Empire in April, they decided to invade Egypt. They elected John supreme commander, giving him the right to rule the land they would conquer. His leadership was primarily nominal,since he could rarely impose his authority on an army of troops from many countries.The crusaders laid siege to Damietta, on the Nile, in May 1218. Although they seized a strategically important tower on a nearbyisland on 24 August, Al-Kamil (who had succeeded Al-Adil I in Egypt) controlled traffic on the Nile. In September, reinforcements commanded by Pope Honorius III's legate Cardinal Pelagius (who considered himself thecrusade's supreme commander) arrived from Italy.Egyptian forces attempted a surprise attack on the crusaders' camp on 9 October, but John discovered their movements. He and his retinue attacked and annihilatedthe Egyptian advance guard, hindering the main force. The crusaders built a floating fortress on the Nile near Damietta, but a storm blew it near the Egyptian camp. The Egyptians seized the fortress, killing nearly all ofits defenders. Only two soldiers survived the attack; they were accused of cowardice, and John ordered their execution. Taking advantage of the new Italian troops, Cardinal Pelagius began to intervene in strategicdecisions. His debates with John angered their troops. The soldiers broke into the Egyptian camp on 29 August 1219 without an order, but they were soon defeated and nearly annihilated. During the ensuing panic, onlythe cooperation of John, the Templars, the Hospitallers and the noble crusaders prevented the Egyptians from destroying their camp.In late October, Al-Kamil sent messengers to the crusaders offering to restoreJerusalem, Bethlehem and Nazareth to them if they withdrew from Egypt. Although John and the secular lords were willing to accept the sultan's offer, Pelagius and the heads of the military orders resisted; they saidthat the Moslems could easily recapture the three towns. The crusaders ultimately refused the offer. Al-Kamil tried to send provisions to Damietta across their camp, but his men were captured on 3 November. Two dayslater, the crusaders stormed into Damietta and seized the town. Pelagius claimed it for the church, but he was forced to acknowledge John's right to administer it (at least temporarily) when John threatened to leave thecrusaders' camp. According to John of Joinville, John seized one-third of Damietta's spoils; coins minted there during the following months bore his name. Al-Mu'azzam, emir of Damascus and brother of al-Kamil,invaded the Kingdom of Jerusalem and pillaged Caesarea before the end of 1219.John's father-in-law, Leo I of Armenia, died several months before the crusaders seized Damietta. He bequeathed his kingdom to hisinfant daughter, Isabella. John and Raymond-Roupen of Antioch (Leo's nephew) questioned the will's legality, each demanding the Armenian Kingdom of Cilicia for themselves. In a February 1220 letter, Pope Honoriusdeclared John to be Leo's rightful heir. Saying that he wanted to assert his claim to Cilicia, John left Damietta for the Kingdom of Jerusalem around Easter 1220. Although Al-Mu'azzam's successful campaign the previousyear also pressed John to leave Egypt, Jacques de Vitry and other Fifth Crusade chroniclers wrote that he deserted the crusader army.Stephanie died shortly after John's arrival. Contemporary sources accused John ofcausing her sudden death, claiming that he severely beat her when he heard that she tried to poison his daughter Isabella. Their only son died a few weeks later, ending John's claim to Cilicia. Soon after Pope Honoriuslearned about the deaths of Stephanie and her son, he declared Raymond-Roupen the lawful ruler of Cilicia and threatened John with excommunication if he fought for his late wife's inheritance.John did not return tothe crusaders in Egypt for several months. According to a letter from the prelates in the Holy Land to Philip II of France, lack of funds kept John from leaving his kingdom. Since his nephew Walter IV was approachingthe age of majority, John surrendered the County of Brienne in 1221. During John's absence from Egypt, Al-Kamil again offered to restore the Holy Land to the Kingdom of Jerusalem in June 1221; Pelagius refused him.John returned to Egypt and rejoined the crusade on 6 July 1221 at the command of Pope Honorius.The commanders of the crusader army decided to continue the invasion of Egypt, despite (according to Philipd'Aubigny) John's strong opposition. The crusaders approached Mansurah, but the Egyptians imposed a blockade on their camp. Outnumbered, Pelagius agreed to an eight-year truce with Al-Kamil in exchange forDamietta on 28 August. John was among the crusade leaders held hostage by Al-Kamil until the crusader army withdrew from Damietta on 8 September.NegotiationsAfter the Fifth Crusade ended \"in colossal andirremediable failure\", John returned to his kingdom. Merchants from Genoa and Pisa soon attacked each other in Acre, destroying a significant portion of the town. According to a Genoese chronicle, John supported thePisans and the Genoese left Acre for Beirut.John was the first king of Jerusalem to visit Europe, and had decided to seek aid from the Christian powers before he returned from Egypt. He also wanted to find a suitablehusband for his daughter, to ensure the survival of Christian rule in the Holy Land. John appointed Odo of Montbéliard as a bailli to administer the Kingdom of Jerusalem in his absence.He left for Italy in October 1222 toattend a conference about a new crusade. At John's request, Pope Honorius declared that all lands conquered during the crusade should be united with the Kingdom of Jerusalem. To plan the military campaign, the popeand Holy Roman Emperor Frederick II met at Ferentino in March 1223; John attended the meeting. He agreed to give his daughter in marriage to Frederick II after the emperor promised that he would allow John to rulethe Kingdom of Jerusalem for the rest of his life.John then went to France, although Philip II was annoyed at being excluded from the decision of Isabella's marriage. Matilda I, Countess of Nevers, Erard II of Chacenay,Albert, Abbot of Vauluisant and other local potentates asked John to intervene in their conflicts, indicating that he was esteemed in his homeland. John attended the funeral of Philip II at the Basilica of St Denis in July;Philip bequeathed more than 150,000 marks for the defence of the Holy Land. John then visited England, attempting to mediate a peace treaty between England and France after his return to France.He made apilgrimage to Santiago de Compostela in March 1224. According to the Latin Chronicle of the Kings of Castile, John went to the Kingdom of León to marry one of the elder daughters of Alfonso IX of León (Sancha or"}
+{"doc_id":"doc_120","qid":"","text":"Passage 1:En Aasai UnnoduthanEn Aasai Unnoduthan (transl. My desire is with you) is a 1983 Indian Tamil-language romance film edited and directed by K. Narayanan. The film stars Prem and Poornima Jayaram, withThengai Srinivasan, Y. G. Mahendran, Rajini, Oru Viral Krishna Rao and Jaishankar in supporting roles. It was released on 30 September 1983.PlotCastPremPoornima JayaramThengai SrinivasanY. G.MahendranRajiniOru Viral Krishna RaoJaishankarSoundtrackThe soundtrack was composed by Shankar–Ganesh. The song \"Devi Koondhalo\" is based on \"Happy Together\" by The Turtles.ReceptionJayamanmadhan ofKalki said that, apart from the inclusion of Y. G. Mahendran, Thengai Srinivasan and Oru Viral Krishna Rao among others, there was nothing special about the film.Passage 2:En Aasai RasaveEn Aasai Rasave is a 1998Indian Tamil-language drama film directed by Kasthuri Raja. The film stars Sivaji Ganesan and Murali while Raadhika, Roja and Suvalakshmi all play other supporting roles. The film, which focussed on the lives ofkarakattam dance artists, released on 28 August 1998.PlotValayapathi is a karakattam artist who is revered. Azhagurani is a well-to-do rich woman who falls in love with him and gets married leaving her riches behind.Due to a misunderstanding, they separate leaving their child Muthumani with Valayapathi who brings him up in the karakattam tradition. Manoranjitham is in love with Muthumani.Enter Nagajyoti who claims she is thebest and prods Valayapathu/Muthumani into a competition thereby gaining entry into their lives. She slowly turns the tide and Muthumani and her fall in love. It is revealed that Nagajyoti is Muthumani's cross-cousinand has come in with the ulterior motive of reuniting Azhagurani, her aunt, and Valayapathi. Does she succeed?CastSivaji Ganesan as ValayapathiRaadhika as AzhaguraniMurali as MuthumaniRoja asNagajyotiVijayakumarSuvalakshmi as ManoranjithamVinu ChakravarthySenthilManivannanDelhi GaneshG. Ramachandran (producer)R. SundarrajanManoramaMahanadhi ShankarSoundtrackThe music of this album wasscored by Deva. Lyrics were written by Kasthuri Raja.ReceptionD. S. Ramanujam of The Hindu wrote, \"Age has withered and shackled Ganesan's virtuosity, the sparkle in his eyes and the authority in his voice that werehis forte are no longer there. Whenever B. Kannan's camera takes a close-up of the veteran, it only raises visions of this great artiste in his prime in similar scenes in his earlier movies and becomes a sadreminder\"Passage 3:Peter LevinPeter Levin is an American director of film, television and theatre.CareerSince 1967, Levin has amassed a large number of credits directing episodic television and television films. Someof his television series credits include Love Is a Many Splendored Thing, James at 15, The Paper Chase, Family, Starsky & Hutch, Lou Grant, Fame, Cagney & Lacey, Law & Order and Judging Amy.Some of his televisionfilm credits include Rape and Marriage: The Rideout Case (1980), A Reason to Live (1985), Popeye Doyle (1986), A Killer Among Us (1990), Queen Sized (2008) and among other films. He directed \"Heart in Hiding\",written by his wife Audrey Davis Levin, for which she received an Emmy for Best Day Time Special in the 1970s.Prior to becoming a director, Levin worked as an actor in several Broadway productions. He costarred withSusan Strasberg in \"[The Diary of Ann Frank]\" but had to leave the production when he was drafted into the Army. He trained at the Carnegie Mellon University. Eventually becoming a theatre director, he directedproductions at the Long Wharf Theatre and the Pacific Resident Theatre Company. He also co-founded the off-off-Broadway Theatre [the Hardware Poets Playhouse] with his wife Audrey Davis Levin and was also anassociate artist of The Interact Theatre Company.Passage 4:Ian Barry (director)Ian Barry is an Australian director of film and TV.Select creditsWaiting for Lucas (1973) (short)Stone (1974) (editor only)The ChainReaction (1980)Whose Baby? (1986) (mini-series)Minnamurra (1989)Bodysurfer (1989) (mini-series)Ring of Scorpio (1990) (mini-series)Crimebroker (1993)Inferno (1998) (TV movie)Miss Lettie and Me (2002) (TVmovie)Not Quite Hollywood: The Wild, Untold Story of Ozploitation! (2008) (documentary)The Doctor Blake Mysteries (2013)Passage 5:Kasthuri RajaKasthuri Raja is an Indian film director. He is the father of directorSelvaraghavan and actor Dhanush. He worked as an assistant director with Director K.S.G. Most of the films he directed were either village based or infatuation of youngsters. He also worked with Director Visu on morethan 16 films. Prior to entering the film industry, he ran away from home to Chennai and worked in a mill.FilmographyAs directorAs an actorAval Sumangalithan (1985)Mouna Mozhi (1992)As lyricistSolaiyamma - allsongsDreams - all songsThaai Manasu - all songsKummi Paatu - all songsPassage 6:Brian Kennedy (gallery director)Brian Patrick Kennedy (born 5 November 1961) is an Irish-born art museum director who has workedin Ireland and Australia, and now lives and works in the United States.  He was the director of the Peabody Essex Museum in Salem for 17 months, resigning December 31, 2020. He was the director of the ToledoMuseum of Art in Ohio from 2010 to 2019. He was the director of the Hood Museum of Art from 2005 to 2010, and the National Gallery of Australia (Canberra) from 1997 to 2004.CareerBrian Kennedy currently livesand works in the United States after leaving Australia in 2005 to direct the Hood Museum of Art at Dartmouth College. In October 2010 he became the ninth Director of the Toledo Museum of Art. On 1 July 2019, hesucceeded Dan Monroe as the executive director and CEO of the Peabody Essex Museum.Early life and career in IrelandKennedy was born in Dublin and attended Clonkeen College. He received B.A. (1982), M.A. (1985)and PhD (1989) degrees from University College-Dublin, where he studied both art history and history.He worked in the Irish Department of Education (1982), the European Commission, Brussels (1983), and in Irelandat the Chester Beatty Library (1983–85), Government Publications Office (1985–86), and Department of Finance (1986–89). He married Mary Fiona Carlin in 1988.He was Assistant Director at the National Gallery ofIreland in Dublin from 1989 to 1997. He was Chair of the Irish Association of Art Historians from 1996 to 1997, and of the Council of Australian Art Museum Directors from 2001 to 2003. In September 1997 he becameDirector of the National Gallery of Australia.National Gallery of Australia (NGA)Kennedy expanded the traveling exhibitions and loans program throughout Australia, arranged for several major shows of Australian artabroad, increased the number of exhibitions at the museum itself and oversaw the development of an extensive multi-media site.  Although he oversaw several years of the museum's highest ever annual visitation, hediscontinued the emphasis of his predecessor, Betty Churcher, on showing \"blockbuster\" exhibitions.During his directorship, the NGA gained government support for improving the building and significant privatedonations and corporate sponsorship. However, the initial design for the building proved controversial generating a public dispute with the original architect on moral rights grounds.  As a result, the project was notdelivered during Dr Kennedy's tenure, with a significantly altered design completed some years later.  Private funding supported two acquisitions of British art, including David Hockney's A Bigger Grand Canyon in 1999,and Lucian Freud's After Cézanne in 2001. Kennedy built on the established collections at the museum by acquiring the Holmgren-Spertus collection of Indonesian textiles; the Kenneth Tyler collection of editionedprints, screens, multiples and unique proofs; and the Australian Print Workshop Archive. He was also notable for campaigning for the construction of a new \"front\" entrance to the Gallery, facing King Edward Terrace,which was completed in 2010 (see reference to the building project above).Kennedy's cancellation of the \"Sensation exhibition\" (scheduled at the NGA from 2 June 2000 to 13 August 2000) was controversial, and seenby some as censorship. He claimed that the decision was due to the exhibition being \"too close to the market\" implying that a national cultural institution cannot exhibit the private collection of a speculative art investor.However, there were other exhibitions at the NGA during his tenure, which could have raised similar concerns. The exhibition featured the privately owned Young British Artists works belonging to Charles Saatchi andattracted large attendances in London and Brooklyn. Its most controversial work was Chris Ofili's The Holy Virgin Mary, a painting which used elephant dung and was accused of being blasphemous. The then-mayor ofNew York, Rudolph Giuliani, campaigned against the exhibition, claiming it was \"Catholic-bashing\" and an \"aggressive, vicious, disgusting attack on religion.\" In November 1999, Kennedy cancelled the exhibition andstated that the events in New York had \"obscured discussion of the artistic merit of the works of art\". He has said that it \"was the toughest decision of my professional life, so far.\"Kennedy was also repeatedlyquestioned on his management of a range of issues during the Australian Government's Senate Estimates process - particularly on the NGA's occupational health and safety record and concerns about the NGA'stwenty-year-old air-conditioning system. The air-conditioning was finally renovated in 2003. Kennedy announced in 2002 that he would not seek extension of his contract beyond 2004, accepting a seven-year term ashad his two predecessors.He became a joint Irish-Australian citizen in 2003.Toledo Museum of ArtThe Toledo Museum of Art is known for its exceptional collections of European and American paintings and sculpture,glass, antiquities, artist books, Japanese prints and netsuke. The museum offers free admission and is recognized for its historical leadership in the field of art education.  During his tenure, Kennedy has focused themuseum's art education efforts on visual literacy, which he defines as \"learning to read, understand and write visual language.\"   Initiatives have included baby and toddler tours, specialized training for all staff,docents, volunteers and the launch of a website, www.vislit.org. In November 2014, the museum hosted the International Visual Literacy Association (IVLA) conference, the first Museum to do so. Kennedy has been afrequent speaker on the topic, including 2010 and 2013 TEDx talks on visual and sensory literacy.Kennedy has expressed an interest in expanding the museum's collection of contemporary art and art by indigenouspeoples. Works by Frank Stella, Sean Scully, Jaume Plensa, Ravinder Reddy and Mary Sibande have been acquired.  In addition, the museum has made major acquisitions of Old Master paintings by Frans Hals and LucaGiordano.During his tenure the Toledo Museum of Art has announced the return of several objects from its collection due to claims the objects were stolen and/or illegally exported prior being sold to the museum.  In2011 a Meissen sweetmeat stand was returned to Germany followed by an Etruscan Kalpis or water jug to Italy (2013), an Indian sculpture of Ganesha (2014) and an astrological compendium to Germany in 2015.HoodMuseum of ArtKennedy became Director of the Hood Museum of Art in July 2005. During his tenure, he implemented a series of large and small-scale exhibitions and oversaw the production of more than 20 publicationsto bring greater public attention to the museum's remarkable collections of the arts of America, Europe, Africa, Papua New Guinea and the Polar regions. At 70,000 objects, the Hood has one of the largest collections onany American college of university campus. The exhibition, Black Womanhood: Images, Icons, and Ideologies of the African Body, toured several US venues. Kennedy increased campus curricular use of works of art,with thousands of objects pulled from storage for classes annually. Numerous acquisitions were made with the museum's generous endowments, and he curated several exhibitions: including Wenda Gu: Forest of StoneSteles: Retranslation and Rewriting Tang Dynasty Poetry, Sean Scully: The Art of the Stripe, and Frank Stella: Irregular Polygons.PublicationsKennedy has written or edited a number of books on art, including:AlfredChester Beatty and Ireland 1950-1968: A study in cultural politics, Glendale Press (1988), ISBN 978-0-907606-49-9Dreams and responsibilities: The state and arts in independent Ireland, Arts Council of Ireland (1990),ISBN 978-0-906627-32-7Jack B Yeats: Jack Butler Yeats, 1871-1957 (Lives of Irish Artists), Unipub (October 1991), ISBN 978-0-948524-24-0The Anatomy Lesson: Art and Medicine (with Davis Coakley), NationalGallery of Ireland (January 1992), ISBN 978-0-903162-65-4Ireland: Art into History (with Raymond Gillespie), Roberts Rinehart Publishers (1994), ISBN 978-1-57098-005-3Irish Painting, Roberts Rinehart Publishers(November 1997),  ISBN 978-1-86059-059-7Sean Scully: The Art of the Stripe, Hood Museum of Art (October 2008), ISBN 978-0-944722-34-3Frank Stella: Irregular Polygons, 1965-1966, Hood Museum of Art(October 2010), ISBN 978-0-944722-39-8Honors and achievementsKennedy was awarded the Australian Centenary Medal in 2001 for service to Australian Society and its art. He is a trustee and treasurer of theAssociation of Art Museum Directors, a peer reviewer for the American Association of Museums and a member of the International Association of Art Critics. In 2013 he was appointed inaugural eminent professor at theUniversity of Toledo and received an honorary doctorate from Lourdes University. Most recently, Kennedy received the 2014 Northwest Region, Ohio Art Education Association award for distinguished educator for arteducation.== Notes ==Passage 7:Jesse E. HobsonJesse Edward Hobson (May 2, 1911 – November 5, 1970) was the director of SRI International from 1947 to 1955. Prior to SRI, he was the director of the ArmourResearch Foundation.Early life and educationHobson was born in Marshall, Indiana. He received bachelor's and master's degrees in electrical engineering from Purdue University and a PhD in electrical engineering fromthe California Institute of Technology. Hobson was also selected as a nationally outstanding engineer.Hobson married Jessie Eugertha Bell on March 26, 1939, and they had five children.CareerAwards andmembershipsHobson was named an IEEE Fellow in 1948.Passage 8:S. N. MathurS.N. Mathur was the Director of the Indian Intelligence Bureau between September 1975 and February 1980. He was also the DirectorGeneral of Police in Punjab.Passage 9:Dana BlanksteinDana Blankstein-Cohen (born March 3, 1981) is the executive director of the Sam Spiegel Film and Television School. She was appointed by the board ofdirectors  in November 2019.  Previously she was the CEO of the Israeli Academy of Film and Television. She is a film director, and an Israeli culture entrepreneur.BiographyDana Blankstein was born in Switzerland in1981 to theatre director Dedi Baron and Professor Alexander Blankstein. She moved to Israel in 1983 and grew up in Tel Aviv.Blankstein graduated from the Sam Spiegel Film and Television School, Jerusalem in 2008with high honors. During her studies she worked as a personal assistant to directors Savi Gabizon on his film Nina's Tragedies and to Renen Schorr on his film The Loners.  She also directed and shot 'the making of' filmon Gavison's film Lost and Found. Her debut film Camping competed at the Berlin International Film Festival, 2007.Film and academic careerAfter her studies, Dana founded and directed the film and televisiondepartment at the Kfar Saba municipality. The department encouraged and promoted productions filmed in the city of Kfar Saba, as well as the established cultural projects, and educational communityactivities.Blankstein directed the mini-series \"Tel Aviviot\" (2012). From 2016-2019 was the director of the Israeli Academy of Film and Television.In November 2019 Dana Blankstein Cohen was appointed the newdirector of the Sam Spiegel Film and Television School where she also oversees the Sam Spiegel International Film Lab. In 2022, she spearheaded the launch of the new Series Lab and the film preparatory program forArabic speakers in east Jerusalem.FilmographyTel Aviviot (mini-series; director, 2012)Growing Pains (graduation film, Sam Spiegel; director and screenwriter, 2008)Camping (debut film, Sam Spiegel; director andscreenwriter, 2006)Passage 10:Olav AaraasOlav Aaraas (born 10 July 1950) is a Norwegian historian and museum director.He was born in Fredrikstad. From 1982 to 1993 he was the director of Sogn Folk Museum, from1993 to 2010 he was the director of Maihaugen and from 2001 he has been the director of the Norwegian Museum of Cultural History. In 2010 he was decorated with the Royal Norwegian Order of St. Olav."}
+{"doc_id":"doc_121","qid":"","text":"Passage 1:The Girl from LeningradThe Girl from Leningrad (Russian: Фронтовые подруги) is a 1941 Soviet adventure film directed by Viktor Eisymont.PlotThe film takes place during the Finnish war. A group of girlsvoluntarily go to the front. Young girls help doctors save the lives of wounded soldiers, and also fight with the enemy.StarringZoya Fyodorova as NatashaMariya Kapustina as TamaraOlga Fyodorina as TheCricketTamara Alyoshina as ZinaYekaterina Melentyeva as ShuraAndrei Abrikosov as Lt. Sergei KorovinKonstantin Adashevsky as Dr. KatnerYury Tolubeev as Maj. BraginskyBoris Blinov as Andrei MorosovPassage2:Everyone ElseEveryone Else (German: Alle Anderen) is a 2009 German romantic drama film written and directed by Maren Ade. The film was awarded with the Silver Bear at the 59th Berlin Film Festival.PlotGitti andChris are a young German couple on vacation at Chris's family villa in Sardinia. Gitti is much more spontaneous and light-hearted than Chris, wanting to go out and try to make friends while Chris remains introverted,preferring to stay in and read, even hiding from his neighbour; her playful demeanor often annoys him, while his guarded attitude exasperates her. When he tries to speak to Gitti about his unhappy feelings about hislife and career she interrupts him to say that he muses too much over everything and should consider settling down with her. Chris is upset and insulted by her outburst. Later, Gitti and Chris admit to each other thatthey often worry they're not the right person for each other.While shopping for groceries Chris spots Hans, a successful old classmate, and unsuccessfully tries to hide from him. Hans invites the couple to a barbecue athis home with his wife Sana, a successful fashion designer, which Gitti tries to decline as she has already received an invitation from a bohemian couple she has recently met. Chris overrides her and accepts theinvitation. While Sana and Hans appear to be the perfect, thriving couple, they quickly prove to be obnoxious, bland, and vapid. Hans eventually reveals that Chris has declined an architecture prize because his designwould be melded with another architect, though Chris had previously told Gitti that he hadn't heard back from the competition, which angers Gitti. When Gitti stands up for Chris in the face of Hans's subtle insults, Chrisbecomes upset.The following day Chris is hyper critical of Gitti, taking her on a long hike during which they get lost. Afterwards he informs her that he will be going for a drink with Hans alone, as Gitti embarrassed himthe previous evening. When he asks Gitti why she can't be more normal, like Sana, Gitti argues that she doesn't want to be like everybody else. Though Gitti begs him not to leave her alone at night, he goes anyway,returning in the morning. The following day Chris informs Gitti that he is considering taking an architecture job on the island. While Chris meets with his potential client, Gitti goes exploring on her own, trying out a newmakeover and choosing to keep the dress she previously regarded as too \"bourgeoisie\" in an effort to please Chris. After meeting up with Chris by chance, he suggests they invite Hans and Sana to their home. Theatmosphere becomes uncomfortable when Gitti runs into the bohemian couple she had previously met; they are put off by her new, put-together appearance and are somewhat hurt that she had stood them up. Whenthey extend the invitation again, Chris clumsily declines, which annoys Gitti.Gitti makes an effort to tone down her appearance and mannerisms for the dinner with Hans and Sana, but it nevertheless becomes awkwardas Chris starts behaving oddly in an attempt to impress the other couple. Gitti becomes more uncomfortable when Chris takes them into his mother's private dream room and mocks her interests for Hans and Sana'samusement. At the end of the night, Hans playfully throws Sana into the villa pool, leading Chris to throw Gitti in as well even as she begs him not to. Upset, she asks Sana to make an excuse so that she and Hans willleave. Chris tells Gitti he loves her and initiates sex, which she accepts dispassionately.The next day, Chris overhears Gitti concocting an excuse to leave early without letting him know. After confronting her, Gittiasserts that she is leaving him, and no longer loves him anymore because he is a weakling. Chris fires back that she is a naive hypocrite and asks her to leave. While packing her things, Gitti falls to the floor and playsdead. At first worried, and then upset by her games, Chris resolves to make things work and let his guard down. He blows raspberries into her stomach, which makes her laugh, and the two finally look at eachother.CastBirgit Minichmayr as GittiLars Eidinger as ChrisNicole Marischka as SanaHans-Jochen Wagner as HansReleaseCritical receptionThe film received positive reviews from film critics. On the review aggregatorwebsite Rotten Tomatoes, 88% of 42 critics' reviews are positive, with an average rating of 7.6/10. The website's consensus reads: \"Alle Anderen (Everyone Else) taps into the unpredictable energy between two couplesto throw finely detailed - and richly rewarding - sparks of emotional truth.\" Metacritic, which uses a weighted average, assigned the film a score of 71 out of 100, based on 16 critics, indicating \"generally favorablereviews\".Awards and nominationsSubmissionsBerlin International Film FestivalGolden Bear (nominated)German Film AwardsBest Direction (nominated)Best Performance by an Actress in a leading role(nominated)Outstanding Feature Film (nominated)Passage 3:The Girl from the ChartreuseThe Girl from the Chartreuse (original title: La Petite Chartreuse) is a French novel written by Pierre Péju and published for thefirst time in France in 2002. It has been translated in several other languages including English and it has been adapted in an eponymous film by Jean-Pierre Denis.The filmThe adapted film was shot in 2004, in theFrench Alps around Grenoble, and released in France and Belgium in 2005. It stars Olivier Gourmet, Marie-Josée Croze, Yves Jacques and young newcomer Bertille Noël-Bruneau. The scenario was co-written by directorJean-Pierre Denis with Yvon Rouvé. The original soundtrack was composed by Michel Portal.External linksLa petite Chartreuse at IMDbPassage 4:The Girl from ManhattanThe Girl from Manhattan is a 1948 Americancomedy drama film directed by Alfred E. Green, starring Dorothy Lamour, George Montgomery, and Charles Laughton.The guest house setting allows a multiplicity of characters to interact with the maincharacters.PlotNew York actress and fashion model Carol arrives to stay with her uncle Homer Purdy in a boarding house in the mid-west America town of Pittsfield.Meanwhile, ex-football player, the handsome TomWalker, appears in the same state to chat with the bishop regarding his becoming a minister in the town. It is concluded that the church needs new heroes and his background as a  football star should be a benefit not ahindrance. The bishop has arranged for him to stay at Purdy's boarding house. On arrival he meets Carol and they recognise each other. Tom is cryptic about his plans.Tom meets the church council who present a localbenefactor Mr Birch who is going to buy the 150-year-old church and build a new church closer to the town centre: the chosen site is Purdy's boarding House.Uncle Homer is revealed to be giving most of his rooms freeuntil the various residents get rich, and is involved in many of their madcap schemes. He makes little money and the old house is crumbling. Carol and Homer rearrange one of the rooms to serve as Tom's study untilthe new church is built. They do not know the chosen site is their house.The bishop calls in Tom to discuss his reputation if being seen with a fashion model.Oscar, one of the more eccentric guests, is allowed to build aminiature railway in Purdy's basement. Mr Birch appears at the boarding house to assess its demolition. Everyone knows the plan except Carol. Uncle Homer has squandered the $3,000 Carol sent him on investing in hisguests crazy ventures. The train engine blows up and Homer is injured. Tom and carol join forces to save the boarding house. Several guests also start to raise money.Ultimately Rev Tom sends his own $3,000 to payoff Homer's debts and Mr Birch's \"generous\" offer for the old church is proven to be a scam. Although they will need to keep using the old church, the bishop approves.CastPassage 5:Jean-Pierre DenisJean-Pierre Denis(born 29 March 1946) is a French film director and screenwriter. He has directed seven films since 1980. His directorial debut Adrien's Story won the Caméra d'Or at the 1980 Cannes Film Festival. His film Field of Honorwas entered into the 1987 Cannes Film Festival.FilmographyAdrien's Story (1980)La palombière (1983)Champ d'honneur (1987)Les yeux de Cécile (1993)Les blessures assassines (2000)La petite Chartreuse(2005)Ici-bas (2011)Passage 6:The Girl from the IslandsThe Girl from the Islands or Maibritt, the Girl from the Islands (German: Maibritt, das Mädchen von den Inseln) is a 1964 West German-Swedish comedy filmdirected by Bostjan Hladnik and starring Jane Axell, Gunnar Möller, and Karl Schönböck. It was part of an attempt by some German comedy films of the era to be slightly more risqué.ProductionIt was shot on location inYugoslavia. The film's sets were designed by the art director Heinrich Mager. It was shot using Eastmancolor. The Swedish actress Jane Axell was handpicked for the starring role, but after appearing in another Germanfilm Venusberg the same year she made only a few further minor appearances.SynopsisA German businessmen is sent to Stockholm by his boss to secure an important contract, in the face of foreign competition. Hediscovers that the intended client has gone sailing round the Swedish islands and follows him. He becomes mixed up with a mysterious young woman named Maibritt, who eventually turns out to be the daughter of hisintended client.CastPassage 7:The Girl from the WardrobeThe Girl from the Wardrobe (Polish: Dziewczyna z szafy) is a 2013 Polish drama film directed by Bodo Kox.CastWojciech Mecwaldowski - TomekPiotr Głowacki -JacekMagdalena Rózanska - MagdaEryk Lubos - KrzysztofTeresa Sawicka - KwiatkowskaOlga Bołądź - AgaAwards and nominationsPolish Academy Award for Discovery of the Year, for directing, Bodo Kox,awardZbigniew Cybulski Award for best young Polish actor, Piotr Głowacki, awardPolish Academy Award for Best Supporting Actor, Eryk Lubos, nominationPolish Academy Award for Best Production Design, AndrzejHaliński, nominationPassage 8:The Girl from MonterreyThe Girl from Monterrey is a 1943 American film directed by Wallace Fox starring Armida Vendrell as PRCs version of the Mexican Spitfire.The film is also known asThe Girl from Monterey (American alternative spelling).Plot summaryIn a Mexican nightclub, some American fight promoters witness Alberto 'Baby' Valdez, the brother of Lita Valdez knock out a champion fighter.  Atfirst Lita is angered that her brother has quit his law studies to become a fighter, but the two move to the United States.  Lita literally bumps into reigning champion Jerry O'Leary with the three becoming inseparablefriends.  However the American fight promoters force Alberto and Jerry to fight each other or face suspension.CastArmida Vendrell as Lita ValdezEdgar Kennedy as Doc Hogan, Fight PromoterVeda Ann Borg as FlossieRankinJack La Rue as Al JohnsonTerry Frost as Jerry O'LearyAnthony Caruso as Alberto 'Baby' ValdezCharles Williams as Harry HollisBryant Washburn as Fight Commissioner BogartGuy Zanette as Tony PerroneWheelerOakman as Fight AnnouncerJay Silverheels as Fighter Tito FloresRenee Helms as Hat Check GirlSoundtrackArmida - \"Jive, Brother, Jive\" (Written by Lou Herscher and Harold Raymond)Armida - \"Last Night's All Over\"(Written by Lou Herscher and Harold Raymond)Armida - \"The Girl from Monterrey\" (Written by Lou Herscher and Harold Raymond)External linksThe Girl from Monterrey at the American Film Institute CatalogThe Girlfrom Monterrey at IMDbThe Girl from Monterrey is available for free viewing and download at the Internet ArchivePassage 9:The Girl from Scotland YardThe Girl from Scotland Yard is a 1937 American detective filmstarring Karen Morley.Actor Jon Hall appears under the name \"Lloyd Crane\".PlotDetective Beech (Karen Morley) and reporter Holt (Robert Baldwin) pursue a death ray–wielding anarchist (Eduardo Cianelli) with apathological hatred of England.CastKaren Morley as Linda BeechRobert Baldwin as Derrick HoltEduardo Ciannelli as Franz JorgKatharine Alexander as Lady LaveringLloyd Crane as BertieDennis O'Keefe as JohnMilli Montias herselfLynn Anders as Mary SmithRichard Ted Adams as valetOdette Myrtilas Mme DupréClaude King as Sir Eric LedyardLeonid Kinskey as MischaCritical receptionLeonard Maltin wrote, \"escapist story of girl trying totrack down mysterious madman with destruction ray is poorly handled; not nearly as much fun as it might have been.\" and Fantastic Movie Musings & Ramblings wrote, \"there are nice touches here and there...but all inall, it's merely rather ordinary. Not bad for a slow day and keep your expectations in check.\"Passage 10:Maren AdeMaren Ade (German: [\u0000ma\u0000\u0000\u0000n \u0000\u0000a\u0000d\u0000]; born 12 December 1976) is a German film director,screenwriter and producer. Ade lives in Berlin, teaching screenwriting at the Film Academy Baden-Württemberg in Ludwigsburg. Together with Janine Jackowski and Jonas Dornbach, she runs the production companyKomplizen Film.Early life and educationAde was born in Karlsruhe, West Germany. As a teenager, she directed her first short films.In 1998, she  began studying film production and media management, and later filmdirection at the University of Television and Film (HFF) in Munich, which she successfully completed in 2004.CareerIn 2001, Ade co-founded the film production company Komplizen Film together with Janine Jackowski, afellow graduate from HFF. It was with Komplizen Film that she produced her final student film The Forest for the Trees at HFF in 2003. Among other honors, the film received the Special Jury Award at the Sundance FilmFestival in 2005. The Forest for the Trees was screened at a large number of international festivals.In 2009, her second film Everyone Else celebrated its world premiere in the Official Competition section of the BerlinInternational Film Festival, where it received the Silver Bear for Best Film (Jury Grand Prix) and the Best Actress Silver Bear for Birgit Minichmayr. Everyone Else was released in theatres in over 18 countries.In 2012,Ade announced she would be writing and directing a film called Toni Erdmann about a man who begins to play pranks on his adult daughter after he finds she has become too serious. The film debuted In Competition atthe 2016 Cannes Film Festival, the first German film to debut there in 10 years. The film won the top prize at the European Film Awards (Best European Film), thus making Ade the first woman to direct a movie thatwon the top prize at those awards.Personal lifeAde lives with director Ulrich Köhler and their two children in Berlin.Awards and nominations2005: Special Jury Award, Sundance Film Festival for The Forest for theTrees2005: Best Feature Film - Grand Prize, IndieLisboa - International Independent Film Festival for The Forest for the Trees2005: Best Film, nomination for the German Film Award for The Forest for the Trees2005:Best Feature Film, Cine Jove Valencia Film Festival for The Forest for the Trees2005: Best Actress: Eva Löbau, Buenos Aires Independent Film Festival for The Forest for the Trees2009: Silver Bear – Jury Grand Prix,Berlinale, for Everyone Else2009: Silver Bear– Best Actress for Birgit Minichmayr, Berlinale, for Everyone Else2010: Nominated for Best Film, Best Direction and Best Female Lead for Birgit Minichmayr, German FilmAward for Everyone Else2010: Best Direction and FIPRESCI Critics' Award, Buenos Aires Festival of Independent Cinema for Everyone Else2010: Main Prize, International Women's Film Festival Dortmund for EveryoneElse2010: Best Actor for Lars Eidinger, Love Is Folly International Film Festival for Everyone Else2010: Best Actress for Birgit Minichmayr, Ourense Film Festival for Everyone Else2014: Berlin Art Prize in the categoryFilm and Media Art2015: DEFA Foundation Award for Outstanding Performance in German Film for Komplizen Film2016: Academy Award nomination,  Best Foreign Film, for \"Toni Erdmann\"FilmographyAs director andscreenwriter2000 Level 9, short film (script and direction)2001 Vegas, short film (script and direction)2003 The Forest for the Trees, feature film (script and direction)2009 Everyone Else, feature film (script anddirection)2016 Toni Erdmann, feature film (script and direction)As producer2002 Karma Cowboy, feature film by Sonja Heiss and Vanessa van Houten, producer2006 Hotel Very Welcome, feature film by Sonja Heiss,producer2011 Sleeping Sickness, feature film by Ulrich Köhler, producer2012 Tabu, feature film by Miguel Gomes, co-producer2012 The Dead and the Living, feature film by Barbara Albert, co-producer2013 TantaAgua, feature film by Ana Guevara and Leticia Jorge, co-producer2013 Redemption, short film by Miguel Gomes, co-producer2014 Superegos, feature film by Benjamin Heisenberg, producer2014 Love Island, featurefilm by Jasmila Zbanic, co-producer2015 Hedi Schneider Is Stuck, feature film by Sonja Heiss, producer2015 Arabian Nights, feature film by Miguel Gomes, co-producer2017 Western, feature film by Valeska Grisebach,producer2020 The Story of My Wife, feature film by Ildikó Enyedi, producer2021 Spencer, feature film by Pablo Larraín, producer"}
+{"doc_id":"doc_122","qid":"","text":"Passage 1:Antonio Maceo AirportAntonio Maceo Airport (IATA: SCU, ICAO: MUCU) is an international airport located in Santiago, Cuba.OverviewThe airport has a drawing of Che Guevara on one of its outside walls. PopeJohn Paul II flew to this airport during his last visit to Cuba, flying a round trip between here and José Martí International Airport in Havana. Likewise, Pope Benedict XVI, during the second papal visit to Cuba, flew herefor Mass and other activities, from his visit to León and Guanajuato in Mexico, before moving on to Havana.The airport is basically a turbo-prop centre. Nevertheless, jet aircraft also fly to this airport. Most commercialflights into SCU are domestic, but there are about twenty international flights each week; while these international flights were at one point done mostly by domestic airlines, the international routes have neverthelessawakened the interest of some foreign airlines that have opened flights into this airport and might open more flights in the future.Airlines and destinationsSantiago de Cuba BaseThe airport was home to the CubanRevolutionary Armed Forces:35th Transport Regiment - Antonov An-2 and Antonov An-26 transports36th Helicopter Regiment - Mil Mi-8 and Mil Mi-24The helipads are now part of the executive jet terminal on the northend of the airport.Accidents and incidentsOn 2 October 1959, a Viscount of Cubana de Aviación was hijacked on a flight from Havana to Antonio Maceo Airport, Santiago de Cuba by three men demanding to be taken tothe United States. The aircraft landed at the Miami International Airport.On 4 November 2010, Aero Caribbean Flight 883, an ATR 72-212, crashed in the centre of the country with 68 people on board. The aircraft wasflying from Santiago de Cuba to Havana when it went down. 28 foreigners were reported to be among the passengers. There were no survivors.Passage 2:Rosamond SkyparkRosamond Skypark (FAA LID: L00) is aresidential airpark and public-use airport located three nautical miles (6 km) west of the central business district of Rosamond, in Kern County, California, United States. It is privately owned by the Rosamond SkyparkAssociation.Facilities and aircraftRosamond Skypark covers an area of 100 acres (40 ha) at an elevation of 2,415 feet (736 m) above mean sea level. It has one runway designated 8/26 with an asphalt surfacemeasuring 3,600 by 50 feet (1,097 x 15 m).For the 12-month period ending May 3, 2011, the airport had 15,000 general aviation aircraft operations, an average of 41 per day. At that time there were 71 aircraft basedat this airport: 89% single-engine, 4% multi-engine, 1% helicopter, 3% glider, and 3% ultralight.The facility was designed by aeronautical engineer Sam Ramsey, who resided at the sleepy airport for years prior to thedevelopment. He envisioned an airport where pilots could commute to Los Angeles while enjoying the quiet High Desert as a residence.See alsoList of airports in Kern County, CaliforniaPassage 3:AmpanihyAirportAmpanihy Airport (IATA: AMP, ICAO: FMSY) is an airport located in Ampanihy, Madagascar.Airlines and destinations== Sources ==Passage 4:Crow Island AirportCrow Island Airport (also known as Crow IslandAirpark) is a private airport along the Assabet River in Stow, Massachusetts, United States. It has a 2,300 foot grass airstrip which is popular with \"pilots flying a variety of aircraft including, trikes, ultralights, vintagetaildraggers, seaplanes, hang gliders, powered paragliders, powered parachutes, RC aircraft and more.\"Crow Island had previously been used for a gravel business operated by George Morey. In 1978 Rob Albright, anultralight enthusiast, received permission to fly at the island, and he eventually purchased and redeveloped the land for full-time use as a small airport.Passage 5:Madang AirportMadang Airport (IATA: MAG, ICAO:AYMD), is an airport located in Madang, Papua New Guinea.Airlines and destinationsHistoryWorld War IIDuring World War II, occupied by the Imperial Japanese Army in January 1943, as a forward operating airfield foraircraft based at Wewak. Later expanded to a 3250' x 240' runway with a single taxiway with 31 revetment areas. Bombed by the allies during late 1943 and early 1944 the airfield became unserviceable.ImperialJapanese Army Air Force Units at MadangImperial Japanese Army Air Force59th Sentai (Nakajima Ki-43 Oscar)68th Sentai (Kawasaki Ki-61 Tony)248th Sentai (Nakajima Ki-43-III Oscar)Allied LiberationLiberated byAustralian Army forces on 24 April 1944. A large amount of high octane fuel was captured and used by the Australians for use in the Royal Australian Navy motor launch boats. The airfield was repaired and used by theRoyal Australian Air Force until the end of the war.Post WW2 in 1947, the Department of Civil Aviation sent an airport manager to Madang to oversee the building of the airport. Accommodation for the workers also hadto be built as well as airplane hangars and a control tower. Wooden floors on concrete slabs were laid. Knitted woven bark for the walls was floated downstream, made by the natives, who were paid in cash. When thebark hut accommodation was ready, motor mechanics, radio technicians and other workers arrived along with wives and children. Eventually packaged Hawksley houses arrived from Britain and were built in thetownship of Madang.Royal Australian Air Force Units at MadangHeadquarters, RAAF Northern Command (NORCOM)No. 4 Squadron RAAF (CAC Boomerang)No. 8 Communication Unit RAAFNo. 15 Squadron RAAF (BristolBeaufort)No. 111 Air-Sea Rescue Flight RAAF (PBY Catalina)No. 120 (Netherlands East Indies) Squadron RAAFNo. 2 Medical Receiving Station RAAFNo. 109 Mobile Fighter Sector Headquarters RAAFAccidents andincidentsOn 11 April 1972, Douglas C-47 VH-PNB of Trans Australia Airlines overran the runway on landing, ending up in the sea damaged beyond economic repair.On 17 July 1972, Douglas C-47A VH-MAE of AnsettAirlines of Papua New Guinea was damaged beyond economic repair when the starboard undercarriage collapsed on landing. The aircraft was operating a domestic cargo flight from Wapenamanda Airport.On 30 October1972, Douglas C-47B VH-PNA of Ansett Airlines of Papua New Guinea overran the runway on landing. The aircraft was subsequently withdrawn from use and used for fire practice, eventually being scrapped in 1978.On31 May 1995 an Air Niugini Fokker F-28 Fellowship 1000, registration P2-ANB, attempted a landing in bad weather and aquaplaned off the runway and fell into a ditch at the eastern end of the runway. The aircraft wascarrying 4 crew and 35 passengers, none of whom was injured.On 19 October 2013 an Air Niugini Avions de Transport Regional ATR-42-300 cargo plane, registration P2-PXY, made a failed takeoff attempt and fell intoin Mero Creek at the western end of the runway. The right wing and engine were destroyed by fire but the three crew escaped to safety with minor injuries. There were no passengers on board.See alsoNaval BaseAlexishafenPassage 6:Breakaway AirportBreakaway Airport, also known as Hank Sasser Airport, (ICAO: 40XS) is a privately-owned, private use airport in Cedar Park, Texas, United States. Located about 3 miles (4.8km) northeast of Downtown Cedar Park, it covers 25 acres (10.1 ha) and has one runway. It serves as the base for the fly-in community Breakaway Park.HistoryFoundingIn 1977, United States Marine Corps veteranand amateur pilot Walter Yates purchased land for the purpose of establishing a fly-in community. This land would become Breakaway Park, a subdivision of the City of Cedar Park that featured a 3,000 foot (914.4 m)grass runway at its center. Initially, Breakaway would consist of the single unpaved runway and a handful of hangars near its northern end, but would see continuous development that continues to the present day. Thesubdivision would be managed by Breakaway Park, Incorporated, of which Yates was the president until the company's dissolution on March 26, 2001.Modern HistoryOn January 1, 2008, Breakaway Park fell under themanagement of residents Donald Richie and Dennis Gale, operating as D&D Airport Holdings LLC.Runway ResurfacingOver the years 2014 and 2015, Breakaway's grass runway would be paved over with asphalt, but itslength and width would remain unchanged.Name ChangeIn 2014, Breakaway Airport's name would be changed to Hank Sasser/Breakaway Airport in honor of amateur pilot John Henry \"Hank\" Sasser. He was a CedarPark native that operated his personal aircraft out of Breakaway, and died in an airplane crash in Lago Vista, Texas on August 23, 2014.FacilitiesBreakaway Airport offers fuel and oxygen services to residents ofBreakaway Park. There are no air traffic control facilities on-site.Runway and HangarsBreakaway Airport has one runway. Hangars are located on either side of the runway, many of which are attached to privateresidences.StatisticsAs of December 2021, there are 23 aircraft based at Breakaway Airport.Passage 7:Edmonton/Twin Island AirparkEdmonton/Twin Island Airpark (TC LID: CEE6), also known as Twin Island Air Park, islocated 12 nautical miles (22 km; 14 mi) southeast of Edmonton, Alberta, Canada.See alsoList of airports in the Edmonton Metropolitan RegionPassage 8:Esquimalt AirportEsquimalt Airport (IATA: YPF, ICAO: CYPF) wasan airport located in Esquimalt, British Columbia, Canada.Passage 9:Mayerthorpe AirportMayerthorpe Airport (TC LID: CEV5) is located 1.3 nautical miles (2.4 km; 1.5 mi) southwest of Mayerthorpe, Alberta,Canada.Passage 10:Erzincan AirportErzincan Yıldırım Akbulut Airport (IATA: ERC, ICAO: LTCD) is an airport located in Erzincan, Turkey.Airlines and destinationsTraffic Statistics(*)Source: DHMI.gov.tr"}
+{"doc_id":"doc_123","qid":"","text":"Passage 1:The Adventures of FridolinThe Adventures of Fridolin (German: Die seltsamen Abenteuer des Herrn Fridolin B.) is an East German film. It was released in 1948.External linksThe Adventures of Fridolin at IMDbPassage 2:The Adventures of Smilin' Jack (serial)The Adventures of Smilin' Jack (1943) is a Universal movie serial based on the popular comic strip The Adventures of Smilin' Jack by Zack Mosley. It was directed by Lewis D. Collins and Ray Taylor.PlotIn 1941, an American aviator, 'Smilin' Jack' Martin wishes to resign as an advisor to the Nationalist Chinese Army in order to return to the United States to enlist as an aviator in America's military buildup prior to the attack on Pearl Harbor.  He is delayed when the Chinese discover that the neutral Tibetan like Mandon \"Province\" contains a secret road from India to China crucial for the Allied war effort.  Determined to obtain the secret for themselves, or equally determined to have the secret destroyed is the Japanese espionage organisation \"The Black Samurai\" and the German intelligence agent Fräulein von Teufel who masquerades as an American newspaper reporter.CastProductionThe serial was based on the comic strip by Zack Moseley but it was not in the spirit of the strip as would normally be expected from a Universal production. Very little of the original comic strip was used and a new character, Tommy Thompson, was created by Universal. The similarity to Tommy Tomkins, of the Tailspin Tommy stories, may imply a crossover of sorts. Cline suggests that it was \"a quick attempt to get a story on screen about a topical subject, and could have had almost any flyer with any name as a hero.”Chapter titlesThe High Road to DoomThe Rising Sun StrikesAttacked by BombersKnives of VengeanceA Watery GraveEscape by ClipperFifteen Fathoms BelowTreachery at SeaThe Bridge of PerilBlackout in the IslandsHeld for TreasonThe Torture Fire TestSinking the Rising SunSource:QuotesUnited Nations means united friends-Capt. WingPassage 3:Terminator 3: Rise of the MachinesTerminator 3: Rise of the Machines is a 2003 American science fiction action film directed by Jonathan Mostow. Starring Arnold Schwarzenegger, Nick Stahl, Claire Danes, and Kristanna Loken, it is the third installment in the Terminator franchise and a sequel to Terminator 2: Judgment Day (1991). In its plot, the malevolent artificial intelligence Skynet sends a T-X (Loken)—a highly advanced Terminator—back in time to ensure the rise of machines by killing top members of the future human resistance as John Connor's (Stahl) location is unknown. The resistance sends back a reprogrammed T-850 (Schwarzenegger) to protect John and his future wife, Kate (Danes).While Terminator creator James Cameron was interested in directing the third film, he ultimately had no involvement with Terminator 3. Andrew G. Vajna and Mario Kassar, who had produced Terminator 2: Judgment Day through their company Carolco Pictures, obtained the rights for the franchise through both Carolco's liquidation auction and negotiations with producer Gale Ann Hurd. In 1999, Tedi Sarafian was hired to write the first draft of the script. Mostow joined the project as director in 2001, and he brought on John Brancato and Michael Ferris to rewrite Sarafian's script. The $187 million budget included a $5 million salary for Mostow and a record $30 million salary for Schwarzenegger. Filming took place in California from April to September 2002. Industrial Light & Magic (ILM) and Stan Winston created the special effects, as they did for the previous film.Terminator 3: Rise of the Machines premiered in Westwood, Los Angeles, on June 30, 2003, and was released on July 2, 2003, by Warner Bros. Pictures in the United States and by Columbia TriStar Film Distributors International in worldwide territories. It received generally positive reviews and earned $433.4 million worldwide, finishing its theatrical run as the seventh-highest-grossing film of 2003. A sequel, Terminator Salvation, was released in 2009.PlotTen years after destroying Cyberdyne Systems, John Connor has been living as a nomad following the death of his mother, Sarah, to hide from the malevolent artificial intelligence Skynet, despite a war between humans and machines not happening in 1997, as foretold. Unable to locate John in the past, Skynet sends the T-X, an advanced prototype Terminator made of virtually impervious shapeshifting liquid metal covering a metal endoskeleton, back in time to John's present in Los Angeles, to instead kill his future allies in the human resistance. The human resistance sends back a reprogrammed T-850 Terminator, a less-advanced model covered in living flesh, to protect John and his future wife Kate Brewster.After killing other targets, the T-X locates the pair at an animal hospital where Kate works. John becomes the T-X's primary target, but the Terminator helps him and Kate escape, taking them to a mausoleum where John's mother is supposedly interred. Inside her vault, they find a weapons cache left at Sarah's request in case Judgment Day was not averted and the Terminators returned. They escape from an armed battle with the police and fend off the pursuing T-X. The Terminator reveals that John and Sarah's actions only delayed Judgment Day and that Skynet's attack will occur that day; the Terminator intends to drive John and Kate to Mexico to escape the fallout when Skynet begins its nuclear attack at 6:18 p.m. John orders the Terminator to take Kate and him to see her father, U.S. Air Force Lieutenant General Robert Brewster. The Terminator refuses, however when Kate also demands to see her father, the Terminator obeys. It is revealed that in the future, the Terminator killed John, after which Kate captured and reprogrammed the Terminator and sent it back in time.Meanwhile, General Brewster is supervising the development of Skynet for Cyber Research Systems (CRS), which also develops autonomous weapons. The Chairman of the Joint Chiefs of Staff pressures him to activate Skynet to stop an anomalous computer virus from invading servers worldwide. General Brewster fails to discover that the virus was Skynet becoming sentient, and John and Kate arrive too late to stop him from activating it. The T-X fatally injures General Brewster and controls the CRS weaponized drones, which kill the employees. Before he dies, the general gives Kate and John the location of what John believes is Skynet's system core. The pair head for the tarmac to take General Brewster's single-engine plane to Crystal Peak, a facility built inside the Sierra Nevada. After a battle, the T-X severely damages the Terminator, reprogramming it to kill John, and pursues John and Kate through the CRS facility. When a particle accelerator is activated, it magnetically binds the T-X to the equipment. The still-conscious Terminator struggles to control its outer functions. As it prepares to kill John, he urges the Terminator to choose between its conflicting programming; it deliberately forces a shutdown of its corrupted system, enabling the pair's escape. Shortly after they leave, the Terminator's system reboots. Meanwhile, the T-X escapes the accelerator and resumes pursuit.After John and Kate reach Crystal Peak, the T-X arrives by helicopter. Before it can attack, the Terminator arrives in a second helicopter and crashes into and crushes the T-X. The T-X pulls itself from the wreckage, losing its legs, and attempts to drag itself inside the bunker to follow the pair. The Terminator holds the bunker door open long enough for the pair to lock them inside then uses its last hydrogen fuel cell to destroy both itself and the T-X.John and Kate discover that Crystal Peak is not Skynet's core, but rather a nuclear fallout shelter and command facility for government and military officials. Having no core, Skynet has become a part of cyberspace after becoming self-aware. Judgment Day begins as Skynet fires nuclear missiles worldwide, starting a nuclear holocaust that kills billions. The pair begin receiving radio transmissions on the emergency equipment; John tentatively assumes command by answering radio calls, and they reluctantly accept their fate.CastArnold Schwarzenegger as the Terminator.Nick Stahl as John Connor. Stahl replaces Edward Furlong from the second film.Kristanna Loken as the T-X, an advanced Terminator sent back to murder John's resistance lieutenantsClaire Danes as Kate Brewster, John's former classmate and Scott's fiancé.David Andrews as Lieutenant General Robert Brewster, Kate's father who is also the program director at CRS, which has acquired Cyberdyne Systems' remaining assetsMark Famiglietti as Scott Mason, Kate's fiancé who is killed by the T-X. The character was originally named Scott Peterson, but the name was changed in order to avoid association with the case involving the murder of Laci Peterson and her unborn son Conner by her husband Scott Peterson. In the ending credits his name is still listed as \"Scott Petersen\".Earl Boen as Dr. Peter Silberman: Reprising his role from the first two films, Boen appears in one scene, attempting to comfort Kate after she witnesses the acts of the Terminator.Jay Acovone portrayed an LAPD Officer. Kim Robillard and Mark Hicks portrayed Detective Edwards and Detective Bell. In the film's dialogue Bell is identified correctly, however in the film's end credits his name is listed as \"Detective Martinez\". One of Schwarzenegger's stunt doubles, Billy D. Lucas, portrayed a civilian who has his car accidentally wrecked by John.ProductionConceptionJames Cameron had directed and co-written the previous Terminator films. The film rights to the franchise were held by Carolco Pictures and by Cameron's ex-wife and Terminator 2: Judgment Day (1991) executive producer Gale Anne Hurd, who both held 50 percent of the rights. Cameron had sold his stake to Hurd for $1 prior to directing The Terminator (1984). In July 1991, Cameron said that if Terminator 2 was successful, \"there may be some economic pressure\" to do a sequel. Hurd said that month, \"I've always felt the story lent itself wonderfully to being a continuing tale.\" She believed it was natural that a third film would happen, but was unsure at that time if Arnold Schwarzenegger would reprise his role as the Terminator. Hurd said that for Schwarzenegger to commit to another film, he would have to read a finished script, approve a director, and see if the project fit into his schedule.Following Terminator 2's release, Cameron said he had no intentions for further sequels, believing it \"brings the story full circle and ends. And I think ending it at this point is a good idea,\" and co-writer William Wisher said they wrote the script intending to leave no option for a sequel. Even so, Carolco Pictures co-founder Mario Kassar said in May 1992 that he intended to make a Terminator 3 film within the next five to seven years. TriStar, which distributed Terminator 2, would be involved in the new film. That month, TriStar chief Mike Medavoy said the film would probably take a couple of years.DevelopmentBy the end of 1995, Carolco had filed for bankruptcy, and Cameron wanted to direct a third film with the involvement of 20th Century Fox. Cameron's 3D film ride, Terminator 2 3-D: Battle Across Time, would open later in 1996. The project reunited the main cast of Terminator 2: Judgment Day, and had prompted Cameron to begin writing a script for a Terminator 3 film. Cameron said Terminator 2 3D: Battle Across Time would serve as a \"stepping stone\" toward a third Terminator film. However, such a film would not be ready for a few years as Cameron was busy working on Titanic for 20th Century Fox.When Carolco filed for bankruptcy on November 10, 1995, its assets were bound to a liquidation auction. That day, 20th Century Fox signed a $50 million deal to acquire all of Carolco's assets, including the rights to Terminator sequels, as well as the company's existing film library. Fox withdrew its bid in January 1996, when Canal Plus bid $58 million for Carolco's film library. Canal Plus' offer did not include purchasing the rights for Carolco sequel films, but Fox wanted all of Carolco's assets and was unwilling to match or exceed the bid offer made by Canal Plus. The sequel rights would ultimately be auctioned through U.S. bankruptcy court, where Fox intended to purchase them.The new Terminator film would have Schwarzenegger reprising his role. Linda Hamilton had also talked with Cameron about reprising her role as Sarah Connor. During 1997, Fox spent nine months negotiating with Cameron, Schwarzenegger, and Hurd, the latter in regard to her share of the sequel rights. Bill Mechanic, chairman of Fox Filmed Entertainment, oversaw the project and negotiations at that time. Mechanic wanted the trio to be involved in the new film, so he sought to first secure deals with them before proceeding with a purchase of the Carolco rights. Mechanic also believed that a deal with the trio would give him necessary leverage with the U.S. bankruptcy court to acquire the rights from Carolco. At that time, Cameron committed to writing and producing the film, and reserved the right to direct it in the event that he wanted to do so.Fox intended to make the new Terminator film on a budget similar to its predecessor, approximately $95 million. However, it was determined that the film could not be made on the intended budget when considering the additional cost of purchasing Carolco's rights, as well as Schwarzenegger's desired $25 million salary. At some point, Schwarzenegger had talked to Cameron about the two of them buying the rights themselves, but Cameron was not interested in this idea and wanted to let Fox handle the rights. Schwarzenegger said about Fox, \" Only later did I learn they were making these ridiculous lowball offers, like $750,000. We could have owned this ourselves, but Jim didn't want to be in that business.\"Dimension Films, a division of Miramax, had agreed to purchase the rights that were owned by Hurd and also intended to buy Carolco's rights through the auction. However, a judge ruled against an earlier motion which stated that only an established studio should be allowed to bid for the Carolco rights. This allowed Andrew G. Vajna to participate in the bidding. Vajna had co-founded Carolco with Kassar, but left the company in 1989.In September 1997, Cameron invited his friends Vajna and Kassar to see an early edit of Titanic, during which Vajna and Kassar learned that the Terminator rights were still available. That month, Mechanic discovered that Vajna had been quietly negotiating with the bankruptcy court to acquire the rights for himself and Kassar; the duo planned to form a new production company with Terminator 3 as its debut. During September 1997, Vajna signed a tentative $7.5 million agreement to purchase the rights, which were to be sold later in an auction scheduled for the following month. Mechanic was upset to learn of Vajna's agreement, having spent months in negotiations with Schwarzenegger, Cameron, and Hurd. Cameron was upset as well, as Vajna and Kassar had not mentioned their intention to buy the rights during their meeting days earlier. This would lead to the deterioration of their friendship. Vajna later said he was unaware that Cameron was already planning Terminator 3. Miramax dropped out of the bidding when Vajna raised his bid to $8 million.By October 1997, the budgetary concerns over Terminator 3 and Cameron's troubled post-production of Titanic for Fox led them both to abandon the Terminator project and not pursue the rights. Mechanic had asked Cameron if he wanted Fox to outbid Vajna, but Cameron decided he did not want to be involved in the project. Mechanic believed that Cameron was \"only hanging in there at the end because of Arnold and quality control. It was something that Arnold always wanted to do again. Period. And Jim was more than happy to do it.\" Cameron gave his approval for Hurd and Schwarzenegger to make another Terminator film without him, although Schwarzenegger did not want to make the film without Cameron, and initially refused to star in the third film.Over time, Schwarzenegger would continue trying to persuade Cameron to be involved in the new film. In 2003, Cameron said that he felt he had already told the whole story with his first two Terminator films, something that he came to realize during the post-production of Titanic. Cameron later stated, \"I just felt as a filmmaker maybe I've gone beyond it. I really wasn't that interested. I felt like I'd told the story I wanted to tell. I suppose I could have pursued it more aggressively and gone to the mat for it but I felt like I was laboring in someone else's house to an extent because I had sold the rights very early on.\" Nevertheless, feeling that the Terminator character was as much Schwarzenegger's as it was his own, Cameron eventually advised Schwarzenegger to do the third film without him, saying, \"If they can come up with a good script and they pay you a lot of money, don't think twice.\" The film was in high demand according to Schwarzenegger, who said he was frequently asked in interviews about the possibility of a third film.In October 1997, the rights to future Terminator films were auctioned to Vajna for $8 million. Hurd had opposed Vajna's attempt to buy the rights, and had tried unsuccessfully to change Cameron's mind about purchasing the rights. On the night that the rights were auctioned, Vajna contacted Cameron and Schwarzenegger to resolve the situation. Vajna was surprised that Cameron would be upset about the rights being sold, later saying, \"What difference does it make to Jim who's financing the movie, a studio or us? His deal would have been the same. Arnold tried to convince Jim over a long period of time to do the film. Arnold felt very loyal.\" Vajna said that Cameron \"felt that we 'stole his baby', even though we're the ones who put it together last time round. So we felt that that was kind of strange and then we went on to do it ourselves.\"Cameron said in January 1998 that it was unlikely he would direct Terminator 3. In March 1998, Vajna and Kassar acquired Hurd's half of the Terminator rights for $8 million, to become full owners of the franchise, with plans to proceed on Terminator 3. Hurd served as an executive producer on the film. Kassar and Vajna contacted Cameron with the hope that he would direct, but he declined. According to Kassar, Cameron was trying to obtain the auctioned Terminator rights for himself at the time that he was asked to direct. Cameron and his company, Lightstorm Entertainment, had considered trying to obtain the rights, but ultimately chose not to do so; it was estimated that acquiring the rights and paying Schwarzenegger to reprise his role could cost up to $100 million.Pre-productionBy 1999, Kassar and Vajna had been negotiating with various studios about partnering on the project, but decided to finalize the film's concept and script first. They founded C2 Pictures that year, and by October 1999, they had brought Toho-Towa and German company VCL onboard the project as co-financiers. The latter companies helped finance development of a script by Tedi Sarafian, who was hired for the film in 1999, along with David C. Wilson for a possible fourth installment. Fox held discussions with Vajna and Kassar about buying the rights from them for Cameron. Mechanic said these discussions were never serious. It was also reported that Fox and Cameron had been in discussions with Vajna and Kassar about partnering on the film. Vajna and Kassar accepted a proposal from Fox, but it fell apart once Toho-Towa and VCL were brought onto the project, as the latter companies purchased the distribution rights for Japan and Germany, the largest markets outside of the United States. Kassar and Vajna intended to proceed on the film with or without Schwarzenegger, although Kassar preferred that he be involved. Filming was expected to begin in 2000 for a release the following year.In March 2000, it was announced that VCL would have a 25 percent stake in the film, as well as the rights in German-speaking territories. At the time, Sarafian was days away from completing his draft, and Kassar hoped to announce a director within 45 days. Filming was still expected to commence later that year, with a release scheduled for the fourth quarter of 2001. Kassar wanted to have Terminator 3 and Terminator 4 shot back to back, possibly with different directors. Plans to shoot the film and its sequel simultaneously were later dropped, in case Terminator 3 did not become a success. Later in 2000, the start of production on Terminator 3 was delayed by a year.Sarafian's script, titled T-3: Rise of the Machines, featured John Connor working in a dot-com company. The script's villain was the T-1G, a female Terminator sent from the future, with the ability to turn invisible. By July 2000, Cameron had been given a copy of Sarafian's script, but he passed on directing the film due to his estranged relationship with Vajna and Kassar. Cameron later stated that he refused to direct or produce Terminator 3 because he disliked the idea of working from somebody else's script in a story he "}
+{"doc_id":"doc_124","qid":"","text":"Passage 1:Campanal IGuillermo González del Río García, nicknamed Campanal I or Guillermo Campanal (born 9 February 1912 in Avilés; died 22 January 1984 in Seville) was a Spanish footballer. During his career heplayed for Sporting de Gijón and Sevilla FC (1929–1946), and earned 3 caps and scored 2 goals for the Spain national football team, and participated in the 1934 FIFA World Cup.He later became manager of SevillaFC.HonoursSevillaLa Liga: 1945–46Copa del Rey: 1935, 1939Passage 2:Mirza Faiz MuhammadMirza Faiz Muhammad, also known by his title of Azādud Daulah, was an Indian nobleman and official in the Mughal empireduring the 18th century. He was a descendant of Mirza Hadi Baig and the great-great grandfather of Mirza Ghulam Ahmad of Qadian.Life and reignDuring Faiz Muhammad's life, Qadian had developed close relations withDelhi. Faiz Muhammad was successful in suppressing the anarchy that prevailed in the Punjab during this period as a result of which, in 1716, the Mughal Emperor Farrukhsiyar conferred upon him the rank of HaftHazārī which authorised him to keep regular force of 7,000 soldiers. He was also conferred the title Azādud Daulah (Strong Arm of the Government) by the Emperor.Passage 3:Muhammad I TaparAbu Shuja Ghiyathal-Dunya wa'l-Din Muhammad ibn Malik-Shah (Persian: \u0000\u0000\u0000 \u0000\u0000\u0000\u0000 \u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000 \u0000 \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000 \u0000\u0000 \u0000\u0000\u0000 \u0000\u0000\u0000, romanized: Abū Shujā\u0000 Ghiyāth al-Dunyā wa ’l-Dīn Mu\u0000ammad ibn Malik-Šāh; 1082 –1118), better known as Muhammad I Tapar (\u0000\u0000\u0000\u0000 \u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000), was the sultan of the Seljuk Empire from 1105 to 1118. He was a son of Malik-Shah I (r. 1072–1092) and Taj al-Din Khatun Safariya. In Turkish,Tapar means \"he who obtains, finds\".ReignMuhammad was born in January 1082. He succeeded his nephew, Malik Shah II, as Seljuq Sultan in Baghdad, and thus was theoretically the head of the dynasty, although hisbrother Ahmad Sanjar in Khorasan held more practical power. Muhammad I probably allied himself with Radwan of Aleppo in the battle of the Khabur River against Kilij Arslan I, the sultan of Rüm, in 1107, in which thelatter was defeated and killed. Following the internecine conflict with his half brother, Barkiyaruq, he was given the title of malik and the provinces of Armenia and Azerbaijan. Dissatisfied by this he revolted again, buthad to flee back to Armenia. By 1104, Barkiyaruq, ill and tired of war, agreed to divide the sultanate with Muhammad. Muhammad became sole sultan following the death of Barkiyaruq in 1105.In 1106, Muhammadconquered the Ismaili fortress of Shahdiz, and ordered the Bavandid ruler Shahriyar IV to participate in his campaign against the Ismailis. Shahriyar, greatly angered by the message Muhammad sent him, refused to aidhim against the Ismailis. Shortly after, Muhammad sent an army headed by Amir Chavli, who tried to capture Sari but was unexpectedly defeated by an army under Shahriyar and his son Qarin III. Muhammad then senta letter, which requested Shahriyar to send one of his sons to the Seljuq court in Isfahan. He sent his son Ali I, who impressed Muhammad so much that he offered him his daughter in marriage, but Ali refused and toldhim to grant the honor to his brother and heir of the Bavand dynasty, Qarin III. Qarin III then went to the Isfahan court and married her.In 1106/1107, Ahmad ibn Nizam al-Mulk, the son of the famous vizier Nizamal-Mulk, went to the court of Muhammad I to file a complaint against the rais (head) of Hamadan. When Ahmad arrived to the court, Muhammad I appointed him as his vizier, replacing Sa'd al-Mulk Abu'l-Mahasen Abi,who had been recently executed on suspicion of heresy. The appointment was due mainly to the reputation of Ahmad's father. He was then given various titles which his father held (Qewam al-din, Sadr al-Islam andNizam al-Mulk).Muhammad I, along with his vizier Ahmad, later campaigned in Iraq, where they defeated and killed the Mazyadid ruler Sayf al-dawla Sadaqa ibn Mansur, who bore the title \"king of the Arabs\". In 1109,Muhammad I sent Ahmad and Chavli Saqavu to capture the Ismaili fortresses of Alamut and Ostavand, but they failed to achieve any decisive result and withdrew. Ahmad was shortly replaced by Khatir al-Mulk AbuMansur Maybudi as vizier of the Sejluq Empire. According to Ali ibn al-Athir (a historian who lived about a hundred years later), Ahmad then retired to a private life in Baghdad, but, according to the contemporarybiographer, Anushirvan ibn Khalid, Muhammad I had Ahmad imprisoned for ten years.Muhammad I died in 1118 and was succeeded by Mahmud II, although after Muhammad I's death Sanjar was clearly the chiefpower in the Seljuq realms.FamilyOne of Muhammad's wives was Gawhar Khatun, the daughter of Isma'il, son of Yaquti. Another wife was Qutlugh Khatun. Another wife was Nistandar Jahan Khatun. She was themother of Sultan Ghiyath ad-Din Mas'ud and Fatimah Khatun. After Muhammad's death Mengubars, the governor of Iraq, married her. Their daughter Fatimah married Abbasid Caliph Al-Muqtafi in 1137, and died inSeptember 1147. Another of his daughters married Arslan Shah, son of Kirman Shah, and the grandson of Qavurt.Legacy and assessmentMuhammad was the last Seljuk ruler to have strong authority in the westernpart of the sultanate. The Seljuk realm was in a dire state after Muhammad's death, according to bureaucrat and writer Anushirvan ibn Khalid (died in 1137/1139); \"In Muhammad's reign the kingdom was united andsecure from all envious attacks; but when it passed to his son Mahmud, they split up that unity and destroyed its cohesion. They claimed a share with him in the power and left him only a bare subsistence.\" Muhammadis mainly portrayed in a positive light by contemporary historians. According to the historian Imad ad-Din al-Isfahani (died in 1201), Muhammad was \"the perfect man of the Seljuk dynasty and their strongeststeed\".Muhammad's ceaseless campaigns inspired one of his poets, Iranshah, to compose the Persian epic poem of Bahman-nama, an Iranian mythological story about the constant battles between Kay Bahman andRostam's family. This implies that the work was also written to serve as advice for solving the socio-political issues of the time.Passage 4:Faiz MuhammadFaiz Muhammad (23 September 1937 – 29 October 2014) was aPakistani freestyle wrestler. He was from 5 AK regt (HAIDER DIL BN). During his time, he was one of the  National Champions and Army Champions of Pakistan.Early life and careerMuhammad was born in 1937 in theKandi (Rajauri district area of Jammu and Kashmir) and migrated to Azad Kashmir after the partition of British India in 1947. His family settled Iin Khanpur village, present day Kotli District of Azad Kashmir. In June1953, he was enlisted at training center number 3 of Azad Kashmir Regular Forces at Sohawa town (a village at that time). He had his first success in wrestling by winning the Pakistan Army Training Centres WrestlingChampionship, an army-level competition. In the same year, he won the National and Army Wrestling Championships. He won the Army Championship every year from 1954 to 1984 and won several gold medals. AtPakistani national level, he is the only one who has this-record of Army Championships. From 1953 to 1986, he won the National Wrestling Championship for 33 years.Passage 5:Faiz Mohammad KhanFaiz MuhammadKhan Bahadur, (r.1742–1777) the third Nawab of Bhopal, was the son of Yar Muhammad Khan, the second Nawab of Bhopal (as a reagent), and the stepson of Mamola Bai a very influential Hindu wife of Yar Muhammadand a direct descendant of Dost Mohammad Khan.See alsoMuhammad ShahAlamgir IIPassage 6:Catherine I of RussiaCatherine I Alekseevna Mikhailova (Russian: Екатери́на I Алексе́евна Миха́йлова, tr. Ekaterína IAlekséyevna Mikháylova; born Polish: Marta Helena Skowrońska, Russian: Ма́рта Самуи́ловна Скавро́нская, tr. Márta Samuílovna Skavrónskaya; 15 April [O.S. 5 April] 1684 – 17 May [O.S. 6 May] 1727) was thesecond wife and empress consort of Peter the Great, and empress regnant of Russia from 1725 until her death in 1727.Life as a servantThe life of Catherine I was said by Voltaire to be nearly as extraordinary as that ofPeter the Great himself. Only uncertain and contradictory information is available about her early life. Said to have been born on 15 April 1684 (o.s. 5 April), she was originally named Marta Helena Skowrońska. Martawas the daughter of Samuel Skowroński (later spelled Samuil Skavronsky), a Roman Catholic farmer from the eastern parts of the Polish–Lithuanian Commonwealth, born to Minsker parents. In 1680 he marriedDorothea Hahn at Jakobstadt. Her mother is named in at least one source as Elizabeth Moritz, the daughter of a Baltic German woman and there is debate as to whether Moritz's father was a Swedish officer. It is likelythat two stories were conflated, and Swedish sources suggest that the Elizabeth Moritz story is probably incorrect. Some biographies state that Marta's father was a gravedigger and handyman, while others speculatethat he was a runaway landless serf.Marta's parents died of the plague around 1689, leaving five children. According to one of the popular versions, at the age of three Marta was taken by an aunt and sent toMarienburg (the present-day Alūksne in Latvia, near the border with Estonia and Russia) where she was raised by Johann Ernst Glück, a Lutheran pastor and educator who was the first to translate the Bible into Latvian.In his household she served as a lowly servant, likely either a scullery maid or washerwoman.  No effort was made to teach her to read and write and she remained illiterate throughout her life.Marta was considered avery beautiful young girl, and there are accounts that Frau Glück became fearful that she would become involved with her son. At the age of seventeen, she was married off to a Swedish dragoon, Johan Cruse or JohannRabbe, with whom she remained for eight days in 1702, at which point the Swedish troops were withdrawn from Marienburg. When Russian forces captured the town, Pastor Glück offered to work as a translator, andField Marshal Boris Sheremetev agreed to his proposal and took him to Moscow.There are unsubstantiated stories that Marta worked briefly in the laundry of the victorious regiment, and also that she was presented inher undergarments to Brigadier General Rudolph Felix Bauer, later the Governor of Estonia, to be his mistress. She may have worked in the household of his superior, Sheremetev. It is not known whether she was hismistress, or household maid.  She travelled back to the Russian court with Sheremetev's army.Afterwards she became part of the household of Prince Alexander Menshikov, who was the best friend of Peter the Great ofRussia. Anecdotal sources suggest that she was purchased by him. Whether the two of them were lovers is disputed, as Menshikov was already engaged to Darya Arsenyeva, his future wife. It is clear that Menshikovand Marta formed a lifetime alliance.It is possible that Menshikov, who was quite jealous of Peter's attentions and knew his tastes, wanted to procure a mistress on whom he could rely. In any case, in 1703, whilevisiting Menshikov at his home, Peter met Marta. In 1704, she was well established in the Tsar's household as his mistress, and gave birth to a son, Peter. In 1703, she converted to Orthodoxy and took the new nameCatherine Alexeyevna (Yekaterina Alexeyevna). She and Darya Menshikova accompanied Peter and Menshikov on their military excursions.Marriage and family lifeThough no record exists, Catherine and Peter aredescribed as having married secretly between 23 October and 1 December 1707 in Saint Petersburg. They had twelve children, two of whom survived into adulthood, Anna (born 1708) and Elizabeth (born 1709).Peterhad moved the capital to St. Petersburg in 1703. While the city was being built he lived in a three-room log cabin with Catherine, where she did the cooking and caring for the children, and he tended a garden as thoughthey were an ordinary couple. The relationship was the most successful of Peter's life and a great number of letters exist demonstrating the strong affection between Catherine and Peter. As a person she was veryenergetic, compassionate, charming, and always cheerful. She was able to calm Peter in his frequent rages and was often called in to do so.Catherine went with Peter on his Pruth Campaign in 1711. There, she was saidto have saved Peter and his Empire, as related by Voltaire in his book Peter the Great. Surrounded by overwhelming numbers of Turkish troops, Catherine suggested before surrendering, that her jewels and those of theother women be used in an effort to bribe the Ottoman grand vizier Baltacı Mehmet Pasha into allowing a retreat.Mehmet allowed the retreat, whether motivated by the bribe or considerations of trade and diplomacy. Inany case Peter credited Catherine and proceeded to marry her again (this time officially) at Saint Isaac's Cathedral in St. Petersburg on 9 February 1712.  She was Peter's second wife; he had previously married anddivorced Eudoxia Lopukhina, who had borne him the Tsarevich Alexis Petrovich. Upon their wedding, Catherine took on the style of her husband and became Tsarina. When Peter elevated the Russian Tsardom toEmpire, Catherine became Empress. The Order of Saint Catherine was instituted by her husband on the occasion of their wedding.IssueCatherine and Peter had twelve children, all of whom died in childhood except Annaand Elizabeth:Peter Petrovich (1704–1707), died in infancyPaul Petrovich (October 1705–1707), died in infancyCatherine Petrovna (7 February 1707–7 August 1708)Grand Duchess Anna Petrovna (27 January 1708–15May 1728)Grand Duchess Elizabeth Petrovna (29 December 1709–5 January 1762)Grand Duchess Mary Natalia Petrovna (20 March 1713–17 May 1715)Grand Duchess Margaret Petrovna (19 September 1714–7 June1715)Grand Duke Peter Petrovich (9 November 1715–6 May 1719)Grand Duke Paul Petrovich (13 January 1717–14 January 1717)Grand Duchess Natalia Petrovna (31 August 1718–15 March 1725)Grand Duke PeterPetrovich (7 October 1723–7 October 1723)Grand Duke Paul Petrovich (1724–1724)SiblingsUpon Peter's death, Catherine found her four siblings, Krystyna, Anna, Karol, and Fryderyk, gave them the newly created titlesof Count and Countess, and brought them to Russia.Krystyna Skowrońska, renamed Christina (Russian: Христина) Samuilovna Skavronskaya (1687–14 April 1729), had married Simon Heinrich (Russian: СимонГейнрих) (1672–1728) and their descendants became the Counts Gendrikov.Anna Skowrońska, renamed Anna Samuilovna Skavronskaya, had married one Michael-Joachim N and their descendants became the CountsEfimovsky.Karol Skowroński, renamed Karel Samuilovich Skavronsky, was created a Count of the Russian Empire on 5 January 1727 and made a Chamberlain of the Imperial Court; he had married Maria Ivanovna, aRussian woman, by whom he had descendants who became extinct in the male line with the death of Count Paul Martinovich Skavronskyi (1757-1793), father of Princess Catherine Bagration.Fryderyk Skowroński,renamed Feodor Samuilovich Skavronsky, was created a Count of the Russian Empire on 5 January 1727 and was married twice: to N, a Lithuanian woman, and to Ekaterina Rodionovna Saburova, without havingchildren by either of them.Reign as empress regnantCatherine was crowned in 1724. The year before his death, Peter and Catherine had an estrangement over her support of Willem Mons, brother of Peter's formermistress Anna, and brother to one of the current ladies in waiting for Catherine, Matryona. He served as Catherine's secretary. Peter had fought his entire life to clear up corruption in Russia. Catherine had a great dealof influence over who could gain access to her husband. Willem Mons and his sister Matryona had begun selling their influence to those who wanted access to Catherine and, through her, to Peter. Apparently this hadbeen overlooked by Catherine, who was fond of both. Peter found out and had Willem Mons executed and his sister Matryona exiled. He and Catherine did not speak for several months. Rumors flew that she and Monshad had an affair, but there is no evidence for this.Peter died (28 January 1725 Old Style) without naming a successor. Catherine represented the interests of the \"new men\", commoners who had been brought topositions of great power by Peter based on competence. A change of government was likely to favor the entrenched aristocrats. For that reason during a meeting of a council to decide on a successor, a coup wasarranged by Menshikov and others in which the guards regiments with whom Catherine was very popular proclaimed her the ruler of Russia. Supporting evidence was \"produced\" from Peter's secretary Makarov and theBishop of Pskov, both \"new men\" with motivation to see Catherine take over. The real power, however, lay with Menshikov, Peter Tolstoy, and other members of the Supreme Privy Council.Catherine viewed the deposedempress Eudoxia as a threat, so she secretly moved her to Shlisselburg Fortress near St. Petersburg to be put in a secret prison under strict custody as a state prisoner.DeathCatherine I died two years after Peter I, on17 May 1727 at age 43, in St. Petersburg, where she was buried at St. Peter and St. Paul Fortress. Tuberculosis, diagnosed as an abscess of the lungs, caused her early demise.Before her death she recognized Peter II,the grandson of Peter I and Eudoxia, as her successor.Assessment and legacyCatherine was the first woman to rule Imperial Russia, opening the legal path for a century almost entirely dominated by women, includingher daughter Elizabeth and granddaughter-in-law Catherine the Great, all of whom continued Peter the Great's policies in modernizing Russia.  At the time of Peter's death the Russian Army, composed of 130,000 menand supplemented by another 100,000 Cossacks, was easily the largest in Europe.  However, the expense of the military was proving ruinous to the Russian economy, consuming some 65% of the government's annualrevenue.  Since the nation was at peace, Catherine was determined to reduce military expenditure.  For most of her reign, Catherine I was controlled by her advisers.  However, on this single issue, the reduction ofmilitary expenses, Catherine was able to have her way.  The resulting tax relief on the peasantry led to the reputation of Catherine I as a just and fair ruler.The Supreme Privy Council concentrated power in the hands ofone party, and thus was an executive innovation. In foreign affairs, Russia reluctantly joined the Austro-Spanish league to defend the interests of Catherine's son-in-law, the Duke of Holstein, against GreatBritain.Catherine gave her name to Catherinehof near St. Petersburg, and built the first bridges in the new capital. She was also the first royal owner of the Tsarskoye Selo estate, where the Catherine Palace still bearsher name.The city of Yekaterinburg is named after her, Yekaterina being the Russian form of her name.She also gave her name to the Kadriorg Palace (German: Katharinental, meaning \"Catherine's Valley\"), itsadjacent Kadriorg Park and the later Kadriorg neighbourhood of Tallinn, Estonia, which today houses the Presidential Palace of Estonia. The name of the neighbourhood is also used as a metonym for the institution ofthe President.In general, Catherine's policies were reasonable and cautious.  The story of her humble origins was considered by later generations of tsars to be a state secret.See alsoBibliography of Russian history(1613–1917)Rulers of Russia family treeNotesPassage 7:Asif PanhwarAsif Panhwar was the General Secretary of the Jeay Sindh Student Federation JSMM and the son of Faiz Muhammad Panhwar. He was abducted byintelligence agencies of Pakistan and then killed.Passage 8:W. Augustus BarrattW. Augustus Barratt (3 June 1873 – 12 April 1947) was a Scottish-born, later American, songwriter and musician.Early life andsongsWalter Augustus Barratt was born 3 June 1873 in Kilmarnock, the son of composer John Barratt; the family later lived in Paisley. In 1893 he won a scholarship for composition to the Royal College of Music.In hisearly twenties he contributed to The Scottish Students' Song Book, with three of his own song compositions and numerous arrangements.By the end of 1897 he had published dozens of songs, such as Sir Patrick Spens,The Death of Cuthullin, an album of his own compositions, and arrangements of ten songs by Samuel Lover.He then, living in London, turned his attention to staged musical comedy, co-creating, with Adrian Ross, TheTree Dumas Skiteers, a skit, based on Sydney Grundy's The Musketeers that starred Herbert Beerbohm Tree. He co-composed with Howard Talbot the successful Kitty Grey (1900).He continued to write songs and to"}
+{"doc_id":"doc_125","qid":"","text":"Passage 1:A Place in the Sun (film)A Place in the Sun may refer to:A place in the sun, a phrase used to refer to the German Empire's foreign policy (Weltpolitik) and colonial empireFilm and televisionA Place in the Sun(1916 film), a British silent filmA Place in the Sun (1951 film), an American dramatic filmA Place in the Sun (British TV series) (2000–present), a British Channel 4 lifestyle programme about buying property abroadAPlace in the Sun (2012 film), a Swedish film based on the Liza Marklund novelA Place in the Sun (South Korean TV series), a 2019 South Korean television seriesMusicA Place in the Sun (Lit album), 1999A Place in theSun (Pablo Cruise album), 1977A Place in the Sun (Tim McGraw album), 1999\"A Place in the Sun\" (Stevie Wonder song), 1966\"A Place in the Sun\" (Pablo Cruise song), 1977\"A Place in the Sun\", a 1983 song by theMarine Girls, from their Lazy Ways albumSee alsoEn plats i solen (disambiguation)\"A Place Under the Sun\", a 1999 single by Miho NakayamaUm Lugar ao Sol, a 2021 Brazilian telenovelaUn Lugar al sol, a 1965Argentine filmUn posto al sole, a 1996 Italian soap operaPassage 2:Christian-Peter FrieseChristian-Peter Friese (August 5, 1948, Munich - December 25, 1970, East Berlin) was one of the victims at the Berlin Wall.Members of the Border Troops of the German Democratic Republic shot him while trying to escape from East Germany.BiographyHe was his mother's only child, and grew up with her in Naumburg. His father isunknown. After school, he trained as a car mechanic. In Naumburg he took a job at the Deutsche Reichsbahn (East Germany).DeathOn the evening of December 24, 1970, he left  his home and his mother withoutsaying goodbye or leaving a message. He went to East Berlin by train. Once there he went to the allotment Vogelsang II in Treptow which was right on the border. He watched the border and climbed around midnighton the interior fence. He triggered alarm by touching the subsequent signal fence. A total of five border guards opened fire on Christian-Peter Friese, who took cover in the vehicle barrier ditch. Shortly afterwards Friesebegan again to run in the direction of the last border fence. He was hit several times in the legs and upper body. He succumbed to his injuries in the death strip. In the crime scene sketch of the files of the Stasi wererecorded a total of 98 shots on Christian-Peter Friese.AftermathA senate speaker and the American City Commandant expressed their protest over the incident. The West-Berlin police initiated an investigation.Themother of the deceased was informed on January 7, 1971, by members of the Stasi about the death. The legend was that Christian-Peter Friese was traveling by car into a tree. The body had been cremated. The urnwas transferred one month later to Naumburg and buried there in the municipal cemetery, under the supervision of the Stasi.After the German reunification, the mother said to Naumburg police that her son revealed hisintention of fleeing. In a Mauerschützenprozess (process against guards of the wall who had shot) the border guards involved were acquitted because intent to kill could not be established, and because the court couldnot determine which of the defendants was responsible for the actual killing.See alsoList of deaths at the Berlin WallBerlin Crisis of 1961Passage 3:Chris GueffroyChris Gueffroy (21 June 1968 – 6 February 1989) wasthe last person to be shot and the second-last to die in an escape attempt while trying to escape from East Berlin to West Berlin across the Berlin Wall.BiographyChris Gueffroy was born in Pasewalk, BezirkNeubrandenburg (present-day Mecklenburg-Vorpommern) on 21 June 1968. He had an older brother, Stefan Gueffroy.He moved to Schwedt in 1970, the same year that his mother, Karin Gueffroy, and his father, AlloisGueffroy, divorced. Three years later, when he was five years old, he moved to Berlin with his mother and his brother. When he was in the third grade, he was sent to the youth sports school SC Dynamo Berlin, basedon his gymnastic talent. After he finished school he refused to pursue an officer’s career track in the National People’s Army and was consequently denied the right to study at university, ending his dream of becomingan actor or a pilot. In September 1985 he began an apprenticeship in the Schönefeld airport restaurant near Berlin after which he worked in a number of different restaurants. As a waiter, his income was better thanaverage, and he had a strong degree of freedom, but he was disgusted by the widespread corruption in the restaurant business. His friend Christian Gaudian, whom he had met at gastronomy school, shared hisfeelings. At twenty, he found it increasingly unbearable to think that he would remain locked up with the knowledge that it would always be this way and that he would never have the freedom to decide for himselfwhere he wanted to live. In mid-January 1989, upon learning that he was to be conscripted into the East German army the following May, he and Gaudian decided to leave East Germany.DeathGueffroy and Gaudianbased their decision to try to flee over the wall on mistaken beliefs that the Schießbefehl, the standing order to shoot anyone who attempted to cross the wall, had been lifted (it had not), and that the Swedish primeminister Ingvar Carlsson was to pay a state visit to East Berlin (he had already left when they attempted their escape). Their attempted escape from East Berlin to West Berlin, along the Britz district canal would takeplace on the night of 5–6 February 1989, about two kilometres (1¼ miles) from what would be Gueffroy's last residence on Südostallee 218, Johannisthal, Treptow, East Berlin. Climbing the last metal lattice fence, thetwo were discovered and came under fire from the NVA border troops. Gueffroy was hit in the chest by two shots and died in the border strip. Gaudian, badly but not fatally injured, was arrested and was sentenced on24 May 1989 to imprisonment of three years by the Pankow district court for attempted illegal border-crossing of the first degree (\"versuchten ungesetzlichen Grenzübertritts im schweren Fall\"). In September 1989Gaudian was freed on bail by the East German government, and on 17 October 1989 he was transferred to West Berlin.Chris Gueffroy is often erroneously named as the last person to die in the attempt to cross thewall, but he was in fact only the last to be killed through the use of weapons, and the second-last to die in an escape attempt. Winfried Freudenberg died in the crash of an improvised balloon aircraft by which hecrossed the border into West Berlin on 8 March 1989.AftermathAs compensation for her loss, the East German government allowed Karin Gueffroy to emigrate to West Berlin and visit Chris's grave in Baumschulenwegweekly, with the condition that she did not speak to western media about the incident. She would take residence in the West Berlin district of Moabit, on Oldenburger Straße 36.The four border guards involved at thetime at first obtained an award (Leistungsabzeichen der Grenztruppen) from the chief of the Grenzkommandos Mitte border guards, Erich Wöllner, and a prize of 150 East German Marks each. However, after thereunification of East and West Germany, they were prosecuted by the Berlin regional court. Two of the former border guards, Mike Schmidt (now a millwright with two children), and Peter Schmett (now an electricianwith three children), were acquitted and released in January 1992, because the presiding judge, Theodor Seidel, ruled that they \"did not kill and did not intend to kill\". A third former border guard, Andreas Kuehnpast(now unemployed), received a suspended sentence of two years. The fourth former border guard, Ingo Heinrich (now an electronic engineer), who was responsible for the mortal shot in the heart, was at first sentencedto three and a half years of jail. On appeal, the Bundesgerichtshof (High Court of Justice) in 1994 reduced the penalty to a suspended sentence of two years.In 2000, two SED functionaries, Siegfried Lorenz andHans-Joachim Böhme, were tried for the death of Gueffroy and two other young men, but acquitted as the judge could find no evidence that they might have been able to lift the shoot-to-kill order. The case was retriedon 7 August 2004, and the two men were found guilty and given suspended sentences of 15 months each. The judge explained that the short sentences were due to the length of time since the events. This was the lastcase concerning deaths on the inner German border.On 21 June 2003, which would have been his 35th birthday, a monument to Gueffroy was erected on the bank of the Britz district canal. The monument was designedby Berlin artist Karl Biedermann. One of the crosses at the White Crosses memorial site next to the Reichstag building is devoted to him.On 13 August 2010 the Britzer Allee between Treptow and Neukölln was renamedChris-Gueffroy-Allee.See alsoSven HüberList of deaths at the Berlin WallBerlin Crisis of 1961Passage 4:Escape from East BerlinEscape from East Berlin is a 1962 American-West German thriller film directed by RobertSiodmak and starring Don Murray, Christine Kaufmann and Werner Klemperer.It was shot at the Tempelhof Studios in Berlin. The film's sets were designed by the art director Dieter Bartels and Ted Haworth.PlotThestory takes place in East Berlin soon after the Berlin Wall is built, and is based on an actual escape on January 24, 1962. Kurt Schröder is a chauffeur to East German Major Eckhardt and his seductive wife Heidi, withwhom he is having an affair. One night he sees a friend, Günther Jurgens, who works at the garage where Kurt has the Major's car maintained, drive his tow-truck through a gate and get killed trying to escape to thewest. Günther's sister, Erika, comes looking for Günther when he doesn't return, and is told that Kurt saw him last night. She then goes to Kurt's house, where he lives with his mother, Uncle Albrecht (a musician),sister Ingeborg and kid brother Helmut within sight of the wall. Erika is intent on escaping to West Berlin, thinking that her brother made it. Kurt, reasonably satisfied with his life, has no intention of risking his life toattempt an escape. Erika then attempts to escape over the wall but Kurt catches her as she tries to crawl under the barbed wire, and they pretend to be lovers to hide her intentions from suspicious guards. Kurt thenhides her in his house. A piece of Erika's clothing is caught in the barbed wire, and the guards track her to the Schröder's house. She hides in a room without a floor, and narrowly escapes the guards after they concludethat she could not be in the room.The Schröders and their neighbors, including a woman named Marga who has a baby and whose husband has already escaped to the west, want to escape East Germany. Kurt comesup with the idea of building a tunnel under the wall, through which they can escape to West Berlin. Although he will mastermind the plan, Kurt has no intention of going with them. They drill through the basement wallusing Uncle Albrecht's band as a noise cover when the actual drilling takes place. One member of the family keeps watch while the others work on the tunnel itself. After they start digging the tunnel, they are joined byWalter Brunner, who had his own plan to dig a tunnel. All the while, Kurt is falling in love with Erika, and he eventually summons the courage to tell her that her brother is dead. Because of this burgeoning love, Kurt haschanged his mind and will escape with the rest of his family and Erika. On January 27, 1962, the tunnel is completed when just before dawn Kurt reaches the other side, and the breakout is planned for the followingnight.However, Marga tells Erika's parents the news of their daughter, and Erika's father, a professor who favors the Communist regime, betrays the escape plan to Major Eckhardt. Kurt is waiting to drive the Eckhardt'sand learns from Heidi that the authorities are after him and he takes the car and hurries home ahead of the East German troops. When he arrives home, Kurt learns that his family have invited Uncle Albrecht's bandmembers to join the escape, bringing the number of escapees to 28. Kurt tells them of the betrayal, and that they must make their escape immediately. As the police besiege their house, the Schröders, their friends andErika make their escape, with Kurt bringing up the rear. He is wounded when a soldier fires at him as he goes through the tunnel collapsing it behind him. Erika comes back to find and help him. Together they maketheir way to the exit, where the others have already emerged to live in freedom.CastDon Murray as Kurt SchröderChristine Kaufmann as Erika JurgensWerner Klemperer as Walter BrunnerIngrid van Bergen as IngeborgSchröderCarl Schell as Major EckhartEdith Schultze-Westrum as Mother SchröderBruno Fritz as Uncle AlbrechtMaria Tober as MargaHorst Janson as Günther JurgensKai Fischer as Heidi EckhartKurt Waitzmann as Prof.Thomas JurgensHelma Seitz as Frau JurgensRonald Dehne as Helmut SchröderProductionSince the building of the Berlin Wall in 1961 stories of escapes from the East, both failed and successful, had filled the news inthe West and led to competition between US networks to record a tunnel escape. MGM decided to take advantage of the public interest with a feature film inspired by real events. This included building a 300 yard longplaster replica of the wall in West Berlin that became a tourist attraction and attracted the attention of East German guards. The movie crew filmed sentries flashing spotlights across the border, turning them into filmextras and prompting director Robert Siodmak to rave “Talk about realism!\"ReceptionAccording to MGM records, the film made a profit of $193,000.Passage 5:Escape from the CityCrush 40 is a Japanese-American hardrock band. The group consists of guitarist and composer Jun Senoue and vocalist Johnny Gioeli, although Senoue has featured other lead vocalists on a Crush 40 album.  Crush 40 is best known for their contributions tothe Sonic the Hedgehog video game series.Senoue is employed by Sega as a composer and sound director, and has worked with Sega as a composer since 1993.  While preparing music for Sonic Adventure, hecontacted Gioeli to record the game's main track, \"Open Your Heart\".  They also recorded the soundtrack for NASCAR Arcade under the name \"Sons of Angels\" and released it in 2000 in Japan as the album Thrill of theFeel.  Afterward, Senoue and Gioeli stayed in contact and continued to record new music for further Sonic games, as well as their own original music, and performed live concerts.Crush 40 has released a total of twostudio albums, two live albums, two compilations, an EP, and individual tracks, mostly under Sega's Wave Master label.  The band's musical style of hard rock, considered by some to be a continuation of glam rock, hascreated a legacy with fans of the Sonic video game series.HistoryFormation, Thrill of the Feel, and Crush 40After graduating from college, Jun Senoue was hired by Sega in 1993 to compose music for video games. Hisfirst project in the Sonic the Hedgehog series was Sonic the Hedgehog 3 & Knuckles (1994), and he also contributed to Dark Wizard, Sonic 3D Blast, and Sega Rally 2.  During recording for Daytona USA: ChampionshipCircuit Edition, Senoue worked with Eric Martin of Mr. Big to record the main theme, \"Sons of Angels\".  Senoue said he brought a rock music feel to the games he worked on, including the Sonic the Hedgehog series,because he is a \"rock guy\".In 1998, Senoue contacted vocalist Johnny Gioeli during the recording process for Sonic Adventure and recorded their first song, \"Open Your Heart\". Senoue had previously recorded a demo ofthe song with Eizo Sakamoto on vocals, but Senoue has stated that he wrote the song assuming Gioeli would sing it. According to Gioeli, Senoue was a fan of Gioeli's band Hardline and connected with him via DougAldrich, the guitarist for Whitesnake. After making the track, the two stayed in contact, having enjoyed working together and wanting to do more. Senoue and Gioeli worked together again on songs for NASCAR Arcade.In addition to Senoue and Gioeli, Naoto Shibata and Hirotsugu Homma of Loudness played the bass and drums, respectively, for the songs, and the group took the name Sons of Angels, from the title of the songSenoue recorded with Eric Martin. In 2000, the band released Thrill of the Feel in Japan, published by Victor Entertainment. The album contained the tracks they had written for NASCAR Arcade, along with \"Open YourHeart\".During the development of Sonic Adventure 2, Senoue and Gioeli reunited to record the title track, \"Live & Learn\". As Shibata and Homma were busy performing with Loudness and later Anthem, Takeshi Tanedawas brought in to play bass, and Katsuji Kirita from Gargoyle and The Cro-Magnons played drums.  According to Vice, \"Live & Learn\" is one of Gioeli's favorite songs.  Senoue recorded the intro to the song for thegame's trial edition; he worked on the rest of the arrangement later and completed it within one day.  He then sent a demo to Gioeli to record his vocals. Gioeli was given the task of writing the lyrics for \"Live & Learn\".He initially was nervous and asked Senoue if his lyrics were okay on multiple occasions, but despite this, \"Live & Learn\" became one of the most memorable songs on the Sonic Adventure 2 soundtrack according to SeanAitchison of Fanbyte.Around this time, the band was renamed Crush 40, after discovering that there was a Norwegian rock band already named Sons of Angels. When asked why he chose \"Crush 40\", Senoue said,\"When we had to pick one, we chose the word we like... 'Crush' is one of them, and Johnny added the number. Crush is the name of the soda too... that's my favorite!\" Gioeli added that his inspiration for the title was adesire to \"crush\" his forties, which he was approaching at the time.  Two years after the 2001 release of Sonic Adventure 2, the album Crush 40 was released by Frontiers Records. The album contained the vocal tracksfrom NASCAR Arcade, Sonic Adventure and Sonic Adventure 2. According to Senoue, Crush 40 is specifically the band of himself and Gioeli, though tracks \"It Doesn't Matter\" and \"Escape from the City\" (sung by TonyHarnell and Ted Poley, respectively) were included on the album.  Senoue explained this was done to exhibit these songs to fans.Recordings for Sega and The Best of Crush 40: Super Sonic SongsIn 2003, Crush 40composed two new songs entitled \"Sonic Heroes\" and \"What I'm Made Of...\" for Sega's Sonic Heroes, the first multiplatform Sonic game. Both Senoue and Gioeli have called \"What I'm Made Of...\" their favorite song toperform. For Shadow the Hedgehog in 2005, Crush 40 recorded \"I Am... All of Me\", as well as \"Never Turn Back\". The drums for both songs were recorded by Toru Kawamura. Additionally, Crush 40 recorded covers ofsongs used in 2006's Sonic the Hedgehog, Sonic and the Secret Rings, Sonic Riders and Zero Gravity, and Sonic CD.  The band also recorded five original songs and a cover for Sonic and the Black Knight.For their first10 years, Crush 40 never performed live. In 2008, Crush 40 performed live at the Tokyo Game Show, with Senoue and Gioeli performing with backing tracks.  A year later, Senoue revealed to Famitsu that Crush 40 hadtwo album releases in the works, one of which was a \"Best Of\" album, due for release in September 2009.  He also announced the release of future songs that were not written for video games. The Best of Crush 40 –Super Sonic Songs was released on November 18, 2009.  In addition to compiling various Crush 40 songs from previous games, the album featured a new song, \"Is It You,\" and a cover of \"Fire Woman\", a song releasedby The Cult in 1989. Senoue was also credited as a soloist on the 2009 Hardline album Leaving the End Open.Rise Again, Live!, 2 Nights 2 Remember, and Driving Through ForeverAfter the 2010 release of Sonic FreeRiders, Crush 40's contributions to Sonic the Hedgehog decreased. Senoue was no longer lead composer on games in the Sonic series after 2011's Sonic Generations. During the next few years, Crush 40 made morelive performances and recordings. In 2010, Crush 40 performed live at the Summer of Sonic convention. The next year, Crush 40 recorded a single, \"Song of Hope\", as inspiration for hope for victims of the 2011 Tōhokuearthquake and tsunami. According to Senoue, the song was written for charity, specifically for the Red Cross. Subsequently, \"Song of Hope\" and three new songs were released as an EP called Rise Again. One of theincluded songs, \"Sonic Youth\", pays tribute to Crush 40's fans with numerous references to the band's past songs.On March 29 and 30, 2012, Crush 40 performed live at Shibuya GUILTY in Tokyo, with Sonic Teamproducer Takashi Iizuka in the audience. From this concert, performed with Taneda and Kawamura, Crush 40's album Live! was recorded, and was released on October 3, 2012. The band also performed at the St. Louis"}
+{"doc_id":"doc_126","qid":"","text":"Passage 1:Wayne BridgeWayne Michael Bridge (born 5 August 1980) is an English former professional footballer who played as a left back.A graduate of the Southampton academy, he made his debut in 1998 andwould go on to make over 150 league appearances in Premier League before going on to have an extensive career with Chelsea where he won all three domestic competitions over the course of his six-year stay atStamford Bridge. He also spent time on loan with Fulham before later in 2009 joining Manchester City, where he remained for four seasons, although his final two were spent on loan with West Ham and Sunderland aswell as a spell in the EFL Championship with Brighton & Hove Albion. He retired in 2014 following a season with ReadingBridge made 36 appearances for the England national team between 2002 and 2009, beingselected for two FIFA World Cup squads and UEFA Euro 2004.Club careerSouthamptonBridge was born in Southampton, but moved to Olivers Battery, Winchester, at an early age. He attended Oliver's Battery Primaryand Kings' School, Winchester. When playing for Olivers Battery he was spotted by Micky Adams, who recommended him to Southampton, who signed him as a trainee in July 1996. He made his reserve team debut as acentre-forward against Portsmouth on 13 August 1997 and turned professional in January 1998.Bridge made his first-team debut on 16 August 1998 (the opening day of the 1998–99 season) coming on as areplacement for John Beresford, who had badly damaged his knee. Bridge made his first senior start in the next match on 22 August in a 5–0 defeat away to Charlton Athletic. As Southampton struggled to pick uppoints (with only two points after the first nine games), Bridge played (on the left wing) in most of Saints' league games until early December before losing his place to Hassan Kachloul. For the remainder of the1998–99 Premier League season, Bridge was only used occasionally as Saints narrowly avoided relegation. He completed his first season as a first-team player with 15 starts and eight substitute appearances.Thefollowing season carried on in a similar vein with Bridge making occasional appearances on the left wing until injuries to Francis Benali and the poor form of his intended replacement Patrick Colleter gave Bridge theopportunity to play at left-back, where he soon became a fixture in the Saints starting line-up. In the 1999–2000 season, he made 15 starts (plus four substitute appearances) scoring his first senior goal, with apowerful free-kick over the wall, in the final match of the season on 14 May 2000 against Wimbledon, as a result of which Wimbledon were relegated to Division 1 after 14 years in the top flight.In the 2000–01 season,Bridge was an ever-present at left-back as Saints finished their final season at The Dell in tenth place in the Premier League table. Bridge was rewarded by being voted the Southampton Player of the Year for the2000–01 season.Bridge was \"fast, determined, skilful and full of youthful promise\" and \"his forward runs became an exciting sight at The Dell and then at St Mary's.\" He was an ever-present yet again in the followingseason as Saints again finished their first season at their new stadium comfortably in mid-table.Bridge's temperament and consistency, together with a high level of fitness, enabled him to continue to play every matchuntil 18 January 2003 when he limped off with an injury in a 1–0 defeat to Liverpool. This brought to an end a run of 113 consecutive appearances, a Premier League record for an outfield player (since surpassed byFrank Lampard, Jr.). His run started on 4 March 2000, from when Bridge played 10,160 consecutive minutes of Premier League football, not missing any play through injury or suspension.By now, bigger clubs weretrailing Bridge, and he was finally tempted away to join Chelsea for £7 million in the 2003 close season. His last appearance for the club came in the 2003 FA Cup Final defeat to Arsenal. During his five years as a Saintsfirst-team player, he made 173 appearances, with two league goals against Wimbledon and Bolton Wanderers.Chelsea2003–04 seasonAfter five years with the Saints, Bridge moved to Chelsea in July 2003 for a fee of£7 million plus Graeme Le Saux, and was initially a regular starter. His finest moment came in the Champions League quarter-final against Arsenal in 2003–04. Bridge scored the winning goal in the 88th minute to sendChelsea into the semi-finals and end an 18-game winless run against Arsenal. The goal was later voted goal of the season. Bridge also scored against Beşiktaş and Portsmouth in the 2003–04 season.2004–05seasonBridge started the 2004–05 season playing regularly under new manager José Mourinho, but he picked up a serious ankle injury in an FA Cup tie against Newcastle United on 20 February 2005. This ended hisseason and also meant he missed the following weekend's League Cup Final. Chelsea went on to win the Premier League in his absence but Bridge had already made enough appearances (15) to receive a winners'medal.2005–06 seasonFor the 2005–06 season, Chelsea signed Spanish left-back Asier del Horno and Bridge faced a challenge to get back into the side when he recovered from the injury that kept him out of the teamin the latter stages of the 2004–05 campaign. He only made two appearances for Chelsea that season, both in domestic cup games. These limited first team opportunities saw him join Fulham on loan on 19 January2006. He made his debut in a 2–1 defeat to West Ham United at Upton Park. The move seemed to benefit him as he managed to secure his place in the 2006 World Cup English squad for the tournament in Germany.Chelsea won the Premier League again, but Bridge was not eligible for a medal this time as he had not made a single league appearance for them all season.2006–07 seasonBridge's main competition for the Chelsea leftback position then came from fellow England international left back Ashley Cole. Bridge played the full match in Chelsea's 3–0 victory over Manchester City on the opening day of the 2006–07 Premier League season,providing a telling cross for the third goal, scored by a header from Didier Drogba. His strong early season form, however, was not enough to hold down the left-back position, with Mourinho preferring Ashley Cole inmost games. Following Cole's injury in the 3–0 Premier League win against Blackburn Rovers early in 2007, Bridge became Chelsea's natural choice for left-back.Bridge featured in attack for an injury struck Chelsea sideagainst League Two side Wycombe Wanderers in the 2007 semi-final 1st leg League Cup match, scoring one goal in the process.Bridge finished the 2006–07 season with two cup final winner's medals after playing inboth the League Cup Final against Arsenal in a 2–1 win and in the FA Cup Final against Manchester United in a 1–0 victory.2007–08 seasonBridge played his third cup final for Chelsea in just over two years in the 2–1loss in the 2008 League Cup Final against Tottenham Hotspur. Bridge was adjudged to have handled the ball in the penalty area and Tottenham were awarded a penalty from which they scored, going on to win 2–1after extra-time.2008–09 seasonIn the League Cup fourth round tie against Burnley in the 2008–09 season, Bridge wore the captain's armband in the absence of John Terry and Frank Lampard, but the Blues lost onpenalties.Manchester City2009–11 seasonsOn 2 January 2009, it was confirmed by Mark Hughes that Manchester City had agreed an undisclosed fee with Chelsea for Bridge, thought to be around £10 million and, onthe following day, Manchester City agreed personal terms with the player, who later passed his medical, thus enabling the transfer to be completed and he signed a four-and-a-half-year deal. Bridge was unveiled to thehome fans that day at an FA Cup home tie against Nottingham Forest, and two weeks later made his debut for the club in a 1–0 win against Wigan Athletic in the league. He was given the squad number 25. For the2009–10 season, Bridge switched to the number 3, which was previously worn by Michael Ball.On 27 February 2010, City inflicted Chelsea's first home Premier League defeat of the season with a 4–2 victory. Prior tothe match, Bridge was involved in a highly publicised incident in which he refused to shake hands with Chelsea captain and former club and international teammate John Terry, who was at the time the subject of claimsthat he had had an affair with Bridge's ex-girlfriend Vanessa Perroncel. His position as left-back for Manchester City gradually faded with the arrival of two new left-backs. In the summer of 2010, Manchester Citymanager Roberto Mancini signed Aleksandar Kolarov from Lazio, and in 2011 signed Gaël Clichy from Arsenal, thus indicating Bridge was surplus to requirements at City.West Ham (loan)On 12 January 2011, Bridgejoined West Ham United on loan until the end of the season. He made his West Ham debut on 15 January 2011 in a 3–0 loss to Arsenal. Bridge made 18 appearances in all competitions for West Ham before his loanended.Sunderland (loan)On 31 January 2012, it was announced that Bridge had joined Sunderland on a loan deal until the end of the 2011–12 season. He made his debut appearance as an 82nd minute substitute forKieran Richardson in Sunderland's 3–0 victory over Norwich City the following day. He made his first start for Sunderland in their 1–0 win over Liverpool on 10 March 2012, and also featured in the FA Cup quarter-finaldraw with Everton the following week.Brighton & Hove Albion (loan)On 6 July 2012, it was confirmed that Bridge would join Brighton & Hove Albion on a season-long loan. He made his debut for Brighton on 14 August2012 in a 3–0 away defeat to Swindon Town in the League Cup. His first Brighton goal came on 25 August 2012 in a 5–1 home victory over Barnsley, his first league goal since scoring for Chelsea in December 2003.Bridge played 37 league games for Brighton, scoring three goals and helping them reach fourth place in the league to qualify for the play-offs. He played in both semi-final games against Crystal Palace where Brightonwere beaten 2–0 on aggregate. At the end of the season, Bridge thanked Brighton manager Gus Poyet for revitalising his footballing career. He told The Independent, \"Brighton have been great to me. I just want to saya big thank you to the chairman and the fans. Gus has revitalised my love for football after I was in the wilderness at Manchester City.\"Reading and retirementIn June 2013, Bridge signed a one-year contract withReading, who had just been relegated to the Football League Championship. Bridge chose Reading ahead of offers from Queens Park Rangers and Brighton, who wished to make his loan permanent.On 6 May 2014,Bridge was released by Reading after 12 games in his only season for the club, subsequently retiring from professional football.International careerDuring his time with Southampton, all Bridge's managers (Jones,Hoddle and Gray) predicted full international honours. He was soon making regular appearances for the England under-21 team, and the managers' prophecy was realised when Sven-Göran Eriksson gave him his firstfull cap against the Netherlands on 13 February 2002. He quickly proved himself and appeared twice as a substitute in the 2002 World Cup, although he did not appear at all in Euro 2004, with Ashley Cole beingpreferred.During qualification for the 2006 World Cup, Bridge occupied England's problematic left midfield position, but lost this to his Chelsea teammate Joe Cole when he received an injury. He returned to the Englandteam for a friendly against Argentina in November 2005, covering for the injured Cole at left back and winning his 21st cap.Bridge played in the Euro 2008 qualifier match against Estonia on 6 June 2007, which Englandwon 3–0, with Bridge assisting Joe Cole's goal with a long throw into the box.Bridge's final appearance for England was against Brazil on 14 November 2009.On 25 February 2010, Bridge announced his permanentwithdrawal from international duty following allegations regarding England captain John Terry and Bridge's former girlfriend Vanessa Perroncel.Personal lifeBridge was in a relationship with French model VanessaPerroncel from 2005 to 2009. They had a son together, Jaydon Jean Claude Bridge, who was born on 21 November 2006. The next day, Bridge signed a new four-year contract with Chelsea, on 22 November 2006.InJanuary 2010, a super injunction was imposed by a High Court judge preventing the media reporting that Bridge's former teammate John Terry had allegedly had an affair with Perroncel shortly after she split fromBridge. The injunction was lifted a week later. On 25 March, Perroncel succeeded in a claim against Bridge for maintenance for their son with the High Court awarding her a payment of £6,000 per month until Jaydon's18th birthday. The News of the World printed an apology for the story on 3 October 2010 to Perroncel for invading her private life, and indicating that she has refuted the claims against herself and Terry.On 8 April2013, The Saturdays singer Frankie Sandford announced on Twitter that she was engaged to Bridge. She gave birth to their son, Parker Bridge, on 18 October 2013. The couple married on 19 July 2014 in a privateceremony. In January 2015, Sandford announced that they were expecting their second child. On 15 August 2015, Carter Bridge was born.Bridge was a contestant in the 2016 series of TV show I'm a Celebrity... Get MeOut of Here!, but was voted out on 2 December. In 2019, he won the first celebrity series of Channel 4's SAS: Who Dares Wins, after trekking the El Morado glacier in Chile.Bridge has spoken about his love for playingpoker, which began when his friends started a local monthly home game. He plays in one day live events, and has described his style of play as 'kamikaze'.Career statisticsClubInternationalScores and results listEngland's goal tally first, score column indicates score after each Bridge goal.HonoursChelseaPremier League: 2004–05FA Cup: 2006–07Football League Cup: 2006–07IndividualPFA Team of the Year: 2001–02 PremierLeague, 2012–13 ChampionshipPassage 2:Daniel Sandford (journalist)Daniel Sandford is an English TV journalist.Early life and educationSandford was born in 1965-66 in Oxford. His family moved to Ethiopia when hewas 3 and he received his primary education there at the English School, which had been founded by his grandmother some 20 years earlier. The family returned to the UK after the 1974 Ethiopian revolution and hereceived his secondary education at Magdalen College School, an independent school for boys in Oxford, and sang as a chorister in the choir of Magdalen College, Oxford. He studied physics and electronics at theUniversity of Southampton, graduating in 1988.CareerFrom January 1989 to May 1998, Sandford worked at ITN, where his roles included that of Home Affairs Producer, Africa Producer and General Reporter.In 1998 hejoined the BBC, acting as Home Affairs Producer and Health Correspondent. In 2002 he became Home Affairs Correspondent. He reported on the terrorist attacks in London in July 2005, and the airline \"liquid bomb plot\"of August 2006. In May 2020 the BBC was obliged to apologise after 'incorrect' and 'disappointing' claims by Sandford live on air that Welsh borders would not be policed when Welsh Health minister Vaughan Gethingand Rhun ap Iorwerth, MS for Ynys Môn criticised his remarks over the difference in COVID-19 lockdown rules in England and Wales.Personal life and family backgroundHe is the grandson of Brigadier Daniel Sandfordand the great nephew of Lieutenant Richard Douglas Sandford VC. He is also related to Daniel Fox Sandford (1831–1906), Bishop of Tasmania, Daniel Keyte Sandford (1798–1838), Scottish politician and Greek scholarand Daniel Sandford, (1766–1830), Bishop of Edinburgh.He is married to Caro Kriel, the former head of international news for Sky News. He has two children.Passage 3:Frankie BridgeFrancesca Bridge (née Sandford,born 14 January 1989) is an English singer, formerly a member of S Club Juniors and a member of girl group the Saturdays. Bridge began her career when she auditioned for Simon Fuller's reality television competitionS Club Search in 2001, broadcast on CBBC. She successfully auditioned and won a place in the pop group S Club Juniors. Bridge and the rest of the group then starred in their own reality TV show S Club Junior: TheStory. Together with the band, Bridge successfully released seven singles and two albums. Whilst in the group, she made an appearance in S Club 7's TV show Viva S Club. The group then began featuring in their ownchildren's musical television programme I Dream. Bridge played a main role in the show and went onto release the duet single \"Dreaming\" along with fellow S Club 8 member Calvin Goldspink.In 2007, Bridge went on tosuccessfully audition for the girlband the Saturdays. The group were immediately signed to Polydor and Fascination Records and later gained a record deal with Geffen Records after having huge success in the UnitedKingdom. Bridge and the rest of the group later signed a deal with Island Def Jam and Mercury worth US$1.5 million to distribute their music in the US, which led to her first UK number-one single \"What About Us\".Throughout Bridge's time in the music industry, she has achieved 19 UK top-ten singles and six UK top-ten albums. In late 2017, Bridge decided to pursue a solo career in music, signing a record deal with both Polydorand Fascination Records, the labels Bridge has been signed to since she was 11 years old. Her debut solo album was expected to be released in 2019, however it was shelved so Bridge could focus on motherhood.Bridge's 16 years in the music industry has led her to sell an estimated 10 million records worldwide.Bridge gained higher prominence as a style icon in the UK, and her signature style short hair started a trend aroundthe UK. She has had a successful career in television as well as performing, she has been a part of two reality television series of her own: The Saturdays: 24/7 and Chasing the Saturdays. She was also involved inGhosthunting With... in 2010. In 2014, Bridge took part in the twelfth series of Strictly Come Dancing where she was the runner-up of the series, and in 2017 she began presenting Cannonball. She has been married tofootballer Wayne Bridge since 2014, and together, the couple have two sons. As of 2021, Bridge's net worth stands at £11 million, the highest of all the members of the Saturdays. In November 2021, Bridge was acontestant on the twenty-first series of I'm a Celebrity...Get Me Out of Here! and finished in third place.Early lifeBridge was born in Upminster, Essex, on 14 January 1989. According to Bridge, her parents are very\"sporty\" and she would hate Sundays due to them making her do sport, therefore Bridge began taking dance lessons from the age of three at her local Community centre. Bridge auditioned for Colins Performing Arts, adrama school in Romford, and sang a song from Joseph and the Amazing Technicolor Dreamcoat, which she practised daily with the school choir. She was successful in receiving a place at the school. Bridge was inspiredto audition for the school after seeing future bandmate, Rochelle Humes perform at the opening evening. Bridge began auditioning for roles in television shows and adverts when she was just nine years old, andalthough she did well and often making the final, she didn't receive any parts she auditioned for and began questioning whether or not she was good enough, and therefore began taking an extra two private actinglessons a week. She has a sister. In her early teens she won a contest for her performance of \"Macavity\" from the musical, Cats and her mother taught her the song, choreographed the routine and made her outfit. Inthe book The Saturdays: Our Story, Bridge revealed she was very poor at Mathematics in school and her school report revealed she was well behaved as a child and would only receive detention for forgettinghomework.Bridge previously worked in a bar in her local town during the week and had a Saturday job as a sales assistant at an AllSaints concession in House of Fraser, Lakeside Shopping Centre, Essex. From a youngage Bridge suffered from severe depression. Bridge studied dance in her after-school hours. and enrolled at a stage school near Romford to study musical arts. Her grandmother would call her 'Sunshine and Showers'because of her very upbeat personality when she is happy and very down personality when she is sad. Following the death of her grandmother, Bridge got the words tattooed onto the bottom of herneck.Career2001–05: Beginnings and S Club 8S Club Juniors were formed in 2001 through a reality television show, S Club Search. The auditions were aired on children's television channel, CBBC. The concept of the"}
+{"doc_id":"doc_127","qid":"","text":"Passage 1:Donny LucasDonald James \"Donny\" Lucas is a Canadian actor and comedian.He is best known for voicing Disco Kid in Punch Out!!, Zed in League of Legends, Mr. Fix in Iron Man: Armored Adventures, and theLucius Fox A.I. in Batwoman.Early lifeDonny Lucas was born, adopted, and raised in Montreal, Quebec.Lucas started his acting career in 1986 by taking classes, workshops, and community theater. His first credits werefor HBO, Warner Bros, and Nickelodeon.FilmographyFilmTelevisionVideogamesPassage 2:Lou ManfrediniLou Manfredini (born May 4, 1964) is an American television/radio personality and home improvement expert.Born in Highland Park, Illinois he is the host of HouseSmarts TV, host of Chicago's WGN (AM) HouseSmarts Radio (formerly Mr. Fix-It), and is a contributor on NBC's Today Show.Early yearsManfredini was born toMassimo and Lida Manfredini in Highland Park, IL. His father worked as an auto and truck mechanic, mother was a homemaker. Manfredini worked with his father on cars and trucks  which ultimately led Manfredini topursue a career in home improvement. While a student at Deerfield High School (Illinois), Manfredini worked at a hardware store and at a steel company as a welder. After graduating high school in 1982, Manfrediniwent to Millikin University in Decatur, Illinois on a musical theater scholarship. In 1987, Manfredini started a construction company in Chicago. After 8 years in business, he began a media career in 1995 when WGN(AM) Radio  launched his idea for a home improvement call-in radio show.Television and Print MediaAs hostIn 1995 after writing letters to pitch his idea for a call-in home improvement radio show on WGN Radio,morning show host Bob Collins booked Manfredini on his show as a guest where his nickname, Mr. Fix It, was coined. Soon after Manfredini joined host Roy Leonard on his Saturday show as a regular contributor whichthen led to his own Saturday morning call-in radio show which still airs today.  In 2000, Manfredini became the home improvement contributor for NBC-TV's Today Show, from 2006 to 2013 for NBC-5 Chicago and inSeptember 2013 for WGN-TV Chicago. In 2006, he partnered with Frank DiGioia, President and CEO of Fort Productions, to create the news/magazine style home improvement and lifestyle show HouseSmarts.Manfredini is also the host of Lou Manfredini's HouseSmarts Minutes (formerly Lou Manfredini's Home Improvement Minutes) that are syndicated on radio stations across the United States.On May 29, 2015 Manfrediniwas inducted into the WGN Radio Walk of Fame.On January 14, 2017 Manfredini debuted the live show, HouseSmarts Radio, on 77-WABC New York.On October 14, 2017 Manfredini debuted the live show, HouseSmartsRadio, on 790-KABC Los Angeles.As spokespersonManfredini has represented Marvin Windows and Doors nationally as their spokesperson since 2004 and serves/has served as spokesperson in the Chicago market for:Perma Seal Basement Systems, Chicagoland and Northwest Indiana Chevy Dealers and Baxter Credit Union (BCU).Since 2002 Manfredini has served as Ace Hardware's resident \"Home Expert\" and editorial mediaspokesperson.Manfredini has been host of satellite media tours representing companies such as The Wood Promotion Network, 3M, Marvin Windows and Doors, Ace Hardware, Skil Power Tools.Manfredini has served assubject matter expert host for The Rug Doctor infomercial.Other appearancesManfredini has sung the National Anthem at Wrigley Field, home of the Chicago Cubs, three times – once in 1998, once in 2001  and once asa duet in 2009 with his producer, Lindsey Smithwick (formerly Kreutzer).From 2002 to 2003 Manfredini served as the Home Category Expert for the Home Shopping Network (HSN).On August 18, 2011 Manfredini was aguest on the stage and radio show created by the Chicago Tribune and The Second City, Chicago Live!On May 30, 2012, Manfredini guest starred in the Irish musical The Twelve Tenors for one night at the RiverfrontTheater in Chicago.Bibliography2000: Mr. Fix It: 101 Answers to the Most Commonly Asked Questions About Repairing Your Home Rare Air Media ISBN 1-892866-22-62002: Mr. Fix It Introduces You To Your HomeBallantine Books ISBN 0-345-44987-82004: House Smarts Ballantine Books ISBN 0-345-44989-42004:Bath Smarts Ballantine Books ISBN 0-345-44990-82004: Kitchen Smarts Ballantine Books ISBN0-345-44988-62004: Room Smarts Ballantine Books ISBN 0-345-46722-1FamilyManfredini lives in Chicago with his wife and four children and runs the Edgebrook Ace Hardware and Villa Park Ace Hardware.Manfredini's oldest son, Quinn, is the founder of Deep Dish Sports Talk, Chicago's premier sports podcast.Passage 3:Mr. Fix-ItMr. Fix-It is a 1918 American silent comedy film starring Douglas Fairbanks, Marjorie Daw,and Wanda Hawley, directed by Allan Dwan.PlotAs described in a film magazine, because of his ability to fix things Dick Remington (Fairbanks) becomes known as \"Mr. Fix-It\" and enters the aristocratic home of theBurroughs as their nephew. Before long he has melted the stone hearts of three aunts and one uncle and won the heart of Mary McCullough (Hawley) in addition to setting aright the affairs of pretty GeorgianaBurroughs (MacDonald) and Olive Van Tassell (Landis).CastReceptionLike many American films of the time, Mr. Fix-It was subject to restrictions and cuts by city and state film censorship boards. For example, theChicago Board of Censors cut, in Reel 5, the policeman arresting women in kimono coming from raided house of ill repute.Preservation statusOn July 16, 2011 at the Castro Theatre in San Francisco, the San FranciscoSilent Film Festival presented a restored print of the film from George Eastman House.See alsoList of rediscovered filmsPassage 4:Allan DwanAllan Dwan (born Joseph Aloysius Dwan; April 3, 1885 – December 28,1981) was a pioneering Canadian-born American motion picture director, producer, and screenwriter.Early lifeBorn Joseph Aloysius Dwan in Toronto, Ontario, Canada, Dwan was the younger son of commercial travelerof woolen clothing Joseph Michael Dwan (1857–1917) and his wife Mary Jane Dwan, née Hunt. The family moved to the United States when he was seven years old on December 4, 1892, by ferry from Windsor toDetroit, according to his naturalization petition of August 1939. His elder brother, Leo Garnet Dwan (1883–1964), became a physician.Allan Dwan studied engineering at the University of Notre Dame and then workedfor a lighting company in Chicago. He had a strong interest in the fledgling motion picture industry, and when Essanay Studios offered him the opportunity to become a scriptwriter, he took the job. At that time, some ofthe East Coast movie makers began to spend winters in California where the climate allowed them to continue productions requiring warm weather. Soon, a number of movie companies worked there year-round, and in1911, Dwan began working part-time in Hollywood. While still in New York, in 1917 he was the founding president of the East Coast chapter of the Motion Picture Directors Association.CareerDwan started his directingcareer by accident in 1911, when he was sent by his employers to California, in order to locate a company that had vanished. Dwan managed to track the company down, and learned that they were waiting for thefilm's director (who was an alcoholic) to return from a binge (and allowing them to return to work). Dwan wired back to his employers in Chicago, informing them of the situation, and suggested that they disband thecompany. They wired back, instructing Dwan to direct the film. When Dwan informed the company of the situation, and that their jobs were on the line, they responded: \"You're the best damn director we eversaw\".Dwan operated Flying A Studios in La Mesa, California, from August 1911 to July 1912. Flying A was one of the first motion pictures studios in California history. On August 12, 2011, a plaque was unveiled on theWolff building at Third Avenue and La Mesa Boulevard commemorating Dwan and the Flying A Studios origins in La Mesa, California.After making a series of westerns and comedies, Dwan directed fellowCanadian-American Mary Pickford in several very successful movies as well as her husband, Douglas Fairbanks, notably in the acclaimed 1922 Robin Hood. Dwan directed Gloria Swanson in eight feature films, and oneshort film made in the short-lived sound-on-film process Phonofilm. This short, also featuring Thomas Meighan and Henri de la Falaise, was produced as a joke, for the April 26, 1925 \"Lambs' Gambol\" for The Lambs,with the film showing Swanson crashing the all-male club.Following the introduction of the talkies, Dwan directed child-star Shirley Temple in Heidi (1937) and Rebecca of Sunnybrook Farm (1938).Dwan helped launchthe career of two other successful Hollywood directors, Victor Fleming, who went on to direct The Wizard of Oz and Gone With the Wind, and Marshall Neilan, who became an actor, director, writer and producer. Over along career spanning almost 50 years, Dwan directed 125 motion pictures, some of which were highly acclaimed, such as the 1949 box office hit, Sands of Iwo Jima. He directed his last movie in 1961.Being one of thelast surviving pioneers of the cinema, he was interviewed at length for the 1980 documentary series Hollywood.He died in Los Angeles at the age of 96, and is interred in the San Fernando Mission Cemetery, MissionHills, California.Dwan has a star on the Hollywood Walk of Fame at 6263 Hollywood Boulevard.Daniel Eagan of Film Journal International described Dwan as one of the early pioneers of cinema, stating that his style \"isso basic as to seem invisible, but he treats his characters with uncommon sympathy and compassion.\"Partial filmography as directorSee alsoCanadian pioneers in early HollywoodPassage 5:Saintly SinnersSaintlySinners is a 1962 American comedy-drama film directed by Jean Yarbrough and starring Don Beddoe, Ellen Corby, Stanley Clements and Paul Bryar.PlotEx-con Joseph Braden has his car temporarily stolen by a pair ofbank robbers who hide their loot in the vehicle's spare tire. After the car is repossessed, it's sold to the kindly Rev. Daniel Sheridan, who immediately sets out on a fishing trip.CastDon Beddoe as Father DanSheridanEllen Corby as Mrs. McKenzieStanley Clements as SlimPaul Bryar as DukeAddison Richards as Monsignor CraigRon Hagerthy as Joe BreadenJacklyn O'Donnell as Sue Braeden (as Erin O'Donnell)Clancy Cooperas Idaho MurphyWilliam Fawcett as Horsefly BrownEarle Hodgins as Uncle CleteNorman Leavitt as Pittheus (as Norm Leavitt)Willis Bouchey as Police Chief HarrihanSee alsoList of American films of 1962Passage 6:RauniMollbergRauni Mollberg (April 15, 1929 – October 11, 2007) was a Finnish film director who directed movies and TV movies.In 1963 Mollberg directed movies for YLE. He directed a version of The Unknown Soldier in1985, 30 years after Edvin Laine directed the original version of it. Mollberg's movie's plot was same as Laine's movie. But Mollberg used unknown actors and the movie was colourised and shot by a handholdcamera.Mollberg did not begin directing films for the cinema until he was well into his forties. He made a notable splash on the international festival circuit in 1974 with The Earth Is A Sinful Song (1973), his debutfeature, an earthy, erotically-charged, blood-soaked tale of a young village girl's ill-fated affair with a Lapp reindeer herdsman. Based on a novel by the late Timo K. Mukka, one of Finland's most controversial youngwriters, the film \"stunned Scandinavian critics and audiences alike with its simple, terrible power and its authentic sensuality\" (Peter Cowie), and went on to become one of the biggest box-office successes in the Finnishcinema's history. It also introduced Mollberg's trademark style: \"a realistic naturalism full of expressive force with which he merges the people with the scenery, stripping them bare of life's illusions and the polishedveneer of culture\" (Sakari Toiviainen). Despite Peter Cowie's efforts, and the acclaim of many other critics and \"independent\" festivals, The Finnish National Film board has stubbornly sequestered this masterpiece, onlyreleasing it in a DVD format incompatible with international viewing, and lacking English subtitles.During his career he was used to get wide audiences in Finland. His film The Earth is a Sinful Song (1973) sold 709,664tickets and it is 11th on the list of most admissions to a Finnish film. 590,271 tickets were sold for the screenings of The Unknown Soldier (1985) making it the 17th highest-grossing movie in the history ofFinland.Awards and nominationsBerlin International Film Festival: Nominated for Golden Bear (1974 and 1981 for films The Earth is a Sinful Song and Milka).Locarno International Film Festival: Won Special prize for TheEarth is a Sinful Song (1974).Napoli Film Festival: Won Best Director award for Pretty Good for a Human (1978).Jussi Awards: Best Director award for Sotaerakko (1973), The Earth is a Sinful Song (1974), Pretty Goodfor a Human (1978), The Unknown Soldier (1986), Best Producer award for Milka (1981).Filmography\"Lapsuuteni\", 1967Tehtaan varjossa, 1969Sotaerakko, 1972Maa on syntinen laulu, 1973Aika hyvä ihmiseksi,1977Milka – elokuva tabuista, 1980Tuntematon sotilas, 1985Ystävät, toverit, 1990Paratiisin lapset, 1994Taustan Mikon kotiinpaluu, 1999Ison miehen vierailu, 1999Puu kulkee, 2000Heikuraisen Nauru, 2001Korpisenveljekset, 2002Reissu, 2004Passage 7:La Bestia humanaLa Bestia humana is a 1957 Argentine film whose story is based on the 1890 novel La Bête Humaine by the French writer Émile Zola.External linksLa Bestiahumana at IMDbPassage 8:Ohimai AmaizeOhimai Amaize (born 9 September 1984) is a Nigerian journalist with a multi-sectoral background that spans anti-corruption, youth advocacy, civil society, political campaigns,brand development, communications strategy and governance.He was producer and anchor of Kakaaki Social – a popular social media news program on Africa Independent Television (AIT) – Nigeria's largest privatelyowned television network. In June 2019, Amaize fled Nigeria to exile in the United States following threats of arrest for treason by the Nigerian government for his journalistic work as a TV anchor. In January 2020, hewas granted asylum in the United States. Amaize graduated from Columbia University with a Master of Arts in Political Reporting on 26 August 2021. His writings have appeared on local and international platforms likePremium Times, Sahara Reporters, Slate and JSTOR Daily.Education and early careerIn 2007, he graduated with a Bachelor of Arts degree in English and French (Combined Honours) from the University of Ibadan,Nigeria where he was elected President of the institution's umbrella body for campus journalists - the Union of Campus Journalists (UCJ) in 2006. Later in 2009, he earned a Post-Graduate Certificate in Managing forIntegrity at the Central European University, Budapest, Hungary.His professional career began in 2007 at the Economic and Financial Crimes Commission (EFCC), before moving to Lagos-based ad agency, ADSTRATBMC a year after.In May 2009, he took on a new challenge as Research Assistant to pioneer Executive Chairman of EFCC, Mallam Nuhu Ribadu.Amaize is a recipient of the Columbia University Scholarship for DisplacedStudents (CUSDS) – the \"first-ever Columbia-wide scholarship, and the world's first scholarship of its kind.” A  He is one of 18 students from around the world selected into the inaugural cohort, from over 1,200applicants.AdvocacyAmaize is a voluntary adviser to numerous youth-led non-profit initiatives, including work in the EFCC's Popular Culture Programme under the commission's former Fix Nigeria Initiative departmentand later under the commission's Strategy and Re-orientation Unit (SARU).In October 2008, he became an ambassador, Microsoft Internet Safety, Security and Privacy Initiative for Nigeria (MISSPIN). One of the majorhighlights of his work with the organization was B.L.I.N.G. (Brilliant. Legitimate. Inspired. Nigerian. Great), a pop-culture strategy with which he assembled some of Nigeria's top music artistes to produce thesong/music video – \"Maga No Need Pay\" – Nigeria's first ever music collaboration against cyber-crimes.Produced by legendary producer Cobhams Asuquo, \"Maga No Need Pay\" featured Banky W, Omawumi, RooftopMCs, Bez Idakula, Modele, Wordsmith and MI Abaga.Politics and governanceDescribed by Nigeria's Y! Magazine as \"The Fixer\", in August 2010, he became the youngest presidential campaign manager (26) in moderndemocratic history when popular journalist Dele Momodu appointed him to head his campaign ahead of the 2011 polls.From September 2011 to May 2012, he served as Special Advisor on Advocacy to Mallam BolajiAbdullahi then Nigeria's Minister of Youth Development. When Abdullahi was appointed Minister of Sports, he followed his boss and became the Minister's Advisor on Youth, School and Grassroots Sports till March2014.From April to October 2014, he was Special Advisor on Media Strategy to Senator Musiliu Obanikoro, as Minister of State for Defence  and later for Foreign Affairs until May 29, 2015.In October 2015, Amaize tooka break from politics announcing his disengagement from partisan politics with his exit from the Peoples Democratic Party (PDP).Television/BroadcastingIn August 2018, Africa Independent Television (AIT) announcedthat Ohimai Amaize and Osasu Igbinedion will be hosts of The Weekend Show - a live TV show that focuses on politics, lifestyle and entertainment. The show aired for two hours on Saturdays and Sundays.Also, inAugust 2018, Amaize joined popular daily breakfast television program Kakaaki as a presenter and helped launch the popular Kakaaki Social segment – a 20-minute social media daily news program airing between 8amand 8.20am.In June 2019, Amaize fled Nigeria over ongoing threats of arrest for presenting the government critical Kakaaki Social on Africa Independent Television.WorksAmaize is the author of the book - FightingLions: The Untold Story of Dele Momodu’s Presidential Campaign which details his account as Nigeria's youngest presidential campaign manager.Other engagementsIn November 2012, he was appointed secretary of theBoard of the Nigeria Academicals Sports Committee (NASCOM). In this capacity, he helped create the Rhythm N’ Play campaign – a grassroots sports mobilization campaign targeted at bringing an additional 2 millionNigerian school children into sports within a period of two years. Former President Goodluck Ebele Jonathan launched the campaign in Abuja in June 2013.Amaize was tasked by Holyhill Church, Abuja to pioneer TheUnderground – Nigeria's first-ever Christian Nightclub – a specialized outreach ministry for ‘unchurched’ youths.In June 2016, Amaize was appointed Coordinator of Ghana At Work – a project that documenteddevelopment in Ghana.The SignalHe is the founder and publisher of online newspaper, Signal. Most famously, Signal has reported exclusively on: the expensive lifestyle of Nigeria's first family – the Buharis; the insidestory of the power tussle between Aisha Buhari and a political cabal inside the Aso Rock Presidential Villa; in 2016, broke news of the death of Diepreye Solomon Peter Alamieyeseigha, the first elected governor ofNigeria's southern Bayelsa state.Awards and recognitionsAmaize was nominated in the Excellence in Service (Public Service) category of The Future Awards for 2012. In 2013, he was honoured by The Future Project asone of the Best 100 Young Nigerians in one of the events to mark Nigeria's 100th anniversary as a nation.Personal lifeOn April 26, 2014, Amaize married his heartthrob, Tessy Oliseh, an award-winning fashion designerand alumnus of Middlesex University, United Kingdom  and the younger sister to Nigerian football legend, Sunday Oliseh.Passage 9:Mr. Fix It (2006 film)Mr. Fix It is a 2006 American romantic comedy film starring DavidBoreanaz.  It was directed by Darin Ferriola,The former working titles were Deception and Boyfriend Girlfriend Relationship, while the former main title was The Perfect Lie.SynopsisLance Valenteen (Boreanaz) makes aliving as \"Mr Fix It\", a guy who is hired by men to get them back together with their ex-girlfriends.  Lance dates the guy's ex-girlfriend and becomes the worst date ever, sending her back to her ex-boyfriend'sarms.  When Lance is hired by Bill Smith (Pat Healy) to get Sophia Fiori (Alana de la Garza) back, Lance ends up falling for her.CastDavid Boreanaz - Lance Valenteen (Mr Fix It)Alana de la Garza - Sophia FioriScootMcNairy - DanPat Healy - Bill SmithPaul Sorvino - WallyTerrence Evans - CharlieLee Weaver - RalphRodney Rowland - TipMiranda Kwok - MelanieHerschel Bleefeld - ShiffyPatrica Place - Mrs. CliverhornGemini Barnett -"}
+{"doc_id":"doc_128","qid":"","text":"Passage 1:Walter UlfigWalter Ulfig was a German composer of film scores.Selected filmographyDas Meer (1927)Venus im Frack (1927)Svengali (1927)Bigamie (1927)Homesick (1927)The Awakening of Woman(1927)The Famous Woman (1927)Alpine Tragedy (1927)The Strange Case of Captain Ramper (1927)Assassination (1927)Queen Louise (1927)Homesick (1927)Das Schicksal einer Nacht (1927)The Hunt for the Bride(1927)The Orlov (1927)Serenissimus and the Last Virgin (1928)Mariett Dances Today (1928))The Woman from Till 12 (1928)The Beloved of His Highness (1928)The Schorrsiegel Affair (1928)It Attracted Three Fellows(1928)Miss Chauffeur (1928)The King of Carnival (1928)The Weekend Bride (1928)Honeymoon (1928)Spring Awakening (1929)The Right of the Unborn (1929)The Heath Is Green (1932)Höllentempo (1933)The TwoSeals (1934)Pappi (1934)Mädchenräuber (1936)BibliographyJung, Uli & Schatzberg, Walter. Beyond Caligari: The Films of Robert Wiene. Berghahn Books, 1999.External linksWalter Ulfig at IMDbPassage 2:BertGrundBert Grund (1920–1992) was a German composer of film scores.Selected filmographyCrown Jewels (1950)Immortal Light (1951)I Can't Marry Them All (1952)We're Dancing on the Rainbow (1952)My Wife IsBeing Stupid (1952)Knall and Fall as Detectives (1952)The Bachelor Trap (1953)The Bird Seller (1953)The Immortal Vagabond (1953)The Sun of St. Moritz (1954)The Witch (1954)The Major and the Bulls(1955)Operation Sleeping Bag (1955)Love's Carnival (1955)The Marriage of Doctor Danwitz (1956)Between Time and Eternity (1956)That Won't Keep a Sailor Down (1958)Arena of Fear (1959)The Thousand Eyes ofDr. Mabuse (1960)The Count of Luxemburg (1972)Mathias Sandorf (1979, TV series)Die Wächter (1986, TV miniseries)Carmen on Ice (1990)Passage 3:Henri VerdunHenri Verdun (1895–1977) was a French composerof film scores.Selected filmographyNapoléon (1927)The Sweetness of Loving (1930)The Levy Department Stores (1932)The Lacquered Box (1932)The Weaker Sex (1933)The Flame (1936)Girls of Paris (1936)TheAssault (1936)Les Disparus de Saint-Agil (1938)The Woman Thief (1938)Ernest the Rebel (1938)Rail Pirates (1938)The Fatted Calf (1939)Camp Thirteen (1940)The Man Without a Name (1943)The Bellman (1945)MyFirst Love (1945)The Murderer is Not Guilty (1946)Distress (1946)The Fugitive (1947)The Ironmaster (1948)The Tragic Dolmen (1948)The Ladies in the Green Hats (1949)La Fugue de Monsieur Perle (1952)The Loversof Midnight (1953)The Big Flag (1954)Blood to the Head (1956)Passage 4:Amedeo EscobarAmedeo Escobar (1888–1973) was an Italian composer of film scores.Selected filmographyResurrection (1931)The Last of theBergeracs (1934)The Countess of Parma (1936)I've Lost My Husband! (1937)The Thrill of the Skies (1940)Macario Against Zagomar (1944)Toto Looks for a House (1949)Toto Looks for a Wife (1950)Beauties onBicycles (1951)Drama on the Tiber (1952)Passage 5:MithoonMithun Sharma (born 11 January 1985), also known as Mithoon, is an Indian Hindi film music director, lyricist-composer and singer.Mithoon composed theHindi song \"Tum Hi Ho\" from the 2013 Bollywood romantic film Aashiqui 2. Mithoon received the Filmfare Award for Best Music Director, and in 2014 received a nomination for Filmfare Award for Best Lyricist in the 59thFilmfare Awards. He wrote and composed one of the most streamed Hindi songs on YouTube, \"Sanam Re\". The song was honoured with the award of \"Most Streamed Song of 2016\" at the Global Indian Music AcademyAwards.Mithoon launched the talented singer Arijit Singh in 2011 with Mohammad Irfan Ali co-singer in his hit song Phir Mohabbat.Early lifeMithoon was born into a family of musicians. His grandfather, Pandit RamPrasad Sharma, imparted music knowledge to thousands of aspirants, many of whom are amongst today's top musicians. His father, Naresh Sharma, was a leading expert of musical arrangements, having worked withalmost all of the top composers in more than two hundred movies. Mithoon's father and his uncle Pyarelal-ji (Pyarelal Ramprasad Sharma) formed one-half of the legendary composer duo Laxmikant-Pyarelal.Mithoonstarted learning music at the age of eleven. Since his father remained busy, he sent him to knowledgeable people to train himself. His father observed him closely and would often notice what he was practicing. Hisfather often listened to the tunes that he created as well. On 6 November 2022, he married playback singer Palak Muchhal.CareerMithoon began his career with two recreations: \"Woh Lamhe\" in Zeher and \"Aadat\" inKalyug. In 2006, Mithoon's friend recommended his name to Onir, (director of Bas Ek Pal), who wanted an electro-based title track. This led to his first original song as a composer, \"Bas Ek Pal\" with singer KK, and wasfollowed by \"Tere Bin\" (by singer Atif Aslam) in 2006. Both songs were included in the film Bas Ek Pal. .He wrote the score for Anwar, released in 2007 and his compositions Tose Naina Lage and Maula Mere are stillextremely popular.He also worked as a guest composer for songs on several nonmovie albums, such as \"Kuch Is Tarah\" from Atif Aslam's album Doorie, and Abhijeet Sawant's and \"Ek Shaqs\" from the Abhijeet Sawantalbum Junoon. He released his own album, Tu Hi Mere Rab Ki Tarah Hai in 2009 with T-Series. For this album, Mithoon traveled to the United Kingdom to rope in musicians. There, he worked with musicians of thePhilharmonic Orchestra.In 2011 he composed two songs \"Aye Khuda\", \"Phir Mohabbat\" for the film Murder 2  which also marked the debut of Arijit Singh.The song \"Tum Hi Ho\" which he wrote for Aashiqui 2, and \"Osaathi\" from the movie Shab became popular. He has also been a solo or guest composer for movies such as , Jism 2,Yaariyan, Ek Villain, Hate Story 2, Creature 3D, Samrat & Co, Alone, Hamari Adhuri Kahani, BhaagJohnny, All Is Well, Loveshhuda, Sanam Re, Ki & Ka, Shivaay, Wajah Tum Ho, Half Girlfriend, Shab, Aksar 2, Hate Story 4, Baaghi 2, Kabir Singh, Mercury, Khuda Haafiz, Radhe Shyam and Gadar 2.BollywooddiscographyAlbumsSinglesAwards and nominationsList of awards and nominations received by MithoonAsiavision AwardsBIG Star Entertainment AwardsFilmfare AwardsGlobal Indian Music Academy AwardsInternationalIndian Film Academy AwardsMirchi Music AwardsProducers Guild Film AwardsScreen AwardsStardust AwardsZee Cine AwardsGaana User's Choice Awards – Best Music Composer (for \"Phir Bhi Tumko Chaahunga\") –WonBollywood Journalist Awards – Best Music Director (for \"Phir Bhi Tumko Chaahunga\") – NominatedPassage 6:Tarcisio FuscoTarcisio Fusco was an Italian composer of film scores. He was the brother of the composerGiovanni Fusco and the uncle of operatic soprano Cecilia Fusco.Selected filmographyBoccaccio (1940)Free Escape (1951)Abracadabra (1952)The Eternal Chain (1952)Beauties in Capri (1952)Milanese in Naples(1954)Conspiracy of the Borgias (1959)Passage 7:Abe MeyerAbe Meyer (1901–1969) was an American composer of film scores.Selected filmographyPainted Faces (1929)Honeymoon Lane (1931)Unholy Love (1932)AStrange Adventure (1932)Take the Stand (1934)Legong (1935)The Unwelcome Stranger (1935)Suicide Squad (1935)The Mine with the Iron Door (1936)The Devil on Horseback (1936)Song of the Trail (1936)CountyFair (1937)The 13th Man (1937)Raw Timber (1937)Roaring Timber (1937)The Law Commands (1937)The Painted Trail (1938)My Old Kentucky Home (1938)The Secret of Treasure Island (1938)Saleslady(1938)Numbered Woman  (1938)The Marines Are Here (1938)Fisherman's Wharf (1939)Undercover Agent (1939)Passage 8:Alonso MudarraAlonso Mudarra (c. 1510 – April 1, 1580) was a Spanish composer of theRenaissance, and also played the vihuela, a guitar-shaped string instrument.  He was an innovative composer of instrumental music as well as songs, and was the composer of the earliest surviving music for theguitar.BiographyThe place of his birth is not recorded, but he grew up in Guadalajara, and probably received his musical training there.  He most likely went to Italy in 1529 with Charles V, in the company of the fourthDuke of the Infantado, Íñigo López de Mendoza, marqués de Santillana.  When he returned to Spain he became a priest, receiving the post of canon at the cathedral in Seville in 1546, where he remained for the rest ofhis life.  While at the cathedral, he directed all of the musical activities; many records remain of his musical activities there, which included hiring instrumentalists, buying and assembling a new organ, and workingclosely with composer Francisco Guerrero for various festivities.  Mudarra died in Seville, and his sizable fortune was distributed to the poor of the city according to his will.Mudarra wrote numerous pieces for the vihuelaand the four-course guitar, all contained in the collection Tres libros de musica en cifras para vihuela (\"Three books of music in numbers for vihuela\"), which he published on December 7, 1546 in Seville.  These threebooks contain the first music ever published for the four-course guitar, which was then a relatively new instrument. The second book is noteworthy in that it contains eight multi-movement works, all arranged by \"tono\",or mode.Compositions represented in this publication include fantasias, variations (including a set on La Folia), tientos, pavanes and galliards, and songs. Modern listeners are probably most familiar with his Fantasia X,which has been a concert and recording mainstay for many years.   The songs are in Latin, Spanish and Italian, and include romances, canciones (songs), villancicos, (popular songs) and sonetos (sonnets).  Anotherinnovation was the use of different signs for different tempos:  slow, medium, and fast.References and further readingJohn Griffiths: \"Alonso Mudarra\", Grove Music Online ed. L. Macy (Accessed March 24, 2005),(subscription access)Gustave Reese, Music in the Renaissance.  New York, W.W. Norton & Co., 1954.  ISBN 0-393-09530-4Guitar Music of the Sixteenth Century, Mel Bay Publications (transcribed by Keith Calmes)TheEight Masterpieces of Alonso Mudarra, Mel Bay Publications (transcribed by Keith Calmes)Fantasia VI in hypermedia (Shockwave Player required) at the BinAural Collaborative HypertextJacob Heringman and CatherineKing: \"Alonso Mudarra songs and solos\". Magnatune.com (http://www.magnatune.com/artists/albums/heringman-mudarra/hifi_play)External linksFree scores by Alonso Mudarra in the Choral Public Domain Library(ChoralWiki)Free scores by Alonso Mudarra at the International Music Score Library Project (IMSLP)Passage 9:Thomas MorseThomas Morse (born June 30, 1968) is a composer of film and concert music.Life andcomposing careerHe began his musical career while in high school, writing his first orchestral work. After receiving a bachelor's degree in composition from the University of North Texas, Morse began a compositionmaster's degree at USC in Los Angeles, changing over to the film scoring program in the second year.In the years that followed, Morse composed orchestral scores for more than a dozen feature films including The BigBrass Ring, based on an Orson Welles script, with William Hurt & Miranda Richardson who received a Golden Globe nomination for her performance; The Sisters (Maria Bello & Elizabeth Banks); and The Apostate (withDennis Hopper), as well as the noted orchestral score for Jerry Bruckheimer's CBS series The Amazing Race.Working parallel in the field of popular music, he created string arrangements on songs for numerous artistsincluding a posthumous Michael Hutchence release entitled Possibilities.In 2013 he signed a worldwide publishing agreement with Music Sales Group in New York, parent company of G. Schirmer.Notable music for filmand televisionNotable music for film and television:2014 Come Back to Me2005 The Sisters2001-2005 The Amazing Race (69 Episodes)2001 Lying in Wait2000 The Apostate1999 The Big Brass RingOpera2017 FrauSchindlerOther works2013 Code Novus (album)Passage 10:ShivaayShivaay is a 2016 Indian Hindi-language action thriller film directed and produced by Ajay Devgn under his banner Ajay Devgn FFilms from a storywritten by Sandeep Shrivastava. The film stars Ajay Devgn in the titular role along with debutante actresses Sayyeshaa, Abigail Eames and Erika Kaar in lead roles. Mithoon composed the film's score and soundtrack.British band The Vamps and composer Jasleen Royal also contributed to the music.Shivaay was released on 28 October 2016 on the Diwali weekend. It ran for more than 50 days at the box office. It won the 64thNational Film Award for Best Special Effects in 2017. The film was screened at the 2017 Shanghai International Film Festival on 17 June 2017.PlotShivaay is a skilled mountaineer who makes a living by providing treksand climbing expeditions to tourists. One day, Shivaay saves Olga from an avalanche and they eventually fall in love. Olga becomes pregnant, but doesn't want the child. Shivaay begs her to give him the child, afterwhich he will not stop her. 9 years later, Shivaay leads a happy life with his mute daughter Gaura until she discovers that Olga is still alive and in Bulgaria. Gaura insists Shivaay to take her to Bulgaria. Despite his oldsorrows, Shivaay finally agrees to take her to Bulgaria, where he saves a young child from child traffickers. Shivaay seeks the Indian embassy's help in tracing Olga and is assigned to Anushka. Led by crime baronUstinov and his right-hand man Changez, the traffickers kidnap Gaura. Shivaay chases the van, destroying various cars, but loses the van and is arrested by the Bulgarian police, charged with murder and trafficking.While in the police van, Shivaay imagines the officers in the van to be the same masked traffickers, where he attacks them, throwing out every single officer. The van accidentally falls off a dam and the police think thatShivaay is dead, but Shivaay escapes by jumping from the van due to his skills and survives. Shivaay brings one of the saved prostitutes from a brothel to Anushka's home to help her out. Anushka, who misunderstoodShivaay earlier, agrees to help him. Having seen the television coverage of Shivaay, Olga joins him, where they seek Wahab's help to recover the CCTV footage of Shivaay's various chases. Ustinov's henchmanIvanovich arrives there and is beaten badly, where he reveals Ustinov's location. Shivaay discovers that Gaura has been taken away to be sold into the flesh trade. Shivaay chases after the transport van carrying hisdaughter off to Romania. A prolonged and vicious fight ensues as Changez, now revealed to be Captain Nikolai of the Bulgarian Police, attacks Shivaay, but gets killed by the latter. Gaura is reunited with Olga, who isnow married to a wealthy Bulgarian and can provide Gaura with every comfort. Shivaay doesn't want to lose Gaura, where he heavy-heartedly leaves for the airport. However, Gaura arrives and requests not to leaveher, where they unite.CastAjay Devgn as Shivaay, a tourist guide, mountaineer and Gaura's fatherSayyeshaa as Anushka, a budding IFS officer at the Indian embassy in Sofia, BulgariaErika Kaar as Olga, Shivaay'sformer lover and the mother of GauraAbigail Eames as Gaura (Maharishi Gaura), Shivaay's young daughter with his former lover, OlgaVir Das as Wahab, an expert computer hacker who has a crush on AnushkaGirishKarnad as Anushka's fatherMarkus Ertelt as Changez/Sgt. NikolaiSaurabh Shukla as Sharma, Anushka's boss in the Indian embassy in Sofia, BulgariaBijou Thaangjam as Kancha, Shivaay's friendProductionThe shootingof the film started in November 2014, with the majority shot in Mussoorie, Bulgaria and Hyderabad.ReleaseShivaay released on 28 October 2016. It released internationally in 60 countries including Germany, France,Italy, Austria, Switzerland, Denmark, and Chile. However, the film was not released in Pakistan.The film's runtime was later reduced by 19 minutes, and the new trimmed version was released in cinemas.Piracy issueOn27 October 2016, The Indian Express published that self-proclaimed film critic Kamaal R Khan had uploaded the opening sequence of the film on Twitter, which he shot in a theater in Dubai. Devgn, the producer, wasquoted saying that he would take legal action against Khan.ReceptionCritical receptionBollywood Hungama gave 3.5 out of 5 stars and wrote \"Shivaay is a perfect emotional thriller that scores high on the account of itsbreathtaking visuals, amazing action and a high octane performance\". Dainik Jagran rated 3.5 out of 5 stars and describes it as \"full of emotion and action.\" Renuka Vyavahare of The Times of India gave 3 out of 5 starsand wrote \"Overall, Ajay is unstoppable in Shivaay but you wish he wasn’t! Laced with visual excellence, you applaud his film’s larger than life canvas but despite the efforts, his second directorial venture fails to engageyou emotionally.\" Mumbai Mirror also rated the film 3 out of 5 stars and states that the film \"scores fairly on most accounts.\" Bollywood Life rated 3 out of 5 stars and wrote \"Ajay Devgn's directorial is all about itsstunning visuals and breath taking action scenes.\" BookMyShow called the film a \"perfect Diwali gift you can give yourself and your family this (Diwali) weekend.\"Rajeev Masand for News18 gave 2 out of 5 stars andwrote, \"What Ajay Devgan the star deserved, was a sharper director and a better script. In the end, there's little else to Shivaay than the eye-watering locations (both in the Himalayas and in Bulgaria), and occasionallypoignant moments between Devgan and the little girl who plays his daughter. Everything else is noise. Way too much noise.\"Namrata Joshi of The Hindu commented that the movie moves too slow, and \"turns outalmost three hours long with just a wisp of a story.\" Anna MM Vetticad of Firstpost described it as a heavy-handed, over-stretched film. Ananya Bhattacharya of India Today gave 1.5 out of 5 stars and praised thecinematography but criticized the writing. Raja Sen of Rediff gave the film 1 out 5, calling it an \"absolute catastrophe\". Shubhra Gupta of The Indian Express gave 1 out of 5 stars and wrote \"The only thing your eye canrest on is the spectacular scenery. The rest is a bloated star vehicle.\"Box officeThe four-week worldwide grossing of film was between \u00001.24 billion (US$16 million) and \u00001.46 billion (US$18 million).IndiaShivaay wasreleased alongside Ranbir Kapoor's Ae Dil Hai Mushkil and collected \u0000102.4 million from India on its opening day, which was less than Ae Dil Hai Mushkil's \u000013.30 crore domestic first day. Shivaay grossed more than \u00001.39 billion.OverseasThe film collected \u000047.4 million (US$590,000) from North America (USA and Canada), \u00007.8 million (US$98,000) from UK, \u00009.5 million (US$120,000) from Australia, \u00004.4 million (US$55,000)from New Zealand and \u0000300,000 (US$3,800) from Malaysia.SoundtrackShivaay's soundtrack was composed by Mithoon with a guest vocal appearance by the British pop-rock band The Vamps. The lyrics were pennedby Sayeed Quadri and Sandeep Shrivastava.On 11 September 2016 the title track, \"Bolo Har Har Har\", was released, sung by Mithoon, Mohit Chauhan, Sukhwinder Singh, Badshah, Megha Sriram Dalton, and Anugrah.The second song, \"Darkhaast\", was released on 22 September 2016, and featured vocals by Arijit Singh and Sunidhi Chauhan.All music rights of Shivaay were acquired by T-Series.Track listingAwardsGameAn officialgame based on this film has been released by Zapak Mobile Games Pvt. Ltd, for Android mobile phone users."}
+{"doc_id":"doc_129","qid":"","text":"Passage 1:Adolf I of LotharingiaAdolf I of Lotharingia, count of Keldachgau, Vogt of Deutz from 1008 until 1018, was the son of Hermann I \"Pusillus\" (the Little Pfalzgraf), count palatine of Lotharingia. He left threesons:Hermann III, Vogt of Deutz in St. Severin (Cologne) und Werden (died 1056);Adolf II of Lotharingia, count of Keldachgau, Vogt of Deutz (born 1002, died 1041);Erenfried, Probst of St. Severin.Passage 2:Henry ofLaachHenry of Laach (in German: Heinrich von Laach) was the first count palatine of the Rhine (1085/1087–1095). Henry was the son of Herman I, count of Gleiberg. Henry was a follower of Henry IV, Holy RomanEmperor. He had lands in the southeastern Eifel and on the Moselle River.Most of the holdings of Hermann II, Count Palatine fell back to the emperor, when Hermann died without successor. The emperor named Henrycount palatine of the Rhine and during the emperor's trip to Italy tasked Henry to hold interim judicial councils. Henry married Herman's widow, Adelaide of Weimar-Orlamünde (d. 1100). From this marriage, Henry mayhave taken control over some of her holdings along the Moselle. As a consequence, the geographic center of the palatinate moved towards the south.With his wife, Adelaide, Henry founded the Maria Laach Abbey. Hewas succeeded by his stepson, Siegfried of Ballenstedt.Passage 3:Hermann II, Count Palatine of LotharingiaHermann II (born 1049; died Dalhem, 20 September 1085), Count Palatine of Lotharingia 1064–1085. He wascount in the Ruhrgau and the Zulpichgau, as well as a count of Brabant.LifeAccording to Egon Kimpen he was the son of Henry I of Lotharingia († 1061) and Mathild of Verdun († 1060), daughter of Gozelo I ofLotharingia, but the basis for this has been questioned. However, if that is the case, his maternal uncle was Pope Stephen IX. Until 1064, young Hermann was under the guardianship of Anno II, Archbishop of Cologne,who significantly reduced Hermann's territorial power.In 1080 he married Adelaide of Weimar-Orlamünde († 1100), widow of Adalbert II, Count of Ballenstedt. She was a daughter of Otto of Orlamünde, count of Weimarand margrave of Meissen in Thuringia, and Adela of Brabant. Together they had two children who had died by 1085.He is assumed to have been the last Count Palatine of Lotharingia of the Ezzonian dynasty. He waskilled in a duel with Albert III, Count of Namur, near his castle in Dalhem. His widow married again, her third husband being Henry of Laach, count in the Mayfeldgau, who became the first count palatine of the Rhinebetween 1085 and 1087.Passage 4:John Christian, Count Palatine of SulzbachJohn Christian (23 January 1700 – 20 July 1733; in German: Johann Christian Joseph) was the Count Palatine of Sulzbach from 1732–33. Hewas the second and youngest surviving son of duke Theodore Eustace, Count Palatine of Sulzbach (1659–1732) with his consort Eleonore Maria Amalia of Hesse-Rotenburg (1675–1720). His elder brother was JosephCharles, Count Palatine of Sulzbach.LifeAfter the death of his elder brother Joseph Charles, John Christian Joseph became the eventual designated heir of the Electoral Palatine. In 1732 he succeeded his father as CountPalatine of Sulzbach, but died in Sulzbach in 1733 before inheriting the Palatinate.Charles III Philip, Elector Palatine, a member of the Palatine Neuburg line of Wittelsbach failed to produce a legitimate male heir, and hisbrothers also. By 1716 it was evident that the Neuburg line would become extinct and that the Sulzbach branch would succeed them.MarriageHe married twice:Marie Anne Henriëtte Leopoldine de La Tour d'Auvergne(24 October 1708 – 28 July 1728), daughter of Francois Egon de la Tour d'Auvergne, Prince of Auvergne, and had the following children:Charles Theodore (11 December 1724 – 16 February 1799); became ElectorPalatine in 1742, and Elector of Bavaria in 1777Maria Anne (30 May 1728 – 25 June 1728)Eleonore Philippina Christina Sophia of Hesse-Rotenburg  (1712-1759); married on 1731 but had no issue.== Ancestry==Passage 5:Philip William August, Count Palatine of NeuburgPhilip William August, Count Palatine of Neuburg (born 19 November 1668 in Neuburg an der Donau; died: 5 April 1693 in Zákupy (German: Reichstadt))was a  Prince and Count Palatine of Neuburg.LifePhilip William August was the 13th from a total of 17 children of Elector Palatine Philip William (1615-1690) from his second marriage to Elisabeth Amalie (1635-1709), adaughter of Landgrave George II of Hesse-Darmstadt.His oldest sister, Eleonor Magdalene married Emperor Leopold I in 1676.  In August 1689, after he had visited his brother in Breslau and his sister in Vienna, PhilipWilliam began his Grand Tour to Italy.Philip William August chose a secular career and entered into active military service.  He died at the age of 24 after suffering for seven days from a \"malignant fever\" and was buriedin the parish church of Zákupy.  His heart lies in the Court Church in Neuburg on the Danube.Marriage and issueHe married on 29 October 1690 in Raudnitz Anna Maria Franziska (1672–1741), a daughter of Duke JuliusFrancis of Saxe-Lauenburg.  The wedding ceremony, which had to be postponed due to the illness and death of Philip William August's father, was carried out \"plainly\".  His marriage brought Philipp Wilhelm August thefollowing children:Leopoldine Eleanor (1691–1693).Maria Anna Carolina (1693–1751), married in 1719 Prince Ferdinand of Bavaria (1699–1738).AncestryPassage 6:Henry I, Count Palatine of LotharingiaHenry I(German: Heinrich; d.1061), was Count Palatine of Lotharingia from 1045 until 1060. He was the son of Hezzelin I, Count in Zülpichgau, and a member of the Ezzonid dynasty. Historians have given several nicknamesto Heinrich: Furiosus (the Violent/the Insane), because he murdered his wife, and Monachus (the Monk), because he was confined into an abbey to treat his insanity.LifeHenry was the son of Hezzelin I and his unnamedwife, who was probably a daughter of  Conrad I of Carinthia.Around 1048 Henry married Mathilda of Verdun (born abt 1025, died 27 July 1060), daughter of Duke Gozelo of Lotharingia, and sister of pope Stephen IX.Hereceived the Mosellan castle of Cochem from his niece, Queen Richeza of Poland. He was elected as successor for the German kingdom during Emperor Henry III's illness.Shortly after 1058, Henry began to show signsof insanity, for which he was confined to the abbey of Gorze. He escaped however, and thinking that his wife Matilda had been unfaithful to him, he killed her (27 July 1060). Henry then was definitely enclosed into theabbey of Echternach, where he died in 1061. His office and counties were confiscated by Anno II, archbishop of Cologne, who became the guardian of their only son, the later count palatine Hermann II(1064-1085).Passage 7:Rudolph II, Count Palatine of TübingenRudolph II, Count Palatine of Tübingen (died 1 November 1247) was Count Palatine of Tübingen and Vogt of Sindelfingen.  He was the younger son ofRudolph I and his wife Matilda of Gleiberg, heiress of Giessen.LifeRudolph II inherited the County Palatine of Tübingen when his elder brother Hugo III died in 1216.  From 1224 onwards, he is described as CountPalatine in many imperial documents, while his younger brother William is merely styled as Count.  Rudolph II supported Bebenhausen Abbey, which his parents had founded. Next to his father, Rudolph II is the secondmost mentioned Count Palatine of Tübingen in imperial documents, mostly in documents by King Henry (VII) of Germany, the son of Emperor Frederick II, who had been elected King of Germany in 1220, at the age of8.  Frederick II spent much of his time in Italy, leaving his ancestral Swabia in the hands of his son.  Later, in 1232, Henry revolted against his father, and did everything in his power to win the Swabian nobility over tohis side.  Rudolph II appears to have been among the noblemen who sided with Henry VII, at least, he is mentioned in 10 different documents of Henry VII and never by Frederick II.  Considering Rudolph's energeticcharacter, one can assume that he intended to use the conflict between Henry VII and Frederick II to expand his own power and aim at an independent position.Swabian noblemen, including Rudolph II and his brotherWilliam, Count Hartmann I of Württemberg and a Count of Dillingen, visited Henry VII in Worms on 8 January 1224.  They met Margrave Herman V of Baden was also present, as was Eberhard, Sénéchal of Waldburgand councillor and former guardian of Henry VII in Oppenheim on 5 April 1227 and in Hagenau on 1 May.  In the same year, Rudolph met Duke Louis I of Bavaria, who was an imperial vicar and Conrad of Winterstetten,who was imperial cup-bearer and also a councilor of Henry VII.  He met the Lords of Neuffen and the imperial marshal Anselm of Justingen in Ulm on 23 February 1228.  On 31 August 1228, Rudolph II appears,together with Margrave Herman V of Baden, Count Henry of Wirtemberg, a Count of Dillingen, Conrad of Weinsperg and the councillors mentioned above, as witnesses of a deed in which King henry VII confirms theprivileges of Adelber Abbey in Esslingen.  Later that year, Rudolph II appeared as a witness in four deed by Duke Louis I of Bavaria and Bishop Ekbert of Bamberg, together with, among others, Margrave Herman V ofBaden, Count Ulrich and Eberhard of Helfenstein, Counts Eberhard and Otto of Eberstein, Count Gottfried of Hohenlohe, and two councilors.Rudolph II stood at the head of a delegation of eight Swabian counts, amongthem Albert IV of Habsburg, Frederick IV of Zollern and a Count of Eberstein, at the Imperial Diet in Worms on 29 April 1231.  On 22 November 1231, Rudolph II and his brother William met Counts Albert of Rottenburg,Ulrich of Hefenstein and Eberhard of Walpurg at Henry VII's castle in Ulm.  On 31 December 1231, Rudolph witnessed a deed benefiting Neresheim Abbey in Wimpfen, together with Duke Conrad I of Teck and MargraveHermann V of Baden.  The last time Rudolph II witnessed a deed of Henry VII was on 4 June 1233 in Esslingen, again with his brother William.In 1235, Pope Gregory IX called on the princes of the empire to organize anew crusade into the Holy Land, to render assistance to the beleaguered church there.  Rudolph II is the only Swabian nobleman named in this call to arms; whether he actually went to the Holy Land is unknown.  Thefact that he is not mentioned in any deed between 1235 and 1243 suggests that he may have been absent for an extended period.  In particular, no mention is made of his position in the struggle between King ConradIV of Germany and anti-King Henry Raspe IV, which is remarkable, since this struggle took place mainly in Swabia.  However, a deed in favour of Bebenhausen Abbey which the papal legate made at Rudolph II'srequest in the army camp outside Ulm on 28 January 1247, suggests that he supported Henry Raspe.FamilyThe name of Rudolph II's wife has not been preserved.  She was a daughter of a Margrave Henry from theHouse of Ronsberg and Udilhild of Gammertingen. They had the following children:Hugo IV, Count Palatine of TübingenRudolf III of Scheer (d. 12 May 1277), Count of Tübingen-HerrenbergUlrichMathilda, marriedBurchard II, Count of Hohenberg (d. 14 July 1253, struck by lightning).  Their daughter Gertrude Anna (c. 1225 – 16 February 1281) married Emperor Rudolf I, the first Emperor from the House of Habsburg.==Footnotes ==Passage 8:Reichard, Count Palatine of Simmern-SponheimReichard (25 July 1521 – 13 January 1598) was the Count Palatine of Simmern-Sponheim from 1569 until 1598.Reichard was born in Simmern in1521 to Johann II, Count Palatine of Simmern. In 1569 he succeeded his brother Georg as Count Palatine of Simmern-Sponheim. Reichard died in Simmern in 1598. Without any surviving children, Simmern-Sponheimwas inherited by his great-nephew Frederick IV.MarriageReichard married Juliane of Wied (c. 1545 - 30 April 1575, daughter of Count Johann IV of Wied, on 30 July 1569 and had several children:Juliana (21 November1571 – 4 February 1592)Katherine (10 May 1573 – 12 October 1576)unnamed son (1574)unnamed son (30 April 1575)Reichard married Emilie of Württemberg (19 August 1550 - 4 June 1589), daughter of Christoph,Duke of Württemberg, on 26 March 1578.Reichard married Anne Margaret of Palatinate-Veldenz (17 January 1571 - 1 November 1621), daughter of Count Palatine Georg Johann I, on 14 December 1589.Passage9:Sabina, Duchess of BavariaSabina, Duchess of Bavaria (1528–1578) was the daughter of John II, Count Palatine of Simmern and Beatrix of Baden.MarriageIn 1544 she married Lamoral, Count of Egmont with whomshe had twelve children. When her husband was arrested and accused of treason in 1567, she wrote king Philip II, the king of Spain, a letter to plead for his release. It was to no avail and he was decapitated in thefollowing year. Sabina was buried in Egmont's crypt in Zottegem.ChildrenCharles, 7th Count of Egmont, Prince de Gavre: married to Marie de Lens,  Lady of Aubigny.WidowhoodAfter her death in 1578, she was buriednext to her husband in Zottegem.Passage 10:Otto I, Count Palatine of MosbachOtto I (24 August 1390 – 5 July 1461) was the Count Palatine of Mosbach from 1410 until 1448, and the Count Palatine ofMosbach-Neumarkt from 1448 until 1461.LifeOtto was born in Mosbach in 1390 as the youngest son of Rupert III of the Palatinate, King of Germany. In 1410 after the death of his father, the territories of the Palatinatewere divided between his four sons; Otto received the territory around Mosbach and Eberbach. He made Mosbach his capital and began the construction of a new residence there. Otto became the regent of theElectorate of the Palatinate and guardian of his nephew Louis IV after his brother Louis III returned from a pilgrimage to Jerusalem seriously ill and died soon after. He held the regency until 1442.In 1448 he inheritedhalf of the territory of the extinct Palatinate-Neumarkt line and purchased the other half from his brother Stephen, and he also established a residence in Neumarkt. Otto died in Reichenbach in 1461 and was buried inthe Benedictine Reichenbach Abbey.MarriageOtto married Joanna of Bavaria-Landshut (1413 - 20 July 1444), daughter of duke Henry XVI in January 1430 and had the following children:Margaret (2 March 1432 - 14September 1457)Amalie (22 February 1433 - 5 December 1488)Otto (26 June 1435 - 8 April 1499)Rupert (25 November 1437 - 1 November 1465)Dorothea (24 August 1439 - 15 May 1482) Prioress in the LiebenaumonasteryAlbert (6 September 1440 -  20 August 1506)Anne (1441 - ?) Prioress in the Himmelskron monasteryJohn (1 August 1443 - 4 October 1486)Barbara (July 1444 - ?) Nun in the Liebenau monastery nearWorms"}
+{"doc_id":"doc_130","qid":"","text":"Passage 1:Tales from the QuadeaD ZoneTales from the QuadeaD Zone (also stylized TALES From The QuadeaD Zone) is a 1987 American anthology blaxploitation horror film written, directed, and produced by Chester Novell Turner. The film was originally released straight to VHS. VHS copies of the film have become collector's items due to their difficulty to locate and extremely limited quantities, with one copy selling for $2000 on eBay.Turner has expressed interest in creating a sequel and began writing the film's script in 2013. Tales from the QuadeaD Zone was the only film produced by Erry Vision Film Co.Since its release Tales From the QuadeaD Zone has received several public screenings, one of which was a 2016 symposium at the Yale University Library, Terror on Tape.It was given a DVD release in 2013 through Massacre Video.SynopsisThe film is composed of two stories, plus a third wraparound story; \"Food For ?\" and \"The Brothers\", both of which are narrated by a mother (Shirley L. Jones) reading the tales to her deceased son Bobby. \"Food For ?\" centers upon a family that is so poor that they are unable to afford food for every family member. Their only solution is to get rid of some of their family in order to increase the amount of dinner for everyone else. \"The Brother\" follows two brothers who have hated each other their entire lives and have each made cruel jokes and attacks against the other. When one of them dies, the living brother tries to have the last laugh by stealing his brother's corpse and making him look like a circus clown. Little does he know that his brother's spirit has returned to his body, unhappy with his brother's plans.CastProductionWork on Tales from the QuadeaD Zone began three years after Turner completed his first film, Black Devil Doll From Hell, which was initially intended to be one of the anthology's stories. Two of the film's stories, \"Food For ?\" and the wraparound story \" Unseen Vision\", were shot in Alabama while \"The Brothers\" was shot in Chicago.ReleaseAs Turner released the film on his own, along with star Shirley L. Jones, Tales from the QuadeaD Zone was released in an extremely limited amount, estimated to be at or less than 100 copies. The copies were only circulated in the Chicago area due to the cost of gas and travel required by Turner and Jones and it is believed that many of these copies have been lost.Over time the video achieved cult status and VHS copies became much sought after collector's items. In 2011 one copy of the film sold for $665 on the online auction site eBay, a feat that was covered in the 2013 documentary Adjust Your Tracking. The winning bidder later sold his copy of the movie for twice the amount paid.The price reached an all time high when a copy was sold on eBay for $2000.In 2013, Massacre Video released the movie as part of a DVD box set along with Black Devil Doll From Hell. The box set features commentary from Turner and Jackson, a documentary about both films, and the director's cut of Black Devil Doll From Hell, which upon release had been heavily edited from Turner's original version.ReceptionHorronews.net commented that although the video could be seen as a \"complete and utter train wreck\", the film was made during a point in time when amateur filmmaking would be cost prohibitive for the average person and the creation of Tales from the QuadeaD Zone was evidence of Turner's \"heart and a dream to become a film maker\". Bloody Disgusting also reviewed the movie, stating that it was \"a no-budget, SOV labor of mad love\". DVD Talk reviewed the movie as part of Massacre Video's box set and gave it a poor review, which they felt was weaker than Black Devil Doll From Hell.Passage 2:Hiroshi IshikawaHiroshi Ishikawa (\u0000\u0000 \u0000, born May 18, 1963) is a Japanese film director and writer from Ōdate. He is best known for his 2005 film, Su-ki-da (2005). He won the Silver Iris for Best Director at the New Montreal Film Festival.FilmographyTokyo.sora (2002)Su-ki-da (2005)Kimi no Yubisaki (Short Film) (2007)Petal Dance (2013)Passage 3:Su-ki-daSu-ki-da (\u0000\u0000\u0000) is a 2005 Japanese romantic drama film. The plot centers on two teenagers who deal with tragedy and then have to grow up. It was written and directed by Hiroshi Ishikawa and stars Aoi Miyazaki, Hidetoshi Nishijima, Hiromi Nagasaku, and Eita.PlotHigh school student Yosuke spends most of his free time sitting near a floodgate and playing the same short tune on his acoustic guitar. He is often joined by a girl in his class, Yu. Yu hums Yosuke's tune to her older sister, who is mourning her deceased boyfriend. Yu sets up a few meetings between Yosuke and her sister. While talking with Yosuke after school, Yu kisses him, but Yosuke walks away, leaving Yu devastated. While walking to see Yosuke, Yu's sister is hit by a truck and enters a coma. Yu tells Yosuke that she wants to hear his song when he finishes it.17 years later, Yosuke is working in music production in Tokyo. He shoos away a man interfering with an intoxicated woman lying in the street and takes her to recover in his apartment. During a break at the studio, a woman plays a few notes from the song Yosuke played in his school days and he realizes she is Yu. They go back to Yosuke's apartment and drink sake. Yu tells him that her sister is still in a coma. She starts to cry, Yosuke comforts her, and they kiss.Yu and Yosuke visit her sister at the hospital and Yu leaves at the train station. Yosuke looks her up in the phone book and calls to say that he wants to play the finished song for her. On the way to meet her, he is stabbed by the man he shooed from the intoxicated woman. Yosuke lies in the street bleeding while Yu waits for him.Yu visits Yosuke in the hospital and tells him she loves him. Yosuke replies that he loves her, too.CastAoi Miyazaki as Yu (young)Hidetoshi Nishijima as YosukeHiromi Nagasaku as YuEita as Yosuke (young)Sayuri Oyamada as Yu's older sisterMaho NonamiRyo KaseNao ŌmoriProductionThe film was directed by Hiroshi Ishikawa and was his second full-length feature, after the 2003 film Tokyo.Sora. In addition to directing, Ishikawa was also the writer, editor, and cinematographer. Yoko Kanno composed the score, including Yosuke's song that plays throughout most of the film. It was shot in Tokyo, Japan.The Japanese title Su-ki-da translates to \"I love you\" in English.Release and receptionSu-ki-da was premiered at the New Montreal Film Festival on September 23, 2005. It won one award, the Silver Iris for Best Director. The film was released in Japan on February 26, 2006 and was also shown at the Hong Kong International Film Festival on April 8.Critical reviews were mixed. According to Variety's Eddie Cockrell (who viewed it at the NMFF), the film was filled with \"unchecked indulgences.\" He criticized the director, writing that: \"Jump cuts, cryptic silences, shots of various cloud formations and long takes bereft of movement are key weapons in Ishikawa's self-consciously arty arsenal, with little in the way of story or character development to engage viewers; Gus van Sant he's not.\"On the other hand, DVDBeaver.com praised the film for its \"heartfelt story,\" \"excellent visuals,\" and \"great cast.\" The reviewer noted its lack of dialogue but also said that \"the characters' body language says more than any words could ever express.\"The DVD was released in Japan on September 22, 2006, by Big Time Entertainment. It includes English and French subtitles.Passage 4:Golden age of physicsA golden age of physics appears to have been delineated for certain periods of progress in the physics sciences, and this includes the previous and current developments of cosmology and astronomy. Each \"golden age\" introduces significant advancements in theoretical and experimental methods. Discernible time periods marking a \"golden age\" of advancements are, for example, the development of mechanics under Galileo (1564–1642) and Newton (1642–1727). Another small epoch seen as a golden age is the unification of electricity, magnetism, and optics because of 19th century notables, including Faraday, Maxwell, and others.Significant advancements in methods of investigation were introduced for celestial mechanics, which includes realizing a universal gravitational force, with the introduction of the telescope. Basing mechanics on experimental results was possible with the development of devices that could measure time, and tools for measuring distance. The advances in electromagnetism in the 19th century enamored physicists, as another golden age closed, and there was a reluctance to perceive further advancement. Hence, the progress of one era, termed a \"golden age\" has appeared to mark the completion of physics as a science. Yet, this perception has turned out to be erroneous. For example, around 1980, Stephen Hawking predicted the end of theoretical physics within 20 years. Around 2001, he amended his prediction to twenty years more from that year. Steven Weinberg predicts a unified physics by 2050. Tadeusz Lulek, Barbara Lulek, and A. Wal – the authors of a 2001 book – believed themselves to be at the beginning of a new \"golden age of physics\".Paul Davies notes that whilst \"many elderly scientists\" may regard the first 30 years of the 20th century as a golden age of physics, historians may well, instead, regard it to be the dawning days of \"the New Physics\".The golden age of physics was the 19th century. According to Emilio Segrè, in Italy it came to an end in the 18th century, after the time of Alessandro Volta.  He reported in his autobiography that Enrico Fermi felt that it was coming to an end in 1933.  A golden age of physics began with the simultaneous discovery of the principle of the conservation of energy in the mid-19th century.  A golden age of physics was the years 1925 to 1927.  The golden age of nonlinear physics was the period from 1950 to 1970, encompassing the Fermi–Pasta–Ulam–Tsingou problem and others.  This followed the golden age of nuclear physics, which had spanned the two decades from the mid-1930s to the mid-1950s.  A golden age of physics started at the end of the 1920s.The golden age of physics cabinets was the 18th century, with the rise of such lecturer-demonstrators as John Keill, John Theophilus Desaguliers, and William Whiston, who all invented new physics apparatus for their lectures.See alsoGolden age of general relativityGolden age of cosmologyGolden age (metaphor)Passage 5:The Vault of Horror (film)The Vault of Horror (otherwise known as Vault of Horror, Further Tales from the Crypt and Tales from the Crypt II) is a 1973 British anthology horror film directed by Roy Ward Baker, and starring Terry-Thomas, Dawn Addams, Denholm Elliott, Curd Jürgens, Tom Baker, Michael Craig, Terence Alexander, Glynis Johns, Mike Pratt, Robin Nedwell, Geoffrey Davies, Daniel Massey and Anna Massey. None of the film's stories are actually from Vault of Horror comics. All but one appeared in Tales from the Crypt, the exception being from Shock SuspenStories. The film omits the Vault Keeper character from the comics.PlotIntroFive strangers board a descending lift, one by one, in a modern office block in London. They reach the sub-basement, though none of them have pressed for that destination. There they find a large, elaborately furnished room that appears to be a gentlemen's club. The lift door has closed; there are no buttons to bring it back, nor any other exit. Resigned to waiting for help, they settle down with drinks and talk. The conversation turns to dreams, and each man tells of a recurring nightmare.\"Midnight Mess\" (Tales from the Crypt #35)Harold Rogers tracks his sister Donna to a strange village, and kills her to claim her share of the family inheritance. After settling down to a post-murder meal at the local restaurant, he discovers the town is home to a nest of vampires: Donna is not as dead as he thinks, and he becomes the dish of the night when his jugular vein is tapped out as a beverage dispenser (this last scene is blacked-out in the U.S. DVD release).\"The Neat Job\" (Shock SuspenStories #1)The obsessively neat Arthur Critchit marries Eleanor, a \"young\" trophy wife who is not quite the housekeeper he hoped for. His constant nagging about the mess she makes eventually drives her mad. Upon his shouting at her, \"Can't you do anything neatly? Can't you?\", she finally snaps and kills him with a hammer, then cuts up the corpse and puts all the different organs into neatly labelled jars.\"This Trick’ll Kill You\" (Tales from the Crypt #33)Sebastian is a magician on a working holiday in India, where he and his wife Inez are searching for new tricks. Nothing impresses until he sees a girl charming a rope out of a basket with a flute. Unable to work out how the trick is done, he persuades her to come to his hotel room, where he and his wife murder her and steal the enchanted rope. Sebastian plays the flute, and the rope rises; realizing that they have discovered a piece of genuine magic, the couple begin plans to work it into their act. Inez experiments with climbing the rope, only to disappear with a scream. An ominous patch of blood appears on the ceiling, and the rope coils round Sebastian's neck and hangs him. Their victim reappears alive in the bazaar.\"Bargain in Death\" (Tales from the Crypt #28)Maitland is buried alive as part of an insurance scam concocted with his friend Alex. Alex double-crosses Maitland, leaving him to suffocate. Two trainee doctors, Tom and Jerry, bribe a gravedigger to dig up a corpse to help with their studies. When Maitland's coffin is opened, he jumps up gasping for air, scaring Tom and Jerry who run out into the middle of the road in front of Alex's car, which crashes into a tree and explodes. The gravedigger kills Maitland, and when trying to close the sale of the corpse apologizes to Tom and Jerry for the damage to the head.\"Drawn and Quartered\" (Tales from the Crypt #26)Moore is an impoverished painter living in Haiti. When he learns that his paintings have been sold for high prices by art dealers Diltant and Gaskill after being praised by critic Fenton Breedley, all of whom told him that they were worthless, he goes to a voodoo priest and his painting hand is given voodoo power; whatever he paints or draws can be harmed by damaging its image. Rather awkwardly, these events coincide with his completing a self-portrait, which he keeps under lock and key to prevent the magic from turning on him. Returning to London, Moore paints portraits of the three men who cheated him, and mutilates the paintings to exact his revenge. He is also obliged to put his own portrait out in the open, because leaving it in an airless strongbox nearly suffocated him. A workman subsequently drops a can of paint thinner on the picture through a skylight, and Moore, as a result of the voodoo, suffers a correspondingly messy death.FinaleWhen the story of the final dream is told, the five ponder the meaning of their nightmares. The lift door opens, and they find themselves looking out onto a graveyard. Rogers, Critchit, Maitland, and Moore walk out into the graveyard and disappear one by one. Sebastian remains behind and explains that they are all damned souls compelled to tell the stories of their evil deeds for all eternity. He then turns back into the room, which is now a mausoleum, walks towards the casket and disappears himself. Then the door slams shut.CastDaniel Massey as Harold RogersTerry-Thomas as Arthur CritchitCurd Jürgens as SebastianMichael Craig as MaitlandTom Baker as MooreAnna Massey as Donna RogersGlynis Johns as Eleanor CritchitDawn Addams as InezEdward Judd as AlexDenholm Elliott as DiltantRobin Nedwell as TomGeoffrey Davies as JerryTerence Alexander as Fenton BreedleyJohn Witty as Arthur GaskillJasmina Hilton as Indian GirlIshaq Bux as FakirJohn Forbes-Robertson as WilsonMaurice Kaufmann as Bob DicksonArthur Mullard as GravediggerMike Pratt as CliveMarianne Stone as JaneErik Chitty as Old WaiterTommy Godfrey as LandlordJerold Wells as WaiterProductionIn the segment \" Bargain in Death\", Maitland can be seen reading a copy of the novelisation of the earlier Amicus film Tales from the Crypt (1972). The same installment features Geoffrey Davies and Robin Nedwell, who both appeared in the British TV show Doctor in the House. \"Midnight Mess\" features a brother and sister as characters. They are played by real-life brother and sister Anna Massey and Daniel Massey, whose parents were actors Adrianne Allen and Raymond Massey.FilmingThe film was shot on location and at Twickenham Studios.The tower featured in the opening scenes is the Millbank Tower in London.ReleaseReceptionRoger Greenspun of The New York Times was dismissive, writing that of the several distinguished actors who appeared in the film, \"none is ever quite so bad as the material warrants.\" Variety wrote, \"Quality for the material is uneven, ranging from camp comedy to the belabored grotesque ... Performances, given the limited nature of the script, are above par for this sort of exercise.\" Kevin Thomas of the Los Angeles Times called the film \"a very tepid, static affair despite the presence of many luminaries of the English stage and screen.\" Tom Milne of The Monthly Film Bulletin wrote that the film was \"even less satisfactory\" than Tales from the Crypt, \"mainly because the Freddie Francis atmospherics have been replaced by pedantically flat direction by Roy Ward Baker in which each story plods squarely through yards of exposition before erupting in all too brief explosions of Grand Guignol.\"Halliwell's Film Guide described the film as \"plainly but well staged.\" Jeremy Aspinall of Radio Times gave the film three stars out of five, describing it as a \"suitably ghoulish companion piece to the excellent Tales from the Crypt\", \"fiendishly fun\", with \"a touch of class in the cast\", concluding \"if you like your fright fables darkly droll, then this should certainly do the trick.\"DVD and Blu-ray releasesTogether with Tales from the Crypt, The Vault of Horror was released on a Midnite Movies double feature DVD on 11 September 2007. The version used is the edited U.S. theatrical PG re-release (the original theatrical release in the U.S. was the unedited R-rated version), which replaces some of the gorier scenes with still images (notably the final shot of \"Midnight Mess\" showing Daniel Massey's neck being tapped for blood, and Terry Thomas dropping from a hammer blow in \"The Neat Job\") to receive an MPAA PG rating. The U.K. Vipco DVD release featured the original unedited U.K. print.An uncensored version was first shown on the British TV channel Film4 on 25 August 2008, and later released by Scream Factory on a double-feature Blu-ray with Tales From The Crypt. Questions have been raised as to if these prints are still missing a scene in which the characters who walk to the graveyard are seen with dead, skeletal faces. It may be that this shot has been lost; no prints containing it have ever surfaced, and there is no evidence it was ever included in the final release prints, as even the original unedited prints that have surfaced do not include a scene resembling the photo. It also has been widely speculated that the image was just a photo taken for promotional purposes and was never a filmed scene, as Curd Jürgens' character is portrayed by a different actor in the photo. Jürgens' character is the main focus of the end sequence; hence, some have stated that a scene is unlikely to have been filmed with a different actor portraying the character, for audiences would have noticed the change.Passage 6:Broadway: The Golden Age, by the Legends Who Were ThereBroadway: The Golden Age is a 2003 documentary film by Rick McKay, telling the story of the \"golden age\" of Broadway by the oral history of the legendary actors of the 1940s and 1950s, incorporating rare lost footage of actual performances and never-before-seen personal home movies and photos.  This was the final film Sally Ann Howes starred in before her death in 2021.SubjectsThe film includes interviews (filmed over a span of six years) with the following people:The intrinsic value of the documentary as a historical record is underscored by the fact that seven of the interviewees (Hume Cronyn, Uta Hagen, Al Hirschfeld, Kim Hunter, Ann Miller, Harold Nicholas and Gwen Verdon) died before the film was released in June 2004, and another 51 interviewees have died since then (as of September 2021). Filmmaker Michael Stever shared some noteworthy recollections of his 3+ years as UPM with McKay after his passing in 2018.ReceptionBroadway: The Golden Age won the Audience Award for Best Documentary at the Palm Beach International Film Festival, the Audience Choice Award for Best documentary at the Santa Barbara International Film Festival, and the Audience Award and Festival Award at the San Diego Film Festival, both for Best Documentary.In 2006, McKay was honored with a Special Award for his work on the film by the New England Theatre Conference with the New England Theatre Conference Special Contribution to Theatre Award.SequelA sequel by the name of Broadway: Beyond the Golden Age had been in development since the "}
+{"doc_id":"doc_131","qid":"","text":"Passage 1:Saad AbdulrahmanSaad Abdulrahman Ali (born 2 May 1985) is a former professional basketball player. He played for Al-Sadd of the Qatar Basketball League. He was also a member of the Qatar nationalbasketball team.Saad competed for the Qatar national basketball team at the 2005 2007 and FIBA Asia Championship 2009.  He also competed for Qatar at their only FIBA World Championship performance to date, in2006, where he averaged 12.8 points and 2.4 assists per game.In 2009, Abdulrahman had his best individual international tournament to date, averaging 17.8 points per game for the Qataris.  He finished in the top tenleaders in points, minutes and steals per game en route to being named to the All-Tournament third team.  However, despite his efforts, Qatar finished sixth in the tournament and failed to qualify for their secondconsecutive FIBA World Championship.Passage 2:John McMahon (Surrey and Somerset cricketer)John William Joseph McMahon (28 December 1917 – 8 May 2001) was an Australian-born first-class cricketer who playedfor Surrey and Somerset County Cricket Clubs in England from 1947 to 1957.Surrey cricketerMcMahon was an orthodox left-arm spin bowler with much variation in speed and flight who was spotted by Surrey playing inclub cricket in North London and brought on to the county's staff for the 1947 season at the age of 29. In the first innings of his first match, against Lancashire at The Oval, he took five wickets for 81 runs.In his first fullseason, 1948, he was Surrey's leading wicket-taker and in the last home game of the season he was awarded his county cap – he celebrated by taking eight Northamptonshire wickets for 46 runs at The Oval, six ofthem coming in the space of 6.3 overs for seven runs. This would remain the best bowling performance of his first-class career, not surpassed, but he did equal it seven years later. In the following game, the last awaymatch of the season, he took 10 Hampshire wickets for 150 runs in the match at Bournemouth. In the 1948 season as a whole, he took 91 wickets at an average of 28.07. As a tail-end left-handed batsman, hemanaged just 93 runs in the season at an average of 4.22.The emergence of Tony Lock as a slow left-arm bowler in 1949 brought a stuttering end of McMahon's Surrey career. Though he played in 12 first-classmatches in the 1949 season, McMahon took only 19 wickets; a similar number of matches in 1950 brought 34 wickets. In 1951, he played just seven times and in 1952 only three times. In 1953, Lock split the firstfinger of his left hand, and played in only 11 of Surrey's County Championship matches; McMahon played as his deputy in 14 Championship matches, though a measure of their comparative merits was that Lock's 11games produced 67 wickets at 12.38 runs apiece, while McMahon's 14 games brought him 45 wickets at the, for him, low average of 21.53. At the end of the 1953 season, McMahon was allowed to leave Surrey to joinSomerset, then languishing at the foot of the County Championship and recruiting widely from other counties and other countries.Somerset cricketerSomerset's slow bowling in 1954 was in the hands of leg-spinnerJohnny Lawrence, with support from the off-spin of Jim Hilton while promising off-spinner Brian Langford was on national service. McMahon filled a vacancy for a left-arm orthodox spinner that had been there since theretirement of Horace Hazell at the end of the 1952 season; Hazell's apparent successor, Roy Smith, had failed to realise his promise as a bowler in 1953, though his batting had advanced significantly.McMahon instantlybecame a first-team regular and played in almost every match during his four years with the county, not missing a single Championship game until he was controversially dropped from the side in August 1957, afterwhich he did not play in the Championship again.In the 1954 season, McMahon, alongside fellow newcomer Hilton, was something of a disappointment, according to Wisden: \"The new spin bowlers, McMahon and Hilton,did not attain to the best standards of their craft in a wet summer, yet, like the rest of the attack, they would have fared better with reasonable support in the field and from their own batsmen,\" it said. McMahon took85 wickets at an average of 27.47 (Hilton took only 42 at a higher average). His best match was against Essex at Weston-super-Mare where he took six for 96 in the first innings and five for 45 in the second to finishwith match figures of 11 for 141, which were the best of his career. He was awarded his county cap in the 1954 season, but Somerset remained at the bottom of the table.The figures for the 1955 were similar: McMahonthis time took 75 wickets at 28.77 apiece. There was a small improvement in his batting and the arrival of Bryan Lobb elevated McMahon to No 10 in the batting order for most of the season, and he responded with 262runs and an average of 9.03. This included his highest-ever score, 24, made in the match against Sussex at Frome. A week later in Somerset's next match, he equalled his best-ever bowling performance, taking eightKent wickets for 46 runs in the first innings of a match at Yeovil through what Wisden called \"clever variation of flight and spin\". These matches brought two victories for Somerset, but there were only two others in the1955 season and the side finished at the bottom of the Championship for the fourth season running.At the end of the 1955 season, Lawrence retired and McMahon became Somerset's senior spin bowler for the 1956season, with Langford returning from National Service as the main support. McMahon responded with his most successful season so far, taking 103 wickets at an average of 25.57, the only season in his career in whichhe exceeded 100 wickets. The bowling average improved still further in 1957 to 23.10 when McMahon took 86 wickets. But his season came to an abrupt end in mid-August 1957 when, after 108 consecutiveChampionship matches, he was dropped from the first team during the Weston-super-Mare festival. Though he played some games for the second eleven later in August, he regained his place in the first team for only asingle end-of-season friendly match, and he was told that his services were not required for the future, a decision, said Wisden, that \"proved highly controversial\".Sacked by SomersetThe reason behind McMahon'ssacking did not become public knowledge for many years. In its obituary of him in 2002, McMahon was described by Wisden as \"a man who embraced the antipodean virtues of candour and conviviality\". It went on:\"Legend tells of a night at the Flying Horse Inn in Nottingham when he beheaded the gladioli with an ornamental sword, crying: 'When Mac drinks, everybody drinks!'\" The obituary recounts a further escapade in secondeleven match at Midsomer Norton where a curfew imposed on the team was circumvented by \"a POW-type loop\" organised by McMahon, \"with his team-mates escaping through a ground-storey window and thenpresenting themselves again\". As the only Somerset second eleven match that McMahon played in at Midsomer Norton was right at the end of the 1957 season, this may have been the final straw. But in any case therehad been \"an embarrassing episode at Swansea's Grand Hotel\" earlier in the season, also involving Jim Hilton, who was also dismissed at the end of the season. Team-mates and club members petitioned for McMahonto be reinstated, but the county club was not to be moved.After a period in Lancashire League cricket with Milnrow Cricket Club, McMahon moved back to London where he did office work, later contributing some articlesto cricket magazines.== Notes and references ==Passage 3:Saad Bin TeflaSaad Bin Tefla AlAjmi (also known as Saad Bin Tiflah or Saad Al Ajmi) is a Kuwaiti businessman and politician. He has been Kuwait's Minister ofInformation and Culture.Political careerHe has headed the Kuwait Information Center in London and worked as an interpreter and advisor in the Kuwaiti parliament. In 1999, he was appointed Minister of Informationand Culture.Professional careerHe is a lecturer at Kuwait University and a journalist.He was director of the Kuwaiti Media Center in London and is currently a contributor to the London-based Arabic newspaper Asharqal-Awasat as well as other Gulf publications.Passage 4:Wale AdebanwiWale Adebanwi (born 1969) is a Nigerian-born first Black Rhodes Professor at St Antony's College, Oxford where he was, until June 2021, aProfessor of Race Relations, and the Director of the African Studies Centre, School of Interdisciplinary Area Studies, and a Governing Board Fellow. He is currently a Presidential Penn Compact Professor of AfricanaStudies at the University of Pennsylvania. Adebanwi's research focuses on a range of topics in the areas of social change, nationalism and ethnicity, race relations, identity politics, elites and cultural politics, democraticprocess, newspaper press and spatial politics in Africa.Education backgroundWale Adebanwi graduated with a first degree in Mass Communication from the University of Lagos, and later earned his M.Sc. and Ph.D. inPolitical Science from the University of Ibadan. He also has an MPhil. and a Ph.D. in Social Anthropology from the University of Cambridge.CareerAdebanwi worked as a freelance reporter, writer, journalist and editor formany newspapers and magazines before he joined the University of Ibadan's Department of Political Science as a lecturer and researcher. He was later appointed as an assistant professor in the African American andAfrican Studies Department of the University of California, Davis, USA. He became a full professor at UC Davis in 2016.Adebanwi is the co-editor of Africa: Journal of the International African Institute and the Journal ofContemporary African Studies.WorksHis published works include:Nation as Grand Narrative: The Nigerian Press and the Politics of Meaning (University of Rochester Press, 2016)Yoruba Elites and Ethnic Politics inNigeria: Obafemi Awolowo and Corporate Agency (Cambridge University Press, 2014)Authority Stealing: Anti-corruption War and Democratic Politics in Post-Military Nigeria (Carolina Academic Press, 2012)In addition,he is the editor and co-editor of other books, including.The Political Economy of Everyday Life in Africa: Beyond the Margins (James Currey Publishers, 2017)Writers and Social Thought in Africa (Routledge,2016)(co-edited with Ebenezer Obadare) Governance and the Crisis of Rule in Contemporary Africa (Palgrave Macmillan, 2016)(co-edited with Ebenezer Obadare) Democracy and Prebendalism in Nigeria: CriticalInterpretations (Palgrave Macmillan, 2013).(co-edited with Ebenezer Obadare) Nigeria at Fifty: The Nation in Narration (Routledge, 2012)(co-edited with Ebenezer Obadare) Encountering the Nigerian State (PalgraveMacmillan, 2010).AwardsRhodes Professorship in Race Relations awarded by Oxford University to Faculty of African and Interdisciplinary Area Studies.Passage 5:Saad AlbazeiSaad Abdulrahman Albazei is a Saudiintellectual who is known for his critiques of Arabic culture and comparative studies that map the East-West cultural and literary relations.LifeAlbazei was born in Saudi Arabia in 1953. He completed his universityeducation in Riyadh and earned his Ph.D. from Purdue University, in the USA in 1983.His dissertation dealt with \"literary Orientalism\" in Western literatures. He is currently a member of the Consultative Assembly ofSaudi Arabia,. Until recently, he was professor of English and Comparative Literature at the Dept. of English, King Saud University, Riyadh. His former capacities include: editor-in-chief of The Global Arabic Encyclopedia(30 vols.), and editor-in-chief of the Riyadh Daily, an English-speaking newspaper.Dr. Albazei also worked as president of the Riyadh Literary Club, a major cultural institution in the Saudi Capital from 2006 to 2010. Hehas since then joined the Shura Council (an appointed Saudi parliamentary body) having retired from his post as professor of English and comparative literature at King Saud University.WorksHe has published widely onArabic literature, including several volumes of literary criticism and analysis. His book Languages of Poetry: Poems and Readings won the Saudi Ministry of Culture's Book of the Year Prize in 2011. He also edited the30-volume Global Arabic Encyclopedia. He chaired the judging panel for the 2014 Arabic Booker Prize.His publications in English include:Tension in the House: the Contemporary Poetry of Arabia,\" World Literature Today(Spring, 2001), Oklahoma, USA: University of Oklahoma.\"Minority Concerns: Female Scholars at the Cultural Intersection,\" Neither East Nor West: Postcolonial Essays on Literature, Culture and Religion, (Stockholm,Sweden: Sodertorns Hogskola University College, 2008).\"Enlightened Tensions: Jewish Haskalah and Arab-Muslim Nahda,\" (Göttingen, Germany: Vandenhoeck & Ruprecht, Simon Dubnow Institute Yearbook,2008).Forthcoming: Cultural Encounters: Essays on Literature and Culture (in English).Over the years, Prof. Albazei has lectured and participated in conferences in several countries including: USA, Japan, Poland,Germany, UK, France, Spain, UAE, Bahrain, Oman, Kuwait, Egypt, Algeria, Tunisia. Most recently he addressed the UNESCO conference on languages in Paris, March, 2009.Prof. Albazei publishes articles in Saudinewspapers as well as academic articles in various periodicals. His English publications have appeared in several journals and books in Arab countries, Germany, Sweden, and the USA. His publications in Arabicinclude:Thaqafat Assahra (Desert Culture), 1991.Dalil Annakid Aladabi (A Guide for the Literary Critic), 2002.Shurufat lialru'yah (Outposts for Vision: on identity, globalization, and cultural interaction), 2004.AlmukawinAlyahudi fi Alhadharah Algharbiyyah (the Jewish Component in Western Civilization), 2007. [Reviewed in Foreign Policy journal of the US State Department, Dec. 2008]Alikhtilaf Aththaqafi wa Thaqafat Alikhtilaf(Cultural Difference and the Culture of Difference), 2008.Sard Almudun: fi Alroyah wa Alsinama (Cities Narrative: Fiction and Cinema), 2009.Qalaq al-Ma'rifah (The Anxiety of Knowledge): Thought and Culture Issues(2010).Lughat Ashi'r (Languages of Poetry): Poems and Readings (2011).Mashaghil Annass and Ishtighal Al-Qira'ah (Preoccupations of the Text and the Workings of Reading) (2014)Muajahat Thaqafiyyah/CulturalEncounters (Arabic and English Texts on culture and the Arts) (2014).Translations into Arabic:Muslims in American History (by Jerald Dirx) (2010)Globalectics (by Ngugi wa Thiong'o) (2014)Refereed papers published inEnglish:\" The Orientalist Discourse in Anglo-American Literary Criticism,\" Alef journal, 9, (1989), American University in Cairo, Cairo, Egypt.- Realms of the Wasteland: Hijazi and the Metropolis, World Literature Today,University of Oklahoma, Oklahoma, USA, (Spring, 1993) 67:2.\"Elegies Within Culture: Auden and Abu Risha,\" Proceedings of the International Conference: Comparative Literature In the Arab World, Centre forComparative Linguistics and Literary Studies, Faculty of Arts, Cairo University, 20–22 December 1995 (Cairo, The Egyptian Society of Comparative Literature, 1998)\"The Antithetical Arab: Leo Africanus and Yeats,\"(1996) Studies in English, (Riyadh: Research Center, College of Arts, King Saud University).\"Books and Terror: Anxieties of the Infinite in Wordsworth, Borges and Stevens,\" The Arab Journal for the Humanities, KuwaitUniversity, Kuwait, (Autumn, 1997) no. 60.\"The Revulsion against Islam: Romanticist Critics and the East,\" Abhath Al-Yarmouk Journal, Jordan (1997), 15: 1.- \"A Mythical Rape: Rilke, Yeats, Abu-Risha,\" Alef journal,American University in Cairo, (1999), no. 19.- \"Tension in the House: The Contemporary Poetry of Arabia,\" World Literature Today, University of Oklahoma, Oklahoma, USA, (Spring, 2001) 75:2.Passage 6:WesleyBarresiWesley Barresi (born 3 May 1984) is a South African born first-class and Netherlands international cricketer. He is a right-handed wicket keeper-batsman and also bowls right-arm offbreak. In February 2021,Barresi announced his retirement from all forms of cricket, but returned to the national team in August 2022.CareerWesley became the 100th victim to Indian cricketer Yuvraj Singh, when he was dismissed in the 2011World Cup game against India.In July 2018, he was named in the Netherlands' One Day International (ODI) squad, for their series against Nepal. Ahead of the ODI matches, the International Cricket Council (ICC)named him as the key player for the Netherlands.In July 2019, he was selected to play for the Amsterdam Knights in the inaugural edition of the Euro T20 Slam cricket tournament. However, the following month, thetournament was cancelled.Passage 7:Henry Moore (cricketer)Henry Walter Moore (1849 – 20 August 1916) was an English-born first-class cricketer who spent most of his life in New Zealand.Life and familyHenry Moorewas born in Cranbrook, Kent, in 1849. He was the son of the Reverend Edward Moore and Lady Harriet Janet Sarah Montagu-Scott, who was one of the daughters of the 4th Duke of Buccleuch. One of his brothers,Arthur, became an admiral and was knighted. Their great grandfather was John Moore, Archbishop of Canterbury from 1783 to 1805. One of their sisters was a maid of honour to Queen Victoria.Moore went to NewZealand in the 1870s and lived in Geraldine and Christchurch. He married Henrietta Lysaght of Hāwera in November 1879, and they had one son. In May 1884 she died a few days after giving birth to a daughter, whoalso died.In 1886 Moore became a Justice of the Peace in Geraldine. In 1897 he married Alice Fish of Geraldine. They moved to England four years before his death in 1916.Cricket careerMoore was a right-handedmiddle-order batsman. In consecutive seasons, 1876–77 and 1877–78, playing for Canterbury, he made the highest score in the short New Zealand first-class season: 76 and 75 respectively. His 76 came in his firstmatch for Canterbury, against Otago. He went to the wicket early on the first day with the score at 7 for 2 and put on 99 for the third wicket with Charles Corfe before he was out with the score at 106 for 3 after a \"veryfine exhibition of free hitting, combined with good defence\". Canterbury were all out for 133, but went on to win the match. His 75 came in the next season's match against Otago, when he took the score from 22 for 2to 136 for 6. The New Zealand cricket historian Tom Reese said, \"Right from the beginning he smote the bowling hip and thigh, going out of his ground to indulge in some forceful driving.\" Canterbury won again.Mooreled the batting averages in the Canterbury Cricket Association in 1877–78 with 379 runs at an average of 34.4. Also in 1877–78, he was a member of the Canterbury team that inflicted the only defeat on the touringAustralians. In 1896–97, at the age of 47, he top-scored in each innings for a South Canterbury XVIII against the touring Queensland cricket team.Passage 8:Greg A. Hill (artist)Greg A. Hill is a Canadian-born FirstNations artist and curator. He is Kanyen'kehà:ka Mohawk, from Six Nations of the Grand River Territory, Ontario.Early lifeHill was born and raised in Fort Erie, Ontario.Art careerHis work as a multidisciplinary artistfocuses primarily on installation, performance and digital imaging and explores issues of his Mohawk and French-Canadian identity through the prism of colonialism, nationalism and concepts of place and community.Hillhas been exhibiting his work since 1989, with solo exhibitions and performance works across Canada as well as group exhibitions in North America and abroad. His work can be found in the collections of the CanadaCouncil, the Indian Art Centre, Indian and Northern Affairs Canada, the Canadian Native Arts Foundation (now Indspire), the Woodland Cultural Center, the City of Ottawa, the Ottawa Art Gallery and the InternationalMuseum of Electrography.Curatorial careerHill serves as the Audain Senior Curator of Indigenous Art at the National Gallery of Canada.Awards and honoursIn 2018, Hill received the Indspire Award for Arts.Passage9:Brodie CroftBrodie Croft (born 14 July 1997) is an Australian professional rugby league footballer who plays as a scrum-half or stand-off for the Salford Red Devils in the Super League.He previously played for theMelbourne Storm and Brisbane Broncos in the NRL.Early lifeCroft was born in Dalby, Queensland, Australia. He was educated at St. Joseph's College, Toowoomba and later Anglican Church Grammar School, Brisbane.Heplayed his junior rugby league for the Highfields Eagles and was a member of the 2014 Churchie First XV alongside Kalyn Ponga, and Jaydn Su'a before being signed by the Melbourne Storm.He played for theToowoomba Clydesdales in the Cyril Connell Cup during 2013, before moving to Brisbane, to join the Eastern Suburbs Tigers in the Mal Meninga Cup. The following year, he was named 18th man for the Queensland"}
+{"doc_id":"doc_132","qid":"","text":"Passage 1:Prince Christian of HessePrince Christian of Hesse (Danish: Christian af Hessen; German: Christian von Hessen) (14 August 1776 – 14 November 1814) was a German prince and member of the House ofHesse-Kassel. As a son of the Danish Field Marshal Prince Charles of Hesse-Kassel and Princess Louise of Denmark, he was a member of the extended Danish Royal Family and spent his entire life in Denmark.EarlylifePrince Christian was born at Gottorp Castle, Schleswig as the third son of Prince Charles of Hesse-Kassel, royal governor of the twin duchies of Schleswig and Holstein, and Princess Louise of Denmark, herself adaughter of King Frederick V of Denmark.As a member of the extended Danish Royal Family, Christian was destined for a military career in Denmark from a young age. He was appointed Colonel in 1783, Major Generalin 1789 and in 1790 Commander of a Regiment. In 1803 he was appointed knight of the Order of the Elephant. In 1805 he was put in charge of a cavalry brigade in Holstein, and as such accompanied his cousin KingFrederick VI of Denmark to Copenhagen. In 1808 he assisted in suppressing the unrest of the Spanish auxiliary troops in Roskilde and was appointed Lieutenant General the following year. In 1809 he was appointedcommanding General on the island of Funen. Finally, in 1812 he was made a General in the cavalry.EngagementIn September 1812, Christian was engaged to his niece, Princess Caroline of Denmark, daughter of KingFrederick VI of Denmark and Christian's sister, Marie Sophie of Hesse-Kassel.DeathAlready at the time of his engagement, Prince Christian was weakened. A year after the engagement, he suffered a breakdown inOdense Palace. Shortly after it became clear that he was mentally ill, suffering from frequent fits. He died on 14 November 1814 at the age of 38 in Odense Palace, Denmark. He was buried in the Church of Saint John inOdense, but in 1862 his remains were transferred to Schleswig Cathedral.Passage 2:Princess Feodora of DenmarkPrincess Feodora of Denmark (Feodora Louise Caroline-Mathilde Viktoria Alexandra Frederikke Johanne)(3 July 1910 – 17 March 1975) was a Danish princess as a  daughter of Prince Harald of Denmark and granddaughter of Frederick VIII of Denmark.As the wife of Prince Christian of Schaumburg-Lippe she became aPrincess of Schaumburg-Lippe by marriage.Early lifePrincess Feodora was born on 3 July 1910 at the Jægersborghus country house in Gentofte north of Copenhagen, Denmark.She was the first child and daughter ofPrince Harald of Denmark, son of King Frederick VIII of Denmark and Princess Louise of Sweden. Her mother was Princess Helena of Schleswig-Holstein-Sonderburg-Glücksburg, daughter of Friedrich Ferdinand, Duke ofSchleswig-Holstein-Sonderburg-Glücksburg and Princess Karoline Mathilde of Schleswig-Holstein-Sonderburg-Augustenburg.Marriage and issueFeodora married her first cousin, Prince Christian of Schaumburg-Lippe on9 September 1937 at Fredensborg Palace, Zealand, Denmark. Prince Christian was a son of Prince Frederick of Schaumburg-Lippe and Princess Louise of Denmark who was a sister of Feodora's father, Prince Harald.Prince Christian was the head of a junior line of the House of Schaumburg-Lippe which resided at Náchod in Bohemia.Feodora and Christian had four children:Prince Wilhelm of Schaumburg-Lippe (b. 19 August1939).Prince Christian of Schaumburg-Lippe (b. 1971); married Lena Giese in 2009.Princess Desiree of Schaumburg-Lippe (b. 1974); married Michael Iuel and have three children.Prince Waldemar of Schaumburg-Lippe(b. 19 December 1940 - d. 11 August 2020).Princess Eleonore-Christine Eugenie Benita Feodora Maria of Schaumburg-Lippe (born 22 December 1978 in Hørsholm, Denmark)Mario-Max Prinz zu Schaumburg-Lippe(b.  23 December 1977), adult foster-sonPrincess Marie of Schaumburg-Lippe (b. 27 December 1945).Prince Harald of Schaumburg-Lippe (b. 27 March 1948).Later lifePrince Christian died in 1974. Princess Feodoradied on 17 March the following year in Bückeburg, Lower Saxony, Germany.AncestryPassage 3:Prince Christian of Schaumburg-Lippe (1898–1974)Prince Christian of Schaumburg-Lippe (German: Christian zuSchaumburg-Lippe; 20 February 1898 – 13 July 1974) was a German prince and head of the Náchod branch of the princely house of Schaumburg-Lippe.Early lifeHe was born on 20 February 1898 in Sopron, Hungary asthe only son and second child of Frederick of Schaumburg-Lippe (1868–1945) and his first wife Princess Louise of Denmark, younger sister of King Christian X of Denmark.Marriage and issueIn 1927, his engagement toPrincess Irene of Greece and Denmark, a daughter of Constantine I of Greece was announced. Nothing ever came of these plans, however. She later married Prince Aimone of Savoy-Aosta.He was also briefly consideredas a marriage candidate for Princess Juliana, the heiress to the Dutch throne. They had met each other in 1932 in Mecklenburg, the home of Juliana’s paternal relations. His reputation as a womanizer, his previous calledoff engagement and his German heritage did not make him a popular choice, but he was reconsidered after other candidates were rejected by the Queen or Juliana herself.These plans, however, did not prove fruitfuleither.On 9 September 1937, he married his cousin, Princess Feodora, daughter of Prince Harald of Denmark, a younger brother of King Christian X and Princess Louise, at Fredensborg Palace, Zealand, Denmark; theyhad four children.Prince Wilhelm of Schaumburg-Lippe (b. 19 August 1939)Prince Waldemar of Schaumburg-Lippe (19 December 1940 – 11 August 2020)Princess Marie of Schaumburg-Lippe (b. 27 December1945)Prince Harald of Schaumburg-Lippe (b. 27 March 1948)Later lifeHe died aged 76 on 13 July 1974 at Bückeburg, a year before his wife.His four children live in Germany and Denmark.AncestryPassage 4:PrincessLouise of Denmark (1750–1831)Princess Louise of Denmark and Norway (Danish: Louise af Danmark og Norge; 20 January 1750 – 12 January 1831) was born to Frederick V of Denmark and Louise of Great Britain. Hereldest daughter, Marie of Hesse-Kassel, was the wife of Frederick VI of Denmark.Early lifePrincess Louise was born on 20 January 1750 at Christiansborg Palace, the principal residence of the Danish Monarchy in centralCopenhagen. She was a daughter to Frederick V, King of Denmark and Norway, and his first wife Louise of Great Britain. At birth, Louise had two older sisters, Princess Sophia Magdalena and Princess WilhelminaCaroline, and an older brother Crown Prince Christian. In 1751, one year after Louise's birth, her mother Queen Louise died during her sixth pregnancy, just aged 27 years. The following year her father remarried toDuchess Juliana Maria of Brunswick-Wolfenbüttel, who gave birth to Louise's half-brother, Prince Frederick in 1753.Princess Louise was considered the most beautiful and spirited of Frederick V's children, but also themost reserved. She was Christian VII's favorite sister, and he was already from childhood strongly attached to his \"Louison,\" as he called her.Marriage and issueIn 1756, Queen Louise's sister, Mary, who was estrangedfrom her husband, Landgrave Frederick II of Hesse-Kassel, moved to Denmark to take care of her deceased sister's children. She brought her three sons with her, who were brought up at the Danish court with theirDanish cousins. On 30 August 1766 at the Christiansborg Palace Chapel, Louise married the second eldest of them, Landgrave Charles of Hesse-Kassel. The marriage took place with her brother King Christian VII'sconsent, despite advice given against it, due to many accusations of debauchery by Landgrave Charles and the poor influence he had on the King. This, however, did not last, as Christian VII's warm feelings for himsoon evaporated, and in the spring 1767, the couple left Copenhagen to live in Hanau.She had six children with Charles of Hesse-Kassel: Marie Sophie, Princess of Hesse (20 October 1767 – 21 March 1852), married on31 July 1790 to the future King Frederik VI of Denmark and NorwayWilhelm, Prince of Hesse (15 January 1769 – 14 July 1772)Prince Frederik of Hesse (24 May 1771 – 24 February 1845)Juliane, Princess of Hesse (19January 1773 – 11 March 1860), Protestant Abbess of ItzehoePrince Christian of Hesse (14 August 1776 – 14 November 1814)Princess Louise Caroline of Hesse-Kassel (28 September 1789 – 13 March 1867), marriedon 28 January 1810 to Friedrich Wilhelm, Duke of Schleswig-Holstein-Sonderburg-GlücksburgLater lifeShe would have her first child in Hanau, Marie Sophie, Princess of Hesse on 20 October 1767 and then her second,Wilhelm, Prince of Hesse on 20 January 1769. The family would then move to Gottorp Castle after her spouse was appointed governor of Schleswig Holstein. In 1770, King Christian VII gave his sister a parish and landin Güby, Schleswig-Holstein, which was named Louisenlund in her honour. In the summer of 1770, Louise and Charles hosted the king and queen during their tour of the Duchies on their way to the Germanborder.    During their stay, rumors circulated about the affair between the queen and Struensee because of their manner, and it was observed that the queen was anxious not to be near Struensee in the presence ofLouise.    When the royal couple left, Louise was reportedly disappointed that she was not asked to accompany them on their journey.She would have her third child Prince Frederik of Hesse on 24 May 1771.After theremoval and execution of Johann Friedrich Struensee on 28 April 1772 her husband found favour with the King again and with it, he was appointed commander-in-chief of the Norwegian army. in September 1772.  Itwas said that Charles planned to raise support in Norway for a coup to take the regency power over the king from prince Frederick and queen dowager Juliana.  Louise did not initially accompany him there, but when hereturned to Denmark in April 1773, she returned with him to Norway in June.  They were very well received in Christiania, and upon their arrival in Trondhjem, one aristocrat, Nordahl Brun, welcomed them as the\"heavenly couple\", and greeted Louise with a poem.   In the Landgrave's own words, he became so popular that the Norwegians would gladly have him as King. This was clearly an illusion, and the people of Christianiasoon found the cost of constantly entertaining the couple, a huge burden on town expenses.  Expensive demands, such as new golden chairs to sit in during church service, and a triumphal arch for the official entry ofLouise in to Christiania where examples of the standard the royal couple demanded for their standard during their stay and created antipathy among the population.  On 4 September, Louise and Charles hosted a balland a court reception in honor of the birthday of queen Juliana Maria and departed on 8 September 1773.With her husband's larger income, he had Hermann von Motz build Louisenlund Castle on the land in Güby as asummer residence for the couple. The Princess would have her fourth child Juliane, Princess of Hesse on 19 January 1773 before leaving Norway and moving into Louisenlund Castle in 1774. Her husband was also madeField Marshal the same year but would stay away from political circles and remain at Louisenlund till the 14th change of government in April 1784. The new change brought a close friendship with Crown Prince Frederik,who would also marry their daughter Princess, Marie Sophie. They would later become King Frederick VI of Denmark and Queen Marie Sophie of Denmark.Princess Louise would have two more children, Prince Christianof Hesse, born 14 August 1776 and Princess Louise Caroline of Hesse-Kassel, born 28 September 1789. Her husband continued as commander-in-chief of the Norwegian army until 1814 and governor of SchleswigHolstein all her life. She died at Gottorp Castle on 12 January 1831 and was buried in Schleswig Cathedral.AncestryPassage 5:Prince Waldemar of Schaumburg-LippePrince Waldemar of Schaumburg-Lippe (German:Waldemar Stephan Ferdinand Wolrad Friedrich Karl Prinz zu Schaumburg-Lippe; 19 December 1940 – 11 August 2020) was a German-born banker and member of the House of Schaumburg-Lippe. He was a twicegreat-grandson of Frederick VIII of Denmark; as such, he was a twice second cousin of Margrethe II of Denmark.LifePrince Waldemar was born in Germany in 1940. Queen Alexandrine of Denmark was among hisgodparents. At the age of five, he moved to Denmark to live with his maternal aunt and uncle, Princess Caroline-Mathilde and Prince Knud. At the age of 10, he returned to West Germany. He later trained as a banker.In1977, he moved to Denmark once again and became a Danish citizen upon marrying Anne-Lise Johansen, the court photographer of his twice second cousin, Margrethe II. Prince Waldemar died on 11 August 2020 inthe United States at the age of 79.Marriage and issuePrince Waldemar first married Anne-Lise Johansen (Copenhagen, 8 August 1946 - Dronningmølle, 27 July 1994) in Karlebo on 10 September 1977. They divorced in1991. They had one daughter: Princess Eleonore-Christine Eugenie Benita Feodora Maria of Schaumburg-Lippe (born 22 December 1978 in Hørsholm, Denmark)He married secondly Karin Grundmann (9 December1962) in Hamburg on 15 May 2001. They divorced in 2002. They had no children. He married thirdly Ruth Schneidewind (4 August 1949) in Wilhelmshaven, Lower Saxony, in 2002. They divorced in 2003. They had nochildren. Prince Waldemar married fourthly Gertraud Antonia Schöppl (21 September 1956) on 20 September 2008 at Schönbrunn Palace, Vienna. They had one son: Mario Max Prince Antonius Adolf Alber Edward OliverGertraud Edith Helga Magdalena Prinz zu Schaumburg-Lippe.AncestryNotesCitationsBibliographyExternal linksPrince Waldemar of Schaumburg-Lippe at IMDbPassage 6:Alessandra de OsmaPrincess Christian of Hanover(née Alessandra Lisette de Osma Foy, born 21 March 1988) is a Peruvian attorney, handbag designer, and former model. She is a member of the Hanoverian royal family through her marriage to Prince Christian ofHanover.AncestryAlessandra de Osma was born in San Borja, Lima, Peru. She is daughter of Felipe Juan Luis de Osma Berckemeyer, Executive and Central Commercial Manager of Hermes Transportes Blindados, aPeruvian cash management firm, and wife Elizabeth María Foy Vásquez, a former model.CareerWhen de Osma was sixteen she signed with Ford Models in New York City. She has modeled for Missoni and BottegaVeneta. She studied law at the University of Lima and has a master's degree in fashion and business management from the University of Navarra. In 2018 she launched her own fashion brand Moi & Sass with MoiraLaporta.Personal lifeDe Osma met Prince Christian of Hanover in 2005 when she served as his tour guide when he was vacationing in Peru. They started dating in 2011. The couple became engaged in April 2017. Theymarried in a civil service at the Chelsea and Westminster register office in London. They married religiously in a Catholic ceremony at the Basilica of San Pedro in Lima, Peru, on 16 March 2018. The groom's youngerhalf-sister, Princess Alexandra, served as her bridesmaid. De Osma wore the Hanover floral tiara, which had previously been worn by Caroline, Princess of Hanover. Wedding guests at the religious ceremony includedPrincess Beatrice and Princess Eugenie of York, Princess Maria-Olympia of Greece and Denmark, Count Nikolai von Bismarck, and Kate Moss. The wedding celebrations lasted for three days.The couple lives in Madrid,near the club Puerta de Hierro. Alessandra gave birth to twins on 7 July 2020 at Quirón Clinic in Pozuelo de Alarcón, Madrid.Passage 7:Prince Christian of Hesse-Philippsthal-BarchfeldPrince Christian ofHesse-Philippsthal-Barchfeld (Christian Ludwig Friedrich Adolf Alexis Wilhelm Ferdinand; 16 June 1887 – 19 October 1971) was a member of the House of Hesse-Philippsthal-Barchfeld and a German naval officer until heresigned his commission during the First World War in protest at Germany's policy of unrestricted submarine warfare.As a member of the House of Hesse, he was styled His Highness Prince Christian ofHesse-Philippsthal-Barchfeld. To distinguish between the various branches of the house, the designation -Philippsthal-Barchfeld was sometimes added to the end of the princely title.Early lifePrince Christian, theyoungest of Prince Wilhelm of Hesse's ten children, was born at Louisenlund Castle in Güby, Schleswig-Holstein. He was the only child from his father's fourth marriage with Princess Auguste ofSchleswig-Holstein-Sonderburg-Glücksburg, the eldest daughter of Duke Friedrich. Prince Christian was closely related to the British, Danish, Greek and Russian royal families through his mother, who was a first cousinof Queen Alexandra, King Frederik VIII, King George I and Empress Maria Feodorovna. His half-sister Princess Bertha was married to Leopold IV, Prince of Lippe.In 1905, Prince Christian's elder half brother PrinceChlodwig inherited the family's wealth and assets when he succeeded their uncle Landgrave Alexis as head of the House of Hesse-Philippsthal-Barchfeld because the children of their father's first morganatic marriage,the Princes and Princesses von Ardeck, were excluded from the succession. As a younger son, Prince Christian was not particularly wealthy and had to live off the money that his family granted him.Prince Christianjoined the Imperial German Navy on 20 March 1905. In the summer of 1912, he was a Lieutenant Commander on the SMS Stettin when the ship made an official visit to the United States as part of a squadron,commanded by Admiral Hubert von Rebeur-Paschwitz.During the First World War, Prince Christian wrote an open letter to Emperor Wilhelm II that criticised Germany's campaign of unrestricted submarine warfare. Hethen resigned his commission in protest.First marriagePrince Christian was a relative of Emperor Nicholas II of Russia, their mothers being first cousins, and before the outbreak of the war, a marriage between theprince and the Emperor's oldest daughter Grand Duchess Olga Nikolaevna had been speculated on, the match being seen as a way to increase German influence in Russia. However, nothing would ever come of that,and in December 1914, Prince Christian's engagement with Elizabeth Reid Rogers, the daughter of Richard Reid Rogers, was announced. The couple had first met about a year earlier at a ball in Cairo after which herfamily travelled to Berlin for an extended stay and enabled the prince to renew his courtship. Unlike other American society girls who had married European royalty and nobility in the 19th and 20th centuries, PrinceChristian's fiancée was not particularly wealthy but was born of an influential father.Prince Christian and Elizabeth were married on 14 January 1915 at the Holy Trinity Church in Berlin. As Elizabeth was not of equalbirth, the marriage was morganatic and so she and any future children would be unable to share Prince Christian's title and rank. To compensate, on the day of the wedding Prince Christian's kinsman the reigning GrandDuke of Hesse bestowed the title Baroness von Barchfeld on Elizabeth.Prince Christian and Elizabeth went on to have four children: Elisabeth Auguste (1915–2003), married in 1949 with Jacques Olivgetti (div. in 1956); Richard Christian (1917–1985), married in 1953 avec Maria Lafontaine ; Waldemar (1919–2002), married in 1952 with Ellen Hamilton (two sons : Alexander, born in 1956, and Heinrich, born in 1963) and Marie LouiseOlga (1921–1999), married in 1952 with Michel Savich. With the permission of his brother Landgrave Chlodwig, on 14 November 1921 it was declared that Prince Christian's wife and children were permitted to titlethemselves Prinz/Prinzessin von Hessen (Prince/Princess of Hesse).Later lifeAfter the war, Prince Christian and his family lived for a time in Switzerland and the United States before they acquired a villa in Cannes. Theprince was close to the British Royal Family both before and after the First World War. In 1925, after attending the funeral of his cousin Queen Alexandra, he became the first person of German origin to dine after thewar with King George V and Queen Mary at Buckingham Palace.With Adolf Hitler's rise to power in Germany, a number of Prince Christian's Hessian relatives, including various nephews and nieces, joined the Nazi Party.However, the prince and his family were not among them, and in 1941, the Nazis stripped Prince Christian, his wife and their children of their German citizenship although no reason was given in the announcement.Prince Christian would later acquire Swiss nationality.On 2 February 1957, Prince Christian's wife, Elizabeth, died at Cannes. He was married for a second time in Cannes on 25 June 1958 to a fellow widow, Ann Pearl"}
+{"doc_id":"doc_133","qid":"","text":"Passage 1:Stein Erik GullikstadStein Erik Gullikstad (born 6 February 1952) is a Norwegian Nordic combined skier. He was born in Røros, and represented the club Røros IL. He competed at the 1976 Winter Olympics inInnsbruck, where he placed 22nd.Passage 2:Roar EngelbergRoar Engelberg (born 26 July 1964 in Hamar, Norway) is the first international Norwegian artist on Panpipes, known for his long lasting and productivecooperation with Stein-Erik Olsen.CareerEngelberg became interested in panpipes as a 12-year-old when he heard the Romanian panpipe player Georghe Zamfir on the radio. He then taught himself to play theinstrument, and later studied in Hilversum with Nicolai Pirvu (1985–88). After his debut in London in 1986, he toured with Iver Kleive and Stein-Erik Olsen in Norway and around the world.He received the 2007 award\"Meritul Cultural în gradul de Cavaler\" of the Romanian state for his many years of effort for the music of Romania.Honors«Meritul Cultural în gradul de Cavaler\" awarded by the Romanian stateDiscography1985:Alveland, with Iver Kleive1986: Panorama, with Iver Kleive og Stein-Erik Olsen1988: Julefred1989: Mosaic, with Stein-Erik Olsen1989: Herdens flöjt – Julesånger på pan-flöjt1990: Doina1991: Masterpieces of theBeatles1992: Café Europa 1992, with the Orchestra Primas1994: Balletto, with Stein-Erik Olsen1999: Har en drøm2000: O pasâre strâinâ2001: Fløyelstoner, with Stein-Erik Olsen2002: Julefryd2007: Inim\u0000 del\u0000utar2010: Suite Latina, with Stein-Erik Olsen2011: Willie Nickerson's Egg, guest soloist with Jon Larsen and Tommy MarsPassage 3:Stein Erik LauvåsStein Erik Lauvås (born 3 May 1965) is a Norwegian politician forthe Labour Party.He served as a deputy representative to the Norwegian Parliament from Østfold during the terms 2001–2005 and 2005–2009.On the local level Lauvås is the mayor of Marker municipality since2003.Passage 4:Mille-Marie TreschowMille-Marie Treschow (3 April 1954 – 29 September 2018) was a Norwegian landlord and  businessperson. She was known for her previous marriage to Stein Erik Hagen, well knownas \"Rimi-Hagen\", being the former owner of the Rimi chain of low-cost discount stores.FamilyTreschow was the daughter of estate owner Gerhard Aage Treschow (1923–2001) and Nanna, née Meidell (born 1926). Shewas named for her paralyzed aunt Marie Treschow (1913–1952). She belonged to the Treschow family, which was formerly noble, having bought the status of untitled lower nobility (cf. Briefadel) in the 19th century inDenmark.She was married three times and had two children in her second marriage (1984–2000), with Andreas Stang. In 2004 she married businessman Stein Erik Hagen. In 2012 they announced theirseparation.Education and businessTreschow was a pupil at Croft House School in Dorset, England. She also had Norwegian examen artium. She received a Master of Business Administration in Switzerland, and hadadditional economic studies in the United States of America and home economics studies in France.Based in Larvik, Treschow managed Treschow Fritzøe, an extensive consortium consisting of properties and forest. Sheowned a private estate and resided at Fritzøehus Manor in Larvik. Succeeding her father in 1986, she was of the 6th generation owning and running the family industry.Treschow had an estimated private fortune of 1.5billion Norwegian kroner (NOK) or about US$250 million. She was as such one of the wealthiest women in Norway. Her husband, Stein Erik Hagen, is worth about 10 billion NOK or about US$2 billion.DeathTreschowdied aged 64 on 29 September 2018 at Tønsberg hospital of an undisclosed illness.See alsoTreschow (noble family)Passage 5:Kiplangat SangKiplangat Sang (born 14 April 1981) is a Kenyan judoka.He competed at the2016 Summer Olympics in Rio de Janeiro, in the men's 90 kg.Passage 6:Erik HagenErik Hagen (born 20 July 1975) is a retired Norwegian footballer who played as a centre-back in Norway and Russia, as well as for theNorwegian national team, earning 28 caps.CareerClubDuring his time with Vålerenga, Hagen received the nickname \"Panzer\" from the club's fans. Amongst other things he created a \"hate list\" of Norwegian footballersin the club magazine Vål'enga Magasin, containing the likes of Vidar Riseth.Hagen won the Kniksen Award as Defender of the Year, and as Kniksen of the Year in 2004. The Kniksen award is the highest individual awardfor a Norwegian footballer.In December 2004 Hagen was sold to Zenit Saint Petersburg, becoming the first Norwegian footballer to play in Russia. In 2005, he played 28 league matches for Zenit, receiving 12 cautions.In January 2006 he was elected vice-captain by the team.On 31 January 2008, it was announced that Hagen would be joining Premier League club Wigan Athletic, signing on loan until the end of the English season.However, he only made one appearance for the team, in the away defeat at Portsmouth.On 28 July 2008, Hagen appeared at the Vålerenga home game against Tromsø, where it was announced he had re-signed for theclub until the end of the 2010 season. The return of one of Vålerenga's most popular players was well received with supporters.During an interview in April 2014, Hagen admitted to bribing a referee in a European matchduring his time with Zenit Saint Petersburg.International careerHagen made his debut, aged 29, for the Norwegian national team away to Scotland on 9 October 2004. Norway won 1–0.Personal lifeHagen has a twinbrother, Rune Hagen, who also plays professional football. He signed for Vålerenga at the same time as his brother.Career statisticsClubSource:InternationalSource:International goalsPassage 7:Catherine I ofRussiaCatherine I Alekseevna Mikhailova (Russian: Екатери́на I Алексе́евна Миха́йлова, tr. Ekaterína I Alekséyevna Mikháylova; born Polish: Marta Helena Skowrońska, Russian: Ма́рта Самуи́ловна Скавро́нская, tr.Márta Samuílovna Skavrónskaya; 15 April [O.S. 5 April] 1684 – 17 May [O.S. 6 May] 1727) was the second wife and empress consort of Peter the Great, and empress regnant of Russia from 1725 until her death in1727.Life as a servantThe life of Catherine I was said by Voltaire to be nearly as extraordinary as that of Peter the Great himself. Only uncertain and contradictory information is available about her early life. Said tohave been born on 15 April 1684 (o.s. 5 April), she was originally named Marta Helena Skowrońska. Marta was the daughter of Samuel Skowroński (later spelled Samuil Skavronsky), a Roman Catholic farmer from theeastern parts of the Polish–Lithuanian Commonwealth, born to Minsker parents. In 1680 he married Dorothea Hahn at Jakobstadt. Her mother is named in at least one source as Elizabeth Moritz, the daughter of a BalticGerman woman and there is debate as to whether Moritz's father was a Swedish officer. It is likely that two stories were conflated, and Swedish sources suggest that the Elizabeth Moritz story is probably incorrect.Some biographies state that Marta's father was a gravedigger and handyman, while others speculate that he was a runaway landless serf.Marta's parents died of the plague around 1689, leaving five children. Accordingto one of the popular versions, at the age of three Marta was taken by an aunt and sent to Marienburg (the present-day Alūksne in Latvia, near the border with Estonia and Russia) where she was raised by Johann ErnstGlück, a Lutheran pastor and educator who was the first to translate the Bible into Latvian. In his household she served as a lowly servant, likely either a scullery maid or washerwoman.  No effort was made to teach herto read and write and she remained illiterate throughout her life.Marta was considered a very beautiful young girl, and there are accounts that Frau Glück became fearful that she would become involved with her son. Atthe age of seventeen, she was married off to a Swedish dragoon, Johan Cruse or Johann Rabbe, with whom she remained for eight days in 1702, at which point the Swedish troops were withdrawn from Marienburg.When Russian forces captured the town, Pastor Glück offered to work as a translator, and Field Marshal Boris Sheremetev agreed to his proposal and took him to Moscow.There are unsubstantiated stories that Martaworked briefly in the laundry of the victorious regiment, and also that she was presented in her undergarments to Brigadier General Rudolph Felix Bauer, later the Governor of Estonia, to be his mistress. She may haveworked in the household of his superior, Sheremetev. It is not known whether she was his mistress, or household maid.  She travelled back to the Russian court with Sheremetev's army.Afterwards she became part ofthe household of Prince Alexander Menshikov, who was the best friend of Peter the Great of Russia. Anecdotal sources suggest that she was purchased by him. Whether the two of them were lovers is disputed, asMenshikov was already engaged to Darya Arsenyeva, his future wife. It is clear that Menshikov and Marta formed a lifetime alliance.It is possible that Menshikov, who was quite jealous of Peter's attentions and knew histastes, wanted to procure a mistress on whom he could rely. In any case, in 1703, while visiting Menshikov at his home, Peter met Marta. In 1704, she was well established in the Tsar's household as his mistress, andgave birth to a son, Peter. In 1703, she converted to Orthodoxy and took the new name Catherine Alexeyevna (Yekaterina Alexeyevna). She and Darya Menshikova accompanied Peter and Menshikov on their militaryexcursions.Marriage and family lifeThough no record exists, Catherine and Peter are described as having married secretly between 23 October and 1 December 1707 in Saint Petersburg. They had twelve children, two ofwhom survived into adulthood, Anna (born 1708) and Elizabeth (born 1709).Peter had moved the capital to St. Petersburg in 1703. While the city was being built he lived in a three-room log cabin with Catherine, whereshe did the cooking and caring for the children, and he tended a garden as though they were an ordinary couple. The relationship was the most successful of Peter's life and a great number of letters exist demonstratingthe strong affection between Catherine and Peter. As a person she was very energetic, compassionate, charming, and always cheerful. She was able to calm Peter in his frequent rages and was often called in to doso.Catherine went with Peter on his Pruth Campaign in 1711. There, she was said to have saved Peter and his Empire, as related by Voltaire in his book Peter the Great. Surrounded by overwhelming numbers of Turkishtroops, Catherine suggested before surrendering, that her jewels and those of the other women be used in an effort to bribe the Ottoman grand vizier Baltacı Mehmet Pasha into allowing a retreat.Mehmet allowed theretreat, whether motivated by the bribe or considerations of trade and diplomacy. In any case Peter credited Catherine and proceeded to marry her again (this time officially) at Saint Isaac's Cathedral in St. Petersburgon 9 February 1712.  She was Peter's second wife; he had previously married and divorced Eudoxia Lopukhina, who had borne him the Tsarevich Alexis Petrovich. Upon their wedding, Catherine took on the style of herhusband and became Tsarina. When Peter elevated the Russian Tsardom to Empire, Catherine became Empress. The Order of Saint Catherine was instituted by her husband on the occasion of theirwedding.IssueCatherine and Peter had twelve children, all of whom died in childhood except Anna and Elizabeth:Peter Petrovich (1704–1707), died in infancyPaul Petrovich (October 1705–1707), died ininfancyCatherine Petrovna (7 February 1707–7 August 1708)Grand Duchess Anna Petrovna (27 January 1708–15 May 1728)Grand Duchess Elizabeth Petrovna (29 December 1709–5 January 1762)Grand Duchess MaryNatalia Petrovna (20 March 1713–17 May 1715)Grand Duchess Margaret Petrovna (19 September 1714–7 June 1715)Grand Duke Peter Petrovich (9 November 1715–6 May 1719)Grand Duke Paul Petrovich (13 January1717–14 January 1717)Grand Duchess Natalia Petrovna (31 August 1718–15 March 1725)Grand Duke Peter Petrovich (7 October 1723–7 October 1723)Grand Duke Paul Petrovich (1724–1724)SiblingsUpon Peter'sdeath, Catherine found her four siblings, Krystyna, Anna, Karol, and Fryderyk, gave them the newly created titles of Count and Countess, and brought them to Russia.Krystyna Skowrońska, renamed Christina (Russian:Христина) Samuilovna Skavronskaya (1687–14 April 1729), had married Simon Heinrich (Russian: Симон Гейнрих) (1672–1728) and their descendants became the Counts Gendrikov.Anna Skowrońska, renamed AnnaSamuilovna Skavronskaya, had married one Michael-Joachim N and their descendants became the Counts Efimovsky.Karol Skowroński, renamed Karel Samuilovich Skavronsky, was created a Count of the RussianEmpire on 5 January 1727 and made a Chamberlain of the Imperial Court; he had married Maria Ivanovna, a Russian woman, by whom he had descendants who became extinct in the male line with the death of CountPaul Martinovich Skavronskyi (1757-1793), father of Princess Catherine Bagration.Fryderyk Skowroński, renamed Feodor Samuilovich Skavronsky, was created a Count of the Russian Empire on 5 January 1727 and wasmarried twice: to N, a Lithuanian woman, and to Ekaterina Rodionovna Saburova, without having children by either of them.Reign as empress regnantCatherine was crowned in 1724. The year before his death, Peterand Catherine had an estrangement over her support of Willem Mons, brother of Peter's former mistress Anna, and brother to one of the current ladies in waiting for Catherine, Matryona. He served as Catherine'ssecretary. Peter had fought his entire life to clear up corruption in Russia. Catherine had a great deal of influence over who could gain access to her husband. Willem Mons and his sister Matryona had begun selling theirinfluence to those who wanted access to Catherine and, through her, to Peter. Apparently this had been overlooked by Catherine, who was fond of both. Peter found out and had Willem Mons executed and his sisterMatryona exiled. He and Catherine did not speak for several months. Rumors flew that she and Mons had had an affair, but there is no evidence for this.Peter died (28 January 1725 Old Style) without naming asuccessor. Catherine represented the interests of the \"new men\", commoners who had been brought to positions of great power by Peter based on competence. A change of government was likely to favor theentrenched aristocrats. For that reason during a meeting of a council to decide on a successor, a coup was arranged by Menshikov and others in which the guards regiments with whom Catherine was very popularproclaimed her the ruler of Russia. Supporting evidence was \"produced\" from Peter's secretary Makarov and the Bishop of Pskov, both \"new men\" with motivation to see Catherine take over. The real power, however,lay with Menshikov, Peter Tolstoy, and other members of the Supreme Privy Council.Catherine viewed the deposed empress Eudoxia as a threat, so she secretly moved her to Shlisselburg Fortress near St. Petersburg tobe put in a secret prison under strict custody as a state prisoner.DeathCatherine I died two years after Peter I, on 17 May 1727 at age 43, in St. Petersburg, where she was buried at St. Peter and St. Paul Fortress.Tuberculosis, diagnosed as an abscess of the lungs, caused her early demise.Before her death she recognized Peter II, the grandson of Peter I and Eudoxia, as her successor.Assessment and legacyCatherine was thefirst woman to rule Imperial Russia, opening the legal path for a century almost entirely dominated by women, including her daughter Elizabeth and granddaughter-in-law Catherine the Great, all of whom continuedPeter the Great's policies in modernizing Russia.  At the time of Peter's death the Russian Army, composed of 130,000 men and supplemented by another 100,000 Cossacks, was easily the largest in Europe.  However,the expense of the military was proving ruinous to the Russian economy, consuming some 65% of the government's annual revenue.  Since the nation was at peace, Catherine was determined to reduce militaryexpenditure.  For most of her reign, Catherine I was controlled by her advisers.  However, on this single issue, the reduction of military expenses, Catherine was able to have her way.  The resulting tax relief on thepeasantry led to the reputation of Catherine I as a just and fair ruler.The Supreme Privy Council concentrated power in the hands of one party, and thus was an executive innovation. In foreign affairs, Russia reluctantlyjoined the Austro-Spanish league to defend the interests of Catherine's son-in-law, the Duke of Holstein, against Great Britain.Catherine gave her name to Catherinehof near St. Petersburg, and built the first bridges inthe new capital. She was also the first royal owner of the Tsarskoye Selo estate, where the Catherine Palace still bears her name.The city of Yekaterinburg is named after her, Yekaterina being the Russian form of hername.She also gave her name to the Kadriorg Palace (German: Katharinental, meaning \"Catherine's Valley\"), its adjacent Kadriorg Park and the later Kadriorg neighbourhood of Tallinn, Estonia, which today houses thePresidential Palace of Estonia. The name of the neighbourhood is also used as a metonym for the institution of the President.In general, Catherine's policies were reasonable and cautious.  The story of her humbleorigins was considered by later generations of tsars to be a state secret.See alsoBibliography of Russian history (1613–1917)Rulers of Russia family treeNotesPassage 8:Stein Erik HagenStein Erik Hagen (born 22 July1956) is a Norwegian businessman. He is chairman of Orkla, where he is a major shareholder, and holds large stakes in Steen & Strøm, Jernia and Komplett through his family company Canica. According to the newsmagazine Kapital, Hagen is worth NOK 24 billion, making him the second richest person in Norway.BiographyHagen is educated at Kjøpmannsinsituttet (now part of the BI Norwegian Business School). He founded theRIMI discount store chain along with his father in the 1970s, and retained ownership until the 2000s, when he sold to Swedish ICA and Ahold. Most of the money was ploughed into Orkla. Hagen reportedly owns one ofthe biggest sailboats in Europe and used to own his own island in the Caribbean.He provided financial support to the Liberal Party in the 2005 Norwegian election and to the Liberal Party, Christian Democratic Party,Conservative Party and Progress Party in 2006.Private lifeStein Erik Hagen has three children from his first marriage, and a son from a later relationship. In 2004 he married Mille-Marie Treschow, the couple announcedin 2012 that they were separating.In October 2015, Hagen came out on the Norwegian-Swedish talk show Skavlan. Later the same day he added that he was bisexual, and that his ex-wives and family have knownabout his sexuality for many years.Passage 9:Peter Arne RuzickaPeter Arne Ruzicka (born 16 April 1964) is a Norwegian businessman.Ruzicka's father was Czech, migrated to Norway in 1951 and ultimately becameprofessor of chemistry. Ruzicka earned siv.øk. and MBA degrees at Oslo Business School. In 1990 he was hired in Hakon Gruppen by Stein Erik Hagen. He became director of markets in RIMI after nine months, andsuccessively became CEO of RIMI and Hakon Gruppen. From 2000 to 2003 Ruzicka was the CEO of Ahold in the Czech Republic and Slovakia. He then left the conglomerate together with Stein Erik Hagen. Instead,Ruzicka became CEO of Jernia in 2003 and Canica in 2006.Since February 2014, Mr. Ruzicka has been president and CEO of Orkla.Passage 10:W. Augustus BarrattW. Augustus Barratt (3 June 1873 – 12 April 1947) wasa Scottish-born, later American, songwriter and musician.Early life and songsWalter Augustus Barratt was born 3 June 1873 in Kilmarnock, the son of composer John Barratt; the family later lived in Paisley. In 1893 hewon a scholarship for composition to the Royal College of Music.In his early twenties he contributed to The Scottish Students' Song Book, with three of his own song compositions and numerous arrangements.By theend of 1897 he had published dozens of songs, such as Sir Patrick Spens, The Death of Cuthullin, an album of his own compositions, and arrangements of ten songs by Samuel Lover.He then, living in London, turned hisattention to staged musical comedy, co-creating, with Adrian Ross, The Tree Dumas Skiteers, a skit, based on Sydney Grundy's The Musketeers that starred Herbert Beerbohm Tree. He co-composed with Howard Talbotthe successful Kitty Grey (1900).He continued to write songs and to receive recognition for them. The 1901 and 1902 BBC Promenade Concerts, \"The Proms\", included four of his compositions, namely Come back, sweet"}
+{"doc_id":"doc_134","qid":"","text":"Passage 1:George ClooneyGeorge Timothy Clooney (born May 6, 1961) is an American actor and filmmaker. He is the recipient of numerous accolades, including a British Academy Film Award, four Golden GlobeAwards, and two Academy Awards; one for his acting and the other as a producer. He has been honored with the Cecil B. DeMille Award in 2015, the Honorary César in 2017, AFI Life Achievement Award in 2018, andthe Kennedy Center Honors in 2022.Clooney started his career in television, gaining wide recognition in his role as Dr. Doug Ross on the NBC medical drama ER from 1994 to 1999, for which he received two PrimetimeEmmy Award nominations. He expanded to leading roles in films, with his breakthrough role in From Dusk till Dawn (1996). followed by superhero film Batman & Robin (1997), Steven Soderbergh's Out of Sight (1998),David O. Russell's Three Kings (1999), Wolfgang Petersen's The Perfect Storm (2000), and the Coen brothers' O Brother, Where Art Thou? (2000). Greater stardom came from his starring role in Soderbergh's Ocean'sfilm series from 2001 to 2007. Clooney made his directorial debut with the spy drama Confessions of a Dangerous Mind (2002), and has since directed the historical drama Good Night, and Good Luck (2005), thepolitical drama The Ides of March (2011), the war film The Monuments Men (2014), and the science fiction film The Midnight Sky (2020). Clooney won the Academy Award for Best Supporting Actor for the thrillerSyriana (2005), and earned Best Actor nominations for the legal thriller Michael Clayton (2007), and the comedy-dramas Up in the Air (2009) and The Descendants (2011). He received the Academy Award for BestPicture for co-producing the political thriller Argo (2012). He has also starred in Burn After Reading (2008), The American (2010), Gravity (2013), Hail, Caesar! (2016), and Ticket to Paradise (2022).As of 2023, Clooneyis one of two people to have been nominated for Academy Awards in six different categories, a position shared with Walt Disney. Clooney was included on Time's annual Time 100 list, which identifies the most influentialpeople in the world, every year from 2006 to 2009. He is also noted for his political and economic activism, and has served as one of the United Nations Messengers of Peace since 2008. Clooney is also a member of theCouncil on Foreign Relations. He is married to human rights lawyer Amal Clooney. Outside of acting, Clooney is known for cofounding Casamigos tequila, which was one of the best-selling spirits of 2022.Early lifeClooneywas born on May 6, 1961, in Lexington, Kentucky. His mother, Nina Bruce (née Warren), was a beauty queen and city councilwoman. His father, Nick Clooney, is a former anchorman and television host, including fiveyears on the AMC network. Clooney is of Irish, German, and English ancestry. His maternal great-great-great-great-grandmother, Mary Ann Sparrow, was the half-sister of Nancy Lincoln, mother of President AbrahamLincoln, making Clooney and Lincoln half-first cousins five times removed. Clooney has an older sister named Adelia (known as Ada). Cabaret singer and actress Rosemary Clooney was an aunt. Through Rosemary, hiscousins include actors Miguel Ferrer, Rafael Ferrer, and Gabriel Ferrer, who is married to singer Debby Boone.Clooney was raised a strict Roman Catholic but said in 1998 that he did not know if he believed \"in Heavenor even God.\" He has said, \"Yes, we were Catholic, big-time, whole family, whole group.\" He began his education at the Blessed Sacrament School in Fort Mitchell, Kentucky. He attended St. Michael's School inWorthington, Ohio; then Western Row Elementary School (a public school) in Mason, Ohio, from 1968 to 1974; and St. Susanna School in Mason, where he served as an altar boy. The Clooneys moved back to Kentuckywhen George was midway through the seventh grade. In middle school, Clooney developed Bell's palsy, a medical condition that partially paralyzes the face. The malady went away within a year. In an interview withLarry King, he stated that \"yes, it goes away. It takes about nine months to go away. It was the first year of high school, which was a bad time for having half your face paralyzed.\" He also described one positiveoutcome of the condition: \"It's probably a great thing that it happened to me because it forced me to engage in a series of making fun of myself. And I think that's an important part of being famous. The practical jokeshave to be aimed at you.\"After his parents moved to Augusta, Kentucky, Clooney attended Augusta High School. He has stated that he earned all As and a B in school, and played baseball and basketball. He tried out toplay professional baseball with the Cincinnati Reds in 1977, but he did not pass the first round of player cuts and was not offered a contract. He attended Northern Kentucky University from 1979 to 1981, majoring inbroadcast journalism, and very briefly attended the University of Cincinnati, but did not graduate from either. He earned money selling women's shoes, insurance door to door, stocking shelves, working in construction,and cutting tobacco.CareerEarly work (1978–1993)Clooney's first role was as an extra in the television mini-series Centennial in 1978, which was based on the novel of the same name by James A. Michener and waspartly filmed in Clooney's hometown of Augusta, Kentucky. Clooney's first major role came in 1984 in the short-lived CBS sitcom E/R (not to be confused with ER, the long-running medical drama). He played ahandyman on the series The Facts of Life and appeared as Bobby Hopkins, a detective, on an episode of The Golden Girls. His first prominent role was a semi-regular supporting role in the sitcom Roseanne, playingRoseanne Barr's supervisor Booker Brooks, followed by the role of a construction worker on Baby Talk, a co-starring role on the CBS drama Bodies of Evidence as Detective Ryan Walker, and then a year-long turn asDet. James Falconer on Sisters. In 1988, Clooney played one of the lead roles in the comedy-horror film Return of the Killer Tomatoes. In 1990, he starred in the short-lived ABC police drama Sunset Beat. During thisperiod, Clooney was a student at the Beverly Hills Playhouse acting school for five years.Breakthrough and stardom (1994–1999)Clooney rose to fame when he played Dr. Doug Ross, alongside Anthony Edwards,Julianna Margulies, and Noah Wyle, on the hit NBC medical drama ER from 1994 to 1999. After leaving the series in 1999, he made a cameo appearance in the 6th season and returned for a guest spot in the show'sfinal season. For his work on the series, Clooney received two Primetime Emmy Award nominations for Outstanding Lead Actor in a Drama Series in 1995 and 1996. He also earned three Golden Globe Awardnominations for Best Actor – Television Series Drama in 1995, 1996, and 1997 (losing to co-star Anthony Edwards).Clooney began appearing in films while working on ER. His first major Hollywood role was in the horrorcomedy-crime thriller From Dusk till Dawn, directed by Robert Rodriguez and co-starring Harvey Keitel. He followed its success with the romantic comedy One Fine Day with Michelle Pfeiffer, and the action-thriller ThePeacemaker with Nicole Kidman. Clooney was then cast as Batman in Joel Schumacher's Batman & Robin, which was a modest box office performer, but a critical failure (with Clooney himself calling the film \"a waste ofmoney\"). In 1998, he co-starred in the crime-comedy Out of Sight opposite Jennifer Lopez, marking the first of his many collaborations with director Steven Soderbergh. He also starred in Three Kings during the lastweeks of his contract with ER.Established leading man (2000–2004)After leaving ER, Clooney starred in commercially successful films including Wolfgang Petersen's disaster film The Perfect Storm (2000) which was abox office success. The same year he starred in the Coen brothers adventure comedy O Brother, Where Art Thou? (2000) alongside John Turturro, Tim Blake Nelson, and John Goodman. The film, a modern satire, isloosely based on Homer's epic Greek poem the Odyssey and the Preston Sturges 1941 classic film Sullivan's Travels. This film is set in 1937 rural Mississippi during the Great Depression. He plays escaped convictUlysses Everett McGill. He received a Golden Globe Award for Best Actor – Motion Picture Musical or Comedy nomination for his performance. Variety film critic Todd McCarthy compared Clooney to Clark Gable writing,\"Not for the first time recalling Clark Gable in his looks and line delivery, Clooney clearly delights in embellishing Everett's vanity and in delivering the Coens’ carefully calibrated, high-toned dialogue\".The following yearIn 2001, Clooney reunited with Soderbergh for the heist comedy Ocean's Eleven, a remake of the 1960s Rat Pack film of the same name, with Clooney playing Danny Ocean, originally portrayed by Frank Sinatra. Thefilm starred Clooney, Brad Pitt, Julia Roberts, Matt Damon, and Andy Garcia. The film cemented Clooney as a leading film star. It is Clooney's most successful film with him in the lead role, earning $451 millionworldwide (he appeared, but did not star, in Gravity, which has a $723 million worldwide box office). Ocean's Eleven inspired two sequels starring Clooney, Ocean's Twelve in 2004 and Ocean's Thirteen in 2007. In2001, Clooney and Soderbergh co-founded Section Eight Productions, for which Grant Heslov was president of television.The following year he would work with Soderbergh yet again in the science fiction drama Solaris(2002) an adaptation of the acclaimed 1972 film directed by Andrei Tarkovsky. Famed critic Roger Ebert praised the film and Clooney writing, \"Clooney has successfully survived being named People magazine's sexiestman alive by deliberately choosing projects that ignore that image. His alliance with Soderbergh, both as an actor and co-producer, shows a taste for challenge.\" That same year Clooney made his directorial debut in the2002 film Confessions of a Dangerous Mind, based on the autobiography of TV producer Chuck Barris. The film premiered out of competition at the Cannes Film Festival to critical acclaim. Though the film did not do wellat the box office, critics stated that Clooney's directing showed promise.In 2003, Clooney reunited with the Coen brothers in the romantic comedy Intolerable Cruelty opposite Catherine Zeta-Jones. Elvis Mitchell of TheNew York Times praised their chemistry and the casting of Clooney in the role writing, \"the good work comes from George Clooney, who happens to have the Art Deco profile fit for a 1930's comedy. He scores with hiswillingness to mock his above-average charisma level and the chiseled chin, cover-guy good looks\".Directorial debut and acclaim (2005–2013)In 2005, Clooney starred in Syriana, which was based loosely on formerCentral Intelligence Agency agent Robert Baer's memoirs of his service in the Middle East. Clooney suffered an accident on the set of Syriana, which caused a brain injury with complications from a punctured dura. Thesame year he directed, produced, and starred in Good Night, and Good Luck, a film about 1950s television journalist Edward R. Murrow's famous war of words with Senator Joseph McCarthy. At the 2006 AcademyAwards, Clooney was nominated for Best Director and Best Original Screenplay for Good Night, and Good Luck, as well as Best Supporting Actor for Syriana. He won the Oscar for his role in Syriana.Clooney nextappeared in The Good German (2006), a film noir directed by Soderbergh that is set in post-World War II Germany. In August 2006, Clooney and Heslov started the production company Smokehouse Pictures. InOctober 2006, Clooney received the American Cinematheque Award, which honors someone in the entertainment industry who has made \"a significant contribution to the art of motion pictures\". On January 22, 2008,Clooney was nominated for an Academy Award for Best Actor for Michael Clayton (2007) losing to Daniel Day-Lewis who won for Paul Thomas Anderson's drama There Will Be Blood (2007).Later that year, he directedhis third film, Leatherheads, in which he also starred. On April 4, 2008, Variety reported that Clooney had quietly resigned from the Writers Guild of America over a dispute concerning Leatherheads. Clooney, who is thedirector, producer and star of the film, claimed that he had contributed in writing \"all but two scenes\" of it, and requested a writing credit alongside Duncan Brantley and Rick Reilly, who had worked on the screenplayfor 17 years. Clooney lost an arbitration vote 2–1, and withdrew from the union over the decision. He became a \"financial core status\" non-member, meaning he no longer has voting rights, and cannot run for office orattend membership meetings, according to the Writers Guild of America's constitution.In 2009, he starred in the war comedy The Men Who Stare at Goats alongside Ewan McGregor, Jeff Bridges and Kevin Spacey. Thefilm was directed by Heslov and released in November 2009. The film premiered at the Venice International Film Festival to positive reviews. Also in November 2009, he voiced the title character opposite Meryl Streepas Mrs. Fox in Wes Anderson's animated feature Fantastic Mr. Fox. The same year, Clooney starred in the Jason Reitman directed comedy-drama Up in the Air, which was initially given limited release, and thenwide-released on December 25, 2009. Stephen Farber of The Hollywood Reporter praised Clooney's performance writing, \"Boasting one of George Clooney’s strongest performances, the film seems like a surefire awardscontender\". For his performance in the film he was nominated for a Golden Globe, a Screen Actors Guild Award, BAFTA, and an Academy Award. The following year Clooney produced and starred in the dark crime dramaThe American (2010), based on the novel A Very Private Gentleman by Martin Booth and directed by Anton Corbijn.As of 2011, Clooney is represented by Bryan Lourd, co-chairman of Creative Artists Agency (CAA). In2011 Clooney starred in The Descendants as a husband whose wife has an accident that leaves her in a coma. He earned critical praise for his work, and won the Broadcast Film Critics Association Award for Best Actorand the Golden Globe Award for Best Actor – Motion Picture Drama. Also, he was nominated for the Screen Actors Guild for Best Actor, the BAFTA Award for Best Actor, and the Academy Award for Best Actor. He wasnominated for the Academy Award for Best Adapted Screenplay for the political drama The Ides of March.In 2013, Clooney won the Golden Globe Award for Best Motion Picture – Drama, the BAFTA Award for BestPicture and the Academy Award for Best Picture for producing Argo. The following year Clooney co-starred with Sandra Bullock in Gravity (2013), a space thriller directed by Alfonso Cuarón.In 2013, Clooney co-foundedCasamigos Tequila with Rande Gerber and Michael Meldman. It was sold to Diageo for $700 million in June 2017, with an additional $300 million possible depending on the company's performance over the next tenyears. According to Forbes annual ranking, he was the world's highest-paid actor for 2017–2018, earning $239 million between June 1, 2017, and June 1, 2018.Career slump and resurgence (2014–present)In 2014,Clooney co-wrote, directed and starred in The Monuments Men, an adaptation of The Monuments Men: Allied Heroes, Nazi Thieves and the Greatest Treasure Hunt in History by Robert M. Edsel. The film starred anensemble cast of A-list stars including Matt Damon, Cate Blanchett, Bill Murray, John Goodman, and Bob Balaban as well as European stars Hugh Bonneville, and Jean Dujardin. The film was a critical misfire and a boxoffice failure. Many historians were critical of the film for its historical inaccuracies. The Guardian film critic Andrew Pulver, panned the film writing, that the film was \"filled with unearned patriotic sentiment, sketchy tothe point of inanity, and interrupted every few minutes with neurotic self-justification\". That same year Clooney produced August: Osage County (2013), an adaptation of the play of the same name. The film stars MerylStreep and Julia Roberts.His next film was Tomorrowland (2015), a science fiction adventure film in which he played Frank Walker, an inventor. Later in the year, he was featured as himself in the Netflix Christmasmusical comedy A Very Murray Christmas, starring Bill Murray. The following year he starred in Hail, Caesar!, a comedy from the Coen brothers set in the Hollywood film industry in the 1950s, which premiered inFebruary 2016. Clooney portrayed Baird Whitlock, a Robert Taylor-type film star who is kidnapped during the production of a film. Josh Brolin co-starred as fixer Eddie Mannix. Clooney reunited with Julia Roberts for theJodie Foster-directed thriller Money Monster (2016), playing the host of a television show that investigates conspiracies on commerce and Wall Street, who is taken hostage by a bankrupt viewer given a bad tip.InOctober 2017, his directorial project Suburbicon a 1950s-set crime comedy was released. It stars Matt Damon, Julianne Moore, and Oscar Isaac, from a script written by the Coen brothers in the 1980s, that they hadoriginally intended to direct themselves. He received the 2018 AFI Life Achievement Award on June 7, 2018. The award was presented to him by Shirley MacLaine, and was honored by Julianna Margulies, CateBlanchett, Bill Murray, Anna Kendrick, Jimmy Kimmel, Jennifer Aniston, Courteney Cox and his wife Amal Clooney.In 2019, Clooney returned to television, starring, directing, and producing the Hulu historical miniseriesCatch-22 based upon the novel of the same name by Joseph Heller. Clooney was initially cast in a main role in the series; however, he opted to take a smaller supporting role instead. The series premiered on May 31,2019, to critical acclaim.After a four year absence from acting in film Clooney starred in the science fiction film,The Midnight Sky a film he also directed, and produced based upon the Lily Brooks-Dalton debut novel,Good Morning, Midnight, for Netflix. He also directs The Tender Bar adaptation for Amazon Studios with Ben Affleck in the lead. It will have a limited release in Los Angeles and New York theatres on December 17, 2021,followed by a nationwide premiere on December 22, 2021. The coming-of-age film will be streaming on Amazon Prime Video from January 7, 2022.In February 2021, The Hollywood Reporter reported that Clooney'sSmokehouse Pictures would be teaming with Sports Illustrated Studios and 101 Studios to produce a docuseries about the Ohio State University abuse scandal, and that the series would be based on an October 2020Sports Illustrated article by Jon Wertheim.In September 2021, Clooney reteamed with Brad Pitt for an untitled thriller film written and directed by Jon Watts.In 2022, he reunited with Julia Roberts for a romantic comedyfilm Ticket to Paradise directed by Ol Parker. It was initially set to release in theatres on September 30, 2022, but was pushed by a month to October 21, 2022.In 2023, Clooney reprised the role of Bruce Wayne /Batman in a cameo in The Flash.Activism and public advocacyPolitical viewsClooney supported both of Barack Obama's 2008 and 2012 presidential campaigns. Clooney endorsed Hillary Clinton for the 2016 presidentialelection. Clooney endorsed Joe Biden for the 2020 presidential election, and he hosted a virtual fundraiser for Biden together with Obama on July 28, 2020.He has also made humorous statements against RepublicanParty figures. In 2006, Clooney sarcastically thanked Jack Abramoff at the 63rd Golden Globe Awards before concluding with \"Who would name their kid 'Jack' with 'off' at the end? No wonder the guy's screwed up\".Clooney has also described Republican donor Steve Wynn as an \"asshole\" and a \"jackass\", after the two had a heated disagreement over the Affordable Care Act.Humanitarian workClooney is involved with Not On OurWatch Project, an organization that focuses global attention and resources to stop and prevent mass atrocities, along with Brad Pitt, Matt Damon, Don Cheadle, David Pressman, and Jerry Weintraub. In February 2009,he visited Goz Beida, Chad, with New York Times columnist Nicholas D. Kristof. In January 2010, he organized the telethon Hope for Haiti Now, which collected donations for the 2010 Haiti earthquake victims.In March2012, Clooney starred with Martin Sheen and Brad Pitt in a performance of Dustin Lance Black's play '8'—a staged reenactment of the federal trial that overturned California's Prop 8 ban on same-sex marriage—asattorney David Boies. The production was held at the Wilshire Ebell Theatre and broadcast on YouTube to raise money for the American Foundation for Equal Rights. In September 2012, Clooney offered to take anauction winner out to lunch to benefit the Gay, Lesbian and Straight Education Network (GLSEN). GLSEN works to create a safe space in schools for children who are or may be perceived to be gay, lesbian, bisexual or"}
+{"doc_id":"doc_135","qid":"","text":"Passage 1:Louis IV, Count of ChinyLouis IV the Young (1173 – 7 October 1226), count of Chiny from 1189 to 1226, son of Louis III, count of Chiny, and Sophie.  Louis was the last of the first dynasty of counts of Chiny.Having no son, he prepared his eldest daughter Jeanne as his successor. Louis marked his reign by issuing the first postage stamp in the county.He succeeded as count in 1189 when his father died on the ThirdCrusade, but was under the supervision of his mother and uncle Thierry, Lord of Mellier, because of his young age. He likely participated in the Albigensian Crusade, where he died in Cahors.He married Matilda ofAvesnes, widow of Nicolas IV, Lord of Rumigny, and daughter of James, Lord of Avesnes and Conde, and Adele, Lady of Guise. They had three children:Jeanne, Countess of Chiny, married to Arnold IV, Count ofLoozAgnes, Lady of Givet and AbemontIsabelle, married to Otto, Lord of Trazegnies.Isabelle was referred to as Madame de Florenville during the Tournament of Chauvency in 1285, hosted by Louis' grandson Louis V,successor Count of Chiny,Upon Louis’ death, his daughter Jeanne became Countess of Chiny until her marriage to Arnold IV, when he became the first Count of Chiny of the second dynasty as Arnold II.Louis IV was alsoa direct paternal descendant of Charlemagne.SourcesSettipani, Christian, La Préhistoire des Capétiens (Nouvelle histoire généalogique de l'auguste maison de France, vol. 1), Villeneuve d'Ascq, éd. Patrick vanKerrebrouck, 1993, 545 pg.Arlette Laret-Kayser, Entre Bar et Luxembourg : Le Comté de Chiny des Origines à 1300, Bruxelles (éditions du Crédit Communal, Collection Histoire, série in-8°, n° 72), 1986Passage2:Louis, Count of VerdunLouis I (murdered September 29, 1025), Count of Chiny (987–1025) and Count of Verdun (as Louis) (1024–1025), son of Otto I, Count of Chiny, and an unknown mother.Upon Otto’s death,Louis became the second Count of Chiny. Virtually nothing is known about his rule in Chiny.In 1024, Reginbert, the Bishop of Verdun, appointed Louis as Count of Verdun when Count Herman of Ename, son of Godfreythe Prisoner, retired to a monastery. Herman's nephew, Godfrey the Bearded, coveted the position, and Gothelo (Herman’s brother and Godfrey’s father) invaded the city and murdered Louis.Louis married Adelaide (d.after 1025), of unknown parentage. They had two children:Louis II, Count of ChinyLiutgarde (born 1002), married to Richer de Sancy (died before 1084). Luitgarde and Richer had four sons:  Hughes (died after 1109),Louis (died after 1084), Roderic (d. after 1109) and Richwin (killed before 1084). Nothing further is known about them.Louis’ son Louis II assumed the position of Count of Chiny after his father’s death, and Godfrey theBearded was appointed Count of Verdun.Passage 3:Albert, Count of ChinyAlbert (Albert I) (before 1131 – 29 September 1162), Count of Chiny, son of Otto II, Count of Chiny, and Adélaïs of Namur.  He succeeded hisfather before 1131 and spent most of his time in Chiny, not taking part in the various conflicts which shook the region.He married Agnes, daughter of Renaud I, Count of Bar and Gisèle Vaudémont, daughter of Gerard,Count of Vaudémont.  Their children were:Louis III, Count of ChinyThierry (d. after 1207), Lord of Mellier, married ElizabethArnulf of Chiny-Verdun (killed in 1181), Bishop of Verdun, 1172–1181Alix (d. after 1177),married to Manasses of HiergesIda of Chiny, married to Gobert V, Lord of Aspremont (see Fredelon and the House of Esch for a discussion of their descendants)A daughter, mother of Roger WalehemHughes, married toa daughter of Renaud de DonchéryA daughter, Abbess of Givet.Arnulf was killed by an arrow to the head in front of the castle of Saint Manehulde during an attack on the bishopric of Verdun.Alix and Mannases were theparents of Albert II of Hierges, Bishop of Verdun (1186–1208). Ida and Gobert were the grandparents of John I of Aspremont, Bishop of Verdun (1217–1224).Albert was succeeded as Count of Chiny by his sonLouis.Passage 4:John I, Count of LoozJohn I (Jean) (d. 1278 or 1279), Count of Looz and Count of Chiny, eldest son of Arnold IV, Count of Looz and Chiny, and Jeanne, Countess of Chiny. He succeeded his father in1272 or 1273, as the Count of Looz and Chiny.  Virtually nothing is known about his reign.He first married, in 1258, Matilda, daughter of William IV, Count of Jülich, and Matilda of Gelderland.  Their children were:ArnoldV, Count of Looz and Count of Chiny (as Arnold II)Louis de LoozWilliam, Seigneur of Neufchatel and Ardenne.Widowed, he married secondly, in 1269, Isabelle de Conde (d. after 1280), daughter of Jacques, Seigneur ofConde and Bailleul, and his wife Agnes of Rœulx.  Their children were:John II (1270-1311), Seigneur of Agimont, Givet and Warcq, married Marie, daughter of Raoul de Nesle and Alix de Roye (see House ofNesle)Jacques (Jacquemin) (d. February 27, 1330), Canon of Liege.Upon his death, he was succeeded as Count of Chiny by his brother Louis, and as Count of Looz by his son Arnold.SourcesSettipani, Christian, LaPréhistoire des Capétiens (Nouvelle histoire généalogique de l'auguste maison de France, vol. 1), Villeneuve d'Ascq, éd. Patrick van Kerrebrouck, 1993, 545 p.Thonissen, JJ., Arnold IV, Royal Academy of Belgium,National Biography, Vol. 1, Brussels, 1866Arlette Laret-Kayser, Entre Bar et Luxembourg : Le Comté de Chiny des Origines à 1300, Bruxelles (éditions du Crédit Communal, Collection Histoire, série in-8°, n° 72),1986Passage 5:Otto II, Count of ChinyOtto II (1065 – after 1131), Count of Chiny, son of Arnold I, Count of Chiny, and Adélaïs.He succeeded his father in 1106 and completed the construction of the Abbey of Orval thathis father had started in 1070, installing the canons in 1124. The installation of a Cistercian community in Orval in 1131 marked his last appearance in any proceedings.He married Adelaide (Alix) (1068–1124), daughterof Albert III, Count of Namur and Ida of Saxony (widow of Frederick of Lower Lorraine). Their children were:Ida (died before 1125), married to Godfrey I, Count of LeuvenOda (died after 1134), married to Giselbert II,Count of DurasHugues, probably died youngAlbert of Chiny (before 1131–1162)Frederick, (died after 1124), Provost at Reims from 1120Adalbero II of Chiny-Namur (died 26 March 1145), Bishop of Liège,1135–1145Eustache (died after 1156), married to a daughter of Wiger de Waremme, Avoué of Liège Saint-Lambert and Hesbaye. His son Louis de Lumaine was also Avoué of Hesbaye.Ida (also known as Ida of Namur)and Godfrey I (also known as Godfrey the Bearded, not to be confused with the uncle of his father Henry II, Godfrey) were parents of Adeliza of Louvain, wife of Henry I of England.  Oda’s husband Gislebert was son ofOtto, Count of Duras and therefore the grandson of Giselbert, the first Count of Looz, whose family would eventually be merged with the Counts of Chiny with the marriage of Otto's great-great granddaughter Jeanne,Countess of Chiny, with Arnold IV of Looz.After his death, Otto was succeeded as Count of Chiny by his son Albert.Passage 6:Louis II, Count of ChinyLouis II (died before 1066), Count of Chiny (from 1025 until hisdeath), son of Louis I, Count of Chiny and Verdun, and Adélaïde de Saint Varme.  He left very few traces in history and nothing is known about his reign.Louis was married to Sophie. They had two children:Arnold I,Count of ChinyManasses (died 1068), a monk at the Church of St. Hubert.Legend has it that Louis held hunting parties in his huge game park.  Here, Thibault of Champagne established a hermitage and found a sourceof holy springs, and Louis built a shrine to the spring's healing powers. The shrine became famous, with many pilgrims who came to implore the grace of Saint-Thibault. Later, monks from Calabria, Italy, founded amonastery nearby at Orval at the invitation of Louis’ son Arnold.Upon Louis' death, his son Arnold became Count of Chiny.Passage 7:Arnold VI of Rummen, Count of LoonArnold VI de Rumigny (died May 1373), Count ofLooz and Count of Chiny (as Arnold IV) (1362–1364), son of William of Oreye, Lord of Rumigny (by donation of Louis IV, Count of Looz in 1331), and Jeanne de Looz, daughter of Arnold V, Count of Loon and Chiny, and,Marguerite Vianden, Lady of Perwez and Grimbergen.In 1336, at the death of his uncle, Louis IV, Count of Loon and Chiny, Arnold laid claim to the estates, but without success.  Instead, the estates passed to anothernephew, Thierry de Heinsberg. Finally, on January 25, 1362, he bought the rights to the counties from his cousin Godfrey, Count of Looz and Chiny.  Looz, however, was still occupied by the troops of Engelbert III of theMarck, Prince-Bishop of Liege.On December 25, Arnold approached the Emperor Charles IV for his help in financing the reconquest of Looz, but he failed in that endeavor.  Without options, he sold the countiesto  Wenceslaus, Duke of Luxembourg, on June 16, 1364. On September 23, 1366, he entered into a transaction with John of Arkel, Prince-Bishop of Liège, receiving some financial compensation for the occupation of thecountiesIn 1346, Arnold married Elizabeth of Flanders, illegitimate daughter of Louis of Flanders, Count of Nevers.  No children are recorded.SourcesArlette Laret-Kayser, Entre Bar et Luxembourg : Le Comté de Chinydes Origines à 1300, Bruxelles (éditions du Crédit Communal, Collection Histoire, série in-8°, n° 72), 1986Passage 8:Arnold I, Count of ChinyArnold I (died 16 April 1106), Count of Chiny, son of Louis II, Count of Chiny,and his wife Sophie. He succeeded his father as count before 1066.Arnold is best known for his many clashes with the authorities.  The only known positive action of his was the founding of the Abbey of Orval withConrad I, Count of Luxembourg. In addition he began other religious institutions, apparently as atonement for his many crimes. He had many run-ins with the clergy, particularly with Henry, Bishop of Liège, a relative ofGodfrey the Bearded, no doubt due to the murder of his grandfather by Godfrey’s father. There were also issues with Henry's successor Otbert.A convenient story is that Arnold regularly confronted Godfrey’s grandsonCount Godfrey of Bouillon, a leader of the First Crusade and nephew of Countess Mathilda of Tuscany, but that they eventually became friends. Because of this newly-found friendship, he allegedly entrusted Godfreywith his sons Otto and Louis to take part in the crusade. The reality is that this is likely a story concocted by Count Louis V, much like the rest of his version of the history of Chiny (see the discussion in the Counts ofChiny), to enhance his standing at the Tournament of Chauvency in 1285, which included such royalty as Rudolf I, King of Germany.It is clear that Otto and Louis never actually joined the crusade, as their names arenot listed among the participants in the Holy quest. The reality of the situation appears that Godfrey's army included relatively few of the major nobles of the duchy, especially those of comital rank. The nobles of LowerLotharingia were not all vassals of the Duke (and later Defender of the Holy Sepulchre) and felt no obligation to follow him, despite the seriousness of the taking of the cross. Notable absentees were Arnold, Albert III ofNamur and Henry of Arlon and Limburg. These were all part of the coalition that had waged war on Godfrey and his principal allies Henry of Verdun and his successor Otbert, Prince-Bishops of Liège. There is someuncertainty as to his sons' whereabouts during the crusade, but upon their return, Otto, who became the next Count of Chiny, found Orval falling in ruins. The Calabrian monks left in 1108, and the Cistercians revivedOrval with Otto's help.Apparently unable to abide by normal legal traditions, Arnold attempted to capture Richilde, Countess of Hainaut, widow of Baldwin VI the Good, Count of Flanders, and her son Baldwin II, Count ofHainaut. Like most of his ventures, he failed in this. In 1082, Richilde and her son went on a pilgrimage to Rome, but on her return in 1084, she learned as she approached Chiny that Arnold was planning to kidnap her.She escaped by taking refuge in Benedictine Abbey of Amdain, in the present-day Saint Hubert.He married Adélaïs (Adelaide), daughter of Hilduin IV, Count of Montdidier, Roucy and Ramerupt, and Alix de Roucy.  Theyhad six children:Otto II, Count of ChinyLouis, founder of the priory of Saint-Valpurge at ChinyHalide (Hadvide, Hadwida), married to Dodo of Cons (Dudo of Konz-Saarburg), who took the cross and became a Crusader inthe army of Godfrey of Bouillon in 1096. He was one of two sons of Adelon de Cons.Clemence, married to Hugel de Waha, Châtelain de Mirwart, who was son of Hériman de Duras, who in turn was son of Otto I, Count ofDuras, and grandson to Giselbert I, Count of Duras.Beatrix, mother of Arnulf, Archdeacon of Trier.Unnamed daughter, mother to Arnoul and Conon.Arnold's second wife was Ermengarde (d. 1081), a union for which nochildren are recorded.  Arnold and his third wife Agnes had one child:Adelbero III of Chiny, Bishop of Verdun (1131-1156)Upon his death, Arnold’s son Otto assumed the title of Count of Chiny.Passage 9:Joan, Countessof ChinyJoan (c. 1205 – 17 January 1271) was the Countess of Chiny. Joan was the daughter of Louis IV, Count of Chiny, and Matilda of Avesnes, and became ruler of the county upon her father’s death on 7 October1226. She married Arnold IV, Count of Loon, son of Gerard III, Count of Rieneck, and Kunigunde von Zimmern, in 1228, whereupon he assumed the role of Count of Chiny.Joan and Arnold had the followingchildren:John I, Count of Chiny and LoonArnaul II (died 1273), Bishop of Châlons (1272–73)Henry, Seigneur d’AgimontGerard (died after April 1284), Seigneur de Chauvency le-Château, married Marguerite deMeursElisabeth (died before 1251), married Thomas III of Coucy, Seigneur of Vervins, and Albert, Seigneur of VoorneAdelaide (died after 1268), married to Thierry II, Seigneur of ValkenburgJuliana, married to Nicolas,Seigneur of QuiévrainLouis V, Count of ChinyMargaret (died 1292)?, married William IV, Lord of HornShe was succeeded as ruler of Chiny by her husband, Arnold II, Count of Chiny.Passage 10:Louis III, Count ofChinyLouis III (d. August 12? 1189), Count of Chiny, son of Albert, Count of Chiny, and his spouse Agnes of Bar.He succeeded his father in 1162 and continued the family's support of the Abbey of Orval. He entered theThird Crusade alongside Emperor Frederick I Barbarossa, dying in transit in Belgrade.He married Sophie (d. 1207), whose family is unknown. Their children were:Louis IV, Count of ChinyGertrude, married to Thierry II,Seigneur de Walcourt, Count of Montaigu.Upon his death, his son Louis assumed the role of Count of Chiny."}
+{"doc_id":"doc_136","qid":"","text":"Passage 1:Karel ZichKarel Zich (10 June 1949 – 13 July 2004) was a Czech singer, guitarist and composer whose voice was often compared with that of Elvis Presley.LifeKarel Zich was born in Prague, Czechoslovakia,into a musical family. His grandfather was Otakar Zich, composer and professor of music aesthetics, and his uncle was the composer Jaroslav Zich. Karel attended the Prague State Conservatory (Státní konzervatořPraha) for three years and later graduated from Charles University in sociology.Between 1964 and 1965 he performed with the band Framus as a singer. In 1968 Zich joined Spirituál kvintet and stayed with them until1973. His main interest was in rock'n'roll, and he is sometimes called the \"Czech Elvis\".After his successes in the Czech pop scene with various bands, Zich decided to start his solo career. In 1974 he left Spirituál kvintetand in 1976 released his first album, Dům č.5 (House No. 5). Although he sang his own songs, he also worked with famous composers Karel Svoboda, Petr Janda, and others.In 1975 Zich reached the top of his careerby winning 4th place in Zlatý Slavík. In 1979 he founded the band Flop and recorded 50 singles and 15 albums, one with the legendary Wanda Jackson. During his career Zich sold over one million discs and performedat thousands of concerts in most European countries, the United States, Canada, Brazil, Chile and elsewhere. His most famous songs are Paráda (Awsome) and Měla na očích brýle. Twice took 2nd place in the country'stop music festival and song contest, Bratislavská lýra, in 1977 and 1983.In his last years he often performed guitar solos and sometimes performed with his band. In 1992 he joined Spirituál kvintet again.DeathKarelZich died of complications following a heart attack during a diving holiday in Porto-Vecchio, Corsica.Selected discographyLet's Have a Party in Prague (with Wanda Jackson) – 1988Passage 2:Karol HochbergKarolHochberg (1911–1944, also Karl or Karel) was a collaborator during the Holocaust, who led the \"Department for Special Affairs\" within the Ústredňa Židov, the Judenrat in Bratislava which was created by the Nazis todirect the Jewish community of Slovakia.LifeHochberg was born in Hungary in 1911 and studied in Vienna and Prague. He moved to Slovakia in 1939. In 1940, the Slovak Jews were forced to form the Ústredňa Židov(ÚŽ), a Judenrat, to implement Nazi orders. Most of the members of the ÚŽ had been prominent in Jewish public life before the Holocaust, and worked on public relief for Jews who had been dispossessed by anti-Jewishmeasures. However, the ÚŽ's reputation was harmed by the Jews within it who informed or collaborated, of whom Hochberg was the most notorious, according to YIVO (Institute for Jewish Research). In early 1941, thefirst head of the ÚŽ was deposed and arrested for sabotaging a census of Jews in eastern Slovakia with an aim to remove them to the west of the country. His replacement was an ineffectual schoolteacher named ArpadSebestyen, who took a position of complete collaboration with the Germans. Hochberg was appointed to lead the \"Department for Special Affairs\",  which was created to ensure the prompt implementation of DieterWisliceny's orders; he promptly organized the census and removal, tarnishing the ÚŽ's reputation in the Jewish community. Due to Sebestyen's ineffectuality, Hochberg's department came to dominate the operations ofthe ÚŽ.In 1942, Hochberg's department worked on categorizing Jews for deportation, but it did not actually draw up the lists. About 57,000 Jews, two-thirds of the population, were deported that year; only a fewhundred survived. Later, Hochberg played an important role in negotiations between the Bratislava Working Group, the resistance group within the ÚŽ, and Wisliceny. Hochberg, who made regular visits to Wisliceny'soffice, was the only feasible option because contact with Wisliceny had to be done clandestinely. The Working Group employed him as an intermediary despite its intense dislike and distrust of Hochberg, its fear thatassociating with him would harm their reputations, and its belief that he was unreliable.In November 1942, as the Working Group began to negotiate the Europa Plan with Wisliceny in an effort to save all European Jewsfrom deportation and death, Hochberg was arrested for bribery and corruption. According to the Slovak police records, Hochberg had an illegal account in which large bribes were deposited in return for the cessation oftransports. Andrej Steiner, a member of the Working Group, distrusted Hochberg and had provided the Slovak police with evidence against him. However, his colleague Michael Dov Weissmandl advocated that theWorking Group try to get Hochberg released; Weissmandl believed that he was useful and was concerned that he would reveal the negotiations. The leader of the Working Group, Gisi Fleischmann, sided with Steiner,and the Working Group did not intervene on Hochberg's behalf. Imprisoned at Nováky labor camp and later Ilava prison, Hochberg escaped during the Slovak National Uprising and joined the partisans. He was executedas a collaborator by Jewish partisans.Passage 3:Maximus of TyreMaximus of Tyre (Greek: Μάξιμος Τύριος; fl. late 2nd century AD), also known as Cassius Maximus Tyrius, was a Greek rhetorician and philosopher wholived in the time of the Antonines and Commodus, and who belongs to the trend of the Second Sophistic.  His writings contain many allusions to the history of Greece, while there is little reference to Rome; hence it isinferred that he lived longer in Greece, perhaps as a professor at Athens. Although nominally a Platonist, he is really a sophist rather than a philosopher, although he is still considered one of the precursors ofNeoplatonism.WritingsThe DissertationsThere exist 41 essays or discourses on theological, ethical, and other philosophical subjects, collected into a work called The Dissertations. The central theme is God as thesupreme being, one and indivisible though called by many names, accessible to reason alone:In such a mighty contest, sedition and discord, you will see one according law and assertion in all the earth, that there is oneGod, the king and father of all things, and many gods, sons of God, ruling together with him.As animals form the intermediate stage between plants and human beings, so there exist intermediaries between God andman, viz. daemons, who dwell on the confines of heaven and earth. The soul in many ways bears a great resemblance to the divinity; it is partly mortal, partly immortal, and, when freed from the fetters of the body,becomes a daemon. Life is the sleep of the soul, from which it awakes at death. The style of Maximus is superior to that of the ordinary sophistical rhetorician, but scholars differ widely as to the merits of the essaysthemselves.Dissertation XX discusses \"Whether the Life of a Cynic is to Be Preferred\". He begins with a narrative of how Prometheus created mankind, who initially lived a life of ease \"for the earth supplied them withaliment, rich meadows, long-haired mountains, and abundance of fruits\" – in other words, a Garden of Eden that resonates with Cynic ideas. It was \"a life without war, without iron, without a guard, peaceful, healthfulunindigent\".Then, taking perhaps from Lucretius, he contrasts that Garden to mankind's \"second life\", which started with the division of the earth into property, which they then enclosed into fortifications and walls, andstarted to wear jewellery and gold, built houses, “molested the earth by digging into it for metals”, and invaded the sea and the air (killing animals, fish and birds), in what he described as a “slaughter and all-variousgore, pursuing gratification of the body”. Humans became unhappy and, to compensate, sought wealth, “fearing poverty...dreading death...neglecting the care of life...They blamed base actions but did not abstain fromthem and “the hated to live, but dreaded to die”.He then contrasts the two lives – that of the original Garden and of the “second life” he has just described and asks, which man would not choose the first, who “knowsthat by the change he shall be liberated from a multitude of evils” and what he calls “a dreadful prison of unhappy men, confined to a dreadful prison of unhappy men, confined in a dark recess, with large iron fettersround their feet, a great weight about their neck…passing their time in filth, in torment, and in weeping”. He asks, “Which of these images shall we proclaim blessed”? He goes on to praise Diogenes of Sinopeus, theCynic, for choosing his ascetic life, but only because he avoided the often fearful fates of other philosophers – such as Socrates being condemned. But there is no mention of he himself taking up the ascetic life himself;rather he only talks about how the Garden would be preferable to the life mankind has made for itself. So it is unlikely he was a Cynic, but was just envious of that idealised pre-civilisation Life in the Garden.Maximus ofTyre must be distinguished from the Stoic Claudius Maximus, tutor of Marcus Aurelius.Ancient Greek TextMaximus Tyrius, Philosophumena, Dialexeis - Edited by George Leonidas Koniaris, Publisher Walter de Gruyter,1995, DOI: https://doi.org/10.1515/9783110882568 - this critical edition presents the Ancient Greek text of Maximus of Tyre.TranslationsTaylor, Thomas, The Dissertations of Maximus Tyrius. C. Wittingham(1804)Trapp, Michael. Maximus of Tyre: The Philosophical Orations, (NY: Oxford University Press, 1997)Passage 4:Charles Emmanuel BisetCharles Emmanuel Biset or Karel Emmanuel Biset (1633 in Mechelen –between 28 September 1693 and 1713) was a Flemish painter who had a peripatetic career working in various cities and countries including his hometown Mechelen, Paris, Annonay, Brussels, Antwerp and Breda.  Heworked in many genres including genre scenes of interiors with merry companies and gallery paintings, history painting, still life and portraiture.LifeCharles Emmanuel Biset was born on 26 December 1633 in Mechelenas Karel Emmanuel Biset.  He was the son of the decorative painter Joris Biset who had trained under Michiel Coxie III, a grandson of the great Renaissance painter Michiel Coxie.  Charles Emmanuel Biset likely trainedunder his father.He worked in Mechelen from about 1640 until the early or mid-1650s. He was subsequently active in Paris where he is presumed to have worked for the court. Thereafter he is recorded for a while inBrussels before moving to Antwerp. Here he was active from 1661 to 1687.He became a master in Antwerp's Guild of Saint Luke in 1662 and was its dean in 1674.  He was also appointed a director of the Academy ofAntwerp.He married in 1662 with the painter Maria van Uden who was the daughter of the landscape painter Lucas van Uden.  After her death in 1665, he began a relationship with her sister Anna.  In 1670 he marriedAnna Cleymans.  Their children were the painters Jan Andreas (also called Jan Baptist) and Jan Karel Biset. He enjoyed the patronage of Juan Domingo de Zuñiga y Fonseca, Count of Monterrey, and later the Governorof the Habsburg Netherlands for whom he may have worked on a quasi-exclusive basis for a while.In 1687 he is recorded in Breda.  It is possible he stayed there for the rest of his life while visiting Antwerpoccasionally.  The last record of his life dates to 28 September 1693 when he was in Antwerp.The place and date of his death are not clear but he is believed to have died between 28 September 1693 and 1713.He wasthe master of his nephew Jan Anthonie Coxie, who was the son of his sister Joanna and fellow Mechelen painter Jan Coxie.Biset was highly regarded as an artist in his time as is attested by the fact that both the earlyFlemish biographer Cornelis de Bie and the Dutch biographer Jacob Campo Weyerman included him in their artist biographies.WorkGeneralBiset was a very versatile artist and the range of his work is very diverse: hepainted genre scenes with merry companies, gallery paintings, portraits, history paintings and still lifes. Because of this diversity and the specific genres and themes he worked in, it is believed he may have receivedsome training from Gonzales Coques who also painted in such diverse areas.Biset is regarded by some art historians as a follower of Coques. In fact, some works now ascribed to Biset were formerly attributed toCoques.  This is for instance the case with the composition A Family Seated at a Table in an Elegant Garden Exterior (Sotheby's, 6 December 2006 in New York, lot 7), which was originally regarded as a collaborationbetween Gonzales Coques and some specialist artists such as Peeter Gijsels and Wilhelm Schubert van Ehrenberg but is regarded by the RKD specialists as entirely by Biset's hand.As was the custom in Antwerp in the17th century Biset regularly collaborated with other painters who were specialists in a particular genre.  Collaborations with the landscape painters Philips Augustijn Immenraet and Cornelis Huysmans and thearchitecture painter Wilhelm Schubert van Ehrenberg are recorded.PortraitsBiset painted individual as well as family and group portraits, including merry companies.  The Hermitage collection holds a beautiful Portrait ofa Musician.  It depicts a musician standing next to a column with some sheet music and a theorbo and viola da gamba resting against the column.  The figure dressed in black is set off against the velvet curtain behindhim.  A stool placed next to the musician indicates that he has just finished or is about to commence a musical performance.The headmen of the Antwerp schutterij De Oude Voetboog are known to have ordered a groupportrait from Biset. It is likely that this work is the large composition referred to as The Legend of William Tell shown to the Antwerp Schutterij of St Sebastian.  This work, which is now in the Royal Museums of Fine Artsof Belgium, was made for the hall of the Antwerp schutterij pursuant to a contract made before a notary on 28 April 1672.  The work is a collaboration with Philips Augustijn Immenraet and Wilhelm Schubert vanEhrenberg. The architecture is painted by Wilhelm Schubert van Ehrenberg and the landscape by Philips Augustijn Immenraet and the rest by Charles Emmanuel Biset.  The composition uses the tale of William Tell tocreate a group portrait of the leading members of the schutterij.The  Portrait of a family in an interior (Sold at Christie's on 19 April 2007 in New York, lot 31) was originally attributed to Gerard Pietersz van Zijl but isnow attributed to Biset. This composition follows the model of the merry companies with its informal setting which includes children and musicians.  A less informal rendering of the same subject is in the Musée desBeaux-Arts de Nantes.Genre scenesGenre subjects involving indoor scenes of playing persons were quite popular in Flemish and Dutch painting in the 17th century and in particular among the so-calledCaravaggists.  Biset painted similar genre scenes an example of which is his composition the Tric-trac players (Statens Museum for Kunst).The composition shows an interior with two standing men playing tric-trac andthree onlookers. One of the onlookers is engaged in a lively exchange with a maid who is handing him a glass of wine.  A young male servant is pouring drinks for the company at a table on which also food is placedincluding oysters, a few of which have fallen on the floor.  The overall setting seems to point to a company that is actively enjoying itself but may be on the verge of losing control.Gallery paintingsBiset worked also inthe genre of the 'gallery paintings'.  The 'gallery paintings' genre is native to Antwerp where Frans Francken the Younger and Jan Brueghel the Elder were the first artists to create paintings of art and curiosity collectionsin the 1620s. Gallery paintings depict large rooms in which many paintings and other precious items are displayed in elegant surroundings.  The earliest works in this genre depicted art objects together with other itemssuch as scientific instruments or peculiar natural specimens.  The genre became immediately quite popular and was followed by other artists such as Jan Brueghel the Younger, Cornelis de Baellieur, Hans Jordaens,David Teniers the Younger, Gillis van Tilborch and Hieronymus Janssens.  The art galleries depicted were either real galleries or imaginary galleries, sometimes with allegorical figures.An example of Biset's work in thisgenre is the Interior of an Imaginary Picture Gallery (Alte Pinakothek, Munich) dated to 1666.  This composition falls into the category of allegorical picture galleries, which can be considered a sub-category of theimaginary art gallery type. This composition depicts a large imaginary gallery in which are present a number of persons admiring and scrutinizing artworks and, on the right hand side, figures representing gods andallegorical figures. Wilhelm Schubert van Ehrenberg painted the architecture as well as the ceiling (which is made up of copies of Rubens' works for the Carolus Borromeuskerk in Antwerp) (later destroyed in a fire). Thefigures are believed to be by Charles Emmanuel Biset. The painting is a collaboration with each of the individual painters whose work is depicted in the painting and have signed their own work: Theodoor Boeyermans(Daughters of Cecrops and Erychtonius), Pieter Boel (Animal Piece), Jan Cossiers (Diana and Actaeon), Cornelis de Heem (Fruit Still Life), Robert van den Hoecke (Winter Landscape), Philips Augustijn Immenraet(Italianate Landscape), Jacob Jordaens (Gyges and Kandaules and Allegory of Painting), Pieter Thijs (Adoration of the Shepherds), Lucas van Uden (Landscape) and the monogrammists missed PB (Fish Still Life) andPVI or PVH (Satyr and Nymph). This type of painting can be regarded as a carefully crafted advertisement of the present talent and past legacy of the Antwerp school of painting.Still lifesA number of still lifes with booksare attributed to Biset.  These still lifes stand in a tradition of vanitas still lifes with books that was popular in Flemish and Dutch still life painting in the 17th century.  An example is the Still life with books and a skull(Sold at Alain Truong, 18 December 2008 in Paris).  The composition depicts a table on which rest a number of writing implements, some sealed letters and old books.  On top of one book which is opened and appearsto be handwritten rests a human skull.  The message of the work appears to be that human endeavours as expressed in personal writings are futile as death is the ultimate outcome.Book illustrationsBiset providedsome designs for illustrations for a number of publications in Antwerp.  This includes the book on mushrooms by the priest Franciscus van Sterbeeck entitled Theatrum fungorum oft het toneel der campernoelien ...vergaedert ende beschreven door Franciscus van Sterbeeck, which was published by Joseph Jacobs in Antwerp in 1675 and by the same author and publisher the Citricultura oft Regeringhe der uythemsche boomen teweten oranien, citroenen, limoenen, granaten, laurieren en andere on the cultivation of non-native trees, published in 1682 in Antwerp.Passage 5:Rita BlumenbergRita Blumenberg (born 23 June 1936) is a WestGerman retired pair skater.  With her husband Werner Mensching, she won the silver medal at the 1958 German Figure Skating Championships.  The pair finished 7th at the 1960 Winter Olympics and 4th at theEuropean Figure Skating Championships in 1961.Results(with Mensching)Passage 6:Werner MenschingWerner Mensching (23 December 1933 – 21 June 1997) was a West German pair skater.  With his wife RitaBlumenberg, he won the silver medal at the 1958 German Figure Skating Championships.  The pair finished 7th at the 1960 Winter Olympics and 4th at the European Figure Skating Championships in 1961.Results(withBlumenberg)Passage 7:Karl von CzyhlarzKarl Ritter von Czyhlarz, or Karel Cihlář (August 17, 1833, Lovosice, Bohemia - July 21, 1914, Vienna) was a Bohemian-Austrian jurist, politician.He taught as a professor at theCharles University in Prague (1858-1892), University of Vienna (1892-1904).He was a specialist of the Roman law.Karl was a member of an assembly of Bohemia (1866-1886), and a member of the Upper Chamber ofthe Austrian Reichsrat (1898-).Literary worksLehrbuch der Institutionen des römischen Rechts, 1933External linksDas weltweite Österreich Journal - für Österreicherinnen und Österreicher in aller Welt atoe-journal.atRepresentatives of Viennese Scholarship at www.univie.ac.atAEIOUhttp://epub.oeaw.ac.at/oebl/oebl_C/Czyhlarz_Karl_1833_1914.xmlPassage 8:Carel BescheyCarel Beschey or Karel Beschey (1706,Antwerp – c. 1770, likely Antwerp) was a Flemish painter and draughtsman who mainly painted landscapes that were in the style of, or inspired by, the Flemish masters of the previous century and in particular JanBrueghel the Elder (1568 – 1625).LifeCarel Beschey was born in Antwerp the son of Jacob Beschey and Maria-Theresia Huaert.  Carel had three brothers who all became painters.  The best known was Balthasar who"}
+{"doc_id":"doc_137","qid":"","text":"Passage 1:David AldusDavid Aldus (born 18 September 1941) is a Welsh painter known for his landscape and maritime scenery.Personal lifeAldus was born and spent much of his life in the Garrison town of Brecon. Hisfather, John Macdonald Aldus, was a Company Sergeant Major in the South Wales Borderers, as was his father, who was killed in action in the Khyber pass. His grandfather on his maternal side, William Godfrey, was aminer of the Blaenavon pit.ArtAldus developed a realist style, influenced in part by the French artist Jules Bastien-Lepage and the colourful primitivism of Cézanne.His painting \"A Tribute to the people of Malta\" resides inthe Museum at Valletta, many of landscapes are views of his Buckinghamshire/Oxfordshire and its surrounding countryside. He was a finalist in the Garrick/Milne Prize exhibition held at London's Christies. He exhibitedat the Lambeth Palace under the auspices of the Royal Society of Marine Artists. Other Aldus accolades include full membership election in 1994 to UA United Artists.In that same year, he was awarded the AcrylicPainting prize at Westminster Central Hall, London. In 1995 David Aldus won the Oil paintings prize at UA annual exhibition.In 1995, he had work displayed at the Royal Institute of Oil Painters (R.O.I.) in their annualexhibition held at the Mall Galleries, London.Aldus has exhibited with the Royal Society of British Artists (R.B.A.) He also had work displayed at the Royal Society of Marine Artists (R.S.M.A.) at their annual exhibition. InNovember the Royal Society of Marine Artists asked him to display his work at Lambeth Palace where again he sold all his paintings.In December 1995, he had his work selected by the Discerning eye exhibition. JudgeEdward Lucie-Smith and another art critic chose his work for the same exhibition. One of his Landscape paintings was purchased by the town of Brecon and presented to their twin town of Saline in the U.S.A.Alduscompleted commissions for actor David Jason and ice skater Christopher Dean. In 1984, Aldus was also commissioned to paint Britain's first black female mayor Lydia Simmons in Slough. Aldus has also done work forFreddie Starr, the Duchess of Devonshire, Lord Carrington and rock star Jamiroquai.External linksThe Discerning Eye - home pagedavidaldus.comPassage 2:Etan BoritzerEtan Boritzer (born 1950) is an American writerof children’s literature who is best known for his book What is God? first published in 1989. His best selling What is? illustrated children's book series on character education and difficult subjects for children is a popularteaching guide for parents, teachers and child-life professionals.Boritzer gained national critical acclaim after What is God? was published in 1989 although the book has caused controversy from religiousfundamentalists for its universalist views. The other current books in the What is? series include: What is Love?, What is Death?, What is Beautiful?, What is Funny?, What is Right?, What is Peace?, What is Money?,What is Dreaming?, What is a Friend?, What is True?, What is a Family?, and What is a Feeling? The series is now also translated into 15 languages.Boritzer was first published in 1963 at the age of 13 when he wrote anessay in his English class at Wade Junior High School in the Bronx, New York on the assassination of John F. Kennedy. His essay was included in a special anthology by New York City public school children compiled andpublished by the New York City Department of Education.Boritzer now lives in Venice, California and maintains his publishing office there also. He has helped numerous other authors to get published through How to GetYour Book Published! programs. Boritzer is also a yoga teacher who teaches regular classes locally and guest-teaches nationally. He is also recognized nationally as an erudite speaker on The Teachings of theBuddha.Passage 3:Terence RobinsonTerence D. Robinson (date of birth and death unknown) was a male wrestler who competed for England.Wrestling careerHe represented England and won a bronze medal, in thebantamweight category of -57 kg , at the 1970 British Commonwealth Games in Edinburgh, Scotland.Passage 4:Theodred II (Bishop of Elmham)Theodred II was a medieval Bishop of Elmham.The date of Theodred'sconsecration unknown, but the date of his death was sometime between 995 and 997.Passage 5:Alfonso FadriqueDon Alfonso Fadrique (English: Alfonso Frederick; Catalan: N'Anfós Frederic d'Aragó; died 1338) was theeldest and illegitimate son of Frederick II of Sicily. He served as vicar general of the Duchy of Athens from 1317 to 1330.He was first proclaimed vicar general by his father in 1317 and sent off to govern Athens onbehalf of his younger half-brother Manfred. He arrived in Piraeus with ten galleys later that year, but Manfred had died and was succeeded by another brother, William II. In the year of his arrival, Fadrique marriedMarulla, the daughter of Boniface of Verona, thus allying himself with the chief lord of Euboea. By this marriage, also, he acquired rights to the castles of Larmena, Karystos, Zetouni, and Gardiki.Over the next twoyears, Fadrique warred with the Republic of Venice and stormed the city of Negroponte with Turks after Boniface of Verona died. In 1318, John II Ducas, the sebastokrator of Neopatras, died and Fadrique invadedThessaly. He took possession of his castles at Zetouni and Gardiki and conquered Neopatras, Siderokastron, Loidoriki, Domokos, and Pharsalus. He conquered the palace of the Ducae at Neopatras and took the title ofVicar General of the Duchy of Neopatras. He built a tower at Neopatras.In 1330, Alfonso was relieved of his duties as vicar general and replaced by Odo de Novelles. He was compensated with the Sicilian  counties ofMalta and Gozo. He died in 1338 and left five sons, Peter; James, father of Louis Fadrique; William, lord of Livadeia; Boniface, lord of Aigina, Piada and Karystos; John, lord of Salamina and two daughters, Simona, whowed George II Ghisi and Jua.Passage 6:Brian Saunders (weightlifter)Brian Saunders (date of birth and death unknown) was a male weightlifter who competed for England.Weightlifting careerSaunders was the lastperson to be both the British Amateur Weight Lifters' Association (BAWLA) weightlifting champion and BAWLA powerlifting champion; the latter of which he won in 1970 and 1974.He represented England in the superheavyweight category of +110 kg Combined, at the 1970 British Commonwealth Games in Edinburgh, Scotland.Passage 7:Frederick III of SicilyFrederick II (or III) (13 December 1272 – 25 June 1337) was the regent ofthe Kingdom of Sicily from 1291 until 1295 and subsequently King of Sicily from 1295 until his death. He was the third son of Peter III of Aragon and served in the War of the Sicilian Vespers on behalf of his father andbrothers, Alfonso ΙΙΙ and James ΙΙ. He was confirmed as king by the Peace of Caltabellotta in 1302. His reign saw important constitutional reforms: the Constitutiones regales, Capitula alia, and Ordinationesgenerales.NameAlthough the second Frederick of Sicily, he chose to call himself \"Frederick III\" (being one of the rare medieval monarchs who actually used a regnal number) – presumably because only some fifty yearsbefore, his well-known and remembered great-grandfather had ruled Sicily and also used an official ordinal: Fridericus secundus, imperator etc.. Thus, Fridericus tertius was better in line with the precedent of hisancestor's ordinal. However, an anecdote attributes Frederick's choice of numeral to him being the third son of Peter. The next man called Frederick to occupy the Sicilian throne was dubbed by later generations ofhistorians as Frederick III: Frederick III the Simple, though he himself did not use an ordinal.BiographyEarly yearsFrederick was born in BarcelonaWhen his father died in 1285, he left the Kingdom of Aragon to hiseldest son, Alfonso, and that of Sicily to his second son, James. When Alfonso died in 1291, James became king of Aragon and left Frederick as regent in Sicily. The war between the Angevins, who contested the title toSicily from their peninsular possessions centred on Naples (the so-called Kingdom of Naples), and the Crown of Aragon for the possession of the island was still in progress, and although the Crown of Aragon wassuccessful in Italy, James’ position in Spain became very insecure due to internal troubles and French attacks. Peace negotiations were begun with Charles II of Naples, but were interrupted by the successive deaths oftwo popes. At last, under the auspices of Pope Boniface VIII, James concluded a shameful treaty, by which, in exchange for being left undisturbed in the rest of the territories belonging to the Crown of Aragon andpromised possession of Sardinia and Corsica, he gave up Sicily to the Church, for whom it was to be held by the Angevins (Treaty of Anagni, 10 June 1295). The Sicilians refused to be made over once more to the hatedFrench they had expelled in 1282 (in the Sicilian Vespers), and found a national leader in the regent Frederick. In vain the pope tried to bribe him with promises and dignities; he was determined to stand by hissubjects, and was crowned king by the nobles at Palermo in 1296.When Frederick heard that James was preparing to go to war with him, he sent a messenger, Mountainer Pérez de Sosa, to Catalonia in an effort to stirup the barons and cities against James in 1298. Mountainer carried with him an Occitan poem, Ges per guerra no.m chal aver consir, intended as a communication with his supporters in Catalonia. This communiquéseems to have had in mind Ponç Hug as a recipient, for the count penned a response (under the title con d'Empuria), A l'onrat rei Frederic terz vai dir, in which he praised Frederick's tact and diplomacy, but told himbluntly that he would not abandon his sovereign. This poetic transaction is usually dated to January–March, Spring, or August 1296, but Gerónimo Zurita in the seventeenth century specifically dated the embassy ofMountainer to 1298.ReignFrederick reformed the administration and extended the powers of the Sicilian parliament, which was composed of the barons, the prelates, and the representatives of the towns.His refusal tocomply with the pope's injunctions led to a renewal of the war. Frederick landed in Calabria, where he seized several towns, encouraged revolt in Naples, negotiated with the Ghibellines of Tuscany and Lombardy, andassisted the house of Colonna against Pope Boniface. In the meanwhile James, who received many favours from the Church, married his sister Yolanda to Robert, the third son of Charles II. Unfortunately for Frederick,a part of the Catalan-Aragonese nobles of Sicily favoured King James, and both John of Procida and Roger of Lauria, the heroes of the war of the Vespers, went over to the Angevins, and the latter completely defeatedthe Sicilian fleet off Capo d'Orlando. Charles's sons Robert and Philip landed in Sicily, but after capturing Catania were defeated by Frederick, Philip being taken prisoner (1299), while several Calabrian towns werecaptured by the Sicilians.For two years more the fighting continued with varying success, until Charles of Valois, who had been sent by Boniface to invade Sicily, was forced to sue for peace, his army being decimated bythe plague. In August 1302 the Treaty of Caltabellotta was signed, by which Frederick was recognized king of Trinacria (the name Sicily was not to be used) for his lifetime, and was to marry Eleanor of Anjou, daughterof Charles II of Naples and Maria Arpad of Hungary. At Frederick's death, the kingdom was to revert to the Angevins (this clause was inserted chiefly to allow Charles to save face) and Frederick's children would receivecompensation elsewhere. Boniface tried to induce King Charles to break the treaty, but the latter was only too anxious for peace. Finally, in May 1303, the pope ratified the treaty, albeit with changes and additions,which included Frederick agreeing to pay him a tribute.For a few years Sicily enjoyed peace, and the kingdom was reorganized. However, on the descent of the emperor Henry VII, Holy Roman Emperor into Italy,Frederick entered into an alliance with him, and in violation of the pact of Caltabellotta made war on the Angevins again (1313) and captured Reggio. He set sail for Tuscany to cooperate with the emperor, but on thelatter's death he returned to Sicily. Robert, who had succeeded Charles II in 1309, made several raids into the island, which suffered much material injury. A truce was concluded in 1317, but as the Sicilians had helpedthe north Italian Ghibellines in the attack on Genoa, and Frederick had seized some Church revenues for military purposes, Pope John XXII excommunicated him and placed the island under an interdict (1321) whichlasted until 1335. An Angevin fleet and army, under Robert's son Charles, was defeated at Palermo by Giovanni da Chiaramonte in 1325, and in 1326 and 1327 there were further Angevin raids on the island, until thedescent into Italy of the next Holy Roman Emperor Louis the Bavarian distracted their attention. The election of Pope Benedict XII (1334), who was friendly to Frederick, promised a respite; but after fruitlessnegotiations the war broke out once more, and Chiaramonte went over to Robert, owing to a private feud.In 1337 Frederick died at Paternò, and in spite of the Peace of Caltabellotta his son Peter II of Sicily succeededhim.FamilyFrom his marriage (1303) with Eleanor of Anjou were born:Peter (1304–1342), successorRoger (1305–died young).Manfred (1306–1317), Duke of Athens and NeopatriaConstance (1307 – after 19 June1344), married in 1317 to Henry II of Cyprus; on 29 December 1331 to Leo V of Armenia; and in 1343 to John of Lusignan, brother of Peter I of Cyprus. She died childless.Elisabeth (1310–1349), married (1328)Stephen II of BavariaWilliam (1312–1338), Prince of Taranto, Duke of Athens and NeopatriaJohn (1317–1348), Duke of Randazzo, Duke of Athens and Neopatria, Regent of Sicily (from 1338)Catherine (1320–1342),Abbess of Santa Chiara at Messina.Margaret (1331–1377), married (1348) Rudolf II of the PalatinateNotesSourcesThis article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911).\"Frederick III., King of Sicily\". Encyclopædia Britannica. Vol. 11 (11th ed.). Cambridge University Press. pp. 57–58.Bozzo, Stefano V. (1882), Note storiche siciliane del secolo XIV. Avvenimenti e guerre che seguirono ilVespro, dalla pace di Caltabellotta alla morte di re Federico II l'Aragonese (1302-1337), PalermoBackman, Clifford R. (1995), The Decline and Fall of Medieval Sicily: Politics, Religion, and Economy in the Reign ofFrederick III, 1296–1337, Cambridge: Cambridge University PressColletta, Pietro (2007), \"Saggio critico di aggiornamento bibliografico\", Declino e caduta della Sicilia medievale. Politica, religione ed economia nel regnodi Federico III d'Aragona Rex Siciliae (1296-1337), by Clifford R. Backman, translated by Iole Turco, Palermo: Officina di Studi Medievali, pp. 333–364, ISBN 978-88-88615-65-3 (a comprehensive bibliography ofFrederick III's reign up to 2007)Riquer, Martí (1975), Los trovadores: historia literaria y textos, Barcelona: Planeta (3 vols.)Hohenstaufen, Frederick II (1961). The Art of Falconry. Translated by Wood, Casey A.; Fyfe, F.Marjorie. Stanford University Press.Passage 8:Les RichardsLachlan Adrian Russell Richards (21 December 1900 – 9 April 1930) was an Australian rules footballer who played with North Melbourne in the VictorianFootball League (VFL).In 1930 Richards was working for the British Phosphate Commission on Ocean Island when he died after being hit by a runaway truck whilst waiting to return to Australia.NotesExternallinksLachlan Richards's playing statistics from AFL TablesLachlan Richards at AustralianFootball.comPassage 9:Politics of MaltaThe politics of Malta takes place within a framework of a parliamentary representativedemocratic republic, whereby the President of Malta is the constitutional head of state. Executive Authority is vested in the President of Malta with the general direction and control of the Government of Malta remainingwith the Prime Minister of Malta who is the head of government and the cabinet. Legislative power is vested in the Parliament of Malta which consists of the President of Malta and the unicameral House ofRepresentatives of Malta with the Speaker presiding officer of the legislative body. Judicial power remains with the Chief Justice and the Judiciary of Malta. Since Independence, the party electoral system has beendominated by the Christian democratic Nationalist Party (Partit Nazzjonalista) and the social democratic Labour Party (Partit Laburista).The Economist Intelligence Unit rated Malta a \"flawed democracy\" in 2022.Politicaldevelopments since IndependenceSince independence, two parties have dominated Malta's polarized and evenly divided politics during this period: the centre-right Nationalist Party and the centre-left Labour Party.From the pre-independence 1962 general election until 2017 third parties failed to score any electoral success. In the 2013 election, the Democratic Alternative (a green party established in 1989), had managed tosecure only 1.8% of the first preference votes nationwide.The 1996 elections resulted in the election of the Labour Party, by 8,000 votes, to replace the Nationalists who had won in 1987 and 1992. Voter turnout wascharacteristically high at 96%, with the Labour Party receiving 50.72%, the Nationalist Party 47.8%, the Democratic Alternative 1.46%, and independent candidates 0.02%. In 1998, the Labour Party's loss in aparliamentary vote led the Prime Minister to call an early election. The Nationalist Party was returned to office in September 1998 by a majority of 13,000 votes, holding a five-seat majority in Parliament. Voter turnoutwas 95%, with the Nationalist Party receiving 51.81%, the Labour Party 46.97%, the Democratic Alternative 1.21%, and independent candidates 0.01%.By the end of 2002 the Nationalist government wrapped upnegotiations for European Union membership. A referendum on the issue was called in March 2003 for which the Nationalists and the Democratic Alternative campaigned for a \"yes\" vote while Labour campaignedheavily for \"no\" vote, invalidate their vote or abstain. Turnout was 91%, with more than 53% voting \"yes\".The Labour Party argued that the \"yes\" votes amounted to less than 50% of the overall votes, hence, and citingthe 1956 Maltese United Kingdom integration referendum as an example, they claimed that the \"yes\" had not in fact won the referendum. The then MLP Leader Alfred Sant said that the General Election which was to beheld within a month would settle the affair. In the General Elections the Nationalists were returned to office with 51.79% of the vote to Labour's 47.51%. The Democratic Alternative polled 0.68%. The Nationalists werethus able to form a government and sign and ratify the EU Accession Treaty on 16 April 2003.On 1 May 2004 Malta joined the EU and on 1 January 2008, the Eurozone with the euro as the national currency. The firstelections after membership were held in March 2008 resulting in a narrow victory for the Nationalist Party with 49.34% of first preference votes. In May 2011, a nationwide referendum was held on the introduction ofdivorce. This was the first time in the history of parliament that Parliament approved a motion originating outside from the Cabinet.In March 2013, the Labour Party returned to Government after fifteen years inOpposition with a record-breaking lead of 36,000 votes leading to the resignation of the Nationalist leader Lawrence Gonzi, and Joseph Muscat became Prime Minister.  In June 2017, the Labour Party called in a snapelection on its May Day celebrations and increased its vote disparity to around 40,000 votes. The then leader of the opposition Simon Busuttil announced his resignation shortly thereafter. This election saw the first thirdparty elected to Malta's Parliament since its Independence, with the election of Marlene Farrugia in the 10th District representing the Democratic Party. Joseph Muscat continued to be Prime Minister In January 2020, hestepped down after the 2019 Malta political crisis surrounding the carbombing of investigative journalist Daphne Caruana Galizia. Robert Abela - the son of Malta's former President George Abela - elected a new leaderof Labour Party and new prime minister of Malta in January 2020.Democratic Alternative and the Democratic Party merged into a new party, AD+PD, on 17 October 2020.In March 2022, the ruling Labour party, led byPrime Minister Robert Abela, won its third successive election. It gained even bigger victory than in 2013 and in 2017.Executive branchUnder its 1964 constitution, Malta became a parliamentary democracy within theCommonwealth. Queen Elizabeth II of the United Kingdom was sovereign of Malta, and a Governor-General exercised executive authority on her behalf, while the actual direction and control of the government and the"}
+{"doc_id":"doc_138","qid":"","text":"Passage 1:Mona Hopton BellMona Hopton Bell (1867–1940) was a British artist, best known for her portraits of civic figures.She was the grandmother of the painter Jean H. Bell.Passage 2:Hubba bint HulailHubba bint Hulail (Arabic: \u0000\u0000\u0000 \u0000\u0000\u0000 \u0000\u0000\u0000\u0000) was the grandmother of Hashim ibn 'Abd Manaf, thus the great-great-great-grandmother of the Islamic prophet Muhammad.BiographyHubbah was the daughter of Hulail ibn Hubshiyyah ibn Salul ibn Ka’b ibn Amr al-Khuza’i of Banu Khuza'a who was the trustee and guardian of the Ka‘bah (Arabic: \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000, 'Cube'). She married Qusai ibn Kilab and after her father died, the keys of the Kaaba were committed to her. Qusai, according to Hulail's will, had the trusteeship of the Kaaba after him.Hubbah never gave up ambitious hopes for the line of her favourite son Abd Manaf. Her two favourite grandsons were the twin sons Amr and Abd Shams, of ‘Ātikah bint Murrah. Hubbah hoped that the opportunities missed by Abd Manaf would be made up for in these grandsons, especially Amr, who seemed much more suitable for the role than any of the sons of Abd al-Dar. He was dear to the ‘ayn (Arabic: \u0000\u0000\u0000\u0000\u0000, eye) of his grandmother Hubbah.FamilyQusai ibn Kilab had four sons by Hubbah: Abd-al-Dar ibn Qusai dedicated to his house, Abdu’l Qusayy dedicated to himself, Abd-al-Uzza ibn Qusai to his goddess (Al-‘Uzzá) and Abd Manaf ibn Qusai to the idol revered by Hubbah. They also had two daughters, Takhmur and Barrah. Abd Manaf's real name was 'Mughirah', and he also had the nickname 'al-Qamar' (the Moon) because he was handsome.Hubbah was related to Muhammad in more than one way. Firstly, she was the great-great-grandmother of his father Abdullah. She was also the great-grandmother of Umm Habib and Abdul-Uzza, respectively the maternal grandmother and grandfather of Muhammad's mother Aminah.Family tree* indicates that the marriage order is disputedNote that direct lineage is marked in bold.See alsoFamily tree of MuhammadList of notable HijazisPassage 3:TjuyuThuya (sometimes transliterated as Touiyou, Thuiu, Tuya, Tjuyu or Thuyu) was an Egyptian noblewoman and the mother of queen Tiye, and the wife of Yuya. She is the grandmother of Akhenaten, and great grandmother of Tutankhamun.BiographyThuya is believed to be a descendant of Queen Ahmose-Nefertari, and she held many official roles in the interwoven religion and government of ancient Egypt. She was involved in many religious cults; her titles included 'Singer of Hathor' and 'Chief of the Entertainers' of both Amun and Min. She also held the influential offices of Superintendent of the Harem of the god Min of Akhmin and of Amun of Thebes.  She married Yuya, a powerful ancient Egyptian courtier of the Eighteenth Dynasty.  She is believed to have died in around 1375 BC in her early to mid 50s.ChildrenYuya and Thuya had a daughter named Tiye, who became the Great Royal Wife of Pharaoh Amenhotep III. The great royal wife was the highest Egyptian religious position, serving alongside of the pharaoh in official ceremonies and rituals.Yuya and Thuya also had a son named Anen, who carried the titles Chancellor of Lower Egypt, Second Prophet of Amun, sm-priest of Heliopolis and Divine Father.They also may have been the parents of Ay, an Egyptian courtier active during the reign of pharaoh Akhenaten who became pharaoh after the death of Tutankhamun. However, there is no conclusive evidence regarding the kinship of Yuya and Ay, although certainly, both men came from Akhmim.TombThuya was interred in tomb KV46 in the Valley of the Kings, together with her husband Yuya, where their largely intact burial was found in 1905. It was the best-preserved tomb discovered in the Valley before that of Tutankhamun, Thuya's great-grandson. The tomb was discovered by a team of workmen led by archaeologist James Quibell on behalf of the American millionaire Theodore M. Davis. Though the tomb had been robbed in antiquity, much of its contents were still present, including beds, boxes, chests, a chariot, and the sarcophagi, coffins, and mummies of the two occupants.Thuya's large gilded and black-painted wooden sarcophagus was placed against the south wall of the tomb. It is rectangular, with a lid shaped like the sloping roof of the per-wer shrine of Upper Egypt, and sits on ornamental sledge runners, their non-functionality underscored by the three battens attached below them. Ancient robbers had partially dismantled it to access her coffins and mummy, placing its lid and one long side on a bed on the other side of the tomb; the other long side had been leaned against the south wall. Her outer gilded anthropoid coffin had been removed, its lid placed atop the beds, and the trough put into the far corner of the tomb; the lid of her second (innermost) coffin, also gilded, had been removed and placed to one side although the trough and her mummy remained inside the sarcophagus. Quibell suggests this is due to the robbers having some difficulty in removing the lid of this coffin.MummyThuya's mummified body was found covered with a large sheet of linen, knotted at the back and secured by four bandages. These bands were covered with resin and opposite each band were her gilded titles cut from gold foil. The resin coating on the lower layers of bandages preserved the impression of a large broad collar. The mummy bands that had once covered her wrapped mummy were recovered above the storage jars on the far side of the room.The first examination of her body was conducted by Australian anatomist Grafton Elliot Smith. He found her to be an elderly woman of small stature, 1.495 metres (4.90 ft) in height, with white hair. Both of her earlobes had two piercings. Her arms are straight at her sides with her hands against the outside of her thighs. Her embalming incision is stitched with thread, to which a carnelian barrel bead is attached at the lower end; her body cavity is stuffed with resin-soaked linen. When Dr. Douglas Derry, (who later conducted the first examination of Tutankhamun's mummy) assisting Smith in his examination, exposed Thuya's feet to get an accurate measurement of her height, he found her to be wearing gold foil sandals. Smith estimated her age at more than 50 years based on her outward appearance alone. Recent CT scanning has estimated her age at death to be 50–60 years old. Her brain was removed, though no embalming material was inserted, and both nostrils were stuffed with linen. Embalming packs had been placed into her eye sockets, and subcutaneous filling had been placed into her mid and lower face to restore a lifelike appearance; embalming material had also been placed into her mouth and throat. Her teeth were in poor condition at the time of her death, with missing molars. Heavy wear and abscesses had been noted in earlier x-rays. The scan revealed that she had severe scoliosis with a Cobb angle of 25 degrees. No cause of death could be determined. Her mummy has the inventory number CG 51191.Archaeological items pertaining to ThuyaPassage 4:Hannah ArnoldHannah Arnold may refer to:Hannah Arnold (née Waterman) (c.1705–1758), mother of Benedict ArnoldHannah Arnold (beauty queen) (born 1996), Filipino-Australian model and beauty pageant titleholderPassage 5:Diana GuardatoDiana Guardato was a member of the aristocratic Patrician Guardato family. She had at least two children with King Ferdinand I. Her first child was Ferdinando d' Aragona y Guardato, 1st Duke of Montalto who married 1st, Anna Sanseverino, 2nd, Castellana de Cardona whose daughter Maria d'Aragona, married Antonio Todeschini Piccolomini, Duke of Amalfi, a nephew of Pope Pius II and brother of Pope Pius III.Her second child was Giovanna d’ Aragona, who married Leonardo della Rovere, Duke of Arce and Sora, a nephew of Pope Sixtus IV and brother of Pope Julius II.Passage 6:Anne DenmanAnne Denman (1587–1661) was born in Olde Hall, Retford, Nottinghamshire. Through a second marriage with Thomas Aylesbury, she became the grandmother of Lady Anne Hyde, Duchess of York and great-grandmother of Queen Mary II and Queen Anne.Early lifeAnne was born in Olde Hall, West Retford in around 1587. She was the younger daughter of Francis Denman of Retford and Anne (Blount) Denman. Francis (born c. 1531, died 1599) was the rector of West Retford, Notts from 1578. He was the second son of Anne Hercy by her first husband, Nicholas Denman esq of East Retford, Notts. Francis had several sons who pre-deceased him and left two daughters as his heirs: Barbara (born c. 1583) who married Edward Darell (born c. 1582); and Anne.Anne's nephew, Dr John Darrell, was the youngest child of Barbara Denman and Edward Darell, and inherited substantial properties from both the Denman and Darell families. In 1665 just before his death he made a will dividing his estate between three charities. He donated the childhood home of Anne and Barbara, Olde Hall, to create a hospital for elderly men (an alms house), which became the site for Trinity Hospital, Retford (a Grade II listed building).MarriagesAnne was married at 20 and left a widow at 23 after the death of her first husband William, the younger son of Sir Thomas Darell. William was the half-brother of her sister Barbara's husband Edward.Anne left Retford due to some unknown trouble, or loss of fortune, in 1610 and proceeded to London by waggon-coach. Wilmshurst (1908) records that there had been a lawsuit between the two sisters in 1605.After reaching London, Anne is said to have halted at a hostel called the 'Goat and Compasses', where she rested before looking out for an occupation suitable for a country lady of good birth and family. The owner (not the landlord) of the hostel was Mr Thomas Aylesbury, a rich brewer of the Parish of St Andrew's, Holborn who happened to be making an inspection of his 'Houses' and required a housekeeper for his household, engaging Anne to this position. Thomas was a widower of 34, and a year later made Anne an offer of marriage.The marriage of Anne and Thomas was recorded in the Bishop of London's Registry, dated 3 October 1611, giving the couple's address as St Andrew's, Holborn. The registry notes that the marriage has 'the consent of his father, William Aylesbury, Esquire'. She is described in the register as 'Anne Darell, of the City of London, widow, whose husband died a year before'. Edwin Wilmshurst (1908) notes that Anne's first husband, William Darrel is described as 'of London', and apparently died there. He says this suggests Anne 'may have become acquainted with Mr Thomas Aylesbury before she became so young a widow and he a widower'. He also comments that on 17 April 1611, there was a partition of Estate between Edward Darrel and Barbara his wife, and her sister Anne, by an Indenture. This took place while she was working for Thomas Aylesbury but before she married him.Marrying Thomas was fortunate for Anne, as in 1627, he was created a Baronet, Master of the Mint, and Master of the Requests, by Charles I. After the King's death, the family moved to Antwerp with other Royalists. During this time in exile, Barbara, Anne's daughter died. Lady Anne Hyde, Duchess of York, and granddaughter of Anne Denman, later noted in her pocket book that her aunt Barbara died in Antwerp in 1652 and unmarried. 'My dear Aunt Bab was, when she died, 24 years of age.' Barbara, when in exile in Holland, was attached to the then Princess of Orange, as a lady in waiting at the Hague.ChildrenThe issue of Anne Denman's marriage with Thomas Aylesbury were:William baptised in 1612 at St Margaret's Lothbury in London, died in Jamaica in 1656Thomas (probably died young)Frances born 1617 died 1667, married Edward Hyde in 1634, had issueLady Anne (1637–1671), married King James II/VIIHon. Henry, later 2nd Earl of Clarendon (1638–1709)Hon. Laurence, later 1st Earl of Rochester (1641–1711)Hon. Edward, (born c 1645, died 1665) buried 13 January 1665 having died at age 19 while a student at OxfordHon. James drowned in HMS Gloucester in 1682 in the suite of the Duke of YorkLady Frances, married Thomas Keightley, Irish revenue commissioner and privy councillor in 1675.Anne, baptised at St Margaret's and married there in 1637 to John BrighamJane (probably died young)Barbara baptised at St Margaret's, Westminster, 9 May 1627 died 1652 in Antwerp, no issue.Through her daughter Frances, Anne Denman is the maternal grandmother of Anne Hyde, the first wife of James II, and is the maternal great-grandmother of Mary II of England and Queen Anne.Sir Thomas' death and willIn 1657, Sir Thomas died in exile in Breda, aged 81. Anne returned to London. Sir Thomas's will was in favour of Anne and her daughter Frances, but was disputed. Fortunately, Anne had the help of the eminent lawyer Edward Hyde (b. 18 February 1608/9 d. 1674) who was married to her daughter Frances. The deaths of Frances' brothers and sisters meant that by the time of her father's death she was the heiress for her father's estate.Edward HydeEdward Hyde was Anne's son-in-law. The Registers of Westminster Abbey show that he married Frances, daughter of Sir Thomas Aylesbury and his wife Anne, at the Church of St Margaret's, Westminster (in which Parish Sir Thomas and Anne were resident), on 10 July 1634, under a Licence from the Dean and Chapter of Westminster, issued the same day. He was said to be 26 years of age having been born in the ninth year of King Charles' reign (1609), and was already a widower. He married his first wife Anne in 1629, and she died about six months later after catching smallpox. His second wife, Frances was about 21 upon her marriage.Edward Hyde had risen rapidly in his profession. When King Charles was at Oxford, he was knighted on 22 February 1642–3, and was then made Lord Chancellor and Privy Councillor at the age of 34. Upon King Charles' death, he had to flee from Puritan vengeance. He was with King Charles II in exile in Flanders, and in Bruges on 29 January 1657–58, he was again appointed Lord Chancellor in prospectu. With the restitution of the monarchy, Edward and Frances Hyde were now in high favour. For his long service to the King, and his fidelity to the Crown, Edward was created Baron Hyde of Hindon, Wiltshire in 1660. In 1661, he was raised to be Viscount Cornberry (in which year Frances died). He was later created Earl of Clarendon (1662), taking his title from the Estate and Park of Clarendon, near Salisbury.Edward and Frances had six children. Their daughter Lady Anne (1637–1671), married King James II/VII.Death and burialAnne Denman is interred in the Hyde family vault in Westminster Abbey. She seems to have secured the regard of her grandson-in-law, James, Duke of York, as Samuel Pepys notes in his Diary that, in 1661, The Duke of York was in mourning for his wife's grandmother, who (he adds) was thought of with a great deal of fondness — and which grandmother was Anne Denman, of the Old Manor House, West Retford, Notts, now the Trinity Hospital.Queen Anne portraitAnne Denman's childhood home, the Old Hall in Retford, was given by her nephew John Darrell in his will to become a hospital for old men of good repute. As the last member of the Denman-Darrell family, he carried out the wishes of his father, Edward, in this respect. The Old Hall became Trinity Hospital, on Hospital Road, Retford. It is administered by a Trust which owns considerable property around Retford. A portrait of Queen Anne in Trinity Hospital was recently attributed (1999) by the auctioneers Phillips to Sir Godfrey Kneller. John was the nephew of Anne Denman, the first cousin of Frances Hyde, and therefore a cousin twice removed of Queen Anne.== Notes ==Passage 7:Seleucus V PhilometorThe Seleucid king Seleucus V Philometor (Greek: Σέλευκος Ε΄ \u0000 Φιλομήτωρ; 126/125 BC), ruler of the Hellenistic Seleucid kingdom, was the eldest son of Demetrius II Nicator and Cleopatra Thea. The epithet Philometor means \"mother-loving\" and in the Hellenistic world usually indicated that the mother acted as co-regent for the prince.BiographyJust before Antiochus VII Sidetes died fighting the Parthians in late 129, the Parthian king Phraates II had released Demetrius II, who entered Syria in ca. September 129. This forced Seleucus V's half-brother Antiochus IX to flee to Cyzicus. Cleopatra Thea remarried Demetrius and reunited him with his two sons, Seleucus V and Antiochus VIII.Antiochus VII had taken a son, also named Seleucus, and Seleucus V's sister, Laodice, on his campaign against Parthia, and when Antiochus was killed, this Seleucus and Laodice were captured. Phraates married Laodice and showed this Seleucus (not to be confused with Seleucus V) great favor. As Demetrius II fought a civil war against the usurper, Alexander II Zabinas, Phraates sent this Seleucus back to Syria with the body of his father, Antiochus VII, to claim the Seleucid throne as puppet king of the Parthians. Yet this Seleucus failed and returned to Parthia, where he later died.Instead, after his father was murdered outside of Tyre in 125, Seleucus V claimed the throne as the eldest son of Demetrius II; however, he was soon killed by his own mother. According to Appian, Cleopatra Thea had aided in the death of Demetrius, and therefore, she was afraid that Seleucus V might avenge the assassination of his father. This encouraged Cleopatra Thea to remove Seleucus in favor of his younger brother, Antiochus VIII.See alsoList of Syrian monarchsTimeline of Syrian historyPassage 8:Purnima (Hindi actress)Purnima Das Verma (born Meherbhano Mohammad Ali; 2 March 1934 — 14 August 2013) was an Indian actress who worked predominantly in Hindi-language films. She was the aunt of director Mahesh Bhatt and grandmother of actor Emraan Hashmi.Personal lifeMeherbano Mohammad Ali was born on 2 March 1934. Her elder sister, Shirin, is the mother of directors Mahesh Bhatt and Mukesh Bhatt. Meherbano's first husband was a journalist named Syed Shauqat Hashmi, who moved to Pakistan during the end of colonial rule in South Asia when Pakistan and India were created as new states by the British as they decolonized. Her son from this first marriage, Anwar Hashmi (father of Emraan Hashmi), acted in Baharon Ke Manzil (1968) opposite Farida Jalal. In 1954, she married for the second time with filmmaker Bhagwan Das Varma. Meherbano took the screen name 'Purnima' when she entered the film industry.CareerPurnima acted in more than 80 Bollywood films. She was a popular actress in Hindi films from late '40s to '50s. She appeared in many films including Patanga (1949), Jogan (1950), Sagai (1951), Jaal (1952), Aurat (1953), a role in Ajay Devgan's debut film Phool Aur Kaante, and the role of Sanjay Dutt's on-screen grandmother in Naam which was directed by Mahesh Bhatt (Purnima's elder sister's son). She also played the role of Amitabh Bachchan's mother in the film Zanjeer.DeathPurnima had Alzheimer's disease during the last few years of her life and died on 14 August 2013. Mahesh Bhatt later revealed on Twitter, \"My aunt Purnima, the first star of our family and who happens to be Emraan Hashmi's grandmother has entered the sunset moments of her life.\".Selected filmographyPassage 9:Kaoru HatoyamaKaoru Hatoyama (\u0000\u0000 \u0000, Hatoyama Kaoru, 21 November 1888 – 15 August 1982) was an educator and an administrator, the schoolmaster of Kyoritsu Women's University, which was founded by her mother-in-law, Haruko Hatoyama. She is well known as the wife of Ichirō Hatoyama, who was the 52nd–54th Prime Minister of Japan, serving terms from December 10, 1954 through December 23, 1956. She was the mother of Iichirō Hatoyama, who was Japan's Foreign Minister from 1976 through 1977.After the elections of 2009, she became more widely known as the grandmother of Prime Minister Yukio Hatoyama and his politician brother Kunio Hatoyama.See alsoHatoyama Hall (Hatoyama Kaikan)NotesPassage 10:Demetrius II NicatorDemetrius II (Ancient Greek: Δημήτριος Β`, Dēm\u0000trios B; died 125 BC), called Nicator (Ancient Greek: Νικάτωρ, Nikátōr, \"Victor\"), was one of the sons of Demetrius I Soter. His mother may have been Laodice V, as was the case with his brother Antiochus VII Sidetes. Demetrius ruled the Seleucid Empire for two periods, separated by a number of years of captivity in Hyrcania in Parthia, first from September 145 BC to July/August 138 BC, and again from 129 BC until his death in 125 BC. His brother Antiochus VII ruled the Seleucid Empire in the interim between his two reigns.BiographyEarly lifeWhen he was a young boy, Demetrius' father Demetrius I fought Alexander Balas for control of the Seleucid throne.  Somewhat surprisingly, Balas won, and Demetrius' father, mother, and older brother were all killed.  The young Demetrius II fled to Crete, where he was raised by his guardians.First reign (147–139 BC)Victory over Alexander BalasAbout 147 BC he returned to Syria with a force of Cretan mercenaries led by a "}
+{"doc_id":"doc_139","qid":"","text":"Passage 1:Donnie ElbertDonnie Elbert (May 25, 1936 – January 26, 1989) was an American soul singer and songwriter, who had a prolific career from the mid-1950s to the late 1970s. His U.S. hits included \"Where DidOur Love Go?\" (1971), and his reputation as a Northern soul artist in the UK was secured by \"A Little Piece of Leather\", a performance highlighting his powerful falsetto voice.CareerElbert was born in New Orleans,Louisiana, but when aged three his family relocated to Buffalo, New York. He learned to play guitar and piano as a child, and in 1955 formed a doo-wop group, the Vibraharps, with friend Danny Cannon. Elbert acted asthe group's guitarist, songwriter, arranger, and background vocalist, making his recording debut on their single \"Walk Beside Me\". He left the group in 1957 for a solo career, and recorded a demonstration record thatearned him a recording contract with the King label's DeLuxe subsidiary. His solo debut \"What Can I Do?\" reached #12 in the U.S. R&B chart, and he followed it up with the less successful \"Believe It or Not\" and \"Have ISinned?\", which became a regional hit in Pittsburgh.He continued to release singles on DeLuxe, but with little commercial success, and also played New York's Apollo Theater and toured the Chitlin' Circuit ofAfrican-American owned nightclubs. After completing an album, The Sensational Donnie Elbert Sings, he left DeLuxe in 1959, joining first Red Top Records, where in 1960 he recorded \"Someday (You'll Want Me to WantYou)\", and then Vee-Jay Records, where he had another regional hit with \"Will You Ever Be Mine?\", which reportedly sold 250,000 copies in the Philadelphia area but failed to take off nationwide. His career was alsointerrupted by a spell in the US Army, from which he was discharged in 1961. He then recorded singles for several labels, including Parkway, Cub and Checker, but with little success. However, although the 1965Gateway label release of \"A Little Piece of Leather\" failed to chart in the US, the record became a #27 pop hit when released on the London label in the UK several years later in 1972, and remains a Northern soulfavorite.Elbert relocated to the UK in 1966, where he married. There, he recorded \"In Between The Heartaches\" for the Polydor label in 1968, a cover version of the Supremes' hit \"Where Did Our Love Go?\" and analbum of Otis Redding cover versions, Tribute To A King. His 1969 Deram release \"Without You\" had a rocksteady rhythm, and went to the top of the Jamaican charts.He returned to the US the same year and had hisfirst US chart hit in over a decade with the Rare Bullet release, \"Can't Get Over Losing You\", which reached #26 on the Billboard R&B chart. The track and its b-side, \"Got To Get Myself Together\", both written by Elbert,were released several times on different labels in subsequent years. After the success of that record, Elbert moved labels for a re-make of the Supremes' 1964 hit, \"Where Did Our Love Go?\" on All Platinum. It becamehis biggest hit, reaching #15 on the Billboard pop chart, #6 on the R&B chart, and (in 1972) #8 in the UK. Its follow-up, \"Sweet Baby\" reached #30 on the R&B chart in early 1972.Elbert then signed withAvco-Embassy, where he entered the recording studio with the successful production team of Hugo & Luigi. His cover of the Four Tops' \"I Can't Help Myself\" reached #14 on the Billboard R&B chart, but climbed as highas #2 on the alternative Cashbox R&B chart. Elbert baulked at the label's insistence that he record material associated with Motown and departed with only a few tracks left to record for an album. Even so, the albumwas released after Avco sold it on to a budget label, Trip.He returned to All Platinum and had a run of minor R&B hits, but left after a disagreement over the claimed authorship of Shirley & Company's R&B chart-topper\"Shame Shame Shame\", which was credited to label owner Sylvia Robinson. Elbert was also involved in a copyright wrangle over Darrell Banks' major R&B and pop hit in 1966, \"Open The Door To Your Heart\". He hadoriginally written the song as \"Baby Walk Right In\" (still its alternative legal title) and given it to Banks, but received no writing credit on the original record. Eventually, the matter was resolved by BMI with a disgruntledElbert awarded joint authorship with Banks. \"Open The Door\" has since been given award-winning status by BMI and is one of over 100 songs written or co-written by Elbert.For 1975's \"You Keep Me Crying (With YourLying)\", Elbert formed his own label and \"I Got to Get Myself Together\", appeared on an imprint bearing his surname, but it was among his final recordings.By the mid-1980s, Elbert had retired from performing andbecame director of A&R for Polygram's Canadian division. He suffered a massive stroke and died in 1989, at the age of 52.DiscographyChart singlesAlbumsThe Sensational Donnie Elbert Sings (King, 1959)Tribute to aKing (1968)Where Did Our Love Go? (All Platinum, 1971) U.S. #153, R&B #45Have I Sinned? (Deluxe, 1971)Stop in the Name of Love (Trip, 1972)A Little Bit of Leather (1972)Roots of Donnie Elbert (Ember,1973)Dancin' the Night Away (All Platinum, 1977)See alsoList of disco artists (A-E)Passage 2:Sarah ScullinSarah Maria Scullin (née McNamara; 21 April 1880 – 31 May 1962) was the wife of James Scullin, the 9th PrimeMinister of Australia.Early life and marriageScullin was born in Ballarat, Victoria, to Sarah (née Simcocks) and Michael McNamara. Her mother was born in County Kerry, Ireland, and her father was born in Bodyke,County Clare. She was educated at local Catholic schools, and was known as a skilled dressmaker and a talented artist. She married James Scullin at St Patrick's Cathedral, Ballarat, on 11 November 1907. The couplehad no children.Public lifeScullin accompanied her husband on his election campaigns, but did not make speeches herself. According to his biographer John Robertson, she was \"significant politically in an indirectmanner, for she provided a serene domestic haven as a base for her husband's political activities\". When her husband became prime minister in 1929, the couple chose to live in the Hotel Canberra rather than TheLodge, as an economy during the Great Depression. She nursed him during his bouts of ill health, and during the four-hour \"sickroom cabinet\" meeting of August 1930 \"stood guard at the door, refusing entrance to allunwanted visitors\".Later lifeScullin was widowed in January 1953. Her husband had been seriously ill and frequently bed-ridden for about two years, during which she was his primary caregiver. She died at their houseon Park Avenue, Kew, in May 1962, aged 82. She was buried alongside her husband in the Catholic section of Melbourne General Cemetery.Passage 3:Joseph J. Sullivan (vaudeville)Joseph J. Sullivan was a blackfacecomedian and acrobat in New York.  He composed the song Where Did You Get That Hat? and first performed it in 1888.  It was a great success and he performed it many times thereafter.Passage 4:Andrew Allen(singer)Andrew Allen (born 6 May 1981) is a Canadian singer-songwriter from Vernon, British Columbia. He is signed to Sony/ATV and has released five top ten singles, and written and recorded many others, includingWhere Did We Go? with Carly Rae Jepsen. He also records covers and posts them on YouTube.BackgroundRaised in British Columbia's Okanagan Valley, his acoustic pop/rock music is inspired by artists like Jason Mrazand Jack Johnson.CareerAndrew Allen scored his first hit in 2009, when I Wanna Be Your Christmas cracked the Top Ten in his native Canada. He was honored as the feature performer for the Sochi 2014 hand off finaleon the internationally broadcast Closing Ceremony of the 2010 Paralympic Winter Games held at Whistler, British Columbia. Allen continued building an international profile in 2010, and released his biggest singleLoving You Tonight, which sold more than 100,000 copies worldwide, was featured on the Gold Selling NOW 37, hit #6 on the Canadian charts for 22 weeks in a row and #30 on the US Hot AC charts, and got him arecord deal with Epic after spending much of that year on the road. Because of the song's attention, Allen had the opportunity to perform with some of the world's biggest artists like Bruno Mars, One Republic, TheBarenaked Ladies, Train, Matt Nathanson, Joshua Radin, Andy Grammer, The Script, Nick Carter, Kris Allen, Carly Rae Jepsen and many others.Loving You Tonight was also featured on the soundtrack of Abductionstarring Taylor Lautner.CollaborationsAndrew Allen is also well known in the songwriting community, and has written songs with artists like Meghan Trainor, Rachel Platten, Cody Simpson, Carly Rae Jepsen, MattSimons, Conrad Sewell as well as writer/producers like Toby Gad, Ryan Stewart, Eric Rosse, Jason Reeves, John Shanks, Nolan Sipes, Mark Pellizzer (Magic), Brian West and Josh Cumbee. Numerous songs he has beena part of writing have been released by various artists, including Last Chance, which was on the Grammy nominated album Atmosphere by Kaskade feat. DJ Project 46, Ad Occhi Chiusi which was on the Double Platinumrelease by Italian artist Marco Mengoni and Maybe (which Allen also later released himself) released by teen pop sensation Daniel Skye, as well as many others.SinglesI Wanna Be Your Christmas (2009)Loving YouTonight (2010)I Want You (2011)Where Did We Go? (2012)Satellite (2012)Play with Fire (2013)Thinking About You (2014)What You Wanted (2016)Favorite Christmas Song (2017)Maybe (2017)DiscographyThe LivingRoom Sessions (2008)Andrew Allen EP (2009)The Mix Tape (2012)Are We Cool? (2013)All Hearts Come Home (2014)The Writing Room (2020)12:34 (2022; pre-released on vinyl in 2021)Songwriting creditsLast Chancereleased by Kaskade featuring Project 46 on his Grammy nominated record Atmosphere.Ad Occhi Chiusi released by Marco Mengoni on his Double Platinum record.Reasons released by Project 46.No Ordinary Angelreleased by Nick Howard from The Voice Germany.Million Dollars released by Nick Howard from The Voice Germany.Maybe released by Daniel Skye.Passage 5:Nancy BaronNancy Baron is an American rock singer whowas active in New York City in the early 1960s, known for the singles \"Where Did My Jimmy Go?\" and \"I've Got A Feeling\".Early lifeBorn into a family of singers and writers, Baron was introduced to many musical genresby her family at an early age. Noting her singing talents, her parents brought their young child to auditions for musical theater productions in New York City. The singer joined Glee clubs at school and formed her ownfemale singing groups at school. At the age of 11, she heard her first \"Rock and Roll\" song. This affected her taste in music and desire to emulate the style; it was the first time she heard a Rock group with a female leadsinger. This was significant since she realized that she could be a lead singer.Recording careerAt the age of 15, her parents sent her for vocal coaching in Manhattan, N.Y. After a while her coach sent her to record ademonstration record in a sound studio near Broadway. Upon hearing her sing, the sound engineer contacted his friend who was a producer of a small record company in N.Y.C.; he was impressed by her voice andimmediately signed her to a contract. The singer's mother co-signed the document since Baron was a fifteen-year-old minor at the time.Baron became one of the many girl group/girl sound singers of the early 1960s.Baron was not a member of a group; her producers would hire \"pay for hire\" backup groups for her recordings. This \"sound\" as it is referred to had much to do with Phil Spector, one of its major creators; Spectorproduced recordings of this genre prolifically. The groups were composed of young adult or teenage girls, each with a lead singer and any number of back up singers.At the time, the troubled label (a small N.Y.C. recordcompany owned by Wally Zober) could not promote Baron's \"I've Got A Feeling\"/\"Oh Yeah\" 45 vinyl and so she eventually signed a contract with Jerry Goldstein producer of FGG productions, also located in Manhattan.\"Where Did My Jimmy Go\"/\"Tra la la, I Love You\" was the result (Diamond).Later lifeBaron left the music industry at the age of 19, choosing to enter higher education due to changes in the music industry of those days;she eventually received an advanced degree.Baron's \"I've Got a Feeling\" was covered by The Secret Sisters on their 2010 self-titled album as well as being released as a single. AllMusic describes Baron's song as \"anearly-'60s pop/rock obscurity\".Passage 6:Robert Paul SmithRobert Paul Smith (April 16, 1915 – January 30, 1977) was an American author, most famous for his classic evocation of childhood, Where Did You Go? Out.What Did You Do? Nothing.BiographyRobert Paul Smith was born in Brooklyn, grew up in Mount Vernon, NY, and graduated from Columbia College in 1936. He worked as a writer for CBS Radio and wrote four novels:So It Doesn't Whistle (1946) (1941, according to Avon Publishing Co., Inc., reprint edition ... Plus Blood in Their Veins copyright 1952); The Journey, (1943); Because of My Love (1946); The Time and the Place(1951).The Tender Trap, a play by Smith and Dobie Gillis creator Max Shulman, opened in 1954 with Robert Preston in the leading role. It was later made into a movie starring Frank Sinatra and Debbie Reynolds. Aclassic example of the \"battle-of-the-sexes\" comedy, it revolves around the mutual envy of a bachelor living in New York City and a settled family man living in the New York suburbs.Where Did You Go? Out. What DidYou Do? Nothing is a nostalgic evocation of the inner life of childhood. It advocates the value of privacy to children; the importance of unstructured time; the joys of boredom; and the virtues of freedom from adultsupervision. He opens by saying \"The thing is, I don't understand what kids do with themselves any more.\" He contrasts the overstructured, overscheduled, oversupervised suburban life of the child in the suburban1950's with reminiscences of his own childhood. He concludes \"I guess what I am saying is that people who don't have nightmares don't have dreams. If you will excuse me, I have an appointment with myself to sit onthe front steps and watch some grass growing.\"Translations from the English (1958) collects a series of articles originally published in Good Housekeeping magazine. The first, \"Translations from the Children,\" may bethe earliest known example of the genre of humor that consists of a series of translations from what is said (e.g. \"I don't know why. He just hit me\") into what is meant (e.g. \"He hit his brother.\")How to Do Nothing WithNobody All Alone By Yourself (1958) is a how-to book, illustrated by Robert Paul Smith's wife Elinor Goulding Smith. It gives step-by-step directions on how to: play mumbly-peg; build a spool tank; make polly-noses;construct an indoor boomerang, etc. It was republished in 2010 by Tin House Books.List of worksEssays and humorWhere Did You Go? Out. What Did You Do? Nothing (1957)Translations from the English (1958) Crank:A Book of Lamentations, Exhortations, Mixed Memories and Desires, All Hard Or Chewy Centers, No Creams(1962)How to Grow Up in One Piece (1963)Got to Stop Draggin’ that Little Red Wagon Around (1969)RobertPaul Smith’s Lost & Found (1973)For childrenJack Mack, illus. Erik Blegvad (1960)When I Am Big, illus. Lillian Hoban (1965)Nothingatall, Nothingatall, Nothingatall, illus. Allan E. Cober (1965)How To Do Nothing With NoOne All Alone By Yourself, illus Elinor Goulding Smith (1958) Republished by Tin House Books (2010)NovelsSo It Doesn't Whistle (1941) The Journey (1943) Because of My Love (1946)The Time and the Place(1952)Where He Went: Three Novels (1958)TheatreThe Tender Trap, by Max Shulman and Robert Paul Smith (first Broadway performance, 1954; Random House edition, 1955)VerseThe Man with the Gold-headed Cane(1943)…and Another Thing (1959)External linksAn Interview, by Edward R Murrow on YouTubePassage 7:Benny RubinsteinBenny Rubinstein (\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000) is an Israeli former footballer and current realestate developer. He played soccer for Maccabi Netanya and Hapoel Netanya. At the 1969 Maccabiah Games, Rubinstein played soccer for Israel, winning a gold medal.BiographyRubinstein was born in Netanya, Israel.His wife is Sarah Rubinstein. Benny's son, Aviram also played football for Maccabi Netanya.He played soccer for Maccabi Netanya and Hapoel Netanya. At the 1969 Maccabiah Games, Rubinstein played soccer for Israel,winning a gold medal.Rubinstein then worked as a real estate agent, and now works in real estate development.HonoursIsraeli Premier League (1):1970-71Passage 8:James ScullinJames Henry Scullin (18 September1876 – 28 January 1953) was an Australian politician and trade unionist who served as the ninth prime minister of Australia, from 1929 to 1932, holding office as the leader of the Australian Labor Party (ALP). Duringhis tenure he also briefly served as the 13th treasurer of Australia from 1930 to 1931. Scullin was the first Catholic, as well as the first Irish-Australian, to serve as Prime Minister of Australia. His time in office wasprimarily categorised by the Wall Street Crash of 1929 which transpired just two days after his swearing in, which would herald the beginning of the Great Depression in Australia. Despite this Scullin remained a leadingfigure in the Labor movement throughout his lifetime, and was an éminence grise in various capacities for the party until his retirement from federal parliament in 1949.The son of working-class Irish-immigrants, Scullinspent much of his early life as a laborer and grocer in Ballarat. An autodidact and passionate debater, Scullin made the most of Ballarat's facilities — the public library and South Street Debating Society. He joined theAustralian Labor Party in 1903, beginning a career spanning five decades. He was a political organizer and newspaper editor for the party, and was elected to the Australian House of Representatives first in 1910 andthen again in 1922 until 1949. Scullin quickly established himself as a leading voice in parliament, rapidly rising to become deputy leader of the party in 1927 and then Leader of the Opposition in 1928.After Scullin wona landslide election in 1929, events took a dramatic change with the crisis on Wall Street and the rapid onset of the Great Depression around the world, which hit heavily indebted Australia hard. Scullin and his TreasurerTed Theodore responded by developing several plans during 1930 and 1931 to repay foreign debt, provide relief to farmers and create economic stimulus to curb unemployment based on deficit spending andexpansionary monetary policy. Although the Keynesian Revolution would see these ideas adopted by most Western nations by the end of the decade, in 1931 such ideas were considered radical and the plans werebitterly opposed by many who feared hyperinflation and economic ruin. The still opposition-dominated Australian Senate, and the conservative-dominated boards of the Commonwealth Bank and Loan Council,repeatedly blocked the plans.With the prospect of bankruptcy facing the government, Scullin backed down and instead advanced the Premiers' Plan, a far more conservative measure that met the crisis with severecutbacks in government spending. Pensioners and other core Labor constituencies were severely affected by the cuts, leading to a widespread revolt and multiple defections in parliament. After several months ofinfighting the government collapsed, and was resoundingly defeated by the newly formed United Australia Party at the subsequent 1931 election.Scullin would remain party leader for four more years, losing the 1934election but the party split would not be healed until after Scullin's return to the backbenches in 1935. Scullin became a respected elder voice within the party and leading authority on taxation and government finance,and would eventually play a significant role in reforming both when Labor returned to government in 1941. Although disappointed with his own term of office, he nonetheless lived long enough to see many of hisgovernment's ideas implemented by subsequent governments before his death in 1953.Early lifeScullin was born in Trawalla, Victoria on 18 September 1876. His parents, John and Ann (née Logan) Scullin, were bothIrish Catholics from County Londonderry. His father was a railway labourer, who emigrated to Australia in his 20s. His mother joined her husband in Australia later. James was the fourth of eight children, and grew up ina tight-knit and devoutly Catholic home. James attended the Trawalla State School from 1881 to 1887 and earned an early reputation as an active and quick-witted boy, though never physically robust. Thesecharacteristics would remain with him for life.The family moved to Mount Rowan, Ballarat, in 1887, and the young James attended school at Mount Rowan State School until 12. Thereafter he held various manual"}
+{"doc_id":"doc_140","qid":"","text":"Passage 1:Brian Kennedy (gallery director)Brian Patrick Kennedy (born 5 November 1961) is an Irish-born art museum director who has worked in Ireland and Australia, and now lives and works in the UnitedStates.  He was the director of the Peabody Essex Museum in Salem for 17 months, resigning December 31, 2020. He was the director of the Toledo Museum of Art in Ohio from 2010 to 2019. He was the director of theHood Museum of Art from 2005 to 2010, and the National Gallery of Australia (Canberra) from 1997 to 2004.CareerBrian Kennedy currently lives and works in the United States after leaving Australia in 2005 to directthe Hood Museum of Art at Dartmouth College. In October 2010 he became the ninth Director of the Toledo Museum of Art. On 1 July 2019, he succeeded Dan Monroe as the executive director and CEO of the PeabodyEssex Museum.Early life and career in IrelandKennedy was born in Dublin and attended Clonkeen College. He received B.A. (1982), M.A. (1985) and PhD (1989) degrees from University College-Dublin, where he studiedboth art history and history.He worked in the Irish Department of Education (1982), the European Commission, Brussels (1983), and in Ireland at the Chester Beatty Library (1983–85), Government Publications Office(1985–86), and Department of Finance (1986–89). He married Mary Fiona Carlin in 1988.He was Assistant Director at the National Gallery of Ireland in Dublin from 1989 to 1997. He was Chair of the Irish Association ofArt Historians from 1996 to 1997, and of the Council of Australian Art Museum Directors from 2001 to 2003. In September 1997 he became Director of the National Gallery of Australia.National Gallery of Australia(NGA)Kennedy expanded the traveling exhibitions and loans program throughout Australia, arranged for several major shows of Australian art abroad, increased the number of exhibitions at the museum itself andoversaw the development of an extensive multi-media site.  Although he oversaw several years of the museum's highest ever annual visitation, he discontinued the emphasis of his predecessor, Betty Churcher, onshowing \"blockbuster\" exhibitions.During his directorship, the NGA gained government support for improving the building and significant private donations and corporate sponsorship. However, the initial design for thebuilding proved controversial generating a public dispute with the original architect on moral rights grounds.  As a result, the project was not delivered during Dr Kennedy's tenure, with a significantly altered designcompleted some years later.  Private funding supported two acquisitions of British art, including David Hockney's A Bigger Grand Canyon in 1999, and Lucian Freud's After Cézanne in 2001. Kennedy built on theestablished collections at the museum by acquiring the Holmgren-Spertus collection of Indonesian textiles; the Kenneth Tyler collection of editioned prints, screens, multiples and unique proofs; and the Australian PrintWorkshop Archive. He was also notable for campaigning for the construction of a new \"front\" entrance to the Gallery, facing King Edward Terrace, which was completed in 2010 (see reference to the building projectabove).Kennedy's cancellation of the \"Sensation exhibition\" (scheduled at the NGA from 2 June 2000 to 13 August 2000) was controversial, and seen by some as censorship. He claimed that the decision was due to theexhibition being \"too close to the market\" implying that a national cultural institution cannot exhibit the private collection of a speculative art investor. However, there were other exhibitions at the NGA during histenure, which could have raised similar concerns. The exhibition featured the privately owned Young British Artists works belonging to Charles Saatchi and attracted large attendances in London and Brooklyn. Its mostcontroversial work was Chris Ofili's The Holy Virgin Mary, a painting which used elephant dung and was accused of being blasphemous. The then-mayor of New York, Rudolph Giuliani, campaigned against the exhibition,claiming it was \"Catholic-bashing\" and an \"aggressive, vicious, disgusting attack on religion.\" In November 1999, Kennedy cancelled the exhibition and stated that the events in New York had \"obscured discussion of theartistic merit of the works of art\". He has said that it \"was the toughest decision of my professional life, so far.\"Kennedy was also repeatedly questioned on his management of a range of issues during the AustralianGovernment's Senate Estimates process - particularly on the NGA's occupational health and safety record and concerns about the NGA's twenty-year-old air-conditioning system. The air-conditioning was finallyrenovated in 2003. Kennedy announced in 2002 that he would not seek extension of his contract beyond 2004, accepting a seven-year term as had his two predecessors.He became a joint Irish-Australian citizen in2003.Toledo Museum of ArtThe Toledo Museum of Art is known for its exceptional collections of European and American paintings and sculpture, glass, antiquities, artist books, Japanese prints and netsuke. Themuseum offers free admission and is recognized for its historical leadership in the field of art education.  During his tenure, Kennedy has focused the museum's art education efforts on visual literacy, which he defines as\"learning to read, understand and write visual language.\"   Initiatives have included baby and toddler tours, specialized training for all staff, docents, volunteers and the launch of a website, www.vislit.org. In November2014, the museum hosted the International Visual Literacy Association (IVLA) conference, the first Museum to do so. Kennedy has been a frequent speaker on the topic, including 2010 and 2013 TEDx talks on visualand sensory literacy.Kennedy has expressed an interest in expanding the museum's collection of contemporary art and art by indigenous peoples. Works by Frank Stella, Sean Scully, Jaume Plensa, Ravinder Reddy andMary Sibande have been acquired.  In addition, the museum has made major acquisitions of Old Master paintings by Frans Hals and Luca Giordano.During his tenure the Toledo Museum of Art has announced the returnof several objects from its collection due to claims the objects were stolen and/or illegally exported prior being sold to the museum.  In 2011 a Meissen sweetmeat stand was returned to Germany followed by anEtruscan Kalpis or water jug to Italy (2013), an Indian sculpture of Ganesha (2014) and an astrological compendium to Germany in 2015.Hood Museum of ArtKennedy became Director of the Hood Museum of Art in July2005. During his tenure, he implemented a series of large and small-scale exhibitions and oversaw the production of more than 20 publications to bring greater public attention to the museum's remarkable collections ofthe arts of America, Europe, Africa, Papua New Guinea and the Polar regions. At 70,000 objects, the Hood has one of the largest collections on any American college of university campus. The exhibition, BlackWomanhood: Images, Icons, and Ideologies of the African Body, toured several US venues. Kennedy increased campus curricular use of works of art, with thousands of objects pulled from storage for classes annually.Numerous acquisitions were made with the museum's generous endowments, and he curated several exhibitions: including Wenda Gu: Forest of Stone Steles: Retranslation and Rewriting Tang Dynasty Poetry, SeanScully: The Art of the Stripe, and Frank Stella: Irregular Polygons.PublicationsKennedy has written or edited a number of books on art, including:Alfred Chester Beatty and Ireland 1950-1968: A study in cultural politics,Glendale Press (1988), ISBN 978-0-907606-49-9Dreams and responsibilities: The state and arts in independent Ireland, Arts Council of Ireland (1990), ISBN 978-0-906627-32-7Jack B Yeats: Jack Butler Yeats,1871-1957 (Lives of Irish Artists), Unipub (October 1991), ISBN 978-0-948524-24-0The Anatomy Lesson: Art and Medicine (with Davis Coakley), National Gallery of Ireland (January 1992), ISBN978-0-903162-65-4Ireland: Art into History (with Raymond Gillespie), Roberts Rinehart Publishers (1994), ISBN 978-1-57098-005-3Irish Painting, Roberts Rinehart Publishers (November 1997),  ISBN978-1-86059-059-7Sean Scully: The Art of the Stripe, Hood Museum of Art (October 2008), ISBN 978-0-944722-34-3Frank Stella: Irregular Polygons, 1965-1966, Hood Museum of Art (October 2010), ISBN978-0-944722-39-8Honors and achievementsKennedy was awarded the Australian Centenary Medal in 2001 for service to Australian Society and its art. He is a trustee and treasurer of the Association of Art MuseumDirectors, a peer reviewer for the American Association of Museums and a member of the International Association of Art Critics. In 2013 he was appointed inaugural eminent professor at the University of Toledo andreceived an honorary doctorate from Lourdes University. Most recently, Kennedy received the 2014 Northwest Region, Ohio Art Education Association award for distinguished educator for art education.== Notes==Passage 2:Scott KalvertScott Kalvert (August 15, 1964 – March 5, 2014) was an American film director, known mainly for his 1995 film The Basketball Diaries, starring Leonardo DiCaprio and Mark Wahlberg, and2002's Deuces Wild, starring Stephen Dorff and Brad Renfro.He was also a successful music video director, collaborating with artists such as Cyndi Lauper, Jetboy, Snoop Doggy Dogg, DJ Jazzy Jeff and The Fresh Prince,Bobby Brown, Taylor Dayne, Deep Blue Something, Billy Ocean, Marky Mark and the Funky Bunch, LL Cool J, Samantha Fox, Eric B. & Rakim and Salt 'n' Pepa.Kalvert was found dead in his home in Woodland Hills, LosAngeles on March 5, 2014, from an apparent suicide. He left behind his wife and two daughters.Selected filmographyThe Basketball Diaries (1995)Deuces Wild (2002)Passage 3:Elliot SilversteinElliot Silverstein (bornAugust 3, 1927) is a retired American film and television director. He directed the Academy Award-winning western comedy Cat Ballou (1965), and other films including The Happening (1967), A Man Called Horse(1970), Nightmare Honeymoon (1974), and The Car (1977). His television work includes four episodes of The Twilight Zone (1961–1964).CareerElliot Silverstein was the director of six feature films in the mid-twentiethcentury. The most famous of these by far is Cat Ballou, a comedy-western starring Jane Fonda and Lee Marvin.The other Silverstein films, in chronological order, are The Happening, A Man Called Horse,  NightmareHoneymoon, The Car, and Flashfire.Other work included directing for the television shows The Twilight Zone, The Nurses, Picket Fences, and Tales from the Crypt.While Silverstein was not a prolific director, his filmswere often decorated. Cat Ballou, for instance, earned one Oscar and was nominated for four more. His high quality work was rewarded in 1990 with a Lifetime Achievement Award by the Directors Guild ofAmerica.AwardsIn 1965, at the 15th Berlin International Film Festival, he won the Youth Film Award – Honorable Mention, in the category of Best Feature Film Suitable for Young People for Cat Ballou.He was alsonominated for the Golden Berlin Bear.In 1966, he was nominated for the DGA Award in the category for Outstanding Directorial Achievement in Motion Pictures (Cat Ballou).In 1971, he won the Bronze Wrangler awardat the Western Heritage Awards in the category of Theatrical Motion Picture for A Man Called Horse, along with producer Sandy Howard, writer Jack DeWitt, and actors Judith Anderson, Jean Gascon, Corinna Tsopei andRichard Harris.In 1985, he won the Robert B. Aldrich Achievement Award from the Directors Guild of America.In 1990, he was awarded the DGA Honorary Life Member Award.Personal lifeSilverstein has been marriedthree times, each ending in divorce. His first marriage was to Evelyn Ward in 1962; the couple divorced in 1968. His second marriage was to Alana King. During his first marriage, he was the step-father of DavidCassidy.He currently lives in North Hollywood, Los Angeles. Actively retired, Silverstein has taught film at USC and continues to work on screen plays and other projects.FilmographyTales from the Crypt (TV Series)(1991–94)Picket Fences (TV Series) (1993)Rich Men, Single Women (TV Movie) (1990)Fight for Life (TV Movie) (1987)Night of Courage (TV Movie) (1987)Betrayed by Innocence (TV Movie) (1986)The Firm (TV Series)(1982–1983)The Car (1977)Nightmare Honeymoon (1974)A Man Called Horse (1970)The Happening (1967)Cat Ballou (1965)Kraft Suspense Theatre (TV Series) (1963–64)The Defenders (TV Series) (1962–64)Arrestand Trial (TV Series) (1964)The Doctors and the Nurses (TV Series) (1962–64)Twilight Zone (TV Series) (1961–64)Breaking Point (TV Series) (1963)Dr. Kildare (TV Series) (1961–63)The Dick Powell Theatre (TVSeries) (1962)Belle Sommers (TV Movie) (1962)Naked City (TV Series) (1961–62)Have Gun - Will Travel (TV Series) (1961)Route 66 (TV Series) (1960–61)Checkmate (TV Series) (1961)The Westerner (TV Series)(1960)Assignment: Underwater (TV Series) (1960)Black Saddle (TV Series) (1960)Suspicion (TV Series) (1958)Omnibus (TV Series) (1954–56)Passage 4:John Caspar WildJohn Caspar Wild (or J.C. Wild) (1804 –August 12, 1846) was a Swiss-American painter and lithographer. He created early city views and landscapes of Philadelphia, Cincinnati, St. Louis, and Davenport, Iowa.Wild specialized in hand-colored lithographs.These views, particularly the Valley of the Mississippi Illustrated, were some of the first depictions of the American West.Early lifeWild was born in Richterswil in the Canton of Zürich in Switzerland.CareerHe moved toParis, France. In 1832, he moved to Philadelphia, Pennsylvania. He later moved to St. Louis, Missouri. In summer 1844, he moved a final time, to Davenport, Iowa, a small town in the upper Mississippi River Valley.Wild fell gravely ill with tuberculosis in the summer of 1846, and he was taken in by Davenport millinery businessman George L. Webb. On his deathbed, Wild reflected upon his childhood and said that he yearned to diein homeland in Switzerland, but it was a wish that was to not be fulfilled. Wild died on August 12, 1846. Wild was laid to rest nearly on the banks of the river, which he had painted for years. Wild's grave site wasunmarked for decades.Notable collectionsUniversity of Pennsylvania, 1842, from collection of the Library Company of PhiladelphiaPennsylvania Hospital, circa 1840, Library Company of PhiladelphiaFurther readingReps,John William, and J. C. Wild. 2006. John Caspar Wild: painter and printmaker of nineteenth-century urban America. St. Louis: Missouri Historical Society Press. ISBN 1-883982-55-3 Designed by Steve Hartmanof  Creativille, Inc. [1]Wild, J. C., and Lewis Foulk Thomas. 1948. The valley of the Mississippi: illustrated in a series of views, accompanied with historical descriptions. St. Louis, Mo: Joseph Garnier. (this is a reprint;original edition published 1841–2)Passage 5:G. MarthandanG. Marthandan is an Indian film director who works in Malayalam cinema. His debut film is Daivathinte Swantham CleetusEarly lifeG. Marthandan was born toM. S. Gopalan Nair and P. Kamalamma at Changanassery in Kottayam district of Kerala. He did his schooling at NSS Boys School Changanassery and completed his bachelor's degree in Economics at NSS Hindu College,Changanassery.CareerAfter completing his bachelor's degree, Marthandan entered films as an associate director with the unreleased film Swarnachamaram directed by Rajeevnath in 1995. His next work was BritishMarket, directed by Nissar in 1998. He worked as an associate director for 18 years.He made his directional debut with Daivathinte Swantham Cleetus in 2013, starring Mammooty in the lead role. His next movie was in2015, Acha Dhin, with Mammooty and Mansi Sharma in the lead roles. Daivathinte Swantham Cleetus and Paavada were box office successes.FilmographyAs directorAs associate directorAs actorTV serialKanyadanam(Malayalam TV series) - pilot episodeAwardsRamu Kariat Film Award - Paavada (2016)JCI Foundation Award - Daivathinte Swantham Cleetus (2013)Passage 6:Abhishek SaxenaAbhishek Saxena is an Indian Bollywoodand Punjabi film director who directed the movie Phullu. The Phullu movie was released in theaters on 16 June 2017, in which film Sharib Hashmi is the lead role. Apart from these, he has also directed Patiala Dreamz,this is a Punjabi film. This film was screened in cinemas in 2014.Life and backgroundAbhishek Saxena was born on 19 September 1988 in the capital of India, Delhi, whose father's name is Mukesh Kumar Saxena.Abhishek Saxena married Ambica Sharma Saxena on 18 December 2014. His mother's name is Gurpreet Kaur Saxena.Saxena started his career with a Punjabi film Patiala Dreamz, after which he has also directed aHindi film Phullu, which has appeared in Indian cinemas on 16 June 2017.CareerAbhishek Saxena made his film debut in 2011 as an assistant director on Doordarshan with Ashok Gaikwad. He made his first directed filmPatiala Dreamz, this is a Punjabi movie.After this, he has also directed a Hindi film Phullu in 2017, which has been screened in cinemas on 16 June 2017. Saxena is now making his upcoming movie \"India Gate\".In 2018Abhishek Saxena has come up with topic of body-shaming in his upcoming movie Saroj ka Rishta. Where Sanah Kapoor will play the role of Saroj and actors Randeep Rai and Gaurav Pandey will play the two men inSaroj's life.Yeh Un Dinon ki Baat Hai lead Randeep Rai will make his Bollywood debut. Talking about the film, director Abhishek Saxena told Mumbai Mirror, \"As a fat person, I have noticed that body-shaming doesn’thappen only with those who are on the heavier side, but also with thin people. The idea germinated from there.\"Career as an Assistant DirectorApart from this, he has played the role of assistant director in many filmsand serials in the beginning of his career, in which he has a television serial in 2011, Doordarshan, as well as in 2011, he also assisted in a serial of Star Plus.In addition to these serials, he played the role of assistantdirector in the movie \"Girgit\" which was made in Telugu language.FilmographyAs DirectorPassage 7:Deuces WildDeuces Wild is a 2002 American crime drama film directed by Scott Kalvert and written by Paul Kimatianand Christopher Gambale, who also created the story. The film stars Stephen Dorff, Brad Renfro, James Franco, Matt Dillon, and Fairuza Balk.Martin Scorsese was originally the executive producer (as a favor to PaulKimatian), but he eventually removed his name from this film. It was the final film of cinematographer John A. Alonzo before his death in 2001.PlotLeon and Bobby Anthony are brothers and members of the Deuces, aBrooklyn street gang who protect their neighborhood of Sunset Park. Ever since the death of their youngest brother Alphonse \"Allie Boy\" from a drug overdose at the hands of Marco, the leader of the Vipers, aneighboring rival street gang, they fiercely keep drugs off their turf. This puts them in strong opposition to the Vipers, who want to continue to sell drugs in the neighborhood. On the eve of Marco's return from athree-year stint in prison, a gang war seems imminent, as the Deuces violently retaliate with suspicion against Vipers muscleman and bookie Philly, who ekes out a vacant nightclub to establish business down the block.Marco, along with hoping to re-establish his drug pushing enterprise, plans revenge against Leon, whom he believes ratted him out to the police for selling the killing \"hot shot\" to Alphonse.Bobby falls for a new girl whomoves in across the street, Annie, the uninvolved younger sister of Jimmy \"Pockets\", a Vipers member and heroin dealer, who takes care of their elderly dementia ailing mother. Their attraction for each othercomplicates the gang rivalry, especially with Leon, who mistakenly fears, feels Annie may be using Bobby. After jumping Deuces member Jackie in kind for the earlier attack, causing more gang fights in theneighborhood, Marco begins his activities again and allows the Vipers to rampage and terrorize residents across the block to establish his return for good. Later, Marco and the Vipers intimidate Bobby while on a date atthe beach with Annie, before beating and raping Betsy (Leon's girlfriend) to push him over the edge.After Leon runs a car through the Viper's main hangout, neighborhood Mafioso Fritzy orders Leon and Marco to makeamends; unopposed to Marco's drug dealing, knowing he can profit off of his racket and without appeal to Leon's cause to keep the neighborhood safe, Leon and Marco agree to a gang war, much to Fritzy'sdisappointment. Annie defends her mother from another one of Jimmy's outbursts with a kitchen knife and having enough of their troubled life in Brooklyn, wishes to run away with Bobby and her mother. As the Deuces"}
+{"doc_id":"doc_141","qid":"","text":"Passage 1:Amaury I de MontfortAmaury I de Montfort (died c. 1053) was Lord of Montfort, son of Guillaume de Montfort of Hainaut, the first Lord of Montfort. The castle of Montfort l'Amaury, of which he started theconstruction, was completed by his son Simon I de Montfort, who succeeded him as Lord of Montfort. He married Bertrade.He and his wife had three children:Simon I de Montfort (died 25 September 1087)Mainier deMontfort, Seigneur d'Épernon (died before 1091)Eva (died 23 Jan 1099), married William Crispin (died 8 January 1074), son of Gilbert I CrispinPassage 2:Beatrice, Countess of MontfortBeatrice de Montfort, Countess ofMontfort-l'Amaury (December 1249 – 9 March 1312) was a ruling sovereign countess of Montfort from 1249 until 1312. She was also countess of Dreux by marriage to Robert IV, Count of Dreux. She was the ancestorof the Dukes of Brittany from the House of Montfort-Dreux which derived its name from her title.LifeBeatrice was born sometime between December 1248 and 1249, the only child of John I of Montfort, Count of Dreuxand Jeanne, Dame de Chateaudun.ReignIn 1249, Beatrice's father died in Cyprus, while participating in the Seventh Crusade. Thus, Beatrice succeeded her father as ruling countess of Montfort at the age of about oneyear old.In 1251, Jeanne married her second husband, John II of Brienne, Grand Butler of France. Jeanne and John had a daughter, Blanche de Brienne, Baroness Tingry (1252–1302); Blanche married William II deFiennes, Baron of Tingry. Jeanne died sometime after 1252, leaving Beatrice and her half-sister Blanche as her co-heiresses.Beatrice was married to Robert IV, Count of Dreux, Braine and Montfort-l'Amaury in 1260,when she was about eleven years old. He was the son of John I, Count of Dreux and Braine, and Marie de Bourbon. As was the custom for female rulers at this point in time, he became the co-ruler with Beatrice andCount of Montfort by right of his wife after their wedding.DeathBeatrice died on 9 March 1312 at the age of around sixty-three. She was buried in the Abbaye de Haute-Bruyère.IssueBeatrice and Robert had:Marie ofDreux (1261/62–1276), in 1275 married Mathieu de MontmorencyYolande de Dreux (1263–1323), Countess of Montfort, married, firstly, on 15 October 1285, King Alexander III of Scotland, and, secondly, in 1292,Arthur II, Duke of BrittanyJohn II of Dreux (1265–1309)Joan of Dreux, Countess of Braine, married, firstly, Jean IV de Roucy, and, secondly, John of BarBeatrice of Dreux, abbess of Port-Royal-des-Champs(1270–1328)Robert of Dreux, seigneur of Chateau-du-Loire.AncestryPassage 3:Simon de Montfort, 5th Earl of LeicesterSimon de Montfort, 5th Earl of Leicester (c. 1175 – 25 June 1218), known as Simon IV (or V) deMontfort and as Simon de Montfort the Elder, was a French nobleman and knight of the early 13th century. He is widely regarded as one of the great military commanders of the Middle Ages. He took part in the FourthCrusade and was one of the prominent figures of the Albigensian Crusade. Montfort is mostly noted for his campaigns in the latter, notably for his triumph at Muret. He died at the Siege of Toulouse in 1218. He was lordof Montfort-l'Amaury from 1188 to his death and Earl of Leicester in England from 1204. He was also Viscount of Albi, Béziers and Carcassonne from 1213, as well as Count of Toulouse from 1215.Early lifeHe was theson of Simon de Montfort (d. 1188), lord of Montfort l'Amaury in France near Paris, and Amicia de Beaumont, daughter of Robert de Beaumont, 3rd Earl of Leicester. He succeeded his father as lord of Montfort in 1181;in 1190 he married Alix de Montmorency, the daughter of Bouchard III de Montmorency. She shared his religious zeal and would accompany him on his campaigns.In 1199, while taking part in a tournament atEcry-sur-Aisne, he took the cross in the company of Count Thibaud de Champagne and went on the Fourth Crusade. The crusade soon fell under Venetian control, and was diverted to Zara on the Adriatic Sea. PopeInnocent III had specifically warned the Crusaders not to attack fellow Christians; Simon opposed the attack and urged a waiting Zara delegation not to surrender, claiming the Frankish troops would not support theVenetians in this. As a result, the delegation returned to Zara and the city resisted. Since most Frankish lords were in debt to the Venetians, they did support the attack and the city was sacked in 1202. Simon did notparticipate in this action and was one of its most outspoken critics. He and his associates, including Abbot Guy of Vaux-de-Cernay, left the crusade when the decision was taken to divert once more to Constantinople toplace Alexius IV Angelus on the throne. Instead, Simon and his followers travelled to the court of King Emeric of Hungary and thence to Acre.His mother was the eldest daughter of Robert of Beaumont, 3rd Earl ofLeicester. After the death of her brother Robert de Beaumont, 4th Earl of Leicester without children in 1204, she inherited half of his estates and a claim to the Earldom of Leicester. The division of the estates waseffected early in 1207, by which the rights to the earldom were assigned to Amicia and Simon. However, King John of England took possession of the lands himself in February 1207, and confiscated its revenues. Later,in 1215, the lands were passed into the hands of Simon's cousin, Ranulph de Meschines, 4th Earl of Chester.Later lifeSimon remained on his estates in France before taking the cross once more, this time againstChristian dissidence.  He participated in the initial campaign of the Albigensian Crusade in 1209, and after the fall of Carcassonne, was elected leader of the crusade and viscount of the confiscated territories of theRaymond-Roger Trencavel family.Simon was rewarded with the territory conquered from Raymond VI of Toulouse, which in theory made him the most important landowner in Occitania. He became feared for hisruthlessness. In 1210 he burned 140 Cathars in the village of Minerve who refused to recant – though he spared those who did. In another widely reported incident, prior to the sack of the village of Lastours, he broughtprisoners from the nearby village of Bram and had their eyes gouged out and their ears, noses and lips cut off. One prisoner, left with a single good eye, led them into the village as a warning.Simon's part in the crusadehad the full backing of his feudal superior, the King of France, Philip Augustus. However, historian Alistair Horne, in his book Seven Ages of Paris, states that Philip \"turned a blind eye to Simon de Montfort's crusade... ofwhich he disapproved, but readily accepted the spoils to his exchequer\". Following the latter's success in winning Normandy from John Lackland of England, he was approached by Innocent III to lead the crusade butturned this down. He was heavily committed to defending his gains against John and against the emerging alliance among England, the Empire and Flanders.However, Philip claimed full rights over the lands of thehouse of St Gilles; some historians believe his dispatch of de Montfort and other northern barons to be, at the very least, an exploratory campaign to reassert the rights of the French Crown in Le Midi. Philip may wellalso have wanted to appease the papacy after the long dispute over his marriage, which had led to excommunication. He also sought to counter any adventure by King John of England, who had marriage and fealty tiesalso with the Toulouse comtal house. Meanwhile, others have assessed Philip's motives to include removing over-mighty subjects from the North, and distracting them in adventure elsewhere, so they could not threatenhis increasingly successful restoration of the power of the French crown in the north.Simon is described as a man of unflinching religious orthodoxy, deeply committed to the Dominican order and the suppression ofheresy. Dominic Guzman, later Saint Dominic, spent several years during the war in the Midi at Fanjeau, which was Simon's headquarters, especially in the winter months when the crusading forces were depleted.Simon had other key confederates in this enterprise, which many historians view as a conquest of southern lands by greedy men from the north. Many of them had been involved in the Fourth Crusade. One was GuyVaux de Cernay, head of a Cistercian abbey not more than twenty miles from Simon's patrimony of Montfort Aumary, who accompanied the crusade in the Languedoc and became bishop of Carcassonne. Meanwhile,Peter de Vaux de Cernay, the nephew of Guy, wrote an account of the crusade. Historians generally consider this to be propaganda to justify the actions of the crusaders; Peter justified their cruelties as doing \"the workof God\" against morally depraved heretics. He portrayed outrages committed by the lords of the Midi as the opposite.Simon was an energetic campaigner, rapidly moving his forces to strike at those who had brokentheir faith with him – and there were many, as some local lords switched sides whenever the moment seemed propitious. The Midi was a warren of small fortified places, as well as home to some highly fortified cities,such as Toulouse, Carcassonne and Narbonne. Simon showed ruthlessness and daring as well as being particularly brutal with those who betrayed their pledges – as for example, Martin Algai, lord of Biron. In 1213Simon defeated Peter II of Aragon at the Battle of Muret. This completed the defeat of the Albigensians, but Simon carried on the campaign as a war of conquest. He was appointed lord over all the newly acquiredterritory as Count of Toulouse and Duke of Narbonne (1215). He spent two years in warfare in many parts of Raymond's former territories; he besieged Beaucaire, which had been taken by Raymond VII of Toulouse,from 6 June 1216 to 24 August 1216.Raymond spent most of this period in the Crown of Aragon, but corresponded with sympathisers in Toulouse. There were rumours in September 1216 that he was on his way toToulouse. Abandoning the siege of Beaucaire, Simon partially sacked Toulouse, perhaps intended as punishment of the citizens. Raymond returned in October 1217 to take possession of Toulouse. Simon hastened tobesiege the city, meanwhile sending his wife, Alix de Montmorency, with bishop Foulques of Toulouse and others, to the French court to plead for support. After maintaining the siege for nine months, Simon was killedon 25 June 1218 while combating a sally by the besieged. His head was smashed by a stone from a mangonel, operated, according to one source, by the donas e tozas e mulhers (\"ladies and girls and women\") ofToulouse. He was buried in the Cathedral of Saint-Nazaire at Carcassonne. His body was later moved by one of his sons to be reinterred at Montfort l'Amaury. A tombstone in the south transept of the cathedral isinscribed \"of Simon de Montfort\".ChildrenSimon and Alix had:Amaury de Montfort married Beatrix of Viennois, died in 1241 returning from the Barons' CrusadeSimon de Montfort, 6th Earl of Leicester married Eleanor ofEngland, killed at the Battle of Evesham on 4 August 1265Guy de Montfort, Count of Bigorre married Petronille, Countess of Bigorre, on 6 November 1216 and died at the siege of Castelnaudary on 20 July 1220Amiciede Montfort, married Gaucher de Joigny, founded the convent at Montargis and died there in 1252Petronilla, became abbess of the Cistercian nunnery of St. Antoine'sInheritanceHis French estates passed to his eldestson, Amaury, while his second son, Simon, eventually gained possession of the earldom of Leicester and played a major role in the reign of Henry III of England. He led the barons' rebellion against Henry during theSecond Barons' War, and subsequently became the de facto ruler of England. During his rule, de Montfort called the first directly elected parliament in medieval Europe, outside of Italian communes. For this reason, deMontfort is regarded today as one of the progenitors of modern parliamentary democracy.NotePassage 4:Rudolf III von MontfortRudolf III von Montfort (born between 1260 and 1275; died 27 or 28 March 1334 inArbon) was bishop of Chur (1322–1325) and Konstanz (1322–1334). He was born into the young family of Montfort-Feldkirch of the Swabian noble family of Montfort.LifeFamilyRudolf was the son of Rudolf II († 1302),Count of Montfort-Feldkirch, a collateral line of the County palatines of Tübingen. His mother was Agnes von Grüningen, daughter of Count Hartmann II von Grüningen. In 1303, he studied law in Bologna. After the earlydeath of their brother Hugo IV († 1310), Rudolf and his younger brother Ulrich II – himself a cleric († 1350) – became regents for their underage nephews. Rudolf's sister Elisabeth was married to the Steward Eberhardvon Waldburg.Spiritual and Political WorksRudolf's clerical career was largely similar to his uncle Friedrich von Montfort's († 1290): He became canon in 1283 and provost in Chur in 1307. In 1310 he was appointed vicargeneral and deputy of the bishop of Chur. After the death of Chur's bishop Siegfried von Gelnhausen († 1321), Rudolf was appointed his successor and took office on 19 July 1322. However, Pope John XXII appointedhim bishop of Konstanz shortly after, in October of the same year. He retained the position in Chur as administrator until he was replaced by the Konstanz Canon Johann Pfefferhard on 12 July 1325. Between 1330 and1333 he was also administrator of the Abbey of Saint Gall, where some years prior, Rudolf's uncle Wilhelm von Montfort († 1301) had been presiding as prince-abbot between 1281 and 1301.After the split election of1318, the Konstanz episcopate had been vacant for four years. As a result, when Rudolf took office, the financial situation of the bishopric was already badly damaged. Rudolf began to focus on the financial bettermentof the bishopric and the ecclesiastical life in his diocese.In the struggle for the throne between Louis the Bavarian and the Habsburg Frederick the Fair, Rudolf and his brother Ulrich sided – against tradition of the countsof Montfort – with Habsburg. Regarding the dispute between King Louis and the pope, Rudolf and his cathedral chapter sided with the pope. Rudolf was caught in the crossfire when the imperial city of Konstanz sidedwith King Louis and the king made peace with the Habsburgs. He eventually yielded to the pressure in 1332 and agreed to receive the jura regalia. In 1333, the pope placed an anathema on him and lifted him from hisadministrative position in the abbey of Saint Gall. Since he had been excommunicated, after his death, Rudolf was buried in unhallowed ground in Arbon in 1334. Bishop Heinrich III of Brandis had his remains moved tothe Konstanz Minster when he started his tenure in 1357.Reading listMontfort, Rudolf von (Feldkirch) in  German, French and Italian in the online Historical Dictionary of Switzerland. in: Historisches Lexikon derSchweiz.Brigitte Degler-Spengler (2005), \"Rudolf von Montfort\", Neue Deutsche Biographie (in German), vol. 22, Berlin: Duncker & Humblot, pp. 175–176; (full text online) (NDB) 22, Duncker & Humblot, Berlin 2005,ISBN 3-428-11203-2, pp. 175–176. (Digitalisat).Alexander Cartellieri (1907), \"Rudolf, Graf von Montfort\", Allgemeine Deutsche Biographie (ADB) (in German), vol. 53, Leipzig: Duncker & Humblot, pp. 582–584 (ADB).Band 53, Duncker & Humblot, Leipzig 1907, S. 582–584.Bihrer, Andreas: Rudolf von Montfort. In: Biographisch-Bibliographisches Kirchenlexikon (BBKL) 23, Bautz, Nordhausen 2004, ISBN 3-88309-155-3, col.1215–1221.== Notes and references ==Passage 5:Guillaume de Montfort of HainautGuillaume de Montfort, also known as Guillaume of Hainaut, was a French nobleman of the end of the 10th century, the first Lord ofMontfort-l'Amaury.He was succeeded as Lord of Montfort-l'Amaury by his son Amaury I de Montfort.Guillaume is possibly the son of Amaury, Count of Valenciennes.BibliographyHadrot, Marie-Huguette (2002). Montfortl'Amaury: de l'an mil à nos jours (in French). Paris: Somogy. p. 191. ISBN 2-85056-563-6.Dion, Adolphe de (1895). Le comte palatin Hugues de Beauvais. Memoirs of the Archaeological Society of Rambouillet.Tours.Passage 6:John IV, Duke of BrittanyJohn IV the Conqueror KG (in Breton Yann IV, in French Jean IV, and traditionally in English sources both John of Montfort and John V) (1339 – 1 November 1399), was Duke ofBrittany and Count of Montfort from 1345 until his death and 7th Earl of Richmond from 1372 until his death.Ordinal numberHe was the son of John of Montfort and Joanna of Flanders. His father claimed the title Dukeof Brittany, but was largely unable to enforce his claim for more than a brief period. Because his father's claim to the title was disputed, with only the English king recognising it, the subject of this article is oftennumbered in French sources as \"John IV\" and his father as simply \"John of Montfort\" (Jean de Montfort), while in English sources he is known as  \"John V\". However, the epithet of \"The Conqueror\" makes his identityunambiguous.ConquestThe first part of his rule was tainted by the Breton War of Succession, fought by his father against his cousin Joanna of Penthièvre and her husband Charles of Blois. With French military supportCharles was able to control most of Brittany. After his father's death, John's mother Joanne attempted to continue the war in the name of her baby son. She became known as \"Jeanne la Flamme\" (Fiery Joanna) for herfiery personality. However, she was eventually forced to retreat with her son to England to ask for the aid of Edward III. She was later declared insane and imprisoned in Tickhill Castle in 1343. John and his sister Joanof Brittany were taken into the King's household afterwards.John returned to Brittany to enforce his claim, with English help. In 1364, John won a decisive victory against the House of Blois in the Battle of Auray, withthe support of the English army led by John Chandos. His rival Charles was killed in the battle and Charles's widow Joanna was forced to sign the Treaty Guérande on 12 April 1365. In the terms of the treaty, Joannagave up her rights to Brittany and recognized John as sole master of the duchy.Power strugglesHaving achieved victory with English support (and having married into the English royal family), Duke John IV wasconstrained to confirm several English barons in positions of power within Brittany, especially as controllers of strategically important strongholds in the environs of the port of Brest, which gave the English militaryaccess to the peninsula, and which took revenue from Brittany to the English crown.  This English power-base in Brittany was resented by the Breton aristocrats and the French monarchy, as was John's use of Englishadvisers. However, John IV declared himself a vassal to king Charles V of France, not to Edward III of England. Nevertheless, this gesture did not placate his critics, who saw the presence of rogue English troops andlords as destabilizing. Faced with the defiance of the Breton nobility, John IV was unable to muster military support against King Charles V, who took the opportunity to exert pressure over Brittany. Without localsupport, in 1373, he was once more forced into exile to England.However, King Charles V made the mistake of attempting to completely adjoin the duchy of Brittany to France. Bertrand de Guesclin was sent to makethe duchy submit to the French king by force of arms in 1378. The Breton barons revolted against the takeover and invited Duke John IV back from exile in 1379.  He landed in Dinard and took control of the duchy oncemore with the support of local barons. An English army under Thomas of Woodstock, 1st Duke of Gloucester, landed at Calais and marched towards Nantes to take control of the city. However, John IV subsequentlyreconciled with the new French king, Charles VI of France, and paid off the English troops to avoid a confrontation. He ruled his duchy thereafter in peace with the French and English crowns for over a decade,maintaining contact with both, but minimizing open links to England. Between 1380 and 1385, John IV built the Château de l'Hermine (Castle of Hermine) in Vannes, which became a defensive fortress and dwelling forthe Dukes of Brittany. He built it in order to benefit from the central position of the city of Vannes in his duchy. In 1397, Duke John IV finally managed to extricate Brest from English control by using diplomatic pressureand financial inducements.Clisson affairIn 1392 an attempt was made to kill Olivier V de Clisson, the Constable of France, in Paris who was an old enemy of the duke's. The attacker, Pierre de Craon, fled to Brittany.John was assumed to be behind the plot, and Charles VI took the opportunity to attack Brittany once more. Accompanied by the Constable, he marched on Brittany, but before he reached the duchy the king was seizedwith madness. Relatives of Charles VI blamed Clisson, and instituted legal proceedings against him to undermine his political position. Stripped of his status as Constable, Clisson now took refuge in Brittany himself, and"}
+{"doc_id":"doc_142","qid":"","text":"Passage 1:TjuyuThuya (sometimes transliterated as Touiyou, Thuiu, Tuya, Tjuyu or Thuyu) was an Egyptian noblewoman and the mother of queen Tiye, and the wife of Yuya. She is the grandmother of Akhenaten, andgreat grandmother of Tutankhamun.BiographyThuya is believed to be a descendant of Queen Ahmose-Nefertari, and she held many official roles in the interwoven religion and government of ancient Egypt. She wasinvolved in many religious cults; her titles included 'Singer of Hathor' and 'Chief of the Entertainers' of both Amun and Min. She also held the influential offices of Superintendent of the Harem of the god Min of Akhminand of Amun of Thebes.  She married Yuya, a powerful ancient Egyptian courtier of the Eighteenth Dynasty.  She is believed to have died in around 1375 BC in her early to mid 50s.ChildrenYuya and Thuya had adaughter named Tiye, who became the Great Royal Wife of Pharaoh Amenhotep III. The great royal wife was the highest Egyptian religious position, serving alongside of the pharaoh in official ceremonies andrituals.Yuya and Thuya also had a son named Anen, who carried the titles Chancellor of Lower Egypt, Second Prophet of Amun, sm-priest of Heliopolis and Divine Father.They also may have been the parents of Ay, anEgyptian courtier active during the reign of pharaoh Akhenaten who became pharaoh after the death of Tutankhamun. However, there is no conclusive evidence regarding the kinship of Yuya and Ay, although certainly,both men came from Akhmim.TombThuya was interred in tomb KV46 in the Valley of the Kings, together with her husband Yuya, where their largely intact burial was found in 1905. It was the best-preserved tombdiscovered in the Valley before that of Tutankhamun, Thuya's great-grandson. The tomb was discovered by a team of workmen led by archaeologist James Quibell on behalf of the American millionaire Theodore M.Davis. Though the tomb had been robbed in antiquity, much of its contents were still present, including beds, boxes, chests, a chariot, and the sarcophagi, coffins, and mummies of the two occupants.Thuya's largegilded and black-painted wooden sarcophagus was placed against the south wall of the tomb. It is rectangular, with a lid shaped like the sloping roof of the per-wer shrine of Upper Egypt, and sits on ornamental sledgerunners, their non-functionality underscored by the three battens attached below them. Ancient robbers had partially dismantled it to access her coffins and mummy, placing its lid and one long side on a bed on theother side of the tomb; the other long side had been leaned against the south wall. Her outer gilded anthropoid coffin had been removed, its lid placed atop the beds, and the trough put into the far corner of the tomb;the lid of her second (innermost) coffin, also gilded, had been removed and placed to one side although the trough and her mummy remained inside the sarcophagus. Quibell suggests this is due to the robbers havingsome difficulty in removing the lid of this coffin.MummyThuya's mummified body was found covered with a large sheet of linen, knotted at the back and secured by four bandages. These bands were covered with resinand opposite each band were her gilded titles cut from gold foil. The resin coating on the lower layers of bandages preserved the impression of a large broad collar. The mummy bands that had once covered herwrapped mummy were recovered above the storage jars on the far side of the room.The first examination of her body was conducted by Australian anatomist Grafton Elliot Smith. He found her to be an elderly womanof small stature, 1.495 metres (4.90 ft) in height, with white hair. Both of her earlobes had two piercings. Her arms are straight at her sides with her hands against the outside of her thighs. Her embalming incision isstitched with thread, to which a carnelian barrel bead is attached at the lower end; her body cavity is stuffed with resin-soaked linen. When Dr. Douglas Derry, (who later conducted the first examination ofTutankhamun's mummy) assisting Smith in his examination, exposed Thuya's feet to get an accurate measurement of her height, he found her to be wearing gold foil sandals. Smith estimated her age at more than 50years based on her outward appearance alone. Recent CT scanning has estimated her age at death to be 50–60 years old. Her brain was removed, though no embalming material was inserted, and both nostrils werestuffed with linen. Embalming packs had been placed into her eye sockets, and subcutaneous filling had been placed into her mid and lower face to restore a lifelike appearance; embalming material had also been placedinto her mouth and throat. Her teeth were in poor condition at the time of her death, with missing molars. Heavy wear and abscesses had been noted in earlier x-rays. The scan revealed that she had severe scoliosiswith a Cobb angle of 25 degrees. No cause of death could be determined. Her mummy has the inventory number CG 51191.Archaeological items pertaining to ThuyaPassage 2:Joan Holland, Duchess of BrittanyLadyJoan Holland (1350 – October 1384) was Duchess of Brittany as the second wife of John IV, Duke of Brittany. She was the daughter of Joan of Kent and Thomas Holland, 1st Earl of Kent. Her mother's second husbandwas Edward the Black Prince, and the child of that marriage was King Richard II of England.Joan Holland's marriage to John IV took place in London in May 1366, but without the approval of King Edward III of England,Joan's step-grandfather, who claimed overlordship of Brittany. The couple had no children.Joan's death, in her thirties, was politically inexpedient. In 1386, two years afterwards, John IV married Joan of Navarre, laterthe queen of King Henry IV of England.Passage 3:Louisa Montagu Douglas Scott, Duchess of BuccleuchLouisa Jane Montagu Douglas Scott, Duchess of Buccleuch and Queensberry  (26 August 1836 – 16 March 1912)was the daughter of James Hamilton, 1st Duke of Abercorn.  In 1884, she became the Duchess of Buccleuch and Duchess of Queensberry, the wife of William Henry Walter Montagu Douglas Scott, 6th Duke of Buccleuchand 8th Duke of Queensberry. She was the paternal grandmother of Princess Alice, Duchess of Gloucester, and of Marian Louisa, Lady Elmhirst, as well as a maternal great-grandmother of Prince William of Gloucesterand Prince Richard, Duke of Gloucester, and a great-great-grandmother of Sarah, Duchess of York. Diana, Princess of Wales, is one of her great-great-great-nieces.Early life, marriage, and familyLouisa Jane Hamiltonwas born on Friday 26 August 1836 in Brighton, Sussex, England, the third child of fourteen born to James Hamilton, 1st Duke of Abercorn, and the former Lady Louisa Russell, daughter of John Russell, 6th Duke ofBedford.She married William Montagu Douglas Scott, Earl of Dalkeith, on 22 November 1859 in London. Lord Dalkeith was the eldest son of the Walter Montagu Douglas Scott, 5th Duke of Buccleuch, and his wife, theformer Lady Charlotte Thynne. They had six sons and two daughters:Walter Henry Montagu Douglas Scott, Earl of Dalkeith (17 January 1861 – 18 September 1886)John Charles Montagu Douglas Scott, 7th Duke ofBuccleuch (30 March 1864 – 19 October 1935)Lord George William Montagu Douglas Scott (31 August 1866 – 23 February 1947); married on 30 April 1903 Lady Elizabeth Emily Manners (daughter of John Manners, 7thDuke of Rutland and Janetta Hughan) and had issueLord Henry Francis Montagu Douglas Scott (15 January 1868 – 19 April 1945)Lord Herbert Andrew Montagu Douglas Scott (30 November 1872 – 17 June 1944);married 26 April 1905 Marie Josephine Edwards and had issue, maternal grandfather of Sarah, Duchess of YorkLady Katharine Mary Montagu Douglas Scott (25 March 1875 – 7 March 1951); married Thomas Brand, 3rdViscount Hampden, and had issueLady Constance Anne Montagu Douglas Scott (10 March 1877 – 7 May 1970); married on 21 January 1908 The Hon. Douglas Halyburton Cairns (son of Hugh Cairns, 1st Earl Cairns andMary Harriet McNeill) and had issueLord Francis George Montagu Douglas Scott (1 November 1879 – 26 July 1952); married on 11 February 1915 Lady Eileen Nina Evelyn Sibell Elliot-Murray-Kynynmound (daughter ofGilbert Elliot-Murray-Kynynmound, 4th Earl of Minto, and Lady Mary Caroline Grey) and had issueCareerShe served as Mistress of the Robes to Queen Victoria from 1885 – 1892 (Conservative), and again from 1895 –1901. She was appointed Mistress of the Robes to Queen Alexandra in 1901, a position in which she served until her death in 1912.DeathThe duchess died on Saturday 16 March 1912, in her 76th year, at DalkeithPalace, Midlothian, Scotland.  She was survived by her husband, and six of her children and their families.She was buried on Wednesday 20 March 1912 in the Buccleuch family crypt in St. Mary's Church, DalkeithPalace, Midlothian, Scotland.Titles, styles, and honours16 April 1884 – 1912: The Duchess of Buccleuch and QueensberryHonours1885: Invested as Lady, Royal Order of Victoria and Albert (VA), 3rd Class1885 – 1892and 1895 – 1901:  Mistress of the Robes to Queen Victoria1901 – 1912: Mistress of the Robes to Queen AlexandraAncestryPassage 4:Hubba bint HulailHubba bint Hulail (Arabic: \u0000\u0000\u0000 \u0000\u0000\u0000 \u0000\u0000\u0000\u0000) was thegrandmother of Hashim ibn 'Abd Manaf, thus the great-great-great-grandmother of the Islamic prophet Muhammad.BiographyHubbah was the daughter of Hulail ibn Hubshiyyah ibn Salul ibn Ka’b ibn Amr al-Khuza’i ofBanu Khuza'a who was the trustee and guardian of the Ka‘bah (Arabic: \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000, 'Cube'). She married Qusai ibn Kilab and after her father died, the keys of the Kaaba were committed to her. Qusai, accordingto Hulail's will, had the trusteeship of the Kaaba after him.Hubbah never gave up ambitious hopes for the line of her favourite son Abd Manaf. Her two favourite grandsons were the twin sons Amr and Abd Shams, of‘Ātikah bint Murrah. Hubbah hoped that the opportunities missed by Abd Manaf would be made up for in these grandsons, especially Amr, who seemed much more suitable for the role than any of the sons of Abd al-Dar.He was dear to the ‘ayn (Arabic: \u0000\u0000\u0000\u0000\u0000, eye) of his grandmother Hubbah.FamilyQusai ibn Kilab had four sons by Hubbah: Abd-al-Dar ibn Qusai dedicated to his house, Abdu’l Qusayy dedicated to himself,Abd-al-Uzza ibn Qusai to his goddess (Al-‘Uzzá) and Abd Manaf ibn Qusai to the idol revered by Hubbah. They also had two daughters, Takhmur and Barrah. Abd Manaf's real name was 'Mughirah', and he also had thenickname 'al-Qamar' (the Moon) because he was handsome.Hubbah was related to Muhammad in more than one way. Firstly, she was the great-great-grandmother of his father Abdullah. She was also thegreat-grandmother of Umm Habib and Abdul-Uzza, respectively the maternal grandmother and grandfather of Muhammad's mother Aminah.Family tree* indicates that the marriage order is disputedNote that directlineage is marked in bold.See alsoFamily tree of MuhammadList of notable HijazisPassage 5:Margaret of France, Duchess of BerryMargaret of Valois, Duchess of Berry (French: Marguerite de Valois) (5 June 1523 – 15September 1574) was Duchess of Savoy by marriage to Duke Emmanuel Philibert of Savoy. She was the daughter of King Francis I of France and Claude, Duchess of Brittany.BiographyEarly lifeMargaret was born at theChâteau de Saint-Germain-en-Laye on 5 June 1523 the youngest daughter and child of King Francis I of France and Claude, Duchess of Brittany. Margaret was very close to her paternal aunt, Marguerite of Angoulême,who took care of her and her sister Madeleine during her childhood, and her sister-in-law Catherine de' Medici.  Near the end of 1538, her father and Charles V, Holy Roman Emperor, agreed that Margaret should marryCharles' son, the future Philip II of Spain. However, the agreement between Francis and Charles was short-lived and the marriage never took place. In 1557 she appointed as lady in waiting Jacqueline d'Entremont, towhom she would remain close with later in life.On 29 April 1550, at the age of 26, she was created suo jure Duchess of Berry.Duchess consort of SavoyShortly before her 36th birthday, a marriage was finally arrangedfor her by her brother King Henry II of France and her former suitor Philip II as part of the terms stipulated in the Treaty of Cateau-Cambrésis which was signed by the ambassadors representing the two monarchs on 3April 1559. The husband selected for her was Philip's ally, Emmanuel Philibert, Duke of Savoy, Prince of Piedmont. At the time, Margaret was described as having been a \"spinster lady of excellent breeding and livelyintellect\".The wedding took place in tragic circumstances. On 30 June just three days after her marriage contract had been signed, King Henry was gravely injured during a tournament celebrating the wedding of hiseldest daughter Elisabeth to the recently widowed King Philip. A lance wielded by his opponent the Count of Montgomery accidentally struck his helmet at a point beneath the visor and shattered. The wooden splintersdeeply penetrated his right eye and entered his brain.  Close to death, but still conscious, the king ordered that his sister's marriage should take place immediately, for fear that the Duke of Savoy might profit from hisdeath and renege on the alliance.The ceremony did not take place in Notre Dame Cathedral as had been planned. Instead it was a solemn, subdued event conducted at midnight on 9 July in Saint Paul's, a small churchnot far from the Tournelles Palace where Margaret's dying brother was ensconced. Among the few guests was the French queen consort Catherine de' Medici who sat by herself, weeping. King Henry died the followingday.ChildrenMargaret and her husband had only one surviving child: Charles Emmanuel I, Duke of Savoy who was born in January 1562, when Margaret was 38 years of age. He later married Infanta Catherine Michelleof Spain, the daughter of King Philip by his marriage to Margaret's niece, Elisabeth of Valois.DeathMargaret died on 14 September 1574 at the age of 51. She was buried in Turin at the Cathedral of Saint GiovanniBattista.GalleryAncestryPassage 6:Isabella of BrittanyIsabella of Brittany (French: Isabelle; 1411 – c. 1444) was a daughter of John V, Duke of Brittany, and his wife, Joan of Valois. Isabella was a member of the Houseof Dreux.FamilyIsabella's maternal grandparents were Charles VI of France and Isabeau of Bavaria. Her paternal grandparents were John IV, Duke of Brittany and Joan of Navarre.Isabella was related to three Queens ofEngland. Two of her maternal aunts, Isabella of Valois and Catherine of Valois were queens of England and after the death of her paternal grandfather, John IV, her grandmother, Joan, became queen of England by hermarriage to Henry IV of England. Isabella of Valois was married to Henry's predecessor, Richard II of England. Catherine of Valois was married to Henry IV's son, Henry V of England.MarriageOn 1 October 1430, atRedon, Isabella married Guy XIV de Laval. Guy fought in many different battles in the Hundred Years' War and fought alongside Joan of Arc. Guy had been betrothed to Isabella's younger sister, Margaret, who diedbefore the marriage could take place, so Guy married Isabella instead.Isabella and Guy had three sons and seven daughters:Yolande of Laval (born Nantes 1 October 1431), married firstly 1443 to Alain de Rohan, Countof Porhoet and secondly  Guillaume d'Harcourt, Count of Tancarville.Françoise of Laval (born and died 1432).Jeanne de Laval (10 November 1433, Auray – 19 December 1498, Beaufort-en-Vallée), married to René ofAnjou.Anne of Laval (born and died 1434).François of Laval (16 November 1435, Moncontour – 28 January 1501, Laval), successor of his father as Guy XV, married to Catherine of AlençonJean of Laval (14 February1437, Redon – 14 August 1476), twin with Arthuse; Lord of la Roche-Bernard.Arthuse of Laval (14 February 1437, Redon – 1461, Marseille), twin with Jean; she died unmarried.Hélène of Laval (17 June 1439, Ploërmel– 3 December 1500), married Jean de Malestroit, Baron of Derval.Louise of Laval (born 13 January 1441), married 15 May 1468 Jean III de Brosse, Count of Penthièvre.Pierre of Laval (17 July 1442, Montfort-sur-Meu –1493), archbishop of Rheims.Isabella died around 1444, and she is buried in Nantes. Her husband remarried after her death, to Françoise de Dinan, widow of Isabella's younger brother Gilles, Lord of Chantocé. Herhusband was buried at the collegial church of Saint-Thugal at Laval.House of BrittanyThis family tree shows Isabella's paternal side of her family, her mother and brothers. It shows that after the death of her brothers,her uncle, Arthur became Duke of Brittany.AncestryPassage 7:Joan of France, Duchess of BrittanyJoan of France (French: Jeanne; 24 January 1391 – 27 September 1433) was Duchess of Brittany by marriage to JohnV. She was a daughter of Charles VI of France and Isabeau of Bavaria. She ruled Brittany during the imprisonment of her spouse in 1420.LifeJoan married John V, Duke of Brittany, in 1396. Three years after thewedding, her spouse became duke and she duchess of Brittany.As duchess, Joan is perhaps most known for her role during the conflict between John V and the Counts of Penthièvre. The Penthièvre branch had lost theBreton War of Succession in the 1340s. As a result, they lost the ducal title of Brittany to the Montforts. The conclusion to the conflict took many years to confirm until 1365 when the Treaty of Guérande was signed.Despite the military loss and the diplomatic treaty, the Counts of Penthièvre had not renounced their ducal claims to Brittany and continued to pursue them. In 1420, they invited John V to a festival held atChâtonceaux. He accepted the invitation, but when he arrived, he was captured and kept prisoner.The Counts of Penthiève then spread rumours of his death, and moved him to a new prison each day. Joan of Francecalled upon all the barons of Brittany to respond. They besieged all the castles of the Penthièvre family one by one. Joan ended the conflict by seizing the dowager countess of Penthièvre, Margaret of Clisson, and forcingher to have the duke freed.Joan died in 1433, during her husband's reign.A Book of Hours by the Bedford Master, Heures Lamoignon, was dedicated to her.IssueShe had seven children:Anne (1409 – c. 1415)Isabella(1411 – c. 1442), who in 1435 married Guy XIV of Laval and had 3 children with him.Margaret (1412 – c. 1421)Francis I (1414 – c. 1450), duke of BrittanyCatherine (1416 – c. 1421)Peter II (1418 – c. 1457), duke ofBrittanyGilles (1420 – c. 1450), seigneur of Chantocé.SourcesThe original version of this page was a translation of fr:Jeanne de France (1391-1433). From January 2013 the translation has been refined.Passage8:Isabeau of BavariaIsabeau of Bavaria (or Isabelle; also Elisabeth of Bavaria-Ingolstadt; c. 1370 – September 1435) was Queen of France from 1385 to 1422. She was born into the House of Wittelsbach as the onlydaughter of Duke Stephen III of Bavaria-Ingolstadt and Taddea Visconti of Milan. At age 15 or 16, Isabeau was sent to France to marry the young King Charles VI; the couple wed three days after their firstmeeting.Isabeau was honored in 1389 with a lavish coronation ceremony and entry into Paris. In 1392, Charles suffered the first attack of what was to become a lifelong and progressive mental illness, resulting inperiodic withdrawal from government. The episodes occurred with increasing frequency, leaving a court both divided by political factions and steeped in social extravagances. A 1393 masque for one of Isabeau'sladies-in-waiting—an event later known as Bal des Ardents—ended in disaster with the King almost burning to death.  Although the King demanded Isabeau's removal from his presence during his illness, he consistentlyallowed her to act on his behalf. In this way she became regent to the Dauphin of France (heir apparent), and sat on the regency council, allowing far more power than was usual for a medieval queen.Charles' illnesscreated a power vacuum that eventually led to the Armagnac–Burgundian Civil War between supporters of his brother, Duke Louis I of Orléans, and the royal dukes of Burgundy. Isabeau shifted allegiances as she chosethe most favorable paths for the heir to the throne. When she followed the Armagnacs, the Burgundians accused her of adultery with Louis of Orléans; when she sided with the Burgundians, the Armagnacs removed herfrom Paris and she was imprisoned. In 1407, John the Fearless, duke of Burgundy, assassinated Orléans, sparking hostilities between the factions. The war ended soon after Isabeau's eldest son, Charles, had John theFearless assassinated in 1419—an act that saw him disinherited. Isabeau attended the 1420 signing of the Treaty of Troyes, which decided that the English king should inherit the French crown after the death of her"}
+{"doc_id":"doc_143","qid":"","text":"Passage 1:War of the Buttons (1994 film)War of the Buttons is a 1994 comedy-drama adventure film directed by John Roberts. It was written by Colin Welland and based on the French novel La Guerre des boutons, byLouis Pergaud. The story, about two rival boys' gangs in Ireland, the Ballys (working class) and the Carricks (middle class), is set in County Cork, where it was filmed on location.The film has been classified as a dramaand comedy, and the tone is frequently light and humorous. It examines issues of conflict and war, the actions and consequences of violence, and how it can divide and oppose people who can be friends as easily asthey can be enemies.PlotIn the Republic of Ireland in the 1960s, more precisely the centre of the bridge over the river that separates the Irish villages of Carrickdowse and Ballydowse, there is a white line that fewyoung people dare cross. The boys of each village spend most of their time trying to upstage the other, whether over the sale of hospital raffle tickets, or something more important, such as deciding who is a \"tosspot\"and who is not, or, for that matter, defining \"tosspot\". This \"War of the Buttons\", in which the buttons from the enemies clothes are captured, has gone on as long as the youths can remember, and \"to the death\",though rarely does either group hurt more than its pride.The leader of the Ballys is Fergus (Gregg Fitzgerald), the son of a pauper family and an unpromising student who lives in a trailer on the edge of Ballydowse withhis mother and abusive stepfather. What Fergus lacks in education, he makes up for in leadership, and the youth of Ballydowse will follow him anywhere. The members of the Ballys include Marie (Eveanna Ryan), thenarrator, who revisits her memories of what happened from her adult viewpoint. The leader of the Carricks is Jerome (John Coffey), the son of a wealthy family. He is nicknamed Geronimo after the Apache tribalchief.The story explores how events escalate, gang class differences (the original and main incentive for their war), Fergus's troubles with his oppressive environment, conflicts that arise when the adults of the villagesdiscover the feud, and conflicts within the Ballys. Their tactics to \"win\" the war, including a nude ambush of their enemies, are shown in great detail. After a series of battles, Fergus denounces Riley (Thomas Kavanagh)as a traitor to the cause before the final showdown which has the Ballys attacking an abandoned castle ruin defended by the Carricks. The Carricks lose, and, taken prisoner, Geronimo himself cuts off his buttons andgives them to Fergus. While the Ballys celebrate in their headquarters, Geronimo, driving Riley's father's tractor like a tank, levels the Bally clubhouse. This puts a bitter end to the War of the Buttons.Finally fed up, thetowns' adults, including Geronimo's father (Colm Meaney) and Fergus' abusive stepfather (Jim Bartley), reclaim their children. Fergus runs off to the mountains, where Geronimo follows him in an unspoken gesture ofsolidarity. After being captured, the two boys are put in the church orphanage, where they put aside their differences and become best friends. Marie narrates the coda, expressing that she married one of the boys, andthat the other became the couple's closest friend, but she does not reveal whom she chose to wed.CastLiam Cunningham as The MasterGregg Fitzgerald as FergusColm Meaney as Geronimo's DadGer Ryan as Fergus'MomBackgroundThe film's story is based on the novel La Guerre des boutons, written by Louis Pergaud and published in 1912. Pergaud's popular book has been reprinted more than 30 times. It has been adapted asfilm for the first time in the French productions La Guerre des gosses (1936) (fr) and La Guerre des boutons (War of the Buttons, 1962), the latter a black and white film directed by Yves Robert.The Irish screenplay waswritten by Colin Welland and the movie was directed by John Roberts. The producer David Puttnam and Welland had worked earlier on the Academy Award-winning Chariots of Fire. This was their second film together.The movie starred a young Alan Maguire, the actor from Corofin, Co. Clare.During the same week in September 2011, two new French film adaptations of the novel were released: War of the Buttons, directed by YannSamuell, set in the 1950s with the Algerian War as backdrop, and War of the Buttons, directed by Christophe Barratier and set during World War II in Occupied France.Passage 2:Brian Kennedy (gallery director)BrianPatrick Kennedy (born 5 November 1961) is an Irish-born art museum director who has worked in Ireland and Australia, and now lives and works in the United States.  He was the director of the Peabody Essex Museumin Salem for 17 months, resigning December 31, 2020. He was the director of the Toledo Museum of Art in Ohio from 2010 to 2019. He was the director of the Hood Museum of Art from 2005 to 2010, and the NationalGallery of Australia (Canberra) from 1997 to 2004.CareerBrian Kennedy currently lives and works in the United States after leaving Australia in 2005 to direct the Hood Museum of Art at Dartmouth College. In October2010 he became the ninth Director of the Toledo Museum of Art. On 1 July 2019, he succeeded Dan Monroe as the executive director and CEO of the Peabody Essex Museum.Early life and career in IrelandKennedy wasborn in Dublin and attended Clonkeen College. He received B.A. (1982), M.A. (1985) and PhD (1989) degrees from University College-Dublin, where he studied both art history and history.He worked in the IrishDepartment of Education (1982), the European Commission, Brussels (1983), and in Ireland at the Chester Beatty Library (1983–85), Government Publications Office (1985–86), and Department of Finance (1986–89).He married Mary Fiona Carlin in 1988.He was Assistant Director at the National Gallery of Ireland in Dublin from 1989 to 1997. He was Chair of the Irish Association of Art Historians from 1996 to 1997, and of theCouncil of Australian Art Museum Directors from 2001 to 2003. In September 1997 he became Director of the National Gallery of Australia.National Gallery of Australia (NGA)Kennedy expanded the traveling exhibitionsand loans program throughout Australia, arranged for several major shows of Australian art abroad, increased the number of exhibitions at the museum itself and oversaw the development of an extensive multi-mediasite.  Although he oversaw several years of the museum's highest ever annual visitation, he discontinued the emphasis of his predecessor, Betty Churcher, on showing \"blockbuster\" exhibitions.During his directorship,the NGA gained government support for improving the building and significant private donations and corporate sponsorship. However, the initial design for the building proved controversial generating a public disputewith the original architect on moral rights grounds.  As a result, the project was not delivered during Dr Kennedy's tenure, with a significantly altered design completed some years later.  Private funding supported twoacquisitions of British art, including David Hockney's A Bigger Grand Canyon in 1999, and Lucian Freud's After Cézanne in 2001. Kennedy built on the established collections at the museum by acquiring theHolmgren-Spertus collection of Indonesian textiles; the Kenneth Tyler collection of editioned prints, screens, multiples and unique proofs; and the Australian Print Workshop Archive. He was also notable for campaigningfor the construction of a new \"front\" entrance to the Gallery, facing King Edward Terrace, which was completed in 2010 (see reference to the building project above).Kennedy's cancellation of the \"Sensation exhibition\"(scheduled at the NGA from 2 June 2000 to 13 August 2000) was controversial, and seen by some as censorship. He claimed that the decision was due to the exhibition being \"too close to the market\" implying that anational cultural institution cannot exhibit the private collection of a speculative art investor. However, there were other exhibitions at the NGA during his tenure, which could have raised similar concerns. The exhibitionfeatured the privately owned Young British Artists works belonging to Charles Saatchi and attracted large attendances in London and Brooklyn. Its most controversial work was Chris Ofili's The Holy Virgin Mary, apainting which used elephant dung and was accused of being blasphemous. The then-mayor of New York, Rudolph Giuliani, campaigned against the exhibition, claiming it was \"Catholic-bashing\" and an \"aggressive,vicious, disgusting attack on religion.\" In November 1999, Kennedy cancelled the exhibition and stated that the events in New York had \"obscured discussion of the artistic merit of the works of art\". He has said that it\"was the toughest decision of my professional life, so far.\"Kennedy was also repeatedly questioned on his management of a range of issues during the Australian Government's Senate Estimates process - particularly onthe NGA's occupational health and safety record and concerns about the NGA's twenty-year-old air-conditioning system. The air-conditioning was finally renovated in 2003. Kennedy announced in 2002 that he would notseek extension of his contract beyond 2004, accepting a seven-year term as had his two predecessors.He became a joint Irish-Australian citizen in 2003.Toledo Museum of ArtThe Toledo Museum of Art is known for itsexceptional collections of European and American paintings and sculpture, glass, antiquities, artist books, Japanese prints and netsuke. The museum offers free admission and is recognized for its historical leadership inthe field of art education.  During his tenure, Kennedy has focused the museum's art education efforts on visual literacy, which he defines as \"learning to read, understand and write visual language.\"   Initiatives haveincluded baby and toddler tours, specialized training for all staff, docents, volunteers and the launch of a website, www.vislit.org. In November 2014, the museum hosted the International Visual Literacy Association(IVLA) conference, the first Museum to do so. Kennedy has been a frequent speaker on the topic, including 2010 and 2013 TEDx talks on visual and sensory literacy.Kennedy has expressed an interest in expanding themuseum's collection of contemporary art and art by indigenous peoples. Works by Frank Stella, Sean Scully, Jaume Plensa, Ravinder Reddy and Mary Sibande have been acquired.  In addition, the museum has mademajor acquisitions of Old Master paintings by Frans Hals and Luca Giordano.During his tenure the Toledo Museum of Art has announced the return of several objects from its collection due to claims the objects werestolen and/or illegally exported prior being sold to the museum.  In 2011 a Meissen sweetmeat stand was returned to Germany followed by an Etruscan Kalpis or water jug to Italy (2013), an Indian sculpture ofGanesha (2014) and an astrological compendium to Germany in 2015.Hood Museum of ArtKennedy became Director of the Hood Museum of Art in July 2005. During his tenure, he implemented a series of large andsmall-scale exhibitions and oversaw the production of more than 20 publications to bring greater public attention to the museum's remarkable collections of the arts of America, Europe, Africa, Papua New Guinea andthe Polar regions. At 70,000 objects, the Hood has one of the largest collections on any American college of university campus. The exhibition, Black Womanhood: Images, Icons, and Ideologies of the African Body,toured several US venues. Kennedy increased campus curricular use of works of art, with thousands of objects pulled from storage for classes annually. Numerous acquisitions were made with the museum's generousendowments, and he curated several exhibitions: including Wenda Gu: Forest of Stone Steles: Retranslation and Rewriting Tang Dynasty Poetry, Sean Scully: The Art of the Stripe, and Frank Stella: IrregularPolygons.PublicationsKennedy has written or edited a number of books on art, including:Alfred Chester Beatty and Ireland 1950-1968: A study in cultural politics, Glendale Press (1988), ISBN978-0-907606-49-9Dreams and responsibilities: The state and arts in independent Ireland, Arts Council of Ireland (1990), ISBN 978-0-906627-32-7Jack B Yeats: Jack Butler Yeats, 1871-1957 (Lives of Irish Artists),Unipub (October 1991), ISBN 978-0-948524-24-0The Anatomy Lesson: Art and Medicine (with Davis Coakley), National Gallery of Ireland (January 1992), ISBN 978-0-903162-65-4Ireland: Art into History (withRaymond Gillespie), Roberts Rinehart Publishers (1994), ISBN 978-1-57098-005-3Irish Painting, Roberts Rinehart Publishers (November 1997),  ISBN 978-1-86059-059-7Sean Scully: The Art of the Stripe, HoodMuseum of Art (October 2008), ISBN 978-0-944722-34-3Frank Stella: Irregular Polygons, 1965-1966, Hood Museum of Art (October 2010), ISBN 978-0-944722-39-8Honors and achievementsKennedy was awarded theAustralian Centenary Medal in 2001 for service to Australian Society and its art. He is a trustee and treasurer of the Association of Art Museum Directors, a peer reviewer for the American Association of Museums and amember of the International Association of Art Critics. In 2013 he was appointed inaugural eminent professor at the University of Toledo and received an honorary doctorate from Lourdes University. Most recently,Kennedy received the 2014 Northwest Region, Ohio Art Education Association award for distinguished educator for art education.== Notes ==Passage 3:War of the Buttons (2011 Christophe Barratier film)War of theButtons (French: La nouvelle guerre des boutons) is a 2011 French film directed by Christophe Barratier.PlotThe story takes place in March 1944 in a small French village. The young people from the neighbouringvillages of Longeverne and Velrans have been waging this merciless war as long as anyone can remember: the buttons of all the little prisoners' clothes are removed so that they head home almost naked, vanquishedand humiliated. Consequently, this conflict is known as the \"War of the Buttons\". The village that collects the most buttons will be declared the winner. Meanwhile, Violette, a young Jewish girl, has caught the eye ofLebrac, the intelligent chief of the Longeverne kids who is coming of age, leading his gang and their rivals to consider putting aside their differences in order to protect her from the Nazis.CastLaetitia Casta asSimoneGuillaume Canet as the teacherKad Merad as Father LebracGérard Jugnot as Father AztecJean Texier as LebracClément Godefroy as Petit (Little) GibusMarc-Henri Wajnberg as VladimirThéophile Baquet as Grand(Big) GibusFrançois Morel as Father BacailléLouis Dussol as BacailléHarold Werner as CriqueNathan Parent as CamusIlona Bachelier as VioletteThomas Goldberg as the AztecDiscographyThe CD soundtrack composed byPhilippe Rombi was released on Music Box Records label.ReceptionAs of June 2020, the film holds a 25% approval rating on review aggregation website Rotten Tomatoes, based on 24 reviews, with an average rating of4.82 out of 10. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the film received an average score of 41 out of 100, based on 14 reviews, indicating \"mixed or averagereviews\".Passage 4:Red ButtonsRed Buttons (born Aaron Chwatt; February 5, 1919 – July 13, 2006) was an American actor and comedian. He won an Oscar and a Golden Globe for his supporting role in the 1957 filmSayonara.  He was nominated for awards for his acting work in films such as They Shoot Horses, Don't They?, Harlow, and Pete's Dragon.  Buttons played  the lead role of Private John Steele, the paratrooper hung upon the town steeple clock, in the 1962 international ensemble cast film The Longest Day.Early lifeRed Buttons was born Aaron Chwatt on February 5, 1919, in Manhattan, New York City, to Jewish immigrants Sophie(née Baker) and Michael Chwatt. At 16 years old, Chwatt got a job as an entertaining bellhop at Ryan's Tavern in City Island, the Bronx, New York City. The combination of his red hair and the large, shiny buttons on thebellhop uniforms inspired orchestra leader Charles \"Dinty\" Moore to call him \"Red Buttons\", the name under which he would later perform.Later that same summer, Buttons worked on the Borscht Belt; his straight manwas Robert Alda. Buttons was working at the Irvington Hotel in South Fallsburg, New York, when the master of ceremonies became incapacitated, and Buttons asked for the chance to replace him. In 1939, Buttonsstarted working for Minsky's Burlesque; in 1941, José Ferrer chose Buttons to appear in a Broadway show The Admiral Had a Wife, a farce, set in Pearl Harbor at Oahu, Hawaii. It was due to open on December 8, 1941,but never did, as it was deemed inappropriate after the Japanese attack on Pearl Harbor. In later years, Buttons would joke that the Japanese only attacked Pearl Harbor to keep him off Broadway.CareerIn September1942, Buttons made his Broadway debut in Vickie with Ferrer and Uta Hagen. Later that year, he appeared in the Minsky's show Wine, Women and Song. This was the last classic burlesque show in New York Cityhistory, as the Mayor La Guardia administration closed it down. Buttons was on stage when the show was raided.Drafted into the United States Army Air Forces, Buttons in 1943 appeared in the Army Air Forces'Broadway show Winged Victory, along with several future stars, including Mario Lanza, John Forsythe, Karl Malden, and Lee J. Cobb. A year later, he appeared in Darryl F. Zanuck's movie version of the play, directed byGeorge Cukor. Buttons also entertained troops in the European Theater in the same Jeep Show unit as Mickey Rooney.After the war, Buttons continued to perform in Broadway shows. He also performed at Broadwaymovie houses with big bands. In 1952, Buttons received his own variety series on television, The Red Buttons Show, which ran for three years on CBS.  It was the number-11 show in prime time in 1952. In 1953, herecorded and had a two-sided hit with \"Strange Things Are Happening\"/\"The Ho Ho Song\", with both sides/songs essentially being the same.His role in Sayonara was a dramatic departure from his previous work. In thisfilm, co-starring with Marlon Brando, he played Joe Kelly, an American airman stationed in Kobe, Japan, during the Korean War, who marries Katsumi, a Japanese woman (played by Miyoshi Umeki), but he is barredfrom taking her back to the US. His moving portrayal of Kelly's calm resolve not to abandon the relationship, and the touching reassurance of Katsumi, impressed audiences and critics alike.  Buttons won the AcademyAward for Best Supporting Actor and Umeki won the Academy Award for Best Supporting Actress for the film.After his Oscar-winning role, Buttons performed in numerous feature films, including the African adventureHatari! with John Wayne, the adventure Five Weeks in a Balloon (1962) (where he received top billing), the war epic The Longest Day, the biopic Harlow, the disaster film The Poseidon Adventure, the dance-marathondrama They Shoot Horses, Don't They?, the family comedy Pete's Dragon, the disaster film When Time Ran Out with Paul Newman, and the age-reversal comedy 18 Again! with George Burns.In 1966, Buttons againstarred in his own TV series, a spy spoof called The Double Life of Henry Phyfe, which ran for one season. Buttons also made guest appearances on several TV programs, including The Eleventh Hour, Little House on thePrairie, It's Garry Shandling's Show, Knots Landing, and Roseanne. His last TV role was in ER.He became a nationally recognizable comedian, and his \"Never Got a Dinner\" routine was a standard of The Dean MartinCelebrity Roast for many years. He made numerous appearances at Friars Club roasts and Chabad telethons, where he was often brought on and off stage to the tune of \"Hava Nagila\". (He once told an interviewer, \"I'ma Jew who is doing comedy, not a 'Jewish comic'.\")His best-known catchphrase, \"Never got a dinner!\" formed the basis for elaborately eccentric lists of famous people (and their mothers) who had not been honored withcelebrity dinner roasts. Another of his catchphrases was \"I did not come here to be made sport of,\" which was later taken up by radio talk-show host Howie Carr.Buttons received a star on the Hollywood Walk of Famefor television, located at 1651 Vine Street. He was number 71 on Comedy Central's list of the 100 Greatest Stand-Ups of All Time.Personal lifeButtons married actress Roxanne Arlen in 1947, but the marriage soonended in divorce. He married Helayne McNorton on December 8, 1949.  They divorced in 1963. His last marriage was to Alicia Prats, which lasted from January 27, 1964, until her death in March 2001. With Prats he hadtwo children, Amy Buttons and Adam Buttons. He was the advertising spokesman for Century Village, Florida, a retirement community.Buttons was an early member of the Synagogue for the Performing Arts, and at the"}
+{"doc_id":"doc_144","qid":"","text":"Passage 1:Jesse E. HobsonJesse Edward Hobson (May 2, 1911 – November 5, 1970) was the director of SRI International from 1947 to 1955. Prior to SRI, he was the director of the Armour Research Foundation.Earlylife and educationHobson was born in Marshall, Indiana. He received bachelor's and master's degrees in electrical engineering from Purdue University and a PhD in electrical engineering from the California Institute ofTechnology. Hobson was also selected as a nationally outstanding engineer.Hobson married Jessie Eugertha Bell on March 26, 1939, and they had five children.CareerAwards and membershipsHobson was named anIEEE Fellow in 1948.Passage 2:Edmond T. GrévilleEdmond T. Gréville (born Edmond Gréville Thonger; 20 June 1906  – 26 May 1966) was a French film director and screenwriter. He was married to the actress VandaGréville.CareerGréville began his career as a film journalist and critic. In parallel with a few acting performances in some silent films and in the first talkie of René Clair, Sous les toits de Paris (1930), he directed his firstshort films. His first experience of directing had been on the shooting of Abel Gance's Napoléon in 1927. He had then worked as an assistant director, notably on the English film Piccadilly, L'Arlésienne (directed byJacques de Baroncelli), Augusto Genina's  Miss Europe (with Louise Brooks) and  Abel Gance's La Fin du Monde. Between 1930 and 1940 he directed several French films:Le Train des suicidés (1931)Remous (1934) withFrançoise Rosay, a social-realist film on the sensitive sexual issue of impotence, and released in the US in November 1939 under title Whirlpool of Desire after a legal battle over U.S. censorshipTwo comedy musicalfilms Princesse Tam Tam (1935) with Josephine Baker, and Gypsy Melody (1936), with Lupe Vélez.In Britain again, he filmed Under Secret Orders (1937) with Dita Parlo and John Loder (1937), the English-languageversion of G. W. Pabst's Mademoiselle Docteur. Gréville also directed Menaces (1938) with Mireille Balin and Erich von Stroheim, with von Stroheim playing an Austrian refugee who commits suicide following theAnschluss. With a heavy atmosphere charged with eroticism which characterizes his films, Gréville imposed his independence and original style on the cinema of the time.He stopped directing films during the SecondWorld War and the Occupation - xenophobia and anti-Semitism ruined or put a stop to some careers, among film-makers those of Léonide Moguy and Pierre Chenal for example, both French Jews, and the half-BritishGréville, and took away production and distribution companies belonging to Jews like the father and son distributors Siriztky.In 1948 he made a film on the subject of resistance and collaboration in the Anglo-Dutch filmNiet tevergeefs/But Not in Vain. The same year he made a film with Carole Landis, Noose, released in the U.S. as The Silk Noose. In House on the Waterfront (1954) he directed Jean Gabin as a captain confronted by anunscrupulous smuggler and torn by his love for a young woman who is also loved by a younger man.In Gréville's last years he made Beat Girl (1959) with Adam Faith and a horror film The Hands of Orlac (1960) withMel Ferrer. His last film was L'Accident (1963) with Magali Noël based on a Frédéric David novel.Personal lifeGréville was born in June 1906 in Nice, France, the adopted son of Franco-British parents. In May 1966, hedied in hospital in Nice, thought to be the result of complications following a car accident. It was subsequently discovered through the 23andMe genetic testing of his daughter and grandson in 2017, that he wasAshkenazim Jewish, likely from the area of Odessa, based on the present whereabouts of  his closest genetic relations today. Family speculation suggests that his parents fled the 1905 Russian pogrom to Marseilles,where he may have been discovered in the Nice hospital his English father, a Salvation Army colonel and Protestant pastor, was associated with. His true origin and that of his biological parents, remains amystery.Selected filmographyThe Train of Suicides (1931)The Triangle of Fire (1932)Merchant of Love (1935)Gypsy Melody (1936)Brief Ecstasy (1937)Secret Lives (1937)What a Man! (1938)A Woman in the Night(1943)Dorothy Looks for Love (1945)But Not in Vain (1948)The Other Side of Paradise (1953)House on the Waterfront (1955)The Accident (1963)Passage 3:Peter LevinPeter Levin is an American director of film,television and theatre.CareerSince 1967, Levin has amassed a large number of credits directing episodic television and television films. Some of his television series credits include Love Is a Many Splendored Thing,James at 15, The Paper Chase, Family, Starsky & Hutch, Lou Grant, Fame, Cagney & Lacey, Law & Order and Judging Amy.Some of his television film credits include Rape and Marriage: The Rideout Case (1980), AReason to Live (1985), Popeye Doyle (1986), A Killer Among Us (1990), Queen Sized (2008) and among other films. He directed \"Heart in Hiding\", written by his wife Audrey Davis Levin, for which she received anEmmy for Best Day Time Special in the 1970s.Prior to becoming a director, Levin worked as an actor in several Broadway productions. He costarred with Susan Strasberg in \"[The Diary of Ann Frank]\" but had to leavethe production when he was drafted into the Army. He trained at the Carnegie Mellon University. Eventually becoming a theatre director, he directed productions at the Long Wharf Theatre and the Pacific ResidentTheatre Company. He also co-founded the off-off-Broadway Theatre [the Hardware Poets Playhouse] with his wife Audrey Davis Levin and was also an associate artist of The Interact Theatre Company.Passage 4:DanaBlanksteinDana Blankstein-Cohen (born March 3, 1981) is the executive director of the Sam Spiegel Film and Television School. She was appointed by the board of directors  in November 2019.  Previously she was theCEO of the Israeli Academy of Film and Television. She is a film director, and an Israeli culture entrepreneur.BiographyDana Blankstein was born in Switzerland in 1981 to theatre director Dedi Baron and ProfessorAlexander Blankstein. She moved to Israel in 1983 and grew up in Tel Aviv.Blankstein graduated from the Sam Spiegel Film and Television School, Jerusalem in 2008 with high honors. During her studies she worked asa personal assistant to directors Savi Gabizon on his film Nina's Tragedies and to Renen Schorr on his film The Loners.  She also directed and shot 'the making of' film on Gavison's film Lost and Found. Her debut filmCamping competed at the Berlin International Film Festival, 2007.Film and academic careerAfter her studies, Dana founded and directed the film and television department at the Kfar Saba municipality. The departmentencouraged and promoted productions filmed in the city of Kfar Saba, as well as the established cultural projects, and educational community activities.Blankstein directed the mini-series \"Tel Aviviot\" (2012). From2016-2019 was the director of the Israeli Academy of Film and Television.In November 2019 Dana Blankstein Cohen was appointed the new director of the Sam Spiegel Film and Television School where she alsooversees the Sam Spiegel International Film Lab. In 2022, she spearheaded the launch of the new Series Lab and the film preparatory program for Arabic speakers in east Jerusalem.FilmographyTel Aviviot (mini-series;director, 2012)Growing Pains (graduation film, Sam Spiegel; director and screenwriter, 2008)Camping (debut film, Sam Spiegel; director and screenwriter, 2006)Passage 5:Michael GovanMichael Govan (born 1963) isthe director of the Los Angeles County Museum of Art. Prior to his current position, Govan worked as the director of the Dia Art Foundation in New York City.Early life and educationGovan was born in 1963 in NorthAdams, Massachusetts, and was raised in the Washington D.C. area, attending Sidwell Friends School.He majored in art history and fine arts at Williams College, where he met Thomas Krens, who was then director ofthe Williams College Museum of Art. Govan became closely involved with the museum, serving as acting curator as an undergraduate. After receiving his B.A. from Williams in 1985, Govan began an MFA in fine artsfrom the University of California, San Diego.CareerAs a twenty-five year old graduate student, Govan was recruited by his former mentor at Williams, Thomas Krens, who in 1988 had been appointed director of theSolomon R. Guggenheim Foundation. Govan served as deputy director of the Solomon R. Guggenheim Museum under Krens from 1988 to 1994, a period that culminated in the construction and opening of the FrankGehry designed Guggenheim branch in Bilbao, Spain. Govan supervised the reinstallation of the museum's permanent collection galleries after its extensive renovation.Dia Art FoundationFrom 1994 to 2006, Govan waspresident and director of Dia Art Foundation in New York City. There, he spearheaded the conversion of a Nabisco box factory into the 300,000 square foot Dia:Beacon in New York's Hudson Valley, which houses Dia'scollection of art from the 1960s to the present. Built in a former Nabisco box factory, the critically acclaimed museum has been credited with catalyzing a cultural and economic revival within the formerly factory-basedcity of Beacon. Dia's collection nearly doubled in size during Govan's tenure, but he also came under criticism for \"needlessly and permanently\" closing Dia's West 22nd Street building. During his time at Dia, Govan alsoworked closely with artists James Turrell and Michael Heizer, becoming an ardent supporter of Roden Crater and City, the artists' respective site-specific land art projects under construction in the American southwest.Govan successfully lobbied Washington to have the 704,000 acres in central Nevada surrounding City declared a national monument in 2015.LACMAIn February 2006, a search committee composed of eleven LACMAtrustees, led by the late Nancy M. Daly, recruited Govan to run the Los Angeles County Museum of Art. Govan has stated that he was drawn to the role not only because of LACMA's geographical distance from itsEuropean and east coast peers, but also because of the museum's relative youth, having been established in 1961. \"I felt that because of this newness I had the opportunity to reconsider the museum,\" Govan haswritten, \"[and] Los Angeles is a good place to do that.\"Govan has been widely regarded for transforming LACMA into both a local and international landmark. Since Govan's arrival, LACMA has acquired by donation orpurchase over 27,000 works for the permanent collection, and the museum's gallery space has almost doubled thanks to the addition of two new buildings designed by Renzo Piano, the Broad Contemporary Art Museum(BCAM) and the Lynda and Stewart Resnick Pavilion. LACMA's annual attendance has grown from 600,000 to nearly 1.6 million in 2016.Artist collaborationsSince his arrival, Govan has commissioned exhibitionscenography and gallery designs in collaboration with artists. In 2006, for example, Govan invited LA artist John Baldessari to design an upcoming exhibition about the Belgian surrealist René Magritte, resulting in atheatrical show that reflected the twisted perspective of the latter's topsy-turvy world. Baldessari has also designed LACMA's logo. Since then, Govan has also commissioned Cuban-American artist Jorge Pardo to designLACMA's Art of the Ancient Americas gallery, described in the Los Angeles Times as a \"gritty cavern deep inside the earth ... crossed with a high-style urban lounge.\"Govan has also commissioned several large-scalepublic artworks for LACMA's campus from contemporary California artists. These include Chris Burden's Urban Light (2008), a series of 202 vintage street lamps from different neighborhoods in Los Angeles, arranged infront of the entrance pavilion, Barbara Kruger's Untitled (Shafted) (2008), Robert Irwin's Primal Palm Garden (2010), and Michael Heizer's Levitated Mass, a 340-ton boulder transported 100 miles from the JurupaValley to LACMA, a widely publicized journey that culminated with a large celebration on Wilshire Boulevard. Thanks in part to the popularity of these public artworks, LACMA was ranked the fourth most instagrammedmuseum in the world in 2016.In his first three full years, the museum raised $251 million—about $100 million more than it collected during the three years before he arrived. In 2010, it was announced that Govan willsteer LACMA for at least six more years. In a letter dated February 24, 2013, Govan, along with the LACMA board's co-chairmen Terry Semel and Andrew Gordon, proposed a merger with the financially troubledMuseum of Contemporary Art, Los Angeles and a plan to raise $100 million for the combined museum.Zumthor ProjectGovan's latest project is an ambitious building project, the replacement of four of the campus'saging buildings with a single new state of the art gallery building designed by architect Peter Zumthor. As of January 2017, he has raised about $300 million in commitments. Construction is expected to begin in 2018,and the new building will open in 2023, to coincide with the opening of the new D Line metro stop on Wilshire Boulevard. The project also envisages dissolving all existing curatorial departments and departmentalcollections. Some commentators have been highly critical of Govan's plans. Joseph Giovannini, recalling Govan's technically unrealizable onetime plan to hang Jeff Koons' Train sculpture from the facade of theAhmanson Gallery, has accused Govan of \"driving the institution over a cliff into an equivalent mid-air wreck of its own\". Describing the collection merging proposal as the creation of a \"giant raffle bowl of some 130,000objects\", Giovannini also points out that the Zumthor building will contain 33% less gallery space than the galleries it will replace, and that the linear footage of wall space available for displays will decrease by about7,500 ft, or 1.5 miles. Faced with losing a building named in its honor, and anticipating that its acquisitions could no longer be displayed, the Ahmanson Foundation withdrew its support.On the merging of the separatecuratorial divisions to create a non-departmental art museum, Christopher Knight has pointed out that \"no other museum of LACMA's size and complexity does it\" that way, and characterized the museum's 2019 \"ToRome and Back\" exhibition, the first to take place under the new scheme, as \"bland and ineffectual\" and an \"unsuccessful sample of what's to come\".Personal lifeGovan is married and has two daughters, one from aprevious marriage. He and his family used to live in a $6 million mansion in Hancock Park that was provided by LACMA - a benefit worth $155,000 a year, according to most recent tax filings - until LACMA decided that itwould sell the property to make up for the museum's of almost $900 million in debt [2]. That home is now worth nearly $8 million and Govan now lives in a trailer park in Malibu's Point Dume region.Los Angeles CA90020United States. He has had a private pilot's license since 1995 and keeps a 1979 Beechcraft Bonanza at Santa Monica Airport.Passage 6:Olav AaraasOlav Aaraas (born 10 July 1950) is a Norwegian historian andmuseum director.He was born in Fredrikstad. From 1982 to 1993 he was the director of Sogn Folk Museum, from 1993 to 2010 he was the director of Maihaugen and from 2001 he has been the director of theNorwegian Museum of Cultural History. In 2010 he was decorated with the Royal Norwegian Order of St. Olav.Passage 7:Brian Kennedy (gallery director)Brian Patrick Kennedy (born 5 November 1961) is an Irish-bornart museum director who has worked in Ireland and Australia, and now lives and works in the United States.  He was the director of the Peabody Essex Museum in Salem for 17 months, resigning December 31, 2020.He was the director of the Toledo Museum of Art in Ohio from 2010 to 2019. He was the director of the Hood Museum of Art from 2005 to 2010, and the National Gallery of Australia (Canberra) from 1997 to2004.CareerBrian Kennedy currently lives and works in the United States after leaving Australia in 2005 to direct the Hood Museum of Art at Dartmouth College. In October 2010 he became the ninth Director of theToledo Museum of Art. On 1 July 2019, he succeeded Dan Monroe as the executive director and CEO of the Peabody Essex Museum.Early life and career in IrelandKennedy was born in Dublin and attended ClonkeenCollege. He received B.A. (1982), M.A. (1985) and PhD (1989) degrees from University College-Dublin, where he studied both art history and history.He worked in the Irish Department of Education (1982), theEuropean Commission, Brussels (1983), and in Ireland at the Chester Beatty Library (1983–85), Government Publications Office (1985–86), and Department of Finance (1986–89). He married Mary Fiona Carlin in1988.He was Assistant Director at the National Gallery of Ireland in Dublin from 1989 to 1997. He was Chair of the Irish Association of Art Historians from 1996 to 1997, and of the Council of Australian Art MuseumDirectors from 2001 to 2003. In September 1997 he became Director of the National Gallery of Australia.National Gallery of Australia (NGA)Kennedy expanded the traveling exhibitions and loans program throughoutAustralia, arranged for several major shows of Australian art abroad, increased the number of exhibitions at the museum itself and oversaw the development of an extensive multi-media site.  Although he oversawseveral years of the museum's highest ever annual visitation, he discontinued the emphasis of his predecessor, Betty Churcher, on showing \"blockbuster\" exhibitions.During his directorship, the NGA gained governmentsupport for improving the building and significant private donations and corporate sponsorship. However, the initial design for the building proved controversial generating a public dispute with the original architect onmoral rights grounds.  As a result, the project was not delivered during Dr Kennedy's tenure, with a significantly altered design completed some years later.  Private funding supported two acquisitions of British art,including David Hockney's A Bigger Grand Canyon in 1999, and Lucian Freud's After Cézanne in 2001. Kennedy built on the established collections at the museum by acquiring the Holmgren-Spertus collection ofIndonesian textiles; the Kenneth Tyler collection of editioned prints, screens, multiples and unique proofs; and the Australian Print Workshop Archive. He was also notable for campaigning for the construction of a new\"front\" entrance to the Gallery, facing King Edward Terrace, which was completed in 2010 (see reference to the building project above).Kennedy's cancellation of the \"Sensation exhibition\" (scheduled at the NGA from 2June 2000 to 13 August 2000) was controversial, and seen by some as censorship. He claimed that the decision was due to the exhibition being \"too close to the market\" implying that a national cultural institutioncannot exhibit the private collection of a speculative art investor. However, there were other exhibitions at the NGA during his tenure, which could have raised similar concerns. The exhibition featured the privatelyowned Young British Artists works belonging to Charles Saatchi and attracted large attendances in London and Brooklyn. Its most controversial work was Chris Ofili's The Holy Virgin Mary, a painting which used elephantdung and was accused of being blasphemous. The then-mayor of New York, Rudolph Giuliani, campaigned against the exhibition, claiming it was \"Catholic-bashing\" and an \"aggressive, vicious, disgusting attack onreligion.\" In November 1999, Kennedy cancelled the exhibition and stated that the events in New York had \"obscured discussion of the artistic merit of the works of art\". He has said that it \"was the toughest decision ofmy professional life, so far.\"Kennedy was also repeatedly questioned on his management of a range of issues during the Australian Government's Senate Estimates process - particularly on the NGA's occupational healthand safety record and concerns about the NGA's twenty-year-old air-conditioning system. The air-conditioning was finally renovated in 2003. Kennedy announced in 2002 that he would not seek extension of his contractbeyond 2004, accepting a seven-year term as had his two predecessors.He became a joint Irish-Australian citizen in 2003.Toledo Museum of ArtThe Toledo Museum of Art is known for its exceptional collections ofEuropean and American paintings and sculpture, glass, antiquities, artist books, Japanese prints and netsuke. The museum offers free admission and is recognized for its historical leadership in the field of arteducation.  During his tenure, Kennedy has focused the museum's art education efforts on visual literacy, which he defines as \"learning to read, understand and write visual language.\"   Initiatives have included baby"}
+{"doc_id":"doc_145","qid":"","text":"Passage 1:Young and Dangerous: The PrequelYoung and Dangerous: The Prequel (Chinese: \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000) is a 1998 Hong Kong crime film directed by Andrew Lau. It is the second prequel in the Young and Dangerous film series.The film shows Chan Ho-nam (Nicholas Tse), Big Head (Daniel Wu), Chow Pan (Benjamin Yuen), Chicken Chiu (Sam Lee), and their friends being recruited by Uncle Bee (Ng Chi-Hung) and joining the \"Hung Hing\" triad.CastNicholas Tse as Chan Ho-namDaniel Wu as Big HeadFrancis Ng as Ugly KwanShu Qi as FeiSam Lee as ChickenSandra Ng as Sister 13 (cameo)Kristy Yang as Yung (cameo)Benjamin Yuen as Chow PanNotesBecause he was only 17, and born on 29 August 1980, Nicholas Tse is not allowed to watch the movie when the movie opens in Hong Kong cinemas on 5 June 1998 because this movie is classified as Category III, which is a restricted category in the Hong Kong motion picture rating system and the category is strictly for persons aged 18 and above only.The story retcons the flashback from the first film, taking place in 1988 rather than 1985.Awards and nominations18th Hong Kong Film AwardsWon: Best New Performer (Nicholas Tse)External linksYoung and Dangerous: The Prequel at IMDbPassage 2:Hanuman Patal VijayHanuman Patal Vijay (Hindi: \u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000, \"Hanuman's Victory Over Hell\") is a 1951 Hindi mythological film directed by Homi Wadia for his Basant Pictures banner. Meena Kumari starred in this devotional film with S. N. Tripathi playing Hanuman. Following her career as a child actress, Meena Kumari did heroine roles in mythologies made by Basant Pictures and directed by Homi Wadia. She had an extremely successful career for some years playing goddesses before her big commercial break in Baiju Bawra (1951). S. N. Tripathi, besides acting in the film, also composed the music. His costars were Meena Kumari, Mahipal, Niranjan Sharma, Dalpat and Amarnath.The story was about Hanuman's devotion to Ram and his battle with the two demon brothers Ahiravan and Mahiravan.PlotThe story is about Hanuman and his confrontations with The King of Patal, Ahiravan, and his brother Mahiravan, who have been asked by Ravan to kill Ram and Lakshman. Mahiravana kidnaps Naga princess chandrasena who is devoted to Rama. The film follows Hanuman's encounter with Makari, the daughter of the sea, who wants to marry him, but instead through the swallowing of a bead of his sweat she gives birth to Makardhwaj who guards the gates of Patal (Hell) where Ram and Lakshman are taken when kidnapped. Hanuman gets the better of Makardhwaj and rescues Ram and Lakshman. A major battle ensues and Ahiravan and Mahiravan are killed, but somehow they keep regenerating. Hanuman manages to find out the secret of their regeneration and puts a stop to it with the help of Ahiravan's wife Chandrasena. In the end, Rama tells Chandrasena that he will marry her in Dvapara Yuga when he will incarnate as Krishna and marry her as satyabhama.CastMeena KumariMahipalS. N. TripathiShanta KunwarVimalDalpatH. PrakashKanta KumarNiranjan SharmaBimlaAmarnathMusicSonglist.RemakeIt was remade in 1974 as Hanuman Vijay directed by Babubhai Mistri.Passage 3:Young and Dangerous 3Young and Dangerous 3 (Chinese: \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000) is a 1996 Hong Kong triad film directed by Andrew Lau. It is the second sequel in the Young and Dangerous film series.  Starting from this movie, it is distributed by Golden Harvest Company.PlotWeeks after Chan Ho Nam (Ekin Cheng) is elected branch leader of Causeway Bay of the \"Hung Hing\" Society, \"Chicken\" Chiu (Jordan Chan), best friends Banana Skin (Jason Chu), Pou-pei (Jerry Lamb), Dai Tin-yee (Michael Tse) and K.K. (Halina Tam) after joining the Taiwanese \"San Luen\" triad, is reinstated into Hung Hing by Chairman Chiang Tin Sung (Simon Yam). At the same time, rival triad \"Tung Sing\", led by \"Camel\" Lok (Chan Wai Man) begins to make a name for itself, establishing bars and clubs alongside Hung Hing's areas of operations. Things become heated when Tung Sing member \"Crow\" (Roy Cheung) fuels a deep-seated rivalry between him and Ho Nam, with the threat of open war between the two societies. Meanwhile, Ho Nam's stuttering girlfriend Smartie (Gigi Lai), who was critically injured in a vehicular accident and slipped into a coma, reawakens but with no prior memories to her meeting with Ho Nam for the first time. Regardless, Ho Nam assures her he and his friends will protect her. To add in a stick of comedy, Father \"Lethal Weapon\" Lam (Spencer Lam) introduces his daughter Shuk Fan (Karen Mok) to Chicken, having been good friends and a source of advice for him.During a business trip to Amsterdam with his mistress and Ho Nam, Chairman Chiang is assassinated by thugs. While the rest of Hung Hing believes the hit was orchestrated by Ho Nam, it is the deranged Crow who ordered the chairman's death, using Chiang's mistress to falsify evidence, framing Ho Nam. While Ho Nam goes into hiding back in Hong Kong, Crow is reprimanded by Camel; to add to his insanity, Crow kills his own boss and makes it look like a Hung Hing assassination. Drunk with power, Crow wants nothing more than to destroy Hung Hing and orders his men to search frantically for Ho Nam, who is quick to realize the ambush and escapes with Smartie, until Crow's men manages to separate the two. In their attempt, Smartie is captured but suffers a blow to the head, restoring her memories. Crow tells Ho Nam if he wants his name cleared and his woman back, he must meet him alone.Yet, the crazed Crow does not keep his word and kills Smartie in cold blood in front of Ho Nam. Just as Crow is about to finish him, Chicken bursts in and reaches a stalemate with Crow to ensure Ho Nam's safety. The saddened Ho Nam carries Smartie's body out with him and gives her a proper funeral. Now fueled solely on vengeance, Ho Nam decides to march into Tung Sing territory and kill Crow at Camel's funeral haphazardly. Ho Nam's friends and the rest of Hung Hing manage to capture and threaten Tung Sing member \"Tiger\" (Ng Chi Hung), who tells all of Crow's madness in killing both their societies' leaders. Crow is left nowhere to run from his enemies, and in the midst of a Hung Hing/Tung Sing brawl, he is killed in the funeral pyre. With Crow dead, Tung Sing is left in disarray, and Hung Hing re-establishes control in its territories.CastSee alsoYoung and DangerousExternal linksYoung and Dangerous 3 at IMDbPassage 4:Shri Ganesh MahimaShri Ganesh Mahima also called Shri Krishna Vivah is a 1950 Hindi   mythological film directed by Homi Wadia. The film was made under Wadia's Basant Pictures Banner with music composed by S. N. Tripathi. Meena Kumari, after her career as a child artist, started doing adult roles as heroines in mythologicals and fantasy genres before she made it in mainstream cinema with Baiju Bawra (1952). The cast included Meena Kumari, Mahipal, S. N. Tripathi, Amarnath and Dalpat. It's a side story and indirect sequel to Hanuman Patal Vijay.PlotGanesha curses Chandra (Moon) for his vanity when he laughs at him. On asking forgiveness the curse is changed so that the effect occurs  only on the auspicious day of Ganesh Chaturthi.  Anyone looking at the moon will fall prey to false charges. Lord Krishna (Mahipal) looks at the moon and is accused of having stolen the Syamantaka Mani by Satrajit whose daughter Satyabhama (Meena Kumari) is keen on marrying Krishna. The film follows the fight between Lord Krishna and Jambavan for twenty-one days, with the recovery of the jewel and his marriage to Satyabhama.CastMeena Kumari as SatyabhamaMahipal as Lord KrishnaS. N. TripathiIndira BilliMoolchandVimalMangalaDalpatAmarnathBox-OfficeThe film did not strictly adhere to the telling of Ganesha's story from the classics but focused on a particular incident covering Lord Krishna. It attracted media publicity and became successful at the box-office \"breaking box-office records\".RemakesIt was remade in Telugu as Vinayaka Chavithi 1957 with NTR playing his iconic role, character of Krishna and in Hindi once again as Shree Ganesh in 1962 by Babubhai Mistry, with Mahipal reprising his iconic role as Lord Krishna, the actor who had played Satrajit, also reprised his role. The song Surya Dev Dinesh Hai, which played during Satrajit worship of Lord Surya was reused in that movie. In both remakes, Krishna Kumari starred as Rukmini.Ot was remade again in 1977 as Jai Dwarkadheesh, by Sushil Gupta, to serve as sequel to prequel remake Hanuman Vijay which also retained ensemble same cast, starring Ashish Kumar, Kanan Kaushal, Radha Saluja, Jayshree T, Manher Desai, Anita Guha, Hercules, B M Vyas, Bharat Bhushan, S.N.Tripati.Director: .MusicThe film had music directed by S. N. Tripathi and lyrics by Ramesh Pandey. The main singers were Mohammed Rafi and Geeta Dutt.Song listPassage 5:Young and Dangerous 4Young and Dangerous 4 (Chinese: 97\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000; Literal Title 97 Wise Guys: No War Cannot Be Won) is a 1997 Hong Kong triad film directed by Andrew Lau. It is the third sequel to the Young and Dangerous film series.SynopsisThe film opens in 1996. It begins with the wedding of Dai Tin Yee and his girlfriend. At the wedding, Chan Ho Nam agrees to travel to Thailand with the other branch leaders of Hung Hing in order to try and recruit Chiang Tin Yeung to lead the Hung Hing triad. While 6 of the 12 branch leaders are in Thailand, Dinosaur, back in Hong Kong, who leads the Tuen Mun area for Hung Hing is assassinated by being thrown over a building by Tiger of rival gang Tung Sing society. The following day, Chan Ho Nam and his fellow leaders in Thailand learn of Dinosaur's demise and agree to elect a new branch leader for the Tuen Mun area. The two nominees are Barbarian (Dinosaur's right-hand man) and Chicken San Gai (Chan Ho Nam's right-hand man). Chan Ho Nam warns Chicken of the dangers of running for branch leader but Chicken chooses to run anyway, causing a feud among their friendship. Meanwhile, Chiang Tin Yeung agrees to head back to Hong Kong to lead the Hung Hing society. He declares that Barbarian and Chicken are given a time period to prove themselves worthy of leading Tuen Muen for Hung Hing. Barbarian gets support from Fatty Lai, the branch leader of North Point, and it's revealed that Fatty Lai's printing studio was once nearly burnt under the orders of Uncle Bee by Chan Ho Nam, which made them enemies. Meanwhile Chicken also gets support from Ben Hon, Sister 13, Tai Fei, and Prince.Back in Hong Kong, Shuk Fan begins her career as a teacher with the worst students in the high school and she is able to temporarily befriend them. She also introduces her colleague Yan Yan to Chan Ho Nam, who lost his girlfriend previously. Chan Ho Nam lies to Yan Yan, saying that he's a tutorial teacher. Meanwhile, Chicken is fighting an uphill battle for his candidacy for Tuen Mun. Barbarian, who is a local of Tuen Mun, already has the upper hand in terms of support from the locals. Chicken tries to throw parties, but no one attends as everyone else is at Barbarian's party. At every turn, Chicken is continuously humiliated by Barbarian. Barbarian even has help from Tiger of rival gang Tung Sing. Tiger provides Barbarian with his wisdom, support, and money. He hopes to gain his own control of the Tuen Muen area with his own society with Barbarian as his puppet.All of Chicken's supporters come under attack and Barbarian's victory is almost in his grasp. Banana who helped run a bar for Chicken is accused of drugging his customers and is arrested. In reality, the drugs were planted by accomplices of Barbarian. Shuk Fan is attacked by her students and Chan Ho Nam substitutes for her. He warns the students of the dangers of the Triad Gangster world, but the students dismiss him. Yan Yan also began feeling suspicious about Chan Ho Nam's identity.Dai Tin Yee attempts to assassinate Barbarian for Chicken as a token of their friendship. However, the assassination fails and Yee is severely injured. He would have died if Tai Fai hadn't intervened and saved Yee. Afterwards, Yee goes into hiding to recover his wounds. Pou Pei is seduced by Barbarian's younger brother's girlfriend and let slip the whereabouts of Yee to her. She relays the information back. Tiger along with Fatty Lai (Who has been working secretly with Tiger), and his men burst into Dai Tin Yee's apartment and rape his wife and throw him over the building, killing him.That night, Chan Ho Nam reprimands Chicken for participating in an unnecessary election as a branch leader. Meanwhile, Yan Yan was also at the scene, which caused her to know about Chan Ho Nam's identity as a Hung Hing branch leader. Chan Ho Nam goes into depression and drinks himself to the ground. Yan Yan carries him into her own home, and the two had relationships unexpectedly.The final moment has arrived and Chicken has to face off against Barbarian in a debate. The debate is extremely heated. Chicken is barely able to fend off the accusations by Barbarian. Barbarian is being directed by Tiger by use of a headphone and mouthpiece who is the source of Barbarian's quick thinking. After the voting, Barbarian is almost declared as the winner when they are interrupted by Sister 13 and Ben Hon. They bring with them an informant. The girl who had seduced Pou Pei had earlier been betrayed by Barbarian's younger brother and now knows all the dirty tricks Barbarian was using. Right when she reveals all the details of Barbarian, she is shot by Tiger. Meanwhile, Barbarian tries to attack her but is subdued. His hat falls off, revealing the headpiece he was using to communicate with Tiger and all see him for what he really is. Tiger meanwhile is cornered by all of Hung Hing. Prince volunteered as Chian Tin Yeung decides to elect someone to fight Tiger, but Chan Ho Nam decides to take the reason to avenge Dai Tin Yee to fight. A fight ensues and Tiger takes out a pocket knife as a dirty trick, suddenly Fatty Lai interferes and kills Tiger with a katana. Afterwards, Fatty Lai announces his loyalty to Hung Hing. Fortunately, Chiang Tin Yeung knows that Fatty Lai is trying to keep his cahoots with Tiger in secret, and as a punishment, Fatty Lai is banished to Albania. Tai Fei replaces Fatty Lai as the branch leader of North Point.With Barbarian exposed and in captive, Chicken is elected to be branch leader of Tuen Mun.In the aftermath, Sister 13 delivers a letter addressed to Chan Ho Nam. Chan Ho Nam reads the letter and found that Yan Yan rejects him due to his identity as a Hung Hing branch leader but will remember the times she spent. The film ends with Chan Ho-Nam and Chicken Chiu as equal branch leaders.CastEkin Cheng - Chan Ho-NamJordan Chan - Chicken ChiuJason Chu - Banana Skin (also played Chow Pan in a flashback)Jerry Lamb - Pou-PanMichelle Reis - Lee Yan-kinRoy Cheung - Lui Yiu-Yeung/Thunder TigerPinky Cheung - K.K.Michael Tse - Dai Tin-yeeKaren Mok - Lam Suk-Fan/WasabiRoland Wong - SupermanAnthony Wong Chau-Sang -  Tai FaiAlex Man - Chiang Tin YeungSandra Ng - Sister 13Vincent Wan - Ben HonSpencer Lam - Father LamLee Siu-kei - KeySamuel Leung - Class StudentKen Lo - PrinceNg Chi Hung - TigerSee alsoYoung and Dangerous (series)External linksYoung and Dangerous 4 at IMDbPassage 6:Young and Dangerous 5Young and Dangerous 5 (simplified Chinese: 98\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000; traditional Chinese: 98\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000) is a 1998 Hong Kong triad film. It is the fourth sequel in the Young and Dangerous film series.PlotSzeto Ho Nam from the Tung Sing Society attempts to take control of Causeway Bay by causing trouble at Chan Ho Nam's bars in Causeway Bay. Meanwhile, Big Head, a friend of Chan Ho Nam has been released from jail and works on the street as a vendor, attempting to have a peaceful life after being released without getting involved in gangster affairs. The Tung Sing members kept ruining Big Head's peaceful life by forcing him to give them money for protection racket.Chian Tin Yeung, Sister 13, Chan Ho Nam, and many other branch leaders are invited to Malaysia by Chinese-Malaysian governor Chan Ka Nam. Chan Ka Nam fakes a business alliance with Chan Ho Nam, secretly helping Szeto Ho Nam to eliminate Chan Ho Nam. In Malaysia, Chan Ho Nam gets into a romantic relationship with Meiling, who's been forced to work for Chan Ka Nam. After she knows that she's been tricked, she decides to assist Chan Ho Nam in his plans to expose Chan Ka Nam.After a confrontation with Tung Sing members, Banana Peel gets arrested and taken to the police station. There, he gets shot to death by a Tung Sing member whose brother was killed by Banana Peel during the confrontation.Big Head decides to help Chan Ho Nam to fight a boxing match with the Tung Sing Society, whoever loses will need to disappear out of Causeway Bay. Big Head wins the match.Meanwhile, Chan Ho Nam decides to challenge Szeto Ho Nam privately and Chan Ho Nam wins the fight as well.At the end of the film, Chan Ka Nam gets beaten up by Pou Pan before getting arrested by the police, he was exposed with the help of Meiling and Tai Fei, who now runs a publishing office. Meiling and Chan Ho Nam officially begin their dating.Cast and rolesEkin Cheng - Chan Ho NamJason Chu - Banana SkinJerry Lamb - Pou-panChin Kar-lok - Big HeadShu Qi - Mei LingMark Cheng - Szeto Ho NamPaul Chun - Datuk Chan Ka NamAlex Man - Chiang Tin YeungSandra Ng - Sister 13Vincent Wan - Ben HonAnthony Wong Chau-sang - Tai FeiDanny Lee - Inspector LeeChan Chi Fai - Gambler on ShipCheung ManBilly ChowKwan Hoi-Shan - Datuk's FriendLaw Lan - Granny ChanLee Siu-Kei - KeiSimon LuiWang Tian-lin - Uncle SeventhWong Chi YeungWong Man-Wai - Datuk's AccuserSee alsoYoung and Dangerous (series)External linksYoung and Dangerous 5 at IMDbPassage 7:Young and Dangerous 2Young and Dangerous 2 (Chinese: \u0000\u0000\u00002\u0000\u0000\u0000\u0000\u0000) is a 1996 Hong Kong triad film directed by Andrew Lau. It is the first sequel in the Young and Dangerous film series.PlotIn a flashback to Young and Dangerous, \"Chicken\" Chiu (Jordan Chan) heads into exile and decides to go to Taiwan, after a failed hit. The first part of the movie details the events leading up to his return to Hong Kong, following the death of his boss \"Uncle Bee\" (Frankie Ng). In Taiwan, Chicken's cousin introduces him to the \"San Luen\" Triad, headed by an influential Taiwanese senator. Although the atmosphere in the city is quite different than Hong Kong, Chicken gains the senator's favor by assassinating his rival. Pleased with the youth's initiative, he promotes Chicken to branch leader and does not even mind Chicken having been smitten with his beautiful mistress. Upon hearing news of Bee's death, Chicken returns to Hong Kong and helps best friends Chan Ho Nam (Ekin Cheng), Dai Tin-yee (Michael Tse) and K.K. (Halina Tam) to get rid of corrupt \"Hung Hing\" Chairman \"Ugly Kwan\" (Francis Ng).The second part of the movie deals with returning Hung Hing Chairman Chiang Tin Sang (Simon Yam) trying to ally with San Luen and promote relationships, while trying to find a replacement branch leader of Causeway Bay, a position Bee held. Ho Nam is the most likely candidate, being Bee's must trusted underling, but a rivalry breaks out when another member \"Tai Fei\" (Anthony Wong) wants the position for himself. At the same time, Ho Nam's friend Pou Pan (Jerry Lam) recruits \"Banana Skin\" (Jason Chu), who bewilders Ho Nam and the rest of his friends because of his facial similarity to Pou Pan's deceased brother Chow Pan. During a visit back to Taiwan to see and thank the senator personally for helping them get rid of Kwan, Ho Nam and Chicken find him dead and are accused by San Luen of killing him.In actuality, the culprit is the senator's mistress, who uses this opportunity to lead San Luen and break Hung Hing's grip on their gambling spots in Macau, reinforcing San Luen influence in the area. To that end, Tai Fei willingly allies with her and plots to have Ho Nam's candidacy for the Causeway Bay branch leadership tainted. Ho Nam is barely swayed by Tai Fei's threats, until a car accident cripples his girlfriend Smartie (Gigi Lai), putting her in a coma. Although disheartened at her condition, Ho Nam does not back out of the candidacy, and plans to stage an intervention at a San Luen opening of a new Macau casino, during which an important member of the Macau government will attend. Ho Nam's sabotage of the event is successful, destroying any credibility San Luen has in Macau and to Tai Fei's nomination.In a tense Mexican standoff at town square, the senator's mistress and Tai Fei decides to settle things with Ho Nam and Chicken, summoning hundreds of San Luen and Hung Hing members. While it appears the victory is in the mistress' hands, it is Tai Fei who turns the gun on her: it was all a ploy on Hung Hing's part for him to ally with San Luen and provide a means to weed out any corrupt members in the Taiwanese society. Realizing it was she who killed the senator, San Luen's branch leaders decide "}
+{"doc_id":"doc_146","qid":"","text":"Passage 1:The Goose WomanThe Goose Woman is a 1925 American silent drama film directed by Clarence Brown and starring Louise Dresser with Jack Pickford as her son. The film was released by UniversalPictures.The Rex Beach short story is based in part on the then already sensational Hall-Mills murder case in which a woman named Jane Gibson is described as a pig woman because of the pigs she raised on herproperty.PlotAs described in a film magazine reviews, opera singer Mary Holmes loses her voice as a result of giving birth to a boy, and develops an intense dislike of her offspring. She becomes a victim of drink, livingalone in a shabby cottage and raises geese. Her son wins the love of Hazel Woods, a young actress, who repulsed the vicious advances of a millionaire theatre-owner. The latter is murdered. To gain publicity, Maryinvents a wild story about having witnessed the murder. The district attorney furnishes her with fine clothes, reveals her identity as a former stage star, and she is the sensation of the day. However, the details sheconcocts about the crime cause her son’s arrest. Confronted with him, she experiences a sudden awakening of mother-love and confesses that her story is false. It transpires that the theatre doorman is the guiltyperson. The son is cleared and faces a happy future with his reformed parent and Hazel.CastReceptionBoth critics and audiences favorably received the film. The Goose Woman was remade in 1933 as The Past of MaryHolmes featuring Helen MacKellar and Jean Arthur.Passage 2:You Can No Longer Remain SilentYou Can No Longer Remain Silent (German: Du darfst nicht länger schweigen) is a 1955 West German romantic drama filmdirected by Robert A. Stemmle and starring Heidemarie Hatheyer, Wilhelm Borchert and Werner Hinz. It is based on the 1929 novel  Morning of Life by Kristmann Gudmundsson. It is set amongst feuding Scandinavianfishing families.It was shot at the Tempelhof Studios in Berlin with location shooting around in Sweden around Gothenburg. The film's sets were designed by the art directors Helmut Nentwig and KarlWeber.CastPassage 3:The Goose Girl (1957 film)The Goose Girl (German: Die Gänsemagd) is a 1957 West German family film directed by Fritz Genschow and starring Rita-Maria Nowotny, Renée Stobrawa and RenateFischer. It is based on the fairy tale The Goose Girl by the Brothers Grimm.CastRita-Maria Nowotny as Prinzessin RosemargretRenée Stobrawa as Königin-MutterRenate Fischer as Malice - KammermädchenGünter Hertelas Prinz FriedbertAlexander Welbat as Hinz - ReitburscheWolfgang Draeger as Kunz - ReitburscheFritz GenschowTheodor VogelerPeter HackPassage 4:Clarence BrownClarence Leon Brown (May 10, 1890 – August 17,1987) was an American film director.Early lifeBorn in Clinton, Massachusetts, to Larkin Harry Brown, a cotton manufacturer, and Katherine Ann Brown (née Gaw), Brown moved to Tennessee when he was 11 years old.He attended Knoxville High School and the University of Tennessee, both in Knoxville, Tennessee, graduating from the university at the age of 19 with two degrees in engineering. An early fascination in automobiles ledBrown to a job with the Stevens-Duryea Company, then to his own Brown Motor Car Company in Alabama. He later abandoned the car dealership after developing an interest in motion pictures around 1913. He washired by the Peerless Studio at Fort Lee, New Jersey, and became an assistant to the French-born director Maurice Tourneur.CareerAfter serving as a fighter pilot and flight instructor in the United States Army AirService during World War I, Brown was given his first co-directing credit (with Tourneur) for The Great Redeemer (1920). Later that year, he directed a major portion of The Last of the Mohicans after Tourneur wasinjured in a fall.Brown moved to Universal in 1924, and then to Metro-Goldwyn-Mayer, where he remained until the mid-1950s. At MGM he was one of the main directors of their major female stars; he directed JoanCrawford six times and Greta Garbo seven.Brown was nominated six times (see below) for an Academy Award as a director, but he never received an Oscar. However, he won Best Foreign Film for Anna Karenina,starring Garbo at the 1935 Venice International Film Festival.Brown's films gained a total of 38 Academy Award nominations and earned nine Oscars. Brown himself received six Academy Award nominations and in1949, he won the British Academy Award for the film version of William Faulkner's Intruder in the Dust.In 1957, Brown was awarded The George Eastman Award, given by George Eastman House for distinguishedcontribution to the art of film. Brown retired a wealthy man due to his real estate investments, but refused to watch new movies, as he feared they might cause him to restart his career.The Clarence Brown Theater, onthe campus of the University of Tennessee, is named in his honor. He holds the record for most nominations for the Academy Award for Best Director without a win, with six.Personal lifeClarence Brown was married fourtimes. His first marriage was to Paula Herndon Pratt in 1913, which lasted until their divorce in 1920. The couple produced a daughter, Adrienne Brown.His second marriage was to Ona Wilson, which lasted from 1922until their divorce in 1927.He was engaged to Dorothy Sebastian and Mona Maris, although he did not marry either of them, with Maris later saying she ended their relationship because she had her \"own ideas ofmarriage then.\"He married his third wife, Alice Joyce, in 1933 and they divorced in 1945.His last marriage was to Marian Spies in 1946, which lasted until his death in 1987.DeathBrown died at the Saint John's HealthCenter in Santa Monica, California from kidney failure on August 17, 1987, at the age of 97. He is interred at Forest Lawn Memorial Park in Glendale, California.On February 8, 1960, Brown received a star on theHollywood Walk of Fame at 1752 Vine Street, for his contributions to the motion pictures industry.Selected filmographyDirectorTrilby (1915)The Law of the Land (1917)The Blue Bird (1918)The Great Redeemer(1920)The Last of the Mohicans (1920)The Foolish Matrons (1921)The Light in the Dark (1922)Don't Marry for Money (1923)The Acquittal (1923)ActorThe Signal Tower (1924) – Switch ManBen-Hur (1925) – ChariotRace Spectator (uncredited)Navy Blues (1929) – Roller Coaster Rider (uncredited)Possessed (1931) – Man on Merry-Go-Round (uncredited) (final film role)NotesPassage 5:Bill SalugaWilliam Saluga (September 16,1937 – March 28, 2023) was an American comedian and founding member of the improvisational comedy troupe Ace Trucking Company. He appeared on several television programs, including Seinfeld.Early lifeSalugawas born on September 16, 1937 in Youngstown, Ohio. When Saluga was 10, his father was killed in an industrial accident at the Republic Steel Mill where he worked and his mother supported the family by working asa bookkeeper. Saluga, known as \"Billy\" to his friends and family, was a high school cheerleader and class clown. After graduation, he served two years in the Navy and then began working as a performer in localtheaters.CareerSaluga spent several years performing in Youngstown, Ohio theaters and clubs. He played numerous roles in notable productions, including Guys and Dolls and Inherit the Wind. Saluga became a talentcoordinator for the Steve  Allen show in the late 1960s. in 1969, he created the \"Johnson\" character while a member of the comedic troupe Ace Trucking Company.Saluga's shtick as the character \"Johnson\" would be,when someone would refer to him as \"Mr. Johnson\" or by the common generic nickname \"Johnson,\" to exaggeratedly feign offense and list off all permutations of the name Raymond J. Johnson Jr. and nicknamesthereof that do not mention the word \"Johnson:\"\"NOOO!!! You don't have to call me Johnson! My name is Raymond J. Johnson Jr.  Now you can call me Ray, or you can call me J, or you can call me Johnny, or you cancall me Sonny, or you can call me Junie, or you can call me Junior; now you can call me Ray J, or you can call me RJ, or you can call me RJJ, or you can call me RJJ Jr. . . but you doesn't hasta call me Johnson!\" Salugawould then smugly turn away and begin puffing on his cigar. Saluga's routine received more widespread attention in the late 1970s after being used in a series of commercials for Miller Lite beer, and subsequently, inthe early 1980s for Anheuser-Busch Natural Light beer. Saluga appeared alongside comedian/pitchman Norm Crosby echoing (in a roundabout way) Norm's advice to unknowing customers on how to more easily orderthe lengthily-named beer: \"Well, y'doesn't hasta call it Anheuser Busch Natural Light Beer, and y'doesn't hasta call it 'Busch Natural.'  Just say 'Natural!'\" Saluga then later launches into the \"You can call me Ray\"routine after Crosby warns not to ask Johnson his name.From 1977 to 1978, Saluga appeared regularly as Raymond J. Johnson Jr. on Redd Foxx's eponymous variety show. Saluga as Johnson also made appearances onThis Is Tom Jones, Laugh-In  and The David Steinberg Show. He also made appearances on Chuck Barris' The Gong Show during 1977 and 1978.A novelty disco single called \"Dancin' Johnson,\" based around Johnson'sschtick, was released in 1978. a 1978 episode of Good Times contained a scene where Keith (while intoxicated) recited \"You can call me Ray, or you can call me J\" which was at the height of its popularity for thesaying.Bob Dylan referenced the \"you may call me\" schtick in his 1979 hit, \"Gotta Serve Somebody,\" when he sings, \"You may call me Terry, you may call me Timmy / You may call me Bobby, you may call me Zimmy /You may call me R.J., you may call me Ray / You may call me anything, but no matter what you say / You’re gonna have to serve somebody.\" The idea for the verse originated from Jerry Wexler, who suggested itduring the recording sessions for Slow Train Coming.The character's popularity is referenced in multiple episodes of The Simpsons, with Saluga appearing as himself in the 2002 episode \"The Old Man and the Key\".Saluga also appeared as Johnson in the 2010 King of the Hill episode \"Just Another Manic Kahn-Day\".Death and legacySaluga died of cardiopulmonary arrest in Los Angeles on March 28, 2023, at the age of 85. Saluga'snephew, Scott Saluga, told the media that his uncle was living in Burbank, California at the time of his death. Saluga did not have any surviving immediate family members.Saluga told friends he didn't mind beingtypecast and known to the public as Raymond Johnson. Comedian David Steinberg said that \"Billy was always doing Ray J. He was relentless with it. I would say 'Mr. Johnson' and Billy would be off. He did iteverywhere. At parties. His timing and delivery were so funny every time.\"In 2017, Saluga said that people never recognized him outside his character and that it gave him great pleasure hearing people perform hisshtick in his presence without knowing who he was.BibliographySaluga, Bill (1982). Bill Saluga's Name Game Book. Bantam Books. ISBN 978-0553207545.Passage 6:La Bestia humanaLa Bestia humana is a 1957Argentine film whose story is based on the 1890 novel La Bête Humaine by the French writer Émile Zola.External linksLa Bestia humana at IMDbPassage 7:Miloš ZličićMiloš Zličić (Serbian Cyrillic: Милош Зличић; born29 December 1999) is a Serbian football forward who plays for Smederevo 1924. He is a younger brother of Lazar Zličić.Club careerVojvodinaBorn in Novi Sad, Zličić passed Vojvodina youth school and joined the firstteam at the age of 16. Previously, he was nominated for the best player of the \"Tournament of Friendship\", played in 2015. He made his senior debut in a friendly match against OFK Bačka during the spring half of the2015–16 season, along with a year younger Mihajlo Nešković. Zličić made an official debut for Vojvodina in the 16th fixture of the 2016–17 Serbian SuperLiga season, played on 19 November 2016 against NoviPazar.Loan to CementIn July 2018, Zličić joined the Serbian League Vojvodina side Cement Beočin on half-year loan deal. Zličić made his debut in an official match for Cement on 18 August, in the first round of the newseason of the Serbian League Vojvodina, in a defeat against Omladinac. He scored his first senior goal on 25 August, in victory against Radnički.International careerZličić was called in Serbia U15 national team squadduring the 2014, and he also appeared for under-16 national team between 2014 and 2015. He was also member of a U17 level later. After that, he was member of a U18 level, and scored goal against SloveniaU18.Career statisticsAs of 26 February 2020Passage 8:The Past of Mary HolmesThe Past of Mary Holmes is a 1933 American pre-Code drama film, directed by Harlan Thompson and Slavko Vorkapich, and released byRKO. The film is a remake of the silent film The Goose Woman (1925), which is based on a short story by Rex Beach, partly based on the Hall-Mills murder case.PlotMary Holmes, once a famous opera star known asMaria di Nardi, now lives in a run-down shanty and suffers from alcoholism. Known for her eccentric behavior, Mary breeds geese, and is thus known in her neighborhood as \"the Goose Woman\". She blames her grownson Geoffrey for the deterioration of her voice and does everything to destroy his life.When Geoffrey, a commercial artist, tells her that he is going to marry actress Joan Hoyt, she becomes torn with jealousy andthreatens to reveal to Joan that he is illegitimate. Not allowing his mother the satisfaction of destroying his life, Geoffrey decides to break the news to Joan himself. Joan, who has just ended an affair with a womanizingtheatre backer, G. K. Ethridge, tells him that she wants to proceed their wedding plans. Geoffrey then breaks ties with his mother and heads out to Chicago on an assignment.Meanwhile, Jacob Riggs, a doorman at theEthridge theatre, shoots and kills his boss on the evening when he is awaiting his final rendezvous with Joan, due to his constant affairs with innocent women. Mary, who lives next to the place where the crime iscommitted, sees opportunity in getting recognition and fame as Maria di Nardi, after hearing the gunshots. She fabricates a sensational story for the press and media, unaware that her story implicates Geoffrey as aprime suspect.Following drunken testimony by Mary, Geoffrey is indicted on circumstantial evidence by a grand jury. Despite denying the testimony when she realizes what she is doing to Geoffrey, he is found guiltyand sent to jail, awaiting the death penalty. Overcome with grief, Mary uses Joan's help to convince Jacob to turn himself in for the crime. Geoffrey is freed from jail and can finally marry Joan. Mary burns down hershanty as a symbolic gesture of leaving her past behind, in order to join Geoffrey and her daughter-in-law in a joyful future.CastHelen MacKellar as Mary Holmes/Maria di NardiEric Linden as Geoffrey HolmesJean Arthuras Joan HoytRichard \"Skeets\" Gallagher as Ben PrattIvan F. Simpson as Jacob RiggsClay Clement as G. K. EthridgeJ. Carrol Naish as Gary KentRoscoe Ates as Bill-poster KlondikeRochelle Hudson as BettyJohn Sheehanas Tom KincaidEdward J. Nugent as FlanaganBackgroundBased on the short story of the same name, the film was initially in production under the title The Goose Woman. Initially, screenwriter Samuel Ornitz was toadapt the story with Marion Dix, but Eddie Doherty later took over.Produced on a low budget, the film was released as a double feature in cinemas along with The Big Cage (1933).Passage 9:Once You're Born You CanNo Longer HideOnce You're Born You Can No Longer Hide (Italian: Quando sei nato non puoi più nasconderti) is a 2005 Italian drama film directed by Marco Tullio Giordana.  The film concerns undocumented migrationto Italy via the Mediterranean Sea.PlotA young Italian boy accidentally falls overboard while yachting with his father on the Mediterranean.  He is rescued by a boatload of undocumented immigrants attempting to reachItaly by sailing across the Mediterranean.  On the ship, he is befriended by a young Romanian man and his sister.  The film follows the relationship of the Italian boy with the Romanian once they reach the Italianshores.CastAlessio Boni - BrunoMichela Cescon - LuciaRodolfo Corsato - PopiMatteo Gadola - SandroEster Hazan - AlinaVlad Alexandru Toma - RaduMarcello Prayer - ToreGiovanni Martorana - BarracanoSimona Solder -MauraAndrea Tidona - Padre CelsoAdriana AstiAwardsPrix François Chalais, 2005 Cannes Film FestivalNastro d'Argento Best ProducersSee alsoMovies about immigration to ItalyPassage 10:Robert A. StemmleRobertAdolf Stemmle (10 June 1903 – 24 February 1974) was a German screenwriter and film director. He wrote for more than 80 films between 1932 and 1967. He also directed 46 films between 1934 and 1970. His 1959film Die unvollkommene Ehe was entered into the 1st Moscow International Film Festival. He was born in Magdeburg, Germany and died in Baden-Baden, Germany.Selected filmographyPublicationsas authorAffäre Blum.Herbig, München 1979, ISBN 3-7766-0968-0.Aus heiterm Himmel. Theater- und Filmanektoden. Herbig, Berlin 1942.Herzeleid auf Leinewand. 7 Moritaten. Bruckmann, München 1962.Hier hat der Spass ein Ende.Verlag der Sternbücher, Hamburg 1957.Ich war ein kleiner PG. Ein Roman. Goverts, Stuttgart 1958.Ja, ja, ja, ach ja, s'ist traurig, aber wahr. Ergreifende Balladen und tragische Moritaten. Verlag Weiß, Berlin 1964.DerMann, der Sherlock Holmes war. Ein heiterer Kriminalroman. Eulenspiegel-Verlag, Berlin 1996, ISBN 3-359-00856-1.Onkel Jodokus und seine Erben. Ein heiterer Roman. Herbig, Berlin 1953.Reise ohne Wiederkehr. DerFall Petiot. Verlag das neue Berlin, Berlin 1968.Die Geburt der Komödie. 7 Bilder nach Franz Pocci. Deutscher Laienspiel-Verlag, Rotenburg/Fulda 1950.as editorMarta Adler: Mein Schicksal waren die Zigeuner.Schünemann, Bremen 1957.Paul Johann Anselm von Feuerbach: Merkwürdige Verbrechen in aktenmässiger Darstellung. Bruckmann, München 1963.Herrmann Mostar: Der neue Pitaval. Sammlung berühmter undmerkwürdiger Kriminalfälle. 15 vols. Desch, München 1963-69"}
+{"doc_id":"doc_147","qid":"","text":"Passage 1:Alexandru CristeaAlexandru Cristea (1890–1942) was the composer of the music for \"Limba Noastră\", current national anthem of Moldova.BiographyA choir director, a composer and music teacher. Taught atthe  \"Vasile Kormilov\" music school (1928) with Gavriil Afanasiu and the  \"Unirea\" Conservatory (1927–1929) in Chişinău with Alexandru Antonovschi (canto), he was the master of vocal music from Chişinău(1920–1940), professor of music and conductor of the choir in the boys gymnasium \"Ion Heliade Rădulescu\" in Bucure\u0000ti (1940–1941). Later, between 1941 and 1942, he directed the choir at the \"Queen Mother Elena\"high school from Chişinău. In 1920, he was ordained as a deacon of the St. George Church in Chişinău, from 1927 to 1941 was a deacon holds the Metropolitan Cathedral of Chişinău.CreationHis main creation isconsidered the music for \"Limba Noastră\", current national anthem of Moldova, composed in the lyrics of the priest-poet Alexei Mateevici. He was awarded the “Răsplata muncii pentru biserică”.Passage 2:PeteTownshendPeter Dennis Blandford Townshend (; born 19 May 1945) is an English musician. He is the co-founder, leader, guitarist, second lead vocalist and principal songwriter of the Who, one of the most influentialrock bands of the 1960s and 1970s. Due to his aggressive playing style and innovative songwriting techniques, Townshend's works with the Who and in other projects have earned him critical acclaim.Townshend haswritten more than 100 songs for 12 of the Who's studio albums. These include concept albums, the rock operas Tommy (1969) and Quadrophenia (1973), plus popular rock radio staples such as Who's Next (1971); aswell as dozens more that appeared as non-album singles, bonus tracks on reissues, and tracks on rarities compilation albums such as Odds & Sods (1974). He has also written more than 100 songs that have appearedon his solo albums, as well as radio jingles and television theme songs.While known primarily as a guitarist, Townshend also plays keyboards, banjo, accordion, harmonica, ukulele, mandolin, violin, synthesiser, bassguitar, and drums; he is self-taught on all of these instruments and plays on his own solo albums, several Who albums, and as a guest contributor to an array of other artists' recordings. Townshend has also contributedto and authored many newspaper and magazine articles, book reviews, essays, books, and scripts, and he has collaborated as a lyricist and composer for many other musical acts. In 1983, Townshend received the BritAward for Lifetime Achievement and in 1990 he was inducted into the Rock and Roll Hall of Fame as a member of the Who. Townshend was ranked No. 3 in Dave Marsh's 1994 list of Best Guitarists in The New Book ofRock Lists. In 2001, he received a Grammy Lifetime Achievement Award as a member of the Who; and in 2008 he received Kennedy Center Honors. He was ranked No. 10 in Gibson.com's 2011 list of the top 50guitarists, and No. 10 in Rolling Stone's updated 2011 list of the 100 greatest guitarists of all time. He and Roger Daltrey received The George and Ira Gershwin Award for Lifetime Musical Achievement at UCLA on 21May 2016.Early life and educationTownshend was born in Chiswick, West London, at the Chiswick Hospital, Netheravon Road, in the UK. He came from a musical family: his father, Cliff Townshend, was a professionalalto saxophonist in the Royal Air Force's dance band the Squadronaires and his mother, Betty (née Dennis), was a singer with the Sydney Torch and Les Douglass Orchestras. The Townshends had a volatile marriage, asboth drank heavily and possessed fiery tempers. Cliff Townshend was often away from his family touring with his band while Betty carried on affairs with other men. The two split when Townshend was a toddler and hewas sent to live with his maternal grandmother Emma Dennis, whom Pete later described as \"clinically insane\". The two-year separation ended when Cliff and Betty purchased a house together on Woodgrange Avenuein middle-class Acton, and the young Pete was happily reunited with his parents. His neighbourhood was one-third Polish, and a devout Jewish family upstairs shared their housing with them and cooking withthem—many of his father's closest friends were Jewish.Townshend says he did not have many friends growing up, so he spent much of his boyhood reading adventure novels like Gulliver's Travels and Treasure Island.He enjoyed his family's frequent excursions to the seaside and the Isle of Man. It was on one of these trips in the summer of 1956 that he repeatedly watched the 1956 film Rock Around the Clock, sparking hisfascination with American rock and roll. Not long thereafter, he went to see Bill Haley perform in London, Townshend's first concert. At the time, he did not see himself pursuing a career as a professional musician;instead, he wanted to become a journalist.Upon passing the eleven-plus exam, Townshend was enrolled at Acton County Grammar School. At Acton County, he was frequently bullied because he had a large nose, anexperience that profoundly affected him. His grandmother Emma purchased his first guitar for Christmas in 1956, an inexpensive Spanish model. Though his father taught him a couple of chords, Townshend was largelyself-taught on the instrument and never learned to read music. Townshend and school friend John Entwistle formed a short-lived trad jazz group, the Confederates, featuring Townshend on banjo and Entwistle on horns.The Confederates played gigs at the Congo Club, a youth club run by the Acton Congregational Church, and covered Acker Bilk, Kenny Ball, and Lonnie Donegan. However, both became influenced by the increasingpopularity of rock 'n' roll, with Townshend particularly admiring Cliff Richard's debut single, \"Move It\". Townshend left the Confederates after getting into a fight with the group's drummer, Chris Sherwin, and purchaseda \"reasonably good Czechoslovakian guitar\" at his mother's antique shop.Townshend's brothers Paul and Simon were born in 1957 and 1960, respectively. Lacking the requisite grades to attend university, Pete wasfaced with the decision of art school, music school, or getting a job. He ultimately chose to study graphic design at Ealing Art College, enrolling in 1961. At Ealing, Townshend studied alongside future Rolling Stonesguitarist Ronnie Wood. Notable artists and designers gave lectures at the college such as auto-destructive art pioneer Gustav Metzger. Townshend dropped out in 1964 to focus on music full-time.Musicalcareer1961–1964: the DetoursIn late 1961, Entwistle joined the Detours, a skiffle/rock and roll band, led by Roger Daltrey. The new bass player then suggested Townshend join as an additional guitarist. In the earlydays of the Detours, the band's repertoire consisted of instrumentals by the Shadows and the Ventures, as well as pop and trad jazz covers. Their lineup coalesced around Roger Daltrey on lead guitar, Townshend onrhythm guitar, Entwistle on bass, Doug Sandom on drums, and Colin Dawson as vocalist. Daltrey was considered the leader of the group and, according to Townshend, \"ran things the way he wanted them.\" Dawson quitin 1962 after arguing too much with Daltrey, who subsequently moved to lead vocalist. As a result, Townshend, with Entwistle's encouragement, became the sole guitarist. Through Townshend's mother, the groupobtained a management contract with local promoter Robert Druce, who started booking the band as a support act for bands including Screaming Lord Sutch, Cliff Bennett and the Rebel Rousers, Shane Fenton and theFentones, and Johnny Kidd and the Pirates. In 1963, Townshend's father arranged an amateur recording of \"It Was You\", the first song his son ever wrote. The Detours became aware of a group of the same name inFebruary 1964, forcing them to change their name. Townshend's roommate Richard Barnes came up with \"The Who\", and Daltrey decided it was the best choice.1964–1982: The WhoNot long after the name change,drummer Doug Sandom was replaced by Keith Moon, who had been drumming semi-professionally with the Beachcombers for several years. The band was soon taken on by a mod publicist named Peter Meaden whoconvinced them to change their name to the High Numbers to give the band more of a mod feel. After bringing out one failed single (\"I'm the Face/Zoot Suit\"), they dropped Meaden and were signed on by two newmanagers, Chris Stamp and Kit Lambert, who had paired up with the intention of finding new talent and creating a documentary about them. The band anguished over a name that all felt represented the band best, anddropped the High Numbers name, reverting to the Who. In June 1964, during a performance at the Railway Tavern, Townshend accidentally broke the top of his guitar on the low ceiling and proceeded to destroy theentire instrument. The on-stage destruction of instruments soon became a regular part of the Who's live shows.With the assistance of Lambert, the Who caught the ear of American record producer Shel Talmy, who hadthe band signed to a record contract. Townshend wrote a song, \"I Can't Explain\", as a deliberate sound-alike of the Kinks, another group Talmy produced. Released as a single in January 1965, \"I Can't Explain\" was theWho's first hit, reaching number eight on the British charts. A follow-up single (\"Anyway, Anyhow, Anywhere\"), credited to both Townshend and Daltrey, also reached the top 10 in the UK. However, it was the release ofthe Who's third single, \"My Generation\", in November that, according to Who biographer Mark Wilkerson, \"cemented their reputation as a hard-nosed band who reflected the feelings of thousands of pissed-offadolescents at the time.\" The Townshend-penned single reached number two on the UK charts, becoming the Who's biggest hit. The song and its famous line \"I hope I die before I get old\" was \"very much about tryingto find a place in society\", Townshend stated in an interview with David Fricke.To capitalise on their recent single success, the Who's debut album My Generation (The Who Sings My Generation in the US) was releasedin late 1965, containing original material written by Townshend and several James Brown covers that Daltrey favoured. Townshend continued to write several successful singles for the band, including \"Pictures of Lily\",\"Substitute\", \"I'm a Boy\", and \"Happy Jack\". Lambert encouraged Townshend to write longer pieces of music for the next album, which became \"A Quick One, While He's Away\". The album was subsequently titled AQuick One and reached No. 4 in the charts upon its release in December 1966. In their stage shows, Townshend developed a guitar stunt in which he would swing his right arm against the guitar strings in a stylereminiscent of the vanes of a windmill. He developed this style after watching Rolling Stones guitarist Keith Richards warm up before a show.The Who commenced their first US tour on 22 March 1967. Townshend tookto trashing his hotel suites, though not to the extent of his bandmate Moon. He also began experimenting with LSD, though stopped taking the drug after receiving a potent hit after the Monterey Pop Festival on 18June. Released in December, their next album was The Who Sell Out—a concept album based on pirate radio, which had been instrumental in raising the Who's popularity. It included several humorous jingles and mockcommercials between songs, and the Who's biggest US single, \"I Can See for Miles\". Despite the success of \"I Can See for Miles\", which reached No. 9 on the American charts, Townshend was surprised it was not aneven bigger hit, as he considered it the best song he had written up to that point.By 1968, Townshend became interested in the teachings of Meher Baba. He began to develop a musical piece about a deaf, dumb, andblind boy who would experience sensations musically. The piece would explore the tenets of Baba's philosophy. The result was the rock opera Tommy, released on 23 May 1969 to critical and commercial success. Insupport of Tommy, the Who launched a tour that included a memorable appearance at the Woodstock Festival on 17 August. While the Who were playing, Yippie leader Abbie Hoffman jumped the stage to complainabout the arrest of John Sinclair. Townshend promptly knocked him offstage with his guitar, shouting, \"Fuck off my fucking stage!\"In 1970, the Who released Live at Leeds, which several music critics cite as the best livealbum of all time. Townshend began writing material for another rock opera. Dubbed Lifehouse, it was designed to be a multi-media project that symbolised the relationship between a musician and his audience. Therest of the band were confused by its convoluted plot and simply wanted another album. Townshend began to feel alienated, and the project was abandoned after he suffered a nervous breakdown. Much of the materialintended for Lifehouse was released as a traditional studio album, Who's Next. It became a commercial smash, reaching number one in the UK, and spawned two successful hit singles, \"Baba O'Riley\" and \"Won't GetFooled Again\", that featured pioneering use of the synthesizer. \"Baba O'Riley\" in particular was written as Townshend's ode to his two heroes at the time, Meher Baba and composer Terry Riley.Townshend began writingsongs for another rock opera in 1973. He decided it would explore the mod subculture and its clashes with Rockers in the early 1960s in the UK. Entitled Quadrophenia, it was the only Who album written entirely byTownshend, and he produced the album as well due to the souring of relations with Lambert. It was released in November, and became their highest charting cross-Atlantic success, reaching No. 2 in the UK and US.NME reviewer Charles Shaar Murray called it \"prime cut Who\" and \"the most rewarding musical experience of the year.\" On tour, the band played the album along to pre-recorded backing tapes, causing much friction.The tapes malfunctioned during a performance in Newcastle, prompting Townshend to drag soundman Bob Pridden onstage, scream at him and kick over all the amplifiers, partially destroying the malfunctioning tapes.On 14 April 1974, Townshend played his first solo concert, a benefit to raise funds for a London community centre.A film version of Tommy was directed by Ken Russell, and starred Roger Daltrey in the title role,Ann-Margret as his mother, and Oliver Reed as his step-father, with cameos by Tina Turner, Elton John, Eric Clapton, and other rock notables; the film premiered on 18 March 1975. Townshend was nominated for anAcademy Award for scoring and adapting the music in the film. The Who by Numbers came out in November of that year and peaked at No. 7 in the UK and 8 in the US. It featured introspective songs, often with anegative slant. The album spawned one hit single, \"Squeeze Box\", that was written after Townshend learned how to play the accordion. After a 1976 tour, Townshend took a year-long break from the band to focus onspending time with his family.The Who continues despite the deaths of two of the original members (Keith Moon in 1978 and John Entwistle in 2002). The band is regarded by many rock critics as one of the best livebands from the 1960s to the 2000s. The Who continues to perform critically acclaimed sets into the 21st century, including highly regarded performances at The Concert For New York City in 2001, the 2004 Isle ofWight Festival, Live 8 in 2005, and the 2007 Glastonbury Festival.Townshend remained the primary songwriter and leader of the group, writing over 100 songs which appeared on the band's eleven studio albums.Among his creations is the rock opera Quadrophenia. Townshend revisited album-length storytelling throughout his career and remains associated with the rock opera form. Many studio recordings also featureTownshend on piano or keyboards, though keyboard-heavy tracks increasingly featured guest artists in the studio, such as Nicky Hopkins, John Bundrick, or Chris Stainton.Townshend is one of the key figures in thedevelopment of feedback in rock guitar. When asked who first used feedback, Deep Purple guitarist Ritchie Blackmore said:Pete Townshend was definitely the first. But not being that good a guitarist, he used to justsort of crash chords and let the guitar feedback. He didn't get into twiddling with the dials on the amplifier until much later. He's overrated in England, but at the same time you find a lot of people like Jeff Beck andHendrix getting credit for things he started. Townshend was the first to break his guitar, and he was the first to do a lot of things. He's very good at his chord scene, too.Similarly, when Jimmy Page was asked about thedevelopment of guitar feedback, he said:I don't know who really did feedback first; it just sort of happened. I don't think anybody consciously nicked it from anybody else. It was just going on. But Pete Townshendobviously was the one, through the music of his group, who made the use of feedback more his style, and so it's related to him. Whereas the other players like Jeff Beck and myself were playing more single note thingsthan chords.Many rock guitarists have cited Townshend as an influence, among them Slash, Alex Lifeson, and Steve Jones.1972–present: solo careerIn addition to his work with the Who, Townshend has beensporadically active as a solo recording artist. Between 1969 and 1971 Townshend, along with other devotees to Meher Baba, recorded a trio of albums devoted to his teachings: Happy Birthday, I Am, and With Love. Inresponse to bootlegging of these, he compiled his personal highlights (and \"Evolution\", a collaboration with Ronnie Lane), and released his first major-label solo title, 1972's Who Came First. It was a moderate successand featured demos of Who songs as well as a showcase of his acoustic guitar talents. He collaborated with the Faces' bassist and fellow Meher Baba devotee Ronnie Lane on a duet album (1977's Rough Mix). In 1979Townshend produced and performed guitar on the novelty single \"Peppermint Lump\" by Angie on Stiff Records, featuring 11-year-old Angela Porter on lead vocals.Townshend made several solo appearances during the1970s, two of which were captured on record: Eric Clapton's Rainbow Concert in January 1973 (which Townshend organized to revive Clapton's career after the latter's heroin addiction), and the PaulMcCartney-sponsored Concerts for the People of Kampuchea in December 1979. The commercially available video of the Kampuchea concert shows the two rock icons duelling and clowning through Rockestramega-band versions of \"Lucille\", \"Let It Be\", and \"Rockestra Theme\"; Townshend closes the proceedings with a characteristic split-legged leap.Townshend's solo breakthrough, following the death of Who drummer KeithMoon, was the 1980 release Empty Glass, which included the top-10 single \"Let My Love Open the Door\", and lesser singles \"A Little Is Enough\" and \"Rough Boys\". This release was followed in 1982 by All the BestCowboys Have Chinese Eyes, which included the popular radio track \"Slit Skirts\". While not a huge commercial success, noted music critic Timothy Duggan listed it as \"Townshend's most honest and introspective worksince Quadrophenia.\" Through the rest of the 1980s and early 1990s Townshend would again experiment with the rock opera and related formats, releasing several story-based albums including White City: A Novel(1985), The Iron Man: A Musical (1989), and Psychoderelict (1993).Townshend also got the chance to play with his hero Hank Marvin for Paul McCartney's \"Rockestra\" sessions, along with other rock musicians such asDavid Gilmour, John Bonham, and Ronnie Lane.Townshend has also recorded several concert albums, including one featuring a supergroup he assembled called Deep End, with David Gilmour on guitar, who performedjust three concerts and a television show session for The Tube, to raise money for his Double-O charity, supporting drug addicts. In 1993 he and Des McAnuff wrote and directed the Broadway adaptation of the Whoalbum Tommy, as well as a less successful stage musical based on his solo album The Iron Man, based upon the book by Ted Hughes. McAnuff and Townshend later co-produced the animated film The Iron Giant, alsobased on the Hughes story.A production described as a Townshend rock opera and titled The Boy Who Heard Music debuted as part of Vassar College's Powerhouse Summer Theater program in July 2007.On 2September 2017 in Lenox, Massachusetts, Townshend embarked with fellow singer and musician Billy Idol, tenor Alfie Boe, and an orchestra on a short (5-date) \"Classic Quadrophenia\" US tour which ended on 16September 2017 in Los Angeles, California.1996–present: latest Who workFrom the mid-1990s through the present, Townshend has participated in a series of tours with the surviving members of the Who, including a"}
+{"doc_id":"doc_148","qid":"","text":"Passage 1:Popiel IPopiel I was a legendary ruler of Poland, member of the Popielids dynasty. According to the legends reported by Wincenty Kadłubek in his Chronica seu originale regum et principum Poloniae, he wasthe son of Leszko III. Father of Popiel II.BibliographyJerzy Strzelczyk: Mity, podania i wierzenia dawnych Słowian. Poznań: Rebis, 2007. ISBN 978-83-7301-973-7.Jerzy Strzelczyk: Od Prasłowian do Polaków. Kraków:Krajowa Agencja Wydawnicza, 1987. ISBN 83-03-02015-3.Passage 2:Beaulieu-sur-LoireBeaulieu-sur-Loire (French pronunciation: [boljø sy\u0000 lwa\u0000], literally Beaulieu on Loire) is a commune in the Loiret department innorth-central France. It is the place of death of Jacques MacDonald, a French general who served in the Napoleonic Wars.PopulationSee alsoCommunes of the Loiret departmentPassage 3:Sermon of Zaynab bint Ali inthe court of YazidSermon of Zaynab bint Ali in the court of Yazid  are the statements made by Zaynab bint Ali in the presence of Yazid I in the aftermath of the Battle of Karbala when the captive family members ofMuhammad, prophet of Islam, and the heads of those murdered were moved to the Levant (equivalent to the historical region of Syria) by the forces of Yazid I. Zaynab delivered a defiant sermon in the court of Yazid inwhich she humiliated Yazid and exposed his army's atrocities while honoring the Ahl al-Bayt and those killed in Karbala and expounding upon the eternal consequences of the battle.Zaynab bint AliZaynab bint Ali(Arabic: \u0000\u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000) was one of the daughters of Ali and Fatimah. Like other members of her family she became a great figure of sacrifice, strength, and piety in Islam – in both the Sunni andShia sects of the religion. Zaynab married Abdullah ibn Ja'far and had three sons and two daughters. When her brother Husayn defended Islam and opposed the tyranny of Yazid caliph in 680 AD (61 AH), Zaynabaccompanied his companions, 72 men who, together with Husayn, were brutally slain by government forces numbering 30,000 men at the Battle of Karbala. Zaynab played an important role in disclosing the true eventsleading up to the massacre of the third Shia Imam Husayn, and his supporters. She also protected the life of her nephew Ali ibn Husayn Zayn al-Abidin, the fourth Shia Imam, as he lay seriously ill and unable to go tothe battlefield. Because of her sacrifice and heroism, she became known as the \"Hero of Karbala\". Zaynab died in 681, and her shrine is located in Damascus, Syria.BackgroundAfter the battle of Karbala the capturedfamily of the prophet and the heads of those who were killed were taken to the Levant by the forces of Yazid. On the first day of the month of Safar, according to Turabi, they arrived in the Levant and the capturedfamily and heads were taken into Yazid's presence. First, the identity of each head was told to him. Then he paid attention to a woman who was objecting. Yazid asked, \"Who is this arrogant woman?\" All the audiencepaused for a moment. The woman rose to answer and said: \"Why are you asking them [the woman]? Ask me. I'll tell you [who I am]. I am Muhammad's granddaughter. I am Fatima's daughter.\" People at the courtwere impressed and amazed by her. According to the narration of Al-Shaykh Al-Mufid, in Yazid's presence a man with red skin asked Yazid for one of the captured women to be his slave. Yazid hit the lips and teeth ofHussein with his stick while saying: \"I wish those of my clan who were killed at Badr, and those who had seen the Khazraj clan wailing (in the battle of Uhad) on account of lancet wounds, were here. At this time,Zaynab bint Ali began to give her sermon.ContextZaynab bint Ali started her sermon with the praise of Allah:In the name of Allah, The most Gracious, the most Merciful. All praise is due to Allah, the Lord of the worlds.May praise and salutations be upon my grandfather, the leader of Allah's messengers and upon his progeny.God gives time to disbelieversVerse 178 of chapter of Al Imran was descended about polytheists of Meccasuch as Abu Sufyan ibn Harb. Zainab bint Ali once again relates this verse to Yazid, grandson of Abu Sufyan ibn Harb. She said: \"Do not be satisfied with this temporal achievement; this time passes quickly and Allahwill punish you. You will be humiliated.\"As we see in the sermon:O Yazid! Do you think that we have become humble and despicable owing to the martyrdom of our people and our own captivity? Do you think that bykilling the godly persons you have become great and respectable and the Almighty looks at you with special grace and kindness? You have, however, forgotten what Allah says: The disbelievers must not think that ourrespite is for their good We only give them time to let them increase their sins. For them there will be a humiliating torment. (Quran 3:178 (Yusuf Ali))Humiliate the enemy and honoring the Ahl al-BaytOne concern ofZaynab bint Ali in the battle of Karbala was the humiliation of the enemy and the honor of the Ahl al-Bayt.O son of the freed ones! Is it justice that you keep your women and slave-girls in seclusion but have made thehelpless daughters of the Holy Prophet ride on swift camels and given them in the hands of their enemies so that they may take them from one city to anotherPosition of those killed in KarbalaZaynab bint Ali told Yazidnot to be happy because of his victory. She named verse 169 of Al Imran and emphasized that those dying for a just cause are victors and that Yazid's happiness will end with the torture of Allah.It will be the day whenAllah will deliver the descendants of the Holy Prophet from the state of being scattered and will bring all of them together in Paradise. This is the promise which Allah has made in the Holy Quran. Do not think of thosewho are slain for the cause of Allah as dead. They are alive with their Lord and receive sustenance from Him.(Quran 3:169 (Yusuf Ali))Referring to the oppressionAt this point in the sermon she referred to all theoppression and injustices of the Umayyad from time of Abu Sufyan till the time of Yazid ibn Muawiyah. She also believed that the Umayyad owed their power to the Islamic Ummah's failure to uphold the Quran and therightful succession to Muhammad. She further stated that:Our blood is dripping from their hands and our flesh is falling down from their mouths.External consequences of the battleZaynab bint Ali stated that the battleof Karbala had a positive effect on history. She believed that jihad, struggle in the path of Allah, had eternal effects.You (Yazid) may employ your deceit and cunning efforts, but I swear by Allah that the shame anddisgrace which you have earned by the treatment meted out to us cannot be eradicated.In the NewsIn his book, Explanations on Sermon of Zaynab bint Ali at the Levant, published by Bustan publications, Ali KarimiJahromi reviews different opinions about this sermon.See alsoBattle of KarbalaSermon of Ali ibn Husayn in DamascusPassage 4:Motherland (disambiguation)Motherland is the place of one's birth, the place of one'sancestors, or the place of origin of an ethnic group.Motherland may also refer to:Music\"Motherland\" (anthem), the national anthem of MauritiusNational Song (Montserrat), also called \"Motherland\"Motherland (NatalieMerchant album), 2001Motherland (Arsonists Get All the Girls album), 2011Motherland (Daedalus album), 2011\"Motherland\" (Crystal Kay song), 2004Film and televisionMotherland (1927 film), a 1927 British silent warfilmMotherland (2010 film), a 2010 documentary filmMotherland (2015 film), a 2015 Turkish dramaMotherland (2022 film), a 2022 documentary film about the Second Nagorno-Karabakh WarMotherland (TV series), a2016 British television seriesMotherland: Fort Salem, a 2020 American science fiction drama seriesOther usesMotherland Party (disambiguation), the name of several political groupsPersonifications of Russia, including alist of monuments called MotherlandSee alsoAll pages with titles containing MotherlandMother Country (disambiguation)Passage 5:Place of birthThe place of birth (POB) or birthplace is the place where a person wasborn. This place is often used in legal documents, together with name and date of birth, to uniquely identify a person. Practice regarding whether this place should be a country, a territory or a city/town/locality differs indifferent countries, but often city or territory is used for native-born citizen passports and countries for foreign-born ones.As a general rule with respect to passports, if the place of birth is to be a country, it'sdetermined to be the country that currently has sovereignty over the actual place of birth, regardless of when the birth actually occurred. The place of birth is not necessarily the place where the parents of the new babylive. If the baby is born in a hospital in another place, that place is the place of birth. In many countries, this also means that the government requires that the birth of the new baby is registered in the place ofbirth.Some countries place less or no importance on the place of birth, instead using alternative geographical characteristics for the purpose of identity documents. For example, Sweden has used the concept offödelsehemort (\"domicile of birth\") since 1947. This means that the domicile of the baby's mother is the registered place of birth. The location of the maternity ward or other physical birthplace is consideredunimportant.Similarly, Switzerland uses the concept of place of origin. A child born to Swiss parents is automatically assigned the place of origin of the parent with the same last name, so the child either gets theirmother's or father's place of origin. A child born to one Swiss parent and one foreign parent acquires the place of origin of their Swiss parent. In a Swiss passport and identity card, the holder's place of origin is stated,not their place of birth. In Japan, the registered domicile is a similar concept.In some countries (primarily in the Americas), the place of birth automatically determines the nationality of the baby, a practice oftenreferred to by the Latin phrase jus soli. Almost all countries outside the Americas instead attribute nationality based on the nationality(-ies) of the baby's parents (referred to as jus sanguinis).There can be someconfusion regarding the place of birth if the birth takes place in an unusual way: when babies are born on an airplane or at sea, difficulties can arise. The place of birth of such a person depends on the law of thecountries involved, which include the nationality of the plane or ship, the nationality(-ies) of the parents and/or the location of the plane or ship (if the birth occurs in the territorial waters or airspace of a country).Someadministrative forms may request the applicant's \"country of birth\". It is important to determine from the requester whether the information requested refers to the applicant's \"place of birth\" or \"nationality at birth\".For example, US citizens born abroad who acquire US citizenship at the time of birth, the nationality at birth will be USA (American), while the place of birth would be the country in which the actual birth takesplace.Reference list8 FAM 403.4 Place of BirthPassage 6:Yazid IIIYazīd ibn al-Walīd ibn \u0000Abd al-Malik (701 – 3/4 October 744) (Arabic: \u0000\u0000\u0000\u0000 \u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000 \u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000) usually known simply as Yazid IIIwas the twelfth Umayyad caliph. He reigned for six months, from April 15 to October 3 or 4, 744, and he reigned until his death.Birth and backgroundYazid was the member of the influential Umayyad dynasty.Hisfather, al-Walid was survived by several sons: al-Ya'qubi names sixteen, while historian al-Tabari (d. 923) names nineteen. Yazid III was the grandson of great Umayyad caliph Abd al-Malik and his grand mother wasWallada bint al-Abbas ibn al-Jaz al-Absiyya.Yazid was the son of a Persian princess who had been given as a concubine to Caliph al-Walid I. His mother was Shah-i Afrid, a daughter of Peroz. Al-Tabari quotes a couplet ofYazid's on his own ancestry:I am the son of Chosroes, my ancestor was Marwan,Caesar was my grandsire and my grandsire was Khagan.Tabari further records descriptions of Yazid as being tall and handsome.Downfallof Al-WalidDuring the reign of his cousin al-Walid II, Yazid spoke out against Walid's \"immorality\" which included discrimination on behalf of the Banu Qays Arabs against Yemenis and non-Arab Muslims, and Yazidreceived further support from the Qadariya and Murji'iya (believers in human free will). Yazid slipped into Damascus and deposed Walid in a coup, following this up with a disbursement of funds from thetreasury.According to Yazid's own account, Yazid sent Abd al-Aziz ibn al-Hajjaj ibn Abd al-Malik to meet Walid at al-Bakhra'. 'Abd al-Aziz offered to set up a tribal assembly (shura) to decide the future of the realm.Walid rejected this offer and attacked, by which action he lost his life. Yazid had Walid's head hoisted \"on a lance and paraded around Damascus\"; Yazid then imprisoned Walid's sons 'Uthman and Hakam, whom Walidhad designated as his heirs.AccessionOn accession, Yazid explained that he had rebelled on behalf of the Book of Allah and the Sunna of His Prophet, and that this entailed ensuring that the strong not prey upon theweak. He promised \"to engage in no building works, squander no money on wives or children, transfer no money from one province to another\" without reason, \"keep no troops on the field too long\", and not to overtaxthe ahl al-dhimma; instead, he would eschew discrimination and would make his payments on time. He promised abdication if he failed to meet these goals, and held in principle to al-amr shura – to an electedcaliphate.Tabari records Yazid's nickname \"the Diminisher\" (Naqis), given because he reduced military annuities by 10%, whereas his predecessor had promised a raise. According to Islamic popular tradition, recordedin an apocalyptic style, Yazid would go himself into the marketplace.The city of Homs refused allegiance to Yazid, and there were several other dissident movements against him. Another cousin, Marwan ibn Muhammadibn Marwan, governor of Armenia, had initially supported Walid and on Walid's death entered Iraq to avenge him. Marwan eventually rallied around Yazid.ReignYazid appointed Mansur ibn Jumhur to replace Yusuf ibn'Umar as governor of Iraq. On May 15, Yazid wrote a letter, preserved from oral sources in al-Mada'ini (reproduced in Tabari) and in al-Baladhuri. It supports the Umayyad dynasty up to but not including \"the enemy ofAllah\" al-Walid II, at which point it lays out Yazid's version of the event at al-Bakhra'. At the end, Tabari's rendition has Yazid exhorting the Iraqis to follow Mansur ibn Jumhur.Yusuf ibn 'Umar was subsequentlyimprisoned and later killed by the son of Khalid ibn 'Abdallah al-Qasri. Mansur attempted to dismiss the Khurasani governor Nasr ibn Sayyar, but Nasr refused to accept this. Facing opposition from Juday al-Kirmani,Nasr invited al-Harith ibn Surayj to return from his thirteen-year stay in Turgesh territory. Al-Harith arrived wearing a fine suit of armour the Khaqan had given him and gained the support of many people inKhurasan.DeathYazid ruled the Caliphate from April 744 to 4 October 744. Yazid named his brother Ibrahim as his successor. Yazid fell ill of a brain tumour and died on October 3 or 4, 744. Ibrahim duly succeededhim.See alsoUmar ibn al-Walid, an Umayyad prince and a military leaderAbd al-Aziz ibn al-Walid, an Umayyad prince and a military leaderAl-Abbas ibn al-Walid, an Umayyad prince and a military generalBishr ibnal-Walid, an Umayyad prince and a military generalSulayman ibn Hisham, an Umayyad military general and cousin of Yazid IIIPassage 7:Where Was I\"Where Was I?\" may refer to:Books\"Where Was I?\", essay by DavidHawley Sanford from The Mind's IWhere Was I?, book by John Haycraft 2006Where was I?!, book by Terry Wogan 2009Film and TVWhere Was I? (film), 1925 film directed by William A. Seiter. With Reginald Denny,Marian Nixon, Pauline Garon, Lee Moran.Where Was I? (2001 film), biography about songwriter Tim RoseWhere Was I? (TV series) 1952–1953 Quiz show with the panelists attempting to guess a location by looking atphotos\"Where Was I?\" episode of Shoestring (TV series) 1980Music\"Where was I\", song by W. Franke Harling and Al Dubin performed by Ruby Newman and His Orchestra  with vocal chorus by  Larry Taylor and PeggyMcCall  1939\"Where Was I\", single from Charley Pride discography 1988\"Where Was I\" (song), a 1994 song by Ricky Van Shelton\"Where Was I (Donde Estuve Yo)\", song by Joe Pass from Simplicity (Joe Passalbum)\"Where Was I?\", song by Guttermouth from The Album Formerly Known as a Full Length LP (Guttermouth album)\"Where Was I\", song by Sawyer Brown (Billy Maddox, Paul Thorn, Anne Graham) from Can YouHear Me Now 2002\"Where Was I?\", song  by  Kenny Wayne Shepherd from Live On  1999\"Where Was I\", song by Melanie Laine (Victoria Banks, Steve Fox) from Time Flies (Melanie Laine album)\"Where Was I\", song byRosie Thomas from With Love (Rosie Thomas album)Passage 8:Sermon of Ali ibn Husayn in DamascusThe Sermon of Ali ibn Husayn in Damascus (Arabic: \u0000\u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000) are the statements of Ali ibn Husayn in the presence of Umayyad caliph Yazid I. After the Battle of Karbala, the captured family of Muhammad, the prophet of Islam, and the heads of those killed weremoved to the Levant by the forces of Yazid. By order of Yazid, a pulpit was prepared, and a public speaker gave a lecture that placed blame on Ali and Husayn ibn Ali.In reply to the Yazid's speaker, Ali IbnHusayn;introduced himself and his descendants. Also, he recounted the events leading to the death of Husayn ibn Ali.Ali ibn HusaynAli ibn Husayn (Arabic: \u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000), also known as Zaynal-Abidin (Arabic: \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000, \"Adornment of the Worshippers\"), was the fourth Shia Imam, after his father Husayn. Ali ibn Husayn survived the Battle of Karbala and was taken, along withenslaved women, to the caliph in Damascus. Eventually, he was allowed to return to Medina, where he led a secluded life with a few intimate companions. Zayn al-Abidin's life and statements were entirely devoted toasceticism and religious teachings, mostly in the form of invocations and supplications. His famous supplications are known as Al-Sahifa al-Sajjadiyya.BackgroundAfter the Battle of Karbala, the captured family of theprophet Muhammad and the heads of those killed were moved to the Levant by the forces of Yazid. According to Turabi, on the first day of Safar they arrived in the Levant (Damascus) and were taken into Yazid'spresence.According to Bihar al-Anwar, Yazid ordered a pulpit to be constructed in Damascus. He designated a public speaker to blame Ali and Husayn ibn Ali. The public speaker sat at the pulpit and began his lecture bypraising Allah and insulting Ali and his son, Husayn. Also, he devoted a long time to praising Yazid and his father Muawiyah. In the middle of the lecture, Ali ibn Husayn called out to him and said: \"O you who preach!Woe be to you! You have bought the wrath of the Creator in lieu of the pleasure of the creatures, while your place is hell.\" Then he turned towards Yazid and said: \"Do you permit me to speak that which would beagreeable to Allah and would be a means of reward for those present?\" Yazid refused, but the people said, \"Permit him to ascend the pulpit. Perhaps we may hear something (worthwhile) from him.\" Yazid replied, \"If Ipermit him to mount the pulpit, he shall not descend it until he humiliates me and the progeny of Abu Sufyan.\" They said, \"How could this ailing youth do such a thing?' Yazid replied, \"He comes from a family that hasfrom infancy consumed wisdom along with their milk.\" Yazid finally relented, and Ali ibn Husayn ascended the pulpit and gave his sermon.(According to Kamile Bahai, Ali ibn Husayn asked Yazid to let him give thesermon on Friday.)ContextAli ibn Husayn began his sermon by praising Allah.Praise be to Allah Who has no beginning, and the Everlasting Who has no end. The foremost Whose beginning has no beginning, and the LastWhose end has no end.Then he said about the knowledge, forbearance, munificence, eloquence, valor, and friendship of Ahl al-Bayt and also the name of Hamza ibn Abdul-Muttalib and Ja'far ibn Abi Talib.O people! Wehave been bestowed six qualities and seven merits (by Allah). Knowledge, forbearance, munificence, eloquence, valor and friendship in the hearts of the believers are present in us. While our merits are that the Prophetin Authority is from amongst us; the Truthful (Imam Ali) is from amongst us; the Flyer (Ja’far at Tayyar) is from amongst us; the Lion of Allah, and that of His Prophet, is from amongst us; while also the two Sibtain(Hasan and Husayn) of this nation are from amongst us. Those who know me, know me, while those who do not know me, I reveal my pedigree and ancestry for them until they recognize me.He drew attention to"}
+{"doc_id":"doc_149","qid":"","text":"Passage 1:IwamuraIwamura (written: \u0000\u0000 lit. \"rock village\") is a Japanese surname. Notable people with the surname include:Akinori Iwamura, Japanese baseball playerNoboru Iwamura, Japanese biologistAi Iwamura, Japanese actressIwamura Michitoshi, Meiji era politicianShunichi Iwamura (\u0000\u0000 \u0000\u0000, born 1940), Japanese sprint canoeistSee alsoIwamura Castle in Gifu Prefecture, JapanIwamura, Gifu, former town in Gifu Prefecture, Japan67853 Iwamura, main-belt asteroidPassage 2:Little Rock Trojans women's basketballThe Little Rock Trojans women's basketball team represents the University of Arkansas at Little Rock in Little Rock, Arkansas, United States. The school will join the Ohio Valley Conference (OVC) on July 1, 2022 after 31 seasons in the Sun Belt Conference.HistoryLittle Rock has won the West Division in the Sun Belt in 2008, 2009, 2010, and 2013. They won the Sun Belt Conference Tournament in 2011, 2012, and 2015. They have made the WNIT in 2008, 2009, and 2013. They made the Second Round of the NCAA Tournament in 2010 beating Georgia Tech 63–53. They lost to Oklahoma 60–44 in the subsequent game. They made the Second Round in 2015 after beating Texas A&M 69–60. They lost 57–54 to Arizona State in the subsequent game. As of the end of the 2015–16 season, the Trojans have an all-time record of 384–485, with a 288–231 record since joining Division I in 1999.NCAA tournament resultsPassage 3:University of Arkansas at Little RockThe University of Arkansas at Little Rock (UA Little Rock) is a public research university in Little Rock, Arkansas. Established as Little Rock Junior College by the Little Rock School District in 1927, the institution became a private four-year university under the name Little Rock University in 1957. It returned to public status in 1969 when it merged with the University of Arkansas System under its present name. The former campus of Little Rock Junior College is now (2019) the campus of Philander Smith College.At 250 acres (100 ha), the UA Little Rock campus encompasses more than 56 buildings, including the Center for Nanotechnology Integrative Sciences, the Emerging Analytics Center, the Sequoyah Research Center, and the Ottenheimer Library Additionally, UA Little Rock houses special learning facilities that include a learning resource center, art galleries, KUAR public radio station, University Television, and a campus-wide wireless network. It is classified among \"R2: Doctoral Universities – High research activity\".AcademicsThe university features more than 100 undergraduate degrees and 60 graduate degrees, including graduate certificates, master's degrees, and doctorates, through both traditional and online courses. Students attend classes in one of the university's three new colleges and a law school:College of Business, Health, and Human ServicesCollege of Humanities, Arts, Social Sciences, and EducationDonaghey College of Science, Technology, Engineering, and MathematicsWilliam H. Bowen School of LawStudent lifeThe student life at UA Little Rock is typical of public universities in the United States. It is characterized by student-run organizations and affiliation groups that support social, academic, athletic and religious activities and interests. Some of the services offered by the UA Little Rock Office of Campus Life are intramural sports and fitness programs, diversity programs, leadership development, peer tutoring, student government association, student support programs including groups for non-traditional and first generation students, a student-run newspaper, and fraternity and sorority life. The proximity of the UA Little Rock campus to downtown Little Rock enables students to take advantage of a wide array of recreational, entertainment, educational, internship and employment opportunities that are not available anywhere else in Arkansas.Campus livingUA Little Rock provides a variety of on-campus living options for students ranging from traditional resident rooms to multiple bedroom apartments. The university has four residence halls on the eastern side of the campus and the University Village Apartment Complex on the southern side of campus. Six learning communities focusing on criminal justice, arts and culture, majors and careers, future business innovators, nursing careers, and STEM are available to students.AthleticsUA Little Rock's 14 athletic teams are known as the Little Rock Trojans, with almost all teams participating in the Sun Belt Conference. Little Rock is one of two Sun Belt members that do not sponsor football (UT Arlington being the other); UA Little Rock last fielded a football team in 1955 when it was known as Little Rock Junior College. Little Rock's main athletic offices are located in the Jack Stephens Center. UA Little Rock offers the following sports:Two Little Rock teams that do not compete in the Sun Belt are the women's swimming and diving team (Missouri Valley Conference) and wrestling (Pac-12 Conference), neither of which the Sun Belt sponsors. Wrestling is the school's newest sport, starting in 2019 and is the first Division I program in Arkansas.Little Rock will move to the Ohio Valley Conference for the 2022-23 season.Collections and archivesOn July 1, 2014, the UA Little Rock Collections and Archives division was created. The division encompasses:Ottenheimer LibraryCenter for Arkansas History and CultureSequoyah National Research CenterWeekend programsThe Japanese School of Little Rock (\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000 Ritoru Rokku Nihongo Hoshūkō), a weekend Japanese education program, holds its classes at the University Plaza.Notable students and alumniGovernmentCamille Bennett – Arkansas House of Representatives, 2015–presentKarilyn Brown – Arkansas House of Representatives, 2015–presentJames Richard Cheek (1957) – U.S. Ambassador to El Salvador (1979–1981), Ethiopia (1985–1988), Sudan (1989–1992) and Argentina (1993–1996)Charlie Daniels (attended) – Arkansas Commissioner of State Lands (1985–2001), Arkansas Secretary of State (2002–2010), Arkansas State Auditor (2001–present)Vivian Flowers (B.S. in political science) – Arkansas House of Representatives, 2015–presentKenneth Henderson - Arkansas House of Representatives, 2015–present Douglas House (1976) Arkansas House of Representatives, 2013–presentAllen Kerr (attended) – Arkansas Insurance Commissioner (2015–present) and former member of the Arkansas House of RepresentativesMike Ross (1987) – U.S. House of Representatives, 2001–2013Bill Sample (attended) – Arkansas House of Representatives, 2005–2010; Arkansas Senate 2011–presentRobert William Schroeder III (1989) - U.S. District Court, Eastern District of Texas, Nominated June 2014Frank Scott Jr. – current mayor of Little Rock, AR.Vic Snyder (1988) – U.S. House of Representatives, 1997–2011James Sturch – (B.S., Political Science) – Arkansas House of Representatives, 2015–presentEducationJames E. Cofer – Ed.D. alumnus, former UA Little Rock professor, and former president of both Missouri State University and the University of Louisiana at MonroeEntertainmentJulie Adams (1946) – Actress (film & television)Symone (2017) - Drag Performer & Model (winner of Rupaul's Drag Race Season 13)AthleticsMalik Dixon - basketball player, top scorer in the 2005 Israel Basketball Premier LeagueDerek Fisher – Former Los Angeles Lakers player and New York Knicks head coachRayjon Tucker - Professional basketball player in the NBA with Milwaukee BucksNotesPassage 4:Little Rock Port Authority RailroadThe Port of Little Rock Railroad, sometimes called the Little Rock Port Authority Railroad, provides switching services through a 20-mile system of tracks at the 4,000-acre Little Rock Port Industrial Park at the Port of Little Rock, Arkansas.  It provides port access and railroad interchange services not only to the more than twenty businesses at the park, but also to any business seeking to ship or receive cargo through the McClellan-Kerr Arkansas River Navigation System.HistoryPurchase of 151 acres in July 1967 started the planning process for the dock area at the Port.  Four miles of railroad were constructed by July, 1968, the year in which the port began operations.   In 1970, the railroad connected to what were then the Rock Island Railroad and the Missouri Pacific Railroad, and started work on a marshalling yard.  By 1974 the marshalling yard was complete.    In 1977, railroad engine storage and maintenance buildings were completed.InterchangeThe line extends from the dock to the interchange point with what is now the Union Pacific (UP) at a junction near Clinton National Airport.  Access to what is now the BNSF is obtained through trackage/haulage rights.OperationsThe port railroad operates with two locomotives and five crew members.  It utilizes a tandem unit with an EMD GP15-1 locomotive owned by the port, and one EMD SW1500 locomotive leased from GATX.  The railroad handles over 20,000 cars annually.Passage 5:Jamal BeygJamal Beyg (Persian: \u0000\u0000\u0000\u0000 \u0000\u0000\u0000, also Romanized as Jamāl Beyg) is a village in Dezhkord Rural District, Sedeh District, Eqlid County, Fars Province, Iran. At the 2006 census, its population was 305, in 76 families.Passage 6:Little Rock Trojans baseballThe Little Rock Trojans baseball team, is a varsity intercollegiate athletic team of the University of Arkansas at Little Rock in Little Rock, Arkansas, United States. The team is a member of the Ohio Valley Conference, which is part of the NCAA Division I. The team plays its home games at Gary Hogan Field in Little Rock, Arkansas.On July 1, 2015, the Trojans officially announced they would no longer be branded as Arkansas–Little Rock or \"UALR,\" but will be the Little Rock Trojans effective immediately.Year-by-year resultsReferences:See alsoList of NCAA Division I baseball programsPassage 7:The Abingtons, CambridgeshireThe Abingtons are a community in South Cambridgeshire consisting of two small villages: Little Abington and Great Abington, about 7 miles (11 km) south east of Cambridge.HistoryThough often listed as a single entity, Great and Little Abington have since early medieval times been two parishes divided by the River Granta and remain so. The southernmost of the two, Great Abington, covers 1,588 acres (6.43 km2) and is bounded to the south by the county border with Essex, to the west by a branch of the Icknield Way (now the A11), and to the east by the parish of Hildersham. Little Abington covers 1,309 acres (5.30 km2), again bordered by the Icknield Way and Hildersham to the west and east, and by the ancient thoroughfare of Wool Street to the north.The village history dates back to the Bronze Age, some 4000 years ago. The Saxons gave the village its name, originally called \"estate named after Abba\", and the village was listed as Abintone in the Domesday Book. The 'Great' and 'Little' prefixes came later: the Latin magna is observed from 1218 and the Modern English great from 1523 while the Latin parva is observed from 1218 and the Middle English littel from 1336.In the decades before the Second World War the Land Settlement Association created a site to the south of Great Abington consisting of over sixty houses and plots of land for unemployed miners mainly from the former shipyards of Tyneside and coalfields of Yorkshire and Durham.The Cambridge to Haverhill railway line that opened in 1865 crossed Great Abington just south of the village, but closed in 1967. The medieval Cambridge to Colchester road that was the main route through the village was by-passed in the 1960s.ChurchesGreat Abington's parish church has been dedicated to St Mary since at least the 16th century and comprises a chancel, nave with south aisle and porch, and west tower. The majority of the present building dates from the 13th century, possibly earlier, including the two-storey tower with short leaded spire.Little Abington's parish church is also dedicated to St Mary, and has been since at least the 16th century. The present building consists of a chancel, nave with north chapel and south porch, and west tower. The nave is believed to date from around 1100, and the chancel was rebuilt in the 13th century. The three-storey tower is probably 14th century.A Protestant chapel was built in Little Abington towards the end of the 19th century. It closed in late 2019 and the land has now been sold. Demolition of the chapel has been confirmed.Village lifeThe village has a vibrant community with a primary school, village shop, pub, football and cricket team and a large number of local businesses, most of them at Granta Park including The Welding Institute which started in Abington Hall in 1946. In 2009 Abington cricket club played a friendly against Babraham cricket club to commemorate 150 years of the cricket team.The village also has a village hall, called The Abington Institute, which has a café, a large main hall with video projection and an audio system allowing the showing of films and presentations. It also has a meeting room, another large room overlooking the cricket pitch and two changing rooms with showers. The Institute is used by many local clubs and organisations and also hosts regular lunches for older Abington residents.The remaining public house, The Three Tuns in Great Abington, is a 17th-century building that was possibly open in 1687 and certainly by 1756. Former pubs in Little Abington include The Crown which closed in the late 20th century, and The Bricklayers' Arms, which opened in the mid-19th century and was sold in 1912. The Princess (later Prince) of Wales in Great Abington opened at the end of the 19th century and closed in about 1963. The King's Arms opened on the Stump Cross to Newmarket road (now the A11) just north of Bourn Bridge in the late 17th century, closing in 1850 with the advent of the railway. The antiquary William Cole was born there while his father was publican. The White Hart opened on the same road just south of the bridge in around 1750, but closed by the end of the century.Passage 8:Little Rock CreekLittle Rock Creek may refer to:Little Rock Creek (Los Angeles County, California)Little Rock Creek (Minnesota River), a stream in MinnesotaLittle Rock Creek (Mississippi River), a stream in MinnesotaLittle Rock Creek (Red Lake), a stream in MinnesotaLittle Rock Creek (Montana)Passage 9:The Abingtons, CambridgeshireThe Abingtons are a community in South Cambridgeshire consisting of two small villages: Little Abington and Great Abington, about 7 miles (11 km) south east of Cambridge.HistoryThough often listed as a single entity, Great and Little Abington have since early medieval times been two parishes divided by the River Granta and remain so. The southernmost of the two, Great Abington, covers 1,588 acres (6.43 km2) and is bounded to the south by the county border with Essex, to the west by a branch of the Icknield Way (now the A11), and to the east by the parish of Hildersham. Little Abington covers 1,309 acres (5.30 km2), again bordered by the Icknield Way and Hildersham to the west and east, and by the ancient thoroughfare of Wool Street to the north.The village history dates back to the Bronze Age, some 4000 years ago. The Saxons gave the village its name, originally called \"estate named after Abba\", and the village was listed as Abintone in the Domesday Book. The 'Great' and 'Little' prefixes came later: the Latin magna is observed from 1218 and the Modern English great from 1523 while the Latin parva is observed from 1218 and the Middle English littel from 1336.In the decades before the Second World War the Land Settlement Association created a site to the south of Great Abington consisting of over sixty houses and plots of land for unemployed miners mainly from the former shipyards of Tyneside and coalfields of Yorkshire and Durham.The Cambridge to Haverhill railway line that opened in 1865 crossed Great Abington just south of the village, but closed in 1967. The medieval Cambridge to Colchester road that was the main route through the village was by-passed in the 1960s.ChurchesGreat Abington's parish church has been dedicated to St Mary since at least the 16th century and comprises a chancel, nave with south aisle and porch, and west tower. The majority of the present building dates from the 13th century, possibly earlier, including the two-storey tower with short leaded spire.Little Abington's parish church is also dedicated to St Mary, and has been since at least the 16th century. The present building consists of a chancel, nave with north chapel and south porch, and west tower. The nave is believed to date from around 1100, and the chancel was rebuilt in the 13th century. The three-storey tower is probably 14th century.A Protestant chapel was built in Little Abington towards the end of the 19th century. It closed in late 2019 and the land has now been sold. Demolition of the chapel has been confirmed.Village lifeThe village has a vibrant community with a primary school, village shop, pub, football and cricket team and a large number of local businesses, most of them at Granta Park including The Welding Institute which started in Abington Hall in 1946. In 2009 Abington cricket club played a friendly against Babraham cricket club to commemorate 150 years of the cricket team.The village also has a village hall, called The Abington Institute, which has a café, a large main hall with video projection and an audio system allowing the showing of films and presentations. It also has a meeting room, another large room overlooking the cricket pitch and two changing rooms with showers. The Institute is used by many local clubs and organisations and also hosts regular lunches for older Abington residents.The remaining public house, The Three Tuns in Great Abington, is a 17th-century building that was possibly open in 1687 and certainly by 1756. Former pubs in Little Abington include The Crown which closed in the late 20th century, and The Bricklayers' Arms, which opened in the mid-19th century and was sold in 1912. The Princess (later Prince) of Wales in Great Abington opened at the end of the 19th century and closed in about 1963. The King's Arms opened on the Stump Cross to Newmarket road (now the A11) just north of Bourn Bridge in the late 17th century, closing in 1850 with the advent of the railway. The antiquary William Cole was born there while his father was publican. The White Hart opened on the same road just south of the bridge in around 1750, but closed by the end of the century.Passage 10:Little Rock VillageLittle Rock Village was a Native American village of the Potawatomi people located on the north bank of the Kankakee River, at a site close to the current boundary between Kankakee and  Will counties of the state of Illinois in the United States. The location now lies within the present-day Kankakee River State Park, close to the mouth of Rock Creek on Kankakee River."}
+{"doc_id":"doc_150","qid":"","text":"Passage 1:The Wonderful World of Captain KuhioThe Wonderful World of Captain Kuhio (\u0000\u0000\u0000\u0000\u0000, Kuhio Taisa, lit. \"Captain Kuhio\") is a 2009 Japanese comedy-crime film, directed by Daihachi Yoshida, based on Kazumasa Yoshida's 2006 biographical novel, Kekkon Sagishi Kuhio Taisa (lit. \"Marriage swindler Captain Kuhio\"), that focuses on a real-life marriage swindler, who conned over 100 million yen (US$1.2 million) from a number of women between the 1970s and the 1990s.The film was released in Japan on 10 October 2009.CastMasato Sakai - Captain KuhioYasuko Matsuyuki - Shinobu NaganoHikari Mitsushima - Haru YasuokaYuko Nakamura - Michiko SudoHirofumi Arai - Tatsuya NaganoKazuya Kojima - Koichi TakahashiSakura Ando - Rika KinoshitaMasaaki Uchino - Chief FujiwaraKanji Furutachi - Shigeru KurodaReila AphroditeSei AndoAwardsAt the 31st Yokohama Film FestivalBest Actor – Masato SakaiBest Supporting Actress – Sakura AndoPassage 2:Star Quest: The OdysseyStar Quest: The Odyssey is a 2009 low budget American science-fiction film directed by Jon Bonnell, written by Carlos Perez, and starring Aaron Ginn-Forsberg, Davina Joy and Tamara McDaniel. The film was released on November 3, 2009.External linksStar Quest: The Odyssey at IMDbTrailer Star Quest: The Odyssey on YouTubePassage 3:Men's GroupMen's Group is a 2008 Australian drama film. The film is directed by Michael Joy from a screenplay co-written with John L. Simpson.PlotThe film follows the lives of six men over a period of months as they convene weekly in a self-help style group. Meeting at the home of Paul, the men include Freddy, a depressed stand-up comedian; the elderly Cecil; businessman Lucas; the bereaved Anthony; taciturn Moses; and talkative, middle-aged Alex. As trust grows between the men they gradually begin to open up and learn to listen to each other, discovering they are not alone in their fears as they had presumed. When a tragedy befalls the group, the men realize they must take responsibilities for their own lives and those of their loved ones.CastGrant Dodwell as AlexPaul Gleeson as PaulSteve Le Marquand as LucasDon Reid as CecilSteve Rodgers as FreddyPaul Tassone as MosesWilliam Zappa as AnthonyProductionDevelopmentThe concept of the film was conceived by Michael Joy and John L. Simpson, while working together on another project dealing with men's issues and their inability to communicate. At that time, director Michael Joy was experiencing depression and attended a men's support group on the advice of a telephone counsellor. Joy was struck by the pain of the men in the room and the safe environment in which they could express what they were going through.FilmingJoy worked with each of the actors separately, workshopping the script over two months. Using this technique, Michael and John L. would create scenes from key character points and events. Only then was a comprehensive screenplay drafted and delivered to the heads of departments.The actors were not allowed to see the screenplay prior to shooting, and had little or no idea of other characters' story lines. The filmmakers did this to capture the actors' first responses to what was unfolding in front of them. There was only one take for each shot that appears in the film, and the shoot lasted only 14 days. It was shot in sequence, so the filmmakers could not go back to reshoot. Before each scene, Joy spent time talking to the actors quietly and individually about their lives at that point, trying to get them to speak about specific things that needed to happen in the film.The film was a micro-budget production, created on a reverse finance model, with each key crew member and actor taking an equity position in the film.ReceptionThe film was praised and is particularly recognised for the strong performances by the lead actors. Anton Bitel of Eye for Film wrote the film \"represents a refreshing examination of the collective male psyche through pure drama\", and added the improvisational nature of the film results in an \"ensemble performances of searing, warts-and-all realism, so utterly believable that viewers themselves will feel like silent members of the party, compelled by the power of the proceedings to watch, listen, learn – and maybe join in the conversation after the credits have rolled.\" On At the Movies, Margaret Pomeranz awarded the film four stars and David Stratton awarded it three and a half stars.On review aggregator website Rotten Tomatoes, Men's Group has an approval rating of 86% based on 7 reviews.AFI Fellowship and TourFollowing the theatrical release of the film by Titan View, John L. Simpson was approached by men's health groups who wished to screen the film and use it as a tool to prompt discussions about men's mental health. With this interest, Simpson proposed to tour the film around Australia to non-theatrical venues for community group screenings, and in the process create a map of all venues in Australia suitable to screen from. For this proposal he was awarded the 2008 AFI Fellowship.The program has allowed the film to tour to towns such as Tamworth, Armidale, Bellingen, Dorrigo, Bowraville, and Bowral.In early March 2009, Men’s Group was screened to men's and women's prisons in Tasmania.Awards and nominationsFilm Critics Circle of Australia2009: Nominated, Best Actor – Grant DodwellInside Film Awards2008: Won, Best Actor – Grant Dodwell2008: Won, Best Feature Film – John L. Simpson, Michael Joy2008: Won, Best Script – John L. Simpson, Michael Joy2008: Nominated, Best Music – Haydn Walker2008: DigiSPAA AwardPassage 4:Un Soir de JoieUn Soir de Joie (French)  is a Belgian comic film directed by Gaston Schoukens and released in 1955.The film's plot takes place in German-occupied Belgium during World War II and focuses on the so-called Faux Soir, a satirical version of the German-controlled newspaper Le Soir produced by the resistance.The film includes extensive footage of Brussels in the 1950s, where it was filmed on location.Marcel Roels, Roger Dutoit, Jean-Pierre Loriot, Victor Guyau, Madeleine Rivière, Jacques Philippet, Francine Vendel all acted in the film.PlotBased on a true story from November 1943: the Resistance manages to publish a fake edition of the pro-German newspaper 'Le Soir', put on sale by surprise in the newsstands and stuffed full of parodic articles pouring ridicule upon occupying forces. The film faithfully traced the course of this humorous and enterprising attempt to wake up the populace, filling out the basic plot with irreverent patriotic gags.Passage 5:Times of Joy and SorrowTimes of Joy and Sorrow (USA title), The Lighthouse (UK title), or\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000 (Yorokobi mo Kanashimi mo Ikutoshitsuki), is a 1957 color Japanese film directed by Keisuke Kinoshita, who shot on location at 10 different lighthouses throughout Japan, including opening scenes at Kannonzaki, the site of the country's first lighthouse.PlotIn 1932, a young lighthouse keeper returns from his father's funeral with a new bride, who quickly learns the importance of the marital bond to members of her husband's profession, which is often characterized by the hardships of physical isolation and sudden reassignment. Over the next 25 years they transfer to ten different lighthouses throughout Japan, raising two children and befriending multiple colleagues and their families. They endure wartime attacks on the strategically relevant lighthouses as well as a tragedy involving one of their children, ultimately celebrating the other's marriage and settling together into middle age.CastHideko Takamine as Kiyoko ArisawaKeiji Sada as Shiro ArisawaTakahiro Tamura as Mr. NozuKatsuo Nakamura as KotaroYōko Katsuragi as Fuji TatsukoKōji Mitsui as Mr. KanemakiKuniko Igawa as Itoko SuzukiShizue Natsukawa as Mrs. NatoriMasako Arisawa as YukinoHiroko Itō as MasakoNoboru Nakaya as Shingo NatoriTakeshi Sakamoto as PostmasterRyūji Kita as NatoriMutsuko Sakura as Mrs. KanemakiFeatured LighthousesKannonzaki Lighthouse - Miura Peninsula, KanagawaIshikari Lighthouse - Ishikari, HokkaidoIzu Oshima Lighthouse - Izu Ōshima, Izu IslandsMizunokojima Lighthouse - Bungo Channel, OitaMeshima Lighthouse - Gotō Islands, NagasakiHajiki Saki Lighthouse - Sado Island, NiigataOmaesaki Lighthouse - Omaezaki, ShizuokaAnorisaki Lighthouse - Shima, MieOgijima Lighthouse - Seto Inland Sea, KagawaHiyoriyama Lighthouse - Otaru, HokkaidoLegacyThe highly-popular film has been remade three times for Japanese television, and in 1986 Kinoshita himself reworked it as Big Joys, Small Sorrows, the Western version of its actual title (\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000), which translates roughly as New Times of Joy and Sorrow.Its rousing, eponymous theme song was a major hit for Akira Wakayama and became a cultural touchstone of 1950s Japan.In 1993 a statue depicting the movie's two stars in an iconic pose from publicity materials was erected at Hajikizaki Lighthouse on Sato Island, one of the filming sites, as a tribute to lighthouse staff nationwide.AvailabilityAlthough the film has not been released on disc or for streaming in the United States, Kinoshita's remake Big Joys, Small Sorrows was among the inaugural films available in Spring 2019 for streaming on The Criterion Channel.Passage 6:Eve's LeavesEve's Leaves is a 1926 American silent romantic comedy film starring Leatrice Joy and William Boyd. The film was produced and distributed by Cecil B. DeMille and directed by Paul Sloane It is based upon the 1925 play of the same name by Harry Chapman Ford.PlotCaptain Corbin (Edeson), who operates the tramp cargo ship Garden of Eden, has raised his daughter Eve (Joy) as a boy. After learning about men after reading some romance novels belonging to the cook Cookie (Harris), she goes ashore in a Chinese port to find her true love and spies American Bob Britton (Boyd), whom she then has kidnapped to augment the ship's crew. Pirate Chang Fang (Long) and his pirates capture the ship seeking passage to his stronghold. With Cookie's help, Eve remakes herself using an outfit made from a curtain and some beads, which draws the interest of both Chang and Bob. In the end, Eve saves the day and she and Bob are married on board by a missionary (Hoyt).CastProductionLeatrice Joy had impulsively cut her hair short in 1926, and DeMille, whom Joy had followed when he set up Producers Distributing Corporation, was publicly angry as it prevented her from portraying traditional feminine roles. The studio developed projects with roles suitable for her “Leatrice Joy bob”, and Eve's Leaves was the second of five films before she regrew her hair. In both Eve's Leaves and The Clinging Vine (1926), Joy's character is mistaken as being male in at least one scene. In 1928, a professional dispute would end the Joy / Demille partnership and she signed with MGM.Intertitles featuring quotes from stereotype Chinese characters are in a racist fictional Asian dialect that today would be considered offensive.PreservationA 16mm print of Eve's Leaves is preserved film at the UCLA Film and Television Archive and the film has been released on DVD.Passage 7:Wasted TimeWasted Time(s) may refer to:Songs\"Wasted Time\" (Fuel song), 2007\"Wasted Time\" (Keith Urban song), 2016\"Wasted Time\" (Kings of Leon song), 2003\"Wasted Time\" (Skid Row song), 1991\"Wasted Time\" (Vance Joy song), 2014\"Wasted Times\" (The Weeknd song), 2018\"Wasted Time\", by Bret Michaels from Custom Built, 2010\"Wasted Time\", by Cloves, 2018\"Wasted Time\", by the Eagles from Hotel California, 1976\"Wasted Time\", by Europe from Wings of Tomorrow, 1984\"Wasted Time\", by Heavenly from Virus, 2006\"Wasted Time\", by Holy Knights from Between Daylight and Pain, 2012\"Wasted Time\", by Lionel Richie from Renaissance, 2000Other usesThe Wasted Times, a 2016 Chinese-Hong Kong filmSee alsoWasting Time (disambiguation)Wasting My Time (disambiguation)\"Waste Time\", a song by the Fire Theft from their self-titled albumPassage 8:City of Joy (2016 film)City of Joy is a 2016 documentary film directed and written by Madeleine Gavin. It follows the first class of students at a leadership center in the east of the Democratic Republic of Congo.The film was released by Netflix on September 7, 2018.PremiseThe east of the Democratic Republic of Congo is a region in which being a woman is hard since she often experiences violence in the wake of a 20-year war, driven by colonialism. In the film, women band together at the leadership center to find a way to handle the horrible experiences that they had to live and to come out on the other side to be leaders and inspirations for other women in the region.Passage 9:TalentimeTalentime is a 2009 Malaysian drama film written and directed by Yasmin Ahmad. Yasmin, in her blog, has described it \"as a story full of joy and pain, hope and despair, a host of beautifully-written songs, and rich characters\". A Hindu open cremation and a scene reminiscent of the 2001 Kampung Medan riots are included in the film.The film was released on 26 March 2009 in Malaysia and marks Yasmin's last feature film prior to her death on 25 July 2009.Plot\"The music teacher, who is herself a great performer is organising an inter-school talentime. Through the days of auditions, rehearsals and preparations, running up to the big day of the contest, the characters get embroiled in a world of heightened emotions - ambition, jealousy, human comedy, romance, heartbreak - all of which culminate in a day of great music and performances.\" Yasmin also mentioned that the idea behind Talentime was that as humans, we have to go through a lot of pain and some measure of suffering before we can reach greater heights.A talent search competition has matched two hearts - that of Melur, a Malay-mixed girl and an Indian male student, Mahesh. Melur, with her melodious voice, singing whilst playing the piano is one of the seven finalists of the Talentime competition of her school organised by Cikgu Adibah. Likewise Hafiz, enthralling with his vocalist talent while playing the guitar, dividing his time between school and mother, who is hospitalised for brain tumor.It all started after Mahesh, amongst the students assigned to get the finalists to school for practice, delivered the notice of successful audition to Melur's house. His handsome looks attracted the girl. Early on in their relationship, tragedy struck Mahesh's family when his uncle Ganesh who had been the care-taker of the family since the loss of Mahesh's father, was stabbed to death on his wedding day. Melur thinking that Mahesh's silence was due to his grief over the tragedy became furious when she was continuously ignored. She regretted it however after Hafiz revealed Mahesh's situation.That changed Melur's perception of Mahesh. Likewise Mahesh, who grew comfortable with the presence of the girl who often quotes beautiful poetry. Mahesh, realising that the relationship will be opposed, kept it hidden from his mother, still grieving over the death of Ganesh. At last, the secret was exposed and Mahesh was assaulted before Melur's very eyes. Just a day before the competition, is Melur resilient enough to sing the poetic lyrics of her song when her heart is tormented by the thoughts of Mahesh? What about Mahesh who has found his first love? On Talentime night, everything unfolds.CastMahesh Jugal Kishor as Mahesh, a hearing impaired Indian boy who becomes Melur's love interest.Pamela Chong as Melur, a Eurasian girl in the Talentime finals who sings and plays the piano.Syafie Naswip as Hafiz, a Malay boy in the Talentime finals who sings and plays the guitar.Jaclyn Victor as Bhavani, Mahesh's elder sister who has a penchant for picking on him.Howard Hon Kahoe as Kahoe, a Chinese boy in the Talentime finals who plays the erhu and resents Hafiz.Amelia Henderson as Melati, Melur's younger sister.Adibah Noor as Cikgu Adibah, the teacher in charge of organising the Talentime.Azean Irdawaty as Embun, Hafiz's mother who is diagnosed with terminal brain cancer.Harith Iskander as Harith, Melur's comical father.Sukania Venugopal as Mahesh's mother.Jit Murad as Ismael, A patient who befriends Embun at the hospital during her final days.Mislina Mustaffa as Melur's mother.Tan Mei Ling as Mei Ling, a Chinese Muslim convert who works as a maid for Melur's family.Ida Nerina as Datin Kalsom, a friend of Melur's mother who distrusts Mei Ling.Sharifah Amani was supposed to be cast as Melur in the film. However, due to clash of schedules, she was replaced by Pamela Chong. She did, however, play a role as the 3rd Assistant Director for the film. This would mark the first time that Sharifah Amani has played a behind-the-scene role in Yasmin Ahmad's films.MusicThe film score was composed by Pete Teo. Songs include:O Re Piya by Rahat Fateh Ali Khan, taken from the Bollywood movie, Aaja NachleI Go by Aizat Amdan.Just One Boy by Aizat Amdan.Angel by Atilia.Kasih Tak Kembali by Atilia.All songs were written and produced by Teo himself, except Kasih Tak Kembali which was written by Ahmad Hashim.The original soundtrack album was released by Universal Music, which also includes Malay language versions of many of the principal songs in the film. This includes I Go (as 'Pergi'), Angel, and Just One Boy (as 'Itulah Dirimu').ScreeningAs in all of Yasmin's previous works, Talentime opens with the basmalah (Bismillahirahmanirrahim, \"In the name of God, the most Gracious and most Merciful\"). Like Muallaf, the verse is displayed in a language and script different from Arabic in Talentime, i.e. in Tamil - \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000.Awards and nominationsPassage 10:Komaligal\"Komaligal\" (1976) (Tamil: \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000, \"The Clowns\") is a Sri Lankan Tamil language film written by S.Ramdas and produced by M.Mohamed.   This was the remake of the most popular radio comedy drama, \"Komaligalin Kummalam\" which was broadcast in Radio Ceylon in the mid 1970s. It was written by S. Ramdas who acted in lead role.DevelopmentM. Mohamed, a businessman, who used to listen this radio drama weekly, was attracted by it. Thus he thought to make it as a film. He expressed his idea to S.Ramdas. He also agreed and film was started.  Story and dialogues were written by S.Ramdas who acted as Marikkar in lead role. Film was directed by Ramanathan, an experienced person in the Sinhala film industry.CastingThe highlight of the film was the performances of S.Ramdas, a Brahmin in real life, who played the role of a Muslim, and B.H.Abdul Hameed, a Muslim in real life, who played a Brahmin role. Also T.Rajagopal acted as a role of \"Appukutty\", S.Selvasekaran as \"Upali\" and Sillaiyur Selvarajan and his wife Kamalini Selvarajan acted as lovers in the film. K.A.Jawahir (Aboo Nana) acted as \"Thanikasalam\" in villain role.SoundtrackMusic - Kannan NesamLyrics - Sillaiyur Selvarajan, Fouzul Ameer and SaathuPlayback singers - Muthazhagu, Kalavathi, Sujatha and S.RamdasBox officeKomaligal was produced in 45 days. On 22 November 1976 the film was screened in 6 places. Film was very successful in box office rather than previous Sri Lankan Tamil movies. Komaligal was running in Central Colombo (Sellamahal) 76 days, in South Colombo (Plaza) 55 days, in Jaffna 51 days, in Trincomalee 33 days and Batticolao 32 days. As per Dominic Jeeva, author of Malligai magazine, \"Viewers returned from Theatre without seeing the movie since it was houseful.\"The financial success of Komaligal gave the belief to other producers that they could produce successful Tamil cinema in Sri Lanka.SourcesIlankai Thamil Cinemavin Kathai, Thambyayah Thevathashttp://www.noolaham.net/project/04/379/379.htmJeyaraj, D. B. S. (25 June 2012). \"For a distinct identity\". The Hindu. Archived from the original on 25 June 2002. Retrieved 11 September 2009.\"Komaligal (1976) Srilankan Tamil Movie\". You Tube. Chennai, India. 16 September 2020. Archived from the original on 21 December 2021."}
+{"doc_id":"doc_151","qid":"","text":"Passage 1:Chow Ka WaChow Ka Wa (Chinese: \u0000\u0000\u0000; Cantonese Yale: Jāu Gāwà ; born 23 April 1986 in Hong Kong) is a Hong Kong footballer who plays for Hong Kong First Division League club Southern as a right midfielder.Club careerCitizenChow began his professional career at Citizen, a newly promoted First Division club, in the 2004–05 season. However, as a young player, he failed to compete for a place in the starting line-up, only mostly played in the Senior Shield.Loan to Xiangxie PharDuring the season, Xiangxie Phar was rebuilt and players all left the club. To retain their presence in the league, six teams from the First Division league loaned their young players so that they could gain match experiences. Chow was one of them who was loaned from Citizen. However, as he was still a student at that time, he failed to attend every training session and therefore was not given many match-playing chances. He returned to Citizen at the end of the season.Kwun TongAfter spending a season in the top-tier division, he joined Third Division side Kwun Tong, as he had to focus on academic studies. Although he played most of the matches, he failed to help them gain promotion to the Second Division. He left the club at the end of the season.Hong Kong 08Chow made a return to the First Division in the 2006–07 season, joining Hong Kong 08, which was formed by a team of young players to let them gain match experiences before competing in the 2008 Olympics qualifiers. He was given plenty of match-playing chances although there were many wingers at the team. However, the club was relegated and was dissolved after the season.Although many players and coaches joined newly promoted side Workable, Chow did not follow them and joined Third Division side Shatin, meaning he would miss the First Division for the second time.ShatinChow joined Third Division side Shatin in the 2007–08 season. As a third-tier club, however, Shatin had many players with First Division playing experience, including Lee Wai Man who was the current most capped Hong Kong national team record player, Ng Yat Hoi, Kwok Yue Hung and so on. With an exceptionally strong squad in the league, Chow helped Shatin claim the league title without dropping any points in all 15 matches, meaning they had also gained promotion to Second Division. At the same time, Shatin also won the Junior Shield title in the season.Chow stayed at the club as Shatin were aiming at promotion to the First Division for their first time in club history. He continued to make a great impact in the team and eventually helped the club achieve their season goal as they claimed the league title with only losing one match in 18 matches. On the other hand, Shatin successfully defended their Junior Shield title, defeating Sham Shai Po 2–0 in the final. Chow played 90 minutes in the match, providing one assist in the match.He followed the team and made a second return to the First Division in the 2009–10 season. However, since Shatin bought several new players to strengthen their squad, Chow's match-playing chances were therefore reduced. Shatin failed to avoid relegation to the Second Division as they placed 2nd at the bottom of the league. Chow also left the club after the season.PonticChow made his third leave from the First Division as he joined Second Division side Pontic in the 2010–11 season. As a key member in the team, he only missed one game throughout the season, helping the club gain promotion to the First Division.However, since Pontic failed to find sponsors, they lacked sufficient funds to run the club. As a result, Pontic announced they refused to promote to the First Division. Soon later, Pontic was punished and had their club qualification cancelled, meaning that they were not able to compete in every league and cup organised by the Hong Kong Football Association. Chow became Free Agent afterwards.SouthernChow joined Second Division side Southern in the 2011–12 season. Under coaching of Fung Hoi Man, Chow was a usual starter for the club, featuring 20 league matches and scoring 2 goals. Southern successfully gain promotion to the First Division as they placed second in the league.The 2012–13 season was a year of breakthrough for Chow Ka Wa, as his impressive performance and co-operation with fellow team-mates Dieguito, Jonathan Carril and Ip Chung Long attracted people's eyes. He made a great impact on Southern's 8-game unbeaten in the league during the season. Unfortunately, Chow was injured in January and was forced to stay on the sidelines for two months.On 20 April 2013, he scored the winning goal in the 68th minute after being substituted in the 60th minute against South China, not just helping the club to win 3–2, but also helping them to secure the league 4th place. This was also Chow's first game after his recovery on his injury. This goal became more important as Southern qualified for the 2013 Hong Kong AFC Cup play-offs by finishing fourth in the league, as Kitchee won the FA Cup on 11 May 2013 after they had secure a place in the play-offs by finishing second in the league.Career statisticsClubAs of 5 May 2013.Remarks:1 Others include 2013 Hong Kong AFC Cup play-offs.2 Hong Kong League Cup only consists of top-tier division clubs.3 Hong Kong League Cup was not held in the 2009–10 and 2012–13 seasons.Passage 2:Kenneth GyangKenneth Gyang is a young filmmaker in Nigeria and was born in Barkin Ladi of Plateau State, Nigeria.He studied Film Production at the National Film Institute in Jos and screenwriting at Gaston Kaboré's IMAGINE in Ouagadougou, Burkina Faso. Two of his short films as well as a script titled \"Game of Life\" were selected for the Berlinale Talent Campus 2006 and \"Mummy Lagos\" was well received as an official competition entry.  \"Mummy Lagos\" was also selected for the Sithengi Talent Campus as part of the Cape Town World Cinema Festival in South Africa.Honors and awardsHis film \"Omule\" won Best Documentary Film at the 1st Nigerian Students International Film Festival in 2006 and \"Mummy Lagos\" also won Best Film at the Nigerian Field Society Awards organised by the German Cultural Centre, Goethe-Institut, in Lagos as well as the Jury Special Mention at the ANIWA festival in Ghana.In 2006 he was profiled by the influential UK-based BFM magazine as the youngest film director in Nigeria.Kenneth has worked with the BBC World Service Trust directing their highly quality TV drama \"Wetin Dey\" which was recently presented at the International Emmy World Television Festival in New York City. He has also worked with Communicating For Change as an Associate Producer on Bayelsian Silhouettes- a series of seven short films on HIV/AIDS.His most recent work is Finding Aisha, a TV series he co-wrote, produced and directed for the Nigerian production company Televista.In 2013, his debut feature film Confusion Na Wa produced by Tom Rowland Rees won the top gong - Best Film - at the Africa Motion Awards in Bayelsa.Kenneth also won The Future Awards 2013 Prize In Arts & Culture.He directed the AMAA award-winning film Blood and Henna about Meningitis in Northern Nigeria.Kenneths Feature Film confusion Na Wa was highly acclaimed and went ahead to win the AMAA Awards 2013 for Best Film and Best Nigerian film, also the film went ahead in 2014 to win Nollywood Movie Award for Best Cinematography (Yinka Edwards) and Nollywood Movie Award for Best Director (Kenneth Gyang).Passage 3:Olav AaraasOlav Aaraas (born 10 July 1950) is a Norwegian historian and museum director.He was born in Fredrikstad. From 1982 to 1993 he was the director of Sogn Folk Museum, from 1993 to 2010 he was the director of Maihaugen and from 2001 he has been the director of the Norwegian Museum of Cultural History. In 2010 he was decorated with the Royal Norwegian Order of St. Olav.Passage 4:Confusion Na WaConfusion Na Wa is a 2013 Nigerian dark comedy drama film directed by Kenneth Gyang, starring Ramsey Nouah, OC Ukeje, Ali Nuhu and Tunde Aladese. The title of the film was inspired by the lyrics of the late Afrobeat singer Fela Kuti's song \"Confusion\". Confusion Na Wa won the Best picture at the 9th Africa Movie Academy Awards, it also won the award for Best Nigerian film.The film tells a story on how so many interconnected separate events come together to complicate the lives of people.PlotThe film starts with a monologue by an unnamed narrator explaining the synopsis of the film with images from the end of the film. Emeka Nwosu (Ramsey Nouah) is stuck in a traffic jam caused by the death of a pedestrian, when his concubine, Isabella (Tunde Aladese), sends him a text reminding him to get home early so they can have fun together. City hustlers Charles (OC Ukeje) and Chichi (Gold Ikponmwosa) arrive at the scene, and as a fight breaks out on the crowded road Emeka is knocked down and his phone falls out of his pocket, and after Emeka walks away unknowingly, Charles steals it. Bello (Ali Nuhu) is a diligent and honest civil servant, whose only \"crime\" at the office has been his refusal to partake in any of the corrupt practice by his co-workers. His raucous boss uses every opportunity to disrespect him. During a workday, Bello is given more jobs to do by his colleagues after work hours. He reluctantly accepts and is subsequently abused by his boss for not finishing the job on time despite his explanations.Charles and Chichi review the pictures on the stolen phone and try to reach an agreement on what to do with the phone. The two friends force their entry to the car of a publisher by breaking the wheel-screen, and steal the stereo. They buy some drinks with the money they got and begin discussing on their interpretation of The Lion King as seen by Africans. Emeka notices that his phone has been stolen and tries calling his number, but is told by Charlie that due to \"The Circle of Life\" in The Lion King ownership has been passed on to them from him. He furiously disengages from the conversation on the resistance of the friends to start a meaningful conversation. He is calmed by his concubine Isabella afterwards.Babajide (Tony Goodman) is the head publisher of Righteous Trumpet Newspaper. During a family dinner he explains the car robbery he faced and is surprised that both his wife and kids did not condemn the act by the thieves with complete disdain—instead, a sociological debate starts between him and his son, Kola (Nathaniel Deme) who is shifting the blame from the thieves to the government. His mum introduces another topic to end the heated debate since neither side will let go.Charles persuades Chichi to accompany him to a drug dealer, Muri (Toyin Oshinaike). Charles had previously had sex with Muri's sister but Chichi is negligent and wants to visit another dealer at \"Abbatoir\". He later retires then follows Charles. They buy drugs worth N200, and as Muri's sister walks outside and Muri notices Chichi facial expressions towards her, Muri tells them that his sister is about to get married . Charles and Chichi have a reflective discussion while having a cigar when Chichi informs Charles that he will be relocating to Bauchi State to start a new life with his uncle. Charles gives him the stolen phone as a farewell gift.The two friends interrupt the sexual intercourse between a disturbed Emeka and Isabella with a call, and they start to negotiate a ransom for the recovery of the phone, while Emeka's wife waits for him at home. Kola's sister, Doyin (Yachat Sankey) sneaks out of the house to attend a party and persuades Kola to promise not to tell their parents. At the party, Charles drugs Doyin's friend, Fola (Lisa Pam-Tok) then the power goes out and he rapes her. Chichi refuses to use drugs on Doyin and opts to get her number instead. Police raid the party and arrest many including Charles. At home, Babajide tries motivating Kola with some fatherly advise and explains to him that he needs to start taking responsibility to become a man. He instructs Kola to join him at his office the next day.At home we see that Bello's wife is Isabella, and he questions his wife on her whereabouts the previous day. She feels irritated in the course of their argument, especially at his mention of lack of money as the reason for them not wanting to have a child. On his way to work the next day, Babajide and Kola engage in a father-son conversation, and Babajide narrates his life-story on how he was able to overcome challenges during the civil war and establish his company. He gets distracted then splashes muddy water on Bello, who is walking along the road. Bello reacts angrily by throwing a stone at the car and regrettably breaking the back-screen. Babjide refuses to accept any compensation or apology from him and decides to take him to the Police Station explaining to him that as a good example to his son, whenever crimes are committed, it should always be a matter for the police. As he zooms off with Bello in his car, the sticker on his car reads \"I am an Ideal Citizen, what about you?\". Bello refuses to bribe his way out of jail at the request of the corrupt policemen and is placed in the same cell as Charles. Babajide introduces Kola to his staff at the office and tells him to write an article on the decline of the moral level in the society, using his ordeal (with the thieves and Bello) as a guide, even though he had previously told him to write on the power supply.After some hours, the police release Bello, having encountered difficulty in extorting money from either him or Babajide; however they refuse to help him find his wallet, which is later revealed to have been stolen by Charles in the cell. Afterwards he is set free after his Parole Officer warns him that he will not be given a second chance if he breaks the law again. He sets out to his father's house, where the nagging of his mum about his way of life drove him out. Charles and Chichi meets on a hill, where they discuss the previous night and their encounter with the ladies. They call Emeka and threaten to blackmail him by telling his wife of his extra-marital affairs, if he does not yield to their demands. Doyin informs Kola that her friend is missing and he should come to her rescue. Kola leaves his dad's office to assist her in finding Fola. After searching for some time, they find Fola by the road then take her home to an apprehensive dad, Adekunle (Toyin Alabi) who swore to kill whoever was responsible for the rape. Isabella informs Emeka that she is pregnant, and he refuses the pregnancy and advises her to return to her husband. Babajide consults many of his colleagues to examine if his suspicion that Kola is gay is true. Bello angrily abandons his work after getting fed-up with the kind of treatment he has been subjected to by his boss and colleagues. Adekunle gets the address of Emeka through his phone number (from Chichi). He consults Bello's office and pays his way to get the personal details of the owner of the phone.Emeka narrates his phone theft story to his wife, Irene (Yewande Iruemiobe) and she discourages him from paying the ransom. On his way out to meet Charles and Chichi, he is stopped by Adekunle, who slaps him severely thinking he is Chichi. After some explanations from Irene, Adekunle lets Emeka go but takes the ransom from him. Babajide questions Kola, and stylishly tries to get him to speak about his view of sexuality. Kola's responses suggest that he is unsure about what he feels about his sexual attractions, and so his dad immediately takes him to Muri in order to be cleansed of homosexuality. Bello's wife Isabella tries to impose her pregnancy on him, but he refuses citing \" lack of sex\" as a reason. He later sees messages that implicate Isabella on her phone.Charles and Chichi are discussing with Muri on how they will extort money from Emeka at their meeting in Shayi's. Muri also tells them that he was paid N115,000 by Adekunle for a firearm. Kola and his dad arrive at Muri's bar explaining their ordeal to him. He responds, requesting that his \"nurses\" cleanse Kola of homosexuality. Bello arrives at Shayi's and suspiciously approaches a man, who he mistakenly thought was Emeka. Adekunle also arrives the scene then shoots Chichi (thinking he was Charles) who was seated with Charles close to the entrance of the restaurant.CastRamsey Noah as Emeka NwosuOC Ukeje as CharlesAli Nuhu as BelloTunde Aladese as IsabellaGold Ikponmwosa as ChichiTony Goodman as BabajideNathaniel Deme as KolaYanchat Sankey as DoyinLisa Pam Tok as FolaToyin Alabi as AdekunleReceptionThe film was received with positive reviews with Sodas and Popcorn rating it 4 out of 5, describing it as one of the best movies of 2013 and an inspiration to Nigeria's filmmakers.AccoladesIt won 2 awards at the 9th Africa Movie Academy Awards. It also went on to win 3 awards at the 2013 Best Of Nollywood Awards.See alsoList of Nigerian films of 2013Passage 5:Peter LevinPeter Levin is an American director of film, television and theatre.CareerSince 1967, Levin has amassed a large number of credits directing episodic television and television films. Some of his television series credits include Love Is a Many Splendored Thing, James at 15, The Paper Chase, Family, Starsky & Hutch, Lou Grant, Fame, Cagney & Lacey, Law & Order and Judging Amy.Some of his television film credits include Rape and Marriage: The Rideout Case (1980), A Reason to Live (1985), Popeye Doyle (1986), A Killer Among Us (1990), Queen Sized (2008) and among other films. He directed \"Heart in Hiding\", written by his wife Audrey Davis Levin, for which she received an Emmy for Best Day Time Special in the 1970s.Prior to becoming a director, Levin worked as an actor in several Broadway productions. He costarred with Susan Strasberg in \"[The Diary of Ann Frank]\" but had to leave the production when he was drafted into the Army. He trained at the Carnegie Mellon University. Eventually becoming a theatre director, he directed productions at the Long Wharf Theatre and the Pacific Resident Theatre Company. He also co-founded the off-off-Broadway Theatre [the Hardware Poets Playhouse] with his wife Audrey Davis Levin and was also an associate artist of The Interact Theatre Company.Passage 6:Yinka EdwardYinka Edward, born in Jos, Nigeria, is a Nigerian cinematographer best known for his works on the films October 1, 93 Days, A Love Story (winner of BAFTA's Best British Short Animation category, 2017), Confusion Na Wa and Lionheart.CareerIn the early years of his career after graduating from the National Film Institute in Jos, Nigeria in 2006, Edward worked with Nigerian film director, Mak ' Kusare on the movie Ninety Degrees and was part of BBC's production team on the Wetin Dey series. After his work on Wetin Dey, Edward shot The Ties That Bind in Namibia, which was the country's first indigenously produced series.Back in Nigeria, Edward worked on Kunle Afolayan's films The Figurine, Phone Swap and October 1. He also shot Izu Ojukwu's films Alero's Symphony, and '76. In Kenya, he shot the feature film Something Necessary, which was produced by Tom Tykwer and directed by Judy Kibinge. Something Necessary went on to screen at the Toronto International Film Festival, 2013 and was nominated for Audience Choice Award at the Chicago International Film Festival, 2013. One of his most recent works is the Netflix original movie Lionheart a Nigerian feature film, directed by Genevieve Nnaji.Edward is an alumnus of the National Film and Television School Beaconsfield, England, where he received a Master of Arts degree in film and television production, concentrating in cinematography.Passage 7:Brian Kennedy (gallery director)Brian Patrick Kennedy (born 5 November 1961) is an Irish-born art museum director who has worked in Ireland and Australia, and now lives and works in the United States.  He was the director of the Peabody Essex Museum in Salem for 17 months, resigning December 31, 2020. He was the director of the Toledo Museum of Art in Ohio from 2010 to 2019. He was the director of the Hood Museum of Art from 2005 to 2010, and the National Gallery of Australia (Canberra) from 1997 to 2004.CareerBrian Kennedy currently lives and works in the United States after leaving Australia in 2005 to direct the Hood Museum of Art at Dartmouth College. In October 2010 he became the ninth Director of the Toledo Museum of Art. On 1 July 2019, he succeeded Dan Monroe as the executive director and CEO of the Peabody Essex Museum.Early life and career in IrelandKennedy was born in Dublin and attended Clonkeen College. He received B.A. (1982), M.A. (1985) and PhD (1989) degrees from University College-Dublin, where he studied both art history and history.He worked in the Irish Department of Education (1982), the European Commission, Brussels (1983), and in Ireland at the Chester Beatty Library (1983–85), Government Publications Office (1985–86), and Department of Finance (1986–89). He married Mary Fiona Carlin in 1988.He was Assistant Director at the National Gallery of Ireland in Dublin from 1989 to 1997. He was Chair of the Irish Association of Art Historians from 1996 to 1997, and of the "}
+{"doc_id":"doc_152","qid":"","text":"Passage 1:Anthony OsorioAnthony Osorio (born April 13, 1994) is a Canadian professional soccer player who last played as a defender and midfielder for the Mississauga MetroStars in the Major Arena SoccerLeague.Club careerOsorio attended St. Edmund Campion where he represented the school team, having grown up in Brampton, Ontario. He was part of the team that won the school's second and third OntarioFederation of Schools Athletic Association Championship in four years.In 2013 after a successful trial in Uruguay Osorio joined the u19 side of Nacional. Then moved up to the reserve team the following year in2014.Toronto FC IIHe joined the Toronto FC Academy in July 2014, and helped the club to become League1 Ontario champions and Inter-Provincial Cup Championship winners. Osorio was rewarded with a USL procontract on December 9, 2015, joining Toronto FC II and going on to make 19 appearances in his inaugural season. The midfielder made his professional debut on April 25, 2015, playing in a match against thePittsburgh Riverhounds in the USL. Osorio would spend three seasons with the club prior to be released at the conclusion of the 2017 season.Post-TFCIn 2018, he played for Vaughan Azzurri in League1 Ontario.  Afterthat he joined the  Mississauga MetroStars of the Major Arena Soccer League.International careerOsorio represented Canada at the 2013 Francophone games in Nice, France. He made his international debut in a friendlyas a halftime substitute vs Cameroon that ended in a 0–0 draw. Osorio made his first international start and recorded his first international goal in a 1–0 win over Rwanda on September 8, 2013.Personal lifeOsorio'sparents are Colombian – his father is a native of Cali, while his mother was born in Medellín. Osorio's older brother, Jonathan Osorio, plays for Toronto FC and represents the Canadian seniors. Osorio's younger brother,Nicholas, previously played in the Toronto FC system and represented the Canadian under-15s.In 2018, Osorio suffered a nasty ACL tear which forced him to undergo surgery and not participate at all in the Metrostars'inaugural season as well as take all of 2019 off on the sidelines to recover from the tragic injury. Osorio was linked to a move to CPL side York 9 FC had the injury not occurred.Career statisticsAs of October 30,2018Passage 2:Etta JonesEtta Jones (November 25, 1928 – October 16, 2001) was an American jazz singer. Her best-known recordings are \"Don't Go to Strangers\" and \"Save Your Love for Me\". She worked with BuddyJohnson, Oliver Nelson, Earl Hines, Barney Bigard, Gene Ammons, Kenny Burrell, Milt Jackson, Cedar Walton, and Houston Person.BiographyJones was born in Aiken, South Carolina, and raised in Harlem, New York.Still in her teens, she joined Buddy Johnson's band for a tour although she was not featured on record. Her first recordings—\"Salty Papa Blues\", \"Evil Gal Blues\", \"Blow Top Blues\", and \"Long, Long Journey\"—wereproduced by Leonard Feather in 1944, placing her in the company of clarinetist Barney Bigard and tenor saxophonist Georgie Auld. In 1947, she recorded and released an early cover version of Leon Rene's \"I Sold MyHeart to the Junkman\" (previously released by the Basin Street Boys on Rene's Exclusive label) while at RCA Victor Records. She performed with the Earl Hines sextet from 1949 to 1952.Following her recordings forPrestige, on which Jones was featured with high-profile arrangers such as Oliver Nelson and jazz stars such as Frank Wess, Roy Haynes, and Gene Ammons, she had a musical partnership of more than 30 years withtenor saxophonist Houston Person, who received equal billing with her. He also produced her albums and served as her manager after the pair met in one of Johnny \"Hammond\" Smith's bands.Although Etta Jones islikely to be remembered above all for her recordings on Prestige, her close professional relationship with Person (frequently, but mistakenly, identified as Jones' husband) helped ensure that the last two decades of herlife would be marked by uncommon productivity. Starting in 1976, they began recording for Muse, which later changed its name to HighNote. Mr. Person became her manager, as well as her record producer andaccompanist, in a partnership that lasted until her death in 2001.Only one of her recordings—her debut album for Prestige Records (Don't Go to Strangers, 1960)—enjoyed commercial success with sales of over 1million copies. However, her remaining seven albums for Prestige, and beginning in 1976, her recordings for Muse Records, and for HighNote Records secured her a devoted following. She had three Grammynominations: for the Don't Go to Strangers album in 1960, the Save Your Love for Me album in 1981, and My Buddy (dedicated to her first employer, Buddy Johnson) in 1998. In 2008 the album Don't Go to Strangerswas inducted into the Grammy Hall of Fame. In 1996, she recorded the jazz vocalist tribute album, The Melody Lingers On, for the HighNote label. Her last recording, a tribute to Billie Holiday, was released on the day ofJones' death.She died in Mount Vernon, New York at the age of 72 from cancer. She was survived by her husband, John Medlock, and a granddaughter.DiscographyThe Jones Girl...Etta...Sings, Sings, Sings (King,1958)Don't Go to Strangers (Prestige, 1960)Something Nice (Prestige, 1961)So Warm: Etta Jones and Strings (Prestige, 1961)From the Heart (Prestige, 1962)Lonely and Blue (Prestige, 1962)Love Shout (Prestige,1963)Hollar! (Prestige, 1963)Soul Summit Vol. 2 (Prestige, 1963)Jonah Jones Swings, Etta Jones Sings (Crown, 1964)Etta Jones Sings (Roulette, 1965)Etta Jones '75 (20th Century/Westbound 1975)Ms. Jones to You(Muse, 1976)My Mother's Eyes (Muse, 1978)If You Could See Me Now (Muse, 1979)Save Your Love for Me (Muse, 1981)Love Me with All Your Heart (Muse, 1984)Fine and Mellow (Muse, 1987)I'll Be Seeing You (Muse,1988)Sugar (Muse, 1990)Christmas with Etta Jones (Muse, 1990)Reverse the Charges (Muse, 1992)At Last (Muse, 1995)My Gentleman Friend (Muse, 1996)The Melody Lingers On (HighNote, 1996)My Buddy: EttaJones Sings the Songs of Buddy Johnson (HighNote, 1997)Some of My Best Friends Are...Singers with Ray Brown (Telarc, 1998)All the Way (HighNote, 1999)Together at Christmas (HighNote, 2000)Easy Living(HighNote, 2000)Etta Jones Sings Lady Day (HighNote, 2001)Don't Misunderstand: Live in New York  with Houston Person (HighNote, 2007)The Way We Were: Live in Concert  with Houston Person (HighNote,2011)Guest appearancesWith Houston PersonThe Real Thing (Eastbound, 1973)The Lion and His Pride (Muse, 1994)Christmas with Houston Person and Friends (Muse, 1994)Passage 3:David JiDavid Longfen Ji is anAmerican businessman who co-founded Apex Digital, an electronics manufacturer.In 2004, he was arrested in China following a dispute with Sichuan Changhong Electric, a supplier owned by the city of Mianyang andthe province of Sichuan. Changhong accused him of defrauding them through bad checks. Ji was taken, according to an account by his lawyer, to the senior management and told, \"I decide whether you live or die.\" Hehas been held in China without charges.Ji's case highlighted an \"implicit racism\" in dealings with American businessmen. As a U.S. citizen he was not granted the same treatment by authorities as non-ethnically Chinesebusinessmen sharing the same nationality.Passage 4:Luther LindsayLuther Jacob Goodall (December 30, 1924 – February 21, 1972) was an American professional football player and wrestler, known by his ringnameLuther Lindsay or Lindsey, who competed throughout the United States with the National Wrestling Alliance as well as international promotions such as All Japan Pro Wrestling, Joint Promotions and StampedeWrestling.One of the first African American wrestlers to become a major star, he was extremely popular in the Pacific Northwest and Mid-Atlantic territory. A frequent rival and tag team partner of Shag Thomas, he alsoteamed with Bearcat Wright, Nick Bockwinkel, Pepper Gomez and was involved in feuds with \"Iron\" Mike DiBiase, Mad Dog Vachon, Beauregarde, Moondog Mayne, Tony Borne and Pat Patterson and The Hangman.Formuch of the early 1950s and '60s, Lindsay was billed as the U.S. Colored (or Negro) Heavyweight Champion and took part in the first interracial professional wrestling matches held in the United States. Between 1953and 1956, he faced NWA World Heavyweight Champion Lou Thesz in a series of matches. Although largely resulting in time limit draws, he was the first African-American to make a challenge to the title and earnedThesz's respect during these bouts publicly praising his wrestling ability.He was considered one of the top submission wrestlers of his day working with Don Leo Jonathan and Stu Hart. Lindsay was one of the few menwho bested him in the infamous \"Hart Dungeon\" and later became one of Hart's best friends. Hart reportedly carried a picture of him in his wallet until his death. He was held in high regard by his fellow wrestlers suchas Lou Thesz, J. J. Dillon, Rip Hawk and Les Thatcher.CareerEarly careerLuther Goodall was born on a farm outside Norfolk, Virginia, on December 30, 1924. He moved to Sedalia but later resided in Gibsonville, NorthCarolina, and later played college football for Norfolk State and nearby Hampton Institute where he was also a CIAA wrestling champion. Although excelling in athletics as an All-American Negro tackle-guard, statesegregation laws prohibited him from playing against white athletes. He played two years of professional football in Hamilton and Victoria for the Canadian Football League. Lindsey began wrestling professionally makinghis debut in 1950 or 1951. Taking the surname of his wife, Gertrude Lindsey, his earliest recorded match was against Al Tucker in Chicago, Illinois, for promoter Leonard Schwartz on November 21, 1951.As early as1953, Lindsay was billed as the U.S. Colored or Negro Heavyweight Champion. He was one of the few African-Americans in professional wrestling and, in accordance with state segregation laws at the time, he was onlyallowed to travel with and compete against other African-American wrestlers during his early career. One of his most frequent opponents was Shag Thomas who he later claimed knew better than any other opponent.During the late 1950s, he became the first African-American south of Washington, D.C., to compete in a wrestling event when he faced Ron Wright in Kingsport, Tennessee. Although the National Guard was brought inamid fears of rioting, the crowd unexpectedly favored Lindsay against Wright. As a result of Lindsay's success in the area, other African-American wrestlers were also brought into the area such as Bearcat Wright andBobcat Brown.Pacific Northwest WrestlingIn early 1953, he appeared in Washington where he faced George Dusette, the Masked Marvel, Carl Engstrom, Walter Kameroff, Jack Kiser, Bronko Lubich, Axel Cadier. He wasinvolved in a battle royal which included Kiser, Lubich, Cadier, Bud Rattal and Paul DeGalles in Yakima on May 12. On July 31, he faced Lou Thesz for the NWA World Heavyweight Championship in Tacoma and the twofought to a time limit draw. This was the first of several meetings between the two champions and the first time the title was defended against an African-American opponent. A rematch one week later in Tacoma alsoresulted in a draw.On October 10, Lindsay defeated Bronko Nagurski in a best 2-of-3 match during the main event at the Tacoma Armory. Nagurski had pinned him after a series of flying tackles and a full body press,however Lindsay recovered to score the second fall after making Nagurski submit to a neckbreaker. Lindsay was eventually awarded the match when referee Freddie Steele disqualified Nagurski after refusing to break ahold. According to promoter Paavo Ketonen, the winner was to receive a title shot against Lou Thesz for the NWA World Heavyweight Championship.He was one of several wrestlers who challenged the Seattle Ramblersto a football game known as the \"Muscle Bowl\" at Lincoln Bowl on October 11. The event was attended by 7,265 fans and was successful in raising as much as $5,000 for the Associated Boys' Clubs of the Tacoma-area.Among the wrestlers who participated, a half-dozen were former collegiate football stars including Lindsay, Pepper Gomez and Frank Stojack. Bronko Nagurski also participated in a dozen plays. Other wrestlers includedIvan Kameroff, the Masked Marvel, Dr. John Gallagher, The Ram, Abe Yourist and Glen Detton. Despite the addition of several players loaned by the Seattle Ramblers, most notably Mel Light, they lost the game 20–6.Lindsay injured his right pinky finger during the game, however the wrestlers later celebrated at Steve's Restaurant.On October 16, he took part in a 7-man battle royal involving Don Kindred, Bronko Nagurski, DaleKiser, \"Red\" Vagnone, Jack O’Reilly, Jack Kiser and the eventual winner Carl Engstrom. Lindsay was the fifth man eliminated in the battle royal and, that same night, fought Jack O’Reilly to a draw. He faced Lou Theszagain in a series of matches during late-November. Their first meeting in Tacoma, on November 24, resulted in another draw however he lost to Thesz in Tacoma on November 27 and in Eugene the next night.OnJanuary 10, he won his first major title winning the vacant NWA Hawaii Tag Team Championship with Bobby Burns in Honolulu. He faced Thesz again the following spring where they fought to another draw in Portlandon April 29 and Seattle on April 1, 1954. On April 9, he lost to Thesz via disqualification in Yakima.Later that year, he toured Northern Ontario with Ricky Waldo and The Black Panther. He and Jack Claybourne won theNWA Canadian Open Tag Team titles from Tosh Togo and Pat Fraley (substituting for Great Togo) in Toronto on September 28. Later that year, he wrestled for promoter Ed Don George making occasional appearancesat Buffalo Memorial Auditorium where he faced Johnny Molinda, Danno O'Shocker and Danny Malone during the next two months.They lost the titles to Ivan and Karol Kalmikoff in Toronto on December 9. The followingnight he fought Danno O'Shocker to a draw at the Buffalo Memorial Auditorium. This was his last match in the Buffalo area.During the summer of 1955, he and George Dusette won the NWA Pacific Northwest Tag TeamChampionship from Bulldog Curtis and Tommy Martinez on May 15. While still defending the tag team titles, he fought Lou Thesz to another draw in Portland on June 8. He and Dusette eventually lost the titles to DougDonovan and Ivan Kameroff on June 11.NWA TexasLater that year, Lindsay was brought to Texas by promoter Morris Siegel. As the state began complying with national de-segregation laws, Sigel promoted the firstinterracial wrestling match in the state pitting Lindsay against Duke Keomuka in one of the biggest matches of the year. Lindsay would also face Lou Thesz in Dallas on September 20, 1955 in yet another draw.InJanuary 1956, he entered the Dallas-Fort Worth area then promoted by Ed McLemore. On January 10, he faced Duke Keomuka in a best 2-of-3 falls match at The Sportatorium. Although taking the first pinfall, Keomukapinned Lindsay with the help of outside interference by Tiny Mills. When referee Roy Carter was knocked unconscious outside the ring, wrestler Danny McShain made the count after Lindsay pinned Keomuka. Althoughcontroversial, the third fall was granted to Lindsay by referee decision.A week later, Lindsay met Keomuka in a best 3-of-5 falls match which stipulated that their cornermen, Danny McShain and Tiny Mills, were to belocked in cages to prevent outside interference. However, both men broke out of their cages during the match and began brawling in the ring. The four men were broken up by referees Ray Gunkel and Otto Kuss whowere forced to declare a no-contest. Later during the main event between McShain and Mills, Lindsay appeared to help McShain in his match. He and McShain later took on Duke Keomuka and Tiny Mills for the NWATexas Tag Team Championship in a best-of-3 falls match at The Sportatorium on January 24. He and McShain lost the third fall by disqualification when Lindsay threw Mills over the top rope.He returned to the area fourmonths later teaming with Pepper Gomez in a best 2-of-3 falls match against \"Iron\" Mike DiBiase and Danny Plechas as one of a series of matches for the vacant NWA Texas Tag Team titles on May 22. Plechas pinnedGomez for the third fall and, despite an argument for the match to be awarded to Gomez and Lindsay, Mike DiBiase and Danny Plechas were declared the winners.Both teams claimed the title however and a rematchwas scheduled several days later. He and Gomez were forced to forfeit the match when Lindsay injured his leg during the match. Both Lindsay and Gomez faced Mike and Danny Plechas in singles matches later thatnight. Lindsay defeated Danny Plechas via disqualification when his partner interfered. Gomez lost his bout with Mike DiBiase when he was counted out.He was scheduled to face Duke Keomuka in the opening rounds ofa tournament to meet NWA World Heavyweight Champion Lou Thesz. However, reportedly flying in from Canada, his plane was grounded due to bad weather and was substituted by Tex Brady. Defeating Duke Keomukaon December 11, Lindsay earned a title shot at then NWA World Heavyweight Champion Lou Thesz. In his tenth meeting with Thesz, the two met in a best 2-of-3 falls match at The Sportatorium on December 18. Theszscored the first pinfall and, while Lindsay rallied to take the second, Thesz took the third fall for the victory. According to The Dallas Morning News, Lindsay posted a $5,000 guarantee to face Thesz. He again met Theszin Houston where they fought to another draw on January 20. Later that year, he also fought to a draw with newly crowned NWA World Heavyweight Champion Whipper Billy Watson in Dayton, Ohio, on October 25,1956. Years later while in Calgary, Watson would refuse to face him.Martinez and McMahonIn late 1957, Lindsay wrestled for promoter Pedro Martinez in Fort Erie, Ontario. Fighting to a draw with Wally Greb onSeptember 21, Lindsay defeated Wild Bill Austin that same day in Buffalo. He later fought to draws with Joe Blanchard and Tiger Tasker. On December 17, he lost to NWA World Heavyweight Champion Dick Hutton inDallas.In early 1959, he appeared in the Capitol Wrestling Corporation for Vince McMahon, Sr. and Toots Mondt where he faced Chris Tolos, Emile Duprée and Hard Boiled Haggerty.Stampede WrestlingIn 1960, Lindsaybegan wrestling for Calgary-based Stampede Wrestling. Feuding with Don Leo Jonathan during his first few weeks in the promotion, he defeated Jonathan at the Sales Pavilion in Edmonton on March 29. Two days later,he also beat Mighty Ursus at the Exhibition Auditorium in Regina. On April 15, he and Oattem Fisher defeated John Foti and Don Kindred for the Stampede International Tag Team Championship at the Victoria Pavilion.While defending the titles with Oattem Fisher, he also teamed with Tarzan Tourville who faced Mighty Ursus, Emile Koverly, Kit Fox, Jim Wright and Gypsy Joe. He and Fisher returned to the Victoria Pavilion defeatedDon Kindred and Kit Fox on May 13. During the next two months, he faced Pat O'Connor for the NWA World Heavyweight Championship in Edmonton, Calgary and Regina four times.Later that year, he returned to theCapitol Wrestling Corporation. On October 1, he defeated Swede Hanson at Madison Square Garden. Teaming with Eugenio Marin against Pat and Al Smith two weeks later, he also faced Fritz Wallick the following night.On October 24, he and Rebel II fought to a draw. He and Mr. Puerto Rico teamed up against the Dixie Rebels (Rebel I and Rebel II) on November 14, but lost the match. After a match with Tony Marino in Westchester,New York, Lindsay left the territory.Return to PortlandThe following year, he won the NWA Pacific Northwest Heavyweight Championship from \"Iron\" Mike DiBiase on May 26 as well as the NWA Pacific Northwest TagTeam titles with Bing Ki Lee and Herb Freeman during the summer. On September 25, he lost the NWA Pacific Northwest Heavyweight title to Nikolai Volkoff. Later that year, he traveled to Great Britain. Although hisstay was brief, he scored an impressive KO victory over Mike Marino at the Royal Albert Hall and Josef Zaranoff in a later televised match.In early 1962, he toured Japan with All Japan Pro Wrestling where he and RickyWaldo defeated Toyonobori and Rikidōzan for the All Asia Tag Team Championship on February 3, 1962. After losing the titles back to the former champions, he returned to the United States where he met and lost toNWA World Heavyweight Champion \"Nature Boy\" Buddy Rogers in Seattle on June 18. He teamed with longtime rival Shag Thomas to regain the NWA Pacific Northwest Tag Team titles defeating Kurt Von Poppenheim"}
+{"doc_id":"doc_153","qid":"","text":"Passage 1:Jacob Le MaireJacob Le Maire (c. 1585 – 22 December 1616) was a Dutch mariner who circumnavigated the earth in 1615 and 1616. The strait between Tierra del Fuego and Isla de los Estados was namedthe Le Maire Strait in his honour, though not without controversy. It was Le Maire himself who proposed to the council aboard Eendracht that the new passage should be called by his name and the council unanimouslyagreed with Le Maire. The author or authors of The Relation took Eendracht captain Willem Schouten's side by proclaiming:“ ... our men had each of them three cups of wine in signe of ioy for our good hap ... [and thenaming of] the Straights of Le Maire, although by good right it should rather have been called Willem Schouten Straight, after our Masters Name, by whose wise conduction and skill in sayling, the same wasfound.”.Eendracht then rounded Cape Horn, proving that Tierra del Fuego was not a continent.BiographyJacob Le Maire was born in either Antwerp or Amsterdam, one of the 22 children of Maria Walraven of Antwerpand Isaac Le Maire (1558–1624) of Tournai, who was then already a prosperous merchant in Antwerp. Isaac and Maria married shortly before the Spanish siege of Antwerp in 1585 after which they fled to settle inAmsterdam. Jacob is thought to have been the oldest son, born perhaps the same year. Isaac was very successful in Amsterdam, and became one of the founders of the Dutch East Indies Company (VOC). However, in1605 Isaac Le Maire was forced to leave the company after a dispute and for the next decade tried to break the company's monopoly on the trade to the East Indies.By 1615 Isaac had established a new company (theAustralian Company) with the goal to find a new route to the Pacific and the Spice Islands, thereby evading the restrictions of the VOC. He contributed to the outfitting of two ships, the Eendracht and Hoorn, and put hisson Jacob in charge of trading during the expedition. The experienced ship master Willem Schouten was captain of the Eendracht and a participant of the enterprise in equal shares with Isaac Le Maire.On 14 June 1615Jacob le Maire and Willem Schouten sailed from Texel in the United Provinces. On 29 January 1616 they rounded Cape Horn, which they named for the Hoorn, which was lost in a fire.  The Dutch city of Hoorn was alsothe birthplace of Schouten. After failing to moor at the Juan Fernández Islands in early March, the ships crossed the Pacific in a fairly straight line, visiting several of the Tuamotus. Between 21 and 24 April 1616 theywere the first Westerners to visit the (Northern) Tonga islands: \"Cocos Island\" (Tafahi), \"Traitors Island\" (Niuatoputapu), and \"Island of Good Hope\" (Niuafo'ou). On 28 April they discovered the Hoorn Islands (Futunaand Alofi), where they were very well received and stayed until 12 May. They then followed the north coasts of New Ireland and New Guinea and visited adjacent islands, including, on 24 July, what became known asthe Schouten Islands.They reached the northern Moluccas in August and finally Ternate, the headquarters of the VOC, on 12 September 1616. Here they were enthusiastically welcomed by Governor-General LaurensReael, admiral Steven Verhagen, and the governor of Ambon, Jasper Jansz.The Eendracht sailed on to Java and reached  Batavia on 28 October with a remarkable 84 of the original 87 crew members of both ships onboard. Although they had opened an unknown route, Jan Pieterszoon Coen of the VOC claimed infringement of its monopoly of trade to the Spice Islands. Le Maire and Schouten were arrested and the Eendracht wasconfiscated. After being released, they returned from Batavia to Amsterdam in the company of Joris van Spilbergen, who was on a circumnavigation of the earth himself, be it via the traditional Strait of Magellan.LeMaire was aboard the ship Amsterdam on this journey home, but died en route. Van Spilbergen was at his deathbed and took Le Maire's report of his trip, which he included in his book Mirror of the East and WestIndies. The rest of the crew arrived in the Netherlands on 1 July 1617, two years and 17 days after they departed. Jacob's father Isaac challenged the confiscation and the conclusion of the VOC, but it took him until1622 until a court ruled in his favour. He was awarded 64,000 pounds and retrieved his son's diaries (which he then published as well), and his company was allowed trade via the newly discovered route. Unfortunately,by then, the Dutch West Indies Company had claimed the same waters.FootnotesPassage 2:Éric RohmerJean Marie Maurice Schérer or Maurice Henri Joseph Schérer, known as Éric Rohmer (French: [e\u0000ik \u0000om\u0000\u0000];21 March 1920 – 11 January 2010), was a French film director, film critic, journalist, novelist, screenwriter, and teacher.Rohmer was the last of the post-World War II French New Wave directors to become established.He edited the influential film journal Cahiers du cinéma from 1957 to 1963, while most of his colleagues—among them Jean-Luc Godard and François Truffaut—were making the transition from critics to filmmakers andgaining international attention.Rohmer gained international acclaim around 1969 when his film My Night at Maud's was nominated at the Academy Awards. He won the San Sebastián International Film Festival withClaire's Knee in 1971 and the Golden Lion at the Venice Film Festival for The Green Ray in 1986. Rohmer went on to receive the Venice Film Festival's Career Golden Lion in 2001.After Rohmer's death in 2010, hisobituary in The Daily Telegraph described him as \"the most durable filmmaker of the French New Wave\", outlasting his peers and \"still making movies the public wanted to see\" late in his career.Early lifeRohmer wasborn Jean-Marie Maurice Schérer (or Maurice Henri Joseph Schérer) in Nancy (also listed as Tulle), Meurthe-et-Moselle department, Lorraine, France, the son of Mathilde (née Bucher) and Lucien Schérer. Rohmer was aCatholic. He was secretive about his private life and often gave different dates of birth to reporters. He fashioned his pseudonym from the names of two famous artists: actor and director Erich von Stroheim and writerSax Rohmer, author of the Fu Manchu series. Rohmer was educated in Paris and received an advanced degree in history, though he seemed equally interested and learned in literature, philosophy, and theology.Careeras a journalistRohmer first worked as a teacher in Clermont-Ferrand. In the mid-1940s he quit his teaching job and moved to Paris, where he worked as a freelance journalist. In 1946 he published a novel, Elisabeth(AKA Les Vacances) under the pen name Gilbert Cordier. While living in Paris, Rohmer first began to attend screenings at Henri Langlois's Cinémathèque Française, where he first met and befriended Jean-Luc Godard,François Truffaut, Claude Chabrol, Jacques Rivette and other members of the French New Wave. Rohmer had never been very interested in film, preferring literature, but soon became an intense lover of films and about1949 switched from journalism to film criticism. He wrote film reviews for such publications as Révue du Cinéma, Arts, Temps Modernes and La Parisienne.In 1950, he co-founded the film magazine La Gazette duCinéma with Rivette and Godard, but it was short-lived. In 1951 Rohmer joined the staff of André Bazin's newly founded film magazine Cahiers du Cinéma, of which he became the editor in 1956. There, Rohmerestablished himself as a critic with a distinctive voice; fellow Cahiers contributor and French New Wave filmmaker Luc Moullet later remarked that, unlike the more aggressive and personal writings of younger critics likeTruffaut and Godard, Rohmer favored a rhetorical style that made extensive use of questions and rarely used the first person singular. Rohmer was known as more politically conservative than most of the Cahiers staff,and his opinions were highly influential on the magazine's direction while he was editor. Rohmer first published articles under his real name but began using \"Éric Rohmer\" in 1955 so that his family would not find outthat he was involved in the film world, as they would have disapproved.Rohmer's best-known article was \"Le Celluloïd et le marbre\" (\"Celluloid and Marble\", 1955), which examines the relationship between film andother arts. In the article, Rohmer writes that in an age of cultural self-consciousness, film is \"the last refuge of poetry\" and the only contemporary art form from which metaphor can still spring naturally andspontaneously.In 1957 Rohmer and Claude Chabrol wrote Hitchcock (Paris: Éditions Universitaires, 1957), the earliest book-length study of Alfred Hitchcock. It focuses on Hitchcock's Catholic background and has beencalled \"one of the most influential film books since the Second World War, casting new light on a filmmaker hitherto considered a mere entertainer\". Hitchcock helped establish the auteur theory as a critical method andcontributed to the reevaluation of the American cinema that was central to that method.By 1963 Rohmer was becoming more at odds with some of the more radical left-wing critics at Cahiers du Cinéma. He continuedto admire US films while many of the other left-wing critics had rejected them and were championing cinéma vérité and Marxist film criticism. Rohmer resigned that year and was succeeded by Rivette.Filmcareer1950–1962: Shorts and early film careerIn 1950 Rohmer made his first 16mm short film, Journal d'un scélérat. The film starred writer Paul Gégauff and was made with a borrowed camera. By 1951 Rohmer had abigger budget provided by friends and shot the short film Présentation ou Charlotte et son steak. The 12-minute film was co-written by and starred Jean-Luc Godard. The film was not completed until 1961. In 1952Rohmer began collaborating with Pierre Guilbaud on a one-hour short feature, Les Petites Filles modèles, but the film was never finished. In 1954 Rohmer made and acted in Bérénice, a 15-minute short based on a storyby Edgar Allan Poe. In 1956 Rohmer directed, wrote, edited and starred in La Sonate à Kreutzer, a 50-minute film produced by Godard. In 1958 Rohmer made Véronique et son cancre, a 20-minute short produced byChabrol.Chabrol's company AJYM produced Rohmer's feature directorial debut, The Sign of Leo (Le Signe du lion) in 1959. In the film an American composer spends the month of August waiting for his inheritance whileall his friends are on vacation and gradually becomes impoverished. It included music by Louis Sagver. The Sign of Leo was later recut and rescored by distributors when Chabrol was forced to sell his productioncompany, and Rohmer disowned the recut version. In 1962 Rohmer and Barbet Schroeder co-founded the production company Les Films du Losange (they were later joined by Pierre Coltrell in the late 1960s). Les Filmsdu Losange produced all of Rohmer's work (except his last three features produced by La Compagnie Eric Rohmer).1962–1972: Six Moral Tales and television workRohmer's career began to gain momentum with his SixMoral Tales (Six contes moraux). Each of the films in the cycle follows the same story, inspired by F. W. Murnau's Sunrise: A Song of Two Humans (1927): a man, married or otherwise committed to a woman, istempted by a second woman but eventually returns to the first.For Rohmer, these stories' characters \"like to bring their motives, the reasons for their actions, into the open, they try to analyze, they are not people whoact without thinking about what they are doing. What matters is what they think about their behavior, rather than their behavior itself.\" The French word \"moraliste\" does not translate directly to the English \"moralist\"and has more to do with what someone thinks and feels. Rohmer cited the works of Blaise Pascal, Jean de La Bruyère, François de La Rochefoucauld and Stendhal as inspirations for the series.: 292 He clarified, \"amoraliste is someone who is interested in the description of what goes on inside man. He's concerned with states of mind and feelings.\" Regarding the repetition of a single storyline, he explained that it would allow himto explore six variations of the same theme. Plus, he stated, \"I was determined to be inflexible and intractable, because if you persist in an idea it seems to me that in the end you do secure a following.\": 295 The firstMoral Tale was The Bakery Girl of Monceau (1963). This 26-minute film portrays a young man, a college student, who sees a young woman in the street and spends days obsessively searching for her. He meets asecond woman who works in a bakery and begins to flirt with her, but abandons her when he finally finds the first woman. Schroder starred as the young man and Bertrand Tavernier was the narrator. The second MoralTale was Suzanne's Career (1963). This 60-minute film portrays a young student who is rejected by one woman and begins a romantic relationship with a second. The first and second Moral Tales were never theatricallyreleased and Rohmer was disappointed by their poor technical quality. They were not well known until after the release of the other four.In 1963 Les Films du Losange produced the New Wave omnibus film Six in Paris,of which Rohmer's short \"Place de l'Etoile\" was the centerpiece.: 290 After being driven out of his editor position at Cahiers, Rohmer began making short documentaries for French television. Between 1964 and 1966Rohmer made 14 shorts for television through the Office de Radiodiffusion Télévision Française (ORTF) and Télévision Scolaire. These included episodes of Filmmakers of Our Time on Louis Lumiere and Carl TheodorDreyer, educational films on Blaise Pascal and Stéphane Mallarmé, and documentaries on the Percival legend, the industrial revolution and female students in Paris. Rohmer later said that television taught him how tomake \"readable images\". He later said, \"When you show a film on TV, the framing goes to pieces, straight lines are warped...the way people stand and walk and move, the whole physical dimension...all this is lost.Personally I don't feel that TV is an intimate medium.\" In 1964 Rohmer made the 13-minute short film Nadja à Paris with cinematographer Nestor Almendros.Rohmer and Schroder then sold the rights of two of theirshort films to French television in order to raise $60,000 to produce the feature film La Collectionneuse in 1967, the third Moral Tale. The film's budget went only to film stock and renting a house in St. Tropez as a set.Rohmer described it as a film about l'amour par désoeuvrement (\"love from idleness\"). La Collectionneuse won the Jury Grand Prix at the 17th Berlin International Film Festival and was praised by French film critics,though US film critics called it \"boring\".The fourth Moral Tale was My Night at Maud's in 1969. The film was made with funds raised by Truffaut, who liked the script, and was initially intended to be the third Moral Tale.But because the film takes place on Christmas Eve, Rohmer wanted to shoot the film in December. Actor Jean-Louis Trintignant was not available so filming was delayed for a year. The film centers on Pascal's Wagerand stars Trintignant, Françoise Fabian, Marie-Christine Barrault and Antoine Vitez. My Night at Maud's was Rohmer's first successful film both commercially and critically. It was screened and highly praised at the 1969Cannes Film Festival and later won the Prix Max Ophüls. It was released in the US and praised by critics there as well. It eventually received Oscar nominations for Best Original Screenplay and Best Foreign Film. JamesMonaco wrote, \"Here, for the first time the focus is clearly set on the ethical and existential question of choice. If it isn't clear within Maud who actually is making the wager and whether or not they win or lose, that onlyenlarges the idea of le pari (\"the bet\") into the encompassing metaphor that Rohmer wants for the entire series.\"The fifth Moral Tale was Le genou de Claire (Claire's Knee, 1970). It won the Grand Prix at the SanSebastián International Film Festival, the Prix Louis Delluc and the Prix Méliès, and was a huge international success. Vincent Canby called it \"something close to a perfect film.\" It was Rohmer's second film in color.Rohmer said, \"the presence of the lake and the mountains is stronger in color than in black and white. It is a film I couldn't imagine in black and white. The color green seems to me essential in that film...This film wouldhave no value to me in black and white.\"The sixth and final Moral Tale was 1972's Love in the Afternoon (released as Chloe in the Afternoon in the US). Molly Haskell criticized the film for betraying the rest of the seriesby making a moral judgment of the main character and approving of his decision in the film.Overall, Rohmer said he wanted the Six Moral Tales \"to portray in film what seemed most alien to the medium, to expressfeelings buried deep in our consciousness. That's why they have to be narrated in the first person singular...The protagonist discusses himself and judges his actions. I film the process.\"1972–1987: Adaptations andComedies and ProverbsFollowing the Moral Tales Rohmer wanted to make a less personal film and adapted a novella by Heinrich von Kleist, La Marquise d'O... in 1976. It was one of Rohmer's most critically acclaimedfilms, with many critics ranking it with My Night at Maud's and Claire's Knee. Rohmer stated that \"It wasn't simply the action I was drawn to, but the text itself. I didn't want to translate it into images, or make a filmedequivalent. I wanted to use the text as if Kleist himself had put it directly on the screen, as if he were making a movie ... Kleist didn't copy me and I didn't copy him, but obviously there was an affinity.\"In 1978 Rohmermade the Holy Grail legend film Perceval le Gallois, based on a 12th-century manuscript by Chrétien de Troyes. The film received mostly poor critical reviews. Tom Milne said that the film was \"almost universally greetedas a disappointment, at best a whimsical exercise in the faux-naif in its attempt to capture the poetic simplicity of medieval faith, at worse an anticlimatic blunder\" and that it was \"rather like watching the animation of amedieval manuscript, with the text gravely read aloud while the images — cramped and crowded, coloured with jewelled brilliance, delighting the eye with bizarre perspectives — magnificently play the role traditionallyassigned to marginal illuminations.\" In 1980 Rohmer made a film for television of his stage production of Kleist's play Catherine de Heilbronn, another work with a medieval setting.Later in 1980 Rohmer embarked on asecond series of films: the \"Comedies and Proverbs\" (Comédies et Proverbes), where each film was based on a proverb. The first \"Comedy and proverb\" was The Aviator's Wife, which was based on an idea that Rohmerhad had since the mid-1940s. This was followed in 1981 with Le Beau Mariage (A Perfect Marriage), the second \"Comedy and Proverb\". Rohmer stated that \"what interests me is to show how someone's imaginationworks. The fact that obsession can replace reality.\" In his review of the film, film critic Claude Baignères said that \"Eric Rohmer is a virtuoso of the pen sketch...[He had not been] at ease with the paint tubes thatPersival required, [but in this film he created] a tiny figurine whose every feature, every curl, every tone is aimed at revealing to us a state of soul and of heart.\" Raphael Bassan said that \"the filmmaker fails to achievein these dialogues the flexibility, the textual freedom of The Aviator's Wife. A Perfect Marriage is only a variation on the spiritual states of the petty bourgeoise who go on and on forever about the legitimacy of certaininstitutions or beliefs confronted by problems of the emotions. Quite simply, this is a minor variation on this central Rohmerian theme.\"The third \"Comedy and proverb\" was Pauline at the Beach in 1983. It won theSilver Bear for Best Director at the 33rd Berlin International Film Festival. It was based on an idea that Rohmer had in the 1950s, originally intended for Brigitte Bardot. Rohmer often made films that he had beenworking on for many years and stated \"I can't say 'I make one film, then after that film I look for a subject and write on that subject...then I shoot.' Not at all...these are films that are drawn from one evolving mass,films that have been in my head for a long time and that I think about simultaneously.\"The fourth \"Comedy and Proverb\" was Full Moon in Paris in 1984. The film's proverb was invented by Rohmer himself: \"The onewho has two wives loses his soul, the one who has two houses loses his mind.\" The film's cinematographer Renato Berta called it \"one of the most luxurious films ever made\" because of the high amount of preparationput into it. The film began with Rohmer and the actors discussing their roles and reading from the film's scenario while tape recording the rehearsals. Rohmer then re-wrote the script based on these sessions and shotthe film on Super 8mm as a dress rehearsal. When the film was finally shot, Rohmer often used between two and three takes for each shot, and sometimes only one take. Alain Bergala and Alain Philippon have stated"}
+{"doc_id":"doc_154","qid":"","text":"Passage 1:Ben PalmerBen Palmer (born 1976) is a British film and television director.His television credits include the Channel 4 sketch show Bo' Selecta! (2002–2006), the second and third series of the E4 sitcom TheInbetweeners (2009–2010) and the Sky Atlantic comedy-drama Breeders (2020). Palmer has also directed films such as the Inbetweeners spin-off, The Inbetweeners Movie (2011) and the romantic comedy Man Up(2015).BiographyPalmer was born and raised in Penny Bridge, Barrow-in-Furness. He attended Chetwynde School.His first directing job was the Channel 4 sketch show Bo' Selecta!, which he co-developed with its mainstar, Leigh Francis. Palmer directed the second and third series of the E4 sitcom The Inbetweeners in 2009 and 2010, respectively.FilmographyBo' Selecta! (2002–06)Comedy Lab (2004–2010)Bo! in the USA (2006)TheInbetweeners (2009–2010)The Inbetweeners Movie (2011)Comedy Showcase (2012)Milton Jones's House of Rooms (2012)Them from That Thing (2012)Bad Sugar (2012)Chickens (2013)London Irish (2013)Man Up(2015)SunTrap (2015)BBC Comedy Feeds (2016)Nigel Farage Gets His Life Back (2016)Back (2017)Comedy Playhouse (2017)Urban Myths (2017–19)Click & Collect (2018)Semi-Detached (2019)Breeders(2020)Passage 2:Santa and the Fairy Snow QueenSanta and the Fairy Snow Queen is a 1951 short fantasy film directed by Sid Davis.PlotSnoopy, (Rochelle Stanton) one of Santa Claus' (Edmund Penney) brownies,introduces herself to the audience, and explains that it is her job to watch little boys and girls, to see if they are behaving well, and to make sure all the toys Santa gives to children on Christmas are being taken care of.If she finds them broken or forgotten, she hauls them off to the Land of Lost and Forgotten Toys. Snoopy then says Santa asked her to tell all the children the story of how the Fairy Snow Queen gave life to toys, so thatthey might be more respectful of their gifts.Snoopy then begins the story: one Christmas Eve, long ago, right after Santa and the brownies had finished making the toys, Santa asked the Fairy Snow Queen to come visitso they can have a sugar cookie. The Fairy Snow Queen came, but discovered Santa deeply asleep in his chair, exhausted from his hard work. At his feet, the queen found several of the toys that he was about todeliver: a rag doll, (Jenny Neal) a musical doll, (Lee Porter) a jack-in-the-box, (Don Oreck) a toy soldier, (Bob Porter) a baby doll, (Audrey Washburn) a doll dressed as a peasant, (Joanna Lamond) and a candy lion(Patrick Clement). Insulted at being forgotten about, the Fairy Snow Queen decided to play a trick on Santa, and brought the toys to life. As the toys take their first steps, the queen dances with the rag doll, and Santawakes up. The toys demonstrate they can sing, and while Santa enjoyed their music, he asked the Fairy Snow Queen to revert them to their inanimate state. The queen protested, saying it's all good fun. The toy soldierand baby doll then show everyone a marching routine, after which the mischievous Jack jumps out of his box and frightens the other toys, until he is coaxed back into his dwelling by the toy soldier. The Fairy Snowqueen then used her magic to calm everyone down, and Santa asked her once again to put the toys back to normal, before the toys fall in love with each other, or break themselves. The queen then reveals that becauseshe'd been irresponsible with her magic, her powers were taken away. She tells Santa she can only change the toys back if they wish to return to their normal states, and they have no such desire, so she cannot. Afterthis, Santa told the toys that if they don't change back, he won't have any gifts to give to the children. The Fairy Snow Queen then offered a compromise: the toys will come to life for one hour, at midnight, each night.The toys agree to this, and Santa appoints Snoopy the caretaker of all the toys. Before she changed them back, the musical doll and the toy soldier reveal they have fallen in love with each other. In remembrance ofher, the soldier gave the doll his golden medal, and Santa decreed all musical dolls will wear golden medals to commemorate their love. The queen returned the toys back to normal, leaving Santa and Snoopy to loadthe toys onto his sleigh.MusicSome of the music used in the short film was from The Nutcracker Suite and The Sleeping Beauty by Pyotr Ilyich Tchaikovsky.ProductionOriginally a one act play written by Porter in 1949,the film wasn't copyrighted until two years later. It was distributed by Encyclopedia Britannia Films for televised broadcasts across the US.CastRochelle Stanton as SnoopyEdmund Penney as SantaMargot von Lou as theFairy Snow QueenJenny Neal as Rag DollLee Porter as Musical DollDon Oreck as Jack-in-the-BoxBob Porter as Toy SoldierAudrey Washburn as Baby DollJoanna Lamond as Peasant DollPatrick Clement as CandyLionLegacyIt was spoofed by RiffTrax three times, the first being as the accompanying short prior to the live riffed version of the 1964 cult classic Santa Claus Conquers the Martians, a film that was previously parodiedon Mystery Science Theater 3000.External linksSanta and the Fairy Snow Queen on Internet Movie DatabaseSanta and the Fairy Snow Queen on YouTubePassage 3:The Snow Queen (1995 film)The Snow Queen is a1995 British animated film directed by Martin Gates and inspired by Hans Christian Andersen's 1844 fairy tale The Snow Queen, featuring Helen Mirren in the titular role. A direct sequel, The Snow Queen's Revenge, wasreleased the following year.In the film, the evil Snow Queen plans to use an enormous magic mirror to so that it will plunge the world into a perpetual winter so she can take it over, but when the mirror shatters and onepiece enters the young Tom's body, she kidnaps him to have all the pieces. Tom's sister Ellie and her friend, Peeps the sparrow, set out to rescue him before it is too late.PlotEllie and her brother Tom listen to theirgrandmother reading them a story about the Snow Queen. When their younger sister Polly asks if she is coming, Tom says that she only exists in the story. However, the Queen really does live in an icy palace in theNorth Pole with her three troll servants: Eric, Baggy, and Wardrobe. Her plan is to set up her huge magic mirror on a mountain to reflect the sunlight away so the entire world will become her kingdom, but the mirrorfalls down the mountain and shatters into pieces. Two of its pieces hit Tom in the eye and the heart and he falls under a curse which turns him dark of spirit.The Snow Queen sends her bats to retrieve the pieces. Asthey cannot take the two that are inside Tom, the Queen goes out to kidnap him herself. Ellie and Tom connect their sleds to a bigger sled that is revealed to be driven by the Queen. She takes Tom to her palace andcuts Ellie off, causing her to fall onto a talking sparrow named Peeps. Ellie goes out to save Tom and Peeps reluctantly decides to go with her. In a snowy forest, they find a house belonging to an old woman, whoappears nice, but is actually a sly witch who traps them to use Ellie's heart for her elixir of life so she can be eternally young. Peeps tricks the witch's cat, Cuddles, into chasing after him and knocking over the elixir oflife, and uses the confusion to unlock Ellie from her cage. Ellie and Peeps escape and trap the old woman and her cat in the basement by putting a box over the trapdoor, so they can avoid being chased by the oldwoman.They then meet two humanoid ravens named Les and Ivy, who, from Ellie's description of Tom, tell her that Tom is going to marry princess Amy, so Ellie becomes a member of the staff to serve the princess herfood. However, she soon discovers that prince Sherman is not Tom. Meanwhile, Tom is rebuilding the Snow Queen's mirror, as he is good at puzzles. The trolls try to warn him that the Queen is going to kill him to getthe last two pieces, but the Queen convinces him otherwise and kisses him, putting him into a hypnotic state while his veins are full of ice, and will cause his death when it reaches his heart.Amy and Sherman give Ellieand Peeps a royal vehicle to ride to the Snow Queen's dominion, but they run into a robber gang of humanoid rats. The Robber King promises his daughter, Angorra, that Ellie can become her slave, but later changes hismind. Ellie is locked in a room with a flying reindeer Dimly who was captured by the robbers. Peeps enters the room and unties Ellie's hands, and she unties Dimly. Angorra enters, but they trap her with a barrel. Dimlyflies them away, but the King grabs onto the rope that is still wrapped around Dimly, resulting in the King slamming into a building and falling over the edge on top of Angorra.Dimly does not know where the SnowQueen is, so he goes to his flying reindeer school and asks Freda, an old Lapland woman who runs the school. Freda has Dimly fly them over to the Queen's castle. There, they meet the three trolls, who ultimatelydecide to help them. Tom does not have much time left, and has finished putting the mirror together except for the two pieces that are inside him. Freda reveals that the pieces inside him will kill him, then makes apotion that will dissolve the mirror. Ellie tells Tom to drink it, but just as he is about to, the Queen blasts the vial away with her magic staff. They fight the Queen, but she freezes Eric and Freda, and Baggy andWardrobe grab her staff just as they are frozen as well. The battle eventually causes the vial to fall on top of the mirror and shatter, dissolving the mirror and forming an icy cyclone that chases after the Queen's flyingcarriage and freezes her solid as she attempts to escape. The mirror pieces inside Tom dissolve and the effects of the Queen's kiss go away, freeing him. Freda and the trolls are unfrozen.Freda warns the Snow Queen isnot dead and might return in the future. She has Dimly take Ellie, Tom, and Peeps back to the village, and then come back for her and the trolls. Dimly crash lands in the village and Ellie, Tom, and Peeps go to listen tothe rest of the story as Dimly heads back to the Queen's palace. The film ends with a close-up shot of the frozen Queen's eyes lighting up.VoicesEllie Beaven as Ellie, a courageous and optimistic girl with a kindheart.Helen Mirren as the Snow Queen, the oppressive monarch of the North and South Poles.Damian Hunt as Tom, the intelligent twin brother of Ellie.Hugh Laurie as Peeps, a house sparrow and Ellie's best friend.GaryMartin as Dimly, a reindeer who struggles with flying.Julia McKenzie as Grandma, the grandmother of Ellie, Tom and Polly who looks after them; Old Woman, a polite woman who is secretly an evil witch; and Freda, theHeadmistress of a flying school for Reindeer.David Jason as Eric, the leader of the trolls and the Snow Queen's army.Colin Marsh as Baggy, a bumbling troll and Wardrobe's best friend.Russell Floyd as Wardrobe, adim-witted troll and the kindest of the three.Scarlett Strallen as Princess Amy, an energetic and playful girl who is a Princess.Rik Mayall as the Robber King, a rat who is the leader of a gang of thieves.Richard Tate asLes, a raven who works for the Royal Household and the husband of Ivy.Imelda Staunton as Ivy, a raven who likes picking flowers and the wife of Les; and Angorra, a rat who is also the spoiled and bratty daughter ofthe Robber King.Rowan D'Albert as Prince Sherman, an immature but clever boy with a big appetite who has recently married Princess Amy.Zizi Vaigncourt Strallen as Polly, the younger sister of Ellie andTom.Production and releaseThe Snow Queen had been in production since 1991, but was completed only in 1995. This was in part due to the legal problems in the Philippines.The movie was released directly to VHS byFirst Independent Films in 1995 and later released as part of a double pack with The Snow Queen's Revenge. On 8 November 2004, it was released on DVD and re-released on VHS by Universal Pictures Video and RightEntertainment, with a later DVD bundle release occurring on 3 October 2005.Outside the United Kingdom, such as the United States and Russia, Warner Bros held the rights, and released it straight to VHS in 1998 andlater on DVD in 2004.ReceptionJack Zipes called it \"highly comic [and] neatly drawn\", praising the \"numerous changes that liven the action and transform the plot in unusual ways\". He wrote that \"there's nothing glitzyin this animated film and yet it sparkles with an unusual approach to a humourless tale\".SequelThe Snow Queen's Revenge is a 1996 sequel in which the Snow Queen returns to life, setting out to seek revenge on thosewho ruined her plans to rule the world, and it is up to young Ellie and her friends to stop her again. Some of the voice cast changed in the second film.Passage 4:The Snow Queen's RevengeThe Snow Queen's Revenge isa 1996 British animated film directed by Martin Gates. It is a sequel to the 1995 film The Snow Queen and has some of the voice cast changed, including Julia McKenzie replacing Helen Mirren as the titular role of theSnow Queen. The animation production was done overseas at Fil-Cartoons in Manila, Philippines, formerly owned by American studio Hanna-Barbera.Vanquished in the first film, the evil Snow Queen returns to life,setting out to seek revenge on those who ruined her plans to freeze and rule the world. It is up to young Ellie and her best friends to stop her again.PlotThe plot is picking up where the previous film left off. With the evilSnow Queen having been defeated, Dimly the flying reindeer returns to the village with Ellie, her brother Tom, and Peeps the sparrow. By now it is almost spring.Back at the Snow Queen's palace, her now uncontrolledthree trolls, Eric, Baggy and Wardrobe, prepare for Dimly to take Freda back to the flying school and return for the trolls. As the trolls try to figure out where to go, the Queen's bats take her magic staff and place it inher hand, setting her free from her frozen form moments after Dimly returns. The furious Queen decides to kidnap Dimly so Ellie will come to her and she can get her revenge. She moves with Dimly and the trolls to theSouth Pole, as it is now too warm in the North Pole.The Snow Queen contacts Ellie, telling her that she has captured Dimly and daring her to rescue him. Ellie does not know where the Queen is now, so Peeps takes herto Brenda, a bird that is said to know everything. Meanwhile, at the Queen’s palace set on a frozen volcano, Elsbeth and Pearl (two humanoid penguins who serve the Queen and clean the South Pole palace) talk aboutthe Queen, about how Elsbeth is proud to serve the Queen while Pearl laments that they never get appreciated. The Snow Queen arrives at the South Pole Palace and locks Dimly away in her stables, near her ferociousreindeers, which attempt to break into his part of the stables and eat him. Brenda takes Ellie and Peeps toward the South Pole. They stop at a restaurant for food, where the proprietor (a greedy humanoid pig) and herminions capture Brenda and try to cook her to serve as food. Ellie and Peeps stop them and escape, destroying the restaurant.The Snow Queen begins work on the final part of her plan, creating a flying magic pterosaurshe names Iceosaurus. Meanwhile, Ellie falls asleep and she and Peeps fall off Brenda and into the ocean, where they are picked up by a humanoid walrus, Clive and his wife Rowena, on a ship named the S.S. Quagmire.When Ellie and Peeps explain how they are on their way to the Snow Queen's palace, they realize that she set the whole thing up to lure Ellie there. Clive and Rowena are revealed to be bounty hunters who decide togive Ellie to the Queen for a big reward, and imprison her and Peeps. When Brenda realizes that they have fallen off, she comes back and rescues them.Brenda, Ellie, and Peeps arrive at the South Pole, but Iceosaurusfreezes Brenda. Ellie and Peeps discover a magic talisman that turns into a magic pepper pot which Ellie uses to unfreeze Brenda. Brenda separates from Ellie to find a high place to take off. Ellie and Peeps encounterPearl and Elspeth, and Ellie traps them inside a bubble using the device when they refuse to let them in. They find Dimly and release him from the stables just in time from the reindeers by turning the device into a key,but locking the Queen's reindeers inside. The group attempts to escape, but Dimly is too weak to fly at the moment. The Queen and Iceosaurus attack them, but Freda's device turns into a kind of shield that Ellie usesto deflect the ice beams the Queen shoots at her, causing one to hit Iceosaurus. It falls and crashes into the ground, creating a massive volcanic eruption. Brenda escapes the flood of lava and gets Ellie, Peeps, andDimly to safety. The panicked Queen attempts to flee on feet, but is unable to escape her crumbling palace and falls down into the lava.As Brenda takes Ellie, Peeps, and Dimly back home, Eric, Baggy, Wardrobe, Pearl,and Elspeth watch as the Snow Queen's castle is destroyed, and walk off once the eruption is over. The final scene shows the Queen drifting through the river of molten magma, her body seemingly intact but nowturned to stone, and still holding her magic staff. As at the end of the first film, her eyes glow ominously before the credits roll.VoicesJulia McKenzie as the Snow Queen, the monarch of the North and South Poles;Freda, the Headmistress of a flying school for Reindeer; and the Proprietor, a greedy pig who runs a restaurant.Ellie Beaven as Ellie, a courageous and optimistic girl with a kind heart.Gary Martin as Dimly, a reindeerwho struggles with flying.Hugh Laurie as Peeps, a house sparrow and Ellie's best friend.Elizabeth Spriggs as Brenda, a very intelligent bird who is friends with Peeps.Tim Healy as Eric, the leader of the Trolls and theSnow Queen's army.Colin Marsh as Baggy, a bumbling troll and Wardrobe’s best friend.Russell Floyd as Wardrobe, a dim-witted troll and the kindest of the three.Patrick Barlow as Clive, a walrus and the Captain of theS.S Quagmire and the husband of Rowena.Imelda Staunton as Elsbeth, a kind and optimistic penguin who is proud and enjoys her job as a Cleaner for the Snow Queen's palace in the South Pole; and Rowena, anambitious walrus and the wife of Clive.Alison Steadman as Pearl, a rude and abrasive penguin who clearly does not enjoy her job as a Cleaner for the Snow Queen's Palace in the South Pole.ReleaseThe movie wasreleased directly to VHS by First Independent Films in 1996 and later released as part of a double pack with The Snow Queen. On 8 November 2004, it was released on DVD and re-released on VHS by Universal PicturesVideo and Right Entertainment, with a later DVD bundle release occurring on 3 October 2005.The film was released internationally by Warner Bros. in 1998.See alsoThe Snow Queen (1995 film)SourcesToonhound - TheSnow Queen's Revenge (1996)Behind The Voice Actors - The Snow Queen's RevengePassage 5:Kenneth OkonkwoKenneth Okonkwo (born November 6, 1968) is a Nigerian actor, lawyer and politician, known for his rolein the movie Living in Bondage as Andy Okeke.CareerIn 2013 he won the African Movie Academy Award on a Special Recognition of Pillars of Nollywood.2015 he was given a special recognition award by the organisersof the City People Entertainment Awards for his contribution to the growth of entertainment in Nigeria.FilmographySee also9th Africa Movie Academy AwardsPassage 6:Sid DavisSidney Davis (April 1, 1916 – October 16,2006) was an American director and producer who specialized in social guidance films.Early lifeDavis was born on April 1, 1916, in Chicago, Illinois. He was born to a housepainter father and a seamstress mother. Thefamily moved to Los Angeles, California, in 1920, when Davis was four years old. That same year, he began working as a child actor; for example, he was featured in a comedy made by Harold Lloyd. He dropped out ofjunior high school to help support his parents. When he was older, he often worked as a stand-in for Leif Erickson and John Wayne.Filmmaking careerIn November 1949 Linda Joyce Glucoft, a six-year-old girl in LosAngeles, California, was molested and murdered by a man named Fred Stroble. The story made front-page news in the Los Angeles Times for a week as police and the FBI searched for Stroble. The story was picked upby Time Magazine and other national media and led to a flurry of reported rapes and attempted rapes. Some media began to speculate that the supposed epidemic of rape was simply media manipulation of publicperception.Davis stated that the tragedy particularly disturbed him because his then-six-year-old daughter Jill did not seem to pay attention to his warnings about strangers. Davis talked to John Wayne saying that afilm about this should be made, and Wayne suggested that Davis make the film. Wayne gave Davis $1,000 ($12299.3 when adjusted for inflation) and used the money to make his first film, The Dangerous Stranger, afilm he would remake at least twice over the next 30 years. The film tells the story of several young children—some of the children are kidnapped and eventually saved, others are kidnapped and never seen again. Davis"}
+{"doc_id":"doc_155","qid":"","text":"Passage 1:Salin MibayaSalin Mibaya (Burmese: \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000\u0000, pronounced [s\u0000l\u0000́\u0000 m\u0000b\u0000já]; also known as Narapati Medaw, (\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000\u0000)) was the chief queen of Viceroy Thado DhammaYaza II of Prome (r. 1551–1588).The second daughter of King Bayin Htwe of Prome and his chief queen Shwe Zin Gon was married three times. Her marriage to her first cousin Min Ba Saw—a son of her maternaluncle—was cut short when her brother King Narapati had him executed. Narapati then married her off to Sithu Kyawhtin, then governor of Salin, a powerful figure in the Confederation of Shan States, in a marriage ofstate in the late 1530s. (Prome was then a de facto vassal state of the Confederation, which controlled all of Ava territories except Toungoo in Upper Burma.) Her stay at Salin lasted until January 1544 when the citywas captured by Toungoo forces under Gen. Bayinnaung. Her husband escaped to Ava (Inwa) but she was captured and sent to Pegu (Bago). In 1545, she was married to Nanda Yawda, a younger brother ofBayinnaung, at the coronation ceremony of Tabinshwehti at the Pegu Palace.She returned to her native Prome as queen in 1551 when her husband was appointed viceroy of the region by King Bayinnaung. She had twodaughters by Nanda Yawda, now styled as Thado Dhamma Yaza II. Their elder daughter Hsinbyushin Medaw became the chief queen of Nawrahta Minsaw, the viceroy (and later king) of Lan Na. The younger daughterMin Taya Medaw was a major queen of Nanda.AncestryThe following is her ancestry as reported in the Hmannan Yazawin chronicle, which in turn referenced contemporary inscriptions. Her parents were doublecousins.NotesPassage 2:Motherland (disambiguation)Motherland is the place of one's birth, the place of one's ancestors, or the place of origin of an ethnic group.Motherland may also refer to:Music\"Motherland\"(anthem), the national anthem of MauritiusNational Song (Montserrat), also called \"Motherland\"Motherland (Natalie Merchant album), 2001Motherland (Arsonists Get All the Girls album), 2011Motherland (Daedalusalbum), 2011\"Motherland\" (Crystal Kay song), 2004Film and televisionMotherland (1927 film), a 1927 British silent war filmMotherland (2010 film), a 2010 documentary filmMotherland (2015 film), a 2015 TurkishdramaMotherland (2022 film), a 2022 documentary film about the Second Nagorno-Karabakh WarMotherland (TV series), a 2016 British television seriesMotherland: Fort Salem, a 2020 American science fiction dramaseriesOther usesMotherland Party (disambiguation), the name of several political groupsPersonifications of Russia, including a list of monuments called MotherlandSee alsoAll pages with titles containingMotherlandMother Country (disambiguation)Passage 3:Where Was I\"Where Was I?\" may refer to:Books\"Where Was I?\", essay by David Hawley Sanford from The Mind's IWhere Was I?, book by John Haycraft2006Where was I?!, book by Terry Wogan 2009Film and TVWhere Was I? (film), 1925 film directed by William A. Seiter. With Reginald Denny, Marian Nixon, Pauline Garon, Lee Moran.Where Was I? (2001 film),biography about songwriter Tim RoseWhere Was I? (TV series) 1952–1953 Quiz show with the panelists attempting to guess a location by looking at photos\"Where Was I?\" episode of Shoestring (TV series)1980Music\"Where was I\", song by W. Franke Harling and Al Dubin performed by Ruby Newman and His Orchestra  with vocal chorus by  Larry Taylor and Peggy McCall  1939\"Where Was I\", single from Charley Pridediscography 1988\"Where Was I\" (song), a 1994 song by Ricky Van Shelton\"Where Was I (Donde Estuve Yo)\", song by Joe Pass from Simplicity (Joe Pass album)\"Where Was I?\", song by Guttermouth from The AlbumFormerly Known as a Full Length LP (Guttermouth album)\"Where Was I\", song by Sawyer Brown (Billy Maddox, Paul Thorn, Anne Graham) from Can You Hear Me Now 2002\"Where Was I?\", song  by  Kenny WayneShepherd from Live On  1999\"Where Was I\", song by Melanie Laine (Victoria Banks, Steve Fox) from Time Flies (Melanie Laine album)\"Where Was I\", song by Rosie Thomas from With Love (Rosie Thomasalbum)Passage 4:SennedjemSennedjem was an Ancient Egyptian artisan who was active during the reigns of Seti I and Ramesses II. He lived in Set Maat (translated as \"The Place of Truth\"), contemporary Deirel-Medina, on the west bank of the Nile, opposite Thebes. Sennedjem had the title \"Servant in the Place of Truth\". He was buried along with his wife, Iyneferti, and members of his family in a tomb in the villagenecropolis. His tomb was discovered January 31, 1886. When Sennedjem's tomb was found, it contained furniture from his home, including a stool and a bed, which he used when he was alive.His titles included Servantin the Place of Truth, meaning that he worked on the excavation and decoration of the nearby royal tombs.See alsoTT1 – (Tomb of Sennedjem, family and wife)Passage 5:Place of originIn Switzerland, the place of origin(German: Heimatort or Bürgerort, literally \"home place\" or \"citizen place\"; French: Lieu d'origine; Italian: Luogo di attinenza) denotes where a Swiss citizen has their municipal citizenship, usually inherited fromprevious generations. It is not to be confused with the place of birth or  place of residence, although two or all three of these locations may be identical depending on the person's circumstances.Acquisition of municipalcitizenshipSwiss citizenship has three tiers. For a person applying to naturalise as a Swiss citizen, these tiers are as follows:Municipal citizenship, granted by the place of residence after fulfilling several preconditions,such as sufficient knowledge of the local language, integration into local society, and a minimum number of years lived in said municipality.Cantonal (state) citizenship, for which a Swiss municipal citizenship is required.This requires a certain number of years lived in said canton.Country citizenship, for which both of the above are required, also requires a certain number of years lived in Switzerland (except for people married to aSwiss citizen, who may obtain simplified naturalisation without having to reside in Switzerland), and involves a criminal background check.The last two kinds of citizenship are a mere formality, while municipalcitizenship is the most significant step in becoming a Swiss citizen. Nowadays the place of residence determines the municipality where citizenship is acquired, for a new applicant, whereas previously there was ahistorical reason for preserving the municipal citizenship from earlier generations in the family line, namely to specify which municipality held the responsibility of providing social welfare. The law has now been changed,eliminating this form of allocating responsibility to a municipality other than that of the place of residence. Care needs to be taken when translating the term in Swiss documents which list the historical \"Heimatort\"instead of the usual place of birth and place of residence.However, any Swiss citizen can apply for a second, a third or even more municipal citizenships for prestige reasons or to show their connection to the place theycurrently live – and thus have several places of origin. As the legal significance of the place of origin has waned (see below), Swiss citizens can often apply for municipal citizenship for no more than 100 Swiss francsafter having lived in the same municipality for one or two years. In the past, it was common to have to pay between 2,000 and 4,000 Swiss francs as a citizenship fee, because of the financial obligations incumbent onthe municipality to grant the citizenship.A child born to two Swiss parents is automatically granted the citizenship of the parent whose last name they hold, so the child gets either the mother's or the father's place oforigin. A child born to one Swiss parent and one foreign parent acquires the citizenship, and thus the place of origin, of the Swiss parent.International confusionAlmost uniquely in the world (with the exception of Japan,which lists one's Registered Domicile; and Sweden, which lists the mother's place of domicile as place of birth), the Swiss identity card, passport and driving licence do not show the holder's birthplace, but only theirplace of origin. The vast majority of countries show the holder's actual birthplace on identity documents. This can lead to administrative issues for Swiss citizens abroad when asked to demonstrate their actual place ofbirth, as no such information exists on any official Swiss identification documents. Only a minority of Swiss citizens have a place of origin identical to their birthplace. More confusion comes into play through the fact thatpeople can have more than one place of origin.Significance and historyA citizen of a municipality does not enjoy a larger set of rights than a non-citizen of the same municipality. To vote in communal, cantonal ornational matters, only the current place of residence matters – or in the case of citizens abroad, the last Swiss place of residence.The law previously required that a citizen's place of origin continued to bear all theirsocial welfare costs for two years after the citizen moved away. In 2012, the National Council voted by 151 to 9 votes to abolish this law. The place of domicile is now the sole payer of welfare costs.In 1923, 1937, 1959and 1967, more cantons signed treaties that assured that the place of domicile had to pay welfare costs instead of the place of origin, reflecting the fact that fewer and fewer people lived in their place of origin (1860:59%, in 1910: 34%).In 1681, the Tagsatzung – the then Swiss parliament – decided that beggars should be deported to their place of origin, especially if they were insufficiently cared for by their residentialcommunity.In the 19th century, Swiss municipalities even offered free emigration to the United States if the Swiss citizen agreed to renounce municipal citizenship, and with that the right to receive welfare.SeealsoAncestral home (Chinese)Bon-gwanRegistered domicile== Notes and references ==Passage 6:Valley of DeathValley of Death may refer to:PlacesValley of Death (Bydgoszcz), the site of a 1939 Nazi mass murderand mass grave site in northern PolandValley of Death (Crimea), the site of the Charge of the Light Brigade in the 1854 Battle of BalaclavaValley of Death (Gettysburg), the 1863 Gettysburg Battlefield landform of PlumRunValley of Death (Dukla Pass), the site of a tank battle during the Battle of the Dukla Pass in 1944 (World War II)The Valley of Death, an area of poisonous volcanic gas near the Kikhpinych volcano in RussiaTheValley of Death, an area of poisonous volcanic gas near the Tangkuban Perahu volcano in IndonesiaValley of Death, a nickname for the highly polluted city of Cubatão, BrazilOther usesThe Valley of Death (audio drama),a Doctor Who audio playThe Valley of Death (film), a 1968 western film\"Valley of Death\", the flawed NewsStand: CNN & Time debut program that caused the Operation Tailwind controversyA literary element of \"TheCharge of the Light Brigade\" by Alfred, Lord TennysonA reference to the difficulty of covering negative cash flow in the early stages of a start-up company; see Venture capital\"The Valley of Death\", a song by theSwedish heavy metal band Sabaton from the 2022 album The War to End All WarsSee alsoAll pages with titles containing Valley of DeathDeath Valley (disambiguation)Valley of the Shadow of Death(disambiguation)Passage 7:Beaulieu-sur-LoireBeaulieu-sur-Loire (French pronunciation: [boljø sy\u0000 lwa\u0000], literally Beaulieu on Loire) is a commune in the Loiret department in north-central France. It is the place ofdeath of Jacques MacDonald, a French general who served in the Napoleonic Wars.PopulationSee alsoCommunes of the Loiret departmentPassage 8:Dance of Death (disambiguation)Dance of Death, also called DanseMacabre, is a late-medieval allegory of the universality of death.Dance of Death or The Dance of Death may also refer to:BooksDance of Death, a 1938 novel by Helen McCloyDance of Death (Stine novel), a 1997 novelby R. L. StineDance of Death (novel), a 2005 novel by Douglas Preston and Lincoln ChildTheatre and filmThe Dance of Death (Strindberg play), a 1900 play by August StrindbergThe Dance of Death, a 1908 play byFrank WedekindThe Dance of Death (Auden play), a 1933 play by W. H. AudenFilmThe Death Dance, a 1918 drama starring Alice BradyThe Dance of Death (1912 film), a German silent filmThe Dance of Death (1919film), an Austrian silent filmThe Dance of Death (1938 film), crime drama starring Vesta Victoria; screenplay by Ralph DawsonThe Dance of Death (1948 film), French-Italian drama based on Strindberg's play, starringErich von StroheimThe Dance of Death (1967 film), a West German drama filmDance of Death or House of Evil, 1968 Mexican horror film starring Boris KarloffDance of Death (1969 film), a film based on Strindberg'splay, starring Laurence OlivierDance of Death (1979 film), a Hong Kong film featuring Paul ChunMusicDance of Death (album), a 2003 album by Iron Maiden, or the title songThe Dance of Death & Other PlantationFavorites, a 1964 album by John FaheyThe Dance of Death (Scaramanga Six album)\"Death Dance\", a 2016 song by SevendustSee alsoDance of the Dead (disambiguation)Danse Macabre (disambiguation)Bon Odori, aJapanese traditional dance welcoming the spirits of the deadLa danse des morts, an oratorio by Arthur HoneggerTotentanz (disambiguation)Passage 9:Thado Dhamma Yaza II of PromeThado Dhamma Yaza II (Burmese:\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000, pronounced [ð\u0000dó d\u0000ma\u0000 jàzà]; 1520s–1588) was viceroy of Prome (Pyay) from 1551 to 1588, during the reigns of kings Bayinnaung and Nanda of Toungoo Dynasty of Burma (Myanmar).Having begun his military career in the service of King Tabinshwehti, the youngest full brother of Bayinnaung was part of the small core group loyal to Bayinnaung, following the assassination of Tabinshwehti in 1550.Alongside his brothers Bayinnaung, Minye Sithu, Minkhaung II, Thado Minsaw and his nephew Nanda, he fought in nearly every campaign between 1550 and 1584 that rebuilt, expanded and defended the ToungooEmpire.Early lifeHe was born in the Toungoo Palace precincts to Mingyi Swe and Shin Myo Myat, royal household servants of Crown Prince Tabinshwehti. He had an elder sister, Dhamma Dewi, two elder brothers,Bayinnaung and Minye Sithu, and two younger half-brothers, Minkhaung II and Thado Minsaw who were born to his aunt (his mother's younger sister) and his father. He grew up in the palace precincts, and received amilitary-style education there.CareerTabinshwehti era (1534–1550)He participated in the Toungoo–Hanthawaddy War (1534–1541), and by 1540 had achieved the rank of regimental commander with the style of NandaYawda (\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000). He was appointed governor of Thamyindon (\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000) in the Irrawaddy delta in 1541 by Tabinshwehti. He served as a regimental commander in Toungoo's campaigns againstProme (1541–1542), led a naval squadron in the Arakan campaign (1546–1547), and commanded an elephant battalion in the invasion of Siam (1548–1549). In January 1550, he joined his brothers Bayinnaung andMinye Sithu on the campaign to suppress the rebellion of Smim Htaw.Bayinnaung era (1550–1581)He was a key member of Bayinnaung's drive to restore the Toungoo Empire which had fallen apart after Tabinshwehtiwas assassinated on 30 April 1550. He led a regiment in Bayinnaung's 1550–1551 assault on the city of Toungoo, whose ruler Minkhaung II was their own half-brother. He was given a royal title of Thado Dhamma Yazaon 11 January 1551 by Bayinnaung after Minkhaung II surrendered and was pardoned on the same day. He commanded the Irrawaddy flank in the Prome campaign (March–August 1551). Prome was taken on 30August 1551, and Bayinnaung appointed him as the viceroy of Prome.Thado Dhamma Yaza II was one of the four deputies of Bayinnaung in the king's campaigns between 1552 and 1565 that greatly expanded theToungoo Empire. The original four were Bayinnaung's four brothers: Minye Sithu, Thado Dhamma Yaza, Minkhaung and Thado Minsaw. After Minye Sithu's death in 1556, Bayinnaung's eldest son Nanda took his place.Thado Dhamma Yaza participated in every campaign except for Manipur (1560) and Lan Xang (1565). Bayinnaung had built the largest empire in the history of Southeast Asia. After a brief respite, he faced seriousrebellions in Lan Xang and Siam in 1568, later joined by northern Shan states in the 1570s. Thado Dhamma Yaza along with the other three deputies of the king were called upon to suppress the rebellions.The followingis a list of campaigns in which he participated during the reign of Bayinnaung.He proved to be a loyal brother. He built the Prome gate of Pegu (Bago) when the capital was rebuilt between 1565 and 1568. (Each of thetwenty gates of the new capital was built by key vassal rulers.) For their loyal service, Thado Dhamma Yaza II, Minkhaung II and Thado Minsaw were all honored by their brother the king on 3 March 1580.Nanda era(1581–1588)Bayinnaung died on 10 October 1581, and was succeeded by his son Nanda. The new king faced an impossible task of maintaining an empire ruled by autonomous viceroys who were loyal to Bayinnaung,not the kingdom of Toungoo. Nanda particularly distrusted his uncle Thado Minsaw of Ava. When two Chinese Shan states Sanda and Thaungthut revolted in August/September 1582, the high king asked ThadoDhamma Yaza II and Nawrahta Minsaw of Lan Na to lead two 8000-strong armies to quell the rebellion. (The king conspicuously did not ask Thado Minsaw to take part in the campaign although Ava contributed troopsand the Shan states were closer to Ava.) The two armies laid siege to Sanda (present-day Baoshan prefecture) for nearly five months until the starving city surrendered. The armies arrived back to Pegu in April1583.Nanda's slight of Thado Minsaw did not go unnoticed. In June/July 1583, Thado Minsaw sent secret embassies to Prome, Toungoo and Chiang Mai to launch a simultaneous revolt against Nanda. He also sentmissions to Shan states for their support. Thado Dhamma Yaza and the other viceroys sided with Nanda. When Nanda marched to Ava in March 1584, he along with the rulers of Toungoo and Chiang Mai also marched toAva. Ava turned out to be Thado Dhamma Yaza's last campaign. He did not participate in the ensuing campaigns against Siam, which revolted in May 1584.Thado Dhamma Yaza II died in November/December 1588. Hewas succeeded by Mingyi Hnaung, one of Nanda's sons, styled as Thado Dhamma Yaza III of Prome.FamilyHis chief queen was Salin Mibaya, who was a daughter of King Bayin Htwe of Prome and a descendant of Avaroyalty. They were married in 1545 in Pegu at the coronation ceremony of Tabinshwehti. He had two daughters by his chief queen. The elder daughter Hsinbyushin Medaw became the chief queen of Nawrahta Minsaw,the viceroy (and later king) of Lan Na. The younger daughter Min Taya Medaw was a major queen of Nanda.He also had seven sons and a daughter by minor queens and concubines. They were:Nanda Yawda (birthname Shin Zin), who married his first cousin Myat Myo Hpone Wai (daughter of Bayinnaung) and became governor of Sagaing. Captured and brought to Mrauk-U in 1600 where he was given the title of MinyeTheinkhathu.Min Shwe Myat, governor of TaingdaMinye Uzana, governor of SalinPrincess of SakuGovernor of Malun, captured and sent to ArakanShin Ne Myo, killed by Yan Naing in 1597Shin Ne Tun, killed by Yan Naingin 1597Pyinsa Thiha, governor of MoulmeinNotesPassage 10:Place of birthThe place of birth (POB) or birthplace is the place where a person was born. This place is often used in legal documents, together with name anddate of birth, to uniquely identify a person. Practice regarding whether this place should be a country, a territory or a city/town/locality differs in different countries, but often city or territory is used for native-borncitizen passports and countries for foreign-born ones.As a general rule with respect to passports, if the place of birth is to be a country, it's determined to be the country that currently has sovereignty over the actualplace of birth, regardless of when the birth actually occurred. The place of birth is not necessarily the place where the parents of the new baby live. If the baby is born in a hospital in another place, that place is the placeof birth. In many countries, this also means that the government requires that the birth of the new baby is registered in the place of birth.Some countries place less or no importance on the place of birth, instead usingalternative geographical characteristics for the purpose of identity documents. For example, Sweden has used the concept of födelsehemort (\"domicile of birth\") since 1947. This means that the domicile of the baby's"}
+{"doc_id":"doc_156","qid":"","text":"Passage 1:1928 Washington and Lee Generals football teamThe 1928 Washington and Lee Generals football team represented Washington and Lee University during the 1928 college football season.SchedulePassage2:Christian ComptonAsbury Christian Compton (October 24, 1929 – April 9, 2006) was an American attorney and judge who served as a justice of the Supreme Court of Virginia from 1974 until 2000, and as a Seniorjustice until his death.Compton was a native of Ashland in Hanover County, Virginia, and graduated from Ashland High School in 1946. Compton earned his B.A. in history and politics from Washington and Lee in 1950and his LL.B. from the Washington and Lee University School of Law in 1953.  While at Washington and Lee, Compton served as president of Phi Kappa Sigma fraternity, class officer and captain of the basketball team.He was also a member of Omicron Delta Kappa, the lacrosse team, Phi Alpha Delta legal fraternity, the University Glee Club and the Cotillion Club.Compton served in the U.S. Navy from 1953 to 1956 and the U.S. NavalReserve from 1953 to 1961. He practiced law in Richmond with May, Garrett, Miller, Newman and Compton from 1957 to 1966.In 1966, Gov. Mills Godwin appointed Compton to the Law & Equity Court of the City ofRichmond and then to the Supreme Court of Virginia in 1974. The General Assembly re-elected him to another term in 1987. He retired from the Supreme Court in February 2000 and began service as a seniorjustice.Compton maintained strong ties to Washington and Lee throughout his career.  He served as president of the Alumni Association from 1972 to 1973.  He received an Honorary Doctorate of Laws from his almamater in 1975. He served member of the Board of Trustees from 1978 to 1989.  He selected most of his law clerks from the top graduates of Washington and Lee School of Law.Compton was married to BettyStephenson Compton for 52 years until his death.  They had three daughters—Leigh Compton Kiczales, Mary Compton Psyllos, Melissa Compton Patterson; and eight grandsons-Nicholas Kiczales, Luke Kiczales, NoahStephenson Kiczales, Thomas Psyllos, Christian Psyllos, Daniel Patterson, James Patterson, and Henry Patterson.Resolution of the Virginia General Assembly on the Death of A. Christian ComptonPassage 3:1917Washington and Lee Generals football teamThe 1917 Washington and Lee Generals football team represented the Washington and Lee Generals of Washington and Lee during the 1917 college footballseason.SchedulePassage 4:Shenandoah (magazine)Shenandoah: The Washington and Lee Review is a literary magazine published Washington and Lee University.HistoryOriginally a student-run quarterly, Shenandoahhas evolved into a biannual literary journal. Since 2018, the magazine has been edited by current English professor Beth Staples. According to Shenandoah's mission statement, the magazine aims to showcase diversevoices because \"reading through the perspective of another person, persona, or character is one of the ways we practice empathy, expand our understanding of the world, and experience new levels ofawareness.\"Shenandoah was founded in 1949 by a group of Washington and Lee University faculty members, including English professor Samuel Ashley Brown, who published the fiction and poetry of undergraduatesincluding Tom Wolfe. In the 1950s Thomas H. Carter became one of the founding student editors.  During his tenure the Shenandoah corresponded with E. E. Cummings, William Carlos Williams, William Faulkner, EzraPound and many other Southern writers and the Shenandoah grew in stature and national prominence. From the 1960s to the 1980s, W&L faculty member James Boatwright expanded the journal and publishedoccasional theme issues, including a 35th anniversary anthology. In 1995, R. T. Smith was selected as the first full-time editor of the journal. In 2018 after twenty-three years as editor, R. T. Smith retired, and BethStaples took over as editor of the magazine.  Today, the magazine publishes biannually in the spring and fall. Shenandoah is funded and supported by Washington and Lee University through the Office of the Dean ofthe College and is located in Mattingly House on W&L's campus. The magazine maintains a board of university advisors who offer guidance and advice, and the current editor maintains an intern program in whichundergraduate students work for the journal and learn the craft of editing as an academic course in the English Department. Recent contributors include Wendell Berry, Joyce Carol Oates, Jacob M. Appel, Speer Morgan,Lee Smith, Claudia Emerson, May-lee Chai, and Rita Dove.  This list complements a long history of literary luminaries who have been published in Shenandoah such as W. H. Auden, James Merrill, J. R. R. Tolkien, T. S.Eliot, Ray Bradbury, and Flannery O'Connor.Since moving away from print in 2011, the magazine can now be found online in its entirety.Fellowships and ContestIn the past, Shenandoah has hosted several prestigiousannual contests:  the James Boatwright III Prize for Poetry, the Goodheart Prize for Fiction, the Thomas H. Carter Prize for the Essay, and the Shenandoah/Glasgow Prize for Emerging Writers. Presently, Shenandoahhost the Graybeal-Gowan Prize for Virginia Writers.  In 2021, Shenandoah launched a fellowship for BIPOC editors. Through a competitive application process, the magazine selects one fellow for each issue to aid in theselection of fiction, non-fiction, poems, or comics.Recent honors, awards and reviews2008 Governor's Award for the Arts \"The Worst You Ever Feel\" by Rebecca Makkai was included in The Best American Short Stories2008.\"Souvenir\" by Beth Ann Fennelly was included in The Best American Poetry 2006\"Death Is Intended\" by Linda Pastan was included in The Best American Poetry 2005\"A Portrait of the Artist as a Young Stalker\" byKate Osana Simonian was \"noted\" in The Best American Essays 2019\"Volume 68 Number 1: Bodies, Bones, and the Space We Occupy\" was given \"5 Stars\" on \"The Review Review\"See alsoList of literarymagazinesPassage 5:Lee McGeorge DurrellLee McGeorge Durrell  (née McGeorge; born September 7, 1949) is an American naturalist, author, zookeeper, and television presenter. She is best known for her work at theJersey Zoological Park in the British Channel Island of Jersey with her late husband, Gerald Durrell, and for co-authoring books with him.BiographyLee was born in Memphis, Tennessee, and showed an interest in wildlifeas a child. She studied philosophy at Bryn Mawr College near Philadelphia before enrolling in 1971 for a graduate programme at Duke University, to study animal behaviour. She conducted research for her PhD on thecalls of mammals and birds in Madagascar. She met Gerald Durrell when he gave a lecture at Duke University in 1977, and married him in 1979.Lee Durrell moved to Jersey and became involved with the Durrell WildlifeConservation Trust (then the Jersey Wildlife Preservation Trust). She accompanied Durrell on his last three conservation missions:Mauritius, other Mascarene Islands and Madagascar (1982) (account in Gerald Durrell'sArk on the Move)Russia (1986) (account in Durrell in Russia, co-authored with Gerald Durrell)Madagascar (1990) (account in Gerald Durrell's The Aye-Aye and I)She became the honorary director of the Durrell WildlifeConservation Trust after the death of her husband in 1995. She was instrumental in getting the Jersey Wildlife Preservation Trust renamed after Gerald Durrell, on the occasion of the 40th anniversary of the Jersey Zoo.She is also a member of various expert groups on conservation, and is fondly called \"Mother Tortoise\" in certain areas of Madagascar due to her work with the ploughshare tortoise.In December 2005, Lee Durrell handedover a large collection of dead animals (which had originally been collected and bred by her husband Gerald Durrell) to the National Museums of Scotland to aid genetic research of the critically rare species.Lee acted asconsultant for The Durrells, a 2016 ITV six-part dramatisation of My Family and Other Animals.BibliographyDurrell is the author of three books:A Practical Guide for the Amateur Naturalist (with Gerald Durrell) (HamishHamilton (UK) / Alfred A. Knopf (USA), 1982) ISBN 0-241-10841-1Durrell in Russia (with Gerald Durrell) (MacDonald (UK) / Simon & Schuster (USA), 1986)State of the Ark – an atlas of conservation in action (BodleyHead, 1986) ISBN 0-370-30754-2Foreword by Gerald DurrellDedicated \"To GMD for his contribution to conservation, which is greater than most, because he shares his delight in the natural world so well\"She is also theeditor of:The Best of Gerald Durrell (HarperCollins, 1996)The companion book of a TV series documents the series where she was co-presenter: Ourselves and Other Animals – from the TV series with Gerald and LeeDurrell, Peter Evans (1987)HonoursNactus serpeninsula durrelli, or Durrell's night gecko, is the Round Island race of the Serpent Island gecko, named after Gerald and Lee Durrell for their contribution to saving thegecko and Round Island fauna in general. Mauritius released a stamp depicting Durrell's night gecko.Lee Durrell was made a Member of the Order of the British Empire by Queen Elizabeth II in the 2011 BirthdayHonours.FilmographyThe Amateur Naturalist, TV series, CBC (Canada) / Channel 4 (UK) (1982)Ourselves & Other Animals, TV series, Primetime Television (1987)Durrell in Russia, TV series, Channel 4 (UK)(1986)Passage 6:1920 Washington and Lee Generals football teamThe 1920 Washington and Lee Generals football team represented Washington and Lee University during the 1920 college footballseason.SchedulePassage 7:Kenneth DubersteinKenneth Marc Duberstein (April 21, 1944 – March 2, 2022) was an American lobbyist who served as U.S. President Ronald Reagan's White House Chief of Staff from 1988to 1989.Early life and educationDuberstein was born to a Jewish family in Brooklyn, the son of Jewel (Falb), a teacher, and Aaron Duberstein, a fundraiser for the Boy Scouts of America. He graduated from Poly PrepCountry Day School and Franklin and Marshall College (A.B. 1965) and American University (M.A. 1966). He received an honorary Doctor of Laws degree from Franklin and Marshall in 1989. While in college he was amember of Zeta Beta Tau.Political careerDuberstein began his public service on Capitol Hill as an intern for Sen. Jacob K. Javits. His other early government service included Deputy Under Secretary of Labor during theGerald Ford Administration and Director of Congressional and Intergovernmental Affairs at the U.S. General Services Administration.During Reagan's eight years in office, he had two stints in the White House. His firstwas as  Deputy Assistant to the President for Legislative Affairs (1981–83). His major accomplishment of this period was pushing Reagan's economic agenda through a Democratic House, including the  1982 Tax Bill.Duberstein was described as Reagan's invisible link to Congress. He was at the center of the Administrations push for the bill, working on both sides of the political divide.   His second stint was also for two years, first asDeputy Chief of Staff and then for the final six months of the Reagan presidency as White House Chief of Staff (1988–1989). Eight days after Reagan was on TV and acknowledged the Iran-Contra affair, Duberstein tookover as chief of staff. Around that time it had been revealed that Nancy Reagan had used an astrologer to determine dates for the president's public appearances. Reagan's presidency had reached a low point; approvalrating was at 37%. His promotion was called a wake-up call for a \"drowsy White House.\" He came to the job with energy, loyalty, hard work and enthusiasm, having earned the nickname Duderdog; and, he made sureto call Nancy twice a day. He had Reagan give a mea culpa address to the nation; poll numbers went right up and the presidency had been turned around.Duberstein is said to have been the first Jewish person to beWhite House Chief of Staff.Between his White House appointments, he was vice-president and director of Business-Government Relations of the Committee for Economic Development and was a lobbyist as vicepresident of Timmons & Company. Prior to 1987, he served on the Commission for the Preservation of America's Heritage Abroad, succeeded by Betty Heitman, previously co-chairwoman of the Republican NationalCommittee.Later careerIn January 1989, Duberstein was awarded the President's Citizens Medal by President Reagan. He was the chairman of the Ethics Committee for the U.S. Olympic Committee  and served as vicechairman of the independent Special Bid Oversight Reform Commission for the U.S. Olympics Committee. He also appeared on Bloomberg alongside John Podesta, and had 23 appearances on C-SPAN. Beginning inseason five Duberstein was a consultant for the tv show The West Wing.In 2013, Duberstein was a signatory to an amicus curiae brief submitted to the United States Supreme Court in support of same-sex marriage inthe Hollingsworth v. Perry case. His position succeeded, as the court would go on to effectively legalize same-sex marriage in California.LobbyistDuberstein transitioned from the White House to lobbyist; he wassuccessful, and his insight and advice was sought by leaders of both parties. Duberstein founded The Duberstein Group Inc. in 1987. It is a consulting services company providing corporate consulting and governmentrelations services. Among its client are Amazon, BP and MLB. Duberstein was hired by Russian authorities, via Goldman Sachs, to lobby against the Magnitsky Bill (as known as the Sergei Magnitsky Rule of LawAccountability Act), a bill in the U.S. Congress \"to impose sanctions on persons responsible for the detention, abuse, or death of Sergei Magnitsky, and for other gross violations of human rights in the RussianFederation\". Duberstein showed discretion and did not discuss his work, leading to an \"air of mystery\" about him and what he did for his clients.Education activitiesIn 2020, he established the Public Service InternshipEndowment at his alma mater, Franklin and Marshall, assisting F&M students who secure unpaid internships in public service in Washington, D.C. He was on the college's Board of Trustees from 1994 to 2010, and thenbecame an emeritus trustee. A space at the Franklin and Marshall Patricia E. Harris Center for Business, Government and Public Policy is named for him, the \"Duberstein West Wing\". He spoke at the dedication of thecenter and led fund raising for the building's renovations. At Harvard Kennedy School, he chaired a senior advisory committee and was a “constant and inspiring presence” to students.Political adviserHe was an adviserto former Deputy Secretary of State Richard Armitage, according to syndicated columnist Robert Novak, who said that Duberstein was a source for David Corn's and Michael Isikoff's book about the Valerie Plame affairin which Armitage was found to be the one who leaked Plame's CIA status to Novak.Duberstein and Colin Powell became close during his time as chief of staff and Powell's position as National Security Advisor in theReagan White House.  When Powell considered a 1996 presidential run, he was advised by Duberstein. Duberstein guided him to \"play the press\" and win over Republican leaders.  Powell ended up not making therun.  When Powell's reputation was damaged by his role in the 2003 Iraq War, he used Duberstein to act as a consigliere to repair his name.Duberstein guided Supreme Court Justices David Souter and Clarence Thomasthrough their ritualistic confirmation proceedings. Other high level appointees he advised and guided through confirmation hearings included CIA Director Robert M. Gates and Secretary of State George P. Shultz. Hisbusiness partner, Michael S. Berman, a Democrat, performed similar tasks for Justices Ruth Bader Ginsburg and Stephen G. Breyer.BoardsDuberstein enjoyed lucrative posts on countless boards of directors, includingThe Boeing Company, ConocoPhillips, the Fleming Companies, Inc., and The St. Paul Companies, Inc. He was also on the Board of Governors for the American Stock Exchange and NASD, and served on the Board ofDirectors of Fannie Mae. He served on the advisory board for Washington, DC-based non-profit America Abroad Media.PersonalityDuberstein, a \"back-slapping Brooklyn native,\" was one of the most connectedWashington people. \"A permanent Washington fixture,\" he was a regular at Washington parties and network talk shows.  A gregarious and rumpled, wise-cracking ‘people person’ of relentless optimism and energy...theconsummate Washington insider and institutionalist, a big man with an easy smile and a generous laugh who could be hard-nosed, loved gossiping with reporters, believed in bipartisanship and offered his advice toanyone who asked — especially those who succeeded him in the chief of staff job. Duberstein noted that as a Brooklynite he always enjoyed working with people. As a \"cultivator\" of the press he was generally discreet,refusing to be quoted by name, even for articles about himself. He was forever loved by the Washington press for all the leaking he did during the Reagan years; and, \"he loved being Ken Duberstein.\"PoliticalviewsDuberstein was a political moderate Rockefeller Republican, fiscally conservative and socially moderate.Before McCain secured the 2008 Republican presidential nomination, Duberstein made inquiries aboutrunning the transition team; McCain was not interested.  He later broke from his party in the election and supported Obama; commenting on the nomination of Sarah Palin for vice-president, he said: “Even atMcDonald's, you’re interviewed three times before you’re given a job.\"Personal life, health and deathDuberstein was married three times, with his first two marriages, to Marjorie Duberstein and Sydney Duberstein,ending in divorce. He had a daughter from the first marriage and three children from the second. He was then married to Jacqueline Fain, a former TV producer, for 18 years until his death. At their 2003 wedding,Supreme Court Justice David Souter was the officiant and Marvin Hamlisch provided the music.  He had a history of kidney disease, and in 2014, received a kidney transplant; his son was the donor. After a long illness,Duberstein died at Sibley Memorial Hospital in Washington on March 2, 2022, at the age of 77. The funeral was at Washington Hebrew CongregationPassage 8:Robert HuntleyRobert E. R. Huntley (1929 – December 10,2015) was an American attorney, businessman, retired law professor, and former president of Washington and Lee University.He graduated from Washington and Lee in 1950 and its law school in 1957. He obtained amaster's degree in law from Harvard University in 1962. He joined the law faculty of Washington and Lee in 1958, and served as its dean from 1967 to 1968. In 1968 he was named president of the university, a post heheld for 15 years.He practiced law with the Richmond, Virginia law firm of Hunton & Williams from 1988 until his retirement in 1995. He also served as chairman, president and chief executive officer of Best Products. Healso served on the board of directors of Altria Group.RecognitionWashington and Lee established the endowed Robert E. R. Huntley Professorship in Law in 1988.The building housing the Williams School of Commerce,Economics, and Politics at Washington and Lee was named Huntley Hall in 2004 in his honor.Passage 9:1922 Washington and Lee Generals football teamThe 1922 Washington and Lee Generals football teamrepresented Washington and Lee University during the 1922 college football season.SchedulePassage 10:1950 Washington and Lee Generals football teamThe 1950 Washington and Lee Generals football team was anAmerican football team that represented Washington and Lee University in the Southern Conference during the 1950 college football season. In their second season under head coach George T. Barclay, the Generalscompiled an 8–3 record, won the conference championship, and lost to Wyoming in the 1951 Gator Bowl. The team played its home games at Wilson Field in Lexington, Virginia.Schedule"}
+{"doc_id":"doc_157","qid":"","text":"Passage 1:Heaven Knows, Mr. AllisonHeaven Knows, Mr. Allison is a 1957 American CinemaScope war film that tells the story of two people stranded on a Japanese-occupied island in the Pacific Ocean during World WarII.The film was adapted by John Huston and John Lee Mahin from the 1952 novel by Charles Shaw and was directed by Huston. It was nominated for Academy Awards for Best Actress in a Leading Role (Deborah Kerr)and Best Writing, Screenplay Based on Material from Another Medium.The movie was filmed on the islands of Trinidad and Tobago. Producer Eugene Frenke later filmed a low-budget variation on the story, The Nun andthe Sergeant (1962), starring his wife Anna Sten.PlotIn the South Pacific in 1944, U.S. Marine Corporal Allison and his reconnaissance party are disembarking from a U.S. Navy submarine when they are discovered andfired upon by the Japanese. The submarine's captain is forced to dive and leave the scouting team behind. Allison reaches a rubber raft and, after days adrift, reaches an island. He finds an abandoned settlement and achapel with one occupant: Sister Angela, a novice Irish nun who has not yet taken her final vows. She has been on the island for only four days, having come with an elderly priest to evacuate another clergyman only tofind that the Japanese had arrived first. The frightened natives who had brought them to the island left the pair without warning, and the priest died soon after.For a while, they have the island to themselves, but then adetachment of Japanese troops arrives to set up a meteorological camp, forcing them to hide in a cave. When Sister Angela is unable to stomach the raw fish that Allison has caught, he sneaks into the Japanese campfor supplies, narrowly avoiding detection. That night, they watch flashes from naval guns being fired in a sea battle over the horizon.The Japanese unexpectedly leave the island and Allison professes his love for SisterAngela, proposing marriage. But she shows him her engagement ring and explains that it is a symbol of her forthcoming final holy vows. Later both in celebration and frustration, Allison gets drunk on sake. He blurtsout that he considers her devotion to her vows to be pointless since they are stuck on the island \"like Adam and Eve.\" She runs out into a tropical rain and falls ill as a result. Allison, now sober and contrite, finds hershivering. He carries her back, but the Japanese have returned, forcing them to retreat to the cave. Allison sneaks into the Japanese camp to get blankets. He kills a soldier who discovers him, alerting the enemy. Toforce him into the open, the Japanese set fire to the vegetation.When a Japanese soldier discovers the cave, Allison and Sister Angela have two choices: surrender or die from a hand grenade thrown inside. An ensuingexplosion is not a grenade, but a bomb; the Americans have begun attacking the island in preparation for a landing. Allison comments that the landing will not be easy because when they returned, the Japanese broughtfour artillery pieces and concealed them well on the island.Responding to what he attributes to a message from God, Allison disables the artillery during the barrage that will precede the American assault while theJapanese are still in their bunkers. He is wounded but sabotages all the guns by removing their breechblocks, saving many American lives. After the landing, the Marine officers are puzzled by the missingbreechblocks.Sister Angela and the wounded Allison then say their goodbyes as the Marines begin occupation. Allison has reconciled himself to Sister Angela's dedication to Jesus, though she reassures him that they willalways be close \"companions.\" After being found, Allison is transferred by the Marines to the ship, with Sister Angela walking beside him.CastProductionFilming took place in Trinidad and Tobago, allowing Huston andFox to use blocked funds in the UK, receive British film finance and qualify for the Eady Levy. The film was set later in the war than it was in the novel, which had Allison escaping from the Battle of Corregidor. In thefilm, the Allies are on the offensive and U.S. Marines capture the island.The screenplay compares the rituals and commitment of the Roman Catholic Church and the United States Marine Corps. The National Legion ofDecency monitored the production of the film closely, sending a representative to watch the filming; knowing this, Kerr and Mitchum ad-libbed a scene (not included in the final print) in which their characters wildlykissed and grabbed at each other.: 306 The Marines provided troops for the invasion climax. Six Japanese persons living in Brazil played some of the leading Japanese characters, while Chinese people from some of thelaundries and restaurants of Trinidad and Tobago played the rest of the Japanese soldiers.Screen Archives Entertainment released Heaven Knows, Mr. Allison on Blu-ray on June 10, 2014.ReceptionAccording toKinematograph Weekly the film was \"in the money\" at the British box office in 1957.Awards and honorsSee alsoList of American films of 1957Passage 2:Henry Moore (cricketer)Henry Walter Moore (1849 – 20 August1916) was an English-born first-class cricketer who spent most of his life in New Zealand.Life and familyHenry Moore was born in Cranbrook, Kent, in 1849. He was the son of the Reverend Edward Moore and LadyHarriet Janet Sarah Montagu-Scott, who was one of the daughters of the 4th Duke of Buccleuch. One of his brothers, Arthur, became an admiral and was knighted. Their great grandfather was John Moore, Archbishop ofCanterbury from 1783 to 1805. One of their sisters was a maid of honour to Queen Victoria.Moore went to New Zealand in the 1870s and lived in Geraldine and Christchurch. He married Henrietta Lysaght of Hāwera inNovember 1879, and they had one son. In May 1884 she died a few days after giving birth to a daughter, who also died.In 1886 Moore became a Justice of the Peace in Geraldine. In 1897 he married Alice Fish ofGeraldine. They moved to England four years before his death in 1916.Cricket careerMoore was a right-handed middle-order batsman. In consecutive seasons, 1876–77 and 1877–78, playing for Canterbury, he madethe highest score in the short New Zealand first-class season: 76 and 75 respectively. His 76 came in his first match for Canterbury, against Otago. He went to the wicket early on the first day with the score at 7 for 2and put on 99 for the third wicket with Charles Corfe before he was out with the score at 106 for 3 after a \"very fine exhibition of free hitting, combined with good defence\". Canterbury were all out for 133, but went onto win the match. His 75 came in the next season's match against Otago, when he took the score from 22 for 2 to 136 for 6. The New Zealand cricket historian Tom Reese said, \"Right from the beginning he smote thebowling hip and thigh, going out of his ground to indulge in some forceful driving.\" Canterbury won again.Moore led the batting averages in the Canterbury Cricket Association in 1877–78 with 379 runs at an average of34.4. Also in 1877–78, he was a member of the Canterbury team that inflicted the only defeat on the touring Australians. In 1896–97, at the age of 47, he top-scored in each innings for a South Canterbury XVIIIagainst the touring Queensland cricket team.Passage 3:Eugene FrenkeEugene Frenke (1 January 1895 – 10 March 1984) was a Russian-born film producer, director and writer. He twice collaborated with the directorJohn Huston on the films Heaven Knows, Mr. Allison and The Barbarian and the Geisha.Frenke was married to the Ukrainian actress Anna Sten, from 1932 until his death in 1984. She appeared in a number of hisfilms.Partial filmographyGirl in the Case (1934)Life Returns (1935)A Woman Alone (1936)Miss Robin Crusoe (1954)As director: Life Returns (1934)Girl in the Case (1935)A Woman Alone (1936) (also known as Two WhoDared)Miss Robin Crusoe (1953)Passage 4:The Favor (1994 film)The Favor is a 1994 American romantic comedy film directed by Donald Petrie, and written by Sara Parriott and Josann McGibbon. It stars Harley JaneKozak, Elizabeth McGovern, Bill Pullman, Brad Pitt and Ken Wahl. The original music score was composed by Thomas Newman.PlotKathy has seemingly been happily married to Peter, but their relationship has grownroutine. She cannot help but wonder what would happen if she ever got together with her high school sweetheart, Tom, whom she had never slept with. Being married prevents Kathy from finding out what happened toTom, so she asks her single, permiscuous, commitment-phobic friend Emily to do it for her. She asks her to look him up when she goes to Denver, sleep with him, then tell Kathy what it was like. Emily does this, butwhen she tells Kathy that Tom is awesome and they had sex all night, their friendship suffers, as does Kathy's marriage. Kathy becomes even more distracted, and regularly tries to seduce oblivious Peter. At theopening of Elliot, Emily's young lover, the women again talk about Tom. Emily  storms off, leaving Kathy to comfort him, which Peter observes. Things become even more complicated when Emily learns she is pregnant,and says she is uncertain if Tom or her 'boyfriend' Elliot is the father. Kathy tells Elliot about the pregnancy, simultaneously a work colleague of Peter's convinces him she may be cheating. Secretly following her, itseems like she's having an affair with Elliot.Elliot has a show in Denver, and Kathy ends up on the same flight. She tells him the baby is actually Tom's, so she's going to find out if they still have a spark. As her room inthe Hyatt isn't ready yet, she leaves her bag with Elliot to look for Tom.As Tom has just finished a fishing competition, they go to his cabin so he can shower. In the meantime, Peter shows up at the hotel, hitting Elliotbefore he can explain. He then heads to get his wife Kathy, Emily soon follows. Her taxi beats Peter's, so she can warn Kathy. In the end both women and all three men are at the cabin, the two couples reconciling andTom showing he's not relationship or father material. Kathy helps Emily plan her wedding with Elliot.CastHarley Jane Kozak as Kathy WhitingElizabeth McGovern as Emily EmbryBill Pullman as Peter WhitingBrad Pitt asElliot FowlerKen Wahl as Tom AndrewsGinger Orsi as GinaLeigh Ann Orsi as HannahLarry Miller as Joe DubinGary Powell as FishermenReleaseThe Favor was filmed in 1990, but went into wide release in the UnitedStates and Canada on April 29, 1994, owing to Orion's bankruptcy in 1991. It was released to home video on the DVD format for Region 1 on December 29, 2001, through MGM Home Entertainment.ReceptionThe filmreceived mixed to negative reviews from critics. On the film-critics aggregate site Rotten Tomatoes, it received a 27% approval rating based on 11 reviews, with an average rating of 4.9/10. On Metacritic, the film has a51 out of 100 based on 11 reviews, indicating “mixed or average reviews.” Audiences polled by CinemaScore gave the film an average grade of \"B-\" on an A+ to F scale.Year-end listsHonorable mention – MichaelMacCambridge, Austin American-StatesmanPassage 5:Wale AdebanwiWale Adebanwi (born 1969) is a Nigerian-born first Black Rhodes Professor at St Antony's College, Oxford where he was, until June 2021, aProfessor of Race Relations, and the Director of the African Studies Centre, School of Interdisciplinary Area Studies, and a Governing Board Fellow. He is currently a Presidential Penn Compact Professor of AfricanaStudies at the University of Pennsylvania. Adebanwi's research focuses on a range of topics in the areas of social change, nationalism and ethnicity, race relations, identity politics, elites and cultural politics, democraticprocess, newspaper press and spatial politics in Africa.Education backgroundWale Adebanwi graduated with a first degree in Mass Communication from the University of Lagos, and later earned his M.Sc. and Ph.D. inPolitical Science from the University of Ibadan. He also has an MPhil. and a Ph.D. in Social Anthropology from the University of Cambridge.CareerAdebanwi worked as a freelance reporter, writer, journalist and editor formany newspapers and magazines before he joined the University of Ibadan's Department of Political Science as a lecturer and researcher. He was later appointed as an assistant professor in the African American andAfrican Studies Department of the University of California, Davis, USA. He became a full professor at UC Davis in 2016.Adebanwi is the co-editor of Africa: Journal of the International African Institute and the Journal ofContemporary African Studies.WorksHis published works include:Nation as Grand Narrative: The Nigerian Press and the Politics of Meaning (University of Rochester Press, 2016)Yoruba Elites and Ethnic Politics inNigeria: Obafemi Awolowo and Corporate Agency (Cambridge University Press, 2014)Authority Stealing: Anti-corruption War and Democratic Politics in Post-Military Nigeria (Carolina Academic Press, 2012)In addition,he is the editor and co-editor of other books, including.The Political Economy of Everyday Life in Africa: Beyond the Margins (James Currey Publishers, 2017)Writers and Social Thought in Africa (Routledge,2016)(co-edited with Ebenezer Obadare) Governance and the Crisis of Rule in Contemporary Africa (Palgrave Macmillan, 2016)(co-edited with Ebenezer Obadare) Democracy and Prebendalism in Nigeria: CriticalInterpretations (Palgrave Macmillan, 2013).(co-edited with Ebenezer Obadare) Nigeria at Fifty: The Nation in Narration (Routledge, 2012)(co-edited with Ebenezer Obadare) Encountering the Nigerian State (PalgraveMacmillan, 2010).AwardsRhodes Professorship in Race Relations awarded by Oxford University to Faculty of African and Interdisciplinary Area Studies.Passage 6:John HustonJohn Marcellus Huston ( (listen) HEW-st\u0000n;August 5, 1906 – August 28, 1987) was an American film director, screenwriter and actor.  He wrote the screenplays for most of the 37 feature films he directed, many of which are today considered classics, includingThe Maltese Falcon (1941), The Treasure of the Sierra Madre (1948), The Asphalt Jungle (1950), The African Queen (1951), The Misfits (1961), Fat City (1972), The Man Who Would Be King (1975) and Prizzi's Honor(1985). During his 46-year career, Huston received 15 Academy Award nominations, winning twice. He also directed both his father, Walter Huston, and daughter, Anjelica Huston, to Oscar wins.In his early years,Huston studied and worked as a fine art painter in Paris. He then moved to Mexico and began writing, first plays and short stories, and later working in Los Angeles as a Hollywood screenwriter, and was nominated forseveral Academy Awards writing for films directed by William Dieterle and Howard Hawks, among others. His directorial debut came with The Maltese Falcon, which despite its small budget became a commercial andcritical hit; he would continue to be a successful, if iconoclastic, Hollywood director for the next 45 years. He explored the visual aspects of his films throughout his career, sketching each scene on paper beforehand,then carefully framing his characters during the shooting. While most directors rely on post-production editing to shape their final work, Huston instead created his films while they were being shot, with little editingneeded. Some of Huston's films were adaptations of important novels, often depicting a \"heroic quest,\" as in Moby Dick, or The Red Badge of Courage. In many films, different groups of people, while struggling toward acommon goal, would become doomed, forming \"destructive alliances,\" giving the films a dramatic and visual tension. Many of his films involved themes such as religion, meaning, truth, freedom, psychology,colonialism, and war.While he had done some stage acting in his youth and had occasionally cast himself in bit parts in his own films, he primarily worked behind the camera until Otto Preminger cast him in 1963's TheCardinal, for which he was nominated for a Best Supporting Actor Oscar. He continued to take prominent supporting roles for the next two decades, including 1974's Chinatown (directed by Roman Polanski), and he lenthis booming baritone voice as a voice actor and narrator to a number of prominent films. His last two films, 1985's Prizzi's Honor, and 1987's The Dead, filmed while he was in failing health at the end of his life, wereboth nominated for multiple Academy Awards. He died shortly after completing his last film.Huston has been referred to as \"a titan\", \"a rebel\", and a \"renaissance man\" in the Hollywood film industry. Author Ian Freerdescribes him as \"cinema's Ernest Hemingway\"—a filmmaker who was \"never afraid to tackle tough issues head on.\" He traveled widely, settling at various times in France, Mexico, and Ireland. Huston was a citizen ofthe U.S. by birth but renounced this to become an Irish citizen and resident in 1964. He later returned to the U.S., where he lived the rest of his life. For his contributions to the American film industry, he received a staron the Hollywood Walk of Fame in February 1960.Early lifeJohn Huston was born on August 5, 1906, in Nevada, Missouri. He was the only child of Rhea (née Gore) and Canadian-born Walter Huston. His father was anactor, initially in vaudeville, and later in films. His mother worked as a sports editor for various publications but stopped after John was born. Similarly, his father ended his stage acting career for steady employment asa civil engineer, although he returned to stage acting within a few years. He later became highly successful on both Broadway and then in motion pictures. He had Scottish, Scots-Irish, English and Welshancestry.Huston's parents divorced in 1913 when he was six years old. For much of his childhood, he lived and studied in boarding schools. During summer vacations, he traveled separately with each of his parents  –with his father on vaudeville tours, and with his mother to horse races and other sports events. Young Huston benefited greatly from seeing his father act on stage, and he was later drawn to acting.Some critics, such asLawrence Grobel, surmise that his relationship with his mother may have contributed to his marrying five times, and seeming to have difficulty in maintaining relationships. Grobel wrote, \"When I interviewed some ofthe women who had loved him, they inevitably referred to his mother as the key to unlocking Huston's psyche.\" According to actress Olivia de Havilland, \"she [his mother] was the central character. I always felt thatJohn was ridden by witches. He seemed pursued by something destructive. If it wasn't his mother, it was his idea of his mother.\"As a child, Huston was often ill; he was treated for an enlarged heart and kidneyailments. He recovered after an extended bedridden stay in Arizona and moved with his mother to Los Angeles, where he attended Abraham Lincoln High School. He dropped out after two years to become a professionalboxer. By age 15 he was a top-ranking amateur lightweight boxer in California. He ended his brief boxing career after suffering a broken nose.He also engaged in many interests, including ballet, English and Frenchliterature, opera, horseback riding, and studying painting at the Art Students League of Los Angeles. Living in Los Angeles, Huston became infatuated with the new film industry and motion pictures, as a spectator only.To Huston, \"Charlie Chaplin was a god.\"Huston returned to New York City to live with his father, who was acting in off-Broadway productions, and had a few small roles. He later remembered that while watching hisfather rehearse, he became fascinated with the mechanics of acting:What I learned there, during those weeks of rehearsal, would serve me for the rest of my life.After a short period of acting on stage, and havingundergone surgery, Huston travelled alone to Mexico. During two years there, among other adventures, he obtained a position as an honorary member of the Mexican cavalry. He returned to Los Angeles and marriedDorothy Harvey, a girlfriend from high school. Their marriage lasted seven years (1926–1933).Early career as writerDuring his stay in Mexico, Huston wrote a play called Frankie and Johnny, based on the ballad of thesame title. After selling it easily, he decided that writing would be a viable career, and he focused on it. His self-esteem was enhanced when H. L. Mencken, editor of the popular magazine American Mercury, bought twoof his stories, \"Fool\" and \"Figures of Fighting Men.\" During subsequent years, Huston's stories and feature articles were published in Esquire, Theatre Arts, and The New York Times. He also worked for a period on theNew York Graphic. In 1931, when he was 25, he moved back to Los Angeles in hopes of writing for the blossoming film industry. The silent films had given way to \"talkies\", and writers were in demand. His father hadearlier moved there and already gained success in a number of films.Huston received a script editing contract with Samuel Goldwyn Productions but, after six months of receiving no assignments, quit to work for"}
+{"doc_id":"doc_158","qid":"","text":"Passage 1:Hanro SmitsmanHanro Smitsman, born in 1967 in Breda (Netherlands), is a writer and director of film and television.Film and Television CreditsFilmsBrothers (2017)Schemer (2010)Skin (2008)Raak (akaContact) (2006)Allerzielen (aka All Souls) (2005) (segment \"Groeten uit Holland\")Engel en Broer (2004)2000 Terrorists (2004)Dajo (2003)Gloria (2000)Depoep (2001)Television20 leugens, 4 ouders en een scharrelei(2013)De ontmaskering van de vastgoedfraude (TV mini-series, 2013)Moordvrouw (2012-)Eileen (2 episodes, 2011)Getuige (2011)Vakantie in eigen land (2011)De Reis van meneer van Leeuwen(2010)De Punt(2009)Roes (2 episodes, 2008)Fok jou! (2006)Van Speijk (2006)AwardsIn 2005, Engel en Broer won Cinema Prize for Short Film at the Avanca Film Festival.In 2007, Raak (aka Contact) won the Golden Berlin BearAward at the Berlin International Film Festival, the Spirit Award at the Brooklyn Film Festival, the first place jury prize for \"Best Live Action under 15 minutes\" at the Palm Springs International Short Film Festival, andthe Prix UIP Ghent Award for European Short Films at the Flanders International Film Festival.In 2008, Skin won the Movie Squad Award at the Nederlands Film Festival, an actor in the film also won the Best ActorAward.  It also won the Reflet d’Or for Best Film at the Cinema tous ecrans Festival in Geneva in the same year.Passage 2:Rasul Sadr AmeliRasoul Sadrameli (Persian: \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000; born 1954 in Isfahan) isan Iranian film director, screenwriter, journalist and film producer. The Managing Director of MILAD FILM (established in 1979, the first company in the distribution and production of Iranian films after revolution) beganhis journalism career when he was just 17. He collaborated with Etela'at Newspaper as a reporter, story writer and editor of Incident page and then as the Editor of Parliamentary Service. He studied sociology at PaulValéry University of Montpellier in France. He began his professional activities in the Cinema by producing a film entitled Blood Raining in 1981. This film is the first cinematic project after the revolution.Filmography (asa director)The Liberation — 1982Deliverance — 1983Chrysanthemum — 1985During Autumn — 1987The Victim — 1991Symphony of Tehran — 1993The Girl in Sneakers — 1999I'm Taraneh, 15 — 2002Aida, I SawYour Father Last Night — 2005Every Night Loneliness - 2008Life With Closed Eyes — 2010Waiting For A Miracle — 2011My Second Year in College — 2019Passage 3:Long PantsLong Pants (also known as JohnnyNewcomer) is a 1927 American silent comedy film directed by Frank Capra and starring Harry Langdon.  Additional cast members include Gladys Brockwell, Alan Roscoe, and Priscilla Bonner.PlotThe silent tells the storyof Harry Shelby (Langdon) who has been kept in knee-pants for years by his mother. One day, however, Harry finally gets his first pair of long pants.Immediately, his family expects him to marry his childhoodsweetheart Priscilla (Priscilla Bonner).  Yet, Harry soon falls for Bebe Blair (Alma Bennett), a femme fatale from the big city who has a boyfriend in the mob.Harry thinks that Bebe is interested in him as well, so he riskseverything when Bebe ends up in jail. This leads to a lot of trouble for Harry. Throughout the whole ordeal Priscilla waits for Harry to face reality.CastCritical receptionWhen it was released, film critic Mordaunt Hall gavethe film a positive review.  He wrote, \"Some hilarious passages enliven Harry Langdon's latest film oddity, Long' Pants...Although these incidents are acted with consummate skill, except for an occasional repetition, it isquite obvious to any male who has made the decisive change from short to long trousers that the idea offers possibilities far greater and more genuine than those that greet the eye. The answer is that Mr. Langdon hasonce again capitulated to his omnipotent band of gag-men. It may be all very well for Harold Lloyd to rely on mechanical twists, but Langdon possesses a cherubic countenance, which offers him a chance in otherdirections...Mr. Langdon is still Charles Spencer Chaplin's sincerest flatterer. His short coat reminds one of Chaplin, and now and again his footwork is like that of the great screen comedian.\"Film historian David Kalatreports that Buster Keaton, a long-time fan of Langdon's known for his own morbid jokes about death and killings, criticized a scene in which Langdon's character tries to kill Priscilla as \"going too far\" in making light ofmurder.More recently, critic Maria Schneider reviewed Langdon's work and wrote, \"Long Pants (1927), also directed by Capra, was a peculiar change of pace for Langdon, and possibly an attempt to poke fun at hisbaby-faced image by casting him as a would-be lady-killer; sporting little of the ingenuity of The Strong Man, it was a box-office failure that set off the comedian's quick decline into obscurity. An acquired taste, HarryLangdon's gentle absurdities and slow rhythms take some getting used to, but patient viewers will be rewarded.\"Film critic Hal Erikson wrote of the film, \"Few comedies of the 1920s were as bizarre and surreal as HarryLangdon's Long Pants... Written by future director Arthur Ripley, Long Pants is as kinky as any of Ripley's film noirs of the 1940s. Long Pants represents the second and final collaboration between star Harry Langdonand director Frank Capra, who was fired when Langdon wrong-headedly decided to become his own director, resulting in a series of career-destroying flops.\"See alsoList of United States comedy filmsPassage 4:JasonMoore (director)Jason Moore (born October 22, 1970) is an American director of film, theatre and television.Life and careerJason Moore was born in Fayetteville, Arkansas, and studied at Northwestern University.Moore's Broadway career began as a resident director of Les Misérables at the Imperial Theatre in during its original run. He is the son of Fayetteville District Judge Rudy Moore.In March 2003, Moore directed themusical Avenue Q, which opened Off-Broadway at the Vineyard Theatre and then moved to Broadway at the John Golden Theatre in July 2003.  He was nominated for a 2004 Tony Award for his direction. Moore alsodirected productions of the musical in Las Vegas and London and the show's national tour. Moore directed the 2005 Broadway revival of Steel Magnolias and Shrek the Musical, starring Brian d'Arcy James and SuttonFoster which opened on Broadway in 2008. He directed the concert of Jerry Springer — The Opera at Carnegie Hall in January 2008.Moore, Jeff Whitty, Jake Shears, and John \"JJ\" Garden worked together on a newmusical based on Armistead Maupin's Tales of the City. The musical premiered at the American Conservatory Theater, San Francisco, California in May 2011 and ran through July 2011.For television, Moore has directedepisodes of Dawson's Creek, One Tree Hill, Everwood, and Brothers & Sisters. As a writer, Moore adapted the play The Floatplane Notebooks with Paul Fitzgerald from the novel by Clyde Edgerton. A staged reading ofthe play was presented at the New Play Festival at the Charlotte, North Carolina Repertory Theatre in 1996, with a fully staged production in 1998.In 2012, Moore made his film directorial debut with Pitch Perfect,starring Anna Kendrick and Brittany Snow. He also served as an executive producer on the sequel. He directed the film Sisters, starring Tina Fey and Amy Poehler, which was released on December 18, 2015. Moore'snext project will be directing a live action Archie movie.FilmographyFilmsPitch Perfect (2012)Sisters (2015)Shotgun Wedding (2022)TelevisionSoundtrack writerPitch Perfect 2 (2015) (Also executive producer)The Voice(2015) (1 episode)Passage 5:Frank CapraFrank Russell Capra (born Francesco Rosario Capra; May 18, 1897 – September 3, 1991) was an Italian-born American film director, producer, and writer who became thecreative force behind some of the major award-winning films of the 1930s and 1940s. Born in Italy and raised in Los Angeles from the age of five, his rags-to-riches story has led film historians such as Ian Freer toconsider him the \"American Dream personified\".Capra became one of America's most influential directors during the 1930s, winning three Academy Awards for Best Director from six nominations, along with three otherOscar wins from nine nominations in other categories. Among his leading films were It Happened One Night (1934), Mr. Deeds Goes to Town (1936), You Can't Take It with You (1938), and Mr. Smith Goes toWashington (1939). During World War II, Capra served in the U.S. Army Signal Corps and produced propaganda films, such as the Why We Fight series.After World War II, Capra's career declined as his later films, suchas It's a Wonderful Life (1946), performed poorly when they were first released. In ensuing decades, however, It's a Wonderful Life and other Capra films were revisited favorably by critics. Outside of directing, Caprawas active in the film industry, engaging in various political and social activities. He served as President of the Academy of Motion Picture Arts and Sciences, worked alongside the Writers Guild of America, and was headof the Directors Guild of America.Early lifeCapra was born Francesco Rosario Capra in Bisacquino, a village near Palermo, Sicily, Italy. He was the youngest of seven children of Salvatore Capra, a fruit grower, and theformer Rosaria \"Sara\" Nicolosi. Capra's family was Roman Catholic. Frank's siblings wereLuigia, Ignazia, Benedetto,Antonino Giuseppe, Antonia, and  Anne. The name \"Capra\", notes Capra's biographer Joseph McBride,represents his family's closeness to the land, and means \"goat\". He notes that the English word \"capricious\" derives from it, \"evoking the animal's skittish temperament\", adding that \"the name neatly expresses twoaspects of Frank Capra's personality: emotionalism and obstinacy.\"In 1903, when he was five, Capra's family emigrated to the United States, traveling in a steerage compartment of the steamship Germania — thecheapest way to make the passage. For Capra, the 13-day journey remained one of the worst experiences of his life: You're all together—you have no privacy. You have a cot. Very few people have trunks or anythingthat takes up space. They have just what they can carry in their hands or in a bag. Nobody takes their clothes off. There's no ventilation, and it stinks like hell. They're all miserable. It's the most degrading place youcould ever be.Capra remembers the ship's arrival in New York Harbor, where he saw \"a statue of a great lady, taller than a church steeple, holding a torch above the land we were about to enter\". He recalls his father'sexclamation at the sight: Ciccio, look! Look at that! That's the greatest light since the star of Bethlehem! That's the light of freedom! Remember that.The family settled in Los Angeles's East Side (today Lincoln Heights)on avenue 18, which Capra described in his autobiography as an Italian \"ghetto\". Capra's father worked as a fruit picker and young Capra sold newspapers after school for 10 years, until he graduated from high school.He attended the Manual Arts High School, with Jimmy Doolittle and Lawrence Tibbett as classmates. Instead of working after graduating, as his parents wanted, he enrolled in college. He worked through college at theCalifornia Institute of Technology, playing banjo at nightclubs and taking odd jobs like working at the campus laundry facility, waiting tables, and cleaning engines at a local power plant. He studied chemical engineeringand graduated in the spring of 1918. Capra later wrote that his college education had \"changed his whole viewpoint on life from the viewpoint of an alley rat to the viewpoint of a cultured person\".World War I andlaterSoon after graduating from college, Capra was commissioned in the United States Army as a second lieutenant, having completed campus ROTC. In the Army, he taught mathematics to artillerymen at Fort Point,San Francisco. His father died during the war in an accident (1916). In the Army, Capra contracted Spanish flu and was medically discharged to return home to live with his mother. He became a naturalized U.S. citizenin 1920, taking the name Frank Russell Capra. Living at home with his siblings and mother, Capra was the only family member with a college education, yet he was the only one who remained chronically unemployed.After a year without work, seeing how his siblings had steady jobs, he felt he was a failure, which led to bouts of depression.Chronic abdominal pains were later discovered to have been an undiagnosed burst appendix.After recovering at home, Capra moved out and spent the next few years living in flophouses in San Francisco and hopping freight trains, wandering the Western United States. To support himself, he took odd jobs onfarms, as a movie extra, playing poker, and selling local oil well stocks.During this time the 24-year-old Capra directed a 32-minute documentary film titled La Visita Dell'Incrociatore Italiano Libya a San Francisco. Notonly did it document the visit of the Italian naval vessel Libya to San Francisco, but also the reception given to the crew of the ship by San Francisco's L'Italia Virtus Club, now known as the San Francisco Italian AthleticClub.At 25, Capra took a job selling books written and published by American philosopher Elbert Hubbard. Capra recalled that he \"hated being a peasant, being a scrounging new kid trapped in the Sicilian ghetto of LosAngeles. ... All I had was cockiness—and let me tell you that gets you a long way.\"CareerSilent film comediesDuring his book sales efforts—and nearly broke—Capra read a newspaper article about a new movie studioopening in San Francisco. Capra phoned them saying he had moved from Hollywood, and falsely implied that he had experience in the budding film industry. Capra's only prior exposure in films was in 1915 whileattending Manual Arts High School. The studio's founder, Walter Montague, was nonetheless impressed by Capra and offered him $75 to direct a one-reel silent film. Capra, with the help of a cameraman, made the filmin two days and cast it with amateurs.After that first serious job in films, Capra began efforts to finding similar openings in the film industry. He took a position with another minor San Francisco studio and subsequentlyreceived an offer to work with producer Harry Cohn at his new studio in Los Angeles. During this time, he worked as a property man, film cutter, title writer, and assistant director.Capra later became a gag writer for HalRoach's Our Gang series. He was twice hired as a writer for a slapstick comedy director, Mack Sennett, in 1918 and 1924. Under him, Capra wrote scripts for comedian Harry Langdon and produced by Mack Sennett, thefirst being Plain Clothes in 1925. According to Capra, it was he who invented Langdon's character, the innocent fool living in a \"naughty world\"; however, Langdon was well into this character by 1925.When Langdoneventually left Sennett to make longer, feature-length movies with First National Studios, he took Capra along as his personal writer and director. They made three feature films together during 1926 and 1927, all ofthem successful with critics and the public. The films made Langdon a recognized comedian in the caliber of Charlie Chaplin and Buster Keaton. Capra and Langdon later had a falling out following the end of productionon Long Pants (1927), and Capra was fired. During the following years, Langdon's films went into decline without Capra's assistance. After splitting with Langdon, Capra directed a picture for First National, For the Loveof Mike (1927). This was a silent comedy about three bickering godfathers—a German, a Jew, and an Irishman—starring a budding actress, Claudette Colbert. The movie was considered a failure and is a lostfilm.Columbia PicturesCapra returned to Harry Cohn's studio, now named Columbia Pictures, which was then producing short films and two-reel comedies for \"fillers\" to play between main features. Columbia was one ofmany start-up studios on \"Poverty Row\" in Los Angeles. Like the others, Columbia was unable to compete with larger studios, which often had their own production facilities, distribution, and theaters. Cohn rehiredCapra in 1928 to help his studio produce new, full-length feature films, to compete with the major studios. Capra would eventually direct 20 films for Cohn's studio, including many of his classics.Because of Capra'sengineering education, he adapted more easily to the new sound technology than most directors. He welcomed the transition to sound, recalling, \"I wasn't at home in silent films.\" Most studios were unwilling to invest inthe new sound technology, assuming it was a passing fad. Many in Hollywood considered sound a threat to the industry and hoped it would pass quickly; McBride notes that \"Capra was not one of them.\" When he saw AlJolson singing in The Jazz Singer in 1927, considered the first talkie, Capra recalled his reaction: It was an absolute shock to hear this man open his mouth and a song come out of it. It was one of thoseonce-in-a-lifetime experiences.Few of the studio heads or crew were aware of Capra's engineering background until he began directing The Younger Generation in 1929. The chief cinematographer who worked withCapra on a number of films was likewise unaware. He describes this early period in sound for film: It wasn't something that came up. You had to bluff to survive. When sound first came in, nobody knew much about it.We were all walking around in the dark. Even the sound man didn't know much about it. Frank lived through it. But he was quite intelligent. He was one of the few directors who knew what the hell they were doing. Mostof your directors walked around in a fog – —they didn't know where the door was.During his first year with Columbia, Capra directed nine films, some of which were successful. After the first few, Harry Cohn said: \"itwas the beginning of Columbia making a better quality of pictures.\" According to Barson, \"Capra became ensconced as Harry Cohn's most trusted director.\" His films soon established Capra as a \"bankable\" directorknown throughout the industry, and Cohn raised Capra's initial salary of $1,000 per film to $25,000 per year. Capra directed a film for MGM during this period, but soon realized he \"had much more freedom under HarryCohn's benevolent dictatorship\", where Cohn also put Capra's \"name above the title\" of his films, a first for the movie industry. Capra wrote of this period and recalled the confidence that Cohn placed in Capra's visionand directing: I owed Cohn a lot—I owed him my whole career. So I had respect for him, and a certain amount of love. Despite his crudeness and everything else, he gave me my chance. He took a gamble on me.Capradirected his first \"real\" sound picture, The Younger Generation, in 1929. It was a rags-to-riches romantic comedy about a Jewish family's upward mobility in New York City, with their son later trying to deny his Jewishroots to keep his rich, gentile girlfriend. According to Capra biographer Joseph McBride, Capra \"obviously felt a strong identification with the story of a Jewish immigrant who grows up in the ghetto of New York ... andfeels he has to deny his ethnic origins to rise to success in America.\" Capra, however, denied any connection of the story with his own life.Nonetheless, McBride insists that The Younger Generation abounds with parallelsto Capra's own life. McBride notes the \"devastatingly painful climactic scene\", where the young social-climbing son, embarrassed when his wealthy new friends first meet his parents, passes his mother and father off ashouse servants. That scene, notes McBride, \"echoes the shame Capra admitted feeling toward his own family as he rose in social status\".During his years at Columbia, Capra worked often with screenwriter Robert Riskin(husband of Fay Wray), and cameraman Joseph Walker. In many of Capra's films, the wise-cracking and sharp dialogue was often written by Riskin, and he and Capra went on to become Hollywood's \"most admiredwriter-director team\".Film career (1934–1941)It Happened One Night (1934)Capra's films in the 1930s enjoyed immense success at the Academy Awards. It Happened One Night (1934) became the first film to win allfive top Oscars (Best Picture, Best Director, Best Actor, Best Actress, and Best Adapted Screenplay). Written by Robert Riskin, it is one of the first screwball comedies, and with its release in the Great Depression, criticsconsidered it an escapist story and a celebration of the American Dream. The film established the names of Capra, Columbia Pictures, and stars Clark Gable and Claudette Colbert in the movie industry. The film hasbeen called \"picaresque\". It was one of the earliest road movies and inspired variations on that theme by other filmmakers.He followed the film with Broadway Bill (1934), a screwball comedy about horse racing. Thefilm was a turning point for Capra, however, as he began to conceive an additional dimension to his movies. He started using his films to convey messages to the public. Capra explains his new thinking: My films must"}
+{"doc_id":"doc_159","qid":"","text":"Passage 1:Ögedei KhanÖgedei Khagan (also Ogodei; c. 1186 – 11 December 1241) was second khagan-emperor of the Mongol Empire. The third son of Genghis Khan, he continued the expansion of the empire that his father had begun.Born in c. 1186 AD, Ögedei fought in numerous battles during his father's rise to power. After being granted a large appanage and taking a number of wives, including Töregene, he played a prominent role in the Mongol invasion of the Khwarazmian Empire. When his older brothers Jochi and Chagatai quarrelled over strategies when besieging Gurganj, Genghis appointed Ögedei sole commander; his successful capture of the city in 1221 ensured his military reputation. He was confirmed as heir after further infighting between his elder brothers led to both being excluded from succession plans. Genghis died in 1227, and Ögedei was elected as khagan in 1229, after a two-year regency led by his younger brother Tolui.As khan, Ögedei pursued the expansionist policies of his father. He launched a second invasion of Persia led by Chormaqan Noyan in 1230, which subdued the Khwarazmian prince Jalal al-Din and began to subjugate Georgia. He initiated the Mongol invasions of Korea, and his armies skirmished with the Song dynasty and in India. By the time of his death in 1241, large armies under the command of his nephew Batu Khan and Subutai had subdued the steppes and penetrated deep into Europe. These armies defeated Poland at Legnica and Hungary at Mohi before retreating. It is likely that this retreat was caused by the need to find a successor after Ögedei's death, although some scholars have speculated that the Mongols were simply unable to invade further because of logistical difficulties.As an administrator, Ögedei continued to develop the fast-growing Mongol state. Working with officials such as Yelü Chucai, he developed ortogh trading systems, instituted methods of tax collection, and established regional bureaucracies which controlled legal and economic affairs. He also founded the Mongol capital city, Karakorum, in the 1230s. Although historically disregarded in comparison to his father, especially on account of his alcoholism, he was known to be charismatic, good-natured, and intelligent.BackgroundÖgedei was the third son of Genghis Khan and Börte Ujin. He participated in the turbulent events of his father's rise. When Ögedei was 17 years old, Genghis Khan experienced the disastrous defeat of Khalakhaljid Sands against the army of Jamukha. Ögedei was heavily wounded and lost on the battlefield. His father's adopted brother and companion Borokhula rescued him. Although he was already married, in 1204 his father gave him Töregene, the wife of a defeated Merkit chief. The addition of such a wife was not uncommon in steppe culture.After Genghis was proclaimed Emperor or Khagan in 1206, myangans (thousands) of the Jalayir, Besud, Suldus, and Khongqatan clans were given to him as his appanage. Ögedei's territory occupied the Emil and Hobok rivers. According to his father's wish, Ilugei, the commander of the Jalayir, became Ögedei's tutor.Ögedei, along with his brothers, campaigned independently for the first time in November 1211 against the Jin dynasty. He was sent to ravage the land south through Hebei and then north through Shanxi in 1213. Ögedei's force drove the Jin garrison out of the Ordos, and he rode to the juncture of the Xi Xia, Jin, and Song domains.During the Mongol conquest of Khwarezmia, Ögedei and Chagatai massacred the residents of Otrar after a five-month siege in 1219–20 and joined Jochi who was outside the walls of Urganch. Because Jochi and Chagatai were quarreling over the military strategy, Ögedei was appointed by Genghis Khan to oversee the siege of Urganch. They captured the city in 1221. When the rebellion broke out in southeast Persia and Afghanistan, Ögedei also pacified Ghazni.Position as heirThe Empress Yisui insisted that Genghis Khan designate an heir before the invasion of the Khwarezmid Empire in 1219. After the terrible brawl between two elder sons Jochi and Chagatai, they agreed that Ögedei was to be chosen as heir. Genghis confirmed their decision.Genghis Khan died in 1227, and Jochi had died a year or two earlier. Ögedei's younger brother Tolui held the regency until 1229. Ögedei was elected supreme khan in 1229, according to the kurultai held at Kodoe Aral on the Kherlen River after Genghis' death, although this was never really in doubt as it was Genghis' clear wish that he be succeeded by Ögedei. After ritually declining three times, Ögedei was proclaimed Khagan of the Mongols on 13 September 1229. Chagatai continued to support his younger brother's claim.World conquestsExpansion in the Middle EastAfter destroying the Khwarazmian empire, Genghis Khan was free to move against Western Xia. In 1226, however, Jalal ad-Din Mingburnu, the last of the Khwarizm monarchs, returned to Persia to revive the empire lost by his father, Muhammad ‘Ala al-Din II. The Mongol forces sent against him in 1227 were defeated at Dameghan. Another army that marched against Jalal al-Din scored a pyrrhic victory in the vicinity of Isfahan but was unable to follow up that success.With Ögedei's consent to launch a campaign, Chormaqan qorchi left Bukhara at the head of 30,000 to 50,000 Mongol soldiers. He occupied Persia and Khorasan, two long-standing bases of Khwarazmian support. Crossing the Amu Darya River in 1230 and entering Khorasan without encountering any opposition, Chormaqan passed through quickly. He left a sizable contingent behind under the command of Dayir Baghatur, who had further instructions to invade western Afghanistan. Chormaqan and the majority of his army then entered Tabaristan (modern-day Mazandaran), a region between the Caspian Sea and Alborz mountains, in the autumn of 1230, thus avoiding the mountainous area to the south, which was controlled by the Nizari Ismailis (the Assassins).Upon reaching the city of Rey, Chormaqan made his winter camp there and dispatched his armies to pacify the rest of northern Persia. In 1231, he led his army southward and quickly captured the cities of Qum and Hamadan. From there, he sent armies into the regions of Fars and Kirman, whose rulers quickly submitted, preferring to pay tribute to Mongol overlords rather than having their states ravaged. Meanwhile, further east, Dayir Baghatur steadily achieved his goals in capturing Kabul, Ghazni, and Zabulistan. With the Mongols already in control of Persia, Jalal al-Din was isolated in Transcaucasia where he was banished. Thus all of Persia was added to the Mongol Empire.The fall of the Jin dynastyAt the end of 1230, responding to the Jin's unexpected defeat of Doqolqu cherbi (Mongol general), the Khagan went south to Shanxi province with Tolui, clearing the area of the Jin forces and taking the city of Fengxiang. After passing the summer in the north, they again campaigned against the Jin in Henan, cutting through territory of South China to assault the Jin's rear. By 1232 the Jin Emperor was besieged in his capital of Kaifeng. Ögedei soon departed, leaving the final conquest to his generals. After taking several cities, the Mongols, with the belated assistance of the Song dynasty, destroyed the Jin with the fall of Caizhou in February 1234. However, a viceroy of the Song murdered a Mongol ambassador, and the Song armies recaptured the former imperial capitals of Kaifeng, Luoyang, and Chang'an, which were now ruled by the Mongols.In addition to the war with the Jin dynasty, Ögedei crushed the Eastern Xia founded by Puxian Wannu in 1233, pacifying southern Manchuria. Ögedei subdued the Water Tatars in the northern part of the region and suppressed their rebellion in 1237.Conquest of Georgia and ArmeniaThe Mongols under Chormaqan returned to the Caucasus in 1232. The walls of Ganjak were breached by catapult and battering ram in 1235. The Mongols eventually withdrew after the citizens of Irbil agreed to send a yearly tribute to the court of the khagan. Chormaqan waited until 1238, when the force of Möngke Khan was also active in the north Caucasus. After subduing Armenia, Chormaqan took Tiflis. In 1238, the Mongols captured Lorhe whose ruler, Shahanshah, fled with his family before the Mongols arrived, leaving the rich city to its fate. After putting up a spirited defense at Hohanaberd, the city's ruler, Hasan Jalal, submitted to the Mongols. Another column then advanced against Gaian, ruled by Prince Avak. The Mongol commander Tokhta ruled out a direct assault and had his men construct a wall around the city, and Avak soon surrendered. By 1240, Chormaqan had completed the conquest of Transcaucasia, forcing the Georgian nobles to surrender.KoreaIn 1224, a Mongol envoy was killed in obscure circumstances and Korea stopped paying tribute. Ögedei dispatched Saritai qorchi to subdue Korea and avenge the dead envoy in 1231. Thus, Mongol armies began to invade Korea in order to subdue the kingdom. The Goryeo King temporarily submitted and agreed to accept Mongol overseers. When they withdrew for the summer, however, Choe U moved the capital from Kaesong to Ganghwa Island. Saritai was hit with a stray arrow and died as he campaigned against them.Ögedei announced plans for the conquest of the Koreans, the Southern Song, the Kipchaks and their European allies, all of whom killed Mongol envoys, at the kurultai in Mongolia in 1234. Ögedei appointed Danqu commander of the Mongol army and made Bog Wong, a defected Korean general, governor of 40 cities with their subjects. When the court of Goryeo sued for peace in 1238, Ögedei demanded that the king of Goryeo appear before him in person. The Goryeo king finally sent his relative Yeong Nong-gun Sung with ten noble boys to Mongolia as hostages, temporarily ending the war in 1241.EuropeThe Mongol Empire expanded westward under the command of Batu Khan to subdue the western steppes and drive into Europe. Their western conquests included Volga Bulgaria, almost all of Alania, Cumania, and Rus', along with a brief occupation of Hungary. They also invaded Poland, Croatia, Serbia, Bulgaria, the Latin Empire, and Austria. During the siege of Kolomna, the Khagan's half brother Khulgen was killed by an arrow.Amid the conquest, Ögedei's son Güyük and Chagatai's grandson Büri ridiculed Batu, and the Mongol camp suffered dissension. The Khagan harshly criticized Güyük: \"You broke the spirit of every man in your army... Do you think that the Russians surrendered because of how mean you were to your own men?\". He then sent Güyük back to continue the conquest of Europe. Güyük and another of Ögedei's sons, Kadan, attacked Transylvania and Poland, respectively.Although Ögedei Khan had granted permission to invade the remainder of Europe, all the way to the \"Great Sea\", the Atlantic Ocean, the Mongol advance stopped in East Europe early in 1242, the year after his death. Mongol accounts would later attribute the drive's failure to his untimely demise necessitating Batu's withdrawal to personally participate in the election of Ögedei's successor. Batu, however, never reached Mongolia for such an election and a successor wouldn't be named until 1246. A likely reason the advance stalled and never regained momentum is that European fortifications posed a strategic problem that Mongol commanders were unable to surmount with the resources they had available.Conflict with Song dynastyIn a series of razzias from 1235 to 1245, the Mongols commanded by Ögedei's sons penetrated deep into the Song Dynasty and reached Chengdu, Xiangyang and Yangtze River. But they could not succeed in completing their conquest due to climate and the number of Song troops, and Ögedei's son Khochu died in the process. In 1240, Ögedei's other son Khuden dispatched a subsidiary expedition to Tibet. The situation between the two nations worsened when Song officers murdered Ögedei's envoys headed by Selmus.The Mongol expansion throughout the Asian continent under the leadership of Ögedei helped bring political stability and re-establish the Silk Road, the primary trading route between East and West.IndiaÖgedei appointed Dayir Baghatur in Ghazni and Menggetu noyan in Qonduz. In winter 1241 the Mongol force invaded the Indus valley and besieged Lahore, which was controlled by the Delhi Sultanate. However, Dayir Baghatur died storming the town, on 30 December 1241, and the Mongols butchered the town before withdrawing from the Delhi Sultanate.Some time after 1235 another Mongol force invaded Kashmir, stationing a darughachi there for several years. Soon Kashmir became a Mongolian dependency. Around the same time, a Kashmiri Buddhist master, Otochi, and his brother Namo arrived at the court of Ögedei.AdministrationÖgedei began the bureaucratization of Mongol administration. Three divisions constituted his administration: the Christian eastern Turks, represented by Chinqai, the Uyghur scribe, and the Keraites.the Islamic cycle, represented by two Khorazmians, Mahamud Yalavach, and Masud Beg.the North Chinese Confucian circle, represented by Yelu Chucai, a Khitan, and Nianhe Zhong-shan, a Jurchen.Mahamud Yalavach promoted a system in which the government would delegate tax collection to tax farmers who collect payments in silver. Yelu Chucai encouraged Ögedei to institute a traditional Chinese system of government, with taxation in the hands of government agents and payment in a government issued currency. The Muslim merchants, working with capital supplied by the Mongol aristocrats, loaned at higher interest the silver needed for tax payments. In particular, Ögedei actively invested in these ortoq enterprises. At the same time the Mongols began circulating paper currency backed by silver reserves.Ögedei abolished the branch departments of state affairs and divided the areas of Mongol-ruled China into ten routes according to the suggestion of Yelü Chucai. He also divided the empire into Beshbalik and Yanjing administration, while the headquarters in Karakorum directly dealt with Manchuria, Mongolia and Siberia. Late in his reign, Amu Darya administration was established. Turkestan was administered by Mahamud Yalavach, while Yelu Chucai administered North China from 1229 to 1240. Ögedei appointed Shigi Khutugh chief judge in China. In Iran, Ögedei appointed first Chin-temur, a Kara-kitai, and then Korguz, a Uyghur who proved to be honest administrator. Later, some of Yelu Chucai's duties were transferred to Mahamud Yalavach and taxes were handed over to Abd-ur-Rahman, who promised to double the annual payments of silver. The Ortoq or partner merchants lent Ögedei's money at exorbitant rates of interest to the peasants, though Ögedei banned considerably higher rates. Despite it proving profitable, many people fled their homes to avoid the tax collectors and their strong-arm gangs.Ögedei had imperial princes tutored by the Christian scribe Qadaq and the Taoist priest Li Zhichang and built schools and an academy. Ögedei Khan also decreed to issue paper currency backed by silk reserves and founded a Department responsible for destroying old notes. Yelu Chucai protested to Ögedei that his large-scale distribution of appanages in Iran, Western and North China, and Khorazm could lead to a disintegration of the Empire. Ögedei thus decreed that the Mongol nobles could appoint overseers in the appanages, but the court would appoint other officials and collect taxes.The Khagan proclaimed the Great Yassa as an integral body of precedents, confirming the continuing validity of his father's commands and ordinances, while adding his own. Ögedei codified rules of dress and conduct during the kurultais. Throughout the Empire, in 1234, he created postroad stations (Yam) with a permanent staff who would supply post riders' needs. Relay stations were set up every 25 miles and the yam staff supplied remounts to the envoys and served specified rations. The attached households were exempt from other taxes, but they had to pay a qubchuri tax to supply the goods. Ögedei ordered Chagatai and Batu to control their yams separately. The Khagan prohibited the nobility from issuing paizas (tablets that gave the bearer authority to demand goods and services from civilian populations) and jarliqs. Ögedei decreed that within decimal units one out of every 100 sheep of the well-off should be levied for the poor of the unit, and that one sheep and one mare from every herd should be forwarded to form a herd for the imperial table.KarakorumFrom 1235–38 Ögedei constructed a series of palaces and pavilions at stopping places in his annual nomadic route through central Mongolia. The first palace Wanangong was constructed by North Chinese artisans. The Emperor urged his relatives build residences nearby and settled the deported craftsmen from China near the site. The construction of the city, Karakorum (Хархорум), was finished in 1235, assigning different quarters to Islamic and North Chinese craftsmen, who competed to win Ögedei's favor. Earthen walls with 4 gates surrounded the city. Attached were private apartments, while in front of stood a giant stone tortoise bearing an engraved pillar, like those that were commonly used in East Asia. There was a castle with doors like the gates of the garden and a series of lakes where many water fowl gathered. Ögedei erected several houses of worship for his Buddhist, Muslim, Taoist, and Christian followers. In the Chinese ward, there was a Confucian temple where Yelu Chucai used to create or regulate a calendar on the Chinese model.CharacterÖgedei was also known to be a humble man, who did not believe himself to be a genius, and who was willing to listen to and use the great generals that his father left him, as well as those he himself found to be most capable. He was the Emperor (Khagan) but not a dictator. Like all Mongols at his time, he was raised and educated as a warrior from childhood, and as the son of Genghis Khan, he was a part of his father's plan to establish a world empire. His military experience was notable for his willingness to listen to his generals and adapt to circumstances. He was a pragmatic person, much like his father, and looked at the end rather than the means. His steadiness of character and dependability were the traits that his father most valued, and that gained him the role of successor to his father, despite his two older brothers.Ögedei was considered to be his father's favorite son, ever since his childhood. As an adult, he was known for his ability to sway doubters in any debate in which he was involved, simply by the force of his personality. He was a physically big, jovial, and charismatic man, who seemed mostly to be interested in enjoying good times. He was intelligent and steady in character. His charisma was partially credited for his success in keeping the Mongol Empire on the path that his father had set. Ögedei was a pragmatic man, though he made some mistakes during his reign. Ögedei had no delusions that he was his father's equal as a military commander or organizer and used the abilities of those he found most capable.Ögedei was well known for his alcoholism. Chagatai entrusted an official to watch his habit, but Ögedei managed to drink anyway. It is commonly told that Ögedei did so by vowing to reduce the number of cups he drank a day then having cups twice the size created for his personal use. When he died at dawn on 11 December 1241, after a late-night drinking bout with Abd-ur-Rahman, the people blamed the sister of Tolui's widow and Abd-ur-Rahman. The Mongol aristocrats recognized, however, that the Khagan's own lack of self-control had killed him.The sudden death of Tolui in 1232 seems to have affected Ögedei deeply. According to some sources, Tolui sacrificed his own life, accepting a poisoned drink in shamanist ritual in order to save Ögedei who was suffering from illness. Other sources say Ögedei orchestrated Tolui's death with the help of shamans who drugged the alcoholic Tolui.According to Pamela Kyle Crossley, a posthumous Yuan dynasty portrait of Ögodei depicts him as having a stocky build, a red beard, and hazel eyes. Contemporary Chinese authors such as Xu Ting wrote that Ögedei's beard was unusual for a Mongol because most had little facial hair.Alleged mass rapeAccording to Persian chroniclers, Ögedei ordered the rape of four thousand Oirat girls above the age of seven. These girls were then confiscated for Ögedei's harem or given to caravan hostels throughout the Mongol Empire for use as prostitutes. This move brought the Oirat and their lands under Ögedei's control following the death of Ögedei's sister Checheyigen, who previously controlled Oirat lands.Anne F. Broadbridge links an \"infamous alleged mass rape of Oirat girls\" to Ögedei's requisitioning of girls from his uncle Temüge Otchigin's territories without Temüge's approval. Broadbridge notes however that \"with all the evidence suppressed, this can only be a surmise\". The History of the Yuan or Yuanshi and Secret History of the Mongols speak of a forceful requisitioning of women by Ögedei "}
+{"doc_id":"doc_160","qid":"","text":"Passage 1:Dana BlanksteinDana Blankstein-Cohen (born March 3, 1981) is the executive director of the Sam Spiegel Film and Television School. She was appointed by the board of directors  in November2019.  Previously she was the CEO of the Israeli Academy of Film and Television. She is a film director, and an Israeli culture entrepreneur.BiographyDana Blankstein was born in Switzerland in 1981 to theatre directorDedi Baron and Professor Alexander Blankstein. She moved to Israel in 1983 and grew up in Tel Aviv.Blankstein graduated from the Sam Spiegel Film and Television School, Jerusalem in 2008 with high honors. Duringher studies she worked as a personal assistant to directors Savi Gabizon on his film Nina's Tragedies and to Renen Schorr on his film The Loners.  She also directed and shot 'the making of' film on Gavison's film Lostand Found. Her debut film Camping competed at the Berlin International Film Festival, 2007.Film and academic careerAfter her studies, Dana founded and directed the film and television department at the Kfar Sabamunicipality. The department encouraged and promoted productions filmed in the city of Kfar Saba, as well as the established cultural projects, and educational community activities.Blankstein directed the mini-series\"Tel Aviviot\" (2012). From 2016-2019 was the director of the Israeli Academy of Film and Television.In November 2019 Dana Blankstein Cohen was appointed the new director of the Sam Spiegel Film and TelevisionSchool where she also oversees the Sam Spiegel International Film Lab. In 2022, she spearheaded the launch of the new Series Lab and the film preparatory program for Arabic speakers in eastJerusalem.FilmographyTel Aviviot (mini-series; director, 2012)Growing Pains (graduation film, Sam Spiegel; director and screenwriter, 2008)Camping (debut film, Sam Spiegel; director and screenwriter, 2006)Passage2:Peter LevinPeter Levin is an American director of film, television and theatre.CareerSince 1967, Levin has amassed a large number of credits directing episodic television and television films. Some of his televisionseries credits include Love Is a Many Splendored Thing, James at 15, The Paper Chase, Family, Starsky & Hutch, Lou Grant, Fame, Cagney & Lacey, Law & Order and Judging Amy.Some of his television film creditsinclude Rape and Marriage: The Rideout Case (1980), A Reason to Live (1985), Popeye Doyle (1986), A Killer Among Us (1990), Queen Sized (2008) and among other films. He directed \"Heart in Hiding\", written by hiswife Audrey Davis Levin, for which she received an Emmy for Best Day Time Special in the 1970s.Prior to becoming a director, Levin worked as an actor in several Broadway productions. He costarred with SusanStrasberg in \"[The Diary of Ann Frank]\" but had to leave the production when he was drafted into the Army. He trained at the Carnegie Mellon University. Eventually becoming a theatre director, he directed productionsat the Long Wharf Theatre and the Pacific Resident Theatre Company. He also co-founded the off-off-Broadway Theatre [the Hardware Poets Playhouse] with his wife Audrey Davis Levin and was also an associate artistof The Interact Theatre Company.Passage 3:Michael GovanMichael Govan (born 1963) is the director of the Los Angeles County Museum of Art. Prior to his current position, Govan worked as the director of the Dia ArtFoundation in New York City.Early life and educationGovan was born in 1963 in North Adams, Massachusetts, and was raised in the Washington D.C. area, attending Sidwell Friends School.He majored in art history andfine arts at Williams College, where he met Thomas Krens, who was then director of the Williams College Museum of Art. Govan became closely involved with the museum, serving as acting curator as an undergraduate.After receiving his B.A. from Williams in 1985, Govan began an MFA in fine arts from the University of California, San Diego.CareerAs a twenty-five year old graduate student, Govan was recruited by his former mentorat Williams, Thomas Krens, who in 1988 had been appointed director of the Solomon R. Guggenheim Foundation. Govan served as deputy director of the Solomon R. Guggenheim Museum under Krens from 1988 to1994, a period that culminated in the construction and opening of the Frank Gehry designed Guggenheim branch in Bilbao, Spain. Govan supervised the reinstallation of the museum's permanent collection galleries afterits extensive renovation.Dia Art FoundationFrom 1994 to 2006, Govan was president and director of Dia Art Foundation in New York City. There, he spearheaded the conversion of a Nabisco box factory into the 300,000square foot Dia:Beacon in New York's Hudson Valley, which houses Dia's collection of art from the 1960s to the present. Built in a former Nabisco box factory, the critically acclaimed museum has been credited withcatalyzing a cultural and economic revival within the formerly factory-based city of Beacon. Dia's collection nearly doubled in size during Govan's tenure, but he also came under criticism for \"needlessly andpermanently\" closing Dia's West 22nd Street building. During his time at Dia, Govan also worked closely with artists James Turrell and Michael Heizer, becoming an ardent supporter of Roden Crater and City, the artists'respective site-specific land art projects under construction in the American southwest. Govan successfully lobbied Washington to have the 704,000 acres in central Nevada surrounding City declared a nationalmonument in 2015.LACMAIn February 2006, a search committee composed of eleven LACMA trustees, led by the late Nancy M. Daly, recruited Govan to run the Los Angeles County Museum of Art. Govan has statedthat he was drawn to the role not only because of LACMA's geographical distance from its European and east coast peers, but also because of the museum's relative youth, having been established in 1961. \"I felt thatbecause of this newness I had the opportunity to reconsider the museum,\" Govan has written, \"[and] Los Angeles is a good place to do that.\"Govan has been widely regarded for transforming LACMA into both a localand international landmark. Since Govan's arrival, LACMA has acquired by donation or purchase over 27,000 works for the permanent collection, and the museum's gallery space has almost doubled thanks to theaddition of two new buildings designed by Renzo Piano, the Broad Contemporary Art Museum (BCAM) and the Lynda and Stewart Resnick Pavilion. LACMA's annual attendance has grown from 600,000 to nearly 1.6million in 2016.Artist collaborationsSince his arrival, Govan has commissioned exhibition scenography and gallery designs in collaboration with artists. In 2006, for example, Govan invited LA artist John Baldessari todesign an upcoming exhibition about the Belgian surrealist René Magritte, resulting in a theatrical show that reflected the twisted perspective of the latter's topsy-turvy world. Baldessari has also designed LACMA's logo.Since then, Govan has also commissioned Cuban-American artist Jorge Pardo to design LACMA's Art of the Ancient Americas gallery, described in the Los Angeles Times as a \"gritty cavern deep inside the earth ...crossed with a high-style urban lounge.\"Govan has also commissioned several large-scale public artworks for LACMA's campus from contemporary California artists. These include Chris Burden's Urban Light (2008), aseries of 202 vintage street lamps from different neighborhoods in Los Angeles, arranged in front of the entrance pavilion, Barbara Kruger's Untitled (Shafted) (2008), Robert Irwin's Primal Palm Garden (2010), andMichael Heizer's Levitated Mass, a 340-ton boulder transported 100 miles from the Jurupa Valley to LACMA, a widely publicized journey that culminated with a large celebration on Wilshire Boulevard. Thanks in part tothe popularity of these public artworks, LACMA was ranked the fourth most instagrammed museum in the world in 2016.In his first three full years, the museum raised $251 million—about $100 million more than itcollected during the three years before he arrived. In 2010, it was announced that Govan will steer LACMA for at least six more years. In a letter dated February 24, 2013, Govan, along with the LACMA board'sco-chairmen Terry Semel and Andrew Gordon, proposed a merger with the financially troubled Museum of Contemporary Art, Los Angeles and a plan to raise $100 million for the combined museum.ZumthorProjectGovan's latest project is an ambitious building project, the replacement of four of the campus's aging buildings with a single new state of the art gallery building designed by architect Peter Zumthor. As ofJanuary 2017, he has raised about $300 million in commitments. Construction is expected to begin in 2018, and the new building will open in 2023, to coincide with the opening of the new D Line metro stop on WilshireBoulevard. The project also envisages dissolving all existing curatorial departments and departmental collections. Some commentators have been highly critical of Govan's plans. Joseph Giovannini, recalling Govan'stechnically unrealizable onetime plan to hang Jeff Koons' Train sculpture from the facade of the Ahmanson Gallery, has accused Govan of \"driving the institution over a cliff into an equivalent mid-air wreck of its own\".Describing the collection merging proposal as the creation of a \"giant raffle bowl of some 130,000 objects\", Giovannini also points out that the Zumthor building will contain 33% less gallery space than the galleries itwill replace, and that the linear footage of wall space available for displays will decrease by about 7,500 ft, or 1.5 miles. Faced with losing a building named in its honor, and anticipating that its acquisitions could nolonger be displayed, the Ahmanson Foundation withdrew its support.On the merging of the separate curatorial divisions to create a non-departmental art museum, Christopher Knight has pointed out that \"no othermuseum of LACMA's size and complexity does it\" that way, and characterized the museum's 2019 \"To Rome and Back\" exhibition, the first to take place under the new scheme, as \"bland and ineffectual\" and an\"unsuccessful sample of what's to come\".Personal lifeGovan is married and has two daughters, one from a previous marriage. He and his family used to live in a $6 million mansion in Hancock Park that was provided byLACMA - a benefit worth $155,000 a year, according to most recent tax filings - until LACMA decided that it would sell the property to make up for the museum's of almost $900 million in debt [2]. That home is nowworth nearly $8 million and Govan now lives in a trailer park in Malibu's Point Dume region.Los Angeles CA 90020United States. He has had a private pilot's license since 1995 and keeps a 1979 Beechcraft Bonanza atSanta Monica Airport.Passage 4:Olav AaraasOlav Aaraas (born 10 July 1950) is a Norwegian historian and museum director.He was born in Fredrikstad. From 1982 to 1993 he was the director of Sogn Folk Museum,from 1993 to 2010 he was the director of Maihaugen and from 2001 he has been the director of the Norwegian Museum of Cultural History. In 2010 he was decorated with the Royal Norwegian Order of St. Olav.Passage5:Brian Kennedy (gallery director)Brian Patrick Kennedy (born 5 November 1961) is an Irish-born art museum director who has worked in Ireland and Australia, and now lives and works in the United States.  He wasthe director of the Peabody Essex Museum in Salem for 17 months, resigning December 31, 2020. He was the director of the Toledo Museum of Art in Ohio from 2010 to 2019. He was the director of the Hood Museumof Art from 2005 to 2010, and the National Gallery of Australia (Canberra) from 1997 to 2004.CareerBrian Kennedy currently lives and works in the United States after leaving Australia in 2005 to direct the HoodMuseum of Art at Dartmouth College. In October 2010 he became the ninth Director of the Toledo Museum of Art. On 1 July 2019, he succeeded Dan Monroe as the executive director and CEO of the Peabody EssexMuseum.Early life and career in IrelandKennedy was born in Dublin and attended Clonkeen College. He received B.A. (1982), M.A. (1985) and PhD (1989) degrees from University College-Dublin, where he studied bothart history and history.He worked in the Irish Department of Education (1982), the European Commission, Brussels (1983), and in Ireland at the Chester Beatty Library (1983–85), Government Publications Office(1985–86), and Department of Finance (1986–89). He married Mary Fiona Carlin in 1988.He was Assistant Director at the National Gallery of Ireland in Dublin from 1989 to 1997. He was Chair of the Irish Association ofArt Historians from 1996 to 1997, and of the Council of Australian Art Museum Directors from 2001 to 2003. In September 1997 he became Director of the National Gallery of Australia.National Gallery of Australia(NGA)Kennedy expanded the traveling exhibitions and loans program throughout Australia, arranged for several major shows of Australian art abroad, increased the number of exhibitions at the museum itself andoversaw the development of an extensive multi-media site.  Although he oversaw several years of the museum's highest ever annual visitation, he discontinued the emphasis of his predecessor, Betty Churcher, onshowing \"blockbuster\" exhibitions.During his directorship, the NGA gained government support for improving the building and significant private donations and corporate sponsorship. However, the initial design for thebuilding proved controversial generating a public dispute with the original architect on moral rights grounds.  As a result, the project was not delivered during Dr Kennedy's tenure, with a significantly altered designcompleted some years later.  Private funding supported two acquisitions of British art, including David Hockney's A Bigger Grand Canyon in 1999, and Lucian Freud's After Cézanne in 2001. Kennedy built on theestablished collections at the museum by acquiring the Holmgren-Spertus collection of Indonesian textiles; the Kenneth Tyler collection of editioned prints, screens, multiples and unique proofs; and the Australian PrintWorkshop Archive. He was also notable for campaigning for the construction of a new \"front\" entrance to the Gallery, facing King Edward Terrace, which was completed in 2010 (see reference to the building projectabove).Kennedy's cancellation of the \"Sensation exhibition\" (scheduled at the NGA from 2 June 2000 to 13 August 2000) was controversial, and seen by some as censorship. He claimed that the decision was due to theexhibition being \"too close to the market\" implying that a national cultural institution cannot exhibit the private collection of a speculative art investor. However, there were other exhibitions at the NGA during histenure, which could have raised similar concerns. The exhibition featured the privately owned Young British Artists works belonging to Charles Saatchi and attracted large attendances in London and Brooklyn. Its mostcontroversial work was Chris Ofili's The Holy Virgin Mary, a painting which used elephant dung and was accused of being blasphemous. The then-mayor of New York, Rudolph Giuliani, campaigned against the exhibition,claiming it was \"Catholic-bashing\" and an \"aggressive, vicious, disgusting attack on religion.\" In November 1999, Kennedy cancelled the exhibition and stated that the events in New York had \"obscured discussion of theartistic merit of the works of art\". He has said that it \"was the toughest decision of my professional life, so far.\"Kennedy was also repeatedly questioned on his management of a range of issues during the AustralianGovernment's Senate Estimates process - particularly on the NGA's occupational health and safety record and concerns about the NGA's twenty-year-old air-conditioning system. The air-conditioning was finallyrenovated in 2003. Kennedy announced in 2002 that he would not seek extension of his contract beyond 2004, accepting a seven-year term as had his two predecessors.He became a joint Irish-Australian citizen in2003.Toledo Museum of ArtThe Toledo Museum of Art is known for its exceptional collections of European and American paintings and sculpture, glass, antiquities, artist books, Japanese prints and netsuke. Themuseum offers free admission and is recognized for its historical leadership in the field of art education.  During his tenure, Kennedy has focused the museum's art education efforts on visual literacy, which he defines as\"learning to read, understand and write visual language.\"   Initiatives have included baby and toddler tours, specialized training for all staff, docents, volunteers and the launch of a website, www.vislit.org. In November2014, the museum hosted the International Visual Literacy Association (IVLA) conference, the first Museum to do so. Kennedy has been a frequent speaker on the topic, including 2010 and 2013 TEDx talks on visualand sensory literacy.Kennedy has expressed an interest in expanding the museum's collection of contemporary art and art by indigenous peoples. Works by Frank Stella, Sean Scully, Jaume Plensa, Ravinder Reddy andMary Sibande have been acquired.  In addition, the museum has made major acquisitions of Old Master paintings by Frans Hals and Luca Giordano.During his tenure the Toledo Museum of Art has announced the returnof several objects from its collection due to claims the objects were stolen and/or illegally exported prior being sold to the museum.  In 2011 a Meissen sweetmeat stand was returned to Germany followed by anEtruscan Kalpis or water jug to Italy (2013), an Indian sculpture of Ganesha (2014) and an astrological compendium to Germany in 2015.Hood Museum of ArtKennedy became Director of the Hood Museum of Art in July2005. During his tenure, he implemented a series of large and small-scale exhibitions and oversaw the production of more than 20 publications to bring greater public attention to the museum's remarkable collections ofthe arts of America, Europe, Africa, Papua New Guinea and the Polar regions. At 70,000 objects, the Hood has one of the largest collections on any American college of university campus. The exhibition, BlackWomanhood: Images, Icons, and Ideologies of the African Body, toured several US venues. Kennedy increased campus curricular use of works of art, with thousands of objects pulled from storage for classes annually.Numerous acquisitions were made with the museum's generous endowments, and he curated several exhibitions: including Wenda Gu: Forest of Stone Steles: Retranslation and Rewriting Tang Dynasty Poetry, SeanScully: The Art of the Stripe, and Frank Stella: Irregular Polygons.PublicationsKennedy has written or edited a number of books on art, including:Alfred Chester Beatty and Ireland 1950-1968: A study in cultural politics,Glendale Press (1988), ISBN 978-0-907606-49-9Dreams and responsibilities: The state and arts in independent Ireland, Arts Council of Ireland (1990), ISBN 978-0-906627-32-7Jack B Yeats: Jack Butler Yeats,1871-1957 (Lives of Irish Artists), Unipub (October 1991), ISBN 978-0-948524-24-0The Anatomy Lesson: Art and Medicine (with Davis Coakley), National Gallery of Ireland (January 1992), ISBN978-0-903162-65-4Ireland: Art into History (with Raymond Gillespie), Roberts Rinehart Publishers (1994), ISBN 978-1-57098-005-3Irish Painting, Roberts Rinehart Publishers (November 1997),  ISBN978-1-86059-059-7Sean Scully: The Art of the Stripe, Hood Museum of Art (October 2008), ISBN 978-0-944722-34-3Frank Stella: Irregular Polygons, 1965-1966, Hood Museum of Art (October 2010), ISBN978-0-944722-39-8Honors and achievementsKennedy was awarded the Australian Centenary Medal in 2001 for service to Australian Society and its art. He is a trustee and treasurer of the Association of Art MuseumDirectors, a peer reviewer for the American Association of Museums and a member of the International Association of Art Critics. In 2013 he was appointed inaugural eminent professor at the University of Toledo andreceived an honorary doctorate from Lourdes University. Most recently, Kennedy received the 2014 Northwest Region, Ohio Art Education Association award for distinguished educator for art education.== Notes==Passage 6:Ian Barry (director)Ian Barry is an Australian director of film and TV.Select creditsWaiting for Lucas (1973) (short)Stone (1974) (editor only)The Chain Reaction (1980)Whose Baby? (1986)(mini-series)Minnamurra (1989)Bodysurfer (1989) (mini-series)Ring of Scorpio (1990) (mini-series)Crimebroker (1993)Inferno (1998) (TV movie)Miss Lettie and Me (2002) (TV movie)Not Quite Hollywood: The Wild,Untold Story of Ozploitation! (2008) (documentary)The Doctor Blake Mysteries (2013)Passage 7:Neema BarnetteNeema Barnette is an American film director and producer, and the first African-American woman to"}
+{"doc_id":"doc_161","qid":"","text":"Passage 1:Arthur BeauchampArthur Beauchamp (1827 – 28 April 1910) was a Member of Parliament from New Zealand. He is remembered as the father of Harold Beauchamp, who rose to fame as chairman of the Bank of New Zealand and was the father of writer Katherine Mansfield.BiographyBeauchamp came to Nelson from Australia on the Lalla Rookh, arriving on 23 February 1861.He lived much of his life in a number of locations around the top of the South Island, also Whanganui when Harold was 11 for seven years and then to the capital (Wellington). Then south to Christchurch and finally Picton and the Sounds. He had business failures and was bankrupted twice, in 1879 and 1884. He married Mary Stanley on the Victorian goldfields in 1854; Arthur and Mary lived in 18 locations over half a century, and are buried in Picton. Six of their ten children born between 1855 and 1893 died, including the first two sons born before Harold.Beauchamp represented the Picton electorate from 1866 to 1867, when he resigned.  He had the energy and sociability required for politics, but not the private income then required to be a parliamentarian. He supported the working man and the subdivision of big estates, opposed the confiscation of Māori land and was later recognised as a founding Liberal, the party that Harold supported and was a \"fixer\" for. Yska calls their life an extended chronicle of rootlessness, business failure and almost ceaseless family tragedy and Harold called his father a rolling stone by instinct. Arthur also served on the council of Marlborough Province and is best-remembered for a 10-hour speech to that body when an attempt was made to relocate the capital from Picton to Blenheim.In 1866 he attempted to sue the Speaker of the House, David Monro. At the time the extent of privilege held by Members of Parliament was unclear; a select committee ruled that the case could proceed, but with a stay until after the parliamentary session.See alsoYska, Redmer (2017). A Strange Beautiful Excitement: Katherine Mansfield's Wellington 1888-1903. Dunedin: Otago University Press. pp. 91–99. ISBN 978-0-947522-54-4.Passage 2:David Hyrum SmithDavid Hyrum Smith (November 17, 1844 – August 29, 1904) was an American religious leader, poet, painter, singer, philosopher, and naturalist. The youngest son of Joseph Smith and Emma Hale Smith, he was an influential missionary and leader in the Reorganized Church of Jesus Christ of Latter Day Saints (RLDS Church). He was born approximately five months after the murder of his father. Joseph told Emma before he died what the child's name should be. From December 1847, David was raised by his mother and her second husband, Lewis C. Bidamon.Smith was a highly effective missionary for the RLDS Church. From 1865 to 1873, he conducted missionary trips throughout the Midwest, Utah Territory, and California, debating preachers of different theologies, including representatives of the Church of Jesus Christ of Latter-day Saints (LDS Church). From 1873 to 1885, Smith was a counselor to his brother Joseph Smith III in the First Presidency of the RLDS Church. Later David's son Elbert A. Smith became a member of the First Presidency and a Presiding Patriarch in the RLDS Church.Smith was called the \"Sweet Singer of Israel\" because many who knew him, who heard him sing and joined him in song, said that he was the most inspiring singer of God they had encountered. The Joseph Smith Historic Site, maintained by the Community of Christ, houses Smith's original paintings of Nauvoo, Illinois.In a 1998 biography of Smith, From Mission to Madness: Last Son of the Mormon Prophet, author Valeen Tippetts Avery describes Smith's mental deterioration, starting with a probable breakdown early in 1870. In an 1869 letter to his mother, Emma Smith Bidamon, Smith had written at age 24:   Mother I must tell you ... I feel very sad and the tears run out of my eyes all the time and I don't know why. ... strive as I will my heart sinks like lead. ... I must tell someone my troubles.Smith was confined to Northern Illinois Hospital and Asylum for the Insane beginning in 1877. He was held there for most of 27 years, dying in the hospital in 1904. Avery's biography draws on a large body of Smith's correspondence and poetry to examine both his personality and his emotional state.NotesPassage 3:John Crockett (frontiersman)John Crockett (circa 1753 – after 1802) was an American frontiersman and soldier, and the father of David \"Davy\" Crockett.Early lifeCrockett was born about 1753 in either Maryland or Frederick County, Virginia. \"Davy\" Crockett said in his autobiography that John Crockett was born either in Ireland or during the journey from Ireland to America; but later scholars disagreed, saying this had been John's father, also named David. His ancestors were of Scotch-Irish and possible Huguenot backgrounds. The Crockett/Crocketague name is a Registered Lineage with the Huguenot Society of the Founders of Manakin in the Colony of Virginia (FMCV)  though \"Davy\" Crockett does not mention it in his autobiography.In 1775 or 1780, Crockett married Rebecca Hawkins, from Maryland.Father and family heads westIn 1776, David Crockett and the growing family moved to the Washington District in what is now the northeastern tip of Tennessee, near Rogersville, Tennessee.Father's demiseIn 1777, David Crockett and part of the family were killed in a Chickamauga Cherokee raid, led by Dragging Canoe, at the onset of the Cherokee–American wars. After the attack, the remaining Crocketts sold the property to a new settler in the area, a French Huguenot man, Colonel Thomas Amis.Military careerDuring the American War for Independence, Crockett fought along with the Overmountain Men from west of the Appalachians. The Overmountain Men often crossed the mountains to face the British in the war's southern campaign. Crockett fought at the Battle of Kings Mountain in 1780, a major victory for the colonists.Later life and workA respected man in the area, Crockett later became a magistrate, a farmer, and an unsuccessful land speculator. The family lived in what is now Greene County, Tennessee, close to the Nolichucky River and near the community of Limestone. It was here, at a location now commemorated as Davy Crockett Birthplace State Park, that David \"Davy\" Crockett was born in 1786. He was the fifth of the nine Crockett children, and was named for his grandfather. At the time of his birth, the area was part of the autonomous State of Franklin. In 1788, Crockett was justice of the court when a young Andrew Jackson received his law license according to some genealogies.After a flood destroyed their house, the Crocketts moved to the Morristown, Tennessee area (1792) and built a tavern on a newly constructed stage road between Abingdon, Virginia and Knoxville, Tennessee. The Crockett Tavern Museum now stands on the site, housed in a reconstruction of the tavern.Young \"Davy\" helps outIn 1798, when David was 12, Crockett hired him out to Jacob Siler to drive cattle. After young David fulfilled his original obligation to Siler, he returned to his father's home. The family sent Davy to a school that had been established nearby, but he did not like school and quit attending after a few days. The elder Crockett was drunk when he learned his son was avoiding school and he punished Davy severely, leading him to flee and stay away for years. David Crockett returned in 1802 and helped pay off his father's debts.DeathIt's not clear when Crockett died, though some genealogies have his year of death as 1834.Crockett family treePassage 4:Jorge TrezeguetJorge Ernesto Trezeguet (born 13 May 1951) is an Argentine former professional footballer who played as a defender. He is the father of David Trezeguet.CareerTrezeguet played for Estudiantes (BA), Almagro, Deportivo Español, Sportivo Italiano, El Porvenir and Chacarita Juniors in Argentina, as well as FC Rouen in France. It was while playing for Rouen that his son David was born.He was provisionally banned for failing a doping control in 1974 while playing for Estudiantes (BA) in the second-tier Primera B Nacional along with two teammates. He was subsequently pardoned, but his career was adversely impacted by the allegations.Trezeguet later in his career worked as a physical trainer. Currently he is the agent for his son David as well as a European scout for Juventus.Passage 5:Cleomenes IICleomenes II (Greek: Κλεομένης; died 309 BC) was king of Sparta from 370 to 309 BC. He was the second son of Cleombrotus I, and grandfather of Areus I, who succeeded him. Although he reigned for more than 60 years, his life is completely unknown, apart from a victory at the Pythian Games in 336 BC. Several theories have been suggested by modern historians to explain such inactivity, but none has gained consensus.Life and reignCleomenes was the second son of king Cleombrotus I (r. 380–371), who belonged to the Agiad dynasty, one of the two royal families of Sparta (the other being the Eurypontids). Cleombrotus died fighting Thebes at the famous Battle of Leuctra in 371. His eldest son Agesipolis II succeeded him, but he died soon after in 370. Cleomenes' reign was instead exceptionally long, lasting 60 years and 10 months according to Diodorus of Sicily, a historian of the 1st century BC. In a second statement, Diodorus nevertheless tells that Cleomenes II reigned 34 years, but he confused him with his namesake Cleomenes I (r. 524–490).Despite the outstanding length of his reign, very little can be said about Cleomenes. He has been described by modern historians as a \"nonentity\". Perhaps that the apparent weakness of Cleomenes inspired the negative opinion of the hereditary kingship at Sparta expressed by Aristotle in his Politics (written between 336 and 322). However, Cleomenes may have focused on internal politics within Sparta, because military duties were apparently given to the Eurypontid Agesilaus II (r. 400–c.360), Archidamus III (r. 360–338), and Agis III (r. 338–331). As the Spartans notably kept their policies secret from foreign eyes, it would explain the silence of ancient sources on Cleomenes. Another explanation is that his duties were assumed by his elder son Acrotatus, described as a military leader by Diodorus, who mentions him in the aftermath of the Battle of Megalopolis in 331, and again in 315.Cleomenes' only known deed was his chariot race victory at the Pythian Games in Delphi in 336. In the following autumn, he gave the small sum of 510 drachmas for the reconstruction of the Temple of Apollo at Delphi, which had been destroyed by an earthquake in 373. Cleomenes might have made this gift as a pretext to go to Delphi and engage in informal diplomacy with other Greek states, possibly to discuss the consequences of the recent assassination of the Macedonian king Philip II.One short witticism of Cleomenes regarding cockfighting is preserved in the Moralia, written by the philosopher Plutarch in the early 2nd century AD:Somebody promised to give to Cleomenes cocks that would die fighting, but he retorted, \"No, don't, but give me those that kill fighting.\"As Acrotatus died before Cleomenes, the latter's grandson Areus I succeeded him while still very young, so Cleomenes' second son Cleonymus acted as regent until Areus' majority. Some modern scholars also give Cleomenes a daughter named Archidamia, who played an important role during Pyrrhus' invasion of the Peloponnese, but the age difference makes it unlikely.Passage 6:Obata ToramoriObata Toramori (\u0000\u0000\u0000\u0000, 1491 – July 14, 1561) was Japanese samurai warrior of the Sengoku Period. He is known as one of the \"Twenty-Four Generals of Takeda Shingen\" He also recorded as having been wounded 41 times in 36 encounters. He was the father of Obata Masamori.See alsoIsao ObataPassage 7:AnacyndaraxesAnacyndaraxes (Greek: \u0000νακυνδαράξης) was the father of Sardanapalus, king of Assyria.Notes This article incorporates text from a publication now in the public domain: Smith, William, ed. (1870). \"Anacyndaraxes\". Dictionary of Greek and Roman Biography and Mythology. Vol. 1. p. 157-158.Passage 8:Joseph SmithJoseph Smith Jr. (December 23, 1805 – June 27, 1844) was an American religious leader and the founder of Mormonism and the Latter Day Saint movement. Publishing the Book of Mormon at the age of 24, Smith had attracted tens of thousands of followers by the time of his death fourteen years later. The religion he founded continues to the present day, with millions of global adherents and several churches claiming Smith as their founder, the largest being The Church of Jesus Christ of Latter-day Saints (LDS Church).Born in Sharon, Vermont, Smith moved with his family to the western region of New York State, following a series of crop failures in 1816. Living in an area of intense religious revivalism during the Second Great Awakening, Smith reported experiencing a series of visions. The first of these was in 1820, when he saw \"two personages\" (whom he eventually described as God the Father and Jesus Christ). In 1823, he said he was visited by an angel who directed him to a buried book of golden plates inscribed with a Judeo-Christian history of an ancient American civilization. In 1830, Smith published the Book of Mormon, which he described as an English translation of those plates. The same year he organized the Church of Christ, calling it a restoration of the early Christian Church. Members of the church were later called \"Latter Day Saints\" or \"Mormons\".In 1831, Smith and his followers moved west, planning to build a communal Zion in the American heartland. They first gathered in Kirtland, Ohio, and established an outpost in Independence, Missouri, which was intended to be Zion's \"center place\". During the 1830s, Smith sent out missionaries, published revelations, and supervised construction of the Kirtland Temple. Because of the collapse of the church-sponsored Kirtland Safety Society, violent skirmishes with non-Mormon Missourians, and the Mormon extermination order, Smith and his followers established a new settlement at Nauvoo, Illinois, of which he was the spiritual and political leader. In 1844, when the Nauvoo Expositor criticized Smith's power and his practice of polygamy, Smith and the Nauvoo City Council ordered the destruction of its printing press, inflaming anti-Mormon sentiment. Fearing an invasion of Nauvoo, Smith rode to Carthage, Illinois, to stand trial, but was killed when a mob stormed the jailhouse.During his ministry, Smith published numerous documents and texts, many of which he attributed to divine inspiration and revelation from God. He dictated the majority of these in the first-person, saying they were the writings of ancient prophets or expressed the voice of God. His followers accepted his teachings as prophetic and revelatory, and several of these texts were canonized by denominations of the Latter Day Saint movement, which continue to treat them as scripture. Smith's teachings discuss God's nature, cosmology, family structures, political organization, and religious community and authority. Mormons generally regard Smith as a prophet comparable to Moses and Elijah. Several religious denominations identify as the continuation of the church that he organized, including the LDS Church and the Community of Christ.LifeEarly years (1805–1827)Joseph Smith was born on December 23, 1805, in Vermont, on the border between the villages of South Royalton and Sharon, to Lucy Mack Smith and her husband Joseph Smith Sr., a merchant and farmer. He was one of eleven children. At the age of seven, Smith suffered a crippling bone infection and, after receiving surgery, used crutches for three years. After an ill-fated business venture and three successive years of crop failures culminating in the 1816 Year Without a Summer, the Smith family left Vermont and moved to the western region of New York State, and took out a mortgage on a 100-acre (40 ha) farm in the townships of Palmyra and Manchester.The region was a hotbed of religious enthusiasm during the Second Great Awakening. Between 1817 and 1825, there were several camp meetings and revivals in the Palmyra area. Smith's parents disagreed about religion, but the family was caught up in this excitement. Smith later recounted that he had become interested in religion by age 12, and as a teenager, may have been sympathetic to Methodism. With other family members, he also engaged in religious folk magic, a relatively common practice in that time and place. Both his parents and his maternal grandfather reported having visions or dreams that they believed communicated messages from God. Smith said that, although he had become concerned about the welfare of his soul, he was confused by the claims of competing religious denominations.Years later, Smith wrote that he had received a vision that resolved his religious confusion. He said that in 1820, while he had been praying in a wooded area near his home, God the Father and Jesus Christ together appeared to him, told him his sins were forgiven, and said that all contemporary churches had \"turned aside from the gospel.\" Smith said he recounted the experience to a Methodist minister, who dismissed the story \"with great contempt\". According to historian Steven C. Harper, \" There is no evidence in the historical record that Joseph Smith told anyone but the minister of his vision for at least a decade\", and Smith might have kept it private because of how uncomfortable that first dismissal was. During the 1830s, Smith orally described the vision to some of his followers, though it was not widely published among Mormons until the 1840s. This vision later grew in importance to Smith's followers, who eventually regarded it as the first event in the restoration of Christ's church to Earth. Smith himself may have originally considered the vision to be a personal conversion.According to Smith's later accounts, while praying one night in 1823, he was visited by an angel named Moroni. Smith claimed this angel revealed the location of a buried book made of golden plates, as well as other artifacts including a breastplate and a set of interpreters composed of two seer stones set in a frame, which had been hidden in a hill near his home. Smith said he attempted to remove the plates the next morning, but was unsuccessful because Moroni returned and prevented him. He reported that during the next four years he made annual visits to the hill, but, until the fourth and final visit, each time he returned without the plates.Meanwhile, Smith's family faced financial hardship, due in part to the death of his oldest brother Alvin, who had assumed a leadership role in the family. Family members supplemented their meager farm income by hiring out for odd jobs and working as treasure seekers, a type of magical supernaturalism common during the period. Smith was said to have an ability to locate lost items by looking into a seer stone, which he also used in treasure hunting, including, beginning in 1825, several unsuccessful attempts to find buried treasure sponsored by Josiah Stowell, a wealthy farmer in Chenango County. In 1826, Smith was brought before a Chenango County court for \"glass-looking\", or pretending to find lost treasure; Stowell's relatives accused Smith of tricking Stowell and faking an ability to perceive hidden treasure, though Stowell attested that he believed Smith had such abilities. The result of the proceeding remains unclear because primary sources report conflicting outcomes.While boarding at the Hale house, located in the township of Harmony (now Oakland) in Pennsylvania, Smith met and courted Emma Hale. When he proposed marriage, her father, Isaac Hale, objected; he believed Smith had no means to support his daughter. Hale also considered Smith a stranger who appeared \"careless\" and \"not very well educated.\" Smith and Emma eloped and married on January 18, 1827, after which the couple began boarding with Smith's parents in Manchester. Later that year, when Smith promised to abandon treasure seeking, his father-in-law offered to let the couple live on his property in Harmony and help Smith get started in business.Smith made his last visit to the hill shortly after midnight on September 22, 1827, taking Emma with him. This time, he said he successfully retrieved the plates. Smith said Moroni commanded him not to show the plates to anyone else, but to translate them and publish their translation. He also said the plates were a religious record of Middle-Eastern indigenous Americans and were engraved in an unknown language, called reformed Egyptian. He told associates that he was capable of reading and translating them.Although Smith had abandoned treasure hunting, former associates believed he had double crossed them and had taken the golden plates for himself, property they believed should be jointly shared. After they ransacked places where they believed the plates might have been hidden, Smith decided to leave Palmyra.Founding a church (1827–1830)In October 1827, Smith and Emma permanently moved to Harmony, aided by a relatively prosperous neighbor, Martin "}
+{"doc_id":"doc_162","qid":"","text":"Passage 1:Mark RockefellerMark Fitler Rockefeller (born January 26, 1967) is a fourth-generation member of the Rockefeller family. He is the younger son of former U.S. Vice President Nelson A. Rockefeller(1908–1979) and Happy Rockefeller (1926–2015). Through his father, Rockefeller is a grandson of American financer John D. Rockefeller Jr. and a great-grandson of Standard Oil co-founder John D. Rockefeller. He waschairman of the board of directors of the National Fish and Wildlife Foundation in 2010.Early lifeRockefeller grew up at Kykuit, the central mansion at his family's estate in Pocantico, Westchester County, in New YorkState. He is an alumnus of the Buckley School, Deerfield Academy (1985), Princeton University (BA 1989), and Harvard University (MBA 1996). He played football, basketball, and baseball at Deerfield, and playedfootball at Princeton as a walk-on.CareerRockefeller and his former wife own South Fork Lodge and South Fork Outfitters, both in Swan Valley, Idaho. Previously, he was an associate in the Acquisition Finance Group atChase Securities, Inc.In 1999 he was elected chairman of the non-profit organization, Historic Hudson Valley, founded by his grandfather, John D. Rockefeller Jr. in 1951. Mark Rockefeller's older brother, NelsonRockefeller Jr., has also served on its board.In a 2013 article about federal farm subsidy programs, the New York Post reported that 1,500 affluent New Yorkers had received payments. Among them was Rockefeller,who received $342,634 in farm subsidies over the course of ten years from 2001 to 2011 for allowing farmland to return to its natural condition.Personal lifeIn 1998, Rockefeller married Renee Anne Anisko (born 1968)at the Church of the Magdalene in Pocantico Hills. She has a Juris Doctor degree cum laude from the Temple University Beasley School of Law. They have four children. They divorced in 2020.Passage 2:Where WasI\"Where Was I?\" may refer to:Books\"Where Was I?\", essay by David Hawley Sanford from The Mind's IWhere Was I?, book by John Haycraft 2006Where was I?!, book by Terry Wogan 2009Film and TVWhere Was I?(film), 1925 film directed by William A. Seiter. With Reginald Denny, Marian Nixon, Pauline Garon, Lee Moran.Where Was I? (2001 film), biography about songwriter Tim RoseWhere Was I? (TV series) 1952–1953 Quizshow with the panelists attempting to guess a location by looking at photos\"Where Was I?\" episode of Shoestring (TV series) 1980Music\"Where was I\", song by W. Franke Harling and Al Dubin performed by RubyNewman and His Orchestra  with vocal chorus by  Larry Taylor and Peggy McCall  1939\"Where Was I\", single from Charley Pride discography 1988\"Where Was I\" (song), a 1994 song by Ricky Van Shelton\"Where Was I(Donde Estuve Yo)\", song by Joe Pass from Simplicity (Joe Pass album)\"Where Was I?\", song by Guttermouth from The Album Formerly Known as a Full Length LP (Guttermouth album)\"Where Was I\", song by SawyerBrown (Billy Maddox, Paul Thorn, Anne Graham) from Can You Hear Me Now 2002\"Where Was I?\", song  by  Kenny Wayne Shepherd from Live On  1999\"Where Was I\", song by Melanie Laine (Victoria Banks, SteveFox) from Time Flies (Melanie Laine album)\"Where Was I\", song by Rosie Thomas from With Love (Rosie Thomas album)Passage 3:Dance of Death (disambiguation)Dance of Death, also called Danse Macabre, is alate-medieval allegory of the universality of death.Dance of Death or The Dance of Death may also refer to:BooksDance of Death, a 1938 novel by Helen McCloyDance of Death (Stine novel), a 1997 novel by R. L.StineDance of Death (novel), a 2005 novel by Douglas Preston and Lincoln ChildTheatre and filmThe Dance of Death (Strindberg play), a 1900 play by August StrindbergThe Dance of Death, a 1908 play by FrankWedekindThe Dance of Death (Auden play), a 1933 play by W. H. AudenFilmThe Death Dance, a 1918 drama starring Alice BradyThe Dance of Death (1912 film), a German silent filmThe Dance of Death (1919 film), anAustrian silent filmThe Dance of Death (1938 film), crime drama starring Vesta Victoria; screenplay by Ralph DawsonThe Dance of Death (1948 film), French-Italian drama based on Strindberg's play, starring Erich vonStroheimThe Dance of Death (1967 film), a West German drama filmDance of Death or House of Evil, 1968 Mexican horror film starring Boris KarloffDance of Death (1969 film), a film based on Strindberg's play,starring Laurence OlivierDance of Death (1979 film), a Hong Kong film featuring Paul ChunMusicDance of Death (album), a 2003 album by Iron Maiden, or the title songThe Dance of Death & Other Plantation Favorites,a 1964 album by John FaheyThe Dance of Death (Scaramanga Six album)\"Death Dance\", a 2016 song by SevendustSee alsoDance of the Dead (disambiguation)Danse Macabre (disambiguation)Bon Odori, a Japanesetraditional dance welcoming the spirits of the deadLa danse des morts, an oratorio by Arthur HoneggerTotentanz (disambiguation)Passage 4:John I, Duke of ClevesJohn I, Duke of Cleves, Count of Mark (16 February1419 – 5 September 1481). Jean de Belliqueux (warlike), was Duke of Cleves and Count of Mark.LifeJohn was the son of Adolph I, Duke of Cleves and Mary of Burgundy. He was raised in Brussels at the Burgundiancourt of his uncle Philip the Good. He ruled Cleves from 1448 from 1481, and Mark since 1461 after the death of his uncle Gerhard who had waged war on his own brother.John fought 3 wars with the Electorate ofCologne and finally defeated Ruprecht of the Palatinate, conquering the cities of Xanten and Soest. In these wars, he was supported by his uncle Philip the Good, bringing Cleves-Mark into the Burgundian sphere ofinfluence. His marriage with Elisabeth Countess of Nevers, from a sideline of the House of Burgundy, only strengthened this influence. John also took sides in the Münster Diocesan Feud supporting the aspirations of theHouse of Hoya to the episcopacy in Münster.John was also made a Knight in the Burgundian Order of the Golden Fleece in 1451, with which he was depicted by Rogier van der Weyden. In 1473 he helped the BurgundianDuke Charles the Bold conquer the Duchy of Guelders.Marriage and childrenOn 22 April 1455, John married Elizabeth of Nevers, daughter of John II, Count of Nevers.They had:John II, Duke of Cleves (13 April 1458 –15 March 1521); married 3 November 1489 Matilda of HesseAdolf (1461–1498); a canon of LiegeEngelbert, Count of Nevers (26 September 1462 – 21 November 1506); married 23 February 1489 Charlotte deBourbon-VendômeDietrich (1464)Marie of Cleves (1465–1513)Philip of Cleves (1467–1505); Bishop of Nevers, Amiens and AutunAncestryPassage 5:Place of birthThe place of birth (POB) or birthplace is the place wherea person was born. This place is often used in legal documents, together with name and date of birth, to uniquely identify a person. Practice regarding whether this place should be a country, a territory or acity/town/locality differs in different countries, but often city or territory is used for native-born citizen passports and countries for foreign-born ones.As a general rule with respect to passports, if the place of birth is tobe a country, it's determined to be the country that currently has sovereignty over the actual place of birth, regardless of when the birth actually occurred. The place of birth is not necessarily the place where theparents of the new baby live. If the baby is born in a hospital in another place, that place is the place of birth. In many countries, this also means that the government requires that the birth of the new baby is registeredin the place of birth.Some countries place less or no importance on the place of birth, instead using alternative geographical characteristics for the purpose of identity documents. For example, Sweden has used theconcept of födelsehemort (\"domicile of birth\") since 1947. This means that the domicile of the baby's mother is the registered place of birth. The location of the maternity ward or other physical birthplace is consideredunimportant.Similarly, Switzerland uses the concept of place of origin. A child born to Swiss parents is automatically assigned the place of origin of the parent with the same last name, so the child either gets theirmother's or father's place of origin. A child born to one Swiss parent and one foreign parent acquires the place of origin of their Swiss parent. In a Swiss passport and identity card, the holder's place of origin is stated,not their place of birth. In Japan, the registered domicile is a similar concept.In some countries (primarily in the Americas), the place of birth automatically determines the nationality of the baby, a practice oftenreferred to by the Latin phrase jus soli. Almost all countries outside the Americas instead attribute nationality based on the nationality(-ies) of the baby's parents (referred to as jus sanguinis).There can be someconfusion regarding the place of birth if the birth takes place in an unusual way: when babies are born on an airplane or at sea, difficulties can arise. The place of birth of such a person depends on the law of thecountries involved, which include the nationality of the plane or ship, the nationality(-ies) of the parents and/or the location of the plane or ship (if the birth occurs in the territorial waters or airspace of a country).Someadministrative forms may request the applicant's \"country of birth\". It is important to determine from the requester whether the information requested refers to the applicant's \"place of birth\" or \"nationality at birth\".For example, US citizens born abroad who acquire US citizenship at the time of birth, the nationality at birth will be USA (American), while the place of birth would be the country in which the actual birth takesplace.Reference list8 FAM 403.4 Place of BirthPassage 6:Dietrich IX, Count of MarkDietrich IX, Count of Mark (1374–1398) was the Count of Mark from 1393 until 1398.Dietrich was the second son of Count Adolf III ofthe Marck and Margaret of Jülich.His father had acquired the County of Cleves in 1368 and reserved this title for his eldest son Adolph to succeed him after his death. Dietrich already received the title of Count of Mark in1393, when his father was still alive. When Dietrich fell in battle in 1398, he was succeeded by his elder brother Adolph, who had become Count of Cleves in 1394. Thus the County of Mark and the County of Cleves werereunited again.Passage 7:Beaulieu-sur-LoireBeaulieu-sur-Loire (French pronunciation: [boljø sy\u0000 lwa\u0000], literally Beaulieu on Loire) is a commune in the Loiret department in north-central France. It is the place of deathof Jacques MacDonald, a French general who served in the Napoleonic Wars.PopulationSee alsoCommunes of the Loiret departmentPassage 8:Motherland (disambiguation)Motherland is the place of one's birth, the placeof one's ancestors, or the place of origin of an ethnic group.Motherland may also refer to:Music\"Motherland\" (anthem), the national anthem of MauritiusNational Song (Montserrat), also called \"Motherland\"Motherland(Natalie Merchant album), 2001Motherland (Arsonists Get All the Girls album), 2011Motherland (Daedalus album), 2011\"Motherland\" (Crystal Kay song), 2004Film and televisionMotherland (1927 film), a 1927 Britishsilent war filmMotherland (2010 film), a 2010 documentary filmMotherland (2015 film), a 2015 Turkish dramaMotherland (2022 film), a 2022 documentary film about the Second Nagorno-Karabakh WarMotherland (TVseries), a 2016 British television seriesMotherland: Fort Salem, a 2020 American science fiction drama seriesOther usesMotherland Party (disambiguation), the name of several political groupsPersonifications of Russia,including a list of monuments called MotherlandSee alsoAll pages with titles containing MotherlandMother Country (disambiguation)Passage 9:Gerhard, Count of MarkGerhard, Count zur Mark (1378–1461) was the defacto ruler of the County of Mark between 1430 and 1461.  Dietrich was the third son of Count Adolf III of the Marck and Margaret of Jülich.His father had acquired the County of Cleves in 1368 and given this title to hiseldest son Adolf. The second son Dietrich received the title of Count of Mark.When Dietrich fell in battle in 1398, he was succeeded as Count of Mark by his elder brother Adolf. The ambitious Gerhard claimed a part ofhis father's territories for himself. In 1423, it came to an armed conflict between Adolf and Gerhard, who had allied himself with the Archbishop of Cologne.Peace was signed between the two brothers in 1430, andconfirmed in 1437.As a result, Gerhard ruled the largest part of Mark, but was to be succeeded by his nephew John. Gerhard died in 1461 without children and the County of Mark and Duchy of Cleves were reunitedagain in a personal union under John I.Passage 10:Nelson RockefellerNelson Aldrich Rockefeller (July 8, 1908 – January 26, 1979), sometimes referred to by his nickname Rocky, was an American businessman andpolitician who served as the 41st vice president of the United States from 1974 to 1977 under President Gerald Ford. A member of the Republican Party and the wealthy Rockefeller family, he previously served as the49th governor of New York from 1959 to 1973. Rockefeller also served as assistant secretary of State for American Republic Affairs for Presidents Franklin D. Roosevelt and Harry S. Truman (1944–1945) as well asunder secretary of Health, Education and Welfare (HEW) under Dwight D. Eisenhower from 1953 to 1954. A son of John D. Rockefeller Jr. and Abby Aldrich Rockefeller as well as a grandson of Standard Oil co-founderJohn D. Rockefeller, he was a noted art collector and served as administrator of Rockefeller Center in Manhattan, New York City.Rockefeller was often considered to be liberal, progressive, or moderate. In an agreementthat was termed the Treaty of Fifth Avenue, he persuaded Richard Nixon to alter the Republican Party platform just before the 1960 Republican Convention. In his time, liberals in the Republican Party were called\"Rockefeller Republicans\". As Governor of New York from 1959 to 1973, Rockefeller's achievements included the expansion of the State University of New York (SUNY), efforts to protect the environment, theconstruction of the Governor Nelson A. Rockefeller Empire State Plaza in Albany, increased facilities and personnel for medical care, and the creation of the New York State Council on the Arts.After unsuccessfullyseeking the Republican presidential nomination in 1960, 1964, and 1968, he was appointed vice president of the United States under President Gerald Ford, who ascended to the presidency following the August 1974resignation of Richard Nixon. Rockefeller was the second vice president appointed to the position under the 25th Amendment, following Ford himself. Rockefeller declined to be placed on the 1976 Republican ticket withFord. He retired from politics in 1977 and died two years later.As a businessman, Rockefeller was president and later chair of Rockefeller Center, Inc., and he formed the International Basic Economy Corporation in1947. Rockefeller assembled a significant art collection and promoted public access to the arts. He served as trustee, treasurer, and president of the Museum of Modern Art, and founded the Museum of Primitive Art in1954. In the area of philanthropy, he founded the Rockefeller Brothers Fund in 1940 with his four brothers and established the American International Association for Economic and Social Development in 1946.Early lifeand education (1908–1930)Rockefeller was born on July 8, 1908, in Bar Harbor, Maine. Named Nelson Aldrich after his maternal grandfather Nelson W. Aldrich, he was the second son and third child of financier andphilanthropist John Davison Rockefeller Jr. and philanthropist and socialite Abigail \"Abby\" Aldrich. He had two older siblings—Abby and John III—as well as three younger brothers: Laurance, Winthrop, and David. Theirfather, John Jr., was the only son of Standard Oil co-founder John D. Rockefeller and schoolteacher Laura Spelman. Their mother, Abby, was a daughter of Senator Nelson Wilmarth Aldrich and Abigail P.Greene.Rockefeller grew up in his family's homes in New York City (mainly at 10 West 54th Street), a country home in Pocantico Hills, New York, and a summer home in Seal Harbor, Maine. The family also travelledwidely. He received his elementary, middle, and high school education at the Lincoln School in Manhattan, an experimental school administered by Teachers College of Columbia University and funded by the Rockefellerfamily. Nelson was known to disappear on the way to school, and was once found exploring the city's sewer system. As a child, he was the \"indisputable leader\" of his brothers, becoming particularly close toLaurance.Although his parents saw potential for Nelson to succeed in life, he was a poor student. Generally in the lower third of his class, he almost failed ninth grade and had undiagnosed dyslexia. Nelson's biographerJoseph E. Persico wrote that as a child he \"demonstrated a discipline that throughout life would serve him in lieu of brilliance.\" Although Nelson was not accepted into Princeton University, he got into Dartmouth College,arriving on campus in 1926. While in college, he met Mary Todhunter Clark at the summer home in Maine, and the two fell in love. They were engaged in autumn 1929. In 1930, he graduated cum laude with an A.B.degree in economics from Dartmouth College, where he was a member of Casque and Gauntlet (a senior society), Phi Beta Kappa, and Psi Upsilon. Rockefeller and Mary were married after he graduated, on June 23,1930, at Bala Cynwyd, Pennsylvania.Early career (1931–1939)Following his graduation, Rockefeller worked in a number of family-related businesses, including Chase National Bank; Rockefeller Center, Inc., joining theboard of directors in 1931, serving as president, 1938–1945 and 1948–1951, and as chairman, 1945–1953 and 1956–1958; and Creole Petroleum Corporation, the Venezuelan subsidiary of Standard Oil of New Jersey,1935–1940.Rockefeller served as a member of the Westchester County Board of Health from 1933 to 1953. His service with Creole Petroleum led to his deep, lifelong interest in Latin America and he became fluent inthe Spanish language.Mid-career (1940–1958)Coordinator of Inter-American Affairs (CIAA)In 1940, after he expressed his concern to President Franklin D. Roosevelt over Nazi influence in Latin America, the Presidentappointed Rockfeller to the new position of Coordinator of Inter-American Affairs (CIAA) in the Office of the Coordinator of Inter-American Affairs (OCIAA). Rockefeller was charged with overseeing a program of U.S.cooperation with the nations of Latin America to help raise the standard of living, to achieve better relations among the nations of the western hemisphere, and to counter rising Nazi influence in the region. He facilitatedthis form of cultural diplomacy by collaborating with the Director of Latin American Relations at the CBS radio network Edmund A. Chester.The Roosevelt administration encouraged Hollywood to produce films toencourage positive relations with Latin America. Rockefeller required changes in the movie Down Argentine Way (1940) because it was considered offensive to Argentines. It was much more popular in the United Statesthan in Latin America. Charlie Chaplin's satirical The Great Dictator (1940) was banned in several countries.In the spring of 1943, Rockefeller supported extensive negotiations and mission of North American members ofthe Junior Chamber of Commerce to Latin America as Coordinator of Inter-American Affairs of the US State Department, establishing the Junior Chamber International after its first Inter-American Congress in December1944 at Mexico City. After coming back from the Inter-American Congress, Rockefeller convinced his father, John D. Rockefeller Jr., to donate the land to the city of New York to build the foundations of what would laterbecome the United Nations Headquarters.Assistant Secretary of State for American Republic AffairsIn 1944, President Roosevelt appointed Rockefeller Assistant Secretary of State for American Republic Affairs. AsAssistant Secretary of State, he initiated the Inter-American Conference on Problems of War and Peace in 1945. The conference produced the Act of Chapultepec, which provided the framework for economic, social anddefense cooperation among the nations of the Americas, and set the principle that an attack on one of these nations would be regarded as an attack on all and jointly resisted. Rockefeller signed the Act on behalf of theUnited States.Rockefeller was a member of the U.S. delegation at the United Nations Conference on International Organization at San Francisco in 1945; this gathering marked the UN's founding. At the Conferencethere was considerable opposition to the idea of permitting, within the UN charter, the formation of regional pacts such as the Act of Chapultepec. Rockefeller, who believed that the inclusion was essential, especially to"}
+{"doc_id":"doc_163","qid":"","text":"Passage 1:Howard W. KochHoward Winchel Koch (April 11, 1916 – February 16, 2001) was an American producer and director of film and television.Life and careerKoch was born in New York City, the son of Beatrice(Winchel) and William Jacob Koch. His family was Jewish. He attended DeWitt Clinton High School and the Peddie School in Hightstown, New Jersey. He began his film career as an employee at Universal Studios office inNew York then made his Hollywood filmmaking debut in 1947 as an assistant director. He worked as a producer for the first time in 1953 and a year later made his directing debut. In 1964, Paramount Picturesappointed him head of film production, a position he held until 1966 when he left to set up his own production company. He had a production pact with Paramount for over 15 years.Among his numerous televisionproductions, Howard W. Koch produced the Academy Awards show on eight occasions. Dedicated to the industry, he served as President of the Academy of Motion Picture Arts and Sciences from 1977 to 1979. In 1990the Academy honored him with The Jean Hersholt Humanitarian Award and in 1991 he received the Frank Capra Achievement Award from the Directors Guild of America.Together with actor Telly Savalas, Howard Kochowned the thoroughbred racehorse Telly's Pop, winner of several important California races for juveniles including the Norfolk Stakes and Del Mar Futurity.Howard W. Koch suffered from Alzheimer's disease and died inat his home in Beverly Hills, California on February 16, 2001. He had two children from a marriage of 64 years to Ruth Pincus, who died in March 2009. In 2004, his son Hawk Koch was elected to the Board of Governorsof the Academy of Motion Picture Arts and Sciences.FilmographyDirectorFilm (director)Shield for Murder (1954)Big House, U.S.A. (1955)Untamed Youth (1957)Bop Girl Goes Calypso (1957)Jungle Heat (1957)The Girl inBlack Stockings (1957)Fort Bowie (1957)Violent Road (1958)Frankenstein 1970 (1958)Born Reckless (1958)Andy Hardy Comes Home (1958)The Last Mile (1959)Badge 373 (1973)Television (director)Maverick (1957)(1 episode)Hawaiian Eye (1959) (2 episodes)Cheyenne (1958) (1 episode)The Untouchables (1959) (4 episodes)The Gun of Zangara (1960) (TV movie taken from The Untouchables (1959 TV series))Miami Undercover(1961) (38 episodes)Texaco Presents Bob Hope in a Very Special Special: On the Road with Bing (1977)ProducerFilm (producer):War Paint (1953)Beachhead (1954)Shield for Murder (1954)Big House, U.S.A.(1955)Rebel in Town (1956)Frankenstein 1970 (1958)Sergeants 3 (1962)The Manchurian Candidate (1962)Come Blow Your Horn (1963)Robin and the 7 Hoods (1964)The Odd Couple (1968)On a Clear Day You CanSee Forever (1970)A New Leaf (1971)Plaza Suite (1971)Last of the Red Hot Lovers (1972)Jacqueline Susann's Once Is Not Enough (1975)The Other Side of Midnight (1977)Airplane! (1980)Some Kind of Hero(1982)Airplane II: The Sequel (1982)Ghost (1990)Television (producer)Magnavox Presents Frank Sinatra (1973)Passage 2:Robert MulliganRobert Patrick Mulligan (August 23, 1925 – December 20, 2008) was anAmerican director and producer. He is best known for his sensitive dramas, including To Kill a Mockingbird (1962), Summer of '42 (1971), The Other (1972), Same Time, Next Year (1978), and The Man in the Moon(1991). He was also known in the 1960s for his extensive collaborations with producer Alan J. Pakula.Early lifeMulligan served in either the U.S. Navy or the U.S. Marine Corps during World War II as a radio operator. Atwar's end, he graduated from Fordham University, then obtained work in the editorial department of The New York Times, but left to pursue a career in television.CareerTelevisionMulligan began his television career asa messenger boy for CBS television. He worked diligently, and by 1948 was directing major dramatic television shows.In the early 1950s he directed many episodes of Suspense. He followed this directing for The PhilcoTelevision Playhouse, Armstrong Circle Theatre, The Alcoa Hour, The United States Steel Hour, Studio One in Hollywood, Goodyear Playhouse and The Seven Lively Arts.1950s–1960sIn 1957 Mulligan directed his firstmotion picture, Fear Strikes Out, starring Anthony Perkins as tormented baseball player Jimmy Piersall. The film was the first feature he would direct alongside longtime collaborator Alan J. Pakula, then a big-timeHollywood producer. Pakula once confessed that \"working with Bob set me back in directing several years because I enjoyed working with him, and we were having a good time, and I enjoyed the work.\"Mulliganreturned to television to direct episodes of Playhouse 90, Rendezvous, The Dupont Show of the Month, and TV versions of Ah, Wilderness! and The Moon and Sixpence. In 1959 he won an Emmy Award for directing TheMoon and Sixpence, a television production that was the American small-screen debut of Laurence Olivier.Mulligan returned to feature films to make two Tony Curtis vehicles, The Rat Race and The Great Imposter. Hewas going to make a third, The Wine of Youth but it was not made.Mulligan then made two Rock Hudson vehicles, Come September and The Spiral Road.Pakula collaborationIn the early 1960s, Pakula returned toMulligan with the proposition of directing To Kill a Mockingbird (1962), based on the Pulitzer Prize-winning novel by Harper Lee. Mulligan accepted the offer despite the awareness that \"the other studios didn't want itbecause what's it about? It's about a middle-aged lawyer with two kids. There's no romance, no violence (except off-screen). There's no action. What is there? Where's the story?\" With the help of a screenplay byHorton Foote as well as the pivotal casting of Gregory Peck in the role of Atticus Finch, the film became a huge hit, and Mulligan was nominated for an Academy Award for Best Director.Mulligan and Pakula followed ToKill a Mockingbird with five more films. Love With the Proper Stranger (1963), starred Natalie Wood and Steve McQueen. Baby the Rain Must Fall (1965) starred McQueen. Inside Daisy Clover (1965) starred Wood. Upthe Down Staircase (1967) was based on a humorous novel by Bel Kaufman and starred Sandy Dennis as the schoolteacher Sylvia Barrett. The Stalking Moon (1968), based on a Western novel by T.V. Olsen andreuniting Mulligan and Pakula with Peck, this time in the role of Sam Varner, a scout who attempts to escort a white woman (Eva Marie Saint) and her half-Indian son to New Mexico after they are pursued by abloodthirsty Apache, the boy's father. After this film, Pakula parted company from Mulligan to pursue his own career in directing.1970sMulligan began the 1970s with The Pursuit of Happiness (1971), based on the 1968novel by Thomas Rogers, which had been a finalist for the National Book Award. The film starred Michael Sarrazin as William Popper, a college student (disillusioned with both right-wing and left-wing American politics)whose life is complicated when he accidentally runs over and kills an elderly woman and is quickly sentenced to one year in prison for vehicular manslaughter. He then contemplates breaking out of prison and fleeing thecountry with his girlfriend (played by Barbara Hershey), since neither feels their lives have made any significant difference in America.Also in 1971, Mulligan released Summer of '42 (1971), which was based on thecoming-of-age novel by Herman Raucher and starred Gary Grimes as a teenage stand-in for Raucher who spends a summer vacation in 1942 on Nantucket Island lusting after a young woman (Jennifer O'Neill) whosehusband has shipped off to fight in the war. A box office smash, Summer of '42 went on to gross over $20 million, and Mulligan was nominated for a Golden Globe Award for Best Director.Summer of '42 was followed byThe Other (1972), a thriller film scripted by former Hollywood actor Thomas Tryon from his own book. It told the story of two 9-year-old boys, Niles and Holland Perry (played by real-life twins Chris and MartyUdvarnoky), who get involved in a series of grisly murders at their home on Peaquot Landing in the 1930s. Although the film was not an immediate success at the box office, it has since gone on to gain a steady cultfollowing.In the mid-1970s, Mulligan was briefly engaged in talks with producers Julia and Michael Phillips to direct Taxi Driver (1976), with Jeff Bridges to star as the psychotic Travis Bickle. Objections posed byscreenwriter Paul Schrader caused the project to be turned over to Martin Scorsese and Robert De Niro instead.Mulligan proceeded by rounding out the 1970s with three films dominated by performances from A-listHollywood actors: Jason Miller as a Los Angeles locksmith threatened by hitmen in The Nickel Ride (1974); Richard Gere as an Italian-American youth trying to break from his working-class family in Bloodbrothers(1978); and Alan Alda and Ellen Burstyn portraying George and Doris, a pair of long-term adulterers, in Same Time Next Year (1978), based on the play by Bernard Slade.1980sAs the 1980s dawned, Mulligan foundwork harder to come by, succeeding in directing only two films by the end of the decade. Mulligan had started directing Rich and Famous for MGM but asked to be replaced after a week of shooting; George Cukorreplaced him.Mulligan was also fired from directing The Pursuit of D.B. Cooper because he allegedly took seven days to shoot a whitewater rapids chase.At another point, according to screenwriter Hampton Fancher,Mulligan was attached to direct Blade Runner; his adaptation would have starred Robert Mitchum. Fancher states that the deal with Mulligan fell apart because of \"ego\" and because the studio at the time, Universal,wanted a happier ending. Mulligan was also briefly attached to direct Cutter's Way; his version would have starred Dustin Hoffman.Kiss Me Goodbye (1982), starring Sally Field, James Caan and Jeff Bridges, was anattempt at a comedic remake of the Brazilian film Dona Flor and Her Two Husbands, and was critically derided, although it was a modest commercial success.Clara's Heart (1988), starring Whoopi Goldberg and a youngNeil Patrick Harris, was released five years later to negative box office numbers and reviews, and was panned on television by Siskel and Ebert. It has, however, received recent praise from film professor RobertKeser.1990sIn the 1990s, at the age of 66, Mulligan would release his final film, The Man in the Moon (1991), starring a 14-year-old Reese Witherspoon, in her film debut. The film was praised by Roger Ebert, whoincluded it at #8 in his Top 10 list of the best films of 1991, declaring, \"Nothing else [Mulligan] has done... approaches the purity and perfection of The Man in the Moon... (with a) poetic, bittersweet tone, and avoid(ing)the sentimentalism and cheap emotion that could have destroyed this story.\"Later in March 1992, Mulligan made headlines when he angrily took his name off of airline cuts of The Man in the Moon, after he had learnedthat the film would be heavily censored by American and Delta flights. In an interview with Ebert, Mulligan explained, \"The airlines demanded so many excessive and unreasonable cuts and changes that I took my nameoff the film... it's the first time I've ever done that.\"Before his death in 2008, Mulligan had commissioned playwright Beth Henley to write a screenplay from the novel A Long and Happy Life by Reynolds Price, whichMulligan had bought the rights to with his own money. The film was never made.Personal lifeMulligan's first wife was Jane Lee Sutherland. Their marriage lasted from 1951 to 1968 and produced three children. Hissecond marriage, to Sandy Mulligan, lasted from 1971 until his death. He was the elder brother of actor Richard Mulligan, whom he cast in Love with the Proper Stranger.Mulligan's career was hurt by his battle withalcoholism. His daughter, Beth Mulligan, later stated that their life at home was \"chaotic and frightening.\"DeathMulligan died of heart disease at his home in Lyme, Connecticut on December 20, 2008, at the age of 83.He was survived by his second wife, Sandy; three children; and two grandchildren. One of Mulligan's surviving grandchildren is Los Angeles music producer Quentin Mulligan, also known as frumhere. One of his musicalbums is entitled \"Same Time, Next Year\". Reminiscing about his grandfather, Quentin has stated, \"Grandpa was a living life.\"StyleMulligan described his role as a director thusly: “Things have to sift through me. That'sme up there on the screen. The shooting, the editing, the use of music—all that represents my attitude toward the material.” In a 1978 interview with the Village Voice, he insisted, \"I don't know anything about 'theMulligan style.' If you can find it, well, that's your job.\"Chicago critic Jonathan Rosenbaum once hailed Mulligan as: one of the only American directors left with a fully achieved style that is commonly (if misleadingly)termed classical... he is a master of carving out dramatic space with liquid camera movements and precise angles, a mastery that's matched by a special sensitivity in handling adolescents.\"Critic and filmmaker FrançoisTruffaut also championed the director's work. Truffaut was, in particular, a fan of Fear Strikes Out and was impressed that it was only Mulligan's first feature, writing, \"It is rare to see a first film so free of faults andbombast.\" Summing up Mulligan's talents as a whole, Truffaut concluded: If there were French directors as lucid as Mulligan, as capable of telling something more than anecdotes, the image of our country on the screenwould be a bit less oversimplified. Another filmmaker who admired Mulligan's work was Stanley Kubrick, who featured a clip from Summer of '42 in The Shining (1980).Of his fellow filmmakers, Mulligan admired IngmarBergman for his \"wonderful use of that simple, honest technique\" of allowing the camera to \"rest on a human face quietly, unobtrusively, and let something happen.\" He championed the films of Satyajit Ray and joinedin a protest with Bergman and David Lean when Ray's film, Charulata, was rejected at the 1961 Cannes Film Festival.Mulligan also had his critics.  Actor James Caan described him as the most incompetent filmmaker hehad ever worked with saying \"A lot of mediocrity was produced\" following their work on Kiss Me Goodbye in 1982.  Caan cited his experiences as a key reason why he made no movies for 5 years from 1982 to1987.Mulligan was also an avid fan of the novels of Charles Dickens, whose work he had devoured in his youth: I read all of it, I don't know how many times. I'm convinced that if Charles Dickens were alive and welland living in Los Angeles, he'd be the best producer-director-writer of movies ever. I think if anybody really wants to learn how to tell a story in images, they should read Dickens. At least once or twice ayear.FilmographyPassage 3:Peter LevinPeter Levin is an American director of film, television and theatre.CareerSince 1967, Levin has amassed a large number of credits directing episodic television and television films.Some of his television series credits include Love Is a Many Splendored Thing, James at 15, The Paper Chase, Family, Starsky & Hutch, Lou Grant, Fame, Cagney & Lacey, Law & Order and Judging Amy.Some of histelevision film credits include Rape and Marriage: The Rideout Case (1980), A Reason to Live (1985), Popeye Doyle (1986), A Killer Among Us (1990), Queen Sized (2008) and among other films. He directed \"Heart inHiding\", written by his wife Audrey Davis Levin, for which she received an Emmy for Best Day Time Special in the 1970s.Prior to becoming a director, Levin worked as an actor in several Broadway productions. Hecostarred with Susan Strasberg in \"[The Diary of Ann Frank]\" but had to leave the production when he was drafted into the Army. He trained at the Carnegie Mellon University. Eventually becoming a theatre director, hedirected productions at the Long Wharf Theatre and the Pacific Resident Theatre Company. He also co-founded the off-off-Broadway Theatre [the Hardware Poets Playhouse] with his wife Audrey Davis Levin and wasalso an associate artist of The Interact Theatre Company.Passage 4:Brian Johnson (special effects artist)Brian Johnson (born 29 June 1939 or 29 June 1940) is a British designer and director of film and television specialeffects.Life and careerBorn Brian Johncock, he changed his surname to Johnson during the 1960s. Joining the team of special effects artist Les Bowie, Johnson started his career behind the scenes for Bowie Films onproductions such as On The Buses, and for Hammer Films.  He is known for his special effects work on TV series including Thunderbirds (1965–66) and films including Alien (1979), for which he received the 1980Academy Award for Best Visual Effects (shared with H. R. Giger, Carlo Rambaldi, Dennis Ayling and Nick Allder). Previously, he had built miniature spacecraft models for Stanley Kubrick's 1968 film 2001: A SpaceOdyssey.Johnson's work on Space: 1999 influenced the effects of the Star Wars films of the 1970s and 1980s. Impressed by his work, George Lucas visited Johnson during the production of the TV series to offer himthe role of effects supervisor for the 1977 film. Having already been commissioned for the second series of Space: 1999, Johnson was unable to accept at the time. He worked on the sequel, The Empire Strikes Back(1980), whose special effects were recognised in the form of a 1981 Special Achievement Academy Award (which Johnson shared with Richard Edlund, Dennis Muren and Bruce Nicholson).AwardsJohnson has wonAcademy Awards for both Alien (1979) and The Empire Strikes Back (1980). He was further nominated for an Academy Award for his work on Dragonslayer (1981). In addition, Johnson is the recipient of a SaturnAward for The Empire Strikes Back and a BAFTA Award for James Cameron's  Aliens.FilmographySpecial effectsDirectorScragg 'n' Bones (2006)Passage 5:Sherry HormannSherry Hormann (born 20 April 1960) is aGerman-American film director. Hormann is best known for her movies Guys and Balls (2004), Desert Flower (2009) and 3096 Days (2013).Hormann was born in the United States, but moved to Germany in 1966,when she was six years old. She attended the University of Television and Film Munich (HFF) and mainly works in German cinema.She was married to film director Dominik Graf. In October 2011, she marriedcinematographer Michael Ballhaus; he died in April 2017.Selected filmography1991: Silent Shadow1994: Women Are Simply Wonderful1996: Father's Day1998: Widows – Erst die Ehe, dann das Vergnügen1998: Denkich an Deutschland … – Angst spür’ ich, wo kein Herz ist (TV documentary series episode)2001: Private Lies (TV film)2002: My Daughter's Tears (TV film)2004: Guys and Balls2006: Helen, Fred und Ted (TVfilm)2006–2007: Der Kriminalist (TV series)Am Abgrund (2006)Mördergroupie (2006)Totgeschwiegen (2007)2009: Desert Flower2012: The Pursuit of Unhappiness2013: 3096 Days2016: Tödliche Geheimnisse (TVfilm)2019: A Regular WomanPassage 6:Father's Day (1996 film)Father's Day (German: Irren ist männlich) is a 1996 German comedy film directed by Sherry Hormann.CastHerbert Knaup - ThomasCorinna Harfouch -BettinaRichy Müller - JohannesDominik Graf - LorenzAxel Milberg - PhilippNatalia Wörner - SusanneLena May Graf - GinaRobert Gwisdek - LeoAdele Neuhauser - SchlegelExternal linksFather's Day at IMDbPassage 7:IanBarry (director)Ian Barry is an Australian director of film and TV.Select creditsWaiting for Lucas (1973) (short)Stone (1974) (editor only)The Chain Reaction (1980)Whose Baby? (1986) (mini-series)Minnamurra(1989)Bodysurfer (1989) (mini-series)Ring of Scorpio (1990) (mini-series)Crimebroker (1993)Inferno (1998) (TV movie)Miss Lettie and Me (2002) (TV movie)Not Quite Hollywood: The Wild, Untold Story ofOzploitation! (2008) (documentary)The Doctor Blake Mysteries (2013)Passage 8:The Pursuit of Happiness (1971 film)The Pursuit of Happiness is a 1971 American drama film about a student who goes on the run toavoid serving his full prison sentence for vehicular manslaughter. The film was directed by Robert Mulligan. The producer was David Susskind and the associate producer Alan Shayne. The screenplay was written by JonBoothe and George L. Sherman.PlotDisenchanted college student William Popper (Michael Sarrazin) is convicted of vehicular manslaughter for killing a woman with his car. With only a week left on his sentence and thehelp of his girlfriend, Jane (Barbara Hershey), he escapes to Canada, making both of them wanted fugitives.CastMichael Sarrazin as William PopperBarbara Hershey as Jane KauffmanRobert Klein as Melvin LasherSadaThompson as Ruth LawrenceRalph Waite as Detective CromieArthur Hill as John PopperE.G. Marshall as Daniel LawrenceMaya Kenin as Mrs. ConroyRue McClanahan as Mrs. O'MaraPeter White as Terence"}
+{"doc_id":"doc_164","qid":"","text":"Passage 1:Princess Irene of Hesse and by RhinePrincess Irene of Hesse and by Rhine (Irene Luise Marie Anne; 11 July 1866 – 11 November 1953), later Princess Henry of Prussia, was the third child and third daughterof Princess Alice of the United Kingdom and Louis IV, Grand Duke of Hesse and by Rhine. Her maternal grandparents were Queen Victoria and Prince Albert of Saxe-Coburg and Gotha. Her paternal grandparents werePrince Charles of Hesse and by Rhine and Princess Elisabeth of Prussia. She was the wife of Prince Henry of Prussia, a younger brother of Wilhelm II, German Emperor and her first cousin. The SS Prinzessin Irene, a linerof the North German Lloyd was named after her.Her siblings included Princess Victoria of Hesse and by Rhine, wife of Prince Louis of Battenberg, Grand Duchess Elizabeth Feodorovna of Russia, wife of Grand DukeSergei Alexandrovich of Russia, Ernest Louis, Grand Duke of Hesse and by Rhine, and Empress Alexandra Feodorovna of Russia, wife of Tsar Nicholas II of Russia. Like her younger sister, the empress, Irene was acarrier of the hemophilia gene, and Irene would lose her sisters Alix and Elisabeth in Russia to the Bolsheviks.Early lifeShe received her first name, which was taken from the Greek word for \"peace\", because she wasborn at the end of the Austro-Prussian War. Alice considered Irene an unattractive child and once wrote to her sister Victoria that Irene was \"not pretty\". She would never be considered a great beauty like her sistersElisabeth and Alix, but she did have a pleasant, even disposition. Princess Alice brought up her daughters simply. An English nanny presided over the nursery and the children ate plain meals of rice puddings and bakedapples and wore plain dresses. Her daughters were taught how to do housework, such as baking cakes, making their own beds, laying fires and sweeping and dusting their rooms. Princess Alice also emphasised theneed to give to the poor and often took her daughters on visits to hospitals and charities.The family was devastated in 1873 when Irene's haemophiliac younger brother Friedrich, nicknamed \"Frittie\", fell through anopen window, struck his head on the balustrade and died hours later of a brain hemorrhage. In the months following the toddler's death, Alice frequently took her children to his grave to pray and was melancholy onanniversaries associated with him. In the autumn of 1878 Irene, her siblings (except for Elisabeth) and her father became ill with diphtheria. Her younger sister Princess Marie, nicknamed \"May\", died of the disease. Hermother, exhausted from nursing the children, also became infected. Knowing she was in danger of dying, Princess Alice dictated her will, including instructions about how to bring up her daughters and how to run thehousehold. She died of diphtheria on 14 December 1878.Following Alice's death, Queen Victoria resolved to act as a mother to her Hessian grandchildren. Princess Irene and her surviving siblings spent annual holidaysin England and their grandmother sent instructions to their governess regarding their education and approving the pattern of their dresses. With her sister Alix, Irene was a bridesmaid at the 1885 wedding of theirmaternal aunt, Princess Beatrice, to Prince Henry of Battenberg.MarriageIrene married Prince Henry of Prussia, the third child and second son of Frederick III, German Emperor and Victoria, Princess Royal on 24May  1888 at the chapel of the Charlottenburg Palace in Berlin. As their mothers were sisters, Irene and Henry were first cousins. Their marriage displeased Queen Victoria because she had not been told about thecourtship until they had already decided to marry. At the time of the ceremony, Irene's uncle and father-in-law, the German emperor, was dying of throat cancer, and less than a month after the ceremony, Irene'scousin and brother-in-law ascended the throne as Kaiser Wilhelm II. Heinrich's mother, Empress Victoria, was fond of Irene. However, Empress Victoria was shocked because Irene did not wear a shawl or scarf todisguise her pregnancy when she was pregnant with her first son, the haemophiliac Prince Waldemar, in 1889. Empress Victoria, who was fascinated by politics and current events, also couldn't understand why Heinrichand Irene never read a newspaper. However, the couple were happily married and they were known as \"The Very Amiables\" by their relatives because of their pleasant natures. The marriage produced threesons.ChildrenFamily relationshipsIrene transmitted the haemophilia gene to her eldest and youngest sons, Waldemar and Heinrich. Waldemar's health worried her from early childhood. She was later devastated whenthe youngest child, four-year-old Heinrich, died after he fell and bumped his head in February 1904. Six months after little Heinrich's death, Irene became an aunt to Tsarevich Alexei of Russia, son of her youngestsister, Tsarina Alexandra, who also had hemophilia.Irene, raised to believe in a proper Victorian code of behaviour, was easily shocked by what she saw as immorality. In 1884, the same year that her elder sisterVictoria married Prince Louis of Battenberg, another sister, Elisabeth, married Grand Duke Sergei Alexandrovich of Russia, and when Elisabeth converted from Lutheranism to Russian Orthodoxy, in 1891, Irene wasdeeply upset. She wrote to her father that she \"cried terribly\" over Elisabeth’s decision.  In 1892, Irene's father, Grand Duke Louis IV, died, and her brother, Ernest, succeeded him as Grand Duke of Hesse. Two yearslater, in May 1894, Ernest Louis was married off by Queen Victoria to a first cousin, Victoria Melita of Saxe-Coburg-Gotha. It was amidst the wedding festivities that Irene's youngest surviving sister, Alix, accepted themarriage proposal of Tsarevich Nicholas, a second cousin, and when Nicholas' father died prematurely in November 1894, Irene and her husband travelled to St. Petersburg to be present at both his funeral and thewedding of Alix, who had taken the name Alexandra Feodorovna upon her conversion to Orthodoxy, to the new tsar, Nicholas II. Despite the disagreement that she had over the conversion of two of her sisters toRussian Orthodoxy, she remained close with all of her siblings. In 1907, Irene helped arrange what later turned out to be a disastrous marriage between Elisabeth’s ward, Grand Duchess Maria Pavlovna of Russia, toPrince Vilhelm, Duke of Södermanland. Wilhelm's mother, the Queen of Sweden, was an old friend of both Irene and Elisabeth. Grand Duchess Maria later wrote that Irene pressured her to go through with the marriagewhen she had doubts. She told Maria that ending the engagement would \"kill\" Elisabeth. In 1912, Irene was a source of support to her sister Alix when Alexei nearly died of complications of haemophilia at the ImperialFamily's hunting lodge in Poland.Later lifeIrene's ties to her sisters were disrupted by the advent of World War I, which put them on opposing sides of the war. When the war ended, she received word that Alix, herhusband and children and her sister Elizabeth had been killed by the Bolsheviks.When Anna Anderson surfaced in Berlin in the early 1920s, claiming to be the surviving Grand Duchess Anastasia Nikolaevna of Russia,Irene visited the woman, but decided that Anderson could not be the niece she had last seen in 1913. Princess Irene was not impressed.\"I saw immediately that she could not be one of my nieces. Even though I had notseen them for nine years, the fundamental facial characteristics could not have altered to that degree, in particular the position of the eyes, the ear, etc. .. At first sight one could perhaps detect a resemblance to GrandDuchess Tatiana.\"Grand Duchess Olga Alexandrovna, sister of the murdered tsar, commented on the visit of Princess Irene,\"It was an unsatisfactory meeting, but the woman's supporters said that Princess Irene hadnot known her niece very well and all the rest of it.\" Irene's husband, Heinrich, said that the mention of Anderson upset Irene too much and ordered that no one was to discuss Anderson in his presence. Heinrich died in1929. Anna Anderson biographer Peter Kurth wrote that several years later, Irene's son (Prince Sigismund) posed questions to Anderson through an intermediary about their shared childhood and declared that heranswers were all accurate. Irene later adopted Sigismund's daughter, Barbara, born in 1920, as her heir after Sigismund left Germany to live in Costa Rica during the 1930s. Sigismund declined to return to Germany tolive after World War II.HonoursGrand Duchy of Hesse: Dame of the Grand Ducal Hessian Order of the Golden Lion, 21 March 1883 Kingdom of Prussia:Dame of the Order of Louise, 1st DivisionDame of theWilhelm-OrdenRed Cross Medal, 1st Class, 22 October 1898 Kingdom of Bavaria: Merit Cross for Volunteer Nurses  Austria-Hungary: Grand Cross of the Imperial Austrian Order of Elizabeth, 1900 Russian Empire: GrandCross of the Imperial Order of Saint Catherine United Kingdom:Queen Victoria Golden Jubilee Medal, 1887Royal Order of Victoria and Albert, 2nd ClassAncestryPassage 2:Princess Victoria Melita of Saxe-Coburg andGothaGrand Duchess Victoria Feodorovna of Russia  (born Princess Victoria Melita of Edinburgh; 25 November 1876 – 2 March 1936), was the third child and second daughter of Alfred, Duke of Saxe-Coburg and Gotha,and of Grand Duchess Maria Alexandrovna of Russia. She was a granddaughter of Queen Victoria of the United Kingdom and also of Emperor Alexander II of Russia.Born a British princess, Victoria spent her early life inEngland and lived for three years in Malta, where her father served in the Royal Navy. In 1889 the family moved to Coburg, where Victoria's father became the reigning duke in 1893. In her teens Victoria fell in lovewith her first cousin Grand Duke Kirill Vladimirovich of Russia (the son of her mother's brother, Grand Duke Vladimir Alexandrovich of Russia) but his faith, Orthodox Christianity, discouraged marriage between firstcousins. Bowing to family pressure, Victoria married her paternal first cousin Ernest Louis, Grand Duke of Hesse and by Rhine in 1894, following the wishes of their grandmother, Queen Victoria. The marriage failed –Victoria Melita scandalized the royal families of Europe when she divorced her husband in 1901. The couple's only child, Princess Elisabeth of Hesse and by Rhine, died of typhoid fever in 1903.Victoria married GrandDuke Kirill Vladimirovich in 1905. They wed without the formal approval of Britain's King Edward VII (as the Royal Marriages Act 1772 would have required), and in defiance of Russia's Emperor Nicholas II. In retaliation,the Tsar stripped Kirill of his offices and honours, also initially banishing the couple from Russia. They had two daughters and settled in Paris before being allowed to visit Russia in 1909. In 1910 they moved to Russia,where Nicholas recognized Victoria Melita as Grand Duchess Victoria Feodorovna. After the fall of the Russian monarchy in 1917 they escaped to Finland (then still part of the Russian Empire) where she gave birth to heronly son in August 1917. In exile they lived for some years among her relatives in Germany, and from the late 1920s on an estate they bought in Saint-Briac in Brittany. In 1926 Kirill proclaimed himself Russianemperor in exile, and Victoria supported her husband's claims. Victoria died after suffering a stroke while visiting her daughter Maria in Amorbach (Lower Franconia).Early lifeVictoria was born on 25 November 1876 inSan Anton Palace in Attard, Malta, hence her second name, Melita. Her father, who was stationed on the island as an officer in the Royal Navy, was Prince Alfred, Duke of Edinburgh, the second son of Queen Victoria.Her mother was Grand Duchess Maria Alexandrovna, the only surviving daughter of Alexander II of Russia and Marie of Hesse.As a grandchild of the British monarch, Victoria Melita was styled Her Royal HighnessPrincess Victoria of Edinburgh. Within her family, she was always known as \"Ducky\". At the time of her birth, she was 10th in the line of succession to the British throne. The princess was christened on 1 January 1877at San Anton Palace by a Royal Navy chaplain. Her godparents included her paternal grandmother, who was represented by a proxy.After the Duke's service in Malta was over, the family returned to England, where theylived for the next few years. They divided their time between Eastwell Park, their country home in Kent, and Clarence House, their residence in London facing Buckingham Palace. Eastwell, a large estate of 2,500 acresnear Ashford, with its forest and park was the children's favorite residence. In January 1886, shortly after Princess Victoria turned nine, the family left England when her father was appointed commander-in-chief of theMediterranean naval squadron, based on Malta. For the next three years, the family lived at the San Anton Palace in Malta, Victoria's birthplace.The marriage of Victoria's parents was unhappy. The Duke was taciturn,unfaithful, prone to drinking and emotionally detached from his family. Victoria's mother was independent-minded and cultured. Although she was unsentimental and strict, the Duchess was a devoted mother and themost important person in her children's lives. As a child, Victoria had a difficult temperament. She was shy, serious and sensitive. In the judgment of her sister Marie: \"This passionate child was often misunderstood.\"Princess Victoria Melita was talented at drawing and painting and learned to play the piano. She was particularly close to Marie. The two sisters would remain very close throughout their lives. They contrasted inappearance and personality. Victoria was dark and moody while Marie was blonde and easy-going. Although she was one year younger, Victoria was taller and seemed to be the older of the two.Youth in CoburgAs a sonof Queen Victoria's deceased husband, Prince Albert of Saxe-Coburg and Gotha, Victoria Melita's father was in the line of succession to Saxe-Coburg and Gotha, the sovereign German duchy ruled by Albert's elderbrother, Ernest II, until his death in 1893. Prince Alfred became heir presumptive to the duchy when his older brother, the Prince of Wales (later Edward VII), relinquished his Saxon succession rights in favour of hisyounger brothers. Alfred and his family therefore moved to Coburg in 1889. Their mother immediately began attempting to \"Germanise\" her daughters by installing a new governess, buying them plain clothing, andhaving them confirmed in the German Lutheran church, even though they had previously been raised as Anglicans. The children rebelled and some of the new restrictions were eased.The teenage Victoria was a \"tall,dark girl, with violet eyes ... with the assuredness of an Empress and the high spirits of a tomboy,\" according to one observer. Victoria had \"too little chin to be conventionally beautiful,\" in the opinion of one of herbiographers, but \"she had a good figure, deep blue eyes, and dark complexion.\" In 1891, Victoria travelled with her mother to the funeral of her maternal aunt Grand Duchess Alexandra Georgievna of Russia. ThereVictoria met her first cousin Grand Duke Kirill Vladimirovich. Although the two were deeply attracted to each other, Victoria's mother was reluctant to allow her to marry him because the Russian Orthodox faith forbidsthe marriage of first cousins. She was also suspicious of the morality of the Romanov men. When her teenage daughters were impressed by their handsome cousins, their mother warned them that the Russian granddukes did not make good husbands.Soon after her sister Marie was married to Crown Prince Ferdinand of Romania, a search was made for a suitable husband for Victoria. Her visit to her grandmother Queen Victoria atBalmoral Castle in the autumn of 1891 coincided with a visit by her cousin Prince Ernest Louis of Hesse, heir apparent to the grand ducal throne of Hesse and by Rhine. Both were artistic and fun loving, got along welland even shared a birthday. The Queen, observing this, was very keen for her two grandchildren to marry.Grand Duchess of HesseEventually, Victoria and Ernst bowed to their families' pressure and married on 19 April1894 at Schloss Ehrenburg in Coburg. The wedding was a large affair, with most of the royal families of Europe attending, including Queen Victoria, the Empress Frederick, Kaiser Wilhelm II and the Prince of Wales.Victoria became Grand Duchess of Hesse and by Rhine, Ernest having ascended the throne in 1892. Her wedding is also significant since at the same time the official engagement of the future Tsar Nicholas II of Russiato Ernst's younger sister, Alix, was proclaimed. Together Victoria and Ernst had two children, a daughter, Princess Elisabeth of Hesse and by Rhine, whom they nicknamed Ella, born on 11 March 1895, and a stillbornson, born on 25 May 1900.Victoria and Ernst proved incompatible. Victoria despaired of her husband's lack of affection towards her, while Ernst devoted much of his attention to their daughter, whom he adored.Elisabeth, who physically resembled her mother, preferred the company of her father to Victoria. Ernst and Victoria both enjoyed entertaining and frequently held house parties for young friends. Their unwritten rulewas that anyone over thirty \"was old and out.\" Formality was dispensed with and royal house guests were referred to by their nicknames and encouraged to do as they wished. Victoria and Ernst cultivated friends whowere progressive artists and intellectuals as well as those who enjoyed fun and frolic. Victoria's cousin Prince Nicholas of Greece and Denmark remembered one stay there as \"the jolliest, merriest house party to which Ihave ever been in my life.\"Victoria was, however, less enthusiastic about fulfilling her public role. She avoided answering letters, put off visits to elderly relations whose company she did not enjoy, and talked to peoplewho amused her at official functions while ignoring people of higher standing whom she found boring. Victoria's inattention to her duties provoked quarrels with Ernst. The young couple had loud, physical fights. Thevolatile Victoria shouted, threw tea trays, smashed china against the wall, and tossed anything that was handy at Ernst during their arguments. Victoria sought relief in her love for horses and long gallops over thecountryside on a hard-to-control stallion named Bogdan. While she was in Russia for the coronation of Tsar Nicholas II, Victoria's affection for Kirill was also rekindled. She enjoyed flirting with him at the balls andcelebrations that marked the coronation.DivorceHer marriage to Ernst suffered a further blow in 1897, when Victoria returned home from a visit to her sister Queen Marie of Romania and reportedly caught Ernst in bedwith a male servant. She did not make her accusation public, but told a niece that \"no boy was safe, from the stable hands to the kitchen help. He slept quite openly with them all.\" Queen Victoria was saddened whenshe heard of trouble in the marriage from Sir George Buchanan, her chargé d'affaires, but refused to consent to her grandchildren's divorce because of their daughter, Elisabeth. Efforts to rekindle the marriage failedand, when Queen Victoria died in January 1901, significant opposition to the end of the marriage was removed.Ernst, who had at first resisted the divorce, came to believe it was the only possible step. \"Now that I amcalmer I see the absolute impossibility of going on leading a life which was killing her and driving me nearly mad,\" Ernst wrote to his elder sister Princess Louis of Battenberg. \"For to keep up your spirits and a laughingface while ruin is staring you in the eyes and misery is tearing your heart to pieces is a struggle which is fruitless. I only tried for her sake. If I had not loved her so, I would have given it up long ago.\" Princess Louislater wrote that she was less surprised by the divorce than Ernst was. \"Though both had done their best to make a success of their marriage, it had been a failure ... [T]heir characters and temperaments were quiteunsuited to each other and I had noticed how they were gradually drifting apart.\" The divorce of the reigning Grand Duke and Grand Duchess of Hesse caused scandal in the royal circles of Europe. Tsar Nicholas wrote tohis mother that even death would have been better than \"the general disgrace of a divorce.\" After her divorce, Victoria went to live with her mother at Coburg and at her house in the French Riviera. She and Ernstshared custody of Elisabeth, who spent six months of each year with each parent. Elisabeth blamed Victoria for the divorce and Victoria had a difficult time reconnecting with her daughter. Ernst wrote in his memoirsthat Elisabeth hid under a sofa, crying, before one visit to her mother. Ernst assured the child that her mother loved her too. Elisabeth responded, \"Mama says she loves me, but you do love me.\" Ernst remained silentand didn't correct the child's impression.Elisabeth died at age eight and a half of typhoid fever during a November 1903 visit to Tsar Nicholas II and his family at their Polish hunting lodge. The doctor advised the Tsar's"}
+{"doc_id":"doc_165","qid":"","text":"Passage 1:Jesse E. HobsonJesse Edward Hobson (May 2, 1911 – November 5, 1970) was the director of SRI International from 1947 to 1955. Prior to SRI, he was the director of the Armour Research Foundation.Earlylife and educationHobson was born in Marshall, Indiana. He received bachelor's and master's degrees in electrical engineering from Purdue University and a PhD in electrical engineering from the California Institute ofTechnology. Hobson was also selected as a nationally outstanding engineer.Hobson married Jessie Eugertha Bell on March 26, 1939, and they had five children.CareerAwards and membershipsHobson was named anIEEE Fellow in 1948.Passage 2:The Heart of Maryland (1921 film)The Heart of Maryland is a lost 1921 American silent film feature produced and distributed by the Vitagraph Company of America. It is based on DavidBelasco's 1895 play, The Heart of Maryland.When Warner Brothers acquired the Vitagraph Studios in 1925, they obtained the screen rights to this property and remade the story in 1927 as The Heart of Maryland withDolores Costello.CastCatherine Calvert as Maryland CalvertCrane Wilbur as Alan KendrickFelix Krembs as Col. Fulton ThorpeBen Lyon as Bob TelfairWilliam Collier, Jr. as Lloyd CalvertWarner Richmond as TomBooneBernard Siegel as Provost-Sergeant BlountHenry Hallam as General KendrickVictoria White as Nanny McNairMarguerite Sanchez as Mrs. ClaiborneJane Jennings as Mrs. ClaiborneSee alsoThe Heart of Maryland(1915)Passage 3:Olav AaraasOlav Aaraas (born 10 July 1950) is a Norwegian historian and museum director.He was born in Fredrikstad. From 1982 to 1993 he was the director of Sogn Folk Museum, from 1993 to 2010he was the director of Maihaugen and from 2001 he has been the director of the Norwegian Museum of Cultural History. In 2010 he was decorated with the Royal Norwegian Order of St. Olav.Passage 4:The Heart ofMaryland (1915 film)The Heart of Maryland is a lost 1915 silent film drama directed by Herbert Brenon based on David Belasco's play The Heart of Maryland. Mrs. Leslie Carter, who starred in the original play onBroadway in 1895, makes her appearance in this film as the title character.CastMrs. Leslie Carter – Maryland CalvertWilliam E. Shay – Alan KendrickJ. Farrell MacDonald – Colonel ThorpeMatt B. Snyder – General HughKendrickRaymond Russell – Floyd CalvertMarcia Moore – Floyd Calver't SweetheartVivian Reed – Dolly GreyDoris Baker – True BlueHerbert Brenon – Lloyd CalvertBert Hadley – Private BooneJoseph Hazelton – TheSexton (*as Joe Hazelton)See alsoThe Heart of Maryland (1921)The Heart of Maryland (1927)Passage 5:Ian Barry (director)Ian Barry is an Australian director of film and TV.Select creditsWaiting for Lucas (1973)(short)Stone (1974) (editor only)The Chain Reaction (1980)Whose Baby? (1986) (mini-series)Minnamurra (1989)Bodysurfer (1989) (mini-series)Ring of Scorpio (1990) (mini-series)Crimebroker (1993)Inferno (1998)(TV movie)Miss Lettie and Me (2002) (TV movie)Not Quite Hollywood: The Wild, Untold Story of Ozploitation! (2008) (documentary)The Doctor Blake Mysteries (2013)Passage 6:Peter LevinPeter Levin is an Americandirector of film, television and theatre.CareerSince 1967, Levin has amassed a large number of credits directing episodic television and television films. Some of his television series credits include Love Is a ManySplendored Thing, James at 15, The Paper Chase, Family, Starsky & Hutch, Lou Grant, Fame, Cagney & Lacey, Law & Order and Judging Amy.Some of his television film credits include Rape and Marriage: The RideoutCase (1980), A Reason to Live (1985), Popeye Doyle (1986), A Killer Among Us (1990), Queen Sized (2008) and among other films. He directed \"Heart in Hiding\", written by his wife Audrey Davis Levin, for which shereceived an Emmy for Best Day Time Special in the 1970s.Prior to becoming a director, Levin worked as an actor in several Broadway productions. He costarred with Susan Strasberg in \"[The Diary of Ann Frank]\" buthad to leave the production when he was drafted into the Army. He trained at the Carnegie Mellon University. Eventually becoming a theatre director, he directed productions at the Long Wharf Theatre and the PacificResident Theatre Company. He also co-founded the off-off-Broadway Theatre [the Hardware Poets Playhouse] with his wife Audrey Davis Levin and was also an associate artist of The Interact Theatre Company.Passage7:The Heart of the WorldThe Heart of the World is a short film written and directed by Guy Maddin, produced for the 2000 Toronto International Film Festival. Maddin was one of a number of directors (including AtomEgoyan and David Cronenberg) commissioned to make four-minute short films that would screen prior to the various feature films at the 2000 festival as part of the special Preludes program. After hearing rumours thatother directors were planning films with a small number of shots, Maddin decided that his film would instead contain over 100 shots per minute, and enough plot for a feature-length film. Maddin then wrote and shotThe Heart of the World in the style of Russian constructivism, taking the commission at its literal face value, as a call to produce a propaganda film. Even in its expanded, 6-minute version, The Heart of the World runsat a breakneck speed, averaging roughly two shots per second, a pace intensified by the background music, Time, Forward! by Georgy Sviridov.Plot summaryThe plot of The Heart of the World concerns two brothers,Osip and Nikolai, who compete for the love of the same woman: Anna, a state scientist studying the Earth's core. Anna discovers that the heart of the world is in danger of a fatal heart attack (which would mean the endof the world), and the brothers compete amongst the public panic. Nikolai is a mortician and tries to impress Anna with assembly-line embalming, while Osip is an actor playing Christ in the Passion Play and tries toimpress Anna through his suffering. Anna is instead seduced by an evil capitalist, but has a change of heart and strangles the plutocrat, then slides down into the heart of the world, where she manages to save theworld from destruction by transforming into cinema itself, the world's \"new and better heart — Kino!\"CastLeslie Bais as Anna Caelum Vatnsdal as Osip Shaun Balbar as Nikolai Greg Klymkiw as AkmatovAwards andnominationsGenie Award:Win: Best Live Action Short FilmAspen Shortsfest:Win: Best CinematographyBrussels International Festival of Fantasy Film:Win: Special Mention – Short FilmMiami Film Festival:Win: FIPRESCIPrize, Best Short SubjectNational Society of Film Critics AwardsWin: Best Experimental Film—the same award Maddin won in 1991 for Archangel.San Francisco International Film FestivalWin: Film & Video – ShortNarrative, Golden Gate Award – Guy MaddinPassage 8:A Woman's TriumphA Woman's Triumph is a lost 1914 silent film drama directed by J. Searle Dawley and starring Laura Sawyer. It was produced by DanielFrohman and Adolph Zukor  and based on an 1818 story The Heart of Midlothian by Sir Walter Scott.A rival British film The Heart of Midlothian was released in April 1914.CastLaura Sawyer as Jeanie DeansBetty Harteas Effie DeansGeorge Moss as David DeansHal Clarendon as Georgie RobertsonWellington Playter as Reuben ButlerEmily Calloway as Madge WildfireHelen Aubrey as Dame MurdocksonPassage 9:Guy MaddinGuyMaddin  (born February 28, 1956) is a Canadian screenwriter, director, author, cinematographer, and film editor of both features and short films, as well as an installation artist, from Winnipeg, Manitoba. Sincecompleting his first film in 1985, Maddin has become one of Canada's most well-known and celebrated filmmakers.Maddin has directed twelve feature films and numerous short films, in addition to publishing threebooks and creating a host of installation art projects. A number of Maddin's recent films began as or developed from installation art projects, and his books also relate to his film work. Maddin is known for his fascinationwith lost Silent-era films and for incorporating their aesthetics into his own work. Maddin has been the subject of much critical praise and academic attention, including two books of interviews with Maddin and twobook-length academic studies of his work. Maddin was appointed to the Order of Canada, the country's highest civilian honour, in 2012.Maddin first served as a visiting lecturer at Harvard University's Department of Art,Film, and Visual Studies in 2015. Until then, he had always lived in Winnipeg.Life and careerEarly life (1956–84)Guy Maddin was born in Winnipeg, Manitoba, Canada, to Herdis Maddin (a hairdresser) and Charles \"Chas\"Maddin (grain clerk and general manager of the Maroons, a Winnipeg hockey team). Maddin has three older siblings: Ross (b. 1944), Cameron (1946–63), and Janet (b. 1949). Maddin attended Winnipeg publicschools— the Greenway School (elementary school), General Wolfe (junior high school), and the Daniel McIntyre Collegiate Institute (high school).Maddin's early life was marked by tragedy—in February 1963, hisbrother Cameron killed himself on the grave of his girlfriend, who had died in a car accident. Maddin studied economics at the University of Winnipeg, graduating in 1977 without a plan to become a filmmaker. Thatsame year, Maddin's father died suddenly after a stroke, and Maddin married Martha Jane Waugh. Their daughter, Jilian, was born in 1978, and Maddin and Waugh divorced in 1979.After graduating, Maddin held avariety of odd jobs, including bank manager, house painter, and photo archivist. Maddin began to take film classes at the University of Manitoba. There, Maddin met film professor Stephen Snyder, who held regular filmscreenings of titles from the school's film library at his home. Maddin attended, as did some early collaborators, including his friend John Boles Harvie, the future star of Maddin's first film, and filmmaker John Paizs.Maddin appeared as an actor in two of Paizs' short films, as a student in Oak, Ivy, and Other Dead Elms (1982) and as a transvestite, homicidal nurse in The International Style (1983). Maddin drew early inspirationfrom the films of John Paizs, as well as experimental shorts by Stephen Snyder. Other early influences included L'Age d'Or by Luis Buñuel (in collaboration with Salvador Dalí) and Eraserhead by David Lynch. Maddin hasstated that these films, along with the work of Paizs and Snyder, \"were movies that were primitive in many respects. They were low budget, they used nonactors or nonstars, they used atmospheres and ideas, and wereunbelievably honest, frank, and, therefore, exciting to me. They made moviemaking seem possible to me.\" Maddin also met film professor George Toles, who became Maddin's cowriter on many of his future films.Maddin's core group of friends from this period, who played various roles in the production of his early film projects, were known as \"the Drones\" and included Harvie, Ian Handford, and Kyle McCulloch (now a writer forSouth Park).Maddin joined the Winnipeg Film Group around this time, and also became friends with producer Greg Klymkiw, with whom he began making a cable access television show, Survival (c. 1985–87). Survivalwas a satirical talk show centred around, as its opening credits noted, how \"we must survive the inevitable social/economic collapse and/or nuclear holocaust\". The show became a cult hit in Winnipeg and excerpts werere-released on the compilation DVD Winnipeg Babysitter. Maddin plays a masked character on the show named \"Concerned Citizen Stan\".The Dead Father and Tales from the Gimli Hospital (1985–88)Maddin's first shortfilm (as director, writer, producer, and cinematographer) was The Dead Father, a 25-minute black-and-white film about a young man whose father dies but continues to visit his family and disapprove of his son's life. Itsbudget is estimated at CA$5,000 (equivalent to CA$11,238 in 2021). Maddin began shooting The Dead Father in 1982 and finished the film in 1985. Spurred by the work of Snyder and Paizs, and together with Harvieand Handford, Maddin decided to begin making films and founded a film company called \"Extra Large Productions\" (they first decided on the name \"Jumbo Productions\" and went to get a jumbo pizza to celebrate, butchanged the name when the pizzeria in Gimli, Manitoba, only served \"extra large\" pizzas).Maddin cast John Harvie in the lead role as the son, and University of Manitoba medical professor Dr. Dan P. Snidal as the deadfather. The Dead Father (1985) was shot in black-and-white on sixteen-millimetre film. The style of the film owes much to the work of the Surrealists, with Maddin citing Luis Buñuel and Man Ray as its main influences.Critics routinely cite, as an example of Maddin's dream-like tone, the climactic scene of the film, where the son attempts to resolve his relationship with his dead father by uncovering his corpse (hidden to sleep at nightin some nearby brush) and attempting to devour his father using a large spoon—since the dead father awakens, the son cannot finish eating him and must instead pack his body away into a trunk in the family's attic.Although Maddin did not feel that the film's initial, Winnipeg premiere had gone well, John Paizs convinced him to submit the film to the Toronto Film Festival and the festival accepted the film. At the festival Maddin metAtom Egoyan, Jeremy Podeswa, Norman Jewison, and began to form connections with Canadian filmmakers across the national scene.Maddin next began work on his feature film debut, Tales from the Gimli Hospital(1988), also shot in black-and-white on sixteen-millimetre film. Kyle McCulloch starred in the film as Einar, a lonely fisherman who contracts smallpox and begins to compete with another patient, Gunnar (played byMichael Gottli) for the attention of the young nurses. Maddin had himself endured a recent period of male rivalry and noticed that he found himself \"quite often forgetting the object of jealousy\" and instead becoming\"possessive of my rival\". The film was originally titled Gimli Saga after the amateur history book produced locally by various Icelandic members of the community of   Gimli (Maddin himself is Icelandic byancestry).Maddin's aunt Lil had recently retired from hairdressing, and allowed Maddin to use her beauty salon (also Maddin's childhood home) as a makeshift film studio (Lil appears in the film briefly as a \"bedsidevigil-sitter in one quick shot [taken] just a couple of days before she died\" at the age of 85. After Maddin's mother sold the house/studio, Maddin completed the remaining shots of the film at various locations, includinghis own home, over a period of eighteen months. Maddin received a grant from the Manitoba Arts Council for CA$20,000 (equivalent to CA$39,775 in 2021), and often cites that figure as the film's budget, although hehas also estimated the actual budget to have been between CA$14,000 and CA$30,000.Although Tales from the Gimli Hospital upset some of the residents of Gimli, who believed that the film made light of the historicalsmallpox epidemic that ravaged the community, and was rejected by the Toronto Film Festival, it nevertheless became a cult success and established Maddin's reputation in independent film circles. The film garneredthe attention of Ben Barenholtz, who had successfully distributed other cult films such as the John Waters film Pink Flamingos and David Lynch's debut feature Eraserhead. Tales from the Gimli Hospital consequentlysucceeded on the festival circuit and screened for a full year as a midnight movie at a theatre in New York's Greenwich Village. Maddin received a Genie award nomination for Best Original Screenplay.Archangel, Careful,and Twilight of the Ice Nymphs (1989–97)Having proven himself as a filmmaker and established a reputation outside of Canada, Maddin began work on a series of feature films produced on larger budgets and moretraditional production schedules and processes. His second feature, Archangel (1990), fictionalizes in a general sense historical conflict related to the Bolshevik Revolution occurring in the Arkhangelsk (Archangel) regionof Russia, a basic concept presented to Maddin by John Harvie. Boles, a Canadian soldier suffering from amnesia, arrives in the town of Archangel as World War I is ending (due to the Bolshevik uprising, it appears as ifthe townspeople have, like Boles, contracted amnesia and \"forgotten\" that the war is over). Boles confuses the warrior-woman Veronkha with his lost love Iris and pursues her throughout the fighting. Fellow \"drone\"Kyle McCulloch stars as Boles. The film marks Maddin's first formal collaboration with fellow screenwriter George Toles.Maddin shot Archangel in black-and-white, on 16 mm film, on a budget of CA$430,000 (equivalentto CA$776,633 in 2021). Maddin modeled the film on the style of a part-talkie, an early cinema genre. Film critic J. Hoberman praised the film, and noted that such stylistic approaches were typical of Maddin's growingbody of work: \"Maddin's most distinctive trait is an uncanny ability to exhume and redeploy forgotten cinematic  conventions.\" Archangel premiered at the Toronto Film Festival, and in 1991 was awarded BestExperimental Film by the National Society of Film Critics.Maddin's third feature, Careful (1992), was styled after another early cinema genre, the German mountain picture (or Bergfilm) — a surprising choice, given that(as filmmaker Caelum Vatnsdal has noted), \"Winnipeg's highest peak is, in fact, an artificial hill that had been created by laying sod over a garbage dump.\" Maddin was ordered by the producers to shoot in colour, andso Careful became Maddin's first colour film, shot on 16 mm film with a budget of CA$1.1 million (equivalent to CA$1,854,286 in 2021). the colour style of the film emulated the two colour Technicolor movies of theearly 1930s. Kyle McCulloch again starred, alongside other Maddin regulars such as Brent Neale and Ross McMillan. At one point, Martin Scorsese had agreed to act in the film, as Count Knotkers, but bowed out tocomplete Cape Fear. Maddin pursued casting hockey star Bobby Hull, but ended up casting Paul Cox.Careful, also cowritten by George Toles, is set in the mountain town of Tolzbad, where the townspeople are forced torepress their behaviour pathologically, since the slightest expression of emotion can trigger a devastating avalanche. Brothers Grigorss (McCulloch) and Johann (Neale) seem secure of bright futures as butlers, butJohann becomes incestuously obsessed with their widowed mother (driving him away from his fiancé and towards a dramatic suicide). Grigorss, who is in love with Klara, begins to work for Count Knotkers, who alsoharbours love for Grigorss' mother. Klara convinces Grigorss to duel the Count, resulting in the death of his mother, Klara's father, Klara, and finally Grigorss himself. Careful premiered at the New York Film Festival and,although it was not a commercial success elsewhere, \"single-handedly saved a struggling art-house cinema in Missoula, Montana\" where \"sell-out crowds had filled the house twice every night for two weeks\".For hisnext feature film, written by Toles, Maddin attempted to make an operetta called The Dikemaster's Daughter \"set in a nineteenth-century Holland populated almost entirely by opera singers and dike-building navvies\"about \"a short-lived romance between the titular daughter and a fey opera singer\". The singer is killed and the daughter is forced to marry a dike-builder who is also killed. A local alchemist then constructs anautomaton copy of the latter, which the daughter succeeds in having implanted with two hearts (of both her opera singer love and her dike-builder husband) and a lever that switches control of the mechanical bodybetween the two hearts. The movie was to feature Christopher Lee and Leni Riefenstahl, but Telefilm Canada \"declared the project a 'lateral move'\" for Maddin and the movie could not secure enough funding, so wasaborted.Maddin consequently flirted with the idea of moving to Los Angeles to become a director-for-hire. He met with Claudia Lewis, who worked for Fox Searchlight, but Maddin found himself dispirited with theprojects he was offered: \"I remember one was a love story set in a TB sanatorium. The only thing odd or bizarre about it was the very off-putting sight of people horking up blood and phlegm into little paper cups, andthese paper cups would accumulate in volume until there were moonlit paper cups of phlegm floating on a lake, and it was supposed to be very beautiful, but it was nauseating. I'm making it sound better than it was,actually.\" Maddin also directed the TV film The Hands of Ida (which he \"later repudiated\") and married Elise Moore in 1995 (the marriage ended in 1997), and directed the short film Odilon Redon, or The Eye Like aStrange Balloon Mounts Toward Infinity (which was commissioned by the BBC and won a Special Jury Citation at the Toronto International Film festival). In 1995, Maddin also became the youngest recipient ever of the"}
+{"doc_id":"doc_166","qid":"","text":"Passage 1:Mordechai RotenbergMordechai Rotenberg (born 1932) (Hebrew: \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000\u0000) is an Israeli professor of social work at the Hebrew University of Jerusalem.BiographyMordechai Rotenberg was bornin Breslau, Germany (today Wrocław, Poland). His father was from Warsaw, descended from Rabbi Yitzchak Meir Alter, the founder of the Gur Hasidic sect.  His father owned a publishing house in Breslau. In 1939, onthe eve of World War II, the family immigrated to Palestine. Rotenberg's father opened a small printing press in Jerusalem. Rotenberg grew up in a Haredi household, with three brothers and a sister.In 1960, hegraduated from the Hebrew University with a BA in education and sociology from the School of Social Work.  In 1962, he received his MSW from New York University. In 1969, he was awarded a Ph.D. in social welfareand social psychology at University of California, Berkeley.In 1970, Rotenberg joined the faculty of the Hebrew University of Jerusalem, becoming a full professor in 1980. He founded a new sub-discipline in psychologyand religion.  He is the author of ten books, which have been translated into English, French, Portuguese and Japanese. Rotenberg has taught at University of Pennsylvania, University of California, Berkeley, the JewishTheological Seminary, City University of New York and Yeshiva University.Clinical approachRotenberg has developed innovative theories based on psychological interpretations of Hasidic and Midrashic concepts. Hedescribes his approach as \"re-biography\", i.e.,  \"rereading one's biography so it becomes possible to live with the text.\" In an interview with Haaretz newspaper he said: \"All of life is a text, and I am proposing a newterm - recomposition, rewriting the melody of life. You do not have to erase the past, but it can be re-composed, and to that end I cite examples from the Gemara.\"Tzimtzum paradigmRotenberg has adopted theKabbalistic-Hasidic tzimtzum paradigm, which he believes has significant implications for clinical therapy. According to this paradigm, God's \"self-contraction\" to vacate space for the world serves as a model for humanbehavior and interaction. The tzimtzum model promotes a unique community-centric approach which contrasts starkly with the language of Western psychology.AwardsIn 2009, Rotenberg was awarded the Israel Prizefor social work, in connection with his research in social welfare.Published worksDamnation and Deviance: The Protestant Ethic and the Spirit of FailureRewriting the Self: Psychotherapy and MidrashThe Yetzer: AKabbalistic Psychology of Eroticism and Human SexualityHasidic Psychology: Making Space for OthersCreativity and Sexuality: A Kabbalistic ExperienceBetween Rationality and Irrationality: The JewishPsychotherapeutic SystemDialogue With DevianceThe Trance of Terror, Psycho-Religious FundaMentalism: Roots and RemediesDia-logo Therapy: Psychonarration and PaRDeSRe-Biographing and Deviance:Psychotherapeutic Narrativism and the MidrashSee alsoList of Israel Prize recipientsPassage 2:Dave Grossman (game developer)Dave Grossman is an American game programmer and game designer, most known forhis work at Telltale Games and early work at LucasArts. He has also written several children's books, and a book of \"guy poetry\" called Ode to the Stuff in the Sink.Game industry careerGrossman joined LucasfilmGames, later known as LucasArts in 1989. At LucasArts, Grossman wrote and programmed The Secret of Monkey Island and Monkey Island 2: LeChuck's Revenge together with Ron Gilbert and Tim Schafer. He laterco-designed Day of the Tentacle.Grossman quit LucasArts in 1994 to begin a freelance career. For Humongous Entertainment, a company co-founded by Ron Gilbert, he helped create many critically acclaimed gamesaimed at children, such as the Pajama Sam series. Later he also wrote children's games for Hulabee Entertainment and Disney.He then designed adventure games at Telltale Games, a company founded by LucasArtsveterans. He joined Telltale in 2005 as lead designer. In 2009, he returned to his Monkey Island roots, as Design Director on Telltale Games' episodic Tales of Monkey Island.He left Telltale in August 2014 and joinedAmazon Alexa gaming specialists, Reactive Studios, in November 2014 as Chief Creative Officer. Reactive Studios has since changed its name to EarPlay.In 2020 he joined Ron Gilbert in developing Return to MonkeyIsland. The game was released in 2022.Children's booksLyrick Publishing published three books written by Grossman that were based on characters from Humongous Entertainment's games. They were Freddi Fish: TheBig Froople Match, Pajama Sam: Mission to the Moon, and Freddi Fish: The Missing Letters Mystery.For Fisher-Price/Nickelodeon, Grossman authored two interactive books, SpongeBob SquarePants: Sleepy Time andFairly OddParents: Squawkers.Other worksGrossman claimed that his interests in other works were often inspired by his father, \"I guess I've inherited a certain restless tinkerer's curiosity from my father (who mainlyworks in words, wood, photography and architecture, often in combination).\" This include his interests in writing, drawing, sculpture, and music.Grossman is the author of \"Ode to the Stuff in the Sink: A Book of GuyPoetry,\" which he self-published in 2002. It contains a selection of illustrated poems dedicated to different aspects of male life, including inability to dance, old stuff in the fridge, and unwillingness to clean anything. Thebook is available from Dave Grossman's personal website, Phrenopolis.com. Many of the poems were first published in his Poem of the Week electronic mailing list.Grossman co-designed a successful robot toy forFisher-Price.Game contributionsGrossman also made contributions to The Dig, Total Annihilation, and Insecticide, and was a script editor on Voodoo Vince. He also designed the trophies / Steam achievements for theremastered version of Day of the Tentacle.Passage 3:Alan McKenzieAlan McKenzie is a British comics writer and editor known for his work at 2000 AD.BiographyMcKenzie worked for Marvel UK during the early 1980s,editing Starburst, Cinema and Doctor Who Monthly magazines. After leaving the Marvel staff in 1985, he wrote several Doctor Who comic stories for the Monthly under the pseudonym Max Stockbridge. He then wrotethree non-fiction books, The Harrison Ford Story (1985), Hollywood Tricks of the Trade (1986) and How to Draw and Sell Comic Strips (1987) before contributing comic scripts to IPC's Battle Action and later 2000 AD.In1987, he joined the editorial team of 2000 AD as a freelancer, and from 1987–1994 he created a number of stories including Bradley, Brigand Doom and Journal of Luke Kirby. He also served in 1994 as the comic'seditor.BibliographyComicsComics work includes:Doctor Who (with John Ridgway):\"War-Game\" (in Doctor Who Magazine #100-101, 1986)\"Funhouse\" (in Doctor Who Magazine #102-103, 1986)\"Kane's Story\" / \"Abel'sStory\" / \"The Warrior's Story\" / \"Frobisher's Story\" (in Doctor Who Magazine #104-107, 1986)\"Exodus\" / \"Revelation\" / \"Genesis\" (in Doctor Who Magazine #108-110, 1986)Tharg's Future Shocks:\"The Star Warriors\"(with Nik Williams, in 2000 AD #517, 1987)\"Some One is Watching Me\" (with Liam Sharp, in 2000 AD #531, 1987)\"Bliss\" (with Mark Farmer, in 2000 AD #571, 1988)Universal Soldier (with Will Simpson & BrettEwins):\"Universal Soldier\" (in 2000 AD #537-543, 1987)\"Universal Soldier II\" (in 2000 AD #672-682, 1990)\"Universal Soldier: The Indestructible Man\" (in 2000 AD #750-759, 1991)The Journal of Luke Kirby:\"SummerMagic\" (with John Ridgway, in 2000 AD #571-577, 1988)\"A Winter's Tale\" (with Graham Higgins, in 2000 AD Winter Special 1, 1988)\"The Dark Path\" (with John Ridgway, in 2000 AD Sci-Fi Special 1990)\"The NightWalker\" (with John Ridgway, in 2000 AD #800-812, 1992)\"Sympathy for the Devil Prologue\" (with John Ridgway, in 2000 AD #850-851, 1993)\"Trick or Treat\" (with John Ridgway, in 2000 AD 1994 Yearbook,1993)\"Sympathy for the Devil\" (with Steve Parkhouse, in 2000 AD #873-877 and 884-888, 1994)\"The Old Straight Track\" (with Steve Parkhouse, in 2000 AD #954 - 963, 1995)\"The Price\" (with John Ridgway, in 2000AD #972, 1995)Moon Runners (with Massimo Belardinelli):\"Moonrunners\" (co-written with Steve Parkhouse, in 2000 AD #591-606, 1988)\"Moonrunners: Old Acquaintance\" (in 2000 AD #641-644, 1989)Bradley (withSimon Harrison):\"Bradley Goes Pop\" (in 2000 AD #660-682, 1990)\"Bradley's Bedtime Stories\" (in 2000 AD #795-799, 825-827, 1992–1993)\"Bradley: The Sprog Prince\" (in 2000 AD #885-888, 1994)\"Bradley: Masterof the Martial Arts\" (in 2000 AD #901-903, 1994)Brigand Doom (with Dave D'Antiquis):\"Brigand Doom\" (in 2000 AD #717-722, 1991)\"Voodoo Child\" (in 2000 AD #764-773, 1992)\"Spirits Willing\" (in 2000 AD#815-818, 1992–1993)\"House of Games\" (in 2000 AD #897-899, 1994)\"Account Yorga-Vampire\" (in 2000 AD #932-936, 1995)Tales from Beyond Science (with Rian Hughes, tpb, 88 pages, Image Comics, January2012, ISBN 1-60706-471-5) collects:\"The Music Man\" (in 2000 AD #775, 1992)\"Agents of Mu-Mu\" (in 2000 AD #777, 1992)Mean Arena: \"Mean Arena\" (with Anthony Williams, in 2000 AD #852-863, 1993)Soul GunWarrior (with Shaky Kane):\"Soul Gun Warrior\" (with co-writer M. Coulthard, in 2000 AD #867-872, 1993–1994)\"Soul Gun Assassin\" (with co-writer M. Coulthard, in 2000 AD #920-925, 1994–1995)Tharg's TerrorTales:\"The Last Victim\" (with Mick Austin, in 2000 AD #840, 1993)\"Meat is Meat\" (with Mick Austin, in 2000 AD Yearbook 1994), 1993)\"The Succubus\" (with Paul Johnson, in 2000 AD #894, 1994)Vector 13 (createdformat, with Dave D'Antiquis):\"Case Five: The Henderson Event\" (in 2000 AD #955, 1995)\"Case Five: Assassin\" (in 2000 AD #992, 1996)Chopper: \"Supersurf 13\" (with John Higgins, 2000 AD #964-971,1995)BooksNon-comics work includes:The Harrison Ford Story (Arbor House, 1984, ISBN 0-87795-667-7, Zomba Books, 1985, ISBN 0-946391-64-5, Air Pirate Press, 2011, ISBN 978-0-9569149-1-0)How to Draw andSell Comic Strips (1987/1996/2005, Titan Books, ISBN 1-84576-076-X)Hollywood Tricks of the Trade (co-author, Gallery Books, 1987, ISBN 0-8317-4240-2)Passage 4:Joseph L. ArmstrongJoseph L. Armstrong was aprofessor at Duke University (at the time, called \"Trinity College\") best known for reforming Duke's curriculum in the late nineteenth century, changing it to a German research university model with the help of JohnFranklin Crowell. Armstrong did his undergraduate work at Johns Hopkins University and graduate work at the University of Leipzig.Passage 5:David ShuteDavid Shute is a British journalist, best known for his work atthe BBC.CareerShute was educated at Brentwood School in Essex. While working on newspapers in Reading he was auditioned by the BBC in Bristol and immediately signed on contract. He made a reputation forengaging in adventurous broadcasts such as deep sea diving, riding on the back of a Royal Artillery motorcycle during a display and, while covering a story on the changing face of circus life, going on the flying trapeze.David Shute was the first person to broadcast live to the UK while travelling through the sound barrier. He is regularly on BBC Radio Four's Today programme. As a reporter he covered conflicts in Borneo and Sarawakwhich resulted in the Radio Four programme The Quiet Confrontation, produced by Roy Hayward. He also covered the troubles in Aden and the Radfan.He was promoted to the post of Senior Talks Producer at the BBC'sPebble Mill studios. There he built a reputation for mounting outside broadcasts. He maintained a productive association with the Royal Shakespeare Company at Stratford upon Avon and worked with actors includingIan Richardson, Richard Pasco and Margaret Tyzack. He directed Richardson's memorable radio performance of Nevil Shute's Requiem for a Wren, which was featured as a Book at Bedtime. He gave David Suchet hisfirst broadcast job, reading a \"Morning Story\".Outside the BBC he wrote and produced Warwick Castle Mediaeval Banquet, which ran for more than 17 years. He later founded a Production Company specialising in Videoand Conference Production.RetirementLiving in retirement in Spain, Shute works as a lecturer on cruise ships covering such topics as \"broadcasting\" and \"the musical theatre\", accompanied by recordings of his work asa reporter. Ashore he finds himself in demand as an after dinner speaker.Passage 6:Christopher ShinnChristopher Shinn (born 1975) is an American playwright. His play Dying City (2006) was a finalist for the 2008Pulitzer Prize for Drama, and Where Do We Live (2004) won the 2005 Obie Award, Playwriting.Early lifeShinn was born in Hartford, Connecticut in 1975 and lives in New York. He earned a BFA, Dramatic Writing, fromNew York University.The Royal Court Theatre in London produced his first play Four and commissioned several plays from him. Shinn said: \"The fifteen years I was embraced by the Court allowed me to become theartist I am today.\"CareerIn an article about Shinn, Rob Weinert-Kendt observed: \"If playwright Christopher Shinn has a signature character, it is the manipulative victim — the half-sympathetic, half-deplorable sort ofperson whose suffering is real but who uses it as rationale for bad behavior.\" As an example, in Dying City, \"Shinn conjured twin terrors: a pair of brothers, one a straight soldier shipping off to Iraq, the other asuccessful gay actor.\"Four was produced by the Royal Court Theatre in their Young Writers' Festival in 1998. The play was produced by the Worth Street Company at the TriBeCa Playhouse, New York City, in July 2001,directed by Jeff Cohen. It was produced by the Manhattan Theatre Club at Stage II in association with the Worth Street Company in January 2002.Other People premiered at the Royal Court Theatre, Jerwood TheatreUpstairs in March 2000, directed by Dominic Cooke and featuring Daniel Evans, Doraly Rosen, James Frain, and Neil Newbon. The play opened Off-Broadway at Playwrights Horizonss New Theater Wing in October 2000.The play takes place in the East Village in 1997 shortly before Christmas, and involves roommates, current and former, all artists in various fields.Where Do We Live opened Off-Broadway at the Vineyard Theatre,running from May 11, 2004, to May 30, 2004. Directed by Shinn, the cast featured Emily Bergl, Daryl Edwards, Jesse Tyler Ferguson, Luke MacFarlane, Burl Moseley, Jacob Pitts, Aaron Stanford, Liz Stauber and AaronYoo. The play won the 2005 Obie Award, Playwriting and was nominated for the 2005 GLAAD Media Awards, Outstanding New York Theater: Broadway and Off-Broadway. It was first produced at the Royal Court in May2002.His play Dying City was produced Off-Broadway by Lincoln Center Theater at the Mitzi E. Newhouse Theatre, from February 15, 2007, in previews, officially on March 4, 2007, to April 29, 2007. Directed by JamesMacdonald the cast starred Rebecca Brooksher and Pablo Schreiber. The play had its world premiere in 2006 at the Royal Court Theatre in London. The play was a finalist for the 2008 Pulitzer Prize for Drama.Shinn'splay Now or Later premiered at the Royal Court Theatre in London from 3 September 2008 to 1 November 2008. Directed by Dominic Cooke, the cast featured Eddie Redmayne, Matthew Marsh, Adam James, DomhnallGleason, Nancy Crane and Pamela Nomvete. The play takes place during a U.S. presidential election and focuses on the crisis that the gay son of the Democratic candidate is undergoing. The play had its US premiere atthe Huntington Theatre Company, Boston in October 2012. Adriane Lenox, Tom Nelis and Grant MacDermott are featured, with direction by Michael Wilson.His adaptation of Hedda Gabler premiered on Broadway at theRoundabout Theatre Company American Airlines Theatre, from January 6, 2009, to March 29, 2009. The play was directed by Ian Rickson and starred Mary-Louise Parker as Hedda Tesman, Michael Cerveris as JorgenTesman, Peter Stormare as Judge Brack, and Paul Sparks as Ejlert Lovborg.Teddy Ferrara was commissioned by the Goodman Theatre, Chicago, and premiered there from February 2, 2013, to March 3, 2013, directedby Evan Cabnet. The play involves a gay college student, Gabe, whose life is complicated by a tragedy on campus. The play was produced in London at the Donmar Warehouse in October 2015, directed by DominicCooke.An Opening in Time premiered at Hartford Stage, running from September 17 to October 11, 2015, directed by Oliver Butler. The play is set in New England and focuses on Anne, in her 60s, seeking to reconnectwith a man from her past.Against premiered at the Almeida Theatre, running from August 12 to September 30, 2017, directed by Ian Rickson and starring Ben Whishaw. The play is about a Silicon Valley billionaire whogoes on a quest to try to get America to address its problem with violence.His adaptation of Judgment Day premiered at Park Avenue Armory on December 5, 2019.The Narcissist premiered at Chichester FestivalTheatre, running from August 26 to September 24, 2022, directed by Josh Seymour and starring Harry Lloyd and Claire Skinner. The play is about a political consultant who is being courted by a Senator as his personallife faces crisis.Other workHe wrote Sandcastle for \"The 24 Hour Plays\" which was performed on September 24, 2001, starring Liev Schrieber and Lili Taylor. He wrote Dance of Life for the 2003 version of \"The 24 HourPlays\", which was performed at the American Airlines Theatre in September 2003 and starred Rachel Dratch, Catherine Kellner and Sam Rockwell.He participated in the Bush Theatre's 2011 project Sixty Six Bookswhere he wrote a piece based upon a book of the King James Bible.He wrote a short play for Headlong's 2011 project Decade about the impact and legacy of 9/11.He has also written short plays for Naked Angels, andthe New York International Fringe Festival.Shinn's plays are published in collections from Theatre Communications Group and Methuen, and in acting editions from Dramatists Play Service.Shinn teaches playwriting atThe New School for Drama.BibliographySource: Internet Off-Broadway DatabaseFour—1998, Royal Court TheatreOther People—2000, Royal Court TheatreThe Coming World—2001, Soho Theatre, LondonWhere Do WeLive—2002, Royal Court TheatreWhat Didn't Happen—2002, Playwrights HorizonsOn the Mountain—2005, Playwrights HorizonsDying City—2006, Royal Court TheatreNow or Later—2008, Royal Court TheatreHeddaGabler (adaptation)—2009, Roundabout Theatre Company, American Airlines TheatrePicked—2011, Vineyard TheatreTeddy Ferrara—2013, Goodman TheatreAn Opening in Time—2015, Hartford StageAgainst—2017,Almeida TheatreJudgment Day (adaptation)—2019, Park Avenue ArmoryThe Narcissist—2022, Chichester Festival TheatreAwards and honorsFor Dying City, Shinn was a 2008 Pulitzer Prize finalist, was nominated forthe 2007 Lucille Lortel Award for Outstanding Play, and was nominated for the TMA Award for Best New Play (2006). Shinn won the Obie Award in Playwriting (2005) for Where Do We Live and was nominated for anOlivier Award for Most Promising Playwright (2003) for Where Do We Live He was shortlisted for the Evening Standard Theatre Award for Best Play (2008) for Now or Later and the South Bank Show Award for Theatre(2008) for Now or Later. In 2020, he was nominated for a Drama Desk Award for Outstanding Adaptation for Judgment Day.He received a Guggenheim Fellowship in Playwriting (2005). He has received grants from theNEA/TCG Residency Program and the Peter S. Reed Foundation, and he is a recipient of the Robert Chesley Award for Lesbian and Gay Playwriting.He was a 2019-2020 Radcliffe Fellow at Harvard. In 2020–2021, he wasa Cullman Fellow at New York Public Library.Personal lifeShinn is openly gay. In 2012, Shinn was diagnosed with Ewing's sarcoma, a rare form of bone cancer, and had part of his left leg amputated.Passage 7:JaneWymanJane Wyman ( WY-m\u0000n; born Sarah Jane Mayfield; January 5, 1917 – September 10, 2007) was an American actress. She received an Academy Award, three Golden Globe Awards and nominations for twoPrimetime Emmy Awards.Wyman's professional career began at age 16 in 1933, when she signed with Warner Bros. A popular contract player, she frequently played the leading lady, appearing in films such as PublicWedding (1937), Brother Rat (1938), its sequel Brother Rat and a Baby (1940), Bad Men of Missouri (1941), Stage Fright (1950), So Big (1953), Magnificent Obsession (1954), and All That Heaven Allows (1955). Shereceived four nominations for the Academy Award for Best Actress, winning for Johnny Belinda (1948). In her later years, she achieved continuing success on the soap opera Falcon Crest (1981–1990), portraying the"}
+{"doc_id":"doc_167","qid":"","text":"Passage 1:La Bestia humanaLa Bestia humana is a 1957 Argentine film whose story is based on the 1890 novel La Bête Humaine by the French writer Émile Zola.External linksLa Bestia humana at IMDbPassage 2:Miloš ZličićMiloš Zličić (Serbian Cyrillic: Милош Зличић; born 29 December 1999) is a Serbian football forward who plays for Smederevo 1924. He is a younger brother of Lazar Zličić.Club careerVojvodinaBorn in Novi Sad, Zličić passed Vojvodina youth school and joined the first team at the age of 16. Previously, he was nominated for the best player of the \"Tournament of Friendship\", played in 2015. He made his senior debut in a friendly match against OFK Bačka during the spring half of the 2015–16 season, along with a year younger Mihajlo Nešković. Zličić made an official debut for Vojvodina in the 16th fixture of the 2016–17 Serbian SuperLiga season, played on 19 November 2016 against Novi Pazar.Loan to CementIn July 2018, Zličić joined the Serbian League Vojvodina side Cement Beočin on half-year loan deal. Zličić made his debut in an official match for Cement on 18 August, in the first round of the new season of the Serbian League Vojvodina, in a defeat against Omladinac. He scored his first senior goal on 25 August, in victory against Radnički.International careerZličić was called in Serbia U15 national team squad during the 2014, and he also appeared for under-16 national team between 2014 and 2015. He was also member of a U17 level later. After that, he was member of a U18 level, and scored goal against Slovenia U18.Career statisticsAs of 26 February 2020Passage 3:Roman PolanskiRaymond Roman Thierry Polański (né Liebling; 18 August 1933) is a French and Polish film director, producer, screenwriter, and actor. He is the recipient of numerous accolades, including an Academy Award, two British Academy Film Awards, nine César Awards, two Golden Globe Awards, as well as the Golden Bear and a Palme d'Or.His Polish Jewish parents moved the family from his birthplace in Paris back to Kraków in 1937. Two years later, the invasion of Poland by Nazi Germany started World War II, and the family found themselves trapped in the Kraków Ghetto. After his mother and father were taken in raids, Polanski spent his formative years in foster homes, surviving the Holocaust by adopting a false identity and concealing his Jewish heritage. Polanski's first feature-length film, Knife in the Water (1962), was made in Poland and was nominated for the United States Academy Award for Best Foreign Language Film. After living in France for a few years, he moved to the United Kingdom, where he directed his first three English-language feature-length films: Repulsion (1965), Cul-de-sac (1966), and The Fearless Vampire Killers (1967). In 1968, he moved to the United States and cemented his status in the film industry by directing the horror film Rosemary's Baby (1968).In 1969, Polanski's pregnant wife, actress Sharon Tate, was murdered with four friends by members of the Manson Family. He made Macbeth (1971) in England and Chinatown (1974) back in Hollywood. Polanski was arrested and charged in 1977 with drugging and raping a 13-year-old girl. As a result of a plea bargain, he pleaded guilty to the lesser offence of unlawful sex with a minor. In 1978, upon learning that the judge planned to reject his plea deal and impose a prison term instead of probation, Polanski fled to Paris and has since been a fugitive from the U.S. criminal justice system. After fleeing to Europe, Polanski continued directing. His other critically acclaimed films include Tess (1979), The Pianist (2002) which won him the Academy Award for Best Director, The Ghost Writer (2010), Venus in Fur (2013), and An Officer and a Spy (2019).Early lifePolanski was born in Paris. He was the son of Bula (aka \"Bella\") Katz-Przedborska and Mojżesz (or Maurycy) Liebling (later Polański), a painter and manufacturer of sculptures, who after World War II was known as Ryszard Polański. Polanski's father was Jewish and originally from Poland; Polanski's mother, born in Russia, had been raised Catholic but was half Jewish. His mother had a daughter, Annette, by her previous husband. Annette survived Auschwitz, where her mother was murdered, and left Poland forever for France.  Polanski's parents were both agnostics. Polanski later stated that he was an atheist.World War II and the HolocaustThe Polański family moved back to Kraków, Poland, in early 1937, and were living there when World War II began with the invasion of Poland. Kraków was soon occupied by the German forces, and the racist and anti-Semitic Nuremberg Laws made the Polańskis targets of persecution, forcing them into the Kraków Ghetto, along with thousands of the city's Jews. Around the age of six, Polanski attended primary school for only a few weeks, until \"all the Jewish children were abruptly expelled\", writes biographer Christopher Sandford. That initiative was soon followed by the requirement that all Jewish children over the age of twelve wear white armbands with a blue Star of David imprinted for visual identification. After he was expelled, Polanksi would not be allowed to enter another classroom for six years.: 18 Polanski witnessed both the ghettoization of Kraków's Jews into a compact area of the city, and the subsequent deportation of all the ghetto's Jews to German death camps. He watched as his father was taken away. He remembers from age six, one of his first experiences of the terrors to follow:I had just been visiting my grandmother ... when I received a foretaste of things to come. At first, I didn't know what was happening. I simply saw people scattering in all directions. Then I realized why the street had emptied so quickly. Some women were being herded along it by German soldiers. Instead of running away like the rest, I felt compelled to watch.One older woman at the rear of the column couldn't keep up. A German officer kept prodding her back into line, but she fell down on all fours ... Suddenly a pistol appeared in the officer's hand. There was a loud bang, and blood came welling out of her back. I ran straight into the nearest building, squeezed into a smelly recess beneath some wooden stairs, and didn't come out for hours. I developed a strange habit: clenching my fists so hard that my palms became permanently calloused. I also woke up one morning to find that I had wet my bed.Polanski's father was transferred, along with thousands of other Jews, to Mauthausen, a group of 49 German concentration camps in Austria. His mother, who was four months pregnant at the time, was taken to Auschwitz and killed in the gas chamber soon after arriving. The forced exodus took place immediately after the German liquidation of the Warsaw Ghetto, a real-life backdrop to Polanski's film The Pianist (2002). Polanski, who was then hiding from the Germans, saw his father being marched off with a long line of people. Polanski tried getting closer to his father to ask him what was happening and got within a few yards. His father saw him, but afraid his son might be spotted by the German soldiers, whispered (in Polish), \"Get lost!\": 24 Polanski escaped the Kraków Ghetto in 1943 and survived with the help of some Polish Roman Catholics, including a woman who had promised Polanski's father that she would shelter the boy.: 21 Polanski attended church, learned to recite Catholic prayers by heart, and behaved outwardly as a Roman Catholic, although he was never baptized. His efforts to blend into a Catholic household failed miserably at least once, when the parish priest visiting the family posed questions to him one-on-one about the catechism, and ultimately said, \"You aren't one of us\". The punishment for helping a Jew in German-occupied Poland was death.As Polanski roamed the countryside trying to survive in a Poland now occupied by German troops, he witnessed many horrors, such as being \"forced to take part in a cruel and sadistic game in which German soldiers took shots at him for target practice\". The author Ian Freer concludes that Polanski's constant childhood fears and dread of violence have contributed to the \"tangible atmospheres he conjures up on film\". By the time the war ended in 1945, a fifth of the Polish population had been killed, the vast majority being civilians. Of those deaths, 3 million were Polish Jews, which accounted for 90% of the country's Jewish population. According to Sandford, Polanski would use the memory of his mother, her dress and makeup style, as a physical model for Faye Dunaway's character in his film Chinatown (1974).: 13After the warAfter the war, Polanksi was reunited with his father and moved back to Kraków. His father remarried on 21 December 1946 to Wanda Zajączkowska (whom Polanski had never liked) and died of cancer in 1984. Time repaired the family contacts; Polanski visited them in Kraków, and relatives visited him in Hollywood and Paris. Polanski recalls the villages and families he lived with as relatively primitive by European standards:They were really simple Catholic peasants. This Polish village was like the English village in Tess. Very primitive. No electricity. The kids with whom I lived didn't know about electricity ... they wouldn't believe me when I told them it was enough to turn on a switch!Polanski stated that \"you must live in a Communist country to really understand how bad it can be. Then you will appreciate capitalism.\" He also remembered events at the war's end and his reintroduction to mainstream society when he was 12, forming friendships with other children, such as Roma Ligocka, Ryszard Horowitz and his family.Introduction to moviesPolanski's fascination with cinema began very early when he was around age four or five. He recalls this period in an interview:Even as a child, I always loved cinema and was thrilled when my parents would take me before the war. Then we were put into the ghetto in Krakòw and there was no cinema, but the Germans often showed newsreels to the people outside the ghetto, on a screen in the market place. And there was one particular corner where you could see the screen through the barbed wire. I remember watching with fascination, although all they were showing was the German army and German tanks, with occasional anti-Jewish slogans inserted on cards.After the war, he watched films, either at school or at a local cinema, using whatever pocket money he had. Polanski writes, \"Most of this went on the movies, but movie seats were dirt cheap, so a little went a long way. I lapped up every kind of film.\" As time went on, movies became more than an escape into entertainment, as he explains:Movies were becoming an absolute obsession with me. I was enthralled by everything connected with the cinema—not just the movies themselves but the aura that surrounded them. I loved the luminous rectangle of the screen, the sight of the beam slicing through the darkness from the projection booth, the miraculous synchronization of sound and vision, even the dusty smell of the tip-up seats. More than anything else though, I was fascinated by the actual mechanics of the process. He was above all influenced by Sir Carol Reed's Odd Man Out (1947) – \"I still consider it as one of the best movies I've ever seen and a film which made me want to pursue this career more than anything else ... I always dreamt of doing things of this sort or that style. To a certain extent I must say that I somehow perpetuate the ideas of that movie in what I do.\"Early career in PolandPolanski attended the National Film School in Łódź, the third-largest city in Poland. In the 1950s, Polanski took up acting, appearing in Andrzej Wajda's Pokolenie (A Generation, 1954) and in the same year in Silik Sternfeld's Zaczarowany rower (Enchanted Bicycle or Magical Bicycle). Polanski's directorial debut was also in 1955 with a short film Rower (Bicycle). Rower is a semi-autobiographical feature film, believed to be lost, which also starred Polanski. It refers to his real-life violent altercation with a notorious Kraków felon, Janusz Dziuba, who arranged to sell Polanski a bicycle, but instead beat him badly and stole his money. In real life, the offender was arrested while fleeing after fracturing Polanski's skull, and executed for three murders, out of eight prior such assaults which he had committed. Several other short films made during his study at Łódź gained him considerable recognition, particularly Two Men and a Wardrobe (1958) and When Angels Fall (1959). He graduated in 1959.Film director1960sKnife in the Water (1962)Polanski's first feature-length film, Knife in the Water, was also one of the first significant Polish films after the Second World War that did not have a war theme. Scripted by  Jerzy Skolimowski, Jakub Goldberg, and Polanski, Knife in the Water is about a wealthy, unhappily married couple who decide to take a mysterious hitchhiker with them on a weekend boating excursion. Knife in the Water was a major commercial success in the West and gave Polanski an international reputation. The film also earned its director his first Academy Award nomination (Best Foreign Language Film) in 1963. Leon Niemczyk, who played Andrzej, was the only professional actor in the film. Jolanta Umecka, who played Krystyna, was discovered by Polanski at a swimming pool.Polanski left then-communist Poland and moved to France, where he had already made two notable short films in 1961: The Fat and the Lean and Mammals. While in France, Polanski contributed one segment (\"La rivière de diamants\") to the French-produced omnibus film, Les plus belles escroqueries du monde (English title: The Beautiful Swindlers) in 1964. (He has since had the segment removed from all releases of the film.) However, Polanski found that in the early 1960s, the French film industry was xenophobic and generally unwilling to support a rising filmmaker of foreign origin.Repulsion (1965)Polanski made three feature films in England, based on original scripts written by himself and Gérard Brach, a frequent collaborator. Repulsion (1965) is a psychological horror film focusing on a young Belgian woman named Carol (Catherine Deneuve).The film's themes, situations, visual motifs, and effects clearly reflect the influence of early surrealist cinema as well as horror movies of the 1950s—particularly Luis Buñuel's Un chien Andalou, Jean Cocteau's The Blood of a Poet, Henri-Georges Clouzot's Diabolique and Alfred Hitchcock's Psycho.Cul-de-sac (1966)Cul-de-sac (1966) is a bleak nihilist tragicomedy filmed on location in Northumberland. The tone and premise of the film owe a great deal to Samuel Beckett's Waiting for Godot, along with aspects of Harold Pinter's The Birthday Party.The Fearless Vampire Killers/Dance of the Vampires (1967)The Fearless Vampire Killers (1967) (known by its original title, \"Dance of the Vampires\" in most countries outside the United States) is a parody of vampire films. The plot concerns a buffoonish professor and his clumsy assistant, Alfred (played by Polanski), who are traveling through Transylvania in search of vampires. The Fearless Vampire Killers was Polanski's first feature to be photographed in color with the use of Panavision lenses, and included a striking visual style with snow-covered, fairy-tale landscapes, similar to the work of Soviet fantasy filmmakers. In addition, the richly textured color schemes of the settings evoke the paintings of the Belarusian-Jewish artist Marc Chagall, who provides the namesake for the innkeeper in the film. The film was written for Jack MacGowran, who played the lead role of Professor Abronsius.Polanski met Sharon Tate while making the film; she played the role of the local innkeeper's daughter. They were married in London on 20 January 1968. Shortly after they married, Polanski, with Tate at his side during a documentary film, described the demands of young movie viewers who he said always wanted to see something \"new\" and \"different\".Rosemary's Baby (1968)Paramount studio head Robert Evans brought Polanski to America ostensibly to direct the film Downhill Racer, but told Polanski that he really wanted him to read the horror novel Rosemary's Baby by Ira Levin to see if a film could be made out of it. Polanski read it non-stop through the night and the following morning decided he wanted to write as well as direct it. He wrote the 272-page screenplay in just over three weeks. The film, Rosemary's Baby (1968), was a box-office success and became his first Hollywood production, thereby establishing his reputation as a major commercial filmmaker. The film, a horror-thriller set in trendy Manhattan, is about Rosemary Woodhouse (Mia Farrow), a young housewife who is impregnated by the devil. Polanski's screenplay adaptation earned him a second Academy Award nomination.On 9 August 1969, while Polanski was working in London, his pregnant wife, Sharon Tate, and four other people were murdered at the Polanskis' residence in Los Angeles by cult leader Charles Manson's followers.1970sMacbeth (1971)Polanski adapted Macbeth into a screenplay with the Shakespeare expert Kenneth Tynan. Jon Finch and Francesca Annis played the main characters. Hugh Hefner and Playboy Productions funded the 1971 film, which opened in New York and was screened in Playboy Theater. Hefner was credited as executive producer, and the film was listed as a \"Playboy Production\". It was controversial because of Lady Macbeth's being nude in a scene, and received an X rating because of its graphic violence and nudity. In his autobiography, Polanski wrote that he wanted to be true to the violent nature of the work and that he had been aware that his first project following Tate's murder would be subject to scrutiny and probable criticism regardless of the subject matter; if he had made a comedy he would have been perceived as callous.What? (1973)Written by Polanski and previous collaborator Gérard Brach, What? (1973) is a mordant absurdist comedy loosely based on the themes of Alice in Wonderland and Henry James. The film is a rambling shaggy dog story about the sexual indignities that befall a winsome young American hippie woman hitchhiking through Europe.Chinatown (1974)Polanski returned to Hollywood in 1973 to direct Chinatown (1974) for Paramount Pictures. The film is widely considered to be one of the finest American mystery crime movies, inspired by the real-life California Water Wars, a series of disputes over southern California water at the beginning of the 20th century.It was nominated for 11 Academy Awards, including those for actors Jack Nicholson and Faye Dunaway. Robert Towne won for Best Original Screenplay. It also had actor-director John Huston in a supporting role, and was the last film Polanski directed in the United States. In 1991, the film was selected by the Library of Congress for preservation in the United States National Film Registry as being \"culturally, historically or aesthetically significant\" and it is frequently listed as among the best in world cinema.The Tenant (1976)Polanski returned to Paris for his next film, The Tenant (1976), which was based on a 1964 novel by Roland Topor, a French writer of Polish-Jewish origin. In addition to directing the film, Polanski also played a leading role of a timid Polish immigrant living in Paris. Together with Repulsion and Rosemary's Baby, The Tenant can be seen as the third installment in a loose trilogy of films called the \"Apartment Trilogy\" that explores the themes of social alienation and psychic and emotional breakdown.In 1978, Polanski became a fugitive from American justice and could no longer work in countries where he might face arrest or extradition.Tess (1979)He dedicated his next film, Tess (1979), to the memory of his late wife, Sharon Tate. It was Tate who first suggested he read Tess of the d'Urbervilles, which she thought would make a good film; he subsequently expected her to star in it. Nearly a decade after Tate's death, he met Nastassja Kinski, a model and aspiring young actress who had already been in a number of European films. He offered her the starring role, which she accepted. Her father was Klaus Kinski, a leading German actor, who had introduced her to films.Because the role required having a local dialect, Polanski sent her to London for five months of study and to spend time in the Dorset countryside to get a flavor of the region. In the film, Kinski starred opposite Peter Firth and Leigh Lawson.Tess was shot in the north of France instead of Hardy's England and became the most expensive film made in France up to that time. Ultimately, it proved a financial success and was well received by both critics and the public. Polanski won France's César Awards for Best Picture and Best Director and received his fourth Academy Award nomination (and his second nomination for Best Director). The film received three Oscars: best cinematography, best art direction, best costume design, and was nominated for best picture.At the time, there were rumors that Polanski and Kinski became romantically involved, which he confirmed in a 1994 interview with Diane Sawyer, but she says the rumors are untrue; they were never lovers or had an affair. She admits that \"there was a flirtation. There could "}
+{"doc_id":"doc_168","qid":"","text":"Passage 1:Paul BrookePaul Brooke (born 22 November 1944) is a retired English actor of film, television and radio. He made his film debut in 1972 in the Hammer film Straight on till Morning, followed by performances in For Your Eyes Only (1981), Return of the Jedi (1983), Scandal (1989), Saving Grace (2000), Bridget Jones's Diary (2001), Alfie (2004), The Phantom of the Opera (2004), and Oliver Twist (2005). Brooke is the father of actor Tom Brooke.CareerBrooke began as a stage actor and has played in many London productions, including several years as a member of Frank Dunlop's original Young Vic Company. He played Malakili the Rancor Keeper in the 1983 Star Wars film Return of the Jedi (his voiced dubbed over by Ernie Fosselius). He played British Conservative politician Ian Gow in the 2004 BBC series The Alan Clark Diaries. In 2006, he guest starred in the Doctor Who audio adventure Year of the Pig as well as the 1990 Mr. Bean sketch \"The Library\". He played Mr. Fitzherbert in the 2001 film Bridget Jones's Diary.Other appearances in television dramas and comedies featuring Brooke include The Blackadder, Bertie and Elizabeth, the BBC adaptation of Blott on the Landscape, Lovejoy, Foyle's War, Rab C. Nesbitt, Kavanagh QC, Sharpe's Revenge, Midsomer Murders, Hustle, Covington Cross, The Kit Curran Radio Show, Between the Lines, Relic Hunter and Mornin' Sarge. He appeared in the miniseries Nostromo in 1997.He played Gríma Wormtongue in the 1981 BBC radio adaptation of The Lord of the Rings.He, Linal Haft and Frank Mills are the only actors to appear in both the Classic and New series of Minder, but playing different roles in each.FilmographyFilmTelevisionExternal linksPaul Brooke at IMDbPassage 2:Peter HamelPeter Hamel (1911–1979) was a German screenwriter and a director of film and television. He appeared as himself in the 1948 comedy Film Without a Title. He is the father of the composer Peter Michael Hamel.Selected filmographyFilm Without a Title (1948)Artists' Blood (1949)Oh, You Dear Fridolin (1952)The Daring Swimmer (1957)Passage 3:Obata ToramoriObata Toramori (\u0000\u0000\u0000\u0000, 1491 – July 14, 1561) was Japanese samurai warrior of the Sengoku Period. He is known as one of the \"Twenty-Four Generals of Takeda Shingen\" He also recorded as having been wounded 41 times in 36 encounters. He was the father of Obata Masamori.See alsoIsao ObataPassage 4:Oskar RoehlerOskar Roehler (born 21 January 1959) is a German film director, screenwriter and journalist. He was born in Starnberg, the son of writers Gisela Elsner and Klaus Roehler. Since the mid-1980s, he has been working as a screenwriter, for, among others, Niklaus Schilling, Christoph Schlingensief and Mark Schlichter. Since the early 1990s, he has also been working as a film director. For his film No Place to Go he won the Deutscher Filmpreis. His 2010 film Jew Suss: Rise and Fall was nominated for the Golden Bear at the 60th Berlin International Film Festival.Partial filmographyGentleman (1995)Silvester Countdown (1997)Gierig (1999)Latin Lover (1999, TV film)No Place to Go (2000)Suck My Dick (2001)Beloved Sister (2002, TV film)Angst (2003)Agnes and His Brothers (2004)The Elementary Particles (2006)Lulu and Jimi (2009)Jew Suss: Rise and Fall (2010)Sources of Life (2013)Punk Berlin 1982 (2015)Subs (2017)Enfant Terrible (2020)Passage 5:Inoue Masaru (bureaucrat)Viscount Inoue Masaru (\u0000\u0000 \u0000, August 25, 1843 – August 2, 1910) was the first Director of Railways in Japan and is known as the \"father of the Japanese railways\".BiographyHe was born into the Chōshū clan at Hagi, Yamaguchi, the son of Katsuyuki Inoue. He was briefly adopted into the Nomura family and became known as Nomura Yakichi, though he was later restored to the Inoue family.Masaru Inoue was brought up as the son of a samurai belonging to the Chōshū fief. At 15, he entered the Nagasaki Naval Academy established by the Tokugawa shogunate under the direction of a Dutch naval officer. In 1863, Inoue and four friends from the Chōshū clan stowed away on a vessel to the United Kingdom. He studied civil engineering and mining at University College London and returned to Japan in 1868. After working for the government as a technical officer supervising the mining industry, he was appointed Director of the Railway Board in 1871. Inoue played a leading role in Japan's railway planning and construction, including the construction of the Nakasendo Railway, the selection of the alternative route (Tokaido), and the proposals for future mainline railway networks.In 1891 Masaru Inoue founded Koiwai Farm with Yanosuke Iwasaki and Shin Onogi.  After retirement from the government, Inoue founded Kisha Seizo Kaisha, the first locomotive manufacturer in Japan, becoming its first president in 1896. In 1909 he was appointed President of the Imperial Railway Association. He died of an illness in London in 1910, during an official visit on behalf of the Ministry of Railways.HonorsInoue and his friends later came to be known as the Chōshū Five. To commemorate their stay in London, two scholarships, known as the Inoue Masaru Scholarships, are available each session under the University College London 1863 Japan Scholarships scheme to enable University College students to study at a Japanese University. The value of the scholarships are £3000 each.His tomb is in the triangular area of land where the Tōkaidō Main Line meets the Tōkaidō Shinkansen in Kita-Shinagawa.Chōshū FiveThese are the four other members of the \"Chōshū Five\":Itō Shunsuke (later Itō Hirobumii)Inoue Monta (later Inoue Kaoru)Yamao Yōzō who later studied engineering at the Andersonian Institute, Glasgow, 1866-68 while working at the shipyards by dayEndō KinsukeSee alsoJapanese students in BritainStatue of Inoue MasaruPassage 6:Cleomenes IICleomenes II (Greek: Κλεομένης; died 309 BC) was king of Sparta from 370 to 309 BC. He was the second son of Cleombrotus I, and grandfather of Areus I, who succeeded him. Although he reigned for more than 60 years, his life is completely unknown, apart from a victory at the Pythian Games in 336 BC. Several theories have been suggested by modern historians to explain such inactivity, but none has gained consensus.Life and reignCleomenes was the second son of king Cleombrotus I (r. 380–371), who belonged to the Agiad dynasty, one of the two royal families of Sparta (the other being the Eurypontids). Cleombrotus died fighting Thebes at the famous Battle of Leuctra in 371. His eldest son Agesipolis II succeeded him, but he died soon after in 370. Cleomenes' reign was instead exceptionally long, lasting 60 years and 10 months according to Diodorus of Sicily, a historian of the 1st century BC. In a second statement, Diodorus nevertheless tells that Cleomenes II reigned 34 years, but he confused him with his namesake Cleomenes I (r. 524–490).Despite the outstanding length of his reign, very little can be said about Cleomenes. He has been described by modern historians as a \"nonentity\". Perhaps that the apparent weakness of Cleomenes inspired the negative opinion of the hereditary kingship at Sparta expressed by Aristotle in his Politics (written between 336 and 322). However, Cleomenes may have focused on internal politics within Sparta, because military duties were apparently given to the Eurypontid Agesilaus II (r. 400–c.360), Archidamus III (r. 360–338), and Agis III (r. 338–331). As the Spartans notably kept their policies secret from foreign eyes, it would explain the silence of ancient sources on Cleomenes. Another explanation is that his duties were assumed by his elder son Acrotatus, described as a military leader by Diodorus, who mentions him in the aftermath of the Battle of Megalopolis in 331, and again in 315.Cleomenes' only known deed was his chariot race victory at the Pythian Games in Delphi in 336. In the following autumn, he gave the small sum of 510 drachmas for the reconstruction of the Temple of Apollo at Delphi, which had been destroyed by an earthquake in 373. Cleomenes might have made this gift as a pretext to go to Delphi and engage in informal diplomacy with other Greek states, possibly to discuss the consequences of the recent assassination of the Macedonian king Philip II.One short witticism of Cleomenes regarding cockfighting is preserved in the Moralia, written by the philosopher Plutarch in the early 2nd century AD:Somebody promised to give to Cleomenes cocks that would die fighting, but he retorted, \"No, don't, but give me those that kill fighting.\"As Acrotatus died before Cleomenes, the latter's grandson Areus I succeeded him while still very young, so Cleomenes' second son Cleonymus acted as regent until Areus' majority. Some modern scholars also give Cleomenes a daughter named Archidamia, who played an important role during Pyrrhus' invasion of the Peloponnese, but the age difference makes it unlikely.Passage 7:Yasuichi OshimaYasuichi Oshima (\u0000\u0000 \u0000\u0000\u0000\u0000, Ōshima Yasuichi, born 24 March 1954 in Kyoto) is a Japanese manga artist. In 1984, he won the Kodansha Manga Award for shōnen for Bats & Terry.He is the father of manga artist Towa Oshima.Selected worksKenkaku Shōbai (2008–2021)Passage 8:Sources of LifeSources of Life (German: Quellen des Lebens) is a 2013 German film directed by Oskar Roehler.CastJürgen Vogel as Erich FreytagMoritz Bleibtreu as Klaus FreytagKostja Ullmann as Young Klaus FreitagMeret Becker as Elisabeth FreytagSonja Kirchberger as Marie FreytagLavinia Wilson as Gisela EllersLeonard Scheicher as Robert Freytag, 13–17 yearsLisa Smit as Laura, 13–17 yearsMargarita Broich as Hildegard EllersThomas Heinze as Martin EllersRolf Zacher as ErwinPassage 9:Ian Barry (director)Ian Barry is an Australian director of film and TV.Select creditsWaiting for Lucas (1973) (short)Stone (1974) (editor only)The Chain Reaction (1980)Whose Baby? (1986) (mini-series)Minnamurra (1989)Bodysurfer (1989) (mini-series)Ring of Scorpio (1990) (mini-series)Crimebroker (1993)Inferno (1998) (TV movie)Miss Lettie and Me (2002) (TV movie)Not Quite Hollywood: The Wild, Untold Story of Ozploitation! (2008) (documentary)The Doctor Blake Mysteries (2013)Passage 10:Lars EliassonLars Eliasson  (December 8, 1914 – June 5, 2002) was a Swedish politician. He was a member of the Centre Party. He was the party's first vice chairman 1957-69 and a member of the Parliament of Sweden 1952–1970. For a short time in 1957, he was a minister in the Government of Sweden, in the Second cabinet of Erlander.He is the father of the later Member of Parliament Anna Eliasson."}
+{"doc_id":"doc_169","qid":"","text":"Passage 1:Olivier BarouxOlivier Baroux (born 5 January 1964) is a French actor, comedian, writer and director who has acted both on stage and on screen. He first became known in forming with Kad Merad, the duoKad & Olivier then went solo, while finding Kad regularly. Baroux's movies on Le Tuche is inspired by the hurdles of the American dream. He is married to his wife Coralie since 2009. Baroux is set to appear in Les Tuche3, with filming beginning in August 2018.FilmographyActorWriter & DirectorVoiceExternal linksOlivier Baroux at IMDbPassage 2:Terence RobinsonTerence D. Robinson (date of birth and death unknown) was a malewrestler who competed for England.Wrestling careerHe represented England and won a bronze medal, in the bantamweight category of -57 kg , at the 1970 British Commonwealth Games in Edinburgh,Scotland.Passage 3:Les TucheLes Tuche is a 2011 French comedy film directed by Olivier Baroux. A sequel, Les Tuche 2, was released on 3 February 2016.PlotThe Tuche family is the stereotypical unemployed lowerclass French family.Jeff (the father) is the proud descendant of the unemployment welfare inventor, and has never worked a day in his life. Out of his 3 kids, the youngest one seems to be extremely intelligent. This willcome in handy when all of a sudden, they win €100 million in the lottery, and will attempt to fit in the Monaco's upper class.CastJean-Paul Rouve as Jeff TucheIsabelle Nanty as Cathy TucheClaire Nadeau as GrandmaSuzeThéo Fernandez as Donald TucheSarah Stern as Stéphanie TuchePierre Lottin as Wilfried TucheFadila Belkebla as MounaKarina Testa as SalmaPhilippe Lefebvre as BickardRalph Amoussou as Georges DioufJérômeCommandeur as HermannValérie Benguigui as ClaudiaOmar Sy as Bouzolles's monkKad Merad as Bouzolles's fishmongerPierre Bellemare as Bouzolles's mayorOlivier Baroux as MonnierRemakeAn Italian remake entitledPoveri ma ricchi (lit. 'Poor but rich') was released in December 2016.Passage 4:Les Tuche 2Les Tuche 2 - Le rêve américain is a 2016 French comedy film directed by Olivier Baroux. It is the sequel to Les Tuche. Itearned over US$32.5 million and was the highest-grossing domestic film in France in 2016, with 4,619,884 tickets sold.CastJean-Paul Rouve as Jeff TucheIsabelle Nanty as Cathy TucheClaire Nadeau as GrandmaSuzeThéo Fernandez as Donald TucheSarah Stern as Stéphanie TuchePierre Lottin as Wilfried TucheRalph Amoussou as Georges DioufDarrell Dennis as IndianReleaseLes Tuche 2 was distributed by Pathé inFrance.ReceptionThe Hollywood Reporter gave the film a negative review, finding the films comedy as \"puerile and naive whenever it’s not straightforwardly moronic\", noting a list of American clichés and that \"like inlocal box-office monsters Intouchables and Serial (Bad) Weddings, what passes for crude humor in France can be perceived as racially insensitive in the U.S. and elsewhere\". The review commented on the writing as\"staggeringly lazy and unfocused\".Passage 5:Théo FernandezThéo Fernandez (born in Toulouse on 18 September 1998) is a French film actor. He is best known for playing the role of Donald Tuche in Les Tuche (2011),Les Tuche 2 - Le rêve américain (2016) and Les Tuche 3 (2018). He plays the lead role of Gaston in the 2018 film Gaston Lagaffe, the main character in the comics Gaston created by the Belgian cartoonist AndréFranquin. Fernandez has also appeared in a number of TV films and TV series.Passage 6:Theodred II (Bishop of Elmham)Theodred II was a medieval Bishop of Elmham.The date of Theodred's consecration unknown, butthe date of his death was sometime between 995 and 997.Passage 7:Les Tuche 3Les Tuche 3, also known as The Magic Tuche, is a 2018 French comedy film co-written by Olivier Baroux, Nessim Chikhaoui, JulienHervé, Philippe Mechelen and Jean-Paul Rouve and directed by Olivier Baroux. It is a sequel of Les Tuche and Les Tuche 2: Le Rêve américain. It was released in January 2018 and was a commercialsuccess.SynopsisJeff Tuche (played by Jean-Paul Rouve) is initially delighted with the news that the new TGV is passing near his village Bouzolles, but then discovers to his horror that the TGV will not have a stopin  Bouzolles. He pleads with the French President of the Republic to reconsider the itinerary of the new TGV so that his village doesn't remain in isolation from the world. But not hearing from the Élysée, he decides torun for the French presidential election and succeeds becoming the French President, leaving him with the daunting task of how to govern France.CastJean-Paul Rouve as Jeff TucheIsabelle Nanty as Cathy TucheClaireNadeau as Mamie SuzeSarah Stern as Stéphanie TuchePierre Lottin as Wilfried TucheThéo Fernandez as Donald TucheMarc Duret as Laurent DupuisRalph Amoussou as Georges DioufPassage 8:Etan BoritzerEtanBoritzer (born 1950) is an American writer of children’s literature who is best known for his book What is God? first published in 1989. His best selling What is? illustrated children's book series on character educationand difficult subjects for children is a popular teaching guide for parents, teachers and child-life professionals.Boritzer gained national critical acclaim after What is God? was published in 1989 although the book hascaused controversy from religious fundamentalists for its universalist views. The other current books in the What is? series include: What is Love?, What is Death?, What is Beautiful?, What is Funny?, What is Right?,What is Peace?, What is Money?, What is Dreaming?, What is a Friend?, What is True?, What is a Family?, and What is a Feeling? The series is now also translated into 15 languages.Boritzer was first published in 1963at the age of 13 when he wrote an essay in his English class at Wade Junior High School in the Bronx, New York on the assassination of John F. Kennedy. His essay was included in a special anthology by New York Citypublic school children compiled and published by the New York City Department of Education.Boritzer now lives in Venice, California and maintains his publishing office there also. He has helped numerous other authorsto get published through How to Get Your Book Published! programs. Boritzer is also a yoga teacher who teaches regular classes locally and guest-teaches nationally. He is also recognized nationally as an eruditespeaker on The Teachings of the Buddha.Passage 9:Ian Barry (director)Ian Barry is an Australian director of film and TV.Select creditsWaiting for Lucas (1973) (short)Stone (1974) (editor only)The Chain Reaction(1980)Whose Baby? (1986) (mini-series)Minnamurra (1989)Bodysurfer (1989) (mini-series)Ring of Scorpio (1990) (mini-series)Crimebroker (1993)Inferno (1998) (TV movie)Miss Lettie and Me (2002) (TV movie)NotQuite Hollywood: The Wild, Untold Story of Ozploitation! (2008) (documentary)The Doctor Blake Mysteries (2013)Passage 10:Brian Saunders (weightlifter)Brian Saunders (date of birth and death unknown) was a maleweightlifter who competed for England.Weightlifting careerSaunders was the last person to be both the British Amateur Weight Lifters' Association (BAWLA) weightlifting champion and BAWLA powerlifting champion; thelatter of which he won in 1970 and 1974.He represented England in the super heavyweight category of +110 kg Combined, at the 1970 British Commonwealth Games in Edinburgh, Scotland."}
+{"doc_id":"doc_170","qid":"","text":"Passage 1:Princess Florestine of MonacoPrincess Florestine Gabrielle Antoinette of Monaco (22 October 1833 – 4 April 1897) was the youngest child and only daughter of Florestan I, Prince of Monaco, and his wife, MariaCaroline Gibert de Lametz. Florestine was a member of the House of Grimaldi and a Princess of Monaco by birth and a member of the House of Württemberg and Duchess consort of Urach and Countess of Württembergthrough her marriage to Wilhelm, 1st Duke of Urach.Marriage and issueFlorestine married Count Wilhelm of Württemberg (later Wilhelm, 1st Duke of Urach), son of Duke Wilhelm of Württemberg and his morganaticwife Baroness Wilhelmine von Tunderfeldt-Rhodis, on 15 February 1863 in Monaco. Florestine and Wilhelm had two sons:Wilhelm Karl Florestan Gero Crescentius (1864–1928), Count of Württemberg, 2nd Duke ofUrach, and nominally King of Lithuania as Mindaugas II of Lithuania∞ 1892 Duchess Amalie in Bavaria (1865-1912), eldest daughter of the Duke Karl-Theodor in Bavaria∞ 1924 Princess Wiltrud Alix Marie of Bavaria(1884-1975), sixth daughter of Ludwig III of BavariaJosef Wilhelm Karl Florestan Gero Crescentius (1865–1925), Prince of UrachFlorestine's husband Wilhelm had converted to Roman Catholicism in 1841, for his firstmarriage to Théodolinde de Beauharnais, who died in 1857.Monaco Succession Crisis of 1918Florestine, according to the rules governing succession to the throne of Monaco, was able to marry without relinquishing herrights. When her grandnephew Louis II, Prince of Monaco, ascended to the Monegasque throne, Florestine's son Wilhelm claimed his rights for his succession to the princely throne of Monaco and the Grimaldi nobletitles. However, France had undergone two wars against Germany and did not wish to see German princes ruling the Principality of Monaco. Therefore, France reached an agreement with the principality allowing theillegitimate daughter of Louis II, Charlotte, to be his heir presumptive to the princely throne and Grimaldi noble titles. Charlotte renounced and ceded her rights to the princely throne on 30 May 1944 to her son Rainierwho became Rainier III, Prince of Monaco.HonoursWürttemberg: Dame of the Order of Olga, 1871 -  Spain: Dame of the Order of Queen Maria LuisaAncestryPassage 2:Charles III, Prince of MonacoCharles III (CharlesHonoré Grimaldi; 8 December 1818 – 10 September 1889) was Prince of Monaco and Duke of Valentinois from 20 June 1856 to his death. He was the founder of the famous casino in Monte Carlo, as his title inMonegasque and Italian was Carlo III. He was born in Paris, the only son of Florestan, Prince of Monaco, and Maria Caroline Gibert de Lametz.Marriage and reignWhile he was Hereditary Prince, Charles was married on28 September 1846 in Brussels to Countess Antoinette de Mérode-Westerloo.He succeeded his father Prince Florestan in 1856.During his reign, the towns of Menton and Roquebrune, constituting some 80 percent ofMonegasque territory, were formally ceded to France, paving the way for formal French recognition of Monaco's independence. Rebellions in these towns, aided by the Kingdom of Sardinia, had exhausted Monaco'smilitary resources for decades.The Principality was in dire need of cash flow, so Prince Charles and his mother, Princess Caroline, had the idea of erecting a casino. The Monte Carlo Casino was designed, according to thePrince's liking, in the German style and placed at the site of Les Spélugues. Monte Carlo (in English, Mount Charles) itself takes its name from Charles, after all its founder. Charles established a society (business) to runthe Casino; this society is today the Société des bains de mer de Monaco.Under Charles III, the Principality of Monaco increased its diplomatic activities; for example, in 1864, Charles III concluded a Treaty of Friendshipwith the Bey of Tunis, Muhammad III as-Sadiq, which also regulated trade and maritime issues.HonoursMonte Carlo is named after Charles III. It stands for the \"Mount Charles\" in Italian.The Order of Saint-Charles wasinstituted on 15 March 1858, during the reign of Prince Charles III.He received the following decorations and awards: Grand Cross of the Royal Norwegian Order of St. Olav, with Collar, 27 March 1863 (Sweden-Norway)Grand Cross of the Order of the Dannebrog, in Brilliants, 16 February 1865 (Denmark) Grand Cross of the Grand Ducal Hessian Order of Ludwig, 17 April 1865 (Grand Duchy of Hesse) Grand Cross of the Royal andDistinguished Order of Charles III, 17 February 1867 (Spain) Grand Cross of the Order of the Red Eagle, 7 July 1869 (Kingdom of Prussia) Grand Cross of the Order of the Zähringer Lion, 1869 (Grand Duchy of Baden)Officer of the Legion d'Honneur, for his service in the French Navy in the Franco-Prussian War (French Empire) Grand Cordon of the Order of Leopold (civil division), 30 August 1874 (Belgium) Grand Cross of the RoyalHungarian Order of St. Stephen, 1882 (Austria-Hungary) Grand Cross of the Royal Order of the White Eagle (civil division), 29 May 1883 (Kingdom of Serbia) Knight of the Supreme Order of Christ (Holy See) GrandCross of the Royal Military Order of the Tower and Sword (Kingdom of Portugal)DeathIn his middle years his sight greatly weakened, and by the last decade of his life he had become almost totally blind. In fact, Dr.Thomas Henry Pickering wrote in 1882: \"So far back as 1860, Prince Charles lost his eyesight....\"He died at Château de Marchais on 10 September 1889. He was succeeded by his son Albert I of Monaco.CoinOn 1 June2016, fifteen thousand 2 euro coins were issued by Monaco; commemorating the 150th anniversary of the foundation of Monte Carlo by Charles IIIIn literatureCharles III is referenced, as Prince Charles Honoré, in afictional entitled, The Fall of Prince Florestan of Monaco, by the British politician Sir Charles Wentworth Dilke. This work was one of satire and parody on a number of political characters of the day. It centered around aCambridge-educated, half-Württemberg nephew of Charles III who comes to the throne by way of Charles III and the next two heirs being wiped out of existence. The upstart \"Florestan II\", a radical republican, boldlyattempts to democratize Monaco. He fails and then is forced to leave the country.AncestryPassage 3:Marian Shields RobinsonMarian Lois Robinson (née Shields; born July 29, 1937) is the mother of Michelle Obama,former First Lady of the United States, and Craig Robinson, a basketball executive. She is the mother-in-law of 44th U.S. President Barack Obama.Ancestry and early lifeMarian Shields was born in Chicago in 1937, thefourth of seven children—five girls, followed by two boys—born to Purnell Nathaniel Shields, a house painter and carpenter, and his wife Rebecca Jumper, a licensed practical nurse. Both parents had multi-racialancestry. Her mother's grandfather, Dolphus T. Shields (c. 1860–1950), was a direct descendant of slavery, with his mother a slave and his white father the heir of the slaveowner; he had moved from rural Georgia toBirmingham, Alabama, where he established his own carpentry and tool sharpening business. His descendants would eventually move to Chicago during the Great Migration.Personal lifeShields married Fraser RobinsonIII on October 27, 1960, in Chicago. They had two children together, Craig Malcolm and Michelle LaVaughn, named after Fraser's mother. She worked as a secretary for mail-order retailer Spiegel, the University ofChicago, and a bank. In the late 60's, Shields lived with her family in a rented second floor apartment of a brick bungalow the South Side of Chicago that belonged to her aunt Robbie and her husband Terry. This iswhere she raised her two children, Michelle and Craig, and continued to live until she eventually moved to the White House with the Obamas. Michelle Obama, in her book Becoming, describes her mother's strongattachment to her Chicago home and her commitment to raising her children as a stay at home mother. Shields resumed work as an executive assistant at a bank when her daughter Michelle started highschool.Relationship with Michelle ObamaMichelle describes her mother as forthright and honest, and speaks of her implacability and her silent support as a child and beyond. Shields used to take her daughter Michelle tothe library long before she started school and used to sit beside her as she learned to read and write. Usually the kind of mother who expected her children to settle their own disputes, Shields was quick to see realdistress and stepped in to help when needed. For example, when Michelle was in second grade and was distressed because of being devalued by a teacher, Shields advocated for her and was instrumental in getting herdaughter better learning opportunities at school. Shields encouraged her children to communicate with her about all subjects by being available when needed and giving practical advice. She entertained Michelle'sschool friends when they visited and enabled her to make her own choices in important matters.Obama campaign and life in the White HouseWhile Michelle and Barack Obama campaigned for his candidacy as presidentin 2008, Robinson helped them by providing support to her granddaughters, Malia and Sasha Obama. During Barack Obama's presidency, Robinson was living at the White House with the First Family.Passage4:Florestan I, Prince of MonacoFlorestan (Tancrède Florestan Roger Louis Grimaldi; 10 October 1785, in Paris – 20 June 1856) was Prince of Monaco and Duke of Valentinois from 2 October 1841 until his death. He wasthe second son of Prince Honoré IV and Louise d'Aumont Mazarin and succeeded to the throne on the death of his brother, Honoré V.Early life, education, and military careerBrought up by his mother, he showed anearly and strong aptitude for literature. At the age of eleven, he enrolled in the School of Fontainebleau, but did not stay there long. He entered the military, where he had many struggles and barely achieved the rank ofCorporal. He was taken prisoner during the French invasion of Russia. He was not freed to return to France until 1814.Marriage and childrenPrince Florestan, age 29, married Maria Caroline Gibert de Lametz inCommercy on 27 November 1816. Apparently, his family disapproved of the union, so they had to marry \"quietly and modestly.\" Florestan received only a small income from his family, so, as it turned out, his marriageto an upper-bourgeois family member of the province of Champagne was, in fact, \"financially favorable.\"The marriage produced the following:Charles III, Prince of Monaco (1818–1889)Princess Florestine of Monaco(1833–1897)ReignFlorestan was ill-prepared to assume the role of Sovereign Prince. Indeed, the British historian H. Pemberton wrote that, upon accession to the throne, Florestan was \"a man utterly unsuited for thetask before him.\" He had been an actor in the Théâtre de l'Ambigu-Comique. The real power during his reign lay in the hands of his wife, Princess Caroline, who possessed great intelligence and \"excelled at social skills.\"According to the historian Gustave Saige, Princess Caroline's intelligence was required to figure out the affairs of state, which Honoré V had handled absolutely by himself, not trusting anyone to advise or assist him. Forsome time, she was able, by tax reform, to alleviate the difficult economic situation stemming from the Congress of Vienna assigning Monaco as a protectorate of the Kingdom of Sardinia rather than France. At the timeMonaco was surrounded by the Sardinian controlled County of Nice.As unprepared as Florestan was for the affairs of the Principality, his ascendance to power upon the death of his brother was largely welcomed by thepopulace. \"He was given a particularly warm reception by the people of Menton,\" wrote Saige in French. Saige attributed the cause for this to the relief widely felt at having a prince who was not invisible to the public;unlike Honoré V, Florestan went out in public. He even established a school in Menton, albeit an expensive one from which the princely couple attempted to meet local demands for democratic reforms and offered twoconstitutions to the local population, but these were rejected, particularly by the people of Menton, who were offered something better by King Charles Albert of Sardinia. When the Prince and Princess of Monaco sawthat their efforts were doomed to failure, they handed over power to their son Charles (later Prince Charles III). This was, however, too little, too late. Encouraged by the French Revolution of 1848, the towns of Mentonand Roquebrune revolted and declared themselves independent. Worse, the King of Sardinia garrisoned Menton, Florestan was dethroned, arrested, and imprisoned. Florestan was restored to the throne in 1849, butMenton and Roquebrune were lost forever.Death and succession, 1856Despite his good intentions, by the time of Florestan's death in Paris in 1856, Monaco was a country divided with few prospects for financialprosperity. His son Charles succeeded him.AncestryPassage 5:Maria Caroline Gibert de LametzMarie Caroline Gibert de Lametz, (18 July 1793 – 25 November 1879), was a French stage actress and a Princess Consortand regent de facto of Monaco by marriage to Florestan I, Prince of Monaco.LifeShe was the daughter of Charles-Thomas Gibert (b. 1765), who was a lawyer, and Marie-Françoise Le Gras de Vaubercey (1766–1842).The marriage of her parents ended in divorce, and she became the adopted stepdaughter of Antoine Rouyer de Lametz (1762–1836), Chevalier d'Empire and Knight of the Legion of Honour.Marie Caroline was originallya stage actress, as was her future spouse, Florestan.  Maria Caroline Gibert de Lametz and Prince Florestan of Monaco, at that time both actors, married in Commercy on 27 November 1816 and had two children: PrinceCharles III, and Princess Florestine. She was described as a skillful businesswoman: she handled the economy of the family, and successfully managed the fortune her spouse inherited from his mother (who hadexcluded her eldest son from her will because of his illegitimate issue) in 1826.Princess of MonacoFlorestan ascended to the throne in Monaco in 1841, but he was never prepared to assume the role of prince — he hadbeen an actor in the Théâtre de l'Ambigu-Comique — and the real power during his reign lay in the hands of his wife, who reportedly possessed great intelligence and \"excelled at social skills.\"According to the historianGustave Saige, Princess Caroline's intelligence was required to figure out the affairs of state, which Honoré V had handled absolutely by himself, not trusting anyone to advise or assist him.   By introducing a tax reform,she was able  to alleviate the difficult economic situation stemming from the Congress of Vienna assigning Monaco as a protectorate of the Kingdom of Sardinia rather than France.   Her involvement in state politics,however, gave bad publicity to Florestan.  When their son once reproached her for her de facto regent position, she replied that she ruled simply because she wanted to take responsibility for the welfare of thefamily.The couple attempted to meet local demands for greater democracy and offered two constitutions to the local population, but these were rejected, particularly by the people of Menton, who were given a betteroffer by King Charles Albert of Sardinia.    The Prince and Princess of Monaco then handed over power to their son Charles (later Prince Charles III).  Encouraged by the Revolutions of 1848, however, the towns ofMenton and Roquebrune revolted and declared themselves independent.    The crisis worsened when the King of Sardinia garrisoned Menton,   Florestan was dethroned, arrested, and imprisoned.   Florestan wasrestored to the throne in 1849, but Menton and Roquebrune were lost forever.  They had hoped to be annexed by Sardinia, but this did not occur, and the towns remained in a state of political limbo until they werefinally ceded to France in 1861.Later lifeAfter her husband's death in 1856, her son, Prince Charles III took over control of the throne, after having been well prepared to assume power by his mother.  Together, theyworked towards laying the foundation for Monaco as a major resort destination. She died on November 25, 1879.AncestryArms and emblemsPassage 6:Maria ThinsMaria Thins (c. 1593 – 27 December 1680) was themother-in-law of Johannes Vermeer and a member of the Gouda Thins family. She was raised in a devout Dutch Catholic family with two sisters and a brother. Outliving her parents and siblings, she receivedinheritances over the years, making her a wealthy woman. She married a prosperous brickmaker, Reynier Bolnes, in 1622. They had three children together, Catharina, Willem, and Cornelia. By 1635, Bolnes verballyand physically abused his wife and daughters. Thins moved to Delft with her daughters. Her son Willem stayed with his father. Thins was a wealthy woman due to the separation settlement of her husband in 1649 andthe estates she inherited from her family. Her daughter Catharina married Johannes Vermeer, an artist, art dealer, and operator of the family's inn in Delft. Vermeer and Catharina lived at Thins house by 1660. Thecouple had fifteen children, four of whom died in infancy. Raising nearly a dozen children strained Vermeer financially. He relied on the support from his mother-in-law. During the Franco-Dutch War (1672–1674),Vermeer became impoverished. Thins reduced the money she provided to Catharina and her husband due to the loss of income during that period. Vermeer died in 1675, and Thins died five years later. Catharina wasthe only one of Thins' children to survive her. Thins drew up her will to maximize what she could provide for her grandchildren and their education, while limiting how much might be taken by Catharina's creditors.Catharina died in 1687.Early lifeMaria was born c. 1593 in Gouda to a prominent Dutch Catholic family, Catharina van Hensbeeck (d. 1633) and William Thin (d. 1601). They lived in the house named De Trapjes (TheLittle Steps) in Gouda. Maria had three siblings, none of whom were married. Her sister Elisabeth became a nun. She also had a sister Cornelia and a brother Jan. Since none of her siblings married, Thins ultimatelyinherited a large estate. The family conducted mass in their home, while at the time it was illegal for a group of Roman Catholics to assemble in Gouda. The local sheriffs broke up a religious meeting at their house in1619.Garrit Camerling (d. 1627) of Delft became her stepfather in 1605 when he married Catharina van Hensbeeck. She was related to Abraham Bloemaert (1566–1651) through her cousin Jan Geensz Thins. Beforeher marriage, Thins lived in Delft with a prosperous young woman who was her friend.Marriage and childrenIn 1622, Maria Thins married Reynier Bolnes (ca. 1593–1676), a prominent and prosperous brickmaker. Thinswas an heiress when she married, and she collected art, including several in the style of Utrecht Caravaggists.ChildrenThins had three children, the youngest of whom was Catharina Bolnes (c. 1631–1688), nicknamedTrijntge. She also had a son Willem, and a daughter Cornelia. Around 1635, Reynier became verbally and physically abusive with her and her children. At the age of nine, Catharina ran to neighbors because she thoughtthat Reynier's abuse of Cornelia could kill her. Reynier confessed that he physically abused Cornelia and would do it again if Thins beat their son Willem. Reynier and Willem began eating separately from the femalemembers of the family, and the father encouraged his son to be abusive and noncompliant with Thins.Divided familyThins moved to Delft in 1642 to get away from her abusive husband. Jan Geensz Thins, who was herguardian and cousin, purchased a home for her there the prior year. Jan became Thin's guardian following the early death of her father. Thins attained custody of her daughters in 1641 and moved with them to Delft.William stayed with his father, whose business began to fail. Thins lived on Oude Langendijk next to the Jesuit Catholic Church in the Catholic section of Delft called paepenhoek (the Papists' Corner).Thins received halfof her husband's assets, a substantial amount, in 1649. By 1653, Reynier Bolnes was bankrupt. Thins derived income from annuities, interest income, and property rentals, including farmland. She also lived off of thecapital of her investments. Thins and her sister Cornelia Thins (d. 1661) received a sizeable inheritance from their brother Jan Willemsz Thins following his death in 1651. Thins attained a comfortable standard of livingof 15,000 or more guilders a year in the 1660s.Cornelia died in 1649. In 1664, Thin's son Willem, a jobless bachelor, was locked up in an institution after an argument with his mother, and for attacking Catharina, hispregnant sister, with a stick. In 1665, Maria Thins was entrusted with her son's property. She wrote a will, which limited Willem's share to the legal minimum of one sixth of her estate. She mentioned that he had been"}
+{"doc_id":"doc_171","qid":"","text":"Passage 1:Albertine, baroness Staël von HolsteinHedvig Gustava Albertina, Baroness de Staël-Holstein or simply Albertine (1797–1838), was the daughter of Erik Magnus Staël von Holstein and Madame de Staël, the granddaughter of Jacques Necker and Suzanne Curchod, wife to Victor de Broglie (1785–1870), and mother to Albert, a French monarchist politician, and Louise, a novelist and biographer. Her biological father may have been the author Benjamin Constant.LifeAlbertina, still very much part of the de Staël circle, shared her grandfather's anglomania, and introduced her husband to the \"erudite society that centred around that family.\" Victor de Broglie Souvenirs recall their married life and the political storms that surrounded it.Her letters were collected and edited by her son Albert and published in French and in English by Robert Baird as Transplanted flowers, or memoirs of Mrs. Rumpff, daughter of John Jacob Astor, Esq. and the Duchess de Broglie, daughter of Madame de Stael (1846).Passage 2:George Bogislaus Staël von HolsteinGeorge Bogislaus Staël von Holstein (born 6 December 1685 in Narva; died 17 December 1763 in Malmö) was a Swedish baron and field marshal. He was the Governor of Malmöhus County from 1754 to 1763.FamilyGeorge Bosiglaus Staël von Holstein was born on 6 December 1685, the son of Lt. Col. Johan Staël von Holstein and Julia Helena von der Pahlen. He was a member of the Staël von Holstein noble house which had then only recently joined the Swedish nobility.During his captivity in Russia he married the Countess Ingeborg Christina Horn af Rantzien in 1710, a daughter of the Field Marshal Henning Rudolf Horn von Rantzien, who had been taken captive with his daughters by the Russians during the Great Northern War.In 1722 Staël von Holstein planned a marriage with Sofia Elisabeth Ridderschantz. However, the marriage was broken off because his wife Ingeborg from Russia, where she had been held captive to that point, returned. In 1731 Staël von Holstein was raised to the rank of baron.In 1761 his first wife died, and Staël married Sofia Elisabeth Ridderschantz. Anna Helena Juliana, the daughter of George Bogislaus Staël von Holstein, died at the age of five. With her this branch of the Staël von Holstein noble family died out.Military careerStaël von Holstein began his military career on 20 February 1700 as a volunteer in the Swedish household guard. He was promoted to Unteroffizier (roughly equivalent to corporal) in the artillery. Staël von Holstein became a cornet in the Dragoon regiment of the province Ingria which was under the command of Otto Vellingk. He participated in the campaign in Livonia against the Russian and Saxon armies. He was promoted to Lieutenant in 1702 and a year later to Captain in the infantry regiment of Adam de la Gardie. This regiment was used in 1704 to free the besieged city of Narva from Russian troops. In April he was appointed commander of the grenadier company of this regiment.The Swedish attack failed and Staël von Holstein was captured. He was held captive in prison camps in Siberia and later in the region of Moscow. Staël von Holstein succeeded in being exchanged for a Russian officer in 1711. His wife, her sisters and his father-in-law were not allowed to leave Russia, however. After his return Staël von Holstein was under the direct command of the Swedish King Charles XII, who was in exile in Bender and was dispatched by him to the Skaraborg regiment.In 1713 Staël von Holstein was promoted to Lieutenant Colonel and in 1715 he invaded Schonen with the Skaraborg regiment. Two years later he was appointed colonel. In 1718 he participated with his regiment in the campaign against Norway and took part in the Siege of Frederiksten.In 1719 the Skaraborg regiment was garrisoned in Göteborg. The attack of the Danish captain Peter Wessel Tordenskiold on the fortress of Nya Elfsborg was repulsed by his commander Johan Abraham Lillie with all his forces. The artillery division of the Skaraborg regiment began a counter-attack on the Danish navy on 24 July. They were so taken by surprise by artillery fire from land that the fleet withdrew and repulsed the attack.In 1720 Staël parted from the Swedish army and served in the following years under Duke Karl Friedrich von Holstein. He was a major general and commander in his bodyguard.In 1733 Staël von Holstein was appointed colonel and commandant of Kalmar Castle. A year later he was governor of Kalmar.Staël was appointed major-general in 1734. In 1742 he was the leader of the political group the Caps.In 1743 Staël von Holstein was promoted to lieutenant general. He was also a Knight in the Royal Order of the Seraphim. In 1754 he was appointed governor of Malmöhus län and commandant of Malmö. He remained in this position until his death.Civilian lifeIn 1737 Staël built a textile factory in Kalmar. In 1742 he founded the glasswork company Kosta Glasbruk together with the governor of Kronobergs län, Anders Koskull Kosta. Later Staël bought in the province of Halland a large property as a family seat. This was situated in the neighborhood of Vapnö and is still in the property of his family.Passage 3:Mathilda Staël von HolsteinChristina Mathilda Staël von Holstein (1876–1953) was a Swedish lawyer. She was the second woman to become a lawyer in Sweden, the first being Eva Andén. She was known as a feminist throughout her lifetime.BiographyShe was born in Kristianstad as the daughter of the nobleman and Colonel Axel Staël von Holstein and Cecilia Nordenfeldt and grew up in Värmland. She was orphaned early and left with responsibility for her eleven siblings, and never married.She was a correspondent at a law firm, then an assistant and an accountant at the Stockholm City Health Board. She became a Candidate of Law in Stockholm in 1918. She was also a member of the Fredrika Bremer Association and chairman of the Stockholm Women's Association. From 1919 to 1923 she was a partner in Eva Andén's law firm. As a lawyer, she primarily worked on family law and property issues.One of the biggest problems for women to obtain government office during this time was that the law defined the applicant for such jobs as a \"Swedish man\". The Ministry of Justice formed a committee in 1919 to investigate and remove this barrier from the law through a change of constitution. The chairman of the committee was Emilia Broomé, the first woman to chair a government committee. Staël von Holstein was a committee member. The committee's work resulted in the Competence Law of 1923.Staël von Holstein was awarded the Illis quorum by the King of Sweden in 1946.She died in Stockholm.See alsoAnna Pettersson, Swedish lawyerSourcesFurther readingMathilda Staël von Holstein at Svenskt kvinnobiografiskt lexikonPassage 4:Boris BogoslovskyBoris Basil Bogoslovsky (29 April 1890, in Ryazan – 2 December 1966, in Charleston, Illinois) was a Russian-American teacher and United Nations official.Bogoslovosky emigrated to the United States, where he became a naturalized citizen. He married a Swedish teacher, Christina Staël von Holstein, and the pair taught at the Cherry Lawn School, a progressive boarding school in Darien, Connecticut. In 1933 they became co-directors of the school. Bogoslovosky taught science there until 1945, when he joined the United Nations as a translator in the UN's Russian Language Section. He was also an observer for the US government at the Nuremberg Trials.WorksThe technique of controversy: principles of dynamic logic, 1928. In the series The International Library of Psychology, Philosophy and Scientific Method.The ideal school, 1936.Passage 5:Elin LauritzenElin Maria Lauritzen (born 11 July 1916 in Rio de Janeiro, Brazil; died 17 September 2006) was for many years one of Sweden's foremost family law attorneys.She was a member of the Board of Directors of the Pension Board in 1944 as well as Deputy Attorney at the lawyers Mathilda Staël von Holstein, Valborg Lundgren and Eva Andén 1945–1953. She became a member of the Swedish Bar Association in 1949.Passage 6:Monte Carlo (composer)Hans von Holstein, better known as Monte Carlo (14 July 1883 — 9 June 1967), was a Danish-born American Broadway composer and author.LifeVon Holstein was born in Skamlingsbanken, Gravenstein, Denmark, on 14 July 1883.He came to the U.S. in 1906 to avoid studying medicine.  He changed his name to Hans Carlo, and soon began using Monte Carlo as his name. He became a naturalized US citizen in 1914. He received pre-medical training in Chicago, with songwriting as chief avocation. He started writing music with Alma Sanders, whom he met at Jerome H. Remick's music publishing firm.  She eventually became his wife. They collaborated on a number of shows and a large number of songs.  He joined the American Society of Composers, Authors and Publishers in 1923.In 1930, he was living with his wife at 10 Williams Avenue in Mount Vernon, New York. In 1942, he was living at 145 West 55th Street, New York.After the death of his wife in 1956, he moved to Houston, Texas. There he became vice-president of Carsen Music Publishing, founded by his step-son, Edward C. Benjamin Sr. He died in Houston on June 9, 1967.Songs with music or lyrics by Monte Carlo\"Little Town in the old County Down\"\"Dinny Danny; The Irish Yacki Hula\"\"That Tumble-Down Shack in Athlone\"\"Every Tear Is a Smile in an Irishman's Heart\"\"By the waters of Killarney\"\"Just a bit of Irish lace\"\"Two Blue Eyes, One Little Green Isle\"\"My Home in the County Mayo\"\"The Hills of Connemara\"\"The Old Wooden Bridge in Athlone\"Several songs became very popular after being recorded by John McCormack in the early 1920s.ShowsThe Voice of McConnell by George M. Cohan, (1918; supplied songs)Tangerine (1921)Elsie (1923)The Chiffon Girl (1924)Bye Bye Barbara (1924)Princess April (1924)Oh! Oh! Nurse (1925)Houseboat on the Styx (1928; supplied songs)Mystery Moon (1930)Louisiana Lady (1947)Passage 7:Auguste-Théodore-Paul de BroglieAbbé Auguste-Théodore-Paul de Broglie (June 18, 1834 – May 11, 1895) was professor of apologetics at the Institut Catholique in Paris, and writer on apologetic subjects.He was the son of Achille-Victor, Duc de Broglie, and his wife, Albertine, baroness Staël von Holstein, a Protestant and the daughter of Madame de Staël. After the death of his mother, who died young, he was brought up by the Baroness Auguste de Staël, née Vernet. This aunt, although also a Protestant, exerted herself \"to make a large-minded Christian of him in the Church to which she did not belong\" (Monseigneur d'Hulst in Le Correspondant, 25 May 1895).Broglie studied at the École Polytechnique, leaving in 1855. Still young, he entered the navy; he was appointed ensign in 1857 and soon after lieutenant. After a voyage to New Caledonia in which he came in contact with active missions, he felt himself called to the religious life. He entered the Seminary of Saint Sulpice in Paris in 1867. After completing his studies there he was ordained priest on 18 October 1870. He was named professor of apologetics at the Institut Catholique in 1879. His teaching, which included philosophical, theological, biblical and historical themes, were intended to defend the Catholic faith from perceived attacks from Positivism and Rationalism. He maintained the harmony and autonomy of the two spheres of knowledge, religion and reason.In his numerous publications the Abbé de Broglie was always a faithful defender of Catholic dogma. At the time of his death, which resulted from the violence of an insane person he had taken under his protection, he was preparing a book on the agreement of reason and faith.His most important work is Problèmes et conclusions de l'histoire des religions (Paris, 1886). Of his other writings, some of which were pamphlets or articles in reviews, the following may be mentioned:Le positivisme et la science expérimentale (2 vol., París 1880-81)Cours d’apologétique chrétienne (1883)La Morale évolutionniste (1885)La Morale sans Dieu (1886)La Réaction contre le positivisme (1894)\"Religion de Zoroastre et religion védique\"\"Le bouddhisme\"\"Religions neo-brahmaniques de l'Inde\"\"L'islamisme\"; \"La vraie définition de la religion\"\"La transcendence du christianisme\"\"L'histoire religieuse d'Israël\"\"Les prophètes et les prophéties, d'après les travaux de Kuenen\"\"L'idée de Dieu dans l'Ancien et le Nouveau Testament\"\"Le présent et l'avenir du catholicisme en France\"Two posthumous publications, Religion et critique (1896) and Questions bibliques (1897)  were edited by the Abbé Piat.Passage 8:Alexander von Staël-HolsteinAlexander Wilhelm Freiherr Staël von Holstein (Chinese: \u0000\u0000\u0000, January 1, 1877, in Testama manor, Livonia, Russian Empire – March 16, 1937, in [[Beiping]], China); was a Baltic German aristocrat, Russian and Estonian orientalist, sinologist, and Sanskritologist specializing in Buddhist texts.LifeRelated to Germaine de Staël's husband, the future baron was born in the Governorate of Livonia of the Russian Empire (present-day Estonia),in an aristocratic family (with widespread relations in other German Baltic provinces of the Russian Empire, Sweden and Northern Germany) on New Year's Day. He was educated at home during his childhood. When he reached 15, he was sent to a Gymnasium in the town of Pernau (now Pärnu). He pursued his higher education at the Dorpat University (Tartu), where some of his families had studied, majoring in comparative philology. After his graduation, he left for Germany, studying oriental languages in the Berlin University.Prussian public records of 1898 show that the young Baron was involved in a duel in Berlin, which he apparently survived. In his second year in Berlin, as the only male heir he inherited the family estate in Testama (now Tõstamaa) and the baronage. In 1900, he gained his doctorate with his dissertation Der Karmapradīpa, II. Prapāthaka from the University of Halle-Wittenberg. The first Prapā\u0000haka of the Karmapradīpa had been translated in 1889 by   Friedrich Schrader, also as a dissertation in Halle. The supervisor of both dissertations was Professor Richard Pischel, at that time the world's leading expert on Prakrit, the ancient form of Sanskrit, and long-time head of the \"Deutsche Morgenländische Gesellschaft\", the German Orientalist Society.During the following years, Baron de Stael traveled widely and studied with the best oriental scholars in Germany, England and India.He started his academic career in 1909 when he was appointed assistant professor of Sanskrit in the University of St. Petersburg and the member of the Russian Committee for the Exploration of Central and Eastern Asia. In 1912, he visited the US and lived in Harvard for some time to study Sanskrit.He was in the Republic of China when the October Revolution broke out. The government of the new Estonian Republic, established in 1918 after the Treaty of Versailles, left him only a small part of his inherited estate. He then accepted an Estonian citizenship but remained in Beijing. With the recommendation of his friend Charles Eliot, the then principal of the University of Hong Kong, he was invited by Hu Shih to teach Sanskrit, Tibetan, and the History of Indian Religion at Peking University as lecturer from 1918 to 1921 and as professor from 1922 to 1929. He helped set up the Sino-Indian Institute in Beijing in 1927. In 1928 he was a visiting scholar at Harvard University, helping the Harvard-Yenching Institute to collect books. In 1932, he was selected an Honorary Fellow of the Institute of History and Philology (\u0000\u0000\u0000\u0000\u0000\u0000\u0000), Academia Sinica.Besides his works on Indian and Tibetan religions, he also contributed to the field of historical Chinese phonology. His influential \"The Phonetic Transcription of Sanskrit Works and Ancient Chinese Pronunciation\" was translated by Hu Shih into Chinese and was published in Guoxue Jikan (Chinese: \u0000\u0000\u0000\u0000) in 1923.Selected worksThe Kāçyapaparivarta: a Mahāyānasūtra of the Ratnakū\u0000a class, edited in the original Sanskrit, in Tibetan and in Chinese, Shanghai: Shangwu Yinshuguan, 1926On a Tibetan text translated into Sanskrit under Ch'ien Lung (XIII cent.) and into Chinese under Tao Kuang (XIX cent.), Bulletin of the National Library of Peiping, 1932On two Tibetan pictures representing some of the spiritual ancestors of the Dalai Lama and of the Panchen Lama, Bulletin of the National Library of Peiping, 1932A commentary to the Kāçcyapaparivarta, edited in Tibetan and in Chinese, Peking: published jointly by the National Library and the National Tsinghau University, 1933On a Peking edition of the Tibetan kanjur which seems to be unknown in the West, Peking: Lazarist Press, 1934On two recent reconstructions of a Sanskrit hymn transliterated with Chinese characters in the X century A.D, Peking: Lazarist Press, 1934Two Lamaistic pantheons, edited with introduction and indexes by Walter Eugene Clark from materials collected by the late Baron A. von Staël-Holstein, Harvard-Yenching Institute monograph series 3 and 4, Cambridge, Mass.: Harvard University Press, 1937See alsoList of Baltic German scientistsNotesPassage 9:Erik Magnus Staël von HolsteinBaron Erik Magnus Staël von Holstein, (25 October 1749, Loddby, Sweden – 9 May 1802, Poligny, France) was a Swedish diplomat, soldier and courtier best known for being Sweden's Ambassador to France during the end of the Ancien Regime and the early years of the French Revolution, as well as being the husband of Madame de Staël. Erik Magnus assisted Gustav III during the Swedish Revolution of 1772 and was later named Chamberlain to Queen Sophia Magdalena. In 1783, he was appointed chargé d'affaires to the Court of France, and in 1785 he was named Ambassador. On 21 January 1786, he married the daughter of the French Minister of Finance, Jacques Necker, mademoiselle Anne Louise Germaine Necker, who was to achieve fame as \"Madame de Staël\".Early lifeErik Magnus was born on 25 October 1749 as the seventh child of Mathias Gustav Staël von Holstein, the scion of an ancient noble family originally from the Rhineland. As a young officer, Staël participated in the 1772 coup that brought Gustav III to power. For his services, he was made a knight of the Order of the Sword and chamberlain to the Queen. He was later assigned to the Swedish embassy to France, serving under the ambassador, Gustaf Philip Creutz. Staël's charming manners, good looks and affable disposition soon impressed Creutz and many members of the French court, including Queen Marie Antoinette herself.Life and marriageAfter five years of negotiation between Staël, the King of Sweden, Marie Antoinette, and Jacques Necker, Staël agreed to marry Germaine. He obtained a dowry of 650,000 livres, was made permanent Swedish ambassador to the Court of Louis XVI, and was invested with the Order of the Polar Star.The marriage solved Staël’s financial problems (he was a prolific gambler) but was largely loveless, although not acrimonious. Baron and Madame de Staël pursued other love interests, and were often at odds over politics, but remained friendly to each other. Staël remained ambassador to France through the early convulsions of the French Revolution. Staël had a stormy relationship with Gustav III and he often found himself caught between the interests of his politically active and liberal wife, the ever-changing government of Republican France, and the counter-revolutionary position of the King of Sweden. Staël was dismissed as ambassador to France in 1795 by the young Gustav IV Adolf. For the remainder of his life, Staël ran up enormous debts due to his gambling and relied financially on the Neckers.In early 1802, Staël fell ill. His wife invited him back to the Necker family retreat at Coppet in the hopes that he would recover. In the late spring of 1802, Staël suffered a stroke on his way to Switzerland. Madame de Staël faithfully looked after him until he died, on the night of 8 May 1802. Though they were never really close, his death greatly affected his wife and she had him buried at Coppet.Staël was described by his wife and his contemporaries as a handsome man of polished manners, possessed of great wit and charm, kind-hearted, generous, and cultured with a great knowledge of history, fine wines and politics. He was a consummate and talented diplomat, who so greatly impressed the future-First Lady of the United States, Abigail Adams, who accompanied her husband John Adams, then US minister plenipotentiary to France, that she described him in letters home as: \"The Baron de Staël, the Swedish ambassador, comes nearest to that character, in his manners and personal appearance, of any gentleman I ever saw. The first time I saw him I was prejudiced in his favor, for his countenance commands your good opinion; it is animated, intelligent, sensible, affable and, without being perfectly beautiful, is perfectly agreeable; add to this a fine figure and who can fail in being charmed with the Baron de Staël?\" However, he could also be weak-willed and lacking in self-control. Staël successfully negotiated the cession of "}
+{"doc_id":"doc_172","qid":"","text":"Passage 1:Satellite tournamentA satellite tournament is either a minor tournament or event on a competitive sporting tour or one of a group of such tournaments that form a series played in the same country orregion.PokerA satellite tournament in poker is a qualifying event. Winners of these satellites usually win the buy-in fee to a larger, more prestigious tournament like the World Series of Poker Main Event. Although thereare some land-based satellite tournaments (usually for very high-stakes tournaments), most of them are online-based. Some sites, like PokerStars, maintain several tiers of satellites. A player can thus start out at onetier (not necessarily the lowest one) and play his way to a higher tier. The entry fee for each tier is always higher than the fee for the tier below it, with the first tier being the cheapest.TennisIn professional tennis,satellite circuits were four-week tournaments (five before 1987), typically organised by a country's national tennis association and overseen by the International Tennis Federation. They were played by players whowere ranked outside the top few hundred by the Association of Tennis Professionals, with openings for unranked players in the qualifying draw. Total prize money ranged from $25,000 to $75,000 per circuit.  ATP pointswere awarded on the basis of a player's ranking within the circuit and from 1987 onwards on the basis of the conversion of a player's circuit points into ATP points. Players successful at this level of pro tennis wouldmove on to play ATP Challenger Series or even top-flight ATP Tour events. The men's satellite tournaments were discontinued following the 2006 season as the circuit moved exclusively to one-week Futurestournaments.PinballA satellite tournament in pinball is modeled after those in poker. It is a smaller tournament that leads up to a major pinball championship, where participants have the opportunity to win their entryinto the larger tournament. Applying the satellite tournament concept to pinball was first done by Northwest Pinball and Arcade Show in 2013 to promote both the show and the tournaments at the show. Since then,some other major tournaments have begun using the concept.Passage 2:Tunstall, VirginiaTunstall is an unincorporated community in New Kent County, Virginia, United States.Foster's Castle and Hampstead, bothlocated in Tunstall, are listed on the National Register of Historic Places.Passage 3:Telephone numbers in Ascension IslandCountry Code: +247International Call Prefix: 00Ascension Island does not share the samecountry code (+290) with the rest of St Helena.Calling formatsTo call in Ascension Island, the following format is used:yxxxx      Calls inside Ascension Island+247 yxxxx  Calls from outside Ascension IslandAscensionIsland numbering planAccording to ITU Communication of 08.V.2015, Sure South Atlantic Limited, Jamestown, announced the following update to the numbering plan for Ascension.The length of geographical numbersincreased from four (4) to five (5) digits and prefixed with the number \"6\".The 4XXXX range  reserved for mobile services.The change to five-digit numbering to be implemented on 1 June 2015.   1: New 5-digitnumbering2: 6-digit numberingSee alsoTelephone numbers in the United KingdomTelephone numbers in Saint Helena and Tristan da CunhaPassage 4:LubnowyLubnowy is part of the name of two villages, both locatedin Gmina Susz, within Iława County, Warmian-Masurian Voivodeship, Poland:Lubnowy MałeLubnowy WielkieSee alsoLiebenauPassage 5:BrevilleBreville is an Australian brand of small home appliances, founded inSydney in 1932. It is best known for its home appliances, specifically blenders, coffee machines, toasters, kettles, microwaves and toaster ovens. As of 2016, the brand also manufactured \"Creatista\" coffee machines forNespresso, and distributed other Nespresso products in Australia, New Zealand and the USA and Canada, including the \"Inissia\", \"Vertuo\" and \"Citiz\" series of machines.HistoryIn 1932, Bill O'Brien and Harry Norville(born Charles Henry Norville) mixed their last names together and the Breville brand was created. The company started by making radios. During World War II, it made mine detectors. By 1953, the radio business hadbeen taken over by A.W. Jackson Industries Pty. Ltd., which manufactured radiograms and, later, television sets under the Breville brand. After that, Breville turned its attention to manufacturing householdappliances.The O'Brien family continued developing the Breville business for three generations, with Bill's son, John, setting up the Breville Research and Development centre in the late 1960s, and his daughter,Barbara, running the marketing department throughout the 1990s. John O'Brien continued to lead many product development initiatives for the Breville brand until his death in December 2003. Breville's R&D team hastaken out over 100 active patents and has been awarded more than 40 international design awards. In 1974, Breville released the toasted sandwich maker, which was a huge success, selling 400,000 units in its firstyear, and making the Breville brand a household name in Australia. Soon after this, the Breville toasted sandwich maker was launched in New Zealand and the United Kingdom, where it was met with similarsuccess.OwnershipIn 2001, the Breville companies of Australia, New Zealand, and Hong Kong transferred ownership of the brand to Housewares International Limited. The acquisition of the Breville companies causedthe group to shift its focus to the electrical business and cease its Australian homewares and cleaning businesses in March 2007. In 2008, Housewares International Limited officially changed its name to the BrevilleGroup Limited. The Breville Group Limited also owns the Kambrook and Sage brands. It markets most of its product under the Sage brand in the UK and Europe, since the Breville brand is owned by the unrelated Jardencompany in the UK.Global presenceBreville trades in over 70 countries including China, Brazil, South Africa, Mexico, and Israel. In 2002, the Breville brand was launched in Canada and the United States.Passage6:JawtyJawty (German: Jauth) is part of the name of two villages, both located in Gmina Susz, within Iława County, Warmian-Masurian Voivodeship, Poland:Lubnowy MałeLubnowy WielkiePassage 7:JakabIndustriesJakab Industries was an Australian coachbuilder in Tamworth, New South Wales.HistoryJakab Industries built its first bus body in July 1973, a Ford R226. It mainly made bodies for buses for the defenceforces, but also built some for commercial operators, before withdrawing from the market in late 1995. It also built bodies for ambulances and postal vans. In the 1990s it also overhauled Mercedes-Benz and Scaniabuses for the State Transit Authority.Following the collapse of Clifford Corporation in 1998, Volvo arranged for Jakab to take over the Ansair plant in Tamworth and complete the work of providing Orana-style bodies for60 State Transit Authority Volvo B10BLE buses. The subsidiary company set up to do the work was named Phoenix Bus.Jakab Industries was placed in administration in 2002.Passage 8:RadziceRadzice is part of thename of two villages, both located in Gmina Drzewica, within Opoczno County, Łódź Voivodeship, Poland:Radzice DużeRadzice MalePassage 9:Limestone CoastThe Limestone Coast is a name used since the earlytwenty-first century for a South Australian government region  located in the south east of South Australia which immediately adjoins the continental coastline and the Victorian border.  The name is also used for atourist region and a wine zone both located in the same part of South Australia.ExtentThe Limestone Coast is a South Australian Government Region which consists of land within the following local government areaslocated in the south east of the state: the City of Mount Gambier and the District Councils of Grant, Kingston, Robe, Tatiara and Naracoorte Lucindale and the Wattle Range Council, and the extent of \"coastal waters\" upto three nautical miles seaward of the low water mark between the border with Victoria in the east and  the northern boundary of the Kingston District Council in the north-west.Industry regions with the samenameLimestone Coast Tourism RegionThe words 'Limestone Coast' also used in the name of a  tourism region which occupies a similar part of South Australia.  The tourism region consists of the following localgovernment areas: the City of Mount Gambier, The Coorong District Council, the District Councils of Grant, Kingston, Robe, Tatiara and Naracoorte Lucindale, and the Wattle Range Council.Limestone Coast WineZoneThe words 'Limestone Coast' also used in the name of a wine zone which occupies a similar part of South Australia.  The wine zone is the land south of a line located at appropriately 36 degrees 50 minutes south,i.e. in line with Cape Willoughby at the east end of Kangaroo Island.  The zone includes the following wine-growing regions: Coonawarra, Mount Benson, Mount Gambier, Padthaway, Robe and Wrattonbully.Location anddescriptionFrom the Victoria border to the Younghusband Peninsula this area has been settled since colonisation by  mainly European settlers in the 1840s, displacing an indigenous population that had resided in theregion for thousands of years. The region currently supports farming, viticulture, forestry and tourism. Towns include Bordertown, Keith, Millicent, Mount Gambier, Penola, and Naracoorte and the coastal resorts ofBeachport, Kingston SE and Robe.Much of the Limestone Coast is low-lying, and was inundated by sea as recently as 2 million years ago. It had previously also been flooded 15–20 million years ago.  The plains are linedby rows of low sandhills parallel to the coast, created at times when the coastline was at that level. Prior to European settlement, much of the land between the sandhills was swamp fed by streams and subject toinundation. A network of drains totalling 1450 km has been constructed to channel the water away through the sandhills to the ocean. Important areas of wetland remain including the lakes and lagoons such as thesouthern end of the Coorong and Bool Lagoon. Meanwhile, areas of upland in the Limestone Coast include the volcanic craters of Mount Gambier.The Mediterranean climate of this coast is cool and moist with wetwinters.HistoryThere are deep limestone deposits created from the coral and other sealife. The limestone in Victoria Fossil Cave and the other Naracoorte Caves contains are Australia's biggest source of fossils and aWorld Heritage Site.EcologyFloraThe natural vegetation was woodland of River Red gum and other eucalyptus trees.FaunaAlthough there are few purely endemic species the coast is rich in wildlife including possums,Cercartetus pygmy possums, Petaurus Gliding possums, and other marsupials many of which do not spread further west than here. Endemic species include reptiles such as the striped legless lizard (Delma impar) andinvertebrates like an endemic cave cricket. The Naracoorte caves are occupied by the common bent-wing bat.The lakes and lagoons are particularly important habitats for waterbirds such as black swan, grey teal,Pacific black duck, and especially the critically endangered orange-bellied parrot (Neophema chrysogaster) which winters here along with many other birds including the red-necked stint (Calidris ruficollis), sharp-tailedsandpiper (Calidris acuminata), and curlew sandpiper (Calidris ferruginea).Most of the original habitat has been cleared for agriculture and only fragments remain (particularly in areas of wetland) with Coorong NationalPark and Canunda National Park being the largest areas. Therefore, most indigenous wildlife has also disappeared or been severely reduced in number with introduced species of animals an ongoing threat to that whichremains.See alsoRegions of South AustraliaSouth Australian Forestry CorporationKanawinka GeoparkExternal linksRegional website - local weather, street maps, events etc* Official tourist websiteSouthAustralia.comLimestone Coast - travel guides, accommodation, online bookingLimestone Coast - National ParksPassage 10:Alexander Mathieson & SonsThe firm of Alexander Mathieson & Sons was one of the leading makers of handtools in Scotland. Its success went hand in hand with the growth of the shipbuilding industries on the Firth of Clyde in the nineteenth century and the emergence of Glasgow as the \"second city of the Empire\". It alsoreflected the firm's skill in responding to an unprecedented demand for quality tools by shipyards, cooperages and other industries, both locally and far and wide.Early yearsThe year 1792 was deemed by the firm to bethat of its foundation; it was in all likelihood the year in which John Manners had set up his plane-making workshop on Saracen('s) Lane off the Gallowgate in the heart of Glasgow, not far from the Saracen's Head Inn,where Dr. Johnson and James Boswell had stayed on their tour of Scotland in 1773.Alexander Mathieson (1797–1851) is recorded in 1822 as a plane-maker at 25 Gallowgate, but in the following year at 14 Saracen'sLane, presumably having taken over the premises of John Manners. The 1841 national census described Alexander Mathieson as a master plane-maker at 38 Saracen Lane with his son Thomas Adam working as ajourneyman plane-maker.Thomas Adam MathiesonGradually business grew and became more diversified, the Post-Office Glasgow Annual Directory recording that by 1847/8 Alexander Mathieson was a \"plane, brace,bit, auger & edge-tool maker\".EdinburghIn 1849 the firm of James & William Stewart at 65 Nicolson Street, Edinburgh was taken over and Thomas was put in charge of the business, trading under the name Thomas A.Mathieson & Co. as plane and edge-tool makers. Thomas's company acquired the Edinburgh edge-tool makers Charles & Hugh McPherson and took over their premises in Gilmore Street. In the Edinburgh directory of1856/7 the business is recorded as being Alexander Mathieson & Son, plane and edge-tool makers at 48 Nicolson Street and at Paul's Work, Gilmore Street.Growth of the Glasgow businessThe 1851 census records thatAlexander was working as a tool and plane-maker employing eight men. Later that year Alexander died and his son Thomas took over the business. Under the heading of edge-tool maker in the 1852/3 Post-OfficeGlasgow Annual Directory the firm is now listed as Alexander Mathieson & Son, with further lines as \"turning-lathe and vice manufacturers\" added. By the early 1850s the business had moved to 24 Saracen Lane. Thedirectory for 1857/8 records that the firm had moved again only a few years later to East Campbell Street, also off the Gallowgate, and that through further diversification was also manufacturing coopers' and tinmen'stools. The ten-yearly censuses log the firm's growth: in 1861 Thomas was a tool manufacturer employing 95 men and 30 boys; in 1871 he had 200 men working for him; and in 1881 300 men. By 1899 the firm hadbeen incorporated as Alexander Mathieson & Sons Ltd, notwithstanding the fact that only Alexander's son Thomas appears ever to have joined the firm.Trade-markIn September 1868 Thomas Mathieson put a notice inthe Sheffield & Rotherham Independent and the Sheffield Daily Telegraph stating that his firm had used the trade-mark of a crescent and star \"for some time\" and that \"using or imitating the Mark would be proceededagainst for infringement\". The firm had acquired its interest in the crescent-and-star mark from the heirs of Charles Pickslay, the Sheffield cutler who had registered it with the Cutlers' Company in 1833 and had died in1852. The year 1868 seems also to be the one in which the name Saracen Tool Works was first adopted; not only does it figure at the foot of the notice in the Sheffield press, it also makes its first appearance in thefirm's entry in the Post-Office Glasgow Annual Directory in the 1868/9 edition.Public lifeAs Thomas Mathieson's business grew, so too did his involvement in local public life and philanthropy. One of the representativesof the third ward on the town council of Glasgow, he became a river bailie in 1868, a magistrate in 1870 and a preceptor of Hutcheson's Hospital in 1878. He had a passion for books and was an \"ardent Ruskinian\". Heserved on the committee handling the bequest for the setting up of the Mitchell Library in Glasgow. When he died at Coulter Maynes near Biggar in 1899, he left an estate worth £142,764. He is buried at the GlasgowNecropolis next to the cathedral.Later years of the firmBoth Thomas's sons, James Harper and Thomas Ogilvie, were involved in the continuing life of the firm. James followed in his father's footsteps in becoming a localpublic figure. He was appointed Deputy Lieutenant of the County of the City of Glasgow and was made a deacon of the Incorporation of the Hammermen of Glasgow in 1919. His brother Thomas Ogilvie was recorded astool manufacturer and employer in the 1911 census. Thomas Ogilvie's son Thomas Alastair Sutherland Ogilvie \"Taso\" Mathieson born in 1908 took a rather different approach to engineering, however, by becoming aracing driver. In 1947 he wed the French film actress Mila Parély.Awards at world's fairsGreat Exhibition, London, 1851. Prize medal for joiners' tools in the class of Cutlery & Edge ToolsGreat London Exposition, 1862.Prize medal honoris causaInternational Exhibition, Melbourne, 1880. Gold medalInternational Exhibition of Industry, Science and Art, Edinburgh, 1886. Prize medal== Notes =="}
+{"doc_id":"doc_173","qid":"","text":"Passage 1:David A. GanongDavid A. Ganong,  (born September 14, 1943 in St. Stephen, New Brunswick) is a Canadian business executive.BiographyGanong is the former president and current chairman of the board of Ganong Bros., the oldest chocolate manufacturing company in Canada. He graduated with a BA degree from the University of New Brunswick in 1965 then earned his MBA degree University of Western Ontario.In 1977 he replaced his uncle, R. Whidden Ganong, as president of the company. In 1984-85, David Ganong served as chairman of the Atlantic Provinces Economic Council. In 1990 he oversaw the building of a modern new plant. Its success was followed by a further expansion in 2003. He was named a member of the Order of Canada in 2005 and was inducted into the Canadian Professional Sales Association Hall of Fame in 1999. In 2008 David Ganong stepped down as president, but has maintained an advisory role as chairman on the company's board and remains the controlling shareholder. Two of his children have moved into executive positions with the company, representing the fifth generation of Ganong overseeing the company; daughter Bryana Ganong as president and CEO, and son Nicholas Ganong as Vice President of Sales and Business Development.David Ganong is a member of the board of governors of the University of New Brunswick and he and his wife Diane have provided financial support to the university. In recent years, David has taken an active role in a number of community development groups, most recently with Future St. Stephen.NotesFolster, David. The Chocolate Ganongs of St. Stephen, New Brunswick (1991) Goose Lane Editions ISBN 0-86492-115-2Craigs, Melodie. Ganong, The Candy Family (1984) Literacy Council of Fredericton ISBN 0-920333-16-8David and Diane Ganong's donation to the University of New BrunswickFebruary 2003 Candy Industry article on David Ganong and Ganong Bros.Profile of David Ganong, The Governor General's Canadian Leadership ConferencePassage 2:Obata ToramoriObata Toramori (\u0000\u0000\u0000\u0000, 1491 – July 14, 1561) was Japanese samurai warrior of the Sengoku Period. He is known as one of the \"Twenty-Four Generals of Takeda Shingen\" He also recorded as having been wounded 41 times in 36 encounters. He was the father of Obata Masamori.See alsoIsao ObataPassage 3:John Templeton (botanist)John Templeton (1766–1825) was a pioneering Irish naturalist, sometimes referred to as the \"Father of Irish Botany\". He was a leading figure in Belfast's late eighteenth century enlightenment, initially supported the  United Irishmen, and figured prominently in the town's scientific and literary societies.FamilyTempleton was born in Belfast in 1766, the son of James Templeton, a prosperous wholesale merchant, and his wife Mary Eleanor, daughter of Benjamin Legg, a sugar refiner. The family resided in a 17th century country house to the south of the town, which been named Orange Grove in honour of William of Orange who had stopped at the house en route to his victory over James II at the Battle of the Boyne in 1690.Until the age of 16 Templeton attended a progressive, co-educational, school favoured by the town's liberal, largely Presbyterian, merchant class. Schoolmaster David Manson sought to exclude \"drudgery and fear\" by combining classroom instruction with play and experiential learning. Templeton counted among his schoolfellows brother and sister Henry Joy and Mary Ann McCracken, and maintained a warm friendship with them throughout his life.In 1799, Templeton married Katherine Johnson of Seymour Hill. Her family had been touched by the United Irish rebellion the previous year: her brother-in-law, Henry Munro, commander of the United army at the Battle of Ballynahinch, had been hanged. The couple had five children: Ellen, born on 30 September 1800, Robert, born on 12 December 1802, Catherine, born on 19 July 1806, Mary, born on 9 December 1809 and Matilda on 2 November 1813.The union between the two already prosperous merchant families provided more than ample means enabling Templeton to devote himself passionately to the study of natural history.United IrishmanLike many of his liberal Presbyterian peers in Belfast, Templeton was sympathetic to the programme and aims of the Society United Irishmen:  Catholic Emancipation and democratic reform of the Irish Parliament. But it was several years before he was persuaded to take the United Irish \" test\" or pledge. In March 1797 his friend, Mary Ann McCracken, wrote to her brother: [A] certain Botanical friend of ours whose steady and inflexible mind is invulnerable to any other weapon but reason, and only to be moved by conviction has at last turned his attention from the vegetable kingdom to the human species and after pondering the matter for some months, is at last determined to become what he ought to have been months ago.She hoped his sisters would \"soon follow him.\" Having committed himself to the patriotic union of Catholic, Protestant and Dissenter, Templeton changed the name of the family home from loyalist Orange Grove to Irish \"Cranmore\" (crann mór, 'big tree').Templeton was disenchanted by the Rebellion of 1798, and mindful of events in France , repelled by the violence. He nonetheless withdrew from the Belfast Literary Society, of which he had been a founding member in 1801, rather than accept the continued presence of Dr. James MacDonnell. MacDonnell's offence had been to subscribe forty guineas in 1803 for the capture (leading to execution) of the unreformed rebel Thomas Russell who had been their mutual friend. (While unable to \"forget the amiable Russell\", time, he conceded,  \"softened a little my feelings\": in 1825, Templeton and MacDonnell met and shook hands).GardenThe garden at Cranmore spread over 13-acre garden was planted with exotic and native species acquired on botanical excursions, from fellow botanists, nurseries, botanical gardens and abroad: \"Received yesterday a large chest of East Indian plants which I examined today.\" \"Box from Mr. Taylor\".Other plants arrived, often as seeds from North America, Australia, India, China and other parts of the British Empire  Cranmore also served as a small animal farm.for experimental animal husbandry and a kitchen garden.BotanistJohn Templeton's interest in botany began with this experimental garden laid out according to a suggestion in Rousseau's 'Nouvelle Heloise' and following Rousseau's 'Letters on the Elements of Botany Here he cultivated many tender exotics out of doors (a list provided by Nelson and began botanical studies which lasted throughout his life and corresponded with the most eminent botanists in England Sir William Hooker, William Turner, James Sowerby and, especially Sir Joseph Banks, who had travelled on Captain James Cook's voyages, and in charge of Kew Gardens. Banks tried (unsuccessfully) to tempt him to New Holland (Australia) as a botanist on the Flinders's Expedition with the offer of a large tract of land and a substantial salary. An associate of the Linnean Society, Templeton visited London and saw the botanical work being achieved there. This led to his promotion of the Belfast Botanic Gardens as early as 1809, and to work on a Catalogue of Native Irish Plants, in manuscript form and now in the Royal Irish Academy, which was used as an accurate foundation for later work by succeeding Irish botanists. He also assembled text and executed many beautiful watercolour drawings for a Flora Hibernica, sadly never finished, and kept a detailed journal during the years 1806–1825 (both now in the Ulster Museum, Belfast).[1] Of the 12000 algal specimens in the Ulster Museum Herbarium about 148 are in the Templeton collection and were mostly collected by him, some were collected by others and passed to Templeton. The specimens in the Templeton collection in the Ulster Museum (BEL) have been catalogued. Those noted in 1967 were numbered: F1 – F48. Others were in The Queen's University Belfast. All of Templeton's specimens have now been numbered in the Ulster Museum as follows: F190 – F264; F290 – F314 and F333 – F334.Templeton was the first finder of Rosa hibernicaThis rose, although collected by Templeton in 1795, remained undescribed until 1803 when he published a short diagnosis in the Transactions of the Dublin Society.Early additions to the flora of Ireland include Sisymbrium Ligusticum seoticum (1793), Adoxa moschatellina (1820), Orobanche rubra and many other plants. His work on lichens was the basis of this secton of Flora Hiberica by James Townsend Mackay who wrote of him The foregoing account of the Lichens of Ireland would have been still more incomplete, but for the extensive collection of my lamented friend, the late Mr. John Templeton, of Cranmore, near Belfast, which his relict, Mrs. Templeton, most liberally placed at my disposal. I believe that thirty years ago his acquirements in the Natural History of organised beings rivalled that of any individual in Europe : these were by no means limited to diagnostic marks, but extended to all the laws and modifications of the living force. The frequent quotation of his authority in every preceding department of this Flora, is but a brief testimony of his diversified knowledgeBotanical ManuscriptsThe MSS. left by Templeton consist of seven volumes. One of these is a small 8vo. half bound ; it is in the Library of the Royal Irish Academy, and contains 280 pp. of lists of Cryptogams, chiefly mosses, with their localities. In this book is inserted a letter from Miss F. M. More, sister of Alexander Goodman More, to Dr. Edward Perceval Wright, Secretary, Royal Irish Academy, dated March, 1897, in which she says—‘*‘ The Manuscript which accompanies this letter was drawn up between 1794 and 1810, by the eminent naturalist, John Templeton, in Belfast. It was lent by his son, Dr. R. Templeton, to my brother, Alex. G. More, when he was preparing the second edition of the ‘ Cybele Hibernica,’ on condition that it should be placed in the Library of the Royal Irish Academy afterwards.\" The other six volumes are quarto size, and contain 1,090 folios, with descriptions of many of the plants, and careful drawings in pen and pencil and colours of many species. They are now lent to the Belfast Museum. About ten years ago I [Lett]spent a week in examining these volumes, and as their contents have hitherto never been fully described, I would like to give an epitome of my investigation of them.Vol. 1.—Phanerogams, 186 folios, with 15 coloured figures, and 6 small drawings in the text.Vol. Il.—Fresh-water Algae, 246 folios, 71 of which are coloured.Vol.IIl.—Marine Algae, 212 folios, of which 79 are coloured figures. At the end of this volume are 3 folios of Mosses, the pagination of which runs with the rest of this volume, but it is evident they had at some time been misplaced.Vol. IV Fungi, 112 folios.Vol. V.—Mosses, 117 folios, of which 20 are coloured, and also 73 small drawings in the text. *Vol. VI.—Mosses and Hepatics. 117 folios are Hepatics, 40 of which are in colours ; 96 folios are Mosses, of which 39 are full-page coloured figures; and in addition there are 3 small coloured drawings in the text.All these drawings were executed by Templeton himself, they are every one most accurately and beautifully drawn; and the colouring is true to nature and artistically finished; those of the mosses and hepatics being particularly good. Templeton is not mentioned in Tate’s ‘‘ Flora Belfastiensis,’ published in 1863, at Belfast. The earliest published reference to his MSS. is in the \"* Flora of Ulster,\" by Dickie, published in 1864, where there is this indefinite allusion—‘* To the friends of the late Mr. Templeton I am indebted for permission to take notes of species recorded in his manuscript.\" The MS. was most likely the small volume now in the Royal Irish Academy Library. In the introduction to the \"*‘ Flora of the North-east of Ireland\"’ (1888), there is a brief biographical sketch of Templeton, but no mention of any MS. However, in a ‘‘ Supplement\" to the Flora (1894), there is this note— ‘* Templeton, John, four volumes of his ‘ Flora Hibernica’ at present deposited with the Belfast Natural History and Philosophical Society, contain much original matter, which could not be worked out in time for the present paper.\" This fixes the approximate date of the MSS. being loaned to the Belfast Museum. They were not known to the authors of the ‘‘ Cybele Hibernica’\"’ in 1866, while in the second edition (1898) the small volume of the MSS. in R.1.A. Library is described in the Index of Authors under its full title—Catalogue of the Native Plants of Ireland, by John Templeton, A.L.S.Notable plant findsAntrim:Northern beech fern Glenaan River, Cushendall 1809: intermediate wintergreen Sixmilewater 1794: heath pearlwort : Muck Island Islandmagee  1804: dwarf willow Slievenanee Mountain 1809: thin-leaf brookweed beside River Lagan in its tidal reaches – gone now 1797: Dovedale moss Cave Hill 1797: Arctic root Slemish Mountain pre 1825: Cornish moneywort  formerly cultivated at Cranmore, Malone Road, Belfast1 pre-1825 J. persisted to 1947: rock whitebeam  basalt cliffs of the Little Deerpark, Glenarm 15 July 1808: yellow meadow rue Portmore Lough 1800:  Moschatel Mountcollyer Deerpark 2 May 1820 , Bearberry  Fair Head pre 1825, Sea Bindweed Bushfoot dunes pre 1825,  Flixweed , 'Among the ruins of Carrickfergus I found Sisymbrium Sophia in plenty' 2 Sept. 1812 – Journal of J. Templeton J4187, Needle Spike-rush Broadwater pre 1825, Dwarf Spurge Lambeg gravel pit 1804, Large-flowered Hemp-nettle, Glenarm  pre 1825Down:Field Gentian Slieve Donard 1796: Lesser Twayblade Newtonards Park pre 1825:  Rough poppy 15 July 1797: Six-stamened Waterwort Castlewellan Lake 1808: Great Sundew going to the mountains from Kilkeel 19 August 1808: Hairy Rock-cress Dundrum Castle 1797: Intermediate Wintergree Moneygreer Bog 1797 Cowslip Holywood Warren pre 1825 long gone since: Water-violet Crossgar 7th July 1810 Scots Lovage Bangor Bay 1809, Mountain Everlasting   Newtownards 1793, Frogbit boghole near Portaferry, Parsley fern, Slieve Binnian, Mourne Mountains  19 August 1808, Bog-rosemary Wolf Island Bog 1794,  Marsh Pea Lough NeaghFermanagh: Marsh HelleborineNatural History of IrelandJohn Templeton had wide-ranging scientific interests including chemistry as it applied to agriculture and horticulture, meteorology and phenology following Robert Marsham. He published very little aside from monthly reports on natural history and meteorology in the 'Belfast Magazine' commenced in 1808. John Templeton studied birds extensively, collected shells, marine organisms (especially \"Zoophytes\") and insects, notably garden pest species. He planned a 'Hibernian Fauna' to accompany 'Hibernian Flora'. This was not published, even in part, but A catalogue of the species annulose animals and of rayed ones found in Ireland as selected from the papers of the late J Templeton Esq. of Cranmore with localities, descriptions, and illustrations Mag. Nat. Hist. 9: 233- 240; 301 305; 417–421; 466 -472[2], 1836.  Catalogue of Irish Crustacea, Myriapoda and Arachnoida, selected from the papers of the late John Templeton Esq. Mag. Nat. Hist. 9: 9–14 [3].and 1837 Irish Vertebrate animals selected from the papers of the late. John Templeton Esq Mag. Nat. Hist . 1: (n. s.): 403–413 403 -413 were (collated and edited By Robert Templeton). Much of his work was used by later authors, especially by William Thompson whose 'The Natural History of Ireland' is its essential continuation.DublinTempleton was a regular visitor to the elegant Georgian city of Dublin (by 1816 the journey was completed in one day in a wellington coach with 4 passengers) and he was a Member of the Royal Dublin Society.By his death in 1825 the Society had established a Botanic at Glasnevin \"with the following sections:1 The Linnaean garden, which contains two divisions, - Herbaceous plants, and shrub-fruit; and forest-tree plants.2. Garden arranged on the system of Jussieu. 3. Garden of Indigenous plants (to Ireland), disposed according to the system of Linnaeus. 4. Kitchen Garden, where six apprentices are constantly employed, who receive a complete knowledge of systematic botany. 5. Medicinal plants. 6. Plants eaten, or rejected, by cattle. 7. Plants used in rural economy. 8. Plants used in dyeing. 9. Rock plants. 10. Aquatic and marsh plants. - For which an artificial marsh has been formed. 11. Cryptogamics. 12. Flower garden, besides extensive hot-houses, and a conservatory for exotics\".Other associations were with Leinster House housing the RDS Museum and Library.\"Second Room. Here the animal kingdom is displayed, arranged in six classes. 1. Mammalia. 2. Aves. 3. Amphibia. 4. Pisces. 5. Insectae. 6. Vermes. Here is a great variety of shells, butterflies and beetles, and of the most beautiful species\" and the Leske collection.The library at Leinster House held 12,000 books and was particularly rich in  works on botany; \"amongst which is a very valuable work in four large folio volumes, \"Gramitia Austriaca\" [Austriacorum Icones et descriptions graminum]; by Nicholas Thomas Host\".Templeton was also associated with theFarming Society funded 1800, the Kirwanian Society   founded 1812, Marsh's Library, Trinity College Botanic Garden. Four acres supplied with both exotic and indigenous plants,the Trinity Library (80,000 volumes) and Trinity Museum.Also the Museum of the College of Surgeons.Death and legacyNever of strong constitution, he was not expected to survive, he was in failing health from 1815 and died in 1825 aged only 60, \"leaving a sorrowing wife, youthful family and many friends and townsmen who greatly mourned his death\". The Australian leguminous genus Templetonia is named for him.In 1810 Templeton had supported the veteran United Irishman, William Drennan, in the foundation of the Belfast Academical Institution. With the staff and scholars of the Institution's early Collegiate Department, he then helped form the Belfast Natural History and Philosophical Society (the origin of both the Botanical Gardens and what is now the Ulster Museum).Although always ready to communicate his own findings, Templeton did not publish much. Robert Lloyd Praeger (1865-1953), editor of the Irish Naturalist and President of the Royal Irish Academy, described him nonetheless as \"the most eminent naturalist Ireland has produced\".Templeton's son, Robert Templeton (1802-1892), educated at the Belfast Academical Institution (which was eventually to acquire Cranmore House), became an entomologist renowned for his work on Sri Lankan arthropods. Robert's fellow pupil James Emerson Tennent went on to write Ceylon, Physical, Historical and TopographicalContactsThomas Martyn From 1794 supplied Martyn with many remarks on cultivation for Martyn's edition of Miller's Gardener's Dictionary.George ShawJames Edward Smith Contributions to English Botany and Flora BritannicaJames LeeSamuel GoodenoughAylmer Bourke LambertJames SowerbyWilliam CurtisJoseph BanksRobert Brown.Lewis Weston Dillwyn's Contributions to British Confervæ (1802–07)Dawson Turner Contributions to British Fuci (1802), and Muscologia Hibernica (1804).John WalkerFrancis Rawdon-Hastings, 1st Marquess of HastingsJohn Foster, 1st Baron OrielJonathan StokesWalter WadeOtherJohn Templeton maintained a natural history cabinet containing specimens from Calobar, New Holland and The Carolinas as well as is Ireland cabinets. His library included Rees's Cyclopædia and works by Carl Linnaeus, Edward Donovan and William Swainson s:Zoological Illustrationsand he used a John Dollond microscope and lenses. He made a tour of Scotland with Henry MacKinnon. His diaries record the Comet of 1807 and the Great Comet of 1811.Gallery|See alsoLate EnlightenmentJames Townsend MackayPassage 4:Inoue Masaru (bureaucrat)Viscount Inoue Masaru (\u0000\u0000 \u0000, August 25, 1843 – August 2, 1910) was the first Director of Railways in Japan and is known as the \"father of the Japanese railways\".BiographyHe was born into the Chōshū clan at Hagi, Yamaguchi, the son of Katsuyuki Inoue. He was briefly adopted into the Nomura family and became known as Nomura Yakichi, though he was later restored to the Inoue family.Masaru Inoue was brought up as the son of a samurai belonging to the Chōshū fief. At 15, he entered the Nagasaki Naval Academy established by the Tokugawa shogunate under the direction of a Dutch naval officer. In 1863, Inoue and four friends from the Chōshū clan stowed away on a vessel to the United Kingdom. He studied civil engineering and mining at University College London and returned to Japan in 1868. After working for the government as a technical officer supervising the mining industry, he was appointed Director of the Railway Board in 1871. Inoue played a leading role in Japan's railway planning and construction, including the construction of the Nakasendo Railway, the selection of the alternative route (Tokaido), and the proposals for future mainline railway networks.In "}
+{"doc_id":"doc_174","qid":"","text":"Passage 1:Herbert J. RayRear Admiral Herbert James Ray (1 February 1893 – 3 December 1970) was an officer in the United States Navy who served in World War I and World War II. A 1914 graduate of the NavalAcademy, he served on the submarines USS H-2 and N-3 during World War I. In March 1942, as Chief of Staff and Aide to the Commandant of the Sixteenth Naval District, Rear Admiral Francis W. Rockwell, heparticipated in General Douglas MacArthur's escape from the Philippines. In Australia, he served with MacArthur's General Headquarters, Southwest Pacific Area staff. In September 1943, he became Captain of thebattleship USS Maryland, which he commanded in the Battle of Tarawa, Battle of Kwajalein, Battle of Saipan and the Battle of Peleliu. In October 1944, he participated in the Battle of Surigao Strait, in which Marylandjoined the other battleships in engaging the Japanese battleships Fusō and Yamashiro and their escorts. Ray left Maryland in December 1944, and was promoted to Commodore and appointed deputy director of theNaval Division of the US Control Group Council for Germany. After VE Day, he became the Junior United States Member of the Tripartite Naval Commission in Berlin. He retired from the Navy on 30 June 1949, andreceived a tombstone promotion to rear admiral due to his combat decorations.Early lifeHerbert James Ray was born in Milwaukee, Wisconsin, on 1 February 1893, the son of James Herbert Ray and his wife Mary néeRosseler. He was educated at Rhea County High School. In 1910, he was appointed to the United States Naval Academy at Annapolis, from which he graduated on 6 June 1914.On graduation, he was commissioned asan ensign, and joined the crew of the battleship USS Minnesota. In July 1915, he became an instructor for enlisted ratings in Norfolk, Virginia. He then became part of the crew that was assembled for the new battleshipUSS Nevada in January 1916, and served on it when it was commissioned in March 1916. After the United States declared war on Germany, he underwent submariner training on board the submarine tender USS Fultonfrom June to November 1917. During the war he served on the submarines USS H-2 and N-3.Between the warsAfter the war, Ray was posted to the battleship USS Pennsylvania in March 1919, the submarine tenderUSS Savannah in July 1919, and the destroyer USS Meyer February 1920. He then became the Executive Officer of the destroyer USS Walker. In November 1920, he helped fit out the destroyer USS Young, and servedon it until April 1921, when he was transferred to the crew of another new destroyer, the USS Macdonough. He helped fit it out, and then served with it until September 1921.Ray returned to Annapolis as an instructorwith the Electrical Engineering and Physics Department from September 1921 to June 1923. He then served on the transport USS Argonne until December 1924, when he became the Executive Officer of the destroyerUSS Wood. In 1926, he assumed command of the destroyer USS Farenholt. In July, he became Officer in Charge of the Branch Hydrographic Office in Honolulu. He was Aide and Flag Secretary to the Commander LightCruiser 2 from May 1928 to June 1930; Light Cruiser Divisions, Scouting Fleet from June to September 1930; and Light Cruiser 3 from September 1930 to July 1931. Ray married Helen Louise Jacobs from La Plata,Maryland in 1930. They had two daughters and two sons.Ray was the Navy Representative on the Joint Army-Navy Selective Services Committee at the War Department in Washington, D.C., from July 1931 toSeptember 1933. He then helped fit out the new cruiser USS New Orleans, and became first he First Lieutenant and Damage Control Officer, and then, in February 1935, he Executive Officer. Following the usual patternof alternating duty afloat and ashore, he returned to Annapolis in July 1936 for a second two-year tour as an instructor, this time in the Department of English and History. In June 1938 he entered the Naval WarCollege at Newport, Rhode Island. After graduating in June 1939, he became the Executive Officer of the USS Quincy.World War IISouthwest PacificIn March 1941, Ray became Chief of Staff and Aide to theCommandant of the Sixteenth Naval District, Rear Admiral Francis W. Rockwell, at Cavite, where he was promoted to captain on 1 July 1941. He was serving in this capacity when the Pacific War began. He was awardedthe Legion of Merit for his part in the fighting. His citation read:For exceptionally meritorious conduct in the performance of outstanding services to the Government of the United States as Chief of Staff in the SixteenthNaval District at the outbreak of World War II. Captain Ray continuously performed duties of great responsibility during and after the bombing and destruction of Cavite Navy Yard on 10 December 1941. In the directionof fire fighting at Cavite, in the evacuation of personnel and material to Corregidor, and in the administration of Mariveles Naval Section Base, a Naval Facility at Mariveles on Bataan Peninsula, he displayed courage andmarked leadership. His close personal contact with the personnel of Motor Torpedo Boat Squadron Three and constant concern with their problems was an outstanding example of leadership and exceptional efficiency inhis profession. During this entire period of great stress, he performed exceptionally meritorious service to the government in duties of great responsibility. Captain Ray was sent to Mariveles on 14 December tosupervise the work there and Commander Grandfield temporarily assumed the duties of Chief of Staff. On completion of a reorganization at Mariveles, Captain Ray was ordered to Queen Tunnel Corregidor and resumedhis duties as Chief of Staff.In March 1942, he participated in General Douglas MacArthur's escape from the Philippines, for which Ray was awarded the Silver Star. His citation read:For extraordinary heroism anddistinguished service in the line of his profession while serving on the Staff of Rear Admiral Francis Rockwell, Commandant, Sixteenth Naval District, during the period 11 to 13 March 1942, in the Philippine Islandsduring an extraordinary action a retrograde maneuver involving General Douglas MacArthur. Captain Ray made detailed plans involving exacting preparations for a movement of major strategic importance and of themost hazardous nature, then executed the mission with marked skill and coolness in the face of greatly superior enemy forces.In Australia, Ray served with MacArthur's General Headquarters, Southwest Pacific Area.One of his sons, Lieutenant James H. Ray, was on the destroyer USS Jarvis when it was lost with all hands on 9 August 1942. When Ray was ordered back to the United States in January 1943, MacArthur awarded himthe Army Distinguished Service Medal. His citation read:For exceptionally meritorious and distinguished services to the Government of the United States, in a duty of great responsibility in the Southwest Pacific Areaduring the period from 18 April 1942 to 26 April 1943. Captain Ray was assigned to General Headquarters, Southwest Pacific Area, upon its establishment, 18 April 1942, serving as Naval Advisor to the Operations andIntelligence sections of the General Staff from 18 April 1942 to 9 January 1943. Upon the establishment of the Planning Section of G-3, 9 January 1943, he was assigned as Chief of that section. The accomplishment ofthe service for which this award is recommended has been completed. This officer has been transferred to another assignment. The entire service of Captain Ray has, since the rendering by him of the service uponwhich this recommendation is based, been honorable.USS MarylandRay served in the office of the Commander in Chief United States Fleet, Admiral Ernest J. King from April to September 1943. He then became Captainof the battleship USS Maryland. The ship had been damaged in the Japanese attack on Pearl Harbor in December 1941 but returned to service. Maryland participated in the Battle of Tarawa in November 1943 as theflagship of Rear Admiral Harry W. Hill's V Amphibious Force and Southern Attack Force, and her guns participated in the shore bombardment. In February 1944, she joined in the Battle of Kwajalein, firing at pillboxesand blockhouses on Roi Island. Maryland's guns supported the Battle of Saipan, silencing a pair of coastal guns. On 22 June, she was torpedoed by a Mitsubishi G4M \"Betty\" bomber, but was repaired in time to join RearAdmiral Jesse B. Oldendorf's Western Fire Support Group in the Battle of Peleliu. Still with Oldendorff's group, but now part of the Vice Admiral Thomas C. Kinkaid's Seventh Fleet, Maryland participated in the Battle ofLeyte in October. In the Battle of Surigao Strait, it joined the other battleships in engaging the Japanese battleships Fusō and Yamashiro and their escorts. Ray was awarded a second Silver Star. His citation read:forgallantry and intrepidity in action as Commanding Officer of the USS Maryland (BB-46), which contributed materially to the annihilation of enemy surface forces, including two battleships, on 25 October 1944, in SurigaoStraits, Philippine Islands. Captain Ray, by his capable direction, caused his ship to deliver prolonged and effective gunfire against the enemy's ships.On 29 November, Maryland was attacked and severely damaged bykamikaze aircraft, and forced to return to Pearl Harbor for repairs. For his services as captain, he was awarded the Bronze Star.GermanyRay left Maryland in December 1944. He was appointed deputy director of theNaval Division of the US Control Group Council for Germany. After VE Day, he became the Junior United States Member of the Tripartite Naval Commission in Berlin. He was promoted to the wartime rank of commodoreon 26 June 1945. He returned to the United States in April 1946. For his services in Europe, he was awarded a second Legion of Merit. His citation read:For exceptionally meritorious conduct in the performance ofoutstanding services to the Government of the United States in Germany from 1 March 1945 to 20 December 1945. Commodore Ray distinguished himself by unusually meritorious accomplishments as Deputy Directorof the Naval Division, U.S. Group Control Council for Germany, and later, as Deputy Naval Advisor to the Office of Military Government for Germany (U.S.), and as junior member of the Tri-Partite Naval Commissionmeeting in Berlin from 15 August 1945 until 8 December 1945. In this duty, he contributed in a high degree to the successful conclusion to the Tri-Partite Naval Commission. He was instrumental in coordinating theNaval work of the U.S. Group Control Council, and other divisions of the U.S. Group Control Council, and in coordinating the efforts of the four powers represented on the Naval Directorate of the Group Control Councilfor Germany.Later lifeRay became Commander of the San Francisco Group of the Nineteenth Fleet in June 1946. On 10 July, like many other commodores, he was reduced in rank to captain again. He served in thiscapacity until he retired on 30 June 1949, at which point he received a tombstone promotion to rear admiral due to his combat decorations. He died on 3 December 1970 at Beale Air Force Base Hospital inCalifornia.NotesPassage 2:Robert Paul SmithRobert Paul Smith (April 16, 1915 – January 30, 1977) was an American author, most famous for his classic evocation of childhood, Where Did You Go? Out. What Did YouDo? Nothing.BiographyRobert Paul Smith was born in Brooklyn, grew up in Mount Vernon, NY, and graduated from Columbia College in 1936. He worked as a writer for CBS Radio and wrote four novels: So It Doesn'tWhistle (1946) (1941, according to Avon Publishing Co., Inc., reprint edition ... Plus Blood in Their Veins copyright 1952); The Journey, (1943); Because of My Love (1946); The Time and the Place (1951).The TenderTrap, a play by Smith and Dobie Gillis creator Max Shulman, opened in 1954 with Robert Preston in the leading role. It was later made into a movie starring Frank Sinatra and Debbie Reynolds. A classic example of the\"battle-of-the-sexes\" comedy, it revolves around the mutual envy of a bachelor living in New York City and a settled family man living in the New York suburbs.Where Did You Go? Out. What Did You Do? Nothing is anostalgic evocation of the inner life of childhood. It advocates the value of privacy to children; the importance of unstructured time; the joys of boredom; and the virtues of freedom from adult supervision. He opens bysaying \"The thing is, I don't understand what kids do with themselves any more.\" He contrasts the overstructured, overscheduled, oversupervised suburban life of the child in the suburban 1950's with reminiscences ofhis own childhood. He concludes \"I guess what I am saying is that people who don't have nightmares don't have dreams. If you will excuse me, I have an appointment with myself to sit on the front steps and watchsome grass growing.\"Translations from the English (1958) collects a series of articles originally published in Good Housekeeping magazine. The first, \"Translations from the Children,\" may be the earliest known exampleof the genre of humor that consists of a series of translations from what is said (e.g. \"I don't know why. He just hit me\") into what is meant (e.g. \"He hit his brother.\")How to Do Nothing With Nobody All Alone ByYourself (1958) is a how-to book, illustrated by Robert Paul Smith's wife Elinor Goulding Smith. It gives step-by-step directions on how to: play mumbly-peg; build a spool tank; make polly-noses; construct an indoorboomerang, etc. It was republished in 2010 by Tin House Books.List of worksEssays and humorWhere Did You Go? Out. What Did You Do? Nothing (1957)Translations from the English (1958) Crank: A Book ofLamentations, Exhortations, Mixed Memories and Desires, All Hard Or Chewy Centers, No Creams(1962)How to Grow Up in One Piece (1963)Got to Stop Draggin’ that Little Red Wagon Around (1969)Robert Paul Smith’sLost & Found (1973)For childrenJack Mack, illus. Erik Blegvad (1960)When I Am Big, illus. Lillian Hoban (1965)Nothingatall, Nothingatall, Nothingatall, illus. Allan E. Cober (1965)How To Do Nothing With No One AllAlone By Yourself, illus Elinor Goulding Smith (1958) Republished by Tin House Books (2010)NovelsSo It Doesn't Whistle (1941) The Journey (1943) Because of My Love (1946)The Time and the Place (1952)Where HeWent: Three Novels (1958)TheatreThe Tender Trap, by Max Shulman and Robert Paul Smith (first Broadway performance, 1954; Random House edition, 1955)VerseThe Man with the Gold-headed Cane (1943)…andAnother Thing (1959)External linksAn Interview, by Edward R Murrow on YouTubePassage 3:Julius RockwellJulius Rockwell (April 26, 1805 – May 19, 1888) was a United States politician from Massachusetts, and thefather of Francis Williams Rockwell.Rockwell was born in Colebrook, Connecticut, and educated at private schools and then Yale, where he studied law, graduating in 1826. He was admitted to the bar and in 1830commenced practice in Pittsfield, Massachusetts. He was elected a member of the Massachusetts House of Representatives in 1834 and served four years, three of them as Speaker. Rockwell was appointedcommissioner of the Bank of Massachusetts from 1838 to 1840.In 1842 he successfully ran as a Whig candidate for the House of Representatives and was re-elected three times, serving from 1843 to 1851. He did notseek renomination in 1850. He was a delegate to the state constitutional convention in 1853, and was appointed to the Senate in 1854 to fill the vacancy caused by the resignation of Edward Everett, serving from June3, 1854, to January 31, 1855, when his successor Henry Wilson was elected. Rockwell voted in the electoral college for the Republican candidate John C. Frémont in the presidential election of 1856.Rockwell returned tohis old post of Speaker of the Massachusetts House of Representatives in 1858, until his appointment to the Massachusetts Superior Court in 1859. He retired as a judge in 1886 and died May 19, 1888, in Lenox,Massachusetts, where he is buried.See also56th Massachusetts General Court (1835)79th Massachusetts General Court (1858)Passage 4:Francis W. RockwellFrancis W. Rockwell may refer to:Francis W. Rockwell(politician)Francis W. Rockwell (admiral)Passage 5:Andrew Allen (singer)Andrew Allen (born 6 May 1981) is a Canadian singer-songwriter from Vernon, British Columbia. He is signed to Sony/ATV and has released fivetop ten singles, and written and recorded many others, including Where Did We Go? with Carly Rae Jepsen. He also records covers and posts them on YouTube.BackgroundRaised in British Columbia's Okanagan Valley,his acoustic pop/rock music is inspired by artists like Jason Mraz and Jack Johnson.CareerAndrew Allen scored his first hit in 2009, when I Wanna Be Your Christmas cracked the Top Ten in his native Canada. He washonored as the feature performer for the Sochi 2014 hand off finale on the internationally broadcast Closing Ceremony of the 2010 Paralympic Winter Games held at Whistler, British Columbia. Allen continued buildingan international profile in 2010, and released his biggest single Loving You Tonight, which sold more than 100,000 copies worldwide, was featured on the Gold Selling NOW 37, hit #6 on the Canadian charts for 22weeks in a row and #30 on the US Hot AC charts, and got him a record deal with Epic after spending much of that year on the road. Because of the song's attention, Allen had the opportunity to perform with some ofthe world's biggest artists like Bruno Mars, One Republic, The Barenaked Ladies, Train, Matt Nathanson, Joshua Radin, Andy Grammer, The Script, Nick Carter, Kris Allen, Carly Rae Jepsen and many others.Loving YouTonight was also featured on the soundtrack of Abduction starring Taylor Lautner.CollaborationsAndrew Allen is also well known in the songwriting community, and has written songs with artists like Meghan Trainor,Rachel Platten, Cody Simpson, Carly Rae Jepsen, Matt Simons, Conrad Sewell as well as writer/producers like Toby Gad, Ryan Stewart, Eric Rosse, Jason Reeves, John Shanks, Nolan Sipes, Mark Pellizzer (Magic), BrianWest and Josh Cumbee. Numerous songs he has been a part of writing have been released by various artists, including Last Chance, which was on the Grammy nominated album Atmosphere by Kaskade feat. DJ Project46, Ad Occhi Chiusi which was on the Double Platinum release by Italian artist Marco Mengoni and Maybe (which Allen also later released himself) released by teen pop sensation Daniel Skye, as well as manyothers.SinglesI Wanna Be Your Christmas (2009)Loving You Tonight (2010)I Want You (2011)Where Did We Go? (2012)Satellite (2012)Play with Fire (2013)Thinking About You (2014)What You Wanted (2016)FavoriteChristmas Song (2017)Maybe (2017)DiscographyThe Living Room Sessions (2008)Andrew Allen EP (2009)The Mix Tape (2012)Are We Cool? (2013)All Hearts Come Home (2014)The Writing Room (2020)12:34 (2022;pre-released on vinyl in 2021)Songwriting creditsLast Chance released by Kaskade featuring Project 46 on his Grammy nominated record Atmosphere.Ad Occhi Chiusi released by Marco Mengoni on his Double Platinumrecord.Reasons released by Project 46.No Ordinary Angel released by Nick Howard from The Voice Germany.Million Dollars released by Nick Howard from The Voice Germany.Maybe released by Daniel Skye.Passage6:Benny RubinsteinBenny Rubinstein (\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000) is an Israeli former footballer and current real estate developer. He played soccer for Maccabi Netanya and Hapoel Netanya. At the 1969 MaccabiahGames, Rubinstein played soccer for Israel, winning a gold medal.BiographyRubinstein was born in Netanya, Israel. His wife is Sarah Rubinstein. Benny's son, Aviram also played football for Maccabi Netanya.He playedsoccer for Maccabi Netanya and Hapoel Netanya. At the 1969 Maccabiah Games, Rubinstein played soccer for Israel, winning a gold medal.Rubinstein then worked as a real estate agent, and now works in real estatedevelopment.HonoursIsraeli Premier League (1):1970-71Passage 7:Yaya SoumahoroYaya Alfa Soumahoro (born 28 September 1989) is an Ivorian former professional footballer who plays as an attacking midfielder.Having begun his career with Séwé Sports in his native country, he joined Thai club Muangthong United in 2008. His good performances earned him a move to K.A.A. Gent in 2010. He spent five and a half seasons withGent but was plagued by recurring injuries throughout his time there. Following a half-season loan to Sint-Truidense V.V., he returned to Muangthong United where did not feature. In 2018, he joined the Egyptian sideWadi Degla SC.Early lifeSoumahoro grew in the Ivorian capital Abidjan. He learned to play football in the streets and he decided to play for Séwé Sports. Soumahoro lost both parents at an early age and was taken care"}
+{"doc_id":"doc_175","qid":"","text":"Passage 1:Robert L. Simpson (film editor)Robert Laughlin Simpson, A.C.E. (July 31, 1910 – June 26, 1977), was an American film editor with more than 100 feature film credits.BiographyBorn in St. Louis, Missouri,Simpson began his career at Paramount Pictures in 1935. By the end of the decade, he had joined 20th Century Fox, where he remained for more than 35 years.During a 55-year career, Simpson edited one hundredfilms, including Drums Along the Mohawk (1939), The Grapes of Wrath (1940), The Pride of St. Louis (1952), Call Me Madam, The King and I (1956), South Pacific (1958), Fate is the Hunter (1964), and Tony Rome(1967). He collaborated with director George Seaton on several projects, including Miracle on 34th Street, The Shocking Miss Pilgrim, Apartment for Peggy, and Chicken Every Sunday. He also worked with John Ford,Sidney Lanfield, and Walter Lang.Simpson was nominated for the Academy Award for Best Film Editing for The Grapes of Wrath.Partial filmographyHer Master's Voice (1936)Love and Hisses (1937)Josette (1938)DrumsAlong the Mohawk (1939)Public Deb No. 1 (1940)The Grapes of Wrath (1940)Sweet Rosie O'Grady (1943)Miracle on 34th Street (1947)The Shocking Miss Pilgrim (1947)Apartment for Peggy (1948)Chicken EverySunday (1949)The Big Lift (1950)The Pride of St. Louis (1952)Call Me MadamThe King and I (1956)South Pacific (1958)Move Over, Darling (1963)Fate is the Hunter (1964)Tony Rome (1967)See alsoList of film directorand editor collaborations. From 1940 to 1960, Simpson edited ten films directed by Walter Lang; The King and I (1956) was nominated for both the Academy Award for Best Picture and the Academy Award for BestDirector.Passage 2:Jean-Luc LemoineJean-Luc Marie Lemoine (born 6 March 1970) is a French humourist, media personality and stand-up comedian.Early lifeA native of Paris, Lemoine grew up in Morangis, Essonne. Hisfirst scene was on his high school stage, in front of 800 fellow students.In 1993, he played at the Théâtre des Blancs-Manteaux in Paris for 15 days and later worked as a columnist for the satirical weekly Infos duMonde, based upon Weekly World News in the United States. He started his television career on local Téléssonne channel. The following year, he played a show during 10 months, directed by FranckDubosc.CareerLemoine was a regular guest on On a tout essayé on France 2 from 2001 to 2006, when he joined On n'est pas couché for two seasons.From 2011 until 2018, Lemoine was part of the slate of regularguests on Touche pas à mon poste! on France 4 and then D8, when the talk show hosted by Cyril Hanouna switched channels in 2012. He also had a weekly segment called Les Questions en 4/3. In 2015, his segmentbecame a TV special for one prime time.In 2013, he joined Hanouna on his radio programme Les pieds dans le plat broadcast on Europe 1. From 2016 to 2017 and in 2017 respectively, he hosted the game shows GuessMy Age and Couple or Not? on C8, both of which were created by Vivendi Entertainment and have spawned numerous international versions.Lemoine quit C8 in 2018. He has hosted Samedi d'en rire on France 3 since2019. He has also been a regular guest on Les Grosses Têtes since 2019.Passage 3:Robert Simpson (writer)Robert Simpson (1886 - January 7, 1934) was a writer and editor.Early lifeIn 1886, Simpson was born inStrathy, Scotland. Simpson's father was Robert Simpson and his mother was Mary Ann Smith Simpson.CareerIn about 1905, Simpson started working in the palm-oil business, trading with West Africa.In 1907, Simpsonemigrated to the United States. In 1916, Simpson became an editor at the Frank A. Munsey Company.  In 1917, Simpson was promoted to managing editor of The Argosy, and stayed in that role for three years.  He leftin 1920 to become a free-lance writer, and returned to editing in 1925, becoming the editor of Mystery Magazine.Simpson's novels include The Bite of Benin, Swamp Breath, The Grey Charteris, Eight Panes of Glass,and Calvert of Allobar.Personal lifeSimpson was married to Marie A. Simpson, née Socin, and they had a daughter and two sons.Passage 4:Thomas Wykes (MP for Cambridgeshire)Thomas Wykes (died c. 1430), ofStetchworth, Cambridgeshire, was an English politician.He was a Member (MP) of the Parliament of England for Cambridgeshire in March 1416.Passage 5:Robert Simpson (brewer)Robert Simpson was a Canadianbrewer and politician who served as the first mayor of Barrie from 1871 to 1872, and again as its third mayor in 1876. He also founded the Simcoe Steam Brewery, and the 21st-century Robert Simpson BrewingCompany (now The Flying Monkeys Craft Brewery) was named in his honour.Prior to becoming mayor, the head of the governing body for Barrie was known as the reeve of Barrie. Simpson first served as the fifth reevefrom 1858 to 1859, and was succeeded by Thomas David McConkey. Simpson later succeeded the seventh and final reeve, William Davis Ardagh, in 1871, to become Barrie's first mayor.Passage 6:Thomas Wykes(chronicler)Thomas Wykes (11 March 1222 – c. 1292), English chronicler, was a canon regular of Oseney Abbey, near Oxford.He was the author of a chronicle extending from 1066 to 1289, which is printed among themonastic annals edited by Henry Richards Luard for the Rolls Series. He gives an account of the Second Barons' War from a royalist standpoint, and is a severe critic of Montfort's policy. His work regarding the reign ofEdward I is especially useful. His chronicles are connected with the Oseney Annals, which are printed parallel with his work by Luard, but Wykes is an independent authority between 1258 and 1278.Passage 7:Lambertof St-BertinLambert of Saint-Bertin (c. 1060 – 22 June 1125) was a French Benedictine chronicler and abbot.BiographyLambert was born about 1060 of a distinguished family, and, when still young, entered the FrenchBenedictine abbey of St-Bertin. He afterwards visited several famous schools in France, having first laid the foundation of his subsequent learning by the study in his own monastery of grammar, theology and music. Forsome time he filled the office of prior, and in 1095 was chosen abbot at once by the monks of St-Bertin and by the canons of St-Omer. He was thus drawn into closer relations with Cluny, and instituted through theCluniac monks many reforms in his somewhat deteriorated monastery. Needless to say, he encountered no little opposition to his efforts, but, thanks to his extraordinary energy, he finally secured acceptance for hisviews, and rehabilitated the financial position of the monastery. He was a friend of St. Anselm and exchanged verses, still extant, with the poet Reginald of Canterbury (ed. Libermann in \"Neues Archiv der Gesellschaftfur altere Geschichte\", XIII, 1888, pp. 528; 531-34).  He died on 22 June 1125, at St-Bertin.WorksEven during his lifetime, Lambert was lauded in glowing terms for his great learning by an admirer —not a monk ofSt-Bertin— in the \"Tractatus de moribus Lamberti Abbatis S. Beretini\" (ed. Holder-Egger in \"Monumenta German. Histor. SS.\", XV, 2, 946-53). This work mentions several otherwise unknown writings of Lambert, e.g.\"Sermones de Vetere Testamento\", also studies on free will, the Divine prescience, original sin, origin of the soul and questions of physical science.Although the two are often confused, he is not identical with Lambert,the Canon of St. Omer who wrote the famous \"Liber Floridus\", a kind of encyclopedia of Biblical, chronological, astronomical, geographical, theological, philosophical and natural history subjects, which was completed in1120.Sources and references Herbermann, Charles, ed. (1913). \"Lambert of St-Bertin\". Catholic Encyclopedia. New York: Robert Appleton Company.POTTHAST, Bibl. Histor. Medii Aevi. I, 705; Biogr. Nat. De Belgigue,XI (1891), 162-66WATTENBACH, Geschichtsquellen, II (1894), 170 sq. This article incorporates text from a publication now in the public domain: Herbermann, Charles, ed. (1913). \"Lambert of St-Bertin\". CatholicEncyclopedia. New York: Robert Appleton Company.Passage 8:Thomas Wykes (MP)Thomas Wykes may refer to:Thomas Wykes (chronicler) (1222–1291/93), English chroniclerThomas Wykes (MP for Leominster) (fl.1554), MP for LeominsterThomas Wykes (MP for Cambridgeshire) (died c. 1430), MP for CambridgeshirePassage 9:Bobby Simpson (golfer)Robert S. Simpson was a Scottish professional golfer who achieved success inwinning two Western Opens in 1907 and 1911, as well as finishing fourth in the U.S. Open in 1904. Simpson was from Carnoustie, Scotland. He apprenticed under Robert Simpson, a Scottish golf club-maker and golfcourse architect, who was also from Carnoustie and part of a famous golf family of six brothers. The two Simpsons however were not related. Bobby Simpson did apprentice in Scotland as a club-maker under the otherRobert Simpson prior to leaving for the United States to become a golf professional.Professional careerSimpson was part of the \"Scottish Invasion\" of golf professional of the late 1890s and 1900s. He secured positionsat multiple courses in the Midwest including The Country Club of Oconomowoc, Hinsdale Country Club (Chicago, Illinois), Kent Country Club (Grand Rapids, Michigan), Memphis Country Club (Memphis, Tennessee),Kenosha Country Club (Kenosha, Wisconsin), Blue Mound Country Club (Wauwatosa, Wisconsin), Omaha Country Club (Omaha, Nebraska) and many years at Riverside Country Club (Chicago, Illinois). Many of the earlygolf professionals from Scotland earned an income in various ways as greenskeepers, part-time course architects, club-makers, teaching professionals, tournament players and exhibition golf players. His most notablevictories came with victories in the Western Open in 1907 and 1911.1900 U.S. OpenAt the 1900 U.S. Open held at the Chicago Golf Club in Wheaton, Illinois, Simpson carded rounds of 84-84-88-87 for a total of 343and tied for 14th place.1901 U.S. OpenAt the 1901 U.S. Open held at the Myopia Hunt Club in South Hamilton, Massachusetts, Simpson carded rounds of 88-87-87-87 for a total of 349 and again tied for 14thplace.1904 U.S. OpenThe 1904 U.S. Open was held July 8–9, 1904, at the Glen View Club in Golf, Illinois. Scottish professional Willie Anderson won his second consecutive, and third overall, U.S. Open title by fivestrokes over Englishman, Gilbert Nicholls. Simpson carded rounds of 82-82-76-76 for a total of 316 and finished tied in sixth place with Stewart Gardner and Percy Barrett. He won $53 in prize money.1907 WesternOpenSimpson won the 1907 Western Open at the Hinsdale Country Club in Clarendon Hills, Illinois, where he defeated fellow Scotsmen, Willie Anderson and Fred McLeod, by two strokes, in Match Play.1908 WesternOpenAt the 1908 Western Open at the Beverly Country Club Simpson finished third (153) behind Willie Anderson (152) and Stewart Gardner (151), with the lowest round of the tournament (73).1909 U.S. OpenAt the1909 U.S. Open held at the Englewood Golf Club in Englewood, New Jersey, Simpson carded rounds of 84-76-77-84 for a total of 321 and tied for 46th place.1911 Western OpenIn 1911 Simpson won his secondWestern Open at the Kent Country Club, in Grand Rapids, Michigan. He defeated Thomas McNamara, two up and one to play.Passage 10:Robert Simpson (meteorologist)Robert Homer Simpson (November 19, 1912 –December 18, 2014) was an American meteorologist, hurricane specialist, first director of the National Hurricane Research Project (NHRP) from 1955 to 1959, and a former director (1967–1974) of the NationalHurricane Center (NHC). He was the co-developer of the Saffir–Simpson Hurricane Scale with Herbert Saffir. His wife was Joanne Simpson.Early lifeBorn in Corpus Christi, Texas, Robert Simpson survived thedevastating landfall of the 1919 Florida Keys hurricane at age six; one of his family members drowned. Simpson graduated with honors from the Corpus Christi high school in 1929. Fascinated by the weather, he wenton to get a Bachelor of Science degree in physics from Southwestern University in 1933, and a Master of Science degree in physics from Emory University in 1935. Finding no work as a physicist during the GreatDepression, he taught music in Texas high schools.Early careerOn April 16, 1940, he was hired by the United States Weather Bureau. First assigned as a junior observer of meteorology at Brownsville, Texas, he wasthen temporarily assigned to Swan Island. After the Pearl Harbor attack, he was promoted to forecaster at the New Orleans office. As part of a United States Weather Bureau scholarship, he did graduate work at theUniversity of Chicago in 1943 and 1944. After a stint as a hurricane forecaster in Miami under Grady Norton, he was assigned to help create the Army Air Force weather school in Panama. There he had his first flight intoa tropical cyclone. After the war, he persuaded Air Force Hurricane Hunters to allow him to fly along on what he called 'piggy back missions', where he would take scientific observations using the primitiveinstruments.Following VJ day and the dissolution of the weather school, Simpson returned to Miami. He was then assigned to Weather Bureau headquarters, working directly for Dr. Francis Reichelderfer. In 1949Reichelderfer assigned Simpson to Hawaii to be in charge of consolidating the Weather Bureau's Pacific operations. There he founded a weather observation station on Mauna Loa, studied Kona lows, and flew a researchmission into Typhoon Marge aboard a specifically equipped Air Force weather plane. He continually urged Weather Bureau management to fund modest levels of hurricane research, but budgets during the early 1950sdidn't allow this. Then the devastating 1954 Atlantic hurricane season changed the minds of several New England congressmen, and a special appropriation was passed to improve the Weather Bureau's hurricanewarning system. Reichelderfer appointed Bob Simpson to head up the National Hurricane Research Project in 1955.Late careerFor the next four years, Simpson navigated NHRP through the shoals of bureaucraticuncertainty. Once NHRP was assured longevity in 1959, Simpson left the Project to finish his doctorate in meteorology at the University of Chicago, studying under his friend Dr. Herbert Riehl. On completing his degreein 1962, he returned to Washington to become the Weather Bureau's Deputy Director of Research (Severe Storms), where he helped establish the National Severe Storms Project (later to become the National SevereStorms Laboratory). In 1961 he obtained a National Science Foundation grant to study seeding hurricanes with silver iodide. He put together an experiment using NHRP and United States Navy aircraft to seed HurricaneEsther. The encouraging results led the Weather Bureau and the Navy to start Project Stormfury in 1962, with Simpson as Director. He headed up the Project for the next three years, including the seeding of HurricaneBeulah in 1963. He married Joanne Malkus in 1965 and persuaded her to take over as Director of Stormfury for the next two years as he became Director of Operations for the Weather Bureau.In 1967 Simpson becameDeputy Director of the National Hurricane Center. Simpson reorganized NHC, making it separate  from the Miami Weather Bureau office, and established the position of 'hurricane specialist' for NHC's senior forecasters.He directed NHC from 1968 to 1974, during which time he co-developed the Saffir-Simpson Hurricane Scale (SSHS) with Herbert Saffir, established a dedicated satellite unit at NHC, studied neutercanes, and beganissuing advisories on subtropical storms. His controversial remarks to Vice President Spiro Agnew in the wake of Hurricane Camille led to an upgrade of the Air Force and Navy Hurricane Hunter squadrons, andpersuaded NOAA (then ESSA) to improve their hurricane research aircraft.RetirementHe retired from government service in 1974, turning NHC over to his Deputy Director Neil Frank. The Simpsons returned toWashington, where they established a weather consulting firm, Simpson Weather Associates in Charlottesville, Virginia. At this time he became a Certified Consulting Meteorologist.  Both he and his wife joined thefaculty of the University of Virginia in the Environmental Sciences department.  In that capacity, he participated in several international scientific experiments, such as GATE, MONEX, ITEX, and Toga COARE. Heco-authored the book \"The Hurricane and Its Impacts\" with Herbert Riehl, and recently was senior editor and contributing author to \"HURRICANE! Coping with Disaster.\"He was an Honorary Member of the AmericanMeteorological Society (AMS) and a Fellow of the Explorers Club of New York. He is the recipient of Gold Medals from both the U.S. and from France, and of the Cleveland Abbe Award from the AMS. Simpson, whose wifedied in 2010, resided in Washington, D.C. until his death after a stroke on December 18, 2014.BibliographyRobert Simpson, \"Structure of an Immature Hurricane,\" Bulletin of the American Meteorological Society Vol. 35No. 8 (October 1954): 335-350.Robert Simpson, \"Hurricanes,\" Scientific American (1954): 32-37.Robert Simpson, \"Liquid Water in Squall Lines and Hurricanes at air temperatures lower than -40°C,\" Mon. Wea. Rev.(1963): v.91 687-693.Robert Simpson and Joanne Malkus, \"Why Experiment on Tropical Hurricanes?,\" Trans. NY Acad of Sci (1966): v.28 n.8.Robert Simpson and Neal Dorst, Hurricane Pioneer: Memoirs of BobSimpson (2014), Boston: American Meteorological Society. ISBN 978-1-935704-75-1"}
+{"doc_id":"doc_176","qid":"","text":"Passage 1:Prince Hermann of Saxe-Weimar-Eisenach (1886–1964)Prince Hermann of Saxe-Weimar-Eisenach (14 February 1886 – 6 June 1964) was a member of the House of Saxe-Weimar-Eisenach. He was heir to hisrelative William Ernest, Grand Duke of Saxe-Weimar-Eisenach until 1909, when he was disinherited of his royal status. From that point onwards, Hermann was commonly referred to with the lesser style, Graf vonOstheim (Count of Ostheim).Early lifePrince Hermann of Saxe-Weimar-Eisenach was born on 14 February 1886 in Düsseldorf. He was educated by a tutor until deemed old enough to enter the Imperial German Army.He joined the Cuirassiers of the Guard in Berlin, where he was separated from the guidance of his family and tutor, and began to build up a reputation as a spendthrift like his father. He was given $10,000 a year tospend, and he and those he bought items from realized that any debts contracted would eventually be paid by his family, thus increasing the amount Hermann could spend. By the end of the year, Hermann was aquarter of a million dollars in debt, which his family duly paid; he was sent to a small town as a disciplinary measure. He persuaded his family that he was ill, and was able to travel to Paris, racking up more debts alongthe way; one rumor said he sold his mother's jewels en route to France.Heir to Saxe-Weimar-EisenachWilliam Ernest, Grand Duke of Saxe-Weimar-Eisenach remained childless for much of his early life, fuelingspeculation of the succession to his duchy. As a descendant of Charles Augustus, Grand Duke of Saxe-Weimar-Eisenach through a younger son, firstly Hermann and secondly his brother were heir presumptives until thebirth of Charles Augustus, Hereditary Grand Duke of Saxe-Weimar-Eisenach in 1912.Loss of inheritanceA lifelong spendthrift, Prince Hermann was heir presumptive to the duchy of Saxe-Weimar-Eisenach until hisdisinheritance on 2 August 1909. The ducal family forced him to renounce his rights of succession to the Saxe-Weimar-Eisenach throne, as well as his royal status, title and prerogatives, granting him a lesser, nobletitle, Count Ostheim, along with a small allowance on the grounds that he stay out of the duchy. Herman was not the only member of his family to have a bad reputation; his father Prince William as well as their cousinPrince Bernhard were all viewed with displeasure, so much so, that the still-living Prince William had been overlooked concerning the duchy's succession. Hermann had a younger brother, Prince Albert, who took up hisposition as next-in-line to the duchy. Hermann was also driven out of the German army \"for all sorts of unsavory scrapes\", as he was wanted in both England and Austria for debts, and for being a \"common swindler\".His Austrian arrest warrant was issued soon after his younger sister Princess Sophie of Saxe-Weimar-Eisenach was denied permission to enter into a morganatic marriage; she committed suicide soon after, on 18September 1913.In 1921 Count Hermann claimed in a lawsuit with Grand Duke William Ernest that he and his mother were induced by a ruse and told that he would be forcibly expelled from Paris unless he agreed totravel from there to Germany; instead Hermann was confined in an insane asylum. He was only freed after signing documents renouncing all claims to Saxe-Weimar-Eisenach and assuming the style Count Ostheim.Hermann went on to claim that the Grand Duke was guilty of usury, as he was lent certain sums of money to pay off his debts in exchange for renouncing 48,000 marks appanage in favor of William Ernest. During thattime, the German government had been completing negotiations for a settlement on the former royal family (their titles had been abolished in 1918); thus had Hermann not been disinherited, he would have stood toinherit quite a large bit of money.MarriageBefore he became disinherited, Prince Hermann desired to marry Princess Marie Bonaparte, a great heiress; he might have succeeded but for his unsavory reputation. Thoughthere was a chance he would succeed to the Grand Ducal throne, Marie's father disliked Hermann for possessing an \"evil\" reputation, and consequently allowed her instead to marry Prince George of Greece andDenmark. Before her refusal, however, Hermann was able to obtain a great deal of money, as it was assumed he would soon have a great deal of wealth to spend; when it became clear there was to be no marriage, a\"crash\" came. It was these money troubles, along with other problems, that led to his disinheritance.Despite being disinherited, Hermann openly boasted he would travel to the United States in search of a wealthy wife,and then return to Germany and pay off his debts within a year; all this was said while staying in Zurich awaiting funds from his family. Instead, Hermann, now Count Ostheim, morganatically married Wanda PaolaLottero, an Italian stage actress, on 5 September 1909 in London. They visited the United States on several occasions. They were divorced two years later, on 22 June 1911 after Wanda grew tired of supporting himwith her earnings and divorced him on the grounds of financial \"non-support\", \"cruelty\", and \"infidelity\". Wanda later gained notoriety for having a short-lived affair with King Konstantínos I of the Hellenes in 1912.On 4August 1918, Hermann married secondly to Suzanne Aagot Midling at Heidelberg. They had one surviving child before her death on 16 October 1931:Alexander Kyrill Graf von Ostheim (born 7 August 1922); he diedunmarried in Stockholm on 28 March 1943On 16 November 1932, Hermann's engagement with Isabel Neilson, daughter of former British MP and prominent actor and author Francis Neilson, was announced. Hermannand Isabel were married civilly and religiously in Paris on 28 November 1932. A small family luncheon accompanied the wedding; afterwards, the couple honeymooned to Spain and North Africa. They had nochildren.Hermann died in London on 6 June 1964 at the age of 78.AncestryPassage 2:Prince Wilhelm of Saxe-Weimar-EisenachPrince Wilhelm Karl Bernhard Hermann of Saxe-Weimar-Eisenach (21 December 1853 – 15December 1924) was a member of the House of Saxe-Weimar-Eisenach.LifePrince Wilhelm of Saxe-Weimar-Eisenach was born on 21 December 1853 in Stuttgart. He was the eldest son of the Prince Hermann ofSaxe-Weimar-Eisenach and Princess Augusta of Württemberg (1826-1898). Prince Wilhelm also has had his own financial problems, and has been forced by the Grand Duke to live outside Weimar. Wilhelm is heirpresumptive to the throne as the young Grand Duke Wilhelm Ernst is a widower. His wife, Karoline of Reuss died in January 1905.Prince William had a problem with his eldest son. Prince Hermann morganaticallymarried Wanda Paola Lottero on 5 September 1909 in London. Lottero was an Italian stage actress, and due to Hermann's rollicking lifestyle, the ducal family forced him to renounce his rights of succession to theSaxe-Weimar-Eisenach throne, as well as his royal status, title and prerogatives, granting him a lesser, noble title, Count Ostheim, along with a small allowance on the grounds that he stay out of the duchy. PrinceWilhelm also had a bad reputation. His behavior aroused the dissatisfaction of the head of the family. Prince Wilhelm fled to the United States in his youth, served as a riding master, clerk, book agent and even as arestaurant waiter in New York City, but was finally persuaded to return to Germany, marry his second cousin, and live on a small pension from the head of the house.Marriage and familyPrince Wilhelm married GertaPrincess of Ysenburg and Büdingen (1863-1945), daughter of Ferdinand Maximilian I, Prince of Ysenburg and Büdingen (1824-1903) and Auguste Marie Gertrude Princess of Hanau and Horowitz (1829-1887), on 11April 1885 at Wächtersbach, Germany. Augusta Marie Gertrude was daughter of Frederick William, Elector of Hesse. Wilhelm and Gerta had three children:Prince Hermann of Saxe-Weimar-Eisenach (14 February 1886 –6 June 1964)Prince Albrecht of Sachsen-Weimar-Eisenach (23 December 1886 - 9 September 1918), killed in action during World War IPrincess Sophie of Saxe-Weimar-Eisenach (25 July 1888 - 18 September1913)Honours and armsHe received the following orders and decorations: Saxe-Weimar-Eisenach: Grand Cross of the White Falcon, 1853   Ernestine duchies: Grand Cross of the Saxe-Ernestine House Order, 1878Schaumburg-Lippe: Cross of Honour of the House Order of Lippe, 1st Class Siam: Grand Cross of the White Elephant Württemberg: Grand Cross of the Württemberg Crown, 1871AncestryPassage 3:Michael, Prince ofSaxe-Weimar-EisenachMichael, Prince of Saxe-Weimar-Eisenach  (German: Michael Prinz von Sachsen-Weimar-Eisenach; born 15 November 1946) is the current head of the Grand Ducal House ofSaxe-Weimar-Eisenach, as well as the most senior agnate of the entire House of Wettin.Prince of Saxe-Weimar-EisenachPrince Michael was born in Bamberg, Bavaria, the only son of Hereditary Grand Duke CharlesAugustus of Saxe-Weimar-Eisenach and Baroness Elisabeth von Wangenheim-Winterstein (1912–2010). Among his godparents were Queen Juliana of the Netherlands and the Grand Duchess Anastasia of Russiaimposter, Anna Anderson, who was living with his aunt Princess Luise of Saxe-Meiningen.When his father died on 14 October 1988, Prince Michael succeeded him as Head of the House of Saxe-Weimar-Eisenach. On 13February 1991, he inherited the leadership in the House of Saxe-Altenburg, as that line became extinct, and since 23 July 2012 he regards the Albertine royal Saxon line to be extinct. However, Prince Michael has alsostated that he \"[does not] believe in historical carnival\" and that \"Germany should have done it like Austria long ago and abolished all titles.\"In 2004, he withdrew his claim for restitution of numerous properties,archives (partly including those of Schiller and Goethe) as well as priceless artwork in a settlement with the Free State of Thuringia and acquired some forest estates in exchange.Since Prince Michael has no sons, thecurrent heir to the headship of the grand ducal house is his elder (by age) first cousin, Prince Wilhelm Ernst (b. 10 August 1946), whose only son Prince Georg-Constantin (13 April 1977 – 9 June 2018), a banker whowas married but without issue, was killed in a horse riding accident on 9 June 2018 while riding with Jean Christophe Iseux von Pfetten. Therefore, the Grand Ducal House of Saxe-Weimar-Eisenach will most likelybecome extinct in the male line.MarriagesPrince Michael married Renate Henkel (b. Heidelberg, 17 September 1947), daughter of industrialist Konrad Henkel and wife Jutta von Hülsen and sister of Christoph Henkel, ina civil ceremony on 9 June 1970 at Hamburg-Eimsbüttel, and religiously on 4 July 1970 at Linnep bei Breitscheid. The marriage was childless and dissolved by divorce at Düsseldorf on 9 March 1974.He was marriedsecondly to Dagmar Hennings (b. Niederpöcking, 24 June 1948), daughter of Henrich Hennings and wife Margarethe Schacht, in London on 15 November 1980. They have one daughter: Leonie Mercedes Augusta SilvaElisabeth Margarethe of Saxe-Weimar-Eisenach (b. Frankfurt, 30 October 1986). She graduated with her Abitur from high school at Schule Schloss Salem, where she became involved in theatre and hockey and was aStudent Representative (Schulsprecher), between 2001 and 2006, after which she obtained a Bachelor's degree in Media and Cultural Studies from the University of the Arts London from 2007 to 2010. Meanwhile, shewas employed as an Intern Photographer of Contemporary Art for Sotheby's London between January and June 2007, as an Intern for \"BILD\" at Axel Springer SE at Frankfurt and surrounding area in September 2008,as an Intern at \"Tatler\" in April 2009 and then as an Intern for \"Vogue Russia\" in June 2009 both at Condé Nast International, and then again at Axel Springer SE as an Intern at the Editorial Team of \"ICON Welt amSonntag\" at Berlin and surrounding area in September 2009. After graduating, she worked at n-tv The News Channel - Der Nachrichtensender, firstly as an Intern between August and December 2010 and then as a TitleEditor and Reporter between January 2011 and December 2013, both of the Editorial Office \"5th Avenue\", after which she went to Media Group RTL Germany, where she worked firstly as an Editor and Reporter at theRTL \"Punkt 12 VIP\" between January and October 2014 and afterwards as an Editor and Reporter at the RTL \"Capital Studio People\" and Lifestyle Editorial Office at Berlin and surrounding area since November2014.Honours and awardsNongovernmental organizationsSlovakia, Servare et Manere Memorial Medal of Tree of Peace, Special class with rubies, (May 12, 2022).AncestryPassage 4:Princess Amalia ofSaxe-Weimar-EisenachPrincess Amalia of Saxe-Weimar-Eisenach (Amalia Maria da Gloria Augusta; 20 March 1830 – 1 May 1872) was a Dutch princess as the first wife of Prince Henry of the Netherlands, son of kingWilliam II of the Netherlands.LifeFamilyShe was the daughter of Prince Bernhard of Saxe-Weimar-Eisenach and Princess Ida of Saxe-Meiningen.Princess of the NetherlandsShe first met Henry, alongside his brotherAlexander on the island of Madeira in 1847. She married Henry in Weimar on 19 May 1853. They divided their time between Walferdange Castle in Luxembourg, where Henry was stadhouder, and the Soestdijk Palaceduring the summer.The marriage remained childless but was described as a happy one, with Amalia acting as the confidante, support and adviser of Henry, and as an intermediary during family conflicts. She may haveinfluenced Henry's defense of the independent position of Luxemburg during the conflict of 1866–1870.As she had been before her marriage, she had a great interest in charity, which made her popular in Luxemburg. Itwas thanks to her that kindergartens (initiated by Friedrich Fröbel) were introduced into the area.On her death in 1872 she was buried in the Nieuwe Kerk at Delft. In 1876 the city of Luxembourg unveiled a statue ofher in Henry's presence.Passage 5:Ernest Augustus I, Duke of Saxe-Weimar-EisenachErnest Augustus I, Duke of Saxe-Weimar (German: Ernst August I; 19 April 1688 – 19 January 1748), was a duke of Saxe-Weimarand, from 1741, of Saxe-Weimar-Eisenach.BiographyHe was the second but eldest surviving son of Johann Ernst III, Duke of Saxe-Weimar and his first wife Sophie Auguste of Anhalt-Zerbst.When his father died in1707, Ernst August became co-ruler (Mitherr) of Saxe-Weimar, along with his uncle Wilhelm Ernst, but his title was only nominal, since Wilhelm Ernst was the actual ruler of the duchy. Only when Wilhelm Ernst died in1728 did Ernst August begin to exercise true authority over Saxe-Weimar.ExcessesErnst August was a splendor-loving ruler, and his extravagances contributed to the eventual financial ruin of his duchy. Desperately inneed of funds, he resorted to the practice of arresting wealthy subjects without cause, and setting them free only after they had renounced their fortunes to the duke, or had paid exorbitant ransoms. Some of thevictims, who considered this behaviour illegal, made claims against the duke at the Imperial Court in Vienna or in the Imperial Chamber Court of Appeal in Wetzlar. Ernst August lost all the legal proceedings mountedagainst him. The process lasted for many years and eventually led to the duchy's bankruptcy.The duke maintained a standing army that was disproportionately large for the duchy's population or financial resources.Some of the soldiers were rented to the Electorate of Saxony or to the Holy Roman Emperor. Ernst August's mania for building led to the construction of the Kleinode, the small Schloss Belvedere and the Rococo Schlossof Dornburg, a lavish residence for the duke. His passion for the hunt was likewise extravagant; when he died, Ernst August left 1,100 dogs and 373 horses. The duke maintained a standing \"harem,\" in which two noble\"Ladies of Honour\" (Ehrenfräulein) and three \"Chamber Women\" (Kammerfrauen) of low birth attended to his desires.Marriages and childrenIn Nienburg on 24 January 1716, Ernst August married Eleonore Wilhelmineof Anhalt-Köthen, daughter of Emmanuel Lebrecht, Prince of Anhalt-Köthen. They had eight children:William Ernest (b. Weimar, 4 July 1717 – d. Halle, 8 June 1719), Hereditary Prince of Saxe-Weimar.WilhelmineAuguste (b. Weimar, 4 July 1717 – d. Weimar, 9 December 1752), twin of Wilhelm Ernst.John William (b. Weimar, 10 January 1719 – d. Weimar, 6 December 1732), Hereditary Prince of Saxe-Weimar.Charlotte AgnesLeopoldina (b. Weimar, 4 December 1720 – d. Weimar, 15 October 1724).Johanna Eleonore Henriette (b. Weimar, 2 December 1721 – d. Weimar, 17 June 1722).Ernestine Albertine (b. Weimar, 28 December 1722 – d.Alverdissen, 25 November 1769), married on 6 May 1756 to Philipp II, Count of Schaumburg-Lippe.Bernhardina Christina Sophia (b. Weimar, 5 May 1724 – d. Rudolstadt, 5 June 1757), married on 19 November 1744to John Frederick, Prince of Schwarzburg-Rudolstadt.Emmanuel Frederick William Bernard (b. Weimar, 19 December 1725 – d. Weimar, 11 June 1729).After the death of his first wife in 1726, the duke decided to notmarry again, choosing to live quietly with his Ladies of Honor and Chamber Women. But in 1732 the situation changed unexpectedly: his only surviving son, the hereditary prince (Erbprinz) Johann Wilhelm, died. Thismade it necessary for him to find a new wife and sire sons in order to perpetuate the dynasty.In Bayreuth on 7 April 1734, Ernst August married his second wife, Sophie Charlotte of Brandenburg-Bayreuth, daughter ofGeorge Frederick Charles, Margrave of Brandenburg-Bayreuth. They had four children:Charles Augustus Eugen (b. Weimar, 1 January 1735 – d. Weimar, 13 September 1736), Hereditary Prince of Saxe-Weimar.ErnstAugust II Konstantin, Duke of Saxe-Weimar-Eisenach (b. Weimar, 2 June 1737 – d. Weimar, 28 May 1758).Ernestine Auguste Sophie (b. Weimar, 4 January 1740 – d. Hildburghausen, 10 June 1786), married on 1 July1758 to Ernst Frederick III Karl, Duke of Saxe-Hildburghausen.Ernest Adolph Felix (b. and d. Weimar, 23 January 1741 / b. Weimar, 1742 – d. Weimar, 1743) [?].The duke also had an illegitimate son with Friederikevon Marschall:Ernest Frederick (b. 1731 - d. 1810), created Freiherr von Brenn; married to Beate Helene Bormann, his line died out in the male line in 1849.Saxe-Weimar-Eisenach and absolutismIn 1741 the branch ofSaxe-Eisenach-Jena became extinct with the death of Wilhelm Heinrich, Duke of Saxe-Eisenach. As the only surviving kinsman of the late duke, Ernst August inherited his estates; the union between Saxe-Weimar andSaxe-Eisenach-Jena now became permanent. One of the duke's few wise decisions was the institution of primogeniture in Saxe-Weimar (confirmed in 1724 by the Emperor Karl VI); this stopped further land divisions inthe future. From 1741 his new duchy took the name of Saxe-Weimar-Eisenach (Jena was merged by Eisenach), but the union was by this time only personal. The new state consisted of two larger areas around the twoofficial residences in Weimar and Eisenach, which were not connected, and a patch of smaller areas and towns between them.The annexation of Saxe-Eisenach was favorable to the hunt-loving duke; he possessed alarge swath of woods in the Eisenach region, which seemed suitable to him for hunting. He left the Hereditary Prince in Weimar in the Schloss Belvedere, under the guardianship of his Hofmarschall, and movedpermanently to Eisenach. After this, the duke rarely asked for his son, and sent the most unreasonable written instructions from Eisenach to Weimar in order to supervise his son's education. The Hereditary Prince sawhis father for the last time in 1743.Ernst August tried to implement Absolutism in Saxe-Weimar on the French model. The secret Ratskollegium —a consultative organ national formed by nobles— was dissolved. In 1746the citizens of Eisenach presented the duke a memorandum detailing national prerogatives, in which he was denounced for constant offences against traditional rights. The gesture demonstrated that the citizens of theduchy were resisting the introduction of absolutism, thus certain policies that Ernst August had planned could not be completely carried out. The duke's death prevented a terrible controversy between the nationalnobles and the citizens of Eisenach.DeathUpon his death, Ernst August left a financially ruined duchy, and a successor to the throne (Ernst August II) who was still under age.AncestorsPassage 6:Prince Henry of theNetherlands (1820–1879)Prince William Frederick Henry of the Netherlands (Dutch: Willem Frederik Hendrik; 13 June 1820 – 13 January 1879) was the third son of King William II of the Netherlands and his wife, Grand"}
+{"doc_id":"doc_177","qid":"","text":"Passage 1:Come on DangerCome on Danger is a 1942 American Western film directed by Edward Killy. It was a remake of a 1932 Tom Keene film. The story was bought for Holt in June 1941.Plot summaryCastTim Holtas Jack MasonFrances E. Neal as Ann Jordan (as Frances Neal)Ray Whitley as SmokeyLee 'Lasses' White as WhopperKarl Hackett as Ott RamseyMalcolm 'Bud' McTaggart as RussGlenn Strange as Henchman SloanEvelynDockson as Aunt Fanny (as Evlynn Dockson)Davison Clark as Ranger Captain BlakeJohn Elliott as SaundersSlim Whitaker as Sheriff (as 'Slim' Whitaker)Kate Harrington as MaggieHenry Roquemore as JedPassage2:Come On Danger!Come On Danger! is a 1932 Pre-Code Western film, and the first film Tom Keene would make at RKO Studios. It made a profit of $30,000.It was remade in 1942 under the similar title, Come onDanger.PlotJim Madden, a Texas Ranger, is gunned down while investigating the murder of a local rancher. His younger brother, Larry, vows to track down the suspected killer, another rancher named Joan Stanton.While looking into the murders, he stumbles on a battle between Stanton and a group of men working for another rancher, Frank Sanderson. Stanton takes money from Sanderson that she feels is due to her.RescuingStanton from the altercation, he keeps his identity as a Ranger secret, while attempting to learn the truth of what is going on. Through talks with Stanton, Madden learns that Sanderson has been setting her up for boththe murder of the other rancher, and Jim's death.Convinced by Stanton's story, Madden tells Stanton she must turn herself in, and she agrees. Before they can reach the Rangers, they are captured by Sanderson's men.Sanderson plans to kill Madden, and take Stanton to Mexico. With the help of the Rangers' cook, Rusty, as well as several of Stanton's men, Madden overcomes Sanderson and his men, and takes a vindicated Stantonback to the Rangers.Cast(cast list as per AFI database)Tom Keene as Larry MaddenJulie Haydon as Joan StantonRosco Ates as RustyRobert Ellis as Frank SandersonWilliam Scott as Jim MaddenFrank Lackteen asPiuteWade Boteler as TexRoy Stewart as Inspector ClayHarry Tenbrook as BillPassage 3:Sam White (film producer)Sam White (October 16, 1906 – August 8, 2006) was an American film producer, film director andactor.White was born in Los Angeles on October 16, 1906 to parents who had immigrated from Austria and Hungary.  In 1937, he  married  Claretta Ellis, a studio contract dancer.  They were married for 65 years untilher death in 2002.For much of the 1930s, Sam White directed numerous musical sequences in films such as Roberta with Fred Astaire, Ginger Rogers and Irene Dunne; Old Man Rhythm with Betty Grable and BuddyRogers; Top of the Town with George Murphy; and Hooray for Love, with Ann Sothern.During World War II, Sam made six training films for the U.S. Armed forces.  Also in the 1940s, the feature films he produced anddirected included Reveille with Beverly, starring Ann Miller (Frank Sinatra's first film); People Are Funny, starring Jack Haley and Rudy Vallée; The Return of the Vampire, starring Bela Lugosi; The Girl in the Case,starring Edmund Lowe; After Midnight with Boston Blackie, starting Chester Morris; Louisiana Hayride, starring Judy Canova; and Tahiti Nights, starring Jinx Falkenburg for RKO, Columbia, Universal and ParamountStudios.During the next two decades, Sam directed commercials and produced and directed early television series such as Perry Mason, The Outer Limits, Oh! Those Bells, My Friend Flicka, Boston Blackie, PhilipMarlowe, and Big Town, among many others.  In 1969 he produced and directed White Comanche with William Shatner and Joseph Cotten.  He was also a successful businessman with his production facility in PioneerTown and commercial real estate ventures in Los Angeles.Throughout his later years, Sam remained interested in world affairs and traveled extensively as a valued ombudsman for the Directors Guild to cementrelations between foreign and American filmmakers. In 1990, the Directors Guild of America published an oral history entitled The White Brothers which tells the history of the family as well as the history of early moviemaking in Los Angeles.Sam White, one of the famous White Brothers film and television pioneers, died peacefully at his Encino home just short of his 100th birthday.  A retrospective was held in 2003 at the MotionPicture and Television Home where a wall of honor was dedicated to him. His professional memorabilia was positioned alongside those of his renowned brothers, Jack White and Jules White.SelectedfilmographyLouisiana Hayride (1944)Swing Out the Blues  (1944)Kickin' the Crown Around (1933)Passage 4:I Live on DangerI Live on Danger is a 1942 film noir thriller film directed by Sam White and starring ChesterMorris and Jean Parker.PlotJeff Morrell is an ambitious radio reporter. The news of the day is the prison release of gambler Eddie Nelson, who was the fallguy for a criminal named Joey Farr.While exclusively covering aship's fire, Jeff falls for Susan Richards, and knows her to be Eddie's companion. It turns out she's Eddie's sister, not his girl, and Susan resents it when Jeff's reporting gets Eddie arrested and convicted on a newcharge.District Attorney Lamber is in cahoots with the crooks. Farr tries to flee, and is tracked to a Pennsylvania coal mine. Jeff gets there first and manages to broadcast Farr's confession, then barely gets away whenFarr sets off a blast of TNT. Susan loves Jeff for heroically rescuing her brother.CastChester Morris as Jeff MorrellJean Parker as Susan RichardsElisabeth Risdon as Mrs. MorrellEdward Norris as Eddie NelsonDick Purcellas Norm ThompsonRoger Pryor as Bert JanningsDouglas Fowley as Joey FarrRalph Sanford as Angie MossEdwin Maxwell as Wingy KeefePatsy Nash as DillyJoe Cunningham as Inspector ConlonBernadene Hayes asJonesyBilly Nelson as George \"Longshot\" HarrisonVickie Lester as Keefe's secretaryWilliam Bakewell as MacCharlotte Henry as NurseAnna Q. Nilsson as Mrs. ShermanProductionThe film was based on a story called I'll BeBack in a Flash by Alex Gottlieb. He sold it to Pine Thomas Productions in August 1941. They bought it as the second in a three-picture deal Chester Morris had with Pine-Thomas Productions. Lewis Foster was assignedto write the script.Morris' 38-year-old brother Arthur was meant to play a role in the film but died shortly before filming of a brain haemorrhage.Jean Parker signed to make the film as the first in a three-picture deal shehad with Pine Thomas.Filming took place in December 1941. Anna Q. Nilsson had her first role in 13 years.ReceptionThe Los Angeles Times called it \"a pretty good B\".The New York Times said the film showed \"very littlethan what we have already seen.\"Passage 5:Sirak M. SabahatSirak M. Sabahat (Hebrew: \u0000\u0000\u0000\u0000 \u0000. \u0000\u0000\u0000\u0000\u0000; born December 5, 1981) is an Israeli actor. He is known for his role in the film Live andBecome.FilmographyLive and Become (2005)Comme au cinéma (2005)The Children of СССР (2007)Further readingRosen, Steve (2006-12-19). \"\"Inland Empire\" and \"Volver\" Keep Top Spots; \"Live and Become\" OpensBig\". IndieWireBot. Archived from the original on 2007-01-10. Retrieved 2006-12-19.\"The Evening Class: 2006 SFJFF—The Evening Class Interview with Sirak M. Sabahat\". Theeveningclass.blogspot.com. 2006-08-04.Retrieved 2010-08-03.Passage 6:Brian Kennedy (gallery director)Brian Patrick Kennedy (born 5 November 1961) is an Irish-born art museum director who has worked in Ireland and Australia, and now lives and worksin the United States.  He was the director of the Peabody Essex Museum in Salem for 17 months, resigning December 31, 2020. He was the director of the Toledo Museum of Art in Ohio from 2010 to 2019. He was thedirector of the Hood Museum of Art from 2005 to 2010, and the National Gallery of Australia (Canberra) from 1997 to 2004.CareerBrian Kennedy currently lives and works in the United States after leaving Australia in2005 to direct the Hood Museum of Art at Dartmouth College. In October 2010 he became the ninth Director of the Toledo Museum of Art. On 1 July 2019, he succeeded Dan Monroe as the executive director and CEO ofthe Peabody Essex Museum.Early life and career in IrelandKennedy was born in Dublin and attended Clonkeen College. He received B.A. (1982), M.A. (1985) and PhD (1989) degrees from University College-Dublin,where he studied both art history and history.He worked in the Irish Department of Education (1982), the European Commission, Brussels (1983), and in Ireland at the Chester Beatty Library (1983–85), GovernmentPublications Office (1985–86), and Department of Finance (1986–89). He married Mary Fiona Carlin in 1988.He was Assistant Director at the National Gallery of Ireland in Dublin from 1989 to 1997. He was Chair of theIrish Association of Art Historians from 1996 to 1997, and of the Council of Australian Art Museum Directors from 2001 to 2003. In September 1997 he became Director of the National Gallery of Australia.NationalGallery of Australia (NGA)Kennedy expanded the traveling exhibitions and loans program throughout Australia, arranged for several major shows of Australian art abroad, increased the number of exhibitions at themuseum itself and oversaw the development of an extensive multi-media site.  Although he oversaw several years of the museum's highest ever annual visitation, he discontinued the emphasis of his predecessor, BettyChurcher, on showing \"blockbuster\" exhibitions.During his directorship, the NGA gained government support for improving the building and significant private donations and corporate sponsorship. However, the initialdesign for the building proved controversial generating a public dispute with the original architect on moral rights grounds.  As a result, the project was not delivered during Dr Kennedy's tenure, with a significantlyaltered design completed some years later.  Private funding supported two acquisitions of British art, including David Hockney's A Bigger Grand Canyon in 1999, and Lucian Freud's After Cézanne in 2001. Kennedy builton the established collections at the museum by acquiring the Holmgren-Spertus collection of Indonesian textiles; the Kenneth Tyler collection of editioned prints, screens, multiples and unique proofs; and theAustralian Print Workshop Archive. He was also notable for campaigning for the construction of a new \"front\" entrance to the Gallery, facing King Edward Terrace, which was completed in 2010 (see reference to thebuilding project above).Kennedy's cancellation of the \"Sensation exhibition\" (scheduled at the NGA from 2 June 2000 to 13 August 2000) was controversial, and seen by some as censorship. He claimed that the decisionwas due to the exhibition being \"too close to the market\" implying that a national cultural institution cannot exhibit the private collection of a speculative art investor. However, there were other exhibitions at the NGAduring his tenure, which could have raised similar concerns. The exhibition featured the privately owned Young British Artists works belonging to Charles Saatchi and attracted large attendances in London and Brooklyn.Its most controversial work was Chris Ofili's The Holy Virgin Mary, a painting which used elephant dung and was accused of being blasphemous. The then-mayor of New York, Rudolph Giuliani, campaigned against theexhibition, claiming it was \"Catholic-bashing\" and an \"aggressive, vicious, disgusting attack on religion.\" In November 1999, Kennedy cancelled the exhibition and stated that the events in New York had \"obscureddiscussion of the artistic merit of the works of art\". He has said that it \"was the toughest decision of my professional life, so far.\"Kennedy was also repeatedly questioned on his management of a range of issues duringthe Australian Government's Senate Estimates process - particularly on the NGA's occupational health and safety record and concerns about the NGA's twenty-year-old air-conditioning system. The air-conditioning wasfinally renovated in 2003. Kennedy announced in 2002 that he would not seek extension of his contract beyond 2004, accepting a seven-year term as had his two predecessors.He became a joint Irish-Australian citizenin 2003.Toledo Museum of ArtThe Toledo Museum of Art is known for its exceptional collections of European and American paintings and sculpture, glass, antiquities, artist books, Japanese prints and netsuke. Themuseum offers free admission and is recognized for its historical leadership in the field of art education.  During his tenure, Kennedy has focused the museum's art education efforts on visual literacy, which he defines as\"learning to read, understand and write visual language.\"   Initiatives have included baby and toddler tours, specialized training for all staff, docents, volunteers and the launch of a website, www.vislit.org. In November2014, the museum hosted the International Visual Literacy Association (IVLA) conference, the first Museum to do so. Kennedy has been a frequent speaker on the topic, including 2010 and 2013 TEDx talks on visualand sensory literacy.Kennedy has expressed an interest in expanding the museum's collection of contemporary art and art by indigenous peoples. Works by Frank Stella, Sean Scully, Jaume Plensa, Ravinder Reddy andMary Sibande have been acquired.  In addition, the museum has made major acquisitions of Old Master paintings by Frans Hals and Luca Giordano.During his tenure the Toledo Museum of Art has announced the returnof several objects from its collection due to claims the objects were stolen and/or illegally exported prior being sold to the museum.  In 2011 a Meissen sweetmeat stand was returned to Germany followed by anEtruscan Kalpis or water jug to Italy (2013), an Indian sculpture of Ganesha (2014) and an astrological compendium to Germany in 2015.Hood Museum of ArtKennedy became Director of the Hood Museum of Art in July2005. During his tenure, he implemented a series of large and small-scale exhibitions and oversaw the production of more than 20 publications to bring greater public attention to the museum's remarkable collections ofthe arts of America, Europe, Africa, Papua New Guinea and the Polar regions. At 70,000 objects, the Hood has one of the largest collections on any American college of university campus. The exhibition, BlackWomanhood: Images, Icons, and Ideologies of the African Body, toured several US venues. Kennedy increased campus curricular use of works of art, with thousands of objects pulled from storage for classes annually.Numerous acquisitions were made with the museum's generous endowments, and he curated several exhibitions: including Wenda Gu: Forest of Stone Steles: Retranslation and Rewriting Tang Dynasty Poetry, SeanScully: The Art of the Stripe, and Frank Stella: Irregular Polygons.PublicationsKennedy has written or edited a number of books on art, including:Alfred Chester Beatty and Ireland 1950-1968: A study in cultural politics,Glendale Press (1988), ISBN 978-0-907606-49-9Dreams and responsibilities: The state and arts in independent Ireland, Arts Council of Ireland (1990), ISBN 978-0-906627-32-7Jack B Yeats: Jack Butler Yeats,1871-1957 (Lives of Irish Artists), Unipub (October 1991), ISBN 978-0-948524-24-0The Anatomy Lesson: Art and Medicine (with Davis Coakley), National Gallery of Ireland (January 1992), ISBN978-0-903162-65-4Ireland: Art into History (with Raymond Gillespie), Roberts Rinehart Publishers (1994), ISBN 978-1-57098-005-3Irish Painting, Roberts Rinehart Publishers (November 1997),  ISBN978-1-86059-059-7Sean Scully: The Art of the Stripe, Hood Museum of Art (October 2008), ISBN 978-0-944722-34-3Frank Stella: Irregular Polygons, 1965-1966, Hood Museum of Art (October 2010), ISBN978-0-944722-39-8Honors and achievementsKennedy was awarded the Australian Centenary Medal in 2001 for service to Australian Society and its art. He is a trustee and treasurer of the Association of Art MuseumDirectors, a peer reviewer for the American Association of Museums and a member of the International Association of Art Critics. In 2013 he was appointed inaugural eminent professor at the University of Toledo andreceived an honorary doctorate from Lourdes University. Most recently, Kennedy received the 2014 Northwest Region, Ohio Art Education Association award for distinguished educator for art education.== Notes==Passage 7:Peter LevinPeter Levin is an American director of film, television and theatre.CareerSince 1967, Levin has amassed a large number of credits directing episodic television and television films. Some of histelevision series credits include Love Is a Many Splendored Thing, James at 15, The Paper Chase, Family, Starsky & Hutch, Lou Grant, Fame, Cagney & Lacey, Law & Order and Judging Amy.Some of his television filmcredits include Rape and Marriage: The Rideout Case (1980), A Reason to Live (1985), Popeye Doyle (1986), A Killer Among Us (1990), Queen Sized (2008) and among other films. He directed \"Heart in Hiding\", writtenby his wife Audrey Davis Levin, for which she received an Emmy for Best Day Time Special in the 1970s.Prior to becoming a director, Levin worked as an actor in several Broadway productions. He costarred with SusanStrasberg in \"[The Diary of Ann Frank]\" but had to leave the production when he was drafted into the Army. He trained at the Carnegie Mellon University. Eventually becoming a theatre director, he directed productionsat the Long Wharf Theatre and the Pacific Resident Theatre Company. He also co-founded the off-off-Broadway Theatre [the Hardware Poets Playhouse] with his wife Audrey Davis Levin and was also an associate artistof The Interact Theatre Company.Passage 8:Logan SandlerLogan Sandler is an American writer and director who is best known for his first feature film Live Cargo.Early life and educationSandler graduated from SFTVwithin Loyola Marymount University's Film School in 2011 with a B.A. in Film Production, and three years later, while earning an M.F.A. from AFI in Film Directing, he developed his first feature film, Live Cargo. Hedeveloped the script with the late Seth Winston and co-writer Thymaya Payne. In 2015, Sandler was awarded the Institute's Franklin J. Schaffner Fellow Award for his short film, Tracks.CareerSandler's senior thesis, AllIt Will Ever Be premiered at the Bermuda International Film Festival in 2012. Sandler's second short film Tracks screened at various festival around the world, including AFI FEST, Marfa Film Fest, Cambridge FilmFestival, and the Miami International Film Festival. The film won the Lexus Audience Award for Best Short film at the Miami International Film Festival and best actor for Keith Stanfield at the 24 FPS International FilmFestival.Sandler's debut feature film Live Cargo was filmed in the Bahamas, and premiered at the Tribeca Film Festival in 2016. The film stars Dree Hemingway, Keith Stanfield, and Robert Wisdom. In addition to the2016 Tribeca Film Festival, Live Cargo had its European premiere at the Warsaw International Film Festival, then went on to screen at the American Film Festival in Poland, the São Paulo International Film Festival, theDenver Film Festival, the Key West Film Festival, the Torino Film Festival, the Bahamas International Film Festival, and AFI FEST.Sandler has collaborated with Stanfield on music videos, co-directing the group MOORS’single Gas. The music video premiered on Vice’s music channel Noisey.IONCINEMA.com chose Sandler as their IONCINEPHILE of the Month for April 2017, a feature that focuses on an emerging filmmaker from theworld of cinema. When asked about his favorite films of his formative years Sandler said, \"I fell in love with Jean Luc Godard’s Contempt and Weekend. I was blown away by Agnes Varda’s Cleo from 5 to 7. MichelangeloAntonioni’s films really struck a chord with me as well. After seeing L’Avventura and Blowup, I went online and ordered every film of his I could find. The Passenger’s penultimate shot blew me away. I watched that 7minute shot over and over. It’s probably my favorite shot in the history of cinema.\"Critical receptionAngelica Jade Bastien for Roger Ebert wrote of the film, \"In 'Live Cargo,' director/co-writer Logan Sandler strives to tella story that finds poetry in the commonplace by shirking narrative conventions.\"Chuck Wilson for The Village Voice wrote, \"The well-acted Live Cargo, which also features Robert Wisdom and Sam Dillon, is at its bestwhen it observes character acting silently against landscape, as when Nadine goes snorkeling and uses a spear gun to jab at sharks, a juxtaposition of natural beauty and human fury typical of Sandler’s poeticapproach.” Wilson as well called Sandler \"a filmmaker to watch.\"Katie Walsh in her IndieWire review wrote, ”Anchored by a quartet of equally strong and understated performances, LIVE CARGO proves itself to be a"}
+{"doc_id":"doc_178","qid":"","text":"Passage 1:Born into BrothelsBorn into Brothels: Calcutta's Red Light Kids is a 2004 Indian-American documentary film about the children of prostitutes in Sonagachi, Kolkata's red light district. The widely acclaimedfilm, written and directed by Zana Briski and Ross Kauffman, won a string of accolades including the Academy Award for Best Documentary Feature in 2005.PlotBriski, a documentary photographer, went to Kolkata tophotograph prostitutes. While there, she befriended their children and offered to teach the children photography to reciprocate being allowed to photograph their mothers. The children were given cameras so they couldlearn photography and possibly improve their lives. Their photographs depicted a life in the red light district through the eyes of children typically overlooked and sworn off to do chores around the house until they wereable to contribute more substantially to the family welfare.  Much of their work was used in the film, and the filmmakers recorded the classes as well as daily life in the red light district. The children's work was exhibited,and one boy was even sent to a photography conference in Amsterdam. Briski also recorded her efforts to place the children in boarding schools although many of the children did not end up staying very long in theschools they were placed in. Others, such as Avijit and Kochi, not only went on to continue their education but were graded well.AftermathThere is debate about the extent to which the documentary has improved thelives of the children featured in it.The filmmakers claim that the lives of children appearing in Born into Brothels have been transformed by money earned through the sale of photos and a book on them. Ross Kauffman,co-director of the documentary, says that the amount earned is $100,000 (about Rs.4.5 million), which will pay for their tuition and for a school in India for children of prostitutes. Briski has started a non-profitorganization to continue this kind of work in other countries, named Kids with Cameras. A film is being made on the life story of a high-profile trio of call girl sisters, Shaveta, Khushboo and Himani, born in one of thebrothels of Haryana.In November 2006, Kids with Cameras provided an update on many of the children's conditions, asserting that they had entered high schools or universities in India and the United States or foundemployment outside of prostitution. Kids with Cameras continues to work toward improving the lives of children from the Calcutta red light district with the plan to build a Hope House. Updates for 2010 and 2009  werealso published.In 2004, REACT to FILM organized a screening for Born into Brothels  at the SoHo House in Manhattan, NY.  In 2010, the film's director, Zana Briski, joined the advisory board of REACT toFILM.CriticismsThe Durbar Mahila Samanwaya Committee, a prostitutes' organization active in Sonagachi, has criticized the film for presenting the children's parents as abusive and for ignoring the prostitutes' efforts toprovide  education programs and career building activities for their children. In addition, the film has been criticized in India for perceived racist stereotyping, and has also been viewed as exploiting the children for thepurposes of Indophobic propaganda in the West. A review in Frontline, India's national magazine, summarized this criticism, remarking:IF Born Into Brothels were remade as an adventure-thriller in the tradition ofIndiana Jones and the Last Crusade, its posters might read: \"New York film-maker Zana Briski sallies forth among the natives to save souls.Some critics joined the Sonagachi prostitute-advocacy groups in condemningthe film for exploitation of the plight of the prostitutes for profit. Other criticisms were raised about \"ethical and stylistic\" problems, by Partha Banerjee, interpreter between the filmmakers and thechildren.ReceptionCritical responseBorn into Brothels has an approval rating of 95% on review aggregator website Rotten Tomatoes, based on 108 reviews, and an average rating of 7.83/10. The website's criticalconsensus states, \"A powerful and uplifting documentary\". Metacritic assigned the film a weighted average score of 78 out of 100, based on 32 critics, indicating \"generally favorable reviews\".Awards2004 BermudaInternational Film Festival Audience Choice Award - Briski, Kauffman; Documentary Prize - Briski, Kauffman2004 Cleveland International Film Festival Best Film - Briski, Kauffman2004 Full Frame Documentary FilmFestival Audience Award - Briski, Kauffman (tied with Word Wars)2004 International Documentary Association Award for Feature Documentaries - Briski, Kauffman, Geralyn Dreyfous-White, Pamela Boll (tied withFahrenheit 9/11)2004 National Board of Review Award for Best Documentary Feature - Zana Briski and Ross Kauffman2004 Seattle International Film Festival Golden Space Needle Award for Best Documentary - Briski,Kauffman2004 Sundance Film Festival Audience Award, Documentary - Kauffman2005 Academy Award for Best Documentary Feature Briski, Kauffman2005 Raindance Film Festival Closing Night FilmNominations2005Directors Guild of America Award for Outstanding Directorial Achievement in Documentary - Briski, Kauffman2005 Golden Satellite Award for Best Motion Picture, Documentary2004 Los Angeles Film Critics AssociationAwards for Best Documentary/Non-Fiction Film - Kauffman, Briski2004 Sundance Film Festival Grand Jury Prize, Documentary - Kauffman, Briski2013 Calcutta Film Festival (funded by Walt Disney Pictures),Documentary - Spielberg, Steven. Lucas, George. Abrams, J. J.PreservationBorn into Brothels was preserved and restored by the Academy Film Archive and the UCLA Film & Television Archive in conjunction with theSundance Institute from a D5, a DigiBeta, a 35mm print and a Magneto Optical Disk. Restoration funding provided by the Sundance Institute and the Academy of Motion Picture Arts and Sciences. The restoration had itsU.S. West Coast premiere at the UCLA Festival of Preservation in 2022.Passage 2:Antonio Rinaldi (cinematographer)Antonio Rinaldi was an Italian cinematographer and camera operator.  He worked exclusively fordirector Mario Bava on several films, including Planet of the Vampires (1965), Dr. Goldfoot and the Girl Bombs (1966), and Danger: Diabolik (1968).FilmographyPlanet of the Vampires (1965)Knives of the Avenger(1966)Kill, Baby, Kill! (1966)Dr. Goldfoot and the Girl Bombs (1966)Danger: Diabolik (1968)Five Dolls for an August Moon (1970)Roy Colt and Winchester Jack (1970)Four Times That Night (1971)Baron Blood(1972)External linksAntonio Rinaldi at IMDbPassage 3:Hassan ZeeHassan \"Doctor\" Zee is a Pakistani-American film director who was born in Chakwal, Pakistan.Early lifeDoctor Zee grew up in Chakwal, a small village inPunjab, Pakistan. as one of seven brothers and sisters  His father was in the military and this fact required the family to move often to different cities. As a child Zee was forbidden from watching cinema because hisfather believed movies were a bad influence on children.At age 13, Doctor Zee got his start in the world of entertainment at Radio Pakistan where he wrote and produced radio dramas and musical programs.  It wasthen that he realized his passion for storytelling At the age of 26, Doctor Zee earned his medical doctorate degree and did his residency in a burn unit at the Pakistan Institute of Medical Sciences. He cared for womenwho were victims of  \"Bride Burning,\" the archaic practice used as a form of punishment against women who fail to provide sufficient dowry to their in-laws after marriage or fail to provide offspring.  He also witnessedhow his country’s transgender and intersex people, called “hijras”, were banned from having jobs and forced to beg to survive. These experiences inspired Doctor Zee to tackle the issues of women’s empowerment andgender inequality in his films.In 1999, he came to San Francisco to pursue his dream of filmmaking and made San Francisco his homeEducationHe received his early education from Jinnah Public School, Chakwal. He gothis medical doctor degree at Rawalpindi Medical College, Pakistan.Film careerDoctor Zee's first film titled Night of Henna was released in 2005. The theme of the film dealt with \"the conflict between Old World immigrantcustoms and modern Western ways...\" Night of Henna focused on the problems of Pakistani expatriates who found it hard to adjust in American culture. Many often landed themselves in trouble when it came tomarrying off their children.His second film Bicycle Bride came out in 2010, which was about \"the clash between the bonds of family and the weight of tradition.\" His third film House of Temptation that came out in 2014was about a family which struggles against the temptations of the Devil. His fourth film “Good Morning Pakistan”, concerned a young American’s journey back to Pakistan where he confronts the contradictory nature of abeautiful and ancient culture that's marred by economic, educational and gender inequality His upcoming fifth film, \"Ghost in San Francisco\" is a supernatural thriller starring Felissa Rose, Dave Sheridan, and KyleLowder where a soldier comes home from Afghanistan to discover that his wife is having an affair with his best friend. While battling with his inner ghosts and demons, he meets a mysterious woman in San Franciscowho promises him a ritual for his cure.Passage 4:Dr. Goldfoot and the Bikini MachineDr. Goldfoot and the Bikini Machine is a 1965 Pathécolor comedy film directed by Norman Taurog and distributed by AmericanInternational Pictures. Starring Vincent Price, Frankie Avalon, Dwayne Hickman, Susan Hart and Jack Mullaney, and featuring Fred Clark, the film is a parody of the then-popular spy trend (the title is a spoof of twoJames Bond films: the 1962 film Dr. No and the 1964 hit Goldfinger), made using actors from AIP's beach party and Edgar Allan Poe films. The film was retitled Dr G. and the Bikini Machine in England due to athreatened lawsuit from Eon, holder of the rights to the James Bond series.Despite its low production values, the film has achieved a certain cult status for the appearance of horror legend Price and AIP's beach partyfilm alumni, its in-jokes and over-the-top sexuality, the claymation title sequence designed by Art Clokey, and a title song performed by The Supremes. Its success led to a sequel, produced in 1966, entitled Dr.Goldfoot and the Girl Bombs.PlotPrice plays the titular mad scientist who, with the questionable assistance of his resurrected flunky Igor, builds a gang of female robots who are then dispatched to seduce and robwealthy men. Avalon and Hickman play the bumbling heroes who attempt to thwart Goldfoot's scheme. The film's climax is an extended chase through the streets of San Francisco.CastCast notesFrankie Avalon andDwayne Hickman play the same characters they did in the previous year's Ski Party, except that the characters' names were swapped.Annette Funicello makes a brief cameo appearance as a girl locked in medievalstocks in Dr. Goldfoot's lair. Frankie Avalon lifts her head, then looks at the camera and says, \"It can't be!\"  Pregnant with her first child at the time, Funicello was placed in the stocks in order to hide herstomach.Harvey Lembeck also makes a cameo appearance as his Eric Von Zipper character, enchained along with his motorcycle in Goldfoot's lair. Lembeck also appeared as Goldfoot's assistant, Hugo, in the TV specialThe Wild Weird World of Dr. Goldfoot.Among the girls who play Goldfoot's robots are Deanna Lund, three years before joining the cast of Irwin Allen's science fiction series Land of the Giants; China Lee, a formerPlayboy Playmate married to Mort Sahl; Luree Holmes and Laura Nicholson, the daughters of James H. Nicholson; and Alberta Nelson, who was also in all seven of AIP's Beach Party films as a member of Eric VonZipper's motorcycle gang, The Rat Pack.ProductionDevelopmentThe original idea for this motion picture came from James H. Nicholson, the President of American International Pictures, who wanted to showcase theversatile talents of AIP contract player Susan Hart. Nicholson provided the story, and is credited as \"James Hartford\". He hired Robert Kaufman to write the first draft. Director Norman Taurog hired Elwood Ullman to doa rewrite, and Taurog remained intimately involved with the content. Deke Heyward later claimed, without substantiation, that he completely rewrote Robert Kaufman's script.The original title was announced as DrGoldfoot and the Sex Machine, and the film was to be directed by William Asher. Taurog shortly thereafter assumed the helm as director, and Dwayne Hickman joined the cast. Filming began in late summer 1965, withone of AIP's largest-ever budgets. It was the first AIP movie to cost over a million dollars.Vincent Price stated in a 1987 interview with David Del Valle that the original script was a camp musical, comparing it to LittleShop of Horrors. Price stated, \"It could have been fun, but they cut all the music out\", though it is not clear whether the footage was actually shot or the idea was abandoned during production. According to SusanHart:One of the best scenes I've seen on film was Vincent Price singing about the bikini machine – it was excellent. And I was told it was taken out because Sam Arkoff thought that Vincent Price looked too fey. But hischaracter was fey! By taking that particular scene out, I believe they took the explanation and the meat out of that picture... It was a really unique explanatory scene and Vincent Price was beautiful in it, right on themoney.According to Norman Taurog's biographer:The original plan had been to follow the AIP formula and have songs integrated throughout the film, but Norman brought in Elwood Ullman to do a rewrite ... and thefinal script read like a good-natured spoof on the James Bond films with no songs. This apparently disappointed Vincent Price, who had been looking forward to singing.ShootingThe film is notable for its scenicphotography of San Francisco. The streetcar scene was filmed at the West Portal tunnel. Filming went for over 30 days, taking place on location in San Francisco and on the backlots at the Producers Studio andMetro-Goldwyn-Mayer Studios. The day after the company returned from San Francisco, rioting broke out in Watts in South Los Angeles. On August 30, the unit moved to MGM Studios Lot 2 to shoot on their \"New YorkStreet\" set for a couple of days before returning to the Producers Studio.The climactic chase sequence was filmed in the Bay Area. The stuntmen included Carey Loftin, Paul Stader, Troy Melton, Jerry Summers, RonnieRon-dell, Bob Harris, Louis Elias, David Sharpe, Harvey Parry, and Bill Hickman.When designing Goldfoot's lair, Daniel Haller re-used some of his designs from 1961's The Pit and the Pendulum.  Stock footage ofbattleships from another AIP release, Godzilla vs. The Thing appears during the climax.Susan Hart's hair was done by Jon Peters.AccidentDuring filming in Los Angeles, the city was gripped by a heatwave. Sometimestemperatures on one of the sound stages reached over 100 °F (38 °C) by mid-afternoon. On the afternoon of August 15, 1965, the company was returning from lunch when one of the electricians, Roy Hicks, passed outfrom the heat and fell to his death from a catwalk.Theme songThe theme song was recorded by The Supremes as a single-sided unreleased promotional single.ReceptionThe film had its premiere at the Golden GateTheatre in San Francisco, where Nicholson had been a manager. The key cast members embarked on a 30-day tour of 18 cities in 13 countries to promote the film.Box officeAccording to Norman Taurog's biographer,the film \"was a moderate success in the United States, but did quite well in Europe, particularly in Italy\".Critical responseThe Los Angeles Times said the film \"has enough fresh, amusing gags to make it entertaining...Price is splendid\".SequelAIP Television produced a musical TV special episode promoting Doctor Goldfoot and the Bikini Machine that appeared for one night in temporary place of the ABC scheduled show Shindig! Thisshow, called The Wild Weird World of Dr. Goldfoot, starred Vincent Price, Tommy Kirk and Susan Hart, and featured many songs that may have been cut from the cinema release. Louis M. Heyward and Stanley Rosswrote the 30-minute short comedy musical TV special which aired Nov 18, 1965 on the ABC network.In July 1965, a sequel was announced to be made the following year called Dr. Goldfoot for President, to beginfilming on May 14, 1966, for a September 14 release. Vincent Price returned for the 1966 sequel, Dr. Goldfoot and the Girl Bombs, directed by Mario Bava.See alsoList of American films of 1965Passage 5:ZanaBriskiZana Briski (born 25 October 1966) is a British photographer and filmmaker, best known for Born into Brothels, the 2004 Oscar winner of the Academy Award for Best Documentary Feature, which she directed.She founded Kids with Cameras, a non-profit organization that teaches the art of photography to marginalized children in communities throughout the world. Her interest in photography began at age 10.After earning amaster's degree at the University of Cambridge, she studied documentary photography at International Center of Photography in New York. In 1995, she made her first trip to India, producing a story on femaleinfanticide. In 1997, Briski returned to India and began her project on the prostitutes of Calcutta's red-light district, which led to her work with the children of prostitutes.Her latest project Reverence is an experientialmultimedia exhibit about transformation. Inspired by dreams of a praying mantis, she was led around the world to collaborate with living insects, taking their portraits in photographs and film. \"My work is a tribute toinsects, to their intelligence, personality and elegant beauty,\" she says. The project raised initial funds through the crowdsourcing site Kickstarter in 2010.Briski has won numerous awards and fellowships including theOpen Society Institute Fellowship, the Alicia Patterson Journalism Fellowship in 2000 to research and photograph in the Brothels of India, a New York Foundation for the Arts Fellowship, the Howard Chapnick Grant and1st Prize in 1999 in the World Press Photo foundation competition in the category \"Daily Life stories\". Briski and co-director Ross Kauffman were awarded grants from the Sundance Institute, the Jerome Foundation, andthe New York State Council on the Arts for Born into Brothels.Passage 6:Dr VictorVictor Khojane, better known as Dr Victor or Dr Vic, is a reggae and R&B musician, who was born in Kimberley, SouthAfrica.CareerKhojane began playing when he was a student, in a band called CC Beat, mainly influenced by afropop stars such as Blondie and Papa, Harare Mambo Band and Jonathan Butler, as well as someAfro-American acts (mainly the Jackson Five). In 1984, CC Beat began playing nightclubs in Johannesburg; at the time, they managed to sign with label CCP Records (an affiliate of EMI), but the contract was laterdismissed. Another label, Dephon Records, put them under contract shortly thereafter. CC Beat changed their name to 'Taxi' and did sessions for Lucky Dube and other bands.In 1991, the band changed label again,signing for independent label CSR. They recorded their first album, an Eddy Grant tribute entitled The Rasta Rebels. This work was highly successful, to the point that they decided to change the name of the band toRasta Rebels. At about the same time, Khojane adopted the pseudonym Dr Victor.Dr Victor then recorded a few solo albums, such as Badayo, Hello Afrika, and One Goal, One Wish. All these works were quite successfulin South Africa, and Dr Victor was invited to open for international stars such as Paul Simon, Gloria Estefan and Janet Jackson. In 1997, Dr Victor's album Faya was his first work to get international attention, selling wellin France, Mexico, Japan and the Middle East.At the end of the 1990s, Dr Victor reunited the Rasta Rebels, and a collection, The Best of the Rasta Rebels with one unreleased track, \"I Love to Truck\", was released. Boththe collection and the new song, published as a single, sold well. In the following years, Dr Victor has alternated solo productions (such as Sunshine Daze in 2003 and If You Wanna Be Happy in 2004) and Rasta Rebelsalbums (When Somebody Loves You Back, 2006).DiscographyThe Rasta Rebels (1991)BadayoHello AfrikaFaya (1997)The Best of the Rasta Rebels (raccolta)Stress (2000)Sunshine Daze (2003)If You Wanna Be Happy(2004)When Somebody Loves You Back (2006), ElectromodePassage 7:Micheline BernardiniMicheline Bernardini (born 1 December 1927) is a French former nude dancer at the Casino de Paris who agreed to model, on5 July 1946, Louis Réard's two-piece swimsuit, which he called the bikini, named four days after the first test of an American nuclear weapon at the Bikini Atoll.Réard's bikiniDesigner Louis Réard could not find a runway"}
+{"doc_id":"doc_179","qid":"","text":"Passage 1:Battle for BrooklynBattle for Brooklyn is a 2011 documentary that follows the stories of a Brooklyn neighborhood as the residents fight to save their homes from being destroyed by an impending real estateproject. The film attempts to show the unjust outcomes that are possible when moneyed interests partner up with government entities to outweigh the rights of citizens.Film contentSet in the years between 2003 and2011, the story follows graphic designer Daniel Goldstein, the last defiantly remaining homeowner in his building, as he battles Bruce Ratner's Forest City real estate company and their plans to complete the AtlanticYards Project in the Prospect Heights neighborhood of Brooklyn. The massive building project – according to the filmmakers, the densest real estate development in U.S. history – required the procurement of 22 acres ofland, and would bring a sports complex to house the New Jersey Nets along with 16 high-rise buildings to the heart of Brooklyn. Initially tasked with filling the behemoth 22 acre complex was architect Frank Gehry, whoNPR calls \"American architecture's prince of wasted space\". The film documents that the land was obtained by the developers through various means including the controversial declaration of the buildings in the area as\"blighted\", and the utilization of eminent domain to seize land from businesses and homeowners in the proposed project area.Director Michael Galinsky explained that it was their intention to create an immersiveexperience devoid of excessive commentary by \"talking heads\" in order to allow the viewer some latitude to experience the events of the film for themselves.  The result of this immersive experience after 7 years offilming can be seen as a character study of Daniel Goldstein – in the background of the story of the formation of Develop Don't Destroy Brooklyn and the fight against the development, Goldstein, through the course ofthe filming, experiences personal triumphs and great sadness, including the death of his mother, the breakup with his fiancée, the formation of a new relationship, and the birth of his child. The film documents his\"evolution from a bewildered property owner to sophisticated spokesman and property rights activist.\"The formation of the community activism group Develop Don't Destroy Brooklyn (DDDB) with the help of NYCCouncilmember Letitia James helped bring Goldstein's cause into the public eye, quickly gaining the support of Brooklyn-based actors like Steve Buscemi, Rosie Perez and John Turturro, and conservative columnistGeorge Will.ProductionThe film, which was shortlisted for an Academy Award in 2012 for the 84th Academy Awards, was produced and directed by Michael Galinsky and Suki Hawley. Hawley and Galinsky beganproduction in 2003, when they came across a flyer explaining the protest. Galinsky started shooting the very same afternoon. The film's importance extends beyond Goldstein's fight against the abuse of eminentdomain, Galinsky describes the film as being \"really about the people retaking narratives from the media which is faltering ... in these situations.\"  The film received its initial financing from the New York-basednon-profit Moving Picture Institute.In a 2011 interview, Galinsky described the events that led to the start of filming:I saw an article in the paper that said, \"A development project is coming to Brooklyn. Hooray!\" Ithought, \"This seems a little bit weird.\" I knew the area it was coming to. It seemed it was impossible. It's in the middle of playgrounds and neighborhoods. My daughter went to daycare a block from there. So, when Isaw a flyer saying, \"stop the project,\" I immediately picked it up, called the number on the flyer, and the woman who answered was Patti Hagan, who I could tell right away was an interesting character. So I startedshooting that afternoon. That was eight years ago.On April 30, 2011, Battle for Brooklyn premiered in Toronto at the HotDocs Film Festival.Critical receptionAndrew O'Hehir of Salon says of the film's appeal, \"No doubt\"Battle for Brooklyn\" will be of most interest to New Yorkers, and particularly to people who live or work in the city's most populous borough. But the film's basic situation — local residents and community activists vs.the development schemes of major politicians and big business — is an archetypal element of urban life, one that can be found in almost any city, large or small, from Maine to California.\"S. James Snyder of Time OutNew York writes, \"Nothing propels a documentary like injustice, and Michael Galinsky and Suki Hawley's infuriating chronicle of an outer-borough David-versus-Goliath saga plays like a marathon of inequity.\"GaryGoldstein of the Los Angeles Times said that although the film is \"not exactly even-handed, the movie proves a deft look at a reluctant crusader and how financial sway and political override can so effectively trump thepower of the average citizen.\"Awards and recognition2011 Best Documentary & Best Film – Brooklyn Film FestivalNew York Times Critics' PickFilm Festivals2011 Chicago Underground Film Festival2011 Rooftop FilmsSummer Series2011 Brooklyn Film Festival (United States Premiere)2011 HotDocs (World Premiere)Passage 2:List of artists from BrooklynBrooklyn is the most populous borough of New York City, New York. Manyartists have originated from Brooklyn or have relocated there.Brooklyn-based fine artistsPaintersRuth Abrams (1912 – 12 March 1986) – New York School painter who was born in Brooklyn. As a painter, she belonged tothe New York School. After her death, a critic from The New York Times remarked that she was \"a woman unfairly neglected in a macho era.\" Her papers are held at the Yeshiva University Museum and the SmithsonianArchives of American Art.Alexander Brook (July 14, 1898 – February 26, 1980) – American artist and critic who was born in Brooklyn. During his twenties, Brooks painted still lifes and posed figures with vigor andsensuality. He later began to emulate the style of Jules Pascin. From 1924 to 1927 he was the assistant director of Whitney Studio Club. His realist painting was exhibited widely and he won multiple awards. GeorgiaJungle won the Carnegie Prize at the Carnegie International art exhibition. Unfortunately for Brook, the realist style fell out of favor late in the 1940s.Marion Greenwood (April 6, 1909 – August 20, 1970) – painter andengraver who had lived in Brooklyn.Breuk Iversen (born July 25, 1964) – lived in Williamsburg, Brooklyn and is the founding member of the art collaborative known as \"Offalists\", using common refuse as a medium.NellChoate Jones (1879–1981) – artist who had lived in Brooklyn Jones was awarded an honorary doctorate by the State University of New York in 1972 and received the Distinguished Citizen Award from the BrooklynMuseum of Art in 1979. She exhibited regularly across North America in the 1940s and 1950s as well as overseas in France, Holland, Belgium, Switzerland, Greece, and Japan. Her work can be found in many museums,including the High Museum of Art in Atlanta, Georgia and the Morris Museum of Art in Augusta, Georgia.Tim Okamura (born 1968) – painter based in Brooklyn Okamura is known for his depiction of African-Americanand minority subjects in urban settings, and his combination of graffiti and realism. His work has been featured in several major motion pictures and in London's National Portrait Gallery. He was also one of severalartists to be shortlisted in 2006 for a proposed portrait of Queen Elizabeth of England.Michael Anthony Pegues (born May 11, 1962) – artist and designer, born and raised in Brooklyn. Self-taught, modern-day Fauve,Expressionist as well as Pop artist, contemporary of Andy Warhol, Jean-Michel Basquiat, Keith Haring, his work is strongly influenced by Hip Hop and Graffiti.David Salle (born September 28, 1952) – painter and leadingcontemporary figurative artist, Salle helped define postmodern sensibility. His paintings and prints comprise what appear to be randomly juxtaposed images, or images placed on top of one other with deliberatelyham-fisted techniques.Walter Satterlee (January 18, 1844 – May 28, 1908) – American figure and genre painter who was born in Brooklyn. He was a member of the American Water Color Society and of the New YorkEtching Club, and was an excellent teacher. Satterlee died in Brooklyn in 1908.Susan Sills – drawings and portraits.Danny Simmons (born August 17, 1953) – abstract-expressionist painter who was a Brooklyn residentin 2009 Simmons is the co-founder and Chairman of Rush Philanthropic Arts Foundation (since 1995), which provides disadvantaged urban youth with arts access and education. Simmons also founded Rush Arts Galleryand soon thereafter converted part of his loft in Brooklyn into the Corridor Gallery. Both galleries provide exhibition opportunities to early and mid-career artists who do not have commercial representation throughgalleries or private dealers.Andrea Zittel (born September 6, 1965) – installation artist who has lived in Brooklyn Zittel produced her first \"Living Unit\"—an experimental structure intended to reduce everythingnecessary for living into a simple, compact system—as a means of facilitating basic activities within her 200-square-foot (19 m2) Brooklyn storefront apartment.Photographers and video artistsStephen Shames (born1968) – photographer who was living in Brooklyn in 2008Ka-Man Tse – photographer, video artist, and educator based in Brooklyn.See alsoList of people from BrooklynLists of artists by nationalityPassage 3:Battle forRomeBattle for Rome may refer to:The title under which the series Ancient Rome: The Rise and Fall of an Empire was transmitted on the Discovery ChannelOne of the alternative names for what is now more commonlyreferred to as the Battle of Monte CassinoSee alsoCapture of Rome (1870) by the Kingdom of SardiniaBattle of Rome (disambiguation)Siege of Rome (disambiguation)Sack of Rome (disambiguation)Fall of Rome(disambiguation)Battle (disambiguation)Rome (disambiguation)Passage 4:Battle for EarthBattle for Earth may refer to:Alien invasionTransformers: Battle for Earth, a book in the Transformers franchise.MarvelAvengers: Battle for Earth, a 2012 motion-controlled fighting video game.Planet of the Apemen: Battle for Earth, a 2011 BBC documentary.Maelstrom: The Battle for Earth Begins, a 2007 real-time strategygame.Godzilla vs. Mothra, or Godzilla and Mothra: The Battle for Earth, a 1992 Japanese kaiju film.Battle for Terra, a 2007 animated science fiction film.Battle for Earth (Wing Commander), a fictional event in the WingCommander novel series.Passage 5:John Nelson PartridgeJohn Nelson Partridge (1838 – April 8, 1920)  was the Police Commissioner for Brooklyn and Fire Commissioner for Brooklyn in the 1880s before the merger intoNew York City. He was the New York Superintendent of Public Works, and the New York City Police Commissioner from 1902 to 1903.BiographyHe was born in 1838 In Leicester, Massachusetts. From 1886 to 1887 hewas president of the Brooklyn City and Newtown Railroad.He was the New York City Police Commissioner from 1902 to 1903. During his tenure he wanted to move the New York City police headquarters from MulberryStreet to Times Square.In 1906 he married Charlotte Held.They then moved to Westport, Connecticut. He died on April 8, 1920, in Westport, Connecticut.Passage 6:CrimebusterCrimebuster or crime busters orvariation, may refer to:ComicsCrimebuster (Boy Comics), alter-ego of Chuck Chandler, fictional boy hero of the 1940s-1950sCrimebuster (Marvel Comics)Crimebusters (DC Comics), a short-lived team appearing inWatchmenFilmsThe Crimebusters, a 1961 crime filmCrimebusters (film), a 1976 crime filmCrime Busters, a 1977 action-comedy filmCrimebuster: A Son's Search for His Father (2012 film) award-winning documentaryfilm by Lou DematteisTelevisionCrime Buster (television series), 1968 UK television series\"Crimebusters\" (1989 TV episode), season 4 number 12 episode 62 of Perfect Strangers\"Crimebusters\" (1992 TV episode),season 5 number 2 episode 56 of ChuckleVision\"Crimebusters\" (2009 TV episode), season 19 number 13 episode 434 of Law & Order,Other uses\"CRIME BUSTER\", cover art for the Evil Empire (1996) albumcoverCrimebusters, fictional characters from Mighty Mouse: The New AdventuresCrimebusters FC, a soccer team from Eugu, Nigeria; from the Nigeria Nationwide LeagueThe American series of The ThreeInvestigators#Crimebusters (1989–1990)See alsoAll pages with titles containing crime bustersAll pages with titles containing crime busterAll pages with titles containing crimebustersAll pages with titles containingcrimebusterCrime Busters x 2, a 2008 Singaporean Chinese dramaCrimebusters + Crossed Wires: Stories from This American Life, a compilation albumBuster (disambiguation)Crime (disambiguation)LawenforcementPassage 7:1908 in organized crime== Events ==A gang war breaks out between Paul Kelly's Five Points Gang and \"Kid Twist\" Max Zwerbach's Eastman Gang.By the end of the year Johnny Torrio's twodozen Brooklyn brothels earn over $5,000 a week.Frankie Yale is allowed to join Johnny Torrio's Black Hand organization in New York.Hymie Weiss is first arrested for burglary. It is this incident that, while caughtrobbing a perfume store, he is dubbed the \"Perfume Burglar\" by Chicago reporters.Joseph Petrosino arrests Neapolitan camorrista Enrico Costabili, who is later deported to Italy.Sicilian mafiosi Raffaele Palizzolo, wantedfor murder, escapes Sicily and  arrives in New York. He later leaves the city before Joseph Petrosino can arrest him.Then 17-year-old Salvatore Sabella, future boss of the Philadelphia crime family, is sentenced to threeyears imprisonment in Milan for the murder of a local butcher, of which he was an apprentice, in 1905.April 25 – Frank Costello is arrested for assault and robbery but is released.May 14 – Eastman Gang leader MaxZwerbach and lieutenant Vach Lewis are killed in an ambush by members of the Five Points Gang after an argument between Zwerbach and Louis Pioggi over Coney Island dance hall girl Carrol Terry.July 23 – Laborracketeer Cornelius Shea is sentenced to six months in prison for abandoning his wife and two young children.BirthsErnest Rupolo, Genovese crime family assassinMarch 17 – Raymond L. S. Patriarca, boss of thePatriarca crime familyMay 24 – Sam (Salvatore) Giancana, boss of the Chicago OutfitJune 30 – Samuel \"Teets\" Battaglia, member of the Chicago OutfitSeptember 6 – Anthony Joseph Biase, leader of the Omaha factionof the National Crime SyndicateOctober 7 – Harry \"Happy\" Maione, Murder, Inc. hitmanDeathsMay 14 – Max Zwerbach, leader of New York City's Eastman GangMay 14 – Vach Lewis, Eastman Gang lieutenantPassage8:Crime in the StreetsCrime in the Streets is a 1956 film about juvenile delinquency, directed by Don Siegel and based on a television play written by Reginald Rose. The play first appeared on the Elgin Hour and wasdirected by Sidney Lumet.The film, starring James Whitmore and John Cassavetes, also featured actor Sal Mineo, who had previously appeared in Rebel Without A Cause.  From his role in Crime in the Streets, Mineoearned a Hollywood nickname, \"The Switchblade Kid.\" Malcolm Atterbury, Virginia Gregg and future director Mark Rydell had prominent roles.Siegel adapted the play to a film by expanding some sequences but keepingmuch of the same cast.  His credited dialogue coach on the film was Sam Peckinpah.PlotAfter a rumble between New York City street gangs, the Hornets and Dukes, a youth is taken captive and threatened with a zipgun by Lenny Daniels, one of the Hornets. The act is witnessed by a neighbor, McAllister, who tells the cops.Lenny is arrested and sentenced to a year in jail. Hornets leader Frankie Dane decides to get even. Seeminglyincorrigible, 18-year-old Frankie resists all efforts to get through to him by social worker Ben Wagner or his worried mother, who was abandoned by Frankie's father when he was eight.Frankie threatens McAllister, whoisn't afraid of Frankie. McAllister even slaps him, then walks away. An angry Frankie then enlists friends Lou Macklin and Angelo \"Baby\" Gioia to assist in killing McAllister, which frightens Frankie's 10-year-old brotherRichie, who overhears the plotting.Baby is slapped by his father who orders, then pleads, with him to stop hanging out with the no-good Frankie. An effort is made by Wagner to understand the boys rather than beangry with them, and Richie tells him of Frankie's plans to commit a murder. Wagner talks to Frankie, seemingly to no avail. The three conspirators go to bed, to later use as their alibi, and wait until the agreed upontime to act. McAllister is trapped in an alley at 1:30 in the morning by the three. Richie stops his brother just-in-time, but ends up with a knife held to his throat by angry Frankie, while McAllister and other two run off,as the intended victim yells for help.Wagner appears due to the commotion, and watches as Frankie finally comes to his senses and lets his brother go. He is then accompanied by Wagner to the approachingpolice.CastJames Whitmore as Ben WagnerJohn Cassavetes as Frankie DaneSal Mineo as Angelo \"Baby\" GioiaVirginia Gregg as Mrs. DaneMalcolm Atterbury as McAllisterMark Rydell as Lou MacklinDenise Alexander asMaria GioiaPeter J. Votrian as Richie DaneHome mediaWarner Bros. released the film on DVD on July 13, 2010, in its Film Noir Classic Collection, Vol. 5.Passage 9:The Wrong DoyleThe Wrong Doyle is a mystery crimenovel by Robert Girardi.Plot summaryTim Doyle returns to the Eastern Shore of Virginia after the death of his Uncle Buck.  He meets the keeper of Uncle Buck's inheritance, Maggie Peach."}
+{"doc_id":"doc_180","qid":"","text":"Passage 1:I Believe in Miracles (film)I Believe in Miracles is a 2015 film directed by Jonny Owen.PlotThe film tells the story of football club Nottingham Forest's rise, under Brian Clough and Peter Taylor, to becomingEnglish champions in 1978 and European champions in 1979 and 1980. The film features documentary footage of matches and interviews with many of the former Forest players who played at the time.The film'ssoundtrack includes funk and soul music from the 1970s, including the song from which its title is based, featuring versions from The Jackson Sisters and Mark Capanni.A book of the same name to accompany therelease of the film was written by Daniel Taylor, chief football writer of The Guardian.Passage 2:Saturday Night at the Movies (disambiguation)Saturday Night at the Movies was a Canadian weekly television series.Saturday Night at the Movies may also refer to:NBC Saturday Night at the Movies, an American weekly prime time network television series\"Saturday Night at the Movies\" (song), a song by The Drifters, released in1964, written by Barry Mann and Cynthia WeilSaturday Night at the Movies (album), a 2017 album by Joe McElderrySaturday Night at the Movies, a 2013 album by The OvertonesPassage 3:A Month of Sundays (2015film)A Month of Sundays is a 2015 film starring Anthony LaPaglia.PlotReal estate agent Frank Mollard won't admit it, but he can't move on. Divorced but still attached, he can't sell a house in a property boom - muchless connect with his teenage son. One night Frank gets a phone call from his mother. Nothing out of the ordinary. Apart from the fact that she died a year ago.Thus blossoms a charming and unusual friendship with anelderly woman which inspires Frank to reconnect with life.CastAnthony LaPaglia as Frank MollardJulia Blake as SarahJohn Clarke as Phillip LangWayne Anthoney as Noel LangJustine Clarke as Wendy McKinnonTerenceCrawford as StuartGary Sweet as Gary SweetReceptionOn Rotten Tomatoes, the film has an approval rating of 63% based on reviews from 19 critics.Luke Buckmaster of The Guardian wrote \"Situations, subplots andeven barely seen characters are unified with an almost cosmic sense of fate.\" David Nusair of Reel Film Reviews wrote \"One can only hope that this marks a temporary stumble for an otherwise talented filmmaker.\" PaulByrnes in the Sydney Morning Herald said \"A Month of Sundays is a small miracle of a film – an odd combination of modesty and ambition.\"Passage 4:Manhattan AngelManhattan Angel is a 1949 American comedymusical film directed by Arthur Dreifuss and starring Gloria Jean, Patricia Barry and Thurston Hall.It was originally called Sweetheart of the Blues. It was made after I Surrender Dear.PlotGloria Cole and Eddie Swensonare working to keep an old house, now being used as a youth center, from being razed to make room for a new skyscraper in Manhattan. Gloria enters a friend in a beauty contest with a $25,000 first prize and, aftersome iffy-maneuvering, her friend wins the contest and the money goes to preserving the youth center.CastGloria Jean as Gloria ColeRoss Ford as Eddie SwensonPatricia Barry as Maggie Graham (as PatriciaWhite)Thurston Hall as Everett H. BurtonAlice Tyrrell as Queenie WaltersBenny Baker as Aloysius DuffRussell Hicks as J.C. RaylandFay Baker as Vi LangdonJimmy Lloyd as ElmerToni Harper as ToniThe SweetheartChoristers as SingersSee alsoList of American films of 1949Passage 5:Amy (2015 film)Amy is a 2015 British documentary film directed by Asif Kapadia and produced by James Gay-Rees. The film covers Britishsinger-songwriter Amy Winehouse's life and her struggle with substance abuse, both before and after her career blossomed, and which eventually caused her death. In February 2015, a teaser trailer based on the life ofWinehouse debuted at a pre-Grammys event. David Joseph, CEO of Universal Music UK, announced that the documentary titled Amy would be released later that year. He further stated: \"About two years ago wedecided to make a movie about her—her career and her life. It's a very complicated and tender movie. It tackles lots of things about family and media, fame, addiction, but most importantly, it captures the very heart ofwhat she was about, which is an amazing person and a true musical genius.\"Amy premiered at the 2015 Cannes Film Festival, being shown in the Midnight Screenings section. Distributed by the Altitude and A24, it wasreleased theatrically on 3 July 2015. The film received critical acclaim, garnering 33 nominations and winning a total of 30 awards, including Best Documentary at the 28th European Film Awards, Best Documentary atthe 69th British Academy Film Awards, Best Music Film at the 58th Grammy Awards and the Best Documentary Feature at the 88th Academy Awards. The success of Amy and the music of its soundtrack also ledWinehouse to her second posthumous nomination at the 2016 BRIT Awards for British Female Solo Artist.SynopsisThe film narrative is focused on the life of singer-songwriter Amy Winehouse, who was found dead on 23July 2011 from alcohol poisoning, at the age of 27 at her home in Camden, North London.The film starts with a 1998 home movie depicting a 14-year-old Winehouse singing along with her long-time friend, JulietteAshby, at the birthday party of their mutual friend, Lauren Gilbert, at a home in Southgate, London. The rest of the documentary shows the songwriter's life, in a chronological order from her early childhood, to hermusic career, which attained commercial success through her debut album, Frank (2003), and second, final album Back to Black (2006), to her troubled relationships, self-harm, bulimia, the controversial mediaattention, and her downfall with her drug and alcohol addiction, all until her death in 2011. Winehouse is featured throughout the film talking about her early influences and how she felt about fame, love, depression,family and her music career.Kapadia conducted more than 100 interviews with Winehouse's friends and family that combine to provide a narrative around the star's life and is billed as \"the singer in her own words.\" Thefilm shows extensive unseen footage and unheard tracks Winehouse had recorded in the years before she died. Unheard tracks featured in the film are either rare live sessions, such as \"Stronger Than Me\", \"In My Bed\",\"What Is It About Men?\" and Donny Hathaway's \"We're Still Friends\", a cover of Johnny Mercer's \"Moon River\" from when Winehouse attended the National Youth Jazz Orchestra at the age of 16 in 2000 or never-beforeheard songs the star wrote, such as \"Detachment\" and \"You Always Hurt The Ones You Love\".There are various pieces of extensive, unseen archive footage of Winehouse, such as when she is video-recorded in a cabwith friend Tyler James in January 2001 and driving to tours and on her long-term friend, Lauren Gilbert's holiday tape in Majorca, Spain in August 2005. The film also shows various interviews, such as with JonathanRoss, Tim Kash, and a funny video of when Winehouse is interviewed and talked to about singer Dido in 2004, when she promoted her debut album. The documentary also includes when Winehouse performed live fromLondon on the Grammy Awards in 2008, and won the award for \"Record of the Year\".The film also features footage from when she was filmed with her ex-husband Blake Fielder-Civil, various performances, and whenshe auditioned at Island Records in February 2003, singing \"I Heard Love Is Blind\". Also included is footage from when she was recording her second album in March 2006 and a duet single, \"Body and Soul\", with TonyBennett in March 2011 as her last recording before her death. Some outtakes are also featured of her last shambolic performance in Belgrade, Serbia, a month before she died. The film concludes with long-term friendJuliette Ashby talking about her last phone call with Winehouse, footage of Winehouse's body being taken out of her home after her death, and Bennett stating: \"Life teaches you really how to live it, if you live longenough.\" It then shows scenes from three days later of footage from Winehouse's funeral at Edgwarebury Cemetery and Golders Green Crematorium in North London. Closing clips end the film with videos of Winehousefrom her early years until her death, with Antonio Pinto's composition, \"Amy Forever\".ContributorsThe following heavily contributed in the documentary through archive footage andrecorded interviews:ProductionIn2012, Universal Music first approached film producer James Gay-Rees if the team behind the documentary film about Ayrton Senna would be interested in creating a project on Amy Winehouse.On 25 April 2013, it wasconfirmed and announced that the team behind the documentary film Senna (2010), including director Asif Kapadia and Universal Music, were making a film about the late singer-songwriter. It was revealed that thefilm would be very similar to Senna, and that unseen footage of Winehouse would be shown. Kapadia and Gay-Rees stated: \"Everyone fell under her spell. But tragically, Amy seemed to fall apart under the relentlessmedia attention, her troubled relationships, her global success and precarious lifestyle.\" They introduced the project at the 2013 Cannes Film Festival, and it was said the documentary film would be released in2015.MusicThe documentary features various unheard tracks Winehouse had completed from when her career began in 2003 until her death. The film includes live sessions, such as: \"There Is No Greater Love\",\"Stronger Than Me\", \"In My Bed\", \"Rehab\" and \"What Is It About Men\", covers of Johnny Mercer's \"Moon River\" from when Winehouse was 16 at the National Youth Jazz Orchestra in 2000 and Donny Hathaway's \"We'reStill Friends\" and never-before heard songs the star wrote, such as \"Detachment\" and the lyrics to \"You Always Hurt The Ones You Love\", combined with Pinto's composition \"Amy Lives\". Winehouse is recorded in March2006 when she is recording her 2007 single \"Back to Black\" and there are also cuts and edits of her well-known tracks, which helps unveil every piece of footage in the film.SoundtrackOn 8 October 2015, Island Recordsannounced that the soundtrack for the film would be released on 30 October 2015. The soundtrack includes various tracks that were included in the documentary; including classic tracks from Winehouse andcompositions that were featured in the film by composer Antonio Pinto. The soundtrack was later released for the second time on vinyl in the United Kingdom and Ireland on 1 April 2016.The twenty-three track albumincludes well-known tracks by Winehouse, such as \"Stronger Than Me\", \"Tears Dry on Their Own\", and \"Back to Black\", live sessions of \"What Is It About Men\", \"Rehab\", \"We're Still Friends\", and \"Love Is a LosingGame\", demo tracks; \"Some Unholy War\" and \"Like Smoke\"; a cover of The Zutons' \"Valerie\" performed by Winehouse and Mark Ronson and a 2011 version of \"Body and Soul\" performed by Winehouse and TonyBennett. The soundtrack is also the second posthumous compilation album of Winehouse's music.The commercial success and music behind the film earned Winehouse her second posthumous nomination at the 2016BRIT Awards for \"British Female Solo Artist\", won by singer Adele and the film won a Grammy Award for \"Best Music Film\" at the 2016 Grammy Awards. This was the ninth indication of Amy's career to this award andthe third posthumous. In December 2016, the nominations for the 2017 Grammy Awards were announced, and Amy was nominated for Grammy Award for Best Compilation Soundtrack for Visual Media.ReleaseAmy wasreleased on 3 July 2015 in the United Kingdom, New York, and Los Angeles and worldwide on 10 July.The film had its world premiere at the midnight screenings section at the 2015 Cannes Film Festival on 16 May 2015.Musicians such as HAIM, Leona Lewis, and Emeli Sandé were in attendance and gathered for the event, as well as the film crew. The film received its UK premiere at the Edinburgh International Film Festival in June2015.The film received a special screening in cinemas around the United Kingdom on 30 June, which was broadcast live from the London GALA Premiere at the Picturehouse. The screening provided questions from thepublic on Facebook, Twitter and from the audience. The film director Asif Kapadia, producer James Gay-Rees, and friend Nick Shymansky answered them and concluded with a tribute to Winehouse with her 2007 musicvideo \"Love Is a Losing Game\".MarketingOn 8 February 2015, a teaser trailer of Amy debuted at the pre-Grammy event in the build-up to the 2015 Grammy Awards. A teaser theatrical poster for the documentary filmwas released on 18 March 2015 on Twitter, and the first trailer was released on 2 April 2015, with receiving more than two million views Altitude Film's channel on YouTube. Footage from the teaser trailer showsWinehouse as a young woman at the beginning of her music career answering questions about how she sees herself as an artist and how she felt about fame.Various official teaser clips from the film were released onYouTube to the buildup and throughout the documentary's release in July by Altitude Film and A24, including clips of Winehouse talking about how she felt about depression, how she thinks she would have handled famefrom her early years, when she was recording her album Back to Black with her record producer Mark Ronson in March 2006 and when she was videotaped singing the \"Happy Birthday\" song at the fourteenth birthdayparty of her friend, Lauren Gilbert, in 1998 which received over one million views after 48 hours. In May 2015, the first teaser clip from the film was released. The short clip features a candid moment of Winehousemessing around with the camera and singing, while Nick Shymanksy, a member of her management team, recalls the beginning of her songwriting process; the video concludes with an unheard track Winehouse hadrecorded, \"Detachment\", which was arranged to be on her album Back To Black (2006).On 18 May 2015, the official theatrical poster was released on the film's Twitter page. On 20 May 2015, the first official full-lengthtrailer was released by Altitude Film. The trailer features the song \"Back To Black\", which was released in 2007. The video shows footage of Winehouse from her childhood to her early interviews, the rigorous mediaattention from the paparazzi, performances, various award winnings, her troubled relationship with her husband Blake Fielder-Civil and her statement of how she felt about him: \"I fell in love with someone I would diefor\". The trailer also contains voices from people Winehouse knew and how they felt about her, such as Tony Bennett and Mos Def. The video concludes with \"Love Is a Losing Game\" with footage of Winehouse, variousfive star reviews, and Winehouse saying: \"I don't think I'm going to be at all famous\", and, \"I'm not a girl trying to be a star... I'm just a girl that sings\". The trailer received more than one million views after 24 hourson A24's channel on YouTube. After the film's release, a second official trailer was released that captures the controversial fame of Winehouse's celebrity lifestyle and how she struggled with it throughout her career. On16 September 2015, another unseen clip was released of Winehouse videoed messing around with friend Nicky Shymansky in New York City in 2004, after the release of Frank (2003).Home mediaOn 16 September2015, it was announced by Universal Music that Amy would be released on DVD/Blu-ray and digital download on 2 November 2015 in the United Kingdom and Ireland. It was released in the United States on 1 December2015. The two-disc package includes the film feature along with special features; such as a selection of previously unseen footage of Winehouse, as well as rare performances at Metropolis Studios, the film trailers andthe making of the documentary. In November 2015, a special limited edition box set of Amy was released only in France, in which provides the film feature DVD, as well as a special booklet, a film poster, a selection ofAmy Winehouse photographs and a T-shirt themed on the film.ReceptionBox officeAmy has broken the UK box office record for the highest opening weekend of a British documentary film, grossing at £519,000 from 133cinemas three days after its release on 3 July. It also enjoyed success in the US, earning £142,000 from just six cinemas before it expanded in the following weeks. The film scored a $37,002 site average in the US inthree days. The film opened with $222,015 across six sites, with a location average of $37,002 – $10,000 more than Fahrenheit 9/11 (2004) managed on its first weekend and even beating March of the Penguins(2005) 's $44,373 and the film has increased its box office peak after its initial release nationally on 10 July.Critical responseAmy received critical acclaim. On Rotten Tomatoes, the film has a 95% rating based on 222reviews, with an average rating of 8.40/10. The site's consensus reads, \"As riveting as it is sad, Amy is a powerfully honest look at the twisted relationship between art and celebrity—and the lethal spiral of addiction.\"Metacritic reports an 85 out of 100 rating based on 41 critics, indicating \"universal acclaim\".Robbie Collin from The Telegraph rated the film as four out of five stars and praised the fact that \"Amy Winehouse's gloriousrise and heartbreaking fall is movingly documented by the director of Senna. Guy Lodge from Variety stated that: \"The rise and devastating fall of the gifted British soul singer is chronicled in this deeply felt doc from'Senna' director Asif Kapadia.\" Heat and Stylist both also rated the film five out of five, describing the film as \"brilliant\" and \"unmissable\". Peter Bradshaw from The Guardian gave the film five out of five, describing it as\"a tragic masterpiece\", and saying, \"This documentary about the late British soul singer is an overwhelmingly sad, intimate—and dismaying—study of a woman whose talent and charisma helped turn her into a target\".Geoffrey Macnab from The Independent also rated the documentary five out of five, reviewed it as \"brilliant\" and \"unutterably sad\", and stated: \"There were many, many contributory factors to Amy Winehouse going offthe rails, which are explored in the effect of Amy\". According to The Guardian, Amy has been placed at no. 3 out of \"The 50 Best Films of 2015 in Australia\" at the end of the year and has been placed at no. 6 out of \"The50 Best 2015  Films in the UK\".Family's responseThe film has been heavily criticised by Winehouse's father, Mitch Winehouse. He has distanced himself from the documentary, stating the film is \"misleading\" and\"contains some basic untruths\", according to his spokesman. On 7 May 2015, Winehouse's father Mitch appeared on This Morning and described the film as \"preposterous\". He further stated:\"The film is representing mein a not very good way. There is no balance, there's nothing about the foundation. It's portraying me and Amy in not a very good light.\"However, he also said that the film contains \"superb\" and \"beautiful\" footage ofWinehouse. He then added: \"Half of me wants to say don't go see it.  But then the other part of me is saying maybe go see the videos, put your headphones in and listen to Amy's music while they're watching thevideos.  It's the narrative that's the problem.\"Universal Music instigated the documentary but they only secured the cooperation of the singer's parents, Mitch and Janis Winehouse, when they signed up Kapadia as thedirector for the film. Winehouse's father, who was a fan of the director's previous documentary film Senna (2010), wanted the same treatment to be given to his late daughter's documentary. However, upon watchingthe completed film about Winehouse, Mitch was unhappy with how the film portrayed him. Feeling he had been portrayed as the villain, Mitch threatened legal action until limited changes were made to the film.However, he has still publicly condemned the final cut of the film, claiming that Kapadia had an agenda to make him the anti-hero from the start.Mitch requested that he wants the film to be further edited, but the filmcrew have declined his wish, adding: \"When we were approached to make the film, we came on board with the full backing of the Winehouse family, and we approached the project with total objectivity.\" They said thefilm reflects findings from around \"100 interviews with people that knew Amy\". On 3 July 2015 (the day Amy was initially released), the singer's father, Mitch appeared on Loose Women to defend his place against thefilm and announced that he and Winehouse's former boyfriend, Reg Traviss, are making an alternative film, entitled A Letter To Amy, so it's a \"more accurate\" project, to \"correct all the wrongs and omissions\" that werein Kapadia's film. On 24 February 2016, Winehouse's father, Mitch reappeared on This Morning once again and stated that he would prefer Adele to win the award that his late daughter was posthumously nominated for"}
+{"doc_id":"doc_181","qid":"","text":"Passage 1:Joshua SinclairJoshua Sinclair (born May 7, 1953) is an American writer, producer, actor and director born in New York City.FilmographyPassage 2:Claude WeiszClaude Weisz is a French film director born inParis.FilmographyFeature filmsUne saison dans la vie d'Emmanuel (1972) with Germaine Montéro, Lucien Raimbourg, Florence Giorgetti, Jean-François Delacour, Hélène Darche, Manuel Pinto, etc.Festival de Cannes1973 - Quinzaine des réalisateursJury Prize: Festival Jeune Cinéma 1973La Chanson du mal aimé (1981) with Rufus, Daniel Mesguich, Christine Boisson, Věra Galatíková, Mark Burns, Philippe Clévenot, DominiquePinon, Madelon Violla, Paloma Matta, Béatrice Bruno, Catherine Belkhodja, Véronique Leblanc, Philippe Avron, Albert Delpy, etc.Festival de Cannes 1982 - Perspectives du cinéma françaisCompetition selections:Valencia, Valladolid, Istanbul, MontréalOn l'appelait... le Roi Laid (1987) with Yilmaz Güney (mockumentary)Valencia Festival 1988 - Grand Prix for documentaries \"Laurel Wreath\"Competition selections: Rotterdam,Valladolid, Strasbourg, Nyon, Cannes, Lyon, CairoPaula et Paulette, ma mère (2005) Documentary - Straight to DVDShort and mid-lengthLa Grande Grève (1963 - Co-directed CAS collective, IDHEC)L'Inconnue (1966 -with Paloma Matta and Gérard Blain - Prix CNC Hyères, Sidney)Un village au QuébecMontréalDeux aspects du Canada (1969)La Hongrie, vers quel socialisme ? (1975 - Nominated for best documentary - Césars1976)Tibor Déry, portrait d'un écrivain hongrois (1977)L'huître boudeuseAncienne maison Godin ou le familistère de Guise (1977)Passementiers et RubaniersLe quinzième moisC'était la dernière année de ma vie (1984- FIPRESCI Prize- Festival Oberhausen 1985 - Nomination - Césars 1986)Nous aimons tant le cinéma (Film of the European year of cinema - Delphes 1988)Participation jusqu'en 1978 à la réalisation de films\"militants\"TelevisionSeries of seven dramas in GermanNumerous documentary and docu-soap type films (TVS CNDP)Initiation à la vie économique (TV series - RTS promotion)Contemplatives... et femmes (TF1 -1976)Suzel Sabatier (FR3)Un autre Or Noir (FR3)Vivre en GéorgiePortrait d'une génération pour l'an 2000 (France 5 - 2000)Femmes de peine, femmes de coeur (FR3 - 2003)Television documentariesLa porte de Sarpest ouverte (1998)Une histoire balbynienne (2002)Tamara, une vie de Moscou à Port-au-Prince (unfinished)Hana et Khaman (unfinished)En compagnie d'Albert Memmi (unfinished)Le Lucernaire, une passion dethéâtreLes quatre saisons de la Taillade ou une ferme l'autreHistoire du peuple kurde (in development)Les kurdes de Bourg-Lastic (2008)Réalisation de films institutionnels et industrielsPassage 3:Day of the PainterDayof the Painter is a 1960 American short film directed by Robert P. Davis. It was filmed at Mamaroneck Harbor in Mamaroneck, NY.Plot and critical responseTime magazine:An extremely funny 15-minute film, may betaken as a solemn leg-pull of the recent vogue for dribble-and-splotch painters, those athletic canvas-coverers whose style owes less to Van Gogh's brush technique than to Stan Laurel's custard pie stance.  Or it maybe taken as an explicit set of instructions for getting rich.The film, a first-time effort by three ex-admen, begins with a loving shot of wharfs, fishing shacks and sounding sea-the sort of vista once sketched avidly byartists and now appreciated chiefly by retired couples who tour Cape Cod in late September.  The artist is a burly fellow (Ezra Reuben Baker), recognizably aesthetic in paint-smeared dungarees, scurrilous red sweaterand combat boots.  He trundles a cart filled with paint buckets along a dock, then throws an enormous sheet of wallboard down on a mud flat ten feet below.Soberly, with exquisite skill, using first a vigorous forehand,then a precisely executed backhand, the painter slops color from buckets.  Clearly he is a master, for his stroke with the long-handled hoe is sure and strong, his touch with the dribble-stick more than Japanese in itsdelicacy.  And when he fills a flare pistol with paint and fires the last accent of orange at his abstraction, he does not pull the trigger.  He squeezes.When the thing dries, he hacks it up in random rectangles with a powersaw, then carefully signs each fragment.  A seaplane, labeled \"Galerie des Abstracts, Paris-New York,\" touches down.  A man debarks whose rich, dark overcoat obviously proclaims him an art dealer.  He strokes his jawas he examines the paintings, eventually selects a small one, shakes hands with the painter and takes off.  Pleased with himself, the painter matter-of-factly shoves the remaining works of art into the ocean.  This, asthe screen truly proclaims, is the end.New York Herald Tribune:A hilarious good - natured spoof of abstract-expressionist painting has been made the subject of a colored film-short called \"Day of the Painter.\".........Without sound or sub-titles (except for a delightful musical score somewhat reminiscent of that which accompanied the Alex Guinness film, \"The Horse's Mouth\") the film begins with the artist's awakening in acrumbling shack on a rickety pier reaching out over a picturesque stream.  His \"Wall Street Journal\" is delivered by boat, and, having ascertained that his investments are doing well, he loads a wheelbarrow withassorted cans of paint, long sticks, and a spray gun, has two helpers carry his enormous blank canvas, and sets off to his muddy \"studio\" by the side of the stream.  All day long he flings, scatters, shoots, pushes paintall over his canvas and himself.  The picture grows, and, actually, turns out to be quite handsome-in the Jackson Pollock manner, of course, but attractive for all it imitativeness.  Sea gulls and swans waddle by, theirexpressions rather suggesting that of critics.At last the painter is finished, carefully studies his work-and then proceeds to cut the enormous canvas up into pieces.At the end of the day a small seaplane comes by, docksalongside the pier, while the passenger-pilot, looking like any 57th St. dealer you care to name, surveys the day's work.  He examines carefully, he ponders, and he finally selects one small segment of the canvas,places it in the plane, and takes off.The painter takes all the other pieces, tosses them into the stream, and they float away with the gulls and swans, not unlike the unforgettable Gulley Jimson, in \"The Horse's Mouth,\"floating gallantly out to sea in his battered tugboat.Audiences, apparently, are enjoying the film-except for a group the other night who were plainly pro-abstract-expressionism, and hissed when the rest of the houseapplauded.  None of it was ill-natured, however, probably because the abstract-expressionism picture being kidded looks so agreeable.AwardsDay of the Painter won an Oscar at the 33rd Academy Awards in 1961 forBest Short Subject.Passage 4:Jacques DécombeJacques Décombe is a French author, actor and director born in 1953.BiographyAfter he studied at the Conservatoire national d'art dramatique, he was the director of theshows of Les Inconnus at the request of Didier Bourdon and won the Molière Award for best comedy show. (See fr:Molière du meilleur spectacle comique) in 1991. He also directed shows by Charlotte de Turckheim,Chevallier et Laspalès, Patrick Timsit, Les Chevaliers du fiel...Passage 5:Robert P. DavisRobert P. Davis (October 8, 1929 – November 7, 2005) was an American author, screenwriter, and film director whose works areprimarily centered on aviation.His 1960 short film, Day of the Painter, won an Academy Award in 1961 for Best Short Subject.Davis's 1976 novel The Pilot, about an alcohol-abusing airline captain, served as the sourcematerial for his screenplay for the motion picture of the same title, released in 1980, in which Cliff Robertson acted out the lead role and which Robertson also directed.Movies and TVDay of the Painter (short film)(1960)The Pilot (1980)Final Descent (TV) (1997), based on The Glass CockpitBooksThe Pilot (New York: Morrow, 1976)Cat Five (New York: Pocket Books, 1977)Control Tower (New York: Putnam's, 1980)The GlassCockpit (1991)Passage 6:Yolonda RossYolonda Ross is an American actress, writer and director.Life and careerRoss was born and raised in Omaha, Nebraska. She began her acting career in New York, appearing in theepisodes of television series New York Undercover and Third Watch. Before landing the leading role in the independent drama film, Stranger Inside (2001). The movie produced by HBO, first premiered on television, butRoss was nominated for an Independent Spirit Award for Best Debut Performance. She later had supporting roles in a number of independent productions and guest-starred on Law & Order and Law & Order: CriminalIntent, and in 2011 had a recurring role of HBO's Treme.Ross co-starred alongside LisaGay Hamilton in the critically acclaimed 2013 independent drama film, Go for Sisters. She received Independent Spirit Award forBest Supporting Female nomination for her performance in film. She later was cast opposite Viola Davis in Lila & Eve. In 2015, Ross played Robyn Crawford, the friend, assistant, and reported girlfriend of WhitneyHouston, in the Lifetime movie, Whitney directed by Angela Bassett.In 2017, Ross had a recurring role opposite Viola Davis in the ABC legal thriller How to Get Away with Murder. The following year she was cast in aseries regular role in the Showtime drama series, The Chi.FilmographyFilm and TV MoviesTelevisionAwards and nominationsPassage 7:Kurt LandKurt Landesberger (19 February 1913, Vienna, Austria – 13 July 1997New York City) was an Austrian born Argentine film director of the 1950s and 1960s.Born in Vienna, Land moved to Argentina in the 1930s and began as a film editor, editing for some 20 films in the 1940s. However, bythe early 1950s he became interested in directing and directed a number of popular Argentine films in the 1950s such as the 1955 film Adiós problemas starring Enrique Muiño and the 1957 picture Alfonsina whichstarred actress Amelia Bence. He also worked regularly with classic Argentine actress Olga Zubarry.He directed his last film in 1970 in Buenos Aires. He died in New York City in 1997.Selected filmographyEditorMadameBovary (1947)Stella (1943) Credited as Kurt Land.La casta Susana (1944) Credited as Kurt Land.Villa Rica del Espíritu Santo (1945) Credited as Kurt Land.Lauracha (1946) Credited as Kurt Land.ProducerSeven Women(1944)DirectorHoy canto para ti (1950)¡Qué hermanita! (1951)Vuelva el primero (1952)Como yo no hay dos (1952)Asunto terminado (1953)Mercado negro (1953)La telaraña (1954)Los problemas de papá (1954)Adiósproblemas (1955)La Delatora (1955)Bacará (1955)Surcos en el mar (1956)Estrellas de Buenos Aires (1956)Alfonsina  (1957)Dos basuras  (1958)Evangelina (1959)El asalto  (1960)La Culpa  (1969)El sátiro  (1970)ElHombre del año  (1970)External linksKurt Land at IMDbPassage 8:Sepideh FarsiSepideh Farsi (Persian: \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000; born 1965) is an Iranian director.Early yearsFarsi left Iran in 1984 and went to Paris tostudy mathematics.  However, eventually she was drawn to the visual arts and initially experimented in photography before making her first short films. A main theme of her works is identity. She still visits Tehran eachyear.Awards/RecognitionFarsi was a Member of the Jury of the Locarno International Film Festival in Best First Feature in 2009. She won the FIPRESCI Prize (2002), Cinéma du Réel and Traces de Vie prize (2001) for\"Homi D. Sethna, filmmaker\" and Best documentary prize in Festival dei Popoli (2007) for \"HARAT\".Recent NewsOne of her latest films is called Tehran Bedoune Mojavez (Tehran Without Permission).  The 83-minutedocumentary shows life in Iran's crowded capital city of Tehran, facing international sanctions over its nuclear ambitions and experiencing civil unrest.  It was shot entirely with a Nokia camera phone because of thegovernment restrictions over shooting a film.  The film shows various aspects of city life including following women at the hairdressers talking of the latest fads, young men speaking of drugs, prostitution and othersocietal problems, and the Iranian rapper “Hichkas”.  The  dialogue is in Persian with English and Arabic subtitles. In December 2009, Tehran Without Permission was shown at the Dubai International FilmFestival.FilmographyRed Rose (2014)Cloudy Greece (2013)Zire Âb / The house under the water (2010)Tehran bedoune mojavez / Tehran without permission (2009)If it were Icarus (2008)Harat (2007)Negah / TheGaze (2006)Khab-e khak / Dreams of Dust (2003)Safar-e Maryam / The journey of Maryam (2002)Mardan-e Atash / Men of Fire (2001)Homi D. Sethna, filmmaker (2000)Donya khaneye man ast / The world is myhome (1999)Khabe Âb / Water dreams (1997)Bâd-e shomal / Northwind (1993)Passage 9:Fred Roy KrugFred R. Krug is an American film and television producer-director born in Bern, Switzerland.Passage 10:DosbasurasDos basuras is a 1958 Argentine film. This black and white production was directed by Kurt Land and the script by Jose Maria Fernandez, Alfredo Unsain Ruanova, José María Fernández Unsain. It premiered onMay 2, 1958, and starred Amelia Bence, Luis Prendes, Naomi Laserre and Luis Tasca as protagonists.SynopsisA prostitute and Cloaquista try to put their lives together but a former wife complicates the relationship.Cast"}
+{"doc_id":"doc_182","qid":"","text":"Passage 1:Y asíAustria participated in the Eurovision Song Contest 2005 with the song \"Y así\" written by Christof Spörk and Edi Köhldorfer. The song was performed by the group Global Kryner. The Austrian broadcasterÖsterreichischer Rundfunk (ORF) organised the national final Song.Null.Fünf in order to select the Austrian entry for the 2005 contest in Kyiv, Ukraine. Five artists and ten songs competed in a televised show where apublic vote consisting of regional televoting and mobile phone voting exclusively selected \"Y así\" performed by Global Kryner as the winner.Austria competed in the semi-final of the Eurovision Song Contest, which tookplace on 19 May 2005. Performing as the opening entry for the show in position 1, \"Y así\" was not announced among the top 10 entries of the semi-final and therefore did not qualify to compete in the final. It was laterrevealed that Austria placed twenty-first out of the 25 participating countries in the semi-final with 30 points.BackgroundPrior to the 2005 contest, Austria has participated in the Eurovision Song Contest forty-one timessince its first entry in 1957. The nation has won the contest on one occasion: in 1966 with the song \"Merci, Chérie\" performed by Udo Jürgens. Following the introduction of semi-finals for the 2004 contest, Austria hasfeatured in only one final. Austria's least successful result has been last place, which they have achieved on seven occasions, most recently in 1991. Austria has also received nul points on three occasions: in 1962, 1988and 1991.The Austrian national broadcaster, Österreichischer Rundfunk (ORF), broadcasts the event within Austria and organises the selection process for the nation's entry. ORF confirmed their intentions to participateat the 2005 Eurovision Song Contest on 17 September 2004. From 1995 to 2000, ORF has held an internal selection to choose the artist and song to represent Austria at the contest, while the broadcaster had set upnational finals with several artists to choose both the song and performer to compete at Eurovision for Austria from 2002 to 2004. Along with their participation confirmation, the broadcaster also announced that theAustrian entry for the 2005 contest would be selected through a national final.Before EurovisionSong.Null.FünfSong.Null.Fünf (Song.Zero.Five) was the national final that selected Austria's entry for the Eurovision SongContest 2005. The competition took place on 25 February 2005 at the ORF Center in Vienna, hosted by Mirjam Weichselbraun and Christian Clerici and broadcast on ORF eins. The national final was watched by 630,000viewers in Austria.FormatFive artists with two songs each competed in the competition where the winner was selected by exclusively by public voting. Viewers were able to cast their votes via landline and the votingresults of each of the nine Federal States of Austria created an overall ranking from which points from 1-8, 10 and 12 were distributed. Viewers were also able to vote from mobiles via telephone or SMS and the overallranking of the entries was also assigned scores from 1-8, 10 and 12. After the combination of all scores, the entry with the highest number of points was selected as the winner.Competing entriesORF invited allinterested artists with a contract to a record company to apply to the broadcaster between 17 September 2004 and 30 September 2004. All applications were reviewed by a team of music professionals who nominatedfour artists to each submit two songs for the national final. On 20 October 2004, DJ Ötzi revealed that he had initially been selected for the competition but later withdrew after issues with creating his two candidateEurovision songs. An additional artist was nominated by the talent scout organisation Projekt Pop after an additional submission period was opened for interested artists without a contract to a record company to submittwo songs to the organisation between 4 November 2004 and 25 November 2004. The five artists and songs were revealed on 5 January 2005 and among the competing artists was former Austrian Eurovisionrepresentative Alf Poier who represented Austria in the Eurovision Song Contest 2003.FinalThe televised final took place on 25 February 2005. Each of the five artists competed with two songs where regional televotingand mobile phone voting selected \"Y así\" performed by Global Kryner as the winner.ControversyThe national final caused controversy due to the format that was amended shortly before the show (the original formatwas to include two rounds of public voting where one song per artist would be selected in the first round to advance to the second round). When the results were published, 80% of the 337,179 votes registered weresubmitted via mobiles but distributed just as many points as each federal state did. It was also revealed that \"Good Old Europe Is Dying\" performed by Alf Poier received the most overall votes (45,000 votes more than\"Y así\") but placed second due to the voting system. Poier's manager René Berto stated: \"We prefer to be the moral winner rather than winning a cheap victory. Global Kryner did not win because of the fans, butbecause of ORF's last-minute change of the voting system.\"At EurovisionAccording to Eurovision rules, all nations with the exceptions of the host country, the \"Big Four\" (France, Germany, Spain and the UnitedKingdom), and the ten highest placed finishers in the 2004 contest are required to qualify from the semi-final on 19 May 2005 in order to compete for the final on 21 May 2005; the top ten countries from the semi-finalprogress to the final. On 22 March 2005, a special allocation draw was held which determined the running order for the semi-final and Austria was set to open the show and perform in position 1, before the entry fromLithuania. At the end of the show, Austria was not announced among the top 10 entries in the semi-final and therefore failed to qualify to compete in the final. It was later revealed that Austria placed twenty-first in thesemi-final, receiving a total of 30 points.The semi-final and the final were broadcast in Austria on ORF 2 with commentary by Andi Knoll and via radio on Ö3 with commentary by Martin Blumenau. The Austrianspokesperson, who announced the Austrian votes during the final, was Dodo Roscic.VotingBelow is a breakdown of points awarded to Austria and awarded by Austria in the semi-final and grand final of the contest. Thenation awarded its 12 points to Croatia in the semi-final and to Serbia and Montenegro in the final of the contest.Points awarded to AustriaPoints awarded by AustriaPassage 2:Caspar BabypantsCaspar Babypants is thestage name of children's music artist Chris Ballew, who is also the vocalist and bassist of The Presidents of the United States of America.HistoryBallew's first brush with children's music came in 2002, when he recordedand donated an album of traditional children's songs to the nonprofit Program for Early Parent Support titled \"PEPS Sing A Long!\" Although that was a positive experience for him, he did not consider making music forfamilies until he met his wife, collage artist Kate Endle. Her art inspired Ballew to consider making music that \"sounded like her art looked\" as he has said. Ballew began writing original songs and digging up nurseryrhymes and folk songs in the public domain to interpret and make his own. The first album, Here I Am!, was recorded during the summer of 2008 and released in February 2009.Ballew began to perform solo as CasparBabypants in the Seattle area in January 2009. Fred Northup, a Seattle-based comedy improvisor, heard the album and offered to play as his live percussionist.  Northrup also suggested his frequent collaborator RonHippe as a keyboard player. \"Frederick Babyshirt\" and \"Ronald Babyshoes\" were the Caspar Babypants live band from May 2009 to April 2012. Both Northup and Hippe appear on some of his recordings but since April2012 Caspar Babypants has exclusively performed solo. The reasons for the change were to include more improvisation in the show and to reduce the sound levels so that very young children and newborns couldcontinue to attend without being overstimulated. Ballew has made two albums of Beatles covers as Caspar Babypants. Baby Beatles! came out in September 2013 and Beatles Baby! came out in September 2015.Ballewruns the Aurora Elephant Music record label, books shows, produces, records, and masters the albums himself. Distribution for the albums is handled by Burnside Distribution in Portland, Oregon.Caspar Babypants hasreleased a total of 17 albums. The 17th album, BUG OUT!, was released on May 1, 2020. His album FLYING HIGH! was nominated for a Grammy Award for Best Children's Album. All 17 of the albums feature cover artby Ballew's wife, Kate Endle.\"FUN FAVORITES!\" and \"HAPPY HITS!\" are two vinyl-only collections of hit songs that Caspar Babypants has released in the last couple of years.DiscographyAlbumsPEPS (2002)Here I Am!(Released 03/17/09) Special guests: Jen Wood, Fysah ThomasMore Please! (Released 12/15/09) Special guests: Fred Northup, Ron HippeThis Is Fun! (Released 11/02/10)  Special guests: Fred Northup, Ron Hippe,Krist Novoselic, Charlie HopeSing Along! (Released 08/16/11) Special guests: Fred Northup, Ron Hippe, \"Weird Al\" Yankovic, Stone Gossard, Frances England, Rachel LoshakHot Dog! (Released 04/17/12) Specialguests: Fred Northup, Ron Hippe, Rachel Flotard (Visqueen)I Found You! (Released 12/18/12) Special guests: Steve Turner (Mudhoney), Rachel Flotard (Visqueen), John RichardsBaby Beatles! (Released 09/15/13)RiseAnd Shine! (Released 09/16/14)Night Night! (Released 03/17/15)Beatles Baby! (Released 09/18/2015)Away We Go! (Released 08/12/2016)Winter Party! (Released 11/18/16)Jump For Joy! (Released 08/18/17)SleepTight! (Released 01/19/18)Keep It Real! (Released 08/17/18)Best Beatles! (Released 03/29/19)Flying High! (Released 08/16/19)Bug Out! (released 05/1/20)Happy Heart! (Released 11/13/20)Easy Breezy! (Released11/05/21)AppearancesMany Hands: Family Music for Haiti CD (released 2010) – Compilation of various artistsSongs Stories And Friends: Let's Go Play – Charlie Hope (released 2011) – vocals on AlouetteShake It Up,Shake It Off (released 2012) – Compilation of various artistsKeep Hoping Machine Running – Songs Of Woody Guthrie (released 2012) – Compilation of various artistsApple Apple – The Harmonica Pocket (released2013) – vocals on Monkey LoveSimpatico – Rennee and Friends (released 2015) – writer and vocals on I Am Not AfraidSundrops – The Harmonica Pocket (released 2015) – vocals on Digga Dog KidPassage 3:BernieBonvoisinBernard Bonvoisin (French pronunciation: [b\u0000\u0000na\u0000 b\u0000̃vwaz\u0000̃]), known as Bernie Bonvoisin (French pronunciation: [b\u0000\u0000ni b\u0000̃vwaz\u0000̃], born 9 July 1956 in Nanterre, Hauts-de-Seine), is a French hard rocksinger and film director. He is best known for having been the singer of Trust.He was one of the best friends of Bon Scott the singer of AC/DC and together they recorded the song \"Ride On\" which was one of the lastsongs by Bon Scott.External linksBernie Bonvoisin at IMDbPassage 4:Billy MilanoBilly Milano (born June 3, 1964) is an American heavy metal and hardcore punk musician. He is the singer and occasionally guitarist andbassist of crossover thrash band M.O.D., and was the singer of its predecessor, Stormtroopers of Death. Prior to these bands, Milano played in early New York hardcore band the Psychos, which also launched the careerof future Agnostic Front vocalist Roger Miret. Milano was also the singer of United Forces, which included his Stormtroopers of Death bandmate Dan Lilker. Milano managed a number of bands, including Agnostic Front,for whom he also co-produced the 1997 Epitaph Records release Something's Gotta Give and roadie for Anthrax.DiscographyStormtroopers of Death albumsStormtroopers of Death videosMethod of Destruction(M.O.D.)MasteryPassage 5:O Valencia!\"O Valencia!\" is the fifth single by the indie rock band The Decemberists, and the first released from their fourth studio album, The Crane Wife.The music was written by TheDecemberists and the lyrics by Colin Meloy. It tells a story of two star-crossed lovers. The singer falls in love with a person who belongs to an opposing gang. At the end of the song, the singer's lover jumps in to defendthe singer, who is confronting his lover's brother (the singer's \"sworn enemy\") and is killed by the bullet intended for the singer.Track listingThe 7\" single sold in the UK was mispressed, with \"Culling of the Fold\" as theB-side despite the artwork and record label listing \"After the Bombs\" as the B-side.Music videosFor the \"O Valencia!\" music video, The Decemberists filmed themselves in front of a green screen and asked fans tocomplete it by digitally adding in background images or footage. Stephen Colbert of The Colbert Report, having recently asked fans to do the same with a video of him with a light saber in front of a green screen,brought up The Decemberists on his segment \"Look Who's Riding on My Coattails Now\" and accused the band of stealing the idea. The Decemberists' response was to challenge Stephen Colbert to a guitar soloshowdown on December 20, 2006, on The Colbert Report.On January 19, 2007, The Decemberists premiered an alternate music video of \"O Valencia!\", directed by Aaron Stewart-Ahn, on MTV2. The video follows acharacter named Patrick, played by Meloy, as he and his love Francesca (Lisa Molinaro), daughter of \"the Boss\", plan an escape to an unknown location. At a cafe, a man in a suit, portrayed by the band member ChrisFunk, tells him to hide in the \"Valencia\" hotel (the Super Value Inn on North Interstate Avenue in Portland, Oregon) while he gets them the necessary documentation to escape. Above the name of the hotel, there is aneon sign that reads \"Office\". The letters have all burnt out except for the \"O\", creating the title of the song. The video then introduces other characters - various assassination teams - who sit in different rooms of thehotel waiting for the chance to catch the two lovers. Most are portrayed by other members of the band (along with Meloy's wife, Carson Ellis). They kill off any potential witnesses to their plan. Patrick manages to takedown one member from each team, before they gang up on him. The Boss arrives, along with the man from the cafe, who reveals that he snitched on Patrick and Francesca. They execute Francesca, while forcing Patrickto watch. After they leave, Patrick finds a note by Francesca, which reveals that she never fell in love with him, and only wanted protection. 2 months later, Patrick and the man, who has lost an eye from a previousassassination attempt, have a sit-down at the same cafe. The man reveals that he snitched on Patrick just to take over the town. Patrick reveals that he poisoned a drink the man was having, but before he could getaway, the man stabs Patrick in the neck with a fork before dying, followed by Patrick.The video is somewhat influenced by the distinct style and themes of director Wes Anderson, with bold fonts being used to introducecharacters and groups on the bottom of the screen (much like in the film The Royal Tenenbaums). The band had previously (and more explicitly) drawn influence from Anderson's Rushmore in their video for \"SixteenMilitary Wives\". The layout of the hotel is also similar to the one used in Bottle Rocket.Kurt Nishimura was chosen as the winner by mtvU for his video that depicted a love affair between a woman and her television, withthe TV containing the green-screened Decemberists video footage.Passage 6:Eric PapilayaAustria participated in the Eurovision Song Contest 2007 with the song \"Get a Life – Get Alive\" written by Greg Usek and AustinHoward. The song was performed by Eric Papilaya. In October 2006, the Austrian broadcaster Österreichischer Rundfunk (ORF) announced that they would be returning to the Eurovision Song Contest after a one-yearabsence following their withdrawal in 2006 due to poor results in the 2005 contest. On 20 February 2007, ORF announced that they had internally selected Eric Papilaya to compete at the 2007 contest in Helsinki,Finland, while \"Get a Life – Get Alive\" was presented to the public on 7 March 2007.Austria competed in the semi-final of the Eurovision Song Contest which took place on 10 May 2007. Performing during the show inposition 27, \"Get a Life – Get Alive\" was not announced among the top 10 entries of the semi-final and therefore did not qualify to compete in the final. It was later revealed that Austria placed twenty-seventh out of the28 participating countries in the semi-final with 4 points.BackgroundPrior to the 2007 contest, Austria has participated in the Eurovision Song Contest forty-two times since its first entry in 1957. The nation has won thecontest on one occasion: in 1966 with the song \"Merci, Chérie\" performed by Udo Jürgens. Following the introduction of semi-finals for the 2004 contest, Austria has featured in only one final. Austria's least successfulresult has been last place, which they have achieved on seven occasions, most recently in 1991. Austria has also received nul points on three occasions; in 1962, 1988 and 1991.The Austrian national broadcaster,Österreichischer Rundfunk (ORF), broadcasts the event within Austria and organises the selection process for the nation's entry. Following the 2005 contest, the Austrian broadcaster announced in June 2005 that thecountry would not participate in 2006 citing poor results in the 2005 contest as the reason for their decision. Following their one-year absence, ORF confirmed their intentions to participate at the 2007 Eurovision SongContest on 21 October 2006. From 2002 to 2005, ORF had set up national finals with several artists to choose both the song and performer to compete at Eurovision for Austria. For the 2007 Eurovision Song Contest,ORF held an internal selection to choose the artist and song to represent Austria at the contest. This method had last been used by ORF in 2000.Before EurovisionInternal selectionOn 20 February 2007, ORF announcedthat they had internally selected Eric Papilaya to represent Austria in Helsinki. Papilaya participated in the third season of the talent show Starmania where he was a finalist. On 7 March 2007, the song \"Get a Life – GetAlive\", written by Greg Usek and Austin Howard was presented as the Austrian entry for the contest at an ORF press conference as well as via radio on Ö3. \"Get a Life – Get Alive\" was also announced as the official 2007theme song of the AIDS charity event Life Ball, continuing the historical relationship between the Austrian Eurovision entry and the Life Ball event.PromotionPrior to the contest, Eric Papilaya specifically promoted \"Get aLife – Get Alive\" as the Austrian Eurovision entry during his Get a Life bus tour, which departed from Vienna on 20 April and arrived in Helsinki for the contest on 4 May. The tour covered 15 cities across Europe andincluded several international television and radio appearances. In addition to his international appearances, Eric Papilaya performed \"Get a Life – Get Alive\" as a musical guest during the ORF eins programme DancingWith Stars on 20 April, while a farewell concert was held at the Heidenplatz on 20 April before the bus tour.At EurovisionAccording to Eurovision rules, all nations with the exceptions of the host country, the \"Big Four\"(France, Germany, Spain and the United Kingdom) and the ten highest placed finishers in the 2006 contest are required to qualify from the semi-final on 10 May 2007 in order to compete for the final on 12 May 2007.On 12 March 2007, a special allocation draw was held which determined the running order for the semi-final. As one of the five wildcard countries, Austria chose to perform in position 27, following the entry from Turkeyand before the entry from Latvia.The semi-final and the final were broadcast in Austria on ORF 2 with commentary by Andi Knoll. The Austrian spokesperson, who announced the Austrian votes during the final, was EvaPölzl.Semi-finalEric Papilaya took part in technical rehearsals on 4 and 6 May, followed by dress rehearsals on 9 and 10 May. The Austrian performance featured Eric Papilaya performing on stage in a silver suit designedby British designer Vivienne Westwood with 2,000 Swarovski crystals attached, with the words \"Get Alive\" scrolling horizontally and vertically on the LED screens. The performance began with Papilaya coming out fromthe loop of a 700 meter red feathered AIDS ribbon prop attached with 14,000 Swarovski crystals, of which four dancers/backing vocalists in red skin-tight feathered costumes were on. The performers later came offfrom the prop to the front of the stage to perform a dance routine accompanied by pyrotechnic effects. In regards to the performance, organiser of the Life Ball event Gery Keszler stated: \"With this show we will conquerEurope and put the issue of AIDS in the spotlight but in an optimistic way.\" Eric Papilaya was also joined on stage by guitarist Thommy Pilat, while the four backing performers were: Cedric Lee Bradley, Jerome Knols,"}
+{"doc_id":"doc_183","qid":"","text":"Passage 1:Jesse E. HobsonJesse Edward Hobson (May 2, 1911 – November 5, 1970) was the director of SRI International from 1947 to 1955. Prior to SRI, he was the director of the Armour Research Foundation.Earlylife and educationHobson was born in Marshall, Indiana. He received bachelor's and master's degrees in electrical engineering from Purdue University and a PhD in electrical engineering from the California Institute ofTechnology. Hobson was also selected as a nationally outstanding engineer.Hobson married Jessie Eugertha Bell on March 26, 1939, and they had five children.CareerAwards and membershipsHobson was named anIEEE Fellow in 1948.Passage 2:Ian Barry (director)Ian Barry is an Australian director of film and TV.Select creditsWaiting for Lucas (1973) (short)Stone (1974) (editor only)The Chain Reaction (1980)Whose Baby?(1986) (mini-series)Minnamurra (1989)Bodysurfer (1989) (mini-series)Ring of Scorpio (1990) (mini-series)Crimebroker (1993)Inferno (1998) (TV movie)Miss Lettie and Me (2002) (TV movie)Not Quite Hollywood: TheWild, Untold Story of Ozploitation! (2008) (documentary)The Doctor Blake Mysteries (2013)Passage 3:Brian Kennedy (gallery director)Brian Patrick Kennedy (born 5 November 1961) is an Irish-born art museumdirector who has worked in Ireland and Australia, and now lives and works in the United States.  He was the director of the Peabody Essex Museum in Salem for 17 months, resigning December 31, 2020. He was thedirector of the Toledo Museum of Art in Ohio from 2010 to 2019. He was the director of the Hood Museum of Art from 2005 to 2010, and the National Gallery of Australia (Canberra) from 1997 to 2004.CareerBrianKennedy currently lives and works in the United States after leaving Australia in 2005 to direct the Hood Museum of Art at Dartmouth College. In October 2010 he became the ninth Director of the Toledo Museum of Art.On 1 July 2019, he succeeded Dan Monroe as the executive director and CEO of the Peabody Essex Museum.Early life and career in IrelandKennedy was born in Dublin and attended Clonkeen College. He received B.A.(1982), M.A. (1985) and PhD (1989) degrees from University College-Dublin, where he studied both art history and history.He worked in the Irish Department of Education (1982), the European Commission, Brussels(1983), and in Ireland at the Chester Beatty Library (1983–85), Government Publications Office (1985–86), and Department of Finance (1986–89). He married Mary Fiona Carlin in 1988.He was Assistant Director at theNational Gallery of Ireland in Dublin from 1989 to 1997. He was Chair of the Irish Association of Art Historians from 1996 to 1997, and of the Council of Australian Art Museum Directors from 2001 to 2003. In September1997 he became Director of the National Gallery of Australia.National Gallery of Australia (NGA)Kennedy expanded the traveling exhibitions and loans program throughout Australia, arranged for several major shows ofAustralian art abroad, increased the number of exhibitions at the museum itself and oversaw the development of an extensive multi-media site.  Although he oversaw several years of the museum's highest ever annualvisitation, he discontinued the emphasis of his predecessor, Betty Churcher, on showing \"blockbuster\" exhibitions.During his directorship, the NGA gained government support for improving the building and significantprivate donations and corporate sponsorship. However, the initial design for the building proved controversial generating a public dispute with the original architect on moral rights grounds.  As a result, the project wasnot delivered during Dr Kennedy's tenure, with a significantly altered design completed some years later.  Private funding supported two acquisitions of British art, including David Hockney's A Bigger Grand Canyon in1999, and Lucian Freud's After Cézanne in 2001. Kennedy built on the established collections at the museum by acquiring the Holmgren-Spertus collection of Indonesian textiles; the Kenneth Tyler collection of editionedprints, screens, multiples and unique proofs; and the Australian Print Workshop Archive. He was also notable for campaigning for the construction of a new \"front\" entrance to the Gallery, facing King Edward Terrace,which was completed in 2010 (see reference to the building project above).Kennedy's cancellation of the \"Sensation exhibition\" (scheduled at the NGA from 2 June 2000 to 13 August 2000) was controversial, and seenby some as censorship. He claimed that the decision was due to the exhibition being \"too close to the market\" implying that a national cultural institution cannot exhibit the private collection of a speculative art investor.However, there were other exhibitions at the NGA during his tenure, which could have raised similar concerns. The exhibition featured the privately owned Young British Artists works belonging to Charles Saatchi andattracted large attendances in London and Brooklyn. Its most controversial work was Chris Ofili's The Holy Virgin Mary, a painting which used elephant dung and was accused of being blasphemous. The then-mayor ofNew York, Rudolph Giuliani, campaigned against the exhibition, claiming it was \"Catholic-bashing\" and an \"aggressive, vicious, disgusting attack on religion.\" In November 1999, Kennedy cancelled the exhibition andstated that the events in New York had \"obscured discussion of the artistic merit of the works of art\". He has said that it \"was the toughest decision of my professional life, so far.\"Kennedy was also repeatedlyquestioned on his management of a range of issues during the Australian Government's Senate Estimates process - particularly on the NGA's occupational health and safety record and concerns about the NGA'stwenty-year-old air-conditioning system. The air-conditioning was finally renovated in 2003. Kennedy announced in 2002 that he would not seek extension of his contract beyond 2004, accepting a seven-year term ashad his two predecessors.He became a joint Irish-Australian citizen in 2003.Toledo Museum of ArtThe Toledo Museum of Art is known for its exceptional collections of European and American paintings and sculpture,glass, antiquities, artist books, Japanese prints and netsuke. The museum offers free admission and is recognized for its historical leadership in the field of art education.  During his tenure, Kennedy has focused themuseum's art education efforts on visual literacy, which he defines as \"learning to read, understand and write visual language.\"   Initiatives have included baby and toddler tours, specialized training for all staff,docents, volunteers and the launch of a website, www.vislit.org. In November 2014, the museum hosted the International Visual Literacy Association (IVLA) conference, the first Museum to do so. Kennedy has been afrequent speaker on the topic, including 2010 and 2013 TEDx talks on visual and sensory literacy.Kennedy has expressed an interest in expanding the museum's collection of contemporary art and art by indigenouspeoples. Works by Frank Stella, Sean Scully, Jaume Plensa, Ravinder Reddy and Mary Sibande have been acquired.  In addition, the museum has made major acquisitions of Old Master paintings by Frans Hals and LucaGiordano.During his tenure the Toledo Museum of Art has announced the return of several objects from its collection due to claims the objects were stolen and/or illegally exported prior being sold to the museum.  In2011 a Meissen sweetmeat stand was returned to Germany followed by an Etruscan Kalpis or water jug to Italy (2013), an Indian sculpture of Ganesha (2014) and an astrological compendium to Germany in 2015.HoodMuseum of ArtKennedy became Director of the Hood Museum of Art in July 2005. During his tenure, he implemented a series of large and small-scale exhibitions and oversaw the production of more than 20 publicationsto bring greater public attention to the museum's remarkable collections of the arts of America, Europe, Africa, Papua New Guinea and the Polar regions. At 70,000 objects, the Hood has one of the largest collections onany American college of university campus. The exhibition, Black Womanhood: Images, Icons, and Ideologies of the African Body, toured several US venues. Kennedy increased campus curricular use of works of art,with thousands of objects pulled from storage for classes annually. Numerous acquisitions were made with the museum's generous endowments, and he curated several exhibitions: including Wenda Gu: Forest of StoneSteles: Retranslation and Rewriting Tang Dynasty Poetry, Sean Scully: The Art of the Stripe, and Frank Stella: Irregular Polygons.PublicationsKennedy has written or edited a number of books on art, including:AlfredChester Beatty and Ireland 1950-1968: A study in cultural politics, Glendale Press (1988), ISBN 978-0-907606-49-9Dreams and responsibilities: The state and arts in independent Ireland, Arts Council of Ireland (1990),ISBN 978-0-906627-32-7Jack B Yeats: Jack Butler Yeats, 1871-1957 (Lives of Irish Artists), Unipub (October 1991), ISBN 978-0-948524-24-0The Anatomy Lesson: Art and Medicine (with Davis Coakley), NationalGallery of Ireland (January 1992), ISBN 978-0-903162-65-4Ireland: Art into History (with Raymond Gillespie), Roberts Rinehart Publishers (1994), ISBN 978-1-57098-005-3Irish Painting, Roberts Rinehart Publishers(November 1997),  ISBN 978-1-86059-059-7Sean Scully: The Art of the Stripe, Hood Museum of Art (October 2008), ISBN 978-0-944722-34-3Frank Stella: Irregular Polygons, 1965-1966, Hood Museum of Art(October 2010), ISBN 978-0-944722-39-8Honors and achievementsKennedy was awarded the Australian Centenary Medal in 2001 for service to Australian Society and its art. He is a trustee and treasurer of theAssociation of Art Museum Directors, a peer reviewer for the American Association of Museums and a member of the International Association of Art Critics. In 2013 he was appointed inaugural eminent professor at theUniversity of Toledo and received an honorary doctorate from Lourdes University. Most recently, Kennedy received the 2014 Northwest Region, Ohio Art Education Association award for distinguished educator for arteducation.== Notes ==Passage 4:Elizabeth Barlow RogersElizabeth Barlow Rogers (born 1936) is an environmentalist, landscape preservationist, author of numerous books and essays, and a former park administrator.Her most notable achievement was her role in the revitalization of New York City's Central Park in the 1980s and 1990s. In 1980, Rogers helped found the Central Park Conservancy, a not-for-profit corporation formedto organize private sector support for the restoration and renewed management of the park. She served as the Conservancy's first president from its founding until 1995.Early life and educationElizabeth “Betsy”Browning was born in San Antonio, Texas to Caleb Leonidas Browning (1902–1970), a general contractor and cattle rancher, and his wife, Elizabeth (Ewing) Browning (1904–1992). She grew up in Alamo Heights andprepared for college at Saint Mary's Hall. In 1952, she enrolled at Wellesley College, where she majored in art history (BA 1957), and in the summer following her graduation married Edward L. Barlow, a graduate ofLawrenceville and Yale (BA 1956). They lived in Washington DC, where he was a naval officer stationed at the Pentagon, but in 1960 returned to Yale where he studied law (LLB 1964) and she studied urban planning(MA 1964). After completion of their studies, they moved to New York City.CareerCentral ParkIn 1979, Mayor Ed Koch appointed Rogers to the newly created position of Central Park Administrator. At the time, the843-acre (341 ha) public space was strewn with trash and long neglected with virtually no funding allocated to improving its condition. Working with then NYC Parks commissioner Gordon J. Davis, Rogers conceived of amaster plan to reinstate the Greensward Plan design by Frederick Law Olmsted and Calvert Vaux, while also keeping in mind the public purpose of the greensward and practical considerations. Rogers' aim was \"therenewal of the physical beauty of the park as originally envisioned by Frederick Law Olmsted and Calvert Vaux, yet integrated with contemporary social and recreational uses.\"Rogers recruited friends and volunteers toassist her in reclaiming discrete sections of the park. One of these colleagues was Lynden Miller. In 1982, Rogers asked Miller to tackle Central Park's Conservatory Garden.Cityscape InstituteIn 1995. Rogers foundedthe Cityscape Institute with a mission to improve the design of the entourage of New York City's sidewalks: the benches, telephone booths, trash cans, street lights, traffic signs, and stop lights. The institute was unableto accomplish its goals, however, for unlike Central Park, where Rogers had managerial authority and widespread public support, the city's streetscape was the subject of, in Rogers's words, “general indifference to thevisual blight that has grown with the progressive coarsening of the environment as it has been allowed to become dominated by highway engineers and commercial interests.” According to one newspaper reporter, whointerviewed Rogers in 2001, Cityscape has made only fitful progress in achieving its goal, as Ms. Rogers concedes. The institute and its founder have become mired in dozens of messy battles with city bureaucrats overdesigns for light poles, plans to reroute traffic and other issues.The institute formally ceased operating in 2006.Bard Graduate CenterIn 2001, Rogers founded a program in Garden History and Landscape Studies at theBard Graduate Center, New York, which she directed until 2005.Foundation for Landscape StudiesIn 2005, Rogers established the Foundation for Landscape Studies, whose mission was, according to its website, \"tofoster an active understanding of the importance of place in human life.\" Among its activities was the publication of thirty-five issues of the biannual journal Site/Lines, edited by Rogers. The foundation ceased operatingin 2021.BibliographyBooksElizabeth Barlow (author); Rene Dubos (foreword). The Forests and Wetlands of New York City (Boston: Little, Brown and Co., 1971), a recipient of the John Burroughs Medal.Jason Epsteinand Elizabeth Barlow. East Hampton: A History and Guide (Sag Harbor, NY: Medway Press, 1975).Elizabeth Barlow, with Vernon Gray, Roger Pasquier, and Lewis Sharp. The Central Park Book (New York: Central ParkTask Force, 1977).Elizabeth Barlow Rogers (principal author) with Marianne Cramer, Judith L. Heintz, Bruce Kelly, Philip N. Winslow, and John Berendt (editor). Rebuilding Central Park: A Management and RestorationTool (Cambridge, MA: MIT Press, 1987).Elizabeth Barlow Rogers. Landscape Design: A Cultural and Architectural History (New York: Harry N. Abrams, 2001).Elizabeth Barlow Rogers. Learning Las Vegas: Portrait of aNorthern New Mexican Place (Santa Fe, NM: Museum of New Mexico Press, 2013).Elizabeth Barlow Rogers (author); Tony Hiss (preface). Green Metropolis: the Extraordinary Landscapes of New York City as Nature,History, and Design (New York: Alfred A. Knoph, 2016).Elizabeth Barlow Rogers. Saving Central Park: A History and a Memoir (New York: Alfred A. Knoph, 2018).Elizabeth Barlow Rogers. Writing the City: Essays onNew York (Amherst, MA: Library of American Landscape History, 2022.Exhibition cataloguesElizabeth Barlow (essay); William Alex (illustrative portfolio). Frederick Law Olmsted's New York (New York: Praeger, 1972).The book accompanied an exhibition (from October 19 to December 3, 1972) at the Whitney Museum of American Art.Elizabeth Barlow Rogers (essay), Elizabeth S. Eustis (contributor), John Bidwell (contributor).Romantic Gardens: Nature, Art and Landscape Design (New York: David R. Godine, 2010). The book accompanied an exhibition (from May 21 through September 5, 2010) at the Morgan Library & Museum in New YorkCity.Writing in journals (partial list)Elizabeth Barlow. \"Keeping Jamaica Bay for the Birds,\" New York, Vol. 2, No. 49 (December 8, 1969), pp. 58–62.Elizabeth Barlow. \"The New York Environmental Teach-in,\" New York,Vol. 3, No. 13 (March 30, 1970), p. 24.Elizabeth Barlow. \"Cut the Garbage,\" New York, Vol. 4, No. 3 (January 18, 1971), pp. 40–42.Elizabeth Barlow. \"New York: A Once and Future Arcadia,\" New York, Vol. 4, No. 48(November 29, 1971), p. 50.Elizabeth Barlow. \"The Hudson River: Then and Now,\" New York, Vol. 5, No. 22 (May 29, 1972), pp. 38–48.Elizabeth Barlow. \"The City Politic: The Battle for Southampton,\" New York, Vol. 6,No. 39 (September 24, 1973) pp. 10–11.Elizabeth Barlow. \"The City Politic: A Little Less Night Music, Please,\" New York, Vol. 8, No. 9 (March 3, 1975) pp. 7–8.Elizabeth Barlow. \"Page of Lists: The Desert Isles of NewYork,\" New York, Vol. 11, No. 41 (October 9, 1978), p. 9.Elizabeth Barlow Rogers. \"The Landscapes of Robert Moses,\" Site/Lines, Vol. 3, No. 1 (Fall 2007). pp. 3–18.Elizabeth Barlow Rogers. \"Time and Place: DeepThoughts on a Journey Down the Colorado River,\" Site/Lines, Vol. 10, No. 2 (Spring 2015). pp. 3–6.Elizabeth Barlow Rogers. \"Olmsted as author,\" The New Criterion, Vol. 34, No. 7 (March 2016), p. 13.Elizabeth BarlowRogers. \"Home on the Range: A Texas Childhood,\" Site/Lines, Vol. 14, No. 1 (Fall 2018). pp. 3–5.Awards and honorsWellesley College: Alumnae Achievement Award, 1989.The American Society of Landscape Architects:LaGasse Medal, 2005.The National Audubon Society: The Rachel Carson Award (recognizing female environmental leaders), 2008, awarded jointly to Rogers, Jean Clark, Norma Dana, Marguerite Purnell, and PhyllisWagner, who were among the founders of the Central Park Conservancy.The Rockefeller Foundation: Jane Jacobs Medal for Lifetime Leadership, 2010. Rogers donated the $80,000 prize to the Foundation for LandscapeStudies.Green-Wood Historic Fund: DeWitt Clinton Award for Excellence (in the arts, literature, preservation, and historic research), 2010.University of Notre Dame: Henry Hope Reed Award, 2012.Preservation Leagueof New York State: Pillar of New York Award, 2013.New York Botanical Garden: Gold Medal, 2016.Central Park, New York City: A bronze plaque on a boulder on the slope above the Diana Ross Playground in honor of herservice to the park.Personal lifeIn July 1957, Rogers married Edward L. Barlow, with whom she had two children, Lisa Barlow Tobin, a photographer and David Barlow, an actor. They divorced in 1979. In 1984, shemarried Theodore C. Rogers.Passage 5:The Central Park FiveCentral Park Five refers to the defendants in the 1989 Central Park jogger case.Central Park Five may also refer to:The Central Park Five (film), a 2012 filmabout the caseThe Central Park Five (opera), a 2019 opera about the caseThe Central Park Five (miniseries), a 2019 TV series about the case, retitled When They See UsPassage 6:Sarah Burns (writer filmmaker)SarahBurns is an American author, public speaker, and filmmaker. She is the author of The Central Park Five: A Chronicle of a City Wilding. She is also the co-producer and director for the documentary film The Central ParkFive which she co-produced and directed with her husband David McMahon and her father Ken Burns.CareerBurns became aware of the case of the Central Park Five while working on an undergraduate thesis. The topicof the thesis was racism in media coverage of the Central Park Five.  In 2011, Burns wrote the book The Central Park Five: The Untold Story Behind One of New York City’s Most Infamous Crimes. The film and the bookre-examine the 1989 case of the Central Park Five, and the wrongful convictions of five teenagers for the rape of the Central Park Jogger. In 2012, the City of New York filed a subpoena demanding the filmmakers andFlorentine Films, the production company, provide interviews and footage not used in the film arguing the film was not documentary but advocacy. A judge later ruled in Burns' favor.In 2016, Burns produced anddirected, along with David McMahon and Ken Burns, a two-part, four-hour series titled Jackie Robinson.Awards and nominations2012 - Best Non-Fiction film of 2012 by the New York Film Critics Circle2013 - PeabodyAward, Alliance of Women Film Journalists2013 - Writers Guild of America Award for Best Documentary ScreenplayAwards for Central Park FiveOutstanding Achievement by a Woman in the Film Industry (SarahBurns)Black Film Critics Circle Awards - Best Documentary, (Ken Burns, Sarah Burns, David MacMahon)Black Reel Awards - Black Reel Award for Outstanding Documentary (Sarah Burns, Ken Burns, DavidMcMahon)Critics Choice Award -  Best Documentary Feature; (Sarah Burns, Ken Burns, David McMahon)Chicago Film Critics Association Award; Best Documentary (Sarah Burns, Ken Burns, David McMahon)ChicagoInternational Film Festival; Audience Choice Award - Best Documentary Feature (Ken Burns, Sarah Burns, David McMahon)Passage 7:Linda FairsteinLinda Fairstein (born May 5, 1947) is an American author, attorney,"}
+{"doc_id":"doc_184","qid":"","text":"Passage 1:O Valencia!\"O Valencia!\" is the fifth single by the indie rock band The Decemberists, and the first released from their fourth studio album, The Crane Wife.The music was written by The Decemberists and the lyrics by Colin Meloy. It tells a story of two star-crossed lovers. The singer falls in love with a person who belongs to an opposing gang. At the end of the song, the singer's lover jumps in to defend the singer, who is confronting his lover's brother (the singer's \"sworn enemy\") and is killed by the bullet intended for the singer.Track listingThe 7\" single sold in the UK was mispressed, with \"Culling of the Fold\" as the B-side despite the artwork and record label listing \"After the Bombs\" as the B-side.Music videosFor the \"O Valencia!\" music video, The Decemberists filmed themselves in front of a green screen and asked fans to complete it by digitally adding in background images or footage. Stephen Colbert of The Colbert Report, having recently asked fans to do the same with a video of him with a light saber in front of a green screen, brought up The Decemberists on his segment \"Look Who's Riding on My Coattails Now\" and accused the band of stealing the idea. The Decemberists' response was to challenge Stephen Colbert to a guitar solo showdown on December 20, 2006, on The Colbert Report.On January 19, 2007, The Decemberists premiered an alternate music video of \"O Valencia!\", directed by Aaron Stewart-Ahn, on MTV2. The video follows a character named Patrick, played by Meloy, as he and his love Francesca (Lisa Molinaro), daughter of \"the Boss\", plan an escape to an unknown location. At a cafe, a man in a suit, portrayed by the band member Chris Funk, tells him to hide in the \"Valencia\" hotel (the Super Value Inn on North Interstate Avenue in Portland, Oregon) while he gets them the necessary documentation to escape. Above the name of the hotel, there is a neon sign that reads \"Office\". The letters have all burnt out except for the \"O\", creating the title of the song. The video then introduces other characters - various assassination teams - who sit in different rooms of the hotel waiting for the chance to catch the two lovers. Most are portrayed by other members of the band (along with Meloy's wife, Carson Ellis). They kill off any potential witnesses to their plan. Patrick manages to take down one member from each team, before they gang up on him. The Boss arrives, along with the man from the cafe, who reveals that he snitched on Patrick and Francesca. They execute Francesca, while forcing Patrick to watch. After they leave, Patrick finds a note by Francesca, which reveals that she never fell in love with him, and only wanted protection. 2 months later, Patrick and the man, who has lost an eye from a previous assassination attempt, have a sit-down at the same cafe. The man reveals that he snitched on Patrick just to take over the town. Patrick reveals that he poisoned a drink the man was having, but before he could get away, the man stabs Patrick in the neck with a fork before dying, followed by Patrick.The video is somewhat influenced by the distinct style and themes of director Wes Anderson, with bold fonts being used to introduce characters and groups on the bottom of the screen (much like in the film The Royal Tenenbaums). The band had previously (and more explicitly) drawn influence from Anderson's Rushmore in their video for \"Sixteen Military Wives\". The layout of the hotel is also similar to the one used in Bottle Rocket.Kurt Nishimura was chosen as the winner by mtvU for his video that depicted a love affair between a woman and her television, with the TV containing the green-screened Decemberists video footage.Passage 2:Obata ToramoriObata Toramori (\u0000\u0000\u0000\u0000, 1491 – July 14, 1561) was Japanese samurai warrior of the Sengoku Period. He is known as one of the \"Twenty-Four Generals of Takeda Shingen\" He also recorded as having been wounded 41 times in 36 encounters. He was the father of Obata Masamori.See alsoIsao ObataPassage 3:Billy MilanoBilly Milano (born June 3, 1964) is an American heavy metal and hardcore punk musician. He is the singer and occasionally guitarist and bassist of crossover thrash band M.O.D., and was the singer of its predecessor, Stormtroopers of Death. Prior to these bands, Milano played in early New York hardcore band the Psychos, which also launched the career of future Agnostic Front vocalist Roger Miret. Milano was also the singer of United Forces, which included his Stormtroopers of Death bandmate Dan Lilker. Milano managed a number of bands, including Agnostic Front, for whom he also co-produced the 1997 Epitaph Records release Something's Gotta Give and roadie for Anthrax.DiscographyStormtroopers of Death albumsStormtroopers of Death videosMethod of Destruction (M.O.D.)MasteryPassage 4:Lars EliassonLars Eliasson  (December 8, 1914 – June 5, 2002) was a Swedish politician. He was a member of the Centre Party. He was the party's first vice chairman 1957-69 and a member of the Parliament of Sweden 1952–1970. For a short time in 1957, he was a minister in the Government of Sweden, in the Second cabinet of Erlander.He is the father of the later Member of Parliament Anna Eliasson.Passage 5:Norah JonesNorah Jones (born Geethali Norah Jones Shankar; March 30, 1979) is an American singer, songwriter, and pianist. She has won several awards for her music and, as of 2023, had sold more than 50 million records worldwide. Billboard named her the top jazz artist of the 2000's decade. She has won nine Grammy Awards and was ranked 60th on Billboard magazine's artists of the 2000s decade chart.In 2002, Jones launched her solo music career with the release of Come Away with Me, which was a fusion of jazz with country, blues, folk and pop. It was certified diamond, selling over 27 million copies. The record earned Jones five Grammy Awards, including the Album of the Year, Record of the Year, and Best New Artist. Her subsequent studio albums—Feels Like Home (2004), Not Too Late (2007), and The Fall (2009)—all gained platinum status, selling over a million copies each. They were also generally well received by critics. Jones's fifth studio album, Little Broken Hearts, was released on April 27, 2012; her sixth, Day Breaks, was released on October 7, 2016. Her seventh studio album, Pick Me Up Off the Floor, was released on June 12, 2020. Jones made her feature film debut as an actress in My Blueberry Nights, which was released in 2007 and was directed by Wong Kar-Wai.Jones is the daughter of Indian sitarist and composer Ravi Shankar and concert producer Sue Jones, and is the half-sister of fellow musicians Anoushka Shankar and Shubhendra Shankar.Early lifeJones was born Geethali Norah Jones Shankar on March 30, 1979, in Manhattan, New York City, to American concert producer Sue Jones and Indian Bengali musician Ravi Shankar.After her parents separated in 1986, Jones lived with her mother, growing up in Grapevine, Texas. As a child, Jones began singing in church and also took piano and voice lessons. She attended Colleyville Middle School and Grapevine High School before transferring to Booker T. Washington High School for the Performing and Visual Arts in Dallas. Her music took its first form early on in the local Methodist Church where she regularly sang solos. While in high school, she sang in the school choir, participated in band, and played the alto saxophone. At the age of 16, with both parents' consent, she officially changed her name to Norah Jones, removing the Indian elements from her name.Jones always had an affinity for the music of Bill Evans and Billie Holiday, among other \"oldies\". She once said, \"My mom had this eight-album Billie Holiday set; I picked out one disc that I liked and played that over and over again\".She attended Interlochen Center for the Arts during the summers. While at high school, she won the Down Beat Student Music Awards for Best Jazz Vocalist (twice, in 1996 and 1997) and Best Original Composition (1996).Jones attended the University of North Texas (UNT), where she majored in jazz piano and sang with the UNT Jazz Singers. During this time, she had a chance meeting with future collaborator Jesse Harris. She gave a ride to a band playing at the university whose members happened to be friends of Harris. He was on a cross-country road trip with friend and future Little Willies member Richard Julian, and stopped to see the band play. After meeting Jones, Harris started sending her lead sheets of his songs.In 1999, Jones left Texas for New York City. Less than a year later, she started a band with Harris, and her recordings with them were bestsellers.Musical careerJones was a lounge singer before becoming a recording artist. Before releasing her first studio album, she performed with Wax Poetic, Peter Malick, and jazz guitarist Charlie Hunter.2000–2001: New York City, First SessionsAs Peter Malick states in the liner notes, \"I started looking for a singer who might be open to recording [my latest songs] for me. On a Tuesday night, I walked into the Living Room just as the singer announced the last song of the set. The Dinah Washington classic 'Since I Fell for You' filled the room and I was struck breathless. Here, in the tradition of Billie Holiday, was a stunningly beautiful, blues infused voice. This was my first contact with Norah Jones.\" Malick asked her to participate in sessions at Room 9 from Outer Space in South Boston, during August and September 2000. They recorded Malick's songs \"New York City\", \"Strange Transmissions\", \"Deceptively Yours\" and \"Things You Don't Have to Do\" in addition to cover versions of \"All Your Love\" by Sam Maghett and \"Heart of Mine\" by Bob Dylan. These songs became the album New York City (Koch, 2003) by the Peter Malick Group Featuring Norah Jones.After moving to New York City, Jones signed to Blue Note, a label owned by EMI Group. The signing came as an indirect result of her performing as lead singer for the JC Hopkins Biggish Band. Shell White, who was the wife of J. C. Hopkins, worked for EMI Publishing and gave Jones's three-track demo to Bruce Lundvall, the label's president, and Brian Bacchus, its artists and repertoire agent (A&R). The demo contained two jazz standards and a song by Jesse Harris. The two executives agreed that Jones had potential. Despite their misgivings about the direction of her music, they signed her to the label. Bacchus told HitQuarters, \"We let her find her own direction ... We knew that if she could develop her songwriting and we could find great songs, it would work.\"2002: Come Away with MeBacchus thought producer and engineer Jay Newland's experience in jazz, blues, rock, country, and folk music would give a \"feeling for her sound.\" Jones and Newland recorded nine demo tracks. Four appeared on the sampler First Sessions (2001). The rest were set aside for her debut album. Come Away with Me (2002) was praised for its blend of acoustic pop with soul and jazz. Debuting at No. 139, it reached No. 1 on the U.S. Billboard 200. The single \"Don't Know Why\" hit No. 1 on the Top 40 Adult Recurrents in 2003 and No. 30 in the Billboard Hot 100 Singles Chart. At the 45th Grammy Awards in 2003, Jones was nominated for eight Grammy Awards and won five: Best New Artist, Album of the Year, Best Pop Vocal Album, Record of the Year, and Best Female Pop Vocal Performance for \"Don't Know Why\". This tied Lauryn Hill and Alicia Keys for most Grammy Awards received by a female artist in one night. Jesse Harris won Song of the Year for \"Don't Know Why\" while Arif Mardin won Producer of the Year. The album won Best Engineered Album, Non-Classical. Come Away with Me was certified platinum by the Recording Industry Association of America (RIAA) for having sold one million copies. In February 2005, it was certified diamond for selling ten million copies.2004: Feels like HomeFeels like Home (2004) debuted at No. 1 in at least 16 countries. At the 47th Grammy Awards in 2005, the album was nominated for three Grammys, winning one, Best Female Pop Vocal Performance for \"Sunrise\". For \"Here We Go Again\", a duet with Ray Charles, she won Record of the Year and Best Pop Collaboration with Vocals. Time magazine named Jones one of the most influential people of 2004.2007: Not Too LateJones released her third album, Not Too Late, on January 30, 2007. The album was the first for which she wrote or co-wrote every song. She has said some of these songs are much darker than those on her previous albums. Not Too Late was mostly recorded at Jones's home studio. It is her first album without producer Arif Mardin, who died in the summer of 2006. Jones described the sessions as \"fun, relaxed and easy\" and without a deadline; Blue Note executives reportedly did not know she was recording an album. The song \"My Dear Country\" is political commentary; she wrote it before the United States Presidential election day in 2004. Not Too Late reached the No. 1 position in twenty countries. Not Too Late had the third-best first week of sales in 2007, behind Avril Lavigne's The Best Damn Thing and Linkin Park's Minutes to Midnight. It reached No. 1 in the U.S., selling 405,000 copies. EMI announced that Not Too Late reached gold, platinum or multi-platinum in 21 countries as of February 2007. The album has sold 4 million copies worldwide. That same year she sang \"American Anthem\" for the Ken Burns documentary The War.2009: The FallJones's fourth studio album, The Fall, debuted at No. 3 on the Billboard 200 in November 2009, selling 180,000 copies in its first week. Although it was her first album that did not reach No. 1 in the United States it did receive critical acclaim. As part of the promotional drive for the album, Jones performed on Dancing with the Stars, Late Show with David Letterman, Good Morning America and other television programs. The Fall featured a St. Bernard on the cover; his name is Ben. The album's lead single, \"Chasing Pirates\", peaked at No. 13 on Hot Adult Contemporary Tracks and No. 7 on Jazz Songs. Billboard's 2000–2009 decade awards ranked Jones as the top jazz recording artist, at No. 60 best Artist. Come Away With Me was elected the No. 4 album and No. 1 jazz album. Jones earned a platinum certification by the RIAA for sales of 1 million copies of The Fall. The album sold 1.5 million copies worldwide and was certified gold or platinum in 14 countries as of 2010. \"Baby, It's Cold Outside\", a duet with Willie Nelson, was nominated in the Best Pop Collaboration with Vocals category. In 2009, Jones performed \"Come Away With Me\" and \"Young Blood\" at the end of the Apple Inc.'s It's Only Rock and Roll press conference on September 9 in San Francisco, for the release of iTunes 9 and video camera-equipped iPods, among other items She also made a guest appearance and performed with other artists on the season three finale of the NBC series 30 Rock Jones started her fourth world tour on March 5, 2010.2012: Little Broken HeartsAfter working with Danger Mouse and Daniele Luppi on some of the tracks for their album Rome, Jones worked with Danger Mouse again on her fifth studio album, Little Broken Hearts, which was released on May 1, 2012. She played the album in its entirety at SXSW 2012. American Songwriter called Little Broken Hearts the \"most dramatic and rewarding departure she's made in her career.\" On May 25, 2012, she began her fifth world tour in Paris, with performances in Europe, North America, Asia, South America, and Australia. She performed in London at the Roundhouse on September 10, 2012, as part of the iTunes Festival which was broadcast on the internet. She toured three cities in India for the first time because her father wanted her to do so. She also performed a headlining performance at Summer's Day, music festival produced by Only Much Louder. The tour started at Summer's Day in Mumbai on March 3 and included stops in New Delhi on March 5 and Bangalore on March 8.2016: Day BreaksHer sixth studio album, Day Breaks, which included nine new songs and three cover versions, was released on October 7, 2016. \"Carry On\", the album's lead single, was released to digital outlets on the same day. The album marked a return to her piano after dabbling in folk and pop on the last two records. Jones said the goal of this record was to do everything live. She said in an interview with Billboard, \"When you have great musicians, there's no reason to overdub. That strips the soul out of the music.\"2020-present: Pick Me Up Off the Floor and I Dream of ChristmasHer seventh studio album, Pick Me Up Off the Floor, was released on June 12, 2020. It debuted at number 87 on the US Billboard 200, making it Jones's first album not to debut in the top three.In 2023, Jones was featured on rapper  Logic’s song “Paradise II” from his first independent studio album College Park.Additional projects and collaborationsJones made a cameo appearance as herself in the 2002 movie Two Weeks Notice, which starred Hugh Grant and Sandra Bullock. The film shows her briefly at the piano, singing for a charity benefit.In 2003, The Peter Malick Group and Jones released an album, New York City. Jones appeared on OutKast's Speakerboxxx/The Love Below album, on \"Take Off Your Cool\". This album won the Grammy Award for Album of the Year (Jones was not credited). Also in 2003, Jones appeared on Joel Harrison's album of jazz interpretations of country and folk songs, Free Country, as lead vocalist on \"I Walk the Line\" and \"Tennessee Waltz\".Jones formed The Little Willies in 2003, alongside Richard Julian on vocals, Jim Campilongo on guitar, Lee Alexander on bass, and Dan Rieser on drums. The alt country band released its eponymous first album in 2006 and For the Good Times in 2012.Jones appeared in the 2004 special, Sesame Street Presents: The Street We Live On. Jones appeared in the concert and DVD \"Return to Sin City – A Tribute to Gram Parsons\". Jones performed the song \"She\" and then, together with Keith Richards of The Rolling Stones, sang \"Love Hurts\".In 2005, Jones appeared on the Foo Fighters' album In Your Honor, performing piano and vocals on the song \"Virginia Moon\". The track was nominated for a Grammy for Best Pop Collaboration with Vocals, in 2006.Jones appeared on Ryan Adams' & The Cardinals' 2005 album, Jacksonville City Nights, on the track \"Dear John\", which she co-wrote with Adams. In 2011, Jones also played piano and vocals on numerous tracks on Ryan Adams' 2011 studio album Ashes & Fire.Jones worked with Mike Patton in 2006, providing vocals on the track \"Sucker\" on the Peeping Tom project. The song attracted attention as it was the first time Jones used profanity in a recording.In 2007, Jones made her acting debut as the protagonist in a film directed by Wong Kar-wai. The film, My Blueberry Nights, opened for the 2007 Cannes Film Festival as one of the 22 films in competition. She wrote and performed a song, \"The Story\", for the movie.In January 2007, Jones recorded a live session at Abbey Road Studios for Live from Abbey Road. The episode, on which John Mayer and Richard Ashcroft also appeared, was aired on UK Channel 4 and on the Sundance Channel. She appeared twice on the PBS series Austin City Limits, on November 2, 2002, and October 6, 2007. The latter appearance was the season opener.In a change of direction predating The Fall, Jones (referring to herself as \"Maddie\" and virtually anonymous in a blond wig) sang and played guitar with rock band El Madmo. The band consists of Jones, Daru Oda and Richard Julian and released an eponymous album on May 20, 2007.In 2008, she recorded a duet with A Tribe Called Quest front man Q-Tip, titled \"Life Is Better\" from his \"Renaissance\" LP.Jones appears in Herbie Hancock's 2007 release River: The Joni Letters, singing the first track, \"Court and Spark\". This album won the Grammy Award for Album of the Year at the 50th Grammy Awards in 2008; Jones was credited as a featured artist, her ninth Grammy win.Jones is one of the participants in the so-called \"Hank Williams Project\" overseen by Bob Dylan, and reportedly including contributions from Willie Nelson, Jack White, Lucinda Williams, and Alan Jackson. On March 31, 2008, Jones commemorated the 20th anniversary of The Living Room with a midnight performance at the intimate Manhattan music venue where the singer got her start. She played a new song entitled \"How Many Times Have You Broken My Heart\" and explained that it originated from newly found Hank Williams lyrics she was asked to put to music. Jones also performed the song in late 2008 on Elvis Costello's talk/music television series, Spectacle: Elvis Costello with....Jones was a judge for the 5th annual Independent Music Awards, supporting independent artists' careers.In 2010, Jones contributed \"World of Trouble\" to the Enough Project and Downtown Records' Raise Hope for Congo compilation. Proceeds from the compilation fund efforts to make the protection and empowerment of Congo's women a priority, as well as inspire individuals around the world to raise their voices for peace in Congo.Jones released ...Featuring, a "}
+{"doc_id":"doc_185","qid":"","text":"Passage 1:Polly of the MoviesPolly of the Movies is a 1927 American silent comedy film directed by Scott Pembroke and starring Jason Robards, Gertrude Short and Corliss Palmer. It is loosely based on Harry LeonWilson's 1922 novel Merton of the Movies and its various film adaptations.SynopsisA small town girl goes to Hollywood with ambitions of becoming major dramatic star. However, the melodrama she appears in isunintentionally amusing and becomes a comedy hit.CastJason Robards as Angus WhitcombGertrude Short as Polly PrimroseCorliss Palmer as Lisa SmithStuart Holmes as Benjamin Wellington FairmountJack Richardsonas Rolland HarrisonRose Dione as Lulu FairmountMary Foy as Mrs. BeardsleyPassage 2:The Muppets Go to the MoviesThe Muppets Go to the Movies is a one-hour television special starring Jim Henson's Muppets. It firstaired May 20, 1981 on ABC as promotion for The Great Muppet Caper, which was released in the United States a month later.PlotWith the aid of Dudley Moore and Lily Tomlin, Kermit the Frog and the Muppets showspoofs of different movies at the Muppet Theatre.The special opens with a 20th Century Frog logo. The Announcer (Jerry Nelson) provides an introduction over clips from the special.Kermit comes onstage to introducethe show, informing the audience that the Muppets plan on paying tribute to some of their favorite movies.The Muppet company perform \"Hey, a Movie!\" from The Great Muppet Caper.Fozzie Bear introduces a spoof ofThe Three Musketeers. Statler and Waldorf attempt to leave, but are stopped by elastic ropes tied around their ankles. Gonzo the Great, Scooter and Link Hogthrob play Athos, Porthos and Gummo, out to defeat TheScarlet Pimpernel. Link flies on a chandelier, thus landing him backstage, and onto Miss Piggy, who reacts with her famous karate chop, thus sending him flying back onstage, and onto Kermit during an introduction forthe next parody.The sketch Invasion of the Unpleasant Things from Outer Space has Dudley Moore and Lily Tomlin facing giant alien rats. In addition to sci-fi films, the parody also pokes fun at international cinema.Moore speaks in a foreign language, accompanied by English subtitles.Janice introduces her favorite film The Wizard of Oz. She mentions that she likes the Land of Oz and might move there. When Janice is about tomention the part of Dorothy Gale, Piggy's voice is heard saying \"I'm not ready.\" Janice attempts to fill in, but Piggy arrives just in time. As the scene begins, Piggy (as Dorothy) and Foo-Foo (as Toto) start out in blackand white. Piggy sings \"Somewhere Over the Rainbow\". When it changes to color, she is joined by Scooter as the Scarecrow, Gonzo as the Tin Man, and Fozzie Bear as the Cowardly Lion in a rendition of \"If I Only Had aBrain/a Heart/the Nerve\" and \"We're Off to See the Wizard\".Gonzo introduces Metro-Goldwyn-Bear's The Fool of the Roman Empire. Moore portrays a jazz piano-playing Julius Caesar. Moore plays a melody on thepiano, while Gonzo, Beauregard and Lew Zealand have a chariot race. Gonzo's chariot is pulled by a chicken, Beauregard's by rats, and Lew's by a shark.Backstage, Rizzo complains to Kermit about the previous sketch,claiming that it was an insult to rats. Rizzo and his rat buddies try to convince Kermit to put them in a glamorous rat production number. Kermit tells the rats that the Muppets have already done a similar productionnumber in The Great Muppet Caper, showing a clip, featuring \"The First Time It Happens\".Lily Tomlin attempts to flirt with Kermit, but Piggy interrupts them. Kermit suggests that Tomlin introduce the horror genre.Despite Tomlin's insistence that she's not a fan, she's attacked by a group of Muppet monsters. In J. Arthur Link's The Nephew of Frankenstein, Fozzie visits his uncle (played by Dr. Julius Strangepork) who is workingon a comedian monster (played by Mulch). They attempt to do a \"Hot Cross Bunnies\" joke. The experiment blows Mulch up and burns the film screen. Firefighters are called, but joke that they are unable to put out a firethat was caused in the 19th Century as \"our hoses won't reach!\". The segment ends with Kermit parodying Porky Pig's \"That's all folks!\" line.Rowlf the Dog presents a silent film featuring Kermit and Sopwith the Camel.Mulch drops in, finally getting the \"Hot Cross Bunnies\" joke.Sam Eagle comes to translate a film by famed Swedish filmmaker Ingmar Bergman. Floyd Pepper informs Sam that the film isn't by Ingmar, but by his brotherGummo. The film Silent Strawberries parodies Bergman's filmography. It features The Swedish Chef, Beaker (as \"The Angel of Death\"), Fozzie and Kermit. As the film is not in English, Sam has to translate. Much toSam's disgust, the translations make absolutely no sense. The film ends with a rendition of \"Hooray for Hollywood\". Waldorf claims he doesn't believe in \"The Angel of Death\", but is automatically frightened by someoneover his shoulder (a popcorn girl).A spoof of Casablanca: Kermit bids his goodbyes to Piggy among the harsh wind of an airplane.Backstage, Floyd and Janice sing \"Act Naturally\".Dudley Moore tells the audience abouthis love for artistic French films. He then explains that because of this fondness, he asked the Muppets not to parody them, but instead to do a \"tasteless tribute to the Western\". In Tantamount Picture's Small in theSaddle, a couple of cowboys, their horses, two outlaws, and the outlaws' cows sing \"Ragtime Cowboy Joe.\" Lew shows up paddling a boat. Much to Statler's shock, Waldorf has apparently turned into a cow.Kermitintroduces a spoof of Tarzan with Gonzo as Tarzan and Lily Tomlin as Jane.Backstage, Kermit tells Beauregard that it is time for his tribute to the Hollywood stuntman. A clip, featuring Beauregard driving Kermit, Fozzieand Gonzo in a taxi is shown.Kermit introduces the next musical number: Piggy performs \"Heat Wave\" in the style of Marilyn Monroe and is backed up by a penguin chorus.Backstage, Kermit congratulates Piggy on herperformance. Piggy wants everyone to see what a great performer Kermit is, by showing a Fred Astaire tribute that he did in The Great Muppet Caper, succeeded by a clip, featuring the song \"Steppin' Out with a Star\".Afterwards, Statler does his own \"tap dance\" routine.In Goon with the Wind, Dudley Moore and Piggy portray Rhett and Scarlett as they watch a fire in the background. The sketch is interrupted by the firefighters fromearlier on. Statler and Waldorf decide to give the sketch three big cheers. Three big chairs are thrown at the two.An introduction by Lew Zealand leads into Cholesterol Pictures' A Frog Too Far, starring Kermit as a WorldWar II air force pilot and Tomlin playing various love interests.The full company performs \"We'll Meet Again\".During the credits, the Muppets leave the Muppet Theatre as Kermit secures the stage door, unaware that hehas locked Dudley Moore and Lily Tomlin in.NotesThe same sets from The Muppet Show are used for this special.Later syndicated alongside The Muppet Show.This is the first time a camera shot of the entrance to theMuppet Theatre is shown at the end of the special.Taped between March 9 and 17 of 1981.Muppet performersJim Henson as Kermit the Frog, Rowlf the Dog, Link Hogthrob, The Swedish Chef, Waldorf, and GladiatorPigFrank Oz as Miss Piggy, Fozzie Bear, Animal, and Sam the EagleJerry Nelson as Floyd Pepper, Lew Zealand, Mulch, Dr. Julius Strangepork, Pops, Announcer, Deputy, Gladiator Pig, Firefighter, and RatRichard Hunt asScooter, Janice, Beaker, Statler, Sheriff, Rat, and CowDave Goelz as Gonzo the Great, Beauregard, Joe, Firefighter, Trumpet Blower, Rat, and HorseSteve Whitmire as Rizzo the Rat, The Scarlet Pimpernel, Jed,Firefighter, and HorseLouise Gold as Popcorn GirlAdditional Muppets performed by Kathryn Mullen, Brian Muehl, Bob Payne, and Rollie Krewson.Passage 3:La Chair de l'orchidéeLa Chair de l'orchidée (The Flesh of theOrchid) is a 1975 film by Patrice Chéreau as his directorial debut, adapted by him and by Jean-Claude Carrière from the 1948 book The Flesh of the Orchid by British writer James Hadley Chase, \"a pulp-novel sequel toNo Orchids for Miss Blandish\" (1939). The film stars Charlotte Rampling, Simone Signoret, Bruno Cremer, Edwige Feuillère and, in a cameo, Alida Valli.PlotClaire is locked up in an isolated building in the grounds of apsychiatric hospital, where the gardener comes in regularly to rape her. Obtaining a knife, she stabs his eyes out and flees. Getting a lift in a lorry, it crashes when the driver has his eyes stabbed out; Emerging from thewreckage, she is rescued by Louis who, with an unstable colleague Marcucci, is on his way to a business meeting in a hotel. While Louis is in the meeting, Marcucci tries to rape Claire and gets his eyes stabbed out.Claire flees and Marcucci, unable to defend himself, is then knifed to death by contract killers, the Berekian brothers.Louis rescues Claire and takes her back to his isolated house, where they spend the night makinglove. However the Berekians are waiting outside and, when the couple emerge, get a knife into Louis. Claire rescues him, leaving him in a safe place while she goes in search of a doctor. She is recognised by a nursefrom the psychiatric hospital, who alerts her aunt who placed her there. In fact she is the heiress to a business empire, which her aunt controls so long as Claire is mentally unfit. Locked up by the nurse, Claire is foundby the Berekians, who abduct her as a bargaining counter. The aunt finds the wounded Louis, who she locks up as a bargaining counter.The Berekians lock Claire up in the care of Lady, a colleague from the days whenall three were circus performers. Feeling sorry for the girl, Lady tells her that she is the result of her dead mother's affair with a circus artiste and lets her escape; As she waits for a train, she is told by an older womanthat she is recognisably insane. She goes to her aunt's house, where Louis is a prisoner, and reunites with him. The accountant of the family firm tells her it is going downhill through the aunt's mismanagement andthat, as the rightful owner, she should take charge.The Berekians sneak in and manage to murder Louis, but Claire stabs out the eyes of one of them. The police arrive and, wounded in her struggle, Claire is taken to ahospital. Lady sneaks in to her with a bunch of flowers, but the two are found by the surviving Berekian. He kills Lady and, after a flashback to a moment of horror when he accidentally killed the woman he loved,commits suicide. With the two bodies on either side of her hospital bed, Claire gets on the phone to the accountant to start running her business.Passage 4:Highway PickupChair de poule (French for \"goosebumps\") is a1963 French crime film directed by Julien Duvivier and starring Robert Hossein, Catherine Rouvel, Jean Sorel and Georges Wilson. The screenplay is based on the 1960 novel Come Easy, Go Easy by James HadleyChase, which took several plot elements from the 1934 novel The Postman Always Rings Twice by James M Cain. The film was released in the United States as Highway Pickup.PlotIn Paris, Daniel and Paul work installingsafes by day and robbing them by night. When a raid goes wrong and a man is killed, Daniel is shot down by the police and jailed. He escapes and, heading south, is given a job and a room by Thomas, who runs anisolated café and garage with his much younger wife Maria. She scorns the drifter her husband has hired until, by chance, she sees an old newspaper that reports his escape. She tells Daniel she will turn him in unlesshe opens the safe where Thomas keeps his cash.When Thomas is out one night, Daniel starts work; but Thomas returns early and after an argument Maria shoots him dead. Once Daniel has buried the body, the two tryto run the place as before, except that they now share a bed. After Daniel rings Paris to tell Paul where he is, Paul joins them and Maria switches her attentions to him, thinking he will be easier to deal with if he opensthe safe that Daniel refuses to touch again. Intruders then wound Daniel so that he is immobilised and, while Maria is out, Paul opens the safe. But she returns early and after an argument he shoots her dead. LeavingDaniel to his fate, he is making off with the money when he is caught at a police roadblock and shot dead.CastRobert Hossein as Daniel BoissetCatherine Rouvel as MariaJean Sorel as Paul GenestGeorges Wilson asThomasLucien Raimbourg as RouxNicole Berger as SimoneJacques Bertrand as MarcJean-Jacques Delbo as JoubertSophie Grimaldi as StarletArmand Mestral as CorenneJean Lefebvre as PriestRobert Dalban asBrigadierExternal linksHighway Pickup at IMDbHighway Pickup at AllMovieChair de poule at “Cinema-francais“ (French)Passage 5:Works of Rachid Taha== Discography ==Albumsas part of Carte de SéjourSolo StudioAlbumsCompilation AlbumsOther AlbumsSinglesas part of Carte de SéjourSoloVideographyas part of Carte De Séjour1984: Bleu De Marseille1987: Douce FranceSolo1991: Barbès1993: Voilà, Voilà1993: Indie1995: NonNon Non1995: Indie (1+1+1)1997: Ya Rayah1998: Ida1999: 1,2,3 Soleils2000: Hey Anta2001: Rachid Taha En Concert Live Paris2004: Tékitoi2004: Rock El Casbah2006: Écoute-Moi Camarade2006: Agatha2007: MaParabole D'Honneur2009: Bonjour2012: Voilà, Voilà2013: Now or Never (feat. Jeanne Added)2019: Je suis africainPassage 6:Our Agent TigerLe tigre se parfume à la dynamite (Our Agent Tiger) is a 1965 secret agentspy film directed by Claude Chabrol and starring and written by Roger Hanin as the Tiger. It is a sequel to the 1964 film Le Tigre aime la chair fraiche.PlotThe Tiger is sent to oversee the excavation of a sunken ship.While busy retrieving the gold treasure inside the vessel, The Tiger is constantly thwarted by international enemies. Among them is an old Nazi named Hans von Wunchendorf who dreams of world domination. He hidesbehind the codename \"The Orchid\" and needs the treasure to sustain a worldwide network of exiled former comrades. Once sanified by the gold his organisation plans to realise the endsieg after all.CastRoger Hanin asLouis Rapière, \"le Tigre\"Margaret Lee as Pamela Mitchum / Patricia JohnsonMichel Bouquet as Jacques VermorelMicaela Pignatelli as Sarita SanchezCarlos Casaravilla as Ricardo SanchezJosé Nieto as Pepe NietoJoséMaría Caffarel as Colonel PontarlierGeorge Rigaud as Commander DamerecBibliographyBlake, Matt; Deal, David (2004). The Eurospy Guide. Baltimore: Luminary Press. ISBN 1-887664-52-1.Passage 7:Je suis timidemais je me soigneJe suis timide mais je me soigne is a French comedy film directed by Pierre Richard released in 1978.PlotPierre Renaud, receptionist in a big hotel, suffers from a crippling shyness. When he falls in lovewith Agnès, winner of a contest, he decides to overcome his shyness and follows Agnès during all her trip.CastPierre Richard as Pierre RenaudAldo Maccione as Aldo FerrariMimi Coutelier as AgnèsJacques François asMonsieur HenriCatherine Lachens as the female truck driverRobert Dalban as the garagistJacques Fabbri as the truck driverRobert Castel as TrinitaJean-Claude Massoulier as GillesFrancis Lax as the wine waiterHélèneManesse as IrèneAdditional informationThe film was a commercial success, Pierre Richard reformed his collaboration with Aldo Maccione the next year in the film C'est pas moi, c'est lui.The film took place in Vichy in thedepartment of Allier, in Nice on the Promenade des Anglais and at the Hotel Negresco, and at Deauville during winter.External linksJe suis timide mais je me soigne at IMDbPassage 8:Je suis un sentimentalJe suis unsentimental is a 1955 French crime film directed by John Berry.PlotBarney Morgan is a reporter who works for a French journal. His editor-in-chief Rupert finds his lover Alice murdered. His boss is the main suspect butBarney doesn't believe his boss could possibly be a murderer. Subsequently he tries to prove the man's innocence.Barney suspects Alice's husband and gathers enough circumstantial evidence to make his point. But thewidower's lawyer can prove he didn't do it neither. Barney concedes he was wrong and commences a new investigation.Digging deeper he discovers something about the journal's publisher and especially about thepublisher's son Oliver. While finding the real killer and proving his guilt Barney wins the heart of beautiful Marianne.CastEddie Constantine as Barney MorganBella Darvi as Marianne ColasOlivier Hussenot as MichelGérardWalter Chiari as Dédé la CouleuvreRobert Lombard as Olivier de VilleterreAndré Versini as Armand Sylvestre, the comedianAlbert Rémy as LedouxPaul Frankeur  as  Jacques RupertAimé Clariond  as Madame deVilleterreCosetta Greco as  Alice GérardAlbert Dinan  as  HenriRené Hell  as  RaymondCharles Bouillaud  as PolicemanPaul Azaïs  as  InspectorJackie Sardou as The conciergePassage 9:Je suis né d'une cigogneJe suis néd'une cigogne (English: Children of the Stork) is a 1999 French road movie directed by Tony Gatlif, starring Romain Duris, Rona Hartner, Ouassini Embarek, Christine Pignet and Marc Nouyrigat. Following its Frenchrelease, it received mixed reviews but was nominated for a Golden Bayard at the International Festival of Francophone Film in Namur, Belgium.The film deals with themes like social exclusion and illegal immigration,along with references to the Romani, as in the other films by the director. Gatlif has also employed the French director Jean-Luc Godard's New Wave techniques in this film.PlotTwo French pals, one an unemployedyoung man named Otto (Romain Duris) living with his mother in state housing, and the other his girlfriend Louna (Rona Hartner), who is a hairdresser and has the bailiffs after her, reflect on the lack of meaning in theirlives, their society and the system. In a spirit of rebellion against everything, they hit the road and what follows is an anarchic adventure. A teenage Arab immigrant named Ali (Ouassini Embarek) enters the story. Ali'sfamily tries to hide its ethnic origins by going to extreme measures in switching to French customs.The trio start wreaking havoc, robbing shops and stealing cars. On their way, they come across an injured stork with abroken wing. The stork speaks to them and says that it is an Algerian refugee, on its way to Germany to reunite with its family. The trio adopt the stork as their father, name it Mohammed, and forge a passport toenable the stork to cross the French–German border.Casting and characterisationThe film's four main characters represent the \"most vulnerable sections\" of society, in tune with Gatlif's earlier films portraying \"socialoutcasts and racial minorities\".  Otto represents the section of unemployed youth who are neither rich nor qualified, with no hopes for a job in the future. Louna represents the underpaid who are exploited by theiremployers. The above characters are played by the same duo, Romain Duris and Rona Hartner, who played the leading roles in Gatlif's previous film, Gadjo dilo.  The third character, the Arab immigrant, Ali (played byOuassini Embarek), is going through an identity crisis and has run away from his family, who are trying to distance themselves from their ethnic origins by, for example, adopting French names. Ali is shown to beinterested in current affairs and is also shown reading Karl Marx. The other character, the stork, represents illegal immigrants.The film encountered production problems due to a quarrel between Rona Hartner and Gatlifwhich led to her walking out midway. This resulted in her abrupt disappearance from the plot in the middle until they patched up much later.Themes and analysisThe film adopts the \"New Wave\" technique of early filmsby Godard, to explore themes of border crossings and social alienation.Gatlif's take on the New WaveThe reviewer in Film de France remarked that with its themes like absurdity and nonconformity, making use ofcharacters like a speaking stork,  and also its filming techniques like jump cuts and multiple exposures, the film feels like \"a blatant homage to the works of Jean-Luc Godard\", and the plot \"looks like a crazy mélange ofGodard's À bout de souffle, Pierrot le Fou and Weekend\". In the reviewer's opinion, Gatlif has overdone these techniques, leading to the film's ending up \"far more substantial and worthy than a shameless appropriationof another director's technique\". ACiD remarked that with his boldness and unconventional style, Gatlif has started a new New Wave trend, which would serve as a notice for both amateur filmmakers and professionalfilm-makers. Chronic'art remarked that the film can be placed between the worse and the better among the works inspired by Godard. Though the filming techniques are similar to Godard's, the film falls short in itsdealing with the unconventional themes, avoiding providing solutions, and rather ending up being a mere \"passive acquiescence\" reflecting on the works of revolutionaries of the era, which is far from rising up to revoltas one would expect in a Godard movie. Time Out London was also critical of Gatlif's attempts at Godard, calling it \"offbeam\".Satirical elementsThe film is packed with a number of references to \"social issues and"}
+{"doc_id":"doc_186","qid":"","text":"Passage 1:Brian Kennedy (gallery director)Brian Patrick Kennedy (born 5 November 1961) is an Irish-born art museum director who has worked in Ireland and Australia, and now lives and works in the UnitedStates.  He was the director of the Peabody Essex Museum in Salem for 17 months, resigning December 31, 2020. He was the director of the Toledo Museum of Art in Ohio from 2010 to 2019. He was the director of theHood Museum of Art from 2005 to 2010, and the National Gallery of Australia (Canberra) from 1997 to 2004.CareerBrian Kennedy currently lives and works in the United States after leaving Australia in 2005 to directthe Hood Museum of Art at Dartmouth College. In October 2010 he became the ninth Director of the Toledo Museum of Art. On 1 July 2019, he succeeded Dan Monroe as the executive director and CEO of the PeabodyEssex Museum.Early life and career in IrelandKennedy was born in Dublin and attended Clonkeen College. He received B.A. (1982), M.A. (1985) and PhD (1989) degrees from University College-Dublin, where he studiedboth art history and history.He worked in the Irish Department of Education (1982), the European Commission, Brussels (1983), and in Ireland at the Chester Beatty Library (1983–85), Government Publications Office(1985–86), and Department of Finance (1986–89). He married Mary Fiona Carlin in 1988.He was Assistant Director at the National Gallery of Ireland in Dublin from 1989 to 1997. He was Chair of the Irish Association ofArt Historians from 1996 to 1997, and of the Council of Australian Art Museum Directors from 2001 to 2003. In September 1997 he became Director of the National Gallery of Australia.National Gallery of Australia(NGA)Kennedy expanded the traveling exhibitions and loans program throughout Australia, arranged for several major shows of Australian art abroad, increased the number of exhibitions at the museum itself andoversaw the development of an extensive multi-media site.  Although he oversaw several years of the museum's highest ever annual visitation, he discontinued the emphasis of his predecessor, Betty Churcher, onshowing \"blockbuster\" exhibitions.During his directorship, the NGA gained government support for improving the building and significant private donations and corporate sponsorship. However, the initial design for thebuilding proved controversial generating a public dispute with the original architect on moral rights grounds.  As a result, the project was not delivered during Dr Kennedy's tenure, with a significantly altered designcompleted some years later.  Private funding supported two acquisitions of British art, including David Hockney's A Bigger Grand Canyon in 1999, and Lucian Freud's After Cézanne in 2001. Kennedy built on theestablished collections at the museum by acquiring the Holmgren-Spertus collection of Indonesian textiles; the Kenneth Tyler collection of editioned prints, screens, multiples and unique proofs; and the Australian PrintWorkshop Archive. He was also notable for campaigning for the construction of a new \"front\" entrance to the Gallery, facing King Edward Terrace, which was completed in 2010 (see reference to the building projectabove).Kennedy's cancellation of the \"Sensation exhibition\" (scheduled at the NGA from 2 June 2000 to 13 August 2000) was controversial, and seen by some as censorship. He claimed that the decision was due to theexhibition being \"too close to the market\" implying that a national cultural institution cannot exhibit the private collection of a speculative art investor. However, there were other exhibitions at the NGA during histenure, which could have raised similar concerns. The exhibition featured the privately owned Young British Artists works belonging to Charles Saatchi and attracted large attendances in London and Brooklyn. Its mostcontroversial work was Chris Ofili's The Holy Virgin Mary, a painting which used elephant dung and was accused of being blasphemous. The then-mayor of New York, Rudolph Giuliani, campaigned against the exhibition,claiming it was \"Catholic-bashing\" and an \"aggressive, vicious, disgusting attack on religion.\" In November 1999, Kennedy cancelled the exhibition and stated that the events in New York had \"obscured discussion of theartistic merit of the works of art\". He has said that it \"was the toughest decision of my professional life, so far.\"Kennedy was also repeatedly questioned on his management of a range of issues during the AustralianGovernment's Senate Estimates process - particularly on the NGA's occupational health and safety record and concerns about the NGA's twenty-year-old air-conditioning system. The air-conditioning was finallyrenovated in 2003. Kennedy announced in 2002 that he would not seek extension of his contract beyond 2004, accepting a seven-year term as had his two predecessors.He became a joint Irish-Australian citizen in2003.Toledo Museum of ArtThe Toledo Museum of Art is known for its exceptional collections of European and American paintings and sculpture, glass, antiquities, artist books, Japanese prints and netsuke. Themuseum offers free admission and is recognized for its historical leadership in the field of art education.  During his tenure, Kennedy has focused the museum's art education efforts on visual literacy, which he defines as\"learning to read, understand and write visual language.\"   Initiatives have included baby and toddler tours, specialized training for all staff, docents, volunteers and the launch of a website, www.vislit.org. In November2014, the museum hosted the International Visual Literacy Association (IVLA) conference, the first Museum to do so. Kennedy has been a frequent speaker on the topic, including 2010 and 2013 TEDx talks on visualand sensory literacy.Kennedy has expressed an interest in expanding the museum's collection of contemporary art and art by indigenous peoples. Works by Frank Stella, Sean Scully, Jaume Plensa, Ravinder Reddy andMary Sibande have been acquired.  In addition, the museum has made major acquisitions of Old Master paintings by Frans Hals and Luca Giordano.During his tenure the Toledo Museum of Art has announced the returnof several objects from its collection due to claims the objects were stolen and/or illegally exported prior being sold to the museum.  In 2011 a Meissen sweetmeat stand was returned to Germany followed by anEtruscan Kalpis or water jug to Italy (2013), an Indian sculpture of Ganesha (2014) and an astrological compendium to Germany in 2015.Hood Museum of ArtKennedy became Director of the Hood Museum of Art in July2005. During his tenure, he implemented a series of large and small-scale exhibitions and oversaw the production of more than 20 publications to bring greater public attention to the museum's remarkable collections ofthe arts of America, Europe, Africa, Papua New Guinea and the Polar regions. At 70,000 objects, the Hood has one of the largest collections on any American college of university campus. The exhibition, BlackWomanhood: Images, Icons, and Ideologies of the African Body, toured several US venues. Kennedy increased campus curricular use of works of art, with thousands of objects pulled from storage for classes annually.Numerous acquisitions were made with the museum's generous endowments, and he curated several exhibitions: including Wenda Gu: Forest of Stone Steles: Retranslation and Rewriting Tang Dynasty Poetry, SeanScully: The Art of the Stripe, and Frank Stella: Irregular Polygons.PublicationsKennedy has written or edited a number of books on art, including:Alfred Chester Beatty and Ireland 1950-1968: A study in cultural politics,Glendale Press (1988), ISBN 978-0-907606-49-9Dreams and responsibilities: The state and arts in independent Ireland, Arts Council of Ireland (1990), ISBN 978-0-906627-32-7Jack B Yeats: Jack Butler Yeats,1871-1957 (Lives of Irish Artists), Unipub (October 1991), ISBN 978-0-948524-24-0The Anatomy Lesson: Art and Medicine (with Davis Coakley), National Gallery of Ireland (January 1992), ISBN978-0-903162-65-4Ireland: Art into History (with Raymond Gillespie), Roberts Rinehart Publishers (1994), ISBN 978-1-57098-005-3Irish Painting, Roberts Rinehart Publishers (November 1997),  ISBN978-1-86059-059-7Sean Scully: The Art of the Stripe, Hood Museum of Art (October 2008), ISBN 978-0-944722-34-3Frank Stella: Irregular Polygons, 1965-1966, Hood Museum of Art (October 2010), ISBN978-0-944722-39-8Honors and achievementsKennedy was awarded the Australian Centenary Medal in 2001 for service to Australian Society and its art. He is a trustee and treasurer of the Association of Art MuseumDirectors, a peer reviewer for the American Association of Museums and a member of the International Association of Art Critics. In 2013 he was appointed inaugural eminent professor at the University of Toledo andreceived an honorary doctorate from Lourdes University. Most recently, Kennedy received the 2014 Northwest Region, Ohio Art Education Association award for distinguished educator for art education.== Notes==Passage 2:Olav AaraasOlav Aaraas (born 10 July 1950) is a Norwegian historian and museum director.He was born in Fredrikstad. From 1982 to 1993 he was the director of Sogn Folk Museum, from 1993 to 2010 hewas the director of Maihaugen and from 2001 he has been the director of the Norwegian Museum of Cultural History. In 2010 he was decorated with the Royal Norwegian Order of St. Olav.Passage 3:MichaelDominicMichael Dominic (born June 18, 1970) is an American filmmaker and photojournalist who grew up in New York City. He is best known for his documentary Sunshine Hotel, which won three awards for bestdocumentary.Early lifeDominic was born in Washington D.C., the son of Stephanie and Joseph Dominic. In 1971 his family moved to the Riverdale section of the Bronx, New York.He studied film at School of Visual Artsin New York City from 1990 to 1993.CareerDominic has made several films, most notably the feature-length documentaries Sunshine Hotel and Clean Hands, and the narrative short \"Tulips for Daisy\".Sunshine Hotel, adocumentary about one of the last flophouses on New York City's Bowery, won three best documentary awards and was nominated for another dozen or so. After its festival run of almost 30 film festivals it aired on theSundance Channel from 2002 to 2004.\"Tulips for Daisy\", a narrative film set in Amsterdam, was also nominated for several awards, most notably in the Akira Kurosawa Memorial Short Film Competition.As aphotojournalist Dominic has traveled to places including Haiti, Honduras, Guatemala, and Nicaragua. His photography has appeared in dozens of outlets including The Sunday Telegraph, Tribune De Geneve,France-Amérique, The New York Daily News, The Wall Street Journal, The New York Post, Playboy, Redbook, Le Figaro, Le Parisien, Bilan, Chåtelaine, and L'actualité.In July 2012 Dominic was recognized as a finalist forThe New York Foundation for the Arts 2012 fellowship.In January 2019 Dominic completed the feature documentary Clean Hands, about the Lopez family surviving against the backdrop of Central America’s largestgarbage dump, La Chureca in Managua, Nicaragua. The film debuted at the 29th Annual Cinequest Film Festival April 9, 2019, where it won Best Documentary Feature. It went on to win a total of 11 awards.Filmographyas directorSoup & the Dead (1994)Sunshine Hotel (2001)Tulips for Daisy (2006)Clean Hands (2019)Passage 4:Veigar MargeirssonVeigar Margeirsson (born 1972) is a film score composer from Iceland. He composedthe original score for Eric Schaeffer's 2004 film Mind the Gap. He was also one of the composers who arranged and orchestrated Clint Mansell's Lux Aeterna from Requiem for a Dream for full orchestra and choir for TheLord of the Rings: The Two Towers trailer. The piece, named \"Requiem for a Tower\", was made exclusively for the trailer and was featured in neither Requiem for a Dream nor The Lord of the Rings film trilogy.SeealsoTrailer musicPassage 5:Requiem for DominicRequiem for Dominic (German: Requiem für Dominik) is a 1991 Austrian drama film directed by Robert Dornhelm. The film was selected as the Austrian entry for the BestForeign Language Film at the 63rd Academy Awards, but was not accepted as a nominee.CastGeorg Hoffmann-OstenhofGeorg MetzenradFelix MittererWerner PrinzAntonia RadosAugust SchmölzerNikolas VogelSeealsoList of submissions to the 63rd Academy Awards for Best Foreign Language FilmList of Austrian submissions for the Academy Award for Best Foreign Language FilmPassage 6:Peter LevinPeter Levin is an Americandirector of film, television and theatre.CareerSince 1967, Levin has amassed a large number of credits directing episodic television and television films. Some of his television series credits include Love Is a ManySplendored Thing, James at 15, The Paper Chase, Family, Starsky & Hutch, Lou Grant, Fame, Cagney & Lacey, Law & Order and Judging Amy.Some of his television film credits include Rape and Marriage: The RideoutCase (1980), A Reason to Live (1985), Popeye Doyle (1986), A Killer Among Us (1990), Queen Sized (2008) and among other films. He directed \"Heart in Hiding\", written by his wife Audrey Davis Levin, for which shereceived an Emmy for Best Day Time Special in the 1970s.Prior to becoming a director, Levin worked as an actor in several Broadway productions. He costarred with Susan Strasberg in \"[The Diary of Ann Frank]\" buthad to leave the production when he was drafted into the Army. He trained at the Carnegie Mellon University. Eventually becoming a theatre director, he directed productions at the Long Wharf Theatre and the PacificResident Theatre Company. He also co-founded the off-off-Broadway Theatre [the Hardware Poets Playhouse] with his wife Audrey Davis Levin and was also an associate artist of The Interact Theatre Company.Passage7:Antony DominicJustice Antony Dominic (Malayalam: \u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000; born 30 May 1956) was the Chief Justice at the High Court of Kerala. The High Court, headquartered at Ernakulam, is the highestcourt in the Indian state of Kerala and in the Union Territory of Lakshadweep.  He was the Chairman of the State Human Rights Commission of Kerala.EducationDominic obtained his degree in law from S.D.M. LawCollege, Mangalore.CareerHe started his practice in Munsiff's Court and JFCM, Kanjirappally in 1981. Later, Dominic shifted to Kerala High Court at Ernakulam in 1986. He acquired extensive experience in Company,Labour and Constitutional laws. Dominic was appointed Additional Judge of the Kerala High Court in January 2007 and promoted to be a Permanent Judge in December 2008. He was elevated to the post of Chief Justice,High Court of Kerala from 6 February 2018 and his tenure ended on 29 May 2018. Currently he is the Chairman of State Human Rights Commission of Kerala.Passage 8:Jesse E. HobsonJesse Edward Hobson (May 2,1911 – November 5, 1970) was the director of SRI International from 1947 to 1955. Prior to SRI, he was the director of the Armour Research Foundation.Early life and educationHobson was born in Marshall, Indiana. Hereceived bachelor's and master's degrees in electrical engineering from Purdue University and a PhD in electrical engineering from the California Institute of Technology. Hobson was also selected as a nationallyoutstanding engineer.Hobson married Jessie Eugertha Bell on March 26, 1939, and they had five children.CareerAwards and membershipsHobson was named an IEEE Fellow in 1948.Passage 9:Robert DornhelmRobertDornhelm (born 17 December 1947 in Temesvár, Romania) is an Austrian  film and television director.BiographyDornhelm is of Jewish descent. He has worked on numerous television programmes and has also releasedsuch movies as Echo Park, The Venice Project, The Unfish, and A Further Gesture. In 1998 The Unfish won the Citizen's Choice Award at the Puchon International Fantastic Film Festival.He directed the 1977documentary film The Children of Theatre Street, which was nominated for an Academy Award.Dornhelm directed the television miniseries Anne Frank: The Whole Story (2001), for which he was nominated for anEmmy Award. He also directed the new TV adaptation Spartacus (2004) and the 2011 film The Amanda Knox Story.Decorations and awards1978: Nominations for Academy Award for Best Documentary for The Childrenof Theatre Street2007: Romy Award for Best Director for Kronprinz Rudolfs letzte Liebe (The Crown Prince)2006: Austrian Cross of Honour for Science and ArtSelected filmographyThe Children of Theatre Street(1977)She Dances Alone (1981)Echo Park (1986)Cold Feet (1989)Requiem für Dominik (1991)Fatal Deception: Mrs. Lee Harvey Oswald (1993, TV film)The Unfish (1997)A Further Gesture (1997)The Venice Project(1999)Anne Frank: The Whole Story (2001, TV miniseries)Sins of the Father (2002, TV film)RFK (2002, TV film)Rudy: The Rudy Giuliani Story (2003, TV film)Spartacus (2004, TV film) by novel of Howard FastSuburbanMadness (2004, TV film)Identity Theft: The Michelle Brown Story (2004, TV film)The Ten Commandments (2006, TV film)Kronprinz Rudolfs letzte Liebe (The Crown Prince) (2006, TV film)War and Peace (2007, TVminiseries) by novel of Leo TolstoyLa Bohème (2008)Udo Proksch: Out of Control (2010)Amanda Knox: Murder on Trial in Italy (2011, TV film)Die Schatten, die dich holen (2011, TV film)K2 - La montagna degli italiani(2012, TV miniseries)Das Sacher (2016, TV film)Maria Theresa (2017, miniseries)Passage 10:Ian Barry (director)Ian Barry is an Australian director of film and TV.Select creditsWaiting for Lucas (1973) (short)Stone(1974) (editor only)The Chain Reaction (1980)Whose Baby? (1986) (mini-series)Minnamurra (1989)Bodysurfer (1989) (mini-series)Ring of Scorpio (1990) (mini-series)Crimebroker (1993)Inferno (1998) (TVmovie)Miss Lettie and Me (2002) (TV movie)Not Quite Hollywood: The Wild, Untold Story of Ozploitation! (2008) (documentary)The Doctor Blake Mysteries (2013)"}
+{"doc_id":"doc_187","qid":"","text":"Passage 1:Jack Shea (director)Jack Shea (August 1, 1928 – April 28, 2013) was an American film and television director. He was the president of the Directors Guild of America from 1997 to 2002.Life and careerBornJohn Francis Shea, Jr., Shea's father was a traveling salesman and his mother a bookkeeper. He received a parochial high school education, later attaining a degree in history from Fordham University. Shea broke intothe entertainment industry in 1951, initially as a stage manager for the TV series Philco Playhouse, and, following two years of service with the United States Air Force, serving from 1952 to 1954, during the KoreanWar, making instructional films in Los Angeles, and later becoming an associate director.Among the TV shows he contributed to during this period include The Jerry Lewis Show and The Bob Hope Specials, where helater shared a Primetime Emmy Award nomination for in 1961. By the late 1950s, Shea had become instrumental in forming the Radio and Television Directors Guild (merged with the Screen Directors Guild in 1960 toform The Directors Guild of America) and was a strong voice for the hiring of minorities in the industry. During the 1970s, he began an association with producers Bud Yorkin and Norman Lear, directing episodes fromtwo of their projects in the 1970s, the series Sanford and Son and The Jeffersons (110 episodes for the latter). Among his other credits include The Waltons, Silver Spoons (91 episodes), Growing Pains and DesigningWomen, the last earning him a second Primetime Emmy Award nomination. From 1997 until 2002, he served as president of the Directors Guild.A lifelong Catholic, Shea was a co-founder, with his wife Patt and otherprominent Catholics in the Hollywood entertainment community, of the Hollywood-based Catholics in Media Associates (CIMA), which he was also past president of. Shea and Patt Shea jointly received the CIMA LifetimeAchievement Award in 2002 from the organization of Catholic entertainment industry professionals which celebrates its 20th anniversary in 2013. Shea was also a former member of the United States Conference ofCatholic Bishops Committee for Communications.Personal life and familyOn January 2, 1954, Shea married the former Patricia C. Carmody, who, later known as Patt Shea, became a three-time HumanitasAward-nominated screenwriter whose credits include the CBS-TV series All in the Family, story editor and/or writer for 38 episodes of Archie Bunker's Place, in addition to screenwriter for episodes of Lou Grant, Valerie,Cagney & Lacey, In The Heat of The Night, Bagdad Café, and the CBS pilot for Gloria, Sally Struthers’ spin-off from the popular All In The Family TV series, among many other television series. The couple, who residedin Studio City, CA for over 30 years, have five children, three of whom are currently DGA members* and 1st Assistant Directors*: Shawn Shea*; Elizabeth (now deceased); William (“Bill”) Shea*; Michael J. Shea* andJohn Francis (“Jay”) Shea III.DeathShea died of complications from Alzheimer's disease.Passage 2:Mark Lewis (filmmaker)Mark Lewis is an Australian documentary film and television producer, director and writer. He isfamous for his film Cane Toads: An Unnatural History and for his body of work on animals. Unlike many other producers of nature films, his films do not attempt to document the animals in question or their behaviorsbut rather the complex relationships between people and society and the animals they interact with.His films have earned him many awards, including a British Academy Award nomination, a nomination from theDirectors Guild of America, two Emmy's for Outstanding Direction in documentary film, and an Emmy Award for Outstanding Science Program on American Television.As a student Lewis helped planning Philippe Petit'sfamous 1974 high-wire walk between the Twin Towers of the World Trade Center. He talks about his involvement in the acclaimed documentary Man on Wire (2008).Filmography(2010) Cane Toads: The Conquest(2007)The Pursuit of Excellence(2006) The Floating Brothel(2006) The Standard of Perfection: Show Cats(2006) The Standard of Perfection - Show Cattle(2000) The Natural History of the Chicken(1999) Animalicious(1998)Rat(1994) Gordy.(1990) The Wonderful World of Dogs(1989) Round the Twist(1988) Cane Toads: An Unnatural HistoryPassage 3:John WatersJohn Samuel Waters Jr. (born April 22, 1946) is an American filmmaker,writer, actor, and artist. He rose to fame in the early 1970s for his transgressive cult films, including Multiple Maniacs (1970), Pink Flamingos (1972) and Female Trouble (1974). He wrote and directed the comedy filmHairspray (1988), which became an international success and was later adapted into a hit Broadway musical and a 2007 musical film. He has written and directed other films, including Polyester (1981), Cry-Baby(1990), Serial Mom (1994), Pecker (1998), and Cecil B. Demented (2000). His films contain elements of post-modern comedy and surrealism. Waters often worked with actor and drag queen Divine and his regular castof the Dreamlanders.As an actor, Waters has appeared in Sweet and Lowdown (1999), Seed of Chucky (2004), 'Til Death Do Us Part (2007), Mangus! (2011), Excision (2012), and Suburban Gothic (2014). Morerecently, he performs in his touring one-man show This Filthy World.Waters also works as a visual artist and across different media, such as installations, photography, and sculpture. In 2016, he received an honorarydegree from the Maryland Institute College of Art. The audiobooks he narrated for his books Carsick and Mr. Know-It-All were nominated for the Grammy Award for Best Spoken Word Album in 2015 and 2020,respectively. In 2018, Waters was named an officer of the Order of Arts and Letters in France.Early lifeWaters was born on April 22, 1946, in Baltimore, Maryland, one of four children born to Patricia Ann (née Whitaker)and John Samuel Waters, a manufacturer of fire-protection equipment. He was raised Roman Catholic by his mother, though his father was not Roman Catholic. Through his mother, who immigrated to the United Statesfrom Victoria, British Columbia, Canada as a child, he is the great-great-great-grandson of George Price Whitaker of the Whitaker iron family. Waters grew up in Lutherville, Maryland, a suburb of Baltimore. His boyhoodfriend and muse, Glenn Milstead, later known as Divine, also lived in Lutherville. Waters lived at 313 Morris Avenue in Lutherville from his early teenage years until he moved out in his early twenties. Waters andMilstead shot many of their early films at the house, dubbing the front lawn the \"Dreamland Lot\".The film Lili inspired an interest in puppets in the seven-year-old Waters, who proceeded to stage violent versions ofPunch and Judy for children's birthday parties. Biographer Robrt L. Pela says that Waters's mother believes the puppets in Lili had the greatest influence on Waters's subsequent career (though Pela believes tacky filmsat a local drive-in, which the young Waters watched from a distance through binoculars, had a greater effect).Cry-Baby was also a product of Waters's boyhood, because of his fascination as a seven-year-old with the\"drapes\" then receiving intense news coverage because of the murder of Carolyn Wasilewski, a young \"drapette\", and his admiration for a young man living across the street who had a hot rod.Waters was privatelyeducated at the Calvert School in Baltimore. After attending Towson Jr. High School in Towson, Maryland, and Calvert Hall College High School in nearby Towson, he graduated from Boys' Latin School of Maryland. Whilestill a teen, he made frequent trips into downtown Baltimore to visit Martick's, a beatnik bar, where he and Milstead met many of their later film collaborators. He was underage and couldn't enter the bar proper, butloitered in the adjacent alley, where he relied on the kindness of patrons to slip him drinks.CareerEarly careerWaters's first short film was Hag in a Black Leather Jacket.MGM's The Wizard of Oz (1939) had a profoundeffect on Waters' creative mind, He said about it:I was always drawn to forbidden subject matter in the very, very beginning. The Wizard of Oz opened me up because it was one of the first movies I ever saw. It openedme up to villainy, to screenwriting, to costumes. And great dialogue. I think the witch has great, great dialogue.Waters has stated that he takes an equal amount of joy and influence from high-brow \"art\" films andsleazy exploitation films.In January 1966, Waters and some friends were caught smoking marijuana on the grounds of NYU, and he was soon kicked out of his dormitory. He returned to Baltimore, where he completedhis next two short films, Roman Candles and Eat Your Makeup. They were followed by the feature-length films Mondo Trasho and Multiple Maniacs.Waters's films became Divine's primary star vehicles. All of Waters'searly films were shot in the Baltimore area with his company of local actors, the Dreamlanders—which, in addition to Divine, included Mink Stole, Cookie Mueller, Edith Massey, David Lochary, Mary Vivian Pearce, SusanWalsh, and others. Waters met Edith Massey while she was a bartender at Pete's Hotel.Waters's early campy movies present exaggerated characters in outrageous situations with hyperbolic dialogue. Pink Flamingos,Female Trouble and Desperate Living, which he labeled the Trash Trilogy, pushed hard at the boundaries of conventional propriety and censorship.Move toward the mainstreamWaters's 1981 film Polyester starredDivine opposite former teen idol Tab Hunter. It was the first time that Waters was not the primary camera operator for his own work, as he had started collaborating with local film student David Insley. Since then, hisfilms have become less controversial and more mainstream, although works such as Hairspray, Cry-Baby, Serial Mom, Pecker and Cecil B. Demented still retain his trademark inventiveness. Hairspray, the last film heproduced, became a hit Broadway musical that swept the 2003 Tony Awards; and a film adaptation of the Broadway musical was released in theaters on July 20, 2007 to positive reviews and commercial success.Cry-Baby, itself a musical, also became a Broadway musical.In 2004, the NC-17-rated A Dirty Shame marked a return to Waters' earlier, more controversial work of the 1970s. Currently, it is the most recent film hedirected.In 2007, Waters became the host (\"The Groom Reaper\") of 'Til Death Do Us Part, a program on America's Court TV network.In 2008, he planned to make a children's Christmas film, Fruitcake starring JohnnyKnoxville and Parker Posey. Filming was set for November 2008, but the project was shelved in January 2009. In 2010, Waters told the Chicago Tribune that \"Independent films that cost $5 million are very hard to getmade. I sold the idea, got a development deal, got paid a great salary to write it—and now the company is no longer around, which is the case with many independent film companies these days.\"In October 2022, itwas announced that Waters will adapt his novel, Liarmouth, into a film. Village Roadshow Pictures will produce, and Waters will write and direct.Waters has often created characters with alliterated names for his films,such as Corny Collins, Cuddles Kovinsky, Donald and Donna Dasher, Dawn Davenport, Fat Fuck Frank, Francine Fishpaw, Link Larkin, Motormouth Maybelle, Mole McHenry, Penny and Prudy Pingleton, Ramona Ricketts,Sandy Sandstone, Sylvia Stickles, Todd Tomorrow, Tracy Turnblad, Ursula Udders, Wade Walker and Wanda Woodward.Other venturesWaters is a bibliophile, with a collection of over 8,000 books. In 2011, during a visitto the Waters house in Baltimore, Andrew Edgecliffe-Johnson observed:Bookshelves line the walls but they are not enough. The coffee table, desk and side tables are heaped with books, as is the replica electric chair inthe hall. They range from Taschen art tomes such as The Big Butt Book to Jean Genet paperbacks and a Hungarian translation of Tennessee Williams with a pulp fiction cover. In one corner sits a doll from the horrorspoof Seed of Chucky, in which Waters appeared. It feels like an eccentric professor's study, or a carefully curated exhibition based on the life of a fictional character. Waters has had his fan mail delivered to AtomicBooks, an independent bookstore in Baltimore, for over 20 years.Puffing constantly on a cigarette, Waters appeared in a short film, shown in film art houses, announcing that \"no smoking is permitted\" in the theaters.The spot was directed by Douglas Brian Martin and produced by Douglas Brian Martin and Steven M. Martin. They also created two other short films, for the Nuart Theatre (a Landmark Theater) in West Los Angeles,California, in appreciation for their showing Pink Flamingos for many years. It is shown immediately before any of Waters' films, and before the midnight showing of The Rocky Horror Picture Show.Waters played aminister in Blood Feast 2: All U Can Eat, directed by Herschell Gordon Lewis.Waters is a board member of the Maryland Film Festival, and has selected and hosted a favorite film there each year since its launch in 1999.He is also on the advisory board of the Provincetown International Film Festival, and has hosted events and presented awards there every year since it was founded in 1999.He is a contributor to Artforum magazine andauthor of its year-end Top Ten Films list.Waters hosts an annual performance, \"A John Waters Christmas\", which was launched in 1996 at the Castro Theatre in San Francisco, and in 2018 toured 17 cities over 23days.In 2014, Waters began hosting an annual \"Camp John Waters\" event in Kent, Connecticut. Adult fans from as far away as Australia and Chile \"relive their sleepaway camping days\" with an \"extra-campy themeweekend.\" Notable guests have included Debbie Harry, Patricia Hearst, Kathleen Turner, Mink Stole and Randy Harrison.In 2019, the Film Society of Lincoln Center celebrated its 50th anniversary at a gala where JohnWaters spoke in tribute to the Center along with Martin Scorsese, Dee Rees, Pedro Almodovar, Tilda Swinton, Jake Gyllenhaal, Michael Moore, Paul Dano and Zoe Kazan.Fine artSince the early 1990s, Waters has beenmaking photo-based artwork and installations that have been internationally exhibited in galleries and museums. In 2004, the New Museum in New York City presented a retrospective of his artwork curated by MarvinHeiferman and Lisa Phillips. His most recent exhibition John Waters: Indecent Exposure was exhibited at the Baltimore Museum of Art from October 2018 to January 2019 and later traveled to the Wexner Center for theArts. Prior to that, Waters exhibited Rear Projection in April 2009, at the Marianne Boesky Gallery in New York and the Gagosian Gallery in Los Angeles. Waters has been represented by C. Grimaldis Gallery in Baltimore,Maryland, since 2002 and by Marianne Boesky Gallery in New York since 2006.Waters's pieces are often comical, such as Rush (2009), a super-sized, tipped-over bottle of poppers (nitrite inhalants), and Hardy Har(2006), a photograph of flowers that squirts water at anyone who traverses a taped line on the floor. Waters has characterized his art as conceptual: \"The craft is not the issue here. The idea is. And the presentation.\"InNovember 2020, Waters promised to donate 372 artworks from his personal collection, including some of his own work as well as pieces by 125 artists, including Andy Warhol, Roy Lichtenstein, Cy Twombly, CindySherman and more, to the Baltimore Museum of Art. In recognition of the donation, the museum named its rotunda after Waters, but Waters also insisted the museum name an all-gender bathroom after him. Both therotunda and the bathroom were renamed for Waters in time for the opening of the first exhibition of his bequeathed collection, Coming Attractions: The John Waters Collection on November 20, 2022. Waters, whoserves on the museum's board of directors, has stated the museum will fully acquire all of his art after his death.CarsickWith the motif \"My life is so over-scheduled, what will happen if I give up control?\", Waterscompleted a hitchhiking journey across the United States from Baltimore to San Francisco, turning his adventures into a book titled Carsick. On May 15, 2012, while on the hitchhiking trip, Waters was picked up by20-year-old Myersville, Maryland, councilman Brett Bidle, who thought Waters was a homeless hitchhiker standing in the pouring rain. Feeling bad for Waters, he agreed to drive him four hours to Ohio.The next day,indie rock band Here We Go Magic tweeted that they had picked John Waters up hitchhiking in Ohio. He was wearing a hat with the text \"Scum of the Earth\". In Denver, Colorado, Waters reconnected with Bidle (whohad made an effort to catch up with him); Bidle then drove him another 1,000 miles (1,600 km) to Reno, Nevada. Before parting ways, Waters arranged for Bidle to stay at his San Francisco apartment: \"I thought, youknow what, he wanted an adventure, too ... He's the first Republican I'd ever vote for.\"Bidle later said: \"We are polar opposites when it comes to our politics, religious beliefs. But that's what I loved about the whole trip.It was two people able to agree to disagree and still move on and have a great time. I think that's what America's all about.\"Personal lifeAlthough he maintains apartments in New York City and (since 2008) in SanFrancisco's Nob Hill, as well as a summer home in Provincetown, Waters mainly resides in Baltimore. All his films are set and shot there. He is recognizable by his trademark pencil moustache.An openly gay man, Watersis an avid supporter of gay rights and gay pride. In a 2019 interview, he said that he dislikes publicly discussing his personal life, adding that he had a partner but that they both preferred to keep the relationshipprivate.Waters was a great fan of the music of Little Richard when growing up. He has said that, ever since he shoplifted a copy of the Little Richard song \"Lucille\" in 1957, at the age of 11, \"I've wished I could somehowclimb into Little Richard's body, hook up his heart and vocal cords to my own, and switch identities.\" In 1987, Playboy magazine employed Waters, then aged 41, to interview his idol, but the interview did not go well,with Waters later remarking: \"It turned into kind of a disaster.\"In 2009, Waters advocated the parole of former Manson family member Leslie Van Houten. He devotes a chapter to Van Houten in his book Role Models(2010).Throughout his life, Waters has been open about his recreational drug use, including marijuana and LSD, particularly in regards to his creative process. Waters began using LSD as a teenager, \"tak[ing] LSD andsee[ing]…movies all the time\". Waters was often on LSD while making his early films, claiming in a 2016 interview \"I was on LSD [during Multiple Maniacs], I don't remember [how long it took to shoot the film]!\" Even inhis 70s, Waters used LSD recreationally.Waters was a smoker before quitting around 2004, saying \"the only thing I've ever regretted in my whole life [was] smoking cigarettes. Because it was a nightmare giving up. It'sthe only thing the government ever told me that was true: It does kill you!\" In 2022, Waters said that if he were to write his younger self a letter, he would say \"quit smoking [cigarettes] and do everythingelse\".FilmographyAs actorTelevisionDocumentary appearancesOther creditsThis Filthy World –  Waters's touring one-man show, made into a feature film directed by Jeff GarlinA John Waters Christmas –  A CD ofChristmas songs compiled by WatersMommie Dearest (1981) –  Audio commentary on film's \"Hollywood Royalty Edition\" DVD release (2006)The Little Mermaid Special Edition DVD (2006) –  Interview on 'making of'documentary about Howard Ashman, the theatre (i.e. Little Shop of Horrors), and the inspiration behind the character Ursula: DivineA Date with John Waters (2007), a CD collection of songs Waters findsromanticChristmas Evil DVD release (2006) –  Audio commentaryBreaking Up with John Waters –  Waters's third CD compilation is currently in the worksThe Other Hollywood –  Commentary and opinions aboutpornography throughout the book\"The Creep\" (featuring Nicki Minaj) –  Appeared on a television set in The Lonely Island's music video \"The Creep\", which made its debut on Saturday Night Live. Waters gives theintroduction to the song and he is credited as a featured artist on the album.Art:21 –  Introducing Host for Season Two, \"Stories\" episode –  PBS DVD seriesPublished worksWaters, John (1981). Shock Value. New York:Dell Pub. Co. ISBN 0-440-57871-X.Waters, John (1986). Crackpot: The Obsessions of John Waters. New York: Scribner. ISBN 0-02-624440-3.Waters, John; Hainley, Bruce (2003). Art: A Sex Book. New York: Thames &Hudson. ISBN 0-500-28435-0.Waters, John (2010). Role Models. New York: Farrar, Straus and Giroux. ISBN 978-0-374-25147-5.Waters, John (2014). Carsick: John Waters Hitchhikes Across America. New York:"}
+{"doc_id":"doc_188","qid":"","text":"Passage 1:Greg A. Hill (artist)Greg A. Hill is a Canadian-born First Nations artist and curator. He is Kanyen'kehà:ka Mohawk, from Six Nations of the Grand River Territory, Ontario.Early lifeHill was born and raised inFort Erie, Ontario.Art careerHis work as a multidisciplinary artist focuses primarily on installation, performance and digital imaging and explores issues of his Mohawk and French-Canadian identity through the prism ofcolonialism, nationalism and concepts of place and community.Hill has been exhibiting his work since 1989, with solo exhibitions and performance works across Canada as well as group exhibitions in North America andabroad. His work can be found in the collections of the Canada Council, the Indian Art Centre, Indian and Northern Affairs Canada, the Canadian Native Arts Foundation (now Indspire), the Woodland Cultural Center, theCity of Ottawa, the Ottawa Art Gallery and the International Museum of Electrography.Curatorial careerHill serves as the Audain Senior Curator of Indigenous Art at the National Gallery of Canada.Awards and honoursIn2018, Hill received the Indspire Award for Arts.Passage 2:John McMahon (Surrey and Somerset cricketer)John William Joseph McMahon (28 December 1917 – 8 May 2001) was an Australian-born first-class cricketerwho played for Surrey and Somerset County Cricket Clubs in England from 1947 to 1957.Surrey cricketerMcMahon was an orthodox left-arm spin bowler with much variation in speed and flight who was spotted bySurrey playing in club cricket in North London and brought on to the county's staff for the 1947 season at the age of 29. In the first innings of his first match, against Lancashire at The Oval, he took five wickets for 81runs.In his first full season, 1948, he was Surrey's leading wicket-taker and in the last home game of the season he was awarded his county cap – he celebrated by taking eight Northamptonshire wickets for 46 runs atThe Oval, six of them coming in the space of 6.3 overs for seven runs. This would remain the best bowling performance of his first-class career, not surpassed, but he did equal it seven years later. In the followinggame, the last away match of the season, he took 10 Hampshire wickets for 150 runs in the match at Bournemouth. In the 1948 season as a whole, he took 91 wickets at an average of 28.07. As a tail-end left-handedbatsman, he managed just 93 runs in the season at an average of 4.22.The emergence of Tony Lock as a slow left-arm bowler in 1949 brought a stuttering end of McMahon's Surrey career. Though he played in 12first-class matches in the 1949 season, McMahon took only 19 wickets; a similar number of matches in 1950 brought 34 wickets. In 1951, he played just seven times and in 1952 only three times. In 1953, Lock split thefirst finger of his left hand, and played in only 11 of Surrey's County Championship matches; McMahon played as his deputy in 14 Championship matches, though a measure of their comparative merits was that Lock's11 games produced 67 wickets at 12.38 runs apiece, while McMahon's 14 games brought him 45 wickets at the, for him, low average of 21.53. At the end of the 1953 season, McMahon was allowed to leave Surrey tojoin Somerset, then languishing at the foot of the County Championship and recruiting widely from other counties and other countries.Somerset cricketerSomerset's slow bowling in 1954 was in the hands of leg-spinnerJohnny Lawrence, with support from the off-spin of Jim Hilton while promising off-spinner Brian Langford was on national service. McMahon filled a vacancy for a left-arm orthodox spinner that had been there since theretirement of Horace Hazell at the end of the 1952 season; Hazell's apparent successor, Roy Smith, had failed to realise his promise as a bowler in 1953, though his batting had advanced significantly.McMahon instantlybecame a first-team regular and played in almost every match during his four years with the county, not missing a single Championship game until he was controversially dropped from the side in August 1957, afterwhich he did not play in the Championship again.In the 1954 season, McMahon, alongside fellow newcomer Hilton, was something of a disappointment, according to Wisden: \"The new spin bowlers, McMahon and Hilton,did not attain to the best standards of their craft in a wet summer, yet, like the rest of the attack, they would have fared better with reasonable support in the field and from their own batsmen,\" it said. McMahon took85 wickets at an average of 27.47 (Hilton took only 42 at a higher average). His best match was against Essex at Weston-super-Mare where he took six for 96 in the first innings and five for 45 in the second to finishwith match figures of 11 for 141, which were the best of his career. He was awarded his county cap in the 1954 season, but Somerset remained at the bottom of the table.The figures for the 1955 were similar: McMahonthis time took 75 wickets at 28.77 apiece. There was a small improvement in his batting and the arrival of Bryan Lobb elevated McMahon to No 10 in the batting order for most of the season, and he responded with 262runs and an average of 9.03. This included his highest-ever score, 24, made in the match against Sussex at Frome. A week later in Somerset's next match, he equalled his best-ever bowling performance, taking eightKent wickets for 46 runs in the first innings of a match at Yeovil through what Wisden called \"clever variation of flight and spin\". These matches brought two victories for Somerset, but there were only two others in the1955 season and the side finished at the bottom of the Championship for the fourth season running.At the end of the 1955 season, Lawrence retired and McMahon became Somerset's senior spin bowler for the 1956season, with Langford returning from National Service as the main support. McMahon responded with his most successful season so far, taking 103 wickets at an average of 25.57, the only season in his career in whichhe exceeded 100 wickets. The bowling average improved still further in 1957 to 23.10 when McMahon took 86 wickets. But his season came to an abrupt end in mid-August 1957 when, after 108 consecutiveChampionship matches, he was dropped from the first team during the Weston-super-Mare festival. Though he played some games for the second eleven later in August, he regained his place in the first team for only asingle end-of-season friendly match, and he was told that his services were not required for the future, a decision, said Wisden, that \"proved highly controversial\".Sacked by SomersetThe reason behind McMahon'ssacking did not become public knowledge for many years. In its obituary of him in 2002, McMahon was described by Wisden as \"a man who embraced the antipodean virtues of candour and conviviality\". It went on:\"Legend tells of a night at the Flying Horse Inn in Nottingham when he beheaded the gladioli with an ornamental sword, crying: 'When Mac drinks, everybody drinks!'\" The obituary recounts a further escapade in secondeleven match at Midsomer Norton where a curfew imposed on the team was circumvented by \"a POW-type loop\" organised by McMahon, \"with his team-mates escaping through a ground-storey window and thenpresenting themselves again\". As the only Somerset second eleven match that McMahon played in at Midsomer Norton was right at the end of the 1957 season, this may have been the final straw. But in any case therehad been \"an embarrassing episode at Swansea's Grand Hotel\" earlier in the season, also involving Jim Hilton, who was also dismissed at the end of the season. Team-mates and club members petitioned for McMahonto be reinstated, but the county club was not to be moved.After a period in Lancashire League cricket with Milnrow Cricket Club, McMahon moved back to London where he did office work, later contributing some articlesto cricket magazines.== Notes and references ==Passage 3:Wale AdebanwiWale Adebanwi (born 1969) is a Nigerian-born first Black Rhodes Professor at St Antony's College, Oxford where he was, until June 2021, aProfessor of Race Relations, and the Director of the African Studies Centre, School of Interdisciplinary Area Studies, and a Governing Board Fellow. He is currently a Presidential Penn Compact Professor of AfricanaStudies at the University of Pennsylvania. Adebanwi's research focuses on a range of topics in the areas of social change, nationalism and ethnicity, race relations, identity politics, elites and cultural politics, democraticprocess, newspaper press and spatial politics in Africa.Education backgroundWale Adebanwi graduated with a first degree in Mass Communication from the University of Lagos, and later earned his M.Sc. and Ph.D. inPolitical Science from the University of Ibadan. He also has an MPhil. and a Ph.D. in Social Anthropology from the University of Cambridge.CareerAdebanwi worked as a freelance reporter, writer, journalist and editor formany newspapers and magazines before he joined the University of Ibadan's Department of Political Science as a lecturer and researcher. He was later appointed as an assistant professor in the African American andAfrican Studies Department of the University of California, Davis, USA. He became a full professor at UC Davis in 2016.Adebanwi is the co-editor of Africa: Journal of the International African Institute and the Journal ofContemporary African Studies.WorksHis published works include:Nation as Grand Narrative: The Nigerian Press and the Politics of Meaning (University of Rochester Press, 2016)Yoruba Elites and Ethnic Politics inNigeria: Obafemi Awolowo and Corporate Agency (Cambridge University Press, 2014)Authority Stealing: Anti-corruption War and Democratic Politics in Post-Military Nigeria (Carolina Academic Press, 2012)In addition,he is the editor and co-editor of other books, including.The Political Economy of Everyday Life in Africa: Beyond the Margins (James Currey Publishers, 2017)Writers and Social Thought in Africa (Routledge,2016)(co-edited with Ebenezer Obadare) Governance and the Crisis of Rule in Contemporary Africa (Palgrave Macmillan, 2016)(co-edited with Ebenezer Obadare) Democracy and Prebendalism in Nigeria: CriticalInterpretations (Palgrave Macmillan, 2013).(co-edited with Ebenezer Obadare) Nigeria at Fifty: The Nation in Narration (Routledge, 2012)(co-edited with Ebenezer Obadare) Encountering the Nigerian State (PalgraveMacmillan, 2010).AwardsRhodes Professorship in Race Relations awarded by Oxford University to Faculty of African and Interdisciplinary Area Studies.Passage 4:Nil Tun MaungNil Tun Maung (born 30 September 1931)is a Burmese weightlifter. He competed at the 1952 Summer Olympics, the 1956 Summer Olympics and the 1960 Summer Olympics.Passage 5:Wesley BarresiWesley Barresi (born 3 May 1984) is a South African bornfirst-class and Netherlands international cricketer. He is a right-handed wicket keeper-batsman and also bowls right-arm offbreak. In February 2021, Barresi announced his retirement from all forms of cricket, butreturned to the national team in August 2022.CareerWesley became the 100th victim to Indian cricketer Yuvraj Singh, when he was dismissed in the 2011 World Cup game against India.In July 2018, he was named inthe Netherlands' One Day International (ODI) squad, for their series against Nepal. Ahead of the ODI matches, the International Cricket Council (ICC) named him as the key player for the Netherlands.In July 2019, hewas selected to play for the Amsterdam Knights in the inaugural edition of the Euro T20 Slam cricket tournament. However, the following month, the tournament was cancelled.Passage 6:Hartley LobbanHartley WLobban (9 May 1926 – 15 October 2004) was a Jamaican-born first-class cricketer who played 17 matches for Worcestershire in the early 1950s.Life and careerLobban played little cricket in Jamaica. He went to Englandat the end of World War II as a member of the Royal Air Force, and settled in Kidderminster in Worcestershire in 1947, where he worked as a civilian lorry driver for the RAF. He began playing for Kidderminster CricketClub in the Birmingham League, and at the start of the 1952 season, opening the bowling for the club's senior team, he had figures of 7 for 9 and 7 for 37.Worcestershire invited him to play for them, and he made hisfirst-class debut against Sussex in July 1952. He took five wickets in the match (his maiden victim being Ken Suttle) and then held on for 4 not out with Peter Richardson (20 not out) to add the 12 runs needed for aone-wicket victory after his county had collapsed from 192 for 2 to 238 for 9. A week later he claimed four wickets against Warwickshire, then a few days later still he managed 6 for 52 (five of his victims bowled) inwhat was otherwise a disastrous innings defeat to Derbyshire. In the last match of the season he took a career-best 6 for 51 against Glamorgan; he and Reg Perks (4 for 59) bowled unchanged throughout the firstinnings. Worcestershire won the game and Lobban finished the season with 23 wickets at 23.69.He took 23 wickets again in 1953, but at a considerably worse average of 34.43, and had only two really successfulgames: against Oxford University in June, when he took 5 for 70, and then against Sussex in July. On this occasion Lobban claimed eight wickets, his most in a match, including 6 for 103 in the first innings. He alsomade his highest score with the bat, 18, but Sussex won by five wickets.In 1954 Lobban made only two first-class appearances, and managed only the single wicket of Gloucestershire tail-ender Bomber Wells. In hisfinal game, against Warwickshire at Dudley, his nine first-innings overs cost 51. He bowled just two overs in the second innings as Warwickshire completed an easy ten-wicket win. Lobban played one more Second XIgame, against Glamorgan II at Cardiff Arms Park; in this he picked up five wickets.He was also a professional boxer and played rugby union for Kidderminster.He later moved to Canada, where he worked as a teacher inBurnaby, British Columbia. He and his wife Celia had a son and two daughters.Passage 7:Selahattin SeyhunSelahattin Seyhun (born 28 June 1999) is a Turkish professional footballer who plays as a forward forÇatalcaspor on loan from Bucaspor 1928.Professional careerOn 5 December 2019, Seyhun signed his first professional contract with Kayserispor for 5 years. Seyhun made his professional debut for Kayserispor in a 6–2Süper Lig loss to Trabzonspor on 28 December 2019.Passage 8:Tom DickinsonThomas or Tom Dickinson may refer to: Thomas Dickenson, or Dickinson, merchant and politician of York, EnglandThomas R. Dickinson,United States Army generalJ. Thomas Dickinson, American physicist and astronomerTom Dickinson (cricketer),  Australian-born cricketer in EnglandTom Dickinson (American football), American football playerPassage9:Tun Maung KyweTun Maung Kywe (born 15 October 1931) is a Burmese weightlifter. He competed at the 1956 Summer Olympics and the 1960 Summer Olympics.Passage 10:Henry Moore (cricketer)Henry WalterMoore (1849 – 20 August 1916) was an English-born first-class cricketer who spent most of his life in New Zealand.Life and familyHenry Moore was born in Cranbrook, Kent, in 1849. He was the son of the ReverendEdward Moore and Lady Harriet Janet Sarah Montagu-Scott, who was one of the daughters of the 4th Duke of Buccleuch. One of his brothers, Arthur, became an admiral and was knighted. Their great grandfather wasJohn Moore, Archbishop of Canterbury from 1783 to 1805. One of their sisters was a maid of honour to Queen Victoria.Moore went to New Zealand in the 1870s and lived in Geraldine and Christchurch. He marriedHenrietta Lysaght of Hāwera in November 1879, and they had one son. In May 1884 she died a few days after giving birth to a daughter, who also died.In 1886 Moore became a Justice of the Peace in Geraldine. In1897 he married Alice Fish of Geraldine. They moved to England four years before his death in 1916.Cricket careerMoore was a right-handed middle-order batsman. In consecutive seasons, 1876–77 and 1877–78,playing for Canterbury, he made the highest score in the short New Zealand first-class season: 76 and 75 respectively. His 76 came in his first match for Canterbury, against Otago. He went to the wicket early on thefirst day with the score at 7 for 2 and put on 99 for the third wicket with Charles Corfe before he was out with the score at 106 for 3 after a \"very fine exhibition of free hitting, combined with good defence\". Canterburywere all out for 133, but went on to win the match. His 75 came in the next season's match against Otago, when he took the score from 22 for 2 to 136 for 6. The New Zealand cricket historian Tom Reese said, \"Rightfrom the beginning he smote the bowling hip and thigh, going out of his ground to indulge in some forceful driving.\" Canterbury won again.Moore led the batting averages in the Canterbury Cricket Association in1877–78 with 379 runs at an average of 34.4. Also in 1877–78, he was a member of the Canterbury team that inflicted the only defeat on the touring Australians. In 1896–97, at the age of 47, he top-scored in eachinnings for a South Canterbury XVIII against the touring Queensland cricket team."}
+{"doc_id":"doc_189","qid":"","text":"Passage 1:Kaya AlpKaya Alp (Ottoman Turkish: \u0000\u0000\u0000\u0000 \u0000\u0000\u0000, lit. 'Brave Rock') was, according to Ottoman tradition, the son of Kızıl Buğa or Basuk and the father of Suleyman Shah. He was the grandfather of Ertuğrul Ghazi, the father of the founder of the Ottoman Empire, Osman I. He was also famously known for being the successing name of Ertokus Bey’s son Kaya Alp. He was a descendant of the ancestor of his tribe, Kayı son of Gun son of Oghuz Khagan, the legendary progenitor of the Oghuz Turks.Passage 2:Abd al-MuttalibShayba ibn Hāshim (Arabic: \u0000\u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000; c. 497–578), better known as \u0000Abd al-Mu\u0000\u0000alib, (Arabic: \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000, lit. 'Servant of Muttalib') was the fourth chief of the Quraysh tribal confederation. He was the grandfather of the Islamic prophet Muhammad.Early lifeHis father was Hashim ibn ' Abd Manaf,: 81 the progenitor of the distinguished Banu Hashim, a clan of the Quraysh tribe of Mecca. They claimed descent from Ismā'īl and Ibrāhīm. His mother was Salma bint Amr, from the Banu Najjar, a clan of the Khazraj tribe in Yathrib (later called Madinah). Hashim died while doing business in Gaza, before Abd al-Muttalib was born.: 81 His real name was \"Shaiba\" meaning 'the ancient one' or 'white-haired' because of the streak of white through his jet-black hair, and is sometimes also called Shaybah al-\u0000amd (\"The white streak of praise\").: 81–82 After his father's death he was raised in Yathrib with his mother and her family until about the age of eight, when his uncle Muttalib ibn Abd Manaf went to see him and asked his mother Salmah to entrust Shaybah to his care. Salmah was unwilling to let her son go and Shaiba refused to leave his mother without her consent. Mu\u0000\u0000alib then pointed out that the possibilities Yathrib had to offer were incomparable to Mecca. Salmah was impressed with his arguments, so she agreed to let him go. Upon first arriving in Mecca, the people assumed the unknown child was Muttalib's servant and started calling him 'Abd al-Muttalib (\"servant of Muttalib\").: 85–86Chieftain of Hashim clanWhen Mu\u0000\u0000alib died, Shaiba succeeded him as the chief of the Hāshim clan. Following his uncle Al-Mu\u0000\u0000alib, he took over the duties of providing the pilgrims with food and water, and carried on the practices of his forefathers with his people. He attained such eminence as none of his forefathers enjoyed; his people loved him and his reputation was great among them.: 61 'Umar ibn Al-Kha\u0000\u0000āb's grandfather Nufayl ibn Abdul Uzza arbitrated in a dispute between 'Abdul-Mu\u0000\u0000alib and \u0000arb ibn Umayyah, Abu Sufyan's father, over the custodianship of the Kaaba. Nufayl gave his verdict in favour of 'Abdul-Mu\u0000\u0000alib. Addressing \u0000arb ibn Umayyah, he said:Why do you pick a quarrel with a person who is taller than you in stature; more imposing than you in appearance; more refined than you in intellect; whose progeny outnumbers yours and whose generosity outshines yours in lustre? Do not, however, construe this into any disparagement of your good qualities which I highly appreciate. You are as gentle as a lamb, you are renowned throughout Arabia for the stentorian tones of your voice, and you are an asset to your tribe.Discovery of Zam Zam Well'Abdul-Mu\u0000\u0000alib said that while sleeping in the sacred enclosure, he had dreamed he was ordered to dig at the worship place of the Quraysh between the two deities Isāf and Nā'ila. There he would find the Zamzam Well, which the Jurhum tribe had filled in when they left Mecca. The Quraysh tried to stop him digging in that spot, but his son Al-\u0000ārith stood guard until they gave up their protests. After three days of digging, 'Abdul-Mu\u0000\u0000alib found traces of an ancient religious well and exclaimed, \"Allahuakbar!\" Some of the Quraysh disputed his claim to sole rights over water, then one of them suggested that they go to a female shaman who lived afar. It was said that she could summon jinns and that she could help them decide who was the owner of the well. So, 11 people from the 11 tribes went on the expedition. They had to cross the desert to meet the priestess but then they got lost. There was a lack of food and water and people started to lose hope of ever getting out. One of them suggested that they dig their own graves and if they died, the last person standing would bury the others. So all began digging their own graves and just as Abdul-Mu\u0000\u0000alib started digging, water spewed out from the hole he dug and everyone became overjoyed. It was then and there decided that Abdul-Muttalib was the owner of the Zam Zam well. Thereafter he supplied pilgrims to the Kaaba with Zam Zam water, which soon eclipsed all the other wells in Mecca because it was considered sacred.: 86–89 : 62–65The Year of the ElephantAccording to Muslim tradition, the Ethiopian governor of Yemen, Abrahah al-Ashram, envied the Kaaba's reverence among the Arabs and, being a Christian, he built a cathedral on Sana'a and ordered pilgrimage be made there.: 21 The order was ignored and someone desecrated (some saying in the form of defecation: 696 note 35 ) the cathedral. Abrahah decided to avenge this act by demolishing the Kaaba and he advanced with an army towards Mecca.: 22–23 There were thirteen elephants in Abrahah's army: 99 : 26 and the year came to be known as 'Ām al-Fīl (the Year of the Elephant), beginning a trend for reckoning the years in Arabia which was used until 'Umar ibn Al-Kha\u0000\u0000āb replaced it with the Islamic Calendar in 638 CE (17 AH), with the first year of the Islamic Calendar being 622 CE.When news of the advance of Abrahah's army came, the Arab tribes of Quraysh, Kinānah, Khuzā'ah and Hudhayl united in defence of the Kaaba. A man from the \u0000imyar tribe was sent by Abrahah to advise them that he only wished to demolish the Kaaba and if they resisted, they would be crushed. \"Abdul-Mu\u0000\u0000alib told the Meccans to seek refuge in the nearest high hills while he, with some leading members of Quraysh, remained within the precincts of the Kaaba. Abrahah sent a dispatch inviting 'Abdul-Mu\u0000\u0000alib to meet him and discuss matters. When 'Abdul-Mu\u0000\u0000alib left the meeting he was heard saying, \"The Owner of this House is its Defender, and I am sure He will save it from the attack of the adversaries and will not dishonour the servants of His House.\": 24–26 It is recorded that when Abrahah's forces neared the Kaaba, Allah commanded small birds (abābīl) to destroy Abrahah's army, raining down pebbles on it from their beaks. Abrahah was seriously wounded and retreated towards Yemen but died on the way.: 26–27 This event is referred to in the following Qur'anic chapter:Have you not seen how your Lord dealt with the owners of the Elephant?Did He not make their treacherous plan go astray?And He sent against them birds in flocks, striking them with stones of baked clay, so He rendered them like straw eaten up.Most Islamic sources place the event around the year that Muhammad was born, 570 CE, though other scholars place it one or two decades earlier. A tradition attributed to Ibn Shihab al-Zuhri in the musannaf of \u0000Abd al-Razzaq al-San\u0000ani places it before the birth of Muhammad's father.Sacrificing his son AbdullahAl-Harith was 'Abdul-Mu\u0000\u0000alib's only son at the time he dug the Zamzam Well.: 64 When the Quraysh tried to help him in the digging, he vowed that if he were to have ten sons to protect him, he would sacrifice one of them to Allah at the Kaaba. Later, after nine more sons had been born to him, he told them he must keep the vow. The divination arrows fell upon his favourite son Abdullah. The Quraysh protested 'Abdul-Mu\u0000\u0000alib's intention to sacrifice his son and demanded that he sacrifice something else instead. 'Abdul-Mu\u0000\u0000alib agreed to consult a \"sorceress with a familiar spirit\". She told him to cast lots between Abdullah and ten camels. If Abdullah were chosen, he had to add ten more camels, and keep on doing the same until his Lord accepted the camels in Abdullah's place. When the number of camels reached 100, the lot fell on the camels. 'Abdul-Mu\u0000\u0000alib confirmed this by repeating the test three times. Then the camels were sacrificed, and Abdullah was spared.: 66–68FamilyWivesAbd al-Muttalib had six known wives.Sumra bint Jundab of the Hawazin tribe.Lubnā bint Hājar of the Khuza'a tribe.Fatima bint Amr of the Makhzum clan of the Quraysh tribe.Halah bint Wuhayb of the Zuhrah clan of the Quraysh tribe.Natīla bint Janab of the Namir tribe.Mumanna'a bint Amr of the Khuza'a tribe.ChildrenAccording to Ibn Hisham, \u0000Abd al-Mu\u0000\u0000alib had ten sons and six daughters.: 707–708 note 97 However, Ibn Sa'd lists twelve sons.: 99–101 By Sumra bint Jundab:Al-\u0000ārith.: 708 He was the firstborn and he died before his father.: 99 Quthum.: 100 He is not listed by Ibn Hisham.By Fatima bint Amr:Al-Zubayr.: 707 He was a poet and a chief; his father made a will in his favour.: 99 He died before Islam, leaving two sons and daughters.: 101 : 34–35 Abu Talib, born as Abd Manaf,: 99 :  707 father of the future Caliph Ali. He later became chief of the Hashim clan.Abdullah, the father of Muhammad.: 99 : 707 Umm Hakim al-Bayda,: 100 : 707 the maternal grandmother of the third Caliph Uthman.: 32 Barra,: 100 : 707 the mother of Abu Salama.: 33 Arwa.: 100 : 707 Atika,: 100 : 707 a wife of Abu Umayya ibn al-Mughira.: 31 Umayma,: 100 : 707 the mother of Zaynab bint Jahsh and Abd Allah ibn Jahsh.: 33 By Lubnā bint Hājar:Abd al-'Uzzā, better known as Abū Lahab.: 100 : 708 By Halah bint Wuhayb:\u0000amza,: 707 the first big leader of Islam. He killed many leaders of the kufar and was considered as the strongest man of the quraysh. He was martyred at Uhud.: 100 \u0000afīyya.: 100 : 707 Al-Muqawwim.: 707 He married Qilaba bint Amr ibn Ju'ana ibn Sa'd al-Sahmia, and had children named Abd Allah, Bakr, Hind, Arwa, and Umm Amr (Qutayla or Amra).Hajl.: 707 He married Umm Murra bint Abi Qays ibn Abd Wud, and had two sons, named Abd Allah, Ubayd Allah, and three daughters named Murra, Rabi'a, and Fakhita.By Natīlah bint Khubāb:al-'Abbas,: 100 : 707 ancestor of the Abbasid caliphs.\u0000irār,: 707 who died before Islam.: 100 Jahl, died before IslamImran, died before IslamBy Mumanna'a bint 'Amr:Mus'ab, who, according to Ibn Saad, was the one known as al-Ghaydāq.: 100 He is not listed by Ibn Hisham.Al-Ghaydaq, died before Islam.Abd al-Ka'ba, died before Islam.: 100 Al-Mughira,: 100 who had the byname al-Ghaydaq.The family tree and some of his important descendantsDeathAbdul Muttalib's son 'Abdullāh died four months before Mu\u0000ammad's birth, after which Abdul Muttalib took care of his daughter-in-law Āminah. One day Muhammad's mother, Amina, wanted to go to Yathrib, where her husband, Abdullah, died. So, Muhammad, Amina, Abd al-Muttalib and their caretaker, Umm Ayman started their journey to Medina, which is around 500 kilometres away from Makkah. They stayed there for three weeks, then, started their journey back to Mecca. But, when they reached halfway, at Al-Abwa', Amina became very sick and died six years after her husband's death. She was buried over there. From then, Muhammad became an orphan. Abd al-Muttalib became very sad for Muhammad because he loved him so much. Abd al-Muttalib took care of Muhammad. But when Muhammad was eight years old, the very old Abd al-Muttalib became very sick and died at age 81-82 in 578-579 CE.Shaybah ibn Hāshim's grave can be found in the Jannat al-Mu'allā cemetery in Makkah, Saudi Arabia.See alsoFamily tree of MuhammadFamily tree of Shaiba ibn HashimSahabaPassage 3:Guillaume WittouckGuillaume Wittouck (1749 - 1829) was a Belgian lawyer and High Magistrate. He was the Grandfather of industrialist Paul Wittouck and of Belgian navigator Guillaume Delcourt.BiographyGuillaume Wittouck, born in Drogenbos on 30 October 1749 and died in Brussels on 12 June 1829, lawyer at the Brabant Council, became Counselor at the Supreme Court of Brabant in 1791. During the Brabant Revolution, he sided with the Vonckists, who were in favor of new ideas. When Belgium joined France, he became substitute for the commissioner of the Directory at the Civil Court of the Department of the Dyle, then under the consulate, in 1800, judge at the Brussels Court of Appeal, then from 1804 to 1814, under the Empire, counselor at the Court of Appeal of Brussels, then advisor to the Superior Court of Brussels. He married in Brussels (Church of Saint Nicolas) on 29 June 1778, Anne Marie Cools, born in Gooik on 25 January 1754, died in Brussels on 11 April 1824, daughter of Jean Cools and Adrienne Galmaert descendants of the Seven Noble Houses of Brussels.Guillaume Wittouck acquired on 28th Floreal of the year VIII (18 May 1800) the castle of Petit-Bigard in Leeuw-Saint-Pierre with a field of one hundred hectares. Petit-Bigard will remain the home of the elder branch until its sale in 1941.Passage 4:Nia SegamainNia Segamain, son of Adamair, was, according to medieval Irish legend and historical tradition, a High King of Ireland. He took power after killing his predecessor, Conall Collamrach. Geoffrey Keating says his mother was the presumed woodland goddess Flidais of the Tuatha Dé Danann, whose magic made wild does give milk as freely as domesticated cattle during his reign. He ruled for seven years, until he was killed by Énna Aignech. The Lebor Gabála synchronises his reign with that of Ptolemy VIII Physcon in Egypt (145–116 BC). The chronology of Keating's Foras Feasa ar Éirinn dates his reign to 226–219 BC, that of the Annals of the Four Masters to 320–313 BC. His name means \"sister's son or champion of Segamon\", and is perhaps related to Segomo, an ancient Gaulish deity equated in Roman times with Mars and Hercules. A slightly more historical Nia Segamain occurs in early Eóganachta pedigrees, and this is sometimes interpreted as evidence for the Gaulish origins of the dynasties.See alsoDeirgtineMug NuadatPassage 5:John WestleyRev. John Wesley (1636–78) was an English nonconformist minister. He was the grandfather of John Wesley (founder of Methodism).LifeJohn Wesly (his own spelling), Westley, or Wesley was probably born at Bridport, Dorset, although some authorities claim he was born in Devon, the son of the Rev. Bartholomew Westley and Ann Colley, daughter of Sir Henry Colley of Carbery Castle in County Kildare, Ireland. He was educated at Dorchester Grammar School and as a student of New Inn Hall, Oxford, where he matriculated on 23 April 1651, and graduated B.A. on 23 January 1655, and M.A. on 4 July 1657. After his appointment as an evangelist, he preached at Melcombe Regis, Radipole, and other areas in Dorset. Never episcopally ordained, he was approved by Oliver Cromwell's Commission of Triers in 1658 and appointed Vicar of Winterborne Whitechurch.The report of his interview in 1661 with Gilbert Ironside the elder, his diocesan, according to Alexander Gordon writing in the Dictionary of National Biography, shows him to have been an Independent. He was imprisoned for not using the Book of Common Prayer, imprisoned again and ejected in 1662. After the Conventicle Act 1664 he continued to preach in small gatherings at Preston and then Poole, until his death at Preston in 1678.FamilyHe married a daughter of John White, who was related also to Thomas Fuller. White, the \"Patriarch of Dorchester\", married a sister of Cornelius Burges. Westley's eldest son was Timothy (born 1659). Their second son was Rev. Samuel Wesley, a High Church Anglican vicar and the father of John and Charles Wesley. A younger son, Matthew Wesley, remained a nonconformist, became a London apothecary, and died on 10 June 1737, leaving a son, Matthew, in India; he provided for some of his brother Samuel's daughters.NotesAdditional sourcesMatthews, A. G., \"Calamy Revised\", Oxford University Press, 1934, page 521. This article incorporates text from a publication now in the public domain: \"Wesley, Samuel (1662-1735)\". Dictionary of National Biography. London: Smith, Elder & Co. 1885–1900.Passage 6:Prithvipati ShahPrithvipati Shah (Nepali: \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000) was the king of the Gorkha Kingdom in the South Asian subcontinent, present-day Nepal. He was the grandfather of Nara Bhupal Shah and reigned from 1673–1716.King Prithvipati Shah ascended to the throne after the demise of his father. He was the longest serving king of the Gorkha Kingdom but his reign saw a lot of struggles.Passage 7:Lyon CohenLyon Cohen (born Yehuda Leib Cohen; May 11, 1868 – August 17, 1937) was a Polish-born Canadian businessman and a philanthropist. He was the grandfather of singer/poet Leonard Cohen.BiographyCohen was born in Congress Poland, part of the Russian Empire, to a Jewish family on May 11, 1868. He immigrated to Canada with his parents in 1871. He was educated at the McGill Model School and the Catholic Commercial Academy in Montreal. In 1888, he entered the firm of Lee & Cohen in Montreal; later became partner with his father in the firm of L. Cohen & Son; in 1895, he established W. R. Cuthbert & Co; in 1900, he organized the Canadian Improvement Co., a dredging contractor; in 1906, he founded The Freedman Co. in Montreal; and in May 1919, he organized and became President of Canadian Export Clothiers, Ltd.  The Freedman Company went on to become one of Montreal’s largest clothing companies.In 1897, Cohen and Samuel William Jacobs founded the Canadian Jewish Times, the first English-language Jewish newspaper in Canada. The newspaper promoted the Canadianization of recent East European Jewish immigrants and encouraged their acceptance of Canadian customs as Cohen felt that the old world customs of immigrant Jews were one of the main causes of anti-Semitism. In 1914, the paper was purchased by Hirsch Wolofsky, owner of the Yiddish-language Keneder Adler, who transformed it into the Canadian Jewish Chronicle.He died on August 17, 1937, at the age of 69.PhilanthropyCohen was elected the first president of the Canadian Jewish Congress in 1919 and organized the Jewish Immigrant Aid Services of Canada. Cohen was also a leader of the Young Men’s Hebrew Benevolent Society (later the Baron de Hirsch Institute) and the United Talmud Torahs, a Jewish day school in Montreal. He also served as president of Congregation Shaar Hashomayim and president of the Jewish Colonization Association in Canada.Personal lifeCohen married Rachel Friedman of Montreal on February 17, 1891. She was the founder and President of Jewish Endeavour Sewing School. They had three sons and one daughter:Nathan Bernard Cohen, who served as a lieutenant in the World War; he married Lithuanian Jewish immigrant Masha Klonitsky and they had one daughter and one son:Esther Cohen andsinger/poet Leonard Cohen.Horace Rives Cohen, who was a captain and quartermaster of his battalion in World War I;Lawrence Zebulun Cohen, student at McGill University, andSylvia Lillian Cohen.Passage 8:Rudraige mac SithrigiRudraige mac Sithrigi (Irish: Ruairí; English: Rory mac Sitric), was, according to medieval Irish legend and historical tradition, a High King of Ireland. The son of Sitric, he took power after killing his predecessor, Crimthann Coscrach, and ruled for thirty or seventy years, after which he died of plague in Airgetglenn. He was succeeded by Finnat Már, son of Nia Segamain. He is the ancestor of Clanna Rudraige.Time frameThe Lebor Gabála synchronises the start of his reign with that of Ptolemy VIII Physcon (145–116 BC), and his death with that of Ptolemy X Alexander I (110–88 BC) in Egypt. The chronology of Geoffrey Keating's Foras Feasa ar Éirinn dates his reign to 184–154 BC, that of the Annals of the Four Masters to 289–219 BC. The poem \"Druim Cet céide na naomh\" states the convention of Druim Cet (held c.590 AD) was 700 years after the reign of Rudraige, which would imply a floruit of c.110 BC.IssueRudraige was particularly associated with the northern part of Ireland: the Ulaid, who later formed a confederation in eastern Ulster in the early Middle Ages, traced their descent from him, and the Lebor Gabála Érenn names him as the grandfather of the Ulaid hero Conall Cernach. John O'Hart lists the following issue in his Stem of the Irish Nation:Bresal Bó-Díbad, High King of IrelandCongal Cláiringnech, High King of IrelandConrach (father of Elim mac Conrach)Fachtna Fáthach (father of Conchobar mac Nessa)Ros Ruadh (father of Fergus mac Róich)Cionga (supposed ancestor of Conall Cernach)Resting placeIt is claimed that some traditions of the Clanna Rudraige assign the Bay of Dundrum in modern County Down, as the resting place of Rudraige. This is the location of the Tonn Rudraige (wave of Rory) one of the \"Three Waves of Erin\" mentioned in the Annals of the Four Masters, and believed to be named after Rudraige.Passage 9:AdamairAdamair (Adammair, Adhamair, Amadir), son of Fer Corb, was, according to medieval Irish legends and historical traditions, a High King of Ireland. He came from Munster, killed the previous incumbent, Ailill Caisfhiaclach, and reigned for five years, "}
+{"doc_id":"doc_190","qid":"","text":"Passage 1:Mona Hopton BellMona Hopton Bell (1867–1940) was a British artist, best known for her portraits of civic figures.She was the grandmother of the painter Jean H. Bell.Passage 2:Purnima (Hindi actress)Purnima Das Verma (born Meherbhano Mohammad Ali; 2 March 1934 — 14 August 2013) was an Indian actress who worked predominantly in Hindi-language films. She was the aunt of director Mahesh Bhatt and grandmother of actor Emraan Hashmi.Personal lifeMeherbano Mohammad Ali was born on 2 March 1934. Her elder sister, Shirin, is the mother of directors Mahesh Bhatt and Mukesh Bhatt. Meherbano's first husband was a journalist named Syed Shauqat Hashmi, who moved to Pakistan during the end of colonial rule in South Asia when Pakistan and India were created as new states by the British as they decolonized. Her son from this first marriage, Anwar Hashmi (father of Emraan Hashmi), acted in Baharon Ke Manzil (1968) opposite Farida Jalal. In 1954, she married for the second time with filmmaker Bhagwan Das Varma. Meherbano took the screen name ' Purnima' when she entered the film industry.CareerPurnima acted in more than 80 Bollywood films. She was a popular actress in Hindi films from late '40s to '50s. She appeared in many films including Patanga (1949), Jogan (1950), Sagai (1951), Jaal (1952), Aurat (1953), a role in Ajay Devgan's debut film Phool Aur Kaante, and the role of Sanjay Dutt's on-screen grandmother in Naam which was directed by Mahesh Bhatt (Purnima's elder sister's son). She also played the role of Amitabh Bachchan's mother in the film Zanjeer.DeathPurnima had Alzheimer's disease during the last few years of her life and died on 14 August 2013. Mahesh Bhatt later revealed on Twitter, \"My aunt Purnima, the first star of our family and who happens to be Emraan Hashmi's grandmother has entered the sunset moments of her life.\".Selected filmographyPassage 3:Hannah ArnoldHannah Arnold may refer to:Hannah Arnold (née Waterman) (c.1705–1758), mother of Benedict ArnoldHannah Arnold (beauty queen) (born 1996), Filipino-Australian model and beauty pageant titleholderPassage 4:Kaoru HatoyamaKaoru Hatoyama (\u0000\u0000 \u0000, Hatoyama Kaoru, 21 November 1888 – 15 August 1982) was an educator and an administrator, the schoolmaster of Kyoritsu Women's University, which was founded by her mother-in-law, Haruko Hatoyama. She is well known as the wife of Ichirō Hatoyama, who was the 52nd–54th Prime Minister of Japan, serving terms from December 10, 1954 through December 23, 1956. She was the mother of Iichirō Hatoyama, who was Japan's Foreign Minister from 1976 through 1977.After the elections of 2009, she became more widely known as the grandmother of Prime Minister Yukio Hatoyama and his politician brother Kunio Hatoyama.See alsoHatoyama Hall (Hatoyama Kaikan)NotesPassage 5:Anne DenmanAnne Denman (1587–1661) was born in Olde Hall, Retford, Nottinghamshire. Through a second marriage with Thomas Aylesbury, she became the grandmother of Lady Anne Hyde, Duchess of York and great-grandmother of Queen Mary II and Queen Anne.Early lifeAnne was born in Olde Hall, West Retford in around 1587. She was the younger daughter of Francis Denman of Retford and Anne (Blount) Denman. Francis (born c. 1531, died 1599) was the rector of West Retford, Notts from 1578. He was the second son of Anne Hercy by her first husband, Nicholas Denman esq of East Retford, Notts. Francis had several sons who pre-deceased him and left two daughters as his heirs: Barbara (born c. 1583) who married Edward Darell (born c. 1582); and Anne.Anne's nephew, Dr John Darrell, was the youngest child of Barbara Denman and Edward Darell, and inherited substantial properties from both the Denman and Darell families. In 1665 just before his death he made a will dividing his estate between three charities. He donated the childhood home of Anne and Barbara, Olde Hall, to create a hospital for elderly men (an alms house), which became the site for Trinity Hospital, Retford (a Grade II listed building).MarriagesAnne was married at 20 and left a widow at 23 after the death of her first husband William, the younger son of Sir Thomas Darell. William was the half-brother of her sister Barbara's husband Edward.Anne left Retford due to some unknown trouble, or loss of fortune, in 1610 and proceeded to London by waggon-coach. Wilmshurst (1908) records that there had been a lawsuit between the two sisters in 1605.After reaching London, Anne is said to have halted at a hostel called the 'Goat and Compasses', where she rested before looking out for an occupation suitable for a country lady of good birth and family. The owner (not the landlord) of the hostel was Mr Thomas Aylesbury, a rich brewer of the Parish of St Andrew's, Holborn who happened to be making an inspection of his 'Houses' and required a housekeeper for his household, engaging Anne to this position. Thomas was a widower of 34, and a year later made Anne an offer of marriage.The marriage of Anne and Thomas was recorded in the Bishop of London's Registry, dated 3 October 1611, giving the couple's address as St Andrew's, Holborn. The registry notes that the marriage has 'the consent of his father, William Aylesbury, Esquire'. She is described in the register as 'Anne Darell, of the City of London, widow, whose husband died a year before'. Edwin Wilmshurst (1908) notes that Anne's first husband, William Darrel is described as 'of London', and apparently died there. He says this suggests Anne ' may have become acquainted with Mr Thomas Aylesbury before she became so young a widow and he a widower'. He also comments that on 17 April 1611, there was a partition of Estate between Edward Darrel and Barbara his wife, and her sister Anne, by an Indenture. This took place while she was working for Thomas Aylesbury but before she married him.Marrying Thomas was fortunate for Anne, as in 1627, he was created a Baronet, Master of the Mint, and Master of the Requests, by Charles I. After the King's death, the family moved to Antwerp with other Royalists. During this time in exile, Barbara, Anne's daughter died. Lady Anne Hyde, Duchess of York, and granddaughter of Anne Denman, later noted in her pocket book that her aunt Barbara died in Antwerp in 1652 and unmarried. 'My dear Aunt Bab was, when she died, 24 years of age.' Barbara, when in exile in Holland, was attached to the then Princess of Orange, as a lady in waiting at the Hague.ChildrenThe issue of Anne Denman's marriage with Thomas Aylesbury were:William baptised in 1612 at St Margaret's Lothbury in London, died in Jamaica in 1656Thomas (probably died young)Frances born 1617 died 1667, married Edward Hyde in 1634, had issueLady Anne (1637–1671), married King James II/VIIHon. Henry, later 2nd Earl of Clarendon (1638–1709)Hon. Laurence, later 1st Earl of Rochester (1641–1711)Hon. Edward, (born c 1645, died 1665) buried 13 January 1665 having died at age 19 while a student at OxfordHon. James drowned in HMS Gloucester in 1682 in the suite of the Duke of YorkLady Frances, married Thomas Keightley, Irish revenue commissioner and privy councillor in 1675.Anne, baptised at St Margaret's and married there in 1637 to John BrighamJane (probably died young)Barbara baptised at St Margaret's, Westminster, 9 May 1627 died 1652 in Antwerp, no issue.Through her daughter Frances, Anne Denman is the maternal grandmother of Anne Hyde, the first wife of James II, and is the maternal great-grandmother of Mary II of England and Queen Anne.Sir Thomas' death and willIn 1657, Sir Thomas died in exile in Breda, aged 81. Anne returned to London. Sir Thomas's will was in favour of Anne and her daughter Frances, but was disputed. Fortunately, Anne had the help of the eminent lawyer Edward Hyde (b. 18 February 1608/9 d. 1674) who was married to her daughter Frances. The deaths of Frances' brothers and sisters meant that by the time of her father's death she was the heiress for her father's estate.Edward HydeEdward Hyde was Anne's son-in-law. The Registers of Westminster Abbey show that he married Frances, daughter of Sir Thomas Aylesbury and his wife Anne, at the Church of St Margaret's, Westminster (in which Parish Sir Thomas and Anne were resident), on 10 July 1634, under a Licence from the Dean and Chapter of Westminster, issued the same day. He was said to be 26 years of age having been born in the ninth year of King Charles' reign (1609), and was already a widower. He married his first wife Anne in 1629, and she died about six months later after catching smallpox. His second wife, Frances was about 21 upon her marriage.Edward Hyde had risen rapidly in his profession. When King Charles was at Oxford, he was knighted on 22 February 1642–3, and was then made Lord Chancellor and Privy Councillor at the age of 34. Upon King Charles' death, he had to flee from Puritan vengeance. He was with King Charles II in exile in Flanders, and in Bruges on 29 January 1657–58, he was again appointed Lord Chancellor in prospectu. With the restitution of the monarchy, Edward and Frances Hyde were now in high favour. For his long service to the King, and his fidelity to the Crown, Edward was created Baron Hyde of Hindon, Wiltshire in 1660. In 1661, he was raised to be Viscount Cornberry (in which year Frances died). He was later created Earl of Clarendon (1662), taking his title from the Estate and Park of Clarendon, near Salisbury.Edward and Frances had six children. Their daughter Lady Anne (1637–1671), married King James II/VII.Death and burialAnne Denman is interred in the Hyde family vault in Westminster Abbey. She seems to have secured the regard of her grandson-in-law, James, Duke of York, as Samuel Pepys notes in his Diary that, in 1661, The Duke of York was in mourning for his wife's grandmother, who (he adds) was thought of with a great deal of fondness — and which grandmother was Anne Denman, of the Old Manor House, West Retford, Notts, now the Trinity Hospital.Queen Anne portraitAnne Denman's childhood home, the Old Hall in Retford, was given by her nephew John Darrell in his will to become a hospital for old men of good repute. As the last member of the Denman-Darrell family, he carried out the wishes of his father, Edward, in this respect. The Old Hall became Trinity Hospital, on Hospital Road, Retford. It is administered by a Trust which owns considerable property around Retford. A portrait of Queen Anne in Trinity Hospital was recently attributed (1999) by the auctioneers Phillips to Sir Godfrey Kneller. John was the nephew of Anne Denman, the first cousin of Frances Hyde, and therefore a cousin twice removed of Queen Anne.== Notes ==Passage 6:Hubba bint HulailHubba bint Hulail (Arabic: \u0000\u0000\u0000 \u0000\u0000\u0000 \u0000\u0000\u0000\u0000) was the grandmother of Hashim ibn 'Abd Manaf, thus the great-great-great-grandmother of the Islamic prophet Muhammad.BiographyHubbah was the daughter of Hulail ibn Hubshiyyah ibn Salul ibn Ka’b ibn Amr al-Khuza’i of Banu Khuza'a who was the trustee and guardian of the Ka‘bah (Arabic: \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000, 'Cube'). She married Qusai ibn Kilab and after her father died, the keys of the Kaaba were committed to her. Qusai, according to Hulail's will, had the trusteeship of the Kaaba after him.Hubbah never gave up ambitious hopes for the line of her favourite son Abd Manaf. Her two favourite grandsons were the twin sons Amr and Abd Shams, of ‘Ātikah bint Murrah. Hubbah hoped that the opportunities missed by Abd Manaf would be made up for in these grandsons, especially Amr, who seemed much more suitable for the role than any of the sons of Abd al-Dar. He was dear to the ‘ayn (Arabic: \u0000\u0000\u0000\u0000\u0000, eye) of his grandmother Hubbah.FamilyQusai ibn Kilab had four sons by Hubbah: Abd-al-Dar ibn Qusai dedicated to his house, Abdu’l Qusayy dedicated to himself, Abd-al-Uzza ibn Qusai to his goddess (Al-‘Uzzá) and Abd Manaf ibn Qusai to the idol revered by Hubbah. They also had two daughters, Takhmur and Barrah. Abd Manaf's real name was 'Mughirah', and he also had the nickname 'al-Qamar' (the Moon) because he was handsome.Hubbah was related to Muhammad in more than one way. Firstly, she was the great-great-grandmother of his father Abdullah. She was also the great-grandmother of Umm Habib and Abdul-Uzza, respectively the maternal grandmother and grandfather of Muhammad's mother Aminah.Family tree* indicates that the marriage order is disputedNote that direct lineage is marked in bold.See alsoFamily tree of MuhammadList of notable HijazisPassage 7:Diana GuardatoDiana Guardato was a member of the aristocratic Patrician Guardato family. She had at least two children with King Ferdinand I. Her first child was Ferdinando d' Aragona y Guardato, 1st Duke of Montalto who married 1st, Anna Sanseverino, 2nd, Castellana de Cardona whose daughter Maria d'Aragona, married Antonio Todeschini Piccolomini, Duke of Amalfi, a nephew of Pope Pius II and brother of Pope Pius III.Her second child was Giovanna d’ Aragona, who married Leonardo della Rovere, Duke of Arce and Sora, a nephew of Pope Sixtus IV and brother of Pope Julius II.Passage 8:CaligulaGaius Caesar Augustus Germanicus (31 August 12 – 24 January 41), better known by his nickname Caligula (), was the third Roman emperor, ruling from AD 37 until his assassination in AD 41. He was the son of the Roman general Germanicus and Agrippina the Elder, Augustus' granddaughter. Caligula was born into the first ruling family of the Roman Empire, conventionally known as the Julio-Claudian dynasty.Although Gaius was named after Gaius Julius Caesar, he acquired the nickname \"Caligula\" ('little boot'), the diminutive form of caligae, a military boot, from his father's soldiers during their campaign in Germania. When Germanicus died at Antioch in 19, Agrippina returned with her six children to Rome, where she became entangled in a bitter feud with Tiberius, Germanicus' uncle. The conflict eventually led to the destruction of her family, with Caligula as the sole male survivor. In 26, Tiberius withdrew from public life to the island of Capri, and in 31, Caligula joined him there. Following the former's death in 37, Caligula succeeded him as emperor. There are few surviving sources about the reign of Caligula, though he is described as a noble and moderate emperor during the first six months of his rule. After this, the sources focus upon his cruelty, sadism, extravagance, and sexual perversion, presenting him as an insane tyrant.While the reliability of these sources is questionable, it is known that during his brief reign, Caligula worked to increase the unconstrained personal power of the emperor, as opposed to countervailing powers within the principate. He directed much of his attention to ambitious construction projects and luxurious dwellings for himself, and he initiated the construction of two aqueducts in Rome: the Aqua Claudia and the Anio Novus. During his reign, the empire annexed the client kingdom of Mauretania as a province. In early 41, Caligula was assassinated as a result of a conspiracy by officers of the Praetorian Guard, senators, and courtiers. However, the conspirators' attempt to use the opportunity to restore the Roman Republic was thwarted. On the day of the assassination of Caligula, the Praetorians declared Caligula's uncle, Claudius, the next emperor. Caligula's death marked the official end of the Julii Caesares in the male line, though the Julio-Claudian dynasty continued to rule until the demise of his nephew, Nero.Early lifeCaligula was born in Antium on 31 August AD 12, the third of six surviving children born to Germanicus, a grandson of Mark Antony, and his second cousin Agrippina the Elder, who was the daughter of Marcus Vipsanius Agrippa and Julia the Elder, making her the granddaughter of Augustus. He was also a nephew of Claudius, Germanicus' younger brother and future emperor. He had two older brothers, Nero and Drusus, and three younger sisters, Agrippina the Younger, Julia Drusilla and Julia Livilla. At the age of two or three, he accompanied his father, Germanicus, on campaigns in the north of Germania. He wore a miniature soldier's outfit, including army boots (caligae) and armour. The soldiers thus nicknamed him Caligula (\"little boot\"). He reportedly grew to dislike the nickname.Germanicus died at Antioch, Syria province, in AD 19, aged only 33. Suetonius claims that Germanicus was poisoned by an agent of Tiberius, who viewed Germanicus as a political rival. After the death of his father, Caligula lived with his mother, Agripinna the Elder, until her relations with Tiberius deteriorated. Tiberius would not allow Agrippina to remarry for fear her husband would be a rival. Agrippina and Caligula's brother, Nero, were banished in the year 29 on charges of treason. The adolescent Caligula was sent to live with his great-grandmother (Tiberius' mother), Livia. After her death, he was sent to live with his grandmother Antonia Minor. In the year 30, his brother Drusus was imprisoned on charges of treason, and his brother Nero died in exile from either starvation or suicide. Suetonius writes that after the banishment of his mother and brothers, Caligula and his sisters were nothing more than prisoners of Tiberius under the close watch of soldiers. In the year 31, Caligula was remanded to the personal care of Tiberius on Capri, where he lived for six years. To the surprise of many, Caligula was spared by Tiberius. Roman historians describe Caligula as an excellent natural actor who recognized the danger he was in, and hid his resentment towards Tiberius. An observer said of Caligula, \"Never was there a better servant or a worse master!\"Caligula claimed to have planned to kill Tiberius with a dagger to avenge his mother and brother, however, having brought the weapon into Tiberius' bedroom he did not kill the Emperor but threw the dagger down on the floor. Supposedly Tiberius knew of this plot but did nothing about it. Suetonius claims that Caligula was by this time already cruel and vicious; he writes that when Tiberius brought Caligula to the island of Capri, his purpose was to allow Caligula to live in order that he \"prove the ruin of himself and of all men, and that he was rearing a viper for the Roman people and a Phaethon for the world.\" In 33, Tiberius gave Caligula an honorary quaestorship, a position he held until his rise to emperor. Meanwhile, both Caligula's mother and his brother Drusus died in prison. Caligula was briefly married to Junia Claudilla in the year 33, though she died in childbirth the following year. Caligula spent time befriending the Praetorian prefect, Naevius Sutorius Macro, an important ally. Macro spoke well of Caligula to Tiberius, attempting to quell any ill will or suspicion the Emperor felt towards Caligula. In the year 35, Caligula was named joint heir to Tiberius' estate along with Tiberius Gemellus.EmperorEarly reignTiberius died on 16 March AD 37, a day before the Liberalia festival. Rumors circulated that Caligula, possibly assisted by Macro, smothered Tiberius with a pillow, recorded both by Suetonius and Tacitus. However, Philo, who both wrote during Tiberius' reign, as well as Josephus, record Tiberius as having died a natural death. Caligula assumed the leadership of the domus Caesaris and this was ratified by the senate, which acclaimed him imperator two days later on 18 March. Ten days later, Tiberius' will, naming two heirs, was nullified with the standard justification that he had been insane.Caligula is described as the first emperor who was admired by everyone in \"all the world, from the rising to the setting sun.\" Caligula was loved by many for being the beloved son of the popular Germanicus and because he was not Tiberius. Suetonius said that over 160,000 animals were sacrificed during three months of public rejoicing to usher in the new reign. Philo mentions widespread sacrifice, but no estimation on the degree. He describes the first seven months of Caligula's reign as completely blissful.Caligula's first acts were said to be generous in spirit, though many were political in nature. Overriding Tiberius' will, which left a legacy of 500 sesterces to each praetorian, he instead doubled it; further bonuses were granted to the city troops and the army outside Italy. Coinage indicates that donations to the praetorians may have been repeated through Caligula's reign. A further distribution of 75 sesterces per citizen in Rome was given from 1 June to 19 July; Caligula wasted no time putting on lavish games, immediately requesting from the senate exemption from sumptuary laws limiting the number of gladiators. He also restored the right to elect praetors to the comitia, which meant in practice that aediles had incentives to spend money to put on lavish spectacles to win popularity. Building projects on the Palatine hill and elsewhere were also announced, which would have been the largest of these expenditures.Caligula also took action to win the support of the aristocracy. He made a public show of burning Tiberius' secret papers, falsely claiming that he had not read "}
+{"doc_id":"doc_191","qid":"","text":"Passage 1:Richard T. JonesRichard Timothy Jones (born January 16, 1972) is an American actor. He has worked extensively in both film and television productions since the early 1990s. His television roles include AllyMcBeal (1997), Judging Amy (1998–2005), CSI: Miami (2006), Girlfriends (2007), Grey's Anatomy (2010), Hawaii Five-0 (2011–2014), Narcos (2015), and Criminal Minds (2017). Since 2018, he has played PoliceSergeant Wade Grey on the ABC police drama The Rookie.His film roles include portrayals of Lamont Carr in Disney's Full Court Miracle (2003), Laveinio \"Slim\" Hightower in Rick Famuyiwa's coming-of-age film TheWood (1999), Mike in Tyler Perry's dramatic films Why Did I Get Married? (2007) and Why Did I Get Married Too? (2010), and Captain Russell Hampton in the Hollywood blockbuster Godzilla (2014).Early lifeJones wasborn in Kobe, Japan, to American parents and grew up in Carson, California. He is the son of Lorene, a computer analyst, and Clarence Jones, a professional baseball player who at the time of Jones' birth was playing forthe Nankai Hawks in Osaka. He has an older brother, Clarence Jones Jr., who works as a high school basketball coach. They would return to North America after Clarence's retirement following the 1978 season. Hisparents later divorced. Jones attended Bishop Montgomery High School in Torrance, California, then graduated from Tuskegee University.CareerSince the early 1990s, Jones has worked in both film and televisionproductions.His first television role was in a 1993 episode of the series California Dreams. That same year, he appeared as Ike Turner, Jr. in What's Love Got to Do with It. From 1999 to 2005, he starred as Bruce Calvinvan Exel in the CBS legal drama series Judging Amy.Over the next two decades, Jones starred or guest-starred in high-profile television series such as Ally McBeal (1997), CSI: Miami (2006), Girlfriends (2007), Grey'sAnatomy (2010), Hawaii Five-0 (2011–2014), Narcos (2015), and Criminal Minds (2017).His film roles include portrayals of Lamont Carr in the Disney film Full Court Miracle (2003), Laveinio \"Slim\" Hightower in RickFamuyiwa's coming-of-age film The Wood (1999), and Mike in Tyler Perry's dramatic films Why Did I Get Married? (2007) and Why Did I Get Married Too? (2010), and Captain Russell Hampton in the Hollywoodblockbuster Godzilla (2014).From 2017 to 2018, Jones played Detective Tommy Cavanaugh in the CBS drama series Wisdom of the Crowd.Since February 2018, Jones has played the role of Sergeant Wade Gray in theABC police procedural drama series The Rookie with Nathan Fillion.Personal lifeJoshua Media Ministries claims that its leader, David E. Taylor, mentors Jones in ministry, and that Jones has donated $1 million to itsefforts.FilmographyFilmTelevisionPassage 2:Dana BlanksteinDana Blankstein-Cohen (born March 3, 1981) is the executive director of the Sam Spiegel Film and Television School. She was appointed by the board ofdirectors  in November 2019.  Previously she was the CEO of the Israeli Academy of Film and Television. She is a film director, and an Israeli culture entrepreneur.BiographyDana Blankstein was born in Switzerland in1981 to theatre director Dedi Baron and Professor Alexander Blankstein. She moved to Israel in 1983 and grew up in Tel Aviv.Blankstein graduated from the Sam Spiegel Film and Television School, Jerusalem in 2008with high honors. During her studies she worked as a personal assistant to directors Savi Gabizon on his film Nina's Tragedies and to Renen Schorr on his film The Loners.  She also directed and shot 'the making of' filmon Gavison's film Lost and Found. Her debut film Camping competed at the Berlin International Film Festival, 2007.Film and academic careerAfter her studies, Dana founded and directed the film and televisiondepartment at the Kfar Saba municipality. The department encouraged and promoted productions filmed in the city of Kfar Saba, as well as the established cultural projects, and educational communityactivities.Blankstein directed the mini-series \"Tel Aviviot\" (2012). From 2016-2019 was the director of the Israeli Academy of Film and Television.In November 2019 Dana Blankstein Cohen was appointed the newdirector of the Sam Spiegel Film and Television School where she also oversees the Sam Spiegel International Film Lab. In 2022, she spearheaded the launch of the new Series Lab and the film preparatory program forArabic speakers in east Jerusalem.FilmographyTel Aviviot (mini-series; director, 2012)Growing Pains (graduation film, Sam Spiegel; director and screenwriter, 2008)Camping (debut film, Sam Spiegel; director andscreenwriter, 2006)Passage 3:Lamman RuckerLamman Rucker  (born October 6, 1971) is an American actor. Rucker began his career on the daytime soap operas As the World Turns and All My Children, before roles inThe Temptations, Tyler Perry's films Why Did I Get Married?, Why Did I Get Married Too?, and Meet the Browns, and its television adaptation. In 2016, he began starring as Jacob Greenleaf in the Oprah WinfreyNetwork drama series, Greenleaf. Rucker is married to Kelly Davis Rucker, a graduate of Hampton University. As of 2022, he stars in BET+ drama The Black Hamptons.Early lifeRucker was born in Pittsburgh,Pennsylvania, the son of Malaya (née Ray) and Eric Rucker. He has partial ancestry from Barbados. Rucker spent his formative years in the greater Washington, DC, Maryland area. He first had an interest in acting afterhe was placed in many child pageants.  His first acting role was as Martin Luther King in the 4th grade. He was in the drama club in 7th grade and then attended high school at the Duke Ellington School of the Arts inWashington, D.C. Rucker studied at Carnegie-Mellon University and Duquesne University.On August 29, 2019, he shared personal life experiences that he credits for his success with the Hampton University footballteam.CareerHis major role came in 2002 when he assumed the role of attorney T. Marshall Travers on the CBS daytime soap opera As the World Turns opposite Tamara Tunie. He left the series the following year andportrayed Garret Williams on ABC soap opera All My Children in 2005. He also had the recurring roles on the UPN sitcoms All of Us and Half & Half.Rucker is best known for his roles in the Tyler Perry's films. Heco-starred in Why Did I Get Married? (2007) and  Why Did I Get Married Too? (2010). He played Will Brown in 2008 film Meet The Browns. He later had a starring role on Perry's sitcom Meet the Browns reprising his roleas Will from 2009 to 2011. The following year after Meet the Browns, Rucker was cast in the male lead role opposite Anne Heche in the NBC comedy series Save Me, but left after pilot episode. He later had roles in anumber of small movies and TV movies. Rucker also had regular role opposite Mena Suvari in the short-lived WE tv drama series, South of Hell.In 2015, Rucker was cast as one of leads in the Oprah Winfrey Networkdrama series, Greenleaf. He plays Jacob Greenleaf, the eldest son of Lynn Whitfield' and Keith David's characters.FilmographyFilmTelevisionAward nominationsPassage 4:Olav AaraasOlav Aaraas (born 10 July 1950) is aNorwegian historian and museum director.He was born in Fredrikstad. From 1982 to 1993 he was the director of Sogn Folk Museum, from 1993 to 2010 he was the director of Maihaugen and from 2001 he has been thedirector of the Norwegian Museum of Cultural History. In 2010 he was decorated with the Royal Norwegian Order of St. Olav.Passage 5:Erle C. KentonErle C. Kenton (August 1, 1896 – January 28, 1980) was anAmerican film director. Kenton was  director of B films, with his most famous film being Island of Lost Souls starring Charles Laughton.BiographyPrior to filmwork, Kenton was a school teacher and later decided tobecome an animal exhibitor. After working with various dog, pony and other animal shows, he entered the vaudeville circuit as a comedian. This led to him entering the film industry working on the Keystone Cops seriesof films making various short comedies.Kenton began as a writer for Mack Sennett in 1914 and would direct feature films for Columbia Pictures,  Tiffany Pictures, Paramount Pictures, RKO Pictures, Republic Pictures. Heworked for Universal Pictures between 1941 and 1946 making films such as The Ghost of Frankenstein, House of Frankenstein, House of Dracula and The Cat Creeps and several films featuring comedians Abbott &Costello. Kenton was replaced by Charles Lamont on Hit the Ice after problems with Lou Costello.Producer Paul Malvern stated later that Kenton and him \"got along beautifully\" and that \"He was one director whothought everything out and made sure that he came in on budget and on time. He wasn't real fond of directing the Abbott and Costello films so he got a kick out of the monster films.\" Kenton spoke about directinghorror films in a 1944 interview, stating \"They give us a chance to let our imagination run wild. The art department can go to town on creep sets. Prop men have fun with cobwebs. The cameraman has fun with tricklighting and shadows. The director has fun. We have more fun making a horror picture than a comedy.\"Kenton and Edward Ludwig were the principal directors of the 1958–1960 CBS television series, The Texan. Kentondied on January 28, 1980, of Parkinson's disease in Glendale, California. Malvern recalled that when he visited Kenton before his death, Kenton did not recognize him.Selected filmographyPassage 6:Brian Kennedy(gallery director)Brian Patrick Kennedy (born 5 November 1961) is an Irish-born art museum director who has worked in Ireland and Australia, and now lives and works in the United States.  He was the director of thePeabody Essex Museum in Salem for 17 months, resigning December 31, 2020. He was the director of the Toledo Museum of Art in Ohio from 2010 to 2019. He was the director of the Hood Museum of Art from 2005 to2010, and the National Gallery of Australia (Canberra) from 1997 to 2004.CareerBrian Kennedy currently lives and works in the United States after leaving Australia in 2005 to direct the Hood Museum of Art atDartmouth College. In October 2010 he became the ninth Director of the Toledo Museum of Art. On 1 July 2019, he succeeded Dan Monroe as the executive director and CEO of the Peabody Essex Museum.Early life andcareer in IrelandKennedy was born in Dublin and attended Clonkeen College. He received B.A. (1982), M.A. (1985) and PhD (1989) degrees from University College-Dublin, where he studied both art history andhistory.He worked in the Irish Department of Education (1982), the European Commission, Brussels (1983), and in Ireland at the Chester Beatty Library (1983–85), Government Publications Office (1985–86), andDepartment of Finance (1986–89). He married Mary Fiona Carlin in 1988.He was Assistant Director at the National Gallery of Ireland in Dublin from 1989 to 1997. He was Chair of the Irish Association of Art Historiansfrom 1996 to 1997, and of the Council of Australian Art Museum Directors from 2001 to 2003. In September 1997 he became Director of the National Gallery of Australia.National Gallery of Australia (NGA)Kennedyexpanded the traveling exhibitions and loans program throughout Australia, arranged for several major shows of Australian art abroad, increased the number of exhibitions at the museum itself and oversaw thedevelopment of an extensive multi-media site.  Although he oversaw several years of the museum's highest ever annual visitation, he discontinued the emphasis of his predecessor, Betty Churcher, on showing\"blockbuster\" exhibitions.During his directorship, the NGA gained government support for improving the building and significant private donations and corporate sponsorship. However, the initial design for the buildingproved controversial generating a public dispute with the original architect on moral rights grounds.  As a result, the project was not delivered during Dr Kennedy's tenure, with a significantly altered design completedsome years later.  Private funding supported two acquisitions of British art, including David Hockney's A Bigger Grand Canyon in 1999, and Lucian Freud's After Cézanne in 2001. Kennedy built on the establishedcollections at the museum by acquiring the Holmgren-Spertus collection of Indonesian textiles; the Kenneth Tyler collection of editioned prints, screens, multiples and unique proofs; and the Australian Print WorkshopArchive. He was also notable for campaigning for the construction of a new \"front\" entrance to the Gallery, facing King Edward Terrace, which was completed in 2010 (see reference to the building projectabove).Kennedy's cancellation of the \"Sensation exhibition\" (scheduled at the NGA from 2 June 2000 to 13 August 2000) was controversial, and seen by some as censorship. He claimed that the decision was due to theexhibition being \"too close to the market\" implying that a national cultural institution cannot exhibit the private collection of a speculative art investor. However, there were other exhibitions at the NGA during histenure, which could have raised similar concerns. The exhibition featured the privately owned Young British Artists works belonging to Charles Saatchi and attracted large attendances in London and Brooklyn. Its mostcontroversial work was Chris Ofili's The Holy Virgin Mary, a painting which used elephant dung and was accused of being blasphemous. The then-mayor of New York, Rudolph Giuliani, campaigned against the exhibition,claiming it was \"Catholic-bashing\" and an \"aggressive, vicious, disgusting attack on religion.\" In November 1999, Kennedy cancelled the exhibition and stated that the events in New York had \"obscured discussion of theartistic merit of the works of art\". He has said that it \"was the toughest decision of my professional life, so far.\"Kennedy was also repeatedly questioned on his management of a range of issues during the AustralianGovernment's Senate Estimates process - particularly on the NGA's occupational health and safety record and concerns about the NGA's twenty-year-old air-conditioning system. The air-conditioning was finallyrenovated in 2003. Kennedy announced in 2002 that he would not seek extension of his contract beyond 2004, accepting a seven-year term as had his two predecessors.He became a joint Irish-Australian citizen in2003.Toledo Museum of ArtThe Toledo Museum of Art is known for its exceptional collections of European and American paintings and sculpture, glass, antiquities, artist books, Japanese prints and netsuke. Themuseum offers free admission and is recognized for its historical leadership in the field of art education.  During his tenure, Kennedy has focused the museum's art education efforts on visual literacy, which he defines as\"learning to read, understand and write visual language.\"   Initiatives have included baby and toddler tours, specialized training for all staff, docents, volunteers and the launch of a website, www.vislit.org. In November2014, the museum hosted the International Visual Literacy Association (IVLA) conference, the first Museum to do so. Kennedy has been a frequent speaker on the topic, including 2010 and 2013 TEDx talks on visualand sensory literacy.Kennedy has expressed an interest in expanding the museum's collection of contemporary art and art by indigenous peoples. Works by Frank Stella, Sean Scully, Jaume Plensa, Ravinder Reddy andMary Sibande have been acquired.  In addition, the museum has made major acquisitions of Old Master paintings by Frans Hals and Luca Giordano.During his tenure the Toledo Museum of Art has announced the returnof several objects from its collection due to claims the objects were stolen and/or illegally exported prior being sold to the museum.  In 2011 a Meissen sweetmeat stand was returned to Germany followed by anEtruscan Kalpis or water jug to Italy (2013), an Indian sculpture of Ganesha (2014) and an astrological compendium to Germany in 2015.Hood Museum of ArtKennedy became Director of the Hood Museum of Art in July2005. During his tenure, he implemented a series of large and small-scale exhibitions and oversaw the production of more than 20 publications to bring greater public attention to the museum's remarkable collections ofthe arts of America, Europe, Africa, Papua New Guinea and the Polar regions. At 70,000 objects, the Hood has one of the largest collections on any American college of university campus. The exhibition, BlackWomanhood: Images, Icons, and Ideologies of the African Body, toured several US venues. Kennedy increased campus curricular use of works of art, with thousands of objects pulled from storage for classes annually.Numerous acquisitions were made with the museum's generous endowments, and he curated several exhibitions: including Wenda Gu: Forest of Stone Steles: Retranslation and Rewriting Tang Dynasty Poetry, SeanScully: The Art of the Stripe, and Frank Stella: Irregular Polygons.PublicationsKennedy has written or edited a number of books on art, including:Alfred Chester Beatty and Ireland 1950-1968: A study in cultural politics,Glendale Press (1988), ISBN 978-0-907606-49-9Dreams and responsibilities: The state and arts in independent Ireland, Arts Council of Ireland (1990), ISBN 978-0-906627-32-7Jack B Yeats: Jack Butler Yeats,1871-1957 (Lives of Irish Artists), Unipub (October 1991), ISBN 978-0-948524-24-0The Anatomy Lesson: Art and Medicine (with Davis Coakley), National Gallery of Ireland (January 1992), ISBN978-0-903162-65-4Ireland: Art into History (with Raymond Gillespie), Roberts Rinehart Publishers (1994), ISBN 978-1-57098-005-3Irish Painting, Roberts Rinehart Publishers (November 1997),  ISBN978-1-86059-059-7Sean Scully: The Art of the Stripe, Hood Museum of Art (October 2008), ISBN 978-0-944722-34-3Frank Stella: Irregular Polygons, 1965-1966, Hood Museum of Art (October 2010), ISBN978-0-944722-39-8Honors and achievementsKennedy was awarded the Australian Centenary Medal in 2001 for service to Australian Society and its art. He is a trustee and treasurer of the Association of Art MuseumDirectors, a peer reviewer for the American Association of Museums and a member of the International Association of Art Critics. In 2013 he was appointed inaugural eminent professor at the University of Toledo andreceived an honorary doctorate from Lourdes University. Most recently, Kennedy received the 2014 Northwest Region, Ohio Art Education Association award for distinguished educator for art education.== Notes==Passage 7:Ian Barry (director)Ian Barry is an Australian director of film and TV.Select creditsWaiting for Lucas (1973) (short)Stone (1974) (editor only)The Chain Reaction (1980)Whose Baby? (1986)(mini-series)Minnamurra (1989)Bodysurfer (1989) (mini-series)Ring of Scorpio (1990) (mini-series)Crimebroker (1993)Inferno (1998) (TV movie)Miss Lettie and Me (2002) (TV movie)Not Quite Hollywood: The Wild,Untold Story of Ozploitation! (2008) (documentary)The Doctor Blake Mysteries (2013)Passage 8:Disgraced!Disgraced! is a 1933 American pre-Code mystery film directed by Erle C. Kenton and written by Francis Martinand Alice D. G. Miller. The film stars Helen Twelvetrees, Bruce Cabot, Adrienne Ames, William Harrigan, Ken Murray, Charles Middleton and Adrienne D'Ambricourt. The film was released on July 7, 1933, by ParamountPictures.CastHelen Twelvetrees as Gay HollowayBruce Cabot as Kirk Undwood, Jr.Adrienne Ames as Julia ThorndykeWilliam Harrigan as Captain HollowayKen Murray as Jim McGuireCharles Middleton as DistrictAttornAdrienne D'Ambricourt as Madame MaximeAra Haswell as Miss PeckDorothy Bay as FlynnPassage 9:Jason Moore (director)Jason Moore (born October 22, 1970) is an American director of film, theatre andtelevision.Life and careerJason Moore was born in Fayetteville, Arkansas, and studied at Northwestern University. Moore's Broadway career began as a resident director of Les Misérables at the Imperial Theatre in duringits original run. He is the son of Fayetteville District Judge Rudy Moore.In March 2003, Moore directed the musical Avenue Q, which opened Off-Broadway at the Vineyard Theatre and then moved to Broadway at theJohn Golden Theatre in July 2003.  He was nominated for a 2004 Tony Award for his direction. Moore also directed productions of the musical in Las Vegas and London and the show's national tour. Moore directed the2005 Broadway revival of Steel Magnolias and Shrek the Musical, starring Brian d'Arcy James and Sutton Foster which opened on Broadway in 2008. He directed the concert of Jerry Springer — The Opera at CarnegieHall in January 2008.Moore, Jeff Whitty, Jake Shears, and John \"JJ\" Garden worked together on a new musical based on Armistead Maupin's Tales of the City. The musical premiered at the American Conservatory"}
+{"doc_id":"doc_192","qid":"","text":"Passage 1:Tomáš HudečekTomáš Hudeček (born 10 May 1979 in Olomouc) is a Czech university (assoc.) professor and former politician. He is currently the head of the Department of Public Administration and RegionalStudies at the Masaryk Institute of Advanced Studies of the Czech Technical University in Prague, a former local (non-party) politician and the Mayor of the Capital City of Prague. He is married, has three sons, livesalternately in Prague and Ostrava.In 2010 he was elected to the Municipal Assembly in Prague as a candidate of the TOP 09 party.  On 24 November 2011 he became a member of the executive council of Prague andthe Deputy Mayor of Bohuslav Svoboda. Hudeček was elected deputy mayor of Prague between 24 November 2011 and 23 May 2013, then deputy mayor with the responsibilities of Mayor during the flooding of May andJune 2013 days in Prague, and Mayor of Prague between 20 June 2013 and 26 October 2014.Passage 2:A Trial in PragueA Trial in Prague is an 83 min colour documentary film directed by Zuzana Justman, about theSlánský trial, a high-profile show trial in 1952 Communist Czechoslovakia.ContentAt the height of the Cold War, an infamous political show trial, known as the Slánský trial, took place in Czechoslovakia. In 1952, 14leading Communists, including Rudolf Slánský, the second most powerful man in the country, were tried on charges of high treason and espionage. Although they were innocent of the charges, they confessed and wereconvicted. Most of the men were hanged, but three received life sentences. Eleven of the fourteen were Jews.The film tells the story of the trial and the paranoia of the period through testimonies, trial footage, archivalfilms and extensive documentation. Among the people who appear in the film are Lise London, whose late husband Artur London was one of the defendants and wrote about the trial in a widely published memoir \"TheConfession;\" Eduard Goldstucker, a Kafka scholar and the first Czech ambassador to Israel who was jailed and forced to testify at the trial; and Jan Kavan, the former Czech Minister of Foreign Affairs, whose father, alsoa trial witness, died shortly after his release from prison.What led these men to their passionate belief in Communism and why did they publicly confess to crimes they did not commit?  The film explores the questions,as well as the role of Moscow, the motives for the trial and its anti-Semitic thrust. It deals with the personal stories of the condemned men and the legacy they left their children, who \"feel a need to live out theinterrupted lives of their fathers\".Comments\"Sensitive, intelligent & moving … shows the human face of both communism and its victims\" - New York Times \"Harrowing and enlightening, a tale that even Kafka wouldfind hard to imagine\" (Boston Phoenix).\"Measured, informative…neatly structured\" (Variety).“The film is as compelling for these painful details as for the tough-minded analysis that ties them together.” ( The VillageVoice)“Powerful, important and refreshingly straightforward documentary.” (New York Post)SourcesSlánská, Josefa (1969). Report On My Husband. London: Hutchinson. ISBN 0-09-097320-8.London, Artur (1971).Confession. USA: Ballantine Books. ISBN 0-345-22170-2.Margolius, Ivan (2006). Reflections of Prague: Journeys through the 20th century. Chichester: Wiley. ISBN 0-470-02219-1.Kaplan, Karel (1990). Report on theMurder of the General Secretary. London: I. B. Tauris & Co. ISBN 1-85043-211-2.Heda Margolius Kovaly (1997) Under a Cruel Star: A life in Prague 1941-1968 (ISBN 0-8419-1377-3).Passage 3:VojtěchPetráčekVojtěch Petráček (born 17 February 1964 in Prague) is a Czech nuclear physicist and University Lecturer. Since February 2018, He has also been the rector of the Czech Technical University in Prague (CVUT) inPrague.EducationAfter attending the Nad Štolou Grammar School in the Letnány, Petráček studied mathematics and physics from 1982 at the Charles University, obtaining a doctorate in 1987.CareerIn 2014 heunsuccessfully ran in the Rectorate election of the ČVUT, but in 2017 he was elected and at the end of January, 2018 he was appointed to this position by the Czech President Miloš Zeman with effect from 1. February2018.PublicationsVojtěch Petráček, as of 2018, has published 117 articles.Passage 4:Henry Kolowrat Jr.Henry Kolowrat (Czech: Jindřich Kolowrat; August 25, 1933 – March 16, 2021) was an American fencer. He wasborn in Prague into a noble Kolowrat family. He moved with his parents to the United States in 1948 after the communist coup d'état in Czechoslovakia. He became a U.S. citizen in 1956. He competed in the team épéeevent at the 1960 Summer Olympics.Passage 5:Zuzana JustmanZuzana Justman, born Zuzana Pick (born 20 June 1931), is a Czech-American maker of documentary films and writer. She was born in formerCzechoslovakia, which she left in 1948 with her mother after surviving two years at Theresienstadt concentration camp during World War II. She went to New York state for college and graduate school, and settled inNew York City afterward. After working as a writer and translator, in the late 1980s, she started filmmaking. She has filmed most of her documentaries in the Czech Republic and other European countries, and her topicshave been the Holocaust of World War II and postwar history.Early lifeShe was born into a Jewish family as Zuzana Pick, the second child of Viktor and Marie Pick in Prague, Czechoslovakia. She had an older brother, JiříRobert Pick, who became a writer and playwright. During World War II Zuzana, her brother and her parents, Viktor and Marie Pick, were imprisoned for two years in the Terezín concentration camp. Her father wasdeported to the Auschwitz extermination camp, where he was killed; she, her mother and brother were among the survivors of Theresienstadt. They returned to Prague.After the communist putsch (\"VictoriousFebruary\") of 1948, Zuzana and her mother emigrated to Argentina. Jiří remained in Prague.Zuzana left Buenos Aires in 1950 to study at Vassar College. She received a B.A. from Vassar and later a Ph.D. in SlavicLinguistics from Columbia University in New York.CareerAfter working as a writer and translator, in 1986 Pick began to make her first film Terezin Diary (completed in 1989). The documentary is about the World WarII-era Theresienstadt concentration camp in occupied Czechoslovakia.In 1993, she wrote, produced and directed Czech Women: Now We Are Free.Her documentary Voices of the Children (1997), which tells the story ofthree concentration camp survivors, received the 1999 Emmy Award for best historical program, the Certificate of Merit at the Chicago International Film Festival, in 1998 the Gold Plaque at the Chicago InternationalTelevision Competition, in 1998 Best Documentary and Audience Choice for Best Documentary awards at Film Fest New Haven, in 1997 the Silver Apple from National Educational Media Network.Justman's film A Trial inPrague (2001) is about a 1952 show trial in Communist Czechoslovakia (known as the Slansky Trial). It was released theatrically in a great number of venues and it was uniformly well-received both critically andcommercially.Her 2006 adaptation of her brother's 1982 play The Unlucky Man in the Yellow Cap (in original Czech Smolař ve žluté čepici ), was performed at the FringeNYC festival in August 2006.Her play Waiting forFather premiered at a staged reading at the Czech Center New York on November 16, 2018.Her story My Terezin Diary was published in The New Yorker on September 9, 2019. It was also published in Germantranslation in Switzerland in Das Magazin in January 2020.Marriage and familyShe was married for nearly 50 years to the late Daniel Justman, a psychiatrist and psychoanalyst. She has two sons Philip and David, from aprevious marriage to the late writer David Boroff. She has two stepchildren, Alexander and Jessica Justman, from Daniel's first marriage. Her first husband was Miles/Milos Glaser.Film documentariesA Trial in Prague,2000 – director, producer, screenwriter Voices of the Children, 1997 – director, screenwriterCzech Women: Now We Are Free, 1993 – director, screenwriter (with J. Becker, L. Studničková)Terezin Diary, 1989(screenwriter, executive producer), directed and produced by Dan WeissmanTheatreThe Unlucky Man in the Yellow Cap, directed by Marcy Arlin, lyrics, translation and cooperation Alex Zucker, other lyrics by Peter Fish(also music), Zuzana Justman, J.R. Pick, performed at the FringeNYC festival, August 2006Justman's play Waiting for Father premiered at a staged reading at the Czech Center New York on November 16, 2018.Passage6:Karel WellnerKarel Wellner (5 March 1875, in Unhošť – 14 June 1926, in Olomouc) was a Czech graphic artist, painter, cartoonist, illustrator, art historian and critic. He was also a secondary school teacher andprofessor.He graduated from high school in Prague, and then studied industrial engineering and art  in Prague. He moved to Olomouc in 1902 and was active in illustrating professional literature and as an art historian.Some of his works were published in Germany. As a painter he took part in exhibitions in Prague and with the Association of Visual Artists in Moravia. He was active mainly in  graphic art. He has published severallithographs and etchings of the old city of Olomouc.See alsoList of Czech paintersPassage 7:Petr HájekPetr Hájek (Czech pronunciation: [\u0000p\u0000tr\u0000 \u0000\u0000a\u0000j\u0000k]; 6 February 1940 – 26 December 2016) was a Czechscientist in the area of mathematical logic and a professor of mathematics. Born in Prague, he worked at the Institute of Computer Science at the Academy of Sciences of the Czech Republic and as a lecturer at thefaculty of mathematics and physics at the Charles University in Prague and at the Faculty of Nuclear Sciences and Physical Engineering of the Czech Technical University in Prague.AcademicsPetr Hájek studied at thefaculty of mathematics and physics of the Charles University in Prague. Influenced by Petr Vopěnka, he specialized in set theory and arithmetic, and later also in logic and artificial intelligence. He contributed toestablishing the mathematical fundamentals of fuzzy logic. Following the Velvet Revolution, he was appointed a senior lecturer (1993) and a professor (1997). From 1992 to 2000 he held the position of chairman of theInstitute of Computer Science at the Academy of Sciences of the Czech Republic. From 1996 to 2003 he was also president of the Kurt Gödel Society.Later, he graduated from the Academy of Performing Arts in Prague,where he studied the pipe organ under Jiří Reinberger to become an organ player in a church.Awards2002, Medal of the Minister of Education of the Czech Republic2006, Medal of Merit, third grade, in the area ofsciences by President of the Czech Republic Václav Klaus2008, doctor honoris causa from Silesian University in OpavaPapersHájek, Petr; Kalášek, Pavel; Kůrka, Petr (1960). O dynamické logice. Praha:Academia.Vopěnka, Petr; Hájek, Petr (1972). The Theory of Semisets. Trans. Jech, T. and Rousseau, G. Praha: Academia.Hájek, Petr; Havránek, Tomáš; Chytil, Metoděj K. (1983). Metoda GUHA: automatická tvorbahypotéz. Praha: Academia.Hájek, Petr; Pudlák, Pavel (1993). Metamathematics of First-Order Arithmetic. Berlin: Springer.See alsoSemisetPassage 8:Three StrangersThree Strangers is a 1946 American film noir crimedrama directed by Jean Negulesco, written by John Huston and Howard Koch, starring Sydney Greenstreet, Geraldine Fitzgerald, and Peter Lorre, and featuring Joan Lorring and Alan Napier.PlotCrystal Shackleford(Geraldine Fitzgerald) lures two strangers, solicitor Jerome K. Arbutny (Sydney Greenstreet) and charming and erudite drunkard Johnny West (Peter Lorre) to her London flat on Chinese New Year in 1938 because of herbelief that if three strangers make the same wish to an idol of Kwan Yin, Chinese goddess of fortune and destiny, the wish will be granted.  Since money will make their dreams come true, the three go in on asweepstakes ticket for the Grand National horse race together and agree that they will not sell the ticket if it is chosen, but will hold on to it until the race is run.  Shackleford would use the money to try to win herestranged husband back, Arbutny to smooth the way for his selection to the prestigious Barrister's Club, and Johnny to buy a bar and live in it.The stories of the three strangers are revealed. Shackleford's husbandDavid (Alan Napier) moved to Canada and fell in love with Janet Elliott (Marjorie Riordan). He returns, just after Johnny and Arbutny take their leave of Crystal, and demands a divorce, but she refuses. She sees to itthat he loses a promotion. She also lies to Janet, telling her that David still loves her and that she is pregnant. The trusting woman believes her and returns to Canada.With the help of an adoring Icey Crane (JoanLorring), Johnny has been hiding out after his drunken participation in a botched robbery that resulted in the death of a policeman. Icey commits perjury in order to provide an alibi for the murderer and ringleader,Bertram Fallon (Robert Shayne). When a second witness is discredited, Fallon confesses to the robbery but blames the murder on West and the third man involved, Timothy Delaney, who is nicknamed Gabby (PeterWhitney). Johnny is caught and sentenced to death, but Gabby finds Fallon on his way to prison and stabs him.  As he dies in the railway carriage, Fallon clears Johnny.Arbutny has been speculating in stocks withmoney from the trust fund of Lady Rhea Belladon (Rosalind Ivan), an eccentric widow who believes she can talk with her dead husband.  When the stock falls and his margin is called, a desperate Arbutny proposes toLady Belladon.  After consulting with her dead husband, she turns him down. Worse, she says that Lord Belladon wants to have the books checked.  Arbutny contemplates suicide, is about to shoot himself but glances inthe newspaper and discovers their sweepstakes ticket \"Kwan Yin\" was drawn in the Grand National.The three strangers converge on Crystal's flat.  Arbutny wants to sell his share of the ticket immediately so he canreplace the funds he stole before his crime can be uncovered.  Johnny is willing, but Shackleford is adamant that they stick to their original agreement.  Arbutny becomes enraged and accidentally kills her with herstatue of Kwan Yin. Ironically, they hear on the radio that their horse wins.  Johnny points out to Arbutny that the winning ticket has to be destroyed because their agreement and signatures on it would provide a motivefor Crystal's murder. They leave the flat, but Arbutny is overcome by guilt, and panics and runs out into the middle of the busy street.  Arbutny stops traffic and attracts a crowd, including a policeman, where heconfesses to the murder. David Shackleford arrives, intending to shoot his estranged wife for  driving Janet away from him, but leaves, shaken, upon discovering that she's already dead.Johnny returns to the pub,where Icey finds him.  Content with having her, he sets the ticket on fire.CastProductionThree Strangers was in production from early January to mid-February 1945.  Its original title was Three Men and a Girl, andBette Davis and George Brent were originally to be the leads.  At one point, the story was considered for a sequel of sorts to The Maltese Falcon, and Humphrey Bogart, Sydney Greenstreet and Mary Astor were to star.However, according to Robert Osborne of Turner Classic Movies, Warner Bros. discovered the rights to the characters had reverted to Dashiell Hammett. Because Warners had owned the rights since 1937, actorsconsidered for the role of \"Jerome K. Arbutny\" were Lionel Atwill, Donald Crisp, Ian Hunter and Claude Rains, while Miriam Hopkins and Kay Francis were considered to play \"Crystal Shackelford\".  For the third starringrole, that of \"Johnny West,\" Errol Flynn, David Niven, Leslie Howard, Douglas Fairbanks, Jr. and Robert Montgomery were considered.  Director Jean Negulesco was a fan of Lorre's work and fought hard to give him therole.John Huston was inspired to write the story by a wooden figure he bought in an antique shop while working in London. Later, events at a party in his flat suggested to Huston the story of three strangers sharing asweepstakes ticket.  Alfred Hitchcock was at the gathering, and liked the story when Huston told it to him, but nothing came of it.  Huston returned to Hollywood, and Warners bought the treatment in 1937.  Hustonwent on to write the script with his friend Howard Koch. When the film finally went into production, Huston was not available to direct it, because he was a lieutenant in the U.S. Army Signal Corps.Two American releasedates for Three Strangers can be found: 28 January 1946 and 16 February 1946.  It's possible that the first date is the premiere, and the later one the actual date of general release.ReceptionIn its 1946 review, Varietywrote:Greenstreet overplays to some extent as the attorney who has raided a trust fund, but he still does a good job. Lorre is tops as a drunk who gets involved in a murder of which he's innocent, while Fitzgerald ratesas the victim.Bosley Crowther in The New York Times wrote that same year:[T]he action [...] is full-bodied melodrama of a shrewd and sophisticated sort. Never so far away from reason that it is wholly incredible butobviously manufactured fiction, it makes a tolerably tantalizing show, reaching some points of fascination in a few of its critical scenes.According to Warner Bros. records, the film earned $1,033,000 in the U.S. and$614,000 in other markets.Passage 9:Jean NegulescoJean Negulesco (born Ioan Negulescu; 13 March [O.S. 29 February] 1900 – 18 July 1993) was a Romanian-American film director and screenwriter. He first gainednotice for his film noirs and later made such notable films as Johnny Belinda (1948), How to Marry a Millionaire (1953), Titanic (1953), and Three Coins in the Fountain (1954).He was called \"the first real master ofCinemaScope\".BiographyEarly lifeBorn in Craiova, Negulesco was the son of a hotel keeper and attended Carol I High School.When he was 15, he was working in a military hospital during World War I. George Enescu,the Romanian composer, came to play the violin to the war wounded; Negulesco drew a portrait of him, and Enesco bought it. Negulesco decided to be a painter and studied art in Bucharest.Negulesco went to Paris in1920, and enrolled in the Académie Julian. He sold one of his paintings to Rex Ingram.AmericaIn 1927, he visited New York City for an exhibition of his paintings and settled there.He then made his way to California, atfirst working as a portraitist.He became interested in movies and made an experimental feature film, financed as well as written and directed by himself, called Three and a Day. Through his contact with the film's star,Mischa Auer, he managed to get a job at Paramount.ParamountHe did the opening montage for the film musical Tonight We Sing and worked on The Story of Temple Drake and A Farewell to Arms (1932).He worked hisway to assistant producer, second unit director.Warner BrothersNegulesco went to Warner Brothers in 1940. He made his reputation at Warner Bros by directing short subjects, particularly a series of band shortsfeaturing unusual camera angles and dramatic use of shadows and silhouettes.Negulesco's first feature film as director was Singapore Woman (1941). In 1948, he was nominated for an Academy Award for Directing forJohnny Belinda.20th Century FoxIn 1948 Negulesco went to work for 20th Century Fox. He was the first director to make two films in Fox's CinemaScope - How to Marry a Millionaire and Three Coins in the Fountain; theformer receiving a nomination for a BAFTA Award for Best Film.His 1959 movie The Best of Everything was on Entertainment Weekly's Top 50 Cult Films of All-Time.During his Hollywood career and in his 1984autobiography Things I Did and Things I Think I Did, Negulesco claimed to have been born on 29 February 1900; he apparently was motivated to make this statement because birthdays on leap year day arecomparatively rare (and even though 1900 was not a leap year in the Gregorian calendar, it was under the Julian calendar, which applied in Romania at that time).He has a star on the Hollywood Walk of Fame at 6212Hollywood Blvd.DeathFrom the late 1960s Negulesco lived in Marbella, Spain, where he died, at age 93, of heart failure. He is buried in the Virgen del Carmen cemetery in Marbella.FilmographyShortsFeaturefilmsArchiveMany of Negulesco's home movies are held by the Academy Film Archive; the archive has preserved a number of them, including behind-the-scenes footage of Negulesco's films.NotesPassage 10:St. VitusMadonnaThe St. Vitus Madonna (c. 1395–1415) comes from the treasure of St. Vitus Cathedral in Prague and is exhibited in its original frame in the permanent collection of the National Gallery in Prague.History of the"}
+{"doc_id":"doc_193","qid":"","text":"Passage 1:Sarre Anglo-Saxon cemeterySarre Anglo-Saxon cemetery is a place of burial that was used in the sixth and seventh centuries CE.BackgroundWith the advent of the Anglo-Saxon period in the fifth century CE,the area that became Kent underwent a radical transformation on a political, social, and physical level. In the preceding era of Roman Britain, the area had been administered as the civitas of Cantiaci, a part of theRoman Empire, but following the collapse of Roman rule in 410 CE, many signs of Romano-British society began to disappear, replaced by those of the ascendant Anglo-Saxon culture. Later Anglo-Saxon accountsattribute this change to the widescale invasion of Germanic language tribes from northern Europe, namely the Angles, Saxons, and Jutes. Archaeological and toponymic evidence shows that there was a great deal ofsyncretism, with Anglo-Saxon culture interacting and mixing with the Romano-British culture.The Old English term Kent first appears in the Anglo-Saxon period, and was based on the earlier Celtic-language nameCantii. Initially applied only to the area east of the River Medway, by the end of the sixth century it also referred to areas to the west of it. The Kingdom of Kent was the first recorded Anglo-Saxon kingdom to appear inthe historical record, and by the end of sixth century, it had become a significant political power, exercising hegemony over large parts of southern and eastern Britain. At the time, Kent had strong trade links withFrancia, while the Kentish royal family married members of Francia's Merovingian dynasty, who were already Christian. Kentish King Æthelberht was the overlord of various neighbouring kingdoms when he converted toChristianity in the early seventh century as a result of Augustine of Canterbury and the Gregorian mission, who had been sent by Pope Gregory to replace England's pagan beliefs with Christianity. It was in this contextthat the Polhill cemetery was in use.Kent has a wealth of Early Medieval funerary archaeology. The earliest excavation of Anglo-Saxon Kentish graves was in the 17th century, when antiquarians took an increasinginterest in the material remains of the period. In the ensuing centuries, antiquarian interest gave way to more methodical archaeological investigation, and prominent archaeologists like Bryan Faussett, James Douglas,Cecil Brent, George Payne, and Charles Roach Smith \"dominated\" archaeological research in Kent.Archaeological investigationThe existence of Sarre was not noted by any of the early antiquarians who studied theAnglo-Saxon cemeteries of Kent. Sarre cemetery was discovered in 1843, and re-examined in 1860, when a number of artefacts were discovered during construction work at Sarre windmill, subsequently beingpurchased by the British Museum. It was excavated in 1863 by the Kent Archaeological Society, in a project directed by John Brent, who published his findings in the Archaeologia Cantiana journal. Aided by twoworkmen, he used a metal probe to determine the locations of the graves.After this excavation, which was believed to have been total, the cemetery was relegated to \"the history of archaeology\", being considered“arguably the richest Anglo-Saxon burial ground yet discovered”. It was not scheduled as an Ancient Monument.In 1982, an excavation of the supposed site of St. Giles took place under the directorship of D.R.J.Perkins, revealing Anglo-Saxon graves around 50 metres away from Brent's excavated area. This led Perkins to review the original cemetery plan, and undertake aerial photography of the site; this suggested that therewere various features that Brent had not revealed, and that the cemetery was larger than previously believed. It was decided that further excavation of the site was necessary, with the cooperation of the landowners,Church Commissioners, as well as the local farmer, Michael Baxter.In May 1991, Southern Water commenced a sewage construction near the site, and funded a rescue excavation of the area from the Trust for ThanetArchaeology.See alsoList of Anglo-Saxon cemeteriesBuckland Anglo-Saxon cemeteryFinglesham Anglo-Saxon cemeteryMill Hill Anglo-Saxon cemeteryPassage 2:William Rockhill NelsonWilliam Rockhill Nelson (March 7,1841 – April 13, 1915) was an American real estate developer and co-founder of The Kansas City Star in Kansas City, Missouri.  He donated his estate (and home) for the establishment of the Nelson-Atkins Museum ofArt.He is buried at Mt. Washington Cemetery with his wife, daughter and son-in-law.Early lifeNelson was born in Fort Wayne, Indiana. His father was publisher Isaac De Groff Nelson (1810–1891) and his mother wasElizabeth Rockhill (1816–1889), the daughter of William R. Rockhill, an important farmer and politician in Fort Wayne, Indiana. For a short time, Isaac Nelson owned The Sentinel newspaper (which became the FortWayne News Sentinel). But I.D.G. Nelson, as he was fondly known for many years in Fort Wayne, was much more renowned as a nursery owner. His own estate, \"Elm Park\", was considered \"the showplace of AllenCounty.\"Nelson, as a 15-year-old attended the University of Notre Dame (which accepted high school students) at the time for two years which he described as \"Botany Bay for bad boys.\" Notre Dame was reported tohave asked that he not return.He was admitted to the bar in 1862 and was a campaign manager for Democratic presidential nominee Samuel J. Tilden. Tilden told him: \"While it is a great thing to lead armies, it is agreater thing to lead the minds of men.\"Nelson attempted to run a store in Savannah, Georgia but it failed. The southern sojourn was to earn him the nickname \"The Colonel\" even though he never served in themilitary. William Allen White said later: \"Not that he was ever a colonel of anything...He was just coloneliferous.\"NewspapersNelson formally took over the Sentinel with Samuel Morss in 1879. In 1880 they moved toKansas City and started the Star. At the time there were three daily competitors – the Evening Mail; The Kansas City Times; and the Kansas City Journal. Nelson took over sole ownership of the paper within a fewmonths.Nelson's business strategy called for cheap advance subscriptions and an intention to be \"absolutely independent in politics, aiming to deal by all men and all parties with impartiality and fearlessness.\"Hepurchased the Kansas City Evening Mail and its Associated Press franchise in 1882 and started the Weekly Kansas City Star in 1890 and the Sunday Kansas City Star in 1894. Nelson bought the Times in 1901, puttingThe Morning Kansas City Star on it.Nelson had portraits of Tilden, Grover Cleveland, and Theodore Roosevelt in his office. Roosevelt stayed with Nelson at Oak Hall.In one encounter, Kansas City Mayor Joseph J.Davenport was thrown down a stairwell at the Star building by editors (including William Allen White) when he was believed to have physically threatened Nelson. Nelson said afterwards, \"The Star never loses!\"OtherinterestsIn addition to his newspaper duties, Nelson developed an area of farmland south of downtown Kansas City into a neighborhood of more than 100 houses, including his own mansion called Oak Hall. The area,which became known as the Rockhill District, was noted for its use of limestone in both the houses and in stone walls that stood beside the streets  Nelson also acquired more than 2,400 acres (9.7 km2) in what ispresently Grain Valley, Missouri, for the establishment of Sni A Bar Farm.  The farm's mission was the development of improved breeding methods and livestock.  It served as one of the world's leaders in animal healthfor more than 30 years.He campaigned for Kansas City's George Kessler-designed park and boulevard system and the 1900 “Kansas City Spirit” to build Convention Hall in 90 days in order to host the 1900 DemocraticNational Convention after the original (and new) convention hall had burned in April 1900.LegacyNelson provided in his will that following the death of his wife and daughter his Oak Hill mansion be torn down and its30-acre (120,000 m2) estate turned into an art museum.  Proceeds from his $6 million estate were used to build the Nelson-Atkins Museum of Art in Kansas City.  Nelson's will also established a trust for Sni A BarFarm, with Presidents from the University of Missouri, the University of Kansas, and the University of Oklahoma charged with selecting its trustees.The Art Gallery originally contained a recreation of Nelson's oakpaneled room from Oak Hall (and namesake of the estate). The room contained Nelson's red plush easy chair and bookcases.  The room was dismantled in 1988 to make way for a photography studio. His memorial islocated in a mausoleum located at Mount Washington Cemetery in Independence, Missouri, between Truman Road and US Route 24.Passage 3:Motherland (disambiguation)Motherland is the place of one's birth, theplace of one's ancestors, or the place of origin of an ethnic group.Motherland may also refer to:Music\"Motherland\" (anthem), the national anthem of MauritiusNational Song (Montserrat), also called\"Motherland\"Motherland (Natalie Merchant album), 2001Motherland (Arsonists Get All the Girls album), 2011Motherland (Daedalus album), 2011\"Motherland\" (Crystal Kay song), 2004Film and televisionMotherland(1927 film), a 1927 British silent war filmMotherland (2010 film), a 2010 documentary filmMotherland (2015 film), a 2015 Turkish dramaMotherland (2022 film), a 2022 documentary film about the SecondNagorno-Karabakh WarMotherland (TV series), a 2016 British television seriesMotherland: Fort Salem, a 2020 American science fiction drama seriesOther usesMotherland Party (disambiguation), the name of severalpolitical groupsPersonifications of Russia, including a list of monuments called MotherlandSee alsoAll pages with titles containing MotherlandMother Country (disambiguation)Passage 4:Meritites IMeritites I was anancient Egyptian queen of the 4th Dynasty. Her name means \"Beloved of her Father\". Several of her titles are known from a stela found at Giza. She was buried in the middle Queen’s Pyramid in Giza (Pyramid G1b).Meritites was a daughter of King Sneferu and his consort of unknown name. Meritites married her (half?-)brother, King Khufu. With Khufu, she was the mother of the Crown Prince Kawab, and possibly Djedefre.Both Queen Hetepheres II and Pharaoh Khafre have been suggested as children of Meretites I and Khufu as well, and it is possible that Meritites II was a daughter of Meritites I as well.Auguste Mariette recorded a stelaat Giza in which Meritites is said to be a favorite of both Sneferu and Khufu:King’s wife, his beloved, devoted to Horus, Mertitytes. King’s wife, his beloved, Mertitytes; beloved of the Favorite of the Two Goddesses; shewho says anything whatsoever and it is done for her. Great in the favor of Snefr[u]; great in the favor of Khuf[u], devoted to Horus, honored under Khafre. Merti[tyt]es. [Breasted]Meritites held the titles: \"great one ofthe hetes-sceptre of Khufu\" (Weret-hetes-net-Khufu, wrt-hetes-nt-khwfw), great one of the hetes-sceptre of Snofru (Weret-hetes-net-snofru, wrt-hetes-nt-snfrw), king’s wife, his beloved (Hemet-nesu Meritef, hmt-nswmeryt.f), attendant of Horus (Khet-heru, kht-hrw) and consort and beloved of the Two Ladies (Semayt-meri-nebti, sm\u0000yt-mry-nbty).PyramidPyramid G1-b is thought to be the tomb of Meritites. The queen's pyramidswere often constructed to the south of the king's pyramid, but a quarry located to the south of Khufu's pyramid caused the location of the smaller pyramids to shift to the east. Reisner placed the construction of thepyramid of Meritites in circa year 15 of the reign of Khufu. The construction of her pyramid would have started very soon after the construction of Pyramid G1-a. The queen's pyramids are part of the East Field at Giza,which also includes some royal mastabas.Pyramid G1-a (the northernmost of three small pyramids east of the Great Pyramid of Giza) was at first thought to belong to Meritites, but it is now thought to belong to Khufu’smother, Hetepheres I. More recently, Pyramid G1-b is thought to be the tomb of Meritites. It had a small mortuary temple and a boat pit associated with it. No boat was found in the rock-cut boat pit however. Themortuary temple was decorated with scenes. Relief fragments from a false door and walls were recovered during excavations. The title of queen was preserved in a fragment now in the Museum of Fine Arts, Boston(27.1321). Further fragments include parts of an offering list, men bringing offerings and animals, and a boatbeing paddled.== Sources ==Passage 5:Meritites IIMeritites II (Merytiotes, Meritetes) or Meritites A(\"beloved of her father\") was a 4th Dynasty princess of ancient Egypt, probably a daughter of King Khufu. She may have been a daughter of Meritites I based on the fact that this queen is mentioned in mastaba G 7650.She married the Director of the Palace, Akhethotep (a non-royal court official), and she had several children with her husband. Meritites and her husband shared a mastaba G 7650 in Giza.Family and early lifeMeritites IIwas probably a daughter of Khufu, as she was said to be a King's daughter of his body and as the location of her tomb indicates a relation to Khufu. She was a Prophetess of Khufu, Hathor and Neith.Meritites wasmarried to Akhethotep, who was a director of the palace. Further titles of Akhethotep include Sole friend, Priest of the Bas of Nekhen, and Overseer of fishers/ fowlers. In the tomb several children are depicted. A blockformerly in the McGregor collection, but now in Lisbon shows two daughters. One daughter is named Hetepheres and only a partial name has been preserved for the second girl: Khufu[...].BurialAkhethotep and Merititeswere buried at Giza in tomb G 7650. The mastaba is stone built and the interior offering room is decorated. Akhethotep is depicted with his wife Meritites and attendants in some of the scenes. In one scene Akhethotepis accompanied by two daughters. A red granite sarcophagus with a palace facade was discovered in shaft C. Meritites died during the reign of her brother Khafre.== Literature ==Passage 6:Place of birthThe place ofbirth (POB) or birthplace is the place where a person was born. This place is often used in legal documents, together with name and date of birth, to uniquely identify a person. Practice regarding whether this placeshould be a country, a territory or a city/town/locality differs in different countries, but often city or territory is used for native-born citizen passports and countries for foreign-born ones.As a general rule with respect topassports, if the place of birth is to be a country, it's determined to be the country that currently has sovereignty over the actual place of birth, regardless of when the birth actually occurred. The place of birth is notnecessarily the place where the parents of the new baby live. If the baby is born in a hospital in another place, that place is the place of birth. In many countries, this also means that the government requires that thebirth of the new baby is registered in the place of birth.Some countries place less or no importance on the place of birth, instead using alternative geographical characteristics for the purpose of identity documents. Forexample, Sweden has used the concept of födelsehemort (\"domicile of birth\") since 1947. This means that the domicile of the baby's mother is the registered place of birth. The location of the maternity ward or otherphysical birthplace is considered unimportant.Similarly, Switzerland uses the concept of place of origin. A child born to Swiss parents is automatically assigned the place of origin of the parent with the same last name,so the child either gets their mother's or father's place of origin. A child born to one Swiss parent and one foreign parent acquires the place of origin of their Swiss parent. In a Swiss passport and identity card, theholder's place of origin is stated, not their place of birth. In Japan, the registered domicile is a similar concept.In some countries (primarily in the Americas), the place of birth automatically determines the nationality ofthe baby, a practice often referred to by the Latin phrase jus soli. Almost all countries outside the Americas instead attribute nationality based on the nationality(-ies) of the baby's parents (referred to as jussanguinis).There can be some confusion regarding the place of birth if the birth takes place in an unusual way: when babies are born on an airplane or at sea, difficulties can arise. The place of birth of such a persondepends on the law of the countries involved, which include the nationality of the plane or ship, the nationality(-ies) of the parents and/or the location of the plane or ship (if the birth occurs in the territorial waters orairspace of a country).Some administrative forms may request the applicant's \"country of birth\". It is important to determine from the requester whether the information requested refers to the applicant's \"place ofbirth\" or \"nationality at birth\". For example, US citizens born abroad who acquire US citizenship at the time of birth, the nationality at birth will be USA (American), while the place of birth would be the country in whichthe actual birth takes place.Reference list8 FAM 403.4 Place of BirthPassage 7:KhufuKhufu or Cheops was an ancient Egyptian monarch who was the second pharaoh of the Fourth Dynasty, in the first half of the OldKingdom period (26th century BC). Khufu succeeded his father Sneferu as king. He is generally accepted as having commissioned the Great Pyramid of Giza, one of the Seven Wonders of the Ancient World, but manyother aspects of his reign are poorly documented.The only completely preserved portrait of the king is a three-inch high ivory figurine found in a temple ruin of a later period at Abydos in 1903. All other reliefs andstatues were found in fragments, and many buildings of Khufu are lost. Everything known about Khufu comes from inscriptions in his necropolis at Giza and later documents. For example, Khufu is the main characternoted in the Westcar Papyrus from the 13th dynasty.Most documents that mention king Khufu were written by ancient Egyptian and Greek historians around 300 BC. Khufu's obituary is presented there in a conflictingway: while the king enjoyed a long-lasting cultural heritage preservation during the period of the Old Kingdom and the New Kingdom, the ancient historians Manetho, Diodorus and Herodotus hand down a very negativedepiction of Khufu's character. Thanks to these documents, an obscure and critical picture of Khufu's personality persists.Khufu's nameKhufu's name was dedicated to the god Khnum, which might point to an increase ofKhnum's popularity and religious importance. In fact, several royal and religious titles introduced at this time may point out that Egyptian pharaohs sought to accentuate their divine origin and status by dedicating theirofficial cartouche names to certain deities. Khufu may have viewed himself as a divine creator, a role that was already given to Khnum, the god of creation and growth. As a consequence, the king connected Khnum'sname with his own. Khufu's full name (Khnum-khufu) means \"Khnum protect me\". While modern Egyptological pronunciation renders his name as Khufu, at the time of his reign his name was probably pronounced asKha(w)yafwi(y), and during the Hellenized era, Khewaf(w).The pharaoh officially used two versions of his birth name: Khnum-khuf and Khufu. The first (complete) version clearly exhibits Khufu's religious loyalty toKhnum, the second (shorter) version does not. It is unknown as to why the king would use a shortened name version since it hides the name of Khnum and the king's name connection to this god. It might be possiblethough, that the short name was not meant to be connected to any god at all.Khufu is well known under his Hellenized name Χέοψ, Khéops or Cheops (, KEE-ops, by Diodorus and Herodotus) and less well known underanother Hellenized name, Σο\u0000φις, Súphis (, SOO-fis, by Manetho). A rare version of the name of Khufu, used by Josephus, is Σόφε, Sofe (, SOF-ee). Arab historians, who wrote mystic stories about Khufu and the Gizapyramids, called him Saurid (Arabic: \u0000\u0000\u0000\u0000\u0000) or Salhuk (\u0000\u0000\u0000\u0000\u0000).FamilyKhufu's originThe royal family of Khufu was quite large. It is uncertain if Khufu was actually the biological son of Sneferu. Egyptologistsbelieve Sneferu was Khufu's father, but only because it was handed down by later historians that the eldest son or a selected descendant would inherit the throne. In 1925 the tomb of queen Hetepheres I, G 7000x, wasfound east of Khufu's pyramid. It contained many precious grave goods, and several inscriptions give her the title Mut-nesut (meaning \"mother of a king\"), together with the name of king Sneferu. Therefore, it seemedclear at first that Hetepheres was the wife of Sneferu, and that they were Khufu's parents. More recently, however, some have doubted this theory, because Hetepheres is not known to have borne the title Hemet-nesut"}
+{"doc_id":"doc_194","qid":"","text":"Passage 1:Hermann GöringHermann Wilhelm Göring (or Goering; German: [\u0000h\u0000\u0000man \u0000v\u0000lh\u0000lm \u0000\u0000ø\u0000\u0000\u0000ŋ] (listen); 12 January 1893 – 15 October 1946) was a German politician, military leader, and convictedwar criminal. He was one of the most powerful figures in the Nazi Party, which ruled Germany from 1933 to 1945.A veteran World War I fighter pilot ace, Göring was a recipient of the Pour le Mérite (\"The Blue Max\"). Hewas the last commander of Jagdgeschwader 1 (JG I), the fighter wing once led by Manfred von Richthofen. An early member of the Nazi Party, Göring was among those wounded in Adolf Hitler's failed Beer Hall Putsch in1923. While receiving treatment for his injuries, he developed an addiction to morphine which persisted until the last year of his life. After Hitler became Chancellor of Germany in 1933, Göring was named as ministerwithout portfolio in the new government. One of his first acts as a cabinet minister was to oversee the creation of the Gestapo, which he ceded to Heinrich Himmler in 1934.Following the establishment of the Nazi state,Göring amassed power and political capital to become the second most powerful man in Germany. He was appointed commander-in-chief of the Luftwaffe (air force), a position he held until the final days of the regime.Upon being named Plenipotentiary of the Four Year Plan in 1936, Göring was entrusted with the task of mobilizing all sectors of the economy for war, an assignment which brought numerous government agencies underhis control. In September 1939, Hitler designated him as his successor and deputy in all his offices. After the Fall of France in 1940, he was bestowed the specially created rank of Reichsmarschall, which gave himseniority over all officers in Germany's armed forces.By 1941, Göring was at the peak of his power and influence. As the Second World War progressed, Göring's standing with Hitler and with the German public declinedafter the Luftwaffe proved incapable of preventing the Allied bombing of Germany's cities and resupplying surrounded Axis forces in Stalingrad. Around that time, Göring increasingly withdrew from military and politicalaffairs to devote his attention to collecting property and artwork, much of which was stolen from Jewish victims of the Holocaust. Informed on 22 April 1945 that Hitler intended to commit suicide, Göring sent a telegramto Hitler requesting his permission to assume leadership of the Reich. Considering his request an act of treason, Hitler removed Göring from all his positions, expelled him from the party, and ordered his arrest. After thewar, Göring was convicted of conspiracy, crimes against peace, war crimes, and crimes against humanity at the Nuremberg trials in 1946. He was sentenced to death by hanging but committed suicide by ingestingcyanide hours before the sentence was to be carried out.Early life and educationGöring was born on 12 January 1893 at the Marienbad Sanatorium in Rosenheim, Bavaria. His father, Heinrich Ernst Göring (31 October1839 – 7 December 1913), a former cavalry officer, had been the first governor-general of German South West Africa (modern-day Namibia). Heinrich had three children from a previous marriage. Göring was the fourthof five children by Heinrich's second wife, Franziska Tiefenbrunn (1859–15 July 1943), a Bavarian peasant. Göring's elder siblings were Karl, Olga, and Paula; his younger brother was Albert. At the time that Göring wasborn, his father was serving as consul general in Haiti, and his mother had returned home briefly to give birth. She left the six-week-old baby with a friend in Bavaria and did not see the child again for three years, whenshe and Heinrich returned to Germany.Göring's godfather was Hermann Epenstein, a wealthy Jewish physician and businessman his father had met in Africa. Epenstein provided the Göring family, who were surviving onHeinrich's pension, first with a family home in Berlin-Friedenau, and then a small castle called Veldenstein, near Nuremberg. Göring's mother became Epenstein's mistress around this time, and remained so for somefifteen years. Epenstein acquired the minor title of Ritter (knight) von Epenstein through service and donations to the Crown.Interested in a career as a soldier from a very early age, Göring enjoyed playing with toysoldiers and dressing up in a Boer uniform his father had given him. He was sent to boarding school at age eleven, where the food was poor and discipline was harsh. He sold a violin to pay for his train ticket home, andthen took to his bed, feigning illness, until he was told he would not have to return. He continued to enjoy war games, pretending to lay siege to the castle Veldenstein and studying Teutonic legends and sagas. Hebecame a mountain climber, scaling peaks in Germany, at the Mont Blanc massif, and in the Austrian Alps. At age 16, he was sent to a military academy at Berlin Lichterfelde, from which he graduated withdistinction.Göring joined the Prince Wilhelm Regiment (112th Infantry, Garrison: Mülhausen) of the Prussian Army in 1912. The next year his mother had a falling-out with Epenstein. The family was forced to leaveVeldenstein and moved to Munich; Göring's father died shortly afterwards. It was in Bavaria where Göring developed his \"romantic sense of Germanness\" that further evolved under National Socialism. When World WarI began in August 1914, Göring was stationed at Mülhausen with his regiment.World War IDuring the first year of World War I, Göring served with his infantry regiment in the area of Mülhausen, a garrison town lessthan 2 km from the French frontier. He was hospitalized with rheumatism, a result of the damp of trench warfare. While he was recovering, his friend Bruno Loerzer convinced him to transfer to what would become, byOctober 1916, the Luftstreitkräfte (transl. air combat forces) of the German army, but his request was turned down. Later that year, Göring flew as Loerzer's observer in Feldflieger Abteilung 25 (FFA 25); Göring hadinformally transferred himself. He was discovered and sentenced to three weeks' confinement to barracks, but the sentence was never carried out. By the time it was supposed to be imposed, Göring's association withLoerzer had been made official. They were assigned as a team to FFA 25 in the Crown Prince's Fifth Army. They flew reconnaissance and bombing missions, for which the Crown Prince invested both Göring and Loerzerwith the Iron Cross, first class.After completing the pilot's training course, Göring was assigned to Jagdstaffel 5. Seriously wounded in the hip in aerial combat, he took nearly a year to recover. He then was transferredto Jagdstaffel 26, commanded by Loerzer, in February 1917. He steadily scored air victories until May, when he was assigned to command Jagdstaffel 27. Serving with Jastas 5, 26 and 27, he continued to win victories.In addition to his Iron Crosses (1st and 2nd Class), he received the Zähringer Lion with swords, the Friedrich Order, the House Order of Hohenzollern with swords third class, and finally, in May 1918, the coveted Pour leMérite. According to Hermann Dahlmann, who knew both men, Göring had Loerzer lobby for the award. He finished the war with 22 victories. A thorough post-war examination of Allied loss records showed that only twoof his awarded victories were doubtful. Three were possible and 17 were certain, or highly likely.On 7 July 1918, following the death of Wilhelm Reinhard, successor to Manfred von Richthofen, Göring was madecommander of the \"Flying Circus\", Jagdgeschwader 1. His arrogance made him unpopular with the men of his squadron.In the last days of the war, Göring was repeatedly ordered to withdraw his squadron, first toTellancourt airdrome, then to Darmstadt. At one point, he was ordered to surrender the aircraft to the Allies; he refused. Many of his pilots intentionally crash-landed their planes to keep them from falling into enemyhands.Like many other German veterans, Göring was a proponent of the stab-in-the-back myth, the belief which held that the German Army had not really lost the war, but instead was betrayed by the civilianleadership: Marxists, Jews, and especially the republicans, who had overthrown the German monarchy. Atop the frustration of military defeat, Göring also experienced the personal disappointment of being snubbed byhis fiancée's upper-class family, who broke off the engagement when he returned penniless from the front.After World War IGöring remained in aviation after the war. He tried barnstorming and briefly worked at Fokker.After spending most of 1919 living in Denmark, he moved to Sweden and joined Svensk Lufttrafik, a Swedish airline. Göring was often hired for private flights. During the winter of 1920–1921, he was hired by CountEric von Rosen to fly him to his castle from Stockholm. Invited to spend the night, Göring may at this time have first seen the swastika emblem, which Rosen had set in the chimney piece as a family badge.This was alsothe first time that Göring saw his future wife; the count introduced his sister-in-law, Baroness Carin von Kantzow (née Freiin von Fock). Estranged from her husband of 10 years, she had an eight-year-old son. Göringwas immediately infatuated and asked her to meet him in Stockholm. They arranged a visit at the home of her parents and spent much time together through 1921, when Göring left to study political science at theUniversity of Munich. Carin obtained a divorce, followed Göring to Munich, and married him on 3 February 1922. Their first home together was a hunting lodge at Hochkreuth in the Bavarian Alps, near Bayrischzell,some 80 kilometres (50 mi) from Munich. After Göring met Adolf Hitler and joined the Nazi Party in 1922, they moved to Obermenzing, a suburb of Munich.Early Nazi careerGöring joined the Nazi Party in 1922 afterhearing a speech by Hitler. He was given command of the Sturmabteilung (SA) as the Oberster SA-Führer in 1923. He was later appointed an SA-Gruppenführer (Lieutenant general) and held this rank on the SA rollsuntil 1945. At this time, Carin—who liked Hitler—often played hostess to meetings of leading Nazis, including her husband, Hitler, Rudolf Hess, Alfred Rosenberg, and Ernst Röhm. Hitler later recalled his early associationwith Göring:I liked him. I made him the head of my SA. He is the only one of its heads that ran the SA properly. I gave him a dishevelled rabble. In a very short time he had organised a division of 11,000 men.Hitler andthe Nazi Party held mass meetings and rallies in Munich and elsewhere during the early 1920s, attempting to gain supporters in a bid for political power. Inspired by Benito Mussolini's March on Rome, the Nazisattempted to seize power on 8–9 November 1923 in a failed coup known as the Beer Hall Putsch. Göring, who was with Hitler leading the march to the War Ministry, was shot in the groin. Fourteen Nazis and fourpolicemen were killed; many top Nazis, including Hitler, were arrested. With Carin's help, Göring was smuggled to Innsbruck, where he received surgery and was given morphine for the pain. He remained in hospitaluntil 24 December. This was the beginning of his morphine addiction, which lasted until his imprisonment at Nuremberg. Meanwhile, the authorities in Munich declared Göring a wanted man. The Görings—acutely shortof funds and reliant on the good will of Nazi sympathizers abroad—moved from Austria to Venice. In May 1924 they visited Rome, via Florence and Siena. Sometime in 1924, Göring met Mussolini through his contactswith members of Italy's Fascist Party; Mussolini had also expressed an interest in meeting Hitler, who was by then in prison. Hitler penned his infamous tome Mein Kampf while incarcerated, before being released inDecember 1924.Meanwhile, personal problems continued to multiply for Göring. By 1925, Carin's mother was ill. The Görings—with difficulty—raised the money in the spring of 1925 for a journey to Sweden via Austria,Czechoslovakia, Poland, and Danzig (now Gdańsk). Göring had become a violent morphine addict; Carin's family were shocked by his deterioration. Carin, who was ill with epilepsy and a weak heart, had to allow thedoctors to take charge of Göring; her son was taken by his father. Göring was certified a dangerous drug addict and was placed in Långbro Asylum on 1 September 1925. He was violent to the point where he had to beconfined in a straitjacket, but his psychiatrist felt he was sane; the condition was caused solely by the morphine. Weaned off the drug, he left the facility briefly, but had to return for further treatment. He returned toGermany when an amnesty was declared in 1927 and resumed working in the aircraft industry. Carin Göring, ill with epilepsy and tuberculosis, died of heart failure on 17 October 1931.Meanwhile, the Nazi Party was ina period of rebuilding and waiting. The economy had recovered, which meant fewer opportunities for the Nazis to agitate. The SA was reorganised, but with Franz Pfeffer von Salomon as its head rather than Göring, andthe Schutzstaffel (SS) was founded in 1925, initially as a bodyguard for Hitler. Membership in the party increased from 27,000 in 1925 to 108,000 in 1928 and 178,000 in 1929. In the May 1928 elections the Nazi Partyonly obtained 12 seats out of an available 491 in the Reichstag. Göring was elected as a representative from Bavaria. Having secured a seat in the Reichstag, Göring gained a more prominent place in the Nazimovement, since Hitler saw him as a public relations officer for Nazism in this capacity. Göring continued to be elected to the Reichstag in all subsequent elections during the Weimar and Nazi regimes. Electoral successalso afforded Göring with access to powerful sympathizers to the Nazi cause, such as Prince August Wilhelm of Prussia and the conservative-minded businessmen, Fritz Thyssen and Hjalmar Schacht. The GreatDepression led to a disastrous downturn in the German economy, and in the 1930 election, the Nazi Party won 6,409,600 votes and 107 seats. In May 1931, Hitler sent Göring on a mission to the Vatican, where he metthe future Pope Pius XII.In the July 1932 election, the Nazis won 230 seats to become far and away the largest party in the Reichstag. By longstanding tradition, the Nazis were thus entitled to select the President of theReichstag, and elected Göring to the post. He would retain this position until 23 April 1945.Reichstag fireThe Reichstag fire occurred on the night of 27 February 1933. Göring was one of the first to arrive on the scene.Marinus van der Lubbe, a Communist radical, was arrested and claimed sole responsibility for the fire. Göring immediately called for a crackdown on Communists.The Nazis took advantage of the fire to advance theirown political aims. The Reichstag Fire Decree, passed the next day on Hitler's urging, suspended basic rights and allowed detention without trial. Activities of the German Communist Party were suppressed, and some4,000 Party members were arrested. Göring demanded that the prisoners should be shot, but Rudolf Diels, head of the Prussian political police, ignored the order. Some researchers, including William L. Shirer and AlanBullock, are of the opinion that the Nazi Party itself was responsible for starting the fire.At the Nuremberg trials, General Franz Halder testified that Göring admitted responsibility for starting the fire. He said that, at aluncheon held on Hitler's birthday in 1942, Göring said, \"The only one who really knows about the Reichstag is I, because I set it on fire!\" In his own Nuremberg testimony, Göring denied this story.SecondmarriageDuring the early 1930s, Göring was often in the company of Emmy Sonnemann, an actress from Hamburg. They were married on 10 April 1935, in Berlin. The wedding was celebrated on a huge scale. A largereception was held the night before at the Berlin Opera House. Fighter aircraft flew overhead on the night of the reception and the day of the ceremony, at which Hitler was best man. Göring's daughter, Edda, was bornon 2 June 1938.Nazi potentateWhen Hitler was named chancellor of Germany on 30 January 1933, Göring was appointed as Reichsminister without portfolio and Reichskommissar of Aviation. This was followed on 11April 1933 by his appointment as Minister-President of Prussia, Prussian interior minister and chief of the Prussian police. On 25 April 1933, Hitler also delegated his powers as Reichsstatthalter (Reich Governor) ofPrussia to Göring. On 18 May 1933, Göring secured passage of an enabling act through the Landtag of Prussia that conferred all legislative powers on the cabinet. Utilizing this authority, on 8 July 1933 Göring enacted alaw abolishing the Prussian State Council, the second chamber of the Prussian legislature that represented the interests of the Prussian provinces. In its place, he created a revised non-legislative Prussian State Councilto serve merely as a body of advisors to him. Göring would serve as President of the Council. It would consist, ex officio, of the Prussian cabinet ministers and state secretaries, as well as hand-picked Nazi Party officialsand other industry and society leaders selected solely by Göring. In October 1933, Göring was made a member of Hans Frank's Academy for German Law at its inaugural meeting. In July 1934, he was appointedReichforstmeister, with the rank of a Reichsminister, as the head of the newly created Reich Forestry Office.Wilhelm Frick, the Reich interior minister, and the head of the SS, Heinrich Himmler, hoped to create a unifiedpolice force for all of Germany, but Göring on 26 April 1933 established a special Prussian police force, with Rudolf Diels at its head. The force was called the Geheime Staatspolizei (transl. Secret State Police), orGestapo. Göring, thinking that Diels was not ruthless enough to use the Gestapo effectively to counteract the power of the SA, handed over control of the Gestapo to Himmler on 20 April 1934. By this time, the SAnumbered over two million men.Hitler was deeply concerned that Ernst Röhm, the chief of the SA, was planning a coup. Himmler and Reinhard Heydrich plotted with Göring to use the Gestapo and SS to crush the SA.Members of the SA got wind of the proposed action and thousands of them took to the streets in violent demonstrations on the night of 29 June 1934. Enraged, Hitler ordered the arrest of the SA leadership. Röhm wasshot dead in his cell when he refused to commit suicide; Göring personally went over the lists of prisoners—numbering in the thousands—and determined who else should be shot. At least 85 people were killed in theperiod of 30 June to 2 July, which is now known as the Night of the Long Knives. Hitler admitted in the Reichstag on 13 July that the killings had been entirely illegal, but claimed a plot had been under way to overthrowthe Reich. A retroactive law was passed making the action legal. Any criticism was met with arrests.One of the terms of the Treaty of Versailles, which had been in place since the end of World War I, stated thatGermany was not allowed to maintain an air force. After the 1928 signing of the Kellogg–Briand Pact, police aircraft were permitted. Göring was appointed Air Traffic Minister in May 1933. Germany began to accumulateaircraft in violation of the Treaty, and in 1935 the existence of the Luftwaffe was formally acknowledged, with Göring as Reich Aviation Minister.During a cabinet meeting in September 1936, Göring and Hitler announcedthat the German rearmament programme must be sped up. On 18 October, Hitler named Göring as Plenipotentiary of the Four Year Plan to undertake this task. Göring created a new organisation to administer the Planand drew the ministries of labour and agriculture under its umbrella. He bypassed the Economics Ministry in his policy-making decisions, to the chagrin of Hjalmar Schacht, the minister in charge. Huge expenditureswere made on rearmament, in spite of growing deficits. Schacht resigned on 26 November 1937, and Göring took over the Economics Ministry on an interim basis until January 1938. He then managed to install WaltherFunk in the position, who also took control of the Reichsbank when Schacht was forced out of that post as well in January 1939. In this way, both of these institutions effectively were brought under Göring's controlunder the auspices of the Four Year Plan. In July 1937, the Reichswerke Hermann Göring was established under state ownership – though led by Göring – with the aim of boosting steel production beyond the level whichprivate enterprise could economically provide.In 1938, Göring was involved in the Blomberg–Fritsch Affair, which led to the resignations of the War Minister, Generalfeldmarschall Werner von Blomberg, and the armycommander, General Werner von Fritsch. Göring had acted as witness at Blomberg's wedding to Margarethe Gruhn, a 26-year-old typist, on 12 January 1938. Information received from the police showed that the youngbride was a prostitute. Göring felt obligated to tell Hitler, but also saw this event as an opportunity to dispose of Blomberg. Blomberg was forced to resign. Göring did not want Fritsch to be appointed to that position and"}
+{"doc_id":"doc_195","qid":"","text":"Passage 1:Anna of Brunswick-Grubenhagen-EinbeckAnna of Brunswick-Grubenhagen-Einbeck (1414 – 4 April 1474) was a daughter of Duke Eric I of Brunswick-Grubenhagen and his wife, Elisabeth of Brunswick-Göttingen.Anna's first marriage was with Duke Albert III of Bavaria.  They had the following children:John IV (1437–1463), Duke of BavariaErnest (1438–1460)Sigismund of Bavaria (1439–1501)Albert (1440–1445)Margaretha (1442–1479), married in 1463 with Marquess Frederick I of Mantua (1441–1484)Elisabeth (1443–1484), married in 1460 with Elector Ernest of Saxony (1441–1486)Albert IV (1447–1508)Christopher (1449–1483)Wolfgang (1451–1514)Barbara, a nun in MunichAfter Albert's death, she married Duke Frederick III of Brunswick-Calenberg-Göttingen.  This marriage remained childless.== Ancestors ==Passage 2:Charles William Ferdinand, Duke of BrunswickCharles William Ferdinand (German: Karl Wilhelm Ferdinand; 9 October 1735 – 10 November 1806) was the Prince of Brunswick-Wolfenbüttel and Duke of Brunswick-Lüneburg and a military leader. His titles are usually shortened to Duke of Brunswick in English-language sources.He succeeded his father as sovereign prince of the Principality of Brunswick-Wolfenbüttel, one of the princely states of the Holy Roman Empire. The duke was a cultured and benevolent despot in the model of his uncle, Frederick the Great, and was married to Princess Augusta, the eldest sister of George III of Great Britain. He was also a recognized master of 18th century warfare, serving as a Field Marshal in the Prussian Army. During the Napoleonic Wars, he was mortally wounded by a musket ball at the Battle of Jena–Auerstedt in 1806.Early lifeCharles William Ferdinand was born in the town of Wolfenbüttel on 9 October 1735, probably in Wolfenbüttel Castle. He was the first-born son of Charles I, Duke of Brunswick-Wolfenbüttel and his wife Philippine Charlotte.His father Charles I was the ruling prince (German: Fürst) of the small state of Brunswick-Wolfenbüttel, one of the imperial states of the Holy Roman Empire. Philippine Charlotte was the favourite daughter of King Frederick William I of Prussia and sister of Frederick II of Prussia (Frederick the Great). As the heir apparent of a sovereign prince, Charles William Ferdinand received the title of Hereditary Prince (German: Erbprinz).He received an unusually wide and thorough education, overseen by his mother. In his youth he travelled in the Netherlands, France and various parts of Germany. In 1753, his father moved the capital of the principality back to Brunswick (German: Braunschweig), the state's largest city. (Wolfenbüttel had been the capital since 1432.) The royal family moved into the newly built Brunswick Palace.Early military careerCharles William Ferdinand entered the military, serving during the Seven Years' War of 1756–63. He joined the allied north-German forces of the Hanoverian Army of Observation, whose task was to protect Hanover (in personal union with the Kingdom of Great Britain) and the surrounding states from invasion by the French. The force was initially commanded by the Anglo-Hanoverian Prince William, Duke of Cumberland. At the Battle of Hastenbeck (1757) Charles William Ferdinand led a charge at the head of an infantry brigade, an action which gained him some renown.The subsequent French Invasion of Hanover and Convention of Klosterzeven of 1757 temporarily knocked Hanover out of the war (they were to return the following year). Cumberland was recalled to Britain and the remaining allied north-German forces were placed under the command of Ferdinand of Brunswick, brother of Charles I, who easily persuaded his nephew Charles William Ferdinand to renew his military service as a general officer.Charles William Ferdinand was part of the allied Anglo-German force at the Battle of Minden (1759), and the Battle of Warburg (1760). Both were decisive victories over the French, during which he proved himself an excellent subordinate commander. He continued to serve in the army commanded by his uncle for the remainder of the war, which was generally successful for the north German forces. The hereditary prince's reputation improved throughout, and he became an acknowledged master of irregular warfare. Peace was restored in 1763.Marriage and travelsThe royal houses of the former Duchy of Brunswick-Lüneburg had traditionally married within the family, to avoid further division of their family lands under Salic law. By the time, Brunswick-Lüneburg had consolidated back into two states, Brunswick-Wolfenbüttel and the Electorate of Brunswick-Lüneburg (Hanover). The electorate was ruled by the Hanoverian branch of the family in personal union with the Kingdom of Great Britain. It was therefore arranged for Charles William Ferdinand to marry a British-Hanoverian princess: Princess Augusta of Great Britain, daughter of Frederick, Prince of Wales and his wife, Princess Augusta of Saxe-Gotha, and sister of the reigning King George III.In 1764, shortly after the Seven Years' War had ended, he travelled to London (landing at Harwich) to marry Princess Augusta. He received a rapturous welcome from the British people, thanks to his service with allied British troops during the war. The Parliament of Great Britain showed its gratitude by voting him a lump sum of £80,000 and an annual income of £3,000 as a wedding gift. However George III was less welcoming, and sought to express his displeasure through numerous small insults e.g. by lodging the prince at Somerset House, instead of one of the royal palaces; not providing him with a military guard; and instructing the servants at the wedding to wear old clothes. This merely served to exacerbate the enthusiasm of the public, particularly when the prince was suspected of turning his back on the unpopular monarch whilst attending an opera (a breach of social protocol). Charles William Ferdinand defied royal displeasure by meeting William Pitt the Elder (who had been prime minister during the war but resigned in 1761) and the other leaders of the parliamentary opposition. The wedding was completed, but as a result of these machinations the prince remained in Britain for only thirteen days.Over the next few years the couple embarked on a wide-ranging tour of Europe, visiting many of the major states. In 1766 they went to France, where they were received by both his allies and recent battlefield enemies with respect. In Paris he made the acquaintance of Marmontel. The couple next proceeded to Switzerland, where they met Voltaire. The longest stop on their travels was Rome, where they remained for a long time exploring the antiquities of the city under the guidance of Johann Winckelmann. During their travels the couple also met Pietro Nardini and in 1767 the prince had his portrait painted by Pompeo Batoni. After a visit to Naples they returned to Paris, and thence to Brunswick.Ruler of Brunswick-WolfenbüttelRestoration of state financesHis father, Charles I, had been an enthusiastic supporter of the war, but nearly bankrupted the state paying for it. As a result, in 1773 Charles William Ferdinand was given a major role in reforming the economy with the assistance of the Geheimrat, Féronce von Rotenkreuz. They were highly successful, restoring the state's finances and improving the economy. This made the prince hugely popular in the duchy.When the American Revolutionary War broke out in 1775, Charles William Ferdinand saw an opportunity to replenish the state's treasury by renting its well-trained army to Great Britain. In 1776, Charles I signed a treaty supporting Britain in the war, the first prince to do so. Under the terms of this treaty, Brunswick-Wolfenbüttel supplied 4,000 troops for service with the British armies in America, under the command of general Friedrich Adolf Riedesel. Riedesel was given command of all the German troops serving in the Saratoga campaign, under British general John Burgoyne. Burgoyne was defeated in the Battles of Saratoga (1777), and his troops were taken captive as the Convention Army. Although the terms of surrender allowed the Convention Army to give their parole and return to Europe, the American Continental Congress revoked the convention. The Convention Army was kept in captivity until the war ended in 1783.ReignCharles I died in 1780, at which point Charles William Ferdinand inherited the throne. He soon became known as a model sovereign, a typical enlightened despot of the period, characterized by economy and prudence.The duke's combination of interest in the well-being of his subjects and habitual caution led to a policy of gradual reforms, a successful middle way between the conservatism of some contemporary monarchs and the over-enthusiastic wholesale changes pursued by others. He sponsored enlightenment arts and sciences; most notably he was patron to the young mathematician Carl Friedrich Gauss, paying for him to attend university against the wishes of Gauss' father.He resembled his uncle Frederick the Great in many ways, but he lacked the resolution of the king, and in civil as in military affairs was prone to excessive caution. He brought Brunswick into close alliance with the king of Prussia, for whom he had fought in the Seven Years' War; he was a Prussian field marshal, and was at pains to make the regiment of which he was colonel a model one.The duke was frequently engaged in diplomatic and other state affairs. In August 1784 he hosted a secret diplomatic visit from Karl August, Duke of Saxe-Weimar and Saxe-Eisenach (Goethe was a member of Karl August's entourage). The visit was disguised as a family visit, but was in fact to discuss the formation of a league of small- and mid-sized German states as a counterbalance within the Holy Roman Empire to Habsburg monarchy's ambitions to trade the Austrian Netherlands for the Electorate of Bavaria. This Fürstenbund (League of Princes) was formally announced in 1785, with the Duke of Brunswick as one of its members and commander of its military forces. The league was successful in forcing the Austrian Joseph II to back down, and thereafter became obsolete.The Swedish princess and diarist Hedwig Elizabeth Charlotte visited Brunswick in 1799; she described the Duke as \"witty, literal and a pleasant acquaintance but ceremonial beyond description. He is said to be quite strict, but a good father of the nation who attends to the needs of his people.\"In 1803 the process of German Mediatisation led to the acquisition of the neighbouring imperial abbeys of Gandersheim and Helmstedt, which were secularised.Military commanderHe was made a Prussian general in 1773.War of the Bavarian SuccessionFrom 1778 to 1779 he served in the War of the Bavarian Succession. Frederick II praised the prince personally for his conduct during the war.Invasion of the NetherlandsIn 1787 the Duke was made Generalfeldmarschall (field marshal) in the Prussian army. Frederick William II of Prussia appointed him as commander of a 20,000-strong Prussian force which was to invade the United Provinces of the Netherlands (The Dutch Republic). The goal was to suppress the Patriots of the Batavian Revolution, restoring the authority of the stadtholder William V of the House of Orange. Much of the country was in open revolt against William, whose personal troops were unable to quell the Patriot militias and the various Dutch provinces refused to aid him.The Encyclopædia Britannica described the Duke's invasion: \"His success was rapid, complete and almost bloodless, and in the eyes of contemporaries the campaign appeared as an example of perfect generalship\". The Patriots were out-manoeuvred and overwhelmed: their militias were unable to put up any real resistance, were forced to abandon their insurrection, and many Patriots fled to France.The Duke's forces entered the Netherlands on 13 September and occupied Nijmegen that day. The largest Patriot force, 7,000 men under the Rhinegrave of Salm, was quickly out-manoeuvred and forced to abandon Utrecht, which the Duke occupied on 16 September. The Prussian force captured Gorcum on the 17th after a short artillery bombardment, followed by Dordrecht on the 18th and Delft on the 19th. They entered The Hague on the 20th, from which the Patriots had been forced to withdraw following a loyalist insurrection on the 17th. Amsterdam, the last city occupied by the Patriots, surrendered on 10 October. The campaign had taken less than a month. William V was restored to power, which he was to hold until 1795.Both contemporaries and historians have praised the Duke's decisive campaign, in which he manoeuvred to concentrate his forces and achieve overwhelming local superiority, before moving on to the next city. He also received credit for the low number of casualties; one British observer suggested that \"the sap of the trees was the only blood shed\" (an exaggeration), referring to the wooden palisades and batteries constructed by both sides.War of the First CoalitionAt the outbreak of the War of the First Coalition in the early summer of 1792, Ferdinand was poised with military forces at Coblenz. After the Girondins had arranged for France to declare war on Austria, voted on 20 April 1792, the Catholic Holy Roman Emperor Leopold II and the Protestant King of Prussia Frederick William II had combined armies and put them under Brunswick's command.The Brunswick ProclamationThe \"Brunswick Proclamation\" or \"Brunswick Manifesto\" that he now issued from Coblenz on 25 July 1792, threatened war and ruin to soldiers and civilians alike, should the Republicans injure Louis XVI and his family. His avowed aim was:to put an end to the anarchy in the interior of France, to check the attacks upon the throne and the altar, to reestablish the legal power, to restore to the king the security and the liberty of which he is now deprived and to place him in a position to exercise once more the legitimate authority which belongs to him.Additionally, the manifesto threatened the French population with instant punishment should they resist the Imperial and Prussian armies, or the reinstatement of the monarchy. In large part, the manifesto had been written by Louis XVI's cousin, Louis Joseph de Bourbon, Prince de Condé, who was the leader of a large corps of émigrés in the allied army.It has been asserted that the manifesto was in fact issued against the advice of Brunswick himself; the duke, a model sovereign in his own principality, sympathized with the constitutional side of the French Revolution, while as a soldier he had no confidence in the success of the enterprise. However, having let the manifesto bear his signature, he had to bear the full responsibility for its consequences. The proclamation was intended to threaten the French population into submission; it had exactly the opposite effect.In Paris, Louis XVI was generally believed to be in correspondence with the Austrians and Prussians already, and the republicans became more vocal in the early summer of 1792. Rather than assuring the continued existence of the French monarchy, Brunswick's proclamation would instead ensure its downfall; the manifesto was rapidly distributed in Paris on 28 July, apparently by monarchists, who badly misjudged the effect it would have. The Brunswick Manifesto seemed to furnish the agitators with a complete justification for the revolt that they were already planning. When news spread of a combined Austrian and Prussian army led by Brunswick marching into French soil on the days after the Manifesto was publicized, the Paris populace, already incensed by the threat against the city, exploded into violence. The first violent action was carried out on August 10, when the Tuileries Palace was stormed.Invasion of FranceThe Duke was disappointed that the British remained neutral. His initial advance into France was slowed by poor weather, the rough terrain of the Forest of Argonne, and an outbreak of dysentery among his troops.The Duke was less successful against the French citizens' army that met him at Valmy. Having secured Longwy and Verdun without serious resistance, he turned back after a mere skirmish in Valmy, and evacuated France.Initially the Duke intended to winter in the fortress of Verdun, before resuming the campaign in France the following spring. However, Kellerman's forces outflanked him by advancing up the Rhine, recapturing French possessions there. The Duke abandoned Verdun on 8 October and Longwy on 22 October, before retreating back into Germany.When he counterattacked the Revolutionary French who had invaded Germany, in 1793, he recaptured Mainz after a long siege, but resigned in 1794 in protest at interference by Frederick William II of Prussia.War of the Fourth CoalitionPrussia did not take part in the Second Coalition or Third Coalition against Revolutionary France. However, in 1806 Prussia declared war on France, beginning the War of the Fourth Coalition. Despite being over 70 years old, the Duke of Brunswick returned to command the Prussian army at the personal request of Louise, Queen of Prussia.By this stage the Prussian army was regarded as backward, using outdated tactics and with poor communication. The structure of the high command has been particularly criticised by historians, with multiple officers developing differing plans and then disagreeing on which should be followed, leading to disorganisation and indecision.The duke commanded the large Prussian army at Auerstedt during the double Battle of Jena–Auerstedt on 14 October 1806. His forces were defeated by Napoleon's marshal Davout, despite the Prussians outnumbering the French around Auerstedt by two to one. During the battle he was struck by a musket ball and lost both of his eyes; his second-in-command Friedrich Wilhelm Carl von Schmettau was also mortally wounded, causing a breakdown in the Prussian command. Severely wounded, the Duke was carried with his forces before the advancing French. He died of his wounds in Ottensen on 10 November 1806.The duke's body was provisionally laid to rest in the Christianskirche at Ottensen in 1806. It was later transferred for reburial in Brunswick Cathedral on 6 November 1819.FamilyOn 16 January 1764, Charles married Princess Augusta of Great Britain, eldest sister of King George III. The couple were second cousins to each other, being great-grandchildren of George I of Great Britain. As such, they were not related in a particularly close degree, yet there had been many bonds of marriage between the House of Brunswick-Bevern and the House of Hanover, themselves both branches of the House of Welf. Some commentators have pointed to inbreeding as a possible cause for the fact that many of the couple's children had physical, mental or psychological disabilities. Indeed, the duke was once moved to describe his children to von Massenbach as \"mostly cripples in mind and body.\"Shortly after they married, the prince had the Schloss Richmond built for his wife. It was in English architectural style and with an English landscape garden, to remind her of her home.The duke and his wife Augusta had four sons and three daughters. Three of their four sons had major debilities. Their eldest son, Karl Georg August (1766–1806) was named heir apparent, but had a significant learning disability and was regarded as \"well-nigh imbecile.\"Nevertheless, he was married in 1790 to Frederika of Orange-Nassau, daughter of William V, Prince of Orange, a gentle, good-hearted woman who remained devoted to him to the end. He died childless at the age of 40 in 1806, shortly before his father. The second son, Georg Wilhelm Christian (1769–1811), had an even more severe learning disability than his elder brother. He was declared incapacitated and excluded from the succession. He never married. The couple's third son was August (1770–1822). He was blind and also excluded from the succession. He, too, never married. The fourth son, Friedrich Wilhelm (1771 – 16 June 1815), was sound of mind and body. He eventually succeeded his father, married and sired two sons.Frederick and Augusta also had three daughters, two of whom reached adulthood. Neither of them was disabled, but both of them had similar, disastrous trajectories in life. Both of them were married to future kings, both made extreme failures of their marriages, both had extremely acrimonious relations with their husbands, and both were accused by them of similar faults: adultery, uncouth behavior, absence of dignity, falsehood and utter fecklessness. The elder daughter, Auguste Caroline Friederike (1764–1788), was the wife of the future king Frederick I of Württemberg and mother of the future William I of Württemberg. She separated from her husband and died in Russia from complications that arose while giving birth in secret to an illegitimate child.The younger daughter, Caroline of Brunswick, was married in 1795 to her first cousin, the future George IV of the United Kingdom, and bore him a daughter, the ill-fated Princess Charlotte of Wales. On "}
+{"doc_id":"doc_196","qid":"","text":"Passage 1:Peter LevinPeter Levin is an American director of film, television and theatre.CareerSince 1967, Levin has amassed a large number of credits directing episodic television and television films. Some of histelevision series credits include Love Is a Many Splendored Thing, James at 15, The Paper Chase, Family, Starsky & Hutch, Lou Grant, Fame, Cagney & Lacey, Law & Order and Judging Amy.Some of his television filmcredits include Rape and Marriage: The Rideout Case (1980), A Reason to Live (1985), Popeye Doyle (1986), A Killer Among Us (1990), Queen Sized (2008) and among other films. He directed \"Heart in Hiding\", writtenby his wife Audrey Davis Levin, for which she received an Emmy for Best Day Time Special in the 1970s.Prior to becoming a director, Levin worked as an actor in several Broadway productions. He costarred with SusanStrasberg in \"[The Diary of Ann Frank]\" but had to leave the production when he was drafted into the Army. He trained at the Carnegie Mellon University. Eventually becoming a theatre director, he directed productionsat the Long Wharf Theatre and the Pacific Resident Theatre Company. He also co-founded the off-off-Broadway Theatre [the Hardware Poets Playhouse] with his wife Audrey Davis Levin and was also an associate artistof The Interact Theatre Company.Passage 2:CRD (film)CRD is a 2016 drama-romance Indian film by National Award Winning Director Kranti Kanade written with Yuva Sahitya Akademi Award Winning DramatistDharmakirti Sumant. Set in the world of College Theatre, it probes fascism and fierce competition in arts.PlotA Young Dramatist rebels against his fascist Tutor to form his troop of misfits – aiming to win a prestigioustheatre competition and trying to find the hardest thing of all: his voice. Inspired by real life event 'Purushottam' Theatre Competition in Pune, India.CastMrinmayee Godbole as PersisVinay Sharma as MayankSaurabhSaraswat as ChetanAbhay Mahajan as NetraIsha Keskar as DiptiGeetika Tyagi as VeenaMohit Takalkar as SeniorProductionThe preparation and improvisation of the actors went on for 4 months before the principalphotography began in November 2014 and continued over the next six months resulting in 63 days of shooting. The editing took eight months and the music and sound design took further six months. The film wasentirely shot on locations in Pune. It was executive and line produced by Ashwini Paranjape for Kanade Films and Chaitra Arts. Director of photography was Daniel Katz whose short film Curfew had won Oscar.CriticalresponseCRD has received favourable critical reception around the world.Robert Abele in The Los Angeles Times says,\"Indian film 'CRD' enchanting, audacious, indefinable and infectious.\" Sheri Linden in The HollywoodReporter says, \"CRD is entrancing, vibrant, irreverent and category-defying! Kanadé an assured visual stylist!\" LA Weekly says, \"Allusive, elusive and by turns funny, romantic and tragic, CRD is a film tuned to the pitchof the artist's heart.\" ScreenAnarchy says, \"CRD, An Ethereal Exercise In Art.” Film critic Namrata Joshi, in The Hindu says, “Subversive and fearless, Kanadé breaks all rules of filmmaking in creating CRD, which boldlygoes where no Indian film has gone before.” Author and critic Naman Ramachandran says, \"This astonishing film heralds the arrival of a bold new voice in world cinema where all limits are breached and boundariescrossed. Be prepared for a breathtaking journey, the likes of which you've never been on before.\" Saibal Chatterjee, NDTV says “A path-breaking film. Refreshingly original and delightfully whimsical. CRD is classy,satisfying and magnificently inventive package.” Nandini Ramnath, Scroll says “Outstanding, a superbly performed drama about theatre art and life.\" Trisha Gupta, Firstpost says “Masterful and sharp, CRD displays bothpolitical and aesthetic courage, constantly moving between lyrical intensity and playful subversion.” Rahul Desai, Film Companion says “CRD is hypnotic. The less sense it makes, the more we can’t stop watching it(Roger Ebert’s words apply here). May be this is what auteurs are about.” Reza Noorani in The Times of India says \"CRD is brave with a twisted sense of humour.\" Business Standard says \"CRD redefines cinema space.\"Hindustan Times says \"CRD is vibrant and appealing.\" Shubhra Gupta in The Indian Express says \"CRD is spectacular and refreshing in its willingness to go down paths less trodden.\" CRD is mentioned in Scroll's list of\"The movies of the decade that dared to dream differently.\"Furtherreadinghttps://deadline.com/2016/10/exclusive-trailer-for-acclaimed-indian-drama-crd-1201837045/https://www.tribuneindia.com/news/archive/entertainment/big-little-films-get-going-485010Passage 3:DanaBlanksteinDana Blankstein-Cohen (born March 3, 1981) is the executive director of the Sam Spiegel Film and Television School. She was appointed by the board of directors  in November 2019.  Previously she was theCEO of the Israeli Academy of Film and Television. She is a film director, and an Israeli culture entrepreneur.BiographyDana Blankstein was born in Switzerland in 1981 to theatre director Dedi Baron and ProfessorAlexander Blankstein. She moved to Israel in 1983 and grew up in Tel Aviv.Blankstein graduated from the Sam Spiegel Film and Television School, Jerusalem in 2008 with high honors. During her studies she worked asa personal assistant to directors Savi Gabizon on his film Nina's Tragedies and to Renen Schorr on his film The Loners.  She also directed and shot 'the making of' film on Gavison's film Lost and Found. Her debut filmCamping competed at the Berlin International Film Festival, 2007.Film and academic careerAfter her studies, Dana founded and directed the film and television department at the Kfar Saba municipality. The departmentencouraged and promoted productions filmed in the city of Kfar Saba, as well as the established cultural projects, and educational community activities.Blankstein directed the mini-series \"Tel Aviviot\" (2012). From2016-2019 was the director of the Israeli Academy of Film and Television.In November 2019 Dana Blankstein Cohen was appointed the new director of the Sam Spiegel Film and Television School where she alsooversees the Sam Spiegel International Film Lab. In 2022, she spearheaded the launch of the new Series Lab and the film preparatory program for Arabic speakers in east Jerusalem.FilmographyTel Aviviot (mini-series;director, 2012)Growing Pains (graduation film, Sam Spiegel; director and screenwriter, 2008)Camping (debut film, Sam Spiegel; director and screenwriter, 2006)Passage 4:Kranti KanadeKranti Kanade is a NationalAward winning Indian filmmaker. His films include Peepal Tree, CRD (film), Gandhi of the Month, Mahek and Chaitra. He studied at UCLA (University of California, Los Angeles) and FTII (Film and Television Institute ofIndia).FilmsPeepal TreeBased on true events, it deals with the issue of illegal tree killings in India. When a Police Academy cuts Sacred Trees, a concerned Family confronts them only to learn it is a non-cognizableoffense without penal provision. They approach a Tree Activist who saves trees by all means. The community gathers under the tree at night to protect it but it is not that simple.\"CRDSet in the world of College Theatre,CRD probes fascism and fierce competition in arts with a wildly innovative narrative style. It released theatrically in US and India to major critical acclaim and commercial success gaining 100% rating on RottenTomatoes. Los Angeles Times called it \"Enchanting, audacious and infectious\"  and acclaimed film critic Namrata Joshi of The Hindu called it \"Brilliant, subversive and fearless, it boldly goes where no Indian film hasgone before.\" It was in the top Ten Best Hindi films of 2017 list by The Hindu, Top Ten list of Huffington Post critic Murtaza Ali Khan,  and was included in the top ten films of the decade list of Scroll.in critic NandiniRamnath calling it \"The decade in Bollywood: The movies that dared to dream differently. Most enduring and endearing films made between 2010 and 2019.\"Gandhi of the MonthGandhi of the Month stars legendaryactor Harvey Keitel, Neeraj Kabi and other major Indian actors. It is about an American schoolmaster in India struggling to protect his students from fundamentalists. The screenplay, earlier called 'Against Itself' wonthe Film Fund Grant by the Indian Film Festival of Los Angeles. The jury included Gill Dennis (Walk The Line), Anurag Kashyap (Gangs Of Wasseypur) and Sooni Taraporevala (Salaam Bombay). The script was mentoredby Oscar winner Danis Tanovic (No Man's Land), Bernd Lichtenberg (Good Bye Lenin!), Olivia Hetreed (Girl With A Pearl Earring) and Anjum Rajabali (Rajneeti).MahekMahek, a children's film, is about 11-yr old girl whodreams of becoming the very best at everything, but is unsure of how to achieve her goals. It premiered at the BFI London Film Festival to affectionate reviews. Film Scholar & Writer Rachel Dwyer called it \"A Gem of afilm\", Critic & Writer Maithili Rao called it \"A rare combination of sensitivity and gentle humour.\" Invited to festivals around the world, it received awards in Hollywood and Houston. It was Best Children's Film Nominee atthe Asia Pacific Screen Awards in Australia  and shown as part of syllabus at Otterbein University in US.ChaitraChaitra, is based on a story by legendary Marathi author G. A. Kulkarni. Set in the traditional haldi-kunkufestival, it intertwines themes of poetic justice and destiny. It won five National Film Awards including Best Short Film, Best Music for Short Film (Pt Bhaskar Chandavarkar) and Special Jury Award for Acting (SonaliKulkarni). It won two National Awards at MIFF Film Festival.Passage 5:Jason Moore (director)Jason Moore (born October 22, 1970) is an American director of film, theatre and television.Life and careerJason Moore wasborn in Fayetteville, Arkansas, and studied at Northwestern University. Moore's Broadway career began as a resident director of Les Misérables at the Imperial Theatre in during its original run. He is the son ofFayetteville District Judge Rudy Moore.In March 2003, Moore directed the musical Avenue Q, which opened Off-Broadway at the Vineyard Theatre and then moved to Broadway at the John Golden Theatre in July2003.  He was nominated for a 2004 Tony Award for his direction. Moore also directed productions of the musical in Las Vegas and London and the show's national tour. Moore directed the 2005 Broadway revival ofSteel Magnolias and Shrek the Musical, starring Brian d'Arcy James and Sutton Foster which opened on Broadway in 2008. He directed the concert of Jerry Springer — The Opera at Carnegie Hall in January 2008.Moore,Jeff Whitty, Jake Shears, and John \"JJ\" Garden worked together on a new musical based on Armistead Maupin's Tales of the City. The musical premiered at the American Conservatory Theater, San Francisco, Californiain May 2011 and ran through July 2011.For television, Moore has directed episodes of Dawson's Creek, One Tree Hill, Everwood, and Brothers & Sisters. As a writer, Moore adapted the play The Floatplane Notebookswith Paul Fitzgerald from the novel by Clyde Edgerton. A staged reading of the play was presented at the New Play Festival at the Charlotte, North Carolina Repertory Theatre in 1996, with a fully staged production in1998.In 2012, Moore made his film directorial debut with Pitch Perfect, starring Anna Kendrick and Brittany Snow. He also served as an executive producer on the sequel. He directed the film Sisters, starring Tina Feyand Amy Poehler, which was released on December 18, 2015. Moore's next project will be directing a live action Archie movie.FilmographyFilmsPitch Perfect (2012)Sisters (2015)Shotgun Wedding(2022)TelevisionSoundtrack writerPitch Perfect 2 (2015) (Also executive producer)The Voice (2015) (1 episode)Passage 6:The Seventh Company OutdoorsThe Seventh Company Outdoors (French: La SeptièmeCompagnie au clair de lune) is a 1977 French comedy film directed by Robert Lamoureux. It is a sequel to Now Where Did the 7th Company Get to?.CastJean Lefebvre - PithivierPierre Mondy - ChaudardHenri Guybet -TassinPatricia Karim - Suzanne ChaudardGérard Hérold - Le commandant GillesGérard Jugnot - GorgetonJean Carmet - M. Albert, le passeurAndré Pousse - LambertMichel BertoPassage 7:Brian Kennedy (gallerydirector)Brian Patrick Kennedy (born 5 November 1961) is an Irish-born art museum director who has worked in Ireland and Australia, and now lives and works in the United States.  He was the director of the PeabodyEssex Museum in Salem for 17 months, resigning December 31, 2020. He was the director of the Toledo Museum of Art in Ohio from 2010 to 2019. He was the director of the Hood Museum of Art from 2005 to 2010,and the National Gallery of Australia (Canberra) from 1997 to 2004.CareerBrian Kennedy currently lives and works in the United States after leaving Australia in 2005 to direct the Hood Museum of Art at DartmouthCollege. In October 2010 he became the ninth Director of the Toledo Museum of Art. On 1 July 2019, he succeeded Dan Monroe as the executive director and CEO of the Peabody Essex Museum.Early life and career inIrelandKennedy was born in Dublin and attended Clonkeen College. He received B.A. (1982), M.A. (1985) and PhD (1989) degrees from University College-Dublin, where he studied both art history and history.Heworked in the Irish Department of Education (1982), the European Commission, Brussels (1983), and in Ireland at the Chester Beatty Library (1983–85), Government Publications Office (1985–86), and Department ofFinance (1986–89). He married Mary Fiona Carlin in 1988.He was Assistant Director at the National Gallery of Ireland in Dublin from 1989 to 1997. He was Chair of the Irish Association of Art Historians from 1996 to1997, and of the Council of Australian Art Museum Directors from 2001 to 2003. In September 1997 he became Director of the National Gallery of Australia.National Gallery of Australia (NGA)Kennedy expanded thetraveling exhibitions and loans program throughout Australia, arranged for several major shows of Australian art abroad, increased the number of exhibitions at the museum itself and oversaw the development of anextensive multi-media site.  Although he oversaw several years of the museum's highest ever annual visitation, he discontinued the emphasis of his predecessor, Betty Churcher, on showing \"blockbuster\"exhibitions.During his directorship, the NGA gained government support for improving the building and significant private donations and corporate sponsorship. However, the initial design for the building provedcontroversial generating a public dispute with the original architect on moral rights grounds.  As a result, the project was not delivered during Dr Kennedy's tenure, with a significantly altered design completed someyears later.  Private funding supported two acquisitions of British art, including David Hockney's A Bigger Grand Canyon in 1999, and Lucian Freud's After Cézanne in 2001. Kennedy built on the established collections atthe museum by acquiring the Holmgren-Spertus collection of Indonesian textiles; the Kenneth Tyler collection of editioned prints, screens, multiples and unique proofs; and the Australian Print Workshop Archive. He wasalso notable for campaigning for the construction of a new \"front\" entrance to the Gallery, facing King Edward Terrace, which was completed in 2010 (see reference to the building project above).Kennedy's cancellationof the \"Sensation exhibition\" (scheduled at the NGA from 2 June 2000 to 13 August 2000) was controversial, and seen by some as censorship. He claimed that the decision was due to the exhibition being \"too close tothe market\" implying that a national cultural institution cannot exhibit the private collection of a speculative art investor. However, there were other exhibitions at the NGA during his tenure, which could have raisedsimilar concerns. The exhibition featured the privately owned Young British Artists works belonging to Charles Saatchi and attracted large attendances in London and Brooklyn. Its most controversial work was ChrisOfili's The Holy Virgin Mary, a painting which used elephant dung and was accused of being blasphemous. The then-mayor of New York, Rudolph Giuliani, campaigned against the exhibition, claiming it was\"Catholic-bashing\" and an \"aggressive, vicious, disgusting attack on religion.\" In November 1999, Kennedy cancelled the exhibition and stated that the events in New York had \"obscured discussion of the artistic merit ofthe works of art\". He has said that it \"was the toughest decision of my professional life, so far.\"Kennedy was also repeatedly questioned on his management of a range of issues during the Australian Government'sSenate Estimates process - particularly on the NGA's occupational health and safety record and concerns about the NGA's twenty-year-old air-conditioning system. The air-conditioning was finally renovated in 2003.Kennedy announced in 2002 that he would not seek extension of his contract beyond 2004, accepting a seven-year term as had his two predecessors.He became a joint Irish-Australian citizen in 2003.Toledo Museum ofArtThe Toledo Museum of Art is known for its exceptional collections of European and American paintings and sculpture, glass, antiquities, artist books, Japanese prints and netsuke. The museum offers free admissionand is recognized for its historical leadership in the field of art education.  During his tenure, Kennedy has focused the museum's art education efforts on visual literacy, which he defines as \"learning to read, understandand write visual language.\"   Initiatives have included baby and toddler tours, specialized training for all staff, docents, volunteers and the launch of a website, www.vislit.org. In November 2014, the museum hosted theInternational Visual Literacy Association (IVLA) conference, the first Museum to do so. Kennedy has been a frequent speaker on the topic, including 2010 and 2013 TEDx talks on visual and sensory literacy.Kennedy hasexpressed an interest in expanding the museum's collection of contemporary art and art by indigenous peoples. Works by Frank Stella, Sean Scully, Jaume Plensa, Ravinder Reddy and Mary Sibande have beenacquired.  In addition, the museum has made major acquisitions of Old Master paintings by Frans Hals and Luca Giordano.During his tenure the Toledo Museum of Art has announced the return of several objects fromits collection due to claims the objects were stolen and/or illegally exported prior being sold to the museum.  In 2011 a Meissen sweetmeat stand was returned to Germany followed by an Etruscan Kalpis or water jug toItaly (2013), an Indian sculpture of Ganesha (2014) and an astrological compendium to Germany in 2015.Hood Museum of ArtKennedy became Director of the Hood Museum of Art in July 2005. During his tenure, heimplemented a series of large and small-scale exhibitions and oversaw the production of more than 20 publications to bring greater public attention to the museum's remarkable collections of the arts of America,Europe, Africa, Papua New Guinea and the Polar regions. At 70,000 objects, the Hood has one of the largest collections on any American college of university campus. The exhibition, Black Womanhood: Images, Icons,and Ideologies of the African Body, toured several US venues. Kennedy increased campus curricular use of works of art, with thousands of objects pulled from storage for classes annually. Numerous acquisitions weremade with the museum's generous endowments, and he curated several exhibitions: including Wenda Gu: Forest of Stone Steles: Retranslation and Rewriting Tang Dynasty Poetry, Sean Scully: The Art of the Stripe,and Frank Stella: Irregular Polygons.PublicationsKennedy has written or edited a number of books on art, including:Alfred Chester Beatty and Ireland 1950-1968: A study in cultural politics, Glendale Press (1988), ISBN978-0-907606-49-9Dreams and responsibilities: The state and arts in independent Ireland, Arts Council of Ireland (1990), ISBN 978-0-906627-32-7Jack B Yeats: Jack Butler Yeats, 1871-1957 (Lives of Irish Artists),Unipub (October 1991), ISBN 978-0-948524-24-0The Anatomy Lesson: Art and Medicine (with Davis Coakley), National Gallery of Ireland (January 1992), ISBN 978-0-903162-65-4Ireland: Art into History (withRaymond Gillespie), Roberts Rinehart Publishers (1994), ISBN 978-1-57098-005-3Irish Painting, Roberts Rinehart Publishers (November 1997),  ISBN 978-1-86059-059-7Sean Scully: The Art of the Stripe, HoodMuseum of Art (October 2008), ISBN 978-0-944722-34-3Frank Stella: Irregular Polygons, 1965-1966, Hood Museum of Art (October 2010), ISBN 978-0-944722-39-8Honors and achievementsKennedy was awarded the"}
+{"doc_id":"doc_197","qid":"","text":"Passage 1:Michelangelo FaggioliMichelangelo Faggioli (1666–1733) was an Italian lawyer and celebrated amateur composer of humorous cantatas in Neapolitan dialect. A founder of a new genre of Neapolitan comedy,he was the composer of the opera buffa La Cilla in 1706.Passage 2:Walter Robinson (composer)Walter Robinson is an American composer of the late 20th century. He is most notable for his 1977 song Harriet Tubman,which has been recorded by folk musicians such as Holly Near, John McCutcheon, and others.  He is also the composer of several operas.Passage 3:Nocturne (Britten)Nocturne, Op. 60, is a song cycle by BenjaminBritten, written for tenor, seven obbligato instruments and strings. The seven instruments are flute, cor anglais, clarinet, bassoon, harp, French horn and timpani.Nocturne was Britten's fourth and final orchestral songcycle, after Our Hunting Fathers (Op. 8, 1936), Les Illuminations (Op. 18, 1939) and Serenade for Tenor, Horn and Strings (Op. 31, 1943). It was dedicated to Alma Mahler.Nocturne was premiered in the Leeds TownHall at the centenary Leeds Festival on 16 October 1958 by Peter Pears and the BBC Symphony Orchestra conducted by Rudolf Schwarz. Britten conducted a recording at Walthamstow Assembly Hall in 1960 with Pears,the London Symphony Orchestra and William Waterhouse (bassoon), Alexander Murray (flute), Gervase de Peyer (clarinet), Roger Lord (cor anglais), Osian Ellis (harp), Barry Tuckwell (horn), and Denis Blyth(timpani).The theme of the piece, as its name Nocturne suggests, is sleep and darkness, both in the literal and figurative sense. In this respect, the work is reminiscent of Britten's earlier Serenade. Unlike Serenade,Nocturne is presented as a continuous piece rather than separate movements. This is emphasised by a number of figures which occur throughout, most notably the 'rocking' string motif which opens the work. Theconflicting tonal relationship between C and D-flat is also evident throughout, reflecting the contrast between the untroubled and the more perturbed aspects of sleep which are also described by Britten's choice ofpoems.StructureThe piece sets eight sections of poetry to music, each accompanied by strings and (with the exception of the first) by an obbligato instrument:Shelley – \"On a Poet’s Lips I Slept\" from PrometheusUnboundTennyson – \"The Kraken\", with bassoonColeridge – \"Encinctured with a twine of leaves\" from The Wanderings of Cain, with harpMiddleton – \"Midnight Bell\" from Blurt, Master Constable, with FrenchhornWordsworth – \"But that night when on my bed I lay\" from The Prelude (1805), with timpaniOwen – \"The Kind Ghosts\", with cor anglaisKeats – \"Sleep and Poetry\", with flute and clarinetShakespeare – Sonnet XLIII,with all the obbligato instrumentsNotesExternal linksWork details, Boosey & HawkesPassage 4:Tarcisio FuscoTarcisio Fusco was an Italian composer of film scores. He was the brother of the composer Giovanni Fuscoand the uncle of operatic soprano Cecilia Fusco.Selected filmographyBoccaccio (1940)Free Escape (1951)Abracadabra (1952)The Eternal Chain (1952)Beauties in Capri (1952)Milanese in Naples (1954)Conspiracy of theBorgias (1959)Passage 5:Benjamin BrittenEdward Benjamin Britten, Baron Britten  (22 November 1913 – 4 December 1976, aged 63) was an English composer, conductor, and pianist. He was a central figure of20th-century British music, with a range of works including opera, other vocal music, orchestral and chamber pieces. His best-known works include the opera Peter Grimes (1945), the War Requiem (1962) and theorchestral showpiece The Young Person's Guide to the Orchestra (1945).Born in Lowestoft, Suffolk, the son of a dentist, Britten showed talent from an early age. He studied at the Royal College of Music in London andprivately with the composer Frank Bridge. Britten first came to public attention with the a cappella choral work A Boy was Born in 1934. With the premiere of Peter Grimes in 1945, he leapt to international fame. Overthe next 28 years, he wrote 14 more operas, establishing himself as one of the leading 20th-century composers in the genre. In addition to large-scale operas for Sadler's Wells and Covent Garden, he wrote chamberoperas for small forces, suitable for performance in venues of modest size. Among the best known of these is The Turn of the Screw (1954). Recurring themes in his operas include the struggle of an outsider against ahostile society and the corruption of innocence.Britten's other works range from orchestral to choral, solo vocal, chamber and instrumental as well as film music. He took a great interest in writing music for children andamateur performers, including the opera Noye's Fludde, a Missa Brevis, and the song collection Friday Afternoons. He often composed with particular performers in mind. His most frequent and important muse was hispersonal and professional partner, the tenor Peter Pears; others included Kathleen Ferrier, Jennifer Vyvyan, Janet Baker, Dennis Brain, Julian Bream, Dietrich Fischer-Dieskau, Osian Ellis and Mstislav Rostropovich.Britten was a celebrated pianist and conductor, performing many of his own works in concert and on record. He also performed and recorded works by others, such as Bach's Brandenburg Concertos, Mozartsymphonies, and song cycles by Schubert and Schumann.Together with Pears and the librettist and producer Eric Crozier, Britten founded the annual Aldeburgh Festival in 1948, and he was responsible for the creationof Snape Maltings concert hall in 1967. In his last year, he was the first composer to be given a life peerage.Early yearsBritten was born in the fishing port of Lowestoft in Suffolk, on the east coast of England on 22November 1913, the feast day of Saint Cecilia. He was the youngest of four children of Robert Victor Britten (1877–1934) and his wife Edith Rhoda, née Hockey (1874–1937). Robert Britten's youthful ambition tobecome a farmer had been thwarted by lack of capital, and he had instead trained as a dentist, a profession he practised successfully but without pleasure. While studying at Charing Cross Hospital in London he metEdith Hockey, the daughter of a civil service clerk in the British Government's Home Office. They were married in September 1901 at St John's, Smith Square, London.The consensus among biographers of Britten is thathis father was a loving but somewhat stern and remote parent. Britten, according to his sister Beth, \"got on well with him and shared his wry sense of humour, dedication to work and capacity for taking pains.\" EdithBritten was a talented amateur musician and secretary of the Lowestoft Musical Society. In the English provinces of the early 20th century, distinctions of social class were taken very seriously. Britten described hisfamily as \"very ordinary middle class\", but there were aspects of the Brittens that were not ordinary: Edith's father was illegitimate, and her mother was an alcoholic; Robert Britten was an agnostic and refused toattend church on Sundays. Music was the principal means by which Edith Britten strove to maintain the family's social standing, inviting the pillars of the local community to musical soirées at the house.When Brittenwas three months old he contracted pneumonia and nearly died. The illness left him with a damaged heart, and doctors warned his parents that he would probably never be able to lead a normal life. He recovered morefully than expected, and as a boy was a keen tennis player and cricketer. To his mother's great delight he was an outstandingly musical child, unlike his sisters, who inherited their father's indifference to music, while hisbrother, though musically talented, was interested only in ragtime. Edith gave the young Britten his first lessons in piano and notation. He made his first attempts at composition when he was five. He started pianolessons when he was seven years old, and three years later began to play the viola. He was one of the last composers brought up on exclusively live music: his father refused to have a gramophone or, later, a radio inthe house.EducationLowestoftWhen he was seven Britten was sent to a dame school, run by the Misses Astle. The younger sister, Ethel, gave him piano lessons; in later life he said that he remained grateful for theexcellence of her teaching. The following year he moved on to a prep school, South Lodge, Lowestoft, as a day boy. The headmaster, Thomas Sewell, was an old-fashioned disciplinarian; the young Britten was outragedat the severe corporal punishments frequently handed out, and later he said that his lifelong pacifism probably had its roots in his reaction to the regime at the school. He himself rarely fell foul of Sewell, amathematician, in which subject Britten was a star pupil. The school had no musical tradition, and Britten continued to study the piano with Ethel Astle. From the age of ten he took viola lessons from a friend of hismother, Audrey Alston, who had been a professional player before her marriage. In his spare time he composed prolifically. When his Simple Symphony, based on these juvenilia, was recorded in 1956, Britten wrotethis pen-portrait of his young self for the sleeve note:Once upon a time there was a prep-school boy. ... He was quite an ordinary little boy ... he loved cricket, only quite liked football (although he kicked a pretty\"corner\"); he adored mathematics, got on all right with history, was scared by Latin Unseen; he behaved fairly well, only ragged the recognised amount, so that his contacts with the cane or the slipper were happily rare(although one nocturnal expedition to stalk ghosts left its marks behind); he worked his way up the school slowly and steadily, until at the age of thirteen he reached that pinnacle of importance and grandeur, never tobe quite equalled in later days: the head of the Sixth, head-prefect, and Victor Ludorum. But – there was one curious thing about this boy: he wrote music. His friends bore with it, his enemies kicked a bit but not forlong (he was quite tough), the staff couldn't object if his work and games didn't suffer. He wrote lots of it, reams and reams of it.Audrey Alston encouraged Britten to go to symphony concerts in Norwich. At one ofthese, during the triennial Norfolk and Norwich Festival in October 1924, he heard Frank Bridge's orchestral poem The Sea, conducted by the composer. It was the first substantial piece of modern music he had everencountered, and he was, in his own phrase, \"knocked sideways\" by it. Audrey Alston was a friend of Bridge; when he returned to Norwich for the next festival in 1927 she brought her not quite 14-year-old pupil tomeet him. Bridge was impressed with the boy, and after they had gone through some of Britten's compositions together he invited him to come to London to take lessons from him. Robert Britten, supported by ThomasSewell, doubted the wisdom of pursuing a composing career; a compromise was agreed by which Britten would, as planned, go on to his public school the following year but would make regular day-trips to London tostudy composition with Bridge and piano with his colleague Harold Samuel.Bridge impressed on Britten the importance of scrupulous attention to the technical craft of composing and the maxim that \"you should findyourself and be true to what you found.\" The earliest substantial works Britten composed while studying with Bridge are the String Quartet in F, completed in April 1928, and the Quatre Chansons Françaises, asong-cycle for high voice and orchestra. Authorities differ on the extent of Bridge's influence on his pupil's technique. Humphrey Carpenter and Michael Oliver judge that Britten's abilities as an orchestrator wereessentially self-taught; Donald Mitchell considers that Bridge had an important influence on the cycle.Public school and Royal College of MusicIn September 1928 Britten went as a boarder to Gresham's School, in Holt,Norfolk. At the time he felt unhappy there, even writing in his diary of contemplating suicide or running away: he hated being separated from his family, most particularly from his mother; he despised the music master;and he was shocked at the prevalence of bullying, though he was not the target of it. He remained there for two years and in 1930, he won a composition scholarship at the Royal College of Music (RCM) in London; hisexaminers were the composers John Ireland and Ralph Vaughan Williams and the college's harmony and counterpoint teacher, S P Waddington.Britten was at the RCM from 1930 to 1933, studying composition withIreland and piano with Arthur Benjamin. He won the Sullivan Prize for composition, the Cobbett Prize for chamber music, and was twice winner of the Ernest Farrar Prize for composition. Despite these honours, he wasnot greatly impressed by the establishment: he found his fellow-students \"amateurish and folksy\" and the staff \"inclined to suspect technical brilliance of being superficial and insincere.\" Another Ireland pupil, thecomposer Humphrey Searle, said that Ireland could be \"an inspiring teacher to those on his own wavelength\"; Britten was not, and learned little from him. He continued to study privately with Bridge, although he laterpraised Ireland for \"nurs[ing] me very gently through a very, very difficult musical adolescence.\"Britten also used his time in London to attend concerts and become better acquainted with the music of Stravinsky,Shostakovich and, most particularly, Mahler. He intended postgraduate study in Vienna with Alban Berg, Arnold Schoenberg's student, but was eventually dissuaded by his parents, on the advice of the RCM staff.Thefirst of Britten's compositions to attract wide attention were composed while at the RCM: the Sinfonietta, Op. 1 (1932), the oboe quartet Phantasy, Op. 2, dedicated to Léon Goossens who played the first performance ina BBC broadcast on 6 August 1933, and a set of choral variations A Boy was Born, written in 1933 for the BBC Singers, who first performed it the following year. In this same period he wrote Friday Afternoons, acollection of 12 songs for the pupils of Clive House School, Prestatyn, where his brother was headmaster.CareerEarly professional lifeIn February 1935, at Bridge's instigation, Britten was invited to a job interview by theBBC's director of music Adrian Boult and his assistant Edward Clark. Britten was not enthusiastic about the prospect of working full-time in the BBC music department and was relieved when what came out of theinterview was an invitation to write the score for a documentary film, The King's Stamp, directed by Alberto Cavalcanti for the GPO Film Unit.Britten became a member of the film unit's small group of regularcontributors, another of whom was W. H. Auden. Together they worked on the documentary films Coal Face and Night Mail in 1935. They also collaborated on the song cycle Our Hunting Fathers (1936), radical both inpolitics and musical treatment, and subsequently other works including Cabaret Songs, On This Island, Paul Bunyan and Hymn to St Cecilia. Auden was a considerable influence on Britten, encouraging him to widen hisaesthetic, intellectual and political horizons, and also to come to terms with his homosexuality. Auden was, as David Matthews puts it, \"cheerfully and guiltlessly promiscuous\"; Britten, puritanical and conventional bynature, was sexually repressed.In the three years from 1935 to 1937 Britten wrote nearly 40 scores for the theatre, cinema and radio. Among the film music of the late 1930s Matthews singles out Night Mail and Lovefrom a Stranger (1937); from the theatre music he selects for mention The Ascent of F6 (1936), On the Frontier (1938), and Johnson Over Jordan (1939); and of the music for radio, King Arthur (1937) and The Swordin the Stone (1939).In 1937 there were two events of huge importance in Britten's life: his mother died, and he met the tenor Peter Pears. Although Britten was extraordinarily devoted to his mother and was devastatedat her death, it also seems to have been something of a liberation for him. Only after that did he begin to engage in emotional relationships with people his own age or younger. Later in the year he got to know Pearswhile they were both helping to clear out the country cottage of a mutual friend who had died in an air crash. Pears quickly became Britten's musical inspiration and close (though for the moment platonic) friend.Britten's first work for him was composed within weeks of their meeting, a setting of Emily Brontë's poem, \"A thousand gleaming fires\", for tenor and strings.During 1937 Britten composed a Pacifist March to words byRonald Duncan for the Peace Pledge Union, of which, as a pacifist, he had become an active member; the work was not a success and was soon withdrawn. The best known of his compositions from this period isprobably Variations on a Theme of Frank Bridge for string orchestra, described by Matthews as the first of Britten's works to become a popular classic. It was a success in North America, with performances in Toronto,New York, Boston, Chicago and San Francisco, under conductors including John Barbirolli and Serge Koussevitzky.America 1939–42In April 1939 Britten and Pears sailed to North America, going first to Canada and thento New York. They had several reasons for leaving England, including the difficult position of pacifists in an increasingly bellicose Europe; the success that Frank Bridge had enjoyed in the US; the departure of Auden andhis friend Christopher Isherwood to the US from England three months previously; hostile or belittling reviews of Britten's music in the English press; and under-rehearsed and inadequate performances. Britten andPears consummated their relationship and from then until Britten's death they were partners in both their professional and personal lives. When the Second World War began, Britten and Pears turned for advice to theBritish embassy in Washington and were told that they should remain in the US as artistic ambassadors. Pears was inclined to disregard the advice and go back to England; Britten also felt the urge to return, butaccepted the embassy's counsel and persuaded Pears to do the same.Already a friend of the composer Aaron Copland, Britten encountered his latest works Billy the Kid and An Outdoor Overture, both of whichinfluenced his own music. In 1940 Britten composed Seven Sonnets of Michelangelo, the first of many song cycles for Pears. Britten's orchestral works from this period include the Violin Concerto and Sinfonia daRequiem. In 1941 Britten produced his first music drama, Paul Bunyan, an operetta, to a libretto by Auden. While in the US, Britten had his first encounter with Balinese gamelan music, through transcriptions for pianoduo made by the Canadian composer Colin McPhee. The two met in the summer of 1939 and subsequently performed a number of McPhee's transcriptions for a recording. This musical encounter bore fruit in severalBalinese-inspired works later in Britten's career.Moving to the US did not relieve Britten of the nuisance of hostile criticism: although Olin Downes, the doyen of New York music critics, and Irving Kolodin took to Britten'smusic, Virgil Thomson was, as the music scholar Suzanne Robinson puts it, consistently \"severe and spiteful\". Thomson described Les Illuminations (1940) as \"little more than a series of bromidic and facile 'effects' ...pretentious, banal and utterly disappointing\", and was equally unflattering about Pears's voice. Robinson surmises that Thomson was motivated by \"a mixture of spite, national pride, and professional jealousy.\" PaulBunyan met with wholesale critical disapproval, and the Sinfonia da Requiem (already rejected by its Japanese sponsors because of its overtly Christian nature) received a mixed reception when Barbirolli and the NewYork Philharmonic premiered it in March 1941. The reputation of the work was much enhanced when Koussevitzky took it up shortly afterwards.Return to EnglandIn 1942 Britten read the work of the poet George Crabbefor the first time. The Borough, set on the Suffolk coast close to Britten's homeland, awakened in him such longings for England that he knew he must return. He also knew that he must write an opera based onCrabbe's poem about the fisherman Peter Grimes. Before Britten left the US, Koussevitzky, always generous in encouraging new talent, offered him a $1,000 commission to write the opera. Britten and Pears returned toEngland in April 1942. During the long transatlantic sea crossing Britten completed the choral works A Ceremony of Carols and Hymn to St Cecilia. The latter was his last large-scale collaboration with Auden. Britten hadgrown away from him, and Auden became one of the composer's so-called \"corpses\" – former intimates from whom he completely cut off contact once they had outlived their usefulness to him or offended him in someway.Having arrived in Britain, Britten and Pears applied for recognition as conscientious objectors; Britten was initially allowed only non-combatant service in the military, but on appeal he gained unconditional"}
+{"doc_id":"doc_198","qid":"","text":"Passage 1:Bernard HoursBernard Hours, born on 5 May 1956 in Strasbourg, is a French businessman. He was the managing director of Danone and a member of the board of directors of the company. He was also amember of the executive committee of Danone.EducationHours graduated from the École des Hautes Études Commerciales (HEC) in 1978.CareerHours began his career at Unilever in 1979 as Product Manager andBrand Manager. He progressively became an expert in the food sector.In 1985, he joined the Danone marketing group at Kronenbourg. From 1989 and 2001, he  was the Director of Sales of Evian, and then Director ofMarketing for Danone France, later becoming the President of Danone Hungary (1994), Danone Germany (1996) and finally President of LU France in 1998.In November 2001, Hours was named the Vice-President ofthe Fresh Dairy Products division and became the President in March 2002. In November 2006 he also took charge of the Research and Development at Danone.Hours contributed significantly to sales growth between2007 and 2013, which amounted to an increase of 36.4% (from 14 to 22 billion euros) during this period. He exercised is responsible for all activities of Danone, encompassing around 100,000 people in and 100countries.In 2014, at the time of a change of governance,  Hours ended his position as managing director of Danone, by the decision of the Administrative Counsel.In 2015, Hours became president of Medvet  and  ChefSam. He is also Board Member for Verlinvest  and Oatly.Other ActivitiesHours is a member of the Administrative Counsel of Essilor as an independent director and a member of the Administrative Counsel of theinvestment holding Verlinvest and its participation Vita Coco. He is also e member of the Supervisory Board of Somfy.Passage 2:Wee Wee Hours\"Wee Wee Hours\" is a song written and recorded by Chuck Berry in 1955.Originally released as the B-side of his first single, \"Maybellene\", it went on to become a hit, reaching number 10 in the Billboard R&B chart.The song is a twelve-bar blues, described as \"a slow, sensuous blues featuringsome exceptional piano from Johnnie Johnson\".\"Wee Wee Hours\" was on the audition tape submitted by Berry to Leonard Chess in hope of landing a recording contract with Chess Records.  Although it seemed like agood fit with the record company's blues roster, Chess was more interested in the song that became \"Maybellene\", the song that launched Berry's career as a rock and roll star.Berry often performed the song live. It isincluded on the 1969 album Chuck Berry Live in Concert, and in the 1987 film Hail! Hail! Rock 'n' Roll.Passage 3:Billy MilanoBilly Milano (born June 3, 1964) is an American heavy metal and hardcore punk musician. Heis the singer and occasionally guitarist and bassist of crossover thrash band M.O.D., and was the singer of its predecessor, Stormtroopers of Death. Prior to these bands, Milano played in early New York hardcore bandthe Psychos, which also launched the career of future Agnostic Front vocalist Roger Miret. Milano was also the singer of United Forces, which included his Stormtroopers of Death bandmate Dan Lilker. Milano managed anumber of bands, including Agnostic Front, for whom he also co-produced the 1997 Epitaph Records release Something's Gotta Give and roadie for Anthrax.DiscographyStormtroopers of Death albumsStormtroopers ofDeath videosMethod of Destruction (M.O.D.)MasteryPassage 4:O Valencia!\"O Valencia!\" is the fifth single by the indie rock band The Decemberists, and the first released from their fourth studio album, The CraneWife.The music was written by The Decemberists and the lyrics by Colin Meloy. It tells a story of two star-crossed lovers. The singer falls in love with a person who belongs to an opposing gang. At the end of the song,the singer's lover jumps in to defend the singer, who is confronting his lover's brother (the singer's \"sworn enemy\") and is killed by the bullet intended for the singer.Track listingThe 7\" single sold in the UK wasmispressed, with \"Culling of the Fold\" as the B-side despite the artwork and record label listing \"After the Bombs\" as the B-side.Music videosFor the \"O Valencia!\" music video, The Decemberists filmed themselves infront of a green screen and asked fans to complete it by digitally adding in background images or footage. Stephen Colbert of The Colbert Report, having recently asked fans to do the same with a video of him with alight saber in front of a green screen, brought up The Decemberists on his segment \"Look Who's Riding on My Coattails Now\" and accused the band of stealing the idea. The Decemberists' response was to challengeStephen Colbert to a guitar solo showdown on December 20, 2006, on The Colbert Report.On January 19, 2007, The Decemberists premiered an alternate music video of \"O Valencia!\", directed by Aaron Stewart-Ahn,on MTV2. The video follows a character named Patrick, played by Meloy, as he and his love Francesca (Lisa Molinaro), daughter of \"the Boss\", plan an escape to an unknown location. At a cafe, a man in a suit, portrayedby the band member Chris Funk, tells him to hide in the \"Valencia\" hotel (the Super Value Inn on North Interstate Avenue in Portland, Oregon) while he gets them the necessary documentation to escape. Above thename of the hotel, there is a neon sign that reads \"Office\". The letters have all burnt out except for the \"O\", creating the title of the song. The video then introduces other characters - various assassination teams - whosit in different rooms of the hotel waiting for the chance to catch the two lovers. Most are portrayed by other members of the band (along with Meloy's wife, Carson Ellis). They kill off any potential witnesses to theirplan. Patrick manages to take down one member from each team, before they gang up on him. The Boss arrives, along with the man from the cafe, who reveals that he snitched on Patrick and Francesca. They executeFrancesca, while forcing Patrick to watch. After they leave, Patrick finds a note by Francesca, which reveals that she never fell in love with him, and only wanted protection. 2 months later, Patrick and the man, who haslost an eye from a previous assassination attempt, have a sit-down at the same cafe. The man reveals that he snitched on Patrick just to take over the town. Patrick reveals that he poisoned a drink the man was having,but before he could get away, the man stabs Patrick in the neck with a fork before dying, followed by Patrick.The video is somewhat influenced by the distinct style and themes of director Wes Anderson, with bold fontsbeing used to introduce characters and groups on the bottom of the screen (much like in the film The Royal Tenenbaums). The band had previously (and more explicitly) drawn influence from Anderson's Rushmore intheir video for \"Sixteen Military Wives\". The layout of the hotel is also similar to the one used in Bottle Rocket.Kurt Nishimura was chosen as the winner by mtvU for his video that depicted a love affair between a womanand her television, with the TV containing the green-screened Decemberists video footage.Passage 5:Chuck BerryCharles Edward Anderson Berry (October 18, 1926 – March 18, 2017) was an American singer, guitaristand songwriter who pioneered rock and roll. Nicknamed the \"Father of Rock and Roll\", he refined and developed rhythm and blues into the major elements that made rock and roll distinctive with songs such as\"Maybellene\" (1955), \"Roll Over Beethoven\" (1956), \"Rock and Roll Music\" (1957) and \"Johnny B. Goode\" (1958). Writing lyrics that focused on teen life and consumerism, and developing a music style that includedguitar solos and showmanship, Berry was a major influence on subsequent rock music.Born into a middle-class black family in St. Louis, Berry had an interest in music from an early age and gave his first publicperformance at Sumner High School. While still a high school student, he was convicted of armed robbery and was sent to a reformatory, where he was held from 1944 to 1947. After his release, Berry settled intomarried life and worked at an automobile assembly plant. By early 1953, influenced by the guitar riffs and showmanship techniques of the blues musician T-Bone Walker, Berry began performing with the JohnnieJohnson Trio. His break came when he traveled to Chicago in May 1955 and met Muddy Waters, who suggested he contact Leonard Chess, of Chess Records. With Chess, he recorded \"Maybellene\"—Berry's adaptation ofthe country song \"Ida Red\"—which sold over a million copies, reaching number one on Billboard magazine's rhythm and blues chart.By the end of the 1950s, Berry was an established star, with several hit records andfilm appearances and a lucrative touring career. He had also established his own St. Louis nightclub, Berry's Club Bandstand. He was sentenced to three years in prison in January 1962 for offenses under the MannAct—he had transported a 14-year-old girl across state lines for the purpose of having sexual intercourse. After his release in 1963, Berry had several more successful songs, including \"No Particular Place to Go\", \"YouNever Can Tell\", and \"Nadine\". However, these did not achieve the same success or lasting impact of his 1950s songs, and by the 1970s he was more in demand as a nostalgia performer, playing his past material withlocal backup bands of variable quality. In 1972 he reached a new level of achievement when a rendition of \"My Ding-a-Ling\" became his only record to top the charts. His insistence on being paid in cash led in 1979 to afour-month jail sentence and community service, for tax evasion.Berry was among the first musicians to be inducted into the Rock and Roll Hall of Fame on its opening in 1986; he was cited for having \"laid thegroundwork for not only a rock and roll sound but a rock and roll stance.\" Berry is included in several of Rolling Stone magazine's \"greatest of all time\" lists; he was ranked fifth on its 2004 and 2011 lists of the 100Greatest Artists of All Time. The Rock and Roll Hall of Fame's 500 Songs That Shaped Rock and Roll includes three of Berry's: \"Johnny B. Goode\", \"Maybellene\", and \"Rock and Roll Music\". \"Johnny B. Goode\" is the onlyrock-and-roll song included on the Voyager Golden Record.Early lifeBorn in St. Louis, Berry was the youngest child. He grew up in the north St. Louis neighborhood known as the Ville, an area where many middle-classpeople lived. His father, Henry William Berry (1895–1987) was a contractor and deacon of a nearby Baptist church; his mother, Martha Bell (Banks) (1894–1980) was a certified public school principal. Berry'supbringing allowed him to pursue his interest in music from an early age. He gave his first public performance in 1941 while still a student at Sumner High School; he was still a student there in 1944, when he wasarrested for armed robbery after robbing three shops in Kansas City, Missouri, and then stealing a car at gunpoint with some friends. Berry's account in his autobiography is that his car broke down and he flagged downa passing car and stole it at gunpoint with a nonfunctional pistol. He was convicted and sent to the Intermediate Reformatory for Young Men at Algoa, near Jefferson City, Missouri, where he formed a singing quartet anddid some boxing. The singing group became competent enough that the authorities allowed it to perform outside the detention facility. Berry was released from the reformatory on his 21st birthday in 1947.On October28, 1948, Berry married Themetta \"Toddy\" Suggs, who gave birth to Darlin Ingrid Berry on October 3, 1950. Berry supported his family by taking various jobs in St. Louis, working briefly as a factory worker at twoautomobile assembly plants and as a janitor in the apartment building where he and his wife lived. Afterwards he trained as a beautician at the Poro College of Cosmetology, founded by Annie Turnbo Malone. He wasdoing well enough by 1950 to buy a \"small three room brick cottage with a bath\" on Whittier Street, which is now listed as the Chuck Berry House on the National Register of Historic Places.By the early 1950s, Berry wasworking with local bands in clubs in St. Louis as an extra source of income. He had been playing blues since his teens, and he borrowed both guitar riffs and showmanship techniques from the blues musician T-BoneWalker. He also took guitar lessons from his friend Ira Harris, which laid the foundation for his guitar style.By early 1953 Berry was performing with Johnnie Johnson's trio, starting a long-time collaboration with thepianist. The band played blues and ballads as well as country. Berry wrote, \"Curiosity provoked me to lay a lot of our country stuff on our predominantly black audience and some of our black audience began whispering'who is that black hillbilly at the Cosmo?' After they laughed at me a few times they began requesting the hillbilly stuff and enjoyed dancing to it.\"In 1954, Berry recorded the tracks \"I Hope These Words Will Find YouWell\" and \"Oh, Maria!\" with the group Joe Alexander & the Cubans. The songs were released as a single on the Ballad label.Berry's showmanship, along with a mix of country tunes and R&B tunes, sung in the style ofNat King Cole set to the music of Muddy Waters brought in a wider audience, particularly affluent white people.Career1955–1962: Signing with Chess: \"Maybellene\" to \"Come On\"In May 1955, Berry traveled to Chicago,where he met Muddy Waters who suggested he contact Leonard Chess, of Chess Records. Berry thought his blues music would interest Chess, but Chess was a larger fan of Berry's take on \"Ida Red\". On May 21, 1955,Berry recorded an adaptation of the song \"Ida Red\", under the title \"Maybellene\", with Johnnie Johnson on the piano, Jerome Green (from Bo Diddley's band) on the maracas, Ebby Hardy on the drums and Willie Dixonon the bass. \"Maybellene\" sold over a million copies, reaching number one on Billboard magazine's rhythm and blues chart and number five on its Best Sellers in Stores chart for September 10, 1955. Berry said, \"Itcame out at the right time when Afro-American music was spilling over into the mainstream pop.\"When Berry first saw a copy of the Maybellene record, he was surprised that two other individuals, including DJ AlanFreed had been given writing credit; that would entitle them to some of the royalties. After a court battle, Berry was able to regain full writing credit.At the end of June 1956, his song \"Roll Over Beethoven\" reachednumber 29 on the Billboard's Top 100 chart, and Berry toured as one of the \"Top Acts of '56\". He and Carl Perkins became friends. Perkins said that \"I knew when I first heard Chuck that he'd been affected by countrymusic. I respected his writing; his records were very, very great.\" In late 1957, Berry took part in Alan Freed's \"Biggest Show of Stars for 1957\", touring the United States with the Everly Brothers, Buddy Holly, andothers. He was a guest on ABC's Guy Mitchell Show, singing his hit song \"Rock 'n' Roll Music\". The hits continued from 1957 to 1959, with Berry scoring over a dozen chart singles during this period, including the US Top10 hits \"School Days\", \"Rock and Roll Music\", \"Sweet Little Sixteen\", and \"Johnny B. Goode\". He appeared in two early rock-and-roll movies: Rock Rock Rock (1956), in which he sang \"You Can't Catch Me\", and Go,Johnny, Go! (1959), in which he had a speaking role as himself and performed \"Johnny B. Goode\", \"Memphis, Tennessee\", and \"Little Queenie\". His performance of \"Sweet Little Sixteen\" at the Newport Jazz Festival in1958 was captured in the motion picture Jazz on a Summer's Day.The opening guitar riff of \"Johnny B. Goode\" is similar to the one used by Louis Jordan in his Ain't That Just Like a Woman (1946). Berry acknowledgedthe debt to Jordan and several sources have indicated that his work was influenced by Jordan in general.By the end of the 1950s, Berry was a high-profile established star with several hit records and film appearancesand a lucrative touring career. He had opened a racially integrated St. Louis nightclub, Berry's Club Bandstand, and invested in real estate. But in December 1959, he was arrested under the Mann Act after allegationsthat he had had sexual intercourse with a 14-year-old Apache waitress, Janice Escalante, whom he had transported across state lines to work as a hatcheck girl at his club. After a two-week trial in March 1960, he wasconvicted, fined $5,000, and sentenced to five years in prison. He appealed the decision, arguing that the judge's comments and attitude were racist and prejudiced the jury against him. The appeal was upheld, and asecond trial was heard in May and June 1961, resulting in another conviction and a three-year prison sentence. After another appeal failed, Berry served one and one-half years in prison, from February 1962 to October1963. He had continued recording and performing during the trials, but his output had slowed as his popularity declined; his final single released before he was imprisoned was \"Come On\".1963–1969: \"Nadine\" andmove to MercuryWhen Berry was released from prison in 1963, his return to recording and performing was made easier because British invasion bands—notably the Beatles and the Rolling Stones—had sustainedinterest in his music by releasing cover versions of his songs, and other bands had reworked some of them, such as the Beach Boys' 1963 hit \"Surfin' U.S.A.\", which used the melody of Berry's \"Sweet Little Sixteen\". In1964 and 1965 Berry released eight singles, including three that were commercially successful, reaching the top 20 of the Billboard 100: \"No Particular Place to Go\" (a humorous reworking of \"School Days\", concerningthe introduction of seat belts in cars), \"You Never Can Tell\", and the rocking \"Nadine\". Between 1966 and 1969 Berry released five albums for Mercury Records, including his second live album (and first recorded entirelyonstage), Live at Fillmore Auditorium; for the live album he was backed by the Steve Miller Band.Although this period was not a successful one for studio work, Berry was still a top concert draw. In May 1964, he hadmade a successful tour of the UK, but when he returned in January 1965 his behavior was erratic and moody, and his touring style of using unrehearsed local backing bands and a strict nonnegotiable contract wasearning him a reputation as a difficult and unexciting performer. He also played at large events in North America, such as the Schaefer Music Festival, in New York City's Central Park in July 1969, and the Toronto Rockand Roll Revival festival in October.1970–1979: Back to Chess: \"My Ding-a-Ling\" to White House concertBerry returned to Chess from 1970 to 1973. There were no hit singles from the 1970 album Back Home, but in1972 Chess released a live recording of \"My Ding-a-Ling\", a novelty song which he had recorded in a different version as \"My Tambourine\" on his 1968 LP From St. Louie to Frisco. The track became his only number-onesingle. A live recording of \"Reelin' and Rockin'\", issued as a follow-up single in the same year, was his last Top 40 hit in both the US and the UK. Both singles were included on the part-live, part-studio album The LondonChuck Berry Sessions (other albums of London sessions were recorded by Chess's mainstay artists Muddy Waters and Howlin' Wolf). Berry's second tenure with Chess ended with the 1975 album Chuck Berry, afterwhich he did not make a studio record until Rockit for Atco Records in 1979, which would be his last studio album for 38 years.In the 1970s Berry toured on the strength of his earlier successes. He was on the road formany years, carrying only his Gibson guitar, confident that he could hire a band that already knew his music no matter where he went. AllMusic said that in this period his \"live performances became increasingly erratic,... working with terrible backup bands and turning in sloppy, out-of-tune performances\" which \"tarnished his reputation with younger fans and oldtimers\" alike. In March 1972 he was filmed, at the BBC TelevisionTheatre in Shepherds Bush, for Chuck Berry in Concert, part of a 60-date tour backed by the band Rocking Horse. Among the many bandleaders performing a backup role with Berry in the 1970s were Bruce Springsteenand Steve Miller when each was just starting his career. (Springsteen related in the documentary film Hail! Hail! Rock 'n' Roll that Berry did not give the band a set list, and expected the musicians to follow his lead aftereach guitar intro. Berry did not speak to the band after the show. Nevertheless, Springsteen backed Berry again when he appeared at the concert for the Rock and Roll Hall of Fame in 1995.) At the request of JimmyCarter, Berry performed at the White House on June 1, 1979.Berry's touring style, traveling the \"oldies\" circuit in the 1970s (often being paid in cash by local promoters), added ammunition to the Internal RevenueService's accusations that Berry had evaded paying income taxes. Facing criminal sanction for the third time, Berry pleaded guilty to evading nearly $110,000 in federal income tax owed on his 1973 earnings."}
+{"doc_id":"doc_199","qid":"","text":"Passage 1:Ben CuraBen Cura is an Argentine-born British actor, musician and director of film, television and theatre.Early lifeJosé Ben Cura was born in Buenos Aires, the son of Argentine tenor/conductor José Cura.When he was a year old, he moved to Santo Stefano Belbo, Italy, where his father's grandfather was from. The family first lived in a convent while his father struggled to find work as an opera singer. He has twoyounger siblings, Yazmín and Nicolás.The family moved to France when he was six and then to Spain when he was 11. During this time, he frequently travelled with his parents around the world.Cura's first acting rolecame at age nine, as a supernumerary in a production of La Forza del Destino at the Opéra de Marseille, France. Whilst living in Paris, he received formal piano and solfège training. He subsequently attended the NewYork Film Academy in Paris before eventually training and graduating from the London Academy of Music and Dramatic Art in 2011 with a bachelor's degree with honours in professional acting.CareerCura made his filmdebut in a British independent film Comes a Bright Day, appearing shortly after in Comedy Central's series Threesome and Bernard Rose's film The Devil's Violinist.He made his West End debut playing Angel in theoriginal cast of Jennifer Saunders' musical Viva Forever at the Piccadilly Theatre in London, UK. He was later cast as Seve Ballesteros in British golf film Dream On.Aged 24, he made his directorial debut with a filmadaptation of August Strindberg's play Creditors. for which he also wrote the screenplay and played one of the lead characters, Freddie Lynch. Later that year, he starred in the UK premiere of the award-winningAmerican play Next Fall at the Southwark Playhouse in London, UK.In April 2013, he co-founded London-based production company Tough Dance Ltd. with actress and producer Andrea Deck. The company's firstproduction was award-winning feature film Creditors.In 2015, he was cast in the US series The Royals as recurring character Holden. He later went on to star in British film White Island set in Ibiza, and based on thenovel A Bus Could Run You Over written by Colin Butts, alongside Billy Zane and Billy Boyd.Cura's directorial debut, Creditors, world-premiered at the Nordic International Film Festival in New York City on 31 October2015. The festival awarded it with an Honorable Mention in the Best Nordic Narrative Feature category. Latin Post film critic David Salazar called the film \"A triumphant debut.\" Blazing Minds film critic Susanne Hoddersaid the actors \"all give compelling performances, bringing their characters to life and giving them depth\". Screen Relish film critic Stuie Greenfield said that \"Creditors is a beautiful, sometimes angry and surprising filmthat brings with it strong performances from the entire cast as well as an unexpected yet welcome twist\", while Movie Marker film critic Darryl Griffiths said that \"Creditors is an incisive and accomplished piece offilmmaking [...], possessing a rich, powerful psychology that instills an unnerving modern-day relevance to age-old material.\" Creditors received over ten awards from various film festivals, including Best Feature,Leading Actor, and Script/Writer for Cura.Later that year, Cura was cast as a series regular in ITV/Netflix crime noir drama Marcella penned by The Bridge writer Hans Rosenfeldt. The series premiered on UK television inApril 2016, followed by a worldwide release on Netflix in July 2016. and Simon West's action/comedy feature film Gun Shy opposite Antonio Banderas and Olga Kurylenko.In 2017, Cura was cast as CIA operative PhilipShafer in French historical war movie 15 minutes de guerre (renamed L'Intervention), directed by Fred Grivois. Later that year, he played the role of Steve in the screen adaptation of British stage play Life is aGatecrash, renamed Gatecrash and directed by Lawrence Gough, opposite Olivia Bonamy, Anton Lesser, and Sam West.In 2018, Cura guest-starred in Season 2 of CBS's Ransom and the first season of new TV seriesThe Rook, opposite Olivia Munn.In 2019, he was cast in Nicholas Wright's new stage play 8 Hotels directed by Richard Eyre, world-premiering at the Chichester Festival Theatre, playing the lead role of José Ferreropposite Tory Kittles, Emma Paetz, and Pandora Colin, opening August 7 of that year to excellent reviews: \"Joe, played masterfully by Ben Cura, is wonderful as the philanderer who can accept his wife's adultery but nother lover's flaunting of it\"; \"Jose Ferrer [...] Ben Cura, who captures him very well, has a wonderful mutually mistrustful good-pals-act with the impressive Kittles\"; \"Ben Cura is excellent as Ferrer [...] with charisma tospare\"; \"Ben Cura plays José Ferrer as a much disappointed jobbing actor [...] playing Iago for peanuts opposite the better paid Robeson [...] This Ferrer becomes increasingly jealous of Robeson and is convinced thathis wife, Uta Hagen [...] is having an affair with the charismatic Robeson (she is), which fills him with an angry cynicism that he can barely control with his erudite and scathing humour that cannot disguise hisunderlying lack of confidence. Cura's Ferrer is a brilliant creation: a brilliant Iago in fact.\"In 2021, Cura founded production company and music label W.I.P. Media. Later that year, Cura released his debut music singleWater on streaming platforms, accompanied by an official music video on VEVO followed by second single Toutes Les Couleurs and its accompanying VEVO music video and a third single Argento alongside a third VEVOmusic video. On July 30, he released his debut instrumental E.P. Extended Play No.1.In 2022, Cura made his animation debut voicing Rayan in Tad the Lost Explorer and the Emerald Tablet while guest starring in HBOMax and Hulu Japan's Season 2 of The Head as Liam Ruddock, and starring in BFI and BBC short film My Eyes Are Up Here co-produced by his company W.I.P. Media which premiered at the London Film Festival in 2022and Tribeca Film Festival in 2023. He also saw his debut as a film composer, with his original score for feature film Among The Beasts which released that year in the US and other territories. Also that year, he appearedin Queen Charlotte: A Bridgerton Story produced by Shondaland and premiering on Netflix, in the recurring role of Prince Augustus.Personal lifeCura was married to actress Andrea Deck from 2013 until their divorce in2015. He dated actress Olga Kurylenko, but they broke up just before the COVID-19 pandemic.FilmographyFilmTelevisionVideo gamesStage2012: Viva Forever by Jennifer Saunders at the Piccadilly TheatreLondon2014: Next Fall by Geoffrey Nauffts at the Southwark Playhouse London2019: 8 Hotels by Nicholas Wright at the Chichester Festival Theatre ChichesterVoice work2012: Swimming with Piranhas RadioDocumentary for BBC Radio 42015: Credit Card Baby Radio Drama written by Annie Caulfield for BBC Radio 4, directed by Mary Ward-Lowery2019: Alien III audiobook by  Audible2020: Trafalgar Audiobook for  Penguinand  Audible2020: Camino De Santiago Sleep story for Calm and Calm France2022: The Limits to Growth Radio drama written by Sarah Woods for BBC Radio 4, directed by Emma Harding2023: Chronicle Of A DeathForetold Audiobook for  Penguin and  Audible2023: Tomás Nevinson Audiobook for  Penguin and  AudibleDiscographyAwards and nominationsPassage 2:Jason Moore (director)Jason Moore (born October 22, 1970) is anAmerican director of film, theatre and television.Life and careerJason Moore was born in Fayetteville, Arkansas, and studied at Northwestern University. Moore's Broadway career began as a resident director of LesMisérables at the Imperial Theatre in during its original run. He is the son of Fayetteville District Judge Rudy Moore.In March 2003, Moore directed the musical Avenue Q, which opened Off-Broadway at the VineyardTheatre and then moved to Broadway at the John Golden Theatre in July 2003.  He was nominated for a 2004 Tony Award for his direction. Moore also directed productions of the musical in Las Vegas and London andthe show's national tour. Moore directed the 2005 Broadway revival of Steel Magnolias and Shrek the Musical, starring Brian d'Arcy James and Sutton Foster which opened on Broadway in 2008. He directed the concertof Jerry Springer — The Opera at Carnegie Hall in January 2008.Moore, Jeff Whitty, Jake Shears, and John \"JJ\" Garden worked together on a new musical based on Armistead Maupin's Tales of the City. The musicalpremiered at the American Conservatory Theater, San Francisco, California in May 2011 and ran through July 2011.For television, Moore has directed episodes of Dawson's Creek, One Tree Hill, Everwood, and Brothers& Sisters. As a writer, Moore adapted the play The Floatplane Notebooks with Paul Fitzgerald from the novel by Clyde Edgerton. A staged reading of the play was presented at the New Play Festival at the Charlotte,North Carolina Repertory Theatre in 1996, with a fully staged production in 1998.In 2012, Moore made his film directorial debut with Pitch Perfect, starring Anna Kendrick and Brittany Snow. He also served as anexecutive producer on the sequel. He directed the film Sisters, starring Tina Fey and Amy Poehler, which was released on December 18, 2015. Moore's next project will be directing a live action Archiemovie.FilmographyFilmsPitch Perfect (2012)Sisters (2015)Shotgun Wedding (2022)TelevisionSoundtrack writerPitch Perfect 2 (2015) (Also executive producer)The Voice (2015) (1 episode)Passage 3:HanroSmitsmanHanro Smitsman, born in 1967 in Breda (Netherlands), is a writer and director of film and television.Film and Television CreditsFilmsBrothers (2017)Schemer (2010)Skin (2008)Raak (aka Contact)(2006)Allerzielen (aka All Souls) (2005) (segment \"Groeten uit Holland\")Engel en Broer (2004)2000 Terrorists (2004)Dajo (2003)Gloria (2000)Depoep (2001)Television20 leugens, 4 ouders en een scharrelei (2013)Deontmaskering van de vastgoedfraude (TV mini-series, 2013)Moordvrouw (2012-)Eileen (2 episodes, 2011)Getuige (2011)Vakantie in eigen land (2011)De Reis van meneer van Leeuwen(2010)De Punt (2009)Roes (2episodes, 2008)Fok jou! (2006)Van Speijk (2006)AwardsIn 2005, Engel en Broer won Cinema Prize for Short Film at the Avanca Film Festival.In 2007, Raak (aka Contact) won the Golden Berlin Bear Award at the BerlinInternational Film Festival, the Spirit Award at the Brooklyn Film Festival, the first place jury prize for \"Best Live Action under 15 minutes\" at the Palm Springs International Short Film Festival, and the Prix UIP GhentAward for European Short Films at the Flanders International Film Festival.In 2008, Skin won the Movie Squad Award at the Nederlands Film Festival, an actor in the film also won the Best Actor Award.  It also won theReflet d’Or for Best Film at the Cinema tous ecrans Festival in Geneva in the same year.Passage 4:Tactical ForceTactical Force is a 2011 Canadian-American action film written and directed by Adamo Paolo Cultraro, andstarring Steve Austin, Michael Jai White, Michael Shanks, Keith Jardine, Michael Eklund, Darren Shahlavi and Lexa Doig.The film concerns a rogue SWAT team sent to an abandoned compound with blank weapons forretraining, only to find themselves caught in the middle of a war between two gangs armed with fully functioning guns, who are both after a mysterious briefcase. It premiered in the United States on 9 August2011.PlotCaptain Frank Tate leads a four-member SWAT team consisting of Tony Hunt, Jannard and Blanco. They manage to stop the robbery of a grocery store and save the hostages, but their reckless methods causesubstantial property damage and emotional distress to the owner. Their superior gets angry and orders them to go through retraining, which they do not take seriously.Ilya Kalashnikova and Demetrius, two Russianmobsters, bring a captive named Kenny to a warehouse outside the city. They demand Kenny recovers the \"item\" he has hidden there. Two members of the Italian mafia, Lampone and Storato, enter the same facilityand start searching on their own. The two parties run into each other. Tate's team arrives on the same premises, and begins training with blank cartridges, not knowing about the events that just transpired.Bothcriminal parties hide from the SWAT team, but tension rises between them. Blanco goes to check on the resulting noise, and is fatally shot, which alerts his colleagues. The Russians and the Italians realize that their lawenforcement counterparts do not have real bullets, and form a fragile alliance to eliminate them. The SWAT team retreats to the upper level, locking the door behind them.It is revealed that Demetrius stole the itemfrom Lampone, before Kenny stole it from the former. Kenny reveals that the item is hidden somewhere beyond the locked door. Demetrius calls for backup. Tate and his squad realize that they must return to theirtruck to retrieve actual ammunition and call in police reinforcements. Kalashnikova and Storato bring the truck inside the warehouse. More members of the Russian mob, headed by a man named Vladimir, arrive.Vladimir decides to attack the upper floor through outside windows. Lampone secretly tells Storato that he has called his own operatives in order to secure the item for themselves.Tate manages to reach the truck butfinds the radio damaged. Hunt and Jannard fight off Vladimir's men. Jannard is nearly overpowered by Vladimir, before Tate returns and kills him. The mafia's reinforcements, led by tough guy Tagliaferro, show up andfind another point of entry on the building's roof.Tate decides to free Kenny, who gives him the briefcase containing the item. Kenny shows the SWAT team a hidden tunnel leading outside the hangar. Tate hides theitem, before the group gets split. Tagliaferro knocks Tate unconscious, and hands him back to Kalashnikova and Demetrius. The others are captured by Storato and taken to another warehouse at the opposite end of thetunnel, where Lampone awaits. Lampone shoots Kenny, apparently killing him, and threatens to do the same to Jannard. Hunt agrees to go fetch the item in exchange for her safety, under escort from Storato. But hemanages to kill Storato, neutralize Lampone and free Jannard.Tagliaferro and his men return to Demetrius, Kalashnikova and Tate with orders to eliminate all three, but they escape in the truck and meet up with Huntand Jannard at the other hangar. Tagliaferro catches up to them, and a final confrontation ensues. Tate kills Tagliaferro while Demetrius, Kalashnikova and Lampone are arrested.Tate, Hunt and Jannard arecongratulated by their superior. Kenny is revealed to be alive and an undercover FBI agent. He implies that Lampone is another undercover agent. The team is ordered to remain silent about the events.CastSteve Austinas SWAT Captain Frank TateMichael Jai White as SWAT Sergeant Tony HuntMichael Shanks as DemetriusKeith Jardine as TagliaferroMichael Eklund as KennyLexa Doig as Police Officer Third Class SWAT MemberJannardDarren Shahlavi as StoratoAdrian Holmes as LamponeSteve Bacic as Police Officer Third Class SWAT Member BlancoCandace Elaine as Ilya KalashnikovaPeter Kent as VladimirProductionThe film was developedindependently by writer/director Cultraro, under the working title of Hangar 14. It was originally slated to star Cuba Gooding, Jr. The film later found financing from Jack and Joseph Nasser, who had inked WWE starSteve Austin to a multi-picture deal in 2008. It marked the fourth collaboration between Austin and the Nasser brothers. Like their other movies, it was shot around Vancouver, British Columbia, under the banner ofNasser Entertainment's Canadian subsidiary. Filming took place during snow season, which greatly contrasted with the light clothing and mild Los Angeles climate depicted in the film.Co-star Michael Jai White enjoyedMichael Eklund's performance as the weaselly Kenny, and asked Universal to cast him as main antagonist Jobe Davis in his 2020 film Welcome to Sudden Death.ReleaseTactical Force was released theatrically in theUnited Arab Emirates on 12 April 2012, ranking fourth at the box office behind Get the Gringo, StreetDance 2 and The Hunger Games.In the United States, the film was released on home video on 9 August 2011 byVivendi Entertainment. Early copies came with a limited slipcover. It reached number 10 in the national DVD sales chart for its week of release. Canadian release followed on 23 August 2011. It was handled byEntertainment One, who also took care of the film in the UK and other international territories.ReceptionTactical Force received mixed reviews. The Movie Scene and Todd Rigney of Beyond Hollywood both deemed thefilm \"absurd\", while mentioning that its implausibility somehow contributed to its entertainment factor.Genre critic Outlaw Vern was let down by the film's mundane locations. Movie Mavericks was more positive, callingit \"well produced\", and Explosive Action praised the inclusion of an extensive car chase in an otherwise stripped-down siege film.Tactical Force's flashy editing was widely criticized, but its high action quotient earned itmoderate praise, with JoBlo calling it \"a step above the rest [of Austin vehicles]\". Jeffrey Kauffman of Blu-ray.com opined that \"Tactical Force looks fantastic. Cultraro the director simply needs to hire a better writerthan Cultraro next time.\"The film earned notice for its inclusion of an Italian character of color, a relatively uncommon occurrence in popular media. It also elicited several comparisons with Walter Hill's 1992 featureTrespass.See alsoRecoil (2011 film), a re-teaming of some of this film's principalsPassage 5:Brian Johnson (special effects artist)Brian Johnson (born 29 June 1939 or 29 June 1940) is a British designer and director offilm and television special effects.Life and careerBorn Brian Johncock, he changed his surname to Johnson during the 1960s. Joining the team of special effects artist Les Bowie, Johnson started his career behind thescenes for Bowie Films on productions such as On The Buses, and for Hammer Films.  He is known for his special effects work on TV series including Thunderbirds (1965–66) and films including Alien (1979), for whichhe received the 1980 Academy Award for Best Visual Effects (shared with H. R. Giger, Carlo Rambaldi, Dennis Ayling and Nick Allder). Previously, he had built miniature spacecraft models for Stanley Kubrick's 1968 film2001: A Space Odyssey.Johnson's work on Space: 1999 influenced the effects of the Star Wars films of the 1970s and 1980s. Impressed by his work, George Lucas visited Johnson during the production of the TV seriesto offer him the role of effects supervisor for the 1977 film. Having already been commissioned for the second series of Space: 1999, Johnson was unable to accept at the time. He worked on the sequel, The EmpireStrikes Back (1980), whose special effects were recognised in the form of a 1981 Special Achievement Academy Award (which Johnson shared with Richard Edlund, Dennis Muren and Bruce Nicholson).AwardsJohnsonhas won Academy Awards for both Alien (1979) and The Empire Strikes Back (1980). He was further nominated for an Academy Award for his work on Dragonslayer (1981). In addition, Johnson is the recipient of aSaturn Award for The Empire Strikes Back and a BAFTA Award for James Cameron's  Aliens.FilmographySpecial effectsDirectorScragg 'n' Bones (2006)Passage 6:JumanjiJumanji is a 1995 American urban fantasyadventure film directed by Joe Johnston from a screenplay by Jonathan Hensleigh, Greg Taylor, and Jim Strain, based on the 1981 children's picture book of the same name by Chris Van Allsburg. The film is the firstinstallment in the Jumanji film series.  It stars Robin Williams, Kirsten Dunst, David Alan Grier, Bonnie Hunt, Jonathan Hyde, and Bebe Neuwirth. The story centers on a supernatural board game that releasesjungle-based hazards upon its players with every turn they take.Jumanji was released on December 15, 1995, by Sony Pictures Releasing. The film received mixed reviews from critics, but was a box-office success,grossing $263 million worldwide on a budget of approximately $65 million. It was the tenth-highest-grossing film of 1995.The film spawned an animated television series, which aired from 1996 to 1999, and wasfollowed by a spin-off film, Zathura: A Space Adventure (2005), and two indirect sequels, Jumanji: Welcome to the Jungle (2017) and Jumanji: The Next Level (2019).PlotIn 1969, Alan Parrish lives with his parents Samand Carol in Brantford, New Hampshire. One day, he escapes a group of bullies and retreats to Sam's shoe factory. He meets his friend, Carl Bentley, who reveals a new shoe prototype he made by himself. Alanmisplaces the shoe and damages a conveyor belt, but Carl takes responsibility and loses his job. After the bullies attack Alan and steal his bicycle, Alan follows the sound of tribal drumbeats to a construction site. He"}
+{"doc_id":"doc_200","qid":"","text":"Passage 1:Where Are You? I'm HereWhere Are You? I'm Here (Italian: Dove siete? Io sono qui) is a 1993 Italian drama film directed by Liliana Cavani.The film entered the 50th Venice International Film Festival, where Anna Bonaiuto won the Volpi Cup for best supporting actress. For her role Chiara Caselli was awarded with a Nastro d'Argento for Best Actress and a Grolla d'oro in the same category.PlotFausto's mother refuses to accept the fact that her child is deaf and refuses to send him to a special school where he can learn sign language. His aunt, though, teaches him to communicate and helps him find a place among a group of deaf-mutes. He meets and falls in love with Elena. To their parents' concern, the two find love with each other until a set of difficulties leads them to see their lives in a different light.Main castChiara Caselli as Elena SettiGaetano Carotenuto as  FaustoAnna Bonaiuto as Fausto's MotherGiuseppe Perruccio as Fausto's FatherValeria D'Obici as Fausto's AuntInes Nobili as MariaKo Muroboshi as The MimeDoriana Chierici as Elena's MotherCarla Cassola as Miss MartiniPaola Mannoni as The PrincipalPino Micol as The Bank ManagerSebastiano Lo Monaco as Professor PiniPaco Reconti as UgoMarzio Honorato as The History TeacherSee alsoList of Italian films of 1993Passage 2:Alfonso XII and María CristinaAlfonso XII and María Cristina or Where Are You Going, Sad Man? (Spanish: ¿Dónde vas triste de ti?) is a 1960 Spanish historical drama film directed by Alfonso Balcázar and Guillermo Cases and starring Vicente Parra and Marga López as Alfonso XII of Spain and Maria Christina of Austria.The film is the sequel to Where Are You Going, Alfonso XII? with Vicente Parra, José Marco Davó and Tomás Blanco reprising their roles from the previous film as Alfonso XII, Antonio Cánovas del Castillo and the Duque de Sesto respectively. María Fernanda Ladrón de Guevara replaced Mercedes Vecino as Isabella II.Similar in style to the German Sissi film series, it was very popular but led to Vicente Parra's typecasting.The film's sets were designed by the art director Enrique Alarcón.CastPassage 3:Mrs. Dery Where Are You?Mrs. Dery Where Are You? (Hungarian: Déryné hol van?) is a 1975 Hungarian drama film directed by Gyula Maár. It was entered into the 1976 Cannes Film Festival, where Mari Törőcsik won the award for Best Actress, playing the protagonist Mrs. Déry.CastMari Törőcsik - DérynéFerenc Kállai - DéryMária Sulyok - Déry anyjaImre Ráday - IntendánsTamás Major - Jancsó, öreg színészCecília Esztergályos - SchodelnéKornél Gelley - Magyar úr, dilettáns színészAndrás Kozák - Ifjú grófAndrás Schiff - Zongorázó fiúZsuzsa Zolnay - CapuletnéFlóra Kádár - DajkaPassage 4:Where Are YouWhere Are You may refer to:AlbumsWhere Are You? (Frank Sinatra album), 1957Where Are You? (Mal Waldron album), 1989Songs\"Where Are You?\" (1937 song), written by Jimmy McHugh and Harold Adamson, covered by many performers\"Where Are You\" (Bee Gees song), 1966\"Where Are You?\" (Imaani song), 1998\"Where Are You?\", by 16 Bit, 1986\"Where Are You?\", by Cat Stevens from New Masters, 1967\"Where Are You?\", by Days of the New from Days of the New, 2001\"Where Are You?\", by Gotthard from Firebirth, 2012\"Where Are You?\", by Kavana from Kavana, 1997\"Where Are You?\", by Our Lady Peace from Healthy in Paranoid Times, 2005\"Where Are You?\", by Saves the Day from In Reverie, 2003\"Where Are You (B.o.B vs. Bobby Ray)\", by B.o.B from Strange Clouds, 2012FilmsWhere Are You (film), a 2021 American drama filmSee alsoWhere Are You Now (disambiguation)Passage 5:Where Are You My Love?Where Are You My Love? may refer to:\"Where Are You My Love\", a song by Eddie Low\"Où es-tu mon amour? (Where Are You, My Love?)\", a song written by Emile Stern and Henri Lemarchand in 1946¿Dónde estás amor de mi vida que no te puedo encontrar? (Where Are You My Love, That I Cannot Find You?), a 1992 Argentine drama filmSee alsoAre You My Love? (disambiguation)\"Where Are You Now (My Love)\", a 1965 song written by Tony Hatch and Jackie Trent\"Where Is My Love\", a song from the 2006 Cat Power album, The GreatestPassage 6:Where Are You Going All Naked?Dove vai tutta nuda?, internationally released as Where Are You Going All Naked?, is a 1969 Italian comedy film directed by Pasquale Festa Campanile.CastMaria Grazia Buccella: ToninoTomas Milian: ManfredoGastone Moschin: PresidentVittorio Gassman: Rufus ConfortiAngela Luce: ProstituteGiancarlo Badessi: WaiterLea Lander: President's WifePassage 7:Pattanakke Banda PathniyaruPattanakke Banda Pathniyaru (transl. Wives arrived in the city) is a 1980 Indian Kannada-language film, directed by A. V. Sheshagiri Rao and produced by S. D. Ankalagi, B. H. Chandannanawar, M. G. Hublikar and Surendra Ingle. The film stars Srinath, Manjula, Lokesh and Padmapriya. The film has musical score by M. Ranga Rao. The movie was remade in 1982 in Telugu as Patnam Vachina Pativrathalu. The song Shankara Gangadhara was retained in the Telugu version. The film was also remade in Tamil as Pattanamthaan Pogalaamadi (1990).CastSoundtrackThe music was composed by M. Ranga Rao.Passage 8:Patnam Vachina PativrathaluPatnam Vachina Pativrathalu is a 1982 Telugu film produced by Atluri Radha Krishna Murthy and directed by Mouli in his Telugu debut. The film stars Chiranjeevi, Mohan Babu, Radhika, Geetha, Rao Gopal Rao and Nutan Prasad in important roles. The film is a remake of the 1980 Kannada movie Pattanakke Banda Pathniyaru. The song Shankara Gangadhara from the Kannada version was retained in this movie. The film ran for 280 days.PlotGopi (Chiranjeevi) and Mohan Babu are brothers living with their grandmother in a village. Gopi is youngest brother and has a B.Sc. in Agriculture and he is willing to live in the village after marriage, while Mohan Babu is an elder one who is uneducated. Gopi and Mohan Babu marry at the same time, Mohan Babu marries Devi, who is an educated person, while Gopi marries Lalithamba, an uneducated girl. Lalithamba prefers to live in the city after marriage. Lalithamba and Devi try their level best to shift their house to the city, but their husbands Gopi and Mohan Babu disagree. At last, Lalithamba and Devi escape from their house one night, without their husbands' knowledge. Lalithamba has one friend Shakuntala, in the city. Devi and Lalithamba are unable to locate Shakuntala's house in the city; roaming on the streets, they were caught by one woman who attempts to sell them to a brothel owner, Ganga Devi. But their contract does not materialize, and that woman doesn't sell Devi and Lalitamba. Angered, Ganga Devi sends her people to bring Lalithaba and Devi. Here, Ganga Devi's people kill that woman, but could not catch Lalithamba and Devi. But their bad luck chases them and Lalithamba and Devi enter Ganga Devi's house for protection, without knowing her character. But later they understand and plan to escape from there. Meanwhile, Lalithamba finds her friend Shakuntala, and with her help, Lalithamba and Devi try to escape from there, but Ganga Devi's people catch them and lock them in a room. Chiru and Mohan Babu, in search of their wives, land in the city to find Devi and Lalithaba and with much effort, they gather information on their wives' whereabouts. They enter into Ganga Devi's house and save Lalithamba and Devi from her clutches. As usual, police arrive after the climax fight and Ganga Devi is arrested, and these four return to their village.CastChiranjeevi - GopiRaadhika Sarathkumar - LalithambaMohan Babu -Geetha - DeviNirmalamma - Narayanamma, Grand mother of GopiRamaprabha - ArundhatammaNutan PrasadRao Gopal RaoSoundtrack\"Neekunnadhe Kaastha\" -\"SeethaRaama Swamy\" -\"Shankaraa Gangaadharaa\" -\"Vinukondi\" -Passage 9:Where Are We Going, Dad? (film)Where Are We Going, Dad? (Chinese: \u0000\u0000\u0000\u0000\u0000) is a 2014 Chinese film based on a television reality show of the same name. A second film, Where Are We Going, Dad? 2, was released on February 19, 2015.ReceptionThe film grossed RMB88.2 million (US$14.6 million) in its opening day, a record for a non-3D Chinese film at the Chinese box office. Its record breaking even caught the attention of the BBC and the LA Times. It grossed RMB308.91 million (US$50.97 million) in the first four days.Passage 10:Where Are You NowWhere Are You Now may refer to:Where Are You Now? (novel), by Mary Higgins Clark, 2008Where Are You Now (Cerrone X), a 1983 album by CerroneSongs\"Where Are You Now\" (2 Unlimited song), 1993\"Where Are You Now\" (Clint Black song), 1991\"Where Are You Now\" (Jimmy Harnen song), 1989\"Where Are You Now\" (Lost Frequencies song), 2021, featuring Calum Scott\"Where Are You Now?\" (Roxus song), 1991\"Where Are You Now\" (Trisha Yearwood song), 2000\"Where Are You Now (My Love)\", by Jackie Trent, 1965\"Where Are Ü Now\", by Jack Ü and Justin Bieber, 2015\"Where Are You Now?\", by Brandy from the Batman Forever film soundtrack, 1995\"Where Are You Now\", by Britney Spears from Oops!... I Did It Again, 2000\"Where Are You Now\", by Donna De Lory from Sky Is Open, 2006\"Where Are You Now\", by Honor Society from Fashionably Late, 2009\"Where Are You Now?\", by ItaloBrothers, 2008\"Where Are You Now\", by J. Holiday from Guilty Conscience, 2014\"Where Are You Now\", by Janet Jackson from Janet, 1993\"Where Are You Now?\", by Justin Bieber from My World 2.0, 2010\"Where Are You Now?\", by Michelle Branch from Hotel Paper, 2003\"Where Are You Now\", by Mumford & Sons from Babel, 2012\"Where Are You Now\", by Nazareth from their album Sound Elixir, 1983\"Where Are You Now?\", by Royal Blood from How Did We Get So Dark?, 2016\"Where Are You Now\", by Union J from Union J, 2013See alsoWAYN (website) (an acronym for \"Where Are You Now?\"), a social networking websiteWhere Are You (disambiguation)"}
+{"doc_id":"doc_201","qid":"","text":"Passage 1:If You Want to Sing Out, Sing Out\"If You Want To Sing Out, Sing Out\" is a popular song by Cat Stevens. It first appeared in the 1971 film Harold and Maude.Stevens wrote all the songs in Harold and Maude in 1970–1971, during the time he was writing and recording his Tea for the Tillerman album. However, \"If You Want to Sing Out, Sing Out\"  and two other songs from that period were not released as singles nor placed on any album at that time.  No official soundtrack was released from the film at that time. The song was finally released later on Stevens' 1984 album, Footsteps in the Dark: Greatest Hits, Vol. 2 along with his other previously unreleased songs. In addition, it appeared on the UK edition of his 2003 album The Very Best of Cat Stevens.Official soundtrack (2007)The first official soundtrack album to the film was released in December 2007, by Vinyl Films Records, as a vinyl-only limited edition release of 2500 copies. It contained a 30-page oral history of the making of the film, the most extensive series of interviews yet conducted on Harold and Maude.Appearances in other mediaThe song features prominently in Hal Ashby's Harold and Maude.In 2007, a rendition of \"Sing Out\" appeared in the film Charlie Bartlett.The song is featured in the TV shows My Name Is Earl and Ray Donovan.It was featured as the 2nd song of Rodney Mullen's skateboarding part in the Plan B video, Questionable.The song is also the theme to the BBC Radio sitcom North by Northamptonshire.As of fall 2016, the song appears in a commercial for the 2017 Jeep Grand Cherokee.Cover versionsThe song has been covered by Bloomington, Indiana's folk punk pioneers Ghost Mice under the shortened title \"Sing Out\".The song has been covered by Death By Chocolate in 2001, on their first, self-titled albumIn August 2009, Yusuf Islam approved his original recording of the song for use in a T Mobile television commercial. Wyclef Jean also made an upbeat remix of the song for a later T Mobile commercial that aired in December 2009.Folk music/bluegrass band Rani Arbo and Daisy Mayhem covered the song for their 2010 album Ranky Tanky.The song has also been covered by Amanda Palmer.The song has been covered by Jim Gill on his 1995 children's album Jim Gill Makes It Noisy In Boise, Idaho.German bitpop band Welle: Erdball covered the song on their album Der Kalte Krieg (2011).The song was covered by James Marsden, Ariana Greenblatt and Jacob Collier in the 2021 animated feature The Boss Baby: Family Business.Passage 2:Join the CavalryJoin the Cavalry was a military song popular during the American Civil War. The verses detail various feats performed by Jeb Stuart's troopers, the cavalry arm of the Army of Northern Virginia, while the chorus urges the listener to \"join the cavalry\". Occasionally, the title is recorded as \"Jine the Cavalry\". The song was most common in Virginia.\"Jine the Cavalry!\" was among Stuart’s favorite songs, and became the unofficial theme song of his Confederate cavalry corps. It recounts many of Stuart’s early exploits, including the daring \"Ride around the Army of the Potomac\" in the early summer of 1862, and the Confederate Cavalry raid to Chambersburg, PA in October 1862. One of Stuart’s men, Sam Sweeney, was an accomplished banjo player and often serenaded Stuart and his officers during the Gettysburg Campaign.JINE THE CAVALRY!We're the boys that rode around McClellan(ian),Rode around McClellan(ian), Rode around McClellan(ian)!We're the boys that rode around McClellan(ian),Bully boys, hey! Bully boys, ho!CHORUS:  If you want to have a good time, jine the cavalry!Jine the cavalry! Jine the cavalry!If you want to catch the Devil, if you want to have fun,If you want to smell Hell, jine the cavalry!Ol' Joe Hooker, won't you come out of The Wilderness?Come out of The Wilderness, come out of The Wilderness?Ol' Joe Hooker, won't you come out of The Wilderness?Bully boys, hey! Bully boys, ho!CHORUS:  If you want to have a good time, jine the cavalry!Jine the cavalry! Jine the cavalry!If you want to catch the Devil, if you want to have fun,If you want to smell Hell, jine the cavalry!We're the boys who crossed the Potomac(ica), whoCrossed the Potomac(ica), who crossed the Potomac(ica)!We're the boys who crossed the Potomac(ica),Bully boys, hey! Bully boys, ho!CHORUS:  If you want to have a good time, jine the cavalry!Jine the cavalry! Jine the cavalry!If you want to catch the Devil, if you want to have fun,If you want to smell Hell, jine the cavalry!We're the boys that rode to Pennsylvania,Rode to Pennsylvania, rode to Pennsylvania!We're the boys rode to Pennsylvania,Bully boys, hey! Bully boys, ho!CHORUS:  If you want to have a good time, jine the cavalry!Jine the cavalry! Jine the cavalry!If you want to catch the Devil, if you want to have fun,If you want to smell Hell, jine the cavalry!The big fat Dutch gals hand around the breadium,Hand around the breadium, hand around the breadium!The big fat Dutch gals hand around the breadium,Bully boys, hey! Bully boys, ho!CHORUS:  If you want to have a good time, jine the cavalry!Jine the cavalry! Jine the cavalry!If you want to catch the Devil, if you want to have fun,If you want to smell Hell, jine the cavalry!Lyrics are in the public domain.Stuart's ride around McClellanPassage 3:If You Want My Love (Twenty 4 Seven song)\"If You Want My Love\" is a song recorded by the Dutch band Twenty 4 Seven. It was the tenth single and the sixth song to be taken from the fourth album, Twenty 4 Hours A Day, Seven Days A Week. The song remained a constant area of success only in the Netherlands, the single reached 77 on the (Single Top 100). It did not chart in the United Kingdom. \"If You Want My Love\" was postponed a couple of times, because \"We Are the World\" did successfully well in many other countries, like Spain where it went top 10.ChartsPassage 4:I Want You to Be My Baby\"I Want You to Be My Baby\" is a jump blues song written by Jon Hendricks for Louis Jordan whose recording, made on May 28, 1953, was released that autumn.In the summer of 1955 \"I Want You to Be My Baby\" was remade as the debut disc by comedy musical act Lillian Briggs, resulting in an expedient cover version by veteran vocalist Georgia Gibbs. Producers Hugo & Luigi had Gibbs fly in from her Massachusetts home to New York City on Wednesday 3 August 1955 to cut \"I Want You to Be My Baby\" that same afternoon. New York City disc jockeys were provided with acetates of the Gibbs' version by the following morning with regular jockey copies being shipped out Friday 5 August 1955.  Neither version of the song would reach the Top Ten. Gibbs' version had the higher chart peak at #14 but it was the rough voiced Briggs - whose version peaked at #18 - who had the million seller.Ellie Greenwich versionEllie Greenwich, who as a teenager saw Lillian Briggs sing her hit at Alan Freed's rock and roll shows, chose \"I Want You to Be My Baby\" as the song to launch her career as a solo recording artist. Produced by Bob Crewe, Greenwich's version reached #83 in the spring of 1967, marking her only US chart appearance as a recording artist apart from her singles with The Raindrops. She included the song on her 1968 debut solo album Ellie Greenwich Composes, Produces and Sings.Billie Davis versionThe song became a UK Top 40 hit in the autumn of 1968 via a recording by Billie Davis. Produced by Ready Steady Go! co-host Michael Aldred and arranged by Mike Vickers, Davis' version featured a chorale comprising Madeline Bell, Kiki Dee, Kay Garner, Doris Troy and the Moody Blues. The single's failure to rise no higher than #33 was attributed to a strike at the Decca processing plant, which stopped the pressing of discs.The Jyve Fyve versionIn November 1970 the Jyve Fyve reached #50 on the R&B chart with their remake of \"I Want You to Be My Baby\".Other versionsIn Britain, Annie Ross - John Hendricks' future co-partner in Lambert, Hendricks & Ross - had an October 1955 single release of \"I Want You to Be My Baby\" recorded with Tony Crombie & His Orchestra. Neither this disc nor a 1956 UK single release of \"I Want You to Be My Baby\" by Don Lang charted. In February 1956, the British music magazine NME reported that Ross's version of the song was banned from airplay by the BBC due to the lyric \"Come upstairs and have some loving\".The song has also been recorded by Jimmy and the Mustangs, Colin James, Lindisfarne, Natasha England, Janis Siegel, and Leslie Uggams. A Finnish rendering - \"Armaani Sä Silloin Oisit\" - was recorded by Wiola Talvikki.  It was also a hit for Chinese singer Grace Chang who performed the song in both Mandarin Chinese (\u0000\u0000\u0000\u0000\u0000 \"Wo Yao Ni de Ai\" meaning \"I Want Your Love\") and English in the late 1950s. There was another rendition of the song in a classic 1958 Tamil movie Uthama puthiran, entitled \"Yaaradi Ni Mohini\".  The song was turned into the title song of the Italian TV show Canzonissima in 1960, with the title “Tu lei lui voi noi”, sang by Wilma De Angelis and Johnny Dorelli.Passage 5:If You Want to Be My Woman\"If You Want to Be My Woman\" is a song written and recorded by American country music artist Merle Haggard backed by The Strangers. It was released in December 1989 as the third single from his album 5:01 Blues. The song peaked at number 23 on the Billboard Hot Country Singles & Tracks chart and reached number 15 on the RPM Country Tracks chart in Canada.The song was Haggard's last top-40 country hit; like most classic country artists, Haggard's chart career was severely damaged by changes in the country industry that hit in the early 1990s. It was co-produced by Mark Yeary, keyboardist of The Strangers.PersonnelMerle Haggard– vocals, guitarThe Strangers:Norm Hamlet – pedal steel guitarClint Strong – guitarBobby Wayne – guitarMark Yeary – hammond organ, piano, electric pianoJimmy Belkin – fiddle, stringsBiff Adams – drumsDon Markham – saxophone, trumpetGary Church – cornet, tromboneChart performancePassage 6:If You Want My Lovin'\"If You Want My Lovin'\" is a song released by American singer Evelyn \"Champagne\" King. Released on April 3, 1981, The song appears on the album I'm in Love. The single version of \"If You Want My Lovin'\" was the follow-up to her charting single \"I'm in Love,\" but less successful.Single version\"If You Want My Lovin'\" was also released as a single.  This version of \"If You Want My Lovin'\" is the less-successful follow-up to Evelyn's charting single \"I'm In Love.\"Track listing12\" version7\" versionPersonnelPercussion – Bashiri JohnsonProducer, arranger, handclaps, lyrics by – Morrie BrownAssistant producer, arranger, keyboards, lyrics by, music by – Lawrence JonesAssistant engineer – Cheryl Smith, Dennis O'DonnellMixed by, recorded by – \"Magic Hands\", Steve GoldmanMastered by – George MarinoAssistant producer, backing vocals, handclaps, keyboards, Moog synthesizer – KashifGuitar – Ira SiegelAdditional engineer – Pete SobelString arrangement – Ralph SchuckettBacking vocals – B.J. Nelson, Evelyn King, Rochele CappelliDrums, handclaps – Leslie MingPassage 7:Merle HaggardMerle Ronald Haggard (April 6, 1937 – April 6, 2016) was an American country music singer, songwriter, guitarist, and fiddler.Haggard was born in Oildale, California, toward the end of the Great Depression. His childhood was troubled after the death of his father, and he was incarcerated several times in his youth. After being released from San Quentin State Prison in 1960, he managed to turn his life around and launched a successful country music career. He gained popularity with his songs about the working class; these occasionally contained themes contrary to the anti–Vietnam War sentiment of some popular music of the time. Between the 1960s and the 1980s he had 38 number-one hits on the US country charts, several of which also made the Billboard all-genre singles chart. Haggard continued to release successful albums into the 2000s.He received many honors and awards for his music, including a Kennedy Center Honor (2010); a Grammy Lifetime Achievement Award (2006); a BMI Icon Award (2006); and induction into the Nashville Songwriters Hall of Fame (1977); Country Music Hall of Fame (1994) and Oklahoma Music Hall of Fame (1997). He died on April 6, 2016—his 79th birthday—at his ranch in Shasta County, California, having recently suffered from double pneumonia.Early lifeHaggard's parents were Flossie Mae (née Harp; 1902–1984) and James Francis Haggard (1899–1946). The family moved to California from their home in Checotah, Oklahoma, during the Great Depression, after their barn burned in 1934.They settled with their two elder children, James 'Lowell' (1922–1996) and Lillian, in an apartment in Bakersfield, while James started working for the Santa Fe Railroad. A woman who owned a boxcar placed in Oildale, a nearby town, asked Haggard's father about the possibility of converting it into a house. He remodeled the boxcar, and soon after moved in, also purchasing the lot, where Merle Ronald Haggard was born on April 6, 1937. The property was eventually expanded by building a bathroom, a second bedroom, a kitchen, and a breakfast nook in the adjacent lot.In 1946 Haggard's father died of a brain hemorrhage. Nine year-old Haggard was deeply affected by the loss, and it remained a pivotal event to him for the rest of his life. To support the family, Haggard's mother took a job as a bookkeeper. Older brother Lowell gave his guitar to Merle when Merle was 12. Haggard learned to play it on his own, with the records he had at home, influenced by Bob Wills, Lefty Frizzell, and Hank Williams. While his mother was out working during the day Haggard started getting into trouble. She sent him to a juvenile detention center for a weekend to try and correct him, but his behavior did not improve. If anything, he became worse.By the age of 13, Haggard was stealing and writing bad checks. In 1950 he was caught shoplifting and sent to a juvenile detention center. The following year he ran away to Texas with his friend Bob Teague. The two rode freight trains and hitchhiked throughout the state. When they returned later that year the two boys were accused of robbery and sent to jail. This time, they had not actually committed the crime, and were released when the real robbers were found. The experience did not change Haggard much. He was again sent to a juvenile detention center later that year, from which he and his friend escaped and headed to Modesto, California. There he worked a series of laborer jobs, including potato truck driver, short order cook, hay pitcher and oil well shooter. His debut performance was with Teague in a Modesto bar named \"Fun Center\", for which he was paid US$5 and given free beer.In 1951 he returned to Bakersfield, where he was again arrested for truancy and petty larceny and sent to a juvenile detention center. After another escape, he was sent to the Preston School of Industry, a high-security installation. He was released 15 months later but was sent back after beating a local boy during a burglary attempt. After Haggard's release, he and Teague saw Lefty Frizzell in concert. The two sat backstage, where Haggard began to sing along. Hearing the young man from the stage, Frizzell refused to go on unless Haggard was allowed to sing first. Haggard did, and was well received by the audience. After this experience Haggard decided to pursue a career in music. At nights he would sing and play in local bars, while working as a farmhand or in the oil fields during the day.Married and plagued by financial issues, in 1957 he tried to rob a Bakersfield roadhouse, was caught and arrested. Convicted, he was sent to the Bakersfield Jail. After an escape attempt he was transferred to San Quentin Prison on February 21, 1958. There he was prisoner number A45200. While in prison, Haggard learned that his wife was expecting another man's child, which stressed him psychologically. He was fired from a series of prison jobs, and planned to escape along with another inmate nicknamed \"Rabbit\" (James Kendrick) but was dissuaded by fellow inmates.While at San Quentin, Haggard started a gambling and brewing racket with his cellmate. After he was caught drunk, he was sent for a week to solitary confinement where he encountered Caryl Chessman, an author and death-row inmate. Meanwhile, \"Rabbit\" had successfully escaped, only to shoot a police officer and be returned to San Quentin for execution. Chessman's predicament, along with the execution of \"Rabbit\", inspired Haggard to change his life. He soon earned a high school equivalency diploma and kept a steady job in the prison's textile plant. He also played for the prison's country music band. He was released from San Quentin on parole in 1960.In 1972, after Haggard had become an established country music star, then-California governor Ronald Reagan granted Haggard a full and unconditional pardon for his past crimes.CareerEarly careerUpon his release from San Quentin in 1960, Haggard started digging ditches for his brother's electrical contracting company. Soon, he was performing again and later began recording with Tally Records. The Bakersfield sound was developing in the area as a reaction against the overproduced Nashville sound. Haggard's first record for Tally was \"Singing My Heart Out\" backed by \"Skid Row\"; it was not a success, and only 200 copies were pressed. In 1962, Haggard wound up performing at a Wynn Stewart show in Las Vegas and heard Wynn's \"Sing a Sad Song\". He asked for permission to record it, and the resulting single was a national hit in 1964. The following year, he had his first national top-10 record with \"(My Friends Are Gonna Be) Strangers,\" written by Liz Anderson, mother of country singer Lynn Anderson, and his career was off and running. Haggard recalls having been talked into visiting Anderson—a woman he did not know—at her house to hear her sing some songs she had written. \"If there was anything I didn't wanna do, it was sit around some danged woman's house and listen to her cute little songs. But I went anyway. She was a pleasant enough lady, pretty, with a nice smile, but I was all set to be bored to death, even more so when she got out a whole bunch of songs and went over to an old pump organ.... There they were. My God, one hit right after another. There must have been four or five number one songs there....\"In 1967, Haggard recorded \"I'm a Lonesome Fugitive\" with The Strangers, also written by Liz Anderson, with her husband Casey Anderson, which became his first number-one single. When the Andersons presented the song to Haggard, they were unaware of his prison stretch. Bonnie Owens, Haggard's backup singer and then-wife, is quoted by music journalist Daniel Cooper in the liner notes to the 1994 retrospective Down Every Road: \"I guess I didn't realize how much the experience at San Quentin did to him, 'cause he never talked about it all that much ... I could tell he was in a dark mood . .. and I said, 'Is everything okay?' And he said, 'I'm really scared.' And I said, 'Why?' And he said, 'Cause I'm afraid someday I'm gonna be out there ... and there's gonna be ... some prisoner ... in there the same time I was in, stand up—and they're gonna be about the third row down—and say, 'What do you think you're doing, 45200?'\" Cooper notes that the news had little effect on Haggard's career: \"It's unclear when or where Merle first acknowledged to the public that his prison songs were rooted in personal history, for to his credit, he doesn't seem to have made some big splash announcement. In a May 1967 profile in Music City News, his prison record is never mentioned, but in July 1968, in the very same publication, it's spoken of as if it were common knowledge.\"The 1967 album Branded Man with The Strangers kicked off an artistically and commercially successful run for Haggard. In 2013, Haggard biographer David Cantwell stated, \"The immediate successors to I'm a Lonesome Fugitive—Branded Man in 1967 and, in '68, Sing Me Back Home and The Legend of Bonnie and Clyde—were among the finest albums of their respective years.\" Haggard's new recordings showcased his band The Strangers, specifically Roy Nichols's Telecaster, Ralph Mooney's steel guitar, and the harmony vocals provided by Bonnie Owens.At the time of Haggard's first top-10 hit \"(My Friends Are Gonna Be) Strangers\" in 1965, Owens, who had been married to Buck Owens, was known as a solo performer, a fixture on the Bakersfield club scene and someone who had appeared on television. She won the new Academy of Country Music's first ever award for Female Vocalist after her 1965 debut album, Don't Take Advantage of Me, hit the top five on the country albums chart. However, Bonnie Owens had no further hit singles, and although she recorded six solo albums on Capitol between 1965 and 1970, she became mainly known for her background harmonies on Haggard hits such as \"Sing Me Back Home\" and \"Branded Man\".Producer Ken Nelson took a hands-off approach to produce Haggard. In the episode of American Masters dedicated to him, Haggard "}
+{"doc_id":"doc_202","qid":"","text":"Passage 1:Where Was I\"Where Was I?\" may refer to:Books\"Where Was I?\", essay by David Hawley Sanford from The Mind's IWhere Was I?, book by John Haycraft 2006Where was I?!, book by Terry Wogan 2009Filmand TVWhere Was I? (film), 1925 film directed by William A. Seiter. With Reginald Denny, Marian Nixon, Pauline Garon, Lee Moran.Where Was I? (2001 film), biography about songwriter Tim RoseWhere Was I? (TVseries) 1952–1953 Quiz show with the panelists attempting to guess a location by looking at photos\"Where Was I?\" episode of Shoestring (TV series) 1980Music\"Where was I\", song by W. Franke Harling and Al Dubinperformed by Ruby Newman and His Orchestra  with vocal chorus by  Larry Taylor and Peggy McCall  1939\"Where Was I\", single from Charley Pride discography 1988\"Where Was I\" (song), a 1994 song by Ricky VanShelton\"Where Was I (Donde Estuve Yo)\", song by Joe Pass from Simplicity (Joe Pass album)\"Where Was I?\", song by Guttermouth from The Album Formerly Known as a Full Length LP (Guttermouth album)\"Where WasI\", song by Sawyer Brown (Billy Maddox, Paul Thorn, Anne Graham) from Can You Hear Me Now 2002\"Where Was I?\", song  by  Kenny Wayne Shepherd from Live On  1999\"Where Was I\", song by Melanie Laine(Victoria Banks, Steve Fox) from Time Flies (Melanie Laine album)\"Where Was I\", song by Rosie Thomas from With Love (Rosie Thomas album)Passage 2:Alexander CourageAlexander Mair Courage Jr. (December 10,1919 – May 15, 2008) familiarly known as \"Sandy\" Courage, was an American orchestrator, arranger, and composer of music, primarily for television and film. He is best known as the composer of the theme music forthe original Star Trek series.Early lifeCourage was born in Philadelphia, Pennsylvania. He received a music degree from the Eastman School of Music in Rochester, New York, in 1941. He served in the United States ArmyAir Forces in the western United States during the Second World War. During that period, he also found the time to compose music for the radio. His credits in this medium include the programs Adventures of SamSpade Detective, Broadway Is My Beat, Hollywood Soundstage, and Romance.CareerCourage began as an orchestrator and arranger at MGM studios, which included work in such films as the 1951 Show Boat (\"LifeUpon the Wicked Stage\" number); Hot Rod Rumble (1957 film); The Band Wagon (\"I Guess I'll Have to Change My Plan\"); Gigi (the can-can for the entrance of patrons at Maxim's); and the barn raising dance fromSeven Brides for Seven Brothers.He frequently served as an orchestrator on films scored by André Previn (My Fair Lady, \"The Circus is a Wacky World\", and \"You're Gonna Hear from Me\" production numbers for InsideDaisy Clover), Adolph Deutsch (Funny Face, Some Like It Hot), John Williams (The Poseidon Adventure, Superman, Jurassic Park, and the Academy Award-nominated musical films Fiddler on the Roof and Tom Sawyer),and Jerry Goldsmith (Rudy, Mulan, The Mummy, et al.).  He also arranged the Leslie Bricusse score (along with Lionel Newman) for Doctor Dolittle (1967).Apart from his work as a respected orchestrator, Courage alsocontributed original dramatic scores to films, including two westerns: Arthur Penn's The Left Handed Gun (1958) and André de Toth's Day of the Outlaw (1959), and the Connie Francis comedy Follow the Boys (1963).He continued writing music for movies throughout the 1980s and 1990s, including the score for Superman IV: The Quest for Peace (1987), which incorporated three new musical themes by John Williams in addition toCourage's adapted and original cues for the film. Courage's score for Superman IV: The Quest for Peace was released on CD in early 2008 by the Film Music Monthly company as part of its boxed set Superman - TheMusic, while La-La Land Records released a fully expanded restoration of the score on May 8, 2018, as part of Superman's 80th anniversary.Courage also worked as a composer on such television shows as DanielBoone, The Brothers Brannagan, Lost in Space, Eight Is Enough, and Voyage to the Bottom of the Sea. Judd, for the Defense, Young Dr. Kildare and The Brothers Brannagan were the only television series besides StarTrek for which he composed the main theme.The composer Jerry Goldsmith and Courage teamed on the long-running television show The Waltons in which Goldsmith composed the theme and Courage the AaronCopland-influenced incidental music. In 1988, Courage won an Emmy Award for his music direction on the special Julie Andrews: The Sound of Christmas.  In the 1990s, Courage succeeded Arthur Morton as Goldsmith'sprimary orchestrator.Courage and Goldsmith collaborated again on orchestrations for Goldsmith's score for the 1997 film \"The Edge.\"Courage frequently collaborated with John Williams during the latter's tenure with theBoston Pops Orchestra.FamilyAt the age of 35, Courage married Mareile Beate Odlum on October 6, 1955.Mareile, born in Germany, was the daughter of Rudolf Wolff and Elisabeth Loechelt. After Wolff's suicideElisabeth married Carl Wilhelm Richard Hülsenbeck, renowned for his involvement in the Dada movement in Europe. Hülsenbeck brought his wife (Elisabeth), son (Tom) and step-daughter (Mareile) to the United Statesin 1938 to avoid the political situation rapidly developing in Europe. After arriving in the US he changed his last name to Hulbeck.Mareile's marriage to Courage was her third. Her second marriage was to Bruce Odlum(son of financier Floyd Odlum) in 1944. That union produced two sons, Christopher (1947) and Brian (1949). When Courage married Mareile he accepted the responsibility of acting stepfather to them. The familyoriginally lived together on Erskine Dr. in Pacific Palisades, but later moved to a mountainside home on Beverly Crest Drive in Beverly Hills.Aside from his musical abilities Courage was also an avid and accomplishedphotographer. He took many dramatic photos of bullfights and auto racing. He was a racing enthusiast, and his interest in that sport and photography brought him into contact with many racing personalities of the era,notably Phil Hill and Stirling Moss, both of whom he considered friends. Moss paid at least one social visit to the Erskine residence.Though a dedicated stepfather to Christopher and Brian, Courage's musical career tookprecedence over his familial responsibilities. He sought to interest his step-children in music, and was responsible for arranging Brian's first musical lessons, on alto saxophone. Later in life Brian became a composer ofserious electronic music, though the vocation was not apparent during his childhood, as he was a poor saxophone student.Alexander and Mareile were divorced April 1, 1963. Courage subsequently married Kristin M.Zethren on July 14, 1967. That marriage also ended in divorce in 1972.Star Trek themeCourage is best known for writing the theme music for the original Star Trek series, and other music for that series. Courage washired by Star Trek creator Gene Roddenberry to score the original series at Jerry Goldsmith's suggestion, after Goldsmith turned down the job.  Courage went on to score incidental music for episodes \"The Man Trap\"and \"The Naked Time\" and some cues for \"Mudd's Women.\"Courage reportedly became alienated from Roddenberry when Roddenberry claimed half of the theme music royalties. Roddenberry wrote words for Courage'stheme, not because he expected the lyrics to be sung on television, but so that he (Roddenberry) could receive half of the royalties from the song by claiming credit as the composition's co-writer. Courage was replacedby composer Fred Steiner who was then hired to write the musical scores for the remainder of the first season. After sound editors had difficulty finding the right effect, Courage himself made the iconic \"whoosh\" soundheard while the Enterprise flies across the screen.He returned to Star Trek to score two more episodes for the show's third and final season, episodes \"The Enterprise Incident\" and \"Plato's Stepchildren,\" allegedly as acourtesy to Producer Robert Justman.Notably, after later serving as Goldsmith's orchestrator, when Goldsmith composed the music for Star Trek: The Motion Picture,  Courage orchestrated Goldsmith's adaptation of hisoriginal Star Trek theme.Following Star Trek: The Motion Picture, Courage's iconic opening fanfare to the Star Trek theme became one of the franchise's most famous and memorable musical cues. The fanfare has beenused in multiple motion pictures and television series,  notably Star Trek: The Next Generation and the four feature films based upon that series, three of which were scored by Goldsmith.DeathCourage had been indeclining health for several years before he died on May 15, 2008, at the Sunrise assisted-living facility in Pacific Palisades, California. He had suffered a series of strokes prior to his death. His mausoleum is inWestwood Village Memorial Park Cemetery.Passage 3:Walter Robinson (composer)Walter Robinson is an American composer of the late 20th century. He is most notable for his 1977 song Harriet Tubman, which hasbeen recorded by folk musicians such as Holly Near, John McCutcheon, and others.  He is also the composer of several operas.Passage 4:Hare-Way to the StarsHare-Way to the Stars is a 1958 American animatedscience fiction comedy short film directed by Chuck Jones and written by Michael Maltese. The short was released by Warner Bros. Pictures on March 29, 1958 as part of the Looney Tunes series, and stars Bugs Bunnyand Marvin the Martian. The title is a play on the song \"Stairway to the Stars.\"PlotThe cartoon starts when Bugs Bunny, feeling the effects of mixing radish juice with carrot juice the night before, unknowingly climbs outof his hole and into a rocket ship that is about to be launched into space. He realizes what has happened once he screws open the tip of the ship, and is immediately hit by the satellite Sputnik and lands on what appearsto be a space station. While there, Bugs meets Marvin the Martian who is trying to blow up the Earth with his Illudium Q-36 Explosive Space Modulator (which is actually a stick of dynamite) because \"Earth obstructs hisview of Venus\".Bugs quietly steals Marvin's explosive, and Marvin quickly discovers what happened. He creates a trio of \"Instant Martians\" (who somewhat resemble the Martians of A Martian Odyssey and Jumpin'Jupiter) by adding water to \"Instant Martian\" pills. The Martians all leave to capture Bugs. Bugs gets on a rocket scooter and is pursued by a Martian. After noticing it mimics his every move to catch up with him, Bugsmimes driving out of the space station, causing the Martian to actually do that. He is then pursued by the Martians and hides behind a door so that he can chase them. The Martians use the same trick to get behind Bugsand chase him, but he uses the same trick again to make the Martians run into a trapdoor and make them fall out of the space station. Bugs then steals a UFO and when Marvin attempts to make more Martians, Bugsswaps the lit Space Modulator for the Instant Martian dispenser. The Modulator explodes in Marvin's hand just after he finishes saying its name, destroying his space station. Standing amid the shattered remains, Marvinconcedes defeat and that it is \"back to the old drawing board\" for his plans to destroy the Earth. Bugs arrives on Earth in the UFO, but crashes into a construction site warning sign and finds himself and the bottle of\"Instant Martians\" falling into the sewer and splashing all the pills. The ground shakes as Bugs climbs out of the sewer, frantically replaces the manhole cover and warns the audience \"Run for the hills, folks, or you'll beup to your arm-pits in Martians!\", before proceeding to take his own advice as Martian antennas poke out of the cracks appearing in the ground.CrewStory: Michael MalteseAnimation: Richard Thompson, Ken Harris &Abe LevitowLayouts: Maurice NobleBackgrounds: Philip DeGuardEffects Animation: Harry LoveFilm: Treg BrownVoice Characterizations: Mel BlancMusic: Milt FranklynProduced by Edward Selzer & John W.BurtonDirected by Chuck JonesHome mediaThe cartoon was featured on the Looney Tunes Platinum Collection: Volume 1 Blu-ray box set (released November 15, 2011) with the cartoon restored and in high definition.This cartoon was also made part of the feature film The Bugs Bunny/Road Runner Movie (sometimes known as The Great American Chase).Passage 5:Alexandru CristeaAlexandru Cristea (1890–1942) was the composerof the music for \"Limba Noastră\", current national anthem of Moldova.BiographyA choir director, a composer and music teacher. Taught at the  \"Vasile Kormilov\" music school (1928) with Gavriil Afanasiu andthe  \"Unirea\" Conservatory (1927–1929) in Chişinău with Alexandru Antonovschi (canto), he was the master of vocal music from Chişinău (1920–1940), professor of music and conductor of the choir in the boysgymnasium \"Ion Heliade Rădulescu\" in Bucure\u0000ti (1940–1941). Later, between 1941 and 1942, he directed the choir at the \"Queen Mother Elena\" high school from Chişinău. In 1920, he was ordained as a deacon of theSt. George Church in Chişinău, from 1927 to 1941 was a deacon holds the Metropolitan Cathedral of Chişinău.CreationHis main creation is considered the music for \"Limba Noastră\", current national anthem of Moldova,composed in the lyrics of the priest-poet Alexei Mateevici. He was awarded the “Răsplata muncii pentru biserică”.Passage 6:Michelangelo FaggioliMichelangelo Faggioli (1666–1733) was an Italian lawyer and celebratedamateur composer of humorous cantatas in Neapolitan dialect. A founder of a new genre of Neapolitan comedy, he was the composer of the opera buffa La Cilla in 1706.Passage 7:Petrus de DomartoPetrus de Domarto(fl. c. 1445–1455) was a Franco-Flemish composer of the Renaissance.  He was a contemporary and probable acquaintance of Ockeghem, and was the composer of at least one of the first unified mass cycles to bewritten in continental Europe.LifeDomarto's life is poorly documented.  He was listed as a singer at the Church of Our Lady in Antwerp in 1449, five years after Ockeghem was known to be there, and there is evidence hewas in Tournai in 1451.  He had a high reputation (which makes the lack of documentation on his life curious), but even so was passed over for a post as master of the choirboys (in favor of Paulus Iuvenis).  No otherdocumentation on his life has yet come to light.Music and reputationDomarto's two mass settings, the Missa Spiritus almus and a Missa sine nomine, were famous at the time.  The latter of the two may have been oneof the earliest cyclic masses composed on the continent, most likely in the 1440s, and imitates some features of contemporary English composers such as Leonel Power.  The Missa Spiritus almus, likely dating from the1450s, is a cantus-firmus mass, with the melody always in the tenor, but with a changing rhythmic profile as it changes mensuration throughout the piece.  The procedure was evidently influential on the next generationof composers, for it was still being copied in the 1480s, and Busnois may have based one of his own masses on the same method (the Missa O crux lignum). The theorist and writer Johannes Tinctoris criticised it forexactly the features that inspired other composers.The two surviving secular compositions by Domarto are both rondeaux, formes fixes of the type popular with the Burgundian School.WorksMassesMissa Spiritus almus(four voices)Missa sine nomine (three voices)SecularRondeaux, each for three voices:Chelui qui est tant plain de duelJe vis tous jours en esperanceNotesPassage 8:Alonso MudarraAlonso Mudarra (c. 1510 – April 1,1580) was a Spanish composer of the Renaissance, and also played the vihuela, a guitar-shaped string instrument.  He was an innovative composer of instrumental music as well as songs, and was the composer of theearliest surviving music for the guitar.BiographyThe place of his birth is not recorded, but he grew up in Guadalajara, and probably received his musical training there.  He most likely went to Italy in 1529 with CharlesV, in the company of the fourth Duke of the Infantado, Íñigo López de Mendoza, marqués de Santillana.  When he returned to Spain he became a priest, receiving the post of canon at the cathedral in Seville in 1546,where he remained for the rest of his life.  While at the cathedral, he directed all of the musical activities; many records remain of his musical activities there, which included hiring instrumentalists, buying andassembling a new organ, and working closely with composer Francisco Guerrero for various festivities.  Mudarra died in Seville, and his sizable fortune was distributed to the poor of the city according to his will.Mudarrawrote numerous pieces for the vihuela and the four-course guitar, all contained in the collection Tres libros de musica en cifras para vihuela (\"Three books of music in numbers for vihuela\"), which he published onDecember 7, 1546 in Seville.  These three books contain the first music ever published for the four-course guitar, which was then a relatively new instrument. The second book is noteworthy in that it contains eightmulti-movement works, all arranged by \"tono\", or mode.Compositions represented in this publication include fantasias, variations (including a set on La Folia), tientos, pavanes and galliards, and songs. Modern listenersare probably most familiar with his Fantasia X, which has been a concert and recording mainstay for many years.   The songs are in Latin, Spanish and Italian, and include romances, canciones (songs), villancicos,(popular songs) and sonetos (sonnets).  Another innovation was the use of different signs for different tempos:  slow, medium, and fast.References and further readingJohn Griffiths: \"Alonso Mudarra\", Grove MusicOnline ed. L. Macy (Accessed March 24, 2005), (subscription access)Gustave Reese, Music in the Renaissance.  New York, W.W. Norton & Co., 1954.  ISBN 0-393-09530-4Guitar Music of the Sixteenth Century, Mel BayPublications (transcribed by Keith Calmes)The Eight Masterpieces of Alonso Mudarra, Mel Bay Publications (transcribed by Keith Calmes)Fantasia VI in hypermedia (Shockwave Player required) at the BinAuralCollaborative HypertextJacob Heringman and Catherine King: \"Alonso Mudarra songs and solos\". Magnatune.com (http://www.magnatune.com/artists/albums/heringman-mudarra/hifi_play)External linksFree scores byAlonso Mudarra in the Choral Public Domain Library (ChoralWiki)Free scores by Alonso Mudarra at the International Music Score Library Project (IMSLP)Passage 9:George GershwinGeorge Gershwin (; born JacobGershwine; September 26, 1898 – July 11, 1937) was an American composer and pianist whose compositions spanned popular, jazz and classical genres. Among his best-known works are the orchestral compositionsRhapsody in Blue (1924) and An American in Paris (1928), the songs \"Swanee\" (1919) and \"Fascinating Rhythm\" (1924), the jazz standards \"Embraceable You\" (1928) and \"I Got Rhythm\" (1930), and the opera Porgyand Bess (1935), which included the hit \"Summertime\".Gershwin studied piano under Charles Hambitzer and composition with Rubin Goldmark, Henry Cowell, and Joseph Brody. He began his career as a song pluggerbut soon started composing Broadway theater works with his brother Ira Gershwin and with Buddy DeSylva. He moved to Paris, intending to study with Nadia Boulanger, but she refused him, afraid that rigorousclassical study would ruin his jazz-influenced style; Maurice Ravel voiced similar objections when Gershwin inquired about studying with him. He subsequently composed An American in Paris, returned to New York Cityand wrote Porgy and Bess with Ira and DuBose Heyward. Initially a commercial failure, it came to be considered one of the most important American operas of the twentieth century and an American culturalclassic.Gershwin moved to Hollywood and composed numerous film scores. He died in 1937, only 38 years old, of a brain tumor.His compositions have been adapted for use in film and television, with many becomingjazz standards.BiographyAncestorsGershwin was of Jewish ancestry. His grandfather, Jakov Gershowitz, was born in Odesa (Ukraine, then part of the Russian Empire) and had served for 25 years as a mechanic for theImperial Russian Army to earn the right of free travel and residence as a Jew, finally retiring near Saint Petersburg. His teenage son Moishe, George's father, worked as a leather cutter for women's shoes. His mother,Roza Bruskina, was born in St. Petersburg, Russia. Moishe met Roza in Vilnius, Lithuania where her father worked as a furrier. She and her family moved to New York because of increasing anti-Jewish sentiment inRussia, changing her first name to Rose. Moishe, faced with compulsory military service if he remained in Russia, moved to America as soon as he could afford to. Once in New York, he changed his first name to Morris."}
+{"doc_id":"doc_203","qid":"","text":"Passage 1:A Hungarian Fairy TaleA Hungarian Fairy Tale (original title: Hol volt, hol nem volt) is a 1987 Hungarian film directed by Gyula Gazdag.PlotAndris is a child living in Budapest. He is conceived when his motherMaria is attracted to a mysterious stranger during a performance of The Magic Flute. The stranger disappears after the conception, and as a result Andris does not know his father. The law states that a boy should havehis father's name, even if the father is unknown, to avoid the taint of illegitimacy. When Maria tries to register Andris with the child custody department, Andris is given the name of a fictitious father. She enters onAndris' birth certificate the name of the bureaucrat she is dealing with, Antal Orban.Maria dies when she is hit on the head by a falling brick, an accident resulting from being in the wrong place at the wrong time, leavingAndris suddenly motherless. He then goes off in search of his nonexistent father. Along the way he meets and is helped by The Girl, the young nurse who delivered him, and who is alone like Andris. Meanwhile, thekindly Orban becomes tired of the tyrannical bureaucracy, and decides to destroy the files of children he has helped to legitimize by giving them fictitious fathers. He then sets out to find Andris. Andris and The Girlfinally meet Orban, and they form their own family.They meet scouts being trained as instruments of the state, and the scouts pursue Andris, Orban and The Girl. The three of them climb onto the back of a stone eagle,which takes off in flight.CastDávid Vermes - AndrisFrantišek Husák - Antal OrbanMária Varga - MariaEszter Csákányi - The GirlAccoladesThe film won the following awards:Fantafestival 1988 - Best Actress (MáriaVarga)Locarno International Film Festival 1987 - Bronze Leopard (Dávid Vermes) (Special Grand Prize)Salerno International Film Festival 1989 - Grand Prix (Gyula Gazdag)Sitges Film Festival 1987 - Best Film (GyulaGazdag)External linksA Hungarian Fairy Tale at IMDbPassage 2:The Girl of My DreamsThe Girl of My Dreams is a lost 1918 British silent film romance directed by Louis Chaudet and starring Billie Rhodes.CastBillieRhodes - The WeedJack McDonald - George BassettLamar Johnstone - Kenneth Stewart (*as Lamar Johnston)Golda Madden - Madelin StewartJane Keckley - Ma WilliamsFrank MacQuarrie - Pa WilliamsBen Suslow - JedWilliams (*as Benjamin Suslow)Leo Pierson - Ralph LongPassage 3:The Woman of My Dreams (2010 film)The Woman of My Dreams (Italian: La donna della mia vita, also known as The Woman of My Life) is a 2010Italian comedy-drama film directed by Luca Lucini and starring Alessandro Gassman, Luca Argentero, Stefania Sandrelli, and Valentina Lodovini.PlotLeonardo and Giorgio are two brothers with very different characters.Leonardo is sensitive and reliable, while Giorgio is an unstable womanizer. After a suicide attempt, Leonardo meets Sara, not knowing that she is Giorgio's ex, and in time they fall in love.With difficulty, and only afterthe involvement of Giorgio's mother Alba, they restore their friendship.CastAlessandro Gassman as  GiorgioLuca Argentero as  LeonardoValentina Lodovini as  SaraStefania Sandrelli as  AlbaGiorgio Colangelias  SandroSonia Bergamasco as  CarolinaGaia Bermani Amaral as IreneLella Costa as  Alba's friendFranco Branciaroli as AlbertoFrancesca Chillemi as herselfSee alsoList of Italian films of 2010Passage 4:Arthur MariaRabenaltArthur Maria Rabenalt (25 June 1905 – 26 February 1993) was an Austrian film director, writer, and author. He directed more than 90 films between 1934 and 1978. His 1958 film That Won't Keep a SailorDown was entered into the 1st Moscow International Film Festival. Two years later, his 1960 film Big Request Concert was entered into the 2nd Moscow International Film Festival. His career encompassed both Nazicinema and West German productions. He also wrote several books on the 1930s and 1940s wave of German cinema.CareerIn his early teens, Rabenalt began his stage career directing operas at theatres in Darmstadt,Berlin and Gera. From then on to the mid-1920s he worked (though uncredited) as a production assistant on several films such including G. W. Pabst's Joyless Street (1925). After Nazi's rise to power, Rabenalt madehis feature film debut directing the musical comedy, What Am I Without You (1934), which was then shortly followed with the release of the comedy Pappi (1934). He continued to work in different genres, including TheLove of the Maharaja (1936), and Men Are That Way and Midsummer Night's Fire which were released in 1939.        Through out the 1940s, Rabaenalt worked with melodramatic dramas and comedy. Some of his earlyfilms in the 1940s, such as Riding for Germany, supported Nazi ideology. In 1989, he said \"I had only made circus films and chamber-type entertainment films since 1941. The only Nazi film I knew was ... rides forGermany (1941), and it was admired. The first films of mine that were distributed again after the war were Circus Renz (1943) and Regimental Music (shot in 1944 under the title The Guilty of Gabriele Rottweil, the filmonly came to the cinemas in 1950). The controversy about ... rides for Germany came much later.After the war he resumed his stage career as a director, beginning with the East German production, Chemistry andLove (1948), satire on anti-capitalism based on a play by Bela Balasz. He continued to work on productions for East German state studio DEFA until 1948. In the 1950s, he moved into more mainstream entertainment,including the Weimar horror remake of Alraune (1952), which starred Hildegard Knef and Erich von Stroheim.            From 1960, Rabanalt worked only in television, adapting classic comedies and operettas for amainstream audience. He also wrote several erotic pulp fiction books as well as memoirs and factual books about Nazi Germany.Selected filmographyPublished booksTanz and Film [1] (1960)Das Theater der Lust(1982)Theater ohne Tabu [2] (Emsdetten, 1970)Der Operetten-Bildband  Bühne Film Fernsehen [3] (1980)Mimus eroticus [4] (Hamburg, 1965/67)Joseph Goebbels und der Grossdeutsche Film [5] (Munich,1985)Gesammelte Schriften [6] (Hildesheim, 1999)Passage 5:Gyula GazdagGyula Gazdag (born 19 July 1947 in Budapest) is a Hungarian film director, screenwriter and actor.FilmographyDirectorThe Long DistanceRunner [Hosszú futásodra mindig számíthatunk...] (1969, documentary short)The Selection [A válogatás] (1970, documentary short)The Whistling Cobblestone [A sípoló macskakő] (1971)The Resolution [A határozat](1972, documentary)Singing on the Treadmill [Bástyasétány hetvennégy] (1974)Swap [A kétfenekű dob] (1978)The Banquet [A bankett] (1982, documentary)Lost Illusions [Elveszett illúziók] (1983)Package Tour[Társasutazás] (1985, documentary)A Hungarian Fairy Tale [Hol volt, hol nem volt...] (1987)Stand Off [Túsztörténet] (1989)Hungarian Chronicles [Chroniques hongroises] (1991, documentary)A Poet on the Lower eastSide [Egy költö a Lower East Side-ról] (1997, documentary)Actor25, Firemen's Street Tüzoltó utca 25. (1973)Dreaming Youth [Álmodó ifjúság] (1974)Confidence Bizalom (1980)Colonel Redl [Oberst Redl] 1985WorkingWest (1992)External linksGyula Gazdag at IMDbPassage 6:Siman-Tov GanehSiman-Tov Ganeh (Hebrew: \u0000\u0000\u0000\u0000-\u0000\u0000\u0000 \u0000\u0000\u0000; 1924–1968) was an Israeli soldier who was rewarded with the Hero ofIsrael.BiographySiman-Tov Ganeh was born in the Old City of Jerusalem to a Georgian-Jewish family, son of a member of the Jewish Battalions and a volunteer in the British army's Expeditionary Force during theSecond World War. When the 1936–1939 Arab revolt broke out, his family was forced to leave the Old City and move to Zikhron Moshe. As a boy he worked in a cigarette factory, and in 1941 his father fell captive inCrete. He also served in the Royal Navy, and served on supply ships. In April 1946, he was discharged and worked as a taxi driver shortly before joining the Lehi underground movement.Ganeh joined the 8th Brigade atthe beginning of the 1948 Arab–Israeli War and served in the 89th Battalion. In November 1948, he participated in the Battle of Iraq Suwaydan, in which he continued to treat the wounded and respond to the shootingwhile mortally wounded and under heavy fire. For his part in the operation, he was awarded the Hero of Israel medal.After the battle, Siman-Tov's two legs were cut off and replaced with prosthetic legs. Following thewar he studied carpentry and worked for a while as a taxi driver. He got married in 1950 and was a father of three. His middle son was named Ma'agan, after being born on the day Ganeh was saved from the Ma'agandisaster which he had witnessed. During the Six-Day War he volunteered to gather soldiers from transportation stations. In 1967, he began to work as a contractor in military camps. In March 1968, he was hit by an oldshell that was ignited from the heat and was killed. After his death, mourning orders were held in IDF units.Passage 7:Ben PalmerBen Palmer (born 1976) is a British film and television director.His television creditsinclude the Channel 4 sketch show Bo' Selecta! (2002–2006), the second and third series of the E4 sitcom The Inbetweeners (2009–2010) and the Sky Atlantic comedy-drama Breeders (2020). Palmer has also directedfilms such as the Inbetweeners spin-off, The Inbetweeners Movie (2011) and the romantic comedy Man Up (2015).BiographyPalmer was born and raised in Penny Bridge, Barrow-in-Furness. He attended ChetwyndeSchool.His first directing job was the Channel 4 sketch show Bo' Selecta!, which he co-developed with its main star, Leigh Francis. Palmer directed the second and third series of the E4 sitcom The Inbetweeners in 2009and 2010, respectively.FilmographyBo' Selecta! (2002–06)Comedy Lab (2004–2010)Bo! in the USA (2006)The Inbetweeners (2009–2010)The Inbetweeners Movie (2011)Comedy Showcase (2012)Milton Jones's Houseof Rooms (2012)Them from That Thing (2012)Bad Sugar (2012)Chickens (2013)London Irish (2013)Man Up (2015)SunTrap (2015)BBC Comedy Feeds (2016)Nigel Farage Gets His Life Back (2016)Back (2017)ComedyPlayhouse (2017)Urban Myths (2017–19)Click & Collect (2018)Semi-Detached (2019)Breeders (2020)Passage 8:Elliot SilversteinElliot Silverstein (born August 3, 1927) is a retired American film and television director.He directed the Academy Award-winning western comedy Cat Ballou (1965), and other films including The Happening (1967), A Man Called Horse (1970), Nightmare Honeymoon (1974), and The Car (1977). Histelevision work includes four episodes of The Twilight Zone (1961–1964).CareerElliot Silverstein was the director of six feature films in the mid-twentieth century. The most famous of these by far is Cat Ballou, acomedy-western starring Jane Fonda and Lee Marvin.The other Silverstein films, in chronological order, are The Happening, A Man Called Horse,  Nightmare Honeymoon, The Car, and Flashfire.Other work includeddirecting for the television shows The Twilight Zone, The Nurses, Picket Fences, and Tales from the Crypt.While Silverstein was not a prolific director, his films were often decorated. Cat Ballou, for instance, earned oneOscar and was nominated for four more. His high quality work was rewarded in 1990 with a Lifetime Achievement Award by the Directors Guild of America.AwardsIn 1965, at the 15th Berlin International Film Festival,he won the Youth Film Award – Honorable Mention, in the category of Best Feature Film Suitable for Young People for Cat Ballou.He was also nominated for the Golden Berlin Bear.In 1966, he was nominated for theDGA Award in the category for Outstanding Directorial Achievement in Motion Pictures (Cat Ballou).In 1971, he won the Bronze Wrangler award at the Western Heritage Awards in the category of Theatrical MotionPicture for A Man Called Horse, along with producer Sandy Howard, writer Jack DeWitt, and actors Judith Anderson, Jean Gascon, Corinna Tsopei and Richard Harris.In 1985, he won the Robert B. Aldrich AchievementAward from the Directors Guild of America.In 1990, he was awarded the DGA Honorary Life Member Award.Personal lifeSilverstein has been married three times, each ending in divorce. His first marriage was to EvelynWard in 1962; the couple divorced in 1968. His second marriage was to Alana King. During his first marriage, he was the step-father of David Cassidy.He currently lives in North Hollywood, Los Angeles. Actively retired,Silverstein has taught film at USC and continues to work on screen plays and other projects.FilmographyTales from the Crypt (TV Series) (1991–94)Picket Fences (TV Series) (1993)Rich Men, Single Women (TV Movie)(1990)Fight for Life (TV Movie) (1987)Night of Courage (TV Movie) (1987)Betrayed by Innocence (TV Movie) (1986)The Firm (TV Series) (1982–1983)The Car (1977)Nightmare Honeymoon (1974)A Man Called Horse(1970)The Happening (1967)Cat Ballou (1965)Kraft Suspense Theatre (TV Series) (1963–64)The Defenders (TV Series) (1962–64)Arrest and Trial (TV Series) (1964)The Doctors and the Nurses (TV Series)(1962–64)Twilight Zone (TV Series) (1961–64)Breaking Point (TV Series) (1963)Dr. Kildare (TV Series) (1961–63)The Dick Powell Theatre (TV Series) (1962)Belle Sommers (TV Movie) (1962)Naked City (TV Series)(1961–62)Have Gun - Will Travel (TV Series) (1961)Route 66 (TV Series) (1960–61)Checkmate (TV Series) (1961)The Westerner (TV Series) (1960)Assignment: Underwater (TV Series) (1960)Black Saddle (TV Series)(1960)Suspicion (TV Series) (1958)Omnibus (TV Series) (1954–56)Passage 9:Arieh AtzmoniArieh Atzmoni (born Leib Markowicz; Hebrew: \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000; 2 November 1926 – 30 March 2005) was a Czech-bornIsraeli soldier and Hero of Israel.Early lifeAtzmoni was born Leib Markowicz in Uzhhorod (then in Czechoslovakia, now in Ukraine). During World War II, when he was 13, he left his parents home and lived alone inBudapest. During the Holocaust, his mother and two younger sisters were murdered, while his father, brother and older sister were saved. Later, he was taken to a labor camp in Yugoslavia and worked in copper mininguntil he was liberated by local partisans, whom he joined in fighting the Germans until his immigration to Palestine in 1944 at age 18. Atzmoni wanted to join the military, but was concerned that his slim figure wouldcause him to be rejected, so he said he was two years older than he was.Military careerAfter immigrating to Palestine, Atzmoni joined the Jewish Settlement Police and dealt with Naharayim. Following an Arab Legionattack, he retreated with the guards and reached the nearby base of the 12th Battalion of the Golani Brigade. He joined the ranks of the brigade and after a sergeant course was stationed as a company sergeant andserved in this position during the 1948 Arab–Israeli War. Later, He joined the artillery corps, where he served in reserves for many years. In 1969, following severe manpower shortage in the Israel Defense Forces, heresponded to a request by its Chief of General Staff and returned for a year of voluntary service in the artillery corps.DecorationsIn September 1948, Atzmoni cleared a fire-focused ammunition box during battle andreceived a commendation from the brigade commander.In January 1949, Atzmoni's unit was attacked near Rafah. A military car was blocking the artillery's line of sight, preventing an effective response. Atzmoni ran,under heavy fire, and was able to start the car and move it, thus clearing the way for the artillery to act and destroy 18 enemy vehicles. For this he was awarded the Hero of Israel commendation, which is the highestcommendation ever awarded by the IDF, given to only twelve soldiers: On January 4, 1949, in the battle for the cemetery in Rafah, our artillery car was stopped in the field and the entire sector was concealed in front ofour cannon position. The enemy, which attacked tanks and armored vehicles accompanied by infantry, rained fire on the outpost and prevented any action to remove the car from the area. Lt. Col. Arieh Otzmany,whose job was to bring ammunition and digging equipment to the outpost, jumped at the car, managed to start it, and drove it from the front to the rear, enabling our anti-tank cannon to launch an operation thatresulted in the use of nine tanks and other enemy vehicles.Later life and deathFollowing his discharge from the military, Atzmoni settled in the Hadar neighborhood in Haifa with his wife Lea (née Lustig), and worked asa cab driver. Concurrently, he imported and sold car parts. The two then established the Haifa branch of car rental company Hertz, which flourished. They then established their own car rental agency, also successful,allowing him donate some earnings to charity. After decades, the couple retired to the Ahuza retirement home. He died on March 30, 2005, and was buried in Haifa with a military ceremony. He had a son, daughter andfour grandchildren.Passage 10:The Hero of My DreamsThe Hero of My Dreams (German: Der Held meiner Träume) is a 1960 West German romantic comedy film directed by Arthur Maria Rabenalt and starring CarlosThompson, Heidi Brühl and Peter Vogel.It was shot at the Bavaria Studios in Munich. The film's sets were designed by the art directors Max Mellin and Karl Weber.CastCarlos Thompson as Robert MoutierHeidi Brühl asMarianne KleinschmidtPeter Vogel as Oliver MartensMaria Perschy as Franziska KleinschmidtMargitta Scherr as Petra MartensKlaus Dahlen as Bernhard KleinschmidtMarte Harell as Frau MartensEdith Mill as FrauKleinschmidtLucie Englisch as HuberbäuerinHans Zesch-Ballot as Günther MartensHans Elwenspoek as Hugo KleinschmidtFranz Fröhlich as HuberbauerErnst BraschBum KrügerSee alsoHappy Days (France, 1941)HappyDays (Italy, 1942)"}
+{"doc_id":"doc_204","qid":"","text":"Passage 1:Alasdair MórAlasdair Mór mac Domhnaill was a younger son of Domhnall mac Raghnaill—the eponymous ancestor of Clan Donald. He first appears on record in 1253, when it is recorded as witnessing acharter by his brother, Aonghus Mór, to Paisley Abbey. According to the 19th century Clan Donald historians Angus and Archibald Macdonald, Alasdair Mór must have been a prominent man as he is the only recordedbrother of Aonghus Mór. He is recorded in the Annals of Connacht, in the year 1299, as being a man noted for being a \"generous and bounteous man\". In that year he was slain in a conflict with Alasdair of Argyll and theMacDougalls. He is said to have had at least five sons: Dòmhnall, Gòraidh, Donnchadh, Eoin and Eachann. Alasdair Mòr was succeeded in the representation of his clan by Dòmhnall. Today he is considered to be theeponymous ancestor of Clan MacAlister.Passage 2:Kaya AlpKaya Alp (Ottoman Turkish: \u0000\u0000\u0000\u0000 \u0000\u0000\u0000, lit. 'Brave Rock') was, according to Ottoman tradition, the son of Kızıl Buğa or Basuk and the father of SuleymanShah. He was the grandfather of Ertuğrul Ghazi, the father of the founder of the Ottoman Empire, Osman I. He was also famously known for being the successing name of Ertokus Bey’s son Kaya Alp. He was adescendant of the ancestor of his tribe, Kayı son of Gun son of Oghuz Khagan, the legendary progenitor of the Oghuz Turks.Passage 3:Lyon CohenLyon Cohen (born Yehuda Leib Cohen; May 11, 1868 – August 17,1937) was a Polish-born Canadian businessman and a philanthropist. He was the grandfather of singer/poet Leonard Cohen.BiographyCohen was born in Congress Poland, part of the Russian Empire, to a Jewish familyon May 11, 1868. He immigrated to Canada with his parents in 1871. He was educated at the McGill Model School and the Catholic Commercial Academy in Montreal. In 1888, he entered the firm of Lee & Cohen inMontreal; later became partner with his father in the firm of L. Cohen & Son; in 1895, he established W. R. Cuthbert & Co; in 1900, he organized the Canadian Improvement Co., a dredging contractor; in 1906, hefounded The Freedman Co. in Montreal; and in May 1919, he organized and became President of Canadian Export Clothiers, Ltd.  The Freedman Company went on to become one of Montreal’s largest clothingcompanies.In 1897, Cohen and Samuel William Jacobs founded the Canadian Jewish Times, the first English-language Jewish newspaper in Canada. The newspaper promoted the Canadianization of recent East EuropeanJewish immigrants and encouraged their acceptance of Canadian customs as Cohen felt that the old world customs of immigrant Jews were one of the main causes of anti-Semitism. In 1914, the paper was purchased byHirsch Wolofsky, owner of the Yiddish-language Keneder Adler, who transformed it into the Canadian Jewish Chronicle.He died on August 17, 1937, at the age of 69.PhilanthropyCohen was elected the first president ofthe Canadian Jewish Congress in 1919 and organized the Jewish Immigrant Aid Services of Canada. Cohen was also a leader of the Young Men’s Hebrew Benevolent Society (later the Baron de Hirsch Institute) and theUnited Talmud Torahs, a Jewish day school in Montreal. He also served as president of Congregation Shaar Hashomayim and president of the Jewish Colonization Association in Canada.Personal lifeCohen married RachelFriedman of Montreal on February 17, 1891. She was the founder and President of Jewish Endeavour Sewing School. They had three sons and one daughter:Nathan Bernard Cohen, who served as a lieutenant in theWorld War; he married Lithuanian Jewish immigrant Masha Klonitsky and they had one daughter and one son:Esther Cohen andsinger/poet Leonard Cohen.Horace Rives Cohen, who was a captain and quartermaster ofhis battalion in World War I;Lawrence Zebulun Cohen, student at McGill University, andSylvia Lillian Cohen.Passage 4:Gilbert de InsulaGilbert de Insula (Anglicised: Gilbert of the Isles) was a son of Domhnall macAlasdair, who received a charter for unspecified lands in the Stirlingshire region, in the year 1330. He also received a charter for half the lands of Glorat in the parish of Campsie. Today, Gilbert de Insula is considered tobe a grandson of Alasdair Mór. He is also considered to possibly be the ancestor of the Alexanders of Menstrie.CitationsPassage 5:Henry KrauseHenry J. \"Red\" Krause, Jr. (August 28, 1913 – February 20, 1987) was anAmerican football offensive lineman in the National Football League for the Brooklyn Dodgers and the Washington Redskins.  He played college football at St. Louis University.Passage 6:Fred Le DeuxFrederick David LeDeux (born 4 December 1934) is a former Australian rules footballer who played with Geelong in the Victorian Football League (VFL). He is the grandfather of Tom Hawkins.Early lifeLe Deux grew up in Nagambie andattended Assumption College, after which he went to Bendigo to study teaching.FootballWhile a student at Bendigo Teachers' Training College, Le Deux played for the Sandhurst Football Club. He then moved to OceanGrove to take up a teaching position and in 1956 joined Geelong.A follower and defender, Le Deux made 18 appearances for Geelong over three seasons, from 1956 to 1958 He was troubled by a back injury in 1958,which kept him out of the entire 1959 VFL season.In 1960 he joined Victorian Football Association club Mordialloc, as he had transferred to a local technical school.FamilyLe Deux's daughter Jennifer was married toformer Geelong player Jack Hawkins. Jennifer died in 2015. Their son, Tom Hawkins, currently plays for Geelong.Passage 7:Domhnall mac CaileinDomhnall mac Cailein or Donald Campbell was a 13th-14th centuryScottish nobleman and the Sheriff of Wigtown.LifeAccording to Campbell tradition, Domhnall was the second son of Cailean Mór; however, contemporary evidence seems to suggest that Domhnall was the elder brotherto Niall mac Cailein.First mentioned in 1296, when he did homage to King Edward I of England at Dumbarton on 28 August 1296, his name is included on the Ragman Roll. He was on the side of the English in 1304under the orders of John de Botetourt, Justiciar of Galloway, Annan, and the valley of the Nith. Domhnall was part of the jury that, on 31 August 1304, undertook an inquiry as to certain privileges claimed by Robert deBrus, Earl of Carrick. After switching over to the Scottish cause, Domhnall was a signatory to the Declaration of Arbroath. He received a grant of the half lands of Red Castle in the county of Forfar, and also lands ofBenderloch in Lorne.Family and issueDomhnall married Amabilla and had the following known issue;Duncan (d.1367), married the heiress Susanna Crawford of Loudon daughter of Reginald Crawford, and is theancestor of the Campbells of Loudoun. Had issue.NotesPassage 8:Domhnall mac AlasdairDomhnall mac Alasdair was a son of Alasdair Mór mac Domhnaill, and a member of Clann Domhnaill. Domhnall is attested by thefifteenth-century manuscript National Library of Scotland Advocates' 72.1.1 (also known as 1467 MS and 1450 MS). He may be identical to Domhnall of Islay. The latter's attestations suggest that he was a contestant tothe Clann Domhnaill lordship, and may have possessed the chiefship.CitationsPassage 9:Abd al-MuttalibShayba ibn Hāshim (Arabic: \u0000\u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000; c. 497–578), better known as \u0000Abdal-Mu\u0000\u0000alib, (Arabic: \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000, lit. 'Servant of Muttalib') was the fourth chief of the Quraysh tribal confederation. He was the grandfather of the Islamic prophet Muhammad.Early lifeHis fatherwas Hashim ibn 'Abd Manaf,: 81 the progenitor of the distinguished Banu Hashim, a clan of the Quraysh tribe of Mecca. They claimed descent from Ismā'īl and Ibrāhīm. His mother was Salma bint Amr, from the BanuNajjar, a clan of the Khazraj tribe in Yathrib (later called Madinah). Hashim died while doing business in Gaza, before Abd al-Muttalib was born.: 81 His real name was \"Shaiba\" meaning 'the ancient one' or 'white-haired'because of the streak of white through his jet-black hair, and is sometimes also called Shaybah al-\u0000amd (\"The white streak of praise\").: 81–82 After his father's death he was raised in Yathrib with his mother and herfamily until about the age of eight, when his uncle Muttalib ibn Abd Manaf went to see him and asked his mother Salmah to entrust Shaybah to his care. Salmah was unwilling to let her son go and Shaiba refused toleave his mother without her consent. Mu\u0000\u0000alib then pointed out that the possibilities Yathrib had to offer were incomparable to Mecca. Salmah was impressed with his arguments, so she agreed to let him go. Uponfirst arriving in Mecca, the people assumed the unknown child was Muttalib's servant and started calling him 'Abd al-Muttalib (\"servant of Muttalib\").: 85–86Chieftain of Hashim clanWhen Mu\u0000\u0000alib died, Shaibasucceeded him as the chief of the Hāshim clan. Following his uncle Al-Mu\u0000\u0000alib, he took over the duties of providing the pilgrims with food and water, and carried on the practices of his forefathers with his people. Heattained such eminence as none of his forefathers enjoyed; his people loved him and his reputation was great among them.: 61 'Umar ibn Al-Kha\u0000\u0000āb's grandfather Nufayl ibn Abdul Uzza arbitrated in a disputebetween 'Abdul-Mu\u0000\u0000alib and \u0000arb ibn Umayyah, Abu Sufyan's father, over the custodianship of the Kaaba. Nufayl gave his verdict in favour of 'Abdul-Mu\u0000\u0000alib. Addressing \u0000arb ibn Umayyah, he said:Why do youpick a quarrel with a person who is taller than you in stature; more imposing than you in appearance; more refined than you in intellect; whose progeny outnumbers yours and whose generosity outshines yours inlustre? Do not, however, construe this into any disparagement of your good qualities which I highly appreciate. You are as gentle as a lamb, you are renowned throughout Arabia for the stentorian tones of your voice,and you are an asset to your tribe.Discovery of Zam Zam Well'Abdul-Mu\u0000\u0000alib said that while sleeping in the sacred enclosure, he had dreamed he was ordered to dig at the worship place of the Quraysh between thetwo deities Isāf and Nā'ila. There he would find the Zamzam Well, which the Jurhum tribe had filled in when they left Mecca. The Quraysh tried to stop him digging in that spot, but his son Al-\u0000ārith stood guard untilthey gave up their protests. After three days of digging, 'Abdul-Mu\u0000\u0000alib found traces of an ancient religious well and exclaimed, \"Allahuakbar!\" Some of the Quraysh disputed his claim to sole rights over water, thenone of them suggested that they go to a female shaman who lived afar. It was said that she could summon jinns and that she could help them decide who was the owner of the well. So, 11 people from the 11 tribeswent on the expedition. They had to cross the desert to meet the priestess but then they got lost. There was a lack of food and water and people started to lose hope of ever getting out. One of them suggested that theydig their own graves and if they died, the last person standing would bury the others. So all began digging their own graves and just as Abdul-Mu\u0000\u0000alib started digging, water spewed out from the hole he dug andeveryone became overjoyed. It was then and there decided that Abdul-Muttalib was the owner of the Zam Zam well. Thereafter he supplied pilgrims to the Kaaba with Zam Zam water, which soon eclipsed all the otherwells in Mecca because it was considered sacred.: 86–89 : 62–65The Year of the ElephantAccording to Muslim tradition, the Ethiopian governor of Yemen, Abrahah al-Ashram, envied the Kaaba's reverence among theArabs and, being a Christian, he built a cathedral on Sana'a and ordered pilgrimage be made there.: 21 The order was ignored and someone desecrated (some saying in the form of defecation: 696 note 35 ) thecathedral. Abrahah decided to avenge this act by demolishing the Kaaba and he advanced with an army towards Mecca.: 22–23 There were thirteen elephants in Abrahah's army: 99 : 26 and the year came to be knownas 'Ām al-Fīl (the Year of the Elephant), beginning a trend for reckoning the years in Arabia which was used until 'Umar ibn Al-Kha\u0000\u0000āb replaced it with the Islamic Calendar in 638 CE (17 AH), with the first year of theIslamic Calendar being 622 CE.When news of the advance of Abrahah's army came, the Arab tribes of Quraysh, Kinānah, Khuzā'ah and Hudhayl united in defence of the Kaaba. A man from the \u0000imyar tribe was sent byAbrahah to advise them that he only wished to demolish the Kaaba and if they resisted, they would be crushed. \"Abdul-Mu\u0000\u0000alib told the Meccans to seek refuge in the nearest high hills while he, with some leadingmembers of Quraysh, remained within the precincts of the Kaaba. Abrahah sent a dispatch inviting 'Abdul-Mu\u0000\u0000alib to meet him and discuss matters. When 'Abdul-Mu\u0000\u0000alib left the meeting he was heard saying,\"The Owner of this House is its Defender, and I am sure He will save it from the attack of the adversaries and will not dishonour the servants of His House.\": 24–26 It is recorded that when Abrahah's forces neared theKaaba, Allah commanded small birds (abābīl) to destroy Abrahah's army, raining down pebbles on it from their beaks. Abrahah was seriously wounded and retreated towards Yemen but died on the way.: 26–27 Thisevent is referred to in the following Qur'anic chapter:Have you not seen how your Lord dealt with the owners of the Elephant?Did He not make their treacherous plan go astray?And He sent against them birds in flocks,striking them with stones of baked clay, so He rendered them like straw eaten up.Most Islamic sources place the event around the year that Muhammad was born, 570 CE, though other scholars place it one or twodecades earlier. A tradition attributed to Ibn Shihab al-Zuhri in the musannaf of \u0000Abd al-Razzaq al-San\u0000ani places it before the birth of Muhammad's father.Sacrificing his son AbdullahAl-Harith was 'Abdul-Mu\u0000\u0000alib'sonly son at the time he dug the Zamzam Well.: 64 When the Quraysh tried to help him in the digging, he vowed that if he were to have ten sons to protect him, he would sacrifice one of them to Allah at the Kaaba.Later, after nine more sons had been born to him, he told them he must keep the vow. The divination arrows fell upon his favourite son Abdullah. The Quraysh protested 'Abdul-Mu\u0000\u0000alib's intention to sacrifice his sonand demanded that he sacrifice something else instead. 'Abdul-Mu\u0000\u0000alib agreed to consult a \"sorceress with a familiar spirit\". She told him to cast lots between Abdullah and ten camels. If Abdullah were chosen, hehad to add ten more camels, and keep on doing the same until his Lord accepted the camels in Abdullah's place. When the number of camels reached 100, the lot fell on the camels. 'Abdul-Mu\u0000\u0000alib confirmed this byrepeating the test three times. Then the camels were sacrificed, and Abdullah was spared.: 66–68FamilyWivesAbd al-Muttalib had six known wives.Sumra bint Jundab of the Hawazin tribe.Lubnā bint Hājar of theKhuza'a tribe.Fatima bint Amr of the Makhzum clan of the Quraysh tribe.Halah bint Wuhayb of the Zuhrah clan of the Quraysh tribe.Natīla bint Janab of the Namir tribe.Mumanna'a bint Amr of the Khuza'atribe.ChildrenAccording to Ibn Hisham, \u0000Abd al-Mu\u0000\u0000alib had ten sons and six daughters.: 707–708 note 97 However, Ibn Sa'd lists twelve sons.: 99–101 By Sumra bint Jundab:Al-\u0000ārith.: 708 He was the firstbornand he died before his father.: 99 Quthum.: 100 He is not listed by Ibn Hisham.By Fatima bint Amr:Al-Zubayr.: 707 He was a poet and a chief; his father made a will in his favour.: 99 He died before Islam, leaving twosons and daughters.: 101 : 34–35 Abu Talib, born as Abd Manaf,: 99 : 707 father of the future Caliph Ali. He later became chief of the Hashim clan.Abdullah, the father of Muhammad.: 99 : 707 Umm Hakim al-Bayda,:100 : 707 the maternal grandmother of the third Caliph Uthman.: 32 Barra,: 100 : 707 the mother of Abu Salama.: 33 Arwa.: 100 : 707 Atika,: 100 : 707 a wife of Abu Umayya ibn al-Mughira.: 31 Umayma,: 100 : 707the mother of Zaynab bint Jahsh and Abd Allah ibn Jahsh.: 33 By Lubnā bint Hājar:Abd al-'Uzzā, better known as Abū Lahab.: 100 : 708 By Halah bint Wuhayb:\u0000amza,: 707 the first big leader of Islam. He killed manyleaders of the kufar and was considered as the strongest man of the quraysh. He was martyred at Uhud.: 100 \u0000afīyya.: 100 : 707 Al-Muqawwim.: 707 He married Qilaba bint Amr ibn Ju'ana ibn Sa'd al-Sahmia, and hadchildren named Abd Allah, Bakr, Hind, Arwa, and Umm Amr (Qutayla or Amra).Hajl.: 707 He married Umm Murra bint Abi Qays ibn Abd Wud, and had two sons, named Abd Allah, Ubayd Allah, and three daughtersnamed Murra, Rabi'a, and Fakhita.By Natīlah bint Khubāb:al-'Abbas,: 100 : 707 ancestor of the Abbasid caliphs.\u0000irār,: 707 who died before Islam.: 100 Jahl, died before IslamImran, died before IslamBy Mumanna'abint 'Amr:Mus'ab, who, according to Ibn Saad, was the one known as al-Ghaydāq.: 100 He is not listed by Ibn Hisham.Al-Ghaydaq, died before Islam.Abd al-Ka'ba, died before Islam.: 100 Al-Mughira,: 100 who had thebyname al-Ghaydaq.The family tree and some of his important descendantsDeathAbdul Muttalib's son 'Abdullāh died four months before Mu\u0000ammad's birth, after which Abdul Muttalib took care of his daughter-in-lawĀminah. One day Muhammad's mother, Amina, wanted to go to Yathrib, where her husband, Abdullah, died. So, Muhammad, Amina, Abd al-Muttalib and their caretaker, Umm Ayman started their journey to Medina,which is around 500 kilometres away from Makkah. They stayed there for three weeks, then, started their journey back to Mecca. But, when they reached halfway, at Al-Abwa', Amina became very sick and died sixyears after her husband's death. She was buried over there. From then, Muhammad became an orphan. Abd al-Muttalib became very sad for Muhammad because he loved him so much. Abd al-Muttalib took care ofMuhammad. But when Muhammad was eight years old, the very old Abd al-Muttalib became very sick and died at age 81-82 in 578-579 CE.Shaybah ibn Hāshim's grave can be found in the Jannat al-Mu'allā cemetery inMakkah, Saudi Arabia.See alsoFamily tree of MuhammadFamily tree of Shaiba ibn HashimSahabaPassage 10:Eoin Dubh mac AlasdairEoin Dubh mac Alasdair (Anglicised: John the Black, son of Alexander) was a son ofRanald mac Alasdair, and was a chief of Clan MacAlister.Eoin Dubh created his seat at Ardpatrick, South Knapdale. He was succeeded upon his death by his son Charles, who had been appointed Steward of Kintyre in1483.Citations"}
+{"doc_id":"doc_205","qid":"","text":"Passage 1:Theodore Roosevelt Sr.Theodore Roosevelt Sr. (September 22, 1831 – February 9, 1878) was an American businessman and philanthropist from the Roosevelt family. Roosevelt was also the father ofPresident Theodore Roosevelt and the paternal grandfather of First Lady Eleanor Roosevelt. He served as a member of the plate-glass importing business Roosevelt & Son.Roosevelt helped found the New York CityChildren's Aid Society. Related to this, and largely through his initiative,. . . a permanent Newsboys' Lodging house [was] established . . . where nightly several hundred stray  boys . . . were given a clean bed in a warmroom for five cents, a fraction of what was charged by the lowest kind of commercial flophouse.He also helped found the Metropolitan Museum of Art, the American Museum of Natural History, and the New YorkChildren's Orthopedic Hospital. A participant in New York society life, he was described by one historian as a man of both \"good works and good times\". In December 1877, Roosevelt was nominated to be Collector ofthe Port of New York but was rejected by the U.S. Senate.FamilyRoosevelt was born in Albany, New York to businessman Cornelius Roosevelt and Margaret Barnhill. His four elder brothers were Silas, James, CorneliusJr., and Robert. His younger brother, William, died at the age of one.Roosevelt married Martha Stewart Bulloch of Roswell, Georgia, on December 22, 1853. She was the younger daughter of Major James StephensBulloch and Martha \"Patsy\" Stewart. Mittie was also a sister of the American Civil War's Confederate veteran Irvine Bulloch and half-sister of Civil War Confederate veteran James Dunwoody Bulloch. They married at herfamily's historic mansion, Bulloch Hall in Roswell. Theodore Sr. and Martha had four children:Anna Roosevelt in 1855Theodore Roosevelt Jr. in 1858, who became the 26th president of the United StatesElliott Roosevelt(socialite) in 1860, who was the father of future First Lady Eleanor Roosevelt and father-in-law of President Franklin D. RooseveltCorinne Roosevelt in 1861His son's recollectionsOf Theodore Sr., or \"Thee\" as he wasknown, his namesake son, in his autobiography described him in the following words:My father, Theodore Roosevelt, was the best man I ever knew. He combined strength and courage with gentleness, tenderness, andgreat unselfishness. He would not tolerate in us children selfishness or cruelty, idleness, cowardice, or untruthfulness. As we grew older, he made us understand that the same standard of clean living was demanded forthe boys as for the girls; that what was wrong in a woman could not be right in a man. With great love and patience, and the most generous sympathy and consideration, he combined insistence on discipline. He neverphysically punished me but once, but he was the only man of whom I was ever really afraid. I do not mean that it was a wrong fear, for he was entirely just, and we children adored him. ...I never knew anyone who gotgreater joy out of living than did my father, or anyone who more whole-heartedly performed every duty; and no one whom I have ever met approached his combination of enjoyment of life and performance of duty. Heand my mother were given to hospitality that at that time was associated more commonly with southern than northern households. ...My father worked hard at his business, for he died when he was forty-six, too earlyto have retired. He was interested in every social reform movement, and he did an immense amount of practical charitable work himself. He was a big, powerful man, with a leonine face, and his heart filled withgentleness for those who needed help or protection, and with the possibility of much wrath against a bully or an oppressor. ... [He] was greatly interested in the societies to prevent cruelty to children and cruelty toanimals. On Sundays, he had a mission class.\" In a 1900 letter, Roosevelt described his father, writing:I was fortunate enough in having a father whom I have always been able to regard as an ideal man. It sounds alittle like cant to say what I am going to say, but he did combine the strength and courage and will and energy of the strongest man with the tenderness, cleanness, and purity of a woman. I was a sickly and timid boy.He not only took great and untiring care of me—some of my earliest remembrances are of nights when he would walk up and down with me for an hour at a time in his arms when I was a wretched mite suffering acutelywith asthma—but he also most wisely refused to coddle me, and made me feel that I must force myself to hold my own with other boys and prepare to do the rough work of the world. I cannot say that he ever put itinto words, but he certainly gave me the feeling that I was always to be both decent and manly, and that if I were manly nobody would laugh at my being decent. In all my childhood he never laid hand on me but once,but I always knew perfectly well that in case it became necessary he would not have the slightest hesitancy in doing so again, and alike from my love and respect, and in a certain sense, my fear of him, I would havehated and dreaded beyond measure to have him know that I had been guilty of a lie, or of cruelty, or of bullying, or of uncleanness or cowardice. Gradually I grew to have the feeling on my account, and not merely onhis.\" To combat his poor physical condition, his father encouraged the young Roosevelt to take up exercise. To deal with bullies, Roosevelt started boxing lessons. Two trips abroad had a permanent impact: family toursof Europe in 1869 and 1870, and of the Middle East 1872 to 1873.Support for the Union during the Civil WarTheodore Sr. was an active supporter of the Union during the Civil War. He was one of the Charter Members ofthe Union League Club, which was founded to promote the Northern cause. He has not been listed as such, probably because his wife was a loyal supporter of the Confederacy, and her brothers Irvine Stephens Bullochand James Dunwoody Bulloch were fighting for the Confederate Army. It was perhaps because of her active support of the Confederate Army that Theodore Sr. hired a replacement to fulfill his draft obligation in theArmy of the Potomac. During the war, he and two friends, William Earl Dodge Jr. and Theodore B. Bronson, drew up an Allotment System, which amounted to a soldier's payroll deduction program to support familiesback home. He then went to Washington, lobbied for, and won acceptance of this system, with the help of Abraham Lincoln himself. Theodore Sr. and Mr. Dodge were appointed Allotment Commissioners from New YorkState. At their expense, the two men toured all New York divisions of the Army of the Potomac in the field to explain this program and sign interested men up, with a significant degree of success. In 1864, the UnionLeague Club recruited money and food to send Thanksgiving Dinner to the entire Army of the Potomac. Theodore Sr. served as Treasurer for this generous outpouring of support for the troops. The elder Rooseveltmeticulously listed every donation received in a Union League Report dated December 1864.Orthopedic HospitalRoosevelt founded the New York Orthopedic Hospital. His younger daughter Corinne wrote this account ofits origins: Bamie was born with a curved spine, and Roosevelt found a young doctor, Charles Fayette Taylor, who had developed groundbreaking methods of treating physical defects in children, including braces andother equipment. Roosevelt then organized what appeared to be a social party for the upper crust of New York City. When the would-be revelers arrived, however, what they saw to their great surprise, were smallchildren in new braces specially constructed for them. Moved to tears by the sight, one of the wealthiest socialites, Charlotte Augusta Gibbes (wife of financier/philanthropist John Jacob Astor III) said, \"Theodore, youare right; these children must be restored and made into active citizens again, and I for one will help you in your work.\" That same day enough money was collected to start the hospital. Friends of Roosevelt used to seehim coming and note the look in his eyes only to say to him, \"How much is it, this time, Theodore?\"Other philanthropic interestsIn addition to contributing large sums to the Newsboys' Lodging-house (as noted above),he also contributed to the Young Men's Christian Association, organized the Bureau of United Charities, and was a commissioner of the New York State Board of Charities. He was a director of the Metropolitan Museum ofArt and of the American Museum of Natural History.Nomination for Collector to the Port of New York, and deathIn October 1877, Roosevelt was nominated by President Rutherford Hayes to the position of Collector ofCustoms at the Port of New York. One of Hayes's main reasons for nominating Roosevelt was to embarrass New York Senator Roscoe Conkling, whom Hayes considered corrupt, and who was demanding therenomination of the incumbent Collector, future President Chester A. Arthur. Conkling, as a member of the Senate committee tasked with considering the appointment, used endless delaying tactics, and the resultingbattle made national headlines and left Roosevelt Sr. feeling humiliated and disillusioned.As the process dragged on, Roosevelt started experiencing severe stomach cramps caused by a gastrointestinal tumor,misdiagnosed as peritonisis. In December, two days after his appointment was finally rejected in the Senate by a vote of 25 to 31, Roosevelt collapsed. Initially he kept the extent of his illness hidden from his elder son,who was away attending Harvard. In February, however, 19-year-old Theodore Jr. was informed and immediately took a train from Cambridge to New York, where he missed his father's death by a few hours. The seniorRoosevelt had been 46.A devout Christian who led his children in daily prayers, Roosevelt's funeral was held in Fifth Avenue Presbyterian Church, which was filled to overflowing. The voice of his former pastor (WilliamAdams) broke several times in the course of his remarks in the service.Theodore Roosevelt Jr. was profoundly affected by the early death of his father and spent months in a deep state of grief.LegacyBiographer H. W.Brands argued that the timing of his death contributed heavily to the younger Theodore's psychology, since the future president knew his father fully while growing up, but missed knowing his father man-to-man, andtherefore absorbed a view of his father entirely in his role as a parent, untempered by much realization of his human imperfection. Theodore Jr.'s sister Corinne remarked that \"when [Theodore Jr.] was entering uponhis duties as President of the United States, he told me frequently that he never took any serious step or made any vital decision for his country without thinking first what position his father would have taken on thequestion.\"Historian David McCullough, in the introduction to his book about President Roosevelt's youth, remarked:I think it is fair to say that one can not really know Theodore Roosevelt, the twenty-sixth President ofthe United States, without knowing the sort of man his father was. Indeed, if I could have one wish for you the reader, it would be that you come away from the book with a strong sense of what a great man TheodoreRoosevelt, Sr. was.In 2012, historian Douglas Brinkley ranked Roosevelt first in a list of fathers of presidents of the United States, citing his instilling his son with a love of outdoors and lessons in foreign languages,taxidermy, and bodybuilding and calling Roosevelt \"in a league of his own.\"ResidencesThe year after their 1853 marriage, Mr. & Mrs. Roosevelt moved to a Manhattan city house at 28 East 20th Street. All of theirchildren were born there. The house was demolished in 1916. Following President Roosevelt's death in 1919, the vacant lot was purchased, and the house was re-created as the Theodore Roosevelt Birthplace NationalHistoric Site.In 1872, the Roosevelt family moved to a city house at 6 West 57th Street, where Theodore Sr. died in 1878.NotesPassage 2:Where Was I\"Where Was I?\" may refer to:Books\"Where Was I?\", essay byDavid Hawley Sanford from The Mind's IWhere Was I?, book by John Haycraft 2006Where was I?!, book by Terry Wogan 2009Film and TVWhere Was I? (film), 1925 film directed by William A. Seiter. With ReginaldDenny, Marian Nixon, Pauline Garon, Lee Moran.Where Was I? (2001 film), biography about songwriter Tim RoseWhere Was I? (TV series) 1952–1953 Quiz show with the panelists attempting to guess a location bylooking at photos\"Where Was I?\" episode of Shoestring (TV series) 1980Music\"Where was I\", song by W. Franke Harling and Al Dubin performed by Ruby Newman and His Orchestra  with vocal chorus by  Larry Taylorand Peggy McCall  1939\"Where Was I\", single from Charley Pride discography 1988\"Where Was I\" (song), a 1994 song by Ricky Van Shelton\"Where Was I (Donde Estuve Yo)\", song by Joe Pass from Simplicity (Joe Passalbum)\"Where Was I?\", song by Guttermouth from The Album Formerly Known as a Full Length LP (Guttermouth album)\"Where Was I\", song by Sawyer Brown (Billy Maddox, Paul Thorn, Anne Graham) from Can YouHear Me Now 2002\"Where Was I?\", song  by  Kenny Wayne Shepherd from Live On  1999\"Where Was I\", song by Melanie Laine (Victoria Banks, Steve Fox) from Time Flies (Melanie Laine album)\"Where Was I\", song byRosie Thomas from With Love (Rosie Thomas album)Passage 3:Motherland (disambiguation)Motherland is the place of one's birth, the place of one's ancestors, or the place of origin of an ethnic group.Motherland mayalso refer to:Music\"Motherland\" (anthem), the national anthem of MauritiusNational Song (Montserrat), also called \"Motherland\"Motherland (Natalie Merchant album), 2001Motherland (Arsonists Get All the Girls album),2011Motherland (Daedalus album), 2011\"Motherland\" (Crystal Kay song), 2004Film and televisionMotherland (1927 film), a 1927 British silent war filmMotherland (2010 film), a 2010 documentary filmMotherland (2015film), a 2015 Turkish dramaMotherland (2022 film), a 2022 documentary film about the Second Nagorno-Karabakh WarMotherland (TV series), a 2016 British television seriesMotherland: Fort Salem, a 2020 Americanscience fiction drama seriesOther usesMotherland Party (disambiguation), the name of several political groupsPersonifications of Russia, including a list of monuments called MotherlandSee alsoAll pages with titlescontaining MotherlandMother Country (disambiguation)Passage 4:Archibald Bulloch Roosevelt Jr.Archibald Bulloch Roosevelt Jr. (February 18, 1918 – May 31, 1990), Archibald Bulloch Roosevelt the first grandson ofU.S. President Theodore Roosevelt, was a soldier, scholar, polyglot, authority on the Middle East, and career CIA officer. He served as chief of the Central Intelligence Agency's stations in Istanbul, Madrid and London.Roosevelt had a speaking or reading knowledge of at least twenty languages.Early lifeArchibald Bulloch Roosevelt Jr. was born in Boston, Massachusetts, on February 18, 1918. He graduated from Groton School andthen went to Harvard University, where he graduated in the class of 1940. While an undergraduate, he was chosen as a Rhodes Scholar but was not able to accept because of the outbreak of World War II in Europe. Hisfirst job was working for a newspaper in Seattle, Washington.World War IIDuring the war, he became an Army intelligence officer. He served as a \"Ritchie Boy\" secret unit specially trained at Fort Ritchie, Maryland. Heaccompanied U.S. troops in their landing in North Africa in 1942 and soon began to form views on the French colonial administration and the beginnings of Arab nationalism. Later in the war he was a military attaché inIraq and Iran.Post-war work in the CIAIn 1947, Roosevelt joined the Central Intelligence Group, the immediate forerunner of the CIA. From 1947 to 1949, he served in Beirut. On that and on all of his subsequentassignments abroad, he was listed in official registers as a State Department official.From 1949 to 1951, he was in New York as head of the Near East section of the Voice of America. From 1951 to 1953, he was stationchief in Istanbul. From 1953 to 1958, he had several jobs at CIA headquarters in Washington, D.C. In 1958, he was made CIA station chief in Spain. From 1962 to 1966 he held the same job in London. He finished hisCIA career in Washington, D.C., where he retired in 1974. Roosevelt was involved in coup plots in Syria and Iraq, but he was unable to replicate his cousin Kim's success in Iran.Operation Straggle, 1956Roosevelt metwith National Security Council member Wilbur Crane Eveland and former Syrian minister Michail Bey Ilyan in Damascus on 1 July 1956 to discuss a US-backed 'anticommunist' takeover of Syria. They made a plan,scheduled for enactment on 25 October 1956, in which the military wouldtake control of Damascus, Aleppo, Homs, and Hamah. The frontier posts with Jordan, Iraq, and Lebanon would also be captured in order to sealSyria's borders until the radio stations announced that a new government had taken over under Colonel Kabbani, who would place armored units at key positions throughout Damascus. Once control had beenestablished, Ilyan would inform the civilians he'd selected that they were to form a new government, but in order to avoid leaks none of them would be told until just a week before the coup.The CIA backed this plan(known as \"Operation Straggle\") with 500,000 Syrian pounds (worth about $167,000) and the promise to support the new government. Although Secretary of State John Foster Dulles publicly opposed a coup, privatelyhe had consulted with the CIA and recommended the plan to President Eisenhower.The plan was postponed for five days, during which time Israel invaded Egypt. Ilyan told Eveland he could not succeed in overthrowingthe Syrian government during a war of Israeli aggression. On 31 October, John Foster Dulles informed his brother Allen Dulles, the Director of the CIA: \"Re Straggle our people feel that conditions are such that it wouldbe a mistake to try to pull it off\". Eveland speculated that this coincidence had been engineered by the British in order to defuse US criticism of the invasion of Egypt.IraqIn mid-1962, the Kennedy administration taskedRoosevelt with making preparations for a military coup against Iraqi Prime Minister Abd al-Karim Qasim, whose expropriation of the concessionary holdings of the British- and American-owned Iraq Petroleum Companyand threats to invade Kuwait were considered a threat to U.S. interests in the Persian Gulf. While the CIA had cultivated assets within the Iraqi Ba'ath Party, a former CIA colleague of Roosevelt's has denied any CIA rolein the February 1963 Ba'athist coup that saw Qasim assassinated, stating instead that the CIA's efforts against Qasim were still in the planning stages at the time.Post-CIA retirementAfter retiring from the CIA in 1974,Roosevelt became a vice president of Chase Manhattan Bank, and a director of international relations in its Washington office. In this position, he became an associate of the bank's chairman, David Rockefeller andaccompanied him as an adviser on his regular travels to Middle Eastern countries.Well known in Washington social circles in his own right, he was particularly active on the diplomatic circuit during the Reaganadministration, when his wife, Selwa Showker \"Lucky\" Roosevelt, was the chief of protocol with the rank of ambassador from 1982 to 1989.In 1988, Roosevelt published a memoir called For Lust of Knowing: Memoirs ofan Intelligence Officer, where he mentions his wartime service as an Army intelligence officer in Morocco, Iraq and Iran. He is much more circumspect in describing his time with the CIA, adhering so strictly to his oathto keep the CIA's secrets that he did not even identify the countries where he had served. And although he was happy to tell interviewers that they could figure it out from his entry in Who's Who in America, he also wasquick to explain that some Americans have forgotten what an oath is and that he would not break his even if the government told him to. Even still, evidence shows there was concern within the US government aboutthe public knowledge of the contents of his book. President Ronald Reagan states in his diary that he was advised against holding a public White House reception for Roosevelt, so as to not promote his book. He doesnot state who specifically advised him on this matter.Throughout Roosevelt's life, he pursued an interest in languages. A Latin and Greek scholar when he was a boy, he had a speaking or reading knowledge of perhaps20 languages, including French, Spanish, German, Russian, Arabic, Hebrew, Swahili, and Uzbek.Marriage and familyRoosevelt married the former Katharine W. Tweed (the daughter of Harrison Tweed) in 1940 and theyhad one son, Tweed Roosevelt born in 1942. That marriage ended in divorce in 1950.  Roosevelt later married Selwa \"Lucky\" Showker Roosevelt, who was the chief of protocol with the rank of ambassador from 1982 to"}
+{"doc_id":"doc_206","qid":"","text":"Passage 1:Paul De WeertPaul De Weert (born 27 November 1945) is a Belgian rower. He competed at the 1972 Summer Olympics and the 1976 Summer Olympics.Passage 2:Paul de LongpréPaul de Longpré(1855–1911), was a French painter of flowers, who worked mainly in the United States.Early lifePaul de Longpré was born in Lyon, France, in 1855, and was an entirely self-taught artist. From age 12, he practicedsuccessfully in Paris as a painter of fans. In 1876, at 21, he first exhibited at the Paris Salon. Having lost his money by the failure of a Paris bank, he moved in 1890 to New York City and in 1896 held an exhibition offlower paintings which secured him instant recognition.Life in HollywoodDe Longpré arrived in Los Angeles, Southern California with his family in 1899. Daeida Wilcox, with husband H. H. Wilcox the founders ofHollywood, was so eager to attract culture to the town that she gave him her homesite for his estate, three lots on Cahuenga on the north of Prospect (later Hollywood Boulevard), in exchange for three of hispaintings.In 1901, Canadian architect Louis Bourgeois designed a landmark residence for the 3 acres (1.2 ha) estate, in the Mission Revival style. The house included an art gallery to sell prints of de Longpré's paintings,and was surrounded by the expansive \"Le Roi de Fleur\" flower gardens. Estate tours became a popular tourist destination off an exclusive Balloon Route trolley spur of the Los Angeles Pacific Railroad, that later becamea Pacific Electric Redcar line, and with print sales additional sources of income for de Longpré.Paul de Longpré is listed in the 1900 US Census, Los Angeles City Ward 5, Precincts 38 B and 73 A, with his wife Josephineand daughters Blance, Alice, and Pauline. His occupation is listed as Artist, but the last name is misspelled as De Lonpre, It indicates Paul, Josephine, Blance, and Alice were born in France, and Pauline was born in NewYork City. The architect Louis Bourgeois also taught French to de Longpré's daughters, and later married his daughter Alice.Paul de Longpré died at home in Los Angeles at age 56, on 29 June 1911.Afterwards, thefamily moved back to France. The increased property values in rapidly developing Hollywood resulted in demolition of the gardens by 1924, and the house in 1927.WorksDe Longpré only painted specimens of flowers.With a delicacy of touch and feeling for color he united scientific knowledge and art. He also knew how to give expression to the subtle essence of the flowers. Painting floral scenes almost exclusively in watercolors, inthe 1900s de Longpre found inspiration in the 4,000 rose bushes he planted on his Hollywood estate. The finest of his paintings include Double Peach Blossoms and White Fringed Poppies (1902) – both widely knownthrough popular reproductions.LegacyIn present-day Hollywood, the street De Longpre Avenue, and De Longpre Park on it are both named for him.Passage 3:Paul de ScherffPaul de Scherff (14 July 1820 – 22 July1894) was a Luxembourgian politician.De Scherff was born in Frankfurt to F. H. W. von Scherff-Arnoldi, who was minister plenipotentiary of the King-Grand Duke to the German Federal Diet.  After studying law, Paul deScherff came to Luxembourg. For six years he was avocat géneral, and later became president of the superior court, at the age of 34. From 24 June 1856 to 11 November 1858 he was Administrateur général (Minister)for Public Works and Railways in the Simons Ministry. From 1869 to 1871, and then again from 1886 to 1892 he was a member of the Chamber of Deputies for the Centre, and was President of the Chamber of Deputiesfrom 1869 until 1872.When the walls of the fortress of Luxembourg were demolished in the 1870s and 1880s, Paul de Scherff was working in the ministry of public works, where he dealt with the building of themunicipal parks.He married Marie Pescatore on 14 September 1842, daughter of Constantin Jos. Antoine Pescatore and niece of Theodore Pescatore.  De Scherff was a practising member of the ReformedChurch.FootnotesPassage 4:Paul de CordonPaul de Cordon (born in 1908 in Toulouse - died in 1998 in Paris) was a French photographer known for his photographs of the circus and the Crazy Horse Saloon. He was alsorecognized for his portraits and his nudes for which he was, in 1964, considered one of the greatest photographers in the world together with Guy Bourdin and Lucien Clergue. He produced portraits of manypersonalities such as Johnny Hallyday, Gilbert Bécaud, Mireille Darc, Jacques Brel, Fernand Raynaud, Anna Karina, Samy Davis Jr., Jeanne Moreau, Steve McQueen and his long-time friends, Daniel Sorano and JacquesDufilho as well as Gonzague Saint Bris with whom he was very close  and who nicknamed him “The Toulouse-Lautrec of photography’’. In 1961 he participated alongside Edouard Boubat, Agnès Varda, Man Ray, FrankHorvat, William Klein and Robert Doisneau in the mythical exhibition \"Metamorphosis and invention of a face\" around the portrait of Anne- Marie Edvina. He was also an equestrian, fashion and advertising photographer,notably for Nikon and Beaulieu. He collaborated with Europe 1 in the years 1960/70. Paul de Cordon even tried his hand at television by co-presenting the Cirques du Monde program with Jean Richard on channel A2.His works are present in prestigious collections such as those of the National Library of France (BNF), the Rodin museum and W.M. Hunt.Early yearsPaul de Cordon was born in Toulouse. His father, Comte Pierre deCordon, was a cavalry officer; his mother, Marthe de Boyer-Montegut, a cultivated, book-loving woman, was the daughter of Paul de Boyer- Montégut, who, for many years, was mayor of Cugnaux, near Toulouse,where he owned the château de Maurens.It was in Maurens that Paul de Cordon, as a child, spent his holidays and it was there that he discovered horses which were to become one of the great passions of his life. Hisgrandfather Boyer-Montegut was what was the French call, a “Homme de cheval’’ whose four-in-hand teams were renowned in Toulouse and across the region. As a child, he also lived for several years in Mainz(Germany), where his father was stationed after the First World War. It was around this time that he started taking pictures with a small camera, a gift from his parents. He learned the basic techniques from an oldGerman photographer during long hours spent in his shop.It was also in Germany where his attraction to the circus was born. The large travelling circuses, like Althoff, then crisscrossed the country with quality showsand numerous animals.As a teenager, he was a boarder in a Paris school. He was then able to discover a very intense artistic and cultural life thanks to his aunt, the Marquise du Crozet, his mother's elder sister. Heattended performances by Serge de Diaghilev's Ballets Russes which, after the war, came on tour every year to Paris. He went to the theater and visited exhibitions with his first cousin, Aimar du Crozet, who was mucholder than him and took him \"under his wing\" to serve as his guide to the Paris of the 1920s. Aimar du Crozet also had a passion for horses and races. He was the owner of Master Bob, who won the 1924 Paris GrandSteeple Chase * and who became so famous an athlete that he is mentioned by Ernest Hemingway at the start of his book ‘’Death in the Afternoon’’.After his studies Paul de Cordon enlisted in the 18th Dragons cavalryregiment. More than a true military vocation, it was once again the love of horses that motivated him.At that time almost all the cavalry regiments were mounted and each maintained and trained horses to enter inshow jumping events and steeple chases, in which both officers and noncommissioned officers participated. In the 1930s, he thus took part in dozens of races on tracks in France and across Europe.After the 18thDragons he was assigned to the 2nd Hussards, in Tarbes, the “Chamborant’’, where he continued his favorite activities; training and riding horses. By an amusing coincidence, his great-grandmother on his mother’s sidewas Louise de Séganville, daughter of Colonel Baron de Séganville who had been the regiment’s commanding officer between 1813 and 1815.It was at the 2nd Hussards that he had two encounters that would mean alot in his life. He befriended Jacques Dufilho who, after interrupting his studies in dental prosthesis, had signed an eighteen-month enlistment contract. * Dufilho will become one of his dearest friends when they meetagain after the war. There he also meets Jean Devaivre who completed his military service at “Chamborant’’. Jean Devaivre then went to work in cinema and became a great director, it was he who enabled Paul deCordon, after the war, to embark on a new life.Devaivre was not only a cineaste but also an authentic character actor: working during the occupation for the German group Continental Films in Paris, he was at the sametime a very active member of the French resistance. His exploits include flying from the Nevers region to London clandestinely after having made the journey from Paris to Nevers in the afternoon... by bicycle. BertrandTavernier's film “Laissez-passer’’ is directly inspired by his life, as recounted in his autobiography, “Action’’.In 1939, the 2nd Hussards broke up into reconnaissance groups which took part in the 1940 battles on theArdennes front, * Paul de Cordon participated in these actions in a mounted squadron and was taken prisoner by the Germans. He ended his captivity in the fortress of Colditz where he was liberated by the US militaryon April 16, 1945.In 1945 he married Dilette de Rigaud de Vaudreuil and they had three children. He remained in the army for a few more months and was assigned to the Cadre Noir in Saumur.Second lifeAfter a fewmonths in Saumur, he decided to leave the army. In 1947 Jean Devaivre who had just directed “La dame d’onze heure\" with Paul Meurisse, a film of astonishing modernity, offered him a job as his assistant and Paul deCordon accepted.He was Devaivre’s first assistant director for “La ferme des sept péchés\" ( he was also the stuntman for scenes on horseback) and for \"Vendetta en Camargue\" where he reunited with Jacques Dufilho.At that time, in addition to being a stuntman he was also an acrobatic and burlesque dancer.At the beginning of the 1950s, Paul de Cordon decided to become a professional photographer. He set up a studio in Paris andstarted developing relations with various clients in the press, advertising agencies, fashion designers, show business ...He also began to develop a large-scale personal project on the circus and the Crazy Horse Salooncabaret. He spent many nights with his camera at Medrano, at the Bouglione brothers' Cirque d’Hiver and at the Crazy Horse Saloon. Until the 1990s he also traveled the world to visitcircuses and bring back photos.Over these years, he has developed close ties with the great dynasties of the circus ring : Schumann, Rancy, Knie, Gruss, Bouglione, Houcke, Medrano, Fratellini etc ... In all these families the horse occupied a centralrole in their performances. This equestrian culture and Paul de Cordon’s experience as a horseman facilitated and consolidated links with all these artists and strengthened their mutual confidence and friendship. Histaste for spectacle, ballets and theater helped him to appreciate and better understand the work represented by all these artists. During these years, in addition to his work as a photographer, Paul de Cordon wrote a lotabout the circus and this is how the Swiss magazine “L’Année Hippique\" often published his articles on horses and circus equestrians.Circus instants\"Faced with this obstinate pursuit of the perfect gesture, I understoodthat I was living there what I had always sought: a circus moment\". “Instants de Cirque’’ is the title of Paul de Cordon's most famous book, which brings together a selection of images taken over more than thirty yearsand which he considered particularly representative. The book was edited by Bernard de Fallois who was also a circus lover and an admirer of Paul de Cordon's photos.This book, published in 1977 by Le Chêne, allowsus, with hindsight, to better understand the originality and peculiarity of Paul de Cordon’s photos. The circus is a subject that has greatly inspired photographers attracted by the spectacular and flashy nature of thecircus ring. But there is no flashiness in the photos that appear there, they are intimate, shrouded in mystery, charged with a secret emotion. A photo of Gilbert Houcke with his tiger Prince illustrates their peculiaritywell: there is no circus ring nor lights, we are backstage, the tamer wears a worn bathrobe, there is a sort of semi-darkness which brings out the eye of the tiger and his outstretched paw, claws extended, which heoffers to the caress of the human hand. Few images make you feel with as much force the reciprocal respect and the affection that there can be between a wild beast and his tamer but also the formidable danger, thecourage it takes to face it and the amount of work and humility that represent a successful act. This photo may not be what people call a circus photo, but it illustrates what Paul de Cordon called the “instant de cirque’’.Paul de Cordon had a great admiration for tamers and loved wild animals. He liked to enter their cages, accompanied by the tamer of course. He alsochose to include on the jacket of his book, a photo of himself with thelionesses of Georges Marck, wearing the uniform of the 2nd Hussards. The photo was shot by his brother, Benoît de Cordon.Paul de Cordon was passionately fond of the circus, but he did not like being labeled as acircus photographer because the documentary aspect often linked to that genre and most often sought after by circophiles, was of no interest to him. What he was interested in and what he wanted to express in hisphotos was, he said, “the peculiarity of an artist, the very core of his art’’. He had an exceptional talent for capturing what others didn't always see, which is probably why so many circus performers wanted to bephotographed by him.Crazy Horse SaloonPaul de Cordon met Alain Bernardin at the very beginning of the Crazy Horse Saloon.The old coal cellar on the avenue George V had just been converted into a micro cabaret.The former antique dealer who invented the most cerebral strip show in the world and the recently converted cavalry officer shared a common aversion for rules and conventions and were both attracted to showbusiness and pretty women. The friendship between them that lasted many years was punctuated with sulking. They both had a touch of dandyism and a taste for beautiful fabrics and bespoke suits which led them toshare a Russian tailor before he emigrated to Hollywood to dress movie stars. Paul de Cordon took hundreds of photos at the Paris cabaret which illustrate the long history of the place . There are also many images shotin the dressing rooms. They are more intimate, devoid of any sort of voyeurism and translate the total confidence of the dancers.This part of his work is less well known as it reveals a different face of histalent.PortraitsPaul de Cordon is not considered a portrait photographer and yet, one realizes when looking at his work, that he also excelled in this particular art as evidenced by portraits of his friends the Grussbrothers, Alexis and André, of the clown Pipo and of Jean Houcke. His striking portrait of the actor Jacques Dufilho, in a black leather coat captures all the austerity and intelligence of this comedian. His portraits of popstars are of interest in that they totally ignore the canons of the yé-yé aestheticimposed by the iconic music magazine « Salut les copains » (Hello mates).Paul de Cordon worked regularly for advertising, fashion, andthe press.In advertising he worked for Nikon and Beaulieu shooting their ads and catalogues for several years.In the press he began working for horse magazines. During the 60’s he did many jobs for the music pressand for record companies including photos of pop groups, yé-yé stars, or even latin music groups (Chaussettes noires, Johnny Hallyday, Hugues Aufray, Françoise Hardy, Sylvie Vartan and los Machucambos).He wasalso involved in fashion photography and participated for several years in the July fashion show marathons when Paris studios were overbooked for night photoshoots.3 zebrasIn the contemporary world, images areeverywhere, and some photos are more famous than their photographers. Everyone knows “Le baîser de l’hôtel de Ville’’ by Robert Doisneau, “Death of a republican soldier’’ by Robert Capa, or “Dovima and theelephants\" by Avedon. Paul de Cordon most famous photo, undoubtedly, is “Three zebras’’ which has been presented in all his exhibitions and appears, of course, in Instants de Cirque although it was not shot in a circusbut at the Amsterdam Zoo in 1957. This photo was published worldwide, including in the American edition of Life in March 1962.Paul de Cordon died in March 1998 in Paris, two years before his wife, Dilette, who hadaccompanied him to circuses around the world. They are buried in Verneuil in the Nièvre. Paul de Cordon is the grandfather of Pierre-Elie de Pibrac, a photographer known inparticular for his work on the Paris Opera.Photos from his book “In Situ’’ (2014) have been exhibited in France and around the world. It was thanks to his grandfather with whom he was very close, that Pierre-Elie de Pibrac developed his vocation forphotography.Books by Paul de CordonGirls of the Crazy Horse Saloon Verlagspresse 1971Instants de Cirque Edition du chêne 1977Le Cadre Noir Julliard 1981Passage 5:Paul De KeyserPaul De Keyser (born 7 February1957) is a former Belgian racing cyclist. He rode in the 1980 Tour de France.Passage 6:Catherine I of RussiaCatherine I Alekseevna Mikhailova (Russian: Екатери́на I Алексе́евна Миха́йлова, tr. Ekaterína I AlekséyevnaMikháylova; born Polish: Marta Helena Skowrońska, Russian: Ма́рта Самуи́ловна Скавро́нская, tr. Márta Samuílovna Skavrónskaya; 15 April [O.S. 5 April] 1684 – 17 May [O.S. 6 May] 1727) was the second wife andempress consort of Peter the Great, and empress regnant of Russia from 1725 until her death in 1727.Life as a servantThe life of Catherine I was said by Voltaire to be nearly as extraordinary as that of Peter the Greathimself. Only uncertain and contradictory information is available about her early life. Said to have been born on 15 April 1684 (o.s. 5 April), she was originally named Marta Helena Skowrońska. Marta was the daughterof Samuel Skowroński (later spelled Samuil Skavronsky), a Roman Catholic farmer from the eastern parts of the Polish–Lithuanian Commonwealth, born to Minsker parents. In 1680 he married Dorothea Hahn atJakobstadt. Her mother is named in at least one source as Elizabeth Moritz, the daughter of a Baltic German woman and there is debate as to whether Moritz's father was a Swedish officer. It is likely that two storieswere conflated, and Swedish sources suggest that the Elizabeth Moritz story is probably incorrect. Some biographies state that Marta's father was a gravedigger and handyman, while others speculate that he was arunaway landless serf.Marta's parents died of the plague around 1689, leaving five children. According to one of the popular versions, at the age of three Marta was taken by an aunt and sent to Marienburg (thepresent-day Alūksne in Latvia, near the border with Estonia and Russia) where she was raised by Johann Ernst Glück, a Lutheran pastor and educator who was the first to translate the Bible into Latvian. In hishousehold she served as a lowly servant, likely either a scullery maid or washerwoman.  No effort was made to teach her to read and write and she remained illiterate throughout her life.Marta was considered a verybeautiful young girl, and there are accounts that Frau Glück became fearful that she would become involved with her son. At the age of seventeen, she was married off to a Swedish dragoon, Johan Cruse or JohannRabbe, with whom she remained for eight days in 1702, at which point the Swedish troops were withdrawn from Marienburg. When Russian forces captured the town, Pastor Glück offered to work as a translator, andField Marshal Boris Sheremetev agreed to his proposal and took him to Moscow.There are unsubstantiated stories that Marta worked briefly in the laundry of the victorious regiment, and also that she was presented inher undergarments to Brigadier General Rudolph Felix Bauer, later the Governor of Estonia, to be his mistress. She may have worked in the household of his superior, Sheremetev. It is not known whether she was hismistress, or household maid.  She travelled back to the Russian court with Sheremetev's army.Afterwards she became part of the household of Prince Alexander Menshikov, who was the best friend of Peter the Great ofRussia. Anecdotal sources suggest that she was purchased by him. Whether the two of them were lovers is disputed, as Menshikov was already engaged to Darya Arsenyeva, his future wife. It is clear that Menshikov"}
+{"doc_id":"doc_207","qid":"","text":"Passage 1:Arthur Lehman GoodhartArthur Lehman Goodhart  (1 March 1891 in New York City – 10 November 1978 in Oxford) was an American-born academic jurist and lawyer; he was Professor of Jurisprudence at theUniversity of Oxford, 1931–51, when he was also a Fellow of University College, Oxford. He was the first American to be the Master of an Oxford college, and was a significant benefactor to the college.Early life andeducationArthur Goodhart was born to a Jewish family in New York City, the youngest of three children born to Harriet \"Hattie\" (née Lehman) and Philip Julius Goodhart. His siblings were Howard Lehman Goodhart andHelen Goodhart Altschul (married to Frank Altschul). His maternal grandfather was Mayer Lehman, one of three brothers who co-founded the investment banking firm Lehman Brothers. Goodhart was educated at theHotchkiss School, Yale University and Trinity College, Cambridge. At Yale, he was an editor of campus humor magazine The Yale Record. After returning to the United States, he practised law until World War I. Followingthe war, he started to pursue an academic career in law, initially at Cambridge University and later at Oxford University where he became Professor of Jurisprudence and subsequently the Master of University College.He was editor of the Law Quarterly Review for fifty years.CareerRejected for service with British forces in World War I, in 1914, Goodhart became a member of the U.S. forces when the U.S. joined the war in 1917; hebecame counsel to the U.S. mission to Poland, in 1919.Goodhart was called to the bar by the Inner Temple 1919, and became a fellow of Corpus Christi College, Cambridge, and university lecturer in jurisprudence; heedited the Cambridge Law Journal, 1921–5, and the Law Quarterly Review, 1926. In 1931 he moved to Oxford to become professor of jurisprudence. He gave up that chair when he became Master of University College,Oxford, 1951–63. Subsequently, he was an Honorary Fellow of the college until his death in 1978. In 1952 he delivered the Hamlyn Lectures.As a member of the Law Revision Committee, Goodhart helped to promoteimprovements in various branches of the law.Personal lifeArthur Goodhart was married to Cecily Goodhart (née Carter), a devout Anglican. They had three children: Sir Philip Goodhart; William Goodhart, Lord Goodhartof Youlbury; and Charles Goodhart (after whom Goodhart's law is named).LegacyStudents during Goodhart's Mastership of University College included Bob Hawke, matriculated 1953, who was later Prime Minister ofAustralia.The Goodhart Quad and the Goodhart Building (to the east, overlooking the quad and used for student accommodation) at University College, Oxford, off Logic Lane, are named in his memory. The largestlecture theatre in the Sir David Williams Building, which houses the Faculty of Law at the University of Cambridge, is also named \"The Arthur Goodhart Lecture Theatre\" after him. Cecily's Court, a small open areacontaining a fountain, located between the Goodhart Building and 83–85 High Street, is named in memory of Goodhart's wife.Honours and titles1938 Honorary bencher, Lincoln's Inn1943, King's Counsel1948, HonoraryKnight Commander of the Order of the British Empire (KBE). As a US citizen, an honorary knighthood, and name not prefixed \"Sir\"1952, Fellow of the British AcademyHe received honorary degrees from twentyuniversitiesHonorary Fellow, Trinity College, CambridgeHonorary Fellow, University College, OxfordPassage 2:Christopher ShinnChristopher Shinn (born 1975) is an American playwright. His play Dying City (2006) wasa finalist for the 2008 Pulitzer Prize for Drama, and Where Do We Live (2004) won the 2005 Obie Award, Playwriting.Early lifeShinn was born in Hartford, Connecticut in 1975 and lives in New York. He earned a BFA,Dramatic Writing, from New York University.The Royal Court Theatre in London produced his first play Four and commissioned several plays from him. Shinn said: \"The fifteen years I was embraced by the Court allowedme to become the artist I am today.\"CareerIn an article about Shinn, Rob Weinert-Kendt observed: \"If playwright Christopher Shinn has a signature character, it is the manipulative victim — the half-sympathetic,half-deplorable sort of person whose suffering is real but who uses it as rationale for bad behavior.\" As an example, in Dying City, \"Shinn conjured twin terrors: a pair of brothers, one a straight soldier shipping off toIraq, the other a successful gay actor.\"Four was produced by the Royal Court Theatre in their Young Writers' Festival in 1998. The play was produced by the Worth Street Company at the TriBeCa Playhouse, New YorkCity, in July 2001, directed by Jeff Cohen. It was produced by the Manhattan Theatre Club at Stage II in association with the Worth Street Company in January 2002.Other People premiered at the Royal Court Theatre,Jerwood Theatre Upstairs in March 2000, directed by Dominic Cooke and featuring Daniel Evans, Doraly Rosen, James Frain, and Neil Newbon. The play opened Off-Broadway at Playwrights Horizonss New Theater Wingin October 2000. The play takes place in the East Village in 1997 shortly before Christmas, and involves roommates, current and former, all artists in various fields.Where Do We Live opened Off-Broadway at theVineyard Theatre, running from May 11, 2004, to May 30, 2004. Directed by Shinn, the cast featured Emily Bergl, Daryl Edwards, Jesse Tyler Ferguson, Luke MacFarlane, Burl Moseley, Jacob Pitts, Aaron Stanford, LizStauber and Aaron Yoo. The play won the 2005 Obie Award, Playwriting and was nominated for the 2005 GLAAD Media Awards, Outstanding New York Theater: Broadway and Off-Broadway. It was first produced at theRoyal Court in May 2002.His play Dying City was produced Off-Broadway by Lincoln Center Theater at the Mitzi E. Newhouse Theatre, from February 15, 2007, in previews, officially on March 4, 2007, to April 29, 2007.Directed by James Macdonald the cast starred Rebecca Brooksher and Pablo Schreiber. The play had its world premiere in 2006 at the Royal Court Theatre in London. The play was a finalist for the 2008 Pulitzer Prize forDrama.Shinn's play Now or Later premiered at the Royal Court Theatre in London from 3 September 2008 to 1 November 2008. Directed by Dominic Cooke, the cast featured Eddie Redmayne, Matthew Marsh, AdamJames, Domhnall Gleason, Nancy Crane and Pamela Nomvete. The play takes place during a U.S. presidential election and focuses on the crisis that the gay son of the Democratic candidate is undergoing. The play hadits US premiere at the Huntington Theatre Company, Boston in October 2012. Adriane Lenox, Tom Nelis and Grant MacDermott are featured, with direction by Michael Wilson.His adaptation of Hedda Gabler premieredon Broadway at the Roundabout Theatre Company American Airlines Theatre, from January 6, 2009, to March 29, 2009. The play was directed by Ian Rickson and starred Mary-Louise Parker as Hedda Tesman, MichaelCerveris as Jorgen Tesman, Peter Stormare as Judge Brack, and Paul Sparks as Ejlert Lovborg.Teddy Ferrara was commissioned by the Goodman Theatre, Chicago, and premiered there from February 2, 2013, to March3, 2013, directed by Evan Cabnet. The play involves a gay college student, Gabe, whose life is complicated by a tragedy on campus. The play was produced in London at the Donmar Warehouse in October 2015,directed by Dominic Cooke.An Opening in Time premiered at Hartford Stage, running from September 17 to October 11, 2015, directed by Oliver Butler. The play is set in New England and focuses on Anne, in her 60s,seeking to reconnect with a man from her past.Against premiered at the Almeida Theatre, running from August 12 to September 30, 2017, directed by Ian Rickson and starring Ben Whishaw. The play is about a SiliconValley billionaire who goes on a quest to try to get America to address its problem with violence.His adaptation of Judgment Day premiered at Park Avenue Armory on December 5, 2019.The Narcissist premiered atChichester Festival Theatre, running from August 26 to September 24, 2022, directed by Josh Seymour and starring Harry Lloyd and Claire Skinner. The play is about a political consultant who is being courted by aSenator as his personal life faces crisis.Other workHe wrote Sandcastle for \"The 24 Hour Plays\" which was performed on September 24, 2001, starring Liev Schrieber and Lili Taylor. He wrote Dance of Life for the 2003version of \"The 24 Hour Plays\", which was performed at the American Airlines Theatre in September 2003 and starred Rachel Dratch, Catherine Kellner and Sam Rockwell.He participated in the Bush Theatre's 2011project Sixty Six Books where he wrote a piece based upon a book of the King James Bible.He wrote a short play for Headlong's 2011 project Decade about the impact and legacy of 9/11.He has also written short playsfor Naked Angels, and the New York International Fringe Festival.Shinn's plays are published in collections from Theatre Communications Group and Methuen, and in acting editions from Dramatists Play Service.Shinnteaches playwriting at The New School for Drama.BibliographySource: Internet Off-Broadway DatabaseFour—1998, Royal Court TheatreOther People—2000, Royal Court TheatreThe Coming World—2001, Soho Theatre,LondonWhere Do We Live—2002, Royal Court TheatreWhat Didn't Happen—2002, Playwrights HorizonsOn the Mountain—2005, Playwrights HorizonsDying City—2006, Royal Court TheatreNow or Later—2008, RoyalCourt TheatreHedda Gabler (adaptation)—2009, Roundabout Theatre Company, American Airlines TheatrePicked—2011, Vineyard TheatreTeddy Ferrara—2013, Goodman TheatreAn Opening in Time—2015, HartfordStageAgainst—2017, Almeida TheatreJudgment Day (adaptation)—2019, Park Avenue ArmoryThe Narcissist—2022, Chichester Festival TheatreAwards and honorsFor Dying City, Shinn was a 2008 Pulitzer Prize finalist,was nominated for the 2007 Lucille Lortel Award for Outstanding Play, and was nominated for the TMA Award for Best New Play (2006). Shinn won the Obie Award in Playwriting (2005) for Where Do We Live and wasnominated for an Olivier Award for Most Promising Playwright (2003) for Where Do We Live He was shortlisted for the Evening Standard Theatre Award for Best Play (2008) for Now or Later and the South Bank ShowAward for Theatre (2008) for Now or Later. In 2020, he was nominated for a Drama Desk Award for Outstanding Adaptation for Judgment Day.He received a Guggenheim Fellowship in Playwriting (2005). He hasreceived grants from the NEA/TCG Residency Program and the Peter S. Reed Foundation, and he is a recipient of the Robert Chesley Award for Lesbian and Gay Playwriting.He was a 2019-2020 Radcliffe Fellow atHarvard. In 2020–2021, he was a Cullman Fellow at New York Public Library.Personal lifeShinn is openly gay. In 2012, Shinn was diagnosed with Ewing's sarcoma, a rare form of bone cancer, and had part of his left legamputated.Passage 3:Fiona McIntoshFiona McIntosh (born 1960) is an English-born Australian author of adult and children's books. She was born in Brighton, England and between the ages of three and eight, travelleda lot to Africa due to her father's work. At the age of nineteen, she travelled first to Paris and later to Australia, where she has lived ever since. In 2007, she released a crime novel, Bye Bye Baby, under the pen name ofLauren Crow; however, the pen name was dropped for the republished edition of Bye Bye Baby and for the sequel, Beautiful Death.Published worksAdult fictionTrinityBetrayal (2001)Revenge (2002)Destiny (2002)TheQuickeningMyrren's Gift (2003)Blood and Memory (2004)Bridge of Souls (2004)PercheronOdalisque (2005)Emissary (2006)Goddess (2007)ValisarRoyal Exile (2008)Tyrant's Blood (2009)King's Wrath (2010)JackHawksworth seriesBye Bye Baby (2007, writing under the pen-name Lauren Crow)Beautiful Death (2009)Mirror Man (2021)Dead Tide (2023)Other novelsFields of Gold (2010)The Lavender Keeper (2012)TheScrivener's Tale (2012, standalone novel set in the world of The Quickening)The French Promise (2013, sequel to The Lavender Keeper)The Tailor's Girl (2013)Tapestry (2014)Nightingale (2014)The Last Dance(2015)On The Scent of Purfume: The Making of the Perfumer's Secret (2015)The Perfumer's Secret (2015)The Chocolate Tin (2016)The Tea Gardens (2017)The Pearl Thief (2018)The Diamond Hunter (2019)TheChampagne War (2020)The Spy’s Wife (2021)The Orphans (2022)Short storiesThe Batthouse Girl (2009) in Thanks for the Mammaries (ed. Sarah Darmody)Children's fictionShapeshifterSevero's Intent (2007)Saxten'sSecret (2007)Wolf Lair (2007)King of the Beasts (2007)Other worksThe Whisperer (2009)The Rumpelgeist (2012)Non fictionHow To Write Your Blockbuster (2015)Passage 4:Hernando de CabezónHernando de Cabezón,(baptized 7 September 1541 – 1 October 1602) was a Spanish composer and organist, son of Antonio de Cabezón. Only a few of his works are extant today, and he is chiefly remembered for publishing the bulk of hisfather's work.BiographyHe was born in Madrid and probably studied music with his father. From January to December 1559 he was employed at the royal chapel, where his father worked, as a substitute organist. Hewas appointed organist of the Sigüenza Cathedral in 1563, and when his father died in 1566, he succeeded him as royal organist. Like his father, he accompanied the court on its travels; this brought him to Portugal,among other places, where he lived in 1580–1581. In 1598, when Philip II of Spain died, Cabezón went on as royal organist with his son Philip III of Spain. He drafted his will in 1598 and died four years later inValladolid.Only a few of Cabezón's compositions survive. He is chiefly remembered for Obras de música para tecla, arpa y vihuela (Madrid, 1578), a large collection of music by his father (also including five pieces byHernando). The Obras constitute the single most important source for Antonio de Cabezón's work. Hernando's own works include an organ setting of Ave maris stella and several keyboard intabulations. All of thesepieces are of very high quality, and the intabulations are notable for their rather radical departures from the vocal originals.NotesPassage 5:Charles GoodhartCharles Albert Eric Goodhart,  (born 23 October 1936) is aBritish economist. His career can be divided into two sections: his term with the Bank of England and its associated public policy; and his academic work with the London School of Economics. Charles Goodhart's workfocuses on central bank governance practices and monetary frameworks. He also conducted academic research into foreign exchange markets. He is best known as the founder of Goodhart's Law, which states: \"When ameasure becomes a target, it ceases to be a good measure.\"Early life and educationCharles Goodhart was born on 23 October 1936 to an American Jew, Arthur Lehman Goodhart, and his English wife, Cecily Carter, inOxford, England.  Arthur Lehman Goodhart studied law at Trinity College, Cambridge, eventually becoming a law don at Corpus Christi College. Following the family's move to Oxford, Charles' father became theProfessor of Jurisprudence in 1936 and the Master of University College (1951–1963). Cecily Carter brought her three sons (Phillip Goodhart, William Goodhart and Charles Goodhart) up as members of the Church ofEngland. During WWII, Arthur Goodhart's outspoken opposition to Nazism led to Charles (aged 2) being evacuated alongside his two elder brothers to the United States. Upon their return, Charles joined his brotherWilliam Goodhart at the St Leonards branch of the (Oxford) Summerfields School. Charles was then accepted to Eton College where he focused on the study of history and languages. After he finished school, hecompleted two years of compulsory national military service (1955–1956) in which he was involved with the Hungarian Revolution of 1956 and the Suez Crisis and earned the title of Second lieutenant in the King's RoyalRifle Corps.Cambridge (1957–1965)In October of 1957, Goodhart started studying economics at Cambridge University. In his first year, he came in first in his course. He learnt under economists such as Nicky Kaldor,Richard Kahn, Joan Robinson, Michael Farrell, Frank Hahn and Robin Matthews. In his final year of study, he was paired in tutorials with Sir James Mirrless. He completed his undergraduate course with First ClassHonours. After completing his undergraduate degree at Cambridge, Charles moved to the United States in 1960 to begin research at Harvard University studying trade cycles. In June 1962, following the completion ofhis PhD thesis, which analysed United States monetary history (specifically why the economy rebounded in 1907 but not in 1929), Charles and his new wife travelled back to Cambridge. Charles took up a PrizeFellowship at Trinity College and became an assistant lecturer in economics (1963–1964). He spent the next two years interpreting English monetary history by cumulating and analysing the monthly reports of theLondon Joint Stock Banks, which were published after the Barings crisis of 1890.London School of Economics (1966–1968)In 1964, Goodhart briefly joined the Department of Economic Affairs. During this time, heworked on White Papers, planning the growth of the energy, construction and housing sectors in England. Goodhart left the Department of Economic Affairs in 1966 when he joined the London School of Economics as alecturer on monetary policy. During this time, he contributed to a study on English monetary policy Monetary Policy in Twelve Industrial Countries  which was commissioned by the federal Reserve Bank of Boston. Healso co-authored an article in the field of political economy alongside R.J. Bhansali, which featured in the journal 'Political Studies'. He stayed at the London School of Economics until 1968.CareerBank of England(1968–1985)Charles left the London School of Economics to work a temporary two-year assignment at the Bank of England.  He found his expertise in monetary economics and his knowledge of Milton Friedman's ideasto be of high value.  He was allocated to the Economic Intelligence Department which was responsible for calculating and simulating economic statistics as well as writing the Bank of England's Quarterly Bulletin. His firstjob at the Bank of England was to explain the concept of domestic credit expansion to individuals within the Bank, whilst conveying the Bank's viewpoints on such issues to outside economists. In 1970, he was taskedwith empirically assessing the predictability of the demand for money, and had the results published in the Bank of England's Quarterly Bulletin in a paper called 'The Importance of Money'. During this time Goodhartserved as the first secretary of the Monetary Review Committee, who provided summarised views of monetary developments to the Chancellor and Treasury of England.Whilst attending a conference held by the ReserveBank of Australia in 1975, Goodhart wrote in his footnotes \"whenever a government seeks to rely on a previously observed statistical regularity for control purposes, that regularity will collapse\". This quote becameknown as Goodhart's Law. Goodhart's Law is commonly expressed as: \"When a measure becomes a target, it ceases to be a good measure\". In 1979, Goodhart jointly wrote a paper which was published in the Bank ofEngland's Quarterly Bulletin. This paper advised the new Thatcher government against implementing monetary base control. In the early 1980's, Goodhart joined the home finance division of the Bank of England, underJohn Fford. In 1980 he was promoted to Senior Adviser at the Bank of England and stayed at this role until 1985. Following the events of Black Saturday (1983), Goodhart travelled to Hong Kong to assist inimplementing a currency board system that was linked to the United States dollar. This system helped solve the Hong Kong monetary crisis. Goodhart served on the Hong Kong Exchange Fund Advisory Council (anadvisory board for the Hong Kong Monetary Authority) for more than a decade (1983–1997).London School of Economics (1986–2002)Following Goodhart's departure from the Bank of England, he re-joined the LondonSchool of Economics as the Norman Sosnow Professor of Banking and Finance. He co-founded the Financial Markets Group alongside Prof. Mervyn King, in 1986. In late 1987, he gave his first lecture; 'The foreignexchange market: a random walk with a dragging anchor', which was reprinted later in Economica. During this period (1988 – 1995) his work focused on foreign exchange markets, specifically analysing theefficient-market hypothesis. To help with this research, Goodhart (with the help of Reuters) built his own data series. He then collaborated with Swiss firm Olsen and Associates to lead conferences about the importance"}
+{"doc_id":"doc_208","qid":"","text":"Passage 1:Tiberius (son of Maurice)Tiberius (Greek: Τιβέριος, died 27 November 602) was the second son of Byzantine Emperor Maurice and his wife Constantina. His father intended him to inherit Italy and the westernislands, centered in Rome; however, this did not come to fruition as his father was overthrown by the new Emperor Phocas, who had him and his father executed, along with his younger brothers, in the Harbor ofEutropius, Chalcedon.Early life and familyTiberius was the second son of Byzantine Emperor Maurice, and Constantina. He was named in honor of Emperor Tiberius II, his maternal grandfather. He had an older brother,Theodosius, four younger brothers, Peter, Paul, Justin, and Justinian, and three sisters, Anastasia, Theoctiste, and Cleopatra. Maurice was not only the first Byzantine emperor since Theodosius I to produce a son, buthis and Constantina's ability to produce numerous children was the subject of popular jokes.Maurice had served as magister militum per Orientem, the commander of Byzantine forces in the East, securing decisivevictories over the Sassanian Empire. The ruling Byzantine Emperor, Tiberius II, weakened by illness, named Maurice one of his two heirs, alongside Germanus, planning to divide the empire in two, giving Maurice theEastern half. However, Germanus declined, and therefore, on 13 August 582, Maurice was married to Constantina and declared emperor. Tiberius II died the following day, and Maurice became sole emperor.LaterlifeAccording to his father's will, written in 597 when he was suffering from severe illness, Maurice intended for Tiberius to rule Italy and the western islands, centered in Rome, rather than Ravenna, with Theodosiusruling in the East, centered in Constantinople. Theophylact Simocatta, a contemporary source, states that the remainder of the empire would be split by Maurice's younger sons, and Byzantist J. B. Bury suggests onewould rule North Africa, and the other Illyricum, including Greece, with Domitian of Melitene as their guardian. Historian Johannes Wienand suggests that in this arrangement, Theodosius would serve as senior augustus,Tiberius as junior augustus, and the younger brothers as caesars.In 602 Maurice ordered the Byzantine army to winter beyond the Danube, causing troops exhausted by warfare against the Slavs to rise up, and declarePhocas their leader. The troops demanded Maurice abdicate in favor of Theodosius or General Germanus. On 22 November 602, facing riots in Constantinople led by the Green faction, Maurice and his family boarded awarship bound for Nicomedia.  Theodosius may have been at that time in the Sasanian Empire, on a diplomatic mission, or, according to some sources, was later sent by Maurice to request aid from the SassanianEmperor Khosrow II.Phocas was crowned emperor the next day, on the 23rd, after he arrived in the capital. After surviving a storm, Tiberius and his family landed at Saint Autonomos, near Praenetus, 45 miles (72 km)from Constantinople, but were forced to stay there due to Maurice's arthritis, which left him bed-ridden. They were captured by Lilios, an officer of Phocas, and brought to the Harbor of Eutropius at Chalcedon, where on27 November 602, Tiberius and his three younger brothers were put to death, followed by Maurice himself. Their remains were gathered by Gordia, Tiberius' aunt, and interred at the Monastery of Saint Mamas, whichshe had founded. Theodosius was subsequently captured and executed when he returned, while Constantina and her daughters were taken under the protection of Cyriacus II, the Patriarch of Constantinople.Passage2:Augustus II the StrongAugustus II (12 May 1670 – 1 February 1733), most commonly known as Augustus the Strong, was Elector of Saxony from 1694 as well as King of Poland and Grand Duke of Lithuania in theyears 1697–1706 and from 1709 until his death in 1733. He belonged to the Albertine line of the House of Wettin.Augustus' great physical strength earned him the nicknames \"the Strong\", \"the Saxon Hercules\" and\"Iron-Hand\". He liked to show that he lived up to his name by breaking horseshoes with his bare hands and engaging in fox tossing by holding the end of his sling with just one finger while two of the strongest men inhis court held the other end. He is also notable for fathering a very large number of children.In order to be elected king of the Polish–Lithuanian Commonwealth, Augustus converted to Roman Catholicism. As a Catholic,he received the Order of the Golden Fleece from the Holy Roman Emperor and established the Order of the White Eagle, Poland's highest distinction. As Elector of Saxony, he is perhaps best remembered as a patron ofthe arts and architecture. He transformed the Saxon capital of Dresden into a major cultural centre, attracting artists from across Europe to his court. Augustus also amassed an impressive art collection and built lavishbaroque palaces in Dresden and Warsaw. In 1711 he served as the Imperial vicar of the Holy Roman Empire.His reigns brought Poland some troubled times. He led the Polish–Lithuanian Commonwealth in the GreatNorthern War, which allowed the Russian Empire to strengthen its influence in Europe, especially within Poland. His main pursuit was bolstering royal power in the Commonwealth, characterized by broaddecentralization in comparison with other European monarchies. He tried to accomplish this goal using foreign powers and thus destabilized the state. Augustus ruled Poland with an interval; in 1704 the Swedesinstalled nobleman Stanisław Leszczyński as king, who officially reigned from 1706 to 1709 and after Augustus' death in 1733 which sparked the War of the Polish Succession.Augustus' body was buried in Poland's royalWawel Cathedral in Kraków, but his heart rests in the Dresden Cathedral. His only legitimate son, Augustus III of Poland, became king in 1733.Early lifeAugustus was born in Dresden on 12 May 1670, the younger sonof John George III, Elector of Saxony and Princess Anna Sophie of Denmark. As the second son, Augustus had no expectation of inheriting the electorate, since his older brother, Johann Georg IV, assumed the post afterthe death of their father on 12 September 1691. Augustus was well educated, and spent some years in travel and in fighting against France.Augustus married Kristiane Eberhardine of Brandenburg-Bayreuth in Bayreuthon 20 January 1693. They had a son, Frederick Augustus II (1696–1763), who succeeded his father as Elector of Saxony and King of Poland as Augustus III.While in Venice during the carnival season, his older brother,the Elector Johann Georg IV, contracted smallpox from his mistress Magdalena Sibylla of Neidschutz. On 27 April 1694, Johann Georg died without legitimate issue and Augustus became Elector of Saxony, as FriedrichAugustus I.Conversion to CatholicismTo be eligible for election to the throne of the Polish–Lithuanian Commonwealth in 1697, Augustus had to convert to Roman Catholicism. The Saxon dukes had traditionally beencalled \"champions of the Reformation\". Saxony had been a stronghold of German Protestantism and Augustus' conversion was therefore considered shocking in Protestant Europe. Although the prince-elector guaranteedSaxony's religious status quo, Augustus' conversion alienated many of his Protestant subjects. As a result of the enormous expenditure of money used to bribe the Polish nobility and clergy, Augustus' contemporariesderisively referred to the Saxon duke's royal ambitions as his \"Polish adventure\".His church policy within the Holy Roman Empire followed orthodox Lutheranism and ran counter to his new-found religious and absolutistconvictions. The Protestant princes of the empire and the two remaining Protestant electors (of Hanover and Prussia) were anxious to keep Saxony well-integrated in their camp. According to the Peace of Augsburg,Augustus theoretically had the right to re-introduce Roman Catholicism (see Cuius regio, eius religio), or at least grant full religious freedom to his fellow Catholics in Saxony, but this never happened. Saxony remainedLutheran and the few Roman Catholics residing in Saxony lacked any political or civil rights. In 1717, it became clear just how awkward the situation was: to realize his ambitious dynastic plans in Poland and Germany,it was necessary for Augustus' heirs to become Roman Catholic. After five years as a convert, his son—the future Augustus III—publicly avowed his Roman Catholicism. The Saxon Estates were outraged and revolted asit became clear that his conversion to Catholicism was not only a matter of form, but of substance as well.Since the Peace of Westphalia, the Elector of Saxony had been the director of the Protestant body in theReichstag. To placate the other Protestant states in the Empire, Augustus nominally delegated the directorship of the Protestant body to Johann Adolf II, Duke of Saxe-Weissenfels. However, when the Elector's son alsoconverted to Catholicism, the Electorate faced a hereditary Catholic succession instead of a return to a Protestant Elector upon Augustus's death. When the conversion became public in 1717, Brandenburg-Prussia andHanover attempted to oust Saxony from the directorship and appoint themselves as joint directors, but they gave up the attempt in 1720. Saxony would retain the directorship of the Protestant body in the Reichstaguntil the dissolution of the Holy Roman Empire in 1806, despite the fact that all remaining Electors of Saxony were Catholic.The wife of Augustus, the Electress Christiane Eberhardine, refused to follow her husband'sexample and remained a staunch Protestant. She did not attend her husband's coronation in Poland and led a rather quiet life outside Dresden, gaining some popularity for her stubbornness.King of Poland for the firsttimeFollowing the death of Polish King John III Sobieski and having converted to Catholicism, Augustus won election as King of the Polish–Lithuanian Commonwealth in 1697 with the backing of Imperial Russia andAustria, which financed him through the banker Berend Lehmann. At the time, some questioned the legality of Augustus' elevation, since another candidate, François Louis, Prince of Conti, had received more votes.Each candidate, Conti and Augustus, was proclaimed as king by a different ecclesiastical authority: (the Primate Michaŀ Radziejowski proclaimed Conti and the bishop of Kujawy, Stanisław Dąmbski proclaimed Augustus,with Jacob Heinrich von Flemming swearing to the pacta conventa as Augustus's proxy). However, Augustus hurried to the Commonwealth with a Saxon army, while Conti stayed in France for two months.Although hehad led the imperial troops against Turkey in 1695 and 1696 without very much success, Augustus continued the war of the Holy League against Turkey, and after a campaign in Moldavia, his Polish army eventuallydefeated the Tatar expedition in the Battle of Podhajce in 1698. This victory compelled the Ottoman Empire to sign the Treaty of Karlowitz in 1699. Podolia and Kamieniec Podolski returned to Poland. An ambitious ruler,Augustus hoped to make the Polish throne hereditary within his family, and to use his resources as Elector of Saxony to impose some order on the chaotic Polish–Lithuanian Commonwealth. He was, however, soondistracted from his internal reform projects by the possibility of external conquest. He formed an alliance with Denmark's Frederick IV and Russia's Peter I to strip Sweden's young King Charles XII (Augustus' cousin) ofhis possessions. Poland's reward for participation in the Great Northern War was to have been the Swedish territory of Livonia. Charles proved an able military commander, however, quickly forcing the Danes out of thewar and then driving back the Russians at Narva in 1700, thereby allowing him to focus on the struggle with Augustus. However, this war ultimately proved as disastrous for Sweden as for Poland.Charles defeatedAugustus' army at Riga in July 1701, forcing the Polish-Saxon army to withdraw from Livonia, and followed this up with an invasion of Poland. He captured Warsaw on 14 May 1702, defeated the Polish-Saxon armyagain at the Battle of Kliszów (July 1702), and took Kraków. He defeated another of Augustus' armies under the command of Generalfeldmarschall Adam Heinrich von Steinau at the Battle of Pułtusk in spring 1703, andbesieged and captured Toruń.By this time, Augustus was certainly ready for peace, but Charles felt that he would be more secure if he could establish someone with whom he had more influence on the Polish throne. In1704 the Swedes installed Stanisław Leszczyński and tied the commonwealth to Sweden, which compelled Augustus to initiate military operations in Poland alongside Russia (an alliance was concluded in Narva insummer 1704). The resulting civil war in Poland (1704-1706) and the Grodno campaign (1705-1706) did not go well for Augustus. Following the Battle of Fraustadt, on 1 September 1706, Charles invaded Saxony,forcing Augustus to yield the Polish throne to Leszczyński by the Treaty of Altranstädt (October 1706).Meanwhile, Russia's Tsar Peter had reformed his army, and he dealt a crippling defeat to the Swedes at the Battle ofPoltava (1709). This spelled the end of the Swedish Empire and the rise of the Russian Empire.King of Poland for the second timeThe weakened Polish–Lithuanian Commonwealth soon came to be regarded as almost aprotectorate of Russia. In 1709 Augustus II returned to the Polish throne under Russian auspices. Once again he attempted to establish an absolute monarchy in the Polish–Lithuanian Commonwealth, but was facedwith opposition from the nobility (szlachta, see Tarnogród Confederation). He was handicapped by the mutual jealousy of the Saxons and the Poles, and a struggle broke out in Poland which was only ended when theking promised to limit the number of his army in that country to 18,000 men. Peter the Great seized on the opportunity to pose as mediator, threatened the Commonwealth militarily, and in 1717 forced Augustus andthe nobility to sign an accommodation favorable to Russian interests, at the Silent Sejm (Sejm Niemy).For the remainder of his reign, in an uneasy relationship, Augustus was more or less dependent on Russia (and to alesser extent, on Austria) to maintain his Polish throne. He gave up his dynastic ambitions and concentrated instead on attempts to strengthen the Commonwealth. Faced with both internal and foreign opposition,however, he achieved little. In 1729 he established the Grand Musketeers Company in Dresden, one of the oldest Polish officers' schools, which in 1730 was relocated to Warsaw.Augustus died at Warsaw in 1733.Although he had failed to make the Polish throne hereditary in his house, his eldest son, Frederick Augustus II of Saxony, succeeded him to the Polish throne as Augustus III of Poland although he had to be installed bythe Russian Army during the War of the Polish Succession.LegacyAugustus II and the artsAugustus is perhaps best remembered as a patron of the arts and architecture. He had beautiful palaces built in Dresden, a citythat became renowned for extraordinary cultural brilliance. He introduced the first public museums, such as the Green Vault in 1723, and started systematic collection of paintings that are now on display in the OldMasters Gallery.From 1687 to 1689, Augustus toured France and Italy. The extravagant court in Versailles—perfectly tailored to fit the needs of an absolute monarch—impressed him deeply. In accordance with the spiritof the baroque age, Augustus invested heavily in the representative splendor of Dresden Castle, his major residence, to advertise his wealth and power.With strict building regulations, major urban development plans,and a certain feeling for art, the king began to transform Dresden into a renowned cultural center with one of Germany's finest art collections, though most of the city's famous sights and landmarks were completedduring the reign of his son Augustus III. The most famous building started under Augustus the Strong was the Zwinger. Also known are Pillnitz Castle, his summer residence, Moritzburg Castle and Hubertusburg Castle,his hunting lodges. He greatly expanded the Saxon Palace in Warsaw with the adjacent Saxon Garden, which became the city's oldest public park and one of the first publicly accessible parks in the world. He alsoexpanded the Wilanów Palace.He granted composer Johann Adolph Hasse the title of the Royal-Polish and Electoral-Saxon Kapellmeister in 1731.A man of pleasure, the king sponsored lavish court balls, Venetian-styleballi in maschera, and luxurious court gatherings, games, and garden festivities. His court acquired a reputation for extravagance throughout Europe. He held a famous animal-tossing contest in Dresden at which 647foxes, 533 hares, 34 badgers and 21 wildcats were tossed and killed. Augustus himself participated, reportedly demonstrating his strength by holding the end of his sling by just one finger, with two of the strongest menin his court on the other end.GalleryMeissen porcelainAugustus II successfully sponsored efforts to discover the secret of manufacturing porcelain. In 1701 he rescued the young alchemist Johann Friedrich Böttger, whohad fled from the court of the king of Prussia, Frederick I, who had expected that he produce gold for him as he had boasted he could.Augustus imprisoned Böttger and tried to force him to reveal the secret ofmanufacturing gold. Böttger's transition from alchemist to potter was orchestrated as an attempt to avoid the impossible demands of the king. Being an alchemist by profession rather than a potter, gave Böttger anadvantage. He realised that the current approaches, which involved mixing fine white substances like crushed egg shells into clay, would not work. Rather, his approach was to attempt to bake clay at highertemperatures than had ever before been attained in European kilns. That approach yielded the breakthrough that had eluded European potters for a century. By the king's decree, the Royal-Polish and Electoral-SaxonPorcelain Manufactory was established in Meissen in 1709. The manufacture of fine porcelain continues at the Meissen porcelain factory.Order of the White EagleIn November 1705 in Tykocin, Augustus founded theOrder of the White Eagle, Poland's first and preeminent order of chivalry. In 1723 he bought the Großsedlitz estate near Dresden, and after expanding the palace and garden complex, in 1727 he organized there the firstever festivities of the Order of the White Eagle. In Warsaw, the Saxon Garden (Polish: Ogród Saski) commemorates the role of Augustus II in expanding the city's public places.OtherAugustus II was called \"the Strong\"for his bear-like physical strength and for his numerous offspring (only one of them his legitimate child and heir). The most famous of the king's children born out of wedlock was Maurice de Saxe, a brilliant strategistwho attained the highest military ranks in the kingdom of France. In the War of the Polish Succession he remained loyal to his employer Louis XV of France, who was married to the daughter of Augustus's rival StanisławI Leszczyński.Augustus was 1.76 meters (5 ft 9 in) tall, above average height for that time, but despite his extraordinary physical strength, he did not look big. In his final years he suffered from diabetes mellitus andbecame obese, at his death weighing some 110 kilograms (240 lb). Augustus II's body was interred in the Wawel Cathedral in Kraków—all but his heart, which rests at the Dresden Cathedral.FilmIn 1936 Augustus wasthe subject of a Polish-German film Augustus the Strong directed by Paul Wegener. Augustus was portrayed by the actor Michael Bohnen.Illegitimate issueThe Electress Christiane, who remained Protestant and refusedto move to Poland with her husband, preferred to spend her time in the mansion in Pretzsch on the Elbe, where she died.Augustus, a voracious womanizer, never missed his wife, spending his time with a series ofmistresses:1694–1696 with Countess Maria Aurora von Königsmarck1696–1699 with Countess Anna Aloysia Maximiliane von Lamberg1698–1704 with Ursula Katharina of Altenbockum, later Princess ofTeschen1701–1706 with Maria Aurora, later married von Spiegel, a woman of Turkish origin captured as a toddler named Fatima at the Siege of Buda (1686) and brought up in Sweden as the goddaughter of MariaAurora von Königsmarck1704–1713 with Anna Constantia von Brockdorff, later Countess of Cosel1706–1707 with Henriette Rénard1708 with Angélique Debargues, French dancer and actress1713–1719 with MariaMagdalena of Bielinski, by her first marriage Countess of Dönhoff and by the second Princess Lubomirska1720–1721 with Erdmuthe Sophie of Dieskau, by marriage of Loß1721–1722 with Baroness Kristiane ofOsterhausen, by marriage of StanisławskiSome contemporary sources, including Wilhelmine of Bayreuth, claimed that Augustus had as many as 365 or 382 children. The number is extremely difficult to verify. Perhaps"}
+{"doc_id":"doc_209","qid":"","text":"Passage 1:Hafsa HatunHafsa Hatun (Ottoman Turkish: \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000, \"young lioness\") was a Turkish princess, and a consort of Bayezid I, Sultan of the Ottoman Empire.LifeHafsa Hatun was the daughter of IsaBey, the ruler of the Aydinids. She was married to Bayezid in 1390, upon his conquest of the Aydinids. Her father had surrendered without a fight, and a marriage was arranged between her and Bayezid. Thereafter, Isawas sent into exile in Iznik, shorn of his power, where he subsequently died. Her marriage strengthened the bonds between the two families.CharitiesHafsa Hatun's public works are located within her father's territoryand may have been built before she married Bayezid. She commissioned a fountain in Tire city and a Hermitage in Bademiye, and a mosque known as \"Hafsa Hatun Mosque\" between 1390 and 1392 from the moneyshe received in her dowry.See alsoOttoman dynastyOttoman EmpirePassage 2:Cornelia (mother of the Gracchi)Cornelia (c. 190s – c. 115 BC) was the second daughter of Publius Cornelius Scipio Africanus, a Romangeneral prominent in the Second Punic War, and Aemilia Paulla. Although drawing similarities to prototypical examples of virtuous Roman women, such as Lucretia, Cornelia puts herself apart from the rest because ofher interest in literature, writing, and her investment in the political careers of her sons. She was the mother of the Gracchi brothers, and the mother-in-law of Scipio Aemilianus.BiographyCornelia married TiberiusSempronius Gracchus, grandson of Tiberius Sempronius Gracchus, when he was already in middle age. The union proved to be a happy one, and together they had 12 children, which is very unusual by Romanstandards. Six of them were boys and six were girls. Only three are known to have survived childhood: Sempronia, who married her cousin Publius Cornelius Scipio Aemilianus, and the two Gracchi brothers (Tiberiusand Gaius Gracchus), who would defy the political institutions of Rome with their attempts at popular reforms.After her husband's death, she chose to remain a widow while still enjoying a princess-like status and setherself to educating her children. She even refused the marriage proposal of King Ptolemy VIII Physcon because she is made to be a virtuous and dutiful wife after the death of her only husband. However, her refusalcould simply be justified by the fact that she had a desire for more independence and freedom in the manner in which her children were to be raised.Later in her life, Cornelia studied literature, Latin, and Greek. Corneliatook advantage of the Greek scholars she brought to Rome, notably the philosophers Blossius (from Cumae) and Diophanes (from Mytilene), who were to educate young men. She had been taught the importance ofreceiving an education and came to play an extensive role in her sons' education during the \"bygone republican era,\" resulting in the creation of a \"superior breed of Roman political leader.\" Cornelia always supportedher sons Tiberius and Gaius, even when their actions outraged the conservative patrician families in which she was born. She took a lot of pride in them, comparing her children to \"jewels\" and other precious things,according to Valerius Maximus.After their violent deaths, she retired from Rome to a villa in Misenum but continued to receive guests. Her villa saw the likes of many learned men, including Greek scholars, who camefrom all over the Roman world to read and discuss their ideas freely. Rome worshipped her virtues, and when she died at an advanced age, the city voted for a statue in her honor.Role in the political careers of herchildrenIt is important to note that M. I. Finely advances the argument that \"the exclusion of women from any direct participation in political or governmental activity\" was a normal practice in Ancient Roman society.Therefore, it is extremely difficult to characterize the extent of Cornelia's involvement in the political careers of her children, yet there is important evidence to support the fact that she was, at the very least, engaged.Acommon social practice in Rome was extending the political line of a family through dynastic marriages, especially when two families were rising to power at about the same time. The marriage of Sempronia (Cornelia'sdaughter) to her cousin reaffirmed the continuation of the great Scipio lineage, seeing as though the legacy of Scipio Africanus had to be continued somehow. Scipio Aemilianus saw important growth in his politicalprestige as a result of this marriage, although not enough to compare to his brothers-in-law and their revolutionary political reforms.One of the most important aspects of the life of Cornelia is her relationship with heradult sons. Most of the information that we have on her role during this time is what Plutarch wrote in both the Life of Tiberius Gracchus and the Life of Gaius Gracchus. She is portrayed as active during their politicalcareers, especially during Gaius’.Plutarch writes of how Gaius removed a law that disgraced Marcus Octavius, the tribune whom Tiberius had deposed, because Cornelia asked him to remove it.  Plutarch states that thepeople all approved of this out of respect for her (due to her sons and her father). Plutarch also writes that Cornelia may have helped Gaius undermine the power of the consul Lucius Opimius by hiring foreign harvestersto help provide resistance (which suggests that harvesters were supporters of the Gracchi).Plutarch also writes that, when one of Gaius's political opponents attacked Cornelia, Gaius retorted:\"What,\" said he, \"dost thouabuse Cornelia, who gave birth to Tiberius?\" And since the one who had uttered the abuse was charged with effeminate practices, \"With what effrontery,\" said Gaius, \"canst thou compare thyself with Cornelia? Hastthou borne such children as she did? And verily all Rome knows that she refrained from commerce with men longer than thou hast, though thou art a man.\"This remark suggests that the Gracchi used their mother'sreputation as a chaste, noble woman to their advantage in their political rhetoric.Cornelia's letter excerptsThe manuscripts of Cornelius Nepos, the earliest Latin biographer (ca. 110-24 BC), include several excerpts froma letter supposedly composed by Cornelia to Gaius (her younger son). If the letters are authentic, they would make Cornelia one of only four Roman women whose writings survive to the present day, and they wouldshow how Roman women wielded considerable influence in political families. Additionally, this would make Cornelia the first woman in her own family who wrote and passed down the importance of writing to herposterity. The letters may be dated to just before Gaius' tribunate in 122 BC (Gaius would be killed the following year in 121 BC, over a decade after the death of his brother Tiberius in 133 BC). The wording in the letteris very interesting, insomuch as it uses the first person, is very assertive and displays copious amounts of raw emotion, which may have been new and unusual for a woman writing at that time, particularly to a man ofsuch important social standing. The two excerpts read as follows:\"You will say that it is a beautiful thing to take on vengeance on enemies. To no one does this seem either greater or more beautiful than it does to me,but only if it is possible to pursue these aims without harming our country. But seeing as that cannot be done, our enemies will not perish for a long time and for many reasons, and they will be as they are now ratherthan have our country be destroyed and perish....I would dare to take an oath solemnly, swearing that, except for those who have murdered Tiberius Gracchus, no enemy has foisted so much difficulty and so muchdistress upon me as you have because of the matters: you should have shouldered the responsibilities of all of those children whom I had in the past, and to make sure that I might have the least anxiety possible in myold age; and that, whatever you did, you would wish to please me most greatly; and that you would consider it sacrilegious to do anything of great significance contrary to my feelings, especially as I am someone withonly a short portion of my life left. Cannot even that time span, as brief as it is, be of help in keeping you from opposing me and destroying our country? In the final analysis, what end will there be? When will our familystop behaving insanely? When will we cease insisting on troubles, both suffering and causing them? When will we begin to feel shame about disrupting and disturbing our country? But if this is altogether unable to takeplace, seek the office of tribune when I will be dead; as far as I am concerned, do what will please you, when I shall not perceive what you are doing. When I have died, you will sacrifice to me as a parent and call uponthe god of your parent. At that time does it not shame you to seek prayers of those gods, whom you considered abandoned and deserted when they were alive and on hand? May Jupiter not for a single instant allow youto continue in these actions nor permit such madness to come into your mind. And if you persist, I fear that, by your own fault, you may incur such trouble for your entire life that at no time would you be able to makeyourself happy.\"In the early 40s BC, Cicero, Nepos's contemporary, referenced Cornelia's letters. Cicero portrayed his friend Atticus as arguing for the influence of mothers on children's speech by noting that the letters'style appeared to Atticus to show that the Gracchi were heavily influenced by Cornelia's speech more than by her rearing. Later in history, Marcus Fabius Quintilian (ca. 35- ca. 100) would reassert Atticus's view ofCornelia's letters when he said \"we have heard that their mother Cornelia had contributed greatly to the eloquence of the Gracchi, a woman whose extremely learned speech also has been handed down to futuregenerations in her letters\" (Inst. Orat. 1.1.6).4While Cicero's reference to Cornelia's letters make it clear that elite Romans of the time period were familiar with Cornelia's writings, today's historians are divided aboutwhether today's surviving fragments are authentically Cornelia's words. Instead, the fragments are likely to have been propaganda circulated by the elite optimate faction of Roman politics, who were opposed to thepopulist reforms of Cornelia's sons. The letters appear to present Cornelia (a woman with considerable cultural cachet) as opposed to her son's reforms, and Gaius as a rash radical detached from either the well-being ofthe Roman Republic or the wishes of his respected mother—meaning that the surviving fragments could either be outright contemporary forgeries or significantly altered versions of what Cornelia actually wrote.TheCornelia statueAfter her death, a marble statue of Cornelia was erected, but only the base has survived; it is \"the first likeness of a secular Roman woman set up by her contemporaries in a public space\". Her statueendured during the revolutionary reign of Sulla, and she became a model for future Roman women culminating with the portrait said to be of Helena, Emperor Constantine's mother, four hundred years later. Later,anti-populist conservatives filed away the reference to her sons and replaced it with a reference to her as the daughter of Africanus rather than the mother of the Grachii.Changing legacy over timeThe historical Corneliaremains somewhat elusive. The figure portrayed in Roman literature likely represents more what she signified to Roman writers than an objective account. This significance changed over time as Roman society evolved,in particular the role of women. The problems in interpreting the literature are compounded by the fact only one work allegedly attributed to Cornelia herself survives, and classicists have questioned its authenticitysince the nineteenth century. The Cornelia Fragments, detailed above, purport to constitute what remains of a letter written in 124 BC to her son, Gaius, and were preserved later in the manuscripts of Cornelius Nepos,who wrote on the Gracchi. In the letter, Cornelia expresses strong opposition to Gaius’ intentions to stand for the tribunate. She also urges him not to continue the revolutionary policies of his older brother TiberiusGracchus, which led ultimately to his death. The fragments were likely included in Nepos’ Life of Gaius Gracchus, now lost.Controversy over the Fragments’ authenticity has focused on the letter’s style andcontent.  While a consensus seems to agree that the fragments do resemble the writing style and language of an educated Roman aristocrat of the late second century BC, several observe Cornelia’s rebuking of Gaius’policies in the letter seems to conflict what is understood about her positions preserved in other sources. The vehemence with which she addresses Gaius seems to conflict, to some scholars, with what is believedregarding her maternal devotion. Because of these doubts, some scholars hypothesize the Fragments constitute either a later forgery created by someone wishing to separate Cornelia's political ideologies from those ofher sons, while others suggest they are a much later fabrication, representing a \"rhetorical exercise\" wherein the writer attempted to recreate what Cornelia might have said, and the letter was inadvertently included aslegitimate source material in Aemilius Probus’ edition of Nepos’ works in the 5th century AD. These theories themselves prove problematic, as the letter constitutes only one data point, and are therefore insufficient inreconstructing broad conclusions about Cornelia's political ideals or making inferences about nebulous ideas of \"maternal devotion.\" As has also been pointed out, if they do in fact represent the work of a forger, he wasan expert in the grammar, language, and writing style of the late 2nd  century Roman elite. A majority seems to believe that the Fragments are authentic and represent a private letter written by a highly educatedwoman, who never intended her stern rebuke to be read by anyone but her son.With the Fragments being the only primary source material produced by Cornelia that survive, the reconstruction of the historical Corneliarelies mainly on how later Roman writers saw her. This is problematic because Roman depictions of Cornelia clearly change over time. The earliest image of Cornelia, painted largely by Plutarch's views, is of anaristocratic woman, spending much of her time living extravagantly in her family's villa, who because of her family's wealth, opportunities, and interest in education (particularly Greek), receives the best-possibleeducation in Latin and Greek rhetoric.  She is somewhat controversial, both for her sons’ political policies and for having developed (and frequently making use of) such strong rhetorical abilities, despite being a woman.These early accounts emphasize her education and abilities but place comparatively much less emphasis on her maternal role.Over subsequent centuries Cornelia evolved in the eyes of Roman writers, and her memorywas adapted to fit their agendas. Her educational achievement and abilities were de-emphasized in favor of her example of \"idealized maternity.\"   Her education was incorporated into her role as mother: education inorder to pass it on to her sons. She was excised from the political controversy that surrounded her family and transformed into a heroic figure. As historian Emily Hemelrijk concludes, \"the Cornelia we know is to a highdegree a creation of later times.\"Modern representationsAn anecdote related by Valerius Maximus in his Factorum ac dictorum memorabilium libri IX (IV, 4, incipit) demonstrates Cornelia's devotion to and admirationfor her sons. When women friends questioned Cornelia about her mode of dress and personal adornment, which was far more simple and understated than was usual for a wealthy Roman woman of her rank and station,Cornelia indicated her two sons and said, haec ornamenta mea [sunt], i.e., \"These are my jewels.\"She is memorialized as Cornelia Gracchi, her name gilded on the Heritage Floor, of Judy Chicago's iconic feministartwork, The Dinner Party (1974–1979).See alsoWomen in RomeScipio-Paullus-Gracchus family treeNotesPassage 3:Vera MiletićVera Miletić (Serbian Cyrillic: Вера Милетић; 8 March 1920 – 7 September 1944) was aSerbian student and soldier. She was notable for being the mother of Mira Marković, posthumously making her the mother-in-law of Serbian president Slobodan Milošević.Personal lifeHer cousin was DavorjankaPaunović who was the personal secretary of Communist Party of Yugoslavia leader Josip Broz Tito.Passage 4:Eldon HowardEldon Howard was a British screenwriter. She was the mother-in-law of Edward J. Danziger andwrote a number of the screenplays for films by his company Danziger Productions.Selected filmographyA Woman of Mystery (1958)Three Crooked Men (1958)Moment of Indiscretion (1958) (with BrianClemens)Innocent Meeting (1959)An Honourable Murder (1960)The Spider's Web (1960)The Tell-Tale Heart (1960)Highway to Battle (1961)Three Spare Wives (1962)Passage 5:Maria ThinsMaria Thins (c. 1593 – 27December 1680) was the mother-in-law of Johannes Vermeer and a member of the Gouda Thins family. She was raised in a devout Dutch Catholic family with two sisters and a brother. Outliving her parents andsiblings, she received inheritances over the years, making her a wealthy woman. She married a prosperous brickmaker, Reynier Bolnes, in 1622. They had three children together, Catharina, Willem, and Cornelia. By1635, Bolnes verbally and physically abused his wife and daughters. Thins moved to Delft with her daughters. Her son Willem stayed with his father. Thins was a wealthy woman due to the separation settlement of herhusband in 1649 and the estates she inherited from her family. Her daughter Catharina married Johannes Vermeer, an artist, art dealer, and operator of the family's inn in Delft. Vermeer and Catharina lived at Thinshouse by 1660. The couple had fifteen children, four of whom died in infancy. Raising nearly a dozen children strained Vermeer financially. He relied on the support from his mother-in-law. During the Franco-Dutch War(1672–1674), Vermeer became impoverished. Thins reduced the money she provided to Catharina and her husband due to the loss of income during that period. Vermeer died in 1675, and Thins died five years later.Catharina was the only one of Thins' children to survive her. Thins drew up her will to maximize what she could provide for her grandchildren and their education, while limiting how much might be taken by Catharina'screditors. Catharina died in 1687.Early lifeMaria was born c. 1593 in Gouda to a prominent Dutch Catholic family, Catharina van Hensbeeck (d. 1633) and William Thin (d. 1601). They lived in the house named DeTrapjes (The Little Steps) in Gouda. Maria had three siblings, none of whom were married. Her sister Elisabeth became a nun. She also had a sister Cornelia and a brother Jan. Since none of her siblings married, Thinsultimately inherited a large estate. The family conducted mass in their home, while at the time it was illegal for a group of Roman Catholics to assemble in Gouda. The local sheriffs broke up a religious meeting at theirhouse in 1619.Garrit Camerling (d. 1627) of Delft became her stepfather in 1605 when he married Catharina van Hensbeeck. She was related to Abraham Bloemaert (1566–1651) through her cousin Jan Geensz Thins.Before her marriage, Thins lived in Delft with a prosperous young woman who was her friend.Marriage and childrenIn 1622, Maria Thins married Reynier Bolnes (ca. 1593–1676), a prominent and prosperousbrickmaker. Thins was an heiress when she married, and she collected art, including several in the style of Utrecht Caravaggists.ChildrenThins had three children, the youngest of whom was Catharina Bolnes (c.1631–1688), nicknamed Trijntge. She also had a son Willem, and a daughter Cornelia. Around 1635, Reynier became verbally and physically abusive with her and her children. At the age of nine, Catharina ran toneighbors because she thought that Reynier's abuse of Cornelia could kill her. Reynier confessed that he physically abused Cornelia and would do it again if Thins beat their son Willem. Reynier and Willem began eatingseparately from the female members of the family, and the father encouraged his son to be abusive and noncompliant with Thins.Divided familyThins moved to Delft in 1642 to get away from her abusive husband. JanGeensz Thins, who was her guardian and cousin, purchased a home for her there the prior year. Jan became Thin's guardian following the early death of her father. Thins attained custody of her daughters in 1641 andmoved with them to Delft. William stayed with his father, whose business began to fail. Thins lived on Oude Langendijk next to the Jesuit Catholic Church in the Catholic section of Delft called paepenhoek (the Papists'Corner).Thins received half of her husband's assets, a substantial amount, in 1649. By 1653, Reynier Bolnes was bankrupt. Thins derived income from annuities, interest income, and property rentals, including"}
+{"doc_id":"doc_210","qid":"","text":"Passage 1:John III, Duke of BrabantJohn III (Dutch: Jan; 1300 – 5 December 1355) was Duke of Brabant, Lothier (1312–1355) and Limburg (1312–1347 then 1349–1355). He was the son of John II, Duke of Brabant,and Margaret of England.John and the towns of BrabantThe early fourteenth century, a period of economic boom for Brabant, marks the rise of the duchy's towns, which depended on imports of English wool for theiressential cloth industry. During John's minority, the major towns of Brabant had the authority to appoint councillors to direct a regency, under terms of the Charter of Kortenberg granted by his father in the year of hisdeath (1312). By 1356 his daughter and son-in-law were forced to accept the famous Joyous Entry as a condition for their recognition, so powerful had the states of Brabant become.The marital alignment with Francewas tested and failed as early as 1316, when Louis X requested Brabant to cease trade with Flanders and to participate in a French attack; the councillors representing the towns found this impossible, and in reprisalLouis prohibited all French trade with Brabant in February 1316, in violation of a treaty of friendship he had signed with Brabant in the previous October.The French alliance, 1332–1337After his initial period ofmaintaining independent neutrality from both France and England failed, neighbouring sovereigns in the Low Countries, stimulated as a matter of policy by Philip VI of France, became John's enemies; among theadversaries of John were the Count of Flanders, the prince-bishop of Liège, and counts of Holland and Guelders. In 1332, a crisis with the king of France arose over John's hospitality to Robert, count of Artois, during hisjourney to eventual asylum at the English court. In response to French pressure John reminded Philip that he did not hold Brabant from him but from God alone. A brief campaign of a coalition of Philip's friends came toa truce, followed by a pact at Compiègne by which John received a fief from Philip worth 2000 livres and declared himself a vassal of France. His oldest son, Jean, was betrothed to Philip's daughter Marie, and it wasagreed that the Brabançon heir would complete his education at the French court in Paris and that Robert of Artois would be expelled from Brabant.The support of France strengthened John's hand with his feudalsuzerain, the Holy Roman Emperor. Though he was technically the Emperor's feudal vassal, John had been able to ignore Emperor Louis IV's summons to join him in his intended invasion of Lombardy (1327). Theseparation of Brabant from the Empire was completed by the Burgundian dukes of Brabant in the fifteenth century.Meanwhile, the princes of the Low Countries settled their differences and formed a coalition againstBrabant with a defensive alliance in June 1333. War was briefly brought to the Duchy of Brabant in the summer of 1334, but resolved by a peace brokered by Philip at Amiens. The French king declared that John had tohand over the town of Tiel and its neighbouring villages Heerewaarden and Zandwijk to the count of Guelders and to betroth his daughter Marie to the count's son, Reinoud.The English alliance, 1337–1345When EdwardIII of England decided to press his claim to the crown of France in 1337, John, who was his first cousin, became an ally of England during the first stage of the Hundred Years' War. King Edward's diplomatic offensive todraw Brabant away from France, produced a sympathetic response from Duke John. Disrupting the staple connection between the towns of Flanders and the sources of English wool should divert it to the towns ofBrabant, notably the recently established wool exchange. Edward protected Brabançon merchants in England from arrest or the confiscation of their goods, and he sweetened his offers with a promise of £60,000, animmense sum, and to make good any losses of revenue that might result from penalties by the king of France. The same month of July 1337 John promised Edward 1,200 of his men-at-arms in the event of an Englishcampaign in France, Edward to pay their salary. In August Edward pledged not to negotiate with the king without prior consultation with the duke. The alliance, kept secret at John's insistence, came into the open whenEdward landed with his troops at Antwerp July 1338. John received the promised subsidy (March 1339) and agreed in June to betroth John's second daughter, Margaret, to Edward, the Black Prince, heir to the Englishthrone. Two seasons of inconclusive campaigning that ravaged the north of France left Edward penniless at the end of 1341; he returned home, and when he returned to the fray, it was to Brittany: he never returned tothe Low Countries.The French alliance, 1345–1355Though John was requesting papal dispensation for the marriage of Margaret and the Black Prince in 1343, the alliance with England unravelled as Edward's coffersemptied and his attentions turned elsewhere. In September 1345 representative of France and Brabant met at the Château de Saint-Germain-en-Laye to sign preliminary agreements, and by a treaty signed atSaint-Quentin, June 1347, Brabant was retained as an ally by France. Margaret was now to marry Louis of Male, who had inherited the title of count of Flanders, but whose power over the Flemish communes wasvirtually nil. A point of dispute with the count of Flanders had been the Lordship of Mechelen, a strategic enclave within Brabant: it was agreed that it would now come under full Brabançon control. Despite the diplomacyof Edward, John remained true to his French commitments until his death in December 1355.FamilyIn 1311, as his father's gesture of rapprochement with France, John married Marie d'Évreux (1303–1335), thedaughter of Count Louis d'Évreux and Margaret of Artois. They had six children:Joanna, Duchess of Brabant (24 June 1322 – 1406). Married first to William IV, Count of Holland and second to Wenceslaus I, Duke ofLuxembourg.Margaret of Brabant (9 February 1323 – 1368), married at Saint-Quentin on 6 June 1347 Louis II, Count of FlandersMarie of Brabant (1325 – 1 March 1399), Lady of Turnhout, married at Tervuren on 1July 1347 to Reginald III of Guelders.John of Brabant (1327–1335/36), married Marie of France (1326–1333), daughter of King Philip VI of France, but died soon after with no issue, buried in Tervueren.Henri of Brabant(d. 29 October 1349), Duke of Limburg and Lord of Mechelen in 1347. Died young and buried in Tervuren in 1349.Godfrey of Brabant (d. aft. 3 February 1352), Lord of Aarschot in 1346. Also died young and buried inTervuren.John also had a son born from Maria van Huldenberg, who founded the House of Brant: John I Brant, 1st Lord of Ayseau.In 1355, after all of his three legitimate sons had died, John was forced to declare hiseldest daughter Joanna his heiress, which provoked a succession crisis after his death. John III was buried in the Cistercian Abbey of Villers, Belgium. The standard history is Piet Avonds, Brabant tijdens de regering vanHertog Jan III (1312–1356) (Koninglijke Academie, Brussels) 1991.== Notes ==Passage 2:Marie of Brittany, Countess of Saint-PolMarie of Brittany (1268–1339) was the daughter of John II, Duke of Brittany, andBeatrice of England. She is also known as Marie de Dreux.FamilyHer maternal grandparents were Henry III of England and Eleanor of Provence, Henry was a son of King John of England. John was son of Henry II ofEngland and his wife Eleanor of Aquitaine.Her sister was Blanche of Brittany, wife to Philip of Artois and mother of Margaret of Artois, Robert III of Artois and Joan of Artois, Countess of Foix. Margaret was mother ofJeanne d'Évreux, Queen of France.MarriageShe married Guy IV, Count of Saint-Pol, in 1292, their children were as follows:John of Châtillon (d. 1344), Count of Saint PolJames of Châtillon (d.s.p. 1365), Lord ofAncreMahaut of Châtillon (1293–1358), married Charles of ValoisBeatrix of Châtillon, married in 1315 Jean de Dampierre, Lord of CrèvecœurIsabeau of Châtillon (d. 19 May 1360), married in May 1311 Guillaume I deCoucy, Lord of CoucyMarie of Châtillon, married Aymer de Valence, 2nd Earl of PembrokeEleanor of Châtillon, married Jean III Malet, Lord of GranvilleJoan of Châtillon, married Miles de Noyers, Lord ofMaisyDescendantsThrough her daughter Mahaut, Marie was the maternal grandmother of Marie of Valois, Isabella of Valois, who became Duchess of Bourbon and was the mother of Louis II, Duke of Bourbon, andJoanna of Bourbon, who became Queen of France. Mahaut's other daughter was Blanche of Valois, who married Holy Roman Emperor Charles IV and was the mother of Katharine of Bohemia.AncestryPassage 3:René ofAnjouRené of Anjou (Italian: Renato; Occitan: Rainièr; 16 January 1409 – 10 July 1480) was Duke of Anjou and Count of Provence from 1434 to 1480, who also reigned as King of Naples as René I from 1435 to 1442(then deposed). Having spent his last years in Aix-en-Provence, he is known in France as the Good King René (Occitan: Rei Rainièr lo Bòn; French: Le bon roi René).René was a member of the House of Valois-Anjou, acadet branch of the French royal house, and the great-grandson of John II of France.  He was a prince of the blood, and for most of his adult life also the brother-in-law of the reigning king Charles VII of France. Otherthan the aforementioned titles, he was for several years also Duke of Bar and Duke of Lorraine.BiographyRené was born on 16 January 1409 in the castle of Angers. He was the second son of Duke Louis II of Anjou,King of Naples, by Yolanda of Aragon. René was the brother of Marie of Anjou, who married the future Charles VII and became Queen of France.Louis II died in 1417 and his sons, together with their brother-in-lawCharles, were brought up under the guardianship of their mother. The elder son, Louis III, succeeded to the crown of Sicily and the Duchy of Anjou; René then became Count of Guise. In 1419, when René was only ten,he was legally married to Isabella, elder daughter of Charles II, Duke of Lorraine.René, then only ten, was to be brought up in Lorraine under the guardianship of Charles II and Louis, cardinal of Bar, both of whom wereattached to the Burgundian party, but he retained the right to bear the arms of Anjou. He was far from sympathizing with the Burgundians. Joining the French army at Reims in 1429, he was present at the consecrationof Charles VII. When Louis of Bar died in 1430, René inherited the duchy of Bar. The next year, on his father-in-law's death, he succeeded to the duchy of Lorraine. The inheritance was contested by the heir-male,Antoine de Vaudemont, who with Burgundian help defeated René at Bulgneville in July 1431. The Duchess Isabella effected a truce with Antoine, but the duke remained a prisoner of the Burgundians until April 1432,when he recovered his liberty on parole on yielding up as hostages his two sons, John and Louis.René's title as duke of Lorraine was confirmed by his suzerain, Holy Roman Emperor Sigismund, at Basel in 1434. Thisproceeding roused the anger of the Burgundian duke, Philip the Good, who required him early in the next year to return to his prison, from which he was released two years later on payment of a heavy ransom. At thedeath of his brother Louis III in 1435, he succeeded to the Duchy of Anjou and County of Maine. The marriage of Marie of Bourbon, niece of Philip of Burgundy, with John, Duke of Calabria, René's eldest son, cementedpeace between the two families.Joanna II, queen of Naples, had chosen Louis III as her presumptive heir and upon Louis' death offered it to René to inherit her kingdom after her death. After appointing a regency in Barand Lorraine, he set sail for Naples in 1438.Naples, however, was also claimed by Alfonso V of Aragon, who had been first adopted and then repudiated by Joanna II. In 1441 Alfonso laid a six-month siege to Naples.René returned to France in the same year, and though he retained the title of king of Naples his effective rule was never recovered. Later efforts to recover his rights in Italy failed. His mother Yolande, who hadgoverned Anjou in his absence, died in 1442.René took part in the negotiations with the English at Tours in 1444, and peace was consolidated by the marriage of his younger daughter, Margaret, with Henry VI ofEngland at Nancy.René now made over the government of Lorraine to his son John, who was, however, only formally installed as Duke of Lorraine on the death of Queen Isabella in 1453. René had the confidence ofCharles VII, and is said to have initiated the reduction of the men-at-arms set on foot by the king, with whose military operations against the English he was closely associated. He entered Rouen with him in November1449.After his second marriage with Jeanne de Laval, daughter of Guy of Laval and Isabella of Brittany, René took a less active part in public affairs, devoting himself to composing poetry and painting miniatures,gardening and raising animals. The fortunes of his house declined in his old age: in 1466, the rebellious Catalans offered the crown of Aragon to René. His son John, unsuccessful in Italy, was sent to take up theconquest of that kingdom but died —apparently by poison— at Barcelona on 16 December 1470. John's eldest son Nicholas perished in 1473, also under suspicion of poisoning. In 1471, René's daughter Margaret wasfinally defeated in the Wars of the Roses. Her husband and her son were killed and she herself became a prisoner who had to be ransomed by Louis XI in 1476.René retired to Aix-en-Provence and in 1474 made a will bywhich he left Bar to his grandson René II, Duke of Lorraine; and Anjou and Provence to his nephew Charles, count of Le Maine. King Louis XI seized Anjou and Bar, and two years later sought to compel René toexchange the two duchies for a pension. The offer was rejected, but further negotiations assured the lapse to the crown of the duchy of Anjou and the annexation of Provence was only postponed until the death of theCount of Le Maine. René died on 10 July 1480 at Aix, but was buried in the cathedral of Angers. In the 19th century, historians bestowed on him the epithet \"the good\".He founded an order of chivalry, the Ordre duCroissant, which preceded the royal foundation of St Michael but did not survive René.ArtsThe King of Sicily's fame as an amateur painter formerly led to the optimistic attribution to him of many paintings in Anjou andProvence, in many cases simply because they bore his arms. These works are generally in the Early Netherlandish style, and were probably executed under his patronage and direction, so that he may be said to haveformed a school of the fine arts in sculpture, painting, goldsmith's work and tapestry. He employed Barthélemy d'Eyck as both painter and varlet de chambre for most of his career.Two of the most famous worksformerly attributed to René are the triptych of the Burning Bush of Nicolas Froment of Avignon in Aix Cathedral, showing portraits of René and his second wife, Jeanne de Laval, and two illuminated Book of Hours in theBibliothèque nationale de France and the British Library. Among the men of letters attached to his court was Antoine de la Sale, whom he made tutor to his son John. He encouraged the performance of mystery plays;on the performance of a mystery of the Passion at Saumur in 1462 he remitted four years of taxes to the town, and the representations of the Passion at Angers were carried out under his auspices.He exchanged verseswith his kinsman, the poet Charles of Orléans. René was also the author of two allegorical works: a devotional dialogue, Le Mortifiement de vaine plaisance (The Mortification of Vain Pleasure, 1455), and a love quest, LeLivre du Cuer d'amours espris (The Book of the Love-Smitten Heart, 1457).  The latter fuses the conventions of Arthurian romance with an allegory of love based on the Romance of the Rose.  Both works wereexquisitely illustrated by his court painter, Barthélémy d'Eyck.  Le Mortifiement survives in eight illuminated manuscripts. Although Barthélémy's original is lost, the extant manuscripts include copies of his miniatures byJean le Tavernier, Jean Colombe, and others. René is sometimes credited with the pastoral poem \"Regnault and Jeanneton\", but this was more likely a gift to the king honoring his marriage to Jeanne de Laval.KingRené's Tournament Book (Le Livre des tournois or Traicte de la Forme de Devis d'un Tournoi; c. 1460) describes rules of a tournament. The most famous and earliest of the many manuscript copies is kept in the FrenchNational Library. This is—unusually for a deluxe manuscript—on paper and painted in watercolor.  It may represent drawings by Barthélemy d'Eyck, intended as preparatory only, which were later illuminated by him oranother artist.  There are twenty-six full and double page miniatures. The description given in the book is different from that of the pas d'armes held at Razilly and Saumur; conspicuously absent are the allegorical andchivalresque ornamentations that were in vogue at the time. René instead emphasizes he is reporting on ancient tournament customs of France, Germany and the Low Countries, combining them in a new suggestion onhow to hold a tournament. The tournament described is a melee fought by two sides. Individual jousts are only briefly mentioned.As a patron, René commissioned translations and retranslations of classical works intoFrench prose. These include Strabo, which Guarino da Verona completed in 1458; and Ovid's Metamorphoses by an unknown translator, completed in 1467.Marriages and issueRené married:Isabelle, Duchess ofLorraine (1400 – 28 February 1453) on 24 October 1420Jeanne de Laval, on 10 September 1454, at the Abbey of St. Nicholas in AngersHis legitimate children by Isabelle were:John II (2 August 1424 – 16 December1470), Duke of Lorraine and King of Naples, married Marie de Bourbon, daughter of Charles I, Duke of Bourbon, by whom he had issue. He also had several illegitimate children.Louis (16 October 1427 – between 22May and 16 October 1444), Marquis of Pont-à-Mousson and Lieutenant General of Lorraine. At the age of five, in 1432, he was sent as a hostage to Dijon with his brother John in exchange for their captive father. Johnwas released, but Louis was not and died of pneumonia in prison.Nicholas (2 November 1428 – 1430), twin with Yolande.Yolande (2 November 1428 – 23 March 1483), married Frederick of Lorraine, count ofVaudemont; mother, among others, of Duke René II of Lorraine.Margaret (23 March 1430 – 25 August 1482), married King Henry VI of England, by whom she had a son, Edward of Westminster, Prince of Wales.Charles(1431 – 1432), Count of Guise.Isabelle (died young).René (died young).Louise (1436 – 1438).Anna (1437 – 1450, buried in Gardanne).He also had three illegitimate children:John, Bastard of Anjou (d. 1536), Marquisof Pont-à-Mousson, married 1500 Marguerite de Glandeves-Faucon.Jeanne Blanche (d. 1470), Lady of Mirebeau, married in Paris 1467 Bertrand de Beauvau (d. 1474).Madeleine (d. aft. 1515), Countess of Montferrand,married in Tours 1496 Louis Jean, seigneur de Bellenave.Cultural referencesHe appears as \"Reignier\" in William Shakespeare's play Henry VI, part 1. His alleged poverty for a king is satirised. He pretends to be theDauphin to deceive Joan of Arc, but she sees through him. She later claims to be pregnant with his child.René's honeymoon, devoted with his bride to the arts, is imagined in Walter Scott's novel Anne of Geierstein(1829). The imaginary scene of his honeymoon was later depicted by the Pre-Raphaelite painters Ford Madox Brown, Edward Burne-Jones and Dante Gabriel Rossetti.In 1845 the Danish poet Henrik Hertz wrote the playKing René's Daughter about René and his daughter Yolande de Bar; this was later adapted into the opera Iolanta by Tchaikovsky.René and his Order of the Crescent were adopted as \"historical founders\" by the LambdaChi Alpha fraternity in 1912, as exemplars of Christian chivalry and charity. Ceremonies of the Order of the Crescent were referenced in formulating ceremonies for the fraternity.In conspiracy theories, such as the onepromoted in The Holy Blood and the Holy Grail, René has been alleged to be the ninth Grand Master of the Priory of Sion.La Cheminée du roi René (The Fireplace of King René), op. 205, is a suite for wind quintet,composed in 1941 by Darius Milhaud.Chant du Roi René (Song of King René) is a piece for organ (or harmonium) by Alexandre Guilmant (1837–1911) from his collection of Noels (Op.60).  The theme used throughoutthis piece was alleged to have been written by René (Guilmant's source was Alphonse Pellet, organist at Nîmes Cathedral).ArmsRené frequently changed his coat of arms, which represented his numerous and fluctuatingclaims to titles, both actual and nominal.The Coat of arms of René in 1420; Composing the arms of the House of Valois-Anjou (top left and bottom right), Duchy of Bar (top right and bottom left), and of the Duchy of"}
+{"doc_id":"doc_211","qid":"","text":"Passage 1:Bernie BonvoisinBernard Bonvoisin (French pronunciation: [b\u0000\u0000na\u0000 b\u0000̃vwaz\u0000̃]), known as Bernie Bonvoisin (French pronunciation: [b\u0000\u0000ni b\u0000̃vwaz\u0000̃], born 9 July 1956 in Nanterre, Hauts-de-Seine), is aFrench hard rock singer and film director. He is best known for having been the singer of Trust.He was one of the best friends of Bon Scott the singer of AC/DC and together they recorded the song \"Ride On\" which wasone of the last songs by Bon Scott.External linksBernie Bonvoisin at IMDbPassage 2:Caspar BabypantsCaspar Babypants is the stage name of children's music artist Chris Ballew, who is also the vocalist and bassist ofThe Presidents of the United States of America.HistoryBallew's first brush with children's music came in 2002, when he recorded and donated an album of traditional children's songs to the nonprofit Program for EarlyParent Support titled \"PEPS Sing A Long!\" Although that was a positive experience for him, he did not consider making music for families until he met his wife, collage artist Kate Endle. Her art inspired Ballew to considermaking music that \"sounded like her art looked\" as he has said. Ballew began writing original songs and digging up nursery rhymes and folk songs in the public domain to interpret and make his own. The first album,Here I Am!, was recorded during the summer of 2008 and released in February 2009.Ballew began to perform solo as Caspar Babypants in the Seattle area in January 2009. Fred Northup, a Seattle-based comedyimprovisor, heard the album and offered to play as his live percussionist.  Northrup also suggested his frequent collaborator Ron Hippe as a keyboard player. \"Frederick Babyshirt\" and \"Ronald Babyshoes\" were theCaspar Babypants live band from May 2009 to April 2012. Both Northup and Hippe appear on some of his recordings but since April 2012 Caspar Babypants has exclusively performed solo. The reasons for the changewere to include more improvisation in the show and to reduce the sound levels so that very young children and newborns could continue to attend without being overstimulated. Ballew has made two albums of Beatlescovers as Caspar Babypants. Baby Beatles! came out in September 2013 and Beatles Baby! came out in September 2015.Ballew runs the Aurora Elephant Music record label, books shows, produces, records, andmasters the albums himself. Distribution for the albums is handled by Burnside Distribution in Portland, Oregon.Caspar Babypants has released a total of 17 albums. The 17th album, BUG OUT!, was released on May 1,2020. His album FLYING HIGH! was nominated for a Grammy Award for Best Children's Album. All 17 of the albums feature cover art by Ballew's wife, Kate Endle.\"FUN FAVORITES!\" and \"HAPPY HITS!\" are twovinyl-only collections of hit songs that Caspar Babypants has released in the last couple of years.DiscographyAlbumsPEPS (2002)Here I Am! (Released 03/17/09) Special guests: Jen Wood, Fysah ThomasMore Please!(Released 12/15/09) Special guests: Fred Northup, Ron HippeThis Is Fun! (Released 11/02/10)  Special guests: Fred Northup, Ron Hippe, Krist Novoselic, Charlie HopeSing Along! (Released 08/16/11) Special guests:Fred Northup, Ron Hippe, \"Weird Al\" Yankovic, Stone Gossard, Frances England, Rachel LoshakHot Dog! (Released 04/17/12) Special guests: Fred Northup, Ron Hippe, Rachel Flotard (Visqueen)I Found You! (Released12/18/12) Special guests: Steve Turner (Mudhoney), Rachel Flotard (Visqueen), John RichardsBaby Beatles! (Released 09/15/13)Rise And Shine! (Released 09/16/14)Night Night! (Released 03/17/15)Beatles Baby!(Released 09/18/2015)Away We Go! (Released 08/12/2016)Winter Party! (Released 11/18/16)Jump For Joy! (Released 08/18/17)Sleep Tight! (Released 01/19/18)Keep It Real! (Released 08/17/18)Best Beatles!(Released 03/29/19)Flying High! (Released 08/16/19)Bug Out! (released 05/1/20)Happy Heart! (Released 11/13/20)Easy Breezy! (Released 11/05/21)AppearancesMany Hands: Family Music for Haiti CD (released2010) – Compilation of various artistsSongs Stories And Friends: Let's Go Play – Charlie Hope (released 2011) – vocals on AlouetteShake It Up, Shake It Off (released 2012) – Compilation of various artistsKeep HopingMachine Running – Songs Of Woody Guthrie (released 2012) – Compilation of various artistsApple Apple – The Harmonica Pocket (released 2013) – vocals on Monkey LoveSimpatico – Rennee and Friends (released2015) – writer and vocals on I Am Not AfraidSundrops – The Harmonica Pocket (released 2015) – vocals on Digga Dog KidPassage 3:Richard T. JonesRichard Timothy Jones (born January 16, 1972) is an Americanactor. He has worked extensively in both film and television productions since the early 1990s. His television roles include Ally McBeal (1997), Judging Amy (1998–2005), CSI: Miami (2006), Girlfriends (2007), Grey'sAnatomy (2010), Hawaii Five-0 (2011–2014), Narcos (2015), and Criminal Minds (2017). Since 2018, he has played Police Sergeant Wade Grey on the ABC police drama The Rookie.His film roles include portrayals ofLamont Carr in Disney's Full Court Miracle (2003), Laveinio \"Slim\" Hightower in Rick Famuyiwa's coming-of-age film The Wood (1999), Mike in Tyler Perry's dramatic films Why Did I Get Married? (2007) and Why Did IGet Married Too? (2010), and Captain Russell Hampton in the Hollywood blockbuster Godzilla (2014).Early lifeJones was born in Kobe, Japan, to American parents and grew up in Carson, California. He is the son ofLorene, a computer analyst, and Clarence Jones, a professional baseball player who at the time of Jones' birth was playing for the Nankai Hawks in Osaka. He has an older brother, Clarence Jones Jr., who works as ahigh school basketball coach. They would return to North America after Clarence's retirement following the 1978 season. His parents later divorced. Jones attended Bishop Montgomery High School in Torrance,California, then graduated from Tuskegee University.CareerSince the early 1990s, Jones has worked in both film and television productions.His first television role was in a 1993 episode of the series California Dreams.That same year, he appeared as Ike Turner, Jr. in What's Love Got to Do with It. From 1999 to 2005, he starred as Bruce Calvin van Exel in the CBS legal drama series Judging Amy.Over the next two decades, Jonesstarred or guest-starred in high-profile television series such as Ally McBeal (1997), CSI: Miami (2006), Girlfriends (2007), Grey's Anatomy (2010), Hawaii Five-0 (2011–2014), Narcos (2015), and Criminal Minds(2017).His film roles include portrayals of Lamont Carr in the Disney film Full Court Miracle (2003), Laveinio \"Slim\" Hightower in Rick Famuyiwa's coming-of-age film The Wood (1999), and Mike in Tyler Perry's dramaticfilms Why Did I Get Married? (2007) and Why Did I Get Married Too? (2010), and Captain Russell Hampton in the Hollywood blockbuster Godzilla (2014).From 2017 to 2018, Jones played Detective Tommy Cavanaughin the CBS drama series Wisdom of the Crowd.Since February 2018, Jones has played the role of Sergeant Wade Gray in the ABC police procedural drama series The Rookie with Nathan Fillion.Personal lifeJoshua MediaMinistries claims that its leader, David E. Taylor, mentors Jones in ministry, and that Jones has donated $1 million to its efforts.FilmographyFilmTelevisionPassage 4:Billy MilanoBilly Milano (born June 3, 1964) is anAmerican heavy metal and hardcore punk musician. He is the singer and occasionally guitarist and bassist of crossover thrash band M.O.D., and was the singer of its predecessor, Stormtroopers of Death. Prior to thesebands, Milano played in early New York hardcore band the Psychos, which also launched the career of future Agnostic Front vocalist Roger Miret. Milano was also the singer of United Forces, which included hisStormtroopers of Death bandmate Dan Lilker. Milano managed a number of bands, including Agnostic Front, for whom he also co-produced the 1997 Epitaph Records release Something's Gotta Give and roadie forAnthrax.DiscographyStormtroopers of Death albumsStormtroopers of Death videosMethod of Destruction (M.O.D.)MasteryPassage 5:Lamman RuckerLamman Rucker  (born October 6, 1971) is an American actor.Rucker began his career on the daytime soap operas As the World Turns and All My Children, before roles in The Temptations, Tyler Perry's films Why Did I Get Married?, Why Did I Get Married Too?, and Meet theBrowns, and its television adaptation. In 2016, he began starring as Jacob Greenleaf in the Oprah Winfrey Network drama series, Greenleaf. Rucker is married to Kelly Davis Rucker, a graduate of Hampton University.As of 2022, he stars in BET+ drama The Black Hamptons.Early lifeRucker was born in Pittsburgh, Pennsylvania, the son of Malaya (née Ray) and Eric Rucker. He has partial ancestry from Barbados. Rucker spent hisformative years in the greater Washington, DC, Maryland area. He first had an interest in acting after he was placed in many child pageants.  His first acting role was as Martin Luther King in the 4th grade. He was in thedrama club in 7th grade and then attended high school at the Duke Ellington School of the Arts in Washington, D.C. Rucker studied at Carnegie-Mellon University and Duquesne University.On August 29, 2019, he sharedpersonal life experiences that he credits for his success with the Hampton University football team.CareerHis major role came in 2002 when he assumed the role of attorney T. Marshall Travers on the CBS daytime soapopera As the World Turns opposite Tamara Tunie. He left the series the following year and portrayed Garret Williams on ABC soap opera All My Children in 2005. He also had the recurring roles on the UPN sitcoms All ofUs and Half & Half.Rucker is best known for his roles in the Tyler Perry's films. He co-starred in Why Did I Get Married? (2007) and  Why Did I Get Married Too? (2010). He played Will Brown in 2008 film Meet TheBrowns. He later had a starring role on Perry's sitcom Meet the Browns reprising his role as Will from 2009 to 2011. The following year after Meet the Browns, Rucker was cast in the male lead role opposite Anne Hechein the NBC comedy series Save Me, but left after pilot episode. He later had roles in a number of small movies and TV movies. Rucker also had regular role opposite Mena Suvari in the short-lived WE tv drama series,South of Hell.In 2015, Rucker was cast as one of leads in the Oprah Winfrey Network drama series, Greenleaf. He plays Jacob Greenleaf, the eldest son of Lynn Whitfield' and Keith David'scharacters.FilmographyFilmTelevisionAward nominationsPassage 6:Percy Redfern CreedPercy Redfern Creed (13 May 1874 – November 1964), author of How to Get Things Done, 1938, The Merrymount Press, revisedas Getting Things Done, 1946, The Merrymount Press.BiographyBorn in Dublin, Ireland. Educated in England at Marlborough College (where he held a Classical Scholarship for 5 years) and at Trinity College, CambridgeUniversity (admitted 7 October 1892.)After leaving Cambridge University he entered the British Army. After seven years of service (including service in India and South Africa), he left the Army with the rank of Captainand took a position in the British House of Commons. He left this position to join the staff of The Times newspaper. He gave up newspaper work to accept an invitation from Lord Cromer to act as his Chief of Staff in aNational campaign of which Lord Cromer was the Leader. When this campaign was over he accepted an offer from Lord Roberts to act in a similar capacity to him in his famous National Service Campaign.On theoutbreak of World War I, he rejoined his regiment, the Rifle Brigade, and was appointed to the Headquarters Staff in the War Office in London. In April 1915 Lord Kitchener sent him forth as his Personal Representative,with a free hand and full responsibility, to force an Emergency Pace and Streamlined Methods in the Production of Munitions. In the course of this mission—which was successfully fulfilled within 3 months—he came intopersonal contact with King George V, Mr. Henry Asquith (the Prime Minister), and other Leading Men of the day.Thus he had the experience of serving in succession under Lords Cromer, Roberts, and Kitchener—thethree Big Men of Action of that generation—with a free hand and full responsibility to carry out their Policies.He moved to America in 1923. Prior to publication of his revised version of his book entitled Getting ThingsDone, he made an extensive study of American methods of Organization.He served as a Special Consultant in a Government Department in Washington for 14 months. Before going to Washington he worked as amember of a Trade Union in a Defense Plant—12 hours a night, 6 nights a week.In 1925, Creed was interviewed by The Christian Science Monitor. At the time he was a sportswriter. He was interviewed regarding hisfounding of a \"Sportsmanship Brotherhood\" in Boston:The object of the brotherhood is \"to foster and spread the spirit of sportsmanship throughout the world,\" and its code of honor—the code of a sportsman—is that heshall:Keep the rules;Keep faith with his comrades, play the game for his side;Keep himself fit;Keep his temper;Keep from hitting a man when he is down;Keep down his pride in victory;Keep a stout heart in defeataccepted with good grace;Keep a sound soul and a clean mind in a healthy body.From Marlborough College RegisterPercy Redfern Creed: Son of Revd. J. C. Creed of Moyglare Glebe, Maynooth, Ireland. Born: 13 May1874. Arrived at Marlborough College as a Foundation Scholar in January 1888. His boarding house was B2 where his Housemaster was Mr A. C. Champneys. He was a member of the college's 1stCricket XI in theSummer of both 1891 and 1892. He left Marlborough in July 1892 and went on to study at Trinity College, Cambridge. He joined the Army in 1897 (The Rifle Brigade) and retired from the Army in 1904. During WorldWar I he rejoined the Army in 1915 with the rank of Captain and retired from the Army again in 1920.The only other details about him which have come to hand concern his cricketing ability. At the end of his final termhere (27 July 1892) he played cricket for Marlborough College in the annual two-day match at Lords Cricket Ground in London against Rugby School. Batting at Number 3, he scored 211 runs (out of a team total of 432runs) and more or less guaranteed that Marlborough would win the match. In the College magazine (\"The Marlburian\") it described his cricketing abilities as follows:A fine bat with good cutting and driving powers, weakon the leg side, but too indifferent to the game. Fair field, at some times a brilliant one, but too slow in returning the ball.From The Rifle BrigadeHave established the following, that Percy Redfern CreedTransferred intoThe Rifle Brigade as a regular Army officer from the 9th Bn RB, which was the West Meath Militia, on 1 December 1897, as a 2/LtJoined the 3rd Bn RB in Umballah (India) in February 1898.  Still a 2/Lt.  3RB marched toRawalpindi arriving on 26 November 1898, having left Umballah on 24 October1899 – Still in Rawalpindi with 3RB.  Promoted to Lt 4 Dec 18991900 – Still in Rawalpindi.  Member of 3RB Polo Team which won the AllIndia Regimental Polo Cup1901 – 18 Jan went with 3RB to Meerut.  2 March left 3RB for The Rifle Depot, here in the barracks in Winchester1902 – Promoted to Captain on 22 Jan 1902. Joined 4RB on 2 August 1902 inSouth Africa (Bloemfontein)1903 – 13 Jan to 4 Feb sailed from S. Africa on board HM Troopship 'Ortona', arriving in Southampton (or sailed in the SS Kinfauns Castle from Cape Town to Southampton 10 to 27December 1902, as he is included in The Times list of officers on that ship). Proceeded to Chatham.  Played in the battalion rackets pair which reached the semi-final of the Army Championship.1904 – 9 March CaptCreed retired1914 – Capt Creed joined 7th Bn RB on 19 September1915 – 20 May 7RB crossed to FranceHave been unable to establish at what time Capt Creed left 7RB to join the staff.  He appears to have retired in1915.BibliographyBooks\"The Boston Society of Natural History, 1830-1930.\" (1930) (See Boston Society of Natural History.)How to Get Things Done (1938)G. T. D. (1939)Getting Things Done (1946)Articles\"Childrenas Town Planners\" for Journal of Education, 17 October 1932.Passage 7:The Notorious B.I.G.Christopher George Latore Wallace (May 21, 1972 – March 9, 1997), better known by his stage names the Notorious B.I.G.,Biggie Smalls, or simply Biggie, was an American rapper. Rooted in East Coast hip hop and particularly gangsta rap, he is cited in various media lists as one of the greatest rappers of all time. Wallace became known forhis distinctive laid-back lyrical delivery, offsetting the lyrics' often grim content. His music was often semi-autobiographical, telling of hardship and criminality, but also of debauchery and celebration.Born and raised inBrooklyn, New York City, Wallace signed to Sean \"Puffy\" Combs' label Bad Boy Records as it launched in 1993, and gained exposure through features on several other artists' singles that year. His debut album Ready toDie (1994) was met with widespread critical acclaim, and included his signature songs \"Juicy\" and \"Big Poppa\". The album made him the central figure in East Coast hip hop, and restored New York's visibility at a timewhen the West Coast hip hop scene was dominating hip hop music. Wallace was awarded the 1995 Billboard Music Awards' Rapper of the Year. The following year, he led his protégé group Junior M.A.F.I.A., a team ofhimself and longtime friends, including Lil' Kim, to chart success.During 1996, while recording his second album, Wallace became ensnarled in the escalating East Coast–West Coast hip hop feud. Following TupacShakur's murder in a drive-by shooting in Las Vegas in September 1996, speculations of involvement in Shakur's murder by criminal elements orbiting the Bad Boy circle circulated as a result of Wallace's public feudwith Shakur. On March 9, 1997, six months after Shakur's murder, Wallace was murdered by an unidentified assailant in a drive-by shooting while visiting Los Angeles. Wallace's second album Life After Death, a doublealbum, was released two weeks later. It reached number one on the Billboard 200, and eventually achieved a diamond certification in the United States.With two more posthumous albums released, Wallace has certifiedsales of over 28 million copies in the United States, including 21 million albums. Rolling Stone has called him the \"greatest rapper that ever lived\", and Billboard named him the greatest rapper of all time. The Sourcemagazine named him the greatest rapper of all time in its 150th issue. In 2006, MTV ranked him at No. 3 on their list of The Greatest MCs of All Time, calling him possibly \"the most skillful ever on the mic\". In 2020, hewas inducted into the Rock and Roll Hall of Fame.Life and career1972–1991: Early lifeChristopher George Latore Wallace was born at St. Mary's Hospital in the New York City borough of Brooklyn on May 21, 1972, theonly child of Jamaican immigrant parents. His mother, Voletta Wallace, was a preschool teacher, while his father, Selwyn George Latore, was a welder and politician. His father left the family when Wallace was two yearsold, and his mother worked two jobs while raising him. Wallace grew up at 226 St. James Place in Brooklyn's Clinton Hill, near the border with Bedford-Stuyvesant. Raised Catholic, Wallace excelled at Queen of AllSaints Middle School, winning several awards as an English student. He attended St Peter Claver Church in the borough. He was nicknamed \"Big\" because he was overweight by the age of 10. Wallace claimed to havebegun dealing drugs at about age 12. His mother, often at work, first learned of this during his adulthood.He began rapping as a teenager, entertaining people on the streets, and performed with local groups, the OldGold Brothers as well as the Techniques. His earliest stage name was MC CWest. At his request, Wallace transferred from Bishop Loughlin Memorial High School in Fort Greene to George Westinghouse Career andTechnical Education High School in Downtown Brooklyn, which future rappers Jay-Z and Busta Rhymes were also attending. According to his mother, Wallace was still a good student but developed a \"smart-ass\"attitude at the new school. At age 17 in 1989, Wallace dropped out of high school and became more involved in crime. That same year in 1989, he was arrested on weapons charges in Brooklyn and sentenced to fiveyears' probation. In 1990, he was arrested on a violation of his probation. A year later, Wallace was arrested in North Carolina for dealing crack cocaine. He spent nine months in jail before making bail.1991–1994: Earlycareer and first childAfter release from jail, Wallace made a demo tape, Microphone Murderer, while calling himself Biggie Smalls, alluding both to Calvin Lockhart's character in the 1975 film Let's Do It Again and to his"}
+{"doc_id":"doc_212","qid":"","text":"Passage 1:Arthur BeauchampArthur Beauchamp (1827 – 28 April 1910) was a Member of Parliament from New Zealand. He is remembered as the father of Harold Beauchamp, who rose to fame as chairman of the Bank of New Zealand and was the father of writer Katherine Mansfield.BiographyBeauchamp came to Nelson from Australia on the Lalla Rookh, arriving on 23 February 1861.He lived much of his life in a number of locations around the top of the South Island, also Whanganui when Harold was 11 for seven years and then to the capital (Wellington). Then south to Christchurch and finally Picton and the Sounds. He had business failures and was bankrupted twice, in 1879 and 1884. He married Mary Stanley on the Victorian goldfields in 1854; Arthur and Mary lived in 18 locations over half a century, and are buried in Picton. Six of their ten children born between 1855 and 1893 died, including the first two sons born before Harold.Beauchamp represented the Picton electorate from 1866 to 1867, when he resigned.  He had the energy and sociability required for politics, but not the private income then required to be a parliamentarian. He supported the working man and the subdivision of big estates, opposed the confiscation of Māori land and was later recognised as a founding Liberal, the party that Harold supported and was a \"fixer\" for. Yska calls their life an extended chronicle of rootlessness, business failure and almost ceaseless family tragedy and Harold called his father a rolling stone by instinct. Arthur also served on the council of Marlborough Province and is best-remembered for a 10-hour speech to that body when an attempt was made to relocate the capital from Picton to Blenheim.In 1866 he attempted to sue the Speaker of the House, David Monro. At the time the extent of privilege held by Members of Parliament was unclear; a select committee ruled that the case could proceed, but with a stay until after the parliamentary session.See alsoYska, Redmer (2017). A Strange Beautiful Excitement: Katherine Mansfield's Wellington 1888-1903. Dunedin: Otago University Press. pp. 91–99. ISBN 978-0-947522-54-4.Passage 2:Obata ToramoriObata Toramori (\u0000\u0000\u0000\u0000, 1491 – July 14, 1561) was Japanese samurai warrior of the Sengoku Period. He is known as one of the \"Twenty-Four Generals of Takeda Shingen\" He also recorded as having been wounded 41 times in 36 encounters. He was the father of Obata Masamori.See alsoIsao ObataPassage 3:John Templeton (botanist)John Templeton (1766–1825) was a pioneering Irish naturalist, sometimes referred to as the \"Father of Irish Botany\". He was a leading figure in Belfast's late eighteenth century enlightenment, initially supported the  United Irishmen, and figured prominently in the town's scientific and literary societies.FamilyTempleton was born in Belfast in 1766, the son of James Templeton, a prosperous wholesale merchant, and his wife Mary Eleanor, daughter of Benjamin Legg, a sugar refiner. The family resided in a 17th century country house to the south of the town, which been named Orange Grove in honour of William of Orange who had stopped at the house en route to his victory over James II at the Battle of the Boyne in 1690.Until the age of 16 Templeton attended a progressive, co-educational, school favoured by the town's liberal, largely Presbyterian, merchant class. Schoolmaster David Manson sought to exclude \"drudgery and fear\" by combining classroom instruction with play and experiential learning. Templeton counted among his schoolfellows brother and sister Henry Joy and Mary Ann McCracken, and maintained a warm friendship with them throughout his life.In 1799, Templeton married Katherine Johnson of Seymour Hill. Her family had been touched by the United Irish rebellion the previous year: her brother-in-law, Henry Munro, commander of the United army at the Battle of Ballynahinch, had been hanged. The couple had five children: Ellen, born on 30 September 1800, Robert, born on 12 December 1802, Catherine, born on 19 July 1806, Mary, born on 9 December 1809 and Matilda on 2 November 1813.The union between the two already prosperous merchant families provided more than ample means enabling Templeton to devote himself passionately to the study of natural history.United IrishmanLike many of his liberal Presbyterian peers in Belfast, Templeton was sympathetic to the programme and aims of the Society United Irishmen:  Catholic Emancipation and democratic reform of the Irish Parliament. But it was several years before he was persuaded to take the United Irish \"test\" or pledge. In March 1797 his friend, Mary Ann McCracken, wrote to her brother: [A] certain Botanical friend of ours whose steady and inflexible mind is invulnerable to any other weapon but reason, and only to be moved by conviction has at last turned his attention from the vegetable kingdom to the human species and after pondering the matter for some months, is at last determined to become what he ought to have been months ago.She hoped his sisters would \"soon follow him.\" Having committed himself to the patriotic union of Catholic, Protestant and Dissenter, Templeton changed the name of the family home from loyalist Orange Grove to Irish \"Cranmore\" (crann mór, 'big tree').Templeton was disenchanted by the Rebellion of 1798, and mindful of events in France , repelled by the violence. He nonetheless withdrew from the Belfast Literary Society, of which he had been a founding member in 1801, rather than accept the continued presence of Dr. James MacDonnell. MacDonnell's offence had been to subscribe forty guineas in 1803 for the capture (leading to execution) of the unreformed rebel Thomas Russell who had been their mutual friend. (While unable to \" forget the amiable Russell\", time, he conceded,  \"softened a little my feelings\": in 1825, Templeton and MacDonnell met and shook hands).GardenThe garden at Cranmore spread over 13-acre garden was planted with exotic and native species acquired on botanical excursions, from fellow botanists, nurseries, botanical gardens and abroad: \"Received yesterday a large chest of East Indian plants which I examined today.\" \"Box from Mr. Taylor\".Other plants arrived, often as seeds from North America, Australia, India, China and other parts of the British Empire  Cranmore also served as a small animal farm.for experimental animal husbandry and a kitchen garden.BotanistJohn Templeton's interest in botany began with this experimental garden laid out according to a suggestion in Rousseau's 'Nouvelle Heloise' and following Rousseau's 'Letters on the Elements of Botany Here he cultivated many tender exotics out of doors (a list provided by Nelson and began botanical studies which lasted throughout his life and corresponded with the most eminent botanists in England Sir William Hooker, William Turner, James Sowerby and, especially Sir Joseph Banks, who had travelled on Captain James Cook's voyages, and in charge of Kew Gardens. Banks tried (unsuccessfully) to tempt him to New Holland (Australia) as a botanist on the Flinders's Expedition with the offer of a large tract of land and a substantial salary. An associate of the Linnean Society, Templeton visited London and saw the botanical work being achieved there. This led to his promotion of the Belfast Botanic Gardens as early as 1809, and to work on a Catalogue of Native Irish Plants, in manuscript form and now in the Royal Irish Academy, which was used as an accurate foundation for later work by succeeding Irish botanists. He also assembled text and executed many beautiful watercolour drawings for a Flora Hibernica, sadly never finished, and kept a detailed journal during the years 1806–1825 (both now in the Ulster Museum, Belfast).[1] Of the 12000 algal specimens in the Ulster Museum Herbarium about 148 are in the Templeton collection and were mostly collected by him, some were collected by others and passed to Templeton. The specimens in the Templeton collection in the Ulster Museum (BEL) have been catalogued. Those noted in 1967 were numbered: F1 – F48. Others were in The Queen's University Belfast. All of Templeton's specimens have now been numbered in the Ulster Museum as follows: F190 – F264; F290 – F314 and F333 – F334.Templeton was the first finder of Rosa hibernicaThis rose, although collected by Templeton in 1795, remained undescribed until 1803 when he published a short diagnosis in the Transactions of the Dublin Society.Early additions to the flora of Ireland include Sisymbrium Ligusticum seoticum (1793), Adoxa moschatellina (1820), Orobanche rubra and many other plants. His work on lichens was the basis of this secton of Flora Hiberica by James Townsend Mackay who wrote of him The foregoing account of the Lichens of Ireland would have been still more incomplete, but for the extensive collection of my lamented friend, the late Mr. John Templeton, of Cranmore, near Belfast, which his relict, Mrs. Templeton, most liberally placed at my disposal. I believe that thirty years ago his acquirements in the Natural History of organised beings rivalled that of any individual in Europe : these were by no means limited to diagnostic marks, but extended to all the laws and modifications of the living force. The frequent quotation of his authority in every preceding department of this Flora, is but a brief testimony of his diversified knowledgeBotanical ManuscriptsThe MSS. left by Templeton consist of seven volumes. One of these is a small 8vo. half bound ; it is in the Library of the Royal Irish Academy, and contains 280 pp. of lists of Cryptogams, chiefly mosses, with their localities. In this book is inserted a letter from Miss F. M. More, sister of Alexander Goodman More, to Dr. Edward Perceval Wright, Secretary, Royal Irish Academy, dated March, 1897, in which she says—‘*‘ The Manuscript which accompanies this letter was drawn up between 1794 and 1810, by the eminent naturalist, John Templeton, in Belfast. It was lent by his son, Dr. R. Templeton, to my brother, Alex. G. More, when he was preparing the second edition of the ‘ Cybele Hibernica,’ on condition that it should be placed in the Library of the Royal Irish Academy afterwards.\" The other six volumes are quarto size, and contain 1,090 folios, with descriptions of many of the plants, and careful drawings in pen and pencil and colours of many species. They are now lent to the Belfast Museum. About ten years ago I [Lett]spent a week in examining these volumes, and as their contents have hitherto never been fully described, I would like to give an epitome of my investigation of them.Vol. 1.—Phanerogams, 186 folios, with 15 coloured figures, and 6 small drawings in the text.Vol. Il.—Fresh-water Algae, 246 folios, 71 of which are coloured.Vol.IIl.—Marine Algae, 212 folios, of which 79 are coloured figures. At the end of this volume are 3 folios of Mosses, the pagination of which runs with the rest of this volume, but it is evident they had at some time been misplaced.Vol. IV Fungi, 112 folios.Vol. V.—Mosses, 117 folios, of which 20 are coloured, and also 73 small drawings in the text. *Vol. VI.—Mosses and Hepatics. 117 folios are Hepatics, 40 of which are in colours ; 96 folios are Mosses, of which 39 are full-page coloured figures; and in addition there are 3 small coloured drawings in the text.All these drawings were executed by Templeton himself, they are every one most accurately and beautifully drawn; and the colouring is true to nature and artistically finished; those of the mosses and hepatics being particularly good. Templeton is not mentioned in Tate’s ‘‘ Flora Belfastiensis,’ published in 1863, at Belfast. The earliest published reference to his MSS. is in the \"* Flora of Ulster,\" by Dickie, published in 1864, where there is this indefinite allusion—‘* To the friends of the late Mr. Templeton I am indebted for permission to take notes of species recorded in his manuscript.\" The MS. was most likely the small volume now in the Royal Irish Academy Library. In the introduction to the \"*‘ Flora of the North-east of Ireland\"’ (1888), there is a brief biographical sketch of Templeton, but no mention of any MS. However, in a ‘‘ Supplement\" to the Flora (1894), there is this note— ‘* Templeton, John, four volumes of his ‘ Flora Hibernica’ at present deposited with the Belfast Natural History and Philosophical Society, contain much original matter, which could not be worked out in time for the present paper.\" This fixes the approximate date of the MSS. being loaned to the Belfast Museum. They were not known to the authors of the ‘‘ Cybele Hibernica’\"’ in 1866, while in the second edition (1898) the small volume of the MSS. in R.1.A. Library is described in the Index of Authors under its full title—Catalogue of the Native Plants of Ireland, by John Templeton, A.L.S.Notable plant findsAntrim:Northern beech fern Glenaan River, Cushendall 1809: intermediate wintergreen Sixmilewater 1794: heath pearlwort :Muck Island Islandmagee  1804: dwarf willow Slievenanee Mountain 1809: thin-leaf brookweed beside River Lagan in its tidal reaches – gone now 1797: Dovedale moss Cave Hill 1797: Arctic root Slemish Mountain pre 1825: Cornish moneywort  formerly cultivated at Cranmore, Malone Road, Belfast1 pre-1825 J. persisted to 1947: rock whitebeam  basalt cliffs of the Little Deerpark, Glenarm 15 July 1808: yellow meadow rue Portmore Lough 1800:  Moschatel Mountcollyer Deerpark 2 May 1820 , Bearberry  Fair Head pre 1825, Sea Bindweed Bushfoot dunes pre 1825,  Flixweed , 'Among the ruins of Carrickfergus I found Sisymbrium Sophia in plenty' 2 Sept. 1812 – Journal of J. Templeton J4187, Needle Spike-rush Broadwater pre 1825, Dwarf Spurge Lambeg gravel pit 1804, Large-flowered Hemp-nettle, Glenarm  pre 1825Down:Field Gentian Slieve Donard 1796: Lesser Twayblade Newtonards Park pre 1825:  Rough poppy 15 July 1797: Six-stamened Waterwort Castlewellan Lake 1808: Great Sundew going to the mountains from Kilkeel 19 August 1808: Hairy Rock-cress Dundrum Castle 1797: Intermediate Wintergree Moneygreer Bog 1797 Cowslip Holywood Warren pre 1825 long gone since: Water-violet Crossgar 7th July 1810 Scots Lovage Bangor Bay 1809, Mountain Everlasting  Newtownards 1793, Frogbit boghole near Portaferry, Parsley fern, Slieve Binnian, Mourne Mountains  19 August 1808, Bog-rosemary Wolf Island Bog 1794,  Marsh Pea Lough NeaghFermanagh: Marsh HelleborineNatural History of IrelandJohn Templeton had wide-ranging scientific interests including chemistry as it applied to agriculture and horticulture, meteorology and phenology following Robert Marsham. He published very little aside from monthly reports on natural history and meteorology in the 'Belfast Magazine' commenced in 1808. John Templeton studied birds extensively, collected shells, marine organisms (especially \"Zoophytes\") and insects, notably garden pest species. He planned a 'Hibernian Fauna' to accompany 'Hibernian Flora'. This was not published, even in part, but A catalogue of the species annulose animals and of rayed ones found in Ireland as selected from the papers of the late J Templeton Esq. of Cranmore with localities, descriptions, and illustrations Mag. Nat. Hist. 9: 233- 240; 301 305; 417–421; 466 -472[2], 1836.  Catalogue of Irish Crustacea, Myriapoda and Arachnoida, selected from the papers of the late John Templeton Esq. Mag. Nat. Hist. 9: 9–14 [3].and 1837 Irish Vertebrate animals selected from the papers of the late. John Templeton Esq Mag. Nat. Hist . 1: (n. s.): 403–413 403 -413 were (collated and edited By Robert Templeton). Much of his work was used by later authors, especially by William Thompson whose 'The Natural History of Ireland' is its essential continuation.DublinTempleton was a regular visitor to the elegant Georgian city of Dublin (by 1816 the journey was completed in one day in a wellington coach with 4 passengers) and he was a Member of the Royal Dublin Society.By his death in 1825 the Society had established a Botanic at Glasnevin \"with the following sections:1 The Linnaean garden, which contains two divisions, - Herbaceous plants, and shrub-fruit; and forest-tree plants.2. Garden arranged on the system of Jussieu. 3. Garden of Indigenous plants (to Ireland), disposed according to the system of Linnaeus. 4. Kitchen Garden, where six apprentices are constantly employed, who receive a complete knowledge of systematic botany. 5. Medicinal plants. 6. Plants eaten, or rejected, by cattle. 7. Plants used in rural economy. 8. Plants used in dyeing. 9. Rock plants. 10. Aquatic and marsh plants. - For which an artificial marsh has been formed. 11. Cryptogamics. 12. Flower garden, besides extensive hot-houses, and a conservatory for exotics\".Other associations were with Leinster House housing the RDS Museum and Library.\"Second Room. Here the animal kingdom is displayed, arranged in six classes. 1. Mammalia. 2. Aves. 3. Amphibia. 4. Pisces. 5. Insectae. 6. Vermes. Here is a great variety of shells, butterflies and beetles, and of the most beautiful species\" and the Leske collection.The library at Leinster House held 12,000 books and was particularly rich in  works on botany; \"amongst which is a very valuable work in four large folio volumes, \"Gramitia Austriaca\" [Austriacorum Icones et descriptions graminum]; by Nicholas Thomas Host\".Templeton was also associated with theFarming Society funded 1800, the Kirwanian Society  founded 1812, Marsh's Library, Trinity College Botanic Garden. Four acres supplied with both exotic and indigenous plants,the Trinity Library (80,000 volumes) and Trinity Museum.Also the Museum of the College of Surgeons.Death and legacyNever of strong constitution, he was not expected to survive, he was in failing health from 1815 and died in 1825 aged only 60, \"leaving a sorrowing wife, youthful family and many friends and townsmen who greatly mourned his death\". The Australian leguminous genus Templetonia is named for him.In 1810 Templeton had supported the veteran United Irishman, William Drennan, in the foundation of the Belfast Academical Institution. With the staff and scholars of the Institution's early Collegiate Department, he then helped form the Belfast Natural History and Philosophical Society (the origin of both the Botanical Gardens and what is now the Ulster Museum).Although always ready to communicate his own findings, Templeton did not publish much. Robert Lloyd Praeger (1865-1953), editor of the Irish Naturalist and President of the Royal Irish Academy, described him nonetheless as \"the most eminent naturalist Ireland has produced\".Templeton's son, Robert Templeton (1802-1892), educated at the Belfast Academical Institution (which was eventually to acquire Cranmore House), became an entomologist renowned for his work on Sri Lankan arthropods. Robert's fellow pupil James Emerson Tennent went on to write Ceylon, Physical, Historical and TopographicalContactsThomas Martyn From 1794 supplied Martyn with many remarks on cultivation for Martyn's edition of Miller's Gardener's Dictionary.George ShawJames Edward Smith Contributions to English Botany and Flora BritannicaJames LeeSamuel GoodenoughAylmer Bourke LambertJames SowerbyWilliam CurtisJoseph BanksRobert Brown.Lewis Weston Dillwyn's Contributions to British Confervæ (1802–07)Dawson Turner Contributions to British Fuci (1802), and Muscologia Hibernica (1804).John WalkerFrancis Rawdon-Hastings, 1st Marquess of HastingsJohn Foster, 1st Baron OrielJonathan StokesWalter WadeOtherJohn Templeton maintained a natural history cabinet containing specimens from Calobar, New Holland and The Carolinas as well as is Ireland cabinets. His library included Rees's Cyclopædia and works by Carl Linnaeus, Edward Donovan and William Swainson s:Zoological Illustrationsand he used a John Dollond microscope and lenses. He made a tour of Scotland with Henry MacKinnon. His diaries record the Comet of 1807 and the Great Comet of 1811.Gallery|See alsoLate EnlightenmentJames Townsend MackayPassage 4:AnacyndaraxesAnacyndaraxes (Greek: \u0000νακυνδαράξης) was the father of Sardanapalus, king of Assyria.Notes This article incorporates text from a publication now in the public domain: Smith, William, ed. (1870). \"Anacyndaraxes\". Dictionary of Greek and Roman Biography and Mythology. Vol. 1. p. 157-158.Passage 5:Cleomenes IICleomenes II (Greek: Κλεομένης; died 309 BC) was king of Sparta from 370 to 309 BC. He was the second son of Cleombrotus I, and grandfather of Areus I, who succeeded him. Although he reigned for more than 60 years, his life is completely unknown, apart from a victory at the Pythian Games in 336 BC. Several theories have been suggested by modern historians to explain such inactivity, but none has gained consensus.Life and reignCleomenes was the second son of king Cleombrotus I (r. 380–371), who belonged to the Agiad dynasty, one of the two royal families of Sparta (the other being the Eurypontids). Cleombrotus died fighting Thebes at the famous Battle of Leuctra in 371. His eldest son Agesipolis II succeeded him, but he died soon after in 370. Cleomenes' reign "}
+{"doc_id":"doc_213","qid":"","text":"Passage 1:Fred Le DeuxFrederick David Le Deux (born 4 December 1934) is a former Australian rules footballer who played with Geelong in the Victorian Football League (VFL). He is the grandfather of Tom Hawkins.Early lifeLe Deux grew up in Nagambie and attended Assumption College, after which he went to Bendigo to study teaching.FootballWhile a student at Bendigo Teachers' Training College, Le Deux played for the Sandhurst Football Club. He then moved to Ocean Grove to take up a teaching position and in 1956 joined Geelong.A follower and defender, Le Deux made 18 appearances for Geelong over three seasons, from 1956 to 1958 He was troubled by a back injury in 1958, which kept him out of the entire 1959 VFL season.In 1960 he joined Victorian Football Association club Mordialloc, as he had transferred to a local technical school.FamilyLe Deux's daughter Jennifer was married to former Geelong player Jack Hawkins. Jennifer died in 2015. Their son, Tom Hawkins, currently plays for Geelong.Passage 2:Lyon CohenLyon Cohen (born Yehuda Leib Cohen; May 11, 1868 – August 17, 1937) was a Polish-born Canadian businessman and a philanthropist. He was the grandfather of singer/poet Leonard Cohen.BiographyCohen was born in Congress Poland, part of the Russian Empire, to a Jewish family on May 11, 1868. He immigrated to Canada with his parents in 1871. He was educated at the McGill Model School and the Catholic Commercial Academy in Montreal. In 1888, he entered the firm of Lee & Cohen in Montreal; later became partner with his father in the firm of L. Cohen & Son; in 1895, he established W. R. Cuthbert & Co; in 1900, he organized the Canadian Improvement Co., a dredging contractor; in 1906, he founded The Freedman Co. in Montreal; and in May 1919, he organized and became President of Canadian Export Clothiers, Ltd.  The Freedman Company went on to become one of Montreal’s largest clothing companies.In 1897, Cohen and Samuel William Jacobs founded the Canadian Jewish Times, the first English-language Jewish newspaper in Canada. The newspaper promoted the Canadianization of recent East European Jewish immigrants and encouraged their acceptance of Canadian customs as Cohen felt that the old world customs of immigrant Jews were one of the main causes of anti-Semitism. In 1914, the paper was purchased by Hirsch Wolofsky, owner of the Yiddish-language Keneder Adler, who transformed it into the Canadian Jewish Chronicle.He died on August 17, 1937, at the age of 69.PhilanthropyCohen was elected the first president of the Canadian Jewish Congress in 1919 and organized the Jewish Immigrant Aid Services of Canada. Cohen was also a leader of the Young Men’s Hebrew Benevolent Society (later the Baron de Hirsch Institute) and the United Talmud Torahs, a Jewish day school in Montreal. He also served as president of Congregation Shaar Hashomayim and president of the Jewish Colonization Association in Canada.Personal lifeCohen married Rachel Friedman of Montreal on February 17, 1891. She was the founder and President of Jewish Endeavour Sewing School. They had three sons and one daughter:Nathan Bernard Cohen, who served as a lieutenant in the World War; he married Lithuanian Jewish immigrant Masha Klonitsky and they had one daughter and one son:Esther Cohen andsinger/poet Leonard Cohen.Horace Rives Cohen, who was a captain and quartermaster of his battalion in World War I;Lawrence Zebulun Cohen, student at McGill University, andSylvia Lillian Cohen.Passage 3:Kaya AlpKaya Alp (Ottoman Turkish: \u0000\u0000\u0000\u0000 \u0000\u0000\u0000, lit. 'Brave Rock') was, according to Ottoman tradition, the son of Kızıl Buğa or Basuk and the father of Suleyman Shah. He was the grandfather of Ertuğrul Ghazi, the father of the founder of the Ottoman Empire, Osman I. He was also famously known for being the successing name of Ertokus Bey’s son Kaya Alp. He was a descendant of the ancestor of his tribe, Kayı son of Gun son of Oghuz Khagan, the legendary progenitor of the Oghuz Turks.Passage 4:John WestleyRev. John Wesley (1636–78) was an English nonconformist minister. He was the grandfather of John Wesley (founder of Methodism).LifeJohn Wesly (his own spelling), Westley, or Wesley was probably born at Bridport, Dorset, although some authorities claim he was born in Devon, the son of the Rev. Bartholomew Westley and Ann Colley, daughter of Sir Henry Colley of Carbery Castle in County Kildare, Ireland. He was educated at Dorchester Grammar School and as a student of New Inn Hall, Oxford, where he matriculated on 23 April 1651, and graduated B.A. on 23 January 1655, and M.A. on 4 July 1657. After his appointment as an evangelist, he preached at Melcombe Regis, Radipole, and other areas in Dorset. Never episcopally ordained, he was approved by Oliver Cromwell's Commission of Triers in 1658 and appointed Vicar of Winterborne Whitechurch.The report of his interview in 1661 with Gilbert Ironside the elder, his diocesan, according to Alexander Gordon writing in the Dictionary of National Biography, shows him to have been an Independent. He was imprisoned for not using the Book of Common Prayer, imprisoned again and ejected in 1662. After the Conventicle Act 1664 he continued to preach in small gatherings at Preston and then Poole, until his death at Preston in 1678.FamilyHe married a daughter of John White, who was related also to Thomas Fuller. White, the \"Patriarch of Dorchester\", married a sister of Cornelius Burges. Westley's eldest son was Timothy (born 1659). Their second son was Rev. Samuel Wesley, a High Church Anglican vicar and the father of John and Charles Wesley. A younger son, Matthew Wesley, remained a nonconformist, became a London apothecary, and died on 10 June 1737, leaving a son, Matthew, in India; he provided for some of his brother Samuel's daughters.NotesAdditional sourcesMatthews, A. G., \" Calamy Revised\", Oxford University Press, 1934, page 521. This article incorporates text from a publication now in the public domain: \"Wesley, Samuel (1662-1735)\". Dictionary of National Biography. London: Smith, Elder & Co. 1885–1900.Passage 5:Zhao ShoushanZhao Shoushan (simplified Chinese: \u0000\u0000\u0000; traditional Chinese: \u0000\u0000\u0000; pinyin: Zhào Shòushān; 12 November 1894 – 20 June 1965) was a KMT general and later Chinese Communist Party politician. He is the grandfather of Zhao Leji.CareerZhao Shoushan was born in Hu County, Shaanxi in 1894. After the foundation of the People's Republic of China, Zhao was the CCP Chairman of Qinghai and Governor of Shaanxi.External links(in Chinese) Biography of Zhao Shoushan, Shaanxi Daily July 9, 2006.Passage 6:Amadeus VII, Count of SavoyAmadeus VII (24 February 1360 – 1 November 1391), known as the Red Count, was Count of Savoy from 1383 to 1391.BiographyAmadeus was born in Chambéry on 24 February 1360, the son of Count Amadeus VI of Savoy and Bonne of Bourbon. Although he succeeded his father in 1383, he had to share power with his mother.  In 1384, in order to suppress a revolt against his relative Edward of Savoy, Bishop of Sion, Amadeus led an army that attacked and pillaged Sion. In 1388, he acquired territories in eastern Provence and the port city of Nice, thus giving the County of Savoy access to the Mediterranean Sea.Amadeus died from tetanus on 1 November 1391, as a result of a hunting accident. Upon his death, controversy arose because of his will. Amadeus left the important role of guardian of his son and heir, Amadeus VIII, to his own mother, a sister of the powerful Duke de Bourbon, instead of following the tradition of appointing the child's mother, who was a daughter of the equally powerful Duke de Berry. Due to the dispute between his mother and his wife, rumors that Amadeus had been poisoned emerged soon after his death. It took three months of negotiations to restore peace in the family.Amadeus was known for his hospitality, for he would entertain people of all stations and never turned a person from his table without a meal.Marriage and childrenAmadeus married Bonne of Berry, daughter of John, Duke of Berry, who was the younger brother of King Charles V of France. They had three children: Amadeus VIII, later known as Antipope Felix V, married Mary of Burgundy (1380–1422), daughter of Philip the Bold.Bonne (d. 1432), married Louis of Piedmont, the final of the Savoy-Achaea Branch.Joan (d. 1460), married Giangiacomo Paleologo, marquis of Montferrat.NotesPassage 7:Henry KrauseHenry J. \"Red\" Krause, Jr. (August 28, 1913 – February 20, 1987) was an American football offensive lineman in the National Football League for the Brooklyn Dodgers and the Washington Redskins.  He played college football at St. Louis University.Passage 8:Amadeus VIII, Duke of SavoyAmadeus VIII (4 September 1383 – 7 January 1451), nicknamed the Peaceful, was Count of Savoy from 1391 to 1416 and Duke of Savoy from 1416 to 1440. He was the son of Amadeus VII, Count of Savoy and Bonne of Berry. He was a claimant to the papacy from 1439 to 1449 as Felix V in opposition to Popes Eugene IV and Nicholas V, and is considered the last historical antipope.Count and dukeAmadeus was born in Chambéry on 4 September 1383. He became count of Savoy in 1391 after his father's death, with his mother acting as regent until 1397, during his minority reign. His early rule saw the centralization of power and the territorial expansion of the Savoyard state, and in 1416 Amadeus was elevated by Emperor Sigismund to duke of Savoy. In 1418, his distant cousin Louis of Piedmont, his brother-in-law, the last male of the elder branch of House of Savoy, died, leaving Amadeus as his heir-general, thus finally uniting the male-lines of the House of Savoy.Amadeus increased his dominions and encouraged several attempts to negotiate an end to the Hundred Years' War. From 1401 to 1422, he campaigned to recover the area around Geneva and Annecy. After the death of his wife in 1428, he founded the Order of Saint Maurice with six other knights in 1434. They lived alone in the castle of Ripaille, near Geneva, in a quasi-monastic state according to a rule drawn up by himself. He appointed his son Louis regent of the duchy.AntipopeAmadeus was sympathetic to conciliarism, the movement to have the Church managed by Ecumenical councils, and to prelates like Cardinal Aleman of Arles, who wanted to set limits upon the doctrine of Papal supremacy. He had close relations with the Council of Basel (1431–1449), even after most of its members joined the Council of Florence, convened by Pope Eugene IV in 1438. The Cardinal of Arles reminded the Council that they needed a rich and powerful pope to defend it from its adversaries. The rump council at Basel elected Amadeus as Pope Felix V in October 1439. After long negotiations with a deputation from the council, Amadeus acquiesced in the election on 5 February 1440. He took the inaugural oath formulated by the Basel council; the only pope or antipope to do so. At the same time, he completely renounced  all further participation in the government of his domains: he named his son Louis Duke of Savoy, and his son Philip Count of Geneva. He is also credited with formalizing the academic lectures held in Basel by establishing a University for the Clergy which would eventually lead to the foundation of the University of Basel in 1460.There is no evidence that he intrigued to obtain the papal office by sending the bishops of Savoy to Basel. Of the twelve bishops present, seven were Savoyards. His reputation is marred by the account of him as a pontiff concerned with money, to avoid disadvantaging his heirs, found in the Commentaries of Pius II.Amadeus is considered an antipope. He served from November 1439 to April 1449.  After the death of his opponent Pope Eugene IV in 1447, both sides of the church favoured a settlement of the schism, and in 1449 he accepted the authority of Pope Nicholas V.Later lifeAfter renouncing his claim, Amadeus was appointed papal legate to Savoy. He died in Geneva in 7 January 1451.Marriage and issueHe married Mary of Burgundy (1386–1422), daughter of Philip the Bold. They had nine children, only four of whom lived to mature adulthood:Margaret of Savoy (13 May 1405 – 1418).Anthony of Savoy (September 1407 – bef. 12 December 1407).Anthony of Savoy (1408 – aft. 10 October 1408).Marie (end January 1411 – 22 February 1469), married Filippo Maria Visconti, duke of Milan.Amadeus of Savoy (26 Mar 1412 – 17 August 1431), Prince of Piedmont, the heir apparent until his premature death.Louis (24 February 1413 – 29 January 1465), his successor.Bonne of Savoy (September 1415 – 25 September 1430).Philip of Savoy (1417 – 3 March 1444), Count of GenèveMargaret (7 August 1420 – 30 September 1479), married firstly Louis III, titular king of Naples, secondly Louis IV, Count Palatine of the Rhine and thirdly Ulrich V, Count of Württemberg.NotesCitationsSourcesAndenmatten, B.; Paravicini Bagliani, A. (ed.) (1992). Amédée VIII-Félix V, premier duc de Savoie et pape (1383–1451). Colloque international, Ripaille-Lausanne, 23–26 octobre 1990. Lausanne 1992. (in French)Bruchet, M. (1907). Le château de Ripaille Paris 1907. See: pp. 49–182. (in French)Cognasso, Francesco (1930). Amadeo VIII (1383–1451). 2 vols. Turin, 1930. (in Italian)Decaluwe, Michiel; Izbicki, Thomas M.; Christianson, Gerald, eds. (2017). A Companion to the Council of Basel. Brill.Creighton, Mandell (1892). The Council of Basel. Longmans, Green, and Company.Hildesheimer, E. (1970). \"Le Pape du Concile, Amédée VIII de Savoie,\" Annales de la Société des Lettres, Sciences et Arts des Alpes-Maritime, 61 (1969–1970), pp. 41–48. (in French)Kekewich, Margaret L. (2008). The Good King: René of Anjou and Fifteenth Century Europe. Palgrave Macmillan.Kirsch, Johann Peter (1909). \"Felix V\". The Catholic Encyclopedia. Vol. 6. New York: Robert Appleton Company.Pinder, Kymberly N., ed. (2002). Race-ing Art History: Critical Readings in Race and Art History. Routledge.Vaughan, Richard (2005). Philip the Bold: The Formation of the Burgundian State. Boydell Press.Wilkins, David G.; Wilkins, Rebecca L. (1996). The Search for a Patron in the Middle Ages and the Renaissance. E. Mellen Press.External linksCognasso, Francesco (2000). \"FELICE V, antipapa\". Enciclopedia dei Papi (Treccani 2000) (in Italian) Bernard Andenmatten: Felix V. in  German, French and Italian in the online Historical Dictionary of Switzerland.Passage 9:Abd al-MuttalibShayba ibn Hāshim (Arabic: \u0000\u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000; c. 497–578), better known as \u0000Abd al-Mu\u0000\u0000alib, (Arabic: \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000, lit. 'Servant of Muttalib') was the fourth chief of the Quraysh tribal confederation. He was the grandfather of the Islamic prophet Muhammad.Early lifeHis father was Hashim ibn 'Abd Manaf,: 81 the progenitor of the distinguished Banu Hashim, a clan of the Quraysh tribe of Mecca. They claimed descent from Ismā'īl and Ibrāhīm. His mother was Salma bint Amr, from the Banu Najjar, a clan of the Khazraj tribe in Yathrib (later called Madinah). Hashim died while doing business in Gaza, before Abd al-Muttalib was born.: 81 His real name was \"Shaiba\" meaning 'the ancient one' or 'white-haired' because of the streak of white through his jet-black hair, and is sometimes also called Shaybah al-\u0000amd (\"The white streak of praise\").: 81–82 After his father's death he was raised in Yathrib with his mother and her family until about the age of eight, when his uncle Muttalib ibn Abd Manaf went to see him and asked his mother Salmah to entrust Shaybah to his care. Salmah was unwilling to let her son go and Shaiba refused to leave his mother without her consent. Mu\u0000\u0000alib then pointed out that the possibilities Yathrib had to offer were incomparable to Mecca. Salmah was impressed with his arguments, so she agreed to let him go. Upon first arriving in Mecca, the people assumed the unknown child was Muttalib's servant and started calling him 'Abd al-Muttalib (\"servant of Muttalib\").: 85–86Chieftain of Hashim clanWhen Mu\u0000\u0000alib died, Shaiba succeeded him as the chief of the Hāshim clan. Following his uncle Al-Mu\u0000\u0000alib, he took over the duties of providing the pilgrims with food and water, and carried on the practices of his forefathers with his people. He attained such eminence as none of his forefathers enjoyed; his people loved him and his reputation was great among them.: 61 'Umar ibn Al-Kha\u0000\u0000āb's grandfather Nufayl ibn Abdul Uzza arbitrated in a dispute between 'Abdul-Mu\u0000\u0000alib and \u0000arb ibn Umayyah, Abu Sufyan's father, over the custodianship of the Kaaba. Nufayl gave his verdict in favour of 'Abdul-Mu\u0000\u0000alib. Addressing \u0000arb ibn Umayyah, he said:Why do you pick a quarrel with a person who is taller than you in stature; more imposing than you in appearance; more refined than you in intellect; whose progeny outnumbers yours and whose generosity outshines yours in lustre? Do not, however, construe this into any disparagement of your good qualities which I highly appreciate. You are as gentle as a lamb, you are renowned throughout Arabia for the stentorian tones of your voice, and you are an asset to your tribe.Discovery of Zam Zam Well'Abdul-Mu\u0000\u0000alib said that while sleeping in the sacred enclosure, he had dreamed he was ordered to dig at the worship place of the Quraysh between the two deities Isāf and Nā'ila. There he would find the Zamzam Well, which the Jurhum tribe had filled in when they left Mecca. The Quraysh tried to stop him digging in that spot, but his son Al-\u0000ārith stood guard until they gave up their protests. After three days of digging, 'Abdul-Mu\u0000\u0000alib found traces of an ancient religious well and exclaimed, \"Allahuakbar!\" Some of the Quraysh disputed his claim to sole rights over water, then one of them suggested that they go to a female shaman who lived afar. It was said that she could summon jinns and that she could help them decide who was the owner of the well. So, 11 people from the 11 tribes went on the expedition. They had to cross the desert to meet the priestess but then they got lost. There was a lack of food and water and people started to lose hope of ever getting out. One of them suggested that they dig their own graves and if they died, the last person standing would bury the others. So all began digging their own graves and just as Abdul-Mu\u0000\u0000alib started digging, water spewed out from the hole he dug and everyone became overjoyed. It was then and there decided that Abdul-Muttalib was the owner of the Zam Zam well. Thereafter he supplied pilgrims to the Kaaba with Zam Zam water, which soon eclipsed all the other wells in Mecca because it was considered sacred.: 86–89 : 62–65The Year of the ElephantAccording to Muslim tradition, the Ethiopian governor of Yemen, Abrahah al-Ashram, envied the Kaaba's reverence among the Arabs and, being a Christian, he built a cathedral on Sana'a and ordered pilgrimage be made there.: 21 The order was ignored and someone desecrated (some saying in the form of defecation: 696 note 35 ) the cathedral. Abrahah decided to avenge this act by demolishing the Kaaba and he advanced with an army towards Mecca.: 22–23 There were thirteen elephants in Abrahah's army: 99 : 26 and the year came to be known as 'Ām al-Fīl (the Year of the Elephant), beginning a trend for reckoning the years in Arabia which was used until 'Umar ibn Al-Kha\u0000\u0000āb replaced it with the Islamic Calendar in 638 CE (17 AH), with the first year of the Islamic Calendar being 622 CE.When news of the advance of Abrahah's army came, the Arab tribes of Quraysh, Kinānah, Khuzā'ah and Hudhayl united in defence of the Kaaba. A man from the \u0000imyar tribe was sent by Abrahah to advise them that he only wished to demolish the Kaaba and if they resisted, they would be crushed. \"Abdul-Mu\u0000\u0000alib told the Meccans to seek refuge in the nearest high hills while he, with some leading members of Quraysh, remained within the precincts of the Kaaba. Abrahah sent a dispatch inviting 'Abdul-Mu\u0000\u0000alib to meet him and discuss matters. When 'Abdul-Mu\u0000\u0000alib left the meeting he was heard saying, \"The Owner of this House is its Defender, and I am sure He will save it from the attack of the adversaries and will not dishonour the servants of His House.\": 24–26 It is recorded that when Abrahah's forces neared the Kaaba, Allah commanded small birds (abābīl) to destroy Abrahah's army, raining down pebbles on it from their beaks. Abrahah was seriously wounded and retreated towards Yemen but died on the way.: 26–27 This event is referred to in the following Qur'anic chapter:Have you not seen how your Lord dealt with the owners of the Elephant?Did He not make their treacherous plan go astray?And He sent against them birds in flocks, striking them with stones of baked clay, so He rendered them like straw eaten up.Most Islamic sources place the event around the year that Muhammad was born, 570 CE, though other scholars place it one or two decades earlier. A tradition attributed to "}
+{"doc_id":"doc_214","qid":"","text":"Passage 1:John Scott (representative)John Scott (December 25, 1784 – September 22, 1850) was a member of the U.S. House of Representatives from Pennsylvania.BiographyJohn Scott (father of PennsylvaniaSenator John Scott and of the 1868 candidate for Governor of Florida, George Washington Scott) was born at Marsh Creek, Pennsylvania, near Gettysburg, Pennsylvania.  He moved to Alexandria, Pennsylvania, in 1806and was engaged as tanner and shoemaker.  He served as major in the War of 1812.  He was a member of the Pennsylvania House of Representatives in 1819 and 1820.Scott was elected as a Jacksonian to theTwenty-first Congress.  He was an unsuccessful candidate for reelection to the Twenty-second Congress.  He resumed his former business pursuits and retired from business in 1842.  He died in Alexandria,Pennsylvania in 1850.  He was interred in Alexandria Cemetery.Scott married Agnes Irvine in 1821, Agnes is the namesake of Agnes Scott College in Decatur Georgia.Passage 2:Theodred II (Bishop of Elmham)TheodredII was a medieval Bishop of Elmham.The date of Theodred's consecration unknown, but the date of his death was sometime between 995 and 997.Passage 3:William Scott (died 1524)Sir William Scott of Scot's Hall inSmeeth, Kent (1459 – 24 August 1524) was Lord Warden of the Cinque Ports.FamilyWilliam Scott was the son of Sir John Scott and Agnes Beaufitz, daughter and co-heiress of William Beaufitz. His sister, Elizabeth Scott(d. 15 August 1528), married Sir Edward Poynings.CareerScott rose to favour following the seizure of the throne by Henry VII. Within a few years he had been appointed to the Privy Council, appointed Comptroller ofthe Household and in 1489 was created a Companion of the Bath at the same ceremony as Prince Arthur. He served as High Sheriff of Kent in 1491, 1501 and 1510, and was also to become Constable of Dover Castle,Marshal of Calais (1490-1) and Lord Warden of the Cinque Ports (1492–1493). He remained in favour under Henry VIII, being present at the famous meeting at the Field of the Cloth of Gold in 1520 and one of thedeputation sent to greet Emperor Charles V when he landed at Dover in 1522.Scott inherited the manor of Brabourne in 1495, and had Scot's Hall elaborately rebuilt so that it came to be regarded as one of the foremosthouses in Kent.He was buried at Brabourne, where there is a memorial brass to him in the Scott chapel in St Mary's church.Marriage and issueScott married Sibyl Lewknor, the daughter of Sir Thomas Lewknor (d. 20July 1484) of Trotton, Sussex, and Katherine Pelham (d.1481), widow of John Bramshott (d.1468), and daughter of Sir John Pelham, Chamberlain to Katherine of Valois, by whom he had two sons and fourdaughters:Sir John Scott (d. 7 October 1533), who married Anne Pympe, daughter and heiress of Sir Reynold Pympe, esquire, of Nettlestead, Kent, by Elizabeth or Isabel Pashley, daughter of John Pashley, esquire, bywhom he had five sons and seven daughters.Edward Scott of The Moat, Sussex, who married Alice Fogge, daughter and co-heiress of Thomas Fogge, sergeant porter of Calais. After Scott's death his widow married SirRobert Oxenbridge.Anne Scott, who married Sir Edward Boughton.Katherine Scott.Elizabeth Scott.Joan Scott, who married Thomas YeardThomas ScottNotesPassage 4:John Scott (died 1533)Sir John Scott (c. 1484 – 7October 1533) was the eldest son of Sir William Scott of Scot's Hall. He served in King Henry VIII's campaigns in France and was active in local government in Kent and a Member of Parliament for New Romney. He wasthe grandfather of both Reginald Scott, author of The Discoverie of Witchcraft, a source for Shakespeare's Macbeth, and Thomas Keyes, who married Lady Mary Grey.FamilyAccording to MacMahon, the Scott family,which claimed descent from John Balliol, was among the leading families in Kent during the reign of King Henry VII.John Scott, born about 1484, was the eldest son of Sir William Scott of Scot's Hall and Sibyl Lewknor(d. 1529), the daughter of Sir Thomas Lewknor of Trotton, Sussex. Scott's father, Sir William Scott, had been Comptroller of the Household to King Henry VII, and Scott's grandfather, Sir John Scott, had beenComptroller of the Household to King Edward IV. Both Scott's father and grandfather had held the offices of Constable of Dover Castle and Warden of the Cinque Ports, and Scott's father had been Marshal of Calais.Scotthad a brother, Edward, and three sisters, Anne, who married Sir Edward Boughton; Katherine; and Elizabeth.CareerAs a young man Scott was knighted by the future Emperor Charles V in 1511 while serving as a seniorcaptain, under his relative Sir Edward Poynings, with the English forces sent by King Henry VIII to aid Margaret of Austria, Regent of the Low Countries, against Charles II, Duke of Guelders. According to MacMahonHenry VIII 'transmuted the honour into a knighthood of the body'. In 1512 he was elected Member of Parliament for New Romney. Scott may have participated in the French campaigns of 1512 and 1513; he was amongthe forces being marshaled at Calais in 1514 when negotiations for peace between England and France brought the war to a temporary halt. In 1514 and 1515 he was a commissioner for the subsidy in Sussex. In June1520 he attended Henry VIII at the Field of Cloth of Gold. In 1522 he was in the service of George Nevill, 5th Baron Bergavenny, Constable of Dover Castle, and was placed in charge of transport when the EmperorCharles V landed at Dover on 28 May 1522. In 1523 Scott was with the English forces which invaded northern France under the Duke of Suffolk. In 1523 and 1524 he was a commissioner for the subsidy in Kent. He wasSheriff of Kent in 1527 and 1528, and a Justice of the Peace in that county from 1531 until his death. In May 1533 Scott was summoned to be a servitor at the coronation of Anne Boleyn. He died on 7 October1533.Marriage and issueScott married, before 22 November 1506, Anne Pympe, daughter and heiress of Reynold Pympe, esquire, of Nettlestead, Kent, by Elizabeth Pashley, the daughter of John Pashley, esquire.SirJohn Scott and Anne Pympe had five sons and seven daughters:William Scott, who died in 1536 without issue.Sir Reginald (or Reynold) Scott (1512–15 December 1554), Sheriff of Kent in 1541–42 and Captain of Calaisand Sandgate, who married firstly Emeline Kempe, the daughter of Sir William Kempe of Olantigh, Kent, by Eleanor Browne, the daughter of Sir Robert Browne, by whom he was the father of Sir Thomas Scott (1535–30December 1594) and two daughters, Katherine Scott, who married John Baker (c.1531–1604×6), by whom she was the mother of Richard Baker, and Anne Scott, who married Walter Mayney. Sir Reginald Scott marriedsecondly Mary Tuke, the daughter of Sir Brian Tuke.Sir John Scott.Richard Scott, esquire, the father of Reginald Scott (d. 1599), author of The Discoverie of Witchcraft.George Scott.Mildred Scott, who married firstly,John Digges, esquire, the son of James Digges and half brother of Leonard Digges, and secondly, Richard Keyes, gentleman, by whom she was the mother of Thomas Keyes, who married Lady Mary Grey.KatherineScott, who married Sir Henry Crispe.Isabel Scott, who married Richard Adams, esquire.Alice Scott.Mary Scott, who married Nicholas Ballard, gentleman.Elizabeth Scott.Sibyl Scott, who married Richard Hynde,esquire.FootnotesPassage 5:John Scott (Queensland politician)John Scott (20 June 1821 – 2 July 1898) was a grazier, company director and politician in colonial Queensland.Scott was born in Edinburgh, Scotland, theson of John Scott and his wife Marion Purves. John Scott junior's wife was Agnes Thomson who died in July 1892.Business lifeScott was educated at St Andrew's University  and Edinburgh University, where he studiedmedicine. He arrived in New South Wales in 1843. For a time he was a squatter in Goulburn, New South Wales. Between 1851 and 1852 he was in the United Kingdom. He went to Queensland in 1855. He stockedPalm-Tree Creek, Dawson which he sold in 1865 but acquired  further stations. Scott was a director of City Mutual Life Assurance Society and vice president of The Royal National Agricultural and Industrial Association ofQueensland. Scott was a trustee of Brisbane Grammar School from 1874 to 1888 and Honorary Treasurer from 1877 to 1886.Political careerScott was both a member of the Legislative Assembly of Queensland and theQueensland Legislative Council in a political career lasting from 1868 till 1890.He was Chairman of Committees of the Legislative Assembly, 15 November 1871 to 1 September 1873 and 21 January 1879 to 26 July1883.Scott died at Lucerne, Milton, Brisbane, Queensland in 1898 and was buried in Toowong Cemetery.FamilyJohn Scott and his wife Agnes had five children:Ada Frances (1855–1905), the wife of George NevilleGriffiths M.L.A. Griffiths and Ada Frances were the grandparents of William Charles Wentworth M.P. (1907-2003)Arthur (1857–1874)Dr. Eric Scott (b. 1859)Florence (b. 1860)ConstanceSee alsoPolitical families ofAustralia: Wentworth/Hill/Griffiths/Scott/Cooper familyPassage 6:John A. ScottJohn Alan Scott (who has published under the names John A. Scott and John Scott) (born 23 April 1948) is an English-Australian poet,novelist and academic.BiographyScott was born in Littlehampton in Sussex, England, migrating to Australia during his childhood and residing mainly in Melbourne since 1959. He attended Monash University, where hewas a contemporary of fellow poets Alan Wearne and Laurie Duggan.A former freelance scriptwriter for radio and television, working on such shows as The Aunty Jack Show (1974), It's Magic (1974) and  The GarryMcDonald Show (1977).He first became known in the literary world as a poet. Throughout the 1970s and 1980s, his work developed in an 'experimental' direction unusual in Australian poetry, owing partly to his interestin translation. In 1985 he was one of Four Australian Poets group that toured the US and Canada reading poetry. He also edited and translated Emmanuel Hocquard : Elegies and Other Works (1989).Since the 1990s hehas concentrated on producing novels. This change was occasioned in part by an Australia Council studio fellowship in Paris which he shared with the Australian novelist Mark Henshaw. His work has won him theVictorian Premier's Award twice, in 1986 and again in 1994. The novel, What I Have Written, has been filmed from his own screenplay and he has been translated into French, German and Slovenian.He has taught in theFaculty of Creative Arts at Wollongong University but now writes full-time.Awards1984: Newcastle Poetry Prize for St. Clair1986: C. J. Dennis Prize for Poetry for St. Clair1994: Victorian Premier's Literary Award forWhat I Have Written2013: Peter Porter Poetry Prize for \"Four Sonnets\"BibliographyPoetryThe Barbarous Sideshow (1975)From the Flooded City (1981)Smoking (1983)The Quarrel with Ourselves & Confession(Rigmarole, 1984) ISBN 0-909229-27-9St. Clair: Three Narratives (UQP, 1986) ISBN 0-7022-1907-XSingles: Shorter Poems, 1982-1986 (1989)Translation (Picador, 1990) ISBN 0-330-27196-2Selected Poems (UQP,1995) ISBN 0-7022-2688-2Shorter Lives (Puncher & Wattman, 2020) ISBN 9781925780482NovelsBlair (McPhee Gribble, 1988) ISBN 0-14-011093-3What I Have Written (Penguin, 1994) ISBN 0-14-026199-0Before IWake (Penguin, 1996) ISBN 0-14-025695-4The Architect (Penguin, 2001) ISBN 0-670-91044-9Warra Warra (Text, 2003) ISBN 1-877008-55-9N (Brandl & Schlesinger, 2014) ISBN 978-1-921556-20-3ExternallinksAuthor page - Australian Literary ResourcesElegy VI by Emmanuel Hocquard, Translation by  John A. Scott from FrenchElegy VII by Emmanuel Hocquard, TranslationInterview with John ScottBestsellerdoom Reviewof Warra Warra by Don AndersonPassage 7:John Scott (footballer, born 1942)John Scott (born 2 January 1942) is an English former professional footballer who played as an inside forward.CareerBorn in Normanton,Scott played for Bradford City, Chesterfield and Matlock Town.Passage 8:Etan BoritzerEtan Boritzer (born 1950) is an American writer of children’s literature who is best known for his book What is God? first published in1989. His best selling What is? illustrated children's book series on character education and difficult subjects for children is a popular teaching guide for parents, teachers and child-life professionals.Boritzer gainednational critical acclaim after What is God? was published in 1989 although the book has caused controversy from religious fundamentalists for its universalist views. The other current books in the What is? seriesinclude: What is Love?, What is Death?, What is Beautiful?, What is Funny?, What is Right?, What is Peace?, What is Money?, What is Dreaming?, What is a Friend?, What is True?, What is a Family?, and What is aFeeling? The series is now also translated into 15 languages.Boritzer was first published in 1963 at the age of 13 when he wrote an essay in his English class at Wade Junior High School in the Bronx, New York on theassassination of John F. Kennedy. His essay was included in a special anthology by New York City public school children compiled and published by the New York City Department of Education.Boritzer now lives inVenice, California and maintains his publishing office there also. He has helped numerous other authors to get published through How to Get Your Book Published! programs. Boritzer is also a yoga teacher who teachesregular classes locally and guest-teaches nationally. He is also recognized nationally as an erudite speaker on The Teachings of the Buddha.Passage 9:John Stuart ScottJohn Stuart Scott (sometimes credited as JohnScott or John S. Scott) is an American television director and producer who has directed episodes for several series including Glee, The Office and Chuck.Television workScott began his career behind the camera workingon a number of films and television series and commercials starting in the early 1990s. In 2009, he made his directorial debut on drama series Nip/Tuck, and also directed the final episode of that series in 2010. Hesubsequently directed two episodes— \"Acafellas\" and \"The Rhodes Not Taken\"— of the first season of Glee, the third episode— Andy's Play— of the seventh season of the American version of The Office, and episodes forshows such as Scoundrels, Chuck, Love Bites, Gigantic, Outsourced, and American Horror Story.Passage 10:John Scott-WaringJohn Scott-Waring (at first John Scott) (1747–1819) was an English political agent ofWarren Hastings, publicist and Member of Parliament.Early lifeBorn at Shrewsbury, his father was Jonathan Scott of Shrewsbury (died August 1778), who married Mary, second daughter of Humphrey Sandford of theIsle of Rossall, Shropshire. The second son, Richard, rose to the rank of lieutenant-colonel, and served under Sir Eyre Coote against Hyder Ali Khan. The third son was Jonathan Scott the orientalist. The fourth son,Henry, became commissioner of police at Bombay.John, the eldest son, entered the service of the East India Company about 1766, and became a major in the Bengal division of its forces.In IndiaScott had been in Indiafor twelve years before he knew Warren Hastings more than casually. They became close, and he was one of the intermediaries who, in November 1779, patched up a temporary reconciliation between Hastings andPhilip Francis. In May 1780 he was appointed to command a battalion of sepoys.Political agent in LondonScott was sent by Hastings to England as his political agent, and he arrived in London on 17 December 1781.Scott was profuse in his expenditure for his patron.From 1784 to 1790 Scott sat in parliament as member for West Looe, and in 1790 he was returned for Stockbridge in Hampshire. A petition was presented againsthim, and in February 1793 a prosecution for bribery seemed imminent, but the matter fell through.Impeachment of HastingsThe charges against Warren Hastings might have been allowed to drop, but Scott remindedEdmund Burke on the first day of the session of 1786 of the notice which he had given before the preceding recess of bringing them before parliament. Scott asked Burke to name the first day that was practicable;Burke opened the subject on 17 February. Fanny Burney (Diary, ed. 1842, iv. 74–5) commented on Scott \"skipping backwards and forwards like a grasshopper\".Later lifeIn 1798, by the death of his cousin, Richard HillWaring, Scott came into the Waring estates in Cheshire, which he sold in 1800 to Peel and Yates (the company of Sir Robert Peel, 1st Baronet) for £80,000. He then assumed the name and arms of Waring. A year ortwo later he bought Peterborough House at Parson's Green, Fulham, and gathered around him varied company: royal princes, politicians, wits, and actresses.Scott-Waring died at Half Moon Street, Piccadilly, London, on5 May 1819.WorksIn 1782 Scott published, in the interests of Hastings, his Short Review of Transactions in Bengal during the last Ten Years, and, two years later, his Conduct of his Majesty's late Ministers considered,1784 (in it he dealt with the payments which he had made to the newspapers for the insertion of letters in defence of Hastings). Letters, paragraphs, puffs, and squibs were attributed to him.During the course of theimpeachment (1788–1795) many letters, speeches, and pamphlets emanated from Scott. Scott also wrote:Observations on Sheridan's pamphlet, contrasting the two bills for the better government of India, 1788; 3rded. 1789.Observations on Belsham's “Memoirs of the reign of George III,” 1796.Seven Letters to the People of Great Britain by a Whig, 1789. In this he discussed the questions arising out of the king's illness.A memoirof Hastings by Scott is in William Seward's Biographiana, ii. 610–28.Christian mission controversyOn the subject of Christian missions in India Scott-Waring published Observations on the present State of the East IndiaCompany (anonymous, 1807 four editions). It contributed to a long-running debate on the religious toleration policy of the East India Company, in the face of missionary efforts. Thomas Twining (1776–1861), son ofRichard Twining, wrote from 1795 against \"interfering\" in India with Christian missions. The year 1808 saw active controversy on the propagation on Christianity, in which Andrew Fuller and John Owen (1766–1822) hadbecome involved, with Scott-Waring replying to Owen. When John Weyland wrote an open letter to Sir Hugh Inglis in 1811, Scott-Waring replied to it.A Vindication of the Hindoos from the expressions of Dr. ClaudiusBuchanan, in two parts by \"a Bengal Officer\" (1808), was attributed to Scott-Waring (DNB first edition). It was in fact by Charles Stuart.FamilyScott was three times married.His first wife, who brought him a fortune,was Elizabeth, daughter of Alexander Blackrie. She was born on 19 April 1746, and died 26 October 1796, being buried in Bromley churchyard, under a marble monument, with a long epitaph. She was the mother oftwo sons—Edward, a civil servant in Bengal; and Charles, who died young—and of two daughters, the elder of whom, Anna Maria, married John Reade of Ipsden House, Oxfordshire, was mother of Charles Reade andEdward Anderdon Reade, and died 9 August 1863, aged 90; the younger, Eliza Sophia, married the Rev. George Stanley Faber.Waring's second wife was Maria, daughter and heiress of Jacob Hughes of Cashel.Waring'sthird wife was Harriet Pye Esten, a widowed actress."}
+{"doc_id":"doc_215","qid":"","text":"Passage 1:The Man Without a Country (1973 film)The Man Without a Country is a 1973 American made-for-television drama film based on the short story \"The Man Without a Country\" by Edward Everett Hale.PlotA mandamns his country and is sentenced to spend the rest of his life in exile.CastProductionRosemont spent three years trying to raise finance. He spent $16,000 of his own money to prepare a visual presentation of the filmand arranged for a script for be written by Sidney Carroll. During the course of research he discovered that the book was not based on a true story although it was inspired by the Aaron Burr conspiracy.He eventuallysucceeded in getting sponsorship from Eastman Kodak.\"Casting was so essential,\" said Rosemont. \"We had to find an actor who could age 60 years on screen. The makeup was the easiest. Making him look young wasthe hardest.\"Rosemont approached Cliff Robertson, although the actor had not done television for years. \"But when he saw our research it turned him on.\" he said. \"It's a dream part for an actor.\"Cliff Robertson signedto make the film in August 1972 and filming began in September. \"We had to change our schedule to fit Cliff's,\" said Rosemont. \"It cost me a lot of money but it was worth it.\"Filming took place in Mystic, Connecticut,Newport, Rhode Island and Fort Niagara, New York.Director Delbert Mann says Robertson was \"very difficult to work with\" on the film. He gave an instance where Robertson kept emphasising the word \"United\" whenreferring to the \"United States\" (\"he thought the young people would reject the patriotism aspects\"). \"We went for about 20 takes, he never changed it, but he modified it on the last take, which we used in the picture.He still wouldn't change it in post-production dubbing. It was a matter of taking the best take we had and going with it.\"Filming was expensive. \"I do my own work,\" said Rosemont. \"If there's a deficit I pay for it. Mymoney is on the line. I put it on screen. Hopefully it will enjoy many repeats; it's an ageless story, a potential TV perennial.\"LocationsIn the summer of 1972, the replica of HMS Rose (later renamed HMS Surprise foranother film) was hired for the film, a made-for-television production. Norman Rosemont Productions was unable to find the money to take the ship out sailing, so all the filming was shot with sails set, as the ship wassecurely moored to the pier, next to the causeway to Goat Island. During filming Cliff Robertson had to hide that he had a broken leg at the time.ReceptionMann said, \"The end result was fascinating. The older audiencetook to the picture and the critics were marvelous. People saying, look at the unfeeling government, crushing this man. The young people got what they wanted and others saw it as love of country. We had it bothways.\"AwardsThe film was nominated for Best Cinematography for Entertainment Programming – For a Special or Feature Length Program Made for Television at the 26th Primetime Emmy Awards.Passage 2:NickStahlNicolas Kent Stahl (born December 5, 1979) is an American actor. Starting out as a child actor, he gained recognition for his performance in the 1993 film The Man Without a Face, co-starring Mel Gibson. He latertransitioned into his adult career with roles in the films Disturbing Behavior, The Thin Red Line, In the Bedroom, Bully, Sin City, and Terminator 3: Rise of the Machines in the role of John Connor, as well as on the HBOseries Carnivàle in the role of Ben Hawkins. He also starred as Jason Riley on the AMC television series Fear the Walking Dead. In April 2023, he starred as Lucas on the Hulu television series Tiny Beautiful Things.EarlylifeStahl was born in Harlingen, Texas, the son of Donna Lynn (née Reed), a brokerage assistant, and William Kent Stahl, a businessman. He was raised in Dallas along with his two sisters by his mother, who struggledto make ends meet.CareerHis first professional casting was in Stranger at My Door (1991), although he had been acting in children's plays since he was four years old. The 1993 film The Man Without a Face, co-starringMel Gibson, helped boost his career at the age of 13. The following year, he had a supporting role in the ensemble film Safe Passage. In 1996, he played the role of Puck in Benjamin Britten's opera A Midsummer Night'sDream at The Metropolitan Opera in New York. In 1998 he played a doomed young soldier during the World War II Pacific War in The Thin Red Line. He scored critical and box office success again with his role in the2001 movie In the Bedroom, which starred Sissy Spacek as his mother. He scored another box office hit in Terminator 3: Rise of the Machines (2003) as John Connor (replacing Edward Furlong from Terminator 2:Judgment Day), co-starring with Arnold Schwarzenegger and Claire Danes. In 2003, he starred in the HBO series Carnivàle, which drew a loyal audience as well as rave reviews. The show lasted two seasons, ending in2006.Stahl has played two villains to good reviews: Bobby Kent in the film Bully (2001) and Roark Jr./Yellow Bastard in Sin City (2005). Stahl did not reprise his role as John Connor in Terminator Salvation withChristian Bale taking over instead. Stahl noted the film's concept as \"a jump to the future, so [John Connor] will be quite a bit older.\" Other roles included How to Rob a Bank (2007), Sleepwalking (2008), and Quid ProQuo (2008).In 2010, Stahl starred as Max Matheson in Mirrors 2, the sequel to Mirrors, directed by Victor Garcia and penned by Matt Venne. Among his more recent films are On the Inside (2010) and Afghan Luke(2011), and Away from Here (2014).In 2019, Stahl portrayed serial killer Glen Edward Rogers in The Murder of Nicole Brown Simpson. Filming commenced over the summer in 2018 and the film was released in the UKon December 9, 2019.Also in 2019, Stahl appeared in The Lumineers’ short film, III, which is based on their new album. Stahl played the character Jimmy Sparks, who is a father and gambling addict.In November2021, The Hollywood Reporter reported that Stahl would star alongside Sean Bean and Famke Janssen in the film Knights of the Zodiac, a live-action adaptation of the Saint Seiya manga series. The film will be releasedon May 12, 2023.In April 2023, he starred as Lucas on the Hulu television series Tiny Beautiful Things, opposite Kathryn Hahn.Personal lifeStahl married actress Rose Murphy in June 2009. They have a daughter, Marlo,born in 2010. They separated in 2012.In May 2012, Stahl's wife reported him missing. It was later reported that Stahl had checked into rehab. On December 27, 2012, Stahl was arrested at an adult film store inHollywood, California, on suspicion of committing a lewd act. No charges were filed due to insufficient evidence. On June 28, 2013, Stahl was arrested in Hollywood for alleged possession of methamphetamine.In a 2017interview at the Dallas Comic Show, Stahl stated he had moved to Texas and was taking a leave of absence from acting to concentrate on family and sobriety. Stahl returned to acting in 2018 when filming of The Murderof Nicole Brown Simpson began.FilmographyFilmTelevisionMusic videosPassage 3:Ernest C. WardeErnest C. Warde (10 August 1874 – 9 September 1923) was an English actor and director who worked in Americansilent film. He contributed to more than forty films from 1914 to 1923. He was the son of stage actor Frederick Warde.Selected filmographyThe White Rose (1914)A Newspaper Nemesis (1915)The Undertow (1915)TheSkinflint (1915)Silas Marner (1916)The Man Without a Country (1917)War and the Woman (1917)Her Beloved Enemy (1917)The Woman in White (1917)The Vicar of Wakefield (1917)Ruler of the Road (1918)Prisonersof the Pines (1918)One Dollar Bid (1918)A Burglar for a Night (1918)Three X Gordon (1918)The Bells (1918)The Midnight Stage (1919)The Master Man (1919)The False Code (1919)The Lord Loves the Irish (1919)AWhite Man's Chance (1919)The Joyous Liar (1919)The House of Whispers (1920)Live Sparks (1920)$30,000 (1920)The Dream Cheater (1920)The Devil to Pay (1920)The Green Flame (1920)The Coast of Opportunity(1920)Number 99 (1920)Trail of the Axe (1922)Passage 4:The Man Without a Country (1925 film)The Man Without a Country is a 1925 American drama film directed by Rowland V. Lee and written by Robert N. Lee. Itis based on the 1863 short story The Man Without a Country by Edward Everett Hale. The film stars Guy Edward Hearn, Pauline Starke, Lucy Beaumont, Richard Tucker, Earl Metcalfe, and Edward Coxen. Originally titledAs No Man Has Loved, the film was released on February 11, 1925, by Fox Film Corporation.PlotAs described in a film magazine review, young officer Philip Nolan, from a patriotic family, is attached to a frontier armypost in 1800 when he joins the cause of Aaron Burr with his dream of a western empire. After he is court-martialed, he is asked to recant and replies, \"Damn the United States! I hope that I may never hear of theUnited States again.\" His sentence is to be sent aboard a ship and never to hear of or set foot in the United States again. He begins a journey around the world that lasts through 10 presidential administrations, duringwhich time his sweetheart Anne Bissell attempts to have him freed. After several heroic actions, including saving the day in a fight with a pirate ship, Anne secures a pardon from President Lincoln. Now old, Nolan diesas the ship is returning to the United States, and Anne dies waiting on the pier. The film ends with the spirits of Nolan and Anne together with an American flag.CastPassage 5:Andrew LaszloAndrew Laszlo A.S.C.Hungarian: László András (January 12, 1926 – October 7, 2011) was a Hungarian-American cinematographer best known for his work on the cult film classic The Warriors. He earned Emmy nominations for The ManWithout a Country in 1973 and TV miniseries Shōgun in 1980.Early life (1926–1941)I never believed I was anybody special. I still don't think so, nor did I ever believe that anyone would give a hoot hearing about who Iwas, where I came from, what I did at various stages of my life, and why. I am convinced the world would function equally well, or equally badly, with or without me. - Andrew Laszlo, Footnote to History, 2002So beginsa section of Andrew Laszlo's recount of his early years and speaks of the man who survived atrocities during that time and accomplished much in his later life.He was born László András in 1926 in the vicinity of Pápa,Hungary, the town where his family finally settled about the time that Andrew was three years old. Until World War II began to affect life in Hungary, his life was relatively carefree and was spent in relative comfortalthough the family had to move several times into smaller or bigger quarters depending on the financial circumstances of his father. He was close to his older brother, Alex, with whom he often dreamed up excitingadventures sometimes leading to catastrophe.Of his many early experiences, one that served as a prelude to later tragedies, was seeing the Graf Zeppelin fly over Papa. Inquiring about the symbol painted on the tail ofthe airship, Andrew's father said that it was a swastika. That is all he wanted to tell his young son at the time.Andrew Laszlo was an avid swimmer and skater during his early school years and became accomplished atfencing in high school. It was also during this time that his interest in photography began and led later to a small business printing photos for his classmates.In the late 1930s, Laszlo's father, Leslie (Hungarian: Laci),was called up to serve in the Hungarian Army. This effectively ruined his business, forcing Laszlo to learn the fine art of lampshade manufacture to help support the family. This was a successful undertaking even thoughLaszlo was still a full-time high school student. Then, as for everyone else, World War II turned everything up-side-down.The War Years (1941-1947)In June 1941, the Hungarian city of Kassa (today Košice in Slovakia)was bombed by air. Although several theories are still debated about the real perpetrators, the Hungarian government used the incident as the reason for declaring war on the Soviet Union. From then on, Hungary wasirreversibly tied to the Axis Powers and Germany/Hitler in particular. Antisemitism that had been simmering for years now came to the fore in Hungary. In 1944, a part of Papa was turned into a Ghetto and all Jewswere forced to move there, including the Laszlo family. In early June, Andrew was forced to join a Labor Camp and was taken there in a railroad cattle car. On June 29, his family (excepting his brother, Alex) was takenfrom Papa and sent to Auschwitz. Andrew was then taken to another labor camp in what is now Romania and put to work laying railroad track. After one more move to another camp, Andrew received a final postcardfrom his brother, Alex.Following an air raid on the labor camp, Andrew deserted and found his way to Budapest. After a short stay in City Park (Hungarian: Varosliget) he and hundreds of others were herded ontoboxcars and sent to the Bergen-Belsen concentration camp. This was the winter of 1944. Here, he survived for months in an atmosphere of cold, starvation, beatings, outright murder, lice infestation and constantreminders of death. Near his 19th birthday, he spotted his Aunt Alice in the camp. She perished there not much later.In March 1945, with the pressure on the Germans in Norway increasing, Andrew was shipped to theconcentration camp at Theresienstadt. Here, like thousands of others, he came down with typhoid fever. It was here that he was reunited with his father, someone he thought of as long dead. Finally, on May 8, 1945,Theresienstadt was liberated by the Soviet army. As part of returning to humanity, Andrew found a piano at the camp and asked his fellow Hungarian, pianist George Feyer, to play for the liberators and the liberated.Onhis return to Papa, he found the town to be a much different place, including it being run by the Soviet Army. Being entrepreneurial, he restarted his photography business with the Russian soldiers being greatcustomers. After taking the final exam, Andrew got his high school diploma and then moved to Budapest where a job at the Hungarian Film Bureau was waiting for him. Unfortunately, this job was not very exciting andpaid little. Andrew realized that it would take years for the Hungarian movie business to return to its former self and did not want to wait that long. So, he went back to Papa and began to plan for his immigration to theUnited States at the urging of his uncle, George Laszlo, who was already living in New York and was willing to sponsor him. He found his way to New York by way of Ulm, Germany, where he survived by selling Americancigarettes (sent to him by Uncle George) to the locals. After a brief but obligatory stop in Frankfurt, Andrew was given the right to enter the United States. He did so on January 17, 1947, by walking down the gangplankof the SS Ernie Pyle after it had docked on the west side of Manhattan. He had turned 21 just five days earlier.Life and Career in the United States (1947-1996)On arrival, Andrew was taken under the wings of his Uncle,George Laszlo, who was a painter, inventor and lithographer already living in New York City. Andrew quickly adjusted to life in Manhattan. As he stated in his own words for the documentary Cinematographer Style:Mymain objective was to keep my head above water, work and have enough money to live, learn the language, the faster the better, because that was the most essential element in getting work. Most importantly, I wastrying to get work that was in some ways connected with photography.For some time I worked in the laboratory of a company that printed textiles and wallpaper with a photographic process. I worked in the darkroom,as I put it, to keep my fingers in the developer. At one time, I worked as a door-to-door baby photographer. I had a camera and a few lights I could do the work with.Then the greatest break of my life came. I was thenumber one person from New York City to be drafted by the army for the Korean War. I wound up in the U.S. Army motion picture school, which was wonderful. We not only had all the equipment, the school insisted weshoot 35mm motion picture film, day-in and day-out, thousands of feet and, of course, doing it is the greatest way to learn.When I came out of the army it was a little bit rough. I was a young fellow, trying to enter theindustry, which was very difficult because I had no track record. I tried absolutely everything to get work. In fact, I resorted to gags that nowadays I’m actually a bit self-conscious to talk about. I was turned down by somany producers, even smalltime ones; I couldn’t even get past secretaries. At one point, I sent out hand-printed résumés on sandpaper just so they would remember it. I sent out résumés on shirt cardboard so theycouldn’t crumple it up and toss it in the wastebasket. The breaks finally came. I took any job offered to me, as long as I had a chance to be behind a camera, do some lighting, experiment with lenses and so on. Thenbetter jobs were offered and that is how I got started. As I said earlier, the important thing is to stick with it.Shortly before his discharge from the US Army Signal Corps, Andrew married his New York-born sweetheart,Ann Granger. Soon, the family grew to three with the arrival of his first son, also named Andrew. With perseverance, he landed a job as a camera operator on The Phil Silvers Show. This was followed by a number ofother TV shows, including Naked City where he served as the Director of Photography. With greater opportunities came the necessity to work on locations around the world. Resisting the temptation to move toHollywood, Andrew settled with his family in the suburbs of New York where three more children (Jim, Jeffrey and Elizabeth) arrived in quick succession.Andrew started to work with TV personality Ed Sullivan in 1953and filmed programs in Portugal, Alaska, and Ireland. In 1959, Ed 'kidnapped' Andrew to Havana, Cuba under the pretense that they would be filming a segment in the Dominican Republic. Ed's real goal was to do aninterview with Fidel Castro who had just overthrown Fulgencio Batista's government. Ed, unfortunately, did not realize that the electrical system in Cuba would not support the camera equipment and lighting normallyused in the United States. This created enormous technical issues for the crew with the possibility that the equipment could cause a blackout in the entire neighborhood. Somehow, the footage turned out OK if onlypassably so.In 1962, Andrew was offered his first feature film, One Potato, Two Potato, a controversial film about the interracial marriage of a black man and white divorcee. In 1966, he filmed Francis Ford Coppola'sYou're A Big Boy Now, with Geraldine Page receiving an Oscar nomination as Best Supporting Actress. This was followed in 1968 by The Night They Raided Minsky's, a big-budget musical marred by the mid-productiondeath of Bert Lahr.On August 15, 1965, The Beatles were scheduled to give a concert at Shea Stadium in New York City. Andrew took on this Ed Sullivan production with trepidation and excitement since it would be thefirst extremely large rock concert to be filmed for television. Even with careful preparation, the film crew was not prepared for the piercing screams of an audience made up of 56,000 teenagers. The sound system wascompletely overwhelmed, making it necessary to dub much of the song tracks in post-production. Nevertheless, and using 14 cameras scattered through the place, the crew managed to film not just the Beatles butmuch of the audience in the stands and the security detail that was hoping that a major stampede would not break out. When all was said and done, the crew had recorded over 200,000 feet of film of which only 10,800made it into the finished documentary. As a long-lasting effect, Andrew's hearing was never to be normal again.In 1979, he filmed Walter Hill's cult film The Warriors. This movie gave Andrew the opportunity to deviseseveral cinematic techniques, including the innovative lighting used for subway car interior shots. Musing in his 2000 book \"Every Frame a Rembrandt,\" he says:If made today, The Warriors would probably be analtogether different movie. The availability of fast and more sensitive, more forgiving negative and positive film stocks, faster lenses in all focal ranges, smaller, more powerful lights, electronic postproduction - all wouldadd up to different photographic techniques, which would negate the need for the same ingenuity in dealing with the difficulties of cinematography in 1978.Returning to television, Andrew was the cinematographer onthe 1980 five-part NBC miniseries Shōgun starring Richard Chamberlain. Filmed entirely on location in Japan, the production had many difficulties including the challenge of conversation with and direction to actors andextras who spoke no English. An unfortunate but funny anecdote often retold by Andrew was the premature kickoff of a fierce action sequence in Osaka harbor including guns blazing, extras jumping into the water,"}
+{"doc_id":"doc_216","qid":"","text":"Passage 1:Virginia von FürstenbergPrincess Virginia Maria Clara von und zu Fürstenberg (Virginia Maria Clara Prinzessin von und zu Fürstenberg; 5 October 1974 – 10 May 2023) was an Italian artist, poet, filmmaker,and fashion designer.Early life and familyPrincess Virginia von Fürstenberg was born in Genoa, Italy on 5 October 1974 to Prince Sebastian zu Fürstenberg and Elisabetta Guarnati. She was a member of the House ofFürstenberg. Her paternal grandparents were Prince Tassilo zu Fürstenberg and Clara Agnelli. She was a niece of actress Princess Ira von Fürstenberg and fashion designer Prince Egon von Fürstenberg, the ex-husbandof Diane von Fürstenberg. Von Fürstenberg was a first cousin of Prince Alexandre von Fürstenberg, Tatiana von Fürstenberg, Prince Hubertus of Hohenlohe-Langenburg, and the late Prince Christoph ofHohenlohe-Langenburg.CareerVon Fürstenberg was a fashion designer and creator of the fashion label Virginia Von Zu Furstenberg. She made her fashion debut in March 2011 at the Teatro Filodrammatici in Milan. Herfirst collection was sold exclusively at boutiques in Milan, Florence, and Rome. In September 2011, von Fürstenberg debuted a theatrical work titled DISMORPHOPHOBIA that combined spoken word, fashion, film,movement, and dance. She debuted her second collection at Milano Moda Donna in Milan on 23 September 2011. She also wrote poetry, and at times combined her poetry and fashion design in some of her work.In2012, von Fürstenberg collaborated with Tommaso Trak to shoot a film focusing on the life of her great-grandmother, Virginia Bourbon del Monte. In 2017, von Fürstenberg created an art installation dedicated to hermother titled There was a nice home, which was displayed at the Grossetti Arte Gallery in Venice.Personal life and deathVon Fürstenberg married Baron Alexandre Csillaghy de Pacsér, a Hungarian nobleman, in 1992.Their son, Baron Miklós Tassilo Csillaghy, is an equestrian. Their daughter, Baroness Ginevra Csillaghy, has modeled for the Virginia Von Zu Furstenberg fashion line. She and Csillaghy de Pacsér divorced in 2003. In2002, a year before her divorce was finalized, she gave birth to a daughter, Clara Bacco Dondi dall'Orologio, from her relationship with Giovanni Bacco Dondi dall'Orologio. In 2004, she married Paco Polenghi with whomshe had two children, Otto Leone Maria Polenghi and Santiago Polenghi. Von Fürstenberg and Polenghi later divorced. On 28 October 2017, she married Janusz Gawronski, a descendent of a noble and ancient Polishfamily. In 2020, the couple divorced.Virginia died on 10 May 2023, aged 48, after falling from the top floor of a hotel(falling/slipping in the washroom).Passage 2:Joseph Maria, Prince of FürstenbergJoseph MariaBenedikt zu Fürstenberg-Stühlingen (9 January 1758 – 24 June 1796) was a German nobleman and from 1783 until his death the seventh reigning prince of Fürstenberg. He was born in Donaueschingen, where he alsodied. He was the eldest son of Joseph Wenzel zu Fürstenberg and his wife Maria Josepha von Waldburg-Scheer-Trauchburg. He died childless and was succeeded by his younger brother Karl Joachim.Passage 3:WhereWas I\"Where Was I?\" may refer to:Books\"Where Was I?\", essay by David Hawley Sanford from The Mind's IWhere Was I?, book by John Haycraft 2006Where was I?!, book by Terry Wogan 2009Film and TVWhere WasI? (film), 1925 film directed by William A. Seiter. With Reginald Denny, Marian Nixon, Pauline Garon, Lee Moran.Where Was I? (2001 film), biography about songwriter Tim RoseWhere Was I? (TV series) 1952–1953Quiz show with the panelists attempting to guess a location by looking at photos\"Where Was I?\" episode of Shoestring (TV series) 1980Music\"Where was I\", song by W. Franke Harling and Al Dubin performed by RubyNewman and His Orchestra  with vocal chorus by  Larry Taylor and Peggy McCall  1939\"Where Was I\", single from Charley Pride discography 1988\"Where Was I\" (song), a 1994 song by Ricky Van Shelton\"Where Was I(Donde Estuve Yo)\", song by Joe Pass from Simplicity (Joe Pass album)\"Where Was I?\", song by Guttermouth from The Album Formerly Known as a Full Length LP (Guttermouth album)\"Where Was I\", song by SawyerBrown (Billy Maddox, Paul Thorn, Anne Graham) from Can You Hear Me Now 2002\"Where Was I?\", song  by  Kenny Wayne Shepherd from Live On  1999\"Where Was I\", song by Melanie Laine (Victoria Banks, SteveFox) from Time Flies (Melanie Laine album)\"Where Was I\", song by Rosie Thomas from With Love (Rosie Thomas album)Passage 4:Joseph Wenzel, Prince of FürstenbergJoseph Wenzel zu Fürstenberg-Stühlingen (21March 1728 - 2 June 1783) was a German nobleman and from 1762 to 1783 the sixth ruling Prince of Fürstenberg.LifeJoseph Wenzel was the eldest son of prince Joseph zu Fürstenberg and Maria Anna von Waldstein.He studied in Straßburg and Leipzig. He tried to develop the principality's education and introduced a chancery for it. Teaching was based on the Austrian system and a Jesuit was made head of the DonaueschingenGymnasium and later the Benedictine Franz Uebelacker was put in charge of the whole school system. He also had a history of the House of the Fürstenberg written from the principality's archives.He set up a zuchthausin Hüfingen and stopped his father's industrialisation policy and made resettlement difficult, since he saw industry as immoral - he preferred home handiwork such as watchmaking. In 1777 he set up a fire brigade. Hewas made director of the Swabian College of Reichsgrafen and in 1775 the Holy Roman Emperor appointed him a major general (with his rank effective from 1765).He was also a music lover and was said to have beenan excellent cellist. In 1762 he began building a private chapel at his court at Donaueschingen, and bringing a number of foreign musicians to man it. In 1783 he appointed Franz Christoph Neubauer as his musicaldirector. He employed Ernst Christoph Dressler as Kapellmeister at Wetzlar between 1767 and 1771. In 1766 Leopold Mozart and his son Wolfgang Amadeus spent around two weeks at Donaueschingen as JosephWenzel's guest.Marriage and successionOn 9 June 1748 Joseph Wenzel married Maria Josepha, countess of Waldburg-Scheer-Trauchburg, daughter of count Hans Ernst von Waldburg-Scheer-Trauchburg. They hadseven children:Joseph Maria BenediktKarl JoachimJohann Nepomuk Joseph (25 July 1755 - 6 October 1755)Josepha Maria Johanna (14 November 1756 - 2 October 1809) ∞ Phillip Maria von Fürstenberg-PürglitzMariaAnna Josepha (4 April 1759 - 26 June 1759)Karl Alexander (11 September 1760 - 19 February 1761)Karl Egon (5 June 1762 - 20 February 1771)Bibliography(in German) Carl Borromäus Alois Fickler: Geschichte desHauses und Landes Fürstenberg, Aachen und Leipzig 1832; Band 4, S. 267–280 at Google Books(in German) Erno Seifriz: „Des Jubels klare Welle in der Stadt der Donauquelle“. Musik am Hofe der Fürsten vonFürstenberg in Donaueschingen im 18. und 19. Jahrhundert In: Mark Hengerer und Elmar L. Kuhn (ed.): Adel im Wandel. Oberschwaben von der frühen Neuzeit bis zur Gegenwart. Verlag Thorbecke, Ostfildern 2006,ISBN 978-3-7995-0216-0, Band 1, S. 363–376.Passage 5:Matilde BorromeoPrincess Matilde zu Fürstenberg (born Donna Matilde dei Principi Borromeo Arese Taverna; 8 August 1983) is an Italian equestrian and horsebreeder. She is a member of the House of Borromeo, an Italian noble family with historic ties to the Catholic Church and the Duchy of Milan. Through her marriage to Prince Antonius zu Fürstenberg she is a member ofthe German House of Fürstenberg. Matilde Borromeo has competed in international equestrian competitions representing Italy.Early lifeMatilde Borromeo was born on 8 August 1983 in Milan, Italy. She is the thirddaughter of Carlo Ferdinando Borromeo, Count of Arona and Marion Sybil Zota. She is sister of Donna Lavinia Borromeo and Donna Isabella Borromeo. She is half-sister of Donna Beatrice Borromeo, who married intothe Monegasque princely family, and Carlo Borromeo. She is a sister-in-law of Italian fashion designer Marta Ferri. Her paternal grandfather was Vitaliano Borromeo, Prince of Angera.CareerMatilde Borromeo beganworking on her family's farm in Lomellina after she got her degree in breeding and animal welfare at the University of Milan. She works in the daily industry and she started breeding show-jumping horses in 2006.Shortly after she began competing in the equestrian circuit, riding horses she raised on her own. She has competed international events. She has competed at the Global Champions Tour, Master of Paris, Master ofVerona, and at the Piazza di Siena. Representing Italy, she has placed second in Monte Carlo, first in Tortona, second in Verona, and first in Truccazzano. She ranked ninth on the first and second days and tenth on thethird day in the CIS first class grand prix at the Milano Winter Show. In 2015, Matilde Borromeo served as chief ambassador for the Milano Winter Show and Fiera Verona Cavalli.Personal lifeOn 11 June 2011 Borromeomarried Prince Antonius of Fürstenberg, the youngest son of Heinrich, Prince of Fürstenberg, at Isola Bella, one of the Borromean Islands in Lake Maggiore owned by the Borromeo family. They have two children, PrinceKarl Egon and Prince Alexander.In February 2019 it was reported that Borromeo and Antonius had separated.Passage 6:Heinrich, Prince of FürstenbergHeinrich, Prince of Fürstenberg (German: Heinrich Fürst zuFürstenberg; born 17 July 1950) is a German landowner, businessman and nobleman, who is the head of the House of Fürstenberg.Early yearsPrince Heinrich zu Fürstenberg was born in 1950 at Schloss Heiligenberg inHeiligenberg, Germany. He is the son of Joachim Egon, Prince of Fürstenberg, and Countess Paula von Königsegg-Aulendorf. He studied economics at university in Vienna.Personal life and familyIn 1976, Prince Heinrichmarried his second cousin, Princess Maximiliane of Windisch-Graetz, in Rome, Italy. In 1977, their first child, Prince Christian, was born. In 1985, their second child, Prince Antonius, was born.In 2010, his eldest sonmarried Jeannette Griesel. His younger son married Matilde dei Principi Borromeo Arese Taverna in 2011.In 2012, he was added to the International Best Dressed Hall of Fame.CareerPrince Heinrich's father died in2002, and he assumed the role as head of the Princely House of Fürstenberg at that time.  He owns and manages the family businesses, which include landholdings and beer brewing.The Fürstenberg family is thesecond-largest forest owner in Germany. The family was granted the right to brew beer in 1283 by Rudolf I of Germany and has been in the business ever since. In 2005, Prince Heinrich joined the Fürstenberg Brewerywith Brau Holding International.Passage 7:Karl Aloys zu FürstenbergKarl Aloys zu Fürstenberg (26 June 1760 – 25 March 1799) was an Austrian military commander. He achieved the rank of Field Marshal and died atthe Battle of Stockach.The third son of a cadet branch of the House of  Fürstenberg, at his birth his chances of inheriting the family title of Fürst zu Fürstenberg were slight; he was prepared instead for a military career,and a tutor was hired to teach him the military sciences. He entered the Habsburg military in 1777, at the age of seventeen years, and was a member of the field army in the short War of the Bavarian Succession(1778–79). His career progressed steadily during the Habsburg War with the Ottoman Empire. In particular he distinguished himself at Šabac in 1790, when he led his troops in storming the fortress on the Savariver.During the French Revolutionary Wars, he fought with distinction again for the First Coalition, particularly at Ketsch and Frœschwiller, and in 1796 at Emmendingen, Schliengen and Kehl. He was stationed at keypoints to protect the movements of the Austrian army. With a force of 10,000, he defended the German Rhineland at Kehl, and reversed a bayonet assault by French troops at Bellheim; his troops also overran Speyerwithout any losses. By the end of the War of the First Coalition, at the age of 35, he had achieved the rank of Field Marshal. During the War of the Second Coalition, he fought in the first two battles of the Germancampaign, at Ostrach on 21 March 1799, and at Stockach on 25 March 1799. At the latter action while leading a grenadier regiment, he was hit by French case shot and knocked off his horse. He died shortlyafterward.Childhood and early military trainingAs the third son of a cadet (junior) branch of the Fürstenberg princely family, Karl Aloys was prepared for a military career. His tutor, Lieutenant Ernst, was in active servicein the Habsburg military, and took six-year-old Karl Aloys on maneuvers with him. In this way, he learned as a child the Habsburg military manual, and came into contact with important military men who later furtheredhis education and career; he also acquired an honorary rank as Kreis-Obristen, or Colonel of the Imperial Circle, by the time he was ten years old. As a youth, in 1776, he met the Habsburg war minister Count FranzMoritz von Lacy and Baron Ernst Gideon von Laudon; he was also invited to dine with Emperor Joseph II. He started his service in 1777 as a Fähnrich (ensign) in the Habsburg military organization. He saw his first fieldservice during the War of the Bavarian Succession (1777–78), although he was not involved in any battles.In 1780, at the age of twenty years, he was promoted to captain, and assigned to the 34th Infantry Regiment,also known as the Anton Esterházy, named for Paul II Anton, Prince Esterházy, the general of cavalry, field marshal of the Seven Years' War, and ambassador to Britain. While he was assigned to this unit, heparticipated in the border conflicts between the Ottoman Empire and the Habsburgs, 1787–92, and stormed the fortress at Šabac (German: Schabatz) on the Sava River in Serbia on 27 April 1788. For his action atŠabac, he was personally commended by the Emperor; on the following day, he was promoted to major and given command of a grenadier battalion.On 1 January 1790, at Laudon's explicit request, Karl Aloys zuFürstenberg was promoted to major general; at the end of June of that year, he received the coveted position of second colonel of the 34th Infantry Regiment Anton Esterhazy, where he served as the executive officerfor Anton I, Prince Esterházy, the 34th Hungarian Regiment's Colonel and Proprietor. This was a customary appointment in which a less prominent officer completed the day-to-day administrative duties of the Coloneland Proprietor, who was usually a noble and was often posted in a different assignment, sometimes a different staff location. Karl Aloys zu Fürstenberg also received the confraternal Order of Saint Hubert from the Dukeof Bavaria and married the \"elegant\" Princess Elisabeth of Thurn und Taxis (1767–1822), that year.Fight against Revolutionary FranceWhile Karl Aloys zu Fürstenberg fought for the Habsburg cause in Serbia, in France,a coalition of the clergy and the professional and bourgeois class—the First and Third estates—led a call for reform of the French government and the creation of a written constitution. Initially, the rulers of Europeviewed the French Revolution as an event between the French king and his subjects, and not something in which they should interfere. In 1790, Leopold succeeded his brother Joseph as emperor and by 1791, heconsidered the situation surrounding his sister, Marie Antoinette, and her children, with greater alarm. In August 1791, in consultation with French émigré nobles and Frederick William II of Prussia, he issued theDeclaration of Pillnitz, in which they declared the interest of the monarchs of Europe as one with the interests of Louis XVI and his family. They threatened ambiguous, but quite serious, consequences if anything shouldhappen to the royal family. The French émigrés continued to agitate for support of a counter-revolution. On 20 April 1792, the French National Convention declared war on Austria. In the War of the First Coalition(1792–1797), France opposed most of the European states sharing land or water borders with her, plus Portugal and the Ottoman Empire.War of the First CoalitionIn the early days of the French Revolutionary Wars,Karl Aloys zu Fürstenberg remained as brigade commander of a small Austrian corps, approximately 10,000 men, under the overall command of Anton I, Prince Esterházy. He was stationed in the Breisgau, a Habsburgterritory between the Black Forest and the Rhine. This location between the forested mountains and the river included two important bridgeheads across the river which offered access to southwestern Germany, theSwiss Cantons, or north-central Germany. His brigade defended Kehl, a small village immediately across the Rhine from Strasbourg, but most of the action in 1792 occurred further north, in present-day Belgium, nearthe cities of Speyer and Trier, and at Frankfurt on the Main River.In the second year of the war, Fürstenberg was transferred to the cavalry of Dagobert Sigmund von Wurmser, in the Army of the Upper Rhine, andplaced in charge of the advance guard near Speyer, which was still held by the French. On 30 March, he crossed the Rhine by Ketsch at the head of the advance guard, which included 9,000 men. He took the city ofSpeyer on 1 April, in the absence of the commander of the city, Adam Philippe, Comte de Custine, who was away with most of his troops; those that remained behind simply abandoned the city. On the following day,Fürstenberg occupied the town of Germersheim. His first combat action of the war occurred on 3 April, when Custine's infantry attacked him in a bayonet charge near the villages of Bellheim, Hördt and Leimersheim,and afterward at Landau and Lauterbourg. During these attacks, he lost all the ground he had gained in the days before. After these events, he was again transferred, this time to the command of the Regiment Countvon Kavanagh, where he continued to distinguish himself during the French counter-offensive of October–November 1793. In the action around Geidertheim, on the Zorn River, he assisted Lieutenant Field MarshalGabriel Anton, Baron Splény de Miháldy, in repelling a French counter-attack. Shortly afterward, he became very ill and, in December 1793, was sent to the Hagenau to recover. On 22 December, he rejoined Wurmser'sCorps for the Battle of Froeschwiller against Lazare Hoche and Jean-Charles Pichegru. After the French retreated over the Rhine at Huningue, near Basel, he directed the construction of its new fortifications.In June1796, Fürstenberg commanded a division of four infantry battalions, 13 artillery pieces, and the Freikorps (Volunteers) Gyulay and secured the Rhine corridor between Kehl and Rastatt. On 26 June 1796, the FrenchArmy of the Rhine and Moselle crossed the Rhine and chased the Swabian Circle's military contingent out of Kehl. In June 1796, Archduke Charles added the contingent to Fürstenberg's command, making him theSwabian's Feldzeugmeister, or General of Infantry. Fürstenberg's troops defended the imperial line at the town of Rastatt until support troops arrived, and they could make an orderly withdrawal into the Upper DanubeValley. The Swabian contingent was demobilized in July, and Fürstenberg returned to the command of Austrian regulars during the Austrian counter-offensive. At the Battle of Emmendingen on 19 October 1796, hisleadership was again instrumental in an Austrian victory. General Jean Victor Marie Moreau's Army of the Rhine-and-Moselle sought to retain a foothold on the eastern side of the Rhine, following his retreat fromsouthwestern Germany west of the Black Forest. Fürstenberg held Kenzingen, 2.5 miles (4 km) north of Riegel on the Elz River. Karl Aloys zu Fürstenberg was ordered to feint against Riegel, to protect the primaryAustrian positions at Rust and Kappel.In the Battle of Schliengen (24 October 1796), Fürstenberg commanded the second column of the Austrian force, which included nine battalions of infantry and 30 squadrons ofcavalry; with these, he overwhelmed the force of General of Division Laurent de Gouvion Saint-Cyr, holding his position to prevent the French force from retreating north on the Rhine. While Maximilian Anton Karl,Count Baillet de Latour, engaged the main Austrian force at Kehl, Archduke Charles entrusted to Lieutenant Field Marshal Fürstenberg the command of the forces besieging Huningue, which included two divisions with20 battalions of infantry and 40 squadrons of cavalry. Charles' confidence in his young field marshal was well-placed. On 27 November, Fürstenberg's chief engineer opened and drained the water-filled moat protectingthe French fortifications. Fürstenberg offered the commander of the bridgehead, General of Brigade Jean Charles Abbatucci, the opportunity to surrender, which he declined. In the night of 30 November to 1 December,"}
+{"doc_id":"doc_217","qid":"","text":"Passage 1:SuhaaganSuhaagan (transl. Married woman) is a 1986 Indian Hindi-language drama film, produced by M. Arjuna Raju under the Roja Enterprises banner and directed by K. Raghavendra Rao. It starsJeetendra, Sridevi, Padmini Kolhapure  and music composed by Bappi Lahari. The film is a remake of the Tamil film Enkeyo Ketta Kural (1982).PlotRam Babu was a simple tiller of the soil, and he used to look after theagricultural lands of this neighbour Jagat Prasad. Jagat Prasad has two daughters, Janki and Jyoti. Janki is a well known punk while Jyoti is just a  plain and simple girl. Jyoti likes Ram Babu, but it is Janki who is marriedto Ram Babu. Ram Babu and Janki became the parents of baby girl, but their way of thinking is like two sides of the same coin, and to widen it more is a young man Murali. Murali was Jagat Prasad's friend's grandson,with his gift of talks, his bright outlook, he kindles a new light in the dull life of Janki. So far so, that Janki leaves her child and husband and elopes with Murali. On the insistence of Jagat Prasad, Ram marries Jyoti.Masterji comes to meet Janaki and Murali and tells them that what they did was very wrong. Janaki feels guilty and Murli understands that Janaki doesn't want to live with him anymore. Murli arranges a house on theoutskirts of Janaki's village where he ask her to go and stay. The same night Murali commits suicide. Janaki is surprised to see him dead however leaves for her village. Everyone berates her. Years pass and Janakisdaughter Meena starts going to school. Janaki meets her daughter and every evening takes her to her house to play. Jyoti learns of this and scolds Janaki and Meena. In anger she burns Meena's arm and when Ramscolds her for that she feels guilty and burns her own as well. Janaki falls sick and refuses to take medicines. Her mother visits her and she ask for forgiveness. She ask her mother to ask Ram to meet her once beforeshe dies. Ram agrees and goes to meet Janaki. Janaki cries for forgiveness and Ram forgives her. He also promises to perform her last rites as her husband once she dies. As soon as Ram leaves Janaki touches hisslippers that he left behind and dies. As promised and despite objection from Jagat Prasad and threat of being ostracized from the village Ram and Jyoti perform Janaki's last rites.CastJeetendra as RamSridevi asJankiPadmini Kolhapure as JyotiRaj Babbar as MurliPran as Jagat PrasadTanuja as ShantaKader Khan as MasterjiShakti Kapoor as Leela KrishnaAruna Irani as RadhaChandrashekhar as Murli'sgrandfatherAsraniSoundtrackThe music for the film was composed by Bappi Lahiri and written by Indeevar.Passage 2:Just Friends (1993 film)Just Friends is a 1993 Belgian-Dutch film. It was directed and produced byMarc-Henri Wajnberg, written by Pierre Sterckx and Alexandre Wajnberg, and starred Josse De Pauw, Ann-Gisel Glass, Charles Berling, and Sylvie Milhaud. Set in Antwerp, Just Friends is about the jazz scene in the1950s.The film received the André Cavens Award and won three Joseph Plateau Awards, including Best Film and Best Director for Wajnberg. It was selected as the Belgian entry for the Best Foreign Language Film at the66th Academy Awards.The music was written and supervised by Michel Herr and featured saxophonist Archie Shepp.See alsoList of Belgian submissions for the Academy Award for Best Foreign Language FilmList ofsubmissions to the 66th Academy Awards for Best Foreign Language FilmPassage 3:Just Friends (disambiguation)Just Friends is a 2005 romantic comedy film starring Ryan Reynolds and Amy Smart.Just Friends mayalso refer to:Film and televisionJust Friends (1993 film), a Belgian-Dutch film directed by Marc-Henri WajnbergJust Friends? (2009 film), a 2009 South Korean short film directed by Kim Jho Kwang-sooJust Friends (2018film), a 2018 Dutch film, original title Gewoon Vrienden, directed by Ellen Smit\"Just Friends\" (Degrassi High), an episode of Degrassi High\"Just Friends\" (Life with Derek), an episode of Life with Derek Just Friends (TVseries), a 1979 American sitcomMusicAlbumsJust Friends (Joe Temperley and Jimmy Knepper album), 1978Just Friends (soundtrack), a soundtrack album from the 2005 filmJust Friends (Rick Haydon and John Pizzarellialbum), 2006Just Friends (Zoot Sims and Harry Edison album), 1980Just Friends, a 1989 album by Oliver JonesJust Friends, a 1989 album by Helen MerrillJust Friends (Buddy Tate, Nat Simkins and Houston Personalbum), 1992Riddim Driven: Just Friends, a 2002 compilation albumSongs\"Just Friends\" (Danny! song), 2009\"Just Friends\" (Hayden James song), 2018\"Just Friends\" (John Klenner and Sam M. Lewis song), 1931\"JustFriends (Sunny)\", a 1999 song by Musiq Soulchild\"Just Friends\", a song by Amy Winehouse from Back to Black\"Just Friends\", a song by Gavin DeGraw from Chariot\"Just Friends\", a song by the Jonas Brothers fromJonas Brothers\"Just Friends\", a song by Nine Black Alps from Everything Is\"Just Friends\", a song by Vanessa Williams from The Real Thing\"Just Friends\", a song by Virginia to Vegas from Hartland St.\"Just Friends\", asong by Why Don't WeArtistsJust Friends (band), an American funk rock bandSee alsoJust Between Friends (album), a 2008 album by saxophonist Houston Person and bassist Ron CarterJust Between Friends(soundtrack)Just Good Friends (disambiguation)Friend zone, a strictly platonic relationship in which one partner, but not the other, wishes to enter into a strong and close romantic relationshipFriends(disambiguation)Friendship, a form of interpersonal relationshipPassage 4:The Fabulous SenoritaThe Fabulous Senorita is a 1952 American musical comedy film directed by R. G. Springsteen and starring EstelitaRodriguez, Robert Clarke and Nestor Paiva. The film came at the tail-end of a cycle of Latin American-themed films, though it did introduce a new star, Rita Moreno.PlotCastEstelita Rodriguez as Estelita RodriguezRobertClarke as Jerry TaylorNestor Paiva as José RodriguezMarvin Kaplan as Clifford Van KunkleRita Moreno as Manuela RodríguezLeon Belasco as Señor GonzalesTito Renaldo as Pedro SanchezTom Powers as DelaneyEmoryParnell as Dean BradshawOlin Howland as Justice of the PeaceVito Scotti as Esteban GonzalesMartin Garralaga as Police Captain GarciaNita Del Rey as FeliceJoan Blake as BettyFrances Dominguez as AmeliaBettyFarrington as JanitressNorman Field as Dr. CampbellClark Howat as DavisFrank Kreig as Cab DriverDorothy Neumann as Mrs. BlackElizabeth Slifer as Wife of Justice of the PeaceCharles Sullivan as Cab DriverArthurWalsh as PetePassage 5:Enkeyo Ketta KuralEnkeyo Ketta Kural (transl. A Voice Heard Somewhere) is a 1982 Indian Tamil-language drama film, directed by S. P. Muthuraman. The film stars Rajinikanth in the lead role,with Ambika and Radha playing his love interests and Meena as their daughter. The film was later remade in Telugu as Bava Maradallu in 1984, in Hindi as Suhaagan in 1986 and in Kannada as Midida Hrudayagalu in1993.PlotKumaran, a hardworking but easily aggrieved and very righteous man, is in love with his first cousin Ponni. Ponni works a very leisurely and laid-back job in a grand mansion. Ponni's younger sibling Kamatchiis fond of Kumaran, but he does not take her seriously. Vishwanathan, the father of Ponni and Kamatchi, plans to get Kumaran and Ponni married. Ponni reluctantly marries Kumaran. A daughter, Meena, is born after ayear. Ponni starts to detest Kumaran because of her newfound tasks. Later, her previous employer dies of old age. Ponni visits her employer's son (who is also unhappily married) after the funeral. They both converseabout their supposedly miserable lives and decide to elope. After Ponni runs away, her family disowns her and decides to have Kamatchi marry Kumaran. The initially reluctant Kumaran is convinced by his father-in-lawand marries Kamatchi. The pair bonds over time and lives in contentment with the child. Ponni realizes her blunder after a few weeks. Disgusted with herself, she leaves the eloped partner, remaining faithful toKumaran by not engaging in any debauchery with her partner. He confers her a small house near the village, where she spends the rest of her life. She meets her daughter, but her sister, disgusted with Ponni, ordersthe child not to meet her ever again. Kumaran comes to learn about her faithfulness and visits Ponni on her deathbed. She dies by Kumaran's side after reminiscing about her life. Kumaran is warned by his father-in-lawthat he will be banished from the village if takes part in her funeral. Kumaran defies him and performs the last rites for Ponni along with their daughter and Kamatchi.CastRajinikanth as KumaranAmbika as PonniRadhaas KamatchiMeena as child Meena (daughter of Kumaran and Ponni)Delhi Ganesh as VishwanathanKamala Kamesh as Vishwanathan's wifeV. S. RaghavanT. K. S. NatarajanK. KannanVairamKrishnamoorthyProductionThe film was completely shot at a village near Chengalpet.SoundtrackThe music was composed by Ilaiyaraaja.AccoladesFilmfare Award for Best Film – TamilTamil Nadu State Film Award forBest Dialogue Writer – Panchu ArunachalamTamil Nadu State Film Award for Best FilmFilm Fans Association Award for Best Actor – RajinikanthRelease and receptionEnkeyo Ketta Kural was released on 14 August 1982.Due to competition from another Muthuraman-directed film Sakalakala Vallavan, released on the same day, it was less successful. Thiraignani of Kalki felt the reason for Ambika eloping and returning back reformedlacked strong reasons and added the ending of the story, which is not easy to accept, raises many problematic questions that make our heads turn gray but praised the performances of Ambika, Delhi Ganesh andKamala Kamesh. He also praised Arunachalam's dialogues and Babu's cinematography and concluded if Kamal was \"Sakalakala Vallavan\" in that film then here Rajinikanth was \"Sakalakala Nallavan\".Passage 6:TheNight of NightsThe Night of Nights is a 1939 black-and-white drama film written by Donald Ogden Stewart and directed by Lewis Milestone for Paramount Pictures that starred Pat O'Brien, Olympe Bradna, and RolandYoung.The film received positive contemporary reviews from publications such as The New York Times. Director Milestone went on to other successful productions after the film came out, including Ocean's 11 and PorkChop Hill.BackgroundMilestone directed The Night of Nights nine years after winning the 1930 Academy Award for Best Director for All Quiet on the Western Front.PlotDan O'Farrell (Pat O'Brien) is a brilliant Broadwaytheater playwright, actor, and producer who has left the business.  When he was younger, he and his partner Barry Keith-Trimble (Roland Young) were preparing for the opening night of O'Farell's play Laughter bygetting drunk.  When it was time to perform, they were so intoxicated they ended up brawling on stage and fell into the orchestra pit.  The two left the theater and continued drinking, until they learn that they havebeen suspended. At the same time, O'Farrell learns that his wife, actress Alyce Martelle, is pregnant and has left him for ruining her performance in Laughter as Toni.  Despondent, he in left the business and went intoseclusion.Years later, his daughter Marie (Olympe Bradna) locates him and inspires him to return to Broadway.  He decides to restage Laughter with its original cast, but with Marie substituting for Alyce in the part ofToni.  Hoping to make a glorious return with a show that would be a hit with critics and the public alike, O'Farrell enlists the aid of friends to embark on a full-fledged comeback.CastReceptionFrank S. Nugent wrote forThe New York Times that the work of actors Pat O'Brien and Roland Young, had \"been a labor of love and the film has profited accordingly.\" In noting that the plot centered on \"the theatre and some of the curious folkwho inhabit it\", the newspaper's review stated that the film had an acceptable sentimentality and shared that the story was \"an uncommonly interesting study of a man's mind, subtly written and directed, presentedwith honesty and commendable sincerity by Mr. O'Brien, Mr. Young and Olympe Bradna, and well worth any one's attention.\" The only objection in the review was that the stage play Laughter, the piece being producedwithin the film by O'Brien's character of Dan O'Farrell, \"seemed to be the most awful tripe.\"Passage 7:Just Friends (soundtrack)Just Friends: Original Motion Picture Soundtrack is the musical accompaniment to the filmof the same name. It was released November 22, 2005 on New Line Records.Track listingBen Lee - \"Catch My Disease\"Fountains of Wayne - \"Hackensack\"Rogue Wave - \"Eyes\"Samantha James - \"Forgiveness\"BrendanBenson - \"Cold Hands (Warm Heart)\"Robbers on High Street - \"Big Winter\"The Sights - \"Waiting on a Friend\"Reed Foehl - \"When It Comes Around\"The Lemonheads - \"Into Your Arms\"'Just Friends' Holiday Players -\"Christmas, Christmas\"Dusty 'Lee' Dinkleman\" - \"Jamie Smiles\"Samantha James - \"Love from Afar\"Jeff Cardoni - \"Just Friends Score Medley\"All-4-One - \"I Swear\"Passage 8:Just FriendsJust Friends is a 2005 AmericanChristmas romantic comedy film directed by Roger Kumble, written by Adam 'Tex' Davis and starring Ryan Reynolds, Amy Smart, Anna Faris, Chris Klein and Christopher Marquette. The plot focuses on a formerly obesehigh school student (Reynolds) who attempts to free himself from the friend zone after reconnecting with his best friend (Smart) whom he is in love with while visiting his hometown for Christmas.The film revolvesaround humorous observation of strictly platonic relationships as \"just friends\" or \"just as best friends\". It was shot in Regina and Moose Jaw, Saskatchewan. Just Friends was released on November 23, 2005 andgrossed over $50 million.PlotIn 1995, Chris Brander, an obese high school senior, is secretly in love with his classmate and best friend Jamie Palamino. Confessing his feelings by writing in her yearbook, he attends theirgraduation party. As he returns Jamie's yearbook, it is swapped by her ex-boyfriend, Tim, who reads the declaration aloud to everyone, humiliating Chris. After kissing him on the cheek, Jamie admits she does notreciprocate his affections. He leaves the party in tears, announcing he will never return and vowing to be more successful than everyone else.Ten years later, a womanizing Chris has lost weight and lives in Los Angelesas a highly successful record producer and vice president of the company. Before Christmas, company CEO KC, asks him to accompany emerging, self-obsessed pop singer Samantha James to Paris so she signs withtheir label, and Chris reluctantly complies. She wants a relationship with him but he has no interest after their only date previously led to his hospitalization. On the way to Paris, Samantha accidentally sets her privatejet on fire, causing an emergency landing in New Jersey, near Chris's hometown.Chris takes Samantha to his mother's for the night and re-engages with his teenage past, including his unresolved feelings for Jamie. Shemeets his mother and 18-year-old brother Mike, a huge fan of Samantha who is infatuated with her. At the local bar, Chris encounters some old classmates, including his other best friend Clark and his wife Darla.Healso sees Jamie, working as a bartender to pay for graduate school for teaching. Chris asks Mike to keep Samantha busy during his date with Jamie, but realizing their platonic friendship is important to him hampers hisplan for them to have sex. During a friendly ice skating \"day date\", Chris is taken away in an ambulance after injuring himself during a hockey game with Jamie and a trio of kids (who dislike him). At the scene, Jamie isreunited with Dusty Dinkleman, a paramedic and former high school classmate also in love with her.The next night, Chris goes to Jamie's Christmas party to express his feelings for her, but Dusty is already there,charming everyone on guitar. Back at Chris's, Samantha ambushes Mike, demanding he reveal Chris's location. He refuses until she gives him a kiss. In a rage, she drives to Jamie's, crashing through her fence anddestroying the Christmas decorations. Chris returns home in embarrassment, and Jamie follows. She tells him she is not mad and they end up spending the night catching up and reminiscing. However, due to Chris'scontinuing lack of assertion, they end up just sleeping and nothing happens.The next day, Jamie speaks with Darla about the night before, while Chris goes to Clark for advice. Jamie admits that while they are \"justfriends\", she tried to show Chris she is interested in more. Clark tells Chris that \"the timing wasn't right\" and their history hinders him. Outside the office, Chris and Clark catch Dusty singing to a nurse and then kissingher. Dusty reveals his plans to have sex with Jamie and humiliate her in a way he felt she humiliated him in high school when he was attracted to her.Chris tries to warn Jamie, but instead attacks Dusty in front of her.She refuses to listen when he tries to explain. Consequently, he gets drunk and goes to Jamie's bar, finding her there with Dusty. When she gently declines Dusty's sexual advances, he storms out. Chris and Jamie getinto another fight, where he blames her for keeping him in the \"friend zone\" and says she will never amount to anything. Jamie punches Chris and he is tossed out.Upon returning to Los Angeles and rejectingSamantha's continued advances when she sees him again, Chris realizes that Jamie is his one and only true love. He returns to New Jersey, declares his love to her and they kiss, while the three kids (from the hockeygame earlier) watch in disgust. One of the boys hands the girl a cookie, which she gives to the other. She calls the boy who gave her a cookie her friend, which he replies with \"the bestest\" before realizing he has beenput in the friend zone.CastAlanis Morissette, then Reynolds' fiancée, made a cameo appearance as \"herself\" as a former client of his character. This came about when the casting director said \"we need an AlanisMorissette type\" and Reynolds said he knew someone who would fit. This scene was deleted, however, and is only available on the DVD.ProductionThe film was shot in Los Angeles and parts of Regina and Moose Jaw,Saskatchewan.MusicA soundtrack was released November 22, 2005 on New Line Records.Track listingBen Lee – \"Catch My Disease\"Fountains of Wayne – \"Hackensack\"Rogue Wave – \"Eyes\"Anna Faris (as SamanthaJames) – \"Forgiveness\"Brendan Benson – \"Cold Hands (Warm Heart)\"Robbers on High Street – \"Big Winter\"The Sights – \"Waiting on a Friend\"Reed Foehl – \"When It Comes Around\"The Lemonheads – \"Into YourArms\"'Just Friends' Holiday Players – \"Christmas, Christmas\"\"Dusty 'Lee' Dinkleman\" – \"Jamie Smiles\"Anna Faris (as Samantha James) – \"Love from Afar\"Jeff Cardoni – \"Just Friends Score Medley\"All-4-One – \"ISwear\"Carly Simon – \"Coming Around Again\"Original songs performed in the film\"Forgiveness\", performed multiple times by Anna Faris.\"Jamie Smiles\", performed multiple times by Chris Klein\"Love from Afar\",performed by Anna Faris and Renee Sandstrom\"Just a Guy\", performed by Anna Faris (only on the Alternate Ending)Most songs in the film were written by Adam Schiff, except \"When Jamie Smiles\", which was writtenby H. Scott Salinas.The orchestral score was written by Jeff Cardoni, and orchestrated by Stephen Coleman and Tony Blondal.ReceptionBox officeJust Friends grossed $32.6 million domestically, and $18.3 million inother territories, for a box office total of $50.9 million.In the United States the film grossed $9.2 million in its opening weekend, finishing 6th at the box office.Critical responseJust Friends received mixed reviews fromcritics. On Rotten Tomatoes the film has an approval rating of 42% based on 109 reviews with an average rating of 5.2/10. The site's critical consensus reads, \"There are moments of mirth in this overly broad comedy,but mostly, Just Friends is just not that funny.\" On Metacritic, the film has a score of 47 out of 100 based on 28 critics, indicating \"mixed or average reviews\". Audiences polled by CinemaScore gave the film an averagegrade of \"B−\" on an A+ to F scale.See alsoList of Christmas filmsPassage 9:Operation LeopardLa légion saute sur Kolwezi, also known as Operation Leopard, is a French war film directed by Raoul Coutard and filmed inFrench Guiana. The script is based on the true story of the Battle of Kolwezi that happened in 1978. It was diligently described in a book of the same name by former 1st Foreign Parachute Regiment Captain PierreSergent. He published his book in 1979, and the film came out in 1980. Coutard shot the film in a documentary style.PlotThe film is based on true events. In 1978, approximately 3,000 heavily armed fighters fromKatanga crossed the border to the Zaire and marched into Kolwezi, a mining centre for copper and cobalt. They took 3,000 civilians as hostages. Within a few days, between 90 and 280 hostages were killed. The rebels"}
+{"doc_id":"doc_218","qid":"","text":"Passage 1:John WestleyRev. John Wesley (1636–78) was an English nonconformist minister. He was the grandfather of John Wesley (founder of Methodism).LifeJohn Wesly (his own spelling), Westley, or Wesley was probably born at Bridport, Dorset, although some authorities claim he was born in Devon, the son of the Rev. Bartholomew Westley and Ann Colley, daughter of Sir Henry Colley of Carbery Castle in County Kildare, Ireland. He was educated at Dorchester Grammar School and as a student of New Inn Hall, Oxford, where he matriculated on 23 April 1651, and graduated B.A. on 23 January 1655, and M.A. on 4 July 1657. After his appointment as an evangelist, he preached at Melcombe Regis, Radipole, and other areas in Dorset. Never episcopally ordained, he was approved by Oliver Cromwell's Commission of Triers in 1658 and appointed Vicar of Winterborne Whitechurch.The report of his interview in 1661 with Gilbert Ironside the elder, his diocesan, according to Alexander Gordon writing in the Dictionary of National Biography, shows him to have been an Independent. He was imprisoned for not using the Book of Common Prayer, imprisoned again and ejected in 1662. After the Conventicle Act 1664 he continued to preach in small gatherings at Preston and then Poole, until his death at Preston in 1678.FamilyHe married a daughter of John White, who was related also to Thomas Fuller. White, the \"Patriarch of Dorchester\", married a sister of Cornelius Burges. Westley's eldest son was Timothy (born 1659). Their second son was Rev. Samuel Wesley, a High Church Anglican vicar and the father of John and Charles Wesley. A younger son, Matthew Wesley, remained a nonconformist, became a London apothecary, and died on 10 June 1737, leaving a son, Matthew, in India; he provided for some of his brother Samuel's daughters.NotesAdditional sourcesMatthews, A. G., \"Calamy Revised\", Oxford University Press, 1934, page 521. This article incorporates text from a publication now in the public domain: \"Wesley, Samuel (1662-1735)\". Dictionary of National Biography. London: Smith, Elder & Co. 1885–1900.Passage 2:Kaya AlpKaya Alp (Ottoman Turkish: \u0000\u0000\u0000\u0000 \u0000\u0000\u0000, lit. 'Brave Rock') was, according to Ottoman tradition, the son of Kızıl Buğa or Basuk and the father of Suleyman Shah. He was the grandfather of Ertuğrul Ghazi, the father of the founder of the Ottoman Empire, Osman I. He was also famously known for being the successing name of Ertokus Bey’s son Kaya Alp. He was a descendant of the ancestor of his tribe, Kayı son of Gun son of Oghuz Khagan, the legendary progenitor of the Oghuz Turks.Passage 3:Abd al-MuttalibShayba ibn Hāshim (Arabic: \u0000\u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000; c. 497–578), better known as \u0000Abd al-Mu\u0000\u0000alib, (Arabic: \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000, lit. 'Servant of Muttalib') was the fourth chief of the Quraysh tribal confederation. He was the grandfather of the Islamic prophet Muhammad.Early lifeHis father was Hashim ibn 'Abd Manaf,: 81 the progenitor of the distinguished Banu Hashim, a clan of the Quraysh tribe of Mecca. They claimed descent from Ismā'īl and Ibrāhīm. His mother was Salma bint Amr, from the Banu Najjar, a clan of the Khazraj tribe in Yathrib (later called Madinah). Hashim died while doing business in Gaza, before Abd al-Muttalib was born.: 81 His real name was \"Shaiba\" meaning 'the ancient one' or 'white-haired' because of the streak of white through his jet-black hair, and is sometimes also called Shaybah al-\u0000amd (\"The white streak of praise\").: 81–82 After his father's death he was raised in Yathrib with his mother and her family until about the age of eight, when his uncle Muttalib ibn Abd Manaf went to see him and asked his mother Salmah to entrust Shaybah to his care. Salmah was unwilling to let her son go and Shaiba refused to leave his mother without her consent. Mu\u0000\u0000alib then pointed out that the possibilities Yathrib had to offer were incomparable to Mecca. Salmah was impressed with his arguments, so she agreed to let him go. Upon first arriving in Mecca, the people assumed the unknown child was Muttalib's servant and started calling him 'Abd al-Muttalib (\"servant of Muttalib\").: 85–86Chieftain of Hashim clanWhen Mu\u0000\u0000alib died, Shaiba succeeded him as the chief of the Hāshim clan. Following his uncle Al-Mu\u0000\u0000alib, he took over the duties of providing the pilgrims with food and water, and carried on the practices of his forefathers with his people. He attained such eminence as none of his forefathers enjoyed; his people loved him and his reputation was great among them.: 61 'Umar ibn Al-Kha\u0000\u0000āb's grandfather Nufayl ibn Abdul Uzza arbitrated in a dispute between 'Abdul-Mu\u0000\u0000alib and \u0000arb ibn Umayyah, Abu Sufyan's father, over the custodianship of the Kaaba. Nufayl gave his verdict in favour of 'Abdul-Mu\u0000\u0000alib. Addressing \u0000arb ibn Umayyah, he said:Why do you pick a quarrel with a person who is taller than you in stature; more imposing than you in appearance; more refined than you in intellect; whose progeny outnumbers yours and whose generosity outshines yours in lustre? Do not, however, construe this into any disparagement of your good qualities which I highly appreciate. You are as gentle as a lamb, you are renowned throughout Arabia for the stentorian tones of your voice, and you are an asset to your tribe.Discovery of Zam Zam Well'Abdul-Mu\u0000\u0000alib said that while sleeping in the sacred enclosure, he had dreamed he was ordered to dig at the worship place of the Quraysh between the two deities Isāf and Nā'ila. There he would find the Zamzam Well, which the Jurhum tribe had filled in when they left Mecca. The Quraysh tried to stop him digging in that spot, but his son Al-\u0000ārith stood guard until they gave up their protests. After three days of digging, 'Abdul-Mu\u0000\u0000alib found traces of an ancient religious well and exclaimed, \"Allahuakbar!\" Some of the Quraysh disputed his claim to sole rights over water, then one of them suggested that they go to a female shaman who lived afar. It was said that she could summon jinns and that she could help them decide who was the owner of the well. So, 11 people from the 11 tribes went on the expedition. They had to cross the desert to meet the priestess but then they got lost. There was a lack of food and water and people started to lose hope of ever getting out. One of them suggested that they dig their own graves and if they died, the last person standing would bury the others. So all began digging their own graves and just as Abdul-Mu\u0000\u0000alib started digging, water spewed out from the hole he dug and everyone became overjoyed. It was then and there decided that Abdul-Muttalib was the owner of the Zam Zam well. Thereafter he supplied pilgrims to the Kaaba with Zam Zam water, which soon eclipsed all the other wells in Mecca because it was considered sacred.: 86–89 : 62–65The Year of the ElephantAccording to Muslim tradition, the Ethiopian governor of Yemen, Abrahah al-Ashram, envied the Kaaba's reverence among the Arabs and, being a Christian, he built a cathedral on Sana'a and ordered pilgrimage be made there.: 21 The order was ignored and someone desecrated (some saying in the form of defecation: 696 note 35 ) the cathedral. Abrahah decided to avenge this act by demolishing the Kaaba and he advanced with an army towards Mecca.: 22–23 There were thirteen elephants in Abrahah's army: 99 : 26 and the year came to be known as 'Ām al-Fīl (the Year of the Elephant), beginning a trend for reckoning the years in Arabia which was used until 'Umar ibn Al-Kha\u0000\u0000āb replaced it with the Islamic Calendar in 638 CE (17 AH), with the first year of the Islamic Calendar being 622 CE.When news of the advance of Abrahah's army came, the Arab tribes of Quraysh, Kinānah, Khuzā'ah and Hudhayl united in defence of the Kaaba. A man from the \u0000imyar tribe was sent by Abrahah to advise them that he only wished to demolish the Kaaba and if they resisted, they would be crushed. \"Abdul-Mu\u0000\u0000alib told the Meccans to seek refuge in the nearest high hills while he, with some leading members of Quraysh, remained within the precincts of the Kaaba. Abrahah sent a dispatch inviting 'Abdul-Mu\u0000\u0000alib to meet him and discuss matters. When 'Abdul-Mu\u0000\u0000alib left the meeting he was heard saying, \"The Owner of this House is its Defender, and I am sure He will save it from the attack of the adversaries and will not dishonour the servants of His House.\": 24–26 It is recorded that when Abrahah's forces neared the Kaaba, Allah commanded small birds (abābīl) to destroy Abrahah's army, raining down pebbles on it from their beaks. Abrahah was seriously wounded and retreated towards Yemen but died on the way.: 26–27 This event is referred to in the following Qur'anic chapter:Have you not seen how your Lord dealt with the owners of the Elephant?Did He not make their treacherous plan go astray?And He sent against them birds in flocks, striking them with stones of baked clay, so He rendered them like straw eaten up.Most Islamic sources place the event around the year that Muhammad was born, 570 CE, though other scholars place it one or two decades earlier. A tradition attributed to Ibn Shihab al-Zuhri in the musannaf of \u0000Abd al-Razzaq al-San\u0000ani places it before the birth of Muhammad's father.Sacrificing his son AbdullahAl-Harith was 'Abdul-Mu\u0000\u0000alib's only son at the time he dug the Zamzam Well.: 64 When the Quraysh tried to help him in the digging, he vowed that if he were to have ten sons to protect him, he would sacrifice one of them to Allah at the Kaaba. Later, after nine more sons had been born to him, he told them he must keep the vow. The divination arrows fell upon his favourite son Abdullah. The Quraysh protested 'Abdul-Mu\u0000\u0000alib's intention to sacrifice his son and demanded that he sacrifice something else instead. 'Abdul-Mu\u0000\u0000alib agreed to consult a \"sorceress with a familiar spirit\". She told him to cast lots between Abdullah and ten camels. If Abdullah were chosen, he had to add ten more camels, and keep on doing the same until his Lord accepted the camels in Abdullah's place. When the number of camels reached 100, the lot fell on the camels. 'Abdul-Mu\u0000\u0000alib confirmed this by repeating the test three times. Then the camels were sacrificed, and Abdullah was spared.: 66–68FamilyWivesAbd al-Muttalib had six known wives.Sumra bint Jundab of the Hawazin tribe.Lubnā bint Hājar of the Khuza'a tribe.Fatima bint Amr of the Makhzum clan of the Quraysh tribe.Halah bint Wuhayb of the Zuhrah clan of the Quraysh tribe.Natīla bint Janab of the Namir tribe.Mumanna'a bint Amr of the Khuza'a tribe.ChildrenAccording to Ibn Hisham, \u0000Abd al-Mu\u0000\u0000alib had ten sons and six daughters.: 707–708 note 97 However, Ibn Sa'd lists twelve sons.: 99–101 By Sumra bint Jundab:Al-\u0000ārith.: 708 He was the firstborn and he died before his father.: 99 Quthum.: 100 He is not listed by Ibn Hisham.By Fatima bint Amr:Al-Zubayr.: 707 He was a poet and a chief; his father made a will in his favour.: 99 He died before Islam, leaving two sons and daughters.: 101 : 34–35 Abu Talib, born as Abd Manaf,: 99 :  707 father of the future Caliph Ali. He later became chief of the Hashim clan.Abdullah, the father of Muhammad.: 99 : 707 Umm Hakim al-Bayda,: 100 : 707 the maternal grandmother of the third Caliph Uthman.: 32 Barra,: 100 : 707 the mother of Abu Salama.: 33 Arwa.: 100 : 707 Atika,: 100 : 707 a wife of Abu Umayya ibn al-Mughira.: 31 Umayma,: 100 : 707 the mother of Zaynab bint Jahsh and Abd Allah ibn Jahsh.: 33 By Lubnā bint Hājar:Abd al-'Uzzā, better known as Abū Lahab.: 100 : 708 By Halah bint Wuhayb:\u0000amza,: 707 the first big leader of Islam. He killed many leaders of the kufar and was considered as the strongest man of the quraysh. He was martyred at Uhud.: 100 \u0000afīyya.: 100 : 707 Al-Muqawwim.: 707 He married Qilaba bint Amr ibn Ju'ana ibn Sa'd al-Sahmia, and had children named Abd Allah, Bakr, Hind, Arwa, and Umm Amr (Qutayla or Amra).Hajl.: 707 He married Umm Murra bint Abi Qays ibn Abd Wud, and had two sons, named Abd Allah, Ubayd Allah, and three daughters named Murra, Rabi'a, and Fakhita.By Natīlah bint Khubāb:al-'Abbas,: 100 : 707 ancestor of the Abbasid caliphs.\u0000irār,: 707 who died before Islam.: 100 Jahl, died before IslamImran, died before IslamBy Mumanna'a bint 'Amr:Mus'ab, who, according to Ibn Saad, was the one known as al-Ghaydāq.: 100 He is not listed by Ibn Hisham.Al-Ghaydaq, died before Islam.Abd al-Ka'ba, died before Islam.: 100 Al-Mughira,: 100 who had the byname al-Ghaydaq.The family tree and some of his important descendantsDeathAbdul Muttalib's son 'Abdullāh died four months before Mu\u0000ammad's birth, after which Abdul Muttalib took care of his daughter-in-law Āminah. One day Muhammad's mother, Amina, wanted to go to Yathrib, where her husband, Abdullah, died. So, Muhammad, Amina, Abd al-Muttalib and their caretaker, Umm Ayman started their journey to Medina, which is around 500 kilometres away from Makkah. They stayed there for three weeks, then, started their journey back to Mecca. But, when they reached halfway, at Al-Abwa', Amina became very sick and died six years after her husband's death. She was buried over there. From then, Muhammad became an orphan. Abd al-Muttalib became very sad for Muhammad because he loved him so much. Abd al-Muttalib took care of Muhammad. But when Muhammad was eight years old, the very old Abd al-Muttalib became very sick and died at age 81-82 in 578-579 CE.Shaybah ibn Hāshim's grave can be found in the Jannat al-Mu'allā cemetery in Makkah, Saudi Arabia.See alsoFamily tree of MuhammadFamily tree of Shaiba ibn HashimSahabaPassage 4:Ernst I, Prince of Hohenlohe-LangenburgErnst Christian Carl, 4th Prince of Hohenlohe-Langenburg (7 May 1794 – 12 April 1860) was the son of Prince Charles Louis of Hohenlohe-Langenburg and Countess Amalie Henriette of Solms-Baruth.BiographyMarriageHe married Princess Feodora of Leiningen, the only daughter of Emich Carl, 2nd Prince of Leiningen, and Princess Victoria of Saxe-Coburg-Saalfeld on 18 February 1828 at Kensington Palace in London. She was the elder half-sister of the future British queen.He succeeded to the title of 4th Prince zu Hohenlohe-Langenburg on 4 April 1825, and attained the rank of Major-General.IssueOrders and decorationsWürttemberg:Knight of the Military Merit Order, 3 July 1815Grand Cross of the Order of the Württemberg Crown, 1830Grand Cross of the Friedrich Order, 1839 United Kingdom: Honorary Knight Grand Cross of the Most Honourable Order of the Bath (civil division), 22 January 1848AncestryPassage 5:Fujiwara no NagaraThis is about the 9th-century Japanese statesman.   For the 10th-century Japanese poet also known as Nagayoshi, see Fujiwara no Nagatō.Fujiwara no Nagara (\u0000\u0000\u0000\u0000, 802 – 6 August 856), also known as Fujiwara no Nagayoshi, was a Japanese statesman, courtier and politician of the early Heian period. He was the grandfather of Emperor Yōzei.LifeNagara was born as the eldest son of the sadaijin Fujiwara no Fuyutsugu, a powerful figure in the court of Emperor Saga. He was also a descendant of the early Japanese emperors and was well trusted by Emperor Ninmyō since his time as crown prince, and attended on him frequently. However, after Ninmyō took the throne, Nagara's advancement was overtaken by his younger brother Fujiwara no Yoshifusa. He served as director of the kurōdo-dokoro (\u0000\u0000\u0000) and division chief (\u0000) in the imperial guard before finally making sangi and joining the kugyō in 844, ten years after his younger brother.In 850, Nagara's nephew Emperor Montoku took the throne, and Nagara was promoted to shō shi-i no ge (\u0000\u0000\u0000\u0000) and then ju san-mi (\u0000\u0000\u0000), and in 851 to shō san-mi (\u0000\u0000\u0000). In the same year, though, Nagara was overtaken once more as his brother Fujiwara no Yoshimi, more than ten years his junior, was promoted to chūnagon. In 854, when Yoshimi was promoted to dainagon, Nagara was promoted to fill his old position of chūnagon. In 856 he was promoted to \u0000\u0000\u0000 (ju ni-i), but died shortly thereafter at the age of 55.LegacyAfter Nagara's death, his daughter Takaiko became a court lady of Emperor Seiwa. In 877, after her son Prince Sadaakira took the throne as Emperor Yōzei, Nagara was posthumously promoted to shō ichi-i (\u0000\u0000\u0000) and sadaijin, and again in 879 to daijō-daijin.Nagara was overtaken in life by his brother Yoshifusa and Yoshimi, but he had more children, and his descendants thrived. His third son Fujiwara no Mototsune was adopted by Yoshifusa, and his line branched into various powerful clans, including the five regent houses.Before the Middle Ages, there may have been a tendency to view Mototsune's biological father Nagara rather than his adoptive father Yoshifusa as his parent, making Nagara out as the ancestor of the regent family. This may have impacted the Ōkagami, leading it to depict Nagara as the head of the Hokke instead of Yoshifusa.PersonalityNagara had a noble disposition, both tender-hearted and magnanimous. Despite being overtaken by his brothers, he continued to love them deeply. He was treated his subordinates with tolerance, and was loved by people of all ranks. When Emperor Ninmyō died, Fuyutsugu is said to have mourned him like a parent, even abstaining from food as he prayed for the happiness of the Emperor's spirit.When he served Emperor Montoku in his youth, the Emperor treated him as an equal, but Nagara did not abandon formal dress or display an overly familiar attitude.GenealogyFather: Fujiwara no FuyutsuguMother: Fujiwara no Mitsuko (\u0000\u0000\u0000\u0000\u0000), daughter of Fujiwara no Matsukuri (\u0000\u0000\u0000\u0000)Wife: Nanba no Fuchiko (\u0000\u0000\u0000\u0000)Eldest son: Fujiwara no Kunitsune (\u0000\u0000\u0000\u0000, 828–908)Second son: Fujiwara no Tōtsune (\u0000\u0000\u0000\u0000, 835–888)Wife: Fujiwara no Otoharu (\u0000\u0000\u0000\u0000), daughter of Fujiwara no Fusatsugu (\u0000\u0000\u0000\u0000)Third son: Fujiwara no Mototsune ( \u0000\u0000\u0000\u0000, 836–891), adopted by Fujiwara no YoshifusaFourth son: Fujiwara no Takatsune (\u0000\u0000\u0000\u0000, ?–893)Fifth son: Fujiwara no Hirotsune (\u0000\u0000\u0000\u0000, 838–883)Sixth son: Fujiwara no Kiyotsune (\u0000\u0000\u0000\u0000, 846–915)Daughter: Fujiwara no Takaiko (\u0000\u0000\u0000\u0000, 842–910), court lady of Emperor Seiwa, mother of Emperor YōzeiUnknown wife (possibly Nanba no Fuchiko (\u0000\u0000\u0000\u0000))Daughter: Fujiwara no Shukushi (\u0000\u0000\u0000\u0000, 838–906), wife of Fujiwara no Ujimune, adoptive mother of Emperor Uda, Naishi-no-kami (\u0000\u0000)Daughter: Fujiwara no Ariko (\u0000\u0000\u0000\u0000, ?–866), wife of Taira no Takamune, Naishi-no-suke (\u0000\u0000)NotesPassage 6:Prithvipati ShahPrithvipati Shah (Nepali: \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000) was the king of the Gorkha Kingdom in the South Asian subcontinent, present-day Nepal. He was the grandfather of Nara Bhupal Shah and reigned from 1673–1716.King Prithvipati Shah ascended to the throne after the demise of his father. He was the longest serving king of the Gorkha Kingdom but his reign saw a lot of struggles.Passage 7:Lyon CohenLyon Cohen (born Yehuda Leib Cohen; May 11, 1868 – August 17, 1937) was a Polish-born Canadian businessman and a philanthropist. He was the grandfather of singer/poet Leonard Cohen.BiographyCohen was born in Congress Poland, part of the Russian Empire, to a Jewish family on May 11, 1868. He immigrated to Canada with his parents in 1871. He was educated at the McGill Model School and the Catholic Commercial Academy in Montreal. In 1888, he entered the firm of Lee & Cohen in Montreal; later became partner with his father in the firm of L. Cohen & Son; in 1895, he established W. R. Cuthbert & Co; in 1900, he organized the Canadian Improvement Co., a dredging contractor; in 1906, he founded The Freedman Co. in Montreal; and in May 1919, he organized and became President of Canadian Export Clothiers, Ltd.  The Freedman Company went on to become one of Montreal’s largest clothing companies.In 1897, Cohen and Samuel William Jacobs founded the Canadian Jewish Times, the first English-language Jewish newspaper in Canada. The newspaper promoted the Canadianization of recent East European Jewish immigrants and encouraged their acceptance of Canadian customs as Cohen felt that the old world customs of immigrant Jews were one of the main causes of anti-Semitism. In 1914, the paper was purchased by Hirsch Wolofsky, owner of the Yiddish-language Keneder Adler, who transformed it into the Canadian Jewish Chronicle.He died on August 17, 1937, at the age of 69.PhilanthropyCohen was elected the first president of the Canadian Jewish Congress in 1919 and organized the Jewish Immigrant Aid Services of Canada. Cohen was also a leader of the Young Men’s Hebrew Benevolent Society (later the Baron de Hirsch Institute) and the United Talmud Torahs, a Jewish day school in Montreal. He also served as president of Congregation Shaar Hashomayim and president of the Jewish Colonization Association in Canada.Personal lifeCohen married Rachel Friedman of Montreal on February 17, 1891. She was the founder and President of Jewish Endeavour Sewing School. They had three sons and one "}
+{"doc_id":"doc_219","qid":"","text":"Passage 1:Hartley LobbanHartley W Lobban (9 May 1926 – 15 October 2004) was a Jamaican-born first-class cricketer who played 17 matches for Worcestershire in the early 1950s.Life and careerLobban played littlecricket in Jamaica. He went to England at the end of World War II as a member of the Royal Air Force, and settled in Kidderminster in Worcestershire in 1947, where he worked as a civilian lorry driver for the RAF. Hebegan playing for Kidderminster Cricket Club in the Birmingham League, and at the start of the 1952 season, opening the bowling for the club's senior team, he had figures of 7 for 9 and 7 for 37.Worcestershire invitedhim to play for them, and he made his first-class debut against Sussex in July 1952. He took five wickets in the match (his maiden victim being Ken Suttle) and then held on for 4 not out with Peter Richardson (20 notout) to add the 12 runs needed for a one-wicket victory after his county had collapsed from 192 for 2 to 238 for 9. A week later he claimed four wickets against Warwickshire, then a few days later still he managed 6 for52 (five of his victims bowled) in what was otherwise a disastrous innings defeat to Derbyshire. In the last match of the season he took a career-best 6 for 51 against Glamorgan; he and Reg Perks (4 for 59) bowledunchanged throughout the first innings. Worcestershire won the game and Lobban finished the season with 23 wickets at 23.69.He took 23 wickets again in 1953, but at a considerably worse average of 34.43, and hadonly two really successful games: against Oxford University in June, when he took 5 for 70, and then against Sussex in July. On this occasion Lobban claimed eight wickets, his most in a match, including 6 for 103 in thefirst innings. He also made his highest score with the bat, 18, but Sussex won by five wickets.In 1954 Lobban made only two first-class appearances, and managed only the single wicket of Gloucestershire tail-enderBomber Wells. In his final game, against Warwickshire at Dudley, his nine first-innings overs cost 51. He bowled just two overs in the second innings as Warwickshire completed an easy ten-wicket win. Lobban playedone more Second XI game, against Glamorgan II at Cardiff Arms Park; in this he picked up five wickets.He was also a professional boxer and played rugby union for Kidderminster.He later moved to Canada, where heworked as a teacher in Burnaby, British Columbia. He and his wife Celia had a son and two daughters.Passage 2:Alejandro RomualdoAlejandro Romualdo (December 19, 1926 Trujillo, Peru – May 27, 2008 Lima, Peru)was a Peruvian poet of the 20th century. His best known work is the Song of Tupac Amaru, exalting the revolutionary spirit of the 18th-century leader. The poem, which glorified the Peruvian independence movement,won the Peruvian National Prize for Poetry in 1997.LifeBorn Alejandro Valle, he is the son of famed Peruvian actor, Alex Valle, star of the popular TV series, Risas y Salsa. Romualdo studied literature at the NationalUniversity of San Marcos in 1946. His first poem, \"La torre de los alucinados\" made him the recipient of the Peruvian National Prize for Poetry in 1949. Having earned a scholarship, he attended the University of Madridin 1951. Upon his return to Peru, Romualdo worked as a journalist as more of his works were published, which he used as an instrument of agitation and political propaganda that manifested his Marxist convictions. Bythe mid 1960s, he travelled to Mexico and Cuba, eventually returning to Peru where he had some temporary jobs, one of them at the National Institute of Culture and also  working as a professor of journalism atUniversity of San Martín de Porres in Lima.He married Teresa Pereira (d. 1998) and had 2 sons and a daughter. His son Gabriel Valle, M.D. is a nephrologist and medical school professor at University of Miami.Granddaughter, Juliette Valle, (born 2001) is a professional musical theatre actress.He dedicated himself to teaching and journalism. He collaborated in the newspapers La Crónica and La Prensa, and in the magazinesCultura Peruana and Idea. His poetries, articles and caricatures, appear signed with his prename of Alejandro Romualdo; also with his nickname Xanno.In 1965 he traveled to Mexico and then went to Cuba. Back in Peruhe had some temporary jobs, one of them at the National Institute of Culture. He then went on to teach at the University of San Martín de Porres, becoming a teacher for several generations of journalists.In 1976 hewon the OTI Festival award with his poem entitled I want to go out in the sun, set to music by Ernesto Pollarolo and performed by Fernando Llosa. He collaborated in the arts and letters magazine Hueso Hmero (1987,1990).DeathRomualdo was found dead in his home from heart complications in San Isidro District, Lima.See alsoPeruvian literatureBibliographyLuis Alberto Sánchez,: La literatura peruana. Derrotero para una historiacultural del Perú, tomo V, pp. 1581-1582. Cuarta edición y definitiva. Lima, P. L. Villanueva Editor, 1975.National Library of Peru, N.º 2012-03529. Toro Montalvo, César: Manual de Literatura Peruana, Tomo II, p. 1452.A.F.A. Editores Importadores S.A. Tercera edición, corregida y aumentada, 2012. Hecho el depósito legal.Mario Vargas Llosa, El pez en el agua. Memorias. Editorial Seix Barral, S. A., 1993. ISBN 84-322-0679-2Passage3:Henry Moore (cricketer)Henry Walter Moore (1849 – 20 August 1916) was an English-born first-class cricketer who spent most of his life in New Zealand.Life and familyHenry Moore was born in Cranbrook, Kent, in1849. He was the son of the Reverend Edward Moore and Lady Harriet Janet Sarah Montagu-Scott, who was one of the daughters of the 4th Duke of Buccleuch. One of his brothers, Arthur, became an admiral and wasknighted. Their great grandfather was John Moore, Archbishop of Canterbury from 1783 to 1805. One of their sisters was a maid of honour to Queen Victoria.Moore went to New Zealand in the 1870s and lived inGeraldine and Christchurch. He married Henrietta Lysaght of Hāwera in November 1879, and they had one son. In May 1884 she died a few days after giving birth to a daughter, who also died.In 1886 Moore became aJustice of the Peace in Geraldine. In 1897 he married Alice Fish of Geraldine. They moved to England four years before his death in 1916.Cricket careerMoore was a right-handed middle-order batsman. In consecutiveseasons, 1876–77 and 1877–78, playing for Canterbury, he made the highest score in the short New Zealand first-class season: 76 and 75 respectively. His 76 came in his first match for Canterbury, against Otago. Hewent to the wicket early on the first day with the score at 7 for 2 and put on 99 for the third wicket with Charles Corfe before he was out with the score at 106 for 3 after a \"very fine exhibition of free hitting, combinedwith good defence\". Canterbury were all out for 133, but went on to win the match. His 75 came in the next season's match against Otago, when he took the score from 22 for 2 to 136 for 6. The New Zealand crickethistorian Tom Reese said, \"Right from the beginning he smote the bowling hip and thigh, going out of his ground to indulge in some forceful driving.\" Canterbury won again.Moore led the batting averages in theCanterbury Cricket Association in 1877–78 with 379 runs at an average of 34.4. Also in 1877–78, he was a member of the Canterbury team that inflicted the only defeat on the touring Australians. In 1896–97, at theage of 47, he top-scored in each innings for a South Canterbury XVIII against the touring Queensland cricket team.Passage 4:Wesley BarresiWesley Barresi (born 3 May 1984) is a South African born first-class andNetherlands international cricketer. He is a right-handed wicket keeper-batsman and also bowls right-arm offbreak. In February 2021, Barresi announced his retirement from all forms of cricket, but returned to thenational team in August 2022.CareerWesley became the 100th victim to Indian cricketer Yuvraj Singh, when he was dismissed in the 2011 World Cup game against India.In July 2018, he was named in the Netherlands'One Day International (ODI) squad, for their series against Nepal. Ahead of the ODI matches, the International Cricket Council (ICC) named him as the key player for the Netherlands.In July 2019, he was selected toplay for the Amsterdam Knights in the inaugural edition of the Euro T20 Slam cricket tournament. However, the following month, the tournament was cancelled.Passage 5:Greg A. Hill (artist)Greg A. Hill is aCanadian-born First Nations artist and curator. He is Kanyen'kehà:ka Mohawk, from Six Nations of the Grand River Territory, Ontario.Early lifeHill was born and raised in Fort Erie, Ontario.Art careerHis work as amultidisciplinary artist focuses primarily on installation, performance and digital imaging and explores issues of his Mohawk and French-Canadian identity through the prism of colonialism, nationalism and concepts ofplace and community.Hill has been exhibiting his work since 1989, with solo exhibitions and performance works across Canada as well as group exhibitions in North America and abroad. His work can be found in thecollections of the Canada Council, the Indian Art Centre, Indian and Northern Affairs Canada, the Canadian Native Arts Foundation (now Indspire), the Woodland Cultural Center, the City of Ottawa, the Ottawa ArtGallery and the International Museum of Electrography.Curatorial careerHill serves as the Audain Senior Curator of Indigenous Art at the National Gallery of Canada.Awards and honoursIn 2018, Hill received theIndspire Award for Arts.Passage 6:John Allen (Oxford University cricketer)John Aubrey Allen (born 19 July 1974) is an Australian teacher, rugby player and cricketer.Allen was born in Windsor, New South Wales. Heattended Bede Polding College in South Windsor, before graduating with a BA in human movement studies at the University of Technology Sydney, where he also completed his Diploma of Education. He played rugbyfor several clubs, most notably for the Brumbies who he represented in the Ricoh Championship. He also played Grade cricket for Hawkesbury Cricket Club near Sydney. At 21, he moved to England to study for hismaster's degree at University College, Oxford. While at Oxford, Allen was awarded his blue in rugby union and cricket.Allen played as a centre in rugby union and as a forward in rugby league. He captained OxfordUniversity RFC in 2003, leading the team to a draw in The Varsity Match against Cambridge at Twickenham in December that year. Earlier in the year, he scored a try late in the game to seal Oxford's victory in theRugby League Varsity Match at the Athletic Ground, Richmond.For Oxford University Cricket Club, he played in two first-class matches, including the varsity match.After completing his master's, Allen returned toteaching in Australia and in 2017 was working as Director of Sport and Co-Curricular at Trinity Grammar School in Sydney, New South Wales.Passage 7:Wale AdebanwiWale Adebanwi (born 1969) is a Nigerian-born firstBlack Rhodes Professor at St Antony's College, Oxford where he was, until June 2021, a Professor of Race Relations, and the Director of the African Studies Centre, School of Interdisciplinary Area Studies, and aGoverning Board Fellow. He is currently a Presidential Penn Compact Professor of Africana Studies at the University of Pennsylvania. Adebanwi's research focuses on a range of topics in the areas of social change,nationalism and ethnicity, race relations, identity politics, elites and cultural politics, democratic process, newspaper press and spatial politics in Africa.Education backgroundWale Adebanwi graduated with a first degreein Mass Communication from the University of Lagos, and later earned his M.Sc. and Ph.D. in Political Science from the University of Ibadan. He also has an MPhil. and a Ph.D. in Social Anthropology from the Universityof Cambridge.CareerAdebanwi worked as a freelance reporter, writer, journalist and editor for many newspapers and magazines before he joined the University of Ibadan's Department of Political Science as a lecturerand researcher. He was later appointed as an assistant professor in the African American and African Studies Department of the University of California, Davis, USA. He became a full professor at UC Davis in2016.Adebanwi is the co-editor of Africa: Journal of the International African Institute and the Journal of Contemporary African Studies.WorksHis published works include:Nation as Grand Narrative: The Nigerian Pressand the Politics of Meaning (University of Rochester Press, 2016)Yoruba Elites and Ethnic Politics in Nigeria: Obafemi Awolowo and Corporate Agency (Cambridge University Press, 2014)Authority Stealing:Anti-corruption War and Democratic Politics in Post-Military Nigeria (Carolina Academic Press, 2012)In addition, he is the editor and co-editor of other books, including.The Political Economy of Everyday Life in Africa:Beyond the Margins (James Currey Publishers, 2017)Writers and Social Thought in Africa (Routledge, 2016)(co-edited with Ebenezer Obadare) Governance and the Crisis of Rule in Contemporary Africa (PalgraveMacmillan, 2016)(co-edited with Ebenezer Obadare) Democracy and Prebendalism in Nigeria: Critical Interpretations (Palgrave Macmillan, 2013).(co-edited with Ebenezer Obadare) Nigeria at Fifty: The Nation inNarration (Routledge, 2012)(co-edited with Ebenezer Obadare) Encountering the Nigerian State (Palgrave Macmillan, 2010).AwardsRhodes Professorship in Race Relations awarded by Oxford University to Faculty ofAfrican and Interdisciplinary Area Studies.Passage 8:Tom DickinsonThomas or Tom Dickinson may refer to: Thomas Dickenson, or Dickinson, merchant and politician of York, EnglandThomas R. Dickinson, United StatesArmy generalJ. Thomas Dickinson, American physicist and astronomerTom Dickinson (cricketer),  Australian-born cricketer in EnglandTom Dickinson (American football), American football playerPassage 9:Jörn LenzJörnLenz (born 12 April 1969) is a German former professional footballer who played as a defender. Lenz had four different spells with BFC Dynamo during his professional playing career and has continued to serve as partof the club's backroom staff since retiring in 2008. Lenz played a total of 374 matches for BFC Dynamo between 1988 and 2008. He made two appearances for BFC Dynamo in the 1989-90 European Cup Winners'Cup.CareerEarly careerLenz was born in Warnemünde. He began playing football for the youth teams of enterprise sports community BSG Schiffahrt/Hafen Rostock in Rostock. He was admitted into the Children andYouth Sports Scool (KJS) in 1981 and then taken over by football club FC Hansa Rostock. Lenz then joined the youth academy of BFC Dynamo in 1985. He was promoted to the reserve team of BFC Dynamo in 1987.Lenz made 54 appearances with the BFC Dynamo II in the second tier DDR-Liga between 1987 and 1989.BFC DynamoLenz made his first appearance with the first team of BFC Dynamo as a 19-year-old in the firstround of the 1988–89 FDGB-Pokal against BSG Energie Cottbus II on 9 September 1988. He started the match as a substitute and was exchanged for Waldemar Ksienzyk in the 80th minute. He was thus given theopportunity to play alongside players such as Andreas Thom, Thomas Doll and Frank Rohde. Lenz then made his debut for BFC Dynamo in the DDR-Oberliga against BSG Energie Cottbus on 5 May 1989. BFC Dynamowon the 1988–89 FDGB-Pokal. The team was set to play the first ever DFV-Supercup against SG Dynamo Dresden on 5 August 1989. Lenz started the match as a substitute, but was exchanged for Jörg Fügner in the77th minute. BFC Dynamo won the match 4–1 and became the first and only winner of the DFV-Supercup in the history of East German football.Lenz then made his international debut for BFC Dynamo in the return legof the first round of the 1989–90 European Cup Winners' Cup against Valur on 26 September 1989. He started the match as a substitute, but was exchanged for Heiko Bonan in the 33rd minute. Lenz scored the winning2–1 goal for BFC Dynamo in the 83th minute. Lenz also played in the first leg of the second round against AS Monaco FC  at the  Stade Louis II on 17 October 1989. AS Monaco FC was coached by Arsène Wenger andfielded prominent players such as George Weah at the time. Lenz started the match in the starting line-up, but was exchanged for Eike Küttner in the 46th minute. He missed the return leg against AS Monaco FC due toan injury.Lenz made 12 appearances for BFC Dynamo in the 1989–90 DDR-Oberliga. BFC Dynamo was rebranded as FC Berlin on 19 February 1990. Lenz played five matches for FC Berlin the 1990 Intertoto Cup.Jürgen Bogs returned as coach at the beginning of the  1990–91 season. Lenz was recurringly included in the starting line-up and made 16 appearances for FC Berlin in the 1990–91 NOFV-Oberliga. He made 23appearances for FC Berlin in the 1991–92 NOFV-Oberlig Nord and played all six matches for FC Berlin in the 1991–92 2. Bundesliga play-offs. However, FC Berlin failed to win promotion to the 2. Bundesliga for thesecond season in a row. Lenz left FC Berlin for  local rival Tennis Borussia Berlin after the season.Tennis Borussia BerlinLenz joined Tennis Borussia Berlin in the 1992–93 season. The former goalkeeper of BFC Dynamoand ten times East German champion Bodo Rudwaleit was the goalkeeper of Tennis Borussia Berlin at the time. Tennis Borussia Berlin reached the final of the 1992–93 Berlin Cup. The team defeated TürkiyemsporBerlin 2–0 in the final at the Mommsenstadion on 6 May 1993. Tennis Borussia Berlin also won the 1992–93 NOFV-Oberliga Nord. But the team finished the 1992–94 2. Bundesliga play-offs on second place. However,the winner 1. FC Union Berlin was denied a license and Tennis Borussia Berlin was therefore allowed to advance to the 2. Bundesliga instead. Lenz made his debut in the 2. Bundesliga against 1. FSV Mainz 05 in the on27 July 1993. Tennis Borussia Berlin was qualificied for the 1993–94 DFB-Pokal as a team in the 2. Bundesliga. Lenz made his debut in the DFB-Pokal in the second round of the 1993–94 DFB-Pokal against ASVNeumarkt on 24 August 1993. Lenz made 11 appearances for Tennis Borussia Berlin in the 1993–94 2. Bundesliga. He made a brief return to FC Berlin at the end of the 1993–94 season and played nine matches for FCBerlin in the 1993–94 NOFV-Oberliga Nord. Tennis Borussa Berlin finished the 1993–94 2. Bundesliga on 17th place and was immediately relegated to the Regionalliga Nordost. Lenz became regular player in TennisBorussia Berlin in the Regionalliga Nordost. The team won the 1995–96 Regionalliga Nordost, but was defeated by VfB Oldenburg in the Play-offs for the 2. Bundesliga. The play-offs were lost after a 2–1 goal to VfBOldenburg on stoppage time in the return leg. Lenz has described the defeat in the play-offs as his hardest sporting moment. Lenz left Tennis Borussia Berlin for FC Energie Cottbus after the 1996–97 season. He made100 appearances for Tennis Borussia Berlin in the Regionalliga Nordost between 1994 and 1997.Return to FC BerlinLenz joined FC Energie Cottbus in the 1997–98 season. However, he was sparingly used and playedonly two matches for FC Energie Cottbus in the 1997–98 2. Bundesliga. Lenz returned to FC Berlin during the winter break. He would be a key player in the team for several seasons to come. Lenz became the new teamcaptain of FC Berlin in the 1998–99 Regionalliga Nordost. FC Berlin reverted to its old club name BFC Dynamo during the season. BFC Dynamo reached the final of the 1998–99 Berlin Cup. The team defeated BerlinTürkspor 1965 4–1 in the final at the Friedrich-Ludwig-Jahn-Sportpark on 11 May 1999. Lenz was team captain of BFC Dynamo also in the following season. BFC Dynamo was qualified for the 1999–2000 DFB-Pokal aswinner of the 1998–99 Berlin Cup. The team lost 2–0 to DSC Arminia Bielefeld in the second of the 1999–2000 DFB-Pokal in front of 2,400 spectators at Friedrich-Ludwig-Jahn-Sportpark on 7 August 1999 The teamfinished the 1999–2000 Regionalliga Nordost on 17th place and was relegated to the NOFV-Oberliga Nord.VfB LeipzigBFC Dynamo dominated the 2000–01 NOFV-Oberliga Nord. The team had only suffered three lossesand conceded 17 goals during the league season. However, BFC Dynamo was defeated by 1. FC Magdeburg in  the play-offs for the Regionalliga. And it was now also clear that the club was in serious financialdifficulties. Insolvency proceeding were opened against BFC Dynamo on 1 November 2001. The club now had to continue under amateur conditions and the team was going to be automatically relegated to theVerbandsliga Berlin. Lenz left BFC Dynamo for VfB Leipzig when the insolvency proceeding were opened. VfB Leipzig was coached by SG Dynamo Dresden legend Hans-Jürgen \"Dixie\" Dörner at the time. Lenz played his"}
+{"doc_id":"doc_220","qid":"","text":"Passage 1:Helena (empress)Flavia Julia Helena (; Greek: \u0000λένη, Helénē; c.  AD 246/248– c. 330), also known as Helena of Constantinople and Saint Helena, was an Augusta of the Roman Empire and mother ofEmperor Constantine the Great. She was born in the lower classes traditionally in the Greek city of Drepanon, Bithynia, in Asia Minor, which was renamed Helenopolis in her honor, though several locations have beenproposed for her birthplace and origin.Helena ranks as an important figure in the history of Christianity. In her final years, she made a religious tour of Syria Palaestina and Jerusalem, during which ancient traditionclaims that she discovered the True Cross. The Eastern Orthodox Church, Catholic Church, Oriental Orthodox Churches, and Anglican Communion revere her as a saint, and the Lutheran Church commemorates her.EarlylifeSources agree that Helena was a Greek, probably from Asia Minor in modern Turkey. Her birthplace is not known with certainty, but Helenopolis, then Drepanum, in Bithynia is, following Procopius, \"generallyassumed\" to be the place. Her name is attested on coins as Flavia Helena, Flavia Julia Helena and sometimes Aelena. Joseph Vogt suggested that the name Helena was typical for the Greek-speaking part of the RomanEmpire and that therefore her place of origin should be looked for in the eastern provinces of the Roman Empire. The 6th-century historian Procopius is the earliest authority for the statement that Helena was a native ofDrepanum, in the province of Bithynia in Asia Minor. The name Helena appears in all areas of the Empire, but is not epigraphically attested in inscriptions of Bithynia (Helena's proposed region of origin) and it was alsocommon in Latin-speaking areas. Procopius lived much later than the era he was describing and his description may have been actually intended as an etymological explanation about the toponym Helenopolis. On theother hand, her son Constantine renamed the city \"Helenopolis\" after her death around AD 330, which supports the belief that the city was indeed her birthplace. The Byzantinist Cyril Mango has, however, argued thatHelenopolis was refounded to strengthen the communication network around Constantine's new capital in Constantinople, and was renamed simply to honor Helena, not to necessarily mark her birthplace. There wasalso a Helenopolis in Palestine and a Helenopolis in Lydia. These cities, and the province of Helenopontus in the Pontus, were probably all named after Constantine's mother. Two other locations in France and thePyrenees have been named after Helena. Equally uncertain to Drepanum and without strong documentation suggestions about her birthplace are: Naissus (central Balkans), Caphar or Edessa (Mesopotamia), Trier.Thebishop and historian Eusebius of Caesarea states that Helena was about 80 on her return from Palestine. Since that journey has been dated to 326–28, she was probably born around 246 to 249. Information about hersocial background universally suggests that she came from the lower classes. Fourth-century sources, following Eutropius' Breviarium, record that she came from a humble background. Bishop Ambrose of Milan, writingin the late 4th century was the first to call her a stabularia, a term translated as \"stable-maid\" or \"inn-keeper\". He makes this comment a virtue, calling Helena a bona stabularia, a \"good stable-maid\", probably tocontrast her with the general suggestion of sexual laxness considered typical of that group. Other sources, especially those written after Constantine's proclamation as emperor, gloss over or ignore her background.BothGeoffrey of Monmouth and Henry of Huntingdon promoted a popular tradition that Helena was a British princess and the daughter of \"Old King Cole\" from the area of Colchester. This led to the later dedication of 135churches in England to her, many in around the area of Yorkshire, and revived as a suggestion in the 20th century in the novel by Evelyn Waugh.Marriage to Emperor ConstantiusIt is unknown where she first metConstantius. The historian Timothy Barnes has suggested that Constantius, while serving under Emperor Aurelian, could have met her while stationed in Asia Minor for the campaign against Zenobia. It is said that uponmeeting they were wearing identical silver bracelets; Constantius saw her as his soulmate sent by God. Barnes calls attention to an epitaph at Nicomedia of one of Aurelian's protectors, which could indicate theemperor's presence in the Bithynian region soon after AD 270. The precise legal nature of the relationship between Helena and Constantius is also unknown. The sources are equivocal on the point, sometimes callingHelena Constantius' \"wife\", and sometimes, following the dismissive propaganda of Constantine's rival Maxentius, calling her his \"concubine\". Jerome, perhaps confused by the vague terminology of his own sources,manages to do both.Some scholars, such as the historian Jan Drijvers, assert that Constantius and Helena were joined in a common-law marriage, a cohabitation recognized in fact but not in law. Others, like TimothyBarnes, assert that Constantius and Helena were joined in an official marriage, on the grounds that the sources claiming an official marriage are more reliable.Helena gave birth to the future emperor Constantine I on 27February of an uncertain year soon after 270 (probably around 272). At the time, she was in Naissus (Niš, Serbia). In order to obtain a wife more consonant with his rising status, Constantius divorced Helena some timebefore 289, when he married Theodora, Maximian's daughter under his command. The narrative sources date the marriage to 293, when Constantius was appointed caesar (heir-apparent) of Maximian, but the Latinpanegyric of 289 refers to the new couple as already married. Helena and her son were dispatched to the court of Diocletian at Nicomedia, where Constantine grew to be a member of the inner circle. Helena neverremarried and lived for a time in obscurity, though close to her only son, who had a deep regard and affection for her.After Constantine's ascension to the throneConstantine was proclaimed augustus (emperor) in 306by Constantius' troops after the latter had died, and following his elevation his mother was brought back to the public life in 312, returning to the imperial court. She appears in the Eagle Cameo portraying Constantine'sfamily, probably commemorating the birth of Constantine's son Constantine II in the summer of 316.She lived in the Horti Spei Veteris in Rome which she converted into an even more luxurious palace.Pilgrimage andrelic discoveriesConstantine appointed his mother Helena as Augusta, and gave her unlimited access to the imperial treasury in order to locate the relics of the Christian tradition. In AD 326–28 Helena undertook a tripto Palestine. According to Eusebius of Caesarea, who records the details of her pilgrimage to Palestine and other eastern provinces, and Socrates Scholasticus, she was responsible for the construction or beautification ofthe Church of the Nativity in Bethlehem, and the Church of Eleona on the Mount of Olives; sites of Christ's birth and ascension, respectively. Local founding legend attributes to Helena's orders the construction of achurch in Egypt to identify the Burning Bush of Sinai. The chapel at Saint Catherine's Monastery—often referred to as the Chapel of Saint Helen—is dated to the year 330.The True Cross and the Church of the HolySepulchreJerusalem was still being rebuilt following the destruction caused by Titus in AD 70. Emperor Hadrian had built during the 130s a temple to Venus over the supposed site of Jesus' tomb near Calvary, andrenamed the city Aelia Capitolina. Accounts differ concerning whether the temple was dedicated to Venus or Jupiter. According to Eusebius, \"[t]here was a temple of Venus on the spot. This the queen (Helena) haddestroyed.\" According to tradition, Helena ordered the temple torn down and, according to the legend that arose at the end of the 4th century, chose a site to begin excavating, which led to the recovery of threedifferent crosses. The legend is recounted in Ambrose, On the Death of Theodosius (died 395) and at length in Rufinus' chapters appended to his translation into Latin of Eusebius's Ecclesiastical History, the main bodyof which does not mention the event. Then, Rufinus relates, the empress refused to be swayed by anything short of solid proof and performed a test. Possibly through Bishop Macarius of Jerusalem, she had a womanwho was near death brought from the city. When the woman touched the first and second crosses, her condition did not change, but when she touched the third and final cross she suddenly recovered, and Helenadeclared the cross with which the woman had been touched to be the True Cross.On the site of discovery, Constantine ordered the building of the Church of the Holy Sepulchre. Churches were also built on other sitesdetected by Helena.The \"Letter From Constantine to Macarius of Jerusalem\", as presented in Eusebius' Life of Constantine, states:\"Such is our Saviour's grace, that no power of language seems adequate to describe thewondrous circumstance to which I am about to refer. For, that the monument of his [Christ's] most holy Passion, so long ago buried beneath the ground, should have remained unknown for so long a series of years,until its reappearance to his servants now set free through the removal of him who was the common enemy of all, is a fact which truly surpasses all admiration. I have no greater care than how I may best adorn with asplendid structure that sacred spot, which, under Divine direction, I have disencumbered as it were of the heavy weight of foul idol worship [the Roman temple]; a spot which has been accounted holy from thebeginning in God’s judgment, but which now appears holier still, since it has brought to light a clear assurance of our Saviour’s passion.\"Sozomen and Theodoret claim that Helena also found the nails of the crucifixion.To use their miraculous power to aid her son, Helena allegedly had one placed in Constantine's helmet, and another in the bridle of his horse. According to one tradition, Helena acquired the Holy Tunic on her trip toJerusalem and sent it to Trier.CyprusSeveral relics purportedly discovered by Helena are now in Cyprus, where she spent some time. Among them are items believed to be part of Jesus Christ's tunic, pieces of the holycross, and pieces of the rope with which Jesus was tied on the Cross. The rope, considered to be the only relic of its kind, has been held at the Stavrovouni Monastery, which was also said to have been founded byHelena. According to tradition, Helena is responsible for the large population of cats in Cyprus. Local tradition holds that she imported hundreds of cats from Egypt or Palestine in the fourth century to rid a monastery ofsnakes. The monastery is today known as \"St. Nicholas of the Cats\" (Greek Άγιος Νικόλαος των Γατών) and is located near Limassol.RomeHelena left Jerusalem and the eastern provinces in 327 to return to Rome,bringing with her large parts of the True Cross and other relics, which were then stored in her palace's private chapel, now the Basilica of Santa Croce in Gerusalemme, where they can be still seen today. This has beenmaintained by Cistercian monks in the monastery which has been attached to the church for centuries.Death and burialHelena died around 330, with her son at her side. She was buried in the Mausoleum of Helena,outside Rome on the Via Labicana. Her sarcophagus is on display in the Pio-Clementine Vatican Museum, next to the sarcophagus of her granddaughter Constantina (Saint Constance). However, in 1154 her remainswere replaced in the sarcophagus with the remains of Pope Anastasius IV, and Helena's remains were moved to Santa Maria in Ara Coeli.SainthoodHelena is considered by the Eastern Orthodox, Oriental Orthodox,Eastern and Roman Catholic churches, as well as by the Anglican Communion and Lutheran Churches, as a saint. She is sometimes known as Helen of Constantinople to distinguish her from others with similar names,and is \"Ilona\" in Hungarian, and \"Liena\" in Malta.Her feast day as a saint of the Eastern Orthodox Church is celebrated with her son on 21 May, the \"Feast of the Holy Great Sovereigns Constantine and Helena, Equal tothe Apostles\". Her feast day in the Roman Catholic Church and in Antiochian Western Rite Vicariate falls on 18 August. Her feast day in the Coptic Orthodox Church is on 9 Pashons.Some Anglican and Lutheran churcheskeep the 21 May date. Helena is honored in the Church of England on 21 May but in the Episcopal Church on 22 May.Her discovery of the Cross along with Constantine is dramatised in the Santacruzan, a ritual pageantin the Philippines. Held in May (when Roodmas was once celebrated), the procession also bears elements of the month's Marian devotions. Helena is the patron saint of new discoveries.In the Ethiopian and EritreanOrthodox Tewahedo Churches, the feast of Meskel, which commemorates her discovery of the cross, is celebrated on 17 Meskerem in the Ethiopian calendar (September 27, Gregorian calendar, or on 28 September inleap years). The holiday is usually celebrated with the lighting of a large bonfire, or Demera, based on the belief that she had a revelation in a dream. She was told that she should make a bonfire and that the smokewould show her where the true cross was buried. So she ordered the people of Jerusalem to bring wood and make a huge pile. After adding frankincense to it, the bonfire was lit and the smoke rose high up to the skyand returned to the ground, exactly to the spot where the Cross had been buried.Uncovering of the Precious Cross and the Precious Nails (Roodmas) by Empress Saint Helen in Jerusalem falls on 6 March.She is alsocommemorated every Bright Wednesday along with the saints from Mount Sinai, by the Russian Orthodox Church and the Orthodox Church in America.RelicsHer alleged skull is displayed in the Cathedral of Trier, inGermany. Portions of her relics are found at the basilica of Santa Maria in Ara Coeli in Rome, the Église Saint-Leu-Saint-Gilles in Paris, and at the Abbaye Saint-Pierre d'Hautvillers.The church of Sant'Elena in Veniceclaims to have the complete body of the saint enshrined under the main altar. In 1517, the English priest, Richard Torkington, having seen the relics during a visit to Venice described them as follows: \"She lith in a ffayrplace of religion, of white monks, ye may see her face perfythly, her body ys covered with a cloth of whith sylke ... Also there lyes upon her breast a lytell crosse made of the holy crosse ...\" In an ecumenical gesture,these relics visited the Orthodox Church of Greece and were displayed in the church of Agia Varvara (Saint Barbara) in Athens from 14 May to 15 June 2017.Later cultural traditionsIn British folkloreIn Great Britain, laterlegend, mentioned by Henry of Huntingdon but made popular by Geoffrey of Monmouth, claimed that Helena was a daughter of the King of Britain, Cole of Colchester, who allied with Constantius to avoid more warbetween the Britons and Rome. Geoffrey further states that she was brought up in the manner of a queen, as she had no brothers to inherit the throne of Britain. The source for this may have been Sozomen's HistoriaEcclesiastica, which, however, does not claim Helena was British but only that her son Constantine picked up his Christianity there. Constantine was with his father when he died in York, but neither had spent much timein Britain.The statement made by English chroniclers of the Middle Ages, according to which Helena was supposed to have been the daughter of a British prince, is entirely without historical foundation. It may arise fromthe similarly named Welsh princess Saint Elen (alleged to have married Magnus Maximus and to have borne a son named Constantine) or from the misinterpretation of a term used in the fourth chapter of the panegyricon Constantine's marriage with Fausta. The description of Constantine honoring Britain oriendo (lit. \"from the outset\", \"from the beginning\") may have been taken as an allusion to his birth (\"from his beginning\")although it was actually discussing the beginning of his reign.At least twenty-five holy wells currently exist in the United Kingdom dedicated to a Saint Helen. She is also the patron saint of Abingdon and Colchester. StHelen's Chapel in Colchester was believed to have been founded by Helena herself, and since the 15th century, the town's coat of arms has shown a representation of the True Cross and three crowned nails in herhonour. Colchester Town Hall has a Victorian statue of the saint on top of its 50-metre-high (160 ft) tower. The arms of Nottingham are almost identical because of the city's connection with Cole, her supposedfather.Filipino legend and traditionFlores de Mayo honors her and her son Constantine for finding the True Cross with a parade with floral and fluvial themed parade showcasing her, Constantine and other people whofollowed her journey to find the True Cross. Filipinos named the parade Sagala.Medieval legend and fictionIn medieval legend and chivalric romance, Helena appears as a persecuted heroine, in the vein of such womenas Emaré and Constance; separated from her husband, she lives a quiet life, supporting herself on her embroidery, until such time as her son's charm and grace wins her husband's attention and so the revelation oftheir identities.Modern fictionHelena is the protagonist of Evelyn Waugh's 1950 novel Helena. She is also the main character of Priestess of Avalon (2000), a fantasy novel by Marion Zimmer Bradley and Diana L.Paxson. She is given the name Eilan and depicted as a trained priestess of Avalon.Helena is also the protagonist of Louis de Wohl's novel The Living Wood (1947) in which she is again the daughter of King Coel ofColchester. In the 2021 novel Eagle Ascending by Dan Whitfield she is depicted as having lived to age 118 as result of the powers of the True Cross.NotesPassage 2:John Patrick CarrollJohn Patrick Carroll (February 22,1864 – November 4, 1925) was an American prelate of the Catholic Church. He served as bishop of the Diocese of Helena in Montana from 1904 until his death in 1925.BiographyEarly lifeCarroll was born on February22, 1864, in Dubuque, Iowa, to Martin and Catherine (née O'Farrell) Carroll, both Irish natives. He received his early education at the parochial school of St. Raphael's Cathedral. Carroll then entered St. Joseph's Collegeat age 13, graduating in 1883. He studied for the priesthood at the Grand Seminary of Montreal in Montreal, Quebec, where he earned his Doctor of Divinity degree.PriesthoodWhile in Montreal, Carroll was ordained apriest for the Archdiocese of Dubuque on July 7, 1889, by Archbishop Édouard-Charles Fabre. Upon his return to Dubuque, he performed his first Mass at St. Raphael's Cathedral on July 11, 1889. He was appointed tothe faculty of his alma mater, St. Joseph's College, assuming the role of professor of philosophy on September 12, 1889. On September 12, 1894, Carroll was promoted to president of St. Joseph's, a position he held forthe next decade.Bishop of HelenaOn September 12, 1904, Carroll was appointed the second bishop of the Diocese of  Helena by Pope Pius X. He received his episcopal consecration on December 21, 1904, fromArchbishop John Keane, with Bishops Richard Scannell and Charles O'Reilly serving as co-consecrators, at St. Raphael's Cathedral. He was installed on January 31, 1905..In 1904, the Diocese of Helena contained 53priests, 65 churches, and nine parochial schools to serve 50,000 Catholics. By the time of Carroll's death 21 years later, there were 104 priests, 101 churches, 24 parochial schools, and a Catholic population of 64,000.During his tenure, he laid the cornerstone for the new Cathedral of Saint Helena in 1908 and established Mount St. Charles College the following year.Carroll was a vocal opponent of socialism, which he believed made\"no allowance for the development of man's talents, intellectual gifts, his spirit of economy or his ability...Should this policy be pursued it would mean the ruin of a nation.\" He also condemned alcohol as \"the mostprolific source of poverty and misery\" and successfully lobbied the Helena City Council to require bars to close by midnight. The son of Irish immigrants, he supported the Irish Home Rule movement and served asnational chaplain of the Ancient Order of Hibernians.Death and legacyWhile traveling for his ad limina visit to Rome, Carroll died from a cerebral hemorrhage on November 4, 1925, while in Fribourg, Switzerland. Hisbody was shipped back to the United States and buried at Resurrection Cemetery in Helena. The diocesan college, Carroll College, is named for Carroll.Passage 3:Where Was I\"Where Was I?\" may refer to:Books\"WhereWas I?\", essay by David Hawley Sanford from The Mind's IWhere Was I?, book by John Haycraft 2006Where was I?!, book by Terry Wogan 2009Film and TVWhere Was I? (film), 1925 film directed by William A. Seiter."}
+{"doc_id":"doc_221","qid":"","text":"Passage 1:Roberto SavioRoberto Savio (born in Rome, Italy, but also holding Argentine nationality) is a journalist, communication expert, political commentator, activist for social and climate justice  and advocate ofglobal governance. He has spent most of his career with Inter Press Service (IPS), the news agency which he founded in 1964 along with Argentine journalist Pablo Piacentini.Savio studied Economics at the University ofParma, followed by post-graduate courses in Development Economics under Gunnar Myrdal, History of Art and International Law in Rome. He started his professional career as a research assistant in International Lawat the University of Parma.Early activitiesWhile at university, Roberto Savio acted as an international officer with Italy’s National Student Association and the Youth Movement of Italy’s Christian Democracy party,eventually taking on responsibility for Christian Democracy’s relations with developing countries. After leaving university, he became international press chief for former Italian Prime Minister Aldo Moro. After the 1973Chilean coup d’etat, Roberto Savio left Italian politics to pursue journalism.Early journalistic careerRoberto Savio’s career in journalism began with Italian daily ‘Il Popolo’ and he went on to become Director for NewsServices for Latin America with RAI, Italy’s state broadcasting company. He received a number of awards for TV documentaries, including the Saint-Vincent Award for Journalism, the most prestigious journalism awardin Italy.Inter Press Service (IPS)Throughout his student years, Roberto Savio had cultivated an interest in analysing and explaining the huge information and communication gap that existed between the North and theSouth of the world, particularly Latin America. Together with Argentine journalist Pablo Piacentini, he decided to create a press agency that would permit Latin American exiles in Europe to write about their countries fora European audience.That agency, which was known in the early days as Roman Press Agency, was the seed for what was to become the Inter Press Service (IPS) news agency, which was formally established at ameeting in the Schloss Eichholz conference centre of the Konrad Adenauer Foundation (the foundation of the CDU), in Wesseling near Bonn, then the capital city of West Germany.From the outset, it was decided thatIPS would be a non-profit cooperative of journalists and its statute declared that two-thirds of the members should come from the South.Roberto Savio gave IPS its unique mission – “giving a voice to the voiceless” –acting as a communication channel that privileges the voices and the concerns of the poorest and creates a climate of understanding, accountability and participation around development, promoting a new internationalinformation order between the South and the North.The agency grew rapidly throughout the 1970s and 1980s until the dramatic events of 1989-91 – the fall of the Berlin Wall and the collapse of the Soviet Union –prompted new goals and definitions: IPS was the first news outlet to identify itself as “global” and define the new concept of neoliberal globalisation as contributing to the distancing of developing countries from wealth,trade and policy-making.IPS offers communication services to improve South–South cooperation and South-North exchanges and carries out projects with international partners to open up communication channels toall social sectors.IPS has been recognised by the United Nations and granted NGO consultative status (category I) with ECOSOC.With the strengthening of the process of globalisation, IPS has dedicated itself to globalissues, becoming the news agency for global civil society: more than 30,000 NGOs subscribe to its services, and several million people are readers of its online services.Under Roberto Savio, IPS won theWashington-based Population Institute’s “most conscientious news service” award nine time in the 1990s, beating out the major wire services year in and year out.IPS won FAO’s A.H. Boerma Award for journalism in1997  for its \"significant contribution to covering sustainable agriculture and rural development in more than 100 countries, filling the information gap between developed and developing countries by focusing on issuessuch as rural living, migration, refugees and the plight of women and children\".On the initiative of Roberto Savio, IPS established the International Journalism Award in 1985 to honour outstanding journalists whoseefforts, and often lives, contributed significantly to exposing human rights violations and advancing democracy, most often in developing countries. In 1991, the scope of the award was broadened to reflect thetremendous changes taking place in the world following the historic break-up of the Soviet Union and the end of the Cold War. The Award, renamed the International Achievement Award, was given in recognition of thework of individuals and organisations that “continue to fight for social and political justice in the new world order”.Roberto Savio is now President Emeritus of IPS and Chairman of the IPS Board of Trustees, which alsoincludes former U.N. Secretary-General Boutros Boutros-Ghali, former Portuguese President Mario Soares, former UNESCO Director-General Federico Mayor Zaragoza, former Finnish President and Nobel Peace Prizelaureate Martti Ahtisaari, former Costa Rican President and Nobel Peace Prize laureate Oscar Arias and former Japanese Prime Minister Toshiki Kaifue.After stepping down as Director-General of IPS, Roberto Savio hascontinued his interest in “alternative” communication and information, founding Other News as an international non-governmental association of people concerned about the decline of the information media.OtherNewsIn 2008, Roberto Savio launched the online Other News service to provide “information that markets eliminate”.Other News publishes reports that have already appeared in niche media but not in mass circulationmedia, in addition to opinions and analyses from research centres, universities and think tanks – material that is intended to give readers access to news and opinion that they will not find in their local newspapers butwhich they might wish to read “as citizens who care about a world free from the pernicious effects of today’s globalisation”.Other News also distributes daily analysis on international issues, particularly the themes ofglobal governance and multilateralism, to several thousand policy-makers and leaders of civil society, in both English and Spanish.Communication initiativesAn internationally renowned expert in communications issues,Roberto Savio has helped launched numerous communication and information projects, always with an emphasis on the developing world.Among others, Roberto Savio helped launch the National Information SystemsNetwork (ASIN) for Latin America and the Caribbean,  the UNESCO-sponsored Agencia Latinoamericana de Servicios Especiales de Informacion [Latin American Special Information Services Agency] (ALASEI), and theWomen’s Feature Service (WFS), initially an IPS service and now an independent NGO with headquarters in New Delhi.He also founded the Technological Information Promotion System (TIPS), a major U.N. project toimplement and foster technological and economic cooperation among developing countries, and he developed Women into the New Network for Entrepreneurial Reinforcement (WINNER), a TIPS training project aimed ateducating and empowering small and medium woman entrepreneurs in developing countries. The activities of TIPS are currently carried by the executing agency, Development Information Network (DEVNET), aninternational association which Roberto Savio helped create and which has been recognised by the United Nations as an NGO holding consultative status (category I) with the U.N. Economic and Social Council(ECOSOC).Roberto Savio has also been actively involved in promoting exchanges between regional information services, such as between ALASEI and the Organisation of Asian News Agencies (OANA) now known as theOrganisation of Asia-Pacific News Agencies, and between the PanAfrican News Agency (PANA) and the Federation of Arab News Agencies (FANA).Roberto Savio was instrumental in placing the concept of a DevelopmentPress Bulletin Service Tariff on the agenda of UNESCO’s International Commission for the Studyof Communication Problems (MacBride Commission).Roberto Savio has also worked closely in the field of information andcommunication with many United Nations organisations, including the United Nations Development Programme (UNDP), the United Nations Environment Programme (UNEP), the United Nations Educational, Scientificand Cultural Organisation (UNESCO), the United Nations Population Fund (UNFPA), the United Nations Children’s Fund (UNICEF) and the United Nations Institute for Training and Research (UNITAR).Achievements andawardsIn 1970, Roberto Savio received the Saint-Vincent Award for Journalism, the most prestigious journalism award in Italy, for a five-part series on Latin America which was recognised as “best TV transmission”.Hewas awarded the Hiroshima Peace Award in 2013 for his “contribution towards the construction of a century of peace by ‘giving voice to the voiceless’ through Inter Press Service for nearly five decades”. The award wasestablished by Soka Gakkai, a lay Buddhist organisation based in Tokyo.He received the Joan Gomis Memorial Award (Catalunya) for Journalism for Peace in 2013.In October 2016, during the 31st Festival of LatinAmerican Cinema in Trieste, Italy, Roberto Savio received the \"Salvador Allende\" award, given to honour a personality from the world of culture, art or politics who actively supported the conservation of Latin America'srich history and culture.In 2019, he received a special diploma from the President of Chile, Michelle Bachelet, for his role of solidarity during the Chilean military dictatorship.He was appointed by President of theRepublic Mattarella, one of the twelve Knights of the Order of Merit of the Italian Republic for 2021. He also received an honorary degree in political science from the United Nations Peace University in 2021.AdvisoryactivitiesRoberto Savio served as Senior Adviser for Strategies and Communication to the Director General of the International Labour Organization (ILO) from 1999 to 2003. He also served as an internal communicationconsultant to Catherine Bertini, Executive Director of the World Food Programme (WFP), in 2000.AffiliationsFrom 1999 to 2003, Roberto Savio was a board member of the Training Centre for Regional Integration, basedin Montevideo, Uruguay.After several years as a member of the Governing Council of the Society for International Development (SID), the world’s oldest international civil society development organisation, he waselected Secretary-General for three terms, and is now the organisation’s Secretary-General Emeritus.Roberto Savio was founder and President of Indoamerica, an NGO that promotes education in poor areas ofArgentina suffering from social breakdown.He has been a member of the International Committee of the World Social Forum (WSF) since it was established in 2001, a member of the International Council and waselected as Coordinator of the ‘Media, Culture and Counter-Hegemony’ thematic area at WSF 2003.Roberto Savio is co-founder of Media Watch International, based in Paris, of which he is Secretary General.Until 2009,Roberto Savio was Chairman of the Board of the Alliance for a New Humanity, an international foundation established in Puerto Rico, which has been promoting the culture of peace since 2001 and whose Board includesthinker Deepak Chopra, Spanish judge Balthazar Garzon, Nobel prize winners Oscar Arias and Betty Williams, and philanthropists Ray Chambers, Solomon Levis and Howard Rosenfield. He is now a member of theBoard.He is Deputy Director of the Scientific Council of the New Policy Forum (formerly the World Policy Forum), founded by Mikhail Gorbachev and based in Luxembourg, to provide a space for reflection and newthinking on the current international situation by influential global leaders.Roberto Savio is responsible for international relations of the European Centre for Peace and Development, based in Belgrade, whose mission isto contribute to peace and development in Europe and to international cooperation in the transfer of knowledge based on the premise that development under conditions of peace is only possible when conceived ashuman development.Roberto Savio is Chairman of Accademia Panisperna, a cultural meeting space in the centre of Rome, and is President of Arcoiris TV, an online TV channel with the world’s largest collection of videosand registrations of political and cultural events (over 70,000 hours), based in Modena, Italy.In 2016, Roberto Savio started contributing on a monthly basis to the Wall Street International Magazine with an economicaland political column.Films and publicationsIn 1972, Roberto Savio produced a three-part documentary on Che Guevara titled ‘Che Guevara – Inchiesta su un mito’ (Che Guevara – Investigation of a Myth), and has alsoproduced five films, two of which were presented at the Venice and Cannes film festivals.Roberto Savio has published several books, including ‘Verbo America’ together with Alberto Luna (1990), which deals with thecultural identity of Latin America, and ‘The Journalists Who Turned the World Upside Down’ (2012), which has been published in three languages (English, Italian and Spanish),  is a collection of narratives by over 100IPS journalists and key global players, including Nobel Peace Prize laureates, who have supported the agency. It looks at information and communication as key elements in changes to the old post-Second World Warand post-Cold War worlds. It provides an insight into the idealism that fired many of those who worked for the agency as well as the high esteem in which it was held by many prominent figures in the internationalcommunity.In October 2016, Roberto Savio presented the first Other News publication: “Remembering Jim Grant: Champion for Children”, an online edition of the book dedicated to Jim Grant, UNICEF Executive Director1980-1995, who saved 25 million childrenCurrent activitiesRoberto Savio is currently engaged in a campaign for the governance of globalisation and social and climate justice, which takes him as a speaker to numerousconferences worldwide, and about which he produces a continuous stream of articles and essays.He is Deputy Director of the Scientific Council of the New Policy Forum (formerly the World Policy Forum), founded byMikhail Gorbachev and based in Luxembourg, to provide a space for reflection and new thinking on the current international situation by influential global leaders.Roberto Savio is responsible for international relations ofthe European Centre for Peace and Development, based in Belgrade, whose mission is to contribute to peace and development in Europe and to international cooperation in the transfer of knowledge based on thepremise that development under conditions of peace is only possible when conceived as human development.Roberto Savio is Chairman of Accademia Panisperna, a cultural meeting space in the centre of Rome, and isPresident of Arcoiris TV, an online TV channel with the world’s largest collection of videos and registrations of political and cultural events (over 70,000 hours), based in Modena, Italy.Member of the ExecutiveCommittee for Fondazione Italiani, established in Rome, which publishes an online weekly magazine and organizes conferences about global issues.Member of the  Maurice Strong Sustainability Award Selection Panel,established by the Global Sustainability Forum.External linksRoberto Savio's stories published by IPS NewsOther News serviceRoberto Savio's stories on Other NewsOther News Facebook pageRoberto Savio's FacebookpagePREMIO SALVADOR ALLENDE A ROBERTO SAVIOInterviews and ArticlesThe ‘Acapulco Paradox’ – Two Parallel Worlds Each Going Their Own WayWhat if Youth Now Fight for Social Change, But From theRight?Global governance and common values: the unavoidable debateBanks, Inequality and CitizensIt is now official: the current inter-governmental system is not able to act in the interest of humankindEurope has lostits compassEver Wondered Why the World is a Mess?Sliding Back to the Victorian AgeGlobal Inequality and the Destruction of DemocracyA Future With No Safety Net? How Brutal Austerity Cuts Are Dismantling theEuropean DreamWE NEED BETTER, NOT MORE, INFORMATIONPassage 2:Philip NiarchosPhilip Niarchos (alternately: Philippos or Philippe; Greek: Φίλιππος Νιάρχος) (born 1954) is a Greek billionaire, the eldest son ofthe Greek shipping magnate Stavros Niarchos and Eugenia Livanos, herself the elder daughter of Stavros Niarchos' rival Stavros G. Livanos.Inheritance and workPhilip Niarchos was reported to be 54 in 2008 when TheSunday Times estimated his net worth at GBP 850 million, or about $1.687 billion US at that exchange rate of that time. He is a member of the board of trustees at the Museum of Modern Art in New York City and aninternational council member of London's Tate Gallery. He was educated at Institut Le Rosey in Switzerland.Alongside his younger brother, Spyros, Niarchos is co-president and member of the board of directors at theStavros Niarchos Foundation. The foundation is one of the world’s largest global private philanthropies founded over 25 years ago with a total of $3.3 billion awarded across 5,00 grants, focuses on global funding forphysical and mental health. In 2022, the foundation announced a $15 million commitment for a youth mental health program in Greece collaborating with The Child Mind institute and The Greek Ministry of Health.ArtcollectorNiarchos owns his late father's art collection. The late Stavros Niarchos amassed one of the \"most important collections of Impressionist and modern art in private hands.\" Among the collection's trophies arePablo Picasso's self-portrait Yo, Picasso, which the father had bought in 1989 for $47,850,000.Niarchos has made plenty of additions to his father's legacy. He was suspected as being the anonymous buyer of Vincentvan Gogh's \"Self-Portrait\", at a November 1998 Christie's auction; it sold for $71.5 million. He was certainly at the auction and was revealed as the anonymous buyer of Jean-Michel Basquiat's 1982 Self-Portrait, whichclosed at $3.3 million. In 1994, he bought Andy Warhol's Red Marilyn, at Christie's for $3.63 million. Andy Warhol's skull portraits are from Niarchos' CAT scan. Warhol completed these works in 1985, using silkscreensmade from CAT-scan films of the skull of Philip Niarchos, who commissioned the artist to paint his portrait. Niarchos is mentioned throughout The Andy Warhol Diaries. Warhol shares details of the dysfunctionalrelationship Niarchos had with the divorced and widowed socialite Barbara (née Tanner) de Kwiatkowski. Her married name was Barbara Allen at the time of her relationship with Niarchos; now she is the widow ofHenryk de Kwiatkowski.Marriage and familyIn 1984, Niarchos married, for the third time, Victoria Christina Guinness (born 1960), daughter of Patrick Benjamin Guinness (of the banking branch of the Guinness family)and Dolores Guinness (1936–2012). Niarchos and Guinness have two sons and two daughters:Stavros Niarchos III (born 1985). In October 2019, he married Dasha Zhukova, in a civil ceremony in Paris.EugenieNiarchos (born 1986), socialite and jewelry designer.Theodorakis Niarchos (born 1991)Electra Niarchos (born 1995)Niarchos was a first cousin, and step-brother, of the late heiress Christina Onassis whose motherAthina Livanos (1929–1974) was a younger sister of his own mother and later became his father's last wife. Niarchos is a first cousin once removed of Athina Onassis de Miranda.NotesPassage 3:Spyros NiarchosSpyrosStavros \"Spiros\" Niarchos (Greek: Σπύρος Νιάρχος; born 1955) is the second son of the Greek shipping magnate Stavros Niarchos and Eugenia Livanos. He is a grandson of another Greek shipping giant, his mother'sfather, Stavros G. Livanos.BiographyIn 1955 Vickers Armstrongs Shipbuilders Ltd launched for Stavros Niarchos what was then the World's largest supertanker. The 30,708 GRT ship was named SS Spyros Niarchosafter his new son.In 1987, while skiing in Switzerland, he met 19-year-old Daphne Guinness (artist, socialite and an heiress of the Guinness family) and they soon married. The marriage ended in divorce, with Guinnessreceiving a $39 million settlement in 1999.The couple has three children: Nicolas Stavros Niarchos (born 1989)Alexis Spyros Niarchos (born 1991)Ines Sophia Niarchos (born 1995)RelationshipsIn January 1999,Niarchos was a witness at the wedding of his best friend, Ernst August, Prince of Hanover. He is the godfather of Crown Prince Pavlos' youngest son, Aristides-Stavros. With his brother, Philip, Niarchos is co-president"}
+{"doc_id":"doc_222","qid":"","text":"Passage 1:Peter LevinPeter Levin is an American director of film, television and theatre.CareerSince 1967, Levin has amassed a large number of credits directing episodic television and television films. Some of histelevision series credits include Love Is a Many Splendored Thing, James at 15, The Paper Chase, Family, Starsky & Hutch, Lou Grant, Fame, Cagney & Lacey, Law & Order and Judging Amy.Some of his television filmcredits include Rape and Marriage: The Rideout Case (1980), A Reason to Live (1985), Popeye Doyle (1986), A Killer Among Us (1990), Queen Sized (2008) and among other films. He directed \"Heart in Hiding\", writtenby his wife Audrey Davis Levin, for which she received an Emmy for Best Day Time Special in the 1970s.Prior to becoming a director, Levin worked as an actor in several Broadway productions. He costarred with SusanStrasberg in \"[The Diary of Ann Frank]\" but had to leave the production when he was drafted into the Army. He trained at the Carnegie Mellon University. Eventually becoming a theatre director, he directed productionsat the Long Wharf Theatre and the Pacific Resident Theatre Company. He also co-founded the off-off-Broadway Theatre [the Hardware Poets Playhouse] with his wife Audrey Davis Levin and was also an associate artistof The Interact Theatre Company.Passage 2:Dana BlanksteinDana Blankstein-Cohen (born March 3, 1981) is the executive director of the Sam Spiegel Film and Television School. She was appointed by the board ofdirectors  in November 2019.  Previously she was the CEO of the Israeli Academy of Film and Television. She is a film director, and an Israeli culture entrepreneur.BiographyDana Blankstein was born in Switzerland in1981 to theatre director Dedi Baron and Professor Alexander Blankstein. She moved to Israel in 1983 and grew up in Tel Aviv.Blankstein graduated from the Sam Spiegel Film and Television School, Jerusalem in 2008with high honors. During her studies she worked as a personal assistant to directors Savi Gabizon on his film Nina's Tragedies and to Renen Schorr on his film The Loners.  She also directed and shot 'the making of' filmon Gavison's film Lost and Found. Her debut film Camping competed at the Berlin International Film Festival, 2007.Film and academic careerAfter her studies, Dana founded and directed the film and televisiondepartment at the Kfar Saba municipality. The department encouraged and promoted productions filmed in the city of Kfar Saba, as well as the established cultural projects, and educational communityactivities.Blankstein directed the mini-series \"Tel Aviviot\" (2012). From 2016-2019 was the director of the Israeli Academy of Film and Television.In November 2019 Dana Blankstein Cohen was appointed the newdirector of the Sam Spiegel Film and Television School where she also oversees the Sam Spiegel International Film Lab. In 2022, she spearheaded the launch of the new Series Lab and the film preparatory program forArabic speakers in east Jerusalem.FilmographyTel Aviviot (mini-series; director, 2012)Growing Pains (graduation film, Sam Spiegel; director and screenwriter, 2008)Camping (debut film, Sam Spiegel; director andscreenwriter, 2006)Passage 3:Ian Barry (director)Ian Barry is an Australian director of film and TV.Select creditsWaiting for Lucas (1973) (short)Stone (1974) (editor only)The Chain Reaction (1980)Whose Baby?(1986) (mini-series)Minnamurra (1989)Bodysurfer (1989) (mini-series)Ring of Scorpio (1990) (mini-series)Crimebroker (1993)Inferno (1998) (TV movie)Miss Lettie and Me (2002) (TV movie)Not Quite Hollywood: TheWild, Untold Story of Ozploitation! (2008) (documentary)The Doctor Blake Mysteries (2013)Passage 4:Muvva GopaluduMuvva Gopaludu is a 1987 Indian Telugu-language romantic drama film produced by S. GopalaReddy and directed by Kodi Ramakrishna. The film stars Nandamuri Balakrishna, Vijayashanti and Shobana, with music composed by K. V. Mahadevan. It is a remake of the Tamil film Aruvadai Naal (1986). The film wasreleased on 19 May 1987.PlotThe film begins in a village where Gopi an opulent active youth is squashed by his vicious brother-in-law Basava Raju with petrifying. Yet, his sister Nagalakshmi warmth on him. Meanwhile,Nirmala a medico reared by a Christian missionary is appointed as govt doctor in the same village. Nevertheless, Nirmala is unbiased about it as her ambition is to turn into a nun. But following a request of a Motherproceeds to the village. Wherein, she meets Father Lawrence an altruistic admired by the public. Presently, Gopi & Nirmala have been acquainted in an altercation and developed a good intimacy. Once, Gopi attemptssuicide as Basavaraju's mortifications peak. Forthwith, he is safeguarded by Nirmala when he puts his dearness into words. Now Nirmala is under the dichotomy when Father Lawrance enlightens her that love is not asin. Plus, it would be fair if she knits Gopi. Basava Raju is conscious of it and fakes his acceptance but plots to wedlock Gopi with his daughter Krishnaveni for his wealth. Nirmala delightfully moves to invite herrevivalists for the espousal. Consequently, Basava Raju forges Krishnaveni's puberty ceremony. On that occasion, he ruses by hiding a wedding chain Mangalsutram in a garland. Being unbeknownst Gopi puts it toKrishnaveni and Basava Raju declares them as man & wife. In the interim, Nirmala returns, understands the existing state, and is about to quit but backs on plead of the villagers. Grief-stricken Gopi turns into adrunkard. Spotting his pain Krishnaveni complains against Basava Raju and divulges the actuality with aid of Father Lawerance. Thus, the Panchayat passes on the annulment of Krishnaveni's marriage and also providesclearance to the nuptials of Gopi & Nirmala. As of today, the complete village comes together to perform the alliance when enraged Basava Raju onslaughts on them in which Father Lawerance is slain. On the verge ofkilling Nirmala, she sets foot in the church which stuns everyone. At this point, inflamed Gopi slaughters Basava Raju at the instigation of his sister and is sentenced to 7 years. At last, Gopi is acquitted Krishnaveni giveshim a warm welcome and Nirmala appears as a nun. Finally, the movie ends on a happy note Nirmala uniting Gopi & Krishnaveni.CastNandamuri Balakrishna as Muvva Gopala Krishna Prasad / GopiVijayashanti asNirmalaShobhana as KrishnaveniRao Gopal Rao as Basava RajuGollapudi Maruti Rao as Father LawrenceChidatala Appa Rao as VillagerK.K. Sarma as VillagerTelephone Satyanarayana as PresidentJayachitra asNagalakshmiSatyavathi as Jalaga LakshammaAnitha as NunChilaka Radha as SeetaluKalpana Rai as NukaluY. Vijaya as VeerammaSoundtrackMusic composed by K. V. Mahadevan. Lyrics were written by C. NarayanaReddy.AccoladesNandi Award for Second Best Story Writer – G. M. KumarPassage 5:Brian Kennedy (gallery director)Brian Patrick Kennedy (born 5 November 1961) is an Irish-born art museum director who has workedin Ireland and Australia, and now lives and works in the United States.  He was the director of the Peabody Essex Museum in Salem for 17 months, resigning December 31, 2020. He was the director of the ToledoMuseum of Art in Ohio from 2010 to 2019. He was the director of the Hood Museum of Art from 2005 to 2010, and the National Gallery of Australia (Canberra) from 1997 to 2004.CareerBrian Kennedy currently livesand works in the United States after leaving Australia in 2005 to direct the Hood Museum of Art at Dartmouth College. In October 2010 he became the ninth Director of the Toledo Museum of Art. On 1 July 2019, hesucceeded Dan Monroe as the executive director and CEO of the Peabody Essex Museum.Early life and career in IrelandKennedy was born in Dublin and attended Clonkeen College. He received B.A. (1982), M.A. (1985)and PhD (1989) degrees from University College-Dublin, where he studied both art history and history.He worked in the Irish Department of Education (1982), the European Commission, Brussels (1983), and in Irelandat the Chester Beatty Library (1983–85), Government Publications Office (1985–86), and Department of Finance (1986–89). He married Mary Fiona Carlin in 1988.He was Assistant Director at the National Gallery ofIreland in Dublin from 1989 to 1997. He was Chair of the Irish Association of Art Historians from 1996 to 1997, and of the Council of Australian Art Museum Directors from 2001 to 2003. In September 1997 he becameDirector of the National Gallery of Australia.National Gallery of Australia (NGA)Kennedy expanded the traveling exhibitions and loans program throughout Australia, arranged for several major shows of Australian artabroad, increased the number of exhibitions at the museum itself and oversaw the development of an extensive multi-media site.  Although he oversaw several years of the museum's highest ever annual visitation, hediscontinued the emphasis of his predecessor, Betty Churcher, on showing \"blockbuster\" exhibitions.During his directorship, the NGA gained government support for improving the building and significant privatedonations and corporate sponsorship. However, the initial design for the building proved controversial generating a public dispute with the original architect on moral rights grounds.  As a result, the project was notdelivered during Dr Kennedy's tenure, with a significantly altered design completed some years later.  Private funding supported two acquisitions of British art, including David Hockney's A Bigger Grand Canyon in 1999,and Lucian Freud's After Cézanne in 2001. Kennedy built on the established collections at the museum by acquiring the Holmgren-Spertus collection of Indonesian textiles; the Kenneth Tyler collection of editionedprints, screens, multiples and unique proofs; and the Australian Print Workshop Archive. He was also notable for campaigning for the construction of a new \"front\" entrance to the Gallery, facing King Edward Terrace,which was completed in 2010 (see reference to the building project above).Kennedy's cancellation of the \"Sensation exhibition\" (scheduled at the NGA from 2 June 2000 to 13 August 2000) was controversial, and seenby some as censorship. He claimed that the decision was due to the exhibition being \"too close to the market\" implying that a national cultural institution cannot exhibit the private collection of a speculative art investor.However, there were other exhibitions at the NGA during his tenure, which could have raised similar concerns. The exhibition featured the privately owned Young British Artists works belonging to Charles Saatchi andattracted large attendances in London and Brooklyn. Its most controversial work was Chris Ofili's The Holy Virgin Mary, a painting which used elephant dung and was accused of being blasphemous. The then-mayor ofNew York, Rudolph Giuliani, campaigned against the exhibition, claiming it was \"Catholic-bashing\" and an \"aggressive, vicious, disgusting attack on religion.\" In November 1999, Kennedy cancelled the exhibition andstated that the events in New York had \"obscured discussion of the artistic merit of the works of art\". He has said that it \"was the toughest decision of my professional life, so far.\"Kennedy was also repeatedlyquestioned on his management of a range of issues during the Australian Government's Senate Estimates process - particularly on the NGA's occupational health and safety record and concerns about the NGA'stwenty-year-old air-conditioning system. The air-conditioning was finally renovated in 2003. Kennedy announced in 2002 that he would not seek extension of his contract beyond 2004, accepting a seven-year term ashad his two predecessors.He became a joint Irish-Australian citizen in 2003.Toledo Museum of ArtThe Toledo Museum of Art is known for its exceptional collections of European and American paintings and sculpture,glass, antiquities, artist books, Japanese prints and netsuke. The museum offers free admission and is recognized for its historical leadership in the field of art education.  During his tenure, Kennedy has focused themuseum's art education efforts on visual literacy, which he defines as \"learning to read, understand and write visual language.\"   Initiatives have included baby and toddler tours, specialized training for all staff,docents, volunteers and the launch of a website, www.vislit.org. In November 2014, the museum hosted the International Visual Literacy Association (IVLA) conference, the first Museum to do so. Kennedy has been afrequent speaker on the topic, including 2010 and 2013 TEDx talks on visual and sensory literacy.Kennedy has expressed an interest in expanding the museum's collection of contemporary art and art by indigenouspeoples. Works by Frank Stella, Sean Scully, Jaume Plensa, Ravinder Reddy and Mary Sibande have been acquired.  In addition, the museum has made major acquisitions of Old Master paintings by Frans Hals and LucaGiordano.During his tenure the Toledo Museum of Art has announced the return of several objects from its collection due to claims the objects were stolen and/or illegally exported prior being sold to the museum.  In2011 a Meissen sweetmeat stand was returned to Germany followed by an Etruscan Kalpis or water jug to Italy (2013), an Indian sculpture of Ganesha (2014) and an astrological compendium to Germany in 2015.HoodMuseum of ArtKennedy became Director of the Hood Museum of Art in July 2005. During his tenure, he implemented a series of large and small-scale exhibitions and oversaw the production of more than 20 publicationsto bring greater public attention to the museum's remarkable collections of the arts of America, Europe, Africa, Papua New Guinea and the Polar regions. At 70,000 objects, the Hood has one of the largest collections onany American college of university campus. The exhibition, Black Womanhood: Images, Icons, and Ideologies of the African Body, toured several US venues. Kennedy increased campus curricular use of works of art,with thousands of objects pulled from storage for classes annually. Numerous acquisitions were made with the museum's generous endowments, and he curated several exhibitions: including Wenda Gu: Forest of StoneSteles: Retranslation and Rewriting Tang Dynasty Poetry, Sean Scully: The Art of the Stripe, and Frank Stella: Irregular Polygons.PublicationsKennedy has written or edited a number of books on art, including:AlfredChester Beatty and Ireland 1950-1968: A study in cultural politics, Glendale Press (1988), ISBN 978-0-907606-49-9Dreams and responsibilities: The state and arts in independent Ireland, Arts Council of Ireland (1990),ISBN 978-0-906627-32-7Jack B Yeats: Jack Butler Yeats, 1871-1957 (Lives of Irish Artists), Unipub (October 1991), ISBN 978-0-948524-24-0The Anatomy Lesson: Art and Medicine (with Davis Coakley), NationalGallery of Ireland (January 1992), ISBN 978-0-903162-65-4Ireland: Art into History (with Raymond Gillespie), Roberts Rinehart Publishers (1994), ISBN 978-1-57098-005-3Irish Painting, Roberts Rinehart Publishers(November 1997),  ISBN 978-1-86059-059-7Sean Scully: The Art of the Stripe, Hood Museum of Art (October 2008), ISBN 978-0-944722-34-3Frank Stella: Irregular Polygons, 1965-1966, Hood Museum of Art(October 2010), ISBN 978-0-944722-39-8Honors and achievementsKennedy was awarded the Australian Centenary Medal in 2001 for service to Australian Society and its art. He is a trustee and treasurer of theAssociation of Art Museum Directors, a peer reviewer for the American Association of Museums and a member of the International Association of Art Critics. In 2013 he was appointed inaugural eminent professor at theUniversity of Toledo and received an honorary doctorate from Lourdes University. Most recently, Kennedy received the 2014 Northwest Region, Ohio Art Education Association award for distinguished educator for arteducation.== Notes ==Passage 6:Kodi RamakrishnaKodi Ramakrishna (23 July 1949 – 22 February 2019) was an Indian film director, screenwriter and actor. One of the most prolific directors of Telugu cinema, hedirected over 100 feature films in a variety of genres. He is known as a celluloid visionary who introduced high-end visual effects to the South Indian film industry through his supernatural fantasy films. In 2012, hereceived the state Raghupathi Venkaiah Award for his lifetime contribution to Telugu cinema.Kodi Ramakrishna began his career as an associate to Dasari Narayana Rao in Korikale Gurralaite (1979). His debuted as adirector with the film Intlo Ramayya Veedhilo Krishnayya (1982). His filmography includes drama films like Mangamma Gari Manavadu (1984), Maa Pallelo Gopaludu (1985), Srinivasa Kalyanam (1987), Aahuthi (1987),Muddula Mavayya (1989), Pelli (1997), Dongaata (1997), and social problem films such as Ankusam (1989), Bharat Bandh (1991), and Sathruvu (1991). He also directed spy films like Gudachari No.1 (1983), andGudachari 117 (1989), and supernatural fantasy films like Ammoru (1995), Devi (1999), Devullu (2000), Anji (2004), and Arundhati (2009). Arundhati won ten state Nandi Awards and became one of the highestgrossing Telugu films ever at the time.Personal lifeKodi Ramakrishna was born in a Kapu family on 23 July 1949 in Palakollu, West Godavari district of Andhra Pradesh. His career in the Indian cinema industry spannedmore than 30 years.His elder daughter Kodi Divya Deepti entered into film production with Nenu Meeku Baaga Kavalsinavaadini (2022).AwardsIn 2012, he received the state Raghupathi Venkaiah Award for hiscontribution to Telugu cinema.DeathKodi Ramakrishna died on 22 February 2019 in Hyderabad. He was under treatment at AIG Hospitals, Gachibowli for acute breathing problem.FilmographyDirectorAssociatedirectorKorikale Gurralayite? (1979)ActorMudilla Muchata (1985)Attagaaroo Swagatam (1986)Inti Donga (1987)Aasti Mooredu Aasa Baaredu (1995)Dongaata (1997)Rainbow (2008)Passage 7:Michael GovanMichaelGovan (born 1963) is the director of the Los Angeles County Museum of Art. Prior to his current position, Govan worked as the director of the Dia Art Foundation in New York City.Early life and educationGovan was bornin 1963 in North Adams, Massachusetts, and was raised in the Washington D.C. area, attending Sidwell Friends School.He majored in art history and fine arts at Williams College, where he met Thomas Krens, who wasthen director of the Williams College Museum of Art. Govan became closely involved with the museum, serving as acting curator as an undergraduate. After receiving his B.A. from Williams in 1985, Govan began an MFAin fine arts from the University of California, San Diego.CareerAs a twenty-five year old graduate student, Govan was recruited by his former mentor at Williams, Thomas Krens, who in 1988 had been appointed directorof the Solomon R. Guggenheim Foundation. Govan served as deputy director of the Solomon R. Guggenheim Museum under Krens from 1988 to 1994, a period that culminated in the construction and opening of theFrank Gehry designed Guggenheim branch in Bilbao, Spain. Govan supervised the reinstallation of the museum's permanent collection galleries after its extensive renovation.Dia Art FoundationFrom 1994 to 2006,Govan was president and director of Dia Art Foundation in New York City. There, he spearheaded the conversion of a Nabisco box factory into the 300,000 square foot Dia:Beacon in New York's Hudson Valley, whichhouses Dia's collection of art from the 1960s to the present. Built in a former Nabisco box factory, the critically acclaimed museum has been credited with catalyzing a cultural and economic revival within the formerlyfactory-based city of Beacon. Dia's collection nearly doubled in size during Govan's tenure, but he also came under criticism for \"needlessly and permanently\" closing Dia's West 22nd Street building. During his time atDia, Govan also worked closely with artists James Turrell and Michael Heizer, becoming an ardent supporter of Roden Crater and City, the artists' respective site-specific land art projects under construction in theAmerican southwest. Govan successfully lobbied Washington to have the 704,000 acres in central Nevada surrounding City declared a national monument in 2015.LACMAIn February 2006, a search committee composedof eleven LACMA trustees, led by the late Nancy M. Daly, recruited Govan to run the Los Angeles County Museum of Art. Govan has stated that he was drawn to the role not only because of LACMA's geographicaldistance from its European and east coast peers, but also because of the museum's relative youth, having been established in 1961. \"I felt that because of this newness I had the opportunity to reconsider the museum,\"Govan has written, \"[and] Los Angeles is a good place to do that.\"Govan has been widely regarded for transforming LACMA into both a local and international landmark. Since Govan's arrival, LACMA has acquired by"}
+{"doc_id":"doc_223","qid":"","text":"Passage 1:Philipp Moritz, Count of Hanau-MünzenbergPhilipp Moritz of Hanau-Münzenberg (25 August 1605 – 3 August 1638 in Hanau) succeeded his father as Count of Hanau-Münzenberg in 1612.LifePhilipp Moritz wasthe son of Count Philipp Ludwig II of Hanau-Münzenberg and his wife, Princess Catharina Belgica (1578–1648), a daughter of William the Silent.YouthPhilipp Moritz was seven years old when his father died and heinherited Hanau-Münzenberg. His father's will stipulated that his mother, Princess Catharina Belgica of Nassau, should be the sole regent and guardian, and the Imperial Supreme Court confirmed this.At the age ofeight, he was sent to the school that had been established after the Reformation in the buildings of the former monastery at Schlüchtern, which is today the Ulrich von Hutten-Gymnasium. In 1613, he continued hiseducation at University of Basel (where his grandfather had also studied), in Geneva and Sedan.ReignEnd of the regencyCount Philipp Moritz's rule began with an altercation between himself and his mother, PrincessCatharina Belgica, about the termination of the regency and nature and the size of her widow seat. She wanted to act as co-regent, even after his 25th birthday, the age of consent under the common law, despite anagreement closed in 1628 and an opinion from the Law Faculty of the University of Marburg. Philipp Moritz, tried to remove his mother from the government. They took their case to the Imperial Supreme Court andtreated each other rudely; Philipp Moritz even removed his mother from the countly palace in Hanau. However, he compensated her for this in 1629. They never managed to properly wind up the regency. On the otherhand, Philipp Moritz did manage to settle with his cousin Johann Ernst the fierce dispute which his father had had with Johann Ernst's father, his uncle Albrecht of Hanau-Münzenberg-Schwarzenfels, about theprimogeniture and Albrecht's apanage.The Thirty Years' War and exileOne reason the regency was never properly wound up, was the Thirty Years' War, which approached Hanau around 1630. When the Imperial troopsreached Hanau, Philipp Moritz chose their side, in order to retain the military command of his capital. He was appointed Colonel and was expected to provide three companies. In November 1631, Swedish troopsoccupied Hanau and King Gustavus Adolphus of Sweden entered the city. Philipp Moritz decided to change sides. He was a Calvinist and for him choosing between the Catholic Emperor and the Lutheran Swedish kingmay have been like a choice between Scylla and Charybdis. Gustavus Adolphus appointed him to colonel and gave him a Swedish regiment. As a reward for his changing side, he gave him the district of Orb and theshares the Electorate of Mainz had held in the former County of Rieneck and the districts of Partenstein, Lohrhaupten, Bieber and Alzenau. He gave Philipp Moritz's brothers, Heinrich Ludwig (1609–1632) and JakobJohann (1612–1636) the town and district of Steinheim, which was also a former possession of Mainz. These possessions were lost when the Catholic side gained the upper hand after the Battle of Nördlingen inSeptember 1634. Changing sides again would make Philipp Moritz seem untrustworthy, so he decided to flee. He fled to Metz and from there via Chalon, Rouen and Amsterdam to his Orange-Nassau relatives in theHague and Delft. He left his youngest brother, Jakob Johann, as regent in Hanau, because Jakob Johann was considered politically neutral.Hanau was a well-developed fortress town and remained occupied until 1638 bySwedish troops under General Jakob von Ramsay, who controlled the surrounding countryside from Hanau. He excluded Jakob Johann from any influence and so the later left the city.Hans Jakob Christoffel vonGrimmelshausen used the occupation of Hanau by the Swedish as background in his picaresque novel Simplicius Simplicissimus.Return from exileFrom September 1635 to June 1636, Hanau was unsuccessfully besiegedby imperial troops under General Guillaume de Lamboy. This siege proved the value of the modern defensive system, which had been constructed only a few years before. Thousands of refugees fled from thesurrounding villages into the city. After a nine-month siege, the city was relieved by an army under Landgrave Wilhelm V of Hesse-Kassel. He was Philipp Moritz's brother-in-law, as he had married Philipp Moritz's sister,Amalie Elisabeth. A church service was held annually to commemorate the relief. After 1800, this developed into an annual Lamboy festival.In 1637, Philipp Moritz reconciled with the new Emperor, Ferdinand III andchanged sides again, back to the Catholic side. He returned to Hanau on 17 December 1637. General Ramsay ignored this and interned Philipp Moritz in the City Castle. He was obviously hoping to receive Hanau as afief.However, on 11 February [O.S. 2 February] 1638, Johann Winter von Güldenborn, a major in the Hanau army, supported by members of the Wetterau Association of Imperial Counts, staged a coup against theSwedes. He drove them out of Hanau and restored Philipp Moritz to power. General Ramsay was arrested and taken to Dillenburg, where he died months later from injuries he sustained during this action.TriviumPhilippMoritz was a member of the Fruitbearing Society, under the nickname der Faselnde.DeathPhilipp Moritz died on 3 August 1638 and was buried in the family crypt his father had established in the Church of St. Mary inHanau.Marriage and issuePhilipp Moritz returned to Hanau in 1626 and married Princess Sibylle Christine of Anhalt-Dessau. They had the following children:Sibylle Mauritania (2 November 1630 – 24 March 1631). Shewas buried in the family vault in the St. Mary's Church in Hanau. The remains were reburied in 1879 in a new coffin, as the old one had rotted.Adolphine (31 October 1631 – 22 December 1631). Baptized on 4December 1631. Her Godfather was King Gustaf II Adolf of Sweden, with Count Reinhard of Solms acting on his behalf.Philipp Ludwig III (26 November 1632 – 12 November 1641), who succeeded his father as ruler ofthe county of Hanau-Münzenberg.Johann Heinrich (3 May 1634 – 28 October 1634 in Metz). Johann Heinrich died while his relatives had fled from Hanau to the Netherlands. Because of the war, he was initially buried inZweibrücken in 1635. His mother had his body transported to Hanau as soon as it was possible again, and on 30 November 1638, he was buried in a metal coffin in the family vault in the Church of St. Mary inHanau.Louise Eleanor Belgica (born: 3 March 1636 in Metz; died later that year in the Hague, where she was buried).AncestorsPassage 2:Philipp Ludwig III, Count of Hanau-MünzenbergCount Philipp Ludwig III ofHanau-Münzenberg (26 November [O.S. 16 November] 1632 in Hanau – 12 November 1641 in The Hague) was the last count of the main Hanau-Münzenberg line of the House of Hanau.  After his death, theHanau-Münzenberg-Schwarzenfels line inherited Hanau-Münzenberg.YouthPhilipp Ludwig was the eldest son of Count Philipp Moritz of Hanau-Münzenberg and Princess Sibylle Christine of Anhalt-Dessau.  He was born inHanau on 26 November [O.S. 16 November] 1632, and baptized there on 13 January [O.S. 3 January] 1633.In 1634, the political situation in the Thirty Years' War forced Philipp Moritz to flee with his family.  He fled viaMetz, Châlons, Rouen and Amsterdam to his Orange-Nassau relatives in Delft and The Hague.  Philipp Moritz returned to Hanau-Münzenberg in 1637, however, he left his son with his mother, Countess Catharina Belgicaof Nassau.Philipp Moritz died in 1638, only 33 years old.  Thus Philipp Ludwig III inherited Hanau-Münzenberg at the age of 5.  The Reichskammergericht appointed his mother as his sole guardian.  Unlike earlier rulersof Hanau-Münzenberg, she maintained a relaxed relationship with the Hanau-Münzenberg-Schwarzenfels line of the family.DeathPhilipp Ludwig III died of the measles at the age of 8, on 12 November 1641 in TheHague.  He was the last member of the main Hanau-Münzenberg line.  His siblings had all died before him.  Hanau-Münzenberg was inherited by his first cousin once removed Count Johann Ernst ofHanau-Münzenberg-Schwarzenfels.  When Johann Ernst died a year later, Hanau-Münzenberg fell to the Hanau-Lichtenberg line.Philipp Ludwig III was buried on 18 February 1646 in the family crypt in the Church of St.Mary in Hanau, together with his mother and his successor.  His pewter coffin was stolen in 1812, during the chaos of the Napoleonic Wars.  He was reburied in a joint coffin, together with corpses from other coffins thathad also been stolen.AncestorsPassage 3:Philipp Ludwig I, Count of Hanau-MünzenbergPhilipp Ludwig I, Count of Hanau-Münzenberg (21 November 1553 – 4 February 1580) succeeded his father in the government ofthe County of Hanau-Münzenberg in 1561.BackgroundPhilipp Ludwig I, was the son of Count Philipp III of Hanau-Münzenberg and Countess Palatine Helena of Simmern. His godparents were:Duchess Palatinate Maria ofSimmern (1519–1567), daughter of the Margrave Casimir of Brandenburg-Kulmbach, married to Elector Friedrich IIICount Philipp of Solms-BraunfelsCount Ludwig of Stolberg-KönigsteinHis hobby was collecting coinsand medals.YouthChildhoodNothing is known about his early years. In 1560, when he was seven years old, his father appointed him as bailiff of the district of Steinau. Presumably, this was a sinecure.Just one yearlater, his father died and he inherited the county of Hanau-Münzenberg. A committee of regents was appointed to rule on his behalf.RegencyThe regency was established by the Reichskammergericht (\"ImperialSupreme Court\") at the request of his mother. Three regents were appointed, as requested:Count Johann VI of Nassau-Dillenburg, a step-great-uncle of the ward, who was also related directly to his wardCount PhilippIV of Hanau-Lichtenberg, the reigning Count of Hanau in the other line, and thus—very distantly—related to his ward.Elector Palatine Friedrich III is mentioned in the literature as the chief regent. There is, however, nodocumentary evidence that he acted as such.Count Reinhard I of Solms, who had already acted as a guardian for Philipp Ludwig's father and who was more closely related to Philipp Ludwig, was apparently ignoredwhen the regency was established. He had expected to be regent and had already accepted the homage of the subjects, whom he now had to release. The reason may have been that Reinhard was a Catholic andHanau-Münzenberg had joined to Reformation religiously as well as politically. On the other hand, the contrast between Calvinism (as practised in the Electorate of the Palatinate) and Lutheranism (inHanau-Lichtenberg) was not as pronounced at this time as it was a generation later, when again the Count of Hanau-Lichtenberg acted as regent for Hanau-Münzenberg and the difference it caused violent clashes withinthe regency. Under the regency for Philipp Ludwig I this was limited to discussions which education he should receive. In the end, the guardians reached an agreement.EducationThe young Count Philipp Ludwig I wasdescribed by his teachers as highly intelligent and eager to learn. From 1563 onwards, his guardians looked into the possibility of him being educated abroad. As this led to nothing, he stayed for three years at the courtof his guardian in Dillenburg, where he was educated together with his guardian's youngest brother, Henry of Nassau-Dillenburg (1550–1574). From 1567 to 1569, they studied together at the University of Strasbourgand after 1569 at the University of Tübingen. Here, count Philipp Ludwig I came into contact with the fiercely unfolding theological controversy within the Protestant movement.After a stay in Tübingen, the educationcontinued in France. Count Philipp Ludwig I arrived in Paris in 1572. Here, he came into contact with Admiral Gaspard II de Coligny, the leader of Huguenots. He narrowly escaped the Saint Bartholomew's Day massacreand returned to Buchsweiler (now called Bouxwiller), the capital of the county of Hanau-Lichtenberg.He continued his studies at the University of Basel, from where he also took excursions further into Switzerland. In1573, he travelled to Italy and visited in the numerous places in northern Italy before reaching his destination, the University of Padua. He then continued to study in Rome. The return journey took him to Vienna in1574. This educational program was quite extraordinary for a count.FamilyCount Philipp Ludwig I married Countess Magdalene of Waldeck-Wildungen (1558–1599). Sources differ on the exact date of the wedding: 2February 1576, or 5 February or 6 February. His guardian opposed the marriage, because Magdalena was of lower rank than the Counts of Hanau, and her family held lands in Hesse and Cologne. He would havepreferred a bride from a family closer to Hanau. He may have married her out of true love, or to counter the political dominance of Nassau over Hanau.Philipp and Magdalena had four children together:Philipp Ludwig II(18 November 1576 – 9 August 1612).Juliane (13 October 1577 – 2 December 1577), buried in the choir of the St. Mary's Church in Hanau.William (26 August 1578 – 14 June 1579), also buried in the choir of St.Mary's Church in Hanau.Albert of Hanau-Münzenberg-Schwarzenfels (12 November 1579 – 19 December 1635).GovernmentOn 13 November 1562 Emperor Ferdinand I passed the residence of Hanau on his way to thecoronation of his son Maximilian II on 24 November 1562 in Frankfurt. Ferdinand was welcomed at court and Philipp Ludwig and Ferdinand went hunting together.In 1563, a consistory was founded in Hanau, so that theReformation was institutionalized administratively. The consistory was initially a department of the count's Chancery. Under his son, count Philipp Ludwig II, however, the authority of the church was legally separated asan independent institution in 1612.In 1571, the Statutes of Solms were published, codifying the law as it stood in the County of Solms. This work had been commissioned by the Counts of Solms. Since the law inneighbouring territories was very similar, the work spread quickly in the area of the Wetterau Association of Imperial Counts.  Local differences from the Solms statute were published as local notices. In the county ofHanau-Münzenberg this law code collection was used from 1581 (if not earlier) until the introduction of the Civil Code on 1 January 1900.Count Philipp Ludwig I ruled the county autonomously from 1575. Hisgovernment is characterized by careful maneuvering among the various confessions and the imperial territories in pursuit of consolidation and the web of political relations in the Empire and in the Wetterau region. In1578 the Lutheran Church Order of Hanau-Lichtenberg was introduced in Hanau-Münzenberg as well. In this issue, Count Philipp Ludwig acted very carefully and did not follow, probably against his personal conviction,the more radical Calvinist model. His son and successor, Count Philipp Ludwig II, later carried through the so-called \"second Reformation\", the turn towards Calvinism.During Count Philipp Ludwig I's reign, Hanau couldfinally definitively purchase the villages of Dorheim, Schwalheim and Rödgen and the former monasteries Konradsdorf and Hirzenhain and one third of the district of Ortenberg from the Count of Stolberg. These areashad previously been pledged to Hanau. He also purchased Ober-Eschbach, Nieder-Eschbach, Steinbach and Holzhausen.DeathCount Philipp Ludwig I died quite suddenly. He had complained about weakness and nauseafor three or four days before his death, but even Philipp Ludwig himself had not taken it very seriously. He fainted unexpectedly between 4 and 5 PM while gambling and died soon after.He was buried in the choir of theSt. Mary's Church in Hanau, on the right side, hence near the south wall of the choir, in the immediate vicinity of his father. A funeral sermon was published. An epitaph was mounted above his grave, which wasconsidered a major example of High Renaissance art. The epitaph was destroyed during World War II, a few surviving fragments are kept in the Historical Museum of Hanau. The location of the epitaph on the south wallis indicated by four empty brackets.His widow, Countess Magdalene, née of Waldeck, remarried in 1581, with John VII, Count of Nassau-Siegen.AncestorsReferences and sourcesAdrian Willem Eliza Dek: Deafstammelingen van Juliana van Stolberg tot aan het jaar van de vrede van Munster, Zaltbommel, 1968.Reinhard Dietrich: Die Landesverfassung in dem Hanauischen, in: Hanauer Geschichtsblätter issue 34, Hanau1996, ISBN 3-9801933-6-5.Rolf Glawischnig: Niederlande, Kalvinismus und Reichsgrafenstand 1559–1584. Nassau-Dillenburg unter Graf Johann VI, in: Schriften des Landesamtes für geschichtliche Landeskunde issue36, Marburg, 1973.Hatstein, handwritten chronicle in the archives of the Hanauer Geschichtsverein.Carl Heiler: Johann Adam Bernhard's Bericht von der Jugendzeit des Grafen Philipp Ludwig I. von Hanau, in:Hanauisches Magazin issue 11, 1932, pp. 25–31.Heinrich Neumann: Eine gräfliche Reise vor mehr als 350 Jahren, in: Hanauisches Magazin issue 11, 1932, p. 92.Reinhards von Isenburg, Grafen zu Büdingen, an denjungen Grafen Philipp Ludwig in Anno 1563 den 6. Dec. selbst verfertigtes Consilium, sich vor und in der Regierung zu verhalten, partially in: Hanauisches Magazin issue 8, 1785, pp. 32–34.Hermann Kersting: DieSonderrechte im Kurfürstenthume Hessen. Sammlung des Fuldaer, Hanauer, Isenburger, Kurmainzer und Schaumburger Rechts, einschließlich der Normen für das Buchische Quartier und für die Cent Mittelsinn, sowieder im Fürstenthume Hanau recipirten Hülfsrechte, Fulda, 1857.Gerhard Menk: Philipp Ludwig I. von Hanau-Münzenberg (1553–1580). Bildungsgeschichte und Politik eines Reichsgrafen in der zweiten Hälfte des 16.Jahrhunderts, in: Hessisches Jahrbuch für Landesgeschichte vol. 32, 1982, pp. 127–163.Georg Schmidt: Der Wetterauer Grafenverein, in: Veröffentlichungen der Historischen Kommission für Hessen, vol. 52, Marburg,1989, ISBN 3-7708-0928-9.Reinhard Suchier: Genealogie des Hanauer Grafenhauses, in: Festschrift des Hanauer Geschichtsvereins zu seiner fünfzigjährigen Jubelfeier am 27. August 1894, Hanau, 1894.Johann AdolfTheodor Ludwig Varnhagen: Grundlage der Waldeckischen Landes- und Regentengeschichte, Arolsen 1853.K. Wolf: Die vormundschaftliche Regierung des Grafen Johann des Älteren von Nassau-Dillenburg, in:Hanauisches Magazin, issue 15, p. 81 and issue 16, p. 1.Ernst J. Zimmermann: Hanau Stadt und Land, third edition, Hanau, 1919, reprinted 1978.== Footnotes ==Passage 4:Albrecht of Hanau-MünzenbergAlbert ofHanau-Münzenberg (12 November 1579 – 19 December 1635 in Strasbourg) was the younger son of Philip Louis I of Hanau-Münzenberg (1553-1580) and his wife, Countess Magdalene of Waldeck-Wildungen(1558-1599). The only sons of his parents to reach adulthood were Albert and his elder brother Philip Louis II. Albert's son John Ernest was the last male member of the Hanau-Münzenberg line of the House ofHanau.RegencyWhen his father died in 1580, Albert and his brother were still minors and a regency was necessary. The regents were Counts John VI, Count of Nassau-Dillenburg (1536–1606), Louis I, Count ofSayn-Wittgenstein (1568–1607) and Philip IV, Count of Hanau-Lichtenberg (1514–1590), who was replaced in 1585 by his son, Count Philip V of Hanau-Lichtenberg (1541–1599).Albert's mother Magdalena remarried in1581 to John VII, Count of Nassau-Siegen, the son of his guardian and regent. She and her sons from her first marriage then moved to the Nassau court in Dillenburg. At the time, this was a centre of Calvinism inGermany. The court in Dillenburg maintained cordial relations with the Reformed court of the Electorate of the Palatinate in Heidelberg.However, Philip IV of Hanau-Lichtenberg, Albert's Lutheran guardian, and later hisson Philip V, vehemently resisted this Calvinist influence, though ultimately their resistance was in vain. Philip V tried to have the Lutheran Duke Richard of Simmern-Sponheim, a younger brother of Elector PalatineFrederick III appointed as co-regent. He managed to obtain a mandate to this effect from the Reichskammergericht, however, the Calvinist prevented Richard's installation and prevented the people ofHanau-Münzenberg from paying tribute to Duke Richard. Instead, they installed Duke John Casimir of the Palatinate-Simmern as upper guardian, an honorary position, which nevertheless strengthened the Calvinist holdon Hanau-Münzenberg.The end of the guardianship is difficult to determine. In 1600, the guardians had a dispute with Philip Louis II and ended their guardianship over him. However, Albert was still a minor in 1600 (at"}
+{"doc_id":"doc_224","qid":"","text":"Passage 1:5L5L or 5-L can refer to:TransportationAeroSur (IATA code)5L, a model of Toyota L engineCurtiss F-5L, see Felixstowe F5LSSH 5L (WA), former name of U.S. Route 12 in WashingtonAtlantic coast F-5L, seeFelixstowe F.5Auster J/5L, a model of Auster Aiglet TrainerBritish Rail Class 202 Diesel-electric multiple units (6L) when reduced to a five-carriage configurationBritish Rail Class 203 Diesel-electric multiple units (6B)when reduced to a five-carriage configuration by the removal of their buffet carsScience and technologyORC5LTAF5L5L, a model of HP LaserJet 5AIX 5L, see IBM AIXOther usesThe Horns of Nimon (production code: 5L),a 1979–80 Doctor Who serialSee alsoL5 (disambiguation)Passage 2:VariatorA variator is a device that can change its parameters, or can change parameters of other devices.Often a variator is a mechanical powertransmission device that can change its gear ratio continuously (rather than in steps).ExamplesBeier variable-ratio gearContinuously variable transmissionEvans friction coneNuVinci continuously variabletransmissionVariator (variable valve timing)VariomaticVANOSSee alsoEpicyclic gearingPassage 3:9F9F or 9-F may refer to:LocomotivesBR Standard Class 9F, a class of 2-10-0 steam locomotivesBR Standard Class 9F92020-9BR Standard Class 9F 92220 Evening StarList of preserved BR Standard Class 9F locomotivesGCR Class 9F, a class of 0-6-2T steam locomotivesOther uses2020 Salvadoran political crisis, commonly referred toas 9F (9th February)New York Route 9F, now New York State Route 9GFluorine (9F), a chemical elementSee alsoF9 (disambiguation)February 99ff, a German car tuning companyGrumman F9F Panther, an Americancarrier-based fighter aircraftGrumman F9F Cougar, an American carrier-based fighter aircraftPassage 4:ESTEst, EST, est, -est, etc. may refer to:Arts and entertainmentest: The Steersman Handbook, a science fictionbook published in 1970Ed Sullivan Theater, New York, built in 1927Ensemble Studio Theatre, New York, founded in 1968Esbjörn Svensson Trio, a Swedish jazz trioE.S.T., a song by British band White Lies from their2009 album To Lose My Life...E.S.T. - Trip to the Moon, a song by Alien Sex Fiend from their 1984 album Acid BathLanguage-est, the superlative suffix in English-est, an archaic verb ending in EnglishEstonian language(ISO 639 code: est)European Society for Translation StudiesExtended standard theory, a generative grammar frameworkPeopleDiana Est (born 1963), Italian singerEST Gee (born 1994), American rapperMichael Est (c.1580–1648), English composerThomas Est (c. 1540–1609), English printerVan Est, a Dutch surnamePlacesAfricaEst Department, a former division of Ivory CoastEst Province, RwandaEst Region (Burkina Faso)EstRegion (Cameroon)EuropeEst (Chamber of Deputies of Luxembourg constituency), an electoral constituency in LuxembourgEst, Netherlands, a town in GelderlandEstonia (ISO 3166 alpha-3 code: EST)Science andmedicineEdinburgh Science Triangle, a multi-disciplinary partnership in ScotlandElectroconvulsive therapy, formerly electroshock therapy, a form of treatmentEndodermal sinus tumor, a cancerous germ celltumorEstrone sulfotransferase, an enzyme catalyzing the transformation of an unconjugated estrogen into a sulfated estrogenEuropean Solar Telescope, a proposed observatoryExpressed sequence tag, a shortsub-sequence of a cDNA sequenceTechnologyElectron spiral toroid, a claimed small stable plasma toroidElectronic sell-through, a method of media distributionEnrollment over Secure Transport, a cryptographicprotocolTime zonesAustralian Eastern Standard Time or AEST (UTC+10), see Time in AustraliaEastern Standard Time or EST (UTC−5) in the Americas, officially \"Eastern Time Zone\"Egypt Standard Time or EGY(UTC+2)European Summer Time (varies from UTC to UTC+3), in several time zones, see Summer time in EuropeOther usesEnergy Saving Trust, a British organization for fighting climate change, formed in 1992ErhardSeminars Training (est), a New Age large-group awareness training program, 1971–1984Espérance Sportive de Tunis, a Tunisian multi-sports club, founded in 1919Est Cola, a Thai soft drink, launched in 2012Effortsatisficing theory, a decision-making strategy; see Satisficing § Effort satisficing theoryEstablished; see AnniversarySee alsoEast (disambiguation)Passage 5:I Can ChangeI Can Change may refer to:\"I Can Change\"(Brandon Flowers song)\"I Can Change\" (LCD Soundsystem song)\"I Can Change\", a song from the South Park: Bigger, Longer & Uncut soundtrackPassage 6:L'Histoire d'une fée, c'est...\"L'Histoire d'une fée, c'est...\"(English: \"The Story of a Fairy Is...\") is a 2001 song recorded by French singer-songwriter Mylène Farmer. It was one of the singles from the soundtrack album for the film Rugrats in Paris: The Movie (known in Franceas Les Razmokets à Paris). With its lyrics written by Farmer and the song being composed and produced by her long-time songwriting collaborator Laurent Boutonnat, \"L'Histoire d'une fée, c'est...\" was released on 27February 2001. The song describes the fairy Mélusine with \"childish\" lyrics that contrast with double entendres and puns referring to sexual practices. Although the single had no music video nor airplay promotion, itreceived generally positive reviews from critics and reached top-ten charts in France and Belgium.Background and writingRugrats in Paris: The Movie was the second in a trilogy of films based on the children's animatedtelevision series Rugrats, which features the adventures of a group of toddlers. After filming, the producers wanted to record a soundtrack for the movie with mainly French songs, as well as a few in English. Severalsingers were contacted, including TLC member Tionne Watkins, the 1990s boys band 2Be3, Sinéad O'Connor, Cyndi Lauper and Mylène Farmer. Persistent but unconfirmed rumours claimed that Madonna, as the founderof the Maverick company producing the soundtrack, had expressly asked Farmer to participate in the album. Farmer accepted, but preferred to produce a new song instead of licensing the rights to one of her oldcompositions. The recording label Maverick signed a contract for an unreleased song, with lyrics written by Farmer and music composed by her songwriting partner Laurent Boutonnat. This was the first time that thesinger had recorded a song especially for a movie. An English version was canceled in favour of a French version, and eventually the song only played for about 15 seconds in the movie. The first title chosen,\"Attrapez-moi\", was also quickly abandoned as it was too similar to the Pokémon's cry of \"Attrapez-les tous\".Music and lyrics\"L'Histoire d'une fée, c'est...\" is a synthpop song. It tells the story of a mischievous andmalicious fairy, Mélusine, here embodied by Farmer. Lyrically, the song uses words referring to magic, baffling several of Farmer's fans as the lyrics seem to be closer to the themes found in songs by young singers suchas Alizée. The lyrics also contain several double entendres and puns which refer to sexual practices. The song's title itself is ambiguous and can be deemed sexually suggestive as it contains a pun in French alluding tospanking: in French, the title \"L'Histoire d'une fée, c'est...\" could be phonetically understand as meaning \"L'Histoire d'une fessée...\" (translation: \"The Story of a Spanking\").ReleaseIn Europe the soundtrack release waspostponed until 7 February 2001 because Farmer had bought the song's royalties and finally decided to release it as a single, 14 days later. It was only released as a digipack CD single, in which the song's lyrics arewritten inside, and there was no promotional format. For the second time in the singer's career – after the song \"XXL\" – the single cover does not show her, but a drawing of a fairy from the film by Tom Madrid. Thesong began circulating online a month before the soundtrack's release and was well received by many fans who felt that it could be a hit. The song did not receive much radio airplay, with only Europe 2 playing itregularly. \"L'Histoire d'une fée, c'est...\" was also released on the soundtrack of the film in a longer version than the CD single version, and was later included on Mylène Farmer's greatest hits album Les Mots. It was alsoreleased as the third track on the European CD maxi \"Les Mots\", released in the Switzerland on 4 September 2002.Critical receptionThe song was generally well received by critics, who particularly noted the puns.According to author Erwan Chuberre, the lyrics are \"as funny as disillusioned\" and Farmer uses puns that \"highlight her immoderate pleasure for impolite pleasures\", with a music he deemed \"effective\". Author ThierryDesaules said that the song appears to be a childish fairly tale, but is actually structured in a perverse enough way to address the adult public, as the allusions to the spanking can be seen as references tosadomasochism. Journalist Benoît Cachin wrote that her puns are \"of the funniest\" and that the singer included in the lyrics \"some very personal thoughts\", including sadness; he added that Farmer appears to be \"fun,dynamic and delightfully mischievous\" on this song.Chart performanceOn 3 March 2001, the single debuted at a peak of number nine on the French SNEP Singles Chart, providing Farmer her 22nd top ten hit. In thefollowing weeks, the song fell steadily and remained in the top 50 for nine weeks and a total of 15 weeks on the chart. This chart performance was surprising given that the song was aired little on radio, the film met amixed commercial success in France and there was no music video, no promotion on television, and only one format. According to Instant-Mag the beauty of the single's cover undoubtedly helped increase sales. InBelgium, the single started at number 23 on 15 March 2001, climbed to number 11, then peaked at number 10. Thereafter, it dropped and fell off the Ultratop 50 after 13 weeks. On the 2001 Belgian singles year-endchart, \"L'Histoire d'une fée, c'est...\" ranked at number 89.Formats and track listingsThese are the formats and track listings of single releases of \"L'Histoire d'une fée, c'est...\":CD single – DigipackOfficial versionsCreditsand personnelThese are the credits and the personnel as they appear on the back of the single:Mylène Farmer – lyricsLaurent Boutonnat – music, producerJohn Eng – artistic directorGena Kornyshev – stylistTom Madrid– drawingsRequiem Publishing – editionsPolydor – recording companyHenry Neu – designBertrand Chatenet – mixingChartsRelease historyPassage 7:I Can Change (LCD Soundsystem song)\"I Can Change\" is a song byAmerican rock band LCD Soundsystem. The song was released as the third official single from the band's third studio album This Is Happening, on May 29, 2010. It was written by band member Pat Mahoney and bandfrontman James Murphy and was produced by the DFA. The song was featured on the soundtrack for the video game FIFA 11 and peaked at number 85 on the French Singles Chart.Track listing12\" vinylDFA22591CDDFA 2259XDigital downloadChartsPassage 8:R* (disambiguation)*R or R* denote hyperreal numbers.R* may also refer to:R* rule (ecology), or resource-ratio hypothesis, a hypothesis in communityecologyRockstar Games, an American video game publisherr* or r-star, natural rate of interestR*-tree, a tree data structure for spatial accessRstar, later called Okina, a sub-satellite of SELENESee alsoBerkeleyr-commands, to enable Unix users to issue commands to another Unix computer via TCP/IP computer networkCarbon starVariable starPassage 9:USEUSE or U.S.E. may refer to:United States of Europe, hypotheticalscenario of a single sovereign country in EuropeUnited State of Electronica, an American rock bandU.S.E. (album), by United State of ElectronicaUganda Securities Exchange, the principal stock exchange in UgandaUSEMethod, a systems performance methodology by Brendan GreggUnion State of Eurasia, an intergovernmental organisation in Europe and AsiaUnified State Exam, a series of university entrance exams in RussiaSeealsoUse (disambiguation)Passage 10:A6A6, A 6 or A-6 can refer to:Arts and entertainmentA6, a mutated flu virus in the short story \"Night Surf\" by Stephen KingA-6, a renamed version of the US Security Group in the1997 comic book movie SpawnElectronics and softwareA6 record, a type of DNS recordApple A6, a System-on-a-chip ARM processorHanlin eReader A6, an ebook readerSamsung Galaxy A6, a smartphone bySamsungMilitaryA6, the designation for air force headquarters staff concerned with signals, communications, or information technologyIn the United Kingdom, the A6 Air CIS (Computers & Information Systems) branch,also known as JFACHQ, UK Joint Force Air Component HeadquartersA 6, a Swedish artillery regimentGrumman A-6 Intruder, a twin-engine, mid-wing all-weather US Navy medium attack aircraft manufactured byGrumman, in service from 1962 to 1997Science and technologyBiologyBritish NVC community A6 (Ceratophyllum submersum community), a British Isles plants communityNoradrenergic cell group A6Subfamily A6, asubfamily of Rhodopsin-like receptorsXenopus A6 kidney epithelial cells in cell cultureTransportationCivil aviation transportA6, the IATA code for Air Alps AviationUnited Arab Emirates aircraft registration codeCivilianaircraftFocke-Wulf A6, a 1930s civilian aircraft from the German Focke-Wulf companyAutomobilesArrows A6, a British racing carAudi A6, a German executive carChanghe A6, a Chinese compact sedanJAC Refine A6, aChinese mid-size sedan conceptMaserati A6, an Italian sports coupe seriesRoads and routesA6 road, in several countriesRoute A6 (WMATA), a bus route operated by the Washington Metropolitan Area TransitAuthority\\WatercraftA-6, formerly USS Porpoise (SS-7), a Plunger-class submarine of the United States NavyHMS A6, a British A-class submarine of the Royal NavyOtherPrussian A 6, a 1913 German railbusA6, anaggregate series (A1 to A12) German rocket design in World War II, never implementedLNER Class A6, a class of 4-6-2T locomotivesOther usesA6 (classification), an amputee sport classificationA-6 tool steel, anair-hardening SAE grade of tool steelA6, an ISO 216 international standard paper size (105×148 mm)A6, or A (musical note) above soprano C, the highest note written or acknowledged as musical in classicalmusicASICS, a footwear company whose name and logo resemble A6A06A.06, a track title on Linkin Park Underground Linkin Park fan club compilationA06 (band), a Massachusetts-based rock band associated withmulti-instrumentalist Casey CrescenzoATC code A06 Laxatives, a subgroup of the Anatomical Therapeutic Chemical Classification SystemHMNZS Monowai (A06), a 1975 Royal New Zealand Navy hydrographic surveyvesselRéti Opening code in the Encyclopaedia of Chess Openings"}
+{"doc_id":"doc_225","qid":"","text":"Passage 1:Prince of LiesPrince of Lies or The Prince of Lies may refer to:Hellstorm: Prince of Lies, a short lived comic book seriesPrince of Lies, a single from Scottish music group CindytalkPrince of Lies (novel), bookfour in The Avatar Series by James LowderThe Prince of Lies, a common nickname for SatanThe Prince of Lies, a nickname for Cyric, a fictional deity in the Forgotten Realms campaign of Dungeons & DragonsThe Princeof Lies, a vampire in the Buffy the Vampire Slayer universePassage 2:The Book of LiesThe Book of Lies may refer to:The Book of Lies (Crowley), a 1913 title by Aleister CrowleyThe Book of Lies (Picano novel), a 1999title by Felice PicanoThe Book of Lies: The Disinformation Guide to Magick and the Occult, a 2003 compilation edited by Richard MetzgerThe Book of Lies (Moloney novel), a 2004 title by James MoloneyThe Book of Lies(Meltzer novel), a 2008 title by Brad MeltzerBook of Lies (album), a 2008 recording by Australian band End of FashionThe Book of Lies (Horlock novel), a 2011 title by Mary HorlockPassage 3:Iraqi nationality lawIraqinationality is transmitted by one's parents.HistoryThe first nationality law was passed in 1924, and that year, on 6 August, all people within the bounds of Iraqi jurisdiction automatically acquired Iraqi citizenship.According to Zainab Saleh,  \"The 1924 Iraqi Nationality Law and its amendments bring to light the haunted origins of Arab nationalism\" by defining Iraqis of Persian descent as second-class citizens.NaturalisationThe lawgoverning naturalisation is Law No. 43 of 1963 and Law No. 5 of 1975. Naturalisation is only available to those over 18 years of age. There is a requirement of good repute, and a clean criminal record. Generally, theperson seeking naturalisation is required to be an ethnic Arab, or otherwise married to an Iraqi man for not less than 5 years with residence within the country. Naturalised citizens are required to take an oath ofallegiance before a competent person authourised to receive the same within 90 days.It ought to be noted that naturalised citizens will be barred from holding the office of Member of Parliament or Minister, for at least10 years after the date of naturalisation, in addition, naturalised citizens are unable to hold the office of Prime Minister of Iraq or President of Iraqi.Dual citizenshipIraq recognizes dual nationality.Travel freedomIn 2016,Iraqi citizens had visa-free or visa on arrival access to 30 countries and territories. Thus, the Iraqi passport ranks 102nd in the world, according to the Visa Restrictions Index.See alsoNationality lawIraqi passportIraqNational CardPassage 4:Body of LiesBody of Lies can refer to:Body of Lies (novel), a 2007 spy thriller by David Ignatius, about a CIA operative.Body of Lies (film), a 2008 film by director Ridley Scott, based on the 2007novel.Body of Lies (soundtrack), soundtrack to the 2008 film.Body of Lies, a 2002 novel by Iris Johansen.Passage 5:Moira CameronMoira Cameron is a retired Yeoman Warder of the Tower of London, United Kingdom.She is the first woman to ever hold the position. In 2007, after a 22-year career in the British Army, Cameron became one of the 35 resident Warders in the Tower of London, commonly known as theBeefeaters.Originally prison guards, the Yeoman Warder's position dates back to 1485. It is now a largely ceremonial role, with responsibility for conducting guided tours and generally looking after public visitors to theTower, as well as conducting certain other duties both inside and outside the Tower.CareerBritish ArmyCameron joined the Women's Royal Army Corps (WRAC) in June 1985 at the age of 20. She was trained as a DataTelegraphist with the Royal Corps of Signals before transferring to the Royal Army Pay Corps (RAPC) in 1988 to train as a Military Accountant, and in 2000 Cameron was awarded her Long Service and Good ConductMedal. In 1992, WRAC and RAPC were replaced by the Adjutant General's Corps, and Cameron worked her way through the ranks in its Staff and Personnel Support Branch, completing 22 years service in the army inJune 2007. Having seen service in England, Northern Ireland and Cyprus, Cameron ended her Army career at the rank of Warrant Officer Class 2, holding the post of Superintendent Clerk in 145 (Home Counties)Brigade in Aldershot.Yeoman WarderCameron officially became the first ever female Yeoman Warder in July 2007 but didn't get to wear her uniform until 3 September 2007. Cameron is one of 37 Yeoman Wardersbased in the Tower of London, a position which dates back to 1485. Styled as Yeoman Warder Cameron, her full and proper title is Yeoman Warder of His Majesty's Royal Palace and Fortress the Tower of London, andMembers of the Sovereign's Body Guard of the Yeoman Guard in the Extraordinary.Camerons' duties are mostly connected to the Tower, but can involve some outside ceremonies. Within the Tower, Cameron's role is totake care of public visitors to the Tower and perform guided tours, guard the Crown Jewels, perform the Ceremony of the Keys and look after the Ravens of the Tower. Outside the Tower, Warders duties are to attendthe Coronation of the Sovereign, lying-in-state, the Lord Mayor's Show, and other state and charity functions. As a Yeoman Warder, Cameron has two tailored-to-fit uniforms, the Scarlet ceremonial dress, and the'undress' blue uniform for day-to-day duties (each in three variants of varying thickness for different seasons).On 25 November 2009, two Yeoman Warders were dismissed after being found guilty of gross misconductfor bullying Cameron due to her gender. Three Warders had been suspended, and one was subsequently re-instated following the month-long investigation, with his role 'unproven'. One of the three also received apolice caution for defacing Cameron's Wikipedia biography.Cameron retired in Autumn 2022 after having served 15 years as a Yeoman Warder.First female Yeoman WarderThe post of Yeoman Warder had neverspecifically been barred to women, although due to the rules governing women in the British Army, it was only in the modern era that women were able to have a career able to meet the entry requirements. To applyfor the job, applicants had to be aged between 40 and 55, have completed at least 22 years' service in either the Army, Royal Air Force or Royal Marines reaching the rank of Warrant Officer or SeniorNon-Commissioned Officer (NCO), and have been awarded the Long Service and Good Conduct Medal. It was announced on 3 January 2007 that an unnamed female would be replacing a retiring Yeoman Warder inSeptember 2007, with WO2 Cameron, still in the Army at the time, publicly named as this replacement eight days later. Cameron had long been interested in the job of Yeoman Warder, and applied to an advertisementplaced in Soldier Magazine in Summer 2006. Cameron was not the first woman to apply for the job of Yeoman Warder, but she was the first to pass the interview process, beating five male candidates for thevacancy.Personal lifeBorn in 1964, Cameron grew up in Furnace, Argyll on the west coast of Scotland, and joined the Army at the suggestion of her mother, who thought she 'needed to see the world'. As part of her jobas a Yeoman Warder, she lives in the Tower of London in a subsidised apartment. In February 2011, Cameron was made a patron of The Kit Wilson Trust for Animal Welfare, an animal welfare charity based in EastSussex.See alsoTourism in LondonWomen in the militaryPassage 6:Tower of London (disambiguation)The Tower of London is a former Royal residence in London.Tower(s) of London may also refer to:GeographyTowerof London Range, Northern Rockies, CanadaLondon Tower (Alaska), a mountain in Denali National ParkArts, media, and entertainmentFilmsTower of London (1939 film) Peter Pan (1953 film) as an animated model ofthe buildingTower of London (1962 film)Mary Poppins (1964 film) as Peter Ellenshaw's Cloudy London setCarry On Henry seen in the opening credits and the closing titlesLiteratureThe Tower of London (novel), a19th-century novel by William Harrison AinsworthThe Tower of London (Soseki novel), a short story by Natsume SosekiMusicTowers of London (band)\"Towers of London\" (song)\"Tower of London\", a song by ABC fromthe album How to Be a ... Zillionaire!Television\"Tower of London\" (The Goodies), an episode of The GoodiesOther usesTower of London test, a neuropsychological testPassage 7:The Tower of LiesThe Tower of Lies is a1925 American silent drama film directed by Victor Sjöström. It was written by Agnes Christine Johnston and Max Marcin, based upon Selma Lagerlöf's 1914 novel The Emperor of Portugallia (MGM actually purchasedthe story rights in 1922). The film was supposed to be called The Emperor of Portugallia, but was later changed to The Tower of Lies.Released one year after He Who Gets Slapped, the film marks the secondcollaboration between Sjöström, Lon Chaney and Norma Shearer. Also starring are William Haines, Ian Keith and Lew Cody.The film's sets were designed by the art director James Basevi and Cedric Gibbons. The filmwas shot on location in the Sacramento River Delta, Lake Arrowhead and the Laurel Canyon area of Los Angeles. It took 53 days to complete at a cost of $185,000. It grossed $653,000 worldwide.\"Film Mercury\" votedChaney's performance as one of the year's best. It is considered a lost film, although rumors persist that a print may exist in Denmark. Stills exist showing Chaney in his \"Jan\" makeup, which took him three hours eachday to apply.PlotJan (Lon Chaney) is a Swedish farmer and Glory (Norma Shearer) is his beloved daughter. When she was a child, she and her father used to role-play being the Emperor and Empress of Portugallia, afairy tale land where dreams come true, and a neighboring farm boy named August would play the Prince. Glory grows up to be a beautiful young woman, and both August and Jan's vile landlord Lars (Iam Keith) vie forher attention.Jan incurs some debts he cannot pay, and to save him from bankruptcy, his daughter temporarily moves to the big city supposedly to get a job (finally allowing Lars to lead her into prostitution). After atime, the landlord tells Jan his daughter has succeeded in paying off his debts, but will not tell him how she earned the money. Realizing that his daughter has been selling herself to help him avoid bankruptcy, Jan'smind slowly begins to unravel. Years pass and his daughter never returns to the farm, and every day Jan waits down by the riverboat hoping she will come home.Eventually she does return to him, but by this time,Jan's mind has snapped and he actually believes that he is the Emperor of Portugallia and she is his Empress. Jan has taken to wearing a strange military uniform and a circus hat, and his hair and long beard have allturned gray (see photo). Glory's fine attire leads the villagers to believe that she has been living as a prostitute and they demand she leave town. Only August is willing to stand by her and protect her honor.Gloryboards the local steamboat at the docks in order to leave town, and her father follows her, falling off the pier in his haste and drowning. When the ship's captain throws the boat into reverse in an attempt to save Jan,Lars (who is taunting Glory from the ship's deck) is thrown into the paddlewheel and crushed to death. Glory winds up marrying August and settling down in town with him.CastCritical Comments\"Notwithstanding thatTOWER OF LIES is a sincerely made picture and excellent from the artistic and literary viewpoints, it is too heavy for the picture audiences. When finished the impression left is that one more prostitute has reformed andbeen forgiven...The acting is aces and the direction masterful. But with all this, TOWER OF LIES can never be anything more than a soggy picture made bearable by the leavening forces of Seastrom, Chaney andShearer.\" ---Variety\"THE TOWER OF LIES is a beautiful production with a flash of poignant drama at its end...Chaney and Miss Shearer especially are splendid.\" ---Moving Picture World\"It seems as if Mr. Chaney hadhad too much to say about his own performance, for he overacts and his make-up, consisting largely of a rich crop of iron gray hair and whiskers and beard, seem to fit well without looking as if they belonged to him.Mr. Chaney's exaggerated actions and expressions appear to have been contagious, for Mr. Seastrom himself betrays a weakness for overemphasizing a number of points.\" ---The New York Times\"A distinctive and rareartistic achievement... A very worthy effort and yet probably not the best box office. Chaney passes by his usual grotesque characterization and does something just a bit different.\" ---Film Daily\"(Chaney) does notresort to the grotesque, but from the first sequences, where he appears as the tiller of the soil who neither loves nor hates....to the last when he becomes a demented old man, his interpretation is patheticallyconvincing.\" --- Movie Magazine\"Mr. Chaney's performance struck me as being a notable one. Toward the close of the film, Chaney is far more than a mere artificer. He really is Jan, the gnarled, mad old peasant.\"---New York Tribune\"Though Mr. Seastrom's direction and the acting of the players are masterful, the theme is not very pleasant. Some picture-goers may like this picture very well, while others will not. Mr. Chaneydoes excellent work and awakens warm sympathy in a role that is the exact opposite in nature to thse he has been given in pictures lately.\" ----Harrison's ReportsPreservationThe Tower of Lies is now considered a lostfilm. The last known surviving copy of the film was reportedly destroyed in the 1965 MGM vault fire.See alsoList of lost filmsPassage 8:Victor SjöströmVictor David Sjöström (Swedish: [\u0000v\u0000\u0000k\u0000t\u0000r \u0000\u0000ø\u0000\u0000strœm](listen); 20 September 1879 – 3 January 1960), also known in the United States as Victor Seastrom, was a pioneering Swedish film director, screenwriter, and actor. He began his career in Sweden, before moving toHollywood in 1924. Sjöström worked primarily in the silent era; his best known films include The Phantom Carriage (1921), He Who Gets Slapped (1924), and The Wind (1928). Sjöström was Sweden's most prominentdirector in the \"Golden Age of Silent Film\" in Europe. Later in life, he played the leading role in Ingmar Bergman's Wild Strawberries (1957).BiographyBorn in Årjäng/Silbodal, in the Värmland region of Sweden, he wasonly a year old when his father, Olof Adolf Sjöström, moved the family to Brooklyn, New York. His mother died in 1886, he was seven years old. Sjöström returned to Sweden where he lived with relatives in Stockholm,beginning his acting career at 17 as a member of a touring theater company.Drawn from the stage to the fledgling motion picture industry, he made his first film in 1912 under the direction of Mauritz Stiller. Between1912 and 1923, he directed another forty-one films in Sweden, some of which are now lost. Those surviving include The Sons of Ingmar (1919), Karin, Daughter of Ingmar (1920) and The Phantom Carriage (1921), allbased on stories by the Nobel Prize–winning novelist Selma Lagerlöf. Many of his films from the period are marked by subtle character portrayal, fine storytelling and evocative settings in which the Swedish landscapeoften plays a key psychological role. The naturalistic quality of his films was enhanced by his (then revolutionary) preference for on-location filming, especially in rural and village settings. He is also known as a pioneerof continuity editing in narrative filmmaking.In 1923, Sjöström accepted an offer from Louis B. Mayer to work in the United States. In Sweden, he had acted in his own films as well as in those for others, but inHollywood he devoted himself solely to directing. Using an anglicized name, Victor Seastrom, he made the drama film Name the Man (1924) based on the Hall Caine novel, The Master of Man. He directed stars of theday such as Greta Garbo, John Gilbert, Lillian Gish, Lon Chaney, and Norma Shearer in another eight films in America before his first talkie in 1930. His 1926 film The Scarlet Letter, starring Lillian Gish as the adulterousHester Prynne, allows Hester a certain voluptuousness; when she leaves the bare rooms of the town for a date with her lover in the verdant woods, she defiantly pulls off her scarlet letter A, takes off her cap as well,and we see her beautiful, rich head of hair.Uncomfortable with the modifications needed to direct sound films, Victor Sjöström returned to Sweden where he directed two more films before his final directing effort, anEnglish-language drama filmed in the United Kingdom Under the Red Robe (1937). Over the following fifteen years, Sjöström returned to acting in the theatre, performed a variety of leading roles in more than a dozenfilms and was a company director of Svensk Film Industri. Aged 78, he gave his final acting performance, probably his best remembered, as the elderly professor Isak Borg in Ingmar Bergman's film Wild Strawberries(1957).Personal lifeSjöström was married three times. His daughter was actress Guje Lagerwall (1918-2019).Victor Sjöström died in Stockholm at the age of 80, and he was interred in the Norra begravningsplatsen(Northern cemetery).FilmographyDirectorActorPassage 9:The Tower of Silence (film)The Tower of Silence (German: Der Turm des Schweigens) is a 1925 German mystic melodrama directed by Johannes Guter andstarring Xenia Desni and Nigel Barrie. The Tower of Silence is a silent film, and one of the few films by Guter to survive. In 2007, it became the director's first film to be restored for modern audiences.PlotThe Tower ofSilence centres around Eva (Xenia Desni), a beautiful woman kept in a high tower by her grieving widowed father. When an attractive explorer, Arved (Nigel Barrie), is saved by Eva after crashing his car near the tower,he introduces her into high society. When Arved, who was previously believed to be dead, discovers that he has lost his fiancée to ex-partner and aviator Wilfred, he must decide whether to reveal a secret that willdestroy his old friend.CastXenia Desni as EvaNigel Barrie as Arved HollFritz Delius as Wilfred DurianAvrom Morewski (Abraham Morewski) as Eldor VartalunGustav Oberg as CeelHanna Ralph as LianeHermann Leffler asMac FarlandPhilipp Manning as Werner NeuwittJenny Jugo as EviPassage 10:Bed of Lies\"Bed of Lies\" is a song by Trinidadian-American rapper and singer Nicki Minaj, taken from her third studio album, The Pinkprint(2014). The song was first premiered at the 2014 MTV EMAs in Glasgow, Scotland and was later released on November 16, 2014, by Young Money Entertainment, Cash Money Records and Republic Records as thefourth single from the album. The track features American singer-songwriter Skylar Grey on the chorus plus additional vocals on the verses as well as piano playing and was written by the latter along with Minaj. \"Bed ofLies\" features a restrained keyboard and lyrics that touch upon themes of \"heartfelt litany of grievances\" about an ex-lover.The song peaked at number 62 on the US Billboard Hot 100 and became Minaj's 56th Hot 100entry, tying her with Madonna and Dionne Warwick for the third-most entries among women. It peaked at number seven in Australia and number 13 in New Zealand. \"Bed of Lies\" was certified platinum by theAustralian Recording Industry Association and gold by Recorded Music NZ.BackgroundMinaj debuted the song at the 2014 MTV EMAs in Glasgow, Scotland with Skylar Grey. In an interview with Billboard, Grey revealedthat she had written and recorded a demo version of the track before it had been sent to Minaj who wrote and recorded verses of her own to the song. Grey commented, \"She liked the demo of it enough to keep me onthe song. I knew it was maybe gonna happen, but she released a lot of different singles first. So I didn’t really know when she was gonna drop this song. And then about a week ago I got a call from her team and theywondered if I could come to Scotland and do the song with them.\" On November 15, the full song premiered on Saturday Night Online; it was made available on iTunes the next day.Composition\"Bed of Lies\" is a hip hopand pop song, written in the key of B major with a moderate tempo of 86 beats per minute.  The vocals in the song span from G\u00003 to B4, and the song follows a chord progression of B – F\u0000/A\u0000 – G\u0000m – F\u0000/A\u0000 –B.Critical receptionDeniqua Campbell from The Source gave the song a positive review, saying Minaj has yet to let up her unrelenting push to re-ignite her rapping flame and that \"Bed of Lies\" \"appeals to Minaj's moreserene nature\". Caitlin White from MTV News praised the song, saying \"Nicki has always done emotional with just the right touch of vulnerability and strength\". Christina Lee from Idolator called it \"a more pointed anddetailed version of debut Pinkprint single 'Pills n Potions'\". Lindsey Weber from Vulture said \"Nicki takes a sickly sweet Skylar Grey hook and wraps a nasty ode around it\". Sharan Shetty from Slate called \"Bed of Lies\""}
+{"doc_id":"doc_226","qid":"","text":"Passage 1:Pal Pal Dil Ke PaasPal Pal Dil Ke Paas (transl. Every moment, close to the heart) is a 2019 Indian Hindi-language Romance film written and directed by Sunny Deol and produced by Sunny Sounds Pvt Ltd and Zee Studios. This was Deol's third movie as director after Dillagi and Ghayal Once Again. The film was released on 20 September 2019.Principal photography began on 21 May 2017. Dharmendra's Grandson Karan Deol   and Sahher Bambba were cast for the lead roles. Over 400 girls were auditioned for Sahher's role.With a box office revenue of \u000010 crore against a \u000030 crore budget, the film was commercially unsuccessful.PlotSaher Sethi, a vlogger from Delhi, goes to Manali to review a solo trekking trip organized by Camp Ujhi Dhaar, run by Karan Sehgal. She thinks that the costly solo trip is a scam, and she would expose the camp's owner. Although they started on a bitter note, things began to improve between them during their journey, leading to Karan falling for her. He doesn't confess his feelings but tells her that he is afraid of attachment. Saher admits that she wanted to become a singer but couldn't follow her passion as Viren, her boyfriend, made fun of her at an open mic. He takes Saher to his childhood spot, where he sees a snow leopard, and remembers his mother, who died in an avalanche when she tried to capture a snow leopard on her camera. The trip finally comes to an end, Karan drops Saher at the airport, and both bid farewell to each other.On reaching Delhi, Saher realizes that she has fallen in love with Karan and breaks up with Viren. She informs Karan that she is performing again at an open mic and indirectly asks him to come to Delhi. Karan unexpectedly shows up at the Open Mic, and they both confess their love for each other and share a kiss. The next day, at Saher's house party, Karan is introduced to Saher's family members and meets Viren, who invites Karan to his party the next day. Seeing Saher and Karan close and happy with each other, Viren feels devastated and becomes angry and pledges that he will do anything to be with Saher, whether right or wrong. The next Day, Saher's father talks to Karan in anger, and when Saher asks him, he replies that Viren told him everything. Saher speaks to Viren over the phone about lying to his parents, but he blackmails her about leaking her photos, which he took secretly on the Goa trip. Karan goes to Viren, and when Viren abuses Saher and Karan's mother, he thrashes him. Feeling insulted, Saher posts a video online of being eve-teased by Viren, who gets to know about this, goes to Saher's house and gets involved in a fight with her. The fight leads to Saher falling off the first floor. With Saher now in an unconscious condition, Viren's parents use political power to turn the case against Saher and beat up Karan.Seeing Saher's condition deteriorate and her family suffering all the disrespect, Karan goes to Viren's house, beats him up, drags him to the hospital, and tells him to apologize to Saher. When he refuses, Karan chokes him, almost killing him, but Viren's mother asks him to leave him, and she apologizes to everyone.Saher soon recovers from the accident, and in the end credits, Karan and Saher are shown as a happily married couple.FilmingThe film was mostly shot at various locations in the Pir Panjal Mountain Range covering Spiti Valley, Kunzum La, Rohtang La, Tabo, Chandra Taal, Kaza, Lahaul Valley and Manali region in Himachal Pradesh; while a substantial part was shot at locations in New Delhi, including a racing car sequence at Buddh International Circuit in NCR.CastKaran Deol as Karan Sehgal, Saher's husbandSahher Bambba as Saher Sehgal (Nee' Sethi), Karan's wife & Viren's ex-girlfriendSimone Singh as Vandana Sethi (Saher's mother)Sachin Khedekar as Ajay Sethi (Saher's father)Kallirroi Tziafeta as Karan's motherAakash Ahuja as Viren Narang, Saher's ex-boyfriend and the main antagonistKamini Khanna as Saher's grandmotherMeghna Malik as Central minister Ratna Narang, Viren's motherArsh Wahi as Rohan VermaRishi Singh as Saher's uncleBhavna Aneja as Anuradha, Saher's auntRavi Dudeja as Natasha's FatherMadhu Khandari as Natasha's MotherRitika Thakur as Aditi Thakur (Karan's best friend)Akash Dhar as MP Sushant Narang, Viren's brotherNupur Nagpal as Natasha Sabharwal, Saher's childhood friendKapil Negi as Vikram Thakur (Karan's mentor and Aditi's father)Suhani Sethi as Saachi Sethi (Saher's sister)Vijayant Kohli as Kapil Kumar GuptaRahul Singh as SachinMannu Sandhu as Sushant's wifePooja Katyal as Pooja, Viren's friendDiksha Bahl as VaishaliReuben Israel as Viren's fatherSoundtrackThe music of the film is composed by Sachet–Parampara and Tanishk Bagchi (noted) while lyrics are by Siddharth-Garima.ReceptionThe film mostly received mixed to negative reviews.Monika Rawal Kukreja writing for Hindustan Times noted that the film had done justice to its genre and praised Karan Deol and Sahher Bambba for their onscreen freshness. Also praising cinematography and music, she criticised the writing for lacking punch dialogues and effective humour. Concluding she opined, \"Pal Pal Dil Ke Paas is definitely one of your run-of-the-mill love stories, but it makes you smile, cry, laugh and brings a sense of freshness.\"Gaurang Chauhan of Times Now rated it 2.5 stars out of 5, stated that \"Pal Pal Dil Ke Paas is a visually stunning film with some good tunes but the movie somehow misses the mark due to its overlong length and a mediocre screenplay. Sahher Bambba impresses\".Parina Taneja of India TV gave 2 stars out of 5 and opined, that it was a love story that failed to leave the audience with lingering moments. Agreeing with Chauhan, Tanejapraised the performance of Bambba, direction and cinematography. Criticising screenplay and pace of the film she noted that music though melodious didn't add value to the film. Concluding, she wrote, \"Pal Pal Dil Ke Paas is a one time watch only if you really want to enjoy the breathtaking visuals of Himachal Pradesh.Further NDTV rated the movie 1 out of 5 and wrote \"Pal Pal Dil Ke Paas lacks the freshness that one would expect from a film with a new romantic pair. The reason is obvious: the plot is as old, but not as sturdy, as the hills.\"Box officeThe film performed poorly at the box office, collecting \u000010.03 crore against a \u000030 crore budget. Pal Pal Dil Ke Paas collected \u00001.15 crore on the opening day with a total opening weekend collection of \u0000 4.15 crore.Passage 2:Coney Island Baby (film)Coney Island Baby is a 2003 comedy-drama in which film producer Amy Hobby made her directorial debut. Karl Geary wrote the film and Tanya Ryno was the film's producer. The music was composed by Ryan Shore. The film was shot in Sligo, Ireland, which is known locally as \"Coney Island\".The film was screened at the Newport International Film Festival. Hobby won the Jury Award for \"Best First Time Director\".The film made its premiere television broadcast on the Sundance Channel.PlotAfter spending time in New York City, Billy Hayes returns to his hometown. He wants to get back together with his ex-girlfriend and take her back to America in hopes of opening up a gas station. But everything isn't going Billy's way - the townspeople aren't happy to see him, and his ex-girlfriend is engaged and pregnant. Then, Billy runs into his old friends who are planning a scam.CastKarl Geary - Billy HayesLaura Fraser - BridgetHugh O'Conor - SatchmoAndy Nyman - FrankoPatrick Fitzgerald - The DukeTom Hickey - Mr. HayesConor McDermottroe - GerryDavid McEvoy - JoeThor McVeigh - MagicianSinead Dolan - JuliaMusicThe film's original score was composed by Ryan Shore.External linksConey Island Baby (2006) at IMDbMSN - Movies: Coney Island BabyPassage 3:Rakka (film)Rakka is a 2017 American-Canadian military science fiction short film made by Oats Studios and  directed by Neill Blomkamp. It was released on YouTube and Steam on 14 June 2017.PlotChapter 1: WorldIn the near future, Earth will be attacked by technologically superior and highly aggressive reptilian aliens called the Klum (pronounced \"klume\"). Humanity is nearing extinction with millions dead or enslaved. The Klum transform the Earth in favor of their own ideal living conditions. They do this at first by burning forests and destroying cities. Then they build megastructures that alter the atmosphere by pumping out methane. The gas makes it progressively harder for terrestrial life to breathe. And it warms the climate, which leads to flooding of coastal cities.The story begins in 2020, from the viewpoint of resistance fighters in Texas, a group of US Army soldiers and many others who have banded together. Most human survivors live underground or among ruins. They have barely enough provisions, weapons, and ammunition. The humans fight by using whatever they can against the primary Klum weapon: an omnipresent nanite in their weaponry, and telepathic control over any human that makes direct eye contact with them.The resistance makes \"brain-barriers\" that block thismind control. The Klum know, however, that a scarcity of materials means a scarcity of brain barriers. They hope, therefore, to win a war of attrition against the human survivors.Some prisoners are living incubators for the Klum's young, which inevitably kills the victims. Others are dissected. Still other humans are converted into human loudspeakers that urge humans to surrender into \"conservatories\". Very few humans ever escape.After the Klum destroy a militia convoy with an airstrike, one of the surviving soldiers witnesses an angel-like being materialize from thin air. The narration describes ″them″ as mankind's saviours.Chapter 2: Amir & NoshNosh is a tech-savvy pyromaniac and bomb-maker, eking out a living in a scrapyard far from the resistance. The resistance despises Nosh for his murderous glee and demands - giving the sick or suicidal over as bait during his many IED ambushes. They must, however, give in to Nosh's demands tosecure the IEDs and the brain-barriers he makes.The resistance stumble across Amir, a mute who has escaped from the Klum. He has extensive cybernetics across his head and shoulders. Amid opposition from her lieutenants, the resistance leader, Jasper, releases Amir from her custody into the care of a resistance fighter named Sarah.Sarah, having lost her daughter to the Klum's experiments, takes a liking to him. She gives Amir food and drink while trying to persuade him to help the resistance fight the Klum by using the precognitive abilities he acquired via the aliens' experiments.Chapter 3: SiegeAmir recovers physically and mentally. Then, because of his implant, he has a premonition involving a wounded Klum on the run from militia forces.Sarah pleads with Amir to help the militia officers to stop the genocide. The more she talks to him, the more his eyes change, seeing the premonition of the impending attack more clearly. Amir, still mute, foresees the militia successfully shooting down an alien aircraft, and the pilot is the alien on the run.Sarah asks Amir if they will be able to learn how to hunt the Klum and teach them how to fear. Unable to answer, he foresees the Klum telekinetically bashing one of the militia soldiers, disconnecting his brain barrier and causing him to be mind-controlled, turning on his comrades, who are forced to kill him.Sarah tells Amir that he now has the abilities the aliens have and that he is to use them for humanity. Back in the vision, the militia surround the Klum; Jasper orders the militia to cut off its head. The film ends with Sarah urging Amir to use his abilities because he is humanity's last hope.CastSigourney Weaver as JasperEugene Khumbanyiwa as AmirRobert Hobbs as CarlCarly Pope as SarahBrandon Auret as NoshMike Huff as PolicemanOwen McCrae as KlumConnor Page as ChildJay Anstey as A suicide bomberJustin Shaw as Man in medical deviceCarla Marais as eight-year-old girlRyan Angilley as MartinezAlec Gillis as Militia officer 1Ruan Coetzee as Militia officer 2Paul Davies as Militia officer 3Pieter Jacobz as Militia officer 4Passage 4:Royal Tramp IIRoyal Tramp II is a 1992 Hong Kong film based on Louis Cha's novel The Deer and the Cauldron. The film is a sequel to Royal Tramp, which was released earlier in the same year.PlotHaving been revealed as the false Empress Dowager, Lung-er returns to the Dragon Sect camp. There, the sect leader reminds her of their mission to support Ng Sam-kwai's, a military general, campaign for the throne before abdicating her title to Lung-er.Siu-bo lounges at the brothel where he once worked but is then attacked by disciples of the One Arm Nun, an anti-Qing revolutionary figure, before being quickly subdued. When Siu-bo tries to take advantage of them, Ng Ying-hung, Ng Sam-kwai's son, exposes his lies. Scorned and unaware of the stranger's title, Siu-bo sends his men after Ying-Hung, but Lung-er, now disguised as Ying-hung's male bodyguard, easily fends them off.At the palace, The Emperor, wary of Ng Sam-kwai's intentions, marries off the Princess to Ying-hung and assigns Siu-bo to be the Imperial Inspector General of the wedding march, so that he can keep his eyes on the general's activities. This complicates Siu-bo's relationship with Princess when she tells Siu-bo she's pregnant with his child.The One Arm Nun and her disciple, Ah Ko, later ambushes the procession. Fighting to a standstill with Lung-er, the assailants escape with Ying-hung and Siu-bo. However, Siu-bo garners some respect from her when he reveals his dual identity as a Heaven and Earth Society commander. Lung-er finally catches up to them with reinforcements at an inn but only manages to rescue Siu-bo. Having been saved by Ying-hung before, Ah Ko elopes with him amid the confusion.At the Dragon Sect camp, Ying-hung and Fung Sek-fan secretly poisons Lung-er and turn the followers against her. She escapes with Siu-bo but must have sex with a man before dawn, otherwise she will die. However, this will transfer 4/5th of her martial arts' power to whomever she sleeps with. Despite Siu-bo's lecherous personality, Lung-er accepts his blunt honesty as a sign of virtue and chooses to sacrifice her virginity to Siu-bo and becomes his third wife.When Siu-bo gets back to the Princess, they execute a plan to castrate Ying-hung. With her betrothed no longer able to produce heirs, the Princess is taken by Siu-bo as his fourth wife. Enraged by the end of his family line, Ng Ying-hung prematurely gathers his troops and sets out to wage war with the Emperor. He tasks Fung Sek-fan with killing the Princess and Siu-bo. Though Chan Kan-nam manages to intervene and lets his disciple escape.Later, the One Arm Nun captures the elopers, Ying-hung and Ah Ko, and offers them to Siu-bo. Siu-bo pardons them and even takes Ah Ko as his fifth wife. Afterward, Fung Sek-fan is promoted when he surrenders Ng Sam-kwai's battle plans and Chan Kan-nam to the Emperor. Given Siu-bo's muddied history with the Heaven and Earth Society, the Emperor tasks him with Chan's execution. Siu-bo's newfound power is difficult for him to control, and Chan helps him master it in time for him to use it against Fung. Siu-bo also uncovers the secret of the 42 Chapters books after burning them in frustration, revealing hidden stones that are left unburned, revealing map coordinates to the location of the treasure all major parties have been attempting to locate.In order to save his master, Siu-bo defeats Fung with his newly acquired martial arts power after both falling into a hidden cave wherein the treasure is found, and swaps Feng's body with Chan's before the execution to save his master. And just as he was about to escape with his wives and Chan, the Emperor arrives with his troops, having been sold out by Siu-bo's opportunistic friend To-lung who is now involved romantically with Siu-bo's sister. But seeing that they are friends, his sister is in love with Siu-bo, and with Siu-bo bluffing that he's strong enough to demolish the Emperor and his entire army if he wanted, the Emperor lets them go, declaring that Siu-bo has died and no longer exists as far as he's concerned. Siu-bo laughs afterward that the Emperor fell for his bluff.CastStephen Chow as Wai Siu-boBrigitte Lin as Lung-erChingmy Yau as Princess Kin-ningMichelle Reis as Ah Ko/Li Ming-koNatalis Chan as To-lungDamian Lau as Chan Kan-namDeric Wan as Hong-hei EmperorKent Tong as Ng Ying-hung, Sam-kwai's sonPaul Chun as Ng Sam-kwaiSandra Ng as Wai Chun-faFennie Yuen as Seung-yee twinVivian Chan as Seung-yee twinYen Shi-kwan as Fung Sek-fanHelen Ma as Kau-nan/one-armed Divine nunSharla Cheung as Mo Tung-chu / Empress DowagerLaw Lan as founder of Divine Dragon SectTam Suk-moi as Ah NongHoh Choi-chow as Palace guard Wen Shan LunYeung Jing-jingWan Seung-lamLee FaiCheng Ka-sangHo Wing-cheungKwan YungTo Wai-woPassage 5:Pal Pal Dil Ke SsaatPal Pal Dil Ke Ssaat is a 2009 Hindi-language film directed by V.K.Kumar, starring Ajay Jadeja, Vinod Kambli, Mahi Gill, Satish Shah and Sushma Seth.CastAjay Jadeja as Ajay KapoorMahie Gill as DollyVinod Kambli as HimselfSatish Shah as John AbrahamSushma Seth as Mrs. KapoorVivek Mishra as PanikerAnshul Nagar as Vinit KhannaTanvir Azmi as Makhan SinghPassage 6:Pyar Ki Jeet (1948 film)Pyar Ki Jeet   (Love's Victory) is a 1948 Indian Bollywood film. It was the third highest grossing Indian film of 1948.The film was directed by O. P. Dutta for Famous Pictures. It had music composed by Husnlal Bhagatram. The film starred Suraiya, Rehman, Gope, Raj Mehra, Manorama, Leela Mishra, Yashodhara Katju and Niranjan Sharma. Iss Dil ke Tukde Hazar hue, sung by Mohammed Rafi is still popular.CastSuraiyaas the lead actressRehman as HeroGope as ComedianRaj Mehra as Supporting actorManoramaGyaniLeela MisraYashodhara KatjuNiranjan Sharma as Supporting actorManmohan as Supporting actorSoundtrackThe music was composed by Husnlal Bhagatram and the film song lyricists were Qamar Jalalabadi and Rajinder Krishan.Passage 7:Another EarthAnother Earth is a 2011 American science fiction drama film directed by Mike Cahill and starring Brit Marling, William Mapother, and Robin Lord Taylor. It premiered at the 2011 Sundance Film Festival in January, and was given a limited theatrical release on July 22, 2011, by Fox Searchlight Pictures. The film earned two nominations at the 38th Saturn Awards for Marling's performance and for Cahill and Marling's writing. The critical consensus on Rotten Tomatoes calls it slow paced but soulful.PlotRhoda Williams (Brit Marling), a brilliant 17-year-old girl who has spent her young life fascinated by astronomy, is delighted to learn that she has been accepted into MIT. She celebrates, drinking with friends, and in a reckless moment, drives home intoxicated. Listening to a story on the radio about a recently discovered Earth-like planet, she gazes out her car window at the stars and inadvertently hits a stopped car at an intersection, putting John Burroughs (William Mapother) in a coma and killing his pregnant wife and young son. After serving her four-year prison sentence, Rhoda becomes a janitor at her former high school and struggles with guilt and regret.Hearing more news stories about the mirror Earth, Rhoda enters an essay contest sponsored by a millionaire entrepreneur who is offering a civilian space flight to the mirror Earth.One day Rhoda sees John laying a toy at the accident site. She visits his house, intending to apologize. He answers the door and she loses her nerve. Instead, she pretends to be a maid offering a free day of cleaning as a marketing tool for a cleaning service. John, who has dropped out of his Yale music faculty position, has been letting his home and himself go, and accepts Rhoda's offer. He has no idea who she is, and when she finishes asks her to come back the next week. In time, a caring relationship develops and they have sex.Rhoda wins the essay contest and is chosen to be one of the first to travel to the other Earth. John asks her not to go, believing they might have a future together. She finally decides to tell him the truth about who she is. He is upset and throws her out of the house.Rhoda hears an astrophysicist talking on television, describing a \"broken mirror\" hypothesis which states that upon the sighting of the twin-Earth the synchronicity of events happening in both the Earths was broken. Rhoda rushes back to John's house, but he refuses to let her in. She breaks into his house, and he begins to strangle her. He stops, and when she recovers she tells him about the theory and that there might be a possibility for his family to still be alive on the other Earth. She leaves him the ticket. In time, she learns that John accepted the gift and becomes one of the first civilian space travelers to the other Earth.Four months later, on a foggy day, Rhoda approaches her house, discovering her other self from Earth 2 standing in front of her.CastBrit Marling as Rhoda WilliamsWilliam Mapother as John BurroughsJordan Baker as Kim WilliamsRobin Lord Taylor as Jeff WilliamsFlint Beverage as Robert WilliamsKumar Pallana as PurdeepDiane Ciesla as Dr. Joan TallisRupert Reid as Keith "}
+{"doc_id":"doc_227","qid":"","text":"Passage 1:NarathihapateNarathihapate (Burmese: \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000, pronounced [n\u0000\u0000a\u0000 θìha\u0000p\u0000t\u0000]; also Sithu IV of Pagan; 23 April 1238 – 1 July 1287) was the last king of the Pagan Empire who reigned from 1256 to 1287. The king is known in Burmese history as the \"Taruk-Pyay Min\" (\"the King who fled from the Taruks\") for his flight from Pagan (Bagan) to Lower Burma in 1285 during the first Mongol invasion (1277–87) of the kingdom. He eventually submitted to Kublai Khan, founder of the Yuan dynasty in January 1287 in exchange for a Mongol withdrawal from northern Burma. But when the king was assassinated six months later by his son Thihathu, the Viceroy of Prome, the 250-year-old Pagan Empire broke apart into multiple petty states. The political fragmentation of the Irrawaddy valley and its periphery would last for another 250 years until the mid-16th century.The king is unkindly remembered in the royal chronicles, which in addition to calling a cowardly king who fled from the invaders, also call him \"an ogre\" and \"glutton\" who was \"great in wrath, haughtiness and envy, exceeding covetous and ambitious.\" According to scholarship, he was certainly an ineffective ruler but unfairly scapegoated by the chronicles for the fall of the empire, whose decline predated his reign, and in fact had been \"more prolonged and agonized\".Early lifeThe future king was born to Crown Prince Uzana and a commoner concubine from Myittha on 23 April 1238. For much of his early years, he was known at the palace as Min Khwe-Chi (lit. \"Prince Dog's Dung\") as a harmless royal. Even when his father became king in 1251, Khwe-Chi was not in line for the throne; the position belonged to his half-brother Thihathu, the eldest son of the chief queen Thonlula.ReignRise to powerBut fate came calling. In early May 1256, Uzana died from a hunting accident, and Thihathu claimed the throne. The court led by the powerful chief minister Yazathingyan did not accept a head-strong Thihathu, and placed their preferred candidate, Khwe Chi, whom they believed they could control, on the throne on 6 May 1256. Thihathu was arrested and executed. Narathihapate held the coronation ceremony in November 1256. He assumed the regnal name \"Śrī Tribhuvanādityapavara Dhammarāja\" (\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000).Governing styleThe young king turned out be quick-tempered, arrogant, and ruthless. Soon after his accession, he sent Yazathingyan, the man who put him on the throne, into exile. But he soon had to recall Yazathingyan to quell the rebellions in Martaban (Mottama) (1258–1259) and Arakan (1258–1260). Yazathingyan put down the rebellions but died on the return journey. With the old minister's death removed the only person that could have controlled the ruthless, inexperienced king.Narathihapate was incompetent in both domestic and foreign affairs. Like his father and grandfather before him, he too failed to fix the depleted royal treasury, which had been deteriorating for years because the continued growth of tax-free religious landholdings. But unlike his grandfather Kyaswa, who would rather build a small temple than to resort to forced labor, Narathihapate built a lavish temple, the Mingalazedi Pagoda with forced labor. The people, sinking under his rule, whispered: \"When the pagoda is finished, the king shall die\".Mongol invasionsBorder war (1277–78)The existential threat to the Burmese kingdom came from the north. The Mongols, who conquered the Dali Kingdom (later renamed as Yunnan in 1274) in 1253–57, first demanded tribute from Pagan in 1271–72. When the Burmese king refused, Emperor Kublai Khan himself sent a mission in 1273 to demand tribute once again. The king refused again. The Mongol army of the Yuan dynasty in 1275–76 consolidated the Pagan–Yunnan borderlands as part of their drive to close off escape routes of the Song refugees, and in the process went on to occupy a Burmese vassal state in present-day Dehong Prefecture). Narathihapate sent the army to reclaim the region but the army was driven back in April 1277 at the battle of Ngasaunggyan (modern Yingjiang). The Mongol troops reached as far south as Kaungsin, which guarded the Bhamo Pass, the gateway into the Irrawaddy, before retreating in 1278 due to excessive heat. Later in 1278, the army reestablished its forts at Kaungsin and Ngasaunggyan.Invasion (1283–85)Narathihapate's troubles were not over. In 1281, the Mongol emperor again demanded tribute. When the king refused, the emperor ordered an invasion of northern Burma. In September 1283, the Mongol forces again attacked the Burmese fort at Ngasaunggyan, which fell on 3 December 1283. Kaungsin fell six days later, and the Mongols took Tagaung on 5 February 1284. But the Mongols found the heat excessive and retreated from Tagaung. The Burmese forces retook Tagaung on 10 May 1284. The Mongol resumed their drive southward in the following dry season (1284–85), and reached as far south as Hanlin by February 1285. Although the Mongols did not have the order to attack Pagan, the king nonetheless fled south to Lower Burma.Exile in Lower Burma (1285–87)At Lower Burma, Narathihapate found himself isolated. Although his three sons controlled three key ports (Bassein (Pathein), Dala and Prome (Pyay)) there, he could not gain their support. He did not trust them in any case, and settled at Hlegya, west of Prome, at the border between Central Burma and Lower Burma. The presence of the king and his small army impressed no one. Pegu (Bago) revolted soon after, and drove back the king's small army twice. With Martaban (Mottama) also in rebellion, the breakaway of Pegu meant the entire eastern half of Lower Burma was now in revolt. His three sons remained in control of the western half of Lower Burma but he could not count on them for their support. At Hlegya, the king was literally at the periphery of Lower Burma.Mongol vassal (1287)He decided to return to central Burma even if it meant making peace with the Mongols. In December 1285, he sent the chief minister and general Ananda Pyissi and Gen. Maha Bo to negotiate a ceasefire. The Mongol commanders at Hanlin, who had organized northern Burma as a protectorate named Zhengmian (Chinese: \u0000\u0000; Wade–Giles: Cheng-Mien) agreed to a ceasefire but insisted on a full submission. They repeated their 1281 demand that the Burmese king send a formal delegation to the emperor. A tentative agreement was reached among the negotiators on 3 March 1286; Central Burma would now be organized as a sub-province of Mianzhong (Chinese: \u0000\u0000;  Wade–Giles: Mien-Chung), and the Burmese king would send a formal embassy to the emperor. After a long deliberation, in June 1286, the Burmese king decided to agree to the terms, and sent an embassy led by Shin Ditha Pamauk, the chief primate, to the emperor's court.In January 1287, the embassy arrived at Beijing, and was received by the emperor. The Burmese delegation formally acknowledged Mongol suzerainty of their kingdom, and agreed to pay annual tribute tied to the agricultural output of the country. Northern Burma would continue to be organized as Zhengmian (Cheng-Mien) while central Burma would be organized as Mianzhong (Mien-Chung). In exchange, the emperor agreed to withdraw his troops. The Burmese embassy arrived back at Hlegya in May 1287, and reported the terms to the king.DeathAbout a month later, the king and his small retinue left Hlegya for Pagan. But he was captured en route by his son Thihathu, the Viceroy of Prome. On 1 July 1287, the king was forced to take poison. To refuse would have meant death by the sword, and with a prayer on his lips that in all his future existences \"may no male-child be ever born to him again\", the king swallowed the poison and died.AftermathNarathihapate's death was promptly followed by the breakup of the kingdom. Nearly 250 years of Pagan's rule over the Irrawaddy basin and its periphery was over. In Lower Burma, the Hanthawaddy Kingdom of the Mons emerged in 1287. In the west, Arakan was now de jure independent. In the north, the Shans who came down with the Mongols came to dominate Kachin hills and Shan hills, and went on dominate much of western and central mainland Southeast Asia.The Mongols deemed the treaty void and invaded south toward Pagan. But the invaders suffered heavy casualties, and retreated back to Tagaung. It would be nearly two years until 30 May 1289 when one of his sons Kyawswa emerged as the king of Pagan. By then, the Pagan Empire had ceased to exist. The Mongols had occupied down to Tagaung, and the occupation would last until April 1303. Even in central Burma, Kyawswa controlled only around the capital. The real power now rested with the three brothers from Myinsaing who would later found the Myinsaing Kingdom in 1297, replacing over four centuries of Pagan Kingdom.LegacyThe king is unkindly remembered in Burmese history as the \"Taruk-Pyay Min\" (\"the King who Fled from the Taruk [Chinese]\") for his flight to the south, instead of defending the country. The royal chronicles paint an especially harsh description of the king, portraying him as \"an ogre\" and \"glutton\" who was \"great in wrath, haughtiness and envy, exceeding covetous and ambitious.\" According to scholarship, he was certainly an ineffective ruler but unfairly scapegoated by the chronicles for the fall of the empire, whose descent predated his reign and in fact had been \"more prolonged and agonized.\"HistoriographyVarious royal chronicles report different dates about his life.NotesPassage 2:AnacyndaraxesAnacyndaraxes (Greek: \u0000νακυνδαράξης) was the father of Sardanapalus, king of Assyria.Notes This article incorporates text from a publication now in the public domain: Smith, William, ed. (1870). \"Anacyndaraxes\". Dictionary of Greek and Roman Biography and Mythology. Vol. 1. p. 157-158.Passage 3:Arthur BeauchampArthur Beauchamp (1827 – 28 April 1910) was a Member of Parliament from New Zealand. He is remembered as the father of Harold Beauchamp, who rose to fame as chairman of the Bank of New Zealand and was the father of writer Katherine Mansfield.BiographyBeauchamp came to Nelson from Australia on the Lalla Rookh, arriving on 23 February 1861.He lived much of his life in a number of locations around the top of the South Island, also Whanganui when Harold was 11 for seven years and then to the capital (Wellington). Then south to Christchurch and finally Picton and the Sounds. He had business failures and was bankrupted twice, in 1879 and 1884. He married Mary Stanley on the Victorian goldfields in 1854; Arthur and Mary lived in 18 locations over half a century, and are buried in Picton. Six of their ten children born between 1855 and 1893 died, including the first two sons born before Harold.Beauchamp represented the Picton electorate from 1866 to 1867, when he resigned.  He had the energy and sociability required for politics, but not the private income then required to be a parliamentarian. He supported the working man and the subdivision of big estates, opposed the confiscation of Māori land and was later recognised as a founding Liberal, the party that Harold supported and was a \"fixer\" for. Yska calls their life an extended chronicle of rootlessness, business failure and almost ceaseless family tragedy and Harold called his father a rolling stone by instinct. Arthur also served on the council of Marlborough Province and is best-remembered for a 10-hour speech to that body when an attempt was made to relocate the capital from Picton to Blenheim.In 1866 he attempted to sue the Speaker of the House, David Monro. At the time the extent of privilege held by Members of Parliament was unclear; a select committee ruled that the case could proceed, but with a stay until after the parliamentary session.See alsoYska, Redmer (2017). A Strange Beautiful Excitement: Katherine Mansfield's Wellington 1888-1903. Dunedin: Otago University Press. pp. 91–99. ISBN 978-0-947522-54-4.Passage 4:Obata ToramoriObata Toramori (\u0000\u0000\u0000\u0000, 1491 – July 14, 1561) was Japanese samurai warrior of the Sengoku Period. He is known as one of the \"Twenty-Four Generals of Takeda Shingen\" He also recorded as having been wounded 41 times in 36 encounters. He was the father of Obata Masamori.See alsoIsao ObataPassage 5:A. R. RawlinsonLieutenant-Colonel Arthur Richard Rawlinson, OBE (9 August 1894 – 20 April 1984) was a British Army officer who served on the Western Front, and then in military intelligence in both World Wars. He served as head of MI.9a, and of MI.19. In peacetime, he developed a very successful career as a screenwriter and also produced several films.Early lifeRawlinson was born in London, England, on 9 August 1894, the son of barrister Thomas Arthur Rawlinson and Gertrude Hamilton, daughter of barrister William Melmoth Walters. The Rawlinsons were Hampshire landed gentry, Thomas Arthur Rawlinson being nephew of the judge Sir Christopher Rawlinson.He was educated at Windlesham House School, Rugby School and Pembroke College, Cambridge.War serviceAlready a cadet in the Officer Training Corps, Rawlinson was commissioned on 1 September 1914 as a temporary second lieutenant in the war-raised 6th (Service) Battalion of The Queen's (Royal West Surrey Regiment). He was promoted to temporary lieutenant on 29 December 1914. After a year's service he obtained a regular commission with the York and Lancaster Regiment, serving again as a second lieutenant. On 26 June 1916, he was seconded to the newly formed Machine Gun Corps and promoted back to lieutenant on 21 December 1916. After he was wounded in action he began a career in Military Intelligence, 'employed at the War Office' in MI.1(a) as an acting major. He was awarded an MBE for his war service and resigned his commission on 27 February 1919.On 14 April 1939, he transferred from the Reserve of Officers of the York and Lancaster Regiment to the Queen's Royal Regiment (West Surrey) and returned to active service. During World War II he served with the rank of major as the head of MI.9(a), a department of MI.9 responsible for vetting enemy prisoners of war. The department was later reconstituted as MI.19 in its own right. He retired from the service with the honorary rank of lieutenant colonel on 5 January 1946.Honours and decorationsIn the 1945 New Year Honours, the then Major (temporary Lieutenant-Colonel) Rawlinson was appointed an Officer of the Order of the British Empire (OBE), an advance on the recognition he had received after the previous war. On 23 May 1947, he was appointed Officer of the Legion of Merit \"in recognition of distinguished services in the cause of the Allies\".Personal lifeRawlinson married Alisa Margaret Harrington Grayson on 20 December 1916. She was the daughter of Sir Henry Grayson, Bt., the Conservative Member of Parliament for Birkenhead from 1918 to 1922. They had two sons: Michael Grayson Rawlinson (born 27 March 1918, died 1941 KIA), and Peter Anthony Grayson Rawlinson (born 26 June 1919, died 28 June 2006), who became the life-peer Lord Rawlinson of Ewell.Rawlinson had a strong bond with the Grayson family. He was at Pembroke with Dennys Grayson, who served with the Irish Guards in Great War along with his brother, Rupert Grayson, and John Kipling, son of Rudyard Kipling. The shell that wounded Rupert Grayson in 1915 was the one that killed John Kipling. Dennys Grayson gave his son the distinctive name of Rudyard - as opposed to the unremarkable John - when the child was born the following year. Rawlinson married the sister of the Grayson brothers, Alisa, and the friends became family. Rudyard Kipling was keen to maintain contact with the young people who knew his beloved son, especially Rupert. It was through Rupert that Rawlinson was introduced to Kipling and was commissioned to write the screenplays to some of his works.Rawlinson died 20 April 1984 in West Sussex, England.Partial filmographyLeap Year (1932)The Blarney Stone (1933)A Cuckoo in the Nest (1933)Aunt Sally (1933)Menace (1934)The Man Who Knew Too Much (1934)Man of the Moment (1935)Lancashire Luck (1937)The Last Curtain (1937)Missing, Believed Married (1937)King Solomon's Mines (1937)Strange Boarders (1938)John Halifax (1938)Crackerjack (1938)The Face at the Window (1939)The Chinese Bungalow (1940)This England (1941)The White Unicorn (1947)Calling Paul Temple (1948)The Story of Shirley Yorke (1948)Meet Simon Cherry (1949)Celia (1949)Dark Secret (1949)There Was a Young Lady (1953)Gaolbreak (1962)Passage 6:Hardy SawSaw Hardy (born 1916) was a Burmese boxer. He competed in the men's bantamweight event at the 1948 Summer Olympics.Passage 7:John Templeton (botanist)John Templeton (1766–1825) was a pioneering Irish naturalist, sometimes referred to as the \"Father of Irish Botany\". He was a leading figure in Belfast's late eighteenth century enlightenment, initially supported the  United Irishmen, and figured prominently in the town's scientific and literary societies.FamilyTempleton was born in Belfast in 1766, the son of James Templeton, a prosperous wholesale merchant, and his wife Mary Eleanor, daughter of Benjamin Legg, a sugar refiner. The family resided in a 17th century country house to the south of the town, which been named Orange Grove in honour of William of Orange who had stopped at the house en route to his victory over James II at the Battle of the Boyne in 1690.Until the age of 16 Templeton attended a progressive, co-educational, school favoured by the town's liberal, largely Presbyterian, merchant class. Schoolmaster David Manson sought to exclude \"drudgery and fear\" by combining classroom instruction with play and experiential learning. Templeton counted among his schoolfellows brother and sister Henry Joy and Mary Ann McCracken, and maintained a warm friendship with them throughout his life.In 1799, Templeton married Katherine Johnson of Seymour Hill. Her family had been touched by the United Irish rebellion the previous year: her brother-in-law, Henry Munro, commander of the United army at the Battle of Ballynahinch, had been hanged. The couple had five children: Ellen, born on 30 September 1800, Robert, born on 12 December 1802, Catherine, born on 19 July 1806, Mary, born on 9 December 1809 and Matilda on 2 November 1813.The union between the two already prosperous merchant families provided more than ample means enabling Templeton to devote himself passionately to the study of natural history.United IrishmanLike many of his liberal Presbyterian peers in Belfast, Templeton was sympathetic to the programme and aims of the Society United Irishmen:  Catholic Emancipation and democratic reform of the Irish Parliament. But it was several years before he was persuaded to take the United Irish \" test\" or pledge. In March 1797 his friend, Mary Ann McCracken, wrote to her brother: [A] certain Botanical friend of ours whose steady and inflexible mind is invulnerable to any other weapon but reason, and only to be moved by conviction has at last turned his attention from the vegetable kingdom to the human species and after pondering the matter for some months, is at last determined to become what he ought to have been months ago.She hoped his sisters would \"soon follow him.\" Having committed himself to the patriotic union of Catholic, Protestant and Dissenter, Templeton changed the name of the family home from loyalist Orange Grove to Irish \"Cranmore\" (crann mór, 'big tree').Templeton was disenchanted by the Rebellion of 1798, and mindful of events in France , repelled by the violence. He nonetheless withdrew from the Belfast Literary Society, of which he had been a founding member in 1801, rather than accept the continued presence of Dr. James MacDonnell. MacDonnell's offence had been to subscribe forty guineas in 1803 for the capture (leading to execution) of the unreformed rebel Thomas Russell who had been their mutual friend. (While unable to \"forget the amiable Russell\", time, he conceded,  \"softened a little my feelings\": in 1825, Templeton and MacDonnell met and shook hands).GardenThe garden at Cranmore spread over 13-acre garden was planted with exotic and native species acquired on botanical excursions, from fellow botanists, nurseries, botanical gardens and abroad: \"Received yesterday a large chest of East Indian plants which I examined today.\" \"Box from Mr. Taylor\".Other plants arrived, often as seeds from North America, Australia, India, China and other parts of the British Empire  Cranmore also served as a small animal farm.for experimental animal husbandry and a kitchen garden.BotanistJohn Templeton's interest in botany began with this experimental garden laid out according to a suggestion in Rousseau's 'Nouvelle Heloise' and following Rousseau's 'Letters on the Elements of Botany Here he cultivated many tender exotics out of doors (a list provided by Nelson and began "}
+{"doc_id":"doc_228","qid":"","text":"Passage 1:Rolf Olsen (actor)Rolf Olsen (26 December 1919 – 3 April 1998) was an Austrian actor, screenwriter and film director. He appeared in 60 films between 1949 and 1990. He also wrote for 51 films and directed a further 33 between 1947 and 1990. He was born in Vienna, Austria and died in Munich, Germany.Selected filmographyPassage 2:Our Crazy Aunts in the South SeasOur Crazy Aunts in the South Seas (German: Unsere tollen Tanten in der Südsee) is a 1964 Austrian comedy film directed by Rolf Olsen and starring Gunther Philipp, Gus Backus, and Udo Jürgens. It was the final part in a trilogy of films that also included Our Crazy Aunts and Our Crazy Nieces. Barbara Frey was cast in the role that had been played by Vivi Bach in the two previous films.The film's sets were designed by the art director Leo Metzenbauer. Location shooting took place in the Canary Islands.CastPassage 3:Wale AdebanwiWale Adebanwi (born 1969) is a Nigerian-born first Black Rhodes Professor at St Antony's College, Oxford where he was, until June 2021, a Professor of Race Relations, and the Director of the African Studies Centre, School of Interdisciplinary Area Studies, and a Governing Board Fellow. He is currently a Presidential Penn Compact Professor of Africana Studies at the University of Pennsylvania. Adebanwi's research focuses on a range of topics in the areas of social change, nationalism and ethnicity, race relations, identity politics, elites and cultural politics, democratic process, newspaper press and spatial politics in Africa.Education backgroundWale Adebanwi graduated with a first degree in Mass Communication from the University of Lagos, and later earned his M.Sc. and Ph.D. in Political Science from the University of Ibadan. He also has an MPhil. and a Ph.D. in Social Anthropology from the University of Cambridge.CareerAdebanwi worked as a freelance reporter, writer, journalist and editor for many newspapers and magazines before he joined the University of Ibadan's Department of Political Science as a lecturer and researcher. He was later appointed as an assistant professor in the African American and African Studies Department of the University of California, Davis, USA. He became a full professor at UC Davis in 2016.Adebanwi is the co-editor of Africa: Journal of the International African Institute and the Journal of Contemporary African Studies.WorksHis published works include:Nation as Grand Narrative: The Nigerian Press and the Politics of Meaning (University of Rochester Press, 2016)Yoruba Elites and Ethnic Politics in Nigeria: Obafemi Awolowo and Corporate Agency (Cambridge University Press, 2014)Authority Stealing: Anti-corruption War and Democratic Politics in Post-Military Nigeria (Carolina Academic Press, 2012)In addition, he is the editor and co-editor of other books, including.The Political Economy of Everyday Life in Africa: Beyond the Margins (James Currey Publishers, 2017)Writers and Social Thought in Africa (Routledge, 2016)(co-edited with Ebenezer Obadare) Governance and the Crisis of Rule in Contemporary Africa (Palgrave Macmillan, 2016)(co-edited with Ebenezer Obadare) Democracy and Prebendalism in Nigeria: Critical Interpretations (Palgrave Macmillan, 2013).(co-edited with Ebenezer Obadare) Nigeria at Fifty: The Nation in Narration (Routledge, 2012)(co-edited with Ebenezer Obadare) Encountering the Nigerian State (Palgrave Macmillan, 2010).AwardsRhodes Professorship in Race Relations awarded by Oxford University to Faculty of African and Interdisciplinary Area Studies.Passage 4:Hassan ZeeHassan \"Doctor\" Zee is a Pakistani-American film director who was born in Chakwal, Pakistan.Early lifeDoctor Zee grew up in Chakwal, a small village in Punjab, Pakistan. as one of seven brothers and sisters  His father was in the military and this fact required the family to move often to different cities. As a child Zee was forbidden from watching cinema because his father believed movies were a bad influence on children.At age 13, Doctor Zee got his start in the world of entertainment at Radio Pakistan where he wrote and produced radio dramas and musical programs.  It was then that he realized his passion for storytelling At the age of 26, Doctor Zee earned his medical doctorate degree and did his residency in a burn unit at the Pakistan Institute of Medical Sciences. He cared for women who were victims of  \"Bride Burning,\" the archaic practice used as a form of punishment against women who fail to provide sufficient dowry to their in-laws after marriage or fail to provide offspring.  He also witnessed how his country’s transgender and intersex people, called “hijras”, were banned from having jobs and forced to beg to survive. These experiences inspired Doctor Zee to tackle the issues of women’s empowerment and gender inequality in his films.In 1999, he came to San Francisco to pursue his dream of filmmaking and made San Francisco his homeEducationHe received his early education from Jinnah Public School, Chakwal. He got his medical doctor degree at Rawalpindi Medical College, Pakistan.Film careerDoctor Zee's first film titled Night of Henna was released in 2005. The theme of the film dealt with \"the conflict between Old World immigrant customs and modern Western ways...\" Night of Henna focused on the problems of Pakistani expatriates who found it hard to adjust in American culture. Many often landed themselves in trouble when it came to marrying off their children.His second film Bicycle Bride came out in 2010, which was about \"the clash between the bonds of family and the weight of tradition.\" His third film House of Temptation that came out in 2014 was about a family which struggles against the temptations of the Devil. His fourth film “Good Morning Pakistan”, concerned a young American’s journey back to Pakistan where he confronts the contradictory nature of a beautiful and ancient culture that's marred by economic, educational and gender inequality His upcoming fifth film, \"Ghost in San Francisco\" is a supernatural thriller starring Felissa Rose, Dave Sheridan, and Kyle Lowder where a soldier comes home from Afghanistan to discover that his wife is having an affair with his best friend. While battling with his inner ghosts and demons, he meets a mysterious woman in San Francisco who promises him a ritual for his cure.Passage 5:Dearest (2014 film)Dearest is a 2014 Chinese-language film directed by Peter Chan on kidnapping in China, based on a true story, starring Zhao Wei, Huang Bo, Tong Dawei, Hao Lei, Zhang Yi and Zhang Yuqi. It was screened in the Special Presentations section of the 2014 Toronto International Film Festival.PlotFollowing years of unrelenting search, Tian Wenjun (Huang Bo) and ex-wife Lu Xiaojuan (Hao Lei) finally locate their abducted son in a remote village. After the boy is violently taken away from the village, the abductor's widow Li Hongqin (Zhao Wei) — the boy's foster mother — also loses her foster daughter to a state-owned orphanage in Shenzhen. Heartbroken, Li goes on a lone but determined journey to get her daughter back.Theme songs\"Qin'ai de Xiaohai\" (\u0000\u0000\u0000\u0000\u0000; \"Dear Child\") sung by cast members Huang, Tong, Zhao, Zhang Yi and Hao. It was originally sung by Su Rui as the theme song of the 1985 film The Unwritten Law.\"Mei Yi Ci\" (\u0000\u0000\u0000; \"Every Time\") sung by Huang. It was originally sung by Zhang Hongsheng as an insert song in the 1990 TV series Kewang.\"Yinxing de Chibang\" (\u0000\u0000\u0000\u0000\u0000; \"Invisible Wings\") sung by Huang and parents of missing children. It was originally sung by Angela Chang in her 2006 album Pandora.CastZhao WeiHuang BoTong DaweiHao LeiZhang YiZhang YuqiZhang GuoqiangZhu DongxuYi QingWang ZhifeiProductionPrincipal photography for Dearest took place in Shenzhen, Guangzhou and Chengde. It began from January 2014 and concluded on 18 April 2014.Portraying a rural mother, Zhao Wei spoke the Lower Yangtze Mandarin dialect (the predominant dialect in her hometown of Wuhu) rather than Standard Mandarin in the film.AccoladesSee alsoLost and Love – another film dealing with child kidnapping in ChinaPassage 6:Peter ChanPeter Ho-sun Chan (born 28 November 1962) is a film director and producer.Early lifeChan was born in British Hong Kong to Chinese parents. He and his family moved to Thailand when he was 11, where he grew up amongst the international Chinese community in Bangkok. He speaks Thai as fluently as a Thai person.He later studied in the United States where he attended film school at UCLA, with a minor in accountancy. He returned to Hong Kong in 1983 for a summer internship in the film industry. Chan never returned to UCLA to complete his studies.CareerHe served as second assistant director, translator, and producer on John Woo's Heroes Shed No Tears (1986), which was set in Thailand. He then was a location manager on three Jackie Chan films, Wheels on Meals (1984), The Protector (1985) and Armour of God (1986), all of which were shot overseas.He joined Impact Films as a producer in 1989, guiding projects such as Curry and Pepper (1990) to completion.His directorial debut, Alan and Eric: Between Hello and Goodbye, was crowned best film at the Hong Kong Film Directors' Guild in 1991. It also won best actor at the Hong Kong Film Awards for Eric Tsang, who would become a frequent collaborator with Chan.Chan was a co-founder of United Filmmakers Organization (UFO) in the early 1990s, which produced a number of box-office and critical hits in Hong Kong, including his own: He Ain't Heavy, He's My Father.  Other critical and commercial successes followed, including Tom, Dick and Hairy, He's a Woman, She's a Man and Comrades, Almost a Love Story.In the late 1990s, Chan worked in Hollywood, directing The Love Letter, which starred Kate Capshaw, Ellen DeGeneres and Tom Selleck.In 2000, Chan co-founded Applause Pictures with Teddy Chen and Allan Fung.  The company's focus was on fostering ties with pan-Asian filmmakers, producing such films as Jan Dara by Thailand's Nonzee Nimibutr, One Fine Spring Day South Korea's Hur Jin-ho, Samsara by China's Huang Jianxin, The Eye by Danny and Oxide Pang and cinematographer Christopher Doyle.Chan's 2005 film, the musical Perhaps Love closed the 2005 Venice Film Festival and was Hong Kong's entry for an Academy Awards nomination in the best foreign film category.  Perhaps Love became one of the year's top-grossing films in China, Hong Kong and Taiwan, and received a record 29 awards. Chan next directed The Warlords (2007) and produced Derek Yee's Protégé (2007). The two films were the two highest grossing Hong Kong-China co-productions of 2007. The Warlords grossed a record RMB220 million in China and over US$40 million across Asia, and garnered 8 Hong Kong Film Awards and 3 Golden Horse Awards, including Best Director and Best Feature Film.In 2009, Chan produced Teddy Chen's Bodyguards and Assassins, which has garnered RMB300 million in China box office alone, accumulating over US$50 million Asia-wide. It has scored 8 awards in the Hong Kong Film Awards, including Best Film. It also won Best Actor awards for Wang Xueqi in the Asian Film Awards and the HK Film Critics Society Awards, adding up to 146 awards out of 231 nominations for Chan's awards track record.In a survey conducted by the Hong Kong Trade Development Council during the 2010 Hong Kong Filmart, Chan was voted \"the most valuable filmmaker\", which was strongly backed by his box-office track records.Personal lifeChan dated Kathleen Poh for a brief period in 1993 before Poh moved to Singapore permanently. Chan currently has a daughter Jilian Chan (born in 2006) with Hong Kong actress Sandra Ng, although the two have no intention of getting married.FilmographyAs directorAs producerAs actorDuo ming ke (1973)Millionaires Express (1986) – Firefighter / Security officerSan dui yuan yang yi zhang chuang (1988) – Man betting on fight in loungeTwin Dragons (1992)C'est la vie, mon chéri (1993) – Man at PartyWan 9 zhao 5 (1994) – (final film role)Passage 7:Hartley LobbanHartley W Lobban (9 May 1926 – 15 October 2004) was a Jamaican-born first-class cricketer who played 17 matches for Worcestershire in the early 1950s.Life and careerLobban played little cricket in Jamaica. He went to England at the end of World War II as a member of the Royal Air Force, and settled in Kidderminster in Worcestershire in 1947, where he worked as a civilian lorry driver for the RAF. He began playing for Kidderminster Cricket Club in the Birmingham League, and at the start of the 1952 season, opening the bowling for the club's senior team, he had figures of 7 for 9 and 7 for 37.Worcestershire invited him to play for them, and he made his first-class debut against Sussex in July 1952. He took five wickets in the match (his maiden victim being Ken Suttle) and then held on for 4 not out with Peter Richardson (20 not out) to add the 12 runs needed for a one-wicket victory after his county had collapsed from 192 for 2 to 238 for 9. A week later he claimed four wickets against Warwickshire, then a few days later still he managed 6 for 52 (five of his victims bowled) in what was otherwise a disastrous innings defeat to Derbyshire. In the last match of the season he took a career-best 6 for 51 against Glamorgan; he and Reg Perks (4 for 59) bowled unchanged throughout the first innings. Worcestershire won the game and Lobban finished the season with 23 wickets at 23.69.He took 23 wickets again in 1953, but at a considerably worse average of 34.43, and had only two really successful games: against Oxford University in June, when he took 5 for 70, and then against Sussex in July. On this occasion Lobban claimed eight wickets, his most in a match, including 6 for 103 in the first innings. He also made his highest score with the bat, 18, but Sussex won by five wickets.In 1954 Lobban made only two first-class appearances, and managed only the single wicket of Gloucestershire tail-ender Bomber Wells. In his final game, against Warwickshire at Dudley, his nine first-innings overs cost 51. He bowled just two overs in the second innings as Warwickshire completed an easy ten-wicket win. Lobban played one more Second XI game, against Glamorgan II at Cardiff Arms Park; in this he picked up five wickets.He was also a professional boxer and played rugby union for Kidderminster.He later moved to Canada, where he worked as a teacher in Burnaby, British Columbia. He and his wife Celia had a son and two daughters.Passage 8:Henry Moore (cricketer)Henry Walter Moore (1849 – 20 August 1916) was an English-born first-class cricketer who spent most of his life in New Zealand.Life and familyHenry Moore was born in Cranbrook, Kent, in 1849. He was the son of the Reverend Edward Moore and Lady Harriet Janet Sarah Montagu-Scott, who was one of the daughters of the 4th Duke of Buccleuch. One of his brothers, Arthur, became an admiral and was knighted. Their great grandfather was John Moore, Archbishop of Canterbury from 1783 to 1805. One of their sisters was a maid of honour to Queen Victoria.Moore went to New Zealand in the 1870s and lived in Geraldine and Christchurch. He married Henrietta Lysaght of Hāwera in November 1879, and they had one son. In May 1884 she died a few days after giving birth to a daughter, who also died.In 1886 Moore became a Justice of the Peace in Geraldine. In 1897 he married Alice Fish of Geraldine. They moved to England four years before his death in 1916.Cricket careerMoore was a right-handed middle-order batsman. In consecutive seasons, 1876–77 and 1877–78, playing for Canterbury, he made the highest score in the short New Zealand first-class season: 76 and 75 respectively. His 76 came in his first match for Canterbury, against Otago. He went to the wicket early on the first day with the score at 7 for 2 and put on 99 for the third wicket with Charles Corfe before he was out with the score at 106 for 3 after a \"very fine exhibition of free hitting, combined with good defence\". Canterbury were all out for 133, but went on to win the match. His 75 came in the next season's match against Otago, when he took the score from 22 for 2 to 136 for 6. The New Zealand cricket historian Tom Reese said, \"Right from the beginning he smote the bowling hip and thigh, going out of his ground to indulge in some forceful driving.\" Canterbury won again.Moore led the batting averages in the Canterbury Cricket Association in 1877–78 with 379 runs at an average of 34.4. Also in 1877–78, he was a member of the Canterbury team that inflicted the only defeat on the touring Australians. In 1896–97, at the age of 47, he top-scored in each innings for a South Canterbury XVIII against the touring Queensland cricket team.Passage 9:Our Crazy NiecesOur Crazy Nieces (German: Unsere tollen Nichten) is a 1963 Austrian comedy film directed by Rolf Olsen and starring Gunther Philipp, Vivi Bach, and Paul Hörbiger. It was the second part in a trilogy of films which began with Our Crazy Aunts in 1961 and finished with Our Crazy Aunts in the South Seas.The film's sets were designed by the art director Wolf Witzemann. It was shot at the Sievering Studios in Vienna.CastPassage 10:Our Crazy AuntsOur Crazy Aunts (German: Unsere tollen Tanten) is a 1961 Austrian comedy film directed by Rolf Olsen and starring Gunther Philipp, Gus Backus, and Vivi Bach. It was followed by two sequels Our Crazy Nieces and Our Crazy Aunts in the South Seas.The film's sets were designed by the art director Felix Smetana.Cast"}
+{"doc_id":"doc_229","qid":"","text":"Passage 1:Helperich von Plötzkau, Margrave of the NordmarkHelperich (Helferich) (d. 1118), Count of Plötzkau and Walbeck, and Margrave of the Nordmark, son of Dietrich, Count of Plötzkau, and Mathilde vonWalbeck, daughter of Conrad, Count of Walbeck, and Adelheid of Bavaria.  The count's sister Irmgard was married to Lothair Udo III, Margrave of the Nordmark, and was the mother of Helperich's successor in ruling themargraviate, Henry II.Helperich inherited the title Count of Plötzkau upon his father’s death and the title Count of Walbeck from his mother, although this title was mostly ceremonial at this point.  In 1112, EmperorHenry V deposed Rudolf I as Margrave of the Nordmark because of conspiracy against the crown in his alliance with Lothair of Supplinburg, then Duke of Saxony (and later Holy Roman Emperor).  The margraviate wasgiven to Helperich as an interim measure until Henry II, nephew of Rudolf and heir to the title, was of age.In 1106, Helperich married Adele, daughter of Kuno of Northeim and Kunigunde of Weimar-Orlamünde, widowof Dietrich III, Count of Katlenburg.  Helperich and Adele had four children:Bernhard (d. 1147), Count of PlötzkauConrad, Margrave of the NordmarkIrmgard, Abbess of HecklingenMathilde.Halperich died in 1118 andwas buried at the Hecklingen Monastery.  Upon his death, he was succeeded as Count of Plötzkau by his son Bernhard.  Henry II assumed the role of Margrave of the Nordmark in 1114.SourcesHucke, Richard G., DieGrafen von Stade. 900–1144. Genealogie, politische Stellung, Comitat und Allodialbesitz der sächsischen Udonen. Stade 1956Passage 2:Lothair Udo III, Margrave of the NordmarkLothair Udo III (1070-1106), Margraveof the Nordmark and Count of Stade (as Lothair Udo IV), son of Lothair Udo II, Margrave of the Nordmark, and Oda of Werl, daughter of Herman III, Count of Werl, and Richenza of Swabia.  Brother of his predecessorHenry I the Long.Lothair Udo was betrothed to Eilika of Saxony, daughter of Magnus, Duke of Saxony, and Sophia of Hungary. However, his attention was diverted to the House of Helperich, towards Count Helperich'senticing sister Ermengardam.  He married this woman, the count's sister Irmgard, daughter of Dietrich, Count of Plötzkau, and Mathilde von Walbeck, daughter of Conrad, Count of Walbeck.  Eilika moved on andmarried Otto the Rich, Count of Ballenstedt, and was mother to Albert the Bear, the last Margrave of the Nordmark and first Margrave of Brandenburg.  This provides an interesting twist in the history of the county ofStade.Lothair Udo and Irmgard had four children:Henry II, Margrave of the Nordmark, also Count of Stade (as Henry IV)A daughter whose name is not knownIrmgard von Stade, married Poppo IV, Count ofHennebergAdelheid von Stade, married Henry II, Margrave of Meissen.Lothair Udo was succeeded by his brother Rudolf as margrave and count upon his death.SourcesHucke, Richard G., Die Grafen von Stade.900–1144. Genealogie, politische Stellung, Comitat und Allodial- besitz der sächsischen Udonen, Selbstverlag des Stader Geschichts und Heimatvereins, Stade, 1956Raffensperger, Christian, Reimagining Europe,Harvard University Press, Cambridge, MA, 2012Passage 3:Albert II, Margrave of BrandenburgAlbert II (c. 1177 – 25 February 1220) was a member of the House of Ascania who ruled as the margrave of Brandenburgfrom 1205 until his death in 1220.LifeAlbert II was the youngest son of Otto I and his second wife Ada of Holland. His father Otto I promoted and directed the foundation of German settlement in the area, which hadbeen Slavic until the 10th century.Count of ArneburgAlbert II was, from 1184 onwards, Count of Arneburg in the Altmark.  The Altmark belonged to Brandenburg, and his older brother Otto II claimed that this impliedthat the Ascanians owned Arneburg.When Henry of Gardeleggen died in 1192, he left his domains to Albert II. But that caused a conflict between himself and his brother. He was temporarily imprisoned in 1194 byOtto.In 1197, he joined the German Crusade of 1197. He was present at the inaugural meeting of the Teutonic Knights in 1198 in Acre.Margrave of BrandenburgAlbert II inherited the Margraviate in 1205, after thedeath of his eldest brother Otto II.In the dispute about the imperial crown between the Houses of Hohenstaufen and Guelph in the early 13th century, Albert initially supported the Hohenstaufen King Philip of Swabia,like Otto before him.  After Philip's assassination in 1208, however, he changed sides, because Emperor Otto IV had assisted him in securing the Margraviate against the Danes, and had confirmed Ascanian ownership ofBrandenburg in a deed in 1212.During this period, Albert II had a lengthy dispute with Archbishop Albert I of Magdeburg. He also played an important rôle in the Brandenburg tithe dispute.Albert II definitively securedthe regions of Teltow, Prignitz and parts of the Uckermark for the Margraviate of Brandenburg, but lost Pomerania to the House of Griffins.Death and successionAlbert II died in 1220.  At the time, his two sons were stillminors.  Initially, archbishop Albert I of Magdeburg acted as regent.  In 1221, however, Albert's widow, Countess Matilda, took up the regency.  After her death in 1225, the brothers were declared legal adults andbegan ruling the Margraviate jointly.LegacyStephan Warnatsch describes Otto I's children as follows:[They] continued the territorialisation drive that had been initiated [by their father] and, from the end of the 12thCentury, as the influx of settlers grew stronger, and, consequently, more people were available to develop the territory, started to expand into the areas of Ruppin, and in particular, Barnim and Teltow.  Moreover, theOder region and the southern Uckermark were also targets of the Ascanian expansion.  In all these areas, the Ascanians ran into opposition from competing local princes.Marriage and issueIn 1205, Albert marriedMatilda of Groitzsch (1185–1225), daughter of the Count Conrad II of Lusatia, a member of the House of Wettin, and wife Elizabeth, from the Polish Piast dynasty.  They had four children:John I (born: c. 1213; died: 4April 1266)Otto III \"the Pious\" (born: 1215; died: 9 October 1267)Matilda (died: 10 June 1261), married in 1228 Duke Otto I \"the Child\" of Brunswick-Lüneburg (1204–1252), a member of the House of GuelphElizabeth(born: 1207; died: 19 November 1231), married in 1228 Landgrave Henry Raspe of Thuringia (1201–1247)Passage 4:Henry II, Margrave of Baden-HachbergHenry II, Margrave of Baden-Hachberg (before 1231 – c.1297/1298) was the ruling Margrave of Baden-Hachberg from 1231 to 1289.LifeHenry II was the eldest son of Margrave Henry I of Baden-Hachberg and his wife, Agnes, a daughter of Count Egino IV of Urach.  In 1231,he succeeded his father as Margrave of Baden-Hachberg.  Since he was a minor at the time, he initially stood under the guardianship of his mother.  He was the first in his line of the House of Zähringen to style himselfMargrave of Hachberg.  In 1232, he purchased the Lordship of Sausenburg from St. Blaise Abbey.  Soon afterwards, he built Sausenburg Castle, which was first mentioned in 1246.He had disputes with the spiritualrulers in the area and with the Counts of Freiburg about the entangled rights and privileges they had (or claimed to have) on each other's possessions.  In 1250, some imperial and Hohenstaufen possessions becameavailable for the taking after Emperor Frederick II had died.  Henry II grabbed some of these land and managed round off his territory.For several years, he supported Count Rudolph of Habsburg in his disputes againstthe bishops of Basel and Strasbourg.  In 1273, he supported Rudolph in his bid to become King of the Romans.  He also supported Rudolph in his dispute against the main line of the Margraves of Baden.  During the waragainst Bohemia, Henry II fought on the imperial side in the decisive Battle on the Marchfeld.He was a patron of the monasteries Tennenbach and Adelhausen.Henry II abdicated in 1289, and joined the TeutonicKnights.Marriage and issueHenry II was married to Anne, a daughter of Count Rudolph II of Üsingen-Ketzingen.  They had the following children:Henry III, his successor as Margrave of Baden-HachbergRudolf I, the firstMargrave of Hachberg-SausenbergFrederick, who also joined the Teutonic KnightsVerena, married Egino I, Count of FürstenbergHerman I, joined the Knights HospitallerKunigunde, a nun at AdelhausenAgnes, marriedWalter of ReichenbergElisabeth, also a nun at AdelhausenPassage 5:Henry II, Margrave of the NordmarkHenry II (1102 – 4 December 1128), Margrave of the Nordmark, also Count of Stade (as Henry IV), son of LothairUdo III, Margrave of the Nordmark, and  Irmgard, daughter of Dietrich, Count of Plötzkau, and Mathilde von Walbeck.Henry assumed the title of Margrave of the Nordmark in 1114 from Helperich of Plötzkau, who wasappointed margrave until Henry came of age. The previous margrave in this dynasty was Henry’s uncle Rudolf I, who was also his guardian.  Rudolf was deposed by Emperor Henry V because of conspiracy against thecrown, and was replaced by Helperich as an interim measure.  Henry assumed the titles of Count of Stade and Margrave of the Nordmark in 1114.Henry was married to Adelaide of Ballenstedt, a daughter of Otto, Countof Ballenstedt, and Eilika of Saxony.  Adelaide was therefore the sister of Albert the Bear. There are no known children as a result of this union.  Henry was succeeded as margrave by the son of Helperich, Conrad ofPlötzkau.SourcesKrause, Karl Ernst Hermann, Lothar Udo II. und das Stader Grafenhaus. In: Allgemeine Deutsche Biographie. Band 19, Duncker & Humblot, Leipzig, 1884== External links ==Passage 6:Henry II,Margrave of MeissenHenry II (1103–1123) was the Margrave of Meissen and the Saxon Ostmark (as Lusizensis marchio: margrave of Lusatia) from his birth until his death. He was the posthumous son of MargraveHenry I and Gertrude of Brunswick, daughter of Egbert I of Meissen. He was by inheritance also Count of Eilenburg. He was the second Meissener margrave of the House of Wettin.He was initially under the regency offirst his mother and after her death in 1117 under his great uncle Thimo. He died young and without children in 1123. His lands were inherited by his half-sister Richenza of Northeim. He left a widow, Adelaide, daughterof Lothair Udo III, Margrave of the Nordmark. The succession to the marches was disputed after his death.Passage 7:Rudolf II, Margrave of the NordmarkRudolf II (died 14 March 1144), Margrave of the Nordmark, andCount of Stade, Dithmarschen and Freckleben, son of Rudolf I, Margrave of the Nordmark, and Richardis, daughter of Hermann von Sponheim, Burgrave of Magdeburg.Rudolf, the traditional heir to the margraviateassumed the title upon the death of his predecessor Conrad von Plötzkau.A chronicle of the 15th century reported that Rudolf resided in Burg, Dithmarschen (Bökelnburg). He ruled with a heavy hand and demanded hisgrain tithe even after several years of drought. The Dithmarscher farmers used a ruse to get rid of their unpopular regent. Hidden in sacks of corn were weapons.  As agreed, they opened the bags at the sound of thebattle cry \"Röhret de Hann, snidet de sac spell!\" (Shall ye touch hands, cuts the bag volumes). They set the castle on fire, killed the count and so won their freedom. This event is still recounted today in performances atthe castle. His widow, Elizabeth, later married Henry V, Duke of Carinthia.Rudolf was married to Elisabeth, daughter of Leopold I the Strong, Margrave of Styria. No children are recorded of this union. With the death ofRudolf, the male line of the Margraves of the Nordmark died out.After the death of Rudolf, his brother Hartwig transferred his inheritance to the Archbishopric of Bremen in return for a regrant of a life interest,presumably to obtain a powerful protector against the aggression of Henry the Lion.  The move was ineffective, as Henry took possession of the lands and captured both Hartwig and the archbishop Adelbero, releasingthem only after they agreed to recognize his claim.Rudolf’s successor as Margrave of the Nordmark was Albert the Bear.  Upon Rudolf's death, his brother Hartwig succeeded him as Count of Stade.Passage 8:Henry Ithe Long, Margrave of the NordmarkHenry I the Long (c. 1065 – 27 June 1087), Margrave of the Nordmark, also Count of Stade (as Henry III), son of Lothair Udo II, Margrave of the Nordmark, and Oda of Werl,daughter of Herman III, Count of Werl, and Richenza of Swabia.Henry married Eupraxia of Kiev, daughter of Vsevolod I, Grand Prince of Kiev, and his second wife Anna.  There were no children as a result of thismarriage, and Eupraxia, widowed, married next Henry IV, then King of Saxony, who became Holy Roman Emperor.Raffensperger suggests that Henry's motivation in marrying Eupraxia was to bring Saxony closer toKiev.  In fact, the marriage may have been arranged by Oda of Stade, daughter of Lothair Udo I, Margrave of the Nordmark, who had married Sviatoslav II, Grand Prince of Kiev. Oda is identified as a relative of Henry’sfather Lothair Udo II as well as a niece of Henry III, Holy Roman Emperor, and Pope Leo IX.Upon his death, Henry was succeeded as margrave and count by his brother Lothair Udo III.NotesSourcesVernadsky, George,Kievan Russia, Yale University Press, New Haven, Connecticut, 1948, ISBN 9780300010077Raffensperger, Christian, Reimagining Europe: Kievan Rus' in the Medieval World, Harvard University Press, Cambridge,Massachusetts, 2012H. Rüß, ‘Eupraxia-Adelheid. Eine biographische Annäherung,‘ Jahrbücher für Geschichte Osteuropas 54 (2006), 481–518.== External links ==Passage 9:Theodoric I, Margrave of MeissenTheodoric I(11 March 1162 – 18 February 1221), called the Oppressed (Dietrich der Bedrängte), was the Margrave of Meissen from 1198 until his death. He was the second son of Otto II, Margrave of Meissen and Hedwig ofBrandenburg.BiographyTheodoric, called in German Dietrich, the younger son of Otto II, Margrave of Meissen, fell out with his brother, Albert the Proud, after his mother persuaded his father to change the succession sothat Theodoric was given the Margraviate of Meissen and Albrecht (although the older son) the margraviate of Weissenfels. Albert took his father prisoner to try to make him return the succession to the way it had been.After Otto obtained his release by an order of the emperor Frederick I, he had only just renewed the war when he died in 1190. Albert then took back the Meissen margraviate from his brother. Theodoric attempted toregain the margraviate, supported by Landgraf Hermann I of Thuringia, his father-in-law. In 1195, however, Theodoric left on a pilgrimage to Palestine.Albrecht's DeathAfter Albrecht's death in 1195, leaving nochildren, Meissen, with its rich mines, was seized by the emperor Henry VI as a vacant fief of the empire. Dietrich finally came into possession of his inheritance two years later on Henry's death.At the time of thestruggle between the two rival kings Philip of Swabia and Otto IV, Holy Roman Emperor, Phillip gave Dietrich the tenure of the march of Meißen again. After that time, Dietrich was on Phillip's side and remained true tothe Staufer even after Phillip was murdered in 1208.Dietrich became caught up in dangerous disagreements with the city of Leipzig and the Meißen nobility. After a fruitless siege of Leipzig, in 1217 he agreed to asettlement but then took over the city by trickery, had the city walls taken down and built three castles of his own within the city, full of his own men.DeathMargrave Dietrich died on 18 February 1221, possibly poisonedby his doctor, instigated into doing so by the people of Leipzig and the dissatisfied nobility. He left behind a widow, Jutta of Thuringia, daughter of Hermann I, Landgrave of Thuringia. Some of his children had alreadydied.Marriages and issueChildren from his marriage to Jutta of Thuringia, daughter of Hermann I, Landgrave of Thuringia:Hedwig (d. 1249) married Count Dietrich V of Cleves (1185–1260)Otto (d. before 1215)Sophia(d. 1280) married Count Henry of Henneberg-Schleusingen (d. 1262)Jutta married Mestwin II, Duke of PomeraniaHenry the Illustrious (1218–1288) Margrave of MeissenChildren from extramaritalliaisons:KonradDietrich II (not the same as Dietrich von Kittlitz)HeinrichPassage 10:William, Margrave of the NordmarkWilliam (died 10 September 1056) was the Margrave of the Nordmark from 1051 until his death.He was the eldest son and successor of the Margrave Bernard by a daughter of Vladimir the Great. He died fighting the Slavs in the Battle of Pritzlawa. Upon his death, he was succeeded by his half-brother Otto asMargrave of the Nordmark.SourcesBury, J. B. (editor), The Cambridge Medieval History: Volume III, Germany and the Western Empire, Cambridge University Press, 1922, page 306"}
+{"doc_id":"doc_230","qid":"","text":"Passage 1:Carmen on IceCarmen on Ice is a 1990 dance film with a choreography for figure skaters made in Germany. The music is based on the opera Carmen by Georges Bizet in an orchestral version arrangedespecially for this film. In contrast to figure skating movies of former times, Carmen on Ice is a film without spoken dialogue, which is an innovation in the history of figure skating.PlotThe story of Carmen on Ice is verysimilar to the opera Carmen. Analogous to the four-act opera libretto the screenplay has four parts:A Square in Sevilla in front of a cigarette factory: Micaela, a village maiden, brings a letter to the Corporal of DragoonsDon José, which was written by his mother. The cigarette girls emerge from the factory, among them the attractive Carmen, who starts to flirt with the men standing on the square. The only man who does not showinterest in Carmen is Don José, who is reading his mother's letter. Finally, however, Carmen manages to attract also his attention by dancing for him and giving him a rose. The other young women are jealous, and oneof them attacks Carmen. Carmen slashes her face with a knife. Others involve and start a street fighting, which is stopped by Zuniga, the Lieutenant of Dragoons. Everybody accuses Carmen of having started the fight.Zuniga asks Carmen if she has anything to say and also starts to flirt with her. Carmen, however, is not interested in him. Zuniga instructs José to guard Carmen. José ties up her hands with a rope. To escape, Carmenseduces José in a dance with this rope. The corporal unties her hands, and Carmen can run away. The angry Zuniga instructs his dragoons to guard José.Evening at Lillas Pastia's inn: Carmen is waiting impatiently forDon José, who has been released from prison. To drive away her boredom, she starts to dance. The toreador Escamillo enters the inn and is welcomed by the other guests. He shows a virtuoso solo dance and attractsCarmen's attention. While Escamillo leaves the inn with his friends, Don José comes in and is welcomed by Carmen, who shows a solo, which leads in a pair dance with her new lover. Suddenly the sound of bugles isheard calling the soldiers back to barracks. When José wants to leave, Carmen gets angry.  José affirms his love to her in a solo with the rose she has given to him at their first meeting. Zuniga suddenly interrupts thetwo lovers and flirts with Carmen, which makes José so jealous, that he attacks the lieutenant, and leaves the service and joins Carmen and her friends.A wild and deserted rocky place at night: Carmen has grown tiredof José, her new favorite is the toreador Escamillo. She sits at a campfire and tries to tell fortunes by the shapes made by molten lead dropped into cold water. The shape which she holds in her hand is a skull. Carmenis scared and dances nervously around the campfire. Escamillo comes to the place and makes José jealous by showing him Carmen's fan. The two rivals start fighting. Escamillo emerges victorious and retires withCarmen.A square in front of the arena in Seville: The square is full of people who cheer to procession as the bullfighting team with Escamillo arrives. Carmen welcomes the toreador and dreams of a wedding dance withhim. After the bullfighting team has entered the arena, Carmen is grabbed by Don José and pulled into an outbuilding. José begs her to return his love, but is rejected by Carmen. Don José loses control of himself andstabs Carmen to death.BackgroundCarmen on Ice was filmed in Spain and Germany, citizens of Sevilla and Berlin played bit parts. In 1988 Katarina Witt, who played the title role, had won her second olympic goldmedal at the winter games in Calgary with a free skating to Carmen. Brian Boitano, who played the part of Don José, became Olympic champion in the same year followed by Brian Orser, the Olympic silver medallist of1988 and actor playing Escamillo. So, it was obvious to cast the film with these stars. Carmen on Ice was first presented in public on February 8, 1990. and won the Emmy-Award for Outstanding Performance in aClassical Music or Dance Program in 1990. The award was shared by the film's three stars, Boitano, Orser and Witt. The choreography by Sandra Bezic and Michael Seibert (figure skater) was influenced by elements ofclassical ballet and flamenco as well. During the rehearsals the skaters were also coached by flamenco dancer Cristina Hoyos.BibliographyArt music in figure skating, synchronized swimming and rhythmicgymnastics/Kunstmusik in Eiskunstlauf, Synchronschwimmen und rhythmischer Gymnastik. PhD thesis by Johanna Beisteiner, Vienna 2005, (German). The PhD thesis contains an extensive description and analysis ofCarmen on Ice (Chapter II/2, pages 105-162). Article about the PhD thesis of Johanna Beisteiner in the catalogue of the Austrian Library Network. 2005. (German and English)Passage 2:Mehdi AbrishamchiMehdiAbrishamchi (Persian: \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000 born in 1947 in Tehran) is a high-ranking member of the People's Mujahedin of Iran (MEK).Early lifeAbrishamchi came from a well-known anti-Shah bazaari family inTehran, and participated in June 5, 1963, demonstrations in Iran. He became a member of Hojjatieh, and left it to join the People's Mujahedin of Iran (MEK) in 1969. In 1972 he was imprisoned for being a MEK member,and spent time in jail until 1979.CareerShortly after Iranian Revolution, he became one of the senior members of the MEK. He is now an official in the National Council of Resistance of Iran.Electoral historyPersonallifeAbrishamchi was married to Maryam Rajavi from 1980 to 1985. Shortly after, he married Mousa Khiabani's younger sister Azar.LegacyAbrishamchi credited Massoud Rajavi for saving the People's MojahedinOrganization of Iran after the \"great schism\".Passage 3:Georges BizetGeorges Bizet (né Alexandre César Léopold Bizet; 25 October 1838 – 3 June 1875) was a French composer of the Romantic era. Best known for hisoperas in a career cut short by his early death, Bizet achieved few successes before his final work, Carmen, which has become one of the most popular and frequently performed works in the entire operarepertoire.During a brilliant student career at the Conservatoire de Paris, Bizet won many prizes, including the prestigious Prix de Rome in 1857. He was recognised as an outstanding pianist, though he chose not tocapitalise on this skill and rarely performed in public. Returning to Paris after almost three years in Italy, he found that the main Parisian opera theatres preferred the established classical repertoire to the works ofnewcomers. His keyboard and orchestral compositions were likewise largely ignored; as a result, his career stalled, and he earned his living mainly by arranging and transcribing the music of others. Restless for success,he began many theatrical projects during the 1860s, most of which were abandoned. Neither of his two operas that reached the stage in this time—Les pêcheurs de perles and La jolie fille de Perth—were immediatelysuccessful.After the Franco-Prussian War of 1870–1871, during which Bizet served in the National Guard, he had little success with his one-act opera Djamileh, though an orchestral suite derived from his incidentalmusic to Alphonse Daudet's play L'Arlésienne was instantly popular. The production of his final opera, Carmen, was delayed because of fears that its themes of betrayal and murder would offend audiences. After itspremiere on 3 March 1875, Bizet was convinced that the work was a failure; he died of a heart attack three months later, unaware that it would prove a spectacular and enduring success.Bizet's marriage to GenevièveHalévy was intermittently happy and produced one son. After his death, his work, apart from Carmen, was generally neglected. Manuscripts were given away or lost, and published versions of his works were frequentlyrevised and adapted by other hands. He founded no school and had no obvious disciples or successors. After years of neglect, his works began to be performed more frequently in the 20th century. Later commentatorshave acclaimed him as a composer of brilliance and originality whose premature death was a significant loss to French musical theatre.LifeEarly yearsFamily background and childhoodGeorges Bizet was born in Paris on25 October 1838. He was registered as Alexandre César Léopold, but baptised as \"Georges\" on 16 March 1840, and was known by this name for the rest of his life. His father, Adolphe Bizet, had been a hairdresser andwigmaker before becoming a singing teacher despite his lack of formal training. He also composed a few works, including at least one published song. In 1837, Adolphe married Aimée Delsarte, against the wishes of herfamily who considered him a poor prospect; the Delsartes, though impoverished, were a cultured and highly musical family. Aimée was an accomplished pianist, while her brother François Delsarte was a distinguishedsinger and teacher who performed at the courts of both Louis Philippe and Napoleon III. François Delsarte's wife Rosine, a musical prodigy, had been an assistant professor of solfège at the Conservatoire de Paris at theage of 13. At least one author has suggested that his mother was from a Jewish family but this is not substantiated in any of his official biographies.Georges, an only child, showed early aptitude for music and quicklypicked up the basics of musical notation from his mother, who probably gave him his first piano lessons. By listening at the door of the room where Adolphe conducted his classes, Georges learned to sing difficult songsaccurately from memory and developed an ability to identify and analyse complex chordal structures. This precocity convinced his ambitious parents that he was ready to begin studying at the Conservatoire eventhough he was still only nine years old (the minimum entry age was 10). Georges was interviewed by Joseph Meifred, the horn virtuoso who was a member of the Conservatoire's Committee of Studies. Meifred was sostruck by the boy's demonstration of his skills that he waived the age rule and offered to take him as soon as a place became available.ConservatoireBizet was admitted to the Conservatoire on 9 October 1848, twoweeks before his 10th birthday. He made an early impression; within six months he had won first prize in solfège, a feat that impressed Pierre-Joseph-Guillaume Zimmerman, the Conservatoire's former professor ofpiano. Zimmerman gave Bizet private lessons in counterpoint and fugue, which continued until the old man's death in 1853. Through these classes, Bizet met Zimmerman's son-in-law, the composer Charles Gounod,who became a lasting influence on the young pupil's musical style—although their relationship was often strained in later years. He also met another of Gounod's young students, the 13-year-old Camille Saint-Saëns,who remained a firm friend of Bizet's. Under the tuition of Antoine François Marmontel, the Conservatoire's professor of piano, Bizet's pianism developed rapidly; he won the Conservatoire's second prize for piano in1851, and first prize the following year. Bizet would later write to Marmontel: \"In your class one learns something besides the piano; one becomes a musician\".Bizet's first preserved compositions, two wordless songsfor soprano, date from around 1850. In 1853, he joined Fromental Halévy's composition class and began to produce works of increasing sophistication and quality. Two of his songs, \"Petite Marguerite\" and \"La Rose etl'abeille\", were published in 1854. In 1855, he wrote an ambitious overture for a large orchestra, and prepared four-hand piano versions of two of Gounod's works: the opera La nonne sanglante and the Symphony in D.Bizet's work on the Gounod symphony inspired him, shortly after his seventeenth birthday, to write his own symphony, which bore a close resemblance to Gounod's—note for note in some passages. Bizet neverpublished the symphony, which came to light again only in 1933, and was finally performed in 1935.In 1856, Bizet competed for the prestigious Prix de Rome. His entry was not successful, but nor were any of theothers; the musician's prize was not awarded that year. After this rebuff, Bizet entered an opera competition which Jacques Offenbach had organised for young composers, with a prize of 1,200 francs. The challengewas to set the one-act libretto of Le docteur Miracle by Léon Battu and Ludovic Halévy. The prize was awarded jointly to Bizet and Charles Lecocq, a compromise which years later Lecocq criticised on the grounds of thejury's manipulation by Fromental Halévy in favour of Bizet. As a result of his success, Bizet became a regular guest at Offenbach's Friday evening parties, where among other musicians he met the aged GioachinoRossini, who presented the young man with a signed photograph. Bizet was a great admirer of Rossini's music, and wrote not long after their first meeting that \"Rossini is the greatest of them all, because like Mozart, hehas all the virtues\".For his 1857 Prix de Rome entry, Bizet, with Gounod's enthusiastic approval, chose to set the cantata Clovis et Clotilde by Amédée Burion. Bizet was awarded the prize after a ballot of the members ofthe Académie des Beaux-Arts overturned the judges' initial decision, which was in favour of the oboist Charles Colin. Under the terms of the award, Bizet received a financial grant for five years, the first two to be spentin Rome, the third in Germany and the final two in Paris. The only other requirement was the submission each year of an \"envoi\", a piece of original work to the satisfaction of the Académie. Before his departure forRome in December 1857, Bizet's prize cantata was performed at the Académie to an enthusiastic reception.Rome, 1858–1860On 27 January 1858, Bizet arrived at the Villa Medici, a 16th-century palace that since 1803had housed the French Académie in Rome and which he described in a letter home as \"paradise\". Under its director, the painter Jean-Victor Schnetz, the villa provided an ideal environment in which Bizet and hisfellow-laureates could pursue their artistic endeavours. Bizet relished the convivial atmosphere, and quickly involved himself in the distractions of its social life; in his first six months in Rome, his only composition was aTe Deum written for the Rodrigues Prize, a competition for a new religious work open to Prix de Rome winners. This piece failed to impress the judges, who awarded the prize to Adrien Barthe, the only other entrant.Bizet was discouraged to the extent that he vowed to write no more religious music. His Te Deum remained forgotten and unpublished until 1971.Through the winter of 1858–59, Bizet worked on his first envoi, an operabuffa setting of Carlo Cambiaggio's libretto Don Procopio. Under the terms of his prize, Bizet's first envoi was supposed to be a mass, but after his Te Deum experience, he was averse to writing religious music. He wasapprehensive about how this breach of the rules would be received at the Académie, but their response to Don Procopio was initially positive, with praise for the composer's \"easy and brilliant touch\" and \"youthful andbold style\".For his second envoi, not wishing to test the Académie's tolerance too far, Bizet proposed to submit a quasi-religious work in the form of a secular mass on a text by Horace. This work, entitled CarmenSaeculare, was intended as a song to Apollo and Diana. No trace exists, and it is unlikely that Bizet ever started it. A tendency to conceive ambitious projects, only to quickly abandon them, became a feature of Bizet'sRome years; in addition to Carmen Saeculare, he considered and discarded at least five opera projects, two attempts at a symphony, and a symphonic ode on the theme of Ulysses and Circe. After Don Procopio, Bizetcompleted only one further work in Rome, the symphonic poem Vasco da Gama. This replaced Carmen Saeculare as his second envoi, and was well received by the Académie, though swiftly forgotten thereafter.In thesummer of 1859, Bizet and several companions travelled in the mountains and forests around Anagni and Frosinone. They also visited a convict settlement at Anzio; Bizet sent an enthusiastic letter to Marmontel,recounting his experiences. In August, he made an extended journey south to Naples and Pompeii, where he was unimpressed with the former but delighted with the latter: \"Here you live with the ancients; you seetheir temples, their theatres, their houses in which you find their furniture, their kitchen utensils...\" Bizet began sketching a symphony based on his Italian experiences, but made little immediate headway; the project,which became his Roma symphony, was not finished until 1868. On his return to Rome, Bizet successfully requested permission to extend his stay in Italy into a third year, rather than going to Germany, so that hecould complete \"an important work\" (which has not been identified). In September 1860, while visiting Venice with his friend and fellow-laureate Ernest Guiraud, Bizet received news that his mother was gravely ill inParis, and made his way home.Emergent composerParis, 1860–1863Back in Paris with two years of his grant remaining, Bizet was temporarily secure financially and could ignore for the moment the difficulties thatother young composers faced in the city. The two state-subsidised opera houses, the Opéra and the Opéra-Comique, each presented traditional repertoires that tended to stifle and frustrate new homegrown talent; onlyeight of the 54 Prix de Rome laureates between 1830 and 1860 had had works staged at the Opéra. Although French composers were better represented at the Opéra-Comique, the style and character of productionshad remained largely unchanged since the 1830s. A number of smaller theatres catered for operetta, a field in which Offenbach was then paramount, while the Théâtre Italien specialised in second-rate Italian opera.The best prospect for aspirant opera composers was the Théâtre Lyrique company which, despite repeated financial crises, operated intermittently in various premises under its resourceful manager Léon Carvalho. Thiscompany had staged the first performances of Gounod's Faust and his Roméo et Juliette, and of a shortened version of Berlioz's Les Troyens.On 13 March 1861, Bizet attended the Paris premiere of Wagner's operaTannhäuser, a performance greeted by audience riots that were stage-managed by the influential Jockey-Club de Paris. Despite this distraction, Bizet revised his opinions of Wagner's music, which he had previouslydismissed as merely eccentric. He now declared Wagner \"above and beyond all living composers\". Thereafter, accusations of \"Wagnerism\" were often laid against Bizet, throughout his compositional career.As a pianist,Bizet had showed considerable skill from his earliest years. A contemporary asserted that he could have assured a future on the concert platform, but chose to conceal his talent \"as though it were a vice\". In May 1861Bizet gave a rare demonstration of his virtuoso skills when, at a dinner party at which Liszt was present, he astonished everyone by playing on sight, flawlessly, one of the maestro's most difficult pieces. Lisztcommented: \"I thought there were only two men able to surmount the difficulties ... there are three, and ... the youngest is perhaps the boldest and most brilliant.\"Bizet's third envoi was delayed for nearly a year bythe prolonged illness and death, in September 1861, of his mother. He eventually submitted a trio of orchestral works: an overture entitled La Chasse d'Ossian, a scherzo and a funeral march. The overture has beenlost; the scherzo was later absorbed into the Roma symphony, and the funeral march music was adapted and used in a later opera. Bizet's fourth and final envoi, which occupied him for much of 1862, was a one-actopera, La guzla de l'émir. As a state-subsidised theatre, the Opéra-Comique was obliged from time to time to stage the works of Prix de Rome laureates, and La guzla duly went into rehearsal in 1863. However, in AprilBizet received an offer, which originated from Count Walewski, to compose the music for a three-act opera. This was Les pêcheurs de perles, based on a libretto by Michel Carré and Eugène Cormon. Because a conditionof this offer was that the opera should be the composer's first publicly staged work, Bizet hurriedly withdrew La guzla from production and incorporated parts of its music into the new opera. The first performance of Lespêcheurs de perles, by the Théâtre Lyrique company, was on 30 September 1863. Critical opinion was generally hostile, though Berlioz praised the work, writing that it \"does M. Bizet the greatest honour\". Publicreaction was lukewarm, and the opera's run ended after 18 performances. It was not performed again until 1886.In 1862, Bizet had fathered a child with the family's housekeeper, Marie Reiter. The boy was brought upto believe that he was Adolphe Bizet's child; only on her deathbed in 1913 did Reiter reveal her son's true paternity.Years of struggleWhen his Prix de Rome grant expired, Bizet found he could not make a living from"}
+{"doc_id":"doc_231","qid":"","text":"Passage 1:Vera MiletićVera Miletić (Serbian Cyrillic: Вера Милетић; 8 March 1920 – 7 September 1944) was a Serbian student and soldier. She was notable for being the mother of Mira Marković, posthumously making her the mother-in-law of Serbian president Slobodan Milošević.Personal lifeHer cousin was Davorjanka Paunović who was the personal secretary of Communist Party of Yugoslavia leader Josip Broz Tito.Passage 2:Doria RaglandDoria Loyce Ragland (born September 2, 1956) is an American social worker, and former makeup artist and yoga instructor. She is the mother of Meghan, Duchess of Sussex.Early lifeDoria Ragland was born in Cleveland, Ohio, to nurse Jeanette Arnold (1929–2000) and her second husband Alvin Azell Ragland (1929–2011), an antiques dealer who sold items at flea markets. Ragland's maternal grandparents, James and Nettie Arnold, respectively worked as a bellhop and an elevator operator at the Hotel St. Regis on Euclid Avenue in Cleveland. Her parents moved to Los Angeles when Ragland was a baby and later divorced. In 1983, her father married kindergarten teacher Ava Burrow, who is near to Ragland's age; the two remained close after that marriage also ended in divorce. Ragland has two older maternal half-siblings, Joseph (known as \"JJ\"; 1949–2021) and Saundra Johnson (born 1952), and a younger paternal half-brother, Alvin Joffrey Ragland. According to inferred conclusions and information passed down (much of it verbally) from earlier generations, the Ragland family descend from Richard Ragland, born into slavery c.1792 in Chatham County, North Carolina; his son, Stephen Ragland (1848-1926) of Jonesboro in Georgia, lived long enough to experience the abolition of slavery in 1865. Ragland's surname came from slave-owner William Ragland, a Methodist planter and land speculator who had emigrated during the eighteenth century from Cornwall, England, to North America.Career and educationAfter leaving Fairfax High School, Ragland worked as a temp assistant makeup artist and met her future husband, Thomas Markle, while employed on the set of the television show General Hospital. Later on, their daughter Meghan stayed with Thomas Markle as Ragland pursued a career. She later worked as a travel agent and owned a small business before filing for bankruptcy in the mid-2000s. Ragland completed a Bachelor of Arts in psychology. In 2011, she earned a Master of Social Work from the University of Southern California. After passing California's licensing exam in 2015, she was a social worker for three years at the Didi Hirsch Mental Health Services clinic in Culver City. Ragland has also worked as a yoga instructor. In 2020, it was reported that she would teach a jewelry making course at Santa Monica College. In the same year, Ragland became CEO, CFO and secretary of a care home firm in Beverly Hills, called Loving Kindness Senior Care Management.Personal lifeRagland married lighting director Thomas Markle Sr. on December 23, 1979, at Hollywood's Paramahansa Yogananda Self-Realization Fellowship Temple in a ceremony performed by Brother Bhaktananda. Their daughter, Meghan, was born in 1981. The couple separated when their daughter was two years old. They divorced in 1987. Both parents contributed to raising Meghan until, at the age of 6, she began living with Thomas Markle full-time while Ragland pursued a career.Ragland resides in View Park–Windsor Hills, California, in a house inherited from her father in 2011. She has accompanied Meghan to public events and attended her 2018 wedding to Prince Harry in Berkshire. Ragland became a grandmother on May 6, 2019. She flew to the United Kingdom to see her grandson, Archie Mountbatten-Windsor, and his parents. In July, she attended Mountbatten-Windsor's christening at the private chapel at Windsor Castle. Her granddaughter, Lilibet Mountbatten-Windsor, was born on June 4, 2021, in Santa Barbara, California.See also\"(Almost) Straight Outta Compton\", a 2016 tabloid article headline about Meghan Markle and her mother's backgroundNotesPassage 3:Maria ThinsMaria Thins (c. 1593 – 27 December 1680) was the mother-in-law of Johannes Vermeer and a member of the Gouda Thins family. She was raised in a devout Dutch Catholic family with two sisters and a brother. Outliving her parents and siblings, she received inheritances over the years, making her a wealthy woman. She married a prosperous brickmaker, Reynier Bolnes, in 1622. They had three children together, Catharina, Willem, and Cornelia. By 1635, Bolnes verbally and physically abused his wife and daughters. Thins moved to Delft with her daughters. Her son Willem stayed with his father. Thins was a wealthy woman due to the separation settlement of her husband in 1649 and the estates she inherited from her family. Her daughter Catharina married Johannes Vermeer, an artist, art dealer, and operator of the family's inn in Delft. Vermeer and Catharina lived at Thins house by 1660. The couple had fifteen children, four of whom died in infancy. Raising nearly a dozen children strained Vermeer financially. He relied on the support from his mother-in-law. During the Franco-Dutch War (1672–1674), Vermeer became impoverished. Thins reduced the money she provided to Catharina and her husband due to the loss of income during that period. Vermeer died in 1675, and Thins died five years later. Catharina was the only one of Thins' children to survive her. Thins drew up her will to maximize what she could provide for her grandchildren and their education, while limiting how much might be taken by Catharina's creditors. Catharina died in 1687.Early lifeMaria was born c. 1593 in Gouda to a prominent Dutch Catholic family, Catharina van Hensbeeck (d. 1633) and William Thin (d. 1601). They lived in the house named De Trapjes (The Little Steps) in Gouda. Maria had three siblings, none of whom were married. Her sister Elisabeth became a nun. She also had a sister Cornelia and a brother Jan. Since none of her siblings married, Thins ultimately inherited a large estate. The family conducted mass in their home, while at the time it was illegal for a group of Roman Catholics to assemble in Gouda. The local sheriffs broke up a religious meeting at their house in 1619.Garrit Camerling (d. 1627) of Delft became her stepfather in 1605 when he married Catharina van Hensbeeck. She was related to Abraham Bloemaert (1566–1651) through her cousin Jan Geensz Thins. Before her marriage, Thins lived in Delft with a prosperous young woman who was her friend.Marriage and childrenIn 1622, Maria Thins married Reynier Bolnes (ca. 1593–1676), a prominent and prosperous brickmaker. Thins was an heiress when she married, and she collected art, including several in the style of Utrecht Caravaggists.ChildrenThins had three children, the youngest of whom was Catharina Bolnes (c. 1631–1688), nicknamed Trijntge. She also had a son Willem, and a daughter Cornelia. Around 1635, Reynier became verbally and physically abusive with her and her children. At the age of nine, Catharina ran to neighbors because she thought that Reynier's abuse of Cornelia could kill her. Reynier confessed that he physically abused Cornelia and would do it again if Thins beat their son Willem. Reynier and Willem began eating separately from the female members of the family, and the father encouraged his son to be abusive and noncompliant with Thins.Divided familyThins moved to Delft in 1642 to get away from her abusive husband. Jan Geensz Thins, who was her guardian and cousin, purchased a home for her there the prior year. Jan became Thin's guardian following the early death of her father. Thins attained custody of her daughters in 1641 and moved with them to Delft. William stayed with his father, whose business began to fail. Thins lived on Oude Langendijk next to the Jesuit Catholic Church in the Catholic section of Delft called paepenhoek (the Papists' Corner).Thins received half of her husband's assets, a substantial amount, in 1649. By 1653, Reynier Bolnes was bankrupt. Thins derived income from annuities, interest income, and property rentals, including farmland. She also lived off of the capital of her investments. Thins and her sister Cornelia Thins (d. 1661) received a sizeable inheritance from their brother Jan Willemsz Thins following his death in 1651. Thins attained a comfortable standard of living of 15,000 or more guilders a year in the 1660s.Cornelia died in 1649. In 1664, Thin's son Willem, a jobless bachelor, was locked up in an institution after an argument with his mother, and for attacking Catharina, his pregnant sister, with a stick. In 1665, Maria Thins was entrusted with her son's property. She wrote a will, which limited Willem's share to the legal minimum of one sixth of her estate. She mentioned that he had been calling her names since his youth. Willem died in 1676.The VermeersThin's daughter, Catharina, came to know Johannes Vermeer and wished to marry him. Her mother disapproved of the marriage because he was not Catholic, and also likely because he was of a lower artisan class. By 1652, Vermeer helped his mother run the family's inn and was an art dealer, taking over his deceased father's business. Before they married, Thins stated that although she did not approve, she would not prevent Catharina and Vermeer from marrying. Vermeer likely converted from Reformed Protestant to Catholicism by the time of their union. Catharina and Vermeer married in Schipluy (present-day Schipluiden) on 20 April 1653. By December 1660, the Vermeers lived in the large house of his wealthy mother-in-law Maria Thins, described as a \"strong-willed\" woman. It was unusual at the time for married men and women to settle into the houses of their parents. Vermeer relied on Thin's residence and financial support to take care of his family.Vermeer painted in the artist's studio and sold art from the house. His works portray subjects with clothing and furnishings more luxurious than his own. Biographer Anthony Bailey claims that since Vermeer used models from his household, it is likely that he made a painting of his wife. He asserts that Catharina is depicted in A Lady Writing a Letter due to her \"fond expression\" and \" concentrated gaze of the unseen painter.\"Thins played an essential role in their life. She was a devotee of the Jesuit order in the nearby Catholic Church, and this seems to have influenced Johannes and Catharina.They had eleven children at the time of Vermeer's death, four of their children died young between 1660 and 1673. Most of their children were born at Thin's house. Their third son was called Ignatius, after the founder of the Jesuit Order. Catharina inherited the Ben Repas estate following her Aunt Cornelia's death in February 1661.Thins hired Vermeer to manage financial issues for her in 1667 and 1675. He collected monies owed her, and he handled her investments. The Rampjaar (disaster year) following the outbreak of the Franco-Dutch War (1672–1674) was particularly hard on Vermeer's ability to make money as an artist and an art dealer. He had to take a loss on sales of works of art and was unable to sell his own works. His mother-in-law was financially strained during this period due to the loss of rental income from farmland due to the war. In one instance, she rented out land near Schoonhoven that was flooded to prevent the French army from crossing the Dutch Water Line. The farmland was not arable for a time. Thins reduced the money that she spent to support the Vermeers. In 1675, Vermeer went on several business trips for his mother-in-law, first to Gouda, when her husband had died, and then to Amsterdam. There Vermeer borrowed money by fraudulently using her name.Vermeer died and was buried on 15 December 1675. Unable to pay their debts, Catharina blamed the financial fallout of the war for their losses and petitioned for bankruptcy in April 1676. Ten of their eleven children were still underage when Vermeer died. Catharina continued to live at her mother's house with their children. After Vermeer's death, Maria Thins received The Art of Painting for her financial support of Catharina's family. Catharina paid off other debts with paintings or used them as surety until she paid off debts.Later years and deathThins died and was buried on 27 December 1680. The burial record states that she was the widow of Reijnier Bolnes. Thins crafted her will to maximize her grandchildren's support and education, preventing her estate from going to Catharina's creditors. The grandchildren were assigned a guardian, Hendrick van Eem, to look out for their interests. Catharina, considered responsible, was encouraged by her mother to ensure that her children were educated so that they could support themselves. Her daughter Catharina moved to Breda. Catharina Bolnes received \"Holy Oil\" on 23 December 1687, before being buried on 2 January 1688.See alsoWriting to Vermeer an opera depicting Maria Thins and Catharina BolnesPassage 4:Priscilla PointerPriscilla Marie Pointer (born May 18, 1924) is an American retired actress. She began her career in the theater in the late 1940s, including productions on Broadway. Later, Pointer moved to Hollywood and making appearances on television in the early 1950s. She didn't however become a regular screen actress until the 1970s.She is the mother of actress and singer Amy Irving, (whom she often appeared alongside as her mother or mother-in-law) therefore making her the former mother-in-law of filmmakers Steven Spielberg and Bruno Barreto and the mother-in-law of documentary filmmaker Kenneth Bowser, Jr.Personal lifePointer was born on May 18, 1924, in New York City. Her mother Augusta Leonora (née Davis) was an artist and an illustrator, and her father Kenneth Keith Pointer was an artist. One of her maternal great-grandfathers, Jacob Barrett Cohen, was from a Jewish family that had lived in the United States since the 1700s.Marriages and familyPointer was previously married to film and stage director Jules Irving, former artistic director of Lincoln Center, from 1947 until his death in 1979; they are the parents of Katie Irving, director David Irving, and actress Amy Irving. In 1980, she married actor/director/producer Robert Symonds, who had been Jules Irving's producing partner at Lincoln Center. She appeared several times in stage productions with Symonds, and they remained married until the latter's death in 2007. Her granddaughter is artist and photographer Austin IrvingCareerEarly careerPointer has been a performer since thee late 1940s starting her career in theatre and appearing on Broadway, and she featured in the TV series China Smith  (The New Adventures of China Smith) in 1954. After a long hiatus, she seemed to have caught the acting bug again, in the early 1970s and has been a regular performer ever since.Pointer' first major starring role was on the TV soap opera Where the Heart Is as Adrienne Harris Rainey from 1972 and 1973FilmsPointer has appeared in many films, including Carrie (1976), in which she played the onscreen mother of Amy Irving's character; The Onion Field (1979); Mommie Dearest (1981); Twilight Zone: The Movie (1983); A Nightmare on Elm Street 3: Dream Warriors (1987); David Lynch's Blue Velvet; and Coyote Moon (1999). In addition to Carrie, she has played the onscreen mother to Amy Irving in Honeysuckle Rose (1980) and Carried Away (1996). They were both in the films The Competition in 1980 and Micki & Maude in 1984.Pointer appeared in three films that her son David Irving directed: Rumpelstiltskin (a 1987 musical version, which starred her daughter), Good-bye, Cruel World, and C.H.U.D. II: Bud the C.H.U.D.TelevisionShe has made many guest appearances on television, including Adam-12, L.A. Law, The A-Team, Judging Amy, The Rockford Files, and Cold Case.From 1981 to 1983, Pointer had a recurring role on the soap opera Dallas as Rebecca Barnes Wentworth, the mother of Cliff Barnes (Ken Kercheval), Pamela Barnes Ewing (Victoria Principal), and Katherine Wentworth (Morgan Brittany).FilmographyFilmPartial Television CreditsPassage 5:Prince Radu of RomaniaPrince Radu of Romania (born Radu Duda on 7 June 1960, formerly known as Prince Radu of Hohenzollern-Veringen from 1999 to 2007) is the husband of Margareta of Romania, head of the House of Romania and a disputed pretender to the former Romanian throne. On 1 January 1999, he was given the name, not title, of \"Prince of Hohenzollern-Veringen\" by Friedrich Wilhelm, Prince of Hohenzollern, the Head of the Sigmaringen branch of the Hohenzollern family. He has also called himself \"Radu Hohenzollern-Veringen-Duda\". Since 2007, when he had his legal name changed from \"Radu Duda\" to \"Radu al României Duda\", Radu no longer uses the name of Hohenzollern.The Fundamental Rules of the Romanian Royal Family, proclaimed by former King Michael I on 30 December 2007, gave Radu the title of \"Prince of Romania\", with the style of \"Royal Highness\", which King Michael had given him earlier on 5 January 2005.In 1996 (24 July, civilly; 21 September, religiously), he married Princess Margareta, eldest daughter of King Michael I of Romania and Queen Anne.As spouse of Princess Margareta, Radu often accompanies his wife, sometimes solo, to support social projects and promote the Romanian economy. He is also the patron and a member of numerous Romanian charities and organisations.Early lifeRadu was born in Ia\u0000i, Socialist Republic of Romania, the elder of the two children of Professor Dr. René Corneliu Duda and his wife, Dr. Gabriela Eugenia Duda née Constandache. His only brother is Professor Gabriel Dan Duda.Education and workRadu graduated from the Costache Negruzzi High School in Ia\u0000i in 1979, and from the University of Drama and Film in Bucharest in 1984, and had over twenty years of artistic activity in Romania as well as in other European countries, the Americas, Asia, and Africa. He was the artistic director of the first art therapy project for abandoned children in Romanian orphanages. The project, started in 1993, was developed in eight cities over six years. In 1994, while working as an art therapist in orphanages, he met Princess Margareta, when she was touring the programmes of her Princess Margareta Foundation. On 24 July 1996, Margareta married Duda in a civil wedding at Versoix. On 21 September 1996 they were married in Lausanne, and on 1 January 1999 he was granted the title \"Radu, Prince of Hohenzollern-Veringen\".In 2002, he graduated from the National College of Defence of Romania, and the George C. Marshall College, Garmisch, Germany. In August 2004 he participated in the two-week Program for Senior Executives in National and International Security at the John F. Kennedy School of Government at Harvard University.In September 2002, he was appointed as Special Representative of the Romanian Government for Integration, Co-operation and Sustainable Development. He is also Patron of the British-Romanian Chamber of Commerce, Member of the Board of Directors of \"House of NATO\" Association in Bucharest, and Honorary Member of the Senate of \"Aurel Vlaicu\" University of Arad and of the University of Oradea, Romania.Prince Radu is the author of several books: Dincolo de mască (Bucharest: Unitext, 1997), L'Âme du masque (Brussels, 1998), Război, un exil, o via\u0000ă (Bucharest, 2000; translated into English as Anne of Romania: A War, an Exile, a Life, Bucharest: Romanian Cultural Foundation, 2002), Michael of Romania: A Tribute (San Francisco and Bucharest, 2001), Kildine (Bucharest, 2003; a translation into Romanian of the fairy-tales book of Queen Marie of the Romanians), Seven (Bucharest: Nemira, 2003), The Royal Family of Romania (Bucharest: Humanitas, 2004), Persona (Bucharest: Nemira, 2006), The Elisabeta Palace (Bucharest: Humanitas, 2006).Prince Radu's lectures address topics related to Romania's integration into the Euro-Atlantic structures, defense, and security, geopolitics and diplomacy, culture, economics, and education. He has equally spoken out about the issue of ethnic minorities, in particular about the Romani minority, an important issue for Romania and South Eastern Europe today, through conferences in Romania and around Europe, in countries such as the United Kingdom, France, Finland, etc. His activity report \"2005 Annual Report and 2002–2004 Retrospective\" is available in English and Romanian on his official website.Prince Radu currently serves on the Board of Advisors to the Global Panel Foundation, an NGO that works behind the scenes in crisis areas around the world.InitiativesEurope of RegionsRadu initiated a project to promote Romania's major interests and to strengthen Romania's bilateral relations. Its aims are to encourage and promote economic, cultural, and educational partnerships between Romanian regions and different European regions, as well as to raise awareness about Romania through meetings, conferences, and lectures. It will involve Prince Radu visiting up to four different regions a year, meeting "}
+{"doc_id":"doc_232","qid":"","text":"Passage 1:Scotty FoxScott Fox is a pornographic film director who is a member of the AVN Hall of Fame.Awards1992 AVN Award – Best Director, Video (The Cockateer)1995 AVN Hall of Fame inducteePassage 2:ElliotSilversteinElliot Silverstein (born August 3, 1927) is a retired American film and television director. He directed the Academy Award-winning western comedy Cat Ballou (1965), and other films including The Happening(1967), A Man Called Horse (1970), Nightmare Honeymoon (1974), and The Car (1977). His television work includes four episodes of The Twilight Zone (1961–1964).CareerElliot Silverstein was the director of sixfeature films in the mid-twentieth century. The most famous of these by far is Cat Ballou, a comedy-western starring Jane Fonda and Lee Marvin.The other Silverstein films, in chronological order, are The Happening, AMan Called Horse,  Nightmare Honeymoon, The Car, and Flashfire.Other work included directing for the television shows The Twilight Zone, The Nurses, Picket Fences, and Tales from the Crypt.While Silverstein was nota prolific director, his films were often decorated. Cat Ballou, for instance, earned one Oscar and was nominated for four more. His high quality work was rewarded in 1990 with a Lifetime Achievement Award by theDirectors Guild of America.AwardsIn 1965, at the 15th Berlin International Film Festival, he won the Youth Film Award – Honorable Mention, in the category of Best Feature Film Suitable for Young People for CatBallou.He was also nominated for the Golden Berlin Bear.In 1966, he was nominated for the DGA Award in the category for Outstanding Directorial Achievement in Motion Pictures (Cat Ballou).In 1971, he won theBronze Wrangler award at the Western Heritage Awards in the category of Theatrical Motion Picture for A Man Called Horse, along with producer Sandy Howard, writer Jack DeWitt, and actors Judith Anderson, JeanGascon, Corinna Tsopei and Richard Harris.In 1985, he won the Robert B. Aldrich Achievement Award from the Directors Guild of America.In 1990, he was awarded the DGA Honorary Life Member Award.PersonallifeSilverstein has been married three times, each ending in divorce. His first marriage was to Evelyn Ward in 1962; the couple divorced in 1968. His second marriage was to Alana King. During his first marriage, he wasthe step-father of David Cassidy.He currently lives in North Hollywood, Los Angeles. Actively retired, Silverstein has taught film at USC and continues to work on screen plays and other projects.FilmographyTales fromthe Crypt (TV Series) (1991–94)Picket Fences (TV Series) (1993)Rich Men, Single Women (TV Movie) (1990)Fight for Life (TV Movie) (1987)Night of Courage (TV Movie) (1987)Betrayed by Innocence (TV Movie)(1986)The Firm (TV Series) (1982–1983)The Car (1977)Nightmare Honeymoon (1974)A Man Called Horse (1970)The Happening (1967)Cat Ballou (1965)Kraft Suspense Theatre (TV Series) (1963–64)The Defenders(TV Series) (1962–64)Arrest and Trial (TV Series) (1964)The Doctors and the Nurses (TV Series) (1962–64)Twilight Zone (TV Series) (1961–64)Breaking Point (TV Series) (1963)Dr. Kildare (TV Series) (1961–63)TheDick Powell Theatre (TV Series) (1962)Belle Sommers (TV Movie) (1962)Naked City (TV Series) (1961–62)Have Gun - Will Travel (TV Series) (1961)Route 66 (TV Series) (1960–61)Checkmate (TV Series) (1961)TheWesterner (TV Series) (1960)Assignment: Underwater (TV Series) (1960)Black Saddle (TV Series) (1960)Suspicion (TV Series) (1958)Omnibus (TV Series) (1954–56)Passage 3:Robert G. VignolaRobert G. Vignola(born Rocco Giuseppe Vignola, August 7, 1882 – October 25, 1953) was an Italian-American actor, screenwriter, and film director. A former stage actor, he appeared in many motion pictures produced by KalemCompany and later moved to directing, becoming one of the silent screen's most prolific directors. He directed a handful of films in the early years of talkies but his career essentially ended in the silent era.EarlylifeVignola was born in August 7, 1882 in Trivigno, a village in the province of Potenza, Basilicata, to Donato Gaetano Vignola, a stone mason, and Anna Rosa Rago.  It is unsure why he used August 5th as his birthday inAmerica. He had two brothers and three sisters, his oldest sister having died at the age of 19 months in Italy. Travelling with his mother and siblings, he left Italy in May 1886, at the age of three. He was raised inAlbany, New York. Because of his Christian name of Rocco he was nicknamed \"Rocky\" on the family’s first census in New York. His name Rocco was later changed to Robert. Trained as a barber in his youth, Vignola byage 14 became interested in the circus, practicing contortion and slackwire. Three years later, in 1899, he found his true vocation—acting—and the following year in Albany he established a small performance companythat he named \"The Empire Dramatic Club\".Acting careerIn 1901 he started acting on stage professionally and joined the \"American Stock Company\" in New York. He made his stage debut in \"Romeo and Juliet\",performing with Eleanor Robson Belmont and Kyrle Bellew. In the following years he played leads and became a character actor. Vignola's motion picture career began in 1906 with the short film The Black Hand,directed by Wallace McCutcheon and produced by Biograph Company, generally considered the film that launched the mafia genre.In 1907 he joined Kalem Studios, starring in numerous movies directed by hislong-time friend Sidney Olcott often dealing with Irish culture such as The Lad from Old Ireland (1910), The Colleen Bawn (1911), and Arrah-na-Pogue (1911). Olcott would later promote him to assistant director. TheKalem Company traveled across Europe and Middle East, where Vignola did one of his most notable roles as Judas Iscariot in From the Manger to the Cross (1912), among the most acclaimed films of the silent years.According to Moving Picture World, he was the first actor who was placed upon a permanent salary by Kalem.Directing careerVignola directed 110 pictures from 1911 to 1937. His debut as a film director was RoryO'More (1911), co-directed with Olcott. The Vampire (1913), starring Alice Hollister, was well-received by critics and is sometimes cited as the earliest surviving \"vamp\" movie (another title with the same nameproduced by William Nicholas Selig in 1910 is considered lost). He returned to the theme with The Vampire's Trail (1914), featuring Alice Joyce, Tom Moore and Hollister in a secondary role. He had a long associationdirecting the early movies of Pauline Frederick such as Audrey (1916), Double Crossed (1917), and The Love That Lives (1917).Vignola is best known for directing Marion Davies in several romantic comedies includingEnchantment (1921), Beauty's Worth (1922), and the big-budget epic When Knighthood Was in Flower (1922), which achieved critical and commercial acclaim and established Davies as a movie star. In 1920, he wasoffered the role of director-general for the Kinkikan Cinematograph Company in Japan and was honored as \"outstanding director of the year\" by Frederick James Smith of the Motion Picture Classic in 1921. The WomanGod Changed (1921) and Adam and Eva (1923) were praised for the \"innovative\" use of shadows and lighting effects.With the arrival of the sound era, he directed Broken Dreams (1933), in competition for the BestForeign Film at the 2nd Venice International Film Festival, and The Scarlet Letter (1934), the last film of Colleen Moore. His sound films were not successful and Vignola retired. His final film work was The Girl fromScotland Yard (1937).  Later that year he directed The Pilgrimage Play (live play in Los Angeles, not the related movie.).  Vignola was associated with the play at least to 1944.DeathVignola died in Hollywood, Californiain 1953. He was buried in St. Agnes Cemetery, Menands, New York.Personal lifeHe lived in a mansion at Whitley Heights owned by William Randolph Hearst. According to legend, Hearst's mistress Marion Davies wasallowed to stay without him at Vignola's mansion, worried that she was having affairs and considering Vignola a trusted companion for her as he was homosexual. Sidney Olcott, alone after the passing of his wifeValentine Grant, spent his later life at Vignola's home, where he died in 1949.Vignola was described by Delight Evans as \"the sanest and least temperamental of all celluloid creators. He has infinite patience. He has onequality which makes actors want to work for him: consideration.\" He once said: \"Before a director can learn to control thousands of people and big stars and big scenes, he must first learn to control himself.\" Heidentified himself as a Republican, although he was not much interested in politics. Vignola visited his birthplace Trivigno with his family, provided money to build the town's war monument and maintainedcorrespondence with some of his relatives.Partial filmographyActorDirectorPassage 4:She Wants MeShe Wants Me is a 2012 comedy film written and directed by Rob Margolies and starring Josh Gad and KristenRuhlin.PlotSam is a writer working on a feature film. His girlfriend Sammy has been promised the lead role, but the producers want a famous actress. After some problems and the return of Sammy’s ex-boyfriend John,the relationship get complicated and they break up. Sam needs to deal with John, who becomes his friend and roommate, his lack of inspiration to write the film, his new single life and a new girlfriend who has had sexwith many men, though all he really wants is Sammy back.CastCastingMargolies originally penned the role of Sam Baum for Jonah Hill, and intended Elliot Page to play Sammy Kingston. Kate Bosworth was originallyattached to play the role of Kim Powers, but due to scheduling conflicts with another film, was unable to participate. Hilary Duff replaced her in October 2010.The cameo role of Charlie Sheen was penned originally forJeff Goldblum, but when the producers of the film mentioned an option to have Sheen participate, Margolies jumped at the chance to work with him. Sheen eventually became one of the executive producers of thefilm.Passage 5:Dan MilneDan Milne is a British actor/director who is possibly best known for his role in EastEnders.CareerHe started his career in 1996 and made an appearance in Murder Most Horrid and as a pub poetin In a Land of Plenty. He then appeared in EastEnders as David Collins, Jane Beale's dying husband.As a member of the Young Vic, he collaborated with Tim Supple to originate  Grimm Tales, which touredinternationally, culminating in a Broadway run at the New Victory Theater. Since that time he has collaborated on more than seven major new works, including Two Men Talking, which has run for the past six years invarious cities across the world. In 2013, he replaced Ken Barrie as the voice of the Reverend Timms in the children's show, Postman Pat.Passage 6:Rob MargoliesRob Margolies (born February 28, 1983) is an Americanfilm producer and director.Margolies grew up in Rumson, New Jersey and graduated from Rumson-Fair Haven Regional High School in the class of 2001  before going on to study filmmaking at the New York FilmAcademy.In 2005, he produced We All Fall Down, a short subject about the Great Plague of 1666. In 2008 he directed Wherever You Are. He directed the 2010 movie Life-ers which stars Kevin Ryan, from the  BarryLevinson BBC TV show Copper. He directed the film She Wants Me (2012) starring Josh Gad, Hilary Duff and Kristen Ruhlin with a cameo by Charlie Sheen, who was also an executive producer. He also directed theindependent thriller Roommate Wanted (2015), a.k.a. 2BR/1BA, starring Spy Kids star Alexa Vega, Kathryn Morris and CW Greek star Spencer Grammer.Margolies later directed Weight (2018), which earned him twoawards at the 2018 Northeast Film Festival, including \"Best Feature Film\".Passage 7:Women's WeaponsWomen's Weapons is a lost 1918 American silent comedy-drama film directed by Robert G. Vignola and starringEthel Clayton.CastEthel Clayton as Anne ElliotElliott Dexter as Nicholas ElliotVera Doria as Esmee HaleJames Neill as Peter GregoryJosephine Crowell as MargaretPat Moore as Nicholas, Jr.Joan Marsh as Nicholas, Jr.'ssister (credited as Dorothy Rosher)Passage 8:Kristen RuhlinKristen Ruhlin is an American actress. She is known for her roles in The Girl in the Park, One Life to Live, Human Giant, and She Wants Me.PersonalRuhlingrew up in Charleston, West Virginia and graduated from Charleston Catholic High School. She graduated from Ohio State University in 2006 with a B.S. in Fiber Properties and a minor in Theatre and Dance. She is fromCharleston, West Virginia. After graduating from college she relocated to New York city in the Fall of 2006. In 2009 she moved to Los Angeles to work on a film called Missing Child, and remained there for the next fewyears with frequent trips back to New York, where she worked on films such as She Wants Me. Since 2013 she has been residing in New York City.Filmography2013 The Road Home, with Lily Tomlin.2012 She Wants Me,starring as Sammy Kingston with Josh Gad, Hilary Duff, Wayne Knight and Charlie Sheen.2012 Stuck, with Madeline Zima.2010 Life-ers, TV movie from the producers of CBS and Darren Starr's We NeedGirlfriends.2007 The Girl in the Park, with Kate Bosworth, Keri Russell and Sigourney Weaver.2007 Human Giant, TV show with Jonah Hill.2015 Missing ChildPassage 9:Dorothy Sue CobbleDorothy Sue Cobble (June 28,1949) is an American historian, and a specialist in the historical study of work, social movements, and feminism in the United States and worldwide. She is currently a Distinguished Professor at Rutgers University,holding dual appointments in the Departments of Labor Studies and History since 1986.Her book The Other Women’s Movement (2005) coined the term labor feminism.Early life and educationCobble grew up in theSouth, before receiving her B.A. from the University of California, Berkeley in 1972. She worked briefly as a trade union stevedore in the mid-1970s before earning her Ph.D. in history from Stanford University in 1986.A student of Carl Degler, she became a leading historian of women's labor movements.CareerCobble's first book Dishing It Out: Waitresses and Their Unions in the Twentieth Century (1991) was among the earlieststudies of unionism and the service sector. Her second book, The Other Women's Movement: Workplace Justice and Social Rights in America (2005) is a political and intellectual history of women’s contributions toreforming the workplace. It received the 2005 Philip Taft Book Prize from Cornell University for the best book in American labor history. She edited The Sex of Class: Women Transforming American Labor (2007),published by the Cornell University Press. Most recently she coauthored, with Linda Gordon and Astrid Henry, Feminism Unfinished: A Short, Surprising History of American Women’s Movements(2014).PublicationsBooksDishing It Out: Waitresses and Their Unions in the Twentieth Century (1991)The Other Women's Movement: Workplace Justice and Social Rights in America (2005)The Sex of Class: WomenTransforming American Labor (2007)Feminism Unfinished: A Short, Surprising History of American Women’s Movements with Linda Gordon and Astrid Henry (2014)== Notes ==Passage 10:Ben PalmerBen Palmer (born1976) is a British film and television director.His television credits include the Channel 4 sketch show Bo' Selecta! (2002–2006), the second and third series of the E4 sitcom The Inbetweeners (2009–2010) and the SkyAtlantic comedy-drama Breeders (2020). Palmer has also directed films such as the Inbetweeners spin-off, The Inbetweeners Movie (2011) and the romantic comedy Man Up (2015).BiographyPalmer was born andraised in Penny Bridge, Barrow-in-Furness. He attended Chetwynde School.His first directing job was the Channel 4 sketch show Bo' Selecta!, which he co-developed with its main star, Leigh Francis. Palmer directed thesecond and third series of the E4 sitcom The Inbetweeners in 2009 and 2010, respectively.FilmographyBo' Selecta! (2002–06)Comedy Lab (2004–2010)Bo! in the USA (2006)The Inbetweeners (2009–2010)TheInbetweeners Movie (2011)Comedy Showcase (2012)Milton Jones's House of Rooms (2012)Them from That Thing (2012)Bad Sugar (2012)Chickens (2013)London Irish (2013)Man Up (2015)SunTrap (2015)BBCComedy Feeds (2016)Nigel Farage Gets His Life Back (2016)Back (2017)Comedy Playhouse (2017)Urban Myths (2017–19)Click & Collect (2018)Semi-Detached (2019)Breeders (2020)"}
+{"doc_id":"doc_233","qid":"","text":"Passage 1:Adib KheirAdib Kheir (Arabic: \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000) was a leading Syrian nationalist of the 1920s. He was the owner of the Librairie Universelle in Damascus. His granddaughter is the spouse of ManafTlass.Passage 2:Marie-Louise CoidavidQueen Marie Louise Coidavid (1778 – 11 March 1851) was the Queen of the Kingdom of Haiti 1811–20 as the spouse of Henri Christophe.Early lifeMarie-Louise was born into a freeblack family; her father was the owner of Hotel de la Couronne, Cap-Haïtien. Henri Christophe was a slave purchased by her father. Supposedly, he earned enough money in tips from his duties at the hotel that he wasable to purchase his freedom before the Haitian Revolution. They married in Cap-Haïtien in 1793, having had a relationship with him from the year prior. They had four children: François Ferdinand (born 1794),Françoise-Améthyste (d. 1831), Athénaïs (d. 1839) and Victor-Henri.At her spouse's new position in 1798, she moved to the Sans-Souci Palace. During the French invasion, she and her children lived underground until1803.QueenIn 1811, Marie-Louise was given the title of queen upon the creation of the Kingdom of Haiti. Her new status gave her ceremonial tasks to perform, ladies-in-waiting, a secretary and her own court. She tookher position seriously, and stated that the title \"given to her by the nation\" also gave her responsibilities and duties to perform. She served as the hostess of the ceremonial royal court life performed at the Sans-SouciPalace. She did not involve herself in the affairs of state. She was given the position of Regent should her son succeed her spouse while still being a minor.  However, as her son became of age before the death of hisfather, this was never to materialize.After the death of the king in 1820, she remained with her daughters Améthyste and Athénaïs at the palace until they were escorted from it by his followers together with his corpse;after their departure, the palace was attacked and plundered. Marie-Louise and her daughters were given the property Lambert outside Cap. She was visited by president Jean Pierre Boyer, who offered her hisprotection; he denied the spurs of gold she gave him, stating that he was the leader of poor people. They were allowed to settle in Port-au-Prince. Marie-Louise was described as calm and resigned, but her daughters,especially Athénaïs, were described as vengeful.ExileThe Queen was in exile for 30 years. In August 1821, the former queen left Haiti with her daughters under the protection of the British admiral Sir Home Popham,and travelled to London. There were rumours that she was searching for the money, three million, deposited by her spouse in Europe. Whatever the case, she did live the rest of her life without economic difficulties. TheEnglish climate and pollution during the Industrial Revolution was determintal to Améthyste's health, and eventually they decided to leave.In 1824, Marie-Louise and her daughters moved in Pisa in Italy, where theylived for the rest of their lives, Améthyste dying shortly after their arrival and Athénaïs in 1839. They lived discreetly for the most part, but were occasionally bothered by fortune hunters and throne claimers whowanted their fortune. Shortly before her death, she wrote to Haiti for permission to return. She never did, however, before she died in Italy. She is buried in the church of San Donnino. A historical marker was installedin front of the church on April 23, 2023 to commemorate the Queen, her daughter and her sister.See alsoMarie-Claire Heureuse FélicitéAdélina LévêquePassage 3:Mehdi AbrishamchiMehdi Abrishamchi (Persian: \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000 born in 1947 in Tehran) is a high-ranking member of the People's Mujahedin of Iran (MEK).Early lifeAbrishamchi came from a well-known anti-Shah bazaari family in Tehran, and participated in June5, 1963, demonstrations in Iran. He became a member of Hojjatieh, and left it to join the People's Mujahedin of Iran (MEK) in 1969. In 1972 he was imprisoned for being a MEK member, and spent time in jail until1979.CareerShortly after Iranian Revolution, he became one of the senior members of the MEK. He is now an official in the National Council of Resistance of Iran.Electoral historyPersonal lifeAbrishamchi was married toMaryam Rajavi from 1980 to 1985. Shortly after, he married Mousa Khiabani's younger sister Azar.LegacyAbrishamchi credited Massoud Rajavi for saving the People's Mojahedin Organization of Iran after the \"greatschism\".Passage 4:Maria Teresa, Grand Duchess of LuxembourgMaria Teresa (born María Teresa Mestre y Batista; 22 March 1956) is the Grand Duchess of Luxembourg as the wife of Grand Duke Henri, who acceded tothe throne in 2000.Early life and educationMaria Teresa was born on 22 March 1956 in Marianao, Havana, Cuba, to José Antonio Mestre y Álvarez (1926–1993) and wife  María Teresa Batista y Falla de Mestre(1928–1988), both from bourgeois families of Spanish descent. She is also the granddaughter of Agustín Batista y González de Mendoza, who was the founder of the Trust Company of Cuba, the most powerful Cubanbank prior to the Cuban Revolution.In October 1959, at the time of the Cuban Revolution, Maria Teresa Mestre’s parents left Cuba with their children, because the new government headed by Fidel Castro confiscatedtheir properties. The family settled in New York City,  where as a young girl she was a pupil at Marymount School. From 1961 she carried on her studies at the Lycée Français de New York. In her childhood, Maria TeresaMestre took ballet and singing courses. She practices skiing, ice-skating and water sports. She later lived in Santander, Spain, and in Geneva, Switzerland, where she became a Swiss citizen.In 1980, Maria Teresagraduated from the Graduate Institute of International and Development Studies in Geneva with a degree in political sciences. While studying there, she met her future husband Henri of Luxembourg.Social andhumanitarian interestsSoon after her marriage, Maria Teresa and the then Hereditary Grand Duke Henri established The Prince Henri and Princess Maria Teresa Foundation to help those with special needs integrate fullyinto society. In 2001, she and her husband created The Grand Duke and Grand Duchess Foundation, launched upon the accession of the couple as the new Grand Duke and Duchess of Luxembourg. In 2004, the GrandDuke Henri and the Grand Duchess Maria Teresa Foundation was created after the merging of the two previous foundations.In 1997, Maria Teresa was made a special ambassador for UNESCO, working to expandeducation for young girls and women and help to fight poverty.Since 2005, Maria Teresa has been the chairwoman of the international jury of the European Microfinance Award, which annually awards holders ofmicrofinance and inclusive finance initiatives in developing countries. Also, since 2006, Maria Teresa has been honorary president of the LuxFLAG (Luxembourg Fund Labeling Agency), the first agency to labelresponsible microfinance investment funds around the world.On 19 April 2007, the Grand Duchess was appointed UNICEF Eminent Advocate for Children, in which role she has visited Brazil (2007), China (2008), andBurundi (2009).She is a member of the Honorary Board of the International Paralympic Committee and a patron of the Ligue Luxembourgeoise de Prévention et d’Action medico-sociales and SOS Villages d’EnfantsMonde. The Grand Duchess and her husband Grand Duke Henri are the members of the Mentor Foundation (London), created under the patronage of the World Health Organization. She is also the president of theLuxembourg Red Cross and the Cancer Foundation. In 2016, she organized the first international forum on learning disabilities in Luxembourg.The Grand Duchess supports the UNESCO “Breaking the Poverty Cycle ofWomen” project in Bangladesh, India, Nepal and Pakistan. The purpose of this project is to improve the living conditions of girls, women and their families. As honorary president of her own foundation, Grand DuchessMaria Teresa set up a project called Projet de la Main Tendue after visiting the Bujumbura prison in 2009 in Burundi. The purpose of this project is to liberate minor people from prison and to give them new opportunitiesfor their future.In October 2016, Maria Teresa accepted an invitation to join the eminent international Council of Patrons of the Asian University for Women (AUW) in Chittagong, Bangladesh. The university, which is theproduct of east-west foundational partnerships (Bill and Melinda Gates Foundation, Open Society Foundation, IKEA Foundation, etc.) and regional cooperation, serves extraordinarily talented women from 15 countriesacross Asia and the Middle East.In 2019, Maria Teresa presented her initiative \"Stand Speak Rise Up!\" to end sexual violence in fragile environments, launched in cooperation with the Women’s Forum and with thesupport of the Luxembourg government. The conference is in partnership with the Dr. Denis Mukwege Foundation and We Are Not Weapons of War.In 2020 the Prime Minister of Luxembourg commissioned a report intothe Cour le Grand Ducal following concerns over its working. The report found that up to 1/3 of employees had left since 2015 and that \"The most important decisions in the field of personnel management, whether atthe level of recruitment, assignment to the various departments or even at the dismissal level are taken by HRH the Grand Duchess.” Several newspaper reports at the time highlighted a 'culture of fear' around theGrand Duchess and \"that no-one bar the Prime Minister dared confront her\". The report also raised concerns about the use of public funds to pay for the Grand Duchess' personal website and that this had beenprioritised over the Cour's own official website. There were also allegations that staff at the Court has been subject to physical abuse and these reports were investigated by the Luxembourg judicial police.In February2023 it was reported by several Luxembourg based media that the Grand Duchess had once again been accused of treating staff poorly during an outfit fitting in October 22. The incident even involved the Prime Ministerof Luxembourg having to speak to the Grand Duke and Grand Duchess about the treatment of the staff and commissioning a report into it.FamilyMaria Teresa married Prince Henri of Luxembourg in a civil ceremony on4 February 1981 and a religious ceremony on 14 February 1981, since Valentine's Day was their favourite holiday. The consent of the Grand Duke had been previously given on 7 November 1980. She received abouquet of red roses and a sugarcane as a wedding gift from Cuban leader, Fidel Castro. The couple has five children: Guillaume, Hereditary Grand Duke of Luxembourg, Prince Félix of Luxembourg, Prince Louis ofLuxembourg, Princess Alexandra of Luxembourg, and Prince Sébastien of Luxembourg, They were born at Maternity Hospital in Luxembourg City.HonoursNationalLuxembourg: Knight of the Order of the Gold Lion of theHouse of Nassau Grand Cross of the Order of Adolphe of NassauForeignAustria: Grand Star  of the Decoration of Honour for Services to the Republic of Austria Belgium: Grand Cordon of the Order of Leopold I Brazil:Grand Cross of the Order of the Southern Cross Denmark: Knight of the Order of the Elephant Finland: Grand Cross of the Order of the White Rose of Finland France: Grand Cross of the Order of National Merit Greece:Grand Cross of the Order of Beneficence Italy: Knight Grand Cross of the Order of Merit of the Italian Republic Japan: Grand Cordon (Paulownia) of the Order of the Precious Crown Latvia: Commander Grand Cross ofthe Order of the Three Stars Netherlands:Knight Grand Cross of the Order of the Netherlands LionGrand Cross of the Order of the Crown Norway: Grand Cross of the Order of Saint OlavPortugal- Portuguese RoyalFamily:Dame Grand Cross of the Royal Order of Saint Isabel Portugal:Grand Cross of the Order of ChristGrand Cross of the Order of Saint James of the SwordGrand Cross of the Order of Infante HenryGrand Cross of theOrder of Camões Romania: Grand Cross of the Order of the Star of Romania Spain: Dame Grand Cross of the Order of Charles III Sweden:Member of the Royal Order of the SeraphimCommander Grand Cross of theRoyal Order of the Polar StarRecipient of the 50th Birthday Badge Medal of King Carl XVI GustafFootnotesExternal links Media related to Maria Teresa, Grand Duchess of Luxembourg at Wikimedia CommonsOfficialwebsiteThe Mentor Foundation charity websitePassage 5:Gertrude of BavariaGertrude of Bavaria (Danish and German: Gertrud; 1152/55–1197) was Duchess of Swabia as the spouse of Duke Frederick IV, and Queen ofDenmark as the spouse of King Canute VI.Gertrude was born to Henry the Lion of Bavaria and Saxony and Clementia of Zähringen in either 1152 or 1155. She was married to Frederick IV, Duke of Swabia, in 1166, andbecame a widow in 1167. In 1171 she was engaged and in February 1177 married to Canute of Denmark in Lund. The couple lived the first years in Skåne. On 12 May 1182, they became king and queen. She did nothave any children. During her second marriage, she chose to live in chastity and celibacy with her husband. Arnold of Lübeck remarked of their marriage, that her spouse was: \"The most chaste one, living thus his dayswith his chaste spouse\" in eternal chastity.Passage 6:Jimmy GalluJimmy Gallu is a 1982 Indian Kannada-language drama film directed by K. S. L. Swamy and produced by Shashirekha. The story is written by VenugopalKasaragod. The film stars Vishnuvardhan, Sripriya, Lokesh and Hema Choudhary. The film was widely appreciated for its songs and story upon release. The songs composed by Vijaya Bhaskar were huge hits. The filmwas remade in Telugu as Muddayi and in Hindi as Mulzim.CastVishnuvardhan as JimmySripriya as SudhaLokeshHema ChowdharySundar Krishna UrsKeerthi VishnuvardhanVajramuniThoogudeepa SrinivasDwarakishK. S.AshwathTiger PrabhakarN. S. RaoShashikalaDineshSoundtrackThe music of the film was composed by Vijaya Bhaskar and the lyrics were written by Chi. Udaya Shankar. The songs \"Thuttu Anna\" sung by Vishnuvardhanand the duet song \"Deva Mandiradalli\" were received extremely well.Passage 7:Sophia Magdalena of DenmarkSophia Magdalena of Denmark (Danish: Sophie Magdalene; Swedish: Sofia Magdalena; 3 July 1746 – 21August 1813) was Queen of Sweden from 1771 to 1792 as the wife of King Gustav III. Born into the House of Oldenburg, the royal family of Denmark-Norway, Sophia Magdalena was the first daughter of King FrederickV of Denmark and Norway and his first consort, Princess Louise of Great Britain. Already at the age of five, she was betrothed to Gustav, the heir apparent to the throne of Sweden, as part of an attempt to improve thetraditionally tense relationship between the two Scandinavian realms. She was subsequently brought up to be the Queen of Sweden, and they married in 1766. In 1771, Sophia's husband ascended to the throne andbecame King of Sweden, making Sophia Queen of Sweden. Their coronation was on 29 May 1772.The politically arranged marriage was unsuccessful. The desired political consequences for the mutual relations betweenthe two countries did not materialize, and on a personal level the union also proved to be unhappy. Sophia Magdalena was of a quiet and serious nature, and found it difficult to adjust to her husband's pleasure seekingcourt. She dutifully performed her ceremonial duties but did not care for social life and was most comfortable in quiet surroundings with a few friends. However, she was liked by many in the Caps party, believing shewas a symbol of virtue and religion. The relationship between the spouses improved somewhat in the years from 1775 to 1783, but subsequently deteriorated again.After her husband was assassinated in 1792, SophiaMagdalena withdrew from public life, and led a quiet life as dowager queen until her death in 1813.Early lifePrincess Sophie Magdalene was born on 3 July 1746 at her parents' residence Charlottenborg Palace, located atthe large square, Kongens Nytorv, in central Copenhagen. She was the second child and first daughter of Crown Prince Frederick of Denmark and his first consort, the former Princess Louise of Great Britain, and wasnamed for her grandmother, Queen Sophie Magdalene. She received her own royal household at birth.Just one month after her birth, her grandfather King Christian VI died, and Princess Sophie Magdalene's fatherascended the throne as King Frederick V. She was the heir presumptive to the throne of Denmark from the death of her elder brother in 1747 until the birth of her second brother in 1749, and retained her status as nextin line to the Danish throne after her brother until her marriage. She was therefore often referred to as Crown Princess of Denmark.In the spring of 1751, at the age of five, she was betrothed to Gustav, the heirapparent to the throne of Sweden, and she was brought up to be the Queen of Sweden. The marriage was arranged by the Riksdag of the Estates, not by the Swedish royal family. The marriage was arranged as a wayof creating peace between Sweden and Denmark, which had a long history of war and which had strained relations following the election of an heir to the Swedish throne in 1743, where the Danish candidate had lost.The engagement was met with some worry from Queen Louise, who feared that her daughter would be mistreated by the Queen of Sweden, Louisa Ulrika of Prussia. The match was known to be disliked by the Queen ofSweden, who was in constant conflict with the Parliament; and who was known in Denmark for her pride, dominant personality and hatred of anything Danish, which she demonstrated in her treatment of the Danishambassadors in Stockholm.After the death of her mother early in her life, Sophia Magdalena was given a very strict and religious upbringing by her grandmother and her stepmother, who considered her father andbrother to be morally degenerate. She is noted to have had good relationships with her siblings, her grandmother and her stepmother; her father, however, often frightened her when he came before her drunk, and wasreportedly known to set his dogs upon her, causing in her a lifelong phobia.In 1760, the betrothal was again brought up by Denmark, which regarded it as a matter of prestige. The negotiations were made betweenDenmark and the Swedish Queen, as King Adolf Frederick of Sweden was never considered to be of any more than purely formal importance. Louisa Ulrika favored a match between Gustav and her niece Philippine ofBrandenburg-Schwedt instead, and claimed that she regarded the engagement to be void and forced upon her by Carl Gustaf Tessin. She negotiated with Catherine the Great and her brother Frederick the Great tocreate some political benefit for Denmark in exchange for a broken engagement. However, the Swedish public was very favorable to the match due to expectations Sophia Magdalena would be like the last Danish-bornQueen of Sweden, Ulrika Eleonora of Denmark, who was very loved for her kindness and charity. This view was supported by the Caps political party, which expected Sophia Magdalena to be an example of a virtuousand religious representative of the monarchy in contrast to the haughty Louisa Ulrika. Fredrick V of Denmark was also eager to complete the match: \"His Danish Majesty could not have the interests of his daughtersacrificed because of the prejudices and whims of the Swedish Queen\". In 1764 Crown Prince Gustav, who was at this point eager to free himself from his mother and form his own household, used the public opinion tostate to his mother that he wished to honor the engagement, and on 3 April 1766, the engagement was officially celebrated.When a portrait of Sophia Magdalena was displayed in Stockholm, Louisa Ulrika commented:\"why Gustav, you seem to be already in love with her! She looks stupid\", after which she turned to Prince Charles and added: \"She would suit you better!\"Crown PrincessOn 1 October 1766, Sophia Magdalena wasmarried to Gustav by proxy at Christiansborg Palace in Copenhagen with her brother Frederick, Hereditary Prince of Denmark, as representative of her groom. She traveled in the royal golden sloop from Kronborg inDenmark over Öresund to Hälsingborg in Sweden; when she was halfway, the Danish cannon salute ended, and the Swedish started to fire. In Helsingborg, she was welcomed by her brother-in-law Prince Charles ofHesse, who had crossed the sea shortly before her, the Danish envoy in Stockholm, Baron Schack, as well as Crown Prince Gustav himself. As she was about to set foot on ground, Gustav was afraid that she would fall,and he therefore reached her his hand with the words: \"Watch out, Madame!\", a reply which quickly became a topic of gossip at the Swedish court.The couple then traveled by land toward Stockholm, being celebrated"}
+{"doc_id":"doc_234","qid":"","text":"Passage 1:Matan CohenMatan Cohen (born February 8, 1982) is an Israeli musician best known for his work as the guitarist for successful groove/metalcore band Betzefer and the recently reunited melodic death metalband Nail Within. Cohen is also a frequent collaborator of comedy punk rock act Bo La'Bar featuring his Nail Within co-members Evil Haim, and Useless ID members Ishay Berger and Jonathan Harpak.MusicalcareerBetzefer (1998–present)Matan Cohen formed Betzefer along with vocalist Avital Tamir and drummer Roey Berman as a one-off band for a high school gig in 1998.What started as a high school gig became a bigpart of the lives of the band members and since then the band started working, first as a cover band (Metallica, etc.) and later they started recording their own material, releasing Pitz Aachbar in 2000, Some Tits, ButNo Bush in 2001 and New Hate in 2003.In 2005, the band released its first full-length album Down Low and currently is working on its second.Matan (who is also known as Tim Young outside Israel) appeared on all ofthe band's releases and is a part of the band from its formation until today. He is also noted for always using a custom black Gibson SG guitar.Nail Within (2001-2003, 2007)In 2001, Matan joined former Azazel andBetrayer members to form a new melodic death metal project by the name of Nail Within. Cohen served as a second guitarist in the band and while on hiatus from Betzefer, he left to Germany to record the band's firstself-titled album.He was a member of the band through all of its short-lived first incarnation and even suggested Betzefer vocalist Avital Tamir as vocalist after vocalist Yishay Swearts left. Tamir performed with theband for one show.Recently rejoined the band as all of its members reunited in November 2007 for a one-off reunion show along with plans to record a new album in the future. Cohen will work with the band on its nextalbum when he will finish prior commitments with Betzefer.DiscographyBetzeferPitz Aachbar (2000)Some Tits, But No Bush (2001)New Hate (2003)Down Low (2005)Freedom to The Slave Makers (2011)Nail WithinNailWithin (2003)See alsoList of guitaristsPassage 2:Hartley LobbanHartley W Lobban (9 May 1926 – 15 October 2004) was a Jamaican-born first-class cricketer who played 17 matches for Worcestershire in the early1950s.Life and careerLobban played little cricket in Jamaica. He went to England at the end of World War II as a member of the Royal Air Force, and settled in Kidderminster in Worcestershire in 1947, where he workedas a civilian lorry driver for the RAF. He began playing for Kidderminster Cricket Club in the Birmingham League, and at the start of the 1952 season, opening the bowling for the club's senior team, he had figures of 7for 9 and 7 for 37.Worcestershire invited him to play for them, and he made his first-class debut against Sussex in July 1952. He took five wickets in the match (his maiden victim being Ken Suttle) and then held on for4 not out with Peter Richardson (20 not out) to add the 12 runs needed for a one-wicket victory after his county had collapsed from 192 for 2 to 238 for 9. A week later he claimed four wickets against Warwickshire,then a few days later still he managed 6 for 52 (five of his victims bowled) in what was otherwise a disastrous innings defeat to Derbyshire. In the last match of the season he took a career-best 6 for 51 againstGlamorgan; he and Reg Perks (4 for 59) bowled unchanged throughout the first innings. Worcestershire won the game and Lobban finished the season with 23 wickets at 23.69.He took 23 wickets again in 1953, but ata considerably worse average of 34.43, and had only two really successful games: against Oxford University in June, when he took 5 for 70, and then against Sussex in July. On this occasion Lobban claimed eightwickets, his most in a match, including 6 for 103 in the first innings. He also made his highest score with the bat, 18, but Sussex won by five wickets.In 1954 Lobban made only two first-class appearances, and managedonly the single wicket of Gloucestershire tail-ender Bomber Wells. In his final game, against Warwickshire at Dudley, his nine first-innings overs cost 51. He bowled just two overs in the second innings as Warwickshirecompleted an easy ten-wicket win. Lobban played one more Second XI game, against Glamorgan II at Cardiff Arms Park; in this he picked up five wickets.He was also a professional boxer and played rugby union forKidderminster.He later moved to Canada, where he worked as a teacher in Burnaby, British Columbia. He and his wife Celia had a son and two daughters.Passage 3:Wesley BarresiWesley Barresi (born 3 May 1984) is aSouth African born first-class and Netherlands international cricketer. He is a right-handed wicket keeper-batsman and also bowls right-arm offbreak. In February 2021, Barresi announced his retirement from all formsof cricket, but returned to the national team in August 2022.CareerWesley became the 100th victim to Indian cricketer Yuvraj Singh, when he was dismissed in the 2011 World Cup game against India.In July 2018, hewas named in the Netherlands' One Day International (ODI) squad, for their series against Nepal. Ahead of the ODI matches, the International Cricket Council (ICC) named him as the key player for the Netherlands.InJuly 2019, he was selected to play for the Amsterdam Knights in the inaugural edition of the Euro T20 Slam cricket tournament. However, the following month, the tournament was cancelled.Passage 4:Greg A. Hill(artist)Greg A. Hill is a Canadian-born First Nations artist and curator. He is Kanyen'kehà:ka Mohawk, from Six Nations of the Grand River Territory, Ontario.Early lifeHill was born and raised in Fort Erie, Ontario.ArtcareerHis work as a multidisciplinary artist focuses primarily on installation, performance and digital imaging and explores issues of his Mohawk and French-Canadian identity through the prism of colonialism,nationalism and concepts of place and community.Hill has been exhibiting his work since 1989, with solo exhibitions and performance works across Canada as well as group exhibitions in North America and abroad. Hiswork can be found in the collections of the Canada Council, the Indian Art Centre, Indian and Northern Affairs Canada, the Canadian Native Arts Foundation (now Indspire), the Woodland Cultural Center, the City ofOttawa, the Ottawa Art Gallery and the International Museum of Electrography.Curatorial careerHill serves as the Audain Senior Curator of Indigenous Art at the National Gallery of Canada.Awards and honoursIn 2018,Hill received the Indspire Award for Arts.Passage 5:Damien HétuDamien Hétu (October 24, 1926 – February 15, 2010) was a Canadian politician. Hétu served as mayor of Sainte-Agathe-des-Monts, Quebec on twoseparate occasions and was a Liberal member of the National Assembly of Quebec from 1985 to 1989.Early life and careerHétu was born in Sainte-Agathe-des-Monts and received his early education in the town. Hetrained as an electrician and radio/television technician, and in 1952 he began working as an electrician and entrepreneur in his home community. He successfully campaigned for a local sports center, which was openedin the 1970s.Hétu was a municipal councillor in Sainte-Agathe-des-Monts from 1959 to 1965 and was the community's mayor from 1970 to 1974. In the same period, he was an organizer for both the Liberal Party ofCanada and the Quebec Liberal Party. He ran for the Quebec legislature in the 1981 provincial election and lost to incumbent Parti Québécois cabinet minister Jacques Léonard in Labelle.LegislatorHétu was elected to thenational assembly on his second attempt in the 1985 provincial election. The Liberal Party won a majority government in this election under Robert Bourassa's leadership, and Hétu served for the next four years as agovernment backbencher. A 1988 newspaper report indicates that he had one of the best attendance records in the legislature, missing fewer than one per cent of recorded votes.He was defeated by Léonard a secondtime when seeking re-election in 1989.Return to municipal politicsHétu was re-elected as mayor of Sainte-Agathe-des-Monts in 1990 and served until 1994. He presided over a water boil advisory for the community in1992, due to concerns about contamination from lead pipes.DeathHétu died in February 2010, after an extended illness.Electoral recordPassage 6:Henry Moore (cricketer)Henry Walter Moore (1849 – 20 August 1916)was an English-born first-class cricketer who spent most of his life in New Zealand.Life and familyHenry Moore was born in Cranbrook, Kent, in 1849. He was the son of the Reverend Edward Moore and Lady HarrietJanet Sarah Montagu-Scott, who was one of the daughters of the 4th Duke of Buccleuch. One of his brothers, Arthur, became an admiral and was knighted. Their great grandfather was John Moore, Archbishop ofCanterbury from 1783 to 1805. One of their sisters was a maid of honour to Queen Victoria.Moore went to New Zealand in the 1870s and lived in Geraldine and Christchurch. He married Henrietta Lysaght of Hāwera inNovember 1879, and they had one son. In May 1884 she died a few days after giving birth to a daughter, who also died.In 1886 Moore became a Justice of the Peace in Geraldine. In 1897 he married Alice Fish ofGeraldine. They moved to England four years before his death in 1916.Cricket careerMoore was a right-handed middle-order batsman. In consecutive seasons, 1876–77 and 1877–78, playing for Canterbury, he madethe highest score in the short New Zealand first-class season: 76 and 75 respectively. His 76 came in his first match for Canterbury, against Otago. He went to the wicket early on the first day with the score at 7 for 2and put on 99 for the third wicket with Charles Corfe before he was out with the score at 106 for 3 after a \"very fine exhibition of free hitting, combined with good defence\". Canterbury were all out for 133, but went onto win the match. His 75 came in the next season's match against Otago, when he took the score from 22 for 2 to 136 for 6. The New Zealand cricket historian Tom Reese said, \"Right from the beginning he smote thebowling hip and thigh, going out of his ground to indulge in some forceful driving.\" Canterbury won again.Moore led the batting averages in the Canterbury Cricket Association in 1877–78 with 379 runs at an average of34.4. Also in 1877–78, he was a member of the Canterbury team that inflicted the only defeat on the touring Australians. In 1896–97, at the age of 47, he top-scored in each innings for a South Canterbury XVIIIagainst the touring Queensland cricket team.Passage 7:Wale AdebanwiWale Adebanwi (born 1969) is a Nigerian-born first Black Rhodes Professor at St Antony's College, Oxford where he was, until June 2021, aProfessor of Race Relations, and the Director of the African Studies Centre, School of Interdisciplinary Area Studies, and a Governing Board Fellow. He is currently a Presidential Penn Compact Professor of AfricanaStudies at the University of Pennsylvania. Adebanwi's research focuses on a range of topics in the areas of social change, nationalism and ethnicity, race relations, identity politics, elites and cultural politics, democraticprocess, newspaper press and spatial politics in Africa.Education backgroundWale Adebanwi graduated with a first degree in Mass Communication from the University of Lagos, and later earned his M.Sc. and Ph.D. inPolitical Science from the University of Ibadan. He also has an MPhil. and a Ph.D. in Social Anthropology from the University of Cambridge.CareerAdebanwi worked as a freelance reporter, writer, journalist and editor formany newspapers and magazines before he joined the University of Ibadan's Department of Political Science as a lecturer and researcher. He was later appointed as an assistant professor in the African American andAfrican Studies Department of the University of California, Davis, USA. He became a full professor at UC Davis in 2016.Adebanwi is the co-editor of Africa: Journal of the International African Institute and the Journal ofContemporary African Studies.WorksHis published works include:Nation as Grand Narrative: The Nigerian Press and the Politics of Meaning (University of Rochester Press, 2016)Yoruba Elites and Ethnic Politics inNigeria: Obafemi Awolowo and Corporate Agency (Cambridge University Press, 2014)Authority Stealing: Anti-corruption War and Democratic Politics in Post-Military Nigeria (Carolina Academic Press, 2012)In addition,he is the editor and co-editor of other books, including.The Political Economy of Everyday Life in Africa: Beyond the Margins (James Currey Publishers, 2017)Writers and Social Thought in Africa (Routledge,2016)(co-edited with Ebenezer Obadare) Governance and the Crisis of Rule in Contemporary Africa (Palgrave Macmillan, 2016)(co-edited with Ebenezer Obadare) Democracy and Prebendalism in Nigeria: CriticalInterpretations (Palgrave Macmillan, 2013).(co-edited with Ebenezer Obadare) Nigeria at Fifty: The Nation in Narration (Routledge, 2012)(co-edited with Ebenezer Obadare) Encountering the Nigerian State (PalgraveMacmillan, 2010).AwardsRhodes Professorship in Race Relations awarded by Oxford University to Faculty of African and Interdisciplinary Area Studies.Passage 8:John McMahon (Surrey and Somerset cricketer)JohnWilliam Joseph McMahon (28 December 1917 – 8 May 2001) was an Australian-born first-class cricketer who played for Surrey and Somerset County Cricket Clubs in England from 1947 to 1957.SurreycricketerMcMahon was an orthodox left-arm spin bowler with much variation in speed and flight who was spotted by Surrey playing in club cricket in North London and brought on to the county's staff for the 1947season at the age of 29. In the first innings of his first match, against Lancashire at The Oval, he took five wickets for 81 runs.In his first full season, 1948, he was Surrey's leading wicket-taker and in the last homegame of the season he was awarded his county cap – he celebrated by taking eight Northamptonshire wickets for 46 runs at The Oval, six of them coming in the space of 6.3 overs for seven runs. This would remain thebest bowling performance of his first-class career, not surpassed, but he did equal it seven years later. In the following game, the last away match of the season, he took 10 Hampshire wickets for 150 runs in the matchat Bournemouth. In the 1948 season as a whole, he took 91 wickets at an average of 28.07. As a tail-end left-handed batsman, he managed just 93 runs in the season at an average of 4.22.The emergence of Tony Lockas a slow left-arm bowler in 1949 brought a stuttering end of McMahon's Surrey career. Though he played in 12 first-class matches in the 1949 season, McMahon took only 19 wickets; a similar number of matches in1950 brought 34 wickets. In 1951, he played just seven times and in 1952 only three times. In 1953, Lock split the first finger of his left hand, and played in only 11 of Surrey's County Championship matches; McMahonplayed as his deputy in 14 Championship matches, though a measure of their comparative merits was that Lock's 11 games produced 67 wickets at 12.38 runs apiece, while McMahon's 14 games brought him 45 wicketsat the, for him, low average of 21.53. At the end of the 1953 season, McMahon was allowed to leave Surrey to join Somerset, then languishing at the foot of the County Championship and recruiting widely from othercounties and other countries.Somerset cricketerSomerset's slow bowling in 1954 was in the hands of leg-spinner Johnny Lawrence, with support from the off-spin of Jim Hilton while promising off-spinner Brian Langfordwas on national service. McMahon filled a vacancy for a left-arm orthodox spinner that had been there since the retirement of Horace Hazell at the end of the 1952 season; Hazell's apparent successor, Roy Smith, hadfailed to realise his promise as a bowler in 1953, though his batting had advanced significantly.McMahon instantly became a first-team regular and played in almost every match during his four years with the county, notmissing a single Championship game until he was controversially dropped from the side in August 1957, after which he did not play in the Championship again.In the 1954 season, McMahon, alongside fellow newcomerHilton, was something of a disappointment, according to Wisden: \"The new spin bowlers, McMahon and Hilton, did not attain to the best standards of their craft in a wet summer, yet, like the rest of the attack, theywould have fared better with reasonable support in the field and from their own batsmen,\" it said. McMahon took 85 wickets at an average of 27.47 (Hilton took only 42 at a higher average). His best match was againstEssex at Weston-super-Mare where he took six for 96 in the first innings and five for 45 in the second to finish with match figures of 11 for 141, which were the best of his career. He was awarded his county cap in the1954 season, but Somerset remained at the bottom of the table.The figures for the 1955 were similar: McMahon this time took 75 wickets at 28.77 apiece. There was a small improvement in his batting and the arrivalof Bryan Lobb elevated McMahon to No 10 in the batting order for most of the season, and he responded with 262 runs and an average of 9.03. This included his highest-ever score, 24, made in the match againstSussex at Frome. A week later in Somerset's next match, he equalled his best-ever bowling performance, taking eight Kent wickets for 46 runs in the first innings of a match at Yeovil through what Wisden called \"clevervariation of flight and spin\". These matches brought two victories for Somerset, but there were only two others in the 1955 season and the side finished at the bottom of the Championship for the fourth seasonrunning.At the end of the 1955 season, Lawrence retired and McMahon became Somerset's senior spin bowler for the 1956 season, with Langford returning from National Service as the main support. McMahonresponded with his most successful season so far, taking 103 wickets at an average of 25.57, the only season in his career in which he exceeded 100 wickets. The bowling average improved still further in 1957 to 23.10when McMahon took 86 wickets. But his season came to an abrupt end in mid-August 1957 when, after 108 consecutive Championship matches, he was dropped from the first team during the Weston-super-Marefestival. Though he played some games for the second eleven later in August, he regained his place in the first team for only a single end-of-season friendly match, and he was told that his services were not required forthe future, a decision, said Wisden, that \"proved highly controversial\".Sacked by SomersetThe reason behind McMahon's sacking did not become public knowledge for many years. In its obituary of him in 2002,McMahon was described by Wisden as \"a man who embraced the antipodean virtues of candour and conviviality\". It went on: \"Legend tells of a night at the Flying Horse Inn in Nottingham when he beheaded the gladioliwith an ornamental sword, crying: 'When Mac drinks, everybody drinks!'\" The obituary recounts a further escapade in second eleven match at Midsomer Norton where a curfew imposed on the team was circumventedby \"a POW-type loop\" organised by McMahon, \"with his team-mates escaping through a ground-storey window and then presenting themselves again\". As the only Somerset second eleven match that McMahon playedin at Midsomer Norton was right at the end of the 1957 season, this may have been the final straw. But in any case there had been \"an embarrassing episode at Swansea's Grand Hotel\" earlier in the season, alsoinvolving Jim Hilton, who was also dismissed at the end of the season. Team-mates and club members petitioned for McMahon to be reinstated, but the county club was not to be moved.After a period in LancashireLeague cricket with Milnrow Cricket Club, McMahon moved back to London where he did office work, later contributing some articles to cricket magazines.== Notes and references ==Passage 9:Avital TamirAvital Tamir(Hebrew: \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000) is an Israeli musician best known for his work as the lead singer for metal band Betzefer and for his experimental pop trio On Shoulders of Giants. He was also briefly a member of fellowBetzefer bandmate Matan Cohen's death metal band Nail Within.Musical careerBetzefer (1998–2016)Avital Tamir formed Betzefer along with guitarist Matan Cohen and drummer Roey Berman as a one-off band for ahigh school gig in 1998.What started as a high school gig became a big part of the lives of the band members and since then the band started working, first as a cover band and later they started recording their ownmaterial, releasing Pitz Aachbar in 2000 and the EP New Hate in 2003. In 2005, the band released its first full-length album Down Low.Tamir was the vocalist for the band since its formation and appeared on all of the"}
+{"doc_id":"doc_235","qid":"","text":"Passage 1:Maria ThinsMaria Thins (c. 1593 – 27 December 1680) was the mother-in-law of Johannes Vermeer and a member of the Gouda Thins family. She was raised in a devout Dutch Catholic family with two sisters and a brother. Outliving her parents and siblings, she received inheritances over the years, making her a wealthy woman. She married a prosperous brickmaker, Reynier Bolnes, in 1622. They had three children together, Catharina, Willem, and Cornelia. By 1635, Bolnes verbally and physically abused his wife and daughters. Thins moved to Delft with her daughters. Her son Willem stayed with his father. Thins was a wealthy woman due to the separation settlement of her husband in 1649 and the estates she inherited from her family. Her daughter Catharina married Johannes Vermeer, an artist, art dealer, and operator of the family's inn in Delft. Vermeer and Catharina lived at Thins house by 1660. The couple had fifteen children, four of whom died in infancy. Raising nearly a dozen children strained Vermeer financially. He relied on the support from his mother-in-law. During the Franco-Dutch War (1672–1674), Vermeer became impoverished. Thins reduced the money she provided to Catharina and her husband due to the loss of income during that period. Vermeer died in 1675, and Thins died five years later. Catharina was the only one of Thins' children to survive her. Thins drew up her will to maximize what she could provide for her grandchildren and their education, while limiting how much might be taken by Catharina's creditors. Catharina died in 1687.Early lifeMaria was born c. 1593 in Gouda to a prominent Dutch Catholic family, Catharina van Hensbeeck (d. 1633) and William Thin (d. 1601). They lived in the house named De Trapjes (The Little Steps) in Gouda. Maria had three siblings, none of whom were married. Her sister Elisabeth became a nun. She also had a sister Cornelia and a brother Jan. Since none of her siblings married, Thins ultimately inherited a large estate. The family conducted mass in their home, while at the time it was illegal for a group of Roman Catholics to assemble in Gouda. The local sheriffs broke up a religious meeting at their house in 1619.Garrit Camerling (d. 1627) of Delft became her stepfather in 1605 when he married Catharina van Hensbeeck. She was related to Abraham Bloemaert (1566–1651) through her cousin Jan Geensz Thins. Before her marriage, Thins lived in Delft with a prosperous young woman who was her friend.Marriage and childrenIn 1622, Maria Thins married Reynier Bolnes (ca. 1593–1676), a prominent and prosperous brickmaker. Thins was an heiress when she married, and she collected art, including several in the style of Utrecht Caravaggists.ChildrenThins had three children, the youngest of whom was Catharina Bolnes (c. 1631–1688), nicknamed Trijntge. She also had a son Willem, and a daughter Cornelia. Around 1635, Reynier became verbally and physically abusive with her and her children. At the age of nine, Catharina ran to neighbors because she thought that Reynier's abuse of Cornelia could kill her. Reynier confessed that he physically abused Cornelia and would do it again if Thins beat their son Willem. Reynier and Willem began eating separately from the female members of the family, and the father encouraged his son to be abusive and noncompliant with Thins.Divided familyThins moved to Delft in 1642 to get away from her abusive husband. Jan Geensz Thins, who was her guardian and cousin, purchased a home for her there the prior year. Jan became Thin's guardian following the early death of her father. Thins attained custody of her daughters in 1641 and moved with them to Delft. William stayed with his father, whose business began to fail. Thins lived on Oude Langendijk next to the Jesuit Catholic Church in the Catholic section of Delft called paepenhoek (the Papists' Corner).Thins received half of her husband's assets, a substantial amount, in 1649. By 1653, Reynier Bolnes was bankrupt. Thins derived income from annuities, interest income, and property rentals, including farmland. She also lived off of the capital of her investments. Thins and her sister Cornelia Thins (d. 1661) received a sizeable inheritance from their brother Jan Willemsz Thins following his death in 1651. Thins attained a comfortable standard of living of 15,000 or more guilders a year in the 1660s.Cornelia died in 1649. In 1664, Thin's son Willem, a jobless bachelor, was locked up in an institution after an argument with his mother, and for attacking Catharina, his pregnant sister, with a stick. In 1665, Maria Thins was entrusted with her son's property. She wrote a will, which limited Willem's share to the legal minimum of one sixth of her estate. She mentioned that he had been calling her names since his youth. Willem died in 1676.The VermeersThin's daughter, Catharina, came to know Johannes Vermeer and wished to marry him. Her mother disapproved of the marriage because he was not Catholic, and also likely because he was of a lower artisan class. By 1652, Vermeer helped his mother run the family's inn and was an art dealer, taking over his deceased father's business. Before they married, Thins stated that although she did not approve, she would not prevent Catharina and Vermeer from marrying. Vermeer likely converted from Reformed Protestant to Catholicism by the time of their union. Catharina and Vermeer married in Schipluy (present-day Schipluiden) on 20 April 1653. By December 1660, the Vermeers lived in the large house of his wealthy mother-in-law Maria Thins, described as a \"strong-willed\" woman. It was unusual at the time for married men and women to settle into the houses of their parents. Vermeer relied on Thin's residence and financial support to take care of his family.Vermeer painted in the artist's studio and sold art from the house. His works portray subjects with clothing and furnishings more luxurious than his own. Biographer Anthony Bailey claims that since Vermeer used models from his household, it is likely that he made a painting of his wife. He asserts that Catharina is depicted in A Lady Writing a Letter due to her \"fond expression\" and \"concentrated gaze of the unseen painter.\"Thins played an essential role in their life. She was a devotee of the Jesuit order in the nearby Catholic Church, and this seems to have influenced Johannes and Catharina.They had eleven children at the time of Vermeer's death, four of their children died young between 1660 and 1673. Most of their children were born at Thin's house. Their third son was called Ignatius, after the founder of the Jesuit Order. Catharina inherited the Ben Repas estate following her Aunt Cornelia's death in February 1661.Thins hired Vermeer to manage financial issues for her in 1667 and 1675. He collected monies owed her, and he handled her investments. The Rampjaar (disaster year) following the outbreak of the Franco-Dutch War (1672–1674) was particularly hard on Vermeer's ability to make money as an artist and an art dealer. He had to take a loss on sales of works of art and was unable to sell his own works. His mother-in-law was financially strained during this period due to the loss of rental income from farmland due to the war. In one instance, she rented out land near Schoonhoven that was flooded to prevent the French army from crossing the Dutch Water Line. The farmland was not arable for a time. Thins reduced the money that she spent to support the Vermeers. In 1675, Vermeer went on several business trips for his mother-in-law, first to Gouda, when her husband had died, and then to Amsterdam. There Vermeer borrowed money by fraudulently using her name.Vermeer died and was buried on 15 December 1675. Unable to pay their debts, Catharina blamed the financial fallout of the war for their losses and petitioned for bankruptcy in April 1676. Ten of their eleven children were still underage when Vermeer died. Catharina continued to live at her mother's house with their children. After Vermeer's death, Maria Thins received The Art of Painting for her financial support of Catharina's family. Catharina paid off other debts with paintings or used them as surety until she paid off debts.Later years and deathThins died and was buried on 27 December 1680. The burial record states that she was the widow of Reijnier Bolnes. Thins crafted her will to maximize her grandchildren's support and education, preventing her estate from going to Catharina's creditors. The grandchildren were assigned a guardian, Hendrick van Eem, to look out for their interests. Catharina, considered responsible, was encouraged by her mother to ensure that her children were educated so that they could support themselves. Her daughter Catharina moved to Breda. Catharina Bolnes received \"Holy Oil\" on 23 December 1687, before being buried on 2 January 1688.See alsoWriting to Vermeer an opera depicting Maria Thins and Catharina BolnesPassage 2:Baroness Gösta von dem Bussche-HaddenhausenBaroness Gösta von dem Bussche-Haddenhausen (German: Freiin Gösta Julie Adelheid Marion Marie von dem Bussche-Haddenhausen; 26 January 1902 – 13 June 1996)  was the mother of Prince Claus of the Netherlands, who was the Prince Consort of Queen Beatrix of the Netherlands, thus making her the mother-in-law of the former Dutch Queen. She is also the paternal grandmother of King Willem-Alexander of the Netherlands, who is the current Dutch King.Early lifeGösta was born at Döbeln, Kingdom of Saxony, German Empire (now Saxony, Germany), the second child and daughter of Baron George von dem Bussche-Haddenhausen (1869–1923), and his wife, Baroness Gabriele von dem Bussche-Ippenburg (1877–1973). Her father belonged to the Bussche-Haddenhausen branch of the Bussche family, her mother belonged to the Bussche-Ippenburg branch. Both descended from Clamor von dem Bussche (1532–1573).Her mother was the heir of Dötzingen estate near Hitzacker, which her maternal grandfather had inherited from the counts von Oeynhausen after 1918. Gösta's father was an officer in the Royal Saxon Army. Dötzingen estate later passed on to her brother Baron Julius von dem Bussche-Haddenhausen (1906–1977). After her return from Africa, and her husband's death in 1963, she spent the rest of her life in Dötzingen.MarriageGösta married on 4 September 1924 at Hitzacker to Claus Felix von Amsberg (1890–1963), son of Wilhelm von Amsberg and Elise von Vieregge.Together they had six daughters and one son:Sigrid von Amsberg (Hitzacker-Dötzingen, 26 June 1925 – 1 April 2018), married in 1952 to Ascan-Bernd Jencquel (17 August 1913 – 4 November 2003), had issue.Claus von Amsberg (Hitzacker-Dötzingen, 6 September 1926 – Amsterdam, 6 October 2002), married in 1966 to Beatrix of the Netherlands (b. 31 January 1938), had issue.Rixa von Amsberg (Hitzacker-Dötzingen, 18 November 1927 – 6 January 2010), married to Peter Ahrend (17 April 1920 – 2011), no issue.Margit von Amsberg (Bumbuli, 16 October 1930 – 1988), married in 1964 to Ernst Grubitz (14 April 1931 – 5 June 2009), had issue.Barbara von Amsberg (Bumbuli, 16 October 1930), married in 1963 to Günther Haarhaus (22 October 1921 – 9 February 2007), had issue.Theda von Amsberg (Tanga, 30 June 1939), married in 1966 to Baron Karl von Friesen (b. 1933), had issue.Christina von Amsberg (Salisbury, 20 January 1945), married in 1971 to Baron Hans Hubertus von der Recke (b. 1942), had issue.Life in AfricaHer husband had returned from the Tanganyika Territory, a German colony (now Tanzania) during World War I to become manager of Dötzingen estate in 1917. Shortly after, the estate passed on to the Bussche family. In 1924 he married his employer's daughter, and in 1926, their son Claus war born at Dötzingen. In 1928 the family moved to Tanganyika where they remained during the outbreak of World War II. Her husband was manager of a German-British tea and sisal plantation. Her son was sent back to a German boarding school in 1933, but returned to Africa in 1936; in 1938 Gösta returned to Germany, and Claus was sent to a boarding school in Misdroy, before becoming drafted by the army. Her husband returned to Germany in 1947.DeathShe died, aged 94, in Hitzacker, Germany.Family relationsGösta was a second cousin of Dorothea von Salviati (wife of Kronprinz Wilhelm's eldest son Prince Wilhelm of Prussia), both being great-granddaughters of Heinrich von Salviati and Caroline Rahlenbeck. Her younger and only brother Julius (1906-1977) was married to Anna-Elisabeth von Pfuel (1909-2005).Her family's home, Dötzingen castle, Lower Saxony, had passed to her maternal grandfather Eberhard Friedrich Gustav von dem Bussche-Ippenburg from the counts von Oeynhausen. It was at a dinner party of a distant cousin, the count von Oeynhausen-Sierstorpff in Bad Driburg, on New Year's Eve 1962 that her son Claus met crown-princess Beatrix for the first time, herself also being a cousin of the host: Beatrix' paternal grandmother Armgard von Cramm was a daughter of Baron Aschwin von Sierstorpff-Cramm (1846–1909) and his wife, Baroness Hedwig von Sierstorpff-Driburg (1848–1900), and Armgard von Cramm had first been married to count Bodo von Oeynhausen, before marrying Prince Bernhard of Lippe-Biesterfeld (1872–1934), Beatrix' grandfather; Armgard's elder sister Baroness Hedwig von Sierstorpff-Cramm (1874–1907) was the heir of her mother's family's estate Driburg, and she also married a count von Oeynhausen, Wilhelm Karl Ludwig Kuno Graf von Oeynhausen-Sierstorpff (1860–1922), whose descendants still own Driburg estate.AncestryNotes and sourcesthePeerage.com - Gosta Freiin von dem Bussche-HaddenhausenDie Ahnen Claus Georg von Amsberg, Limburg a.d. Lahn, 1966, Euler, F. W., Reference: 3Ancestor list HRH Claus Prince of The Netherlands, 1999 and 2003, Verheecke, José, Reference: 3Passage 3:Ebba Eriksdotter VasaEbba Eriksdotter Vasa (c. 1491 – 21 November 1549) was a Swedish noblewoman. She was the mother of Queen Margaret Leijonhufvud and the second cousin and mother-in-law of King Gustav Vasa.LifeEbba was the daughter of the nobles riksråd Erik Karlsson Vasa (1436–1491) and Anna Karlsdotter (Vinstorpa). Her father was a cousin of Erik Johansson Vasa, father of King Gustav Vasa, and she was thus the second cousin of the future king. She married riksråd Erik Abrahamsson Leijonhufvud on 18 January 1512 in Söderköping. She was, as other women of her position in contemporary Sweden, referred to as Fru Ebba ('Lady Ebba').WidowhoodIn 1520, her spouse was executed during the Stockholm Bloodbath. During the bloodbath, Ebba and her children were guests in Västerås Abbey, where they had been lodged by her spouse for their safety when he departed for the coronation of Christian I in Stockholm. She and her children, therefore, avoided being taken to Denmark as hostages as the other women and children related to the executed of the bloodbath, such as Christina Gyllenstierna, Cecilia Månsdotter and Margareta Eriksdotter Vasa. Ebba was allowed to keep the family estates despite the execution of her spouse for heresy, likely because of the unstable political situation. She mainly resided at Lo Castle in Västergötland.In 1523, her second cousin Gustav I became king of Sweden. She was granted certain privileges by him, such as the right to keep certain fines of the crown, and as a widow and head of her family, she performed the same duties as any noble vassal and equipped knights for the king's army. In 1525, her sister and brother-in-law Margareta von Melen and Berend von Melen became involved in the suspected attempt of Christina Gyllenstierna and Søren Norby to conquer the throne, and as a reward for her loyalty, lady Ebba was granted the confiscated property of her exiled sister in Sweden. As the king's second cousin, she likely belonged to those \"highest lords and ladies of the realm\" summoned to escort the new queen, Catherine of Saxe-Lauenburg to Sweden and attend the wedding of the king, during which her daughter Brita was married to the kings favored courtier Gustaf Olofsson till Torpa.Court lifeIn October 1536, the king married her daughter Margaret, making her mother-in-law to her second cousin the king, who addressed her as \"Dearest Mother\" and seem to have had a good relationship with her. As the in-laws of the monarch, she and her children often attended court and was given favored roles to play in ceremonial court life. At the baptism of her granddaughter princess Cecilia in 1540, for example, she participated in the procession directly after her daughter the queen, who was escorted by her eldest son Abraham and the king, while she herself was escorted by two male members of the aristocracy.Her son's were given offices, and she and her mother were granted land and several privileges, such as the right to some of the royal taxes from their tenants and the support of the king in most of their many court cases regarding land rights, and the right granted after the Swedish Reformation to retract land donated to the church by their ancestors in accordance with the Reduction of Gustav I of Sweden.Reportedly, Ebba had a great deal of influence at court during the first years of her daughter's tenure as queen and did not hesitate to ask her son-in-law for favors: in February 1537, for example, the king issued a pardon in a court case \"after the many prayers of our hearths dearest wife and her dearest mother\". She was also issued assignments from the king, such as to examine whether the complaints of the governor of Alvastar was correct, and when he, during the Dacke War, asked her to prevent any abuse of the overseers of her son Sten (at that point his envoy in France) of the peasantry, so as not to provoke them to join the rebellion.It is unknown whether she was ever given a court office, as the court staff from this period is only fragmentary known, but according to the list describing who occupied which room in the royal castles, Ebba was, alongside Christina Gyllenstierna, one of two women often given the best rooms closest to the queen when attending court.  During the royal couple's trips around the country, Ebba and Christina Gyllenstierna, was on several occasions given the responsibility for the royal children, such as for example in 1540, when they were left in her care in Örebro Castle, while the king and queen visited Älvsborg. The royal children were regardless always in the care of their personal staff the cunning woman Brigitta Lars Anderssons, lady Margareta and Ingrid Amundsdotter.Ebba was a stern Catholic, and in 1536 the king gave her Vreta Abbey in Östergötland, which was given her protection during the Swedish Reformation. Eventually, Ebba retired to Vreta Abbey, where she died of the plague in 1549.IssueAbraham Eriksson Leijonhufvud (1512–1556), riksrådBirgitta \"Brita\" Eriksdotter Leijonhufvud  (1514–1572), mother of Queen Catherine Stenbock.Margaret Leijonhufvud  (1516–1551), QueenAnna Leijonhufvud (1517–1540)Sten Eriksson Leijonhufvud (1518–1568), chamberlainMartha Leijonhufvud (1520–1584), known as \" King Martha\"Passage 4:Priscilla PointerPriscilla Marie Pointer (born May 18, 1924) is an American retired actress. She began her career in the theater in the late 1940s, including productions on Broadway. Later, Pointer moved to Hollywood and making appearances on television in the early 1950s. She didn't however become a regular screen actress until the 1970s.She is the mother of actress and singer Amy Irving, (whom she often appeared alongside as her mother or mother-in-law) therefore making her the former mother-in-law of filmmakers Steven Spielberg and Bruno Barreto and the mother-in-law of documentary filmmaker Kenneth Bowser, Jr.Personal lifePointer was born on May 18, 1924, in New York City. Her mother Augusta Leonora (née Davis) was an artist and an illustrator, and her father Kenneth Keith Pointer was an artist. One of her maternal great-grandfathers, Jacob Barrett Cohen, was from a Jewish family that had lived in the United States since the 1700s.Marriages and familyPointer was previously married to film and stage director Jules Irving, former artistic director of Lincoln Center, from 1947 until his death in 1979; they are the parents of Katie Irving, director David Irving, and actress Amy Irving. In 1980, she married actor/director/producer Robert Symonds, who had been Jules Irving's producing partner at Lincoln Center. She appeared several times in stage productions with Symonds, and they remained married until the latter's death in 2007. Her granddaughter is artist and photographer Austin IrvingCareerEarly careerPointer has been a performer since thee late 1940s starting her career in theatre and appearing on Broadway, and she featured in the TV series China Smith  (The New Adventures of China Smith) in 1954. After a long hiatus, she seemed to have caught the acting bug again, in the early 1970s and has been a regular performer ever since.Pointer' first major starring role was on the TV "}
+{"doc_id":"doc_236","qid":"","text":"Passage 1:Tarcisio FuscoTarcisio Fusco was an Italian composer of film scores. He was the brother of the composer Giovanni Fusco and the uncle of operatic soprano Cecilia Fusco.Selected filmographyBoccaccio(1940)Free Escape (1951)Abracadabra (1952)The Eternal Chain (1952)Beauties in Capri (1952)Milanese in Naples (1954)Conspiracy of the Borgias (1959)Passage 2:Petrus de DomartoPetrus de Domarto (fl. c.1445–1455) was a Franco-Flemish composer of the Renaissance.  He was a contemporary and probable acquaintance of Ockeghem, and was the composer of at least one of the first unified mass cycles to be written incontinental Europe.LifeDomarto's life is poorly documented.  He was listed as a singer at the Church of Our Lady in Antwerp in 1449, five years after Ockeghem was known to be there, and there is evidence he was inTournai in 1451.  He had a high reputation (which makes the lack of documentation on his life curious), but even so was passed over for a post as master of the choirboys (in favor of Paulus Iuvenis).  No otherdocumentation on his life has yet come to light.Music and reputationDomarto's two mass settings, the Missa Spiritus almus and a Missa sine nomine, were famous at the time.  The latter of the two may have been oneof the earliest cyclic masses composed on the continent, most likely in the 1440s, and imitates some features of contemporary English composers such as Leonel Power.  The Missa Spiritus almus, likely dating from the1450s, is a cantus-firmus mass, with the melody always in the tenor, but with a changing rhythmic profile as it changes mensuration throughout the piece.  The procedure was evidently influential on the next generationof composers, for it was still being copied in the 1480s, and Busnois may have based one of his own masses on the same method (the Missa O crux lignum). The theorist and writer Johannes Tinctoris criticised it forexactly the features that inspired other composers.The two surviving secular compositions by Domarto are both rondeaux, formes fixes of the type popular with the Burgundian School.WorksMassesMissa Spiritus almus(four voices)Missa sine nomine (three voices)SecularRondeaux, each for three voices:Chelui qui est tant plain de duelJe vis tous jours en esperanceNotesPassage 3:Bullet (Misfits song)\"Bullet\" is the second singlereleased by the horror punk band the Misfits. The four tracks comprising the EP were recorded, along with thirteen others, in early 1978 for the proposed Static Age album. When the band could not find a record label torelease the album, they instead released four of the songs as \"Bullet\" on singer Glenn Danzig's label Plan 9 Records. The songs were re-released in different versions over subsequent years, until Static Age was finallyreleased in its entirety in 1996.BackgroundIn August 1977 the Misfits released their debut single \"Cough/Cool\" on Blank Records, a label operated by singer Glenn Danzig. Several months later Mercury Records issued aPere Ubu record on their own Blank Records imprint, unaware that Danzig held a trademark on the name. They offered him thirty hours of studio time in exchange for the rights to the Blank Records name, which heaccepted. In January and February 1978 the Misfits, then consisting of Danzig, guitarist Franché Coma, bassist Jerry Only, and drummer Mr. Jim, recorded seventeen songs at C.I. Recordings in New York City withengineer and producer Dave Achelis. Because of the time constraints they recorded the songs live in the studio with only a few takes each and very few overdubs. They mixed fourteen of them with Achelis for theirproposed first album, to be titled Static Age. However, the band were unable to find a record label interested in releasing the album, and instead released four of the tracks as the \"Bullet\" EP in June 1978 on Danzig'snew label Plan 9 Records.The song \"Bullet\" references the 1963 assassination of John F. Kennedy, with sexually explicit lyrics directed at his wife Jacqueline Kennedy Onassis: \"Texas is an outrage when your husband isdead/Texas is an outrage when they pick up his head/Texas is the reason that the President's dead/You gotta suck, suck, Jackie, suck\".Pressing informationThe first pressing of \"Bullet\" consisted of 1,000 copies on black7\" vinyl with a gatefold cover and lyrics sheet. These copies had \"distributed by Ork\" printed on the back sleeve, as a distribution deal with Ork Records had been planned, but distribution through Ork never took place.A second pressing of 2,000 on red vinyl had a different back cover, removing the band photo and mention of Ork and replacing it with artwork of a bullet hole and the words \"better dead on red\". 7,000 additional copieswere later pressed on black vinyl with the same cover as the second pressing.Re-releases and other versionsAll four songs from \"Bullet\" were reissued on the Beware EP in January 1980, and a live version of \"We Are138\" appeared on the Evilive EP in 1982. The compilation album Misfits (1986), released three years after the band's breakup, included \"Bullet\" and \"Hollywood Babylon\", while Collection II (1995) included \"We Are138\" and \"Attitude\".The Misfits box set in 1996 presented the complete Static Age album for the first time, including all four tracks from the \"Bullet\" single. Static Age was also released as a separate album thatJuly.Cover versions\"Bullet\" was covered by Refused for the Children In Heat compilation, and the Hellacopters  covered it on the tribute album Hell on Earth: A Tribute to the Misfits (2000). Entombed also covered\"Hollywood Babylon\" on the same album. \"Attitude\" was covered by Sum 41, the Slackers, and Guns N' Roses. In 2014, Energy covered the song as part of their 7-song Misfits tribute EP.TracklistingPersonnelBandGlenn Danzig – vocalsFranché Coma – guitar, backing vocalsJerry Only – bass guitar, backing vocalsMr. Jim – drumsProductionDave Achelis – engineeringRich Flores – masteringSee alsoMisfitsdiscographyAssassination of John F. Kennedy in popular culturePassage 4:Peter Dodds McCormickPeter Dodds McCormick (28 January 1833 – 30 October 1916) was an Australian schoolteacher and songwriter, knownfor composing the Australian national anthem, \"Advance Australia Fair\". He published under the pseudonym Amicus, Latin for \"friend\".Early lifePeter Dodds McCormick was born to Peter McCormick and Janet (néeDodds) at Port Glasgow, Scotland in 1833.BiographyPeter completed an apprenticeship as a joiner in Scotland before emigrating to Sydney (at that time the principal city of the British colony of New South Wales) on 21February 1855. He initially worked as a joiner for \"some years\".McCormick spent most of his work life employed by the NSW Education Department. In 1863 he was appointed teacher-in charge at St Mary's NationalSchool. McCormick married Emily Boucher, a sewing teacher, on 16 July 1863, who died on 11 March 1866, aged 22. He remarried, to Emma Elizabeth Dening, on 22 December 1866. He also taught at the PresbyterianDenominational school in the Sydney suburb of Woolloomooloo in 1867. McCormick then moved to Dowling Plunkett Street Public School in 1878 where he remained until 1885.McCormick was heavily involved in theScottish Presbyterian Church and was active in a number of community and benevolent organisations. He began his involvement with Sydney's St Stephen's Church as a stonemason, working on the now demolishedPhillip Street Church (where Martin Place now stands). The Rev Hugh Darling was so impressed with his singing on the job he asked him to join the choir. McCormick's musical ability led him to becoming the precentor ofthe Presbyterian Church of NSW, which gave him the opportunity to conduct very large massed choirs. He was also convenor of the Presbyterian Church Assembly's Committee on Psalmody.Also a talented composer, hepublished around 30 patriotic and Scottish songs, some of which became very popular. Included in his collected works was \"Advance Australia Fair\", which was first performed in public by Andrew Fairfax at the StAndrew's Day concert of the Highland Society on 30 November 1878.\"Advance Australia Fair\" became quite a popular patriotic song. The Sydney Morning Herald described the music as bold and stirring, and the words\"decidedly patriotic\" – it was \"likely to become a popular favourite\".  Later under the pseudonym Amicus (which means 'friend' in Latin), he had the music and four verses published by W. H. Paling & Co. Ltd. The songquickly gained popularity and an amended version was sung by a choir of 10,000 at the inauguration of the Commonwealth of Australia on 1 January 1901. In 1907, the New South Wales Government awardedMcCormick £100 for his patriotic composition which he registered for copyright in 1915.In a letter to R. B. Fuller Esq., dated 1 August 1913, McCormick described the circumstances that inspired him to pen the lyrics ofhis famous song:One night I attended a great concert in the Exhibition Building, when all the National Anthems of the world were to be sung by a large choir with band accompaniment. This was very nicely done, but Ifelt very aggravated that there was not one note for Australia. On the way home in a bus, I concocted the first verse of my song & when I got home I set it to music. I first wrote it in the Tonic Sol-fa notation, thentranscribed it into the Old Notation, & I tried it over on an instrument next morning, & found it correct. Strange to say there has not been a note of it altered since. Some alteration has been made in the wording, but thesense is the same. It seemed to me to be like an inspiration, & I wrote the words & music with the greatest ease.DeathMcCormick died in 1916, aged 83, at his home, Clydebank, in the Sydney suburb of Waverley andhe was buried at Rookwood Cemetery. He had no children; he was survived by his second wife Emma. His obituary in the Sydney Morning Herald stated: \"Mr. McCormick established a reputation with the patriotic song,Advance Australia Fair, which ... has come to be recognised as something in the nature of an Australian National Anthem\".The song was performed by massed bands at the Federal capital celebrations in Canberra in1927.  In 1984 it was formally declared as the Australian national anthem.Passage 5:Walter Robinson (composer)Walter Robinson is an American composer of the late 20th century. He is most notable for his 1977 songHarriet Tubman, which has been recorded by folk musicians such as Holly Near, John McCutcheon, and others.  He is also the composer of several operas.Passage 6:Michelangelo FaggioliMichelangelo Faggioli(1666–1733) was an Italian lawyer and celebrated amateur composer of humorous cantatas in Neapolitan dialect. A founder of a new genre of Neapolitan comedy, he was the composer of the opera buffa La Cilla in1706.Passage 7:Alexandru CristeaAlexandru Cristea (1890–1942) was the composer of the music for \"Limba Noastră\", current national anthem of Moldova.BiographyA choir director, a composer and music teacher.Taught at the  \"Vasile Kormilov\" music school (1928) with Gavriil Afanasiu and the  \"Unirea\" Conservatory (1927–1929) in Chişinău with Alexandru Antonovschi (canto), he was the master of vocal music from Chişinău(1920–1940), professor of music and conductor of the choir in the boys gymnasium \"Ion Heliade Rădulescu\" in Bucure\u0000ti (1940–1941). Later, between 1941 and 1942, he directed the choir at the \"Queen Mother Elena\"high school from Chişinău. In 1920, he was ordained as a deacon of the St. George Church in Chişinău, from 1927 to 1941 was a deacon holds the Metropolitan Cathedral of Chişinău.CreationHis main creation isconsidered the music for \"Limba Noastră\", current national anthem of Moldova, composed in the lyrics of the priest-poet Alexei Mateevici. He was awarded the “Răsplata muncii pentru biserică”.Passage 8:AlonsoMudarraAlonso Mudarra (c. 1510 – April 1, 1580) was a Spanish composer of the Renaissance, and also played the vihuela, a guitar-shaped string instrument.  He was an innovative composer of instrumental music aswell as songs, and was the composer of the earliest surviving music for the guitar.BiographyThe place of his birth is not recorded, but he grew up in Guadalajara, and probably received his musical training there.  Hemost likely went to Italy in 1529 with Charles V, in the company of the fourth Duke of the Infantado, Íñigo López de Mendoza, marqués de Santillana.  When he returned to Spain he became a priest, receiving the postof canon at the cathedral in Seville in 1546, where he remained for the rest of his life.  While at the cathedral, he directed all of the musical activities; many records remain of his musical activities there, which includedhiring instrumentalists, buying and assembling a new organ, and working closely with composer Francisco Guerrero for various festivities.  Mudarra died in Seville, and his sizable fortune was distributed to the poor ofthe city according to his will.Mudarra wrote numerous pieces for the vihuela and the four-course guitar, all contained in the collection Tres libros de musica en cifras para vihuela (\"Three books of music in numbers forvihuela\"), which he published on December 7, 1546 in Seville.  These three books contain the first music ever published for the four-course guitar, which was then a relatively new instrument. The second book isnoteworthy in that it contains eight multi-movement works, all arranged by \"tono\", or mode.Compositions represented in this publication include fantasias, variations (including a set on La Folia), tientos, pavanes andgalliards, and songs. Modern listeners are probably most familiar with his Fantasia X, which has been a concert and recording mainstay for many years.   The songs are in Latin, Spanish and Italian, and includeromances, canciones (songs), villancicos, (popular songs) and sonetos (sonnets).  Another innovation was the use of different signs for different tempos:  slow, medium, and fast.References and further readingJohnGriffiths: \"Alonso Mudarra\", Grove Music Online ed. L. Macy (Accessed March 24, 2005), (subscription access)Gustave Reese, Music in the Renaissance.  New York, W.W. Norton & Co., 1954.  ISBN 0-393-09530-4GuitarMusic of the Sixteenth Century, Mel Bay Publications (transcribed by Keith Calmes)The Eight Masterpieces of Alonso Mudarra, Mel Bay Publications (transcribed by Keith Calmes)Fantasia VI in hypermedia (ShockwavePlayer required) at the BinAural Collaborative HypertextJacob Heringman and Catherine King: \"Alonso Mudarra songs and solos\". Magnatune.com(http://www.magnatune.com/artists/albums/heringman-mudarra/hifi_play)External linksFree scores by Alonso Mudarra in the Choral Public Domain Library (ChoralWiki)Free scores by Alonso Mudarra at theInternational Music Score Library Project (IMSLP)Passage 9:Alexander CourageAlexander Mair Courage Jr. (December 10, 1919 – May 15, 2008) familiarly known as \"Sandy\" Courage, was an American orchestrator,arranger, and composer of music, primarily for television and film. He is best known as the composer of the theme music for the original Star Trek series.Early lifeCourage was born in Philadelphia, Pennsylvania. Hereceived a music degree from the Eastman School of Music in Rochester, New York, in 1941. He served in the United States Army Air Forces in the western United States during the Second World War. During thatperiod, he also found the time to compose music for the radio. His credits in this medium include the programs Adventures of Sam Spade Detective, Broadway Is My Beat, Hollywood Soundstage, andRomance.CareerCourage began as an orchestrator and arranger at MGM studios, which included work in such films as the 1951 Show Boat (\"Life Upon the Wicked Stage\" number); Hot Rod Rumble (1957 film); TheBand Wagon (\"I Guess I'll Have to Change My Plan\"); Gigi (the can-can for the entrance of patrons at Maxim's); and the barn raising dance from Seven Brides for Seven Brothers.He frequently served as an orchestratoron films scored by André Previn (My Fair Lady, \"The Circus is a Wacky World\", and \"You're Gonna Hear from Me\" production numbers for Inside Daisy Clover), Adolph Deutsch (Funny Face, Some Like It Hot), JohnWilliams (The Poseidon Adventure, Superman, Jurassic Park, and the Academy Award-nominated musical films Fiddler on the Roof and Tom Sawyer), and Jerry Goldsmith (Rudy, Mulan, The Mummy, et al.).  He alsoarranged the Leslie Bricusse score (along with Lionel Newman) for Doctor Dolittle (1967).Apart from his work as a respected orchestrator, Courage also contributed original dramatic scores to films, including twowesterns: Arthur Penn's The Left Handed Gun (1958) and André de Toth's Day of the Outlaw (1959), and the Connie Francis comedy Follow the Boys (1963). He continued writing music for movies throughout the 1980sand 1990s, including the score for Superman IV: The Quest for Peace (1987), which incorporated three new musical themes by John Williams in addition to Courage's adapted and original cues for the film. Courage'sscore for Superman IV: The Quest for Peace was released on CD in early 2008 by the Film Music Monthly company as part of its boxed set Superman - The Music, while La-La Land Records released a fully expandedrestoration of the score on May 8, 2018, as part of Superman's 80th anniversary.Courage also worked as a composer on such television shows as Daniel Boone, The Brothers Brannagan, Lost in Space, Eight Is Enough,and Voyage to the Bottom of the Sea. Judd, for the Defense, Young Dr. Kildare and The Brothers Brannagan were the only television series besides Star Trek for which he composed the main theme.The composer JerryGoldsmith and Courage teamed on the long-running television show The Waltons in which Goldsmith composed the theme and Courage the Aaron Copland-influenced incidental music. In 1988, Courage won an EmmyAward for his music direction on the special Julie Andrews: The Sound of Christmas.  In the 1990s, Courage succeeded Arthur Morton as Goldsmith's primary orchestrator.Courage and Goldsmith collaborated again onorchestrations for Goldsmith's score for the 1997 film \"The Edge.\"Courage frequently collaborated with John Williams during the latter's tenure with the Boston Pops Orchestra.FamilyAt the age of 35, Courage marriedMareile Beate Odlum on October 6, 1955.Mareile, born in Germany, was the daughter of Rudolf Wolff and Elisabeth Loechelt. After Wolff's suicide Elisabeth married Carl Wilhelm Richard Hülsenbeck, renowned for hisinvolvement in the Dada movement in Europe. Hülsenbeck brought his wife (Elisabeth), son (Tom) and step-daughter (Mareile) to the United States in 1938 to avoid the political situation rapidly developing in Europe.After arriving in the US he changed his last name to Hulbeck.Mareile's marriage to Courage was her third. Her second marriage was to Bruce Odlum (son of financier Floyd Odlum) in 1944. That union produced twosons, Christopher (1947) and Brian (1949). When Courage married Mareile he accepted the responsibility of acting stepfather to them. The family originally lived together on Erskine Dr. in Pacific Palisades, but latermoved to a mountainside home on Beverly Crest Drive in Beverly Hills.Aside from his musical abilities Courage was also an avid and accomplished photographer. He took many dramatic photos of bullfights and autoracing. He was a racing enthusiast, and his interest in that sport and photography brought him into contact with many racing personalities of the era, notably Phil Hill and Stirling Moss, both of whom he consideredfriends. Moss paid at least one social visit to the Erskine residence.Though a dedicated stepfather to Christopher and Brian, Courage's musical career took precedence over his familial responsibilities. He sought tointerest his step-children in music, and was responsible for arranging Brian's first musical lessons, on alto saxophone. Later in life Brian became a composer of serious electronic music, though the vocation was notapparent during his childhood, as he was a poor saxophone student.Alexander and Mareile were divorced April 1, 1963. Courage subsequently married Kristin M. Zethren on July 14, 1967. That marriage also ended indivorce in 1972.Star Trek themeCourage is best known for writing the theme music for the original Star Trek series, and other music for that series. Courage was hired by Star Trek creator Gene Roddenberry to scorethe original series at Jerry Goldsmith's suggestion, after Goldsmith turned down the job.  Courage went on to score incidental music for episodes \"The Man Trap\" and \"The Naked Time\" and some cues for \"Mudd'sWomen.\"Courage reportedly became alienated from Roddenberry when Roddenberry claimed half of the theme music royalties. Roddenberry wrote words for Courage's theme, not because he expected the lyrics to be"}
+{"doc_id":"doc_237","qid":"","text":"Passage 1:Lars EliassonLars Eliasson  (December 8, 1914 – June 5, 2002) was a Swedish politician. He was a member of the Centre Party. He was the party's first vice chairman 1957-69 and a member of theParliament of Sweden 1952–1970. For a short time in 1957, he was a minister in the Government of Sweden, in the Second cabinet of Erlander.He is the father of the later Member of Parliament Anna Eliasson.Passage2:Miley CyrusMiley Ray Cyrus ( MY-lee SY-r\u0000s; born Destiny Hope Cyrus, November 23, 1992) is an American singer, songwriter, and actress. Dubbed the \"Pop Chameleon\", she has been recognized for her musicalversatility and continual reinvention in her sound and style. Cyrus has been referred to as the \"Teen Queen\" of 2000s pop culture and regarded as one of the few examples of a child star with a successful career as anadult. Her accolades include nineteen Teen Choice Awards, four World Music Awards, three MTV Video Music Awards, two Billboard Music Awards, one People's Choice Award, a GLAAD Media Award, and 8 GuinnessWorld Records. She has made the Time 100 list in 2008 and 2014, Forbes 30 Under 30 in 2014 and 2021, appeared on Billboard's Greatest of All Time Artists chart in 2019, and was ranked as the ninth greatestBillboard 200 female artist of all time.Out of six siblings, Cyrus is the second daughter of country singer Billy Ray Cyrus. She emerged as a teen idol while portraying the titular character of the Disney Channel televisionseries Hannah Montana (2006–2011). As Hannah Montana, she attained two number-one and three top-five soundtracks on the Billboard 200, and the U.S. Billboard Hot 100 top-ten single \"He Could Be the One\".Cyrus's initial solo career consisted of the teen-friendly pop rock U.S. number-one albums Meet Miley Cyrus (2007) and Breakout (2008); these releases contained the US top-ten singles \"See You Again\" and \"7 Things\".She then released the extended play The Time of Our Lives (2009), which peaked at number two in the U.S; its lead single, \"Party in the U.S.A\", became one of the best-selling singles in the United States and wascertified diamond by the RIAA. She also released the country pop ballad \"The Climb\", which peaked at number four. Trying to reinvent her image, Cyrus explored dance-pop in her third album, Can't Be Tamed (2010).The record was critically panned; however, its title track reached the top ten in the U.S.Following a hiatus, she underwent a more mature and provocative musical shift with the release of the R&B and hip hop-infusedBangerz (2013). Supported by the top-five single \"We Can't Stop\" and the chart-topping \"Wrecking Ball\", it became her fifth number-one album and earned Cyrus her first Grammy Award nomination. She experimentedwith psychedelic music on her follow-up, the free album Miley Cyrus & Her Dead Petz (2015), before exploring country pop on Younger Now (2017), which contained the U.S. top-ten single \"Malibu\", and trap on the EPShe Is Coming (2019). Plastic Hearts (2020) saw Cyrus venture into rock and glam rock; the record topped the Billboard Top Rock Albums chart. Cyrus's eighth studio album, Endless Summer Vacation (2023), waspreceded by the lead single \"Flowers\", which set several streaming records and became her second U.S. number-one single.Cyrus has also starred in the films Bolt (2008), Hannah Montana: The Movie (2009), The LastSong (2010), LOL (2012), and So Undercover (2013), and appeared in Guardians of the Galaxy Vol. 2 (2017). On television, she served as a coach on the singing competition series The Voice (2016–2017), starred inthe \"Rachel, Jack and Ashley Too\" episode from the Netflix series Black Mirror (2019), and hosts the yearly NBC holiday special Miley's New Year's Eve Party (2021–present). She founded the non-profit organizationHappy Hippie Foundation in 2014, which was supported by the web video series Backyard Sessions (2012–2023). She starred in and executive produced the Disney+ documentary concert special, Miley Cyrus – EndlessSummer Vacation (Backyard Sessions) (2023).Life and career1992–2005: Early life and career beginningsDestiny Hope Cyrus was born November 23, 1992, in Franklin, Tennessee, to Leticia \"Tish\" Jean Cyrus (néeFinley) and country singer Billy Ray Cyrus. She was born with supraventricular tachycardia, a condition causing an abnormal resting heart rate. Her birth name, Destiny Hope, expressed her parents' belief that shewould accomplish great things. Her parents nicknamed her \"Smiley\", which they later shortened to \"Miley\", because she often smiled as an infant. In 2008, she legally changed her name to Miley Ray Cyrus; her middlename honors her grandfather, Democratic politician Ronald Ray Cyrus, who was from Kentucky. Cyrus's godmother is singer-songwriter Dolly Parton.Against the advice of her father's record company, Cyrus's parentssecretly married on December 28, 1993, a year after her birth. They had two more children, son Braison and daughter Noah. From a previous relationship, her mother has two other children, Brandi and Trace. Herfather's first child, Christopher Cody, was born in April 1992 and grew up separately with his mother, waitress Kristin Luckey, in South Carolina.All of Cyrus's maternal siblings are established entertainers. Trace is avocalist and guitarist for the electronic pop band Metro Station. Noah is an actress and along with Braison, models, sings, and is a songwriter. Brandi was formerly a musician for the indie rock band Frank + Derol and isa professional DJ. The Cyrus farmhouse is located on 500 acres of land outside Nashville.Cyrus attended Heritage Elementary School in Williamson County while she and her family lived in Thompson's Station,Tennessee. When she was cast in Hannah Montana, the family moved to Los Angeles and she attended Options for Youth Charter Schools studying with a private tutor on set. Raised as a Christian, she was baptized in aSouthern Baptist church before moving to Hollywood in 2005. She attended church regularly while growing up and wore a purity ring. In 2001, when Cyrus was eight, she and her family moved to Toronto, Canada,while her father filmed the television series Doc. After Billy Ray Cyrus took her to see a 2001 Mirvish production of Mamma Mia! at the Royal Alexandra Theatre, Miley Cyrus grabbed his arm and told him, \"This is what Iwant to do, daddy. I want to be an actress.\" She began to take singing and acting lessons at the Armstrong Acting Studio in Toronto.Cyrus's first acting role was as Kylie in her father's television series Doc. In 2003, shereceived credit under her birth name for her role as \"Young Ruthie\" in Tim Burton's Big Fish. During this period she auditioned with Taylor Lautner for the feature film The Adventures of Sharkboy and Lavagirl in 3-D.Although she was one of two finalists for the role, she chose to appear in Hannah Montana instead.Her mother took on the role of Miley's manager and worked to acquire a team to build her daughter's career. Cyrussigned with Mitchell Gossett, director of the youth division at Cunningham Escott Slevin Doherty. Gossett is often credited with \"discovering\" Cyrus and played a key role in her auditioning for Hannah Montana. She latersigned with Jason Morey of Morey Management Group to handle her music career; Dolly Parton steered her to him. She hired her father's finance manager as part of her team.2006–2009: Hannah Montana and earlymusical releasesCyrus auditioned for the Disney Channel television series Hannah Montana when she was thirteen years old. She auditioned for the role of the title character's best friend, but was called to audition forthe lead role instead. Despite being denied the part at first because she was \"too small and too young\" for the role, she was later cast as the lead because of her singing and acting abilities. The series premiered inMarch 2006 to the largest audience for a Disney Channel program and quickly ranked among the highest-rated series on basic cable. The success of the series led to Cyrus being labeled a \"teen idol\". She toured withthe Cheetah Girls as Hannah Montana in September 2006 and performed songs from the show's first season. Walt Disney Records released a soundtrack credited to Cyrus's character in October of that year. The recordwas a commercial success, topping the Billboard 200 chart in the United States; it went on to sell over three million copies worldwide. With the release of the soundtrack, Cyrus became the first act within the WaltDisney Company to have deals in television, film, consumer products, and music.Cyrus signed a four-album deal with Hollywood Records to distribute her non-Hannah Montana soundtrack music. She released thetwo-disc album Hannah Montana 2: Meet Miley Cyrus in June 2007. The first disc was credited as the second soundtrack by \"Hannah Montana\", while the second disc served as Cyrus's debut studio album. The albumbecame her second to reach the top of the Billboard 200, and has sold over three million copies. Months after the release of the project, \"See You Again\" (2007) was released as the lead single from the album. The songwas a commercial success, and has sold over two million copies in the United States since its release. She collaborated with her father on the single \"Ready, Set, Don't Go\" (2007). Next Cyrus embarked on her highlysuccessful Best of Both Worlds Tour (2007–08) to promote its release. Ticketmaster officials commented that \"there [hadn't] been a demand of this level or intensity since The Beatles or Elvis\". The tour's success led tothe theatrical release of the 3D concert film Hannah Montana & Miley Cyrus: Best of Both Worlds Concert (2008). While initially intended to be a limited release, the film's success led to a longer run.Cyrus and friendMandy Jiroux began posting videos on the popular website YouTube in February 2008, referring to the clips as \"The Miley and Mandy Show\"; the videos garnered a large online following. In April 2008, several pictures ofCyrus in her underwear and swimsuit were leaked online by a teenager who hacked her Gmail account. Further controversy erupted when it was reported that the then-15-year-old Cyrus had posed topless during aphoto shoot by Annie Leibovitz for Vanity Fair. The New York Times subsequently clarified that although the shot left the impression that Cyrus was bare-breasted, she was wrapped in a bed sheet and was nottopless.Cyrus went on to release her second studio album, Breakout (2008), in June of that year. The album earned the highest first-week sales of her career thus far and became her third to top the Billboard 200.Cyrus later starred with John Travolta in the animated film Bolt (2008), her debut as a film actress; she also co-wrote the song \"I Thought I Lost You\" (2008) for the film, which she sings as a duet with Travolta. The filmwas a critical and commercial success and earned her a Golden Globe Award nomination for Best Original Song.In March 2009, Cyrus released \"The Climb\" (2009) as a single from the soundtrack to the Hannah Montanafeature film. It was met with a warm critical and commercial reaction, becoming a crossover hit in both pop and country music formats. The soundtrack, which features the single, went on to become Cyrus's fourth entryto top the Billboard 200; at age 16, she became the youngest artist in history to have four number-one albums on the chart. She released her fourth soundtrack as Hannah Montana in July 2009, which debuted atnumber two on the Billboard 200. Cyrus later launched her first fashion line, Miley Cyrus and Max Azria, through Walmart. It was promoted by the release of \"Party in the U.S.A.\" (2009) and the EP The Time of Our Lives(2009). Cyrus said the record was \"a transitioning album [...] really to introduce people to what I want my next record to sound like and with time I will be able to do that a little more\". \"Party in the U.S.A.\" became oneof Cyrus's most successful singles to date and is considered to be one of her signature songs. She embarked on her first world tour, the Wonder World Tour (2009) which was a critical and commercial success. OnDecember 7, 2009, Cyrus performed for Queen Elizabeth II and other members of the British royal family at the Royal Variety Performance in Blackpool, Lancashire.Billboard ranked her as the fourth best-selling femaleartist of 2009.2010–2012: Can't Be Tamed and focus on actingHoping to foster a more mature image, Cyrus starred in the film The Last Song (2010), based on the Nicholas Sparks novel. It was met with negativecritical reviews but was a box office hit. Cyrus further attempted to shift her image with the release of her third studio album, Can't Be Tamed (2010). The album featured a more dance-oriented sound than her priorreleases and stirred a considerable amount of controversy over its lyrical content and Cyrus's live performances. It sold 106,000 copies in its first week of release and became her first studio album not to top theBillboard 200 chart in the United States. The album's second and final single, \"Who Owns My Heart\" was released solely in German territories. Cyrus released her final soundtrack as Hannah Montana that October; it wasa commercial failure.Cyrus was the subject of further controversy when a video posted online in December 2010 showed her, then aged eighteen, smoking salvia with a bong. 2010 ended with her ranking at numberthirteen on the Forbes Celebrity 100 list. She embarked on her worldwide Gypsy Heart Tour in April 2011 which had no North American dates; she cited her various controversial moments as the reason, claiming thatshe only wanted to travel where she felt \"the most love\". Following the release of Can't Be Tamed, Cyrus officially parted ways with Hollywood Records. With her obligations to Hannah Montana fulfilled, Cyrus announcedher plans to take a hiatus from music so she could focus on her acting career. She confirmed she would not be going to college.Cyrus hosted the March 5, 2011, episode of Saturday Night Live where she poked fun ather recent controversies. That November it was announced that Cyrus would be the voice of Mavis in the animated film Hotel Transylvania; however by February 2012 she was dropped from the project and replacedwith Selena Gomez. At the time Cyrus said her reason for leaving the movie was wanting to work on her music; later it was revealed the real reason behind her exit was because she bought her then-boyfriend LiamHemsworth a birthday cake shaped like a penis and licked it. She made an appearance on the MTV television series Punk'd with Kelly Osbourne and Khloé Kardashian. Cyrus starred alongside Demi Moore in theindependent film LOL (2012). The film had a limited release; it was a critical and commercial failure. She starred in the comedy film So Undercover playing the role of an undercover FBI agent at a college sorority.Cyrusreleased a string of live performances known as the Backyard Sessions on YouTube during the spring and summer of 2012; the performances were of classic songs she personally liked. Having begun working on a failedfourth album the previous year, Cyrus resumed working on a new musical project in late 2012. She collaborated with producers Rock Mafia on their song \"Morning Sun\" (2012), which was made available for freedownload online. She had previously appeared in the music video for their debut single, \"The Big Bang\" (2010). Cyrus later provided guest vocals on \"Decisions\" (2012) by Borgore. Both Cyrus and Hemsworth appearedin the song's music video. She went on to guest star as Missi in two episodes of the CBS sitcom Two and a Half Men. Cyrus drew significant media attention when she cut her traditionally long, brown hair in favor of ablonde, pixie cut; she commented that she had \"never felt more [herself] in [her] whole life\" and that \"it really changed [her] life\".2013–2015: Bangerz and Miley Cyrus & Her Dead PetzIn 2013, Cyrus hired LarryRudolph to be her manager, although she is currently managed by Maverick's Adam Leber; Rudolph is best known for representing Britney Spears. It was confirmed that Cyrus had signed with RCA Records for herfuture releases. She worked with producers such as Pharrell Williams and Mike Will Made-It on her fourth studio album, resulting in a hip hop-influenced sound. She collaborated with numerous hip hop artists releasesand appeared on the Snoop Lion song \"Ashtrays and Heartbreaks\" (2013), released as the lead single from his twelfth studio album, Reincarnated. She collaborated with will.i.am on the song \"Fall Down\" (2013),released as a promotional single that same month. The song entered the Billboard Hot 100 at number fifty-eight, marking her first appearance on the chart since \"Can't Be Tamed\" (2010). She provided guest vocals onthe Lil Twist song \"Twerk\", which also featured vocals by Justin Bieber. The song was unreleased for unknown reasons but leaked online. On May 23, 2013, it was confirmed that Cyrus would be featured on the Mike WillMade It single \"23\", with Wiz Khalifa and Juicy J. The single went on to peak at number eleven on the Hot 100, and had sold over one million copies worldwide as of 2013.Cyrus released her new single \"We Can't Stop\"on June 3. Touted as her comeback single, it became a worldwide commercial success, topping charts in territories such as the United Kingdom. The song's music video set the Vevo record for most views withintwenty-four hours of release and became the first to reach 100 million views on the site. Cyrus performed with Robin Thicke at the 2013 MTV Video Music Awards, a performance that resulted in widespread mediaattention and public scrutiny. Her simulated sex acts with a foam finger were described as \"disturbing\" and the whole performance as \"cringe-worthy\". Cyrus released \"Wrecking Ball\" (2013) as the second single fromBangerz on the same day as the VMAs. The accompanying music video, showing her swinging naked on a wrecking ball, was viewed over nineteen million times within 24 hours of its release. The single became Cyrus'sfirst to top the Hot 100 in the US and sold over two million copies.On October 2, MTV aired the documentary Miley: The Movement, that chronicled the recording of her fourth studio album Bangerz, which was releasedon October 4. The album was a commercial success, debuting at number one on the Billboard 200 with first week sales of 270,000 copies. On October 5, Cyrus hosted Saturday Night Live for the second time. OnNovember 5, Cyrus featured on rapper Future's \"Real and True\" with Mr. Hudson; an accompanying music video premiered five days later on November 10, 2013. In late 2013 she was declared Artist of the Year byMTV. On January 29, 2014, she played an acoustic concert show on MTV Unplugged, performing songs from Bangerz featuring a guest appearance by Madonna. It became the highest-rated MTV Unplugged in the pastdecade, with over 1.7 million streams. Cyrus was also featured in the Marc Jacobs Spring 2014 campaign along with Natalie Westling and Esmerelda Seay Reynolds. She launched her controversial Bangerz Tour (2014)that year, which was positively received by critics. Two months into her tour, Cyrus's Alaskan Klee Kai was found mauled to death at her home after fighting with a coyote. Two weeks later, Cyrus suffered an allergicreaction to the antibiotic cephalexin, prescribed to treat a sinus infection, resulting in her hospitalization in Kansas City. Though she rescheduled some of her US tour dates, she resumed the tour two weeks later,beginning with the European leg.While collaborating with the Flaming Lips on their remake of the Beatles' Sgt. Pepper's Lonely Hearts Club Band, With a Little Help from My Fwends, Cyrus began working with WayneCoyne on her fifth studio album. She claimed that she was taking her time to focus on the music, and that the album would not be released until she felt it was ready. Coyne compared his collaborative material withCyrus to the catalogs of Pink Floyd and Portishead and described their sound as being \"a slightly wiser, sadder, more true version\" of Cyrus's pop music output. Cyrus also worked on the films The Night Before (2015)and A Very Murray Christmas (2015) during this period; both roles were cameos. Reports began to surface in 2015 that Cyrus was working on two albums simultaneously, one of which she hoped to release at nocharge. This was confirmed by her manager who claimed she was willing to end her contract with RCA Records if they refused to let her release a free album. Cyrus was the host of the 2015 MTV Video Music Awards,making her its first openly pansexual host, and gave a surprise performance of a new song \"Dooo It!\" (2015) during the show's finale. Immediately following the performance, Cyrus announced that her fifth studioalbum, Miley Cyrus & Her Dead Petz (2015), was available for free streaming on SoundCloud. The album was written and produced primarily by Cyrus, and has been called experimental and psychedelic, with elements"}
+{"doc_id":"doc_238","qid":"","text":"Passage 1:Summer EverSummer Ever is the fourth release, and third full-length LP from The Revolution Smile. The album was an independent release, sold online in physical format and on iTunes and Amazon.Tracklist\"Summer Ever\" - 1:12\"Are You Awake?\" - 4:16\"I Was a Werewolf\" - 3:22\"Ringwald\" - 3:17\"Destination Isolation\" - 3:33\"Maybe, Baby\" - 3:17\"Fate\" - 3:55\"When Love Was Dead\" - 4:52\"Recover\" - 4:37\"Move South\"- 1:08\"The State We're In\" - 3:30\"Positive.Negative\" - 2:33\"Nice Talking to You\" - 3:11\"My Skin Is Thicker Than I Wanted\" - 6:19\"Flight Delay\" - 4:13Passage 2:Leaving on a MaydayLeaving on a Mayday is an album bysinger-songwriter Anna Ternheim.  It was released on 11 August 2008 and is Ternheim's fourth full-length LP.Track listing\"What Have I Done\" – 3:21\"Damaged Ones\" – 3:09\"Terrified\" – 4:42\"Let It Rain\" – 4:54\"MyHeart Still Beats for You\" – 4:27\"No, I Don't Remember\" – 3:53\"Make It On My Own\" – 3:24\"Summer Rain\" – 3:55\"Losing You\" – 3:38\"Off the Road\" – 3:54\"Black Sunday Afternoon\" – 4:37\"Terrified\" – 3:33DeluxEditionCD1What Have I DoneDamaged OnesTerrifiedLet It RainMy Heart Still Beats For YouNo I Don't RememberSummer RainLosing YouOff The RoadBlack Sunday AfternoonCD2: \"Anna Sings Sinatra\"New York NewYorkCome Fly With MeFly Me To The MoonThat's LifeStrangers In The NightBox editionCD1What Have I DoneDamaged OnesTerrifiedLet It RainMy Heart Still Beats For YouNo I Don't RememberSummer RainLosingYouOff The RoadBlack Sunday AfternoonNew York New YorkCome Fly With MeFly Me To The MoonThat's LifeStrangers In The NightCD2: LIVE EP FROM TOURING 2009No, I Don't RememberDamaged OnesA FrenchLoveWedding SongLet It RainDVD: ANNA PERFORMS FIVE ACOUSTIC VERSIONSWhat Have I DoneSummer RainNo, I Don't RememberOff The RoadMy Heart Still Beats For YouPassage 3:Been ListeningBeen Listening isthe second full-length LP by London-based folk-rock band Johnny Flynn & The Sussex Wit.  The album was recorded in both London and Seattle, and features collaborations with Laura Marling and Anna Calvi. The albumwas also released in a 2-disc special edition and on vinyl.Track listingPassage 4:At Mount ZoomerAt Mount Zoomer, the second full length LP from the Canadian indie rock band Wolf Parade, was released on June 17,2008.Album titleThe album is named after Wolf Parade drummer Arlen Thompson's sound studio, Mount Zoomer; the name of the studio references \"a B.C. euphemism for magic mushrooms\", and also nods to theMontreal band A Silver Mount Zion. The album was originally meant to be entitled Kissing the Beehive; however, due to possible copyright infringements in relation to Jonathan Carroll's 1997 novel of the same name,this title was changed. Singer and keyboardist Spencer Krug said that the band \"didn't know that was the title of a book... We might have to change it, but we might not. And we'll have to make it clear that it's not[named] after his book. It's a complicated situation.\" It had also been reported earlier by Blender that the record was entitled Pardon My Blues; however, on April 28, Sub Pop officially announced that the album's namewould be At Mount Zoomer.Album overviewThe band started playing new songs live that would end up on At Mount Zoomer as early as summer 2007. Among the first to be played were \"Language City\" and \"Fine YoungCannibals\".According to singer and guitarist Dan Boeckner, half of the album was recorded in Farnham, Quebec at Petite Église, an old church that was converted to a recording studio by the band Arcade Fire for theproduction of their album Neon Bible. After touring the east coast in late 2007, Wolf Parade recorded the rest of At Mount Zoomer at MIXart Studios in Montreal, Quebec. Afterwards, the album was mixed at ArlenThompson's sound studio, Mount Zoomer.The cover art for the album features the work of Matt Moroz and Elizabeth Huey, depicting a battle scene between the two artists.The track \"Call It a Ritual\" was released by theband on April 14, 2008.ReceptionAt Mount Zoomer received positive reviews from critics. On Metacritic, the album holds a score of 78 out of 100 based on 28 reviews, indicating \"generally favorable reviews\".TracklistingPersonnelWolf Parade – mixing, producing, \"overdubs and vocals recorded by\"Harris Newman – masteringArlen Thompson – recording (tracks 1, 2, 4, 6-8), \"one vocal recorded by\"David Ferry – recording (tracks3, 5, 9)Nick Petrowski – recording (tracks 3, 5, 9)David Smith – \"some vocals recorded by\"Jace Lasek – \"some vocals recorded by\"Elizabeth Huey – artworkMatt Moroz – artworkPassage 5:Tear Ourselves AwayTearOurselves Away is the first full-length LP by San Francisco-based indie rock band LoveLikeFire.  The album was released commercially on August 10, 2009.  A leaked version of the album first appeared on the internet inApril 2009.Track listingThe track listing is as follows:\"William\"\"From a Tower\"\"Crows Feet\"\"Signs\"\"I've Pissed Off My Friends\"\"Good Judgment\"\"Boredom\"\"My Left Eye\"\"Far From Home\"\"Stand in Your Shoes\"\"EverythingMust Settle\"Passage 6:Blow in the WindBlow in the Wind is the third album by Me First and the Gimme Gimmes, released in 2001, on the Fat Wreck Chords independent record label.  Blow in the Wind features severaltracks which are led off with musical mash-ups of, or homages to, classic Punk songs, a trend the group began on their second album, Are a Drag (with an appropriation of \"Generator\" by Bad Religion for their cover of\"My Favorite Things\") and would continue with Take a Break and Ruin Jonny's Bar Mitzvah: \"Sloop John B\" samples \"Teenage Lobotomy\" by The Ramones, \"Elenor\" samples \"London Calling\" by The Clash, \"SanFrancisco\" samples \"Stranger Than Fiction\" by Bad Religion, \"I Only Want to Be With You\" samples and \"The Money Will Roll Right In\" by Fang. Similarly, the track \"Different Drum\" also ends with a guitar riff taken from\"Georgy Girl\" by the Seekers.The first song begins with a clip similar to the hidden track on the NOFX album Punk in Drublic where Fat Mike attempts to find the proper pitch of the word \"how\" in the line \"How did thecat get so fat?\" from \"Perfect Government\".The album is made up entirely of \"Hits of the 1960s\". The band's version of \"Different Drum\" can be heard during the credits of the film Dodgeball: A True Underdog Story.Theband's version of \"Sloop John B\" is featured in the 2013 film The Wolf of Wall Street.Track listingPersonnelSpike Slawson - vocalsChris Shiflett (a.k.a. Jake Jackson) - lead guitarJoey Cape - rhythm guitarFat Mike -bassDave Raun - drumsPassage 7:The Crew (album)The Crew is the debut studio album by American hardcore punk band 7 Seconds, released in 1984 by BYO Records. The original LP was released with 18 tracks, andlater re-released on compact disc with six live bonus tracks.Critical receptionThe Austin Chronicle called the album a \"stone classic,\" writing that \"precious few third wave punk-hardcore outfits have aged as stoically – oras relevantly – as vox/guitar sibling duo Kevin Seconds and Steve Youth.\" In a retrospective review, Tiny Mix Tapes wrote that the band's sound \"is distilled ... to a steady grind of too-pah beats and blender-likethree-chord sounds, but it’s the combination of this minimalism and Kevin Seconds’s voice — passionate, melodic, hopeful — that makes you believe everything he says.\" LA Weekly placed The Crew at #3 on its list ofthe top twenty hardcore albums in history, writing that \"7 Seconds wrote the book on positive hardcore and that book is called The Crew.\"Track listingAll songs written by Kevin Seconds, except for where noted.\"Here'sYour Warning\" - 1:18\"Definite Choice\" - 0:55\"Not Just Boys Fun\" (Seconds, Steve Youth) - 1:29\"This Is the Angry Pt. 2\" - 1:09\"Straight On\" - 0:24\"You Lose\" - 0:36\"What If There's a War in America\" - 0:42\"The Crew\"- 0:51\"Clenched Fists, Black Eyes\" - 1:30\"Colourblind\" - 1:42\"Aim to Please\" - 1:14\"Boss\" (Seconds, Youth) - 0:45\"Young 'Til I Die\" - 2:01\"Red and Black\" - 0:37\"Die Hard\" - 0:57\"I Have a Dream\" - 1:00\"Bully\" -1:05\"Trust\" - 2:13\"Here's Your Warning\" (Live) - 1:35\"Spread\" (Live) - 1:21\"I Have a Dream\" (Live) - 0:58\"Young 'Til I Die\" (Live) - 1:51\"Not Just Boys Fun\" (Live) (Seconds, Youth) - 1:26\"Rock Together\" (Live) -2:12PersonnelKevin Seconds: Lead VocalsDan Pozniak: Guitar, VocalsTroy Mowat: DrumsSteve Youth: Bass, PianoPassage 8:Full Length LPFull Length LP is the debut album by the Huntington Beach, California punkrock band Guttermouth, released in 1991 by Dr. Strange Records. It introduced the band's style of fast, abrasive punk rock with tongue-in-cheek humor and sarcastic lyrics. The album was originally released as an LPbut was repackaged the following year as a CD including tracks from the band's first 2 EPs Puke and Balls, as well as the previously unreleased tracks \"Malted Vomit\" and \"Ghost.\" It was re-released again in 1996 byNitro Records under the title The Album Formerly Known as Full Length LP.The album proved to be a success for the band, expanding their fan base and giving them opportunities to play shows all over southernCalifornia alongside other popular punk rock bands. An animated music video was made for the song “1, 2, 3…Slam!” and played on local punk rock and skateboarding video programs. Many of the songs from FullLength would remain staples in the band's live set throughout their career.Track listingAll songs written by Guttermouth except where noted\"Race Track\"\"No More\"\"Jack La Lanne\"\"Where Was I?\"\"Old Glory\"\"I'mPunk\"\"Mr. Barbeque\"\"Bruce Lee vs. the Kiss Army\"\"Chicken Box\"\"Carp\"\"Toilet\"\"Oats\"\"1, 2, 3...Slam!\"\"I Used to be 20\" (written & originally performed by the Dayglo Abortions as \"I Used to be in Love\")\"ReggaeMan\"\"Chicken Box\" (again)*\"Just a Fuck\"*\"Hypocrite\"*\"Marco-Polo\"*\"Under My Skin\"*\"Gas Out\"*\"No Such Thing\"*\"Malted Vomit\"*\"Ghost\"**Tracks 16-24 are included on CD re-releases only. Tracks 16-22 comprisethe band's first 2 EPs Puke and Balls, while tracks 23 & 24 are previously unreleased. \"Chicken Box (again)\" is not included on the 1996 re-release.PersonnelMark Adkins - vocalsScott Sheldon - guitarEric \"Derek\" Davis- guitarClint \"Cliff\" Weinrich - bassJames Nunn - drumsAlbum informationRecord label:original LP & CD releases: Dr. Strange Records1996 re-release: Nitro RecordsRecorded April 27–28 and June 22–23, 1990 atWestbeach Recorders by Donnell Cameron with assistance by Joe PeccorilloProduced by GuttermouthAll songs written by Guttermouth except \"I Used to be 20\" by the Dayglow Abortions1996 re-release remastered byEddie Shreyer at FuturediscPhotos on 1996 re-release by Paul CobbPassage 9:Night FallsNight Falls is the seventh studio album released by American hip-hop group Heiruspecs. It was released on April 22, 2014independently. It is the band's first full-length LP since 2008's self-titled album.Track listingPassage 10:At the End of the Day (Disagree album)At The End Of The Day is the first full-length LP by Malaysia-based bandDisagree. It was released on February 10, 2004.Track listingPersonnelZahid – Vocals, Lead GuitarHamka – DrumsAziz – BassAshroff – Rhythm Guitar"}
+{"doc_id":"doc_239","qid":"","text":"Passage 1:Scotty FoxScott Fox is a pornographic film director who is a member of the AVN Hall of Fame.Awards1992 AVN Award – Best Director, Video (The Cockateer)1995 AVN Hall of Fame inducteePassage2:Riccardo FredaRiccardo Freda (24 February 1909 – 20 December 1999) was an Italian film director. He worked in a variety of genres, including sword-and-sandal, horror, giallo and spy films.Freda began directing IVampiri in 1956. The film became the first Italian sound horror film production.BiographyRiccardo Freda was born in 1909 in Alexandria, Egypt to Italian parents. Freda attended school in Milan where he took art classesat the Centro Sperimantale. After school he took on work as a sculptor and art critic.Film careerFreda first began working in the film industry in 1937 and directed his first film Don Cesare di Bazan in 1942. Freda begandirecting I Vampiri. I Vampiri was the first Italian horror film of the sound era, following the lone silent horror film Il mostro di Frankenstein (1920)  Despite being the first, a wave of Italian horror productions did notfollow until Mario Bava's film Black Sunday was released internationally.Freda died on 20 December 1999 in Rome.FilmographyNotes^  a Freda has denied having taken part in writing the script for this film, despitebeing credited.^  b Freda was originally to direct the film but stated that he walked off the set on the first day of shooting.^  c Freda name is not in the credits but some sources state he directed several battles scenesin the film, which Freda denies.^  d Freda name is not in the credits but some sources state he edited the naval battle scenes in the film, which Freda denies.^  e Freda has claimed to have shot the entire film.Passage3:Oh Sailor BehaveOh, Sailor, Behave! is a 1930 American Pre-Code musical comedy film produced and released by Warner Brothers, and based on the play See Naples and Die, written by Elmer Rice. The film wasoriginally intended to be entirely in Technicolor and was advertised as such in movie trade journals. Due to the backlash against musicals, it was apparently released in black-and-white only.PlotAn American newspaperreporter named Charlie Carroll (Charles King) is sent to Venice to interview a Romanian general, who is played by Noah Beery. While in Venice Charlie falls for a young heiress named Nanette Dodge (Irene Delroy).When Charlie is unable to get an interview with the Romanian general, a local siren named Kunegundi (Vivien Oakland), who is the general's favorite helps him. Meanwhile, Nanette learns that her sister is beingblackmailed by Prince Kasloff of Russia (Lowell Sherman), to whom she wrote some incriminating letters. Nanette attempts to vamp the Prince in order to obtain the love letters. The Prince, however, tricks her anddemands that Nanette marry him if she wants to save her sister. After being repeatedly rebuked by Nanette, the prince hires the Romanian general (Noah Beery) to kidnap her and force her into  marriage. Charlie,thinking she has eloped, consoles himself with Kunegundi (Vivien Oakland) and almost marries her until he realizes the truth about Nanette and that she has been kidnapped by the Prince. Charlie sets out to rescue herand when the Prince shows up disguised as the general he shoots Prince Kasloff. Charlie and Nanette are happily reunited.Ole Olsen and Chic Johnson provide comic relief that is completely unrelated to the main story.They play the part of two American sailors stationed in Naples who attempt to find a wooden-legged thief who has robbed the navy storehouse in Venice. Louisa, a local siren (played by Lotti Loder) leads them on andembroils them in trouble.Music\"When Love Comes In The Moonlight\"\"Leave A Little Smile\"\"Highway to Heaven\"\"The Laughing Song\"\"Tell Us Which One Do You Love\"Production backgroundCharles King recorded threesongs for the film for Brunswick Records: Brunswick 4840 (Highway to Heaven/When Love Comes in the Moonlight); Brunswick 4849 (Leave A Little Smile). The other side of Brunswick 4849 featured a song from theaborted MGM revue The March of Time (1930).This was to be Charles King's last musical movie. He went back to the Broadway stage, since movie audiences had grown tired of musicals, and never returned to thescreen.Due to the public apathy towards musicals, Warner Bros. did not debut this film in the usual prestigious movie theaters. The film was immediately  placed in general release with no fanfare.Comedians Olsen andJohnson were added to the film due to growing public apathy towards serious stage actors such as King and Delroy. The movie was marketed as a comedy film with these comics billed as \"America's funniestclowns\".PreservationThe version of the film released in the United States, late in 1930, survives intact. A print is at the Museum of Modern Art, and is in the Turner Classic Movies film library as well as the Library ofCongress. The complete soundtrack also survives on Vitaphone disks. The film was released on DVD through the Warner Archive Collection in 2014.Passage 4:See Naples and DieSee Naples and Die (Italian: Vedi Napolie poi muori) is a 1952 Italian crime-melodrama film directed by Riccardo Freda.PlotDrug dealer Sanesi is trying to get her old friend Marisa to have her husband, a senior bank official, sing. But the official becomesconvinced that Marisa is cheating on him with Sanesi and throws his wife out of the house. In order to prevent the situation from deteriorating, Marisa decides to assassinate Sanesi. A murder trial then opens againstMarisa. Her acquittal in self-defense will lead Marisa and her husband to reconciliation.CastGianna Maria Canale: MarisaRenato Baldini: Giacomo MariniVittorio Sanipoli: Roberto SanesiFranca Marzi: Lover ofSenesiCarletto SpositoClaudio VillaProductionFollowing the success of his previous film La vendetta di Aquila Nera, Riccardo Freda directed his next film produced by Umberto Momi and Carlo Caiano through theircompany Associati Produttori Indipendenti (A.P.I.). Freda claimed he shot the film within 15 days, with three on location in Naples and the rest in Rome at CSC studios.The film marked the first collaboration betweenFreda and his longtime director of photography, Gábor Pogány. Freda commented on his collaboration with his Hungarian cinematographer, stating that \"It is quite astonishing, but it was the Hungarians and the Czechswho revolutionized cinematography in Italy. Stallich, Vich and Pogany. They reinvented the use of lighting on sets... This trio remained famous in Italy the name of 'Hungarian school'\".ReleaseSee Naples and Die wasdistributed theatrically in Italy by Associati Produttori Indipendenti on March 29, 1952. The film grossed a total of 381,384,000 Italian lire domestically in Italy.  The film was released in the United States as See Naplesand Die in 1959 where it was released subtitled and distributed by Crown Pictures.ReceptionItalian critic and film historian Roberto Curti stated that Italian critics \"generally panned the film\". On its release in the UnitedStates, the New York Times stated the film had a \"sodden script\" and that \"Gianna Maria Canale, as that pretty, luckless lady, is involved  in nearly every cliche dear to the devotees of daytime detergent dramas onradio, but unsmilingly she comes through [...] There are English titles but even without them it is fairly clear that sad is the word for the manufactured tragedies in See Naples and Die.\"See alsoList of Italian films of1952Passage 5:Ben PalmerBen Palmer (born 1976) is a British film and television director.His television credits include the Channel 4 sketch show Bo' Selecta! (2002–2006), the second and third series of the E4 sitcomThe Inbetweeners (2009–2010) and the Sky Atlantic comedy-drama Breeders (2020). Palmer has also directed films such as the Inbetweeners spin-off, The Inbetweeners Movie (2011) and the romantic comedy Man Up(2015).BiographyPalmer was born and raised in Penny Bridge, Barrow-in-Furness. He attended Chetwynde School.His first directing job was the Channel 4 sketch show Bo' Selecta!, which he co-developed with its mainstar, Leigh Francis. Palmer directed the second and third series of the E4 sitcom The Inbetweeners in 2009 and 2010, respectively.FilmographyBo' Selecta! (2002–06)Comedy Lab (2004–2010)Bo! in the USA (2006)TheInbetweeners (2009–2010)The Inbetweeners Movie (2011)Comedy Showcase (2012)Milton Jones's House of Rooms (2012)Them from That Thing (2012)Bad Sugar (2012)Chickens (2013)London Irish (2013)Man Up(2015)SunTrap (2015)BBC Comedy Feeds (2016)Nigel Farage Gets His Life Back (2016)Back (2017)Comedy Playhouse (2017)Urban Myths (2017–19)Click & Collect (2018)Semi-Detached (2019)Breeders(2020)Passage 6:Season of StrangersSeason of Strangers (sometimes referred as haiku film) is 1959 unfinished American 16 mm black and white Avant-garde-experimental short film directed by MayaDeren.ProductionThe film began as a part of Deren's workshop which took place in Woodstock, New York, during July 6 to July 25 in 1959. Deren after claimed that the location was important for the structure of thefilm. Also the lyrical aspect of Japanese Haiku motivated the fim as well.Passage 7:Maya DerenMaya Deren (born Eleonora Derenkovskaya, Ukrainian: Елеоно́ра Деренко́вська; May 12 [O.S. April 29] 1917 – October13, 1961) was a Ukrainian-born (then part of the Russian Empire, now independent Ukraine) American experimental filmmaker and important part of the avant-garde in the 1940s and 1950s. Deren was also achoreographer, dancer, film theorist, poet, lecturer, writer, and photographer.The function of film, Deren believed, was to create an experience. She combined her expertise in dance and choreography, ethnography, theAfrican spirit religion of Haitian Vodou,  symbolist poetry and gestalt psychology (student of Kurt Koffka)  in a series of perceptual, black-and-white short films. Using editing, multiple exposures, jump-cutting,superimposition, slow-motion, and other camera techniques to her advantage, Deren abandoned established notions of physical space and time, innovating through carefully planned films with specific conceptualaims.Meshes of the Afternoon (1943), her collaboration with her husband at the time Alexander Hammid, has been one of the most influential experimental films in American cinema history. Deren went on to makeseveral more films, including but not limited to At Land (1944), A Study in Choreography for Camera (1945), and Ritual in Transfigured Time (1946), writing, producing, directing, editing, and photographing them withhelp from only one other person, Hella Heyman, her camerawoman.Early lifeDeren was born May 12 [O.S. April 29] 1917 in Kyiv, Ukraine, Russian Empire, now independent Ukraine, into a Jewish family, to psychologistSolomon Derenkowsky and Gitel-Malka (Marie) Fiedler, who supposedly named her after Italian actress Eleonora Duse.In 1922, the family fled the Ukrainian SSR because of antisemitic pogroms perpetrated by theWhite Volunteer Army and moved to Syracuse, New York. Her father shortened the family name from Derenkovskaya to \"Deren\" shortly after they arrived in New York. He became the staff psychiatrist at the StateInstitute for the Feeble-Minded in Syracuse. Deren's mother was a musician and dancer who had studied these arts in Kyiv. In 1928, Deren's parents became naturalized citizens of the United States.Deren was highlyintelligent, starting fifth grade at only eight years old. She attended the League of Nations International School of Geneva, Switzerland for high school from 1930 to 1933. Her mother moved to Paris, France to be nearerto her while she studied. Deren learned to speak French while she was abroad.Deren enrolled at Syracuse University at sixteen, where she began studying journalism and political science. Deren became a highly activesocialist activist during the Trotskyist movement in her late teens. She served as National Student Secretary in the National Student office of the Young People's Socialist League and was a member of the SocialProblems Club at Syracuse University. At age eighteen in June 1935, she married Gregory Bardacke, a socialist activist whom she met through the Social Problems Club. After his graduation in 1935, she moved to NewYork City. She finished school at New York University with a Bachelor's degree in literature in June 1936, and returned to Syracuse that fall. She and Bardacke became active in various socialist causes in New York City;and it was during this time that they separated and eventually divorced three years later.In 1938, Deren attended the New School for Social Research, and received a master's degree in English literature at SmithCollege. Her Master's thesis was titled The Influence of the French Symbolist School on Anglo-American Poetry (1939). This included works of Pound, Eliot, and the Imagists. By the age of 21, Deren had earned twodegrees in literature.Early careerAfter graduation from Smith, Deren returned to New York's Greenwich Village, where she joined the European émigré art scene. She supported herself from 1937 to 1939 by freelancewriting for radio shows and foreign-language newspapers. During that time she also worked as an editorial assistant to famous American writers Eda Lou Walton, Max Eastman, and then William Seabrook. She wrotepoetry and short fiction, tried her hand at writing a commercial novel, and also translated a work by Victor Serge which was never published. She became known for her European-style handmade clothes, wild red curlyhair and fierce convictions.In 1940, Deren moved to Los Angeles to focus on her poetry and freelance photography. In 1941, Deren wrote to Katherine Dunham—an African American dancer, choreographer, andanthropologist of Caribbean culture and dance—suggesting a children's book on dance and applying for a managerial job for her and her dance troupe; she later became Dunham's assistant and publicist. Deren travelledwith the troupe for a year, learning greater appreciation for dance, as well as interest and appreciation for Haitian culture. Dunham's fieldwork influenced Deren's studies of Haitian culture and Vodou mythology. At theend of touring a new musical Cabin in the Sky, the Dunham dance company stopped in Los Angeles for several months to work in Hollywood. It was there that Deren met Alexandr Hackenschmied (who later changed hisname to Alexander Hammid), a celebrated Czech-born photographer and cameraman who would become Deren's second husband in 1942. Hackenschmied had fled from Czechoslovakia in 1938 after the Sudetenlandcrisis. Deren and Hammid lived together in Laurel Canyon, where he helped her with her still photography which focused on local fruit pickers in Los Angeles. Of two still photography magazine assignments of 1943 todepict artists active in New York City,  including Ossip Zadkine, her photographs appeared in the Vogue magazine article. The other article intended for Mademoiselle magazine was not published, but three signedenlargements of photographs intended for this article, all depicting Deren's friend New York ceramist Carol Janeway, are preserved in the MoMA and the Philadelphia Museum of Art. All prints were from Janeway'sestate.Personal lifeIn 1943, she moved to a bungalow on Kings Road in Hollywood and adopted the name Maya, a pet name her second husband Hammid coined. Maya is the name of the mother of the historical Buddhaas well as the dharmic concept of the illusory nature of reality. In Greek myth, Maia is the mother of Hermes and a goddess of mountains and fields.In 1944, back in New York City, her social circle included MarcelDuchamp, André Breton, John Cage, and Anaïs Nin.In 1944, Deren filmed The Witch's Cradle in Peggy Guggenheim's Art of This Century gallery with Duchamp featured in the film.In the December 1946 issue of Esquiremagazine, a caption for her photograph teased that she \"experiments with motion pictures of the subconscious, but here is finite evidence that the lady herself is infinitely photogenic.\" Her third husband, Teiji Itō, said:\"Maya was always a Russian. In Haiti she was a Russian. She was always dressed up, talking, speaking many languages and being a Russian.\"Film careerDeren defined cinema as an art, provided an intellectual contextfor film viewing, and filled a theoretical gap for the kinds of independent films that film societies were featuring.As Sarah Keller states, “Maya Deren lays claim to the honor of being one of the most important pioneers ofthe American film avant-garde with a scant seventy-five or so minutes of finished films to her credit.”Deren began to screen and distribute her films in the United States, Canada, and Cuba, lecturing and writing onavant-garde film theory, and additionally on Vodou. In February 1946 she booked the Provincetown Playhouse in Greenwich Village for a major public exhibition, titled Three Abandoned Films, in which she showedMeshes of the Afternoon (1943), At Land (1944) and A Study in Choreography for Camera (1945). The event was completely sold out, inspiring Amos Vogel's formation of Cinema 16, the most successful film society ofthe 1950s.In 1946, she was awarded a Guggenheim Fellowship for \"Creative Work in the Field of Motion Pictures\", and in 1947, won the Grand Prix International for avant-garde film at the Cannes Film Festival forMeshes of the Afternoon. She then created a scholarship for experimental filmmakers, the Creative Film Foundation.Between 1952 and 1955, Deren collaborated with the Metropolitan Opera Ballet School and AntonyTudor to create The Very Eye of Night.Deren's background and interest in dance appears in her work, most notably in the short film A Study in Choreography for Camera (1945). This combination of dance and film hasoften been referred to as \"choreocinema\", a term first coined by American dance critic John Martin.In her work, she often focused on the unconscious experience, such as in Meshes of the Afternoon. This is thought tobe inspired by her father who was a student of psychiatrist Vladimir Bekhterev who explored trance and hypnosis as neurological states. She also regularly explored themes of gender identity,  incorporating elements ofintrospection and mythology. Despite her feminist subtext, she was mostly unrecognized by feminist writers at the time, even influential writers Claire Johnston and Laura Mulvey ignored Deren at the time, thoughMulvey later would give Deren this recognition, since their works were often in conversation with each other.Major filmsMeshes of the Afternoon (1943)In 1943, Deren purchased a used 16mm Bolex camera with someof the inheritance money after her father's death from a heart attack. This camera was used to make her first and best-known film, Meshes of the Afternoon (1943), made in collaboration with Hammid in their LosAngeles home on a budget of $250. Meshes of the Afternoon is recognized as a seminal American avant-garde film. It is the first example of a narrative work in avant-garde American film; critics have seenautobiographical elements in the film, as well as thoughts about woman as subject rather than as object. Originally a silent film with no dialogue, music for the film was composed, long after its initial screenings, byDeren's third husband Teiji Itō in 1952. The film can be described as an expressionistic \"trance film\", full of dramatic angles and innovative editing. It investigates the ephemeral ways in which the protagonist'sunconscious mind works and makes connections between objects and situations. A woman, played by Maya Deren, walks up to a house in Los Angeles, falls asleep and seems to have a dream. The sequence of walkingup to the gate on the partially shaded road restarts numerous times, resisting conventional narrative expectations, and ends in various situations inside the house. Movement from the wind, shadows and the musicsustain the heartbeat of the dream. Recurring symbols include a cloaked figure, mirrors, a key, and a knife.The loose repetition and rhythm cut short any expectation of a conventional narrative, heightening thedream-like qualities. The camera initially does not show her face, which precludes identification with a particular woman, which creates a universalizing, totalizing effect- as it is easier to relate to an unknown, facelesswoman. Multiple selves appear, shifting between the first and third person, suggesting that the super-ego is at play, which is in line with the psychoanalytic Freudian staircase and flower motifs. This kind of Freudianinterpretation, which she disagreed with, led Deren to add sound, composed by Teiji Itō, to the film. Another interpretation is that each film is an example of a \"personal film\". Her first film, Meshes of the Afternoon,explores a woman's subjectivity and relation to the external world. Georges Sadoul said Deren may have been \"the most important figure in the post-war development of the personal, independent film in the U.S.A.\" In"}
+{"doc_id":"doc_240","qid":"","text":"Passage 1:Jane WighamJane Wigham (née Smeal; 1801–1888) was a leading Scottish abolitionist, and was the secretary of the Glasgow Ladies' Emancipation Society.LifeSmeal was born in Glasgow in 1801, the sisterof William Smeal. She was educated as a Quaker at Ackworth School in Yorkshire. The family resided in Edinburgh, later moving to Aberdeen. As Quakers, Smeal's family were unusual in Scotland. The 1851 censusshows that there were fewer than 400 active Scottish Quakers at the time.Smeal became the leader and secretary of the radical Glasgow Ladies Emancipation Society. Her brother William in 1822 founded the GlasgowAnti-Slavery Society, a forerunner of the Glasgow Emancipation Society, and was later active in the latter. Smeal had a record of anti-slavery activity, long before the Free Church became involved in the issue.In 1838she published an important pamphlet with Elizabeth Pease of Darlington titled Address to the Women of Great Britain. This document called for British women to speak in public and to form anti-slavery organisations forwomen. An address that Smeal prepared for Queen Victoria has been credited with being the \"final blow\" that ended slavery in the Caribbean.In 1840 Smeal became the second wife of the Quaker John Wigham, whowas a tea merchant and active abolitionist in Glasgow. In 1830, Wigham's wife and two of their children died however the family was revitalized when he married Smeal. Jane Smeal became Jane Wigham and sheformed a close friendship and collaboration with her stepdaughter, Eliza Wigham. Smeal and Wigham's marriage took place in the same year as the World's Anti-Slavery Convention in London, where Eliza was one of thedelegates.After the Ladies' Emancipation Society ceased activity, Jane and Eliza, along with some of their friends, set up the Edinburgh chapter of the National Society of Women's Suffrage. Priscilla Bright McLaren, thepresident, Elizabeth Pease, the treasurer, and McLaren's daughter Agnes McLaren joined Eliza as joint secretaries. Despite a lack of support from her husband John, Jane and her stepdaughter established the Edinburghsociety as one of the leading British groups supporting the controversial views of the American abolitionist and social reformer William Lloyd Garrison.John Wigham died in 1864 and Eliza remained on at the family homeon South Gray Street in Edinburgh to care for her stepmother. Jane died in November 1888 after a prolonged illness.LegacyFour of the women associated with Edinburgh in the 19th century were the subject of acampaign by Edinburgh historians in 2015. The group aimed to gain recognition for Elizabeth Pease Nichol, Priscilla Bright McLaren, Eliza Wigham, and Jane Smeal – the city's \"forgotten heroines\".Passage 2:Angelo IGozzadiniAngelo I Gozzadini (died between 1468 and 1476) was Lord of Kythnos.He married in 1429 Caterina Crispo (born 1415, date of death unknown), daughter of Nicholas Crispo, Lord of Syros and sister ofFrancesco II, sixteenth Duke of the Archipelago.Passage 3:May Green HinckleyMay Green Hinckley (May 1, 1881 – May 2, 1943) was the third Primary general president of the Church of Jesus Christ of Latter-day Saints(LDS Church) from 1940 until her death. She was the stepmother of Gordon B. Hinckley, fifteenth president of the LDS Church.BiographyGreen was born in Brampton, Derbyshire, England. Her mother had joined theLDS Church three years before Green's birth, but her father never joined. She emigrated to the United States with her mother and some of her siblings in 1889. Green was baptized into the LDS Church in 1891, and wasby then living in Salt Lake City.Green was raised in the church's Salt Lake 5th Ward. Early on she was a teacher in both the Sunday School and the Young Women Mutual Improvement Association (YWMIA). She servedas a missionary for the church in the Central States Mission from 1907 to 1909.After studying booking and accounting, Green began work as business manager for a Salt Lake medical clinic.In 1920, Green was madepresident of the YLMIA of the Granite Stake in Salt Lake City. She served in this position for the next 12 years, and oversaw the initial establishment of the Gleaner program.In 1932, at the age of 50, Green marriedBryant S. Hinckley, whose wife, Ada, had died in 1930. At the time, five of Hinckley's 13 children were still living at home. At that time, Green was president of the stake YWMIA. One of the children, Gordon B. Hinckley,later recalled that he and the other children were upset by their father's decision to remarry, but they eventually came to accept their stepmother: \"I don't know that it was easy for her to step into our family, but shedid it well. We all respected her. We all loved her\". In 1935, when Bryant Hinckley became president of the Northern States Mission based in Chicago, May Hinckley went with him and presided over the PrimaryAssociation, YWMIA, and Relief Society within the mission.In 1940, May Hinckley was asked by church president Heber J. Grant to succeed May Anderson and become the third general president of the church's PrimaryAssociation. In her 3+1⁄2-year tenure, Hinckley introduced a revised curriculum, added a scripture-reading program for leaders and teachers, established a formal scriptural theme for Primary, and selected the officialPrimary logo, motto and colors.Hinckley formed a committee that created lessons for use by Primaries in missions (as opposed to stakes). With energy rationing as a result of World War II, she oversaw the creation ofmore home-based Primary programs.Hinckley was the editor of The Children's Friend while she was the Primary General President. Her term ended when she unexpectedly died of pneumonia in Salt Lake City, Utah, theday after her 62nd birthday. She was succeeded by Adele C. Howells, her first counselor.See alsoLaVern W. Parmley: second counselor to HinckleyNotesExternal linksMay Green Hinckley at Find a GravePassage4:Francesco I CrispoFrancesco I Crispo, Patrizio Veneto (died 1397) was the tenth Duke of the Archipelago through his marriage and the will of Venice.Francesco Crispo was probably born in Verona. He was Lord ofMilos, thus a vassal to the Duke of Naxos, as well as his cousin through his marriage to Fiorenza Sanudo, a grand-daughter of the Duke Guglielmo Sanudo. Crispo might also have been a pirate. He was sent by theRepublic of Venice to Naxos in March 1383 for concern that the then Duke Niccolò III dalle Carceri was incompetent. The Republic suffered from predation by the Ottoman Empire in the Aegean.On the island, a hunt wassuggested. Officially, on the way back Niccolo III, escorted by Crispo's men was attacked by rebels or thieves. He fell off his horse and died. To quench any revolt, Francesco Crispo had to assume power.The Republic ofVenice quickly sent its congratulations.Andros was another problem. It belonged to Maria Sanudo, sister of the late duke. When Francesco gave as a dowry Andros and Syros to his own daughter Pétronilla, Maria Sanudocalled for justice in Venice.With his wife he had eight children:Giacomo I CrispoPetronilla Crispo (1384–1427), married to Pietro Zeno, together they received Andros and Syros as dowryAgnese Crispo (1386–1428),married to Dragonetto Clavelli, Lord of NisyrosJohn II CrispoWilliam II CrispoNicholas Crispo, Lord of SyrosMarco I Crispo, Lord of IosNobil Huomo Pietro Crispo, Patrizio Veneto (1397–1440), married to NN and hadissue:Giovanni Crispo (died 1475), Knight of the Knights HospitallerPassage 5:Dorothy GrangerDorothy Karolyn Granger (November 21, 1911 – January 4, 1995) was an American actress best known for her roles inshort subject comedies in Hollywood.CareerGranger, with her parents, two brothers, Richard and James, and their grandmother, Clara (née Wilcox) Granger, moved to Los Angeles during the late 1920s.Granger got herstart in the entertainment industry when she won a beauty contest at the age of 13 at Silver Beach Summer Resort near Houston. Her budding figure and confident stage presence were perfect for studios that madecomedy shorts. In 1930, her father took her to producer Hal Roach, who was then testing talent for his upcoming comedy series, The Boy Friends. Granger’s natural comedy timing got her the job immediately and shewas placed under contract to Hal Roach Studios. She became a charter member of the two-reel-comedy community, appearing opposite many major comedians at Roach, Mack Sennett, Educational Pictures, ColumbiaPictures, and RKO Radio Pictures. Among her famous credits are Hog Wild with Laurel & Hardy, The Dentist with W.C. Fields, Punch Drunks and Termites of 1938 with The Three Stooges. Granger also appeared withAndy Clyde, Charley Chase, Edgar Kennedy, Harry Langdon, Gus Schilling & Richard Lane, and Joe DeRita, as well as on live television with Abbott & Costello. Granger is best remembered as the sarcastic, suspiciouswife in Leon Errol's series of two-reelers for RKO.For her body of work in two-reelers, Granger was known as the \"Queen of the Short Subject Films\". However, she also appeared in about 100 feature films, includingFrisco Jenny, Sunset in El Dorado, Kentucky Kernels, Dick Tracy vs. Cueball, Diamond Jim, and Show Boat.Later yearsGranger worked on a variety of television shows through the 1950s, including The Abbott andCostello Show, I Married Joan, Father Knows Best, Topper, Lassie, Death Valley Days and Wells Fargo. Her last television performance was a live show on Face The Facts in 1961. Granger left show business in 1963,calling it an “ulcer factory.”Granger made her last public appearance in 1993 for the Screen Actors Guild’s 60th anniversary celebration. She was an honored guest at the celebration because she was one of SAG’s firstmembers. In later years she helped her husband run an upholstery shop in Los Angeles.She was the stepmother of film maker and former record producer Anthony J. Hilder.DeathGranger died of cancer on January 4,1995, aged 83, in Los Angeles, California.Selected filmographyPassage 6:Anthony Crispo, Lord of SyrosAnthony Crispo (or Antonio;  - 1494), became Lord of Syros in 1463 after his older brother Francesco's death. Hewas the youngest son of Nicholas Crispo, Lord of Syros and Princess Eudokia Valenza Komnene, daughter of Emperor Alexios IV Komnenos of the Trebizond, and brother of Francesco II, sixteenth Duke of theArchipelago.He married ... de Paterno, without issue.Passage 7:Henriette FeuerbachHenriette Feuerbach (13 August 1812 – 5 August 1892) was a German author and arts patron. She was the wife of Joseph AnselmFeuerbach and the stepmother of painter Anselm Feuerbach, whom she supported in his art.LifeBorn Henriette Heydenreich in Ermetzhofen, she was the third child and only daughter of the pastor Johann AlexanderHeydenreich (1754–1814) and his wife Friederika Christine née Freudel. Her brothers were Friedrich Wilhelm Heidenreich, to become a physician, and Christian Heydenreich (1800–1865), a future judge. They grew upin Ansbach and were educated in Latin, Greek and music.She married on 13 April 1834 the widower Josef Anselm Feuerbach, whose first wife was Amalie Keerl (1805–1830). She lived with him and his two children,Emilie (1827–1873) and Anselm (1829–1880), first in Freiburg im Breisgau, later in Heidelberg. She gave piano lessons, directed a choir, and organised house concerts. Clara Schumann and Johannes Brahms wereamong those who frequented her salon. Brahms and Henriette held each other in high esteem; in one of Brahms' letters, he referred to her and Anselm as \"this splendid woman and her illustrious son\". After Anselm'sdeath, Brahms composed Nänie (1881) in his memory and included a dedication to Henriette.She invested most of her energies into supporting her stepson's efforts to establish himself as an artist and, after his deathin 1880, to perpetuate his legacy. After he died, she reportedly destroyed all his personal letters and published a collection of his writings \"which show him purely as an artist, as a genius wrestling with himself, his workand ignorant patrons\", in an effort to build a legacy for him. This indeed furthered his renown for the next few decades.She died in Freiburg, eight days short of her 80th birthday.WritingIn 1839, she publishedanonymously Gedanken über die Liebenswürdigkeit von Frauen, subtitled as Kleiner Beitrag zur weiblichen Charakteristik (A little contribution to the characteristics of women). In 1845, she published Sonntagsmuße(Sunday Rest), announced as a book for women. She edited with Hermann Hettner a collection of the writings of her husband after his death, working on the first of four volumes. In 1866, she published Uz undCronegk, the portraits of two Franconian poets of the 18th century. She also published reviews in newspapers and magazines.Her letters, edited by Hermann Uhde-Bernays, document over a period of 50 years herinfluence on the education and development of Anselm Feuerbach. She published in 1882 a book Ein Vermächtnis – Anselm Feuerbach (A Legacy), to promote his recognition after his death in 1880. It was successfuland has been in print in 50 editions.PublicationsGedanken über die Liebenswürdigkeit der Frauen. Campe Verlag, Nürnberg 1839.Sonntagsmuße – ein Buch für Frauen. Campe Verlag, Nürnberg 1846.Feuerbach, J. A. v.,Nachgelassene Schriften in four volumes, Verlag Vieweg und Sohn, Braunschweig 1853Vol. 1: Anselm Feuerbach's Leben, Briefe und Gedichte, ed. Henriette Feuerbach,Volumes 2–4: Geschichte der griechischen Plastikund Kunstgeschichtliche Abhandlungen, ed. Hermann Hettner.Uz und Cronegk. Zwei fränkische Dichter aus dem vorigen Jahrhundert., Engelmann Verlag, Leipzig 1866.Henriette Feuerbach (ed.): Ein Vermächtnis –Anselm Feuerbach; Propyläen-Verlag, Berlin 1924LiteratureHerbert Eulenberg: Henriette Feuerbach – Ein Kranz auf ihr Grab, in: Die Familie Feuerbach in Bildnissen, (p. 143, Stuttgart 1924.Feuerbachhaus Speyer (ed.):Gedanken über die Liebenswürdigkeit der Frauen. after the original of 1839, Zechnersche Buchdruckerei, Speyer 1974.Daniel Kupper: Anselm Feuerbachs „Vermächtnis“. Die originalen Aufzeichnungen. DeutscherVerlag für Kunstwissenschaft, Berlin 1992Werner Schuffenhauer (ed.): Ludwig Feuerbach. Gesammelte Werke, Bd. 21, Briefwechsel V (1862–1868). Nachträge (1828–1861), Akademieverlag, Berlin 2004.IlonaScheidle: \"Ins Leben hineingeplumpst“. Die Briefeschreiberin Henriette Feuerbach (1812–1892). In: Heidelbergerinnen, die Geschichte schrieben. München 2006, (p. 63–75).Passage 8:Nicholas Crispo, Lord ofSyrosNicholas Crispo, Patrizio Veneto (or Niccolò; 1392–1450), became Lord of Syros in 1420 and Regent of the Duchy of the Archipelago between 1447 and 1450. He was a son of Francesco I Crispo, tenth Duke of theArchipelago, and wife Fiorenza I Sanudo, Lady of Milos, and brother of Dukes Giacomo I, John II and William II.Marriage and issueIt is not known for certain how many wives he had. In a letter dated 1426 Crispo sayshe was married to the daughter of Jacopo Gattilusio, lord of Lesbos. In a 1474 chronicle by the Venetian traveller Caterino Zeno it is said that he was married to an Eudoksia Valenza, of whom there is no other mentionin any source. Although Zeno claims that she was a daughter of John IV of Trebizond, this has been disproved by historiographical research, which has shown that John had an only daughter, Theodora Despina (marriedto Uzun Hassan of Ak Koyunlu). Alternative identities have been proposed for Valenza: whether it was the name of Gattilusio's daughter, whether she was a daughter of Alexios IV of Trebizond or whether she was aGenoese woman.Caterina Crispo, married in 1429 Angelo I Gozzadini, Lord of Kythnos (- 1468/76)Lucrezia Crispo, married Nobil Huomo Leone Malipiero, Patrizio VenetoFrancesco II CrispoPetronilla Crispo, married in1437 Nobil Huomo Jacopo Priuli, Patrizio VenetoMaria Crispo, married Nobil Huomo Nicolo Balbi, Patrizio VenetoFiorenza Crispo (–1501), married in 1444 Nobil Huomo Marco Cornaro, Cavaliere del Sacro RomanoImpero, Patrizio Veneto (Venice, December 1406 – Venice, 1 August 1479), and had:Giorgio CornaroCatherine CornaroValenza Crispo, married Nobil Huomo Giovanni Loredan, Patrizio VenetoMarco Crispo, Knight of theKnights Hospitaller, who had illegitimate issueViolante Crispo, married Nobil Huomo Caterino Zeno, Patrizio Veneto, Diplomat of the Venetian Republic, and had:Adriana ZenoPietro ZenoA daughterAnthony Crispo, Lordof SyrosPassage 9:Irene BakerEdith Irene Bailey Baker (November 17, 1901 – April 2, 1994) was an American politician and a United States Representative from Tennessee. She was the widow of Howard Baker Sr. andthe stepmother of Howard Baker Jr.BiographyBaker was born in Sevierville, Tennessee, on November 17, 1901, and attended public schools in Sevierville and Maryville.CareerBaker served as Deputy County Court Clerkof Sevier County from 1918 to 1922 and as Deputy Clerk and Master of Chancery Court from 1922 to 1924.After her first husband's death, Baker went to work for the Tennessee Valley Authority (TVA). On  September15, 1935, she married Howard Baker Sr., who was a widower with two children. The couple raised Baker's two children from his first marriage, Howard H. Baker Jr. and Mary Elizabeth Baker, as well as  a daughter oftheir own, Beverly Irene Baker. She served on the Republican National Committee from 1960 to 1964.When her husband died suddenly in office on January 7, 1964, Baker ran as a Republican in the special election tofill the remainder of his term, defeating Democrat Willard Yarbrough, a Knoxville journalist. As a candidate for the seat, she promised to serve only as a caretaker who would not seek further election; and she fulfilledthat promise, and served from  March 10, 1964, to January 3, 1965.  While in Congress, she served on the House Committee on Government Operations and advocated for a balanced federal budget. She alsochampioned coal mining interests, the TVA, U.S. Atomic Energy Commission programs in Oak Ridge, Tennessee, and cost of living increases in Social Security pensions.  As one of ten Republicans from the South, shevoted against the Civil Rights Act.After leaving Congress in 1965, Baker became Director of Public Welfare in Knoxville, Tennessee, a position she held until 1971.DeathBaker died in Loudon, Tennessee on April 2, 1994(age 92 years, 136 days). She is interred at Sherwood Memorial Gardens, in Loudon, Tennessee.See alsoWomen in the United States House of RepresentativesPassage 10:Giorgio CornaroNobil Huomo Giorgio Cornaro,called \"Padre della Patria\" (1452 – 31 July 1527) was a Venetian nobleman and politician.LifeGiorgio Cornaro was born in Venice in 1452. He was the son of Nobil Huomo Marco Cornaro (December 1406 – 1 August1479) by his wife, married in 1444, Fiorenza Crispo (1422 – 1501), daughter of Nicholas Crispo, Lord of Syros. His sister was Catherine Cornaro, Queen of Cyprus.He married in Venice in 1475 Nobil Donna ElisabettaMorosini, Patrizia Veneta, and had an issue, called \"Cornaro della Regina\".He died in Venice on 31 July 1527.OfficesKnight of the Holy Roman Empire,Patrician of the Republic of Venice,Podestà of Brescia in1496,Procurator of St Mark's.LikenessGiorgio is depicted in a double portrait, with his son Cardinal Francesco Cornaro, in the National Gallery of Ireland.Footnotes"}
+{"doc_id":"doc_241","qid":"","text":"Passage 1:Domenico de DominicisDomenico de Dominicis or Domenico de Dominici (died 1478) was a Roman Catholic prelate who served as Bishop of Brescia (1464–1478)and Bishop of Torcello(1448–1464).BiographyOn 20 February 1448, Domenico de Dominicis was appointed during the papacy of Pope Nicholas V as Bishop of Torcello.On 14 November 1464, he was appointed during the papacy of Pope PaulII as Bishop of Brescia.He served as Bishop of Brescia until his death in 1478. While bishop, he was the principal consecrator of Johannes Hinderbach, Bishop of Trento (1466); and the principal co-consecrator ofGiovanni Stefano Botticelli, Bishop of Cremona (1467).Passage 2:Wesley BarresiWesley Barresi (born 3 May 1984) is a South African born first-class and Netherlands international cricketer. He is a right-handed wicketkeeper-batsman and also bowls right-arm offbreak. In February 2021, Barresi announced his retirement from all forms of cricket, but returned to the national team in August 2022.CareerWesley became the 100thvictim to Indian cricketer Yuvraj Singh, when he was dismissed in the 2011 World Cup game against India.In July 2018, he was named in the Netherlands' One Day International (ODI) squad, for their series againstNepal. Ahead of the ODI matches, the International Cricket Council (ICC) named him as the key player for the Netherlands.In July 2019, he was selected to play for the Amsterdam Knights in the inaugural edition of theEuro T20 Slam cricket tournament. However, the following month, the tournament was cancelled.Passage 3:Wale AdebanwiWale Adebanwi (born 1969) is a Nigerian-born first Black Rhodes Professor at St Antony'sCollege, Oxford where he was, until June 2021, a Professor of Race Relations, and the Director of the African Studies Centre, School of Interdisciplinary Area Studies, and a Governing Board Fellow. He is currently aPresidential Penn Compact Professor of Africana Studies at the University of Pennsylvania. Adebanwi's research focuses on a range of topics in the areas of social change, nationalism and ethnicity, race relations,identity politics, elites and cultural politics, democratic process, newspaper press and spatial politics in Africa.Education backgroundWale Adebanwi graduated with a first degree in Mass Communication from theUniversity of Lagos, and later earned his M.Sc. and Ph.D. in Political Science from the University of Ibadan. He also has an MPhil. and a Ph.D. in Social Anthropology from the University of Cambridge.CareerAdebanwiworked as a freelance reporter, writer, journalist and editor for many newspapers and magazines before he joined the University of Ibadan's Department of Political Science as a lecturer and researcher. He was laterappointed as an assistant professor in the African American and African Studies Department of the University of California, Davis, USA. He became a full professor at UC Davis in 2016.Adebanwi is the co-editor of Africa:Journal of the International African Institute and the Journal of Contemporary African Studies.WorksHis published works include:Nation as Grand Narrative: The Nigerian Press and the Politics of Meaning (University ofRochester Press, 2016)Yoruba Elites and Ethnic Politics in Nigeria: Obafemi Awolowo and Corporate Agency (Cambridge University Press, 2014)Authority Stealing: Anti-corruption War and Democratic Politics inPost-Military Nigeria (Carolina Academic Press, 2012)In addition, he is the editor and co-editor of other books, including.The Political Economy of Everyday Life in Africa: Beyond the Margins (James Currey Publishers,2017)Writers and Social Thought in Africa (Routledge, 2016)(co-edited with Ebenezer Obadare) Governance and the Crisis of Rule in Contemporary Africa (Palgrave Macmillan, 2016)(co-edited with Ebenezer Obadare)Democracy and Prebendalism in Nigeria: Critical Interpretations (Palgrave Macmillan, 2013).(co-edited with Ebenezer Obadare) Nigeria at Fifty: The Nation in Narration (Routledge, 2012)(co-edited with EbenezerObadare) Encountering the Nigerian State (Palgrave Macmillan, 2010).AwardsRhodes Professorship in Race Relations awarded by Oxford University to Faculty of African and Interdisciplinary Area Studies.Passage4:Domenico MaggiottoDomenico Maggiotto or Domenico Fedeli (1713–1794) was an Italian painter and engraver of the late-Baroque period.He was one of the main pupils of Giovanni Battista Piazzetta. His sonFrancesco Maggiotto was also a painter.He lived and worked mainly in Venice.Passage 5:Shahanuddin ChoudhuryShahanuddin Choudhury (born 15 June 1967) is a Bangladeshi sprinter. He competed in the men's 200metres at the 1992 Summer Olympics.Passage 6:Greg A. Hill (artist)Greg A. Hill is a Canadian-born First Nations artist and curator. He is Kanyen'kehà:ka Mohawk, from Six Nations of the Grand River Territory,Ontario.Early lifeHill was born and raised in Fort Erie, Ontario.Art careerHis work as a multidisciplinary artist focuses primarily on installation, performance and digital imaging and explores issues of his Mohawk andFrench-Canadian identity through the prism of colonialism, nationalism and concepts of place and community.Hill has been exhibiting his work since 1989, with solo exhibitions and performance works across Canada aswell as group exhibitions in North America and abroad. His work can be found in the collections of the Canada Council, the Indian Art Centre, Indian and Northern Affairs Canada, the Canadian Native Arts Foundation(now Indspire), the Woodland Cultural Center, the City of Ottawa, the Ottawa Art Gallery and the International Museum of Electrography.Curatorial careerHill serves as the Audain Senior Curator of Indigenous Art at theNational Gallery of Canada.Awards and honoursIn 2018, Hill received the Indspire Award for Arts.Passage 7:John McMahon (Surrey and Somerset cricketer)John William Joseph McMahon (28 December 1917 – 8 May2001) was an Australian-born first-class cricketer who played for Surrey and Somerset County Cricket Clubs in England from 1947 to 1957.Surrey cricketerMcMahon was an orthodox left-arm spin bowler with muchvariation in speed and flight who was spotted by Surrey playing in club cricket in North London and brought on to the county's staff for the 1947 season at the age of 29. In the first innings of his first match, againstLancashire at The Oval, he took five wickets for 81 runs.In his first full season, 1948, he was Surrey's leading wicket-taker and in the last home game of the season he was awarded his county cap – he celebrated bytaking eight Northamptonshire wickets for 46 runs at The Oval, six of them coming in the space of 6.3 overs for seven runs. This would remain the best bowling performance of his first-class career, not surpassed, buthe did equal it seven years later. In the following game, the last away match of the season, he took 10 Hampshire wickets for 150 runs in the match at Bournemouth. In the 1948 season as a whole, he took 91 wicketsat an average of 28.07. As a tail-end left-handed batsman, he managed just 93 runs in the season at an average of 4.22.The emergence of Tony Lock as a slow left-arm bowler in 1949 brought a stuttering end ofMcMahon's Surrey career. Though he played in 12 first-class matches in the 1949 season, McMahon took only 19 wickets; a similar number of matches in 1950 brought 34 wickets. In 1951, he played just seven timesand in 1952 only three times. In 1953, Lock split the first finger of his left hand, and played in only 11 of Surrey's County Championship matches; McMahon played as his deputy in 14 Championship matches, though ameasure of their comparative merits was that Lock's 11 games produced 67 wickets at 12.38 runs apiece, while McMahon's 14 games brought him 45 wickets at the, for him, low average of 21.53. At the end of the1953 season, McMahon was allowed to leave Surrey to join Somerset, then languishing at the foot of the County Championship and recruiting widely from other counties and other countries.SomersetcricketerSomerset's slow bowling in 1954 was in the hands of leg-spinner Johnny Lawrence, with support from the off-spin of Jim Hilton while promising off-spinner Brian Langford was on national service. McMahon filleda vacancy for a left-arm orthodox spinner that had been there since the retirement of Horace Hazell at the end of the 1952 season; Hazell's apparent successor, Roy Smith, had failed to realise his promise as a bowler in1953, though his batting had advanced significantly.McMahon instantly became a first-team regular and played in almost every match during his four years with the county, not missing a single Championship game untilhe was controversially dropped from the side in August 1957, after which he did not play in the Championship again.In the 1954 season, McMahon, alongside fellow newcomer Hilton, was something of a disappointment,according to Wisden: \"The new spin bowlers, McMahon and Hilton, did not attain to the best standards of their craft in a wet summer, yet, like the rest of the attack, they would have fared better with reasonable supportin the field and from their own batsmen,\" it said. McMahon took 85 wickets at an average of 27.47 (Hilton took only 42 at a higher average). His best match was against Essex at Weston-super-Mare where he took sixfor 96 in the first innings and five for 45 in the second to finish with match figures of 11 for 141, which were the best of his career. He was awarded his county cap in the 1954 season, but Somerset remained at thebottom of the table.The figures for the 1955 were similar: McMahon this time took 75 wickets at 28.77 apiece. There was a small improvement in his batting and the arrival of Bryan Lobb elevated McMahon to No 10 inthe batting order for most of the season, and he responded with 262 runs and an average of 9.03. This included his highest-ever score, 24, made in the match against Sussex at Frome. A week later in Somerset's nextmatch, he equalled his best-ever bowling performance, taking eight Kent wickets for 46 runs in the first innings of a match at Yeovil through what Wisden called \"clever variation of flight and spin\". These matchesbrought two victories for Somerset, but there were only two others in the 1955 season and the side finished at the bottom of the Championship for the fourth season running.At the end of the 1955 season, Lawrenceretired and McMahon became Somerset's senior spin bowler for the 1956 season, with Langford returning from National Service as the main support. McMahon responded with his most successful season so far, taking103 wickets at an average of 25.57, the only season in his career in which he exceeded 100 wickets. The bowling average improved still further in 1957 to 23.10 when McMahon took 86 wickets. But his season came toan abrupt end in mid-August 1957 when, after 108 consecutive Championship matches, he was dropped from the first team during the Weston-super-Mare festival. Though he played some games for the second elevenlater in August, he regained his place in the first team for only a single end-of-season friendly match, and he was told that his services were not required for the future, a decision, said Wisden, that \"proved highlycontroversial\".Sacked by SomersetThe reason behind McMahon's sacking did not become public knowledge for many years. In its obituary of him in 2002, McMahon was described by Wisden as \"a man who embracedthe antipodean virtues of candour and conviviality\". It went on: \"Legend tells of a night at the Flying Horse Inn in Nottingham when he beheaded the gladioli with an ornamental sword, crying: 'When Mac drinks,everybody drinks!'\" The obituary recounts a further escapade in second eleven match at Midsomer Norton where a curfew imposed on the team was circumvented by \"a POW-type loop\" organised by McMahon, \"with histeam-mates escaping through a ground-storey window and then presenting themselves again\". As the only Somerset second eleven match that McMahon played in at Midsomer Norton was right at the end of the 1957season, this may have been the final straw. But in any case there had been \"an embarrassing episode at Swansea's Grand Hotel\" earlier in the season, also involving Jim Hilton, who was also dismissed at the end of theseason. Team-mates and club members petitioned for McMahon to be reinstated, but the county club was not to be moved.After a period in Lancashire League cricket with Milnrow Cricket Club, McMahon moved back toLondon where he did office work, later contributing some articles to cricket magazines.== Notes and references ==Passage 8:Hartley LobbanHartley W Lobban (9 May 1926 – 15 October 2004) was a Jamaican-bornfirst-class cricketer who played 17 matches for Worcestershire in the early 1950s.Life and careerLobban played little cricket in Jamaica. He went to England at the end of World War II as a member of the Royal Air Force,and settled in Kidderminster in Worcestershire in 1947, where he worked as a civilian lorry driver for the RAF. He began playing for Kidderminster Cricket Club in the Birmingham League, and at the start of the 1952season, opening the bowling for the club's senior team, he had figures of 7 for 9 and 7 for 37.Worcestershire invited him to play for them, and he made his first-class debut against Sussex in July 1952. He took fivewickets in the match (his maiden victim being Ken Suttle) and then held on for 4 not out with Peter Richardson (20 not out) to add the 12 runs needed for a one-wicket victory after his county had collapsed from 192 for2 to 238 for 9. A week later he claimed four wickets against Warwickshire, then a few days later still he managed 6 for 52 (five of his victims bowled) in what was otherwise a disastrous innings defeat to Derbyshire. Inthe last match of the season he took a career-best 6 for 51 against Glamorgan; he and Reg Perks (4 for 59) bowled unchanged throughout the first innings. Worcestershire won the game and Lobban finished the seasonwith 23 wickets at 23.69.He took 23 wickets again in 1953, but at a considerably worse average of 34.43, and had only two really successful games: against Oxford University in June, when he took 5 for 70, and thenagainst Sussex in July. On this occasion Lobban claimed eight wickets, his most in a match, including 6 for 103 in the first innings. He also made his highest score with the bat, 18, but Sussex won by five wickets.In1954 Lobban made only two first-class appearances, and managed only the single wicket of Gloucestershire tail-ender Bomber Wells. In his final game, against Warwickshire at Dudley, his nine first-innings overs cost51. He bowled just two overs in the second innings as Warwickshire completed an easy ten-wicket win. Lobban played one more Second XI game, against Glamorgan II at Cardiff Arms Park; in this he picked up fivewickets.He was also a professional boxer and played rugby union for Kidderminster.He later moved to Canada, where he worked as a teacher in Burnaby, British Columbia. He and his wife Celia had a son and twodaughters.Passage 9:Henry Moore (cricketer)Henry Walter Moore (1849 – 20 August 1916) was an English-born first-class cricketer who spent most of his life in New Zealand.Life and familyHenry Moore was born inCranbrook, Kent, in 1849. He was the son of the Reverend Edward Moore and Lady Harriet Janet Sarah Montagu-Scott, who was one of the daughters of the 4th Duke of Buccleuch. One of his brothers, Arthur, becamean admiral and was knighted. Their great grandfather was John Moore, Archbishop of Canterbury from 1783 to 1805. One of their sisters was a maid of honour to Queen Victoria.Moore went to New Zealand in the 1870sand lived in Geraldine and Christchurch. He married Henrietta Lysaght of Hāwera in November 1879, and they had one son. In May 1884 she died a few days after giving birth to a daughter, who also died.In 1886Moore became a Justice of the Peace in Geraldine. In 1897 he married Alice Fish of Geraldine. They moved to England four years before his death in 1916.Cricket careerMoore was a right-handed middle-order batsman.In consecutive seasons, 1876–77 and 1877–78, playing for Canterbury, he made the highest score in the short New Zealand first-class season: 76 and 75 respectively. His 76 came in his first match for Canterbury,against Otago. He went to the wicket early on the first day with the score at 7 for 2 and put on 99 for the third wicket with Charles Corfe before he was out with the score at 106 for 3 after a \"very fine exhibition of freehitting, combined with good defence\". Canterbury were all out for 133, but went on to win the match. His 75 came in the next season's match against Otago, when he took the score from 22 for 2 to 136 for 6. The NewZealand cricket historian Tom Reese said, \"Right from the beginning he smote the bowling hip and thigh, going out of his ground to indulge in some forceful driving.\" Canterbury won again.Moore led the battingaverages in the Canterbury Cricket Association in 1877–78 with 379 runs at an average of 34.4. Also in 1877–78, he was a member of the Canterbury team that inflicted the only defeat on the touring Australians. In1896–97, at the age of 47, he top-scored in each innings for a South Canterbury XVIII against the touring Queensland cricket team.Passage 10:Domenico DistiloDomenico Distilo (born 25 December 1978 in Rome,Lazio, Italy) is a filmmaker living and working between Rome, Italy and Berlin, Germany.He graduated in film direction from the Centro Sperimentale di Cinematografia in Rome with the film Unexpected (Inatteso), adocumentary on the demand for political asylum in Italy, which was screened at the Festival dei Popoli in Florence and at the Berlinale, within the section \"Forum\" in 2006.In 2008, he won the national prize PremioSolinas for the screenplay of the feature film When elephants fight (Quando gli elefanti combattono), written in collaboration with Filippo Gravino and Guido Iuculano.In 2009, he joined the production company Sciara,where he works as director and producer.In 2011, he directed two documentaries for RAI 3, the Italian cultural public channel: Urban extremes - Jerusalem (Estremi urbani, Gerusalemme), on the territorial conflict inJerusalem and Romany imaginary - Minority artists (Immaginario Rom - Artisti Contro), on Romany art in Hungary.Distilo's works generally focus on social issues, with a special interest in various forms of contemporaryart.In his movie Deep time (Margini di sottosuolo) (2012), he explored the boundaries between documentary and fiction with a story on archeology and the feelings that bound people to their past.In 2018 hisdocumentary Manga Do, Igort and the way of the manga won the audience award at the Biografilm Festival in Bologna. The film tells the journey of Igort, one of the most important Italian graphic novel authors, in thefounding places of Japanese culture. The film follows a previous reportage, Igort, the secret landscape (2013), which tells the story of Igort's search for the creation of his trilogy on the Soviet Union.Prizes and awardsIn2000 his short film Entrevias won the first prize at the Messina Film FestivalIn 2006 Unexpected (Inatteso) won the first prize as best documentary at Alicante Film Festival and received the jury's special mention at theArcipelago - Festival Internazionale di Cortometraggi e Nuove Immagini of RomeIn 2008 the screenplay from When elephants fight (Quando gli elefanti combattono) won the first prize at the event Premio SolinasIn2011 Distilo won the Premio maestri del documentario at the Assaggi di realtà festival of MessinaIn 2018 Manga Do, Igort and the way of the manga was awarded the Audience award at the Biografilm Festival inBolognaFilmographyDocumentariesA day in Rome (Un giorno a Roma), (2001), produced by Centro Sperimentale di CinematografiaTiburtina tells (Tiburtina racconta), (2005)Dialogues for Refugees (Dialoghi diProfughi), (2005)Unexpected (Inatteso), (2005), produced by Centro Sperimentale di CinematografiaCAM Selinunte, (2008), produced by SciaraThe Calm and the Storm, (2010)Urban Extremes – Jerusalem (Estremiurbani - Gerusalemme), (2011), produced by SciaraRomany imaginary  - Minority artists (Immaginario Rom - Artisti contro), (2011), produced by SciaraDeep time  (Margini di Sottosuolo), (2012), produced bySciaraIgort, the secret landscape, (2013), produced by SciaraManga Do, Igort and the way of the manga, (2018) produced by SciaraShort filmsEntrevias, (2000)Bartleby, the scrivener (Bartleby, lo scrivano), (2004),an adaptation from Herman Melville's homonym tale produced by Centro Sperimentale di CinematografiaLaura in Lampedusa (Laura a Lampedusa), (2009), produced by Rai 1 for the programme \"Vivo per te - 150 annidella Croce Rossa\", broadcast on the 25th of December 2009Bettgeflüster (Pillow Talk), (2021) , short film comedy, German Leads. Presented at the \"late-night-love\" section of the PÖFF SHORTS, Tallinn Black Nights"}
+{"doc_id":"doc_242","qid":"","text":"Passage 1:Ian Barry (director)Ian Barry is an Australian director of film and TV.Select creditsWaiting for Lucas (1973) (short)Stone (1974) (editor only)The Chain Reaction (1980)Whose Baby? (1986)(mini-series)Minnamurra (1989)Bodysurfer (1989) (mini-series)Ring of Scorpio (1990) (mini-series)Crimebroker (1993)Inferno (1998) (TV movie)Miss Lettie and Me (2002) (TV movie)Not Quite Hollywood: The Wild,Untold Story of Ozploitation! (2008) (documentary)The Doctor Blake Mysteries (2013)Passage 2:Robert Baker (actor)Robert Baker (born October 15, 1979, in Memphis, Tennessee) is an American actor known for hisroles in Valentine, Grey's Anatomy, Out of Time, and a supporting role in the film Special.Early lifeBaker is the son of musician Lee Baker and his wife Carol. His father Lee was a member of the Memphis rock group, MudBoy and the Neutrons.CareerHe had a small role as a partygoer in the 1999 film Angel on Abbey Street. While still attending theater school at the University of Southern California, he landed a role in the TV movie TheRuling Class, playing a funny high school jock.In 2018, Baker recurred in Supergirl as Mercy Graves' brother Otis Graves.FilmographyFilmTelevisionVideo gamePassage 3:Peter LevinPeter Levin is an American director offilm, television and theatre.CareerSince 1967, Levin has amassed a large number of credits directing episodic television and television films. Some of his television series credits include Love Is a Many Splendored Thing,James at 15, The Paper Chase, Family, Starsky & Hutch, Lou Grant, Fame, Cagney & Lacey, Law & Order and Judging Amy.Some of his television film credits include Rape and Marriage: The Rideout Case (1980), AReason to Live (1985), Popeye Doyle (1986), A Killer Among Us (1990), Queen Sized (2008) and among other films. He directed \"Heart in Hiding\", written by his wife Audrey Davis Levin, for which she received anEmmy for Best Day Time Special in the 1970s.Prior to becoming a director, Levin worked as an actor in several Broadway productions. He costarred with Susan Strasberg in \"[The Diary of Ann Frank]\" but had to leavethe production when he was drafted into the Army. He trained at the Carnegie Mellon University. Eventually becoming a theatre director, he directed productions at the Long Wharf Theatre and the Pacific ResidentTheatre Company. He also co-founded the off-off-Broadway Theatre [the Hardware Poets Playhouse] with his wife Audrey Davis Levin and was also an associate artist of The Interact Theatre Company.Passage 4:BrianKennedy (gallery director)Brian Patrick Kennedy (born 5 November 1961) is an Irish-born art museum director who has worked in Ireland and Australia, and now lives and works in the United States.  He was thedirector of the Peabody Essex Museum in Salem for 17 months, resigning December 31, 2020. He was the director of the Toledo Museum of Art in Ohio from 2010 to 2019. He was the director of the Hood Museum of Artfrom 2005 to 2010, and the National Gallery of Australia (Canberra) from 1997 to 2004.CareerBrian Kennedy currently lives and works in the United States after leaving Australia in 2005 to direct the Hood Museum ofArt at Dartmouth College. In October 2010 he became the ninth Director of the Toledo Museum of Art. On 1 July 2019, he succeeded Dan Monroe as the executive director and CEO of the Peabody Essex Museum.Earlylife and career in IrelandKennedy was born in Dublin and attended Clonkeen College. He received B.A. (1982), M.A. (1985) and PhD (1989) degrees from University College-Dublin, where he studied both art history andhistory.He worked in the Irish Department of Education (1982), the European Commission, Brussels (1983), and in Ireland at the Chester Beatty Library (1983–85), Government Publications Office (1985–86), andDepartment of Finance (1986–89). He married Mary Fiona Carlin in 1988.He was Assistant Director at the National Gallery of Ireland in Dublin from 1989 to 1997. He was Chair of the Irish Association of Art Historiansfrom 1996 to 1997, and of the Council of Australian Art Museum Directors from 2001 to 2003. In September 1997 he became Director of the National Gallery of Australia.National Gallery of Australia (NGA)Kennedyexpanded the traveling exhibitions and loans program throughout Australia, arranged for several major shows of Australian art abroad, increased the number of exhibitions at the museum itself and oversaw thedevelopment of an extensive multi-media site.  Although he oversaw several years of the museum's highest ever annual visitation, he discontinued the emphasis of his predecessor, Betty Churcher, on showing\"blockbuster\" exhibitions.During his directorship, the NGA gained government support for improving the building and significant private donations and corporate sponsorship. However, the initial design for the buildingproved controversial generating a public dispute with the original architect on moral rights grounds.  As a result, the project was not delivered during Dr Kennedy's tenure, with a significantly altered design completedsome years later.  Private funding supported two acquisitions of British art, including David Hockney's A Bigger Grand Canyon in 1999, and Lucian Freud's After Cézanne in 2001. Kennedy built on the establishedcollections at the museum by acquiring the Holmgren-Spertus collection of Indonesian textiles; the Kenneth Tyler collection of editioned prints, screens, multiples and unique proofs; and the Australian Print WorkshopArchive. He was also notable for campaigning for the construction of a new \"front\" entrance to the Gallery, facing King Edward Terrace, which was completed in 2010 (see reference to the building projectabove).Kennedy's cancellation of the \"Sensation exhibition\" (scheduled at the NGA from 2 June 2000 to 13 August 2000) was controversial, and seen by some as censorship. He claimed that the decision was due to theexhibition being \"too close to the market\" implying that a national cultural institution cannot exhibit the private collection of a speculative art investor. However, there were other exhibitions at the NGA during histenure, which could have raised similar concerns. The exhibition featured the privately owned Young British Artists works belonging to Charles Saatchi and attracted large attendances in London and Brooklyn. Its mostcontroversial work was Chris Ofili's The Holy Virgin Mary, a painting which used elephant dung and was accused of being blasphemous. The then-mayor of New York, Rudolph Giuliani, campaigned against the exhibition,claiming it was \"Catholic-bashing\" and an \"aggressive, vicious, disgusting attack on religion.\" In November 1999, Kennedy cancelled the exhibition and stated that the events in New York had \"obscured discussion of theartistic merit of the works of art\". He has said that it \"was the toughest decision of my professional life, so far.\"Kennedy was also repeatedly questioned on his management of a range of issues during the AustralianGovernment's Senate Estimates process - particularly on the NGA's occupational health and safety record and concerns about the NGA's twenty-year-old air-conditioning system. The air-conditioning was finallyrenovated in 2003. Kennedy announced in 2002 that he would not seek extension of his contract beyond 2004, accepting a seven-year term as had his two predecessors.He became a joint Irish-Australian citizen in2003.Toledo Museum of ArtThe Toledo Museum of Art is known for its exceptional collections of European and American paintings and sculpture, glass, antiquities, artist books, Japanese prints and netsuke. Themuseum offers free admission and is recognized for its historical leadership in the field of art education.  During his tenure, Kennedy has focused the museum's art education efforts on visual literacy, which he defines as\"learning to read, understand and write visual language.\"   Initiatives have included baby and toddler tours, specialized training for all staff, docents, volunteers and the launch of a website, www.vislit.org. In November2014, the museum hosted the International Visual Literacy Association (IVLA) conference, the first Museum to do so. Kennedy has been a frequent speaker on the topic, including 2010 and 2013 TEDx talks on visualand sensory literacy.Kennedy has expressed an interest in expanding the museum's collection of contemporary art and art by indigenous peoples. Works by Frank Stella, Sean Scully, Jaume Plensa, Ravinder Reddy andMary Sibande have been acquired.  In addition, the museum has made major acquisitions of Old Master paintings by Frans Hals and Luca Giordano.During his tenure the Toledo Museum of Art has announced the returnof several objects from its collection due to claims the objects were stolen and/or illegally exported prior being sold to the museum.  In 2011 a Meissen sweetmeat stand was returned to Germany followed by anEtruscan Kalpis or water jug to Italy (2013), an Indian sculpture of Ganesha (2014) and an astrological compendium to Germany in 2015.Hood Museum of ArtKennedy became Director of the Hood Museum of Art in July2005. During his tenure, he implemented a series of large and small-scale exhibitions and oversaw the production of more than 20 publications to bring greater public attention to the museum's remarkable collections ofthe arts of America, Europe, Africa, Papua New Guinea and the Polar regions. At 70,000 objects, the Hood has one of the largest collections on any American college of university campus. The exhibition, BlackWomanhood: Images, Icons, and Ideologies of the African Body, toured several US venues. Kennedy increased campus curricular use of works of art, with thousands of objects pulled from storage for classes annually.Numerous acquisitions were made with the museum's generous endowments, and he curated several exhibitions: including Wenda Gu: Forest of Stone Steles: Retranslation and Rewriting Tang Dynasty Poetry, SeanScully: The Art of the Stripe, and Frank Stella: Irregular Polygons.PublicationsKennedy has written or edited a number of books on art, including:Alfred Chester Beatty and Ireland 1950-1968: A study in cultural politics,Glendale Press (1988), ISBN 978-0-907606-49-9Dreams and responsibilities: The state and arts in independent Ireland, Arts Council of Ireland (1990), ISBN 978-0-906627-32-7Jack B Yeats: Jack Butler Yeats,1871-1957 (Lives of Irish Artists), Unipub (October 1991), ISBN 978-0-948524-24-0The Anatomy Lesson: Art and Medicine (with Davis Coakley), National Gallery of Ireland (January 1992), ISBN978-0-903162-65-4Ireland: Art into History (with Raymond Gillespie), Roberts Rinehart Publishers (1994), ISBN 978-1-57098-005-3Irish Painting, Roberts Rinehart Publishers (November 1997),  ISBN978-1-86059-059-7Sean Scully: The Art of the Stripe, Hood Museum of Art (October 2008), ISBN 978-0-944722-34-3Frank Stella: Irregular Polygons, 1965-1966, Hood Museum of Art (October 2010), ISBN978-0-944722-39-8Honors and achievementsKennedy was awarded the Australian Centenary Medal in 2001 for service to Australian Society and its art. He is a trustee and treasurer of the Association of Art MuseumDirectors, a peer reviewer for the American Association of Museums and a member of the International Association of Art Critics. In 2013 he was appointed inaugural eminent professor at the University of Toledo andreceived an honorary doctorate from Lourdes University. Most recently, Kennedy received the 2014 Northwest Region, Ohio Art Education Association award for distinguished educator for art education.== Notes==Passage 5:Jesse E. HobsonJesse Edward Hobson (May 2, 1911 – November 5, 1970) was the director of SRI International from 1947 to 1955. Prior to SRI, he was the director of the Armour ResearchFoundation.Early life and educationHobson was born in Marshall, Indiana. He received bachelor's and master's degrees in electrical engineering from Purdue University and a PhD in electrical engineering from theCalifornia Institute of Technology. Hobson was also selected as a nationally outstanding engineer.Hobson married Jessie Eugertha Bell on March 26, 1939, and they had five children.CareerAwards andmembershipsHobson was named an IEEE Fellow in 1948.Passage 6:Dana BlanksteinDana Blankstein-Cohen (born March 3, 1981) is the executive director of the Sam Spiegel Film and Television School. She wasappointed by the board of directors  in November 2019.  Previously she was the CEO of the Israeli Academy of Film and Television. She is a film director, and an Israeli culture entrepreneur.BiographyDana Blanksteinwas born in Switzerland in 1981 to theatre director Dedi Baron and Professor Alexander Blankstein. She moved to Israel in 1983 and grew up in Tel Aviv.Blankstein graduated from the Sam Spiegel Film and TelevisionSchool, Jerusalem in 2008 with high honors. During her studies she worked as a personal assistant to directors Savi Gabizon on his film Nina's Tragedies and to Renen Schorr on his film The Loners.  She also directedand shot 'the making of' film on Gavison's film Lost and Found. Her debut film Camping competed at the Berlin International Film Festival, 2007.Film and academic careerAfter her studies, Dana founded and directed thefilm and television department at the Kfar Saba municipality. The department encouraged and promoted productions filmed in the city of Kfar Saba, as well as the established cultural projects, and educationalcommunity activities.Blankstein directed the mini-series \"Tel Aviviot\" (2012). From 2016-2019 was the director of the Israeli Academy of Film and Television.In November 2019 Dana Blankstein Cohen was appointed thenew director of the Sam Spiegel Film and Television School where she also oversees the Sam Spiegel International Film Lab. In 2022, she spearheaded the launch of the new Series Lab and the film preparatory programfor Arabic speakers in east Jerusalem.FilmographyTel Aviviot (mini-series; director, 2012)Growing Pains (graduation film, Sam Spiegel; director and screenwriter, 2008)Camping (debut film, Sam Spiegel; director andscreenwriter, 2006)Passage 7:Olav AaraasOlav Aaraas (born 10 July 1950) is a Norwegian historian and museum director.He was born in Fredrikstad. From 1982 to 1993 he was the director of Sogn Folk Museum, from1993 to 2010 he was the director of Maihaugen and from 2001 he has been the director of the Norwegian Museum of Cultural History. In 2010 he was decorated with the Royal Norwegian Order of St. Olav.Passage8:Special When LitSpecial When Lit is a feature length documentary film about pinball written and directed by Brett Sullivan. The film is produced by Steam Motion and Sound.ProductionFilming took place frommid-2006 to 2008 in several trips to the U.S., France, Italy, Sweden, Australia and the UK. Post production was completed at Steam Motion and Sound in London during 2008 and 2009.SynopsisThe pinball industrymade more money than the American film industry during the 1950s through the 1970s. Special When Lit explores the former pop icon of the pinball machine, and through interviews with fans, collectors, designers andchampion players from across the globe, traces pinball's history through to the present day.RecognitionEye for Film wrote \"It's not the sort of subject that you'd think would suit a documentary, but it works surprisinglywell.\" It \"offers fascinating insights and makes for an enjoyable watch. Special When Lit is reminiscent of that other great documentary Spellbound. Both draw the audience into a world of obsession, impress upon youthe level of devotion, and charm you with the people in that world\"Tallahassee Democrat wrote that the film was a \"surprisingly compelling documentary\".Chicago Sun-Times called the film a \"significant flick in a lineupthat runs the gamut from light to heavy religious to political\".Raindance Film Festival director Elliot Grove wrote that the documentary was \"masterfully shot\" and that its director, Brett Sullivan, was able to bring out acertain nostalgia in his film that was both intriguing and fascinating, with its interviews like \"an emotional and sensitive area, with pinball’s fans describing of the game like a relationship, their faces lighting up as if theywere recounting their first kiss.\"  He found the winning film to be \"encapsulating and absorbing.\"The Montana Kaimin wrote \"With a gripping intro, the film draws you in and keeps your attention with its larger-than-lifecharacters.\"Awards and nominations2009, Won Best Feature Documentary at Los Angeles United Film Festival2009, Nominated for Best Documentary at Raindance Film Festival2009, Nominated for Best Documentary atTallahassee Film Festival2010, Won Audience Award for Best Feature Documentary at London United Film FestivalRelease and distributionFirst premiered in October 2009 at London's Raindance Film Festival where itwas nominated for Best Documentary.Subsequent festivals included: Hot Springs Documentary Film Festival, Atlanta International Documentary Film Festival, Big Sky Documentary Film Festival, Calgary InternationalFilm Festival, Buffalo Niagara International Film Festival, Bronx International Film Festival, Indianapolis International Film Festival, Da Vinci Film Festival, Tallahassee Film Festival, Los Angeles United Film Festival, USAFilm Festival, and Wisconsin Film Festival.The film was picked up by PBS International Distribution for worldwide sales outside the United States.  The film was released on DVD and Blu-ray in January 2011. TheDocumentary Channel in the United States premiered Special When Lit 21 May 2011. The PBS Channel in the UK premiered Special When Lit 5 November 2011.IntervieweesPassage 9:Brett SullivanBrett Sullivan is aLondon-based Australian-British filmmaker. Born in Sydney, Australia, 1971, Sullivan formed production company Steam Motion and Sound with Julian Chow in 1996. Steam established a UK office in 2003, and a NewYork office in 2014 with co-founder Clayton Jacobsen.Sullivan has directed and produced music videos/TV specials for Phil Collins, Michael Bublé, Natalie Merchant, James Blunt, Robert Plant, Seal, Bette Midler, BenFolds, Katherine Jenkins, LP, Gnarls Barkley, Rumer, Idina Menzel, Birdy, Nile Rodgers, Pablo Alboran, Josh Groban, Lenny Kravitz and Eric Clapton.International commercials and campaigns for Madonna, REM, LinkinPark, Flaming Lips, Alicia Keys, Andre Rieu, Jason DeRulo, Josh Groban, Bruno Mars, Jill Scott, Alfie Boe, Roland Villazon, Lenny Kravitz, Regina Spektor, Justice, My Chemical Romance, Robert Plant, Ed Sheeran,Nickelback, David Gray, Muse, KD Lang, Green Day, Red Hot Chili Peppers, Rihanna, Josh Radin, Ray LaMontagne, Plan B. Other commercial and branding work includes Deezer, Vodafone, Pepsi, Reebok, Orange,Adidas, Ikea, Coca-Cola.He has directed and produced filmed theatrical productions in the West End, Broadway, Canada, Germany and Australia for Les Misérables, Hamilton, Phantom of the Opera, Miss Saigon,Aladdin, A Strange Loop, Newsies, The Lion King, Billy Elliot, Frozen The Musical, The Rockettes, Singin in the Rain, Waitress, Beauty and the Beast, Get Up Stand Up, Jesus Christ Superstar, Oliver, Charlie and theChocolate Factory, Wicked, Pippin, Dirty Dancing, Mary Poppins, Sister Act, The Prince of Egypt, Jersey Boys, Love Never Dies, Spring Awakening, Buddy Holly, Ghost, Richard III, An American in Paris, Shrek, Bring ItOn and War Horse. Billy Elliot The Musical Live was the first live event cinema release to top the UK box office and set a new box office record for live event cinema. Sullivan's next live film Miss Saigon has since set anew record for event cinema in the UK. In the USA, Disney's Newsies Live! set a new box office record for a live musical event at the cinema.Sullivan was a co-founder of Adstream (2001), digital media and assetmanagement company for advertising agencies. It is located in 17 countries.Film DirectorThe Prince of Egypt - 2023 - Live in London - Universal Pictures/DreamWorks Theatricals - in post productionAladdin - 2023 -Live in London - Disney Theatrical Group - Disney+Waitress - 2023 - Live on Broadway - Namco - CinemaKinky Boots - 2019 - Live in London - BroadwayHD - CinemaNewsies - 2017 - Live in Hollywood - DisneyTheatrical Group - Cinema/Disney+Tour Stop 148 - Michael Bublé  - 2016 - Warner Bros Records - Cinema/Home VideoMiss Saigon - Live in London - 2016 - Universal Pictures/Cameron Mackintosh - Cinema/HomeVideoBilly Elliot The Musical - 2014 - Live in London - Universal Pictures/Working Title Films - Cinema/Home VideoLove Never Dies - 2014 - Feature - Universal Pictures / Really Useful Group - Cinema/Home VideoSpecialWhen Lit, Feature Documentary 2010, Best Documentary United Los Angeles Film Festival, Nominated Best Documentary Raindance, Official Selection at Calgary international Film Festival, Vancouver International Film"}
+{"doc_id":"doc_243","qid":"","text":"Passage 1:René ClairRené Clair (11 November 1898 – 15 March 1981), born René-Lucien Chomette, was a French filmmaker and writer. He first established his reputation in the 1920s as a director of silent films in which comedy was often mingled with fantasy. He went on to make some of the most innovative early sound films in France, before going abroad to work in the UK and USA for more than a decade. Returning to France after World War II, he continued to make films that were characterised by their elegance and wit, often presenting a nostalgic view of French life in earlier years. He was elected to the Académie Française in 1960. Clair's best known films include Un chapeau de paille d'Italie (The Italian Straw Hat, 1928), Sous les toits de Paris (Under the Roofs of Paris, 1930), Le Million (1931), À nous la liberté (1931), I Married a Witch (1942), and And Then There Were None (1945).Early lifeRené Clair was born and grew up in Paris in the district of Les Halles, whose lively and picturesque character made a lasting impression on him. His father was a soap merchant; he had an elder brother, Henri Chomette (born 1896). He attended the Lycée Montaigne and the Lycée Louis-le-Grand. In 1914 he was studying philosophy; his friends at that time included Raymond Payelle who became the actor and writer Philippe Hériat.In 1917, at the age of 18, he served as an ambulance driver in World War I, before being invalided out with a spinal injury. He was deeply affected by the horrors of war that he witnessed and gave expression to this in writing a volume of poetry called La Tête de l'homme (which remained unpublished). Back in Paris after the war, he started a career as a journalist at the left-wing newspaper L'Intransigeant.Film careerHaving met the music-hall singer Damia and written some songs for her, Clair was persuaded by her to visit Gaumont studios in 1920 where a film was being cast and he then agreed to take on a leading role in Le Lys de la vie, directed by Loïe Fuller and Gabrielle Sorère. He adopted the stage-name of René Clair, and several other acting jobs followed, including Parisette for Louis Feuillade. In 1922 he extended his career as a journalist, becoming the editor of a new film supplement to a monthly magazine, Théâtre et Comœdia illustrés.  He also visited Belgium and after an introduction from his brother Henri, he became an assistant to the director Jacques de Baroncelli on several films.1924–1934In 1924, with the support of the producer Henri Diamant-Berger, Clair got the opportunity to direct his own first film, Paris qui dort (The Crazy Ray), a short comic fantasy. Before it had been shown however, Clair was asked by Francis Picabia and Erik Satie to make a short film to be shown as part of their Dadaist ballet Relâche; he made Entr'acte (1924), and it established Clair as a leading member of the Parisian avant-garde.Fantasy and dreams were also components of his next two films, but in 1926 Clair took a new direction when he joined Alexandre Kamenka's Films Albatros company to film a dramatic story, La Proie du vent (The Prey of the Wind), which met with commercial success. He remained at Albatros for his last two silent films, Un chapeau de paille d'Italie (An Italian Straw Hat) and Les Deux Timides (Two Timid Souls) (both 1928), in which he sought to translate the essentially verbal comedy of two plays by Labiche into works of silent cinema. While at Albatros, Clair met the designer Lazare Meerson and the cameraman Georges Périnal who were to remain important collaborators with him for the next decade. By the end of the silent era, Clair was celebrated as one of the great names in cinema, alongside Griffith, Chaplin, Pabst and Eisenstein. As the author of all of his own scripts, who also paid close attention to every aspect of the making of a film, including the editing, Clair was one of the first French film-makers to establish for himself the full role of an auteur.Clair was initially sceptical about the introduction of sound to films, and called it \"an unnatural creation\". He then realised the creative possibilities that it offered, particularly, in his view, if the soundtrack was not used realistically; words and pictures need not, and indeed should not, be tied together in a clumsy duplication of information; dialogue did not always need to be heard. Between 1930 and 1933, Clair explored these ideas in his first four sound films, starting with Sous les toits de Paris (Under the Roofs of Paris); this was followed by Le Million (1931), À nous la liberté (1931), and Quatorze juillet (Bastille Day) (1933). All of these films portrayed an affectionate and idealized view of working class life, and they did much to create a popular romantic image of Paris which was seen around the world. These films were made at the Epinay Studios for Films Sonores Tobis, a French subsidiary of the German-owned Tobis company.When Chaplin made Modern Times in 1936, it was noted that some parts of it bore a marked similarity to scenes in À nous la liberté, and the production company Tobis launched a lawsuit for plagiarism against United Artists, the producers of Chaplin's film. Clair was embarrassed by this since he acknowledged his own debt to the spirit of Chaplin, and he refused to be associated with the action.After the immense success of these early sound films, Clair met with a major setback when his next film, Le Dernier Milliardaire (The Last Billionaire/The Last Millionaire) (1934), was a critical and commercial flop. While he was visiting London for the film's British première, he met Alexander Korda who offered him a contract to work in England.  He accepted, and began a lengthy period of exile from film-making in France.1935–1946Clair's contract with Korda's London Films was for two years and it envisaged three films. Because of his limited English, he collaborated with the American dramatist Robert E. Sherwood as script-writer for his first film, The Ghost Goes West (1935), a comic fantasy about transatlantic culture clash. Clair and Sherwood became close friends. In January 1936, Clair visited America for two weeks, checking out for future employment possibilities but still planning to remain with Korda. Korda however rejected Clair's next script and they parted company. Clair's remaining time in England led to only one more completed film, Break the News (1938), a musical comedy with Jack Buchanan and Maurice Chevalier.Returning to France, Clair attempted to make another film there in 1939, Air pur, which was to be a celebration of youth and childhood, but the outbreak of war interrupted filming and it was abandoned. In May 1940, Jean Giraudoux, then Minister of Information, suggested to Clair that the film profession should concentrate its resources in the south of country in Nice and Marseille – and if necessary establish a French production centre in the United States. It was with this last plan in mind that Clair and his family, along with Julien Duvivier, departed for America, but by the time he reached New York the project had already fallen through and he went straight on to Hollywood where several studios were interested in employing him. He made his first American film for Universal Studios, The Flame of New Orleans (1941), but it was such a commercial failure that for a time Clair's career as a director was in the balance. After more than a year's delay, his next film was I Married a Witch (1942), followed by It Happened Tomorrow (1944), both of which did respectably well, and then And Then There Were None (1945), which turned out to be an exceptional commercial success despite being perhaps the least personal of his Hollywood ventures. Each of Clair's American films was made for a different studio.In 1941 Clair was stripped of his French citizenship by the Vichy government, though this was later reversed. It was also in 1941 that he learned of the death of his brother Henri Chomette in France from polio. In 1943, he was planning to go to Algeria to organise the Service Cinématographique de l'Armée, but funding for the project was withdrawn just as he was on the point of departure. In July 1945 he went back to France for a short visit, and then returned finally in July 1946, having signed a contract with RKO for his next film to be made in France.Clair's American exile had allowed him to develop his characteristic vein of ironical fantasy with several commercially successful films, but there was some feeling that it had been at the expense of personal control and that his output there had not matched the quality of his earlier work in France. Clair himself recognised that being employed by the highly organized American studios had allowed him to work in ideal circumstances: \"In spite of the restrictions of the American system, it is possible, if one wishes, to take responsibility. In my four Hollywood films I managed to do what I wanted.\"1947–1965Clair's first film on his return to France was the romantic comedy Le silence est d'or (Silence is Golden) (1947), which was set in 1906 and nostalgically evoked the world of early French film-making; its plot also created variations on Molière's L'École des femmes. Clair considered it one of his best post-war films. Literary inspirations also underpinned other films: Faust for La Beauté du diable (Beauty and the Devil) (1950); and Don Juan for Les Grandes Manœuvres (1955). In these two films and the intervening Les Belles de nuit (Beauties of the Night) (1952), the leading actor was Gérard Philipe who became a friend and a favourite performer for Clair. Porte des Lilas (1957) was a sombre film, set once again in a popular district of Paris with its picturesque inhabitants, for which the singer Georges Brassens was persuaded to give his only film performance.During the 1950s, as a new generation of French critics and film-makers emerged who were impatient of the prevailing modes of film production, Clair found himself increasingly criticised as a representative of the cinéma de qualité, a \"cinema of old men\" dominated by nostalgia for their younger days. His status as a figure of the 'establishment' was further confirmed by his election to the Académie Française in 1960. Although he continued to make a few more films in comic vein such as Tout l'or du monde (All the Gold in the World) (1961), they were not well received and he made his last film, Les Fêtes galantes (The Lace Wars), in 1965.Writing and later workClair began his career as a journalist, and writing remained an important interest for him to which he increasingly turned in his later years. In 1926 he published a novel, Adams (translated into English as Star Turn), about a Hollywood star for whom the distinction between the real and unreal becomes blurred. He occasionally returned to writing fiction (La Princesse de Chine and Jeux du hasard), but many of his publications dealt with the cinema, including reflections on his own films. Apart from many journal articles, his main publications were:Adams. (Paris: Grasset, 1926). English translation, Star Turn, (London: Chatto & Windus, 1936).Réflexion faite. (Paris: Gallimard, 1951). English translation, Reflections on the Cinema. (London: William Kimber, 1953).La Princesse de Chine, suivi de De fil en aiguille. (Paris: Grasset, 1951).Comédies et commentaires. (Paris: Gallimard, 1959) [includes 5 of Clair's screenplays]. English translation, in part, Four Screenplays. (New York: Orion Press, 1970).Discours de réception à l'Académie française. (Paris: Gallimard, 1962).Tout l'or du monde. (Paris: Gallimard, 1962).Cinéma d'hier, cinéma d'aujourd'hui. (Paris: Gallimard, 1970). English translation, Cinema Yesterday and Today. (New York: Dover, 1972).L'Étrange Ouvrage des cieux, d'après The Dutch Courtezan de Jon Marston. (Paris: Gallimard, 1972).Jeux du hasard: récits et nouvelles. (Paris: Gallimard, 1976).Clair also ventured into other media.  In 1951 he directed his first radio production, Une larme du diable.  In 1959 he directed a stage production of Musset's On ne badine pas avec l'amour, in which Gérard Philipe gave one of his last performances before his death. In 1972 he staged Gluck's Orphée for the Paris Opéra.Personal lifeAt the end of 1924, while Clair was working on Ciné-sketch for the theatre with France Picabia, he first met a young actress, Bronja Perlmutter, who subsequently appeared in his film Le Voyage imaginaire (1926) premiered at the newly opened Studio des Ursulines. They married in 1926, and their son, Jean-François, was born in 1927.René Clair died at home on 15 March 1981, and he was buried privately at Saint-Germain-l'Auxerrois.ReputationClair's reputation as a film-maker underwent a considerable reevaluation during the course of his own lifetime: in the 1930s he was widely seen as one of France's greatest directors, alongside Renoir and Carné, but thereafter his work's artifice and detachment from the realities of life fell increasingly from favour. The avant-gardism of his first films, and especially Entr'acte, had given him a temporary notoriety, and a grounding in surrealism continued to underlie much of his comedy work. It was however the imaginative manner in which he overcame his initial scepticism about the arrival of sound which established his originality, and his first four sound films brought him international fame.Clair's years of working in the UK and USA made him still more widely known but did not show any marked development in his style or thematic concerns. It was in the post-war films that he made on his return to France that some critics have observed a new maturity and emotional depth, accompanied by a prevailing sense of melancholy but still framed by the elegance and wit that characterised his earlier work.However, in the 1950s the critics who heralded the arrival of the French New Wave, especially those associated with Cahiers du Cinéma, found Clair's work old-fashioned and academic. François Truffaut wrote harshly of him after seeing The Flame of New Orleans: \"We don't follow our elders in paying the same tribute to Renoir and Clair. There is no film by Clair which matches the invention and wit of Renoir's Tire au flanc.... Clair makes films for old ladies who go to the cinema twice a year.\"André Bazin, the founding editor of Cahiers, made a more measured assessment: \"René Clair has remained in a way a film-maker of the silent cinema. Whatever the quality and importance of his recent films, expression through the image always predominates over that of the word and one almost never misses the essence if one can only vaguely hear the dialogue.\" It was also in a special number of Cahiers du Cinéma reviewing the current state of the French cinema in 1957 that Clair received one of his most positive appreciations: \"A complete film author who, since the silent era, has brought to the French cinema intelligence, refinement, humour, an intellectual quality that is slightly dry but smiling and in good taste.... Whatever may follow in his rich career, he has created a cinematic world that is his own, full of rigour and not lacking in imagination, thanks to which he remains one of our greatest film-makers.\"Such appreciations have subsequently been rare, and the self-contained artificiality of Clair's films, his insistence on the meticulous preparation of an often literary script, and his preference for filming in studio sets rather than on location increasingly set him apart from modern trends in film-making. The paradox of Clair's reputation has been further heightened by those commentators who have seen François Truffaut as the French cinema's true successor to Clair, notwithstanding the occasions of their mutual disdain.FilmographyFeature filmsShort filmsEntr'acte (1924)La Tour (1928) (documentary)Forever and a Day (1943) (segment \"1897\")La Française et l'Amour (1960) (segment \"Mariage, Le\")Love and the FrenchwomanLes Quatre Vérités (1962) (segment \"Les Deux Pigeons\")Three Fables of LoveTelevisionLes Fables de La Fontaine (1964) (episodes \"?\")Awards and honoursRené Clair held the national honours of Grand officier de la Légion d'honneur, Commandeur des Arts et des Lettres, and Grand-croix de l'ordre national du Mérite.  He received the Grand Prix du cinéma français in 1953.In 1956 he was awarded an honorary doctorate by the University of Cambridge.In 1960 he was elected to the Académie Française; he was not the first film-maker so honoured (he was preceded by Marcel Pagnol (1946), Jean Cocteau (1955), and Marcel Achard (1959)) but he was the first to be elected primarily as a film-maker. In 1994 the Académie established the Prix René-Clair as an annual prize awarded to a distinguished film-maker.In 1967 he received an honorary doctorate from the Royal College of Art in London.As well as many awards made for individual films, Clair received an honorary prize at the 11th Moscow International Film Festival in 1979 for his contribution to cinema.Place René Clair in Boulogne-Billancourt, on the outskirts of Paris and near the site of the former film studios in that district, is named after him.See alsoList of ambulance drivers during World War ICinema purPassage 2:Searchlight on JapanSearchlight on Japan is an Australian documentary about the Allied occupation of Japan after World War II directed by Ken G. Hall.The film was sold to American television.Passage 3:Beauties of the NightBeauties of the Night may refer to:Beauties of the Night (1952 film), a French-language fantasy filmBeauties of the Night (2016 film), a Mexican documentary filmPassage 4:Abhishek SaxenaAbhishek Saxena is an Indian Bollywood and Punjabi film director who directed the movie Phullu. The Phullu movie was released in theaters on 16 June 2017, in which film Sharib Hashmi is the lead role. Apart from these, he has also directed Patiala Dreamz, this is a Punjabi film. This film was screened in cinemas in 2014.Life and backgroundAbhishek Saxena was born on 19 September 1988 in the capital of India, Delhi, whose father's name is Mukesh Kumar Saxena. Abhishek Saxena married Ambica Sharma Saxena on 18 December 2014. His mother's name is Gurpreet Kaur Saxena.Saxena started his career with a Punjabi film Patiala Dreamz, after which he has also directed a Hindi film Phullu, which has appeared in Indian cinemas on 16 June 2017.CareerAbhishek Saxena made his film debut in 2011 as an assistant director on Doordarshan with Ashok Gaikwad. He made his first directed film Patiala Dreamz, this is a Punjabi movie.After this, he has also directed a Hindi film Phullu in 2017, which has been screened in cinemas on 16 June 2017. Saxena is now making his upcoming movie \"India Gate\".In 2018 Abhishek Saxena has come up with topic of body-shaming in his upcoming movie Saroj ka Rishta. Where Sanah Kapoor will play the role of Saroj and actors Randeep Rai and Gaurav Pandey will play the two men in Saroj's life.Yeh Un Dinon ki Baat Hai lead Randeep Rai will make his Bollywood debut. Talking about the film, director Abhishek Saxena told Mumbai Mirror, \"As a fat person, I have noticed that body-shaming doesn’t happen only with those who are on the heavier side, but also with thin people. The idea germinated from there.\"Career as an Assistant DirectorApart from this, he has played the role of assistant director in many films and serials in the beginning of his career, in which he has a television serial in 2011, Doordarshan, as well as in 2011, he also assisted in a serial of Star Plus.In addition to these serials, he played the role of assistant director in the movie \"Girgit\" which was made in Telugu language.FilmographyAs DirectorPassage 5:Jaime ChikJaime Chik Mei-chun (Chinese: \u0000\u0000\u0000, born 5 January 1962) is a Hong Kong TVB actress and was named as one of the Five Beauties of TVB.Personal lifeChik met Hong Kong actor Michael Miu in 1981 while shooting for the TVB television drama You Only Live Twice. The couple married in 1990 and since have two children: daughter Phoebe Miu (born 1991) and son Murphy Miu (born 1993).FilmographyExternal linksJaime Mei Chun Chik at IMDbJaime Chik Mei-Jan at the Hong Kong Movie DataBasePassage 6:Ken G. HallKenneth George Hall, AO, OBE (22 February 1901 – 8 February 1994), better known as Ken G. Hall, was an Australian film producer and director, considered one of the most important figures in the history of the Australian film industry. He was the first Australian to win an Academy Award.Early yearsHall was born Kenneth George Hall in Paddington, Sydney, Australia in 1901, the third child of Charles and Florence Hall. He was educated at North Sydney Boys' High School.At age 15, with the help of his father, he gained a cadetship at the Sydney Evening News, where he became friends with a young Kenneth Slessor, then a cadet for another paper. Two years later, he became a publicist for Union Theatres, initially working as an assistant to Gayne Dexter. He had a six-month stint as manager for the Lyceum Theatre then returned to publicity, working his way up to national publicity director, \"the highest post in film publicity in Australia\" at that time.In 1924, Hall joined the American distribution company First National Pictures as a publicist, and visited Hollywood the following year.Directing careerEarly years: 1928–1930Hall began making films in 1928 when at First National he was "}
+{"doc_id":"doc_244","qid":"","text":"Passage 1:Beatrix of BadenBeatrix of Baden (22 January 1492 – 4 April 1535) was a margravine (wife of a margrave) of Baden by birth and by marriage and a Countess Palatine of Simmern.  She was a daughter ofChristoph I, Margrave of Baden and Ottilie of Katzenelnbogen.Marriage and issueIn 1508 she married the Count Palatine  Johann II of Simmern (born: 21 March 1492; died: 18 May 1557).  With him she had twelvechildren:Catherine (1510–1572), Abbess in Kumbd monasteryJohanna (1512–1581), Abbess in Marienberg monastery at BoppardOttilia (1513–1553), nun at Marienberg in BoppardFrederick III the Pious (1515–1576),Elector Palatinemarried firstly 1537 Princess Marie of Brandenburg-Kulmbach (1519–1567)married secondly 1569 Countess Amalia of Neuenahr-Alpen (1540–1602)Brigitta (1516–1562), Abbess at Neuburg an derDonauGeorg (1518–1569), Count Palatine of Simmern-Sponheimmarried in 1541 princess Elisabeth of Hesse (1503–1563)Elisabeth (1520–1564)married in 1535 Count Georg II of Lauterbach (1506-1569)Reichard(1521–1598), Count Palatine of Simmern-Sponheimmarried in firstly 1569 Countess Juliane of Wied (1545-1575)married in secondly 1578 Countess Emilie of Württemberg (1550-1589)married in thirdly 1589 CountessPalatine Anna Margarete of Veldenz (1571-1621)Maria (1524–1576), nun at Marienberg in BoppardWilliam (1526–1527)Sabine (1528–1578)married in 1544 Count Lamoral of Egmont (1522–1568)Helena(1532–1579)married in 1551 Count Philipp III of Hanau-Münzenberg (1526–1561)AncestorsPassage 2:Frederick II, Grand Duke of BadenFrederick II (9 July 1857 – 9 August 1928; German: Großherzog von BadenFriedrich II.) was the last sovereign Grand Duke of Baden, reigning from 1907 until the abolition of the German monarchies in 1918. The Weimar-era state of Baden originated from the area of the Grand Duchy. In1951–1952, it became part of the new state of Baden-Württemberg.LifeFriedrich \"Fritz\" Wilhelm Ludwig Leopold August Prinz von Baden was born on 9 July 1857, in Karlsruhe in the state of Baden-Württemberg toFrederick I, Grand Duke of Baden and Princess Louise of Prussia.As a student at the University of Heidelberg, Frederick was a member of the Suevia Corps, a student fraternal organization. Frederick became the head ofthe House of Zähringen on 28 September 1907, after the death of his father Frederick I, who was the sovereign Grand Duke of Baden reigning from 1856 to 1907. He abdicated on 22 November 1918, amidst thetumults of the German Revolution of 1918–19 which resulted in the abolition of the Grand Duchy. After the death of his cousin Carola of Vasa, he became the representative of the descent of the Kings of Sweden of theHouse of Holstein-Gottorp. On 20 September 1885 in Schloss Hohenburg, he married Princess Hilda of Nassau, the only daughter of the exiled Duke Adolphe of Nassau who later succeeded as Grand Duke ofLuxembourg. There was no surviving issue from the marriage.He was à la suite the Royal Prussian Regiments Erstes Garde-Regiment zu Fuß (1st Guard Foot Regiment) and 1. Garde-Ulanen-Regiment and à la suite theImperial 1st Seebataillon. He was also Regimentschef of the 4. Königlich Sächsisches Infanterie-Regiment Nr. 103, which was also known as Infanterie-Regiment „Großherzog Friedrich II. von Baden“ (4. KöniglichSächsisches) Nr. 103.Promotions1875 : Sekondeleutnant (= Leutnant)1881 : Premierleutnant (= Oberleutnant)1882 : Hauptmann1884 : Major1889 : Oberst1891 : Generalmajor1893 : Generalleutnant1897 : Generalder Infanterie1905 : Generaloberst with the rank of GeneralfeldmarschallDeathAfter his death in 1928, the headship of the house was transferred over to his first cousin who was the last Chancellor of Imperial Germany,Prince Maximilian of Baden.Honours and awardsGerman orders and decorationsForeign orders and decorations  Austria-Hungary:Grand Cross of the Royal Hungarian Order of St. Stephen, 1885Military Jubilee Cross, 14August 1908 Belgium: Grand Cordon of the Order of Leopold Empire of Brazil: Grand Cross of the Southern Cross Denmark: Knight of the Elephant, 13 October 1897 Kingdom of Italy: Knight of the Annunciation, 10September 1897 Netherlands: Grand Cross of the Netherlands Lion Kingdom of Romania:Grand Cross of the Order of Carol I, with CollarGrand Cross of the Star of Romania Russian Empire: Knight of St.Andrew  Sweden-Norway:Knight of the Seraphim, with Collar, 20 September 1881Grand Cross of St. Olav, 27 September 1897 United Kingdom: Honorary Grand Cross of the Royal Victorian Order, 16 June1905Honorary military appointmentsHonorary General of the Swedish Army, 1906AncestryPassage 3:Mechthild of BavariaMechthild of Bavaria (12 July 1532 – 2 November 1565 in Baden-Baden) was a Germannoblewoman. She was the daughter of William IV, Duke of Bavaria and his wife Marie. She was buried in the Stiftskirche at Baden-Baden.On 17 January 1557 she married Philibert, Margrave of Baden-Baden, and theyhad the following children:Jakobea (16 January 1558 – 3 September 1597 in Düsseldorf), married Duke John William of Jülich-Cleves-Berg.Philip II (19 February 1559 in Baden-Baden – 17 June 1588), Margrave ofBaden.Anna Maria (22 May 1562 – 25 April 1583 in Trebon).Maria Salome (1 February 1563 – 30 April 1600 in Pfreimd).Mechthild is a German form of Matilde.Passage 4:Herman II, Margrave of BadenHermann II ofBaden (c. 1060 – 7 October 1130) was the first to use the title Margrave of Baden, after the family seat at Castle Hohenbaden. This castle is in the present day town of Baden-Baden.LifeHermann was the son ofHermann I of Baden and Judit of Backnang-Sulichgau. He was ruler of the March of Verona from 1112 until 1130.He styled himself Dominus in Baden, comes Brisgaviae, marchio Verona. In English, his titles were: Lordin Baden, Count of Brisgau, Margrave of Verona. Around 1070 Hermann began to build Castle Hohenbaden on top of the remains of an old Celtic structure. After the structure was completed in 1112, he gave himself thetitle Margrave of Baden.He rebuilt the Augustine monastery that his father had built in Backnang in 1123. Hermann was laid to rest in the monastery with the inscription:\"In this tomb lies the Margrave Hermann ofBaden, who was the founder of this monastery and temple. He died in the year thousand increased by hundred and three times ten fronm the time on when the pious virgin bore . When he was transferred here alongwith his descendancy, fifteen hundred years had passed, thereto ten onandall three.\"Family and childrenHermann II married Judit of Hohenberg and had the following children:Hermann III (d. January 16, 1160)Judith(d. 1162), married Ulrich I of Carinthia (d. 1144)Passage 5:Prince William of Baden (1829–1897)Prince Louis William Augustus of Baden (German: Ludwig Wilhelm August Prinz von Baden; 18 December 1829 – 27 April1897) was a Prussian general and politician. He was the father of Prince Maximilian of Baden, the last Minister President of the Kingdom of Prussia and last Chancellor of the German Empire. Wilhelm was a Prince ofBaden, and a member of the House of Zähringen.FamilyWilhelm was born in Karlsruhe, Grand Duchy of Baden, on 18 December 1829 as the fifth child and third surviving son of Leopold, Grand Duke of Baden, and hiswife Princess Sophie of Sweden. Through his father, Wilhelm was a grandson of Charles Frederick, Grand Duke of Baden and his wife Baroness Louise Caroline Geyer of Geyersberg and through his mother, a grandson ofGustav IV Adolf of Sweden and his wife Frederica of Baden.Wilhelm was a brother of Alexandrine, Duchess of Saxe-Coburg and Gotha, Louis II, Grand Duke of Baden, Frederick I, Grand Duke of Baden, Prince Charles ofBaden, Marie, Princess Ernest of Leiningen, and Grand Duchess Olga Feodorovna of Russia.Military careerDuring his brief service in the Baden Federal Contingent (German: Baden Bundescontingente), Wilhelm attainedthe rank of Lieutenant in 1847 and First Lieutenant in 1849. Beginning between 1849 and 1850, he served as a First Lieutenant in the 1st Foot Guards (German: 1. Garde-Regiment zu Fuß) infantry regiment of theRoyal Prussian Army. Wilhelm received his formal education in the Prussian Army. From 1856, Wilhelm served as Major of the Guard Artillery (German: Gardeartillerie) and served as the last Major General andCommander of the Guards Artillery Brigade (German: Gardeartilleriebrigade). Wilhelm retired from Prussian military service in 1863 with the rank of Lieutenant General, shortly before his marriage to Princess Maria ofLeuchtenberg.Austro-Prussian WarIn 1866, during the Austro-Prussian War between the Kingdom of Prussia and the Austrian Empire, Wilhelm assumed command of the Baden Division of the 8th Federal Corps(German: 8. Bundeskorps) siding with the Austrian-led German Confederation. The dissolution of the 8th Federal Corps began on 30 July 1866 when Wilhelm sent a flag of truce along with a letter to the Prussianheadquarters at Marktheidenfeld. The letter stated that Wilhelm's father Leopold, Grand Duke of Baden, had entered into direct negotiations with Wilhelm I of Prussia and that King Wilhelm I granted the Baden troopspermission to return to their homes.Immediately following the Austro-Prussian War, Wilhelm reformed the army of Baden based upon the Prussian system. Wilhelm and Prince August of Württemberg were the two southGerman princes who were foremost in securing the union of the Northern and Southern German states. On 22 September 1868, Wilhelm announced his resignation from the command of the troops of the Grand Duchyof Baden and was replaced by General Beza.Franco-Prussian WarIn the Franco-Prussian War of 1870–71, Wilhelm commanded the 1st Baden Brigade in the XIV Corps. On 30 October 1870, Wilhelm and General GustavFriedrich von Beyer assailed Dijon. The French had transported 10,000 men by rail and the citizens of Dijon, including women, joined in the defense of the city against the Germans. The resistance was not easilysubdued and the Germans suffered heavy losses, however according to historian Gustave Louis Maurice Strauss, \"[Wilhelm] carried the heights of St. Apollinari in gallant style and occupied the suburbs from which theGermans ultimately forced their way into the city where fierce fights from barricade to barricade from house to house lasted till midnight.\" Dijon was occupied by 24,000 Prussians on 18 January 1870, but wasreoccupied by the French after a severe battle, and subsequently retaken by the Prussians on 19 January, during which Wilhelm was shot in his cheek at Nuits-Saint-Georges.Post-war careerIn 1895, Kaiser Wilhelm IIpromoted him à la suite to the Grenadier Regiment (German: Leibgrenadierregimentes) in honor of the 25th anniversary of the Battle of Nuits-Saint-Georges. At the same time, Wilhelm II made him knight of the Orderof Pour le Mérite, the Kingdom of Prussia's highest military order.Wilhelm's final military rank was General of the Infantry.Political careerFrom a young age, Wilhelm held a seat in the First Chamber of the Diet of theGrand Duchy of Baden. From 1871 to 1873, Wilhelm was a representative of Baden in the Reichstag of the German Empire in which he was a member of the German Imperial Party (German: Deutsche Reichspartei)(also known as the Free Conservative Party).Marriage and childrenWilhelm married Princess Maria Maximilianovna of Leuchtenberg, Princess Romanovskaja on 11 February 1863 in Saint Petersburg. She was the eldestsurviving daughter of Maximilian de Beauharnais, 3rd Duke of Leuchtenberg and his wife Grand Duchess Maria Nikolaevna of Russia,  Russian Empire. Upon learning of the marriage, United States President AbrahamLincoln sent a letter to Wilhelm's elder brother Frederick I, Grand Duke of Baden in which Lincoln stated: \"I participate in the satisfaction afforded by this happy event and pray Your Royal Highness to accept my sincerecongratulations upon the occasion together with the assurances of my highest consideration.\" Prior to the marriage, Wilhelm had traveled to England as a potential suitor of Princess Mary Adelaide of Cambridge.Wilhelmand Maria had two children:Princess Marie of Baden (26 July 1865 – 29 November 1939), later Duchess of Anhalt as the wife of Friedrich II, Duke of Anhalt (no issue)Prince Maximilian of Baden (10 July 1867 – 6November 1929)Candidate for the Greek throneFollowing the deposition of Otto of Greece and the Greek head of state referendum of 1862, Wilhelm was considered by Wilhelm I of Prussia and Otto von Bismarck as acandidate for the throne of the Kingdom of Greece. The Russian Empire's preferred candidate for the Greek throne fluctuated between Nicholas de Beauharnais, 4th Duke of Leuchtenberg and Wilhelm, hisbrother-in-law. As a potential candidate, Wilhelm demanded no renunciations of rights to the Greek throne from King Otto's family in the Kingdom of Bavaria. According to The New York Times on 16 March 1863, thenrecent purchases of Greek bonds in London were the result of a report that Wilhelm was to be formally recommended for the throne.Later lifeWilhelm was in attendance at the dedication of the monument to MartinLuther at Worms on 27 June 1868.Following the death of his brother-in-law Ernest II, Duke of Saxe-Coburg and Gotha, Wilhelm traveled to Schloss Reinhardsbrunn on 23 August 1893 to visit his widowed sisterAlexandrine and greet the Duke's successor, Prince Alfred, Duke of Edinburgh. He attended the Duke's funeral procession and service in Coburg on 28 August 1893.Wilhelm died in Karlsruhe on 27 April 1897 at the ageof 67. He was interred at the Grand Ducal Crypt Chapel (German: Großherzogliche Grabkapelle) in the Fasanengarten in Karlsruhe.Titles, styles, honours and armsTitles and styles18 December 1829 – 27 April 1897: HisGrand Ducal Highness Prince Wilhelm of BadenHonoursNational honoursForeign honours Austrian Empire: Grand Cross of the Imperial Order of Leopold, 1852 Belgium: Grand Cordon of the Order of Leopold FrenchEmpire: Grand Cross of the Legion of Honour, June 1860 Kingdom of Italy: Knight of the Annunciation Principality of Montenegro: Grand Cross of the Order of Prince Danilo I Russian Empire:Knight of St. AndrewKnightof St. Alexander NevskyKnight of St. Anna, 1st ClassKnight of St. George, 4th ClassAncestryPassage 6:Jakobea of BadenPrincess Jakobea of Baden (16 January 1558 – 3 September 1597 in Düsseldorf, buried in the St.Lambert Church in Düsseldorf) was daughter of the Margrave Philibert of Baden-Baden and Mechthild of Bavaria.LifeJakobea of Baden-Baden became an orphan at an early age and was raised at the court of hermaternal uncle Duke Albert V of Bavaria, where she had several suitors. At the insistence of her cousin Ernest of Bavaria, who was Archbishop of Cologne, Emperor Rudolph II, King Philip II of Spain and Pope GregoryXIII, she married, on 16 June 1585, to Duke John William of Jülich-Cleves-Berg, who was considered physically unattractive and mentally unstable and was the son and heir apparent of William \"the Rich\" ofJülich-Cleves-Berg, in an attempt to keep the confessionally wavering duke William in the Catholic camp. The marriage was celebrated lavishly in Düsseldorf, which at the time was ravaged by the Cologne War, and wasdocumented by Dietrich Graminäus in his volume Beschreibung derer Fürstlicher Güligscher ec. Hochzeit.William the Rich could never overcome the early death of his eldest son Charles Frederick.  He despised hissecond son and successor, John William, and gave him little chance to learn to govern and thus contributed to the disaster that befell his duchies.When William died in 1592, John William inherited the duchies andJakobea tried to rule on behalf of her husband, who had been locked up because of his temper tantrums. She had been born a Protestant, but was raised as a Roman Catholic and did not choose for either side. Shenever became pregnant, possibly because her husband was impotent. She had a relationship with the much younger Dietrich von Hall zu Ophoven, who was Amtmann at Monheim am Rhein and was eventually arrestedand locked up in the tower of Düsseldorf Castle.  She tried to plead her case in the Roman Rota and at the imperial court in Prague, but the case made little progress. The Catholic side, represented primarily by hersister-in-law Sibylle of Jülich-Cleves-Berg, then took matters into their own hands.She was found dead in her room on the morning of 3 September 1597, after she had received guests and toasted on her husband'shealth the night before.  Eyewitness accounts suggest that she was strangled or suffocated.  The motive for the move appears to have been to make room for a more fertile wife, who could save the endangereddynasty.She was buried on 10 September 1597 in a closed ceremony in the Kreuzherren Church in Düsseldorf.  On 23 March 1820, her body was transferred to the St. Lambert Church in Düsseldorf and solemnlyreburied.The City Museum in Düsseldorf has a lock of her hair.LegacyComparing Jakobea to Mary Stuart is not entirely far-fetched; even so, it may be an exaggeration.  Jakobea of Baden was overwhelmed by theconfusing conditions at the religiously divided court in Düsseldorf and fled in a love affair for some amusement. When she was held in humiliating captivity and lost all hope of help from her powerful relatives in Badenand Bavaria, she showed her true caliber and attitude.  The popular misinformation that Jakobea of Baden was beheaded, would make her more similar to Mary Stuart.FootnotesPassage 7:Frederick III, Margrave ofBadenFrederick III of Baden (1327 – 2 September 1353) was Margrave of Baden from 1348 to 1353.LifeHe was the elder son of Rudolf IV and Marie of Oettingen.Family and childrenHe married Margareta of Baden,daughter of Rudolf Hesso, Margrave of Baden-Baden and had the following children:Rudolf VI, Margrave of Baden-Baden (died 21 March 1372).Margarete, Dame d'Héricourt, married to:10 November 1363 CountGottfried II of Leiningen-Rixingen;Count Heinrich of Lützelstein.See alsoList of rulers of BadenPassage 8:Stéphanie de BeauharnaisStéphanie, Grand Duchess of Baden (Stéphanie Louise Adrienne de Beauharnais; 28August 1789 – 29 January 1860) was a French princess and the Grand Duchess consort of Baden by marriage to Karl, Grand Duke of Baden.Born in Versailles during the French Revolution, Stéphanie's life wassignificantly influenced by Napoleon Bonaparte, who married her aunt and became her patron. Napoleon, needing to secure an alliance with the Prince-elector of Baden, adopted Stephanie and arranged her marriage toKarl of Baden.Her marriage to Karl in 1806 wasn't notably successful initially; they lived separately in Karlsruhe and Mannheim respectively. However, they reconciled to produce heirs after Karl succeeded to the thronein 1811. They had five children, but there was controversy around their unnamed son who died shortly after birth, with rumors suggesting Kaspar Hauser could have been the real heir. After Karl's death in 1818,Stéphanie remained a widow for 41 years. Her residence in Mannheim became a notable salon for artists and intellectuals. She died in Nice, France, in 1860.BiographyEarly lifeBorn in Versailles at the beginning of theFrench Revolution, Stéphanie was the daughter of Claude de Beauharnais, 2nd Count des Roches-Baritaud (1756–1819). In 1783 the 2nd Count married Claudine Françoise de Lezay (1767–1791). The marriage resultedin the birth of first her older brother Alberic de Beauharnais (1786–1791) and then Stephanie herself. Her father remarried in 1799 to Suzanne Fortin-Duplessis (1775–1850). On 13 December 1779 Alexandre, Vicomtede Beauharnais, first cousin of her father, married Joséphine Tascher de la Pagerie. On 23 July 1794, Alexandre was guillotined. Joséphine had affairs with several influential figures of the French Directory, including PaulFrançois Jean Nicolas Barras. The latter would introduce her to his recent favorite Napoléon Bonaparte. Napoléon soon started courting her. On 9 March 1796 they were married.General Napoléon Bonaparte was nowstepfather to Eugène de Beauharnais and Hortense de Beauharnais, second cousins of Stephanie. As his prominence and wealth continued to rise, Napoléon found himself being de facto patron to both the Bonaparteand the de Beauharnais families. Stephanie would soon see her patron rise to become First Consul of France.PrincessHer \"uncle\" crowned himself Emperor of the French on 2 December 1804. As a prominent member ofthe new Imperial Family, Stephanie held residence in the Tuileries Palace. Her new status allowed her to live a rather luxurious life. This was a consequence of Napoleon's effort to secure an alliance with the"}
+{"doc_id":"doc_245","qid":"","text":"Passage 1:Thomas Howard, 2nd Duke of NorfolkThomas Howard, 2nd Duke of Norfolk  (1443 – 21 May 1524), styled Earl of Surrey from 1483 to 1485 and again from 1489 to 1514, was an English nobleman, soldierand statesman who served four monarchs. He was the eldest son of John Howard, 1st Duke of Norfolk, by his first wife, Catharina de Moleyns. The Duke was the grandfather of both Queen Anne Boleyn and QueenCatherine Howard and the great-grandfather of Queen Elizabeth I. In 1513 he led the English to victory over the Scots at the decisive Battle of Flodden, for which he was richly rewarded by King Henry VIII, then away inFrance.Early lifeThomas Howard was born in 1443 at Stoke-by-Nayland, Suffolk, the only surviving son of John Howard, later 1st Duke of Norfolk, by his first wife, Katherine, the daughter of Sir William Moleyns (died 8June 1425) and his wife Margery. He was educated at Thetford Grammar School.Service under Edward IVWhile a young man, he entered the service of King Edward IV as a henchman. Howard took the King's side whenwar broke out in 1469 with the Earl of Warwick, and took sanctuary at Colchester when the King fled to Holland in 1470. Howard rejoined the royal forces at Edward's return to England in 1471, and was severelywounded at the Battle of Barnet on 14 April 1471. He was appointed an esquire of the body in 1473. On 14 January 1478 he was knighted by Edward IV at the marriage of the King's second son, the young Duke of York,and Lady Anne Mowbray (died 1481).Service under Richard IIIAfter the death of Edward IV on 9 April 1483, Thomas Howard and his father John supported Richard III. Thomas bore the Sword of State at Richard'scoronation and served as steward at the coronation banquet. Both Thomas and his father were granted lands by the new King, and Thomas was also granted an annuity of £1000. On 28 June 1483, John Howard wascreated Duke of Norfolk, while Thomas was created Earl of Surrey. Surrey was also sworn of the Privy Council and invested with the Order of the Garter. In the autumn of that year Norfolk and Surrey suppressed arebellion against the King by the Duke of Buckingham. Both Howards remained close to King Richard throughout his two-year reign, and fought for him at the Battle of Bosworth in 1485, where Surrey was wounded andtaken prisoner, and his father killed. Surrey was attainted in the first Parliament of the new King, Henry VII, stripped of his lands, and committed to the Tower of London, where he spent the next three years.Serviceunder Henry VIIHoward was offered an opportunity to escape during the rebellion of the Earl of Lincoln in 1487, but refused, perhaps thereby convincing Henry VII of his loyalty. In May 1489 Henry restored him to theearldom of Surrey, although most of his lands were withheld, and sent him to quell a rebellion in Yorkshire. Surrey remained in the north as the King's lieutenant until 1499. He and his family lived in Sheriff HuttonCastle while in the North. In 1499 he was recalled to court, and accompanied the King on a state visit to France in the following year. In 1501 he was again appointed a member of the Privy Council, and on 16 June ofthat year was made Lord High Treasurer. Surrey, Richard Foxe (Bishop of Winchester and Lord Privy Seal) and William Warham (Archbishop of Canterbury and Lord Chancellor), became the King's \"executivetriumvirate\". He was entrusted with a number of diplomatic missions. In 1501 he was involved in the negotiations for Catherine of Aragon's marriage to Arthur, Prince of Wales, and in 1503 conducted Margaret Tudor toScotland for her wedding to King James IV.Service under Henry VIIISurrey was an executor of the will of King Henry VII when the King died on 21 April 1509, and played a prominent role in the coronation of King HenryVIII, in which he served as Earl Marshal. He challenged Thomas Wolsey in an effort to become the new King's first minister, but eventually accepted Wolsey's supremacy. Surrey expected to lead the 1513 expedition toFrance, but was left behind when the King departed for Calais on 30 June 1513. Shortly thereafter King James IV of Scotland launched an invasion into England, and Surrey, with the aid of other noblemen and his sonsThomas and Edmund, crushed James's much larger force at the Battle of Flodden, near Branxton, Northumberland, on 9 September 1513. The Scots may have lost as many as 10,000 men, and King James was killed.The victory at Flodden brought Surrey great popular renown and royal rewards. On 1 February 1514, he was created Duke of Norfolk, and his son Thomas was made Earl of Surrey. Both were granted lands andannuities, and the Howard arms were augmented in honour of Flodden with an inescutcheon bearing the lion of Scotland pierced through the mouth with an arrow, within a double tressure flory-counterflory-gules, anemblem of the Scottish royal arms on rare occasion granted by Scottish kings to a favoured follower as a special mark of favour. The grant by Henry VIII to Howard was thus a blatant heraldic insult to the kings ofScotland.Final yearsIn the final decade of his life, Norfolk continued his career as a courtier, diplomat and soldier. In 1514 he joined Wolsey and Foxe in negotiating the marriage of Mary Tudor to King Louis XII ofFrance, and escorted her to France for the wedding. On 1 May 1517, he led a private army of 1,300 retainers into London to suppress the Evil May Day riots. In May 1521 he presided as Lord High Steward over the trialof his in-law Edward Stafford, 3rd Duke of Buckingham. According to David M. Head, \"he pronounced the sentence of death with tears streaming down his face\".By the spring of 1522, Norfolk was almost 80 years of ageand in failing health. He withdrew from court, resigned as Lord Treasurer in favour of his son in December of that year, and after attending the opening of Parliament in April 1523, retired to his ducal castle atFramlingham in Suffolk where he died on 21 May 1524. His funeral and burial on 22 June at Thetford Priory were said to have been \"spectacular and enormously expensive, costing over £1300 and including a processionof 400 hooded men bearing torches and an elaborate bier surmounted with 100 wax effigies and 700 candles\", befitting the richest and most powerful peer in England. After the dissolution of Thetford Priory, the Howardtombs were moved to the Church of St Michael the Archangel, Framlingham. A now-lost monumental brass depicting the 2nd Duke was formerly in the Church of St. Mary at Lambeth.Marriages and issueOn 30 April1472, Howard married Elizabeth Tilney, the daughter of Sir Frederick Tilney of Ashwellthorpe, Norfolk, and widow of Sir Humphrey Bourchier, slain at Barnet, son and heir apparent of Sir John Bourchier, 1st BaronBerners. They had issue:Thomas Howard, 3rd Duke of NorfolkSir Edward HowardLord Edmund Howard, father of Henry VIII's fifth Queen, Catherine HowardSir John HowardHenry HowardCharles HowardHenry Howard(the younger)Richard HowardElizabeth Howard, married Thomas Boleyn, 1st Earl of Wiltshire, and was mother of Queen Anne Boleyn, and grandmother of Queen Elizabeth.Muriel Howard (died 1512), married firstlyJohn Grey, 2nd Viscount Lisle (died 1504), and secondly Sir Thomas KnyvetNorfolk's first wife died on 4 April 1497, and on 8 November 1497 he married, by dispensation dated 17 August 1497, her cousin, AgnesTilney, the daughter of Hugh Tilney of Skirbeck and Boston, Lincolnshire and Eleanor, a daughter of Walter Tailboys. They had issue:William Howard, 1st Baron Howard of EffinghamLord Thomas Howard(1511–1537)Richard Howard (died 1517)Dorothy Howard, married Edward Stanley, 3rd Earl of DerbyAnne Howard, married John de Vere, 14th Earl of OxfordCatherine Howard, married firstly, Rhys ap Gruffydd. Marriedsecondly, Henry Daubeney, 1st Earl of Bridgewater.Elizabeth Howard (died 1536), married Henry Radclyffe, 2nd Earl of Sussex.Note: Thomas Howard indeed had two living daughters named Elizabeth Howard and twoliving sons named Thomas Howard. It is unclear if he had two sons named Richard as well or if it was the same person. In the Dukes of Norfolk family tree, there is clearly a mistake. Richard Howard is there linked toAgnes Tilney (2nd wife of Thomas Howard), yet is said to born in 1487, which is impossible to be true, as at the time Thomas Howard was married to Elizabeth Tilney.FootnotesPassage 2:Rhys ap Gruffydd (rebel)Rhysap Gruffydd (1508–December 1531) was a powerful Welsh landowner who was accused of rebelling against King Henry VIII by plotting with James V of Scotland to become Prince of Wales. He was executed as a rebel.He married Lady Catherine Howard (b. abt 1499 Ashwellthorpe, Norfolk, England), the daughter of Thomas Howard, 2nd Duke of Norfolk and his second wife Agnes Tilney.Early lifeRhys was the grandson of Rhys apThomas, the most powerful man in Wales and close ally of Henry VIII. His father, Gruffydd ap Rhys ap Thomas, died in 1521, leaving him his grandfather's heir. In 1524 Rhys married Catherine Howard, daughter ofThomas Howard, 2nd Duke of Norfolk.As his grandfather's heir, Rhys expected to inherit his estates and titles. When Rhys ap Thomas died in 1525, Henry VIII gave his most important titles and powers to WalterDevereux, Lord Ferrers, leading to a feud between Rhys and Ferrers, which escalated over the next few years.Conflict with FerrersRhys attempted to increase his status in Wales, petitioning Cardinal Thomas Wolsey tobe given various posts. The potential for conflict with Ferrers increased when both men were given the right to extend their number of retainers; this led to the emergence of competing armed gangs. The bad bloodbetween Rhys and Ferrers reached a crisis point in June 1529 when Ferrers made a display of his status during preparations for the annual Court of Great Sessions in Carmarthen. Rhys, surrounded by forty armed men,threatened Ferrers with a knife. Rhys was arrested and imprisoned in Carmarthen Castle. Rhys's wife Catherine escalated the situation by collecting hundreds of her supporters and attacking the castle. She laterthreatened Ferrers himself with an armed gang. In the conflict between the two factions, several of Ferrers's men were killed. The factions continued to cause other disruptions over the coming months, leading to deathsin street fights and acts of piracy.Treason chargesThe rebellious actions of Rhys's supporters led to Rhys's transfer to prison in London in 1531. By this stage, Henry was claiming that Rhys was attempting to overthrowhis government in Wales. Rhys had added the title Fitz-Urien to his name, referring to Urien, the ancient Welsh ruler of Rheged, a person of mythical significance. Rhys's accusers claimed that this was an attempt toassert himself as Prince of Wales. He was supposed to be plotting with James V of Scotland to overthrow Henry in fulfilment of ancient Welsh prophecies.Rhys was convicted of treason and was executed in December1531. The execution caused widespread dismay and he was openly said to have been innocent. Contemporary writer Ellis Gruffudd, however, argued that the arrogance of the Rhys family had caused their downfall,saying that \"many men regarded his death as Divine retribution for the falsehoods of his ancestors, his grandfather, and great-grandfather, and for their oppressions and wrongs. They had many a deep curse from thepoor people who were their neighbours, for depriving them of their homes, lands and riches.\"Historian Ralph Griffith asserts that \"Rhys's execution...was an act of judicial murder based on charges devised to suit theprevailing political and dynastic situation\". Since it was linked to Henry's attempt to centralise power and break with the church of Rome, he argues that it \"in retrospect made him [Rhys] one of the earliest martyrs ofthe English Reformation.\" Rhys was believed to be opposed to the Reformation and had spoken disparagingly of Anne Boleyn. He had also been friendly with Katherine of Aragon and Cardinal Wolsey, so ridding himselfof Rhys helped Henry to prepare the ground for the Reformation. The execution led to fears of a Welsh rebellion. One clergyman was concerned that the Welsh and Irish would join together.FamilyWith his death, Rhys'vast possessions were forfeit to the crown. His children are known by the Anglicised surname \"Rice\". His son, Griffith Rice (c.1530–1584), was restored to some of the family estates by Queen Mary. His daughter AgnesRice had a much-publicised affair with William Stourton, 7th Baron Stourton, and in defiance of the rights of his widow and children, she inherited much of the Stourton estates after his death in 1548. She later marriedSir Edward Baynton, and had children with both William and Edward.Passage 3:Thomas Howard, 1st Earl of SuffolkThomas Howard, 1st Earl of Suffolk,  (24 August 1561 – 28 May 1626) of Audley End House in theparish of Saffron Walden in Essex, and of Suffolk House near Westminster, a member of the House of Howard, was the second son of Thomas Howard, 4th Duke of Norfolk by his second wife Margaret Audley, thedaughter and eventual sole heiress of Thomas Audley, 1st Baron Audley of Walden, of Audley End.Early life and marriagesThomas was born at Audley End on 24 August 1561, the second of four children ThomasHoward, 4th Duke of Norfolk had by his second wife, Margaret Audley. His older sister was Elizabeth Howard, who died in infancy and his younger siblings were Margaret and William. His maternal grandparents wereThomas Audley, 1st Baron Audley of Walden and his second wife Elizabeth Grey. His paternal grandparents were Henry Howard, Earl of Surrey and his wife Frances de Vere. On her father's side, Thomas had an olderhalf-brother, Philip Howard, who would later become Earl of Arundel who in turn was also a second cousin of Thomas (Philip's mother, Mary FitzAlan and Margaret Audley were first cousins).When his mother died inJanuary 1564, Thomas inherited the manor of Saffron Walden and other Audley family properties.Thomas' father, a Roman Catholic with a Protestant education, was arrested in 1569, because of involvement in intriguesagainst Queen Elizabeth. Although he was briefly released, he was imprisoned again in September 1571, after his participation in the Ridolfi Plot was discovered and he was executed in June 1572, when William wasalmost eleven years old. After Norfolk's death, Thomas and his siblings Philip, William and Margaret were left in the care of their uncle Henry Howard, who also he took charge of their education. During this time,Thomas and his siblings lived with their uncle at Audley End. Due to his father's execution, much of his paternal family's property was forfeit, although Thomas, his younger siblings, and his older half-brother Philip wereable to recover some of the forfeited estates.His father, while imprisoned in the Tower awaiting execution, urged Thomas to marry his stepsister Mary Dacre, the daughter of Thomas Dacre, 4th Baron Dacre andElizabeth Leybourne, the duke's third wife. He did so; but Mary died, childless, in April 1578 at Walden.In or before 1582, Howard remarried, his second wife being Katherine Knyvet, widow of Richard, son of RobertRich, 2nd Baron Rich. A noted beauty, she was also the eldest daughter and heiress of her father, Sir Henry Knyvet of Charlton. She survived her husband, dying in 1633.IssueTheophilus Howard, 2nd Earl of Suffolk (13August 1582 – 3 June 1640) married: Elizabeth Home, and had issueElizabeth Howard (c. 1583 – 17 April 1658) married: (1) William Knollys, 1st Earl of Banbury, and had issue (2) Edward Vaux, 4th Baron Vaux ofHarrowden (some say that Elizabeth's and William's children were illegitimate)Sir Robert Howard (1598–1653) (1) mistress Frances Villers and had issue Robert Danvers; (2) married: Catherine NevillSir William Howard(1586 – before 1672)Thomas Howard, 1st Earl of Berkshire (8 October 1587 – 16 July 1669) married: Elizabeth Cecil, and had issueCatherine Howard (c. 1588–1673) married: William Cecil, 2nd Earl of Salisbury, andhad issueFrances Howard (31 May 1590 – 1632) married: (1) Robert Devereux, 3rd Earl of Essex (2) Robert Carr, 1st Earl of Somerset, and had issueSir Charles Howard (1591 – 21 June 1626), married Mary Fitz(john)and had issueHenry Howard (1592–1616), married Elizabeth Bassett and had issue. In September 1613 he travelled to Veere to fight a duel with the Earl of Essex, but the courtier Henry Gibb prevented thecombat.Edward Howard, 1st Baron Howard of Escrick (died 24 April 1675), married Mary Boteler daughter of John Boteler and Elizabeth Villiers and had issue.Margaret Howard (c. 1599–1608)Naval exploitsIn December1584, he was restored in blood as Lord Thomas Howard. Lord Thomas commanded the Golden Lion in the attack on the Spanish Armada. On 25 July 1588, the Golden Lion was one of the three ships thatcounter-attacked the Spanish galleasses protecting the Saint Anne. He was knighted the next day aboard Ark Royal by his kinsman, Admiral Lord Howard of Effingham.In 1591, he was sent with a squadron to theAzores which was to waylay the Spanish treasure fleets from America. However, one fleet reached Spain before his arrival, and the second would not arrive in the islands until September. Forced by the long delay toland his sick and repair his ships, he was barely able to re-ballast and get to sea off Flores in time when his scouts reported an arriving fleet. To his horror, this proved to be, not the treasure fleet, but a powerfulSpanish force dispatched from Ferrol to destroy his squadron. All of Howard's fleet escaped, by the barest of margins, except Revenge, commanded by the squadron's vice-admiral, Sir Richard Grenville. Revenge, somedistance from the remainder of the fleet, attempted to break through the Castilian Squadron and was forced to surrender after a long fight, in which Revenge was virtually destroyed and Grenville mortally wounded.In1596, Howard served as vice-admiral of the expedition against Cadiz, which defeated a Spanish fleet and captured the town. Favoured by Queen Elizabeth, he was installed as a Knight of the Garter in April 1597, and inJune sailed with the unsuccessful expedition to the Azores, which he had partly funded.Political careerHe was seriously ill in the autumn of 1597, and was created Baron Howard de Walden by writ of summons. While herecovered from his illness, he was unable to attend Parliament until January 1598. On 2 February 1598, he was admitted an honorary member of Gray's Inn. In 1599, he commanded the fleet in The Downs; in thatsame year, he became an admiral. He was appointed Constable of the Tower of London on 13 February 1601 after the revolt of the Earl of Essex, and was one of the commission who tried Essex and Southampton. Stillactive in privateering ventures, he never obtained significant profit from them. At this time, he was also sworn High Steward of Cambridge University, and would hold the post until 1614. (He received an MA fromCambridge in 1605.)A friend of Sir Robert Cecil, he became acting Lord Chamberlain at the close of 1602, and entertained the Queen at the Charterhouse, towards the end of her life in January 1603. Under James I,Howard immediately entered the King's favour, being appointed Lord Chamberlain on 6 April 1603 and a Privy Counsellor on 7 April. Later that year, on 21 July 1603, he was created Earl of Suffolk. He was alsoappointed a commissioner for creating Knights of the Bath, and from 1604 to 1618 a commissioner for the Earl Marshalcy. He was appointed Lord Lieutenant of Suffolk in 1605, having several years earlier been madeLord Lieutenant of Cambridgeshire.Suffolk accepted a gift from the Spanish ambassador negotiating the peace treaty of 1604, but his countess proved a more valuable informant and Catholic sympathiser. Avaricious,she accepted an annual pension of £1000 from the Spanish. While Suffolk was less pro-Spanish and pro-Catholic than his wife, she was felt to dominate her husband in matters of politics, a circumstance which wouldlater bring him to grief.By 1605, Cecil, now Earl of Salisbury, Suffolk, the Earl of Northampton, and the Earl of Worcester were James's principal privy counsellors. Suffolk and Salisbury were both privy to thecommunications made by Lord Monteagle revealing the existence of the Gunpowder Plot, and Suffolk examined the cellar, spotting the brushwood concealing the gunpowder. Later that evening, the Keeper of thePalace, Sir Thomas Knyvet (Suffolk's brother-in-law) made further search, revealing the gunpowder, and the plot collapsed. Suffolk was one of those commissioned to investigate and try the plotters.Numbered byJames as one of his \"trinity of knaves\" (with Salisbury and Northampton), he was nonetheless thought loyal and reliable to the King. By 1607, work was completed on Charlton Park, a house which is still home to his"}
+{"doc_id":"doc_246","qid":"","text":"Passage 1:Muhammad Habib ShakirMuhammad Habib Shakir (1866 in Cairo – 1939 in Cairo) (Arabic: \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000) was an Egyptian judge, born in Cairo and a graduate from Al-Azhar University.LifeSheikhMohammed Shakir b. Ahmad b. ‘Abd al-Qadir was born in 1866 CE in Jirja, a city in Upper Egypt. He studied and graduated from Al-Azhar University. He died in 1939 in Cairo.His son, Sheikh Ahmad Muhammad Shakir,wrote his biography in a treatise entitled Mohammed Shakir ‘Alam min A‘lam al-‘AsrPositionsSudan's Supreme Judge for four years (1890-1893)Dean of Alexandria's ScholarsAl-Azhar Secretary General (\"Wakil\") and amember of its board of directorsMember of Al-Azhar Corps of High ScholarsMember of Al-Azhar legislative Society (\"al-Jam‘iyya al-Tashri‘iyya\")Works\"Al-Durus al-Awwaliyya fi al-‘Aqa’id al-Diniyya\"\"Al-Qawl al-Fasl fiTarjamat al-Qur’an al-Karim\"\"Al-Sira al-Nabawiyya\"Qur'an controversyMohammed Habib Shakir has been stated by many internet sources as \"a well known translator of the Qur'an into English.\" He has been associatedwith the translator M. H. Shakir of the translation published by Tahrike Tarsile Qur'an. However this idea is contradicted by two pieces of evidence that have now come to light:There is strong evidence that MohammedHabib Shakir was against the translation of the Qur'an and considered the rendering of the Arabic into any other language unlawful.There is strong evidence that M. H. Shakir, the translator, is actually a pen name forMohammedali Habib Shakir the son of Habib Esmail of The House of Habib.The translator of this edition was in fact a Pakistani Shi'a.See alsoList of Islamic scholarsTranslation of the Qur'anPassage 2:RumbiKatedzaRumbi Katedza is a Zimbabwean Film Producer and Director who was born on 17 January 1974.Early life and educationShe did her Primary and Secondary Education in Harare, Zimbabwe. Katedza graduatedwith a Bachelor of Arts in English from McGill University, Canada in 1995. In 2008 Katedza received the Chevening Scholarship that enabled her to further her studies in film. She also holds a MA in Filmmaking fromGoldsmiths College, London University.Work and filmographyKatedza has experience in Film and TV Production, Directing, Writing as well as Producing and presenting Radio shows. From 1994 to 2000, She producedand presented radio shows on Women's issues, Arts and Culture, Hip Hop and Acid Jazz for the CKUT (Montreal) and ZBC Radio 3 (Zimbabwe). From 2004 - 2006, she served as the Festival Director of the ZimbabweInternational Film Festival. Whilst there, she produced the Postcards from Zimbabwe Series. In 2008, Katedza founded Mai Jai Films and has produced numerous films and television productions under the bannernamelyTariro (2008);Big House, Small House (2009);The Axe and the Tree (2011);The Team (2011)Playing Warriors (2012)Her early works include:Danai (2002);Postcards from Zimbabwe (2006);Trapped (2006 –Rumbi Katedza, Marcus Korhonen);Asylum (2007);Insecurity Guard (2007)Rumbi Katedza is a part-time lecturer at the University of Zimbabwe, in the department of Theatre Arts. She is a judge and monitor at theNational Arts Merit Awards, responsible for monitoring new film and TV productions throughout the year on behalf of the National Arts Council of Zimbabwe. She has also lobbied Zimbabwean government to activelysupport the film industry.Passage 3:Edward YatesEdward J. Yates (September 16, 1918 – June 2, 2006) was an American television director who was the director of the ABC television program American Bandstand from1952 until 1969.BiographyYates became a still photographer after graduating from high school in 1936. After serving in World War II, he became employed by Philadelphia's WFIL-TV as a boom microphone operator. Hewas later promoted to cameraman (important as most programming was done live and local during the early years of television) and earned a bachelor's degree in communications in 1950 from the University ofPennsylvania.In October 1952, Yates volunteered to direct Bandstand, a new concept featuring local teens dancing to the latest hits patterned after the \"950 Club\" on WPEN-AM. The show debuted with Bob Horn as hostand took off after Dick Clark, already a radio veteran at age 26, took over in 1956.It was broadcast live in its early years, even after it became part of the ABC network's weekday afternoon lineup in 1957 as AmericanBandstand. Yates pulled records, directed the cameras, queued the commercials and communicated with Clark via a private line telephone located on his podium.In 1964, Clark moved the show to Los Angeles, takingYates with him.Yates retired from American Bandstand in 1969, and moved his family to the Philadelphia suburb of West Chester.He died in 2006 at a nursing home where he had been for the last two months of hislife.External linksEdward Yates at IMDbPassage 4:Reginald Le BorgReginald Le Borg (11 December 1902 – 25 March 1989) was an Austrian film director. He was born in Vienna, Austria with the surname Groebel anddirected 68 films between 1936 and 1974.Le Borg made a series of low-budget horror films at Universal Studios in the 1940s. In 1944, he made his most expensive and also most successful film, San Diego, I Love You,featuring Buster Keaton in a supporting role.A banker in Vienna, he came to the United States as a visitor in 1928, 1929 and 1930, according to New York steamship passenger manifests. He was recorded as HarryReginald Groebel. He emigrated permanently in 1931. In his naturalization petition in 1937, he changed his name legally from Harry Groebel to Reginald Le Borg Le Borg died in Los Angeles, California from a heartattack.Selected filmographyFurther readingHelmut G. Asper: Etwas besseres als den Tod – Filmexil in Hollywood. Schüren Verlag, Marburg 2002, ISBN 3-89472-362-9, p. 154–168 (German)Helmut G. Asper:Filmexilanten im Universal Studio. Bertz und Fischer, 2005, (German)Wheeler Winston Dixon: The Films of Reginald Le Borg. Scarecrow Press (Filmmakers series Book 31), 1992Passage 5:War JabiWar-Dyabe ibn Rabis(Arabic: \u0000\u0000\u0000 \u0000\u0000\u0000\u0000 \u0000\u0000 \u0000\u0000\u0000\u0000) or War Jabi (Arabic: \u0000\u0000\u0000 \u0000\u0000\u0000\u0000), also known as: War Jaabi or War-Dyabe or War-Ndyay, was the king of Tekrur.  He converted to Islam around 1030 and his subjects did thesame to imitate him. Following attacks on the Muslims of Tekrour by animists who were afraid of the growing influence of Islam in the kingdom, he called on his Almoravid allies who helped him to take power. Thisconflict forced the ancestors of today's Serer people to flee south to land near the Saloum Delta.Under his reign, he expanded the kingdom by conquering other territories. The rapprochement with the Almoravidsbenefited the kingdom economically and created stronger political ties between the Muslim states of North Africa and Tekrour. Later, during a period of domestic instability in the Ghana Empire, Tekrur ended upconquering the emprie with the help of the Almoravids by taking its capital Koumbi Saleh.He died in 433 Hijri (1040 or 1041 Gregorian), succeeded by his son Labi.See alsoTakrurBambukSourcesBarry, Boubacar.Senegambia and the Atlantic slave trade, (Cambridge: University Press, 1998) p. 6Clark, Andrew F. and Lucie Colvin Phillips. Historical Dictionary of Senegal: Second Edition, (Metuchen, New Jersey: Scrarecrow Press,1994) pp. 18; 265Fage, J. D.; Oliver, Roland Anthony, \"The Cambridge History of Africa: From c. 500 B.C. to A.D. 1050\", Cambridge University Press (1975), p. 485, ISBN 9780521209816 - [1] last retrieved 20 June2022Cohen, Robert Z., Discovering the Empire of Ghana, The Rosen Publishing Group, Inc. (2013), p. 39, ISBN 9781477718889 - [2] last retrieved 20 June 2022Levtzion, Nehemia (1973). Ancient Ghana and Mali. NewYork: Methuen & Co Ltd. p. 44,183. ISBN 0841904316.NotesSerer historyPassage 6:Chester WitheyChester \"Chet\" Withey (8 November 1887, Park City, Utah – 6 October 1939, California) was an American silent filmactor, director, and screenwriter. He participated in the production in total of some 100 films. Born in Park City, Utah, the son of Chester Henry Withey and Mary E. Kelso, Withey started his career in silent film as anactor in 1913. He starred in films such as the 1916 film The Wharf Rat.  He married Virginia Philley, a screenwriter, who also did some acting.However, by 1916, he had already directed several films and decided toconcentrate on work behind the camera. Withey was also accredited with writing for 15 films.He retired from film directing in 1928 and died 6 October 1939.Partial filmographyExternal linksChester Withey atIMDbPassage 7:Hassan ZeeHassan \"Doctor\" Zee is a Pakistani-American film director who was born in Chakwal, Pakistan.Early lifeDoctor Zee grew up in Chakwal, a small village in Punjab, Pakistan. as one of sevenbrothers and sisters  His father was in the military and this fact required the family to move often to different cities. As a child Zee was forbidden from watching cinema because his father believed movies were a badinfluence on children.At age 13, Doctor Zee got his start in the world of entertainment at Radio Pakistan where he wrote and produced radio dramas and musical programs.  It was then that he realized his passion forstorytelling At the age of 26, Doctor Zee earned his medical doctorate degree and did his residency in a burn unit at the Pakistan Institute of Medical Sciences. He cared for women who were victims of  \"Bride Burning,\"the archaic practice used as a form of punishment against women who fail to provide sufficient dowry to their in-laws after marriage or fail to provide offspring.  He also witnessed how his country’s transgender andintersex people, called “hijras”, were banned from having jobs and forced to beg to survive. These experiences inspired Doctor Zee to tackle the issues of women’s empowerment and gender inequality in his films.In1999, he came to San Francisco to pursue his dream of filmmaking and made San Francisco his homeEducationHe received his early education from Jinnah Public School, Chakwal. He got his medical doctor degree atRawalpindi Medical College, Pakistan.Film careerDoctor Zee's first film titled Night of Henna was released in 2005. The theme of the film dealt with \"the conflict between Old World immigrant customs and modernWestern ways...\" Night of Henna focused on the problems of Pakistani expatriates who found it hard to adjust in American culture. Many often landed themselves in trouble when it came to marrying off their children.Hissecond film Bicycle Bride came out in 2010, which was about \"the clash between the bonds of family and the weight of tradition.\" His third film House of Temptation that came out in 2014 was about a family whichstruggles against the temptations of the Devil. His fourth film “Good Morning Pakistan”, concerned a young American’s journey back to Pakistan where he confronts the contradictory nature of a beautiful and ancientculture that's marred by economic, educational and gender inequality His upcoming fifth film, \"Ghost in San Francisco\" is a supernatural thriller starring Felissa Rose, Dave Sheridan, and Kyle Lowder where a soldiercomes home from Afghanistan to discover that his wife is having an affair with his best friend. While battling with his inner ghosts and demons, he meets a mysterious woman in San Francisco who promises him a ritualfor his cure.Passage 8:A Cafe in CairoA Cafe in Cairo is a 1924 American silent drama film directed by Chester Withey and starring Priscilla Dean, Robert Ellis and Carl Stockdale. Hunt Stromberg produced it for releaseby the recently established Producers Distributing Corporation. It was part of a wave of films with Middle Eastern settings which followed on from the success of Paramount's The Sheik in 1921.SynopsisWhen her Britishparents are killed when an Arabian desert bandit launches an attack on their encampment, their young daughter is spared and brought up as an Arab known as Nadia. The bandit who killed Nadia's parents wishes tomarry her. She is ordered to steal some documents from a British secret service agent but falls in love with him, and refuses to help the bandit. He threatens to throw both her and her lover into the Nile, before he iskilled. Nadia and her lover return to England.CastPreservationWith no prints of A Cafe in Cairo located in any film archives, it is a lost film.Passage 9:War DrumsWar Drums is a 1957 American Western film directed byReginald Le Borg, written by Gerald Drayson Adams, and starring Lex Barker, Joan Taylor, Ben Johnson, Larry Chance, Richard H. Cutting and John Pickard.  The film was produced by Aubrey Schenck and Howard W.Koch for United Artists and it was released on March 21, 1957.PlotPrior to the American Civil War, a group of Apache led by their chief Mangas Coloradas track some of their stolen horses to a group of Mexicans. TheApaches kill the lot of them and take their communal woman Riva. The Apaches' initial intention was to sell Riva north of the border to the Americans. On two occasions, Mangas refuses to sell Riva to his good friendLuke Fargo (Ben Johnson), despite being offered excellent deals for her.Luke brings a government representative to meet with Mangas, trying to come to terms with the Apaches. The most Mangas will promise is theApache will not break the peace with the whites first.Mangas desires Riva for his wife, an honor never before extended to a Mexican woman. He has to fight three braves who disagree with him, killing all three. He thentells the band that Riva will not be a squaw, but will be trained as a warrior, again breaking with custom. Following Mangas's second refusal to sell him Riva, whom Luke also wants for a wife, Luke reluctantly attendstheir wedding.Meanwhile a group of American gold seekers enter the Apache lands. After making a gold strike in a stream, they attack the Indians camped on the bank. When Mangas comes to bring the offendingminers to the law, they pinion and whip him. This sets off an Apache war, with Mangas Coloradas becoming known as \"Red Sleeves.\"Luke attempts to put a stop to the war by bringing a representative from Washingtonto meet with Mangas. The attempt fails when the men with him, thinking they are about to be ambushed by the Apaches, fire on them. In the ensuing firefight, Luke is shot by an arrow. Taken to Mangas's camp, Rivaremoves the arrow and nurses Luke back to health. He is sent back with a message from Mangas to the government.When the Civil War breaks out, Luke volunteers for the Union and is commissioned a major in thecavalry. He is assigned to the frontier, to deal with the Apache problem. Meanwhile, Mangas is wounded on a raid, taking a bullet that shatters his breastbone. Riva takes him to a town with a doctor. Mangas promisesthe doctor that if he can patch him up and he lives, the town will be safe from the Apaches. But if he dies, the tribe will kill everyone in the town and burn it to the ground.While he is being worked on by the doctor, Lukeand a troop of cavalry arrive. He goes forward to the defenses set up by the Apache under a flag of truce, and recognized by braves who know him and his friendship with Mangas, is passed inside. The friends meet andtalk, and Luke leads Mangas, Riva, and their warriors out of the town. Luke advises Mangas to take his people deep into the mountains where it will be a long time (if ever) before the cavalry can come after them.Wishing each other well, Mangas and Riva take their leave of Luke and lead their people away from the town.CastLex Barker as Mangas ColoradasJoan Taylor as RivaBen Johnson as Luke FargoLarry Chance asPonceRichard H. Cutting as Judge BentonJohn Pickard as Sheriff BullardJames Parnell as ArizonaJohn Colicos as ChinoTom Monroe as Dutch HermanJil Jarmyn as NonaJeanne Carmen as Yellow MoonMauritz Hugo asClay StaubWard Ellis as DelgaditoJack Hupp as Lt. RobertsProductionParts of the film were shot in Kanab Canyon and Johnson Canyon in Utah.According to the July 1956 Hollywood Reporter, there were accidents on theset of War Drums. A lightning strike destroyed a generator, delaying production a few days, and a fire burned up one of the wardrobe trailers.Passage 10:W. Augustus BarrattW. Augustus Barratt (3 June 1873 – 12 April1947) was a Scottish-born, later American, songwriter and musician.Early life and songsWalter Augustus Barratt was born 3 June 1873 in Kilmarnock, the son of composer John Barratt; the family later lived in Paisley.In 1893 he won a scholarship for composition to the Royal College of Music.In his early twenties he contributed to The Scottish Students' Song Book, with three of his own song compositions and numerousarrangements.By the end of 1897 he had published dozens of songs, such as Sir Patrick Spens, The Death of Cuthullin, an album of his own compositions, and arrangements of ten songs by Samuel Lover.He then, livingin London, turned his attention to staged musical comedy, co-creating, with Adrian Ross, The Tree Dumas Skiteers, a skit, based on Sydney Grundy's The Musketeers that starred Herbert Beerbohm Tree. Heco-composed with Howard Talbot the successful Kitty Grey (1900).He continued to write songs and to receive recognition for them. The 1901 and 1902 BBC Promenade Concerts, \"The Proms\", included four of hiscompositions, namely Come back, sweet Love, The Mermaid, My Peggy and Private Donald.His setting of My Ships, a poem by Ella Wheeler Wilcox, was performed by Clara Butt and republished several times. It alsoappeared four times, with different singers, in the 1913 and 1914 Proms.AmericaIn September 1904 he went to live in New York City, finding employment with shows on Broadway, including the following roles:on-stageactor (Sir Benjamin Backbite) in Lady Teazle (1904-1905), a musical version of The School for Scandal;musical director of The Little Michus (1907), also featuring songs by Barratt;co-composer of Miss Pocahontas(1907), a musical comedy;musical director of The Love Cure (1909–1910), a musical romance;composer of The Girl and the Drummer (1910), a musical romance with book by George Broadhurst. Tried out in Chicagoand elsewhere, it did not do well and never reached Broadway;musical director of The Quaker Girl (1911–1912);co-composer and musical director of My Best Girl (1912);musical director of The Sunshine Girl(1913);musical director of The Girl who Smiles (1915), a musical comedy;musical director and contributor to music and lyrics of Her Soldier Boy (1916–1917);composer, lyricist and musical director of Fancy Free(1918), with book by Dorothy Donnelly and Edgar Smith;contributor of a song to The Passing Show of 1918;composer and musical director of Little Simplicity (1918), with book and lyrics by Rida JohnsonYoung;contributor of lyrics to The Melting of Molly (1918–1919), a musical comedy;musical director of What's in a Name? (1920), a musical revue1921 in LondonThough domiciled in the US, he made several visits backto England. During an extended stay in 1921 he played a major part in the creation of two shows, both produced by Charles B. Cochran, namelyLeague of Notions, at the New Oxford Theatre, for which he composed themusic and co-wrote, with John Murray Anderson, the lyrics;Fun of the Fayre, at the London Pavilion, for which similarly he wrote the music and co-wrote the lyricsBack to BroadwayBack in the US he returned toBroadway, working ascomposer and lyricist of Jack and Jill (1923), a musical comedy;musical director of The Silver Swan (1929), a musical romanceRadio playsIn later years he wrote plays and operettas mostly forradio, such as:Snapshots: a radioperetta (1929)Sushannah and the Brush Wielders: a play in 1 act (1929)The Magic Voice: a radio series (1933)Men of Action: a series of radio sketches (1933)Say, Uncle: a radio series(1933)Sealed Orders: a radio drama (1934)Sergeant Gabriel (with Hugh Abercrombie) (1945)PersonalIn 1897 in London he married Lizzie May Stoner. They had one son. In 1904 he emigrated to the US and lived inNew York City. His first marriage ended in divorce in 1915 and, in 1918, he married Ethel J Moore, who was American. In 1924, he became a naturalized American citizen. He died on 12 April 1947 in New York City.Noteon his first nameThe book British Musical Biography by Brown & Stratton (1897) in its entry for John Barratt refers to \"his son William Augustus Barratt\" with details that make it clear that Walter Augustus Barratt is thesame person and that a \"William\" Augustus Barratt is a mistake. For professional purposes up to about 1900 he appears to have written as \"W. Augustus Barratt\", and thereafter mostly as simply \"Augustus Barratt\"."}
+{"doc_id":"doc_247","qid":"","text":"Passage 1:Vidkun QuislingVidkun Abraham Lauritz Jonssøn Quisling (, Norwegian: [\u0000v\u0000\u0000dk\u0000n \u0000kv\u0000\u0000sl\u0000ŋ] (listen); 18 July 1887 – 24 October 1945) was a Norwegian military officer, politician and Nazi collaboratorwho nominally headed the government of Norway during the country's occupation by Nazi Germany during World War II.He first came to international prominence as a close collaborator of the explorer Fridtjof Nansen,and through organising humanitarian relief during the Russian famine of 1921 in Povolzhye. He was posted as a Norwegian diplomat to the Soviet Union and for some time also managed British diplomatic affairs there.He returned to Norway in 1929 and served as minister of defence in the governments of Peder Kolstad (1931–32) and Jens Hundseid (1932–33) in representing the Farmers' Party.In 1933, Quisling left the Farmers'Party and founded the fascist Nasjonal Samling (National Gathering). Although he gained some popularity after his attacks on the political left, his party failed to win any seats in the Storting, and by 1940, it was stilllittle more than peripheral. On 9 April 1940, with the German invasion of Norway in progress, he attempted to seize power in the world's first radio-broadcast coup d'état but failed since the Germans sought to convincethe recognized Norwegian government to legitimize the German occupation, as had been done in Denmark during the simultaneous invasion there, instead of recognizing Quisling. On 1 February 1942, he formed asecond government, approved by the Germans, and served as minister president and headed the Norwegian state administration jointly with the German civilian administrator, Josef Terboven. His pro-Nazi puppetgovernment, known as the Quisling regime, was dominated by ministers from Nasjonal Samling. The collaborationist government participated in Germany's war efforts, and sent Jews out of the country to concentrationcamps in occupied Poland (General Government).Quisling was put on trial during the legal purge in Norway after World War II. He was found guilty of charges including embezzlement, murder and high treason againstthe Norwegian state, and was sentenced to death. He was executed by firing squad at Akershus Fortress, Oslo, on 24 October 1945.Since his death, Quisling has become one of history's most infamous traitors due tohis collaboration with Nazi Germany. The term quisling has become a byword for \"collaborator\" or \"traitor\" in several languages and reflects the contempt with which Quisling's conduct has been regarded both at thetime and in the present day.Early lifeBackgroundVidkun Abraham Lauritz Jonssøn Quisling (Norwegian pronunciation ) was born on 18 July 1887 in Fyresdal, in the Norwegian county of Telemark. He was the son ofChurch of Norway pastor and genealogist Jon Lauritz Qvisling (1844–1930) and his wife Anna Caroline Bang (1860–1941), the daughter of Jørgen Bang, ship-owner and at the time the richest man in the town ofGrimstad in South Norway. The elder Quisling had lectured in Grimstad in the 1870s; one of his pupils was Bang, whom he married on 28 May 1886, following a long engagement. The newly-wed couple promptly movedto Fyresdal, where Vidkun and his younger siblings were born.The family name derives from Quislinus, a Latinised name invented by Quisling's ancestor Lauritz Ibsen Quislin (1634–1703), based on the village ofKvislemark near Slagelse, Denmark, whence he had emigrated. Having two brothers and a sister, the young Quisling was \"shy and quiet but also loyal and helpful, always friendly, occasionally breaking into a warmsmile.\" Private letters later found by historians also indicate a warm and affectionate relationship between the family members. From 1893 to 1900, his father was a chaplain for the Strømsø borough in Drammen. Here,Vidkun went to school for the first time. He was bullied by other students at the school for his Telemark dialect, but proved a successful student. In 1900, the family moved to Skien when his father was appointedprovost of the city.Academically Quisling proved talented in humanities, particularly history, and natural sciences; he specialised in mathematics. At this point, however, his life had no clear direction. In 1905, Quislingenrolled at the Norwegian Military Academy, having received the highest entrance examination score of the 250 applicants that year. Transferring in 1906 to the Norwegian Military College, he graduated with thehighest score since the college's inception in 1817, and was rewarded by an audience with the King. On 1 November 1911, he joined the army General Staff. Norway was neutral in the First World War; Quisling detestedthe peace movement, though the high human cost of the war did temper his views. In March 1918, he was sent to Russia as an attaché at the Norwegian legation in Petrograd, to take advantage of the five years he hadspent studying the country. Though dismayed at the living conditions he experienced, Quisling nonetheless concluded that \"the Bolsheviks have got an extraordinarily strong hold on Russian society\" and marvelled athow Leon Trotsky had managed to mobilise the Red Army forces so well; he asserted that by contrast, in granting too many rights to the people of Russia, the Russian Provisional Government under Alexander Kerenskyhad brought about its own downfall. When the legation was recalled in December 1918, Quisling became the Norwegian military's expert on Russian affairs.TravelsParis, Eastern Europe, and NorwayIn September 1919,Quisling departed Norway to become an intelligence officer with the Norwegian delegation in Helsinki, a post that combined diplomacy and politics. In the autumn of 1921, Quisling left Norway once again, this time atthe request of explorer and humanitarian Fridtjof Nansen, and in January 1922 arrived in the Ukrainian capital Kharkiv to help with the League of Nations humanitarian relief effort there. Highlighting the massivemismanagement of the area and the death toll of approximately ten thousand a day, Quisling produced a report that attracted aid and demonstrated his administrative skills, as well as his dogged determination to getwhat he wanted.Quisling replied [that] the Russian people needed wise leadership and proper training [that they suffered from] indifference, a lack of clearly defined goals with conviction and a happy-go-lucky attitude[and that] it is impossible to accomplish anything without willpower, determination and concentration.On 21 August 1922, he married the Russian Alexandra Andreevna Voronina. Alexandra wrote in her memoirs thatQuisling declared his love for her, but from his letters home and investigations undertaken by his cousins, it appeared that there was no romantic involvement between the two, Quisling merely seemed to have wantedto lift the girl out of poverty by providing her with a Norwegian passport and financial security.Having left Ukraine in September 1922, Quisling and Alexandra returned to Kharkiv in February 1923 to prolong aid efforts,with Nansen describing Quisling's work as \"absolutely indispensable.\" In March 1923, Alexandra was pregnant, and Quisling insisted on her having an abortion, which greatly distressed her. Quisling found the situationmuch improved and, with no fresh challenges, found it a more boring trip than his last. He did however meet Maria Vasiljevna Pasetchnikova (Russian: Мари́я Васи́льевна Па́сечникова), a Ukrainian more than tenyears his junior. Her diaries from the time \"indicate a blossoming love affair\" during the summer of 1923, despite Quisling's marriage to Alexandra the year before. She recalled that she was impressed by his fluentcommand of the Russian language, his Aryan appearance, and his gracious demeanour. Quisling later claimed to have married Pasetchnikova in Kharkiv on 10 September 1923, although no legal documentation hasbeen discovered. Quisling's biographer, Dahl, believes that in all likelihood the second marriage was never official. Regardless, the couple behaved as though they were married, claimed Alexandra was their daughter,and celebrated their wedding anniversary. Soon after September 1923, the aid mission came to an end and the trio left Ukraine, planning to spend a year in Paris. Maria wanted to see Western Europe; Quisling wantedto get some rest following bouts of stomach pain that had lasted all winter. The stay in Paris required a temporary discharge from the army, which Quisling slowly grew to understand was permanent: army cutbacksmeant that there would be no position available for him when he returned. Quisling devoted much of his time in the French capital to study, reading works of political theory and working on his philosophical project,which he called Universism. On 2 October 1923, he persuaded the Oslo daily newspaper Tidens Tegn to publish an article he had written calling for diplomatic recognition of the Soviet government. Quisling's stay inParis did not last as long as planned, and in late 1923 he started work on Nansen's new repatriation project in the Balkans, arriving in Sofia in November.The next two months he spent traveling constantly with his wifeMaria. In January, Maria returned to Paris to look after Alexandra, who took on the role of the couple's foster-daughter; Quisling joined them in February. In the summer of 1924, the trio returned to Norway whereAlexandra subsequently left to live with an aunt in Nice and never returned. Although Quisling promised to provide for her well-being, his payments were irregular, and over the coming years he would miss a number ofopportunities to visit.Back in Norway, and to his later embarrassment, Quisling found himself drawn into the communist Norwegian labour movement. Among other policies, he fruitlessly advocated a people's militia toprotect the country against reactionary attacks, and asked members of the movement whether they would like to know what information the General Staff had on them, but he got no response. Although this briefattachment to the far-left seems unlikely given Quisling's later political direction, Dahl suggests that, following a conservative childhood, he was by this time \"unemployed and dispirited ... deeply resentful of the GeneralStaff ... [and] in the process of becoming politically more radical.\" Dahl adds that Quisling's political views at this time could be summarised as \"a fusion of socialism and nationalism,\" with definite sympathies for theSoviets in Russia.Russia and the rouble scandalIn June 1925, Nansen once again provided Quisling with employment. The pair began a tour of Armenia, where they hoped to help repatriate Armenians, including thosewho survived the Armenian Genocide, via a number of projects proposed for funding by the League of Nations. Despite Quisling's substantial efforts, however, the projects were all rejected. In May 1926, Quisling foundanother job with long-time friend and fellow Norwegian Frederik Prytz in Moscow, working as a liaison between Prytz and the Soviet authorities who owned half of Prytz's firm Onega Wood. He stayed in the job untilPrytz prepared to close down the business in early 1927, when Quisling found new employment as a diplomat. British diplomatic affairs in Russia were being managed by Norway, and he became their new legationsecretary; Maria joined him late in 1928. A massive scandal broke when Quisling and Prytz were accused of using diplomatic channels to smuggle millions of roubles onto the black markets, a much-repeated claim thatwas later used to support a charge of \"moral bankruptcy,\" but neither it nor the charge that Quisling spied for the British has ever been substantiated.The harder line now developing in Russian politics led Quisling todistance himself from Bolshevism. The Soviet government had rejected outright his Armenian proposals, and obstructed an attempt by Nansen to help with the 1928 Ukrainian famine. Quisling took these rebuffs as apersonal insult; in 1929, with the British now keen to take back control of their own diplomatic affairs, he left Russia. He was appointed a Commander of the Order of the British Empire (CBE) for his services to Britain,an honour revoked by King George VI in 1940. By this time, Quisling had also been awarded the Romanian Crown Order and the Yugoslav Order of St. Sava for his earlier humanitarian efforts.Early political careerFinalreturn to NorwayHaving spent nine of the previous twelve years abroad, but with no practical experience in party politics outside the Norwegian Army, Quisling returned to Norway in December 1929, bringing with him aplan for change he termed Norsk Aktion, meaning \"Norwegian Action.\" The planned organisation consisted of national, regional and local units with the intention of recruiting in the style of the Soviet Communist Party.Like Action Française of the French right, it advocated radical constitutional changes. The Parliament of Norway, or Storting, was to become bicameral with the second chamber made up of Soviet-style electedrepresentatives from the working population. Quisling focused more on organisation than the practicalities of government; for instance, all members of Norsk Aktion were to have their own designation in a militaristichierarchy.Quisling next sold a large number of antiques and works of art that he had acquired cheaply in post-revolutionary Russia. His collection stretched to some 200 paintings, including works claimed to be byRembrandt, Goya, Cézanne and numerous other masters. The collection, including \"veritable treasures,\" had been insured for almost 300,000 kroner. In the spring of 1930, he again joined up with Prytz, who was backin Norway. They participated in regular group meetings that included middle-aged officers and business people, since described as \"the textbook definition of a Fascist initiative group,\" through which Prytz appeareddetermined to launch Quisling into politics.After Nansen died on 13 May 1930, Quisling used his friendship with the editor of the Tidens Tegn newspaper to get his analysis of Nansen onto the front page. The article wasentitled \"Politiske tanker ved Fridtjof Nansens død\" (\"Political Thoughts on the Death of Fridtjof Nansen\") and was published on 24 May. In the article, he outlined ten points that would complete Nansen's vision asapplied to Norway, among them \"strong and just government\" and a \"greater emphasis on race and heredity.\" This theme was followed up in his new book, Russia and Ourselves (Norwegian: Russland og vi), which wasserialised in Tidens Tegn during the autumn of 1930. Advocating war against Bolshevism, the openly racist book catapulted Quisling into the political limelight. Despite his earlier ambivalence, he took up a seat on theOslo board of the previously Nansen-led Fatherland League. Meanwhile, he and Prytz founded a new political movement, Nordisk folkereisning i Norge, or \"Nordic popular rising in Norway\", with a central committee of31 and Quisling as its fører – a one-man executive committee – though Quisling seemed to have had no particular attachment to the term. The first meeting of the league took place on 17 March 1931, stating thepurpose of the movement was to \"eliminate the imported and depraved communist insurgency.\"Defence ministerQuisling left Nordisk folkereisning i Norge in May 1931 to serve as defence minister in the Agrariangovernment of Peder Kolstad, despite being neither an Agrarian nor a friend of Kolstad. He had been suggested to Kolstad for the post by Thorvald Aadahl, editor of the Agrarian newspaper Nationen, who was in turninfluenced by Prytz. The appointment came as a surprise to many in the Parliament of Norway. Quisling's first action in the post was to deal with the aftermath of the Battle of Menstad, an \"extremely bitter\" labourdispute, by sending in troops. After narrowly avoiding criticism by the left wing over his handling of the dispute, and the revelation of his earlier \"militia\" plans, Quisling turned his attention to the perceived threat posedby communists. He created a list of the Revolutionary Trade Union Opposition leadership, who had been the alleged agitators at Menstad; a number of them were eventually charged with subversion and violence againstthe police. Quisling's policies also resulted in the establishment of a permanent militia called the Leidang which, unlike the body he had previously planned, was to be counter-revolutionary. Despite the ready availabilityof junior officers in the reserve following defence cuts, only seven units were established in 1934, and funding restrictions meant that the enterprise included less than a thousand men before it faded away. Sometimeduring the period 1930–33, Quisling's first wife, Asja, received notice of the annulment of her marriage to him.In mid-1932 Nordisk folkereisning i Norge was forced to confirm that even though Quisling remained in thecabinet, he would not become a member of the party. They further stated that the party programme had no basis in fascism of any kind, including the National Socialism model. This did not dampen criticism of Quisling,who remained constantly in the headlines, although he was gradually earning a reputation as a disciplined and efficient administrator. After he was attacked in his office by a knife-wielding assailant who threw groundpepper in his face on 2 February 1932, some newspapers, instead of focusing on the attack itself, suggested that the assailant had been the jealous husband of one of Quisling's cleaners; others, especially those alignedwith the Labour Party, posited that the whole thing had been staged. In November 1932, Labour politician Johan Nygaardsvold put this theory to Parliament, prompting suggestions that charges of slander be broughtagainst him. No charges were brought, and the identity of the assailant has never been confirmed. Quisling later indicated it was an attempt to steal military papers recently left by Swedish Lieutenant Colonel WilhelmKleen. The so-called \"pepper affair\" served to polarise opinion about Quisling, and government fears grew concerning reasonably open Soviet elements in Norway who had been active in promoting industrialunrest.Following Kolstad's death in March 1932, Quisling retained his post as defence minister in the second Agrarian government under Jens Hundseid for political reasons, though they remained in bitter oppositionthroughout. Just as he had been under Kolstad, Quisling was involved in many of the spats that characterised Hundseid's government. On 8 April that year, Quisling had a chance to defend himself over the pepper affairin Parliament, but instead used the opportunity to attack the Labour and Communist parties, claiming that named members were criminals and \"enemies of our fatherland and our people.\" Support for Quisling fromright-wing elements in Norwegian society rocketed overnight, and 153 distinguished signatories called for Quisling's claims to be investigated. In the coming months, tens of thousands of Norwegians followed suit andQuisling's summer was full of speeches to packed political rallies. In Parliament, however, Quisling's speech was viewed as political suicide; not only was his evidence weak, but questions were raised as to why theinformation had not been handed over much sooner if the revolutionary threat were so serious.Popular party leaderOver the course of 1932 and into 1933, Prytz's influence over Nordisk folkereisning i Norge weakenedand lawyer Johan Bernhard Hjort assumed the leadership role. Hjort was keen to work with Quisling because of his new-found popularity, and they devised a new programme of right-wing policies including proscriptionof revolutionary parties including those funded by foreign bodies such as Comintern, the suspension of the voting rights for people in receipt of social welfare, agricultural debt relief, and an audit of public finances. In1932, during the Kullmann Affair, Quisling turned on the prime minister for questioning his hard-line stance over pacifist agitator Captain Olaf Kullmann. In a memorandum laying out his proposals for economic andsocial reform distributed to the entire cabinet, Quisling called for the prime minister to stand down. As the government began to collapse, Quisling's personal popularity reached new heights; he was referred to as \"manof the year,\" and there were expectations of forthcoming electoral success.Despite the new programme, some of Quisling's circle still favoured a cabinet coup. He later said he had even considered the use of force tooverthrow the government but, in late February, it was the Liberal Party that brought them down. With the assistance of Hjort and Prytz, Nordisk folkereisning i Norge quickly became a political party, Nasjonal Samling,or NS, literally \"National Unity,\" ready to contest the forthcoming October election. Quisling was mildly disappointed and would have preferred to head a national movement, not just one of seven political parties.Nasjonal Samling soon afterwards announced it would support candidates from other parties if they supported its key aim of \"establishing a strong and stable national government independent of ordinary party politics.\""}
+{"doc_id":"doc_248","qid":"","text":"Passage 1:Gülbahar Hatun (wife of Mehmed II)Emine Gülbahar Mükrime Hatun (Ottoman Turkish: \u0000\u0000 \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000; \"benign\", \"spring rose\" and \"hospitable\"; died c. 1492), was consort of Sultan Mehmed II, and mother of Sultan Bayezid II.Early lifeThe Ottoman inscription (vakfiye) describes her as Hātun binti Abdullah (Daughter of Abdullah), which means that her father was possibly a convert to Islam. She was a Christian slave girl of either Greek, or Albanian, origin.MarriageGülbahar married Mehmed in 1446, when he was still a prince and the governor of Amasya. She had two children, a son, Şehzade Bayezid (future Bayezid II) born in 1447 in Demotika, and a daughter, Gevherhan Hatun, born in 1446, who married Ughurlu Muhammad, a son of Aq Qoyunlu Sultan Uzun Hasan in 1474.Due to their middle name in common, Gülbahar is sometimes confused with Sittişah Mukrime Hatun, another consort of MehmedIn 1451, after Mehmed's accession to the throne, she followed him to Edirne. According to Turkish tradition, all princes were expected to work as provincial governors as a part of their training. In 1455 or 1456, Bayezid was appointed the governor of Amasya, and Gülbahar accompanied him, where the two remained until 1481, except for in 1457, when she came to Constantinople, and attended her son's circumcision ceremony.Gülbahar was apparently quite concerned about the future of her son, and related to that, her own properties. In order to secure her properties, she endowed the incomes of certain villages and fields to the Enderun mosque in 1474. Among the endowed properties was the village of Ağılcık, which was turned back into a Timariot village in 1479 during the land reform.In 1468, Mehmed gave the village of Bağluca to Gülbahar. After six years, in 1473, she sold the village to Taceddin Bey, son of Hamza Bali (died 1486), the book keeper of Bayezid's court. In 1478, the village's exemption was abolished and granted back to her probably as a result of the land reform. This order was reissued a year later at the request of Mevlana Şemseddin Ahmed according to which the village was not reverted to her, and she had likely become subject to a legal dispute.Mother of the SultanPer custom, Gülbahar got the highest position in the imperial family after the sultan himself when her son, Bayezid ascended the throne in 1481 until her death in 1492. During her son's reign, she and the rest of the Imperial Family resided at the Old Palace (saray-ı atik) and were visited by the Sultan who on each visit used to pay his respect to his mother. In one case, Gülbahar complained of her son's rare visits and in a letter to her son wrote: \"My fortune, I miss you. Even if you don't miss me, I miss you ... Come and let me see you. My dear lord, if you are going on campaign soon, come once or twice at least so that I may see your fortune-favored face before you go. It's been forty days since I last saw you. My sultan, please forgive my boldness. Who else do I have beside you ... ?\"Gülbahar had a considerable influence over Bayezid, for she used to make evaluations about the situation of some statesmen. Bayezid also valued his mother's words. In a letter written to him, she advises him against Hersekzade Ahmed Pasha, but favours his tutor Ayas Pasha and Hizirbeyoğlu Mehmed Pasha.In 1485, Bayezid endowed a mosque, and a school in Tokat in the memory of Gülbahar Hatun.DeathGülbahar Hatun died in 1492, and was buried in Fatih Mosque, Istanbul. The tomb was damaged in the 1766 Istanbul earthquake, and was rebuilt in 1767–1768.IssueWith Mehmed II, Gülbahar Hatun had at least a daughter and a son:Gevherhan Hatun (c. 1446 - 1514).Bayezid II (1447 - 1512).In popular cultureIn the 2012 film Fetih 1453, Gülbahar Hatun is portrayed by Turkish actress Şahika Koldemir.In the 2013 Turkish series Fatih, Gülbahar Hatun is portrayed by Turkish actress Seda Akman.In the second season of Netflix's Rise of Empires: Ottoman (2020-2022), Gülbahar Hatun is portrayed by actress Yasemin Eti.See alsoOttoman EmpireOttoman dynastyList of consorts of the Ottoman SultansPassage 2:Hüma HatunHüma Hatun (Ottoman Turkish: \u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000, \"bird of paradise/phoenix\" c. 1410 \u0000 September 1449) was a consort of Ottoman Sultan Murad II and mother of Mehmed II.LifeAlthough, some Turkish sources claim that she was of Turkish origin, Hüma Hatun was a slave girl of European origin. Nothing is known of her family background, apart from the fact that an Ottoman inscription (vakfiye) describes her as Hātun binti Abdullah (daughter of Abdullah); at that time, people who converted to Islam were given the name Abdullah meaning Servant of God, which is evidence of her non-Muslim origin. According to tradition, she was of Italian and/or Jewish origins and her original name was Stella or Ester. According to another theory, backed on the fact that Mehmed II was fluent in the Serbian language, it was that she came from those areas and was South Slavic, most likely Serbian. Finally, a third theory says she was Greek. Her name, hüma, means \"bird of paradise/phoenix\", after the Persian legend. Hüma Hatun entered in Murad II's harem around 1424. By him she had firstly two daughters, Hatice Hatun in 1425 and Fatma Hatun in 1430, and finally, on 30 March 1432, she gave birth to her only son, the future Sultan Mehmed the Conqueror. In 1438, Mehmed was circumcised along with his elder half-brother, Şehzade Alaeddin. When Mehmed was 11 years old, he was sent to Manisa as a prince governor. Hüma followed her son to Manisa. Her children's wet nurse was Hundi Hatun (d. 14 February 1486): usually styled Daye Hatun (lady governess), she became very wealthy and influential enough during the reign of Mehmed II, enough to fund several charitable foundations and commission prayers for her soul. In 1444, after the death of Mehmed's elder half-brother, Şehzade Alaeddin, who died in 1443, Mehmed was the only heir left to the throne. In that same year, Murad II abdicated the throne due to depression over the death of his son, Şehzade Alaeddin Ali Çelebi,  and retreated to Manisa.Her son Şehzade Mehmed succeeded the throne as Mehmed II. She held the Vâlide Hatun position for two years. In 1446, Murad took over the throne again, and Hüma and her son returned to Bursa. However, Mehmed succeeded the throne in 1451, after the death of his father, but she never became a Valide Hatun as she died before the accession. She was not alive to see the conquest of Constantinople, which became the capital of Ottoman Empire for nearly five centuries, before the Empire was abolished in 1922 and Turkey was officially declared as a republic.DeathShe died in September 1449 in Bursa, two years before her son's second accession to the throne. Her tomb is located at the site known as \" Hatuniye Kümbedi\" (Hatuniye Tomb) to the east of Muradiye Complex, which was built by her son Mehmed. The quarter where her tomb lies has been known thus far as Hüma Hatun Quarter.IssueBy Murad II, Hüma Hatun had two daughters and a son:Hatice Hatun (1425 - after 1470). She married Candaroğlu İsmail Kemaleddin Bey and had three sons: Hasan Bey, Yahya Bey and Mahmud Bey. Her descendants were still alive during the reign of Abdulmejid I, in the 19th century.Fatma Hatun (1430 - after 1464). She married Zaganos Pasha and had two sons: Hamza Bey and Ahmed Çelebî, who would become an important adviser to his cousin Bayezid II. After divorced in 1462, she married Mahmud Çelebi.Mehmed II the Conqueror (1432 - 1481) - with Hüma Hatun. Sultan of the Ottoman Empire after his father and conqueror of Constantinople in 1453.In popular cultureHüma Hatun was portrayed by Leyla Feray in the docuseries Rise of Empires: Ottoman (2020).See alsoList of consorts of the Ottoman sultansList of mothers of the Ottoman sultansPassage 3:TjuyuThuya (sometimes transliterated as Touiyou, Thuiu, Tuya, Tjuyu or Thuyu) was an Egyptian noblewoman and the mother of queen Tiye, and the wife of Yuya. She is the grandmother of Akhenaten, and great grandmother of Tutankhamun.BiographyThuya is believed to be a descendant of Queen Ahmose-Nefertari, and she held many official roles in the interwoven religion and government of ancient Egypt. She was involved in many religious cults; her titles included 'Singer of Hathor' and 'Chief of the Entertainers' of both Amun and Min. She also held the influential offices of Superintendent of the Harem of the god Min of Akhmin and of Amun of Thebes.  She married Yuya, a powerful ancient Egyptian courtier of the Eighteenth Dynasty.  She is believed to have died in around 1375 BC in her early to mid 50s.ChildrenYuya and Thuya had a daughter named Tiye, who became the Great Royal Wife of Pharaoh Amenhotep III. The great royal wife was the highest Egyptian religious position, serving alongside of the pharaoh in official ceremonies and rituals.Yuya and Thuya also had a son named Anen, who carried the titles Chancellor of Lower Egypt, Second Prophet of Amun, sm-priest of Heliopolis and Divine Father.They also may have been the parents of Ay, an Egyptian courtier active during the reign of pharaoh Akhenaten who became pharaoh after the death of Tutankhamun. However, there is no conclusive evidence regarding the kinship of Yuya and Ay, although certainly, both men came from Akhmim.TombThuya was interred in tomb KV46 in the Valley of the Kings, together with her husband Yuya, where their largely intact burial was found in 1905. It was the best-preserved tomb discovered in the Valley before that of Tutankhamun, Thuya's great-grandson. The tomb was discovered by a team of workmen led by archaeologist James Quibell on behalf of the American millionaire Theodore M. Davis. Though the tomb had been robbed in antiquity, much of its contents were still present, including beds, boxes, chests, a chariot, and the sarcophagi, coffins, and mummies of the two occupants.Thuya's large gilded and black-painted wooden sarcophagus was placed against the south wall of the tomb. It is rectangular, with a lid shaped like the sloping roof of the per-wer shrine of Upper Egypt, and sits on ornamental sledge runners, their non-functionality underscored by the three battens attached below them. Ancient robbers had partially dismantled it to access her coffins and mummy, placing its lid and one long side on a bed on the other side of the tomb; the other long side had been leaned against the south wall. Her outer gilded anthropoid coffin had been removed, its lid placed atop the beds, and the trough put into the far corner of the tomb; the lid of her second (innermost) coffin, also gilded, had been removed and placed to one side although the trough and her mummy remained inside the sarcophagus. Quibell suggests this is due to the robbers having some difficulty in removing the lid of this coffin.MummyThuya's mummified body was found covered with a large sheet of linen, knotted at the back and secured by four bandages. These bands were covered with resin and opposite each band were her gilded titles cut from gold foil. The resin coating on the lower layers of bandages preserved the impression of a large broad collar. The mummy bands that had once covered her wrapped mummy were recovered above the storage jars on the far side of the room.The first examination of her body was conducted by Australian anatomist Grafton Elliot Smith. He found her to be an elderly woman of small stature, 1.495 metres (4.90 ft) in height, with white hair. Both of her earlobes had two piercings. Her arms are straight at her sides with her hands against the outside of her thighs. Her embalming incision is stitched with thread, to which a carnelian barrel bead is attached at the lower end; her body cavity is stuffed with resin-soaked linen. When Dr. Douglas Derry, (who later conducted the first examination of Tutankhamun's mummy) assisting Smith in his examination, exposed Thuya's feet to get an accurate measurement of her height, he found her to be wearing gold foil sandals. Smith estimated her age at more than 50 years based on her outward appearance alone. Recent CT scanning has estimated her age at death to be 50–60 years old. Her brain was removed, though no embalming material was inserted, and both nostrils were stuffed with linen. Embalming packs had been placed into her eye sockets, and subcutaneous filling had been placed into her mid and lower face to restore a lifelike appearance; embalming material had also been placed into her mouth and throat. Her teeth were in poor condition at the time of her death, with missing molars. Heavy wear and abscesses had been noted in earlier x-rays. The scan revealed that she had severe scoliosis with a Cobb angle of 25 degrees. No cause of death could be determined. Her mummy has the inventory number CG 51191.Archaeological items pertaining to ThuyaPassage 4:Hannah ArnoldHannah Arnold may refer to:Hannah Arnold (née Waterman) (c.1705–1758), mother of Benedict ArnoldHannah Arnold (beauty queen) (born 1996), Filipino-Australian model and beauty pageant titleholderPassage 5:Ubol RatanaUbol Ratana (Thai: \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000, RTGS: Ubonrat, pronounced [\u0000ù\u0000.bōn.rát]; born 5 April 1951) is a member of the Thai royal family. She is the eldest child of King Bhumibol Adulyadej and Queen Sirikit and elder sister of King Vajiralongkorn.In 1972, she married American citizen Peter Ladd Jensen and settled in the United States, losing her royal title in the process. The couple divorced in 1998, whereupon she resumed her royal duties and position within the Thai court. She is styled in English as Princess Ubol Ratana, without the style Her Royal Highness.In 2001, she permanently returned to Thailand after a series of visits in the years following her divorce. Almost immediately, she began to fulfill her royal duties by taking part in many ceremonies. She started many charitable foundations that focused on improving the quality of life for the disadvantaged.In February 2019, in an \"unprecedented\" move, Ubol Ratana announced her candidacy for Prime Minister of Thailand in the 2019 general election, running as a candidate of the Thai Raksa Chart Party. Later that same day, her younger brother King Vajiralongkorn issued a statement, stating that her candidacy is \"inappropriate\" and \"unconstitutional\". Thailand’s election commission then disqualified her from running for prime minister, formally putting an end to her candidacy.Early lifePrincess Ubol Ratana Rajakanya is the eldest child of King Bhumibol Adulyadej and Queen Sirikit. She was born on 5 April 1951, at Clinique de Montchoisi in Lausanne, Switzerland. She is the only child born outside of Thailand from the four children of former King Bhumibol and Queen Sirikit.Ubol Ratana, part of her royal name, means \"glass lotus\", a reference to her maternal grandmother, Bua (\"lotus\") Kitiyakara. Her parents nicknamed her \"Pay\", short for poupee (French for \"doll\"). To her family she is known as Phi Ying. In the media and by Thai people in general, she is called Thun Kramom, a title identifying the daughter of a reigning queen.She returned to Thailand and stayed at Amphorn Sathan Residential Hall, Dusit Palace. She was styled \"Her Royal Highness\" by her father at the royal celebration of the first month birthday ceremony (Phra Ratchaphithi Somphot Duean Lae Khuen Phra U; \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000) King Bhumibol Adulyadej gave her full name and title \"Her Royal Highness Princess Ubol Ratana Rajakanya Sirivadhana Barnavadi\".Ubol Ratana was Bhumibol's favorite child because she was attractive and excelled at academics and sports, where her brother, Vajiralongkorn did not. The king greatly enjoyed playing tennis and badminton with her. This was partly due to his suspicion that others were not trying their hardest when playing sports with him and he admired Ubol Ratana for always trying her best.In the 1967 Southeast Asian Peninsular Games (today called the \"Southeast Asian Games\") held in Bangkok, the king and the princess competed in the OK Dinghy sailing class and won gold medals for Thailand.Their participation was conceived by Air Chief Marshal Dawee Chullasapya who wanted Bhumibol to be seen excelling in sports, much like a Norwegian king who won a gold Olympics medal. During the race, Ubol Ratana was ahead and the king was trailing behind. Davee feared that this would tarnish the king's prestige, but ultimately the king won the race and the father and daughter shared the medal.EducationUbol Ratana attended primary to secondary levels at Chitralada School. She went to the United States for her tertiary education. She studied at Massachusetts Institute of Technology, graduating with a Bachelor of Science in mathematics in 1973. She later obtained a master's degree in public health at University of California, Los Angeles.Marriage and familyWhile studying at university, Ubol Ratana dated an American, Peter Ladd Jensen. The palace discovered this, and her parents strongly opposed their relationship. The princess refused to conform to their wishes; on 25 July 1972, she married Jensen.According to Paul M. Handley's biography of Bhumibol, the king became furious at Ubol Ratana and stripped her of her royal title. Ubol Ratana made many attempts to ask her father to reinstate her royal title before and after her permanent return to Thailand, but the king never relented.The princess lived in the United States with her husband for over 26 years and took the name \"Mrs. Julie Jensen\". After years of rumoured marital problems, they divorced in 1998. Ubol Ratana and her children continued to reside in San Diego until 2001, when they returned to Thailand.The couple had three children, two daughters and a son, all born in the United States:Than Phu Ying Ploypailin Mahidol Jensen (born 12 February 1981) married David Wheeler on 25 August 2009, and has three children.Khun Bhumi Jensen (affectionately known as Khun Poom) (16 August 1983 – 26 December 2004), who had autism, died in the 2004 Indian Ocean earthquake and tsunami. Princess Ubol Ratana established the Khun Poom Foundation in his memory, to aid children with autism and other learning disabilities.Than Phu Ying Sirikitiya Mai Jensen (born 18 March 1985) holds a degree in history.While Ubol Ratana remained in the US, her mother (Queen Sirikit) and other members of the royal family often flew there for visits. Ubol Ratana likewise flew to Thailand along with her husband to visit her parents and the other members of the royal family, while joining them in royal ceremonies when she visited Thailand. She visited in 1980, 1982, 1987, 1992 and 1996, taking part in several family events, before her permanent return in 2001.Charitable workUbol Ratana launched the \"To Be Number One\" Foundation in 2002 to combat drug use by young people. As of 2019 the foundation has more than 31 million members throughout Thailand. She hosts the television show, \"Talk to the Princess\" on TVT11 NBT where she promotes the aims of her anti-drug work.Film careerIn 2003, Ubol Ratana starred in a Thai soap opera, Kasattiya. In 2006 she had a role in Anantalai, a drama series she wrote under the pen name \"Ploykampetch\". In 2011, the princess and her daughter Ploypailin Jensen starred in Dao Long Fah, Pupha Si-ngen.Ubol Ratana acted in the Thai movie Where The Miracle Happens (Neung Jai Diaokan) (\u0000\u0000\u0000\u0000\u0000\u0000\u0000..\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000), released on 7 August 2008 (in this film she also participated as a screenwriter). She plays a \"lonely-at-the-top\" CEO who begins a life of philanthropy after the death of her only daughter.In 2010, she appeared in the action film My Best Bodyguard (\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000), released on 21 October 2010. In 2012, she appeared in the romantic film Together (Wan Tee Rak) (\u0000\u0000\u0000\u0000\u0000\u0000\u0000), released on 20 December 2012.Attempted candidacy for Prime MinisterIn 2019, it was announced Ubol Ratana would run as the prime ministerial candidate for the Thaksin-affiliated Thai Raksa Chart Party in the 2019 general election, called an \"astonishing\" move without precedent, as the royal family has never been directly involved in electoral politics. Her candidacy was quickly quashed by her brother, King Rama X, on the grounds that members of the royal family may not overtly participate in politics. After his statement, the Thai Raksa Chart Party withdrew their support for her run. The Election Commission, citing the king's statement, disqualified her.IssueAncestryNotesPassage 6:Anne DenmanAnne Denman (1587–1661) was born in Olde Hall, Retford, Nottinghamshire. Through a second marriage with Thomas Aylesbury, she became the grandmother of Lady Anne Hyde, Duchess of York and great-grandmother of Queen Mary II and Queen Anne.Early lifeAnne was born in Olde Hall, West Retford in around 1587. She was the younger daughter of Francis Denman of Retford and Anne (Blount) Denman. Francis (born c. 1531, died 1599) was the rector of West Retford, Notts from 1578. He was the "}
+{"doc_id":"doc_249","qid":"","text":"Passage 1:Mehdi AbrishamchiMehdi Abrishamchi (Persian: \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000 born in 1947 in Tehran) is a high-ranking member of the People's Mujahedin of Iran (MEK).Early lifeAbrishamchi came from awell-known anti-Shah bazaari family in Tehran, and participated in June 5, 1963, demonstrations in Iran. He became a member of Hojjatieh, and left it to join the People's Mujahedin of Iran (MEK) in 1969. In 1972 hewas imprisoned for being a MEK member, and spent time in jail until 1979.CareerShortly after Iranian Revolution, he became one of the senior members of the MEK. He is now an official in the National Council ofResistance of Iran.Electoral historyPersonal lifeAbrishamchi was married to Maryam Rajavi from 1980 to 1985. Shortly after, he married Mousa Khiabani's younger sister Azar.LegacyAbrishamchi credited Massoud Rajavifor saving the People's Mojahedin Organization of Iran after the \"great schism\".Passage 2:På solsidenPå solsiden (On the Sunny Side) is a Norwegian comedy-drama film from 1956 directed by Edith Carlmar. It starsArne Lie, Randi Kolstad, Henny Moan, Ellen Isefiær, and Joachim Holst-Jensen. The film is based on Helge Krog's 1927 play of the same name.PlotOn a warm summer day, the writer Joachim Bris comes to the Riibeestate. He has been invited by Hartvig, the son running the farm. However, not everyone is happy with the visit, which has unexpected consequences for several people in the family. All of them have a part to playwhen Esther must eventually have a big showdown with those that have always lived \"on the sunny side.\"Reception and reissueWhen the film premiered in 1956, the newspaper Aftenavisen Stavangeren characterized itas \"a truly amiable, sunny, and charming comedy.\" The film was released on DVD  in 2005 by Nordisk Film.OtherThe 1936 Swedish film På Solsidan (On the Sunny Side) was also based on Krog's play. It had a scriptwritten by Oscar Hemberg and was directed by Gustaf Molander. The film starred Lars Hanson, Ingrid Bergman, Karin Swanström, and Edvin Adolphson.CastArne Lie: landowner Hartvig RiibeEllen Isefiær: Margrethe,Hartvig's motherRandi Kolstad: Ester Riibe, Hartvig's wifeHenny Moan: Wenche, Hartvig's sisterJoachim Holst-Jensen: Uncle SeverinFrank Robert: Joakim BrisJan Voigt: Preben KlingbergLalla Carlsen: woman in aboatMinor roles are also played by Otto Carlmar, Haakon Arnold, Ragnar Olason, Odd Johansen, and Odd Rohde.Passage 3:Princess Auguste of Bavaria (1875–1964)Princess Auguste of Bavaria (German: Auguste MariaLuise Prinzessin von Bayern; 28 April 1875 – 25 June 1964) was a member of the Bavarian Royal House of Wittelsbach and the spouse of Archduke Joseph August of Austria.Birth and familyAuguste was born in Munich,Bavaria, the second child of Prince Leopold of Bavaria and his wife, Archduchess Gisela of Austria. She had one older sister, Princess Elisabeth Marie of Bavaria and two younger brothers, Prince Georg of Bavaria andPrince Konrad of Bavaria.Marriage and issueShe married Joseph August, Archduke of Austria, on 15 November 1893 in Munich. The couple had six children;Archduke Joseph Francis of Austria, born on 28 March 1895;died on 25 September 1957(1957-09-25) (aged 62)Archduchess Gisela Auguste Anna Maria, born on 5 July 1897; died on 30 March 1901(1901-03-30) (aged 3)Archduchess Sophie Klementine Elisabeth Klothilde Maria,born on 11 March 1899; died on 19 April 1978(1978-04-19) (aged 79)Archduke Ladislaus Luitpold, born on 3 January 1901; died on 29 August 1946(1946-08-29) (aged 44)Archduke Matthias Joseph Albrecht AntonIgnatius, born on 26 June 1904; died on 7 October 1905(1905-10-07) (aged 1)Archduchess Magdalena Maria Raineria, born on 6 September 1909; died on 11 May 2000(2000-05-11) (aged 90)AncestryWorld War IOnthe outbreak of war with Italy in 1915, Augusta Maria Louise, though in her 40s and the mother of a son serving as an officer, went to the front with the cavalry regiment of which her husband, the Archduke JosefAugust, a corps commander, was honorary colonel, and served a common soldier, wearing a saber and riding astride, until the end of the war.Passage 4:Edith CarlmarEdith Carlmar (born Edith Mary Johanne Mathiesen)(15 November 1911 – 17 May 2003) was a Norwegian actress and Norway's first female film director. She is known for films such as Aldri annet enn bråk (1954), Fjols til fjells (1957), and Ung flukt (The Wayward Girl,1959). Her 1949 film, Døden er et kjærtegn (Death is a Caress), is considered to be Norway's first film noir. The last film she directed, Ung flukt, introduced Liv Ullmann, Norway's most famous actor internationally, tothe silver screen.Carlmar came from a poor family in the working class districts of East Oslo. However, she did manage to take dancing classes and made her debut on stage at the age of 15. In the theater she met OttoCarlmar whom she married three years later. From 1936 she worked as an actress in various theatres. Here she met the film director Tancred Ibsen who introduced her to the world of cinema.In 1949 she and herhusband started Carlmar Film A/S, and began writing scripts, directing and producing films. They made ten feature films over a ten-year period. After a decade of film-making Carlmar retired as a director. In the lastpart of her life she accepted only minor acting roles in plays and movies. Carlmar's films often tackled such social issues as abortion, drug addiction, mental illness and out of wedlock births. Her films often pushed theboundaries of censorship at that time.FilmographyActressVigdis (1943)Den hemmelighetsfulle leiligheten (1948)Jentespranget (Lina's Wedding) (1973)DirectorDøden er et kjærtegn (1949)Skadeskutt (1951)Ung frueforsvunnet (1953)Aldri annet enn bråk (1954)Bedre enn sitt rykte (1955)På solsiden (1956)Slalåm under himmelen (1957)Fjols til fjells (1957)Lån meg din kone (1958)Ung flukt (The Wayward Girl) (1959)DirectorshortsBak kulisseneKirker i OsloLangåra - et sommerparadis on YouTube, published by the City Archive of Oslo * Oslo bymuseumVann og kloakk on YouTube, published by the City Archive of OsloPassage 5:Gertrude ofBavariaGertrude of Bavaria (Danish and German: Gertrud; 1152/55–1197) was Duchess of Swabia as the spouse of Duke Frederick IV, and Queen of Denmark as the spouse of King Canute VI.Gertrude was born toHenry the Lion of Bavaria and Saxony and Clementia of Zähringen in either 1152 or 1155. She was married to Frederick IV, Duke of Swabia, in 1166, and became a widow in 1167. In 1171 she was engaged and inFebruary 1177 married to Canute of Denmark in Lund. The couple lived the first years in Skåne. On 12 May 1182, they became king and queen. She did not have any children. During her second marriage, she chose tolive in chastity and celibacy with her husband. Arnold of Lübeck remarked of their marriage, that her spouse was: \"The most chaste one, living thus his days with his chaste spouse\" in eternal chastity.Passage 6:HeatherD. GibsonHeather Denise Gibson (Greek: Χέδερ Ντενίζ Γκίμπσον) is a Scottish economist currently serving as Director-Advisor to the Bank of Greece (since 2011). She was the spouse of Euclid Tsakalotos, former GreekMinister of Finance.Academic careerBefore assuming her duties at the Bank of Greece and alternating child-rearing duties with her husband, Gibson worked at the University of Kent, where she published two volumes oninternational exchange rate mechanisms and wrote numerous articles on this and other topics, sometimes in cooperation with her husband, who was teaching at Kent at the time.Personal lifeGibson first came to Greecein 1993, with her husband, with whom she took turns away from their respective economic studies to raise their three children while the other worked.The couple maintain two homes in Kifisia, along with an office inAthens and a vacation home in Preveza. In 2013, this proved detrimental to Tsakalotos and his party when his critics began calling him «αριστερός αριστοκράτης» (aristeros aristokratis, \"aristocrat of the left\"), whilenewspapers opposed to the Syriza party seized on his property holdings as a chance to accuse the couple of hypocrisy for enjoying a generous lifestyle in private while criticizing the \"ethic of austerity\" in public. Oneopposition newspaper published on the front page criticism reasoning that Tsakalotos own family wealth came from the same sort of investments in companies as made by financial institutions JP Morgan andBlackRock.WorksEditorEconomic Bulletin, Bank of GreeceBooksThe Eurocurrency Markets, Domestic Financial Policy and International Instability (London, etc., Longman: 1989) ISBN 0312028261International Finance:Exchange Rates and Financial Flows in the International Financial System (London, etc., Longman: 1996) ISBN 0582218136Economic Transformation, Democratization and Integration into the European Union (London:Palgrave Macmillan: 2001) ISBN 9780333801222Articles and papers\"Fundamentally Wrong: Market Pricing of Sovereigns and the Greek Financial Crisis,\" Journal of Macroeconomics, Elsevier, vol. 39(PB), pp. 405–419(with Stephen G. & Tavlas, George S., 2014)\"Capital flows and speculative attacks in prospective EU member states\" (with Euclid Tsakalotos, Economics of Transition Volume 12, Issue 3, pages 559–586, September2004)\"A Unifying Framework for Analysing Offsetting Capital Flows and Sterilisation: Germany and the ERM\" (with Sophocles Brissimis & Euclid Tsakalotos, International Journal of Finance & Economics, 2002, vol. 7,issue 1, pp. 63–78)\"Internal vs External Financing of Acquisitions: Do Managers Squander Retained Profits\" (with Andrew Dickerson and Euclid Tsakalotos, Studies in Economics, 1996; Oxford Bulletin of Economics andStatistics, 2000)\"Are Aggregate Consumption Relationships Similar Across the European Union\" (with Alan Carruth & Euclid Tsakalotos, Regional Studies, Volume 33, Issue 1, 1999)Takeover Risk and the Market forCorporate Control: The Experience of British Firms in the 1970s and 1980 (with Andrew Dickerson and Euclid Tsakalotos, 1998) PDF\"The Impact of Acquisitions on Company Performance: Evidence from a Large Panel ofUK Firms\" (with Andrew Dickerson and Euclid Tsakalotos, Oxford Economic Papers New Series, Vol. 49, No. 3 (Jul., 1997), pp. 344–361)\"Short-Termism and Underinvestment: The Influence of Financial Systems\" (withAndrew Dickerson and Euclid Tsakalotos, The Manchester School of Economic & Social Studies, 1995, vol. 63, issue 4, pp. 351–67)\"Testing a Flow Model of Capital Flight in Five European Countries\" (with EuclidTsakalotos, The Manchester School of Economic and Social Studies, Volume 61, Issue 2, pp. 144–166, June 1993)Full list of articles by Heather D Gibson. researchgate.net. Recovered 7 July 2015Passage 7:SophiaMagdalena of DenmarkSophia Magdalena of Denmark (Danish: Sophie Magdalene; Swedish: Sofia Magdalena; 3 July 1746 – 21 August 1813) was Queen of Sweden from 1771 to 1792 as the wife of King Gustav III.Born into the House of Oldenburg, the royal family of Denmark-Norway, Sophia Magdalena was the first daughter of King Frederick V of Denmark and Norway and his first consort, Princess Louise of Great Britain.Already at the age of five, she was betrothed to Gustav, the heir apparent to the throne of Sweden, as part of an attempt to improve the traditionally tense relationship between the two Scandinavian realms. She wassubsequently brought up to be the Queen of Sweden, and they married in 1766. In 1771, Sophia's husband ascended to the throne and became King of Sweden, making Sophia Queen of Sweden. Their coronation wason 29 May 1772.The politically arranged marriage was unsuccessful. The desired political consequences for the mutual relations between the two countries did not materialize, and on a personal level the union alsoproved to be unhappy. Sophia Magdalena was of a quiet and serious nature, and found it difficult to adjust to her husband's pleasure seeking court. She dutifully performed her ceremonial duties but did not care forsocial life and was most comfortable in quiet surroundings with a few friends. However, she was liked by many in the Caps party, believing she was a symbol of virtue and religion. The relationship between the spousesimproved somewhat in the years from 1775 to 1783, but subsequently deteriorated again.After her husband was assassinated in 1792, Sophia Magdalena withdrew from public life, and led a quiet life as dowager queenuntil her death in 1813.Early lifePrincess Sophie Magdalene was born on 3 July 1746 at her parents' residence Charlottenborg Palace, located at the large square, Kongens Nytorv, in central Copenhagen. She was thesecond child and first daughter of Crown Prince Frederick of Denmark and his first consort, the former Princess Louise of Great Britain, and was named for her grandmother, Queen Sophie Magdalene. She received herown royal household at birth.Just one month after her birth, her grandfather King Christian VI died, and Princess Sophie Magdalene's father ascended the throne as King Frederick V. She was the heir presumptive to thethrone of Denmark from the death of her elder brother in 1747 until the birth of her second brother in 1749, and retained her status as next in line to the Danish throne after her brother until her marriage. She wastherefore often referred to as Crown Princess of Denmark.In the spring of 1751, at the age of five, she was betrothed to Gustav, the heir apparent to the throne of Sweden, and she was brought up to be the Queen ofSweden. The marriage was arranged by the Riksdag of the Estates, not by the Swedish royal family. The marriage was arranged as a way of creating peace between Sweden and Denmark, which had a long history ofwar and which had strained relations following the election of an heir to the Swedish throne in 1743, where the Danish candidate had lost. The engagement was met with some worry from Queen Louise, who feared thather daughter would be mistreated by the Queen of Sweden, Louisa Ulrika of Prussia. The match was known to be disliked by the Queen of Sweden, who was in constant conflict with the Parliament; and who was knownin Denmark for her pride, dominant personality and hatred of anything Danish, which she demonstrated in her treatment of the Danish ambassadors in Stockholm.After the death of her mother early in her life, SophiaMagdalena was given a very strict and religious upbringing by her grandmother and her stepmother, who considered her father and brother to be morally degenerate. She is noted to have had good relationships withher siblings, her grandmother and her stepmother; her father, however, often frightened her when he came before her drunk, and was reportedly known to set his dogs upon her, causing in her a lifelong phobia.In1760, the betrothal was again brought up by Denmark, which regarded it as a matter of prestige. The negotiations were made between Denmark and the Swedish Queen, as King Adolf Frederick of Sweden was neverconsidered to be of any more than purely formal importance. Louisa Ulrika favored a match between Gustav and her niece Philippine of Brandenburg-Schwedt instead, and claimed that she regarded the engagement tobe void and forced upon her by Carl Gustaf Tessin. She negotiated with Catherine the Great and her brother Frederick the Great to create some political benefit for Denmark in exchange for a broken engagement.However, the Swedish public was very favorable to the match due to expectations Sophia Magdalena would be like the last Danish-born Queen of Sweden, Ulrika Eleonora of Denmark, who was very loved for herkindness and charity. This view was supported by the Caps political party, which expected Sophia Magdalena to be an example of a virtuous and religious representative of the monarchy in contrast to the haughtyLouisa Ulrika. Fredrick V of Denmark was also eager to complete the match: \"His Danish Majesty could not have the interests of his daughter sacrificed because of the prejudices and whims of the Swedish Queen\". In1764 Crown Prince Gustav, who was at this point eager to free himself from his mother and form his own household, used the public opinion to state to his mother that he wished to honor the engagement, and on 3April 1766, the engagement was officially celebrated.When a portrait of Sophia Magdalena was displayed in Stockholm, Louisa Ulrika commented: \"why Gustav, you seem to be already in love with her! She looksstupid\", after which she turned to Prince Charles and added: \"She would suit you better!\"Crown PrincessOn 1 October 1766, Sophia Magdalena was married to Gustav by proxy at Christiansborg Palace in Copenhagenwith her brother Frederick, Hereditary Prince of Denmark, as representative of her groom. She traveled in the royal golden sloop from Kronborg in Denmark over Öresund to Hälsingborg in Sweden; when she washalfway, the Danish cannon salute ended, and the Swedish started to fire. In Helsingborg, she was welcomed by her brother-in-law Prince Charles of Hesse, who had crossed the sea shortly before her, the Danish envoyin Stockholm, Baron Schack, as well as Crown Prince Gustav himself. As she was about to set foot on ground, Gustav was afraid that she would fall, and he therefore reached her his hand with the words: \"Watch out,Madame!\", a reply which quickly became a topic of gossip at the Swedish court.The couple then traveled by land toward Stockholm, being celebrated on the way. She met her father-in-law the King and herbrothers-in-law at Stäket Manor on 27 October, and she continued to be well-treated and liked by them all during her life in Sweden. Thereafter, she met her mother-in-law the Queen and her sister-in-law at SäbyManor, and on the 28th, she was formally presented for the Swedish royal court at Drottningholm Palace. At this occasion, Countess Ebba Bonde noted that the impression about her was: \"By God, how beautiful sheis!\", but that her appearance was affected by the fact that she had a: \"terrible fear of the Queen\". On 4 November 1766, she was officially welcomed to the capital of Stockholm, where she was married to Gustav inperson in the Royal Chapel at Stockholm Royal Palace.Sophia Magdalena initially made a good impression upon the Swedish nobility with her beauty, elegance and skillful dance; but her shy, silent, and reserved naturesoon made her a disappointment in the society life. Being of a reserved nature, she was considered cold and arrogant. Her mother-in-law Queen Louisa Ulrika, who once stated that she could comprehend nothing morehumiliating than the position of a Queen Dowager, harassed her in many ways: a typical example was when she invited Gustav to her birthday celebrations, but asked him to make Sophia Magdalena excuse herself bypretending to be too ill to attend. Louisa Ulrika encouraged a distance between the couple in various ways, and Gustav largely ignored her so as not to make his mother jealous.Sophia Magdalena was known to bepopular with the Caps, who were supported by Denmark, while Louisa Ulrika and Gustav sided with the Hats. The Caps regarded Sophia Magdalena to be a symbol of virtue and religion in a degenerated royal court, andofficially demonstrated their support. Sophia Magdalena was advised by the Danish ambassador not to involve herself in politics, and when the spies of Louisa Ulrika reported that Sophia Magdalena received letters fromthe Danish ambassador through her Danish entourage, the Queen regarded her to be a sympathizer of the Danish-supported Caps: she was isolated from any contact with the Danish embassy, and the Queenencouraged Gustav to force her to send her Danish servants home. This she did not do until 1770, and his demand contributed to their tense and distant relationship. In 1768, Charlotta Sparre tried to reconcile thecouple at their summer residence Ekolsund Castle, but the marriage remained unconsummated.After King Adolf Frederick of Sweden died in 1771, Gustav III became King of Sweden. The following year, on 29 May,Sophia Magdalena was crowned Queen.Early reign as QueenThe coronation of Gustav III and Sophia Magdalena took place on 29 May 1772. She was not informed about the coup of Gustav III, which reinstated absolutemonarchy and ended the parliamentary rule of the Estates in the revolution of 1772. At the time she was deemed as suspicious and politically untrustworthy in the eyes of the King, primarily by her mother-in-law, whopainted her as pro-Danish. Denmark was presumed to oppose the coup; there were also plans to conquer Norway from Denmark.Sophia Magdalena was informed about politics nonetheless: she expressed herselfpleased with the 1772 parliament because Count Fredrik Ribbing, for whom she had taken an interest, had regained his seat. The conflict between her and her mother-in-law was publicly known and disliked, and the"}
+{"doc_id":"doc_250","qid":"","text":"Passage 1:Etan BoritzerEtan Boritzer (born 1950) is an American writer of children’s literature who is best known for his book What is God? first published in 1989. His best selling What is? illustrated children's bookseries on character education and difficult subjects for children is a popular teaching guide for parents, teachers and child-life professionals.Boritzer gained national critical acclaim after What is God? was published in1989 although the book has caused controversy from religious fundamentalists for its universalist views. The other current books in the What is? series include: What is Love?, What is Death?, What is Beautiful?, Whatis Funny?, What is Right?, What is Peace?, What is Money?, What is Dreaming?, What is a Friend?, What is True?, What is a Family?, and What is a Feeling? The series is now also translated into 15 languages.Boritzerwas first published in 1963 at the age of 13 when he wrote an essay in his English class at Wade Junior High School in the Bronx, New York on the assassination of John F. Kennedy. His essay was included in a specialanthology by New York City public school children compiled and published by the New York City Department of Education.Boritzer now lives in Venice, California and maintains his publishing office there also. He hashelped numerous other authors to get published through How to Get Your Book Published! programs. Boritzer is also a yoga teacher who teaches regular classes locally and guest-teaches nationally. He is alsorecognized nationally as an erudite speaker on The Teachings of the Buddha.Passage 2:Catherine of Bosnia, Baness of SlavoniaCatherine Kotromanić Babonić (Serbo-Croatian: Katarina Kotromanić) (? – after 1310) wasPrincess of Bosnia and Baness of Slavonia by marriage.Catherine was child of Prijezda I Kotromanić and his wife Elizabeth of Slavonia. Her brothers were Vuk, Prijezda and Stephen. Catherine was married to Stpehen IIIBabonić. They had two sons: Ladislav (fl. 1293)Stephen V (fl. 1293)Catherine and her husband were given Zemunik Fortress in Vrbas area by Prijezda I in spring 1287. Catherine was Baness of Slavonia from 1310 to1316.Passage 3:Albert Thompson (footballer, born 1912)Albert Thompson (born 1912, date of death unknown) was a Welsh footballer.CareerThompson was born in Llanbradach, Wales, and joined Bradford Park Avenuefrom Barry Town in 1934. After making 11 appearances and scoring two goals in the league for Bradford, he joined York City in 1936. He was York City's top scorer for the 1936–37 season, with 28 goals. He joinedSwansea Town in 1937, after making 29 appearances and scoring 28 goals for York. After making 4 appearances in the league for Swansea, he joined Wellington Town.== Notes ==Passage 4:Bill Smith (footballer, born1897)William Thomas Smith (9 April 1897 – after 1924) was an English professional footballer.CareerDuring his amateur career, Smith played in 17 finals, and captained the Third Army team in Germany when he wasstationed in Koblenz after the armistice during the First World War. He started his professional career with Hull City in 1921. After making no appearances for the club, he joined Leadgate Park. He joined Durham City in1921, making 33 league appearances in the club's first season in the Football League.He joined York City in the Midland League in July 1922, where he scored the club's first goal in that competition. He made 75appearances for the club in the Midland League and five appearances in the FA Cup before joining Stockport County in 1925, where he made no league appearances.Passage 5:Andrew, Duke of SlavoniaAndrew, Duke ofSlavonia (Hungarian: András szlavóniai herceg; 1268–1278) was the youngest son of King Stephen V of Hungary and his wife, Elizabeth the Cuman. Two rebellious lords kidnapped him in 1274 in an attempt to play himoff against his brother, Ladislaus IV of Hungary, but the king's supporters liberated him. He was styled \"Duke of Slavonia and Croatia\" in a 1274 letter. Years after his death (in 1290 and in 1317), two adventurersclaimed to be identical with Andrew, but both failed.FamilyAndrew was born in 1268. He was the second son (and youngest child) of Stephen V, the junior king of Hungary at the time of Andrew's birth. The senior kingwas Andrew's grandfather Béla IV. Andrew's mother was Stephen's wife, Elizabeth the Cuman.Andrew's father, Stephen, became the sole King of Hungary in 1270, but died two years later. Stephen was succeeded byhis elder son (Andrew's ten-year-old brother) Ladislaus IV. In theory, Ladislaus's ruled under the regency of his mother, Elizabeth, but in fact, competing parties of the most wealthy noble families, including the Csáksand Kőszegis, were fighting against each other for the control of government.Duke of SlavoniaHenry Kőszegi, the Ban of Slavonia, and his ally, Joachim Gutkeled, the Master of the treasury, who had earlier heldLadislaus IV in captivity, kidnapped the six-year-old Andrew in July 1274, taking him to Slavonia in an attempt to play him off against his brother. However, Kőszegi's and Gutkeled's rival, Peter Csák, and his alliesannihilated their united troops in late September and liberated Andrew. In a letter dated to the end of 1274, Andrew is mentioned as \"Duke of Slavonia and Croatia\", but otherwise he was only referred to as \"DukeAndrew\". According to a scholarly theory, the former title was only used to emphasize that Andrew was the lawful heir to his 12-year-old elder brother at the time the letter, which referred to a planned marriagebetween Andrew and a relative of Rudolf I of Germany, was written. Andrew died at the age of ten between 6 April and 6 November 1278.Two false AndrewsAndrew's childless brother, Ladislaus IV was murdered on 10July 1290. His distant relative, Andrew III, succeeded him and was crowned king on 23 July. However, an adventurer announced that he was identical with King Ladislaus's younger brother, claiming Hungary to himselfagainst Andrew III. Through showing his specific birthmark, the impostor even convinced Stephen V's sister – the late Duke Andrew's aunt – Kinga, wife of Bolesław V the Chaste, Duke of Cracow. The false DukeAndrew invaded Hungary from Poland, but King Andrew's commander, George Baksa routed his troop, forcing him to return to Poland before 18 November. The pretender was in short killed by his Hungarian retainers.In1317, a new adventurer declared himself Duke Andrew, on this occasion in Majorca. He and his imprisonment was mentioned in the correspondence between Sancho, King of Majorca, and Robert, King of Naples whowas the uncle of Charles I of Hungary. The second false Duke Andrew's further fate is unknown.Passage 6:Stephen V of HungaryStephen V (Hungarian: V. István, Croatian: Stjepan V., Slovak: Štefan V; before 18October 1239 – 6 August 1272, Csepel Island) was King of Hungary and Croatia between 1270 and 1272, and Duke of Styria from 1258 to 1260. He was the oldest son of King Béla IV and Maria Laskarina. King Béla hadhis son crowned king at the age of six and appointed him Duke of Slavonia. Still a child, Stephen married Elizabeth, a daughter of a chieftain of the Cumans whom his father settled in the Great Hungarian Plain.King Bélaappointed Stephen Duke of Transylvania in 1257 and Duke of Styria in 1258. The local noblemen in Styria, which had been annexed four years before, opposed his rule. Assisted by King Ottokar II of Bohemia, theyrebelled and expelled Stephen's troops from most parts of Styria. After Ottokar II routed the united army of Stephen and his father in the Battle of Kressenbrunn on 12 July 1260, Stephen left Styria and returned toTransylvania.Stephen forced his father to cede all the lands of the Kingdom of Hungary to the east of the Danube to him and adopted the title of junior king in 1262. In two years, a civil war broke out between fatherand son, because Stephen accused Béla of planning to disinherit him. They concluded a peace treaty in 1266, but confidence was never restored between them. Stephen succeeded his father, who died on 3 May 1270,without difficulties, but his sister Anna and his father's closest advisors fled to the Kingdom of Bohemia. Ottokar II invaded Hungary in the spring of 1271, but Stephen routed him. In next summer, a rebellious lordcaptured and imprisoned Stephen's son, Ladislaus. Shortly thereafter, Stephen unexpectedly fell ill and died.Childhood (1239–1245)Stephen was the eighth child and first son of King Béla IV of Hungary and his wife,Maria, a daughter of Theodore I Lascaris, Emperor of Nicaea. He was born in 1239. Archbishop Robert of Esztergom baptised him on 18 October. The child, heir apparent from birth, was named after Saint Stephen, thefirst King of Hungary.Béla and his family, including Stephen, fled to Zagreb after the Mongols had annihilated the royal army in the Battle of Mohi on 11 April 1241. The Mongols crossed the frozen Danube in February1242 and the royal family ran off as far as the well-fortified Dalmatian town of Trogir. The King and his family returned from Dalmatia after the Mongols unexpectedly withdrew from Hungary in March.Junior kingDuke ofSlavonia (1245–1257)A royal charter of 1246 mentions Stephen as \"King, and Duke of Slavonia\". Apparently, in the previous year, Béla had his son crowned as junior king and endowed with the lands between the riverDráva and the Adriatic Sea, according to historians Gyula Kristó and Ferenc Makk. The seven-year-old Stephen's provinces—Croatia, Dalmatia and Slavonia—were administered by royal governors, known as bans.In aletter addressed to Pope Innocent IV in the late 1240s, Béla IV wrote that \"[o]n behalf of Christendom we had our son marry a Cuman girl\". The bride was Elizabeth, the daughter of a leader of the Cumans whom Bélahad invited to settle in the plains along the river Tisza. Elizabeth had been baptized, but ten Cuman chieftains present at the ceremony nevertheless took their customary oath upon a dog cut into two by a sword.Duke ofTransylvania and Styria (1257–1260)When Stephen attained the age of majority in 1257, his father appointed him Duke of Transylvania. Stephen's rule in Transylvania was short-lived, because his father transferredhim to Styria in 1258. Styria had been annexed in 1254, but the local lords rose up in rebellion and expelled Béla IV's governor, Stephen Gutkeled, before Stephen's appointment. Stephen and his father jointly invadedStyria and subdued the rebels. In addition to Styria, Stephen also received two neighboring counties—Vas and Zala—in Hungary from his father. He launched a plundering raid in Carinthia in the spring of 1259, inretaliation of Duke Ulrich III of Carinthia's support of the Styrian rebels.Stephen's rule remained unpopular in Styria. With support from King Ottokar II of Bohemia, the local lords again rebelled. Stephen could preserveonly Pettau (present-day Ptuj, Slovenia) and its region. On 25 June 1260, Stephen crossed the river Morava to invade Ottokar's realm. His military force, which consisted of Székely, Romanian and Cuman troops, routedan Austrian army. However, in the decisive Battle of Kressenbrunn King Béla's and Stephen's united army was vanquished on 12 July, primarily because the main forces, which were under King Béla's command, arrivedlate. Stephen, who commanded the advance guard, barely escaped from the battlefield. The Peace of Vienna, which was signed on 31 March 1261, put an end to the conflict between Hungary and Bohemia, forcing BélaIV to renounce of Styria in favor of Ottokar II.Conflicts and civil war (1260–1270)Stephen returned to Transylvania and started to rule it for the second time after 20 August 1260. He and his father jointly invadedBulgaria and seized Vidin in 1261. His father returned to Hungary, but Stephen continued the campaign alone. He laid siege to Lom on the Danube and advanced as far as Tirnovo in pursuit of Tsar Constantine Tikh ofBulgaria. However, the Tsar succeeded in avoiding any clashes with the invaders and Stephen withdrew his troops from Bulgaria by the end of the year.Stephen's relationship with Béla IV deteriorated in the early 1260s.Stephen's charters reveal his fear of being disinherited and expelled by his father. He also accused some unnamed barons of inciting the old monarch against him. On the other hand, Stephen's charters prove that hemade land grants in Bihar, Szatmár, Ugocsa, and other counties which were situated outside Transylvania.Archbishops Philip of Esztergom and Smaragd of Kalocsa undertook to mediate after some clashes occurredbetween the two kings' partisans in the autumn. According to the Peace of Pressburg, which was concluded around 25 November, Béla IV and his son divided the country and Stephen received the lands to the east ofthe Danube. When confirming the treaty on 5 December, Stephen also promised that he would not invade Slavonia which had been granted to his younger brother, Béla, by their father. On this occasion, Stephen styledhimself \"Junior King, Duke of Transylvania and Lord of the Cumans\".A Bulgarian nobleman, Despot Jacob Svetoslav sought assistance from Stephen after his domains, which were situated in the regions south of Vidin,were overrun by Byzantine troops in the second half of 1263. Stephen sent reinforcements under the command of Ladislaus II Kán, Voivode of Transylvania to Bulgaria. The Voivode routed the Byzantines and drovethem out of Bulgaria. Stephen granted Vidin to Jacob Svetoslav who accepted his suzerainty.The reconciliation of Stephen and his father was only temporary. Stephen confiscated the domains of his mother and sister,Anna—including Beszterce (present-day Bistri\u0000a, Romania) and Füzér—which were located in the lands under his rule. Béla IV's army crossed the Danube under Anna's command sometime after the autumn of 1264.She besieged and took Sárospatak and seized Stephen's wife and children. Voivode Ladislaus Kán turned against Stephen and led an army, which consisted of Cuman warriors, to Transylvania. Stephen routed him atthe fort of Déva (now Deva, Romania). King Béla's Judge royal, Lawrence arrived at the head of a new army and forced Stephen to retreat to Feketehalom (now Codlea, Romania). The Judge royal lay siege to thefortress, but Stephen's partisans relieved it. Stephen launched a counter-offensive and forced his father's army to retreat. He gained a decisive victory over his father's army in the Battle of Isaszeg in March 1265. Thetwo archbishops mediated a new consolidation between father and son, which confirmed the 1262 division of the country. Béla and Stephen signed the peace treaty in the Convent of the Blessed Virgin on the Rabbits'Island (now Margaret Island in Budapest) on 23 March 1266.During the civil war in Hungary, Stephen's vassal, Despot Jacob Svetoslav submitted himself to Tsar Constantine Tikh of Bulgaria. In the summer of 1266,Stephen invaded Bulgaria, seized Vidin, Pleven and other forts and routed the Bulgarians in five battles. Jacob Svetoslav again accepted Stephen's suzerainty and was reinstalled in Vidin. From then on, Stephen usedthe title \"King of Bulgaria\" in his charters.Béla and Stephen together confirmed the liberties of the \"royal servants\", from then on known as noblemen, in 1267. A double marriage alliance between Stephen and KingCharles I of Sicily—Stephen's son, Ladislaus married Charles's daughter, Elisabeth, and Charles's namesake son married Stephen's daughter, Mary—strengthened Stephen's international position in 1269. Confidencewas never restored between Béla and Stephen. On his deathbed, the old King requested King Ottokar II of Bohemia to give shelter to his daughter Anna and his partisans after his death.Reign (1270–1272)The seniorKing died on 3 May 1270. His daughter, Anna, seized the royal treasury and fled to Bohemia. Henry Kőszegi, Nicholas Geregye, and Lawrence Aba—Béla's closest advisors—followed her and handed over Kőszeg,Borostyánkő (Bernstein, Austria) and their other castles along the western borders to Ottokar II. Instead of leaving Hungary, Nicholas Hahót garrisoned Styrian soldiers in his fort at Pölöske, and made plundering raidsagainst the nearby villages. Stephen nominated his own partisans to the highest offices; for instance, Joachim Gutkeled became Ban of Slavonia, and Matthew Csák was appointed Voivode of Transylvania. Stephengranted Esztergom County to Archbishop Philip who crowned him king in Esztergom on or after 17 May.The Polish chronicler Jan Długosz writes that Stephen made \"a pilgrimage to the tomb of St. Stanisław\" in Cracowand visited his brother-in-law, Boleslaw the Chaste, Duke of Cracow at the end of August. The two monarchs renewed \"the old alliance between Hungary and Poland\" and entered into an alliance \"to have the samefriends and the same enemies\". Stephen also met Ottokar II on an island of the Danube near Pressburg (present-day Bratislava, Slovakia), but they only concluded a truce.Stephen launched a plundering raid intoAustria around 21 December. King Ottokar invaded the lands north of the Danube in April 1271 and captured a number of fortresses, including Dévény (now Devín, Slovakia), Pressburg and Nagyszombat (present-dayTrnava, Slovakia). Ottokar routed Stephen at Pressburg on 9 May, and at Mosonmagyaróvár on 15 May, but Stephen won the decisive battle on the Rábca River on 21 May. Ottokar withdrew from Hungary and Stephenchased his troops as far as Vienna. The two kings' envoys reached an agreement in Pressburg on 2 July. According to their treaty, Stephen promised that he would not assist Ottokar's opponents in Carinthia, andOttokar renounced the castles he and his partisans held in Hungary. The Hungarians soon recaptured Kőszeg, Borostyánkő and other fortresses along the western border of Hungary.According to the Life of Stephen'ssaintly sister, Margaret, who had died on 18 January 1270, Stephen was present when the first miracle attributed to her occurred on the first anniversary of her death. Stephen, in fact, initiated Margaret's canonizationat the Holy See in 1271. In the same year, Stephen granted town privileges to the citizens of Győr. He also confirmed the liberties of the Saxon \"guests\" in the Szepesség region (present-day Spiš, Slovakia),contributing to the development of their autonomous community. On the other hand, Stephen protected the Archbishop of Esztergom's rights against the conditional nobles of the archbishopric who attempted to get ridof their obligations.Ban Joachim Gutkeled kidnapped Stephen's ten-year-old son and heir, Ladislaus and imprisoned him in the castle of Koprivnica in the summer of 1272. Stephen besieged the fortress, but could notcapture it. Stephen fell ill and was taken to the Csepel Island. He died on 6 August 1272. Stephen was buried near to the tomb of his sister, Margaret, in the Monastery of the Blessed Virgin on Rabbits'Island.FamilyStephen's wife, Elizabeth, was born around 1239, according to historian Gyula Kristó. A charter of her father-in-law, Béla IV, refers to one Seyhan, a Cuman chieftain as his kinsman, implying that Seyhanwas Elizabeth's father. Stephen's first child by Elizabeth, Catherine, was born around 1256. She was given in marriage to Stephen Dragutin, the elder son and heir of King Stephen Uroš I of Serbia, in about 1268. Hersister Mary was born around 1257 and married the future Charles II of Naples in 1270. Their grandson Charles Robert became King of Hungary in the first decade of the 14th century.According to historian Gyula Kristó,Stephen's third (unnamed) daughter was the wife of Despot Jacob Svetoslav. Stephen's third (or fourth) daughter, Elizabeth, who was born in about 1260, became a Dominican nun in the Monastery of the BlessedVirgin on Rabbits' Island. She was appointed prioress in 1277, but her brother, Ladislaus, kidnapped and married her to a Czech baron, Zavis of Falkenstein, in 1288. Stephen's youngest daughter, Anna, was born inabout 1260. She married Andronikos Palaiologos, son and heir of the Byzantine Emperor, Michael VIII.Stephen's first son, Ladislaus IV, was born in 1262. He succeeded his father in 1272. Stephen's youngest child,Andrew, was born in 1268 and died at the age of 10.Passage 7:Theodred II (Bishop of Elmham)Theodred II was a medieval Bishop of Elmham.The date of Theodred's consecration unknown, but the date of his deathwas sometime between 995 and 997.Passage 8:Andrew, Duke of CalabriaAndrew, Duke of Calabria (30 October 1327 – 18 September 1345) was the first husband of Joanna I of Naples, and a son of Charles I ofHungary and brother of Louis I of Hungary.Background and engagementAndrew was the second of three surviving sons of King Charles I of Hungary and his third wife, Elizabeth of Poland. He was betrothed in 1334 tohis cousin Joanna, granddaughter and heiress apparent of King Robert of Naples; Andrew's father was a fraternal nephew of King Robert, making Andrew and Joanna both members of the Capetian House of"}
+{"doc_id":"doc_251","qid":"","text":"Passage 1:Where Was I\"Where Was I?\" may refer to:Books\"Where Was I?\", essay by David Hawley Sanford from The Mind's IWhere Was I?, book by John Haycraft 2006Where was I?!, book by Terry Wogan 2009Film and TVWhere Was I? (film), 1925 film directed by William A. Seiter. With Reginald Denny, Marian Nixon, Pauline Garon, Lee Moran.Where Was I? (2001 film), biography about songwriter Tim RoseWhere Was I? (TV series) 1952–1953 Quiz show with the panelists attempting to guess a location by looking at photos\"Where Was I?\" episode of Shoestring (TV series) 1980Music\"Where was I\", song by W. Franke Harling and Al Dubin performed by Ruby Newman and His Orchestra  with vocal chorus by  Larry Taylor and Peggy McCall  1939\"Where Was I\", single from Charley Pride discography 1988\"Where Was I\" (song), a 1994 song by Ricky Van Shelton\"Where Was I (Donde Estuve Yo)\", song by Joe Pass from Simplicity (Joe Pass album)\"Where Was I?\", song by Guttermouth from The Album Formerly Known as a Full Length LP (Guttermouth album)\"Where Was I\", song by Sawyer Brown (Billy Maddox, Paul Thorn, Anne Graham) from Can You Hear Me Now 2002\"Where Was I?\", song  by  Kenny Wayne Shepherd from Live On  1999\"Where Was I\", song by Melanie Laine (Victoria Banks, Steve Fox) from Time Flies (Melanie Laine album)\"Where Was I\", song by Rosie Thomas from With Love (Rosie Thomas album)Passage 2:Bayezid IIBayezid II (Ottoman Turkish: \u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000, romanized: Bāyezīd-i s\u0000ānī; Turkish: II. Bayezid; 3 December 1447 – 26 May 1512) was the sultan of the Ottoman Empire from 1481 to 1512. During his reign, Bayezid consolidated the Ottoman Empire, thwarted a Safavid rebellion and finally abdicated his throne to his son, Selim I. Bayezid evacuated Sephardi Jews from Spain after the proclamation of the Alhambra Decree and resettled them throughout Ottoman lands, especially in Salonica.Early lifeBayezid II was the son of Mehmed II (1432–1481) and Gülbahar Hatun, an Albanian concubine.There are sources that claim that Bayezid was the son of Sittişah Hatun, due to the two women's common middle name, Mükrime. This would make Ayşe Hatun, one of Bayezid's consorts, a first cousin of Bayezid II. However, the marriage of Sittişah Hatun took place two years after Bayezid was born and the whole arrangement was not to Mehmed's liking.Born in Demotika, Bayezid II was educated in Amasya and later served there as a bey for 27 years. In 1473, he fought in the Battle of Otlukbeli against the Aq Qoyunlu.Fight for the throneBayezid II's overriding concern was the quarrel with his brother Cem Sultan, who claimed the throne and sought military backing from the Mamluks in Egypt. Karamani Mehmed Pasha, latest grand vizier of Mehmed II, informed him of the death of the Sultan and invited Bayezid to ascend the throne. Having been defeated by his brother's armies, Cem sought protection from the Knights of St. John in Rhodes. Eventually, the Knights handed Cem over to Pope Innocent VIII (1484–1492). The Pope thought of using Cem as a tool to drive the Turks out of Europe, but as the papal crusade failed to come to fruition, Cem died in Naples.ReignBayezid II ascended the Ottoman throne in 1481. Like his father, Bayezid II was a patron of western and eastern culture. Unlike many other sultans, he worked hard to ensure a smooth running of domestic politics, which earned him the epithet of \"the Just\". Throughout his reign, Bayezid II engaged in numerous campaigns to conquer the Venetian possessions in Morea, accurately defining this region as the key to future Ottoman naval power in the Eastern Mediterranean. In 1497, he went to war with Poland and decisively defeated the 80,000 strong Polish army during the Moldavian campaign. The last of these wars ended in 1501 with Bayezid II in control of the whole Peloponnese. Rebellions in the east, such as that of the Qizilbash, plagued much of Bayezid II's reign and were often backed by the shah of Persia, Ismail I, who was eager to promote Shi'ism to undermine the authority of the Ottoman state. Ottoman authority in Anatolia was indeed seriously threatened during this period and at one point Bayezid II's vizier, Hadım Ali Pasha, was killed in battle against the Şahkulu rebellion. Hadım Ali Pasha's death prompted a power vacuum. As a result, many important statesmen secretly pledged allegiance to Kinsman Karabœcu Pasha (Turkish: \"Karaböcü Kuzen Paşa\") who made his reputation in conducting espionage operations during the Fall of Constantinople in his youth.Jewish and Muslim immigrationIn July 1492, the new state of Spain expelled its Jewish and Muslim populations as part of the Spanish Inquisition. Bayezid II sent out the Ottoman Navy under the command of admiral Kemal Reis to Spain in 1492 in order to evacuate them safely to Ottoman lands. He sent out proclamations throughout the empire that the refugees were to be welcomed. He granted the refugees the permission to settle in the Ottoman Empire and become Ottoman citizens. He ridiculed the conduct of Ferdinand II of Aragon and Isabella I of Castile in expelling a class of people so useful to their subjects. \"You venture to call Ferdinand a wise ruler,\" he said to his courtiers, \"he who has impoverished his own country and enriched mine!\" Bayezid addressed a firman to all the governors of his European provinces, ordering them not only to refrain from repelling the Spanish refugees, but to give them a friendly and welcome reception. He threatened with death all those who treated the Jews harshly or refused them admission into the empire. Moses Capsali, who probably helped to arouse the sultan's friendship for the Jews, was most energetic in his assistance to the exiles. He made a tour of the communities and was instrumental in imposing a tax upon the rich, to ransom the Jewish victims of the persecution.The Muslims and Jews of al-Andalus contributed much to the rising power of the Ottoman Empire by introducing new ideas, methods and craftsmanship. The first printing press in Constantinople (now Istanbul) was established by the Sephardic Jews in 1493. It is reported that under Bayezid's reign, Jews enjoyed a period of cultural flourishing, with the presence of such scholars as the Talmudist and scientist Mordecai Comtino; astronomer and poet Solomon ben Elijah Sharbi\u0000 ha-Zahab; Shabbethai ben Malkiel Cohen, and the liturgical poet Menahem Tamar.SuccessionDuring Bayezid II's final years, on 14 September 1509, Constantinople was devastated by an earthquake, and a succession battle developed between his sons Selim and Ahmet. Ahmet unexpectedly captured Karaman, and began marching to Constantinople to exploit his triumph. Fearing for his safety, Selim staged a revolt in Thrace but was defeated by Bayezid and forced to flee back to the Crimean peninsula. Bayezid II developed fears that Ahmet might in turn kill him to gain the throne, so he refused to allow his son to enter Constantinople.Selim returned from Crimea and, with support from the Janissaries, he forced his father to abdicate the throne on 25 April 1512. Bayezid departed for retirement in his native Dimetoka, but he died on 26 May 1512 at Havsa, before reaching his destination and only a month after his abdication. He was buried next to the Bayezid Mosque in Istanbul.LegacyBayezid was praised in a ghazal of Abdürrezzak Bahşı, a scribe who came to Constantinople from Samarkand in the second half of the 15th century that worked at the courts of Mehmed II and Bayezid II, and wrote in Chagatai with the Old Uyghur alphabet:I had a pleasant time in your reign my Padishah.I was without fear of all fears and dangers.The fame of your justice and fairness reached to China and Hotan.Thanks to God that there exist a merciful person like my Padishah.Sultan Bayezid Khan ascended the throne.This country had been his fate since past eternity.Any enemy that denied the country of my master:That enemy's neck had been in rope and gallows.Your believing servants' faces smile like Bahşı's.The place of those who walk unbelieving is hellfire.Bayezid II ordered al-\u0000Atufi, the librarian of Topkapı Palace, to prepare a register. The library's diverse holdings reflect a cosmopolitanism that was encyclopaedic in scope.FamilyConsortsBayezid had ten known consorts, plus other unknown concubines, mothers of the other sons and daughters:Şirin HatunHüsnüşah HatunBülbül HatunNigar HatunGülruh HatunGülbahar HatunMuhtereme Ferahşad HatunAyşe Hatun. Daughter of Alâüddevle Bozkurt Bey of the Dulkadir dynasty, and niece of Sittişah Hatun, first legal wife of Mehmed II, father of Bayezid. She died in 1512.Gülfem HatunMühürnaz HatunSonsBayezid had at least eight sons:Şehzade Abdullah (Amasya, 1465 - Konya, 11 June 1483) - son of Şirin Hatun. Bayezid's first son, he was governor of Manisa, Trebizond and Konya. He died of unknown causes and was buried in Bursa. He took as consort his cousin Nergiszade Ferahşad Sultan (daughter of Şehzade Mustafa, son of Mehmed II), with whom he had a son who died in infancy (1481-1489) and two daughters, Aynişah Sultan (1482-? , married) and Şahnisa Sultan (1484- ?, who in turn married her cousin Şehzade Mehmed Şah, son of her father's half brother Şehzade Şehinşah).Şehzade Ahmed (Amasya, c. 1466 - Bursa, 24 March 1513) - son of Bülbül Hatun. Bayezid's favorite son, he was executed by his half-brother Selim I, who became sultan. He had three known concubines, seven sons and four daughters.Şehzade Korkut (Amasya, 1469 - Manisa, 10 March 1513) - son of Nigar Hatun. Rival of Selim I for the throne, he was first exiled by them and then executed. He had two children who died as infants and two daughters, Fatma Sultan and Ferahşad Sultan.Selim I (Amasya, 10 October 1470 – Çorlu, 22 September 1520) – son with Gülbahar Hatun, who succeeded as Sultan Selim Han I (Yavuz).Şehzade Şehinşah (Amasya, 1474 - Karaman, 1511) - son of Hüsnüşah Hatun. He was governor of Manisa and Karaman. He was executed by his father for sedition and buried in Bursa. He had a consort, Mukrime Hatun, mother of his only known son, Şehzade Mehmed Şah (who married his cousin Şahnisa Sultan, daughter of Şehzade Abdullah).Şehzade Mahmud (Amasya, 1475 - Manisa, 1507) - son of an unknown concubine. He could be the full brother of Gevhermuluk Sultan. He was governor of Kastamonu and Manisa. He had three sons, Şehzade Musa (b.1490), Şehzade Orhan (b.1494) and Şehzade Emir Suleyman, executed by Selim I in 1512, and two daughters, Ayşe Hundi Sultan (1496 - after 1556, married in 1508 to Ferruh Bey; had a daughter Mihrihan Hanımsultan) and Hançerli Zeynep Fatma Sultan (1495 - April 1533, married to Mehmed Bey in 1508; had two children, Sultanzade Kasim Bey and Sultanzade Mahmud Bey. It is believed that she may have istruited the future Hürrem Sultan before she was introduced to Suleiman the Magnificent via Hafsa Sultan or Pargali Ibrahim.Şehzade Alemşah (Amasya, 1477 - Manisa, 1502) - son of Gülruh Hatun. Governor of Mentese and Manisa. He had a son, Şehzade Osman Şah (1492-1512, killed by Selim), and two daughters, Ayşe Sultan (married to his cousin Mehmed Celebi, son of Fatma Sultan, daughter of Bayezid II) and Fatma Sultan (1493-1522).Şehzade Mehmed (Amasya, 1486 - Kefe, December 1504) - son of Ferahşad Hatun. Governor of Kefe. He was married to a princess of the Giray khanate of Crimea (perhaps Ayşe Hatun, who after Mehmed's death married his half-brother Selim) and had a daughter and a son, Fatma Sultan (Kefe; 1500 - Istanbul; 1556) and Şehzade Mehmed (1505, born posthumously - 1513, killed by Selim I).DaughtersBayezid II, once ascended to the throne, granted his daughters and granddaughters in the male line the title of \"Sultan\" and his granddaughters in the female line that of \"Hanımsultan\", which replaced the simple honorific \" Hatun\" in use until then. His grandsons in female line obtained instead the title of \"Sultanzade\". Bayezid's reform of female titles remains in effect today among the surviving members of the Ottoman dynasty.Bayezid had at least fourteen daughters:Aynışah Sultan (Amasya; 1463 - Bursa; c. 1514) - daughter of Şirin Hatun. She married twice, she had two daughters and a son.Hatice Sultan (Amasya; 1463 - Bursa; 1500) - daughter of Bülbül Hatun. She married in first time Muderis Kara Mustafa Pasha in 1479 and she had a son, Sultanzade Ahmed Bey and a daughter, Hanzade Hanimsultan. She was widowed in 1483, when her husband was executed on charges of supporting Şehzade Cem's claim to the throne against Bayezid. Hatice remarried the following year to Faik Pasha (d. 1499). She died in 1500 and was buried in her mausoleum, built by her son, in Bursa. Hatice built a mosque, school and fountain in Edirnekapi, Constantinople. Her name means \"respectful lady\".Hundi Sultan (Amasya; 1464 - Bursa; 1511) - daughter of Bülbül Hatun. In 1484 he married Hersekzade Ahmed Pasha and had two sons, Sultanzade Musa Bey and Sultanzade Mustafa Bey, and two daughters, Kamerşah Hanımsultan and Hümaşah Hanımsultan.Ayşe Sultan (Amasya; 1465 - Constantinople; 1515) - daughter of Nigar Hatun. She married once and had two sons and five daughters.Hümaşah Sultan (Amasya; 1466 - Constantinople; before 1520). Also called Hüma Sultan. She married Bali Pasha, governor of Antalya in 1482 and was widowed in 1495. She remarried Malkoçoğlu Yahya Pasha and had two sons, Sultanzade Ahmed Bey and Sultanzade Mehmed Bey. She was the stepmother of Yahya's son from his first marriage, Bali Bey. Her name meaning \"Phoenix of the Şah\".Ilaldi Sultan (Amasya; c. 1467 - ? ; c. 1517). She married Hain Ahmed Pasha, governor of Rumelia, Egypt and Second Vizier, and had by him a son of unknown name (who married his cousin Hanzade Hanımsultan, daughter of Selçuk Sultan, daughter of Bayezid II) and a daughter, Şahzade Aynişah Hanimsultan (who married Abdüsselâm Çelebi).Gevhermüluk Sultan (Amasya; 1467 - Constantinople; 20 January 1550), full sister of Şehzade Mahmud. Married to Dukakinzade Mehmed Pasha, son of Dukaginzade Ahmed Pasha, and she had a son, Sultanzade Mehmed Ahmed Bey (who married his cousin Hanzade Ayşe Mihrihan Hanimsultan, daughter of Ayşe Sultan, daughter of Bayezid II), and a daughter, Neslişah Hanimsultan (who married iskender Pasha). Gevhermuluk built a madrase in Bursa.Sofu Fatma Sultan, (Amasya; 1468 - Bursa; after 1520) - daughter of Nigar Hatun. She married three times: before 1480 with Isfendiyaroglu Mirza Mehmed Pasha, son of Kyzyl Ahmed Bey, with him she had a son, Sultanzade Isfendiyaroglu Mehmed Pasha (who married his cousin Gevherhan Sultan, daughter of Selim I). The married ended with a divorce. Fatma remarried in 1489 with Mustafa Pasha, son of Koca Davud Pasha. Fatma widowed in 1503. Fatma married for third time in 1504 with Güzelce Hasan Bey. With him she had two sons, Sultanzade Haci Ahmed Bey and Sultanzade Mehmed Celebi (who married his cousin Ayşe Sultan, daughter of Şehzade Alemşah), and a daughter (who married her cousin Ahmed Bey, son Ali Bey and Fatma Hanımsultan, daughter di Ayşe Sultan). Her name meaning \"one who abstain\"Selçuk Sultan (Amasya; 1469 - 1508). She also called Selçukşah Sultan. She married Ferhad Bey in 1584 and had a son, Sultanzade Gaazî Husrev Paşah (1484 - 18 June 1541) and a daughter, Neslişah Hanımsultan (1486 - 1550). She remarried Mehmed Bey in 1587 and had three daughters with him: Hanzade Hanımsultan (who married his cousin, son of Ilaldi Sultan), Hatice Hanımsultan (who married a son of Halil Paşah in 1510) and Aslihan Hanımsultan (who married the Grand Vizier Yunus Paşa in 1502. After Yunus Pasha was executed in 1517, she married Defterdar Mehmed Çelebi in 1518, who was governor of Egypt and then of Damascus. On 21 February 1529 she had a daughter named Selçuk Hanim). She may have married a third time. She died in 1508 and was buried in her mausoleum inside the Bayezid II Mosque in ConstantinopleSultanzade Sultan (Amasya; before 1474 - ?) - daughter of Hüsnüşah Hatun. Her name meaning \"descendant of the Sultan\".Şah Sultan, (Amasya; 1474 - Bursa; after 1506). She also called Şahzade Şah Sultan. She married Nasuh Bey in 1490 and had a daughter with him. She was very charitable and built a mosque in 1506. She was buried in Bursa in the mausoleum of her half-sister Hatice Sultan. Her name meaning \"sovereign\".Kamerşah Sultan (Amasya; 1476 - Constantinople; 1520) - daughter of Gülruh Hatun. She is also called Kamer Sultan. She married Koca Mustafa Pasha in 1491, and had a daughter, Hundi Hanımsultan, who married Mesih Bey. She widowed in 1512 and remarried Nişancı Kara Davud Pasha. Her name means \"moon of Şah\" or \"trust of Şah\". Şahzade Sultan (Amasya, ? - ?, 1520). She married Yahya Pasha in 1501 and had three sons, Sultanzade Yahyapaşazade Gaazi Küçük Bali Pasha (? - 1543, married his cousin Hanzade Hanimsultan, daughter of Aynişah Sultan, daughter of Bayezid II and Şirin Hatun), Sultanzade Gaazi Koca Mehmed Pasha (? - March 1548) and Sultanzade Gaazi Ahmed Bey (? - after 1543). Her name means \"descendant of Şah\".Fülane Sultan (?-?). She married Koca Davud Pasha and had a son, Sultanzade Mehmed Bey, who married his cousin Fatma Sultan, daughter of Şehzade Ahmed.In popular cultureSultan Bayezid II's statesmanship, tolerance, and intellectual abilities are depicted in the historical novel The Sultan's Helmsman, which takes place in the middle years of his reign.Sultan Bayezid II and his struggle with his son Selim is a prominent subplot in the video game Assassin's Creed: Revelations. In the game, due to Bayezid's absence from Constantinople, the Byzantines had the opportunity to sneak back into the city, hoping to revive their fallen empire. Near the end of the game, Bayezid surrendered the throne to his son Selim. However, Bayezid does not make an actual appearance.Bayezid II, prior to becoming Sultan, is depicted by Akin Gazi in the Starz series Da Vinci's Demons. He seeks an audience with Pope Sixtus IV (having been manipulated into believing that peace between Rome and Constantinople is a possibility), only to be ridiculed and humiliated by Sixtus, actions which later serve as a pretext for the Ottoman invasion of Otranto. Sixtus assumes that Bayezid has been overlooked in favor of his brother Cem.Bayezid II, prior to becoming Sultan, is depicted by Ediz Cagan Cakiroglu in the docuseries Rise of Empires: Ottoman. He appears on season 02 as a young prince who is motivated and inspired by his father Mehmed the Conqueror and wants to join him in battle despite being a childSee alsoOttoman–Mamluk War (1485–1491)Polish–Ottoman War (1485–1503)Passage 3:Motherland (disambiguation)Motherland is the place of one's birth, the place of one's ancestors, or the place of origin of an ethnic group.Motherland may also refer to:Music\"Motherland\" (anthem), the national anthem of MauritiusNational Song (Montserrat), also called \"Motherland\"Motherland (Natalie Merchant album), 2001Motherland (Arsonists Get All the Girls album), 2011Motherland (Daedalus album), 2011\"Motherland\" (Crystal Kay song), 2004Film and televisionMotherland (1927 film), a 1927 British silent war filmMotherland (2010 film), a 2010 documentary filmMotherland (2015 film), a 2015 Turkish dramaMotherland (2022 film), a 2022 documentary film about the Second Nagorno-Karabakh WarMotherland (TV series), a 2016 British television seriesMotherland: Fort Salem, a 2020 American science fiction drama seriesOther usesMotherland Party (disambiguation), the name of several political groupsPersonifications of Russia, including a list of monuments called MotherlandSee alsoAll pages with titles containing MotherlandMother Country (disambiguation)Passage 4:Emperor DaigoEmperor Daigo (\u0000\u0000\u0000\u0000, Daigo-tennō, February 6, 885 – October 23, 930) was the 60th emperor of Japan, according to the traditional order of succession.Daigo's reign spanned the years from 897 through 930.  He is named after his place of burial.GenealogyDaigo was the eldest son of his predecessor, Emperor Uda. His mother was Fujiwara no Taneko (or Inshi), daughter of the minister of the center, Fujiwara no Takafuji. He succeeded the throne at the young age after his father, the Emperor Uda, abdicated in 897. His mother died before his ascension, so he was raised by another Uda consort, Fujiwara no Onshi, daughter of the former kampaku Fujiwara no Mototsune.Daigo's grandfather, Emperor Kōkō, had demoted his sons from the rank of imperial royals to that of subjects in order to reduce the state expenses, as well as their political influence; in addition, they were given the family name Minamoto. As such, Daigo was not born as a royalty and was named Minamoto no Korezane (\u0000\u0000\u0000) until 887, when Daigo's father, Minamoto no Sadami (formerly Prince Sadami), was once again promoted to the Imperial Prince and the heir to the throne. "}
+{"doc_id":"doc_252","qid":"","text":"Passage 1:Steele of the Royal MountedSteele of the Royal Mounted is a 1925 American silent Western film directed by David Smith and starring Bert Lytell, Stuart Holmes and Charlotte Merriam. It is based on a novelby James Oliver Curwood about the Royal Canadian Mounted Police, and was shot on location in the San Bernardino National Forest.PlotAs described in a film magazine review, Isobel, an Eastern young woman,introduces Philip Steele to her father Colonel Becker, but as a trick implies that her father is her husband. Philip becomes disillusioned and goes to Canada and joins the North-West Mounted Police. Here he pursues abad man. In the meantime, the young woman seeks him out so she can explain the mistake she made. When she finds him, he has bagged his man, and there is a reconciliation.CastPassage 2:Rumbi KatedzaRumbiKatedza is a Zimbabwean Film Producer and Director who was born on 17 January 1974.Early life and educationShe did her Primary and Secondary Education in Harare, Zimbabwe. Katedza graduated with a Bachelor ofArts in English from McGill University, Canada in 1995. In 2008 Katedza received the Chevening Scholarship that enabled her to further her studies in film. She also holds a MA in Filmmaking from Goldsmiths College,London University.Work and filmographyKatedza has experience in Film and TV Production, Directing, Writing as well as Producing and presenting Radio shows. From 1994 to 2000, She produced and presented radioshows on Women's issues, Arts and Culture, Hip Hop and Acid Jazz for the CKUT (Montreal) and ZBC Radio 3 (Zimbabwe). From 2004 - 2006, she served as the Festival Director of the Zimbabwe International FilmFestival. Whilst there, she produced the Postcards from Zimbabwe Series. In 2008, Katedza founded Mai Jai Films and has produced numerous films and television productions under the banner namelyTariro (2008);BigHouse, Small House (2009);The Axe and the Tree (2011);The Team (2011)Playing Warriors (2012)Her early works include:Danai (2002);Postcards from Zimbabwe (2006);Trapped (2006 – Rumbi Katedza, MarcusKorhonen);Asylum (2007);Insecurity Guard (2007)Rumbi Katedza is a part-time lecturer at the University of Zimbabwe, in the department of Theatre Arts. She is a judge and monitor at the National Arts Merit Awards,responsible for monitoring new film and TV productions throughout the year on behalf of the National Arts Council of Zimbabwe. She has also lobbied Zimbabwean government to actively support the filmindustry.Passage 3:Beauty No. 2Beauty No. 2 is a 1965 American avant-garde film by directed by Andy Warhol and starring Edie Sedgwick and Gino Piserchio. Chuck Wein also has a role in the film but never appearsonscreen. Wein wrote the scenario and is also credited as assistant director.SynopsisThe movie has a fixed point of view showing a bed with two characters on it, Sedgwick and Piserchio. The film's writer, Chuck Wein isheard speaking but is just out of view. Sedgwick is wearing a lace bra and panties, and Piserchio, wearing only jockey shorts, engage in flirting and light kissing. Wein asks Sedgwick questions seemingly designed toharass and annoy her. Piserchio is more or less a bystander not interacting with Wein.The dialogue was ad-libbed and no conclusions are reached in the film. The only conceivable climax is when Sedgwick finallybecomes so mad at Wein's taunts, she throws a glass ashtray at Wein, breaking it.ReceptionBeauty No. 2 was filmed in June 1965 and premiered at the Cinematheque at the Astor Place Playhouse in New York City onJuly 17, 1965. Critical reviews were generally positive with some critics compared Edie Sedgwick's screen presence to Marilyn Monroe.See alsoList of American films of 1965Andy Warhol filmographyFootnotesExternallinksBeauty No. 2 at IMDbBeauty No. 2 at AllMoviePassage 4:Beauty No. 1Beauty No. 1 is a 1965 film by Andy Warhol starring Edie Sedgwick, Kip Stagg a.k.a.Bima Stagg, and Chuck Wein.Synopsis andbackgroundBeauty No. 1 is a precursor to Andy Warhol's better known follow up, Beauty No. 2 and was originally titled Beauty.The movie features Edie Sedgwick, Chuck Wein, and Kip Stagg, a.k.a. Bima Stagg. The filmhas a fixed point of view showing a bed with two characters on it, Sedgwick and Stagg. Chuck Wein is heard speaking but is just out of view. Sedgwick, in a skimpy outfit of bra and panties, and Stagg, wearing onlyjockey shorts, engage in flirting and light kissing. Wein asks Sedgwick questions seemingly designed to harass and annoy her. Stagg is more or less a bystander not interacting with Wein.After dissatisfaction withperformances in the first shoot, Warhol re-cast and re-shot Beauty as Beauty No. 2, with Edie Sedgwick, Chuck Wein and Gino Piserchio reprising the role of Kip Stagg.The dialogue seems as if it were created ad lib andno conclusions are reached in the film.The original film negative is maintained by the Andy Warhol Museum.Passage 5:Andy WarholAndy Warhol (; born Andrew Warhola Jr.; August 6, 1928 – February 22, 1987) was anAmerican visual artist, film director, producer, and leading figure in the pop art movement. His works explore the relationship between artistic expression, advertising, and celebrity culture that flourished by the 1960s,and span a variety of media, including painting, silkscreening, photography, film, and sculpture. Some of his best-known works include the silkscreen paintings Campbell's Soup Cans (1962) and Marilyn Diptych (1962),the experimental films Empire (1964) and Chelsea Girls (1966), and the multimedia events known as the Exploding Plastic Inevitable (1966–67).Born and raised in Pittsburgh, Warhol initially pursued a successful careeras a commercial illustrator. After exhibiting his work in several galleries in the late 1950s, he began to receive recognition as an influential and controversial artist. His New York studio, The Factory, became awell-known gathering place that brought together distinguished intellectuals, drag queens, playwrights, Bohemian street people, Hollywood celebrities, and wealthy patrons. He promoted a collection of personalitiesknown as Warhol superstars, and is credited with inspiring the widely used expression \"15 minutes of fame\". In the late 1960s he managed and produced the experimental rock band The Velvet Underground andfounded Interview magazine. He authored numerous books, including The Philosophy of Andy Warhol and Popism: The Warhol Sixties. He lived openly as a gay man before the gay liberation movement. In June 1968,he was almost killed by radical feminist Valerie Solanas,  who shot him inside his studio. After gallbladder surgery, Warhol died of cardiac arrhythmia in February 1987 at the age of 58 in New York City.Warhol has beenthe subject of numerous retrospective exhibitions, books, and feature and documentary films. The Andy Warhol Museum in his native city of Pittsburgh, which holds an extensive permanent collection of art and archives,is the largest museum in the United States dedicated to a single artist. Warhol has been described as the \"bellwether of the art market\". Many of his creations are very collectible and highly valuable. His works includesome of the most expensive paintings ever sold. In 2013, a 1963 serigraph titled Silver Car Crash (Double Disaster) sold for $105 million. In 2022, Shot Sage Blue Marilyn (1964) sold for $195 million, which is the mostexpensive work of art sold at auction by an American artist.BiographyEarly life and beginnings (1928–1949)Warhol was born on August 6, 1928, in Pittsburgh, Pennsylvania. He was the fourth child of Ondrej Warhola(Americanized as Andrew Warhola Sr. 1889–1942) and Julia (née Zavacká, 1891–1972), whose first child was born in their homeland of Austria-Hungary and died before their move to the US.His parents wereworking-class Lemko emigrants from Mikó, Austria-Hungary (now called Miková, located in today's northeastern Slovakia). Warhol's father emigrated to the United States in 1914, and his mother joined him in 1921,after the death of Warhol's grandparents. Warhol's father worked in a coal mine. The family lived at 55 Beelen Street and later at 3252 Dawson Street in the Oakland neighborhood of Pittsburgh. The family wasRuthenian Catholic and attended St. John Chrysostom Byzantine Catholic Church. Andy Warhol had two elder brothers—Pavol (Paul), the eldest, was born before the family emigrated; Ján was born in Pittsburgh. Pavol'sson, James Warhola, became a successful children's book illustrator.In third grade, Warhol had Sydenham's chorea (also known as St. Vitus' Dance), the nervous system disease that causes involuntary movements ofthe extremities, which is believed to be a complication of scarlet fever which causes skin pigmentation blotchiness. At times when he was confined to bed, he drew, listened to the radio and collected pictures of moviestars around his bed. Warhol later described this period as very important in the development of his personality, skill-set and preferences. When Warhol was 13, his father died in an accident.As a teenager, Warholgraduated from Schenley High School in 1945, and also won a Scholastic Art and Writing Award. After graduating from high school, his intentions were to study art education at the University of Pittsburgh in the hope ofbecoming an art teacher, but his plans changed and he enrolled in the Carnegie Institute of Technology, now Carnegie Mellon University in Pittsburgh, where he studied commercial art. During his time there, Warholjoined the campus Modern Dance Club and Beaux Arts Society. He also served as art director of the student art magazine, Cano, illustrating a cover in 1948 and a full-page interior illustration in 1949. These are believedto be his first two published artworks. Warhol earned a Bachelor of Fine Arts in pictorial design in 1949. Later that year, he moved to New York City and began a career in magazine illustration andadvertising.1950sWarhol's early career was dedicated to commercial and advertising art, where his first commission had been to draw shoes for Glamour magazine in the late 1940s. In the 1950s, Warhol worked as adesigner for shoe manufacturer Israel Miller. While working in the shoe industry, Warhol developed his \"blotted line\" technique, applying ink to paper and then blotting the ink while still wet, which was akin to aprintmaking process on the most rudimentary scale. His use of tracing paper and ink allowed him to repeat the basic image and also to create endless variations on the theme. American photographer John Coplansrecalled that nobody drew shoes the way Andy did. He somehow gave each shoe a temperament of its own, a sort of sly, Toulouse-Lautrec kind of sophistication, but the shape and the style came through accuratelyand the buckle was always in the right place. The kids in the apartment [which Andy shared in New York – note by Coplans] noticed that the vamps on Andy's shoe drawings kept getting longer and longer but [Israel]Miller didn't mind. Miller loved them.In 1952, Warhol had his first solo show at the Hugo Gallery in New York, and although that show was not well received, by 1956, he was included in his first group exhibition at theMuseum of Modern Art, New York. Warhol's \"whimsical\" ink drawings of shoe advertisements figured in some of his earliest showings at the Bodley Gallery in New York in 1957.Warhol habitually used the expedient oftracing photographs projected with an epidiascope. Using prints by Edward Wallowitch, his \"first boyfriend,\" the photographs would undergo a subtle transformation during Warhol's often cursory tracing of contours andhatching of shadows. Warhol used Wallowitch's photograph Young Man Smoking a Cigarette (c. 1956), for a 1958 design for a book cover he submitted to Simon and Schuster for the Walter Ross pulp novel TheImmortal, and later used others for his series of paintings.With the rapid expansion of the record industry, RCA Records hired Warhol, along with another freelance artist, Sid Maurer, to design album covers andpromotional materials.1960sWarhol was an early adopter of the silk screen printmaking process as a technique for making paintings. In 1962, Warhol was taught silk screen printmaking techniques by Max Arthur Cohnat his graphic arts business in Manhattan. In his book Popism: The Warhol Sixties, Warhol writes: \"When you do something exactly wrong, you always turn up something.\"In May 1962, Warhol was featured in an articlein Time magazine with his painting Big Campbell's Soup Can with Can Opener (Vegetable) (1962), which initiated his most sustained motif, the Campbell's soup can. That painting became Warhol's first to be shown in amuseum when it was exhibited at the Wadsworth Atheneum in Hartford in July 1962. On July 9, 1962, Warhol's exhibition opened at the Ferus Gallery in Los Angeles with Campbell's Soup Cans, marking his West Coastdebut of pop art.In November 1962, Warhol had an exhibition at Eleanor Ward's Stable Gallery in New York. The exhibit included the works Gold Marilyn, eight of the classic \"Marilyn\" series also named \"Flavor Marilyns\",Marilyn Diptych, 100 Soup Cans, 100 Coke Bottles, and 100 Dollar Bills. Gold Marilyn, was bought by the architect Philip Johnson and donated to the Museum of Modern Art. At the exhibit, Warhol met poet John Giorno,who would star in Warhol's first film, Sleep (1964).In December 1962, New York City's Museum of Modern Art hosted a symposium on pop art, during which artists such as Warhol were attacked for \"capitulating\" toconsumerism. Critics were appalled by Warhol's open acceptance of market culture, which set the tone for his reception.In early 1963, Warhol rented his first studio, an old firehouse at 159 East 87th Street. At thisstudio, he created his Elvis series, which included Eight Elvises (1963) and Triple Elvis (1963). These portraits along with a series of Elizabeth Taylor portraits were shown at his second exhibition at the Ferus Gallery inLos Angeles. Later that year, Warhol relocated his studio to East 47th Street, which would turn into The Factory. The Factory became a popular gathering spot for a wide range of artists, writers, musicians, andunderground celebrities.Warhol had his second exhibition at the Stable Gallery in the spring of 1964, which featured sculptures of commercial boxes stacked and scattered throughout the space to resemble awarehouse. For the exhibition, Warhol custom ordered wooden boxes and silkscreened graphics onto them. The sculptures—Brillo Box, Del Monte Peach Box, Heinz Tomato Ketchup Box, Kellogg's Cornflakes Box,Campbell's Tomato Juice Box, and Mott's Apple Juice Box—sold for $200 to $400 depending on the size of the box.A pivotal event was The American Supermarket exhibition at Paul Bianchini's Upper East Side gallery inthe fall of 1964. The show was presented as a typical small supermarket environment, except that everything in it—from the produce, canned goods, meat, posters on the wall, etc.—was created by prominent popartists of the time, among them sculptor Claes Oldenburg, Mary Inman and Bob Watts. Warhol designed a $12 paper shopping bag—plain white with a red Campbell's soup can. His painting of a can of a Campbell's soupcost $1,500 while each autographed can sold for 3 for $18, $6.50 each. The exhibit was one of the first mass events that directly confronted the general public with both pop art and the perennial question of what artis.In 1967 Warhol established Factory Additions for his printmaking and publishing enterprise.As an advertisement illustrator in the 1950s, Warhol used assistants to increase his productivity. Collaboration would remaina defining (and controversial) aspect of his working methods throughout his career; this was particularly true in the 1960s. One of the most important collaborators during this period was Gerard Malanga. Malangaassisted the artist with the production of silkscreens, films, sculpture, and other works at \"The Factory\", Warhol's aluminum foil-and-silver-paint-lined studio on 47th Street (later moved to Broadway). Other members ofWarhol's Factory crowd included Freddie Herko, Ondine, Ronald Tavel, Mary Woronov, Billy Name, and Brigid Berlin (from whom he apparently got the idea to tape-record his phone conversations).During the 1960s,Warhol also groomed a retinue of bohemian and counterculture eccentrics upon whom he bestowed the designation \"superstars\", including Nico, Joe Dallesandro, Edie Sedgwick, Viva, Ultra Violet, Holly Woodlawn,Jackie Curtis, and Candy Darling. These people all participated in the Factory films, and some—like Berlin—remained friends with Warhol until his death. Important figures in the New York underground art/cinema world,such as writer John Giorno and film-maker Jack Smith, also appear in Warhol films (many premiering at the New Andy Warhol Garrick Theatre and 55th Street Playhouse) of the 1960s, revealing Warhol's connections toa diverse range of artistic scenes during this time. Less well known was his support and collaboration with several teenagers during this era, who would achieve prominence later in life including writer David Dalton,photographer Stephen Shore and artist Bibbe Hansen (mother of pop musician Beck).1968 assassination attemptOn June 3, 1968, radical feminist writer Valerie Solanas shot Warhol and Mario Amaya, art critic andcurator, at Warhol's studio, The Factory. Before the shooting, Solanas had been a marginal figure in the Factory scene. She authored in 1967 the SCUM Manifesto, a separatist feminist tract that advocated theelimination of men; and appeared in the 1968 Warhol film I, a Man. Earlier on the day of the attack, Solanas had been turned away from the Factory after asking for the return of a script she had given to Warhol. Thescript had apparently been misplaced.Amaya received only minor injuries and was released from the hospital later the same day. Warhol was seriously wounded by the attack and barely survived. He had physical effectsfor the rest of his life, including being required to wear a surgical corset. The shooting had a profound effect on Warhol's life and art.Solanas was arrested the day after the assault, after turning herself in to police. Byway of explanation, she said that Warhol \"had too much control over my life\". She was subsequently diagnosed with paranoid schizophrenia and eventually sentenced to three years under the control of the Departmentof Corrections. After the shooting, the Factory scene heavily increased its security, and for many the \"Factory 60s\" ended (\"The superstars from the old Factory days didn't come around to the new Factorymuch\").Warhol had this to say about the attack:Before I was shot, I always thought that I was more half-there than all-there—I always suspected that I was watching TV instead of living life. People sometimes say thatthe way things happen in movies is unreal, but actually it's the way things happen in life that's unreal. The movies make emotions look so strong and real, whereas when things really do happen to you, it's like watchingtelevision—you don't feel anything. Right when I was being shot and ever since, I knew that I was watching television. The channels switch, but it's all television.In 1969, Warhol and British journalist John Wilcockfounded Interview magazine.1970sWarhol had a retrospective exhibition at the Whitney Museum of American Art in 1971. His famous portrait of Chinese Communist leader Mao Zedong was created in 1973. In 1975, hepublished The Philosophy of Andy Warhol (1975). An idea expressed in the book: \"Making money is art, and working is art and good business is the best art.\"Compared to the success and scandal of Warhol's work in the1960s, the 1970s were a much quieter decade, as he became more entrepreneurial. He socialized at various nightspots in New York City, including Max's Kansas City and, later in the 1970s, Studio 54. He was generallyregarded as quiet, shy, and a meticulous observer. Art critic Robert Hughes called him \"the white mole of Union Square\". In 1977, Warhol was commissioned by art collector Richard Weisman to create Athletes, tenportraits consisting of the leading athletes of the day.According to Bob Colacello, Warhol devoted much of his time to rounding up new, rich patrons for portrait commissions—including Shah of Iran Mohammad RezaPahlavi, his wife Empress Farah Pahlavi, his sister Princess Ashraf Pahlavi, Mick Jagger, Liza Minnelli, John Lennon, Diana Ross, and Brigitte Bardot. In 1979, reviewers disliked his exhibits of portraits of 1970spersonalities and celebrities, calling them superficial, facile and commercial, with no depth or indication of the significance of the subjects. In 1979, Warhol and his longtime friend Stuart Pivar founded the New YorkAcademy of Art.1980sWarhol had a re-emergence of critical and financial success in the 1980s, partially due to his affiliation and friendships with a number of prolific younger artists, who were dominating the \"bull"}
+{"doc_id":"doc_253","qid":"","text":"Passage 1:Kaoru HatoyamaKaoru Hatoyama (\u0000\u0000 \u0000, Hatoyama Kaoru, 21 November 1888 – 15 August 1982) was an educator and an administrator, the schoolmaster of Kyoritsu Women's University, which was founded by her mother-in-law, Haruko Hatoyama. She is well known as the wife of Ichirō Hatoyama, who was the 52nd–54th Prime Minister of Japan, serving terms from December 10, 1954 through December 23, 1956. She was the mother of Iichirō Hatoyama, who was Japan's Foreign Minister from 1976 through 1977.After the elections of 2009, she became more widely known as the grandmother of Prime Minister Yukio Hatoyama and his politician brother Kunio Hatoyama.See alsoHatoyama Hall (Hatoyama Kaikan)NotesPassage 2:Prince Feodor Alexandrovich of RussiaPrince Feodor Alexandrovich of Russia (Russian: Фёдор Александрович Романов; 23 December [O.S. 11 December] 1898 – 30 November 1968) was the second son and third child of Grand Duke Alexander Mikhailovich of Russia and Grand Duchess Xenia Alexandrovna. He was also a nephew of Nicholas II of Russia, the last emperor of Russia.Born and raised in Imperial Russia during the reign of his uncle Nicholas II, he followed a military career and entered the Corps of Pages during World War I. With the fall of the Russian monarchy, he escaped the fate of many of his relatives killed by the Bolsheviks fleeing to his parents estate in Crimea. For a time, he was under house arrest there with a large group of family members. They left Russia on 11 April 1919. In exile, he settled in France where he married Princess Irina Pavlovna Paley, his distant cousin. The couple divorced in 1936. Afflicted with tuberculosis, Prince Feodor moved to England with his mother spending the years of World War II there. After the war ended, he settled permanently in the south of France.Russian princePrince Feodor Alexandrovich Romanov was born at the Winter Palace in St. Petersburg, Russian Empire on 23 December 1898. He was the second son and third child among seven siblings. Although a grandson of Emperor Alexander III through his mother, he was not entitled to the title Grand Duke of Russia because he was only a great-grandson of Emperor Nicholas I in the male line through his father. He spent his early years in Imperial Russia. Following family tradition, he began a military career. During World War I he entered the Corps of Pages.At the fall of the Russian monarchy, he looked for refuge with his family in his father's property in Crimea. They lived there undisturbed until the rise to power of the Bolsheviks with the October Revolution in 1917. For some time, Prince Feodor was under house arrest in Ai-Todor and later at Dulber imprisoned with his parents, siblings, grandmother the Dowager Empress and many more Romanov relatives.Prince Feodor, and his relatives in the Crimea, escaped the fate of a number of his Romanov cousins who were murdered by the Bolsheviks when they were freed by German troops in 1918. He left Russia on 11 April 1919 abroad the Royal Navy ship HMS Marlborough and moved  to England and later to France.Life in exileDuring his first years in exile, Prince Feodor lived in Paris in the apartment of his sister Princess Irina Alexandrovna of Russia and her husband Prince Felix Yusupov. He worked as a taxi driver, and later as an architect.Prince Feodor married on 3 June 1923 in St. Alexander Nevsky Cathedral in Paris, Princess Irina Paley (1903–1990), his first cousin once removed. She was a daughter of Grand Duke Paul Alexandrovich of Russia and his morganatic wife Princess Olga Paley. The couple had one son:Prince Michael Feodorovich (Paris 4 May 1924 – 22 September 2008); married 1st Paris 15 Oct 1958 (divorced 1992) Helga Staufenberger (born Vienna, 22 August 1926); m. 2nd Josse 15 January 1994 Maria de las Mercedes Ustrell-Cabani (b. Hospitalet, Spain 26 August 1960). Michael died on the same day as his cousin, Prince Michael Andreevich of Russia.Prince Feodor and his wife lived separated in 1930. Princess Irina began a relationship with Count Hubert de Monbrison (15 August 1892 – 14 April 1981) and had a daughter with him while still married to Prince Feodor, who recognized the child as his.Prince Feodor Alexandrovich and Princess Irina divorced on 22 July 1936. He did not remarry and spent World War II in England at the home of his mother. By 1941 he was seriously ill with tuberculosis and had to stay for long periods in sanatoriums to recuperate. During the war years, he had sporadic contact with his son who remained in the south of France with Feodor's ex-wife. After the war ended, to improve his health and to stay closer to his son, Prince Feodor settled in the south of France at the villa of his sister Princess Irina Alexandrovna. He lived there for the rest of his life. With very limited income of his own and too ill to work, his ex-wife and his sister helped with the medical bills. Prince Feodor Alexandrovich died on 30 November 1968 in Ascain, France.AncestryNotesPassage 3:Hubba bint HulailHubba bint Hulail (Arabic: \u0000\u0000\u0000 \u0000\u0000\u0000 \u0000\u0000\u0000\u0000) was the grandmother of Hashim ibn ' Abd Manaf, thus the great-great-great-grandmother of the Islamic prophet Muhammad.BiographyHubbah was the daughter of Hulail ibn Hubshiyyah ibn Salul ibn Ka’b ibn Amr al-Khuza’i of Banu Khuza'a who was the trustee and guardian of the Ka‘bah (Arabic: \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000, 'Cube'). She married Qusai ibn Kilab and after her father died, the keys of the Kaaba were committed to her. Qusai, according to Hulail's will, had the trusteeship of the Kaaba after him.Hubbah never gave up ambitious hopes for the line of her favourite son Abd Manaf. Her two favourite grandsons were the twin sons Amr and Abd Shams, of ‘Ātikah bint Murrah. Hubbah hoped that the opportunities missed by Abd Manaf would be made up for in these grandsons, especially Amr, who seemed much more suitable for the role than any of the sons of Abd al-Dar. He was dear to the ‘ayn (Arabic: \u0000\u0000\u0000\u0000\u0000, eye) of his grandmother Hubbah.FamilyQusai ibn Kilab had four sons by Hubbah: Abd-al-Dar ibn Qusai dedicated to his house, Abdu’l Qusayy dedicated to himself, Abd-al-Uzza ibn Qusai to his goddess (Al-‘Uzzá) and Abd Manaf ibn Qusai to the idol revered by Hubbah. They also had two daughters, Takhmur and Barrah. Abd Manaf's real name was 'Mughirah', and he also had the nickname 'al-Qamar' (the Moon) because he was handsome.Hubbah was related to Muhammad in more than one way. Firstly, she was the great-great-grandmother of his father Abdullah. She was also the great-grandmother of Umm Habib and Abdul-Uzza, respectively the maternal grandmother and grandfather of Muhammad's mother Aminah.Family tree* indicates that the marriage order is disputedNote that direct lineage is marked in bold.See alsoFamily tree of MuhammadList of notable HijazisPassage 4:Abdul-Vahed NiyazovAbdul-Vahed Validovich Niyazov (Russian: Абдул-Вахед Валидович Ниязов), born Vadim Valerianovich Medvedev (Russian: Вадим Валерианович Медведев; 23 April 1969) is a Russian businessman and Islamic social and political activist. He was president of the Islamic Cultural Center of Russia, and the public division of Russian Council of Muftis.Life and careerNiyazov was born on 23 April 1969 in Omsk as Vadim Valerianovich Medvedev.  After graduating from high school, he served in the engineering and construction troops of the Baikal-Amur Mainline. In 1990 he began studying at the Moscow Historical and Archival Institute, but failed to graduate.In April 1991 Niyazov became president of the Islamic Cultural Centre of Moscow, which in 1993 became the Islamic Cultural Centre of Russia, established with the financial support of the Embassy of Saudi Arabia, Moscow. In February 1994 he became deputy chairman of the executive committee of the Supreme Coordination Centre of the Spiritual Directorates of Muslims of Russia (VKTs DUMR, Russian: ВКЦ ДУМР). In May 1995 Niyazov became co-chairman of the Union of Muslims of Russia. In autumn 1998, he was elected chairman of the Council of the All-Russian political social movement \"Refakh\" (Prosperity).  On 19 December 1999 Niyazov was elected a deputy of the State Duma's  third convocation as part of the \"Interregional movement Unity (\"Bear\")\" electoral bloc, on the federal list of the Union of Muslims of Russia. He worked as deputy chairman of the State Duma Committee on the regulations and organization of the work of the State Duma. He was expelled from the faction for \"provocative\" statements in support of \"world Islamic extremism and terrorism\", on the subject of the Palestinian-Israeli conflict during the Second Intifada.In May 2001 Niyazov became chairman of the political council of the \"Eurasian Party - Union of Patriots of Russia\". By late 2007 Niyazov was head of the movement \"Muslims in support of President Putin\". In 2011 he was elected Honorary President of the international initiative \"SalamWorld\", which aimed to create a social network for Muslims along Sharia norms. The site had closed by 2015 after spending three years in development and tens of million of dollars in marketing, having had backup and funding issues. Since 2018, Niyazov has been president of the European Muslim Forum.Passage 5:Hannah ArnoldHannah Arnold may refer to:Hannah Arnold (née Waterman) (c.1705–1758), mother of Benedict ArnoldHannah Arnold (beauty queen) (born 1996), Filipino-Australian model and beauty pageant titleholderPassage 6:Prince Dmitri Alexandrovich of RussiaPrince Dmitri Alexandrovich of Russia (15 August [O.S. 2 August] 1901 –  7 July 1980) was the fourth son and fifth child of Grand Duke Alexander Mikhailovich of Russia and Grand Duchess Xenia Alexandrovna of Russia. He was a nephew of Tsar Nicholas II of Russia.Early lifePrince Dmitri Alexandrovich Romanov was born at the Gatchina Palace, near Saint Petersburg, Russia on 15 August 1901. He was the fourth son and fifth child among seven siblings. His parents, Grand Duke Alexander Mikhailovich (1866–1933) and Grand Duchess Xenia Alexandrovna (1875–1960), were first cousins once removed. Consequently, Prince Dmitri was the great-grandson of Tsar Nicholas I (from his father's side) while the great-great-grandson of the same Tsar Nicholas I (from his mother's side), the grandson of Tsar Alexander III and the nephew of Tsar Nicholas II.During the Russian Revolution Prince Dmitri was imprisoned along with his parents and grandmother the Dowager Empress at Dulber, in the Crimea. He escaped the fate of a number of his Romanov cousins who were murdered by the Bolsheviks when he was freed by German troops in 1918. He left Russia on  11 April 1919, at the age of seventeen, aboard the Royal Navy ship HMS Marlborough to attend  to Malta where they spent nine months before settling to England.ExileIn exile, Prince Dmitri lived between England and France. He had a varied career. In the late 1920s he emigrated to the United States where he worked as a stockbroker in Manhattan. He returned to Europe in the early 1930s. For a brief period in the 1930s, he managed Coco Chanel's shop at Biarritz.It was through Chanel that he met a Russian aristocrat who worked as model for her fashion house: Countess Marina Sergeievna Golenistcheva-Koutouzova (20 November 1912 – 7 January 1969). She was the second daughter of Count Sergei Alexandrovich Golenishchev-Kutuzov (1885 – 1950) and his wife Countess Maria Alexandrovna, born Chernysheva-Bezobrazova (1890 – 1960). Countess Marina was a direct descendant of sisters Anastasia Romanova, the wife of Prince Boris Mikhailovich Lykov-Obolenskiy, one of the Seven Boyars of 1610, and Marfa Romanova, the wife of Prince Boris Keybulatovich Tcherkasskiy. Anastasia and Marfa were the daughters of Nikita Romanovich (Russian: Никита Романович; born c. 1522 – 23 April 1586), also known as Nikita Romanovich Zakharyin-Yuriev, who was a prominent boyar of the Tsardom of Russia. His grandson Michael I (Tsar 1613-1645) founded the Romanov dynasty of Russian tsars. Anastasia and Marfa were the paternal aunts of Tsar Michael I of Russia of Russia and the paternal nieces of Tsaritsa Anastasia Romanovna Zakharyina-Yurieva of Russia. After the revolution, Marina and her family moved to Kislovodsk and later to Crimea, where her father served as head of the Yalta County. In August 1920 the family was evacuated to Istanbul and then to Paris. In the French capital, Marina began to work for Chanel.Prince Dmitri fell in love with her and they married in Paris on 25 October 1931. The wedding attracted a lot of attention and the bride wore a Chanel wedding dress.The couple had one daughter :Princess Nadejda Dmitrievna (4 July 1933 – 17 September 2002). Nadejda married Anthony Allen, with whom she had two daughters and one son: Penelope, Marina and Alexander; after divorcing Allen, she married William Hall Clark.During World War II, Prince Dmitri served as a Lieutenant Commander in the Royal Naval Volunteer Reserve. After the war, he became secretary of the travelers club in Paris.In 1947 he divorced Princess Marina who moved with their daughter to the United States. In 1949 she remarried Otto de Neufville (1898–1971), a descendant of a French-German aristocratic family. Marina Sergeievna Golenistcheva-Koutouzova died on January 7, 1969, in Sharon, Connecticut.During the 1950s, Prince Dmitri studied wine-making and worked as the European sales representative for a whisky firm in London. As his ex-wife did, Prince Dmitri also remarried. His second wife was the Dowager Lady Milbanke, née Margaret Sheila MacKellar Chisholm (9 September 1898 – 13 October 1969). Born in rural New South Wales, Australia, she was married, firstly, to Francis St Clair-Erskine, Lord Loughborough (heir to the 5th Earl of Rosslyn), and secondly, to Sir John Milbanke, 11th baronet. She married Prince Dmitri on 20 October 1954. No children were born of this marriage. The couple lived modestly in   Belgravia, in central London. Princess Dmitri died October 13, 1969, and was buried in a chapel, near Edinburgh, next to her youngest son, Peter St. Clair-Erskine, who had died, at the age of twenty, in 1939.Following the creation of the Romanov Family Association in 1979, Prince Dmitri was chosen as its first president serving until his death a year later in England.AncestryNotesPassage 7:Prince Nikita RomanovPrince Nikita Nikitich Romanov (13 May 1923 – 3 May 2007) was a British born, American historian and writer, author of a book about Ivan the Terrible. He was a member of the Romanov family, a son of Prince Nikita Alexandrovich of Russia and a great nephew of Nicholas II of Russia, the last Tsar.Russian princeHe was born in London the son of Prince Nikita Alexandrovich of Russia and his wife Countess Mariya Ilarianovna Vorontzova-Daschkova. Prince Nikita was a grandson of Grand Duchess Xenia Alexandrovna and Grand Duke Alexander Mikhailovich of Russia and a great nephew of the last Russian Emperor, Nicholas II. He had one younger brother Prince Alexander Nikitich and together they spent their early years in Britain.After serving in the British Army, Prince Nikita moved to the U.S. He attended the University of California, Berkeley where he graduated as a Master of Arts in history. He later taught history at San Francisco State University. In 1975 Prince Nikita co-authored the book Ivan the Terrible with Robert Payne.Prince Nikita was married to Jane Anna Schoenwald (24 April 1933, Oklahoma City — 28 January 2017, Cairo) on 14 July 1961 in London, and they had one son.Prince Fedor Nikitich Romanoff (1974–2007), a vegan who studied classical, Egyptian, and ancient languages at Columbia and Brown universities, where he received a master's degree with honors. He committed suicide by jumping from a window in Pompano Beach, Florida on 25 August 2007.Nikita died a few months before his son, after suffering a stroke in New York City.AncestryPassage 8:TjuyuThuya (sometimes transliterated as Touiyou, Thuiu, Tuya, Tjuyu or Thuyu) was an Egyptian noblewoman and the mother of queen Tiye, and the wife of Yuya. She is the grandmother of Akhenaten, and great grandmother of Tutankhamun.BiographyThuya is believed to be a descendant of Queen Ahmose-Nefertari, and she held many official roles in the interwoven religion and government of ancient Egypt. She was involved in many religious cults; her titles included 'Singer of Hathor' and 'Chief of the Entertainers' of both Amun and Min. She also held the influential offices of Superintendent of the Harem of the god Min of Akhmin and of Amun of Thebes.  She married Yuya, a powerful ancient Egyptian courtier of the Eighteenth Dynasty.  She is believed to have died in around 1375 BC in her early to mid 50s.ChildrenYuya and Thuya had a daughter named Tiye, who became the Great Royal Wife of Pharaoh Amenhotep III. The great royal wife was the highest Egyptian religious position, serving alongside of the pharaoh in official ceremonies and rituals.Yuya and Thuya also had a son named Anen, who carried the titles Chancellor of Lower Egypt, Second Prophet of Amun, sm-priest of Heliopolis and Divine Father.They also may have been the parents of Ay, an Egyptian courtier active during the reign of pharaoh Akhenaten who became pharaoh after the death of Tutankhamun. However, there is no conclusive evidence regarding the kinship of Yuya and Ay, although certainly, both men came from Akhmim.TombThuya was interred in tomb KV46 in the Valley of the Kings, together with her husband Yuya, where their largely intact burial was found in 1905. It was the best-preserved tomb discovered in the Valley before that of Tutankhamun, Thuya's great-grandson. The tomb was discovered by a team of workmen led by archaeologist James Quibell on behalf of the American millionaire Theodore M. Davis. Though the tomb had been robbed in antiquity, much of its contents were still present, including beds, boxes, chests, a chariot, and the sarcophagi, coffins, and mummies of the two occupants.Thuya's large gilded and black-painted wooden sarcophagus was placed against the south wall of the tomb. It is rectangular, with a lid shaped like the sloping roof of the per-wer shrine of Upper Egypt, and sits on ornamental sledge runners, their non-functionality underscored by the three battens attached below them. Ancient robbers had partially dismantled it to access her coffins and mummy, placing its lid and one long side on a bed on the other side of the tomb; the other long side had been leaned against the south wall. Her outer gilded anthropoid coffin had been removed, its lid placed atop the beds, and the trough put into the far corner of the tomb; the lid of her second (innermost) coffin, also gilded, had been removed and placed to one side although the trough and her mummy remained inside the sarcophagus. Quibell suggests this is due to the robbers having some difficulty in removing the lid of this coffin.MummyThuya's mummified body was found covered with a large sheet of linen, knotted at the back and secured by four bandages. These bands were covered with resin and opposite each band were her gilded titles cut from gold foil. The resin coating on the lower layers of bandages preserved the impression of a large broad collar. The mummy bands that had once covered her wrapped mummy were recovered above the storage jars on the far side of the room.The first examination of her body was conducted by Australian anatomist Grafton Elliot Smith. He found her to be an elderly woman of small stature, 1.495 metres (4.90 ft) in height, with white hair. Both of her earlobes had two piercings. Her arms are straight at her sides with her hands against the outside of her thighs. Her embalming incision is stitched with thread, to which a carnelian barrel bead is attached at the lower end; her body cavity is stuffed with resin-soaked linen. When Dr. Douglas Derry, (who later conducted the first examination of Tutankhamun's mummy) assisting Smith in his examination, exposed Thuya's feet to get an accurate measurement of her height, he found her to be wearing gold foil sandals. Smith estimated her age at more than 50 years based on her outward appearance alone. Recent CT scanning has estimated her age at death to be 50–60 years old. Her brain was removed, though no embalming material was inserted, and both nostrils were stuffed with linen. Embalming packs had been placed into her eye sockets, and subcutaneous filling had been placed into her mid and lower face to restore a lifelike appearance; embalming material had also been placed into her mouth and throat. Her teeth were in poor condition at the time of her death, with missing molars. Heavy wear and abscesses had been noted in earlier x-rays. The scan revealed that she had severe scoliosis with a Cobb angle of 25 degrees. No cause of death could be determined. Her mummy has the inventory number CG 51191.Archaeological items pertaining to ThuyaPassage 9:Grand Duchess Xenia "}
+{"doc_id":"doc_254","qid":"","text":"Passage 1:Place of originIn Switzerland, the place of origin (German: Heimatort or Bürgerort, literally \"home place\" or \"citizen place\"; French: Lieu d'origine; Italian: Luogo di attinenza) denotes where a Swiss citizenhas their municipal citizenship, usually inherited from previous generations. It is not to be confused with the place of birth or  place of residence, although two or all three of these locations may be identical dependingon the person's circumstances.Acquisition of municipal citizenshipSwiss citizenship has three tiers. For a person applying to naturalise as a Swiss citizen, these tiers are as follows:Municipal citizenship, granted by theplace of residence after fulfilling several preconditions, such as sufficient knowledge of the local language, integration into local society, and a minimum number of years lived in said municipality.Cantonal (state)citizenship, for which a Swiss municipal citizenship is required. This requires a certain number of years lived in said canton.Country citizenship, for which both of the above are required, also requires a certain number ofyears lived in Switzerland (except for people married to a Swiss citizen, who may obtain simplified naturalisation without having to reside in Switzerland), and involves a criminal background check.The last two kinds ofcitizenship are a mere formality, while municipal citizenship is the most significant step in becoming a Swiss citizen. Nowadays the place of residence determines the municipality where citizenship is acquired, for a newapplicant, whereas previously there was a historical reason for preserving the municipal citizenship from earlier generations in the family line, namely to specify which municipality held the responsibility of providingsocial welfare. The law has now been changed, eliminating this form of allocating responsibility to a municipality other than that of the place of residence. Care needs to be taken when translating the term in Swissdocuments which list the historical \"Heimatort\" instead of the usual place of birth and place of residence.However, any Swiss citizen can apply for a second, a third or even more municipal citizenships for prestigereasons or to show their connection to the place they currently live – and thus have several places of origin. As the legal significance of the place of origin has waned (see below), Swiss citizens can often apply formunicipal citizenship for no more than 100 Swiss francs after having lived in the same municipality for one or two years. In the past, it was common to have to pay between 2,000 and 4,000 Swiss francs as a citizenshipfee, because of the financial obligations incumbent on the municipality to grant the citizenship.A child born to two Swiss parents is automatically granted the citizenship of the parent whose last name they hold, so thechild gets either the mother's or the father's place of origin. A child born to one Swiss parent and one foreign parent acquires the citizenship, and thus the place of origin, of the Swiss parent.InternationalconfusionAlmost uniquely in the world (with the exception of Japan, which lists one's Registered Domicile; and Sweden, which lists the mother's place of domicile as place of birth), the Swiss identity card, passport anddriving licence do not show the holder's birthplace, but only their place of origin. The vast majority of countries show the holder's actual birthplace on identity documents. This can lead to administrative issues for Swisscitizens abroad when asked to demonstrate their actual place of birth, as no such information exists on any official Swiss identification documents. Only a minority of Swiss citizens have a place of origin identical to theirbirthplace. More confusion comes into play through the fact that people can have more than one place of origin.Significance and historyA citizen of a municipality does not enjoy a larger set of rights than a non-citizen ofthe same municipality. To vote in communal, cantonal or national matters, only the current place of residence matters – or in the case of citizens abroad, the last Swiss place of residence.The law previously requiredthat a citizen's place of origin continued to bear all their social welfare costs for two years after the citizen moved away. In 2012, the National Council voted by 151 to 9 votes to abolish this law. The place of domicile isnow the sole payer of welfare costs.In 1923, 1937, 1959 and 1967, more cantons signed treaties that assured that the place of domicile had to pay welfare costs instead of the place of origin, reflecting the fact thatfewer and fewer people lived in their place of origin (1860: 59%, in 1910: 34%).In 1681, the Tagsatzung – the then Swiss parliament – decided that beggars should be deported to their place of origin, especially if theywere insufficiently cared for by their residential community.In the 19th century, Swiss municipalities even offered free emigration to the United States if the Swiss citizen agreed to renounce municipal citizenship, andwith that the right to receive welfare.See alsoAncestral home (Chinese)Bon-gwanRegistered domicile== Notes and references ==Passage 2:Motherland (disambiguation)Motherland is the place of one's birth, the placeof one's ancestors, or the place of origin of an ethnic group.Motherland may also refer to:Music\"Motherland\" (anthem), the national anthem of MauritiusNational Song (Montserrat), also called \"Motherland\"Motherland(Natalie Merchant album), 2001Motherland (Arsonists Get All the Girls album), 2011Motherland (Daedalus album), 2011\"Motherland\" (Crystal Kay song), 2004Film and televisionMotherland (1927 film), a 1927 Britishsilent war filmMotherland (2010 film), a 2010 documentary filmMotherland (2015 film), a 2015 Turkish dramaMotherland (2022 film), a 2022 documentary film about the Second Nagorno-Karabakh WarMotherland (TVseries), a 2016 British television seriesMotherland: Fort Salem, a 2020 American science fiction drama seriesOther usesMotherland Party (disambiguation), the name of several political groupsPersonifications of Russia,including a list of monuments called MotherlandSee alsoAll pages with titles containing MotherlandMother Country (disambiguation)Passage 3:Beaulieu-sur-LoireBeaulieu-sur-Loire (French pronunciation: [boljø sy\u0000lwa\u0000], literally Beaulieu on Loire) is a commune in the Loiret department in north-central France. It is the place of death of Jacques MacDonald, a French general who served in the Napoleonic Wars.PopulationSeealsoCommunes of the Loiret departmentPassage 4:Brooklyn SudanoBrooklyn Sudano is an American actress and director. She starred as Vanessa Scott in the ABC comedy series My Wife and Kids and later played theleading role in the 2006 drama film Rain. Sudano has appeared in films such as Alone in the Dark II (2008), Turn the Beat Around (2010) and With This Ring (2015), and starred in the NBC action series, Taken(2017).Sudano is the daughter of Grammy Award-winning singer Donna Summer and songwriter Bruce Sudano, and the older sister of Amanda Sudano of the music duo Johnnyswim. Sudano directed the documentaryfilm, Love to Love You, Donna Summer, which premiered in 2023.Early lifeSudano was born in Los Angeles, California, to African American singer Donna Summer and Italian American songwriter Bruce Sudano. She wasnamed after her father's hometown of Brooklyn, New York City. Her younger sister (by 19 months) is singer and songwriter Amanda Sudano of Johnnyswim. She has an older half-sister, Mimi Sommer, from hermother's first marriage to Helmut Sommer. As a baby, she was featured in her mother's song \"Brooklyn\" on the record I'm a Rainbow.Sudano spent the early part of her childhood on a 56-acre ranch in Thousand Oaks,California until her family moved to Connecticut when she was 10 years old. When she was 14, her family relocated to Nashville, Tennessee. Here, Sudano gravitated toward the arts. She also sang in the gospel choir atchurch. Sudano and her sisters spent summers touring and singing backing vocals for their famous mother. In her leisure, she studied dance and wrote songs.She attended high school at Christ Presbyterian Academywhere she appeared in all the theater productions. Sometimes Sudano accompanied her parents while they toured around the world, continuing her studies with tutors. A distinguished student, she was valedictorian ather graduation.Upon graduation, Sudano chose to attend Vanderbilt University, having also been accepted at Brown, Duke, and Georgetown University. However, she eventually left Vanderbilt early to study at the LeeStrasberg Theatre and Film Institute in New York.CareerWhile studying acting in New York, Sudano was spotted by a modelling agent and signed to the Ford Modeling Agency. She appeared in numerous advertisingcampaigns in print and television, including Clairol, Clean & Clear and K-Mart. In 2003, Sudano replaced Meagan Good as Vanessa Scott on My Wife and Kids. Vanessa is Junior's girlfriend and later wife, who firstappears in the season finale of season 3 (played by Good). Sudano continued as a regular cast member throughout the rest of the series' five-year run.In 2006, Sudano made her big screen debut with the leading rolein the film adaptation of V. C. Andrews' novel Rain. She appeared in the horror films Somebody Help Me (2007) and Alone in the Dark II (2008) and well as the MTV romantic drama film, Turn the Beat Around in 2010.In 2015, she co-starred opposite Regina Hall, Jill Scott and Eve in the romantic comedy-drama, With This Ring. On television, Sudano guest starred on Cuts, CSI: NY, $#*! My Dad Says, Body of Proof and Ballers. In2016, she played the role of Christy Epping in the Hulu miniseries 11.22.63. In 2017, Sudano starred in the first season of NBC's action series, Taken. In 2021, she began starring as Angela Prescott in the Freeformthriller series, Cruel Summer.Alongside Roger Ross Williams, Sudano directed the 2023 documentary film, Love to Love You, Donna Summer about her mother, Donna Summer. It had its world premiere at the 73rdBerlin International Film Festival.Personal lifeSudano married her longtime boyfriend, Mike McGlaflin, on October 8, 2006. The couple's wedding inspired Bruce Sudano's song \"It's Her Wedding Day\".Sudano andMcGlaflin have a daughter, and reside in the Los Angeles area.FilmographyFilmTelevisionPassage 5:Place of birthThe place of birth (POB) or birthplace is the place where a person was born. This place is often used inlegal documents, together with name and date of birth, to uniquely identify a person. Practice regarding whether this place should be a country, a territory or a city/town/locality differs in different countries, but oftencity or territory is used for native-born citizen passports and countries for foreign-born ones.As a general rule with respect to passports, if the place of birth is to be a country, it's determined to be the country thatcurrently has sovereignty over the actual place of birth, regardless of when the birth actually occurred. The place of birth is not necessarily the place where the parents of the new baby live. If the baby is born in ahospital in another place, that place is the place of birth. In many countries, this also means that the government requires that the birth of the new baby is registered in the place of birth.Some countries place less or noimportance on the place of birth, instead using alternative geographical characteristics for the purpose of identity documents. For example, Sweden has used the concept of födelsehemort (\"domicile of birth\") since1947. This means that the domicile of the baby's mother is the registered place of birth. The location of the maternity ward or other physical birthplace is considered unimportant.Similarly, Switzerland uses the conceptof place of origin. A child born to Swiss parents is automatically assigned the place of origin of the parent with the same last name, so the child either gets their mother's or father's place of origin. A child born to oneSwiss parent and one foreign parent acquires the place of origin of their Swiss parent. In a Swiss passport and identity card, the holder's place of origin is stated, not their place of birth. In Japan, the registered domicileis a similar concept.In some countries (primarily in the Americas), the place of birth automatically determines the nationality of the baby, a practice often referred to by the Latin phrase jus soli. Almost all countriesoutside the Americas instead attribute nationality based on the nationality(-ies) of the baby's parents (referred to as jus sanguinis).There can be some confusion regarding the place of birth if the birth takes place in anunusual way: when babies are born on an airplane or at sea, difficulties can arise. The place of birth of such a person depends on the law of the countries involved, which include the nationality of the plane or ship, thenationality(-ies) of the parents and/or the location of the plane or ship (if the birth occurs in the territorial waters or airspace of a country).Some administrative forms may request the applicant's \"country of birth\". It isimportant to determine from the requester whether the information requested refers to the applicant's \"place of birth\" or \"nationality at birth\". For example, US citizens born abroad who acquire US citizenship at thetime of birth, the nationality at birth will be USA (American), while the place of birth would be the country in which the actual birth takes place.Reference list8 FAM 403.4 Place of BirthPassage 6:Amanda SudanoAmandaGrace Sudano Ramirez (born August 11, 1982) is an American singer-songwriter and model. She is a member of the musical duo Johnnyswim.Early lifeSudano was born in Los Angeles, California, to singer DonnaSummer and songwriter Bruce Sudano. She has two older sisters, Mimi Sommer Dohler, from her mother's first marriage to actor Helmut Sommer, and actress Brooklyn Sudano. Her maternal cousin is the musicproducer and rapper Omega Red, and her paternal uncle is Fr. Glenn Sudano, CFR, a Roman Catholic priest and founding member of the Franciscan Friars of the Renewal in New York City.Sudano spent the early part ofher childhood in Thousand Oaks, California. In 1995, when she was 13, her family moved to Nashville, Tennessee, where she attended high school at Christ Presbyterian Academy and college at VanderbiltUniversity.Modeling careerSudano is a model with the Bella Agency in New York.In 2010, Fabrizio Viti chose Sudano to model for Louis Vuitton's Spring/Summer 2010 shoe campaign. Sudano is the first black model tobe featured solely in Louis Vuitton advertisements.In September 2011, Sudano placed second out of twenty in Vogue's \"Special Edition Best Dressed\" feature.Music careerIn 2005, Sudano met songwriter, guitarist andvocalist Abner Ramirez in Nashville. They struck up a friendship and formed the band Johnnyswim. The duo have performed covers of eclectic songs like Edith Piaf's \"La Vie En Rose\" and Britney Spears's \"Till The WorldEnds\", as well as originals like \"Home\", the theme song to the hit HGTV show Fixer Upper. Johnnyswim released their first self-titled EP in 2008. A second EP, 5-8, arrived in 2010. This was followed by the singlesBonsoir and Good News in 2011, a third EP called Home, Vol. 1 in 2012, and  four studio albums: Diamonds (2014), Georgica Pond (2016), Moonlight (2019), and Johnnyswim (2022).Personal lifeIn 2009, Sudanomarried her Johnnyswim bandmate Abner Ramirez in Florida. Her father, Bruce Sudano, paid tribute to her in the song \"The Amazing Amanda Grace\" on his award-winning record Life and the Romantic. Footage fromher wedding was featured in the video for another track from the same record, \"It's Her Wedding Day\", which was actually written about her sister Brooklyn's marriage in 2006.Sudano lives with her husband in LosAngeles, California and gave birth to a son, Joaquin, in February 2015. In 2018, she gave birth to a daughter, Luna. In November 2019, the couple announced on social media that Amanda had given birth to a seconddaughter named Paloma. As of 2021, Sudano and her family are the stars of two Magnolia Network television shows: Home on the Road with Johnnyswim and The Johnnyswim Show.Passage 7:Dance of Death(disambiguation)Dance of Death, also called Danse Macabre, is a late-medieval allegory of the universality of death.Dance of Death or The Dance of Death may also refer to:BooksDance of Death, a 1938 novel by HelenMcCloyDance of Death (Stine novel), a 1997 novel by R. L. StineDance of Death (novel), a 2005 novel by Douglas Preston and Lincoln ChildTheatre and filmThe Dance of Death (Strindberg play), a 1900 play by AugustStrindbergThe Dance of Death, a 1908 play by Frank WedekindThe Dance of Death (Auden play), a 1933 play by W. H. AudenFilmThe Death Dance, a 1918 drama starring Alice BradyThe Dance of Death (1912 film), aGerman silent filmThe Dance of Death (1919 film), an Austrian silent filmThe Dance of Death (1938 film), crime drama starring Vesta Victoria; screenplay by Ralph DawsonThe Dance of Death (1948 film), French-Italiandrama based on Strindberg's play, starring Erich von StroheimThe Dance of Death (1967 film), a West German drama filmDance of Death or House of Evil, 1968 Mexican horror film starring Boris KarloffDance of Death(1969 film), a film based on Strindberg's play, starring Laurence OlivierDance of Death (1979 film), a Hong Kong film featuring Paul ChunMusicDance of Death (album), a 2003 album by Iron Maiden, or the title songTheDance of Death & Other Plantation Favorites, a 1964 album by John FaheyThe Dance of Death (Scaramanga Six album)\"Death Dance\", a 2016 song by SevendustSee alsoDance of the Dead (disambiguation)DanseMacabre (disambiguation)Bon Odori, a Japanese traditional dance welcoming the spirits of the deadLa danse des morts, an oratorio by Arthur HoneggerTotentanz (disambiguation)Passage 8:Where Was I\"Where Was I?\"may refer to:Books\"Where Was I?\", essay by David Hawley Sanford from The Mind's IWhere Was I?, book by John Haycraft 2006Where was I?!, book by Terry Wogan 2009Film and TVWhere Was I? (film), 1925 filmdirected by William A. Seiter. With Reginald Denny, Marian Nixon, Pauline Garon, Lee Moran.Where Was I? (2001 film), biography about songwriter Tim RoseWhere Was I? (TV series) 1952–1953 Quiz show with thepanelists attempting to guess a location by looking at photos\"Where Was I?\" episode of Shoestring (TV series) 1980Music\"Where was I\", song by W. Franke Harling and Al Dubin performed by Ruby Newman and HisOrchestra  with vocal chorus by  Larry Taylor and Peggy McCall  1939\"Where Was I\", single from Charley Pride discography 1988\"Where Was I\" (song), a 1994 song by Ricky Van Shelton\"Where Was I (Donde EstuveYo)\", song by Joe Pass from Simplicity (Joe Pass album)\"Where Was I?\", song by Guttermouth from The Album Formerly Known as a Full Length LP (Guttermouth album)\"Where Was I\", song by Sawyer Brown (BillyMaddox, Paul Thorn, Anne Graham) from Can You Hear Me Now 2002\"Where Was I?\", song  by  Kenny Wayne Shepherd from Live On  1999\"Where Was I\", song by Melanie Laine (Victoria Banks, Steve Fox) from TimeFlies (Melanie Laine album)\"Where Was I\", song by Rosie Thomas from With Love (Rosie Thomas album)Passage 9:Donna SummerDonna Adrian Gaines (December 31, 1948 – May 17, 2012), known professionally asDonna Summer, was an American singer and songwriter. She gained prominence during the disco era of the 1970s and became known as the \"Queen of Disco\", while her music gained a global following.Influenced bythe counterculture of the 1960s, Summer became the lead singer of a psychedelic rock band named Crow and moved to New York City. In 1968, she joined a German adaptation of the musical Hair in Munich, where shespent several years living, acting, and singing. There, she met music producers Giorgio Moroder and Pete Bellotte, and they went on to record influential disco hits together such as \"Love to Love You Baby\" and \"I FeelLove\", marking Summer's breakthrough into international music markets. Summer returned to the United States in 1976, and more hits such as \"Last Dance\", her version of \"MacArthur Park\", \"Heaven Knows\", \"HotStuff\", \"Bad Girls\", \"Dim All the Lights\", \"No More Tears (Enough Is Enough)\" with Barbra Streisand, and \"On the Radio\" followed.Summer amassed a total of 32 chart singles on the US Billboard Hot 100 in her lifetime,including 14 top ten singles and four number one singles. She claimed a top-40 hit every year between 1976 and 1984, and from her first top-ten hit in 1976, to the end of 1982, she had 12 top-ten hits (10 weretop-five hits), more than any other act during that time period. She returned to the Hot 100's top five in 1983, and claimed her final top-ten hit in 1989 with \"This Time I Know It's for Real\". She was the first artist tohave three consecutive double albums reach the top of the US Billboard 200 chart and charted four number-one singles in the US within a 12-month period. She also charted two number-one singles on the R&B Singles"}
+{"doc_id":"doc_255","qid":"","text":"Passage 1:Olav AaraasOlav Aaraas (born 10 July 1950) is a Norwegian historian and museum director.He was born in Fredrikstad. From 1982 to 1993 he was the director of Sogn Folk Museum, from 1993 to 2010 hewas the director of Maihaugen and from 2001 he has been the director of the Norwegian Museum of Cultural History. In 2010 he was decorated with the Royal Norwegian Order of St. Olav.Passage 2:Ian Barry(director)Ian Barry is an Australian director of film and TV.Select creditsWaiting for Lucas (1973) (short)Stone (1974) (editor only)The Chain Reaction (1980)Whose Baby? (1986) (mini-series)Minnamurra(1989)Bodysurfer (1989) (mini-series)Ring of Scorpio (1990) (mini-series)Crimebroker (1993)Inferno (1998) (TV movie)Miss Lettie and Me (2002) (TV movie)Not Quite Hollywood: The Wild, Untold Story ofOzploitation! (2008) (documentary)The Doctor Blake Mysteries (2013)Passage 3:Jesse E. HobsonJesse Edward Hobson (May 2, 1911 – November 5, 1970) was the director of SRI International from 1947 to 1955. Priorto SRI, he was the director of the Armour Research Foundation.Early life and educationHobson was born in Marshall, Indiana. He received bachelor's and master's degrees in electrical engineering from Purdue Universityand a PhD in electrical engineering from the California Institute of Technology. Hobson was also selected as a nationally outstanding engineer.Hobson married Jessie Eugertha Bell on March 26, 1939, and they had fivechildren.CareerAwards and membershipsHobson was named an IEEE Fellow in 1948.Passage 4:Jason Moore (director)Jason Moore (born October 22, 1970) is an American director of film, theatre and television.Life andcareerJason Moore was born in Fayetteville, Arkansas, and studied at Northwestern University. Moore's Broadway career began as a resident director of Les Misérables at the Imperial Theatre in during its original run.He is the son of Fayetteville District Judge Rudy Moore.In March 2003, Moore directed the musical Avenue Q, which opened Off-Broadway at the Vineyard Theatre and then moved to Broadway at the John GoldenTheatre in July 2003.  He was nominated for a 2004 Tony Award for his direction. Moore also directed productions of the musical in Las Vegas and London and the show's national tour. Moore directed the 2005Broadway revival of Steel Magnolias and Shrek the Musical, starring Brian d'Arcy James and Sutton Foster which opened on Broadway in 2008. He directed the concert of Jerry Springer — The Opera at Carnegie Hall inJanuary 2008.Moore, Jeff Whitty, Jake Shears, and John \"JJ\" Garden worked together on a new musical based on Armistead Maupin's Tales of the City. The musical premiered at the American Conservatory Theater, SanFrancisco, California in May 2011 and ran through July 2011.For television, Moore has directed episodes of Dawson's Creek, One Tree Hill, Everwood, and Brothers & Sisters. As a writer, Moore adapted the play TheFloatplane Notebooks with Paul Fitzgerald from the novel by Clyde Edgerton. A staged reading of the play was presented at the New Play Festival at the Charlotte, North Carolina Repertory Theatre in 1996, with a fullystaged production in 1998.In 2012, Moore made his film directorial debut with Pitch Perfect, starring Anna Kendrick and Brittany Snow. He also served as an executive producer on the sequel. He directed the filmSisters, starring Tina Fey and Amy Poehler, which was released on December 18, 2015. Moore's next project will be directing a live action Archie movie.FilmographyFilmsPitch Perfect (2012)Sisters (2015)ShotgunWedding (2022)TelevisionSoundtrack writerPitch Perfect 2 (2015) (Also executive producer)The Voice (2015) (1 episode)Passage 5:S. N. MathurS.N. Mathur was the Director of the Indian Intelligence Bureau betweenSeptember 1975 and February 1980. He was also the Director General of Police in Punjab.Passage 6:Dana BlanksteinDana Blankstein-Cohen (born March 3, 1981) is the executive director of the Sam Spiegel Film andTelevision School. She was appointed by the board of directors  in November 2019.  Previously she was the CEO of the Israeli Academy of Film and Television. She is a film director, and an Israeli cultureentrepreneur.BiographyDana Blankstein was born in Switzerland in 1981 to theatre director Dedi Baron and Professor Alexander Blankstein. She moved to Israel in 1983 and grew up in Tel Aviv.Blankstein graduatedfrom the Sam Spiegel Film and Television School, Jerusalem in 2008 with high honors. During her studies she worked as a personal assistant to directors Savi Gabizon on his film Nina's Tragedies and to Renen Schorr onhis film The Loners.  She also directed and shot 'the making of' film on Gavison's film Lost and Found. Her debut film Camping competed at the Berlin International Film Festival, 2007.Film and academic careerAfter herstudies, Dana founded and directed the film and television department at the Kfar Saba municipality. The department encouraged and promoted productions filmed in the city of Kfar Saba, as well as the establishedcultural projects, and educational community activities.Blankstein directed the mini-series \"Tel Aviviot\" (2012). From 2016-2019 was the director of the Israeli Academy of Film and Television.In November 2019 DanaBlankstein Cohen was appointed the new director of the Sam Spiegel Film and Television School where she also oversees the Sam Spiegel International Film Lab. In 2022, she spearheaded the launch of the new SeriesLab and the film preparatory program for Arabic speakers in east Jerusalem.FilmographyTel Aviviot (mini-series; director, 2012)Growing Pains (graduation film, Sam Spiegel; director and screenwriter, 2008)Camping(debut film, Sam Spiegel; director and screenwriter, 2006)Passage 7:Peter LevinPeter Levin is an American director of film, television and theatre.CareerSince 1967, Levin has amassed a large number of creditsdirecting episodic television and television films. Some of his television series credits include Love Is a Many Splendored Thing, James at 15, The Paper Chase, Family, Starsky & Hutch, Lou Grant, Fame, Cagney &Lacey, Law & Order and Judging Amy.Some of his television film credits include Rape and Marriage: The Rideout Case (1980), A Reason to Live (1985), Popeye Doyle (1986), A Killer Among Us (1990), Queen Sized(2008) and among other films. He directed \"Heart in Hiding\", written by his wife Audrey Davis Levin, for which she received an Emmy for Best Day Time Special in the 1970s.Prior to becoming a director, Levin workedas an actor in several Broadway productions. He costarred with Susan Strasberg in \"[The Diary of Ann Frank]\" but had to leave the production when he was drafted into the Army. He trained at the Carnegie MellonUniversity. Eventually becoming a theatre director, he directed productions at the Long Wharf Theatre and the Pacific Resident Theatre Company. He also co-founded the off-off-Broadway Theatre [the Hardware PoetsPlayhouse] with his wife Audrey Davis Levin and was also an associate artist of The Interact Theatre Company.Passage 8:Brian Kennedy (gallery director)Brian Patrick Kennedy (born 5 November 1961) is an Irish-bornart museum director who has worked in Ireland and Australia, and now lives and works in the United States.  He was the director of the Peabody Essex Museum in Salem for 17 months, resigning December 31, 2020.He was the director of the Toledo Museum of Art in Ohio from 2010 to 2019. He was the director of the Hood Museum of Art from 2005 to 2010, and the National Gallery of Australia (Canberra) from 1997 to2004.CareerBrian Kennedy currently lives and works in the United States after leaving Australia in 2005 to direct the Hood Museum of Art at Dartmouth College. In October 2010 he became the ninth Director of theToledo Museum of Art. On 1 July 2019, he succeeded Dan Monroe as the executive director and CEO of the Peabody Essex Museum.Early life and career in IrelandKennedy was born in Dublin and attended ClonkeenCollege. He received B.A. (1982), M.A. (1985) and PhD (1989) degrees from University College-Dublin, where he studied both art history and history.He worked in the Irish Department of Education (1982), theEuropean Commission, Brussels (1983), and in Ireland at the Chester Beatty Library (1983–85), Government Publications Office (1985–86), and Department of Finance (1986–89). He married Mary Fiona Carlin in1988.He was Assistant Director at the National Gallery of Ireland in Dublin from 1989 to 1997. He was Chair of the Irish Association of Art Historians from 1996 to 1997, and of the Council of Australian Art MuseumDirectors from 2001 to 2003. In September 1997 he became Director of the National Gallery of Australia.National Gallery of Australia (NGA)Kennedy expanded the traveling exhibitions and loans program throughoutAustralia, arranged for several major shows of Australian art abroad, increased the number of exhibitions at the museum itself and oversaw the development of an extensive multi-media site.  Although he oversawseveral years of the museum's highest ever annual visitation, he discontinued the emphasis of his predecessor, Betty Churcher, on showing \"blockbuster\" exhibitions.During his directorship, the NGA gained governmentsupport for improving the building and significant private donations and corporate sponsorship. However, the initial design for the building proved controversial generating a public dispute with the original architect onmoral rights grounds.  As a result, the project was not delivered during Dr Kennedy's tenure, with a significantly altered design completed some years later.  Private funding supported two acquisitions of British art,including David Hockney's A Bigger Grand Canyon in 1999, and Lucian Freud's After Cézanne in 2001. Kennedy built on the established collections at the museum by acquiring the Holmgren-Spertus collection ofIndonesian textiles; the Kenneth Tyler collection of editioned prints, screens, multiples and unique proofs; and the Australian Print Workshop Archive. He was also notable for campaigning for the construction of a new\"front\" entrance to the Gallery, facing King Edward Terrace, which was completed in 2010 (see reference to the building project above).Kennedy's cancellation of the \"Sensation exhibition\" (scheduled at the NGA from 2June 2000 to 13 August 2000) was controversial, and seen by some as censorship. He claimed that the decision was due to the exhibition being \"too close to the market\" implying that a national cultural institutioncannot exhibit the private collection of a speculative art investor. However, there were other exhibitions at the NGA during his tenure, which could have raised similar concerns. The exhibition featured the privatelyowned Young British Artists works belonging to Charles Saatchi and attracted large attendances in London and Brooklyn. Its most controversial work was Chris Ofili's The Holy Virgin Mary, a painting which used elephantdung and was accused of being blasphemous. The then-mayor of New York, Rudolph Giuliani, campaigned against the exhibition, claiming it was \"Catholic-bashing\" and an \"aggressive, vicious, disgusting attack onreligion.\" In November 1999, Kennedy cancelled the exhibition and stated that the events in New York had \"obscured discussion of the artistic merit of the works of art\". He has said that it \"was the toughest decision ofmy professional life, so far.\"Kennedy was also repeatedly questioned on his management of a range of issues during the Australian Government's Senate Estimates process - particularly on the NGA's occupational healthand safety record and concerns about the NGA's twenty-year-old air-conditioning system. The air-conditioning was finally renovated in 2003. Kennedy announced in 2002 that he would not seek extension of his contractbeyond 2004, accepting a seven-year term as had his two predecessors.He became a joint Irish-Australian citizen in 2003.Toledo Museum of ArtThe Toledo Museum of Art is known for its exceptional collections ofEuropean and American paintings and sculpture, glass, antiquities, artist books, Japanese prints and netsuke. The museum offers free admission and is recognized for its historical leadership in the field of arteducation.  During his tenure, Kennedy has focused the museum's art education efforts on visual literacy, which he defines as \"learning to read, understand and write visual language.\"   Initiatives have included babyand toddler tours, specialized training for all staff, docents, volunteers and the launch of a website, www.vislit.org. In November 2014, the museum hosted the International Visual Literacy Association (IVLA)conference, the first Museum to do so. Kennedy has been a frequent speaker on the topic, including 2010 and 2013 TEDx talks on visual and sensory literacy.Kennedy has expressed an interest in expanding themuseum's collection of contemporary art and art by indigenous peoples. Works by Frank Stella, Sean Scully, Jaume Plensa, Ravinder Reddy and Mary Sibande have been acquired.  In addition, the museum has mademajor acquisitions of Old Master paintings by Frans Hals and Luca Giordano.During his tenure the Toledo Museum of Art has announced the return of several objects from its collection due to claims the objects werestolen and/or illegally exported prior being sold to the museum.  In 2011 a Meissen sweetmeat stand was returned to Germany followed by an Etruscan Kalpis or water jug to Italy (2013), an Indian sculpture ofGanesha (2014) and an astrological compendium to Germany in 2015.Hood Museum of ArtKennedy became Director of the Hood Museum of Art in July 2005. During his tenure, he implemented a series of large andsmall-scale exhibitions and oversaw the production of more than 20 publications to bring greater public attention to the museum's remarkable collections of the arts of America, Europe, Africa, Papua New Guinea andthe Polar regions. At 70,000 objects, the Hood has one of the largest collections on any American college of university campus. The exhibition, Black Womanhood: Images, Icons, and Ideologies of the African Body,toured several US venues. Kennedy increased campus curricular use of works of art, with thousands of objects pulled from storage for classes annually. Numerous acquisitions were made with the museum's generousendowments, and he curated several exhibitions: including Wenda Gu: Forest of Stone Steles: Retranslation and Rewriting Tang Dynasty Poetry, Sean Scully: The Art of the Stripe, and Frank Stella: IrregularPolygons.PublicationsKennedy has written or edited a number of books on art, including:Alfred Chester Beatty and Ireland 1950-1968: A study in cultural politics, Glendale Press (1988), ISBN978-0-907606-49-9Dreams and responsibilities: The state and arts in independent Ireland, Arts Council of Ireland (1990), ISBN 978-0-906627-32-7Jack B Yeats: Jack Butler Yeats, 1871-1957 (Lives of Irish Artists),Unipub (October 1991), ISBN 978-0-948524-24-0The Anatomy Lesson: Art and Medicine (with Davis Coakley), National Gallery of Ireland (January 1992), ISBN 978-0-903162-65-4Ireland: Art into History (withRaymond Gillespie), Roberts Rinehart Publishers (1994), ISBN 978-1-57098-005-3Irish Painting, Roberts Rinehart Publishers (November 1997),  ISBN 978-1-86059-059-7Sean Scully: The Art of the Stripe, HoodMuseum of Art (October 2008), ISBN 978-0-944722-34-3Frank Stella: Irregular Polygons, 1965-1966, Hood Museum of Art (October 2010), ISBN 978-0-944722-39-8Honors and achievementsKennedy was awarded theAustralian Centenary Medal in 2001 for service to Australian Society and its art. He is a trustee and treasurer of the Association of Art Museum Directors, a peer reviewer for the American Association of Museums and amember of the International Association of Art Critics. In 2013 he was appointed inaugural eminent professor at the University of Toledo and received an honorary doctorate from Lourdes University. Most recently,Kennedy received the 2014 Northwest Region, Ohio Art Education Association award for distinguished educator for art education.== Notes ==Passage 9:Larry Kent (filmmaker)Laurence Lionel \"Larry\" Kent (born May16, 1937, in Johannesburg, South Africa) is a Canadian filmmaker, who is regarded as an important pioneer of independent filmmaking in Canada.BiographyLarry Kent emigrated from South Africa to Vancouver, BritishColumbia, Canada in 1957 to study psychology and theatre at the University of British Columbia.A devout film buff and scholar, Kent made the transition from the stage to screen in the early 1960s. Kent wrote anddirected the existential Canadian indie, post-beatnik, pre-hippie classic The Bitter Ash in 1962 and tirelessly toured the film despite the controversy it garnered nationwide. Filled with profanity and brief nudity, thepicture was produced on a shoestring, shot silent with audio dubbed in later and featured a jazz music score.His follow-up film, Sweet Substitute (1964) made money in the United States, a first for any Canadianindependent picture. Together with his third picture, the proto-feminist film When Tomorrow Dies, these three movies comprise Kent's \"Vancouver Trilogy\".Kent moved to Montreal in the late 1960s, briefly working forthe National Film Board of Canada before quitting to make films that exemplified the wild, drug informed spirit of the youth driven counterculture. His 1967 film High was slated to premiere at the Montreal InternationalFilm Festival, but was banned by the Quebec Censor Board at the last minute, while The Apprentice (1971) was one of the first films ever to directly address the linguistic and cultural tensions between anglophones andfrancophones in Montreal in that era.Although none of these early films received wide distribution, his cultural and critical esteem began to increase when several of them were included in Front & Centre, a retrospectiveprogram of historically significant Canadian films which screened at the 1984 Toronto International Film Festival. The Bitter Ash, Sweet Substitute, When Tomorrow Dies and High were also screened as a Kentretrospective at a number of venues in 2002 and 2003, including Cinematheque Ontario in Toronto, the Pacific Cinémathèque in Vancouver and the Canadian Film Institute in Ottawa.He also had occasional acting rolesin other directors' films, including Q-Bec My Love (Un succès commercial) and One Man.During the 1970s and throughout the 1980s, Kent continued to explore various aspects of the human condition in his work.Though he slowed down in the 1990s, he returned in 2005 with The Hamster Cage, a black comedy/psychodrama which won the jury prize at the 2005 Austin Fantastic Fest.In 2007, Kent completed post-productionwork on Hastings Street, a 20-minute Vancouver drama which he had actually made in 1962 as his first-ever film but had never completed due to lack of funding.In 2023, he is slated to receive the Fantasia FilmFestival's Trailblazer Award for distinguished career achievement.Select filmographyThe Bitter Ash (1963)Sweet Substitute (1964)When Tomorrow Dies (1965)High (1967)Facade (1968)The Apprentice (1971)Keep It inthe Family (1973)The Slavers (1977)Yesterday (a.k.a. This Time Forever) (1981)High Stakes (1986)Mothers and Daughters (1992)The Hamster Cage (2005)Hastings Street (1962 photography / 2007 post-production)20:28She Who Must Burn (2015)Short Film No. 6 (2020)Passage 10:Sweet Substitute (film)Sweet Substitute, retitled Caressed in the United States, is a Canadian drama film, directed by Larry Kent and released in1964.The film centres on Tom (Bob Howay), a high school student whose efforts to secure an academic scholarship to university are complicated by his sexual compulsions.  He is caught in a love triangle betweenElaine (Angela Gann), a prim and proper girl who is saving herself for marriage, and Kathy (Carol Pastinsky), a more sexually available girl whom Tom impregnates.It was a Canadian Film Award nominee for BestPicture at the 17th Canadian Film Awards in 1965, but did not win.It was part of a retrospective screening of Kent's films, alongside The Bitter Ash, When Tomorrow Dies and High, which screened at a number of venuesin 2002 and 2003, including Cinematheque Ontario in Toronto, the Pacific Cinémathèque in Vancouver and the Canadian Film Institute in Ottawa."}
+{"doc_id":"doc_256","qid":"","text":"Passage 1:The Messenger (2009 film)The Messenger is a 2009 war drama film starring Ben Foster, Woody Harrelson, Samantha Morton, Steve Buscemi, and Jena Malone. It is the directorial debut of Oren Moverman,who also wrote the screenplay with Alessandro Camon.The film premiered at the 2009 Sundance Film Festival and was in competition at the 59th Berlin International Film Festival where it won the Silver Bear for BestScreenplay and the Berlinale Peace Film Award '09. The film received first prize for the 2009 Deauville American Film Festival. The film has also received four Independent Spirit Award nominations (including one win), aGolden Globe nomination, and two Oscar nominations.PlotOn leave from the Iraq War, Will Montgomery, a U.S. Army staff sergeant, finds that his girlfriend Kelly is engaged to another man. Before he is to bedischarged, he is dispatched as a casualty notification officer along with Gulf War veteran Captain Tony Stone as his mentor. He is told of the importance of his task by Lieutenant Colonel Dorsett as many have failed.Stone then relays the rules of telling next of kin of a tragedy. On the job, their first report to the family prompts the mother to slap Stone, as she and his pregnant fiancé weep over the deceased; a man named DaleMartin angrily throws things at Will; a woman who secretly married an enlisted man cries in his arms after learning of her husband's death; a Mexican man who is told through a translator about the death of hisdaughter cries in front of his other child; and a woman named Olivia is in considerably less visible pain after learning of her husband's death. Stone suspects it is due to her having an affair.In a bar, Will and Stonediscuss their lives to each other. Will talks about his girlfriend rejecting him and tells Stone about his father's death due to drunk driving, along with tales of his estranged mother. Will sees Olivia with her son at a mallbuying clothes for her husband's funeral, breaking up a fight between her and two Army recruiters attempting to enlist boys and girls, before offering her a ride. He fixes her car and becomes friends with both her andher young son Matt. After hearing a voicemail from Kelly talking about her upcoming wedding, he punches a hole through his wall in a fit of rage, which further aggravates his hand. He arrives at Olivia's house and thetwo express affection for each other, but his attempts at physical intimacy are met with hesitancy as she tells him about how her husband mistreated her and her son.When Will comforts a family in a local grocery storeafter telling them of their son's fate, Stone physically berates him for it. Will stands up to his rank by using his first name \"Tony\"  before walking home on his own. They later make up and spend the next few daystogether, where Stone has a hookup and unsuccessfully tries to get Will to do the same. They end up at Kelly's wedding drunk and make a scene, fight in a parking lot, then wake up in a forest after passing out and gohome. Martin is there, and he apologizes for lashing out at Will. In Tony's apartment, Will tells Tony about his experience with a friend who died while fighting in Iraq - an event that resulted in his chronic damage to hisleft eye - and how he feels his bravery was meaningless as he could not do anything for him; he contemplated suicide soon after, but stopped himself when he saw the sunrise. Hearing this, Tony breaks down intears.The next day, Olivia decides to move from her house. She tells Will that she is going with her son to Louisiana; Will tells her he is considering staying in the army. He asks Olivia to let him know their new address;she asks him to come with her into the house.CastProductionThe Messenger marked the directorial debut of Israeli screenwriter and former journalist Oren Moverman.  Though Sydney Pollack, Roger Michell, and BenAffleck were all attached to direct the movie at various times, when those talks fell through, the producers eventually asked Moverman to helm the project. The filmmakers worked closely with the United States Armyand the Walter Reed Medical Center to conduct research on military life, and were specifically advised by Lieutenant Colonel Paul Sinor as a technical consultant.ReleaseThe Messenger premiered at the 2009 SundanceFilm Festival before receiving a limited release in North America in 4 theaters. It grossed $44,523 for an average of $11,131 per theater ranking 46th at the box office, and went on to earn $1.1 million domestically and$411,601 internationally for a total of $1.5 million, against its budget of $6.5 million.ReceptionCritical responseOn Rotten Tomatoes, the film has an approval rating of 90%, based on 162 reviews, with an average ratingof 7.51/10. The site's critical consensus states, \"A dark but timely subject is handled deftly by writer/director Owen Moverman and superbly acted by Woody Harrelson and Ben Foster.\" On Metacritic, the film has a scoreof 77 out of 100, based on 32 critics, indicating \"generally favorable reviews\".Harrelson's performance was subject to considerable praise, leading to Golden Globe and Oscar nominations for Best SupportingActor.Awards and nominationsTop ten listsThe Messenger, upon receiving strong positive reviews from audiences, appeared on several critics' top ten lists of the best films of 2009.3rd: Robert Mondello, NPR4th: TyBurr, Boston Globe4th: Stephen Holden, The New York Times9th: Frank Scheck, The Hollywood Reporter10th: Peter Travers, Rolling StoneTop 10: David Denby, The New YorkerPassage 2:Olav AaraasOlav Aaraas (born10 July 1950) is a Norwegian historian and museum director.He was born in Fredrikstad. From 1982 to 1993 he was the director of Sogn Folk Museum, from 1993 to 2010 he was the director of Maihaugen and from2001 he has been the director of the Norwegian Museum of Cultural History. In 2010 he was decorated with the Royal Norwegian Order of St. Olav.Passage 3:Jeffrey MessengerJeffrey Messenger (born November 28,1949) is an American politician. He is a former member of the Missouri House of Representatives from the 130th district from 2013 to 2021. He is a member of the Republican party.Passage 4:Lisa MessengerLisaMessenger (born 1971) is an Australian entrepreneur and author. She is the owner and creative director of marketing for The Messenger Group, a book publishing company. As well as the founder and Editor in Chief ofCollective Hub.BackgroundMessenger grew up on a large farm outside Coolah, central western New South Wales, Australia and now lives north of Bondi Beach, Sydney.Her first job was as a riding instructor. Shegraduated from a boarding school in Sydney and Southern Cross University (Bachelor of Business, 1999). She worked for several years before taking her degree. She founded The Messenger Group in 2001 in Sydney,brokering sponsorship deals and doing public relations and marketing.Her self-help and entrepreneurship books reveal several major personal challenges as well as business success. She was married and divorced, andas detailed in her 2016 books, was engaged to an entrepreneur in 2015. In 2023, her friend is acting as a surrogate mother.BusinessesThe Messenger Group is a media company. Lisa Messenger launched it as apublishing company in 2001, and it now has 18 arms including a lifestyle website, publishing, events, marketing consultancy, and homewares. The Group has published around 400 books.  Collective was launched in2013 with $1.5 million of her own money, as an \"entrepreneurial and lifestyle\" print magazine, alongside a website and events company. In 2015, Collective was distributed in 37 countries.In October 2017, the Groupannounced that this flagship publication would shift from monthly to bi-monthly after \"several redundancies as the business streamlines itself around the three key pillars of print, digital and events.\"On 26 March 2018,Messenger announced that the print edition would close. Messenger also closed the Sydney office. Financial and creative reasons were given, and she wrote a book about the process. Several months later, the printedition was reinstated, although with one-off issues and freelance contracts for a smaller number of journalists.BooksMessenger has written several lifestyle and business books. Most were published by her owncompany, although Daring & Disruptive was also published by Simon & Schuster.Messenger, L. 2022. Start Up To Scale Up. The Messenger Group.Messenger, L. 2021. 365 Days Of Kindness. The MessengerGroup.Messenger, L. 2020. Life In Lessons. The Messenger Group.Messenger, L. 2019. Daily Mantras To Ignite Your Purpose. The Messenger Group.Messenger, L. 2018. Risk & Resilience; Breaking & Remaking a Brand.The Messenger Group.Messenger, L. 2018. Work From Wherever. The Messenger Group.Messenger, L. 2016. Daring & Disruptive: Unleashing the Entrepreneur. Simon & Schuster/North Star WayMessenger, L. 2016.Daring & Disruptive playbook. The Messenger Group.Messenger, L. 2016. Breakups and Breakthroughs. The Messenger Group.Messenger, L. 2015. Life & Love: Creating the Dream. The Messenger Group.Messenger, L.2015. Money and Mindfulness playbook. The Messenger Group.Messenger, L. 2015. Money and Mindfulness: living in abundance. The Messenger Group.Messenger, L. 2012. Social Media to Boost Your Brand. TheMessenger Group.Messenger, L. 2011. Books to Boost Your Brand. The Messenger Group.Messenger, L. and C. Gray (eds.) 2009. Property Investing - The Australian Way. Messenger Publishing.Messenger, L. 2009.Maverick Marketing. The Messenger Group.Messenger, L. and Z. Liew 2009. Cubicle Commando: Intrapreneurs, Innovation and Corporate Realities. Messenger Publishing.Messenger, L. 2009. Happiness Is.... MessengerPublishing.AwardsSouthern Cross University Alumni of the Year (2010)Thought Leaders Entrepreneur of the Year (2008)Passage 5:Ian Barry (director)Ian Barry is an Australian director of film and TV.SelectcreditsWaiting for Lucas (1973) (short)Stone (1974) (editor only)The Chain Reaction (1980)Whose Baby? (1986) (mini-series)Minnamurra (1989)Bodysurfer (1989) (mini-series)Ring of Scorpio (1990)(mini-series)Crimebroker (1993)Inferno (1998) (TV movie)Miss Lettie and Me (2002) (TV movie)Not Quite Hollywood: The Wild, Untold Story of Ozploitation! (2008) (documentary)The Doctor Blake Mysteries(2013)Passage 6:Markus ZusakMarkus Zusak (born 23 June 1975) is an Australian writer. He is best known for The Book Thief and The Messenger, two novels which became international bestsellers. He won theMargaret A. Edwards Award in 2014.Early lifeZusak was born in Sydney, Australia. His mother Lisa is originally from Germany and his father Helmut is Austrian. They emigrated to Australia in the late 1950s. Zusak isthe youngest of four children and has two sisters and one brother. He attended Engadine High School and briefly returned there to teach English while writing. He studied English and history at the University of NewSouth Wales, graduating with a Bachelor of Arts and a Diploma of Education.CareerZusak is the author of six books. His first three books, The Underdog, Fighting Ruben Wolfe, and When Dogs Cry, released between1999 and 2001, were all published internationally. The Messenger, published in 2002, won the 2003 CBC Book of the Year Award (Older Readers) and the 2003 NSW Premier's Literary Award (Ethel Turner Prize) inAustralia and was a runner-up for the Printz Award in America.The Book Thief was published in 2005 and has since been translated into more than 40 languages. The Book Thief was adapted as a film of the same namein 2013. In 2014, Zusak delivered a talk called 'The Failurist' at TEDxSydney at the Sydney Opera House. It focused on his drafting process and journey to success through writing The Book Thief.The Messenger (I Amthe Messenger in the United States) was published in 2002 and was one of Zusak's first novels. This novel has won awards such as the New South Wales Premier's Literary Awards: Ethel Turner Prize for Young People'sLiterature.In March 2016 Zusak talked about his then unfinished novel Bridge of Clay. He stated that the book was 90% finished but that, \"I’m a completely different person than the person who wrote The Book Thief.And this is also the scary thing—I’m a different person to the one who started Bridge of Clay eight, nine years ago ...  I’ve got to get it done this year, or else I’ll probably finally have to set it aside.\"A TV series based onThe Messenger premiered on ABC in 2023. Zusak said his next book would be a \"memoir type thing\" and not fiction.WorksThe Underdog (1999)Fighting Ruben Wolfe (2000), sequel to The UnderdogWhen Dogs Cry(2001), a.k.a. Getting the Girl; sequel to Fighting Ruben WolfeThe Messenger (2002); US title: I Am the MessengerThe Book Thief (2005)Bridge of Clay (2018), Pan Macmillan AustraliaAwardsIn 2014, Zusak won theMargaret A. Edwards Award from the American Library Association (ALA), which annually recognises an author and \"a specific body of his or her work, for significant and lasting contribution to young adult literature\".In2006, Zusak was also the recipient of The Sydney Morning Herald's Young Australian Novelist of the Year Award.The Book Thief2006: Kathleen Mitchell Award 2006 (literature)2006: National Jewish Book Award(Children's and Young Adult Literature)2007: Michael L. Printz Award runner-up (Honor Book) from the US Young Adult Library Services Association (YALSA)2008: Ena Noel Award – the IBBY Australia Ena NoëlEncouragement Award for Children's Literature2009: Deutscher JugendliteraturpreisThe Messenger (US title: I Am The Messenger)2003: New South Wales Premier's Literary Awards Ethel Turner Prize for Young People'sLiterature2003: Children's Book Council of Australia Book of the Year Award2005: Publishers Weekly Best Books of the Year-Children2006: Bulletin Blue Ribbon Book2006: Printz Award Honor Book2007: DeutscherJugendliteraturpreisWhen Dogs Cry / Getting the Girl2002: Honour Book, CBCA Children's Book of the Year Award: Older ReadersFighting Ruben Wolfe2001: Honour Book, CBCA Children's Book of the Year Award: OlderReadersshortlisted for the New South Wales Premier's Literary Awards Ethel Turner Prize for Young People's LiteraturePassage 7:Peter LevinPeter Levin is an American director of film, television and theatre.CareerSince1967, Levin has amassed a large number of credits directing episodic television and television films. Some of his television series credits include Love Is a Many Splendored Thing, James at 15, The Paper Chase, Family,Starsky & Hutch, Lou Grant, Fame, Cagney & Lacey, Law & Order and Judging Amy.Some of his television film credits include Rape and Marriage: The Rideout Case (1980), A Reason to Live (1985), Popeye Doyle(1986), A Killer Among Us (1990), Queen Sized (2008) and among other films. He directed \"Heart in Hiding\", written by his wife Audrey Davis Levin, for which she received an Emmy for Best Day Time Special in the1970s.Prior to becoming a director, Levin worked as an actor in several Broadway productions. He costarred with Susan Strasberg in \"[The Diary of Ann Frank]\" but had to leave the production when he was drafted intothe Army. He trained at the Carnegie Mellon University. Eventually becoming a theatre director, he directed productions at the Long Wharf Theatre and the Pacific Resident Theatre Company. He also co-founded theoff-off-Broadway Theatre [the Hardware Poets Playhouse] with his wife Audrey Davis Levin and was also an associate artist of The Interact Theatre Company.Passage 8:Jesse E. HobsonJesse Edward Hobson (May 2,1911 – November 5, 1970) was the director of SRI International from 1947 to 1955. Prior to SRI, he was the director of the Armour Research Foundation.Early life and educationHobson was born in Marshall, Indiana. Hereceived bachelor's and master's degrees in electrical engineering from Purdue University and a PhD in electrical engineering from the California Institute of Technology. Hobson was also selected as a nationallyoutstanding engineer.Hobson married Jessie Eugertha Bell on March 26, 1939, and they had five children.CareerAwards and membershipsHobson was named an IEEE Fellow in 1948.Passage 9:Oren MovermanOrenMoverman (Hebrew: \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000; born July 4, 1966) is an Israeli-American screenwriter, film director, and Emmy Award-winning film producer. He has directed the films The Messenger, Rampart, Time Out ofMind, and The Dinner.BiographyOren Moverman was born on July 4, 1966 in Jaffa (Yafo), Israel. He is an Ashkenazi Jew. He grew up in Givatayim. From age 13 to 18, he first lived in the United States. After serving inthe Israel Defense Forces, he moved to the United States. He graduated from Brooklyn College in 1992.Moverman started his career as a screenwriter. He wrote screenplays for films such as Jesus' Son, Face,  I'm NotThere, Married Life., as well as the Brian Wilson biopic Love & MercyIn 2009, Moverman made his directorial feature film debut with The Messenger, starring Ben Foster and Woody Harrelson. The film had its worldpremiere at the 2009 Sundance Film Festival.Co-written with Alessandro Camon The Messenger  won the Silver Bear for best screenplay and the Peace Film Award at the Berlin International Film Festival, as well as theGrand Prize and the International Critics Prize at the Deauville Film Festival. It was nominated in the Best Original Screenplay and Best Supporting Actor categories by the Academy of Motion Picture Arts and Sciences.In2011, Moverman collaborated with Harrelson again in his second directorial film Rampart. The film had its world premiere at the 2011 Toronto International Film Festival.In 2014, he directed Time Out of Mind, starringRichard Gere. The film had its world premiere at the 2014 Toronto International Film Festival where it won the Fipresci Prize,an award given by the International Federation of Film Critics. In 2017, he directed TheDinner, starring Gere, Steve Coogan, Laura Linney, and Rebecca Hall. The film had its world premiere at the 67th Berlin International Film Festival.FilmographyFeature filmsPassage 10:Brian Kennedy (gallerydirector)Brian Patrick Kennedy (born 5 November 1961) is an Irish-born art museum director who has worked in Ireland and Australia, and now lives and works in the United States.  He was the director of the PeabodyEssex Museum in Salem for 17 months, resigning December 31, 2020. He was the director of the Toledo Museum of Art in Ohio from 2010 to 2019. He was the director of the Hood Museum of Art from 2005 to 2010,and the National Gallery of Australia (Canberra) from 1997 to 2004.CareerBrian Kennedy currently lives and works in the United States after leaving Australia in 2005 to direct the Hood Museum of Art at DartmouthCollege. In October 2010 he became the ninth Director of the Toledo Museum of Art. On 1 July 2019, he succeeded Dan Monroe as the executive director and CEO of the Peabody Essex Museum.Early life and career inIrelandKennedy was born in Dublin and attended Clonkeen College. He received B.A. (1982), M.A. (1985) and PhD (1989) degrees from University College-Dublin, where he studied both art history and history.Heworked in the Irish Department of Education (1982), the European Commission, Brussels (1983), and in Ireland at the Chester Beatty Library (1983–85), Government Publications Office (1985–86), and Department ofFinance (1986–89). He married Mary Fiona Carlin in 1988.He was Assistant Director at the National Gallery of Ireland in Dublin from 1989 to 1997. He was Chair of the Irish Association of Art Historians from 1996 to1997, and of the Council of Australian Art Museum Directors from 2001 to 2003. In September 1997 he became Director of the National Gallery of Australia.National Gallery of Australia (NGA)Kennedy expanded thetraveling exhibitions and loans program throughout Australia, arranged for several major shows of Australian art abroad, increased the number of exhibitions at the museum itself and oversaw the development of anextensive multi-media site.  Although he oversaw several years of the museum's highest ever annual visitation, he discontinued the emphasis of his predecessor, Betty Churcher, on showing \"blockbuster\"exhibitions.During his directorship, the NGA gained government support for improving the building and significant private donations and corporate sponsorship. However, the initial design for the building provedcontroversial generating a public dispute with the original architect on moral rights grounds.  As a result, the project was not delivered during Dr Kennedy's tenure, with a significantly altered design completed someyears later.  Private funding supported two acquisitions of British art, including David Hockney's A Bigger Grand Canyon in 1999, and Lucian Freud's After Cézanne in 2001. Kennedy built on the established collections at"}
+{"doc_id":"doc_257","qid":"","text":"Passage 1:The Invisible Man (1984 film)The Invisible Man (Russian: Человек-невидимка, romanized: Chelovek-nevidimka) is a 1984 Soviet science fiction film directed by Aleksandr Zakharov based on the 1897eponymous novel by H. G. Wells.PlotDr. Griffin, with no other motive than curiosity, undertakes research on the concept of invisibility. Having become invisible, he finds himself in an unfortunate combination ofcircumstances consisting of being suspected of murder and hunted down, forced to abandon the notebooks containing the notes of his experiences that would enable him to carry out the opposite process. His formerclassmate Dr. Kemp promises to find them, but in fact intends to use them himself in search of absolute power.CastAndrey Kharitonov as  Jonathan Griffin, The Invisible ManRomualdas Ramanauskas (voiced by SergeiMalishevsky) as KempLeonid Kuravlyov as Thomas MarvelNatalia Danilova as Jane BetOleg Golubitsky as Colonel Edai, Chief of PoliceNina Agapova as Mrs. HallViktor Sergachyov as Mr. HallAlexander Pyatkov as BarownerPassage 2:The Invisible Man AttacksThe Invisible Man Attacks (Spanish:El Hombre invisible ataca) is a 1967 Argentine comedy film.CastMartin KaradagiánGilda LousekTristanRicardo PassanoJoe rigoliGuillermoBattagliaNathan PinzónGobbi dartMila DemarieThe Gypsy IvanoffOscar OrleguiSusana MayoExternal linksThe Invisible Man Attacks at IMDbPassage 3:Big PalBig Pal is a 1925 American silent sports drama film directedby John G. Adolfi and starring William Russell, Julanne Johnston and Mary Carr. It was released in Britain in 1926, distributed by Wardour Films.PlotAs described in a film magazine review, Judge Truscott's daughterHelen spurns his wealthy lifestyle and goes to do social work in poorer neighborhoods. She is saved from a runaway horse accident by Dan Williams, champion pugilist, and a warm friendship develops between them. Onthe eve of a championship battle, Dan's favorite nephew, little Johnny, is abducted by criminals, and Dan is notified that unless he quits during the fifth round of the boxing match, the lad's life will be sacrificed. Hedecides to lose, but, as the fifth round approaches, Helen appears ringside along with Johnny, who had escaped his abductors. Dan cuts loose, winning the match and the affections of Helen.CastWilliam Russell as DanWilliamsJulanne Johnston as Helen TruscottMary Carr as Mary WilliamsMickey Bennett as Johnny WilliamsHayden Stevenson as Tim WilliamsHenry A. Barrows as Judge TruscottFrank Hagney as Bill HoganWilliam Baileyas Undetermined Secondary Role (uncredited)Buck Black as One of the Kids (uncredited)Alison Skipworth as Agatha Briggs, truant officer (uncredited)PreservationA newly restored copy of Big Pal exists at the Library ofCongress.Passage 4:Abbott and Costello Meet the Invisible ManAbbott and Costello Meet the Invisible Man is a 1951 American science fiction comedy film directed by Charles Lamont and starring the team of Abbott andCostello alongside Nancy Guild.The film depicts the misadventures of Lou Francis and Bud Alexander, two private detectives investigating the murder of a boxing promoter. The film was part of a series in which the duomeet classic characters from Universal's stable, including Frankenstein, the Mummy and the Keystone Kops.PlotLou Francis and Bud Alexander have just graduated from a private detective school. Tommy Nelson, amiddleweight boxer, comes to them with their first case. Tommy recently escaped from jail after being accused of murdering his manager, and asks the duo to accompany him on a visit to his fiancée, Helen Gray. Hewants her uncle, Dr. Philip Gray, to inject him with a special serum which will render Tommy invisible, and hopes to use the newfound invisibility to investigate his manager's murder and prove his innocence. Dr. Grayadamantly refuses, arguing that the serum is still unstable, recalling that the formula's discoverer, Jack Griffin, was driven insane by the formula and did not become visible again until after he was killed. However, asthe police arrive Tommy injects himself with it and successfully becomes invisible. Detective Roberts questions Dr. Gray and Helen while Bud and Lou search for Tommy.Helen and Tommy convince Bud and Lou to helpthem seek the real killer, after Tommy explains that the motive for the murder occurred after he refused to \"throw\" a fight, knocking his opponent, Rocky Hanlon, out cold. Morgan, the promoter who fixed the fight,ordered Tommy's manager beaten to death while framing Tommy for the crime. In order to investigate undercover, Lou poses as a boxer, with Bud as his manager. They go to Stillwell's gym, where Lou gets in the ringwith Rocky. Tommy, still invisible, gets into the ring with them and again knocks out Hanlon, making it look like Lou did it, and an official match is arranged. Needing to prove Morgan was behind the plot to frameTommy, Bud and Lou go out to the same restaurant to covertly spy on him alongside an invisible Tommy. But the effects of the serum and Tommy getting drunk make the task difficult for the two who have to keepcovering for him. Morgan pays off Lou to throw the fight, but when the match occurs with the aid of an invisible Tommy, Hanlon is knocked out yet again after a wildly chaotic boxing match. Morgan plans Bud's murder,but is thwarted by Tommy. Bud, Lou, and Tommy fight off Morgan and his goons, but when Tommy is rendered partially visible from some steam he is wounded in the battle and begins to bleed badly. The protagonistsrush to the hospital where a blood transfusion is arranged between Lou and Tommy, thanks to Lou having the same blood type. During the transfusion Tommy becomes visible again – some of Tommy's blood hasapparently entered Lou, who briefly turns invisible, only to reappear with his legs inexplicably on backwards.CastProductionAbbott and Costello Meet the Invisible Man was filmed between October 3 and November 6,1950. The characters' surnames \"Alexander\" and \"Francis\" are Abbott's and Costello's real middle names.The special effects, which depicted invisibility and other optical illusions, were created by Stanley Horsley, son ofcinema pioneer David Horsley. He also did the special effects for The Invisible Man Returns, The Invisible Woman and Invisible Agent.As a reference to the first Invisible Man film, a photo is featured of the serum'sinventor, Dr. John \"Jack\" Griffin, which is actually a picture of Claude Rains, who played the role in Universal's first Invisible Man film in 1933.When asked by a reporter whom he has fought in the past, Lou answers,\"Chuck Lamont, Bud Grant\". The film's director and screenwriter, respectively, are Charles Lamont and John Grant.ReleaseThe film had a preview screening at The Fox theater in St. Louis, Missouri, on March 9, 1951.The film saw release on Wednesday, March 14.Home mediaThis film has been released several times on DVD. First on The Best of Abbott and Costello Volume Three, on August 3, 2004, on October 28, 2008, as part ofAbbott and Costello: The Complete Universal Pictures Collection, and in 2015 in the Abbott and Costello Meet the Monsters Collection. Later, the film was included in the 3-disc The Invisible Man: The Complete LegacyCollection and the 21-disc Universal Classic Monsters: Complete 30-Film Collection, both released on September 2, 2014. It was released on Blu-ray on August 28, 2018.NotesPassage 5:The Invisible Woman (1940film)The Invisible Woman is an American science fiction comedy film directed by A. Edward Sutherland. It is the third film in Universal Pictures' The Invisible Man film series, following The Invisible Man and The InvisibleMan Returns, which were released earlier in the year. It was more of a screwball comedy than a horror film like the others in the series. Universal  released The Invisible Woman on December 27, 1940.The film starsVirginia Bruce, John Barrymore, John Howard, Charlie Ruggles, and Oscar Homolka, and features Margaret Hamilton, Charles Lane and Shemp Howard.PlotWealthy lawyer Richard Russell (John Howard) funds the dottyold inventor Professor Gibbs (John Barrymore) creation of an invisibility device. The first test subject for this machine is Kitty Carroll (Virginia Bruce), a department store model who has been fired from her previous job.The machine proves quite successful, and Kitty uses her invisible state to pay back her sadistic former boss, Mr. Growley (Charles Lane).While the Professor and the invisible Kitty are off visiting Russell'slodge,   gangster Blackie Cole (Oscar Homolka) sends in his gang of moronic thugs—including “Hammerhead’ (Shemp Howard)—to steal the device. Once the machine is back at their hideout, they cannot get it towork.  Kitty is now visible, and  Blackie sends the gang to kidnap her and the Professor. Kitty learns that alcohol will restore her invisibility, and, with Russell's help, she exploits this to defeat the gang.Cut to the end ofthe film. Kitty has married Richard and become a mother. After an alcohol rub, their infant son begins to fade from view. “Hmmm,” the  Professor says to the audience. “Hereditary!”CastCast is sourced from the bookUniversal Horrors:ProductionAfter the success of The Invisible Man Returns, Universal Pictures began work on a followup and signed Curt Siodmak to develop the idea in 1940 with comedy writers Frederic I. Rinaldo andRobert Lees. Universal gave the film a $300,000 budget. Margaret Sullivan had originally been slated for the role of the invisible woman because she owed Universal one more film in her contract. Director John Cromwellapproached Sullivan about playing the lead in So Ends Our Night, and she failed to report to Universal for The Invisible Woman. Sullivan received a restraining order preventing her from working elsewhere. Eventually,she was allowed to finish So Ends the Night, as long as she continued work on two films for Universal. Virginia Bruce was cast as the invisible woman and signed her contract on September 12, 1940.John Barrymorebegan to have trouble memorizing his dialogue. According to John Howard, Barrymore began cutting up the script and placing pieces on the set—behind vases, phones or other props—so he could read the lines.Howardsays  that \"Barrymore was an ordinary fellow. He wasn't stuffy and he had no pretense whatsoever. Even in pictures that you felt weren't up to snuff, I don't think he showed any disdain. We knew perfectly well TheInvisible Woman wasn't going to be an award-winning picture, but it was fun to do. No one took it seriously\".Maria Montez is among the cast, in her first film role.ReceptionThe film was nominated for the 14th AcademyAwards for Special Effects. (At the time, the category embraced photographic and sound effects.) The photographic effects were by John Fulton and the sound effects by John Hall.  I Wanted Wings won the Oscar forSpecial Effects. At the time of its release, this film was considered slightly risqué because much is made of the fact that the heroine, though invisible, is naked during much of the action.On its release, The InvisibleWoman grossed a total of just under $660,000. Universal followed it with Invisible Agent on July 31, 1942.Theodore Strauss of The New York Times called the film \"silly, banal and repetitious ... The script is as creaky asa two-wheeled cart and were it not for the fact that John Barrymore is taking a ride in it we hate to think what The Invisible Woman might have turned out to be\".  Variety called it \"good entertainment for generalaudiences\". Film Daily called it \"laugh-packed\", \"brightly dialogued\" and \"a lot of fun\". Harrison's Reports declared it \"a pretty good comedy for the masses ... but it does not offer anything new to those who saw theother pictures in which the character became invisible\". John Mosher of The New Yorker wrote: \"The old stunt is still good, yet it's not used to much advantage here ... In fact, this is the feeblest example so far of thatstunt which the camera can so easily make funny\".RebootIn November 2019, a spin-off film centered around the female counterpart to Invisible Man was in development. Elizabeth Banks will star in, direct, and produceThe Invisible Woman, based on her own original pitch. Erin Cressida Wilson will write the script of the reboot of the female monster, while Max Handelman and Alison Small will serve as producer and executive producer,respectively. Banks was allowed to choose a project by Universal Pictures from the roster of Universal Monsters, ultimately choosing The Invisible Woman.See alsoJohn Barrymore on stage, screen and radioList ofscience fiction films of the 1940sPassage 6:Invisible AgentInvisible Agent is a 1942 American action spy film directed by Edwin L. Marin with a screenplay written by Curt Siodmak. The invisible agent is played by JonHall, with Peter Lorre and Sir Cedric Hardwicke as members of the Axis, and Ilona Massey and Albert Basserman as Allied spies.PlotFrank Griffin Jr, the grandson of the original Invisible Man, runs a print shop inManhattan under the assumed name of Frank Raymond (Jon Hall). One evening, he is confronted in his shop by four armed men who reveal that they are foreign agents working for the Axis powers and they know histrue identity. One of the men, Conrad Stauffer (Cedric Hardwicke), is a lieutenant general of the S.S., while a second, Baron Ikito (Peter Lorre), is Japanese. They offer to pay for the invisibility formula and threatenamputation of his fingers if it is not revealed. Griffin manages to escape with the formula. Griffin is reluctant to release the formula to the U.S. government officials, but following the Attack on Pearl Harbor agrees tolimited cooperation (the condition being that the formula can only be used on himself). Later, while in-flight to be parachuted behind German lines on a secret mission, he injects himself with the serum, becominginvisible as he is parachuting down, to the shock and confusion of the German troops tracking his descent, and after landing strips off all of his clothing.Griffin evades the troops and makes contact with an oldcoffin-maker named Arnold Schmidt (Albert Basserman), who reveals the next step of Griffin's mission. Griffin is to obtain a list of German and Japanese spies within the U.S. in the possession of Stauffer. Griffin is aidedin his task by Maria Sorenson (Ilona Massey), a German espionage agent and the love interest of both Stauffer and Stauffer's well-connected second-in-command, Gestapo Standartenführer Karl Heiser (J. EdwardBromberg). According to their plan, Sorenson attempts to gain information from Heiser during a private dinner, with Griffin as witness. Drunk from champagne, Griffin uses his invisibility to play tricks on Heiser instead.Finally enraged when the dinner table mysteriously tips and soils his uniform, Heiser places Sorenson under house-arrest. Later, an apologetic Griffin demonstrates his existence to Sorenson by putting on a robe andsmearing facial cream on his features. The two are attracted to each other.Conrad Stauffer returns from his efforts in the United States and tries to manage his shifting alliances with Karl Heiser, Maria Sorenson, andBaron Ikito. When he learns of Heiser's disastrous romantic dinner with Sorenson, Stauffer has Karl Heiser arrested and baits a trap for Griffin, whom he comes to suspect has made contact with Maria. Despite walkinginto Stauffer's trap, Griffin manages to obtain the list of agents, and start a fire to cover his escape. Griffin takes the list of agents to Arnold Schmidt for transmission to England. Conrad Stauffer tries to hide the loss ofthe list from the prying Baron Ikito, who has been staying at the local Japanese Embassy. When Stauffer refuses to answer Ikito's questions, the two confess to each other that German and Japanese cooperation is notone of trust. Without revealing their plans to each other, both men start separate hunts for the Invisible Agent. Griffin steals into a German prison to obtain information from Karl Heiser about a planned German attackon New York City. In exchange for additional information, Griffin helps Heiser escape his imminent execution. Griffin returns with Heiser to Schmidt, who in the meantime has been arrested and tortured by Stauffer. Atthe shop, Griffin confronts Maria Sorenson, whom he suspects has betrayed Schmidt, and is captured with a net trap by Ikito's men.Heiser escapes detection and attempts to save his life and career by phoning in Ikito'sactivities to Stauffer. Griffin and Sorensen are taken to the Japanese embassy, but manage to escape during the mayhem that ensues when Stauffer's men arrive. For their joint failure to safeguard the list of Axisagents, Ikito kills Stauffer and then performs seppuku, ritual suicide, as Heiser watches from the shadows. Assuming command, Heiser arrives too late to the local air base to stop Griffin and Sorenson from escaping.The couple acquires one of the bombers slated for the New York attack, and destroy other German planes on the ground as they fly to England. Stauffer's loyal men catch up with Karl Heiser and he is shot. Griffinsuccumbs to his injuries before he can radio ahead. England's air defense shoots down their craft, but not before Sorenson parachutes them to safety. Later, in a hospital, Griffin has recovered and is wearing facialcream so that he can be visible again. Sorenson appears with Griffin's American handler, who vouches for Sorenson that she has been an Allied double-agent all along. Sorenson is left alone with Griffin. Griffin revealsthat he is actually visible under the facial cream, and they kiss. Sorenson happily accepts the challenge of discovering how Griffin regained his visibility.CastProductionBy 1942, the United States had entered World WarII, leading studios to produce films that were described by the authors of the book Universal Horrors as replacing the \"cynicism of the '30s\" with the \"flag-waving of the '40s\". This led to a combination of \"horror andpropaganda\" that the authors described as an \"uncomfortable hybrid\". These films included productions at Monogram such as King of the Zombies, Black Dragons and Revenge of the Zombies with mad scientists whoalso worked for Nazis. Universal also made an entry into this hybrid with Invisible Agent. James L. Neibaur, author of The Monster Movies of Universal Studios described the film as not being a horror film, but \"an actionmovie with comical touches\".Invisible Agent was announced under the title The Invisible Spy in early 1942. The screenwriting team of Frank Lloyd and Jack Skirball, who previously worked on Alfred Hitchcock'sSaboteur, were set to be the film's original producers but were replaced by George Waggner who was assigned the title of associate producer. The film's screenplay by Curt Siodmak has only one connection to theoriginal Invisible Man film, with the \"Frank Raymond\" character who is the grandson of \"Jack Griffin\", the inventor of the invisibility formula. The film went into production on April 22 and finished in late May 1942 with abudget of $322,291.Jon Hall had just been put under contract to Universal.ReleaseInvisible Agent was distributed by the Universal Pictures Company on July 31, 1942. The film was the most successful of the InvisibleMan sequels and one of Universal's highest-grossing films of the season, grossing over $1,000,000 in US  rentals, earning $1,041,500.John P. Fulton and Bernard B. Brown were nominated for an Academy Award fortheir special effects work on this film at the 15th Academy Awards, but lost to the special effects team for Paramount's Reap the Wild Wind. The film was followed by the sequel, The Invisible Man's Revenge also starringJon Hall.The film was released on DVD on as part of the \"Invisible Man: The Legacy Collection\" set, which included The Invisible Man, The Invisible Man Returns, The Invisible Woman and The Invisible Man's Revenge. Itwas released again on Blu-ray as part of the \"Invisible Man: The Complete Legacy Collection\" on August 28, 2018.Shown on the MeTV show Svengoolie on December 17, 2022.ReceptionFrom contemporary reviews, ananonymous reviewer in Harrison's Reports described the film as \"fairly entertaining\" and noted the special effects were handled well but were nothing new. Kate Cameron of The New York Daily News found the film\"amusing and exciting\" with the actors performing \"their supporting roles capably, although none of them tries to be convincing\".Some sources commented on the politics and representation of the axis powers in thefilm, with an anonymous reviewer in Newsweek declared that Universal had \"assembled a cast that is much too good for the nonsense on the agenda\" and The Film Daily announcing that \"this is the ordinary peace-timemeller translated into wartime pattern [...] The nazis are made to look pretty stupid and beset with official rivalry, while the Japs appear like slippery villains of the old serial days\". A reviewer from The HollywoodReporter spoke on this, stating: \"Possibly, the smartest thing about the picture is its consistent refusal to underrate the intelligence of the Gestapo and Rising Sun operatives. They are as hep to the plot as you are, this"}
+{"doc_id":"doc_258","qid":"","text":"Passage 1:Lương Hoàng NamLương Hoàng Nam (born 2 March 1997) is a Vietnamese footballer who plays as a central midfielder for V.League 1 club Hải Phòng.HonoursCông An Nhân DânV.League 2: 2022Passage2:John McMahon (Surrey and Somerset cricketer)John William Joseph McMahon (28 December 1917 – 8 May 2001) was an Australian-born first-class cricketer who played for Surrey and Somerset County Cricket Clubsin England from 1947 to 1957.Surrey cricketerMcMahon was an orthodox left-arm spin bowler with much variation in speed and flight who was spotted by Surrey playing in club cricket in North London and brought on tothe county's staff for the 1947 season at the age of 29. In the first innings of his first match, against Lancashire at The Oval, he took five wickets for 81 runs.In his first full season, 1948, he was Surrey's leadingwicket-taker and in the last home game of the season he was awarded his county cap – he celebrated by taking eight Northamptonshire wickets for 46 runs at The Oval, six of them coming in the space of 6.3 overs forseven runs. This would remain the best bowling performance of his first-class career, not surpassed, but he did equal it seven years later. In the following game, the last away match of the season, he took 10Hampshire wickets for 150 runs in the match at Bournemouth. In the 1948 season as a whole, he took 91 wickets at an average of 28.07. As a tail-end left-handed batsman, he managed just 93 runs in the season at anaverage of 4.22.The emergence of Tony Lock as a slow left-arm bowler in 1949 brought a stuttering end of McMahon's Surrey career. Though he played in 12 first-class matches in the 1949 season, McMahon took only19 wickets; a similar number of matches in 1950 brought 34 wickets. In 1951, he played just seven times and in 1952 only three times. In 1953, Lock split the first finger of his left hand, and played in only 11 ofSurrey's County Championship matches; McMahon played as his deputy in 14 Championship matches, though a measure of their comparative merits was that Lock's 11 games produced 67 wickets at 12.38 runs apiece,while McMahon's 14 games brought him 45 wickets at the, for him, low average of 21.53. At the end of the 1953 season, McMahon was allowed to leave Surrey to join Somerset, then languishing at the foot of theCounty Championship and recruiting widely from other counties and other countries.Somerset cricketerSomerset's slow bowling in 1954 was in the hands of leg-spinner Johnny Lawrence, with support from the off-spinof Jim Hilton while promising off-spinner Brian Langford was on national service. McMahon filled a vacancy for a left-arm orthodox spinner that had been there since the retirement of Horace Hazell at the end of the1952 season; Hazell's apparent successor, Roy Smith, had failed to realise his promise as a bowler in 1953, though his batting had advanced significantly.McMahon instantly became a first-team regular and played inalmost every match during his four years with the county, not missing a single Championship game until he was controversially dropped from the side in August 1957, after which he did not play in the Championshipagain.In the 1954 season, McMahon, alongside fellow newcomer Hilton, was something of a disappointment, according to Wisden: \"The new spin bowlers, McMahon and Hilton, did not attain to the best standards oftheir craft in a wet summer, yet, like the rest of the attack, they would have fared better with reasonable support in the field and from their own batsmen,\" it said. McMahon took 85 wickets at an average of 27.47(Hilton took only 42 at a higher average). His best match was against Essex at Weston-super-Mare where he took six for 96 in the first innings and five for 45 in the second to finish with match figures of 11 for 141,which were the best of his career. He was awarded his county cap in the 1954 season, but Somerset remained at the bottom of the table.The figures for the 1955 were similar: McMahon this time took 75 wickets at28.77 apiece. There was a small improvement in his batting and the arrival of Bryan Lobb elevated McMahon to No 10 in the batting order for most of the season, and he responded with 262 runs and an average of9.03. This included his highest-ever score, 24, made in the match against Sussex at Frome. A week later in Somerset's next match, he equalled his best-ever bowling performance, taking eight Kent wickets for 46 runsin the first innings of a match at Yeovil through what Wisden called \"clever variation of flight and spin\". These matches brought two victories for Somerset, but there were only two others in the 1955 season and the sidefinished at the bottom of the Championship for the fourth season running.At the end of the 1955 season, Lawrence retired and McMahon became Somerset's senior spin bowler for the 1956 season, with Langfordreturning from National Service as the main support. McMahon responded with his most successful season so far, taking 103 wickets at an average of 25.57, the only season in his career in which he exceeded 100wickets. The bowling average improved still further in 1957 to 23.10 when McMahon took 86 wickets. But his season came to an abrupt end in mid-August 1957 when, after 108 consecutive Championship matches, hewas dropped from the first team during the Weston-super-Mare festival. Though he played some games for the second eleven later in August, he regained his place in the first team for only a single end-of-seasonfriendly match, and he was told that his services were not required for the future, a decision, said Wisden, that \"proved highly controversial\".Sacked by SomersetThe reason behind McMahon's sacking did not becomepublic knowledge for many years. In its obituary of him in 2002, McMahon was described by Wisden as \"a man who embraced the antipodean virtues of candour and conviviality\". It went on: \"Legend tells of a night atthe Flying Horse Inn in Nottingham when he beheaded the gladioli with an ornamental sword, crying: 'When Mac drinks, everybody drinks!'\" The obituary recounts a further escapade in second eleven match atMidsomer Norton where a curfew imposed on the team was circumvented by \"a POW-type loop\" organised by McMahon, \"with his team-mates escaping through a ground-storey window and then presenting themselvesagain\". As the only Somerset second eleven match that McMahon played in at Midsomer Norton was right at the end of the 1957 season, this may have been the final straw. But in any case there had been \"anembarrassing episode at Swansea's Grand Hotel\" earlier in the season, also involving Jim Hilton, who was also dismissed at the end of the season. Team-mates and club members petitioned for McMahon to bereinstated, but the county club was not to be moved.After a period in Lancashire League cricket with Milnrow Cricket Club, McMahon moved back to London where he did office work, later contributing some articles tocricket magazines.== Notes and references ==Passage 3:Isabella HarwoodIsabella Harwood or Ross Neil (14 June 1837 – 29 May 1888) was a British novelist who also wrote dramas in verse.BiographyHarwood wasprobably born in Dorset in 1837 where her parents Phillip Harwood and his wife Isabella Neil lived. Phillip Harwood was then a Unitarian minister in Bridport.Between 1864 and 1870 she wrote four sensational novelswhich were published without attribution. Between 1871 and 1883 she wrote a number of unfashionable blank verse dramas which were said to be readable. Two were produced in Edinburgh and London but they werenot favourably received.Harwood lived with her father in London and then in Hastings. She died in St Mary-in-the-Castle in 1888 in Hastings a year after her father.WorksNovelsAbbot's CleveCarleton GrangeRaymond'sHeroineKathleenThe Heir ExpectantPlaysLady Jane Grey; Inez, or, The Bride of PortugalPlaysThe Cid; The King and the Angel; Duke for a Day; or The Tailor of BrusselsElfinella, or, Home from Fairyland; Lord and LadyRussellArabella Stuart; The Heir of Linne; TassoEglantineAndrea the Painter; Claudia's Choice; Orestes; PandoraPassage 4:Henry Moore (cricketer)Henry Walter Moore (1849 – 20 August 1916) was an English-bornfirst-class cricketer who spent most of his life in New Zealand.Life and familyHenry Moore was born in Cranbrook, Kent, in 1849. He was the son of the Reverend Edward Moore and Lady Harriet Janet SarahMontagu-Scott, who was one of the daughters of the 4th Duke of Buccleuch. One of his brothers, Arthur, became an admiral and was knighted. Their great grandfather was John Moore, Archbishop of Canterbury from1783 to 1805. One of their sisters was a maid of honour to Queen Victoria.Moore went to New Zealand in the 1870s and lived in Geraldine and Christchurch. He married Henrietta Lysaght of Hāwera in November 1879,and they had one son. In May 1884 she died a few days after giving birth to a daughter, who also died.In 1886 Moore became a Justice of the Peace in Geraldine. In 1897 he married Alice Fish of Geraldine. They movedto England four years before his death in 1916.Cricket careerMoore was a right-handed middle-order batsman. In consecutive seasons, 1876–77 and 1877–78, playing for Canterbury, he made the highest score in theshort New Zealand first-class season: 76 and 75 respectively. His 76 came in his first match for Canterbury, against Otago. He went to the wicket early on the first day with the score at 7 for 2 and put on 99 for the thirdwicket with Charles Corfe before he was out with the score at 106 for 3 after a \"very fine exhibition of free hitting, combined with good defence\". Canterbury were all out for 133, but went on to win the match. His 75came in the next season's match against Otago, when he took the score from 22 for 2 to 136 for 6. The New Zealand cricket historian Tom Reese said, \"Right from the beginning he smote the bowling hip and thigh,going out of his ground to indulge in some forceful driving.\" Canterbury won again.Moore led the batting averages in the Canterbury Cricket Association in 1877–78 with 379 runs at an average of 34.4. Also in 1877–78,he was a member of the Canterbury team that inflicted the only defeat on the touring Australians. In 1896–97, at the age of 47, he top-scored in each innings for a South Canterbury XVIII against the touringQueensland cricket team.Passage 5:Ross McMillanPeter Ross McMillan (born 2 June 1987) is a professional rugby union player. His position is hooker.  McMillan has previously played professionally for Nottingham,Gloucester, Moseley, Coventry, Birmingham & Solihull, Northampton, Bristol and Leicester Tigers.CareerBorn in Chesterfield, England McMillan represented England at U19 level whilst with his first professional clubNottingham.On 2 June 2006 Gloucester announced McMillan's signing on a 2 years contract ahead of competition from other Premiership clubs to sign him from Nottingham.  For the 2007-08 season, Ross wasdual-registered with Moseley.  In a friendly prior to the 2008-09 season, McMillan suffered a ruptured cruciate ligament against Aviron Bayonnais, a season-ending injury.McMillan signed for Coventry in the summer of2009.McMillan joined Northampton Saints midway through the 2011-2012 season from Birmingham & Solihull as a triallist. He was awarded a short-term contract in February 2012, followed by a full contract after hisappearance as a substitute in the LV= Cup final. In 2014 McMillan was a replacement as Saints won the European Rugby Challenge Cup.In January 2015, Ross was signed by Bristol on an 18-month contract.On 10August 2018 Leicester Tigers announced the signing of McMillan.  On 15 May 2019 he was announced as one of the players to leave Leicester following the end of the 2018-19 Premiership Rugby season.McMillan is theAssistant Forwards Coach at London Irish.Passage 6:Greg A. Hill (artist)Greg A. Hill is a Canadian-born First Nations artist and curator. He is Kanyen'kehà:ka Mohawk, from Six Nations of the Grand River Territory,Ontario.Early lifeHill was born and raised in Fort Erie, Ontario.Art careerHis work as a multidisciplinary artist focuses primarily on installation, performance and digital imaging and explores issues of his Mohawk andFrench-Canadian identity through the prism of colonialism, nationalism and concepts of place and community.Hill has been exhibiting his work since 1989, with solo exhibitions and performance works across Canada aswell as group exhibitions in North America and abroad. His work can be found in the collections of the Canada Council, the Indian Art Centre, Indian and Northern Affairs Canada, the Canadian Native Arts Foundation(now Indspire), the Woodland Cultural Center, the City of Ottawa, the Ottawa Art Gallery and the International Museum of Electrography.Curatorial careerHill serves as the Audain Senior Curator of Indigenous Art at theNational Gallery of Canada.Awards and honoursIn 2018, Hill received the Indspire Award for Arts.Passage 7:Tom DickinsonThomas or Tom Dickinson may refer to: Thomas Dickenson, or Dickinson, merchant andpolitician of York, EnglandThomas R. Dickinson, United States Army generalJ. Thomas Dickinson, American physicist and astronomerTom Dickinson (cricketer),  Australian-born cricketer in EnglandTom Dickinson(American football), American football playerPassage 8:Wesley BarresiWesley Barresi (born 3 May 1984) is a South African born first-class and Netherlands international cricketer. He is a right-handed wicketkeeper-batsman and also bowls right-arm offbreak. In February 2021, Barresi announced his retirement from all forms of cricket, but returned to the national team in August 2022.CareerWesley became the 100thvictim to Indian cricketer Yuvraj Singh, when he was dismissed in the 2011 World Cup game against India.In July 2018, he was named in the Netherlands' One Day International (ODI) squad, for their series againstNepal. Ahead of the ODI matches, the International Cricket Council (ICC) named him as the key player for the Netherlands.In July 2019, he was selected to play for the Amsterdam Knights in the inaugural edition of theEuro T20 Slam cricket tournament. However, the following month, the tournament was cancelled.Passage 9:Hartley LobbanHartley W Lobban (9 May 1926 – 15 October 2004) was a Jamaican-born first-class cricketerwho played 17 matches for Worcestershire in the early 1950s.Life and careerLobban played little cricket in Jamaica. He went to England at the end of World War II as a member of the Royal Air Force, and settled inKidderminster in Worcestershire in 1947, where he worked as a civilian lorry driver for the RAF. He began playing for Kidderminster Cricket Club in the Birmingham League, and at the start of the 1952 season, openingthe bowling for the club's senior team, he had figures of 7 for 9 and 7 for 37.Worcestershire invited him to play for them, and he made his first-class debut against Sussex in July 1952. He took five wickets in the match(his maiden victim being Ken Suttle) and then held on for 4 not out with Peter Richardson (20 not out) to add the 12 runs needed for a one-wicket victory after his county had collapsed from 192 for 2 to 238 for 9. Aweek later he claimed four wickets against Warwickshire, then a few days later still he managed 6 for 52 (five of his victims bowled) in what was otherwise a disastrous innings defeat to Derbyshire. In the last match ofthe season he took a career-best 6 for 51 against Glamorgan; he and Reg Perks (4 for 59) bowled unchanged throughout the first innings. Worcestershire won the game and Lobban finished the season with 23 wicketsat 23.69.He took 23 wickets again in 1953, but at a considerably worse average of 34.43, and had only two really successful games: against Oxford University in June, when he took 5 for 70, and then against Sussex inJuly. On this occasion Lobban claimed eight wickets, his most in a match, including 6 for 103 in the first innings. He also made his highest score with the bat, 18, but Sussex won by five wickets.In 1954 Lobban madeonly two first-class appearances, and managed only the single wicket of Gloucestershire tail-ender Bomber Wells. In his final game, against Warwickshire at Dudley, his nine first-innings overs cost 51. He bowled justtwo overs in the second innings as Warwickshire completed an easy ten-wicket win. Lobban played one more Second XI game, against Glamorgan II at Cardiff Arms Park; in this he picked up five wickets.He was also aprofessional boxer and played rugby union for Kidderminster.He later moved to Canada, where he worked as a teacher in Burnaby, British Columbia. He and his wife Celia had a son and two daughters.Passage 10:WaleAdebanwiWale Adebanwi (born 1969) is a Nigerian-born first Black Rhodes Professor at St Antony's College, Oxford where he was, until June 2021, a Professor of Race Relations, and the Director of the African StudiesCentre, School of Interdisciplinary Area Studies, and a Governing Board Fellow. He is currently a Presidential Penn Compact Professor of Africana Studies at the University of Pennsylvania. Adebanwi's research focuseson a range of topics in the areas of social change, nationalism and ethnicity, race relations, identity politics, elites and cultural politics, democratic process, newspaper press and spatial politics in Africa.EducationbackgroundWale Adebanwi graduated with a first degree in Mass Communication from the University of Lagos, and later earned his M.Sc. and Ph.D. in Political Science from the University of Ibadan. He also has anMPhil. and a Ph.D. in Social Anthropology from the University of Cambridge.CareerAdebanwi worked as a freelance reporter, writer, journalist and editor for many newspapers and magazines before he joined theUniversity of Ibadan's Department of Political Science as a lecturer and researcher. He was later appointed as an assistant professor in the African American and African Studies Department of the University ofCalifornia, Davis, USA. He became a full professor at UC Davis in 2016.Adebanwi is the co-editor of Africa: Journal of the International African Institute and the Journal of Contemporary African Studies.WorksHispublished works include:Nation as Grand Narrative: The Nigerian Press and the Politics of Meaning (University of Rochester Press, 2016)Yoruba Elites and Ethnic Politics in Nigeria: Obafemi Awolowo and CorporateAgency (Cambridge University Press, 2014)Authority Stealing: Anti-corruption War and Democratic Politics in Post-Military Nigeria (Carolina Academic Press, 2012)In addition, he is the editor and co-editor of otherbooks, including.The Political Economy of Everyday Life in Africa: Beyond the Margins (James Currey Publishers, 2017)Writers and Social Thought in Africa (Routledge, 2016)(co-edited with Ebenezer Obadare)Governance and the Crisis of Rule in Contemporary Africa (Palgrave Macmillan, 2016)(co-edited with Ebenezer Obadare) Democracy and Prebendalism in Nigeria: Critical Interpretations (Palgrave Macmillan,2013).(co-edited with Ebenezer Obadare) Nigeria at Fifty: The Nation in Narration (Routledge, 2012)(co-edited with Ebenezer Obadare) Encountering the Nigerian State (Palgrave Macmillan, 2010).AwardsRhodesProfessorship in Race Relations awarded by Oxford University to Faculty of African and Interdisciplinary Area Studies."}
+{"doc_id":"doc_259","qid":"","text":"Passage 1:The Thing About StyxThe Thing About Styx (German: Die Sache mit Styx) is a 1942 German comedy crime film directed by Karl Anton and starring Laura Solari, Viktor de Kowa and Margit Symo. It was based on the novel Rittmeister Styx by Georg Mühlen-Schulte.CastLaura Solari as Julia SanderViktor de Kowa as Captain StyxMargit Symo as ArianeWill Dohm as BasilioCurt Lucas as Jules StoneWalter Steinbeck as Jacques StoneHans Leibelt as consul SanderHarald Paulsen as Dr. BonnettTheodor Loos as LenskiFranz Weber as CyrillWerner Scharf as TschelebiFranz Zimmermann as DodleyKurt Seifert as EugeneKarl Meixner as messengerLeo Peukert as DuchanHans Stiebner as hostLouis Ralph as packagerWilhelm Bendow as administrator of the legationKurt Mikulski as opera doormanTheodor Vogeler as accompanist #1Friedrich Petermann as accompanist #2Karl JüstelAngelo FerrariFranz SchafheitlinWalter BechmannPassage 2:The Wonderful World of Captain KuhioThe Wonderful World of Captain Kuhio (\u0000\u0000\u0000\u0000\u0000, Kuhio Taisa, lit. \"Captain Kuhio\") is a 2009 Japanese comedy-crime film, directed by Daihachi Yoshida, based on Kazumasa Yoshida's 2006 biographical novel, Kekkon Sagishi Kuhio Taisa (lit. \"Marriage swindler Captain Kuhio\"), that focuses on a real-life marriage swindler, who conned over 100 million yen (US$1.2 million) from a number of women between the 1970s and the 1990s.The film was released in Japan on 10 October 2009.CastMasato Sakai - Captain KuhioYasuko Matsuyuki - Shinobu NaganoHikari Mitsushima - Haru YasuokaYuko Nakamura - Michiko SudoHirofumi Arai - Tatsuya NaganoKazuya Kojima - Koichi TakahashiSakura Ando - Rika KinoshitaMasaaki Uchino - Chief FujiwaraKanji Furutachi - Shigeru KurodaReila AphroditeSei AndoAwardsAt the 31st Yokohama Film FestivalBest Actor – Masato SakaiBest Supporting Actress – Sakura AndoPassage 3:The Thing from Another WorldThe Thing from Another World, sometimes referred to as just The Thing, is a 1951 American black-and-white science fiction-horror film, directed by Christian Nyby, produced by Edward Lasker for Howard Hawks' Winchester Pictures Corporation, and released by RKO Radio Pictures. The film stars Margaret Sheridan, Kenneth Tobey, Robert Cornthwaite, and Douglas Spencer. James Arness plays The Thing: He is difficult to recognize in costume and makeup due to both low lighting and other effects used to obscure his features. The Thing from Another World is based on the 1938 novella \"Who Goes There?\" by John W. Campbell (writing under the pseudonym of Don A. Stuart).The film's storyline concerns a United States Air Force crew and scientists who find, frozen in the Arctic ice, a crashed flying saucer and a humanoid body nearby. Returning to their remote arctic research outpost with the body still in a block of ice, they are forced to defend themselves against the still alive and malevolent plant-based alien when it is accidentally thawed out.PlotIn Anchorage, journalist Ned Scott (Douglas Spencer), looking for a story, visits the officer's club of the Alaskan Air Command, where he meets Captain Pat Hendry (Kenneth Tobey), his co-pilot Lieutenant Eddie Dykes, (a friend of Scott's), and flight navigator Ken \"Mac\" MacPherson. General Fogarty orders Hendry to fly to Polar Expedition Six at the North Pole, per a request from its lead scientist, Nobel laureate Dr. Arthur Carrington (Robert Cornthwaite); Carrington has radioed that an unusual aircraft has crashed nearby. With Scott, Corporal Barnes, crew chief Bob, and a pack of sled dogs, Hendry pilots a Douglas C-47 Skytrain transport aircraft to the remote outpost.Upon arrival, Scott and the airmen meet radio operator Tex, Dr. Chapman, his wife Mrs. Chapman, a man named Lee, who is one of two cooks, and the Inuit dog handlers. Also present are scientists Vorhees, Stern, Redding, Stone, Laurence, Wilson, Ambrose, Auerbach, Olson, and Carrington. Hendry later rekindles his romance with Nikki Nicholson (Margaret Sheridan), Carrington's secretary. Several scientists fly with the airmen to the crash site, finding a large object buried beneath the ice. As they spread out to determine the object's shape, they realize that they are standing in a circle; they have discovered a flying saucer. The team attempts to melt the ice covering the saucer with thermite, but a violent reaction with the craft's metal alloy completely destroys it. Their Geiger counter, however, detects a frozen body buried nearby; it is excavated in a large block of ice and loaded aboard the C-47 transport. They fly out as an Arctic storm closes in on their site.Hendry assumes command of the outpost and, pending radio instructions from General Fogarty, denies Scott permission to send out his story; he also denies the scientists' demands to examine the body. Tex sends an update to Fogarty, and the airmen settle in as the storm arrives. A watch is posted; Barnes relieves McPherson and, disturbed by the creature's appearance in the clearing ice, covers it with an electric blanket, which he does not realize is plugged in. The block slowly thaws and the creature, still alive, escapes into the storm and is attacked by the sled dogs. The airmen recover the creature's severed arm after the attack.The scientists examine the arm, concluding that the alien is an advanced form of plant life. Carrington is convinced of its superiority to humans and becomes intent on communicating with it. The airmen begin a search, which leads to the outpost's greenhouse. Carrington stays behind with Vorhees, Stern, and Laurence, having noticed evidence of alien activity. They discover a third sled dog hidden away, which has had all of its blood drained; the carnivorous plant creature feeds on blood. Carrington and the scientists post a secret watch of their own, hoping to encounter the alien before the airmen find it.The next morning, the airmen continue their search. Tex informs them that Fogarty is aware of their discovery and demands further information, now prevented by the fierce storm. Stern appears, badly injured, and tells the group that the creature has killed Auerbach and Olson. When the airmen investigate, the alien attacks them; they manage to barricade it inside the greenhouse. Hendry confronts Carrington and orders him to remain in his lab and quarters.Carrington, obsessed with the alien, shows Nicholson and the other scientists his experiment: Using seeds taken from the severed arm, he has been growing small alien plants by feeding them from the blood plasma supply at the base. Hendry finds the plasma missing when it is needed to treat Stern, which leads him to Carrington. Fogarty transmits orders to keep the creature alive, but it escapes from the greenhouse and attacks the airmen in their quarters. They douse it with buckets of kerosene and set it aflame, forcing it to retreat into the storm. After regrouping, they realize that their building's temperature is falling rapidly; the furnaces have stopped working, sabotaged by the alien. They retreat to the station's generator room to keep warm, and rig an electrical \"fly trap\". The alien continues to stalk them, but at the last moment, Carrington attempts to communicate, pleading with the creature. It knocks him aside, walks into the trap, and is electrocuted. On Hendry's order, it is reduced to a pile of ash.When the weather clears, Scotty is finally able to file his \"story of a lifetime\" by radio to a roomful of reporters in Anchorage. He ends his broadcast with a warning: \"Tell the world. Tell this to everybody, wherever they are. Watch the skies everywhere. Keep looking. Keep watching the skies...\".CastProductionIn 1950, Lederer and Hecht convinced Hawks to buy the rights to \"Who Goes There?\". The cost ended up being $1,250.In an unusual practice for the era, no actors are named during the film's dramatic \"slow burning letters through background\" opening title sequence; the cast credits appear at the end of the film. Appearing in a small role was George Fenneman, who at the time was gaining fame as Groucho Marx's announcer on the popular quiz show You Bet Your Life. Fenneman later said he had difficulty with the overlapping dialogue in the film.The film was partly shot in Glacier National Park with interior sets built at a Los Angeles ice storage plant.The scene where the alien is set aflame and repeatedly doused with kerosene was one of the first full-body fire stunts ever filmed.The film took full advantage of the national feelings in America at the time in order to help enhance the horror elements of the film's storyline. The film reflected a post-Hiroshima skepticism about science and prevailing negative views of scientists who meddle with things better left alone. In the end it is American servicemen and several sensible scientists who win the day over the alien invader.ScreenplayThe film was loosely adapted by Charles Lederer, with uncredited rewrites from Howard Hawks and Ben Hecht, from the 1938 novella \"Who Goes There?\" by John W. Campbell. The story was first published in Astounding Science Fiction under Campbell's pseudonym, Don A. Stuart. (Campbell had just become Astounding's managing editor when his novella appeared in its pages.) Science fiction author A. E. van Vogt, who had been inspired to write from reading \"Who Goes There?\" and who had been a prolific contributor to Astounding, had wanted to write the script.The screenplay changes the fundamental nature of the alien. Lederer's \"Thing\" is a humanoid life form whose cellular structure is closer to vegetation, although it must feed on blood to survive; reporter Scott even refers to it in the film as a \"super carrot\". The internal, plant-like structure of the creature makes it impervious to bullets, but not to other destructive forces. Campbell's \"Thing\" is a life form capable of assuming the physical and mental characteristics of any living thing it encounters; this characteristic was later realized in John Carpenter's adaptation of the novella, the 1982 film The Thing.DirectorThere is debate as to whether the film was directed by Howard Hawks, with Christian Nyby receiving the credit so that Nyby could obtain his Director's Guild membership or whether Nyby directed it with considerable input from producer Hawks for Hawks' Winchester Pictures, which released the film through RKO Radio Pictures Inc. Hawks gave Nyby only $5,460 of RKO's $50,000 director's fee and kept the rest, but Hawks always denied that he directed the film.Cast members disagree on Hawks' and Nyby's contributions: Tobey said that \"Hawks directed it, all except one scene\" while, on the other hand, Fenneman said that \"Hawks would once in a while direct, if he had an idea, but it was Chris' show\". Cornthwaite said that \"Chris always deferred to Hawks ... Maybe because he did defer to him, people misinterpreted it\".One of the film's stars, William Self, later became President of 20th Century Fox Television. In describing the production, Self said, \"Chris was the director in our eyes, but Howard was the boss in our eyes\". Although Self has said that \"Hawks was directing the picture from the sidelines\", he also has said that \"Chris would stage each scene, how to play it. But then he would go over to Howard and ask him for advice, which the actors did not hear ... Even though I was there every day, I don't think any of us can answer the question. Only Chris and Howard can answer the question\".At a reunion of The Thing cast and crew members in 1982, Nyby said:Did Hawks direct it? That's one of the most inane and ridiculous questions I've ever heard, and people keep asking. That it was Hawks' style. Of course it was. This is a man I studied and wanted to be like. You would certainly emulate and copy the master you're sitting under, which I did. Anyway, if you're taking painting lessons from Rembrandt, you don't take the brush out of the master's hands.ReceptionCritical and box office receptionThe Thing from Another World was released in April 1951. By the end of that year, the film had accrued $1,950,000 in distributors' domestic (U.S. and Canada) rentals, making it the year's 46th biggest earner, beating all other science fiction films released that year, including The Day the Earth Stood Still and When Worlds Collide.Bosley Crowther in The New York Times observed, \"Taking a fantastic notion (or is it, really?), Mr. Hawks has developed a movie that is generous with thrills and chills…Adults and children can have a lot of old-fashioned movie fun at 'The Thing', but parents should understand their children and think twice before letting them see this film if their emotions are not properly conditioned\". \"Gene\" in Variety complained that the film \"lacks genuine entertainment values\". More than 20 years after its theatrical release, science fiction editor and publisher Lester del Rey compared the film unfavorably to the source material, calling it \"just another monster epic, totally lacking in the force and tension of the original story\". Isaac Asimov thought it to be one of the worst movies he had ever seen. For his part, Campbell acknowledged that an adaptation would have to change elements from the original, which he considered too scary for most audience members, and hoped that at least the movie would succeed in getting people interested in science fiction.The film is now considered to be one of the best films of 1951 and one of the great science fiction films of the 1950s. It garnered an 86% \"Fresh\" rating at the film review aggregator website Rotten Tomatoes from 65 reviews, with the consensus that the film \"is better than most flying saucer movies, thanks to well-drawn characters and concise, tense plotting\". In 2001, the United States Library of Congress deemed the film \"culturally significant\" and selected it for preservation in the National Film Registry. Additionally, Time magazine named The Thing from Another World \"the greatest 1950s sci-fi movie\".American Film Institute listsAFI's 100 Years...100 Thrills – #87Critical analysisSome critics have interpreted The Thing from Another World to contain commentary on the threat of Communism in America during the Cold War. Program notes from a Cinema Texas screening of the film stated that \"The film is seen as being symbolic of McCarthyism and the fight against communism on the home front.\"Film critic Roger Ebert wrote about The Thing from Another World in a 1982 review of the John Carpenter film, The Thing, stating \"The Two 1950's versions ... (The Thing from Another World and Invasion of the Body Snatchers) were seen at the time as fables based on McCarthyism; communists, like victims of The Thing, looked, sounded, and acted like your best friend, but they were infected with a deadly secret.\" Film critic Nick Schager also wrote on the films' themes, stating \"An early remark by one military official concerning the burgeoning Soviet presence in the North Pole reinforces the Thing's allegorical status as communist 'other' (one can deduce that Hendry fears the creature not only because it's emotionless and sexless, but also godless).\"Related productionsIn 1972, director Eugenio Martín and producer Bernard Gordon made Horror Express, a Spanish-British co-production that serves as a second, looser adaptation of Campbell's novella.In 1980, Fantasy Newsletter reported that Wilbur Stark had bought the rights to several old RKO Pictures fantasy films, intending to remake them, and suggested the most significant of these purchases was The Thing From Another World. This soon led to the making of a more faithful, though initially poorly received, adaptation of Campbell's story, directed by John Carpenter, released in 1982 under the title The Thing, with Stark as executive producer. It paid homage to the 1951 film by using the same \"slow burning letters through background\" opening title sequence. Carpenter's earlier film, Halloween (1978), also paid homage when the protagonist is shown watching The Thing from Another World on television.A colorized version of the original film was released in 1989 on VHS by Turner Home Entertainment; it was billed as an \"RKO Color Classic\".See also1951 in filmList of films featuring extraterrestrialsNotesPassage 4:Sheila AmosSheila Amos (July 27, 1946 – July 11, 2010) was an American film editor notable for her work on the shows Cheers and Frasier, and on the film The Thing About My Folks.Amos was nominated for two Primetime Emmys during her career.DeathAmos died on July 11, 2010, in New York City from leukaemia at the age of 63.FilmographyThe Thing About My Folks (2005)External linksSheila Amos at IMDbPassage 5:The Thing About My FolksThe Thing About My Folks is a 2005 American drama film directed by Raymond De Felitta and starring  Peter Falk, Paul Reiser, and Olympia Dukakis. The screenplay by Paul Reiser focuses on the effect a terminal illness has on the marriage of an aging couple and their adult children.PlotWhen Muriel Kleinman unexpectedly leaves her husband Sam, their three daughters Linda, Hillary, Bonnie, and daughter-in-law Rachel set about trying to find her while Sam and his son Ben spend a day in the country inspecting property Ben and his wife are considering buying. The journey evolves into an extended road trip in a restored 1940 Ford Deluxe coupe convertible Sam buys when Ben's car crashes. As time passes, the two men fish, drink, and play pool while discussing the past and reestablishing their relationship.Ben learns Muriel went on vacation, but after enjoying a leisurely day by herself, began to experience blackouts. The doctors give her six months to live, and Muriel and Sam begin to mend a marriage Sam never realized was deteriorating. She lives through the summer, and Ben realizes he has never seen his parents happier in his life. When Muriel dies, Sam moves in with Ben and his family, and they enjoy life together until Sam himself passes away. Ben and Rachel have another child and name him Martin Samuel Kleinman to honor his parents, whose gravestone bears the Hebrew inscription \"\u0000\u0000 \u0000\u0000\u0000 \u0000\u0000\u0000 \u0000\u0000\u0000 \u0000\u0000\u0000 \u0000\u0000\u0000\" (\"What is mine is yours and what is yours is mine\"), testifying to the truly giving and compassionate relationship Ben's parents had with each other.CastPeter Falk as Sam KleinmanPaul Reiser as Ben KleinmanOlympia Dukakis as Muriel KleinmanElizabeth Perkins as Rachel KleinmanAnn Dowd as LindaKevin Cahoon as Perky WaiterClaire Beckman as HillaryMimi Lieber as BonnieJerry Seinfeld as himselfProductionThe film was shot on location in Minnesota.The film premiered at the Seattle International Film Festival in June 2005 and went into limited release in the US on September 16, 2005. It grossed $235,341 on 93 screens on its opening weekend and eventually earned $816,403 in the US and $6,934 in foreign markets for a total worldwide box office of $823,337.Critical receptionRoger Ebert of the Chicago Sun-Times observed, \"One of the nice things about my job is that I get to enjoy the good parts in movies that aren't really necessary to see. The Thing About My Folks travels familiar movie territory...but we discover once again what a warm and engaging actor Peter Falk is. I can't recommend the movie, but I can be grateful that I saw it, for Falk.\"Ned Martel of The New York Times said, \"As the crotchety paterfamilias, Peter Falk is convincingly grating, and for a few moments heroic, as he makes his character, Sam Kleinman, into someone the son need not complain about so much. Despite the grumpy, flatulent behavior the script demands of him, Mr. Falk rises above the treacly shenanigans.\"Steve Persall of the St. Petersburg Times graded the film B− and commented, \"Nothing surprises in The Thing About My Folks except how effective such timeworn material can be when the right people deliver it. The movie contains little that we haven't seen before, but charm can make anything seem a bit fresher. Most credit goes to Peter Falk . . . [who] doesn't merely carry [the film]; he bravely totes it over a mountain of clichés like one of Hannibal's elephants . . . somehow this derivative, predictable story works, probably because of Falk's unforced determination to make that happen.\"Robert Koehler of Variety called the film \"good-natured but only memorable as a platform for the amusingly feisty Peter Falk\" and added, \"Pic belongs more to Reiser than to director Raymond De Felitta, who allows the extremely talky script to go on uncut and covers the chatter with an excess of TV-style tracking close-ups.\"Awards and nominationsPeter Falk tied with Josh Hartnett (Lucky Number Slevin) for Best Actor honors at the Milan International Film Festival. The National Board of Review cited the film for Excellence In Filmmaking.Passage 6:MorchhaMorchha (transliteration: Front/Position) is a 1980 film produced for Gopikrishna Global Entertainers by Rakesh and directed by Ravikant Nagaich. This action drama casts Ravi Behl, Aruna Irani, Chandrashekhar, Jagdeep, Jayshree T., Mac Mohan, Shakti Kapoor, Suresh Oberoi.Ravi Behl made his acting debut with a smaller role in  this movie.CastRavi BehlAruna IraniAmmi MahendraAnitaChandrashekharGaneshJagdeepJayshree T.Mac MohanKajal Kiran as Guest appearance as the dancer in \"Ab Ki Baras Bada Juliam Hua\"MahindramMala "}
+{"doc_id":"doc_260","qid":"","text":"Passage 1:Dan MilneDan Milne is a British actor/director who is possibly best known for his role in EastEnders.CareerHe started his career in 1996 and made an appearance in Murder Most Horrid and as a pub poet in Ina Land of Plenty. He then appeared in EastEnders as David Collins, Jane Beale's dying husband.As a member of the Young Vic, he collaborated with Tim Supple to originate  Grimm Tales, which toured internationally,culminating in a Broadway run at the New Victory Theater. Since that time he has collaborated on more than seven major new works, including Two Men Talking, which has run for the past six years in various citiesacross the world. In 2013, he replaced Ken Barrie as the voice of the Reverend Timms in the children's show, Postman Pat.Passage 2:Arindam SilArindam Sil (born March 12, 1964) is an Indian actor, film director andline producer who predominantly works in Bengali films..Early lifeSil was born on 12 March 1964 in North Calcutta to a traditional joint family. He was a student of St. Joseph's College, Calcutta, and St. Xavier's College,Kolkata, from where he passed ICSE, ISC & B Com (Hons) examinations. He then pursued M.B.A. in marketing from the Indian Institute of Social Welfare and Business Management at the University of Calcutta. He gaveup his PhD at USA to pursue his interest in becoming an actor. In 2012 he directed a movie Aborto. Sil and his company, Nothing Beyond Cinema, has managed the line-production of films like The Bong Connection, ViaDarjeeling, 033, Brake Fail, Shukno Lanka, Nobel Chor, Kahaani, Detective Byomkesh Bakshi, TE3N, Meri Pyari Bindu', among others.FilmographyDirectorActorAfghaani Snow (2023)Sada Ronger Prithibi (2023)ShabashFeluda (2023)Lost (2023)Tirandaj Shabor (2022)Mahananda (2022)Bhalo Meye Kharap Meye (2019)Durgeshgorer Guptodhon (2019)Finally Bhalobasha (2019)Guptodhoner Sondhane (2018)Eagoler Chokh (2016)(cameo)Har Har Byomkesh (2015) (cameo)Shudhu Tomari Jonyo (2015) Nayantara's FatherBuno Haansh (2014)Kaal Madhumas (2013)Target Kolkata (2013)Asbo Aar Ekdin (2012)Laptop (2012) Raya's FatherNobelChor (2012)Arekti Premer Golpo (2010)Ekti Tarar Khonje (2010)Sob Choritro Kalponik (2009)Brake Fail (2009)Via Darjeeling (2008)Tolly Lights (2008)Chalo Let's Go (2008)Bow Barracks Forever (2007)The BongConnection (2007)Netaji Subhas Chandra Bose: The Forgotten Hero (2005)Dwitio Paksha (2004)Mahulbanir Sereng (2004)Annadaata (2002)Debdas (2002)Moner Majhe Tumi (2002)Cancer (2001)Hey Ram(2000)Shesh Thikana (2000)Sankha Sindurer Dibyi (1999)Shatru Mitra (1999)Swapno Niye (1999)Tumi Ele Taai (1999)Executive producerMeri Pyaari Bindu (2017)Kahaani 2: Durga Rani Singh (2016)Te3n(2016)Detective Byomkesh Bakshy!Gunday (2014)Kahaani (2012)Nobel Chor (2012)Shukno Lanka (2010)033 (2010)Brake Fail (2009)Via Darjeeling (2008)The Bong Connection (2007)See alsoPijush GangulyParanBandopadhyayPassage 3:Circle of DeceptionCircle of Deception is a 1960 CinemaScope British war film directed by Jack Lee and starring Bradford Dillman, Suzy Parker and Harry Andrews.PlotA Canadian officer is senton a secret and dangerous mission during World War II. His superior officers deceptively give him false information about the planned invasion of 1944. He is told that this secret information must not get into enemyhands. He is transported into occupied territory in a way that insures he will be captured. He resists torture, but finally tells all.  The Germans are misled and the Normandy landings succeed. The Canadian officer is nowa broken man.CastBradford Dillman as Captain Paul RaineSuzy Parker as Lucy BowenHarry Andrews as Captain Thomas RawsonRobert Stephens as Captain SteinPaul Rogers as Major William SpenceJohn Welsh as MajorTaylorRonald Allen as Jim AbelsonA. J. Brown as Frank BowenMartin Boddey as Henry CrowCharles Lloyd-Pack as AyresJacques Cey as CureJohn Dearth as Captain OrmrodNorman Coburn as CarterHennie Scott as SmallboyRichard Marner as German colonelWalter Gotell as Phoney Jules BallardPassage 4:Elliot SilversteinElliot Silverstein (born August 3, 1927) is a retired American film and television director. He directed the AcademyAward-winning western comedy Cat Ballou (1965), and other films including The Happening (1967), A Man Called Horse (1970), Nightmare Honeymoon (1974), and The Car (1977). His television work includes fourepisodes of The Twilight Zone (1961–1964).CareerElliot Silverstein was the director of six feature films in the mid-twentieth century. The most famous of these by far is Cat Ballou, a comedy-western starring JaneFonda and Lee Marvin.The other Silverstein films, in chronological order, are The Happening, A Man Called Horse,  Nightmare Honeymoon, The Car, and Flashfire.Other work included directing for the television showsThe Twilight Zone, The Nurses, Picket Fences, and Tales from the Crypt.While Silverstein was not a prolific director, his films were often decorated. Cat Ballou, for instance, earned one Oscar and was nominated for fourmore. His high quality work was rewarded in 1990 with a Lifetime Achievement Award by the Directors Guild of America.AwardsIn 1965, at the 15th Berlin International Film Festival, he won the Youth Film Award –Honorable Mention, in the category of Best Feature Film Suitable for Young People for Cat Ballou.He was also nominated for the Golden Berlin Bear.In 1966, he was nominated for the DGA Award in the category forOutstanding Directorial Achievement in Motion Pictures (Cat Ballou).In 1971, he won the Bronze Wrangler award at the Western Heritage Awards in the category of Theatrical Motion Picture for A Man Called Horse,along with producer Sandy Howard, writer Jack DeWitt, and actors Judith Anderson, Jean Gascon, Corinna Tsopei and Richard Harris.In 1985, he won the Robert B. Aldrich Achievement Award from the Directors Guild ofAmerica.In 1990, he was awarded the DGA Honorary Life Member Award.Personal lifeSilverstein has been married three times, each ending in divorce. His first marriage was to Evelyn Ward in 1962; the couple divorcedin 1968. His second marriage was to Alana King. During his first marriage, he was the step-father of David Cassidy.He currently lives in North Hollywood, Los Angeles. Actively retired, Silverstein has taught film at USCand continues to work on screen plays and other projects.FilmographyTales from the Crypt (TV Series) (1991–94)Picket Fences (TV Series) (1993)Rich Men, Single Women (TV Movie) (1990)Fight for Life (TV Movie)(1987)Night of Courage (TV Movie) (1987)Betrayed by Innocence (TV Movie) (1986)The Firm (TV Series) (1982–1983)The Car (1977)Nightmare Honeymoon (1974)A Man Called Horse (1970)The Happening (1967)CatBallou (1965)Kraft Suspense Theatre (TV Series) (1963–64)The Defenders (TV Series) (1962–64)Arrest and Trial (TV Series) (1964)The Doctors and the Nurses (TV Series) (1962–64)Twilight Zone (TV Series)(1961–64)Breaking Point (TV Series) (1963)Dr. Kildare (TV Series) (1961–63)The Dick Powell Theatre (TV Series) (1962)Belle Sommers (TV Movie) (1962)Naked City (TV Series) (1961–62)Have Gun - Will Travel (TVSeries) (1961)Route 66 (TV Series) (1960–61)Checkmate (TV Series) (1961)The Westerner (TV Series) (1960)Assignment: Underwater (TV Series) (1960)Black Saddle (TV Series) (1960)Suspicion (TV Series)(1958)Omnibus (TV Series) (1954–56)Passage 5:Victor OstrovskyVictor John Ostrovsky (born 28 November 1949) is an author and a former katsa (case officer) for the Israeli Mossad. He authored two nonfiction booksabout his service with the Mossad: By Way of Deception, a #1 New York Times bestseller in 1990, and The Other Side of Deception several years later.FamilyOstrovsky's mother, a gymnastics teacher by trade, was bornin Mandatory Palestine to Haim and Esther Margolin, (his grandparents) who fled Russia in 1912 and settled in Palestine where Haim served as Auditor General of the Jewish National Fund (JNF), and Esther volunteeredto the British Army (ATS), as truck driver during World War II, and later joined the Haganah to fight for Israel's independence from the British mandate rule.Ostrovsky's father was a Canadian-born Jew who served withthe Royal Canadian Air Force during World War II as a tail gunner on a Lancaster bomber, taking part in more than 20  missions over Germany. His plane was shot down over Germany, but he managed to escape andreturn to active service. After the war, he joined the Israeli military to fight in the 1948 Arab–Israeli War, rising to command Sde Dov, an Israeli Air Force base in Israel.Early lifeHe was born in Edmonton, Alberta,Canada, on 28 November 1949, and he moved to Israel at the age of five.CareerOstrovsky joined the Israeli Youth Brigade at 14 and quickly became an expert marksman, finishing second in a 1964 national shootingcompetition, with a score of 192 out of 200. At the age of 17, he joined the Israel Defense Forces (IDF) after a minor eye condition ended his hopes of becoming a pilot. He was assigned to the Military Police and rose tocommand the Nablus Military Police Base. Later, he was made commanding officer of the Military Police West Bank Central Command.After his service with the Military Police, he spent six years in the Israeli Navy. Hewas selected to attend the Staff and Command School and attained the rank of Lieutenant Commander. Ostrovsky was placed in charge of all Navy weapons testing. He helped introduce the Harpoon surface-to-surfacemissile to the Saar missile boats as well as the Vulcan Phalanx anti-missile defense system.According to court papers filed by the Israeli government in an attempt to stop the publication of his book By Way ofDeception, Ostrovsky was recruited by the Mossad in 1984 and trained as a katsa (case officer) at the Mossad's training school north of Tel Aviv.In 1986, he says that he left the agency saying it was because of what heconsidered cases of unnecessarily-malicious actions by Mossad operatives. He also accused its directors of knowingly making less-than-accurate reports to the nation's political leadership. However, historian BennyMorris states that Ostrovsky's two years in the Mossad were mostly spent as a trainee, and he wouldn't have had access to many operational secrets before he was fired.His wife, Bella Ostrovsky, died on January 8,2015, at 65.He operated Ostrovsky Fine Art Gallery in Scottsdale, Arizona. While he has painted many subjects, he is best known for his Metaphors of Espionage collection, inspired by his days as a spy for theMossad.By Way of DeceptionIn 1990, he published By Way of Deception to draw attention to the corruption and shortcomings that he claims to have witnessed in the Mossad. He has repeatedly argued thatintelligence-gathering agencies must be permitted certain operational freedoms but that significantly-increased governmental oversight of espionage activities is necessary.Without effective oversight, he has said thatthe Mossad cannot achieve its full potential and value. According to Ostrovsky, if a US senator on a military committee whose \"aide was Jewish, he or she would be approached as a sayan,\" which Ostrovsky later definesas \"a volunteer Jewish helper outside Israel\" who would then assist Mossad. Of the Israeli spy network in the United States, David Wise wrote in his New York Times review that \"both countries know that Israel has spiedon the United States for years\" and that from publicly known instances, the \"general assertion can hardly be challenged.\"Many of Ostrovsky's claims have neither been verified from other sources nor been refuted, andarguments continue to rage over the credibility of his accounts. However, he was named in a lawsuit by the Israeli government, which claimed that he was part of the Mossad. Critics such as Benny Morris, have arguedthat the book is essentially a novel; or in the case of David Wise, that much of it reads like  a \"supermarket tabloid,\" and that a case officer would not have had access to so many operational secrets. They write thatintelligence organizations practice strict compartmentalization of confidential or secretive information. Ostrovsky argued their point to be moot, as they themselves are outsiders and that the only information about theMossad they have is from their supposed \"sources\" in the agency with a very clear agenda. Ostrovsky also points out that the need-to-know rule was not closely followed in the Mossad because of its small size and theneed for case officers to fill many roles.Shortly before the official publication of the book, the Israeli government filed lawsuits in both Canada and the United States, seeking injunctions against publication. A judge forthe Manhattan Supreme Court granted the request at a 1 a.m. hearing in his home. The New York Supreme Court overturned his decision, but the resulting publicity focused national attention on Ostrovsky's story andguaranteed international success.Concerns were expressed by the Israeli government that by exposing certain prior operations, the book endangered the lives of agency personnel. Ostrovsky maintains that he neverplaced anyone in danger because only first names or code names were used. Furthermore, Ostrovsky says the Mossad was privately allowed to see the book before publication to ensure that lives were not placed indanger.The Other Side of DeceptionHe wrote a sequel, The Other Side of Deception, in which he gives more anecdotes and defends his earlier work with a list of newspaper articlesWorksBooksBy Way of Deception(1990)Lion of Judah (1993)The Other Side of Deception (1995)Black Ghosts (1999)Articles (partial)Bungled Amman Assassination Plot Exposes Rift Within Israeli Government Over Peace Negotiations WashingtonReport on Middle East Affairs, December 1997, Pages 7–8, 92Israel's \"False Information Affair\" Sheds New Light On Troubled Israeli and U.S. Relations With Syria WRMEA, January/February 1998, Pages 13–14At Age50, Israel Should Admit Its Responsibility to Jonathan Pollard, WRMEA, May/June 1998, Page 45Israeli Finger on the Nuclear Trigger Could Turn the Next Israeli-Arab War Into a Conflagration, WRMEA, December 1998,pages 48, 92Crash of Cargo Plane in Holland Revealed Existence of Israeli Chemical and Biological Weapons Plant, WRMEA, December 1998, pages 19–20Combat Units Manned by West Bank Settlers Puts Trojan HorseWithin the Future Palestinian State, WRMEA, January/February 1999, pages 26, 94The Israeli-Palestinian Summit: A Reality Check, WRMEA, August/September 2000, Page 13Passage 6:Ben PalmerBen Palmer (born1976) is a British film and television director.His television credits include the Channel 4 sketch show Bo' Selecta! (2002–2006), the second and third series of the E4 sitcom The Inbetweeners (2009–2010) and the SkyAtlantic comedy-drama Breeders (2020). Palmer has also directed films such as the Inbetweeners spin-off, The Inbetweeners Movie (2011) and the romantic comedy Man Up (2015).BiographyPalmer was born andraised in Penny Bridge, Barrow-in-Furness. He attended Chetwynde School.His first directing job was the Channel 4 sketch show Bo' Selecta!, which he co-developed with its main star, Leigh Francis. Palmer directed thesecond and third series of the E4 sitcom The Inbetweeners in 2009 and 2010, respectively.FilmographyBo' Selecta! (2002–06)Comedy Lab (2004–2010)Bo! in the USA (2006)The Inbetweeners (2009–2010)TheInbetweeners Movie (2011)Comedy Showcase (2012)Milton Jones's House of Rooms (2012)Them from That Thing (2012)Bad Sugar (2012)Chickens (2013)London Irish (2013)Man Up (2015)SunTrap (2015)BBCComedy Feeds (2016)Nigel Farage Gets His Life Back (2016)Back (2017)Comedy Playhouse (2017)Urban Myths (2017–19)Click & Collect (2018)Semi-Detached (2019)Breeders (2020)Passage 7:Thomas HubbardSumnerThomas Hubbard Sumner (20 March 1807 – 9 March 1876) was a sea captain during the 19th century. He is best known for developing the celestial navigation method known as the Sumner line or circle of equalaltitude.BiographyThomas Hubbard Sumner was born in Boston, Massachusetts on March 20, 1807, the son of Thomas Waldron Sumner, an architect, and Elizabeth, daughter of Thomas Hubbard, of WestonMassachusetts. Sumner was one of eleven children, four of whom died young. Of the seven that survived he was the only son.: 49–50 He entered Harvard University at age fifteen, graduating in 1826.: 96 Shortly aftergraduating, he married and ran off to New York with a woman with whom he had become entangled but the marriage was short-lived and they were divorced three years later.  He then enrolled as a common sailor on aship engaged in the China trade and within eight years he had risen to the rank of captain and was master of his own ship. On March 10, 1834 he married Selina Christiana Malcolm, of Connecticut and between 1835and 1848 together they had six children, two of whom died in their infancy.: 96 On November 25, 1837, Sumner sailed from Charleston, South Carolina, bound for Greenock, Scotland, and it was during that voyage,while entering Saint George's Channel and the Irish Sea, that he discovered the principle upon which his new method of navigation was based. He took some years to perfect it and published it as book in 1843.Shortlyafter that his mind began to fail and in 1850 he was committed to the McLean Asylum in Boston. His state gradually deteriorated and in 1865 he was committed to the Lunatic Hospital at Taunton, Massachusetts, wherehe died in 1876 at the age of 69.DiscoveryHe discovered the (later so-called) line of position or circle of equal altitude, which he named \"parallel of equal altitude\" on a voyage from South Carolina to Greenock inScotland in 1837. On December 17, 1837, as he was nearing the coast of Wales, he was uncertain of his position after several days of cloudy weather and no sights.  A momentary opening in the clouds allowed him totake a sight of the sun which he reduced with his estimated latitude. Measuring the longitude depended on knowing the time, from his chronometer, and the latitude accurately. Being uncertain about the latitude hereduced the sight again using 10' greater and 20' greater latitude, plotted the longitude for each one, and he observed that all three resulting positions were located on a line which also happened to pass through SmallsLighthouse (off the coast of Pembrokeshire in Wales).: 37–39 : 56 He reasoned that he must be located somewhere on that line and that if he set course E.N.E. along the line he should eventually sight the Smalls Lightwhich, in fact he did, in less than an hour. He realized that a single observation of the altitude of a celestial body at a known time determines the position of a line somewhere on which the observer is located. The line ofequal altitude is actually a circle, centered on the point on the globe at which the sun (in the case of a solar observation) is directly overhead, the subsolar point. As the circle has a radius of thousands of miles, asegment a few tens of miles long closely approximates a straight line.: 449–453 Sumner published his findings six years later in 1843 and this method of resolving a sight for two different latitudes and drawing a \"line ofposition\" through the two positions obtained was an important development in celestial navigation. The method was quickly recognized as important and a copy of the pamphlet describing the method was supplied toevery ship in the United States Navy.NamesakesThe crater Sumner, and the nearby crater chain Catena Sumner, on the far side of the Moon, are named after him.Two survey ships of the United States Navy (USN), theUSS Sumner (AGS-5) and USNS Sumner (T-AGS-61), were named in honour of Sumner. Note that two other Sumner's of the USN, the USS Sumner (DD-333) and the USS Allen M. Sumner (DD-692), were named forUnited States Marine Corps Captain Allen Melancthon Sumner, who died in action in World War I.Passage 8:Scotty FoxScott Fox is a pornographic film director who is a member of the AVN Hall of Fame.Awards1992 AVNAward – Best Director, Video (The Cockateer)1995 AVN Hall of Fame inducteePassage 9:Ebar ShaborEbar Shabor (Bengali: \u0000\u0000\u0000\u0000 \u0000\u0000\u0000; lit. Now It's the hunter) is a 2015 Indian Bengali-language mystery-thriller filmbased on the detective story \"Rwin\" (\u0000\u0000) by Shirshendu Mukhopadhyay. The film is directed by Tollywood line producer Arindam Sil, and produced by Reliance Entertainment and Mundus Services. This is the firstinstallment of Goenda Shabor film series. This is the second directorial venture of the master film director after the blockbuster AbortoThe film is based on the investigation of the murder of Mitali Ghosh (SwastikaMukherjee). What follows is a revelation of certain shameful truths that are prevalent in the life of a typical high society person. The film released on 2 January 2015.PlotA police detective Shabor Dasgupta (Saswata"}
+{"doc_id":"doc_261","qid":"","text":"Passage 1:Mason of the MountedMason of the Mounted is a 1932 American pre-Code Western film directed by Harry L. Fraser. It was the fourth Monogram Pictures eight-film Western film series \"the Bill and Andyseries\" with Bill Cody co-starring with child actor Andy Shuford.PlotNorth-West Mounted Police Constable Bill Mason and two other Mounties are chasing a murderer who shoots and wounds one of them. When themurderer has entered the United States, Bill Mason goes undercover to get his man and bring him back to Canada for justice.  He finds that the murderer, now calling himself Calhoun is leading a group of rustlers.Without knowing his true identity, the locals have Mason elected as the head of a vigilante committee to stop the rustling.CastBill Cody as Bill MasonAndy Shuford as Andy Talbot, Luke's NephewNancy Drexel as MarionKirbyLeRoy Mason as CalhounJack Carlyle as Luke Kirby, Marion's FatherJames A. Marcus as MarshalArt Smith as R.N.W.M.P, OfficerExternal linksMason of the Mounted at IMDbMason of the Mounted is available for freeviewing and download at the Internet ArchivePassage 2:Le Masque de la MéduseLe masque de la Méduse (English: The Mask of Medusa) is a 2009 fantasy horror film directed by Jean Rollin. The film is a modern-daytelling of the Greek mythological tale of the Gorgon and was inspired by the 1964 classic Hammer Horror film of the same name and the 1981 cult classic Clash of the Titans. It was Rollin's final film, as the director diedin 2010.CastSimone Rollin as la MéduseSabine Lenoël as EuryaleMarlène Delcambre as SthénoJuliette Moreau as JulietteDelphine Montoban as CorneliusJean-Pierre Bouyxou as le gardienBernard Charnacé as lecollectionneurAgnès Pierron as la colleuse d'affiche au Grand-GuignolGabrielle Rollin as la petite contrebassisteJean Rollin as l'homme qui enterre la têteThomas Smith as ThomasProductionIt was thought that Rollin's2007 film La nuit des horloges was the final film of his career, as he had mentioned in the past. However, in 2009, Rollin began preparation foe Le masque de la Méduse. Rollin originally directed the film as a one-hourshort, which was screened at the Cinémathèque de Toulouse, but after the release, Rollin decided to add 20 minutes of additional scenes and then cut the film into two distinct parts, as he did with his first feature, LeViol du Vampire.  The film was shot on location at the Golden Gate Aquarium and Père Lachaise Cemetery, as well as on stage at the Theatre du Grande Guignol, which is where the longest part of the film takes place. Itwas shot on HD video on a low budget of €150,000. Before the release, it was transferred to 35mm film.ReleaseThe film was not released theatrically, although it premiered on 19 November 2009 at the 11th edition ofthe Extreme Cinema Film Festival at the Cinémathèque de Toulouse. As part of \"An Evening with Jean Rollin\", it was shown as a double feature with Rollin's 2007 film La nuit des horloges.Home mediaNo official DVDwas released, although for a limited time, a DVD of La masque de la Méduse was included with the first 150 copies of Rollin's book Jean Rollin: Écrits complets Volume 1.Passage 3:Code of the MountedThe Code of theMounted is a 1935 American drama film directed by Sam Newfield from a screenplay by Milton Raison.  The film stars Kermit Maynard, Robert Warwick, and Jim Thorpe.CastPlotRaoul Marlin kills a fur trapper, and iscaptured and imprisoned by members of the Royal Canadian Mounted Police.  Snaky, a member of his gang, kills the two Mounties guarding him, and helps him escape, but another Mountie, Jim Wilson, tracks him downand recaptures him. However, as they are making their way back to jail, more members of the gang Marlin belongs to, including the gang's leader, Jean, waylay them and free Marlin once again. Wilson and his partner,Rogers, begin tracking the gang down. The trail leads them to a general store which is owned by Duval, who is Jean's second-in-command, as well as being in love with her. Wilson hatches a plan to go undercover andimpersonate a notorious thief and murderer, Benet.  When he gets to the store, he witnesses Duval kill an Indian, when the Indian refuses to sell his furs for fifty cents each. Jean tells him to get out of there, but Wilsongives her his story of being Benet, and wanting to partner with her and split the black market in the region with her. Wilson's cover is further bolstered when Rogers begins spreading a \"rumor\" around town that Wilsonis Benet.  After spreading the rumor, Rogers leaves to go get more Mounties to help break up the gang. Duval, jealous of the attention Jean is bestowing on Wilson/Benet, as well as being upset over being shut out oftheir deal, begins to dig into Benet's history.  At the newspaper office, he finds out that the real Benet had been hung a short time earlier.  He takes the newspaper article to Jean, who is furious, and gathers her gang togo after Wilson. Just as they are about to hunt Wilson down, Rogers and the others Mounties arrive. Most of the gang is arrested, but Jean and Marlin escape.  Wilson takes out after the two.  As he catches up withthem, Marlin gets a bead on him, but is shot and killed by Jean, who has developed feelings for Wilson. In exchange, Wilson lets Jean escape.ProductionThis was the fifth production of a work by James Oliver Curwoodstarring Kermit Maynard.  It went into production on May 9, 1935, directed by Sam Neufeld.  It was scheduled for a June 8 release, and opened on time.ReceptionThe Film Daily gave it a positive review, calling it an\"outdoor action story with better than usual attention to general production details\".  They complimented the scenery, Maynard's roping and riding skills, and felt it had enough action throughout, but went \"slightlyoverboard on dialogue and gunplay\".  The felt the direction was good, and the cinematography excellent.  In a brief review, the Motion Picture Herald gave it a lukewarm review, saying that the film was \"fair\", but thecinematography was \"excellent\", and Maynard's performance was \"well-liked\".Passage 4:QuerelleQuerelle is a 1982 West German-French English-language arthouse film directed by Rainer Werner Fassbinder andstarring Brad Davis, adapted from French author Jean Genet's 1947 novel Querelle of Brest. It was Fassbinder's last film, released shortly after his death at the age of 37.PlotThe plot centers on the handsome Belgiansailor Georges Querelle, who is also a thief and murderer. When his ship, Le Vengeur, arrives in Brest, he visits the Feria, a bar and brothel for sailors run by the Madame Lysiane, whose lover, Robert, is Querelle'sbrother. Querelle has a love/hate relationship with his brother: when they meet at La Feria, they embrace, but also punch one another slowly and repeatedly in the belly. Lysiane's husband Nono works behind the barand also manages La Feria's underhanded affairs with the assistance of his friend, the corrupt police captain Mario.Querelle makes a deal to sell opium to Nono. During the execution of the deal, he murders hisaccomplice Vic by slitting his throat.  After delivering the drugs, Querelle announces that he wants to sleep with Lysiane.  He knows that this means he will have to throw dice with Nono, who has the privilege of playinga game of chance with all of her prospective lovers. If Nono loses, the suitor is allowed to proceed with his affair. If the suitor loses, however, he must submit to anal sex with Nono first, according to Nono's maxim that\"That way, I can say my wife only sleeps with arseholes.\" Querelle deliberately loses the game, allowing himself to be sodomized by Nono. When Nono gloats about Querelle's \"loss\" to Robert, who won his dice game,the brothers end up in a violent fight.  Later, Querelle becomes Lysiane's lover, and also has sex with Mario.Luckily for Querelle, a builder, Gil, murders his work mate Theo, who had been harassing and sexuallyassaulting him.  Gil hides from the police in an abandoned prison, and Roger, who is in love with Gil, establishes contact between Querelle and Gil in the hopes that Querelle can help Gil flee. Querelle falls in love withGil, who closely resembles his brother.  Gil returns his affections, but Querelle betrays Gil by tipping off the police. Querelle cleverly arranged it so that the murder of Vic is also blamed on Gil.Querelle's superior,Lieutenant Seblon, is in love with Querelle, and constantly tries to prove his manliness to him. Seblon is aware that Querelle murdered Vic, but chooses to protect him.  Later, Seblon reveals his love and concern to adrunken Querelle, and they kiss and embrace before returning to Le Vengeur.CastBrad Davis as QuerelleFranco Nero as Lieutenant SeblonJeanne Moreau as LysianeLaurent Malet as Roger BatailleHanno Pöschl asRobert / GilGünther Kaufmann as NonoBurkhard Driest as MarioRoger Fritz as MarcellinDieter Schidor as Vic RivetteNatja Brunckhorst as PauletteWerner Asam as WorkerAxel Bauer as WorkerNeil Bell as TheoRobert vanAckeren as Drunken legionnaireWolf Gremm as Drunken legionnaireFrank Ripploh as Drunken legionnaireProductionAccording to Genet's biographer Edmund White, Querelle was originally going to be made by WernerSchroeter, with a scenario by Burkhard Driest, and produced by Dieter Schidor. However, Schidor could not find the money to finance a film by Schroeter, and therefore turned to other directors, including JohnSchlesinger and Sam Peckinpah, before finally settling on Fassbinder. Driest wrote a radically different script for Fassbinder, who then \"took the linear narrative and jumbled it up\". White quotes Schidor as saying\"Fassbinder did something totally different, he took the words of Genet and tried to meditate on something other than the story. The story became totally unimportant for him. He also said publicly that the story was asort of third-rate police story that wouldn't be worth making a movie about without putting a particular moral impact into it\".Schroeter had wanted to make a black and white film with amateur actors and location shots,but Fassbinder instead shot it with professional actors in a lurid, expressionist color, and on sets in the studio. Edmund White comments that the result is a film in which, \"Everything is bathed in an artificial light and thearchitectural elements are all symbolic.\"SoundtrackJeanne Moreau – \"Each Man Kills the Things He Loves\" (music by Peer Raben, lyrics from Oscar Wilde's poem \"The Ballad of Reading Gaol\")\"Young and Joyful Bandit\"(Music by Peer Raben, lyrics by Jeanne Moreau)Both songs were nominated to the 1984 Razzie Awards for \"Worst Original Song\".ReleaseQuerelle sold more than 100,000 tickets in the first three weeks after its releasein Paris, the first time that a film with a gay theme had achieved such success. On review aggregator Rotten Tomatoes, which categorizes reviews as positive or negative only, the film has an approval rating of 57%calculated based on 14 critics comments. By comparison, with the same opinions being calculated using a weighted arithmetic mean, the rating is 6.10/10. Writing for The New York Times critic Vincent Canby noted thatQuerelle was \"a mess...a detour that leads to a dead end.\"Penny Ashbrook calls Querelle Fassbinder's \"perfect epitaph: an intensely personal statement that is the most uncompromising portrayal of gay male sensibilityto come from a major filmmaker.\" Edmund White considers Querelle the only film based on Genet's book that works, calling it \"visually as artificial and menacing as Genet's prose.\" Genet, in discussion with Schidor, saidthat he had not seen the film, commenting \"You can't smoke at the movies.\"Passage 5:Thulasi (1987 film)Thulasi is a 1987 Indian Tamil-language romantic drama film directed by Ameerjan. The film stars Murali andSeetha. It was released on 27 November 1987.PlotThirunavukarasu is considered as a God by his villagers. Nevertheless, his son Sammadham is an atheist and he doesn't believe in his father's power. Sammadham andPonni, a low caste girl, fall in love with each other. Sammadham's best friend Siva, a low caste boy, passes the Master of Arts degree successfully. Thirunavukarasu's daughter Thulasi then develops a soft corner forSiva.Thirunavukarasu cannot accept for his son Sammadham's marriage with Ponni due to caste difference. Sammadham then challenges him to marry her. Thirunavukarasu appoints henchmen to kill her and Ponni isfound dead the next day in the water. In the meantime, Siva also falls in love with Thulasi. The rest of the story is what happens to Siva and Thulasi.CastMurali as Sivalingam \"Siva\"Seetha as ThulasiChandrasekhar asSammadhamMajor Sundarrajan as ThirunavukarasuSenthilCharle as KhanThara as PonniMohanapriya as SarasuVathiyar RamanA. K. Veerasamy as KaliyappanSoundtrackThe music was composed by Sampath Selvam,with lyrics written by Vairamuthu.ReceptionThe Indian Express gave a negative review calling it \"thwarted love\".Passage 6:Richard StantonRichard Stanton (October 8, 1876 – May 22, 1956) was an American actor anddirector of the silent era. He appeared in 68 films between 1911 and 1916. He also directed 57 films between 1914 and 1925. He was born in Iowa and died in Los Angeles, California.Stanton was described as a\"handsome, musical fellow\", but was also a capable pugilist, demonstrating his boxing skills to two other fighters he worked with in a film.Selected filmographyIn the Secret Service (1913)The Wasp (1915)Graft(1915)The Yankee Way (1917)One Touch of Sin (1917)The Spy (1917)Cheating the Public (1918)Rough and Ready (1918)Bride 13 (1920)The Face at Your Window (1920)McGuire of the Mounted (1923)American Pluck(1925)Passage 7:Joseph HenaberyJoseph Henabery (January 15, 1888 – February 18, 1976) of Omaha, Nebraska, was a film actor, screenplay writer, and director in the United States. He is best known for his portrayalof Abraham Lincoln in D.W. Griffith's controversial 1915 silent historical epic The Birth of a Nation.Early yearsHenabery was born in Omaha and raised in Los Angeles. He began acting as an amateur in California. Beforehe worked in films, Henabery worked for the San Pedro, Los Angeles, Salt Lake Railroad. When he was 25 years old, he became an extra for Universal Pictures.CareerHenabery's acting career began in The Joke onYellentown (1914).  From 1914 to 1917 he appeared in seventeen films, including his portrayal of Lincoln in The Birth of a Nation.Henabery also worked as a second-unit director on Griffith's Intolerance (1916), andsupervised the filming of at least one extended sequence that appeared in the film. Henabery also acted as Admiral de Coligny in the Renaissance French portion of the film depicting the St. Bartholomew's Daymassacre. Throughout the rest of his career, he worked as a director. From the mid-1920s, and after professional disagreements with both Louis B. Mayer at Metro-Goldwyn-Mayer and Adolph Zukor at ParamountPictures, Henabery found employment as a director for smaller Hollywood studios. In 1931 he joined the Vitaphone studio in New York City, where he directed dozens of short subjects for the next 10 years. Most ofthem were musicals and comedies, featuring a host of popular singers in 20-minute sketches. Henabery remained with Vitaphone until the New York studio closed in 1940.Henabery made documentaries and trainingfilms as a member of the Army Signal Corps.As Abraham LincolnAlthough Henabery's impersonation of Lincoln was a masterpiece of facial makeup, the 6'1\" (185 cm) Henabery was three inches shorter than the 6'4\"(193 cm) Lincoln. Kevin Brownlow's book The Parade's Gone By (1968) contains a photo of Henabery in costume and makeup as Lincoln, seated in a chair with planks placed on the floor under Henabery's feet so thathis knees are raised several inches; this effect (with the planks kept off-camera in the movie) made Henabery's legs appear longer than they actually were.Personal life and deathHenabery and his wife, Lilian, had adaughter and a son. Henabery died on February 18, 1976, aged 88, at the Motion Picture Country House in Los Angeles, California.FilmographyDirectorActorThe Race War (1915) with Bessie BuskirkPassage 8:McGuireof the MountedMcGuire of the Mounted is a 1923 American crime film directed by Richard Stanton and written by George Hively. The film stars William Desmond, Louise Lorraine, Willard Louis, Vera James, J. P.Lockney, and William Lowery. The film was released on July 9, 1923, by Universal Pictures.PlotAs described in a film magazine, Old André Montreau (Lockney), who runs a little ferry across and down a large stream inthe Canadian woods, is found seriously wounded by Bob McGuire (Desmond), a member of the Northwest Mounted Police, and an old-time friend of the guide and his daughter, Julie (Lorraine). Andre tells him that hedoes not know who his assailant was, but describes him as best he can. Later McGuire and Julie become engaged and the old man dies from the effects of the wounds. Bill Lusk (Louis), the proprietor of the villagesaloon and dance hall, is in league with Decker (Johnson), who is engaged in smuggling dope over the border. They find that McGuire is on to them and plot to make him one of them so that they can continue theirtraffic unhampered. Katie (James), who Decker has in his power because of certain knowledge he possesses, is forced to put some drug in McGuire's punch while he is at the ball held that night in honor of the new wife(Browne) of Major Cordwell's (Lowery), who has just arrived. When McGuire wakes the next morning, he is horror-struck to learn that he is married to Katie. Katie finally comes to love McGuire, though he can never findit in him to forget his Julie. She refuses to carry on any further with the plans of Lusk and Decker, so they plan a new way of getting McGuire. They tell Katie that he is in love with Major Cordwell's wife and are ready toprove it if she will invite her to her house. They also tell the major to be present. As they had expected, the Major comes in while McGuire and Mrs. Cordwell are in a perfectly innocent, though somewhat compromisingattitude. A fight ensues and Lusk, watching from the outside, fires his gun and kills the major. McGuire is accused and runs to Julie for refuge. Running back to the hotel after seeing the major killed, Katie is made aprisoner by Lusk and Henri while they prepare to make a getaway. In her attempts to free herself Katie overturns a lamp and starts a fire which threatens to destroy the place. One of McGuire's brothers in the service issent out to bring him in and on the way back to the village they are told that the hotel is burning and that Katie is locked in. McGuire saves the girl. She is fatally burned, however, but before dying tells who the guiltyparty is.CastPreservationWith no prints of McGuire of the Mounted located in any film archives, it is a lost film.Passage 9:McKenna of the MountedMcKenna of the Mounted is a 1932 American pre-Code Western filmdirected by D. Ross Lederman. A print is housed in the Library of Congress collection.CastBuck Jones as Sergeant Tom McKennaGreta Granstedt as Shirley KennedyWalter McGrail as Inspector Oliver P. LoganMitchellLewis as Henchman PierreNiles Welch as MorganRalph Lewis as KennedyJames Flavin as Corporal Randall McKennaJohn Lowell as Man at MeetingPassage 10:The Man UnconquerableThe Man Unconquerable is a 1922American silent drama film directed by Joseph Henabery and written by Julien Josephson and Hamilton Smith. The film stars Jack Holt, Sylvia Breamer, Clarence Burton, Anne Schaefer, Jean De Briac, and EdwinStevens. The film was released on July 2, 1922, by Paramount Pictures.PlotSilent Era describes the film as a South Seas drama.From a newspaper story of the era: \"The police force of the island in question is limited tothree men of assorted uniforms and arms, who would rather do anything than face danger. Many parts of the world are no better policed and the comparative freedom from fear of punishment makes these gentry boldand aggressive. Jack Holt, in the role of Robert Kendall, shows how a man who believes that the same conditions of comparative honesty and freedom from danger obtain on the island as elsewhere, and finds himselfmistaken, runs into a situation where he has to take the law into his own hands. When out in one of his boats, he provides himself with a machine gun and in one encounter with pearl pirates, sinks their schooner whenthey try to drive him away from his own pearl concession.\"CastJack Holt as Robert KendallSylvia Breamer as Rita DurandClarence Burton as NilssonAnne Schaefer as DuennaJean De Briac as PerrierEdwin Stevens asMichaelsWillard Louis as Governor of PapeeteFilming troublesFrom a period newspaper:\"Famous Plea Fruitless.\"Don't give up the ship.\"This time this was not the appeal of the famous Perry, but Clarence Burton'sinstructions, and he found them difficult to carry out, especially when the ship gave him up-by sinking. Burton, together with a gang of men who took the parts of pearl divers, was in command of a pearling tug in the"}
+{"doc_id":"doc_262","qid":"","text":"Passage 1:Paolo Delle PianePaolo Delle Piane (born 1 May 1964 in Bologna) is a retired Italian racing driver.See alsoMotorsport in ItalyPassage 2:Wesley BarresiWesley Barresi (born 3 May 1984) is a South African bornfirst-class and Netherlands international cricketer. He is a right-handed wicket keeper-batsman and also bowls right-arm offbreak. In February 2021, Barresi announced his retirement from all forms of cricket, butreturned to the national team in August 2022.CareerWesley became the 100th victim to Indian cricketer Yuvraj Singh, when he was dismissed in the 2011 World Cup game against India.In July 2018, he was named inthe Netherlands' One Day International (ODI) squad, for their series against Nepal. Ahead of the ODI matches, the International Cricket Council (ICC) named him as the key player for the Netherlands.In July 2019, hewas selected to play for the Amsterdam Knights in the inaugural edition of the Euro T20 Slam cricket tournament. However, the following month, the tournament was cancelled.Passage 3:Carlo CicalaCarlo Cicala orCarlo Cicada was a Roman Catholic prelate who served as Bishop of Albenga (1554–1572).).BiographyOn 30 March 1554, Carlo Cicala was appointed during the papacy of Pope Julius III as Bishop of Albenga. He servedas Bishop of Albenga until his resignation in 1572.Episcopal successionWhile bishop, he was the principal co-consecrator of:Benedetto Lomellini, Bishop of Ventimiglia (1565);Filippo Spinola, Bishop of Bisignano (1566);andLuca Fieschi, Bishop of Andria (1566).Passage 4:Bronisław DembowskiBronisław Dembowski (2 October 1927 – 16 November 2019) was a Polish Catholic bishop.Dembowski was born in Poland and was ordained tothe priesthood in 1953. He served as the bishop of the Diocese of Włocławek, Poland, from 1992 to 2003.== Notes ==Passage 5:Carlo Delle PianeCarlo Delle Piane (2 February 1936 – 23 August 2019) was an Italianfilm actor. From 1948 until his death, he appeared in more than 100 films.Born in Rome, Delle Piane made his debut at the age of twelve in Duilio Coletti's Heart; he starred in the stereotypical role of an arrogant butbasically kind-hearted boy in many films until the mid-fifties. The turning point of his career was the encounter with Pupi Avati, with whom Delle Piane experienced more significant and varied roles, going from comicsurreal performances to melancholic and even dramatic shades.In 1984, he won the Nastro d'Argento for Best Actor for his performance in Una gita scolastica. For his role in Regalo di Natale he won the Volpi Cup at the43rd Venice International Film Festival.Selected filmographyPassage 6:Wale AdebanwiWale Adebanwi (born 1969) is a Nigerian-born first Black Rhodes Professor at St Antony's College, Oxford where he was, until June2021, a Professor of Race Relations, and the Director of the African Studies Centre, School of Interdisciplinary Area Studies, and a Governing Board Fellow. He is currently a Presidential Penn Compact Professor ofAfricana Studies at the University of Pennsylvania. Adebanwi's research focuses on a range of topics in the areas of social change, nationalism and ethnicity, race relations, identity politics, elites and cultural politics,democratic process, newspaper press and spatial politics in Africa.Education backgroundWale Adebanwi graduated with a first degree in Mass Communication from the University of Lagos, and later earned his M.Sc. andPh.D. in Political Science from the University of Ibadan. He also has an MPhil. and a Ph.D. in Social Anthropology from the University of Cambridge.CareerAdebanwi worked as a freelance reporter, writer, journalist andeditor for many newspapers and magazines before he joined the University of Ibadan's Department of Political Science as a lecturer and researcher. He was later appointed as an assistant professor in the AfricanAmerican and African Studies Department of the University of California, Davis, USA. He became a full professor at UC Davis in 2016.Adebanwi is the co-editor of Africa: Journal of the International African Institute andthe Journal of Contemporary African Studies.WorksHis published works include:Nation as Grand Narrative: The Nigerian Press and the Politics of Meaning (University of Rochester Press, 2016)Yoruba Elites and EthnicPolitics in Nigeria: Obafemi Awolowo and Corporate Agency (Cambridge University Press, 2014)Authority Stealing: Anti-corruption War and Democratic Politics in Post-Military Nigeria (Carolina Academic Press, 2012)Inaddition, he is the editor and co-editor of other books, including.The Political Economy of Everyday Life in Africa: Beyond the Margins (James Currey Publishers, 2017)Writers and Social Thought in Africa (Routledge,2016)(co-edited with Ebenezer Obadare) Governance and the Crisis of Rule in Contemporary Africa (Palgrave Macmillan, 2016)(co-edited with Ebenezer Obadare) Democracy and Prebendalism in Nigeria: CriticalInterpretations (Palgrave Macmillan, 2013).(co-edited with Ebenezer Obadare) Nigeria at Fifty: The Nation in Narration (Routledge, 2012)(co-edited with Ebenezer Obadare) Encountering the Nigerian State (PalgraveMacmillan, 2010).AwardsRhodes Professorship in Race Relations awarded by Oxford University to Faculty of African and Interdisciplinary Area Studies.Passage 7:Carlo CesioCarlo Cesio or Carlo Cesi (17 April 1622– 6January 1682) was a Baroque-style painter and engraver of the Roman school.BiographyCesio was born in 1622 at Antrodoco in the present Province of Rieti, then part of the Roman States. He was brought up at Rome,in the school of Pietro da Cortona, and was employed in several prominent public works during the pontificate of Alexander VII. He painted historical subjects. He died in 1686 at Rieti.In the Quirinal, he painted TheJudgment of Solomon, and others of his works are in Santa Maria Maggiore and in the Rotunda. Carlo Cesio was also an engraver of some eminence; we have by him several plates after the Italian painters of his time.His plates are etched and finished off with the graver, in a free, masterly style.Among his works as an engraver:The Virgin and Infant Jesus with St. John; half-length.St. Andrew led to Martyrdom, prostrating himselfbefore the Cross; after Guido.The Frontispiece to the book entitled Discorsi della Musica.Sixteen plates from the Pamphili Gallery; after Pietro da Cortona.Forty-one plates (1657) of the Farnese Gallery; after AnnibaleCarracci.Eight plates of the Buongiovanni Chapel in the church of St. Augustine at Rome; after Lanfranco.A book of anatomical drawings, published posthumously in German: L'anatomia dei pittori del signore CarloCesioPassage 8:John McMahon (Surrey and Somerset cricketer)John William Joseph McMahon (28 December 1917 – 8 May 2001) was an Australian-born first-class cricketer who played for Surrey and Somerset CountyCricket Clubs in England from 1947 to 1957.Surrey cricketerMcMahon was an orthodox left-arm spin bowler with much variation in speed and flight who was spotted by Surrey playing in club cricket in North London andbrought on to the county's staff for the 1947 season at the age of 29. In the first innings of his first match, against Lancashire at The Oval, he took five wickets for 81 runs.In his first full season, 1948, he was Surrey'sleading wicket-taker and in the last home game of the season he was awarded his county cap – he celebrated by taking eight Northamptonshire wickets for 46 runs at The Oval, six of them coming in the space of 6.3overs for seven runs. This would remain the best bowling performance of his first-class career, not surpassed, but he did equal it seven years later. In the following game, the last away match of the season, he took 10Hampshire wickets for 150 runs in the match at Bournemouth. In the 1948 season as a whole, he took 91 wickets at an average of 28.07. As a tail-end left-handed batsman, he managed just 93 runs in the season at anaverage of 4.22.The emergence of Tony Lock as a slow left-arm bowler in 1949 brought a stuttering end of McMahon's Surrey career. Though he played in 12 first-class matches in the 1949 season, McMahon took only19 wickets; a similar number of matches in 1950 brought 34 wickets. In 1951, he played just seven times and in 1952 only three times. In 1953, Lock split the first finger of his left hand, and played in only 11 ofSurrey's County Championship matches; McMahon played as his deputy in 14 Championship matches, though a measure of their comparative merits was that Lock's 11 games produced 67 wickets at 12.38 runs apiece,while McMahon's 14 games brought him 45 wickets at the, for him, low average of 21.53. At the end of the 1953 season, McMahon was allowed to leave Surrey to join Somerset, then languishing at the foot of theCounty Championship and recruiting widely from other counties and other countries.Somerset cricketerSomerset's slow bowling in 1954 was in the hands of leg-spinner Johnny Lawrence, with support from the off-spinof Jim Hilton while promising off-spinner Brian Langford was on national service. McMahon filled a vacancy for a left-arm orthodox spinner that had been there since the retirement of Horace Hazell at the end of the1952 season; Hazell's apparent successor, Roy Smith, had failed to realise his promise as a bowler in 1953, though his batting had advanced significantly.McMahon instantly became a first-team regular and played inalmost every match during his four years with the county, not missing a single Championship game until he was controversially dropped from the side in August 1957, after which he did not play in the Championshipagain.In the 1954 season, McMahon, alongside fellow newcomer Hilton, was something of a disappointment, according to Wisden: \"The new spin bowlers, McMahon and Hilton, did not attain to the best standards oftheir craft in a wet summer, yet, like the rest of the attack, they would have fared better with reasonable support in the field and from their own batsmen,\" it said. McMahon took 85 wickets at an average of 27.47(Hilton took only 42 at a higher average). His best match was against Essex at Weston-super-Mare where he took six for 96 in the first innings and five for 45 in the second to finish with match figures of 11 for 141,which were the best of his career. He was awarded his county cap in the 1954 season, but Somerset remained at the bottom of the table.The figures for the 1955 were similar: McMahon this time took 75 wickets at28.77 apiece. There was a small improvement in his batting and the arrival of Bryan Lobb elevated McMahon to No 10 in the batting order for most of the season, and he responded with 262 runs and an average of9.03. This included his highest-ever score, 24, made in the match against Sussex at Frome. A week later in Somerset's next match, he equalled his best-ever bowling performance, taking eight Kent wickets for 46 runsin the first innings of a match at Yeovil through what Wisden called \"clever variation of flight and spin\". These matches brought two victories for Somerset, but there were only two others in the 1955 season and the sidefinished at the bottom of the Championship for the fourth season running.At the end of the 1955 season, Lawrence retired and McMahon became Somerset's senior spin bowler for the 1956 season, with Langfordreturning from National Service as the main support. McMahon responded with his most successful season so far, taking 103 wickets at an average of 25.57, the only season in his career in which he exceeded 100wickets. The bowling average improved still further in 1957 to 23.10 when McMahon took 86 wickets. But his season came to an abrupt end in mid-August 1957 when, after 108 consecutive Championship matches, hewas dropped from the first team during the Weston-super-Mare festival. Though he played some games for the second eleven later in August, he regained his place in the first team for only a single end-of-seasonfriendly match, and he was told that his services were not required for the future, a decision, said Wisden, that \"proved highly controversial\".Sacked by SomersetThe reason behind McMahon's sacking did not becomepublic knowledge for many years. In its obituary of him in 2002, McMahon was described by Wisden as \"a man who embraced the antipodean virtues of candour and conviviality\". It went on: \"Legend tells of a night atthe Flying Horse Inn in Nottingham when he beheaded the gladioli with an ornamental sword, crying: 'When Mac drinks, everybody drinks!'\" The obituary recounts a further escapade in second eleven match atMidsomer Norton where a curfew imposed on the team was circumvented by \"a POW-type loop\" organised by McMahon, \"with his team-mates escaping through a ground-storey window and then presenting themselvesagain\". As the only Somerset second eleven match that McMahon played in at Midsomer Norton was right at the end of the 1957 season, this may have been the final straw. But in any case there had been \"anembarrassing episode at Swansea's Grand Hotel\" earlier in the season, also involving Jim Hilton, who was also dismissed at the end of the season. Team-mates and club members petitioned for McMahon to bereinstated, but the county club was not to be moved.After a period in Lancashire League cricket with Milnrow Cricket Club, McMahon moved back to London where he did office work, later contributing some articles tocricket magazines.== Notes and references ==Passage 9:Henry Moore (cricketer)Henry Walter Moore (1849 – 20 August 1916) was an English-born first-class cricketer who spent most of his life in New Zealand.Lifeand familyHenry Moore was born in Cranbrook, Kent, in 1849. He was the son of the Reverend Edward Moore and Lady Harriet Janet Sarah Montagu-Scott, who was one of the daughters of the 4th Duke of Buccleuch.One of his brothers, Arthur, became an admiral and was knighted. Their great grandfather was John Moore, Archbishop of Canterbury from 1783 to 1805. One of their sisters was a maid of honour to QueenVictoria.Moore went to New Zealand in the 1870s and lived in Geraldine and Christchurch. He married Henrietta Lysaght of Hāwera in November 1879, and they had one son. In May 1884 she died a few days aftergiving birth to a daughter, who also died.In 1886 Moore became a Justice of the Peace in Geraldine. In 1897 he married Alice Fish of Geraldine. They moved to England four years before his death in 1916.CricketcareerMoore was a right-handed middle-order batsman. In consecutive seasons, 1876–77 and 1877–78, playing for Canterbury, he made the highest score in the short New Zealand first-class season: 76 and 75respectively. His 76 came in his first match for Canterbury, against Otago. He went to the wicket early on the first day with the score at 7 for 2 and put on 99 for the third wicket with Charles Corfe before he was outwith the score at 106 for 3 after a \"very fine exhibition of free hitting, combined with good defence\". Canterbury were all out for 133, but went on to win the match. His 75 came in the next season's match againstOtago, when he took the score from 22 for 2 to 136 for 6. The New Zealand cricket historian Tom Reese said, \"Right from the beginning he smote the bowling hip and thigh, going out of his ground to indulge in someforceful driving.\" Canterbury won again.Moore led the batting averages in the Canterbury Cricket Association in 1877–78 with 379 runs at an average of 34.4. Also in 1877–78, he was a member of the Canterbury teamthat inflicted the only defeat on the touring Australians. In 1896–97, at the age of 47, he top-scored in each innings for a South Canterbury XVIII against the touring Queensland cricket team.Passage 10:HartleyLobbanHartley W Lobban (9 May 1926 – 15 October 2004) was a Jamaican-born first-class cricketer who played 17 matches for Worcestershire in the early 1950s.Life and careerLobban played little cricket in Jamaica.He went to England at the end of World War II as a member of the Royal Air Force, and settled in Kidderminster in Worcestershire in 1947, where he worked as a civilian lorry driver for the RAF. He began playing forKidderminster Cricket Club in the Birmingham League, and at the start of the 1952 season, opening the bowling for the club's senior team, he had figures of 7 for 9 and 7 for 37.Worcestershire invited him to play forthem, and he made his first-class debut against Sussex in July 1952. He took five wickets in the match (his maiden victim being Ken Suttle) and then held on for 4 not out with Peter Richardson (20 not out) to add the12 runs needed for a one-wicket victory after his county had collapsed from 192 for 2 to 238 for 9. A week later he claimed four wickets against Warwickshire, then a few days later still he managed 6 for 52 (five of hisvictims bowled) in what was otherwise a disastrous innings defeat to Derbyshire. In the last match of the season he took a career-best 6 for 51 against Glamorgan; he and Reg Perks (4 for 59) bowled unchangedthroughout the first innings. Worcestershire won the game and Lobban finished the season with 23 wickets at 23.69.He took 23 wickets again in 1953, but at a considerably worse average of 34.43, and had only tworeally successful games: against Oxford University in June, when he took 5 for 70, and then against Sussex in July. On this occasion Lobban claimed eight wickets, his most in a match, including 6 for 103 in the firstinnings. He also made his highest score with the bat, 18, but Sussex won by five wickets.In 1954 Lobban made only two first-class appearances, and managed only the single wicket of Gloucestershire tail-ender BomberWells. In his final game, against Warwickshire at Dudley, his nine first-innings overs cost 51. He bowled just two overs in the second innings as Warwickshire completed an easy ten-wicket win. Lobban played one moreSecond XI game, against Glamorgan II at Cardiff Arms Park; in this he picked up five wickets.He was also a professional boxer and played rugby union for Kidderminster.He later moved to Canada, where he worked as ateacher in Burnaby, British Columbia. He and his wife Celia had a son and two daughters."}
+{"doc_id":"doc_263","qid":"","text":"Passage 1:Hartley LobbanHartley W Lobban (9 May 1926 – 15 October 2004) was a Jamaican-born first-class cricketer who played 17 matches for Worcestershire in the early 1950s.Life and careerLobban played littlecricket in Jamaica. He went to England at the end of World War II as a member of the Royal Air Force, and settled in Kidderminster in Worcestershire in 1947, where he worked as a civilian lorry driver for the RAF. Hebegan playing for Kidderminster Cricket Club in the Birmingham League, and at the start of the 1952 season, opening the bowling for the club's senior team, he had figures of 7 for 9 and 7 for 37.Worcestershire invitedhim to play for them, and he made his first-class debut against Sussex in July 1952. He took five wickets in the match (his maiden victim being Ken Suttle) and then held on for 4 not out with Peter Richardson (20 notout) to add the 12 runs needed for a one-wicket victory after his county had collapsed from 192 for 2 to 238 for 9. A week later he claimed four wickets against Warwickshire, then a few days later still he managed 6 for52 (five of his victims bowled) in what was otherwise a disastrous innings defeat to Derbyshire. In the last match of the season he took a career-best 6 for 51 against Glamorgan; he and Reg Perks (4 for 59) bowledunchanged throughout the first innings. Worcestershire won the game and Lobban finished the season with 23 wickets at 23.69.He took 23 wickets again in 1953, but at a considerably worse average of 34.43, and hadonly two really successful games: against Oxford University in June, when he took 5 for 70, and then against Sussex in July. On this occasion Lobban claimed eight wickets, his most in a match, including 6 for 103 in thefirst innings. He also made his highest score with the bat, 18, but Sussex won by five wickets.In 1954 Lobban made only two first-class appearances, and managed only the single wicket of Gloucestershire tail-enderBomber Wells. In his final game, against Warwickshire at Dudley, his nine first-innings overs cost 51. He bowled just two overs in the second innings as Warwickshire completed an easy ten-wicket win. Lobban playedone more Second XI game, against Glamorgan II at Cardiff Arms Park; in this he picked up five wickets.He was also a professional boxer and played rugby union for Kidderminster.He later moved to Canada, where heworked as a teacher in Burnaby, British Columbia. He and his wife Celia had a son and two daughters.Passage 2:Wale AdebanwiWale Adebanwi (born 1969) is a Nigerian-born first Black Rhodes Professor at St Antony'sCollege, Oxford where he was, until June 2021, a Professor of Race Relations, and the Director of the African Studies Centre, School of Interdisciplinary Area Studies, and a Governing Board Fellow. He is currently aPresidential Penn Compact Professor of Africana Studies at the University of Pennsylvania. Adebanwi's research focuses on a range of topics in the areas of social change, nationalism and ethnicity, race relations,identity politics, elites and cultural politics, democratic process, newspaper press and spatial politics in Africa.Education backgroundWale Adebanwi graduated with a first degree in Mass Communication from theUniversity of Lagos, and later earned his M.Sc. and Ph.D. in Political Science from the University of Ibadan. He also has an MPhil. and a Ph.D. in Social Anthropology from the University of Cambridge.CareerAdebanwiworked as a freelance reporter, writer, journalist and editor for many newspapers and magazines before he joined the University of Ibadan's Department of Political Science as a lecturer and researcher. He was laterappointed as an assistant professor in the African American and African Studies Department of the University of California, Davis, USA. He became a full professor at UC Davis in 2016.Adebanwi is the co-editor of Africa:Journal of the International African Institute and the Journal of Contemporary African Studies.WorksHis published works include:Nation as Grand Narrative: The Nigerian Press and the Politics of Meaning (University ofRochester Press, 2016)Yoruba Elites and Ethnic Politics in Nigeria: Obafemi Awolowo and Corporate Agency (Cambridge University Press, 2014)Authority Stealing: Anti-corruption War and Democratic Politics inPost-Military Nigeria (Carolina Academic Press, 2012)In addition, he is the editor and co-editor of other books, including.The Political Economy of Everyday Life in Africa: Beyond the Margins (James Currey Publishers,2017)Writers and Social Thought in Africa (Routledge, 2016)(co-edited with Ebenezer Obadare) Governance and the Crisis of Rule in Contemporary Africa (Palgrave Macmillan, 2016)(co-edited with Ebenezer Obadare)Democracy and Prebendalism in Nigeria: Critical Interpretations (Palgrave Macmillan, 2013).(co-edited with Ebenezer Obadare) Nigeria at Fifty: The Nation in Narration (Routledge, 2012)(co-edited with EbenezerObadare) Encountering the Nigerian State (Palgrave Macmillan, 2010).AwardsRhodes Professorship in Race Relations awarded by Oxford University to Faculty of African and Interdisciplinary Area Studies.Passage3:Howard HawksHoward Winchester Hawks (May 30, 1896 – December 26, 1977) was an American film director, producer, and screenwriter of the classic Hollywood era. Critic Leonard Maltin called him \"the greatestAmerican director who is not a household name.\"  Roger Ebert called Hawks \"one of the greatest American directors of pure movies, and a hero of auteur critics because he found his own laconic values in so manydifferent kinds of genre material.\" He was nominated for the Academy Award for Best Director for Sergeant York (1941) and earned the Honorary Academy Award in 1974.A versatile film director, Hawks explored manygenres such as comedies, dramas, gangster films, science fiction, film noir, war films, and westerns. His most popular films include Scarface (1932), Bringing Up Baby (1938), Only Angels Have Wings (1939), His GirlFriday (1940), To Have and Have Not (1944), The Big Sleep (1946), Red River (1948), The Thing from Another World (1951), Gentlemen Prefer Blondes (1953), and Rio Bravo (1959). His frequent portrayals of strong,tough-talking female characters came to define the \"Hawksian woman\".Early life and backgroundHoward Winchester Hawks was born in Goshen, Indiana. He was the first-born child of Frank Winchester Hawks(1865–1950), a wealthy paper manufacturer, and his wife, Helen Brown (née Howard; 1872–1952), the daughter of a wealthy industrialist. Hawks's family on his father's side were American pioneers, and his ancestorJohn Hawks had emigrated from England to Massachusetts in 1630. The family eventually settled in Goshen and by the 1890s was one of the wealthiest families in the Midwest, due mostly to the highly profitableGoshen Milling Company.Hawks's maternal grandfather, C. W. Howard (1845–1916), had homesteaded in Neenah, Wisconsin, in 1862 at age 17. Within 15 years he had made his fortune in the town's paper mill andother industrial endeavors. Frank Hawks and Helen Howard met in the early 1890s and married in 1895. Howard Hawks was the eldest of five children, and his birth was followed by Kenneth Neil Hawks (August 12,1898 – January 2, 1930), William Bellinger Hawks (January 29, 1901 – January 10, 1969), Grace Louise Hawks (October 17, 1903 – December 23, 1927), and Helen Bernice Hawks (1906 – May 4, 1911). In 1898, thefamily moved back to Neenah where Frank Hawks began working for his father-in-law's Howard Paper Company.Between 1906 and 1909, the Hawks family began to spend more time in Pasadena, California, during thecold Wisconsin winters in order to improve Helen Hawks's ill health. Gradually, they began to spend only their summers in Wisconsin before permanently moving to Pasadena in 1910. The family settled in a house downthe street from Throop Polytechnic Institute, and the Hawks children began attending the school's Polytechnic Elementary School in 1907. Hawks was an average student and did not excel in sports, but by 1910 haddiscovered coaster racing, an early form of soapbox racing. In 1911, Hawks's youngest sibling, Helen, died suddenly of food poisoning. From 1910 to 1912, Hawks attended Pasadena High School. In 1912, the Hawksfamily moved to nearby Glendora, California, where Frank Hawks owned orange groves. Hawks finished his junior year of high school at Citrus Union High School in Glendora. During this time he worked as abarnstorming pilot.He was sent to Phillips Exeter Academy in New Hampshire from 1913 to 1914; his family's wealth may have influenced his acceptance to the elite private school. Even though he was 17, he wasadmitted as a lower middleclassman, the equivalent of a sophomore. While in New England, Hawks often attended the theaters in nearby Boston. In 1914, Hawks returned to Glendora and graduated from PasadenaHigh School that year. Skilled in tennis, by 18 years old, Hawks won the United States Junior Tennis Championship. That same year, Hawks was accepted to Cornell University in Ithaca, New York, where he majored inmechanical engineering and was a member of Delta Kappa Epsilon. His college friend Ray S. Ashbury remembered Hawks spending more of his time playing craps and drinking alcohol than studying, although Hawks wasalso known to be a voracious reader of popular American and English novels in college.While working in the film industry during his 1916 summer vacation, Hawks made an unsuccessful attempt to transfer to StanfordUniversity. He returned to Cornell that September, leaving in April 1917 to join the Army when the United States entered World War I. He served as a lieutenant in the Aviation Section, U.S. Signal Corps. During WorldWar I, he taught aviators to fly, and he used these experiences as influence for future aviation films such as The Dawn Patrol (1930). Like many college students who joined the armed services during the war, hereceived a degree in absentia in 1918. Before Hawks was called for active duty, he returned to Hollywood and, by the end of April 1917, was working on a Cecil B. DeMille film.CareerEntering films (1916–1925)HowardHawks's interest and passion for aviation led him to many important experiences and acquaintances. In 1916, Hawks met Victor Fleming, a Hollywood cinematographer who had been an auto mechanic and early aviator.Hawks had begun racing and working on a Mercer race car—bought for him by his grandfather C.W. Howard—during his 1916 summer vacation in California. He allegedly met Fleming when the two men raced on a dirttrack and caused an accident. This meeting led to Hawks's first job in the film industry, as a prop boy on the Douglas Fairbanks film In Again, Out Again (on which Fleming was employed as the cinematographer) forFamous Players–Lasky. According to Hawks, a new set needed to be built quickly when the studio's set designer was unavailable, so Hawks volunteered to do the job himself, much to Fairbanks's satisfaction. He wasnext employed as a prop boy and general assistant on an unspecified film directed by Cecil B. DeMille. (Hawks never named the film in later interviews, and DeMille made roughly five films in that time period). By theend of April 1917, Hawks was working on Cecil B. DeMille's The Little American. Hawks then worked on the Mary Pickford film The Little Princess, directed by Marshall Neilan. According to Hawks, Neilan did not show upto work one day, so the resourceful Hawks offered to direct a scene himself, to which Pickford consented.Hawks began directing at age 21 after he and cinematographer Charles Rosher filmed a double exposure dreamsequence with Mary Pickford. Hawks worked with Pickford and Neilan again on Amarilly of Clothes-Line Alley before joining the United States Army Air Service. Hawks's military records were destroyed in the 1973Military Archive Fire, so the only account of his military service is his own. According to Hawks, he spent 15 weeks in basic training at the University of California in Berkeley where he was trained to be a squadroncommander in the air force. When Pickford visited Hawks at basic training, his superior officers were so impressed by the appearance of the celebrity that they promoted him to flight instructor and sent him to Texas toteach new recruits. Bored by this work, Hawks attempted to secure a transfer during the first half of 1918 and was eventually sent to Fort Monroe, Virginia. The Armistice was signed in November of that year, andHawks was discharged as a Second Lieutenant without having seen active duty.After the war, Hawks was eager to return to Hollywood. His brother Kenneth Hawks, who had also served in the Air Force, graduated fromYale University in 1919, and the two of them moved to Hollywood together to pursue their careers. They quickly made friends with Hollywood insider (and fellow Ivy Leaguer) Allan Dwan. Hawks landed his firstimportant job when he used his family's wealth to loan money to studio head Jack L. Warner. Warner quickly paid back the loan and hired Hawks as a producer to \"oversee\" the making of a new series of one-reelcomedies starring the Italian comedian Monty Banks. Hawks later stated that he personally directed \"three or four\" of the shorts, though no documentation exists to confirm the claim. The films were profitable, butHawks soon left to form his own production company using his family's wealth and connections to secure financing. The production company, Associated Producers, was a joint venture between Hawks, Allan Dwan,Marshall Neilan, and director Allen Holubar, with a distribution deal with First National. The company made 14 films between 1920 and 1923, with eight directed by Neilan, three by Dwan and three by Holubar. More of a\"boy's club\" than a production company, the four men gradually drifted apart and went their separate ways in 1923, by which time Hawks had decided that he wanted to direct rather than produce.Beginning in early1920, Hawks lived in rented houses in Hollywood with the group of friends he was accumulating. This rowdy group of mostly macho, risk-taking men included his brother Kenneth Hawks, Victor Fleming, Jack Conway,Harold Rosson, Richard Rosson, Arthur Rosson, and Eddie Sutherland. During this time, Hawks first met Irving Thalberg, the vice-President in charge of production at Metro-Goldwyn-Mayer. Hawks admired hisintelligence and sense of story. Hawks also became friends with barn stormers and pioneer aviators at Rogers Airport in Los Angeles, getting to know men like Moye Stephens.In 1923, Famous Players–Lasky presidentJesse Lasky was looking for a new Production Editor in the story department of his studio, and Thalberg suggested Hawks. Hawks accepted and was immediately put in charge of over 40 productions, including severalliterary acquisitions of stories by Joseph Conrad, Jack London, and Zane Grey. Hawks worked on the scripts for all of the films produced, but he had his first official screenplay credit in 1924 on Tiger Love. Hawks wasthe Story Editor at Famous Players (later Paramount Pictures) for almost two years, occasionally editing such films as Heritage of the Desert. Hawks signed a new one-year contract with Famous-Players in the fall of1924. He broke his contract to become a story editor for Thalberg at MGM, having secured a promise from Thalberg to make him a director within a year. In 1925, when Thalberg hesitated to keep his promise, Hawksbroke his contract at MGM and left.Silent films (1925–1929)In October 1925, Sol Wurtzel, William Fox's studio superintendent at the Fox Film Corporation, invited Hawks to join his company with the promise of lettingHawks direct. Over the next three years, Hawks directed his first eight films (six silent, two \"talkies\"). Hawks reworked the scripts of most of the films he directed without always taking official credit for his work. He alsoworked on the scripts for Honesty – The Best Policy in 1926 and Joseph von Sternberg's Underworld in 1927, famous for being one of the first gangster films. Hawks's first film was The Road to Glory which premiered inApril 1926. The screenplay was based on a 35-page composition written by Howard Hawks. This represented one of the only films on which Hawks had extensive writing credit. It is one of Hawks's only two lostfilms.  Immediately after completing The Road to Glory, Hawks began writing his next film, Fig Leaves, his first (and, until 1935, only) comedy. It received positive reviews, particularly for the art direction and costumedesigns. It was released in July 1926 and was Hawks's first hit as a director. Although he mainly dismissed his early work, Hawks praised this film in later interviews.Paid to Love is notable in Hawks's filmography,because it was a highly stylized, experimental film. He attempted to imitate the style of German film director F. W. Murnau. Hawks's film includes atypical tracking shots, expressionistic lighting and stylistic film editingthat was inspired by German Expressionist cinema. In a later interview, Hawks commented, \"It isn't my type of stuff, at least I got it over in a hurry. You know the idea of wanting the camera to do those things: Nowthe camera's somebody's eyes.\" Hawks worked on the script with Seton I. Miller, with whom he would go on to collaborate on seven more films. The film stars George O'Brien as the introverted Crown Prince Michael,William Powell as his happy-go-lucky brother, and Virginia Valli as Michael's flapper love interest Dolores. The characters played by Valli and O'Brien anticipate those found in later films by Hawks: a sexually aggressiveshowgirl, who is an early prototype of the \"Hawksian woman\", and a shy man disinterested in sex, found in later roles played by Cary Grant and Gary Cooper. Paid to Love was completed by September 1926, butremained unreleased until July 1927. It was financially unsuccessful. Cradle Snatchers was based on a 1925 hit stage play by Russell G. Medcraft and Norma Mitchell. The film was shot in early 1927. The film wasreleased in May 1927 and was a minor hit. For many years it was believed to be a lost film until film director Peter Bogdanovich discovered a print in 20th Century Fox's film vaults, although the print was missing part ofreel three and all of reel four. In March 1927, Hawks signed a new one-year, three-picture contract with Fox and was assigned to direct Fazil, based on the play L'Insoumise by Pierre Frondaie. Hawks again worked withSeton Miller on the script. Hawks was over schedule and over budget on the film, which began a rift between him and Sol Wurtzel that would eventually lead to Hawks leaving Fox. The film was finished in August 1927,though it was not released until June 1928.A Girl in Every Port is considered by film scholars to be the most important film of Hawks's silent career. It is the first of his films to utilize many of the Hawksian themes andcharacters that would define much of his subsequent work. It was his first \"love story between two men\", with two men bonding over their duty, skills, and careers, who consider their friendship to be more importantthan their relationships with women. In France, Henri Langlois called Hawks \"the Gropius of the cinema\" and Swiss novelist and poet Blaise Cendrars said that the film \"definitely marked the first appearance ofcontemporary cinema.\" Hawks went over budget once again with this film, and his relationship with Sol Wurtzel deteriorated. After an advance screening that received positive reviews, Wurtzel told Hawks, \"This is theworst picture Fox has made in years.\" The Air Circus was Hawks's first film centered around aviation, one of his early passions. In 1928, Charles Lindbergh was the world's most famous person and Wings was one of themost popular films of the year. Wanting to capitalize on the country's aviation craze, Fox immediately bought Hawks's original story for The Air Circus, a variation of the male friendship plot of A Girl in Every Port abouttwo young pilots. The film was shot from April to June 1928, but Fox ordered an additional 15 minutes of dialogue footage in order that the film could compete with the new \"talkies\" being released. Hawks hated thenew dialogue written by Hugh Herbert, and he refused to participate in the re-shoots. The film was released in September 1928 and was a moderate hit. It is one of two films directed by Hawks that are lost films.Trent'sLast Case is an adaptation of British author E. C. Bentley's 1913 novel of the same name. Hawks considered the novel to be \"one of the greatest detective stories of all time\" and was eager to make it his first sound film.He cast Raymond Griffith in the lead role of Phillip Trent. Griffith's throat had been damaged by poison gas during World War I, and his voice was a hoarse whisper, prompting Hawks to later state, \"I thought he ought tobe great in talking pictures because of that voice.\" However, after shooting only a few scenes, Fox shut Hawks down and ordered him to make a silent film, both because of Griffith's voice and because they only owned"}
+{"doc_id":"doc_264","qid":"","text":"Passage 1:Mr. Right (2009 film)Mr. Right is a 2009 British film directed by David Morris and Jacqui Morris. The jointly-made gay-themed film is the debut for both directors.SynopsisThe film presents life of a number of individuals who live in London's Soho area in their quest for their \"Mr. Right\". One of the highlights of the film is when all the characters gather for an excruciatingly awkward and hilarious dinner party at which wine and secrets are spilled.Harry (James Lance) is a TV producer but dreams to get way. He loves Alex (Luke de Woolfson), an aspiring yet insecure actor who also works as a caterer. Meanwhile Alex is struggling to create an identity for himself and decides to live independently through monetary help from his brother despite Harry wanting him backTom (David Morris, the co-director of the film) is a successful art dealer who is in a precarious relationship with Lars (Benjamin Hart), a handsome sometime-model. Tom finds excuses for Lars' flings so long as Lars doesn't leave him. Meanwhile Lars has this attraction to Harry and can't get over his feelingsWilliam (Rocky Marshall) a divorced former rugby player finds it difficult very difficult to parent his nine-year-old daughter Georgie while trying to get on a new relationship with Lawrence (Leon Ockenden), a striving soap actor. Their relationship is complicated as Georgie is intent on sabotaging his relationship.Louise (Georgia Zaris), a fag hag, is dating Paul (Jeremy Edwards), but suspects Paul is gay. Paul is slowly but surely getting drawn into the gay scene, despite visibly and verbally protesting every step of the way.By the end of the film three months later, the characters are still striving to make new paths for themselves. Harry is appealing for Alex, now in a small studio residence to return, but the latter turns him gently down despite having feelings for him. Things are much better between William and Lawrence as Georgie becomes more accepting of their relationship. Things have soured between Lars and William. Devastated Lars catches Harry while the latter has just packed to leave everything behind for his long-planned trip away from his dreaded work. Meanwhile Paul is getting more and more into the gay scene despite putting a brave face that he is still straight.CastMainJames Lance as HarryLuke de Woolfson as AlexDavid Morris as TomBenjamin Hart as LarsRocky Marshall as WilliamLeon Ockenden as LawrenceGeorgia Zaris as LouiseJeremy Edwards as PaulOthersJan Waters as Harry's MotherMaddie Planer as Georgie, Williams's daughterSheila Kidd as William's motherAndrew Dunn as Alex's FatherKaren Meagher as Alex's MotherRick Warden as Alex's BrotherKaty Odey as PresenterLucy Jules as EmmaSarah Carleton as WaitressDolly Wells as FizzHarry Serjeant as RunnerIan Tytler as CharlieJim Cole as HeathArchie Kidd as BarnabyHeather Bleasdale as Barnaby's MotherYvonne O'Grady as Business WomanMax Karie as MarcelKate Russell as The Yellow TeamIan Russell as The Yellow TeamMark Hayford as The Blue TeamDiane Morgan as The Blue TeamTerry Bird as Red TeamCheryl Fergison as Red TeamPassage 2:Mr. and Mrs. IyerMr. and Mrs. Iyer is a 2002 Indian English-language drama film written and directed by Aparna Sen and produced by N. Venkatesan. The film features Sen's daughter Konkona Sen Sharma as Meenakshi Iyer, a Tamil Iyer Brahmin who is a Hindu. Rahul Bose portrays the character of Raja Chowdhury, a Bengali Muslim wildlife photographer. The story revolves around these two lead characters during a fateful bus journey amidst the carnages of a communal strife in India. Zakir Hussain, an Indian tabla maestro, composed the background score and music for the film;  Goutam Ghose, a film director himself, was the cinematographer.Mr. and Mrs. Iyer premiered at the Locarno International Film Festival in Switzerland and was showcased at other prominent film festivals. The film opened to Indian audiences on 19 July 2002. It was met with critical acclaim upon release, and won several national and international awards, including the Golden Maile award at the Hawaii International Film Festival and the Nargis Dutt Award for Best Feature Film on National Integration in India. The film, which was also released as a DVD, had English as its predominant language with a sporadic use of Hindi, Tamil, and Bengali.PlotMeenakshi Iyer and her infant son, Santhanam, embark on a bus journey to return home, after visiting her parents. At the bus station, Meenakshi is introduced to Raja Chowdhury by a common friend. Raja, a wildlife photographer, is requested by Meenakshi's parents to look after their daughter and grandson during the journey. The passengers of the bus include a boisterous group of youngsters, two Sikh men, an elderly Muslim couple, a young couple high on romance, a mentally challenged boy and his mother, and some card-playing men. The bus faces a roadblock and the bus driver attempts a detour, but  is stopped by traffic jam caused by sectarian violence between Hindus and Muslims in nearby areas.Raja reveals his Muslim identity to Meenakshi. As someone who comes from a high caste and conservative Hindu Brahmin family, Meenakshi shudders at the very fact that during their travel she drank water offered by Raja, a Muslim. She is shocked and asks Raja to not touch her. Raja contemplates leaving the bus, but is forced to stay inside by the patrolling police, who declare a curfew due to the riot. After the police leaves to scout other areas, a rioting Hindu mob arrives and forcibly enters the bus. They begin interrogating passengers about their religious identities and when in doubt, they even resort to check if the person is circumcised.In order to protect himself from them, one of the passengers, who is Jewish and hence circumcised, points to the old Muslim couple to divert the  mob's attention. The mob's leader drags the old couple out of the bus. One of the teenagers resists this, but she is assaulted by the mob. As Raja attempts to rise in revolt, Meenakshi plants Santhanam on his lap, ordering him to hold the baby with an intent to shield Raja's Muslim identity. The mob asks about their identities, and Meenaksi tells the leader that she is Mrs. Iyer and Raja is her husband. After this chilling encounter, the passengers spend the night in the bus.In the morning, the passengers trek to a nearby village to seek accommodation. Raja and Meenakshi, identifying themselves as Mr. and Mrs. Iyer, fail to find any accommodation. However, the police officer, who was patrolling the earlier evening, bails them out by providing shelter at an abandoned forest bungalow. They are provided with the single usable bedroom available in the bungalow. Meenakshi refuses to share the room with Raja, and curses herself for coming along with a stranger. Raja confronts her on her outdated prejudices about caste and religion. After a brief quarrel, Raja allows her the comfort of the bedroom and prefers to sleep outside. The next morning when Meenakshi does not find Raja, she gets worried and angry as to why he left Santhanam and her in such a place. Soon, she feels relieved to find Raja sleeping outside. After they reach a restaurant in the nearby village, they meet the teenagers from the bus. The girls are excited and curious to know about Meenaakshi and Raja's love story. To keep their farce alive, both of them cook up an impromptu story right from how they met till where they went for their honeymoon. During their stay at the bungalow, they discover each other's beliefs and understanding of religion. That night, as they witness a horrific murder by one of the mobs, a shocked Meenakshi is comforted by Raja.The next day, they reach a railway station with the army's help. There, they board the train towards their destination. At their destination station, Kolkata, Meenakshi's husband, Mr. Iyer arrives to receive her and Santhanam. Meenakshi introduces Raja to her husband as Jehangir Chowdhury, a Muslim man who helped her (a Hindu woman) during the curfew. Raja hands over a camera roll to Meenakshi, containing the photos of their journey; they bid an emotional farewell to each other.CastKonkona Sen Sharma as Meenakshi S. Iyer – A traditional Tamil Iyer Brahmin traveling with her   son, Santhanam, in the bus on her way to meet her husband. She meets a fellow-traveler, Raja Chowdhury, and gets drawn to him due to the surrounding circumstances.Rahul Bose as Jehangir \"Raja\" Chowdhury – A liberal Muslim by faith, he is a wildlife photographer by profession. With the imminent danger from the rioters, Meenakshi contrives a protective identity for him as her husband.Bhisham Sahni as Iqbal Ahmed Khan – An elderly conservative Muslim traveling along with his wife, Najma. He ends up as one of the victims of the sectarian violence.Surekha Sikri as Najma Ahmed Khan – The dutiful and loving wife of Iqbal, Najma perishes in the riots when she comes in defence of her husband.Anjan Dutt as Cohen – He is responsible for diverting the attention of the Hindu mob, in self-defence, towards the old Muslim couple. Thereafter, he is petrified thinking that he may also have been killed by the mob who could wrongly identify him as a Muslim, since he is circumcised.Bharat Kaul as  Rajesh Arora – The police officer responsible for controlling and maintaining the law and order in the riot-stricken area. He gets acquainted with the bus passengers and helps the Iyer 'couple' find a place to stay during the curfew.Niharika Seth, Riddhi Basu, Richa Vyas, Eden Das, Jishnu Sengupta  as Khushbu, Mala, Sonali, Amrita, Akash – An enthusiastic young group of friends riding the bus.ProductionDevelopmentAparna Sen, a noted actress and director of Bengali cinema, made her debut as a director with the English film 36 Chowringhee Lane (1981). Mr. and Mrs. Iyer was her second film in English. She hoped to write a simple romantic story, but it shaped out to be a relationship drama in the backdrop of sectarian violence. Sen came up with the background of the story in the aftermath of 9/11 and the 2002 Gujarat riots. In an interview, Sen stated that the omnipresent, circumstantial violence in the film was only to serve as a strain in the script which aimed to show how the relationship evolves between two people who are forced to be together under trying times. She stated that the time frame of the film was set after the attacks on the Parliament of India on 13 December 2001.In an interview at the screening at the Locarno Film Festival, Sen revealed that Konkona was involved in the pre-production research, and she suggested the title. About the cinematographer Gautam Ghose, Aparna Sen said that they had a good rapport and that Ghose, himself an acclaimed director, was one of the best cinematographers she knew. Ghose, in reply, said that he hoped to give his best for the film and thus contribute to their friendship.CastingRahul Bose's work in English, August (1994) and Split Wide Open (1999) made Aparna Sen feel that he was a good, controlled and intelligent actor. After a costume and a makeup test, he was chosen for the character of Raja Chawdhury. Sen admitted that Bose's work was up to the mark, and working with him was a wonderful experience. She told in an interview that Konkona Sen Sharma's abilities as a sensitive actress fetched her the role of Meenakshi Iyer. Konkona said that she chose this film as she was interested in Indian films made in English, and was reluctant to do regular commercial films. Sen had penned the elderly Muslim woman's character bearing Surekha Sikri in mind. Eventually Sikri and the author and playwright Bhisham Sahni were cast to play the roles of the Muslim couple in the film. Santhanam, the infant son of Meenakshi Iyer in the film is Sen's grand niece.Aparna Sen chose English as the film's narrative since the characters are linguistically diverse. She had to make sure that the characters spoke in English with their regional accent. Konkona admitted in an interview that playing the role of a Tamil Brahmin did not come easy. The director forced her to visit Chennai (where the major language is Tamil) for two weeks to research her character. She also said that she had learned many characteristics, nuances and mannerisms native to Tamilian housewives. She took a close look at Iyer lifestyles and customs in and around Mylapore, a cultural hub in Chennai. She attempted listening to recorded  conversations in Iyer households to get a suitable Tamil accent.FilmingThe production commenced in December 2001. Sen chose to keep the geographical setting unstated because she felt that it was a journey that could take place anywhere. The film was shot in the Himalayan foothills of northern West Bengal. The producers provided a state-of-the-art camera from Chennai's Prasad Studios to ensure that the shooting crew was technically better equipped. Rupali Mehta, from Triplecom Productions, the co-producer oversaw the crew of over 100 complete the production schedule in 50 days. The production team resorted to certain cost-cutting measures to ensure they committed fewer mistakes. For example, they had organised a workshop for the actors to avoid mistakes while filming.While filming in Jalpaiguri, Sen got embroiled in a controversy for damages caused to the forest bungalow, a heritage property, where a portion of filming was done. She admitted that, to give the bungalow a haunted look, they \"... sprayed slush on the walls and plastered cobwebs all over the place.\" However, she claimed that the place was cleaned up after the completion of their shoot.Release and receptionFollowing objections from the local police, two scenes were removed by producers from the version of the film screened in the city of Mumbai. One scene showed a Hindu man saying—using profanity—that Muslims should be sent back to Pakistan; the other featured a policeman using obscenities with a communal undertone. The police felt both scenes were too \" provocative\" for a \"communally sensitive\" city. However, for the rest of India, the film was screened in its entirety.The film had only modest box office success; domestically, it made 7.3 million rupees in its first release. However, thanks to its low budget and the spread of multiplexes in India, it brought in some revenue. Furthermore, the contemporary trend in the Indian television channels is to showcase films within months of their release. This trend helped modest box-office successes such as Mr. and Mrs. Iyer to get additional thrust to their financial returns. Indeed, Mr. and Mrs. Iyer was one of the first films that led to reworking of the business models for small films in India. In addition, Triplecom Productions sold the dubbed version in Italy for $20,000. A trade analysis by Rediff.com suggested that small-budget films such as Mr. and Mrs. Iyer did not compromise on marketing budgets, instead they put efforts in marketing themselves more innovatively.Special screenings and awardsIn 2002, Mr. and Mrs. Iyer was chosen as India's official entry at the Locarno International Film Festival. It ran for 3 minutes longer than its runtime of 120 minutes at Locarno. Though it missed out on the Golden Leopard Award at Locarno, it won the Netpac Jury Prize along with two other films. The film won the Golden Maile award at the 22nd Hawaii International Film Festival, the Audience Award for the Best Feature Film at the Philadelphia Film Festival, and the best screenplay award at the 2003 Cinemanila International Film Festival.In 2003, the Indian Film Festival of Los Angeles chose to open with Mr. and Mrs. Iyer, while New Zealand's first Asian film festival in 2004 chose to close its 10-day fest with it. The India International Women's Film Festival had a special retrospective to Aparna Sen for Mr. and Mrs. Iyer. The film was also showcased at the Pusan International Film Festival, Regus London Film Festival, Mill Valley Film Festival, International Film Festival of India, Braunschweig International Film Festival, and High Falls Film Festival. At the International Film Festival of Las Palmas in the Canary Islands, it won the Gold prize, awarded to the best film screened that year. Rahul Bose said that when the film was showcased at the Geneva festival, it was seen and liked by Kofi Annan, the United Nations Secretary-General.Back home in India, Mr. and Mrs. Iyer won the Golden Lotus Award for best direction, the Silver Lotus Awards for best actress, the best screenplay, and the Nargis Dutt Award for Best Feature Film on National Integration at the 2003 National Film Awards ceremony.Govind Nihalani, an Indian film director wondered if Mr. and Mrs. Iyer could have been sent to the Oscars instead of the regular song-and-dance entries. Eventually, Film Federation of India, the apex organisation that sends the nation's official entries to the Oscars, did not find any film worth sending for the 76th Academy Awards.ReviewsLawrence van Gelder commented in his review in The New York Times that \"The well-acted romance, as the two principal characters are thrown together by unanticipated events, is hard to resist, even though the answer to the crucial question it raises is all too conveniently deferred time and again.\" However, he added that Mr. and Mrs. Iyer \"... is not a subtle film ...\" The Chicago Reader also said, \"Sen is anything but subtle in populating the bus with a cross section of class and ethnic types ... but the friendship that blossoms between the leads is tenderly depicted and hints at a solution to sectarian strife\" TIME magazine praised Aparna sen for her \"... attention to detail ...\" that \"... skillfully captures the characters' idiosyncrasies.\" The Village Voice said, \"The actors appear game, yet director Aparna Sen, who conceived the film in the wake of September 11, resorts often to hokey pseudo-lyricism and prefers sound-bite ballyhoo to sociological depth.\" Metacritic, a website with a medley of reviews by American critics, gives the film a score of 50/100, meaning mixed or average reviews.In his review, Derek Elley of Variety remarked that the film had \" ... the awkward, issue-driven dialogue and wavering direction, showing influences from both the arty and commercial. [The] two leads just about scrape through.\" Although The Hindu review praised the director for \"... handling (these) scenes in an understated, muted fashion ...\" giving \"... them the power to disturb and haunt you.\" it questioned certain aspects of the film, stating, \"Though the flutters of the heart have been treated with finesse—sometimes a little too prudishly, pandering, perhaps, to middle class morality—we are never entirely convinced that love could blossom between Meenakshi Iyer and Raja Chowdhary.\" Indeed, Sen was criticised for contriving cinematic situation not quite fitting to the real world, \"Can a married woman with a baby in arms fall in love with a total stranger that she meets on a very short bus journey, however extraordinary the situation may have been? Having decided to drive them to each other's arms, Sen thinks up situations, which are terribly contrived ... Sen's story and script are found wanting elsewhere too. The police officer, who plays the good Samaritan, appears so unreal in the world of rancour that Sen creates ... [She], probably in her over enthusiasm, lets her own emotions derail her.\"Konkona Sen Sharma, who had not been widely seen outside Bengal before the release of the film, received particular praise for her performance, \"... the movie clearly belongs to Konkona Sen Sharma ... who as Meenakshi [Iyer] gets so beautifully into the psyche of a Tamil Brahmin ... she emotes just splendidly: when her eyes well up at the thought of parting with Raja [Chowdhary], when she gently rests her head on his shoulders in the train, and when her expressions suggest the faintest hint of love, we know that here is a great actress.\" A Rediff.com review said, \"... Konkana, a youngster, bowls you over with her silently sledge-hammering portrayal of Meenakshi Iyer, a conservative Tamilian Brahmin housewife ... [Her] eyes tell a thousand untold stories.\" An Australian critic said that the film, with \"wonderfully nuanced performances by Sensharma and Rahul Bose, whose love affair is as innocent as the lyrical, lingering soundtrack. Mr and Mrs Iyer is a gentle film, whose simple and haunting love story will appeal to the romantic traveller.\"The \"... attractive lensing by Gautam Ghose (a director in his own right) and atmospheric scoring by Ustad Zakir Hussain ...\" were well received. \"Looking through the eyes of Gautam Ghose's illuminating lens, Aparna Sen builds a miniature, but epic, world of tremendous inner strength. In her first seriously politically committed film, Sen takes on the issue of communal conflict with the surging humanism of Gabriel García Márquez, painting words on celluloid ... If [Zakir] Hussain creates sounds within the seesaw of silences and screams, cinematographer Gautam Ghose creates a lucid contrast between the silently majestic Himalayan hinterland and the fundamentalists.\"Home mediaDVDThe DVD, which released on 2 June 2004, has subtitle options in English, Hindi, Punjabi, Tamil and Urdu. It is available in 16:9 Anamorphic widescreen, Dolby Digital 5.1 Surround, progressive 24 FPS, widescreen and NTSC format.SoundtrackUstad Zakir "}
+{"doc_id":"doc_265","qid":"","text":"Passage 1:Bohemond III of AntiochBohemond III of Antioch, also known as Bohemond the Child or the Stammerer (French: Bohémond le Bambe/le Baube; c. 1148–1201), was Prince of Antioch from 1163 to 1201. He was the elder son of Constance of Antioch and her first husband, Raymond of Poitiers. Bohemond ascended to the throne after the Antiochene noblemen dethroned his mother with the assistance of the lord of Armenian Cilicia, Thoros II. He fell into captivity in the Battle of Harim in 1164, but the victorious Nur ad-Din, atabeg of Aleppo released him to avoid coming into conflict with the Byzantine Empire. Bohemond went to Constantinople to pay homage to Manuel I Komnenos, who persuaded him to install a Greek Orthodox patriarch in Antioch. The Latin patriarch of Antioch, Aimery of Limoges, placed Antioch under interdict. Bohemond restored Aimery only after the Greek patriarch died during an earthquake in 1170.Bohemond remained a close ally of the Byzantine Empire. He fought against the new lord of Armenian Cilicia, Mleh, assisting in the restoration of Byzantine rule in the Cilician plain. He also made alliances with the Muslim rulers of Aleppo and Damascus against Saladin, who had begun to unite the Muslim countries along the borders of the crusader states. Since Bohemond repudiated his second wife and married an Antiochene lady, Patriarch Aimery excommunicated him in 1180.Bohemond forced the Armenian rulers of Cilicia to accept his suzerainty in the late 1180s. He also secured the County of Tripoli for his second son, Bohemond, in 1187. However, Saladin occupied almost the whole Principality of Antioch in the summer of 1188. To preserve the peace with Saladin, Bohemond did not provide military assistance to the crusaders during the Third Crusade.  The expansionist policy of King Leo I of Armenia in the 1190s gave rise to a lasting conflict between Antioch and Cilicia. Bohemond was captured in 1194 by Leo, who tried to seize Antioch, but the burghers formed the Commune of Antioch and expelled the Armenian soldiers from the town. Bohemond was released only after he acknowledged Leo's independence.New conflicts emerged after Bohemond's eldest son, Raymond, died in 1197. Raymond's widow, who was Leo's niece, gave birth to a posthumous son, Raymond-Roupen, but Bohemond's younger son, Bohemond of Tripoli, wanted to secure his succession in Antioch with the assistance of the commune. The elderly Bohemond seems to have supported his son during his last years. The War of the Antiochene Succession began with Bohemond's death and lasted until 1219.Early lifeBohemond was the elder son of Princess Constance of Antioch and her first husband, Raymond of Poitiers. He was born around 1148. Prince Raymond died fighting against Nur ad-Din, atabeg of Aleppo, in the Battle of Inab on 29 June 1149.Neither Baldwin III of Jerusalem nor the Byzantine Emperor Manuel I Komnenos could persuade the widowed Constance to take a new husband. Finally, she chose Raynald of Châtillon, a French knight who had recently settled in Syria. Raynald ruled the principality as Constance's husband from 1153 until he was captured by Majd al-Din, governor of Aleppo, in late November 1160 or 1161.Urged by the Antiochene noblemen, Baldwin III proclaimed Bohemond the rightful ruler, charging Aimery of Limoges, Latin Patriarch of Antioch, with the administration of the principality during Bohemond's minority. However, Constance appealed to Manuel Komnenos, who confirmed her position as the sole ruler of Antioch. Constance wanted to retain power even after Bohemond reached the age of majority. However, the Antiochene noblemen rebelled against her with the assistance of Thoros II, Lord of Armenian Cilicia, forcing her to leave Antioch in February 1163.Prince of AntiochFirst yearsBohemond was installed as prince after his mother was dethroned. Nur ad-Din laid siege to Krak des Chevaliers in the County of Tripoli in September 1163. Raymond III of Tripoli appealed to Bohemond for assistance. Bohemond and Constantine Kalamanos, Byzantine governor of Cilicia, hurried to the castle. The united Christian armies defeated the besiegers in the Battle of al-Buqaia.Amalric of Jerusalem entrusted the government of the Kingdom of Jerusalem to Bohemond before departing for his campaign against Egypt in July 1164. Taking advantage of Bohemond's absence, Nur ad-Din attacked the fortress at Harenc in the Principality of Antioch (present-day Harem, Syria). Bohemond, Raymond III of Tripoli, Thoros II of Armenian Cilicia, and Constantine Kalamanos joined their forces and marched to Harenc, compelling Nur ad-Din to retreat.Reynald of Saint-Valery, Lord of Harenc, tried to convince Bohemond not to pursue the enemy, but Bohemond did not follow his advice. The armies clashed at the battle of Harim on 10 August 1164. Nur ad-Din almost annihilated the Christian army. Most Christian commanders (including Bohemond) were captured. Two days later, Harenc fell to Nur ad-Din. Nur ad-Din took his prisoners to Aleppo. His advisors urged Nur ad-Din to proceed to Antioch, but he declined, fearing that an attack on Antioch could provoke Emperor Manuel into annexing the principality. Amalric of Jerusalem hurried to Antioch to start negotiations with Nur ad-Din. Before long, Nur ad-Din released Bohemond, along with Thoros II of Cilicia, for a ransom because he regarded them as vassals of the Byzantine emperor.The Muslims advised [Nur ad-Din] to proceed to Antioch and seize it because it was devoid of defenders and fighting men to hold it, but he did not do so. He said, \"The city is an easy matter but the citadel is strong. Perhaps they will surrender it to the Byzantine emperor because its ruler is his nephew. To have Bohemond as a neighbor I find preferable to being a neighbour of the ruler of the Constantinople.\" He sent out squadrons in those areas and they plundered, seized and killed the inhabitants. Later he ransomed Prince Bohemond for a large sum of money and the release of many Muslim captives.Byzantine allianceSoon after his release, Bohemond visited Emperor Manuel in Constantinople and paid homage to him. In return for monetary aid, Bohemond agreed to allow Athanasius, the Eastern Orthodox Patriarch of Antioch, to accompany him back to Antioch. The Latin Patriarch, Aimery, left Antioch and imposed an interdict on the city. Manuel's cousin, Andronicus Komnenus, who was made Byzantine governor of Cilicia in 1166, often visited Antioch to meet Bohemond's beautiful young sister, Philippa. Bohemond appealed to Manuel, who dismissed Andronicus, replacing him with Constantine Kalamanos.Bohemond granted Apamea to the Knights Hospitaller in 1168. An earthquake destroyed most towns of northern Syria on 29 June 1170. The Greek Patriarch, Athanasius, died when the edifice of the Cathedral of St. Peter collapsed on him during the Mass. Bohemond went to Qosair (present-day Altınözü, Turkey) and persuaded the exiled Latin Patriarch to return to his see.Mleh, who had seized Cilicia with Nur ad-Din's help, besieged Bagras, the fortress of the Knights Templars near Antioch, in early 1170. Bohemond sought assistance from Amalric of Jerusalem, and their united army defeated Mleh, also forcing him to restore the towns of the Cilician plains to the Byzantine Empire. Bohemond's relationship with Armenian Cilicia remained tense, which prevented him from pursuing an active foreign policy until Mleh was dethroned in 1175.Bohemond concluded an alliance with Gumushtekin, atabeg of Aleppo, against Saladin, the Ayyubid ruler of Egypt and Syria, in May 1176. On Bohemond's demand, Gumushtekin released his Christian prisoners, including Bohemond's stepfather, Raynald of Châtillon. To strengthen his alliance with the Byzantine Empire, in 1177 Bohemond married Theodora, who was closely related to Emperor Manuel.Bohemond met Philip, Count of Flanders, who had come to the Kingdom of Jerusalem in September 1177. According to the contemporaneous William of Tyre, many crusaders blamed Bohemond and Raymond III of Tripoli for dissuading Philip from participating in a military campaign against Egypt, preferring instead to take advantage of Philip's presence in their own realms. Indeed, in December Philip and Bohemond jointly laid siege to Harenc, a fortress of As-Salih Ismail al-Malik, Emir of Damascus, seizing the opportunity following a mutiny of the garrison. They lifted the siege soon after As-Salih informed them that Saladin (the common enemy of both As-Salih and Bohemond) had left Egypt for Syria. As-Salih paid 50,000 dinars and renounced half of the nearby villages in favor of Bohemond.Bohemond and Raymond III of Tripoli marched to the Kingdom of Jerusalem in early 1180, according to William of Tyre. Baldwin IV of Jerusalem feared that the two princes (who were his father's cousins) had come to dethrone him, the symptoms of his leprosy having become \"more and more evident\" by that time. Historian Bernard Hamilton, who accepts William of Tyre's narration, says that Bohemond and Raymond came to Jerusalem to choose a husband for Baldwin's sister and heir, Sibylla, wishing to decrease the influence of the king's maternal relatives. However, Baldwin gave her in marriage to Guy of Lusignan, who was supported by their mother, Agnes of Courtenay. Sibylla's marriage contributed to the formation of two parties of noblemen. Bohemond, Raymond III of Tripoli, and the Ibelin brothers became the leaders of the group that opposed Guy of Lusignan.ConflictsManuel I Komnenos died on 24 September 1180. Bohemond soon repudiated his wife, Theodora, to marry an Antiochene lady of bad reputation, Sibylla. Ali ibn al-Athir described her as a spy who was \" in correspondence with Saladin and exchanged gifts with him\". Patriarch Aimery accused Bohemond of adultery and excommunicated him. After Bohemond confiscated church property, Aimery imposed an interdict on Antioch and fled to his fortress at Qosair. Bohemond besieged the fortress, but Rainald II Masoir, Lord of Margat, and other noblemen who supported the patriarch rose up against him.Baldwin IV sent Heraclius, Patriarch of Jerusalem, along with other bishops, and Raynald of Châtillon to Antioch to mediate. After preparatory negotiations with the envoys in Latakia, Bohemond and Aimery met in Antioch. Bohemond agreed to restore confiscated church property and Aimery lifted the interdict, but Bohemond's excommunication remained in force because he refused to return to Theodora. Peace was not fully restored, and the leaders of the opposition fled to Armenian Cilicia.Bohemond made peace with Imad ad-Din Zengi II, the Zengid ruler of Aleppo, in May 1182. However, Imad ad-Din was forced to surrender Aleppo to Saladin on 11 June 1183. Fearing an attack on Antioch, Bohemond sold Tarsus to Roupen III, Lord of Armenian Cilicia, to raise funds. Baldwin IV of Jerusalem promised to send 300 knights to Antioch. Saladin did not invade the principality and signed a peace treaty with Bohemond. Bohemond attended the assembly that Baldwin IV had summoned to discuss the administration of the Kingdom of Jerusalem in autumn 1183. At the meeting, Guy of Lusignan was dismissed as regent, and his five-year-old stepson, Baldwin, was proclaimed co-ruler. A charter shows that Bohemond was in Acre in April 1185, suggesting that he was present when the leper Baldwin IV died around that time.Roupen III of Armenian Cilicia laid siege to Lampron, the seat of his rival, Hethum III of Lampron. Hethum sent envoys to Bohemond, seeking his assistance. Bohemond invited Roupen to a banquet to Antioch where he had Roupen captured and imprisoned in 1185. Bohemond invaded Cilicia, but he could not prevent Roupen's brother, Leo, from seizing Lampron. An Armenian nobleman, Pagouran of Barbaron, mediated a peace treaty. Roupen agreed to pay a ransom and to renounce Sarventikar, Tall Hamdun, Mamistra, and Adana. He also acknowledged Bohemond's suzerainty. After the ransom was paid in 1186, Bohemond released Roupen, who soon reconquered the fortresses and towns that he had ceded to Antioch.Saladin's triumphThe child Baldwin V of Jerusalem died in late summer 1186. Raymond of Tripoli and his supporters could not prevent Baldwin V's mother, Sibylla, and her husband, Guy of Lusignan, from seizing the throne. Baldwin of Ibelin, who was the only Jerusalemite baron to refuse to pay homage to Sibylla and Guy after their coronation, moved to Antioch. Bohemond granted a fief to him.Nomad Turkmen bands invaded Cilicia, forcing the new ruler, Leo, to swear fealty to Bohemond shortly after his ascension in 1186 or 1187. The Turkmens also broke into the Principality of Antioch, pillaging the lowlands around Latakia and the monasteries in the nearby mountains. Bohemond was forced to make a truce with Al-Muzaffar Umar, Saladin's governor in Syria, who joined Saladin's invasion of the Kingdom of Jerusalem in May. Even so, Bohemond sent 50 knights under the command of his elder son, Raymond, to Jerusalem after a Christian army was almost annihilated in the Battle of Cresson. The Turkmens continued their plundering raid until the Antiochene army defeated them and seized their booty.Saladin launched a crushing defeat on the Christian army in the Battle of Hattin on 4 July 1187. Bohemond's son was one of the few Christian leaders to flee from the battlefield. Within three months, Saladin captured almost all towns and fortresses of the Kingdom of Jerusalem. Raymond III of Tripoli, who died before the end of the year, willed the County of Tripoli to Bohemond's elder son and heir, Raymond. Bohemond sent his younger son and namesake to take control of Tripoli, convinced that one ruler could not defend both Antioch and Tripoli. After his son was installed in Tripoli, Bohemond became \"the greatest of the Franks and their most extensive ruler\", according to Ibn Al-Athir. Bohemond offered to pay homage to William II of Sicily in exchange for military assistance.Saladin started the invasion of northern Syria on 1 July 1188. His troops captured Latakia on 22 or 23 July, Sahyun six days later, and the fortresses along the Orontes River in August. After the Knights Templar surrendered their fortress at Bagras to Saladin on 26 September, Bohemond pleaded for a truce, offering the release of his Muslim prisoners. Saladin granted the truce from 1 October 1188 to 31 May 1189. Bohemond managed to retain only his capital and the port of St Symeon. Saladin stipulated that Antioch was to be surrendered without resistance if no reinforcements came before the end of May 1189. Bohemond urged the Holy Roman emperor, Frederick Barbarossa, to come to Syria, offering him the suzerainty over Antioch.This summer the unspeakable Saladin totally destroyed the city of Tortosa except for the Templar citadel, burnt down the city of Valania before moving on to the region of Antioch where he claimed the famous cities of Jabala and Latakia, the strongholds of Saône, Gorda, Cavea and [Burzey] and the lands as far as Antioch. Beyond Antioch he besieged and captured Darbsak and [Bagras]. Thus, with the whole of the principality apart from our stronghold at Margat, more or less destroyed and lost, the prince and the people of Antioch made a pitiful agreement with Saladin, that if no help was forthcoming in the seven months from the beginning of that month of October they would formally surrender Antioch, alas without even a stone being thrown, a city acquired with the blood of valiant Christians.Third crusadeGuy of Lusignan, who had recently been released, came to Antioch in July or August 1188. Bohemond did not provide him with military assistance, and Guy left for Tripoli.Frederick Barbarossa departed from the Holy Roman Empire in May 1189. The defence of Antioch was a principal aim of his crusade, but he died unexpectedly near Seleucia in Asia Minor (present-day Silifke in Turkey) on 10 June 1190. His son Duke Frederick VI of Swabia took over the command of the army, but most crusaders decided to return to Europe. The remnants of the German crusaders reached Antioch on 21 June 1190. Bohemond paid homage to Frederick of Swabia. Barbarossa's body, which had been carried to Antioch, was buried in the cathedral before the duke continued his crusade toward the Holy Land.In May 1191 Bohemond sailed to Limassol along with Guy of Lusignan and Leo of Cilicia to meet King Richard I of England, who had arrived to reconquer the Holy Land from Saladin. He once again met Richard during the siege of Acre in summer 1191, but he did not provide military support to the crusaders. Bohemond's relationship with Leo of Cilicia became tense when Leo captured Bagras and refused to cede it to the Knights Templar.After Richard of England left the Holy Land, Bohemond met Saladin in Beirut on 30 October 1192. According to Ibn Al-Athir, Bohemond \"did obeisance\" and Saladin \"bestowed a robe of honour upon him\" at their meeting. They signed a ten-year truce that included both Antioch and Tripoli but did not cover Armenian Cilicia even though Leo of Cilicia was Bohemond's vassal.Last yearsBohemond's wife, Sibylla, wanted to secure Antioch for her son, William, with the assistance of Leo of Cilicia (whose wife, Isabel, was her niece). Leo invited Bohemond and his family to Bagras, saying that he wanted to start negotiations regarding the surrender of the fortress either to Antioch or to the Templars in early 1194. The meeting was a trap: Bohemond was captured and taken to Leo's capital, Sis.Bohemond was compelled to surrender Antioch to Leo. He appointed his marshal, Bartholomew Tirel, to accompany the Armenian troops, which were under the command of Hethoum of Sason, to Antioch. The Antiochene noblemen allowed Leo's soldiers to enter the town, but the mainly Greek and Latin burgers opposed Leo's rule. An Armenian soldier's rude remark about Saint Hilary, to whom the royal chapel was dedicated, provoked a riot, forcing the Armenians to withdraw from the town. The burghers assembled in the cathedral to form a commune under the auspices of Patriarch Aimery. They declared Bohemond's eldest son, Raymond, regent for his imprisoned father. Raymond's younger brother, Bohemond, also hurried from Tripoli to Antioch, and the Armenian forces had to return to Cilicia.Henry I of Jerusalem came to Antioch to mediate a peace treaty in early 1195. After Bohemond renounced his claim to suzerainty over Cilicia and acknowledged Leo's possession of Bagras, Leo released him and his retainers. Before long, Bohemond's son, Raymond, married Leo's niece and heir, Alice.Raymond died in early 1197, but his widow gave birth to a posthumous son, Raymond-Roupen. The elderly Bohemond sent her and her infant son to Cilicia wanting either to secure Antioch for his son by Sibylla, or to guarantee their security. Bohemond assisted Duke Henry I of Brabant in capturing Beirut in October 1197. Before long, he decided to besiege Jabala and Latakia, but he had to return to Antioch to meet the papal legate, Conrad of Wittelsbach, the archbishop of Mainz. The archbishop had come to Antioch to secure Raymond-Roupen's right to succeed Bohemond. On Conrad's demand, Bohemond summoned the Antiochene noblemen, who swore fealty to his grandson.Bohemond of Tripoli regarded himself his father's lawful heir, because he was Bohemond's elder surviving son. He came to Antioch at the end of 1198 and persuaded the commune to accept his rule. Before long, the younger Bohemond returned to Tripoli, enabling his father to re-take control of state affairs, suggesting that the elder Bohemond had tacitly supported his son's coup. Leo I of Cilicia appealed to the Holy See to protect Raymond-Roupen's interest, but the Knights Templar submitted a complaint against him for refusing to restore Bagras to them.Bohemond died in April 1201. His son hurried to Antioch to attend his funeral. The commune proclaimed him prince, but many noblemen who remained loyal to Raymond-Roupen fled to Cilicia. The ensuing War of the Antiochene Succession lasted for years, until the death of Leo in May 1219.FamilyBohemond's first wife, Orgueilleuse of Harenc, was first mentioned in charters issued in 1170, suggesting that Bohemond married her in or before that year. She was last mentioned in February or March 1175. She was the mother of Bohemond's two eldest sons, Raymond and Bohemond.Bohemond's second wife, Theodora (whom the Lignages d'Outremer mentioned as Irene) was a relative of the Byzantine Emperor Manuel I Komnenos. Historian Charles M. Brand identifies her as the daughter of Manuel's nephew, John Doukas Komnenos. According to the Lignages d'Outremer, Theodora gave birth to a daughter, Constance, who was not mentioned in other sources.William of Tyre described Sibylla, the third wife of Bohemond, as a witch who \"practised evil magics\" to seduce Bohemond. Michael the Syrian stated that Sibylla was a whore. Her "}
+{"doc_id":"doc_266","qid":"","text":"Passage 1:The Daltons' WomenThe Daltons' Women is a 1950 American Western film directed by Thomas Carr starring Lash LaRue and Al \"Fuzzy\" St. John. It was the seventh of LaRue's films for Ron Ormond's WesternAdventures Productions Inc.The film was the first to be released by Howco, Ron Ormond's new film company composed of Ormond and drive-in movie owners Joy N. Houck and J. Francis White, and director ThomasCarr's first film in the Lash LaRue series. The film features appearances by several well known stars such as Jack Holt, Tom Tyler and Tom Neal and a lengthier running time of 77 minutes featuring a multitude ofmusical numbers, juggling, and a lengthy catfight. Though the Women of the title have little to do with the narrative of the film, \"the frontier's first dance hall belles\" were played up in the publicity with the original filmtrailer giving Lash LaRue last billing. The film was shot at the Iverson Movie Ranch.PlotUS Marshal Lash and Deputy Marshal Fuzzy work undercover together with a female Pinkerton detective to end the Dalton Brothersworking with a corrupt mayor and sheriff.Criticism\"carelessly assembled oater that moves erratically from a thin story line to irrelevant little subplots and gives the general impression that the film was slapped togetherfrom bits of disconnected pieces,...the women involved have no relationship between the Dalton Brothers, who themselves are only slightly concerned in the proceedings\"-Hollywood ReporterCastLash La Rue ... MarshalLash La RueAl St. John ... Deputy Fuzzy Q. JonesJack Holt ... Clint Dalton/Mike LeonardTom Neal  ... MayorPamela Blake ... Joan TalbotJacqueline Fontaine ... Jacqueline FontaineRaymond Hatton ... Sheriff DoolinLyleTalbot ... Jim ThorneTom Tyler ... Emmett DaltonJ. Farrell MacDonald ... Alvin - Stage Company Representative Terry Frost ... Jess Dalton/Billy SaundersArchie R. Twitchell  ... Honest HankStanley Price ... MansonBudOsborne ... Adams the Stage DriverCliff Taylor ... George the BartenderJune Benbow ... MayHenry \"Duke\" Johnson ... The JugglerPassage 2:Ben PalmerBen Palmer (born 1976) is a British film and television director.Histelevision credits include the Channel 4 sketch show Bo' Selecta! (2002–2006), the second and third series of the E4 sitcom The Inbetweeners (2009–2010) and the Sky Atlantic comedy-drama Breeders (2020). Palmerhas also directed films such as the Inbetweeners spin-off, The Inbetweeners Movie (2011) and the romantic comedy Man Up (2015).BiographyPalmer was born and raised in Penny Bridge, Barrow-in-Furness. Heattended Chetwynde School.His first directing job was the Channel 4 sketch show Bo' Selecta!, which he co-developed with its main star, Leigh Francis. Palmer directed the second and third series of the E4 sitcom TheInbetweeners in 2009 and 2010, respectively.FilmographyBo' Selecta! (2002–06)Comedy Lab (2004–2010)Bo! in the USA (2006)The Inbetweeners (2009–2010)The Inbetweeners Movie (2011)Comedy Showcase(2012)Milton Jones's House of Rooms (2012)Them from That Thing (2012)Bad Sugar (2012)Chickens (2013)London Irish (2013)Man Up (2015)SunTrap (2015)BBC Comedy Feeds (2016)Nigel Farage Gets His Life Back(2016)Back (2017)Comedy Playhouse (2017)Urban Myths (2017–19)Click & Collect (2018)Semi-Detached (2019)Breeders (2020)Passage 3:Abhishek SaxenaAbhishek Saxena is an Indian Bollywood and Punjabi filmdirector who directed the movie Phullu. The Phullu movie was released in theaters on 16 June 2017, in which film Sharib Hashmi is the lead role. Apart from these, he has also directed Patiala Dreamz, this is a Punjabifilm. This film was screened in cinemas in 2014.Life and backgroundAbhishek Saxena was born on 19 September 1988 in the capital of India, Delhi, whose father's name is Mukesh Kumar Saxena. Abhishek Saxenamarried Ambica Sharma Saxena on 18 December 2014. His mother's name is Gurpreet Kaur Saxena.Saxena started his career with a Punjabi film Patiala Dreamz, after which he has also directed a Hindi film Phullu,which has appeared in Indian cinemas on 16 June 2017.CareerAbhishek Saxena made his film debut in 2011 as an assistant director on Doordarshan with Ashok Gaikwad. He made his first directed film Patiala Dreamz,this is a Punjabi movie.After this, he has also directed a Hindi film Phullu in 2017, which has been screened in cinemas on 16 June 2017. Saxena is now making his upcoming movie \"India Gate\".In 2018 AbhishekSaxena has come up with topic of body-shaming in his upcoming movie Saroj ka Rishta. Where Sanah Kapoor will play the role of Saroj and actors Randeep Rai and Gaurav Pandey will play the two men in Saroj'slife.Yeh Un Dinon ki Baat Hai lead Randeep Rai will make his Bollywood debut. Talking about the film, director Abhishek Saxena told Mumbai Mirror, \"As a fat person, I have noticed that body-shaming doesn’t happenonly with those who are on the heavier side, but also with thin people. The idea germinated from there.\"Career as an Assistant DirectorApart from this, he has played the role of assistant director in many films andserials in the beginning of his career, in which he has a television serial in 2011, Doordarshan, as well as in 2011, he also assisted in a serial of Star Plus.In addition to these serials, he played the role of assistantdirector in the movie \"Girgit\" which was made in Telugu language.FilmographyAs DirectorPassage 4:G. MarthandanG. Marthandan is an Indian film director who works in Malayalam cinema. His debut film is DaivathinteSwantham CleetusEarly lifeG. Marthandan was born to M. S. Gopalan Nair and P. Kamalamma at Changanassery in Kottayam district of Kerala. He did his schooling at NSS Boys School Changanassery and completed hisbachelor's degree in Economics at NSS Hindu College, Changanassery.CareerAfter completing his bachelor's degree, Marthandan entered films as an associate director with the unreleased film Swarnachamaram directedby Rajeevnath in 1995. His next work was British Market, directed by Nissar in 1998. He worked as an associate director for 18 years.He made his directional debut with Daivathinte Swantham Cleetus in 2013, starringMammooty in the lead role. His next movie was in 2015, Acha Dhin, with Mammooty and Mansi Sharma in the lead roles. Daivathinte Swantham Cleetus and Paavada were box office successes.FilmographyAs directorAsassociate directorAs actorTV serialKanyadanam (Malayalam TV series) - pilot episodeAwardsRamu Kariat Film Award - Paavada (2016)JCI Foundation Award - Daivathinte Swantham Cleetus (2013)Passage 5:TangledDestiniesTangled Destinies is a 1932 pre-Code American murder mystery film directed by Frank R. Strayer. The film is also known as Who Killed Harvey Forbes? in the United Kingdom.CastGene Morgan as Capt. Randall\"Randy\" GordonDoris Hill as DorisGlenn Tryon as Tommy Preston, the Co-pilotVera Reynolds as Ruth, the Airline StewardessEthel Wales as Prudence DaggottMonaei Lindley as Monica van BurenSyd Saylor as Buchanan,the PrizefighterSidney Bracey as McGinnis, posing as Professor MarmontLloyd Whitlock as Floyd MartinJames B. Leong as LingWilliam P. Burt as Harvey ForbesHenry Hall as Dr. Wingate, the ParsonWilliam Humphrey asProfessor HartleyPassage 6:The Daltons Ride AgainThe Daltons Ride Again is a 1945 American Western film directed by Ray Taylor starring Alan Curtis, Lon Chaney Jr., Kent Taylor and Noah Beery Jr. The movie wasmade by Universal Pictures and the supporting cast features Milburn Stone (\"Doc\" in the subsequent television series Gunsmoke) and Douglas Dumbrille.PlotCastAlan Curtis as Emmett Dalton, a BrotherLon Chaney Jr.as Grat Dalton, a BrotherKent Taylor as Bob Dalton, a BrotherNoah Beery Jr. as Ben Dalton, a BrotherMartha O'Driscoll as Mary Bohannon, Emmett's girlfriendJess Barker as Jeff ColtonThomas Gomez as 'Professor' J. K.McKenna, the Town drunkJohn Litel as Mitchael J. 'Mike\" Bohannon, the Newspaper editorMilburn Stone as Parker W. Graham, a Land developer / bad guyWalter Sande as Wilkins / bad guyDouglass Dumbrille as SheriffHoskinsStanley Andrews as Tex Walters, the Dalton's friendCritical receptionCritic John Howard Reid called it \"a handsome little oater with good performances and a fine violent shootout as its climax.\"Passage 7:FrankR. StrayerFrank Raymond Strayer (September 21, 1891 – February 3, 1964) was an actor, film writer, director and producer. He was active from the mid-1920s until the early 1950s. He directed a series of 14 Blondie!(1938) movies as well.BiographyStrayer attended Carnegie Tech and then the Pennsylvania Military Academy. After graduation, he served in the Navy during World War I. After the War, he found work at Metro Studios,which would later become known as MGM. While there, he worked as an assistant director and also acted in a few films. During the 1920s, he moved on to Columbia Pictures. While there, he became a successful writer,director and producer.FilmographyWriterThe Man Who (1921)By Appointment Only (1933)Murder at Midnight (1931)DirectorFrank Strayer is credited with having directed 86 films. These include 14 movies in a seriesbased on the Blondie and Dagwood comic strip, dramas such as Manhattan Tower (1931), starring Mary Brian and James Hall, and several horror films, including The Monster Walks (1932). Unless otherwise noted,credits below are as listed in the AFI database.ProducerFootlight Glamour (1943)It's a Great Life (1943)ActorThe Man Who (1921)Passage 8:Thomas Carr (director)Thomas Howard Carr (July 4, 1907 - April 23, 1997)was an American actor and film director of Hollywood movies and television programs. Often billed as \"Tommy Carr\", he later adopted his more formal \"Thomas Carr\" birth name as his billing name.BiographyCarr wasborn into an acting family on July 4, 1907 in Philadelphia, Pennsylvania. His father was the actor William Carr and his mother was the actress Mary Carr.  Thomas Carr followed the family profession, and in 1915 beganacting in silent films.  From 1915 through 1953, Carr played small supporting roles in a number of low budget Hollywood films. However, Carr's star as an actor did not rise.In 1945, he turned to directing, and from1945 through 1951 Carr directed numerous B movies for Hollywood's Poverty Row.  Most of Carr's films were Westerns; however, in 1948 he was co-director (along with Spencer Gordon Bennet) of the live-actionSuperman serial.  From 1951 to 1968, Carr's directing was focused mainly on television.  He directed episodes of numerous television shows in the 1950s and 1960s, including episodes of Lassie, Adventures ofSuperman, Daniel Boone, Wanted: Dead or Alive, and Gunsmoke.His older brother Stephen was a recurring cast member, in various roles, during the first season of Adventures of Superman. Steve is also seen pointing\"up in the sky\" during the opening credits of the black and white episodes.Thomas Carr retired from directing in 1968.  He died in Ventura, California on 23 April 1997.Partial filmographyBibliographyHolmstrom, John.The Moving Picture Boy: An International Encyclopaedia from 1895 to 1995, Norwich, Michael Russell, 1996, p. 30.External linksThomas Carr at IMDbTommy Carr in middle age,signed portrait(archived)Passage 9:JesseJames vs. the DaltonsJesse James vs. the Daltons is a 1954 American 3-D Western film directed by William Castle and starring Brett King, Barbara Lawrence and James Griffith. It was produced and distributed byColumbia Pictures and was one of three films shot by Castle in 3-D during the 1950s 3-D 'golden era'.PlotJoe Branch (Brett King), rumored to be the son of outlaw Jesse James, sets out to contact the infamous DaltonGang and to learn the truth about his legendary father.CastBrett King as Joe BranchBarbara Lawrence as Kate ManningJames Griffith as Bob DaltonWilliam Phipps as Bill DaltonJohn Cliff as Great DaltonRory Mallinson asBob FordWilliam Tannen as Emmett DaltonRichard Garland as GilkieNelson Leigh as Father KerriganPassage 10:When the Daltons RodeWhen the Daltons Rode is a 1940 American Western film directed by GeorgeMarshall and starring Randolph Scott, Kay Francis and Brian Donlevy. Based on the 1931 book of the same name by Emmett Dalton, a member of the Dalton Gang, and Jack Jungmeyer Sr., the film also includes afictional family friend who tries to dissuade the Dalton brothers from becoming outlaws.PlotThe Dalton brothers, law-abiding farmers, move to Kansas from Missouri to begin a new life. Bob Dalton meets lawyer TodJackson and persuades him to defend his kin Ben Dalton in a court case against a corrupt land-development company.A melee erupts during the trial and the Daltons shoot their way out of the courtroom. Cronies of theland developers and the press portray the brothers negatively. Ben is shot in the back. Unable to live lawfully, the Daltons rob a stagecoach and their reputation as dangerous outlaws spreads.Tod has fallen in love withBob Dalton's fiancée Julie. He urges the Daltons to change their ways, but they defy him and pull one more bank job in Kansas. Bob and Grat are killed there, as are two other members of the gang, but Emmettsurvives.CastRandolph Scott as Tod JacksonKay Francis as Julie KingBrian Donlevy as Grat DaltonGeorge Bancroft as Caleb WintersBroderick Crawford as Bob DaltonStuart Erwin as Ben DaltonAndy Devine as OzarkJonesFrank Albertson as Emmett DaltonMary Gordon as Ma DaltonHarvey Stephens as RigbyEdgar Dearing as SheriffQuen Ramsey as Clem WilsonDorothy Granger as NancyRobert McKenzie as PhotographerFayMcKenzie as HannahWalter Soderling as Judge Lucius Thorndown (Judge Swain in the credits)Mary Ainslee as MinnieErville Alderson as Dist. Atty. WadeSally Payne as AnnabellaEdgar Buchanan as Old Timer(uncredited)June Wilkins as SuzyProductionThe film was based on Emmett Dalton's autobiography. Universal announced the project in March 1940 with filming to begin in May. Stuart Anthony and Lester Cole worked onthe script. The railroad scenes were filmed on the Sierra Railroad in Tuolumne County, California."}
+{"doc_id":"doc_267","qid":"","text":"Passage 1:Hell and Mr. FudgeHell and Mr. Fudge is a 2012 American drama film directed by Jeff Wood and written by Donald Davenport. Based on a true story, the film stars Mackenzie Astin as Edward Fudge, a real life Alabama preacher who has been hired to determine the nature of hell. The real life Fudge is best known for his book The Fire That Consumes, in which he argues against the immortal soul and eternal torment in hell.CastMackenzie Astin as Edward FudgeCody Sullivan as young EdwardKeri Lynn Pratt as Sara FudgeJohn Wesley Shipp as Bennie Lee FudgeEileen Davidson as Sibyl FudgeWes Robertson as Joe MarkTrevor Allen Martin as young JoeHelen Ingebritsen as Mrs. HerneChristian Fortune as Davy HollisSean McGowan as Don HalowayTom Hillmann as Simon ClarageProductionFilming took place in Athens, Alabama in June and July 2011. The film had a scheduled release date of \"first quarter 2012\". Fudge cooperated in the film's development.ReceptionIn April 2012, the film received a Platinum award in the \"Christian theatrical feature film\" category at the Worldfest-Houston International Film Festival. The film's producers subsequently sought a distributor for a wider release.Passage 2:Yes or NoYes or No  or Yes/No may refer to:Yes and no in EnglishYes–no question, a form of question which can normally be answered using a simple \"yes\" or \"no\"Film and TVYes or No?, a 1920 silent filmYes or No (film), a 2010 Thai romantic filmYes or No (game show), a version of Deal or No Deal airing in South KoreaYes or No (TV series), (\u0000\u0000\u0000\u0000 \u0000\u0000\u0000 \u0000\u0000) a Tamil-language talent game show in India\"Yes/No\" (Glee)\", an episode of Glee\"Yes or No, Tsunade's answer\" (\"YES\u0000NO\u0000!\u0000\u0000\u0000\u0000\u0000\u0000\"), a season four episode of the anime series Naruto (see list of Naruto episodes)MusicAlbumsYes/No, a 2012 EP by Fake BloodYes, No (T-Square album), 1988Songs\"Yes/No\" (Banky W. song), 2012\"Yes or No\" (song), by The Go-Go's\"Yes or No\" by Wayne Shorter from the 1965 album JuJu\"Yes or No\", song by Tommy SeebachOther uses\"Yes\" or \"No\" the Guide to Better Decisions a book by Spencer JohnsonSee alsoYes and no (disambiguation)Passage 3:Yes or YesYes or Yes (stylized as YES or YES) is the sixth extended play by the South Korean girl group Twice. It was released on November 5, 2018, by JYP Entertainment and distributed by Iriver. It contains seven tracks, including the lead single of the same name and the Korean version of \"BDZ\". Twice members Jeongyeon, Chaeyoung and Jihyo took part in writing lyrics for three songs on the EP.The album became a commercial success for the group, topping the Gaon Album Chart and becoming Twice's first Korean album to top Japan's Oricon Album Chart. It recorded over 300,000 copies sold, and with its release, Twice reached an accumulated number of over 3 million albums sold in South Korea. A reissue, titled The Year of \"Yes\", was released on December 12, 2018.Background and releaseIn early October 2018, advertisements with the phrase \"Do you like Twice? Yes or Yes\" (Korean: \"\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000? YES or YES\") were put up on subway billboards, drawing attention online. On October 11, JYP Entertainment confirmed that Twice planned to release a third Korean album that year on November 5. Yes or Yes was revealed as the album's title on October 20 and a special video commemorating Twice's third anniversary contained a short clip of the album's lead single of the same name.Twice released their first group teaser photo regarding their comeback on October 23. On October 24, individual teaser posters featuring Nayeon, Jeongyeon, and Momo were uploaded. A track list image for the album's eponymous title track was also posted, revealing that it was written by Sim Eun-jee, who previously worked with Twice as a songwriter for \"Knock Knock\". On October 25, individual teaser photos featuring Sana, Jihyo, and Mina were posted by the group. On the same day, a second track list image for the album was posted, revealing the titles of three songs written by Twice members: \" LaLaLa\" penned by Jeongyeon, \"Young & Wild\" co-written by Chaeyoung, and \"Sunset\" being written by Jihyo. On October 26, individual teaser photos featuring Dahyun, Chaeyoung, and Tzuyu were uploaded. A third track list image unveiling additional details about the album was also posted, revealing seven songs in total.On October 27, a second group teaser photo was released by Twice. On October 28, a second set of individual teaser photos featuring each member was uploaded. Twice then revealed their first music video teaser for \"Yes or Yes\" on October 29. On October 30, Twice unveiled their third group teaser poster. The following day, the group released the second music video teaser for the album's title track, revealing their opening choreography. A full preview of the album's contents was revealed by the group on November 1. On November 2, Twice uploaded their third music video teaser, revealing more of their choreography and opening verse. More parts of the lead track's opening verse was revealed by the group on November 3. A highlight medley featuring snippets from all of the album's tracks was uploaded on November 4.Yes or Yes alongside its eponymous lead single was officially released on November 5, with Twice holding their live showcase at the KBS Arena Hall in Hwagok-dong, Gangseo-gu, Seoul.CompositionYes or Yes is an EP consisting of seven tracks. The title track \"Yes or Yes\" was composed by David Amber and Andy Love, with Korean lyrics by Sim Eun-jee. Amber previously co-composed \"Heart Shaker\" and Sim Eun-jee co-wrote lyrics for \"Knock Knock\". \"Yes or Yes\" was described as a bright and lively \"color pop\" song in the synth-pop genre with influences from Motown, reggae and arena pop. Lyrically, it is about only being able to reply \"yes\" to a confession of love.\"Say You Love Me\" is an upbeat song which lyrically describes the feeling of one who is admitting to their romantic interest and waiting for their reply. \"LaLaLa\" is written by Jeongyeon, and is described as a \"quintessential love song\". \"Young & Wild\" is penned by Chaeyoung and lyrically talks about self-confidence. \"Sunset\", written by Jihyo, features a mono-speaker sound effect with its lyrics comparing one's romantic interest to a sunset. \"After Moon\" is classified as a ballad track. The album's final track is the Korean version of \"BDZ\" from their Japanese album BDZ.PromotionTwo days before the album's release, Twice appeared on the television show Knowing Bros and performed part of \"Yes or Yes\" for the first time. The group held a showcase for the album on November 5, 2018, at the KBS Arena Hall in Gangseo-gu, Seoul. The first televised performance of \"Yes or Yes\" was at the 2018 MBC Plus X Genie Music Awards on November 6. Twice also appeared on Idol Room as part of the promotion for the album.The group promoted the album on several Korean music show programs, first performing the title track and \"BDZ\" on M Countdown on November 8. They also performed on KBS2's Music Bank on November 9 and 23, SBS' Inkigayo on November 11, MBC M's Show Champion on November 14, and MBC's Show! Music Core on November 17. The title track \"Yes or Yes\" garnered a total of four music show wins, first getting a win on Show Champion on November 14. It received a music show win on M!Countdown and Inkigayo, and achieved its fourth win on Show Champion for the second week.Twice also performed \" Yes or Yes\" at the 39th Blue Dragon Film Awards held on November 23.Commercial performanceFollowing the release of Yes or Yes, the lead single achieved an 'all-kill' by topping the real-time rankings on Melon, Mnet, Naver, Genie, Olle, Soribada, and Bugs. The EP also reached the top of 17 iTunes Album charts. Additionally, all seven tracks from the mini-album charted in the top 7 of Japan's Line Music charts.  In South Korea, the album topped the Gaon Album Chart and the title track topped the Gaon Digital Chart after the first week of its release. Yes or Yes was Twice's first Korean album to rank number 1 on Japan's Oricon Albums Chart and Digital Albums Chart. On November 11, Yes or Yes received a Platinum certification from Gaon for reaching sales of over 250,000 copies. The album then ranked at number three on the Monthly Gaon Album Chart for the month of November, recording 322,803 copies sold.With the release of Yes or Yes, Twice reached an accumulated number of over 3 million albums sold in South Korea, achieving the feat within three years of their career.Track listingContent productionCredits adapted from album liner notes.LocationsPersonnelChartsCertificationsAccoladesPassage 4:Yes or No (film)Yes or No (Thai: \u0000\u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000, romanized: Yak Rak Ko Rak Loei; literally \"Let's Love As We Wish\") is a 2010 Thai romantic comedy-drama film directed by Sarasawadee Wongsompetch, starring Sucharat \"Aom\" Manaying and Suppanad \"Tina\" Jitaleela. It is the first lesbian-genre film from Thailand with a \"tom\" (i.e. butch) lead character.PlotPie comes from an upper middle class Thai family that adheres to traditional thought and customs, including the very vocal disapproval of homosexuality. Kim, on the other hand, carries herself with  deliberate masculinity that defies convention and intimidates Pie upon first encounter, so much so that she immediately requests a roommate change which the college promptly denies.Pie is reluctant to converse or interact with her roommate so she takes tape and  draws boundaries in the room to separate her space from Kim's to avoid as much contact as possible. On the first day of class, Kim by chance meets Jane, who is seen still crying after her breakup. Kim offers her a handkerchief and Jane immediately gets smitten by her. Later that week, Jane walks into Pie and Kim's room and is embarrassed and shocked to see Kim. She immediately walks out, then comes back in and drags Pie out in the hallway. Jane confesses that Kim is the girl she has fallen for and uses Pie to get an introduction and thus begins her chase for Kim.Despite how hard Pie tries to ignore or discourage Kim, the two begin to intermingle when Kim cooks and shares with Pie and the two have a short conversation together. One day Kim receives a package from her father's worker and is told to deliver to Aunt In. She asks Pie to help her get there but Pie hurriedly turns her down and gives her fast directions before walking away. Night time falls and Kim is seen sitting near a lake, completely lost. Pie finds her and offers her to take her to Aunt In but only as a thank you for the food.That starts a series of moments where the two begin to spend increasingly more time together and soon those “boundary lines” disappear and Pie finds herself drifting away from her then boyfriend, to Kim. The two share many sweet moments, most notably, when  Kim took Pie to the park to help her record information for school. The two share a lollipop and Kim in a roundabout way, confesses her attraction to Pie. The latter does not reply but she is seen smiling.But as Pie's feelings grow, so do those of Jane for Kim, and of P'van for Pie. Because Pie has yet to accept that she may have feelings for Kim, and Kim is reluctant to confess, this triggers mutual jealousy and sadness. When P'van unexpectedly pops up at the school to take Pie out, she tries to turn him down but Jane comes along and invites herself and forces Kim and Pie to accept his offer. During their time together, Pie gets visibly upset at how close Jane is to Kim and tries various times to either make Kim jealous or have them spend time alone. After a failed attempt, she and Jane leave for a moment where P'van talks about Pie's mother and her heavy dislike of homosexuals. He then goes on to say that Kim needs to leave Pie alone because Pie does not like her like that nor will she ever, and then taunts Kim by saying Pie would want the real thing versus silicone (referring to sex). Angry, Kim storms off. When Pie and Jane return they ask for Kim but P'van says he doesn't know what happened.Pie calls Kim several times throughout the time period and looks all over the mall for her. Eventually she is seen at the dorm with an angry expression. Kim walks in with her hands full of bags, Pie begins to yell at her for leaving and Kim yells back that she had P'van anyway so it did not matter. Pie then yells at Kim for being too close to Jane but rather than announce it was jealousy, says she was disgusted by two girls together. This prompts Kim to dump her bags and leave the room. Regretful, Pie looks through the bags and finds a Jellyfish lamp, something she told Kim she had wanted. She then grabs an umbrella and runs to find Kim. Eventually she finds Kim in a phone booth, soaking wet and shivering. Upon finding her, Kim declares her love for Pie and that she knows though Pie will never love her, she will do so. Pie then drops the umbrella and embraces Kim.After the confession, the two have their first kiss and begin a relationship together, unbeknownst to anyone. The happiness is short lived though as Pie's mother drops by the dorm. In a rush, Pie tells her mother to go use the restroom while she takes down photos of herself and Kim. Soon after, Pie and her mother sit on the bed and chat. Kim, not knowing Pie's mother is there, walks into the room. Surprised, Kim realizes the situation and pretends to be a student from down the hall asking for her book back from Pie, confused and scared, Pie quickly fumbles for some books and gives them to Kim with a \"Thank You\". When Kim leaves she leaves the door ajar and listens to the nasty comments Pie's mother makes about her, she begins to cry and walks away.Shortly after, Kim gets sick. Pie takes care of her but soon has to leave for class, to make sure Kim gets some rest, she gives her some medicine and puts a blindfold over her eyes. Jane learns that Kim is sick and stops to make a visit. She lays next to Kim and begins to massage her. Eventually Pie comes back to the dorm to find Kim and Jane in a romantic position, rubbing and cradling each other. Jane hurriedly get up and Kim takes off her blindfold. Realizing that it was Jane that she was with the entire time, she rushes to explain but Pie begins to cry and throws a glass Jellyfish lamp Kim had bought her on the floor and runs out of the room. Kim tries to go after her but Jane holds onto her, demanding she stays and what is it she and Pie are hiding.Kim races around the campus, going to all the spots she and Pie would always go too and constantly calling her cellphone but gets sent to voicemail and does not find her. She eventually ends up at Aunt In' who tries to find out what's wrong but Kim receives a phone call from Jane crying for an explanation and threatening to expose Pie and Kim's relationship. After Jane hangs up the phone, she takes out a blade, ready to cut herself. But Nerd shows up and smacks her. Kim runs back to the dorm and find Jane, telling her that she only wanted a friendship with her and that she loves Pie. Eventually the two get to a mutual understanding.Later, you see that Pie has gone home to her mother and is crying in bed. Her mother, who doesn't know what's going on, is worried that Pie has been crying for so long. After Pie settles down she asks her mother would she be mad if she didn't love P'van, her mother responds that she does not care if Pie doesn't love him. Pie then asks her mother what if she liked someone of the same sex, her mother does not respond but is seen with a shocked expression. Kim finds her way to Pie's home days later and speaks to the mother, confessing how she feels for Pie. The mother rejects her and calls down Pie to either accept Kim or not. Pie is too scared and rejects Kim in front of her mother. Heartbroken,  Kim leaves the house.Kim goes back home to her father and works on the farm, after a few weeks, Pie is seen going to the farm and meets Kim's father. After a short introduction, he tells her where Kim is and she rushes to her. As soon as she spots Kim, she begins to confess her feelings and states that she will openly go against her mother and that she needs Kim in her life. When Kim does not answer, Pie apologizes saying \"I was too late\" and turns to leave crying. Kim stops her with a back hug and thanks pie for daring to love her. The two then embrace each other in a longing hug with Pie's voice reading off a letter she had left to her mother stating she is sorry but she loves Kim and will continue a relationship with her.CastSucharat Manaying - as PieSuppanad Jittaleela - as KimArisara Tongborisuth - as JaneSoranut Yupanun - as P'vanIntira Youenyong - as Aunt. InnManeerut Wongjirasak - as Pie's MotherPuttipong Promsaka Na Sakolnakorn - as Kim's FatherThanapat Sornkoon - as BoyNarumon Reanaiprai - as NerdBandit Thongdee - as OddSophon Phoonsawat - as JeabPongsit Phisitthakarn, Nuttapatch Arunsirisakul, Tantong Funyueang, Watchanan Jitpakdee- as Boy Gang MembersReleaseYes or No premiered theatrically in Thailand on 16 December 2010.Home mediaThe DVD for region 3 was released in Thailand by MVD Company Limited on 10 May 2011. The region-free Blu-ray with subtitles in English, French, Spanish, and Portuguese was released by Canon Yuri Films on 1 January 2012.The film was released as VOD on Netflix in the United States and United Kingdom on 5 December 2018.ReceptionCritical responseOne of Thailand's widely known movie critic websites, filmbiz stated: \"Slowly on the heels of gay-male teen movie Love of Siam (\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000, 2007) comes Thailand's first lesbian romance, Yes or No (Yes or No \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000), a much more path-breaking undertaking in the outwardly permissive but underlyingly very conservative country. Professionally shot on a less than $500,000 budget, with good-looking photography by d.p. Ruengwit Ramasoota (\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000) and a poppy soundtrack that includes one obvious anthem to gay relationships, the movie is tame even by the standards of other Asian countries but gets by on a simple, ingenuous charm that's both very Thai and very necessary (given the nature of its subject).\" The film was given 4 and a half out of 5 stars.AccoladesYes or No received the Special Mention jury award at the 2012 Milan International Lesbian and Gay Film Festival.Soundtrack2012 sequel: Yes or No 2The sequel Yes or No 2: Come Back to Me (Thai: \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000, romanized: Rak Mai Rak Ya Kak Loei), also directed by Sarasawadee Wongsompetch with Sucharat Manaying and Suppanad Jittaleela returning in the roles of Pie and Kim, was released on 16 August 2012.The VOD became available on Netflix in the United States and United Kingdom on 7 November 2018.See alsoList of LGBT-related films directed by womenList of Thai filmsPassage 5:Yes or No?Yes or No? is a 1920 American silent drama film directed by Roy William Neill and starring Norma Talmadge in a duo role. It is based on the 1917 Broadway play Yes or No by Arthur Goodrich.  Talmadge and Joe Schenck produced the picture and released it through First National Exhibitors.It is preserved at the Library of Congress Packard Campus for Audio-Visual Conservation.PlotCastNorma Talmadge as Margaret Vane / Minnie BerryFrederick Burton as Donald VaneLowell Sherman as Paul DerreckLionel Adams as Dr. MalloyRockliffe Fellowes as Jack BerryNatalie Talmadge as Emma MartinEdward Brophy as Tom Martin (credited as Edward S. Brophy)Dudley Clements as Horace HookerGladden James as Ted LeachPassage 6:The Law and Mr. LeeThe Law and Mr Lee is a 2003 American TV film.PlotAn ex-con becomes a private detective.CastDanny GloverPassage 7:Hell and BackHell and Back or Hell and Back Again or To Hell and Back may refer to:BooksHell and Back (comics), a 1999–2000 comic book seriesTo Hell and Back (Murphy book), a 1949 autobiography of soldier and actor Audie MurphyTo Hell and Back (Kershaw book), 2015 history book by Ian KershawMeat Loaf: To Hell and Back, a 2004 autobiography of Meat Loaf, or its film adaptationFilm and TVHell and Back (film), a 2015 animated comedy filmTo Hell and Back (film), a 1955 film adaptation of Audie Murphy's autobiographyUno di più all'inferno, a 1968 film also known as To Hell and Back\"To Hell and Back\", a 1996 episode of American GothicMusicHell and Back (album), a 2004 album by Drag OnTo Hell and Back (album), a 2000 album by SinergyTo Hell 'n' Back, a 2009 album by Grong GrongHell and Back Together: 1984–1990, a 1992 compilation album by T.S.O.L.\"To Hell & Back\" (song), a 2020 song by Maren Morris\"Hell and Back\", a song by Metallica from the 2011 EP Beyond Magnetic\"Hell n Back\", a 2019 song by Bakar\"To Hell & Back\", a 2009 song by Blessthefall from the album Witness\"To Hell and Back\", a 2014 song by Sabaton from the album Heroes\"To Hell and Back\", a 2015 song by Symphony X from the album Underworld\"To Hell and Back\", a 1982 song by Venom from the album Black MetalVideo gamingTo Hell and Back (video game), a platform game developed for the Commodore 64See alsoHell and Back Again, a 2011 film\"To Hull and Back\", a 1985 Christmas "}
+{"doc_id":"doc_268","qid":"","text":"Passage 1:John Farrell (businessman)John Farrell is the director of YouTube in Latin America.EducationFarrell holds a joint MBA degree from the University of Texas at Austin and Instituto Tecnologico de EstudiosSuperiores de Monterrey (ITESM).CareerHis business career began at Skytel, and later at Iridium as head of Business Development, in Washington DC, where he supported the design and launched the first satellitelocation service in the world and established international distribution agreements.He co-founded Adetel, the first company to provide internet access to residential communities and businesses in Mexico. After becomingGeneral Manager of Adetel, he developed a partnership with TV Azteca in order to create the first internet access prepaid card in the country known as the ToditoCard.  Later in his career, John Farrell worked forTelevisa in Mexico City as Director of Business Development for Esmas.com. There he established a strategic alliance with a leading telecommunications provider to launch co-branded Internet and telephone services.He also led initial efforts to launch social networking services, leveraging Televisa’s content and media channels.GoogleFarrel joined Google in 2004 as Director of Business Development for Asia and Latin America. OnApril 7, 2008, he was promoted to the position of General Manager for Google Mexico, replacing Alonso Gonzalo. He is now director of YouTube in Latin America, responsible for developing audiences, managingpartnerships and growing Google’s video display business. John is also part of Google’s Latin America leadership management team and contributes to Google’s strategy in the region. He is Vice President of the IAB(Interactive Advertising Bureau), a member of the AMIPCI (Mexican Internet Association) Advisory Board, an active Endeavor mentor, and member of YPO.Passage 2:John DonatichJohn Donatich is the Director of YaleUniversity Press.Early lifeHe received a BA from New York University in 1982, graduating magna cum laude. He also got a master's degree from NYU in 1984, graduating summa cum laude.CareerDonatich worked asdirector of National Accounts at Putnam Publishing Group from 1989 to 1992.His writing has appeared in various periodicals including Harper's, The Atlantic Monthly and The Village Voice.He worked at HarperCollinsfrom 1992 to 1996, serving as director of national accounts and then as vice president and director of product and marketing development.From 1995 to 2003, Donatich served as publisher and vice president of BasicBooks. While there, he started the Art of Mentoring series of books, which would run from 2001 to 2008.  While at Basic Books, Donatich published such authors as Christopher Hitchens, Steven Pinker, SamanthaPower, Alan Dershowitz, Sir Martin Rees and Richard Florida.In 2003, Donatich became the director of the Yale University Press.  At Yale, Donatich published such authors as Michael Walzer, Janet Malcolm, E. H.Gombrich, Michael Fried, Edmund Morgan and T. J.  Clark.  Donatich began the Margellos World Republic of Letters, a literature in translation series that published such authors as Adonis, Norman Manea and ClaudioMagris. He also launched the digital archive platform, The Stalin Digital Archive and the Encounters Chinese Language multimedia platform.In 2009, he briefly gained media attention when he was involved in thedecision to expunge the Muhammad cartoons from the Yale University Press book The Cartoons that Shook the World, for fear of Muslim violence.He is the author of a memoir, Ambivalence, a Love Story, and a novel,The Variations.BooksAmbivalence, a Love Story: Portrait of a Marriage (memoir), St. Martin's Press, 2005.The Variations (novel), Henry Holt, March, 2012ArticlesWhy Books Still Matter, Journal of Scholarly Publishing,Volume 40, Number 4, July 2009, pp. 329–342, E-ISSN 1710-1166 Print ISSN 1198-9742Personal lifeDonatich is married to Betsy Lerner, a literary agent and author; together they have a daughter, Raffaella.Passage3:Peter LevinPeter Levin is an American director of film, television and theatre.CareerSince 1967, Levin has amassed a large number of credits directing episodic television and television films. Some of his televisionseries credits include Love Is a Many Splendored Thing, James at 15, The Paper Chase, Family, Starsky & Hutch, Lou Grant, Fame, Cagney & Lacey, Law & Order and Judging Amy.Some of his television film creditsinclude Rape and Marriage: The Rideout Case (1980), A Reason to Live (1985), Popeye Doyle (1986), A Killer Among Us (1990), Queen Sized (2008) and among other films. He directed \"Heart in Hiding\", written by hiswife Audrey Davis Levin, for which she received an Emmy for Best Day Time Special in the 1970s.Prior to becoming a director, Levin worked as an actor in several Broadway productions. He costarred with SusanStrasberg in \"[The Diary of Ann Frank]\" but had to leave the production when he was drafted into the Army. He trained at the Carnegie Mellon University. Eventually becoming a theatre director, he directed productionsat the Long Wharf Theatre and the Pacific Resident Theatre Company. He also co-founded the off-off-Broadway Theatre [the Hardware Poets Playhouse] with his wife Audrey Davis Levin and was also an associate artistof The Interact Theatre Company.Passage 4:Ian Barry (director)Ian Barry is an Australian director of film and TV.Select creditsWaiting for Lucas (1973) (short)Stone (1974) (editor only)The Chain Reaction (1980)WhoseBaby? (1986) (mini-series)Minnamurra (1989)Bodysurfer (1989) (mini-series)Ring of Scorpio (1990) (mini-series)Crimebroker (1993)Inferno (1998) (TV movie)Miss Lettie and Me (2002) (TV movie)Not QuiteHollywood: The Wild, Untold Story of Ozploitation! (2008) (documentary)The Doctor Blake Mysteries (2013)Passage 5:Mrs. Gibbons' Boys (film)Mrs. Gibbons' Boys is a black and white 1962 British comedy film directedby Max Varnel and starring Kathleen Harrison, Lionel Jeffries and Diana Dors. It is based on the play Mrs. Gibbons' Boys by Joseph Stein and Will Glickman; and was released in the UK as the bottom half of a double billwith Constantine and the Cross (1961).PlotAn ageing widow finally finds new love and happiness; but matters are complicated when her two convict sons escape from prison and beg her to hide them.CastKathleenHarrison as Mrs GibbonsLionel Jeffries as Lester GibbonsDiana Dors as MyraJohn Le Mesurier as ColeFrederick Bartman as Mike GibbonsDavid Lodge a sFrank GibbonsDick Emery as WoodrowEric Pohlmann asMorelliWilliam Kerwin as MatthewMilo O'Shea as HorsePeter Hempson as RonniePenny Morrell as  PearlNancy Nevinson as Mrs MorelliMark Singleton as PCTony Hilton as Dustcart driverProductionDiana Dors was living inLos Angeles but returned to England to make the film.Passage 6:Lisa JakubLisa Jakub () (born December 27, 1978) is a Canadian writer, yoga teacher, and former actress. She is best known for her roles as Lydia Hillardin the comedy-drama film Mrs. Doubtfire (1993) and as Alicia Casse in Independence Day (1996).Childhood and educationJakub was born on December 27, 1978, in Toronto, Ontario. She is of Slovak (father) and Welshand Scottish (mother) descent. She attended multiple schools in her early life, including Hillfield Strathallan College.Jakub graduated from the University of Virginia with a degree in Sociology in 2010.ActingJakub's firstrole was as Katis' Granddaughter in the 1985 film Eleni. She appeared in comedy-drama film Mrs. Doubtfire (1993) alongside Mara Wilson, Sally Field, Matthew Lawrence, and Robin Williams. When Jakub received thepart of Lydia in Mrs. Doubtfire, her high school expelled her for accruing too many absences. Robin Williams wrote a letter to Jakub's high school, pleading with them to re-admit Jakub but this was unsuccessful.Sheplayed Sandra in Matinee (1993), appeared in A Pig's Tale (1994) and Independence Day (1996), The Beautician and the Beast (1997), and played the \"inspiration\" for Princess Leia in the short film George Lucas inLove (1999). She starred in Picture Perfect (1995), and portrayed a bordello worker in the American Old West in Painted Angels (1997).Personal lifeAfter retiring from acting in 2001 at the age of 22, Jakub moved toVirginia and married her longtime best friend, former Hollywood theater manager Jeremy Jones, in 2005. She has publicly stated that she has no plans to return to acting. Jakub later became a writer, authoring twobooks called You Look Like That Girl (2015) and Not Just Me (2017) and regularly contributes to online blogs. Jakub is also a qualified Kripalu yoga teacher. She has openly discussed her battles with anxiety, depressionand panic attacks, which she has suffered from since her teenage years and credits her yoga practice in helping her overcome her battles. In 2021, Lisa launched a new website, BlueMala, which she described as theresource that she wished she had when she was in her darkest moments. The website contains her articles on mental wellness along with her yoga and meditation videos.WritingsYou Look Like That Girl: A Child ActorStops Pretending and Finally Grows Up (2015)Not Just Me: Anxiety, Depression, and Learning to Embrace Your Weird (2017)(Don't) Call Me Crazy (contributing writer) (Algonquin,2018)FilmographyFilmTelevisionPassage 7:Dana BlanksteinDana Blankstein-Cohen (born March 3, 1981) is the executive director of the Sam Spiegel Film and Television School. She was appointed by the board ofdirectors  in November 2019.  Previously she was the CEO of the Israeli Academy of Film and Television. She is a film director, and an Israeli culture entrepreneur.BiographyDana Blankstein was born in Switzerland in1981 to theatre director Dedi Baron and Professor Alexander Blankstein. She moved to Israel in 1983 and grew up in Tel Aviv.Blankstein graduated from the Sam Spiegel Film and Television School, Jerusalem in 2008with high honors. During her studies she worked as a personal assistant to directors Savi Gabizon on his film Nina's Tragedies and to Renen Schorr on his film The Loners.  She also directed and shot 'the making of' filmon Gavison's film Lost and Found. Her debut film Camping competed at the Berlin International Film Festival, 2007.Film and academic careerAfter her studies, Dana founded and directed the film and televisiondepartment at the Kfar Saba municipality. The department encouraged and promoted productions filmed in the city of Kfar Saba, as well as the established cultural projects, and educational communityactivities.Blankstein directed the mini-series \"Tel Aviviot\" (2012). From 2016-2019 was the director of the Israeli Academy of Film and Television.In November 2019 Dana Blankstein Cohen was appointed the newdirector of the Sam Spiegel Film and Television School where she also oversees the Sam Spiegel International Film Lab. In 2022, she spearheaded the launch of the new Series Lab and the film preparatory program forArabic speakers in east Jerusalem.FilmographyTel Aviviot (mini-series; director, 2012)Growing Pains (graduation film, Sam Spiegel; director and screenwriter, 2008)Camping (debut film, Sam Spiegel; director andscreenwriter, 2006)Passage 8:Michael GovanMichael Govan (born 1963) is the director of the Los Angeles County Museum of Art. Prior to his current position, Govan worked as the director of the Dia Art Foundation inNew York City.Early life and educationGovan was born in 1963 in North Adams, Massachusetts, and was raised in the Washington D.C. area, attending Sidwell Friends School.He majored in art history and fine arts atWilliams College, where he met Thomas Krens, who was then director of the Williams College Museum of Art. Govan became closely involved with the museum, serving as acting curator as an undergraduate. Afterreceiving his B.A. from Williams in 1985, Govan began an MFA in fine arts from the University of California, San Diego.CareerAs a twenty-five year old graduate student, Govan was recruited by his former mentor atWilliams, Thomas Krens, who in 1988 had been appointed director of the Solomon R. Guggenheim Foundation. Govan served as deputy director of the Solomon R. Guggenheim Museum under Krens from 1988 to 1994,a period that culminated in the construction and opening of the Frank Gehry designed Guggenheim branch in Bilbao, Spain. Govan supervised the reinstallation of the museum's permanent collection galleries after itsextensive renovation.Dia Art FoundationFrom 1994 to 2006, Govan was president and director of Dia Art Foundation in New York City. There, he spearheaded the conversion of a Nabisco box factory into the 300,000square foot Dia:Beacon in New York's Hudson Valley, which houses Dia's collection of art from the 1960s to the present. Built in a former Nabisco box factory, the critically acclaimed museum has been credited withcatalyzing a cultural and economic revival within the formerly factory-based city of Beacon. Dia's collection nearly doubled in size during Govan's tenure, but he also came under criticism for \"needlessly andpermanently\" closing Dia's West 22nd Street building. During his time at Dia, Govan also worked closely with artists James Turrell and Michael Heizer, becoming an ardent supporter of Roden Crater and City, the artists'respective site-specific land art projects under construction in the American southwest. Govan successfully lobbied Washington to have the 704,000 acres in central Nevada surrounding City declared a nationalmonument in 2015.LACMAIn February 2006, a search committee composed of eleven LACMA trustees, led by the late Nancy M. Daly, recruited Govan to run the Los Angeles County Museum of Art. Govan has statedthat he was drawn to the role not only because of LACMA's geographical distance from its European and east coast peers, but also because of the museum's relative youth, having been established in 1961. \"I felt thatbecause of this newness I had the opportunity to reconsider the museum,\" Govan has written, \"[and] Los Angeles is a good place to do that.\"Govan has been widely regarded for transforming LACMA into both a localand international landmark. Since Govan's arrival, LACMA has acquired by donation or purchase over 27,000 works for the permanent collection, and the museum's gallery space has almost doubled thanks to theaddition of two new buildings designed by Renzo Piano, the Broad Contemporary Art Museum (BCAM) and the Lynda and Stewart Resnick Pavilion. LACMA's annual attendance has grown from 600,000 to nearly 1.6million in 2016.Artist collaborationsSince his arrival, Govan has commissioned exhibition scenography and gallery designs in collaboration with artists. In 2006, for example, Govan invited LA artist John Baldessari todesign an upcoming exhibition about the Belgian surrealist René Magritte, resulting in a theatrical show that reflected the twisted perspective of the latter's topsy-turvy world. Baldessari has also designed LACMA's logo.Since then, Govan has also commissioned Cuban-American artist Jorge Pardo to design LACMA's Art of the Ancient Americas gallery, described in the Los Angeles Times as a \"gritty cavern deep inside the earth ...crossed with a high-style urban lounge.\"Govan has also commissioned several large-scale public artworks for LACMA's campus from contemporary California artists. These include Chris Burden's Urban Light (2008), aseries of 202 vintage street lamps from different neighborhoods in Los Angeles, arranged in front of the entrance pavilion, Barbara Kruger's Untitled (Shafted) (2008), Robert Irwin's Primal Palm Garden (2010), andMichael Heizer's Levitated Mass, a 340-ton boulder transported 100 miles from the Jurupa Valley to LACMA, a widely publicized journey that culminated with a large celebration on Wilshire Boulevard. Thanks in part tothe popularity of these public artworks, LACMA was ranked the fourth most instagrammed museum in the world in 2016.In his first three full years, the museum raised $251 million—about $100 million more than itcollected during the three years before he arrived. In 2010, it was announced that Govan will steer LACMA for at least six more years. In a letter dated February 24, 2013, Govan, along with the LACMA board'sco-chairmen Terry Semel and Andrew Gordon, proposed a merger with the financially troubled Museum of Contemporary Art, Los Angeles and a plan to raise $100 million for the combined museum.ZumthorProjectGovan's latest project is an ambitious building project, the replacement of four of the campus's aging buildings with a single new state of the art gallery building designed by architect Peter Zumthor. As ofJanuary 2017, he has raised about $300 million in commitments. Construction is expected to begin in 2018, and the new building will open in 2023, to coincide with the opening of the new D Line metro stop on WilshireBoulevard. The project also envisages dissolving all existing curatorial departments and departmental collections. Some commentators have been highly critical of Govan's plans. Joseph Giovannini, recalling Govan'stechnically unrealizable onetime plan to hang Jeff Koons' Train sculpture from the facade of the Ahmanson Gallery, has accused Govan of \"driving the institution over a cliff into an equivalent mid-air wreck of its own\".Describing the collection merging proposal as the creation of a \"giant raffle bowl of some 130,000 objects\", Giovannini also points out that the Zumthor building will contain 33% less gallery space than the galleries itwill replace, and that the linear footage of wall space available for displays will decrease by about 7,500 ft, or 1.5 miles. Faced with losing a building named in its honor, and anticipating that its acquisitions could nolonger be displayed, the Ahmanson Foundation withdrew its support.On the merging of the separate curatorial divisions to create a non-departmental art museum, Christopher Knight has pointed out that \"no othermuseum of LACMA's size and complexity does it\" that way, and characterized the museum's 2019 \"To Rome and Back\" exhibition, the first to take place under the new scheme, as \"bland and ineffectual\" and an\"unsuccessful sample of what's to come\".Personal lifeGovan is married and has two daughters, one from a previous marriage. He and his family used to live in a $6 million mansion in Hancock Park that was provided byLACMA - a benefit worth $155,000 a year, according to most recent tax filings - until LACMA decided that it would sell the property to make up for the museum's of almost $900 million in debt [2]. That home is nowworth nearly $8 million and Govan now lives in a trailer park in Malibu's Point Dume region.Los Angeles CA 90020United States. He has had a private pilot's license since 1995 and keeps a 1979 Beechcraft Bonanza atSanta Monica Airport.Passage 9:Tomris GiritlioğluTomris Giritlioğlu (born 1957) is a Turkish film director and producer. She is best known for directing the 1999 film Mrs. Salkım's Diamonds.Selected filmographyPassage10:Max VarnelMax Varnel (21 March 1925 – 15 January 1996) was a French-born Australian film and television director who worked primarily in the United Kingdom and Australia.BiographyBorn Max Le Bozec in Paris,France, he was the son of the film director Marcel Varnel. He began his career as an assistant director of The Magic Box (1951) and continued in this rol for The Card (1952), Devil Girl from Mars (1954), and TheCockleshell Heroes (1955), among others. His directing credits encompass a long string of B movies, including Moment of Indiscretion, A Woman Possessed (both 1958), Top Floor Girl, Web of Suspicion, The Child andthe Killer, and Crash Drive (all 1959).Varnel's television credits include The Vise, The Cheaters, Softly Softly, and The Troubleshooters in the UK, and Skippy, Glenview High, The Young Doctors, and Neighbours inAustralia, where he emigrated in the late 1960s.Varnel died of a heart attack in Sydney at the age of 70.Selected filmographyEnter Inspector Duval (1961)Return of a Stranger (1961)Mrs. Gibbons' Boys (1962)ExternallinksMax Varnel at IMDbMax Varnel at the BFI's Screenonline"}
+{"doc_id":"doc_269","qid":"","text":"Passage 1:Jason Moore (director)Jason Moore (born October 22, 1970) is an American director of film, theatre and television.Life and careerJason Moore was born in Fayetteville, Arkansas, and studied at NorthwesternUniversity. Moore's Broadway career began as a resident director of Les Misérables at the Imperial Theatre in during its original run. He is the son of Fayetteville District Judge Rudy Moore.In March 2003, Moore directedthe musical Avenue Q, which opened Off-Broadway at the Vineyard Theatre and then moved to Broadway at the John Golden Theatre in July 2003.  He was nominated for a 2004 Tony Award for his direction. Moore alsodirected productions of the musical in Las Vegas and London and the show's national tour. Moore directed the 2005 Broadway revival of Steel Magnolias and Shrek the Musical, starring Brian d'Arcy James and SuttonFoster which opened on Broadway in 2008. He directed the concert of Jerry Springer — The Opera at Carnegie Hall in January 2008.Moore, Jeff Whitty, Jake Shears, and John \"JJ\" Garden worked together on a newmusical based on Armistead Maupin's Tales of the City. The musical premiered at the American Conservatory Theater, San Francisco, California in May 2011 and ran through July 2011.For television, Moore has directedepisodes of Dawson's Creek, One Tree Hill, Everwood, and Brothers & Sisters. As a writer, Moore adapted the play The Floatplane Notebooks with Paul Fitzgerald from the novel by Clyde Edgerton. A staged reading ofthe play was presented at the New Play Festival at the Charlotte, North Carolina Repertory Theatre in 1996, with a fully staged production in 1998.In 2012, Moore made his film directorial debut with Pitch Perfect,starring Anna Kendrick and Brittany Snow. He also served as an executive producer on the sequel. He directed the film Sisters, starring Tina Fey and Amy Poehler, which was released on December 18, 2015. Moore'snext project will be directing a live action Archie movie.FilmographyFilmsPitch Perfect (2012)Sisters (2015)Shotgun Wedding (2022)TelevisionSoundtrack writerPitch Perfect 2 (2015) (Also executive producer)The Voice(2015) (1 episode)Passage 2:Peter LevinPeter Levin is an American director of film, television and theatre.CareerSince 1967, Levin has amassed a large number of credits directing episodic television and televisionfilms. Some of his television series credits include Love Is a Many Splendored Thing, James at 15, The Paper Chase, Family, Starsky & Hutch, Lou Grant, Fame, Cagney & Lacey, Law & Order and Judging Amy.Some ofhis television film credits include Rape and Marriage: The Rideout Case (1980), A Reason to Live (1985), Popeye Doyle (1986), A Killer Among Us (1990), Queen Sized (2008) and among other films. He directed \"Heartin Hiding\", written by his wife Audrey Davis Levin, for which she received an Emmy for Best Day Time Special in the 1970s.Prior to becoming a director, Levin worked as an actor in several Broadway productions. Hecostarred with Susan Strasberg in \"[The Diary of Ann Frank]\" but had to leave the production when he was drafted into the Army. He trained at the Carnegie Mellon University. Eventually becoming a theatre director, hedirected productions at the Long Wharf Theatre and the Pacific Resident Theatre Company. He also co-founded the off-off-Broadway Theatre [the Hardware Poets Playhouse] with his wife Audrey Davis Levin and wasalso an associate artist of The Interact Theatre Company.Passage 3:The Seventh Company OutdoorsThe Seventh Company Outdoors (French: La Septième Compagnie au clair de lune) is a 1977 French comedy filmdirected by Robert Lamoureux. It is a sequel to Now Where Did the 7th Company Get to?.CastJean Lefebvre - PithivierPierre Mondy - ChaudardHenri Guybet - TassinPatricia Karim - Suzanne ChaudardGérard Hérold - Lecommandant GillesGérard Jugnot - GorgetonJean Carmet - M. Albert, le passeurAndré Pousse - LambertMichel BertoPassage 4:Brian Kennedy (gallery director)Brian Patrick Kennedy (born 5 November 1961) is anIrish-born art museum director who has worked in Ireland and Australia, and now lives and works in the United States.  He was the director of the Peabody Essex Museum in Salem for 17 months, resigning December31, 2020. He was the director of the Toledo Museum of Art in Ohio from 2010 to 2019. He was the director of the Hood Museum of Art from 2005 to 2010, and the National Gallery of Australia (Canberra) from 1997 to2004.CareerBrian Kennedy currently lives and works in the United States after leaving Australia in 2005 to direct the Hood Museum of Art at Dartmouth College. In October 2010 he became the ninth Director of theToledo Museum of Art. On 1 July 2019, he succeeded Dan Monroe as the executive director and CEO of the Peabody Essex Museum.Early life and career in IrelandKennedy was born in Dublin and attended ClonkeenCollege. He received B.A. (1982), M.A. (1985) and PhD (1989) degrees from University College-Dublin, where he studied both art history and history.He worked in the Irish Department of Education (1982), theEuropean Commission, Brussels (1983), and in Ireland at the Chester Beatty Library (1983–85), Government Publications Office (1985–86), and Department of Finance (1986–89). He married Mary Fiona Carlin in1988.He was Assistant Director at the National Gallery of Ireland in Dublin from 1989 to 1997. He was Chair of the Irish Association of Art Historians from 1996 to 1997, and of the Council of Australian Art MuseumDirectors from 2001 to 2003. In September 1997 he became Director of the National Gallery of Australia.National Gallery of Australia (NGA)Kennedy expanded the traveling exhibitions and loans program throughoutAustralia, arranged for several major shows of Australian art abroad, increased the number of exhibitions at the museum itself and oversaw the development of an extensive multi-media site.  Although he oversawseveral years of the museum's highest ever annual visitation, he discontinued the emphasis of his predecessor, Betty Churcher, on showing \"blockbuster\" exhibitions.During his directorship, the NGA gained governmentsupport for improving the building and significant private donations and corporate sponsorship. However, the initial design for the building proved controversial generating a public dispute with the original architect onmoral rights grounds.  As a result, the project was not delivered during Dr Kennedy's tenure, with a significantly altered design completed some years later.  Private funding supported two acquisitions of British art,including David Hockney's A Bigger Grand Canyon in 1999, and Lucian Freud's After Cézanne in 2001. Kennedy built on the established collections at the museum by acquiring the Holmgren-Spertus collection ofIndonesian textiles; the Kenneth Tyler collection of editioned prints, screens, multiples and unique proofs; and the Australian Print Workshop Archive. He was also notable for campaigning for the construction of a new\"front\" entrance to the Gallery, facing King Edward Terrace, which was completed in 2010 (see reference to the building project above).Kennedy's cancellation of the \"Sensation exhibition\" (scheduled at the NGA from 2June 2000 to 13 August 2000) was controversial, and seen by some as censorship. He claimed that the decision was due to the exhibition being \"too close to the market\" implying that a national cultural institutioncannot exhibit the private collection of a speculative art investor. However, there were other exhibitions at the NGA during his tenure, which could have raised similar concerns. The exhibition featured the privatelyowned Young British Artists works belonging to Charles Saatchi and attracted large attendances in London and Brooklyn. Its most controversial work was Chris Ofili's The Holy Virgin Mary, a painting which used elephantdung and was accused of being blasphemous. The then-mayor of New York, Rudolph Giuliani, campaigned against the exhibition, claiming it was \"Catholic-bashing\" and an \"aggressive, vicious, disgusting attack onreligion.\" In November 1999, Kennedy cancelled the exhibition and stated that the events in New York had \"obscured discussion of the artistic merit of the works of art\". He has said that it \"was the toughest decision ofmy professional life, so far.\"Kennedy was also repeatedly questioned on his management of a range of issues during the Australian Government's Senate Estimates process - particularly on the NGA's occupational healthand safety record and concerns about the NGA's twenty-year-old air-conditioning system. The air-conditioning was finally renovated in 2003. Kennedy announced in 2002 that he would not seek extension of his contractbeyond 2004, accepting a seven-year term as had his two predecessors.He became a joint Irish-Australian citizen in 2003.Toledo Museum of ArtThe Toledo Museum of Art is known for its exceptional collections ofEuropean and American paintings and sculpture, glass, antiquities, artist books, Japanese prints and netsuke. The museum offers free admission and is recognized for its historical leadership in the field of arteducation.  During his tenure, Kennedy has focused the museum's art education efforts on visual literacy, which he defines as \"learning to read, understand and write visual language.\"   Initiatives have included babyand toddler tours, specialized training for all staff, docents, volunteers and the launch of a website, www.vislit.org. In November 2014, the museum hosted the International Visual Literacy Association (IVLA)conference, the first Museum to do so. Kennedy has been a frequent speaker on the topic, including 2010 and 2013 TEDx talks on visual and sensory literacy.Kennedy has expressed an interest in expanding themuseum's collection of contemporary art and art by indigenous peoples. Works by Frank Stella, Sean Scully, Jaume Plensa, Ravinder Reddy and Mary Sibande have been acquired.  In addition, the museum has mademajor acquisitions of Old Master paintings by Frans Hals and Luca Giordano.During his tenure the Toledo Museum of Art has announced the return of several objects from its collection due to claims the objects werestolen and/or illegally exported prior being sold to the museum.  In 2011 a Meissen sweetmeat stand was returned to Germany followed by an Etruscan Kalpis or water jug to Italy (2013), an Indian sculpture ofGanesha (2014) and an astrological compendium to Germany in 2015.Hood Museum of ArtKennedy became Director of the Hood Museum of Art in July 2005. During his tenure, he implemented a series of large andsmall-scale exhibitions and oversaw the production of more than 20 publications to bring greater public attention to the museum's remarkable collections of the arts of America, Europe, Africa, Papua New Guinea andthe Polar regions. At 70,000 objects, the Hood has one of the largest collections on any American college of university campus. The exhibition, Black Womanhood: Images, Icons, and Ideologies of the African Body,toured several US venues. Kennedy increased campus curricular use of works of art, with thousands of objects pulled from storage for classes annually. Numerous acquisitions were made with the museum's generousendowments, and he curated several exhibitions: including Wenda Gu: Forest of Stone Steles: Retranslation and Rewriting Tang Dynasty Poetry, Sean Scully: The Art of the Stripe, and Frank Stella: IrregularPolygons.PublicationsKennedy has written or edited a number of books on art, including:Alfred Chester Beatty and Ireland 1950-1968: A study in cultural politics, Glendale Press (1988), ISBN978-0-907606-49-9Dreams and responsibilities: The state and arts in independent Ireland, Arts Council of Ireland (1990), ISBN 978-0-906627-32-7Jack B Yeats: Jack Butler Yeats, 1871-1957 (Lives of Irish Artists),Unipub (October 1991), ISBN 978-0-948524-24-0The Anatomy Lesson: Art and Medicine (with Davis Coakley), National Gallery of Ireland (January 1992), ISBN 978-0-903162-65-4Ireland: Art into History (withRaymond Gillespie), Roberts Rinehart Publishers (1994), ISBN 978-1-57098-005-3Irish Painting, Roberts Rinehart Publishers (November 1997),  ISBN 978-1-86059-059-7Sean Scully: The Art of the Stripe, HoodMuseum of Art (October 2008), ISBN 978-0-944722-34-3Frank Stella: Irregular Polygons, 1965-1966, Hood Museum of Art (October 2010), ISBN 978-0-944722-39-8Honors and achievementsKennedy was awarded theAustralian Centenary Medal in 2001 for service to Australian Society and its art. He is a trustee and treasurer of the Association of Art Museum Directors, a peer reviewer for the American Association of Museums and amember of the International Association of Art Critics. In 2013 he was appointed inaugural eminent professor at the University of Toledo and received an honorary doctorate from Lourdes University. Most recently,Kennedy received the 2014 Northwest Region, Ohio Art Education Association award for distinguished educator for art education.== Notes ==Passage 5:Dana BlanksteinDana Blankstein-Cohen (born March 3, 1981) isthe executive director of the Sam Spiegel Film and Television School. She was appointed by the board of directors  in November 2019.  Previously she was the CEO of the Israeli Academy of Film and Television. She is afilm director, and an Israeli culture entrepreneur.BiographyDana Blankstein was born in Switzerland in 1981 to theatre director Dedi Baron and Professor Alexander Blankstein. She moved to Israel in 1983 and grew upin Tel Aviv.Blankstein graduated from the Sam Spiegel Film and Television School, Jerusalem in 2008 with high honors. During her studies she worked as a personal assistant to directors Savi Gabizon on his film Nina'sTragedies and to Renen Schorr on his film The Loners.  She also directed and shot 'the making of' film on Gavison's film Lost and Found. Her debut film Camping competed at the Berlin International Film Festival,2007.Film and academic careerAfter her studies, Dana founded and directed the film and television department at the Kfar Saba municipality. The department encouraged and promoted productions filmed in the city ofKfar Saba, as well as the established cultural projects, and educational community activities.Blankstein directed the mini-series \"Tel Aviviot\" (2012). From 2016-2019 was the director of the Israeli Academy of Film andTelevision.In November 2019 Dana Blankstein Cohen was appointed the new director of the Sam Spiegel Film and Television School where she also oversees the Sam Spiegel International Film Lab. In 2022, shespearheaded the launch of the new Series Lab and the film preparatory program for Arabic speakers in east Jerusalem.FilmographyTel Aviviot (mini-series; director, 2012)Growing Pains (graduation film, Sam Spiegel;director and screenwriter, 2008)Camping (debut film, Sam Spiegel; director and screenwriter, 2006)Passage 6:Now Where Did the 7th Company Get to?Now Where Did the 7th Company Get To? (French: Mais où estdonc passée la septième compagnie?) is a 1973 French-Italian comedy war film directed by Robert Lamoureux. The film portrays the adventures of a French Army squad lost somewhere on the front in May 1940 duringthe Battle of France.PlotDuring the Battle of France, while German forces are spreading across the country, the 7th Transmission Company suffers an air raid near the Machecoul woods, but survive and hide in thewoods. Captain Dumont, the company commander, sends Louis Chaudard, Pithiviers and Tassin to scout the area. After burying the radio cable beneath a sandy road, the squad crosses the field, climbs a nearby hill,and takes position within a cemetery. One man cut down the wrong tree for camouflage, pulling up the radio cable and revealing it to the passing German infantry. The Germans cut the cable, surround the woods, andorder a puzzled 7th Company to surrender. The squad tries to contact the company, but then witness their capture and run away.Commanded by Staff Sergeant Chaudard, the unit stops in a wood for the night.Pithiviers is content to slow down and wait for the end of the campaign. The next day, he goes for a swim in the lake, in sight of possible German fighters. When Chaudard and Tassin wake up, they leave the campwithout their weapons to look for Pithiviers. Tassin finds him and gives an angry warning, but Pithiviers convinces Tassin to join him in the lake. Chaudard orders them to get out, but distracted by a rabbit, falls into thelake. While Chaudard teaches his men how to swim, two German fighter planes appear, forcing them out of the water. After shooting down one of the German planes, a French pilot, Lieutenant Duvauchel, makes anemergency landing and escapes before his plane explodes. PFC Pithiviers, seeing the bad shape of one of his shoes, destroys what is left of his shoe sole. Tassin is sent on patrol to get food and a new pair of shoes forPithiviers. Tassin arrives in a farm, but only finds a dog, so he returns and Chaudard goes to the farm after nightfall. The farmer returns with her daughter-in-law and Lt Duvauchel, and she welcomes Chaudard.Duvauchel, who is hiding behind the door, comes out upon hearing the news and decides to meet Chaudard's men.When Chaudard and Duvauchel return to the camp, Tassin and Pithiviers are roasting a rabbit theycaught. Duvauchel realizes that Chaudard has been lying and takes command.The following day, the men leave the wood in early morning and capture a German armored tow truck after killing its two drivers. Theyoriginally planned to abandon the truck and the two dead Germans in the woods, but instead realized that the truck is the best way to disguise themselves and free the 7th Company. They put on the Germans'uniforms, recover another soldier of the 7th Company, who succeeded in escaping, and obtain resources from a collaborator who mistook them for Germans.On their way, they encounter a National Gendarmerie patrol,who appear to be a 5th column. The patrol injures the newest member of their group, a young soldier, and then are killed by Tassin. In revenge, they destroy a German tank using the tow truck's cannon gun.Theyplanned to go to Paris but are misguided by their own colonel, but find the 7th Company with guards who are bringing them to Germany. Using their cover, they make the guards run in front of the truck, allowing thecompany to get away. When Captain Dumont joins his Chaudard, Tassin, and Pithiviers in the truck, who salute the German commander with a great smile.CastingJean Lefebvre : PFC PithiviersPierre Mondy : StaffSergent Paul ChaudardAldo Maccione: PFC TassinRobert Lamoureux: Colonel BlanchetErik Colin: Lieutenant DuvauchelPierre Tornade: Captain DumontAlain Doutey: CarlierRobert Dalban : The peasantJacques Marin:The collaborationistRobert Rollis: A French soldierProductionThe film's success spawned two sequels:– 1975 : On a retrouvé la septième compagnie (The Seventh Company Has Been Found) by Robert Lamoureux;–1977 : La Septième Compagnie au clair de lune (The Seventh Company Outdoors)) by Robert Lamoureux.The story is set in Machecoul woods, but it was actually filmed near Cerny and La Ferté-Alais, as well asJouars-Pontchartrain and Rochefort-en-Yvelines. The famous grocery scene was filmed in Bazoches-Sur-Guyonne.Robert Lamoureux based this film on his own personal experiences in June 1940 during the war.The finalscene with the parachute is based on a true story. The 58 Free French paratroopers were parachuted into Brittany in groups of three, on the night of 7 June 1944 to neutralize the rail network of Normandy Landings inBrittany, two days before.Box officeThe movie received a great success in France reaching the third best selling movie in 1974.NotesExternal linksMais où est donc passée la septième compagnie? at IMDbPassage7:Olav AaraasOlav Aaraas (born 10 July 1950) is a Norwegian historian and museum director.He was born in Fredrikstad. From 1982 to 1993 he was the director of Sogn Folk Museum, from 1993 to 2010 he was thedirector of Maihaugen and from 2001 he has been the director of the Norwegian Museum of Cultural History. In 2010 he was decorated with the Royal Norwegian Order of St. Olav.Passage 8:Cloudy Sunday\"CloudySunday\" (Greek: Συννεφιασμένη Κυριακή, romanized: Synefiazmeni Kyriaki) is a 1943 or 1944 song composed and originally performed by the Greek songwriter Vassilis Tsitsanis (1915–84). It is one of the mostcelebrated compositions in the popular genre of Rebetiko. It has been described as \"a sort of unofficial national anthem\".Content\"Cloudy Sunday\" is a love song with a strongly melancholy tone. The lyrics emphasize theprotagonist's emotion while providing provides little or no factual detail. A. A. Fatouros notes that no name is provided for the female character and that it contains no obvious social or political context. However, he"}
+{"doc_id":"doc_270","qid":"","text":"Passage 1:Fred M. Wilcox (director)Fred McLeod Wilcox (December 22, 1907 – September 23, 1964) was an American motion picture director. He worked for Metro-Goldwyn-Mayer for many years  and is bestremembered for directing Lassie Come Home (1943) and Forbidden Planet (1956). These films were entered in the National Film Preservation Board's National Film Registry in 1993 and 2013respectively.FilmographyJoaquin Murrieta (1938)Lassie Come Home (1943)Courage of Lassie (1946)Three Daring Daughters (1948)Hills of Home (1948)The Secret Garden (1949)Shadow in the Sky (1952)Code Two(1953)Tennessee Champ (1954)Forbidden Planet (1956)I Passed for White (1960)External linksFred M. Wilcox at IMDbPassage 2:Dan RhodesDan Rhodes (born 1972) is an English writer known for the novel TimoleonVieta Come Home (2003), a subversion of the popular Lassie Come Home movie. He is also the author of Anthropology (2000), a collection of 101 stories, each consisting of exactly 101 words. In 2010 he was awardedthe E. M. Forster Award.BiographyRhodes grew up in Devon, and graduated in Humanities from the University of Glamorgan (now the University of South Wales) in 1994, returning in 1997 to complete an MA in CreativeWriting. Don't Tell Me the Truth About Love was written at this time. He has held a variety of jobs, including stockroom assistant for Waterstone's, barman in his parents' pub, and a teacher in Ho Chi Minh City. He hasalso worked on a fruit and vegetable farm and is still employed as a postman.Following the publication of his second book, Rhodes's frustration with the publishing industry led him to announce his retirement fromwriting, though he later said, \"I haven't really given up. I'm certainly not making any more grand pronouncements. I was just sick of the business and wanted out. Not just the publishers; everyone around me.\"Rhodeswas included on Granta's Best of Young British Novelists list in 2003, to his own bemusement and frustration, partly because of Granta's selection methods (\"It's one thing to judge a writer by stuff they've written, butto judge them on stuff they're going to write is lunacy\") but also because some of the others on the list failed to respond to his request to sign a joint statement protesting the Iraq War.In 2014, Rhodes self-publishedthe novel When the Professor Got Stuck in the Snow, a \"rural farce\" about a visit to an obscure English village by a fictional Richard Dawkins, stating that he wanted to get the book out faster than conventionalpublishing allowed. Traditional publishers were loath to publish the novel for fear of legal action from Professor Richard Dawkins, who is parodied in it. Rhodes appealed repeatedly to Dawkins, a defender of satire andfree speech, for permission to \"publish and be damned\" but received no response. The novel was republished by Aardvark Bureau in October 2015.In 2021, Lightning Books published his novel Sour Grapes, a satire onthe literary world set at a rural book festival.Rhodes is married with two children.BibliographyCollectionsAnthropology: And a Hundred Other Stories (2000) ISBN 1-84195-614-7Don't Tell Me the Truth About Love(2001) ISBN 1-84195-613-9Marry Me (2013) ISBN 0-85786-849-7NovelsTimoleon Vieta Come Home (2003) ISBN 1-84195-481-0The Little White Car (under the pen name Danuta de Rhodes) (2004) ISBN1-84195-528-0Gold (2007) ISBN 978-1-84195-953-5Little Hands Clapping (2010) ISBN 1-84767-529-8This Is Life (2012) ISBN 0-85786-245-6When the Professor Got Stuck in the Snow (2014, self-published limitededition; 2015 formal publication by Aardvark Bureau) ISBN 9781910709016Sour Grapes (2021) ISBN 9781785632921Passage 3:Prairie ThunderPrairie Thunder is a 1937 American Western film directed by B. ReevesEason and written by Ed Earl Repp. The film stars Dick Foran, Janet Shaw, Frank Orth, Wilfred Lucas, Albert J. Smith and Yakima Canutt. The film was released by Warner Bros. on September 11, 1937. It was the last of12 B-westerns Foran made for Warners as a singing cowboy (as he was often billed) from 1935 to 1937.PlotIn the Old West, a telegraph line is coming to Buffalo Creek, where general store owner Nate Temple lives withdaughter, Joan. Joan is courting Rod Farrell, a scout for the Union Army. Rod is ordered to investigate a break in the telegraph line, along with sidekick, Wichita, a Union soldier. Rod finds the break in the line in Indianterritory and repairs it. Rod suspects a white man assisted the local Indian tribe in sabotaging the line. Rod and Wichita ride up on an Indian camp. The Indian chief, High Wolf, tells Rod the Indians intend to make warbecause the railroad and the telegraph coming to the region have depleted the buffalo population. High Wolf confirms a white man, who he will not name, is the only friend to his tribe. Rod and Wichita discover a mannamed Lynch and his gang are supplying the Indians with weapons and ammunition in exchange for the Indians hijacking supply trains. Rod and Wichita breach the gang's hideout, take Lynch and his gang into custody,hold them at Temple's store, and telegraph the cavalry for help. Rod rides off with Joan while Wichita guards the gang. Matson, one of Lynch's men not arrested, tells High Wolf of the gang's arrest, and a slew of Indianbraves invade Buffalo Creek terrorizing the town with gunfire. Rod and Joan, hearing the gunfire, head toward town. Matson and High Wolf free the gang and Lynch orders the Indians to burn the town. Lynch interceptsRod and Joan. Rod is taken to the Indian camp. Joan is taken to Lynch's hideout. Wichita overhears Lynch and sneaks into the Indian camp where Rod is tied to a stake to be burned. Lynch also arrives at the camptelling High Wolf to strike the railroad workers camp. Wichita, dressed as an Indian, frees Rod and the pair head for Lynch's hideout where they rescue Joan, then head to the railroad construction camp with the Indiansin pursuit. The citizens of Buffalo Creek, now displaced after the town was burned, fortify their wagons on the outskirts of town and a gunfight ensues as the Indians arrive. Rod, Wichita and Joan join in the fight. Thecavalry arrives and the Indians retreat. High Wolf is shot and Rod subdues Lynch. Rod is awarded a congressional medal and promoted to colonel. Rod and Joan ride off as Rod sings \"The Prairie Is My Home.\"CastDickForan as Rod FarrellJanet Shaw as Joan TempleFrank Orth as WichitaWilfred Lucas as Nate TempleAlbert J. Smith as LynchYakima Canutt as High WolfGeorge Chesebro as MatsonSlim Whitaker as Indian FighterJ. P.McGowan as Colonel StantonJohn Harron as Lieutenant AdamsJack Mower as PortlandHenry Otho as ChrisPaul Panzer as JedPassage 4:Gypsy ColtGypsy Colt is a 1954 American drama film directed by Andrew Martonand starring Donna Corcoran, Ward Bond and Frances Dee. Shot in Ansco Color, it was produced and distributed by Hollywood studio Metro-Goldwyn-Mayer. The film's basic plot was taken from Lassie Come Home withthe focus changed from a dog to the eponymous horse.A 60-minute version of Gypsy Colt was made available in 1967 as part of the weekly TV anthology Off to See the Wizard.PlotA young girl, Meg (Donna Corcoran), isdisheartened when her parents Frank (Ward Bond) and Em MacWade (Frances Dee) are forced to sell Gypsy Colt, her favorite horse, to a rancher. Gypsy Colt escapes several times, ultimately taking a 500-mile journeyto return to his rightful owner.CastDonna Corcoran as MegWard Bond as FrankFrances Dee as EmLee Van Cleef as HankLarry Keating as Wade Y. GeraldNacho Galindo as PanchoRodolfo Hoyos Jr. as RodolfoPeggy Maleyas PatRobert Hyatt as Phil Gerald (as Bobby Hyatt)Highland Dale as Gypsy, the HorseReceptionAccording to MGM records, the movie earned $721,000 in the U.S. and Canada and $704,000 in other markets, making aprofit of $259,000.Comic book adaptationDell Four Color #568 (June 1954)Passage 5:Abhishek SaxenaAbhishek Saxena is an Indian Bollywood and Punjabi film director who directed the movie Phullu. The Phullu moviewas released in theaters on 16 June 2017, in which film Sharib Hashmi is the lead role. Apart from these, he has also directed Patiala Dreamz, this is a Punjabi film. This film was screened in cinemas in 2014.Life andbackgroundAbhishek Saxena was born on 19 September 1988 in the capital of India, Delhi, whose father's name is Mukesh Kumar Saxena. Abhishek Saxena married Ambica Sharma Saxena on 18 December 2014. Hismother's name is Gurpreet Kaur Saxena.Saxena started his career with a Punjabi film Patiala Dreamz, after which he has also directed a Hindi film Phullu, which has appeared in Indian cinemas on 16 June2017.CareerAbhishek Saxena made his film debut in 2011 as an assistant director on Doordarshan with Ashok Gaikwad. He made his first directed film Patiala Dreamz, this is a Punjabi movie.After this, he has alsodirected a Hindi film Phullu in 2017, which has been screened in cinemas on 16 June 2017. Saxena is now making his upcoming movie \"India Gate\".In 2018 Abhishek Saxena has come up with topic of body-shaming inhis upcoming movie Saroj ka Rishta. Where Sanah Kapoor will play the role of Saroj and actors Randeep Rai and Gaurav Pandey will play the two men in Saroj's life.Yeh Un Dinon ki Baat Hai lead Randeep Rai will makehis Bollywood debut. Talking about the film, director Abhishek Saxena told Mumbai Mirror, \"As a fat person, I have noticed that body-shaming doesn’t happen only with those who are on the heavier side, but also withthin people. The idea germinated from there.\"Career as an Assistant DirectorApart from this, he has played the role of assistant director in many films and serials in the beginning of his career, in which he has atelevision serial in 2011, Doordarshan, as well as in 2011, he also assisted in a serial of Star Plus.In addition to these serials, he played the role of assistant director in the movie \"Girgit\" which was made in Telugulanguage.FilmographyAs DirectorPassage 6:Rich GosselinRichmond \"Rich\" Gosselin (born April 25, 1956) is a Canadian retired professional ice hockey player who played in the World Hockey Association (WHA) and theSwiss-A League. He was drafted in the seventh round of the 1976 NHL Amateur Draft by the Montreal Canadiens. Gosselin played three games with the Winnipeg Jets during the 1978–79 WHA season, after which hewent overseas to play in Switzerland.Gosselin served as a head coach in various European leagues after his playing career ended. In Manitoba, he has coached the Eastman Midget 'AAA' Selects, South East PrairieThunder, and Steinbach Pistons junior hockey team.  Gosselin coached the Prairie Thunder to a second-place finish at the 2009 Allan Cup.Passage 7:Eric KnightEric Mowbray Knight (10 April 1897 – 15 January 1943)was an English novelist and screenwriter, who is mainly known for his 1940 novel Lassie Come-Home, which introduced the fictional collie Lassie.  He took American citizenship in 1942 shortly before hisdeath.BiographyBorn in Menston, West Riding of Yorkshire, Knight was the youngest of three sons born to Marion Hilda (née Creasser) and Frederic Harrison Knight, both Quakers. His father was a rich diamondmerchant who, when Eric was two years old, was killed during the Boer War. His mother then moved to St. Petersburg, Imperial Russia, to work as a governess for the imperial family. The family later settled in theUnited States in 1912.Knight had a varied career, including service in the Princess Patricia's Canadian Light Infantry during World War I as a signaller then served as a captain of field artillery in the U.S. Army Reserveuntil 1926. His two brothers were both killed in World War I serving with the Pennsylvania Army National Guard.  He did stints as an art student, newspaper reporter and Hollywood screenwriter.He married twice, firston 28 July 1917, to Dorothy Caroline Noyes Hall, with whom he had three daughters and later divorced, and secondly to Jere Brylawski on 2 December 1932.Writing careerKnight's first novel was Invitation to Life(Greenberg, 1934). The second was Song on Your Bugles (1936) about the working class in Northern England.  As \"Richard Hallas\", he wrote the hardboiled genre novel You Play the Black and the Red Comes Up(1938). Knight's This Above All is considered one of the significant novels of the Second World War. He also helped co-author the film, Battle of Britain in the \"Why We Fight\" Series under the direction of FrankCapra.Knight and his second wife Jere Knight raised collies on their farm in Pleasant Valley, Bucks County, Pennsylvania. They resided at Springhouse Farm from 1939 to 1943. His novel Lassie Come-Home (ISBN0030441013) was published in 1940, expanded from a short story published in 1938 in The Saturday Evening Post.One of Knight's last books was Sam Small Flies Again, republished as The Flying Yorkshireman (PocketBooks 493, 1948; 273 pages).  On the back of The Flying Yorkshireman, this blurb appeared:England's answer to America's James Thurber or Thorne Smith, Knight created the character Sam Small, a villager fromYorkshire whose stock in trade was an endless parade of outrageous tarradiddles and tall tales.  Sam's adventures are chronicled in the ten stories of this vintage volume, originally published as Sam Small FliesAgain.  That's right, Sam can literally fly, which puts him into all sorts of mischief.  \"An immensely funny book.\" – The New York Times.WorksSong On Your Bugles (1936)You Play The Black and The Red Comes Up(written as: Richard Hallas) (1940)Now Pray We for Our Country (1940)Sam Small Flies Again (also titled: The Flying Yorkshireman) (1942)This Above All (1942)Lassie Come-Home (1943)Portrait of a FlyingYorkshireman (edited by Paul Rotha) (1952)Source:DeathIn 1943, at which time he was a major in the United States Army – Special Services where he wrote two of Frank Capra's Why We Fight series, Knight was killedin a C-54 air crash in Dutch Guiana (now Suriname) in South America.Passage 8:B. Reeves EasonWilliam Reeves Eason (October 2, 1886 – June 9, 1956), known as B. Reeves Eason, was an American film director,actor and screenwriter. His directorial output was limited mainly to low-budget westerns and action pictures, but it was as a second-unit director and action specialist that he was best known. He was famous for stagingspectacular battle scenes in war films and action scenes in large-budget westerns, but he acquired the nickname \"Breezy\" for his \"breezy\" attitude towards safety while staging his sequences—during the famous cavalrycharge at the end of Charge of the Light Brigade (1936), so many horses were killed or injured so severely that they had to be euthanized that both the public and Hollywood itself were outraged, resulting in theselection of the American Humane Society by the beleaguered studios to provide representatives on the sets of all films using animals to ensure their safety.CareerBorn in Massachusetts, Eason studied engineering atthe University of California. Eason directed 150 films and starred in almost 100 films over his career. Eason's career transcended into sound and he directed film serials such as The Miracle Rider starring Tom Mix in1935. He used 42 cameras to film the chariot race as a second-unit director on Ben-Hur (1925), the climactic charge in Charge of the Light Brigade (1936), and also directed the \"Burning of Atlanta\" in Gone with theWind (1939).Family and personal lifeHis son, B. Reeves Eason Jr., was a child actor who appeared in 12 films, including Nine-Tenths of the Law, which Eason, Sr. directed. Born in 1914, he died in 1921 after being hit bya runaway truck outside of his parents' home shortly after the filming of the Harry Carey silent western The Fox was completed, just before his seventh birthday.DeathOn June 9, 1956, Eason died of a heart attack atthe age of 69. He is buried in Hollywood Forever Cemetery in Los Angeles.FilmographyDirectorActorScreenwriterPassage 9:Lassie Come HomeLassie Come Home is a 1943 Metro-Goldwyn-Mayer Technicolor feature filmstarring Roddy McDowall and  canine actor Pal, in a story about the profound bond between Yorkshire boy Joe Carraclough and his rough collie, Lassie. The film was directed by Fred M. Wilcox from a screenplay by HugoButler based upon the 1940 novel Lassie Come-Home by Eric Knight. The film was the first in a series of seven MGM films starring \"Lassie.\"The original film saw a sequel, Son of Lassie in 1945 with five other filmsfollowing at intervals through the 1940s. A British remake of the 1943 movie was released in 2005 as Lassie to moderate success. The film has been released to VHS and DVD.In 1993, Lassie Come Home was includedin the annual selection of 25 motion pictures added to the National Film Registry of the Library of Congress being deemed \"culturally, historically, or aesthetically significant\" and recommended for preservation.PlotSet inDepression-era Yorkshire, England, Mr and Mrs Carraclough are hit by hard times and forced to sell their collie, Lassie, to the rich Duke of Rudling, who has always admired her. Young Joe Carraclough grows despondentat the loss of his companion.Lassie will have nothing to do with the Duke, however, and finds ways to escape her kennels and return to Joe. The Duke finally carries Lassie to his home hundreds of miles distant inScotland. There, his granddaughter Priscilla senses the dog's unhappiness and arranges her escape.Lassie then sets off for a long trek to her Yorkshire home. She faces many perils along the way, dog catchers and aviolent storm, but also meets kind people who offer her aid and comfort. At the end, when Joe has given up hope of ever seeing his dog again, the weary Lassie returns to her favorite resting place in the schoolyard athome. There, Lassie is joyfully reunited with the boy she loves.Main castProductionThe film was shot in Washington state and Monterey, California, while the rapids scene was shot on the San Joaquin River. It alsofeatures scenes from the former Janss Conejo Ranch in Wildwood Regional Park in Thousand Oaks, California. Additional photography occurred in Big Bear Lake.During the film's production, MGM executives previewingthe dailies were said to be so moved that they ordered more scenes to be added to \"this wonderful motion picture.\"Some sources say that, initially, a female collie was selected for the title role, but was replaced whenthe dog began to shed excessively during shooting of the film in the summer. The trainer, Rudd Weatherwax, then substituted the male collie, Pal, in the role of \"Lassie\". Pal had been hired to perform the rapids stuntand, being male, looked more impressive in the part. Still other accounts, such as a 1943 New York Times article written while the film was in production, say that Pal was cast by director Fred Wilcox after first beingrejected, because no other dog performed satisfactorily with the \"near human attributes\" he sought for the canine title role. Weatherwax would later receive all rights to the Lassie name and trademark in lieu of backpay owed him by MGM.MusicIn 2010, Film Score Monthly released the complete scores of the seven Lassie feature films released by MGM between 1943 and 1955 as well as Elmer Bernstein’s score for It's a Dog's Life(1955) in the CD collection Lassie Come Home: The Canine Cinema Collection, limited to 1000 copies.  Due to the era when these scores were recorded, nearly half of the music masters have been lost so the scores hadto be reconstructed and restored from the best available sources, mainly the Music and Effects tracks as well as monaural ¼″ tapes.The score for Lassie Come Home was composed by Daniele Amfitheatrof.Track listingfor Lassie Come Home (Disc 1)Main Title*/The Story of a Dog* – 2:23Time Sense—Second Version*/Have a Good Time/Waking Up Joe*/Lassie is Sold – 6:30Lassie is Sold, Part 2 – 1:07Joe is Heartbroken*/PriscillaMeets Lassie – 2:40Time Sense—Second Version*/First Escape (beginning)* – 1:33Hynes Arrives/Time Sense—Second Version*/Second Escape – 2:09Day Dreaming – 1:30Bid Her Stay*/Honest is Honest/Lassie Goesto Scotland*/Lassie in Scotland – 4:45Lassie is Chained* – 0:51Hynes Walks Lassie – 0:59Time Sense—Second Version*/Lassie Runs Away*/The Storm/Over the Mountains*/The Lake & Time Sense #3/Lassie vs.Satan*/The Dog Fight (Amfitheatrof–Mario Castelnuovo-Tedesco)*/Lassie vs. Satan, Part 2*/A Surprise for Joe*/Crossing the River* – 13:09Dan and Dally*/Lassie Recovers/Joe Can’t Sleep*/Time Sense—SecondVersion* – 4:40Lassie is Not Happy/Time Sense—Second Version*/Goodbye, Girl*/Meeting Palmer/Lassie Refuses Food*/Lassie Follows Palmer – 6:28Lassie Wants to Go That Way/Lassie is a Lady/Next Morning –3:11Toots Gives a Performance*/The Dogs Play*/Thousand Kronen (Bronislau Kaper)*/Last Fight*/Toots is Dead/It’s Goodbye, Then*/The Dog Catchers*/Out of Work/Lassie Comes Home*/Duke Arrives* & This is No"}
+{"doc_id":"doc_271","qid":"","text":"Passage 1:Gaius Julius AquilaGaius Julius Aquila was the name of a number of people who lived during the Roman Empire.Prefect of EgyptGaius Julius Aquila was a praefectus of Roman Egypt between 10 CE and 11.Governor of Bythinia et PontusGaius Julius Aquila was a Roman knight, stationed with a few cohorts, in 45 CE, to protect Tiberius Julius Cotys I, king of the Bosporan Kingdom, who had received the sovereignty after the expulsion of Tiberius Julius Mithridates. In the same year, Aquila obtained the praetorian insignia. He also erected a monument honouring the emperor Claudius in Asia Minor (modern Turkey) known as the Kuşkayası Monument.Passage 2:Maximus of TyreMaximus of Tyre (Greek: Μάξιμος Τύριος; fl. late 2nd century AD), also known as Cassius Maximus Tyrius, was a Greek rhetorician and philosopher who lived in the time of the Antonines and Commodus, and who belongs to the trend of the Second Sophistic.  His writings contain many allusions to the history of Greece, while there is little reference to Rome; hence it is inferred that he lived longer in Greece, perhaps as a professor at Athens. Although nominally a Platonist, he is really a sophist rather than a philosopher, although he is still considered one of the precursors of Neoplatonism.WritingsThe DissertationsThere exist 41 essays or discourses on theological, ethical, and other philosophical subjects, collected into a work called The Dissertations. The central theme is God as the supreme being, one and indivisible though called by many names, accessible to reason alone:In such a mighty contest, sedition and discord, you will see one according law and assertion in all the earth, that there is one God, the king and father of all things, and many gods, sons of God, ruling together with him.As animals form the intermediate stage between plants and human beings, so there exist intermediaries between God and man, viz. daemons, who dwell on the confines of heaven and earth. The soul in many ways bears a great resemblance to the divinity; it is partly mortal, partly immortal, and, when freed from the fetters of the body, becomes a daemon. Life is the sleep of the soul, from which it awakes at death. The style of Maximus is superior to that of the ordinary sophistical rhetorician, but scholars differ widely as to the merits of the essays themselves.Dissertation XX discusses \"Whether the Life of a Cynic is to Be Preferred\". He begins with a narrative of how Prometheus created mankind, who initially lived a life of ease \"for the earth supplied them with aliment, rich meadows, long-haired mountains, and abundance of fruits\" – in other words, a Garden of Eden that resonates with Cynic ideas. It was \"a life without war, without iron, without a guard, peaceful, healthful unindigent\".Then, taking perhaps from Lucretius, he contrasts that Garden to mankind's \"second life\", which started with the division of the earth into property, which they then enclosed into fortifications and walls, and started to wear jewellery and gold, built houses, “molested the earth by digging into it for metals”, and invaded the sea and the air (killing animals, fish and birds), in what he described as a “slaughter and all-various gore, pursuing gratification of the body”. Humans became unhappy and, to compensate, sought wealth, “fearing poverty...dreading death...neglecting the care of life...They blamed base actions but did not abstain from them and “the hated to live, but dreaded to die”.He then contrasts the two lives – that of the original Garden and of the “second life” he has just described and asks, which man would not choose the first, who “knows that by the change he shall be liberated from a multitude of evils” and what he calls “a dreadful prison of unhappy men, confined to a dreadful prison of unhappy men, confined in a dark recess, with large iron fetters round their feet, a great weight about their neck…passing their time in filth, in torment, and in weeping”. He asks, “Which of these images shall we proclaim blessed”? He goes on to praise Diogenes of Sinopeus, the Cynic, for choosing his ascetic life, but only because he avoided the often fearful fates of other philosophers – such as Socrates being condemned. But there is no mention of he himself taking up the ascetic life himself; rather he only talks about how the Garden would be preferable to the life mankind has made for itself. So it is unlikely he was a Cynic, but was just envious of that idealised pre-civilisation Life in the Garden.Maximus of Tyre must be distinguished from the Stoic Claudius Maximus, tutor of Marcus Aurelius.Ancient Greek TextMaximus Tyrius, Philosophumena, Dialexeis - Edited by George Leonidas Koniaris, Publisher Walter de Gruyter, 1995, DOI: https://doi.org/10.1515/9783110882568 - this critical edition presents the Ancient Greek text of Maximus of Tyre.TranslationsTaylor, Thomas, The Dissertations of Maximus Tyrius. C. Wittingham (1804)Trapp, Michael. Maximus of Tyre: The Philosophical Orations, (NY: Oxford University Press, 1997)Passage 3:R. Charlton (poet/songwriter)R. Charlton, who lived in the early nineteenth century, was a Tyneside poet/songwriter.DetailsR. Charlton (lived ca. 1812) was a Tyneside songwriter, who, according to the information given by Thomas Allan in the Allan's Illustrated Edition of Tyneside Songs published in 1891, has the song \"Newcastle Improvements\" attributed to his name.The song is sung to the tune of \"Canny Newcassel\" according to W & T Fordyce. It is written in Geordie dialect and has a strong Northern connection). Unlike the others songwriters who wrote about the town improvements and mentioned changes to layout, street plans, new buildings etc., Charlton concentrated on the social changes brought about by the work, and sometimes not too kindly.The same song without any comment, except the author's name, appears on page 159 of The Tyne Songster published by W & T Fordyce published in 1840 and on page 151 of A Collection of Songs, Comic, Satirical, and Descriptive published by Thomas Marshall published in 1829Nothing more appears to be known of this person, or their life, or even their Christian name or sex.See alsoGeordie dialect words(Geordie) Rhymes of Northern Bards by John Bell JuniorJohn Bell (folk music)Passage 4:Mubarak KhwajaMubarak Khwaja (Kazakh: М\u0000б\u0000р\u0000к \u0000ожа, Persian: \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000) was the khan of White Horde in 1320–1344. He succeeded his brother, Ilbasan, with the assistance of Uzbeg, Khan of the Golden Horde and the House of Batu. However, he declared his independence from Sarai. The Khan sent his son Tini Beg to overthrow him. Thus, he was replaced by Chimtay, son of Ilbasan. He may have lived longer after his dethronement, occupying some lands.GenealogyGenghis KhanJochiOrda KhanSartaqtayKöchüBayanSasibuqaMubarak KhwajaSee alsoList of Khans of the Golden HordePassage 5:Chou Meng-tiehChou Meng-tieh (simplified Chinese: \u0000\u0000\u0000; traditional Chinese: \u0000\u0000\u0000; pinyin: Zhōu Mèngdié; 29 December 1921 – 1 May 2014) was a Taiwanese poet and writer.  He lived in Tamsui District, New Taipei City.BiographyHe was born Chou Chi-shu in Xichuan County, Henan in 1921. In 1948, Chou joined the China Youth Corps and was forced to drop out of school. He was sent to Taiwan following the defeat of Chiang Kai-shek's army in the Chinese Civil War, leaving his wife, two sons, and daughter behind in Mainland China. He settled in Tamsui District, New Taipei City.Chou started writing in the Central Daily News and publishing poetry in 1952. He retired from the army in 1955.In 1959, he started selling books outside the Cafe Astoria in Taipei and published his first book of poetry entitled Lonely County. Chou's book stall became a gathering spot for well-known writers, such as Huang Chun-ming, Pai Hsien-yung, and Sanmao. Chou wrote often on the subjects of time, life, and death, and was influenced by Buddhism.In 1980, the American magazine Orientations praised him as the \"Amoy Street Prophet\".  During the same year, he was forced to close his book stall in front of Cafe Astoria due to gastric ulcer surgery. He was the first recipient of the National Culture and Arts Foundation Literature Laureate Award in 1997.Chou died of pneumonia in New Taipei City on May 1, 2014 at the age of 92. His funeral was held twelve days later, with writers and politicians including Chang Show-foong, Lung Ying-tai, Timothy Yang, and Hsiang Ming in attendance.A bilingual selection from Chou's poetry with English translations by Lloyd Haft, Zhou Mengdie: 41 Poems, was published by Azoth Books (Taiwan) in 2022.Passage 6:Zhou YouguangZhou Youguang (Chinese: \u0000\u0000\u0000; pinyin: Zhōu Y\u0000uguāng; 13 January 1906 – 14 January 2017), also known as Chou Yu-kuang or Chou Yao-ping, was a Chinese economist, banker, linguist, sinologist, Esperantist, publisher, and supercentenarian, known as the \"father of Pinyin\", a system for the writing of Mandarin Chinese in Roman script, or romanization, which was officially adopted by the government of the People's Republic of China in 1958, the International Organization for Standardization (ISO) in 1982, and the United Nations in 1986.Early life and careerZhou was born Zhou Yaoping in Changzhou (Changchow), Jiangsu Province, on 13 January 1906 to a Qing Dynasty official. At the age of ten, he and his family moved to Suzhou, Jiangsu Province. In 1918, he entered Changzhou High School, during which time he first took an interest in linguistics. He graduated in 1923 with honors.Zhou enrolled that same year in St. John's University, Shanghai where he majored in economics and took supplementary coursework in linguistics. He was almost unable to attend due to his family's poverty, but friends and relatives raised 200 yuan for the admission fee, and also helped him pay for tuition. He left during the May Thirtieth Movement of 1925 and transferred to Guanghua University, from which he graduated in 1927.On 30 April 1933, Zhou married Zhang Yunhe (\u0000\u0000\u0000). The couple went to Japan for Zhou's studies. Zhou started as an exchange student at the University of Tokyo, later transferring to Kyoto University due to his admiration of the Japanese Marxist economist Hajime Kawakami, who was a professor there at the time. Kawakami's arrest for joining the outlawed Japanese Communist Party in January 1933 meant that Zhou could not be his student. Zhou's son, Zhou Xiaoping (\u0000\u0000\u0000), was born in 1934. The couple also had a daughter, Zhou Xiaohe (\u0000\u0000\u0000).In 1937, due to the outbreak of the Second Sino-Japanese War, Zhou and his family moved to the wartime capital Chongqing, and his daughter died. He worked for  Sin Hua Bank before entering public service as a deputy director at the National Government's Ministry of Economic Affairs, agricultural policy bureau (\u0000\u0000\u0000\u0000\u0000\u0000). After the 1945 Japanese defeat in World War II, Zhou went back to work for Sin Hua where he was stationed overseas: first in New York City and then in London. When he was in New York, he met Albert Einstein twice while visiting friends at Princeton University.Zhou participated for a time in the China Democratic National Construction Association. After the founding of the People's Republic was established in 1949 he returned to Shanghai, where he taught economics at Fudan University for several years.Designing PinyinBecause of his friendship with Zhou Enlai who recalled the economist's fascination with linguistics and Esperanto, he summoned Zhou to Beijing in 1955 and tasked his team with developing a new alphabet for China. The Chinese government placed Zhou at the head of a committee to reform the Chinese language to increase literacy. While other committees oversaw the tasks of promulgating Mandarin Chinese as the national language and creating simplified Chinese characters, Zhou's committee was charged with developing a romanization to represent the pronunciation of Chinese characters. Zhou said the task took about three years, and was a full-time job. Pinyin was made the official romanization in 1958, although (as now) it was only a pronunciation guide, not a substitute writing system. Zhou's team based Pinyin on several preexisting systems: the phonemes were inspired by Gwoyeu Romatzyh of 1928 and Latinxua Sin Wenz of 1931, while the diacritic markings representing tones were inspired by zhuyin.In April 1979, the International Organization for Standardization (ISO) in Warsaw held a technology conference. Speaking on behalf of the People's Republic of China, Zhou proposed the use of the \"Hanyu Pinyin System\" as the international standard for the romanization of Chinese. Following a vote in 1982 the scheme became ISO 7098.In the modern era Pinyin has largely replaced older romanization systems such as Wade-Giles.Later activitiesDuring the Cultural Revolution, Zhou was sent to live in the countryside and to be \"reeducated\", as were many other intellectuals at that time. He spent two years at a labor camp.After 1980, Zhou worked with Liu Zunqi and Chien Wei-zang on translating the Encyclopædia Britannica into Chinese, earning him the nickname \"Encyclopedia Zhou\". Zhou continued writing and publishing after the creation of Pinyin; for example, his book \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000 (Zhōngguó y\u0000wén de shídài y\u0000njìn), translated into English by Zhang Liqing, was published in 2003 as The Historical Evolution of Chinese Languages and Scripts. Beyond the age of 100, he published ten books, some of which have been banned in China.In 2011, during an interview with NPR, Zhou said that he hoped to see the day China changed its position on the Tiananmen Square killings in 1989, an event he said had ruined Deng Xiaoping's reputation as a reformer. He became an advocate of political reform and democracy in China, and was critical of the Communist Party of China's attacks on traditional Chinese culture when it came into power.In early 2013, both Zhou and his son were interviewed by Dr. Adeline Yen Mah at their residence in Beijing. Mah documented the visit in a video and presented Zhou with a Pinyin game she created for the iPad. Zhou became a supercentenarian on 13 January 2016 when he reached the age of 110.Zhou died on 14 January 2017 at his home in Beijing, one day after his 111th birthday; no cause was given. His wife had died in 2002, and his son had died in 2015.Google honored what would have been his 112th birthday with an animated version of its logo in Mandarin.BooksZhou was the author of more than 40 books, some of them banned in China and over 10 of them published after he turned 100 in 2006.GallerySee alsoYuen Ren ChaoList of centenarians (educators, school administrators, social scientists and linguists)Passage 7:Fredy SchmidtkeFredy Schmidtke (1 July 1961 – 1 December 2017) was a German track cyclist. He won a gold medal in the 1000 metres time trial at the 1984 Summer Olympics and finished eighth in the sprint.Schmidtke died of a heart attack on 1 December 2017, at the age of 56.Passage 8:Fred H. FrankFred H. Frank (July 1, 1895 in Lessor, Wisconsin – July 10, 1957) was a member of the Wisconsin State Assembly who lived in Appleton. During World War I, he served with the First Army of the American Expeditionary Forces. From 1940 to 1945, Frank was Sheriff of Outagamie County, Wisconsin.Political careerFrank first served in the Assembly from 1945 to 1949. He was re-elected to the Assembly in 1956 and remained a member until his death. Previously, Frank had been a member of the Outagamie County Board from 1930 to 1936. He was a Republican.Passage 9:Zou YixinZou Yixin or Chou Yi-Hsin (1911–1997) was a Chinese astronomer, who has been called \"the first female astronomer in China\".Passage 10:Justin (historian)Justin (Latin: Marcus Junianus Justinus Frontinus; fl. c. 2nd century) was a Latin writer and historian who lived under the  Roman Empire.LifeAlmost nothing is known of Justin's personal history, his name appearing only in the title of his work. He must have lived after Gnaeus Pompeius Trogus, whose work he excerpted, and his references to the Romans and Parthians' having divided the world between themselves would have been anachronistic after the rise of the Sassanians in the third century. His Latin appears to be consistent with the style of the second century. Ronald Syme, however, argues for a date around AD 390, immediately before the compilation of the Augustan History, and dismisses anachronisms and the archaic style as unimportant, as he asserts readers would have understood Justin's phrasing to represent Trogus' time, and not his own.WorksJustin was the author of an epitome of Trogus' expansive Liber Historiarum Philippicarum, or Philippic Histories, a history of the kings of Macedonia, compiled in the time of Augustus.  Due to its numerous digressions, this work was retitled by one of its editors, Historia Philippicae et Totius Mundi Origines et Terrae Situs, or Philippic History and Origins of the Entire World and All of its Lands.  Justin's preface explains that he aimed to collect the most important and interesting passages of that work, which has since been lost.  Some of Trogus' original arguments (prologi) are preserved in various other authors, such as Pliny the Elder.  Trogus' main theme was the rise and history of the Macedonian Empire, and like him, Justin permitted himself considerable freedom of digression, producing an idiosyncratic anthology rather than a strict epitome.LegacyJustin's history was much used in the Middle Ages, when its author was sometimes mistakenly conflated with Justin Martyr.Notes"}
+{"doc_id":"doc_272","qid":"","text":"Passage 1:Anne Elizabeth RectorAnne Elizabeth Rector (June 26, 1899 – February 17, 1970) was an American artist.Rector was the daughter of Enoch J. Rector and she attended the Art Students League of New Yorkstudying under John French Sloan. Ann also studied landscape painting under Andrew Dasburg. She married Edmund Duffy and they moved to New York City in 1948, when her husband began work for the SaturdayEvening Post. She later headed Rector Studios that manufactured glass top tables. Her daughter married Ivan Chermayeff, the son of Serge Ivan Chermayeff.Rector's childhood diaries were published in 2004. They hadbeen found many years after Rector's death and described her life for the year of 1912.Passage 2:Edmund DuffyEdmund Duffy (March 1, 1899 – September 12, 1962), was an American editorial cartoonist.  He grew upin Jersey City, New Jersey, eventually moving to metropolitan areas. Duffy did not attend high school, but instead went into the Art Students League of New York. Duffy's career took him to London, Paris, New York, andfinally to Baltimore, where he spent the majority of his professional career working for The Baltimore Sun.Duffy won three Pulitzer Prizes for Editorial Cartooning in 1931, 1934, and 1940. Duffy began working for theBaltimore Sun in 1924, when he was only about 25 years old, and he received high praise from the famous journalist H.L. Mencken.Journalism careerDuffy first came into the journalism field with his submission of apage of sketches for Armistice Day. The sketches were put into the New York Tribune in the Sunday section. Duffy worked on a variety of assignments in order to save up money, then launching his European career. Hemoved to London and worked for the London Evening News. Duffy worked in Paris for a few years, and he finally returned to the United States in 1922. He worked for two years with both the New York Leader and theBrooklyn Eagle.The longest period of his career began in 1924 when he began working for The Baltimore Sun. Duffy worked there until 1948, in order to work a less tiring job, working for the Saturday EveningPost.  Duffy drew numerous noteworthy cartoons, approaching major issues and incidents, such as lynching and the Ku Klux Klan, but also the famous Monkey Scopes Trial of 1925.Denouncing racism through artDuffywas known for his daring nature in relation to his work. H.L. Mencken saw promise in his work and “Duffy with his sometimes savage artwork, did the kind of thing that delighted Mencken, who loved nothing more thanto ‘stir up the animals’”. Duffy was not afraid to please Mencken, and held nothing back  He was one of the few people of his time that would boldly approach the topic of racism.  He blatantly condemned lynching andthe actions of the KKK.  This was one of his main issues that he approached during his career.  During the time period that Duffy worked it was not popular to advocate against racism, so Duffy was civil rights before itwas a wide movement in the United States. S.L. Harrison, a late professor of Communication at the University of Miami, wrote that Duffy “displayed uncommon vigor in attacking the Ku Klux Klan”.Scopes TrialJust ayear after Duffy began working for The Baltimore Sun, 1925, a famous trial began in Tennessee.  Tennessee had passed a law, the Butler Act, barring teachers against the topic of evolution in the classroom, but onebiology teacher, John T. Scopes, ignored the law and taught his students evolution.  Scopes decided that the students should learn evolution, even if it went against the teachings of the bible.  Since the trial was popularand a nationwide topic, Mencken took a staff from The Sun, including Duffy, to cover the trial.  “[Edmund Duffy’s] graphic artwork played a significant role in the public’s perception of the trial proceedings reported inthe pages of The Sun, then one of America’s most influential newspapers”.  His cartoons brought more attention to the issue, as he derided Tennessee for crushing knowledge in one of his more notable cartoons fromthe trial called ‘A Closed Book in Tennessee.’ In this cartoon, Duffy shows a man, representing Tennessee, holding a sign that says “Fundamentalists Only Wanted as Teachers.”  The man is standing on top of the bookof knowledge, holding it shut.  Duffy knew that this powerful cartoon would cause a great response, but that is exactly what Mencken wanted and expected from him.  Many more of his cartoons from the trial held thesame message, in which he was publicly shaming Tennessee for the law, the trial, and the verdict.  Mencken once said that with a good cartoonist he would not need a whole editorial staff, and a great cartoonist hefound in Duffy.Pulitzer PrizesOver Edmund Duffy's career, he won three Pulitzer Prizes, which is a lot compared to other recipients over the years.  His three prize winning cartoons are the following:“An Old Struggle StillGoing On” (1931)This cartoon references the anti-communism era that began in the 1920s and 1930s.  At the time, communism was seen as being anti-religion, which is what Duffy conveys in the cartoon.  “CaliforniaPoints with Pride!” (1934)This cartoon is one of Duffy's many anti-lynching pieces.  This one, however, deals with white on white lynching.  In California, people took two kidnappers from prison and lynched them in apark, but the Governor praised the people that did the lynching.  Duffy condemned the Governor in this cartoon.“The 'Outstretched Hand'” (1940)In this cartoon, Duffy's topic is Adolf Hitler and his brutality.  By the timethe cartoon was drawn, Germany had already invaded Poland, and Duffy shows Hitler's broken promises and peace offerings.  Hitler's hand drips with blood in the image.Passage 3:Anne EvansAnne or Ann Evans mayrefer to:Ann Evans (midwife) (1840–1916), New Zealand nurseAnne Evans (poet) (1820–1870), English poet and composerAnne Evans (arts patron) (1871–1941), art patron in ColoradoAnne Evans (soprano) (born1941), British operatic sopranoAnne Evans Estabrook, American real estate developerSee alsoMary Ann Evans, writer better known as George EliotMary Anne Disraeli, née Evans, wife of DisraeliEvans (surname)Passage4:James Randall MarshJames Randall Marsh (1896–1966) was an American artist and the husband of Anne Steele Marsh.BiographyMarsh was born in 1896 in Paris, France. He was the son of Frederick Dana Marsh andAlice Randall Marsh. He was the brother of the painter Reginald Marsh.He married Anne Steele in 1925 and the couple settled in Essex Fells, New Jersey. There Marsh set up a metal forge which he used to createindustrial and residential lighting fixtures. In 1948, the Marshes relocated to Pittstown, New Jersey where James continued operating a forge, expanding the operation to include decorative metal work. His work wasmainly in the American Arts and Craft style.In 1952, Marsh was instrumental in establishing the Hunterdon Art Museum. When an 1836 stone mill became available for sale, Marsh and his neighbors decided to turn itinto an art center, with Marsh providing most of the purchase price. The museum, with workshops, is still in operation and the building is listed as Dunham's Mill on the National Register of Historic Places listings inHunterdon County, New Jersey.In 1964, he purchased the M. C. Mulligan & Sons Quarry, also listed on the NRHP, and donated it to the Clinton Historical Museum, now known as the Red Mill Museum Village. On October9, 1965, the James Randall Marsh Historical Park was dedicated at the museum.Marsh died on January 20, 1966, in Flemington.Passage 5:Michael RectorMichael Rector (born December 16, 1993) is a former Americanfootball wide receiver. He played college football at Stanford.Professional careerRector signed with the Detroit Lions as an undrafted free agent on May 12, 2017. He was waived by the Lions on September 2,2017.Passage 6:Stan RiceStanley Travis Rice Jr. (November 7, 1942 – December 9, 2002) was an American poet and artist. He was the husband of author Anne Rice.BiographyRice was born in Dallas, Texas, in 1942.He met his future wife Anne O'Brien in high school. They briefly attended North Texas State University together, before marrying in 1961 and moving to San Francisco in 1962, to enroll at San Francisco State University,where they both earned their bachelor's and master's degrees.Rice was a professor of English and Creative Writing at San Francisco State University. In 1977, he received the Academy of American Poets' Edgar AllanPoe Award for Whiteboy, and in subsequent years was also the recipient of the Joseph Henry Jackson Award, as well as a writing fellowship from the National Endowment for the Arts. Rice retired after 22 years asChairman of the Creative Writing program as well as Assistant Director of the Poetry Center in 1989.It was the death of his and Anne's first child, daughter Michele (1966–1972), at age six of leukemia, which led to StanRice becoming a published author. His first book of poems, based on his daughter's illness and death, was titled Some Lamb, and was published in 1975. He encouraged his wife to quit her work as a waitress, cook andtheater usher in order to devote herself full-time to her writing, and both eventually encouraged their son, novelist Christopher Rice, to become a published author as well.Rice, his wife and his son moved to GardenDistrict, New Orleans, in 1988, where he eventually opened the Stan Rice Gallery. In 1989, they purchased the Brevard-Rice House, 1239 First Street, built in 1857 for Albert Hamilton Brevard.Stan Rice's paintings arerepresented in the collections of the Ogden Museum of Southern Art and the New Orleans Museum of Art. He had a one-person show at the James W. Palmer Gallery, Vassar College, Poughkeepsie, New York. The ArtGalleries of Southeastern Louisiana presented an exhibition of selected paintings in March 2005. Prospective plans are underway to present exhibitions of Rice's paintings at various locations in Mexico.In Prism of theNight, Anne Rice said of Stan: \"He's a model to me of a man who doesn't look to heaven or hell to justify his feelings about life itself. His capacity for action is admirable. Very early on he said to me, 'What more couldyou ask for than life itself'?\"Poet Deborah Garrison was Rice's editor at Alfred A. Knopf for his 2002 collection, Red to the Rind, which was dedicated to novelist son Christopher, in whose success as a writer his fathergreatly rejoiced. Garrison said of Rice: \"Stan really attempted to kind of stare down the world, and I admire that.\"Knopf's Victoria Wilson, who edited Anne's novels and worked with Stan Rice on his 1997 book,Paintings, was particularly impressed by his refusal to sell his artworks, saying, \"The great thing about Stan is that he refused to play the game as a painter, and he refused to play the game as a poet.\"Personal lifeRicewas an atheist.DeathStan Rice died of brain cancer at age 60, on December 9, 2002, in New Orleans where he lived and was survived by Anne and Christopher, as well as his mother, Margaret; a brother, Larry; and twosisters, Nancy and Cynthia.Rice is entombed in Metairie Cemetery in New Orleans.Poetry collectionsSome Lamb (1975)Whiteboy (1976) (earned the Edgar Allan Poe Award from the Academy of American Poets)Body ofWork (1983)Singing Yet: New and Selected Poems (1992)Fear Itself (1997)The Radiance of Pigs (1999)Red to the Rind (2002)False Prophet (2003) (Posthumous)Poetry video recordingsTwo series of recordings – onefrom 1973 at San Francisco State University and the other from 1996 at the poet's New Orleans home by filmmaker Blair Murphy – capturing Stan Rice reading several of his poems are on the YouTube site dedicated tothe poet.Other booksPaintings (1997)FootnotesNotesPassage 7:Stan MarksStan Marks is an Australian writer and journalist. He is the husband of Holocaust survivor Eva Marks.LifeBorn in London, Marks moved toAustralia aged two. He became a reporter on rural daily papers and then on the State's evening The Herald (Melbourne), reporting and acting as a critic in the Melbourne and Sydney offices. He worked in London,Canada and in New York City for Australian journals. Back in Australia, Stan Marks became Public Relations and Publicity Supervisor for the Australian Broadcasting Commission, looking after television, radio andconcerts, including publicity for Isaac Stern, Yehudi Menuhin, Igor Stravinsky, Daniel Barenboim, Maureen Forrester and international orchestras for Radio Australia and the magazine TVTimes. Later he became PublicRelations and Publicity Manager for the Australian Tourist Commission, writing articles for newspapers and journals at home and abroad. Marks was also the editor of the Centre News magazine of the Jewish HolocaustMuseum and Research Centre for over 16 years.He is the author of 14 books, published in Australia, England, United States, Israel and Denmark. He originated and co-wrote MS, a cartoon strip dealing with male-femalerelationships, which appeared daily in Australian and New Zealand newspapers. Marks wrote the play VIVE LA DIFFERENCEabout male-female relations in the 21st century.Stan Marks has given radio talks over BBC,CBC (Canada) and Australian Broadcasting Commission and to numerous groups, schools and organisations on many topics, particularly humour in all its forms. He has written much in Australia and overseas aboutfostering understanding and combating racism, hatred and prejudice, often advocating one united world.  He wrote the first article (in the London Stage weekly) suggesting a British Commonwealth Arts Festival andthen in various journals world wide. He also was first to suggest an Olympics Arts Festival as a way of possibly bringing the nations closer. A believer in bringing age-youth closer, including advocating, in the New YorkTimes and other journals,  a Youth Council at the United Nations and also later an Australian organization to help young and old to better understand each other and work together.MeritsOrder of Australia for communityactivities, 2007Glen Eira Citizen of the Year for community activitiesB'nai B'rith Merit award for services to the communityWorksGod gave you one face (1966)Animal Olympics (1972)Rarua lives in Papua New Guinea(1973)Malvern sketchbook (1980)Out & About In Melbourne (1988)St Kilda heritage sketch book (1995)Reflections, 20 years 1984-2004 : Jewish Holocaust Museum and Research Centre Melbourne (2004)Passage8:Andrew UptonAndrew Upton is an Australian playwright, screenwriter, and director. He has adapted the works of Gorky, Chekhov, Ibsen, and others for London's Royal National Theatre and the Sydney TheatreCompany. He wrote the original play Riflemind (2007), which premiered at the Sydney Theatre Company to favourable reviews, with Hugo Weaving starring and Philip Seymour Hoffman directing the Londonproduction.Upton and his wife, the actor Cate Blanchett, are the co-founders of the film production company, Dirty Films, under which Upton served as a producer for the Australian film Little Fish (2005). Upton andBlanchett became joint artistic directors of the Sydney Theatre Company from 2008 until 2012.Early life and educationUpton attended The King's School, Parramatta and University of Sydney.CareerAs a playwright,Upton created adaptations of Hedda Gabler, The Cherry Orchard, Cyrano de Bergerac, Don Juan (with Marion Potts), Uncle Vanya, The Maids, Children of the Sun and Platonov for the Sydney Theatre Company (STC)and Maxim Gorky's The Philistines for the Royal National Theatre in London.Upton's original play Riflemind opened with Hugo Weaving, playing an ageing rock star planning a comeback, at the Sydney Theatre Companyon 5 October 2007, and received a  favourable review in Variety (magazine). The London production of Riflemind, directed by Philip Seymour Hoffman, opened in 2008, but closed as a result of the financial pressure ofthe Global Financial Crisis after receiving poor popular press reviews.In 2008, Upton and wife Cate Blanchett became joint artistic directors of the Sydney Theatre Company for what became a five-year term.Upton andBlanchett formed a film production company, Dirty Films, whose projects include the films Bangers (1999) and Little Fish (2006). Upton wrote, produced and directed the short, Bangers, which starred Blanchett. Uptonshares writing credits for the feature film Gone (2007).Upton wrote the libretto to Alan John's opera Through the Looking Glass, which premiered with the Victorian Opera in Melbourne in May 2008.Upton acted in one ofJulian Rosenfeldt's thirteen-part art film, Manifesto (2015).Awards and recognitionIn June, 2014, Upton was recognised with the Rotary Professional Excellence Award, an award instituted \"to honour a person who hasdemonstrated consistent professional excellence in his or her chosen vocation by contributing to the benefit of the wider community beyond their typical workplace role\".Personal lifeUpton and Blanchett met in Australiain the mid-1990s and married on 29 December 1997. The couple have three sons and one daughter, the latter adopted in 2015. The couple's children appeared with Upton in segment 11 of the 2015 filmManifesto.Upton and Blanchett purchased a house in East Sussex, England, in early 2016.Passage 9:Jon LeachJonathan Leach (born April 18, 1973) is a former professional tennis player from the United States. He isthe husband of Lindsay Davenport.Professional careerLeach, an All-American player at USC, made his Grand Slam debut at the 1991 US Open when he partnered David Witt in the men's doubles. He competed in thedoubles at Indian Wells in 1992 with Brian MacPhie and before exiting in the second round they defeated a seeded pairing of Luke Jensen and Laurie Warder. A doubles specialist, his only singles appearance came atIndian Wells in 1994. With Brett Hansen-Dent as his partner, Leach made the second round of the 1995 US Open, with a win over Dutch players Richard Krajicek and Jan Siemerink. At the 1996 US Open, his third andfinal appearance at the tournament, Leach partnered with his brother Rick. He also played in the mixed doubles, with Amy Frazier. His only doubles title on the ATP Challenger Tour came at Weiden, Germany in1996.Personal lifeThe son of former USC tennis coach Dick Leach, he was brought up in California and went to Laguna Beach High School. Leach married tennis player Lindsay Davenport in Hawaii on April 25, 2003.Their first child, a son named Jagger, was born in 2007. They have had a further three children, all daughters. An investment banker, Leach is also involved in coaching and worked with young American player MadisonKeys in the 2015 season. His elder brother, Rick Leach, was also a professional tennis player, who won five Grand Slam doubles titles and reached number one in the world for doubles.Challenger titlesDoubles:(1)Passage 10:Devisingh Ransingh ShekhawatDevisingh Ramsingh Shekhawat (c. 1934 – 24 February 2023) was an Indian agriculturist and politician who served as the first gentleman of India as the husband ofPresident Pratibha Patil. He also served as the first gentleman of Rajasthan and also as mayor of Amravati. He was a member of the Indian National Congress.Early lifeDevisingh Ramsingh Shekhawat, who was then alecturer in chemistry, married Pratibha Patil on 7 July 1965. The couple had a daughter and a son, Raosaheb Shekhawat, who is also a politician.Shekhawat was awarded a PhD from the University of Mumbai in 1972.Prior to his wife's elevation to her presidential role, he had been principal of a college operated by his wife's Vidya Bharati Shikshan Sanstha foundation and also a First Mayor of Amravati (1991–1992). Like his wife, hewas a member of the Indian National Congress party. He was also an agriculturalist and a former member of the Legislative Assembly, being elected for the period 1985–1990 from the Amravati constituency in theMaharashtra state legislature. He lost his deposit in the 1995 contest for that constituency.Various accusations against Shekhawat and Patil emerged after the latter was nominated for the office of president. Amongthese was the case of Kisan Dhage, a teacher in a school run by Vidya Prasarak Shikshan Mandal in Buldana district, who committed suicide in November 1998. He left a note saying that he was committing suicidebecause he was tired of the mental harassment caused by Shekhawat, who was chairman of the institution, and four others. When the police registered the case as \"accidental death\", Dhage's wife appealed to theJudicial Magistrate First Class (JMFC) in Jalgaon Jamod, a tehsil in Buldana district. The JMFC ordered the police to start criminal proceedings. Shekhawat petitioned the courts seeking dismissal of charges of abettingDhage's suicide. Two lower courts turned down this plea and by June 2007 the issue was pending in the Bombay High Court. A judge at that court dismissed the charges against Shekhawat in 2009 on the grounds that"}
+{"doc_id":"doc_273","qid":"","text":"Passage 1:Rumbi KatedzaRumbi Katedza is a Zimbabwean Film Producer and Director who was born on 17 January 1974.Early life and educationShe did her Primary and Secondary Education in Harare, Zimbabwe. Katedza graduated with a Bachelor of Arts in English from McGill University, Canada in 1995. In 2008 Katedza received the Chevening Scholarship that enabled her to further her studies in film. She also holds a MA in Filmmaking from Goldsmiths College, London University.Work and filmographyKatedza has experience in Film and TV Production, Directing, Writing as well as Producing and presenting Radio shows. From 1994 to 2000, She produced and presented radio shows on Women's issues, Arts and Culture, Hip Hop and Acid Jazz for the CKUT (Montreal) and ZBC Radio 3 (Zimbabwe). From 2004 - 2006, she served as the Festival Director of the Zimbabwe International Film Festival. Whilst there, she produced the Postcards from Zimbabwe Series. In 2008, Katedza founded Mai Jai Films and has produced numerous films and television productions under the banner namelyTariro (2008);Big House, Small House (2009);The Axe and the Tree (2011);The Team (2011)Playing Warriors (2012)Her early works include:Danai (2002);Postcards from Zimbabwe (2006);Trapped (2006 – Rumbi Katedza, Marcus Korhonen);Asylum (2007);Insecurity Guard (2007)Rumbi Katedza is a part-time lecturer at the University of Zimbabwe, in the department of Theatre Arts. She is a judge and monitor at the National Arts Merit Awards, responsible for monitoring new film and TV productions throughout the year on behalf of the National Arts Council of Zimbabwe. She has also lobbied Zimbabwean government to actively support the film industry.Passage 2:Sam the ManSam the Man is a 2001 American film directed by Gary Winick and starring Fisher Stevens.PlotA writer having difficulty completing his second novel goes on a journey of self-discovery.CastExternal linksSam the Man at IMDbSam the Man at Rotten TomatoesPassage 3:The Man Is ArmedThe Man Is Armed is a 1956 film noir crime film directed by Franklin Adreon starring Dane Clark, William Talman, May Wynn and Robert Horton.PlotFramed by another man, truck driver Johnny Morrison serves a year in prison. After his release, Johnny confronts the man, Mitch Mitchell, who plunges off a roof to his death.Johnny then learns that his former employer, Hackett, was the one who set him up as a fall guy. Hackett claims it was a test of loyalty, and since Johnny passed, he now stands to earn $100,000 for helping Hackett pull off the robbery of an armored transport company.Johnny's old girlfriend, Carol Wayne, still has feelings for him, even though she has been seeing Mike Benning, a young doctor. While the death of Mitchell is investigated by police Lt. Coster as a homicide, Johnny and three other thugs pull off the heist.Unable to get the loot to Hackett due to roadblocks, Johnny hides out. Hackett, believing he has been double-crossed, shoots Johnny and buries the money on his family farm, but the police catch up to him. A wounded Johnny knocks out Mike and abducts Carol, but collapses and dies after a few steps. Mike leads Carol away as the cops arrive.CastDane Clark as Johnny MorrisonWilliam Talman as HackettMay Wynn as Carol WayneRobert Horton as Dr. Michael BenningBarton MacLane as Det. Lt. Dan CosterFredd Wayne as EganRichard Benedict as Lew ' Mitch' MitchellRichard Reeves as RutbergHarry Lewis as ColeBobby Jordan as ThorneLarry J. Blake as Ray PerkinsDarlene Fields as TerryclothJohn Mitchum as OfficerSee alsoList of American films of 1956Passage 4:Wolf WarriorWolf Warrior (Chinese: \u0000\u0000) is a 2015 Chinese war film written and directed by Wu Jing. It stars Wu Jing along with Scott Adkins, Yu Nan and Kevin Lee. It was released on 2 April 2015. A sequel, titled Wolf Warrior 2, was released in China in 2017 and became the all-time highest-grossing film in China.PlotIn 2008, a combined task group of People's Liberation Army Special Operations Forces and Chinese police raid a drug smuggling operation in an abandoned chemical facility in southern China. The leader of the smuggling operation, Wu Ji, holds one of his own men hostage while taking cover behind a section of the facility's reinforced wall.Leng Feng, a skilled PLA sniper, ignores orders to stand down and fires three shots at a weak section of the wall, penetrating through on the third shot and killing Wu Ji. Leng Feng is sent to solitary confinement as punishment, but is approached by Long Xiaoyun, the female commander of the legendary 'Wolf Warriors', an elite unit within the PLA tasked with simulating foreign tactics for the PLA to train against. Long Xiaoyun offers Leng Feng a place in the Wolf Warriors. Meanwhile, in the Philippines, crime lord Min Deng, the older brother of Wu Ji, hires ex-US Navy SEAL “Tom Cat” (Scott Adkins) and his group to assassinate Leng Feng and avenge his brother.The Wolf Warriors participate in a training exercise in a remote and uninhabited forested region on China's southern border. During the exercise, Tom Cat and his mercenaries ambush a Wolf Warrior squad, killing one of Leng Feng's comrades. Subsequently, the PLA and the Wolf Warriors are tasked with hunting down Tom Cat‘s squad to restore their honor. The combined infantry force move into the forest but are delayed by multiple traps set by Tom Cat and pinned down by sniper fire until Leng Feng manages to kill the shooter. Afterwards, the rest of the PLA force engages Tom Cat's other mercenaries, who stage a fighting retreat but are eventually overwhelmed and killed one by one. Meanwhile, Long Xiaoyun and the other PLA commanders deduce that Ming Deng himself is also in the training area to take possession of a smuggled cache of biotechnology, which could allow the creation of a genetic weapon that could target Chinese people exclusively.Leng Feng eventually catches Tom Cat just before China's southern border. Leng Feng is nearly defeated, but manages to kill Tom Cat with his own knife. Medical personnel from a PLA relief force arrive, but Leng Feng recognises the wrist tattoo of the medic that approaches him and realizes that they are Min Deng's men in PLA uniforms. He attacks them, eventually holding Min Deng himself at bayonet point on the very edge of the Chinese border. Min Deng's paramilitary force approaches from the other side of the border, but so do the rest of the Wolf Warriors and PLA soldiers. Min Deng's force retreats, leaving him to be arrested.CastWu Jing as Leng Feng, a marksman in the People's Liberation Army who was initially court martialled and reprimanded for failing to obey a direct order during an operation. He is later recruited into a Chinese Special Forces Unit called \"War Wolf\" after Long Xiaoyun takes an interest in him.Yu Nan as Lieutenant Colonel Long Xiaoyun, Commander of the Chinese Special Forces Unit \"War Wolf\"Ni Dahong as Ming Deng, a drug lord who hires a group of foreign mercenaries to avenge his brother's death at the hands of Leng Feng.Scott Adkins as \"Tom Cat,\" a former US Navy SEAL turned mercenary, who is hired by Meng Deng to kill Leng FengKevin Lee as \"Mad Cow\"Shi ZhaoqiZhou XiaoouFang ZibinGuo GuangpingRu PingHong WeiWang SenZhuang XiaolongChris CollinsProductionThe script went through 14 drafts over seven years. In order to portray more realistic combat scenes, the movie used five missiles (each at a value of one million yuan), more than 30,000 rounds of ammunition, and a variety of Chinese active military aircraft, including the Chengdu J-10, Harbin Z-9, and CAIC Z-10. In one large battle scene, 32 active tanks appeared in the same shot, including a Type 96 tank.In order to prepare for the film, with the support of Chinese PLA Nanjing Military Region, Wu Jing trained for 18 months at a camp in Nanjing Military Region. On the first day of shooting, it was the hottest summer in Nanjing's history. The temperature was up to 49.8 °C, making 5 extra actors suffer from shock.Most of the film was made on location in Jiangsu province, at sites including Nanjing and Sun Yat-sen Mausoleum.Box officeAs of 25 May 2015, it has earned US$89.11 million in China.In China, it opened on 2 April 2015, earning US$33.32 million in its 4-day opening weekend topping the Chinese box office. In its second weekend, it fell to number two, earning US$36.19 million (behind Furious 7).Critical responseThe film had an overall rating of 6.8 on the Chinese review site Douban as of August 2017. Variety magazine wrote: \"To a layperson's eyes, the military exercise does look authentic, and the cross-country skirmishes are ruggedly watchable on an acrobatic level. Yet it's impossible to overlook the inanity of the plotting\".AwardsInternational influenceWolf Warrior and its sequel, Wolf Warrior 2, are the namesake of China's aggressive 'wolf warrior diplomacy' under Xi Jinping's administration.Passage 5:Edward YatesEdward J. Yates (September 16, 1918 – June 2, 2006) was an American television director who was the director of the ABC television program American Bandstand from 1952 until 1969.BiographyYates became a still photographer after graduating from high school in 1936. After serving in World War II, he became employed by Philadelphia's WFIL-TV as a boom microphone operator. He was later promoted to cameraman (important as most programming was done live and local during the early years of television) and earned a bachelor's degree in communications in 1950 from the University of Pennsylvania.In October 1952, Yates volunteered to direct Bandstand, a new concept featuring local teens dancing to the latest hits patterned after the \"950 Club\" on WPEN-AM. The show debuted with Bob Horn as host and took off after Dick Clark, already a radio veteran at age 26, took over in 1956.It was broadcast live in its early years, even after it became part of the ABC network's weekday afternoon lineup in 1957 as American Bandstand. Yates pulled records, directed the cameras, queued the commercials and communicated with Clark via a private line telephone located on his podium.In 1964, Clark moved the show to Los Angeles, taking Yates with him.Yates retired from American Bandstand in 1969, and moved his family to the Philadelphia suburb of West Chester.He died in 2006 at a nursing home where he had been for the last two months of his life.External linksEdward Yates at IMDbPassage 6:Arms and the Man (1932 film)Arms and the Man is a 1932 British film based on the play Arms and the Man by George Bernard Shaw. It was written and directed by Cecil Lewis.Passage 7:Wu Jing (actor)Wu Jing, also known as Jacky Wu, (Chinese: \u0000\u0000; pinyin: Wú Jīng; born 3 April 1974) is a Chinese actor, director and martial artist best known for his roles in various martial arts films such as Tai Chi Boxer, Fatal Contact, the Sha Po Lang films, and as Leng Feng in Wolf Warrior, its sequel Wolf Warrior 2, and most recently The Battle at Lake Changjin. Wu Jing is one of the most profitable actors in China and his movies are often the highest grossed films in China and around the world. Wu ranked first on the Forbes China Celebrity 100 list in 2019 and 23rd in 2020.CareerIn April 1995, Wu was spotted by martial arts choreographer Yuen Woo-ping, Wu played Hawkman / Jackie in 1996 film Tai Chi Boxer, his first Hong Kong film debut. Since then Wu has appeared in numerous mainland Chinese wuxia television series. He has also worked with choreographer and director Lau Kar-leung in 2003 film Drunken Monkey. Wu achieved success in Hong Kong action cinema for his role as a vicious assassin in 2005 film SPL: Sha Po Lang.In 2006, Wu was continuing his move into Hong Kong cinema by starring in the film Fatal Contact. Wu is the male lead in 2007 film Twins Mission, starring the Twins duo. He also worked on the police action film Invisible Target which was released in July 2007.In March 2008, Wu made his directorial debut, alongside action choreographer Nicky Li, on his film Legendary Assassin.Wu played the Assassin in The Mummy: Tomb of the Dragon Emperor his American film debut.Wu played Jing Neng in 2011 martial arts film Shaolin alongside Nicholas Tse, Andy Lau and Jackie Chan. Wu reprised a different role as Chan Chi-kit in the 2015 Hong Kong action film SPL II: A Time for Consequences.Wu directed and starred in the action war film Wolf Warrior and its 2017 sequel Wolf Warrior 2. The latter film has become a hit at the Chinese summer box office and became the highest grossing film in China.In 2019, Wu starred in hit film The Wandering Earth, based on a novella of the same name by Liu Cixin. When he discovered that the production team lacked funds to complete the film, he invested his own money to make up for the shortfall. The film ended up grossing $700 million worldwide, including $691 million in China but only 9 million for the rest of the world combined. It became China's third highest-grossing film of all time, 2019's third highest-grossing film worldwide, the second highest-grossing non-English film to date, and one of the top 20 highest-grossing science fiction films to date.Personal lifeWu Jing and Xie Nan's relationship began in 2012 and they got married in 2014. On 25 August 2014, Wu Jing's wife gave birth to a son Wu Suowei (\u0000\u0000\u0000) (also named as Wu You (\u0000\u0000)). On 24 September 2018, they had a second son Wu Lü (\u0000\u0000).FilmographyFilmTelevision seriesAccoladesPassage 8:Franklin AdreonFranklin \"Pete\" Adreon (November 18, 1902 – September 10, 1979) was an American film and television director, producer, screenwriter, and actor.Early life and careerBorn in Gambrills, Maryland, Adreon was a Marine Reservist during the 30s, and served in the United States Marine Corps in World War II.  Serving initially with the 6th Marines in Iceland, Major Adreon was put in charge of the Marine Corps Photographic Unit in Quantico.Adreon, an ex-bond salesman who entered motion pictures in 1935 with no experience, landed some small paying jobs, including as a technical advisor on the serial The Fighting Marines (in which he also appeared in the role of Captain Holmes).  This led to a writing position at Mascot Pictures and its successor Republic Pictures.  Adreon stayed with the serial unit and soon, through hard work and toil, was awarded the title of associate producer. Adreon stayed with the studio for nearly all of its short life. He worked with serial director William Witney at Republic Pictures, who was also in the Marines in the war.He then worked as a director, producer, and writer on various television series and films.Adreon died on September 10, 1979, in Thousand Oaks, California, at the age of 76.Selected filmographyPassage 9:W. Augustus BarrattW. Augustus Barratt (3 June 1873 – 12 April 1947) was a Scottish-born, later American, songwriter and musician.Early life and songsWalter Augustus Barratt was born 3 June 1873 in Kilmarnock, the son of composer John Barratt; the family later lived in Paisley. In 1893 he won a scholarship for composition to the Royal College of Music.In his early twenties he contributed to The Scottish Students' Song Book, with three of his own song compositions and numerous arrangements.By the end of 1897 he had published dozens of songs, such as Sir Patrick Spens, The Death of Cuthullin, an album of his own compositions, and arrangements of ten songs by Samuel Lover.He then, living in London, turned his attention to staged musical comedy, co-creating, with Adrian Ross, The Tree Dumas Skiteers, a skit, based on Sydney Grundy's The Musketeers that starred Herbert Beerbohm Tree. He co-composed with Howard Talbot the successful Kitty Grey (1900).He continued to write songs and to receive recognition for them. The 1901 and 1902 BBC Promenade Concerts, \"The Proms\", included four of his compositions, namely Come back, sweet Love, The Mermaid, My Peggy and Private Donald.His setting of My Ships, a poem by Ella Wheeler Wilcox, was performed by Clara Butt and republished several times. It also appeared four times, with different singers, in the 1913 and 1914 Proms.AmericaIn September 1904 he went to live in New York City, finding employment with shows on Broadway, including the following roles:on-stage actor (Sir Benjamin Backbite) in Lady Teazle (1904-1905), a musical version of The School for Scandal;musical director of The Little Michus (1907), also featuring songs by Barratt;co-composer of Miss Pocahontas (1907), a musical comedy;musical director of The Love Cure (1909–1910), a musical romance;composer of The Girl and the Drummer (1910), a musical romance with book by George Broadhurst. Tried out in Chicago and elsewhere, it did not do well and never reached Broadway;musical director of The Quaker Girl (1911–1912);co-composer and musical director of My Best Girl (1912);musical director of The Sunshine Girl (1913);musical director of The Girl who Smiles (1915), a musical comedy;musical director and contributor to music and lyrics of Her Soldier Boy (1916–1917);composer, lyricist and musical director of Fancy Free (1918), with book by Dorothy Donnelly and Edgar Smith;contributor of a song to The Passing Show of 1918;composer and musical director of Little Simplicity (1918), with book and lyrics by Rida Johnson Young;contributor of lyrics to The Melting of Molly (1918–1919), a musical comedy;musical director of What's in a Name? (1920), a musical revue1921 in LondonThough domiciled in the US, he made several visits back to England. During an extended stay in 1921 he played a major part in the creation of two shows, both produced by Charles B. Cochran, namelyLeague of Notions, at the New Oxford Theatre, for which he composed the music and co-wrote, with John Murray Anderson, the lyrics;Fun of the Fayre, at the London Pavilion, for which similarly he wrote the music and co-wrote the lyricsBack to BroadwayBack in the US he returned to Broadway, working ascomposer and lyricist of Jack and Jill (1923), a musical comedy;musical director of The Silver Swan (1929), a musical romanceRadio playsIn later years he wrote plays and operettas mostly for radio, such as:Snapshots: a radioperetta (1929)Sushannah and the Brush Wielders: a play in 1 act (1929)The Magic Voice: a radio series (1933)Men of Action: a series of radio sketches (1933)Say, Uncle: a radio series (1933)Sealed Orders: a radio drama (1934)Sergeant Gabriel (with Hugh Abercrombie) (1945)PersonalIn 1897 in London he married Lizzie May Stoner. They had one son. In 1904 he emigrated to the US and lived in New York City. His first marriage ended in divorce in 1915 and, in 1918, he married Ethel J Moore, who was American. In 1924, he became a naturalized American citizen. He died on 12 April 1947 in New York City.Note on his first nameThe book British Musical Biography by Brown & Stratton (1897) in its entry for John Barratt refers to \"his son William Augustus Barratt\" with details that make it clear that Walter Augustus Barratt is the same person and that a \"William\" Augustus Barratt is a mistake. For professional purposes up to about 1900 he appears to have written as \"W. Augustus Barratt\", and thereafter mostly as simply \"Augustus Barratt\".Passage 10:Hassan ZeeHassan \"Doctor\" Zee is a Pakistani-American film director who was born in Chakwal, Pakistan.Early lifeDoctor Zee grew up in Chakwal, a small village in Punjab, Pakistan. as one of seven brothers and sisters  His father was in the military and this fact required the family to move often to different cities. As a child Zee was forbidden from watching cinema because his father believed movies were a bad influence on children.At age 13, Doctor Zee got his start in the world of entertainment at Radio Pakistan where he wrote and produced radio dramas and musical programs.  It was then that he realized his passion for storytelling At the age of 26, Doctor Zee earned his medical doctorate degree and did his residency in a burn unit at the Pakistan Institute of Medical Sciences. He cared for women who were victims of  \"Bride Burning,\" the archaic practice used as a form of punishment against women who fail to provide sufficient dowry to their in-laws after marriage or fail to provide offspring.  He also witnessed how his country’s transgender and intersex people, called “hijras”, were banned from having jobs and forced to beg to survive. These experiences inspired Doctor Zee to tackle the issues of women’s empowerment and gender inequality in his films.In 1999, he came to San Francisco to pursue his dream of filmmaking and made San Francisco his homeEducationHe received his early education from Jinnah Public School, Chakwal. He got his medical doctor degree at Rawalpindi Medical College, Pakistan.Film careerDoctor Zee's first film titled Night of Henna was released in 2005. The theme of the film dealt with \"the conflict between Old World immigrant customs and modern Western ways...\" Night of Henna focused on the problems of Pakistani expatriates who found it hard to adjust in American culture. Many often landed themselves in trouble when it came to marrying off their children.His second film Bicycle Bride came out in 2010, which was about \"the clash between the "}
+{"doc_id":"doc_274","qid":"","text":"Passage 1:Billy MilanoBilly Milano (born June 3, 1964) is an American heavy metal and hardcore punk musician. He is the singer and occasionally guitarist and bassist of crossover thrash band M.O.D., and was thesinger of its predecessor, Stormtroopers of Death. Prior to these bands, Milano played in early New York hardcore band the Psychos, which also launched the career of future Agnostic Front vocalist Roger Miret. Milanowas also the singer of United Forces, which included his Stormtroopers of Death bandmate Dan Lilker. Milano managed a number of bands, including Agnostic Front, for whom he also co-produced the 1997 EpitaphRecords release Something's Gotta Give and roadie for Anthrax.DiscographyStormtroopers of Death albumsStormtroopers of Death videosMethod of Destruction (M.O.D.)MasteryPassage 2:Don't You Believe It\"Don'tYou Believe It\" is a song written by Burt Bacharach and Bob Hillard and recorded by Andy Williams. Released as a single, the B-side was a cover of the George Gershwin song \"Summertime\".Chart performanceThe songreached No. 15 on the Billboard Easy Listening chart and No. 39 on the Hot 100 in 1962.Passage 3:Kristian LeontiouKristian Leontiou (born February 1982) is an English singer. Formerly a solo artist, he is the leadsinger of indie rock band One eskimO.Early lifeKristian Leontiou was born in London, England and is of Greek Cypriot descent. He went to Hatch End High School in Harrow and worked several jobs in and around Londonwhilst concentrating on music when he had any free time.  In 2003 he signed a major record deal with Polydor. At the time, Leontiou was dubbed \"the new Dido\" by some media outlets. His debut single \"Story of MyLife\" was released in June 2004 and reached #9 in the UK Singles Chart. His second single \"Shining\" peaked at #13 whilst the album Some Day Soon was certified gold selling in excess of 150,000 copies.Leontioutoured the album in November 2004 taking him to the US to work with L.A Reid, Chairman of the Island Def Jam music group.  Unhappy with the direction his career was going, on a flight back from the US in 2004 hedecided to take his music in a new direction.  Splitting from his label in late 2005, he went on to collaborate with Faithless on the song \"Hope & Glory\" for their album ‘'To All New Arrivals'’.  It was this release that sawhim unleash the One eskimO moniker.  It was through working with Rollo Armstrong on the Faithless album, that Rollo got to hear an early demo of \"Astronauts\" from the One eskimO project. Being more thanimpressed by what he heard, Rollo opened both his arms and studio doors to Leontiou and they began to co-produce the ‘'All Balloons’' album.It was at this time that he paired up with good friend Adam Falkner, adrummer/musician, to introduce a live acoustic sound to the album. They recorded the album with engineer Phill Brown (engineer for Bob Marley and Robert Plant) at Ark studios in St John's Wood where they recordedlive then headed back to Rollo's studio to add the cinematic electro touches that are prominent on the album.Shortly after its completion, One eskimO's \"Hometime\" was used on a Toyota Prius advert in the USA. Thefunds from the advert were then used to develop the visual aspect of One eskimO. He teamed up with friend Nathan Erasmus (Gravy Media Productions) along with animation team Smuggling Peanuts (Matt Latchfordand Lucy Sullivan) who together began to develop the One eskimO world, the first animation produced was for the track ‘Hometime’ which went on to win a British animation award in 2008.In 2008 Leontiou started anew management venture with ATC Music. By mid-2008 Time Warner came on board to develop all 10 One eskimO animations which were produced the highly regarded Passion Pictures in London.  Now with allanimation complete and a debut album, One eskimO prepare to unveil themselves fully to the world in summer 2009.Leontiou released a cover version of Tracy Chapman's \"Fast Car\", which was originally released as asingle in 2005. Leontiou's version was unable to chart, however, due to there being no simultaneous physical release alongside the download single, a UK chart rule that was in place at the time. On 24 April 2011, thesong entered the singles chart at number 88 due to Britain's Got Talent contestant Michael Collings covering the track on the show on 16 April 2011.DiscographyAlbumsSinglesNotesA  - Originally released as a single inApril 2005, Leontiou's version of \"Fast Car\" did not chart until 2011 in the UK.Also featured onNow That's What I Call Music! 58 (Story of My Life)Win a Date with Tad Hamilton! OST, Love Love Songs - The Ultimate LoveCollection (Shining)Summerland OST (The Crying)Passage 4:Can't Believe It (Flo Rida song)\"Can't Believe It\" is a song by American rapper Flo Rida. The song features a rap verse from Cuban-American rapper Pitbull.The song samples \"Infinity\" by London-based duo Infinity Ink. The music video for \"Can't Believe It\" was directed by Geremey and Georgie Legs.Chart performanceWeekly chartsYear-end chartsCertificationsPassage5:Meek MillRobert Rihmeek Williams (born May 6, 1987), known professionally as Meek Mill, is an American rapper. Born and raised in Philadelphia, Pennsylvania, he embarked on his music career as a battle rapper,and later formed a short-lived rap group, The Bloodhoundz. In 2008, Atlanta-based rapper T.I. signed Meek Mill to his first record deal. In February 2011, after leaving Grand Hustle Records, Mill signed withMiami-based rapper Rick Ross's Maybach Music Group (MMG). Mill's debut album, Dreams and Nightmares, was released in 2012 under MMG and Warner Bros. Records. The album, preceded by the lead single \"Amen\"(featuring Drake), peaked at number two on the U.S. Billboard 200.In October 2012, Mill announced the launch of his own label imprint, Dream Chasers Records, named after his mixtape series. Meek Mill rose to fameafter featured on MMG's Self Made compilation, with his debut singles \"Tupac Back\" (featuring Rick Ross) and \"Ima Boss\" (featuring Rick Ross), being included on volume one (2011). He released his second album,Dreams Worth More Than Money, in 2015 and his third album, Wins & Losses, in 2016. His fourth studio album, Championships, was released in November 2018 and debuted at the top of the Billboard 200 chart. Itslead single, \"Going Bad\" (featuring Drake), peaked at number six on the Billboard Hot 100, marking Mill's highest charting single to date. Meek's fifth album, Expensive Pain, was released on October 1, 2021.InNovember 2017, he was sentenced to two to four years in prison for violating parole, before being released while his trial continues after serving five months. In August 2019, a documentary series about his battle withthe criminal justice system, Free Meek, was released on Amazon Prime Video. Mill served as executive producer on the series alongside fellow rapper Jay-Z. The two also became the co-founders of nonprofitorganization Reform Alliance, which focuses on national prison reform through lobbying.Early lifeRobert Rihmeek Williams was born on May 6, 1987, in the South Philadelphia area of Philadelphia, Pennsylvania, the sonof Kathy Williams. He has an older sister, Nasheema Williams. Kathy grew up in poverty and her mother died when she was young. Meek's father was killed when Meek was five years old, apparently during anattempted robbery. His uncle, Robert, described Meek Mill's father as a \"black sheep of the family\". After her husband's death, Kathy moved with Meek and his sister to North Philadelphia, where they lived in athree-bedroom apartment on Berks Street. Their financial condition was poor and she started cutting hair, doing other jobs, and shoplifting in order to support her family. At home, Meek was shy and rarely spoke. As akid, he became acquainted with another of his father's brothers, who under the MC name Grandmaster Nell was a pioneering disc jockey (DJ) in the late-1980s Philadelphia hip-hop scene and influenced rap artists WillSmith and DJ Jazzy Jeff. Meek's interest in hip-hop grew as a result of these early influences. He was also influenced by the independent hip-hop artists Chic Raw and Vodka, whom he learned to emulate by watchingtheir DVDs.During his early teenage years, Meek often took part in rap battles under the pseudonym Meek Millz. He often stayed up well past midnight filling notebooks with phrases and verses that he later drew on.Later he and three friends formed the rap group The Bloodhoundz. They bought blank CDs and jewel cases at Kinkos, encouraging friends to burn them with the group's songs and distribute them.Career2006–2010:Career beginningsThe Bloodhoundz lasted long enough to release four mixtapes. From 2006 to 2008 Mill released three solo mixtapes including The Real Me, The Real Me 2, and Flamers. In 2009, Mill released his fourthsolo mixtape, Flamers 2: Hottest in tha City, which spawned the promotional singles \"I'm So Fly,\" \"Prolli,\" and \"Hottest in the City.\" Flamers 2 caught the attention of Charles \"Charlie Mack\" Alston, founder and presidentof 215 Aphillyated Records. Mack, who previously represented for other Philadelphians Will Smith, DJ Jazzy Jeff, Boyz II Men and Ms. Jade, was so impressed with Mill that he immediately signed him to his managementcompany. During that same year, Meek Mill also met the founder and owner of Grand Hustle Records, Atlanta-based rapper and record executive T.I. T.I. was also impressed by Mill and offered him an opportunity totravel, to meet with him and Warner Bros. Records; within a week both record companies offered him a deal. Although he was offered other record deals, Mill felt collaborating with T.I. was \"an opportunity of a lifetime\"and thus chose his label. However, a setback occurred, when Mill was sentenced to a stint in jail for a drug and gun charge.After being released in 2009, he continued working as an artist under Grand Hustle, Mill formeda work relationship with the label's resident disc jockey, DJ Drama. Mill and Drama teamed up to release the third edition of Mill's Flamers series. The mixtape, titled Flamers 3: The Wait Is Over, was released on March12, 2010, and is helmed as a \"Gangsta Grillz mixtape\". The mixtape features his promotional single \"Rosé Red\", which was later remixed with additional verses from fellow American rappers T.I., Rick Ross and Vado.Rick Ross contributed his verse after he was visiting Philadelphia and asked his Twitter followers who he should collaborate with; Meek Mill was the overwhelming response. The remix was included on Mill's followingmixtape, Mr. Philadelphia. Due to Mill and T.I.'s respective legal troubles, Mill was never able to release an official album under Grand Hustle and they parted ways in 2010. That same year, a film was released  calledStreets. A direct-to-DVD crime drama, starring Mill, produced by Alston and directed by Jamal Hill.2011–2012: Dreams & NightmaresIn February 2011, Rick Ross announced the signing of Mill along with fellow Americanrapper Wale to his Maybach Music Group (MMG) label. In March 2011, Mill was included in XXL's \"Freshman Class of 2011\". Later that year, he released his debut single, \"Tupac Back\", featuring Rick Ross, from hislabel's compilation album Self Made Vol. 1 (2011). That same year he released his second single, \"Ima Boss\", also take from the compilation and featuring Ross. The song was later remixed, featuring T.I., Birdman, LilWayne, DJ Khaled, Swizz Beatz and Rick Ross. The remix charted on the Billboard Hot 100 and peaked at No. 51, becoming Mill's most successful single at that time. In August 2011, Mill released Dreamchasers, a wellreceived mixtape featuring his urban hit \"House Party\" and guest appearances from Rick Ross, Yo Gotti and Beanie Sigel among others.In February 2012, MTV listed Meek Mill as the \"#7 hottest MC\" in their annual\"Hottest MCs in the Game\" list. On May 7, 2012, Mill released the second installment to his Dreamchasers series. Within six hours of its release on mixtape website DatPiff.com, Dreamchasers 2 was downloaded 1.5million times. On May 10, it was announced Meek Mill signed with Roc Nation management.On June 19, 2012, \"Amen\" - originally included on Dreamchasers 2, was released as the lead single from Mill's debut studioalbum. Before releasing his debut studio album Dreams & Nightmares, Mill received co-signs from both Mariah Carey and Nas, with him appearing on Carey's 2012 single \"Triumphant (Get 'Em)\" and the latter stating, \"Igot my eyes on him. He's the next one to take this shit over.\" The album was released on October 30, 2012. The album debuted at number two on the US Billboard 200 chart with first-week sales of 165,000 copies. Inits second week, the album sold 41,000 more copies, dropping six spots on the chart to number eight.2013–2017: Dreams Worth More Than Money, DC4 and Wins & LossesMill released the third installment of theDreamchasers series, Dreamchasers 3. The mixtape featured guest appearances from Rick Ross, Akon, Future, Waka Flocka Flame, Wale, Trina and Jadakiss among others. The mixtape was scheduled to be released onMay 6, 2013. However, he had announced that it would be pushed back, eventually to be released on September 29, 2013. In November 2013, Mill announced thathe was half-way finished with his second studio album.On March 8, 2014, Mill announced that the album would be titled Dreams Worth More Than Money. Mill's album, Dreams Worth More Than Money, which was released on June 28, 2015, topped the Billboard 200 as ofthe issue dated July 18, 2015.Meek Mill posted 6 videos on his Instagram previewing music for his mixtape, DC4. The mixtape was planned to have featured a remix of his enemy, Drake's song, \"Back to Back\", and aremix to Drake and Future's song, \"I'm the Plug\", but unfortunately, due to DC4 being released commercially, neither of these two remixes made the final cut. On January 16, 2016, Meek Mill dropped songs on hisextended play, 4/4, with 4 tracks. On January 30, 2016, Meek Mill released another extended play title 4/4, Pt. 2.Meek Mill released DC4 on October 28, 2016.On July 21, 2017, Mill released his third studio album titledWins & Losses.2018–2021: Championships and Expensive PainOn November 16, 2018, Mill announced his fourth album, Championships, which was released on November 30. The album received positive reviews fromcritics and debuted atop the US Billboard 200, selling 229,000 album-equivalent units in its first week (42,000 coming from pure sales).In June 2020, Mill released his protest song \"Otherside of America\", amid theprotests following the murder of George Floyd.On November 20, 2020, Meek returned with a four-track EP, Quarantine Pack, which features rappers 42 Dugg, Vory, and Lil Durk, who also appears in the video for thetrack, \"Pain Away\". That same month, the film, Charm City Kings, was released exclusively on HBO Max. Originally scheduled for a May 2020 theatrical release by Sony Pictures, it was delayed due to the COVID-19pandemic and later acquired by HBO. The Angel Manuel Soto-directed and Will Smith-produced drama stars Mill and opposite Jahi Di'Allo Winston as street bikers who end up under a wave of crime in Baltimore. Itreceived positive critical reviews. A month earlier, in October, Mill also claimed to have had plans to release an album before the end of the year. However, this did not occur, as his fifth studio album, Expensive Pain,was only released a year later, on October 1, 2021. It debuted at number three on the Billboard 200 after accumulating 95,000 equivalent units. Mill went on to state that Atlantic Records was responsible for the lowsales of the album. He went as afar to state that the label wouldn't allow him to bring PnB Rock nor Roddy Ricch as artists to his Dream Chasers imprint, while also clarifying that Atlantic restricted him from releasingany more music for the following nine months and demanded his release alongside labelmates, fellow Philadelphian Lil Uzi Vert, and YoungBoy Never Broke Again.On July 11, 2022, Mill confirmed that he had ended hismanagement deal with Jay-Z's Roc Nation Entertainment, stating that although he and the company are no longer partners in the exact term, he and Jay remain on good terms. Despite his departure, the two still workon their prison reform venture, the REFORM Alliance.Dream Chasers RecordsOn October 26, 2012, Meek Mill announced the launch of his own record label imprint, Dream Chasers Records, with the flagship artists LouieV. Gutta, Lee Mazin and Goldie. On July 24, 2019, Meek Mill announced the official launch of Dream Chasers Records as a joint venture with Roc Nation. Mill spoke on the deal saying \"Creating a record label has alwaysbeen the next step in my journey as a businessman and I appreciate Roc Nation and Jay-Z's support on this new venture. I want to take my experiences in the music industry, use them to find young, hungry talent andopen doors for the next generation of artists.\" The label also handles its own operations, creative strategy, marketing and business affairs. Jay-Z spoke on the joint venture, saying \"Everything he has done leading up tothis point shows he is ready to [lead] the next generation. We look at the big picture — this is way beyond signing artists and having hot records.\" As president of the label, Mill oversees a team in a corporate New Yorkoffice and also help operate a recording studio for the label's artists.Legal issuesCriminal proceedings2005-2006: Police brutality and first arrestWhen he was 18, while walking to a corner store armed, Meek wasarrested for illegally possessing a firearm and was beaten up by the police. Because of the beating, his lips and both eyes became swollen and one of his braids was ripped out. He was charged with attempted oraggravated assault against a police officer after two black cops gave a statement against him in the case, saying he chased them down with a gun and tried to shoot one of them. He was then placed on probation.2008:Drug and gun convictionIn 2008, Mill was convicted of possession of drug paraphernalia, and second-degree possession of a loaded firearm by a convicted felon. He was sentenced to eleven to twenty-three months inprison, followed by eight years probation, by Philadelphia County Superior Court Judge Genece Brinkley. After Mill's 2008 conviction, Brinkley continued to handle Mill's further legal cases and oversaw his probation. Millwas released in early 2009 under a five-year parole agreement after serving seven months.2012-2016: Several violations, incarceration and house arrestOn the night of Halloween 2012, following an album releaseparty for his debut, Dreams and Nightmares, in South Philadelphia, Mill was detained by city police after a car which he was riding in was pulled over. The outcome of the arrest remains unknown; no charges were filed,and Mill was released from custody. However, in December, because of the incident, Mill was found to have violated his probation for his 2008 federal drug and gun charges, resulting in Judge Brinkley revoking Mill'stravel permit.In May 2013, Mill was again found to have violated his probation and ordered to take etiquette classes. The violation was a failure to report travel plans as required and social media postings that resultedin death threats to the probation officer who assigned his case. In requiring the classes and stressing the requirement to report travel, Brinkley noted, \"You need to try to get this right next time.\" In June 2013, thecourt noted that Mill continually failed to report his travel plans. Brinkley established an August deadline for the classes, noting that Mill has \"a lot of issues\" and that the classes would provide him with a \"big-pictureperspective\" on his personal and professional actions. Brinkley said the classes were \"more important than any concerts he might have.\" Of the requirement to provide travel plans to his probation officer, Millcomplained, \"You just gonna miss money all day.\" The ADA explained that it was a consequence of being on probation. On July 11, 2014, Mill's probation was revoked and he was sentenced to three to six months in jail.He was released on December 2, 2014.He was found guilty for a parole violation again on December 17, 2015, due to him performing at an Atlanta show for Nicki Minaj's Pinkprint tour, the 2015 BET Awards andAmerican Music Awards respectively, all without reporting his actions as related court orders to gain approval. The judge hearing his case refused to give him a second chance and ordered him not to work or performbefore his sentencing on February 5, 2016. He was sentenced to 90 days of house arrest on February 5. The sentence became effective on March 1. Mill was not allowed to work and was required to do daily communityservice with groups serving adults. He was also sentenced to an extended six years probation. On June 2, 2016, Mill was sentenced to eight additional days of house arrest as a result of him not completing his required"}
+{"doc_id":"doc_275","qid":"","text":"Passage 1:Marc-Kanyan CaseMarc-Kanyan Case (14 September 1942 – 6 January 2023) was a French professional footballer. He competed in the men's tournament at the 1968 Summer Olympics.Passage 2:StoneyCaseStoney Jarrod Case (born July 7, 1972) is a former quarterback for three teams in the National Football League (NFL) and three teams in the Arena Football League (AFL).High school and collegeCase played highschool football for the Odessa Permian Panthers, quarterbacking the team to an undefeated, 16–0 season and the Texas 5A football title in 1989, one year after the events chronicled in the Friday Night Lights book andmovie. The Panthers were voted ESPN's National Champion team as a result. During his Permian career, Case also lettered in baseball as an outfielder, first baseman and pitcher. His brother Stormy Case also playedquarterback for the Panthers and went on to play for Texas A&M.Recruited to play college football for the University of New Mexico, Case was a four-year starter for the Lobos and was the first player in NCAA DivisionI-A (now FBS) history to post 9,000 career passing yards and 1,000 career rushing yards. In the course of his college career he threw or ran for 98 touchdowns, which at the time of his graduation was second in I-Ahistory to Ty Detmer.  In 1994, Case was the WAC player of the year and led the NCAA with 33 total TD'S and 3,649 total yards.1991: Threw for 1,564 yards with 10 TD vs 6 INT with 2 rushing TD's.1992: Threw for2,289 yards with 18 TD vs 13 INT with 4 rushing TD's.1993: Threw for 2,490 yards with 17 TD vs 8 INT with 14 rushing TD's.1994: Threw for 3,117 yards with 22 TD vs 12 INT on 409 pass attempts with 11 rushingTD's.Professional careerNFLCase was a third round pick in the 1995 NFL Draft and played quarterback for Arizona Cardinals from 1995 to 1998, though he spent part of that time with the Barcelona Dragons in the NFLEurope. He was signed as a free agent by both the Indianapolis Colts and the Baltimore Ravens in 1999, and went to the Detroit Lions as an unrestricted free agent in 2000.Case saw limited action during his NFL career.He played in two games during his rookie season, but saw no action in either 1996 or 1998. He played twice in 1997 as a replacement for injured starter Kent Graham. He played in 10 games for the Baltimore Ravens in1999, starting four games and winning two of them. He also played in five other games later in the season, receiving playing time as a back-up quarterback. In all, Case played in a total of 24 career NFL games over sixyears, 12 as a starter, in which he passed for 1,826 yards and 4 touchdowns while rushing for 270 yards and 5 touchdowns. His best game came in 1999 against the Atlanta Falcons, Case threw for 2 touchdowns and nointerceptions with a QB rating of 96.5.As an NFL player, Case was criticized by some fans for his uncertainty and lack of ability to throw an effective long pass. His worst career performance came in October 1999 whenhe appeared for the Ravens against the Kansas City Chiefs, completing only 15 of 37 passes for 103 yards. \"The Chiefs\", noted the Baltimore City Paper, \"by comparison, ran back his intercepted passes for 108 yards.Repeat: 103 yards forward, 108 yards backward. Add in those two touchdowns off interceptions and Case did almost precisely as much for Kansas City as did the Chiefs' own quarterback, Elvis Grbac (112 yards, two TDpasses).\"In 2000, Case signed with the Detroit Lions as the primary backup to quarterback Charlie Batch. Appearing in five games, Case passed for 503 yards, 1 touchdown, and 4 interceptions. His best game came onNovember 30 in a game against the Minnesota Vikings.  Even though the Lions lost 24–17, Case filled in for an injured Batch and put up 230 yards on 23–33 passing with a touchdown and an interception.AFLAfter majorshoulder surgery at the end of his contract with Detroit and seemingly out of the NFL, Case subsequently moved to the Arena Football League. In 2004, he was signed by Tampa Bay Storm, playing in just three gamesin 2005 and completing 4 of 7 passes for 35 yards and 2 touchdowns.In 2006, Case was the backup to Mark Grieb with the San Jose SaberCats in the AFL American Conference, Western Division. On October 31, hereturned to Tampa Bay as a free agent.  Four games into the 2007 season, Case took over as the Storm's starting quarterback. However, that was short-lived when he dislocated his shoulder against the OrlandoPredators and had season ending surgery.See alsoList of NCAA major college football yearly total offense leadersPassage 3:Richard CaseRichard Case (born 1964) is an American comics artist best known for his work forDC Comics especially the Vertigo imprint.He is not to be confused with the similarly-named Richard Case, a comics artist who worked for the Iger Studio and Fiction House in the 1940s.CareerAfter receiving a Bachelorof Fine Arts degree from the Rhode Island School of Design, Richard Case worked as an assistant to comics artist Walt Simonson in 1985. Case's first credited published comic book story appeared in Marvel Comics'Strange Tales vol. 2 #10 (Jan. 1988). He moved to DC Comics and pencilled the majority of issues of Grant Morrison's run on Doom Patrol beginning with issue #19 (Feb. 1989). In 1992, he drew several issues ofDarkhold: Pages from the Book of Sins for Marvel. Back at DC, Case inked Marc Hempel's pencils on the Sandman story \"The Kindly Ones\" and penciled a few pages in Hempel's style. He illustrated Jamie Delano'sGhostdancing limited series, the final story arc of Peter Milligan's Shade, the Changing Man, and Hunter: The Age of Magic with Dylan Horrocks. Since leaving the comics industry, he has worked extensively in computergame illustration especially for Ubisoft.BibliographyDC ComicsImage ComicsGen 13 Bikini Pin-Up Special #1 (one page) (1997)Marvel ComicsPassage 4:Gregory C. CaseGregory C. Case (born 1963) is the chiefexecutive officer of Aon plc. He has held this position since April 2005.Early life and educationCase was born in Kansas City.Case received an undergraduate degree from Kansas State University, where he graduatedsumma cum laude. Case holds a Master of Business Administration from Harvard School of Business.CareerCase was at first an investment banker.He then worked for 17 years at McKinsey & Company, where heeventually became head of the global insurance practice and then head of the financial services practice.In April 2005, Case was named chief executive officer of Aon plc.In September 2006, Case testified on behalf ofAon and the Council of Insurance Agents and Brokers to the US House of Representatives on the topic of risks of catastrophic terrorism events.In 2018, Case received the Owen B. Butler Education Excellence Awardfrom the Committee for Economic Development.Case was named one of the 100 best performing CEOs in world in 2019 according to the Harvard Business Review.CompensationCase's annual salary as CEO of Aonamounts to around US$14.6 million, and has varied widely over the years.  Case's total compensation for 2005 and 2006, respectively, was US$21 million and US$7.5 million.  In both 2007 and 2008, Case'scompensation from Aon of US$11.3 million and US$12.9 million, respectively, placed him as the 13th highest compensated CEO in Illinois and Northwest Indiana. Case's compensation dropped to US$10.4 million in2009, placing him at 15th rank in the same geography, then rose dramatically in 2010 to US$20.8 million, making him the 3rd highest compensated in the region.  Compensation for 2011 and 2012 was US$17.5 millionand US$2.5 million, respectively.  Case's compensation across 2007 to 2009 did not substantially change (11.3, 12.9, 10.4 million) despite a 95% drop in profits for the company in the 4th quarter of 2008.Passage5:Ian Barry (director)Ian Barry is an Australian director of film and TV.Select creditsWaiting for Lucas (1973) (short)Stone (1974) (editor only)The Chain Reaction (1980)Whose Baby? (1986) (mini-series)Minnamurra(1989)Bodysurfer (1989) (mini-series)Ring of Scorpio (1990) (mini-series)Crimebroker (1993)Inferno (1998) (TV movie)Miss Lettie and Me (2002) (TV movie)Not Quite Hollywood: The Wild, Untold Story ofOzploitation! (2008) (documentary)The Doctor Blake Mysteries (2013)Passage 6:Andrew CaseAndrew Paul William Case (born January 6, 1993) is a Canadian professional baseball pitcher for the Piratas de Campeche ofthe Mexican League. He was signed by the Toronto Blue Jays as an undrafted free agent in 2013.CollegeCase attended Lethbridge College in Lethbridge, Alberta.Professional careerToronto Blue JaysCase signed with theToronto Blue Jays as an undrafted free agent on October 16, 2013. He drew the attention of the Blue Jays after throwing a no-hitter during \"Tournament 12\", an annual tournament for the top college players in Canada.He was assigned to the Low-A Vancouver Canadians for the entire 2014 season, and was a mid-season All-Star for the Canadians. He pitched to a 0–1 win–loss record, 2.45 earned run average (ERA), and 37 strikeoutsin 44 innings that year. He split time in 2015 between Vancouver and the Single-A Lansing Lugnuts. Case made 39 total relief appearances in the 2015 season, and posted a 3–4 record, 3.10 ERA, and 44 strikeouts in521⁄3 total innings, and was again named a mid-season All-Star for Vancouver. Before the start of the 2016 season, Case was suspended for 50-games for failing to take a drug test. He made one appearance for theRookie-level Gulf Coast League Blue Jays and was then promoted to Lansing, where he finished the season. In 252⁄3 total innings, Case posted a 0–2 record, 2.10 ERA, and 22 strikeouts in the 2016 campaign. Duringthe offseason, Case made nine relief appearances for the Canberra Cavalry of the Australian Baseball League (ABL). Case opened 2017 with the High-A Dunedin Blue Jays, and later earned promotions to the Double-ANew Hampshire Fisher Cats and Triple-A Buffalo Bisons, posting a combined 7–1 record with a 2.84 ERA in a career-high 66 innings pitched.On January 24, 2018, the Blue Jays invited Case to spring training. He did notmake the club and spent the year split between Buffalo and New Hampshire, posting a 1-3 record and 4.96 ERA with 35 strikeouts in 49.0 innings of work between the two teams. He was assigned to New Hampshire tobegin the 2019 season, and posted a 5.40 ERA in 3 games. On April 18, 2019, Case announced his retirement from professional baseball.Québec CapitalesCase initially came out of retirement in 2020 to sign with theQuébec Capitales of the Frontier League, but did not play in a game for the team following the cancellation of the Frontier League season due to the COVID-19 pandemic. On February 15, 2021, Case re-signed withQuébec. Case made 14 appearances for the Capitales, posting a 3.29 ERA with 12 strikeouts in 132⁄3 innings pitched.Olmecas de TabascoOn July 17, 2021, Case signed with the Olmecas de Tabasco of the MexicanLeague. In 10 relief appearances, Case posted a 2-0 record with a 1.80 ERA and 9 strikeouts. He was released following the season on October 20, 2021.Québec Capitales (second stint)On May 11, 2022, Case re-signedwith the Québec Capitales of the Frontier League. He made 2 appearances, pitching two scoreless innings out of the bullpen.Piratas de CampecheOn June 4, 2022, Case's contract was purchased by the Piratas deCampeche of the Mexican League.International baseballCase played for Team Canada at the 2017 World Baseball Classic and 2019 Pan American Games Qualifier.Passage 7:Jay CaseJay Case (born October 10, 1970) isan American politician who has served in the Connecticut House of Representatives from the 63rd district since 2013.Passage 8:My CaseMy Case (Portuguese: O meu caso) is a 1986 Portuguese drama- fantasy filmdirected by Manoel de Oliveira. It entered the main competition at the 43rd Venice International Film Festival. The film is based on the play of the same name by José Régio, but also on the Book of Job as well as textsby Samuel Beckett.CastBulle Ogier as Actrice # 1Luís Miguel Cintra as L'IntrusAxel Bogousslavsky as L'EmployéFred Personne as L'AuteurWladimir Ivanovsky as Le spectateurHéloïse Mignot as Actrice # 2GrégoireOestermann as Le projectionnistePassage 9:Simon CaseSimon Case  (born 27 December 1978) is a British civil servant who is the current Cabinet Secretary and Head of the Civil Service since 9 September 2020,succeeding Sir Mark Sedwill.Case was Downing Street Permanent Secretary to Prime Minister Boris Johnson from May to September 2020. That role had been vacant for eight years after Sir Jeremy Heywood left in2012. From January 2016 to May 2017, Case served under David Cameron and Theresa May as Principal Private Secretary to the Prime Minister of the United Kingdom.Early life and educationCase was born on 27December 1978 in Bristol, England. He was educated at Bristol Grammar School and Trinity College, Cambridge, graduating with a Bachelor of Arts (BA) degree in History. While at Cambridge, he rowed and wasPresident of Cambridge University Lightweight Rowing Club. He then undertook postgraduate research in political history and studied at Queen Mary University of London and was awarded Doctor of Philosophy (PhD)degree from University of London in 2007. His doctoral supervisor was Professor Peter Hennessy, and his thesis was entitled The Joint Intelligence Committee and the German Question, 1947–61.CareerCase joined theCivil Service in 2006. He worked first within the Ministry of Defence as a policy adviser. He then worked in the Northern Ireland Office and the Cabinet Office. In 2012, he served as Head of the Olympic Secretariat, atemporary team within the Cabinet Office that was set up to oversee the delivery of the 2012 Summer Olympics.From 2012 and July 2014, Case worked at 10 Downing Street as a Private Secretary to the Prime Ministerand then as Deputy Principal Private Secretary to the Prime Minister. He then returned to the Cabinet Office, where he was Executive Director of the Implementation Group. In March 2015, he joined GovernmentCommunications Headquarters (GCHQ) as Director of Strategy.On 8 January 2016, Case was announced as the next Principal Private Secretary to the Prime Minister in succession to Chris Martin who had died while inoffice. He took up the appointment on 11 January 2016.In March 2017, Case was announced as the Director General for the UK–EU Partnership, being succeeded by Peter Hill as Principal Private Secretary to the PrimeMinister on 10 May 2017. He took up the post in May 2017. In this role he was \"leading the UK Government's work on exiting and seeking a new partnership with the European Union within the UK Representation to theEU\". On 23 June 2017, he was appointed a Commander of the Royal Victorian Order (CVO) in recognition of his service as Principal Private Secretary to the Prime Minister.In January 2018, he was appointed DirectorGeneral Northern Ireland and Ireland: in this role, he acted as the lead civil servant for finding a solution to the Irish border issue post-Brexit.In March 2018, it was announced that Case would be the next PrivateSecretary to Prince William, Duke of Cambridge; he took up the appointment in July 2018. Also in 2018, Case was appointed a Visiting Professor at King's College London, having previously been a Visiting SeniorResearch Fellow at the university.Head of the Civil Service and Cabinet SecretaryIn August 2020 Case was chosen by Prime Minister Boris Johnson as Cabinet Secretary and Head of the Civil Service, succeeding MarkSedwill on 9 September 2020, the youngest Cabinet Secretary to date.In April 2021, in light of the Greensill scandal, Case ordered all civil servants to declare paid roles or outside interests that \"might conflict\" with CivilService rules after it emerged that a senior official had joined a firm while still a civil servant.On 15 June 2021, Case and Prime Minister Johnson jointly signed a Declaration on Government Reform intended to improvethe way government operates in the UK.In December 2021, the Prime Minister appointed Case to lead an inquiry into the Westminster Christmas parties controversy, where government departments had been alleged tohave carried out social gatherings in late 2020 in contravention of COVID-19 regulations. Just over a week later, on 17 December 2021, it was announced that he was to recuse himself from the inquiry because ofreports that a party had been held in his private office. The next day, on 18 December 2021, Case officially resigned from the inquiry position. His role in the inquiry was taken over by the civil servant Sue Gray.In aletter to civil servants in May 2022, Case said that up to 91,000 civil servants would lose their jobs to return it to 2016 levels, which would be the biggest decrease in staff since World War Two. Case said civil servicestaffing had grown \"substantially\" since 2016, partly because of the pandemic. \"We must consider how we can streamline our workforce and equip ourselves with the skills we need to be an even more effective, leanand innovative service that continues to deliver for the people we serve,\" he wrote.On 8 September 2022, Case informed then-Prime Minister Liz Truss that Queen Elizabeth II had died.On 13 September 2022, Case wassworn-in as a member of the Privy Council.Westminster COVID-19 pandemic controversiesGatheringsCase was the highest ranking public official to be implicated in the 'partygate' scandal; however, he stated he wouldnot resign. Junior colleagues were reportedly furious that Case did not have to pay a penalty for the parties, despite having to recuse himself from investigating them.Case, denied giving Boris Johnson any reassurancesthat Covid rules and guidance were followed at all times. In evidence from the Commons privileges committee, which is investigating whether the former prime minister deliberately misled MPs over lockdowngatherings.Lockdown FilesIn early March 2023, The Daily Telegraph published a number of WhatsApp messages from the UK's COVID-19 Lockdown period, named the Lockdown Files. Case, who was said to be indiscussion with the then-Health Secretary Matt Hancock, reportedly mocked holidaymakers stuck in hotel rooms by the UK's quarantine policy, saying it was \"hilarious\" and how he wanted to \"see some of the faces ofpeople coming out of first class and into a Premier Inn shoe box\". In some messages Case said how some opposition to COVID restrictions were \"pure Conservative ideology\".Case described Johnson as \"nationallydistrusted figure\" and warned the public were unlikely to follow isolation rules laid down by him.Personal lifeIn 2007, Case married Elizabeth Kistruck, chief finance officer for Hotels.com at Expedia Inc. They have threedaughters.Passage 10:Manoel de OliveiraManoel Cândido Pinto de Oliveira  (Portuguese: [m\u0000nu\u0000\u0000l doli\u0000v\u0000j\u0000\u0000]; 11 December 1908 – 2 April 2015) was a Portuguese film director and screenwriter born inCedofeita, Porto. He first began making films in 1927, when he and some friends attempted to make a film about World War I. In 1931 he completed his first film Douro, Faina Fluvial, a documentary about his home cityPorto made in the city-symphony genre. He made his feature film debut in 1942 with Aniki-Bóbó and continued to make shorts and documentaries for the next 30 years, gaining a minimal amount of recognition withoutbeing considered a major world film director.  In 1971, Oliveira directed his second feature narrative film, Past and Present, a social satire that both set the standard for his film career afterwards and gained himrecognition in the global film community. He continued making films of growing ambition throughout the 1970s and 1980s, gaining critical acclaim and numerous awards. Beginning in the late 1980s he was one of themost prolific working film directors and made an average of one film per year past the age of 100. In March 2008 he was reported to be the oldest active film director in the world.Among his numerous awards were theCareer Golden Lion from the 61st Venice International Film Festival, the Special Lion for the Overall Work in the 42nd Venice International Film Festival, an Honorary Golden Palm for his lifetime achievements in 2008Cannes Film Festival, and the French Legion of Honor.Early life and educationOliveira was born on 11 December 1908 in Porto, Portugal, to Francisco José de Oliveira and Cândida Ferreira Pinto. His family were wealthyindustrialists and agricultural landowners. His father owned a dry-goods factory, produced the first electric light bulbs in Portugal and built an electric energy plant before he died in 1932. Oliveira was educated at theColégio Universal in Porto before attending a Jesuit boarding school in Galicia, Spain.As a teenager his goal was to become an actor. At 17, he joined his brothers as an executive in his father's factories, where he"}
+{"doc_id":"doc_276","qid":"","text":"Passage 1:Rotrou III, Count of PercheRotrou III (bef. 1080 – 8 May 1144), called the Great (le Grand), was the Count of Perche and Mortagne from 1099. He was the son of Geoffrey II, Count of Perche, and Beatrix deRamerupt, daughter of Hilduin IV, Count of Montdidier. He was a notable Crusader and a participant in the Reconquista in eastern Spain, even ruling the city of Tudela in Navarre from 1123 to 1131. He is commonlycredited with introducing Arabian horses to the Perche, giving rise to the Percheron breed. By his creation of a monastery at La Trappe in memory of his wife, Matilda, daughter of Henry I of England, in 1122 he also laidthe foundations of the later Trappists.First CrusadeRotrou took part in the First Crusade, travelling with the army of the duke of Normandy, Robert Curthose. What influenced Rotrou in this regard were probably familialconnexions. He was related to the Anglo-Norman aristocracy and the Perche was a march (border region) in southern Normandy. A sister was married to Raymond I of Turenne, who was a fellow Crusader in thefollowing of Raymond IV of Toulouse. His mother, Beatrix, was a sister of Ebles II of Roucy, who had campaigned in Spain in 1073, and Felicia, who married Sancho Ramírez, King of Aragon. A religious motivationcannot be discounted.According to the Chanson d'Antioche, Rotrou was under the command of Bohemond of Taranto during the Siege of Antioch, and was one of the first to go over the city's walls through scalingladders on 3 June 1098. When the Crusaders had to confront a Seljuk relief force two weeks later in open battle, Rotrou was one of the front line commanders. He fulfilled his vow and made it all the way to Jerusalem.The Chanson also mentions his bravery at the siege of Nicaea of 1097.In 1107, Rotrou built a castle on land held partly allodially and partly in lordship by Hugh II of Le Puiset, thus challenging Hugh's rights to theestate. Since Pope Urban II had taken Crusaders' \"houses, families, and all their goods into the protection of Saint Peter and the Roman church\", and both Hugh and Rotrou were veterans of the First Crusade, thedispute was intractable. Bishop and lawyer Ivo of Chartres could not resolve it, since it involved a judicial duel, over which the church was not allowed to preside, and so remitted it to the court of the County of Blois.There Hugh lost, but in the violence that followed his tenant, who held the land from him as a fief, was captured by Rotrou's men. The reigning pope, Paschal II, who was in Chartres in April, sent the case back to Ivo,who complained in a letter that since \"this law of the Church protecting the goods of knights going to Jerusalem was new. . . they did not know whether the protection applied only to their properties or also applied totheir fortifications.\" Rotrou denied that the case had anything to do with the novel canon law.Norman politicsDuring Rotrou's absence his father, Geoffrey of Mortagne, died in 1099. On the first Sunday after returning toFrance, Rotrou paid a visit to the monastery of Nogent-le-Rotrou, a foundation of his family's and the location of his father tomb. There he asked to become a confrater (brother) of the Abbey of Cluny, Nogent's motherhouse, and to show his sincerity and prove the fulfillment of his Crusading vow he placed a charter confirming his predecessors' donations to the abbey and the palm frond brought back from Jerusalem on thealtar.Rotrou's position in the Duchy of Normandy was that of defender of the frontier with the Île-de-France. His position was probably enhanced by his participation in the First Crusade. Whereas his father had only heldthe title of viscount, Rotrou is usually called a count. In the war between Henry I of England and Robert Curthose, Rotrou sided with the former and was an important figure in Henry's administration of the duchy afterthe capture of Robert at Tinchebrai in 1106. Rotrou was a direct vassal of Henry in England, where he held fiefs jure uxoris, in right of his wife, the king's daughter Matilda. He was not often in England, but is purportedto have been close to his wife.ReconquistaEarly participationRotrou's actual first participation in the Reconquista dates to the first decade of the twelfth century (possibly 1104–5). He and a group of Normans are said tohave fought the Muslims in the service of Alfonso the Battler, then King of Aragon and Navarre, until the Aragonese plotted against them and they returned home. It has been speculated that the Norman involvement inthe campaign originated as gossip designed to discredit Alfonso by Cluny, an ally of Alfonso's rival, Alfonso VI of Castile. More probably the Normans just accomplished too little to be noticed, or were perhaps sent backhome without encountering any Muslims because their services were not need at the time, when Alfonso the Battler had an alliance with the taifa (faction-kingdom) of Zaragoza. Perhaps the 'Aragonese plot' originatedas a rumour with dissatisfied returning Normans.After the death of his wife, eldest son and two of his nephews in the wreck of the White Ship (1120), Rotrou returned to Spain. His parting may have been an act ofpenitence (perhaps he believed his sins had brought on the tragedy), or perhaps a public demonstration of grieving, since his wife was a daughter of the king, who had also lost his heir, William Adelin, in the wreck.According to the Chronicle of San Juan de la Peña, Rotrou took part in the conquests of Zaragoza (1118) and Tudela (1119), but this account has been shown to be apocryphal. Many French barons can be connectedwith the expedition against Zaragoza, but although his Anales de la Corona de Aragón name Rotrou as fighting under Alfonso of Aragon on several occasions, Jerónimo Zurita does not mention him by name whenrecording the call for transpyrenean assistance put out by the Battler. Likewise Rotrou is attested fighting for Henry I in Normandy in 1119 and so could not have had any hand in the conquest of Tudela, although theChronicle of San Juan makes him out to be the chief conqueror and the first and independent ruler of the town. Neither is he mentioned in the charter of surrender of Tudela.Rule of TudelaRotrou was still in Normandy in1120 when he signed the reconfirmation act of the abbey of Arcisses. Since he received land in Zaragoza after the conquest, it might be assumed that he sent either money or men to assist in the enterprise. He did notsign the city's fueros, which the nobles of southern France who had participated in its conquest did. He had arrived in Aragon by 1123, perhaps as early as 1121. His first participation was probably in the campaignagainst Lleida. An Aragonese charter dating to April 1123 refers to Rotrou as \"count in Tudela\", although it does not specifically refer to him as the ruler of the place. The Norman lord Robert Burdet, who later held theTarragona as a principality, may originally have fought alongside Rotrou in Normandy and then followed him to Spain c.1123. Robert is first mentioned in a charter issued by Rotrou in Spain, in which the count grantedsome houses in Zaragoza to a knight of his named Sabino in gratitude for his services (December 1124). There is a slightly later reference which shows that Rotrou was in control of Tudela and that he had appointedRobert to act as his alcalde (mayor) or military commander of the citadel and one Duran Pixon to act as administrator (justiciar). This charter also affirms, against the Chronicle of San Juan, that Rotrou ruled Tudela as avassal of Alfonso the Battler, who is called \"emperor\" in the document. Similar charters from February 1128 and November 1131 show that this arrangement continued for almost a decade, even though Rotrou wasoften absent in Normandy and Robert Burdet in Tarragona. When Alfonso granted fueros to Tudela in 1127 he also mentioned Rotrou, Robert and Duran. It has been suggested that Rotrou's rise to an important frontierpost in a city in whose conquest he played no role was either recompense for the mistreatment he received in the first decade of the century or due to the deterrent effect of his private army of Normans on theneighbouring Muslims.In the winter of 1124–25, Rotrou led an expedition against the hilltop Muslim fortress of Peña Cadiella (Benicadell), which guarded the road from Alicante to Valencia. Since Muslim troops fromMurcia often moved up this road to Valencia, it was of great strategic importance for any planned campaign in eastern al-Andalus. Rotrou's expedition, which had royal approval, may have been planned in conjunctionwith Alfonso's Andalusian expedition that took place in 1127–28. Rotrou was assisted in his endeavour by the Aragonese knights of the Confraternity of Belchite and their master, Galindo Sánchez. Rotrou returned toNormandy with his retinue in 1125, leaving Robert Burdet in command of Tudela (where he is attested in charters from 1126 through 1128). Rotrou did not participate in Alfonso's Andalusian campaign, and a rumour inNormandy claimed that Alfonso made his war out of envy for Rotrou's achievements.Rotrou returned to Alfonso the Battler in 1130, when he was at the Siege of Bayonne. On 26 October, from the siege, Alfonso grantedthe fuero previously given to Tudela to the small town of Corella. Rotrou was one of the signatories, since the castle of Corella had been granted to him by the king in December 1128. He is last attested as ruler inTudela with Robert as his underling in a private act of November 1131. He was still in Iberia in March 1132, when he witnessed Alfonso's grant of a fuero to the town of Asín.Second trip to the Holy LandSometime before1144, Rotrou returned to the Mideast on Crusade, one of the few north French barons to do so. On this second trip Rotrou obtained some relics which he donated to the monastery he had founded at La Trappe.In Spain,Rotrou established links with García Ramírez, the future king of Navarre. García married Margaret of L'Aigle, daughter of Rotrou's sister Juliana. Margaret's daughter Margaret, married William I of Sicily and raised to thechancellorship her cousin Stephen du Perche, a younger and illegitimate son of Rotrou. She also made Gilbert, another cousin from the Perche, count in Gravina. This Gilbert was one of Rotrou's grandsons, although bywhich son is not known. Another relation, Henry of Montescaglioso, was a son of Margaret, perhaps illegitimate.FamilyRotrou's first wife's name is unknown.  They had one daughter:Beatrix, married Renaud IV, lord ofChâteau-GontierRotrou's second wife was Matilda, illegitimate daughter of Henry I of England and one of his many mistresses, Edith. Matilda drowned in the wreck of the White Ship on 25 November 1120.  They hadtwo daughters:Philippa, married Elias II, Count of MaineFeliciaRotrou's third wife was Hawise, daughter of Walter of Salisbury and sister of Patrick, Earl of Salisbury. They had three sons:Rotrou IV, killed at the Siege ofAcreGeoffrey (died after 1154)Stephen, Archbishop of PalermoRotrou also had an illegitimate son by an unknown mistress:Bertrand, father of Gilbert, Count of GravinaRotrou was succeeded as Count of Perche by hisson of the same name.== Notes ==Passage 2:Thomas Beaufort, Count of PercheThomas Beaufort, styled 1st Count of Perche (c. 1405 – 3 October 1431) was a member of the Beaufort family and an Englishcommander during the Hundred Years' War.He was the third son of John Beaufort, 1st Earl of Somerset and his wife, Margaret Holland.CareerWith his elder brother, Henry Beaufort, 2nd Earl of Somerset, Thomas joinedin Henry V's 1419 campaigns in France.  In 1421, he accompanied the king's younger brother Thomas of Lancaster to the fighting in Anjou.  Lancaster was killed at the Battle of Baugé while John Beaufort, the new Earlof Somerset (following the death of Henry Beaufort, 2nd Earl of Somerset at the  Siege of Rouen) and Thomas were captured. Thomas was eventually released around 1427 in a prisoner exchange negotiated by hisuncle, Cardinal Beaufort.As an able male member of the Beaufort family, Thomas rejoined the fighting almost immediately. He was granted the title Count of Perche in December 1427, his title being more a claim toland, rather than a recognized title since it was already held by the French Duke John II of Alençon. This was part of a continuing attempt by Cardinal Beaufort to carve out estates for his nephews from conqueredFrench land. During the 1430 royal coronation expedition of Henry VI, Thomas was granted a retinue of 128 soldiers and 460 archers. He commanded soldiers at a battle at La Charité-sur-Loire in late 1430 and died 3October 1431 at the siege of Louviers, three weeks before the city's fall.ArmsAs the legitimised great-grandson of Edward III he bore his arms altered by a bordure gorbony argent and azure.AncestryNotesPassage3:Rotrou IV, Count of PercheRotrou IV (1135-1191), was the Count of Perche. He joined Louis VII of France in a war against Henry II of England, in which he lost lands to the English. Rotrou later went on crusade withPhilip II of France and died after the Siege of Acre in 1191.BiographyBorn in 1135, Rotrou was the son of Rotrou III, Count of Perche, and Hawise, daughter of Walter of Salisbury, and Sibilla de Chaworth. Upon thedeath of his father in 1144, Rotrou continued the fight against his archenemy, William III Talvas, Count of Ponthieu and Lord of Alençon. Aside from this long-running blood feud, his uncle Patrick had married WilliamTalvas' daughter Adela. His mother Hawise and her second husband, Robert I of Dreux, served as regents at Perche until he reached the age of maturity.Rotrou aided Louis VII the Younger against Henry II of England inan ineffective war that saw their troops routed, lands ravaged and property stolen. He was forced to yield the communes of Moulins and Bonsmoulins to the crown England. Nevertheless, a matrimonial alliance with theHouse of Blois consolidated the declining power of the Counts of Perche.In 1189,  Rotrou joined Philip II of France and Richard I the Lionheart in the Third Crusade. He died sometime after the Siege of Acre in1191.Marriage and issueIn 1160, Rotrou married Matilda of Blois-Champagne, daughter of Theobald II, Count of Champagne, and Matilda of Carinthia.Rotrou and Matilda had:Geoffrey III, Count of PercheStephen (d. 14April 1205), Duke of Philadelphia, killed in the Battle of AdrianopleRotrou du Perche (d. 10 December 1201), Bishop of Chalons (1190-1200)William II, Count of Perche and Bishop of ChalonsBeatrix, married Renaud III,lord of Chateau-GonthierRotrou was succeeded as Count of Perche by his son Geoffrey upon his death.Passage 4:Geoffrey II, Count of PercheGeoffrey II (died October 1100), Count of Mortagne and Count of Perche,was the son of Rotrou I, Viscount of Châteaudun, and Adelise de Bellême, daughter of Guérin de Domfron. Geoffrey was Count of Mortagne and Seigneur of Nogent from 1060 to 1090, and Count of Perche from 1090until his death.As a young man, Geoffrey participated in the conquest of England and fought at the Battle of Hastings. For his service, William the Conqueror gave him a reward of significant property in England.Geoffreysucceeded his father in 1080, receiving the Percheron fields (Mortagne-au-Perche and Nogent-le-Rotrou), while his younger brother Hugues received Châteaudun. A third brother, Rotrou, acquired by marriage thelordship of Montfort-le-Rotrou. One of his first actions as count was to hand over the monastery of Nogent-le-Rotrou to Cluny, after engineering the deposition of its abbot Hubert. As a result, the role of the count's courtan increased role, since disputes about the abbey's endowment were solved at that court.  About 1089, Geoffrey waged war on Robert of Bellême, due to a land dispute. According to Orderic Vitalis, Geoffrey contestedthe distribution of the Belleme inheritance between Mabel de Bellême (Robert's mother) and Adeliza (his mother).    The war was long and protracted, as even in 1091 we know the conflict was still going on.  Hedevoted the rest of his life to religious pursuits, and founded the first leper colony in Perche.His successful rule and increased political role can be appreciated from his dynastic alliances, which ranged far into northernFrance (with his wife Beatrix), Normandy (with the marriage of his daughter Marguerite to Henry de Beaumont) and southern France (through his daughter Matilde's marriage  to the viscount of Turenne). Geoffreymarried Beatrix de Ramerupt, daughter of Hilduin IV, Count of Montdidier, and Alice de Roucy.  Geoffrey and Beatrix had:Rotrou III the Great, Count of PercheMarguerite (d. after 1156), married to Henry de Beaumont,1st Earl of Warwick.  Their sons included Roger de Beaumont, 2nd Earl of Warwick, Robert de Neubourg and Rotrou, Archbishop of Rouen.Juliana du Perche (d. after 1132), married to Gilbert, Lord of d’Aigle.  They hadtwo sons, Geoffrey and Engenulf, who died in the wreck of the White Ship. Their daughter was Marguerite de l’Aigle, who married García Ramírez, King of Navarre.Mathilde (d. 27 May 1143), married first Raymond I,Vicomte de Turenne and, widowed, Guy IV de Lastours.Orderic Vitalis gives him high praise: In time of peace he was gentle and lovable and conspicuous for his good manners; in times of war, harsh and successful,formidable to the rulers who were his neighbours and an enemy to all. Geoffrey was succeeded by his son Rotrou as Count of Perche upon his death.NotesSourcesBarlow, Frank (1983). William Rufus. University ofCalifornia Press.Guenée, Bernard (May–June 1978). \"Les généalogies entre l'histoire et la politique: la fierté d'être Capétien, en France, au Moyen Age\" (PDF). Annales: Histoire, Sciences Sociales. 33 (3): 450–477.doi:10.3406/ahess.1978.293943.Thompson, Kathleen (2002). Power and Border Lordship in Medieval France: The County of the Perche, 1000-1226. The Boydell Press.Passage 5:Thomas, Count of PercheThomas (1195– 20 May 1217), Count of Perche, was the son of Geoffrey III, Count of Perche, and Matilda of Saxony, daughter of Henry the Lion, Duke of Saxony and Bavaria, and Matilda of England. He died young.Only seven whenhis father died, Thomas became Count of Perche under the regency of his mother and her new husband Enguerrand III, Lord of Coucy.BiographyIn 1216, the English barons rebelled in the First Barons' War against KingJohn Lackland, and offered the English crown to Louis VIII the Lion, King of France. The death of King John ended this arrangement and the crown went to Henry III, John's son. In the end, Louis VIII renounced theEnglish crown, but in the interim fought the forces of William Marshal, 1st Earl of Pembroke. In the decisive Battle of Lincoln of 1217, Thomas, the commander of the French forces, was killed.Thomas married HélisendeRethel, daughter of Hugh II, Count of Rethel, and Felicitas, daughter of Simon of Broyes. This union produced no children. His widow remarried Garnier de Traînel, Seigneur de Marigny.Following Thomas's death in1217, King Philip II of France gained control of the castles of Moulins-la-Marche, Bonsmoulin, and Bellême, which had been contested since 1182. Thomas’s uncle William, who was also Bishop of Châlons, succeeded himas the Count of Perche.NotesPassage 6:William II, Count of PercheWilliam II (died 1226), count of Perche and bishop of Châlons, son of Count Rotrou IV of Perche and Matilda, daughter of Count Theobald II ofChampagne and Matilda of Carinthia.William began his career as treasurer and provost of the Church of St. Martin of Tours, and was elected bishop of Chalons in 1215, consecrated in 1216. The following year hebecame count of Perche upon the death of his nephew Thomas in the Battle of Lincoln. As count-bishop, William was a valuable advisor to the kings of France and was listed among those by Pope Honorious III toparticipate in the Albigensian Crusade. His death in February 1226 left the question of the succession to the County of Perche unresolved for years. He left money to his cousin Countess Isabelle of Chartres for the\"support of the poor\".Passage 7:John Beaufort, 1st Earl of SomersetJohn Beaufort, 1st Marquess of Somerset and 1st Marquess of Dorset, later only 1st Earl of Somerset,  (c. 1373 – 16 March 1410) was an Englishnobleman and politician. He was the first of the four illegitimate children of John of Gaunt (1340–1399) (third surviving son of King Edward III) by his mistress Katherine Swynford, whom he later married in 1396. TheBeaufort children were declared legitimate twice by parliament, first during the reign of King Richard II, in 1397, which was confirmed by Henry IV, as well as by Pope Boniface IX in September 1396. Even though theywere the grandchildren of Edward III and next in the line of succession after their father's legitimate children by his first two wives, the Beauforts were barred from succession to the throne by their half-brother HenryIV.Early lifeBeaufort's surname (properly de Beaufort, \"from Beaufort\") probably reflects his birthplace at his father's castle and manor of Beaufort (\"beautiful stronghold\") in Champagne, France. The Portcullis heraldic"}
+{"doc_id":"doc_277","qid":"","text":"Passage 1:Everything's DuckyEverything's Ducky is a 1961 comedy film directed by Don Taylor and written by Benedict Freedman and John Fenton Murray. The film stars Mickey Rooney, Buddy Hackett, Jackie Cooper,Joanie Sommers, Roland Winters and Elizabeth MacRae. The film was released on December 20, 1961, by Columbia Pictures.PlotTwo sailors sneak a talking duck aboard their ship. Complications ensue. The duckwaddles all over the ship until he escapes.CastMickey Rooney as Kermit 'Beetle' McKayBuddy Hackett as Seaman Admiral John Paul 'Ad' JonesJackie Cooper as Lt. J.S. ParmellJoanie Sommers as Nina LloydRolandWinters as Capt. Lewis BollingerElizabeth MacRae as Susie PenroseGene Blakely as Lt. Cmdr. Bernard KempGordon Jones as Chief Petty Officer ConroyRichard Deacon as Dr. DeckhamJames Millhollin as GeorgeImhoffJimmy Cross as DrunkRobert Williams as Duck HunterKing Calder as FrankEllie Kent as NurseWilliam Hellinger as CorpsmanAnn Morell as WaveGeorge Sawaya as SimmonsDick Winslow as FröehlichAlvy Moore asJim LipscottWalker Edmiston as Scuttlebutt – The DuckPassage 2:Abhishek SaxenaAbhishek Saxena is an Indian Bollywood and Punjabi film director who directed the movie Phullu. The Phullu movie was released intheaters on 16 June 2017, in which film Sharib Hashmi is the lead role. Apart from these, he has also directed Patiala Dreamz, this is a Punjabi film. This film was screened in cinemas in 2014.Life andbackgroundAbhishek Saxena was born on 19 September 1988 in the capital of India, Delhi, whose father's name is Mukesh Kumar Saxena. Abhishek Saxena married Ambica Sharma Saxena on 18 December 2014. Hismother's name is Gurpreet Kaur Saxena.Saxena started his career with a Punjabi film Patiala Dreamz, after which he has also directed a Hindi film Phullu, which has appeared in Indian cinemas on 16 June2017.CareerAbhishek Saxena made his film debut in 2011 as an assistant director on Doordarshan with Ashok Gaikwad. He made his first directed film Patiala Dreamz, this is a Punjabi movie.After this, he has alsodirected a Hindi film Phullu in 2017, which has been screened in cinemas on 16 June 2017. Saxena is now making his upcoming movie \"India Gate\".In 2018 Abhishek Saxena has come up with topic of body-shaming inhis upcoming movie Saroj ka Rishta. Where Sanah Kapoor will play the role of Saroj and actors Randeep Rai and Gaurav Pandey will play the two men in Saroj's life.Yeh Un Dinon ki Baat Hai lead Randeep Rai will makehis Bollywood debut. Talking about the film, director Abhishek Saxena told Mumbai Mirror, \"As a fat person, I have noticed that body-shaming doesn’t happen only with those who are on the heavier side, but also withthin people. The idea germinated from there.\"Career as an Assistant DirectorApart from this, he has played the role of assistant director in many films and serials in the beginning of his career, in which he has atelevision serial in 2011, Doordarshan, as well as in 2011, he also assisted in a serial of Star Plus.In addition to these serials, he played the role of assistant director in the movie \"Girgit\" which was made in Telugulanguage.FilmographyAs DirectorPassage 3:G. MarthandanG. Marthandan is an Indian film director who works in Malayalam cinema. His debut film is Daivathinte Swantham CleetusEarly lifeG. Marthandan was born toM. S. Gopalan Nair and P. Kamalamma at Changanassery in Kottayam district of Kerala. He did his schooling at NSS Boys School Changanassery and completed his bachelor's degree in Economics at NSS Hindu College,Changanassery.CareerAfter completing his bachelor's degree, Marthandan entered films as an associate director with the unreleased film Swarnachamaram directed by Rajeevnath in 1995. His next work was BritishMarket, directed by Nissar in 1998. He worked as an associate director for 18 years.He made his directional debut with Daivathinte Swantham Cleetus in 2013, starring Mammooty in the lead role. His next movie was in2015, Acha Dhin, with Mammooty and Mansi Sharma in the lead roles. Daivathinte Swantham Cleetus and Paavada were box office successes.FilmographyAs directorAs associate directorAs actorTV serialKanyadanam(Malayalam TV series) - pilot episodeAwardsRamu Kariat Film Award - Paavada (2016)JCI Foundation Award - Daivathinte Swantham Cleetus (2013)Passage 4:Don Taylor (American actor and director)Donald RichieTaylor (December 13, 1920 – December 29, 1998) was an American actor and film director. He co-starred in 1940s and 1950s classics, including the 1948 film noir The Naked City, Battleground, Father of the Bride,Father's Little Dividend and Stalag 17. He later turned to directing films such as Escape from the Planet of the Apes (1971), Tom Sawyer (1973), Echoes of a Summer (1976), and Damien: Omen II(1978).BiographyEarly life and workThe son of Mr. and Mrs. D. E. Taylor, Donald Ritchie Taylor was born in Freeport, Pennsylvania on December 13, 1920. (Another source says that he was born \"in Pittsburgh andraised in Freeport, Pa.\") He studied speech and drama at Penn State University and hitchhiked to Hollywood in 1942. He was signed as a contract player at Metro-Goldwyn-Mayer and appeared in small roles. Draftedinto the United States Army Air Forces (AAF) during World War II, he appeared in the Air Forces's Winged Victory Broadway play and movie (1944), credited as \"Cpl. Don Taylor.\"Acting careerAfter discharge from theAAF, Taylor was cast in a lead role as the young detective, Jimmy Halloran, working alongside veteran homicide detective Dan Muldoon (Barry Fitzgerald) in Universal's 1948 screen version of The Naked City, which wasnotable for being filmed entirely on location in New York. Taylor was later part of the ensemble cast in MGM's classic World War II drama Battleground (1949).  He then appeared as the husband of Elizabeth Taylor inthe comedies Father of the Bride (1950) and its sequel Father's Little Dividend (1951), starring Spencer Tracy. Another memorable role was Vern \"Cowboy\" Blithe in Flying Leathernecks (1951). In 1952, Taylor played asoldier bringing his Japanese war-bride back to small-town America in Japanese War Bride. In 1953, Taylor had a key role as the escaping prisoner Lt. Dunbar in Billy Wilder's Stalag 17. His last major film role came inI'll Cry Tomorrow (1955).Directorial careerFrom the late 1950s through the 1980s, Taylor turned to directing movies and TV shows, such as Alfred Hitchcock Presents, the short-lived Steve Canyon, starring DeanFredericks, and Rod Serling's Night Gallery.  One of his memorable efforts, in 1973, was the musical film Tom Sawyer, which boasted a Sherman Brothers song score. Other films that Taylor directed are Escape from thePlanet of the Apes (1971), Echoes of a Summer (1976), The Great Scout & Cathouse Thursday (also 1976), The Island of Dr. Moreau (1977) starring Burt Lancaster, Damien: Omen II (1978) with William Holden, andThe Final Countdown (1980) with Kirk Douglas.Taylor occasionally performed both acting and directing roles simultaneously, as he did for episodes of the TV detective series Burke's Law.Writing careerTaylor \"wroteone-act plays, radio dramas, short stories, and the 1985 TV movie My Wicked, Wicked Ways ... The Legend of Errol Flynn.\"Personal lifeTaylor was married twice.His first wife was Phyllis Avery, whom he married in1944; they divorced in 1955, but not before the births of their daughters Anne and Avery.His second wife was Hazel Court, whom he married in 1964 and stayed with until his death; they had a son, Jonathan, and adaughter, Courtney.DeathTaylor died on December 29, 1998, at the University of California Medical Center in Los Angeles, California, of heart failure.AwardsNominee, Best Director – Saturn Awards (The Island of Dr.Moreau) (1977)Nominee, Best Director-Comedy – Emmy Awards (The Farmer's Daughter) (1963)Selected filmography as directorIn addition to his Hollywood credits, Taylor directed 27 television movies and episodesfor 53 television series including Cannon, Rod Serling's Night Gallery, Mod Squad, It Takes a Thief, The Big Valley, The Flying Nun, Vacation Playhouse, The Tammy Grimes Show,  The Wild Wild West, Burke's Law, TheRogues, The Farmer's Daughter, The Lloyd Bridges Show, The Dick Powell Theatre, Dr. Kildare, Checkmate, 87th Precinct, Zane Grey Theater, The Rifleman, Alfred Hitchcock Presents, Honky Tonk, andothers.Everything's Ducky (1961)Ride the Wild Surf (1964)Jack of Diamonds (1967)The Five Man Army (1969)Escape from the Planet of the Apes (1971)Tom Sawyer (1973)Echoes of a Summer (1976)The Great Scout& Cathouse Thursday (1976)The Island of Dr. Moreau (1977)Damien: Omen II (1978)The Final Countdown (1980)The Diamond Trap (1988)Selected filmography as actorPassage 5:Brian Kennedy (gallery director)BrianPatrick Kennedy (born 5 November 1961) is an Irish-born art museum director who has worked in Ireland and Australia, and now lives and works in the United States.  He was the director of the Peabody Essex Museumin Salem for 17 months, resigning December 31, 2020. He was the director of the Toledo Museum of Art in Ohio from 2010 to 2019. He was the director of the Hood Museum of Art from 2005 to 2010, and the NationalGallery of Australia (Canberra) from 1997 to 2004.CareerBrian Kennedy currently lives and works in the United States after leaving Australia in 2005 to direct the Hood Museum of Art at Dartmouth College. In October2010 he became the ninth Director of the Toledo Museum of Art. On 1 July 2019, he succeeded Dan Monroe as the executive director and CEO of the Peabody Essex Museum.Early life and career in IrelandKennedy wasborn in Dublin and attended Clonkeen College. He received B.A. (1982), M.A. (1985) and PhD (1989) degrees from University College-Dublin, where he studied both art history and history.He worked in the IrishDepartment of Education (1982), the European Commission, Brussels (1983), and in Ireland at the Chester Beatty Library (1983–85), Government Publications Office (1985–86), and Department of Finance (1986–89).He married Mary Fiona Carlin in 1988.He was Assistant Director at the National Gallery of Ireland in Dublin from 1989 to 1997. He was Chair of the Irish Association of Art Historians from 1996 to 1997, and of theCouncil of Australian Art Museum Directors from 2001 to 2003. In September 1997 he became Director of the National Gallery of Australia.National Gallery of Australia (NGA)Kennedy expanded the traveling exhibitionsand loans program throughout Australia, arranged for several major shows of Australian art abroad, increased the number of exhibitions at the museum itself and oversaw the development of an extensive multi-mediasite.  Although he oversaw several years of the museum's highest ever annual visitation, he discontinued the emphasis of his predecessor, Betty Churcher, on showing \"blockbuster\" exhibitions.During his directorship,the NGA gained government support for improving the building and significant private donations and corporate sponsorship. However, the initial design for the building proved controversial generating a public disputewith the original architect on moral rights grounds.  As a result, the project was not delivered during Dr Kennedy's tenure, with a significantly altered design completed some years later.  Private funding supported twoacquisitions of British art, including David Hockney's A Bigger Grand Canyon in 1999, and Lucian Freud's After Cézanne in 2001. Kennedy built on the established collections at the museum by acquiring theHolmgren-Spertus collection of Indonesian textiles; the Kenneth Tyler collection of editioned prints, screens, multiples and unique proofs; and the Australian Print Workshop Archive. He was also notable for campaigningfor the construction of a new \"front\" entrance to the Gallery, facing King Edward Terrace, which was completed in 2010 (see reference to the building project above).Kennedy's cancellation of the \"Sensation exhibition\"(scheduled at the NGA from 2 June 2000 to 13 August 2000) was controversial, and seen by some as censorship. He claimed that the decision was due to the exhibition being \"too close to the market\" implying that anational cultural institution cannot exhibit the private collection of a speculative art investor. However, there were other exhibitions at the NGA during his tenure, which could have raised similar concerns. The exhibitionfeatured the privately owned Young British Artists works belonging to Charles Saatchi and attracted large attendances in London and Brooklyn. Its most controversial work was Chris Ofili's The Holy Virgin Mary, apainting which used elephant dung and was accused of being blasphemous. The then-mayor of New York, Rudolph Giuliani, campaigned against the exhibition, claiming it was \"Catholic-bashing\" and an \"aggressive,vicious, disgusting attack on religion.\" In November 1999, Kennedy cancelled the exhibition and stated that the events in New York had \"obscured discussion of the artistic merit of the works of art\". He has said that it\"was the toughest decision of my professional life, so far.\"Kennedy was also repeatedly questioned on his management of a range of issues during the Australian Government's Senate Estimates process - particularly onthe NGA's occupational health and safety record and concerns about the NGA's twenty-year-old air-conditioning system. The air-conditioning was finally renovated in 2003. Kennedy announced in 2002 that he would notseek extension of his contract beyond 2004, accepting a seven-year term as had his two predecessors.He became a joint Irish-Australian citizen in 2003.Toledo Museum of ArtThe Toledo Museum of Art is known for itsexceptional collections of European and American paintings and sculpture, glass, antiquities, artist books, Japanese prints and netsuke. The museum offers free admission and is recognized for its historical leadership inthe field of art education.  During his tenure, Kennedy has focused the museum's art education efforts on visual literacy, which he defines as \"learning to read, understand and write visual language.\"   Initiatives haveincluded baby and toddler tours, specialized training for all staff, docents, volunteers and the launch of a website, www.vislit.org. In November 2014, the museum hosted the International Visual Literacy Association(IVLA) conference, the first Museum to do so. Kennedy has been a frequent speaker on the topic, including 2010 and 2013 TEDx talks on visual and sensory literacy.Kennedy has expressed an interest in expanding themuseum's collection of contemporary art and art by indigenous peoples. Works by Frank Stella, Sean Scully, Jaume Plensa, Ravinder Reddy and Mary Sibande have been acquired.  In addition, the museum has mademajor acquisitions of Old Master paintings by Frans Hals and Luca Giordano.During his tenure the Toledo Museum of Art has announced the return of several objects from its collection due to claims the objects werestolen and/or illegally exported prior being sold to the museum.  In 2011 a Meissen sweetmeat stand was returned to Germany followed by an Etruscan Kalpis or water jug to Italy (2013), an Indian sculpture ofGanesha (2014) and an astrological compendium to Germany in 2015.Hood Museum of ArtKennedy became Director of the Hood Museum of Art in July 2005. During his tenure, he implemented a series of large andsmall-scale exhibitions and oversaw the production of more than 20 publications to bring greater public attention to the museum's remarkable collections of the arts of America, Europe, Africa, Papua New Guinea andthe Polar regions. At 70,000 objects, the Hood has one of the largest collections on any American college of university campus. The exhibition, Black Womanhood: Images, Icons, and Ideologies of the African Body,toured several US venues. Kennedy increased campus curricular use of works of art, with thousands of objects pulled from storage for classes annually. Numerous acquisitions were made with the museum's generousendowments, and he curated several exhibitions: including Wenda Gu: Forest of Stone Steles: Retranslation and Rewriting Tang Dynasty Poetry, Sean Scully: The Art of the Stripe, and Frank Stella: IrregularPolygons.PublicationsKennedy has written or edited a number of books on art, including:Alfred Chester Beatty and Ireland 1950-1968: A study in cultural politics, Glendale Press (1988), ISBN978-0-907606-49-9Dreams and responsibilities: The state and arts in independent Ireland, Arts Council of Ireland (1990), ISBN 978-0-906627-32-7Jack B Yeats: Jack Butler Yeats, 1871-1957 (Lives of Irish Artists),Unipub (October 1991), ISBN 978-0-948524-24-0The Anatomy Lesson: Art and Medicine (with Davis Coakley), National Gallery of Ireland (January 1992), ISBN 978-0-903162-65-4Ireland: Art into History (withRaymond Gillespie), Roberts Rinehart Publishers (1994), ISBN 978-1-57098-005-3Irish Painting, Roberts Rinehart Publishers (November 1997),  ISBN 978-1-86059-059-7Sean Scully: The Art of the Stripe, HoodMuseum of Art (October 2008), ISBN 978-0-944722-34-3Frank Stella: Irregular Polygons, 1965-1966, Hood Museum of Art (October 2010), ISBN 978-0-944722-39-8Honors and achievementsKennedy was awarded theAustralian Centenary Medal in 2001 for service to Australian Society and its art. He is a trustee and treasurer of the Association of Art Museum Directors, a peer reviewer for the American Association of Museums and amember of the International Association of Art Critics. In 2013 he was appointed inaugural eminent professor at the University of Toledo and received an honorary doctorate from Lourdes University. Most recently,Kennedy received the 2014 Northwest Region, Ohio Art Education Association award for distinguished educator for art education.== Notes ==Passage 6:M. Krishnan Nair (director)M. Krishnan Nair (2 November 1926 –10 May 2001) was an Indian film director of Malayalam films. He directed over 100 films. He also directed 18 Tamil movie including  four films starring M. G. Ramachandran and two Telugu movies, one each withsuperstars N. T. Rama Rao and Krishna Eminent filmmakers including Hariharan, K. Madhu, S. P. Muthuraman, Bharathiraja and Joshiy apprenticed under him as assistant directors.In 2000, he was honoured with the J.C. Daniel Award, Kerala government's highest honour for contributions to Malayalam cinema.Personal lifeHe was married to K. Sulochana Devi, and had three sons. His eldest son K. Jayakumar is a poet, lyricist and aformer bureaucrat who currently serves as the Vice Chancellor of Malayalam University. His second son is Harikumar, while his youngest son Sreekumar Krishnan Nair is a film director best known for directing O' Faby,India's first live-action/animation hybrid feature film.Selected filmography1987 Kalam Mari Katha Mari1985 Puzhayozhukum Vazhi1984 Manithali1983 Maniyara1983 Paalam1982 Mylanji1982 Oru Kunju Janikkunnu1980Dwik Vijayam1980 Rajaneegandhi1979 Ajnatha Theerangal1979 Kalliyankattu Neeli1979 Oru Raagam Pala Thaalam1978 Ashoka Vanam1978 Aval Kanda Lokam1978 Ithanente Vazhi1978 Rowdy Ramu1978 UrakkomVaraatha Rathrikal1977 Madhura Swapanam1977 Santha Oru Devatha1977 Thaalappoly1977 Yatheem1976 Amma1976 Neela Sari1976 Oorukku Uzhaippavan (Tamil)1974 Suprabhatham1973 Bhadradeepam1973Thottavadi1973 Yamini1973 Thalai Prasavam (Tamil)1972 Manthrakodi1972 Naan Yen Pirandhen (Tamil)1972 Annamitta Kai (Tamil)1971 Rickshawkaran (Tamil)1971 Agnimrigam1971 Tapaswini1970 BheekaraNimishangal1970 Chitti Chellelu (Telugu)1970 Detective 9091970 Palunkupaathram1970 Sabarimala Shri Dharmasastha1970 Tara1970 Vivahitha1969 Anaachadanam1969 Mannippu (Tamil)1969 Jwala1969 MaganeyNee Vazhga (Tamil)1969 Padicha Kallan1968 Circar Express (Telugu)1968 Agni Pareeksha1968 Anchu Sundariakal1968 Inspector1968 Kadal1968 Karthika1968 Paadunna Puzha1968 Muthu Chippi (Tamil)1967Agniputhri1967 Cochin Express1967 Collector Malathy1967 Kaanatha Veshangal1967 Khadeeja1967 Kudumbam (Tamil)1966 Kalithozhan1966 Kalyana Rathriyil1966 Kanaka Chilanga1966 Kusruthy Kuttan1966 PinchuHridhayam1965 Kadathukaran1965 Kathirunna Nikah1965 Kattu Thulasi1965 Kavya Mela1964 Bharthavu1964 Karutha Kai1964 Kutti Kuppayam1963 Kaattu Mynah1962 Viyarpintae Vila1960 Aalukkoru Veedu(Tamil)1955 Aniyathi1955 C.I.DPassage 7:Drew EsocoffDrew Esocoff (born c. 1957) is an American television sports director, who as of 2006 has been the director of NBC Sunday Night Football.Early lifeEsocoff wasborn in Elizabeth, New Jersey, graduating from Thomas Jefferson High School in 1975, later attending Colgate University. While in college he worked as a substitute teacher at Elizabeth High School where one of his"}
+{"doc_id":"doc_278","qid":"","text":"Passage 1:Ann SheridanClara Lou \"Ann\" Sheridan (February 21, 1915 – January 21, 1967) was an American actress and singer. She is best known for her roles in the films San Quentin (1937) with Humphrey Bogart,Angels with Dirty Faces (1938) with James Cagney and Bogart, They Drive by Night (1940) with George Raft and Bogart, City for Conquest (1940) with Cagney and Elia Kazan, The Man Who Came to Dinner (1942) withBette Davis, Kings Row (1942) with Ronald Reagan, Nora Prentiss (1947), and I Was a Male War Bride (1949) with Cary Grant.Early lifeClara Lou Sheridan was born in Denton, Texas, on February 21, 1915, theyoungest of five children (Kitty, Pauline, Mabel and George) of garage mechanic George W. Sheridan and Lula Stewart (née Warren). According to Sheridan, her father was a grandnephew of Civil War Union generalPhilip Sheridan.She was active in dramatics at Denton High School and at North Texas State Teachers College. She also sang with the college's stage band and played basketball on the North Texas women's basketballteam. Then, in 1933, Sheridan won the prize of a bit part in an upcoming Paramount film, Search for Beauty, when her sister Kitty entered Sheridan's photograph into a beauty contest.CareerParamountAfter the releaseof Search for Beauty in 1934, Paramount put the 19-year-old under contract at a starting salary of $75 a week ($1,641 today), where she played mostly uncredited bit parts for the next two years. She can be glimpsedin the following 1934 films, and if credited, as Clara Lou Sheridan: Bolero, Come On Marines!, Murder at the Vanities, Shoot the Works, Kiss and Make-Up with Cary Grant, The Notorious Sophie Lang, College Rhythm(directed by Norman Taurog whom Sheridan admired), Ladies Should Listen with Cary Grant, You Belong to Me, Wagon Wheels, The Lemon Drop Kid with Lee Tracy, Mrs. Wiggs of the Cabbage Patch, Ready for Love,Limehouse Blues with George Raft and Anna May Wong, and One Hour Late.Along with fellow contractees, Sheridan worked with Paramount's drama coach Nina Mouise and performed on the studio lot in such plays asThe Milky Way and The Pursuit of Happiness. While in The Milky Way, Paramount decided to change her first name from Clara Lou to the same as her character Ann.Sheridan was then cast in the film Behold My Wife!(1934) at the behest of director and friend Mitchell Leisen. The role provided two standout scenes for the actress, including one in which her character commits suicide, to which she attributed Paramount's keeping herunder contract.She continued with bit parts in Enter Madame (1935) with Elissa Landi and Cary Grant, Home on the Range (1935) with Randolph Scott and Evelyn Brent, and Rumba (1935) with George Raft and CaroleLombard, until her first lead role in Car 99 (1935), with Fred MacMurray. \"No acting, it was just playing the lead, that's all\", she later said. She next had a support role as the romantic interest in Rocky Mountain Mystery(1935), a Randolph Scott Western. She then appeared in Mississippi (1935) with Bing Crosby and W. C. Fields, The Glass Key (1935) with George Raft in a brief speaking role for which she was billed as \"Nurse\" in thecast list at the end of the film, and (having one line) The Crusades (1935) with Loretta Young. In her last picture under her deal with Paramount, the studio loaned her out to Poverty Row production company Talismanto make The Red Blood of Courage (1935) with Kermit Maynard. After this, Paramount declined to renew her contract. Sheridan made Fighting Youth (1935) at Universal and then signed a contract with Warner Bros. in1936.Warner Bros.Sheridan's career prospects began to improve at her new studio. Her early films for Warner Bros. included Sing Me a Love Song (1936); Black Legion (1937) with Humphrey Bogart; The GreatO'Malley (1937) with Pat O'Brien and Bogart, her first real break; San Quentin (1937), with O'Brien and Bogart, singing for the first time in a film; and Wine, Women and Horses (1937) with Barton MacLane.Sheridanmoved into B picture leads: The Footloose Heiress (1937); Alcatraz Island (1937) with John Litel; and She Loved a Fireman (1937) with Dick Foran for director John Farrow. She was a lead in The Patient in Room 18(1937) and its sequel Mystery House (1938). Sheridan was in Little Miss Thoroughbred (1938) with Litel for Farrow and supported Dick Powell in Cowboy from Brooklyn (1938).Universal borrowed her for a support rolein Letter of Introduction (1938) at the behest of director John M. Stahl. For Farrow, she was in Broadway Musketeers (1938), a remake of Three on a Match (1932).Sheridan's notices in Letter of Introduction impressedWarner Bros. executives and she began to get roles in better quality pictures at her own studio starting with Angels with Dirty Faces (1938), wherein she played James Cagney's love interest; Bogart, O'Brien and theDead End Kids had supporting roles. The film was a big hit and critically acclaimed.Sheridan was reunited with the Dead End Kids in They Made Me a Criminal (1938) starring John Garfield. She was third-billed in theWestern Dodge City (1939), playing a saloon owner opposite Errol Flynn and Olivia de Havilland. The film was another success.Oomph girlIn March 1939, Warner Bros. announced Sheridan had been voted by acommittee of 25 men as the actress with the most \"oomph\" in America. \"Oomph\" was described as \"a certain indefinable something that commands male interest\".She received as many as 250 marriage proposals fromfans in a single week. Sheridan reportedly loathed the sobriquet that made her a popular pin-up girl in the early 1940s. However, she expressed in a February 25, 1940, news story distributed by the Associated Pressthat she no longer \"bemoaned the \"oomph\" tag.\" She continued, \"But I'm sorry now. I know if it hadn't been for \"oomph\" I'd probably still be in the chorus.\"This was later referenced and spoofed on the 1941 animatedshort Hollywood Steps Out.StardomSheridan co-starred with Dick Powell in Naughty but Nice (1939) and played a wacky heiress in Winter Carnival (1939).She was top billed in Indianapolis Speedway (1939) withO'Brien and Angels Wash Their Faces (1939) with the Dead End Kids and Ronald Reagan. Castle on the Hudson (1940) put her opposite Garfield and O'Brien.Sheridan's first real starring vehicle was It All Came True(1940), a musical comedy costarring Bogart and Jeffrey Lynn. She introduced the song \"Angel in Disguise\".Sheridan and Cagney were reunited in Torrid Zone (1940) with O'Brien in support. She was with George Raft,Bogart and Ida Lupino in They Drive by Night (1940), a smash-hit trucking melodrama. Sheridan was back with Cagney for City for Conquest (1941) and then made Honeymoon for Three (1941), a comedy with GeorgeBrent.Sheridan did two lighter films: Navy Blues (1941), a musical comedy, and The Man Who Came to Dinner (1942) with Bette Davis, wherein she played a character modeled on Gertrude Lawrence. She then madeKings Row (1942), in which she received top billing playing opposite Ronald Reagan, Robert Cummings, and Betty Field. It was a major success and one of Sheridan's most memorable films.Sheridan and Reagan werereunited for Juke Girl (1942) released about six weeks after Kings Row. She was in the war film Wings for the Eagle (1942) and made a comedy with Jack Benny, George Washington Slept Here (1943). She played aNorwegian resistance fighter in Edge of Darkness (1943) with Errol Flynn and was one of the many Warner Bros., stars who had cameos in Thank Your Lucky Stars (1943).She was the heroine of a novel, Ann Sheridanand the Sign of the Sphinx, written by Kathryn Heisenfelt and published by Whitman Publishing Company in 1943. While the heroine of the story was identified as a famous actress, the stories were entirely fictitious.The story was probably written for a young teenaged audience and is reminiscent of the adventures of Nancy Drew. It is part of a series known as \"Whitman Authorized Editions\", 16 books published between 1941 and1947 that always featured a film actress as heroine.Sheridan was given the lead in the musical Shine On, Harvest Moon (1944), playing Nora Bayes, opposite Dennis Morgan. She was in a comedy The Doughgirls(1944).Sheridan was absent from screens for over a year, touring with the USO to perform in front of the troops as far afield as China. She returned in One More Tomorrow (1946) with Morgan. She had an excellent rolein the noir Nora Prentiss (1947), which was a hit. It was followed by The Unfaithful (1948), a remake of The Letter, and Silver River (1948), a Western melodrama with Errol Flynn.Leo McCarey borrowed her to supportGary Cooper in Good Sam (1948). She was meant to star in Flamingo Road. She then left Warner Bros., saying: \"I wasn't at all satisfied with the scripts they offered me.\"Freelance starHer role in I Was a Male War Bride(1949), directed by Howard Hawks and starring Cary Grant, was another success. In 1950, she appeared on the ABC musical television series Stop the Music.She made Stella (1950), a comedy with Victor Mature atFox.In April 1949, she announced she wanted to produce Second Lady, a film based on a story by Eleanore Griffin. She was going to make My Forbidden Past (originally titled Carriage Entrance) at RKO. They fired herand Sheridan sued for $250,000 (equivalent to $3.1 million today) The New York Times reported the amount as $350,000 ($4.3 million today). Sheridan ultimately won $55,162 ($680,000 today).UniversalSheridanmade Woman on the Run (1950), a noir also starring Dennis O'Keefe which she produced. She wanted to make a film called Her Secret Diary.Woman on the Run was distributed by Universal, and Sheridan signed acontract with that studio. While there, she made Steel Town (1952), Just Across the Street (1952), and Take Me to Town (1953), a comedy with Sterling Hayden that was the first film directed by Douglas Sirk in theUnited States.Later careerSheridan starred with Glenn Ford in Appointment in Honduras (1953), directed by Jacques Tourneur. She appeared opposite Steve Cochran in Come Next Spring (1956) and was one of severalstars in MGM's The Opposite Sex (1956), a remake of The Women starring June Allyson, Joan Collins, Dolores Gray, Sheridan and Ann Miller. Her last film, Woman and the Hunter (1957), was shot in Africa.Sheperformed in stage tours of Kind Sir (1958) and Odd Man In (1959), and The Time of Your Life at the Brussels World Fair in 1958. In all three shows, she acted with Scott McKay, whom she later married.In 1962, sheplayed the lead in the Western series Wagon Train episode titled \"The Mavis Grant Story\".In the mid-1960s, Sheridan appeared on the NBC soap opera Another World.Her final role was as Henrietta Hanks in thetelevision comedy Western series Pistols 'n' Petticoats, which was filmed while she became increasingly ill in 1966, and was broadcast on CBS on Saturday nights. The 19th episode of the series, \"Beware the Hangman\",aired as scheduled on the same day that she died in 1967.For her contributions to the motion picture industry, Ann Sheridan has a star on the Hollywood Walk of Fame at 7024 Hollywood Boulevard.Personal lifeSheridanmarried actor Edward Norris August 16, 1936, in Ensenada, Mexico. They separated a year later and divorced in 1939. On January 5, 1942, she married fellow Warner Bros. star George Brent, who co-starred with her inHoneymoon for Three (1941); they divorced exactly one year later. Following her divorce from Brent, she had a long-term relationship with publicist Steve Hannagan that lasted until his death in 1953. Hannaganbequeathed Sheridan $218,399 (equivalent to $2.4 million today).Sheridan engaged in a romantic affair with Mexican actor Rodolfo Acosta, with whom she appeared in 1953's Appointment in Honduras.  She and themarried Acosta shared an apartment in Mexico City for several years, and Sheridan was charged with criminal adultery in Mexican federal court in October, 1956, following an accusation by Acosta's wife, Jeanine CohenAcosta.  Mexican authorities issued a warrant for Sheridan's arrest.  Nothing came of the criminal charges, and the relationship ended c. 1958.On June 5, 1966, Sheridan married actor Scott McKay, who was with herwhen she died, seven months later.Sheridan supported Thomas E. Dewey in the 1948 presidential elections.DeathIn 1966, Sheridan began starring in a new television series, a Western-themed comedy called Pistols 'n'Petticoats. She became ill during the filming and died of esophageal cancer with massive liver metastases at age 51 on January 21, 1967, in Los Angeles. She was cremated and her ashes were stored at the Chapel ofthe Pines Crematory in Los Angeles until they were interred in a niche in the Chapel Columbarium at the Hollywood Forever Cemetery in 2005.FilmographyRadio appearancesPassage 2:Jack A Cooper (athlete)Jack A.Cooper was a male athlete who competed for England.Athletics careerHe competed for England in the 880 yards at the 1934 British Empire Games in London.Passage 3:H. Bruce HumberstoneH. Bruce \"Lucky\"Humberstone (November 18, 1901 – October 11, 1984) was an American film director. He was previously a movie actor (as a child), a script clerk, and an assistant director, working with directors such as King Vidor,Edmund Goulding, and Allan Dwan.Early yearsHumberstone was born in Buffalo, New York, and attended Miami Military Academy in Miami, Florida.FilmOne of 28 founders of the Directors Guild of America, Humberstoneworked on several silent movie films for 20th Century Fox. Humberstone did not specialize; he worked on comedies, dramas, and melodramas. Humberstone is best known today for the seminal film noir I Wake UpScreaming (1941) and his work on some of the Charlie Chan films. In the 1950s, Humberstone worked mostly on TV. He retired in 1966.RecognitionHumberstone has a star on the Hollywood Walk ofFame.DeathHumberstone died of pneumonia in Woodland Hills, California, on October 11, 1984, aged 82, and was buried at the Hollywood Forever Cemetery in Hollywood, California.Partial filmography asdirectorPassage 4:South Sea SinnerSouth Sea Sinner is a 1950 American adventure film directed by H. Bruce Humberstone and starring Macdonald Carey and Shelley Winters. It is a remake of Seven Sinners (1940).Liberace has a small role.PlotA cafe owner on a South Sea island plays a dangerous game of blackmail with a fugitive from justice.CastMacdonald Carey as 'Jake' DavisShelley Winters as CoralLuther Adler asCognacFrank Lovejoy as DocHelena Carter as Margaret LandisArt Smith as GraysonLiberace as MaestroProductionSouth Sea Sinner was known as East of Java during filming. Helena Carter replaced Dorothy Hart. StarMacdonald Carey was borrowed from Paramount.Filming took place in July 1949. Winters was accused of having a number of temperamental outbursts on set including a clash with Helena Carter. Winters admitted tobeing \"nervous and tired\" after making three films in five months and was \"unused\" to Humbersome's \"close direction during song and dance scenes.\" She said she had to perform \"a suggestive dance\" when someexhibitors and their families visit the set and she was upset when an eight-year-old boy filmed her; she asked that he be removed to where she couldn't see him.ReceptionThe New York Times called it a \"ridiculouslyromance-soggy film which has about as much South Seas flavour as a roadside papaya bar.\"Filmink called it \"an okay film, not as good as the one it was remaking... most notable for giving a small role to Liberace.Winters gets all the sympathy here... but it is nice to see several scenes where Carter and Winters are friendly to each other...Carter doesn’t seem particularly enthusiastic in this one.\"Passage 5:Howard HawksHowardWinchester Hawks (May 30, 1896 – December 26, 1977) was an American film director, producer, and screenwriter of the classic Hollywood era. Critic Leonard Maltin called him \"the greatest American director who isnot a household name.\"  Roger Ebert called Hawks \"one of the greatest American directors of pure movies, and a hero of auteur critics because he found his own laconic values in so many different kinds of genrematerial.\" He was nominated for the Academy Award for Best Director for Sergeant York (1941) and earned the Honorary Academy Award in 1974.A versatile film director, Hawks explored many genres such ascomedies, dramas, gangster films, science fiction, film noir, war films, and westerns. His most popular films include Scarface (1932), Bringing Up Baby (1938), Only Angels Have Wings (1939), His Girl Friday (1940), ToHave and Have Not (1944), The Big Sleep (1946), Red River (1948), The Thing from Another World (1951), Gentlemen Prefer Blondes (1953), and Rio Bravo (1959). His frequent portrayals of strong, tough-talkingfemale characters came to define the \"Hawksian woman\".Early life and backgroundHoward Winchester Hawks was born in Goshen, Indiana. He was the first-born child of Frank Winchester Hawks (1865–1950), awealthy paper manufacturer, and his wife, Helen Brown (née Howard; 1872–1952), the daughter of a wealthy industrialist. Hawks's family on his father's side were American pioneers, and his ancestor John Hawks hademigrated from England to Massachusetts in 1630. The family eventually settled in Goshen and by the 1890s was one of the wealthiest families in the Midwest, due mostly to the highly profitable Goshen MillingCompany.Hawks's maternal grandfather, C. W. Howard (1845–1916), had homesteaded in Neenah, Wisconsin, in 1862 at age 17. Within 15 years he had made his fortune in the town's paper mill and other industrialendeavors. Frank Hawks and Helen Howard met in the early 1890s and married in 1895. Howard Hawks was the eldest of five children, and his birth was followed by Kenneth Neil Hawks (August 12, 1898 – January 2,1930), William Bellinger Hawks (January 29, 1901 – January 10, 1969), Grace Louise Hawks (October 17, 1903 – December 23, 1927), and Helen Bernice Hawks (1906 – May 4, 1911). In 1898, the family moved backto Neenah where Frank Hawks began working for his father-in-law's Howard Paper Company.Between 1906 and 1909, the Hawks family began to spend more time in Pasadena, California, during the cold Wisconsinwinters in order to improve Helen Hawks's ill health. Gradually, they began to spend only their summers in Wisconsin before permanently moving to Pasadena in 1910. The family settled in a house down the street fromThroop Polytechnic Institute, and the Hawks children began attending the school's Polytechnic Elementary School in 1907. Hawks was an average student and did not excel in sports, but by 1910 had discovered coasterracing, an early form of soapbox racing. In 1911, Hawks's youngest sibling, Helen, died suddenly of food poisoning. From 1910 to 1912, Hawks attended Pasadena High School. In 1912, the Hawks family moved tonearby Glendora, California, where Frank Hawks owned orange groves. Hawks finished his junior year of high school at Citrus Union High School in Glendora. During this time he worked as a barnstorming pilot.He wassent to Phillips Exeter Academy in New Hampshire from 1913 to 1914; his family's wealth may have influenced his acceptance to the elite private school. Even though he was 17, he was admitted as a lowermiddleclassman, the equivalent of a sophomore. While in New England, Hawks often attended the theaters in nearby Boston. In 1914, Hawks returned to Glendora and graduated from Pasadena High School that year.Skilled in tennis, by 18 years old, Hawks won the United States Junior Tennis Championship. That same year, Hawks was accepted to Cornell University in Ithaca, New York, where he majored in mechanical engineeringand was a member of Delta Kappa Epsilon. His college friend Ray S. Ashbury remembered Hawks spending more of his time playing craps and drinking alcohol than studying, although Hawks was also known to be avoracious reader of popular American and English novels in college.While working in the film industry during his 1916 summer vacation, Hawks made an unsuccessful attempt to transfer to Stanford University. Hereturned to Cornell that September, leaving in April 1917 to join the Army when the United States entered World War I. He served as a lieutenant in the Aviation Section, U.S. Signal Corps. During World War I, hetaught aviators to fly, and he used these experiences as influence for future aviation films such as The Dawn Patrol (1930). Like many college students who joined the armed services during the war, he received adegree in absentia in 1918. Before Hawks was called for active duty, he returned to Hollywood and, by the end of April 1917, was working on a Cecil B. DeMille film.CareerEntering films (1916–1925)Howard Hawks's"}
+{"doc_id":"doc_279","qid":"","text":"Passage 1:Daphne and the PirateDaphne and the Pirate is a 1916 American drama film directed by  Christy Cabanne and starring Lillian Gish.CastLillian Gish as Daphne La TourElliott Dexter as Philip de MornayWalter Long as Jamie d'ArcyHoward Gaye as Prince HenriLucille Young as FanchetteRichard Cummings as Francois La TourJack Cosgrave as Duc de MornayJoseph SingletonGeorge C. Pearce (as George Pearce)W. E. LawrencePearl ElmoreJewel Carmen (as Jewell Carman)See alsoLillian Gish filmographyPassage 2:The Dream (1966 film)The Dream or Dream (Serbian: San) is a 1966 Yugoslavian war film directed by Mladomir Puriša Đorđević. It was entered into the 17th Berlin International Film Festival.CastLjubiša Samardžić as MaliMihajlo Janketić as DecakOlivera Katarina as Devojka (as Olivera Vuco)Mija Aleksić as CiganinLjuba Tadić as Mile GrkSinisa Ivetić as HeinrichAleksandar Stojković as BerberinBata Živojinović as LazarStole ArandjelovićFaruk Begolli as PetarViktor Starčić as DirigentKarlo Bulić as ProfesorZoran BečićPassage 3:The Pirate (1984 film)The Pirate (French: La Pirate) is a 1984 French drama film directed by Jacques Doillon. It was entered in the 1984 Cannes Film Festival.Plot summaryCastJane Birkin as AlmaMaruschka Detmers as CarolePhilippe Léotard as n° 5Andrew Birkin as Andrew, le mariLaure Marsac as L'enfantMichael Stevens as Concierge de l'hôtelDidier Chambragne as Le coursierArsène Altmeyer as Le taxiPassage 4:Morgan, the PirateMorgan, the Pirate (Italian: Morgan il pirata) is a 1960 Italian-French international co-production historical adventure film, directed by André de Toth and Primo Zeglio, and starring Steve Reeves as Sir Henry Morgan, the pirate who became the Lieutenant-Governor of Jamaica.PlotIn 1670, freeborn Englishman, Henry Morgan, is enslaved by the Spaniards in Panama and sold to Doña Inez, daughter of Governor Don José Guzmán. Morgan falls in love with his mistress, much to the dismay of her father, who punishes him by sentencing him to a life of hard labor aboard a Spanish galleon. Morgan leads his fellow slaves in mutiny, takes command of the ship, and becomes a pirate, without knowing that Doña Inez was on board, on her way to Spain. She becomes his prisoner, but spurns him when he declares his love in Tortuga. Not long after, Morgan's daring exploits on the Spanish Main pique the interest of King Charles II of England, and Morgan agrees to attack only Spanish vessels in return for English ships and men. Fearing for the security of Doña Inez, after the pirates discover her identity, he permits her to return to Panama. Once there, she warns Don José of Morgan's planned invasion, and the pirate ships are either easily sunk or routed by the alerted Spanish. Not giving up, Morgan leads his men overland and attacks the city from the rear. The maneuver succeeds, Panama falls to the pirates, and Doña Inez finally admits her love for Morgan.CastSteve Reeves as Sir Henry MorganValérie Lagrange as Doña InezIvo Garrani as Governor Don José GuzmánChelo Alonso as ConcepciónLydia Alfonsi as Doña MaríaArmand Mestral as François l'OlonnaisGiulio Bosetti as Sir Thomas ModyfordAngelo Zanolli as DavidGeorge Ardisson as WalterReleaseMorgan, the Pirate was released in Italy on 17 November 1960. It was released in the United States on 6 July 1961 with a 93-minute running time.ReceptionTurner Classic Movies' Jeff Stafford writes, \"Largely due to de Toth's direction, Morgan the Pirate is a lively, fast-paced entertainment with moments of tongue-in-cheek humor that is several notches in quality above the usual turgid, Italian-made spectacle. The striking cinematography, filmed in garish Eastmancolor, is by the award-winning Tonino Delli Colli who has lensed such art house classics as Pasolini's The Gospel According to St. Matthew (1964), Marco Bellocchio's China Is Near (1967), and Sergio Leone's Once Upon a Time in the West (1968). And the amusing, Ravel-inspired score by Franco Mannino strikes the perfect mock-epic tone. Among the more memorable set pieces are an exotic voodoo dance performed by Cuban sex bomb Chelo Alonso (a former dancer at the Folies Bergère in Paris), a battle at sea in which Morgan's men, disguised as women, storm a Spanish galleon in full drag, and the bloody, climactic sacking of Panama with shootings, stabbings and explosions galore.\"Passage 5:Prem Mhanje Prem Mhanje Prem AstaPrem Mhanje Prem Mhanje Prem Asta (Marathi: \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000) is a Marathi drama film released on 19 April 2013. Produced by Sachin Parekar and directed by Mrinal Dev-Kulkarni. The film stars are Mrinal Dev-Kulkarni, Sachin Khedekar, Pallavi Joshi, Sunil Barve, Suhas Joshi, Mohan Agashe and Smita Talwalkar. The film's music is by Milind Ingle and Surel Ingle.The film is based on the connection between love and marriage.PlotThe movie is a heart-warming story of two different individuals who at one point in their lives were married. A single mother along with her two daughters live with her mother-in-law. Her husband had abandoned them 4 years ago, but staying in the same city had never bothered to check on his family. The only thing he did in those 4 years was to send divorce papers, which his wife has not signed.Other side of the story revolves around a doctor who is a father to two kids. His ex-wife had to choose between staying home with family or career in USA and she chose career. But she never let the divorce hamper the relation she shares with her ex-husband. But this incident had definitely made her ex-husband depressed and alone.One eventful day at their kids school gets them together and a conversation begins, which blooms into something amazing. Until there is a twist in the tale.CastMrinal Dev-KulkarniSachin KhedekarPallavi JoshiSunil BarveSuhas JoshiMohan AgasheSmita TalwalkarRitika ShrotriCrewDirector - Mrinal Dev-KulkarniStory - Mrinal Dev-KulkarniProducer - Sachin ParekarCinematographer - Amlendu ChaudharyArt Director - Vinod Gunaji and Nitin BorkarMusic Director - Milind Ingle and Surel IngleLyricist - Kishore KadamSoundtrackThe music has been directed by Milind Ingle and Surel Ingle, while the lyrics have been provided by Kishore Kadam.Track listingPassage 6:The Pirate's DreamThe Pirate's Dream (Italian: Il pirata sono io!) is a 1940 Italian film directed by Mario Mattoli and starring Erminio Macario.PlotThe setting is Santa Cruz, in the second half of the eighteenth century. The Governor of the island, to ingratiate himself with the Viceroy, contrives to have the island assaulted from a mock pirate ship. The plan is to have a mock battle, defeat the aggressors and throw them back into the sea. The trouble is that the pirates really come...CastErminio Macario as JoséJuan de Landa as Bieco de la MuerteEnzo Biliotti as Il governatoreDora Bini as OliviaMario Siletti as Il viceréCarmen Navasqués as La viceregina (as Carmen Navascues)Agnese Dubbini as La nutriceKatiuscia Odinzova as LupitaCarlo Rizzo as PedroTino Scotti as Il barbierePassage 7:A Dream or Two AgoA Dream or Two Ago is a 1916 American silent drama film directed by James Kirkwood and starring Mary Miles Minter. It is one of approximately a dozen of Minter's films known to have survived. The film was restored in 2004 and was shown along with The Innocence of Lizette (1916) at a Dutch film festival.PlotAs described in Motography magazine:The mother of Millicent Hawthorne prefers society to home life and neglects her daughter. One day the child, then about five years old, runs away, intending to buy a gift for her mother. She is injured when a gang of thieves break into the jewelry store. Unable to remember her name or address, she is cared for by Mother Gumph, leader of the gang. In this environment she grows up, becoming a pickpocket of some ability. She is happy in this life and only in dreams remembers dimly another existence.One night she aids the gang in robbing the Hawthorne home, and at the sight of the familiar rooms she is puzzled but still unable to remember.In the meantime, her mother, overcome by remorse after her child is lost, gives up her frivolous diversions and devotes her time to charity. Her father, on the contrary, becomes the owner of a notorious café which he manages through Kraft. One day Kraft meets Millicent and offers her a position as a dancer. The first evening she dances Mrs. Hawthorne, on a tour of investigation, enters the place and is saddened at conditions.That evening Mrs. Hawthorne learns who really owns the café, and begs her husband to give it up, telling him of the pathetic little dancer she saw there. He refuses but changes his mind when a little later word is brought from a dying member of the gang of the real identity of Millicent and he knows that the dancer is his own daughter. Millicent is rescued from Kraft and through an operation her memory is restored. And only as a dream does she remember her career as a thief.CastMary Miles Minter - Millicent HawthorneDodo Newton - Millicent (age 5)Lizette Thorne - Her MotherClarence Burton - Her FatherJohn Gough - HumpyOrral Humphrey - KraftGertrude Le BrandtPassage 8:The Pirate and the Slave GirlThe Pirate and the Slave Girl (Italian: La scimitarra del Saraceno, also known as  The Pirate's Captive) is a 1959 Italian  adventure film written and directed  by Piero Pierotti and starring Lex Barker.PlotCaptain Drakut, called the \"Dragon\", is a ruthless Saracen pirate who makes the Mediterranean unsafe with his ship. On his forays he hijacks ships and kidnaps the women captured on the ships in order to later sell them as slaves to Turkish human traffickers in North Africa. The rogue pirate only becomes weak when it comes to one woman: the glow-eyed princess Miriam, ruler of a desert tribe of Arabs. One day, Drakut makes a crucial mistake when he raids the \"San Luca\" and kidnaps Bianca, who is traveling with him. She is the daughter of the governor of Rhodes, which currently belongs to the Republic of Venice. There were also several secret papers from the Doge of Venice on board. The governor is in dire need, as he has to assume that his Bianca could also be bartered away to some lecherous Arab despot. But he is lucky in his misfortune, because a certain Roberto Diego, a notorious adventurer and son of the once feared \"Red Corsair\", offers his father his help.  Diego has just been sentenced to incarceration because of high debts, but is willing to risk his life to save the beautiful little daughter and the secret documents for the good of Bianca and the Doge of Venice if his sentence is released. However, the governor has no idea that Roberto has very personal motives for bringing himself up as a rescuer and liberator. Because Roberto still has a score to settle with Drakut: He was once responsible for the death of Roberto's father. The governor agrees to this bargain, and Diego joins Drakut's crew on board. In the Catalan painter Francesco he found his only ally. As a newcomer on board, Roberto has to be very careful because people are very suspicious of him. When he tries to flirt with Bianca, Drakut's right hand man, the brutal Gamal, notices and flogs the Red Corsair's son. Soon, the general emotional chaos puts the whole rescue operation in danger, because Roberto falls in love with Drakut's hostage Bianca, while Miriam, the pirate captain's lover, falls in love with Roberto.     Arriving on North Africa's shores, Drakut travels on to an oasis. Miriam is the sole ruler here so far. Drakut, who once owed her his life, also has other reasons for being on good terms with Miriam, since he hopes to rule over her desert kingdom one day. In order to get rid of the annoying competitor for the favor of the exotic beauty, Drakut uses an opportunity to let Roberto die of thirst on the way to the oasis. But he is brave and tough enough to fight his way through to the saving goal. Diego begins to play a double game: on the one hand he loves the kidnapped Bianca, but he also keeps Miriam warm because he needs her help for his plan to finally put an end to Drakut.  In fact, Roberto's battle plan succeeds: he can save the kidnapped girls from the hands of greedy Turkish slave traders, wins Bianca's heart en passant and achieves that Drakut sinks in the sea with his pirate ship, which is set on fire, together with Miriam, who was killed in battle.CastLex Barker as The Dragon DrakutChelo Alonso as Princess MiriamMassimo Serato as Roberto DiegoGraziella Granata as  BiancaLuigi Tosi  as FranciscoBruno Corelli as  SelimMichele Malaspina as Gouvernor of RhodesAnna Arena as  ZairaEnzo Maggio as  CandelaDaniele Vargas as  GamalFranco Fantasia as  Captain VolanIgnazio BalsamoUbaldo LayGianni RizzoUgo SassoErminio SpallaAmedeo TrilliPassage 9:The Wonderful World of Captain KuhioThe Wonderful World of Captain Kuhio (\u0000\u0000\u0000\u0000\u0000, Kuhio Taisa, lit. \"Captain Kuhio\") is a 2009 Japanese comedy-crime film, directed by Daihachi Yoshida, based on Kazumasa Yoshida's 2006 biographical novel, Kekkon Sagishi Kuhio Taisa (lit. \"Marriage swindler Captain Kuhio\"), that focuses on a real-life marriage swindler, who conned over 100 million yen (US$1.2 million) from a number of women between the 1970s and the 1990s.The film was released in Japan on 10 October 2009.CastMasato Sakai - Captain KuhioYasuko Matsuyuki - Shinobu NaganoHikari Mitsushima - Haru YasuokaYuko Nakamura - Michiko SudoHirofumi Arai - Tatsuya NaganoKazuya Kojima - Koichi TakahashiSakura Ando - Rika KinoshitaMasaaki Uchino - Chief FujiwaraKanji Furutachi - Shigeru KurodaReila AphroditeSei AndoAwardsAt the 31st Yokohama Film FestivalBest Actor – Masato SakaiBest Supporting Actress – Sakura AndoPassage 10:TPB AFKTPB AFK: The Pirate Bay Away From Keyboard is a 2013 Swedish documentary film directed and produced by Simon Klose. It focuses on the lives of the three founders of The Pirate Bay – Peter Sunde, Fredrik Neij, and Gottfrid Svartholm – and the Pirate Bay trial. Filming began sometime in 2008, and concluded on 28 February 2012.ProductionThe film's website was launched on 28 August 2010, along with a Kickstarter campaign to raise US$25,000 to hire an editor after the Court of Appeal trial. The campaign was fully funded within three days and raised $51,424 in total. In February 2011, the Swedish Arts Grants Committee (Swedish: Konstnärsnämnden) granted the project an additional 200,000 SEK (≈$30,000).ReleaseThe full film was released under the Creative Commons BY-NC-ND license onto The Pirate Bay, YouTube, and other BitTorrent sites. Additionally, a four-minute shorter version with certain copyright restricted content removed was released at the same time under the Creative Commons BY-NC-SA license to allow remixing.TPB AFK premiered at the 63rd Berlin International Film Festival on 8 February 2013 – opening the festival's 'Panorama Dokumente' section – coinciding with its free online release on YouTube and The Pirate Bay.On 19 February 2013, the film was broadcast on BBC Four in the UK as part of the BBC's Storyville documentary series.ReceptionPeter Sunde, one of the subjects of the documentary, wrote that he has \"mixed feelings about the movie and the release of it\". Whilst he likes the technical side of the documentary, he has issues with some scenes and general attitude of the documentary; this includes too much focus put on the trial, too dark depiction of it, and portraying himself beyond self-recognition. Despite having such different views on the subject, he regards the director as a friend.Censorship by HollywoodIn May 2013, Hollywood studios – such as Viacom, Paramount, Fox and Lionsgate – started to censor Google Search links pointing to the documentary, an action criticized by Simon Klose. In June, after the initial controversy, HBO and Lionsgate sent additional bogus DMCA takedown notices to Google requesting the removal of links related to TPB AFK. In response, Simon Klose contacted Chilling Effects, who recommended him to file a DMCA counter-notice once he had found out whether Google had taken down the links or not. Two months later, the censored links were reinstated only after public complaints made by Klose.See alsoGood Copy Bad CopyPiracy is theftMay 2006 police raid of The Pirate BayRiP!: A Remix ManifestoSteal This Film"}
+{"doc_id":"doc_280","qid":"","text":"Passage 1:Nancy BurneNancy Burne (23 December 1907 – 25 March 1954) was an English stage and film actress.Born in Chorlton, Lancashire, she began her film career at British International Pictures, starringalongside comedians such as Gene Gerrard, Stanley Lupino and Will Hay. Most of her subsequent screen appearances were as a leading lady in quota quickies.She starred alongside John Loder in the 1935 romanticcomedy It Happened in Paris, which marked Carol Reed's debut as director. In 1937 she had a supporting role in the independent film Thunder in the City, an expensive drama starring Edward G. Robinson which was amajor financial and critical failure. Her final screen appearance was in the 1939 horseracing film Flying Fifty-Five.FilmographyThe Love Nest (1933)The Butterfly Affair (1933)Facing the Music (1933)The Warren Case(1934)Irish Hearts (1934)Song at Eventide (1934)Dandy Dick (1935)Lend Me Your Husband (1935)Trust the Navy (1935)Once a Thief (1935)Old Roses (1935)It Happened in Paris (1935)Reasonable Doubt (1936)AWife or Two (1936)Royal Eagle (1936)Skylarks (1936)Knights for a Day (1937)Thunder in the City (1937)John Halifax (1938)Flying Fifty-Five (1939)Passage 2:The Flying Fifty-Five (1924 film)The Flying Fifty-Five is a1924 British silent sports film directed by A. E. Coleby and starring Lionelle Howard, Frank Perfitt and Lionel d'Aragon. It is based on a 1922 novel of the same title by Edgar Wallace, and was remade as a sound film in1939.CastLionelle Howard as Reggie CambreyStephanie Stephens as Stella BarringtonBrian B. Lemon as Lord FountwellFrank Perfitt as Joanh UrquhartLionel d'Aragon as Sir Jacques GregoryBert Darley as HonourableClaude BarringtonAdeline Hayden Coffin as AuntJohn Alexander as JebsonJohnny ButtAnnie EsmondFurther readingLow, Rachael. The History of the British Film 1918-1929. George Allen & Unwin, 1971.Passage 3:TheFlying Fifty-FiveThe Flying Fifty-Five may refer to:The Flying Fifty-Five (1924 film), a British silent sports filmFlying Fifty-Five, a 1939 British sports drama filmPassage 4:2001–02 UEFA Champions League second groupstageIn the second group stage of the 2001–02 UEFA Champions League, eight winners and eight runners-up from the first group stage were drawn into four groups of four teams, each containing two group winnersand two runners-up. Teams from the same country or from the same first round group could not be drawn together. The top two teams in each group advanced to the quarter-finals.SeedingSeeding was determined bythe UEFA coefficients and participants' first group stage positions. Four best-ranked group winners were seeded in Pot 1, the remaining four in Pot 2. Group runners-up were seeded to Pots 3 and 4accordingly.Tie-breaking criteriaBased on Article 7.06 in the UEFA regulations, if two or more teams are equal on points on completion of the group matches, the following criteria will be applied to determine therankings:higher number of points obtained in the group matches played among the teams in question;superior goal difference from the group matches played among the teams in question;higher number of goalsscored away from home in the group matches played among the teams in question;superior goal difference from all group matches played;higher number of goals scored;higher number of coefficient points accumulatedby the club in question, as well as its association, over the previous five seasons.GroupsGroup AGroup BGroup CGroup DNotesPassage 5:Jane PiersonJane Pierson was a French film actress. She appeared in fifty fivefilms between 1924 and 1952.Selected filmographyThe Imaginary Voyage (1926)Captain Rascasse (1927)The Marriage of Mademoiselle Beulemans (1927)Little Devil May Care (1928)The Maelstrom of Paris (1928)TheWonderful Day (1929)Under the Roofs of Paris (1930)Everybody Wins (1930)Le Million (1931)You Will Be My Wife (1932)Youth (1933)La tête d'un homme (1933)Forty Little Mothers (1936)The Brighton Twins(1936)Fire in the Straw (1939)The Stairs Without End  (1943)Passage 6:Flying Fifty-FiveFlying Fifty-Five is a 1939 British sports-drama film directed by Reginald Denham and starring  Derrick De Marney, Nancy Burne,Marius Goring, John Warwick and Peter Gawthorne. It was made by Admiral Films at Welwyn Studios. The film is based on a 1922 novel of the same name by Edgar Wallace which had previously been made into a 1924silent film The Flying Fifty-Five.PlotAfter being disinherited by his wealthy father, an amateur jockey, Bill Urquhart goes to work under an assumed name (Bill Hart) at a rural racing stables owned and run by StellaBarrington and her drunken brother, Charles, who is an old friend of Bill's. Confusion arises when Bill is mistakenly reported to have been murdered.Partial castDerrick De Marney as Bill UrquhartNancy Burne as StellaBarringtonMarius Goring as Charles BarringtonJohn Warwick as JebsonPeter Gawthorne as Jonas UrquhartD. A. Clarke-Smith as Jacques GregoryAmy Veness as Aunt ElizaRonald Shiner as Scrubby OaksBilly Bray asCheerfulFrancesca Bahrle as ClareTerry-Thomas as Young manNorman Pierce as CreditorBasil McGrail as JockeySee alsoThe Flying Fifty-Five (1924)List of films about horse racingPassage 7:ApproachingMidnightApproaching Midnight is a 2013 American independent drama film directed, written, and produced by Sam Logan Khaleghi, and starring Jana Kramer, Sam Logan Khaleghi, Brandon T. Jackson, and Mia Serafino.Approaching Midnight was filmed in Michigan, United States.PremiseA U.S. Army staff sergeant (Sam Logan Khaleghi) fights the threat of corruption and deception in his hometown after returning from battle.CastJanaKramer.... AspenSam Logan Khaleghi.... Staff Sergeant Wesley KentBrandon T Jackson.... Corporal Artie AJ CulpepperMia Serafino.... WhisperJeff Stetson.... Mayor Steven MalvernePatrick Sarniak.... Malverne'sAttorneyProductionDevelopmentApproaching Midnight is directed, written, and directed by Sam Logan Khaleghi. Khaleghi chose to film Approaching Midnight in Michigan because he loves the state and wanted to featurethe amazing architecture and geography. American Legion members were a part of making the film as they stood in as extras and an American Legion honor guard appears in the film.FilmingApproaching Midnight wasfilmed in Detroit, Farmington, and West Bloomfield, Michigan. The war sequences in the movie were filmed in Milan near Ann Arbor.ReleaseIn July 2013, Monterey Media bought the United States distribution rights andwill release the film in the United States in Fall 2013. Approaching Midnight had its world theatrical premiere on August 27, 2013 at Emagine Royal Oak. The film was also released at the American Legion NationalConvention in Houston, Texas.Passage 8:Jackie ParisCarlo Jackie Paris (September 20, 1924 – June 17, 2004) was an American jazz singer and guitarist. He is best known for his recordings of \"Skylark\" and \"'RoundMidnight\" from the late 1940s to the early 1950s.Music careerEarly yearsParis was born and raised in Nutley, New Jersey, to an Italian-American family, where he attended Nutley High School. His uncle Chick had beena guitarist with Paul Whiteman's orchestra. Paris was a popular child entertainer in vaudeville who shared the stage with Bill \"Bojangles\" Robinson and the Mills Brothers. He tap danced from his youth and into his yearsin the US Army.After serving in the army during World War II, he was inspired by his friend Nat King Cole to assemble a trio featuring himself on guitar and vocals. The Jackie Paris Trio was a hit at the Onyx Club onNew York's 52nd Street.Recording and performingHe recorded from the 1940s into the 2000s. His albums include Songs by Jackie Paris (EmArcy), Jackie Paris Sings the Lyrics of Ira Gershwin (Time), and The Song IsParis (Impulse!). The first song that he recorded was \"Skylark\", on one of two sessions made by his trio for MGM Records in 1947. He recorded Thelonious Monk's \"Round Midnight\", which was produced by the criticLeonard Feather and featured a young Dick Hyman on piano.In 1949, he toured with the Lionel Hampton Orchestra and was invited to join Duke Ellington's Orchestra, but he was too exhausted to take it. Paris was partof the Lionel Hampton Orchestra that played at the famed Cavalcade of Jazz in Los Angeles at Wrigley Field which was produced by Leon Hefflin Sr. on July 10, 1949. They did a second concert at Lane Field in San Diegoon September 3, 1949. He was the only vocalist to tour as a regular member of the Charlie Parker Quintet. Unfortunately, no recordings exist of the Parker–Paris combination, but there is a photograph of the twoworking together. He worked often with Charles Mingus, who called Paris his favorite singer and recorded with him often, including 1952's \"Paris in Blue\" and \"Duke Ellington's Sound of Love\" on the album Changes Twoin 1974.During the 1960s–70s, Paris frequently performed with his wife at the time Anne Marie Moss.Paris performed or recorded with Bobby Scott, Charlie Shavers, Coleman Hawkins, Dizzy Gillespie, Donald Byrd,Eddie Costa, Gigi Gryce, Hank Jones, Joe Wilder, Johnny Mandel, Lee Konitz, Max Roach, Neal Hefti, Oscar Pettiford, Ralph Burns, Terry Gibbs, Tony Scott, and Wynton Kelly.A documentary about him, 'Tis Autumn: TheSearch for Jackie Paris came out in 2006.RecognitionHe won many jazz polls and awards, including those of Down Beat, Playboy, Swing Journal, and Metronome. In 1953, he was named Best New Male Vocalist of theYear in the first Down Beat Critics Poll. The winning female vocalist was Ella Fitzgerald, who repeatedly named Paris as one of her favorites.In 2001, Paris played to a standing room crowd – and to a standing ovation –at New York's Birdland jazz club in Times Square. He was virtually the only performer to have appeared at every incarnation of the famed night spot, from the legendary Birdland of the 1950s to the present.He waspraised by comic Lenny Bruce, who shared the bill with him on many occasions. Bruce said, \"I dig his talent. The audience loves him and he gets laughs. He is too much!\"Awards and honorsNew Star Male Vocalist, DownBeat Critics Poll, 1953Best Male Vocalist, Playboy Musicians & Critics Poll, 1957–1961Gold Disc Award, Lucky to Be Me, Swing Journal, 1989DiscographySongs by Jackie Paris (Wing, 1956)Skylark (Brunswick, 1957)TheJackie Paris Sound (EastWest, 1958)The Song Is Paris (Impulse!, 1962)Sings the Lyrics of Ira Gershwin (Time, 1962)Live at the Maisonette with Anne Marie Moss (Differant Drummer, 1975)Jackie Paris (Audiophile,1981)Nobody Else but Me (Audiophile, 1988)Lucky to Be Me (EmArcy, 1989)Love Songs (EmArcy, 1990)The Intimate Jackie Paris (Hudson, 2001)Passage 9:55 (number)55 (fifty-five) is the natural number following 54and preceding 56.Mathematics55 is a triangular number (the sum of the consecutive numbers 1 to 10), and a doubly triangular number.the 10th Fibonacci number.  It is the largest Fibonacci number to also be atriangular number.a square pyramidal number (the sum of the squares of the integers 1 to 5) as well as a heptagonal number, and a centered nonagonal number.In base 10, it is a Kaprekar number.55 is a multiple of 5and 11, 5 being the prime index of 11.ScienceThe atomic number of caesium.AstronomyMessier object M55, a magnitude 7.0 globular cluster in the constellation SagittariusThe New General Catalogue object NGC 55, amagnitude 7.9 barred spiral galaxy in the constellation SculptorMusicThe name of a song by Kasabian. The song was released as a B side to Club Foot and was recorded live when the band performed at London's BrixtonAcademy.\"55\", a song by Mac Miller\"I Can't Drive 55\", a song by Sammy Hagar\"Ol' '55\", a song by Tom WaitsOl' 55 (band), an Australian rock band.Primer 55 an American bandStation 55, an album released in 2005 byCristian Vogel55 Cadillac, an album by Andrew W.K.TransportationIn the United States, the National Maximum Speed Law prohibited speed limits higher than 55 miles per hour (90 km/h) from 1974 to 1987Film55 Daysat Peking a film starring Charlton Heston and David NivenYearsAD 5555 BC175518551955Other usesGazeta 55, an Albanian newspaperAgitation and Propaganda against the State, also known as Constitution law 55, alaw during Communist Albania.The code for international direct dial phone calls to BrazilA 55-gallon drum for containing oil, etc.The Élysée, the official residency of the French Republic president, which address is 55 ruedu Faubourg-Saint-Honoré in Paris.See also55th Regiment of Foot (disambiguation)Channel 55 (disambiguation)Type 55 (disambiguation)Class 55 (disambiguation)List of highways numbered 55Passage 10:The FlyingFifty-Five (1924 film)The Flying Fifty-Five is a 1924 British silent sports film directed by A. E. Coleby and starring Lionelle Howard, Frank Perfitt and Lionel d'Aragon. It is based on a 1922 novel of the same title by EdgarWallace, and was remade as a sound film in 1939.CastLionelle Howard as Reggie CambreyStephanie Stephens as Stella BarringtonBrian B. Lemon as Lord FountwellFrank Perfitt as Joanh UrquhartLionel d'Aragon as SirJacques GregoryBert Darley as Honourable Claude BarringtonAdeline Hayden Coffin as AuntJohn Alexander as JebsonJohnny ButtAnnie EsmondFurther readingLow, Rachael. The History of the British Film 1918-1929.George Allen & Unwin, 1971."}
+{"doc_id":"doc_281","qid":"","text":"Passage 1:Peggy PettittPeggy Pettitt (born February 8, 1950) is an American actress, dancer, teacher, playwright, and storyteller. Pettitt is best known for her role as Billie Jean in the 1972 family–drama film Black Girl,starring alongside Brock Peters and Claudia McNeil. Pettitt is a native of St. Louis, Missouri.Playwright and storytellerThe centerpiece of Pettitt's theater career is a unique style of solo performance rooted inAfrican-American storytelling. She developed this form to portray a spectrum of characters. Related by blood and circumstance, these characters shed light on the multifaceted history of African American men andwomen. And they tell \"stories addressing important issues of our time.\" In collaboration with director Remy Tissier, she has created over 10 original full-length plays. These examine issues of domestic violence, sexualabuse, cross-generational differences, voting registration, the Civil Rights Movement, identity and the world HIV/Aids crisis. Titles include Women Preachers, Caught Between the Devil and The Deep Blue Sea,Tricksters: All Over You Like White On Rice, Wrapped Up, Tied Up and Tangled, Mollie Oil BETWIXT, Wild Steps and In The Spirit For Real.One play was the product of her 2000-01 Fulbright Fellowship to Senegal: TheSpirit Factor. An original play, it's based on the living history and the art of storytelling in West Africa. Another play, Voyage, was presented at the Avignon Off Festival in 2010. It explores American history through boththe blues and a spiritual heritage that lives along the Mississippi River but originated in West Africa. Pettitt has presented her work at the Saint-Laurent-du-Maroni Les Rencontres du Bout des Mondes InternationalFestival in 2011 (French Guiana). In addition to the Fulbright Fellowship, she has received numerous other grants and awards. These include grants from the National Endowment for the Arts and the New YorkFoundation for the Arts. Pearls of Wisdom is a storytelling ensemble of the Elders Share the Arts in N.Y. City. Pettitt is its founding artistic director, and with the Pearls of Wisdom, she was inducted in 2007 into CityLore's People's Hall of Fame.ActressIn 1972, during the era of Blaxploitation movies, Pettitt starred in Black Girl, her first feature film. Pettitt was nominated for Best Actress by the NAACP for her role in Black Girl,written by J.E. Franklin (from her 1969 WGBH (Boston) teleplay and her 1971 play), and directed by Ossie Davis. Another of her noteworthy roles was at Lincoln Center as Miss Lindsey in Mule Bone, Zora Neale Hurstonand Langston Hughes’ historical comedy.TeacherPettitt has professional experience and training in directing and storytelling workshops. She teaches a step-by-step process of creating, writing and performing originalmaterial. Partnering with a wide array of organizations, she has helped scores of diverse groups present their own original stories as both theater and storytelling performances. She also works extensively with dramatherapists, social workers and educators in public schools.Both in the U.S. and abroad, Pettitt has worked at numerous schools and educational institutions. Her teaching experience extends to facilities such as homelessshelters, prisons, drug treatment centers, VA hospitals, and senior and adolescent centers. Additionally she has ample experience working with the emotionally and physically disabled and their families. She currentlyteaches self-scripting at New York University's Experimental Theatre Wing.BiographyIn 1974, after earning a BA from Antioch College, she moved to London on a Thomas J. Watson Fellowship. Pettitt now resides in NewYork City. She has been married since 1982 to writer, director and painter Rémy Tissier.Awards and honors2008, Story gatherer for \"Another River Flows\" recipient of the Pennsylvania Human Relation Award2010,Voyage was presented at the Avignon, France Off FestivalNominated for an NAACP Image Award for role in Black Girl2007, Ms. Pettitt and the Pearls of Wisdom were inducted into New York City Lore's People's Hall ofFameRecipient of New York City's Arts In Education Roundtable Award for sustained achievement in theaterHonored by the William Hodson Senior Center, The Roundtable Senior Center and Elders Share the Arts for\"Commitment to the art of storytelling that transforms lives and communities\"2011, Performance Space 122 founders and board pioneers Shining Star AwardIn booksOut of Character, Mark Russell, 1997PerformingDemocracy, Susan Chandler Haedicke, 2004Mapping Memories, Pam Schweitzer, 2004Local Acts, An International Anthology, Jan Cohen Cruz, 2005Ensemble Works, An Anthology, Ferdinand Lewis, 2005ReminiscenceTheatre: Making Theatre from Memory, Pam Schweitzer, 2007Forget Memory: Creating Better Lives For People With Dementia, Ann Basting, 2009.== Notes ==Passage 2:Maksim KedrinMaksim Kedrin (born 21September 1982 in Beloretsk) is a Russian former alpine skier who competed in the 2002 Winter Olympics.External linkssports-reference.comMaksim Kedrin at FIS (alpine)Maksim Kedrin at OlympediaPassage3:François van der MerweFrançois van der Merwe is a South African professional rugby union player. He plays at lock for Lyon Olympique in the Top 14. He is older brother of Flip van der MerwePassage 4:FilipArsenijevićFilip Arsenijević (Serbian Cyrillic: Филип Арсенијевић; born 2 September 1983) is a Serbian footballer. He is older brother of Nemanja Arsenijević.Club careerBorn in Titovo Užice, SR Serbia, SFR Yugoslavia,between 2001 and 2009 he played in Serbian clubs FK Sloboda Užice, OFK Beograd, FK Mačva Šabac, FK Sevojno and FK Javor Ivanjica. Between 2009 and 2011 he has been in Greece playing with Panthrakikos in theGreek Super League.On 30 August 2011 he returned to Serbia and signed a one-year deal with top league club FK Jagodina. Later, he spent the 2012 season playing with the Kazakhstan Premier League team FCShakhter Karagandy and winning the national title, before returning to Jagodina by early 2013 in time to help the team with the Serbian Cup.HonoursJavor IvanjicaSerbian First League: 2007–08ShakhterKaragandyKazakhstan Premier League: 2012JagodinaSerbian Cup: 2013Passage 5:Aleksandar LomaAleksandar Loma (Serbian: Александар Лома; born March 2, 1955) is a Serbian philologist, Indo-Europeanist and acorresponding member of the Serbian Academy of Science and Arts since October 30, 2003.Aleksandar Loma emphasized that Serbian epic poetry about Kosovo events is older than the events it describes, having itsorigin in the pre-Christian and pre-Balkan periods of Serbian history.Bibliography\"Sloveni i Albanci do XII veka u svetlu toponomastike\" [Slavs and Albanians till the 12th century in the light of the toponomastics],Stanovništvo slovenskog porijekla u Albaniji (in Serbian), Cetinje, pp. 279–327, 1990, OCLC 439986558Ogledna sveska, 1998, Department for etymology of Institute for Serbian language of SANU(coauthorship)Ljubinko Radenković, ed. (2002), Prakosovo : slovenski i indoevropski koreni srpske epike (in Serbian), Belgrade: SANU Institute of Balkanology, ISBN 9788671790338, OCLC 54098329Etymologicaldictionary of Serbian language, 2003 (coauthorship)Passage 6:Robin KačaniklićRobin Kačaniklić (Serbian Cyrillic: Робин Качаниклић, Macedonian: Робин Качаниклиќ; born 25 August 1988) is a Swedish footballer whoplays for Real Åstorp FF as a midfielder. He is older brother to the former Swedish national team player Alexander Kačaniklić.Passage 7:Peggie CrombiePeggie (or Peggy) Crombie (1901–1984) was an Australianmodernist painter. She was a member of the Melbourne Society of Women Painters and Sculptors.BiographyCrombie was born in 1901 in Melbourne, Australia. In 1921 she studied art at Stott's Commercial Art TrainingInstitute. From 1922 through 1928 she attended the National Gallery Art School in Melbourne, where she was taught by Lindsay Bernard Hall, William Beckwith McInnes and George Bell.Crombie exhibited her work withmodernist groups in Melbourne, specifically The Embryos, the 1932 Group, the New Art Club, the Melbourne Society of Women Painters and Sculptors, and the Victorian Artists Society.Crombie died in 1984.Externallinksimages of Peggy Crombie's paintings on MutualArtPeggy Crombie [Australian art and artists file], State Library VictoriaPassage 8:Ognen StojanovskiOgnen Stojanovski (Macedonian: Огнен Стојановски; bornJanuary 25, 1984) is a Macedonian professional basketball player. He was under contract with MZT Skopje until 2014. He is 1.91 m (6 ft 3 in) in height and plays at the point guard position.Born in Skopje, Republic ofMacedonia, he is older brother of the twins Vojdan Stojanovski and Damjan Stojanovski, who are also basketball players.Achievements RabotničkiMacedonian League Champion - 2003, 2004, 2005, 2006,2009Macedonian Cup Winner - 2003, 2004, 2005, 2006 Feni IndustriesMacedonian League Champion - 2010, 2011Macedonian Cup Winner - 2010 MZT SkopjeMacedonian League Champion - 2012, 2013,2014Macedonian Cup Winner - 2012, 2013, 2014Passage 9:Peggy Jones (musician)Peggy Jones (later Malone, July 19, 1940 – September 16, 2015), known on stage as Lady Bo in recognition of her relationship with BoDiddley, was an American musician. A pioneer of rock and roll, Jones played rhythm guitar in Bo Diddley's band in the late 1950s and early 1960s, becoming one of the first (perhaps the first) female rock guitarists in ahighly visible rock band, and was sometimes called the Queen Mother of Guitar.Early lifeBorn in Harlem, New York City, in 1940, Jones grew up in the Sugar Hill section, and attended the High School of Performing Artswhere she studied tap and ballet dance and trained in opera. Even from a very young age, she found herself completely consumed with music; purchasing her first guitar at the age of 15. She was briefly in a localdoo-wop group, the Bop Chords, which disbanded in 1957.  A chance meeting with Bo Diddley, who was impressed to see a girl with a guitar case, led to an invitation to join Diddley's band as a guitarist and singer.  Sherecorded with him from 1957 to 1961 or 1963, appearing on singles including \"Hey! Bo Diddley\", \"Road Runner\", \"Bo Diddley's A Gunslinger\", and the instrumental \"Aztec\" which she wrote and played all the guitarparts. However, throughout her career, Peggy Jones always strived to be an independent artist and was involved in an R&B band known as the Jewels, among other various names.Throughout her time with Diddley,Jones maintained the separate career she had begun independently as a songwriter, session musician, and bandleader.  She led her own band, the Jewels (also known as the Fabulous Jewels, Lady Bo and the FamilyJewels, and various other names, but not to be confused with The Jewels), which became a top R&B band on the New York – Boston east coast club scene the 1960s and 1970s.  She eventually left Diddley's band toconcentrate on the Jewels and other activities.  She was replaced with another female guitarist, Norma-Jean Wofford (\"The Duchess\").Jones played guitar on Les Cooper's 1962 instrumental \"Wiggle Wobble\" andpercussion on the 1967 hit \"San Franciscan Nights\" by Eric Burdon and The Animals and other recordings and later backed James Brown and Sam & Dave.  She remained musically active well into the 21st century.SoloworkShe left Bo Diddley's band in 1961 to focus on her work with the Jewels. In 1970, she re-joined Bo Diddley’s band, bringing The Jewels with her.Jones was known for playing the Roland guitar synthesizer, anexperimental instrument not typically heard in rhythm and blues music.RelationshipsJones met Bo Diddley in 1956 backstage after playing with the Bop-Chords in the Apollo Theater in the neighborhood of Harlem. Manyassumed that Lady Bo and Bo Diddley were a couple but that was not the case. She was married to the band’s bass player, Wally Malone.Malone lived in the mountains of western Pennsylvania when he first met Jonesin a New York club in the 1960s. Later, Jones invited Malone into her band in 1968 and got married. They both moved to San Jose, California where Jones played at a show with Bo Diddley and that was the time shereceived her nickname, “Lady Bo.” In 1962 Jones left Bo Diddley and recruited The Duchess to play for him. In 1979, Malone and Jones moved to Boulder Creek.DeathAt the age of 75, Peggy Jones died on September16, 2015, leaving behind her husband, Wally Malone. He announced his wife’s death via Facebook, saying, “Today is one of the saddest days of my life. My wife and partner of 47 years has been called up to that greatrock & roll band in the heavens to be reunited with Bo Diddley, Jerome Green and Clifton James. The last hour and a quarter I spent by her side and the last thing I said to her was the quote above regarding Diddley andband. The other thing I added at the end of it is that band doesn’t have a bass player and for them to please hold that seat until it is my time to join them. The incredible part of this is immediately after saying this toher there was a quick sound that came from her and right then her heart stopped beating. Many of you know about the Bo Diddley connection but in case not my wife’s professional stage name is LadyBo.”DiscographyWith Bo DiddleyGo Bo Diddley (Checker, 1959)Have Guitar Will Travel (Checker, 1960)Bo Diddley in the Spotlight (Checker, 1960)Bo Diddley Is a Gunslinger (Checker, 1960)Bo Diddley Is a Lover(Checker, 1961)Bo Diddley's a Twister (Checker, 1962)Bo Diddley (Checker, 1962)Passage 10:Jovan MarkovskiJovan Markovski (born March 28, 1988) is a Macedonian professional basketball small forward who lastplayed for TFT. He is older brother of Gorjan Markovski who is also basketball player and plays for KumanovoExternal links[1][2]"}
+{"doc_id":"doc_282","qid":"","text":"Passage 1:Chang YiThe Yellow Emperor, also known as the Yellow Thearch or by his Chinese name Huangdi (), is either an individual deity (shen) in Chinese religion, one of the legendary Chinese sovereigns and cultural heroes included among the mytho-historical Three Sovereigns and Five Emperors, or a part of the Five Regions' Highest Deities (Chinese: \u0000\u0000\u0000\u0000; pinyin: W\u0000fāng Shàngdì). Calculated by Jesuit missionaries, who based their work on various Chinese chronicles, and later accepted by the twentieth-century promoters of a universal calendar starting with the Yellow Emperor, Huangdi's traditional reign dates are 2697–2597 or 2698–2598 BC.Huangdi's cult became prominent in the late Warring States and early Han dynasty, when he was portrayed as the originator of the centralized state, as a cosmic ruler, and as a patron of esoteric arts. A large number of texts – such as the Huangdi Neijing, a medical classic, and the Huangdi Sijing, a group of political treatises – were thus attributed to him. Having waned in influence during most of the imperial period, in the early twentieth century Huangdi became a rallying figure for Han Chinese attempts to overthrow the rule of the Qing dynasty, which they considered foreign because its emperors were Manchu people. To this day the Yellow Emperor remains a powerful symbol within Chinese nationalism. Traditionally credited with numerous inventions and innovations – ranging from the lunar calendar (Chinese calendar), Taoism, wooden houses, boats, carts, \"the compass needle\", \"the earliest forms of writing\", civilization and its benefits, and/or an early form of football – the Yellow Emperor is now regarded as the initiator of Han culture (later Chinese culture).Names\"Huangdi\": Yellow Emperor, Yellow ThearchUntil 221 BC when Qin Shi Huang of the Qin dynasty coined the title huangdi (\u0000\u0000) – conventionally translated as \"emperor\" – to refer to himself, the character di \u0000 did not refer to earthly rulers but to the highest god of the Shang dynasty (c. 1600–1046 BC) pantheon. In the Warring States period (c. 475–221 BC), the term di on its own could also refer to the deities associated with the five Sacred Mountains of China and colors. Huangdi (\u0000\u0000), the \"yellow di\", was one of the latter. To emphasize the religious meaning of di in pre-imperial times, historians of early China commonly translate the god's name as \"Yellow Thearch\" and the first emperor's title as \"August Thearch\", in which \"thearch\" refers to a godly ruler.In the late Warring States period, the Yellow Emperor was integrated into the cosmological scheme of the Five Phases, in which the color yellow represents the earth phase, the Yellow Dragon, and the center. The correlation of the colors in association with different dynasties was mentioned in the Lüshi Chunqiu (late 3rd century BC), where the Yellow Emperor's reign was seen to be governed by earth. The character huang \u0000 (\"yellow\") was often used in place of the homophonous huang \u0000, which means \"august\" (in the sense of 'distinguished') or \"radiant\", giving Huangdi attributes close to those of Shangdi, the Shang supreme god.Xuanyuan and YouxiongThe Records of the Grand Historian, compiled by Sima Qian in the first century BC, gives the Yellow Emperor's name as \"Xuan Yuan\" (traditional Chinese: \u0000\u0000; simplified Chinese: \u0000\u0000; pinyin: Xuān Yuán < Old Chinese (B-S) *q\u0000a[r]-[\u0000]\u0000a[n], lit. \"Chariot Shaft\"). Third-century scholar Huangfu Mi, who wrote a work on the sovereigns of antiquity, commented that Xuanyuan was the name of a hill where Huangdi had lived and that he later took as a name. The Classic of Mountains and Seas mentions a Xuanyuan nation whose inhabitants have human faces, snake bodies, and tails twisting above their heads; Yuan Ke, a contemporary scholar of early Chinese mythology, \"noted that the appearance of these people is characteristic of gods and suggested that they may reflect the form of the Yellow Thearch himself\". The Qing dynasty scholar Liang Yusheng (\u0000\u0000\u0000, 1745–1819) argued instead that the hill was named after the Yellow Emperor. Xuanyuan is also the name of the star Regulus in Chinese, the star being associated with Huangdi in traditional astronomy. He is also associated to the broader constellations Leo and Lynx, of which the latter is said to represent the body of the Yellow Dragon  (\u0000\u0000 Huánglóng), Huangdi's animal form.Huangdi was also referred to as \"Youxiong\" (\u0000\u0000; Y\u0000uxióng). This name has been interpreted as either a place name or a clan name. According to British sinologist Herbert Allen Giles (1845–1935), that name was \"taken from that of [Huangdi's] hereditary principality\". William Nienhauser, a modern translator of the Records of the Grand Historian, states that Huangdi was originally the head of the Youxiong clan, which lived near what is now Xinzheng in Henan. Rémi Mathieu, a French historian of Chinese myths and religion, translates \"Youxiong\" as \" possessor of bears\" and links Huangdi to the broader theme of the bear in world mythology. Ye Shuxian has also associated the Yellow Emperor with bear legends common across northeast Asia people as well as the Dangun legend.Other namesSima Qian's Records of the Grand Historian describes the Yellow Emperor's ancestral name as Gongsun (\u0000\u0000).In Han dynasty texts, the Yellow Emperor is also called upon as the \"Yellow God\" (\u0000\u0000 Huángshén). Certain accounts interpret him as the incarnation of the \"Yellow God of the Northern Dipper\" (\u0000\u0000\u0000\u0000 Huángshén Běid\u0000u), another name of the universal god (Shangdi \u0000\u0000 or Tiandi \u0000\u0000). According to a definition in apocryphal texts related to the Hétú \u0000\u0000, the Yellow Emperor \"proceeds from the essence of the Yellow God\".As a cosmological deity, the Yellow Emperor is known as the \"Great Emperor of the Central Peak\" (\u0000\u0000\u0000\u0000 Zhōngyuè Dàdì), and in the Shizi as the \"Yellow Emperor with Four Faces\" (\u0000\u0000\u0000\u0000 Huángdì Sìmiàn). In old accounts the Yellow Emperor is identified as a deity of light (and his name is explained in the Shuowen jiezi to derive from guāng \u0000, \"light\") and thunder, and as one and the same with the \"Thunder God\" (\u0000\u0000 Léishén), who in turn, as a later mythological character, is distinguished as the Yellow Emperor's foremost pupil, such as in the Huangdi Neijing.HistoryThe Chinese historian Sima Qian – and much Chinese historiography following him – considered the Yellow Emperor to be a more historical figure than earlier legendary figures such as Fu Xi, Nüwa, and Shennong. Sima Qian's Records of the Grand Historian begins with the Yellow Emperor, while passing over the others.Throughout most of Chinese history, the Yellow Emperor and the other ancient sages were considered to be historical figures. Their historicity started to be questioned in the 1920s by historians such as Gu Jiegang, one of the founders of the Doubting Antiquity School in China. In their attempts to prove that the earliest figures of Chinese history were mythological, Gu and his followers argued that these ancient sages were originally gods who were later depicted as humans by the rationalist intellectuals of the Warring States period. Yang Kuan, a member of the same current of historiography, noted that only in the Warring States period had the Yellow Emperor started to be described as the first ruler of China. Yang thus argued that Huangdi was a later transformation of Shangdi, the supreme god of the Shang dynasty's pantheon.Also in the 1920s, French scholars Henri Maspero and Marcel Granet published critical studies of China's accounts of high antiquity. In his Danses et légendes de la Chine ancienne [\"Dances and legends of ancient China\"], for example, Granet argued that these tales were \"historicized legends\" that said more about the time when they were written than about the time they purported to describe.In the \"middle of the [20th] century, a group of\" Chinese \"historians proposed the theory that [the Three Sovereigns and Five Emperors]\" were originally Chinese gods who became thought of as human during the later period of the Zhou dynasty. Most scholars now agree that the Yellow Emperor originated as a god who was later represented as a historical person. K.C. Chang sees Huangdi and other cultural heroes as \"ancient religious figures\" who were \"euhemerized\" in the late Warring States and Han periods. Historian of ancient China Mark Edward Lewis speaks of the Yellow Emperor's \"earlier nature as a god\", whereas Roel Sterckx, a professor at University of Cambridge, calls Huangdi a \"legendary cultural hero\".Origin of the mythThe origin of Huangdi's mythology is unclear, but historians have formulated several hypotheses about it. Yang Kuan, a member of the Doubting Antiquity School (1920s–40s), argued that the Yellow Emperor was derived from Shangdi, the highest god of the Shang dynasty. Yang reconstructs the etymology as follows: Shangdi \u0000\u0000 \u0000 Huang Shangdi \u0000\u0000\u0000 \u0000 Huangdi \u0000\u0000 \u0000 Huangdi \u0000\u0000, in which he claims that huang \u0000 (\"yellow\") either was a variant Chinese character for huang \u0000 (\"august\") or was used as a  way to avoid the naming taboo for the latter. Yang's view has been criticized by Mitarai Masaru and by Michael Puett.Historian Mark Edward Lewis agrees that huang \u0000 and huang \u0000 were often interchangeable, but disagreeing with Yang, he claims that huang meaning \"yellow\" appeared first. Based on what he admits is a \"novel etymology\" likening huang \u0000 to the phonetically close wang \u0000  (the \"burned shaman\" in Shang rainmaking rituals), Lewis suggests that \"Huang\" in \"Huangdi\" might originally have meant \"rainmaking shaman\" or \"rainmaking ritual.\"  Citing late Warring States and early Han versions of Huangdi's myth, he further argues that the figure of the Yellow Emperor originated in ancient rain-making rituals in which Huangdi represented the power of rain and clouds, whereas his mythical rival Chiyou (or the Yan Emperor) stood for fire and drought.Also disagreeing with Yang Kuan's hypothesis, Sarah Allan finds it unlikely that such a popular myth as the Yellow Emperor's could have come from a taboo character.  She argues instead that pre-Shang \"'history',\" including the story of the Yellow Emperor, \"can all be understood as a later transformation and systematization of Shang mythology.\" In her view, Huangdi was originally an unnamed \" lord of the underworld\" (or the \"Yellow Springs\"), the mythological counterpart of the Shang sky deity Shangdi.  At the time, Shang rulers claimed that their mythical ancestors, identified with \"the [ten] suns, birds, east, life, [and] the Lord on High\" (i.e., Shangdi), had defeated an earlier people associated with \"the underworld, dragons, west.\"  After the Zhou dynasty overthrew the Shang dynasty in the eleventh century BC, Zhou leaders reinterpreted Shang myths as meaning that the Shang had vanquished a real political dynasty, which was eventually named the Xia dynasty. By Han times – as seen in Sima Qian's account in the Shiji – the Yellow Emperor, who as lord of the underworld had been symbolically linked to the Xia, had become a historical ruler whose descendants were thought to have founded the Xia.Given that the earliest extant mention of the Yellow Emperor was on a fourth-century BC Chinese bronze inscription claiming that he was the ancestor of the royal house of the state of Qi, Lothar von Falkenhausen speculates that Huangdi was invented as an ancestral figure as part of a strategy to claim that all ruling clans in the \"Zhou dynasty culture sphere\" shared common ancestry.History of Huangdi's cultEarliest mentionExplicit accounts of the Yellow Emperor started to appear in Chinese texts during the Warring States period. \"The most ancient extant reference\" to Huangdi is an inscription on a bronze vessel made during the first half of the fourth century BC by the royal family (surnamed Tian \u0000) of the state of Qi, a powerful eastern state.Harvard University historian Michael Puett writes that the Qi bronze inscription was one of several references to the Yellow Emperor in the fourth and third centuries BC within accounts of the creation of the state. Noting that many of the thinkers who were later identified as precursors of the Huang–Lao – \"Huangdi and Laozi\" – tradition came from the state of Qi, Robin D. S. Yates hypothesizes that Huang–Lao originated in that region.Warring States periodThe cult of Huangdi became very popular during the Warring States period (5th century–221 BC), a period of intense competition between rival states which ended with the unification of the realm by the state of Qin. In addition to his role as ancestor, he became associated with \"centralized statecraft\" and emerged as a figure paradigmatic of emperorship.The state of QinIn his Shiji, Sima Qian claims that the state of Qin started worshipping the Yellow Emperor in the fifth century BC, along with Yandi, the Fiery Emperor. The altars were established at Yong \u0000 (near modern Fengxiang County in Shaanxi province), which was the capital of Qin from 677 to 383 BC. By the time of King Zheng, who became king of Qin in 247 BC and First Emperor of a unified China in 221 BC, Huangdi had become by far the most important of the four \"thearchs\" (di \u0000) who were then worshiped at Yong.The Shiji versionThe figure of Huangdi had appeared sporadically in Warring States texts. Sima Qian's Shiji (or Records of the Grand Historian, completed around 94 BC) was the first work to turn these fragments of myths into a systematic and consistent narrative of the Yellow Emperor's \"career\". The Shiji's account was extremely influential in shaping how the Chinese viewed the origin of their history.The Shiji begins its chronological account of Chinese history with the life of Huangdi, whom it presents as a sage sovereign from antiquity. It recounts that Huangdi's father was Shaodian and his mother was Fubao(\u0000\u0000). The Yellow Emperor had four wives. His first wife Leizu of Xiling bore him two sons. His other three wives were his second wife Fenglei (\u0000\u0000), third wife Tongyu (\u0000\u0000) and fourth wife Momu (\u0000\u0000). The emperor had a total of 25 sons, 14 of whom began their own surnames and clans. The oldest was Shaohao or Xuan Xiao, who lived in Qingyang by the Yangtze River. Changyi, the second son, lived by the Ruo River. When the Yellow Emperor died, he was succeeded by Changyi's son, Zhuan Xu.The chronological tables found in chapters 13 of the Shiji represent all past rulers – legendary ones such as Yao and Shun, the first ancestors of the Xia, Shang, and Zhou dynasties, as well as the founders of the main ruling houses in the Zhou sphere – as descendants of Huangdi, giving the impression that Chinese history was the history of one large family.Imperial eraThe Yellow Emperor was credited with an enormous number of cultural legacies and esoteric teachings. While Taoism is often regarded in the West as arising from Laozi, many Chinese Taoists claim the Yellow Emperor formulated many of their precepts. The Yellow Emperor's Inner Canon (\u0000\u0000\u0000\u0000 Huángdì Nèijīng), which presents the doctrinal basis of traditional Chinese medicine, was named after him. He was also credited with composing the Four Books of the Yellow Emperor (\u0000\u0000\u0000\u0000 Huángdì Sìjīng), the Yellow Emperor's Book of the Hidden Symbol (\u0000\u0000\u0000\u0000\u0000 Huángdì Yīnfújīng), and the \"Yellow Emperor's Four Seasons Poem\" included in the Tung Shing fortune-telling almanac.\"Xuanyuan (+ number)\" is also the Chinese name for Regulus and other stars of the constellations Leo and Lynx, of which the latter is said to represent the body of the Yellow Dragon. In the Hall of Supreme Harmony in Beijing's Forbidden City, there is also a mirror called the \"Xuanyuan Mirror\".In TaoismIn the second century AD, Huangdi's role as a deity was diminished because of the rise of a deified Laozi. A state sacrifice offered to \"Huang-Lao jun\" was not offered to Huangdi and Laozi, as the term Huang-Lao would have meant a few centuries earlier, \"yellow Laozi\". Nonetheless, Huangdi kept being considered as an immortal: he was seen as a master of longevity techniques and as a god who could reveal new teachings – in the form of texts such as the sixth-century Huangdi Yinfujing – to his earthly followers.Twentieth centuryThe Yellow Emperor became a powerful national symbol in the last decade of the Qing dynasty (1644–1911) and remained dominant in Chinese nationalist discourse throughout the Republican period (1911–49). The early twentieth century is also when the Yellow Emperor was first referred to as the ancestor of all Chinese people.Late QingStarting in 1903, radical publications started using the projected date of his birth as the first year of the Chinese calendar. Intellectuals such as Liu Shipei (1884–1919) found this practice necessary in order to \" preserve the [Han] race\" (baozhong \u0000\u0000) from both dominance by Manchu people and foreign encroachment. Revolutionaries motivated by Anti-Manchuism such as Chen Tianhua (1875–1905), Zou Rong (1885–1905), and Zhang Binglin (1868–1936) tried to foster the racial consciousness they thought was missing from their compatriots, and thus depicted the Manchus as racially inferior barbarians who were unfit to rule over Han Chinese. Chen's widely circulated pamphlets claimed that the \"Han race\" formed one big family descended from the Yellow Emperor. The first issue (Nov. 1905) of the Minbao \u0000\u0000 (\"People's Journal\"), which was founded in Tokyo by revolutionaries of the Tongmenghui, featured the Yellow Emperor on its cover and called Huangdi \"the first great nationalist of the world.\" It was one of several nationalist magazines that featured the Yellow Emperor on their cover in the early twentieth century. The fact that Huangdi meant \"yellow\" emperor also served to buttress the theory that he was the originator of the \"yellow race\".Many historians interpret this sudden popularity of the Yellow Emperor as a reaction to the theories of French scholar Albert Terrien de Lacouperie (1845–94), who in a book called The Western Origin of the Early Chinese Civilization, from 2300 B.C. to 200 A.D. (1892) had claimed that Chinese civilization was founded around 2300 BCE by Babylonian immigrants.  Lacouperie's \"Sino-Babylonianism\" posited that Huangdi was a Mesopotamian tribal leader who had led a massive migration of his people into China around 2300 BC and founded what later became Chinese civilization. European sinologists quickly rejected these theories, but in 1900 two Japanese historians, Shirakawa Jirō and Kokubu Tanenori, omitted these criticisms and published a long summary that presented Lacouperie's views as the most advanced Western scholarship on China. Chinese scholars were quickly attracted by \"the historicization of Chinese mythology\" that the two Japanese authors advocated.Anti-Manchu intellectuals and activists who searched for China's \"national essence\" (guocui \u0000\u0000) adapted Sino-Babylonianism to their needs. Zhang Binglin explained Huangdi's battle with Chi You as a conflict opposing the newly arrived civilized Mesopotamians to backward local tribes, a battle that transformed China into one of the most civilized places in the world. Zhang's reinterpretation of Sima Qian's account \"underscored the need to recover the glory of early China.\"  Liu Shipei also presented these early times as the golden age of Chinese civilization. In addition to tying the Chinese to an ancient center of human civilization in Mesopotamia, Lacouperie's theories suggested that China should be ruled by the descendants of Huangdi. In a controversial essay called History of the Yellow Race (Huangshi \u0000\u0000), which was published serially from 1905 to 1908, Huang Jie (\u0000\u0000; 1873–1935) claimed that the \"Han race\" was the true master of China because it was descended from the Yellow Emperor. Reinforced by the values of filial piety and the Chinese patrilineal clan, the racial vision defended by Huang and others turned vengeance against the Manchus into a duty owed to one's ancestors.Republican periodThe Yellow Emperor continued to be revered after the Xinhai Revolution of 1911, which overthrew the Qing dynasty. In 1912, for instance, banknotes carrying Huangdi's effigy were issued by the new Republican government.   After 1911, however, the Yellow Emperor as national symbol changed from first progenitor of the Han race to ancestor of China's entire multi-ethnic population.  Under the ideology of the Five Races Under One Union, Huangdi became the common ancestor of the Han Chinese, the Manchu people, the Mongols, the Tibetans, and the Hui people, who were said to form the Zhonghua minzu, a broadly understood Chinese nation. Sixteen state ceremonies were held between 1911 and 1949 to Huangdi as the \"founding ancestor of the Chinese nation\" (\u0000\u0000\u0000\u0000\u0000\u0000) and even \"the founding ancestor of human civilization\" (\u0000\u0000\u0000\u0000).Modern significanceThe cult of the Yellow Emperor was forbidden in the People's Republic of China until the end of the Cultural Revolution. The prohibition was halted during the 1980s when the government reversed itself and resurrected the \" Yellow Emperor cult\". Starting in the 1980s, the cult was revived and phrases relating to the \"Descendants of Yan and Huang\" were sometimes used by the Chinese state when referring to people of Chinese descent.  In "}
+{"doc_id":"doc_283","qid":"","text":"Passage 1:Waitrose Duchy OrganicWaitrose Duchy Organic (formerly Duchy Originals from Waitrose and earlier simply Duchy Originals) is a brand of organic food sold in Waitrose stores in the United Kingdom. The brand is a partnership between Waitrose and Duchy Originals Limited, a company set up in 1990  by King Charles III when he was Prince of Wales and Duke of Cornwall. The Duchy Originals company is named after the Duchy of Cornwall estates that are held in trust by the Duke of Cornwall, who often holds the title Prince of Wales.HistoryThe Duchy Originals brand was originally conceived in 1990 as an outlet for the organic food grown on the Prince of Wales' Highgrove House estate and nearby Home Farm which he had leased from the Duchy of Cornwall in the mid-1980s. The first Duchy Originals product was oaten biscuits. Products were initially sold through high-end stores such as Harrods and Fortnum & Mason. During the 1990s, Duchy Originals products began being stocked in farm shops and independent delicatessens and expansion during the 2000s saw a selected range of Duchy Originals products becoming widely available in most major UK supermarkets, with Waitrose as the brand's largest customer. By 2008 sales of Duchy Originals had raised over £7 million cumulatively for The Prince of Wales's Charitable Fund.Following the 2007–2008 financial crisis the Duchy Originals business began making losses, amounting to around £3 million in 2009, and in September of that year it was announced that Duchy Originals had agreed an exclusive deal with Waitrose. From August 2010 products were relaunched under the Duchy Originals from Waitrose brand and the then range of around 200 lines was expanded to over 300. Waitrose invested heavily in the brand and sales doubled during the first three years of the exclusive arrangement. By 2013 the brand was selling in 30 countries including Australia and Japan. In the summer of 2015 the brand name was changed to Waitrose Duchy Organic. The tradition of donating royalties to charity continued and Prince Charles continued his involvement with the brand which operates separately from the Duchy of Cornwall. The lease on Home Farm was not renewed in 2020, but the Prince of Wales continued to farm organically at Sandringham House. The new tenant of Home Farm continued the relationship with Waitrose Duchy Organic, which reported a profit of £3.6 million in 2021.The brandsThe company Duchy Originals, a wholly owned subsidiary of The Prince of Wales's Charitable Fund, originated the Duchy Originals brand in 1990 as a premium organic food and drink brand. It also created two other brands, Duchy Selections and Duchy Collections. Duchy Selections was a range of premium free-range (but not organic) pork and fish products and mineral waters, and Duchy Collections was a range of high quality non food products. The Duchy Originals company has never sold the goods that carry the brand names, and other than the short-lived Duchy Originals Food company venture it has not manufactured them. Instead Duchy branded products have been sold and manufactured by a number of different retail companies, all of whom have paid royalties to the Duchy Originals Company.Financial informationBy the end of the 1990s the brand had an annual turnover of around £1 million. This had grown to £4.86 million by 2006/7. Administrative expenses came to £3.31 million, giving an operating profit of £1.53 million. The company was badly hit by the recession in 2007 and started making a loss. For the financial year 2008/9, the company failed to make any profits and turnover dropped to £2.2 million, with an operating loss of £3.3 million, compared to the previous year's operating profit of £57,000. Fortunes improved after the 2009 Waitrose arrangement, and by 2013 annual profits were £2.8 million.The Duchy Originals Food companyDuchy Originals' only venture into manufacturing has been the Duchy Originals Food company. This was a wholly owned subsidiary of the Duchy Originals company and it opened a factory in Launceston, Cornwall in 2006. The factory was a bakery making both sweet and savoury pastry products. The venture suffered financial problems, with the factory making a loss of £447,158 in the financial year 2006/7. In 2009, the Duchy Originals company decided to sell the bakery, with one-off costs from the sale contributing towards Duchy Originals making a loss for 2009–10.Herbal medicinesIn 2008, Duchy Originals partnered with the alternative medicine company Nelsons to produce a line of herbal remedies. This led to controversy, in which leading UK scientists said that Duchy Originals promoted its herbal remedies with scientifically unsound claims. Edzard Ernst, the UK's first professor of complementary medicine, said Duchy Originals detox products were \"outright quackery\". Subsequently, the Medicines and Healthcare products Regulatory Agency (MHRA) ruled that healing claims were misleading and required the company to amend an advertising campaign promoting two herbal medicines.Mineral waterIn 2002 the Deeside Water Company began to produce some of its bottled mineral water for the Duchy Originals brand. In 2010, Waitrose rebranded the product as Duchy Originals from Waitrose and in 2016 the supermarket repackaged it as part of its Waitrose One premium range.Garden toolsGardening tools were produced under the Duchy Originals brand by the Lancashire company Caldwells until it went into administration in 2009.Charitable givingThe company Duchy Originals Ltd is a wholly owned subsidiary company of The Prince of Wales's Charitable Fund and donates to the charity from its profits. By 2013 the brand had raised £11 million from its profits for the Prince's Charities. In Canada the proceeds from sales of Duchy Originals products are donated to the charities associated with The Prince's Charities Canada. By 2012 more than one million Canadian dollars were being raised annually in this manner.The Duchy Future Farming programmeThe Duchy Future Farming programme was set up in 2013 in partnership with the Soil Association to provide advice and support to UK farmers and growers in conducting research into organic farming methods. Participants are encouraged to carry out experiments in their own fields, and over 3000 farmers had been involved in this by 2015. A research fund offering up to £25,000 is also available.Passage 2:John De MargheritiJohn De Margheriti (born July 1962) is an Italian-born Australian electrical engineer, software developer and entrepreneur. De Margheriti is widely seen as a founding 'father' of Australia's video games industry and Australia's most experienced interactive entertainment business executive.He is the founder and former CEO of BigWorld Pty Limited and the founder of parent company Micro Forté Pty Limited. De Margheriti is also the Executive Chairman of the Academy of Interactive Entertainment, the Chairman of Canberra Technology Park, the founder of the Game Developers' Association of Australia, the founder of the Australian Game Developers Conference, and the founder of the three Canberra business parks, the co-founder of DEMS Entertainment, the co-founder of Dreamgate Studios, the co-founder of Game Plus and co-founder of The Film Distillery.De Margheriti has been recognised as an Honorary Ambassador for Canberra due to his contribution to Australia's national capital and in 2022 was awarded the Pearcey Medal, Australia's highest honour in the ICT Industry, for his lifetime contribution to the establishment and ongoing success of the Australian games industry. Without his vision, tenacity and passion, the industry would not be as successful and vibrant as it is in now. John has effectively had an influence on just about every Australian games studio and developer in operation today, not to mention his contribution to the broader ICT community and the international games industry.Early yearsBorn in Rome, Italy, De Margheriti arrived in Canberra with his family in 1970. He experimented with CB radios and electronics early as a young teenager. When he was sixteen De Margheriti experimented with making computer games independently. During his senior years at Hawker College, De Margheriti co-created an amateur 8 millimetres (0.31 in) science fiction film after watching the 1977 film, Star Wars: Episode IV – A New Hope. During the development of his amateur film, he co-developed a robotics system entitled 3DIM that would enable him to film complex stop-motion animation footage of large scale spaceship models.  De Margheriti's need to create scrolling film credits led him to discover computers as a tool. The film involved dozens of actors and as a result, De Margheriti gained his first taste in management working with actors and prop builders. During filming he met Steve Wang which would later form the basis of a longstanding business association. He wrote his first computer game called “Maze” on a PDP-11 and his peer, Steve Wang developed a computer game called “Caves”, also on a PDP-11 computer.De Margheriti graduated with a degree in electrical engineering from the UNSW Sydney (UNSW), and holds an MBA from Sydney University. Wang also went on to study at UNSW in the field of computer science. Together they devoted much of their time during university hours to developing computer games. They pooled their money to purchase a Commodore PET. During this time John also met Stephen Lewis and he joined the group, helping make games on the Commodore PET.The most memorable game that they developed during university years was made for the Commodore 64. Whilst working part-time at the Computer 1 computer store in Randwick to put himself through university, De Margheriti met Gerry Gerlach who was interested in finding a person who could develop a computer game based on the recent Australian win of the Americas Cup 12 metres (39 ft) sailing.  After a conversation with Gerlach, De Margheriti approached his friends at the university and pulled together a team including Wang, Stephen Lewis and John Reidy capable of developing the simulation game. The team spent 72 hours straight developing a demo, pitched it to Armchair Entertainment and won a contract to develop the Americas Cup Sailing Simulation game for the Commodore 64 and Amstrad which was ultimately developed and then sold to Electronic Arts.Soon after starting to develop their first game, Wang and Lewis tactfully told De Margheriti that his true strength was not programming but managing and winning new projects for the fledgling group. This “truth” ultimately saw De Margheriti become the entrepreneur and visionary for a group of profit and not for profit companies that have offices around the globe.In addition to the Americas Cup Sailing Simulation, De Margheriti went on to program two other of games for Electronic Arts including Demon Stalkers and Fireking for the Commodore 64 and IBM PC, which was later released by Sydney-based Strategic Studies Group. http://www.ssg.com.au/Later careerMicro Forte Pty LimitedBetween 1985 and 1988, De Margheriti turned his focus towards business negotiations and contract development. He co-founded a games development company called Micro Forté Pty Limited and wrote games for a new company called Electronic Arts.In 1995 De Margheriti came up with the concept of developing a software solution that would somehow group bulletin board services (BBS) together so that many people could play games together. He called this concept Game Net. Game Net was a precursor to what would later become known as BigWorld Technology. De Margheriti's idea was to allow  large scale Multi User Dungeons [MUDs] to be developed where hundreds of people could be playing together in a multiplayer game. He was greatly influenced by an EA friend Danielle/Dan Bunten who had designed M.U.L.E, Modem Wars  as well as a game called Command HQ which he often played with Stephen Lewis.Those seminal games influenced De Margheriti in terms of coming up with the concept of building what is now commonly known as Massively Multiplayer Online Games (MMOGs). While developing the idea of Game Net, De Margheriti became increasingly more aware of the advent of the internet particularly after playing Ultima Online and Meridian 59, two of the first MMOGs.He realised that these two games were an extension of the multiplayer games he loved and that in the future many developers would want to create massively multiplayer games. De Margheriti decided to switch his focus away from BBS, and made the decision to build a middleware engine that would help developers deal with the complexities of creating these online games. In 1996 Stephen Lewis and John lodged patents for a Communication System and Method and in 1999 he lodged an application for funding through AusIndustry's R&D Start program and received a multimillion-dollar grant. This was subsequently matched by venture capital from Allen & Buckeridge, an Australian Venture capital firm. The name of “Large Scale Multi Player Universe” (LSMPU) was originally used to describe the server, client and tools middleware system that De Margheriti had in mind. In 2011 the Micro Forte company acquired all the shares from the venture capital company.The Academy of Interactive EntertainmentIn 1996, during Micro Forté's expansion years, there was a need for the hiring of 3D animators and artists. At that time there was a clear lack of knowledge in that area and little or no available talent. De Margheriti established the Academy of Interactive Entertainment (AIE) as a business unit of Micro Forté to work towards solving this problem. The academy was to focus on developing 3D animation skills, and a course taught by De Margheriti, Steve Wang and other 3D experts was created for a group of 10 students.Later on in 1997 it was spun out as a separate non profit organisation called the Academy of Interactive Entertainment Limited (AIE) to assist the greater industry. De Margheriti had realised that Micro Forté's shortages were not just his shortages; other industry related companies like Beam Software were also suffering a similar fate. The AIE has since grown from a small division of Micro Forté with 10 students, to an independent, nationally accredited, small registered training organisation that specialises in education for computer game development and the 3D Digital Content Industry. The AIE now has campuses in Canberra, Sydney, Melbourne, Online, Adelaide, Seattle, and Lafayette.The Founding of the Australian Game Development IndustryIn 1999 De Margheriti realised that to really help the Australian games industry grow, not only for Micro Forté's needs, but to solve the problem that the nation had, a wider support infrastructure was needed for the Australian industry. He established, personally funded and launched the inaugural Australian Game Developers Conference (AGDC) to foster the growth and collective presence of the Australian Games Industry. The AGDC at its peak had over 1,200 delegates and brought in numerous international speakers and publishers. The conference also brought capital to the Australian games industry. In December 2005, the GDAA announced that it would hold its own conference, Game Connect Asia Pacific (GCAP), and so De Margheriti in turn also announced the closing of the privately held (AGDC) to ensure that the GDAA would not have to compete with AGDC.  In his AGDC closing talk he hoped that the GDAA could take their new conference, GCAP,  to a whole new level for Australia.It was at the inaugural Australian Game Developers Conference (AGDC) that De Margheriti, along with Adam Lancman and others, formed the local industry representative body titled the Game Developers Association of Australia [GDAA] in order to increase the profile of the Australian games industry both domestically and internationally. De Margheriti acted as treasurer until late 2005 when he resigned from the Board to focus his energies on expanding BigWorld Pty Limited. De Margheriti is credited with creating and personally funding the GDAA (determining its aims and objectives, board composition, voting rights, constitution, web pages and accounting needs) as well as choosing its first President and Board. The AIE funded the Australian Game Developers Conference and donated most if not all its profits made from AGDC to the GDAA.De Margheriti is a founding member of the Association of Christian Entertainment.De Margheriti established Canberra Technology Park (CTP) in 1997, a business park to facilitate the growth of the computer game development, 3D animation and other information technology [IT] related industries within Canberra.In November 2000, ACT Chief Minister, Gary Humphries, appointed De Margheriti Honorary Ambassador for Canberra in recognition of De Margheriti's contribution in assisting Canberra to develop a significant business base. De Margheriti continues to foster business growth for start ups, mentor industry rookies and support industry development. He has participated as a guest presenter at industry conferences; is pro-active in seeking government support and assistance for the Australian industry, and features in industry related media. Since 2005 De Margheriti has focused more on his growing world-wide businesses and is less involved in local industry politics.In 2005 De Margheriti took over the site management of the Capital Region Enterprise and Employment Development Association (CREEDA) Business Centres Downer, Narrabundah and Erindale that had gone into liquidation, with a view to negotiate a long term lease on the sites. De Margheriti's main motivation in taking over the defunct sites was to restore an important business incubator function in Australia's capital city, Canberra. The sites were re-branded as Canberra Business Parks and in May 2008, De Margheriti largely donated the CBP name [and associated brands] and business, which were now a profitable business [almost operating at full capacity] to the ACT Government and the local business community.De Margheriti saw an opportunity within the online game market for a definitive MMOG middleware solution. His studios shifted their focus into developing the multi award-winning BigWorld Technology which he later [2002] spun out into a middleware company - BigWorld Pty Limited. On 7 August 2012 Wargaming acquired BigWorld middleware firm for $45M.Published gamesPassage 3:Charles, Prince of WalesCharles III (Charles Philip Arthur George; born 14 November 1948) is King of the United Kingdom and the 14 other Commonwealth realms.Charles was born in Buckingham Palace during the reign of his maternal grandfather, George VI, and was three years old when his mother, Elizabeth II, acceded to the throne in 1952, making him the heir apparent. He was created Prince of Wales in 1958 and his investiture was held in 1969. He was educated at Cheam School and Gordonstoun, and later spent six months at the Timbertop campus of Geelong Grammar School in Victoria, Australia. After earning a history degree from the University of Cambridge, Charles served in the Royal Air Force and the Royal Navy from 1971 to 1976. In 1981, he married Lady Diana Spencer, with whom he has two sons: William, Prince of Wales, and Prince Harry, Duke of Sussex. Charles and Diana divorced in 1996, after they had each engaged in well-publicised extramarital affairs. Diana died as a result of injuries sustained in a car crash the following year. In 2005, Charles married his long-term partner, Camilla Parker Bowles.As heir apparent, Charles undertook official duties and engagements on behalf of his mother. He founded the Prince's Trust in 1976, sponsored the Prince's Charities, and became patron or president of more than 800 other charities and organisations. He advocated for the conservation of historic buildings and the importance of architecture in society. In that vein, he generated the experimental new town of Poundbury. An environmentalist, Charles supported organic farming and action to prevent climate change during his time as the manager of the Duchy of Cornwall estates, earning him awards and recognition as well as criticism; he is also a prominent critic of the adoption of genetically modified food, while his support for alternative medicine has been criticised. He has authored or co-authored 17 books.Charles became king upon his mother's death on 8 September 2022. At the age of 73, he became the oldest person to accede to the British throne, after having been the longest-serving heir apparent and Prince of Wales in British history. His coronation took place at Westminster Abbey on 6 May 2023.Early life, family, and educationCharles was born at 21:14 (GMT) on 14 November 1948, during the reign of his maternal grandfather, King George VI. He was the first child of Princess Elizabeth, Duchess of Edinburgh (later Queen Elizabeth II), and Philip, Duke of Edinburgh. His parents had three more "}
+{"doc_id":"doc_284","qid":"","text":"Passage 1:Pieces of a WomanPieces of a Woman is a 2020 drama film directed by Kornél Mundruczó, from a screenplay by Kata Wéber. The film stars Vanessa Kirby, Shia LaBeouf, Molly Parker, Sarah Snook, IlizaShlesinger, Benny Safdie, Jimmie Fails, and Ellen Burstyn as the family and associates of Martha (Kirby) involved in her traumatic childbirth, baby loss, and a subsequent court case against the midwife, Eva (Parker),whom Martha's mother Elizabeth (Burstyn) blames for the baby's death. Martin Scorsese and Sam Levinson served as executive producers, and the film was scored by Howard Shore.An international co-production ofthe United States and Canada, the film is partly based on Mundruczó and Wéber's stage play of the same name and explores themes of grief and loss. It premiered on September 4, 2020, at the 77th VeniceInternational Film Festival, where Kirby won the Volpi Cup for Best Actress. It was released in select theaters on December 30, 2020, before beginning to digitally stream on Netflix on January 7, 2021, and becamenoted for its long take childbirth scene at the start of the film.The film received generally positive reviews, with praise for the actors, particularly Kirby, though elements of the plot were criticized. For her performance,Kirby received Academy Award, BAFTA, SAG, Critics' Choice, and Golden Globe nominations.PlotMartha and Sean, a young Boston couple, are expecting their first child. Sean resents Martha's mother Elizabeth, awealthy Holocaust survivor, who is buying them a minivan.Martha goes into labor at their home and Sean calls their midwife Barbara, who is unavailable and sends another midwife named Eva in her place. Marthastruggles with nausea and pain during contractions and, when she reaches ten centimeters, Eva realizes the baby's heart rate has dropped dangerously low. Sean asks Eva if they are safe to continue and Eva tells Seanto call an ambulance. Martha soon gives birth to a baby girl who at first seems healthy. Eva then notices the baby is turning blue and attempts to revive her, but she goes into cardiac arrest and dies.The followingmonth, Martha and Sean attend an appointment with a coroner; Sean is eager to find out what went wrong, while Martha is reluctant. They learn the cause of death has not yet been established but are told they wereable to determine that the baby was in a low-oxygen environment and start proceedings against Eva. Sean leaves, overcome with emotion, while Martha remains and decides that she wants to donate the baby's body toscience.The relationship between Martha and Sean continues to be strained, as is Martha's relationship with her mother, who wants to bury the baby and have a funeral. Both Martha and Sean remain deeply depressed.Sean returns the car that Elizabeth bought for them. He later has sex with Martha's cousin, Suzanne, and uses cocaine after being sober for almost seven years. Suzanne, who is also the attorney prosecuting Eva,informs him that a potential lawsuit against Eva could be very lucrative.At a tense family gathering at her home, Elizabeth tells Martha that she has to attend Eva's trial and blames Martha for her baby's death becauseshe decided to have a home birth. Elizabeth then tells Sean that she never liked him before offering him a check for a large sum of money to leave and never return. Martha drops Sean off at Logan International Airportand he leaves for Seattle.Months later, Martha testifies at Eva's trial. After her testimony, the judge allows her to address the court, and she states that Eva is not at fault for the death and that she does not blame her.Back home, she discovers that the apple seeds she stored in her refrigerator have started to sprout. A month later, Martha scatters her daughter's ashes into the river from the bridge that Sean helped to build.Yearslater, a little girl climbs an apple tree, picks an apple, and eats it. Martha calls her name, Lucianna, then helps her down. The two go inside together.CastProductionPlayThe play Pieces of a Woman was created by KornélMundruczó and Kata Wéber, a couple who experienced miscarriage during pregnancy. The couple did not initially talk about their experience or process their grief, but Mundruczó read a scene written in Wéber'snotebook depicting a woman and her mother debate child loss and felt that it needed exploration. Wéber, who had already titled the scene \"Pieces of a Woman\", became the playwright after Mundruczó encouraged herto make a \"family drama\" from the scene; the play was originally performed at TR Warszawa in Warsaw, Poland. Following (Polish) Maja, her senile mother, and her Norwegian husband, the play contained two scenes:the childbirth and a family dinner in the aftermath. For BroadwayWorld, Filip Piotrowicz wrote that the scenes being performed in real time with real props (including a working oven and food being cooked inside) feltboth like a film and classic theatrical form. The birth scene was multimedia, with the performance being recorded by a camera freely roaming the stage and live-streamed on screens in the theater, and other screensshowing ultrasound scans of the fetus.Development and themesThe film Pieces of a Woman was announced to be in production in October 2019, with Mundruczó directing from a screenplay by Wéber. It is based ontheir play, and also incorporates fictionalized aspects of the trial of Hungarian midwife Ágnes Geréb. Wéber consulted with psychiatrists and other women who had lost babies while writing the film. In developing theplay for the screen, Mundruczó chose to set it in Boston, thinking the city's historic Irish Catholic culture was a good translation of the conservative Polish society of the original. It is his first film in the English language.Wéber submitted the script to the Hungarian National Film Fund but did not get support; Aaron Ryder read the script and showed it to producers Ashley Levinson and Kevin Turen, who took it on. Sam Levinson andMartin Scorsese, among others, served as executive producers on the film; Scorsese, who was shown the film by composer Howard Shore prior to its release, boarded after the film was complete, hoping to help itsdistribution as Mundruczó and Wéber were unknown filmmakers. Supporting actress Ellen Burstyn, who was directed by Scorsese in Alice Doesn't Live Here Anymore, said that he \"picked up on things [about Pieces of aWoman] that [she] never heard anybody else pick up on. And he has such an appreciation of the art of moviemaking that you feel seen.\"The film explores themes of trauma, which Dr. Lipi Roy writing for Forbes foundrelevant during the COVID-19 pandemic when it was released; Mundruczó and lead actress Vanessa Kirby both also commented that the loss in the film can speak to people who have been bereaved in the pandemic,and Wéber spoke of the relevance of the isolation and inability to talk about feelings that Martha experiences. Kirby has described the film as \"almost a character study on grief\" that also explores intergenerationaltrauma. In the film, Martha's family are all physically present but not emotionally available to her, and they each find different ways to process their loss, according to Roy. Midwives speaking with NOW also noted thatfilms exploring grief often do so by presenting it as a bonding experience, while Pieces of a Woman focused on the differences. Renaldo Matadeen of CBR compared the film's exploration of grief to that of Marriage Story,though he felt that Pieces of a Woman did not explore the shared grief Martha and Sean experience. Also for NOW, Kevin Ritchie noted that the film shifts focus on themes throughout, featuring class tensions at thestart and, at the end, focusing on generational divides and present baggage of Holocaust survival. The New Yorker's Anthony Lane wrote that the film \"amounts to a set of variations on the theme of winter\", reflected inits little-changing Boston setting; similarly, Lee Marshall of Screen International opined that the wintry setting and its \"oppressive\" Gothic Revival architecture helped to inform the themes of the film.CastingThe firstperson to be cast was Shia LaBeouf as Sean. He was followed shortly by Vanessa Kirby, playing Martha, who had been shown the script by Sam Levinson; she had met with the Levinsons and told them she wanted tomake a film like A Woman Under the Influence. Mundruczó was a fan of The Crown and wanted to cast Kirby after watching her as Princess Margaret, Countess of Snowdon and thinking her performance resembledClaudia Cardinale and Catherine Deneuve. He also wanted to work with Kirby at this point in her career, \"Where all of the skills are already there, but the fear is not [...] When you are very established, you are moreand more careful.\" Though Kirby was considered a frontrunner in discussions for the role, the production had been turned down by bigger names before Kirby was shown the script; the day after she read it, she flew toBudapest and they had a two-hour meeting with Mundruczó. Asked about this, Kirby said that she \"just loved the script ... You just know when you know\".Kirby and LaBeouf were revealed as the lead roles when the filmwas announced in October 2019. Kirby spoke with women who had experienced baby loss to prepare for her role, and prepared extensively for her performance of labor in the opening scene. She had not given birthherself and was concerned about realism; she first watched childbirth documentaries but felt these were too edited and so she wrote to obstetricians and was invited by one, Claire Mellon, to observe on a labor ward,including being allowed to witness a birth, which she told NPR she would not have been able to perform in the film without.In December 2019, Jimmie Fails, Ellen Burstyn, Molly Parker and Iliza Shlesinger joined the castof the film, followed by Sarah Snook and Benny Safdie in January 2020. Burstyn said getting cast in the film felt like \"a win-win-win situation\", as she was able to work with Mundruczó, whose White God Burstynenjoyed, and Kirby, whose The Crown performance Burstyn had been impressed by; Kirby was also excited to work with Burstyn.FilmingPrincipal photography began on December 3, 2019, in Montreal, Canada, andlasted until the end of January 2020.The film is noted for its 24-minute long take labor scene at the start, dubbed \"The Scene\" by The Guardian's Adrian Horton and described as \"one of the most controversial scenes ofthe year\" by Entertainment Weekly. Writer Wéber did not anticipate a one-shot take, which Mundruczó planned from the start, though knew she wanted all the details present. Mundruczó began the scene with Martha'sfirst pains and ended with the arrival of an ambulance \"because [they didn't] want to show exactly what's happening\", wanting to leave the audience having only seen the baby alive while creating suspense. As thedirector, Mundruczó wanted the actors to make their own performance choices in the scene; there were no marks to hit, LaBeouf came up with the bad jokes used himself, and the production team would not show thecast any of the stage performance so as not to influence them. Kirby told Empire that the cast \"had a map of where to be, and then [they would] freefall and see what happened.\" Three crewmembers were used for thescene: director of photography Benjamin Loeb, acting as camera operator upon Mundruczó's request, and two boom operators. A birthing coach, Elan McAllister, had also been brought to the set to assist Kirby andLaBeouf. Loeb chose to shoot the scene with a gimbal as he wanted a \"floaty\" quality to the scene to represent the baby's perspective and felt that using a hand-held camera would make it look too much like adocumentary; he also explained the smooth gimbal movement made the scene easier to physically watch, which was something Mundruczó wanted in order to compensate for the potentially-divisive subject matter.Loeb physically trained beforehand so that he would have the strength to carry a gimbal-loaded camera for the whole take, though the shoot still negatively affected his health.The scene was filmed six times over twodays, four times on one day and twice the next, with one camera; it was the first scene shot for the film and took up over 30 pages in the script. The choice to use a single take stemmed from the scene in the play andits inclusion of live video. Loeb said that they \"wanted to make sure that the sequence felt like it was presented as a long-winded breath in some ways\". The fourth of the six takes was used; though less technicallyaccurate than the takes on the second day, Mundruczó felt it was more alive. Kirby was glad to be filming the scene in one take, which, while intimidating, meant that she kept the same energy throughout; she saidfilming the scene was like performing on stage, and that it was \"the best film experience of [her] life\", though it took a long time to come down from the emotions she went through in making it. To stay in the emotionalplace between scenes, Kirby listened to a playlist of songs about expectancy and birth.Set within the couple's apartment, the scene was filmed in a real house. It had large archways that allowed Loeb and the castmovement – Kirby was encouraged to make use of the space if she wanted to – except for the bathroom door; Mundruczó initially wanted to pass in and out of the bathroom three times but this was reduced to once tolimit the possibility of the shot being ruined. He had chosen the house because it had the same layout as the set design of their play. Before shooting, one practice run was taken; filmed on Loeb's phone, the practicetook 38 minutes. Mundruczó did not do another practice, telling Vulture that \"if you are very choreographed, then the whole shot can be really cold and calculated, [and] when you don't fix anything, it [can] become aDogme style of shaking camera.\" A real baby was used in the scene, with a CGI umbilical cord; the baby was held by its mother just outside the apartment and brought in off-camera for the moment of birth. Mundruczóand Kirby both felt the real baby was integral to the film. Other realism was achieved in the scene: partway through the scene, Sean frantically searches for a phone to call 9-1-1, and in about half of the takes, includingthe final cut, LaBeouf really struggled to remember where the prop was placed.Richard Brody of The New Yorker described the scene as a \"mere stunt\", saying that it is emotionally empty until the last moments and itssignificance to the rest of the film is an \"ultimately pointless symbolic function: as evidence.\" Vulture's Hillary Kelly instead felt that the scene \"is a technical trick, but an emotional lever, too, a reminder that labor is aprocess you cannot wriggle out of once it has begun.\"MusicHoward Shore composed the film's score. The opening piece of the film is a previously released Shore track, the second movement of his Ruin and Memorypiano concerto performed by Lang Lang. The movement is ten minutes long and reflects the action of the film's 24-minute opening scene; following this, the music becomes \"gradually thornier\" as the story progresses,at times displaying discomfort. Much of the score comprises piano pieces, as well as featuring celesta and oboe, and was said by Maddy Shaw Roberts of Classic FM to guide the audience \"through the story in acontemplative, dreamlike manner, accompanying Martha's reckoning\". Shore became involved after he was introduced to Mundruczó by mutual friend Robert Lantos, and the pair collaborated due to Mundruczó's operabackground; Mundruczó wanted a score that was classical. They began working on the music during COVID-19 pandemic lockdowns, collaborating remotely with Shore in New York, Mundruczó in Budapest, and themusicians at Teldex Studio in Germany.Shore wanted to express the perspectives of Martha and of her child through his music, showing both grief and hope. Though he does not have a theme, Sean is often representedwith darker music. The themes representing Martha and the baby recur throughout the film, including the baby's theme playing while Martha solemnly watches other children, and pieces of Ruin and Memory arerepurposed in other parts of the score. At the end of the film, a new melody, which was \"partly improvised\" by Holger Groschopp, is used to represent Martha moving on.The soundtrack was released digitally by DeccaRecords on January 8, 2021. Reviewers criticized the score as \"intrusive\".ReleaseThe film had its world premiere at the 77th Venice International Film Festival in official competition on September 4, 2020, and had itsNorth American premiere at TIFF Bell Lightbox during the 2020 Toronto International Film Festival (TIFF) shortly afterward. On September 12, Netflix acquired worldwide distribution rights to the film at TIFF. Mundruczówas happy to sell to Netflix, saying their appreciation of independent filmmakers is comparable to United Artists in the 1970s.A trailer was released in November 2020, and the film opened in select theaters onDecember 30, 2020, before beginning to digitally stream on Netflix on January 7, 2021. Upon its digital release, it was the most-watched film over its first three days of release, and finished second overall in its debutweekend.ReceptionCritical responseOn review aggregator Rotten Tomatoes, the film holds an approval rating of 75% based on 238 reviews, with an average rating of 6.8/10. The website's critics consensus reads:\"Pieces of a Woman struggles to maintain momentum after a stunning opening act, but Vanessa Kirby's performance makes the end result a poignant portrait of grief.\" On Metacritic, it has a weighted average score of66 out of 100, based on 41 critics, indicating \"generally favorable reviews\".Pippa Vosper of Vogue, who had lost a child in a similar way to Martha in the film, said that Kirby played Martha \"with unnerving accuracy\" andwas pleased that the film did not shy away from the harsher realities of baby loss. The Evening Standard's Charlotte O'Sullivan also praised Mundruczó for treating Martha's extended grief with compassion. Hortoncritiqued that the film centered on Martha's trauma rather than Martha herself, which he found frustrating, though he highly praised Kirby's performance, as did other reviewers. Empire's Terri White and EntertainmentWeekly's Leah Greenblatt also praised LaBeouf's performance.Xan Brooks of The Guardian wrote that the film was an \"acting masterclass\" but felt too staged; colleague Peter Bradshaw agreed on the acting talent butfelt that, besides the birth scene and the ending, the film comprises \"a lot of frankly inauthentic, silly and jarring plot points\". The Hollywood Reporter's David Rooney opined that while Kirby's performance is \"themovie's shattered core\", the film was undermined by a \"pedestrian\" courtroom speech and awkwardly upbeat ending. Rooney, O'Sullivan, and Justin Chang for NPR were critical of simplistic metaphors andmelodrama.AccoladesDistributor Netflix initially campaigned for Kirby, LaBeouf, Burstyn, Mundruczó, Wéber, Safdie, Fails, and Snook for awards contention in acting, directing, and writing categories, but removedLaBeouf from their publicity after assault allegations were made against him by former girlfriend FKA Twigs in late 2020 to maintain focus on the film and its significance.Passage 2:Claude WeiszClaude Weisz is a Frenchfilm director born in Paris.FilmographyFeature filmsUne saison dans la vie d'Emmanuel (1972) with Germaine Montéro, Lucien Raimbourg, Florence Giorgetti, Jean-François Delacour, Hélène Darche, Manuel Pinto,etc.Festival de Cannes 1973 - Quinzaine des réalisateursJury Prize: Festival Jeune Cinéma 1973La Chanson du mal aimé (1981) with Rufus, Daniel Mesguich, Christine Boisson, Věra Galatíková, Mark Burns, PhilippeClévenot, Dominique Pinon, Madelon Violla, Paloma Matta, Béatrice Bruno, Catherine Belkhodja, Véronique Leblanc, Philippe Avron, Albert Delpy, etc.Festival de Cannes 1982 - Perspectives du cinémafrançaisCompetition selections: Valencia, Valladolid, Istanbul, MontréalOn l'appelait... le Roi Laid (1987) with Yilmaz Güney (mockumentary)Valencia Festival 1988 - Grand Prix for documentaries \"LaurelWreath\"Competition selections: Rotterdam, Valladolid, Strasbourg, Nyon, Cannes, Lyon, CairoPaula et Paulette, ma mère (2005) Documentary - Straight to DVDShort and mid-lengthLa Grande Grève (1963 -Co-directed CAS collective, IDHEC)L'Inconnue (1966 - with Paloma Matta and Gérard Blain - Prix CNC Hyères, Sidney)Un village au QuébecMontréalDeux aspects du Canada (1969)La Hongrie, vers quel socialisme ?(1975 - Nominated for best documentary - Césars 1976)Tibor Déry, portrait d'un écrivain hongrois (1977)L'huître boudeuseAncienne maison Godin ou le familistère de Guise (1977)Passementiers et RubaniersLequinzième moisC'était la dernière année de ma vie (1984 - FIPRESCI Prize- Festival Oberhausen 1985 - Nomination - Césars 1986)Nous aimons tant le cinéma (Film of the European year of cinema - Delphes"}
+{"doc_id":"doc_285","qid":"","text":"Passage 1:Servillano AquinoServillano Aquino y Aguilar (April 20, 1874 – February 3, 1959) was a Filipino general during the Philippine Revolution and the Philippine–American War. He served as a delegate to theMalolos Congress and was the grandfather of Benigno S. \"Ninoy\" Aquino Jr. He is the great-grandfather of Benigno Aquino III, the 15th President of the Philippines.Early life and educationAquino, known by his nickname\"Mianong\", was born on April 20, 1874, to Don Braulio Aquino y Lacsamana and Doña Petrona Aguilar y Henson. He had his early education from a private tutor in Mexico, Pampanga. He moved to Manila and enteredthe Colegio de San Juan de Letran, and later, the University of Santo Tomas.Philippine–American WarIn 1896, Aquino became a mason and joined the Katipunan. He was also elected mayor of Murcia, Tarlac and underGeneral Francisco Macabulos, he organized the Filipino revolutionary forces against the Americans. He was promoted to major but was defeated in the battle at Mount Sinukuan or Mount Arayat in Arayat, Pampanga.After the Pact of Biak-na-Bato was signed, Aquino was self-exiled to Hong Kong together with Emilio Aguinaldo and the revolutionary government after receiving 100,000 pesos from the Spanish government inexchange of their surrender. He returned to the Philippines in 1898 and joined General Antonio Luna to fight against the American forces. Together they attacked Manila but retreated to Mount Arayat. In September1902, he surrendered and was jailed in Bilibid Prison and sentenced to hang. However, United States President Theodore Roosevelt pardoned Aquino after two years.Personal lifeHe married Guadalupe Quiambao, withwhom he had three children, namely Gonzalo (born 1892), Benigno (1894–1947) and Amando (born 1896). Later, he married his sister-in-law, Belen Sanchez, and had a child with her, Herminio (born1949).DeathAquino died of a heart attack on February 3, 1959.AncestrySee alsoList of people pardoned or granted clemency by the president of the United StatesPassage 2:Stanisław of MasoviaStanisław of Masovia(pl: Stanisław mazowiecki; 17 May 1501 – 8 August 1524), was a Polish prince member of the House of Piast in the Masovian branch. He was a Duke of Czersk, Warsaw, Liw, Zakroczym and Nur during 1503-1524(under regency until 1518) jointly with his brother.He was the eldest son of Konrad III the Red and his third wife Anna, a daughter of Mikolaj Radziwiłł the Old, Voivod of Vilnius and the first Grand Chancellor ofLithuania.LifeAfter the death of their father on 28 October 1503, Stanisław and his younger brother Janusz III inherited his domains but, because they were minors, remained under the regency of their mother.Most ofthe Masovian inheritance (except Czersk, which had already been given to Konrad III as a hereditary fief in 1495) was seriously threatened by the Kingdom of Poland at the time of Konrad III's death, and was notsecured in his sons' hands until 14 March 1504, when by a ruling of King Alexander, the young princes received their whole patrimony as a fief.Stanisław and his brother took the government in 1518, because of theconstant riots of the local nobility. Despite this, Anna Radziwiłł retained the real power in Masovia until her death in 1522. In the same year when they attained their majority, both princes attended the wedding of KingSigismund I the Old to Bona Sforza in Kraków.In 1519, fulfilling their duties as Polish vassals, Stanisław and Janusz III intervened in the Polish-Teutonic War, sending auxiliary troops to the Polish King, and in the winterof 1519-1520 they personally captured several towns in Masuria. At the same time, Stanisław secretly entered into talks with the Teutonic Knights for a ceasefire, which finally took place in December 1520, a fewmonths before a peace treaty ended the war between Poland and the Teutonic Order.In their private lives, both Stanisław and his brother were heavily inclined to drink and women; however, in order to continue hisbloodline, in 1523 Stanisław started negotiations for marriage with Princess Hedwig of Poland, only surviving daughter of King Sigismund I and his first wife, Barbara Zápolya. The wedding never took place; one yearlater, and likely as a result of his dissolute lifestyle, Stanisław died on 8 August 1524. He was buried at St. John's Archcathedral, Warsaw.The sudden death of Stanisław, and that two years later of his younger brotherJanusz III, were considered suspicious at the time. The main suspect was a Płock lady called Katarzyna Radziejowska, who after being seduced and abandoned by both princes, was believed to have poisoned firstly AnnaRadziwiłł, then Stanisław and finally Janusz III in revenge. Declared guilty, she and her supposed accomplice were tied naked to poles and beaten for hours, and finally burned alive. The hurry where the sentence wascarried raised even more suspicion that in fact the real instigator of the crimes was Queen Bona. The controversy was so intense that King Sigismund I, in order to clarify the matter once and for all, ordered aninvestigation, as a result of which a special edict was declared on 9 February 1528 which ruled that the princes \"weren't victims of a human hand, but was the will of the Almighty Lord that caused theirdeaths\".According to Jan Długosz, the real cause of the death of both princes could be an inherited disease of the Masovian princes: tuberculosis.Passage 3:Konrad V KantnerKonrad V Kantner (ca. 1385 – 10 September1439) was a duke of Oleśnica, Koźle, half of Bytom and half of Ścinawa during 1412–1427 (with his brothers as co-rulers), since 1427 sole ruler over Oleśnica.He was the second son of Konrad III the Old, Duke ofOleśnica, by his wife Judith. Like his one older and three younger brothers, at the baptism he received the name of Konrad, which was characteristic in this branch of the House of Piast. His nickname of Kantner wasderived from the town of Kanth (pl: Kąty Wrocławskie), who was a property of the Oleśnica dukes since 1379.LifeAfter the death of his father in 1412, Konrad V succeeded him in all his lands together with his olderbrother Konrad IV the Older as co-rulers, due to the minority of their younger brothers.In 1416, when all Konrad III's sons attained his majority, Konrad IV renounced to the government on behalf of Konrad V and therest of his brothers. However, because two other brothers (Konrad VI the Dean and Konrad VIII the Younger), also pursued a Church career, the main beneficiaries in the government are two others laic brothers:Konrad V and Konrad VII the White, who in 1431 co-founded in Koźle a Minorites Cloister. In 1434 they purchased the town of Wołczyn to Duke Louis II of Brieg. The co-rulership was maintained until 1427, when wasmade the division of the Duchy: Konrad V retained the main city of Oleśnica.Like his brothers, Konrad V fought against the Hussites. In 1428 they tried unsuccessfully to prevent their depredations in the Duchy ofTroppau. On 4 April 1431 they raided Gliwice, which was occupied by the Hussites and where just held religious discussions in which the Lithuanian prince Sigismund Korybut, a nephew of Vytautas, was involved.Presumably, therefore, undertook the Hussites in 1432 a raid into the Duchy of Oleśnica, which was largely spared from them until then. Konrad V and his brothers, however, managed to defeat them at Ścinawa.Together with his brother Konrad IV, other Piast Dukes and the cities of Wrocław, Świdnica and Nysa was notarized on 13 September 1432 for the Hussites the still occupied cities of Niemcza, Kluczbork and Otmuchówthe amount of 10,000 groschen for damages.Their fight against the Hussites was rewarded by Emperor Sigismund, who, in his capacity as King of Bohemia, in 1434 transfer to them the districts of Psie Pole and Psary.Three years later, in 1437 he confirmed to them the complete investiture of this territories by Escheat, so that upon the death of the childless Konrad VII they could reverted to the Kingdom. Two years later, Konrad Vdied of the plague. The guardianship of his minor sons was taken by his brother Konrad VII.Marriage and issueBy 9 October 1411, Konrad V married Margareta (d. 15 March 1449), whose origins are unknown. They hadfive children:Agnes (b. aft. 1411 – d. Herbst, September 1448), married in 1437 to Kaspar I Schlik, Count of Passaun-Weisskirchen and Imperial Chancellor.Konrad IX the Black (b. ca. 1415 – d. 14 August1471).Konrad X the White (b. 1420 – d. 21 September 1492).Anna (b. ca. 1425? – d. aft. 15 August 1482), married by 1444 to Duke Władysław I of Płock.Margareta (b. by 1430 – d. 10 May 1466), Abbess of Trebnitz(1456).In his will, Konrad V leave the town of Wołów to his wife as her dower, who was ruled by her until her own death. His sons were excluded from the government by their uncle Konrad VII, who maintained his ruleuntil 1450, when they finally deposed him and assumed the full control over the Duchy.Passage 4:Konrad IV the OlderKonrad IV the Elder (Polish: Konrad IV Starszy, German: Konrad von Oels) (c. 1384 – 9 August1447) served as the Duke of Oels (Oleśnica), Koźle, half of Bytom, and half of Ścinawa from 1412 to 1416, sharing the rule with his brothers. After 1416, he became the sole ruler over Kąty, Bierutów, Prudnik, andSyców. In 1417, he assumed the role of Bishop of Wrocław and also held the title of Duke of Nysa.Born to Konrad III the Old, Duke of Oleśnica, and his wife Judith, Konrad IV the Elder was the eldest among his siblings.It is worth noting that his four younger brothers also shared the name Konrad; however, historians primarily distinguish them through letters and regnal numbers.LifeChurch careerKonrad IV, despite being the oldestson and having a strong potential to inherit his father's duchy, made the decision to pursue a religious vocation. He quickly advanced within the church hierarchy and by the end of 1399, he assumed the role of cleric inWrocław. Within a year, he was elected as the canon of Wrocław and the provost of Domasław/Domslau, although he did not succeed in this position. Nevertheless, this setback did not deter him, and in 1410 he wasultimately chosen as the canon of Wrocław. From 1411 to 1417, he held the office of provost of the chapter. During this time, Konrad IV devoted himself entirely to his candidacy for the position of Bishop of Warmia,concentrating all his efforts towards this goal. He embarked on a lengthy journey to Rome in pursuit of this appointment, although the endeavor proved unsuccessful. Nonetheless, as compensation, he was awarded amaster's degree and appointed as a papal notary. In 1412, he also assumed the role of Canon of Olomouc.Following the resignation of Duke Wenceslaus II of Legnica, the Bishop of Wrocław, on 17 December 1417, PopeMartin V appointed Konrad IV as the new Bishop of Wrocław. He received his ordination as bishop on 22 January 1418 from John Tylemann, a suffragent of the Kolegiata of St. Nicholas in Otmuchów.Beginning of hisinvolvement in politicsKonrad IV, in addition to his clerical duties, actively participated in politics during his time. In 1402, he joined the newly formed alliance of Silesian princes. In 1409, he supported his fatheralongside King Wenceslaus IV of Bohemia during the truce negotiations between Poland and the Teutonic Knights. In 1412, Konrad IV served as a mediator in conflicts involving the Dukes of Opole, King Wenceslaus IV,and the city of Wrocław. Subsequently, in 1416, he, along with his brothers, allied with the Grand Master of the Teutonic Order, Michael Küchmeister von Sternberg, against the Kingdom of Poland.Following the death ofhis father in 1412, Konrad IV became the Duke of Oleśnica, sharing the rule with his younger brother Konrad V Kantner as co-ruler. In the pursuit of advancing his ecclesiastical career, Konrad IV relinquished most ofhis governance over the duchy in 1416, favoring Konrad V and his other younger brothers. However, he retained control over the several towns within the duchy, including Kąty (Kanth), Bierutów (Bernstadt), Prudnik,and Syców.During his tenure as the ruler of the Diocese of Wrocław and the Duchy of Nysa-Otmuchów, Konrad IV faced the challenges posed by the Hussite Wars, a period marked by significant political upheaval thatgreatly influenced the policies of the duke-bishop.The Hussite WarsIn the early months of 1420, Konrad IV, along with other Silesian princes, convened in the Silesian Sejm in Wrocław and paid homage to EmperorSigismund. Subsequently, he accompanied the emperor to Prague, where Sigismund was crowned King of Bohemia. Konrad IV remained loyal to the House of Luxembourg, even after the loss of the German Kingdom,retaining authority solely over Silesia. He played a role in organizing a campaign against the reigning delinquency in the Silesian lands, which resulted in the occupation of Broumov.Recognizing his contributions, KonradIV was appointed Governor of Silesia by the emperor in 1422, with the official responsibility of organizing the fight against the Hussites.In January 1423, Konrad IV participated in negotiations for a potential alliancebetween Emperor Sigismund and the Teutonic Order against King Władysław II of Poland. The agreement stipulated territorial acquisitions for the Silesian princes in the event of a Polish defeat. However, the treaty wasnot upheld as King Władysław II obtained the emperor's refusal to join the alliance after their meeting in Kežmarok. Following the example of his sovereign, Konrad IV reestablished relations with Poland in April 1424,joining his brother Konrad V in Kalisz.In 1425, Konrad IV led a new crusade against the Hussites, organized by the Kingdom of Bohemia, which ultimately ended in failure.Beginning in 1427, the Hussites retaliatedagainst the allies of Emperor Sigismund through a series of military expeditions. During these campaigns, they ravaged Lusatia, Złotoryja, and Lubań.To counter the Hussite threat, the Silesian princes and several majorcities, including Wrocław and Świdnica, sought mutual aid from the Bishop of Wrocław and offered him leadership of the coalition. The fear of these cities and princes became evident the following year when a Hussitearmy, led by Prokop the Great, invaded Silesia. Most of the princes reached agreements with Prokop, securing the safety of their properties in exchange for a substantial ransom and unhindered passage through theirterritories.Despite the treachery of some princes, Konrad IV chose to fight, supported by a contingent led by Duke Jan of Ziębice. The Battle of Stary Wielisław near Nysa took place on 27 August 1428. The coalitionforces were decisively defeated, resulting in the death of Duke Jan of Ziębice. However, Konrad IV managed to escape.Following the battle, Prokop the Great's army devastated large portions of Lower and Upper Silesia,particularly targeting the possessions of the Bishopric of Wrocław. In search of protection, the duke-bishop forged a closer alliance with Duke Bolko V of Opole, one of the prominent Hussite leaders among the Silesianprinces.In the subsequent years, despite the defeat in 1428, Konrad IV made continued efforts to wage war against the Hussites in Silesia, receiving support from the majority of the Wroclaw nobility.By 1430, a newHussite expedition, bolstered by Polish mercenary Sigismund Korybut, advanced from the northwest. As a result, Konrad IV had to accept the loss of two significant fortresses, Niemcza and Otmuchów, which he wouldonly regain five years later through a purchase from Hussite commanders.Finally, in 1432, the personal domain of Konrad IV, the Duchy of Oleśnica, suffered severe damage as Oleśnica itself was burned, including themonasteries of Lubiąż and Trzebnica.In order to safeguard the church's possessions, Konrad IV decided to revive the Union of Silesian Princes (Związek książąt śląskich) in 1433, once again assuming the position of itsleader.Civil war in SilesiaIn 1437, Sigismund, the Holy Roman Emperor and King of Bohemia, died, triggering a civil war in Bohemia and Silesia. Before his death, Sigismund designated his son-in-law, Albert V ofHabsburg, as his successor in all his possessions. However, a faction of the electors opted to choose Casimir, the younger brother of the King of Poland, as their preferred candidate.Standing alongside Albert V, KonradIV played a pivotal role in the decisive battle that ensued in 1438. The Polish army attempted to rally the Silesian princes to acknowledge Casimir as the King of Bohemia through a swift attack. Nevertheless, theduke-bishop, along with his brother Konrad V, convinced the Polish troops to retreat. This retreat was primarily influenced by the unexpected arrival of the formidable Austrian army.The relative tranquility experiencedin Silesia was short-lived, lasting less than two years. In 1440, another double election for the King of Bohemia took place. This time, the contenders were Władysław, the posthumous son of Albert V, and Władysław III,the King of Poland and Hungary. The situation became significantly more complex as both candidates garnered substantial support. Notably, Konrad IV remained loyal to the Habsburg cause, while his younger brother,Konrad VII the White, sided with the Polish king.The ensuing protracted conflict ravaged the Silesian lands further, exacerbated by a new Hussite expedition in 1444.Financial difficulties and the dispute with the chapter,deathKonrad IV's extensive involvement in political affairs and prolonged wars had a significant impact on the bishopric, leading to a substantial debt of 8,500 Hungarian guilders at the time of his death. This financialburden posed a challenging situation for his successors.One notable aspect of Konrad IV's financial activities was his encouragement of Pope Eugene IV to condemn simony in Basel. This prompted the chapter toinvestigate the matter, revealing that Konrad IV had amassed considerable sums of money from both Western and Orthodox churches within the diocese. As a result, on 1 August 1444, the chapter formally decided todepose the duke-bishop, citing his substantial personal debts and the lack of funds to maintain his court. However, Pope Eugene IV declined to endorse this decision and, through the Bull issued on 21 July 1445, orderedKonrad IV's reinstatement as bishop.It was not until 1446, under pressure from the military forces of the duke-bishop, that a final reconciliation took place between Konrad IV and the chapter. This reconciliation allowedhim to implement diocesan statutes that aimed to reform the ecclesiastical life of Wrocław.Konrad IV died on the evening of 9 August 1447, in Jelcz. He was buried in the Wrocław Cathedral.Passage 5:Konrad VII theWhiteKonrad VII the White (aft. 1396 – 14 February 1452) was a Duke of Oels / Oleśnica, Koźle, half of Bytom and half of Ścinawa during 1416–1427 (with his brothers as co-rulers), sole Duke of Koźle and half ofBytom during 1427–1450, Duke of Oleśnica during 1421–1450 (until 1439 with his brother as co-ruler) and sole Duke of half of Ścinawa during 1447–1450.He was the fourth son of Konrad III the Old, Duke of Oleśnica,by his wife Judith. Like his three older and one younger brothers, at the baptism he received the name of Konrad, which was characteristic in this branch of the House of Piast.LifeAt a young age, he fought in the famousBattle of Grunwald (1410) on the side of the Teutonic Order and was taken captive by the Polish, but was soon released.Konrad VII began his rule over the family lands only in 1416, when all his brother (including him)attained his majority. The older brother, Konrad IV renounced in favor of his brothers the government over the Duchy. Konrad VII and his brothers remained as co-rulers until 1427, when a second division of the Duchywas made: Kornad VII obtained Koźle and half of Bytom.After the death of his brother Konrad V Kantner in 1439, Konrad VII obtain Oleśnica, this time as a regent on behalf of his nephews, Konrad V's sons, who wereeffectively excluded from the government. After the death of Konrad VIII the Younger (5 September 1444), Konrad VII inherited half of Ścinawa; three years later (9 August 1447), Konrad VII also inherited Kątach(Kanth) and Bierutów after Konrad IV's death.In 1449 he obtain Wołów after the death of his sister-in-law Margareta (widow of Konrad V), who ruled this land as her dower; however, one year later, in 1450, he wasfinally deposed by the sons of Konrad V. He died two years later.MarriagesBy 2 February 1437 Konrad VII married firstly Katharina (d. bef. 20 Jun 1449), whose origins are unknown. They had no children.By 7 March1450 Konrad VII remarried. According to some sources the name of his second wife is unknown, and others stated that she was Dorothea (d. aft. 16 July 1450), daughter of Janusz the Younger, eldest son and heir ofDuke Janusz I of Warsaw. Like his first marriage, this union was also childless.Passage 6:Konrad VI the DeanKonrad VI the Dean (Polish: Konrad VI Dziekan) (ca. 1391 – 3 September 1427) was a Duke of Oleśnica,"}
+{"doc_id":"doc_286","qid":"","text":"Passage 1:Vadim VlasovVadim Nikolayevich Vlasov (Russian: Вадим Николаевич Власов; born 19 December 1980) is a former Russian football player.Vlasov played in the Russian Premier League with FC LokomotivNizhny Novgorod.He is a younger brother of Dmitri Vlasov.Passage 2:Roshan Lal VermaRoshan Lal Verma is an Indian politician and a member of the Seventeenth Legislative Assembly of Uttar Pradesh in India. Herepresents the Tilhar constituency of Uttar Pradesh and is a member of the Samajwadi Party.Early life and educationRoshan Lal Verma was born in Shahjahanpur district. He attended the Adarsh School and is educatedtill eighth grade.Political careerRoshan Lal Verma has been a MLA for three term. He represented the Tilhar constituency and was a member of the  political party, Bahujan Samaj Party. Later he joined Bhartiya JantaParty until 2021.In 2022 he joined Samajwadi Party.Members of Legislative AssemblyHe was elected in 2007 as  Member, 15th Legislative Assembly of Uttar Pradesh. And re-elected in 2012 for 16th LegislativeAssembly of Uttar Pradesh and again in 2017 as Member, 17th Legislative AssemblyElectoral performanceSee alsoTilhar (Assembly constituency)Sixteenth Legislative Assembly of Uttar PradeshUttar Pradesh LegislativeAssemblyPassage 3:Vrindavan Lal VermaVrindavan Lal verma (9 January 1889 – 23 February 1969) was a Hindi novelist and playwright. He was honoured with Padma Bhushan for his literary works; Agra Universitypresented him with honorary D. Lit. He received Soviet Land Nehru Award and the government India also awarded him for his novel, Jhansi Ki Rani.Life and careerHe was drawn toward mythological and historicalnarratives from early childhood. His masterpiece, Mriganayani, set at the end of the 15th century in Gwalior, tells the legend of Man Singh Tomar and his \"doe-eyed queen\" Mrignayani.His historical novels areGadhKundar (1927)Virata ki Padmini (1930)Musahibju (1943)Jhansi ki Rani (1946)Kachnar (1947)Madavji Sindhia (1949)Tute Kante (1949)Mriganayani (1950)Bhuvan Vikram (1954)Ahilya Bai (1955)RaniDurgavatiLalitadityaVarma's social novels includeSangam (1928)Lagan (1929)Pratyagat (1929)Kundali Chakra (1932)Prem ki Bheni (1939)Kabhi na Kabhi (1945)Achal Mera Koyi (1947)Rakhi ki Laj (1947)Sona(1947)Amar Bel (1952).His plays include an adaptation of his novel, Jhansi ki Rani, Hans Mayur (1950), Bans ki Phans (1950), Pile Hath (1950), Purva ki Aur (1951), Kevat (1951), Nilkanth (1951), Mangal Sutra(1952), Birbal (1953), and Lalit Vikram (1953).Varma wrote short stories also which have been published in seven volumes. His autobiography Apni Kahani has also been applauded.Passage 4:Manikya LalVermaManikya Lal Verma (Born on 4 December 1897 in a Mathur kayastha family) was a member of Constituent Assembly of India in 1949. He was prime minister of Rajasthan, India before full formation of the state.He was elected to Lok Sabha in 1957 from Chittorgarh and in 1952 from Tonk. He was recipient of Padma Bhushan in 1965.He played pivotal role in Bijolia movement, a farmers agitation raised between 1919 and 1923in Bhilwara. He remained in prison for several years being a freedom fighter.  Verma was an untiring social activist. He played a vital role in promoting education among Tribes, other backward classes and women insouthern Rajasthan.  He founded Vimukt Janjaati sangh to promote social conditions of notified castes. This organisation established several hostels for notified caste students in Rajasthan. In Western border district'sSimant (\u0000\u0000\u0000\u0000\u0000\u0000\u0000) Chatrawas were established on his initiative.He died on 14 January 1969. His wife Smt. Narayni Devi was a member of Rajya Sabha and son Deen Bandhu Verma was a member of Loksabha fromUdaipur constituency. His son in law Shiv Charan Mathur was also Chief Minister of Rajasthan for two terms.The Manikya Lal Verma Textile and Engineering College was named after him. A huge garden at bank ofPichola lake, Udaipur is also named behind him.Other details as per loksabha.nic.in ...Social and Political worker; Secretary, Vidya Pracharini Sabha, Bijolia (1916); Organised Peasant Satyagraha against taxes andforced labour in 1918; Imprisoned in 1919, also 1923, thrice in 1927 and again in 1931; Interned at Kumbhalgarh in 1932-33 and expelled from Udaipur State in 1938 for establishing 'Praja Mandal' and conductingSatyagraha against the State and imprisoned again for one year, 1939; Participated in 'Quit India Movement'; Chairman of Reception Committee, All India States' People's Conference, 1945; Chief Minister of Rajasthan,1948–49; President, Rajasthan State Congress Committee, 1951; Member, All India Congress Working Committee, 1952–54; President, Rajasthan Bhil Seva Mandal Vimukta Jati Sevak Sangh, 1954–55; Convener, AllIndia Gadia Luhar Sammelan and Bharat Sevak Samaj, 1955–56; President, Gadiya Lohar Sewak Sangh, 1956–62, Rajasthan Adim Jati Sevak Sangh, 1957–62; Rajasthan Van Shramik Sahakari Sangh, 1959–62;Member, Constituent Assembly, 1947–50; Provisional Parliament, 1950–52; First Lok Sabha, 1952—57 and Second Lok Sabha, 1957–62.Social activities:  Organised Harijan Ashram at Nareli in Ajmer Merwara, 1934;Did constructive work among Bhils and Meenas of Rajasthan at Village Khadlai, Dungarpur State in August, 1934; Established Akal Pidit Seva Sangh, Mewar, 1940; Established Harijan Sevak Sangh and Bhil Seva Sanghin Udaipur; Established Mahila Ashram, Bhilwara, 1944; Established Rajasthan Kalbeliya Seva Sangh.Special interests:  Improvement of agriculture on modern lines; Establishment of Socialistic Society on thecooperative principles; Established three Tribes colony in Udaipur and Kota District and settled Gadia Lohars in Jodhpur, Nagor, Bikaner, Ajmer, Pali District and Banjaras in Bhilwara District, Kalbeliyas in UdaipurDistrict.Passage 5:Kerem İnanKerem İnan (born 25 March 1980) is a Turkish professional football goalkeeper who plays for Erokspor.Career statisticsAs of 20 August 2010HonoursGalatasarayTurkish League: 2(1999–00, 2001–02)Turkish Cup: 2 (1998–99, 1999–00) UEFA Cup: 1 (1999–00)UEFA Super Cup: 1 (2000)Passage 6:Jhunnilal VermaJhunnilal Verma (also Jhunni Lal Verma or J. L. Verma) was an Indian lawyer andpolitician from Madhya Pradesh. He was freedom fighter from Bundelkhand Damoh region.In December 1933, Verma was elected unopposed to the Legislative Council of the Central Provinces and Berar, to fill thevacancy caused by the death of G. S. Singhai. He represented the Damoh district non-Muhammadan rural constituency. He was still a member in 1936.During establishment of Saugor University he was in the team withDr. Hari Singh Gour and also the founder of Damoh Degree College. J. L. Verma Law College, the law school affiliated with Dr. Hari Singh Gour University was named in his honor.  He wrote two books Bharat Darshanand Karm Sanyasi Krishna.External linksJhunni Lal Verma, author profile at Rajkamal PrakashanPassage 7:Roman SmishkoRoman Smishko (Ukrainian: Роман Володимирович Смішко) is a retired Ukrainian professionalfootballer who played as a goalkeeper.He is a younger brother of Ukrainian defender Bohdan Smishko.CareerHe played for clubs in Estonian, Lithuanian and Belarusian top levels.In the 2014 Meistriliiga season he setthe league clean sheet record by not conceding a single goal for 1,281 minutes between 5 April 2014 and 25 July 2014 which is 30 minutes short and allegedly the second best result in countries top flight after EdwinVan der Sar's 1,311 minutes.Passage 8:Miloš ZličićMiloš Zličić (Serbian Cyrillic: Милош Зличић; born 29 December 1999) is a Serbian football forward who plays for Smederevo 1924. He is a younger brother of LazarZličić.Club careerVojvodinaBorn in Novi Sad, Zličić passed Vojvodina youth school and joined the first team at the age of 16. Previously, he was nominated for the best player of the \"Tournament of Friendship\", played in2015. He made his senior debut in a friendly match against OFK Bačka during the spring half of the 2015–16 season, along with a year younger Mihajlo Nešković. Zličić made an official debut for Vojvodina in the 16thfixture of the 2016–17 Serbian SuperLiga season, played on 19 November 2016 against Novi Pazar.Loan to CementIn July 2018, Zličić joined the Serbian League Vojvodina side Cement Beočin on half-year loan deal.Zličić made his debut in an official match for Cement on 18 August, in the first round of the new season of the Serbian League Vojvodina, in a defeat against Omladinac. He scored his first senior goal on 25 August, invictory against Radnički.International careerZličić was called in Serbia U15 national team squad during the 2014, and he also appeared for under-16 national team between 2014 and 2015. He was also member of a U17level later. After that, he was member of a U18 level, and scored goal against Slovenia U18.Career statisticsAs of 26 February 2020Passage 9:Dmitri Varfolomeyev (footballer, born 1978)Dmitri NikolayevichVarfolomeyev (Russian: Дмитрий Николаевич Варфоломеев; born 15 March 1978) is a Russian former football player.He is a younger brother of Sergei Varfolomeyev.HonoursZhenis AstanaKazakhstan Premier Leaguechampion: 2001Kazakhstan Cup winner: 2001Passage 10:Baboo Lal VermaBaboo Lal Verma as an Indian politician. He is a Cabinet Minister of Food & Civil Supply, Consumer Affairs in Government of Rajasthan and MLAin Keshoraipatan constituency Bundi district from Rajasthan."}
+{"doc_id":"doc_287","qid":"","text":"Passage 1:SennedjemSennedjem was an Ancient Egyptian artisan who was active during the reigns of Seti I and Ramesses II. He lived in Set Maat (translated as \"The Place of Truth\"), contemporary Deir el-Medina, onthe west bank of the Nile, opposite Thebes. Sennedjem had the title \"Servant in the Place of Truth\". He was buried along with his wife, Iyneferti, and members of his family in a tomb in the village necropolis. His tombwas discovered January 31, 1886. When Sennedjem's tomb was found, it contained furniture from his home, including a stool and a bed, which he used when he was alive.His titles included Servant in the Place of Truth,meaning that he worked on the excavation and decoration of the nearby royal tombs.See alsoTT1 – (Tomb of Sennedjem, family and wife)Passage 2:ThadThad is a masculine given name, often a short form(hypocorism) of Thaddeus. It may refer to:Thad Allen (born 1949), United States Coast Guard admiralThad Altman (born 1955), American politicianThad Balkman (born 1971), American politician, lawyer, andjudgeThaddeus Thad Bingel, American educator and political consultantThaddis Thad Bosley (born 1956), American baseball playerThaddeus Thad F. Brown (1902–1970), American police chiefThad Busby (born 1974),American football playerThaddeus Thad Carhart (born 1950), American writerThad Castle, character in the TV series Blue Mountain StateWilliam Thad Cochran (1937–2019), United States Senator from MississippiThadCockrell, American singer-songwriterThaddeus Thad A. Eure (1899–1993), American politicianThad McIntosh Guyer (born 1950), American lawyerThad Heartfield (1940–2022), American lawyer and federaljudgeThaddeus Thad Hutcheson (1915–1986), American attorney and politicianThad J. Jakubowski (1924–2013), American Roman Catholic bishopThad Jaracz (born 1946), American basketball playerThaddeus ThadJones (1923–1986), American jazz trumpeter and bandleaderThad Krasnesky (fl. 2000s–2020s), American children's authorThad Levine (born 1971), American baseball executiveThaddeus Thad Lewis (born 1987),American football playerThaddeus Thad Luckinbill (born 1975), American actor and film producerThad Matta (born 1967), American men's basketball coachThad McArthur (born 1928), American Olympic modernpentathleteThad McClammy (1942–2021), American politicianThaddus Thad McFadden (American football) (born 1962), American football playerThaddus Thad McFadden (basketball) (born 1987), American basketballplayerThaddeus Thad Moffitt (born 2000), American racing driverThaddeus Thad Mumford (1951–2018), American television writer and producerThaddeus Thad Spencer (1943–2013), American heavyweight boxerThadStarner (fl. 1980s–2010s), American computer scientistThaddeus Thad Stem Jr. (1916–1980), American author and poetThaddeus Stevens (1792–1868), United States Representative from PennsylvaniaRobertThaddeus R. Thad Taylor (1925–2006), American theatre directorThaddeus Thad Tillotson (1940–2012), American baseball pitcherThad Vann (1907–1982), American football player and coachThad Viers (born 1978),American politicianThad Vreeland Jr. (1924–2010), American materials scientistThad Weber (born 1984), American baseball pitcherPassage 3:Where Was I\"Where Was I?\" may refer to:Books\"Where Was I?\", essay byDavid Hawley Sanford from The Mind's IWhere Was I?, book by John Haycraft 2006Where was I?!, book by Terry Wogan 2009Film and TVWhere Was I? (film), 1925 film directed by William A. Seiter. With ReginaldDenny, Marian Nixon, Pauline Garon, Lee Moran.Where Was I? (2001 film), biography about songwriter Tim RoseWhere Was I? (TV series) 1952–1953 Quiz show with the panelists attempting to guess a location bylooking at photos\"Where Was I?\" episode of Shoestring (TV series) 1980Music\"Where was I\", song by W. Franke Harling and Al Dubin performed by Ruby Newman and His Orchestra  with vocal chorus by  Larry Taylorand Peggy McCall  1939\"Where Was I\", single from Charley Pride discography 1988\"Where Was I\" (song), a 1994 song by Ricky Van Shelton\"Where Was I (Donde Estuve Yo)\", song by Joe Pass from Simplicity (Joe Passalbum)\"Where Was I?\", song by Guttermouth from The Album Formerly Known as a Full Length LP (Guttermouth album)\"Where Was I\", song by Sawyer Brown (Billy Maddox, Paul Thorn, Anne Graham) from Can YouHear Me Now 2002\"Where Was I?\", song  by  Kenny Wayne Shepherd from Live On  1999\"Where Was I\", song by Melanie Laine (Victoria Banks, Steve Fox) from Time Flies (Melanie Laine album)\"Where Was I\", song byRosie Thomas from With Love (Rosie Thomas album)Passage 4:Lydia Hamilton SmithLydia Hamilton Smith (February 14, 1813 – February 14, 1884) was the long-time housekeeper of Thaddeus Stevens and aprominent black businesswoman after his death.Early lifeLydia Hamilton was born at Russell Tavern near Gettysburg in Adams County, Pennsylvania, US. She \"was the widow of a Gettysburg Negro barber [JacobSmith-died 1852], by whom she had two children.\" Her mother was a free mulatto woman of European and African descent, and her father was Irish.Career with StevensSeparated from her husband, Smith moved toLancaster with her mother and sons in 1847 and accepted a position as housekeeper to prominent lawyer and abolitionist Thaddeus Stevens, who had moved from Gettysburg five years earlier but practiced law and hadbusiness interests in several counties in the Susquehanna River basin. Stevens was elected to the U.S. House of Representatives the following year, and Smith continued to keep the bachelor's house (including hishouse in Washington, D.C.) until Stevens died in 1868.Smith was described as \"giving great attention to her appearance,\" and in later years she had her clothes made to resemble those of Mary Lincoln. Carl Sandburgdescribed Smith as \"a comely quadroon with Caucasian features and a skin of light-gold tint, a Roman Catholic communicant with Irish eyes ... quiet, discreet, retiring, reputed for poise and personal dignity.\"Smith hadtwo sons, William and Isaac, by her late husband, Jacob Smith. She and Stevens also raised the latter's nephews, whom he adopted in the 1840s.  On April 2, 1861, Smith's older son, William Smith, fatally shot himselfwhile handling a pistol at Stevens's home, as his mother watched. William Smith was 26 years old and worked as a shoemaker in Lancaster. Her other son, Isaac Smith, a banjo player and barber, enlisted in the 6thUnited States Colored Infantry Regiment in 1863 and served in Virginia.No evidence exists as to the exact nature of the relationship between Stevens and Smith. In the one brief surviving letter from Stevens to her, headdresses her as \"Mrs. Smith,\" unusual deference to an African-American servant in that era. Family members also asked Stevens to be remembered to \"Mrs. Smith.\" Nonetheless, during her time with Stevens,neighbors considered her his common-law wife. Smith not only handled social functions for the politician, she also mingled with Stevens's guests, who were instructed to address her as \"Madame\" or \"Mrs. Smith.\"Opposition newspapers (for Stevens's views concerning racial equality were quite controversial) claimed she was frequently called \"Mrs. Stevens\" by people who knew her.Smith was at Stevens's bedside when he died inWashington, D.C. on August 11, 1868, along with his friend Simon Stevens and surviving nephew (Thaddeus Stevens Jr.), two African-American nuns, and several other people. Under Stevens's will, Smith was allowedto choose between a lump sum of $5,000 or a $500 annual allowance; she was also allowed to take any furniture in his house. With the inheritance, Smith purchased Stevens' house and the adjoininglot.BusinesswomanStevens and Smith were active in the Underground Railroad, which led to the burning of his ironworks, Caledonia Furnace, during the Civil War. Recent excavation of their house in Lancasterunearthed a cistern with a passageway to a nearby tavern, as well as a spittoon inside, which some historians think was used to shelter escaping slaves. Smith bought her house in Lancaster next to Stevens's house in1860. During and after the Battle of Gettysburg in 1863, Smith hired a horse and wagon, and collected food and supplies for the wounded of both sides from neighbors in Adams, York and Lancaster counties anddelivered them to the makeshift hospitals. After Stevens's death in 1868, in addition to buying his house in Lancaster, Smith operated a prosperous boarding house across from the Willard Hotel in Washington, D.C., aswell as invested in real estate and other business ventures.Death and legacyLydia Hamilton Smith died in Washington on her 71st birthday in 1884 and, per her wishes, was buried in St. Mary's Catholic cemetery inLancaster, although she also left money for the continued upkeep of Stevens's grave at the Shreiner-Concord cemetery.In Steven Spielberg's 2012 film Lincoln, Smith was portrayed by actress S. EpathaMerkerson.Notes and referencesFurther readingCarlson, Peter. \"Lincoln's Feisty Foil.\" American History, vol. 48, no. 1 (Apr. 2013), pp. 50–55.Delle, James A., and Mary Ann Levine.  \"Archaeology, Intangible Heritage,and the Negotiation of Urban Identity in Lancaster, Pennsylvania.\" Historical Archaeology, vol. 45, no. 1 (2011), pp. 51–66Passage 5:Thaddeus P. MottThaddeus Phelps Mott (December 7, 1831 – November 23, 1894)was an American adventurer, sailor and soldier of fortune. A former Union Army officer during American Civil War, he also took part in wars in Mexico, Italy, and the Ottoman Empire. He was primarily responsible forrecruiting former Union and Confederate soldiers for service in the Egyptian Army, in which he held the rank of major general, and was the first officer to take service with the Khedive Isma'il Pasha as his aide-de-campin 1870. At the time of his death, he was also the last surviving son of the eminent surgeon Valentine Mott.BiographyEarly life and military careerMott was born in New York City, New York, the son of Dr. Valentine Mott(1785–1865) and Louisa Dunmore Munn. He was one of nine children born to the couple. Little is known of his early life except that, as a child, he \"developed a spirit of adventure\". He was a natural linguist and waseducated at New York University where his father was emeritus professor of surgery.At age 17, he left the country to fight in revolutionary Italy, commissioned as a second lieutenant, serving under Giuseppe Garibaldi.Suffering from ill health following his Italian service, mostly due to exposure and privation, Mott subsequently served as a shipmate on various clipper ships during the next several years. He initially signed on to theHornet bound for California, then as a third mate on the Hurricane in 1851, a second mate on the St. Denis in 1852 and the mate of the St. Nicholas in 1854. He returned to California a year later and spent 1856–57 inthe Mexican Army under General Ignacio Comonfort prior to and during the Reform War. In 1858, he married Emily Josephine Daunton and had two children with her, Marie Louise and Valentine Mott.Return to theUnited States and the American Civil WarHe eventually returned to the United States and enlisted in the Union Army shortly before the American Civil War where he was assigned as captain of artillery at the ChainBridge fortification in Washington, D.C. He initially served as captain of the 3rd Independent Battery, New York Volunteer Artillery, which was active on the upper Potomac during the first year of the war. Mott and the3rd New York Artillery saw action during the Seven Days Battles fought for five consecutive hours defeating each Confederate force put against them though sustaining heavy casualties. All the officers from the batterywere promoted from the ranks. Mott resigned as battery commander to accept a commission to the 19th Infantry Regiment but briefly returned in September 1862 to lead the regiment at Lewinsville, Virginia in battlewith the famed Washington Battery and forced them to retreat.A year later, he was promoted to the rank of lieutenant colonel of cavalry, and then reassigned to the 14th Regiment New York Volunteer Cavalry. Mottwas one of the organizers of the regiment which mustered in on Rikers Island as part of a volunteer brigade sponsored by the New York Metropolitan Police. He led the regiment during the New York Draft Riots later thatyear. On the third day of the riots, in what would be the first major engagement of the day, Mott was dispatched along with units commanded by Captain John H. Howell and General Charles C. Dodge to confront riotersreportedly gathering at Thirty-Second Street and Eighth Avenue. With orders to confront and disperse the mob, Mott led a troop of cavalry and a battery of howitzers supporting General Dodge and the 8th New YorkVolunteer Infantry Regiment. Upon reaching Eighth Avenue, the soldiers discovered three African-Americans hanging to lamp posts \"while a gang of ferocious women crowded about the dangling bodies, slashing themwith knives as a mob of men estimated at more than five thousand yelled and cheered\". The crowd fell back as the soldiers advanced and Mott charged forward on his horse to cut one of the men down from the lamppost. As he was doing so, a rioter attempted to drag Mott off his horse and Mott was forced to kill him with his cavalry sabre.Almost immediately after returning to his command, Mott and his men were assaulted bybricks and stones hurled by the rioters, followed by \"a brisk fire from muskets and pistols\". The mob charged down the street. Believing they intended to capture the regiment's guns, Mott ordered Captain Howell tobring two howitzers into position in Seventh Avenue and prepare to sweep Thirty-Second Street with artillery fire. Mott led his men against the rioters; the cavalry and infantry units charged with sabre and bayonet andmanaged to drive the mob back to Eighth Avenue. The rioters returned, however, when the soldiers withdrew to protect the artillerymen. Howell shouted to the rioters to surrender. The crowd's jeers and tauntsprompted Howell to give the order to fire. The howitzers, loaded with grape and canister shot, ripped through the tightly packed mob and inflicted heavy casualties. The crowd withstood six rounds before scattering andmoving northward. The soldiers were broken up into small groups to clear the side streets and cut down the men hanging from the lamp posts before returning to their headquarters on Mulberry Street. A half-an-hourafter the soldiers left, the rioters returned to carry away their dead and wounded, and \"again strung up the Negros\". The bodies would remain there until an NYPD squad under Captain Samuel Brower could safelyremove them from the site. Afterwards, Mott was transferred to the Department of the Gulf where he was chief of outposts before finally resigning his commission in 1864.Service to the Ottoman EmpireMott remainedin the United States for several years after the war. While in New York, he was a member of both the Freemasons' Holland Lodge No. 8 and Jerusalem Chapter No. 8, R.A.M. In 1867, he was nominated to replaceGeneral Lawrence as U.S. Minister to Costa Rica but declined the offer. A year later, he travelled to Turkey to join the Ottoman Army and then on to Cairo where he was appointed a major general or \"ferik-pacha\". Thatsame year, he was named Grand Officer of the Imperial Order of the Madjidieh by Sultan Abdülaziz I. He also became a member of the \"Conseal de Guerre\" and saw plenty of service in the Balkans during the next fewyears.In early-1869, Mott was contacted by the then Egyptian Khedive Isma'il Pasha to enlist his help in recruiting American officers to reorganize Egypt's military forces. Being subordinate to the Ottoman Empire, andthus without official diplomatic representation, Isma'il was not able to request assistance directly from the U.S. Government and instead had to rely on independent agents. Mott was an ideal candidate given hismercenary background and family connections to the Ottomans. His father, Valentine Mott, had been personal physician to Sultan Mehmed II and one of his sisters was married to the Ottoman ambassador to the UnitedStates, Blacque Bey. Generals Charles Pomeroy Stone, Henry H. Sibley and William W. Loring, all recommended by General William T. Sherman, accompanied Mott to Egypt later that year. Many of the men recruited byMott had fought on one side or the other during the Civil War, were graduates from West Point and Annapolis Naval Academy and helped rebuild both the Egyptian army and navy. Mott and others also commandedtroops in exploration missions not only to improve the overall Egyptian military establishment but also to increase knowledge of Egypt's geography.In 1870, Mott was made the first aide-de-camp to the Isma'il Pasha.Two years later, he also became a Grand Officer of the Imperial Order of the Osmanieh. He remained in Egyptian service until his contract expired four years later. Declining to renew it, Mott instead turned overcommand to Charles Stone and returned to Turkey to take part in the wars between Serbia, the Russian and Ottoman Empires. He later distinguished himself during the Battle of Shipka Pass.Retirement and lateryearsIn September 1876, he visited Paris to consult a French physician regarding a chronic ailment. He was forced to retire from military service for health reasons three years later. Prior to his retirement, he wasawarded the war medal of the \"Croissant Rouge\" which, at the time, had been awarded to only 18 men including the Sultan himself. He settled in Toulon to work as an American consular agent and continued to livethere with his family for over ten years until his death on November 23, 1894. He was the last surviving son of the Mott family. Mott's military career in Egypt, as well as those of other American officers, was featured inReal Soldiers of Fortune (1906) by Richard Harding Davis.Passage 6:Valentine MottValentine Mott (August 20, 1785 – April 26, 1865) was an American surgeon.LifeValentine Mott was born at Glen Cove, New York. Hegraduated at Columbia College, studied under Sir Astley Cooper in London, and also spent a winter in Edinburgh. After acting as demonstrator of anatomy he was appointed professor of surgery in Columbia College in1809. From 1811 to 1834 he was in very extensive practice as a surgeon, and most successful as a teacher and operator.He tied the innominate artery in 1818; the patient lived twenty-six days. He performed a similaroperation on the carotid for the first time in the USA on 20 Sept 1829 before going on to carry out this operation forty-six times with good results; and in 1827 he was also successful in the case of the common iliac. Heis said to have performed one thousand amputations and one hundred and sixty-five lithotomies.After spending seven years in Europe (1834-1841) Mott returned to New York where he was on the founding faculty ofthe university medical college of New York, now New York University School of Medicine. He translated AALM Velpeau's Operative Surgery, and was foreign associate of the Imperial Academy of Medicine of Paris.Acollection of his correspondence is held at the National Library of Medicine in Bethesda, Maryland.FamilyIn 1849, the same year he was elected President of the New York Academy of Medicine, Mott and his wife, theformer Louisa Dunmore Munn, moved to a four-story Italianate brownstone mansion at #1 Gramercy Park West with their large family. The couple had 9 children: 6 sons, including Alexander Brown Mott (1826–1889),Valentine Mott, Jr. (1822–1854), and Thaddeus P. Mott; and 3 daughters, including Louisa Dunmore Mott, who in 1842 married the surgeon William Holme Van Buren. A son of Alexander B. Mott, the surgeon Dr.Valentine Mott (1852–1918) studied under Louis Pasteur in Paris and was the first to introduce rabies vaccine into the U.S.Upon his death in 1865, Mott was interred at Green-Wood Cemetery in Brooklyn, NewYork.Passage 7:Anthony Ellmaker RobertsAnthony Ellmaker Roberts (October 29, 1803 – January 23, 1885), was an American politician, member of the United States House of Representatives from 1855 to 1859, anabolitionist and close associate of Thaddeus Stevens.Early lifeAnthony Ellmaker Roberts was born near Barneston Station in Chester County, Pennsylvania. He was the son of John Roberts and Mary Ellmaker. His familymoved to Lancaster County in 1804. Growing up, Roberts received the limited education available from the local common school. In 1816, at the age of thirteen, Roberts began working for his uncle Isaac Ellmaker as aclerk in Isaac's country store in New Holland; at the age of twenty, Anthony received a share in the ownership of the store, and continued in the business until 1839.Early political careerOn October 8, 1839, Roberts was"}
+{"doc_id":"doc_288","qid":"","text":"Passage 1:Sun LuyuSun Luyu (died August or September 255), courtesy name Xiaohu, was an imperial princess of the state of Eastern Wu during the Three Kingdoms period of China. She was the younger daughter of Sun Quan, the founding emperor of Wu, and his concubine Bu Lianshi. She is also referred to as Princess Zhu (\u0000\u0000\u0000/\u0000\u0000) because of her marriage to Zhu Ju.LifeSun Luyu was the younger daughter of Sun Quan, the founding emperor of Eastern Wu, and his concubine Bu Lianshi. She had an elder sister, Sun Luban. The sisters' courtesy names, Xiaohu (\u0000\u0000) and Dahu (\u0000\u0000), respectively mean \"small tiger\" and \"big tiger\". Sun Luyu initially married Zhu Ju, a general who briefly served as the fifth Imperial Chancellor of Wu. She and Zhu Ju had a daughter, who married Sun Quan's sixth son, Sun Xiu, who was also a half-brother of Sun Luyu.In the 240s, a power struggle broke out between two of Sun Quan's sons – Sun He, the Crown Prince and Sun Ba, the Prince of Lu – with both of them fighting over the position of Crown Prince. The power struggle had a polarising effect on Sun Quan's subjects; two opposing factions, each supporting either Sun He or Sun Ba, emerged from among them. During this time, Sun Luyu's husband Zhu Ju supported Sun He, while Sun Luyu's sister Sun Luban and her husband Quan Cong sided with Sun Ba. When Sun Luban tried to get Sun Luyu to support Sun Ba, Sun Luyu refused and became estranged from her sister as a result.In 250, the power struggle came to an end when Sun Quan forced Sun Ba to commit suicide and deposed Sun He from his position as Crown Prince. Many of the officials involved in the power struggle were executed, exiled or removed from office. Sun Luyu's husband, Zhu Ju, was demoted and reassigned to a new post in Xindu Commandery (\u0000\u0000\u0000; around present-day Chun'an County, Zhejiang). While Zhu Ju was en route to Xindu Commandery, Sun Hong (\u0000\u0000) , one of Sun Ba's supporters, took advantage of Sun Quan's poor health to issue a fake imperial decree ordering Zhu Ju to commit suicide. Zhu Ju thought that the decree was genuine so he killed himself as ordered. The general Liu Zuan (\u0000\u0000) had previously married Sun Quan's second daughter (a half-sister of Sun Luban and Sun Luyu), but she died early, so Sun Quan arranged for him to marry the widowed Sun Luyu.In August or September 255 during Sun Liang's reign, Sun Yi (\u0000\u0000) and others plotted to overthrow the regent Sun Jun, but were discovered and executed before they could carry out their plan. Sun Luban, who had a secret affair with Sun Jun after her husband Quan Cong died in 249, seized the opportunity to falsely accuse her estranged sister Sun Luyu of being involved in the plot. Sun Jun believed Sun Luban and had Sun Luyu arrested and executed. She was buried at Shizigang (\u0000\u0000\u0000; literally \"stones hill\"), a hill in present-day Yuhuatai District, Nanjing, Jiangsu.Postmortem eventsAfter Sun Jun died in 256, his cousin Sun Chen succeeded him as the regent for the Wu emperor Sun Liang. Sometime between 256 and 258, Sun Liang suspected that Sun Luban had something to do with Sun Luyu's death, so he summoned his half-sister and questioned her. A fearful Sun Luban lied to him, \"I really don't know. I heard it from Zhu Ju's sons, Zhu Xiong (\u0000\u0000) and Zhu Sun (\u0000\u0000).\" Sun Liang thought that Zhu Xiong and Zhu Sun betrayed Sun Luyu to Sun Jun – especially since Zhu Sun married Sun Jun's younger sister – so he ordered Ding Feng to execute Zhu Xiong and Zhu Sun.In 258, Sun Chen deposed Sun Liang and replaced him with Sun Xiu, Sun Quan's sixth son, as the third emperor of Wu. Sun Xiu's wife, Lady Zhu, was the daughter of Zhu Ju and Sun Luyu. On 18 January 259, Sun Xiu staged a coup d'état against the regent Sun Chen, succeeded in ousting him from power, and ordered Sun Chen and his entire family to be executed. Sun Xiu also had Sun Jun's dead body unearthed and stripped of the honours accorded to him, and posthumously rehabilitated the people who were executed during Sun Jun and Sun Chen's regencies. Sun Luyu was one of them.Sometime between 6 November and 5 December 264, Sun Hao, the fourth emperor of Wu, ordered Sun Luyu's remains to be unearthed and reburied with honours befitting her status as a princess. The Soushen Ji recorded an account as follows: [Sun Hao] wanted to have [Sun Luyu]'s remains unearthed and properly reburied, but the graves all looked the same and he could not tell which was hers. Some palace servants claimed they could remember the clothes she wore when she died, so [Sun Hao] ordered two shamans to separately summon her spirit and observe closely. After some time, the shamans saw a woman in her 30s dressed in purple and white, wearing a blue patterned headpiece and red silk shoes. She walked up the hill to the middle, placed her hands on her knees and sighed, and stopped there for a while before walking towards a grave. She wandered around the grave and disappeared suddenly. The descriptions given separately by the two shamans were very similar. When her coffin was opened, they saw that her appearance was exactly as described.See alsoLists of people of the Three KingdomsEastern Wu family trees#Sun QuanNotesPassage 2:Abd al-MuttalibShaiba ibn Hāshim (Arabic: \u0000\u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000; c. 497–578), better known as \u0000Abd al-Mu\u0000\u0000alib, (Arabic: \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000, lit. 'Servant of Muttalib') was the fourth chief of the Quraysh tribal confederation. He was the grandfather of the Islamic prophet Muhammad.Early lifeHis father was Hashim ibn 'Abd Manaf,: 81 the progenitor of the distinguished Banu Hashim, a clan of the Quraysh tribe of Mecca. They claimed descent from Ismā'īl and Ibrāhīm. His mother was Salma bint Amr, from the Banu Najjar, a clan of the Khazraj tribe in Yathrib (later called Madinah). Hashim died while doing business in Gaza, before Abd al-Muttalib was born.: 81 His real name was \"Shaiba\" meaning ' the ancient one' or 'white-haired' because of the streak of white through his jet-black hair, and is sometimes also called Shaybah al-\u0000amd (\"The white streak of praise\").: 81–82 After his father's death he was raised in Yathrib with his mother and her family until about the age of eight, when his uncle Muttalib ibn Abd Manaf went to see him and asked his mother Salmah to entrust Shaybah to his care. Salmah was unwilling to let her son go and Shaiba refused to leave his mother without her consent. Mu\u0000\u0000alib then pointed out that the possibilities Yathrib had to offer were incomparable to Mecca. Salmah was impressed with his arguments, so she agreed to let him go. Upon first arriving in Mecca, the people assumed the unknown child was Muttalib's servant and started calling him 'Abd al-Muttalib (\"servant of Muttalib\").: 85–86Chieftain of Hashim clanWhen Mu\u0000\u0000alib died, Shaiba succeeded him as the chief of the Hāshim clan. Following his uncle Al-Mu\u0000\u0000alib, he took over the duties of providing the pilgrims with food and water, and carried on the practices of his forefathers with his people. He attained such eminence as none of his forefathers enjoyed; his people loved him and his reputation was great among them.: 61 'Umar ibn Al-Kha\u0000\u0000āb's grandfather Nufayl ibn Abdul Uzza arbitrated in a dispute between 'Abdul-Mu\u0000\u0000alib and \u0000arb ibn Umayyah, Abu Sufyan's father, over the custodianship of the Kaaba. Nufayl gave his verdict in favour of 'Abdul-Mu\u0000\u0000alib. Addressing \u0000arb ibn Umayyah, he said:Why do you pick a quarrel with a person who is taller than you in stature; more imposing than you in appearance; more refined than you in intellect; whose progeny outnumbers yours and whose generosity outshines yours in lustre? Do not, however, construe this into any disparagement of your good qualities which I highly appreciate. You are as gentle as a lamb, you are renowned throughout Arabia for the stentorian tones of your voice, and you are an asset to your tribe.Discovery of Zam Zam Well'Abdul-Mu\u0000\u0000alib said that while sleeping in the sacred enclosure, he had dreamed he was ordered to dig at the worship place of the Quraysh between the two deities Isāf and Nā'ila. There he would find the Zamzam Well, which the Jurhum tribe had filled in when they left Mecca. The Quraysh tried to stop him digging in that spot, but his son Al-\u0000ārith stood guard until they gave up their protests. After three days of digging, 'Abdul-Mu\u0000\u0000alib found traces of an ancient religious well and exclaimed, \"Allahuakbar!\" Some of the Quraysh disputed his claim to sole rights over water, then one of them suggested that they go to a female shaman who lived afar. It was said that she could summon jinns and that she could help them decide who was the owner of the well. So, 11 people from the 11 tribes went on the expedition. They had to cross the desert to meet the priestess but then they got lost. There was a lack of food and water and people started to lose hope of ever getting out. One of them suggested that they dig their own graves and if they died, the last person standing would bury the others. So all began digging their own graves and just as Abdul-Mu\u0000\u0000alib started digging, water spewed out from the hole he dug and everyone became overjoyed. It was then and there decided that Abdul-Muttalib was the owner of the Zam Zam well. Thereafter he supplied pilgrims to the Kaaba with Zam Zam water, which soon eclipsed all the other wells in Mecca because it was considered sacred.: 86–89 : 62–65The Year of the ElephantAccording to Muslim tradition, the Ethiopian governor of Yemen, Abrahah al-Ashram, envied the Kaaba's reverence among the Arabs and, being a Christian, he built a cathedral on Sana'a and ordered pilgrimage be made there.: 21 The order was ignored and someone desecrated (some saying in the form of defecation: 696 note 35 ) the cathedral. Abrahah decided to avenge this act by demolishing the Kaaba and he advanced with an army towards Mecca.: 22–23 There were thirteen elephants in Abrahah's army: 99 : 26 and the year came to be known as 'Ām al-Fīl (the Year of the Elephant), beginning a trend for reckoning the years in Arabia which was used until 'Umar ibn Al-Kha\u0000\u0000āb replaced it with the Islamic Calendar in 638 CE (17 AH), with the first year of the Islamic Calendar being 622 CE.When news of the advance of Abrahah's army came, the Arab tribes of Quraysh, Kinānah, Khuzā'ah and Hudhayl united in defence of the Kaaba. A man from the \u0000imyar tribe was sent by Abrahah to advise them that he only wished to demolish the Kaaba and if they resisted, they would be crushed. \"Abdul-Mu\u0000\u0000alib told the Meccans to seek refuge in the nearest high hills while he, with some leading members of Quraysh, remained within the precincts of the Kaaba. Abrahah sent a dispatch inviting 'Abdul-Mu\u0000\u0000alib to meet him and discuss matters. When 'Abdul-Mu\u0000\u0000alib left the meeting he was heard saying, \"The Owner of this House is its Defender, and I am sure He will save it from the attack of the adversaries and will not dishonour the servants of His House.\": 24–26 It is recorded that when Abrahah's forces neared the Kaaba, Allah commanded small birds (abābīl) to destroy Abrahah's army, raining down pebbles on it from their beaks. Abrahah was seriously wounded and retreated towards Yemen but died on the way.: 26–27 This event is referred to in the following Qur'anic chapter:Have you not seen how your Lord dealt with the owners of the Elephant?Did He not make their treacherous plan go astray?And He sent against them birds in flocks, striking them with stones of baked clay, so He rendered them like straw eaten up.Most Islamic sources place the event around the year that Muhammad was born, 570 CE, though other scholars place it one or two decades earlier. A tradition attributed to Ibn Shihab al-Zuhri in the musannaf of \u0000Abd al-Razzaq al-San\u0000ani places it before the birth of Muhammad's father.Sacrificing his son AbdullahAl-Harith was ' Abdul-Mu\u0000\u0000alib's only son at the time he dug the Zamzam Well.: 64 When the Quraysh tried to help him in the digging, he vowed that if he were to have ten sons to protect him, he would sacrifice one of them to Allah at the Kaaba. Later, after nine more sons had been born to him, he told them he must keep the vow. The divination arrows fell upon his favourite son Abdullah. The Quraysh protested 'Abdul-Mu\u0000\u0000alib's intention to sacrifice his son and demanded that he sacrifice something else instead. 'Abdul-Mu\u0000\u0000alib agreed to consult a \"sorceress with a familiar spirit\". She told him to cast lots between Abdullah and ten camels. If Abdullah were chosen, he had to add ten more camels, and keep on doing the same until his Lord accepted the camels in Abdullah's place. When the number of camels reached 100, the lot fell on the camels. 'Abdul-Mu\u0000\u0000alib confirmed this by repeating the test three times. Then the camels were sacrificed, and Abdullah was spared.: 66–68FamilyWivesAbd al-Muttalib had six known wives.Sumra bint Jundab of the Hawazin tribe.Lubnā bint Hājar of the Khuza'a tribe.Fatima bint Amr of the Makhzum clan of the Quraysh tribe.Halah bint Wuhayb of the Zuhrah clan of the Quraysh tribe.Natīla bint Janab of the Namir tribe.Mumanna'a bint Amr of the Khuza'a tribe.ChildrenAccording to Ibn Hisham, \u0000Abd al-Mu\u0000\u0000alib had ten sons and six daughters.: 707–708 note 97 However, Ibn Sa'd lists twelve sons.: 99–101 By Sumra bint Jundab:Al-\u0000ārith.: 708 He was the firstborn and he died before his father.: 99 Quthum.: 100 He is not listed by Ibn Hisham.By Fatima bint Amr:Al-Zubayr.: 707 He was a poet and a chief; his father made a will in his favour.: 99 He died before Islam, leaving two sons and daughters.: 101 : 34–35 Abu Talib, born as Abd Manaf,: 99 : 707 father of the future Caliph Ali. He later became chief of the Hashim clan.Abdullah, the father of Muhammad.: 99 : 707 Umm Hakim al-Bayda,: 100 : 707 the maternal grandmother of the third Caliph Uthman.: 32 Barra,: 100 : 707 the mother of Abu Salama.: 33 Arwa.: 100 : 707 Atika,: 100 : 707 a wife of Abu Umayya ibn al-Mughira.: 31 Umayma,: 100 : 707 the mother of Zaynab bint Jahsh and Abd Allah ibn Jahsh.: 33 By Lubnā bint Hājar:Abd al-'Uzzā, better known as Abū Lahab.: 100 : 708 By Halah bint Wuhayb:\u0000amza,: 707 the first big leader of Islam. He killed many leaders of the kufar and was considered as the strongest man of the quraysh. He was martyred at Uhud.: 100 \u0000afīyya.: 100 : 707 Al-Muqawwim.: 707 He married Qilaba bint Amr ibn Ju'ana ibn Sa'd al-Sahmia, and had children named Abd Allah, Bakr, Hind, Arwa, and Umm Amr (Qutayla or Amra).Hajl.: 707 He married Umm Murra bint Abi Qays ibn Abd Wud, and had two sons, named Abd Allah, Ubayd Allah, and three daughters named Murra, Rabi'a, and Fakhita.By Natīlah bint Khubāb:al-'Abbas,: 100 : 707 ancestor of the Abbasid caliphs.\u0000irār,: 707 who died before Islam.: 100 Jahl, died before IslamImran, died before IslamBy Mumanna'a bint 'Amr:Mus'ab, who, according to Ibn Saad, was the one known as al-Ghaydāq.: 100 He is not listed by Ibn Hisham.Al-Ghaydaq, died before Islam.Abd al-Ka'ba, died before Islam.: 100 Al-Mughira,: 100 who had the byname al-Ghaydaq.The family tree and some of his important descendantsDeathAbdul Muttalib's son 'Abdullāh died four months before Mu\u0000ammad's birth, after which Abdul Muttalib took care of his daughter-in-law Āminah. One day Muhammad's mother, Amina, wanted to go to Yathrib, where her husband, Abdullah, died. So, Muhammad, Amina, Abd al-Muttalib and their caretaker, Umm Ayman started their journey to Medina, which is around 500 kilometres away from Makkah. They stayed there for three weeks, then, started their journey back to Mecca. But, when they reached halfway, at Al-Abwa', Amina became very sick and died six years after her husband's death. She was buried over there. From then, Muhammad became an orphan. Abd al-Muttalib became very sad for Muhammad because he loved him so much. Abd al-Muttalib took care of Muhammad. But when Muhammad was eight years old, the very old Abd al-Muttalib became very sick and died at age 81-82 in 578-579 CE.Shaybah ibn Hāshim's grave can be found in the Jannat al-Mu'allā cemetery in Makkah, Saudi Arabia.See alsoFamily tree of MuhammadFamily tree of Shaiba ibn HashimSahabaPassage 3:Sun Huan (Jiming)Sun Huan (194-234), courtesy name Jiming, was a military general of the state of Eastern Wu during the Three Kingdoms period. He was the fourth son of Sun Jing, uncle of Sun Quan, the founding emperor of Wu, and a younger brother of Sun Jiao (\u0000\u0000).LifeBorn in the county of Wu, he was raised to be a soldier for the glory of the Sun family. In 212, his elder brother Jiao was promoted to general and left in charge of Xiakou in Jiangxia, replacing the general Cheng Pu (\u0000\u0000) who had organised the defences of this territory after it was transferred to Liu Bei, two years earlier. Sun Huan entered military service serving under his elder brother Jiao for several years. In 219, Jiao died and he inherited the command of Jiao's men. He was then named General of the Household and acted as Administrator of Jiangxia.  He was tasked with protecting the contested border with Wei. He distinguished himself against Shu in the battle of Yiling under Lu Xun in 222. In 226, despite Sun Quan's unsuccessful campaign to seize northern Jiangxia, he captured three Wei generals at Shiyang and was then enfeoffed for his achievements.He died in 234 and was well remembered by the people of Wu, who praised him for his contributions to promoting scholarship in Jiangxia.See alsoLists of people of the Three KingdomsEastern Wu family trees#Sun Jing (Youtai)NotesPassage 4:Sun QuanSun Quan (pronunciation , Chinese: \u0000\u0000) (182 – 21 May 252), courtesy name Zhongmou (\u0000\u0000), posthumously known as Emperor Da of Wu, was the founder of the Eastern Wu dynasty, one of the Three Kingdoms of China. He inherited control of the warlord regime established by his elder brother, Sun Ce, in 200. He declared formal independence and ruled from November 222 to May 229 as the King of Wu and from May 229 to May 252 as the Emperor of Wu. Unlike his rivals Cao Cao and Liu Bei, Sun Quan was much younger than they were and governed his state mostly separate of politics and ideology. He is sometimes portrayed as neutral considering he adopted a flexible foreign policy between his two rivals with the goal of pursuing the greatest interests for the country.Sun Quan was born while his father Sun Jian served as the adjutant of Xiapi County. After Sun Jian's death in the early 190s, he and his family lived at various cities on the lower Yangtze River, until Sun Ce carved out a warlord regime in the Jiangdong region, based on his own followers and a number of local clan allegiances. When Sun Ce was assassinated by the retainers of Xu Gong (\u0000\u0000) in 200, the 18-year-old Sun Quan inherited the lands southeast of the Yangtze River from his brother. His administration proved to be relatively stable in those early years as Sun Jian and Sun Ce's most senior officers, such as Zhou Yu, Zhang Zhao, Zhang Hong (\u0000\u0000), and Cheng Pu (\u0000\u0000) supported the succession. Thus throughout the 200s, Sun Quan, under the tutelage of his able advisers, continued to build up his strength along the Yangtze River. In early 207, his forces finally won complete victory over Huang Zu, a military leader under Liu Biao, who dominated the middle Yangtze. Huang Zu was killed in battle.In winter of that year, the northern warlord Cao Cao led an army of approximately 220,000 to conquer the south to complete the reunification of China. Two distinct factions emerged at his court on how to handle the situation. One, led by Zhang Zhao, urged surrender whilst the other, led by Zhou Yu and Lu Su, opposed capitulation. Eventually, Sun Quan decided to oppose Cao Cao in the middle Yangtze with his superior riverine forces. Allied with Liu Bei and employing the combined strategies of Zhou Yu and Huang Gai, they defeated Cao Cao decisively at the Battle of Red Cliffs.In late 220, Cao Pi, King of Wei, Cao Cao's son and successor, seized the throne and proclaimed himself to be the Emperor of China, ending and succeeding the nominal rule of the Han dynasty. At first Sun Quan nominally served as a Wei vassal with the Wei-created title of King of Wu, but after Cao Pi demanded that he send his son Sun Deng as a hostage to the Wei capital Luoyang and he refused. In November 222, he declared himself independent by changing his era name. It was not until May 229 that he formally declared himself emperor.After the death of his original crown prince, Sun Deng, two opposing factions supporting different potential successors slowly emerged. When Sun He succeeded Sun Deng as the new crown prince, he was supported by Lu Xun and Zhuge Ke, while his rival Sun Ba (\u0000\u0000) was supported by Quan Cong (\u0000\u0000) and Bu Zhi and their clans. Over a prolonged internal power struggle, numerous officials were executed, and Sun Quan harshly settled the conflict between the two factions by exiling Sun He and forcing Sun Ba to commit suicide. Sun Quan "}
+{"doc_id":"doc_289","qid":"","text":"Passage 1:Christopher LawfordChristopher Kennedy Lawford (March 29, 1955 – September 4, 2018) was an American author, actor, and activist. He was a member of the prominent Kennedy family, and son of Englishactor Peter Lawford and Patricia \"Pat\" Kennedy Lawford, who was a sister of President John F. Kennedy.  He graduated from Tufts University in 1977 and earned a Juris Doctor degree from Boston College in 1983. Helater earned a master's certificate in Clinical Psychology from Harvard University and was a lecturer on drug addiction.After struggling with addiction for 17 years, he became an actor, performing in several movies andtelevision shows for over 20 years.  He wrote several books, based on his own experience, about addiction and recovery.  He also traveled around the U.S. speaking about his experiences with addiction for 20 years,and was a public health campaigner, working with organizations like the World Health Organization (WHO) and the United Nations (UN), and for the U.S. federal government.Early life and educationLawford was born onMarch 29, 1955, at Saint John's Health Center in Santa Monica, California .  He was named for Saint Christopher and because his mother liked the name.: p. 1   He was the eldest child and only son of actor and \"RatPack\" member Peter Lawford (1923–1984) and Patricia \"Pat\" Kennedy Lawford (1924–2006), who was President John F. Kennedy's sister. His three younger sisters were Sydney Lawford McKelvy (born 1956), VictoriaPender (born 1958), and Robin Lawford (born 1961).  Lawford described himself as a \"second-string Kennedy\" because he did not get as much attention as his cousins.  His parents divorced in 1966; Patricia Lawfordmoved from California to New York City with her son and daughters.Before his parents' divorce, Lawford attended St. Martin of Tours Elementary School in Los Angeles, where at the age of 8, he was informed about hisuncle John F. Kennedy's assassination.  After moving to New York City with his mother, he attended the Middlesex School, a prep school in Concord, Massachusetts. He graduated from Tufts University in 1977 andearned a J.D. degree from Boston College Law School in 1983.  He later earned a master's certificate in Clinical Psychology from Harvard University, and lectured on drug addiction at Harvard, Columbia University, andother colleges.Drug and legal issuesIn 1969, the year after his uncle Robert F. Kennedy was assassinated, when Lawford was 14, he was introduced to LSD by his peers at school.: p. 110   He was addicted to alcohol,cocaine, uppers, downers, and \"any other drugs he could buy\" for the next 17 years.  During that time, he was \"in and out of hospitals and arrested three times\", including in 1980,  for impersonating a doctor in Aspen,Colorado in order to purchase prescription medication. The charges were later dropped when Lawford completed his probation.  In 2000, Lawford was diagnosed with hepatitis C, which he contracted due to his years ofdrug use.Lawford briefly attended Fordham Law School, but dropped out after a few months due to his dependency on heroin.  In April 1984, the same year his father Peter Lawford died at the age of 61, after years ofalcohol and drug abuse, Lawford's cousin and best friend David Kennedy, and third oldest son of Robert Kennedy, who also battled substance abuse issues, died of a drug overdose at the age of 28. David's deathprompted Lawford to seek professional help for his issues.  In 1986, at the age of 30, Lawford entered rehab and got treatment for his drug addiction, and remained clean and sober until his death in2018.CareerActingLawford chose to become, like his father, an actor in the mid-1980s, after realizing that a law career would not suit him.  He performed in commercials in Boston for two years, and then he and hiswife moved to Southern California in 1988 so that he could pursue an acting career.  He worked in film and television for over 20 years.  His acting credits included the sitcom Frasier and the drama The O.C. .  In 2003,he had a brief stint on the soap opera General Hospital, but was best known for playing Philip “Charlie” Brent, Jr. on All My Children from 1992 to 1995.Lawford had small roles in films such as The Russia House, a 1990spy thriller co-starring Michelle Pfeiffer and Sean Connery, and the 1991 rock-music film The Doors, which was directed by Oliver Stone.  Lawford played a Navy officer in the 2000 film Thirteen Days, a drama about the1962 Cuban Missile Crisis.  In 1997, Lawford had a role in the independent comedy Kiss Me Guido as the gay lover of the main character.  He also had a small role in Terminator 3: Rise of the Machines, co-starringArnold Schwarzenegger, who directed Lawford in a 1990 episode of the HBO anthology series Tales from the Crypt (\"The Switch\") and was married to Lawford's cousin Maria Shriver at the time.  In 2005, Lawfordappeared in the motorcycle racing film The World's Fastest Indian, co-starring Anthony Hopkins.WritingLawford wrote several books \"that described his efforts to recover from drug addiction\".  In 2005, he published hismemoir, Symptoms of Withdrawal, in which he recounted decades of \"better living through chemistry\".  In 2009, he wrote Moments of Clarity, a compilation of first-person recollections by famous addicts, including EdBegley, Jr., Alec Baldwin, Buzz Aldrin, Richard Dreyfuss, Martin Sheen, Judy Collins, and musician and federal prisoner Dejuan Verrett.  The book was dedicated to Lawford's cousin David Kennedy, and another cousin,Patrick J. Kennedy, wrote the introduction.  Lawford told interviewer Connie Martinson that although writing Moments of Clarity was \"difficult\" and he did not want to do it, the book was \"meant to happen\".In 2013,Lawford published Recover to Live: Kick Any Habit, Manage Any Addiction, in which he interviewed 100 addiction specialists and described treatments for alcohol and drug dependence, gambling, sex and porn, eatingdisorders, smoking, and hoarding.  In 2014, he published What Addicts Know: 10 Lessons From Recovery To Benefit Everyone; Dr. Drew Pinsky wrote the foreword.  Lawford's final book about addiction and recoverywas 2016's When Your Partner Has an Addiction, \"a how-to manual for people who want to stay with their addicted partners\", which he co-authored with psychotherapist Beverly Engel.Lawford also wrote a book aboutdealing with hepatitis C, called Healing Hepatitis C, which he co-wrote with Diana Sylvestre in 2009.ActivismLawford traveled around the U.S. speaking about his experiences with addiction for 20 years.  He was a publichealth campaigner, and worked with the World Health Organization (WHO), the White House Office of National Drug Control Policy, and the Canadian Centre on Substance Abuse, and was a public advocacy consultant toCaron Treatment Centers, an organization that ran treatment programs.  In 2001, Lawford founded and was CEO of the Global Recovery Initiative, a not-for-profit organization that \"seeks to remove barriers and provideopportunities for people in recovery\".Lawford also worked with the United Nations (UN).  In March 2010, he traveled to Ukraine on behalf of the UN, to participate in a discussion with health officials and advocates about\"issues related to hepatitis C (Hep C) prevention in Ukraine\", and to raise awareness.  In 2011, was named a Goodwill Ambassador on Drug Dependence Treatment and Care, in 2012, was involved in a campaign againstopiate use in Afghanistan, and served on the UN's Office on Drugs and Crime.  His cousin, former Rhode Island congressman Patrick J. Kennedy, said about Lawford: \"Chris was one of those people who had a way oftelling stories that lifted people’s perceptions and judgments of those who suffer from the disease of addiction\".Personal lifeMarriages and childrenLawford was married and divorced three times.  He had three children,David Christopher Kennedy Lawford (named after his cousin David Kennedy),: pp. 319–320 Savannah Rose Lawford, and Matthew Peter Valentine Lawford with his first wife Jeannie Olsson, an ad-sales assistant for NewYork Magazine.  They divorced in 2000.  In 2005, he married Russian actress Lana Antonova; they divorced in 2009.  In 2014, Lawford married yoga instructor Mercedes Miller in Hawaii.  At the time of his death in2018, he had been in a relationship with his girlfriend Kyla Resch since August 2017.DeathOn September 4, 2018, Lawford died of a heart attack in Vancouver, British Columbia, where he was living with his girlfriendand working to open a recovery center.  He had a medical emergency at a yoga studio and later died.  Patrick Kennedy told the Associated Press that Lawford had been doing \"hot yoga, which he did often, but the strainof it 'must have been too much for him at that point'\".  Lawford's cousins Maria Shriver, Patrick Kennedy, and Kerry Kennedy took to Twitter after his death, honoring Lawford's work in the recoverycommunity.FilmographyFilmTelevisionBibliographySymptoms of Withdrawal: A Memoir of Snapshots and Redemption, 2005Healing Hepatitis C, 2009Moments of Clarity: Voices from the Front Lines of Addiction andRecovery, 2009Recover to Live: Kick Any Habit, Manage Any Addiction, 2013What Addicts Know: 10 Lessons from Recovery to Benefit Everyone, 2014See alsoKennedy family treeKennedy cursePassage 2:Joseph P.Kennedy Sr.Joseph Patrick Kennedy (September 6, 1888 – November 18, 1969) was an American businessman, investor, philanthropist, and politician. He is known for his own political prominence as well as that of hischildren and was the patriarch of the Irish-American Kennedy family, which included President John F. Kennedy, U.S. Attorney General and Senator Robert F. Kennedy, and longtime Senator Ted Kennedy.Kennedy wasborn into a political family in East Boston, Massachusetts. He made a large fortune as a stock market and commodity investor and later invested his profits in real estate and a wide range of businesses across the UnitedStates. During World War I, he was an assistant general manager of a Boston area Bethlehem Steel shipyard; through that position, he became acquainted with Franklin D. Roosevelt, who was the Assistant Secretary ofthe Navy. In the 1920s, Kennedy made huge profits by reorganizing and refinancing several Hollywood studios; several acquisitions were ultimately merged into Radio-Keith-Orpheum (RKO) Studios. Kennedy increasedhis fortune with distribution rights for Scotch whisky. He owned the largest privately owned building in the country, Chicago's Merchandise Mart.Kennedy was a leading member of the Democratic Party and of the IrishCatholic community. President Roosevelt appointed Kennedy to be the first chairman of the Securities and Exchange Commission (SEC), which he led from 1934 to 1935. Kennedy later directed the MaritimeCommission. Kennedy served as the United States Ambassador to the United Kingdom from 1938 to late 1940. With the outbreak of World War II in September 1939, Kennedy was pessimistic about Britain's ability tosurvive attacks from Nazi Germany. During the Battle of Britain in November 1940, Kennedy publicly suggested, \"Democracy is finished in England. It may be here [in the United States].\" After a controversy regardingthis statement, Kennedy resigned his position.Kennedy was married to Rose Fitzgerald and had nine children. During his later life, he was heavily involved in the political careers of his sons. Three of Kennedy's sonsattained distinguished political positions: John served as a U.S. senator from Massachusetts and as the 35th president of the United States, Robert served as the U.S. attorney general and as a U.S. senator from NewYork, and Ted also served as a U.S. senator from Massachusetts.Background, early life, and educationJoseph Patrick Kennedy was born on September 6, 1888, at 151 Meridian Street in East Boston, Massachusetts.Kennedy was the elder son of Mary Augusta (Hickey) Kennedy and businessman and politician Patrick Joseph \"P.J.\" Kennedy. Kennedy attended Boston Latin School, where he excelled at baseball and was elected classpresident before graduating in 1908.Kennedy then attended Harvard College, where he gained admittance to the prestigious Hasty Pudding Club but was not invited to join the Porcellian Club. Kennedy graduated in1912 with a bachelor's degree in economics.On October 7, 1914, Kennedy married Rose Fitzgerald, the eldest daughter of Boston Mayor John F. \"Honey Fitz\" Fitzgerald and Mary Josephine \"Josie\" Hannon.BusinesscareerKennedy set his sights on a business career upon his graduation from Harvard. During his mid to late 20s, he made a large fortune as an active commodity and stock investor; he then reinvested much of this intofilm studios, real estate, and shipping. Though he never built a significant business from scratch, Kennedy's timing as both buyer and seller was nonetheless excellent.Various criminals, such as Frank Costello, haveboasted they worked with Kennedy in mysterious bootlegging operations during Prohibition. Although his father was in the whisky importation business, scholars dismiss the claims. The most recent and most thoroughbiographer David Nasaw asserts that no credible evidence has been found to link Kennedy to bootlegging activities. When Fortune magazine published its first list of the richest people in the United States in 1957, itplaced Kennedy in the $200–400 million group.Early venturesKennedy's first job after graduating from Harvard was a position as a state-employed bank examiner; this job allowed him to learn a great deal about thebanking industry. In 1913, the Columbia Trust Bank, in which his father held a significant share, was under threat of takeover. Kennedy borrowed $45,000 (equivalent to about $1.3 million today) from family andfriends and bought back control. At the age of 25, he was rewarded by being elected the bank's president. Kennedy told the press he was \"the youngest\" bank president in America.Kennedy emerged as a highlysuccessful businessman who possessed an eye for value. For example, he was an active real estate investor who cleared a handsome profit from his privately-controlled ownership of Old Colony Realty Associates, Inc.,an investment company which bought distressed real estate throughout the United States.Although he was skeptical of American involvement in World War I, Kennedy sought to participate in wartime production as anassistant general manager of Fore River, a major Bethlehem Steel shipyard in Quincy, Massachusetts. There, he oversaw the production of transports and warships. Through this job, he became acquainted withAssistant Secretary of the Navy Franklin D. Roosevelt.Wall Street and stock market investmentsIn 1919, Kennedy joined the prominent stock brokerage firm of Hayden, Stone & Co. where he became an expert dealingin the unregulated stock market of the day, engaging in tactics that were later considered to be insider trading and market manipulation violations. He happened to be on the corner of Wall and Broad Streets at themoment of the Wall Street bombing on September 16, 1920, and was thrown to the ground by the force of the blast. In 1923, he established his own investment company. Kennedy subsequently became amulti-millionaire as a result of taking \"short\" positions following the 1929 stock market crash.1929 Wall Street CrashKennedy formed alliances with several Irish American catholic investors, including Charles E. Mitchell,Michael J. Meehan, and Bernard Smith. He helped establish a \"stock pool\" to control trading in the stock of glassmaker Libbey-Owens-Ford. The arrangement drove up the value of the pool operators' holdings in thestock by using insider information and the public's lack of knowledge. Pool operators would bribe journalists to present information in the most advantageous manner. Pool operators tried to corner a stock and drive theprice up, or drive the price down with a \"bear raid\". Kennedy got into a bidding war for control of Yellow Cab Company, a taxi cab operator.Kennedy later claimed he understood that the rampant stock speculation of thelate 1920s would lead to a market crash. Supposedly, he said that he knew it was time to get out of the market when he received stock tips from a shoe-shine boy. Kennedy survived the crash \"because he possessed apassion for facts, a complete lack of sentiment and a marvelous sense of timing\".During the Great Depression, Kennedy shrewdly increased his wealth by devoting most of it into investment-grade real estate. In 1929,Kennedy's fortune was estimated to be $4 million (equivalent to $68.2 million today). By 1935, his wealth had increased to $180 million (equivalent to $3.84 billion today).InvestmentsHollywoodKennedy generatedwindfall profits from reorganizing and refinancing several Hollywood film studios. Film production in the U.S. was much more decentralized than it is today, with many different movie studios producing film product. Onesmall studio was Film Booking Offices of America (or FBO), which specialized in Westerns produced cheaply. Its owner was in financial trouble, and asked Kennedy to help find a new owner. Kennedy formed his owngroup of investors and bought it for $1.5 million.In March 1926, Kennedy moved to Hollywood to focus on running film studios. At that time, film studios were permitted to own exhibition companies, which werenecessary to get their films on local screens. With that in mind, in a hostile buyout, he acquired the Keith-Albee-Orpheum Theaters Corporation (KAO), which had more than 700 vaudeville theaters across the UnitedStates that had begun showing movies. He later purchased another production studio called Pathé Exchange, and merged those two entities with Cecil B. DeMille's Producers Distributing Corporation in March 1927.InAugust 1928, he unsuccessfully tried to run First National Pictures. In October 1928, he formally merged his film companies FBO and KAO to form Radio-Keith-Orpheum (RKO) and made a large amount of money in theprocess. Then, keen to buy the Pantages Theatre chain, which had 63 profitable theaters, Kennedy made an offer of $8 million ($136 million today). It was declined. He then stopped distributing his movies to Pantages.Still, Alexander Pantages declined to sell. However, when Pantages was later charged and tried for rape, his reputation took a battering, and he accepted Kennedy's revised offer of $3.5 million ($59.6 million today).Pantages, who claimed that Kennedy had \"set him up\", was later found not guilty at a second trial. The girl who had accused Pantages of rape, Eunice Pringle, confessed on her deathbed that Kennedy was themastermind of the plot to frame Pantages.Many estimate that Kennedy made over $5 million ($85.2 million today) from his investments in Hollywood. During his three-year affair with film star Gloria Swanson, hearranged the financing for her films The Love of Sunya (1927) and the ill-fated Queen Kelly (1928). The duo also used Hollywood's famous \"body sculptor\", masseuse Sylvia of Hollywood. Their relationship ended whenSwanson discovered that an expensive gift from Kennedy had been charged to her account.Liquor importingAs soon as it became legal to do so, Kennedy ventured into liquor importing. One of his shipping ventures hewas involved in were the importation of large shipments of high-priced Scotch where he earned a handsome profit in the process. Various contradictory \"bootlegging\" stories surrounding Kennedy have circulated buthistorians have not accepted them. At the start of the Franklin Roosevelt administration in March 1933, Kennedy and future Congressman James Roosevelt II founded Somerset Importers, a business entity that acted asthe exclusive American agent for Haig & Haig Scotch, Gordon's Dry Gin and Dewar's Scotch. Kennedy kept his Somerset company for years. In addition, Kennedy purchased spirits-importation rights from SchenleyIndustries, a Canadian distillery and liquor company. Kennedy himself drank little alcohol. He so disapproved of what he considered a stereotypical Irish vice that he offered his sons $1,000 not to drink until they turned21.Real estateKennedy reinvested the proceeds he made from liquor importing into various residential and commercial real estate ventures, much of it concentrated in New York, the Le Pavillon restaurant, and theHialeah Park Race Track in Hialeah, Florida. The most important purchase of his real estate investment career was marked by the land acquisition of the largest privately owned building in the country, Chicago'sMerchandise Mart, which gave his family an important base in that city and an alliance with the Irish-American political leadership there to lay the groundwork for realizing his son's future political ambitions. TheMerchandise Mart's revenues became a principal source of wealth that formed much of the Kennedy family's private fortune, including being a source of funding for financing his son's future political campaigns.Political"}
+{"doc_id":"doc_290","qid":"","text":"Passage 1:Shari RomanShari Roman is an American artist, author, screenwriter and director.BiographyOriginally commissioned by John Pierson for his Independent Film Channel (USA) program  Split Screen, Roman'sfirst short film, Lars from 1-10 about Danish Dogme film maker Lars von Trier won a slot at the Sundance Film Festival in 1999 and went on to screen at Edinburgh, London, Los Angeles, Tokyo, NYC's Museum ofModern Art, on television and in cinemas worldwide. She has directed a series of shorts, pop promos and additional docs  on filmmakers, including British director Mike Figgis and cinematographer Anthony DodMantle.  Along with the four original Dogme films; \"Celebration,\" \"The Idiots,\" \"Mifune\" and \"The King is Alive,\"  two of her short films were selected for 2005's  official Dogme' 95 DVD collection, celebrating the 10thanniversary of von Trier's filmmaking manifesto. She was named one of the \"Top 25 New Faces In Independent Film\" by Filmmaker Magazine.Her book on approaches to new cinema, Digital Babylon: Hollywood,Indiewood and Dogme '95 was published in 2001 by Lone Eagle Publishing, and reissued by HCD/The Hollywood Reporter in 2003 and 2007.  Her essay on von Trier, The Man Who Would Be Dogme, was published in the2003 collection, Lars von Trier: Interviews by the University Press of Mississippi, as part of their Conversations with Filmmakers Series. Her fiction has appeared in Veneer Magazine,  writings on cinema, music and arthave been seen in numerous publications, including British Vogue, Mojo, The Guardian, The Independent and Time Out London. For the cover of Filmmaker Magazine (USA) she wrote The Genius of the System, a profileof multi-media artist Matthew Barney under a National Endowment for the Arts (NEA) grant.MiscellaneousShe 'sings' on Greg Weeks's 2008 solo album.DeathOn October 4, 2009, Filmmaker Magazine reported thatShari Roman had died on September 9, 2009 at Mt. Sinai Hospital in New York after a brief illness.See alsoThe SpotPassage 2:Stately Wayne ManorErnie Santilli is an American writer, musician and performer betterknown under the pen name of Stately Wayne Manor. He is best known for his participation in professional wrestling as the longtime magazine columnist for Power Slam and Wrestling World.CareerMusicSelf-taught,Manor became competent in songwriting, synthesizer, drum set and related percussion instruments, harmonica, vocals and electric bass. He performed in a public demonstration with synthesizer inventor Dr. RobertMoog. He also wrote three articles for Modern Drummer magazine.Stately is one of the \"Sigma Kids,\" a group of eleven (among dozens) of David Bowie devotees who kept a ten-day vigil outside the studio and band'shotel during the recording of Young Americans rewarded afterwards with an exclusive listening party hosted by Bowie, as documented in Rolling Stone magazine.  In 2007, a special CD/DVD re-release of the albumfeatures Manor visible in four photos in the enclosed booklet.  Photos from the event also appear in books about Bowie and the original supermodel, Gia, as well as on the SWM website ‘Photos’ archive.  The May 2014issue of Britain's Mojo magazine, in an article chronicling the YA sessions, featured two photos from said booklet, including a never-before-released color version of one, capturing Stately in the foreground. The samephoto ran in the September 2016 editing of Wax Poetics magazine. Inspired by the Sigma experience, Manor assembled a short-lived band, recruiting bassist Gail Ann Dorsey.In the latter half of the Seventies, Statelybecame deeply immersed in the emerging punk rock music scene.  He was a regular and occasional performer at Philadelphia's Hot Club and frequented NYC venues such as CBGB and Max's Kansas City, regularlysleeping on the couch of future recording-engineer superstar Bob Clearmountain while in New York. Manor was also slated to drum behind former Sex Pistol Sid Vicious on the Philly date of the latter's aborted \"solotour.\"  Additionally, he wrote the liner notes for the aborted Cheetah Chrome debut solo album on Polish Records.  (Stately did receive a 'Thank You' on that label's release \"Siren\" by Ronnie Spector.)ProfessionalwrestlingManor later regained interest in a childhood hobby, professional wrestling, and was particularly drawn towards the \"heel\" (‘bad guy’) characters.Manor eventually broke into the sport as a feature writer in 1984and, in 1986, as a pro-heel columnist for Wrestling World magazine. Manor expanded into color commentating, managing grapplers, performing in-ring skits and ghostwriting wisecracks for the performers. Manor was acolor commentator for the ECW promotion (in their pre-Extreme days).  He is also the first American magazine writer to give international exposure to Sabu, Rey Misterio, Sean Waltman, John Cena, Sandman andVictoria/Tara (Lisa Marie Varon).During 1993, in the midst of his 17-year Wrestling World’ employment, Manor debuted a second villain-praising column in the British Power Slam. The combined consecutive tenuresmakes Manor the longest-running magazine columnist in pro wrestling history.Other mediaPrintStately takes on the general public via ‘’On Manor's Mind’’ rants for the alternative set, and rages about inane celebrities inhis SNAPS—Suckas Needing A Pimp Slap—Of The Month column.A lifelong fan of obscure so-bad-they're-good films, Stately also authors ‘’Manor On Movies’’, an affectionate homage to the genre, and one of the earliestcolumns of its kind still regularly published.  It is available in hard copy and on a few websites besides its own, e.g. The Spinning Image.  His long-term side project is a book dedicated to the horror/sci-fi end of whatManor has dubbed \"junkfilms.\"Other journals that have carried Stately's work, under the Manor moniker or otherwise, include Inside Karate, Video Review, People (Australia), Filmfax, Tuber’s Voice (the originators ofthe term ‘couch potato’), Comic Release, Carbon 14, and Brutarian, to name a few.  In addition, he has repeatedly scored ‘Dishonorable Mention’ in the annual international Bulwer-Lytton Fiction Contest, where thechallenge is to compose the worst possible opening line for a novel.Radio and televisionIn character, Manor has guested on radio programs throughout the US and Canada, including morning drive time shows inPhiladelphia and New York City.Manor was once booked on Sneak Previews Goes Video—an Eighties reworking of the popular movie-review program—to discuss wrestling videos, but the segment was red-lighted by PBSexecutives who considered the subject matter \"too lowbrow.\"VideoStately can be heard providing color commentary on two volumes from the Pro Wrestling From Japan series, Bam Bam Bigelow And Friends, andBruiser Brody Memorial, both featuring the American stars as they toured with the New Japan Pro-Wrestling promotion in the late Eighties.  A few tapes of his work with primordial ECW were briefly marketed, as well. InJuly 2019 WWE Network made some of these extremely early ECW matches available in their Hidden Gems section.Passage 3:Schloss Hausen (Oberaula)Schloss Hausen is a German castle and stately home inOberaula.Passage 4:LacordaireLacordaire is a surname. Notable people with the surname include:Jean Théodore Lacordaire (1801–1870), Belgian entomologistJean-Baptiste Henri Lacordaire (1802–1861), FrenchpreacherSee alsoColegio LacordaireLacordaire AcademyPassage 5:ThibilisThibilis (a.k.a. Tibilis) was a Roman and Byzantine era town in what was Numidia but is today northeast Algeria. The site has extensive Romanand Byzantine ruins.HistoryThe numerous Latin inscriptions discovered on the site of Thibilis provided indications on the status and magistrates of this city: during the Early Empire, Thibilis was first a pagus dependenton the Cirtaian confederacy which united Cirta, Rusicade, Chullu and Milève. Enjoying a certain autonomy, the city was administered by two magistri of annual mandate, assisted by one or two aediles.During the reignsof Antoninus Pius and Marcus Aurelius, notables of Thibilis gained the highest office of the Imperial administration, Quintus Antistius Adventus Aquilinus Postumus, consul suffect about 167, and his son Lucius AntistiusBurrus, son-in-law of Marcus Aurelius And consul in 181.Thibilis gained the rank of municipality headed by two duumviri  between 260  and 268  which corresponds to the period estimated for the dissolution of theconfederacy.Local cults included flamen Augusti for imperial worship and Saturni (priest of Saturn) and a local deity, Bacax and Magna Mater deorum Idaea, the Great Mother of the Gods.See alsoList of cultural assets ofAlgeriaPassage 6:Roman and the Four StepsRoman and the Four Steps was a popular band in Hong Kong in the 1960s. Roman formed the band drawing inspirations from The Beatles.CareerThe band was noteworthy forsinging in English and often singing British and American songs.  Roman Tam would eventually leave the band and enter the cantopop genre solo where he would eventually be labelled the \"Godfather of Cantopop\" afterhis death.DiscographyReflections of Charlie Brown b/w I Just Can't Wait (1967)Day Dream b/w Cathy Come Home (1969)Passage 7:DugèsDugès is a surname. Notable people with the surname include:Antoine LouisDugès (1797–1838), French obstetrician and naturalistAlfredo Dugès (1826–1910), French-born Mexican physician and naturalist, son of AntoineMarie Jonet Dugès (1730–1797), French midwifePassage 8:ĆiroTruhelkaĆiro Truhelka (2 February 1865 – 18 September 1942) was a Croatian archeologist, historian and art historian who devoted much of his professional life to the study of the history of Bosnia and Herzegovina. Hewrote about prehistoric, Roman and medieval findings, Turkish documents, Stećci, Roman and medieval money, and bosančica. He was also engaged in albanology. In addition, he was the first curator of the NationalMuseum of Bosnia and Herzegovina.Early life and educationĆiro Truhelka was born on 2 February 1865 in Osijek to Antun Vjenceslav and Marija (née Schön) Truhelka. His father was of Czech and mother of Germanorigin. He finished elementary school in Osijek after which he enrolled in high school that he eventually finished in Zagreb where he moved after his father's death along with his mother and siblings, Dragoš and JagodaTruhelka. In youth, he showed interest in painting and technical sciences, but because of his family's poor financial situation, he opted for the study of philosophy at the University of Zagreb which lasted three years. Hechose art history and history as main subjects. He received his doctorate in 1885 with the dissertation \"Andrija Medulić: His Life and Work\".Professional careerAs a student, Truhelka worked with Izidor Kršnjavi at theStrossmayer Gallery of Old Masters and made institutions' first catalog (1885). In 1886, he became secretary of the Museum Society for Bosnia and Herzegovina and the first curator of the National Museum of Bosniaand Herzegovina. His task was preparing Museum's opening in 1888. He was only 21 years old when he came to Sarajevo in which he lived for 40 years. In the  Museum, he managed the ethnographic, prehistoric, andmedieval collections, but as there were not many experts, he cared for all museum collections except those from the field of natural sciences. As a curator, Truhelka arranged Bosnian pavilions at exhibitions in Budapest(1896), Brussels (1897) and Paris (1900). In 1905, he succeeded Kosta Hörmann as director of the National Museum and editor of the Gazette of the National Museum of Music (until 1920). Thanks to him, in 1913, theNational Museum got a new building. He retired in 1922. In 1926, he got out of retirement as he was appointed a professor of archeology and art history at the University of Skopje, Macedonia. He eventually retiredagain in 1931. He served as the president of the Zagreb branch of the Society of Bosnian Croats.Truhelka made an outstanding contribution to the study of the history of Bosnia and Herzegovina. Work at the Museumhas influenced his diverse interest. He was engaged in the excavation of archaeological sites, Ilyrian graves and castles on prehistoric necropolises at Glasinac, a penitentiary settlement in Donja Dolina, a prehistoric cultedifice in Gorica near Posušje, and also dug up the early Christian basilica in Zenica and warned of the phenomenon of \"Bosnian churches\" and their early Christian background, explored the localities in the valley ofLašva river and around Stolac, the medieval Jajce and many other medieval cities. This brought him the recognition of anthropological congress in Vienna and membership in the Society. In the field of ethnology, heworked on an ethnographic collection and gave an overview of the national life in BiH. Truhelka made many important findings about pre-Ottoman Bosnia and Herzegovina, and gave a significant contribution to theresearch of the history of medieval Bosnia by the study of stećaks, material culture, bosančica, topography, numismatics, political, social and religious situation. He also proposed that a grave he found on Vran mountainbelongs infect to a Diva Grabovčeva, a 17th century legendary heroin and a virgin in Prozor-Rama local oral tradition, thus claiming that he confirmed the myth. However, the legend was never verified in local or anyother written sources, and her existence was neither recorded in chronicles of the local Franciscan friary, Šćit nor its martyrology. In 1888, Truhelka excavated the mortal remains of a decapitated male at the locationcalled Kraljev Grob (transl. King's Grave) near Jajce, which he proposed are remains of king Stjepan Tomašević. Although never confirmed, these remains are now housed in the Franciscan friary, Jajce. Truhelka studiedthe Albanian and Turkish languages for his researches.In addition, his sister Jagoda Truhelka was a renowned Croatian writer.ControversyIn order to provide anti-Yugoslavist Croat nationalism with a firm scientific basis,Truhelka used racial anthropology to differentiate between Croats and Serbs. Truhelka claimed that Bosnian Muslims were ethnic Croats, who, according to him, belonged predominantly to the Nordic-Dinaric racial type.On the other hand, the majority of Serbs belonged to the degenerate race of the Vlachs, similar to the Jews and Armenians, although Truhelka 'was cautious to distinguish between the dark-skinned Serbs of Vlachdescent and the fair-haired Serbs who, according to him, were pure Slavs'.At the time he was leading \"Zemaljski muzej\" in Sarajevo, some of scientific work and research were subordinate to the proving some of hispseudo-scientific views and attempts to find a confirmation of exaggerated assertions regarding the presence of Catholicism in Bosnia. On the other hand, in line with the politics of the Austro-Hungarian Empire,everything related to the Serbian heritage or Serbs was systematically avoided or suppressed.Truhelka, like many others, enthusiastically welcomed the creation of the Independent State of Croatia in 1941. By his deatha year later, he wrote some racist and pseudoscientific remarks towards Serbs in his book \"Memoires of a Pioneer\"; \"Serbs are an ethnically-alien racial element that, according to their geopolitical position, belong todifferent cultural areas, and never had a common cultural history, faith nor cultural life, and that struggle being held in front of our eyes is the struggle of Vlah inhabitants against the indigenous Bosnian population,which has always been only Croatian.\" He claimed that Bosnian Muslims were ethnic Croats who belonged to the racially superior Nordic race. Miljenko Jergović wrote that the book, if this racist remark was put aside,was \"one of the most powerful, literally superior, documentary precious Croatian books about Bosnia and Sarajevo at a time when this city turned from the fringes of the Turkish čaršija into one of the metropolises ofthe Habsburg Empire\".WorksStarobosanski pismeni spomenici, 1894Starobosanski natpisi, 1895Slavonski banovci, 1897Osvrt na sredovječne kulturne spomenike Bosne, (1900.)Djevojački grob, (1901.)Državno isudbeno ustrojstvo Bosne u doba prije Turaka, 1901Kraljevski grad Jajce, 1904Naši gradovi, 1904Arnautske priče, 1905Hrvarska Bosna: Mi i \"oni tamo\" (Croatian Bosnia: We and \"They over There\"), 1907Crtice izsrednjeg vijeka, 1908Dubrovačke vijesti o godini 1463., 1910Tursko-slavjenski spomenici dubrovačke arhive, 1911Gazi Husrefbeg, 1912Kulturne prilike Bosne i Hercegovine u doba prehistoričko, 1914Historička podlogaagrarnog pitanja u Bosni, 1915Das Testament des Gost Radin, 1916Stari turski agrarni zakonik za Bosnu, 1917Konavoski rat 1430.-1433., 1917Nekoliko misli o rješenju bosanskog agrarnog pitanja, 1918Sojenica kaoishodište pontifikata, 1930Starokršćanska arheologija, 1931O porijeklu bosanskih muslimana, 1934Studije o podrijetlu. Etnološka razmatranja iz Bosne i Hercegovine, 1941Uspomene jednog pionira, Croatian Publishingand Bibliographic Institute, 1942Passage 9:BatcaveThe Batcave is a subterranean location appearing in American comic books published by DC Comics. It is the headquarters of the superhero Batman, whose secretidentity is Bruce Wayne and his partners, consisting of caves beneath his personal residence, Wayne Manor.The Batcave appears in the 1960s Batman television series and in films Batman (1989), Batman Returns(1992), Batman Forever (1995), Batman and Robin (1997), in The Dark Knight Trilogy (2005–2012), in the DC Extended Universe (2016–2023) and The Batman (2022).Publication historyOriginally, there was only asecret tunnel that ran underground between Wayne Manor and a dusty old barn where the Batmobile was kept. Later, in Batman #12 (August–September 1942), Bill Finger mentioned \"secret underground hangars\". In1943, the writers of the first Batman film serial, titled Batman, gave Batman a complete underground crime lab and introduced it in the second chapter entitled \"The Bat's Cave\". The entrance was via a secret passagethrough a grandfather clock and included bats flying around.Bob Kane, who was on the film set, mentioned this to Bill Finger who was going to be the initial scripter on the Batman daily newspaper strip. Finger includedwith his script a clipping from Popular Mechanics that featured a detailed cross-section of underground hangars. Kane used this clipping as a guide, adding a study, crime lab, workshop, hangar and garage. Thisillustration appeared in the Batman \"dailies\" on October 29, 1943, in a strip entitled \"The Bat Cave!\"In this early version the cave itself was described as Batman's underground study and, like the other rooms, was justa small alcove with a desk and filing cabinets. Like in the film serial, Batman's symbol was carved into the rock behind the desk and had a candle in the middle of it. The entrance was via a bookcase which led to a secretelevator.The Batcave made its comic book debut in Detective Comics #83 in January 1944. Over the decades, the cave has expanded along with its owner's popularity to include a vast trophy room, supercomputer, andforensics lab. There has been little consistency as to the floor plan of the Batcave or its contents. The design has varied from artist to artist and it is not unusual for the same artist to draw the cave layout differently invarious issues.Fictional historyThe cave was discovered and used long before by Bruce Wayne's ancestors as a storehouse as well as a means of transporting escaped slaves during the Civil War era. The 18th-centuryfrontier hero Tomahawk once discovered a gargantuan bat belonging to Morgaine le Fey inside what can be assumed would become the Batcave. Wayne himself rediscovered the caves as a boy when he fell through adilapidated well on his estate, but did not consider it as a potential base of operations until returning to Gotham to become Batman. In addition to a base, the Batcave serves as a place of privacy and tranquility, muchlike Superman's Fortress of Solitude.In earlier versions of the story, Bruce Wayne discovered the cave as an adult. In \"The Origin of the Batcave\" in Detective Comics #205 (March 1954), Batman tells Robin he had noidea the cave existed when he purchased the house they live in. He discovered the cave by accident when testing the floor of an old barn on the rear of the property, and the floor gave way. This story also establishedthat a frontiersman named Jeremy Coe used the cave as a headquarters 300 years earlier. Bruce Wayne discovering the cave as an adult remained the case at least through Who's Who #2 in 1985.Upon his initial forayinto crime-fighting, Wayne used the caves as a sanctum and to store his then-minimal equipment. As time went on, Wayne found the place ideal to create a stronghold for his war against crime, and has incorporated aplethora of equipment as well as expanding the cave for specific uses.AccessThe cave is accessible in several ways. It can be reached through a secret door in Wayne Manor itself, which is almost always depicted as in"}
+{"doc_id":"doc_291","qid":"","text":"Passage 1:Henry Moore (cricketer)Henry Walter Moore (1849 – 20 August 1916) was an English-born first-class cricketer who spent most of his life in New Zealand.Life and familyHenry Moore was born in Cranbrook,Kent, in 1849. He was the son of the Reverend Edward Moore and Lady Harriet Janet Sarah Montagu-Scott, who was one of the daughters of the 4th Duke of Buccleuch. One of his brothers, Arthur, became an admiraland was knighted. Their great grandfather was John Moore, Archbishop of Canterbury from 1783 to 1805. One of their sisters was a maid of honour to Queen Victoria.Moore went to New Zealand in the 1870s and livedin Geraldine and Christchurch. He married Henrietta Lysaght of Hāwera in November 1879, and they had one son. In May 1884 she died a few days after giving birth to a daughter, who also died.In 1886 Moore becamea Justice of the Peace in Geraldine. In 1897 he married Alice Fish of Geraldine. They moved to England four years before his death in 1916.Cricket careerMoore was a right-handed middle-order batsman. In consecutiveseasons, 1876–77 and 1877–78, playing for Canterbury, he made the highest score in the short New Zealand first-class season: 76 and 75 respectively. His 76 came in his first match for Canterbury, against Otago. Hewent to the wicket early on the first day with the score at 7 for 2 and put on 99 for the third wicket with Charles Corfe before he was out with the score at 106 for 3 after a \"very fine exhibition of free hitting, combinedwith good defence\". Canterbury were all out for 133, but went on to win the match. His 75 came in the next season's match against Otago, when he took the score from 22 for 2 to 136 for 6. The New Zealand crickethistorian Tom Reese said, \"Right from the beginning he smote the bowling hip and thigh, going out of his ground to indulge in some forceful driving.\" Canterbury won again.Moore led the batting averages in theCanterbury Cricket Association in 1877–78 with 379 runs at an average of 34.4. Also in 1877–78, he was a member of the Canterbury team that inflicted the only defeat on the touring Australians. In 1896–97, at theage of 47, he top-scored in each innings for a South Canterbury XVIII against the touring Queensland cricket team.Passage 2:Wale AdebanwiWale Adebanwi (born 1969) is a Nigerian-born first Black Rhodes Professor atSt Antony's College, Oxford where he was, until June 2021, a Professor of Race Relations, and the Director of the African Studies Centre, School of Interdisciplinary Area Studies, and a Governing Board Fellow. He iscurrently a Presidential Penn Compact Professor of Africana Studies at the University of Pennsylvania. Adebanwi's research focuses on a range of topics in the areas of social change, nationalism and ethnicity, racerelations, identity politics, elites and cultural politics, democratic process, newspaper press and spatial politics in Africa.Education backgroundWale Adebanwi graduated with a first degree in Mass Communication fromthe University of Lagos, and later earned his M.Sc. and Ph.D. in Political Science from the University of Ibadan. He also has an MPhil. and a Ph.D. in Social Anthropology from the University of Cambridge.CareerAdebanwiworked as a freelance reporter, writer, journalist and editor for many newspapers and magazines before he joined the University of Ibadan's Department of Political Science as a lecturer and researcher. He was laterappointed as an assistant professor in the African American and African Studies Department of the University of California, Davis, USA. He became a full professor at UC Davis in 2016.Adebanwi is the co-editor of Africa:Journal of the International African Institute and the Journal of Contemporary African Studies.WorksHis published works include:Nation as Grand Narrative: The Nigerian Press and the Politics of Meaning (University ofRochester Press, 2016)Yoruba Elites and Ethnic Politics in Nigeria: Obafemi Awolowo and Corporate Agency (Cambridge University Press, 2014)Authority Stealing: Anti-corruption War and Democratic Politics inPost-Military Nigeria (Carolina Academic Press, 2012)In addition, he is the editor and co-editor of other books, including.The Political Economy of Everyday Life in Africa: Beyond the Margins (James Currey Publishers,2017)Writers and Social Thought in Africa (Routledge, 2016)(co-edited with Ebenezer Obadare) Governance and the Crisis of Rule in Contemporary Africa (Palgrave Macmillan, 2016)(co-edited with Ebenezer Obadare)Democracy and Prebendalism in Nigeria: Critical Interpretations (Palgrave Macmillan, 2013).(co-edited with Ebenezer Obadare) Nigeria at Fifty: The Nation in Narration (Routledge, 2012)(co-edited with EbenezerObadare) Encountering the Nigerian State (Palgrave Macmillan, 2010).AwardsRhodes Professorship in Race Relations awarded by Oxford University to Faculty of African and Interdisciplinary Area Studies.Passage3:Milton RosmerMilton Rosmer (4 November 1881 – 7 December 1971) was a British actor, film director and screenwriter. He made his screen debut in The Mystery of a Hansom Cab (1915) and continued to act intheatre, film and television until 1956. In 1926 he directed his first film The Woman Juror and went on to direct another 16 films between 1926 and 1938.He began his acting career as a stage actor and appeared asFrancis Tresham in \"The Breed of the Treshams\" (1903) opposite John Martin-Harvey.Milton Rosmer died in Chesham, Buckinghamshire in 1971.Partial filmographyActorScreenwriterBalaclava (1928)DirectorThe PerfectLady (1931)P.C. Josser (1931)Many Waters (1931)After the Ball (1932)Channel Crossing (1933)The Secret of the Loch (1934)What Happened to Harkness? (1934)Emil and the Detectives (1935)Everything Is Thunder(1936)The Great Barrier (1937)The Challenge (1938)Passage 4:Maria Marten, or The Murder in the Red BarnMaria Marten, or The Murder in the Red Barn is a 1935 British film melodrama film starring Tod Slaughter andEric Portman. It was directed by Milton Rosmer. It is based on the true story of the 1827 Red Barn Murder where a 25 year old mother is shot dead by her lover (Squire William Corder) and her stepmother claims tohave dreamt of the murder the night of the event, before the young woman's body was discovered. The film is also known as Murder in the Red Barn (short UK title).The film is based on the popular 19th-centurymelodramas about the case and is highly theatrical, with an opening in which all the characters are introduced by a Master of Ceremonies in front of a painted backdrop, but is also slightly more lavishly produced andcinematically inventive than the later films directed by Tod Slaughter's producer George King. Slaughter gives a full-throated over-the-top performance in a calculatedly melodramatic style, encouraging the audience tovicariously share in his villainy; this approach became his trademark and gives his films a cult status of their own peculiar kind.PlotWilliam Corder seduces then murders innocent country maiden Maria Marten in the redbarn before burying her body beneath the barn floor. She gets murdered because she becomes pregnant and too annoying for William. Her gypsy lover Carlos is hunted down as a suspect, but brings Corder tojustice.CastTod Slaughter as Squire William CorderSophie Stewart as Maria MartenD. J. Williams as Farmer Thomas MartenEric Portman as Carlos, the gypsyClare Greet as Mrs. MartenGerard Tyrell as TimothyWinterbottomAnn Trevor as Nan, the maidStella Rho as Gypsey CroneDennis Hoey as Gambling WinnerQuentin McPhearson as Matthew SennettAntonia Brough as Maud SennettNoel Dainton as Officer Steele of the BowStreet RunnersExternal linksMaria Marten, or The Murder in the Red Barn at IMDbPassage 5:Maria Marten (1928 film)Maria Marten is a 1928 British silent drama film directed by Walter West starring Trilby Clark,Warwick Ward and Dora Barton. It is based on the real story of the Red Barn Murder in the 1820s, and is one of five film versions of the events. The film shifted the action to fifty years earlier to the height of theGeorgian era. This was the last of the silent film adaptations of the Maria Marten story, and its success paved the way for the much better 1935 sound film remake starring Tod Slaughter. A 35mm print of the 1928silent film exists in the British Film Institute's archives.PlotWhen his secret lover Maria Marten tells him she is pregnant with his child and asks him to marry her, the villainous Squire Corder murders her and buries herbody in the red barn. The dead woman's ghost later visits her mother in a dream, and leads her to find her daughter's body, incriminating the squire.CastTrilby Clark as Maria MartenWarwick Ward as Squire WilliamCorderDora BartonJames Knight as CarlosCharles Ashton as Sam GilesVesta Sylva as Ann MartenFrank Perfitt as John MartenMargot Armand as Lady Maud DerringhamJudd Green as William GilesTom Morris asIshmaelChili BouchierPassage 6:Viva Knievel!Viva Knievel! is a 1977 American action film directed by Gordon Douglas and starring Evel Knievel (as himself), Gene Kelly and Lauren Hutton, with an ensemble supportingcast including Red Buttons, Leslie Nielsen, Cameron Mitchell, Frank Gifford, Dabney Coleman and Marjoe Gortner.PlotDaredevil motorcycle rider Evel Knievel stars as himself in this fictional story. The film openswith  Knievel sneaking into an orphanage late at night to deliver presents: Evel Knievel action figures. One of the boys casts away his crutches, telling Knievel that he'll walk after his accident just as Knievel had.Knievelthen prepares for another of his stunt jumps. We are introduced to his alcoholic mechanic Will Atkins (Gene Kelly), who was a former stunt rider himself before his wife died, driving him to drink. While signingautographs, Knievel is ambushed by photojournalist Kate Morgan (Lauren Hutton), who has been sent to photograph the jump: if Knievel is killed, it will be a great story.As it happens, Evel does crash while attemptingthe stunt, and though badly injured, survives. He berates Morgan, announces his retirement, and is taken to the hospital.While rehabilitating, Knievel resists all attempts to get back on the horse, including those fromJessie (Marjoe Gortner), a former protégé with mysterious backers who want Evel to do a jump in Mexico. Eventually, though, Knievel relents and agrees.A subplot develops when Will's estranged son Tommy shows upfrom boarding school, and asks to join the tour. Will, who is reminded of his dead wife, is cold to Tommy, leaving Knievel to show the boy kindness. Likewise, Kate reappears, apologetic for her previous motives, andnow wishes that he will never stop jumping.Meanwhile, Jessie's benefactor is revealed: drug lord Stanley Millard (Leslie Nielsen). Millard (without Jessie's knowledge) plans to cause a fatal accident during the jump. Hewill then have Knievel's body transported back to America in an exact duplicate of the tour trailer, but one that has a massive supply of drugs hidden in the walls.Will, however, stumbles onto the plot, is drugged, andsent to a psychiatric ward under the control of the corrupt Ralph Thompson (Dabney Coleman) to prevent him from spilling the beans. Evel sneaks into the ward late at night when Will has dried out, but all Will canremember is that someone knocked him out. Knievel leaves him there to keep whoever is behind the plot in the dark.As Knievel prepares for the jump (down a massive ramp and over a fire pit), Jessie—hopped up ondrugs—confronts Evel, claiming that he will prove who the best jumper is. Jessie knocks Evel out and dresses in Knievel's signature red, white, and blue outfit. Jessie then successfully makes the jump, however, the bikehas been sabotaged and he is killed as he lands (footage from a real Knievel crash was used). While the body is taken away for the drug smuggling plot, Evel wakes up, gets on another bike, and goes to free Will.Afterbreaking out of the psych ward, the two find the mockup trailer, in which, by an amazing coincidence, both Tommy and Kate have been taken hostage. Pursuing the truck, Will and Evel decide to split up: Will will disablethe semi, Evel will lead off the gun-toting drug lords riding guard in another car.At the end of several extended chase scenes, the drug lords are defeated, Will and his son are reunited, and Kate has fallen head overheels for Knievel. The film ends with Knievel performing a daredevil jump over a pit of fire, this time successfully.The end jump is stopped in a freeze-frame shot and a color matte, similar to that of the one that appearsin the opening credits, appears over Evel in mid-air. The song that plays over the opening credits also plays over the film's end credits.CastProductionThe production was done under the Irwin Allen banner, with Allenserving as the uncredited Supervisor Producer.  Irwin Allen's wife, Sheila Allen, has a credited role as Sister Charity.For the more dangerous motorcycle stunts, the producers hired the professional stuntman GaryCharles Davis.  However, Davis' role in the production was kept under wraps to avoid questions about Knievel himself performing his own motorcycle stunts.The original footage used for Jessie's failed jump was fromEvel Knievel's May 1975 crash at Wembley Stadium.To allow for a love interest to occur with Lauren Hutton's character, Evel is apparently single and there is no mention of Knievel's then-wife, Linda, or his (at the time)three children.Popular culture receptionThe film premiered in June 1977, three months before Knievel and his associates attacked promoter Shelly Saltman with an aluminum baseball bat on September 21, 1977. WithKnievel losing most of his sponsorship and marketing deals as a result of the bad publicity, the film became much less commercially attractive, only opening in four further international markets after Knievel'sconviction. In addition, the wholesome image of Knievel the movie promoted and the plot point concerning Knievel's promoter being corrupt seemed ill-judged in the light of the events that saw Knievel imprisoned. As aresult, the film fell into comparative obscurity until the 2005 DVD release was rediscovered by film review sites such as The A.V. Club and Ruthless Reviews.In 2013, the film received an internet release with a RiffTraxaudio commentary by comedians and Mystery Science Theater 3000 alumni Mike Nelson, Kevin Murphy and Bill Corbett.Passage 7:Lester RaymerLester Wilton Raymer (September 24, 1907 – 1991) was an Americanartist from Alva, Oklahoma.Raymer studied at the Art Institute of Chicago from 1930 to 1933, received a Bachelor of Fine Arts degree. While there, he studied with Russian painter Boris Anisfeld and art historian HelenGardner.Most well known for his paintings, Raymer worked in many mediums including prints, fiber art, metal work, mosaics, ceramics, wood carving, jewelry, cast concrete, sculptures, tin ornaments, furniture, toys,and more.Many of his works are now on display at the Red Barn Studio in Lindsborg, Kansas.Passage 8:Claude WeiszClaude Weisz is a French film director born in Paris.FilmographyFeature filmsUne saison dans la vied'Emmanuel (1972) with Germaine Montéro, Lucien Raimbourg, Florence Giorgetti, Jean-François Delacour, Hélène Darche, Manuel Pinto, etc.Festival de Cannes 1973 - Quinzaine des réalisateursJury Prize: FestivalJeune Cinéma 1973La Chanson du mal aimé (1981) with Rufus, Daniel Mesguich, Christine Boisson, Věra Galatíková, Mark Burns, Philippe Clévenot, Dominique Pinon, Madelon Violla, Paloma Matta, Béatrice Bruno,Catherine Belkhodja, Véronique Leblanc, Philippe Avron, Albert Delpy, etc.Festival de Cannes 1982 - Perspectives du cinéma françaisCompetition selections: Valencia, Valladolid, Istanbul, MontréalOn l'appelait... le RoiLaid (1987) with Yilmaz Güney (mockumentary)Valencia Festival 1988 - Grand Prix for documentaries \"Laurel Wreath\"Competition selections: Rotterdam, Valladolid, Strasbourg, Nyon, Cannes, Lyon, CairoPaula etPaulette, ma mère (2005) Documentary - Straight to DVDShort and mid-lengthLa Grande Grève (1963 - Co-directed CAS collective, IDHEC)L'Inconnue (1966 - with Paloma Matta and Gérard Blain - Prix CNC Hyères,Sidney)Un village au QuébecMontréalDeux aspects du Canada (1969)La Hongrie, vers quel socialisme ? (1975 - Nominated for best documentary - Césars 1976)Tibor Déry, portrait d'un écrivain hongrois (1977)L'huîtreboudeuseAncienne maison Godin ou le familistère de Guise (1977)Passementiers et RubaniersLe quinzième moisC'était la dernière année de ma vie (1984 - FIPRESCI Prize- Festival Oberhausen 1985 - Nomination -Césars 1986)Nous aimons tant le cinéma (Film of the European year of cinema - Delphes 1988)Participation jusqu'en 1978 à la réalisation de films \"militants\"TelevisionSeries of seven dramas in GermanNumerousdocumentary and docu-soap type films (TVS CNDP)Initiation à la vie économique (TV series - RTS promotion)Contemplatives... et femmes (TF1 - 1976)Suzel Sabatier (FR3)Un autre Or Noir (FR3)Vivre enGéorgiePortrait d'une génération pour l'an 2000 (France 5 - 2000)Femmes de peine, femmes de coeur (FR3 - 2003)Television documentariesLa porte de Sarp est ouverte (1998)Une histoire balbynienne (2002)Tamara,une vie de Moscou à Port-au-Prince (unfinished)Hana et Khaman (unfinished)En compagnie d'Albert Memmi (unfinished)Le Lucernaire, une passion de théâtreLes quatre saisons de la Taillade ou une fermel'autreHistoire du peuple kurde (in development)Les kurdes de Bourg-Lastic (2008)Réalisation de films institutionnels et industrielsPassage 9:The Crimes of Stephen HawkeThe Crimes of Stephen Hawke is a 1936 Britishhistorical melodrama film directed by George King and starring Tod Slaughter as the nefarious Stephen Hawke - who masquerades as the 'Spine-Breaker'. It also features Marjorie Taylor, D. J. Williams and EricPortman. It was made at Shepperton Studios, with sets designed by Philip Bawcombe.This is the third of Tod Slaughter's film outings, billed as a 'new-old melodrama'. In the introduction Slaughter appears in person, ina BBC studio, where he describes with relish his murderous activities in his two previous films: Maria Marten or Murder in the Red Barn (1935) and Sweeney Todd: The Demon Barber of Fleet Street (1936).In the filmSlaughter plays a seemingly kindly money-lender who dotes on his daughter Julia. He has however a double life as the notorious 'Spine-Breaker', Victorian England's most maniacal serial killer. His nefarious activitiesare eventually detected by his daughter's suitor Matthew Trimble, the son of one of his victims, who after pursuing and failing to catch him somewhat charitably opines to his daughter:'Julia, Julia, my darling, listen tome. I know that he's the notorious 'Spine-Breaker' and he ought to be dead a hundred times but I also know that his death cannot bring my father back to life. But alive or dead it cannot alter my love for you.'In theend Slaughter comes out of hiding to kill another unwelcome suitor of his daughter, before falling to his death from the roof of his house in a dramatic final exit.CastTod Slaughter as Stephen HawkeMarjorie Taylor asJulia HawkeD.J. Williams as Joshua TrimbleEric Portman as Matthew TrimbleGraham Soutten as NathanielGerald Barry as Miles ArcherGeorge M. Slater as Lord BrickhavenCharles Penrose as Sir FranklinNorman Pierce asLandlordFlotsam and Jetsam (Bentley Collingwood Hilliam and Malcolm McEachern) as ThemselvesCecil Bevan as Small Boys' FatherAnnie Esmond as Small Boys' NannyHarry Terry as 1st Prisoner In CellBen Williams asPrison WarderExternal linksThe Crimes of Stephen Hawke at IMDbPassage 10:Gordon Douglas (director)Gordon Douglas Brickner (December 15, 1907 – September 29, 1993) was an American film director and actor,who directed many different genres of films over the course of a five-decade career in motion pictures.Early lifeBorn Gordon Douglas Brickner in New York City, he began his career as a child actor, appearing in somefilms directed by Maurice Costello.  He also worked at MGM as a book-keeper.CareerHal Roach and Our GangAs a teenager, Douglas got a job at the Hal Roach Studios, working in the office and appearing in bit parts invarious Hal Roach films. He made walk-on appearances in at least three Our Gang shorts: Teacher's Pet (1930), Big Ears (1931) and Birthday Blues (1932).By 1934, Douglas was assistant to director Gus Meins andserved as assistant director on Stan Laurel and Oliver Hardy's 1934 film Babes in Toyland and on the Our Gang comedies made between 1934 and mid-1936.Beginning with Bored of Education in 1936, Our Gang movedfrom two-reel (20-minute) comedies to one-reel (10-minute) comedies, and Douglas became the senior director of the series. Bored of Education won the 1936 Academy Award for Live Action Short Film, and was theonly Our Gang entry ever honored with the award. Douglas remained with the series as director for two years.His Our Gang shorts, featuring Spanky, Alfalfa, Darla, Porky, Buckwheat, Waldo, Butch and Woim, are the"}
+{"doc_id":"doc_292","qid":"","text":"Passage 1:Ma che freddo fa\"Ma che freddo fa\" is a 1969 song composed by Claudio Mattone (music) and Franco Migliacci (lyrics).  The song premiered at the 19th edition of the Sanremo Music Festival with a double performance of Nada and The Rokes, placing at the fifth place. The first verses include a citation of Donovan's \"Laléna\". Nada's version was a massive success, selling about one million copies, mainly in the Italian and Spanish markets.The song was later covered by numerous artists, including Mina, Giusy Ferreri, Renzo Arbore, Piccola Orchestra Avion Travel, and, with the title \"Et pourtant j'ai froid\", Dalida.Track listingNada version7\" single - TL 19\"Ma che freddo fa\" (Claudio Mattone, Franco Migliacci)\"Una rondine bianca\" (Claudio Mattone)The Rokes version7\" single - AN 4172\"Ma che freddo fa\" (Claudio Mattone, Franco Migliacci)\"Per te, per me\" (Shel Shapiro, Franco Migliacci)CertificationsPassage 2:Walter Robinson (composer)Walter Robinson is an American composer of the late 20th century. He is most notable for his 1977 song Harriet Tubman, which has been recorded by folk musicians such as Holly Near, John McCutcheon, and others.  He is also the composer of several operas.Passage 3:Xu ShaofaXu Shaofa (Hsu Shao-Fa) (born 1947), is a male former international table tennis player from China.Table tennis careerHe won a gold medal at the 1975 World Table Tennis Championships  with Li Zhenshi, Liang Geliang, Lu Yuansheng and Li Peng as part of the Chinese team. In addition he won a silver medal in 1973.See alsoList of table tennis playersList of World Table Tennis Championships medalistsPassage 4:Alonso MudarraAlonso Mudarra (c. 1510 – April 1, 1580) was a Spanish composer of the Renaissance, and also played the vihuela, a guitar-shaped string instrument.  He was an innovative composer of instrumental music as well as songs, and was the composer of the earliest surviving music for the guitar.BiographyThe place of his birth is not recorded, but he grew up in Guadalajara, and probably received his musical training there.  He most likely went to Italy in 1529 with Charles V, in the company of the fourth Duke of the Infantado, Íñigo López de Mendoza, marqués de Santillana.  When he returned to Spain he became a priest, receiving the post of canon at the cathedral in Seville in 1546, where he remained for the rest of his life.  While at the cathedral, he directed all of the musical activities; many records remain of his musical activities there, which included hiring instrumentalists, buying and assembling a new organ, and working closely with composer Francisco Guerrero for various festivities.  Mudarra died in Seville, and his sizable fortune was distributed to the poor of the city according to his will.Mudarra wrote numerous pieces for the vihuela and the four-course guitar, all contained in the collection Tres libros de musica en cifras para vihuela (\"Three books of music in numbers for vihuela\"), which he published on December 7, 1546 in Seville.  These three books contain the first music ever published for the four-course guitar, which was then a relatively new instrument. The second book is noteworthy in that it contains eight multi-movement works, all arranged by \"tono\", or mode.Compositions represented in this publication include fantasias, variations (including a set on La Folia), tientos, pavanes and galliards, and songs. Modern listeners are probably most familiar with his Fantasia X, which has been a concert and recording mainstay for many years.   The songs are in Latin, Spanish and Italian, and include romances, canciones (songs), villancicos, (popular songs) and sonetos (sonnets).  Another innovation was the use of different signs for different tempos:  slow, medium, and fast.References and further readingJohn Griffiths: \"Alonso Mudarra\", Grove Music Online ed. L. Macy (Accessed March 24, 2005), (subscription access)Gustave Reese, Music in the Renaissance.  New York, W.W. Norton & Co., 1954.  ISBN 0-393-09530-4Guitar Music of the Sixteenth Century, Mel Bay Publications (transcribed by Keith Calmes)The Eight Masterpieces of Alonso Mudarra, Mel Bay Publications (transcribed by Keith Calmes)Fantasia VI in hypermedia (Shockwave Player required) at the BinAural Collaborative HypertextJacob Heringman and Catherine King: \"Alonso Mudarra songs and solos\". Magnatune.com (http://www.magnatune.com/artists/albums/heringman-mudarra/hifi_play)External linksFree scores by Alonso Mudarra in the Choral Public Domain Library (ChoralWiki)Free scores by Alonso Mudarra at the International Music Score Library Project (IMSLP)Passage 5:Wang Chien-faWang Chien-fa (Chinese: \u0000\u0000\u0000; pinyin: Wáng Qiánfā; born 19 March 1949) is a politician in Taiwan. He was the Magistrate of Penghu County from 20 December 2005 until 25 December 2014.EducationWang obtained his bachelor's degree from the Department of Public Administration at National Open University.Penghu County Magistrate2005 Penghu County Magistracy electionWang was elected Magistrate of Penghu County as the Kuomintang candidate on 3 December 2005 and assumed office on 20 December 2005.2009 Penghu County Magistracy electionWang was reelected for a second term on 5 December 2009.See alsoPenghu County GovernmentPassage 6:Alexander CourageAlexander Mair Courage Jr. (December 10, 1919 – May 15, 2008) familiarly known as \"Sandy\" Courage, was an American orchestrator, arranger, and composer of music, primarily for television and film. He is best known as the composer of the theme music for the original Star Trek series.Early lifeCourage was born in Philadelphia, Pennsylvania. He received a music degree from the Eastman School of Music in Rochester, New York, in 1941. He served in the United States Army Air Forces in the western United States during the Second World War. During that period, he also found the time to compose music for the radio. His credits in this medium include the programs Adventures of Sam Spade Detective, Broadway Is My Beat, Hollywood Soundstage, and Romance.CareerCourage began as an orchestrator and arranger at MGM studios, which included work in such films as the 1951 Show Boat (\"Life Upon the Wicked Stage\" number); Hot Rod Rumble (1957 film); The Band Wagon (\"I Guess I'll Have to Change My Plan\"); Gigi (the can-can for the entrance of patrons at Maxim's); and the barn raising dance from Seven Brides for Seven Brothers.He frequently served as an orchestrator on films scored by André Previn (My Fair Lady, \"The Circus is a Wacky World\", and \"You're Gonna Hear from Me\" production numbers for Inside Daisy Clover), Adolph Deutsch (Funny Face, Some Like It Hot), John Williams (The Poseidon Adventure, Superman, Jurassic Park, and the Academy Award-nominated musical films Fiddler on the Roof and Tom Sawyer), and Jerry Goldsmith (Rudy, Mulan, The Mummy, et al.).  He also arranged the Leslie Bricusse score (along with Lionel Newman) for Doctor Dolittle (1967).Apart from his work as a respected orchestrator, Courage also contributed original dramatic scores to films, including two westerns: Arthur Penn's The Left Handed Gun (1958) and André de Toth's Day of the Outlaw (1959), and the Connie Francis comedy Follow the Boys (1963). He continued writing music for movies throughout the 1980s and 1990s, including the score for Superman IV: The Quest for Peace (1987), which incorporated three new musical themes by John Williams in addition to Courage's adapted and original cues for the film. Courage's score for Superman IV: The Quest for Peace was released on CD in early 2008 by the Film Music Monthly company as part of its boxed set Superman - The Music, while La-La Land Records released a fully expanded restoration of the score on May 8, 2018, as part of Superman's 80th anniversary.Courage also worked as a composer on such television shows as Daniel Boone, The Brothers Brannagan, Lost in Space, Eight Is Enough, and Voyage to the Bottom of the Sea. Judd, for the Defense, Young Dr. Kildare and The Brothers Brannagan were the only television series besides Star Trek for which he composed the main theme.The composer Jerry Goldsmith and Courage teamed on the long-running television show The Waltons in which Goldsmith composed the theme and Courage the Aaron Copland-influenced incidental music. In 1988, Courage won an Emmy Award for his music direction on the special Julie Andrews: The Sound of Christmas.  In the 1990s, Courage succeeded Arthur Morton as Goldsmith's primary orchestrator.Courage and Goldsmith collaborated again on orchestrations for Goldsmith's score for the 1997 film \"The Edge.\"Courage frequently collaborated with John Williams during the latter's tenure with the Boston Pops Orchestra.FamilyAt the age of 35, Courage married Mareile Beate Odlum on October 6, 1955.Mareile, born in Germany, was the daughter of Rudolf Wolff and Elisabeth Loechelt. After Wolff's suicide Elisabeth married Carl Wilhelm Richard Hülsenbeck, renowned for his involvement in the Dada movement in Europe. Hülsenbeck brought his wife (Elisabeth), son (Tom) and step-daughter (Mareile) to the United States in 1938 to avoid the political situation rapidly developing in Europe. After arriving in the US he changed his last name to Hulbeck.Mareile's marriage to Courage was her third. Her second marriage was to Bruce Odlum (son of financier Floyd Odlum) in 1944. That union produced two sons, Christopher (1947) and Brian (1949). When Courage married Mareile he accepted the responsibility of acting stepfather to them. The family originally lived together on Erskine Dr. in Pacific Palisades, but later moved to a mountainside home on Beverly Crest Drive in Beverly Hills.Aside from his musical abilities Courage was also an avid and accomplished photographer. He took many dramatic photos of bullfights and auto racing. He was a racing enthusiast, and his interest in that sport and photography brought him into contact with many racing personalities of the era, notably Phil Hill and Stirling Moss, both of whom he considered friends. Moss paid at least one social visit to the Erskine residence.Though a dedicated stepfather to Christopher and Brian, Courage's musical career took precedence over his familial responsibilities. He sought to interest his step-children in music, and was responsible for arranging Brian's first musical lessons, on alto saxophone. Later in life Brian became a composer of serious electronic music, though the vocation was not apparent during his childhood, as he was a poor saxophone student.Alexander and Mareile were divorced April 1, 1963. Courage subsequently married Kristin M. Zethren on July 14, 1967. That marriage also ended in divorce in 1972.Star Trek themeCourage is best known for writing the theme music for the original Star Trek series, and other music for that series. Courage was hired by Star Trek creator Gene Roddenberry to score the original series at Jerry Goldsmith's suggestion, after Goldsmith turned down the job.  Courage went on to score incidental music for episodes \"The Man Trap\" and \"The Naked Time\" and some cues for \"Mudd's Women.\"Courage reportedly became alienated from Roddenberry when Roddenberry claimed half of the theme music royalties. Roddenberry wrote words for Courage's theme, not because he expected the lyrics to be sung on television, but so that he (Roddenberry) could receive half of the royalties from the song by claiming credit as the composition's co-writer. Courage was replaced by composer Fred Steiner who was then hired to write the musical scores for the remainder of the first season. After sound editors had difficulty finding the right effect, Courage himself made the iconic \"whoosh\" sound heard while the Enterprise flies across the screen.He returned to Star Trek to score two more episodes for the show's third and final season, episodes \"The Enterprise Incident\" and \"Plato's Stepchildren,\" allegedly as a courtesy to Producer Robert Justman.Notably, after later serving as Goldsmith's orchestrator, when Goldsmith composed the music for Star Trek: The Motion Picture,  Courage orchestrated Goldsmith's adaptation of his original Star Trek theme.Following Star Trek: The Motion Picture, Courage's iconic opening fanfare to the Star Trek theme became one of the franchise's most famous and memorable musical cues. The fanfare has been used in multiple motion pictures and television series,  notably Star Trek: The Next Generation and the four feature films based upon that series, three of which were scored by Goldsmith.DeathCourage had been in declining health for several years before he died on May 15, 2008, at the Sunrise assisted-living facility in Pacific Palisades, California. He had suffered a series of strokes prior to his death. His mausoleum is in Westwood Village Memorial Park Cemetery.Passage 7:Shue Ming-faShue Ming-fa (born 2 November 1950) is a former Taiwanese cyclist. He competed in three events at the 1972 Summer Olympics.Passage 8:Petrus de DomartoPetrus de Domarto (fl. c. 1445–1455) was a Franco-Flemish composer of the Renaissance.  He was a contemporary and probable acquaintance of Ockeghem, and was the composer of at least one of the first unified mass cycles to be written in continental Europe.LifeDomarto's life is poorly documented.  He was listed as a singer at the Church of Our Lady in Antwerp in 1449, five years after Ockeghem was known to be there, and there is evidence he was in Tournai in 1451.  He had a high reputation (which makes the lack of documentation on his life curious), but even so was passed over for a post as master of the choirboys (in favor of Paulus Iuvenis).  No other documentation on his life has yet come to light.Music and reputationDomarto's two mass settings, the Missa Spiritus almus and a Missa sine nomine, were famous at the time.  The latter of the two may have been one of the earliest cyclic masses composed on the continent, most likely in the 1440s, and imitates some features of contemporary English composers such as Leonel Power.  The Missa Spiritus almus, likely dating from the 1450s, is a cantus-firmus mass, with the melody always in the tenor, but with a changing rhythmic profile as it changes mensuration throughout the piece.  The procedure was evidently influential on the next generation of composers, for it was still being copied in the 1480s, and Busnois may have based one of his own masses on the same method (the Missa O crux lignum). The theorist and writer Johannes Tinctoris criticised it for exactly the features that inspired other composers.The two surviving secular compositions by Domarto are both rondeaux, formes fixes of the type popular with the Burgundian School.WorksMassesMissa Spiritus almus (four voices)Missa sine nomine (three voices)SecularRondeaux, each for three voices:Chelui qui est tant plain de duelJe vis tous jours en esperanceNotesPassage 9:Alexandru CristeaAlexandru Cristea (1890–1942) was the composer of the music for \"Limba Noastră\", current national anthem of Moldova.BiographyA choir director, a composer and music teacher. Taught at the  \"Vasile Kormilov\" music school (1928) with Gavriil Afanasiu and the  \"Unirea\" Conservatory (1927–1929) in Chişinău with Alexandru Antonovschi (canto), he was the master of vocal music from Chişinău (1920–1940), professor of music and conductor of the choir in the boys gymnasium \"Ion Heliade Rădulescu\" in Bucure\u0000ti (1940–1941). Later, between 1941 and 1942, he directed the choir at the \"Queen Mother Elena\" high school from Chişinău. In 1920, he was ordained as a deacon of the St. George Church in Chişinău, from 1927 to 1941 was a deacon holds the Metropolitan Cathedral of Chişinău.CreationHis main creation is considered the music for \"Limba Noastră\", current national anthem of Moldova, composed in the lyrics of the priest-poet Alexei Mateevici. He was awarded the “Răsplata muncii pentru biserică”.Passage 10:Claudio MattoneClaudio Mattone (born 28 February 1943) is an Italian composer, lyricist and music producer.Born in Santa Maria a Vico, Caserta, Mattone approached music at young age, as a jazz pianist. After leaving the university he moved to Rome, where he debuted in 1968 as a singer-songwriter with the song \"E' sera\", that premiered without any success at Cantagiro '68. Focusing on composition, between late sixties and early eighties he successfully teamed with the lyricist Franco Migliacci and signed several hits, contributing to launch the careers of Nada and Eduardo De Crescenzo; also working as music producer and as lyricist of his songs, in nineties Mattone launched the careers of Neri per caso and Syria, that respectively won the 1994 and 1995 editions of the Sanremo Music Festival in the \"giovani\" category.In 1990 Mattone won a David di Donatello and a Nastro d'Argento for the soundtrack of the 1989 film Scugnizzi. His earlier scores had included Cugini carnali (1974), Così parlò Bellavista (1984), Il mistero di Bellavista (1985) and Fatto su misura (1985). From 2000s his principal occupation is the theater, as author and producer of musicals."}
+{"doc_id":"doc_293","qid":"","text":"Passage 1:Eleanor of Aragon, Countess of ToulouseEleanor of Aragon, Countess of Toulouse (1182–1226) was a daughter of King Alfonso II of Aragon and Sancha of Castile.She married Raymond VI, Count ofToulouse.LifeAccording to the Ex Gestis Comitum Barcinonensium, she was the second daughter and fourth of nine children of the troubadour king, Alfonso II of Aragon and his wife Sancha of Castile. She had for olderbrothers Pierre II the Catholic and Alphonse II, Count of Provence and Forcalquier, and for sisters Constance, first queen of Hungary, then empress by her marriage with Frederick II, and Sancie, countess ofToulouse.According to the Crónica of San Juan de la Peña, her brother Peter II sealed the union of Eleanor, with Raymond VI of Toulouse, Duke of Narbonne and Marquis of Provence, in order to put an end to thedissensions with the counts of Toulouse.Raymond VI was the eldest son of Raymond V and Constance of France, daughter of King Louis VI and Adelaide de Maurienne. Eleanor was Raymond VI's 6th wife, havingdivorced an unknown daughter and sole heiress of Emperor Isaac Komnenos of Cyprus just two years earlier. Raymond and Eleanor did not have children.By this marriage she became countess of Toulouse which wouldsuffer the pangs of the war and the Albigensian Crusade, in the following years. The crusade was initiated by Pope Innocent III and headed by the French Crown against Toulouse and Catharism.Passage 2:Maria ofAragon, Queen of CastileMaria of Aragon ((1403-02-24)24 February 1403 – (1445-02-18)18 February 1445) was the Queen of Castile as the first wife of King John II from their marriage in 1420 until her death in 1445.She was the daughter of Ferdinand I of Aragon and Eleanor of Alburquerque.LifeMaria was married by her brother in his ambition to place his father's issue on the thrones of Castile and Aragon. The marriage took placein simplicity. Maria was occasionally politically active on behalf of her brothers, the princes of Aragon; she disregarded her husband's policy in favor of her brothers and the relationship between Maria and John wassomewhat tense.After her death on 18 February 1445, her husband married Isabella of Portugal and they became the parents of Isabella I of Castile. Maria has no descendants today, her line having gone extinct withina few decades of her death.ChildrenMaria and John II of Castile had four children:Catherine, Princess of Asturias ((1422-10-05)5 October 1422–(1424-09-17)17 September 1424).Eleanor, Princess of Asturias((1423-09-10)10 September 1423–(1425-08-22)22 August 1425).Henry IV of Castile ((1425-01-05)5 January 1425–(1474-12-11)11 December 1474). First married Blanche II of Navarre and later married Joan ofPortugal.Infanta Maria (c. 1428–c. 1429).AncestryPassage 3:Sancha of LeónSancha of León (c. 1018 – 8 November 1067) was a princess and queen of León. She was married to Ferdinand I, the Count of Castile wholater became King of León after having killed Sancha's brother in battle. She and her husband commissioned the Crucifix of Ferdinand and Sancha.LifeSancha was a daughter of Alfonso V of León by his first wife, ElviraMenéndez. She became a secular abbess of the Monastery of San Pelayo.In 1029, a political marriage was arranged between her and count García Sánchez of Castile. However, having traveled to León for the marriage,García was assassinated by a group of disgruntled vassals. In 1032, Sancha was married to García's nephew and successor, Ferdinand I of Castile, when the latter was 11 years old.At the Battle of Tamarón in 1037Ferdinand killed Sancha's brother Bermudo III of León, making Sancha the heir and allowing Ferdinand to have himself crowned King of León. Sancha's own position as queen of León is unclear and contradictory. Shesucceeded to the throne of León as the heir of her brother and in her \"own right\" but despite this, she is not clearly referred to as queen regnant, and after the death of her husband the throne passed to her son, despitethe fact that she was still alive.Following Ferdinand's death in 1065 and the division of her husband's kingdom, she is said to have played the futile role of peacemaker among her sons.She was a devout Catholic, who,with her husband, commissioned the crucifix that bears their name as a gift for the Basilica of San Isidoro.ChildrenSancha had five children:Urraca of ZamoraSancho II of León and CastileElvira of ToroAlfonso VI of Leónand CastileGarcía II of GaliciaDeath and burialShe died in the city of León on 8 November 1067. She was interred in the Royal Pantheon of the Basilica of San Isidoro, along with her parents, brother, husband, and herchildren Elvira, Urraca and García.The following Latin inscription was carved in the tomb in which were deposited the remains of Queen Sancha:\"H. R. SANCIA REGINA TOTIUS HISPANIAE, MAGNI REGIS FERDINANDIUXOR. FILIA REGIS ADEFONSI, QUI POPULAVIT LEGIONEM POS DESTRUCTIONEM ALMANZOR. OBIIT ERA MCVIIII. III N. M.\"Which translates to:\"Here lies Sancha, Queen of All Spain, wife of the great king Ferdinandand daughter of king Alfonso, who populated León after the destruction of Almanzor. Died in the one thousand one hundred eighth era on the third nones of May [5 May 1071].\"Passage 4:Eleanor of Aragon, Queen ofCastileEleanor of Aragon (20 February 1358 – 13 August 1382) was a daughter of King Peter IV of Aragon and his wife Eleanor of Sicily. She was a member of the House of Barcelona and Queen of Castile by hermarriage.FamilyEleanor was the youngest child and only daughter of her father by his third marriage. Eleanor was a sister of John I of Aragon and Martin of Aragon. She was a half-sister of Constance, Queen of Sicily,Joanna, Countess of Ampurias and Isabella, Countess of Urgell.MarriageAt Soria on the 18 June 1375, Eleanor married John I of Castile. Her marriage was arranged as part of the arrangements for peace betweenAragon and Castile agreed at Almazán on the 12 April 1374 and at Lleida on the 10 May 1375.Eleanor and John were married for seven years, in which time they had three children:Henry (4 October 1379 – 25December 1406), succeeded his father as King of CastileFerdinand (27 November 1380 – 2 April 1416), became King of Aragon in 1412Eleanor (b. 13 August 1382), died youngAfter seven years of marriage on 13August 1382, Eleanor died giving birth to her daughter and namesake Eleanor, who died young. Eleanor's son Ferdinand later claimed his mother's rights on the Kingdom of Aragon when both of Eleanor's brothers diedwithout surviving sons.Passage 5:Sancha of Castile, Queen of AragonSancha of Castile (21 September 1154/5 – 9 November 1208) was the only surviving child of King Alfonso VII of Castile by his second wife, Richezaof Poland.  On January 18, 1174, she married King Alfonso II of Aragon at Zaragoza; they had at least eight children who survived into adulthood.A patroness of troubadours such as Giraud de Calanson and PeireRaymond, the queen became involved in a legal dispute with her husband concerning properties which formed part of her dower estates. In 1177 she entered the county of Ribagorza and took forcible possession ofvarious castles and fortresses which had belonged to the crown there.After her husband died at Perpignan in 1196, Sancha was relegated to the background of political affairs by her son  Peter II. She retired from court,withdrawing to the Hospitaller convent for noble ladies, the Monastery of Santa María de Sigena, at Sigena, which she had founded. There she assumed the cross of the Order of St John of Jerusalem which she woreuntil the end of her life. The queen mother entertained her widowed daughter Constance at Sigena prior to her leaving Aragon to marry Emperor Frederick II in 1208. She died soon afterwards, aged fifty-four, and wasinterred in front of the high altar of her foundation at the Monastery of Santa María de Sigena; her tomb is still there to be seen.IssuePeter II (1174/76 – 14 September 1213), King of Aragon and Lord ofMontpellier.Constance (1179 – 23 June 1222), married firstly King Imre of Hungary and secondly Frederick II, Holy Roman Emperor.Alfonso II (1180 – February 1209), Count of Provence, Millau and Razès.Eleanor(1182 – February 1226), married Count Raymond VI of Toulouse.Ramon Berenguer (ca. 1183/85 – died young).Sancha (1186 – aft. 1241), married Count Raymond VII of Toulouse, in March 1211Ferdinand (1190 –1249), cistercian monk, Abbot of Montearagón.Dulcia (1192 – ?), a nun at Sijena.Passage 6:Eleanor of Castile (died 1244)Eleanor of Castile (1200—1244) was Queen of Aragon by her marriage to King James I ofAragon.QueenshipEleanor was the daughter of Alfonso VIII of Castile and Eleanor of England. In 1221 at Ágreda, Eleanor married King James I of Aragon; she was nineteen and he was fourteen. The next six years ofJames's reign were full of rebellions on the part of the nobles. By the Peace of Alcalá of 31 March 1227, the nobles and the king came to terms. The couple had a son, Alfonso, who married Constance of Béarn. Eleanor'smarriage to James was annulled in 1230, and the agreement prohibited her from remarrying. Their son, Alfonso, was declared legitimate, but he pre-deceased James.Monastic lifeEleanor became a nun after theannulment. She went to the Abbey of Santa María la Real de Las Huelgas to join her elder sister Berengaria who had retired from ruling Castile and Leon, and their other sister Constance, who was long a nun there.  Allthree sisters died there, Constance in 1243, Eleanor in 1244, and Berengaria in 1246.  All are buried in the Abbey.BurialEleanor was buried in the Monastery of Las Huelgas in Burgos. Her remains were deposited in atomb which is now located in the Nave of Santa Catarina of the Gospel, and lies between the tomb containing the remains of Philip, son of Sancho IV and María de Molina, which is placed to the right, and the tombcontaining the remains of Peter, brother of Philip.During work on the Monastery in the middle of the twentieth century it was found that the remains of Eleanor, mummified and in good condition, lay in her tomb oflimestone; the roof had two slopes and was smooth, although in the past was polychrome. Her coffin was wooden and devoid of cover, although there were still remnants of its shell and lysed cross made of studded goldbraid, as well as clothing that was buried with the Queen, among which highlighted three brocade garments in Arabic, which Manuel Gómez Moreno considered similar to those found in the grave of her grandnephewPhilip.Passage 7:Constance of AragonConstance of Aragon (1179 – 23 June 1222) was an Aragonese infanta who was by marriage firstly Queen of Hungary, and secondly Queen of Germany and Sicily and Holy RomanEmpress. She was regent of Sicily from 1212 to 1220.She was the second child and eldest daughter of the nine children of Alfonso II of Aragon and Sancha of Castile.Queen of HungaryHer father died in 1196 andConstance's fate was decided by the new King, her brother Peter II. Peter arranged her marriage with King Emeric of Hungary, and the nineteen-year-old Constance left Aragon for Hungary. The wedding took place in1198. Two years later, in 1200, the Queen gave birth to a son, called Ladislaus.When King Emeric was dying, he crowned his son Ladislaus co-ruler on 26 August 1204. The King wanted to secure his succession and hadhis brother Andrew promise to protect the child and help him govern the Kingdom of Hungary until reaching adulthood. Emeric died three months later, on 30 November.Ladislaus succeeded him as King while Andrewbecame his Regent. Andrew soon took over all regal authority while Ladislaus and Constance were little more than his prisoners. Constance managed to escape to Vienna with Ladislaus.The two found refuge in the courtof Leopold VI, Duke of Austria, but Ladislaus would soon die (7 May 1205). The former Regent and now King Andrew II of Hungary took the body of his nephew and buried him in the Royal Crypt of Székesfehérvár.Duke Leopold sent Constance back to Aragon.Queen of Sicily and Holy Roman EmpressWhen Constance returned to Aragon, she took up residence with her mother, Queen Sancha, in the Abbey of Nuestra Senora, atSijena; Sancha had founded the abbey after her husband's death, and now lived there in retirement. Constance spent the next three years in the abbey with her mother, until her fate, again, was changed by herbrother.Peter II wanted to be on good terms with Pope Innocent III, since he wanted an annulment of his marriage with Maria of Montpellier, and needed the blessing of the Pope. The Pope solicited the hand of theDowager Queen of Hungary for his pupil, the young King Frederick II, Holy Roman Emperor. The Aragonese King accepted the proposal; Constance left her mother and the abbey of Nuestra Senora and began her trip toSicily (1208). She never returned to Aragon or saw her mother again. Sancha died shortly after the departure of her daughter.Constance and Frederick were married in the Sicilian city of Messina on 15 August 1209. Inthe ceremony, she was crowned Queen of Sicily. By this time, Constance was thirty years old and her new husband only fourteen. Two years later, in 1211, Constance gave birth to a son, called Henry, who later had atragic end.On 9 December 1212, Frederick was crowned King of Germany in opposition to Otto IV, Holy Roman Emperor. During the absence of her husband, Constance stayed in Sicily as regent of the Kingdom until1220.At first Frederick controlled Southern Germany but Otto IV was effectively deposed on 5 July 1215. This time Constance was crowned German Queen with her husband.Pope Honorius III crowned Frederick HolyRoman Emperor on 22 November 1220. Constance was crowned Holy Roman Empress while their son Henry became the new King of Germany. She died of malaria less than two years later in Catania and was buried inthe Cathedral of Palermo, in a Roman sarcophagus with a crown, the Crown of Constance.Passage 8:Sancha of Aragon, Countess of ToulouseSancha of Aragon (1186, Zaragoza –1241) was the daughter of King AlfonsoII of Aragon and his wife, Sancha of Castile. Sancha was married to Raymond VII, Count of Toulouse in 1211. Upon the death of Raymond's father, Raymond VI, in 1222, she acquired the titles Countess consort ofToulouse and Marquise consort of Provence until their divorce in 1241.Sancha's paternal grandparents were Ramon Berenguer IV, Count of Barcelona and Petronilla of Aragon; her maternal grandparents were AlfonsoVII of León and Castile and Richeza of Poland, Queen of Castile. She was the sister of Peter II of Aragon and Alfonso II, Count of Provence. She and Raymond had one child, Joan, Countess of Toulouse, who inheritedthe same titles upon the death of her father from 1249 to 1271.Passage 9:Hubba bint HulailHubba bint Hulail (Arabic: \u0000\u0000\u0000 \u0000\u0000\u0000 \u0000\u0000\u0000\u0000) was the grandmother of Hashim ibn 'Abd Manaf, thus thegreat-great-great-grandmother of the Islamic prophet Muhammad.BiographyHubbah was the daughter of Hulail ibn Hubshiyyah ibn Salul ibn Ka’b ibn Amr al-Khuza’i of Banu Khuza'a who was the trustee and guardian ofthe Ka‘bah (Arabic: \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000, 'Cube'). She married Qusai ibn Kilab and after her father died, the keys of the Kaaba were committed to her. Qusai, according to Hulail's will, had the trusteeship of the Kaabaafter him.Hubbah never gave up ambitious hopes for the line of her favourite son Abd Manaf. Her two favourite grandsons were the twin sons Amr and Abd Shams, of ‘Ātikah bint Murrah. Hubbah hoped that theopportunities missed by Abd Manaf would be made up for in these grandsons, especially Amr, who seemed much more suitable for the role than any of the sons of Abd al-Dar. He was dear to the ‘ayn (Arabic:\u0000\u0000\u0000\u0000\u0000, eye) of his grandmother Hubbah.FamilyQusai ibn Kilab had four sons by Hubbah: Abd-al-Dar ibn Qusai dedicated to his house, Abdu’l Qusayy dedicated to himself, Abd-al-Uzza ibn Qusai to his goddess(Al-‘Uzzá) and Abd Manaf ibn Qusai to the idol revered by Hubbah. They also had two daughters, Takhmur and Barrah. Abd Manaf's real name was 'Mughirah', and he also had the nickname 'al-Qamar' (the Moon)because he was handsome.Hubbah was related to Muhammad in more than one way. Firstly, she was the great-great-grandmother of his father Abdullah. She was also the great-grandmother of Umm Habib andAbdul-Uzza, respectively the maternal grandmother and grandfather of Muhammad's mother Aminah.Family tree* indicates that the marriage order is disputedNote that direct lineage is marked in bold.See alsoFamilytree of MuhammadList of notable HijazisPassage 10:Alfonso VII of León and CastileAlfonso VII (1 March 1105 – 21 August 1157), called the Emperor (el Emperador), became the King of Galicia in 1111 and King of Leónand Castile in 1126. Alfonso, born Alfonso Raimúndez, first used the title Emperor of All Spain, alongside his mother Urraca, once she vested him with the direct rule of Toledo in 1116. Alfonso later held anotherinvestiture in 1135 in a grand ceremony reasserting his claims to the imperial title. He was the son of Urraca of León and Raymond of Burgundy, the first of the House of Ivrea to rule in the Iberian peninsula.Alfonso wasa dignified and somewhat enigmatic figure. His rule was characterised by the renewed supremacy of the western kingdoms of Christian Iberia over the eastern (Navarre and Aragón) after the reign of Alfonso the Battler.Though he sought to make the imperial title meaningful in practice to both Christian and Muslim populations, his hegemonic intentions never saw fruition. During his tenure, Portugal became de facto independent, in1128, and was recognized as de jure independent, in 1143. He was a patron of poets, including, probably, the troubadour Marcabru.Succession to three kingdomsIn 1111, Diego Gelmírez, Bishop of Compostela and thecount of Traba, crowned and anointed Alfonso King of Galicia in the cathedral of Santiago de Compostela. He was a child, but his mother had (1109) succeeded to the united throne of León-Castile-Galicia and wished toretain sole rulership of the kingdom. By 1125 he had inherited the formerly Muslim Kingdom of Toledo. On 10 March 1126, after the death of his mother, he was crowned in León and immediately began the recovery ofthe Kingdom of Castile, which was then under the domination of Alfonso the Battler. By the Peace of Támara of 1127, the Battler recognised Alfonso VII of Castile. The territory in the far east of his dominion, however,had gained much independence during the rule of his mother and experienced many rebellions. After his recognition in Castile, Alfonso fought to curb the autonomy of the local barons.When Alfonso the Battler, King ofNavarre and Aragón, died without descendants in 1134, he willed his kingdom to the Knights Templar and the Knights Hospitaller. The aristocracy of both kingdoms rejected this. García Ramírez, Count of Monzón waselected in Navarre while Alfonso pretended to the throne of Aragón. The nobles chose another candidate in the dead king's brother, Ramiro II. Alfonso responded by reclaiming La Rioja and \"attempted to annex thedistrict around Zaragoza and Tarazona\".In several skirmishes, he defeated the joint Navarro-Aragonese army and put the kingdoms to vassalage. He had the strong support of the lords north of the Pyrenees, who heldlands as far as the River Rhône. In the end, however, the combined forces of the Navarre and Aragón were too much for his control. At this time, he helped Ramon Berenguer III, Count of Barcelona, in his wars with theother Catalan counties to unite the old Marca Hispanica.Imperial ruleA vague tradition had always assigned the title of emperor to the sovereign who held León.  Sancho the Great considered the city the imperialeculmen and minted coins with the inscription Imperator totius Hispaniae after being crowned in it. Such a sovereign was considered the most direct representative of the Visigothic kings, who had been themselves therepresentatives of the Roman Empire. But though appearing in charters, and claimed by Alfonso VI of León and Alfonso the Battler, the title had been little more than a flourish of rhetoric.On 26 May 1135, Alfonso wascrowned \"Emperor of Spain\" in the Cathedral of León. By this, he probably wished to assert his authority over the entire peninsula and his absolute leadership of the Reconquista. He appears to have striven for theformation of a national unity which Spain had never possessed since the fall of the Visigothic kingdom. The elements he had to deal with could not be welded together. The weakness of Aragon enabled him to make hissuperiority effective. After Afonso Henriques recognised him as liege in 1137, Alfonso VII lost the Battle of Valdevez in 1141 thereby affirming Portugal's independence in the Treaty of Zamora (1143). In 1143, he"}
+{"doc_id":"doc_294","qid":"","text":"Passage 1:Lifted BellsLifted Bells are an American rock band from Chicago, Illinois. The band consists of members of the bands Their/They're/There, Braid, and Stay Ahead of the Weather.CareerLifted Bells began in2013 with the release of a self-titled EP, via Naked Ally Records. In 2014, Lifted Bells released their second EP titled Lights Out via Naked Ally. In 2016, Lifted Bells signed to Run For Cover Records and released theirthird EP titled Overreactor.DiscographyEPsLifted Bells (2013, Naked Ally)Lights Out (2014, Naked Ally)Overreactor (2016, Run For Cover)Minor Tantrums (2018, Run For Cover)Passage 2:Tri-State (band)Tri-State is anAmerican rock band from New Jersey.AboutTri-State is a four-piece jangle pop and indie rock band from Maplewood, New Jersey, that formed in 2010, consisting of vocalist and guitarist Julian Brash, drummer BradyMcNamara, bassist and vocalist Scott Stemmermann and vocalist and guitarist Jeff Zelevansky. Their music is described as \"jangle-pop\" and \"guitar-based rock'n'roll,\" and they draw comparison to the groups R.E.M.,Dinosaur Jr., Eleventh Dream Day, and the artist Neil Young. They self-released the six-track EP, entitled Tri-State, on May 24, 2016. A review of the EP by Jim Testa in Jersey Beat says \"this is a terrific record [...] thatneatly draws inspiration from Nineties alterna-rock without sounding dated or derivative. The guitars rumble and roar, the drumming always keeps things moving forward, and the vocals and lyrics bring a perspectiveyou just don't find in younger bands.\" Independent Clauses writes \"Tri-State's tunes unfold in pleasing ways[,] creat[ing] an ominous mood that builds and builds,\" adding that \"if you're into '90s indie-rock or maturesongwriting that appreciates with multiple listens, give [Tri State] a spin.\" Tri-State signed with Mint 400 Records in 2014.Mint 400 RecordsThat year they contributed the song \"Take a Bow\" for the compilation,Patchwork, and a rendition of \"Carrie Anne\" for the 2015 compilation, 1967. Tri-State released two singles \"New Minuits\" and \"Titanic Brothers,\" on September 21, 2015. They performed at the 2016 North Jersey IndieRock Festival. Their second EP, the five-track We Did What We Could Do, was released with Mint 400 Records, on October 22, 2016. Bob Makin of Courier News describes the EP as \"pop hooks, vocal harmonies, drivingbeats, and intricate, intertwined guitars with intelligent [and] probing lyrics.\" It was listed in Jersey Beat's Top Local Releases\" of 2016. The lead track \"Summer Nun\" appears on the compilation album, NJ / NYMixtape.DiscographyLP\"Hey Pal\" (2019)EPsDoom Loop (2021)Tri-State (2013)We Did What We Could Do (2016)Singles\"New Minuits / Titanic Brothers\" (2015)Appearing onPatchwork (2014)1967 (2015)NJ / NY Mixtape(2018)Passage 3:The M'sThe M's is an American indie rock band from Chicago.HistoryThe M's were formed in 2000 by Josh Chicoine, Joey King, Steve Versaw and Robert Hicks. Chicoine, King and Versaw met in thewinter of 1999 and began collaborating in a makeshift studio in Chicago's Bucktown neighborhood in which the short lived group, Sanoponic, was formed. After Sanoponic's dissolution, they began working on newmaterial with Hicks who had the name The M's in mind for a new project. Their debut EP appeared in 2002 on Brilliante Records, followed by a full-length in 2004. They signed with Polyvinyl Record Co. for their 2006and 2008 releases. Glenn Rischke joined the group in 2008 for the release of their last recording to date \"Real Close Ones\". The group decided to go into \"a long hiatus\" on March 6, 2009. In 2011, The M's released adigital-only EP \"The Personal Touch\" on Movings label, recorded collaboratively with electronic trio from Chicago TV Pow.MembersJosh Chicoine - vocals, guitarSteve Versaw - drumsJoey King - vocals, bassRobert Hicks -vocals, guitarGlenn Rischke - Keyboards, percussion (Joined 2008/2009)DiscographyThe M's EP (Brillante Records, 2002)The M's LP (Brillante, 2004)Split with Dr. Dog (Polyvinyl Record Co., 2006)Future Women(Polyvinyl, 2006)Real Close Ones (Polyvinyl, 2008)The Personal Touch with TV Pow (Movings, 2011)Passage 4:Knuckle PuckKnuckle Puck is an American rock band, formed in 2010 in the suburbs of Chicago, Illinois. Thegroup released several EPs, one of which, While I Stay Secluded (2014), peaked at number 5 on the Heatseekers Albums chart. The band released a split EP with the UK band Neck Deep. The group signed to Rise in2014 and released its debut album, Copacetic, through the label in 2015.The band's name comes from the \"knucklepuck\" shot in ice hockey, which was popularized by the 1994 film D2: The MightyDucks.HistoryFormation and early releases (2010–2014)Knuckle Puck started out covering songs in fall 2010 in the outskirts of Chicago. The band got its name from a Stick to Your Guns t-shirt that said \"Knuckle PuckCrew\". The band consisted of lead vocalist Joe Taylor, lead guitarist Kevin Maida, and drummer John Siorek. The group started writing original songs in April 2011 with the addition of rhythm guitarist Nick Casasanto.The group had friends fill in on bass. In July, the band played its first ever show. In October, the band released a self-titled EP, this was followed up by the Acoustics EP in March 2012. In October, the band released theDon't Come Home EP. The band co-headlined a tour with Seaway from late May to early June 2013. In August, the band self-released The Weight That You Buried EP. In February 2014 Bad Timing and Hopeless releaseda split EP that featured two songs each from Knuckle Puck and Neck Deep. Both bands toured together (alongside Light Years) from late February to early April. On March 16, the band performed at South by So What?!festival. In spring, the band gained bassist Ryan Rumchaks. Between May and June, the band supported Man Overboard on the group's The Heart Attack Tour alongside Transit, and Forever Came Calling.A music videowas released for the song \"No Good\" in June. It was directed by Eric Teti. In late July, it was announced the band were recording, and in early August the band finished recording its next release. Knuckle Puck supportedSenses Fail on the band's Let It Enfold You 10th anniversary tour from late August till early October 2014. In early September, the band released a 7\" flexi containing the songs \"Oak Street\" and \"Home Alone\", theformer of which was intended for release on the group's next EP. The flexi was released by Bad Timing. On October 16, 2014, \"Bedford Falls\" was available for streaming. On October 23, the While I Stay Secluded EPwas made available for streaming and on October 28, it was released by Bad Timing. The EP had peaked at number 5 on the Heatseekers Albums in the U.S. Guitarist Kevin Maida revealed that the band \"firmly andconfidently\" considered the EP the group's best work so far. On October 31, the band released a music video for \"Oak Street\". In November and December, the band supported Modern Baseball on the group's wintertour.Copacetic and Shapeshifter (2014–2020)In November 2014, the various artists compilation album Punk Goes Pop 6 was released, it featured Knuckle Puck covering The 1975 song \"Chocolate\". On December 22,2014, Knuckle Puck signed to Rise Records. Maida said that Rise would be \"a bountiful new home\" for the group and would help the band evolve. Throughout January and February 2015 the band supported Neck Deepon the band's The Intercontinental Championships Tour. In late February, the band announced it had started recording its debut album and by early April, the group had finished. The group joined The Maine's TheAmerican Candy Spring 2015 Tour, as a support act, throughout April and May. On June 11, the band's debut album, Copacetic, was announced. The artwork and track list was revealed. On June 19, a music video wasreleased for \"Disdain\". On June 30, \"True Contrite\" was made available for streaming. The band played on the 2015 edition of Warped Tour. On July 14, \"Pretense\" was made available for streaming. On July 23, thealbum was made available for streaming. Copacetic released on July 31. The band supported State Champs on the group's European tour in September and October. The band toured the U.S. in October and November,with support from Seaway, Head North and Sorority Noise. In February and March 2016, the band supported Neck Deep and State Champs on the groups' co-headlining tour of the U.S.In March 2017, a 7-inch vinylsingle was released, featuring the tracks \"Calendar Days\" and \"Indecisive\". On July 27, the band released the first single from their at the time upcoming album onto YouTube and iTunes titled \"Gone\". A few monthslater in September the second single \"Double Helix\" was released on YouTube with its music video. The group released their second album, Shapeshifter, on October 13.In October 2019 Knuckle Puck released a 7\" vinylcontaining Gold Rush and Fences, previously released with Neck Deep and containing two more tracks. This vinyl sold out in a few hours.20/20 (2020–present)On February 21, 2020, the band released a single called\"Tune You Out\", and commenced a tour across North America with Heart Attack Man throughout February and March 2020, which was cut short by the onset of the COVID-19 pandemic. On April 21, 2020, a secondsingle and 7\" record \"RSVP\" was released. A music video for the song \"Breathe\" was released on June 18, 2020, the song features Derek Sanders from the band Mayday Parade. The band released their third album20/20 on September 18, 2020. The band played multiple drive in shows in October 2020 with Hot Mulligan. In December 2021, the band headlined a tour celebrating their tenth anniversary with Arm's Length, CarlyCosgrove, and Snow Ellet.On December 1, 2021, the band released a single \"Levitate\" and announced a US and European tour from March 2022 to June 2022 with co-headliner Hot Mulligan with support by Meet Me atthe Altar and Anxious during the US shows. The band released an extended play Disposable Life on February 4, 2022, with Joe Taylor calling the recording of the EP \"the most fun we've had in a long time\" The bandsupported New Found Glory on the group's US tour through September 2022 to November 2022.On October 20, 2022, the band announced that they had signed with Pure Noise Records and released a new singleGroundhog Day. The band announced that their upcoming 4th LP would release in 2024.  The band later announced a compilation vinyl release Retrospective consisting of their first two EP's and their split with NeckDeep.StyleKnuckle Puck sound has been described by AllMusic biographer James Christopher Monger as a \"melodic blend of old-school punk rock and emo\", compared to the likes of The Wonder Years, The Story So Far,and Rise Against. Copacetic has been described as emo and pop punk. AllMusic reviewer Timothy Monger noted the album's sound \"ranging from blazing, epic emo and pop-punk to slower, more contemplative fare.\"Cleveland.com reviewer Troy L. Smith noted that people who liked early 2000s pop punk albums such as Simple Plan's No Pads, No Helmets...Just Balls (2002) and New Found Glory's Sticks and Stones (2002) wouldenjoy Copacetic.Side projectsRumchaks released a solo EP, Decades, in July 2013. Rumchaks plays guitar and sings vocals in Oak Lawn, Illinois-based band Homesafe, alongside vocalist/bassist Tyler Albertson anddrummer Eman Duran. The group has released three EPs and one full-length studio album, Homesafe (2014), Inside Your Head (2015), ‘’Evermore’’ (2016), And ‘’ONE’’ (2018). Homesafe is currently signed to PureNoise Records.Taylor and Rumchaks joined with Real Friends' vocalist Dan Lambton to form Rationale. With Rationale., Taylor plays guitar and vocals, Rumchaks plays drums, and Lambton on guitar and vocals.\"Hangnail\" was made available for streaming in December 2015, and the group's debut EP Confines  followed shortly after.Kevin Maida plays guitar in Chicago hardcore-punk band Lurk.John Siorek has played drums forbands William Bonney, Droughts, and Matter of Fact.Critical receptionKnuckle Puck was included on Alternative Press's \"12 Bands You Need To Know: AP Editors pick their favorite 100 Bands\" list in 2014. The band wereincluded on Idobi's \"Artists To Watch In 2014\" list.Knuckle Puck was nominated for the Best Underground Band in the 2015 Alternative Press Music Awards.Knuckle Puck was nominated for Album of the Year and BestBreakthrough Band in the 2016 Alternative Press Music Awards.Band membersCurrent membersJoe Taylor – lead vocals (2010–present)Kevin Maida – lead guitar (2010–present)John Siorek – drums, percussion(2010–present)Nick Casasanto – rhythm guitar, co-lead vocals (2011–present)Ryan Rumchaks – bass guitar, backing vocals (2012–present)DiscographyStudio albumsCopacetic (2015)Shapeshifter (2017)20/20(2020)Passage 5:The Sessions (band)The Sessions were a Canadian dance-rock band from Vancouver, British Columbia. The band won the world's largest battle of the bands, Emergenza, in 2006.HistoryThe Sessionsformed in 2005. Members included bassist Tobias Jesso Jr. drummer Martin Kottmeier, guitarist Tristan Norton and singer Josh Helgason. In 2006, The Sessions joined the Emergenza band competition, along with 7,631bands from 16 countries.  The band won a competition in Calgary, and then moved on to the national competition in Montreal. The Sessions won first place at the Emergenza finals in Rothenburg, Germany.The bandrecorded a six-song EP with producer Bob Rock, entitled The Sessions Is Listed as In a Relationship. The album received a mixture of reviews. Two songs from the album, \"My Love\" and \"18 Candles\", were featured inthe mountain biking film Seasons by The Collective. The beginning of \"18 Candles\" is used as some of the Question and Answer music in \"Pawn Stars\".The Sessions toured the western United States in February 2008,hitting Popscene in San Francisco as well as dates in Las Vegas, Hollywood, and San Diego.  Helgason left the band in March 2008 and co-formed Stars Blvd soon after. The band members did some session work inCalifornia, including recording with singer Melissa Cavatti.After break-upBand members Tristan Norton and Martin Kottmeier have since co-formed electronic music DJ/production duo Young Bombs. Tobias Jesso Jr.started a career as a singer-songwriter.MembersMartin Robert Kottmeier - drums, vocalsJoshua Helgason - vocals, synthesizerTristan Norton - guitar, vocals, keyboardsTobias Jesso Jr. - bass, vocalsPassage 6:Welcome(band)Welcome is a band from Seattle.DiscographySirs (Fat Cat Records)Sun as Night Light (RX Remedy)Six Songs on a CD (RX Remedy)Stoma 7\" (RX Remedy)Split 7\" with Mars AcceleratorPassage 7:Marseille(band)Marseille were a British heavy metal band from Liverpool, England, formed in 1976 by Neil Buchanan, Andy Charters and Keith Knowles. Marseille were the first band to win the \"UK Battle of the Bands\"competition at Wembley Arena in 1977. Marseille were the first new wave of British heavy metal band to secure a major recording contract and to tour in the United States, as well as the first NWOBHM band to releasean album there.HistoryMarseille was formed in Liverpool, England in early 1976. Original members were Paul Dale (vocals), Neil Buchanan (lead guitar), Andy Charters (second guitar), Keith Knowles (drums) and SteveDinwoodie (bass). The band was originally called AC/DC, during the time that the Australian rock band of the same name was gaining success in the UK, forcing the band to change their name in mid-1976 to \"Marseille\".Marseille won the first ever \"UK Battle of the Bands\" with the finals judged by Brian May and Roger Taylor of Queen at Wembley Arena on October 31, 1977. This led the band to secure a five-year recording contractwith Mountain Records in late 1977, and the band released their debut album, Red, White and Slightly Blue in 1978, which included the songs \"The French Way\" and \"Can Can\". Marseille became the first new wave ofBritish heavy metal to play at a big festival in Europe: the Bilzen Festival in Belgium, supporting American rock band Cheap Trick.Marseille gathered a small fan base while promoting their first album as support for othergroups such as Judas Priest, Nazareth, Whitesnake and UFO. Keith Knowles stated: \"I was the drummer on all albums and an original member of Marseille. We took the name because 'Marseille' was a French roughseaport like Liverpool and to be honest we were struggling to rename ourselves as we were originally called AC/DC but had to change for obvious reasons. All tracks on this album were recorded 'live' so what you hear isnot manufactured in any way. We all have great memories of touring with UFO who were absolutely brilliant with us and made sure we had sound-checks every night. Phil Mogg and Pete Way were like a double act andsuch great blokes... to stand in the wings listening to Schenker's lead break on Love to Love will live with me forever... and what a nice person he was.\" Their debut album contained very raunchy lyrics but sufferedsomewhat from lack of promotion and limitation of release. The single \"Kiss Like Rock 'n' Roll\" was produced by Nazareth guitarist Manny Charlton.Their second album release, the eponymous Marseille, received radioairplay, extending their fanbase in the UK. Several tracks from the album featured on the \"Alternative Top 20 Charts\" published in Sounds magazine with other emerging new wave of British heavy metal bands such asSaxon, Def Leppard and Iron Maiden. Marseille were the first NWOBHM band to tour and have an album released in the United States through RCA Records. The band promoted their Marseille album on tour in the USwith Nazareth and American south coast boogie band Blackfoot during the summer of 1980. The band arrived back in the UK to witness the demise of Mountain, their record and management company. With all theirequipment still stranded in the US, the band were forced off the road and into a two-year legal battle with liquidators, which precluded them pursuing another recording contract. During this time, Paul Dale, AndyCharters and Neil Buchanan left the band. Charters moved to the US, and Buchanan started a career in television, hosting the popular CITV programme Art Attack from 1990-2007. The two remaining members, KeithKnowles and Steve Dinwoodie later recruited vocalist Sav Pearse and guitarist Marc Railton from local Liverpool band Savage Lucy to complete a third album entitled Touch the Night, on the Ultra Noise label in 1984. Asong from the album, \"Walking on a Highware\" became Marseille's first and only single to enter the UK Singles chart, peaking at number 98 and spending one week in the listing. However, lack of industry interest in theband caused this iteration of Marseille to split up soon after. Touch the Night was labeled by Kerrang! magazine as a closet classic that should have taken the band to higher ground.In 2003, a two-disc CD aptly titledRock You Tonight became the Marseille Anthology and was released by Castle Communications, a subsidiary division of Sanctuary Records Group. The album, containing material from all three of Marseille's previousalbums, garnered some critical acclaim being hailed \"The best box set of 2003\" by George Smith of Village Voice magazine.The original line-up reunited for a handful of gigs in 2008, however, Paul Dale soon left theband and was replaced in February 2009 by Nigel Roberts. The band recorded an EP, FourPlay which was produced by Neil Buchanan, and released on the Gas Station Music label in 2009. In 2010, Keith Knowles andSteve Dinwoodie stepped down to be replaced by Gareth Webb (drums) and Lee Andrews (bass). The band recorded their first full album in 25 years, Unfinished Business, which was also produced by Buchanan, andlater released on September 6, 2010. The album was unveiled at the band's appearance at the Hard Rock Hell festival in December 2010. A full UK tour supported by Exit State followed.In April 2011, drummer GarethWebb stepped down and was replaced by Ace Finchum (also a member of Tigertailz) on drums. A few months later, bassist Lee Andrews also left the band and was replaced by Kevin Wynn (mid-2011), then by PhilIreland (late 2011-early 2012), and later by Rob Brooks (2012-2014). The band continued a heavy gig schedule from 2011 to early 2012, and worked on new material for a release in 2012 but this never materialised.The band were featured in several appearances at gigs and concerts, including the 2012 Cambridge Rock Festival and the Hard Rock Hell VI: A Fistful Of Rock in late 2012; however, those appearances were cancelled.Later, Marseille announced a UK tour planned for November 2013, which was later postponed to 2014 due to Andy Charters' travel visa problems. It was also announced that an EP will be released in the Summer of"}
+{"doc_id":"doc_295","qid":"","text":"Passage 1:Marzuban ibn Muhammad ibn ShaddadMarzuban ibn Muhammad ibn Shaddad was a Kurdish ruler, the brother of Lashkari ibn Muhammad. He succeeded his brother to the throne of the Shaddadids in 978. He was incompetent, however, and reigned only until his murder by his younger brother Fadl ibn Muhammad in 985.SourcesMinorsky, Vladimir (1977) [1953]. Studies in Caucasian History. Cambridge: Cambridge University Press. ISBN 0-521-05735-3.Peacock, Andrew (2011). \"SHADDADIDS\". Encyclopædia Iranica, Online Edition.Passage 2:Shabbir MuhammadShabbir Muhammad (born 3 March 1978) is a Pakistani field hockey player. He competed in the men's tournament at the 2004 Summer Olympics.Passage 3:Maria al-QibtiyyaMāriyya bint Sham\u0000ūn (Arabic: \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000), better known as Māriyyah al-Qib\u0000iyyah or al-Qub\u0000iyya (Arabic: \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000\u0000), or Maria the Copt, died 637, was an Egyptian woman who, along with her sister Sirin bint Shamun, was sent to the Islamic prophet Muhammad in 628 as a gift by Al-Muqawqis, a Christian governor of Alexandria, during the territory's Sasanian occupation. She and her sister were slaves. She spent the rest of her life in Medina and had a son, Ibrahim with Muhammad. The son died as an infant and she died almost five years later.Al-Maqrizi says that she was a native of Hebenu (Coptic: \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000, Koinē Greek: \u0000λάβαστρων πόλις Alábastrōn pólis, Arabic: \u0000\u0000\u0000\u0000\u0000, romanized: al-Khafn), a village located near Antinoöpolis.BiographyIn the Islamic year 6 AH (627 – 628 CE), Muhammad is said to have had letters written to the great rulers of the Middle East, proclaiming the continuation of the monotheistic faith with its final messages and inviting the rulers to join. The purported texts of some of the letters are found in Muhammad ibn Jarir al-Tabari's History of the Prophets and Kings. Tabari writes that a deputation was sent to an Egyptian governor named as al-Muqawqis. Maria was a slave who was offered as a gift of goodwill to Muhammad in reply to his envoys inviting the governor of Alexandria to Islam. Muhammad emancipated her after the birth of her son.Tabari recounts the story of Maria's arrival from Egypt:In this year Hātib b. Abi Balta'ah came back from al-Muqawqis bringing Māriyah and her sister Sīrīn, his female mule Duldul, his donkey Ya'fūr, and sets of garments. With the two women al-Muqawqis had sent a eunuch, and the latter stayed with them. Hātib had invited them to become Muslims before he arrived with them, and Māriyah and her sister did so. The Messenger of God, peace and blessings of Allah be upon Him, lodged them with Umm Sulaym bt. Milhān. Māriyah was beautiful. The prophet sent her sister Sīrīn to Hassān b. Thābit and she bore him 'Abd al-Rahmān b. Hassān.The death of Ibrahim caused Muhammad to weep.Status as a wife or concubineMuhammad's earliest biographers, like Ibn Ishaq, Ibn Sa’d, and al-Tabari, mentioned Mariyah as the Prophet’s slavegirl or concubine in their sirah.Ibn Qayyim al-Jawziyya is another scholar and biographer of prophet Muhammad who writes a sirah called Zad al-Ma'ad where he mentioned Mariyah as a slave girl.Like Rayhana bint Zayd, there is some debate between historians and scholars as to whether Mariyah ever became Muhammad's wife or remained a concubine. An indication that she was a concubine is that when she bore her son to Muhammad, she was set free.Ibn ‘Abbas said: When Maria gave birth to Ibrahim the Messenger of Allah (\u0000) said, ‘Her son has set her free.’  There is also strong evidence that there was no living quarter for her in the proximity of the Prophet's Mosque. Only the wives of Muhammad had their quarters adjacent to one another in the proximity of his mosque at Medina. Maria was made to reside permanently in an orchard, some three kilometers from the mosque. Evidence that suggests she was a concubine is in the narration:Anas said:  The Messenger of Allah (\u0000) had a female-slave (amat) with whom he had intercourse, but ‘Aishah and Hafsah would not leave him alone until he said that she was forbidden for him. Then Allah, the Mighty and Sublime, revealed: “O Prophet! Why do you forbid (for yourself) that which Allah has allowed to you.’ until the end of the Verse.”The ‘female-slave’ referred to in this narration was Maria, the Copt, as specified in a hadith attributed to Umar and classified as sahih by Ibn Kathir, which names her Umm Ibrahim (the mother of Ibrahim).In a report from Ibn ‘Abbas and ‘Urwah b. al-Zubair concerning the same incident, Muhammad said to Hafsa:I make you witness that I my concubine (surriyyati) is now forbidden unto me.Some Islamic scholars point to a different Asbāb al-nuzūl (circumstance of revelation) for the above incident, saying it was only caused by Muhammad drinking honey, as narrated in Sahih al-Bukhari by Muhammed's wife Aisha:The Prophet (\u0000) used to stay (for a period) in the house of Zaynab bint Jahsh (one of the wives of the Prophet ) and he used to drink honey in her house. Hafsa bint Umar and I decided that when the Prophet (\u0000) entered upon either of us, she would say, \" I smell in you the bad smell of Maghafir (a bad smelling raisin). Have you eaten Maghafir?\" When he entered upon one of us, she said that to him. He replied (to her), \"No, but I have drunk honey in the house of Zaynab bint Jahsh, and I will never drink it again.\"However, another narration in Sunan Abu Dawud indicates that drinking honey is a euphemism for sexual intercourse:The Apostle of Allah (peace be upon him) was asked about a man who divorced his wife three times, and she married another who entered upon her, but divorced her before having intercourse with her, whether she was lawful for the former husband. She said: The Prophet (peace be upon him) replied: She is not lawful for the first (husband) until she tastes the honey of the other husband and he tastes her honey.Al-Tabari lists Maria as both one of Muhammad's wives and his slave, perhaps using \"wife\" in the sense of one whom Muhammad slept with and who mothered his child.Mariyah the Copt was presented to the Messenger of God, given to him by al-Muqawqis, the ruler of Alexandria, and she gave birth to the Messenger of God’s son Ibrahim. These were the Messenger of God's wifes.The Prophet admired Umm Ibrahim [\"Mother of Ibrahim,\" Mariyah’s title], who was fair-skinned and beautiful. He lodged her in al-‘Aliyah, at the property nowadays called of Umm Ibrahim. He used to visit her there and ordered her to veil herself, [but] he had intercourse with her by virtue of her being his property...One hadith attributed to Mus‘ab b. ‘Abdullah al-Zubairi states that the two were married, though another rendering of the hadith by Mus‘ab's nephew Zubair b. al-Bakkar makes no mention of marriage.See alsoAisha bint Abu BakrList of non-Arab SahabaNotesPassage 4:Ibrahim ibn Muhammad Al ash-SheikhIbrahim ibn Muhammad Al ash-Sheikh  was a leading Salafi scholar in Saudi Arabia and minister of justice between 1975 and 1990.BackgroundIbrahim ibn Muhammad Al ash-Sheikh was born into the noted family of Saudi religious scholars, the Al ash-Sheikh, descendants of Muhammad ibn Abd al-Wahhab, the influential Muslim scholar. He was the eldest son of Muhammad ibn Ibrahim Al ash-Sheikh, Grand Mufti of Saudi Arabia until 1969.CareerIbrahim ibn Muhammad was one of the most influential religious leaders in the early 1970s. He maintained a close relationship with King Faisal, with whom he met on a weekly basis. He believed that Saudi Arabia should take a leading role in the Arab world and pushed for Saudi involvement in war with Israel.Between 1975 and 1990, he served as minister of justice.FamilyHis brother Abdullah ibn Muhammad Al ash-Sheikh, a younger son of the late Grand Mufti, also served as minister of justice, from 1993 to 2009. His grandson Turki is a lawyer practicing in London and Riyadh.Passage 5:Abdullah ibn Muhammad\u0000Abd Allāh ibn Mu\u0000ammad (Arabic: \u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000) also known as al-\u0000āhir (lit. 'the pure') and al-\u0000ayyib (lit. 'the good') was one of the sons of Muhammad and Khadija. He died in childhood.His full name was Abd Allah ibn Muhammad ibn Abd Allah ibn Shaiba. His father became a successful merchant and was involved in trade. Due to his upright character Muhammad acquired the nickname \"al-Amin\" (Arabic: \u0000\u0000\u0000\u0000\u0000\u0000), meaning \"faithful, trustworthy\" and \"al-Sadiq\" meaning \"truthful\" and was sought out as an impartial arbitrator. His reputation attracted a proposal in 595 from Khadija, a successful businesswoman. Muhammad consented to the marriage, which by all accounts was a happy one. After the marriage was consummated, his elder brother al-Qasim was born. Qasim was the eldest son of Muhammad and Khadija. After Qasim, his four sisters were born. Abd Allah was born around 611. He was the youngest child of Muhammad and Khadija.Muhammad gave him the name of his father. Abd Allah died at 4 in 615 CE.SiblingsQasim ibn MuhammadZainab bint MuhammadRuqayya bint MuhammadUmm Kulthum bint MuhammadFatima bint MuhammadIbrahim ibn MuhammadPassage 6:Ibrahim ibn MuhammadIbrāhīm ibn Mu\u0000ammad (Arabic: \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000\u0000\u0000), was the son of the Islamic prophet Muhammad and Maria al-Qibtiyya. He died at the age of 2.Eclipse occurrenceIn his book \"Al-Bidāya wa-n-Nihāya\" Ibn Kathir mentions that Ibrahim died on Thursday 10 Rabi' al-Awwal 10 AH, and on the same day right after his death, an eclipse of the sun occurred, so people at the moment started talking that Allah is showing his condolences to his prophet by eclipsing the Sun. Muhammad, not wanting his companions to fall into Fitna by ascribing divinities to him or his son, stood at the mosque and said:  \"The sun and the moon do not eclipse because of the death or life (i.e. birth) of someone. When you see the eclipse pray and invoke Allah.\"Illness and deathMuhammad's wife, and the mother of believers, Ibrahim's mother was an Egyptian woman who came from Byzantine official to Muhammad in 628. According to Ibn Kathir, quoting Ibn Sa'd, he was born in the last month of the year 8 AH, equivalent of 630 CE. Muslim scholars such as Muslim ibn al-Hajjaj and Al-Nasa'i mention that Al-Waqidi is not reliable and is not trustworthy to be quoted. The child was named after Abraham (or Ibrahim in Arabic) the Biblical prophet revered in Jewish, Christian and Muslim traditions. Ibrahim was placed in the care of a nurse called Umm Sayf, wife of Abu Sayf, the blacksmith, in the tradition of the Arabs of the time, to whom Muhammad gave some goats to complement her milk supply. When he fell ill he was moved to a date orchard near the residence of his mother, under the care of her and her sister Sirin. When it was clear that he would not likely survive, Muhammad was informed. His reaction to the news is reported as:He was so shocked at the news that he felt his knees could no longer carry him, and asked `Abd al Rahman ibn `Awf to give him his hand to lean upon. He proceeded immediately to the orchard and arrived in time to bid farewell to an infant dying in his mother's lap. Prophet Muhammad took the child and laid him in his own lap while shaking his hand. His heart was torn apart by the new tragedy, and his face mirrored his inner pain. Choking with sorrow, he said to his son, \"O Ibrahim, against the judgement of God, we cannot avail you a thing,\" and then fell silent. Tears flowed from his eyes. The child lapsed gradually, and his mother and aunt watched and cried incessantly, and the Prophet never ordered them to stop. As Ibrahim surrendered to death, Prophet Muhammad's hope which had consoled him for a brief while completely crumbled. With tears in his eyes he talked once more to the dead child: \"O Ibrahim, were the truth not certain that the last of us will join the first, we would have mourned you even more than we do now.\" A moment later he said: \"The eyes send their tears and the heart is saddened, but we do not say anything except that which pleases our Lord. Indeed, O Ibrahim, we are bereaved by your departure from us.\"BurialMuhammad is also reported as having informed Maria and Sirin that Ibrahim would have his own nurse in Paradise. Different accounts relate that the ghusl for Ibrahim was performed by either Umm Burdah, or al-Fadl ibn \u0000Abbas, in preparation for burial. Thereafter, he was carried to the cemetery upon a little bier by Muhammad, his uncle al-\u0000Abbas, and others. Here, after a funeral prayer led by Muhammad, he was interred. Muhammad then filled the grave with sand, sprinkled some water upon it, and placed a landmark on it, saying that \"Tombstones do neither good nor ill, but they help appease the living. Anything that man does, God wishes him to do well.\"SiblingsQasim ibn MuhammadAbd Allah ibn MuhammadZainab bint MuhammadRuqayya bint MuhammadUmm Kulthum bint MuhammadFatimah al-Zahra bint MuhammadSee alsoIslam and childrenPassage 7:Ibrahim ibn al-Husayn (Ibn al-Walid)Ibrahim ibn al-Husayn ibn Ali ibn Muhammad ibn al-Walid (Arabic: \u0000\u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000 \u0000\u0000 \u0000\u0000\u0000 \u0000\u0000 \u0000\u0000\u0000\u0000 \u0000\u0000 \u0000\u0000\u0000\u0000\u0000\u0000, romanized: Ibrāhīm ibn al-\u0000usayn ibn \u0000Alī ibn Mu\u0000ammad ibn al-Walīd) was the eleventh Tayyibi Isma'ili Dā\u0000ī al-Mu\u0000laq in Yemen, from 1287 to his death in 1328.LifeIbrahim was a member of the Banu al-Walid al-Anf family, that dominated the office of Dā\u0000ī al-Mu\u0000laq almost continuously in the 13th to early 16th centuries. He was the son of the eighth Dā\u0000ī, Al-Husayn ibn Ali, and brother of the ninth Dā\u0000ī, Ali ibn al-Husayn. Ibrahim moved his seat from Sanaa to the fortress of Af'ida, and in 1325 he took over the town of Kawkaban, where he started gathering military forces to oppose the Zaydi imams.He was succeeded by Muhammad ibn Hatim (1327–1328), who in turn was succeeded by Ibrahim's son Ali Shams al-Din I.TombHis grave, along with those of the 12th and 13th Dā\u0000īs, were hidden and unknown until recently, when the archaeological authority of Yemen, along with Dawoodi Bohras living there, located them on Hisn Af'ida. On 25 November 2018, Mufaddal Saifuddin, the 53rd Dā\u0000ī al-Mu\u0000laq, unveiled its existence. A mausoleum will soon be made and declared open.Passage 8:Amir Muhammad (director)Amir Muhammad (born 5 December 1972) is a Malaysian writer and independent filmmaker.Life and careerHe was born on 5 December 1972 in Kuala Lumpur to civil servant Muhammad Abdullah and housewife Asiah Kechik. He was educated at the University of East Anglia with a degree in Law, though he never did his bar but rather worked in his sponsoring company's legal company for nine months.He had also written for Malaysian print media since the age of 14, notably the New Straits Times, where he had worked there as a part timer under several editors. He had a dedicated column there from 1995 until it was stopped in 1999 during the general elections as the column was considered to be \"unhelpful to the government in its bid to win the elections.\"Amir took up filmmaking on the encouragement of film director U-Wei Haji Saari after interviewing the latter during his part-time job as the latter's film Perempuan, Isteri Dan...? was released in 1993. In 2000, he wrote and directed Malaysia's first DV feature. Some of his works have also been featured in a number of international film festivals including the Sundance Film Festival and the Berlin International Film Festival. Two of his films, Apa Khabar Orang Kampung and The Last Communist have been banned in Malaysia. A full retrospective of his work was screened at the 2008 Pesaro Film Festival, Italy. He is a partner at Da Huang Pictures.He also publishes books under his companies Matahari Books (started in 2007) and Buku FIXI (since 2011), taking a break from film-making during this time period.FilmographyFilmsLips to Lips (2000)The Big Durian (2003) - Special citation, Dragons and Tigers Award in 2004 Vancouver International Film Festival; Special mention, New Asian Currents in 2003 Yamagata International Documentary Film FestivalThe Year of Living Vicariously (2005)Tokyo Magic Hour (2005)The Last Communist (Lelaki komunis terakhir) (2006)Apa Khabar Orang Kampung (Village People Radio Show) (2007)Susuk (2008)Malaysian Gods (2009)Kisah Pelayaran Ke Terengganu (2016)Short films6horts #1: Lost (2002) - Won, Critics prize for Best Asian Digital Film in 2002 Singapore International Film Festival (SIFF)6horts #2: Friday (2002)6horts #3: Mona (2002)6horts #4: Checkpoint (2002)6horts #5: Kamunting (2002) - Won, Silver Screen Award for Best Asian Digital Short in 2003 SIFF6horts #6: Pangyau (2002)The Amber Sexalogy (2006)BooksYasmin Ahmad's Films (Matahari Books, 2009)Rojak (ZI Publications, 2010)120 Malay Movies (Matahari Books, 2010)Malaysian Politicians Say the Darndest Things series (Matahari Books)Passage 9:Ridhuan MuhammadMuhammad Ridhuan bin Muhammad (born 6 May 1984) is a former Singaporean professional footballer who played in the Singapore Premier League and Liga 1 as a defender and occasionally winger.Club careerRidhuan started playing football at the Milo Soccer School. Ridhuan was part of the pioneer batch at the National Football Academy that was set up in 2000.Young LionsRidhuan started his career with S.League clubs Young Lions. First catching the eye for the national U18 team with his speed and mazy dribbling skills, he joined the Young Lions for the 2003 S.League season.Tampines RoversIn 2007, Tampines Rovers head coach Vorawan Chitavanich offered Ridhuan to play at Tampines Rovers which he accepted.Arema MalangIn 2009, Ridhuan was in the midst of discussion with Indonesian club Persib Bandung when fellow national footballer, Noh Alam Shah, invited him to join Arema F.C. Ridhuan eventually signed with Arema and spent three and a half season with Arema and helped Arema to win the 2009-2010 Indonesian Super League title.In 2003, Ridhuan also spent half a season on loan at Putra Samarinda. He was wildly popular during his time in Indonesia and was often referred to as R6, a moniker of Cristiano Ronaldo's CR7.Due to a possible ban by FIFA on football activities in Indonesia, Ridhuan left the club and returned to Singapore.Geylang InternationalWith a FIFA ban looming on all Indonesian footballing activities, he moved back to Singapore with Geylang International after his 4-year sojourn.Tampines RoversFollowing his release by Tampines Rovers at the conclusion of the 2015 S.League season, Ridhuan announced his retirement from football to forge a new career in the oil and gas industry following his failure to secure a contract.Warriors FCHowever, the speedy winger was snapped up by Warriors FC just before the start of the 2016 S.League season and made his debut as a substitute in a 3–1 loss against Brunei DPMM. He scored his first goal of the season in a 2–2 draw against Geylang International to rescue a point for the Warriors after coming on as a substitute. He repaid the faith that the Warriors had shown him by accumulating a total of four goals and six assists in all competitions. His performances for the Warriors was rewarded with a contract extension for the 2017 S.League season.Borneo FCRidhuan planned to end his footballing career in Indonesia and signed a one month deal with Borneo FC in early 2018 to participate in a tournament. After his contract ended, Warriors FC contacted Ridhuan to sign him back to the club but was rejected by him.Tanjong Pagar UnitedOn 13 January 2021, Tanjong Pagar United has announced that they have signed Ridhuan for the 2021 season. This marks him coming out of retirement from football since 2018. On 10 October 2021, Ridhuan retired from football after a season with the Jaguars, making four appearances for the club.Managerial careerTanjong Pagar United U15On 28 December 2021, Tanjong Pagar United has announced that Ridhuan will be a part of the coaching team. He will coach the club’s U15 team.International careerWhile Ridhuan did not feature much in the league, Singapore coach Radojko Avramović saw something in the talented youngster and gave him his international debut against Qatar on 19 November 2003.With midfielder Shahril Ishak, defender Baihakki Khaizan and keeper Hassan Sunny, he is part of the 'NFA Gang of Four', the quartet which has played together since their early teenage years and earned senior international honours in 2003.He was also part of the national side that won the 2004 AFF Championship albeit only featuring in the opening game. Three years later in the 2007 AFF Championship, he played a major role in the team's success in retaining the championship.As of December 2017, Ridhuan has amassed 68 caps for Singapore.Personal lifeRidhuan went to Hong Kah Primary and Secondary School. Apart from playing football, he owns a home based barber service called 1E_Xpress. Amongst his clients was his former lions teammates Baihakki Khaizan, Khairul Amri, Noh Alam Shah and Shahril "}
+{"doc_id":"doc_296","qid":"","text":"Passage 1:Jean de LimurJean de Limur (13 November 1887, Vouhé, Charente-Maritime – 5 June 1976, Paris) was a French film director, actor and screenwriter. His works include La Garçonne (1936) and The Letter(1929). A French army officer and a designer, he first came to the United States with his parents, Count and Countess de Limur in September 1920; their destination was Burlingame, California, where lived Jean'sbrother André (who married Ethel, daughter of William Henry Crocker).FilmographyThe Arab (1924) actorHuman Desires (1924)The Legion of the Condemned (1928) co-screenplayThe Letter (1929) directorJealousy(1929) directorMy Childish Father (1930)Paprika (1933) directorL'Auberge du Petit-Dragon (1935)La Garçonne (1936) director; with Arletty, Edith Piaf, and Marie BellPassage 2:Andréa FerréolAndréa Ferréol (bornAndrée Louise Ferréol; January 6, 1947) is a French actress and officer of the Ordre national du Mérite (2009).Her debut was in the 1973 film La Grande bouffe, which made a big scandal at the Cannes Film Festival.Shewas the last partner of Egyptian actor Omar Sharif.FilmographyPassage 3:Brian Kennedy (gallery director)Brian Patrick Kennedy (born 5 November 1961) is an Irish-born art museum director who has worked in Irelandand Australia, and now lives and works in the United States.  He was the director of the Peabody Essex Museum in Salem for 17 months, resigning December 31, 2020. He was the director of the Toledo Museum of Artin Ohio from 2010 to 2019. He was the director of the Hood Museum of Art from 2005 to 2010, and the National Gallery of Australia (Canberra) from 1997 to 2004.CareerBrian Kennedy currently lives and works in theUnited States after leaving Australia in 2005 to direct the Hood Museum of Art at Dartmouth College. In October 2010 he became the ninth Director of the Toledo Museum of Art. On 1 July 2019, he succeeded DanMonroe as the executive director and CEO of the Peabody Essex Museum.Early life and career in IrelandKennedy was born in Dublin and attended Clonkeen College. He received B.A. (1982), M.A. (1985) and PhD (1989)degrees from University College-Dublin, where he studied both art history and history.He worked in the Irish Department of Education (1982), the European Commission, Brussels (1983), and in Ireland at the ChesterBeatty Library (1983–85), Government Publications Office (1985–86), and Department of Finance (1986–89). He married Mary Fiona Carlin in 1988.He was Assistant Director at the National Gallery of Ireland in Dublinfrom 1989 to 1997. He was Chair of the Irish Association of Art Historians from 1996 to 1997, and of the Council of Australian Art Museum Directors from 2001 to 2003. In September 1997 he became Director of theNational Gallery of Australia.National Gallery of Australia (NGA)Kennedy expanded the traveling exhibitions and loans program throughout Australia, arranged for several major shows of Australian art abroad, increasedthe number of exhibitions at the museum itself and oversaw the development of an extensive multi-media site.  Although he oversaw several years of the museum's highest ever annual visitation, he discontinued theemphasis of his predecessor, Betty Churcher, on showing \"blockbuster\" exhibitions.During his directorship, the NGA gained government support for improving the building and significant private donations and corporatesponsorship. However, the initial design for the building proved controversial generating a public dispute with the original architect on moral rights grounds.  As a result, the project was not delivered during DrKennedy's tenure, with a significantly altered design completed some years later.  Private funding supported two acquisitions of British art, including David Hockney's A Bigger Grand Canyon in 1999, and Lucian Freud'sAfter Cézanne in 2001. Kennedy built on the established collections at the museum by acquiring the Holmgren-Spertus collection of Indonesian textiles; the Kenneth Tyler collection of editioned prints, screens, multiplesand unique proofs; and the Australian Print Workshop Archive. He was also notable for campaigning for the construction of a new \"front\" entrance to the Gallery, facing King Edward Terrace, which was completed in2010 (see reference to the building project above).Kennedy's cancellation of the \"Sensation exhibition\" (scheduled at the NGA from 2 June 2000 to 13 August 2000) was controversial, and seen by some as censorship.He claimed that the decision was due to the exhibition being \"too close to the market\" implying that a national cultural institution cannot exhibit the private collection of a speculative art investor. However, there wereother exhibitions at the NGA during his tenure, which could have raised similar concerns. The exhibition featured the privately owned Young British Artists works belonging to Charles Saatchi and attracted largeattendances in London and Brooklyn. Its most controversial work was Chris Ofili's The Holy Virgin Mary, a painting which used elephant dung and was accused of being blasphemous. The then-mayor of New York,Rudolph Giuliani, campaigned against the exhibition, claiming it was \"Catholic-bashing\" and an \"aggressive, vicious, disgusting attack on religion.\" In November 1999, Kennedy cancelled the exhibition and stated thatthe events in New York had \"obscured discussion of the artistic merit of the works of art\". He has said that it \"was the toughest decision of my professional life, so far.\"Kennedy was also repeatedly questioned on hismanagement of a range of issues during the Australian Government's Senate Estimates process - particularly on the NGA's occupational health and safety record and concerns about the NGA's twenty-year-oldair-conditioning system. The air-conditioning was finally renovated in 2003. Kennedy announced in 2002 that he would not seek extension of his contract beyond 2004, accepting a seven-year term as had his twopredecessors.He became a joint Irish-Australian citizen in 2003.Toledo Museum of ArtThe Toledo Museum of Art is known for its exceptional collections of European and American paintings and sculpture, glass,antiquities, artist books, Japanese prints and netsuke. The museum offers free admission and is recognized for its historical leadership in the field of art education.  During his tenure, Kennedy has focused the museum'sart education efforts on visual literacy, which he defines as \"learning to read, understand and write visual language.\"   Initiatives have included baby and toddler tours, specialized training for all staff, docents,volunteers and the launch of a website, www.vislit.org. In November 2014, the museum hosted the International Visual Literacy Association (IVLA) conference, the first Museum to do so. Kennedy has been a frequentspeaker on the topic, including 2010 and 2013 TEDx talks on visual and sensory literacy.Kennedy has expressed an interest in expanding the museum's collection of contemporary art and art by indigenous peoples.Works by Frank Stella, Sean Scully, Jaume Plensa, Ravinder Reddy and Mary Sibande have been acquired.  In addition, the museum has made major acquisitions of Old Master paintings by Frans Hals and LucaGiordano.During his tenure the Toledo Museum of Art has announced the return of several objects from its collection due to claims the objects were stolen and/or illegally exported prior being sold to the museum.  In2011 a Meissen sweetmeat stand was returned to Germany followed by an Etruscan Kalpis or water jug to Italy (2013), an Indian sculpture of Ganesha (2014) and an astrological compendium to Germany in 2015.HoodMuseum of ArtKennedy became Director of the Hood Museum of Art in July 2005. During his tenure, he implemented a series of large and small-scale exhibitions and oversaw the production of more than 20 publicationsto bring greater public attention to the museum's remarkable collections of the arts of America, Europe, Africa, Papua New Guinea and the Polar regions. At 70,000 objects, the Hood has one of the largest collections onany American college of university campus. The exhibition, Black Womanhood: Images, Icons, and Ideologies of the African Body, toured several US venues. Kennedy increased campus curricular use of works of art,with thousands of objects pulled from storage for classes annually. Numerous acquisitions were made with the museum's generous endowments, and he curated several exhibitions: including Wenda Gu: Forest of StoneSteles: Retranslation and Rewriting Tang Dynasty Poetry, Sean Scully: The Art of the Stripe, and Frank Stella: Irregular Polygons.PublicationsKennedy has written or edited a number of books on art, including:AlfredChester Beatty and Ireland 1950-1968: A study in cultural politics, Glendale Press (1988), ISBN 978-0-907606-49-9Dreams and responsibilities: The state and arts in independent Ireland, Arts Council of Ireland (1990),ISBN 978-0-906627-32-7Jack B Yeats: Jack Butler Yeats, 1871-1957 (Lives of Irish Artists), Unipub (October 1991), ISBN 978-0-948524-24-0The Anatomy Lesson: Art and Medicine (with Davis Coakley), NationalGallery of Ireland (January 1992), ISBN 978-0-903162-65-4Ireland: Art into History (with Raymond Gillespie), Roberts Rinehart Publishers (1994), ISBN 978-1-57098-005-3Irish Painting, Roberts Rinehart Publishers(November 1997),  ISBN 978-1-86059-059-7Sean Scully: The Art of the Stripe, Hood Museum of Art (October 2008), ISBN 978-0-944722-34-3Frank Stella: Irregular Polygons, 1965-1966, Hood Museum of Art(October 2010), ISBN 978-0-944722-39-8Honors and achievementsKennedy was awarded the Australian Centenary Medal in 2001 for service to Australian Society and its art. He is a trustee and treasurer of theAssociation of Art Museum Directors, a peer reviewer for the American Association of Museums and a member of the International Association of Art Critics. In 2013 he was appointed inaugural eminent professor at theUniversity of Toledo and received an honorary doctorate from Lourdes University. Most recently, Kennedy received the 2014 Northwest Region, Ohio Art Education Association award for distinguished educator for arteducation.== Notes ==Passage 4:Dana BlanksteinDana Blankstein-Cohen (born March 3, 1981) is the executive director of the Sam Spiegel Film and Television School. She was appointed by the board of directors  inNovember 2019.  Previously she was the CEO of the Israeli Academy of Film and Television. She is a film director, and an Israeli culture entrepreneur.BiographyDana Blankstein was born in Switzerland in 1981 totheatre director Dedi Baron and Professor Alexander Blankstein. She moved to Israel in 1983 and grew up in Tel Aviv.Blankstein graduated from the Sam Spiegel Film and Television School, Jerusalem in 2008 with highhonors. During her studies she worked as a personal assistant to directors Savi Gabizon on his film Nina's Tragedies and to Renen Schorr on his film The Loners.  She also directed and shot 'the making of' film onGavison's film Lost and Found. Her debut film Camping competed at the Berlin International Film Festival, 2007.Film and academic careerAfter her studies, Dana founded and directed the film and television departmentat the Kfar Saba municipality. The department encouraged and promoted productions filmed in the city of Kfar Saba, as well as the established cultural projects, and educational community activities.Blankstein directedthe mini-series \"Tel Aviviot\" (2012). From 2016-2019 was the director of the Israeli Academy of Film and Television.In November 2019 Dana Blankstein Cohen was appointed the new director of the Sam Spiegel Filmand Television School where she also oversees the Sam Spiegel International Film Lab. In 2022, she spearheaded the launch of the new Series Lab and the film preparatory program for Arabic speakers in eastJerusalem.FilmographyTel Aviviot (mini-series; director, 2012)Growing Pains (graduation film, Sam Spiegel; director and screenwriter, 2008)Camping (debut film, Sam Spiegel; director and screenwriter, 2006)Passage5:S. N. MathurS.N. Mathur was the Director of the Indian Intelligence Bureau between September 1975 and February 1980. He was also the Director General of Police in Punjab.Passage 6:Ian Barry (director)Ian Barryis an Australian director of film and TV.Select creditsWaiting for Lucas (1973) (short)Stone (1974) (editor only)The Chain Reaction (1980)Whose Baby? (1986) (mini-series)Minnamurra (1989)Bodysurfer (1989)(mini-series)Ring of Scorpio (1990) (mini-series)Crimebroker (1993)Inferno (1998) (TV movie)Miss Lettie and Me (2002) (TV movie)Not Quite Hollywood: The Wild, Untold Story of Ozploitation! (2008)(documentary)The Doctor Blake Mysteries (2013)Passage 7:La Grande MeuteLa Grande Meute is a 1945 French film directed by Jean de Limur.The title refers to a pack of dogs inherited by Côme de Lambrefaut throughthe family mansion on the death of his father. Everything else apart from the 110 hunting dogs has been mortgaged. He marries Agnès de Charençay, who shares his enthusiasm for the hunt, but this leads to the deathof their son and hopes of descendants. Agnès divorces and marries a man whose wealth helps her to humiliate Côme, by buying his debts, slowly acquiring everything. In September 1939, the house is destroyed bygunfire and the dogs all escape.The film recorded admissions in France of 1,754,414.CastJean Brochard: Maître MarvaultAimé Clariond: Martin du BocageSuzanne Dantès: La marquise de BadoulJean Dasté:L'huissierGuy Decomble: Me FrouasJacques Dumesnil: Côme de LambrefautCamille Guérini: La RaméeJulienne Paroli: SylvieJacqueline Porel: Agnès de CharançayMaurice Schutz: Patrice de LambrefautPaul Villé: LecuréPaulette Élambert: LaurettePaul BargeKetty KervielFrédéric MariottiMorissPassage 8:Olav AaraasOlav Aaraas (born 10 July 1950) is a Norwegian historian and museum director.He was born in Fredrikstad. From1982 to 1993 he was the director of Sogn Folk Museum, from 1993 to 2010 he was the director of Maihaugen and from 2001 he has been the director of the Norwegian Museum of Cultural History. In 2010 he wasdecorated with the Royal Norwegian Order of St. Olav.Passage 9:Peter LevinPeter Levin is an American director of film, television and theatre.CareerSince 1967, Levin has amassed a large number of credits directingepisodic television and television films. Some of his television series credits include Love Is a Many Splendored Thing, James at 15, The Paper Chase, Family, Starsky & Hutch, Lou Grant, Fame, Cagney & Lacey, Law &Order and Judging Amy.Some of his television film credits include Rape and Marriage: The Rideout Case (1980), A Reason to Live (1985), Popeye Doyle (1986), A Killer Among Us (1990), Queen Sized (2008) andamong other films. He directed \"Heart in Hiding\", written by his wife Audrey Davis Levin, for which she received an Emmy for Best Day Time Special in the 1970s.Prior to becoming a director, Levin worked as an actor inseveral Broadway productions. He costarred with Susan Strasberg in \"[The Diary of Ann Frank]\" but had to leave the production when he was drafted into the Army. He trained at the Carnegie Mellon University.Eventually becoming a theatre director, he directed productions at the Long Wharf Theatre and the Pacific Resident Theatre Company. He also co-founded the off-off-Broadway Theatre [the Hardware Poets Playhouse]with his wife Audrey Davis Levin and was also an associate artist of The Interact Theatre Company.Passage 10:Jesse E. HobsonJesse Edward Hobson (May 2, 1911 – November 5, 1970) was the director of SRIInternational from 1947 to 1955. Prior to SRI, he was the director of the Armour Research Foundation.Early life and educationHobson was born in Marshall, Indiana. He received bachelor's and master's degrees inelectrical engineering from Purdue University and a PhD in electrical engineering from the California Institute of Technology. Hobson was also selected as a nationally outstanding engineer.Hobson married JessieEugertha Bell on March 26, 1939, and they had five children.CareerAwards and membershipsHobson was named an IEEE Fellow in 1948."}
+{"doc_id":"doc_297","qid":"","text":"Passage 1:Ismail HoxhaIsmail Hoxha is a member of the Assembly of the Republic of Albania for the Democratic Party of Albania.Passage 2:Ilir BanoIlir Bano is a member of the Assembly of the Republic of Albania forthe Democratic Party of Albania.Passage 3:Viktor GumiViktor Gumi is a member of the Assembly of the Republic of Albania for the Democratic Party of Albania.Passage 4:Paulin SterkajPaulin Sterkaj is a member of theAssembly of the Republic of Albania for the Democratic Party of Albania. Sterkaj moved to the Socialist Party of Albania.Passage 5:Fatos HoxhaFatos Hoxha is a member of the Assembly of the Republic of Albania for theDemocratic Party of Albania.Passage 6:Dashnor SulaDashnor Sula (14 March 1969) is a member of the Assembly of the Republic of Albania for the Democratic Party of Albania. He started his political career in 2005when he won the elections and became the deputy of Peqin city.Early life and familyDashnor Sula was born in Peqin, on 14 march 1969 to Riza Sula and Refije Sula. He was raised in Peqin and continued his studiesthere until he finished high school. Afterwards he moved to Tirana to continue his studies. He did his Bachelor studies in Law at the University of Tirana and his Master studies in Criminal Law. He has been married toElida Magani Sula since 1994 and they have two children, Paola Sula and Silvio Sula.Career1992-1993: Attorney at the prosecutor's office of Peqin1993-1996: Attorney at the prosecutor's office of Elbasan1996-1998:Attorney at the prosecutor's office of Tirana1998-1998: Attorney at the prosecutor's office of Gjirokaster1999-2000: Attorney at the general prosecutor's office; Supreme court.  2002-2005: Attorney at the generalprosecutor's office regarding organized crimes.2005-2013: Member of Albanian Parliament.2020-present: Member of Albanian Parliament.Other worksDashnor Sula has also taken the lawyer licence and he stillcontinues to practice his profession.Passage 7:Ylli LamaYlli Lama is a member of the Assembly of the Republic of Albania for the Democratic Party of Albania.Passage 8:Leka, Crown Prince of Albania (born 1982)Leka,Prince of Albania (Leka Anwar Zog Reza Baudouin Msiziwe Zogu, born 26 March 1982) is a claimant to the defunct throne of Albania and the head of the House of Zogu.At the time of his birth on 26 March 1982, theSouth African government, by order of Prime Minister P. W. Botha, declared his maternity ward extraterritorial land, to ensure that Leka was born on Albanian soil. Leka is the only child of Leka, Crown Prince of Albaniaand his wife Susan, Crown Princess of Albania. He is the only grandchild of King Zog I of the Albanians, succeeding as head of the royal house upon the death of his father in 2011. He has worked as an official at thecountry's interior and foreign ministries. He also served as a political advisor to the Albanian President from 2012 to 2013.In May 2010, Leka became engaged to Elia Zaharia, an Albanian actress and singer. Theymarried on 8 October 2016 in Tirana.Early lifeLeka is the son of the pretender to the defunct throne of Albania, Crown Prince Leka, and his Australian wife Crown Princess Susan.He was named in honour of Egyptianpresident Anwar El Sadat, his grandfather King Zog I, Emperor Mohammed Reza of Iran, and Baudouin I, King of the Belgians. Msiziwe is a Zulu term meaning 'the one who was assisted'. Leka is a member of the Houseof Zogu.Education and activitiesLeka's was educated in South Africa at St Peter's College, Johannesburg, and in the United Kingdom at the Royal Military Academy Sandhurst, where he was named Best Foreign Studentof the Academy, being congratulated by the Albanian Minister of Defence. He was also educated at the Skanderbeg Military Academy in Albania, at the Università per Stranieri in Perugia, where he studied the Italianlanguage, and in Kosovo, where he studied international relations.Leka resides in Tirana. He speaks Albanian, English, some Zulu, and Italian. He owns boxer dogs, and his interests include martial arts, volleyball, andswimming. He is fond of wildlife and has taken part in mountain climbing, abseiling, and target shooting.On 5 April 2004, Leka accepted the Mother Teresa Medal on behalf of his late grandmother, Queen Géraldine, forher humanitarian efforts.Leka is known to have worked with youth organizations, like MJAFT!, and supported a wide range of humanitarian efforts in Albania, but he maintains that he only supports self-help projects tostimulate Albanian and Kosovar economic growth, Gazeta Sot.Leka is known as a supporter of Kosovar independence from Serbia and has close ties to the Kosovar leadership in Pristina.Leka founded the youthleadership of the Movement for National Development, which was a movement created by his father in 2005 to change the political face of Albania.On 24 June 2010, Prince Leka unveiled a blue plaque at Parmoor Housein Buckinghamshire, United Kingdom, which was the home of King Zog during his wartime exile.Public serviceOn 21 August 2007, Foreign Minister Lulzim Basha announced that Leka had been appointed to his office.The prince intended to pursue a career in diplomacy. After three years he had been transferred to the office of the Minister of Interior. After the election of Bujar Nishani as president in 2012, Leka was appointed aspolitical adviser to the President.Leka was considered as a candidate in the 2022 Albanian presidential election, though the position ultimately went to Bajram Begaj.Personal lifeLeka met Elia Zaharia in Paris, and in May2010 they were engaged. Since then she has accompanied him on most of his visits and meetings with members of royal families. She is also head of the Queen Geraldine Foundation, which is a humanitarian, charitableand non-profit organisation, created by the Royal Court. The foundation aims to be close to the Albanian families who need help and to children who need care. It has reconstructed numerous schools and kindergartensin northern Albania, especially in the Mat District, from where the Zogu Family comes.On 27 March 2016 it was announced by Skënder Zogu (born 1933), a member of the Zogu family, that the couple would be marriedon 8 October 2016 in the Royal Palace in Tirana.WeddingLeka was married on Saturday 8 October 2016 in Tirana. The ceremony was a semi-official ceremony, held in Tirana in the Royal Palace, with many guestsincluding members of other noble and royal families. The event was a civil wedding officiated by the Mayor of Tirana, Erion Veliaj. A blessing was given by the five religious leaders of Albania representing the faiths ofSunni Islam, Bektashi, and the Christian traditions of Orthodox, Catholic and Protestant. This tradition of the Albanian royal family is part of the tradition of religious tolerance in Albania.Wedding guests included friendsand relatives from around the world including relatives of his mother from Australia. Guests also included members of other royal families from neighbouring countries and further afield. These included Queen Sofía ofSpain and Prince and Princess Michael of Kent. Prince Michael of Kent is a first cousin of Queen Elizabeth II and his wife Princess Michael of Kent is related to Prince Leka through her mother, Countess Marianne Szapáry,who was a 5th cousin of Queen Géraldine and had been a bridesmaid at her wedding to King Zog in 1938. Other royal guests included Empress Farah of Iran, Crown Prince Alexander and Crown Princess Katherine ofYugoslavia, Crown Princess Margareta of Romania, Custodian of the Crown and Prince Radu of Romania, Nicholas, Prince of Montenegro, Prince Guillaume of Luxembourg together with Princess Sibilla, Georg Friedrich,Prince of Prussia, Princess Léa of Belgium and other members from the royal families of Russia, Liechtenstein, Romania, Greece, Georgia, Morocco and members of other noble families. Heads of state of Albania alsoattended the ceremony.ChildrenElia gave birth to a daughter on 22 October 2020 at Queen Geraldine Maternity Hospital in Tirana, on the 18th anniversary of Leka's grandmother Queen Geraldine's death. Theirdaughter was named Geraldine in her honour. On 28 January 2023, on the day of her baptism, her full name is Geraldine Sibilla Francesca Susan Marie.Honours and awardsHonoursNational dynastic honoursHouse ofZogu: Sovereign Knight with Collar of the Royal Order of Albania House of Zogu: Sovereign Knight Grand Cross of the Order of Fidelity House of Zogu: Sovereign Knight Grand Cross of the Order of Skanderbeg AlbanianRoyal Family: Sovereign of the Military Order and Medal of BraveryForeign honoursItalian Royal Family: Knight Grand Cross of the Royal Order of Saints Maurice and Lazarus Two Sicilian Royal Family: Knight GrandCross of the Royal Order of Francis I Russian Imperial Family: Knight Grand Cross of the Imperial Order of Saint Andrew Royal House of Ghassan: Knight Grand Collar of the Equestrian Order of Michael ArchangelSovereign Military Order of Malta : Grand Cross pro Merito Melitensi – civilian special class –AwardsAlbania – Honored Citizen of the City of Burrel (2012) Albania – Honored Citizen of the Commune of Bërdicë (2012)USA – Key to City of New Orleans (2011) USA – Honorary Mayor of the City of Baton RougeSee alsoHeads of former ruling familiesPassage 9:Susan of AlbaniaSusan, Crown Princess of Albania (née Susan BarbaraCullen-Ward, formerly Williams; 28 January 1941 – 17 July 2004) was the Australian-born wife of Leka, Crown Prince of Albania.Her husband, known as King Leka, had been proclaimed King of the Albanians by theanti-communist Albanian government-in-exile in 1961, upon the death of his father King Zog. Meanwhile, Albania itself was a communist republic.Early lifeSusan Cullen-Ward was born in the Sydney suburb of Waverley.Her mother was Phyllis Dorothea Murray-Prior and her father was Alan Robert Cullen-Ward, a pastoralist. Susan Cullen-Ward was a great-granddaughter of the Queensland politician Thomas Lodge Murray-Prior(1819–1892).Cullen-Ward grew up on her father's sheep station. She attended Presbyterian Ladies' College at Orange, then studied at Sydney Technical College before teaching art at a private studio.She was marriedto Richard Williams from 1965 to 1970. Susan Cullen-Ward was an Anglican.Marriage to the Crown Prince of AlbaniaSusan Cullen-Ward met Leka, Crown Prince of Albania, the only child of King Zog I of the Albanians, ata dinner party in Sydney. In October 1975, they married in a civil ceremony in Biarritz, France. The couple were later married in a religious ceremony in Madrid.Australian authorities refused to recognise her as a queenbut, in a compromise when Andrew Peacock was foreign minister, issued a passport in the name of \"Susan Cullen-Ward, known as Queen Susan\".She lived a turbulent life after marrying Leka, as they moved from onecountry to another, having no permanent residence or fixed point of reference. In the first few years of their marriage, the couple lived in Spain. They later settled in Rhodesia (now known as Zimbabwe). After a fallingout with the government of Robert Mugabe, the couple moved again, this time to South Africa where their son, Leka, was born in 1982. She also had a stillborn daughter while resident in Rhodesia.DeathThe CrownPrincess of Albania died of lung cancer on 17 July 2004 in Tirana, Albania. After her death, she lay in state in a chapel outside Tirana. She is buried next to her mother-in-law, Queen Geraldine, her husband, CrownPrince Leka, and his father, whose body was reburied in 2012.Sources\"Queen Susan of the Albanians (obituary)\". The Daily Telegraph. 21 July 2004. Retrieved 16 May 2008.The Age, 19 July 2004 – A royal dreamdiesObituary, The Scotsman\"Leka's queen, if not Albania's\", The Sydney Morning Herald, 24 July 2004\"Would-be Queen Susan dies uncrowned\", The Sydney Morning Herald, 19 July 2004\"Burke's Royal Families of theWorld, Vol. I, Europe & Latin America\", Burkes Publishing Co., 1977, ISBN 0-85011-029-7Histoire de l'Albanie et de sa maison royale (5 volumes), Patrice Najbor –  JePublie – Paris – 2008La dynastie des Zogu, PatriceNajbor –  Textes & Pretextes – Paris – 2002Monarkia Shqiptare 1928–1939, Qendra e Studimeve Albanologjike & Instituti i Historisë, Botimet Toana, Tirana, 2011Passage 10:Gjergji PapaGjergji Papa is a member of theAssembly of the Republic of Albania for the Democratic Party of Albania."}
+{"doc_id":"doc_298","qid":"","text":"Passage 1:Ian Barry (director)Ian Barry is an Australian director of film and TV.Select creditsWaiting for Lucas (1973) (short)Stone (1974) (editor only)The Chain Reaction (1980)Whose Baby? (1986)(mini-series)Minnamurra (1989)Bodysurfer (1989) (mini-series)Ring of Scorpio (1990) (mini-series)Crimebroker (1993)Inferno (1998) (TV movie)Miss Lettie and Me (2002) (TV movie)Not Quite Hollywood: The Wild,Untold Story of Ozploitation! (2008) (documentary)The Doctor Blake Mysteries (2013)Passage 2:Dana BlanksteinDana Blankstein-Cohen (born March 3, 1981) is the executive director of the Sam Spiegel Film andTelevision School. She was appointed by the board of directors  in November 2019.  Previously she was the CEO of the Israeli Academy of Film and Television. She is a film director, and an Israeli cultureentrepreneur.BiographyDana Blankstein was born in Switzerland in 1981 to theatre director Dedi Baron and Professor Alexander Blankstein. She moved to Israel in 1983 and grew up in Tel Aviv.Blankstein graduatedfrom the Sam Spiegel Film and Television School, Jerusalem in 2008 with high honors. During her studies she worked as a personal assistant to directors Savi Gabizon on his film Nina's Tragedies and to Renen Schorr onhis film The Loners.  She also directed and shot 'the making of' film on Gavison's film Lost and Found. Her debut film Camping competed at the Berlin International Film Festival, 2007.Film and academic careerAfter herstudies, Dana founded and directed the film and television department at the Kfar Saba municipality. The department encouraged and promoted productions filmed in the city of Kfar Saba, as well as the establishedcultural projects, and educational community activities.Blankstein directed the mini-series \"Tel Aviviot\" (2012). From 2016-2019 was the director of the Israeli Academy of Film and Television.In November 2019 DanaBlankstein Cohen was appointed the new director of the Sam Spiegel Film and Television School where she also oversees the Sam Spiegel International Film Lab. In 2022, she spearheaded the launch of the new SeriesLab and the film preparatory program for Arabic speakers in east Jerusalem.FilmographyTel Aviviot (mini-series; director, 2012)Growing Pains (graduation film, Sam Spiegel; director and screenwriter, 2008)Camping(debut film, Sam Spiegel; director and screenwriter, 2006)Passage 3:Rolan BykovRolan Antonovich Bykov (Russian: Ролан Антонович Быков; October 12, 1929 – October 6, 1998) was a Soviet and Russian stage andfilm actor, director, screenwriter and pedagogue. People's Artist of the USSR (1990).Early lifeRolan Bykov was born to Anton Mikhailovich Bykov and Olga Matveyevna Bykova (née Sitnyakovskaya), the youngest of twobrothers. There are many myths surrounding his biography, including the names of Rolan and his parents, date and place of birth. Different directories showed that he was born in Moscow, yet Bykov and his brotherGeronim stated that their family moved to Moscow from Kyiv in 1934. Throughout his life Rolan Antonovich Bykov was officially known as Roland Anatolyevich Bykov and his date of birth — as November 12 which,according to him, was caused by a mistake in his passport. He named various reasons for this: from a drunken militsioner at the passport office to his own aunt who confused names and dates while arranging hisdocuments. As for the unusual name, Rolan explained that he was named after Romain Rolland (according to the Russian pronunciation) by his parents who confused Romain's surname for his name.Bykov's father wasa military and intelligence officer of mixed Polish-Czech ancestry originally named Semyon Geronimovich Gordanovsky. He started his career by participating in World War I and making a successful escape after beingtaken captive by Austria-Hungary. During the Russian Civil War he fought as part of the 1st Cavalry Army led by Semyon Budyonny. Between 1924 and 1926 he worked in Cheka and regularly visited Germany underdifferent passports. His last code name was Anton Mikhailovich Bykov which he adopted as a real name. He was later promoted to a high-ranking position in the Communist Party of the Soviet Union and served as amanaging director at various enterprises.Bykov's mother also changed her name from Ella Matusovna to Olga Matveevna at one point. While Bykov regularly referred to her and her relatives as «Ukrainians», she was infact a daughter of a prosperous Jewish NEPman. She wanted to become an actress and finished two courses of a theater institute, but was expelled for truancy.Between 1937 and 1947 Bykov studied in Moscow schools.In 1939 he joined a youth theatrical studio organized by a Pioneers Palace where he met Alexander Mitta, Boris Rytsarev and Igor Kvasha. During the Battle of Moscow his family was evacuated to Yoshkar-Ola for threeyears, although his father chose to stay and volunteered for the front line. In 1947 he entered the Boris Shchukin Higher Theater College to study acting under Vera Lvova and Leonid Shikhmatov.CareerIn 1951 Bykovgraduated and immediately joined the Moscow Youth Theater where he served as an actor and a stage director until 1959. Simultaneously he also appeared in several movies in episodic roles, worked as an actor at theMoscow Drama Theater (1951—1952), as the head of the theater studio at the Bauman Palace of Culture (1951—1953), as a stringer for various children's programmes at the Soviet Central Television and as an editoron radio (1953—1959). He made his acting debut in the film School of Courage. In 1957 he organized a Student's Theater at the Moscow State University where he served as the main director up until 1959. Iya Savvinawas among actors he discovered in the process.Between 1959 and 1960 Bykov headed the Lenin Komsomol Theatre in Leningrad, but left it for cinema. In 1959 he played the main part of Akaki Akakiyevich in TheOvercoat, an adaptation of Nikolai Gogol's story directed by Aleksey Batalov. Soon after he joined Mosfilm where he spent the rest 40 years working as an actor and a film director. He played over 100 roles and becamehighly popular as a comedy actor with such roles as Chebakov from Balzaminov's Marriage (1964), Barmalei from Aybolit-66 and Skomorokh from Andrei Rublev (both 1966), Ivan Karyakin from Two Comrades WereServing (1968), Petrykin from Big School-Break (1973), Cat Bazilio from The Adventures of Buratino (1975), Father Fyodor from The Twelve Chairs (1976) and others.As a film director he became known for hisexperimental children's and family movies. Among his most famous works are Seven Nannies (1962), Aybolit-66 (1966), Attention, a Turtle! (1970) and Scarecrow (1983). His films are generally associated withpostmodernism, presented as a mix of different styles, genres and techniques, with theatrical musical numbers, arthouse editing, fourth wall breaking and so on. An unexpectedly grim Scarecrow released in 1984became especially controversial and led to a lot of public criticism; some insisted it should be banned. Bykov survived a heart attack in the process. Yet in 1986 with the start of perestroika he was awarded the USSRState Prize for his movie.Apart from his movie career Bykov also worked as an educator at High Courses for Scriptwriters and Film Directors. Between 1986 and 1990 he served as a secretary of the Union ofCinematography of the USSR. He was also a member of the Nika Award organization.In 1989 Bykov headed the Younost studio at Mosfilm dedicated to children's cinema. Between 1989 and 1992 he also headed theAll-Soviet Center of Cinema and TV for Children and Youth. In 1992 he created and headed the Rolan Bykov's Fund (also known as International Fund for Development of Cinema for Children and Youth). According tohis 1994 interview to Vladislav Listyev, they had produced 64 movies by that time and received various awards internationally, yet none of them were shown at Russian movie theaters since new management saw themas nonprofitable.Since 1989 Bykov had been involved in the political life of Russia. Between 1989 and 1991 he served as a member of the Congress of People's Deputies of the Soviet Union. He also headed aNonpartisan Socio-Political Movement 95 that expressed support to culture, science, education and ecology. During the 1995 Parliamentary elections he headed a liberal pro-government Common Cause party along withIrina Khakamada and Vladimir Dzhanibekov. He also served as a president of the Help bank at one point.In 1996 Bykov was diagnosed with lung cancer and survived a surgery. He died two years later from thrombosis.He was buried at Novodevichy Cemetery.Personal lifeFirst wife — an actress Lydia Nikolayevna Knyazeva (1925—1987). They met at the Moscow Youth Theater and spent 15 years together. They also adopted a boyfrom an orphanage and raised him under the name of Oleg Rolanovich Bykov (1958—2002). He appeared in Scarecrow in minor role and produced several movies, but left the industry shortly after.Second wife — anactress Elena Sanayeva, daughter of the acclaimed Soviet actor Vsevolod Sanayev. Bykov adopted her son from the first marriage Pavel Sanayev (born 1969) who became a popular Russian film director and writer. Hispart-autobiographical novel Bury Me Behind the Baseboard published in 1994 became a national bestseller. Bykov is featured in it under a name of Tolik. The book was adapted as a 2009 drama film Bury Me Behind theBaseboard, although the Sanayev family were displeased with it.Bykov also wrote poetry since childhood and published a book of poems in 1994 entitled Poems by Rolan Bykov that was re-released several times. In2010 his widow Elena Sanayeva published a book of Bykov's diaries (from 1945 to 1996) that contained a lot of personal thoughts along with his wife's commentaries.In later years Bykov expressed a lot of concernregarding the movie industry and newer times in general. In his interview to Vladislav Listyev he stated that modern cinema was solely built around money, or the golden calf as he called it, with no place for art. «Backin 1984 I survived a heart attack following the release of Scarecrow; these days I survived a stroke during the production of a 10-minute short under Belgian producers». In his interviews to Leonid Filatov hecharacterized modern times as «corrupted», «a collapse of culture and morals», and modern cinema — as «a cigarette butt's art». In his diaries he continued those themes, predicting a Third World War, anenvironmental disaster and a general «schizophreniation» of the world population. The only exit he saw was a cultural and spiritual renaissance.Selected filmographyActorDirectorAwards and honorsMedal \"For LabourValour\" (1967)Jubilee Medal \"In Commemoration of the 100th Anniversary of the Birth of Vladimir Ilyich Lenin\" (1970)Honored Artist of the RSFSR (1973)USSR State Prize (1986) – for film ScarecrowPeople's Artist ofthe RSFSR (1987)Vasilyev Brothers State Prize of the RSFSR (1987) – for his role as Professor Larsen in film Dead Man's LettersNika Award for Best Actor (1988) – for film CommissarPeople's Artist of the USSR(1990)Order \"For Merit to the Fatherland\", 4th class (11 November 1994)Passage 4:Brian Kennedy (gallery director)Brian Patrick Kennedy (born 5 November 1961) is an Irish-born art museum director who has workedin Ireland and Australia, and now lives and works in the United States.  He was the director of the Peabody Essex Museum in Salem for 17 months, resigning December 31, 2020. He was the director of the ToledoMuseum of Art in Ohio from 2010 to 2019. He was the director of the Hood Museum of Art from 2005 to 2010, and the National Gallery of Australia (Canberra) from 1997 to 2004.CareerBrian Kennedy currently livesand works in the United States after leaving Australia in 2005 to direct the Hood Museum of Art at Dartmouth College. In October 2010 he became the ninth Director of the Toledo Museum of Art. On 1 July 2019, hesucceeded Dan Monroe as the executive director and CEO of the Peabody Essex Museum.Early life and career in IrelandKennedy was born in Dublin and attended Clonkeen College. He received B.A. (1982), M.A. (1985)and PhD (1989) degrees from University College-Dublin, where he studied both art history and history.He worked in the Irish Department of Education (1982), the European Commission, Brussels (1983), and in Irelandat the Chester Beatty Library (1983–85), Government Publications Office (1985–86), and Department of Finance (1986–89). He married Mary Fiona Carlin in 1988.He was Assistant Director at the National Gallery ofIreland in Dublin from 1989 to 1997. He was Chair of the Irish Association of Art Historians from 1996 to 1997, and of the Council of Australian Art Museum Directors from 2001 to 2003. In September 1997 he becameDirector of the National Gallery of Australia.National Gallery of Australia (NGA)Kennedy expanded the traveling exhibitions and loans program throughout Australia, arranged for several major shows of Australian artabroad, increased the number of exhibitions at the museum itself and oversaw the development of an extensive multi-media site.  Although he oversaw several years of the museum's highest ever annual visitation, hediscontinued the emphasis of his predecessor, Betty Churcher, on showing \"blockbuster\" exhibitions.During his directorship, the NGA gained government support for improving the building and significant privatedonations and corporate sponsorship. However, the initial design for the building proved controversial generating a public dispute with the original architect on moral rights grounds.  As a result, the project was notdelivered during Dr Kennedy's tenure, with a significantly altered design completed some years later.  Private funding supported two acquisitions of British art, including David Hockney's A Bigger Grand Canyon in 1999,and Lucian Freud's After Cézanne in 2001. Kennedy built on the established collections at the museum by acquiring the Holmgren-Spertus collection of Indonesian textiles; the Kenneth Tyler collection of editionedprints, screens, multiples and unique proofs; and the Australian Print Workshop Archive. He was also notable for campaigning for the construction of a new \"front\" entrance to the Gallery, facing King Edward Terrace,which was completed in 2010 (see reference to the building project above).Kennedy's cancellation of the \"Sensation exhibition\" (scheduled at the NGA from 2 June 2000 to 13 August 2000) was controversial, and seenby some as censorship. He claimed that the decision was due to the exhibition being \"too close to the market\" implying that a national cultural institution cannot exhibit the private collection of a speculative art investor.However, there were other exhibitions at the NGA during his tenure, which could have raised similar concerns. The exhibition featured the privately owned Young British Artists works belonging to Charles Saatchi andattracted large attendances in London and Brooklyn. Its most controversial work was Chris Ofili's The Holy Virgin Mary, a painting which used elephant dung and was accused of being blasphemous. The then-mayor ofNew York, Rudolph Giuliani, campaigned against the exhibition, claiming it was \"Catholic-bashing\" and an \"aggressive, vicious, disgusting attack on religion.\" In November 1999, Kennedy cancelled the exhibition andstated that the events in New York had \"obscured discussion of the artistic merit of the works of art\". He has said that it \"was the toughest decision of my professional life, so far.\"Kennedy was also repeatedlyquestioned on his management of a range of issues during the Australian Government's Senate Estimates process - particularly on the NGA's occupational health and safety record and concerns about the NGA'stwenty-year-old air-conditioning system. The air-conditioning was finally renovated in 2003. Kennedy announced in 2002 that he would not seek extension of his contract beyond 2004, accepting a seven-year term ashad his two predecessors.He became a joint Irish-Australian citizen in 2003.Toledo Museum of ArtThe Toledo Museum of Art is known for its exceptional collections of European and American paintings and sculpture,glass, antiquities, artist books, Japanese prints and netsuke. The museum offers free admission and is recognized for its historical leadership in the field of art education.  During his tenure, Kennedy has focused themuseum's art education efforts on visual literacy, which he defines as \"learning to read, understand and write visual language.\"   Initiatives have included baby and toddler tours, specialized training for all staff,docents, volunteers and the launch of a website, www.vislit.org. In November 2014, the museum hosted the International Visual Literacy Association (IVLA) conference, the first Museum to do so. Kennedy has been afrequent speaker on the topic, including 2010 and 2013 TEDx talks on visual and sensory literacy.Kennedy has expressed an interest in expanding the museum's collection of contemporary art and art by indigenouspeoples. Works by Frank Stella, Sean Scully, Jaume Plensa, Ravinder Reddy and Mary Sibande have been acquired.  In addition, the museum has made major acquisitions of Old Master paintings by Frans Hals and LucaGiordano.During his tenure the Toledo Museum of Art has announced the return of several objects from its collection due to claims the objects were stolen and/or illegally exported prior being sold to the museum.  In2011 a Meissen sweetmeat stand was returned to Germany followed by an Etruscan Kalpis or water jug to Italy (2013), an Indian sculpture of Ganesha (2014) and an astrological compendium to Germany in 2015.HoodMuseum of ArtKennedy became Director of the Hood Museum of Art in July 2005. During his tenure, he implemented a series of large and small-scale exhibitions and oversaw the production of more than 20 publicationsto bring greater public attention to the museum's remarkable collections of the arts of America, Europe, Africa, Papua New Guinea and the Polar regions. At 70,000 objects, the Hood has one of the largest collections onany American college of university campus. The exhibition, Black Womanhood: Images, Icons, and Ideologies of the African Body, toured several US venues. Kennedy increased campus curricular use of works of art,with thousands of objects pulled from storage for classes annually. Numerous acquisitions were made with the museum's generous endowments, and he curated several exhibitions: including Wenda Gu: Forest of StoneSteles: Retranslation and Rewriting Tang Dynasty Poetry, Sean Scully: The Art of the Stripe, and Frank Stella: Irregular Polygons.PublicationsKennedy has written or edited a number of books on art, including:AlfredChester Beatty and Ireland 1950-1968: A study in cultural politics, Glendale Press (1988), ISBN 978-0-907606-49-9Dreams and responsibilities: The state and arts in independent Ireland, Arts Council of Ireland (1990),ISBN 978-0-906627-32-7Jack B Yeats: Jack Butler Yeats, 1871-1957 (Lives of Irish Artists), Unipub (October 1991), ISBN 978-0-948524-24-0The Anatomy Lesson: Art and Medicine (with Davis Coakley), NationalGallery of Ireland (January 1992), ISBN 978-0-903162-65-4Ireland: Art into History (with Raymond Gillespie), Roberts Rinehart Publishers (1994), ISBN 978-1-57098-005-3Irish Painting, Roberts Rinehart Publishers(November 1997),  ISBN 978-1-86059-059-7Sean Scully: The Art of the Stripe, Hood Museum of Art (October 2008), ISBN 978-0-944722-34-3Frank Stella: Irregular Polygons, 1965-1966, Hood Museum of Art(October 2010), ISBN 978-0-944722-39-8Honors and achievementsKennedy was awarded the Australian Centenary Medal in 2001 for service to Australian Society and its art. He is a trustee and treasurer of theAssociation of Art Museum Directors, a peer reviewer for the American Association of Museums and a member of the International Association of Art Critics. In 2013 he was appointed inaugural eminent professor at theUniversity of Toledo and received an honorary doctorate from Lourdes University. Most recently, Kennedy received the 2014 Northwest Region, Ohio Art Education Association award for distinguished educator for arteducation.== Notes ==Passage 5:Jesse E. HobsonJesse Edward Hobson (May 2, 1911 – November 5, 1970) was the director of SRI International from 1947 to 1955. Prior to SRI, he was the director of the ArmourResearch Foundation.Early life and educationHobson was born in Marshall, Indiana. He received bachelor's and master's degrees in electrical engineering from Purdue University and a PhD in electrical engineering fromthe California Institute of Technology. Hobson was also selected as a nationally outstanding engineer.Hobson married Jessie Eugertha Bell on March 26, 1939, and they had five children.CareerAwards and"}
+{"doc_id":"doc_299","qid":"","text":"Passage 1:Mickey's Tent ShowMickey's Tent Show is a 1933 short film in Larry Darmour's Mickey McGuire series starring a young Mickey Rooney. Directed by Jesse Duffy, the two-reel short was released to theaters onOctober 27, 1933 by Post Pictures Corp.SynopsisMickey and the Gang decide to put on a circus show for the neighborhood kids. As usual, Stinkie Davis and his pals try whatever they can to make their rivals miserable.Throughout the show, whenever Mickey and his friends try to perform an act, Stinkie interrupts them by playing his father's new radio.CastIn order by credits:Mickey Rooney - \"Mickey McGuire\"Douglas Scott - \"Stinkey\"DavisMarvin Stephens - \"Katrink\"Jimmie Robinson - \"Hambone\" JohnsonBilly Barty - Billy McGuire (\"Mickey's Little Brother\")Shirley Jeane Rickert - \"Tomboy Taylor\"External linksMickey's Tent Show at IMDbPassage2:Kadamba (1983 film)Kadamba is a 1983 film, directed by P. N. Menon and produced by P. V. George. The film stars Prakash, Jayanthi, Sathaar and Achankunju in the lead roles. The film has musical score by K.Raghavan.PlotJanu is brought up by her father after the sudden death of her mother. Problems start brewing in her life when her father searches for a perfect groom, unaware that she is in love with someoneelse.CastJayanthi as JanuPrakashAchankunju as Velu, janu's fatherBalan K. Nair as KeshavanSathaar as KunjiramanBhaskara KuruppuSoundtrackThe music was composed by K. Raghavan and the lyrics were written byBichu Thirumala and Thikkodiyan.Passage 3:Thulasi (1987 film)Thulasi is a 1987 Indian Tamil-language romantic drama film directed by Ameerjan. The film stars Murali and Seetha. It was released on 27 November1987.PlotThirunavukarasu is considered as a God by his villagers. Nevertheless, his son Sammadham is an atheist and he doesn't believe in his father's power. Sammadham and Ponni, a low caste girl, fall in love witheach other. Sammadham's best friend Siva, a low caste boy, passes the Master of Arts degree successfully. Thirunavukarasu's daughter Thulasi then develops a soft corner for Siva.Thirunavukarasu cannot accept for hisson Sammadham's marriage with Ponni due to caste difference. Sammadham then challenges him to marry her. Thirunavukarasu appoints henchmen to kill her and Ponni is found dead the next day in the water. In themeantime, Siva also falls in love with Thulasi. The rest of the story is what happens to Siva and Thulasi.CastMurali as Sivalingam \"Siva\"Seetha as ThulasiChandrasekhar as SammadhamMajor Sundarrajan asThirunavukarasuSenthilCharle as KhanThara as PonniMohanapriya as SarasuVathiyar RamanA. K. Veerasamy as KaliyappanSoundtrackThe music was composed by Sampath Selvam, with lyrics written byVairamuthu.ReceptionThe Indian Express gave a negative review calling it \"thwarted love\".Passage 4:Le Masque de la MéduseLe masque de la Méduse (English: The Mask of Medusa) is a 2009 fantasy horror filmdirected by Jean Rollin. The film is a modern-day telling of the Greek mythological tale of the Gorgon and was inspired by the 1964 classic Hammer Horror film of the same name and the 1981 cult classic Clash of theTitans. It was Rollin's final film, as the director died in 2010.CastSimone Rollin as la MéduseSabine Lenoël as EuryaleMarlène Delcambre as SthénoJuliette Moreau as JulietteDelphine Montoban as CorneliusJean-PierreBouyxou as le gardienBernard Charnacé as le collectionneurAgnès Pierron as la colleuse d'affiche au Grand-GuignolGabrielle Rollin as la petite contrebassisteJean Rollin as l'homme qui enterre la têteThomas Smith asThomasProductionIt was thought that Rollin's 2007 film La nuit des horloges was the final film of his career, as he had mentioned in the past. However, in 2009, Rollin began preparation foe Le masque de la Méduse.Rollin originally directed the film as a one-hour short, which was screened at the Cinémathèque de Toulouse, but after the release, Rollin decided to add 20 minutes of additional scenes and then cut the film into twodistinct parts, as he did with his first feature, Le Viol du Vampire.  The film was shot on location at the Golden Gate Aquarium and Père Lachaise Cemetery, as well as on stage at the Theatre du Grande Guignol, which iswhere the longest part of the film takes place. It was shot on HD video on a low budget of €150,000. Before the release, it was transferred to 35mm film.ReleaseThe film was not released theatrically, although itpremiered on 19 November 2009 at the 11th edition of the Extreme Cinema Film Festival at the Cinémathèque de Toulouse. As part of \"An Evening with Jean Rollin\", it was shown as a double feature with Rollin's 2007film La nuit des horloges.Home mediaNo official DVD was released, although for a limited time, a DVD of La masque de la Méduse was included with the first 150 copies of Rollin's book Jean Rollin: Écrits completsVolume 1.Passage 5:P. N. Menon (director)Palissery Narayanankutty Menon alias P. N. Menon (2 January 1926 – 9 September 2008) was an Indian film director and art director in the Malayalam cinema. He is alsofamous as the Designer of Promotional Posters. Menon was also the uncle of another popular film director Bharathan, being the younger brother of the latter's father. In 2001, he was honoured with the J. C. DanielAward, Kerala government's highest honour for contributions to Malayalam cinema.Early lifeBorn in Wadakkancherry, he completed his studies at Thrissur and from School of Art in Chennai. He came to Chennai whenhe was only 20 years old. He couldn't find any job in Chennai, so travelled to Salem and become a production boy in a Studio. But, after two-and-a-half years, the studio was shut down and went back to Chennai. Hegot back to sketches, then painting, then doing magazine covers. One of his designing assignments was for one of Producer B. Nagi Reddy's magazines. The production house was so impressed with his talent that whenthey bought Vahini Studio in 1951, Nagi Reddy's son appointed him as a paid apprentice in the painting department.He got a job as an art director in an English play produced by the daughter of the then Andhra ChiefMinister. They had three performances in Delhi, one for the then Vice President Dr. Sarvepalli Radhakrishnan, another for then Prime Minister Jawaharlal Nehru and the third for then Army Chief Field Marshal K. M.Cariappa. Ninamaninja Kalpadukal was his first movie Malayalam movie as the art director and his debut in the field of film direction in the 60s with the film Rosie (1965).CareerMenon's Olavum Theeravum based on M.T. Vasudevan Nair's script and released in 1970. It won the Kerala State Film Award for Best Film. Menon's boldest film is Kuttiyedathi (Eldest Sister), again based on a short story by M. T. Vasudevan Nair.Perhaps hismost successful commercial film was Chembarathi (Hibiscus) which was based on a script by Malayattoor Ramakrishnan and starred newcomers like Raghavan, Sudhir and Roja Ramani (Sobhana) along with veteranactors like Madhu and Rani Chandra. Another script of Malayattoor Ramakrishnan named Gayathri which was directed by him was awarded the President's Special Film Award Medal for National Integration. Menon's filmMalamukalile Daivam, has won National Award too.After a long period of absence lasting more than a decade, he directed a film, Nerkkuneraey (\"Face to Face\"), in (2004).Poster DesignerMenon made a name as aversatile Poster Designer as well. He artistic posters always helped the film to gain attention of cinegoers. He has also done posters even for Bollywood films like Anokha Rishta starring Rajesh Khanna. Some of theMalayalam films he had designed posters are Oomakkuyil, Kakkothikkavile Appooppan Thaadikal, Itha Innu Muthal, Poomadhathe Pennu, Aavanazhi, Amrutham Gamaya and Manivathoorile AayiramSivarathrikal.Personal lifeHis wife's name was Bharathi Menon and they had two daughters, named Rajasree and Jayasree. Popular film director Bharathan was his nephew, and was trained by him in direction.Bharathan predeceased his uncle.DeathDuring his last years, Menon lived with his daughter in Kochi. He suffered from many serious illnesses like Alzheimer's disease during this period. Finally, he died on 9 September2008 aged 82, at a private hospital in Kochi. He was cremated with full state honours at Ravipuram Crematorium the next day.AwardsKerala State Film Awards1970 – Best Film: Olavum Theeravum1972 – Second BestFilm: Chembarathi1973 – Second Best Film: Gayathri1983 – Special Jury Award: Malamukalile Daivam2001 – J. C. Daniel AwardNational Film Awards1973 – Best Feature Film in Malayalam: Gayathri1983 – Best FeatureFilm in Malayalam: Malamukalile DaivamFilmographyPassage 6:Mike FieldsMaurice John Bernard Fields (12 August 1935 – 27 May 2014), known as Mike or Mickey Fields, was an English footballer who played in theFootball League for Chester.Playing careerA forward, Fields was offered a trial at Nottingham Forest as a youngster but accepted an offer from his hometown club of Chester to begin playing for their junior side.Fieldsbroke into Chester's first–team late in 1955–56, with his first and only league goal following against Chesterfield in September 1956. A year later he helped create history by scoring Chester's winner against Burnley inthe final of the Lancashire Senior Cup as they became the first club from outside Lancashire to win the competition.Fields soon began to suffer cartilage problems, leading to his release by the club in May 1959 as hejoined Borough United.Fields remained a part-timer throughout his career at Chester, working for Shell where he continued to be employed after his playing days ended.Passage 7:Happy WeHappy We (Swedish: Tvåkillar och en tjej) is a Swedish 1983 film directed by Lasse Hallström.CastBrasse Brännström -  Thomas BengtssonMagnus Härenstam - Klasse WallinPia Green - Anna WallinLars Amble - Fredrik WahlgrenGösta Engström- Gammal studiekamratEwa Fröling - DoctorSvea Holst - Gammal patientExternal linksHappy We at IMDbPassage 8:Jesse DuffyJesse Duffy (March 24, 1894 – December 14, 1952), sometimes billed as J. A. Duffy, wasan American serial screenwriter for Republic Pictures and Columbia Pictures during the 1940s. He also directed some of the \"Mickey McGuire\" series starring Mickey Rooney released by Post Pictures Corporation, andlater distributed by Columbia.External linksJesse Duffy at IMDbPassage 9:QuerelleQuerelle is a 1982 West German-French English-language arthouse film directed by Rainer Werner Fassbinder and starring Brad Davis,adapted from French author Jean Genet's 1947 novel Querelle of Brest. It was Fassbinder's last film, released shortly after his death at the age of 37.PlotThe plot centers on the handsome Belgian sailor GeorgesQuerelle, who is also a thief and murderer. When his ship, Le Vengeur, arrives in Brest, he visits the Feria, a bar and brothel for sailors run by the Madame Lysiane, whose lover, Robert, is Querelle's brother. Querellehas a love/hate relationship with his brother: when they meet at La Feria, they embrace, but also punch one another slowly and repeatedly in the belly. Lysiane's husband Nono works behind the bar and also managesLa Feria's underhanded affairs with the assistance of his friend, the corrupt police captain Mario.Querelle makes a deal to sell opium to Nono. During the execution of the deal, he murders his accomplice Vic by slittinghis throat.  After delivering the drugs, Querelle announces that he wants to sleep with Lysiane.  He knows that this means he will have to throw dice with Nono, who has the privilege of playing a game of chance with allof her prospective lovers. If Nono loses, the suitor is allowed to proceed with his affair. If the suitor loses, however, he must submit to anal sex with Nono first, according to Nono's maxim that \"That way, I can say mywife only sleeps with arseholes.\" Querelle deliberately loses the game, allowing himself to be sodomized by Nono. When Nono gloats about Querelle's \"loss\" to Robert, who won his dice game, the brothers end up in aviolent fight.  Later, Querelle becomes Lysiane's lover, and also has sex with Mario.Luckily for Querelle, a builder, Gil, murders his work mate Theo, who had been harassing and sexually assaulting him.  Gil hides fromthe police in an abandoned prison, and Roger, who is in love with Gil, establishes contact between Querelle and Gil in the hopes that Querelle can help Gil flee. Querelle falls in love with Gil, who closely resembles hisbrother.  Gil returns his affections, but Querelle betrays Gil by tipping off the police. Querelle cleverly arranged it so that the murder of Vic is also blamed on Gil.Querelle's superior, Lieutenant Seblon, is in love withQuerelle, and constantly tries to prove his manliness to him. Seblon is aware that Querelle murdered Vic, but chooses to protect him.  Later, Seblon reveals his love and concern to a drunken Querelle, and they kiss andembrace before returning to Le Vengeur.CastBrad Davis as QuerelleFranco Nero as Lieutenant SeblonJeanne Moreau as LysianeLaurent Malet as Roger BatailleHanno Pöschl as Robert / GilGünther Kaufmann asNonoBurkhard Driest as MarioRoger Fritz as MarcellinDieter Schidor as Vic RivetteNatja Brunckhorst as PauletteWerner Asam as WorkerAxel Bauer as WorkerNeil Bell as TheoRobert van Ackeren as DrunkenlegionnaireWolf Gremm as Drunken legionnaireFrank Ripploh as Drunken legionnaireProductionAccording to Genet's biographer Edmund White, Querelle was originally going to be made by Werner Schroeter, with ascenario by Burkhard Driest, and produced by Dieter Schidor. However, Schidor could not find the money to finance a film by Schroeter, and therefore turned to other directors, including John Schlesinger and SamPeckinpah, before finally settling on Fassbinder. Driest wrote a radically different script for Fassbinder, who then \"took the linear narrative and jumbled it up\". White quotes Schidor as saying \"Fassbinder did somethingtotally different, he took the words of Genet and tried to meditate on something other than the story. The story became totally unimportant for him. He also said publicly that the story was a sort of third-rate policestory that wouldn't be worth making a movie about without putting a particular moral impact into it\".Schroeter had wanted to make a black and white film with amateur actors and location shots, but Fassbinder insteadshot it with professional actors in a lurid, expressionist color, and on sets in the studio. Edmund White comments that the result is a film in which, \"Everything is bathed in an artificial light and the architectural elementsare all symbolic.\"SoundtrackJeanne Moreau – \"Each Man Kills the Things He Loves\" (music by Peer Raben, lyrics from Oscar Wilde's poem \"The Ballad of Reading Gaol\")\"Young and Joyful Bandit\" (Music by Peer Raben,lyrics by Jeanne Moreau)Both songs were nominated to the 1984 Razzie Awards for \"Worst Original Song\".ReleaseQuerelle sold more than 100,000 tickets in the first three weeks after its release in Paris, the first timethat a film with a gay theme had achieved such success. On review aggregator Rotten Tomatoes, which categorizes reviews as positive or negative only, the film has an approval rating of 57% calculated based on 14critics comments. By comparison, with the same opinions being calculated using a weighted arithmetic mean, the rating is 6.10/10. Writing for The New York Times critic Vincent Canby noted that Querelle was \"amess...a detour that leads to a dead end.\"Penny Ashbrook calls Querelle Fassbinder's \"perfect epitaph: an intensely personal statement that is the most uncompromising portrayal of gay male sensibility to come from amajor filmmaker.\" Edmund White considers Querelle the only film based on Genet's book that works, calling it \"visually as artificial and menacing as Genet's prose.\" Genet, in discussion with Schidor, said that he hadnot seen the film, commenting \"You can't smoke at the movies.\"Passage 10:Ironmaster (film)Ironmaster (Italian: La guerra del ferro: Ironmaster) is a 1983 film directed by Umberto Lenzi.ProductionIronmaster wasfilmed on location at Custer State Park in South Dakota with interiors shot at RPA-Elios Studios in Rome.ReleaseIronmaster was released in Italy on 10 March 1983. The film was released on Blu-ray on 23 January 2017in North America by Code Red and on 10 April 2017 in the United Kingdom by 88 Films.ReceptionAccording to Michael Klossner, author of Prehistoric Humans in Film and Television, while Ironmaster received \"few andvery bad notices [and is] simple, only modestly ambitious and has its share of flaws … it's hard not to like a film which shows intelligent, articulate prehistoric people making discoveries, facing moral issues and showingcapacity for great evil and finally for good.\" Hal Erickson wrote in AllMovie that \"Seldom has there been a more predictable 98 minutes' worth of Sword and Sorcery, but that doesn't mean it isn't enjoyable.\""}
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_105.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_105.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..11d45e47affb624abf037e7d73d87d6592eda486
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_105.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_108.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_108.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..2ce1deae94abadb168ed1cf2f85f288a4afe48ce
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_108.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_11.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_11.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..780ecea501f8b164f8008e5d726ec0514d756b0e
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_11.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_113.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_113.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..40cea15594e25ae1161943f9c856aa5d1ac883ba
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_113.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_117.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_117.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..b55b79c39d3ece10b6a8c75391e05abcd69eea10
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_117.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_119.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_119.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..3a982c4b1d93d38b5090c0ea66f0c25e9c45b0be
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_119.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_121.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_121.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..84b8ba631b877136e5e8c7f35fd9c56b18abad24
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_121.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_122.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_122.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..a5d0da1137a7a31287b5826eaf0749484f8b3668
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_122.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_126.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_126.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..38b1508892bdb26e7ed80a3ab7dcb5181385bb67
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_126.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_127.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_127.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..4132a3b708f7bac5a9b9421a2c878f68a663020e
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_127.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_132.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_132.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..126b9ff08afd52c26f03aba614150c80a1156ecd
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_132.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_133.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_133.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..d8a3e58fbe8420775f4c0eb4b428984ed92e03a9
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_133.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_134.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_134.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..4dfed4bf72bb7f106251ae9912640bb2ffcaa528
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_134.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_137.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_137.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..6eb33aa3e67338fdef8b850d029244e84d9d6ed4
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_137.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_142.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_142.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..0303f55fad84cff2595ccc1b13cb48a6d5c673b5
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_142.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_143.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_143.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..4868bc94c098aa42866807d5f9052ad21fca7f7c
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_143.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_144.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_144.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..e0b47b787efc426895b4203484ab366260c493b9
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_144.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_146.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_146.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..0e9da7f0837513ddc1b5ddb9e9d04d7b2e4b8fa4
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_146.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_152.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_152.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..e1a5efb715383a8c91f9e1ebfbea2b4743de1352
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_152.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_153.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_153.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..d80f624a2e7a2af893ee380891f396aa3e2ccec9
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_153.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_156.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_156.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..20ad69293d251f968d68c23d8a9d230f3293772e
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_156.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_157.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_157.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..928a7b7ae617e8abf36bff5414b5ccb1a990d114
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_157.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_165.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_165.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..9d3addfdac859155818bdb79b148ba74d44d1645
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_165.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_167.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_167.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..439225b71a43d8ec65d9b2d5e2b09032164d7a6b
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_167.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_171.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_171.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..77de478901505dfca2e3f7806dea57191231d0ab
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_171.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_172.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_172.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..67b5151beba60c035e678246a47a494522144b85
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_172.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_173.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_173.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..b88554cc8f41cabffe4e73d15cdb6cf2c2f57592
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_173.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_176.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_176.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..55423349b64b1fbab97996b619099706536ce520
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_176.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_178.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_178.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..a02238639eff32ab7d4c5813d1f71956c58447ad
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_178.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_179.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_179.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..d00156f61999ebcf21e66f73873923c7aba4727b
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_179.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_180.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_180.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..f67e2000df01d37b713bd40cedf11c7262deddbd
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_180.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_181.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_181.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..7a0523cb03db1e8e95def5df7b9d6703ae552619
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_181.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_182.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_182.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..ba1f32a7e2566e59a0696982351176b4a24d58c7
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_182.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_185.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_185.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..0b82d229f732fe3064344976ffd9c370c1fe2044
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_185.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_187.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_187.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..0c8982dac920e850447dd7cd5dea61d1c3bbffb6
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_187.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_192.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_192.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..f1307493b2ff234edd144e3a0192f9c459dc8a68
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_192.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_193.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_193.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..44ea9b3eaf6fc7f70749b5ec0d8e95df6b0adfee
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_193.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_194.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_194.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..b5ec74f5ac745b85ad095c57388403b20d36d9a3
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_194.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_196.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_196.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..5e73e134b0422db4a04dbc614b0a4f224d6c201a
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_196.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_197.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_197.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..4467a794472a8bddc7cd17a0f2b04d2858d4a4b8
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_197.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_199.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_199.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..c2b24c207634af42814873ecca354642fcc5b242
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_199.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_20.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_20.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..762ab20bfae998da0c12d03dbf414b7e86a6c49d
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_20.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_200.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_200.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..ceeccd834fe177e4405ba4cda13c3faeb1963ed9
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_200.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_203.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_203.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..83718ec23eabc4ae1544559d5e69fc4a25fd621c
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_203.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_205.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_205.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..447bd5f41ce84cd182118c12520f5692573e106b
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_205.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_208.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_208.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..4ba97540413218d8bb8672fbd3c193ba9eabe07f
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_208.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_210.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_210.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..c8cbb307e83504c48059ea533a59ae5ed067005f
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_210.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_217.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_217.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..f0fb5eea794d338c070f9248cdf045dec1319238
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_217.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_220.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_220.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..72742eed79c7f88684550c3975ec0903f5af19cf
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_220.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_221.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_221.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..07e696df6094a4bfdac2ec8bd3716ff52fe9c42d
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_221.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_223.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_223.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..1a5234bf4f6572a4c2e08b42536af9a76d65a98f
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_223.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_225.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_225.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..eb14a523060b4db4fb1c8f9ba29da6d523c193b2
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_225.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_24.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_24.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..1e9a841f558b8001190690b74b0ec21c82790517
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_24.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_240.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_240.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..8d31c8577226f549cfbd529d857bfd43a73711b4
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_240.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_241.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_241.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..68bff71af715dfc1e377a12e8c7e5dd1432d7167
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_241.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_244.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_244.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..663a4c566468442810c942eb35e26e3265254a68
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_244.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_245.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_245.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..1edc836e1423873075546cce76cf50a6420215ee
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_245.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_246.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_246.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..062752fa4377e6ce3eb16f91b903b886e1fcabd5
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_246.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_252.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_252.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..845fa51cbd1e0ba50b4b3ab44380578531ba9eff
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_252.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_253.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_253.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..618ccc702533454562f353cb416b1787c8eeff9f
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_253.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_254.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_254.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..1bc8509539cf0309db59d28cde4da0e95b881706
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_254.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_259.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_259.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..2914d8f2bc10b921174e43e8433fb45379dcc75f
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_259.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_26.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_26.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..030aca5d54c17c8858dd69a7738fab10b216f719
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_26.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_261.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_261.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..6f4b0d75e8c794e6766225ff8e8650f049fdd524
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_261.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_264.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_264.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..0a4ce952b7daade1541e7db0e92840dcde89546c
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_264.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_270.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_270.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..c7611238018788a706b5cc6e8a7af895150fdc81
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_270.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_271.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_271.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..03cfce855a5ca8815555589e26d1fa3e557e745f
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_271.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_273.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_273.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..5787009bf346c7335cf1caed653a726c2a38b119
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_273.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_279.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_279.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..1541c5b393392e3c8c3693a3ffcb67c534127edc
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_279.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_28.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_28.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..2c33b80e565fe3f869f27fb508f64fc2eb8b3c24
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_28.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_288.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_288.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..a389ae561a57c482258af916f1ad800c159910fc
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_288.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_289.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_289.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..f6e634e7c99a67ad07cbe21ae356f569f46fe488
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_289.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_294.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_294.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..eeb93eb1a6d661615f1b95102731c95999988326
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_294.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_295.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_295.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..0b20bd5db6679cb854aa21bc8e71d459fa08856a
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_295.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_296.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_296.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..81fb52162ae0a88e9f01c5f24a9983a8e72c9a88
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_296.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_298.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_298.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..c7011f0753755146bd2b6cc93e7fe359287287e9
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_298.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_3.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_3.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..5a9bdf2ba5641bc95c126bb559c593cc9c06c426
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_3.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_33.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_33.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..9dc40fa66f09bea7d839f2ee0b612a5360d376d7
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_33.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_46.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_46.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..6f3178d93670824890ac9a099dabb04f62898158
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_46.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_55.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_55.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..2474c1ca17b7653902e972fb69101a13fdf20cfe
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_55.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_56.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_56.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..336bbc0ac47c08be5d94438f588d9a9292bdc9df
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_56.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_57.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_57.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..16eebdeeb76280cf96a7f44751ebe2a1c76bb10f
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_57.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_58.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_58.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..2e0143e1b1e46cc27c46cd9e900ba960d964787c
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_58.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_6.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_6.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..7391cda02c24f17dac780cf487b40f254e8de4ab
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_6.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_60.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_60.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..839001ddfb6360aa5ed4cd4eba81ce9b5c671cf2
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_60.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_65.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_65.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..ee26bd695384aa5bfbe69a8bfbcced565cce1af2
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_65.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_67.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_67.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..087616ecc379bb931bcd717247a513d7033a4e5f
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_67.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_71.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_71.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..a6db1bda2828d73045a971a463c38eb37b7e3c48
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_71.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_72.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_72.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..02dcaa65e8ece165d258ee738672d223278f8d7f
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_72.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_74.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_74.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..ffa90ea43ac3b1db621e43d7b67608213872bfdd
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_74.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_75.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_75.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..cb0487d83874cdf48630264049620060803b9cc3
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_75.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_77.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_77.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..b514540233badeccfb471c091ecbe325ad9fd50b
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_77.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_79.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_79.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..abfe9f6cc8736d5a1c92c622ba19fc5a2fc55668
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_79.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_81.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_81.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..2ed484a9eeb15657a8a26996c58874c09b615264
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_81.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_85.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_85.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..a02839ce91f1241bded67142113b4c792a1206c7
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_85.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_9.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_9.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..57d057946a78253b0d117c8545ab71877f9d8d86
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_9.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_91.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_91.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..2314622095167a9ae8639684737afd8b3fae8271
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_91.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_92.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_92.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..41f2d05296a7f676a72efa47ea28c830b8daecb0
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_92.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_93.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_93.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..9775b5b151de464cbace471a5dac8e0d21cbf6bd
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_93.pdf differ
diff --git a/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_95.pdf b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_95.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..84ccf58649e4eb246ad44bfde6aa5005e4be575e
Binary files /dev/null and b/layout_cache/ps1024x1024/2wikimqa/pdf_first_pages/doc_95.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/corpus.jsonl b/layout_cache/ps1024x1024/narrativeqa/corpus.jsonl
new file mode 100644
index 0000000000000000000000000000000000000000..cf1309c45b3e7925adb41a99ce97182b557cb441
--- /dev/null
+++ b/layout_cache/ps1024x1024/narrativeqa/corpus.jsonl
@@ -0,0 +1,355 @@
+{"doc_id":"doc_0","qid":"","text":"<html><head><title>Miami Vice Script at IMSDb.</title><meta name=\"description\" content=\"Miami Vice script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Miami Vice script, MiamiVice movie script, Miami Vice film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\"rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                         MIAMI VICE</b>                        Written  by                        Michael Mann                    Based on \"MiamiVice\"                         created by                     Anthony Yerkovich                                                       FirstDraft<b>                                                           9/22/04</b>                                                              WGAw<b>                                                  FADE IN:</b><b>   FADE IN:</b><b>   EXT. OCEAN - CLOSEUP:  WATER - MORNING LIGHT</b>   We are at the delicate interface between ocean and   air...liquid and gas...the event horizon where molecules   evaporate.  This interchange is ethereal.  Then, low   frequenciesrumble through depths...louder...closer, now...   And the ocean surface is torn by a 46-foot catamaran and the   ROAR of 2,700 horsepower, rocketing at us at 140 knots...<b>   OFFSHORE RACER:  \"BORN TOWIN\"</b>   in PROFILE.<b>   AERIAL:  \"BORN TO WIN\"</b>   ...has a canopy, low like a B-1 bomber and extends a half   mile.  It launches off two-foot swells, goes airborne, pushes   to 150 knots with another 1,100RPM left...<b>   INT. RACE BOAT - SONNY CROCKETT</b>   pilots the \"Born to Win\" in full helmet.  On the throttle and   flaps is RICARDO TUBBS...<b>   EXT. OCEAN - \"BORN TO WIN\"</b>   leads the frontrunnerstowards a finish line demarcated by a   couple of $10 million yachts loaded with media.  At the last   moment occurs a small power loss, and \"Born to Win\" gets   nosed into second place by the 46-foot Skater,\"Goddess\"...<b>                                                  CUT TO:</b><b>   EXT. MARINA - \"BORN TO WIN\" - LATER</b>   thunders to the dock, throttled down at low revs.  The canopy   is up.  Crockett and Tubbs'helmets are off.  Dockhands tie   it off.  It's the same crowd you catch at a Grand Prix:  nine-   figure money, tall, Northern Italian women and minor German   princesses with Swiss educations, no bimbos and noquestions   about asset origins.  The exception is \"Born to Win's\"   sponsor, a blonde, dreadlocked, bearded 6'4\" SWITEK.  He   looks like a dot-com entrepreneur who got out in time.  Next   to him is a blonde Ukranianlady with high cheekbones.  We'll   see her again.<b>   WINNING CIRCLE - CROCKETT + TUBBS</b>   in second position to the Japanese driver and throttle man of   \"Goddess,\" neither of whom speak English.  The #3boat,   \"Bicardi Silver,\" was driven by David Scott and throttled by   John Tomlinson...<b>   CROCKETT + TUBBS</b>   leave the winning circle among Asian and Mexican   billionaires.  As the small crowd breaksup...<b>   A DEEPLY-TANNED PLAYER</b>   named NICHOLAS in Vuarnet wraparounds and buzz-cut white hair   glides by...<b>                        NICHOLAS</b>                  (low)             Burnett, what'scrackin'?<b>                        CROCKETT</b>             Nothing.<b>                        TUBBS</b>             Maxin' and relaxin'.<b>                        NICHOLAS</b>                  (doesn't believethem)             Sure.  Change your mind; get             inclined?  Let me know...   Whatever Nicholas is soliciting, Crockett and Tubbs don't   want.  (Nicholas brokers \"go-fast\" runs, moving loads from   offshore intoSouth Florida.  Among guys who pilot offshore   race boats, there are one or two who've never run a load, but   no one's found them yet.)  Meanwhile...<b>                                                  CUT TO:</b><b>   INT.ALONZO STEVENS' HOUSE - A KITCHEN - NIGHT</b>   A couple-hundred-thousand-dollars worth of granite and steel.   Off-screen a restaurant-grade Sub-Zero opens with a hiss.   Fan starts.  Beyond the kitchen weSEE through a dining room   to a den.  A chair is overturned.  We HEAR muffled sounds.   We SEE feet extend through a door jamb.  Someone's on the   floor.  A television is playing, distantly.<b>   INT. DEN - SEEFAMILY PICTURES</b>   so close they almost come to life.  A Venezuelan family, two   boys and a girl in a pool.  Maria, Alonzo, the two boys at   their sister's baptism.  And we see holding the baby daughter   isRiccardo Tubbs.   A family dinner at a South American restaurant.  Tubbs sits   with the youngest daughter on his lap.  Maria is on the other   side of him.  This is the image that almost comes to life.   We hear thevivacious latin ambience late on a Sunday   afternoon when families take the grandparents and have   dinner.<b>   INT. KITCHEN - SUB ZERO REFRIGERATOR</b>   MOVE from the bright glare of the interiorONTO   the broad neck of a MAN.  A Viking is tattooed there.  The   image morphs into a naked woman presenting her rear to a   muscled biker next to a chopper above a swastika residing   between shoulderblades.  SS lightning bolts are on his neck.   PULL BACK from this MAN, who is bent into the frig because   he's hungry.  His head is shaved and he's naked from the   waist up.  A BLACK HEFTY GARBAGE BAG is tiedaround his   waist.  Yellow industrial gloves are on his hands.  Something   bad is happening in this house...<b>                                                  CUT TO:</b><b>   INT. HELICOPTER - NIGHT</b>   It's a Sikorskiskimming across the water of Biscayne Bay on   a moonlit night at living-room level past stilt houses.<b>   RICARDO TUBBS</b>   pilots the chopper past the brightly lit windows of high-rise   Collins Avenue condos forthe fugitive rich...and heads   towards the MacArthur Causeway.<b>                        CROCKETT</b>             What's our deal?<b>                        TUBBS</b>             Backup in case the Russiansget             physical.<b>                        CROCKETT</b>             How lucky's Miss Universe gotta be?<b>                        TUBBS</b>             Skin has to touch skin.  That's the             requirement for thewarrant.  Then             he makes a credible excuse and he                                     stops....                  (beat)             Her crew blackmailed and asset-             stripped the last mark down to his             socialsecurity...                                          In the back - her long copper legs stretched out under a   short skirt - is GINA CALABRESE.<b>                        GINA</b>             This I gottasee...                  (beat)             ...the \"make up an excuse and stop\"             part.<b>                        CROCKETT</b>             Have faith.<b>                        GINA</b>             I have faith.  In horoscopesand             fortune cookies...<b>                        TUBBS</b>             So?<b>                        GINA</b>             Switek pulling this off...?  That's             not faith; that's delusional...   Wearing enough of nothing tohide the micro .380, which Gina   checks right now.  There's a round in the chamber.   AERIAL:  THE SIKORSKI crosses past the stacks of $5 million   condos to a landing pad on a roof.  The Miami of the '80's,   thattwilight-zone frontier built on coke-fueled cash flow,   is over.  The frontier development stage is passed.  It has   BECOME Casablanca.  Anything goes; everything has a price.<b>                                                  CUTTO:</b><b>   EXT. ROOFTOP LANDING PAD - WIDE</b>   The chopper rockets in, settles.<b>   INT. UTILITY STAIRCASE</b>   Crockett, Tubbs and Gina descend to the 25th-floor penthouse,   the target.  AsCrockett and Tubbs continue down to 24, she   looks over her shoulder at Tubbs...<b>                        TUBBS</b>             Damn, girl...<b>   INT. SURVEILLANCE APARTMENT (ONE FLOOR BELOW THETARGET)</b><b>   PENTHOUSE - CROCKETT + TUBBS - NIGHT</b>   enter.  Two surveillance technicians, RICK and FRANK, are   glued to a monitor showing a bedroom in which nothing   happens.  LT. CASTILLO isthere, out of a past somewhere   between CIA and the Jesuits...   Referring to the monitor on which there are NO PEOPLE in an<b>   EMPTY BEDROOM.</b>   They are watching airmove.<b>                        TUBBS</b>             This is exciting...<b>                        RICK</b>             That's 'cause nothing is happening.<b>                        CROCKETT</b>             Noshit...?<b>                        FRANK</b>                  (it goes past him)             Yeah.  This is their             surveillance...how they video their             marks?  See, we jacked their fiber             optics, like wepiggybacked their             signal.  Get it?<b>                        TUBBS</b>             Cooool...   They exit to...<b>   INT. PENTHOUSE CONDO - CROCKETT + TUBBS</b>   are met at the door by security, who recognizesthem, and are   welcomed by their host, UGO.  This is the Baccardi Cup After-   Party.  The same players from the marina...<b>   OVER CROCKETT + TUBBS</b>   enter an 8,000-square-foot penthouse...offshoreracer types,   players, So Bee models...<b>                        UGO</b>             Runnin' the Biscayne 200?   Crockett wanders off...<b>                        TUBBS</b>             If a coupla new exhaustmanifolds             show up...<b>   CROCKETT</b>   approaches a bar and female bartender...<b>                        CROCKETT</b>             Gin and Tonic.  Plymouthor             Boodles.<b>                        BARTENDER</b>                  (Scandinavian accent)             Lemon or lime?<b>                        CROCKETT</b>             Lemon doesn't go in Gin andTonics,             darlin'.  Where ya' from?<b>                        BARTENDER</b>                  (leaning in)             Gottingen.  That's in Sweden.<b>                        CROCKETT</b>             You in Miami workin' onyour             complexion...?   She's beautifully bronzed.<b>                        BARTENDER</b>                  (laughs)             No.  I was inNamibia...<b>                        CROCKETT</b>             Doing...?<b>                        BARTENDER</b>             With the United Nations High             Commission on Refugees.  Famine             relief.   Gina's listeningon her personal comms.<b>                        CROCKETT</b>             Really?  I did refugee relocation             in Somalia.  But they transferred             me out after I was wounded...   Gina rolls her eyes as shecrosses by Tubbs.<b>                        GINA</b>             Only African he ever \"relocated\"             was a $2,000-an-hour Nigerian model             for Gucci, and he got wounded when             she took an NBA draftchoice to the             Super Bowl instead of him...<b>                        TUBBS</b>             He did volunteer one time...<b>                        TRUDY</b>                  (entering)             For a massage parlorbust?                  (beat)             Why am I here...?   TRUDY JOPLIN is a tall African-American.  She whispers into a   small mic.  If you looked closely, she's ripped...as if steel   cables moved under her smoothskin.  She slides past Tubbs   and Gina...<b>                        TUBBS</b>                  (low)             ...to backup Switek.  But only if             it gets lethal.<b>                        TRUDY</b>             That'simpossible.<b>                        TUBBS</b>             Why?<b>                        TRUDY</b>             Because you cannot kill him.<b>   SWITEK</b>   all white bling, is arguing with his blade-thin,glassy-eyed,   adrenaline junkie partner, ZITO.  Approaching is \"Miss   Ukraine.\"  High cheekbones suggest one of Genghis Khan's   horsemen found her maternal ancestor as attractive as Switek   finds her...   Tubbs"}
+{"doc_id":"doc_1","qid":"","text":"The Project Gutenberg EBook of The Purple Cloud, by M.P. ShielThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it under theterms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: The Purple CloudAuthor: M.P. ShielRelease Date: February 22, 2004 [EBook #11229]Language: English*** STARTOF THIS PROJECT GUTENBERG EBOOK THE PURPLE CLOUD ***Produced by Suzanne Shell, Garrett Alley, Maria Khomenko and PGDistributed ProofreadersTHE PURPLE CLOUDByM.P. Shiel1901[Greek: estai kai Samosammos, eseitai Daelos adaelos]_Sibylline Prophecy_INTRODUCTIONAbout three months ago--that is to say, toward the end of May of thisyear of 1900--the writer whose name appears on the title-page receivedasnoteworthy a letter, and packet of papers, as it has been his lot toexamine. They came from a very good friend of mine, whose name there isno reason that I should now conceal--Dr. Arthur Lister Browne, M.A.(Oxon.),F.R.C.P. It happened that for two years I had been spendingmost of my time in France, and as Browne had a Norfolk practice, I hadnot seen him during my visits to London. Moreover, though our friendshipwas of themost intimate kind, we were both atrocious correspondents: sothat only two notes passed between us during those years.Till, last May, there reached me the letter--and the packet--to which Irefer. The packet consistedof four note-books, quite crowdedthroughout with those giddy shapes of Pitman's shorthand, whose_ensemble_ so resembles startled swarms hovering in flighty poses on thewing. They were scribbled in pencil, withlittle distinction betweenthick and thin strokes, few vowels: so that their slow deciphering, Ican assure the reader, has been no holiday. The letter also waspencilled in shorthand; and this letter, together with the secondof thenote-books which I have deciphered (it was marked 'III.'), I nowpublish.[I must say, however, that in some five instances there will occursentences rather crutched by my own guess-work; and in two instancesthecharacters were so impossibly mystical, that I had to abandon thepassage with a head-ache. But all this will be found immaterial to thegeneral narrative.]The following is Browne's letter:'DEAR OLD SHIEL,--I havejust been lying thinking of you, and wishingthat you were here to give one a last squeeze of the hand beforeI--\"_go_\": for, by all appearance, \"going\" I am. Four days ago, I beganto feel a soreness in the throat, andpassing by old Johnson's surgeryat Selbridge, went in and asked him to have a look at me. He mutteredsomething about membranous laryngitis which made me smile, but by thetime I reached home I was hoarse, andnot smiling: before night I haddyspnoca and laryngeal stridor. I at once telegraphed to London forMorgan, and, between him and Johnson, they have been opening my trachea,and burning my inside with chromic acidand the galvanic cautery. Thedifficulty as to breathing has subsided, and it is wonderful how littleI suffer: but I am much too old a hand not to know what's what: thebronchi are involved--_too far_ involved--and as amatter of absolutefact, there isn't any hope. Morgan is still, I believe, fondly dwellingupon the possibility of adding me to his successful-tracheotomystatistics, but prognosis was always my strong point, and I say No.Thevery small consolation of my death will be the beating of a specialistin his own line. So we shall see.'I have been arranging some of my affairs this morning, and rememberedthese notebooks. I intended letting youhave them months ago, but myhabit of putting things off, and the fact that the lady was alive fromwhom I took down the words, prevented me. Now she is dead, and as aliterary man, and a student of life, you shouldbe interested, if youcan manage to read them. You may even find them valuable.'I am under a little morphia at present, propped up in a nice littlestate of languor, and as I am able to write without much effort, I willtellyou in the old Pitman's something about her. Her name was Miss MaryWilson; she was about thirty when I met her, forty-five when she died,and I knew her intimately all those fifteen years. Do you know anythingaboutthe philosophy of the hypnotic trance? Well, that was the relationbetween us--hypnotist and subject. She had been under another man beforemy time, but no one was ever so successful with her as I. She sufferedfrom_tic douloureux_ of the fifth nerve. She had had most of her teethdrawn before I saw her, and an attempt had been made to wrench out thenerve on the left side by the external scission. But it made nodifference: allthe clocks in hell tick-tacked in that poor woman's jaw,and it was the mercy of Providence that ever she came across _me_. Myorganisation was found to have almost complete, and quite easy, controlover hers, andwith a few passes I could expel her Legion.'Well, you never saw anyone so singular in personal appearance as myfriend, Miss Wilson. Medicine-man as I am, I could never behold hersuddenly without a sensation ofshock: she suggested so inevitably whatwe call \"the _other_ world,\" one detecting about her some odour of theworm, with the feeling that here was rather ghost than woman. And yet Ican hardly convey to you the whyof this, except by dry details as tothe contours of her lofty brow, meagre lips, pointed chin, and ashencheeks. She was tall and deplorably emaciated, her whole skeleton,except the thigh-bones, being quite visible. Hereyes were of the bluishhue of cigarette smoke, and had in them the strangest, feeble, unearthlygaze; while at thirty-five her paltry wisp of hair was quite white.'She was well-to-do, and lived alone in old WoodingManor-house, fivemiles from Ash Thomas. As you know, I was \"beginning\" in these parts atthe time, and soon took up my residence at the manor. She insisted thatI should devote myself to her alone; and that onepatient constitutedthe most lucrative practice which I ever had.'Well, I quickly found that, in the state of trance, Miss Wilsonpossessed very remarkable powers: remarkable, I mean, not, of course,because peculiar toherself in _kind_, but because they were soconstant, reliable, exact, and far-reaching, in degree. The veriestfledgling in psychical science will now sit and discourse finically toyou about the reporting powers of the mindin its trance state--just asthough it was something quite new! This simple fact, I assure you, whichthe Psychical Research Society, only after endless investigation, admitsto be scientific, has been perfectly well known toevery old crone sincethe Middle Ages, and, I assume, long previously. What an unnecessary airof discovery! The certainty that someone in trance in Manchester cantell you what is going on in London, or in Pekin, wasnot, of course,left to the acumen of an office in Fleet Street; and the society, inestablishing the fact beyond doubt for the general public, has not goneone step toward explaining it. They have, in fact, revealed nothingthatmany of us did not, with absolute assurance, know before.'But talking of poor Miss Wilson, I say that her powers were_remarkable_, because, though not exceptional in _genre_, they were sospecial in quantity,--so\"constant,\" and \"far-reaching.\" I believe it tobe a fact that, _in general_, the powers of trance manifest themselvesmore particularly with regard to space, as distinct from time: thespirit roams in the present--it travelsover a plain--it does not_usually_ attract the interest of observers by great ascents, or bygreat descents. I fancy that is so. But Miss Wilson's gift was specialto this extent, that she travelled in every direction, and easilyin allbut one, north and south, up and down, in the past, the present, and thefuture.This I discovered, not at once, but gradually. She would emit a streamof sounds in the trance state--I can hardly call it _speech_,somurmurous, yet guttural, was the utterance, mixed with puffybreath-sounds at the languid lips. This state was accompanied by anintense contraction of the pupils, absence of the knee-jerk,considerable rigor, and arapt and arrant expression. I got into thehabit of sitting long hours at her bed-side, quite fascinated by her,trying to catch the import of that opiate and visionary language whichcame puffing and fluttering in deliberatemonotone from her lips.Gradually, in the course of months, my ear learned to detect the words;\"the veil was rent\" for me also; and I was able to follow somewhat thecourse of her musing and wandering spirit.At theend of six months I heard her one day repeat some words whichwere familiar to me. They were these: \"Such were the arts by which theRomans extended their conquests, and attained the palm of victory; andtheconcurring testimony of different authors enables us to describethem with precision...\" I was startled: they are part of Gibbon's\"Decline and Fall,\" which I easily guessed that she had never read.I said in a stern voice:\"Where are you?\"She replied, \"Us are in a room, eight hundred and eleven miles above. Aman is writing. Us are reading.\"I may tell you two things: first, that in trance she never spoke ofherself as \"I,\" nor even as \"we,\"but, for some unknown reason, in the_objective_ way, as \"_us_\": \"us are,\" she would say--\"us will,\" \"uswent\"; though, of course, she was an educated lady, and I don't thinkever lived in the West of England, wherethey say \"us\" in that way;secondly, when wandering in the past, she always represented herself asbeing \"_above_\" (the earth?), and higher the further back in time shewent; in describing present events she appears tohave felt herself _on_(the earth); while, as regards the future, she invariably declared that\"_us_\" were so many miles \"within\" (the earth).To her excursions in this last direction, however, there seemed to existcertainfixed limits: I say seemed, for I cannot be sure, and only meanthat, in spite of my efforts, she never, in fact, went far in thisdirection. Three, four thousand \"miles\" were common figures on her lipsin describing herdistance \"above\"; but her distance \"within\" never gotbeyond sixty-three. Usually, she would say twenty, twenty-five. Sheappeared, in relation to the future, to resemble a diver in the deepsea, who, the deeper hestrives, finds a more resistant pressure, till,at no great depth, resistance becomes prohibition, and he can no furtherstrive.'I am afraid I can't go on: though I had a good deal to tell you aboutthis lady. During fifteenyears, off and on, I sat listening by her dimbed-side to her murmuring trances! At last my expert ear could detectthe sense of her faintest sigh. I heard the \"Decline and Fall\" frombeginning to end. Some of her reportswere the most frivolous nonsense:over others I have hung in a horror of interest. Certainly, my friend, Ihave heard some amazing words proceed from those wan lips of MaryWilson. Sometimes I could hitch herrepeatedly to any scene or subjectthat I chose by the mere exercise of my will; at others, the flightywaywardness of her spirit eluded and baffled me: she resisted--shedisobeyed: otherwise I might have sent you, notfour note-books, buttwenty, or forty. About the fifth year it struck me that it would bewell to jot down her more connected utterances, since I knew shorthand.The note-book marked \"I.,\" [1] which seems to me themost curious,belongs to the seventh year. Its history, like those of the other three,is this: I heard her one afternoon murmuring in the intonation used when_reading_; the matter interested me; I asked her where shewas. Shereplied: \"Us are forty-five miles within: us read, and another writes\";from which I concluded that she was some fifteen to thirty years in thefuture, perusing an as yet unpublished work. After that, duringsomeweeks, I managed to keep her to the same subject, and finally, I fancy,won pretty well the whole work. I believe you would find it striking,and hope you will be able to read my notes.'But no more of Mary Wilsonnow. Rather let us think a little of A.L.Browne, F.R.C.P.!--with a breathing-tube in his trachea, and Eternityunder his pillow...' [Dr. Browne's letter then continues on a subject ofno interest here.][The present writer mayadd that Dr. Browne's prognosis of his own caseproved correct, for he passed away two days after writing the above. Mytranscription of the shorthand book marked 'III.' I now proceed to givewithout comment, merelyreminding the reader that the words form thesubstance of a book or document to be written, or to be motived(according to Miss Wilson) in that Future, which, no less than the Past,substantively exists in thePresent--though, like the Past, we see itnot. I need only add that the title, division into paragraphs, &c., havebeen arbitrarily contrived by myself for the sake of form andconvenience.][Footnote 1: This I intend topublish under the title of 'The LastMiracle; 'II.' will bear that of 'The Lord of the Sea'; the present bookis marked 'III.' The perusal of 'IV.' I have yet finished, but so far donot consider it suitable for publication.](_Herebegins the note-book marked 'III.'_)THE PURPLE CLOUDWell, the memory seems to be getting rather impaired now, rather weak.What, for instance, was the name of that parson who preached, justbefore the _Boreal_set out, about the wickedness of any further attemptto reach the North Pole? I have forgotten! Yet four years ago it wasfamiliar to me as my own name.Things which took place before the voyage seem to be getting alittlecloudy in the memory now. I have sat here, in the loggia of this Cornishvilla, to write down some sort of account of what has happened--Godknows why, since no eye can ever read it--and at the very beginningIcannot remember the parson's name.He was a strange sort of man surely, a Scotchman from Ayrshire, big andgaunt, with tawny hair. He used to go about London streets in shoughand rough-spun clothes, a plaid flungfrom one shoulder. Once I saw himin Holborn with his rather wild stalk, frowning and muttering tohimself. He had no sooner come to London, and opened chapel (I think inFetter Lane), than the little room began to becrowded; and when, someyears afterwards, he moved to a big establishment in Kensington, allsorts of men, even from America and Australia, flocked to hear thethunderstorms that he talked, though certainly it wasnot an age apt tofly into enthusiasms over that species of pulpit prophets andprophecies. But this particular man undoubtedly did wake the strong darkfeelings that sleep in the heart; his eyes were very singularandpowerful; his voice from a whisper ran gathering, like snow-balls, andcrashed, as I have heard the pack-ice in commotion far yonder in theNorth; while his gestures were as uncouth and gawky as some wild man'softhe primitive ages.Well, this man--what _was_ his name?--Macintosh? Mackay? I think--yes,that was it! _Mackay_. Mackay saw fit to take offence at the new attemptto reach the Pole in the _Boreal_; and for threeSundays, when thepreparations were nearing completion, stormed against it at Kensington.The excitement of the world with regard to the North Pole had at thisdate reached a pitch which can only be described as_fevered_, thoughthat word hardly expresses the strange ecstasy and unrest whichprevailed: for the abstract interest which mankind, in mere desire forknowledge, had always felt in this unknown region, was now,suddenly, athousand and a thousand times intensified by a new, concrete interest--atremendous _money_ interest.And the new zeal had ceased to be healthy in its tone as the old zealwas: for now the fierce demonMammon was making his voice heard in thismatter.Within the ten years preceding the _Boreal_ expedition, no less thantwenty-seven expeditions had set out, and failed.The secret of this new rage lay in the last willand testament of Mr.Charles P. Stickney of Chicago, that king of faddists, supposed to bethe richest individual who ever lived: he, just ten years before the_Boreal_ undertaking, had died, bequeathing 175 milliondollars to theman, of whatever nationality, who first reached the Pole.Such was the actual wording of the will--_'the man who first reached'_:and from this loose method of designating the person intendedhadimmediately burst forth a prolonged heat of controversy in Europe andAmerica as to whether or no the testator meant _the Chief_ of the firstexpedition which reached: but it was finally decided, on the highestlegalauthority, that, in any case, the actual wording of the documentheld good: and that it was the individual, whatever his station in theexpedition, whose foot first reached the 90th degree of north latitude,who would havetitle to the fortune.At all events, the public ferment had risen, as I say, to a pitch ofpositive fever; and as to the _Boreal_ in particular, the daily progressof her preparations was minutely discussed in the newspapers,everyonewas an authority on her fitting, and she was in every mouth a bet, ahope, a jest, or a sneer: for now, at last, it was felt that success wasprobable. So this Mackay had an acutely interested audience, ifasomewhat startled, and a somewhat cynical, one.A truly lion-hearted man this must have been, after all, to dareproclaim a point-of-view so at variance with the spirit of his age! Oneagainst four hundred millions, theybent one way, he the opposite,saying that they were wrong, all wrong! People used to call him 'Johnthe Baptist Redivivus': and without doubt he did suggest something ofthat sort. I suppose that at the time when hehad the face to denouncethe _Boreal_ there was not a sovereign on any throne in Europe who, butfor shame, would have been glad of a subordinate post on board.On the third Sunday night of his denunciation I wasthere in thatKensington chapel, and I heard him. And the wild talk he talked! Heseemed like a man delirious with inspiration.The people sat quite spell-bound, while Mackay's prophesying voiceranged up and downthrough all the modulations of thunder, from thehurrying mutter to the reverberant shock and climax: and those who cameto scoff remained to wonder.Put simply, what he said was this: That there was undoubtedlysome sortof Fate, or Doom, connected with the Poles of the earth in reference tothe human race: that man's continued failure, in spite of continualefforts, to reach them, abundantly and super-abundantly proved this;andthat this failure constituted a lesson--_and a warning_--which the racedisregarded at its peril.The North Pole, he said, was not so very far away, and the difficultiesin the way of reaching it were not, on the face ofthem, so very great:human ingenuity had achieved a thousand things a thousand times moredifficult; yet in spite of over half-a-dozen well-planned efforts inthe nineteenth century, and thirty-one in the twentieth, manhad neverreached: always he had been baulked, baulked, by some seemingchance--some restraining Hand: and herein lay the lesson--_herein thewarning_. Wonderfully--really _wonderfully_--like the TreeofKnowledge in Eden, he said, was that Pole: all the rest of earth lyingopen and offered to man--but _That_ persistently veiled and 'forbidden.'It was as when a father lays a hand upon his son, with: 'Not here, mychild;wheresoever you will--but not here.'But human beings, he said, were free agents, with power to stop theirears, and turn a callous consciousness to the whispers and warningindications of Heaven; and he believed, hesaid, that the time was nowcome when man would find it absolutely in his power to stand on that90th of latitude, and plant an impious right foot on the head of theearth--just as it had been given into the absolutepower of Adam tostretch an impious right hand, and pluck of the Fruit of Knowledge; but,said he--his voice pealing now into one long proclamation of awfulaugury--just as the abuse of that power had been followed inthe onecase by catastrophe swift and universal, so, in the other, he warned theentire race to look out thenceforth for nothing from God but a loweringsky, and thundery weather.The man's frantic earnestness,authoritative voice, and savage gestures,could not but have their effect upon all; as for me, I declare, I sat asthough a messenger from Heaven addressed me. But I believe that I hadnot yet reached home, when thewhole impression of the discourse hadpassed from me like water from a duck's back. The Prophet in thetwentieth century was not a success. John Baptist himself, camel-skinand all, would, have met with only tolerantshrugs. I dismissed Mackayfrom my mind with the thought: 'He is behind his age, I suppose.'But haven't I thought differently of Mackay since, my God...?       *       *       *       *       *Three weeks--it was aboutthat--before that Sunday night discourse, Iwas visited by Clark, the chief of the coming expedition--a mere visitof friendship. I had then been established about a year at No. II,Harley Street, and, though undertwenty-five, had, I suppose, as _élite_a practice as any doctor in Europe._Ã\u0000lite_--but small. I was able to maintain my state, and move among thegreat: but now and again I would feel the secret pinch"}
+{"doc_id":"doc_2","qid":"","text":"<html><head><title>Basic Instinct Script at IMSDb.</title><meta name=\"description\" content=\"Basic Instinct script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Basic Instinct script,Basic Instinct movie script, Basic Instinct film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\"rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><HTML><HEAD><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>Basic Instinct - byJoe Eszterhas</title><BODY><pre>                                  BASIC INSTINCT                                        by<b>                                  JOE ESZTERHAS</b><b>           </b><b>          INT. A BEDROOM -NIGHT</b>          It is dark; we don't see clearly.  a man and woman make love           on a brass bed.  There are mirrors on the walls and ceiling.            On a side table, atop a small mirror, lines ofcocaine.  A           tape deck PLAYS the Stones \"Sympathy for the Devil.\"          Atop him... she straddles his chest... her breasts in his face.            He cups her breasts.  She leans down, kisses him...          JOHNNYBOZ is in his late 40's, slim, good-looking.  We don't           see the woman's face.  She has long blonde hair.  The CAMERA           STAYS BEHIND and to the side of them.          She leans close over his face, her tonguein his mouth...  she           kisses him... she moves her hands up, holds both of his arms           above his head.          She moves higher atop him... she reaches to the side of the           bed... a white silk scarf is in herhand... her hips above his           face now, moving... slightly, oh-so slightly... his face strains           towards her.          The scarf in her hand... she ties his hands with it...            gently... to the brass bed... his eyesare closed...  tighter...           lowering hips into his face... lower... over his chest... his           navel.  The SONG plays.          He is inside her... his head arches back... his throat white.          She arches her back... herhips grind... her breasts are high...          Her back arches back... back... her head tilts back... she           extends her arms... the right arm comes down suddenly...  the           steel flashes... his throat iswhite...          He bucks, writhes, bucks, convulses...          It flashes up... it flashes down... and up... and down...  and           up... and...<b>          EXT. A BROWNSTONE IN PACIFIC HEIGHTS -MORNING</b>          Winter in San Francisco cold, foggy.  Cop cars everywhere.            The lights play through the thick fog.  Two Homicide detectives           get out of the car, walk into the house.          NICKCURRAN is 42.  Trim, good-looking, a nice suit; a face           urban, edged, shadowed.  GUS MORAN is 64.  Crew-cut, silver           beard, a suit rumpled and shiny, a hat out of the 50'sa face           worn and ruinedthe face of a backwoods philosopher.<b>          INT. THE BROWNSTONE</b>          There's money here -- deco, clean, hip -- That looks like a           Picasso on the wall.  They check itout.<b>                                    GUS</b>                        Who was this fuckin' guy?<b>                                    NICK</b>                        Rock and roll, Gus.  JohnnyBoz.<b>                                    GUS</b>                        I never heard of him.<b>                                    NICK</b>                               (grins)                        Before your time, pop.                               (abeat)                        Mid-sixties.  Five or six hits.                        He's got a club down in the Fillmore                         now.<b>                                    GUS</b>                        Not now he don't.          Past theuniformed guys... nods... waves... past the forensic           men... past the coroner's investigators... they get to the           bedroom.<b>          INT. THE BEDROOM</b>          They walk in, stare -- it'smessy.          It's like a convention in here.  LT. PHIL WALKER, in his 50's,           silver-haired, the Homicide guys; JIM HARRIGAN, late 40's,           puffy, affable;  SAM ANDREWS, 30's, black.  A CORONER'S MANis           working the bed.<b>                                    LT. WALKER</b>                               (to Nick and Gus)                        You guys know Captain Talcott?          Theynod.<b>                                    GUS</b>                        What's the Chief's office doin'                         here.<b>                                    CAPT.TALCOTT</b>                        Observing.<b>                                    LT. WALKER</b>                               (to the Coroner's                                Guy)                        What do you think,Doc?<b>                                    THE CORONER'S GUY</b>                        The skin blanches when I press it --                        this kind of color is about right                         for six or eighthours.<b>                                    LT. WALKER</b>                        Nobody say anything.  The maid                         came in an hour ago and found him.                        She's not alive-in.<b>                                    GUS</b>                        Maybe the maid did it.<b>                                    LT. WALKER</b>                        She's 54 years old and weighs240                         pounds.<b>                                    THE CORONER'S GUY</b>                               (deadpan)                        There are no bruises on hisbody.<b>                                    GUS</b>                               (grins)                        It ain't the maid.<b>                                    LT. WALKER</b>                        He left the club with hisgirlfriend                         about midnight.  That's the last                         time anybody saw him.<b>                                    NICK</b>                               (looks at body)                        What wasit?<b>                                    THE CORONER'S GUY</b>                        Ice pick.  Left on the coffee table                         in the living room.  Thin steel                         handle.  Forensics took itdowntown.<b>                                    HARRIGAN</b>                        There's come all over the sheets --                        he got off before he gotoffed.<b>                                    GUS</b>                               (deadpan)                        That rules the maid out for sure.<b>                                    CAPT. TALCOTT</b>                        This is sensitive.  Mr.Boz was a                         major contributor to the mayor's                         campaign.  He was Chairman of the                         Board of the Palace of Fine Arts--<b>                                    GUS</b>                               (to Nick)                        I thought you said he was a rock                         and roll star.<b>                                    LT. WALKER</b>                        Hewas a retired rock and roll                         star.<b>                                    CAPT. TALCOTT</b>                        A civic-minded, very respectable                         rock and rollstar.<b>                                    GUS</b>                        What's that over there?          We see the white powder laid out in lines on the small mirror           on the sidetable.<b>                                    NICK</b>                               (deadpan)                        It looks like some civic-minded,                         very respectable cocaine tome,                         Gus.<b>                                    CAPT. TALCOTT</b>                               (evenly, to Nick)                        Listen to me, Curran.  I'm going                         to get a lot of heat onthis.  I                         don't want any... mistakes.          Nick and Talcott look at each other a beat, then --<b>                                    NICK</b>                        Who's the girlfriend?          Lt. Walker looks at thenotepad in his hand.<b>                                    LT. WALKER</b>                        Catherine Tramell, 162 Divisadero.          Nick writes it down.  He and Gus turn, leave.  Captain Talcott           watches them.  Helooks disturbed.<b>          INT. THE LIVING ROOM</b>          As they head out --<b>                                    NICK</b>                        Talcott doesn't usually show up at                         the office 'till after his 18holes.                          What are they nervous about?<b>                                    GUS</b>                        They're executives.  They're nervous                         about everything.<b>                                    LT.WALKER</b>                        Nick!          He stops, turns, sees Walker behind them.  Walker comes up to           them.<b>                                    LT. WALKER</b>                               (toNick)                        Keep your three o'clock.<b>                                    NICK</b>                        Do you want me to work the case,                         Phil, or do you want me to --<b>                                    LT.WALKER</b>                        I said keep it.<b>          EXT. A VICTORIAN ON DIVISADERO - DAY</b>          It is more a mansion than a house.  They ring the bell.  An           Hispanic MAID answers.  They flash theirbadges.<b>                                    NICK</b>                        I'm Detective Curran, this is                         Detective Moran.  We're with the                         San Francisco Police Department.          We'd like tospeak to Ms. Catherine Tramell.<b>                                    THE MAID</b>                               (after a beat, an                                accent)                        Just moment.  Come in.          She leads them into alavish, beautifully done living room           that offers a sweeping view of the Bay.<b>                                    THE MAID</b>                        Sit, please.  Just moment.          They look around, impressed.  There is aPicasso on the wall           here, too.<b>                                    GUS</b>                        Ain't that cute?  They got his and                         her Pig-assos,son.<b>                                    NICK</b>                               (smiles)                        I didn't know you knew who Picasso                         was,Gus.<b>                                    GUS</b>                               (grins)                        I'm a smart sonofabitch.  I just                         hide it.          Nick smiles -- and at that moment a beautiful BLONDEwalks           into the room.  She looks like she has been asleep.  She is in           her early 20's.  She wears a very sheer robe.<b>                                    NICK</b>                        We're sorry to disturb you,we'd                         like to ask you some --<b>                                    THE WOMAN</b>                        Are you vice?<b>                                    GUS</b>                               (after abeat)                        Homicide.<b>                                    THE WOMAN</b>                        What do you want?<b>                                    GUS</b>                        When was the last time yousaw                         John Boz? <b>                                    THE WOMAN</b>                        Is he dead?<b>                                    NICK</b>                               (after a beat)                        Why do you thinkhe's dead?<b>                                    THE WOMAN</b>                        You wouldn't be here otherwise,                         would you?<b>                                    GUS</b>                        Were you with him lastnight?<b>                                    THE WOMAN</b>                        You're looking for Catherine, not                         me.<b>                                    NICK</b>                        Who are"}
+{"doc_id":"doc_3","qid":"","text":"<html><head><title>Minority Report Script at IMSDb.</title><meta name=\"description\" content=\"Minority Report script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Minority Reportscript, Minority Report movie script, Minority Report film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX,FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><HTML><HEAD><TITLE>\"MINORITY REPORT\" -- Aug 15th 1997 rewrite by Jon Cohen</TITLE><b></HEAD></b><PRE><FONTface=\"Courier, Courier New, Times, Arial, Helvetica\" size=-1><b>               \"MINORITY REPORT\" </b>               -- Aug 15th 1997 rewrite by Jon Cohen<b>               DARKNESS</b>               And then, slowlyemerging from the mists of darkness, a pale,               beautifully proportioned FACE.               The oval face is female, a woman of indeterminate age, her               features as fragile as porcelain.  Her eyes are closedin               sleep, or in death ... or in something in between.               Now TWO MORE FACES emerge out of the darkness.  They are               male, and they float into position on either side ofthe               female.  They are just as ethereally beautiful, just as pale,               and like the female their eyes are closed.               The ghostly lips of the female begin to twitch.  Her features,               which havebeen expressionless, suddenly contort, mask-like,               into the face of a woman in fear.  Her eyes open.               The male face on her right contorts too.  His features warp               into an angry snarl -- themask of a man enraged.  His eyes               open.               The male face on her left takes on the expression of a young               boy, a boy who is terribly frightened.  His eyes open wide.               As if they are lostin the same terrible waking dream, a               sudden and unnerving exchange begins ...<b>                                     FEMALE</b>                              (frightened woman)<b>                         JOHNNY,PLEASE</b><b>                                     </b><b>                      MALE RIGHT</b>                              (mocking man)                         \"Johnny, please.  Johnnyplease.\"<b>                                     FEMALE</b>                         You're scaring me.<b>                                     MALE LEFT</b>                              (child's voice)<b>                         DADDY, DON'T.DADDY</b><b>                      MALE RIGHT</b>                              (considering)                         I don't like you any more,Carol.<b>                                     FEMALE</b>                              (imploring)                         Put the scissors down.  You're<U>scaring</u>                         <u>me</U>.  <U>Please.</U><b>                                     MALE RIGHT</b>                         Oh, Carol.<b>                                     FEMALE</b>                         Johnny!  Stop!<b>-----------------------------------------------------------------------------------------------------</b><b>                                                                         2.</b><b>                                     MALERIGHT</b>                         Don't grab at me!  Let<b>                                     MALE LEFT</b>                         Daddy!  No!               All we see are three faces on the screen mouthing words but               we canimagine a terrible struggle taking place before us: a               man with scissors lunging at his wife, her anguished scream,               the whimpering cries of their son.               And then there is silence, and it is over,and the three               faces instantly return to their impassive porcelain state.               Their eyes slowly close.  They do not move.               So that when they do move again, it is startling.  Inabrupt               unison, the EYES flash open.  Three pairs of eyes stare               straight at us, accusing.               Three mouths open, but speak, in rasping tones, as one.<b>                                     ALLTHREE</b>                         Murderer!               The faces linger a moment, the weary eyes slowly close, and               the dark reaches forth, and takesthem.<b>                                                               DISSOLVE TO:</b><b>               EXT. SUBURBIA  DAY</b>               Morning in America.  Just look at it.  America in the               midfifties, the suburbanlandscape stretching endlessly into               the sun drenched distance.  White house upon white house.               Emerald lawns, glistening with dew.               In each driveway, a big Chevy, or a Ford, muscled withchrome,               long tailfins that taper like the fins on rocket ships.               Kids burst out of the houses, and zoom down sidewalks on               trikes.  Mothers in bright dresses stand indoorways,               watching.  The smiling mothers wave to one another, then go               back into their houses.               Dogs bark, birds sing in trees of just the right height,               boys and girls laugh and ringthe bells on their trikes.  It               is a delicious world, where dogs and birds and children are               safe.<b>               INT. A HOUSE</b>               A family room with all the trappings of the era: aflagstone               fireplace, a console TV, a man's leatherette Barca-Lounger,               a pipe stand holding two pipes on a nearby table, boxes of               children's games neatly stacked on a wallshelf.<b>-----------------------------------------------------------------------------------------------------</b><b>                                                                         3.</b>               A young mother, CAROL, her hair -in apony-tail, stands at a               picture window in a corner of the family room, staring mildly               at the scene outside.<b>               CAROL'S POV - A LITTLE GIRL</b>               A little girl bounces a red ball onthe sidewalk.  The ball               gets away from her, and rolls into the street.               At the same moment, a two-toned CHEVY, lush and huge, rounds               the corner.               The girl sees the car coming, butstill goes after the ball.<b>               THE FAMILY ROOM</b>               Carol sees what is about to happen -- but she doesn't cry               out, or bang on the window, or run for the frontdoor.  She               watches.  And smiles a little.<b>               OUTSIDE</b>               The girl careens gleefully into the middle of the street.<b>               INSIDE THE CHEVY</b>               The driver -- a man in aloose fitting dark green suit, white               shirt, thin brown tie -- sits behind the steering wheel of               the car.               Disturbingly, the man's hands are not on the steering wheel.               Not only that, he isholding the morning newspaper up in               front of him, reading, oblivious to the scene before him.               Through the windshield, we see the little girl in the road               in front of him, going for herball.               CAROL Watches, her smile in place.<b>        OUTSIDE </b>        The little girl picks up her red ball, as the Chevy bears        down on her.<b>               INSIDE THE CHEVY</b>               An alarmsuddenly CHIRPS.  The car automatically brakes to a               halt.  The man looks around the edge of his paper to see               what is happening.<b>               THE STREET</b>               The car has stopped,inches from the girl.               The girl giggles as, the man in the car gives her a big wink.               She waves, then runs back to the sidewalk with her redball.<b>-----------------------------------------------------------------------------------------------------</b><b>                                                                         4.</b>               The man goes back to his newspaper,and the car, entirely on               its own, starts up again.  The car rounds a corner, and               disappears.<b>               INSIDE THE HOUSE</b>               Carol turns away from the window.  She startles whenshe               sees her husband, JOHNNY, is there behind her.  He is in his               pajamas.  How long has he been there, watchingher?<b>                                     JOHNNY</b>                              (gruff)                         Why'd you let me sleep so long?<b>                                     CAROL</b>                         It's Saturday, Johnny, youalways --                              (beat)                         Why are you staring at me like that?               He takes a step toward her.  He stands there, his thick black               hair tousled with sleep, scratching his stubbledjaw,               considering her.<b>                                     JOHNNY</b>                         I'm unhappy that you let me sleep so                         long.               He takes another step toward her.  She doesn't move amuscle.               A little BOY suddenly enters the room.  Johnny turns, looks               at his son, looks back over his shoulder at his wife.  Then,               without a word, he begins to walk out of the room.  Onhis               way out, Johnny's eyes flick to Carol's sewing basket, which               sits beside a sewing machine.  It is not the sewing that has               caught his attention, but a large pair of garmentSCISSORS               which lie across a fold of colored cloth.<b>               EXT. THE HOUSE -- MOMENTS LATER</b>               Johnny stands on the front porch, scratching.  He walks down               his front walk, andbends over to pick up the newspaper.               Carol stands in the doorway, watching him.               A SHADOW slides over Johnny, cast from above.  The air fills               with the piercing WHINE of anengine.  Johnny looks up,               alarmed.               In the sky above him, just beyond the tips of the suburban               trees, is a black PRECRIME POLICE HOVERCRAFT.               The children, the mothers, Carolin the doorway -- everyone               freezes in place, as Johnny is cast into an inexplicable               drama.               Racing SOUNDLESSLY down the street toward him, are SLEEK               TECHNOLOGICALMARVELS, lethal and efficient looking -- they               seem to be cars -- but they are so different from the fat               Fords and Chevies in the driveways that it is hard for us to               processthem.<b>-----------------------------------------------------------------------------------------------------</b><b>                                                                         5.</b>               Helmeted police with mirrored visorserupt out of the cars.               More police drop from the hovercraft in harnesses.  Their               uniforms are black, seem actually to absorb light.  Their               left hands are bare, their right hands are encased insome               sort of complicated glove.<b>               CLOSE</b><b>               ON - A GLOVE</b>               The glove is a weapon of some kind, the elongated index finger               ending in an openbarrel.               Clearly, this is not, as it first seemed, the past -- not               America in the 1950's.  It is the neo-past, the retro world               of America 2040, where the familiar of yesterdayis               intermeshed with hypertechnology.               And all of that hypertechnology is focused on JOHNNY, as he               makes a run for the house, sheets of newspaper scattering               behind him.  Hebursts up the front porch, shoving Carol out               of the way.               Eight Precrime police officers assemble in the yard. From a               backpack, one of them quickly removes an instrument witha               handle grip and an ovoid screen.  It is a holographic scanner.               He activates it, scans the OFFICER in front of him, and an               IDENTICAL POLICE OFFICER takes three-dimensional"}
+{"doc_id":"doc_4","qid":"","text":"<html><head><title>Dry White Season, A Script at IMSDb.</title><meta name=\"description\" content=\"Dry White Season, A script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"DryWhite Season, A script, Dry White Season, A movie script, Dry White Season, A film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\"content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ?'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie ScriptDatabase\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <scripttype=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>A DRY WHITE SEASON       Rewrite by<b>      EUZHAN PALCY</b>         May 1987   Revised First Draft<b>   FOREDUCATIONAL</b><b>    PURPOSES ONLY</b><b></b><b>\"IN THE WHOLE WORLD</b><b>THERE IS NOT A SINGLE</b><b>POOR DEVIL WHO IS LYNCHED,</b><b>NOT ONE MISERABLE MAN</b><b>WHO ISTORTURED IN WHOM</b><b>I TOO, I AM NOT MURDERED</b><b>AND DEGRADED.\"</b>      Aime Cesaire<b></b><b>PRE-TITLE:</b><b>FADE IN:</b><b>EXT. DAN PIENAAR SECONDARY SCHOOL FOR BOYS- DAY</b>Dan Pienaar school is a typical Johannesburg Afrikaanschool. The students are mainly from middle-classfamilies. School athletics are in progress. The stu-dents, in their smart school uniforms, arecheeringenthusiastically a relay race on the immaculately-keptsports ground.GORDON NGUBENE, a 47-years-old African laborer is work-ing in the school garden. A few feet away is his 15-years-old son JONATHANleaning against a wall watchingthe games.BEN DU TOIT, a 50-year-old Afrikaaner history teacher, isenthusiastically cheering his son JOHAN, a 15-years-old,who is leading neck-and-neck with another boy in the lastlegof the race. The excitement increases as theyapproach the tape. Ben is beside himself, egging his sonwith shouts. The young teacher, VIVIERS, standing nextto Ben, is shouting \"come on Johan,\" and slapping thefatheron the back.Johan breasts the tape just ahead of the other boy. Theground is invaded by boys running to congratulate Johan.Ben hurries towards his happy but exhausted son; the proudfather pushing his way throughthe animated boys. As hereaches Johan he pats him on the back.<b>                           BEN</b>             This was your best race.<b>                           JOHAN</b>                    (excited)             I beat him,Papa.<b>                           BEN</b>                    (proudly)             You did son. Come on, shower.They walk happily towards the school buildings in conver-sation, Johan being slapped on the back by friends.Benstops to talk to Gordon who jumps to his feet.<b>                         BEN</b>           I'll be expecting you. There           isn't much to do, only weeding           the marigolds and watering the           lawn andflowers.<b>                                             (CONTINUED)</b><b></b><b>                                                         2.</b><b>CONTINUED:</b><b>                           GORDON</b>             We'll be there, Mr.Ben'sir,             Jonathan come to help me.Ben hadn't seen Jonathan.    He turns to him.<b>                           BEN</b>             And how's the algebra?   Still             giving youtrouble?<b>                           JONATHAN</b>                    (with respect)             Just a little, Mr. Ben'sir.<b>                          JOHAN</b>             Metoo.<b>                           GORDON</b>                    (straightening himself)             He's working hard, Mr. Ben'sir,             and your money will not be             wasted. Emily and me will always             thankyou.<b>                           BEN</b>                    (as he leaves)             See you both later.Gordon returns to his work a little distance further. Agroup of students are laughing and pushing each otherboisterously. Asthey near Jonathan, two nudge eachother and giggle. Then, one of them trips Jonathan. Hefalls to the ground and jumps up aggressively, about toattack the boy. Gordon shouts \"Jonathan.\"The headmaster, MRS.CLOETE, aged 65 years, has observedthe incident, but takes no action.Jonathan stands panting with rage.       He suddenly stridesaway towards the gate in arage.<b>                           GORDON</b>                    (shouting angrily)             U ya phi?             (Where are you going?)Jonathan turns to look at his father and continues towalk off.<b>TITLES.</b><b>EXT.SOWETO BEER HALL - AFTERNOON</b>The beer hall is a large complex with a drinking areawith long rows of lowbenches.<b>                                           (CONTINUED)</b><b></b><b>                                                      3.</b><b>CONTINUED:</b>Men sit drinking African beer in one-half and one gallonplasticscontainers. The place buzzes with noise.Several people are touting wares for sale.Suddenly a group of about twenty youths walks into thedrinking area, obviously to cause trouble. The LEADERstarts to address theclients.<b>                           LEADER</b>             Your children are starving and you             are drinking. We demand freedom             and our fathers are drunk. We ask             you to boycott these beerhalls.             Revolution and drink don't work             together!A large MAN WITH SIDEBURNS, obviously drunk, stands up, astick in his hand.<b>                           MAN WITH SIDEBURNS</b>             Since whendo children talk like             this to their fathers? They need             thrashing.The man and several others advance on the boys. The boysrun into the serving area, close the doors and startbreaking up the place. Twopolice Land Rovers SCREECH toa halt outside. The boys run out through a side en-trance. They are chased by the police who are black.Jonathan and his best friend Wellington, also 15 years,are walking towards the beerhall when the boys comerunning out chased by the police. It is prudent forthem to run down the street. The boys and police arebearing down on them. Their escape is cut off by theapperance of another police LandRover. Two policemen,two blacks and two whites join in the capture. Jonathan,Wellington and about ten of the boys are arrested.As they are hundled into the vehicle, they protest theirinnocence without success and aredriven away.<b>INT. SOWETO POLICE STATION - CHARGE OFFICE - AFTERNOON</b>The charge office is sparcely furnished with a long benchalong a wall. There is a reception counter with Sgt:Van Zyl in charge. Theboys are lined up against a wall.The sergeant stands with a tall blond man with a scar onhis chin, CAPTAINSTOLZ.<b>                                             (CONTINUED)</b><b></b><b>                                                       4.</b><b>CONTINUED:</b>The sergeant reads out a name and    looks at Stolz; if henods the boystands aside. After     this ritual, the onesthat Stolz has chosen are marched    to a waiting police vanand driven away. The others are     taken to the cells atthe police station, these include    JonathanandWellington.<b>EXT. DUTCH REFORM CHURCH - DAY</b>The MUSIC STOPS. The doors open. The 40 years-old-minister Bester comes to the door, then stands and greetshis parishioners as they file out of thechurch.Amongst them, Ben Du Toit -- his wife, SUSAN, a clean-cut, immaculate, \"toe-the-line\" beauty and his son, Johan-- the blond, blue-eyed, tanned and torsoed fourteen-year-old every father dreams of. Susangreets friendsand acquaintances, pausing to chat... mostly formalities.Johan, his eyes on a girl his age. She is with herfather, Mr. Cloete, the headmaster -- she smiles at Johanfrom a distance; he waves awkwardly asshe drives offwith her parents.SUZETTE his daughter, sophisticated -- groomed. Shetakes her baby from the black nanny waiting in the car,carries the child to the group chatting with CHRIS, herhusband. She shows itoff proudly. Ben is chatting,concerned, to a WOMAN. She looks drawn and worried.<b>                           MRS. COETZEE (WOMAN)</b>             He won't come to church. He lies             in bed all day, listening tohis             headphones.<b>                           BEN</b>             I wondered why he wasn't at             school. Would it help if I came             to see him? He's always seemed a             good kid tome.<b>                           MRS. COETZEE</b>             Oh, would you?<b>                          BEN</b>             Of course. I'll phone and we can             fix a time.Mrs. Coetzee smiles hergratitude.<b>                           SUSAN</b>             Ben!   Ben!She's waving impatiently at him.     He crosses back to her.Suzette's BABY isHOWLING.<b>                                             (CONTINUED)</b><b></b><b>                                                        5.</b><b>CONTINUED:</b>She rocks it back and forth, holding it at arm's length.The BABYSCREAMS. The nanny comes forward -- Suzettehands it over.<b>                             SUSAN</b>             Mrs. Coetzee.    She looked worried.<b>                           BEN</b>             She's having trouble with herboy.             He won't come to school.<b>                           SUSAN</b>             So you said you'd have a word with             him?<b>                             BEN</b>             Yes!She smiles and walks him to the caraffectionately.<b>EXT. BEN'S HOUSE - BARBECUE - DAY</b>The Du Toit family.Susan is bringing out the salads. Chris, her son-in-law,is at the barbecue, stinging his eyes. Ben is bouncinghis grandson, little Hennie, ina small, portable pool.The black nanny sits in attendance in the shade, a towelat the ready. The good life...... Suddenly disturbed by... Gordon and Jonathan standinguncertain at the far side of the garden; Gordon'shatpressed flat against his chest, Jonathan defiant.Susan looks up -- as do each in turn -- curious at theintrusion... then the black nanny -- and finally Ben.After a moment, Ben walks up toGordon.<b>                            BEN</b>             Gordon!   What are you doing here?<b>INT. BEN'S KITCHEN - DAY</b>Six cuts, like six knife gashes, revealed on the blood-stained buttocks of Gordon's son, whostands in painful,truculent embarrassment.Ben is shocked by the severity of the canning.<b>                           GORDON</b>             That's not why I'm complaining,             Mister Ben, sir. If he didwrong,             I'd beat him myself. Buthe             didn't.<b>                                               (CONTINUED)</b><b></b><b>                                                           6.</b><b>CONTINUED:</b><b>                           GORDON</b>             He didnothing and they wouldn't             listen. They wouldn't believe             him.<b>                           BEN</b>             I'm sorry, Gordon.    But there             must be areason.<b>                           GORDON</b>             He says he wasn't doing anything             wrong, Mister Ben, sir. And I             believe him, I know my son! It's             aninjustice!<b>                           BEN</b>             What about the court?    Didn't he             state his case?<b>                           GORDON</b>             What does he know about court?             Before he knew, itwas all over.<b>                           BEN</b>             I don't think there is anything we             can do about it now.Outside, peering     through the half-opened door, is Johan,shocked at what     he sees. Ben tapes"}
+{"doc_id":"doc_5","qid":"","text":"The Project Gutenberg EBook of The Story of Miss Moppet, by Beatrix PotterThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-useit under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: The Story of Miss MoppetAuthor: Beatrix PotterRelease Date: January 31, 2005 [EBook#14848]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE STORY OF MISS MOPPET ***Produced by Robert Cicconetti, Melissa Er-Raqabi and the PG OnlineDistributed Proofreading Team(http://www.pgdp.net).[Illustration][Illustration]THE STORY OF MISS MOPPETBY BEATRIX POTTER_Author of \"The Tale of Peter Rabbit,\" etc_[Illustration]FREDERICK WARNEFirst published 19061906 by FrederickWarne & Co.Printed and bound in Great Britain byWilliam Clowes Limited, Beccles and London[Illustration]This is a Pussy called Miss Moppet, she thinks she has heard a mouse!This is the Mouse peeping out behind thecupboard, and making fun of MissMoppet. He is not afraid of a kitten.[Illustration][Illustration]This is Miss Moppet jumping just too late; she misses the Mouse and hitsher own head.She thinks it is a very hardcupboard![Illustration][Illustration]The Mouse watches Miss Moppet from the top of the cupboard.Miss Moppet ties up her head in a duster, and sits before the fire.[Illustration]The Mouse thinks she is looking very ill. Hecomes sliding down thebell-pull.[Illustration][Illustration]Miss Moppet looks worse and worse. The Mouse comes a little nearer.[Illustration]Miss Moppet holds her poor head in her paws, and looks at him through aholein the duster. The Mouse comes _very_ close.And then all of a sudden--Miss Moppet jumps upon the Mouse![Illustration][Illustration]And because the Mouse has teased Miss Moppet--Miss Moppet thinks she willteasethe Mouse; which is not at all nice of Miss Moppet.She ties him up in the duster, and tosses it about like a ball.[Illustration]But she forgot about that hole in the duster; and when she untiedit--there was noMouse![Illustration][Illustration]He has wriggled out and run away; and he is dancing a jig on the top ofthe cupboard!End of Project Gutenberg's The Story of Miss Moppet, by Beatrix Potter*** END OF THIS PROJECTGUTENBERG EBOOK THE STORY OF MISS MOPPET ******** This file should be named 14848.txt or 14848.zip *****This and all associated files of various formats will be foundin:        http://www.gutenberg.net/1/4/8/4/14848/Produced by Robert Cicconetti, Melissa Er-Raqabi and the PG OnlineDistributed Proofreading Team (http://www.pgdp.net).Updated editions will replace the previousone--the old editionswill be renamed.Creating the works from public domain print editions means that noone owns a United States copyright in these works, so the Foundation(and you!) can copy and distribute it in theUnited States withoutpermission and without paying copyright royalties.  Special rules,set forth in the General Terms of Use part of this license, apply tocopying and distributing Project Gutenberg-tm electronic workstoprotect the PROJECT GUTENBERG-tm concept and trademark.  ProjectGutenberg is a registered trademark, and may not be used if youcharge for the eBooks, unless you receive specific permission.  If youdo notcharge anything for copies of this eBook, complying with therules is very easy.  You may use this eBook for nearly any purposesuch as creation of derivative works, reports, performances andresearch.  They may bemodified and printed and given away--you may dopractically ANYTHING with public domain eBooks.  Redistribution issubject to the trademark license, especially commercialredistribution.*** START: FULL LICENSE***THE FULL PROJECT GUTENBERG LICENSEPLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORKTo protect the Project Gutenberg-tm mission of promoting the freedistribution of electronic works, byusing or distributing this work(or any other work associated in any way with the phrase \"ProjectGutenberg\"), you agree to comply with all the terms of the Full ProjectGutenberg-tm License (available with this file oronline athttp://gutenberg.net/license).Section 1.  General Terms of Use and Redistributing Project Gutenberg-tmelectronic works1.A.  By reading or using any part of this Project Gutenberg-tmelectronic work, youindicate that you have read, understand, agree toand accept all the terms of this license and intellectual property(trademark/copyright) agreement.  If you do not agree to abide by allthe terms of this agreement, youmust cease using and return or destroyall copies of Project Gutenberg-tm electronic works in your possession.If you paid a fee for obtaining a copy of or access to a ProjectGutenberg-tm electronic work and you do notagree to be bound by theterms of this agreement, you may obtain a refund from the person orentity to whom you paid the fee as set forth in paragraph 1.E.8.1.B.  \"Project Gutenberg\" is a registered trademark.  It mayonly beused on or associated in any way with an electronic work by people whoagree to be bound by the terms of this agreement.  There are a fewthings that you can do with most Project Gutenberg-tm electronicworkseven without complying with the full terms of this agreement.  Seeparagraph 1.C below.  There are a lot of things you can do with ProjectGutenberg-tm electronic works if you follow the terms of thisagreementand help preserve free future access to Project Gutenberg-tm electronicworks.  See paragraph 1.E below.1.C.  The Project Gutenberg Literary Archive Foundation (\"the Foundation\"or PGLAF), owns acompilation copyright in the collection of ProjectGutenberg-tm electronic works.  Nearly all the individual works in thecollection are in the public domain in the United States.  If anindividual work is in the public domainin the United States and you arelocated in the United States, we do not claim a right to prevent you fromcopying, distributing, performing, displaying or creating derivativeworks based on the work as long as allreferences to Project Gutenbergare removed.  Of course, we hope that you will support the ProjectGutenberg-tm mission of promoting free access to electronic works byfreely sharing Project Gutenberg-tm works incompliance with the terms ofthis agreement for keeping the Project Gutenberg-tm name associated withthe work.  You can easily comply with the terms of this agreement bykeeping this work in the same format withits attached full ProjectGutenberg-tm License when you share it without charge with others.1.D.  The copyright laws of the place where you are located also governwhat you can do with this work.  Copyright laws inmost countries are ina constant state of change.  If you are outside the United States, checkthe laws of your country in addition to the terms of this agreementbefore downloading, copying, displaying, performing,distributing orcreating derivative works based on this work or any other ProjectGutenberg-tm work.  The Foundation makes no representations concerningthe copyright status of any work in any country outside theUnitedStates.1.E.  Unless you have removed all references to Project Gutenberg:1.E.1.  The following sentence, with active links to, or other immediateaccess to, the full Project Gutenberg-tm License must appearprominentlywhenever any copy of a Project Gutenberg-tm work (any work on which thephrase \"Project Gutenberg\" appears, or with which the phrase \"ProjectGutenberg\" is associated) is accessed, displayed,performed, viewed,copied or distributed:This eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the ProjectGutenberg License includedwith this eBook or online at www.gutenberg.net1.E.2.  If an individual Project Gutenberg-tm electronic work is derivedfrom the public domain (does not contain a notice indicating that itisposted with permission of the copyright holder), the work can be copiedand distributed to anyone in the United States without paying any feesor charges.  If you are redistributing or providing access to a workwith thephrase \"Project Gutenberg\" associated with or appearing on thework, you must comply either with the requirements of paragraphs 1.E.1through 1.E.7 or obtain permission for the use of the work and theProjectGutenberg-tm trademark as set forth in paragraphs 1.E.8 or1.E.9.1.E.3.  If an individual Project Gutenberg-tm electronic work is postedwith the permission of the copyright holder, your use and distributionmust complywith both paragraphs 1.E.1 through 1.E.7 and any additionalterms imposed by the copyright holder.  Additional terms will be linkedto the Project Gutenberg-tm License for all works posted with thepermission of thecopyright holder found at the beginning of this work.1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tmLicense terms from this work, or any files containing a part of thiswork or any other workassociated with Project Gutenberg-tm.1.E.5.  Do not copy, display, perform, distribute or redistribute thiselectronic work, or any part of this electronic work, withoutprominently displaying the sentence set forth inparagraph 1.E.1 withactive links or immediate access to the full terms of the ProjectGutenberg-tm License.1.E.6.  You may convert to and distribute this work in any binary,compressed, marked up, nonproprietary orproprietary form, including anyword processing or hypertext form.  However, if you provide access to ordistribute copies of a Project Gutenberg-tm work in a format other than\"Plain Vanilla ASCII\" or other format usedin the official versionposted on the official Project Gutenberg-tm web site (www.gutenberg.net),you must, at no additional cost, fee or expense to the user, provide acopy, a means of exporting a copy, or a means ofobtaining a copy uponrequest, of the work in its original \"Plain Vanilla ASCII\" or otherform.  Any alternate format must include the full Project Gutenberg-tmLicense as specified in paragraph 1.E.1.1.E.7.  Do not chargea fee for access to, viewing, displaying,performing, copying or distributing any Project Gutenberg-tm worksunless you comply with paragraph 1.E.8 or 1.E.9.1.E.8.  You may charge a reasonable fee for copies of orprovidingaccess to or distributing Project Gutenberg-tm electronic works providedthat- You pay a royalty fee of 20% of the gross profits you derive from     the use of Project Gutenberg-tm works calculated using themethod     you already use to calculate your applicable taxes.  The fee is     owed to the owner of the Project Gutenberg-tm trademark, but he     has agreed to donate royalties under this paragraph to the     ProjectGutenberg Literary Archive Foundation.  Royalty payments     must be paid within 60 days following each date on which you     prepare (or are legally required to prepare) your periodic tax     returns.  Royaltypayments should be clearly marked as such and     sent to the Project Gutenberg Literary Archive Foundation at the     address specified in Section 4, \"Information about donations to     the Project Gutenberg LiteraryArchive Foundation.\"- You provide a full refund of any money paid by a user who notifies     you in writing (or by e-mail) within 30 days of receipt that s/he     does not agree to the terms of the full ProjectGutenberg-tm     License.  You must require such a user to return or     destroy all copies of the works possessed in a physical medium     and discontinue all use of and all access to other copies of     ProjectGutenberg-tm works.- You provide, in accordance with paragraph 1.F.3, a full refund of any     money paid for a work or a replacement copy, if a defect in the     electronic work is discovered and reported to you within90 days     of receipt of the work.- You comply with all other terms of this agreement for free     distribution of Project Gutenberg-tm works.1.E.9.  If you wish to charge a fee or distribute a ProjectGutenberg-tmelectronic work or group of works on different terms than are setforth in this agreement, you must obtain permission in writing fromboth the Project Gutenberg Literary Archive Foundation andMichaelHart, the owner of the Project Gutenberg-tm trademark.  Contact theFoundation as set forth in Section 3 below.1.F.1.F.1.  Project Gutenberg volunteers and employees expend considerableeffort to identify, docopyright research on, transcribe and proofreadpublic domain works in creating the Project Gutenberg-tmcollection.  Despite these efforts, Project Gutenberg-tm electronicworks, and the medium on which they may bestored, may contain\"Defects,\" such as, but not limited to, incomplete, inaccurate orcorrupt data, transcription errors, a copyright or other intellectualproperty infringement, a defective or damaged disk or other medium,acomputer virus, or computer codes that damage or cannot be read byyour equipment.1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the \"Rightof Replacement or Refund\" described in paragraph1.F.3, the ProjectGutenberg Literary Archive Foundation, the owner of the ProjectGutenberg-tm trademark, and any other party distributing a ProjectGutenberg-tm electronic work under this agreement, disclaimallliability to you for damages, costs and expenses, including legalfees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICTLIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPTTHOSEPROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THETRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BELIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT,CONSEQUENTIAL, PUNITIVE ORINCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCHDAMAGE.1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover adefect in thiselectronic work within 90 days of receiving it, you canreceive a refund of the money (if any) you paid for it by sending awritten explanation to the person you received the work from.  If youreceived the work on aphysical medium, you must return the medium withyour written explanation.  The person or entity that provided you withthe defective work may elect to provide a replacement copy in lieu of arefund.  If you receivedthe work electronically, the person or entityproviding it to you may choose to give you a second opportunity toreceive the work electronically in lieu of a refund.  If the second copyis also defective, you may demand arefund in writing without furtheropportunities to fix the problem.1.F.4.  Except for the limited right of replacement or refund set forthin paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NOOTHERWARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TOWARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.1.F.5.  Some states do not allow disclaimers of certainimpliedwarranties or the exclusion or limitation of certain types of damages.If any disclaimer or limitation set forth in this agreement violates thelaw of the state applicable to this agreement, the agreement shallbeinterpreted to make the maximum disclaimer or limitation permitted bythe applicable state law.  The invalidity or unenforceability of anyprovision of this agreement shall not void the remainingprovisions.1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, thetrademark owner, any agent or employee of the Foundation, anyoneproviding copies of Project Gutenberg-tm electronic works inaccordancewith this agreement, and any volunteers associated with the production,promotion and distribution of Project Gutenberg-tm electronic works,harmless from all liability, costs and expenses, including legalfees,that arise directly or indirectly from any of the following which you door cause to occur: (a) distribution of this or any Project Gutenberg-tmwork, (b) alteration, modification, or additions or deletions to anyProjectGutenberg-tm work, and (c) any Defect you cause.Section  2.  Information about the Mission of Project Gutenberg-tmProject Gutenberg-tm is synonymous with the free distribution ofelectronic works in formatsreadable by the widest variety of computersincluding obsolete, old, middle-aged and new computers.  It existsbecause of the efforts of hundreds of volunteers and donations frompeople in all walks of life.Volunteers andfinancial support to provide volunteers with theassistance they need, is critical to reaching Project Gutenberg-tm'sgoals and ensuring that the Project Gutenberg-tm collection willremain freely available for generationsto come.  In 2001, the ProjectGutenberg Literary Archive Foundation was created to provide a secureand permanent future for Project Gutenberg-tm and future generations.To learn more about the Project GutenbergLiterary Archive Foundationand how your efforts and donations can help, see Sections 3 and 4and the Foundation web page at http://www.pglaf.org.Section 3.  Information about the Project Gutenberg LiteraryArchiveFoundationThe Project Gutenberg Literary Archive Foundation is a non profit501(c)(3) educational corporation organized under the laws of thestate of Mississippi and granted tax exempt status by theInternalRevenue Service.  The Foundation's EIN or federal tax identificationnumber is 64-6221541.  Its 501(c)(3) letter is posted athttp://pglaf.org/fundraising.  Contributions to the Project GutenbergLiterary ArchiveFoundation are tax deductible to the full extentpermitted by U.S. federal laws and your state's laws.The Foundation's principal office is located at 4557 Melan Dr. S.Fairbanks, AK, 99712., but its volunteers andemployees are scatteredthroughout numerous locations.  Its business office is located at809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, emailbusiness@pglaf.org.  Email contact links and up to datecontactinformation can be found at the Foundation's web site and officialpage at http://pglaf.orgFor additional contact information:     Dr. Gregory B. Newby     Chief Executive and Director     gbnewby@pglaf.orgSection4.  Information about Donations to the Project GutenbergLiterary Archive FoundationProject Gutenberg-tm depends upon and cannot survive without widespread public support and donations to carry out its missionofincreasing the number of public domain and licensed works that can befreely distributed in machine readable form accessible by the widestarray of equipment including outdated equipment.  Many small donations($1to $5,000) are particularly important to maintaining tax exemptstatus with the IRS.The Foundation is committed to complying with the laws regulatingcharities and charitable donations in all 50 states of theUnitedStates.  Compliance requirements are not uniform and it takes aconsiderable effort, much paperwork and many fees to meet and keep upwith these requirements.  We do not solicit donations in locationswherewe have not received written confirmation of compliance.  ToSEND DONATIONS or determine the status of compliance for anyparticular state visit http://pglaf.orgWhile we cannot and do not solicit contributions fromstates where wehave not met the solicitation requirements, we know of no prohibitionagainst accepting unsolicited donations from donors in such states whoapproach us with offers to donate.International donations aregratefully accepted, but we cannot makeany statements concerning tax treatment of donations received fromoutside the United States.  U.S. laws alone swamp our small staff.Please check the Project Gutenberg Webpages for current donationmethods and addresses.  Donations are accepted in a number of otherways including including checks, online payments and credit carddonations.  To donate, please visit:http://pglaf.org/donateSection 5.  General Information About Project Gutenberg-tm electronicworks.Professor Michael S. Hart is the originator of the Project Gutenberg-tmconcept of a library of electronic works thatcould be freely sharedwith anyone.  For thirty years, he produced and distributed ProjectGutenberg-tm eBooks with only a loose network of volunteer support.Project Gutenberg-tm eBooks are often created fromseveral printededitions, all of which are confirmed as Public Domain in the U.S.unless a copyright notice is included.  Thus, we do not necessarilykeep eBooks in compliance with any particular paper edition.Most peoplestart at our Web site which has the main PG search facility:     http://www.gutenberg.netThis Web site includes information about Project Gutenberg-tm,including how to make donations to the Project GutenbergLiteraryArchive Foundation, how to help produce our new eBooks, and how tosubscribe to our email newsletter to hear about new eBooks."}
+{"doc_id":"doc_6","qid":"","text":"The Project Gutenberg EBook of Fanshawe, by Nathaniel HawthorneThis eBook is for the use of anyone anywhere in the United States and mostother parts of the world at no cost and with almost norestrictionswhatsoever.  You may copy it, give it away or re-use it under the terms ofthe Project Gutenberg License included with this eBook or online atwww.gutenberg.org.  If you are not located in the United States,you'll haveto check the laws of the country where you are located before using this ebook.Title: FanshaweAuthor: Nathaniel HawthornePosting Date: September 13, 2014 [EBook #7085]Release Date: December,2004First Posted: March 8, 2003Language: English*** START OF THIS PROJECT GUTENBERG EBOOK FANSHAWE ***Produced by Eric Eldred, Charles Franks and the OnlineDistributed ProofreadingTeam.FANSHAWEBYNATHANIEL HAWTHORNE[Illustration]INTRODUCTORY NOTE.FANSHAWE.In 1828, three years after graduating from Bowdoin College, Hawthornepublished his first romance, \"Fanshawe.\" It wasissued at Boston by Marsh& Capen, but made little or no impression on the public. The motto on thetitle-page of the original was from Southey: \"Wilt thou go on with me?\"Afterwards, when he had struck into the vein offiction that came to beknown as distinctively his own, he attempted to suppress this youthfulwork, and was so successful that he obtained and destroyed all but a fewof the copies then extant.Some twelve years afterhis death it was resolved, in view of the interestmanifested in tracing the growth of his genius from the beginning of hisactivity as an author, to revive this youthful romance; and the reissue of\"Fanshawe\" was thenmade.Little biographical interest attaches to it, beyond the fact that Mr.Longfellow found in the descriptions and general atmosphere of the book adecided suggestion of the situation of Bowdoin College, atBrunswick,Maine, and the life there at the time when he and Hawthorne were bothundergraduates of that institution.Professor Packard, of Bowdoin College, who was then in charge of the studyof English literature, andhas survived both of his illustrious pupils,recalls Hawthorne's exceptional excellence in the composition of English,even at that date (1821-1825); and it is not impossible that Hawthorneintended, through the characterof Fanshawe, to present some faintprojection of what he then thought might be his own obscure history. Evenwhile he was in college, however, and meditating perhaps the slenderelements of this first romance, hisfellow-student Horatio Bridge, whose\"Journal of an African Cruiser\" he afterwards edited, recognized in himthe possibilities of a writer of fiction--a fact to which Hawthornealludes in the dedicatory Preface to \"TheSnow-Image.\"G. P. L.FANSHAWE       *       *       *       *       *CHAPTER I.  \"Our court shall be a little Academe.\"--SHAKESPEARE.In an ancient though not very populous settlement, in a retired corner ofone of the NewEngland States, arise the walls of a seminary of learning,which, for the convenience of a name, shall be entitled \"Harley College.\"This institution, though the number of its years is inconsiderablecompared with the hoarantiquity of its European sisters, is not withoutsome claims to reverence on the score of age; for an almost countlessmultitude of rivals, by many of which its reputation has been eclipsed,have sprung up since itsfoundation. At no time, indeed, during anexistence of nearly a century, has it acquired a very extensive fame; andcircumstances, which need not be particularized, have, of late years,involved it in a deeper obscurity.There are now few candidates for thedegrees that the college is authorized to bestow. On two of its annual\"Commencement Days,\" there has been a total deficiency of baccalaureates;and the lawyers and divines, onwhom doctorates in their respectiveprofessions are gratuitously inflicted, are not accustomed to consider thedistinction as an honor. Yet the sons of this seminary have alwaysmaintained their full share of reputation, inwhatever paths of life theytrod. Few of them, perhaps, have been deep and finished scholars; but thecollege has supplied--what the emergencies of the country demanded--a setof men more useful in its present state,and whose deficiency intheoretical knowledge has not been found to imply a want of practicalability.The local situation of the college, so far secluded from the sight andsound of the busy world, is peculiarly favorable tothe moral, if not tothe literary, habits of its students; and this advantage probably causedthe founders to overlook the inconveniences that were inseparablyconnected with it. The humble edifices rear themselves almostat thefarthest extremity of a narrow vale, which, winding through a long extentof hill-country, is wellnigh as inaccessible, except at one point, as theHappy Valley of Abyssinia. A stream, that farther on becomesaconsiderable river, takes its rise at, a short distance above the college,and affords, along its wood-fringed banks, many shady retreats, whereeven study is pleasant, and idleness delicious. The neighborhood oftheinstitution is not quite a solitude, though the few habitations scarcelyconstitute a village. These consist principally of farm-houses, of ratheran ancient date (for the settlement is much older than the college), andof alittle inn, which even in that secluded spot does not fail of amoderate support. Other dwellings are scattered up and down the valley;but the difficulties of the soil will long avert the evils of a too densepopulation. Thecharacter of the inhabitants does not seem--as there was,perhaps, room to anticipate--to be in any degree influenced by theatmosphere of Harley College. They are a set of rough and hardy yeomen,much inferior, asrespects refinement, to the corresponding classes inmost other parts of our country. This is the more remarkable, as there isscarcely a family in the vicinity that has not provided, for at least oneof its sons, theadvantages of a \"liberal education.\"Having thus described the present state of Harley College, we must proceedto speak of it as it existed about eighty years since, when its foundationwas recent, and its prospectsflattering. At the head of the institution,at this period, was a learned and Orthodox divine, whose fame was in allthe churches. He was the author of several works which evinced mucherudition and depth of research;and the public, perhaps, thought the morehighly of his abilities from a singularity in the purposes to which heapplied them, that added much to the curiosity of his labors, thoughlittle to their usefulness. But, howeverfanciful might be his privatepursuits, Dr. Melmoth, it was universally allowed, was diligent andsuccessful in the arts of instruction. The young men of his chargeprospered beneath his eye, and regarded him with anaffection that wasstrengthened by the little foibles which occasionally excited theirridicule. The president was assisted in the discharge of his duties by twoinferior officers, chosen from the alumni of the college, who,while theyimparted to others the knowledge they had already imbibed, pursued thestudy of divinity under the direction of their principal. Under suchauspices the institution grew and flourished. Having at that time buttworivals in the country (neither of them within a considerable distance), itbecame the general resort of the youth of the Province in which it wassituated. For several years in succession, its students amounted tonearlyfifty,--a number which, relatively to the circumstances of the country,was very considerable.From the exterior of the collegians, an accurate observer might prettysafely judge how long they had been inmates ofthose classic walls. Thebrown cheeks and the rustic dress of some would inform him that they hadbut recently left the plough to labor in a not less toilsome field; thegrave look, and the intermingling of garments of amore classic cut, woulddistinguish those who had begun to acquire the polish of their newresidence; and the air of superiority, the paler cheek, the less robustform, the spectacles of green, and the dress, in general ofthreadbareblack, would designate the highest class, who were understood to haveacquired nearly all the science their Alma Mater could bestow, and to beon the point of assuming their stations in the world. There were,it istrue, exceptions to this general description. A few young men had foundtheir way hither from the distant seaports; and these were the models offashion to their rustic companions, over whom they asserted asuperiorityin exterior accomplishments, which the fresh though unpolished intellectof the sons of the forest denied them in their literary competitions. Athird class, differing widely from both the former, consisted of afewyoung descendants of the aborigines, to whom an impracticable philanthropywas endeavoring to impart the benefits of civilization.If this institution did not offer all the advantages of elder and prouderseminaries, itsdeficiencies were compensated to its students by theinculcation of regular habits, and of a deep and awful sense of religion,which seldom deserted them in their course through life. The mild andgentle rule of Dr.Melmoth, like that of a father over his children, wasmore destructive to vice than a sterner sway; and though youth is neverwithout its follies, they have seldom been more harmless than they werehere. The students,indeed, ignorant of their own bliss, sometimes wishedto hasten the time of their entrance on the business of life; but theyfound, in after-years, that many of their happiest remembrances, many ofthe scenes which theywould with least reluctance live over again,referred to the seat of their early studies. The exceptions to this remarkwere chiefly those whose vices had drawn down, even from that paternalgovernment, a weightyretribution.Dr. Melmoth, at the time when he is to be introduced to the reader, hadborne the matrimonial yoke (and in his case it was no light burden) nearlytwenty years. The blessing of children, however, had beendenied him,--acircumstance which he was accustomed to consider as one of the soresttrials that checkered his pathway; for he was a man of a kind andaffectionate heart, that was continually seeking objects to restitselfupon. He was inclined to believe, also, that a common offspring would haveexerted a meliorating influence on the temper of Mrs. Melmoth, thecharacter of whose domestic government often compelled him to callto mindsuch portions of the wisdom of antiquity as relate to the proper enduranceof the shrewishness of woman. But domestic comforts, as well as comfortsof every other kind, have their drawbacks; and, so long as thebalance ison the side of happiness, a wise man will not murmur. Such was the opinionof Dr. Melmoth; and with a little aid from philosophy, and more fromreligion, he journeyed on contentedly through life. When thestorm wasloud by the parlor hearth, he had always a sure and quiet retreat in hisstudy; and there, in his deep though not always useful labors, he soonforgot whatever of disagreeable nature pertained to his situation.Thissmall and dark apartment was the only portion of the house to which, sinceone firmly repelled invasion, Mrs. Melmoth's omnipotence did not extend.Here (to reverse the words of Queen Elizabeth) there was \"butone masterand no mistress\"; and that man has little right to complain who possessesso much as one corner in the world where he may be happy or miserable, asbest suits him. In his study, then, the doctor wasaccustomed to spendmost of the hours that were unoccupied by the duties of his station. Theflight of time was here as swift as the wind, and noiseless as thesnow-flake; and it was a sure proof of real happiness thatnight oftencame upon the student before he knew it was midday.Dr. Melmoth was wearing towards age (having lived nearly sixty years),when he was called upon to assume a character to which he had as yet beenastranger. He had possessed in his youth a very dear friend, with whomhis education had associated him, and who in his early manhood had beenhis chief intimate. Circumstances, however, had separated them fornearlythirty years, half of which had been spent by his friend, who was engagedin mercantile pursuits, in a foreign country. The doctor had,nevertheless, retained a warm interest in the welfare of his oldassociate,though the different nature of their thoughts and occupationshad prevented them from corresponding. After a silence of so longcontinuance, therefore, he was surprised by the receipt of a letter fromhis friend,containing a request of a most unexpected nature.Mr. Langton had married rather late in life; and his wedded bliss had beenbut of short continuance. Certain misfortunes in trade, when he was aBenedict of three years'standing, had deprived him of a large portion ofhis property, and compelled him, in order to save the remainder, to leavehis own country for what he hoped would be but a brief residence inanother. But, though he wassuccessful in the immediate objects of hisvoyage, circumstances occurred to lengthen his stay far beyond the periodwhich he had assigned to it. It was difficult so to arrange his extensiveconcerns that they could besafely trusted to the management of others;and, when this was effected, there was another not less powerful obstacleto his return. His affairs, under his own inspection, were so prosperous,and his gains soconsiderable, that, in the words of the old ballad, \"Heset his heart to gather gold\"; and to this absorbing passion he sacrificedhis domestic happiness. The death of his wife, about four years after hisdeparture,undoubtedly contributed to give him a sort of dread ofreturning, which it required a strong effort to overcome. The welfare ofhis only child he knew would be little affected by this event; for she wasunder the protectionof his sister, of whose tenderness he was wellassured. But, after a few more years, this sister, also, was taken away bydeath; and then the father felt that duty imperatively called upon him toreturn. He realized, on asudden, how much of life he had thrown away inthe acquisition of what is only valuable as it contributes to thehappiness of life, and how short a tune was left him for life's trueenjoyments. Still, however, his mercantilehabits were too deeply seatedto allow him to hazard his present prosperity by any hasty measures; norwas Mr. Langton, though capable of strong affections, naturally liable tomanifest them violently. It was probable,therefore, that many monthsmight yet elapse before he would again tread the shores of his nativecountry.But the distant relative, in whose family, since the death of her aunt,Ellen Langton had remained, had been longat variance with her father, andhad unwillingly assumed the office of her protector. Mr. Langton'srequest, therefore, to Dr. Melmoth, was, that his ancient friend (one ofthe few friends that time had left him) would be asa father to hisdaughter till he could himself relieve him of the charge.The doctor, after perusing the epistle of his friend, lost no time inlaying it before Mrs. Melmoth, though this was, in truth, one of the veryfewoccasions on which he had determined that his will should be absolutelaw. The lady was quick to perceive the firmness of his purpose, and wouldnot (even had she been particularly averse to the proposed measure)hazardher usual authority by a fruitless opposition. But, by long disuse, shehad lost the power of consenting graciously to any wish of her husband's.\"I see your heart is set upon this matter,\" she observed; \"and, intruth,I fear we cannot decently refuse Mr. Langton's request. I see little goodof such a friend, doctor, who never lets one know he is alive till he hasa favor to ask.\"\"Nay; but I have received much good at his hand,\"replied Dr. Melmoth;\"and, if he asked more of me, it should be done with a willing heart. Iremember in my youth, when my worldly goods were few and ill managed (Iwas a bachelor, then, dearest Sarah, with none tolook after myhousehold), how many times I have been beholden to him. And see--in hisletter he speaks of presents, of the produce of the country, which he hassent both to you and me.\"\"If the girl were country-bred,\"continued the lady, \"we might give herhouse-room, and no harm done. Nay, she might even be a help to me; forEsther, our maid-servant, leaves us at the mouth's end. But I warrant sheknows as little of householdmatters as you do yourself, doctor.\"\"My friend's sister was well grounded in the _re familiari_\" answeredher husband; \"and doubtless she hath imparted somewhat of her skill tothis damsel. Besides, the child is oftender years, and will profit muchby your instruction and mine.\"\"The child is eighteen years of age, doctor,\" observed Mrs. Melmoth, \"andshe has cause to be thankful that she will have better instruction thanyours.\"Thiswas a proposition that Dr. Melmoth did not choose to dispute; thoughhe perhaps thought that his long and successful experience in theeducation of the other sex might make him an able coadjutor to his wife inthe careof Ellen Langton. He determined to journey in person to theseaport where his young charge resided, leaving the concerns of HarleyCollege to the direction of the two tutors. Mrs. Melmoth, who, indeed,anticipated withpleasure the arrival of a new subject to her authority,threw no difficulties in the way of his intention. To do her justice, herpreparations for his journey, and the minute instructions with which shefavored him, were suchas only a woman's true affection could havesuggested. The traveller met with no incidents important to this tale;and, after an absence of about a fortnight, he and Ellen alighted fromtheir steeds (for on horseback hadthe journey been performed) in safetyat his own door.If pen could give an adequate idea of Ellen Langton's loveliness, it wouldachieve what pencil (the pencils, at least, of the colonial artists whoattempted it) nevercould; for, though the dark eyes might be painted, thepure and pleasant thoughts that peeped through them could only be seen andfelt. But descriptions of beauty are never satisfactory. It must,therefore, be left to theimagination of the reader to conceive ofsomething not more than mortal, nor, indeed, quite the perfection ofmortality, but charming men the more, because they felt, that, lovely asshe was, she was of like nature tothemselves.From the time that Ellen entered Dr. Melmoth's habitation, the sunny daysseemed brighter and the cloudy ones less gloomy, than he had ever beforeknown them. He naturally delighted in children; andEllen, though heryears approached to womanhood, had yet much of the gayety and simplehappiness, because the innocence, of a child. She consequently became thevery blessing of his life,--the rich recreation that hepromised himselffor hours of literary toil. On one occasion, indeed, he even made her hiscompanion in the sacred retreat of his study, with the purpose of enteringupon a course of instruction in the learned languages.This measure,however, he found inexpedient to repeat; for Ellen, having discovered anold romance among his heavy folios, contrived, by the charm of her sweetvoice, to engage his attention therein till all moreimportant concernswere forgotten.With Mrs. Melmoth, Ellen was not, of course, so great a favorite as withher husband; for women cannot so readily as men, bestow upon the offspringof others those affections thatnature intended for their own; and thedoctor's extraordinary partiality was anything rather than a pledge of hiswife's. But Ellen differed so far from the idea she had previously formedof her, as a daughter of one of theprincipal merchants, who were then, asnow, like nobles in the land, that the stock of dislike which Mrs. Melmothhad provided was found to be totally inapplicable. The young strangerstrove so hard, too (and undoubtedlyit was a pleasant labor), to win herlove, that she was successful to a degree of which the lady herself wasnot, perhaps, aware. It was soon seen that her education had not beenneglected in those points which Mrs.Melmoth deemed most important. Thenicer departments of cookery, after sufficient proof of her skill, werecommitted to her care; and the doctor's table was now covered withdelicacies, simple indeed, but as temptingon account of their intrinsicexcellence as of the small white hands that made them. By such arts asthese,--which in her were no arts, but the dictates of an affectionatedisposition,--by making herself useful where it waspossible, andagreeable on all occasions, Ellen gained the love of everyone within thesphere of her influence.But the maiden's conquests were not confined to the members of Dr.Melmoth's family. She had numerousadmirers among those whose situationcompelled them to stand afar off, and gaze upon her loveliness, as if shewere a star, whose brightness they saw, but whose warmth they could notfeel. These were the young menof Harley College, whose chiefopportunities of beholding Ellen were upon the Sabbaths, when sheworshipped with them in the little chapel, which served the purposes of achurch to all the families of the vicinity. There"}
+{"doc_id":"doc_7","qid":"","text":"<html><head><title>Wild Things: Diamonds in the Rough Script at IMSDb.</title><meta name=\"description\" content=\"Wild Things: Diamonds in the Rough script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Wild Things: Diamonds in the Rough script, Wild Things: Diamonds in the Rough movie script, Wild Things: Diamonds in the Rough film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\"content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=ratingCONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq =_gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:'== document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>TheInternet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie ScriptDatabase\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <scripttype=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                         WILD THINGS: DIAMONDS IN THE ROUGH</b>                                     Written by                              Andy Hurst &Ross Helford<b>          </b><b>          </b><b>          </b><b>          </b><b>          </b><b>          INT. MUSEUM - DAY</b><b>          </b>          A perfect rainbow is trapped inside two flawlessDIAMONDS,          glinting in the morning sun.<b>          </b>          Tounted on crushed velvet, the identical diamonds are on a glass          covered pedal stool in the middle of a vast, marble MUSEUMHALL.<b>          </b>          The stunning beauty of the stones is matched only by the          breathtaking beauty of the young woman who's admiring them. MARIE          CLIFFORD's creamy seventeen year old skin isdappled in the          cornucopia of colors emanating from the diamonds...<b>          </b>          She reaches out tentatively towards the glass case. Not to touch          the diamonds, but to run her fingers over apicture that's mounted          in the case below the priceless jewels. It's of a MOTHER cradling          her BABY DAUGHTER...<b>          </b><b>                              MARIE</b>                    Today's the day,Mom...<b>          </b><b>                              CURATOR (O.S.)</b>                    You here again, Marie?<b>          </b>          Marie spins round, sees the bespectacled CURATOR, 60's, standing          behindher.<b>          </b><b>                              MARIE</b>                    Just leaving.<b>          </b>          Marie carefully adjusts the sign atop the glass case...<b>          </b><b>          'THE MOTHER DAUGHTERDIAMONDS...'</b><b>          </b><b>          EXT. MUSEUM - DAY</b><b>          </b>          Marie fires up her powerful BMW, parked right outside the austere          Museum building. The powerful stereo blasts,sending the birds          fluttering skywards...<b>          </b>          CREDITS appear over...<b>          </b>          ARIEL FOOTAGE of a narrow highway, Marie's BMW streaking through          the endless tract ofFlorida wetlands. In the water, GATORS, warm          themselves in the early morning sun...<b>          </b>           MOVING over the vast tracts of swampland, flocks of tropical BIRDS          stretch their majesticwings, locals speed across the stagnant          waters in their deafening AIRBOATS...<b>          </b>           Through thick trees and foliage to trailer homes and tract housing          and into the town of Blue Bay, wherethe nip/tucked denizens sip          three martini lunches and tee off at the local countryclub.<b>          </b><b>                                                             03/22/2004   2.</b><b>          </b><b>          </b><b>          </b>          Marie steers her BMW into the showroom-like parking lot ofBlue          Bay High School.<b>          </b><b>          INT. MARIE'S BMW - MORNING</b><b>          </b>          Marie guides her powerful car towards her parking spot,when...<b>          </b><b>          SCCCREEEECCCHHHH!</b><b>          </b>          She SLAMS on the brakes as a figure darts in front of her car.          Almost gives her a heart attack, throwing her forward,flailing          arms crashing into the stereo, then snapped back by her seatbelt.<b>          </b>          She sits stock still for a second, then looks up, out of her          windshield at the young woman scouring at her,only inches from          the front bumper of the BMW.<b>          </b>          The sudden jolt has changed the radio station. A newscaster          rambles on...<b>          </b><b>                              RADIONEWSCASTER (V.O.)</b>                    ... operation, aimed at finally capturing                    the Black Widow suspect after a six month                    trail of embezzlement and fraud, once                    again failed tosnare its subject.<b>          </b>          ELENA SANDOVAL, 17, stands defiantly in front of the BMW, her          don't-fuck-with-me stare in direct contrast with hercome-fuck-me          clothes.<b>          </b><b>                                 RADIO NEWSCASTER (V.O.)</b>                    Blue Bay Police Detective Michael                    Morrison was able to recoverover                    $400,000 in stolen money, but the                    suspect, described as Female, between                    eighteen and thirty, remains at large...<b>          </b>          Marie reaches out with a tremblinghand, turns off the stereo,          then leans out of the car window.<b>          </b><b>                              MARIE</b>                    I'm... so... sorry...<b>          </b>          Elena smileswryly.<b>          </b><b>                              ELENA</b>                    You will be.<b>          </b>          And she meansit...<b>          </b><b>                                                          03/22/2004   3.</b><b>          </b><b>          </b><b>          </b><b>          INT. BLUE BAY HIGH AUDITORIUM -MORNING</b><b>          </b>          The auditorium is packed with the Blue Bay High student body. The          natural order is clear, the pastel flock at the front, the meat          headed jocks in the center, and therejects at the back.<b>          </b>          Marie is amongst her sweater monkey friends, but she's still          shocked by what happened out in the parkinglot...<b>          </b><b>                              JENNY</b>                        (handing over a present)                    Happy birthday, babe. They ain't                    diamonds, but you're just gonna haveto                    wait for those...<b>          </b>          Marie tentatively opens the gift, sees a pair of OPALEARRINGS.<b>          </b><b>                              MARIE</b>                        (unconvincing)                    Thank you. Thank you so much...<b>          </b><b>                              JENNY</b>                    Areyou OK, hon?<b>          </b>          Marie looks back, to the far reaches of the auditorium where the          freaks and geeks crowd round Elena, worshipping her like the          Goddess sheis...<b>          </b><b>                              MARIE</b>                    I...yeah...I'll be fine...It's                    just...that new girl...I almost hit her                    in the parkinglot...<b>          </b><b>                              JENNY</b>                    You mean the towel girl, the one who                    transferred in? Jesus, she's trouble. You                    know the only reason she'sslinging                    towels is 'cos it's court ordered...<b>          </b>          Marie and Elena make brief, electric eye contact, across the sea          of hormonally challenged students as Principal LIONEL MOSSTER,his          ill-fitting sports jacket coffee-stained, steps onstage.<b>          </b><b>                              MOSSTER</b>                    We're here today to address a growing                    epidemic that affects all ofyou.<b>          </b>          He pauses, waits for the student body to quiet down...<b>          </b><b>                              MOSSTER</b>                    National studies report sexual activity                    amongstudents at an all-time high.<b>          </b><b>                                                          03/22/2004   4.</b><b>          </b><b>          </b><b>          </b>          The students all cheer,naturally.<b>          </b><b>                              MOSSTER</b>                    We'll see who's cheering when you've got                    an unwanted pregnancy on your hands, or                    get slapped with apaternity suit...Or                    arrested for date rape. But don't take my                    word for it...<b>          </b>          He motions behind him to KRISTEN RICHARDS, early 30's, a natural          beauty who's doingher best to hide behind a bland gray suit and          glasses, and CHAD BORMAN, late 20s, devilishly handsome...<b>          </b><b>                              PRINCIPAL MOSSTER</b>                    Miss Richards and Dr.Borman are here to                    tell you about the pitfalls first hand...<b>          </b>          Kristen steps up to the lectern.<b>          </b><b>                              KRISTEN</b>                    Good morning, myname is Kristen                    Richards. I'm an officer for the Miami                    juvenile parole board, as some of you                    already know...<b>          </b>          Quick glance at Elena who rolls hereyes...<b>          </b><b>                              KRISTEN</b>                    But that's not what brings me here today.                    When I heard about Principal Mosster's                    sex education program I thoughtI'd                    volunteer my own personal story, in hopes                    that you might learn from the mistakes I                    made. Back in High school all I wanted to                    do was get drunk, stoned andlaid...<b>          </b>          The students roar their approval.<b>          </b><b>                              KRISTEN</b>                    By my junior year, my life was a blur of                    cheap beer, anonymous sex,partying every                    night of the week...<b>          </b>          Elena covers her mouth, as if to cough...<b>          </b><b>                              ELENA</b>                        (through fakecoughs)                    ...whore...<b>          </b>          Kristen ignores theslur.<b>          </b><b>                                                            03/22/2004   5.</b><b>          </b><b>          </b><b>          </b><b>                              KRISTEN</b>                    And then, one night atsome pathetic frat                    party, someone slipped a roofie in my                    drink...and raped me.<b>          </b>          This quiets theauditorium.<b>          </b><b>                              KRISTEN</b>                    There isn't a day goes by my skin doesn't                    crawl when I think of the violation and                    humiliation I endured. I canpromise you                    that if you make the same kind of wrong-                    headed choices I did, you'll be seeing                    Dr. Borman...<b>          </b>          Chad steps to thepodium.<b>          </b><b>                              CHAD</b>                    Thank you, Miss Richards. My name's Dr.                    Chad Borman. I run the forensics lab at                    the police department, where mywork has                    helped convict hundreds of sex offenders.                    Most teens like Ms. Richards never get                    their lives together. The physical scars                    may go away, but the emotionaldamage                    stays forever.<b>          </b>          While Chad drones on, MUDDY, a Gremlin-eyed drooler, sitting in          front of Elena, looks back at her shapely legs as she puts them up          on the back of"}
+{"doc_id":"doc_8","qid":"","text":"<html><head><title>Cinema Paradiso Script at IMSDb.</title><meta name=\"description\" content=\"Cinema Paradiso script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"CinemaParadiso script, Cinema Paradiso movie script, Cinema Paradiso film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX,FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><HTML><HEAD><TITLE>CINEMA PARADISO by Giuseppe Tornatore</TITLE><META http-equiv=Content-Type content=\"text/html;charset=windows-1252\"><META content=\"MSHTML 6.00.2800.1141\" name=GENERATOR></HEAD><b><BODY><PRE></b><b> </b><b> <B>CINEMA PARADISO</B></b>        by        Giuseppe Tornatore<b></b><b>        <B><U>FOR EDUCATIONAL PURPOSES ONLY</U></B></b>        Shooting Script <b> </b><b> </b><b> </b><b> 1  GIANCALDO. SALVATORE'S MOTHER'S HOUSE. EXT/INT. DAY</b><b> </b>The October sun slashes through the gray clouds, cuts across the shadow towards the sea, along the coast where the new suburbs of the city of Giancaldo have been built up.<b> </b> Bright light streams through thewindows, glancing off the white walls in an almost blinding reflection. MARIA, a woman a little over sixty, is trying to find somebody on the phone.<b> </b><b> MARIA  </b> ...Salvatore, that's right, Salvatore. Di VitaSalvatore ...But, miss, what do you mean you don't know him?!...I...Yes... (She gives a nervous sigh. She has dialed her way through endless numbers but still hasn't managed to speak to Mr. Di Vita. She finally heavesa sigh of relief.) ...That's right, good for you! Oh!...yes...And I'm his mother. I'm calling from Sicily. Been trying all day...Ah, he's not there...But would you be so kind as to give me...?...Yes... (She nods at anotherwoman around forty sitting nearby: it is LIA, her daughter, who jots down the numbers her mother dictates:) ...Six, five, six, two, two, oh, six...Thanks ever so much...Goodbye. Goodbye.<b> </b> She hangs up,takes the number LIA has jotted down, determined to have still another try. LIA speaks to her as if she were a baby, to be more convincing.<b> </b><b> LIA  </b> Look, Ma...It's useless calling him. He'll be terriblybusy, God knows where he is. Besides he might not even remember. Do as I say, forget it...He hasn't been here for thirty years. You know how he is. <b> </b> MARIA pauses to think it over. The decision she has tomake is important. Then, stubbornly.<b> </b><b> MARIA  </b> He'll remember! He'll remember! (She puts on her glasses and starts dialing the number.) ...I'm positive. I know him better than you do. If he were tofind out we hadn't told him, he'd be angry. I know. (She takes off her glasses.) ...Hello? Good morning. Could I please speak to Mr. Salvatore Di Vita. I'm his mother...<b> </b><b> 2  ROME. STREETS. EXT/INT.NIGHT</b><b> </b> It's late, but there is still traffic on the streets heading downtown. Inside a high-powered car, a man  around fifty is driving. It is SALVATORE Dl VITA. Elegant, just growing gray, a handsome facecreased by deep wrinkles. His weary expression hides the determined, sell-assured manner of the successful self-made man. He must be a heavy smoker judging by the way he draws the last puffs on his cigarette.<b></b> He stops at a red light. He stubs out the cigarette and rolls down the window, as a little Fiat Uno pulls up alongside. A rock tune plays full blast on the radio. SALVATORE turns instinctively to have a look at theman at the wheel  a BOY with a brush cut standing straight in the latest fashion. He studies the Boy's expression with almost exaggerated attention, but devoid of curiosity, coldly. The GIRL sitting beside him, lots ofcurly hair, overripe red lips, returns SALVATORE'5 look, provocatively. The BOY notices, turns to SALVATORE in a surly voice:<b> </b><b> BOY  </b> Hey! What the fuck you looking at!?<b> </b> Green light. TheFiat Uno shoots off, leaving a trail of music in its wake.<b> </b><b> 3  ROME. SALVATORE S APARTMENT. INT. NIGHT </b><b> </b> The apartment is luxurious, tastefully furnished. There is no one waiting forSALVATORE. Through the picture window on the terrace, the city can be seen slumbering in the night. SALVATORE gets undressed on his way to the bedroom. He moves quietly, as if to make no noise. He doesn't eventurn on the light, finishes getting undressed in the pale blue glow coming from the picture window. A rustling sound, a movement on the bed, the voice of a woman waking up. <b> </b><b> CLARA  </b>Salvatore...But what time is it? <b> </b> She turns on the bedside light. It is CLARA, a young woman around thirty. SALVATORE climbs in beside her under the covers, kisses her sweetly, then in a whisper.<b></b><b> SALVATORE  </b> It's late, Clara. Sorry, but I wasn't able to let you know I wouldn't be corning... (He fondles her, but he is tired, feels like sleeping.) Go to sleep now. Sleep.<b> </b> He turns over on theother side. CLARA shuts her eyes, is about to drop off, but whispers.<b> </b><b> CLARA  </b> Your mother phoned. She took me for somebody else...<b> </b><b> SALVATORE  </b> (Surprised) And what'd youtell her?<b> </b><b> CLARA  </b> I played dumb, so as not to disappoint her. We had a nice little talk. She says you never go see her, and when she wants to see you she has to come to Rome...Is it true?<b> </b>SALVATORE doesn't answer. God only knows how often he's heard that question before.<b> </b><b> SALVATORE  </b> She phoned just to say that? <b> </b> She reaches out to switch of the light, buries her headinto the pillow.<b> </b><b> CLARA  </b> She said a certain Alfredo had died. And the funeral's taking place tomorrow afternoon... (A strange look suddenly comes into SALVATORE'S eyes. The idea of going to sleephas clearly left him. It's a piece of news he didn't expect. That's taken him off-guard. CLARA would like to carry on the conversation, but sleepiness makes it almost impossible. An she can manage is one last question ina faint little voice:) Who is it? A relative of yours?<b> </b><b> SALVATORE  </b> No. Sleep. Go to sleep.<b> </b> She falls asleep in the dead silence of the night. SALVATORE is seized by a sort of chill a deep,troubled feeling. He gazes through the window al the city, with its shimmering lights still moving in the darkness, suddenly shrouded in a heavy curtain of rain. But he gazes off, beyond the row of houses, beyond thedark sky; the shadow of a wind chime plays across his face summoning up endless memories, drawing forth from the infinite depths of oblivion a past that he thought had vanished, been wiped out, and instead nowre-emerges, comes back to life, takes on light, superimposing itself on the mellow middle-aged features of his face, in the shadow of the city shaken by the storm, until another image is formed, an ancient, remoteimage...<b> </b><b> 4  GIANCALDO. CHURCH AND SACRISTY. INT. MORNING</b><b> </b> An image from over forty years before. In the baroque church of Giancaldo. SALVATORE is nine years old. Dressed as analtar boy, he is kneeling by the altar with a little silver bell in his hands. The congregation is also kneeling. The PRIEST is consecrating the Host. Little SALVATORE has just got out of bed, is still half-asleep, yawns anddoesn't notice that the PRIEST is standing there with the Host in the air glaring at him, as if trying to tell him something.<b> </b><b> PRIEST  </b> Pss! Pssst!<b> </b> SALVATORE finishes yawning and opening hiseyes meets the withering look of the PRIEST. He gets the message at once and rings the bell. Now the PRIEST can carry on, lifts the chalice and the bell is heard again.<b> </b> Cut to:<b> </b> The service is over.The PRIEST is in the sacristy removing his vestments. And SALVATORE is also there, removing his altar-boy tunic.<b> </b><b> PRIEST  </b> But how can I make you understand? Without the bell I just can't go on!Always half asleep, you are! What do you do at night anyway? Eat instead of sleep?<b> </b><b> SALVATORE  </b> Father, at my house we don't even eat at noon. That's why I'm always sleepy. That's what the vetsays.<b> </b> The PRIEST has finished disrobing. He takes the bell SALVATORE was holding during the service and turns to leave.<b> </b><b> PRIEST  </b> All right, Toto, get moving, I've got things to do. Sayhello to your mother.<b> </b><b> SALVATORE  </b> Can I...<b> </b><b> PRIEST  </b> (Interrupting him) And don't ask if you can come... Because you can't!! Shoo, shoo, off with you!!<b> </b> SALVATOREgives a shrug and leaves. The PRIEST goes down a corridor, opens a door, another corridor, and finally a door leading to an outside courtyard. He cuts across it and disappears into another door.<b> </b><b>5  CINEMA PARADISO AND PROJECTION BOOTH. INT. MORNING</b><b> </b> The PRIEST enters a movie house. Not very big  200 seats on the main floor and another seventy in the balcony. Along the walls, postersof films to be shown are stuck up between the light fixtures. In one corner, a statue of the Virgin Mary with flowers. The CLEANING LADY has finished work and is leaving. Up in the balcony, over the last row of seats,are the holes of the projection booth. The middle hole is camouflaged by the huge head of a roaring lion, all in plaster, and the lens of the projector can be glimpsed between its sharp teeth. there are two smaller holes,through which the figure of a man can be made out, appearing and disappearing...It is ALFREDO, the projectionist. He is around forty, skinny and bony with a tough peasant face. He has finished loading the projectorand is checking the carbons in the arc lamp. Then he removes the glass from one of the holes and looks down into the theatre, at the PRIEST who waves his hand.<b> </b><b> PRIEST  </b> OK, Alfredo, you canstart!!<b> </b> He sits down an by himself in the middle of the empty theatre. Up in the booth, ALFREDO lights the arc lamp and sets the projector going.<b> </b> Down in the theatre, the light goes off and out ofthe lion's mouth streams the glowing ray aimed al the screen. String music, sweet and ominous, spreads through the theatre. On the screen appear the credit titles of an American film of the 1940s. The PRIEST screwsup his face and holds the bell in his right hand resting on the arm of his seat.<b> </b> At the back of the theatre, behind the last row, a curtain moves, opens a crack and SALVATORE'S gaunt little face appears. He hasmanaged to sneak in somehow and stands there without a word, spellbound, watching the 'movie' on the glowing screen. The credit titles have long come and gone. The story is at a turning-point. <b> </b> Up above,in the hole of the booth next to the lion, ALFREDO watches the film, but his eyes keep looking down at the PRIEST, who is now drumming the bell with his fingers. On the screen, the male and female lead, twoHollywood stars, are in close-up; the dialogue is passionate, romantic. SALVATORE, carried away by those faces, by the way they talk, by the beauty of the woman, slowly slips down the length of the curtain until he issitting on the floor, his eyes glued to the screen. <b> </b> The love scene reaches a climax, the music crescendos, and the love-struck couple finally fall into each other's arms and kiss. Instinctively, the PRIEST raisesthe bell into the air, as in some age-old ceremony, and gives it a loud ring...<b> </b> Up in the booth ALFREDO hears the bell; it's the signal he's been waiting for. He takes a slip of paper from a pad prepared for thatpurpose and sticks it into the loops of the film containing that specific scene as it winds on to the reel. The projection continues...<b> </b> ...And also the kiss of the two actors. The PRIEST'S nervous look lingers onthose black-and-white lips meeting and now pulling apart for one last declaration of love before separating. SALVATORE is wide-eyed, he's probably never seen a man and woman kiss before, it's a vision that for him"}
+{"doc_id":"doc_9","qid":"","text":"The Project Gutenberg eBook, The Last Chronicle of Barset, by AnthonyTrollopeThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it awayorre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: The Last Chronicle of BarsetAuthor: Anthony TrollopeRelease Date: January, 2002  [eBook#3045][Most recently updated: December 1, 2010]Language: English***START OF THE PROJECT GUTENBERG EBOOK THE LAST CHRONICLE OF BARSET***E-text prepared by Kenneth David Cooperand revised byJoseph E. Loewenstein, M.D.Note: Project Gutenberg also has an HTML version of this file      which includes the 64 illustrations by George Housman Thomas      from the First Edition (Smith, Elder and Co.,1867).      See 3045-h.htm or 3045-h.zip:      (http://www.gutenberg.org/files/3045/3045-h/3045-h.htm)      or      (http://www.gutenberg.org/files/3045/3045-h.zip)THE LAST CHRONICLE OF BARSETbyANTHONYTROLLOPEFirst published in monthly installments from December 1, 1866, toJuly 6, 1867, and in book form in 1867[Illustration: Mr. Crawley before the Magistrates. (Frontispiece)]CONTENTS         I. How Did He GetIt?        II. By Heavens He Had Better Not!       III. The Archdeacon's Threat        IV. The Clergyman's House at Hogglestock         V. What the World Thought About It        VI. Grace Crawley       VII. Miss Prettyman'sPrivate Room      VIII. Mr. Crawley Is Taken to Silverbridge        IX. Grace Crawley Goes to Allington         X. Dinner at Framley Court        XI. The Bishop Sends His Inhibition       XII. Mr. Crawley Seeks forSympathy      XIII. The Bishop's Angel       XIV. Major Grantly Consults a Friend        XV. Up in London       XVI. Down at Allington      XVII. Mr. Crawley Is Summoned to Barchester     XVIII. The Bishop of Barchester IsCrushed       XIX. Where Did It Come From?        XX. What Mr. Walker Thought About It       XXI. Mr. Robarts on His Embassy      XXII. Major Grantly at Home     XXIII. Miss Lily Dale's Resolution      XXIV. Mrs. DobbsBroughton's Dinner-party       XXV. Miss Madalina Demolines      XXVI. The Picture     XXVII. A Hero at Home    XXVIII. Showing How Major Grantly Took a Walk      XXIX. Miss Lily Dale's Logic       XXX. Showing WhatMajor Grantly Did After His Walk      XXXI. Showing How Major Grantly Returned to Guestwick     XXXII. Mr. Toogood    XXXIII. The Plumstead Foxes     XXXIV. Mrs. Proudie Sends for Her Lawyer      XXXV. Lily DaleWrites Two Words in Her Book     XXXVI. Grace Crawley Returns Home    XXXVII. Hook Court   XXXVIII. Jael     XXXIX. A New Flirtation        XL. Mr. Toogood's Ideas About Society       XLI. Grace Crawley atHome      XLII. Mr. Toogood Travels Professionally     XLIII. Mr. Crosbie Goes into the City      XLIV. \"I Suppose I Must Let You Have It\"       XLV. Lily Dale Goes to London      XLVI. The Bayswater Romance     XLVII. Dr.Tempest at the Palace    XLVIII. The Softness of Sir Raffle Buffle      XLIX. Near the Close         L. Lady Lufton's Proposition        LI. Mrs. Dobbs Broughton Piles Her Fagots       LII. Why Don't You Have an \"It\" forYourself?      LIII. Rotten Row       LIV. The Clerical Commission        LV. Framley Parsonage       LVI. The Archdeacon Goes to Framley      LVII. A Double Pledge     LVIII. The Cross-grainedness of Men       LIX. A LadyPresents Her Compliments to Miss L. D.        LX. The End of Jael and Sisera       LXI. \"It's Dogged as Does It\"      LXII. Mr. Crawley's Letter to the Dean     LXIII. Two Visitors to Hogglestock      LXIV. The Tragedy inHook Court       LXV. Miss Van Siever Makes Her Choice      LXVI. Requiescat in Pace     LXVII. In Memoriam    LXVIII. The Obstinacy of Mr. Crawley      LXIX. Mr. Crawley's Last Appearance in His Own Pulpit       LXX.Mrs. Arabin Is Caught      LXXI. Mr. Toogood at Silverbridge     LXXII. Mr. Toogood at \"The Dragon of Wantly\"    LXXIII. There Is Comfort at Plumstead     LXXIV. The Crawleys Are Informed      LXXV. Madalina's Heart IsBleeding     LXXVI. I Think He Is Light of Heart    LXXVII. The Shattered Tree   LXXVIII. The Arabins Return to Barchester     LXXIX. Mr. Crawley Speaks of His Coat      LXXX. Miss Demolines Desires to Become aFinger-post     LXXXI. Barchester Cloisters    LXXXII. The Last Scene at Hogglestock   LXXXIII. Mr. Crawley Is Conquered    LXXXIV. ConclusionTITLED ILLUSTRATIONS   Mr. Crawley before theMagistrates.           Frontispiece   Mr. and Mrs. Crawley.                         Chapter I   \"I love you as though you were my own,\"      said the Schoolmistress.                   Chapter VI   \"A convicted thief,\" repeated Mrs.Proudie.   Chapter XI   \"Speak out, Dan.\"                             Chapter XII   Grace Crawley is introduced to Squire Dale.   Chapter XVI   Farmer Mangle and Mr. Crawley.                Chapter XVII   \"She's more like Eleanorthan any one else.\"  Chapter XXII   \"I am very glad to have the opportunity      of shaking hands with you.\"                Chapter XXIV   \"What do you think of it, Mrs. Broughton?\"    Chapter XXVI   Squire Dale and MajorGrantly.                Chapter XXVIII   \"Never mind Mr. Henry.\"                       Chapter XXXIII   Lily wishes that they might swear      to be Brother and Sister.                  Chapter XXXV   She read thebeginning--\"Dearest Grace.\"      Chapter XXXVI   \"Mamma, I've got something to tell you.\"      Chapter XLI   Mr. Toogood and the old Waiter.               Chapter XLII   They pronounced her to be very much      like aLady.                               Chapter XLV   \"As right as a trivet, Uncle.\"                Chapter XLVIII   Posy and her Grandpapa.                       Chapter XLIX   Mrs. Dobbs Broughton piles her Fagots.        ChapterLI   \"Because of Papa's disgrace.\"                 Chapter LV   \"But it will never pass away,\" said Grace.    Chapter LVII   \"Honour thy Father,--that thy days      may be long in the Land.\"                  Chapter LVIII   \"It'sdogged as does it.\"                     Chapter LXI   Mrs. Proudie's Emissary.                      Chapter LXIII   \"You do not know what starving is, my dear.\"  Chapter LXV   \"They will come to hear a ruined man      declare hisown ruin.\"                     Chapter LXIX   \"No sale after all?\"                          Chapter LXXI   \"These are the young Hogglestockians,      are they?\"                                 Chapter LXXIV   The lastDenial.                              Chapter LXXVII   \"What is it that I behold?\"                   Chapter LXXX   \"Peradventure he signifies his Consent.\"      Chapter LXXXIICHAPTER I.HOW DID HE GET IT?[Illustration]\"I can neverbring myself to believe it, John,\" said Mary Walker,the pretty daughter of Mr. George Walker, attorney of Silverbridge.Walker and Winthrop was the name of the firm, and they wererespectable people, who did all thesolicitors' business that hadto be done in that part of Barsetshire on behalf of the Crown, wereemployed on the local business of the Duke of Omnium who is great inthose parts, and altogether held their heads up high,as provinciallawyers often do. They,--the Walkers,--lived in a great brickhouse in the middle of the town, gave dinners, to which the countygentlemen not unfrequently condescended to come, and in a mild wayled thefashion in Silverbridge. \"I can never bring myself to believeit, John,\" said Miss Walker.\"You'll have to bring yourself to believe it,\" said John, withouttaking his eyes from his book.\"A clergyman,--and such a clergymantoo!\"\"I don't see that that has anything to do with it.\" And as he nowspoke, John did take his eyes off his book. \"Why should not aclergyman turn thief as well as anybody else? You girls always seemto forget thatclergymen are only men after all.\"\"Their conduct is likely to be better than that of other men, Ithink.\"\"I deny it utterly,\" said John Walker. \"I'll undertake to say thatat this moment there are more clergymen in debt inBarsetshire thanthere are either lawyers or doctors. This man has always been indebt. Since he has been in the county I don't think he has ever beenable to show his face in the High Street of Silverbridge.\"\"John, that issaying more than you have a right to say,\" said Mrs.Walker.\"Why, mother, this very cheque was given to a butcher who hadthreatened a few days before to post bills all about the county,giving an account of the debtthat was due to him, if the money wasnot paid at once.\"\"More shame for Mr. Fletcher,\" said Mary. \"He has made a fortune asbutcher in Silverbridge.\"\"What has that to do with it? Of course a man likes to havehismoney. He had written three times to the bishop, and he had senta man over to Hogglestock to get his little bill settled six daysrunning. You see he got it at last. Of course, a tradesman must lookfor hismoney.\"\"Mamma, do you think that Mr. Crawley stole the cheque?\" Mary, as sheasked the question, came and stood over her mother, looking at herwith anxious eyes.\"I would rather give no opinion, my dear.\"\"But youmust think something when everybody is talking about it,mamma.\"\"Of course my mother thinks he did,\" said John, going back to hisbook. \"It is impossible that she should think otherwise.\"\"That is not fair, John,\" saidMrs. Walker; \"and I won't have youfabricate thoughts for me, or put the expression of them into mymouth. The whole affair is very painful, and as your father isengaged in the inquiry, I think that the less said about thematterin this house the better. I am sure that that would be your father'sfeeling.\"\"Of course I should say nothing about it before him,\" said Mary. \"Iknow that papa does not wish to have it talked about. But how is onetohelp thinking about such a thing? It would be so terrible for allof us who belong to the Church.\"\"I do not see that at all,\" said John. \"Mr. Crawley is not more thanany other man just because he's a clergyman. I hate allthat kind ofclap-trap. There are a lot of people here in Silverbridge who thinkthe matter shouldn't be followed up, just because the man is in aposition which makes the crime more criminal in him than it would beinanother.\"\"But I feel sure that Mr. Crawley has committed no crime at all,\"said Mary.\"My dear,\" said Mrs. Walker, \"I have just said that I would ratheryou would not talk about it. Papa will be in directly.\"\"I won't,mamma;--only--\"\"Only! yes; just only!\" said John. \"She'd go on till dinner if anyone would stay to hear her.\"\"You've said twice as much as I have, John.\" But John had left theroom before his sister's last words couldreach him.\"You know, mamma, it is quite impossible not to help thinking of it,\"said Mary.\"I dare say it is, my dear.\"\"And when one knows the people it does make it so dreadful.\"\"But do you know them? I never spoketo Mr. Crawley in my life, andI do not think I ever saw her.\"\"I knew Grace very well,--when she used to come first to MissPrettyman's school.\"\"Poor girl. I pity her.\"\"Pity her! Pity is no word for it, mamma. My heartbleeds for them.And yet I do not believe for a moment that he stole the cheque. Howcan it be possible? For though he may have been in debt because theyhave been so very, very poor; yet we all know that he hasbeen anexcellent clergyman. When the Robartses were dining here last, Iheard Mrs. Robarts say that for piety and devotion to his duties shehad hardly ever seen any one equal to him. And the Robartses knowmore ofthem than anybody.\"\"They say that the dean is his great friend.\"\"What a pity it is that the Arabins should be away just now when heis in such trouble.\" And in this way the mother and daughter wenton discussing thequestion of the clergyman's guilt in spite of Mrs.Walker's previously expressed desire that nothing more might be saidabout it. But Mrs. Walker, like many other mothers, was apt to bemore free in converse with herdaughter than she was with her son.While they were thus talking the father came in from his office, andthen the subject was dropped. He was a man between fifty and sixtyyears of age, with grey hair, rather short, andsomewhat corpulent,but still gifted with that amount of personal comeliness whichcomfortable position and the respect of others will generally seem togive. A man rarely carries himself meanly, whom the world holdshighin esteem.\"I am very tired, my dear,\" said Mr. Walker.\"You look tired. Come and sit down for a few minutes before youdress. Mary, get your father's slippers.\" Mary instantly ran to thedoor.\"Thanks, my darling,\"said the father. And then he whispered to hiswife, as soon as Mary was out of hearing, \"I fear that unfortunateman is guilty. I fear he is! I fear he is!\"\"Oh, heavens! what will become of them?\"\"What indeed? She hasbeen with me to-day.\"\"Has she? And what could you say to her?\"\"I told her at first that I could not see her, and begged her not tospeak to me about it. I tried to make her understand that she shouldgo to some oneelse. But it was of no use.\"\"And how did it end?\"\"I asked her to go in to you, but she declined. She said you could donothing for her.\"\"And does she think her husband guilty?\"\"No, indeed. She think him guilty! Nothingon earth,--or from heaveneither, as I take it, would make her suppose it to be possible. Shecame to me simply to tell me how good he was.\"\"I love her for that,\" said Mrs. Walker.\"So did I. But what is the good of lovingher? Thank you, dearest.I'll get your slippers for you some day, perhaps.\"The whole county was astir in this matter of this alleged guilt ofthe Reverend Josiah Crawley,--the whole county, almost as keenly asthe familyof Mr. Walker, of Silverbridge. The crime laid to hischarge was the theft of a cheque for twenty pounds, which he was saidto have stolen out of a pocket-book left or dropped in his house, andto have passed as moneyinto the hands of one Fletcher, a butcherof Silverbridge, to whom he was indebted. Mr. Crawley was in thosedays the perpetual curate of Hogglestock, a parish in the northernextremity of East Barsetshire; a man knownby all who knew anythingof him to be very poor,--an unhappy, moody, disappointed man, uponwhom the troubles of the world always seemed to come with a doubleweight. But he had ever been respected as aclergyman, since hisold friend Mr. Arabin, the dean of Barchester, had given him thesmall incumbency which he now held. Though moody, unhappy, anddisappointed, he was a hard-working, conscientious pastoramongthe poor people with whom his lot was cast; for in the parish ofHogglestock there resided only a few farmers higher in degree thanfield labourers, brickmakers, and such like. Mr. Crawley had nowpassed some tenyears of his life at Hogglestock; and during thoseyears he had worked very hard to do his duty, struggling to teach thepeople around him perhaps too much of the mystery, but something alsoof the comfort, of religion.That he had become popular in his parishcannot be said of him. He was not a man to make himself popular inany position. I have said that he was moody and disappointed. He waseven worse than this; he was morose,sometimes almost to insanity.There had been days in which even his wife had found it impossibleto deal with him otherwise than as with an acknowledged lunatic. Andthis was known among the farmers, who talkedabout their clergymanamong themselves as though he were a madman. But among the very poor,among the brickmakers of Hoggle End,--a lawless, drunken, terriblyrough lot of humanity,--he was held in high respect;for they knewthat he lived hardly, as they lived; that he worked hard, as theyworked; and that the outside world was hard to him, as it was tothem; and there had been an apparent sincerity of godliness about theman,and a manifest struggle to do his duty in spite of the world'sill-usage, which had won its way even with the rough; so that Mr.Crawley's name had stood high with many in his parish, in spite ofthe unfortunate peculiarityof his disposition. This was the man whowas now accused of stealing a cheque for twenty pounds.But before the circumstances of the alleged theft are stated, a wordor two must be said as to Mr. Crawley's family. It isdeclared that agood wife is a crown to her husband, but Mrs. Crawley had been muchmore than a crown to him. As had regarded all the inner life of theman,--all that portion of his life which had not been passed inthepulpit or in pastoral teaching,--she had been crown, throne, andsceptre all in one. That she had endured with him and on his behalfthe miseries of poverty, and the troubles of a life which had knownno smiles, isperhaps not to be alleged as much to her honour.She had joined herself to him for better or worse, and it was hermanifest duty to bear such things; wives always have to bear them,knowing when they marry that theymust take their chance. Mr. Crawleymight have been a bishop, and Mrs. Crawley, when she married him,perhaps thought it probable that such would be his fortune. Insteadof that he was now, just as he wasapproaching his fiftieth year, aperpetual curate, with an income of one hundred and thirty poundsper annum,--and a family. That had been Mrs. Crawley's luck in life,and of course she bore it. But she had also donemuch more thanthis. She had striven hard to be contented, or, rather, to appearto be contented, when he had been most wretched and most moody.She had struggled to conceal from him her own conviction as tohishalf-insanity, treating him at the same time with the respect dueto an honoured father of a family, and with the careful measuredindulgence fit for a sick and wayward child. In all the terribletroubles of their life hercourage had been higher than his. Themetal of which she was made had been tempered to a steel which wasvery rare and fine, but the rareness and fineness of which he hadfailed to appreciate. He had often told herthat she was withoutpride, because she had stooped to receive from others, on his behalfand on behalf of her children, things which were very needful, butwhich she could not buy. He had told her that she was abeggar, andthat it was better to starve than to beg. She had borne the rebukewithout a word in reply, and had then begged again for him, and hadendured the starvation herself. Nothing in their poverty had, foryearspast, been a shame to her; but every accident of their povertywas still, and ever had been, a living disgrace to him.[Illustration: Mr. and Mrs. Crawley.]They had had many children, and three were still alive. Oftheeldest, Grace Crawley, we shall hear much in the coming story. Shewas at this time nineteen years old, and there were those who saidthat, in spite of her poverty, her shabby outward apparel, and acertain thin,unfledged, unrounded form of person, a want of fulnessin the lines of her figure, she was the prettiest girl in that partof the world. She was living now at a school in Silverbridge, wherefor the last year she had been ateacher; and there were many inSilverbridge who declared that very bright prospects were opening toher,--that young Major Grantly of Cosby Lodge, who, though a widowerwith a young child, was the cynosure of allfemale eyes in andround Silverbridge, had found beauty in her thin face, and thatGrace Crawley's fortune was made in the teeth, as it were, of theprevailing ill-fortune of her family. Bob Crawley, who was twoyearsyounger, was now at Marlbro' School, from whence it was intended thathe should proceed to Cambridge, and be educated there at the expenseof his godfather, Dean Arabin. In this also the world saw a strokeofgood luck. But then nothing was lucky to Mr. Crawley. Bob, indeed,who had done very well at school, might do well at Cambridge,--mightdo great things there. But Mr. Crawley would almost have preferredthat the boyshould work in the fields, than that he should beeducated in a manner so manifestly eleemosynary. And then hisclothes! How was he to be provided with clothes fit either for schoolor for college? But the dean and Mrs.Crawley between them managedthis, leaving Mr. Crawley very much in the dark, as Mrs. Crawley wasin the habit of leaving him. Then there was a younger daughter, Jane,still at home, who passed her life between hermother's work-tableand her father's Greek, mending linen and learning to scaniambics,--for Mr. Crawley in his early days had been a ripe scholar.And now there had come upon them all this terribly-crushingdisaster.That poor Mr. Crawley had gradually got himself into a mess of debtat Silverbridge, from which he was quite unable to extricate himself,was generally known by all the world both of SilverbridgeandHogglestock. To a great many it was known that Dean Arabin hadpaid money for him, very much contrary to his own consent, andthat he had quarrelled, or attempted to quarrel, with the dean inconsequence,--hadso attempted, although the money had in part passedthrough his own hands. There had been one creditor, Fletcher, thebutcher of Silverbridge, who had of late been specially hard uponpoor Crawley. This man, who hadnot been without good nature in hisdealings, had heard stories of the dean's good-will and such like,and had loudly expressed his opinion that the perpetual curate ofHogglestock would show a higher pride in allowing"}
+{"doc_id":"doc_10","qid":"","text":"The Project Gutenberg EBook of Child Christopher, by William MorrisThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: Child ChristopherAuthor: William MorrisRelease Date: July 1, 2008 [EBook #234]Language: English***START OF THIS PROJECT GUTENBERG EBOOK CHILD CHRISTOPHER ***Produced by John HammCHILD CHRISTOPHER AND GOLDILIND THE FAIRby William Morris1895CHAPTER I. OF THE KING OF OAKENREALM, ANDHIS WIFE AND HIS CHILD.Of old there was a land which was so much a woodland, that a minstrelthereof said it that a squirrel might go from end to end, and all about,from tree to tree, and never touch the earth:therefore was that landcalled Oakenrealm.The lord and king thereof was a stark man, and so great a warrior thatin his youth he took no delight in aught else save battle and tourneys.But when he was hard on fortyyears old, he came across a daughter ofa certain lord, whom he had vanquished, and his eyes bewrayed himinto longing, so that he gave back to the said lord the havings he hadconquered of him that he might lay themaiden in his kingly bed. So hebrought her home with him to Oakenrealm and wedded her.Tells the tale that he rued not his bargain, but loved her so dearlythat for a year round he wore no armour, save when shebade him play inthe tilt-yard for her desport and pride.So wore the days till she went with child and was near her time, andthen it betid that three kings who marched on Oakenrealm banded themtogether against him,and his lords and thanes cried out on him to leadthem to battle, and it behoved him to do as they would.So he sent out the tokens and bade an hosting at his chief city, andwhen all was ready he said farewell to his wifeand her babe unborn, andwent his ways to battle once more: but fierce was his heart against thefoemen, that they had dragged him away from his love and his joy.Even amidst of his land he joined battle with the hostof the ravagers,and the tale of them is short to tell, for they were as the wheat beforethe hook. But as he followed up the chase, a mere thrall of the fleersturned on him and cast his spear, and it reached him whereashis hawberkwas broken, and stood deep in, so that he fell to earth unmighty: andwhen his lords and chieftains drew about him, and cunning men strove toheal him, it was of no avail, and he knew that his soul wasdeparting.Then he sent for a priest, and for the Marshal of the host, who was agreat lord, and the son of his father's brother, and in few words badehim look to the babe whom his wife bore about, and if it were a man,tocherish him and do him to learn all that a king ought to know; and if itwere a maiden, that he should look to her wedding well and worthily: andhe let swear him on his sword, on the edges and the hilts, that hewoulddo even so, and be true unto his child if child there were: and he badehim have rule, if so be the lords would, and all the people, till thechild were of age to be king: and the Marshal swore, and all the lordswhostood around bare witness to his swearing. Thereafter the priesthouselled the King, and he received his Creator, and a little whileafter his soul departed.But the Marshal followed up the fleeing foe, and two battles morehefought before he beat them flat to earth; and then they craved forpeace, and he went back to the city in mickle honour.But in the King's city of Oakenham he found but little joy; for boththe King was bemoaned,whereas he had been no hard man to his folk; andalso, when the tidings and the King's corpse came back to Oakenrealm,his Lady and Queen took sick for sorrow and fear, and fell into labourof her child, and in childingof a man-bairn she died, but the ladlived, and was like to do well.So there was one funeral for the slain King and for her whom his slayinghad slain: and when that was done, the little king was borne to thefont, and athis christening he gat to name Christopher.Thereafter the Marshal summoned all them that were due thereto to comeand give homage to the new king, and even so did they, though he werebut a babe, yea, and whohad but just now been a king lying in hismother's womb. But when the homage was done, then the Marshal calledtogether the wise men, and told them how the King that was had given himin charge his son as thenunborn, and the ruling of the realm till thesaid son were come to man's estate: but he bade them seek one worthierif they had heart to gainsay the word of their dying lord. Then all theysaid that he was worthy andmighty and the choice of their dear lord,and that they would have none but he.So then was the great folk-mote called, and the same matter was laidbefore all the people, and none said aught against it, whereas nomanwas ready to name another to that charge and rule, even had it been hisown self.Now then by law was the Marshal, who hight Rolf, lord and earl of theland of Oakenrealm. He ruled well and strongly, and was a fellwarrior:he was well befriended by many of the great; and the rest of them fearedhim and his friends: as for the commonalty, they saw that he held therealm in peace; and for the rest, they knew little and saw less ofhim,and they paid to his bailiffs and sheriffs as little as they could, andmore than they would. But whereas that left them somewhat to grind theirteeth on, and they were not harried, they were not so ill content. SotheMarshal throve, and lacked nothing of a king's place save the barename.CHAPTER II. OF THE KING'S SON.As for the King's son, to whom the folk had of late done homage as king,he was at first seen about a corner ofthe High House with his nurses;and then in a while it was said, and the tale noted, but not much, thathe must needs go for his health's sake, and because he was puny, to somestead amongst the fields, and folk heardsay that he was gone to thestrong house of a knight somewhat stricken in years, who was called LordRichard the Lean. The said house was some twelve miles from Oakenham,not far from the northern edge of thewild-wood. But in a while, scarcemore than a year, Lord Richard brake up house at the said castle, andwent southward through the forest. Of this departure was little said,for he was not a man amongst the foremost. Asfor the King's little son,if any remembered that he was in the hands of the said Lord Richard,none said aught about it; for if any thought of the little babe at all,they said to themselves, Never will he come to be king.Nowas for Lord Richard the Lean, he went far through the wood, anduntil he was come to another house of his, that stood in a clearingsomewhat near to where Oakenrealm marched on another country, whichhightMeadham; though the said wild-wood ended not where Oakenrealmended, but stretched a good way into Meadham; and betwixt one and theother much rough country there was.It is to be said that amongst those whowent to this stronghold of thewoods was the little King Christopher, no longer puny, but a stoutbabe enough: so he was borne amongst the serving men and thralls tothe castle of the Outer March; and he was in no wisetreated as a greatman's son; but there was more than one woman who was kind to him, andas he waxed in strength and beauty month by month, both carle andquean fell to noting him, and, for as little as he was, hebegan to bewell-beloved.As to the stead where he was nourished, though it were far away amongstthe woods, it was no such lonely or savage place: besides the castle andthe houses of it, there was a merry thorpe inthe clearing, the houseswhereof were set down by the side of a clear and pleasant little stream.Moreover the goodmen and swains of the said township were no ill folk,but bold of heart, free of speech, and goodly offavour; and the womenof them fair, kind, and trusty. Whiles came folk journeying in toOakenrealm or out to Meadham, and of these some were minstrels, who hadwith them tidings of what was astir whereas folk werethicker in theworld, and some chapmen, who chaffered with the thorpe-dwellers, andtook of them the woodland spoil for such outland goods as those woodmenneeded.So wore the years, and in Oakenham KingChristopher was well nighforgotten, and in the wild-wood had never been known clearly for King'sson. At first, by command of Rolf the Marshal, a messenger cameevery year from Lord Richard with a letter that told ofhow the ladChristopher did. But when five years were worn, the Marshal bade sendhim tidings thereof every three years; and by then it was come to thetwelfth year, and still the tidings were that the lad throve ever,andmeanwhile the Marshal sat fast in his seat with none to gainsay, theword went to Lord Richard that he should send no more, for that he, theMarshal, had heard enough of the boy; and if he throve it were well, andifnot, it was no worse. So wore the days and the years.CHAPTER III. OF THE KING OF MEADHAM AND HIS DAUGHTER.Tells the tale that in the country which lay south of Oakenrealm, andwas called Meadham, there wasin these days a king whose wife was dead,but had left him a fair daughter, who was born some four years afterKing Christopher. A good man was this King Roland, mild, bounteous, andno regarder of persons in hisjustice; and well-beloved he was of hisfolk: yet could not their love keep him alive; for, whenas his daughterwas of the age of twelve years, he sickened unto death; and so, when heknew that his end drew near, he sentfor the wisest of his wise men,and they came unto him sorrowing in the High House of his chiefest city,which hight Meadhamstead. So he bade them sit down nigh unto his bed,and took up the word and spake:\"Masters,and my good lords, ye may see clearly that a sundering is athand, and that I must needs make a long journey, whence I shall comeback never; now I would, and am verily of duty bound thereto, that Ileave behind mesome good order in the land. Furthermore, I would thatmy daughter, when she is of age thereto, should be Queen in Meadham, andrule the land; neither will it be many years before she shall be of ripeage for ruling, ifever she may be; and I deem not that there shall beany lack in her, whereas her mother could all courtesy, and was as wiseas a woman may be. But how say ye, my masters?\"So they all with one consent said Yea, andthey would ask for no betterking than their lady his daughter. Then said the King:\"Hearken carefully, for my time is short: Yet is she young and a maiden,though she be wise. Now therefore do I need some man welllooked to ofthe folk, who shall rule the land in her name till she be of eighteenwinters, and who shall be her good friend and counsellor into all wisdomthereafter. Which of you, my masters, is meet for this matter?\"Thenthey all looked one on the other, and spake not. And the King said:\"Speak, some one of you, without fear; this is no time for tarrying.\"Thereon spake an elder, the oldest of them, and said: \"Lord, this isthe very truth,that none of us here present are meet for this office:whereas, among other matters, we be all unmeet for battle; some of ushave never been warriors, and other some are past the age for leading anhost. To say thesooth, King, there is but one man in Meadham who may dowhat thou wilt, and not fail; both for his wisdom, and his might afield,and the account which is had of him amongst the people; and that man isEarl Geoffrey, ofthe Southern Marches.\"\"Ye say sooth,\" quoth the King; \"but is he down in the South, or nigherto hand?\"Said the elder: \"He is as now in Meadhamstead, and may be in thischamber in scant half an hour.\" So the Kingbade send for him, and therewas silence in the chamber till he came in, clad in a scarlet kirtle anda white cloak, and with his sword by his side. He was a tall man,bigly made; somewhat pale of face, black and curly ofhair; blue-eyed,thin-lipped, and hook-nosed as an eagle; a man warrior-like, andsomewhat fierce of aspect. He knelt down by the King's bedside, andasked him in a sorrowful voice what he would, and the King said: \"Iaska great matter of thee, and all these my wise men, and I myself,withal, deem that thou canst do it, and thou alone--nay, hearken: I amdeparting, and I would have thee hold my place, and do unto my peopleevenwhat I would do if I myself were living; and to my daughter asnigh to that as may be. I say all this thou mayst do, if thou wilt be astrusty and leal to me after I am dead, as thou hast seemed to all men'seyes to havebeen while I was living. What sayest thou?\"The Earl had hidden his face in the coverlet of the bed while the Kingwas speaking; but now he lifted up his face, weeping, and said: \"Kinsmanand friend and King; this isnought hard to do; but if it were, yetwould I do it.\"\"It is well,\" said the King: \"my heart fails me and my voice; so giveheed, and set thine ear close to my mouth: hearken, belike my daughterGoldilind shall be one of thefairest of women; I bid thee wed her tothe fairest of men and the strongest, and to none other.\"Thereat his voice failed him indeed, and he lay still; but he died not,till presently the priest came to him, and, as he might,houselled him:then he departed.As for Earl Geoffrey, when the King was buried, and the homages done tothe maiden Goldilind, he did no worse than those wise men deemed of him,but bestirred him, and looked fullsagely into all the matters of thekingdom, and did so well therein that all men praised his rule perforce,whether they loved him or not; and sooth to say he was not much beloved.CHAPTER IV. OF THE MAIDENGOLDILIND.AMIDST of all his other business Earl Geoffrey bethought him in a whileof the dead King's daughter, and he gave her in charge to a gentlewoman,somewhat stricken in years, a widow of high lineage, but notoverwealthy. She dwelt in her own house in a fair valley some twenty milesfrom Meadhamstead: thereabode Goldilind till a year and a half was worn,and had due observance, but little love, and not much kindnessfromthe said gentlewoman, who hight Dame Elinor Leashowe. Howbeit, timeand again came knights and ladies and lords to see the little lady, andkissed her hand and did obeisance to her; yet more came to her inthefirst three months of her sojourn at Leashowe than the second, and morein the second than the third.At last, on a day when the said year and a half was fully worn, thithercame Earl Geoffrey with a company ofknights and men-at-arms, and he didobeisance, as due was, to his master's daughter, and then spake awhileprivily with Dame Elinor; and thereafter they went into the hall, he,and she, and Goldilind, and there beforeall men he spake aloud andsaid:\"My Lady Goldilind, meseemeth ye dwell here all too straitly; forneither is this house of Leashowe great enough for thy state, and theentertainment of the knights and lords who shallhave will to seek tothee hither; nor is the wealth of thy liege dame and governante as greatas it should be, and as thou, meseemeth, wouldst have it. Wherefore Ihave been considering thy desires herein, and if thoudeem it meet togive a gift to Dame Elinor, and live queenlier thyself than now thoudost, then mayst thou give unto her the Castle of Greenharbour, and thesix manors appertaining thereto, and withal the rights ofwild-wood andfen and fell that lie thereabout. Also, if thou wilt, thou mayst honourthe said castle with abiding there awhile at thy pleasure; and I shallsee to it that thou have due meney to go with thee thither. Howsayestthou, my lady?\"Amongst that company there were two or three who looked at each otherand half smiled; and two or three looked on the maiden, who wasgoodly as of her years, as if with compassion; but themore part keptcountenance in full courtly wise.Then spake Goldilind in a quavering voice (for she was afraid and wise),and she said: \"Cousin and Earl, we will that all this be done; and itlikes me well to eke the wealth ofthis lady and my good friend DameElinor.\"Quoth Earl Geoffrey: \"Kneel before thy lady, Dame, and put thine handsbetween hers and thank her for the gift.\" So Dame Elinor knelt down, anddid homage and obeisance forher new land; and Goldilind raised herup and kissed her, and bade her sit down beside her, and spake to herkindly; and all men praised the maiden for her gentle and courteousways; and Dame Elinor smiled upon herand them, what she could.She was small of body and sleek; but her cheeks somewhat flagging; browneyes she had, long, half opened; thin lips, and chin somewhat fallingaway from her mouth; hard on fifty winters hadshe seen; yet there havebeen those who were older and goodlier both.CHAPTER V. GOLDILIND COMES TO GREENHARBOUR.But a little while tarried the Earl Geoffrey at Leashowe, but departednext morning and cameto Meadhamstead. A month thereafter came folk fromhim to Leashowe, to wit, the new meney for the new abode of Goldilind;amongst whom was a goodly band of men-at-arms, led by an old lordpinched and peevish offace, who kneeled to Goldilind as the newburgreve of Greenharbour; and a chaplain, a black canon, young,broad-cheeked and fresh-looking, but hard-faced and unlovely; threenew damsels withal were come for theyoung Queen, not young maids, butstalworth women, well-grown, and two of them hard-featured; the third,tall, black-haired, and a goodly-fashioned body.Now when these were come, who were all under the rule ofDame Elinor,there was no gainsaying the departure to the new home; and in two days'time they went their ways from Leashowe. But though Goldilind was young,she was wise, and her heart misgave her, when she wasamidst this newmeney, that she was not riding toward glory and honour, and a world ofworship and friends beloved. Howbeit, whatso might lie before her, sheput a good face upon it, and did to those about her queenlyand with allcourtesy.Five days they rode from Leashowe north away, by thorpe and town andmead and river, till the land became little peopled, and the sixth daythey rode the wild-wood ways, where was no folk, savenow and again thelittle cot of some forester or collier; but the seventh day, aboutnoon, they came into a clearing of the wood, a rugged little plain oflea-land, mingled with marish, with a little deal of acre-land inbarleyand rye, round about a score of poor frame-houses set down scattermealabout the lea. But on a long ridge, at the northern end of the saidplain, was a grey castle, strong, and with big and high towers, yetnot somuch greater than was Leashowe, deemed Goldilind, as for adwelling-house.Howbeit, they entered the said castle, and within, as without, it wassomewhat grim, though nought was lacking of plenishing due forfolkknightly. Long it were to tell of its walls and baileys and chambers;but let this suffice, that on the north side, toward the thick forest,was a garden of green-sward and flowers and potherbs; and a garth-wallof greystone, not very high, was the only defence thereof toward thewood, but it was overlooked by a tall tower of the great wall, whichhight the Foresters' Tower. In the said outer garth-wall also was apostern, whereby therewas not seldom coming in and going out.Now when Goldilind had been in her chamber for a few days, she found outfor certain, what she had before misdoubted, that she had been broughtfrom Leashowe and thepeopled parts near to Meadhamstead unto theuttermost parts of the realm to be kept in prison there.Howbeit, it was in a way prison courteous; she was still served withobservance, and bowed before, and called mylady and queen, and soforth: also she might go from chamber to hall and chapel, to and fro,yet scarce alone; and into the garden she might go, yet not for the morepart unaccompanied; and even at whiles she went outa-gates, but thenever with folk on the right hand and the left. Forsooth, whiles andagain, within the next two years of her abode at Greenharbour, out ofgates she went and alone; but that was as the prisoner whostrives to befree (although she had, forsooth, no thought or hope of escape), and asthe prisoner brought back was she chastised when she came within gatesagain.Everywhere, to be short, within and about the Castleof Greenharbour,did Goldilind meet the will and the tyranny of the little sleek widow,Dame Elinor, to whom both carle and quean in that corner of the worldwere but as servants and slaves to do her will; and the saidElinor, whoat first was but spiteful in word and look toward her lady, waxed worseas time wore and as the blossom of the King's daughter's womanhood beganto unfold, till at last the she-jailer had scarce feasted anydaywhen she had not in some wise grieved and tormented her prisoner; andwhatever she did, none had might to say her nay.But Goldilind took all with a high heart, and her courage grew withher years, nor would shebow the head before any grief, but took to herwhatsoever solace might come to her; as the pleasure of the sun and thewind, and the beholding of the greenery of the wood, and the fowl andthe beasts playing, which oft"}
+{"doc_id":"doc_11","qid":"","text":"<html><head><title>From Dusk Till Dawn Script at IMSDb.</title><meta name=\"description\" content=\"From Dusk Till Dawn script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"FromDusk Till Dawn script, From Dusk Till Dawn movie script, From Dusk Till Dawn film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\"content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ?'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie ScriptDatabase\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <scripttype=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><html><head><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>FROM DUSK TILLDAWN</title></head><pre><b>              FROM DUSK TILL DAWN</b>                 Screenplay by               Quentin Tarantino                   Story by                Robert Kurtzman                  Directedby               Robert RodriguezThis script was transcribed, proof read and formatted by ueli rieggemail: webmaster@studiour.tsx.org; url: http://studiour.tsx.orgCast List:Quentin Tarantino                 RichardGeckoGeorge Clooney                    Seth GeckoBrenda Hillhouse                  Hostage GloriaHarvey Keitel                     JacobJuliette Lewis                    KateErnest Liu                        ScottCheechMarin                      Border Guard, Chet Pussy, CarlosSelma Hayek                       Santanico PandemoniumDanny Trejo                       Razor CharlieErnest Garcia                     Big EmilioTomSavini                        Sex MachineFred Williamson                   Frost\"I earnestly wish an end would come to this bloody race I am forced to run.\"                                          Countess                           in: \"LaComtesse Noire\"                                    by Jess Franco<b> FADE IN:</b><b> EXT. LIQUOR STORE - DAY</b> A convenience store in a Texas Suburb. No other businesses surround it. CLOSE-UP: A light switch isflipped on. The sign on top of the store lights up. It reads: BENNY'S<b> WORLD OF LIQUOR.</b><b> TITLE CARD:</b><b> BIG SPRING, TEXAS</b><b>    109 MILES WEST OF ABILENE</b><b> 345 MILES EASTOF THE MEXICAN BORDER</b> A Texas Ranger patrol car pulls into the parking lot and a real live Texas Ranger, EARL MCGRAW, steps out. McGraw is in full ranger uniform - button shirt, cowboy hat, boots, mirroredshades, tin star and a colt revolver on his hip. It's about an hour and a half before sundown and McGraw is off duty for the day. The only other car in the parking lot is a 1975 Plymouth<b> INT. BENNY'S WORLD OFLIQUOR - DAY</b> A young Hawaiian Shirt wearing man named PETE sits on a stool behind the counter. A few CLOSE-UP:STOMERS fiddle about. A MAN wearing a black suit, black tie, and wire rim glasses holds handswith a PRETTY BLONDE GIRL in cutoffs and bare feet. They look through magazines. Another black suit wearing MAN holds hands with a RED-HEADED GIRL in a prep school uniform. They look through the beer cooler inthe back of the store. Both girls are around seventeen. MCGRAW enters the store.<b> MCGRAW</b> Hot goddamn day!<b> PETE</b> Haven't felt it a bit. Been inside with the air conditioner blastin' all day long.<b>MCGRAW</b> Not even for lunch?<b> PETE</b> I'm by myself today, ate my lunch outta the microwave. McGraw walks over to the beer cooler, as if done ritually every night (it is), takes out a beer, pops it open andjoins Pete by the front counter.<b> MCGRAW</b> Jesus Christ man, that microwave food will kill ya as quick as a bullet. Those burritos are only fit for a hippie high on weed. Pull me down a bottle of Jack Daniels. I'mgettin' tanked tonight.<b> PETE</b> Whatsamatter?<b> MCGRAW</b> (sighs) Awww, it's just been a shitass day. Every inch of it hot and miserable. First off, Nadine at the Blue Chip got some sorta sick, so thatMongoloid boy of hers was workin' the grill. That fuckin' idiot don't know rat shit from Rice Krispies. I ate breakfast at nine, was pukin' up pigs in a blanket like a sick dog by ten thirty.<b> PETE</b> Isn't there a law orsomething against retards serving food to the public?<b> MCGRAW</b> Well, if there ain't there sure oughta be. Who knows what goes on inside Mongoloid's mind?<b> PETE</b> You could sue the shit out of her, yaknow. That kid belongs under a circus tent, not flippin' burgers. You could own that fuckin' place.<b> MCGRAW</b> What the hell would I do with that grease pit? Besides, Nadine's got enough of a cross to bear justtaking care of that potato head. Then all this Abilene shit happened. You heard about that bank robbery in Abilene, didn't ya?<b> PETE</b> That's all that's been on the box all day. They killed some people didn'tthey?<b> MCGRAW</b> Four Rangers, three cops, and two civilians. And they took a lady bank teller as a hostage. Pete doesn't say anything.<b> MCGRAW</b> They'll probably make a run for the border, whichwould bring 'em this way. And if we get our hands on those shit asses, we're talking payback time. We'll get 'em all right. I gotta piss. I'm gonna use your commode.<b> PETE</b> Knock yourself out. McGraw drops hislast drip of beer, crushes the can and exits in the bathroom. The black suited man by the beer cooler turns around and, with the prep school girl in tow, walks rapidly toward Pete. We see that the girl is crying.<b>BLACK SUITED MAN #1</b> (to Pete) Do you think I'm fuckin' playing with you, asshole? (points to the tearful prep school girl) Do you want this little girl to die? (pointing to the blonde with the other guy) Or that littlegirl? Or your bosombuddy with the badge? Or yourself? I don't wanna do it, but I'll turn this fuckin' store into the Wild Bunch if I even think you're fuckin' with me. The two men in black suits are the notorious Abilenebank robbers, SETH and RICHARD GECKO, \"The Gecko Brothers.\" And the other customers are all being held hostage. Seth is the one with the prep girl. Richard is the one with the blonde. Everybody speaks low andfast.<b> PETE</b> What do you want from me? I did what you said.<b> SETH</b> Letting him use your toilet? No store does that.<b> PETE</b> He comes in here every day and we bullshit. He's used my toilet athousand times. If I told him no, he'd know something was up.<b> SETH</b> I want that son-of-a-bitch out outta here, in his car, and down the road or you can change the name of this place to \"Benny's World ofBlood.\" Richard, holding tightly the hand of the terrified girl, leans next to Seth's ear and whispers something. Seth looks at Pete.<b> SETH</b> Were you giving that pig signals?<b> PETE</b> What? Are you kidding?I didn't do anything! Richard whispers something else in Seth's ear.<b> SETH</b> He says you were scratching.<b> PETE</b> I wasn't scratching!<b> SETH</b> You callin' him a liar? Pete controls himself.<b>PETE</b> I'm not calling him a liar, okay? I'm simply saying that if I was scratching, and if I did scratch, it's not because I was signaling the cop, it's because I'm fuckin' scared shitless. Richard speaks for the first timein a low calm voice to Seth.<b> RICHARD</b> The Ranger's taking a piss. Why don't I just go in there, blow his head off and get outta here.<b> PETE</b> Don't do that! Look, you asked me to act natural, and I'macting as natural -- in fact, under the circumstances, I think I ought get a fuckin' Academy Award for how natural I'm acting. You asked me to get rid of him, I'm doing my best.<b> SETH</b> Yeah, well, your bestbetter get a helluva lot fuckin' better, or you're gonna feel a helluva fuckin' lot worse. The toilet FLUSHES.<b> SETH</b> Everybody be cool. Everybody goes back to what they were doing. McGraw steps back out ofthe back. He appears to be unaware of the situation.<b> MCGRAW</b> Yeah, and I'm gonna be right back at it tomorrow. So tonight I'm gonna sit in front of the box and just drink booze. How much is the bottle?<b>PETE</b> Six-fifty. Out of nowhere Richard WHIPS out his forty-five automatic and SHOOTS McGraw in the head. McGraw goes down screaming. Richard stands over him and SHOOTS him twice more. Seth chargesforward.<b> SETH</b> (to Richard) What the fuck was that about?<b> RICHARD</b> (in a low monotone) He signaled the Ranger.<b> PETE</b> (hysterical) I didn't. (to Seth) You gotta believe me, I didn't.<b>RICHARD</b> (to Seth) When they were talkin', he mouthed the words \"Help Us.\"<b> PETE</b> You fuckin' liar, I didn't say shit! Richard SHOOTS Pete and Pete falls down behind the counter. Seth grabs Richard andthrows him up against the wall.<b> SETH</b> What the fuck is wrong with you --<b> RICHARD</b> Seth, he did it. You were by the beer cooler with your back turned. I was by the magazines, I could see his face.And I saw him mouth: Richard mouths the words, \"Help Us.\" While Pete lies on the floor behind the counter bleeding from his bullet wound, he opens his floor safe and pulls out a gun from it. Seth releases hisbrother.<b> SETH</b> Start the car.<b> RICHARD</b> You believe me don't cha?<b> SETH</b> Shut up and start the car. Richard walks away from Seth and crosses the counter... ...when Pete SPRINGS up, gun inhand, and SHOOTS Richard in the hand. Richard FALLS to his knees, howling. Both Pete and Seth SPRAY the store with gunfire. Seth DIVES down an aisle. He reloads. Pete DUCKS behind the counter. He reloads.Richard has crawled to safety behind an aisle. The two girls have run out screaming.<b> SETH</b> (yelling) Richie? You okay?<b> RICHARD</b> (yelling) I'm not dead, but I'm definitely shot! I told you that bastardsaid, \"Help us!\"<b> PETE</b> (yelling) I never said help us!<b> SETH</b> (yelling) Well that don't matter now, 'cause you got about two fuckin' seconds to live! Richie!<b> RICHARD</b> (yelling) Yeah?<b>SETH</b> (yelling) When I count three, shoot out the bottles behind him!<b> RICHARD</b> Gotcha!<b> SETH</b> One... Two... Three. The two brothers start FIRING toward the counter. They HIT the bottles ofalcohol on the shelf behind Pete. Pete is crouched on the ground as glass, debris and alcohol RAIN down on him. Seth grabs a roll of paper towels from off a shelf. Richard keeps FIRING. Seth douses the paper towelswith lighter fluid, sets it on fire with his Zippo, then tosses it. The flaming roll of paper towels FLIES through the air. The fireball lands behind the counter. The entire counter area immediately BURSTS INTO FLAMES.Pete screams from behind the counter. Seth smiles to himself and stands. Richard shakes his head in amusement and stands. Pete runs out from behind the counter, ENGULFED IN FLAMES still holding his weapon andFIRING. Seth and Richard hit the ground FIRING their .45's. Pete, the human torch, FALLS like a tree into the Hostess Pastry display. Seth and Richard rise from the rubble.<b> EXT. BENNY'S WORLD OF LIQUOR -DAY</b> They exit the store squabbling. The store is bursting into flames.<b> SETH</b> What did I tell you? What did I tell you? Buy the road map and leave.<b> RICHARD</b> What am I supposed to do, Seth? Herecognized us.<b> SETH</b> He didn't recognize shit. Both Seth and Richard stand on opposite sides of the car.<b> RICHARD</b> Seth, I'm telling you, the way he looked at us -- you especially -- I knew he knew.They both climb in the car, Seth behind the wheel. Seth starts it op. The souped up engine ROARS to life. We can hear Seth mumbling under the motor.<b> SETH</b> Low profile. Do you know what the words \"lowprofile\" mean?<b> CLOSE-UP: SETH'S FOOT PUNCHES GAS.</b> The Plymouth tears out of the parking lot backwards, hits the street, and speeds off down the road. We CRANE UP HIGH to see the car leaving a trail ofdust behind it, as the store burns out of control.<b> OPENING CREDIT SEQUENCE.</b> Raunchy, honky-tonk MUSIC fills the theater.<b>   CUT TO:</b><b> EXT. TEXAS PANHANDLE - DAY</b> The Plymouth tears"}
+{"doc_id":"doc_12","qid":"","text":"The Project Gutenberg EBook of A Laodicean, by Thomas HardyThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it under theterms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: A LaodiceanAuthor: Thomas HardyPosting Date: February 9, 2009 [EBook #3258]Release Date: June,2002Language: English*** START OF THIS PROJECT GUTENBERG EBOOK A LAODICEAN ***Produced by Les BowlerA LAODICEAN: A STORY OF TO-DAYBy ThomasHardyCONTENTS.   PREFACE                                          CHAPTERS   BOOK THE FIRST.   GEORGE SOMERSET.               I - XV.   BOOK THE SECOND.  DARE AND HAVILL.               I - VII.   BOOK THE THIRD.   DESTANCY.                     I - XI.   BOOK THE FOURTH.  SOMERSET, DARE, AND DE STANCY. I - V.   BOOK THE FIFTH.   DE STANCY AND PAULA.           I - XIV.   BOOK THE SIXTH.   PAULA.                         I -V.PREFACE.The changing of the old order in country manors and mansions may beslow or sudden, may have many issues romantic or otherwise, its romanticissues being not necessarily restricted to a change back tothe originalorder; though this admissible instance appears to have been the onlyromance formerly recognized by novelists as possible in the case.Whether the following production be a picture of other possibilitiesornot, its incidents may be taken to be fairly well supported by evidenceevery day forthcoming in most counties.The writing of the tale was rendered memorable to two persons, at least,by a tedious illness of fivemonths that laid hold of the author soonafter the story was begun in a well-known magazine; during whichperiod the narrative had to be strenuously continued by dictation to apredetermined cheerful ending.As some ofthese novels of Wessex life address themselves moreespecially to readers into whose souls the iron has entered, and whoseyears have less pleasure in them now than heretofore, so \"A Laodicean\"may perhaps help towhile away an idle afternoon of the comfortable oneswhose lines have fallen to them in pleasant places; above all, of thatlarge and happy section of the reading public which has not yet reachedripeness of years; thoseto whom marriage is the pilgrim's Eternal City,and not a milestone on the way. T.H.January 1896.BOOK THE FIRST. GEORGE SOMERSET.I.The sun blazed down and down, till it was within half-an-hour of itssetting; butthe sketcher still lingered at his occupation of measuringand copying the chevroned doorway--a bold and quaint example of atransitional style of architecture, which formed the tower entrance toan English villagechurch. The graveyard being quite open on its westernside, the tweed-clad figure of the young draughtsman, and the tall massof antique masonry which rose above him to a battlemented parapet,were fired to a greatbrightness by the solar rays, that crossed theneighbouring mead like a warp of gold threads, in whose mazes groups ofequally lustrous gnats danced and wailed incessantly.He was so absorbed in his pursuit that he didnot mark the brilliantchromatic effect of which he composed the central feature, till it wasbrought home to his intelligence by the warmth of the moulded stoneworkunder his touch when measuring; which led him atlength to turn his headand gaze on its cause.There are few in whom the sight of a sunset does not beget as muchmeditative melancholy as contemplative pleasure, the human decline anddeath that it illustrates beingtoo obvious to escape the notice ofthe simplest observer. The sketcher, as if he had been brought to thisreflection many hundreds of times before by the same spectacle, showedthat he did not wish to pursue it justnow, by turning away his faceafter a few moments, to resume his architectural studies.He took his measurements carefully, and as if he reverenced the oldworkers whose trick he was endeavouring to acquire sixhundred yearsafter the original performance had ceased and the performers passed intothe unseen. By means of a strip of lead called a leaden tape, whichhe pressed around and into the fillets and hollows with hisfinger andthumb, he transferred the exact contour of each moulding to his drawing,that lay on a sketching-stool a few feet distant; where were also asketching-block, a small T-square, a bow-pencil, and othermathematicalinstruments. When he had marked down the line thus fixed, he returned tothe doorway to copy another as before.It being the month of August, when the pale face of the townsman and thestranger is tobe seen among the brown skins of remotest uplanders,not only in England, but throughout the temperate zone, few of thehomeward-bound labourers paused to notice him further than by amomentary turn of the head.They had beheld such gentlemen before, notexactly measuring the church so accurately as this one seemed to bedoing, but painting it from a distance, or at least walking round themouldy pile. At the same time thepresent visitor, even exteriorly, wasnot altogether commonplace. His features were good, his eyes of the darkdeep sort called eloquent by the sex that ought to know, and with thatray of light in them which announces aheart susceptible to beauty ofall kinds,--in woman, in art, and in inanimate nature. Though hewould have been broadly characterized as a young man, his face borecontradictory testimonies to his precise age. This wasconceivablyowing to a too dominant speculative activity in him, which, while ithad preserved the emotional side of his constitution, and with it thesignificant flexuousness of mouth and chin, had played upon hisforeheadand temples till, at weary moments, they exhibited some traces of beingover-exercised. A youthfulness about the mobile features, a matureforehead--though not exactly what the world has been familiar withinpast ages--is now growing common; and with the advance of juvenileintrospection it probably must grow commoner still. Briefly, he had moreof the beauty--if beauty it ought to be called--of the future human typethanof the past; but not so much as to make him other than a nice youngman.His build was somewhat slender and tall; his complexion, though a littlebrowned by recent exposure, was that of a man who spent much of histimeindoors. Of beard he had but small show, though he was as innocent asa Nazarite of the use of the razor; but he possessed a moustacheall-sufficient to hide the subtleties of his mouth, which could thusbetremulous at tender moments without provoking inconvenient criticism.Owing to his situation on high ground, open to the west, he remainedenveloped in the lingering aureate haze till a time when the easternpart ofthe churchyard was in obscurity, and damp with rising dew.When it was too dark to sketch further he packed up his drawing, and,beckoning to a lad who had been idling by the gate, directed him tocarry the stool andimplements to a roadside inn which he named, lying amile or two ahead. The draughtsman leisurely followed the lad out of thechurchyard, and along a lane in the direction signified.The spectacle of a summer travellerfrom London sketching mediaevaldetails in these neo-Pagan days, when a lull has come over the study ofEnglish Gothic architecture, through a re-awakening to the art-forms oftimes that more nearly neighbour ourown, is accounted for by the factthat George Somerset, son of the Academician of that name, was a manof independent tastes and excursive instincts, who unconsciously, andperhaps unhappily, took greater pleasure infloating in lonely currentsof thought than with the general tide of opinion. When quite a lad, inthe days of the French Gothic mania which immediately succeeded to thegreat English-pointed revival under Britton, Pugin,Rickman, Scott, andother mediaevalists, he had crept away from the fashion to admire whatwas good in Palladian and Renaissance. As soon as Jacobean, QueenAnne, and kindred accretions of decayed styles began tobe popular, hepurchased such old-school works as Revett and Stuart, Chambers, and therest, and worked diligently at the Five Orders; till quite bewilderedon the question of style, he concluded that all styles wereextinct, andwith them all architecture as a living art. Somerset was not old enoughat that time to know that, in practice, art had at all times been asfull of shifts and compromises as every other mundane thing; thatidealperfection was never achieved by Greek, Goth, or Hebrew Jew, andnever would be; and thus he was thrown into a mood of disgust withhis profession, from which mood he was only delivered byrecklesslyabandoning these studies and indulging in an old enthusiasm for poeticalliterature. For two whole years he did nothing but write verse in everyconceivable metre, and on every conceivable subject, fromWordsworthiansonnets on the singing of his tea-kettle to epic fragments on the Fallof Empires. His discovery at the age of five-and-twenty that theseinspired works were not jumped at by the publishers with alltheeagerness they deserved, coincided in point of time with a severe hintfrom his father that unless he went on with his legitimate profession hemight have to look elsewhere than at home for an allowance. Mr.Somersetjunior then awoke to realities, became intently practical, rushed backto his dusty drawing-boards, and worked up the styles anew, with a viewof regularly starting in practice on the first day of thefollowingJanuary.It is an old story, and perhaps only deserves the light tone in whichthe soaring of a young man into the empyrean, and his descent again, isalways narrated. But as has often been said, the light and thetruth maybe on the side of the dreamer: a far wider view than the wise oneshave may be his at that recalcitrant time, and his reduction to commonmeasure be nothing less than a tragic event. The operationcalledlunging, in which a haltered colt is made to trot round and rounda horsebreaker who holds the rope, till the beholder grows dizzy inlooking at them, is a very unhappy one for the animal concerned. Duringitsprogress the colt springs upward, across the circle, stops, fliesover the turf with the velocity of a bird, and indulges in all sorts ofgraceful antics; but he always ends in one way--thanks to the knottedwhipcord--in a leveltrot round the lunger with the regularity of ahorizontal wheel, and in the loss for ever to his character of thebold contours which the fine hand of Nature gave it. Yet the process isconsidered to be the making ofhim.Whether Somerset became permanently made under the action of theinevitable lunge, or whether he lapsed into mere dabbling with theartistic side of his profession only, it would be premature to say; butat anyrate it was his contrite return to architecture as a calling thatsent him on the sketching excursion under notice. Feeling that somethingstill was wanting to round off his knowledge before he could take hisprofessional linewith confidence, he was led to remember that his ownnative Gothic was the one form of design that he had totally neglectedfrom the beginning, through its having greeted him with wearisomeiteration at the opening ofhis career. Now it had again returned tosilence; indeed--such is the surprising instability of art 'principles'as they are facetiously called--it was just as likely as not to sinkinto the neglect and oblivion which had been itslot in Georgian times.This accident of being out of vogue lent English Gothic an additionalcharm to one of his proclivities; and away he went to make it thebusiness of a summer circuit in the west.The quiet time ofevening, the secluded neighbourhood, the unusuallygorgeous liveries of the clouds packed in a pile over that quarter ofthe heavens in which the sun had disappeared, were such as to makea traveller loiter on his walk.Coming to a stile, Somerset mountedhimself on the top bar, to imbibe the spirit of the scene and hour. Theevening was so still that every trifling sound could be heard for miles.There was the rattle of a returningwaggon, mixed with the smacks of thewaggoner's whip: the team must have been at least three miles off. Fromfar over the hill came the faint periodic yell of kennelled hounds;while from the nearest village resoundedthe voices of boys at play inthe twilight. Then a powerful clock struck the hour; it was not fromthe direction of the church, but rather from the wood behind him; and hethought it must be the clock of some mansion thatway.But the mind of man cannot always be forced to take up subjects by thepressure of their material presence, and Somerset's thoughts were often,to his great loss, apt to be even more than common truants fromthetones and images that met his outer senses on walks and rides. He wouldsometimes go quietly through the queerest, gayest, most extraordinarytown in Europe, and let it alone, provided it did not meddle with himbyits beggars, beauties, innkeepers, police, coachmen, mongrels, badsmells, and such like obstructions. This feat of questionable utility hebegan performing now. Sitting on the three-inch ash rail that had beenpeeled andpolished like glass by the rubbings of all the small-clothesin the parish, he forgot the time, the place, forgot that it wasAugust--in short, everything of the present altogether. His mind flewback to his past life, anddeplored the waste of time that had resultedfrom his not having been able to make up his mind which of the manyfashions of art that were coming and going in kaleidoscopic changewas the true point of departure fromhimself. He had suffered from themodern malady of unlimited appreciativeness as much as any living manof his own age. Dozens of his fellows in years and experience, who hadnever thought specially of the matter,but had blunderingly appliedthemselves to whatever form of art confronted them at the moment oftheir making a move, were by this time acquiring renown as new lights;while he was still unknown. He wished thatsome accident could havehemmed in his eyes between inexorable blinkers, and sped him on in achannel ever so worn.Thus balanced between believing and not believing in his own future,he was recalled to the scenewithout by hearing the notes of a familiarhymn, rising in subdued harmonies from a valley below. He listened moreheedfully. It was his old friend the 'New Sabbath,' which he had neveronce heard since the lisping daysof childhood, and whose existence,much as it had then been to him, he had till this moment quiteforgotten. Where the 'New Sabbath' had kept itself all these years--whythat sound and hearty melody had disappearedfrom all the cathedrals,parish churches, minsters and chapels-of-ease that he had beenacquainted with during his apprenticeship to life, and until his wayshad become irregular and uncongregational--he could not, atfirst,say. But then he recollected that the tune appertained to the oldwest-gallery period of church-music, anterior to the great choralreformation and the rule of Monk--that old time when the repetition ofa word, orhalf-line of a verse, was not considered a disgrace to anecclesiastical choir.Willing to be interested in anything which would keep him out-of-doors,Somerset dismounted from the stile and descended the hill before him,tolearn whence the singing proceeded.II.He found that it had its origin in a building standing alone in a field;and though the evening was not yet dark without, lights shone from thewindows. In a few moments Somersetstood before the edifice. Being justthen en rapport with ecclesiasticism by reason of his recent occupation,he could not help murmuring, 'Shade of Pugin, what a monstrosity!'Perhaps this exclamation (rather out of datesince the discovery thatPugin himself often nodded amazingly) would not have been indulged inby Somerset but for his new architectural resolves, which causedprofessional opinions to advance themselves officiously tohislips whenever occasion offered. The building was, in short, arecently-erected chapel of red brick, with pseudo-classic ornamentation,and the white regular joints of mortar could be seen streaking itssurface ingeometrical oppressiveness from top to bottom. The roof wasof blue slate, clean as a table, and unbroken from gable to gable;the windows were glazed with sheets of plate glass, a temporary ironstovepipe passing outnear one of these, and running up to the height ofthe ridge, where it was finished by a covering like a parachute. Walkinground to the end, he perceived an oblong white stone let into the walljust above the plinth, onwhich was inscribed in deep letters:--               Erected 187-,          AT THE SOLE EXPENSE OF          JOHN POWER, ESQ., M.P.The 'New Sabbath' still proceeded line by line, with all the emotionalswells and cadencesthat had of old characterized the tune: and the bodyof vocal harmony that it evoked implied a large congregation within, towhom it was plainly as familiar as it had been to church-goers of a pastgeneration. With awhimsical sense of regret at the secession of hisonce favourite air Somerset moved away, and would have quite withdrawnfrom the field had he not at that moment observed two young men withpitchers of watercoming up from a stream hard by, and hastening withtheir burdens into the chapel vestry by a side door. Almost as soon asthey had entered they emerged again with empty pitchers, and proceededto the stream to fillthem as before, an operation which they repeatedseveral times. Somerset went forward to the stream, and waited till theyoung men came out again.'You are carrying in a great deal of water,' he said, as each dippedhispitcher.One of the young men modestly replied, 'Yes: we filled the cistern thismorning; but it leaks, and requires a few pitcherfuls more.''Why do you do it?''There is to be a baptism, sir.'Somerset was not sufficientlyinterested to develop a furtherconversation, and observing them in silence till they had again vanishedinto the building, he went on his way. Reaching the brow of the hill hestopped and looked back. The chapel was stillin view, and the shadesof night having deepened, the lights shone from the windows yet morebrightly than before. A few steps further would hide them and theedifice, and all that belonged to it from his sight, possiblyfor ever.There was something in the thought which led him to linger. The chapelhad neither beauty, quaintness, nor congeniality to recommend it: thedissimilitude between the new utilitarianism of the place and thescenesof venerable Gothic art which had occupied his daylight hours could notwell be exceeded. But Somerset, as has been said, was an instrumentof no narrow gamut: he had a key for other touches than thepurelyaesthetic, even on such an excursion as this. His mind was arrested bythe intense and busy energy which must needs belong to an assembly thatrequired such a glare of light to do its religion by; in the heavingofthat tune there was an earnestness which made him thoughtful, and theshine of those windows he had characterized as ugly reminded him of theshining of the good deed in a naughty world. The chapel and itsshabbyplot of ground, from which the herbage was all trodden away by busyfeet, had a living human interest that the numerous minsters andchurches knee-deep in fresh green grass, visited by him during theforegoingweek, had often lacked. Moreover, there was going to be abaptism: that meant the immersion of a grown-up person; and he hadbeen told that Baptists were serious people and that the scene was mostimpressive. Whatmanner of man would it be who on an ordinary ploddingand bustling evening of the nineteenth century could single himself outas one different from the rest of the inhabitants, banish all shyness,and come forward toundergo such a trying ceremony? Who was he thathad pondered, gone into solitudes, wrestled with himself, worked up hiscourage and said, I will do this, though few else will, for I believe itto be my duty?Whether onaccount of these thoughts, or from the circumstance thathe had been alone amongst the tombs all day without communion with hiskind, he could not tell in after years (when he had good reason to thinkof the subject);but so it was that Somerset went back, and again stoodunder the chapel-wall.Instead of entering he passed round to where the stove-chimney camethrough the bricks, and holding on to the iron stay he put his toesonthe plinth and looked in at the window. The building was quite full ofpeople belonging to that vast majority of society who are denied theart of articulating their higher emotions, and crave dumbly forafugleman--respectably dressed working people, whose faces and forms wereworn and contorted by years of dreary toil. On a platform at the endof the chapel a haggard man of more than middle age, with greywhiskersascetically cut back from the fore part of his face so far as to bealmost banished from the countenance, stood reading a chapter. Betweenthe minister and the congregation was an open space, and in the floor"}
+{"doc_id":"doc_13","qid":"","text":"Project Gutenberg's The Tale of Mrs. Tittlemouse, by Beatrix PotterThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it underthe terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: The Tale of Mrs. TittlemouseAuthor: Beatrix PotterRelease Date: November 18, 2005 [EBook #17089]Language:English*** START OF THIS PROJECT GUTENBERG EBOOK THE TALE OF MRS. TITTLEMOUSE ***Produced by Robert Cicconetti, Emmy and the OnlineDistributed Proofreading Team at http://www.pgdp.net[Illustration:Mrs. Tittlemouse & Bees]THE TALE OF MRS. TITTLEMOUSEBy BEATRIX POTTERAuthor of \"The Tale of Peter Rabbit\" etc.[Illustration: Mrs. Tittlemouse & Butterfly]FREDERICK WARNEFREDERICK WARNEPenguin BooksLtd, Harmondsworth, Middlesex, EnglandViking Penguin Inc., 40 West 23rd Street, New York, New York 10010, U.S.A.Penguin Books Australia Ltd, Ringwood, Victoria, AustraliaPenguin Books Canada Ltd, 2801 JohnStreet, Markham, Ontario, Canada L3R 1B4Penguin Books (N.Z.) Ltd, 182-190 Wairau Road, Auckland 10, New ZealandFirst published 1910This impression 1985Universal Copyright Notice:Copyright © 1910 byFrederick Warne & Co.Copyright in all countries signatory to the Berne Convention          All rights reserved. Without limiting the rights          under copyright reserved above, no part of this          publication may bereproduced, stored in or          introduced into a retrieval system, or          transmitted, in any form or by any means          (electronic, mechanical, photocopying, recording          or otherwise), without the priorwritten          permission of both the copyright owner and the          above publisher of this book.Printed and bound in Great Britain byWilliam Clowes Limited, Beccles and LondonNELLIE'SLITTLE BOOK[Illustration: Mrs.Tittlemouse at the Door]Once upon a time there was a wood-mouse, and her name was Mrs.Tittlemouse.She lived in a bank under a hedge.Such a funny house! There were yards and yards of sandy passages,leading tostorerooms and nut-cellars and seed-cellars, all amongst theroots of the hedge.[Illustration: In the pantry][Illustration: In bed]There was a kitchen, a parlour, a pantry, and a larder.Also, there was Mrs. Tittlemouse'sbedroom, where she slept in a littlebox bed!Mrs. Tittlemouse was a most terribly tidy particular little mouse,always sweeping and dusting the soft sandy floors.Sometimes a beetle lost its way in the passages.\"Shuh!shuh! little dirty feet!\" said Mrs. Tittlemouse, clattering herdust-pan.[Illustration: Shooing a beetle][Illustration: A ladybird]And one day a little old woman ran up and down in a red spotty cloak.\"Your house is on fire,Mother Ladybird! Fly away home to yourchildren!\"Another day, a big fat spider came in to shelter from the rain.\"Beg pardon, is this not Miss Muffet's?\"\"Go away, you bold bad spider! Leaving ends of cobweb all over myniceclean house!\"[Illustration: Spider][Illustration: Out the window]She bundled the spider out at a window.He let himself down the hedge with a long thin bit of string.Mrs. Tittlemouse went on her way to a distantstoreroom, to fetchcherry-stones and thistle-down seed for dinner.All along the passage she sniffed, and looked at the floor.\"I smell a smell of honey; is it the cowslips outside, in the hedge? Iam sure I can see themarks of little dirty feet.\"[Illustration: Marks of little feet][Illustration: Babbitty Bumble]Suddenly round a corner, she met Babbitty Bumble--\"Zizz, Bizz, Bizzz!\"said the bumble bee.Mrs. Tittlemouse looked at herseverely. She wished that she had abroom.\"Good-day, Babbitty Bumble; I should be glad to buy some beeswax. Butwhat are you doing down here? Why do you always come in at a window, andsay Zizz, Bizz, Bizzz?\"Mrs. Tittlemouse began to get cross.\"Zizz, Wizz, Wizzz!\" replied Babbitty Bumble in a peevish squeak. Shesidled down a passage, and disappeared into a storeroom which had beenused for acorns.Mrs. Tittlemouse hadeaten the acorns before Christmas; the storeroomought to have been empty.But it was full of untidy dry moss.[Illustration: Full of moss][Illustration: Bees nest]Mrs. Tittlemouse began to pull out the moss. Three orfour other beesput their heads out, and buzzed fiercely.\"I am not in the habit of letting lodgings; this is an intrusion!\" saidMrs. Tittlemouse. \"I will have them turned out--\" \"Buzz! Buzz!Buzzz!\"--\"I wonder who wouldhelp me?\" \"Bizz, Wizz, Wizzz!\"--\"I will not have Mr. Jackson; he never wipes his feet.\"Mrs. Tittlemouse decided to leave the bees till after dinner.When she got back to the parlour, she heard some one coughing in afatvoice; and there sat Mr. Jackson himself!He was sitting all over a small rocking-chair, twiddling his thumbs andsmiling, with his feet on the fender.He lived in a drain below the hedge, in a very dirty wetditch.[Illustration: Mr. Jackson][Illustration: Sitting and dripping]\"How do you do, Mr. Jackson? Deary me, you have got very wet!\"\"Thank you, thank you, thank you, Mrs. Tittlemouse! I'll sit awhile anddry myself,\" saidMr. Jackson.He sat and smiled, and the water dripped off his coat tails. Mrs.Tittlemouse went round with a mop.He sat such a while that he had to be asked if he would take somedinner?First she offered himcherry-stones. \"Thank you, thank you, Mrs.Tittlemouse! No teeth, no teeth, no teeth!\" said Mr. Jackson.He opened his mouth most unnecessarily wide; he certainly had not atooth in his head.[Illustration: Feeding Mr.Jackson][Illustration: Thistledown]Then she offered him thistle-down seed--\"Tiddly, widdly, widdly! Pouff,pouff, puff!\" said Mr. Jackson. He blew the thistle-down all over theroom.\"Thank you, thank you, thank you, Mrs.Tittlemouse! Now what Ireally--_really_ should like--would be a little dish of honey!\"\"I am afraid I have not got any, Mr. Jackson,\" said Mrs. Tittlemouse.\"Tiddly, widdly, widdly, Mrs. Tittlemouse!\" said the smilingMr.Jackson, \"I can _smell_ it; that is why I came to call.\"Mr. Jackson rose ponderously from the table, and began to look into thecupboards.Mrs. Tittlemouse followed him with a dish-cloth, to wipe his largewetfootmarks off the parlour floor.[Illustration: Wiping up footmarks][Illustration: Walking down the passage]When he had convinced himself that there was no honey in the cupboards,he began to walk down thepassage.\"Indeed, indeed, you will stick fast, Mr. Jackson!\"\"Tiddly, widdly, widdly, Mrs. Tittlemouse!\"First he squeezed into the pantry.\"Tiddly, widdly, widdly? no honey? no honey, Mrs. Tittlemouse?\"There were threecreepy-crawly people hiding in the plate-rack. Two ofthem got away; but the littlest one he caught.[Illustration: Creepy-crawly people][Illustration: Butterfly tasting the sugar]Then he squeezed into the larder. MissButterfly was tasting the sugar;but she flew away out of the window.\"Tiddly, widdly, widdly, Mrs. Tittlemouse; you seem to have plenty ofvisitors!\"\"And without any invitation!\" said Mrs. Thomasina Tittlemouse.Theywent along the sandy passage--\"Tiddly widdly--\" \"Buzz! Wizz! Wizz!\"He met Babbitty round a corner, and snapped her up, and put her downagain.\"I do not like bumble bees. They are all over bristles,\" said Mr.Jackson,wiping his mouth with his coat-sleeve.\"Get out, you nasty old toad!\" shrieked Babbitty Bumble.\"I shall go distracted!\" scolded Mrs. Tittlemouse.[Illustration: Confronting the Bee][Illustration: Shut into thenut-cellar]She shut herself up in the nut-cellar while Mr. Jackson pulled out thebees-nest. He seemed to have no objection to stings.When Mrs. Tittlemouse ventured to come out--everybody had gone away.But theuntidiness was something dreadful--\"Never did I see such amess--smears of honey; and moss, and thistledown--and marks of big andlittle dirty feet--all over my nice clean house!\"She gathered up the moss and theremains of the beeswax.Then she went out and fetched some twigs, to partly close up the frontdoor.\"I will make it too small for Mr. Jackson!\"[Illustration: Closing up the front door][Illustration: Too tired]She fetchedsoft soap, and flannel, and a new scrubbing brush from thestoreroom. But she was too tired to do any more. First she fell asleepin her chair, and then she went to bed.\"Will it ever be tidy again?\" said poor Mrs.Tittlemouse.Next morning she got up very early and began a spring cleaning whichlasted a fortnight.She swept, and scrubbed, and dusted; and she rubbed up the furniturewith beeswax, and polished her little tinspoons.[Illustration: Polishing]When it was all beautifully neat and clean, she gave a party to fiveother little mice, without Mr. Jackson.He smelt the party and came up the bank, but he could not squeeze in atthedoor.[Illustration: The party][Illustration: Honey-dew through the window]So they handed him out acorn-cupfuls of honey-dew through the window,and he was not at all offended.He sat outside in the sun, andsaid--\"Tiddly, widdly, widdly! Your verygood health, Mrs. Tittlemouse!\"THE END       *       *       *       *       *Transcriber's Note: Punctuation normalized and captions added toillustrations.End of Project Gutenberg'sThe Tale of Mrs. Tittlemouse, by Beatrix Potter*** END OF THIS PROJECT GUTENBERG EBOOK THE TALE OF MRS. TITTLEMOUSE ******** This file should be named 17089-8.txt or 17089-8.zip *****This and allassociated files of various formats will be found in:        http://www.gutenberg.org/1/7/0/8/17089/Produced by Robert Cicconetti, Emmy and the OnlineDistributed Proofreading Team at http://www.pgdp.netUpdatededitions will replace the previous one--the old editionswill be renamed.Creating the works from public domain print editions means that noone owns a United States copyright in these works, so the Foundation(and you!)can copy and distribute it in the United States withoutpermission and without paying copyright royalties.  Special rules,set forth in the General Terms of Use part of this license, apply tocopying and distributing ProjectGutenberg-tm electronic works toprotect the PROJECT GUTENBERG-tm concept and trademark.  ProjectGutenberg is a registered trademark, and may not be used if youcharge for the eBooks, unless you receive specificpermission.  If youdo not charge anything for copies of this eBook, complying with therules is very easy.  You may use this eBook for nearly any purposesuch as creation of derivative works, reports, performancesandresearch.  They may be modified and printed and given away--you may dopractically ANYTHING with public domain eBooks.  Redistribution issubject to the trademark license, especially commercialredistribution.***START: FULL LICENSE ***THE FULL PROJECT GUTENBERG LICENSEPLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORKTo protect the Project Gutenberg-tm mission of promoting the freedistribution ofelectronic works, by using or distributing this work(or any other work associated in any way with the phrase \"ProjectGutenberg\"), you agree to comply with all the terms of the Full ProjectGutenberg-tm License(available with this file or online athttp://gutenberg.net/license).Section 1.  General Terms of Use and Redistributing Project Gutenberg-tmelectronic works1.A.  By reading or using any part of this ProjectGutenberg-tmelectronic work, you indicate that you have read, understand, agree toand accept all the terms of this license and intellectual property(trademark/copyright) agreement.  If you do not agree to abide byallthe terms of this agreement, you must cease using and return or destroyall copies of Project Gutenberg-tm electronic works in your possession.If you paid a fee for obtaining a copy of or access to aProjectGutenberg-tm electronic work and you do not agree to be bound by theterms of this agreement, you may obtain a refund from the person orentity to whom you paid the fee as set forth in paragraph1.E.8.1.B.  \"Project Gutenberg\" is a registered trademark.  It may only beused on or associated in any way with an electronic work by people whoagree to be bound by the terms of this agreement.  There are afewthings that you can do with most Project Gutenberg-tm electronic workseven without complying with the full terms of this agreement.  Seeparagraph 1.C below.  There are a lot of things you can do withProjectGutenberg-tm electronic works if you follow the terms of this agreementand help preserve free future access to Project Gutenberg-tm electronicworks.  See paragraph 1.E below.1.C.  The Project GutenbergLiterary Archive Foundation (\"the Foundation\"or PGLAF), owns a compilation copyright in the collection of ProjectGutenberg-tm electronic works.  Nearly all the individual works in thecollection are in the public domain inthe United States.  If anindividual work is in the public domain in the United States and you arelocated in the United States, we do not claim a right to prevent you fromcopying, distributing, performing, displaying orcreating derivativeworks based on the work as long as all references to Project Gutenbergare removed.  Of course, we hope that you will support the ProjectGutenberg-tm mission of promoting free access to electronicworks byfreely sharing Project Gutenberg-tm works in compliance with the terms ofthis agreement for keeping the Project Gutenberg-tm name associated withthe work.  You can easily comply with the terms of thisagreement bykeeping this work in the same format with its attached full ProjectGutenberg-tm License when you share it without charge with others.1.D.  The copyright laws of the place where you are located alsogovernwhat you can do with this work.  Copyright laws in most countries are ina constant state of change.  If you are outside the United States, checkthe laws of your country in addition to the terms of thisagreementbefore downloading, copying, displaying, performing, distributing orcreating derivative works based on this work or any other ProjectGutenberg-tm work.  The Foundation makes no representationsconcerningthe copyright status of any work in any country outside the UnitedStates.1.E.  Unless you have removed all references to Project Gutenberg:1.E.1.  The following sentence, with active links to, or otherimmediateaccess to, the full Project Gutenberg-tm License must appear prominentlywhenever any copy of a Project Gutenberg-tm work (any work on which thephrase \"Project Gutenberg\" appears, or with which thephrase \"ProjectGutenberg\" is associated) is accessed, displayed, performed, viewed,copied or distributed:This eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You maycopy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.net1.E.2.  If an individual Project Gutenberg-tm electronic work is derivedfrom thepublic domain (does not contain a notice indicating that it isposted with permission of the copyright holder), the work can be copiedand distributed to anyone in the United States without paying any feesor charges.  Ifyou are redistributing or providing access to a workwith the phrase \"Project Gutenberg\" associated with or appearing on thework, you must comply either with the requirements of paragraphs 1.E.1through 1.E.7 orobtain permission for the use of the work and theProject Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or1.E.9.1.E.3.  If an individual Project Gutenberg-tm electronic work is postedwith the permission ofthe copyright holder, your use and distributionmust comply with both paragraphs 1.E.1 through 1.E.7 and any additionalterms imposed by the copyright holder.  Additional terms will be linkedto the ProjectGutenberg-tm License for all works posted with thepermission of the copyright holder found at the beginning of this work.1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tmLicense terms from thiswork, or any files containing a part of thiswork or any other work associated with Project Gutenberg-tm.1.E.5.  Do not copy, display, perform, distribute or redistribute thiselectronic work, or any part of this electronicwork, withoutprominently displaying the sentence set forth in paragraph 1.E.1 withactive links or immediate access to the full terms of the ProjectGutenberg-tm License.1.E.6.  You may convert to and distribute thiswork in any binary,compressed, marked up, nonproprietary or proprietary form, including anyword processing or hypertext form.  However, if you provide access to ordistribute copies of a Project Gutenberg-tm work ina format other than\"Plain Vanilla ASCII\" or other format used in the official versionposted on the official Project Gutenberg-tm web site (www.gutenberg.net),you must, at no additional cost, fee or expense to the user,provide acopy, a means of exporting a copy, or a means of obtaining a copy uponrequest, of the work in its original \"Plain Vanilla ASCII\" or otherform.  Any alternate format must include the full ProjectGutenberg-tmLicense as specified in paragraph 1.E.1.1.E.7.  Do not charge a fee for access to, viewing, displaying,performing, copying or distributing any Project Gutenberg-tm worksunless you comply with paragraph1.E.8 or 1.E.9.1.E.8.  You may charge a reasonable fee for copies of or providingaccess to or distributing Project Gutenberg-tm electronic works providedthat- You pay a royalty fee of 20% of the gross profits you derivefrom     the use of Project Gutenberg-tm works calculated using the method     you already use to calculate your applicable taxes.  The fee is     owed to the owner of the Project Gutenberg-tm trademark, but he     hasagreed to donate royalties under this paragraph to the     Project Gutenberg Literary Archive Foundation.  Royalty payments     must be paid within 60 days following each date on which you     prepare (or are legallyrequired to prepare) your periodic tax     returns.  Royalty payments should be clearly marked as such and     sent to the Project Gutenberg Literary Archive Foundation at the     address specified in Section 4,\"Information about donations to     the Project Gutenberg Literary Archive Foundation.\"- You provide a full refund of any money paid by a user who notifies     you in writing (or by e-mail) within 30 days of receipt thats/he     does not agree to the terms of the full Project Gutenberg-tm     License.  You must require such a user to return or     destroy all copies of the works possessed in a physical medium     and discontinue all use ofand all access to other copies of     Project Gutenberg-tm works.- You provide, in accordance with paragraph 1.F.3, a full refund of any     money paid for a work or a replacement copy, if a defect in the     electronicwork is discovered and reported to you within 90 days     of receipt of the work.- You comply with all other terms of this agreement for free     distribution of Project Gutenberg-tm works.1.E.9.  If you wish to charge afee or distribute a Project Gutenberg-tmelectronic work or group of works on different terms than are setforth in this agreement, you must obtain permission in writing fromboth the Project Gutenberg Literary ArchiveFoundation and MichaelHart, the owner of the Project Gutenberg-tm trademark.  Contact theFoundation as set forth in Section 3 below.1.F.1.F.1.  Project Gutenberg volunteers and employees expend considerableeffortto identify, do copyright research on, transcribe and proofreadpublic domain works in creating the Project Gutenberg-tmcollection.  Despite these efforts, Project Gutenberg-tm electronicworks, and the medium on whichthey may be stored, may contain\"Defects,\" such as, but not limited to, incomplete, inaccurate orcorrupt data, transcription errors, a copyright or other intellectualproperty infringement, a defective or damaged disk orother medium, acomputer virus, or computer codes that damage or cannot be read byyour equipment.1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the \"Rightof Replacement or Refund\" describedin paragraph 1.F.3, the ProjectGutenberg Literary Archive Foundation, the owner of the ProjectGutenberg-tm trademark, and any other party distributing a ProjectGutenberg-tm electronic work under this agreement,disclaim allliability to you for damages, costs and expenses, including legalfees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICTLIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACTEXCEPT THOSEPROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THETRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BELIABLE TO YOU FOR ACTUAL, DIRECT,INDIRECT, CONSEQUENTIAL, PUNITIVE ORINCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCHDAMAGE.1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover adefect inthis electronic work within 90 days of receiving it, you canreceive a refund of the money (if any) you paid for it by sending awritten explanation to the person you received the work from.  If youreceived the work on a"}
+{"doc_id":"doc_14","qid":"","text":"The Project Gutenberg EBook of Abbe Mouretâ\u0000\u0000s Transgression, by Emile ZolaThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it awayorre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: Abbe Mouretâ\u0000\u0000s Transgression       La Faute De Lâ\u0000\u0000abbe MouretAuthor: Emile ZolaEditor:Ernest Alfred VizetellyRelease Date: November 28, 2004 [EBook #14200]Posting Date: May 29, 2009Last Updated: September 5, 2016Language: EnglishCharacter set encoding: UTF-8*** START OF THIS PROJECTGUTENBERG EBOOK ABBE MOURETâ\u0000\u0000S TRANSGRESSION ***Produced by Dagny; and David WidgerABBE MOURETâ\u0000\u0000S TRANSGRESSIONBy Emile ZolaEdited with an Introduction by Ernest AlfredVizetellyINTRODUCTIONâ\u0000\u0000LA FAUTE DE Lâ\u0000\u0000ABBE MOURETâ\u0000\u0000 was, with respect to the date ofpublication, the fourth volume of M. Zolaâ\u0000\u0000s â\u0000\u0000Rougon-Macquartâ\u0000\u0000 series;but in the amended and finalscheme of that great literary undertaking,it occupies the ninth place. It proceeds from the sixth volume of theseries, â\u0000\u0000The Conquest of Plassans;â\u0000\u0000 which is followed by the two worksthat deal with the career ofOctave Mouret, Abbe Serge Mouretâ\u0000\u0000s elderbrother. In â\u0000\u0000The Conquest of Plassans,â\u0000\u0000 Serge and his half-wittedsister, Desiree, are seen in childhood at their home in Plassans, whichis wrecked by the doings ofa certain Abbe Faujas and his relatives.Serge Mouret grows up, is called by an instinctive vocation to thepriesthood, and becomes parish priest of Les Artaud, a well-nigh paganhamlet in one of those bare, burningstretches of country with whichProvence abounds. And here it is that â\u0000\u0000La Faute de lâ\u0000\u0000Abbe Mouretâ\u0000\u0000 opensin the old ruinous church, perched upon a hillock in full view of thesqualid village, the arid fields, andthe great belts of rock which shutin the landscape all around.There are two elements in this remarkable story, which, from thestandpoint of literary style, has never been excelled by anything thatM. Zola has sincewritten; and one may glance at it therefore from twopoints of view. Taking it under its sociological and religious aspect,it will be found to be an indirect indictment of the celibacy of thepriesthood; that celibacy, contraryto Natureâ\u0000\u0000s fundamental law, whichassuredly has largely influenced the destinies of the Roman CatholicChurch. To that celibacy, and to all the evils that have sprang fromit, may be ascribed much of the irreligioncurrent in France to-day.The periodical reports on criminality issued by the French Ministers ofJustice since the foundation of the Republic in 1871, supply materialsfor a most formidable indictment of that vow ofperpetual chastity whichRome exacts from her clergy. Nowadays it is undoubtedly too late forRome to go back upon that vow and thereby transform the whole of hersacerdotal organisation; but, perhaps, had she doneso in past times,before the spirit of inquiry and free examination came into being, shemight have assured herself many more centuries of supremacy than havefallen to her lot. But she has ever sought to dissociate thelaw of theDivinity from the law of Nature, as though indeed the latter were butthe invention of the Fiend.Abbe Mouret, M. Zolaâ\u0000\u0000s hero, finds himself placed between the law ofthe Divinity and the law of Nature: andthe struggle waged within him bythose two forces is a terrible one. That which training has implantedin his mind proves the stronger, and, so far as the canons of the Churchcan warrant it, he saves his soul. But theproblem is not quite franklyput by M. Zola; for if Abbe Mouret transgresses he does so unwittingly,at a time when he is unconscious of his priesthood and has no memory ofany vow. When the truth flashes upon him heis horrified with himself,and forthwith returns to the Church. A further struggle between thecontending forces then certainly ensues, and ends in the final victoryof the Church. But it must at least be said that in thelapses whichoccur in real life among the Roman priesthood, the circumstances arealtogether different from those which M. Zola has selected for hisstory.The truth is that in â\u0000\u0000La Faute de lâ\u0000\u0000Abbe Mouret,â\u0000\u0000betwixt lifelikeglimpses of French rural life, the author transports us to a realm ofpoesy and imagination. This is, indeed, so true that he has introducedinto his work all the ideas on which he had based an earlyunfinishedpoem called â\u0000\u0000Genesis.â\u0000\u0000 He carries us to an enchanted garden,the Paradou--a name which one need hardly say is Provencal forParadise*--and there Serge Mouret, on recovering from brainfever,becomes, as it were, a new Adam by the side of a new Eve, the fair andwinsome Albine. All this part of the book, then, is poetry in prose.The author has remembered the ties which link Rousseau to therealisticschool of fiction, and, as in the pages of Jean-Jacques, trees, springs,mountains, rocks, and flowers become animated beings and claim theirplace in the worldâ\u0000\u0000s mechanism. One may indeed go back farbeyondRousseau, even to Lucretius himself; for more than once we areirresistibly reminded of Lucretian scenes, above which through M. Zolaâ\u0000\u0000spages there seems to hover the pronouncement of Sophocles:     Noordinance of man shall override     The settled laws of Nature and of God;     Not written these in pages of a book,     Nor were they framed to-day, nor yesterday;     We know not whence they are; but this weknow,     That they from all eternity have been,     And shall to all eternity endure.  * There is a village called Paradou in Provence, between    Les Baux and Arles.And if we pass to the young pair whose duo of love issung amidst thevaried voices of creation, we are irresistibly reminded of the Pauland Virginia of St. Pierre, and the Daphnis and Chloe of Longus. Besidethem, in their marvellous garden, lingers a memory too of ManonandDes Grieux, with a suggestion of Lauzun and a glimpse of the art ofFragonard. All combine, all contribute--from the great classics to theeighteenth century _petits maitres_--to build up a story of loveâ\u0000\u0000s risein thehuman breast in answer to Natureâ\u0000\u0000s promptings.M. Zola wrote â\u0000\u0000La Faute de lâ\u0000\u0000Abbe Mouretâ\u0000\u0000 one summer under the trees ofhis garden, mindful the while of gardens that he had known in childhood:theflowery expanse which had stretched before his grandmotherâ\u0000\u0000s homeat Pont-au-Beraud and the wild estate of Galice, between Roquefavour andAix-en-Provence, through which he had roamed as a lad with friendsthenboys like himself: Professor Baille and Cezanne, the painter. And intohis description of the wondrous Paradou he has put all his remembranceof the gardens and woods of Provence, where many a plant andflowerthrive with a luxuriance unknown to England. True, in order to refreshhis memory and avoid mistakes, he consulted various horticulturalmanuals whilst he was writing; of which circumstance captious criticshavereadily laid hold, to proclaim that the description of the Paradouis a mere floristâ\u0000\u0000s catalogue.But it is nothing of the kind. The florist who might dare to offersuch a catalogue to the public would be speedily assailedby all thehorticultural journalists of England and all the customers of villadom.For M. Zola avails himself of a poetâ\u0000\u0000s license to crowd marvel uponmarvel, to exaggerate natureâ\u0000\u0000s forces, to transform the tiniestbloomsinto giant examples of efflorescence, and to mingle even the seasonsone with the other. But all this was premeditated; there was a picturebefore his mindâ\u0000\u0000s eye, and that picture he sought to trace with hispen,regardless of all possible objections. It is the poetâ\u0000\u0000s privilege todo this and even to be admired for it. It would be easy for some leanedbotanist, some expert zoologist, to demolish Milton from the standpointoftheir respective sciences, but it would be absurd to do so. We ask ofthe poet the flowers of his imagination, and the further he carries usfrom the sordid realities, the limited possibilities of life, the moreare we grateful tohim.And M. Zolaâ\u0000\u0000s Paradou is a flight of fancy, even as its mistress, thefair, loving, guileless Albine, whose smiles and whose tears alike goto our hearts, is the daughter of imagination. She is a flower--theveryflower of lifeâ\u0000\u0000s youth--in the midst of all the blossoms of hergarden. She unfolds to life and to love even as they unfold; she lovesrapturously even as they do under the sun and the azure; and she dieswith themwhen the sunâ\u0000\u0000s caress is gone and the chill of winter hasfallen. At the thought of her, one instinctively remembers Malherbeâ\u0000\u0000sâ\u0000\u0000Ode A Du Perrier:â\u0000\u0000     She to this earth belonged, where beautyfast          To direst fate is borne:     A rose, she lasted, as the roses last,          Only for one brief morn.French painters have made subjects of many episodes in M. Zolaâ\u0000\u0000sworks, but none has been more popularwith them than Albineâ\u0000\u0000s pathetic,perfumed death amidst the flowers. I know several paintings of greatmerit which that touching incident has inspired.Albine, if more or less unreal, a phantasm, the spirit as it wereofNature incarnate in womanhood, is none the less the most delightful ofM. Zolaâ\u0000\u0000s heroines. She smiles at us like the vision of perfect beautyand perfect love which rises before us when our hearts are yet youngandfull of illusions. She is the ideal, the very quintessence of woman.In Serge Mouret, her lover, we find a man who, in more than one respect,recalls M. Zolaâ\u0000\u0000s later hero, the Abbe Froment of â\u0000\u0000Lourdesâ\u0000\u0000and â\u0000\u0000Rome.â\u0000\u0000He has the same loving, yearning nature; he is born--absolutely likeAbbe Froment--of an unbelieving father and a mother of mystical mind.But unlike Froment he cannot shake off the shackles ofhis priesthood.Reborn to life after his dangerous illness, he relapses into thereligion of death, the religion which regards life as impurity, whichdenies Natureâ\u0000\u0000s laws, and so often wrecks human existence, as ifindeedthat had been the Divine purpose in setting man upon earth. Hisstruggles suggest various passages in â\u0000\u0000Lourdesâ\u0000\u0000 and â\u0000\u0000Rome.â\u0000\u0000 In fact, inwriting those works, M. Zola must have had his earlier creationinmind. There are passages in â\u0000\u0000La Faute de lâ\u0000\u0000Abbe Mouretâ\u0000\u0000 culled from thewritings of the Spanish Jesuit Fathers and the â\u0000\u0000Imitationâ\u0000\u0000 of Thomasa Kempis that recur almost word for word in theTrilogy of the ThreeCities. Some might regard this as evidence of the limitation of M.Zolaâ\u0000\u0000s powers, but I think differently. I consider that he has in bothinstances designedly taken the same type of priest in order toshow howhe may live under varied circumstances; for in the earlier instancehe has led him to one goal, and in the later one to another. And thepassages of prayer, entreaty, and spiritual conflict simply recurbecausethey are germane, even necessary, to the subject in both cases.Of the minor characters that figure in â\u0000\u0000La Faute de lâ\u0000\u0000Abbe Mouretâ\u0000\u0000 thechief thing to be said is that they are lifelike. If Serge is almostwhollyspiritual, if Albine is the daughter of poesy, they, the others,are of the earth earthy. As a result of their appearance on the scene,there are some powerful contrasting passages in the book. Archangias,the coarse andbrutal Christian Brother who serves as a foil to AbbeMouret; La Teuse, the priestâ\u0000\u0000s garrulous old housekeeper; Desiree, hisâ\u0000\u0000innocentâ\u0000\u0000 sister, a grown woman with the mind of a child and an almostcrazyaffection for every kind of bird and beast, are all admirablyportrayed. Old Bambousse, though one sees but little of him, standsout as a genuine type of the hard-headed French peasant, who invariablyplaces pecuniaryconsiderations before all others. And Fortune andRosalie, Vincent and Catherine, and their companions, are equally trueto nature. It need hardly be said that there is many a village in Francesimilar to Les Artaud. Thathamletâ\u0000\u0000s shameless, purely animal life hasin no wise been over-pictured by M. Zola. Those who might doubt him neednot go as far as Provence to find such communities. Many Norman hamletsare every whit asbad, and, in Normandy, conditions are aggravated by amarked predilection for the bottle, which, as French social-scientistshave been pointing out for some years now, is fast hastening thedegenerescence of thepeasantry, both morally and physically.With reference to the English version of â\u0000\u0000La Faute de lâ\u0000\u0000Abbe Mouretâ\u0000\u0000herewith presented, I may just say that I have subjected it toconsiderable revision and haveretranslated all the more importantpassages myself.     MERTON, SURREY.                                    E. A. V.ABBE MOURETâ\u0000\u0000S TRANSGRESSIONBOOK IIAs La Teuse entered the church she rested her broom andfeather-brushagainst the altar. She was late, as she had that day began herhalf-yearly wash. Limping more than ever in her haste and hustling thebenches, she went down the church to ring the _Angelus_. The bare,wornbell-rope dangled from the ceiling near the confessional, and ended in abig knot greasy from handling. Again and again, with regular jumps, shehung herself upon it; and then let her whole bulky figure go withit,whirling in her petticoats, her cap awry, and her blood rushing to herbroad face.Having set her cap straight with a little pat, she came back breathlessto give a hasty sweep before the altar. Every day the dustpersistentlysettled between the disjoined boards of the platform. Her broom rummagedamong the corners with an angry rumble. Then she lifted the altar coverand was sorely vexed to find that the large upper cloth,already darnedin a score of places, was again worn through in the very middle, soas to show the under cloth, which in its turn was so worn and sotransparent that one could see the consecrated stone, embedded inthepainted wood of the altar. La Teuse dusted the linen, yellow from longusage, and plied her feather-brush along the shelf against which she setthe liturgical altar-cards. Then, climbing upon a chair, she removedtheyellow cotton covers from the crucifix and two of the candlesticks. Thebrass of the latter was tarnished.â\u0000\u0000Dear me!â\u0000\u0000 she muttered, â\u0000\u0000they really want a clean! I must give them apolish up!â\u0000\u0000Thenhopping on one leg, swaying and stumping heavily enough to drive inthe flagstones, she hastened to the sacristy for the Missal, whichshe placed unopened on the lectern on the Epistle side, with its edgesturned towardsthe middle of the altar. And afterwards she lighted thetwo candles. As she went off with her broom, she gave a glance roundher to make sure that the abode of the Divinity had been put in properorder. All was still, savethat the bell-rope near the confessionalstill swung between roof and floor with a sinuous sweep.Abbe Mouret had just come down to the sacristy, a small and chillyapartment, which a passage separated from hisdining-room.â\u0000\u0000Good morning, Monsieur le Cure,â\u0000\u0000 said La Teuse, laying her broom aside.â\u0000\u0000Oh! you have been lazy this morning! Do you know itâ\u0000\u0000s a quarter pastsix?â\u0000\u0000 And without allowing the smilingyoung priest sufficient time toreply, she added â\u0000\u0000Iâ\u0000\u0000ve a scolding to give you. Thereâ\u0000\u0000s another hole inthe cloth again. Thereâ\u0000\u0000s no sense in it. We have only one other, andIâ\u0000\u0000ve been ruining my eyesover it these three days in trying to mend it.You will leave our poor Lord quite bare, if you go on like this.â\u0000\u0000Abbe Mouret was still smiling. â\u0000\u0000Jesus does not need so much linen, mygood Teuse,â\u0000\u0000 he cheerfullyreplied. â\u0000\u0000He is always warm, always royallyreceived by those who love Him well.â\u0000\u0000Then stepping towards a small tap, he asked: â\u0000\u0000Is my sister up yet? Ihave not seen her.â\u0000\u0000â\u0000\u0000Oh, Mademoiselle Desireehas been down a long time,â\u0000\u0000 answered theservant, who was kneeling before an old kitchen sideboard in which thesacred vestments were kept. â\u0000\u0000She is already with her fowls and rabbits.She was expecting somechicks to be hatched yesterday, and it didnâ\u0000\u0000tcome off. So you can guess her excitement.â\u0000\u0000 Then the worthy woman brokeoff to inquire: â\u0000\u0000The gold chasuble, eh?â\u0000\u0000The priest, who had washed his handsand stood reverently murmuring aprayer, nodded affirmatively. The parish possessed only three chasubles:a violet one, a black one, and one in cloth-of-gold. The last had to beused on the days when white, red, orgreen was prescribed by the ritual,and it was therefore an all important garment. La Teuse lifted itreverently from the shelf covered with blue paper, on which she laidit after each service; and having placed it on thesideboard, shecautiously removed the fine cloths which protected its embroidery. Agolden lamb slumbered on a golden cross, surrounded by broad rays ofgold. The gold tissue, frayed at the folds, broke out in littleslendertufts; the embossed ornaments were getting tarnished and worn. There wasperpetual anxiety, fluttering concern, at seeing it thus go off spangleby spangle. The priest had to wear it almost every day. And howon earthcould it be replaced--how would they be able to buy the three chasubleswhose place it took, when the last gold threads should be worn out?Upon the chasuble La Teuse next laid out the stole, the maniple,thegirdle, alb and amice. But her tongue still wagged while she crossedthe stole with the maniple, and wreathed the girdle so as to trace thevenerated initial of Maryâ\u0000\u0000s holy name.â\u0000\u0000That girdle is not up to muchnow,â\u0000\u0000 she muttered; â\u0000\u0000you will have tomake up your mind to get another, your reverence. It wouldnâ\u0000\u0000t be veryhard; I could plait you one myself if I only had some hemp.â\u0000\u0000Abbe Mouret made no answer.He was dressing the chalice at a smalltable. A large old silver-gilt chalice it was with a bronze base, whichhe had just taken from the bottom of a deal cupboard, in which thesacred vessels and linen, the Holy Oils, theMissals, candlesticks, andcrosses were kept. Across the cup he laid a clean purificator, and onthis set the silver-gilt paten, with the host in it, which he coveredwith a small lawn pall. As he was hiding the chalice bygatheringtogether the folds in the veil of cloth of gold matching the chasuble,La Teuse exclaimed:â\u0000\u0000Stop, thereâ\u0000\u0000s no corporal in the burse. Last night I took all thedirty purificators, palls, and corporals to washthem--separately, ofcourse--not with the house-wash. By-the-bye, your reverence, I didnâ\u0000\u0000ttell you: I have just started the house-wash. A fine fat one it will be!Better than the last.â\u0000\u0000Then while the priest slippeda corporal into the burse and laid thelatter on the veil, she went on quickly:â\u0000\u0000By-the-bye, I forgot! that gadabout Vincent hasnâ\u0000\u0000t come. Do you wish meto serve your mass, your reverence?â\u0000\u0000The young priesteyed her sternly.â\u0000\u0000Well, it isnâ\u0000\u0000t a sin,â\u0000\u0000 she continued, with her genial smile. â\u0000\u0000I didserve a mass once, in Monsieur Caffinâ\u0000\u0000s time. I serve it better, too,than ragamuffins who laugh like heathens atseeing a fly buzzing aboutthe church. True I may wear a cap, I may be sixty years old, and asround as a tub, but I have more respect for our Lord than those imps ofboys whom I caught only the other day playing atleap-frog behind thealtar.â\u0000\u0000The priest was still looking at her and shaking his head.â\u0000\u0000What a hole this village is!â\u0000\u0000 she grumbled. â\u0000\u0000Not a hundred and fiftypeople in it! There are days, like to-day, when youwouldnâ\u0000\u0000t find aliving soul in Les Artaud. Even the babies in swaddling clothes aregone to the vineyards! And goodness knows what they do among suchvines--vines that grow under the pebbles and look as dry asthistles! Aperfect wilderness, three miles from any highway! Unless an angel comesdown to serve your mass, your reverence, youâ\u0000\u0000ve only got me to help you,on my honour! or one of Mademoiselle Desireeâ\u0000\u0000srabbits, no offence toyour reverence!â\u0000\u0000Just at that moment, however, Vincent, the Brichetsâ\u0000\u0000 younger son, gentlyopened the door of the sacristy. His shock of red hair and his little,glistening, grey eyesexasperated La Teuse.â\u0000\u0000Oh! the wretch!â\u0000\u0000 she cried. â\u0000\u0000Iâ\u0000\u0000ll bet heâ\u0000\u0000s just been up to somemischief! Come on, you scamp, since his reverence is afraid I mightdirty our Lord!â\u0000\u0000On seeing the lad, AbbeMouret had taken up the amice. He kissed thecross embroidered in the centre of it, and for a second laid the clothupon his head; then lowering it over the collar-band of his cassock, hecrossed it and fastened the tapes,the right one over the left. He nextdonned the alb, the symbol of purity, beginning with the right sleeve.Vincent stooped and turned around him, adjusting the alb, in orderthat it should fall evenly all round him to acouple of inches fromthe ground. Then he presented the girdle to the priest, who fastenedit tightly round his loins, as a reminder of the bonds wherewith theSaviour was bound in His Passion.La Teuse remained standingthere, feeling jealous and hurt andstruggling to keep silence; but so great was the itching of her tongue,that she soon broke out once more: â\u0000\u0000Brother Archangias has been here.He wonâ\u0000\u0000t have a single child at"}
+{"doc_id":"doc_15","qid":"","text":"<html><head><title>Celeste & Jesse Forever Script at IMSDb.</title><meta name=\"description\" content=\"Celeste & Jesse Forever script at the Internet Movie Script Database.\"><meta name=\"keywords\"content=\"Celeste & Jesse Forever script, Celeste & Jesse Forever movie script, Celeste & Jesse Forever film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><metaname=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttypeCONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ?'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie ScriptDatabase\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <scripttype=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                             CELESTE AND JESSE FOREVER</b>                                                             Writtenby                                                   Rashida Jones & Will McCormack                                                                                                    <b>                                                               5.01.11</b><b>          1MONTAGE OVER THE OPENING CREDITS TO SUNNY LEVINE'S \"LOVE 1</b><b>                          RHINO\":</b>                                    A progression of images of CELESTE and JESSE, ages 18 to 30.           Visualmedia evolves with them throughout the years.                                                  <b>          A1 POLAROIDS OF HIGH SCHOOL MOMENTS: A1</b>           Celeste is a chronic overachiever and Jesse is sweet,goofy           and funny. He makes her laugh. They are best friends but it's           clear that Jesse wishes they were more.           Close-up of their hands crossed, making \"C\" and \"J\" shapes.           Celeste and herfootball player boyfriend, Mike, kissing.           Jesse watches enviously from the sidelines, holding Mike's           helmet.                                                  <b>          B1 DIPOSABLE CAMERA PHOTOS:B1</b>           They go to college together, study together, drink together.           They are still best friends.           Junior year, Celeste with Saleem, her hot, black militant           boyfriend. They kisspassionately.           A moment later, Jesse poses reluctantly with the couple,           holding up a \"Black Power\" fist, weakly.                                                  <b>          C1 SUPER 8 FOOTAGE: C1</b>           Senioryear, Jesse draws \"C AND J FOREVER\" in a pristine,           snowy forest with a stick; he and Celeste laugh.           A moment later, they kiss deeply. They are finallytogether.                                                  <b>          D1 DIGITAL VIDEO FOOTAGE OF \"CELESTE AND JESSE FOREVER\": D1</b>           On an engraved necklace, carved into a tree, written on a           wet beach,and on their wedding cake.                                                  <b>          E1 BLACK AND WHITE HI-RES PHOTOS SHOW THEM MARRIED: E1</b>           Moving into their house, dancing, reading side byside,           kissing. This is true, everlasting love, the real kind.                                                  <b>          F1 SHUTTERFLY ALBUM PHOTOS FROM FRIENDS' PARTIES: F1</b>           Celeste and Jesse, in silence,amongst joyful party guests.           Jesse telling a joke and Celeste no longer laughing.           Jesse and Celeste on a bench, distant.           The next picture, hugging.                                                  <b>          G1MACBOOK PHOTO BOOTH SNAPSHOT: G1</b>           Jesse asleep on Celeste's shoulder as she kisses him on the           head.<b>           2.</b>                                                  <b>          2 INT. TOYOTAPRIUS-DAY 2</b>                                    It's a bright, clear Los Angeles Saturday afternoon. Celeste           and Jesse, now 30, both sing along to \"Love Rhino,\" the song           heard under the montage. Jesse driveswhile Celeste is on her           Blackberry. Jesse, boyishly handsome, wears an old tee and a           hooded sweatshirt. Celeste is wearing all black workout           gear. She is always wearing allblack.                         <b>                          JESSE</b>           I'm a Love Rhino...                         <b>                          CELESTE JESSE</b>           Don't worry `bout me, I've Dont' worry `bout me, I've           gota enough love for got enough love, for the two           the...(her Blackberry rings) us. Oh please...           oh shit, I gotta take this.           Turn it down.                         <b>           JESSE (CONT'D)(CONTD)</b>           ...I'm a Love...                         <b>                          CELESTE</b>           Jess, turn it down, seriously!                                    She playfully slaps him. He turns it down. Alittle.                         <b>           CELESTE (CONT'D) (CONTD)</b>           Hello? Hi. With Jesse, running           errands. (to Jesse) Turn it down.           More. (back to the phone) Yeah, I           can do it now. No, it'llbe fast,           right? (To Jesse) Hey, I have to           give a quick sound bite for the New           York Times, so no noise please? For           a second?                         <b>                          JESSE</b>           Maybe. Imay have an important call           coming in too, so...                                    They both know he has no important call coming in.                         <b>                          CELESTE</b>           (on the phone) Okay.Ready? This           year all trends point towards           simplicity and comfort.                                    Celeste is momentarily distracted by a bad driver in front of           them.                         <b>           CELESTE(CONT'D) (CONTD)</b>           Jess, just go around him! (To the           phone) Sorry.<b>                          (MORE)</b><b>           3.</b>                         <b>           CELESTE (CONT'D)(CONTD)</b>           Consumers will be less likely to go           out for entertainment.                                   While Celeste is dictating, Jesse is getting bored. He starts          looking through the middle console. Hefinds something. A          melted tube of Chapstick. Ew. Ooh, a cigarette. Jesse lights          the cigarette, takes a drag. Celeste looks at Jesse and          signals to him, \"Can I have adrag?\"                         <b>           CELESTE (CONT'D) (CONTD)</b>           Uhhh, things like Voodoo, casual           wear and cookbooks will see a huge           spike in the market.                                   He handsher the cigarette and she promptly chucks it out the          window.                         <b>                          JESSE</b>           What the shit??                         <b>                          CELESTE</b>           (she whispersto Jesse) Shhh. Phone           call.(back to her call) That's           enough of a blurb, right?                                   Jesse is now checking out nose hairs in the visor mirror. He          then looks at histeeth.                         <b>                          JESSE</b>           Does this tooth look dark?                                   Celeste just glares at him.                         <b>                          CELESTE</b>           Okay. Call meback if they need           more.                                   Jesse looks at his tooth again in the rearview mirror.                         <b>                          JESSE</b>           Like a little darker than therest?                                   Celeste waves her hand to quiet Jesse.                         <b>                          CELESTE</b>           Okay, thanks bye. (to Jesse) Can't           you just sit still for two minutes?           Andwe talked about this, no more           smoking!                         <b>                          JESSE</b>           I wasn't smoking, I just foundit.<b>           4.</b>                                                  <b>                          CELESTE</b>           Come on.                                    They drive by \"Urban Light,\" Chris Burden's installation at           the entrance ofLACMA. They are rows of restored street           lamps. Celeste sneers.                         <b>           CELESTE (CONT'D) (CONTD)</b>           Really? Street lamps? No. Not doin'           it. That is notart.                         <b>                          JESSE</b>           I think it's beautiful.                                    A beat passes. Then, Jesse pulls over.                         <b>                          CELESTE</b>           What areyou doing? Why are you           stopping?                         <b>                          JESSE</b>           Well, your appointment is not until           noon and this is that place with           the deadstock vintageItalian           fabric. I thought it would be good           for the guest room windows.                                    Celeste is truly touched by the gesture.                         <b>                          CELESTE</b>           Ohwow...you are so thoughtful.                                    Jesse smiles, proud of himself.                         <b>           CELESTE (CONT'D) (CONTD)</b>           Thanks, Jess.                                    She gives him a kiss onthe cheek. Jesse's phone rings, he           answers.                         <b>                          JESSE</b>           Whassup, muthafucka??                                    Celeste rolls her eyes and gets out of the car to lookat           fabric.                         <b>                          CUT TO:</b>                                                  <b>          3 INT. TOYOTA PRIUS-10 MINUTES LATER 3</b>                                    Celeste is getting back inthe car with some fabric swatches.<b>           5.</b>                                                  <b>                          CELESTE</b>           Jess, that place is insane. They           have tassels that weremanufactured           for Mussolini's mistress...                         <b>                          JESSE</b>           (covering the phone) Sorry, I'm on           the phone. It'simportant.                         <b>                          CELESTE</b>           Okay then.                                   Celeste sits quietly while Jesse is on his call.                         <b>                          JESSE</b>           Really?I just...don't know what to           say. Thank you so much for calling           me.                                   Celeste throws her hands up in silentcelebration.                         <b>                          CELESTE</b>           (whispers) Did you get the job??                                   Jesse signals with his finger, \"oneminute.\"                         <b>                          JESSE</b>           Well, sometimes things are just           meant to work out.                                   Celeste looks at him withanticipation.                         <b>           JESSE (CONT'D) (CONTD)</b>           Okay, great. Great. Talk soon. Bye.                         <b>                          CELESTE</b>           Was that the job? Did you getthe           book job?                         <b>                          JESSE</b>           No, but Celeste...                                   He looks at her and grabs her hand, with tears in his eyes.                         <b>           JESSE(CONT'D) (CONTD)</b>           ...a swell came in last night. Out           of the Northeast. It's overhead and           it's glassy.                         <b>                          CELESTE</b>           What the fuck are youtalking           about?<b>           6.</b>                                                  <b>                          JESSE</b>          Malibu. The waves are peelingout          there.                         <b>                          CELESTE</b>          Is this about surfing? You're          talking about goingsurfing.          Unbelievable.                         <b>                          JESSE</b>          No, this is best part. Skillz got a          hi-def digital camera and he's          gonna filmme!!!                         <b>                          CELESTE</b>          Oh, god.                         <b>                          JESSE</b>          And we're gonna upload it on"}
+{"doc_id":"doc_16","qid":"","text":"<html><head><title>Flash Gordon Script at IMSDb.</title><meta name=\"description\" content=\"Flash Gordon script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Flash Gordon script,Flash Gordon movie script, Flash Gordon film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\"rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                                  FLASH GORDON</b>                                   Written by                                Lorenzo SempleJr.                         <b>          FADE IN:</b>                         <b>          EXT. WIDE AFRICAN LANDSCAPE - MORNING</b>                                   At first only darkness, then the rising sun paints in an          endlesssavanna from horizon to horizon. We hear savage drums          beating in the distance coming from some unknown place.                                   The sun clears the horizon. Suddenly it changes amazingly:          thewhite disc goes through a rapid series of color          transitions, from yellow to green to purple to an incredible          BLOOD RED. From it shoots a RED LIGHTNING BOLT.                                   The sky echoes withTHUNDER.                                   We hear a HOWLING ethereal wind, but not a twig of the brush          stirs as bolt after bolt of RED LIGHTNING rips the sky, with          each one a TITLE or CREDITappearing.                                   Under FINAL CREDIT snow is beginning to fall on the burning          blood-red savanna.                         <b>          EXT. PLANE IN FLIGHT - DAY</b>                                   I's aTwin Otter with the logo of some commuter airline. It          buzzes along over pleasant countryside, through a sky that's          almost unnaturally serene and filled with fleecy whiteclouds.                         <b>          INT. PLANE IN FLIGHT - DAY</b>                                   There are just two passengers in the cabin. One is DALE ARDEN,          a great looking dark-haired girl sitting by herselfand          reading a book entitled \"KARATE FOR THE SINGLE GIRL.... A          Guide to Survival In The City.\" A few rows forward, near the          open door into the pilots' compartment, is FLASH GORDON.          He'sstudying a football play-sheet, one of those diagrammed          things with X's and 0's for the players and dotted-line arrows          indicating the directions of movement.                                   Suddenly the planemakes a violent bump. It almost knocks          the book from DALE'S hand. She looks out the window with          sudden fright, tossing hair out of her eyes, in a gesture          that's habitual to her in moments ofstress.                                   There's nothing to see outside but the pretty clouds. She          looks forward again and watches FLASH standing up easily,          leaning in t..e cockpit doorway to speak to thePILOTS.                         <b>          INT. PLANE/ COCKPIT - CONTINUOUS</b><b>          (CO-P:ILOT, DALE, FLASH, PILOT)</b>                         <b>                          FLASH</b>           What was that,fellas?<b>           2.</b>                         <b>                          PILOT</b>           Clear-air turbulence, is all.Nothing<b>                          SERIOUS</b>                         <b>                          CO-PILOT</b>           But nothing you'd want to toss a           third-down pass through either --           (Grinning backat<b>                          FLASH)</b>           Can I have an autograph for my kid,           Mr. Gordon?                         <b>                          FLASH</b>           Sure -- my pleasure.                                   As FLASHtakes a bit of paper from the CO-PILOT, the plane          takes another jolt, even more violent than the first.                         <b>                          PILOT</b>           Wow. Call Westchester Approach, see           whatthey've got.                         <b>                          FLASH</b>           I sure hope we don't have to turn           back. I mean this is first day of           training camp, I wouldn't want to be<b>                          LATE--</b>                         <b>                          PILOT</b>           Seat-belt time.                                   FLASH starts back to his seat. The plane jumps again, shudders          violently. He holds on, calls upfront:                         <b>                          FLASH</b>           Maybe it'd be smoother if you went<b>                          HIGHER --</b>                         <b>                          DALE</b>           Will you SHUTUP?           (as FLASH's head<b>                          SWIVELS)</b>           Look, Mister Flash Gordon, they have           their hands full -- just let 'em           drive.                         <b>          INT. PLANE -CONTINUOUS</b><b>          (DALE, FLASH)</b>                                   The plane buffets. FLASH is sent reeling, catches hold of          the rack above DALE, lowers himself into the seat next to          her. He bucklesfast, takes out a candy bar and offers it          to her.<b>           3.</b>                         <b>                          FLASH</b>           When you're nervous, it can help to           chew onsomething                         <b>                          DALE</b>           Thanks a lot -- I look dumb enough           to take candy from a stranger?                         <b>                          FLASH</b>           I'm not astranger exactly -- You           know my name.                         <b>                          DALE</b>           Who doesn't. Number one draft pick,           cover of PEOPLE mag -- what'd the           GIANTS sign you for,eighty-nine           million? Big deal!                         <b>                          FLASH</b>           Of course.                         <b>                          DALE</b>           God, I hate flying -- I'm Dale Arden           it's crazyof me to hate flying --           I'm a travel agent, you see? -- I've           just been checking out a little hotel           in Vermont -- can I still have that           candy bar?           (and in the same breath)           Are wegoing backward?                         <b>                          FLASH</b>           Backwards?                         <b>                          DALE (GASP)</b>           Holy cow! Look at the clouds!                         <b>          EXT.SKY - POV FROM PLANE WINDOW - DAY</b>                                   The pretty white clouds are changing above and beginning to          surround the airplane. Over the engines we HEAR that same          ethereal windrising which we heard in the opening. Slowly          and terrifyingly, the sun starts turning BLOOD RED. The clouds          race faster, faster, until they are actually streaming past          the plane frombehind.                         <b>          INT. PLANE - DAY</b>                                   FLASH and DALE -- faces bathed in the eerie light. Speechless-          DALE grasps the football player's hand with all herstrength.                         <b>          EXT. A FANTASTIC GREENHOUSE - DAY</b>                                   It is a huge and rambling, antique, standing in semiruinous          isolation in a pretty country landscape. Thesun has turned<b>           4.</b>                                   the SAME BLOOD RED we saw from the airplane, and clouds race          across it with unnatural velocity.                                   In the center of thegreenhouse rises a glass-paned tower          through which we glimpse something MIRROR BRIGHT. Floating          high in the air above the structure are several silvery helium-          filled balloons, secured by wires.As we move closer, we          discern a MAN moving about actively on a platform inside the          central tower, about half-way up:                         <b>          INT. GREENHOUSE TOWER -DAY</b><b>          (MUNSON, TV NEWSMAN, ZARKOV)</b>                                   The man is DR. HANS ZARKOV: big, bearded, feverish looking          and seemingly half mad with exhaustion. In strikingcontrast          to the antique greenhouse exterior, here there are all kinds          of computers and displays connected together in a slapdash          fashion. Quantities of neglected plants, most brown and          dead ordying, hide the works in here from outside view. As          Zarkov runs around throwing switches and eyeing displays, a          grim-voiced TV. NEWSMAN is appearing and speaking from a          good-sized televisionscreen above the main control console:                         <b>                          TV NEWSMAN</b>           The extraordinary weather disturbances           reported from Africa this morning           are now crossing theAtlantic, and           are expected to reach the East Coast           of the United States by noon.           According to scientists at NASA, the           Earth is being struck by an immense           stream of cosmic energy,apparently           the result of some catastrophic           stellar accident beyond the reaches<b>                          OF --</b>                                   ZARKOV whirls, slams the TV SOUND OFF and yells atthe          silently mouthing NEWSMAN on the screen.                         <b>                          ZARKOV</b>           Fools! Can't you understand? This           is no accident-- it's an ATTACK! An           attack planned by aMIND! This is<b>           ATTACK!</b>                                   MUNSON, a scared looking assistant, comes running up the          stairs with a computer print-outsheet.                         <b>                          MUNSON</b>           Dr. Zarkov! Look at the report from           the last balloon!                                   ZARKOV grabs it, eyesit.<b>           5.</b>                         <b>                          ZARKOV</b>           I predicted it, didn't I?                         <b>                          MUNSON</b>           Yes, sir -- you sure did. And this           funny suntoo ---                         <b>                          ZARKOV</b>           Ozone layer starting to crack up.           By tonight Carbon dioxide will be           combining with free nitrogen to form --           (breaks off,crumpling<b>                          THE SHEET)</b>           Well, this is it.                         <b>                          MUNSON</b>           Sir, the President is on the TV behind<b>                          YOU--</b>                         <b>                          ZARKOV</b>           What the hell do I care? I tried to           warn him -- he called me mad, like           all the others.                                   BOOM! The TV screenEXPLODES in a fine shower of glass.                         <b>                          ZARKOV (CONT'D)</b>           Time for us to go, Munson. Get your           toothbrush andwhatever.                         <b>                          MUNSON</b>           Go where?                         <b>                          ZARKOV</b>           Up. Up and at him.                                   Stunned, MUNSON turns hishead and glances at something big          and MIRROR BRIGHT gleaming behind foliage in center of tower.                         <b>                          MUNSON</b>           You're crazy!                                   Perfectlycalm except for the maniacal glint in his eyes,          ZARKOV pulls out a revolver and points it at MUNSON.                         <b>                          ZARKOV</b>           I can't handle the capsule alone get           yourtoothbrush.                         <b>          INT. COCKPIT TO SKY - POV</b><b>          (CO-PILOT, PILOT)</b>                                   The PILOTS watch these clouds also, transfixed with disbelief.          They speakwith that incredible calmness characteristic of          professional airmen in a moment of impending catastrophe.<b>           6.</b>                         <b>                          PILOT</b>           What's ,e word fromWestchester           Approach, Bill?                         <b>                          CO-PILOT</b>           Zip. All chanels dead.           (Reacting to the panel)           Say, get a load of the VOR's....                                   The"}
+{"doc_id":"doc_17","qid":"","text":"Project Gutenberg's Stories from Pentamerone, by Giambattista BasileThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: Stories from PentameroneAuthor: Giambattista BasilePosting Date: March 1, 2009 [EBook #2198]ReleaseDate: May, 2000Language: English*** START OF THIS PROJECT GUTENBERG EBOOK STORIES FROM PENTAMERONE ***Produced by Batsy Bybell.  HTML version by Al Haines.Stories from PentameronebyGiambattistaBasileNOTEThe collection of folk-tales known as Il Pentamerone was firstpublished at Naples and in the Neopolitan dialect, by GiambattistaBasile, Conte di Torrone, who is believed to have collected themchiefly in Creteand Venice, and to have died about the year 1637.CONTENTS  1.  How the Tales came to be told  2.  The Myrtle  3.  Peruonto  4.  Vardiello  5.  The Flea  6.  Cenerentola  7.  The Merchant  8.  Goat-Face  9.  TheEnchanted Doe 10. Parsley 11. The Three Sisters 12. Violet 13. Pippo 14. The Serpent 15. The She-Bear 16. The Dove 17. Cannetella 18. Corvetto 19. The Booby 20. The Stone in the Cock's Head 21. The ThreeEnchanted Princes 22. The Dragon 23. The Two Cakes 24. The Seven Doves 25. The Raven 26. The Months 27. Pintosmalto 28. The Golden Root 29. Sun, Moon, and Talia 30. Nennillo and Nennella 31. The Three Citrons32. ConclusionIHOW THE TALES CAME TO BE TOLDIt is an old saying, that he who seeks what he should not, finds whathe would not. Every one has heard of the ape who, in trying to pull onhis boots, was caught by thefoot. And it happened in like manner to awretched slave, who, although she never had shoes to her feet, wantedto wear a crown on her head. But the straight road is the best; and,sooner or later, a day comes whichsettles all accounts. At last,having by evil means usurped what belonged to another, she fell to theground; and the higher she had mounted, the greater was her fall--asyou shall see.Once upon a time the King of WoodyValley had a daughter named Zoza,who was never seen to laugh. The unhappy father, who had no othercomfort in life but this only daughter, left nothing untried to driveaway her melancholy. So he sent for folks whowalk on stilts, fellowswho jump through hoops, for boxers, for conjurers, for jugglers whoperform sleight-of-hand tricks, for strong men, for dancing dogs, forleaping clowns, for the donkey that drinks out of atumbler--in short,he tried first one thing and then another to make her laugh. But allwas time lost, for nothing could bring a smile to her lips.So at length the poor father, at wit's end, and to make a last trial,ordered alarge fountain of oil to be set in front of the palace gates,thinking to himself that when the oil ran down the street, along whichthe people passed like a troop of ants, they would be obliged, in ordernot to soil theirclothes, to skip like grasshoppers, leap like goats,and run like hares; while one would go picking and choosing his way,and another go creeping along the wall. In short, he hoped thatsomething might come to pass tomake his daughter laugh.So the fountain was made; and as Zoza was one day standing at thewindow, grave and demure, and looking as sour as vinegar, there came bychance an old woman, who, soaking up the oilwith a sponge, began tofill a little pitcher which she had brought with her. And as she waslabouring hard at this ingenious device, a young page of the courtpassing by threw a stone so exactly to a hair that he hit thepitcherand broke it to pieces. Whereupon the old woman, who had no hair on hertongue, turned to the page, full of wrath, and exclaimed, \"Ah, youimpertinent young dog, you mule, you gallows-rope, youspindle-legs!Ill luck to you! May you be pierced by a Catalan lance! May a thousandills befall you and something more to boot, you thief, you knave!\"The lad, who had little beard and less discretion, hearing this stringofabuse, repaid the old woman in her own coin, saying, \"Have you done,you grandmother of witches, you old hag, you child-strangler!\"When the old woman heard these compliments she flew into such a ragethat, losinghold of the bridle and escaping from the stable ofpatience, she acted as if she were mad, cutting capers in the air andgrinning like an ape. At this strange spectacle Zoza burst into such afit of laughter that she well-nighfainted away. But when the old womansaw herself played this trick, she flew into a passion, and turning afierce look on Zoza she exclaimed: \"May you never have the least littlebit of a husband, unless you take thePrince of Round-Field.\"Upon hearing this, Zoza ordered the old woman to be called; and desiredto know whether, in her words, she had laid on her a curse, or had onlymeant to insult her. And the old woman answered,\"Know then, that thePrince of whom I spoke is a most handsome creature, and is namedTaddeo, who, by the wicked spell of a fairy, having given the lasttouch to the picture of life, has been placed in a tomb outsidethewalls of the city; and there is an inscription upon a stone, sayingthat whatever woman shall in three days fill with tears a pitcher thathangs there upon a hook will bring the Prince to life and shall takehim for ahusband. But as it is impossible for two human eyes to weepso much as to fill a pitcher that would hold half a barrel, I havewished you this wish in return for your scoffing and jeering at me. AndI pray that it may cometo pass, to avenge the wrong you have done me.\"So saying, she scuttled down the stairs, for fear of a beating.Zoza pondered over the words of the old woman, and after turning over ahundred thoughts in her mind,until her head was like a mill full ofdoubts, she was at last struck by a dart of the passion that blinds thejudgment and puts a spell on the reasoning of man. She took a handfulof dollars from her father's coffers and leftthe palace, walking onand on, until she arrived at the castle of a fairy, to whom sheunburdened her heart. The fairy, out of pity for such a fair younggirl, who had two spurs to make her fall--little help and much loveforan unknown object--gave her a letter of recommendation to a sister ofhers, who was also a fairy. And this second fairy received her likewisewith great kindness; and on the following morning, when Nightcommandsthe birds to proclaim that whoever has seen a flock of black shadowsgone astray shall be well rewarded, she gave her a beautiful walnut,saying, \"Take this, my dear daughter, and keep it carefully; butneveropen it, but in time of the greatest need.\" And then she gave her alsoa letter, commending her to another sister.After journeying a long way, Zoza arrived at this fairy's castle, andwas received with the sameaffection. And the next morning this fairylikewise gave her a letter to another sister, together with a chestnut,cautioning her in the same manner. Then Zoza travelled on to the nextcastle, where she was received with athousand caresses and given afilbert, which she was never to open, unless the greatest necessityobliged her. So she set out upon her journey, and passed so manyforests and rivers, that at the end of seven years, justat the time ofday when the Sun, awakened by the coming of the cocks, has saddled hissteed to run his accustomed stages, she arrived almost lame atRound-Field.There, at the entrance to the city, she saw a marbletomb, at the footof a fountain, which was weeping tears of crystal at seeing itself shutup in a porphyry prison. And, lifting up the pitcher, she placed it inher lap and began to weep into it, imitating the fountain to maketwolittle fountains of her eyes. And thus she continued without everraising her head from the mouth of the pitcher--until, at the end oftwo days, it was full within two inches of the top. But, being weariedwith so muchweeping, she was unawares overtaken by sleep, and wasobliged to rest for an hour or so under the canopy of her eyes.Meanwhile a certain Slave, with the legs of a grasshopper, came, as shewas wont, to the fountain,to fill her water-cask. Now she knew themeaning of the fountain which was talked of everywhere; and when shesaw Zoza weeping so incessantly, and making two little streams from hereyes, she was always watchingand spying until the pitcher should befull enough for her to add the last drops to it; and thus to leave Zozacheated of her hopes. Now, therefore, seeing Zoza asleep, she seizedher opportunity; and dexterously removingthe pitcher from under Zoza,and placing her own eyes over it, she filled it in four seconds. Buthardly was it full, when the Prince arose from the white marble shrine,as if awakened from a deep sleep, and embraced thatmass of dark flesh,and carried her straightways to his palace; feasts and marvellousilluminations were made, and he took her for his wife.When Zoza awoke and saw the pitcher gone, and her hopes with it, andtheshrine open, her heart grew so heavy that she was on the point ofunpacking the bales of her soul at the custom-house of Death. But, atlast, seeing that there was no help for her misfortune, and that shecould onlyblame her own eyes, which had served her so ill, she wenther way, step by step, into the city. And when she heard of the feastswhich the Prince had made, and the dainty creature he had married, sheinstantly knewhow all this mischief had come to pass; and said toherself, sighing, \"Alas, two dark things have brought me to theground,--sleep and a black slave!\" Then she took a fine house facingthe palace of the Prince; fromwhence, though she could not see theidol of her heart, she could at least look upon the walls wherein whatshe sighed for was enclosed.But Taddeo, who was constantly flying like a bat round that black nightof a Slave,chanced to perceive Zoza and was entranced with her beauty.When the Slave saw this she was beside herself with rage, and vowedthat if Taddeo did not leave the window, she would kill her baby whenit wasborn.Taddeo, who was anxiously desiring an heir, was afraid to offend hiswife and tore himself away from the sight of Zoza; who seeing thislittle balm for the sickness of her hopes taken away from her, knewnot, atfirst, what to do. But, recollecting the fairies' gifts, sheopened the walnut, and out of it hopped a little dwarf like a doll, themost graceful toy that was ever seen in the world. Then, seatinghimself upon the window, thedwarf began to sing with such a trill andgurgling, that he seemed a veritable king of the birds.The Slave, when she saw and heard this, was so enraptured that, callingTaddeo, she said, \"Bring me the little fellow who issinging yonder, orI will kill the child when it is born.\" So the Prince, who allowed thisugly woman to put the saddle on his back, sent instantly to Zoza, toask if she would not sell the dwarf. Zoza answered she was notamerchant, but that he was welcome to it as a gift. So Taddeo acceptedthe offer, for he was anxious to keep his wife in good humour.Four days after this, Zoza opened the chestnut, when out came a henwith twelvelittle chickens, all of pure gold, and, being placed on thewindow, the Slave saw them and took a vast fancy to them; and callingTaddeo, she showed him the beautiful sight, and again ordered him toprocure the hen andchickens for her. So Taddeo, who let himself becaught in the web, and become the sport of the ugly creature, sentagain to Zoza, offering her any price she might ask for the beautifulhen. But Zoza gave the sameanswer as before, that he might have it asa gift. Taddeo, therefore, who could not do otherwise, made necessitykick at discretion, and accepted the beautiful present.But after four days more, Zoza opened thehazel-nut, and forth came adoll which spun gold--an amazing sight. As soon as it was placed at thesame window, the Slave saw it and, calling to Taddeo, said, \"I musthave that doll, or I will kill the child.\" Taddeo, wholet his proudwife toss him about like a shuttle, had nevertheless not the heart tosend to Zoza for the doll, but resolved to go himself, recollecting thesayings: \"No messenger is better than yourself,\" and \"Let him whowouldeat a fish take it by the tail.\" So he went and besought Zoza to pardonhis impertinence, on account of the caprices of his wife; and Zoza, whowas in ecstasies at beholding the cause of her sorrow, put aconstrainton herself; and so let him entreat her the longer to keep in sight theobject of her love, who was stolen from her by an ugly slave. At lengthshe gave him the doll, as she had done the other things, butbeforeplacing it in his hands, she prayed the little doll to put a desireinto the heart of the Slave to hear stories told by her. And whenTaddeo saw the doll in his hand, without his paying a single coin, hewas so filled withamazement at such courtesy that he offered hiskingdom and his life in exchange for the gift. Then, returning to hispalace, he placed it in his wife's hands; and instantly such a longingseized her to hear stories told, thatshe called her husband and said,\"Bid some story-tellers come and tell me stories, or I promise you, Iwill kill the child.\"Taddeo, to get rid of this madness, ordered a proclamation instantly tobe made, that all the womenof the land should come on the appointedday. And on that day, at the hour when the star of Venus appears, whoawakes the Dawn, to strew the road along which the Sun has to pass, theladies were all assembled at thepalace. But Taddeo, not wishing todetain such a rabble for the mere amusement of his wife, chose ten onlyof the best of the city who appeared to him most capable and eloquent.These were Bushy-haired Zeza,Bandy-legged Cecca, Wen-necked Meneca,Long-nosed Tolla, Humph-backed Popa, Bearded Antonella, Dumpy Ciulla,Blear-eyed Paola, Bald-headed Civonmetella, and Square-shoulderedJacova. Their names he wrotedown on a sheet of paper; and then,dismissing the others, he arose with the Slave from under the canopy,and they went gently to the garden of the palace, where the leafybranches were so closely interlaced, that theSun could not separatethem with all the industry of his rays. And seating themselves under apavilion, formed by a trellis of vines, in the middle of which ran agreat fountain--the schoolmaster of the courtiers, whom hetaughteveryday to murmur--Taddeo thus began:\"There is nothing in the world more glorious, my gentle dames, than tolisten to the deeds of others; nor was it without reason that the greatphilosopher placed thehighest happiness of man in listening to prettystories. In hearing pleasing things told, griefs vanish, troublesomethoughts are put to flight and life is lengthened. And, for thisreason, you see the artisans leave theirworkshops, the merchants theircountry-houses, the lawyers their cases, the shopkeepers theirbusiness, and all repair with open mouths to the barbers' shops and tothe groups of chatterers, to listen to stories, fictions,and news inthe open air. I cannot, therefore, but pardon my wife, who has takenthis strange fancy into her head of hearing the telling of tales. So,if you will be pleased to satisfy the whim of the Princess and complywithmy wishes, you will, during the next four or five days, each ofyou relate daily one of those tales which old women are wont to tellfor the amusement of the little ones. And you will come regularly tothis spot; where,after a good repast, you shall begin to tell stories,so as to pass life pleasantly--and sorrow to him that dies!\"At these words, all bowed assent to the commands of Taddeo; and thetables being meanwhile set out andfeast spread, they sat down to eat.And when they had done eating, the Prince took the paper and calling oneach in turn, by name, the stories that follow were told, in due order.IITHE MYRTLEThere lived in the village ofMiano a man and his wife, who had nochildren whatever, and they longed with the greatest eagerness to havean heir. The woman, above all, was for ever saying, \"O heavens! if Imight but have a little baby--I shouldnot care, were it even a sprigof a myrtle.\" And she repeated this song so often, and so weariedHeaven with these words, that at last her wish was granted; and at theend of nine months, instead of a little boy or girl,she placed in thehands of the nurse a fine sprig of myrtle. This she planted with greatdelight in a pot, ornamented with ever so many beautiful figures, andset it in the window, tending it morning and evening withmorediligence than the gardener does a bed of cabbages from which hereckons to pay the rent of his garden.Now the King's son happening to pass by, as he was going to hunt, tooka prodigious fancy to this beautifulplant, and sent to ask themistress of the house if she would sell it, for he would give even oneof his eyes for it. The woman at last, after a thousand difficultiesand refusals, allured by his offers, dazzled by hispromises,frightened by his threats, overcome by his prayers, gave him the pot,beseeching him to hold it dear, for she loved it more than a daughter,and valued it as much as if it were her own offspring. Then thePrincehad the flower-pot carried with the greatest care in the world into hisown chamber, and placed it in a balcony, and tended and watered it withhis own hand.It happened one evening, when the Prince had gone tobed, and put outthe candles, and all were at rest and in their first sleep, that heheard the sound of some one stealing through the house, and comingcautiously towards his bed; whereat he thought it must besomechamber-boy coming to lighten his purse for him, or some mischievousimp to pull the bed-clothes off him. But as he was a bold fellow, whomnone could frighten, he acted the dead cat, waiting to see the upshotofthe affair. When he perceived the object approach nearer, andstretching out his hand felt something smooth, and instead of layinghold, as he expected, on the prickles of a hedgehog, he touched alittle creature moresoft and fine than Barbary wool, more pliant andtender than a marten's tail, more delicate than thistle-down, he flewfrom one thought to another, and taking her to be a fairy (as indeedshe was), he conceived at once agreat affection for her. The nextmorning, before the Sun, like a chief physician, went out to visit theflowers that are sick and languid, the unknown fair one rose anddisappeared, leaving the Prince filled with curiosityand wonder.But when this had gone on for seven days, he was burning and meltingwith desire to know what good fortune this was that the stars hadshowered down on him, and what ship freighted with the graces ofLoveit was that had come to its moorings in his chamber. So one night, whenthe fair maiden was fast asleep, he tied one of her tresses to his arm,that she might not escape; then he called a chamberlain, andbiddinghim light the candles, he saw the flower of beauty, the miracle ofwomen, the looking-glass and painted egg of Venus, the fair bait ofLove--he saw a little doll, a beautiful dove, a Fata Morgana, abanner--he saw agolden trinket, a hunter, a falcon's eye, a moon inher fifteenth day, a pigeon's bill, a morsel for a king, a jewel--hesaw, in short, a sight to amaze one.In astonishment he cried, \"O sleep, sweet sleep! heap poppies ontheeyes of this lovely jewel; interrupt not my delight in viewing as longas I desire this triumph of beauty. O lovely tress that binds me! Olovely eyes that inflame me! O lovely lips that refresh me! O lovelybosom thatconsoles me! Oh where, at what shop of the wonders ofNature, was this living statue made? What India gave the gold for thesehairs? What Ethiopia the ivory to form these brows? What seashore thecarbuncles thatcompose these eyes? What Tyre the purple to dye thisface? What East the pearls to string these teeth? And from whatmountains was the snow taken to sprinkle over this bosom--snow contraryto nature, that nurturesthe flowers and burns hearts?\"So saying he made a vine of his arms, and clasping her neck, she awokefrom her sleep and replied, with a gentle smile, to the sigh of theenamoured Prince; who, seeing her open her eyes,said, \"O my treasure,if viewing without candles this temple of love I was in transports,what will become of my life now that you have lighted two lamps? Obeauteous eyes, that with a trump-card of light make thestarsbankrupt, you alone have pierced this heart, you alone can make apoultice for it like fresh eggs! O my lovely physician, take pity, takepity on one who is sick of love; who, having changed the air from thedarknessof night to the light of this beauty, is seized by a fever;lay your hand on this heart, feel my pulse, give me a prescription.But, my soul, why do I ask for a prescription? I desire no othercomfort than a touch of that littlehand; for I am certain that withthe cordial of that fair grace, and with the healing root of thattongue of thine, I shall be sound and well again.\"At these words the lovely fairy grew as red as fire, and replied, \"Notso muchpraise, my lord Prince! I am your servant, and would doanything in the world to serve that kingly face; and I esteem it greatgood fortune that from a bunch of myrtle, set in a pot of earth, I havebecome a branch of"}
+{"doc_id":"doc_18","qid":"","text":"The Project Gutenberg EBook of The Wailing Asteroid, by Murray LeinsterThis eBook is for the use of anyone anywhere in the United States and mostother parts of the world at no cost and with almost norestrictionswhatsoever.  You may copy it, give it away or re-use it under the terms ofthe Project Gutenberg License included with this eBook or online atwww.gutenberg.org.  If you are not located in the United States,you'll haveto check the laws of the country where you are located before using this ebook.Title: The Wailing AsteroidAuthor: Murray LeinsterRelease Date: September 20, 2015 [EBook #50022]Language: English***START OF THIS PROJECT GUTENBERG EBOOK THE WAILING ASTEROID ***Produced by Greg Weeks, Mary Meehan and the OnlineDistributed Proofreading Team at http://www.pgdp.net                         THE WAILINGASTEROID                          by Murray Leinster                           An Avon Original                          AVON BOOK DIVISION                        The Hearst Corporation                           959 EighthAvenue                         New York 19, New YorkCopyright, 1960, by Murray Leinster. Published by arrangement withthe author. Printed in the U.S.A.[Transcriber's Note: Extensive research did not uncover anyevidencethat the U.S. copyright on this publication was renewed.]       *       *       *       *       *There was no life on the asteroid, but the miles of rock-hewn corridorsthrough which the earth party wandered left nodoubt about the purposeof the asteroid.It was a mighty fortress, stocked with weapons of destruction beyondman's power to understand.And yet there was no life here, nor had there been for untold centuries.What racehad built this stronghold? What unimaginable power were theydefending against? Why was it abandoned? There was no answer, all wasdead.But--not quite all.For in a room above the tomb-like fortress a powerfultransmitterbeamed its birdlike, fluting sounds toward earth. Near it, on a hugestar-map of the universe, with light-years measured by inches, ten tinyred sparks were moving, crawling inexorably toward thecenter.Moving, at many times the speed of light, with the acquired massof suns ... moving, on a course that would pass through the solarsystem.The unknown aliens would not even see our sun explode from the forceoftheir passing, would not even notice the tiny speck called Earth asit died....       *       *       *       *       *Chapter 1The signals from space began a little after midnight, local time, on aFriday. They were first picked upin the South Pacific, just westwardof the International Date Line. A satellite-watching station on anisland named Kalua was the first to receive them, though nobody heardthe first four or five minutes. But it is certainthat the very firstmessage was picked up and recorded by the monitor instruments.The satellite-tracking unit on Kalua was practically a duplicate ofall its fellows. There was the station itself with a verticalantennaoutside pointing at the stars. There were various lateral antennaeheld two feet above ground by concrete posts. In the instrument roomin the building a light burned over a desk, three or four monitorlightsglowed dimly to indicate that the self-recording instrumentswere properly operating, and there was a multiple-channel tape recorderbuilt into the wall. Its twin tape reels turned sedately, winding abrown plastic ribbonfrom one to the other at a moderate pace.The staff man on duty had gone to the installation's kitchen for a cupof coffee. No sound originated in the room, unless one counted thefluttering of a piece of weighted-downpaper on the desk. Outside,palm trees whispered and rustled their long fronds in the southeasttrade wind under a sky full of glittering stars. Beyond, there wasthe dull booming of surf upon the barrier reef of the island.But theinstruments made no sound. Only the tape reels moved.The signals began abruptly. They came out of a speaker and wereinstantly recorded. They were elfin and flutelike and musical. Theywere crisp anddistinct. They did not form a melody, but nearly all thecomponents of melody were there. Pure musical notes, each with its ownpitch, all of different lengths, like quarter-notes and eighth-notesin music. The soundsneeded only rhythm and arrangement to form aplaintive tune.Nothing happened. The sounds continued for something over a minute.They stopped long enough to seem to have ended. Then they began again.When thestaff man came back into the room with a coffee cup in hishand, he heard the flutings instantly. His jaw dropped. He said, \"Whatthe hell?\" and went to look at the instruments. He spilled some of hiscoffee when he sawtheir readings.The tracking dials said that the signals came from a stationary sourcealmost directly overhead. If they were from a stationary source,no plane was transmitting them. Nor could they be coming fromanartificial satellite. A plane would move at a moderate pace across thesky. A satellite would move faster. Much faster. This source, accordingto the instruments, did not move at all.The staff man listened with a blankexpression on his face. There wasbut one rational explanation, which he did not credit for an instant.The reasonable answer would have been that somebody, somewhere, had puta satellite out into an orbit requiringtwenty-four hours for a circuitof the earth, instead of the ninety to one-hundred-twenty-four-minuteorbits of the satellites known to sweep around the world from westto east and pole to pole. But the piping, musicalsounds were notthe sort of thing that modern physicists would have contrived tocarry information about cosmic-particle frequency, space temperature,micrometeorites, and the like.The signals stopped again, and againresumed. The staff man wasgalvanized into activity. He rushed to waken other members of theoutpost. When he got back, the signals continued for a minute andstopped altogether. But they were recorded on tape,with the instrumentreadings that had been made during their duration. The staff man playedthe tape back for his companions.They felt as he did. These were signals from space where man had neverbeen. They hadlistened to the first message ever to reach mankind fromthe illimitable emptiness between the stars and planets. Man was notalone. Man was no longer isolated. Man....The staff of the tracking station was very muchupset. Most of themen were white-faced by the time the taped message had been re-playedthrough to its end. They were frightened.Considering everything, they had every reason to be.The second pick-up was inDarjeeling, in northern India. The Indiangovernment was then passing through one of its periods of enthusiasticinterest in science. It had set up a satellite-observation post in aformer British cavalry stable on theoutskirts of the town. The actinghead of the observing staff happened to hear the second broadcast toreach Earth. It arrived some seventy-nine minutes after the firstreception, and it was picked up by two stations,Kalua and Darjeeling.The Darjeeling observer was incredulous at what he heard--fiverepetitions of the same sequence of flutelike notes. After eachpause--when it seemed that the signals had stopped before theyactuallydid so--the reception was exactly the same as the one before. Itwas inconceivable that such a succession of sounds, lasting a fullminute, could be exactly repeated by any natural chain of events. Fiverepetitionswere out of the question. The notes were signals. They werea communication which was repeated to be sure it was received.The third broadcast was heard in Lebanon in addition to Kalua andDarjeeling. Reception in allthree places was simultaneous. A signalfrom a nearby satellite could not possibly have been picked up so fararound the Earth's curvature. The widening of the area of reception,too, proved that there was no newsatellite aloft with an orbit periodof exactly twenty-four hours, so that it hung motionless in the skyrelative to Earth. Tracking observations, in fact, showed the source ofthe signals to move westward, as time passed,with the apparent motionof a star. No satellite of Earth could possibly exist with such anorbit unless it was close enough to show a detectable parallax. Thisdid not.A French station picked up the next batch of plaintivesounds. Kalua,Darjeeling, and Lebanon still received. By the time the next signal wasdue, Croydon, in England, had its giant radar-telescope trained on thepart of the sky from which all the tracking stations agreed thesignalscame.Croydon painstakingly made observations during four seventy-nine-minuteintervals and four five-minute receptions of the fluting noises. Itreported that there was a source of artificial signals at anextremelygreat distance, position right ascension so-and-so, declinationsuch-and-such. The signals began every seventy-nine minutes. They couldbe heard by any receiving instrument capable of handling themicrowavefrequency involved. The broadcast was extremely broad-band. It coveredmore than two octaves and sharp tuning was not necessary. A man-madesignal would have been confined to as narrow a wave-bandas possible,to save power for one reason, so it could not be imagined that thesignal was anything but artificial. Yet no Earth science could havesent a transmitter out so far.When sunrise arrived at the tracking station onKalua, it ceased toreceive from space. On the other hand, tracking stations in the UnitedStates, the Antilles, and South America began to pick up the crypticsounds.The first released news of the happening wasbroadcast in the UnitedStates. In the South Pacific and India and the Near East and Europe,the whole matter seemed too improbable for the notification of thepublic. News pressure in the United States, though, is verygreat. Herethe news rated broadcast, and got it.That was why Joe Burke did not happen to complete the business forwhich he'd taken Sandy Lund to a suitable, romantic spot. She was hissecretary and the onlypermanent employee in the highly individualbusiness he'd begun and operated. He'd known her all his life, andit seemed to him that for most of it he'd wanted to marry her. Butsomething had happened to him when hewas quite a small boy--and stillhappened at intervals--which interposed a mental block. He'd alwayswanted to be romantic with her, but there was a matter of two moonsin a strange-starred sky, and trees with foliagelike none on Earth,and an overwhelming emotion. There was no rational explanation for it.There could be none. Often he'd told himself that Sandy was real andutterly desirable, and this lunatic repetitive experience wasat worstinsanity and at the least delusion. But he'd never been able to domore than stammer when talk between them went away from matter-of-factthings.Tonight, though, he'd parked his car where a river sparkled inthemoonlight. There was a scent of pine and arbutus in the air and a faintthread of romantic music came from his car's radio. He'd brought Sandyhere to propose to her. He was doggedly resolved to break the chainsapsychological oddity had tied him up in.He cleared his throat. He'd taken Sandy out to dinner, ostensibly tocelebrate the completion of a development job for Interiors, Inc. Burkehad started Burke Development, Inc.,some four years out of collegewhen he found he didn't like working for other people and could workfor himself. Its function was to develop designs and processes forcompanies too small to haveresearch-and-development divisions of theirown. The latest, now-finished, job was a wall-garden which thoseexpensive interior decorators, Interiors, Inc., believed might appealto the very rich. Burke had made it. Itwas a hydroponic job. A richman's house could have one or more walls which looked like a grassysward stood on edge, with occasional small flowers or even fruitsgrowing from its close-clipped surface.[A]     [FootnoteA: Transcriber's Note: The following sentence has been     deleted at this point: \"Interiors, Inc., would push the idea of a     a bomb shelter or in an atomic submarine where it would cation.\"     This is a possible printererror.  A later edition of this work     also has this sentence deleted.It was done. A production-job room-wall had been shipped and the checkfor it banked. Burke had toyed with the idea that growing vegetationlike thatmight be useful in a bomb shelter or in an atomic submarinewhere it would keep the air fresh indefinitely. But such ideas were forthe future. They had nothing to do with now. Now Burke was going totriumph over anobsessive dream.\"I've got something to say, Sandy,\" said Burke painfully.She did not turn her head. There was moonlight, rippling water, and thetranquil noises of the night in springtime. A perfect setting forwhatBurke had in mind, and what Sandy knew about in advance. She waited,her eyes turned away from him so he wouldn't see that they were shininga little.\"I'm something of an idiot,\" said Burke, clumsily. \"It's onlyfair totell you about it. I'm subject to a psychological gimmick that a girlI--Hm.\" He coughed. \"I think I ought to tell you about it.\"\"Why?\" asked Sandy, still not looking in his direction.\"Because I want to be fair,\" saidBurke. \"I'm a sort of crackpot.You've noticed it, of course.\"Sandy considered.\"No-o-o-o,\" she said measuredly. \"I think you're pretty normal,except--No. I think you're all right.\"\"Unfortunately,\" he told her, \"I'm not.Ever since I was a kid I'vebeen bothered by a delusion, if that's what it is. It doesn't makesense. It couldn't. But it made me take up engineering, I think,and ...\"His voice trailed away.\"And what?\"\"Made an idiot out ofme,\" said Burke. \"I was always pretty crazy aboutyou, and it seems to me that I took you to a lot of dances and such inhigh school, but I couldn't act romantic. I wanted to, but I couldn't.There was this crazydelusion....\"\"I wondered, a little,\" said Sandy, smiling.\"I _wanted_ to be romantic about you,\" he told her urgently. \"But thisdamned obsession kept me from it.\"\"Are you offering to be a brother to me now?\" askedSandy.\"No!\" said Burke explosively. \"I'm fed up with myself. I want to bedifferent. Very different. With you!\"Sandy smiled again.\"Strangely enough, you interest me,\" she told him. \"Do go on!\"But he was abruptlytongue-tied. He looked at her, struggling to speak.She waited.\"I w-want to ask you to m-m-marry me,\" said Burke desperately. \"But Ihave to tell you about the other thing first. Maybe you won't want....\"Her eyes weredefinitely shining now. There was soft music and ripplingwater and soft wind in the trees. It was definitely the time and placefor romance.But the music on the car radio cut off abruptly. A harshvoiceinterrupted:\"_Special Bulletin! Special Bulletin! Messages of unknown origin arereaching Earth from outer space! Special Bulletin! Messages from outerspace!_\"Burke reached over and turned up the sound. Perhapshe was the only manin the world who would have spoiled such a moment to listen to a newsbroadcast, and even he wouldn't have done it for a broadcast on anyother subject. He turned the sound high.\"_This is aspecial broadcast from the Academy of Sciences inWashington, D. C._\" boomed the speaker. \"_Some thirteen hours ago asatellite-tracking station in the South Pacific reported picking upsignals of unknown origin andgreat strength, using the microwavefrequencies also used by artificial satellites now in orbit aroundEarth. The report was verified shortly afterward from India, then NearEast tracking stations made the same report.European listening postsand radar telescopes were on the alert when the sky area from whichthe signals come rose above the horizon. American stations have againverified the report within the last few minutes.Artificial signals,plainly not made by men, are now reaching Earth every seventy-nineminutes from remotest space. There is as yet no hint of what themessages may mean, but that they are an attempt atcommunication iscertain. The signals have been recorded on tape, and the sounds whichfollow are those which have been sent to Earth by alien, non-human,intelligent beings no one knows how far away._\"A pause.Then the car radio, with night sounds and the calls ofnightbirds for background, gave out crisp, distinct fluting noises,like someone playing an arbitrary selection of musical notes on astrange wind instrument.The effectwas plaintive, but Burke stiffened in every muscle at thefirst of them. The fluting noises were higher and lower in turn. Atintervals, they paused as if between groups of signals constitutinga word. The enigmatic soundswent on for a full minute. Then theystopped. The voice returned:\"_These are the signals from space. What you have heard is apparentlya complete message. It is repeated five times and then ceases. An hourandnineteen minutes later it is again repeated five times...._\"The voice continued, while Burke remained frozen and motionless inthe parked car. Sandy watched him, at first hopefully, and thenbewilderedly. The voice saidthat the signal strength was very great.But the power for artificial-satellite broadcasts is only a fraction ofa watt. These signals, considering the minimum distance from which theycould come, had at least thousands ofkilowatts behind them.Somewhere out in space, farther than man's robot rockets had ever gone,huge amounts of electric energy were controlled to send these signalsto Earth. Scientists were in disagreement about thepossible distancethe signals had traveled, whether they were meant solely for Earthor not, and whether they were an attempt to open communication withhumanity. But nobody doubted that the signals were artificial.They hadbeen sent by technical means. They could not conceivably be naturalphenomena. Directional fixes said absolutely that they did not comefrom Mars or Jupiter or Saturn. Neptune and Uranus and Pluto werenotnearly in the line of the signals' travel. Of course Venus and Mercurywere to sunward of Earth, which ruled them out, since the signalsarrived only on the night side of mankind's world. Nobody could guess,as yet,where they did originate.Burke sat utterly still, every muscle tense. He was so pale that evenin the moonlight Sandy saw it. She was alarmed.\"Joe! What's the matter?\"\"Did you--hear that?\" he asked thinly. \"Thesignals?\"\"Of course. But what....\"\"I recognized them,\" said Burke, in a tone that was somehow despairing.\"I've heard signals like that every so often since I was a kid.\" Heswallowed. \"It was sounds like that, and whatwent with them, that hasbeen the--trouble with me. I was going to tell you about it--and askyou if you'd marry me anyway.\"He began to tremble a little, which was not at all like the Joe Burkethat Sandy knew.\"I don'tquite under--\"\"I'm afraid I've gone out of my head,\" he said unsteadily. \"Look,Sandy! I was going to propose to you. Instead, I'm going to take youback to the office. I'm going to play you a recording I made a yearago.I think that when you've heard it you'll decide you wouldn't wantto marry me anyhow.\"Sandy looked at him with astonished eyes.\"You mean those signals from somewhere mean something special to you?\"\"Veryspecial,\" said Burke. \"They raise the question of whether I'vebeen crazy, and am suddenly sane, or whether I've been sane up to now,and have suddenly gone crazy.\"The radio switched back to dance music. Burke cut itoff. He startedthe car's motor. He backed, swung around, and headed for the office andconstruction shed of Burke Development, Inc.Elsewhere, the profoundest minds of the planet gingerly examined theappalling factthat signals came to Earth from a place where men couldnot be. A message came from something which was not human. It was asuggestion to make cold chills run up and down any educated spine.But Burke drovetensely, and the road's surface sped toward the car'swheels and vanished under them. A warm breeze hummed and thutteredaround the windshield. Sandy sat very still.\"The way I'm acting doesn't make sense, doesit?\" Burke asked. \"Do youfeel like you're riding with a lunatic?\"\"No,\" she said. \"But I never thought that if you ever did get aroundto asking me to marry you, somebody from outer space would forbid thebanns! Can'tyou tell me what all this is about?\"\"I doubt it very much,\" he told her. \"Can you tell me what the signalsare about?\"She shook her head. He drove through the night. Presently he said,\"Aside from my private angle on thematter, there are some queerthings about this business. Why should somebody out in space send usa broadcast? It's not from a planet, they say. If there's a spaceshipon the way here, why warn us? If they want to befriends, they can'tbe sure we'll permit it. If they intend to be enemies, why throw awaythe advantage of surprise? In either case, it would be foolish to sendcryptic messages on ahead. And any message would have tobe cryptic.\"The car went whirring along the roadway. Soon twinkling lights appearedamong the trees. The small and larger buildings of Burke Development,Inc., came gradually into view. They were dark objects in a"}
+{"doc_id":"doc_19","qid":"","text":"<html><head><title>Shallow Grave Script at IMSDb.</title><meta name=\"description\" content=\"Shallow Grave script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Shallow Gravescript, Shallow Grave movie script, Shallow Grave film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX,FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                                      SHALLOW GRAVE</b>                                       Written by                                       JohnHodge<b>                                                             FINAL DRAFT</b><b>          INT. DAY</b><b>          </b>          A blurred image forms on a white screen. A horizontal strip of           face, eyes motionless andunblinking. <b>          </b><b>          DAVID</b><b>          (VOICE-OVER) </b>          Take trust, for instance, or friendship: these are the important           things in life, the things that matter, that help you onyour           way. If you can't trust your friends, well, what then?<b>          </b><b>          EXT. DAWN </b><b>          </b>          A series of fast-cut static scenes of empty streets.<b>          </b><b>          DAVID</b><b>          (VOICE-OVER)</b>          This could have been any city: they're all the same.<b>          </b>          A rapid, swerving track along deserted streets and downnarrow           lanes and passageways. Accompanied by soundtrack and credits.<b>          </b>          The track ends outside a solid, fashionable Edinburgh tenement.<b>          </b><b>          INT. STAIRWELL.DAY</b><b>          </b>          At the door of a flat on the third floor of the tenement. The           door is dark, heavy wood and on it is a plastic card embossed           with the names of three tenants. They are AlexLaw, David           Stevens, and Juliet Miller.<b>          </b>          A man climbs the stairs and reaches the door. He is Cameron           Clarke, thin and in his late twenties with a blue anorak and           lank, greasyhair. He is carrying an awkwardly bulky plastic bag.           Cameron gives the doorbell an ineffectual ring and then stands           back, shifting nervously from foot to foot until the dooris           answered.<b>          </b><b>          CAMERON</b>          Hello, I've come about the room.<b>          </b>          Cameron enters and the door closes.<b>          </b><b>          INT. LIVING ROOM.DAY</b><b>          </b>          David, Alex, and Juliet sit in a line on the sofa directly           opposite Cameron, who shifts uneasily in his armchair. Alex           checks some items on a clipboard beforespeaking.<b>          </b><b>          ALEX</b>          What's his name?<b>          </b><b>          DAVID</b>          I don't know -- Campbell or something?<b>          </b><b>          JULIET</b>          Cameron.<b>          </b><b>          ALEX</b>          Cameron?<b>          </b><b>          JULIET</b>          Yes.<b>          </b><b>          ALEX</b>          (toJuliet)          Really?<b>          </b><b>          CAMERON</b>          That's right.<b>          </b><b>          ALEX</b>          (to Cameron)          What?<b>          </b>          Cameron is not sure what tosay.<b>          </b><b>          ALEX</b><b>          (CONTINUED)</b>          Well, Cameron, are you comfortable?<b>          </b><b>          CAMERON</b>          Yes,thanks.<b>          </b><b>          ALEX</b>          Good. Well, you've seen the flat?<b>          </b><b>          CAMERON</b>          Yes.<b>          </b><b>          ALEX</b>          And you likeit?<b>          </b><b>          CAMERON</b>          Oh, yes, it's great.<b>          </b><b>          ALEX</b>          Yes. It is, isn't it? We alllike it. And the room's nice too,           don't youthink?<b>          </b><b>          CAMERON</b>          Yes.<b>          </b><b>          ALEX</b>          Spacious, quiet, bright, well appointed, all that sort of stuff,           all thatcrap.<b>          </b><b>          CAMERON</b>          Well, yes.<b>          </b><b>          ALEX</b>          So tell me, Cameron, what on earth -- just tell me, because I           want to know -- what on earth couldmake you think that we would           want to share a flat like this with someone like you?<b>          </b><b>          INT. STAIRWELL. DAY</b><b>          </b>          As Cameron plods slowly down the stairs, hisshoes striking out           against the stone steps, Alex's criticisms continue.<b>          </b><b>          ALEX</b><b>          (VOICE-OVER)</b><b>          </b>          I mean, my first impression, and they're rarelywrong, is that           you have none of the qualities that we would normally seek in a           prospective flatmate. I'm talking here about things like           presence, charisma, style and charm, and I don't thinkwe're           being unreasonable. Take David here, for instance: a chartered           accountant he may be, but at least he tries hard. The point is, I           don't think you're even trying.<b>          </b>          Cameronhas reached the bottom of the stairs. He opens the main           door.<b>          </b><b>          ALEX</b><b>          (CONTINUED)</b>          And, Cameron -- I mean this -- goodluck!<b>          </b>          Cameron leaves and the main door closes behind him.<b>          </b><b>          ALEX</b><b>          (CONTINUED)</b>          Do you think he wasupset?<b>          </b><b>          INT. STAIRWELL. DAY</b><b>          </b>          Inside the hall of the flat, David approaches the door toopenit.           Freeze-frame.<b>          </b><b>          ALEX</b><b>          (VOICE-OVER)</b>          David likes to keep spareshoelaces in sorted pairs in a box           marked, not just shoelaces', but spareshoelaces'.<b>          </b>          David opens the door to the Woman.<b>          </b><b>          WOMAN</b>          I've come to see about the room.<b>          </b><b>          INT. STAIRWELL.DAY</b><b>          </b>          Outside the door of the flat a young Goth girl, aged about           twenty, rings the doorbell.<b>          </b><b>          INT. HALL. DAY</b><b>          </b>          Inside the hall of theflat Alex approaches the door to open it.           Freeze-frame.<b>          </b><b>          JULIET</b><b>          (VOICE-OVER)</b>          Alex is a vegetarian. Do you know why? Because he feels it           providesan interesting counterpoint to his otherwise callous           personality. It doesn't. He thinks he's the man for me. He isn't,           though there was a time when, well, there was a timewhen...<b>          </b>          Alex opens the door to the Goth.<b>          </b><b>          GOTH</b>          I've come about the room.<b>          </b><b>          INT. STAIRWELL. DAY</b><b>          </b>          Atthe door of the flat a Man aged about thrity-five rings the           bell.<b>          </b><b>          INT. HALL. DAY</b><b>          </b>          Inside the hall of the flat Juliet approaches the door to open           it.Freeze-frame.<b>          </b><b>          DAVID</b><b>          (VOICE-OVER)</b>          Like one of those stupid posters -- you know, a gorilla cuddling           a hedgehog, caption love hurts --- that's what I thinkwhen I           think of Juliet.<b>          </b>          Juliet opens the door to the Man.<b>          </b><b>          MAN</b>          I've come about the room.<b>          </b><b>          INT. LIVING ROOM.DAY</b><b>          </b>          In the living room each of the candidates is interviewed           individually with the same seating arrangements as before (i.e.           the trio on the sofa and the applicant on the chair).What we see           are briskly intercut excerpts from each of these interviews. We           do not get the responses to the questions, although we may see           some facial reaction.<b>          </b>          All ofDavid's questions are to the Woman.<b>          </b>          All of Alex's questions are to the Goth.<b>          </b>          All of Juliet's questions are to the Man.<b>          </b><b>          DAVID</b>          All right,just a few questions.<b>          </b><b>          ALEX</b>          I'd like to ask you about your hobbies.<b>          </b><b>          JULIET</b>          Why do you want a roomhere?<b>          </b><b>          DAVID</b>          Do you smoke?<b>          </b><b>          ALEX</b>          When you slaughter a goat and wrench its heart out with your bare           hands, do you then summonhellfire?<b>          </b><b>          JULIET</b>          I mean, what are you actually doing here? What is the hidden           agenda?<b>          </b><b>          DAVID</b>          Do a little freebasemaybe, from timeto time?<b>          </b><b>          ALEX</b>          Or maybe just phone out for a pizza?<b>          </b><b>          JULIET</b>          Look, it's a fairly straightforward question. You're either           divorced oryou're not.<b>          </b><b>          DAVID</b>          OK, I'm going to play you just a few seconds of this tape -- I'd           like you to name the song, the lead singer and the three hit           singles subsequentlyrecorded by him with another band.<b>          </b><b>          ALEX</b>          When you get up in the morning, how do you decide what shade of           black towear?<b>          </b><b>          JULIET</b>          Now, let me get this straight. This affair that you're not           having, is it not with a man or not with awoman?<b>          </b><b>          DAVID</b>          Turning very briefly to the subject of corporate finance -- no,           this is important. Leveraged buy-outs -- a good thing or abad           thing?<b>          </b><b>          ALEX</b>          With which of the following figures do you most closely identify:           Joan of Arc, Eva Braun or MarilynMonroe?<b>          </b><b>          JULIET</b>          It's just that you strike me as a man trapped in a crisis of           emotional direction, afflicted by a realization that the partner           of your dreams is, quitesimply, just that.<b>          </b><b>          DAVID</b>          Did you ever kill a man?<b>          </b><b>          ALEX</b>          And when did anyone last say to you these exact words: You are           thesunshine of my life'?<b>          </b><b>          JULIET</b>          OK, so A has left you, B is ambivalent, you're still seeing C but           D is the one you yearn for. What are we to make of this? If I           were you,I'd ditch the lot. There's a lot more letters in the           alphabet of love.<b>          </b><b>          DAVID</b>          And what if I told you that I was the antichrist?<b>          </b><b>          INT. SQUASH COURT.EVENING</b><b>          </b>          In a sports centre Juliet sits outside a glass-walled squash           court. She is ready to play, but at present is watching Alex and           David, who are inside thecourt.<b>          </b><b>          INT. SQUASH COURT. EVENING</b><b>          </b>          Inside the squash court, Alex is about to serve.<b>          </b><b>          ALEX</b>          Squash is often used as ametaphor to represent a struggle for           personal domination.<b>          </b><b>          DAVID</b>          Serve.<b>          </b><b>          ALEX</b>          I was trying to educateyou.<b>          </b><b>          DAVID</b>          Just serve.<b>          </b><b>          ALEX</b>          In the same fashion as"}
+{"doc_id":"doc_20","qid":"","text":"Project Gutenberg's The House of the Seven Gables, by Nathaniel HawthorneThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it awayorre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: The House of the Seven GablesAuthor: Nathaniel HawthorneRelease Date: June 17, 2008[EBook #77]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE HOUSE OF THE SEVEN GABLES ***Produced by Judith Boss.  HTML version by Al Haines.THE HOUSE OF THE SEVENGABLESbyNATHANIEL HAWTHORNETable of Contents         INTRODUCTORY NOTE         AUTHOR'S PREFACE     I.  THE OLD PYNCHEON FAMILY    II.  THE LITTLE SHOP-WINDOW   III.  THE FIRST CUSTOMER    IV.  ADAY BEHIND THE COUNTER     V.  MAY AND NOVEMBER    VI.  MAULE'S WELL   VII.  THE GUEST  VIII.  THE PYNCHEON OF TO-DAY    IX.  CLIFFORD AND PHOEBE     X.  THE PYNCHEON GARDEN    XI.  THE ARCHEDWINDOW   XII.  THE DAGUERREOTYPIST  XIII.  ALICE PYNCHEON   XIV.  PHOEBE'S GOOD-BYE    XV.  THE SCOWL AND SMILE   XVI.  CLIFFORD'S CHAMBER  XVII.  THE FLIGHT OF TWO OWLS XVIII.  GOVERNORPYNCHEON   XIX.  ALICE'S POSIES    XX.  THE FLOWER OF EDEN   XXI.  THE DEPARTURE                         INTRODUCTORY NOTE.THE HOUSE OF THE SEVEN GABLES.IN September of the year during the February ofwhich Hawthorne hadcompleted \"The Scarlet Letter,\" he began \"The House of the SevenGables.\" Meanwhile, he had removed from Salem to Lenox, in BerkshireCounty, Massachusetts, where he occupied with his familya small redwooden house, still standing at the date of this edition, near theStockbridge Bowl.\"I sha'n't have the new story ready by November,\"  he explained to hispublisher, on the 1st of October, \"for I am never goodfor anything inthe literary way till after the first autumnal frost, which hassomewhat such an effect on my imagination that it does on the foliagehere about me-multiplying and brightening its hues.\" But byvigorousapplication he was able to complete the new work about the middle ofthe January following.Since research has disclosed the manner in which the romance isinterwoven with incidents from the history of theHawthorne family,\"The House of the Seven Gables\" has acquired an interest apart fromthat by which it first appealed to the public. John Hathorne (as thename was then spelled), the great-grandfather of NathanielHawthorne,was a magistrate at Salem in the latter part of the seventeenthcentury, and officiated at the famous trials for witchcraft held there.It is of record that he used peculiar severity towards a certain womanwhowas among the accused; and the husband of this woman prophesiedthat God would take revenge upon his wife's persecutors.  Thiscircumstance doubtless furnished a hint for that piece of tradition inthe book whichrepresents a Pyncheon of a former generation as havingpersecuted one Maule, who declared that God would give his enemy \"bloodto drink.\" It became a conviction with the Hawthorne family that acurse had beenpronounced upon its members, which continued in force inthe time of the romancer; a conviction perhaps derived from therecorded prophecy of the injured woman's husband, just mentioned; and,here again, we have acorrespondence with Maule's malediction in thestory. Furthermore, there occurs in the \"American Note-Books\" (August27, 1837), a reminiscence of the author's family, to the followingeffect. Philip English, a characterwell-known in early Salem annals,was among those who suffered from John Hathorne's magisterialharshness, and he maintained in consequence a lasting feud with the oldPuritan official. But at his death English leftdaughters, one of whomis said to have married the son of Justice John Hathorne, whom Englishhad declared he would never forgive. It is scarcely necessary to pointout how clearly this foreshadows the final union ofthose hereditaryfoes, the Pyncheons and Maules, through the marriage of Phoebe andHolgrave. The romance, however, describes the Maules as possessing someof the traits known to have been characteristic of theHawthornes: forexample, \"so long as any of the race were to be found, they had beenmarked out from other men--not strikingly, nor as with a sharp line,but with an effect that was felt rather than spoken of--byanhereditary characteristic of reserve.\" Thus, while the generalsuggestion of the Hawthorne line and its fortunes was followed in theromance, the Pyncheons taking the place of the author's family, certaindistinguishingmarks of the Hawthornes were assigned to the imaginaryMaule posterity.There are one or two other points which indicate Hawthorne's method ofbasing his compositions, the result in the main of pure invention, onthesolid ground of particular facts.  Allusion is made, in the firstchapter of the \"Seven Gables,\" to a grant of lands in Waldo County,Maine, owned by the Pyncheon family.  In the \"American Note-Books\"there is an entry,dated August 12, 1837, which speaks of theRevolutionary general, Knox, and his land-grant in Waldo County, byvirtue of which the owner had hoped to establish an estate on theEnglish plan, with a tenantry to make itprofitable for him.  Anincident of much greater importance in the story is the supposed murderof one of the Pyncheons by his nephew, to whom we are introduced asClifford Pyncheon.  In all probability Hawthorneconnected with this,in his mind, the murder of Mr. White, a wealthy gentleman of Salem,killed by a man whom his nephew had hired.  This took place a few yearsafter Hawthorne's graduation from college, and was oneof thecelebrated cases of the day, Daniel Webster taking part prominently inthe trial.  But it should be observed here that such resemblances asthese between sundry elements in the work of Hawthorne's fancyanddetails of reality are only fragmentary, and are rearranged to suit theauthor's purposes.In the same way he has made his description of Hepzibah Pyncheon'sseven-gabled mansion conform so nearly to several olddwellingsformerly or still extant in Salem, that strenuous efforts have beenmade to fix upon some one of them as the veritable edifice of theromance.  A paragraph in the opening chapter has perhaps assistedthisdelusion that there must have been a single original House of the SevenGables, framed by flesh-and-blood carpenters; for it runs thus:--\"Familiar as it stands in the writer's recollection--for it has been anobject ofcuriosity with him from boyhood, both as a specimen of thebest and stateliest architecture of a long-past epoch, and as the sceneof events more full of interest perhaps than those of a gray feudalcastle--familiar as itstands, in its rusty old age, it is thereforeonly the more difficult to imagine the bright novelty with which itfirst caught the sunshine.\"Hundreds of pilgrims annually visit a house in Salem, belonging to onebranch of theIngersoll family of that place, which is stoutlymaintained to have been the model for Hawthorne's visionary dwelling.Others have supposed that the now vanished house of the identicalPhilip English, whose blood, as wehave already noticed, became mingledwith that of the Hawthornes, supplied the pattern; and still a thirdbuilding, known as the Curwen mansion, has been declared the onlygenuine establishment. Notwithstandingpersistent popular belief, theauthenticity of all these must positively be denied; although it ispossible that isolated reminiscences of all three may have blended withthe ideal image in the mind of Hawthorne. He, it willbe seen, remarksin the Preface, alluding to himself in the third person, that he trustsnot to be condemned for \"laying out a street that infringes uponnobody's private rights... and building a house of materials long inusefor constructing castles in the air.\" More than this, he stated topersons still living that the house of the romance was not copied fromany actual edifice, but was simply a general reproduction of a style ofarchitecturebelonging to colonial days, examples of which survivedinto the period of his youth, but have since been radically modified ordestroyed. Here, as elsewhere, he exercised the liberty of a creativemind to heighten theprobability of his pictures without confininghimself to a literal description of something he had seen.While Hawthorne remained at Lenox, and during the composition of thisromance, various other literary personagessettled or stayed for a timein the vicinity; among them, Herman Melville, whose intercourseHawthorne greatly enjoyed, Henry James, Sr., Doctor Holmes, J.  T.Headley, James Russell Lowell, Edwin P.  Whipple,Frederika Bremer, andJ.  T.  Fields; so that there was no lack of intellectual society inthe midst of the beautiful and inspiring mountain scenery of the place.\"In the afternoons, nowadays,\" he records, shortly beforebeginning thework, \"this valley in which I dwell seems like a vast basin filled withgolden Sunshine as with wine;\" and, happy in the companionship of hiswife and their three children, he led a simple, refined, idylliclife,despite the restrictions of a scanty and uncertain income.  A letterwritten by Mrs. Hawthorne, at this time, to a member of her family,gives incidentally a glimpse of the scene, which may properly find aplacehere.  She says:  \"I delight to think that you also can lookforth, as I do now, upon a broad valley and a fine amphitheater ofhills, and are about to watch the stately ceremony of the sunset fromyour piazza.  But youhave not this lovely lake, nor, I suppose, thedelicate purple mist which folds these slumbering mountains in airyveils.  Mr. Hawthorne has been lying down in the sun shine, slightlyfleckered with the shadows of a tree,and Una and Julian have beenmaking him look like the mighty Pan, by covering his chin and breastwith long grass-blades, that looked like a verdant and venerablebeard.\" The pleasantness and peace of hissurroundings and of hismodest home, in Lenox, may be taken into account as harmonizing withthe mellow serenity of the romance then produced.  Of the work, when itappeared in the early spring of 1851, he wrote toHoratio Bridge thesewords, now published for the first time:--\"'The House of the Seven Gables' in my opinion, is better than 'TheScarlet Letter:' but I should not wonder if I had refined upon theprincipal character a littletoo much for popular appreciation, nor ifthe romance of the book should be somewhat at odds with the humble andfamiliar scenery in which I invest it.  But I feel that portions of itare as good as anything I can hope towrite, and the publisher speaksencouragingly of its success.\"From England, especially, came many warm expressions of praise,--a factwhich Mrs. Hawthorne, in a private letter, commented on as thefulfillment of apossibility which Hawthorne, writing in boyhood to hismother, had looked forward to.  He had asked her if she would not likehim to become an author and have his books read in England.G. P.L.                              PREFACE.WHEN a writer calls his work a Romance, it need hardly be observed thathe wishes to claim a certain latitude, both as to its fashion andmaterial, which he would not have felt himselfentitled to assume hadhe professed to be writing a Novel.  The latter form of composition ispresumed to aim at a very minute fidelity, not merely to the possible,but to the probable and ordinary course of man'sexperience.  Theformer--while, as a work of art, it must rigidly subject itself tolaws, and while it sins unpardonably so far as it may swerve aside fromthe truth of the human heart--has fairly a right to present thattruthunder circumstances, to a great extent, of the writer's own choosing orcreation.  If he think fit, also, he may so manage his atmosphericalmedium as to bring out or mellow the lights and deepen and enrichtheshadows of the picture.  He will be wise, no doubt, to make a verymoderate use of the privileges here stated, and, especially, to minglethe Marvelous rather as a slight, delicate, and evanescent flavor, thanas anyportion of the actual substance of the dish offered to thepublic.  He can hardly be said, however, to commit a literary crimeeven if he disregard this caution.In the present work, the author has proposed to himself--butwith whatsuccess, fortunately, it is not for him to judge--to keep undeviatinglywithin his immunities.  The point of view in which this tale comesunder the Romantic definition lies in the attempt to connect a bygonetimewith the very present that is flitting away from us.  It is alegend prolonging itself, from an epoch now gray in the distance, downinto our own broad daylight, and bringing along with it some of itslegendary mist, whichthe reader, according to his pleasure, may eitherdisregard, or allow it to float almost imperceptibly about thecharacters and events for the sake of a picturesque effect.  Thenarrative, it may be, is woven of so humble atexture as to requirethis advantage, and, at the same time, to render it the more difficultof attainment.Many writers lay very great stress upon some definite moral purpose, atwhich they profess to aim their works.  Notto be deficient in thisparticular, the author has provided himself with a moral,--the truth,namely, that the wrong-doing of one generation lives into thesuccessive ones, and, divesting itself of every temporaryadvantage,becomes a pure and uncontrollable mischief; and he would feel it asingular gratification if this romance might effectually convincemankind--or, indeed, any one man--of the folly of tumbling downanavalanche of ill-gotten gold, or real estate, on the heads of anunfortunate posterity, thereby to maim and crush them, until theaccumulated mass shall be scattered abroad in its original atoms.  Ingood faith, however,he is not sufficiently imaginative to flatterhimself with the slightest hope of this kind.  When romances do reallyteach anything, or produce any effective operation, it is usuallythrough a far more subtile process than theostensible one.  The authorhas considered it hardly worth his while, therefore, relentlessly toimpale the story with its moral as with an iron rod,--or, rather, as bysticking a pin through a butterfly,--thus at once deprivingit of life,and causing it to stiffen in an ungainly and unnatural attitude.  Ahigh truth, indeed, fairly, finely, and skilfully wrought out,brightening at every step, and crowning the final development of a workof fiction, mayadd an artistic glory, but is never any truer, andseldom any more evident, at the last page than at the first.The reader may perhaps choose to assign an actual locality to theimaginary events of this narrative.  Ifpermitted by the historicalconnection,--which, though slight, was essential to his plan,--theauthor would very willingly have avoided anything of this nature.  Notto speak of other objections, it exposes the romance toan inflexibleand exceedingly dangerous species of criticism, by bringing hisfancy-pictures almost into positive contact with the realities of themoment.  It has been no part of his object, however, to describelocalmanners, nor in any way to meddle with the characteristics of acommunity for whom he cherishes a proper respect and a natural regard.He trusts not to be considered as unpardonably offending by laying outastreet that infringes upon nobody's private rights, and appropriatinga lot of land which had no visible owner, and building a house ofmaterials long in use for constructing castles in the air.  Thepersonages of thetale--though they give themselves out to be ofancient stability and considerable prominence--are really of theauthor's own making, or at all events, of his own mixing; their virtuescan shed no lustre, nor their defectsredound, in the remotest degree,to the discredit of the venerable town of which they profess to beinhabitants.  He would be glad, therefore, if-especially in the quarterto which he alludes-the book may be read strictlyas a Romance, havinga great deal more to do with the clouds overhead than with any portionof the actual soil of the County of Essex.LENOX, January 27, 1851.THE HOUSE OF SEVEN GABLESbyNathanielHawthorne                       I  The Old Pyncheon FamilyHALFWAY down a by-street of one of our New England towns stands a rustywooden house, with seven acutely peaked gables, facing towards variouspoints of thecompass, and a huge, clustered chimney in the midst.  Thestreet is Pyncheon Street; the house is the old Pyncheon House; and anelm-tree, of wide circumference, rooted before the door, is familiar toevery town-bornchild by the title of the Pyncheon Elm.  On myoccasional visits to the town aforesaid, I seldom failed to turn downPyncheon Street, for the sake of passing through the shadow of thesetwo antiquities,--the great elm-treeand the weather-beaten edifice.The aspect of the venerable mansion has always affected me like a humancountenance, bearing the traces not merely of outward storm andsunshine, but expressive also, of the longlapse of mortal life, andaccompanying vicissitudes that have passed within.  Were these to beworthily recounted, they would form a narrative of no small interestand instruction, and possessing, moreover, a certainremarkable unity,which might almost seem the result of artistic arrangement.  But thestory would include a chain of events extending over the better part oftwo centuries, and, written out with reasonable amplitude,would fill abigger folio volume, or a longer series of duodecimos, than couldprudently be appropriated to the annals of all New England during asimilar period.  It consequently becomes imperative to make shortworkwith most of the traditionary lore of which the old Pyncheon House,otherwise known as the House of the Seven Gables, has been the theme.With a brief sketch, therefore, of the circumstances amid whichthefoundation of the house was laid, and a rapid glimpse at its quaintexterior, as it grew black in the prevalent east wind,--pointing, too,here and there, at some spot of more verdant mossiness on its roof andwalls,--weshall commence the real action of our tale at an epoch notvery remote from the present day.  Still, there will be a connectionwith the long past--a reference to forgotten events and personages, andto manners, feelings,and opinions, almost or wholly obsolete--which,if adequately translated to the reader, would serve to illustrate howmuch of old material goes to make up the freshest novelty of humanlife.  Hence, too, might be drawn aweighty lesson from thelittle-regarded truth, that the act of the passing generation is thegerm which may and must produce good or evil fruit in a far-distanttime; that, together with the seed of the merely temporarycrop, whichmortals term expediency, they inevitably sow the acorns of a moreenduring growth, which may darkly overshadow their posterity.The House of the Seven Gables, antique as it now looks, was not thefirsthabitation erected by civilized man on precisely the same spot ofground.  Pyncheon Street formerly bore the humbler appellation ofMaule's Lane, from the name of the original occupant of the soil,before whosecottage-door it was a cow-path.  A natural spring of softand pleasant water--a rare treasure on the sea-girt peninsula where thePuritan settlement was made--had early induced Matthew Maule to build ahut, shaggywith thatch, at this point, although somewhat too remotefrom what was then the centre of the village.  In the growth of thetown, however, after some thirty or forty years, the site covered bythis rude hovel had becomeexceedingly desirable in the eyes of aprominent and powerful personage, who asserted plausible claims to theproprietorship of this and a large adjacent tract of land, on thestrength of a grant from thelegislature.  Colonel Pyncheon, theclaimant, as we gather from whatever traits of him are preserved, wascharacterized by an iron energy of purpose.  Matthew Maule, on theother hand, though an obscure man, wasstubborn in the defence of whathe considered his right; and, for several years, he succeeded inprotecting the acre or two of earth which, with his own toil, he hadhewn out of the primeval forest, to be his garden groundand homestead.No written record of this dispute is known to be in existence.  Ouracquaintance with the whole subject is derived chiefly from tradition.It would be bold, therefore, and possibly unjust, to venture adecisiveopinion as to its merits; although it appears to have been at least amatter of doubt, whether Colonel Pyncheon's claim were not undulystretched, in order to make it cover the small metes and bounds ofMatthewMaule.  What greatly strengthens such a suspicion is the factthat this controversy between two ill-matched antagonists--at a period,moreover, laud it as we may, when personal influence had far moreweight thannow--remained for years undecided, and came to a close onlywith the death of the party occupying the disputed soil.  The mode ofhis death, too, affects the mind differently, in our day, from what itdid a century and a"}
+{"doc_id":"doc_21","qid":"","text":"The Project Gutenberg EBook of The Cossacks, by Leo TolstoyThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it under theterms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: The CossacksAuthor: Leo TolstoyTranslator: Louise and Aylmer MaudeRelease Date: January 18, 2009 [EBook#4761]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE COSSACKS ***Produced by Steve Harris, Charles Franks and the OnlineDistributed Proofreading Team.THE COSSACKSA Tale of1852ByLeo Tolstoy (1863)Translated by Louise and Aylmer MaudeChapter IAll is quiet in Moscow. The squeak of wheels is seldom heard in thesnow-covered street. There are no lights left in the windows and thestreetlamps have been extinguished. Only the sound of bells, borneover the city from the church towers, suggests the approach of morning.The streets are deserted. At rare intervals a night-cabman's sledgekneads up thesnow and sand in the street as the driver makes his wayto another corner where he falls asleep while waiting for a fare. Anold woman passes by on her way to church, where a few wax candles burnwith a red lightreflected on the gilt mountings of the icons. Workmenare already getting up after the long winter night and going to theirwork--but for the gentlefolk it is still evening.From a window in Chevalier's Restaurant alight--illegal at thathour--is still to be seen through a chink in the shutter. At theentrance a carriage, a sledge, and a cabman's sledge, stand closetogether with their backs to the curbstone. A three-horse sledge fromthepost-station is there also. A yard-porter muffled up and pinchedwith cold is sheltering behind the corner of the house.'And what's the good of all this jawing?' thinks the footman who sitsin the hall weary and haggard.'This always happens when I'm on duty.'From the adjoining room are heard the voices of three young men,sitting there at a table on which are wine and the remains of supper.One, a rather plain, thin, neat little man,sits looking with tiredkindly eyes at his friend, who is about to start on a journey. Another,a tall man, lies on a sofa beside a table on which are empty bottles,and plays with his watch-key. A third, wearing a short,fur-lined coat,is pacing up and down the room stopping now and then to crack an almondbetween his strong, rather thick, but well-tended fingers. He keepssmiling at something and his face and eyes are all aglow. Hespeakswarmly and gesticulates, but evidently does not find the words he wantsand those that occur to him seem to him inadequate to express what hasrisen to his heart.'Now I can speak out fully,' said the traveller. 'Idon't want todefend myself, but I should like you at least to understand me as Iunderstand myself, and not look at the matter superficially. You say Ihave treated her badly,' he continued, addressing the man withthekindly eyes who was watching him.'Yes, you are to blame,' said the latter, and his look seemed toexpress still more kindliness and weariness.'I know why you say that,' rejoined the one who was leaving. 'To belovedis in your opinion as great a happiness as to love, and if a manobtains it, it is enough for his whole life.''Yes, quite enough, my dear fellow, more than enough!' confirmed theplain little man, opening and shutting hiseyes.'But why shouldn't the man love too?' said the traveller thoughtfully,looking at his friend with something like pity. 'Why shouldn't onelove? Because love doesn't come ... No, to be beloved is a misfortune.It is amisfortune to feel guilty because you do not give something youcannot give. O my God!' he added, with a gesture of his arm. 'If it allhappened reasonably, and not all topsy-turvy--not in our way but in away of its own!Why, it's as if I had stolen that love! You think sotoo, don't deny it. You must think so. But will you believe it, of allthe horrid and stupid things I have found time to do in my life--andthere are many--this is one I do notand cannot repent of. Neither atthe beginning nor afterwards did I lie to myself or to her. It seemedto me that I had at last fallen in love, but then I saw that it was aninvoluntary falsehood, and that that was not theway to love, and Icould not go on, but she did. Am I to blame that I couldn't? What was Ito do?''Well, it's ended now!' said his friend, lighting a cigar to master hissleepiness. 'The fact is that you have not yet loved anddo not knowwhat love is.'The man in the fur-lined coat was going to speak again, and put hishands to his head, but could not express what he wanted to say.'Never loved! ... Yes, quite true, I never have! But after all, Ihavewithin me a desire to love, and nothing could be stronger than thatdesire! But then, again, does such love exist? There always remainssomething incomplete. Ah well! What's the use of talking? I've made anawfulmess of life! But anyhow it's all over now; you are quite right.And I feel that I am beginning a new life.''Which you will again make a mess of,' said the man who lay on the sofaplaying with his watch-key. But thetraveller did not listen to him.'I am sad and yet glad to go,' he continued. 'Why I am sad I don'tknow.'And the traveller went on talking about himself, without noticing thatthis did not interest the others as much as it didhim. A man is neversuch an egotist as at moments of spiritual ecstasy. At such times itseems to him that there is nothing on earth more splendid andinteresting than himself.'Dmitri Andreich! The coachman won't waitany longer!' said a youngserf, entering the room in a sheepskin coat, with a scarf tied roundhis head. 'The horses have been standing since twelve, and it's nowfour o'clock!'Dmitri Andreich looked at his serf, Vanyusha.The scarf roundVanyusha's head, his felt boots and sleepy face, seemed to be callinghis master to a new life of labour, hardship, and activity.'True enough! Good-bye!' said he, feeling for the unfastened hook andeye onhis coat.In spite of advice to mollify the coachman by another tip, he put onhis cap and stood in the middle of the room. The friends kissed once,then again, and after a pause, a third time. The man in the fur-linedcoatapproached the table and emptied a champagne glass, then took theplain little man's hand and blushed.'Ah well, I will speak out all the same ... I must and will be frankwith you because I am fond of you ... Of courseyou love her--I alwaysthought so--don't you?''Yes,' answered his friend, smiling still more gently.'And perhaps...''Please sir, I have orders to put out the candles,' said the sleepyattendant, who had been listening to thelast part of the conversationand wondering why gentlefolk always talk about one and the same thing.'To whom shall I make out the bill? To you, sir?' he added, knowingwhom to address and turning to the tall man.'Tome,' replied the tall man. 'How much?''Twenty-six rubles.'The tall man considered for a moment, but said nothing and put the billin his pocket.The other two continued their talk.'Good-bye, you are a capital fellow!' saidthe short plain man with themild eyes. Tears filled the eyes of both. They stepped into the porch.'Oh, by the by,' said the traveller, turning with a blush to the tallman, 'will you settle Chevalier's bill and write and let meknow?''All right, all right!' said the tall man, pulling on his gloves. 'HowI envy you!' he added quite unexpectedly when they were out in theporch.The traveller got into his sledge, wrapped his coat about him, andsaid:'Well then, come along!' He even moved a little to make room inthe sledge for the man who said he envied him--his voice trembled.'Good-bye, Mitya! I hope that with God's help you...' said the tallone. But his wish wasthat the other would go away quickly, and so hecould not finish the sentence.They were silent a moment. Then someone again said, 'Good-bye,' and avoice cried, 'Ready,' and the coachman touched up the horses.'Hy,Elisar!' One of the friends called out, and the other coachman andthe sledge-drivers began moving, clicking their tongues and pulling atthe reins. Then the stiffened carriage-wheels rolled squeaking over thefrozensnow.'A fine fellow, that Olenin!' said one of the friends. 'But what anidea to go to the Caucasus--as a cadet, too! I wouldn't do it foranything. ... Are you dining at the club to-morrow?''Yes.'They separated.The travellerfelt warm, his fur coat seemed too hot. He sat on thebottom of the sledge and unfastened his coat, and the three shaggypost-horses dragged themselves out of one dark street into another,past houses he had neverbefore seen. It seemed to Olenin that onlytravellers starting on a long journey went through those streets. Allwas dark and silent and dull around him, but his soul was full ofmemories, love, regrets, and a pleasanttearful feeling.Chapter II'I'm fond of them, very fond! ... First-rate fellows! ... Fine!' hekept repeating, and felt ready to cry. But why he wanted to cry, whowere the first-rate fellows he was so fond of--was more than hequiteknew. Now and then he looked round at some house and wondered why itwas so curiously built; sometimes he began wondering why the post-boyand Vanyusha, who were so different from himself, sat so near,andtogether with him were being jerked about and swayed by the tugs theside-horses gave at the frozen traces, and again he repeated: 'Firstrate ... very fond!' and once he even said: 'And how it seizes one...excellent!' and wondered what made him say it. 'Dear me, am I drunk?'he asked himself. He had had a couple of bottles of wine, but it wasnot the wine alone that was having this effect on Olenin. He rememberedallthe words of friendship heartily, bashfully, spontaneously (as hebelieved) addressed to him on his departure. He remembered the clasp ofhands, glances, the moments of silence, and the sound of a voicesaying,'Good-bye, Mitya!' when he was already in the sledge. Heremembered his own deliberate frankness. And all this had a touchingsignificance for him. Not only friends and relatives, not only peoplewho had beenindifferent to him, but even those who did not like him,seemed to have agreed to become fonder of him, or to forgive him,before his departure, as people do before confession or death. 'PerhapsI shall not return fromthe Caucasus,' he thought. And he felt that heloved his friends and some one besides. He was sorry for himself. Butit was not love for his friends that so stirred and uplifted his heartthat he could not repress themeaningless words that seemed to rise ofthemselves to his lips; nor was it love for a woman (he had never yetbeen in love) that had brought on this mood. Love for himself, lovefull of hope--warm young love for allthat was good in his own soul(and at that moment it seemed to him that there was nothing but good init)--compelled him to weep and to mutter incoherent words.Olenin was a youth who had never completed hisuniversity course, neverserved anywhere (having only a nominal post in some government officeor other), who had squandered half his fortune and had reached the ageof twenty-four without having done anything oreven chosen a career. Hewas what in Moscow society is termed un jeune homme.At the age of eighteen he was free--as only rich young Russians in the'forties who had lost their parents at an early age could be.Neitherphysical nor moral fetters of any kind existed for him; he could do ashe liked, lacking nothing and bound by nothing. Neither relatives, norfatherland, nor religion, nor wants, existed for him. He believedinnothing and admitted nothing. But although he believed in nothing hewas not a morose or blase young man, nor self-opinionated, but on thecontrary continually let himself be carried away. He had come totheconclusion that there is no such thing as love, yet his heart alwaysoverflowed in the presence of any young and attractive woman. He hadlong been aware that honours and position were nonsense, yetinvoluntarilyhe felt pleased when at a ball Prince Sergius came up andspoke to him affably. But he yielded to his impulses only in so far asthey did not limit his freedom. As soon as he had yielded to anyinfluence and becameconscious of its leading on to labour andstruggle, he instinctively hastened to free himself from the feeling oractivity into which he was being drawn and to regain his freedom. Inthis way he experimented withsociety-life, the civil service, farming,music--to which at one time he intended to devote his life--and evenwith the love of women in which he did not believe. He meditated on theuse to which he should devote thatpower of youth which is granted toman only once in a lifetime: that force which gives a man the power ofmaking himself, or even--as it seemed to him--of making the universe,into anything he wishes: should it be toart, to science, to love ofwoman, or to practical activities? It is true that some people aredevoid of this impulse, and on entering life at once place their necksunder the first yoke that offers itself and honestly labourunder itfor the rest of their lives. But Olenin was too strongly conscious ofthe presence of that all-powerful God of Youth--of that capacity to beentirely transformed into an aspiration or idea--the capacity to wishand todo--to throw oneself headlong into a bottomless abyss withoutknowing why or wherefore. He bore this consciousness within himself,was proud of it and, without knowing it, was happy in thatconsciousness. Up to thattime he had loved only himself, and could nothelp loving himself, for he expected nothing but good of himself andhad not yet had time to be disillusioned. On leaving Moscow he was inthat happy state of mind in whicha young man, conscious of pastmistakes, suddenly says to himself, 'That was not the real thing.' Allthat had gone before was accidental and unimportant. Till then he hadnot really tried to live, but now with hisdeparture from Moscow a newlife was beginning--a life in which there would be no mistakes, noremorse, and certainly nothing but happiness.It is always the case on a long journey that till the first two orthree stageshave been passed imagination continues to dwell on theplace left behind, but with the first morning on the road it leaps tothe end of the journey and there begins building castles in the air. Soit happened to Olenin.Afterleaving the town behind, he gazed at the snowy fields and feltglad to be alone in their midst. Wrapping himself in his fur coat, helay at the bottom of the sledge, became tranquil, and fell into a doze.The parting with hisfriends had touched him deeply, and memories ofthat last winter spent in Moscow and images of the past, mingled withvague thoughts and regrets, rose unbidden in his imagination.He remembered the friend who hadseen him off and his relations withthe girl they had talked about. The girl was rich. \"How could he loveher knowing that she loved me?\" thought he, and evil suspicions crossedhis mind. \"There is much dishonesty in menwhen one comes to reflect.\"Then he was confronted by the question: \"But really, how is it I havenever been in love? Every one tells me that I never have. Can it bethat I am a moral monstrosity?\" And he began to recallall hisinfatuations. He recalled his entry into society, and a friend's sisterwith whom he spent several evenings at a table with a lamp on it whichlit up her slender fingers busy with needlework, and the lower part ofherpretty delicate face. He recalled their conversations that draggedon like the game in which one passes on a stick which one keeps alightas long as possible, and the general awkwardness and restraint and hiscontinualfeeling of rebellion at all that conventionality. Some voicehad always whispered: \"That's not it, that's not it,\" and so it hadproved. Then he remembered a ball and the mazurka he danced with thebeautiful D----. \"Howmuch in love I was that night and how happy! Andhow hurt and vexed I was next morning when I woke and felt myself stillfree! Why does not love come and bind me hand and foot?\" thought he.\"No, there is no suchthing as love! That neighbour who used to tellme, as she told Dubrovin and the Marshal, that she loved the stars, wasnot IT either.\" And now his farming and work in the country recurred tohis mind, and in thoserecollections also there was nothing to dwell onwith pleasure. \"Will they talk long of my departure?\" came into hishead; but who \"they\" were he did not quite know. Next came a thoughtthat made him wince and mutterincoherently. It was the recollection ofM. Cappele the tailor, and the six hundred and seventy-eight rubles hestill owed him, and he recalled the words in which he had begged him towait another year, and the look ofperplexity and resignation which hadappeared on the tailor's face. 'Oh, my God, my God!' he repeated,wincing and trying to drive away the intolerable thought. 'All the sameand in spite of everything she loved me,'thought he of the girl theyhad talked about at the farewell supper. 'Yes, had I married her Ishould not now be owing anything, and as it is I am in debt toVasilyev.' Then he remembered the last night he had playedwithVasilyev at the club (just after leaving her), and he recalled hishumiliating requests for another game and the other's cold refusal. 'Ayear's economizing and they will all be paid, and the devil takethem!'... Butdespite this assurance he again began calculating hisoutstanding debts, their dates, and when he could hope to pay them off.'And I owe something to Morell as well as to Chevalier,' thought he,recalling the night whenhe had run up so large a debt. It was at acarousel at the gipsies arranged by some fellows from Petersburg:Sashka B---, an aide-de-camp to the Tsar, Prince D---, and that pompousold----. 'How is it those gentlemenare so self-satisfied?' thought he,'and by what right do they form a clique to which they think othersmust be highly flattered to be admitted? Can it be because they are onthe Emperor's staff? Why, it's awful what foolsand scoundrels theyconsider other people to be! But I showed them that I at any rate, onthe contrary, do not at all want their intimacy. All the same, I fancyAndrew, the steward, would be amazed to know that I am onfamiliarterms with a man like Sashka B---, a colonel and an aide-de-camp to theTsar! Yes, and no one drank more than I did that evening, and I taughtthe gipsies a new song and everyone listened to it. Though I havedonemany foolish things, all the same I am a very good fellow,' thought he.Morning found him at the third post-stage. He drank tea, and himselfhelped Vanyusha to move his bundles and trunks and sat down amongthem,sensible, erect, and precise, knowing where all his belongings were,how much money he had and where it was, where he had put his passportand the post-horse requisition and toll-gate papers, and it allseemedto him so well arranged that he grew quite cheerful and the longjourney before him seemed an extended pleasure-trip.All that morning and noon he was deep in calculations of how manyversts he had travelled,how many remained to the next stage, how manyto the next town, to the place where he would dine, to the place wherehe would drink tea, and to Stavropol, and what fraction of the wholejourney was alreadyaccomplished. He also calculated how much money hehad with him, how much would be left over, how much would pay off allhis debts, and what proportion of his income he would spend each month.Towards evening,after tea, he calculated that to Stavropol there stillremained seven-elevenths of the whole journey, that his debts wouldrequire seven months' economy and one-eighth of his whole fortune; andthen, tranquillized, hewrapped himself up, lay down in the sledge, andagain dozed off. His imagination was now turned to the future: to theCaucasus. All his dreams of the future were mingled with pictures ofAmalat-Beks, Circassian women,mountains, precipices, terribletorrents, and perils. All these things were vague and dim, but the loveof fame and the danger of death furnished the interest of that future.Now, with unprecedented courage and a strengththat amazed everyone, heslew and subdued an innumerable host of hillsmen; now he was himself ahillsman and with them was maintaining their independence against theRussians. As soon as he pictured anythingdefinite, familiar Moscowfigures always appeared on the scene. Sashka B---fights with theRussians or the hillsmen against him. Even the tailor Cappele in somestrange way takes part in the conqueror's triumph. Amidall this heremembered his former humiliations, weaknesses, and mistakes, and therecollection was not disagreeable. It was clear that there among themountains, waterfalls, fair Circassians, and dangers, suchmistakescould not recur. Having once made full confession to himself there wasan end of it all. One other vision, the sweetest of them all, mingledwith the young man's every thought of the future--the vision of awoman.And there, among the mountains, she appeared to his imagination as aCircassian slave, a fine figure with a long plait of hair and deepsubmissive eyes. He pictured a lonely hut in the mountains, and on"}
+{"doc_id":"doc_22","qid":"","text":"The Project Gutenberg EBook of Pierre and Jean, by Guy de MaupassantThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: Pierre and JeanAuthor: Guy de MaupassantTranslator: Clara BellRelease Date: April 12, 2006 [EBook#3804]Last Updated: February 23, 2018Language: EnglishCharacter set encoding: UTF-8*** START OF THIS PROJECT GUTENBERG EBOOK PIERRE AND JEAN ***Produced by Dagny; John Bickers; HTML file by DavidWidgerPIERRE & JEANBy Guy De MaupassantTranslated By Clara BellCHAPTER Iâ\u0000\u0000Tschah!â\u0000\u0000 exclaimed old Roland suddenly, after he had remainedmotionless for a quarter of an hour, his eyes fixed on the water,whilenow and again he very slightly lifted his line sunk in the sea.Mme. Roland, dozing in the stern by the side of Mme. Rosemilly, who hadbeen invited to join the fishing-party, woke up, and turning her head tolook ather husband, said:â\u0000\u0000Well, well! Gerome.â\u0000\u0000And the old fellow replied in a fury:â\u0000\u0000They do not bite at all. I have taken nothing since noon. Only menshould ever go fishing. Women always delay the start till it istoolate.â\u0000\u0000His two sons, Pierre and Jean, who each held a line twisted round hisforefinger, one to port and one to starboard, both began to laugh, andJean remarked:â\u0000\u0000You are not very polite to our guest,father.â\u0000\u0000M. Roland was abashed, and apologized.â\u0000\u0000I beg your pardon, Mme. Rosemilly, but that is just like me. I inviteladies because I like to be with them, and then, as soon as I feel thewater beneath me, Ithink of nothing but the fish.â\u0000\u0000Mme. Roland was now quite awake, and gazing with a softened look at thewide horizon of cliff and sea.â\u0000\u0000You have had good sport, all the same,â\u0000\u0000 she murmured.But her husbandshook his head in denial, though at the same time heglanced complacently at the basket where the fish caught by the threemen were still breathing spasmodically, with a low rustle of clammyscales and struggling fins,and dull, ineffectual efforts, gasping inthe fatal air. Old Roland took the basket between his knees and tiltedit up, making the silver heap of creatures slide to the edge that hemight see those lying at the bottom, andtheir death-throes became moreconvulsive, while the strong smell of their bodies, a wholesome reekof brine, came up from the full depths of the creel. The old fishermansniffed it eagerly, as we smell at roses, andexclaimed:â\u0000\u0000Cristi! But they are fresh enough!â\u0000\u0000 and he went on: â\u0000\u0000How many did youpull out, doctor?â\u0000\u0000His eldest son, Pierre, a man of thirty, with black whiskers trimmedsquare like a lawyer's, hismustache and beard shaved away, replied:â\u0000\u0000Oh, not many; three or four.â\u0000\u0000The father turned to the younger. â\u0000\u0000And you, Jean?â\u0000\u0000 said he.Jean, a tall fellow, much younger than his brother, fair, with afullbeard, smiled and murmured:â\u0000\u0000Much the same as Pierre--four or five.â\u0000\u0000Every time they told the same fib, which delighted father Roland. He hadhitched his line round a row-lock, and folding his arms heannounced:â\u0000\u0000I will never again try to fish after noon. After ten in the morning itis all over. The lazy brutes will not bite; they are taking their siestain the sun.â\u0000\u0000 And he looked round at the sea on all sides, withthesatisfied air of a proprietor.He was a retired jeweller who had been led by an inordinate love ofseafaring and fishing to fly from the shop as soon as he had made enoughmoney to live in modest comfort on theinterest of his savings. Heretired to le Havre, bought a boat, and became an amateur skipper.His two sons, Pierre and Jean, had remained at Paris to continue theirstudies, and came for the holidays from time to time toshare theirfather's amusements.On leaving school, Pierre, the elder, five years older than Jean, hadfelt a vocation to various professions and had tried half a dozen insuccession, but, soon disgusted with each in turn, hestarted afreshwith new hopes. Medicine had been his last fancy, and he had set to workwith so much ardour that he had just qualified after an unusually shortcourse of study, by a special remission of time from theminister. Hewas enthusiastic, intelligent, fickle, but obstinate, full of Utopiasand philosophical notions.Jean, who was as fair as his brother was dark, as deliberate as hisbrother was vehement, as gentle as his brotherwas unforgiving, hadquietly gone through his studies for the law and had just taken hisdiploma as a licentiate, at the time when Pierre had taken his inmedicine. So they were now having a little rest at home, and bothlookedforward to settling in Havre if they could find a satisfactory opening.But a vague jealousy, one of those dormant jealousies which grow upbetween brothers or sisters and slowly ripen till they burst, on theoccasionof a marriage perhaps, or of some good fortune happening toone of them, kept them on the alert in a sort of brotherly andnon-aggressive animosity. They were fond of each other, it is true, butthey watched each other.Pierre, five years old when Jean was born,had looked with the eyes of a little petted animal at that other littleanimal which had suddenly come to lie in his father's and mother's armsand to be loved and fondled by them.Jean, from his birth, had alwaysbeen a pattern of sweetness, gentleness, and good temper, and Pierre hadby degrees begun to chafe at ever-lastingly hearing the praises of thisgreat lad, whose sweetness in his eyeswas indolence, whose gentlenesswas stupidity, and whose kindliness was blindness. His parents, whosedream for their sons was some respectable and undistinguished calling,blamed him for so often changing his mind,for his fits of enthusiasm,his abortive beginnings, and all his ineffectual impulses towardsgenerous ideas and the liberal professions.Since he had grown to manhood they no longer said in so many words:â\u0000\u0000Look atJean and follow his example,â\u0000\u0000 but every time he heard them sayâ\u0000\u0000Jean did this--Jean does that,â\u0000\u0000 he understood their meaning and thehint the words conveyed.Their mother, an orderly person, a thrifty andrather sentimental womanof the middle class, with the soul of a soft-hearted book-keeper, wasconstantly quenching the little rivalries between her two big sonsto which the petty events of their life constantly gave rise.Anotherlittle circumstance, too, just now disturbed her peace of mind, andshe was in fear of some complications; for in the course of the winter,while her boys were finishing their studies, each in his own line, shehadmade the acquaintance of a neighbour, Mme. Rosemilly, the widow of acaptain of a merchantman who had died at sea two years before. The youngwidow--quite young, only three-and-twenty--a woman of strongintellectwho knew life by instinct as the free animals do, as though shehad seen, gone through, understood, and weighted every conceivablecontingency, and judged them with a wholesome, strict, and benevolentmind,had fallen into the habit of calling to work or chat for an hourin the evening with these friendly neighbours, who would give her a cupof tea.Father Roland, always goaded on by his seafaring craze, would questiontheirnew friend about the departed captain; and she would talk of him,and his voyages, and his old-world tales, without hesitation, like aresigned and reasonable woman who loves life and respects death.The two sons ontheir return, finding the pretty widow quite at home inthe house, forthwith began to court her, less from any wish to charm herthan from the desire to cut each other out.Their mother, being practical and prudent,sincerely hoped that one ofthem might win the young widow, for she was rich; but then she wouldhave liked that the other should not be grieved.Mme. Rosemilly was fair, with blue eyes, a mass of light wavinghair,fluttering at the least breath of wind, and an alert, daring, pugnaciouslittle way with her, which did not in the least answer to the sobermethod of her mind.She already seemed to like Jean best, attracted, no doubt,by anaffinity of nature. This preference, however, she betrayed only byan almost imperceptible difference of voice and look and also byoccasionally asking his opinion. She seemed to guess that Jean'sviews wouldsupport her own, while those of Pierre must inevitablybe different. When she spoke of the doctor's ideas on politics, art,philosophy, or morals, she would sometimes say: â\u0000\u0000Your crotchets.â\u0000\u0000 Thenhe would look ather with the cold gleam of an accuser drawing up anindictment against women--all women, poor weak things.Never till his sons came home had M. Roland invited her to join hisfishing expeditions, nor had he ever takenhis wife; for he liked to putoff before daybreak, with his ally, Captain Beausire, a master marinerretired, whom he had first met on the quay at high tides and with whomhe had struck up an intimacy, and the old sailorPapagris, known as JeanBart, in whose charge the boat was left.But one evening of the week before, Mme. Rosemilly, who had been diningwith them, remarked, â\u0000\u0000It must be great fun to go out fishing.â\u0000\u0000Thejeweller, flattered by her interest and suddenly fired with the wishto share his favourite sport with her, and to make a convert after themanner of priests, exclaimed: â\u0000\u0000Would you like to come?â\u0000\u0000â\u0000\u0000To besure I should.â\u0000\u0000â\u0000\u0000Next Tuesday?â\u0000\u0000â\u0000\u0000Yes, next Tuesday.â\u0000\u0000â\u0000\u0000Are you the woman to be ready to start at five in the morning?â\u0000\u0000She exclaimed in horror:â\u0000\u0000No, indeed: that is too much.â\u0000\u0000He wasdisappointed and chilled, suddenly doubting her true vocation.However, he said:â\u0000\u0000At what hour can you be ready?â\u0000\u0000â\u0000\u0000Well--at nine?â\u0000\u0000â\u0000\u0000Not before?â\u0000\u0000â\u0000\u0000No, not before. Even that is veryearly.â\u0000\u0000The old fellow hesitated; he certainly would catch nothing, for when thesun has warmed the sea the fish bite no more; but the two brothers hadeagerly pressed the scheme, and organized and arrangedeverything thereand then.So on the following Tuesday the Pearl had dropped anchor under the whiterocks of Cape la Heve; they had fished till midday, then they had sleptawhile, and then fished again without catchinganything; and then itwas that father Roland, perceiving, rather late, that all that Mme.Rosemilly really enjoyed and cared for was the sail on the sea, andseeing that his lines hung motionless, had uttered in a spiritofunreasonable annoyance, that vehement â\u0000\u0000Tschah!â\u0000\u0000 which applied as much tothe pathetic widow as to the creatures he could not catch.Now he contemplated the spoil--his fish--with the joyful thrill of amiser;seeing as he looked up at the sky that the sun was getting low:â\u0000\u0000Well, boys,â\u0000\u0000 said he, â\u0000\u0000suppose we turn homeward.â\u0000\u0000The young men hauled in their lines, coiled them up, cleaned the hooksand stuckthem into corks, and sat waiting.Roland stood up to look out like a captain.â\u0000\u0000No wind,â\u0000\u0000 said he. â\u0000\u0000You will have to pull, young 'uns.â\u0000\u0000And suddenly extending one arm to the northward, heexclaimed:â\u0000\u0000Here comes the packet from Southampton.â\u0000\u0000Away over the level sea, spread out like a blue sheet, vast and sheenyand shot with flame and gold, an inky cloud was visible against the rosysky in thequarter to which he pointed, and below it they could make outthe hull of the steamer, which looked tiny at such a distance. And tosouthward other wreaths of smoke, numbers of them, could be seen, allconvergingtowards the Havre pier, now scarcely visible as a whitestreak with the lighthouse, upright, like a horn, at the end of it.Roland asked: â\u0000\u0000Is not the Normandie due to-day?â\u0000\u0000 And Jean replied:â\u0000\u0000Yes,to-day.â\u0000\u0000â\u0000\u0000Give me my glass. I fancy I see her out there.â\u0000\u0000The father pulled out the copper tube, adjusted it to his eye, soughtthe speck, and then, delighted to have seen it, exclaimed:â\u0000\u0000Yes, yes, there sheis. I know her two funnels. Would you like to look,Mme. Rosemilly?â\u0000\u0000She took the telescope and directed it towards the Atlantic horizon,without being able, however, to find the vessel, for she coulddistinguishnothing--nothing but blue, with a coloured halo round it, acircular rainbow--and then all manner of queer things, winking eclipseswhich made her feel sick.She said as she returned the glass:â\u0000\u0000I never could see withthat thing. It used to put my husband in quite arage; he would stand for hours at the windows watching the ships pass.â\u0000\u0000Old Roland, much put out, retorted:â\u0000\u0000Then it must be some defect in your eye, for myglass is a very goodone.â\u0000\u0000Then he offered it to his wife.â\u0000\u0000Would you like to look?â\u0000\u0000â\u0000\u0000No, thank you. I know before hand that I could not see through it.â\u0000\u0000Mme. Roland, a woman of eight-and-forty butwho did not look it, seemedto be enjoying this excursion and this waning day more than any of theparty.Her chestnut hair was only just beginning to show streaks of white. Shehad a calm, reasonable face, a kind andhappy way with her which itwas a pleasure to see. Her son Pierre was wont to say that she knew thevalue of money, but this did not hinder her from enjoying the delightsof dreaming. She was fond of reading, of novels,and poetry, not fortheir value as works of art, but for the sake of the tender melancholymood they would induce in her. A line of poetry, often but a poor one,often a bad one, would touch the little chord, as sheexpressed it, andgive her the sense of some mysterious desire almost realized. And shedelighted in these faint emotions which brought a little flutter to hersoul, otherwise as strictly kept as a ledger.Since settling atHavre she had become perceptibly stouter, and herfigure, which had been very supple and slight, had grown heavier.This day on the sea had been delightful to her. Her husband, withoutbeing brutal, was rough withher, as a man who is the despot of hisshop is apt to be rough, without anger or hatred; to such men to give anorder is to swear. He controlled himself in the presence of strangers,but in private he let loose and gavehimself terrible vent, though hewas himself afraid of every one. She, in sheer horror of the turmoil,of scenes, of useless explanations, always gave way and never asked foranything; for a very long time she had notventured to ask Roland totake her out in the boat. So she had joyfully hailed this opportunity,and was keenly enjoying the rare and new pleasure.From the moment when they started she surrendered herselfcompletely,body and soul, to the soft, gliding motion over the waves. She was notthinking; her mind was not wandering through either memories or hopes;it seemed to her as though her heart, like her body, wasfloating onsomething soft and liquid and delicious which rocked and lulled it.When their father gave the word to return, â\u0000\u0000Come, take your places atthe oars!â\u0000\u0000 she smiled to see her sons, her two great boys, takeofftheir jackets and roll up their shirt-sleeves on their bare arms.Pierre, who was nearest to the two women, took the stroke oar, Jean theother, and they sat waiting till the skipper should say: â\u0000\u0000Give way!â\u0000\u0000 Forheinsisted on everything being done according to strict rule.Simultaneously, as if by a single effort, they dipped the oars, andlying back, pulling with all their might, began a struggle to displaytheir strength. They hadcome out easily, under sail, but the breezehad died away, and the masculine pride of the two brothers was suddenlyaroused by the prospect of measuring their powers. When they went outalone with their father theyplied the oars without any steering, forRoland would be busy getting the lines ready, while he kept a lookout inthe boat's course, guiding it by a sign or a word: â\u0000\u0000Easy, Jean, and you,Pierre, put your back intoit.â\u0000\u0000 Or he would say, â\u0000\u0000Now, then, numberone; come, number two--a little elbow grease.â\u0000\u0000 Then the one who had beendreaming pulled harder, the one who had got excited eased down, and theboat's headcame round.But to-day they meant to display their biceps. Pierre's arms were hairy,somewhat lean but sinewy; Jean's were round and white and rosy, and theknot of muscles moved under the skin.At first Pierre hadthe advantage. With his teeth set, his brow knit,his legs rigid, his hands clinched on the oar, he made it bend fromend to end at every stroke, and the Pearl was veering landward. FatherRoland, sitting in the bows, so asto leave the stern seat to the twowomen, wasted his breath shouting, â\u0000\u0000Easy, number one; pull harder,number two!â\u0000\u0000 Pierre pulled harder in his frenzy, and â\u0000\u0000number twoâ\u0000\u0000 couldnot keep time with his wildstroke.At last the skipper cried: â\u0000\u0000Stop her!â\u0000\u0000 The two oars were liftedsimultaneously, and then by his father's orders Jean pulled alone fora few minutes. But from that moment he had it all his own way; hegreweager and warmed to his work, while Pierre, out of breath and exhaustedby his first vigorous spurt, was lax and panting. Four times runningfather Roland made them stop while the elder took breath, so as togetthe boat into her right course again. Then the doctor, humiliated andfuming, his forehead dropping with sweat, his cheeks white, stammeredout:â\u0000\u0000I cannot think what has come over me; I have a stitch in myside. Istarted very well, but it has pulled me up.â\u0000\u0000Jean asked: â\u0000\u0000Shall I pull alone with both oars for a time?â\u0000\u0000â\u0000\u0000No, thanks, it will go off.â\u0000\u0000And their mother, somewhat vexed, said:â\u0000\u0000Why, Pierre, whatrhyme or reason is there in getting into such astate. You are not a child.â\u0000\u0000And he shrugged his shoulders and set to once more.Mme. Rosemilly pretended not to see, not to understand, not to hear.Her fair head wentback with an engaging little jerk every time the boatmoved forward, making the fine wayward hairs flutter about her temples.But father Roland presently called out:â\u0000\u0000Look, the Prince Albert is catching usup!â\u0000\u0000They all looked round. Long and low in the water, with her tworaking funnels and two yellow paddle-boxes like two round cheeks,the Southampton packet came ploughing on at full steam, crowdedwithpassengers under open parasols. Its hurrying, noisy paddle-wheelsbeating up the water which fell again in foam, gave it an appearance ofhaste as of a courier pressed for time, and the upright stem cut throughthewater, throwing up two thin translucent waves which glided off alongthe hull.When it had come quite near the Pearl, father Roland lifted his hat,the ladies shook their handkerchiefs, and half a dozen parasolseagerlywaved on board the steamboat responded to this salute as she went on herway, leaving behind her a few broad undulations on the still and glassysurface of the sea.There were other vessels, each with its smokycap, coming in from everypart of the horizon towards the short white jetty, which swallowed themup, one after another, like a mouth. And the fishing barks and lightercraft with broad sails and slender masts, stealingacross the sky in towof inconspicuous tugs, were coming in, faster and slower, towards thedevouring ogre, who from time to time seemed to have had a surfeit, andspewed out to the open sea another fleet of steamers,brigs, schooners,and three-masted vessels with their tangled mass of rigging. Thehurrying steamships flew off to the right and left over the smooth bosomof the ocean, while sailing vessels, cast off by the pilot-tugswhichhad hauled them out, lay motionless, dressing themselves from themain-mast to the fore-tops in canvas, white or brown, and ruddy in thesetting sun.Mme. Roland, with her eyes half-shut, murmured: â\u0000\u0000Goodheavens, howbeautiful the sea is!â\u0000\u0000And Mme. Rosemilly replied with a long sigh, which, however, had nosadness in it:â\u0000\u0000Yes, but it is sometimes very cruel, all the same.â\u0000\u0000Roland exclaimed:â\u0000\u0000Look, there isthe Normandie just going in. A big ship, isn't she?â\u0000\u0000Then he described the coast opposite, far, far away, on the other sideof the mouth of the Seine--that mouth extended over twenty kilometres,said he. He pointedout Villerville, Trouville, Houlgate, Luc,Arromanches, the little river of Caen, and the rocks of Calvados whichmake the coast unsafe as far as Cherbourg. Then he enlarged on thequestion of the sand-banks in the Seine,which shift at every tide sothat even the pilots of Quilleboeuf are at fault if they do not surveythe channel every day. He bid them notice how the town of Havre dividedUpper from Lower Normandy. In Lower Normandythe shore sloped downto the sea in pasture-lands, fields, and meadows. The coast of UpperNormandy, on the contrary, was steep, a high cliff, ravined, cleft andtowering, forming an immense white rampart all the wayto Dunkirk,while in each hollow a village or a port lay hidden: Etretat, Fecamp,Saint-Valery, Treport, Dieppe, and the rest.The two women did not listen. Torpid with comfort and impressed by thesight of the oceancovered with vessels rushing to and fro like wildbeasts about their den, they sat speechless, somewhat awed by thesoothing and gorgeous sunset. Roland alone talked on without end; hewas one of those whom nothing"}
+{"doc_id":"doc_23","qid":"","text":"<html><head><title>Indiana Jones and the Temple of Doom Script at IMSDb.</title><meta name=\"description\" content=\"Indiana Jones and the Temple of Doom script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Indiana Jones and the Temple of Doom script, Indiana Jones and the Temple of Doom movie script, Indiana Jones and the Temple of Doom film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\"content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=ratingCONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq =_gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:'== document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>TheInternet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie ScriptDatabase\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <scripttype=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                     INDIANA JONES AND THE TEMPLE OF DOOM</b><b>                                 STORYBY:</b><b>                               GEORGE LUCAS</b><b>                               SCREENPLAY BY:</b><b>                               WILLARDHUYCK</b><b>                                    AND</b><b>                                GLORIA KATZ</b>        TM* & (c) Lucasfilm Ltd., 1984<b>                                --------------</b><b>       FADEIN:</b><b>1.     INT.  \"THE DRAGON\" NIGHTCLUB - NIGHT                            1.</b>       A Chinese GONG SOUNDS and the glittering doors of an art Deco pa-       poda slide open to reveal a mammoth silverstairway down which       rows of beautiful women start descending   (BEGIN MAIN TITLES)       The lovely ladies are a mix of races and they sing a strange,       haunting melody -- one might think them a heavenlychoir, if it       weren't for their sexy, clinging lame gowns.<b>2.     INT.  CLUB ENTRANCE                                             2.</b>       From the ethereal beauties, we cut to a street urchin's dirty       face: SHORTROUND is a ten-year-old Chinese kis wearing a beat-       up American baseball cap.       Sneaking into the club, Short Round weaves past the fancy gowns       and silk suits, heading toward the music in the mainballroom.<b>3.     INT.  THE BALLROOM                                              3.</b>       Short Round enters and stares across the smoky nightclub.  On the       stage, he sees a giant paper-mache dragon laying curledaround       the pagoda.       Now, the dragon's eyes light up, its nostrils exhale smoke and       its enormous jaws open.  Out of the dragon's mouth walks the star       of the stage show:       WILLIE SCOTT, a dreamybeauty singing a sultry solo white the or-       chestra wails the accompaniment.       But Short Round's not here to ogle crooning dames.  He surveys       the rich Chinese, American and European revelers.  Jewelsflash       and champagne flows.  Short Round finally spots a table of       somber-looking Chinese men in suits.       Short Round chews gum and stares at the men.  Then he turns to       go.  WU HAN, a waiter with ascar across his cheek, watches Short       Round leave.<b>4.     INT.  CLUB ENTRANCE                                            4.</b>       As Short Round hurries toward the exit, he bumps into a man in a       tuxedo enteringthe club.  Short Round looks up at the man, but       we don't see his face.       Then Short Round is grabbed by the scruff of his neck and a door-       man hustles him out the door, Short Round yelling insults allthe       way.       A maitre d' apologizes to the man in the tuxedo and two hat-check       girls smile at him familiarly as he continues into the ballroom.       We notice something incongruous:  the man in the tuxedo iswear-       ing work boots caked with mud.<b>5.     INT.  THE BALLROOM                                             5.</b>       The man in the tuxedo stops to watch Willie Scott singing sexily       on the stage.  Then he looksaround and sees the table of somber       Chinese men that Short Round spotted earlier.       As the man in the tuxedo walks toward the table, he removes a       cigarette from a silver case.  He arrives at the table justas       the chorus and orchestra reach a crescendo --       And on the stage, a glistening, muscular slave swings a huge ham-       mer toward an enormous brass gong --       The man in the tuxedo leans to receive alight from a cigarette-       girl and, as the GONG BOOMS, the match flares to reveal his face       for the first time:       It's INDIANA JONES.  Elegant in a tuxedo -- dressed to kill.  The       TITLES END and over this alegend appears on the screen:<b>                                SHANGHAI - 1935</b>       At the table, the four Chinese man in suits stare coldly at Indi-       ana.<b>                                   LAO</b>                       Dr.Jones.<b>                                   INDIANA</b>                       Lao She.<b>                                   LAO</b>                       Nee chin lie how ma?       Lao's men laugh and assume that Indy doesn't understand hisjoke.<b>                                   INDIANA</b>                       Wah hung how, nee nah?  Wah hwey                       hung jing chee jah loo nee kao                       soo wah shu shu.       LAO SHE looks angry and hismen's smiles fade.<b>                                   LAO</b>                       You never told me you spoke my                       language, Dr. Jones.<b>                                   INDIANA</b>                       I don't like toshow off.       Indiana takes a seat across the table from Shanghai's notorious       crime-lord.  Lao is fifty, wealthy enough to now display some       fat, but still muscular from his fight to the top of thegarbage       heap.<b>                                   LAO</b>                       For this special occasion, I                       ordered champagne and caviar.       Indiana looks at the pile of caviar on the plate in front ofhim       -- and stubs his cigarette out in it.  The cigarette sizzles and       Lao's smiles dies with it.       There's applause as Wille Scott finishes her song.  At the       table, Lao stares at Indiana with a strangeintensity.<b>                                   LAO</b>                       So, it is true, Dr. Jones?  you                       found Nurhachi?<b>                                   INDIANA</b>                       Sure, I found him.  Thenlast                       night I had a little trouble.                       Somebody tried to slit my throat.       Indiana looks across the table at Lao's son, CHEN, who resembles       a bulldog and snarls like onenow.                                   INDIANA (Cont'd)                       It was dark, but I think one of                       your sons tried to get Nurhachi                       without paying for him.       Indy stares pointedly at Chen'srecently bandaged hand.  Chen       mutters and stands angrily -- Lao barks a command in Chinese and       Chen sits down again.<b>                                   LAO</b>                       You have insulted myson.<b>                                   INDIANA</b>                       Next time I'll cut off more than                       his finger.<b>                                   LAO</b>                       Dr. Jones -- I want Nurhachi.       Lao pullsa wad of cash out of his pocket and puts it on the       table.  Indiana glances at it.<b>                                   INDIANA</b>                       As I recall the deal was consid-                       erably more.       Now apretty hand slips onto Lao's shoulder and he looks up to       see Willie Scott.  Lao kisses her hand.  Willie is unaware of the       explosive mood at the table and she smiles flirtaciously atIndi-       ana.<b>                                   WILLIE</b>                                   (to Lao)                       Aren't you going to introduce                       us?<b>                                   LAO</b>                       This isWillie Scott.                             (watching Indy)                       And this is Indiana Jones, the                       famous archaeologist.       Willie sits down between Lao and Indy.  She takes out a small       mirror to checkher make-up.                                   LAO (Cont'd)                       Dr. Jones found Nurhachi for me                       and is about to deliver him --                       now.       Lao nods across the table and Indy sees KAOKAN, Lao's second       son, open his coat and remove a silver-plated pistol.  Indiana       looks worried.  Willie doesn't notice as she fixes her make-up       and coyly teasesIndiana.<b>                                   WILLIE</b>                       Well -- I thought archaeologists                       were always funny little men                       searching for their mummies--                                  (yelping)                       Aaahhh!       She looks down terrified at the knife Indy is poking against her       ribs.                                   WILLE (Cont'd)                       I was only kidding, can'tyou                       take a joke -- ?                                  (to Lao)                       Lao, he's got a knife!<b>                                   INDIANA</b>                       Put the gun away, sonny.       Kao Kan glances at hisfather.  Lao finally nods to his son and       he slips the pistol back into his pocket.<b>                                   INDIANA</b>                       Now I suggest you pay me what you                       promised -- or yourgirlfriend                       here is going to be squealing a                       new tune.       The ritzy patrons at the tables nearby are unaware of the tawdry       drama quietly unfolding at this table.       Willie eyes the bladeand whimpers.  She looks imploringly at Lao       and he slowly reaches into his pocket.  He puts ten gold coins       next to the cash on the table.       Indy leans forward to look at the gold coins -- so intently that       hefails to notice Kao Kan spilling some powder into Indy's cham-       pagne glass!<b>                                   INDIANA</b>                       Try again Lao -- the deal was                       more.       The knife pokes Willieand she whimpers again.  Lao reaches into       another pocket and brings out a folded piece of rice paper -- he       opens it and a large diamond and ruby spill out onto the table.                                   INDIANA(Cont'd)                       Bingo...you see, Lao, with a                       but of persuasion, even you can                       be an honest fellow.       Indy smiles and jabs the knife into the middle of the table.       Then he liftshis champagne glass in a toast to Lao -- who       watches expectantly as Indiana moves the glass toward his lips --       Suddenly Willie stands angrily, jostling Indy's arm so that he       doesn't drink hischampagne.<b>                                   WILLIE</b>                       Look at this!  He put a hole                       in my dress from Paris!       Lao sees Indy put his champagne glass down and he snarls at Wil-       lie--<b>                                   LAO</b>                       Sit down!       Willie quickly obeys.  Lao forces a smile at Indy and lifts his       glass to seal the deal --                                   LAO (Cont'd)                       Toyour health, Dr. Jones.       Lao sips hs champagne and watches hopefully as Indy picks up his       glass and this time Indy does drink the champagne. Then he       reaches for the cash --       But Chen grins and puts asilver snuff bottle next to the cash,       gold and jewels -- he tips the little bottle over and some white       powder spills out of it --<b>                                   INDIANA</b>                       What'sthat?<b>                                   LAO</b>                       A bonus, Dr. Jones.  That is                       poison.  You just drank the                       rest of it.       Indiana examines his champagne glass and sees a residueat the       bottom of it.  He swallows and feels sick, wondering it it's fear       or the poison already taking effect.                                   LAO (Cont'd)                       There is an antidote forthis                       poison.  You give me Nurhachi --                       I give you the antidote.       Indiana is sweating.  Willie looks at him and sees Indy's hand       shaking.                                   LAO(Cont'd)                       The poison works fast, Dr. Jones.                       Where is Nurhachi?       Indiana finally reaches into his pocket.  Next to the cash, gold,       jewels and poison, Indiana sets down a beautiful"}
+{"doc_id":"doc_24","qid":"","text":"The Project Gutenberg EBook of The Great Stone Face, by Nathaniel HawthorneThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it awayorre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: The Great Stone Face       And Other Tales Of The White MountainsAuthor: NathanielHawthorneRelease Date: February 25, 2006 [EBook #1916]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE GREAT STONE FACE ***Produced by An Anonymous Volunteer and DavidWidgerTHE GREAT STONE FACE AND OTHER TALES OF THE WHITE MOUNTAINSBy Nathaniel Hawthorne1882CONTENTS     Introduction     The Great Stone Face     The Ambitious Guest     The GreatCarbuncle     Sketches From MemoryINTRODUCTIONTHE first three numbers in this collection are tales of the White Hillsin New Hampshire. The passages from Sketches from Memory show thatHawthorne had visitedthe mountains in one of his occasional ramblesfrom home, but there are no entries in his Note Books which giveaccounts of such a visit. There is, however, among these notesthe following interesting paragraph, writtenin 1840 and clearlyforeshadowing The Great Stone Face:'The semblance of a human face to be formed on the side of a mountain,or in the fracture of a small stone, by a lusus naturae [freak ofnature]. The face is anobject of curiosity for years or centuries, andby and by a boy is born whose features gradually assume the aspect ofthat portrait. At some critical juncture the resemblance is found to beperfect. A prophecy may beconnected.'It is not impossible that this conceit occurred to Hawthorne before hehad himself seen the Old Man of the Mountain, or the Profile, in theFranconia Notch which is generally associated in the minds ofreaderswith The Great Stone Face.In The Ambitious Guest he has made use of the incident still told totravellers through the Notch, of the destruction of the Willey familyin August, 1826. The house occupied by thefamily was on the slope ofa mountain, and after a long drought there was a terrible tempest whichnot only raised the river to a great height but loosened the surface ofthe mountain so that a great landslide took place.The house was inthe track of the slide, and the family rushed out of doors. Had theyremained within they would have been safe, for a ledge above the houseparted the avalanche so that it was diverted into two pathsand sweptpast the house on either side. Mr. and Mrs. Willey, their five children,and two hired men were crushed under the weight of earth, rocks, andtrees.In the Sketches from Memory Hawthorne gives an intimationof the talewhich he might write and did afterward write of The Great Carbuncle. Thepaper is interesting as showing what were the actual experiences out ofwhich he formed his imaginative stories.THE GREAT STONEFACE and Other Tales Of The White MountainsTHE GREAT STONE FACEOne afternoon, when the sun was going down, a mother and her little boysat at the door of their cottage, talking about the Great Stone Face.Theyhad but to lift their eyes, and there it was plainly to be seen,though miles away, with the sunshine brightening all its features.And what was the Great Stone Face? Embosomed amongst a family oflofty mountains, therewas a valley so spacious that it contained manythousand inhabitants. Some of these good people dwelt in log-huts, withthe black forest all around them, on the steep and difficult hillsides.Others had their homes incomfortable farm-houses, and cultivated therich soil on the gentle slopes or level surfaces of the valley. Others,again, were congregated into populous villages, where some wild,highland rivulet, tumbling down from itsbirthplace in the uppermountain region, had been caught and tamed by human cunning, andcompelled to turn the machinery of cotton-factories. The inhabitants ofthis valley, in short, were numerous, and of manymodes of life. But allof them, grown people and children, had a kind of familiarity with theGreat Stone Face, although some possessed the gift of distinguishingthis grand natural phenomenon more perfectly than manyof theirneighbors.The Great Stone Face, then, was a work of Nature in her mood of majestieplayfulness, formed on the perpendicular side of a mountain by someimmense rocks, which had been thrown together in sucha position as,when viewed at a proper distance, precisely to resemble the features ofthe human countenance. It seemed as if an enormous giant, or a Titan,had sculptured his own likeness on the precipice. There wasthe broadarch of the forehead, a hundred feet in height; the nose, with its longbridge; and the vast lips, which, if they could have spoken, would haverolled their thunder accents from one end of the valley to theother.True it is, that if the spectator approached too near, he lost theoutline of the gigantic visage, and could discern only a heap ofponderous and gigantic rocks, piled in chaotic ruin one upon another.Retracing hissteps, however, the wondrous features would again be seen;and the farther he withdrew from them, the more like a human face, withall its original divinity intact, did they appear; until, as it grew dimin the distance,with the clouds and glorified vapor of the mountainsclustering about it, the Great Stone Face seemed positively to be alive.It was a happy lot for children to grow up to manhood or womanhood withthe Great Stone Facebefore their eyes, for all the features were noble,and the expression was at once grand and sweet, as if it were the glowof a vast, warm heart, that embraced all mankind in its affections, andhad room for more. It wasan education only to look at it. According tothe belief of many people, the valley owed much of its fertility to thisbenign aspect that was continually beaming over it, illuminating theclouds, and infusing its tendernessinto the sunshine.As we began with saying, a mother and her little boy sat at theircottage-door, gazing at the Great Stone Face, and talking about it. Thechild's name was Ernest.'Mother,' said he, while the Titanicvisage miled on him, 'I wish thatit could speak, for it looks so very kindly that its voice must needsbe pleasant. If I were to See a man with such a face, I should love himdearly.' 'If an old prophecy should come to pass,'answered his mother,'we may see a man, some time for other, with exactly such a face asthat.' 'What prophecy do you mean, dear mother?' eagerly inquiredErnest. 'Pray tell me all about it!'So his mother told him astory that her own mother had told to her, whenshe herself was younger than little Ernest; a story, not of things thatwere past, but of what was yet to come; a story, nevertheless, so veryold, that even the Indians, whoformerly inhabited this valley, hadheard it from their forefathers, to whom, as they affirmed, it had beenmurmured by the mountain streams, and whispered by the wind among thetree-tops. The purport was, that, atsome future day, a child shouldbe born hereabouts, who was destined to become the greatest and noblestpersonage of his time, and whose countenance, in manhood, should bearan exact resemblance to the GreatStone Face. Not a few old-fashionedpeople, and young ones likewise, in the ardor of their hopes, stillcherished an enduring faith in this old prophecy. But others, who hadseen more of the world, had watched and waitedtill they were weary, andhad beheld no man with such a face, nor any man that proved to be muchgreater or nobler than his neighbors, concluded it to be nothing butan idle tale. At all events, the great man of theprophecy had not yetappeared.'O mother, dear mother!' cried Ernest, clapping his hands above his head,'I do hope that I shall live to see him!'His mother was an affectionate and thoughtful woman, and felt that itwaswisest not to discourage the generous hopes of her little boy. Soshe only said to him, 'Perhaps you may.'And Ernest never forgot the story that his mother told him. It wasalways in his mind, whenever he looked uponthe Great Stone Face.He spent his childhood in the log-cottage where he was born, and wasdutiful to his mother, and helpful to her in many things, assistingher much with his little hands, and more with his loving heart.In thismanner, from a happy yet often pensive child, he grew up to be a mild,quiet, unobtrusive boy, and sun-browned with labor in the fields, butwith more intelligence brightening his aspect than is seen in manyladswho have been taught at famous schools. Yet Ernest had had no teacher,save only that the Great Stone Face became one to him. When the toilof the day was over, he would gaze at it for hours, until he begantoimagine that those vast features recognized him, and gave him a smile ofkindness and encouragement, responsive to his own look of veneration.We must not take upon us to affirm that this was a mistake,althoughthe Face may have looked no more kindly at Ernest than at all theworld besides. But the secret was that the boy's tender and confidingsimplicity discerned what other people could not see; and thus thelove,which was meant for all, became his peculiar portion.About this time there went a rumor throughout the valley, that the greatman, foretold from ages long ago, who was to bear a resemblance tothe Great StoneFace, had appeared at last. It seems that, many yearsbefore, a young man had migrated from the valley and settled at adistant seaport, where, after getting together a little money, he hadset up as a shopkeeper. Hisname but I could never learn whether it washis real one, or a nickname that had grown out of his habits and successin life--was Gathergold.Being shrewd and active, and endowed by Providence with thatinscrutablefaculty which develops itself in what the world calls luck, he became anexceedingly rich merchant, and owner of a whole fleet of bulky-bottomedships. All the countries of the globe appeared to join hands forthemere purpose of adding heap after heap to the mountainous accumulationof this one man's wealth. The cold regions of the north, almost withinthe gloom and shadow of the Arctic Circle, sent him their tribute intheshape of furs; hot Africa sifted for him the golden sands of her rivers,and gathered up the ivory tusks of her great elephants out of theforests; the east came bringing him the rich shawls, and spices, andteas, and theeffulgence of diamonds, and the gleaming purity of largepearls. The ocean, not to be behindhand with the earth, yielded up hermighty whales, that Mr. Gathergold might sell their oil, and make aprofit on it. Be theoriginal commodity what it might, it was goldwithin his grasp. It might be said of him, as of Midas, in the fable,that whatever he touched with his finger immediately glistened, and grewyellow, and was changed at onceinto sterling metal, or, which suitedhim still better, into piles of coin. And, when Mr. Gathergold hadbecome so very rich that it would have taken him a hundred years onlyto count his wealth, he bethought himself of hisnative valley, andresolved to go back thither, and end his days where he was born. Withthis purpose in view, he sent a skilful architect to build him such apalace as should be fit for a man of his vast wealth to live in.As Ihave said above, it had already been rumored in the valley thatMr. Gathergold had turned out to be the prophetic personage so long andvainly looked for, and that his visage was the perfect and undeniablesimilitude ofthe Great Stone Face. People were the more ready tobelieve that this must needs be the fact, when they beheld the splendidedifice that rose, as if by enchantment, on the site of his father'sold weather-beatenfarmhouse. The exterior was of marble, so dazzlinglywhite that it seemed as though the whole structure might melt away inthe sunshine, like those humbler ones which Mr. Gathergold, in hisyoung play-days, before hisfingers were gifted with the touch oftransmutation, had been accustomed to build of snow. It had a richlyornamented portico supported by tall pillars, beneath which was a loftydoor, studded with silver knobs, and madeof a kind of variegated woodthat had been brought from beyond the sea. The windows, from the floorto the ceiling of each stately apartment, were composed, respectivelyof but one enormous pane of glass, sotransparently pure that it wassaid to be a finer medium than even the vacant atmosphere. Hardlyanybody had been permitted to see the interior of this palace; but itwas reported, and with good semblance of truth, tobe far more gorgeousthan the outside, insomuch that whatever was iron or brass in otherhouses was silver or gold in this; and Mr. Gathergold's bedchamber,especially, made such a glittering appearance that noordinary man wouldhave been able to close his eyes there. But, on the other hand, Mr.Gathergold was now so inured to wealth, that perhaps he could not haveclosed his eyes unless where the gleam of it was certain tofind its waybeneath his eyelids.In due time, the mansion was finished; next came the upholsterers, withmagnificent furniture; then, a whole troop of black and white servants,the haringers of Mr. Gathergold, who, in hisown majestic person, wasexpected to arrive at sunset. Our friend Ernest, meanwhile, had beendeeply stirred by the idea that the great man, the noble man, the man ofprophecy, after so many ages of delay, was atlength to be made manifestto his native valley. He knew, boy as he was, that there were a thousandways in which Mr. Gathergold, with his vast wealth, might transformhimself into an angel of beneficence, and assumea control over humanaffairs as wide and benignant as the smile of the Great Stone Face.Full of faith and hope, Ernest doubted not that what the people saidwas true, and that now he was to behold the living likeness ofthosewondrous features on the mountainside. While the boy was still gazingup the valley, and fancying, as he always did, that the Great Stone Facereturned his gaze and looked kindly at him, the rumbling of wheelswasheard, approaching swiftly along the winding road.'Here he comes!' cried a group of people who were assembled to witnessthe arrival. 'Here comes the great Mr. Gathergold!'A carriage, drawn by four horses, dashedround the turn of the road.Within it, thrust partly out of the window, appeared the physiognomyof the old man, with a skin as yellow as if his own Midas-hand hadtransmuted it. He had a low forehead, small, sharp eyes,puckered aboutwith innumerable wrinkles, and very thin lips, which he made stillthinner by pressing them forcibly together.'The very image or the Great Stone Face!' shouted the people. 'Sureenough, the old prophecyis true; and here we have the great man come,at last!'And, what greatly perplexed Ernest, they seemed actually to believe thathere was the likeness which they spoke of. By the roadside there chancedto be an oldbeggar woman and two little beggar-children, stragglersfrom some far-off region, who, as the carriage rolled onward, heldout their hands and lifted up their doleful voices, most piteouslybeseeching charity. A yellowclaw the very same that had dawed togetherso much wealth--poked itself out of the coach-window, and dropt somecopper coins upon the ground; so that, though the great man's name seemsto have been Gathergold,he might just as suitably have been nicknamedScattercopper. Still, nevertheless, with an earnest shout, and evidentlywith as much good faith as ever, the people bellowed 'He is the veryimage of the Great Stone Face!'But Ernest turned sadly from thewrinkled shrewdness of that sordid visage, and gazed up the valley,where, amid a gathering mist, gilded by the last sunbeams, he couldstill distinguish those glorious features which hadimpressed themselvesinto his soul. Their aspect cheered him. What did the benign lips seemto say?'He will come! Fear not, Ernest; the man will come!'The years went on, and Ernest ceased to be a boy. He had grownto be ayoung man now. He attracted little notice from the other inhabitantsof the valley; for they saw nothing remarkable in his way of life, savethat, when the labor of the day was over, he still loved to go apartandgaze and meditate upon the Great Stone Face. According to their idea ofthe matter, it was a folly, indeed, but pardonable, inasmuch as Ernestwas industrious, kind, and neighborly, and neglected no duty for thesakeof indulging this idle habit. They knew not that the Great StoneFace had become a teacher to him, and that the sentiment which wasexpressed in it would enlarge the young man's heart, and fill it withwider and deepersympathies than other hearts. They knew not that thencewould come a better wisdom than could be learned from books, and abetter life than could be moulded on the defaced example of other humanlives. Neither didErnest know that the thoughts and affections whichcame to him so naturally, in the fields and at the fireside, andwherever he communed with himself, were of a higher tone than thosewhich all men shared with him. Asimple soul--simple as when his motherfirst taught him the old prophecy--he beheld the marvellous featuresbeaming adown the valley, and still wondered that their humancounterpart was so long in making hisappearance.By this time poor Mr. Gathergold was dead and buried; and the oddestpart of the matter was, that his wealth, which was the body and spiritof his existence, had disappeared before his death, leavingnothing ofhim but a living skeleton, covered over with a wrinkled, yellow skin.Since the melting away of his gold, it had been very generally concededthat there was no such striking resemblance, after all, betwixttheignoble features of the ruined merchant and that majestic face upon themountainside. So the people ceased to honor him during his lifetime,and quietly consigned him to forgetfulness after his decease. Once inawhile, it is true, his memory was brought up in connection with themagnificent palace which he had built, and which had long ago beenturned into a hotel for the accommodation of strangers, multitudes ofwhom came,every summer, to visit that famous natural curiosity, theGreat Stone Face. Thus, Mr. Gathergold being discredited and thrown intothe shade, the man of prophecy was yet to come.It so happened that a native-born sonof the valley, many years before,had enlisted as a soldier, and, after a great deal of hard fighting,had now become an illustrious commander. Whatever he may be called inhistory, he was known in camps and on thebattlefield under the nicknameof Old Blood-and-Thunder. This war-worn veteran, being now infirm withage and wounds, and weary of the turmoil of a military life, and of theroll of the drum and the clangor of thetrumpet, that had so long beenringing in his ears, had lately signified a purpose of returning to hisnative valley, hoping to find repose where he remembered to have leftit. The inhabitants, his old neighbors and theirgrown-up children, wereresolved to welcome the renowned warrior with a salute of cannon and apublic dinner; and all the more enthusiastically, it being affirmedthat now, at last, the likeness of the Great Stone Facehad actuallyappeared. An aid-de-camp of Old Blood-and-Thunder, travelling throughthe valley, was said to have been struck with the resemblance. Moreoverthe schoolmates and early acquaintances of the general wereready totestify, on oath, that, to the best of their recollection, the aforesaidgeneral had been exceedingly like the majestic image, even when a boy,only that the idea had never occurred to them at that period.Great,therefore, was the excitement throughout the valley; and many people,who had never once thought of glancing at the Great Stone Face for yearsbefore, now spent their time in gazing at it, for the sake ofknowingexactly how General Blood-and-Thunder looked.On the day of the great festival, Ernest, with all the other people ofthe valley, left their work, and proceeded to the spot where the sylvanbanquet was prepared.As he approached, the loud voice of the Rev. Dr.Battleblast was heard, beseeching a blessing on the good things setbefore them, and on the distinguished friend of peace in whose honorthey were assembled. The tableswere arranged in a cleared space of thewoods, shut in by the surrounding trees, except where a vista openedeastward, and afforded a distant view of the Great Stone Face. Over thegeneral's chair, which was a relicfrom the home of Washington, therewas an arch of verdant boughs, with the laurel profusely intermixed,and surmounted by his country's banner, beneath which he had won hisvictories. Our friend Ernest raised himselfon his tiptoes, in hopesto get a glimpse of the celebrated guest; but there was a mighty crowdabout the tables anxious to hear the toasts and speeches, and to catchany word that might fall from the general in reply;and a volunteercompany, doing duty as a guard, pricked ruthlessly with their bayonetsat any particularly quiet person among the throng. So Ernest, being ofan unobtrusive character, was thrust quite into the"}
+{"doc_id":"doc_25","qid":"","text":"The Project Gutenberg EBook of The Fortune of the Rougons, by Emile ZolaThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-useit under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: The Fortune of the RougonsAuthor: Emile ZolaEditor: Ernest Alfred VizetellyRelease Date: April 22, 2006[EBook #5135]Last Updated: September 5, 2016Language: EnglishCharacter set encoding: UTF-8*** START OF THIS PROJECT GUTENBERG EBOOK THE FORTUNE OF THE ROUGONS ***Produced by Dagny; JohnBickers; David WidgerTHE FORTUNE OF THE ROUGONSBy Emile ZolaEdited With Introduction By Ernest Alfred VizetellyINTRODUCTIONâ\u0000\u0000The Fortune of the Rougonsâ\u0000\u0000 is the initial volume of theRougon-Macquartseries. Though it was by no means M. Zolaâ\u0000\u0000s first essayin fiction, it was undoubtedly his first great bid for genuine literaryfame, and the foundation of what must necessarily be regarded as hislife-work. The idea ofwriting the â\u0000\u0000natural and social history of afamily under the Second Empire,â\u0000\u0000 extending to a score of volumes, wasdoubtless suggested to M. Zola by Balzacâ\u0000\u0000s immortal â\u0000\u0000Comedie Humaine.â\u0000\u0000 He wastwenty-eight years of age when this idea first occurred to him;he was fifty-three when he at last sent the manuscript of his concludingvolume, â\u0000\u0000Dr. Pascal,â\u0000\u0000 to the press. He had spent five-and-twenty yearsinworking out his scheme, persevering with it doggedly and stubbornly,whatever rebuffs he might encounter, whatever jeers and whatever insultsmight be directed against him by the ignorant, the prejudiced, andthehypocritical. Truth was on the march and nothing could stay it; even as,at the present hour, its march, if slow, none the less continues athwartanother and a different crisis of the illustrious novelistâ\u0000\u0000s career.Itwas in the early summer of 1869 that M. Zola first began the actualwriting of â\u0000\u0000The Fortune of the Rougons.â\u0000\u0000 It was only in the followingyear, however, that the serial publication of the work commenced inthecolumns of â\u0000\u0000Le Siecle,â\u0000\u0000 the Republican journal of most influencein Paris in those days of the Second Empire. The Franco-German warinterrupted this issue of the story, and publication in book form didnot takeplace until the latter half of 1871, a time when both the warand the Commune had left Paris exhausted, supine, with little or nointerest in anything. No more unfavourable moment for the issue of anambitious work offiction could have been found. Some two or threeyears went by, as I well remember, before anything like a revival ofliterature and of public interest in literature took place. Thus, M.Zola launched his gigantic schemeunder auspices which would have mademany another man recoil. â\u0000\u0000The Fortune of the Rougons,â\u0000\u0000 and two or threesubsequent volumes of his series, attracted but a moderate degreeof attention, and it was onlyon the morrow of the publication ofâ\u0000\u0000Lâ\u0000\u0000Assommoirâ\u0000\u0000 that he awoke, like Byron, to find himself famous.As previously mentioned, the Rougon-Macquart series forms twentyvolumes. The last of these, â\u0000\u0000Dr.Pascal,â\u0000\u0000 appeared in 1893. Sincethen M. Zola has written â\u0000\u0000Lourdes,â\u0000\u0000 â\u0000\u0000Rome,â\u0000\u0000 and â\u0000\u0000Paris.â\u0000\u0000 Critics haverepeated _ad nauseam_ that these last works constitute a new departureon M.Zolaâ\u0000\u0000s part, and, so far as they formed a new series, thisis true. But the suggestion that he has in any way repented of theRougon-Macquart novels is ridiculous. As he has often told me of recentyears, it is, as far aspossible, his plan to subordinate his style andmethods to his subject. To have written a book like â\u0000\u0000Rome,â\u0000\u0000 so largelydevoted to the ambitions of the Papal See, in the same way as he hadwritten books dealingwith the drunkenness or other vices of Paris,would have been the climax of absurdity.Yet the publication of â\u0000\u0000Rome,â\u0000\u0000 was the signal for a general outcry onthe part of English and American reviewers thatZolaism, as typified bythe Rougon-Macquart series, was altogether a thing of the past. To mythinking this is a profound error. M. Zola has always remained faithfulto himself. The only difference that I perceive betweenhis latestwork, â\u0000\u0000Paris,â\u0000\u0000 and certain Rougon-Macquart volumes, is that with time,experience and assiduity, his genius has expanded and ripened, and thatthe hesitation, the groping for truth, so to say, whichmay be found insome of his earlier writings, has disappeared.At the time when â\u0000\u0000The Fortune of the Rougonsâ\u0000\u0000 was first published, nonebut the author himself can have imagined that the foundation-stone ofoneof the great literary monuments of the century had just been laid.From the â\u0000\u0000storyâ\u0000\u0000 point of view the book is one of M. Zolaâ\u0000\u0000s very best,although its construction--particularly as regards the long interludeofthe idyll of Miette and Silvere--is far from being perfect. Such a workwhen first issued might well bring its author a measure of popularity,but it could hardly confer fame. Nowadays, however, looking backward,andbearing in mind that one here has the genius of M. Zolaâ\u0000\u0000s lifework,â\u0000\u0000The Fortune of the Rougonsâ\u0000\u0000 becomes a book of exceptional interestand importance. This has been so well understood by French readersthatduring the last six or seven years the annual sales of the work haveincreased threefold. Where, over a course of twenty years, 1,000 copieswere sold, 2,500 and 3,000 are sold to-day. How many livingEnglishnovelists can say the same of their early essays in fiction, issued morethan a quarter of a century ago?I may here mention that at the last date to which I have authenticfigures, that is, Midsummer 1897 (prior, ofcourse, to what is calledâ\u0000\u0000Lâ\u0000\u0000Affaire Dreyfusâ\u0000\u0000), there had been sold of the entire Rougon-Macquartseries (which had begun in 1871) 1,421,000 copies. These were of theordinary Charpentier editions of theFrench originals. By adding theretoseveral _editions de luxe_ and the widely-circulated popular illustratededitions of certain volumes, the total amounts roundly to 2,100,000.â\u0000\u0000Rome,â\u0000\u0000 â\u0000\u0000Lourdes,â\u0000\u0000â\u0000\u0000Paris,â\u0000\u0000 and all M. Zolaâ\u0000\u0000s other works, apart fromthe â\u0000\u0000Rougon-Macquartâ\u0000\u0000 series, together with the translations into adozen different languages--English, German, Italian, Spanish, Dutch,Danish,Portuguese, Bohemian, Hungarian, and others--are not includedin the above figures. Otherwise the latter might well be doubled. Noris account taken of the many serial issues which have brought M. Zolaâ\u0000\u0000sviews tothe knowledge of the masses of all Europe.It is, of course, the celebrity attaching to certain of M. Zolaâ\u0000\u0000sliterary efforts that has stimulated the demand for his other writings.Among those which are well worthy ofbeing read for their own sakes, Iwould assign a prominent place to the present volume. Much of the storyelement in it is admirable, and, further, it shows M. Zola as agenuine satirist and humorist. The Rougonsâ\u0000\u0000yellow drawing-room andits habitues, and many of the scenes between Pierre Rougon and his wifeFelicite, are worthy of the pen of Douglas Jerrold. The whole account,indeed, of the town of Plassans, its customs and itsnotabilities, issatire of the most effective kind, because it is satire true to life,and never degenerates into mere caricature.It is a rather curious coincidence that, at the time when M. Zola wasthus portraying the life ofProvence, his great contemporary, bosomfriend, and rival for literary fame, the late Alphonse Daudet, shouldhave been producing, under the title of â\u0000\u0000The Provencal Don Quixote,â\u0000\u0000 that unrivalled presentment ofthe foibles of the French Southerner,with everyone nowadays knows as â\u0000\u0000Tartarin of Tarascon.â\u0000\u0000 It is possiblethat M. Zola, while writing his book, may have read the instalments ofâ\u0000\u0000Le Don QuichotteProvencalâ\u0000\u0000 published in the Paris â\u0000\u0000Figaro,â\u0000\u0000 and it maybe that this perusal imparted that fillip to his pen to which we owethe many amusing particulars that he gives us of the town of Plassans.Plassans, I maymention, is really the Provencal Aix, which M. Zolaâ\u0000\u0000sfather provided with water by means of a canal still bearing his name.M. Zola himself, though born in Paris, spent the greater part of hischildhood there.Tarascon, as is well known, never forgave AlphonseDaudet for his â\u0000\u0000Tartarinâ\u0000\u0000; and in a like way M. Zola, who doubtlesscounts more enemies than any other literary man of the period, has nonebitterer than theworthy citizens of Aix. They cannot forget or forgivethe rascally Rougon-Macquarts.The name Rougon-Macquart has to me always suggested that splendid andamusing type of the cynical rogue, Robert Macaire. But, ofcourse, bothRougon and Macquart are genuine French names and not inventions. Indeed,several years ago I came by chance upon them both, in an old French deedwhich I was examining at the Bibliotheque Nationalein Paris. Ithere found mention of a Rougon family and a Macquart family dwellingvirtually side by side in the same village. This, however, was inChampagne, not in Provence. Both families farmed vineyards for aoncefamous abbey in the vicinity of Epernay, early in the seventeenthcentury. To me, personally, this trivial discovery meant a great deal.It somehow aroused my interest in M. Zola and his works. Of the latter Ihadthen only glanced through two or three volumes. With M. Zola himselfI was absolutely unacquainted. However, I took the liberty to inform himof my little discovery; and afterwards I read all the books that hehadpublished. Now, as it is fairly well known, I have given the greaterpart of my time, for several years past, to the task of familiarisingEnglish readers with his writings. An old deed, a chance glance,followed by thegreat friendship of my life and years of patient labour.If I mention this matter, it is solely with the object of endorsing thetruth of the saying that the most insignificant incidents frequentlyinfluence and even shape ourcareers.But I must come back to â\u0000\u0000The Fortune of the Rougons.â\u0000\u0000 It has, as I havesaid, its satirical and humorous side; but it also contains a strongelement of pathos. The idyll of Miette and Silvere is a verytouchingone, and quite in accord with the conditions of life prevailing inProvence at the period M. Zola selects for his narrative. Miette isa frank child of nature; Silvere, her lover, in certain respectsforeshadows, aquarter of a century in advance, the Abbe Pierre Fromontof â\u0000\u0000Lourdes,â\u0000\u0000 â\u0000\u0000Rome,â\u0000\u0000 and â\u0000\u0000Paris.â\u0000\u0000 The environment differs, of course,but germs of the same nature may readily be detected in bothcharacters.As for the other personages of M. Zolaâ\u0000\u0000s book--on the one hand, AuntDide, Pierre Rougon, his wife, Felicite, and their sons Eugene, Aristideand Pascal, and, on the other, Macquart, his daughter Gervaiseofâ\u0000\u0000Lâ\u0000\u0000Assommoir,â\u0000\u0000 and his son Jean of â\u0000\u0000La Terreâ\u0000\u0000 and â\u0000\u0000La Debacle,â\u0000\u0000 togetherwith the members of the Mouret branch of the ravenous, neurotic, duplexfamily--these are analysed or sketchedin a way which renders theirsubsequent careers, as related in other volumes of the series,thoroughly consistent with their origin and their up-bringing. I ventureto asset that, although it is possible to read individualvolumes ofthe Rougon-Macquart series while neglecting others, nobody can reallyunderstand any one of these books unless he makes himself acquaintedwith the alpha and the omega of the edifice, that is, â\u0000\u0000TheFortune ofthe Rougonsâ\u0000\u0000 and â\u0000\u0000Dr. Pascal.â\u0000\u0000With regard to the present English translation, it is based on one madefor my father several years ago. But to convey M. Zolaâ\u0000\u0000s meaning moreaccurately I havefound it necessary to alter, on an average, at leastone sentence out of every three. Thus, though I only claim to edit thevolume, it is, to all intents and purposes, quite a new English versionof M. Zolaâ\u0000\u0000s work.E. A. V.MERTON, SURREY: August, 1898.AUTHORâ\u0000\u0000S PREFACEI wish to explain how a family, a small group of human beings, conductsitself in a given social system after blossoming forth and giving birthto ten or twentymembers, who, though they may appear, at the firstglance, profoundly dissimilar one from the other, are, as analysisdemonstrates, most closely linked together from the point of view ofaffinity. Heredity, like gravity,has its laws.By resolving the duplex question of temperament and environment, I shallendeavour to discover and follow the thread of connection which leadsmathematically from one man to another. And when I havepossession ofevery thread, and hold a complete social group in my hands, I shallshow this group at work, participating in an historical period; I shalldepict it in action, with all its varied energies, and I shall analyseboththe will power of each member, and the general tendency of thewhole.The great characteristic of the Rougon-Macquarts, the group or familywhich I propose to study, is their ravenous appetite, the greatoutburst of ourage which rushes upon enjoyment. Physiologically theRougon-Macquarts represent the slow succession of accidents pertainingto the nerves or the blood, which befall a race after the first organiclesion, and, according toenvironment, determine in each individualmember of the race those feelings, desires and passions--briefly, allthe natural and instinctive manifestations peculiar to humanity--whoseoutcome assumes the conventionalname of virtue or vice. Historicallythe Rougon-Macquarts proceed from the masses, radiate throughout thewhole of contemporary society, and ascend to all sorts of positions bythe force of that impulsion of essentiallymodern origin, which sets thelower classes marching through the social system. And thus the dramas oftheir individual lives recount the story of the Second Empire, from theambuscade of the Coup dâ\u0000\u0000Etat to thetreachery of Sedan.For three years I had been collecting the necessary documents for thislong work, and the present volume was even written, when the fall of theBonapartes, which I needed artistically, and with, as ifby fate, Iever found at the end of the drama, without daring to hope that itwould prove so near at hand, suddenly occurred and furnished me withthe terrible but necessary denouement for my work. My scheme is,atthis date, completed; the circle in which my characters will revolveis perfected; and my work becomes a picture of a departed reign, of astrange period of human madness and shame.This work, which will compriseseveral episodes, is therefore, inmy mind, the natural and social history of a family under the SecondEmpire. And the first episode, here called â\u0000\u0000The Fortune of the Rougons,â\u0000\u0000 should scientifically be entitledâ\u0000\u0000The Origin.â\u0000\u0000EMILE ZOLA PARIS, July 1, 1871.THE FORTUNE OF THE ROUGONSCHAPTER IOn quitting Plassans by the Rome Gate, on the southern side of the town,you will find, on the right side of the road toNice, and a little waypast the first suburban houses, a plot of land locally known as the AireSaint-Mittre.This Aire Saint-Mittre is of oblong shape and on a level with thefootpath of the adjacent road, from which it isseparated by a strip oftrodden grass. A narrow blind alley fringed with a row of hovels bordersit on the right; while on the left, and at the further end, it is closedin by bits of wall overgrown with moss, above which canbe seen thetop branches of the mulberry-trees of the Jas-Meiffren--an extensiveproperty with an entrance lower down the road. Enclosed upon threesides, the Aire Saint-Mittre leads nowhere, and is only crossedbypeople out for a stroll.In former times it was a cemetery under the patronage of Saint-Mittre, agreatly honoured Provencal saint; and in 1851 the old people of Plassanscould still remember having seen the wall of thecemetery standing,although the place itself had been closed for years. The soil had beenso glutted with corpses that it had been found necessary to open a newburial-ground at the other end of town. Then the oldabandoned cemeteryhad been gradually purified by the dark thick-set vegetation which hadsprouted over it every spring. The rich soil, in which the gravediggerscould no longer delve without turning up some humanremains, waspossessed of wondrous fertility. The tall weeds overtopped the wallsafter the May rains and the June sunshine so as to be visible from thehigh road; while inside, the place presented the appearance of adeep,dark green sea studded with large blossoms of singular brilliancy.Beneath oneâ\u0000\u0000s feet amidst the close-set stalks one could feel that thedamp soil reeked and bubbled with sap.Among the curiosities of the placeat that time were some largepear-trees, with twisted and knotty boughs; but none of the housewivesof Plassans cared to pluck the large fruit which grew upon them. Indeed,the townspeople spoke of this fruit withgrimaces of disgust. No suchdelicacy, however, restrained the suburban urchins, who assembled inbands at twilight and climbed the walls to steal the pears, even beforethey were ripe.The trees and the weeds with theirvigorous growth had rapidlyassimilated all the decomposing matter in the old cemetery ofSaint-Mittre; the malaria rising from the human remains interredthere had been greedily absorbed by the flowers and the fruit;so thateventually the only odour one could detect in passing by was the strongperfume of wild gillyflowers. This had merely been a question of a fewsummers.At last the townspeople determined to utilise this commonproperty,which had long served no purpose. The walls bordering the roadway andthe blind alley were pulled down; the weeds and the pear-trees uprooted;the sepulchral remains were removed; the ground was dugdeep, and suchbones as the earth was willing to surrender were heaped up in acorner. For nearly a month the youngsters, who lamented the loss ofthe pear-trees, played at bowls with the skulls; and one nightsomepractical jokers even suspended femurs and tibias to all thebell-handles of the town. This scandal, which is still remembered atPlassans, did not cease until the authorities decided to have the bonesshot into a hole whichhad been dug for the purpose in the new cemetery.All work, however, is usually carried out with discreet dilatorinessin country towns, and so during an entire week the inhabitants saw asolitary cart removing thesehuman remains as if they had been mererubbish. The vehicle had to cross Plassans from end to end, and owing tothe bad condition of the roads fragments of bones and handfuls of richmould were scattered at everyjolt. There was not the briefest religiousceremony, nothing but slow and brutish cartage. Never before had a townfelt so disgusted.For several years the old cemetery remained an object of terror.Although it adjoinedthe main thoroughfare and was open to all comers,it was left quite deserted, a prey to fresh vegetable growth. The localauthorities, who had doubtless counted on selling it and seeinghouses built upon it, were evidentlyunable to find a purchaser. Therecollection of the heaps of bones and the cart persistently joltingthrough the streets may have made people recoil from the spot; orperhaps the indifference that was shown was due tothe indolence, therepugnance to pulling down and setting up again, which is characteristicof country people. At all events the authorities still retainedpossession of the ground, and at last forgot their desire to disposeofit. They did not even erect a fence round it, but left it open to allcomers. Then, as time rolled on, people gradually grew accustomed tothis barren spot; they would sit on the grass at the edges, walk about,or gather ingroups. When the grass had been worn away and thetrodden soil had become grey and hard, the old cemetery resembled abadly-levelled public square. As if the more effectually to efface thememory of all objectionableassociations, the inhabitants slowly changedthe very appellation of the place, retaining but the name of the saint,which was likewise applied to the blind alley dipping down at one cornerof the field. Thus there was theAire Saint-Mittre and the ImpasseSaint-Mittre.All this dates, however, from some considerable time back. For morethan thirty years now the Aire Saint-Mittre has presented a differentappearance. One day thetownspeople, far too inert and indifferent toderive any advantage from it, let it, for a trifling consideration,to some suburban wheelwrights, who turned it into a wood-yard. At thepresent day it is still littered with hugepieces of timber thirty orforty feet long, lying here and there in piles, and looking like loftyoverturned columns. These piles of timber, disposed at intervals fromone end of the yard to the other, are a continual source ofdelightto the local urchins. In some places the ground is covered with fallenwood, forming a kind of uneven flooring over which it is impossible towalk, unless one balance oneâ\u0000\u0000s self with marvellous dexterity. Troopsofchildren amuse themselves with this exercise all day long. You will seethem jumping over the big beams, walking in Indian file along the narrowends, or else crawling astride them; various games which"}
+{"doc_id":"doc_26","qid":"","text":"<html><head><title>Buffy the Vampire Slayer Script at IMSDb.</title><meta name=\"description\" content=\"Buffy the Vampire Slayer script at the Internet Movie Script Database.\"><meta name=\"keywords\"content=\"Buffy the Vampire Slayer script, Buffy the Vampire Slayer movie script, Buffy the Vampire Slayer film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><metaname=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttypeCONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ?'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie ScriptDatabase\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <scripttype=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b><HTML></b><b><HEAD></b><TITLE> Buffy, the VampireSlayer<b></TITLE></b><b></HEAD></b><b><BODY></b><b><PRE></b>                               Buffy, the Vampire Slayer                                           by                                      Joss Whedon<b>             FADE IN:</b><b>             EXT. MEDIEVAL VILLAGE - JUST BEFORE SUNSET</b>             We see an Italian village at the height of the plague.  Funeral              processions, decrepit houses with theirwindows boarded up...               the stench of death all around.<b>             TITLE:  EUROPE. THE DARK AGES</b>             Through the filth a KNIGHT walks his horse.  He is weary but              not so dingy as hissurrounding; a stranger in these parts.               He comes to an inn, where a boy takes his horse round back.               He enters the inn.<b>             INT. INN - SAME TIME</b>             The inn is dark and almostempty.  A couple of patrons drink              silently at tables.  Behind the bar stands a slovenly BARMAID,              dark-haired and lazy.  She scratches at her shoulder, on which              we see a birthmark.  Theknight approaches the bar, throws              money down.<b>                                       KNIGHT</b>                            A tankard of ale, wench.             The barmaid pours him a cup of ale.  He drinks deep, standsa              moment.<b>                                       KNIGHT</b>                                (continuing)                            Some plague we're having, huh?<b>                                                                    CUTTO:</b><b>             INT. INN - UPSTAIRS HALL/BEDROOM - NIGHT</b>             The barmaid leads the knight, by candlelight, upstairs to his              room.  The door opens inward.  The knight stands in thedoorway,              places a hand on the barmaid's hip.  She pauses a moment, then              breaks free of his grasp, starts down the hall.  He laughs a              bit, resignedly, and closes the door.             A VAMPIREstands behind it.  Not two feet from the knight,              grinning at him.  His eyes are skull-hollow and dancing in his              head, his bloody smile full with teeth.  His skin is gray, and              peeling.  The knightturns slowly and sees him.<b>                                       KNIGHT</b>                            Oh, my god...             The vampire licks his lips.             He is on the knight in a second, pushing him backwardsinto              the middle of the small room.  The knight struggles but is no              match for the vampire, who buries his face in the knight's              neck.  The knight screams.<b>             ANGLE ONDOOR</b>             It suddenly flies open, the lock shattered.             The vampire turns like a frightened animal.  In the doorway              stands the barmaid, a SLAYER.  In her hand is a wooden stake.             Thevampire drops the knight, who crabs backwards into a corner.               The Slayer and the vampire come at each other.  The Slayer              spins and kicks; the vampire flies back.  Snarling, he comes              backat the slayer.  They struggle; he slips free and is out              the door.             For a moment, the Slayer remains still, crouched on the floor.               The knight watches her.  She seems to be making a decision--              perhaps even knows what is going to happen.             She runs at the window.<b>                                                                    CUT TO:</b><b>             EXT. IN FRONT OF THE INN - SAMETIME</b>             The vampire comes running out the front door.  Before he is a              few feet from the front of the inn, the Slayer SMASHES through              the upstairs window and lands on him.  They both hitthe ground,              and she plants the stake right in his heart.             After a moment, we hear a voice:<b>                                       AMILYN (O.S.)</b>                            The lord giveth, and the lordtaketh                             away.  Ashes, ashes...             She looks up.<b>                                       AMILYN</b>                                (continuing)                            ... All fall down             There are ten or morevampires walking slowly toward her in              the otherwise deserted street.  At the front, maybe ten feet              away, is AMILYN.             Amilyn is a grinning jackal, a servant to the Vampire-King.               Hisgarb is a rotted approximation of a courtier's livery.  He              ambles toward the Slayer, giggling, as she stands.             Behind her is LOTHOS, the Vampire-King.  His skin is deep white,              and smooth.  Hewears a long coat -- his dress is not of any              era.  He is practically upon her before he speaks.<b>                                       LOTHOS</b>                            You must forgive Amilyn.  Hetends                             to drool before supper.             She turns.  He smiles, almostlovingly.<b>                                       SLAYER</b>                            Lothos...<b>                                       LOTHOS</b>                            You people will never learn.             She swings at him but he grabs herarm.  Amilyn laughs              obnoxiously.  Lothos grabs the back of the Slayer's head, brings              her to him in a lovingembrace.<b>                                       LOTHOS</b>                                (continuing)                            We can't be stopped.  This is our                             world now.             He pulls her head back swiftly,snapping her spine as her head              hits the back of her legs.  Lightning flashes.<b>                                                                    CUT TO:</b><b>             INT. ENGLISH CASTLE - NIGHT</b>             Lightningflashes outside the window.  It is torrenting rain.               An old MAN speaks to a hysterical GIRL of sixteen or so.  They              are both obviously noble ofbirth.<b>                                       GIRL</b>                            I can't!<b>                                       MAN</b>                            You know you must.  There is only                             one.  Now you are thatone.  It is                             time.<b>                                       GIRL</b>                            Why?  Why me?<b>                                       MAN</b>                            She has died.  You are the nextto                             be called.  Why do you think you                             were sent to me?  Trained as you                             were?  You bear the mark.             He pulls aside her blouse to reveal a birthmark on hershoulder,              identical to the barmaid's.<b>                                       MAN</b>                                (continuing)                            The mark of theCoven.<b>                                       GIRL</b>                            I don't understand.<b>                                       MAN</b>                            Ever since Adam and Eve first left                             the garden, hefollowed: the serpent.                              Satan.  He sends his legion in the                             shape of men, to feed on us, to                             breed his Hell on our earth.  They                             are a plagueupon us.             The man unravels a satchel of cloth.  From it he pulls an              elaborately carved wooden stake.<b>                                       MAN</b>                                (continuing)                            Butas long as there have been                             vampire, there has been the Coven;                             the line of Slayers.  Ones with the                             strength and the skill to kill them,                             to findthem where they gather and                             stop the swell of their numbers.                              One dies, the next is called.<b>                                       GIRL</b>                            I'm just agirl.<b>                                       MAN</b>                            You are much more.             He hands her the stake.  She feels thefit.<b>                                       MAN</b>                                (continuing)                            One dies, the next is called...             As she grips the stake more tightly, an awareness and sense of              powersees to fill her.  She lifts the stake over her head.<b>             CLOSEUP - A HAND</b>             The hand is lifted high, but it is not the girl's.  It holds              not a stake, but a pom-pom.<b>             EXT. HEMERYHIGH FOOTBALL FIELD - WIDER SHOT - DAY</b>             Opening CREDITS OVER:             A football game in progress.  The stands are pretty full, the              crowd enthusiastic.  The hemery football stadium is justthat;              a real stadium, not just makeshift stands on grass.             On  the sidelines are the Hemery cheerleaders, led by BUFFY.              She is blonde (in nature as in name), pretty, andvery              gracefully athletic.  She obviously enjoys what she is doing,              and she's good at it.             With her on the squad are JENNIFER and NICOLE, two of her best              friends.  Beside them theCOACH, yelling at the players.  The              scoreboard reads HEMERY VS. SETON.             On the field are JEFFREY, wide receiver (and Buffy's boyfriend),              ANDY, quarterback, and GRUELLER, the huge lefttackle.             Buffy and the crowd wince as Andy is sacked for a nine-yard              loss.<b>                                       COACH</b>                            Come on, do the play!  The one                             where...  theone from the book!                              Where you make it go forward!             The players huddle.<b>                                       ANDY</b>                            All right, guys, come on!             He hits Grueller'shelmet.<b>                                       ANDY</b>                                (continuing)                            Grueller!  Fill that hole!  They                             were all over me!  Okay.  Let'srun                             twenty-two.  Grueller, close the                             pocket, watch out for thirty-five.                              Thompson, run the post, right, wide                             out.  Jeffrey, go up the middleand                             run around like a chicken.             They clap and break.  As they line up, Jeffrey looks over at              Buffy.  She smiles at him.  He winks, very suave.<b>                                       BUFFYAND CHEERLEADERS</b>                            Jeffrey!  Jeffrey!                             He's our man!                              If he can't do it                             We don't want it!             On the hike, Andy drops back and looksfor a receiver.  Jeffrey              runs in circles like an idiot (and not unlike a chicken), waving              his arms until Andy sails him the ball and he breaks for a              touchdown.             The crowd goes wild --particularly Buffy, who does an              impressive standing backflip.  Nicole looks at her, impressed.               Buffy smiles at her, giddy.<b>                                       COACH</b>                                (lookingaround)                            Is that good?  Was that a good thing?<b>                                                                    CUT TO:</b><b>             INT. THE MALL - AFTERNOON</b>             The mall is typically"}
+{"doc_id":"doc_27","qid":"","text":"The Project Gutenberg EBook of Jack The Giant Killer, by Percival LeighThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: Jack The Giant KillerAuthor: Percival LeighIllustrator: John LeechRelease Date: February 26, 2014 [EBook#45021]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK JACK THE GIANT KILLER ***Produced by David Widger from images generously providedby The Internet ArchiveJACK THE GIANTKILLER.By Percival LeighThe Author Of \"The Comic Latin Grammar.\"With Illustrations by JOHN LEECH1853[Illustration: 013]{001}THE ARGUMENT.            I sing the deeds of famous Jack,                The doughty GiantKiller hight;            How he did various monsters \"whack,\"                And so became a gallant knight.             In Arthur's days of splendid fun                (His Queen was Guenever the Pliant),--             Ere Britain'ssorrows had begun;                When every cave contained its giant;             When griffins fierce as bats were rife;                 And till a knight had slain his dragon,              At trifling risk of limbs and life,                Hedid n't think he'd much to brag on;{002}     When wizards o'er the welkin flew;     Ere science had devised balloon;     And 'twas a common thing to view     A fairy ballet by the moon;--     Our hero played his valiantpranks;     Earned loads of _kudos, vulgô_ glory,     A lady, \"tin,\" and lots of thanks;--         Relate, oh Muse! his wondrous story.OF GIANTS IN GENERAL.     A Giant was, I should premise,     A hulking lout ofmonstrous size;     He mostly stood--I know you 'll laugh--     About as high as a giraffe.     His waist was some three yards in girth:     When he walked he shook the earth.     His eyes were of the class called\"goggle,\"     Fitter for the scowl than ogle.     His mouth, decidedly carnivorous,     Like a shark's,--the Saints deliver us!     He yawned like a huge sarcophagus,     For he was an Anthropophagus,     And his tusks werehuge and craggy;     His hair, and his brows, and his beard, were shaggy.{003}     I ween on the whole he was aught but a Cupid,     And exceedingly fierce, and remarkably stupid;              His brain partaking stronglyof lead,              How well soe'er he was off for head;              Having frequently one or two              Crania more than I or you.              He was bare of arm and leg,              But buskins had, and aphilabeg;              Also a body-coat of mail              That shone with steel or brazen scale,              Like to the back of a crocodile's tail;                        A crown he wore,                        And a mace hebore              That was knobbed and spiked with adamant;                        It would smash the skull                        Of the mountain bull,              Or scatter the brains of the elephant.         His voice than the tempestwas louder and gruffer--         Well; so much for the uncouth \"buffer.\"JACK'S BIRTH, PARENTAGE, EDUCATION, AND EARLY PURSUITS.               Of a right noble race was Jack,               For kith and kin he did notlack,                    Whom tuneful bards have puffed;               The Seven bold Champions ranked among               That highly celebrated throng,                    And Riquet with the Tuft.{004}          Jack of theBeanstalk, too, was one;          And Beauty's Beast; and Valour's son,              Sir Amadis de Gaul:          But if I had a thousand tongues,          A throat of brass, and iron lungs,              I could not sing themall.     His sire was a farmer hearty and free;     He dwelt where the Land's End frowns on the sea,     And the sea at the Land's End roars again,     Tit for tat, land and main.     He was a worthy wight, and so     Hebrought up his son in the way he should go;     He sought not--not he!--to make him a \"muff;\"     He never taught him a parcel of stuff;     He bothered him not with trees and plants,     Nor told him to study themanners of ants.     He himself had never been     Bored with the Saturday Magazine;     The world might be flat, or round, or square,     He knew not, and he did not care;     Nor wished that a boy of his should be     ACornish \"Infant Prodigy.\"     But he stored his mind with learning stable,     The deeds of the Knights of the famed Round Table;     Legends and stories, chants and lays,     Of witches and warlocks, goblins andfays;             How champions of might             Defended the right,{005}     Freed the captive, and succoured the damsel distrest              Till Jack would exclaim--     \"If I don't do the same,     An' I live to become aman,--_I'm blest!_\"     Jack lightly recked of sport or play              Wherein young gentlemen delight,     But he would wrestle any day,     Box, or at backsword fight.     He was a lad of special \"pluck,\"     And strengthbeyond his years,          Or science, gave him aye the luck          To drub his young compeers.     His task assigned, like Giles or Hodge,     The woolly flocks to tend,          His wits to warlike fray or\"dodge\"          Wool-gathering oft would wend.     And then he'd wink his sparkling eye,     And nod his head right knowingly,         And sometimes \"Won't I just!\" would cry,         Or \"At him, Bill, again!\"          Now thisbehaviour did evince          A longing for a foe to mince;          An instinct fitter for a Prince          Than for a shepherd swain.{006}HOW JACK SLEW THE GIANT CORMORAN.---     I.          Where good Saint Michael'scraggy mount          Rose Venus-like from out the sea,          A giant dwelt; a mighty- Count          In his own view, forsooth, was he;          And not unlike one, verily,          (A foreign Count, like those wemeet          In Leicester Square, or Regent Street),          I mean with respect to his style of hair,          Mustachios, and beard, and ferocious air,--          His figure was quite another affair.         This odd-looking\"bird\"         Was a Richard the Third,         Four times taller and five as wide;         Or a clumsy Punch,         With his cudgel and hunch,              Into a monster magnified!     In quest of prey across the sea     He'dwade, with ponderous club;              For not the slightest \"bones\" made he              Of \"boning\" people's \"grub.\"     There was screaming and crying \"Oh dear!\" and \"Oh law     When the terrified maids the monstersaw;[Illustration: 019]{007}                 As he stalked--tramp! tramp!                 Stamp! stamp! stamp! stamp!         Coming on like the statue in \"Don Giovanni.\"                 \"Oh my!\" they would cry,                  \"Herehe comes; let us fly!         Did you ever behold such a horrid old brawny? --                 A--h!\" and off they would run                 Like \"blazes,\" or \"fun,\"         Followed, pell-mell, by man and master;                 Whilethe grisly old fellow                 Would after them bellow,         To make them scamper away the faster.     II.          When this mountain bugaboo          Had filled his belly, what would he do?          He'd shoulder hisclub with an ox or two,          Stick pigs and sheep in his belt a few,--     There were two or three in it, and two or three under     (I hope ye have all the \"organ of wonder\");     Then back again to his mountaincave     He would stump o'er the dry land and stride through the wave.     III.                     What was to be done?                     For this was no fun;                 And it must be clear to every one,          The new Tariffitself would assuredly not          Have supplied much longer the monstrous pot                 Of this beef-eating, bull-headed, \"son-of-a-gun.\"{008}     IV.     Upon a night as dark as pitch     A light was dancing on thesea;--     Marked it the track of the Water Witch?     Could it a Jack-a-lantern be?     A lantern it was, and borne by Jack;     A spade and a pickaxe he had at his back;     In his belt a good cow-horn;     He was up tosome game you may safely be sworn.     Saint Michael's Mount he quickly gained,     And there the livelong night remained.                What he did                The darkness hid;     Nor needeth it that I shouldsay:     Nor would you have seen,     If there you had been     Looking on at the break of day.     V.     Morning dawned on the ocean blue;     Shrieked the gull and the wild sea-mew;     The donkey brayed, and the greycock crew;     Jack put to his mouth his good cow-horn,     And a blast therewith did blow.     The Giant heard the note of scorn,     And woke and cried \"Hallo!\"     He popped out his head with his night-cap on,     Tolook who his friend might be,     And eke his spectacles did don,     That he mote the better see.[Illustration: 023]{009}     \"I'll broil thee for breakfast,\" he roared amain,     \"For breaking my repose.\"     \"Yaa!\" valiantJack returned again,     With his fingers at his nose.     VI.     Forward the monster tramps apace,     Like to an elephant running a race;     Like a walking-stick he handles his mace.     Away, too venturous wight,decamp!     In two more strides your skull he smashes;--     One! Gracious goodness! what a stamp!     Two! Ha! the plain beneath him crashes:     Down he goes, full fathoms three.     \"How feel ye now,\" cried Jack,\"old chap?     It is plain, I wot, to see     You 're by no means up to trap.\"     The Giant answered with such a roar,     It was like the Atlantic at war with its shore;     A thousand times worse than the hullaballoo     Ofcarnivora, fed,     Ere going to bed,     At the Regent's Park, or the Surrey \"Zoo.\"     \"So ho! Sir Giant,\" said Jack, with a bow,     \"Of breakfast art thou fain?     For a tit-bit wilt thou broil me now,     An' I let thee outagain? \"     Gnashing his teeth, and rolling his eyes,     The furious lubber strives to rise.     \"Don't you wish you may get it?\" our hero cries{010}[Illustration: 027]       And he drives the pickaxe into hisskull:       Giving him thus a belly-full,                        If the expression is n't a bull.     VII.                    Old Cormoran dead,                       Jack cut off his head,       And hired a boat to transport ithome.                    On the \"bumps\" of the brute,       At the Institute,       A lecture was read by a Mr. Combe.         Their Worships, the Justices of the Peace,         Called the death of the monster a \"happyrelease:\"         Sent for the champion who had drubbed him,         And \"Jack the Giant Killer\" dubbed him;         And they gave him a sword, and a baldric, whereon         For all who could read them, these versiclesshone:--            'THIS IS YE VALYANT CORNISHE MAN            WHO SLEWE YE GIANT CORMORAN\"{011}[Illustration: 028]JACK SUPRISED ONCE IN THE WAY     I.     Now, as Jack was a lion, and hero ofrhymes,     His exploit very soon made a noise in the \"Times;\"              All over the west              He was _fêted_, caressed,     And to dinners and _soirees_ eternally pressed:     Though't is true Giants did n't movemuch in society,     And at \"twigging\" were slow,     Yet they could n't but know     Of a thing that was matter of such notoriety.     Your Giants were famous for _esprit de corps_;     And a huge one, whose name wasO'Blunderbore,     From the Emerald Isle, who had waded o'er,     Revenge, \"by the pow'rs!\" on our hero swore.     II.              Sound beneath a forest oak              Was a beardless warrior dozing,              By ababbling rill, that woke              Echo--not the youth reposing.              What a chance for lady loves              Now to win a \"pair of gloves!\"{012}     III.     \"Wake, champion, wake, be off, be off;     Heard'st thou notthat earthquake cough!     That floundering splash,     That thundering crash?     Awake!--oh, no,                It is no go!\"        So sang a little woodland fairy;                'T was O'Blunderbore coming        And theblackguard was humming        The tune of \"Paddy Carey.\"[Illustration: 030]     IV.     Beholding the sleeper,     He open'd each peeper     To about the size of the crown of your hat;     \"Oh, oh!\" says he,                  \"Isit clear I see     Hallo! ye young spalpeen, come out o' that.\"                 So he took him up                 As ye mote a pup,     Or an impudent varlet about to \"pop\" him:     \"Wake up, ye young baste;                 What'sthis round your waist?     Och! murder! \"--I wonder he did n't drop him.     He might, to be sure, have exclaimed \"Oh, Law!\"     But then he preferred his own _patois_;     And \"Murder!\" though coarse, was expressive,no doubt,     Inasmuch as the murder was certainly out.     He had pounced upon Jack,               In his cosy bivouack,     And so he made off with him over his back.{013}     V.             Still was Jack in slumbersunk;             Was he Mesmerised or drunk?      I know not in sooth, but he did not awake      Till, borne through a coppice of briar and brake,      He was roused by the brambles that tore his skin,      Then he woke upand found what a mess he was in      He spoke not a word that his fear might shew,      But said to himself--\"What a precious go!\"     VI.              Whither was the hero bound,              Napping by the Ogrecaught?              Unto Cambrian Taffy's ground              Where adventures fresh he sought.     VII.      They gained the Giant's castle hall,          Which seemed a sort of Guy's museum;      With skulls and bones 'twascrowded all--          You would have blessed yourself to see 'em.      The larder was stored with human hearts,      Quarters, and limbs, and other parts,--           A grisly sight to see;      There Jack the cannibal monsterled,      \"I lave you there, my lad,\" he said,          \"To larn anatomy!--[Illustration: 033]{014}         I'm partial to this kind of mate,         And hearts with salt and spice to ate         Is just what plases me;         I maneto night on yours to sup,         Stay here until you 're aten up         He spoke, and turned the key.     \"A pretty business this!\" quoth Jack,          When he was left alone;     \"Old Paddy Whack,          I say! comeback--     I wonder where he's gone?\"[Illustration: 035]{015}      In ghastly moans and sounds of wail,      The castle's cells replied;      Jack, whose high spirits ne'er could quail,      Whistled like blackbird in thevale,      And, \"Bravo, Weber!\" cried.      When, lo! a dismal voice, in verse,      This pleasant warning did rehearse:--                                       See Page image: ==> {015}     IX.      \"Haste!\" quoth the hero, \"yes, buthow?      They come, the brutes!--I hear them now.'      He flew to the window with mickle speed,      There was the pretty pair indeed,      Arm-in-arm in the court below,      O'Blunderbore and his brother O.      \"Nowthen,\" thought Jack, \"I plainly see      I 'm booked for death or liberty;--      Hallo! those cords are 'the jockeys for me.'     X.     Jack was nimble of finger and thumb--     The cords in a moment have haltersbecome{016}         Deft at noosing the speckled trout,         So hath he caught each ill-favoured lout:         He hath tethered the ropes to a rafter tight,         And he tugs and he pulls with all his might,         \"Pully-oi!Pully-oi!\" till each Yahoo         In the face is black and blue;     Till each Paddy Whack     Is blue and black;     \"Now, I think you're done _brown_,\" said courageous Jack.     Down the tight rope he slides,     And his goodsword hides     In the hearts of the monsters up to the hilt;     So he settled them each:     O'Blunderbore's speech,     Ere he gave up the ghost was, \"Och, murder, I'm kilt!\"     XI.         The dungeons are burst and thecaptives freed;     Three princesses were among them found--         Very beautiful indeed;     Their lily white hands were behind them bound:         They were dangling in the air,     Strung up to a hook by their dear\"back hair.\"     Their stomachs too weak     On bubble and squeak,     From their slaughtered lords prepared, to dine                (A delicate rarity);     With horrid barbarity,     The Giants had hung them up there topine.[Illustration: 039]{017}     XII.     Jack, the monsters having \"licked,\"     Had, of course, their pockets picked,     And their keys and eke their riches     Had abstracted from their breeches.     \"Ladies,\" he said, witha Chesterfield's ease,     Permit me, I pray you, to present you with these,\"     And he placed in their hands the coin and the keys:     \"So long having swung,     By your poor tresses hung,     Sure your nerves areunhinged though yourselves are unstrung;               To make you amends,     Take these few odds and ends,     This nice little castle, I mean, and its wealth;               And I 've only to say,     That I hope that youmay     For the future enjoy the most excellent health.\"     Said the ladies--\"Oh, thank you!--expressions we lack \"--     \"Don't mention it pray,\" said the complaisant Jack.     XIII.     Jack knelt and kissed the snow-whitehands              Of the lovely ladies three;     Oh! who these matters that understands              But thinks, \"would that I'd been he! \"     Then he bids them adieu; \"Au revoir,\" they cry.     \"Take care of yourselves,\" heexclaims, \"good bye!\"{018}     XIV.     Away, like Bonaparte in chase,         O'er mount and moor goes Jack;     With his trusty sword before his face,         And its scabbard behind his back.              Away hegoes,              And follows his nose;     No wonder, then, that at close of day,              He found himself out              In his whereabout;--     \"Dash my buttons,\" he cried, \"I have lost my way     Before him stretched alonely vale--     Just the place for robbing the mail     Ere that conveyance went by \"rail\"--     On either side a mount of granite     Outfaced indignant star and planet;     Its thunder-braving head and shoulders,     Andthreatening crags, and monstrous boulders,         Ten times as high as the cliffs at Brighton,         Uprearing like a \"bumptious\" Titan,     Very imposing to beholders.     Now the red sun went darkly down,     Moregloomy grew the mountains' frown,     And all around waxed deeper brown,--     Jack's visage deeper blue;     Said he, \"I guess I'm in a fix,\"--     Using a phrase of Mr. Slick's,--     \"What _on_ earth shall Ido?\"{019}     He wandered about till late at night,     At last he made for a distant light;     \"Here's a gentleman's mansion,\" thought Jack, \"all right.\"              He knocked at the wicket,              Crying, \"That's theticket!\"     When lo! the portal open flew,              And a monster came out,              Enormously stout     And of stature tremendous, with heads for two.              Jack was rather alarmed,              But the Giant wascharmed,     He declared with both tongues, the young hero to see:              \"What a double-tongued speech!              But you wo n't overreach     _Me_\" thought Jack; as the Giant said--\"Walk in, to tea.\"     But hesaw that to fly     Would be quite \"all his eye,\"               He could n't, and so it was useless to try;     So he bowed, and complied with the monster's \"walk in!\"     With a sort of a kind of hysterical grin.     Now this Giant,you know, was a Welshman, _and so_,     'T was by stealth he indulged in each mischievous \"lark              His name was Ap Morgan,              He had a large organ     Of \"secretiveness,\" wherefore he killed in thedark.     \"He was sorry that Jack was benighted,\" he said,     \"Might he fenture to peg he'd accept of a ped?\"{020}              And he then led the way,              All smiling and gay,     To the couch where his guest mightrest his head;     And he bade him good night, politely quite,     Jack answered--\"I wish you a very good night.\"     XV.     Though his eyes were heavy, and legs did ache,     Jack was far too wide awake     To trusthimself to the arms of sleep;--     I mean to say he was much too deep.     Stumping, through the midnight gloom,     Up and down in the neighbouring room,     Like a pavior's rammer, Ap Morgan goes.     \"I shouldn'tmuch like him to tread on my toes!\"     Thought Jack as he listened with mind perplexed;--     \"I wonder what he's up to next?\"     XVI.     Short was our hero's marvelling;              For, deeming him in slumberlocked,     The monstrous oaf began to sing:              Gracious, how the timbers rocked!                     From double throat                     He poured each note,               So his voice was a species of doublebass,                       Slightly hoarse,     Rather coarse,{021}      And decidedly wanting _a little_ in grace:      A circumstance which unluckily smashes      A comparison I was about to make      Between it and thegreat Lablache's,--           Just for an allusion's sake.      Thus warbled the gigantic host,      To the well-known air of \"Giles Scroggins' Ghost:                                           See Page Image: ==> {021}     XVII.      \"Ha!say you so,\"      Thought Jack; \"oh, oh! \"      And, getting out of bed,      He found a log;--      \"Whack that, old Gog!      He whispered, \"in my stead.\"     XVIII.      In steals the Giant, crafty old fox!      His buskins he'ddoffed, and he walked in his socks,      And he fetches the bed some tremendous knocks      With his great big mace,                 I' th' identical place      Where Jack's wooden substitute quietly lay;      And, chuckling ashe went away,      He said to himself, \"How. Griffith Ap Jones      Will laugh when he hears that I've broken his bones![Illustration: 045]{022}     XIX.     The morning shone brightly, all nature was gay;     And the Giant"}
+{"doc_id":"doc_28","qid":"","text":"Project Gutenberg's Border, Breed Nor Birth, by Dallas McCord ReynoldsThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: Border, Breed Nor BirthAuthor: Dallas McCord ReynoldsIllustrator: SchoenherrRelease Date: December 9,2009 [EBook #30639]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK BORDER, BREED NOR BIRTH ***Produced by Sankar Viswanathan, Greg Weeks, and the OnlineDistributed Proofreading Teamat http://www.pgdp.net                         Transcriber's Note:  This etext was produced from Analog Science Fact & Fiction July 1962.  Extensive research did not uncover any evidence that the U.S.  copyright on thispublication was renewed.                       Border, Breed nor Birth     Part 1 of Two. Kipling said those things didn't count when     two strong men stood face to face. But ... do they count     when two strong ideologiesstand face to face...?                           by Mack Reynolds                      Illustrated by Schoenherr       *       *       *       *       *IEl Hassan, would-be tyrant of all North Africa, was on the run.His followers at this pointnumbered six, one of whom was a wisp of atwenty-four year old girl. Arrayed against him and his dream, he knew,was the combined power of the world in the form of the ReunitedNations, and, in addition, suchindividual powers as the United Statesof the Americas, the Soviet Complex, Common Europe, the FrenchCommunity, the British Commonwealth and the Arab Union, working bothtogether and unilaterally.Immediatesurvival depended upon getting into the Great Erg of theSahara where even the greatest powers the world had ever developedwould have their work cut out locating El Hassan and hispeople.       *       *       *       *       *Bey-ag-Akhamouk who was riding next to Elmer Allen in the lead aircushion hover-lorry, held a hand high. Both of the solar powereddesert vehicles ground to a halt.HomerCrawford vaulted out of the seat of the second lorry before ithad settled to the sand. \"What's up, Bey?\" he called.Bey pointed to the south and west. They were in the vicinity ofTessalit, in what was once known asFrench Sudan, and immediately tothe south of Algeria. They were deliberately avoiding what littleexisted in this area in the way of trails, the Tanezrouft route whichcrossed the Sahara from Colomb-Béchar to Gao, onthe Niger, was somefifty miles to the west.Homer Crawford stared up into the sky in the direction Bey pointed andhis face went wan.The others were piling out of the vehicles.\"What is it?\" Isobel Cunningham said,squinting and trying to catchwhat the others had already spotted.\"Aircraft,\" Bey growled. \"A rocket-plane.\"\"Which means the military in this part of the world,\" Homer said.The rest of them looked to him for instructions,but Bey suddenly tookover. He said to Homer, \"You better get on over beneath thatoutcropping of rock. The rest of us will handle this.\"Homer looked at him.Bey said, flatly, \"If one of the rest of us gets it, or even if allofus do, the El Hassan movement goes on. But if something happens toyou, the movement dies. We've already taken our stand and too much isat stake to risk your life.\"Homer Crawford opened his mouth to protest,then closed it. He reachedinside the solar-powered lorry and fetched forth a Tommy-Noiseless andstarted for the rock outcropping at a trot. Having made his decision,he wasn't going to cramp Bey-ag-Akhamouk's stylewith needlesspalaver.Isobel Cunningham, Cliff Jackson, Elmer Allen and Kenny Ballalougathered around the tall, American educated Tuareg.\"What's the plan?\" Elmer said. Either he or Kenny Ballalou could havetakenover as competently, but they were as capable of taking ordersas giving them, a desirable trait in fighting men.Bey was still staring at the oncoming speck. He growled, \"We can'teven hope he hasn't seen the pillars ofsand and dust these vehiclesthrow up. He's spotted us all right. And we've got to figure he'slooking for us, even though we can hope he's not.\"The side of his mouth began to tic, characteristically. \"He'll makethreepasses. The first one high, as an initial check. The second timehe'll come in low just to make sure. The third pass and he'll clobberus.\"The aircraft was coming on, high but nearer now.\"So,\" Elmer said reasonably, \"weeither get him the second pass hemakes, or we've had it.\" The young Jamaican's lips were thinned backover his excellent teeth, as always when he went into combat.\"That's it,\" Bey agreed. \"Kenny, you and Cliff get theflac rifle, andhave it handy in the back of the second truck. Be sure he doesn't seeit on this first pass. Elmer, get on the radio and check anything hesends.\"Kenny Ballalou and the hulking Cliff Jackson ran to carry outorders.Isobel said, \"Got an extra gun for me?\"Bey scowled at her. \"You better get over there with Homer where it'ssafer.\"She said evenly, \"I've always considered myself a pacifist, but whensomebody starts shooting atme, I forget about it and am inclined toshoot back.\"\"I haven't got time to argue with you,\" Bey said. \"There aren't anyextra guns except handguns and they'd be useless.\" As he spoke, hepulled his ownTommy-Noiseless from its scabbard on the front door ofthe air cushion lorry, and checked its clip of two hundred .10 caliberultra-high velocity rounds. He flicked the selector to the explosiveside of theclip.       *       *       *       *       *The plane was roaring in on what would be its first pass, if Bey hadguessed correctly. If he had guessed incorrectly, this might be theend. A charge of napalm would fry everything for aquarter of a milearound, or the craft might even be equipped with a mini-fission bomb.In this area a minor nuclear explosion would probably go undetected.Bey yelled, \"Don't anybody even try to fire at him at thisrange.He'll be back. It takes half the sky to turn around in with thatcrate, but he'll be back, lower next time.\"Cliff Jackson said cheerlessly, \"Maybe he's just looking for us. Hewon't necessarily take a crack at us.\"Beygrunted. \"Elmer?\"\"Nothing on the radio,\" Elmer said. \"If he was just scouting us out,he'd report to his base. But if his orders are to clobber us, then hewouldn't put it on the air.\"The plane was turning in the sky, comingback.Cliff argued, \"Well, we can't fire unless we know if he's just huntingus out, or trying to do us in.\"Elmer said patiently, \"For just finding us, that first pass would beall he needed. He could radio back that he'd foundus. But if he comesin again, he's looking for trouble.\"\"Here he comes!\" Bey yelled. \"Kenny-Cliff ... the rifle!\"Isobel suddenly dashed out into the sands a dozen yards or so from thevehicles and began running around andaround in a circle as thoughdemented.Bey stared at her. \"Get back here,\" he roared. \"Under one of thetrucks!\"She ignored him.The rocket-plane was coming in, low and obviously as slow as the pilotcould retard itsspeed.The flac rifle began jumping and tracers reached out fromit--inaccurately. The Tommy-Noiseless automatics in the hands of Beyand Elmer Allen gave their silenced _flic flic flic_ sounds, equallyineffective.On theultra-stubby wings of the fast moving aircraft, a row ofbrilliant cherries flickered and a row of explosive shells plowedacross the desert, digging twin ditches, miraculously going betweenthe air cushion lorries but missingboth. It was upon them, over andgone, before the men on the ground could turn to fire after.Elmer Allen muttered an obscenity under his breath.Cliff Jackson looked around in desperation. \"What can we do now?Hewon't come close enough for us to even fire at him, next time.\"Bey said nothing. Isobel had collapsed into the sand. Elmer Allenlooked over at her. \"Nice try, Isobel,\" he said. \"I think he came inlower and slower thanhe would have otherwise--trying to see what thedevil it was you were doing.\"She shrugged, hopelessly.\"Hey!\" Kenny Ballalou pointed.The rocketcraft was wobbling, shuddering, in the sky. Suddenly itburst into a blackcloud of fire and smoke and explosion.At the same moment, Homer Crawford got up from the sand dune behindwhich he'd stationed himself and plowed awkwardly through the sandtoward them.Bey glared athim.Homer shrugged and said, \"I checked the way he came in the first timeand figured he'd repeat the run. Then I got behind that dune there andfaced in the other direction and started firing where I _thought_ he'dbe,a few seconds before he came over. He evidently ran right intoit.\"Bey said indignantly, \"Look, wise guy, you're no longer the leader ofa five-man Reunited Nations African Development Project team. Then,you wereexpendable. Now, you're El Hassan. You give the orders. Otherpeople are expendable.\"Homer Crawford grinned at him, somewhat ruefully and held up his handsas though in supplication. \"Listen to the man, is that anyway to talkto El Hassan?\"Elmer Allen said worriedly, \"He's right, though, Homer. You shouldn'ttake chances.\"Homer Crawford went serious. \"Actually, none of us should, if we canavoid it. In a way, El Hassan isn't oneperson. It's this team here,and Jake Armstrong, who by this time I hope is on his way to theStates.\"Bey was shaking his head in stubborn determination. \"No,\" he said.\"I'm not sure that you comprehend this yourself,Homer, but you'reNumber One. You're the symbol, the hero these people are going tofollow if we put this thing over. They couldn't understand a sextetleadership. They want a leader, someone to dominate and tellthem whatto do. A team you need, admittedly, but not so much as the team needsyou. Remember Alexander? He had a team starting off with Aristotle fora brain-trust, and Parmenion, one of the greatest generals of alltimefor his right-hand man. Then he had a group of field men such asPtolemy, Antipater, Antigonus and Seleucus--not to be rivaled untilNapoleon built his team, two thousand years later. And what happenedto thissuper-team when Alexander died?\"Homer looked at him thoughtfully.Bey wound it up doggedly. \"You're our Alexander. Our Caesar. OurNapoleon. So don't go getting yourself killed, damn it. Excuse me,Isobel.\"Isobelgrinned her pixielike grin. \"I agree,\" she said. \"Dammit.\"Homer said, \"I'm not sure I go all along with you or not. We'll thinkabout it.\" His voice took a sharper note. \"Let's go over and see ifthere's enough left in thatwreckage to give us an idea of who thepilot represented. I can't believe it was a Reunited Nations man, andI'd like to know who, of our potential enemies, dislikes the idea ofEl Hassan so much that they figure we shouldall be bumped off beforewe even get under way.\"       *       *       *       *       *It had begun--if there is ever a beginning--in Dakar. In the officesof Sven Zetterberg the Swedish head of the Sahara Division oftheAfrican Development Project of the Reunited Nations.Homer Crawford, head of a five-man trouble-shooting team, had reportedfor orders. In one hand he held them, when he was ushered into theother'spresence.Zetterberg shook hands abruptly, said, \"Sit down, Dr. Crawford.\"Homer Crawford looked at the secretary who had ushered him in.Zetterberg said, scowling, \"What's the matter?\"\"I think I have something to bediscussed privately.\"The secretary shrugged and turned and left.Zetterberg, still scowling, resumed his own place behind the desk andsaid, \"Claud Hansen is a trusted Reunited Nations man. What couldpossibly be sosecret...?\"Homer indicated the orders he held. \"This assignment. It takes someconsideration.\"Sven Zetterberg was not a patient man. He said, in irritation, \"Itshould be perfectly clear. This El Hassan we've been hearingso muchabout. This mystery man come out of the desert attempting to unifyall North America. We want to talk to him.\"\"Why?\" Crawford said.\"Confound it,\" Zetterberg snapped. \"I thought we'd gone into thisyesterday.In spite of the complaints that come into this office inregard to your cavalier tactics in carrying out your assignments, youand your team are our most competent operatives. So we've given youthe assignment of findingEl Hassan.\"\"I mean, why do you want to talk to him?\"The Swede glared at him for a moment, as though the American was beingdeliberately dense. \"Dr. Crawford,\" he said, \"when the AfricanDevelopment Project wasfirst begun we had high hopes. Seemingly allReunited Nations members were being motivated by high humanitarianreasons. Our task was to bring all Africa to a level of progresscomparable to the advanced nations. Itwas more than a duty, it was acrying need, a demand. Africa is and has been throughout history a_have-not_ continent. While Europe, the Americas, Australia and noweven Asia, industrialized and largely conqueredman's oldsocio-economic problems, Africa lagged behind. The reasons weremanifold, colonialism, lingering tribal society ... various others.Now that very lagging has become a potential explosive situation. Withthecoming of antibiotics and other break-throughs in medicine, theAfrican population is growing with an all but geometric progression.So fast is it growing, that what advances were being made did lessthan keep up thelevel of per capita gross product. It was bad enoughto have a per capita gross product averaging less than a hundreddollars a year, but it actually sank below that point.\"Homer Crawford was nodding.Zetterbergcontinued the basic lecture with which he knew the otherwas already completely familiar. \"So the Reunited Nations took on thetask of advancing as rapidly as possible the African economy and allthe things that must bedone before an economy _can_ be advanced. Itwas self-preservation, I suppose. _Have-not_ nations, not to speak of_have-not_ races and _have-not_ continents, have a tendency eventuallyto explode upon theirwealthier neighbors.\"The Swede pressed his lips together before continuing. \"Unfortunately,the Reunited Nations as the United Nations and the League of Nationsbefore it, is composed of members each with its ownirons in the fire.Each with its own plans and schemes.\" His voice was bitter now. \"TheArab Union with its desire to unite all Islam into one. The SovietComplex with its ultimate dream of a soviet world. Thecapitalisticeconomies of the British Commonwealth, Common Europe, and your UnitedStates of the Americas, with their hunger for, positive need for,sources of raw materials and markets for their manufacturedproducts.All, though playing lip service to the African Development Project,have still their own ambitions.\"Sven Zetterberg waggled a finger at Homer Crawford. \"I do not chargethat your United States is attempting totake over Africa, or even anysection of it, in the old colonialistic sense. Even England and Francehave discovered that it is much simpler to dominate economically thanto go through all the expense and effort ofgoverning another people.That is the basic reason they gave up their empires. No, your UnitedStates would love to so dominate Africa that her products, herentrepreneurs, would flood the continent to the virtualexclusion ofsuch economic competitors as Common Europe. The Commonwealth feels thesame, so does the French Community. The Soviets and Arabs havedifferent motivations, but they, too, wish to take over.Theresult....\" The Swede tossed up his hands in a gesture more Gallicthan Scandinavian.       *       *       *       *       *\"What has all this got to do with El Hassan?\" Homer Crawford askedsoftly.The Swede leanedforward. \"If we more devoted adherents of theReunited Nations are ever to see our hopes come true, Africa must beunited and made strong. And this must be done through the efforts of_Africans_ not Russians, British,French, Arabs ... nor evenScandinavians. Socio-economic changes should not, possibly cannot, beinflicted upon a people from without. Look at the mess the Russiansmade in such countries as Hungary, or theAmericans in such as SouthKorea.\"\"The people themselves must have the dream,\" Crawford said softly.\"I beg your pardon?\"\"Nothing. Go on.\"Zetterberg said, \"On the surface, great progress seems to becontinuing.Afforestation of the Sahara, the solar pumps creating newoases, the water purification plants on the Atlantic andMediterranean, pushing back the desert, the oil fields, the mines, theroads, the damming of the Niger. Butalready cracks can be seen. Aweek or so ago, a team of Cubans, supposedly, at least, in the Sudanto improve sugar refining methods, were machine-gunned to death. Bywhom? By the Sudanese? Unlikely. No, thisCuban massacre was one ofmany recent signs of conflict between the great powers in theirefforts to dominate. Our problem, of course, deals only with NorthAfrica, but I have heard rumors in Geneva that much thesame situationis developing in the south as well.\"\"At any rate, Dr. Crawford, when the rumors of El Hassan began to comeinto this office they brought with them a breath of hope. From all wehave heard, he teaches ourbasic program--a breaking down of oldtribal society, education, economic progress, Pan-African unity. Dr.Crawford, no one with whom this office is connected seems ever to haveseen this El Hassan but we are mostanxious to talk to him. Perhapsthis is the man behind whom we can throw our support. Your task is tofind him.\"Homer Crawford raked the fingers of his right hand back over hisshort wiry hair, and grimaced. He said, \"Itwon't be necessary.\"[Illustration]\"I beg your pardon, Doctor?\"Crawford said, \"It won't be necessary to go looking for El Hassan.\"The Swede scowled his irritation at the other. \"See here....\"Crawford said, \"I'm ElHassan.\"Sven Zetterberg stared at him, uncomprehending.Homer Crawford said, \"I suppose it's your turn to listen and for meto do the talking.\" He shifted in his chair, uncomfortably. \"Dr.Zetterberg, even before theReunited Nations evolved the idea of theAfrican Development Project, it became obvious that the field work wasgoing to have to be in the hands of Negroes. The reason is doublefold.First, the African doesn't trust thewhite man, for good reason.Second, the white man is a citizen of his own country, first of all,and finds it difficult not to have motives connected with his own raceand nation. But the African Negro, too, has his tribal andsometimesnational affiliations and cannot be trusted not to be prejudiced intheir favor. The answer? The educated American Negro, such as myself.\"\"I haven't the slightest idea from whence came my ancestors, fromwhatpart of Africa, what tribe, what nation. But I am a Negro and ...well, have the dream of bettering my race. I have no irons in thefire, beyond altruistic ones. Of course, when I say American Negroes Idon't excludeCanadian ones, or those of Latin America or theCaribbean. It is simply that there are greater numbers of educatedAmerican Negroes than you find elsewhere.\"Zetterberg said impatiently, \"Please, Dr. Crawford. Come tothe point.That ridiculous statement you made about El Hassan.\"\"Of course, I am merely giving background. Most of we field workers,not only the African Development teams, but such organizations as theAfrica forAfricans Association and the representatives of the AfricanDepartment of the British Commonwealth, and of the French Community'sAfrican Affairs sector, are composed of Negroes.\"Zetterberg was nodding. \"All right, Iknow.\"Homer Crawford said, \"The teams of all these organizations do theirbest to spur African progress, in our case, in North Africa,especially the area between the Niger and the Mediterranean. Often wedisguiseourselves as natives since in that manner we are more quicklytrusted. We wear the clothes, speak the local language or linguafranca.\"The American hesitated a moment, then plunged in. \"Dr. Zetterberg, theAfrican isstill a primitive but newly beginning to move out of atradition-ritual-taboo tribal society. He seeks a hero to follow, aman of towering prestige who knows the answers to all questions. Wemay not _like_ this fact, we withour traditions of democracy, but itis so. The African is simply not yet at that stage of society wherepolitical democracy is applicable.\"\"My team does most of its work posing as Enaden--low caste itinerantsmiths of theSahara. As such we can go any place and are everywhereaccepted, a necessary sector of the Saharan economy. As such, wecontinually spread the ... ah, propaganda of the Reunited Nations--theneed for education, theneed for taking jobs on the new projects, theneed for casting aside old institutions and embracing the new. Earlyin the game we found our words had little weight coming from simpleEnaden smiths so we ... well,_invented_ this mysterious El Hassan,and everything we said we attributed to him.\"\"News spreads fast in the desert, astonishingly fast. El Hassanstarted with us but soon other teams, hearing about him andrealizingthat his message was the same as that they were trying to propagate,did the same thing. That is, attributed the messages they had tospread to El Hassan. It was amusing when a group of us got togetherlast"}
+{"doc_id":"doc_29","qid":"","text":"The Project Gutenberg EBook of Zuleika Dobson, by Max BeerbohmThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it underthe terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: Zuleika Dobson       or, An Oxford Love StoryAuthor: Max BeerbohmPosting Date: November 25, 2008 [EBook#1845]Release Date: August, 1999Language: English*** START OF THIS PROJECT GUTENBERG EBOOK ZULEIKA DOBSON ***Produced by Judy BossZULEIKA DOBSONor, AN OXFORD LOVE STORYBy MaxBeerbohm         NOTE to the 1922 edition         I was in Italy when this book was first published.         A year later (1912) I visited London, and I found         that most of my friends and acquaintances spoketo         me of Zu-like-a--a name which I hardly recognised         and thoroughly disapproved. I had always thought         of the lady as Zu-leek-a. Surely it was thus that         Joseph thought of his Wife, and Selim ofhis Bride?         And I do hope that it is thus that any reader of         these pages will think of Miss Dobson.                                              M.B.                                              Rapallo, 1922.ILLI ALMAE MATRIZULEIKADOBSONIThat old bell, presage of a train, had just sounded through Oxfordstation; and the undergraduates who were waiting there, gay figures intweed or flannel, moved to the margin of the platform and gazed idlyupthe line. Young and careless, in the glow of the afternoon sunshine,they struck a sharp note of incongruity with the worn boards they stoodon, with the fading signals and grey eternal walls of that antiquestation, which,familiar to them and insignificant, does yet whisper tothe tourist the last enchantments of the Middle Age.At the door of the first-class waiting-room, aloof and venerable, stoodthe Warden of Judas. An ebon pillar oftradition seemed he, in his garbof old-fashioned cleric. Aloft, between the wide brim of his silk hatand the white extent of his shirt-front, appeared those eyes whichhawks, that nose which eagles, had often envied. Hesupported his yearson an ebon stick. He alone was worthy of the background.Came a whistle from the distance. The breast of an engine was descried,and a long train curving after it, under a flight of smoke. It grewandgrew. Louder and louder, its noise foreran it. It became a furious,enormous monster, and, with an instinct for safety, all men recededfrom the platform's margin. (Yet came there with it, unknown to them,a danger farmore terrible than itself.) Into the station it cameblustering, with cloud and clangour. Ere it had yet stopped, the door ofone carriage flew open, and from it, in a white travelling dress, in atoque a-twinkle with finediamonds, a lithe and radiant creature slippednimbly down to the platform.A cynosure indeed! A hundred eyes were fixed on her, and half as manyhearts lost to her. The Warden of Judas himself had mounted on hisnosea pair of black-rimmed glasses. Him espying, the nymph darted in hisdirection. The throng made way for her. She was at his side.\"Grandpapa!\" she cried, and kissed the old man on either cheek. (Not ayouth therebut would have bartered fifty years of his future for thatsalute.)\"My dear Zuleika,\" he said, \"welcome to Oxford! Have you no luggage?\"\"Heaps!\" she answered. \"And a maid who will find it.\"\"Then,\" said the Warden, \"letus drive straight to College.\" He offeredher his arm, and they proceeded slowly to the entrance. She chattedgaily, blushing not in the long avenue of eyes she passed through. Allthe youths, under her spell, were nowquite oblivious of the relativesthey had come to meet. Parents, sisters, cousins, ran unclaimed aboutthe platform. Undutiful, all the youths were forming a serried suite totheir enchantress. In silence they followed her.They saw her leap intothe Warden's landau, they saw the Warden seat himself upon her left. Norwas it until the landau was lost to sight that they turned--how slowly,and with how bad a grace!--to look for theirrelatives.Through those slums which connect Oxford with the world, the landaurolled on towards Judas. Not many youths occurred, for nearly all--itwas the Monday of Eights Week--were down by the river, cheeringthecrews. There did, however, come spurring by, on a polo-pony, a verysplendid youth. His straw hat was encircled with a riband of blue andwhite, and he raised it to the Warden.\"That,\" said the Warden, \"is the Duke ofDorset, a member of my College.He dines at my table to-night.\"Zuleika, turning to regard his Grace, saw that he had not reined in andwas not even glancing back at her over his shoulder. She gave a littlestart ofdismay, but scarcely had her lips pouted ere they curved to asmile--a smile with no malice in its corners.As the landau rolled into \"the Corn,\" another youth--a pedestrian, andvery different--saluted the Warden. Hewore a black jacket, rusty andamorphous. His trousers were too short, and he himself was too short:almost a dwarf. His face was as plain as his gait was undistinguished.He squinted behind spectacles.\"And who isthat?\" asked Zuleika.A deep flush overspread the cheek of the Warden. \"That,\" he said, \"isalso a member of Judas. His name, I believe, is Noaks.\"\"Is he dining with us to-night?\" asked Zuleika.\"Certainly not,\" said theWarden. \"Most decidedly not.\"Noaks, unlike the Duke, had stopped for an ardent retrospect. He gazedtill the landau was out of his short sight; then, sighing, resumed hissolitary walk.The landau was rolling into \"theBroad,\" over that ground which had onceblackened under the fagots lit for Latimer and Ridley. It rolled pastthe portals of Balliol and of Trinity, past the Ashmolean. From thosepedestals which intersperse the railing ofthe Sheldonian, the highgrim busts of the Roman Emperors stared down at the fair stranger inthe equipage. Zuleika returned their stare with but a casual glance. Theinanimate had little charm for her.A moment later, acertain old don emerged from Blackwell's, where he hadbeen buying books. Looking across the road, he saw, to his amazement,great beads of perspiration glistening on the brows of those Emperors.He trembled, andhurried away. That evening, in Common Room, he toldwhat he had seen; and no amount of polite scepticism would convince himthat it was but the hallucination of one who had been reading too muchMommsen. Hepersisted that he had seen what he described. It was notuntil two days had elapsed that some credence was accorded him.Yes, as the landau rolled by, sweat started from the brows of theEmperors. They, at least,foresaw the peril that was overhanging Oxford,and they gave such warning as they could. Let that be remembered totheir credit. Let that incline us to think more gently of them. In theirlives we know, they wereinfamous, some of them--\"nihil non commiseruntstupri, saevitiae, impietatis.\" But are they too little punished, afterall? Here in Oxford, exposed eternally and inexorably to heat and frost,to the four winds that lash themand the rains that wear them away, theyare expiating, in effigy, the abominations of their pride and crueltyand lust. Who were lechers, they are without bodies; who were tyrants,they are crowned never but withcrowns of snow; who made themselves evenwith the gods, they are by American visitors frequently mistaken forthe Twelve Apostles. It is but a little way down the road that the twoBishops perished for their faith, andeven now we do never pass the spotwithout a tear for them. Yet how quickly they died in the flames! Tothese Emperors, for whom none weeps, time will give no surcease. Surely,it is sign of some grace in them thatthey rejoiced not, this brightafternoon, in the evil that was to befall the city of their penance.IIThe sun streamed through the bay-window of a \"best\" bedroom in theWarden's house, and glorified the palecrayon-portraits on the wall,the dimity curtains, the old fresh chintz. He invaded the many trunkswhich--all painted Z. D.--gaped, in various stages of excavation, aroundthe room. The doors of the huge wardrobe stood,like the doors ofJanus' temple in time of war, majestically open; and the sun seized thisopportunity of exploring the mahogany recesses. But the carpet, whichhad faded under his immemorial visitations, was nowalmost ENTIRELYhidden from him, hidden under layers of fair fine linen, layers ofsilk, brocade, satin, chiffon, muslin. All the colours of the rainbow,materialised by modistes, were there. Stacked on chairs were I knownotwhat of sachets, glove-cases, fan-cases. There were innumerable packagesin silver-paper and pink ribands. There was a pyramid of bandboxes.There was a virgin forest of boot-trees. And rustling quickly hitherandthither, in and out of this profusion, with armfuls of finery, was anobviously French maid. Alert, unerring, like a swallow she dipped anddarted. Nothing escaped her, and she never rested. She had the air ofthe bornunpacker--swift and firm, yet withal tender. Scarce had herarms been laden but their loads were lying lightly between shelves ortightly in drawers. To calculate, catch, distribute, seemed in her but asingle process. Shewas one of those who are born to make chaos cosmic.Insomuch that ere the loud chapel-clock tolled another hour all thetrunks had been sent empty away. The carpet was unflecked by any scrapof silver-paper. Fromthe mantelpiece, photographs of Zuleika surveyedthe room with a possessive air. Zuleika's pincushion, a-bristle withnew pins, lay on the dimity-flounced toilet-table, and round it stooda multitude of multiform glassvessels, domed, all of them, with dullgold, on which Z. D., in zianites and diamonds, was encrusted. Ona small table stood a great casket of malachite, initialled in likefashion. On another small table stood Zuleika'slibrary. Both books werein covers of dull gold. On the back of one cover BRADSHAW, in beryls,was encrusted; on the back of the other, A.B.C. GUIDE, in amethysts,beryls, chrysoprases, and garnets. And Zuleika's greatcheval-glassstood ready to reflect her. Always it travelled with her, in a greatcase specially made for it. It was framed in ivory, and of fluted ivorywere the slim columns it swung between. Of gold were its twinsconces,and four tall tapers stood in each of them.The door opened, and the Warden, with hospitable words, left hisgrand-daughter at the threshold.Zuleika wandered to her mirror. \"Undress me, Melisande,\" she said.Likeall who are wont to appear by night before the public, she had the habitof resting towards sunset.Presently Melisande withdrew. Her mistress, in a white peignoir tiedwith a blue sash, lay in a great chintz chair,gazing out of thebay-window. The quadrangle below was very beautiful, with its walls ofrugged grey, its cloisters, its grass carpet. But to her it was of nomore interest than if it had been the rattling court-yard to oneofthose hotels in which she spent her life. She saw it, but heeded it not.She seemed to be thinking of herself, or of something she desired, or ofsome one she had never met. There was ennui, and there waswistfulness,in her gaze. Yet one would have guessed these things to be transient--tobe no more than the little shadows that sometimes pass between a brightmirror and the brightness it reflects.Zuleika was not strictlybeautiful. Her eyes were a trifle large, andtheir lashes longer than they need have been. An anarchy of small curlswas her chevelure, a dark upland of misrule, every hair asserting itsrights over a not discreditable brow.For the rest, her features werenot at all original. They seemed to have been derived rather from agallimaufry of familiar models. From Madame la Marquise de Saint-Ouencame the shapely tilt of the nose. The mouthwas a mere replica ofCupid's bow, lacquered scarlet and strung with the littlest pearls.No apple-tree, no wall of peaches, had not been robbed, nor any Tyrianrose-garden, for the glory of Miss Dobson's cheeks. Her neckwasimitation-marble. Her hands and feet were of very mean proportions. Shehad no waist to speak of.Yet, though a Greek would have railed at her asymmetry, and anElizabethan have called her \"gipsy,\" Miss Dobsonnow, in the midst ofthe Edwardian Era, was the toast of two hemispheres. Late in her 'teensshe had become an orphan and a governess. Her grandfather had refusedher appeal for a home or an allowance, on theground that he would notbe burdened with the upshot of a marriage which he had once forbiddenand not yet forgiven. Lately, however, prompted by curiosity or byremorse, he had asked her to spend a week or so ofhis decliningyears with him. And she, \"resting\" between two engagements--one atHammerstein's Victoria, N.Y.C., the other at the Folies Bergeres,Paris--and having never been in Oxford, had so far let bygonesbebygones as to come and gratify the old man's whim.It may be that she still resented his indifference to those earlystruggles which, even now, she shuddered to recall. For a governess'life she had been, indeed,notably unfit. Hard she had thought it, thatpenury should force her back into the school-room she was scarce out of,there to champion the sums and maps and conjugations she had nevertried to master. Hating herwork, she had failed signally to pick upany learning from her little pupils, and had been driven from houseto house, a sullen and most ineffectual maiden. The sequence of hersituations was the swifter by reason of herpretty face. Was there agrown-up son, always he fell in love with her, and she would let hiseyes trifle boldly with hers across the dinner-table. When he offeredher his hand, she would refuse it--not because she \"knewher place,\"but because she did not love him. Even had she been a good teacher, herpresence could not have been tolerated thereafter. Her corded trunk,heavier by another packet of billets-doux and a month's salaryinadvance, was soon carried up the stairs of some other house.It chanced that she came, at length, to be governess in a large familythat had Gibbs for its name and Notting Hill for its background. Edward,the eldestson, was a clerk in the city, who spent his evenings in thepractice of amateur conjuring. He was a freckled youth, with hair thatbristled in places where it should have lain smooth, and he fell in lovewith Zuleika duly, atfirst sight, during high-tea. In the course of theevening, he sought to win her admiration by a display of all his tricks.These were familiar to this household, and the children had been sentto bed, the mother was dozing,long before the seance was at an end. ButMiss Dobson, unaccustomed to any gaieties, sat fascinated by the youngman's sleight of hand, marvelling that a top-hat could hold so manygoldfish, and a handkerchief turn soswiftly into a silver florin. Allthat night, she lay wide awake, haunted by the miracles he had wrought.Next evening, when she asked him to repeat them, \"Nay,\" he whispered,\"I cannot bear to deceive the girl I love.Permit me to explain thetricks.\" So he explained them. His eyes sought hers across the bowl ofgold-fish, his fingers trembled as he taught her to manipulate the magiccanister. One by one, she mastered the paltrysecrets. Her respect forhim waned with every revelation. He complimented her on her skill. \"Icould not do it more neatly myself!\" he said. \"Oh, dear Miss Dobson,will you but accept my hand, all these things shall beyours--the cards,the canister, the goldfish, the demon egg-cup--all yours!\" Zuleika,with ravishing coyness, answered that if he would give her them now, shewould \"think it over.\" The swain consented, and at bed-timesheretired with the gift under her arm. In the light of her bedroom candleMarguerite hung not in greater ecstasy over the jewel-casket thanhung Zuleika over the box of tricks. She clasped her hands overthetremendous possibilities it held for her--manumission from her bondage,wealth, fame, power. Stealthily, so soon as the house slumbered,she packed her small outfit, embedding therein the precious gift.Noiselessly,she shut the lid of her trunk, corded it, shouldered it,stole down the stairs with it. Outside--how that chain had grated!and her shoulder, how it was aching!--she soon found a cab. She tooka night's sanctuary in somerailway-hotel. Next day, she moved intoa small room in a lodging-house off the Edgware Road, and there fora whole week she was sedulous in the practice of her tricks. Then sheinscribed her name on the books of a\"Juvenile Party EntertainmentsAgency.\"The Christmas holidays were at hand, and before long she got anengagement. It was a great evening for her. Her repertory was, it mustbe confessed, old and obvious; but thechildren, in deference to theirhostess, pretended not to know how the tricks were done, and assumedtheir prettiest airs of wonder and delight. One of them even pretendedto be frightened, and was led howling from theroom. In fact, the wholething went off splendidly. The hostess was charmed, and told Zuleikathat a glass of lemonade would be served to her in the hall. Otherengagements soon followed. Zuleika was very, very happy.I cannot claimfor her that she had a genuine passion for her art. The true conjurerfinds his guerdon in the consciousness of work done perfectly and forits own sake. Lucre and applause are not necessary to him. If hewereset down, with the materials of his art, on a desert island, he wouldyet be quite happy. He would not cease to produce the barber's-pole fromhis mouth. To the indifferent winds he would still speak his patter,andeven in the last throes of starvation would not eat his live rabbit orhis gold-fish. Zuleika, on a desert island, would have spent most of hertime in looking for a man's foot-print. She was, indeed, far too humanacreature to care much for art. I do not say that she took her worklightly. She thought she had genius, and she liked to be told that thiswas so. But mainly she loved her work as a means of mere self-display.The frankadmiration which, into whatsoever house she entered, thegrown-up sons flashed on her; their eagerness to see her to the door;their impressive way of putting her into her omnibus--these were thethings she revelledin. She was a nymph to whom men's admiration was thegreater part of life. By day, whenever she went into the streets,she was conscious that no man passed her without a stare; and thisconsciousness gave a sharpzest to her outings. Sometimes she wasfollowed to her door--crude flattery which she was too innocent to fear.Even when she went into the haberdasher's to make some little purchaseof tape or riband, or into thegrocer's--for she was an epicure in herhumble way--to buy a tin of potted meat for her supper, the homage ofthe young men behind the counter did flatter and exhilarate her. As thehomage of men became for her,more and more, a matter of course, themore subtly necessary was it to her happiness. The more she won of it,the more she treasured it. She was alone in the world, and it saved herfrom any moment of regret that shehad neither home nor friends. Forher the streets that lay around her had no squalor, since she paced themalways in the gold nimbus of her fascinations. Her bedroom seemed notmean nor lonely to her, since the littlesquare of glass, nailed abovethe wash-stand, was ever there to reflect her face. Thereinto, indeed,she was ever peering. She would droop her head from side to side, shewould bend it forward and see herself frombeneath her eyelashes, thentilt it back and watch herself over her supercilious chin. And she wouldsmile, frown, pout, languish--let all the emotions hover upon her face;and always she seemed to herself lovelier thanshe had ever been.Yet was there nothing Narcissine in her spirit. Her love for her ownimage was not cold aestheticism. She valued that image not for its ownsake, but for sake of the glory it always won for her. In thelittleremote music-hall, where she was soon appearing nightly as an \"earlyturn,\" she reaped glory in a nightly harvest. She could feel that allthe gallery-boys, because of her, were scornful of the sweetheartswedgedbetween them, and she knew that she had but to say \"Will anygentleman in the audience be so good as to lend me his hat?\" for thestalls to rise as one man and rush towards the platform. But greaterthings were instore for her. She was engaged at two halls in the WestEnd. Her horizon was fast receding and expanding. Homage became nightlytangible in bouquets, rings, brooches--things acceptable and (luckierthan their donors)accepted. Even Sunday was not barren for Zuleika:modish hostesses gave her postprandially to their guests. Came thatSunday night, notanda candidissimo calculo! when she received certainguttural compliments whichmade absolute her vogue and enabled her tocommand, thenceforth, whatever terms she asked for.Already, indeed, she was rich. She was living at the most exorbitanthotel in all Mayfair. She had innumerable gownsand no necessity to buyjewels; and she also had, which pleased her most, the fine cheval-glassI have described. At the close of the Season, Paris claimed her fora month's engagement. Paris saw her and was prostrate."}
+{"doc_id":"doc_30","qid":"","text":"The Project Gutenberg eBook, The Castle of Otranto, by Horace Walpole,Edited by Henry MorleyThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it,give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: The Castle of OtrantoAuthor: Horace WalpoleEditor: Henry MorleyRelease Date:May 5, 2012  [eBook #696][This file was first posted on October 22, 1996]Language: EnglishCharacter set encoding: UTF-8***START OF THE PROJECT GUTENBERG EBOOK THE CASTLE OF OTRANTO***Transcribedfrom the 1901 Cassell and Company edition by David Price,email ccx074@pglaf.org                        CASSELLâ\u0000\u0000S NATIONAL LIBRARY                               (New Series)                                * * * **                                   THE                            CASTLE OF OTRANTO.                                * * * * *                                    BY                             HORACE WALPOLE.                      [Picture: Decorativegraphic]                       CASSELL AND COMPANY, LIMITED                _LONDON_, _PARIS_, _NEW YORK & MELBOURNE_                                   1901INTRODUCTIONHORACE WALPOLE was the youngest son of SirRobert Walpole, the greatstatesman, who died Earl of Orford.  He was born in 1717, the year inwhich his father resigned office, remaining in opposition for almostthree years before his return to a long tenure ofpower.  Horace Walpolewas educated at Eton, where he formed a school friendship with ThomasGray, who was but a few months older.  In 1739 Gray wastravelling-companion with Walpole in France and Italy until theydifferedand parted; but the friendship was afterwards renewed, and remained firmto the end.  Horace Walpole went from Eton to Kingâ\u0000\u0000s College, Cambridge,and entered Parliament in 1741, the year before hisfatherâ\u0000\u0000s finalresignation and acceptance of an earldom.  His way of life was made easyto him.  As Usher of the Exchequer, Comptroller of the Pipe, and Clerk ofthe Estreats in the Exchequer, he received nearly twothousand a year fordoing nothing, lived with his father, and amused himself.Horace Walpole idled, and amused himself with the small life of thefashionable world to which he was proud of belonging, though he hadaquick eye for its vanities.  He had social wit, and liked to put it tosmall uses.  But he was not an empty idler, and there were seasons whenhe could become a sharp judge of himself.  â\u0000\u0000I am sensible,â\u0000\u0000 he wrotetohis most intimate friend, â\u0000\u0000I am sensible of having more follies andweaknesses and fewer real good qualities than most men.  I sometimesreflect on this, though, I own, too seldom.  I always want to beginactinglike a man, and a sensible one, which I think I might be if Iwould.â\u0000\u0000  He had deep home affections, and, under many politeaffectations, plenty of good sense.Horace Walpoleâ\u0000\u0000s father died in 1745.  The eldest son,who succeeded tothe earldom, died in 1751, and left a son, George, who was for a timeinsane, and lived until 1791.  As George left no child, the title andestates passed to Horace Walpole, then seventy-four years old,and theonly uncle who survived.  Horace Walpole thus became Earl of Orford,during the last six years of his life.  As to the title, he said that hefelt himself being called names in his old age.  He died unmarried, intheyear 1797, at the age of eighty.He had turned his house at Strawberry Hill, by the Thames, nearTwickenham, into a Gothic villaâ\u0000\u0000eighteenth-century Gothicâ\u0000\u0000and amusedhimself by spending freely upon itsadornment with such things as werethen fashionable as objects of taste.  But he delighted also in hisflowers and his trellises of roses, and the quiet Thames.  When confinedby gout to his London house in ArlingtonStreet, flowers from StrawberryHill and a bird were necessary consolations.  He set up also atStrawberry Hill a private printing press, at which he printed his friendGrayâ\u0000\u0000s poems, also in 1758 his own â\u0000\u0000Catalogueof the Royal and NobleAuthors of England,â\u0000\u0000 and five volumes of â\u0000\u0000Anecdotes of Painting inEngland,â\u0000\u0000 between 1762 and 1771.Horace Walpole produced _The Castle of Otranto_ in 1765, at the matureage offorty-eight.  It was suggested by a dream from which he said hewaked one morning, and of which â\u0000\u0000all I could recover was, that I hadthought myself in an ancient castle (a very natural dream for a head likemine,filled with Gothic story), and that on the uppermost banister of agreat staircase I saw a gigantic hand in armour.  In the evening I satdown and began to write, without knowing in the least what I intended tosay orrelate.â\u0000\u0000  So began the tale which professed to be translated byâ\u0000\u0000William Marshal, gentleman, from the Italian of Onuphro Muralto, canonof the Church of St. Nicholas, at Otranto.â\u0000\u0000  It was written intwomonths.  Walpoleâ\u0000\u0000s friend Gray reported to him that at Cambridge the bookmade â\u0000\u0000some of them cry a little, and all in general afraid to go to bedoâ\u0000\u0000 nights.â\u0000\u0000  _The Castle of Otranto_ was, in its ownway, an early signof the reaction towards romance in the latter part of the last century.This gives it interest.  But it has had many followers, and the hardymodern reader, when he readâ\u0000\u0000s Grayâ\u0000\u0000s note fromCambridge, needs to bereminded of its date.                                                                     H. M.PREFACE TO THE FIRST EDITION.The following work was found in the library of an ancient Catholic familyin the north ofEngland.  It was printed at Naples, in the black letter,in the year 1529.  How much sooner it was written does not appear.  Theprincipal incidents are such as were believed in the darkest ages ofChristianity; but thelanguage and conduct have nothing that savours ofbarbarism.  The style is the purest Italian.If the story was written near the time when it is supposed to havehappened, it must have been between 1095, the era of thefirst Crusade,and 1243, the date of the last, or not long afterwards.  There is noother circumstance in the work that can lead us to guess at the period inwhich the scene is laid: the names of the actors areevidentlyfictitious, and probably disguised on purpose: yet the Spanish names ofthe domestics seem to indicate that this work was not composed until theestablishment of the Arragonian Kings in Naples had madeSpanishappellations familiar in that country.  The beauty of the diction, andthe zeal of the author (moderated, however, by singular judgment) concurto make me think that the date of the composition was littleantecedentto that of the impression.  Letters were then in their most flourishingstate in Italy, and contributed to dispel the empire of superstition, atthat time so forcibly attacked by the reformers.  It is not unlikelythatan artful priest might endeavour to turn their own arms on theinnovators, and might avail himself of his abilities as an author toconfirm the populace in their ancient errors and superstitions.  If thiswas his view, hehas certainly acted with signal address.  Such a work asthe following would enslave a hundred vulgar minds beyond half the booksof controversy that have been written from the days of Luther to thepresent hour.Thissolution of the authorâ\u0000\u0000s motives is, however, offered as a mereconjecture.  Whatever his views were, or whatever effects the executionof them might have, his work can only be laid before the public atpresent as amatter of entertainment.  Even as such, some apology for itis necessary.  Miracles, visions, necromancy, dreams, and otherpreternatural events, are exploded now even from romances.  That was notthe case when ourauthor wrote; much less when the story itself issupposed to have happened.  Belief in every kind of prodigy was soestablished in those dark ages, that an author would not be faithful tothe manners of the times, whoshould omit all mention of them.  He is notbound to believe them himself, but he must represent his actors asbelieving them.If this air of the miraculous is excused, the reader will find nothingelse unworthy of hisperusal.  Allow the possibility of the facts, andall the actors comport themselves as persons would do in their situation.There is no bombast, no similes, flowers, digressions, or unnecessarydescriptions.  Everything tendsdirectly to the catastrophe.  Never isthe readerâ\u0000\u0000s attention relaxed.  The rules of the drama are almostobserved throughout the conduct of the piece.  The characters are welldrawn, and still bettermaintained.  Terror, the authorâ\u0000\u0000s principalengine, prevents the story from ever languishing; and it is so oftencontrasted by pity, that the mind is kept up in a constant vicissitude ofinteresting passions.Some personsmay perhaps think the characters of the domestics too littleserious for the general cast of the story; but besides their oppositionto the principal personages, the art of the author is very observable inhis conduct of thesubalterns.  They discover many passages essential tothe story, which could not be well brought to light but by their_naïveté_ and simplicity.  In particular, the womanish terror and foiblesof Bianca, in the lastchapter, conduce essentially towards advancing thecatastrophe.It is natural for a translator to be prejudiced in favour of his adoptedwork.  More impartial readers may not be so much struck with the beautiesof thispiece as I was.  Yet I am not blind to my authorâ\u0000\u0000s defects.  Icould wish he had grounded his plan on a more useful moral than this:that â\u0000\u0000the sins of fathers are visited on their children to the third andfourthgeneration.â\u0000\u0000  I doubt whether, in his time, any more than atpresent, ambition curbed its appetite of dominion from the dread of soremote a punishment.  And yet this moral is weakened by that lessdirectinsinuation, that even such anathema may be diverted by devotion to St.Nicholas.  Here the interest of the Monk plainly gets the better of thejudgment of the author.  However, with all its faults, I have nodoubtbut the English reader will be pleased with a sight of this performance.The piety that reigns throughout, the lessons of virtue that areinculcated, and the rigid purity of the sentiments, exempt this work fromthecensure to which romances are but too liable.  Should it meet withthe success I hope for, I may be encouraged to reprint the originalItalian, though it will tend to depreciate my own labour.  Our languagefalls far shortof the charms of the Italian, both for variety andharmony.  The latter is peculiarly excellent for simple narrative.  It isdifficult in English to relate without falling too low or rising toohigh; a fault obviously occasioned bythe little care taken to speak purelanguage in common conversation.  Every Italian or Frenchman of any rankpiques himself on speaking his own tongue correctly and with choice.  Icannot flatter myself with having donejustice to my author in thisrespect: his style is as elegant as his conduct of the passions ismasterly.  It is a pity that he did not apply his talents to what theywere evidently proper forâ\u0000\u0000the theatre.I will detain thereader no longer, but to make one short remark.  Thoughthe machinery is invention, and the names of the actors imaginary, Icannot but believe that the groundwork of the story is founded on truth.The scene isundoubtedly laid in some real castle.  The author seemsfrequently, without design, to describe particular parts.  â\u0000\u0000The chamber,â\u0000\u0000says he, â\u0000\u0000on the right hand;â\u0000\u0000 â\u0000\u0000the door on the left hand;â\u0000\u0000â\u0000\u0000the distancefrom the chapel to Conradâ\u0000\u0000s apartment:â\u0000\u0000 these and other passages arestrong presumptions that the author had some certain building in his eye.Curious persons, who have leisure to employ insuch researches, maypossibly discover in the Italian writers the foundation on which ourauthor has built.  If a catastrophe, at all resembling that which hedescribes, is believed to have given rise to this work, itwillcontribute to interest the reader, and will make the â\u0000\u0000Castle of Otrantoâ\u0000\u0000a still more moving story.SONNET TO THE RIGHT HONOURABLE LADY MARY COKE.   The gentle maid, whose hapless tale      Thesemelancholy pages speak;   Say, gracious lady, shall she fail      To draw the tear adown thy cheek?   No; never was thy pitying breast      Insensible to human woes;   Tender, thoâ\u0000\u0000 firm, it melts distrest      Forweaknesses it never knows.   Oh! guard the marvels I relate   Of fell ambition scourgâ\u0000\u0000d by fate,      From reasonâ\u0000\u0000s peevish blame.   Blest with thy smile, my dauntless sail   I dare expand to Fancyâ\u0000\u0000sgale,      For sure thy smiles are Fame.                                                                     H. W.CHAPTER I.Manfred, Prince of Otranto, had one son and one daughter: the latter, amost beautiful virgin, aged eighteen, wascalled Matilda.  Conrad, theson, was three years younger, a homely youth, sickly, and of no promisingdisposition; yet he was the darling of his father, who never showed anysymptoms of affection to Matilda.  Manfredhad contracted a marriage forhis son with the Marquis of Vicenzaâ\u0000\u0000s daughter, Isabella; and she hadalready been delivered by her guardians into the hands of Manfred, thathe might celebrate the wedding as soon asConradâ\u0000\u0000s infirm state of healthwould permit.Manfredâ\u0000\u0000s impatience for this ceremonial was remarked by his family andneighbours.  The former, indeed, apprehending the severity of theirPrinceâ\u0000\u0000s disposition,did not dare to utter their surmises on thisprecipitation.  Hippolita, his wife, an amiable lady, did sometimesventure to represent the danger of marrying their only son so early,considering his great youth, and greaterinfirmities; but she neverreceived any other answer than reflections on her own sterility, who hadgiven him but one heir.  His tenants and subjects were less cautious intheir discourses.  They attributed this hastywedding to the Princeâ\u0000\u0000sdread of seeing accomplished an ancient prophecy, which was said to havepronounced that the castle and lordship of Otranto â\u0000\u0000should pass from thepresent family, whenever the realowner should be grown too large toinhabit it.â\u0000\u0000  It was difficult to make any sense of this prophecy; andstill less easy to conceive what it had to do with the marriage inquestion.  Yet these mysteries, orcontradictions, did not make thepopulace adhere the less to their opinion.Young Conradâ\u0000\u0000s birthday was fixed for his espousals.  The company wasassembled in the chapel of the Castle, and everything ready forbeginningthe divine office, when Conrad himself was missing.  Manfred, impatientof the least delay, and who had not observed his son retire, despatchedone of his attendants to summon the young Prince.  The servant,who hadnot stayed long enough to have crossed the court to Conradâ\u0000\u0000s apartment,came running back breathless, in a frantic manner, his eyes staring, andfoaming at the mouth.  He said nothing, but pointed to thecourt.The company were struck with terror and amazement.  The PrincessHippolita, without knowing what was the matter, but anxious for her son,swooned away.  Manfred, less apprehensive than enraged attheprocrastination of the nuptials, and at the folly of his domestic, askedimperiously what was the matter?  The fellow made no answer, butcontinued pointing towards the courtyard; and at last, after repeatedquestionsput to him, cried out, â\u0000\u0000Oh! the helmet! the helmet!â\u0000\u0000In the meantime, some of the company had run into the court, from whencewas heard a confused noise of shrieks, horror, and surprise.  Manfred,who beganto be alarmed at not seeing his son, went himself to getinformation of what occasioned this strange confusion.  Matilda remainedendeavouring to assist her mother, and Isabella stayed for the samepurpose, and toavoid showing any impatience for the bridegroom, forwhom, in truth, she had conceived little affection.The first thing that struck Manfredâ\u0000\u0000s eyes was a group of his servantsendeavouring to raise something thatappeared to him a mountain of sableplumes.  He gazed without believing his sight.â\u0000\u0000What are ye doing?â\u0000\u0000 cried Manfred, wrathfully; â\u0000\u0000where is my son?â\u0000\u0000A volley of voices replied, â\u0000\u0000Oh! my Lord! thePrince! the Prince! thehelmet! the helmet!â\u0000\u0000Shocked with these lamentable sounds, and dreading he knew not what, headvanced hastily,â\u0000\u0000but what a sight for a fatherâ\u0000\u0000s eyes!â\u0000\u0000he beheld hischild dashedto pieces, and almost buried under an enormous helmet, anhundred times more large than any casque ever made for human being, andshaded with a proportionable quantity of black feathers.The horror of thespectacle, the ignorance of all around how thismisfortune had happened, and above all, the tremendous phenomenon beforehim, took away the Princeâ\u0000\u0000s speech.  Yet his silence lasted longer thaneven grief couldoccasion.  He fixed his eyes on what he wished in vainto believe a vision; and seemed less attentive to his loss, than buriedin meditation on the stupendous object that had occasioned it.  Hetouched, he examined thefatal casque; nor could even the bleedingmangled remains of the young Prince divert the eyes of Manfred from theportent before him.All who had known his partial fondness for young Conrad, were as muchsurprised attheir Princeâ\u0000\u0000s insensibility, as thunderstruck themselves atthe miracle of the helmet.  They conveyed the disfigured corpse into thehall, without receiving the least direction from Manfred.  As little washe attentive tothe ladies who remained in the chapel.  On the contrary,without mentioning the unhappy princesses, his wife and daughter, thefirst sounds that dropped from Manfredâ\u0000\u0000s lips were, â\u0000\u0000Take care of theLadyIsabella.â\u0000\u0000The domestics, without observing the singularity of this direction, wereguided by their affection to their mistress, to consider it as peculiarlyaddressed to her situation, and flew to her assistance.  Theyconveyedher to her chamber more dead than alive, and indifferent to all thestrange circumstances she heard, except the death of her son.Matilda, who doted on her mother, smothered her own grief andamazement,and thought of nothing but assisting and comforting her afflicted parent.Isabella, who had been treated by Hippolita like a daughter, and whoreturned that tenderness with equal duty and affection, wasscarce lessassiduous about the Princess; at the same time endeavouring to partakeand lessen the weight of sorrow which she saw Matilda strove to suppress,for whom she had conceived the warmest sympathy offriendship.  Yet herown situation could not help finding its place in her thoughts.  She feltno concern for the death of young Conrad, except commiseration; and shewas not sorry to be delivered from a marriage whichhad promised herlittle felicity, either from her destined bridegroom, or from the severetemper of Manfred, who, though he had distinguished her by greatindulgence, had imprinted her mind with terror, from hiscauseless rigourto such amiable princesses as Hippolita and Matilda.While the ladies were conveying the wretched mother to her bed, Manfredremained in the court, gazing on the ominous casque, and regardless ofthecrowd which the strangeness of the event had now assembled aroundhim.  The few words he articulated, tended solely to inquiries, whetherany man knew from whence it could have come?  Nobody could give himtheleast information.  However, as it seemed to be the sole object of hiscuriosity, it soon became so to the rest of the spectators, whoseconjectures were as absurd and improbable, as the catastrophe itselfwasunprecedented.  In the midst of their senseless guesses, a young peasant,whom rumour had drawn thither from a neighbouring village, observed thatthe miraculous helmet was exactly like that on the figure inblack marbleof Alfonso the Good, one of their former princes, in the church of St.Nicholas.â\u0000\u0000Villain!  What sayest thou?â\u0000\u0000 cried Manfred, starting from his trance ina tempest of rage, and seizing the young man bythe collar; â\u0000\u0000how darestthou utter such treason?  Thy life shall pay for it.â\u0000\u0000The spectators, who as little comprehended the cause of the Princeâ\u0000\u0000s furyas all the rest they had seen, were at a loss to unravel thisnewcircumstance.  The young peasant himself was still more astonished, notconceiving how he had offended the Prince.  Yet recollecting himself,with a mixture of grace and humility, he disengaged himselffromManfredâ\u0000\u0000s grip, and then with an obeisance, which discovered morejealousy of innocence than dismay, he asked, with respect, of what he wasguilty?  Manfred, more enraged at the vigour, however decentlyexerted,with which the young man had shaken off his hold, than appeased by hissubmission, ordered his attendants to seize him, and, if he had not beenwithheld by his friends whom he had invited to the nuptials,would havepoignarded the peasant in their arms.During this altercation, some of the vulgar spectators had run to thegreat church, which stood near the castle, and came back open-mouthed,declaring that the helmet"}
+{"doc_id":"doc_31","qid":"","text":"<html><head><title>Best Exotic Marigold Hotel, The Script at IMSDb.</title><meta name=\"description\" content=\"Best Exotic Marigold Hotel, The script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Best Exotic Marigold Hotel, The script, Best Exotic Marigold Hotel, The movie script, Best Exotic Marigold Hotel, The film script\"><meta name=\"viewport\" content=\"width=device-width,initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><metaname=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><metaname=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq ||[];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' ==document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>TheInternet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie ScriptDatabase\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <scripttype=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre> <b>                             THE BEST EXOTIC MARIGOLD HOTEL</b>                                      Written by                                      OlParker          Based on the book THESE FOOLISH THINGS by DeborahMoggach                                                  <b>                                                                  10/01/11</b>                                                  <b>                         1 OVER BLACK 1</b>          Muffled music;soothing, generic.<b>                         AUTOMATED VOICE</b>          Thank you for your patience.          Your call is important to us. We          will be with you shortly.<b>          2 INT. MANSION FLAT, LONDON -DAY 2</b>          A neat, well-appointed flat, tastefully decorated. Framed          against a large window which looks out over the city, an          elegant woman in her 70's: EVELYN GREENSLADE. She's onthe          phone, on hold.          On the desk in front of her is a brand new laptop computer;          the screen reads 'Getting Started ...'<b>                         AUTOMATED VOICE</b><b>                         (ONPHONE)</b>          Thank you for your patience.          Your call is important to us. We          will be with you shortly.          Evelyn's patience is strained nonetheless. She taps her          fingers on thedesk.          AUTOMATED VOICE (cont'd)<b>                         (ON PHONE)</b>          Thank you for your patience.          Your call is -          A slightly-accented voice finally interrupts.<b>                         FEMALEVOICE</b>          Mrs Greenslade, thank you for<b>                         WAITING -</b><b>                         EVELYN</b><b>                         (OVERLAPPING)</b>          Yes, now if you could stay on the          phonefor a moment and talk to          me, just talk to me. I'm not          even clear, I don't actually          understand what it is I'm trying          to order. Is wireless the same          as wi-fi? And what do either of          themhave to do with broadband?<b>                         FEMALE VOICE</b>          Mrs Greenslade, since the account          is not in your name, before we          can make any changes we need to          speak to the accountholder. Can          I please talk to the account          holder?                                                                                                              <b>                         EVELYN</b>          What?<b>                         FEMALEVOICE</b>          I'm asking if I can speak to the          account holder. Before we can          make any changes -<b>                         EVELYN</b>          You can't talk to him,no.<b>                         (BEAT)</b>          He's dead. He died. There's          only me.<b>          3 INT. CORRIDOR/JUDGES CHAMBERS. INNS OF COURT - NIGHT 3</b>          GILES, a judge in full wig and robes,moves quickly down a          corridor. He passes other judges, going the opposite way.          He arrives at the office of GRAHAM DASHWOOD, goes in.          GRAHAM is at his desk. His robes are on a hanger, hiswig          is on a stand beside him.<b>                         GILES</b>          We're late.<b>          4 INT. CORRIDOR. INNS OF COURT - NIGHT 4</b>          Moments later. Graham and Giles walk down thecorridor.<b>                         GRAHAM</b>          Bloody retirement parties. Hard          cheese, soft wine, and endless          speeches. Why do people do that?          No one ever said about any kind          of party: itwas a wonderful          occasion, just a shame that the          speeches were so short.<b>                         GILES</b>          it'll be you one day.<b>                         GRAHAM</b>          One day verysoon.<b>                         GILES</b>          You've been saying that for          years.          They walk into a large room, full of lawyers.<b>          4A INT. HALL. INNS OF COURT - CONTINUOUS 4A</b>          At oneend of the hall, a very old JUDGE is giving a very          dull speech.                                                                                                    <b>           3.</b><b>                         JUDGE</b>          An occasion such asthis leads          one to cast ones mind back to the          days when I first entered my          pupillage. I had the very good          fortune of serving as a junior to          Mr Justice Stancombe          Graham's notlistening any more. He's looking around the          room. At the old, tired faces.<b>                         JUDGE (CONT'D)</b>          . the unwelcome news that I          would transfer Chambers, bringing          to mindthe old adage a fronte          praecipitium, a tergo 1upi          Everything seems to slow down, the judge's mouth moving          more and more sluggishly, though his voice remains the          same. The effect is strange.. then the sound of laughter.<b>                         GRAHAM</b>          This is the day.          Everyone looks round at him. He's almost as surprised as          they are that he's spoken outloud.<b>                         GILES</b>          Graham?<b>                         GRAHAM</b>          This is the day.          He turns and walks out.<b>          5 INT. HOSPITAL - DAY 5</b>          Staff bustle around a busyA & E ward. MURIEL lies on a          bed in the corridor.          The Head Nurse, KAREN, rushes past.<b>                         MURIEL</b>          Listen, young lady. I want a cup          of tea, and I want itnow.<b>                         KAREN</b>          The trolley will be along          shortly.<b>                         MURIEL</b>          How hard d'you have to fall down          before you get some proper          attention? HoursI've been lying          here, and not a single doctor has          come to see me.                                                                                                    <b>           3A.</b><b>                         KAREN</b>          Nowthat's not quite true, is it          Mrs Donnelly?<b>                         (MORE)</b>                                                                                                    <b>           4.</b><b>                         KAREN(CONT'D)</b>          A doctor did try and examine you,          and you sent him away.<b>                         MURIEL</b>          That one?          She looks up to the far end of the ward, where a doctor is          washinghis hands. He's black.<b>                         MURIEL</b>          He can wash all he likes, that          colour's not coming out. I want          an English doctor.<b>                         KAREN</b>          An English doctor?Why didn't          you say so? I'll get one right          away.          She goes away, comes back moments later with a tall,          handsome doctor. The bad news for Muriel is<b>                         KAREN(CONT'D)</b>          This is Dr Ghujarapartidar. And          this is Mrs Donnelly.<b>          5A EXT. NEW HOUSING ESTATE - DAY 5A</b>          A crescent of identical bungalows, part of a brand new          retirementfacility.          A mobility scooter carrying an elderly resident trundles          down the road.<b>          ESTATE AGENT (O.S.)</b>          .. with an unlimited range of          leisure opportunities just a          stone'sthrow away...<b>          6 INT. NEW HOUSING DEVELOPMENT - DAY 6</b>          A young estate agent, EVAN, is showing DOUGLAS and JEAN          around a very small, and very beigebungalow.<b>                         EVAN</b>          So as I say, what you're looking          at here is very competitively          priced, you can't get better          value for your grey pound.          Another little feature,not          necessary right now, but give it          a couple of years<b>                         (POINTS)</b>          . rails on the walls to help          you get around, and down here, a          panic button in case of asudden          fall, brings the Warden running.                                                                                                    <b>           4A.</b><b>                         JEAN</b>          What if we fell somewhereelse?<b>                         EVAN</b>          Sorry?<b>                         JEAN</b>          It's just that we might not          manage to plan our sudden fall in          the exact corner where thebutton          is.<b>                         EVAN</b>          Yeah. As I say -                                                                                                    <b>           5.</b><b>                         JEAN</b>          And would it bepossible to get          the rail to go through the middle          of the room as well?<b>                         DOUGLAS</b><b>                         DARLING</b><b>                         JEAN</b>          To help us get across,not just          around?<b>                         DOUGLAS</b><b>                         (TO EVAN)</b>          Could we have a moment, please?          Thanks. Thanks so much.          Evangoes.<b>                         JEAN</b>          Thirty years in the Civil Service          and this is all we can afford?<b>                         DOUGLAS</b>          Would it help if Iapologized          again?<b>                         JEAN</b>          No. But try it anyway.<b>          7 INT. BAR - NIGHT 7</b>           JUDITH (40ish) is sitting opposite someone. We don'tsee           whom.<b>                         JUDITH</b>          And then after that I worked as a          systems analyst for a few years          but I just found it so dull, what          I really wanted was to do          somethingthat was more creative,          that matched my ...<b>                         (BEAT)</b>          I'm sorry. On the form they          asked for our age bracket, and          the age we wanted to meet . and          in both cases Iticked 35-45.          Now we see the man she's talking to. It's NORMAN. He's          dapper, nice looking. And at least 70.<b>                         NORMAN</b>          That's right, yes. So did I.          They're at a speeddating evening. Numbered tables, etc.<b>                         NORMAN (CONT'D)</b>          Anyway, don't stop. Something<b>                         MORECREATIVE</b>                                                                                                    <b>           6.</b><b>                         JUDITH</b>          How old are you?<b>                         NORMAN</b>          Early40's.<b>                         JUDITH</b>          D'you mean you were born in the          early 40's?<b>                         NORMAN</b>          Judy, I know what you're asking-<b>                         JUDITH</b>          It's Judith.<b>                         NORMAN</b>          Judith. And trust me, I've still          got it.          The bell goes; the signal for the women to get up and move          alongto the next table. Judith leaves without looking          back.<b>                         NORMAN (CONT'D)</b>          I just can't find anyone that          wants it.          Another hopeful candidate arrives opposite Norman.And          looks crestfallen at what's on offer.<b>          8 INT/EXT. BEDROOM/STAIRS/HALL. FAMILY HOUSE - DAY 8</b>          MADGE is in her bedroom. She's arguing with her son-in-law          CRAIG. Madge'ssuitcases are by the door.<b>                         CRAIG</b>          This is crazy. You're crazy.          You can't just up and leave like          this.<b>                         MADGE</b>          And yet if you watch me,"}
+{"doc_id":"doc_32","qid":"","text":"The Project Gutenberg EBook of Riders of the Purple Sage, by Zane GreyThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: Riders of the Purple SageAuthor: Zane GreyPosting Date: November 7, 2009  [Etext #1300]Release Date:April, 2000Last updated: February 3, 2011Last updated: June 23, 2013Language: English*** START OF THIS PROJECT GUTENBERG EBOOK RIDERS OF THE PURPLE SAGE ***Produced by Bill Brewer and RickFaneRIDERS OF THE PURPLE SAGEBy Zane GreyCHAPTER I. LASSITERA sharp clip-crop of iron-shod hoofs deadened and died away, and cloudsof yellow dust drifted from under the cottonwoods out over the sage.JaneWithersteen gazed down the wide purple slope with dreamy andtroubled eyes. A rider had just left her and it was his message thatheld her thoughtful and almost sad, awaiting the churchmen who werecoming to resentand attack her right to befriend a Gentile.She wondered if the unrest and strife that had lately come to thelittle village of Cottonwoods was to involve her. And then she sighed,remembering that her father had foundedthis remotest border settlementof southern Utah and that he had left it to her. She owned all theground and many of the cottages. Withersteen House was hers, and thegreat ranch, with its thousands of cattle, and theswiftest horses ofthe sage. To her belonged Amber Spring, the water which gave verdureand beauty to the village and made living possible on that wild purpleupland waste. She could not escape being involved bywhatever befellCottonwoods.That year, 1871, had marked a change which had been gradually comingin the lives of the peace-loving Mormons of the border. Glaze--StoneBridge--Sterling, villages to the north, had risenagainst theinvasion of Gentile settlers and the forays of rustlers. There had beenopposition to the one and fighting with the other. And now Cottonwoodshad begun to wake and bestir itself and grown hard.Jane prayedthat the tranquillity and sweetness of her life would not bepermanently disrupted. She meant to do so much more for her people thanshe had done. She wanted the sleepy quiet pastoral days to last always.Troublebetween the Mormons and the Gentiles of the community wouldmake her unhappy. She was Mormon-born, and she was a friend to poorand unfortunate Gentiles. She wished only to go on doing good and beinghappy.And she thought of what that great ranch meant to her. She lovedit all--the grove of cottonwoods, the old stone house, the amber-tintedwater, and the droves of shaggy, dusty horses and mustangs, thesleek,clean-limbed, blooded racers, and the browsing herds of cattle and thelean, sun-browned riders of the sage.While she waited there she forgot the prospect of untoward change. Thebray of a lazy burro broke theafternoon quiet, and it was comfortinglysuggestive of the drowsy farmyard, and the open corrals, and the greenalfalfa fields. Her clear sight intensified the purple sage-slope as itrolled before her. Low swells ofprairie-like ground sloped up tothe west. Dark, lonely cedar-trees, few and far between, stood outstrikingly, and at long distances ruins of red rocks. Farther on, up thegradual slope, rose a broken wall, a hugemonument, looming dark purpleand stretching its solitary, mystic way, a wavering line that fadedin the north. Here to the westward was the light and color and beauty.Northward the slope descended to a dim line ofcanyons from which rosean up-flinging of the earth, not mountainous, but a vast heave of purpleuplands, with ribbed and fan-shaped walls, castle-crowned cliffs, andgray escarpments. Over it all crept the lengthening,waning afternoonshadows.The rapid beat of hoofs recalled Jane Withersteen to the question athand. A group of riders cantered up the lane, dismounted, and threwtheir bridles. They were seven in number, and Tull, theleader, a tall,dark man, was an elder of Jane's church.\"Did you get my message?\" he asked, curtly.\"Yes,\" replied Jane.\"I sent word I'd give that rider Venters half an hour to come down tothe village. He didn'tcome.\"\"He knows nothing of it;\" said Jane. \"I didn't tell him. I've beenwaiting here for you.\"\"Where is Venters?\"\"I left him in the courtyard.\"\"Here, Jerry,\" called Tull, turning to his men, \"take the gang and fetchVentersout here if you have to rope him.\"The dusty-booted and long-spurred riders clanked noisily into the groveof cottonwoods and disappeared in the shade.\"Elder Tull, what do you mean by this?\" demanded Jane. \"If youmustarrest Venters you might have the courtesy to wait till he leaves myhome. And if you do arrest him it will be adding insult to injury. It'sabsurd to accuse Venters of being mixed up in that shooting fray in thevillagelast night. He was with me at the time. Besides, he let me takecharge of his guns. You're only using this as a pretext. What do youmean to do to Venters?\"\"I'll tell you presently,\" replied Tull. \"But first tell me whyyoudefend this worthless rider?\"\"Worthless!\" exclaimed Jane, indignantly. \"He's nothing of the kind.He was the best rider I ever had. There's not a reason why I shouldn'tchampion him and every reason why I should.It's no little shame to me,Elder Tull, that through my friendship he has roused the enmity of mypeople and become an outcast. Besides I owe him eternal gratitude forsaving the life of little Fay.\"\"I've heard of your lovefor Fay Larkin and that you intend to adopther. But--Jane Withersteen, the child is a Gentile!\"\"Yes. But, Elder, I don't love the Mormon children any less because Ilove a Gentile child. I shall adopt Fay if her mother willgive her tome.\"\"I'm not so much against that. You can give the child Mormon teaching,\"said Tull. \"But I'm sick of seeing this fellow Venters hang around you.I'm going to put a stop to it. You've so much love to throwaway onthese beggars of Gentiles that I've an idea you might love Venters.\"Tull spoke with the arrogance of a Mormon whose power could not bebrooked and with the passion of a man in whom jealousy had kindledaconsuming fire.\"Maybe I do love him,\" said Jane. She felt both fear and anger stir herheart. \"I'd never thought of that. Poor fellow! he certainly needs someone to love him.\"\"This'll be a bad day for Venters unless youdeny that,\" returned Tull,grimly.Tull's men appeared under the cottonwoods and led a young man out intothe lane. His ragged clothes were those of an outcast. But he stood talland straight, his wide shoulders flungback, with the muscles of hisbound arms rippling and a blue flame of defiance in the gaze he bent onTull.For the first time Jane Withersteen felt Venters's real spirit. Shewondered if she would love this splendid youth.Then her emotion cooledto the sobering sense of the issue at stake.\"Venters, will you leave Cottonwoods at once and forever?\" asked Tull,tensely.\"Why?\" rejoined the rider.\"Because I order it.\"Venters laughed in cooldisdain.The red leaped to Tull's dark cheek.\"If you don't go it means your ruin,\" he said, sharply.\"Ruin!\" exclaimed Venters, passionately. \"Haven't you already ruined me?What do you call ruin? A year ago I was a rider.I had horses and cattleof my own. I had a good name in Cottonwoods. And now when I come intothe village to see this woman you set your men on me. You hound me. Youtrail me as if I were a rustler. I've no more tolose--except my life.\"\"Will you leave Utah?\"\"Oh! I know,\" went on Venters, tauntingly, \"it galls you, the idea ofbeautiful Jane Withersteen being friendly to a poor Gentile. You wanther all yourself. You're a wivingMormon. You have use for her--andWithersteen House and Amber Spring and seven thousand head of cattle!\"Tull's hard jaw protruded, and rioting blood corded the veins of hisneck.\"Once more. Will yougo?\"\"NO!\"\"Then I'll have you whipped within an inch of your life,\" replied Tull,harshly. \"I'll turn you out in the sage. And if you ever come backyou'll get worse.\"Venters's agitated face grew coldly set and the bronzechangedJane impulsively stepped forward. \"Oh! Elder Tull!\" she cried. \"Youwon't do that!\"Tull lifted a shaking finger toward her.\"That'll do from you. Understand, you'll not be allowed to hold this boyto a friendshipthat's offensive to your Bishop. Jane Withersteen, yourfather left you wealth and power. It has turned your head. You haven'tyet come to see the place of Mormon women. We've reasoned with you,borne with you.We've patiently waited. We've let you have your fling,which is more than I ever saw granted to a Mormon woman. But you haven'tcome to your senses. Now, once for all, you can't have any furtherfriendship withVenters. He's going to be whipped, and he's got to leaveUtah!\"\"Oh! Don't whip him! It would be dastardly!\" implored Jane, with slowcertainty of her failing courage.Tull always blunted her spirit, and she grew consciousthat she hadfeigned a boldness which she did not possess. He loomed up now indifferent guise, not as a jealous suitor, but embodying the mysteriousdespotism she had known from childhood--the power of hercreed.\"Venters, will you take your whipping here or would you rather go outin the sage?\" asked Tull. He smiled a flinty smile that was morethan inhuman, yet seemed to give out of its dark aloofness a gleamofrighteousness.\"I'll take it here--if I must,\" said Venters. \"But by God!--Tull you'dbetter kill me outright. That'll be a dear whipping for you and yourpraying Mormons. You'll make me another Lassiter!\"The strangeglow, the austere light which radiated from Tull's face,might have been a holy joy at the spiritual conception of exalted duty.But there was something more in him, barely hidden, a something personaland sinister, adeep of himself, an engulfing abyss. As his religiousmood was fanatical and inexorable, so would his physical hate bemerciless.\"Elder, I--I repent my words,\" Jane faltered. The religion in her, thelong habit of obedience,of humility, as well as agony of fear, spoke inher voice. \"Spare the boy!\" she whispered.\"You can't save him now,\" replied Tull stridently.Her head was bowing to the inevitable. She was grasping the truth,when suddenlythere came, in inward constriction, a hardening of gentleforces within her breast. Like a steel bar it was stiffening all thathad been soft and weak in her. She felt a birth in her of something newand unintelligible. Oncemore her strained gaze sought the sage-slopes.Jane Withersteen loved that wild and purple wilderness. In timesof sorrow it had been her strength, in happiness its beauty was hercontinual delight. In her extremity shefound herself murmuring, \"Whencecometh my help!\" It was a prayer, as if forth from those lonely purplereaches and walls of red and clefts of blue might ride a fearless man,neither creed-bound nor creed-mad, whowould hold up a restraining handin the faces of her ruthless people.The restless movements of Tull's men suddenly quieted down. Thenfollowed a low whisper, a rustle, a sharp exclamation.\"Look!\" said one, pointing tothe west.\"A rider!\"Jane Withersteen wheeled and saw a horseman, silhouetted against thewestern sky, coming riding out of the sage. He had ridden down from theleft, in the golden glare of the sun, and had beenunobserved till closeat hand. An answer to her prayer!\"Do you know him? Does any one know him?\" questioned Tull, hurriedly.His men looked and looked, and one by one shook their heads.\"He's come from far,\" saidone.\"Thet's a fine hoss,\" said another.\"A strange rider.\"\"Huh! he wears black leather,\" added a fourth.With a wave of his hand, enjoining silence, Tull stepped forward in sucha way that he concealed Venters.The riderreined in his mount, and with a lithe forward-slippingaction appeared to reach the ground in one long step. It was a peculiarmovement in its quickness and inasmuch that while performing it therider did not swerve inthe slightest from a square front to the groupbefore him.\"Look!\" hoarsely whispered one of Tull's companions. \"He packs twoblack-butted guns--low down--they're hard to see--black akin them blackchaps.\"\"Agun-man!\" whispered another. \"Fellers, careful now about movin' yourhands.\"The stranger's slow approach might have been a mere leisurely manner ofgait or the cramped short steps of a rider unused to walking; yet,aswell, it could have been the guarded advance of one who took no chanceswith men.\"Hello, stranger!\" called Tull. No welcome was in this greeting only agruff curiosity.The rider responded with a curt nod. The widebrim of a black sombrerocast a dark shade over his face. For a moment he closely regarded Tulland his comrades, and then, halting in his slow walk, he seemed torelax.\"Evenin', ma'am,\" he said to Jane, and removedhis sombrero with quaintgrace.Jane, greeting him, looked up into a face that she trusted instinctivelyand which riveted her attention. It had all the characteristics ofthe range rider's--the leanness, the red burn of thesun, and the setchangelessness that came from years of silence and solitude. But it wasnot these which held her, rather the intensity of his gaze, a strainedweariness, a piercing wistfulness of keen, gray sight, as if themanwas forever looking for that which he never found. Jane's subtle woman'sintuition, even in that brief instant, felt a sadness, a hungering, asecret.\"Jane Withersteen, ma'am?\" he inquired.\"Yes,\" she replied.\"Thewater here is yours?\"\"Yes.\"\"May I water my horse?\"\"Certainly. There's the trough.\"\"But mebbe if you knew who I was--\" He hesitated, with his glance onthe listening men. \"Mebbe you wouldn't let me waterhim--though I ain'taskin' none for myself.\"\"Stranger, it doesn't matter who you are. Water your horse. And if youare thirsty and hungry come into my house.\"\"Thanks, ma'am. I can't accept for myself--but for my tiredhorse--\"Trampling of hoofs interrupted the rider. More restless movements onthe part of Tull's men broke up the little circle, exposing the prisonerVenters.\"Mebbe I've kind of hindered somethin'--for a few moments,perhaps?\"inquired the rider.\"Yes,\" replied Jane Withersteen, with a throb in her voice.She felt the drawing power of his eyes; and then she saw him look at thebound Venters, and at the men who held him, and theirleader.\"In this here country all the rustlers an' thieves an' cut-throatsan' gun-throwers an' all-round no-good men jest happen to be Gentiles.Ma'am, which of the no-good class does that young feller belong to?\"\"Hebelongs to none of them. He's an honest boy.\"\"You KNOW that, ma'am?\"\"Yes--yes.\"\"Then what has he done to get tied up that way?\"His clear and distinct question, meant for Tull as well as for JaneWithersteen, stilledthe restlessness and brought a momentary silence.\"Ask him,\" replied Jane, her voice rising high.The rider stepped away from her, moving out with the same slow, measuredstride in which he had approached, and thefact that his action placedher wholly to one side, and him no nearer to Tull and his men, had apenetrating significance.\"Young feller, speak up,\" he said to Venters.\"Here stranger, this's none of your mix,\" began Tull.\"Don't try anyinterference. You've been asked to drink and eat. That's more than you'dhave got in any other village of the Utah border. Water your horse andbe on your way.\"\"Easy--easy--I ain't interferin' yet,\" repliedthe rider. The tone ofhis voice had undergone a change. A different man had spoken. Where, inaddressing Jane, he had been mild and gentle, now, with his first speechto Tull, he was dry, cool, biting. \"I've lest stumbledonto a queerdeal. Seven Mormons all packin' guns, an' a Gentile tied with a rope,an' a woman who swears by his honesty! Queer, ain't that?\"\"Queer or not, it's none of your business,\" retorted Tull.\"Where I was raised awoman's word was law. I ain't quite outgrowed thatyet.\"Tull fumed between amaze and anger.\"Meddler, we have a law here something different from woman'swhim--Mormon law!... Take care you don't transgressit.\"\"To hell with your Mormon law!\"The deliberate speech marked the rider's further change, this time fromkindly interest to an awakening menace. It produced a transformation inTull and his companions. The leadergasped and staggered backward ata blasphemous affront to an institution he held most sacred. The manJerry, holding the horses, dropped the bridles and froze in his tracks.Like posts the other men stoodwatchful-eyed, arms hanging rigid, allwaiting.\"Speak up now, young man. What have you done to be roped that way?\"\"It's a damned outrage!\" burst out Venters. \"I've done no wrong. I'veoffended this Mormon Elder bybeing a friend to that woman.\"\"Ma'am, is it true--what he says?\" asked the rider of Jane, but hisquiveringly alert eyes never left the little knot of quiet men.\"True? Yes, perfectly true,\" she answered.\"Well, young man, itseems to me that bein' a friend to such a womanwould be what you wouldn't want to help an' couldn't help.... What's tobe done to you for it?\"\"They intend to whip me. You know what that means--in Utah!\"\"I reckon,\"replied the rider, slowly.With his gray glance cold on the Mormons, with the restive bit-champingof the horses, with Jane failing to repress her mounting agitations,with Venters standing pale and still, the tension of themomenttightened. Tull broke the spell with a laugh, a laugh without mirth, alaugh that was only a sound betraying fear.\"Come on, men!\" he called.Jane Withersteen turned again to the rider.\"Stranger, can you donothing to save Venters?\"\"Ma'am, you ask me to save him--from your own people?\"\"Ask you? I beg of you!\"\"But you don't dream who you're askin'.\"\"Oh, sir, I pray you--save him!\"\"These are Mormons, an' I...\"\"At--atany cost--save him. For I--I care for him!\"Tull snarled. \"You love-sick fool! Tell your secrets. There'll be a wayto teach you what you've never learned.... Come men out of here!\"\"Mormon, the young man stays,\" said therider.Like a shot his voice halted Tull.\"What!\"\"Who'll keep him? He's my prisoner!\" cried Tull, hotly. \"Stranger, againI tell you--don't mix here. You've meddled enough. Go your way now or--\"\"Listen!... Hestays.\"Absolute certainty, beyond any shadow of doubt, breathed in the rider'slow voice.\"Who are you? We are seven here.\"The rider dropped his sombrero and made a rapid movement, singular inthat it left himsomewhat crouched, arms bent and stiff, with the bigblack gun-sheaths swung round to the fore.\"LASSITER!\"It was Venters's wondering, thrilling cry that bridged the fatefulconnection between the rider's singularposition and the dreaded name.Tull put out a groping hand. The life of his eyes dulled to the gloomwith which men of his fear saw the approach of death. But death, whileit hovered over him, did not descend, for therider waited for thetwitching fingers, the downward flash of hand that did not come. Tull,gathering himself together, turned to the horses, attended by his palecomrades.CHAPTER II. COTTONWOODSVenters appearedtoo deeply moved to speak the gratitude his faceexpressed. And Jane turned upon the rescuer and gripped his hands.Her smiles and tears seemingly dazed him. Presently as something likecalmness returned, she wentto Lassiter's weary horse.\"I will water him myself,\" she said, and she led the horse to a troughunder a huge old cottonwood. With nimble fingers she loosened the bridleand removed the bit. The horse snorted and benthis head. The trough wasof solid stone, hollowed out, moss-covered and green and wet and cool,and the clear brown water that fed it spouted and splashed from a woodenpipe.\"He has brought you far to-day?\"\"Yes,ma'am, a matter of over sixty miles, mebbe seventy.\"\"A long ride--a ride that--Ah, he is blind!\"\"Yes, ma'am,\" replied Lassiter.\"What blinded him?\"\"Some men once roped an' tied him, an' then held white-iron close tohiseyes.\"\"Oh! Men? You mean devils.... Were they your enemies--Mormons?\"\"Yes, ma'am.\"\"To take revenge on a horse! Lassiter, the men of my creed areunnaturally cruel. To my everlasting sorrow I confess it. Theyhave beendriven, hated, scourged till their hearts have hardened. But we womenhope and pray for the time when our men will soften.\"\"Beggin' your pardon, ma'am--that time will never come.\"\"Oh, it will!... Lassiter, doyou think Mormon women wicked? Has yourhand been against them, too?\"\"No. I believe Mormon women are the best and noblest, the mostlong-sufferin', and the blindest, unhappiest women on earth.\"\"Ah!\" She gavehim a grave, thoughtful look. \"Then you will break breadwith me?\"Lassiter had no ready response, and he uneasily shifted his weightfrom one leg to another, and turned his sombrero round and round in hishands.\"Ma'am,\" he began, presently, \"I reckon your kindness of heartmakes you overlook things. Perhaps I ain't well known hereabouts, butback up North there's Mormons who'd rest uneasy in their graves at theidea of mesittin' to table with you.\"\"I dare say. But--will you do it, anyway?\" she asked.\"Mebbe you have a brother or relative who might drop in an' be offended,an' I wouldn't want to--\"\"I've not a relative in Utah that I know of."}
+{"doc_id":"doc_33","qid":"","text":"<html><head><title>It Happened One Night Script at IMSDb.</title><meta name=\"description\" content=\"It Happened One Night script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"ItHappened One Night script, It Happened One Night movie script, It Happened One Night film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\"content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ?'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie ScriptDatabase\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <scripttype=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                                     </b><b>                                IT HAPPENED ONENIGHT</b><b>                                     </b>                         Written by Robert previous hit Riskin <b>                                                              </b>                         based on a story by Samuel HopkinsAdams<b> </b><b>                                                              </b>                         The HARBOR at Miami Beach fades in,                          providing quick views of yachts, aquaplanes,                          andluxurious ship-craft lying at anchor                          in the calm, tranquil waters of tropical                          Florida. This dissolves to the NAME                          PLATE on the side of a yacht,reading                          \"ELSPETH II,\" and this in turn to a                          YACHT CORRIDOR where a steward is standing                          in front of a cabin door, near a small                          collapsible tableupon which there is                          a tray of steaming food. He lifts lids                          and examines the contents. A heavy-set                          sailor stands guard near the cabin door.[1]<b></b><b>                                                              </b><b>                         STEWARD</b><b>                                     </b>                         Fine! Fine! She ought to like this.<b></b><b>                                                              </b>                         (to the guard)<b>                                     </b>                         Open thedoor.<b>                                     </b><b>                         GUARD</b><b>                                     </b>                         (without moving)<b>                                     </b>                         Who's gonna takeit in to her? You?<b> </b><b>                                                              </b><b>                         STEWARD</b><b>                                     </b>                         Oh,no.<b>                                     </b>                         (turning)<b>                                     </b>                         Mullison! Come on!<b>                                     </b>                         The view widens to includeMullison,                          a waiter. His eye is decorated with                          a\"shiner.\"<b>                                      </b><b>                         MULLISON</b><b>                                     </b>                         Not me, sir. She threw a ketchup bottle                          at me thismorning.<b>                                      </b><b>                         STEWARD</b><b>                                     </b>                         Well, orders are orders! Somebody's                          gotta take itin.<b>                                      </b>                         (he turns to someone else)<b>                                     </b>                         Fredericks!<b>                                     </b>                         The view movesto another waiter, who                          has a patch of bandage on his face.<b></b><b>                                                              </b><b>                         FREDERICKS</b><b>                                     </b>                         Before I bring her another meal, I'll                          be put offthe ship first.<b>                                      </b><b>                         STEWARD'S VOICE</b><b>                                     </b>                         Henri!<b>                                     </b>                         The viewmoves over to a Frenchman.<b></b><b>                                                              </b><b>                         HENRI</b><b>                                     </b>                         (vehemently)<b>                                     </b>                         No,Monsieur. When I leave the Ritz                          you do not say I have to wait on crazy                          womans.<b>                                      </b>                         The view moves back to include theSteward                          and the others grouped around him.<b> </b><b>                                                              </b><b>                         ANOTHER WAITER (ACOCKNEY)</b><b>                                     </b>                         My wife was an angel compared to this                          one, sir. And I walked out on her .<b></b><b>                                                              </b><b>                         ? 208?</b><b>                                     </b><b>                         GUARD</b><b>                                     </b>                         (impatiently)<b>                                     </b>                         Come on! Make upyour mind!<b>                                     </b>                         A petty officer approaches. He is blustering                          and officious, but the type that is                          feeble and ineffective. His nameis                          Lacey.<b>                                      </b><b>                         LACEY</b><b>                                     </b>                         (talkingquickly\u0000staccato)<b>                                     </b>                         What's up? What's up?<b>                                     </b>                         There is a fairly close picture of the                          GROUP featuringLacey and the Steward.<b> </b><b>                                                              </b><b>                         STEWARD</b><b>                                     </b>                         These pigs! They're afraid to takeher                          food in.<b>                                      </b><b>                         LACEY</b><b>                                     </b>                         That's ridiculous! Afraid of amere                          girl!<b>                                      </b>                         (he wheels on the steward)<b>                                     </b>                         Why didn't you do ityourself?<b>                                     </b><b>                         STEWARD</b><b>                                     </b>                         (more afraid than the others\u0000stammering)<b></b><b>                                                              </b>                         Why\u0000I\u0000well, I never thought about\u0000<b></b><b>                                                              </b><b>                         LACEY</b><b>                                     </b>                         (shoving himaside)<b>                                     </b>                         I never heard of such a thing! Afraid                          of a mere girl.<b>                                      </b>                         (moving to thetray)<b>                                     </b>                         I'll take it in myself.<b>                                     </b>                         They all stand around and watch him,                          much relieved. He picks up thetray                          and starts toward the door of the cabin.<b> </b><b>                                                              </b><b>                         LACEY</b><b>                                     </b>                         (as hewalks\u0000muttering)<b>                                     </b>                         Can't get a thing done unless you do                          it yourself.<b>                                      </b>                         (as he approaches thedoor)<b>                                     </b>                         Open the door.<b>                                     </b>                         We see him at the CABIN DOOR as the                          guard quickly and gingerly unlocksit.<b> </b><b>                                                              </b><b>                         LACEY</b><b>                                     </b>                         Afraid of a mere girl! Ridiculous.<b></b><b>                                                              </b>                         Lacey stalks in bravely, the tray held                          majestically in front of him, while                          the steward and waiters form acircle                          around the door, waiting expectantly.                          There is a short pause, following which                          Lacey comes hurling out backwards and                          lands on his back, thetray of food                          scattering all over him. The steward                          quickly bangs the door shut and turns                          the key as the waiters stare silently.<b></b><b>                                                              </b>                         The scene dissolves to the MAIN DECK                          of the yacht, first affording a close                          view of a pair of well-shodmasculine                          feet, as they pace agitatedly back and                          forth. Then as the scene draws back,                          the possessor of the pacing feet is                          discovered to be AlexanderAndrews,                          immaculately groomed in yachting clothes.                          In front of him stands a uniformed Captain,                          but Andrews, brows wrinkled, deep in                          thought,continues his pacing.<b>                                      </b><b>                         ? 209?</b><b>                                     </b><b>                         ANDREWS</b><b>                                     </b>                         (murmuring to himself)<b>                                     </b>                         On ahunger strike, huh?<b>                                     </b>                         (a grunt)<b>                                     </b>                         When'd she eatlast?<b>                                     </b><b>                         CAPTAIN</b><b>                                     </b>                         She hasn't had a thingyesterday\u0000or                          today.<b>                                      </b><b>                         ANDREWS</b><b>                                     </b>                         Been sending her meals in regularly?<b></b><b>                                                              </b><b>                         CAPTAIN</b><b>                                     </b>                         Yessir. She refuses themall.<b>                                     </b><b>                         ANDREWS</b><b>                                     </b>                         (snappily)<b>                                     </b>                         Why didn't you jam itdown her throat?<b> </b><b>                                                              </b><b>                         CAPTAIN</b><b>                                     </b>                         It's not quite that"}
+{"doc_id":"doc_34","qid":"","text":"<html><head><title>Interstellar Script at IMSDb.</title><meta name=\"description\" content=\"Interstellar script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Interstellar script,Interstellar movie script, Interstellar film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\"rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><tdclass=\"scrtext\"><pre>                                                                            <b>                                   INTERSTELLAR</b>                                                                                                               Writtenby                                                           Jonathan Nolan                                                                           <b>                                     STORY BY</b>                                              Jonathan Nolan, Kip Thorne &Lynda Obst                                                                                                                                                      <b>                                                         MARCH 122008</b><b>          SPACE.</b>                                   But not the dark lonely corner of it we're used to. This is          a glittering inferno -- the center of a distant galaxy.                                   Suddenly,something TEARS past at incredible speed: a NEUTRON          STAR. It SMASHES headlong through everything it encounters...          planets, stars. Can anything stop this juggernaut?                                   Yes.Something looms at the heart of the galaxy, hidden          inside the blinding starlight, a dark flaw in the fabric of          existence itself: a BLACK HOLE.                                   The neutron star is pulled into the blackhole's swirl,          spiraling closer and closer to destruction. Finally, it          contacts the hole's edge and EXPLODES.                                   The EXPLOSION is so powerful that it sends shock waves into          thefabric of space-time itself. We ride one of these waves,          racing back out from the black hole.                                   Suddenly, a portion of the wave disappears down a crystal-          like hole, emerging in a muchdarker region of the universe --          a backwater that, as the wave races past a giant red planet          with a distinctive eye, we recognize as our own.                                   The wave, now just an infinitesimalripple, finally reaches          our blue planet. It drops into our atmosphere over North          America, toward the high desert east of the Cascades, and          through the roof of a nondescriptwarehouse.                                   The wave tickles the atoms in the steel shell of a vacuum          chamber, then dances a tiny jig with a laser beam reflected          in a heavy piece ofglass.                                   The wave shoots back out of the building and disappears in          the fractal branches of a tumbleweed resting against a          concrete tube that stretches for miles in thedesert.                                   An SUV speeds past the tumbleweed and we follow it till it          parks at another plain-looking building at the opposite end          of the tube. A MAN climbs out of theSUV.                         <b>          INT. CONTROL ROOM, WAREHOUSE -- DAY</b>                                   The man lets himself into a large room that looks like Mission          Control. He pours himself a cup of coffee. Itis the weekend          and the place is empty. No one has been there to see the          displays flashing a distinctive shape -- a pulse followed by          a series of echoes.                                   The man looks up at thescreen, then DROPS his cup of coffee.                         <b>                          CUT TO:</b><b>           2. </b>                         <b>          INT. LIGO OFFICES, CALTECH, PASADENA --DAY</b>                                   The Laser Interferometer Gravitational-Wave Observatory          headquarters at Caltech is a frenzy of activity. POSTDOCS          and RESEARCHERS huddle around monitors andprintouts, arguing.                                   ANSEN, 60s, the director of LIGO, walks through the frenzy.          A postdoc hands him a printout: a pulse followed by echoes.                         <b>          INT. LIGODIRECTOR'S OFFICE, CALTECH -- DAY</b>                                   Ansen steps into the relative calm of a large, sunlit office,          which overlooks a grassy stretch of Caltech's campus.                                   HisASSISTANT, 30s, is on the phone, on hold. He looks up          at Ansen as he enters.                         <b>                          ASSISTANT</b>           I'm on hold with the INS.<b>                          (COVERSMICROPHONE)</b>           Don't you think we should double           check the triangulation before we<b>                          CALL ANYBODY-</b>                         <b>                          ANSEN</b>           We havedouble checked it.                                   Someone finally picks up the line.                         <b>                          ASSISTANT</b>           Yes. I'm trying to reach-           (pause, listens)           No, I don't think youunderstand how           serious this is.<b>                          (PAUSE)</b>           Because if you did, we'd be having           this conversation in person.                                   He listens for a moment, then hangs upthe phone, confused.                         <b>                          ANSEN</b>           What did they say?                         <b>                          ASSISTANT</b>           They said we should look outthe           window.                                   Ansen steps to the window and looks out:                                   In the courtyard below, coeds are scrambling to get out of          the way as a military helicopter sets downin the middle of          the quad and dozens of ARMED FEDERAL AGENTS converge on his          building.<b>           3.</b>                         <b>          INT. MAIN CONFERENCE ROOM, LIGO, CALTECH --DAY</b>                                   Ansen sits, alone, on one side of a conference table.                                   The other side is filled with GOVERNMENT MEN -- NSA mostly,          some DIA. The door opens and hisassistant steps in. Armed          guards pat him down, then shove him into a seat.                         <b>                          ANSEN</b>           Is that really necessary?                                   One of the NSA agentsleans forward.                         <b>                          NSA AGENT</b>           You've been complaining for years           that the government doesn't take           your project seriously enough,Doctor.<b>                          (SMILES)</b>           You can't have it both ways.                                   Ansen motions to his assistant, who turns on a projector.          On-screen, we see the familiar pulse andechoes.                         <b>                          ANSEN</b>           Yesterday morning, our facility in           Hanford identified this signal: a           neutron star colliding with a           supermassive black hole. Wewent           through the last year's data and           triangulated the source.                                   The pulse is translated into a crude animatic of a neutron          star circling into the blackhole.                         <b>                          NSA AGENT</b>           We know that, Doctor. What we don't           know is why, according to your           numbers, this event took place right           here in our own solarsystem.                                   Suddenly, the image overlays the sun, the earth, and the          rest of our solar system around the black hole.                         <b>                          ANSEN</b>           It didn't.Because if it had we'd           all be dead by now.                                   On-screen, Jupiter, then the Earth and the inner planets are          consumed by the black hole. Only the sun survives, pulled          into orbitaround its new master.                         <b>                          ANSEN (CONT'D)</b>           Which leaves only one explanation:           The signal traveled through a<b>                          (MORE)</b><b>           4.</b>                         <b>                          ANSEN (CONT'D)</b>           wormhole. A gateway to a distant           corner of the universe. The black           hole is on the far side.                                   On-screen,the black hole system is removed to a distant          corner, connected to ours by a tunnel through space-time. A          gravity wave from the collision travels through thetunnel.                         <b>                          NSA AGENT</b>           I've read your book, Doctor. You           said that wormholes are impossible.                         <b>                          ANSEN</b>           There isnothing quite as satisfying           as being proved utterly wrong.<b>                          (SMILES)</b>           I said that a wormhole couldn't exist           naturally. Not for more than a few           billionths of a second.It would           have to be... stabilized.                         <b>                          NSA AGENT</b>           Stabilized by what?                                   Ansen pauses, unsure. His assistant steps in to hisdefense.                         <b>                          ASSISTANT</b>           We don't have any way to answer that           question.                         <b>                          NSA AGENT</b><b>                          (IGNORESHIM)</b>           You're not under peer review here,           Doctor. I don't care about your           reputation. I need to know how that           thing got there. Now.                                   Ansen finally speaksup.                         <b>                          ANSEN</b>           If you're worried about an invasion,           I would start drafting the articles           of surrender.<b>                          (SMILES)</b>           Whoeverthey are, if they can build           a wormhole, they could erase us in           the blink of an eye. Luckily, that           also means we have nothing they could           be interestedin.                         <b>                          NSA AGENT</b>           Then why is it there?<b>           5.</b>                         <b>                          ANSEN</b>           I don't know. Maybe it's an           invitation. Achance to commune           with an advanced species.                                   The assistant, embarrassed, looks down. The agent notices.                         <b>                          NSA AGENT</b>           You don'tagree?                         <b>                          ASSISTANT</b><b>                          (DELICATE)</b>           No. I don't think we can assume an           alien intelligence built thewormhole.<b>                          (CHANGES TACK)</b>           But the opportunity it represents is           incredible. We could explore parts           of the universe we never dreamt of           reaching in ourlifetimes.                                   The agent exchanges a look with one of his colleagues, who          steps out of the room.                         <b>                          ANSEN</b>           We need to get back to work. Ihave           a conference call with our European           partners in fifteen minutes.                         <b>                          NSA AGENT</b>           We severed the connections to your           European partners thismorning.                         <b>                          ANSEN</b><b>                          (INDIGNANT)</b>           You can't do that. The Europeans           put up some of thefunding...                         <b>                          GOVERNMENT MAN</b>           We'll send them a check.<b>                          (STANDS)</b>           Your project is now classified under           the State SecretsAct.                                   He steps out the door, leaving the men alone. The assistant,          outraged, turns back to his boss.                         <b>                          ASSISTANT</b>           They can't keep this a"}
+{"doc_id":"doc_35","qid":"","text":"The Project Gutenberg eBook, Cousin Henry, by Anthony TrollopeThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it underthe terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: Cousin HenryAuthor: Anthony TrollopeRelease Date: January 1, 2008  [eBook #24103]Language:English***START OF THE PROJECT GUTENBERG EBOOK COUSIN HENRY***E-text prepared by Joseph E. Loewenstein, M.D.COUSIN HENRYbyANTHONY TROLLOPEFirst published in serial form in the _Manchester WeeklyTimes_ andthe _North British Weekly Mail_ in the spring of 1879 and in bookform in October, 1879CONTENTS       I. Uncle Indefer      II. Isabel Brodrick     III. Cousin Henry      IV. The Squire's Death       V. Preparingfor the Funeral      VI. Mr Apjohn's Explanation     VII. Looking for the Will    VIII. The Reading of the Will      IX. Alone at Llanfeare       X. Cousin Henry Dreams a Dream      XI. Isabel at Hereford     XII. MrOwen    XIII. The _Carmarthen Herald_     XIV. An Action for Libel      XV. Cousin Henry Makes Another Attempt     XVI. Again at Hereford    XVII. Mr Cheekey   XVIII. Cousin Henry Goes to Carmarthen     XIX. MrApjohn Sends for Assistance      XX. Doubts     XXI. Mr Apjohn's Success    XXII. How Cousin Henry Was Let Off Easily   XXIII. Isabel's Petition    XXIV. ConclusionCHAPTER IUncle Indefer\"I have a conscience, my dear,on this matter,\" said an old gentlemanto a young lady, as the two were sitting in the breakfast parlour ofa country house which looked down from the cliffs over the sea on thecoast of Carmarthenshire.\"And so have I,Uncle Indefer; and as my conscience is backed by myinclination, whereas yours is not--\"\"You think that I shall give way?\"\"I did not mean that.\"\"What then?\"\"If I could only make you understand how very strong ismyinclination, or disinclination--how impossible to be conquered,then--\"\"What next?\"\"Then you would know that I could never give way, as you call it, andyou would go to work with your own conscience to see whetherit beimperative with you or not. You may be sure of this,--I shall neversay a word to you in opposition to your conscience. If there be aword to be spoken it must come from yourself.\"There was a long pause in theconversation, a silence for an hour,during which the girl went in and out of the room and settled herselfdown at her work. Then the old man went back abruptly to the subjectthey had discussed. \"I shall obey myconscience.\"\"You ought to do so, Uncle Indefer. What should a man obey but hisconscience?\"\"Though it will break my heart.\"\"No; no, no!\"\"And will ruin you.\"\"That is a flea's bite. I can brave my ruin easily, but notyourbroken heart.\"\"Why should there be either, Isabel?\"\"Nay, sir; have you not said but now, because of our consciences?Not to save your heart from breaking,--though I think your heartis dearer to me than anythingelse in the world,--could I marrymy cousin Henry. We must die together, both of us, you and I, orlive broken-hearted, or what not, sooner than that. Would I not doanything possible at your bidding?\"\"I used to thinkso.\"\"But it is impossible for a young woman with a respect for herselfsuch as I have to submit herself to a man that she loathes. Do asyour conscience bids you with the old house. Shall I be less tenderto you while youlive because I shall have to leave the place whenyou are dead? Shall I accuse you of injustice or unkindness inmy heart? Never! All that is only an outside circumstance to me,comparatively of little moment. But to bethe wife of a man Idespise!\" Then she got up and left the room.A month passed by before the old man returned to the subject, whichhe did seated in the same room, at the same hour of the day,--atabout four o'clock,when the dinner things had been removed.\"Isabel,\" he said, \"I cannot help myself.\"\"As to what, Uncle Indefer?\" She knew very well what was the matterin which, as he said, he could not help himself. Had therebeenanything in which his age had wanted assistance from her youth therewould have been no hesitation between them; no daughter was ever moretender; no father was ever more trusting. But on this subject itwasnecessary that he should speak more plainly before she could reply tohim.\"As to your cousin and the property.\"\"Then in God's name do not trouble yourself further in looking forhelp where there is none to be had.You mean that the estate ought togo to a man and not to a woman?\"\"It ought to go to a Jones.\"\"I am not a Jones, nor likely to become a Jones.\"\"You are as near to me as he is,--and so much dearer!\"\"But not on thataccount a Jones. My name is Isabel Brodrick. A womannot born to be a Jones may have the luck to become one by marriage,but that will never be the case with me.\"\"You should not laugh at that which is to me aduty.\"\"Dear, dear uncle!\" she said, caressing him, \"if I seemed tolaugh\"--and she certainly had laughed when she spoke of the luck ofbecoming a Jones--\"it is only that you may feel how little importanceI attach to it allon my own account.\"\"But it is important,--terribly important!\"\"Very well. Then go to work with two things in your mind fixed asfate. One is that you must leave Llanfeare to your nephew HenryJones, and the other that Iwill not marry your nephew Henry Jones.When it is all settled it will be just as though the old place wereentailed, as it used to be.\"\"I wish it were.\"\"So do I, if it would save you trouble.\"\"But it isn't the same;--it can't bethe same. In getting back theland your grandfather sold I have spent the money I had saved foryou.\"\"It shall be all the same to me, and I will take pleasure in thinkingthat the old family place shall remain as you wouldhave it. I can beproud of the family though I can never bear the name.\"\"You do not care a straw for the family.\"\"You should not say that, Uncle Indefer. It is not true. I careenough for the family to sympathise with youaltogether in what youare doing, but not enough for the property to sacrifice myself inorder that I might have a share in it.\"\"I do not know why you should think so much evil of Henry.\"\"Do you know any reason why Ishould think well enough of him tobecome his wife? I do not. In marrying a man a woman should be ableto love every little trick belonging to him. The parings of his nailsshould be a care to her. It should be pleasant toher to serve him inthings most menial. Would it be so to me, do you think, with HenryJones?\"\"You are always full of poetry and books.\"\"I should be full of something very bad if I were to allow myself tostand at the altarwith him. Drop it, Uncle Indefer. Get it out ofyour mind as a thing quite impossible. It is the one thing I can'tand won't do, even for you. It is the one thing that you ought not toask me to do. Do as you like with theproperty,--as you think right.\"\"It is not as I like.\"\"As your conscience bids you, then; and I with myself, which is theonly little thing that I have in the world, will do as I like, or asmy conscience bids me.\"These lastwords she spoke almost roughly, and as she said them sheleft him, walking out of the room with an air of offended pride.But in this there was a purpose. If she were hard to him, hard andobstinate in her determination,then would he be enabled to be soalso to her in his determination, with less of pain to himself. Shefelt it to be her duty to teach him that he was justified in doingwhat he liked with his property, because she intended todo whatshe liked with herself. Not only would she not say a word towardsdissuading him from this change in his old intentions, but she wouldmake the change as little painful to him as possible by teaching himto thinkthat it was justified by her own manner to him.For there was a change, not only in his mind, but in his declaredintentions. Llanfeare had belonged to Indefer Joneses for manygenerations. When the late Squire had died,now twenty years ago,there had been remaining out of ten children only one, the eldest,to whom the property now belonged. Four or five coming in successionafter him had died without issue. Then there had been aHenry Jones,who had gone away and married, had become the father of the HenryJones above mentioned, and had then also departed. The youngest, adaughter, had married an attorney named Brodrick, and she alsohaddied, having no other child but Isabel. Mr Brodrick had marriedagain, and was now the father of a large family, living at Hereford,where he carried on his business. He was not very \"well-to-do\" in theworld. The newMrs Brodrick had preferred her own babies to Isabel,and Isabel when she was fifteen years of age had gone to her bacheloruncle at Llanfeare. There she had lived for the last ten years,making occasional visits to herfather at Hereford.Mr Indefer Jones, who was now between seventy and eighty years old,was a gentleman who through his whole life had been disturbed byreflections, fears, and hopes as to the family property onwhich hehad been born, on which he had always lived, in possession of whichhe would certainly die, and as to the future disposition of whichit was his lot in life to be altogether responsible. It had beenentailed upon himbefore his birth in his grandfather's time, whenhis father was about to be married. But the entail had not beencarried on. There had come no time in which this Indefer Jones hadbeen about to be married, and theformer old man having been given toextravagance, and been generally in want of money, had felt it morecomfortable to be without an entail. His son had occasionally beeninduced to join with him in raising money.Thus not only since he hadhimself owned the estate, but before his father's death, there hadbeen forced upon him reflections as to the destination of Llanfeare.At fifty he had found himself unmarried, and unlikely tomarry.His brother Henry was then alive; but Henry had disgraced thefamily,--had run away with a married woman whom he had married aftera divorce, had taken to race courses and billiard-rooms, and hadbeenaltogether odious to his brother Indefer. Nevertheless the boy whichhad come from this marriage, a younger Henry, had been educated athis expense, and had occasionally been received at Llanfeare. Hehad beenpopular with no one there, having been found to be a slyboy, given to lying, and, as even the servants said about the place,unlike a Jones of Llanfeare. Then had come the time in which Isabelhad been brought toLlanfeare. Henry had been sent away from Oxfordfor some offence not altogether trivial, and the Squire had declaredto himself and others that Llanfeare should never fall into hishands.Isabel had so endeared herself tohim that before she had beentwo years in the house she was the young mistress of the place.Everything that she did was right in his eyes. She might haveanything that she would ask, only that she would ask fornothing. Atthis time the cousin had been taken into an office in London, and hadbecome,--so it was said of him,--a steady young man of business. Butstill, when allowed to show himself at Llanfeare, he wasunpalatableto them all--unless it might be to the old Squire. It was certainlythe case that in his office in London he made himself useful, and itseemed that he had abandoned that practice of running into debt andhavingthe bills sent down to Llanfeare which he had adopted early inhis career.During all this time the old Squire was terribly troubled aboutthe property. His will was always close at his hand. Till Isabelwas twenty-one this willhad always been in Henry's favour,--witha clause, however, that a certain sum of money which the Squirepossessed should go to her. Then in his disgust towards his nephew hechanged his purpose, and made anotherwill in Isabel's favour. Thisremained in existence as his last resolution for three years; butthey had been three years of misery to him. He had endured but badlythe idea that the place should pass away out of what heregarded asthe proper male line. To his thinking it was simply an accident thatthe power of disposing of the property should be in his hands. Itwas a religion to him that a landed estate in Britain should go fromfather toeldest son, and in default of a son to the first male heir.Britain would not be ruined because Llanfeare should be allowed to goout of the proper order. But Britain would be ruined if Britons didnot do their duty in thatsphere of life to which it had pleased Godto call them; and in this case his duty was to maintain the old orderof things.And during this time an additional trouble added itself to thoseexisting. Having made up his mind toact in opposition to his ownprinciples, and to indulge his own heart; having declared both to hisnephew and to his niece that Isabel should be his heir, there cameto him, as a consolation in his misery, the power ofrepurchasinga certain fragment of the property which his father, with hisassistance, had sold. The loss of these acres had been always a sorewound to him, not because of his lessened income, but from a feelingthat noowner of an estate should allow it to be diminished duringhis holding of it. He never saw those separated fields estranged fromLlanfeare, but he grieved in his heart. That he might get them backagain he had savedmoney since Llanfeare had first become his own.Then had come upon him the necessity of providing for Isabel. Butwhen with many groans he had decided that Isabel should be the heir,the money could be allowed togo for its intended purpose. It hadso gone, and then his conscience had become too strong for him, andanother will was made.It will be seen how he had endeavoured to reconcile things. Whenit was found that HenryJones was working like a steady man at theLondon office to which he was attached, that he had sown his wildoats, then Uncle Indefer began to ask himself why all his dearestwishes should not be carried out together bya marriage between thecousins. \"I don't care a bit for his wild oats,\" Isabel had said,almost playfully, when the idea had first been mooted to her. \"Hisoats are too tame for me rather than too wild. Why can't he lookanyone in the face?\" Then her uncle had been angry with her, thinkingthat she was allowing a foolish idea to interfere with the happinessof them all.But his anger with her was never enduring; and, indeed, beforethetime at which our story commenced he had begun to acknowledge tohimself that he might rather be afraid of her anger than she of his.There was a courage about her which nothing could dash. She had grownupunder his eyes strong, brave, sometimes almost bold, with a dashof humour, but always quite determined in her own ideas of wrongor right. He had in truth been all but afraid of her when he foundhimself compelled totell her of the decision to which his consciencecompelled him. But the will was made,--the third, perhaps the fourthor fifth, which had seemed to him to be necessary since his mind hadbeen exercised in this matter. Hemade this will, which he assuredhimself should be the last, leaving Llanfeare to his nephew oncondition that he should prefix the name of Indefer to that of Jones,and adding certain stipulations as to further entail. Theneverythingof which he might die possessed, except Llanfeare itself and thefurniture in the house, he left to his niece Isabel.\"We must get rid of the horses,\" he said to her about a fortnightafter the conversation lastrecorded.\"Why that?\"\"My will has been made, and there will be so little now for you, thatwe must save what we can before I die.\"\"Oh, bother me!\" said Isabel, laughing.\"Do you suppose it is not dreadful to me to haveto reflect howlittle I can do for you? I may, perhaps, live for two years, and wemay save six or seven hundred a year. I have put a charge on theestate for four thousand pounds. The property is only a small thing,afterall;--not above fifteen hundred a year.\"\"I will not hear of the horses being sold, and there is an end of it.You have been taken out about the place every day for the last twentyyears, and it would crush me if I were tosee a change. You have donethe best you can, and now leave it all in God's hands. Pray,--praylet there be no more talking about it. If you only knew how welcomehe is to it!\"CHAPTER IIIsabel BrodrickWhen Mr IndeferJones spoke of living for two years, he spoke morehopefully of himself than the doctor was wont to speak to Isabel. Thedoctor from Carmarthen visited Llanfeare twice a week, and havingbecome intimate andconfidential with Isabel, had told her that thecandle had nearly burnt itself down to the socket. There was nospecial disease, but he was a worn-out old man. It was well that heshould allow himself to be driven out aboutthe place every day. Itwas well that he should be encouraged to get up after breakfast, andto eat his dinner in the middle of the day after his old fashion.It was well to do everything around him as though he were notaconfirmed invalid. But the doctor thought that he would not lastlong. The candle, as the doctor said, had nearly burnt itself out inthe socket.And yet there was no apparent decay in the old man's intellect. Hehad neverbeen much given to literary pursuits, but that which he hadalways done he did still. A daily copy of whatever might be the mostthoroughly Conservative paper of the day he always read carefullyfrom the beginning tothe end; and a weekly copy of the _Guardian_nearly filled up the hours which were devoted to study. On Sundayhe read two sermons through, having been forbidden by the doctor totake his place in the church becauseof the draughts, and thinking,apparently, that it would be mean and wrong to make that an excusefor shirking an onerous duty. An hour a day was devoted by himreligiously to the Bible. The rest of his time wasoccupied by thecare of his property. Nothing gratified him so much as the comingin of one of his tenants, all of whom were so intimately known tohim that, old as he was, he never forgot the names even oftheirchildren. The idea of raising a rent was abominable to him. Aroundthe house there were about two hundred acres which he was supposed tofarm. On these some half-dozen worn-out old labourers weremaintainedin such a manner that no return from the land was ever forthcoming.On this subject he would endure remonstrance from no one,--not evenfrom Isabel.Such as he has been here described, he would havebeen a happyold man during these last half-dozen years, had not his mind beenexercised day by day, and hour by hour, by these cares as to theproperty which were ever present to him. A more loving heart thanhiscould hardly be found in a human bosom, and all its power of love hadbeen bestowed on Isabel. Nor could any man be subject to a strongerfeeling of duty than that which pervaded him; and this feeling ofdutyinduced him to declare to himself that in reference to hisproperty he was bound to do that which was demanded of him by theestablished custom of his order. In this way he had become an unhappyman, troubled byconflicting feelings, and was now, as he wasapproaching the hour of his final departure, tormented by the thoughtthat he would leave his niece without sufficient provision for herwants.But the thing was done. The newwill was executed and tied in on thetop of the bundle which contained the other wills which he had made.Then, naturally enough, there came back upon him the idea, hardlyamounting to a hope, that something mighteven yet occur to setmatters right by a marriage between the cousins. Isabel had spokento him so strongly on the subject that he did not dare to repeat hisrequest. And yet, he thought, there was no good reason whythey twoshould not become man and wife. Henry, as far as he could learn, hadgiven up his bad courses. The man was not evil to the eye, a somewhatcold-looking man rather than otherwise, tall withwell-formedfeatures, with light hair and blue-grey eyes, not subject to bespoken of as being unlike a gentleman, if not noticeable as beinglike one. That inability of his to look one in the face when he wasspeaking hadnot struck the Squire forcibly as it had done Isabel. Hewould not have been agreeable to the Squire had there been no bondbetween them,--would still have been the reverse, as he had beenformerly, but for thatconnexion. But, as things were, there was roomfor an attempt at love; and if for an attempt at love on his part,why not also on Isabel's? But he did not dare to bid Isabel even totry to love this cousin.\"I think I wouldlike to have him down again soon,\" he said to hisniece.\"By all means. The more the tenants know him the better it will be. Ican go to Hereford at any time.\"\"Why should you run away from me?\"\"Not from you, UncleIndefer, but from him.\"\"And why from him?\"\"Because I don't love him.\"\"Must you always run away from the people you do not love?\"\"Yes, when the people, or person, is a man, and when the man has beentold that heought specially to love me.\"When she said this she looked into her uncle's face, smiling indeed,but still asking a serious question. He dared to make no answer, butby his face he told the truth. He had declared his"}
+{"doc_id":"doc_36","qid":"","text":"<html><head><title>Charlie's Angels Script at IMSDb.</title><meta name=\"description\" content=\"Charlie's Angels script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Charlie's Angelsscript, Charlie's Angels movie script, Charlie's Angels film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX,FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>           byEd Solomon and John August  current revisions by        Zak Penn<b>                             EARLYDRAFT</b>                             August 11, 1999<b></b><b>CHARLIE'S ANGELS - 8/18/99</b><b>FADE IN:</b><b>EXT. THE BIG BLUE SKY - DAY</b>A VIRGIN AIR 747 bursts through the clouds and levelsoff.<b>INT. VIRGIN AIR 747 - DAY</b>We move through the FIRST CLASS CABIN. It's the regularmix of first class people: OLD MONEY in Gucci enjoyingfreshly baked cookies, a MILLIONAIRE in jeans and a T-shirt,BUSINESS PEOPLE relaxing after a tough day, and......a very nervous MAN.Shifty-eyed. Alone in an aisle seat, the emergency row.We hold on him for a moment, but not for too long. Thenwe continue moving into--<b>THE COACH SECTION</b>Stopping at the lavatory, the \"OCCUPIED\" sign switches to\"VACANT\" and...<b>JAMES EARL JONES</b>(or actually, a James Earl Jones type, who for ease ofdescription, we'll simplyrefer to as James Earl Jones)steps out of the restroom, in full African regalia:multi-colored dashiki, mufti (it's a kind of hat), theworks. He heads up the aisle towards --<b>THE FIRST CLASS CABIN</b>Where he isstopped by a --<b>                         FLIGHT ATTENDANT</b>           I'm sorry, sir. This cabin is           restricted to first cl...Mr. Jones now removes a FIRST CLASS TICKET.<b>                         JAMES EARLJONES</b>           Is this what you're looking for?She looks at it -- a little confused as to why he's justhanding it to her now -- but then she nods. As he passes:<b>                         FLIGHTATTENDANT</b>           Oh, I'm sorry. Please. Is there           anything I can get you?<b>                         JAMES EARL JONES</b>           Scotch, blended. Straight.He continues into the first class cabin and toward--<b></b><b>CHARLIE'S ANGELS - 8/18/99                              2.</b><b>THE FIRST CLASS EMERGENCY ROOM</b>Where he slides in past the nervous, shifty-eyed man (hisname is PASQUAL) and sits by thewindow.After a moment, Pasqual quietly clears his throat andleans, slightly, towards Jones.<b>                        PASQUAL</b>                 (tentatively)          They say birds can't fly thishigh.<b>                        JAMES EARL JONES</b>          They say only angels can.Now Pasqual nods. Nervously begins to remove somethingfrom his pocket when they are interrupted by --<b>                        FLIGHTATTENDANT</b>          Shall I pour your scotch?<b>                        JAMES EARL JONES</b>          No -- I'll take the bottle. Thank you.She hands him the airplane-sized bottle -- he waves offthe glass. She shrugs,leaving...Pasqual to resume what he was doing. Slowly, he removesa roll of Certs. He looks to Jones -- \"Well? What aboutyour end of the bargain?\"From within his dashiki, Jones pulls out a black velvetpouch. He handsit to Pasqual, who opens it to finddiamonds. A helluva lot of diamonds. Pasqual smiles.He hands the roll of Certs to Jones. It's not breathcandy at all, but a tiny roll of explosives, with a tiny,high-tech triggeringmechanism.<b>                        JAMES EARL JONES</b>          Ah, c-5. The most dangerous          explosive material ever invented.          Hard to believe that this little          contraption could blow up tencity          blocks.<b>                        PASQUAL</b>          Be careful with it, huh?Both men smile.   Pasqual's very relieved that the deal isdone.Then suddenly, the lights blink out.Pasqual looks around, nervous. Butit's just the in-flight movie beginning. Clouds, and a woman holding atorch.<b>                                             (CONTINUED)</b><b></b><b>CHARLIE'S ANGELS -8/18/99                              3.</b><b>CONTINUED:</b>Columbia Pictures presents... David Spade and AdamSandler in \"BOSOM BUDDIES: THE MOVIE.\"James Earl Jones shakes his head, rolls hiseyes.<b>                           JAMES EARL JONES</b>             Another movie from an old TV show?<b>                           PASQUAL</b>             Well, what're you gonna do?<b>                               JAMES EARLJONES</b>             Walk out.<b>                           PASQUAL</b>             That's very funny.But James Earl Jones is dead serious.<b>                               JAMES EARL JONES</b>             No.   It isn't.Jones grabsPascal in a headlock and turns toward theback of the plane, shouting:<b>                            JAMES EARL JONES (CONT'D)</b><b>             EVERYONE!   FASTEN YOUR SEAT BELTS!</b>Now Jones does theunthinkable. Holding Pasqual tight,he yanks open the emergency door release.With a RUSH, the cabin decompresses.Panic erupts as air, paper and everything not belted inscreams out of the open door, including--<b>EXT. THE BIG BLUE SKY - FALLING AWAY FROM THE 747 - DAY</b>-- James Earl Jones, still holding Pasqual in a bear hug.They plummet, wind violently tearing at them. Pasqual'sfrantic SCREAMS doppler quitenicely.<b>DROPPING WITH THEM</b>They continue to fall, gaining speed. Pasqual isterrified, but Jones doesn't seem worried. In fact,casually, he glances at his watch, and then looks --<b>FAR BELOW THEM -ACROSS THE SKY</b>At the tiny black speck gradually grows larger in thedistance...<b></b><b>CHARLIE'S ANGELS - 8/18/99                               4.</b><b>CLOSER - ON THAT BLACK SPECK</b>It's a jethelicopter. Its door opens, and now a SKYDIVER leapsout, helmet down, arms back, streaking across thesky in aerodynamic perfection, heading directly towards<b>JONES AND PASQUAL</b>who are still plummetingtoward the earth at terminalvelocity. Jones begins to let go of Pasqual, who SCREAMSand tries to clutch onto him, desperate.<b>                        JAMES EARL JONES</b>                 (over the rushingwind)<b>          PULL YOURSELF TOGETHER. WE HAVE</b><b>          COMPANY.</b><b>                        PASQUAL</b><b>          WHAT?</b>Suddenly -- WHOMMPPPH!! -- the skydiver spread-eagles,stopping thewild dive directly behind Pasqual, andimmediately binds his arms and straps a parachute on him.All three are still free-falling.James Earl Jones nods at the Skydiver who, even under thehelmet and goggles, is clearly abeautiful woman.Meet ALEXANDRA \"ALEX\" MUNDAY, one of Charlie's Angels.She's a sultry bombshell -- a classic femme fatale --only she's playing for the good guys.She gives James Earl Jones a wink, then jerksPasqual'srip cord and -- WHOOMPH. Pasqual's chute deploys. Heflies upward, leaving --Alex and James Earl Jones, both still falling.    Below theocean screams up at them. Not much time left.James Earl Jones pulls hisbelt -- and his mufti fliesup. It's actually a tiny drogue chute, deploying hisentire dashiki. His outfit hides a parachute rig.Alex pulls her own rip cord and -- WHOOMPH -- her chuteunfurls, and now...Alex and James EarlJones gently float towards --<b>EXT. THE BIG BLUE SEA - DAY</b>A cigarette boat floats through the choppy water, agorgeous young woman expertly throttling up the growling<b>V-8.</b>Say hello to NATALIETHOMPSON, Charlie's second angel.At a glance, she's the brainy-shy girl next door.<b>                                                 (CONTINUED)</b><b></b><b>CHARLIE'S ANGELS -8/18/99                                 5.</b><b>CONTINUED:</b>But put her behind the wheel of any vehicle, and she'sunstoppable.Natalie glances ahead, maneuvering the boat perfectly underAlex, who drops on deck.Alex gathers her chute, then whips offher helmet to give her cascading mane a wild shake.Here comes James Earl Jones. Natalie guns the boatunderneath...a perfect catch. Alex helps him with hisdashiki-chute, andthen all three look up...Here comes Pasqual. Natalie whips the boat around,catching him as he helplessly drops into the seats, stillbound, still scared out of his wits. He gapes wild-eyedat the two Angels, then whirls onJames Earl Jones.<b>                           PASQUAL</b>             You crazy bastard!<b>                           JAMES EARL JONES</b>             I think you mean crazy bitch.With that, James Earl Jones reaches up andpulls his faceoff. Latex rips free, and standing there (without hisdashiki, James Earl Jones has a great figure) is...... stunningly beautiful DYLAN SANDERS, angel numberthree. She's the wild one.Pasqual's jaw drops asDylan shakes her hair free, thenreaches in her mouth --<b>                           DYLAN</b>                    (still with James Earl Jones' voice)             Don't need this anymore.-- and extracts a voice-modifyingchip.<b>                           DYLAN (CONT'D)</b>                    (now in her real voice)             But I sure could use this.And she pulls from her pocket the airplane-size bottle ofJohnnie Walker Black. She twists it openand downs it.<b>                           DYLAN (CONT'D)</b>             Damn I hate to fly.<b>EXT. BEACH DOCK - DAY</b>Now, MEN IN \"FBI\" WINDBREAKERS haul Pasqual away, two ofthem carefully handling thecerts-explosive. A harmlessfellow pushes his way past them and onto the dock.It's JOHN BOSLEY, Charlie's lieutenant.<b>                                                (CONTINUED)</b><b></b><b>CHARLIE'S ANGELS -8/18/99                                 6.</b><b>CONTINUED:</b>He reaches the boat, which Natalie ties off while Alexand Dylan neatly fold their parachutes.<b>                           BOSLEY</b>             Well, Angels, theexperimental             explosives are back in the hands of             the government, and the free world             can breathe just a lit-tle bit             easier tonight, thanks to you three.Alex, Natalie and Dylan stroll fromthe dock onto the sand,each starting to unzip/unbutton/unsnap their action gear andhand it to Bosley as they continue walking.<b>                           NATALIE</b>             And thanks to you, too,Bos.<b>                           ALEX</b>             We couldn't have redirected the             flight path without your help.Bosley puffs, proud. He speaks over the ever-growingpile of chutes, body suits, goggles, thedashiki...<b>                           BOSLEY</b>             Nothing a little teamwork can't do.             At least, that's what Charlie's             always telling us, right ladies?<b>                           DYLAN</b>             Charliewill be joining us, won't he?<b>                           BOSLEY</b>             He sends his regrets. But he             wanted you to know that dinner is             on him, so feel free to celebrate.By now, the Angels havestripped off all of theirequipment, revealing eye-popping evening gowns.<b>                           ALEX</b>             If it's on Charlie, we will.The Angels share a laugh as they arrive in their sassyduds at a private beachclub, where a WAITER greets themwith a tray of champagne flutes.They each take a glass, turn to each other and raisethem. Another Angels Mystery... Case Closed.FREEZE FRAME.    And the TITLE SEQUENCEBEGINS...<b>                           CHARLIE (V.O.)</b>             Once upon a time...<b>                                                   (CONTINUED)</b><b></b><b>CHARLIE'S ANGELS -8/18/99                               7.</b><b>CONTINUED:</b>THREE FOURTH GRADE SCHOOL PHOTOS FILL THE FRAME, side byside by side. These are three very different girls.NATALIE, with a page-boy cut and wearinga Catholicschoolgirl's uniform, sports glasses and braces; a bitawkward and gangly, even shy.ALEX, formally dressed with perfect pig-tails, issophisticated and self-possessed; a class act, even at ten.DYLAN, wild blond"}
+{"doc_id":"doc_37","qid":"","text":"The Project Gutenberg eBook, The Skylark of Space, by Edward Elmer Smithand Lee Hawkins GarbyThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copyit, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: The Skylark of SpaceAuthor: Edward Elmer Smith and Lee HawkinsGarbyRelease Date: March 21, 2007  [eBook #20869]Most recently updated April 18, 2011Language: English***START OF THE PROJECT GUTENBERG EBOOK THE SKYLARK OF SPACE***E-text prepared by GregWeeks, L. N. Yaddanapudi, David Dyer-Bennet, andthe Project Gutenberg Online Distributed Proofreading Team(http://www.pgdp.net)Note: Project Gutenberg also has an HTML version of this      file which includes theoriginal illustrations.      See 20869-h.htm or 20869-h.zip:      (http://www.gutenberg.net/dirs/2/0/8/6/20869/20869-h/20869-h.htm)      or      (http://www.gutenberg.net/dirs/2/0/8/6/20869/20869-h.zip)      +----------------------------------------------------------+      | Transcriber's note                                       |      |                                                          |      | This etext was produced from Amazing Stories August,     |      |September and October 1928. Extensive research did not   |      | uncover any evidence that the U.S. copyright on this     |      | publication wasrenewed.                                 |      |                                                          |      | Other notes and a list of corrections made will be found |      | at the end of thebook.                                  |      +----------------------------------------------------------+THE SKYLARK OF SPACEbyEDWARD ELMER SMITHIn Collaboration withLEE HAWKINS GARBY[Illustration: CoverPage]    +--------------------------------------+    |                                      |    | _Perhaps it is a bit unethical and   |    | unusual for editors to voice their   |    | opinion of their own wares, but when |    | such a storyas \"The Skylark of      |    | Space\" comes along, we just feel as  |    | if we must shout from the housetops  |    | that this is the greatest            |    | interplanetarian and space flying    |    | story that has appearedthis year.   |    | Indeed, it probably will rank as one |    | of the great space flying stories    |    | for many years to come. The story is |    | chock full, not only of excellent    |    | science, but woven through itthere  |    | is also that very rare element, love |    | and romance. This element in an      |    | interplanetarian story is often apt  |    | to be foolish, but it does not seem  |    | so in this particularstory._        |    |                                      |    | _We know so little about             |    | intra-atomic forces, that this       |    | story, improbable as it will appear  |    | in spots, will read commonplace      |    | yearshence, when we have atomic     |    | engines, and when we have solved the |    | riddle of the atom._                 |    |                                      |    | _You will follow the hair-raising    |    | explorations and strangeventures    |    | into far-away worlds with bated      |    | breath, and you will be fascinated,  |    | as we were, with the strangeness of  |    | itall._                             |    |                                      |    +--------------------------------------+CHAPTER IThe Occurrence of the ImpossiblePetrified with astonishment, Richard Seaton stared after thecoppersteam-bath upon which he had been electrolyzing his solution of \"X,\" theunknown metal. For as soon as he had removed the beaker the heavy bathhad jumped endwise from under his hand as though it werealive. It hadflown with terrific speed over the table, smashing apparatus and bottlesof chemicals on its way, and was even now disappearing through the openwindow. He seized his prism binoculars and focused themupon the flyingvessel, a speck in the distance. Through the glass he saw that it didnot fall to the ground, but continued on in a straight line, only itsrapidly diminishing size showing the enormous velocity with which itwasmoving. It grew smaller and smaller, and in a few moments disappearedutterly.The chemist turned as though in a trance. How was this? The copper bathhe had used for months was gone--gone like a shot, withnothing to makeit go. Nothing, that is, except an electric cell and a few drops of theunknown solution. He looked at the empty space where it had stood, atthe broken glass covering his laboratory table, and again staredout ofthe window.He was aroused from his stunned inaction by the entrance of his coloredlaboratory helper, and silently motioned him to clean up the wreckage.\"What's happened, Doctah?\" asked the duskyassistant.\"Search me, Dan. I wish I knew, myself,\" responded Seaton, absently,lost in wonder at the incredible phenomenon of which he had just been awitness.Ferdinand Scott, a chemist employed in the next room,entered breezily.\"Hello, Dicky, thought I heard a racket in here,\" the newcomer remarked.Then he saw the helper busily mopping up the reeking mass of chemicals.\"Great balls of fire!\" he exclaimed. \"What've you beencelebrating? Hadan explosion? How, what, and why?\"\"I can tell you the 'what,' and part of the 'how',\" Seaton repliedthoughtfully, \"but as to the 'why,' I am completely in the dark. Here'sall I know about it,\" and in a fewwords he related the foregoingincident. Scott's face showed in turn interest, amazement, and pityingalarm. He took Seaton by the arm.\"Dick, old top, I never knew you to drink or dope, but this stuff surecame out ofeither a bottle or a needle. Did you see a pink serpentcarrying it away? Take my advice, old son, if you want to stay in UncleSam's service, and lay off the stuff, whatever it is. It's bad enough tocome down here so fargone that you wreck most of your apparatus andlose the rest of it, but to pull a yarn like that is going too far. TheChief will have to ask for your resignation, sure. Why don't you take acouple of days of your leave andstraighten up?\"Seaton paid no attention to him, and Scott returned to his ownlaboratory, shaking his head sadly.Seaton, with his mind in a whirl, walked slowly to his desk, picked uphis blackened and battered briarpipe, and sat down to study out what hehad done, or what could possibly have happened, to result in such anunbelievable infraction of all the laws of mechanics and gravitation. Heknew that he was sober and sane, thatthe thing had actually happened.But why? And how? All his scientific training told him that it wasimpossible. It was unthinkable that an inert mass of metal should flyoff into space without any applied force. Since it hadactuallyhappened, there must have been applied an enormous and hitherto unknownforce. What was that force? The reason for this unbelievablemanifestation of energy was certainly somewhere in the solution,theelectrolytic cell, or the steam-bath. Concentrating all the power of hishighly-trained analytical mind upon the problem--deaf and blind toeverything else, as was his wont when deeply interested--he satmotionless,with his forgotten pipe clenched between his teeth. Hourafter hour he sat there, while most of his fellow-chemists finished theday's work and left the building and the room slowly darkened with thecoming ofnight.Finally he jumped up. Crashing his hand down upon the desk, heexclaimed:\"I have liberated the intra-atomic energy of copper! Copper, 'X,' andelectric current!\"I'm sure a fool for luck!\" he continued as a newthought struck him.\"Suppose it had been liberated all at once? Probably blown the wholeworld off its hinges. But it wasn't: it was given off slowly and in astraight line. Wonder why? Talk about power! Infinite! Believeme, I'llshow this whole Bureau of Chemistry something to make their eyes stickout, tomorrow. If they won't let me go ahead and develop it, I'llresign, hunt up some more 'X', and do it myself. That bath is on its waytothe moon right now, and there's no reason why I can't follow it.Martin's such a fanatic on exploration, he'll fall all over himself tobuild us any kind of a craft we'll need ... we'll explore the wholesolar system! Great Cat,what a chance! A fool for luck is right!\"He came to himself with a start. He switched on the lights and saw thatit was ten o'clock. Simultaneously he recalled that he was to have haddinner with his fiancée at her home,their first dinner since theirengagement. Cursing himself for an idiot he hastily left the building,and soon his motorcycle was tearing up Connecticut Avenue toward hissweetheart's home.CHAPTER IISteel BecomesInterestedDr. Marc DuQuesne was in his laboratory, engaged in a research uponcertain of the rare metals, particularly in regard to theirelectrochemical properties. He was a striking figure. Well over six feettall,unusually broad-shouldered even for his height, he was plainly aman of enormous physical strength. His thick, slightly wavy hair wasblack. His eyes, only a trifle lighter in shade, were surmounted byheavy blackeyebrows which grew together above his aquiline nose.Scott strolled into the room, finding DuQuesne leaning over a delicateelectrical instrument, his forbidding but handsome face strangelyilluminated by the ghastlyglare of his mercury-vapor arcs.\"Hello, Blackie,\" Scott began. \"I thought it was Seaton in here atfirst. A fellow has to see your faces to tell you two apart. Speaking ofSeaton, d'you think that he's quite right?\"\"I shouldsay, off-hand, that he was a little out of control last nightand this morning,\" replied DuQuesne, manipulating connections with hislong, muscular fingers. \"I don't think that he's insane, and I don'tbelieve that hedopes--probably overwork and nervous strain. He'll beall right in a day or two.\"\"I think he's a plain nut, myself. That sure was a wild yarn he sprungon us, wasn't it? His imagination was hitting on all twelve, that'ssure.He seems to believe it himself, though, in spite of making a flatfailure of his demonstration to us this morning. He saved that wastesolution he was working on--what was left of that carboy of platinumresidues after hehad recovered all the values, you know--and got themto put it up at auction this noon. He resigned from the Bureau, and heand M. Reynolds Crane, that millionaire friend of his, bid it in for tencents.\"\"M. ReynoldsCrane?\" DuQuesne concealed a start of surprise. \"Where doeshe come in on this?\"\"Oh, they're always together in everything. They've been thicker thanDamon and Pythias for a long time. They play tennistogether--they'redoubles champions of the District, you know--and all kinds of things.Wherever you find one of them you'll usually find the other. Anyway,after they got the solution Crane took Seaton in his car, andsomebodysaid they went out to Crane's house. Probably trying to humor him. Well,ta-ta; I've got a week's work to do yet today.\"As Scott left DuQuesne dropped his work and went to his desk, with a newexpression,half of chagrin, half of admiration, on his face. Picking uphis telephone, he called a number.\"Brookings?\" he asked, cautiously. \"This is DuQuesne. I must see youimmediately. There's something big started that may aswell belong tous.... No, can't say anything over the telephone.... Yes, I'll be rightout.\"He left the laboratory and soon was in the private office of the head ofthe Washington or \"diplomatic\" branch, as it was known incertaincircles, of the great World Steel Corporation. Offices and laboratorieswere maintained in the city, ostensibly for research work, but inreality to be near the center of political activity.\"How do you do, DoctorDuQuesne?\" Brookings said as he seated hisvisitor. \"You seem excited.\"\"Not excited, but in a hurry,\" DuQuesne replied. \"The biggest thing inhistory has just broken, and we've got to work fast if we get in on it.Have youany doubts that I always know what I am talking about?\"\"No,\" answered the other in surprise. \"Not the slightest. You are widelyknown as an able man. In fact, you have helped this company severaltimes in variousdeal--er, in various ways.\"\"Say it. Brookings. 'Deals' is the right word. This one is going to bethe biggest ever. The beauty of it is that it should be easy--one simpleburglary and an equally simple killing--and won't meanwholesale murder,as did that....\"\"Oh, no, Doctor, not murder. Unavoidable accidents.\"\"Why not call things by their right names and save breath, as long aswe're alone? I'm not squeamish. But to get down to business.You knowSeaton, of our division, of course. He has been recovering the variousrare metals from all the residues that have accumulated in the Bureaufor years. After separating out all the known metals he hadsomethingleft, and thought it was a new element, a metal. In one of his attemptsto get it into the metallic state, a little of its solution fizzed outand over a copper steam bath or tank, which instantly flew out ofthewindow like a bullet. It went clear out of sight, out of range of hisbinoculars, just that quick.\" He snapped his fingers under Brookings'nose. \"Now that discovery means such power as the world never dreamedof. Infact, if Seaton hadn't had all the luck in the world right withhim yesterday, he would have blown half of North America off the map.Chemists have known for years that all matter contains enormous storesof intra-atomicenergy, but have always considered it 'bound'--that is,incapable of liberation. Seaton has liberated it.\"\"And that means?\"\"That with the process worked out, the Corporation could furnish powerto the entire world, atvery little expense.\"       *       *       *       *       *A look of scornful unbelief passed over Brookings' face.\"Sneer if you like,\" DuQuesne continued evenly. \"Your ignorance doesn'tchange the fact in any particular. Do youknow what intra-atomic energyis?\"\"I'm afraid that I don't, exactly.\"\"Well, it's the force that exists between the ultimate component partsof matter, if you can understand that. A child ought to. Call in yourchief chemistand ask him what would happen if somebody would liberatethe intra-atomic energy of one hundred pounds of copper.\"\"Pardon me, Doctor. I didn't presume to doubt you. I will call him in.\"He telephoned a request andsoon a man in white appeared. In response tothe question he thought for a moment, then smiled slowly.\"If it were done instantaneously it would probably blow the entire worldinto a vapor, and might force it clear outof its orbit. If it could becontrolled it would furnish millions of horsepower for a long time. Butit can't be done. The energy is bound. Its liberation is animpossibility, in the same class with perpetual motion. Is that all,Mr.Brookings?\"As the chemist left, Brookings turned again to his visitor, with anapologetic air.\"I don't know anything about these things myself, but Chambers, also anable man, says that it is impossible.\"\"As far as heknows, he is right. I should have said the same thing thismorning. But I do know about these things--they're my business--and Itell you that Seaton has done it.\"\"This is getting interesting. Did you see it done?\"\"No. Itwas rumored around the Bureau last night that Seaton was goinginsane, that he had wrecked a lot of his apparatus and couldn't explainwhat had happened. This morning he called a lot of us into hislaboratory, told uswhat I have just told you, and poured some of hissolution on a copper wire. Nothing happened, and he acted as though hedidn't know what to make of it. The foolish way he acted and theapparent impossibility of thewhole thing, made everybody think himcrazy. I thought so until I learned this afternoon that Mr. ReynoldsCrane is backing him. Then I knew that he had told us just enough of thetruth to let him get away clean with thesolution.\"\"But suppose the man _is_ crazy?\" asked Brookings. \"He probably is amonomaniac, really insane on that one thing, from studying it so much.\"\"Seaton? Yes, he's crazy--like a fox. You never heard of anyinsanity inCrane's family, though, did you? You know that he never invests a centin anything more risky than Government bonds. You can bet your lastdollar that Seaton showed him the real goods.\" Then, as a lookofconviction appeared upon the other's face, he continued:\"Don't you understand that the solution was Government property, and hehad to do something to make everybody think it worthless, so that hecould get titleto it? That faked demonstration that failed wascertainly a bold stroke--so bold that it was foolhardy. But it worked.It fooled even me, and I am not usually asleep. The only reason he gotaway with it, is, that he hasalways been such an open-faced talker,always telling everything he knew.\"He certainly played the fox,\" he continued, with undisguisedadmiration. \"Heretofore he has never kept any of his discoveries secretor tried tomake any money out of them, though some of them were worthmillions. He published them as soon as he found them, and somebody elsegot the money. Having that reputation, he worked it to make us think hima nut.He certainly is clever. I take off my hat to him--he's a wonder!\"\"And what is your idea? Where do we come in?\"\"You come in by getting that solution away from Seaton and Crane, andfurnishing the money to developthe stuff and to build, under mydirection, such a power-plant as the world never saw before.\"\"Why get that particular solution? Couldn't we buy up some platinumwastes and refine them?\"\"Not a chance,\" replied thescientist. \"We have refined platinumresidues for years, and never found anything like that before. It is myidea that the stuff, whatever it is, was present in some particular lotof platinum in considerable quantities as animpurity. Seaton hasn't allof it there is in the world, of course, but the chance of finding anymore of it without knowing exactly what it is or how it reacts isextremely slight. Besides, we must have exclusive control. Howcould wemake any money out of it if Crane operates a rival company and issatisfied with ten percent profit? No, we must get all of that solution.Seaton and Crane, or Seaton, at least, must be killed, for if he is leftalivehe can find more of the stuff and break our monopoly. I want toborrow your strong-arm squad tonight, to go and attend to it.\"After a few moments' thought, his face set and expressionless, Brookingssaid:\"No, Doctor. Ido not think that the Corporation would care to go into amatter of this kind. It is too flagrant a violation of law, and we canafford to buy it from Seaton after he proves its worth.\"       *       *       *       *       *\"Bah!\"snorted DuQuesne. \"Don't try that on me, Brookings. You think youcan steal it yourself, and develop it without letting me in on it? Youcan't do it. Do you think I am fool enough to tell you all about it,with facts, figures,and names, if you could get away with it withoutme? Hardly! You can steal the solution, but that's all you can do. Yourchemist or the expert you hire will begin experimenting without Seaton'slucky start, which I havealready mentioned, but about which I haven'tgone into any detail. He will have no information whatever, and thefirst attempt to do anything with the stuff will blow him and all thecountry around him for miles into animpalpable powder. You will loseyour chemist, your solution, and all hope of getting the process. Thereare only two men in the United States, or in the world, for that matter,with brains enough and information enoughto work it out. One isRichard B. Seaton, the other is Marc C. DuQuesne. Seaton certainly won'thandle it for you. Money can't buy him and Crane, and you know it. Youmust come to me. If you don't believe that now, youwill very shortly,after you try it alone.\"Brookings, caught in his duplicity and half-convinced of the truth ofDuQuesne's statements, still temporized.\"You're modest, aren't you, Doctor?\" he asked, smiling.\"Modest? No,\"said the other calmly. \"Modesty never got anybody anythingbut praise, and I prefer something more substantial. However, I neverexaggerate or make over-statements, as you should know. What I have saidis merely astatement of fact. Also, let me remind you that I am in ahurry. The difficulty of getting hold of that solution is growinggreater every minute, and my price is getting higher every second.\"\"What is your price at thepresent second?\"\"Ten thousand dollars per month during the experimental work; fivemillion dollars in cash upon the successful operation of the first powerunit, which shall be of not less than ten thousand horsepower;and tenpercent of the profits.\"\"Oh, come, Doctor, let's be reasonable. You can't mean any such figuresas those.\"\"I never say anything I don't mean. I have done a lot of dirty work withyou people before, and never gotmuch of anything out of it. You werealways too strong for me; that is, I couldn't force you without exposingmy own crookedness, but now I've got you right where I want you. That'smy price; take it or leave it. If youdon't take it now, the first twoof those figures will be doubled when you do come to me. I won't go toanybody else, though others would be glad to get it on my terms, becauseI have a reputation to maintain and you"}
+{"doc_id":"doc_38","qid":"","text":"<html><head><title>Shrek Script at IMSDb.</title><meta name=\"description\" content=\"Shrek script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Shrek script, Shrek movie script,Shrek film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=SubjectCONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0];s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>    <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\"title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center></td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                                          SHREK</b>                                       Written by                                William Steig & TedElliott<b>                                     SHREK</b>                         Once upon a time there was a lovely                          princess. But she had an enchantment                          upon her of a fearful sort whichcould                          only be broken by love's first kiss.                          She was locked away in a castle guarded                          by a terrible fire-breathing dragon.                          Many brave knights hadattempted to                          free her from this dreadful prison,                          but non prevailed. She waited in the                          dragon's keep in the highest room of                          the tallest tower for hertrue love                          and true love's first kiss. (laughs)                          Like that's ever gonna happen. What                          a load of - (toilet flush)<b> </b>               Allstar - by Smashmouth begins to play.Shrek goes about his                day. While in a nearby town, the villagers get together to go                after the ogre.<b> </b><b>               NIGHT - NEAR SHREK'SHOME</b><b>                                     MAN1</b>                         Think it's in there?<b>                                     MAN2</b>                         All right. Let's getit!<b>                                     MAN1</b>                         Whoa. Hold on. Do you know what that                          thing can do to you?<b> </b><b>                                     MAN3</b>                         Yeah, it'llgrind your bones for it's                          bread.<b> </b>               Shrek sneaks up behind them and laughs.<b>                                     SHREK</b>                         Yes, well, actually, that would bea                          giant. Now, ogres, oh they're much worse.                          They'll make a suit from your freshly                          peeled skin.<b></b><b>                                     MEN</b>                         No!<b>                                     SHREK</b>                         They'll shave your liver. Squeeze the                          jelly from your eyes! Actually,it's                          quite good on toast.<b> </b><b>                                     MAN1</b>                         Back! Back, beast! Back! I warn ya!                          (waves the torch at Shrek.)<b> </b>               Shrekcalmly licks his fingers and extinguishes the torch. The                men shrink back away from him. Shrek roars very loudly and long                and his breath extinguishes all the remaining torches untilthe                men are in the dark.<b> </b><b>                                     SHREK</b>                         This is the part where you run away.                          (The men scramble to get away. Helaughs.)                          And stay out! (looks down and picks                          up a piece of paper. Reads.) \"Wanted.                          Fairy tale creatures.\"(He sighs and                          throws the paper over hisshoulder.)<b> </b><b>                         </b><b>               THE NEXT DAY</b>               There is a line of fairy tale creatures. The head of the guard                sits at a table paying people for bringing the fairy talecreatures                to him. There are cages all around. Some of the people in line                are Peter Pan, who is carrying Tinkerbell in a cage, Gipetto                who's carrying Pinocchio, and a farmer who is carryingthe three                little pigs.<b> </b><b>                                     GUARD</b>                         All right. This one's full. Take it                          away! Move it along. Come on! Get up!<b></b><b>                         </b><b>                                     HEAD GUARD</b>                         Next!<b>                                     GUARD</b>                         (taking the witch's broom) Give methat!                          Your flying days are over. (breaks the                          broom in half)<b> </b><b>                                     HEAD GUARD</b>                         That's 20 pieces of silver for thewitch.                          Next!<b> </b><b>                                     GUARD</b>                         Get up! Come on!<b>                                     HEAD GUARD</b>                         Twentypieces.<b>                                     LITTLE BEAR</b>                         (crying) This cage is too small.<b>                                     DONKEY</b>                         Please, don't turn me in. I'llnever                          be stubborn again. I can change. Please!                          Give me another chance!<b> </b><b>                                     OLD WOMAN</b>                         Oh, shut up. (jerks hisrope)<b>                                     DONKEY</b>                         Oh!<b>                                     HEAD GUARD</b>                         Next! What have yougot?<b>                                     GIPETTO</b>                         This little wooden puppet.<b>                                     PINOCCHIO</b>                         I'm not a puppet. I'm a real boy. (his                          nosegrows)<b> </b><b>                                     HEAD GUARD</b>                         Five shillings for the possessed toy.                          Take it away.<b></b><b>                                     PINOCCHIO</b>                         Father, please! Don't let them do this!                          Help me!<b> </b>               Gipetto takes the money and walks off. The old woman stepsup                to the table.<b> </b><b>                                     HEAD GUARD</b>                         Next! What have you got?<b>                                     OLD WOMAN</b>                         Well, I've got a talkingdonkey.<b>                                     HEAD GUARD</b>                         Right. Well, that's good for ten shillings,                          if you can prove it.<b> </b><b>                                     OLDWOMAN</b>                         Oh, go ahead, little fella.               Donkey just looks up at her.<b>                                     HEAD GUARD</b>                         Well?<b>                                     OLDWOMAN</b>                         Oh, oh, he's just...he's just a little                          nervous. He's really quite a chatterbox.                          Talk, you boneheaded dolt...<b> </b><b>                                     HEADGUARD</b>                         That's it. I've heard enough. Guards!<b> </b><b>                         </b><b>                                     OLD WOMAN</b>                         No, no, he talks! He does.(pretends                          to be Donkey) I can talk. I love to                          talk. I'm the talkingest damn thing                          you ever saw.<b> </b><b>                                     HEADGUARD</b>                         Get her out of my sight.<b>                                     OLD WOMAN</b>                         No, no! I swear! Oh! He can talk!               The guards grab the old woman and she struggles withthem. One                of her legs flies out and kicks Tinkerbell out of Peter Pan's                hands, and her cage drops on Donkey's head. He gets sprinkled                with fairy dust and he's able to fly.<b></b><b>                                     DONKEY</b>                         Hey! I can fly!<b>                                     PETER PAN</b>                         He can fly!<b>                                     3 LITTLEPIGS</b>                         He can fly!<b>                                     HEAD GUARD</b>                         He can talk!<b>                                     DONKEY</b>                         Ha, ha! That's right, fool! NowI'm                          a flying, talking donkey. You might                          have seen a housefly, maybe even a superfly                          but I bet you ain't never seen a donkey                          fly. Ha, ha! (the pixiedust begins                          to wear off) Uh-oh. (he begins to sink                          to the ground.)<b> </b>               He hits the ground with a thud.<b>                                     HEADGUARD</b>                         Seize him! (Donkey takes of running.)                          After him!<b> </b><b>                                     GUARDS</b>                         He's getting away! Get him! Thisway!                          Turn!<b> </b>               Donkey keeps running and he eventually runs into Shrek. Literally.                Shrek turns around to see who bumped into him. Donkey looks scared                for amoment then he spots the guards coming up the path. He                quickly hides behind Shrek.<b> </b><b>                                     HEAD GUARD</b>                         You there.Ogre!<b>                                     SHREK</b>                         Aye?<b>                                     HEAD GUARD</b>                         By the order of Lord Farquaad I am authorized                          to place youboth under arrest and transport                          you to a designated resettlement facility.<b> </b><b>                         </b><b>                                     SHREK</b>                         Oh, really? You and whatarmy?               He looks behind the guard and the guard turns to look as well                and we see that the other men have run off. The guard tucks tail                and runs off. Shrek laughs and goes back about hisbusiness and                begins walking back to his cottage.<b> </b><b>                                     DONKEY</b>                         Can I say something to you? Listen,                          you was really, really, reallysomethin'                          back here. Incredible!<b> </b><b>                                     SHREK</b>                         Are you talkin' to...(he turns around                          and Donkey is gone) me? (he turnsback                          around and Donkey is right in front                          of him.) Whoa!<b> </b><b>                                     DONKEY</b>                         Yes. I was talkin' to you. Can Itell                          you that you that you was great back                          here? Those guards! They thought they                          was all of that. Then you showed up,                          and bam! They was trippin'over themselves                          like babes in the woods. That really                          made me feel good to see that.<b> </b><b>                                     SHREK</b>                         Oh, that's great.Really.<b>                                     DONKEY</b>                         Man, it's good to be free.<b>                                     SHREK</b>                         Now, why don't you go celebrate your                          freedomwith your own friends? Hmm?<b> </b><b>                         </b><b>                                     DONKEY</b>                         But, uh, I don't have any friends. And                          I'm not goin' out there by myself.Hey,                          wait a minute! I got a great idea! I'll                          stick with you. You're mean, green,                          fightin' machine. Together we'll scare                          the spit out of anybody thatcrosses                          us.<b> </b>               Shrek turns and regards Donkey for a moment before roaring very                loudly.<b> </b><b>                                     DONKEY</b>                         Oh, wow!That was really scary. If you                          don't mind me sayin', if that don't                          work, your breath certainly will get                          the job done, 'cause you definitely                          need some Tic"}
+{"doc_id":"doc_39","qid":"","text":"<html><head><title>Big White, The Script at IMSDb.</title><meta name=\"description\" content=\"Big White, The script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Big White, Thescript, Big White, The movie script, Big White, The film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX,FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                                       THE BIG WHITE</b>                                        Written by                                      CollinFriesen<b>      FADE IN:</b><b>      EXT. ROAD - WINTER DAY</b>      A police car, nothing more than a speck on the landscape, is intermittently      visible through the blowing snow.<b>      INT. POLICE CAR -SAME</b>      A CORPORAL (20s), behind the wheel, with a bored DETECTIVE BOYLE (60s)      at his side.<b>                                  CORPORAL</b>              So his hand is like, off, right.  So he puts ona              tourniquet, puts the hand in his pocket, walks five              miles through the bush til he gets to the highway,              where he passes out, on the road, right.  Then this              logging truck comesalong...<b>                                  DETECTIVE BOYLE</b>                        (looking ahead)              Hey.      The Corporal looks forward.      CAR'S POV: Through the windshield of a WOMAN (40s), dressed inher      pajamas and a parka, skipping down the middle of the road.<b>      EXT. ROAD</b>      The police car pulls to a stop, just as the woman does a pirouette and falls      over backwards.      Detective Boyle andthe other Cop get out and walk over.<b>                                  CORPORAL</b>                        (into his radio)              Dispatch, this is unit 611, we need a first              responsder--<b>                                  DETECTIVE BOYLE</b>              Cancel that.      The Woman kicks up a leg, wiggles her foot.                                  DETECTIVE BOYLE (cont'd)              I know where she belongs.      Asthey lift her up...<b>1     INT. INSIDE A TRASH DUMPSTER - LATE AFTERNOON                                  1</b>      The dumpster lid opens on a bitterly cold, gray winter's day in an Alaskan city.  A      chunky, shiveringHAIR STYLIST with jet black bangs shakes out a box of      conditioning samples.<b>                                  HAIR STYLIST</b>                        (to someone O.S.)              She says \"I haven't eaten all day,\" then,right there on              the bus she pulls out this, like, salmon steak and              I'm...<b>2     INT. INSIDE A TRASH DUMPSTER - LATE AFTERNOON                                  2</b>      The dumpster lid BANGS shut,reopens a beat later. A moment of calm until      two garbage bags SLAM against the inside of the lid. It falls shut with a CLANG.<b>3     EXT. TRASH DUMPSTER -NIGHT                                                    3</b>      The lid reopens. Night time now, as a street lamp BUZZES to life. A middle      aged MAN in work clothes checks to make sure he's alone. He gently lowers      thelid, opens it again a moment later, this time balancing a mini-bar fridge on      his shoulder.  He dumps the appliance into the bin and runs off.<b>4     INT. INSIDE A TRASH DUMPSTER -NIGHT                                           4</b>      The lid reopens.  SIRENS off in the distance...<b>                                  MEN'S VOICES (O.S.)</b>              One, two, three... up.      The lifeless body of a fair-sizedman comes CRASHING into the garbage.      SIRENS closer.  A man seen only in silhouette leans in to pull some garbage      over the corpse.  A second man looks in, then pulls the first manaway.<b>                                  MAN'S VOICE</b>              We'll get him later.  C'mon.      The lid drops.<b>5     EXT. TRASH DUMPSTER - MORNING                                                  5</b>      Black.  Thedumpster reopens. Morning now. A Korean-American  TEENAGER      wearing an apron and headphones sings along to an  old KISS tune as he      deposits two large orange garbagebags.<b>                                  TEENAGER</b>              \"...Get up, everybody's gonna move their feet, get              down, everybody's gonna leave their seat...gonna              lose your mind in...\"      He shuts thelid with care.  Black.<b>6     EXT. CITY STREET - DAY                                                         6</b>      A cookie-cutter subdivision.  Old pine trees poke through the snow cover that      blankets theneighborhood.  HOWARD (30s), a burly outdoors type, is trying to      unload a new snowmobile from the back of his pickup.  TED WATTERS (late      20s) half hidden under a heavy dress coat, walks down the street.He stops by      Howard's driveway.<b>                                  TED</b>              Need a hand?<b>                                  HOWARD</b>                        (turning)              Yeah.  Could ya grab me those two byeights?      Ted walks up the driveway, grabs the wood slats, makes a ramp by leaning      them against the rear bumper.                                  HOWARD (cont'd)              Thanks.      Howard maneuvers thesnowmobile down the ramp, his back turned toward      Ted -- who has taken out a small cam-corder and is taping Howard.                                  HOWARD (cont'd)              I tell ya, it may look fast but it sure ain'tlight.  You the              guy who just moved in to the Stevens old house?<b>                                  TED</b>              No.  Name's Ted.<b>                                  HOWARD</b>              Hey Ted, I'mHoward.<b>                                  TED</b>              Hey Howard.  What is that, an Arctic Cat? What do              those go for?<b>7     P.O.V. CAMCORDER VIEWFINDER                                                   7</b>      Howard finally has the snowmobile on the ground.  He's breathing heavy as he      pulls off his mitt to shakehands.<b>                                  HOWARD</b>              More than I could normally afford, I'll tell ya.                        (seeing the camera)              Hey!  What do you think you're you doing?      As Ted and Howardcontinue to talk, we PULL BACK to reveal we are watching      Ted's video playing on a VCR that is --<b>8     INT. INSURANCE OFFICE / COMMON AREA - DAY                                      8</b>      A group of officeWORKERS look on, very much impressed, as a stunned      Howard stares at the camera.<b>                                  TED (O.S.)</b>              Howard, you seem like a reasonable kind of guy.              Lets you and metalk.      TIGHT ON: WATTERS at his nearby cubicle, typing frenetically on his computer.      At first, he appears to be working, until we realize that on his computer screen      pixilated Zombies die in silent anguishbeneath an unholy hail of bullets.  A      Miami Dolphins sticker is the sole cubicle decoration.      As the tape finishes, a smattering of APPLAUSE from his colleagues.  Ted      gives a small wave over the cubiclewall.                                  TED (cont'd)              Thank you.  Just happy to give something back to              Liberty Capital...                        (to himself - bitter)              After all they've done for me.<b>9     INT.INSURANCE OFFICE / COMMON AREA - DAY                                      9</b>      CAM (30s), Native-American Alaskan walks over. Ted immediately hits a key      that turns the screen to aspread-sheet.<b>                                  CAM</b>              That was really cool.  It was like... watching \"Cops\".<b>                                  TED</b>              He was pretty spry for a man with a herniateddisc.<b>                                  CAM</b>              You know, I don't want to bitch or anything, but you              were supposed to take me along on that one.<b>                                  TED</b>              Couldn'tfind you.<b>                                  CAM</b>              I know you know this, but the sooner they think I can              handle calls on my own, the sooner they'll kick you              back downsouth.<b>                                  TED</b>              I've been hearing that for 13 months and six days,              Cam.  After a while, it gets a little old.                        (off Cam's look)              Next time,okay.      Good enough.  Cam moves off.  Back to the zombie blood bath.  The phone      RINGS.  Ted picks up, his eyes never wavering from the gore intensive      computer game.                                  TED(cont'd)              Claims, Ted Watters.  Sure.      A final key stroke separates one last zombie from its entrails.<b>10    INT. INSURANCE OFFICE / BRANCH'S OFFICE - MOMENTSLATER                       10</b><b>      TIGHT ON: A MOUNTED SALMON</b>      We PULL BACK to see the walls lined with souvenirs of a life spent on the      edge of the wilderness; citations from the Rotarians,pictures of sponsored      hockey teams... We are --      FRANK BRANCH (50s), a mid-level management type sits across from PAUL      BARNELL (40s), a mild-mannered everyman wrapped in a cheapsuit.  Paul      takes in the display.  The two men sit in silence, smiling politely at one another.<b>                                  PAUL</b>              That's... quite the fish.      Branch is about to answer when Ted enters witha slim file.<b>                                  BRANCH</b>              Paul Barnell, Ted Watters.      Handshakes.  Paul makes steady eye contact.  Ted notices.                                  BRANCH (cont'd)              Mr. Barnellwants to talk to us about his brother's life              insurance policy.      Ted sits and flips open the file.<b>                                  TED</b>              Raymond, isn'tit?<b>                                  PAUL</b>              Yes, Raymond.  You see, as I've already explained to              Mr. Branch, he's been gone for five years now, and I              thought it might be time to... moveon.<b>                                  TED</b>              By move on you mean...?<b>                                  BRANCH</b>              ...cash in Raymond's policy.      Ted smiles tohimself.<b>                                  PAUL</b>              I just thought, well, it's pretty unlikely he's still alive.              My Dad always wanted us to be able to look after              each other if anything should everhappen.  And to              be frank, money's a little --<b>                                  TED</b>              I understand Mr. Barnell, but here's the thing. With no              actual body, under Alaskan statutes a personmust              be missing for seven years before he or she can be              legally declared dead and that's not withstanding an              investigation period where concerned parties can              take up to anotheryear to file interventions              concerning the motion.  So, even though your              brother's status is undetermined at this point, there's              really very little we can do for you.      Ted flips the fileshut.  Case closed.  Branch, not entirely happy with Ted's      demeanor, forces a smile.<b>                                  BRANCH</b>              Of course we are extremely sorry for your loss.      Branch looks at Ted.  Tedturns to Paul.<b>                                  TED</b>              Oh, absolutely.<b>11    EXT.  STRIP MALL - NIGHT                                                      11</b>      The city skyline rises in the distance as heat vents belchsteam against the      rapidly setting sun.  But that's miles away.  Here on the outskirts is a rapidly      failing five store strip mall; a \"Porn-a-copia\" XXX Video store, hair stylist,      small engine repair shop, fish andchips joint and the \"Barnell Great Escapes\"       travel agency.  We might notice a big trash dumpster in the corner.  Paul's car,      a Ford Taurus, pulls onto the parking pad.<b>12    INT. PAUL'S CAR -"}
+{"doc_id":"doc_40","qid":"","text":"The Project Gutenberg EBook of The Wheels of Chance, by H. G. WellsThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: The Wheels of Chance       A Bicycling IdyllAuthor: H. G. WellsRelease Date: April, 1998  [Etext#1264]Posting Date: November 10, 2009 [EBook #1264]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE WHEELS OF CHANCE ***Produced by Dianne BeanTHE WHEELS OF CHANCE; ABICYCLING IDYLLBy H.G. Wells1896I. THE PRINCIPAL CHARACTER IN THE STORYIf you (presuming you are of the sex that does such things)--if you hadgone into the Drapery Emporium--which is really onlymagnificent forshop--of Messrs. Antrobus & Co.--a perfectly fictitious \"Co.,\" bythe bye--of Putney, on the 14th of August, 1895, had turned to theright-hand side, where the blocks of white linen and piles of blanketsriseup to the rail from which the pink and blue prints depend, youmight have been served by the central figure of this story that is nowbeginning. He would have come forward, bowing and swaying, he would haveextendedtwo hands with largish knuckles and enormous cuffs over thecounter, and he would have asked you, protruding a pointed chin andwithout the slightest anticipation of pleasure in his manner, what hemight have thepleasure of showing you. Under certain circumstances--as,for instance, hats, baby linen, gloves, silks, lace, or curtains--hewould simply have bowed politely, and with a drooping expression, andmaking a kind of circularsweep, invited you to \"step this way,\"and so led you beyond his ken; but under other and happierconditions,--huckaback, blankets, dimity, cretonne, linen, calico, arecases in point,--he would have requested you totake a seat, emphasisingthe hospitality by leaning over the counter and gripping a chair back ina spasmodic manner, and so proceeded to obtain, unfold, and exhibithis goods for your consideration. Under which happiercircumstances youmight--if of an observing turn of mind and not too much of a housewifeto be inhuman--have given the central figure of this story less cursoryattention.Now if you had noticed anything about him, itwould have been chiefly tonotice how little he was noticeable. He wore the black morning coat, theblack tie, and the speckled grey nether parts (descending into shadowand mystery below the counter) of his craft. Hewas of a pallidcomplexion, hair of a kind of dirty fairness, greyish eyes, and askimpy, immature moustache under his peaked indeterminate nose.His features were all small, but none ill-shaped. A rosette ofpinsdecorated the lappel of his coat. His remarks, you would observe, wereentirely what people used to call cliche, formulae not organic to theoccasion, but stereotyped ages ago and learnt years since by heart.\"This,madam,\" he would say, \"is selling very well.\" \"We are doing avery good article at four three a yard.\" \"We could show you somethingbetter, of course.\" \"No trouble, madam, I assure you.\" Such were thesimple countersof his intercourse. So, I say, he would have presentedhimself to your superficial observation. He would have danced aboutbehind the counter, have neatly refolded the goods he had shown you,have put on one sidethose you selected, extracted a little book witha carbon leaf and a tinfoil sheet from a fixture, made you out a littlebill in that weak flourishing hand peculiar to drapers, and have bawled\"Sayn!\" Then a puffy littleshop-walker would have come into view,looked at the bill for a second, very hard (showing you a partingdown the middle of his head meanwhile), have scribbled a still moreflourishing J. M. all over the document, haveasked you if therewas nothing more, have stood by you--supposing that you were payingcash--until the central figure of this story reappeared with the change.One glance more at him, and the puffy little shop-walkerwould have beenbowing you out, with fountains of civilities at work all about you. Andso the interview would have terminated.But real literature, as distinguished from anecdote, does not concernitself with superficialappearances alone. Literature is revelation.Modern literature is indecorous revelation. It is the duty of theearnest author to tell you what you would not have seen--even at thecost of some blushes. And the thing thatyou would not have seen aboutthis young man, and the thing of the greatest moment to this story, thething that must be told if the book is to be written, was--let us faceit bravely--the Remarkable Condition of thisYoung Man's Legs.Let us approach the business with dispassionate explicitness. Let usassume something of the scientific spirit, the hard, almost professorialtone of the conscientious realist. Let us treat this young man'slegs asa mere diagram, and indicate the points of interest with the unemotionalprecision of a lecturer's pointer. And so to our revelation. On theinternal aspect of the right ankle of this young man you wouldhaveobserved, ladies and gentlemen, a contusion and an abrasion; on theinternal aspect of the left ankle a contusion also; on its externalaspect a large yellowish bruise. On his left shin there were twobruises, one aleaden yellow graduating here and there into purple,and another, obviously of more recent date, of a blotchy red--tumid andthreatening. Proceeding up the left leg in a spiral manner, an unnaturalhardness and rednesswould have been discovered on the upper aspect ofthe calf, and above the knee and on the inner side, an extraordinaryexpanse of bruised surface, a kind of closely stippled shading ofcontused points. The right legwould be found to be bruised in amarvellous manner all about and under the knee, and particularly on theinterior aspect of the knee. So far we may proceed with our details.Fired by these discoveries, an investigatormight perhaps have pursuedhis inquiries further--to bruises on the shoulders, elbows, and even thefinger joints, of the central figure of our story. He had indeed beenbumped and battered at an extraordinary number ofpoints. But enoughof realistic description is as good as a feast, and we have exhibitedenough for our purpose. Even in literature one must know where to drawthe line.Now the reader may be inclined to wonder how arespectable young shopmanshould have got his legs, and indeed himself generally, into such adreadful condition. One might fancy that he had been sitting with hisnether extremities in some complicated machinery, athreshing-machine,say, or one of those hay-making furies. But Sherlock Holmes (now happilydead) would have fancied nothing of the kind. He would have recognisedat once that the bruises on the internal aspect of theleft leg,considered in the light of the distribution of the other abrasions andcontusions, pointed unmistakably to the violent impact of the MountingBeginner upon the bicycling saddle, and that the ruinous state oftheright knee was equally eloquent of the concussions attendant on thatperson's hasty, frequently causeless, and invariably ill-conceiveddescents. One large bruise on the shin is even more characteristic ofthe 'prenticecyclist, for upon every one of them waits the jest of theunexpected treadle. You try at least to walk your machine in an easymanner, and whack!--you are rubbing your shin. So out of innocence weripen. Two bruises onthat place mark a certain want of aptitude inlearning, such as one might expect in a person unused to muscularexercise. Blisters on the hands are eloquent of the nervous clutchof the wavering rider. And so forth, untilSherlock is presentlyexplaining, by the help of the minor injuries, that the machine riddenis an old-fashioned affair with a fork instead of the diamond frame, acushioned tire, well worn on the hind wheel, and a grossweight all onof perhaps three-and-forty pounds.The revelation is made. Behind the decorous figure of the attentiveshopman that I had the honour of showing you at first, rises a visionof a nightly struggle, of two darkfigures and a machine in a darkroad,--the road, to be explicit, from Roehampton to Putney Hill,--andwith this vision is the sound of a heel spurning the gravel, a gaspingand grunting, a shouting of \"Steer, man, steer!\" awavering unsteadyflight, a spasmodic turning of the missile edifice of man and machine,and a collapse. Then you descry dimly through the dusk the centralfigure of this story sitting by the roadside and rubbing his legatsome new place, and his friend, sympathetic (but by no means depressed),repairing the displacement of the handle-bar.Thus even in a shop assistant does the warmth of manhood assert itself,and drive him againstall the conditions of his calling, against thecounsels of prudence and the restrictions of his means, to seek thewholesome delights of exertion and danger and pain. And our firstexamination of the draper reveals beneathhis draperies--the man! Towhich initial fact (among others) we shall come again in the end.IIBut enough of these revelations. The central figure of our story is nowgoing along behind the counter, a draper indeed, withyour purchases inhis arms, to the warehouse, where the various articles you have selectedwill presently be packed by the senior porter and sent to you. Returningthence to his particular place, he lays hands on a foldedpiece ofgingham, and gripping the corners of the folds in his hands, begins tostraighten them punctiliously. Near him is an apprentice, apprenticed tothe same high calling of draper's assistant, a ruddy, red-haired ladina very short tailless black coat and a very high collar, who isdeliberately unfolding and refolding some patterns of cretonne. Bytwenty-one he too may hope to be a full-blown assistant, even as Mr.Hoopdriver. Printsdepend from the brass rails above them, behind arefixtures full of white packages containing, as inscriptions testify,Lino, Hd Bk, and Mull. You might imagine to see them that the two wereboth intent upon nothing butsmoothness of textile and rectitude offold. But to tell the truth, neither is thinking of the mechanicalduties in hand. The assistant is dreaming of the delicious time--onlyfour hours off now--when he will resume the taleof his bruises andabrasions. The apprentice is nearer the long long thoughts of boyhood,and his imagination rides cap-a-pie through the chambers of his brain,seeking some knightly quest in honour of that Fair Lady,the last butone of the girl apprentices to the dress-making upstairs. He inclinesrather to street fighting against revolutionaries--because then shecould see him from the window.Jerking them back to the present comesthe puffy little shop-walker,with a paper in his hand. The apprentice becomes extremely active. Theshopwalker eyes the goods in hand. \"Hoopdriver,\" he says, \"how's thatline of g-sez-x ginghams?\"Hoopdriver returnsfrom an imaginary triumph over the uncertainties ofdismounting. \"They're going fairly well, sir. But the larger checks seemhanging.\"The shop-walker brings up parallel to the counter. \"Any particular timewhen you wantyour holidays?\" he asks.Hoopdriver pulls at his skimpy moustache. \"No--Don't want them too late,sir, of course.\"\"How about this day week?\"Hoopdriver becomes rigidly meditative, gripping the corners of theginghamfolds in his hands. His face is eloquent of conflictingconsiderations. Can he learn it in a week? That's the question.Otherwise Briggs will get next week, and he will have to wait untilSeptember--when the weather is oftenuncertain. He is naturally of asanguine disposition. All drapers have to be, or else they could neverhave the faith they show in the beauty, washability, and unfadingexcellence of the goods they sell you. The decisioncomes at last.\"That'll do me very well,\" said Mr. Hoopdriver, terminating the pause.The die is cast.The shop-walker makes a note of it and goes on to Briggs in the\"dresses,\" the next in the strict scale of precedence ofthe DraperyEmporium. Mr. Hoopdriver in alternating spasms anon straightens hisgingham and anon becomes meditative, with his tongue in the hollow ofhis decaying wisdom tooth.IIIAt supper that night, holiday talkheld undisputed sway. Mr. Pritchardspoke of \"Scotland,\" Miss Isaacs clamoured of Bettws-y-Coed, Mr. Judsondisplayed a proprietary interest in the Norfolk Broads. \"I?\" saidHoopdriver when the question came to him.\"Why, cycling, of course.\"\"You're never going to ride that dreadful machine of yours, day afterday?\" said Miss Howe of the Costume Department.\"I am,\" said Hoopdriver as calmly as possible, pulling at theinsufficientmoustache. \"I'm going for a Cycling Tour. Along the SouthCoast.\"\"Well, all I hope, Mr. Hoopdriver, is that you'll get fine weather,\"said Miss Howe. \"And not come any nasty croppers.\"\"And done forget some tinscher ofarnica in yer bag,\" said the juniorapprentice in the very high collar. (He had witnessed one of the lessonsat the top of Putney Hill.)\"You stow it,\" said Mr. Hoopdriver, looking hard and threateninglyat the juniorapprentice, and suddenly adding in a tone of bittercontempt,--\"Jampot.\"\"I'm getting fairly safe upon it now,\" he told Miss Howe.At other times Hoopdriver might have further resented the satiricalefforts of theapprentice, but his mind was too full of the projectedTour to admit any petty delicacies of dignity. He left the supper tableearly, so that he might put in a good hour at the desperate gymnasticsup the Roehampton Roadbefore it would be time to come back for lockingup. When the gas was turned off for the night he was sitting on the edgeof his bed, rubbing arnica into his knee--a new and very big place--andstudying a Road Map ofthe South of England. Briggs of the \"dresses,\"who shared the room with him, was sitting up in bed and trying to smokein the dark. Briggs had never been on a cycle in his life, but he feltHoopdriver's inexperience andoffered such advice as occurred to him.\"Have the machine thoroughly well oiled,\" said Briggs, \"carry one ortwo lemons with you, don't tear yourself to death the first day, and situpright. Never lose control of themachine, and always sound the bell onevery possible opportunity. You mind those things, and nothing very muchcan't happen to you, Hoopdriver--you take my word.\"He would lapse into silence for a minute, saveperhaps for a curse or soat his pipe, and then break out with an entirely different set of tips.\"Avoid running over dogs, Hoopdriver, whatever you do. It's one ofthe worst things you can do to run over a dog. Never letthe machinebuckle--there was a man killed only the other day through his wheelbuckling--don't scorch, don't ride on the foot-path, keep your own sideof the road, and if you see a tramline, go round the corner atonce,and hurry off into the next county--and always light up before dark. Youmind just a few little things like that, Hoopdriver, and nothing muchcan't happen to you--you take my word.\"\"Right you are!\" saidHoopdriver. \"Good-night, old man.\"\"Good-night,\" said Briggs, and there was silence for a space, savefor the succulent respiration of the pipe. Hoopdriver rode off intoDreamland on his machine, and was scarcely therebefore he was pitchedback into the world of sense again.--Something--what was it?\"Never oil the steering. It's fatal,\" a voice that came from rounda fitful glow of light, was saying. \"And clean the chain dailywithblack-lead. You mind just a few little things like that--\"\"Lord LOVE us!\" said Hoopdriver, and pulled the bedclothes over hisears.IV. THE RIDING FORTH OF MR. HOOPDRIVEROnly those who toil six long days out ofthe seven, and all the yearround, save for one brief glorious fortnight or ten days in the summertime, know the exquisite sensations of the First Holiday Morning. Allthe dreary, uninteresting routine drops from yousuddenly, your chainsfall about your feet. All at once you are Lord of yourself, Lord ofevery hour in the long, vacant day; you may go where you please, callnone Sir or Madame, have a lappel free of pins, doff your blackmorningcoat, and wear the colour of your heart, and be a Man. You grudge sleep,you grudge eating, and drinking even, their intrusion on those exquisitemoments. There will be no more rising before breakfast incasualold clothing, to go dusting and getting ready in a cheerless,shutter-darkened, wrappered-up shop, no more imperious cries of,\"Forward, Hoopdriver,\" no more hasty meals, and weary attendance onfitful oldwomen, for ten blessed days. The first morning is by farthe most glorious, for you hold your whole fortune in your hands.Thereafter, every night, comes a pang, a spectre, that will not beexorcised--the premonition ofthe return. The shadow of going back, ofbeing put in the cage again for another twelve months, lies blacker andblacker across the sunlight. But on the first morning of the ten theholiday has no past, and ten days seemsas good as infinity.And it was fine, full of a promise of glorious days, a deep blue skywith dazzling piles of white cloud here and there, as though celestialhaymakers had been piling the swathes of last night's clouds intococksfor a coming cartage. There were thrushes in the Richmond Road, and alark on Putney Heath. The freshness of dew was in the air; dew orthe relics of an overnight shower glittered on the leaves andgrass.Hoopdriver had breakfasted early by Mrs. Gunn's complaisance. He wheeledhis machine up Putney Hill, and his heart sang within him. Halfway up, adissipated-looking black cat rushed home across the road andvanishedunder a gate. All the big red-brick houses behind the variegated shrubsand trees had their blinds down still, and he would not have changedplaces with a soul in any one of them for a hundred pounds.He hadon his new brown cycling suit--a handsome Norfolk jacket thingfor 30/(sp.)--and his legs--those martyr legs--were more than consoledby thick chequered stockings, \"thin in the foot, thick in the leg,\" forall they hadendured. A neat packet of American cloth behind the saddlecontained his change of raiment, and the bell and the handle-bar and thehubs and lamp, albeit a trifle freckled by wear, glittered blindinglyin the risingsunlight. And at the top of the hill, after onlyone unsuccessful attempt, which, somehow, terminated on the green,Hoopdriver mounted, and with a stately and cautious restraint in hispace, and a dignified curvature ofpath, began his great Cycling Touralong the Southern Coast.There is only one phrase to describe his course at this stage, and thatis--voluptuous curves. He did not ride fast, he did not ride straight,an exacting criticmight say he did not ride well--but he rodegenerously, opulently, using the whole road and even nibbling at thefootpath. The excitement never flagged. So far he had never passed orbeen passed by anything, but as yetthe day was young and the road wasclear. He doubted his steering so much that, for the present, he hadresolved to dismount at the approach of anything else upon wheels. Theshadows of the trees lay very long andblue across the road, the morningsunlight was like amber fire.At the cross-roads at the top of West Hill, where the cattle troughstands, he turned towards Kingston and set himself to scale the littlebit of ascent. An earlyheath-keeper, in his velveteen jacket, marvelledat his efforts. And while he yet struggled, the head of a carter roseover the brow.At the sight of him Mr. Hoopdriver, according to his previousdetermination, resolved todismount. He tightened the brake, and themachine stopped dead. He was trying to think what he did with his rightleg whilst getting off. He gripped the handles and released the brake,standing on the left pedal andwaving his right foot in the air.Then--these things take so long in the telling--he found the machine wasfalling over to the right. While he was deciding upon a plan of action,gravitation appears to have been busy. Hewas still irresolute when hefound the machine on the ground, himself kneeling upon it, and a vaguefeeling in his mind that again Providence had dealt harshly with hisshin. This happened when he was just level with theheathkeeper. The manin the approaching cart stood up to see the ruins better.\"THAT ain't the way to get off,\" said the heathkeeper.Mr. Hoopdriver picked up the machine. The handle was twisted askew againHe saidsomething under his breath. He would have to unscrew the beastlything.\"THAT ain't the way to get off,\" repeated the heathkeeper, after asilence.\"_I_ know that,\" said Mr. Hoopdriver, testily, determined to overlookthenew specimen on his shin at any cost. He unbuckled the wallet behindthe saddle, to get out a screw hammer.\"If you know it ain't the way to get off--whaddyer do it for?\" said theheath-keeper, in a tone of friendlycontroversy.Mr. Hoopdriver got out his screw hammer and went to the handle. He wasannoyed. \"That's my business, I suppose,\" he said, fumbling with thescrew. The unusual exertion had made his hands shakefrightfully.The heath-keeper became meditative, and twisted his stick in hishands behind his back. \"You've broken yer 'andle, ain't yer?\" hesaid presently. Just then the screw hammer slipped off the nut. Mr.Hoopdriver"}
+{"doc_id":"doc_41","qid":"","text":"The Project Gutenberg EBook of The Variable Man, by Philip K. DickThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it underthe terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: The Variable ManAuthor: Philip K. DickIllustrator: Alex EbelRelease Date: April 27, 2010 [EBook #32154][Lastupdated: May 4, 2011]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE VARIABLE MAN ***Produced by Greg Weeks, Barbara Tozier and the OnlineDistributed Proofreading Team athttp://www.pgdp.net    This etext was produced from Space Science Fiction September    1953. Extensive research did not uncover any evidence that the    U.S. copyright on this publication wasrenewed.[Illustration]THE VARIABLE MANBY PHILIP K. DICKILLUSTRATED BY EBEL    He fixed things--clocks, refrigerators, vidsenders and    destinies. But he had no business in the future, where the    calculators couldnot handle him. He was Earth's only    hope--and its sure failure!Security Commissioner Reinhart rapidly climbed the front steps andentered the Council building. Council guards stepped quickly aside andhe entered thefamiliar place of great whirring machines. His thinface rapt, eyes alight with emotion, Reinhart gazed intently up at thecentral SRB computer, studying its reading.\"Straight gain for the last quarter,\" observed Kaplan,the laborganizer. He grinned proudly, as if personally responsible. \"Not bad,Commissioner.\"\"We're catching up to them,\" Reinhart retorted. \"But too damn slowly.We must finally go over--and soon.\"Kaplan was in atalkative mood. \"We design new offensive weapons, theycounter with improved defenses. And nothing is actually made!Continual improvement, but neither we nor Centaurus can stop designinglong enough to stabilizefor production.\"\"It will end,\" Reinhart stated coldly, \"as soon as Terra turns out aweapon for which Centaurus can build no defense.\"\"Every weapon has a defense. Design and discord. Immediateobsolescence. Nothinglasts long enough to--\"\"What we count on is the _lag_,\" Reinhart broke in, annoyed. His hardgray eyes bored into the lab organizer and Kaplan slunk back. \"Thetime lag between our offensive design and their counterdevelopment.The lag varies.\" He waved impatiently toward the massed banks of SRBmachines. \"As you well know.\"At this moment, 9:30 AM, May 7, 2136, the statistical ratio on the SRBmachines stood at 21-17 on theCentauran side of the ledger. All factsconsidered, the odds favored a successful repulsion by ProximaCentaurus of a Terran military attack. The ratio was based on thetotal information known to the SRB machines, on agestalt of the vastflow of data that poured in endlessly from all sectors of the Sol andCentaurus systems.21-17 on the Centauran side. But a month ago it had been 24-18 in theenemy's favor. Things were improving,slowly but steadily. Centaurus,older and less virile than Terra, was unable to match Terra's rate oftechnocratic advance. Terra was pulling ahead.\"If we went to war now,\" Reinhart said thoughtfully, \"we wouldlose.We're not far enough along to risk an overt attack.\" A harsh, ruthlessglow twisted across his handsome features, distorting them into astern mask. \"But the odds are moving in our favor. Our offensivedesigns aregradually gaining on their defenses.\"\"Let's hope the war comes soon,\" Kaplan agreed. \"We're all on edge.This damn waiting....\"The war would come soon. Reinhart knew it intuitively. The air wasfull of tension, the_elan_. He left the SRB rooms and hurried downthe corridor to his own elaborately guarded office in the Securitywing. It wouldn't be long. He could practically feel the hot breath ofdestiny on his neck--for him apleasant feeling. His thin lips set ina humorless smile, showing an even line of white teeth against histanned skin. It made him feel good, all right. He'd been working at ita long time.First contact, a hundred yearsearlier, had ignited instant conflictbetween Proxima Centauran outposts and exploring Terran raiders. Flashfights, sudden eruptions of fire and energy beams.And then the long, dreary years of inaction between enemieswherecontact required years of travel, even at nearly the speed of light.The two systems were evenly matched. Screen against screen. Warshipagainst power station. The Centauran Empire surrounded Terra, an ironringthat couldn't be broken, rusty and corroded as it was. Radicalnew weapons had to be conceived, if Terra was to break out.Through the windows of his office, Reinhart could see endlessbuildings and streets, Terranshurrying back and forth. Bright specksthat were commute ships, little eggs that carried businessmen andwhite-collar workers around. The huge transport tubes that shot massesof workmen to factories and labor campsfrom their housing units. Allthese people, waiting to break out. Waiting for the day.Reinhart snapped on his vidscreen, the confidential channel. \"Give meMilitary Designs,\" he orderedsharply.       *       *       *       *       *He sat tense, his wiry body taut, as the vidscreen warmed into life.Abruptly he was facing the hulking image of Peter Sherikov, directorof the vast network of labs under the UralMountains.Sherikov's great bearded features hardened as he recognized Reinhart.His bushy black eyebrows pulled up in a sullen line. \"What do youwant? You know I'm busy. We have too much work to do, as itis.Without being bothered by--politicians.\"\"I'm dropping over your way,\" Reinhart answered lazily. He adjustedthe cuff of his immaculate gray cloak. \"I want a full description ofyour work and whatever progress you'vemade.\"\"You'll find a regular departmental report plate filed in the usualway, around your office someplace. If you'll refer to that you'll knowexactly what we--\"\"I'm not interested in that. I want to _see_ what you'redoing. And Iexpect you to be prepared to describe your work fully. I'll be thereshortly. Half an hour.\"       *       *       *       *       *Reinhart cut the circuit. Sherikov's heavy features dwindled andfaded. Reinhartrelaxed, letting his breath out. Too bad he had towork with Sherikov. He had never liked the man. The big Polishscientist was an individualist, refusing to integrate himself withsociety. Independent, atomistic in outlook.He held concepts of theindividual as an end, diametrically contrary to the accepted organicstate Weltansicht.But Sherikov was the leading research scientist, in charge of theMilitary Designs Department. And on Designsthe whole future of Terradepended. Victory over Centaurus--or more waiting, bottled up in theSol System, surrounded by a rotting, hostile Empire, now sinking intoruin and decay, yet still strong.Reinhart got quickly tohis feet and left the office. He hurried downthe hall and out of the Council building.A few minutes later he was heading across the mid-morning sky in hishighspeed cruiser, toward the Asiatic land-mass, the vastUralmountain range. Toward the Military Designs labs.Sherikov met him at the entrance. \"Look here, Reinhart. Don't thinkyou're going to order me around. I'm not going to--\"\"Take it easy.\" Reinhart fell into step besidethe bigger man. Theypassed through the check and into the auxiliary labs. \"No immediatecoercion will be exerted over you or your staff. You're free tocontinue your work as you see fit--for the present. Let's getthisstraight. My concern is to integrate your work with our total socialneeds. As long as your work is sufficiently productive--\"Reinhart stopped in his tracks.\"Pretty, isn't he?\" Sherikov said ironically.\"What the hell isit?\"Icarus, we call him. Remember the Greek myth? The legend of Icarus.Icarus flew.... This Icarus is going to fly, one of these days.\"Sherikov shrugged. \"You can examine him, if you want. I suppose thisis what youcame here to see.\"Reinhart advanced slowly. \"This is the weapon you've been working on?\"\"How does he look?\"Rising up in the center of the chamber was a squat metal cylinder, agreat ugly cone of dark gray.Technicians circled around it, wiring upthe exposed relay banks. Reinhart caught a glimpse of endless tubesand filaments, a maze of wires and terminals and parts criss-crossingeach other, layer on layer.\"What is it?\"Reinhart perched on the edge of a workbench, leaning hisbig shoulders against the wall. \"An idea of Jamison Hedge--the sameman who developed our instantaneous interstellar vidcasts forty yearsago. He was trying tofind a method of faster than light travel whenhe was killed, destroyed along with most of his work. After that ftlresearch was abandoned. It looked as if there were no future in it.\"\"Wasn't it shown that nothing couldtravel faster than light?\"\"The interstellar vidcasts do! No, Hedge developed a valid ftl drive.He managed to propel an object at fifty times the speed of light. Butas the object gained speed, its length began to diminishand its massincreased. This was in line with familiar twentieth-century conceptsof mass-energy transformation. We conjectured that as Hedge's objectgained velocity it would continue to lose length and gain massuntilits length became nil and its mass infinite. Nobody can imagine suchan object.\"\"Go on.\"\"But what actually occurred is this. Hedge's object continued to loselength and gain mass until it reached the theoretical limitofvelocity, the speed of light. At that point the object, still gainingspeed, simply ceased to exist. Having no length, it ceased to occupyspace. It disappeared. However, the object had not been _destroyed_.It continuedon its way, gaining momentum each moment, moving in anarc across the galaxy, away from the Sol system. Hedge's objectentered some other realm of being, beyond our powers of conception.The next phase ofHedge's experiment consisted in a search for someway to slow the ftl object down, back to a sub-ftl speed, hence backinto our universe. This counterprinciple was eventually worked out.\"\"With what result?\"\"The deathof Hedge and destruction of most of his equipment. Hisexperimental object, in re-entering the space-time universe, came intobeing in space already occupied by matter. Possessing an incrediblemass, just below infinitylevel, Hedge's object exploded in a titaniccataclysm. It was obvious that no space travel was possible with sucha drive. Virtually all space contains _some_ matter. To re-enter spacewould bring automatic destruction.Hedge had found his ftl drive andhis counterprinciple, but no one before this has been able to put themto any use.\"Reinhart walked over toward the great metal cylinder. Sherikov jumpeddown and followed him. \"I don'tget it,\" Reinhart said. \"You said theprinciple is no good for space travel.\"\"That's right.\"\"What's this for, then? If the ship explodes as soon as it returns toour universe--\"\"This is not a ship.\" Sherikov grinned slyly. \"Icarusis the firstpractical application of Hedge's principles. Icarus is a bomb.\"\"So this is our weapon,\" Reinhart said. \"A bomb. An immense bomb.\"\"A bomb, moving at a velocity greater than light. A bomb which willnot exist inour universe. The Centaurans won't be able to detect orstop it. How could they? As soon as it passes the speed of light itwill cease to exist--beyond all detection.\"\"But--\"\"Icarus will be launched outside the lab, on thesurface. He willalign himself with Proxima Centaurus, gaining speed rapidly. By thetime he reaches his destination he will be traveling at ftl-100.Icarus will be brought back to this universe within Centaurus itself.Theexplosion should destroy the star and wash away most of itsplanets--including their central hub-planet, Armun. There is no waythey can halt Icarus, once he has been launched. No defense ispossible. Nothing can stophim. It is a real fact.\"\"When will he be ready?\"Sherikov's eyes flickered. \"Soon.\"\"Exactly how soon?\"The big Pole hesitated. \"As a matter of fact, there's only one thingholding us back.\"Sherikov led Reinhart around to theother side of the lab. He pushed alab guard out of the way.\"See this?\" He tapped a round globe, open at one end, the size of agrapefruit. \"This is holding us up.\"\"What is it?\"\"The central control turret. This thing bringsIcarus back to sub-ftlflight at the correct moment. It must be absolutely accurate. Icaruswill be within the star only a matter of a microsecond. If the turretdoes not function exactly, Icarus will pass out the other sideandshoot beyond the Centauran system.\"\"How near completed is this turret?\"Sherikov hedged uncertainly, spreading out his big hands. \"Who cansay? It must be wired with infinitely minuteequipment--microscopegrapples and wires invisible to the naked eye.\"\"Can you name any completion date?\"Sherikov reached into his coat and brought out a manila folder. \"I'vedrawn up the data for the SRB machines,giving a date of completion.You can go ahead and feed it. I entered ten days as the maximumperiod. The machines can work from that.\"Reinhart accepted the folder cautiously. \"You're sure about the date?I'm notconvinced I can trust you, Sherikov.\"Sherikov's features darkened. \"You'll have to take a chance,Commissioner. I don't trust you any more than you trust me. I know howmuch you'd like an excuse to get me out of hereand one of yourpuppets in.\"Reinhart studied the huge scientist thoughtfully. Sherikov was goingto be a hard nut to crack. Designs was responsible to Security, notthe Council. Sherikov was losing ground--but he wasstill a potentialdanger. Stubborn, individualistic, refusing to subordinate his welfareto the general good.\"All right.\" Reinhart put the folder slowly away in his coat. \"I'llfeed it. But you better be able to come through.There can't be anyslip-ups. Too much hangs on the next few days.\"\"If the odds change in our favor are you going to give themobilization order?\"\"Yes,\" Reinhart stated. \"I'll give the order the moment I see theoddschange.\"       *       *       *       *       *Standing in front of the machines, Reinhart waited nervously for theresults. It was two o'clock in the afternoon. The day was warm, apleasant May afternoon. Outside thebuilding the daily life of theplanet went on as usual.As usual? Not exactly. The feeling was in the air, an expandingexcitement growing every day. Terra had waited a long time. The attackon Proxima Centaurus had tocome--and the sooner the better. Theancient Centauran Empire hemmed in Terra, bottled the human race up inits one system. A vast, suffocating net draped across the heavens,cutting Terra off from the brightdiamonds beyond.... And it had toend.The SRB machines whirred, the visible combination disappearing. For atime no ratio showed. Reinhart tensed, his body rigid. He waited.The new ratio appeared.Reinhart gasped.7-6. Toward Terra!Within five minutes the emergency mobilization alert had been flashedto all Government departments. The Council and President Duffe hadbeen called to immediate session. Everything washappening fast.But there was no doubt. 7-6. In Terra's favor. Reinhart hurriedfrantically to get his papers in order, in time for the Councilsession.At histo-research the message plate was quickly pulled fromtheconfidential slot and rushed across the central lab to the chiefofficial.\"Look at this!\" Fredman dropped the plate on his superior's desk.\"Look at it!\"Harper picked up the plate, scanning it rapidly. \"Sounds like therealthing. I didn't think we'd live to see it.\"Fredman left the room, hurrying down the hall. He entered the timebubble office. \"Where's the bubble?\" he demanded, looking around.One of the technicians looked slowly up.\"Back about two hundredyears. We're coming up with interesting data on the War of 1914.According to material the bubble has already brought up--\"\"Cut it. We're through with routine work. Get the bubble back tothepresent. From now on all equipment has to be free for Military work.\"\"But--the bubble is regulated automatically.\"\"You can bring it back manually.\"\"It's risky.\" The technician hedged. \"If the emergency requires it,Isuppose we could take a chance and cut the automatic.\"\"The emergency requires _everything_,\" Fredman said feelingly.\"But the odds might change back,\" Margaret Duffe, President of theCouncil, said nervously. \"Anyminute they can revert.\"\"This is our chance!\" Reinhart snapped, his temper rising. \"What thehell's the matter with you? We've waited years for this.\"The Council buzzed with excitement. Margaret Duffehesitateduncertainly, her blue eyes clouded with worry. \"I realize theopportunity is here. At least, statistically. But the new odds havejust appeared. How do we know they'll last? They stand on the basis ofa singleweapon.\"\"You're wrong. You don't grasp the situation.\" Reinhart held himselfin check with great effort. \"Sherikov's weapon tipped the ratio in ourfavor. But the odds have been moving in our direction for months. Itwasonly a question of time. The new balance was inevitable, sooner orlater. It's not just Sherikov. He's only one factor in this. It's allnine planets of the Sol System--not a single man.\"One of the Councilmen stood up. \"ThePresident must be aware theentire planet is eager to end this waiting. All our activities for thepast eighty years have been directed toward--\"Reinhart moved close to the slender President of the Council. \"If youdon'tapprove the war, there probably will be mass rioting. Publicreaction will be strong. Damn strong. And you know it.\"Margaret Duffe shot him a cold glance. \"You sent out the emergencyorder to force my hand. You werefully aware of what you were doing.You knew once the order was out there'd be no stopping things.\"A murmur rushed through the Council, gaining volume. \"We have toapprove the war!... We're committed!... It's toolate to turn back!\"Shouts, angry voices, insistent waves of sound lapped around MargaretDuffe. \"I'm as much for the war as anybody,\" she said sharply. \"I'monly urging moderation. An inter-system war is a big thing.We'regoing to war because a machine says we have a statistical chance ofwinning.\"\"There's no use starting the war unless we can win it,\" Reinhart said.\"The SRB machines tell us whether we can win.\"\"They tell us our_chance_ of winning. They don't guarantee anything.\"\"What more can we ask, beside a good chance of winning?\"Margaret Duffe clamped her jaw together tightly. \"All right. I hearall the clamor. I won't stand in the wayof Council approval. The votecan go ahead.\" Her cold, alert eyes appraised Reinhart. \"Especiallysince the emergency order has already been sent out to all Governmentdepartments.\"\"Good.\" Reinhart stepped away withrelief. \"Then it's settled. We canfinally go ahead with full mobilization.\"Mobilization proceeded rapidly. The next forty-eight hours were alivewith activity.Reinhart attended a policy-level Military briefing in theCouncilrooms, conducted by Fleet Commander Carleton.\"You can see our strategy,\" Carleton said. He traced a diagram on theblackboard with a wave of his hand. \"Sherikov states it'll take eightmore days to completethe ftl bomb. During that time the fleet we havenear the Centauran system will take up positions. As the bomb goes offthe fleet will begin operations against the remaining Centauran ships.Many will no doubt survivethe blast, but with Armun gone we should beable to handle them.\"Reinhart took Commander Carleton's place. \"I can report on theeconomic situation. Every factory on Terra is converted to armsproduction. With Armunout of the way we should be able to promotemass insurrection among the Centauran colonies. An inter-system Empireis hard to maintain, even with ships that approach light speed. Localwar-lords should pop up all overthe place. We want to have weaponsavailable for them and ships starting _now_ to reach them in time.Eventually we hope to provide a unifying principle around which thecolonies can all collect. Our interest is moreeconomic thanpolitical. They can have any kind of government they want, as long asthey act as supply areas for us. As our eight system planets act now.\"Carleton resumed his report. \"Once the Centauran fleet hasbeenscattered we can begin the crucial stage of the war. The landing ofmen and supplies from the ships we have waiting in all key areasthroughout the Centauran system. In this stage--\"Reinhart moved away. It washard to believe only two days had passedsince the mobilization order had been sent out. The whole system wasalive, functioning with feverish activity. Countless problems werebeing solved--but much remained.Heentered the lift and ascended to the SRB room, curious to see ifthere had been any change in the machines' reading. He found it thesame. So far so good. Did the Centaurans know about Icarus? No doubt;but therewasn't anything they could do about it. At least, not ineight days.Kaplan came over to Reinhart, sorting a new batch of data that hadcome in. The lab organizer searched through his data. \"An amusing itemcame in. Itmight interest you.\" He handed a message plate toReinhart.It was from histo-research:                            May 9, 2136    This is to report that in bringing the research time bubble up    to the present the manual return"}
+{"doc_id":"doc_42","qid":"","text":"<html><head><title>My Week with Marilyn Script at IMSDb.</title><meta name=\"description\" content=\"My Week with Marilyn script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"MyWeek with Marilyn script, My Week with Marilyn movie script, My Week with Marilyn film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\"content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ?'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie ScriptDatabase\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <scripttype=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                               MY WEEK WITH MARILYN</b>                                    Written by                                  AdrianHodges<b>          1 EXT. TILBURY DOCKS. DAY. 1</b>           Over a DARK SCREEN we see the caption:           \"This is a fairy story, an episode out of time and space,           which nevertheless was real\" - ColinClark.           Then, FADE UP ON:           Newsreel footage of SIR LAURENCE OLIVIER AND VIVIEN LEIGH           arriving back at Tilbury Docks to be greeted by an excited           crowd of fans. As they progress downthe gangplank and stop           to sign autographs we HEAR an excited commentary OVER:<b>                          COMMENTATOR</b>           \"Returning to England are           Britain's acting royalty Sir           LaurenceOlivier and Lady           Olivier, better known as stunning           Gone With The Wind star Vivien           Leigh. Sir Laurence has added a           new string to his bow with the           announcement that he is todirect           and star in a screen version of           Terence Rattigan's stage play The           Sleeping Prince with none other           than Hollywood siren Marilyn           Monroe. When the world's greatest           actorromances the most famous           woman alive, we can be sure that           sparks will fly. Now, now Lady           Olivier, don't worry - any           romance is strictly for the           camera!\"           As OLIVIER andVIVIEN smile for the photographers, we -<b>                          CUT TO:</b>                         <b>          2 EXT. SALTWOOD CASTLE. DAY. 2</b>           It is 1956. Saltwood Castle, the family home of theClark           family, looms over the landscape, framed by the setting           sun. It is majestic, an Englishman's dream of a home,           complete with turrets and even a moat. There is a feeling           of timelessbeauty and stability about the scene, something           profoundly English.           We are a very long way from Hollywood.<b>                          CUT TO:</b>                         <b>          3 EXT. SALTWOOD CASTLE.GARDEN. DAY. 3</b>           COLIN CLARK, 23, hurries across the lawn carrying a bag, he           is casually dressed, boyish and handsome. He heads towards a           beautiful, ramshackle building and through theancient oak           doors.<b>           MY WEEK WITH MARILYN 2.</b>                         <b>          3A INT. SALTWOOD CASTLE. LIBRARY STAIRS. DAY. 3A</b>           COLIN bounds up the stairs into theLibrary.                         <b>          3B INT. SALTWOOD CASTLE. LIBRARY. DAY. 3B</b>           As COLIN enters, he sees SIR KENNETH CLARK, standing in front           of a painting on an easel by the Italian Baroquepainter,           Annibale Carracci. He has two STUDENTS with him, a man and a           woman in their early 20s, and is in mid-description of the           painting.<b>                          KENNETH</b>           ... and thisis one of Carracci's           earlier works and one is able to           see the emergence of his now famous           Baroque style, which is clearly           rooted in the tradition of high           renaissance andantiquity...           COLIN pauses briefly and hurries towards them. Throughout the           scene there is a sense of his urgency and desire to go. The           whole thing should be played at breakneck pace. KENNETHbeams           affectionately.<b>                          KENNETH</b>           Colin! Come in. Have you met James           and Anna? Two very brilliant           pupils.           He has the avuncular air of a benign academic,affable and a           little eccentric. COLIN smiles hurriedly at the students, no           time to waste.<b>                          COLIN</b>           I'm leaving for London now,Pa.<b>                          KENNETH</b>           Ah, yes. Well, bon chance, dear           boy...           He puts a friendly arm around COLIN's shoulder and starts to           walk him back to thedoor.<b>                          KENNETH</b>           I can always get you a research           position at the V&A when you've           grown up a bit and got this film           idea out of your system...           COLIN's smilesbut before he can reply JANE CLARK whirls into           the room, a ball of energy, talking nineteen to the dozen.<b>                          JANE</b>           Kenneth, you might have told Cook           we were another twofor dinner.           What is everyone supposed to eat?           Cabbage soup? Oh, Colin, darling,           there you are...<b>           MY WEEK WITH MARILYN 2A.</b>                                    She looks wonderful in agood quality but elderly dress,           eccentrically combined with gardening attire, her mind on a           dozen things at once.<b>                          COLIN</b>           I'm off now,Mama.<b>                          JANE</b>           Off?<b>                          COLIN</b>           My job interview, remember..?           But she is already continuing her journey. COLIN smiles           hurriedly at KENNETH,who gives him an affectionate wave as           COLIN dashes after his mother. She leaves the Library.<b>                          CUT TO:</b>                         <b>          3C INT. SALTWOOD CASTLE. GARDEN. DAY.3C</b>           JANE strides across the lawn with COLIN rushing to catch up.<b>                          JANE</b>           Can't you stay for dinner? There's           nothing to eat but I'm sure the           conversation will becharming.<b>                          COLIN</b>           I don't want to be late in the           morning.           As COLIN hurries after JANE he is nearly run down by an           elderly GARDENER with a lawn mower, and hasto take lightning           evasive action. JANE doesn't notice.<b>                          JANE</b>           I'm sure they won't mind. You'll be           a famous film director in no time.           I know your father's put in aword.<b>                          COLIN</b>           I wish he hadn't done that. I can           manage on my own.           She stops so abruptly he nearly slams into her. JANE looks           around the garden with afrown.<b>                          JANE</b>           I have to watch Jenkins like a           hawk. One more of his murderous           prunings and we'll lose the tea           roses for ever.           And she's off again, with COLINstill following. He can't           help smiling at the madness of it all.<b>                          CUT TO:</b><b>           MY WEEK WITH MARILYN 2B.</b>                         <b>          4 EXT. SALTWOOD CASTLE. DRIVEWAY.DAY. 4</b>           The sun is setting, casting a golden glow over the castle.           COLIN and JANE emerge from the front door, COLIN pauses in           the driveway and dumps his bag in the back of his oldbut           racy MG Sports car. Only now does JANE really turn her           attention fully to him for the first time.<b>                          JANE</b>           Now go and have a lovely time,           darling. We're alwayshere when           you're ready to talk your future.           COLIN wants to protest but before he can get the words out           JANE sees a YOUNG GARDENER walking at the side of the house           with a wheel barrow.Her face lights up.<b>                          JANE</b>           Mullins! Be an angel - find Cook           and ask her how many pork chops we           need for tonight. Then bring the           car round. I must get tothe           village before the shop shuts...           She dashes away after the GARDENER, turning back as an           afterthought to blow a kiss at COLIN as she goes.           COLIN smiles, then pauses for a moment tolook at the house.           We can sense both his affection for it but more pressingly           his need to get away.           He gets in, puts the car in gear and the Bristol pulls out of           the drive and across the moat.In the last rays of the sun,           the countryside looks magical, but Colin only has eyes for           the road ahead.<b>           MY WEEK WITH MARILYN 3.</b>                         <b>          5 EXT. LONDON STREETSMONTAGE. EVENING 5</b><b>           CUT TO CREDITS OVER A MONTAGE OF SCENES OF LONDON</b>           IN THE 1950s FROM COLIN'S POINT OF VIEW. AS HE<b>           MAKES HIS WAY INTO THE CITY WESEE THE STATUE OF</b><b>           EROS AGAINST THE LIGHTS OF PICCADILLY CIRCUS,</b><b>           CROWDS MILLING AROUND TRAFALGAR SQUARE, YOUNG</b><b>           PEOPLE SPILLING OUT OF CLUBSAND COFFEE BARS IN</b><b>           SOHO, UNTIL, WE FADE TO:</b>                         <b>          6 EXT. PICCADILLY STREETS. DAY. 6</b>           A sharp contrast with the hazy beauty of the countryside.           Itis early morning in the heart of London's West End. The           streets hum with activity as OFFICE WORKERS in hats and           raincoats stream from the tube stations.           COLIN pushes his way through the earlymorning crowds in           Piccadilly. This is his patch; he is very much at home           here, negotiating the busy streets with ease. As he passes           by the upmarket Burlington Arcade a TAILOR pausesin           measuring a suit for a client to give him a familiar wave.           COLIN waves back.<b>                          CUT TO:</b>                         <b>          7 EXT. 144 PICCADILLY. LONDON. DAY.7</b>           Checking his watch he runs the last few yards then stops           outside the imposing facade of 144 Piccadilly. A plaque           outside the door announces: LAURENCE OLIVIERPRODUCTIONS.           Colin fingers his carefully knotted tie to make sure           everything is correctly in place, then goes to the door and           rings the bell.<b>                          CUT TO:</b><b>           MY WEEKWITH MARILYN 4.</b>                         <b>          8 INT. 144 PICCADILLY. RECEPTION AREA. DAY. 8</b>           The reception area is luxurious - deep pile carpets and           plush sofas. VANESSA, the beautifulsecretary, sits behind           her imposing desk, gazing doubtfully at COLIN.<b>                          VANESSA</b>           You're not in Mr. Perceval's           diary.<b>                          COLIN</b>           Larry told meto come.           She pauses dubiously, then reaches for her telephone. We           hear a man answer in an office down the hall, his voice           carryingirritably.<b>                          PERCEVAL</b><b>                          (OFF)</b>           Yes?<b>                          VANESSA</b>           I have a Mr. Colin Clark here. He           says Sir Laurence sent him.           Shestresses the proper name in disapproval of Colin's           familiarity.<b>                          PERCEVAL</b><b>                          (OFF)</b>           Oh, God... not another one of           Vivien's prettyboys.           VANESSA looks at COLIN with amusement. His smile falters as           he feels himself coming down to earth with a bump.<b>                          CUT TO:</b>                         <b>          9 INT. 144PICCADILLY. HUGH PERCEVAL'S OFFICE. DAY. 9</b>           HUGH PERCEVAL (40s) is Laurence Olivier's production           executive. He is tall and gloomy, with black-rimmed           spectacles and thinning dark hair.He looks at COLIN grimly           as he stuffs his pipe with tobacco.<b>                          PERCEVAL</b>           Well, what do you want?<b>                          COLIN</b>           A job on your Marilyn"}
+{"doc_id":"doc_43","qid":"","text":"<html><head><title>Hitchcock Script at IMSDb.</title><meta name=\"description\" content=\"Hitchcock script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Hitchcock script, Hitchcockmovie script, Hitchcock film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=SubjectCONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0];s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>    <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\"title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center></td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                                  HITCHCOCK</b>                                 Written by                                                      John J.McLaughlin                                                                                                              Based on the book Alfred Hitchcock and the Making of Psycho by                               Stephen Rebello<b>                         FADEIN:</b>                         <b>          EXT. MARSHLAND - DUSK</b>                                   We move across smoldering embers and reach a small grass          fire. Dirt is thrown over the flames before a BOOTfinishes          stamping them out.                         <b>          SUPER: PLAINFIELD, WISCONSIN, 1944</b>                         <b>           HENRY GEIN (O.S.)</b>           We're just lucky it didn't reachthe           trees...                                   We move up two dirty pairs of overalls to find HENRY and ED          GEIN sweating away as they continue shovelling out the          flames. Both are in their forties and wearingflannel shirts.          Ed wears an Elmer Fudd hat.                         <b>           HENRY GEIN (CONT'D)</b>           There's gonna be a lot more jobs at that           factory by Milwaukee come June. I could           put in aword.                         <b>                          ED GEIN</b>           You can't leave us, Henry. She needs both<b>                          OF US--</b>                         <b>                          HENRY GEIN</b>           Canyou stop being a momma's boy for one           second?                                   Henry looks at Ed and he shrinks back.                         <b>           HENRY GEIN (CONT'D)</b>           I'm not trying to hurt you butJesus you           got to live your own life someday. That           woman can take care of her own goddamn --                                   CLANG. Henry is hit by the shovel in the back of the head and          goesdown.                                   Ed steps slowly forward and puts down the shovel. The look on          his face isn't anger. It's BLANK. He pulls at the flaps of          his Elmer Fudd hat... then calmly walksaway.                                   The camera pans until we discover :                         <b>                         ALFRED HITCHCOCK</b>                                   in his trademark black Mariani suit. He's been watchingthe          whole thing, standing in the smouldering field only a few          feet away, holding a rose-patterned cup and saucer oftea...                                                  <b>                          (CONTINUED)</b><b>                         CONTINUED:</b>                                                            He takes a sip and turns to address the camera--                         <b>                          ALFRED HITCHCOCK</b>           Good evening.                                   He places his cup daintily back on the saucer.                         <b>           ALFRED HITCHCOCK(CONT'D)</b>           Brother has been slaying brother since           Cain and Abel, yet even I did not see           that coming. I was as blind-sided as poor           Henry over there.                                   He glancesback over at the murder scene.                         <b>           ALFRED HITCHCOCK (CONT'D)</b>           Apparently the authorities shared my           naivete and believed the young man's tale           that Henry fell andhit his head on a           stone and died of smoke asphyxiation.                                   He shrugs: `Who would've thought it?'                         <b>           ALFRED HITCHCOCK (CONT'D)</b>           Of course if theyhadn't believed him, Ed           never would have had the opportunity to           commit the heinous acts for which he           became famous... and we wouldn't have our           little movie. Instead, we'd havemore           nice, safe, predictable ones like           these...                         <b>                          CUT TO:</b>                         <b>          A RAPID MONTAGE OF CLIPS</b>                                   from variousTechnicolor Films of the era: Peyton Place, with          Lana Turner and Betty Field. Pillow Talk with Doris Day and          Rock Hudson. A Summer Place with Sandra Dee --                         <b>          EXT. MARSHLAND- AS BEFORE</b>                         <b>                          ALFRED HITCHCOCK</b>           Mere Technicolor baubles.                                   He shudders with distaste. As if on cue the sky THUNDERS          LOUDLYabove him. He looks up and from behind the tree stump          produces an umbrella.                         <b>           ALFRED HITCHCOCK (CONT'D)</b>           Ah. A bit of doom and gloom. Now, that's           more likeit.                                                                           <b>                          (CONTINUED)</b><b>                         CONTINUED:</b>                                                            As Hitch opens his brolly and the RAINstarts to bucket down<b>                         WE --</b>                         <b>                          CUT TO :</b>                         <b>          EXT. MARQUEE OF UNITED ARTISTS THEATER, CHICAGO -NIGHT</b>                                   Equally torrential rain lit up by rotating KLEIG LIGHTS as          they scan a MARQUEE: \"WORLD PREMIERE! NORTH BY NORTHWEST.          DIRECTED BY ALFRED HITCHCOCK.\"JOSTLING CROWDS run the length          of the block.                         <b>          SUPER: JULY 8, 1959.</b>                                   A PUDGY HAND discreetly squeezes a tiny, delicateone.                         <b>          ALFRED AND ALMA HITCHCOCK</b>                                   Step out into a sea of FLASHBULBS. Hitch basks in the          limelight while Alma, his razor-sharp, charming wife ofover          30 years stands in the background, uncomfortable with all the          attention.                                   Hitchcock's agent LEW WASSERMAN, 45, dynamic, charismatic,          comes intoview.                         <b>                          LEW WASSERMAN</b>           This thing is going to be gigantic. I           wish I had twenty percent of the take.                                   Lew hustles them through the throngof REPORTERS and          PHOTOGRAPHERS under their BLACK UMBRELLAS.                         <b>                          REPORTER ONE</b>           Does tonight's incredible reaction           surprise you, Mr.Hitchcock?                         <b>                          ALFRED HITCHCOCK</b>           No, when I was planning North by           Northwest I could already hear the           screams and laughter.           (then, to aBEAUTIFUL<b>                          BLONDE FAN)</b>           Any questions, my dear?                                   The blonde fan, holding out her autograph book, shakes her          head `no' andgiggles.                         <b>           ALFRED HITCHCOCK (CONT'D)</b>           Apity.                                                                                                    <b>                          (CONTINUED)</b><b>                         CONTINUED:</b>                                                            The reporters crackup. Alma manages a polite smile as Lew          helps her into the limo, leaving Hitchcock alone for a moment          to sign his autograph for the blond fan...                         <b>                          REPORTERTWO</b>           Mr. Hitchcock, you've directed forty-six           motion pictures. You host a hit TV show           seen around the world. You're the most           famous director in the history of the           medium... butyou're sixty years old.           Shouldn't you just quit while you're           ahead?                         <b>          HOLDING ON HITCHCOCK</b>                                   motionless and quietly devastated as FLASHBULBSCRACKLE over          his face. The whiteness transforms into...                         <b>          INT. THE HITCHCOCKS' BEL AIR HOME - BATHROOM - MORNING</b>                                   THE GLEAMING WHITE TILES ofa bathroom. We move past chrome          fixtures that evoke those in Spellbound and Psycho and arrive          at that same pudgy hand pouring CHATEAU CHEVAL BLANC '53 into          a cut crystalglass.                         <b>                         HITCHCOCK</b>                                   soaks in the tub. The champagne glass beside him, his          corpulent frame is covered only by the London Timeshe's          reading. Even in this deeply vulnerable state, he maintains          the air of a haughty mischievous emperor.                                   At the sound of a bedroom bureau being opened, Hitch's eyes          shiftto the FULL-LENGTH MIRROR on the bathroom door.                         <b>          IN THE MIRROR</b>                                   We catch fleeting glimpses of Alma in a white half-slip and          matching bra. She takesout some NYLONS and holds them up to          the light.                                   Hitchcock watches enthralled. He puts down his glass and          shifts a little in the tub, causing the water to lap against          thesides.                         <b>          BEDROOM - CONTINUOUS</b>                                   Alma pauses when she hears the small splashes. Neither upset          nor amused she continues about her business, taking askirt          from the drawer.                                                                                                    <b>                          (CONTINUED)</b><b>                         CONTINUED:</b>                                                  <b>                          ALMA</b>           Muhammad had the eyes of peeping Toms           gouged out with arrows.                                   Hitchcock clears his throat, rattling his paper as if he'd          been reading thewhole time.                         <b>                          ALFRED HITCHCOCK</b>           Talking of arrows, did you read Mr.           Weiler's review in the New York Times?           Apparently, he found \"the climax\" to be--           and I quote -- \"overdrawn.\"                         <b>                          ALMA</b>           I doubt whether Mr. Weiler has had a           climax in years.                                   Alma steps into her skirt as Hitchopens the London Times.                         <b>                          ALFRED HITCHCOCK</b>           And how about this little grenade?<b>                          (READING)</b>           North by Northwest reminds usof           Hitchcock's earlier, more youthfully           inventive spy thrillers.\"<b>                          (BEAT)</b>           And just to drive the nail into the           coffin, there's a handy accompanying           guide to thenew masters of suspense.                                   Hitchcock zeroes in on the photographs. They're all young.          Thinner. And with hair.                         <b>           ALFRED HITCHCOCK (CONT'D)</b>           Whydo they keep looking for new masters           of suspense when they still have the           original?                         <b>                          ALMA</b>           Don't be maudlin, you know how much it           aggravatesme.                                   He catches his reflection in the mirror again and sinks          further down into the water to hide his protruding belly.                                   Alma comes in, takes the newspapers from himand puts them on          the side.                         <b>                          ALMA (CONT'D)</b>           Stop reading them. You've been reading           them for a week now.                                   She puts down theTOILET SEAT and sits on it.                                                  <b>                          (CONTINUED)</b><b>                         CONTINUED: (2)</b>                                                  <b>                          ALFRED"}
+{"doc_id":"doc_44","qid":"","text":"The Project Gutenberg EBook of The Age of Innocence, by Edith WhartonThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: The Age of InnocenceAuthor: Edith WhartonPosting Date: August 12, 2008 [EBook #541]Release Date:May, 1996Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE AGE OF INNOCENCE ***Produced by Judith Boss and Charles Keller.  HTML version by Al Haines.The Age of InnocencebyEdithWhartonJTABLE 6 18 1JTABLE 6 16 19Book II.On a January evening of the early seventies, Christine Nilsson wassinging in Faust at the Academy of Music in New York.Though there was already talk of the erection, inremote metropolitandistances \"above the Forties,\" of a new Opera House which shouldcompete in costliness and splendour with those of the great Europeancapitals, the world of fashion was still content to reassembleeverywinter in the shabby red and gold boxes of the sociable old Academy.Conservatives cherished it for being small and inconvenient, and thuskeeping out the \"new people\" whom New York was beginning to dreadandyet be drawn to; and the sentimental clung to it for its historicassociations, and the musical for its excellent acoustics, always soproblematic a quality in halls built for the hearing of music.It was Madame Nilsson'sfirst appearance that winter, and what thedaily press had already learned to describe as \"an exceptionallybrilliant audience\" had gathered to hear her, transported through theslippery, snowy streets in privatebroughams, in the spacious familylandau, or in the humbler but more convenient \"Brown coupe.\" To come tothe Opera in a Brown coupe was almost as honourable a way of arrivingas in one's own carriage; anddeparture by the same means had theimmense advantage of enabling one (with a playful allusion todemocratic principles) to scramble into the first Brown conveyance inthe line, instead of waiting till the cold-and-gincongested nose ofone's own coachman gleamed under the portico of the Academy.  It wasone of the great livery-stableman's most masterly intuitions to havediscovered that Americans want to get away fromamusement even morequickly than they want to get to it.When Newland Archer opened the door at the back of the club box thecurtain had just gone up on the garden scene.  There was no reason whythe young manshould not have come earlier, for he had dined at seven,alone with his mother and sister, and had lingered afterward over acigar in the Gothic library with glazed black-walnut bookcases andfinial-topped chairs whichwas the only room in the house where Mrs.Archer allowed smoking.  But, in the first place, New York was ametropolis, and perfectly aware that in metropolises it was \"not thething\" to arrive early at the opera; and whatwas or was not \"thething\" played a part as important in Newland Archer's New York as theinscrutable totem terrors that had ruled the destinies of hisforefathers thousands of years ago.The second reason for his delaywas a personal one.  He had dawdledover his cigar because he was at heart a dilettante, and thinking overa pleasure to come often gave him a subtler satisfaction than itsrealisation.  This was especially the case whenthe pleasure was adelicate one, as his pleasures mostly were; and on this occasion themoment he looked forward to was so rare and exquisite in qualitythat--well, if he had timed his arrival in accord with theprimadonna's stage-manager he could not have entered the Academy at a moresignificant moment than just as she was singing:  \"He loves me--heloves me not--HE LOVES ME!--\" and sprinkling the falling daisypetalswith notes as clear as dew.She sang, of course, \"M'ama!\" and not \"he loves me,\" since anunalterable and unquestioned law of the musical world required that theGerman text of French operas sung by Swedishartists should betranslated into Italian for the clearer understanding ofEnglish-speaking audiences.  This seemed as natural to Newland Archeras all the other conventions on which his life was moulded: such as thedutyof using two silver-backed brushes with his monogram in blueenamel to part his hair, and of never appearing in society without aflower (preferably a gardenia) in his buttonhole.\"M'ama ... non m'ama ...\" the primadonna sang, and \"M'ama!\", with afinal burst of love triumphant, as she pressed the dishevelled daisy toher lips and lifted her large eyes to the sophisticated countenance ofthe little brown Faust-Capoul, who was vainlytrying, in a tight purplevelvet doublet and plumed cap, to look as pure and true as his artlessvictim.Newland Archer, leaning against the wall at the back of the club box,turned his eyes from the stage and scanned theopposite side of thehouse.  Directly facing him was the box of old Mrs. Manson Mingott,whose monstrous obesity had long since made it impossible for her toattend the Opera, but who was always represented onfashionable nightsby some of the younger members of the family.  On this occasion, thefront of the box was filled by her daughter-in-law, Mrs. LovellMingott, and her daughter, Mrs. Welland; and slightly withdrawnbehindthese brocaded matrons sat a young girl in white with eyes ecstaticallyfixed on the stagelovers.  As Madame Nilsson's \"M'ama!\" thrilled outabove the silent house (the boxes always stopped talking duringtheDaisy Song) a warm pink mounted to the girl's cheek, mantled her browto the roots of her fair braids, and suffused the young slope of herbreast to the line where it met a modest tulle tucker fastened with asinglegardenia.  She dropped her eyes to the immense bouquet oflilies-of-the-valley on her knee, and Newland Archer saw herwhite-gloved finger-tips touch the flowers softly.  He drew a breath ofsatisfied vanity and his eyesreturned to the stage.No expense had been spared on the setting, which was acknowledged to bevery beautiful even by people who shared his acquaintance with theOpera houses of Paris and Vienna.  The foreground,to the footlights,was covered with emerald green cloth.  In the middle distancesymmetrical mounds of woolly green moss bounded by croquet hoops formedthe base of shrubs shaped like orange-trees but studded withlarge pinkand red roses.  Gigantic pansies, considerably larger than the roses,and closely resembling the floral pen-wipers made by femaleparishioners for fashionable clergymen, sprang from the moss beneaththerose-trees; and here and there a daisy grafted on a rose-branchflowered with a luxuriance prophetic of Mr. Luther Burbank's far-offprodigies.In the centre of this enchanted garden Madame Nilsson, in whitecashmereslashed with pale blue satin, a reticule dangling from a bluegirdle, and large yellow braids carefully disposed on each side of hermuslin chemisette, listened with downcast eyes to M. Capoul'simpassioned wooing, andaffected a guileless incomprehension of hisdesigns whenever, by word or glance, he persuasively indicated theground floor window of the neat brick villa projecting obliquely fromthe right wing.\"The darling!\" thoughtNewland Archer, his glance flitting back to theyoung girl with the lilies-of-the-valley.  \"She doesn't even guess whatit's all about.\" And he contemplated her absorbed young face with athrill of possessorship in whichpride in his own masculine initiationwas mingled with a tender reverence for her abysmal purity.  \"We'llread Faust together ... by the Italian lakes ...\" he thought, somewhathazily confusing the scene of his projectedhoney-moon with themasterpieces of literature which it would be his manly privilege toreveal to his bride.  It was only that afternoon that May Welland hadlet him guess that she \"cared\" (New York's consecrated phraseof maidenavowal), and already his imagination, leaping ahead of the engagementring, the betrothal kiss and the march from Lohengrin, pictured her athis side in some scene of old European witchery.He did not in theleast wish the future Mrs. Newland Archer to be asimpleton.  He meant her (thanks to his enlightening companionship) todevelop a social tact and readiness of wit enabling her to hold her ownwith the most popularmarried women of the \"younger set,\" in which itwas the recognised custom to attract masculine homage while playfullydiscouraging it.  If he had probed to the bottom of his vanity (as hesometimes nearly did) he wouldhave found there the wish that his wifeshould be as worldly-wise and as eager to please as the married ladywhose charms had held his fancy through two mildly agitated years;without, of course, any hint of the frailtywhich had so nearly marredthat unhappy being's life, and had disarranged his own plans for awhole winter.How this miracle of fire and ice was to be created, and to sustainitself in a harsh world, he had never taken thetime to think out; buthe was content to hold his view without analysing it, since he knew itwas that of all the carefully-brushed, white-waistcoated,button-hole-flowered gentlemen who succeeded each other in theclubbox, exchanged friendly greetings with him, and turned theiropera-glasses critically on the circle of ladies who were the productof the system.  In matters intellectual and artistic Newland Archerfelt himself distinctlythe superior of these chosen specimens of oldNew York gentility; he had probably read more, thought more, and evenseen a good deal more of the world, than any other man of the number.Singly they betrayed theirinferiority; but grouped together theyrepresented \"New York,\" and the habit of masculine solidarity made himaccept their doctrine on all the issues called moral.  He instinctivelyfelt that in this respect it would betroublesome--and also rather badform--to strike out for himself.\"Well--upon my soul!\" exclaimed Lawrence Lefferts, turning hisopera-glass abruptly away from the stage.  Lawrence Lefferts was, onthe whole, theforemost authority on \"form\" in New York.  He hadprobably devoted more time than any one else to the study of thisintricate and fascinating question; but study alone could not accountfor his complete and easycompetence.  One had only to look at him,from the slant of his bald forehead and the curve of his beautiful fairmoustache to the long patent-leather feet at the other end of his leanand elegant person, to feel that theknowledge of \"form\" must becongenital in any one who knew how to wear such good clothes socarelessly and carry such height with so much lounging grace.  As ayoung admirer had once said of him:  \"If anybody cantell a fellow justwhen to wear a black tie with evening clothes and when not to, it'sLarry Lefferts.\"  And on the question of pumps versus patent-leather\"Oxfords\" his authority had never been disputed.\"My God!\" he said;and silently handed his glass to old SillertonJackson.Newland Archer, following Lefferts's glance, saw with surprise that hisexclamation had been occasioned by the entry of a new figure into oldMrs. Mingott's box.  It wasthat of a slim young woman, a little lesstall than May Welland, with brown hair growing in close curls about hertemples and held in place by a narrow band of diamonds.  The suggestionof this headdress, which gave herwhat was then called a \"Josephinelook,\" was carried out in the cut of the dark blue velvet gown rathertheatrically caught up under her bosom by a girdle with a largeold-fashioned clasp.  The wearer of this unusualdress, who seemedquite unconscious of the attention it was attracting, stood a moment inthe centre of the box, discussing with Mrs. Welland the propriety oftaking the latter's place in the front right-hand corner; thensheyielded with a slight smile, and seated herself in line with Mrs.Welland's sister-in-law, Mrs. Lovell Mingott, who was installed in theopposite corner.Mr. Sillerton Jackson had returned the opera-glass toLawrenceLefferts.  The whole of the club turned instinctively, waiting to hearwhat the old man had to say; for old Mr. Jackson was as great anauthority on \"family\" as Lawrence Lefferts was on \"form.\"  He knew alltheramifications of New York's cousinships; and could not onlyelucidate such complicated questions as that of the connection betweenthe Mingotts (through the Thorleys) with the Dallases of SouthCarolina, and that of therelationship of the elder branch ofPhiladelphia Thorleys to the Albany Chiverses (on no account to beconfused with the Manson Chiverses of University Place), but could alsoenumerate the leading characteristics of eachfamily: as, for instance,the fabulous stinginess of the younger lines of Leffertses (the LongIsland ones); or the fatal tendency of the Rushworths to make foolishmatches; or the insanity recurring in every secondgeneration of theAlbany Chiverses, with whom their New York cousins had always refusedto intermarry--with the disastrous exception of poor Medora Manson,who, as everybody knew ... but then her mother was aRushworth.In addition to this forest of family trees, Mr. Sillerton Jacksoncarried between his narrow hollow temples, and under his soft thatch ofsilver hair, a register of most of the scandals and mysteries thathadsmouldered under the unruffled surface of New York society within thelast fifty years.  So far indeed did his information extend, and soacutely retentive was his memory, that he was supposed to be the onlyman whocould have told you who Julius Beaufort, the banker, reallywas, and what had become of handsome Bob Spicer, old Mrs. MansonMingott's father, who had disappeared so mysteriously (with a large sumof trust money)less than a year after his marriage, on the very daythat a beautiful Spanish dancer who had been delighting throngedaudiences in the old Opera-house on the Battery had taken ship forCuba.  But these mysteries, andmany others, were closely locked in Mr.Jackson's breast; for not only did his keen sense of honour forbid hisrepeating anything privately imparted, but he was fully aware that hisreputation for discretion increased hisopportunities of finding outwhat he wanted to know.The club box, therefore, waited in visible suspense while Mr. SillertonJackson handed back Lawrence Lefferts's opera-glass.  For a moment hesilently scrutinised theattentive group out of his filmy blue eyesoverhung by old veined lids; then he gave his moustache a thoughtfultwist, and said simply:  \"I didn't think the Mingotts would have triedit on.\"II.Newland Archer, during thisbrief episode, had been thrown into astrange state of embarrassment.It was annoying that the box which was thus attracting the undividedattention of masculine New York should be that in which his betrothedwasseated between her mother and aunt; and for a moment he could notidentify the lady in the Empire dress, nor imagine why her presencecreated such excitement among the initiated.  Then light dawned on him,andwith it came a momentary rush of indignation.  No, indeed; no onewould have thought the Mingotts would have tried it on!But they had; they undoubtedly had; for the low-toned comments behindhim left no doubt inArcher's mind that the young woman was MayWelland's cousin, the cousin always referred to in the family as \"poorEllen Olenska.\"  Archer knew that she had suddenly arrived from Europea day or two previously; hehad even heard from Miss Welland (notdisapprovingly) that she had been to see poor Ellen, who was stayingwith old Mrs. Mingott.  Archer entirely approved of family solidarity,and one of the qualities he most admiredin the Mingotts was theirresolute championship of the few black sheep that their blameless stockhad produced.  There was nothing mean or ungenerous in the young man'sheart, and he was glad that his future wifeshould not be restrained byfalse prudery from being kind (in private) to her unhappy cousin; butto receive Countess Olenska in the family circle was a different thingfrom producing her in public, at the Opera of allplaces, and in thevery box with the young girl whose engagement to him, Newland Archer,was to be announced within a few weeks.  No, he felt as old SillertonJackson felt; he did not think the Mingotts would have triedit on!He knew, of course, that whatever man dared (within Fifth Avenue'slimits) that old Mrs. Manson Mingott, the Matriarch of the line, woulddare.  He had always admired the high and mighty old lady, who, inspite ofhaving been only Catherine Spicer of Staten Island, with afather mysteriously discredited, and neither money nor position enoughto make people forget it, had allied herself with the head of thewealthy Mingott line,married two of her daughters to \"foreigners\" (anItalian marquis and an English banker), and put the crowning touch toher audacities by building a large house of pale cream-coloured stone(when brown sandstoneseemed as much the only wear as a frock-coat inthe afternoon) in an inaccessible wilderness near the Central Park.Old Mrs. Mingott's foreign daughters had become a legend.  They nevercame back to see their mother,and the latter being, like many personsof active mind and dominating will, sedentary and corpulent in herhabit, had philosophically remained at home.  But the cream-colouredhouse (supposed to be modelled on theprivate hotels of the Parisianaristocracy) was there as a visible proof of her moral courage; and shethroned in it, among pre-Revolutionary furniture and souvenirs of theTuileries of Louis Napoleon (where she had shonein her middle age), asplacidly as if there were nothing peculiar in living aboveThirty-fourth Street, or in having French windows that opened likedoors instead of sashes that pushed up.Every one (including Mr. SillertonJackson) was agreed that oldCatherine had never had beauty--a gift which, in the eyes of New York,justified every success, and excused a certain number of failings.Unkind people said that, like her Imperial namesake,she had won herway to success by strength of will and hardness of heart, and a kind ofhaughty effrontery that was somehow justified by the extreme decencyand dignity of her private life.  Mr. Manson Mingott had diedwhen shewas only twenty-eight, and had \"tied up\" the money with an additionalcaution born of the general distrust of the Spicers; but his bold youngwidow went her way fearlessly, mingled freely in foreignsociety,married her daughters in heaven knew what corrupt and fashionablecircles, hobnobbed with Dukes and Ambassadors, associated familiarlywith Papists, entertained Opera singers, and was the intimate friendofMme. Taglioni; and all the while (as Sillerton Jackson was the first toproclaim) there had never been a breath on her reputation; the onlyrespect, he always added, in which she differed from the earlierCatherine.Mrs.Manson Mingott had long since succeeded in untying her husband'sfortune, and had lived in affluence for half a century; but memories ofher early straits had made her excessively thrifty, and though, whenshe bought adress or a piece of furniture, she took care that itshould be of the best, she could not bring herself to spend much on thetransient pleasures of the table.  Therefore, for totally differentreasons, her food was as poor asMrs. Archer's, and her wines didnothing to redeem it.  Her relatives considered that the penury of hertable discredited the Mingott name, which had always been associatedwith good living; but people continued to cometo her in spite of the\"made dishes\" and flat champagne, and in reply to the remonstrances ofher son Lovell (who tried to retrieve the family credit by having thebest chef in New York) she used to saylaughingly:  \"What's the use oftwo good cooks in one family, now that I've married the girls and can'teat sauces?\"Newland Archer, as he mused on these things, had once more turned hiseyes toward the Mingottbox.  He saw that Mrs. Welland and hersister-in-law were facing their semicircle of critics with theMingottian APLOMB which old Catherine had inculcated in all her tribe,and that only May Welland betrayed, by aheightened colour (perhaps dueto the knowledge that he was watching her) a sense of the gravity ofthe situation.  As for the cause of the commotion, she sat gracefullyin her corner of the box, her eyes fixed on thestage, and revealing,as she leaned forward, a little more shoulder and bosom than New Yorkwas accustomed to seeing, at least in ladies who had reasons forwishing to pass unnoticed.Few things seemed to NewlandArcher more awful than an offence against\"Taste,\" that far-off divinity of whom \"Form\" was the mere visiblerepresentative and vicegerent.  Madame Olenska's pale and serious faceappealed to his fancy as suited to theoccasion and to her unhappysituation; but the way her dress (which had no tucker) sloped away fromher thin shoulders shocked and troubled him.  He hated to think of MayWelland's being exposed to the influence of ayoung woman so carelessof the dictates of Taste.\"After all,\" he heard one of the younger men begin behind him(everybody talked through the Mephistopheles-and-Martha scenes), \"afterall, just WHAT"}
+{"doc_id":"doc_45","qid":"","text":"Project Gutenberg's The Playboy of the Western World, by J. M. SyngeThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: The Playboy of the Western WorldAuthor: J. M. SyngePosting Date: August 27, 2008 [EBook#1240]Release Date: March, 1998Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE PLAYBOY OF THE WESTERN WORLD ***Produced by Judy BossTHE PLAYBOY OF THE WESTERN WORLDACOMEDY IN THREE ACTSBy J. M. SyngePREFACEIn writing THE PLAYBOY OF THE WESTERN WORLD, as in my other plays, Ihave used one or two words only that I have not heard among the countrypeople of Ireland, orspoken in my own nursery before I could read thenewspapers. A certain number of the phrases I employ I have heard alsofrom herds and fishermen along the coast from Kerry to Mayo, orfrom beggar-women andballad-singers nearer Dublin; and I am glad toacknowledge how much I owe to the folk imagination of these fine people.Anyone who has lived in real intimacy with the Irish peasantry willknow that the wildest sayingsand ideas in this play are tame indeed,compared with the fancies one may hear in any little hillside cabin inGeesala, or Carraroe, or Dingle Bay. All art is a collaboration; andthere is little doubt that in the happy ages ofliterature, strikingand beautiful phrases were as ready to the story-teller's or theplaywright's hand, as the rich cloaks and dresses of his time. It isprobable that when the Elizabethan dramatist took his ink-horn andsatdown to his work he used many phrases that he had just heard, as he satat dinner, from his mother or his children. In Ireland, those of us whoknow the people have the same privilege. When I was writing \"TheShadowof the Glen,\" some years ago, I got more aid than any learning couldhave given me from a chink in the floor of the old Wicklow house whereI was staying, that let me hear what was being said by the servantgirlsin the kitchen. This matter, I think, is of importance, for in countrieswhere the imagination of the people, and the language they use, is richand living, it is possible for a writer to be rich and copious in hiswords, andat the same time to give the reality, which is the rootof all poetry, in a comprehensive and natural form. In the modernliterature of towns, however, richness is found only in sonnets, orprose poems, or in one or twoelaborate books that are far away from theprofound and common interests of life. One has, on one side, Mallarmeand Huysmans producing this literature; and on the other, Ibsen and Zoladealing with the reality of lifein joyless and pallid words. On thestage one must have reality, and one must have joy; and that is why theintellectual modern drama has failed, and people have grown sick of thefalse joy of the musical comedy, thathas been given them in place ofthe rich joy found only in what is superb and wild in reality. In a goodplay every speech should be as fully flavoured as a nut or apple, andsuch speeches cannot be written by anyone whoworks among people whohave shut their lips on poetry. In Ireland, for a few years more, wehave a popular imagination that is fiery and magnificent, and tender; sothat those of us who wish to write start with a chancethat is not givento writers in places where the springtime of the local life has beenforgotten, and the harvest is a memory only, and the straw has beenturned into bricks. J. M. S. January 21st,1907.PERSONS     CHRISTOPHER MAHON.     OLD MAHON, his father, a squatter.     MICHAEL JAMES FLAHERTY (called MICHAEL JAMES), a publican.     MARGARET FLAHERTY (called PEGEEN MIKE), hisdaughter.     WIDOW QUIN, a woman of about thirty.     SHAWN KEOUGH, her cousin, a young farmer.     PHILLY CULLEN AND JIMMY FARRELL, small farmers.     SARA TANSEY, SUSAN BRADY, AND HONOR BLAKE,village girls.     A BELLMAN.     SOME PEASANTS.The action takes place near a village, on a wild coast of Mayo. Thefirst Act passes on an evening of autumn, the other two Acts on thefollowing day.THE PLAYBOY OF THEWESTERN WORLDACT I.SCENE: [Country public-house or shebeen, very rough and untidy. Thereis a sort of counter on the right with shelves, holding many bottles andjugs, just seen above it. Empty barrels stand nearthe counter. At back,a little to left of counter, there is a door into the open air, then,more to the left, there is a settle with shelves above it, with morejugs, and a table beneath a window. At the left there is a largeopenfire-place, with turf fire, and a small door into inner room. Pegeen, awild looking but fine girl, of about twenty, is writing at table. She isdressed in the usual peasant dress.]PEGEEN -- [slowly as she writes.] -- Sixyards of stuff for to make ayellow gown. A pair of lace boots with lengthy heels on them and brassyeyes. A hat is suited for a wedding-day. A fine tooth comb. To besent with three barrels of porter in Jimmy Farrell'screel cart on theevening of the coming Fair to Mister Michael James Flaherty. With thebest compliments of this season. Margaret Flaherty.SHAWN KEOGH -- [a fat and fair young man comes in as she signs, looksroundawkwardly, when he sees she is alone.] -- Where's himself?PEGEEN -- [without looking at him.] -- He's coming. (She directs theletter.) To Mister Sheamus Mulroy, Wine and Spirit Dealer, Castlebar.SHAWN --[uneasily.] -- I didn't see him on the road.PEGEEN. How would you see him (licks stamp and puts it on letter) and itdark night this half hour gone by?SHAWN -- [turning towards the door again.] -- I stood a whileoutsidewondering would I have a right to pass on or to walk in and see you,Pegeen Mike (comes to fire), and I could hear the cows breathing, andsighing in the stillness of the air, and not a step moving any placefromthis gate to the bridge.PEGEEN -- [putting letter in envelope.] -- It's above at the cross-roadshe is, meeting Philly Cullen; and a couple more are going along with himto Kate Cassidy's wake.SHAWN -- [looking at herblankly.] -- And he's going that length in thedark night?PEGEEN -- [impatiently.] He is surely, and leaving me lonesome on thescruff of the hill. (She gets up and puts envelope on dresser, thenwinds clock.) Isn't it longthe nights are now, Shawn Keogh, to beleaving a poor girl with her own self counting the hours to the dawn ofday?SHAWN -- [with awkward humour.] -- If it is, when we're wedded in ashort while you'll have no call tocomplain, for I've little will to bewalking off to wakes or weddings in the darkness of the night.PEGEEN -- [with rather scornful good humour.] -- You're making mightycertain, Shaneen, that I'll wed you now.SHAWN.Aren't we after making a good bargain, the way we're only waitingthese days on Father Reilly's dispensation from the bishops, or theCourt of Rome.PEGEEN -- [looking at him teasingly, washing up at dresser.] -- It'sawonder, Shaneen, the Holy Father'd be taking notice of the likes of you;for if I was him I wouldn't bother with this place where you'll meetnone but Red Linahan, has a squint in his eye, and Patcheen is lame inhis heel,or the mad Mulrannies were driven from California and theylost in their wits. We're a queer lot these times to go troubling theHoly Father on his sacred seat.SHAWN -- [scandalized.] If we are, we're as good this placeas another,maybe, and as good these times as we were for ever.PEGEEN -- [with scorn.] -- As good, is it? Where now will you meet thelike of Daneen Sullivan knocked the eye from a peeler, or Marcus Quin,God resthim, got six months for maiming ewes, and he a great warrant totell stories of holy Ireland till he'd have the old women sheddingdown tears about their feet. Where will you find the like of them, I'msaying?SHAWN --[timidly.] If you don't it's a good job, maybe; for (withpeculiar emphasis on the words) Father Reilly has small conceit to havethat kind walking around and talking to the girls.PEGEEN -- [impatiently, throwing waterfrom basin out of the door.] --Stop tormenting me with Father Reilly (imitating his voice) when I'masking only what way I'll pass these twelve hours of dark, and not takemy death with the fear. [Looking out ofdoor.]SHAWN -- [timidly.] Would I fetch you the widow Quin, maybe?PEGEEN. Is it the like of that murderer? You'll not, surely.SHAWN -- [going to her, soothingly.] -- Then I'm thinking himself willstop along with youwhen he sees you taking on, for it'll be a longnight-time with great darkness, and I'm after feeling a kind of fellowabove in the furzy ditch, groaning wicked like a maddening dog, the wayit's good cause you have,maybe, to be fearing now.PEGEEN -- [turning on him sharply.] -- What's that? Is it a man youseen?SHAWN -- [retreating.] I couldn't see him at all; but I heard himgroaning out, and breaking his heart. It should havebeen a young manfrom his words speaking.PEGEEN -- [going after him.] -- And you never went near to see was hehurted or what ailed him at all?SHAWN. I did not, Pegeen Mike. It was a dark, lonesome place tobehearing the like of him.PEGEEN. Well, you're a daring fellow, and if they find his corpsestretched above in the dews of dawn, what'll you say then to thepeelers, or the Justice of the Peace?SHAWN -- [thunderstruck.] Iwasn't thinking of that. For the love ofGod, Pegeen Mike, don't let on I was speaking of him. Don't tell yourfather and the men is coming above; for if they heard that story, they'dhave great blabbing this night at thewake.PEGEEN. I'll maybe tell them, and I'll maybe not.SHAWN. They are coming at the door, Will you whisht, I'm saying?PEGEEN. Whisht yourself.[She goes behind counter. Michael James, fat jovial publican, comesinfollowed by Philly Cullen, who is thin and mistrusting, and JimmyFarrell, who is fat and amorous, about forty-five.]MEN -- [together.] -- God bless you. The blessing of God on this place.PEGEEN. God bless youkindly.MICHAEL -- [to men who go to the counter.] -- Sit down now, and takeyour rest. (Crosses to Shawn at the fire.) And how is it you are, ShawnKeogh? Are you coming over the sands to Kate Cassidy'swake?SHAWN. I am not, Michael James. I'm going home the short cut to my bed.PEGEEN -- [speaking across the counter.] -- He's right too, and haveyou no shame, Michael James, to be quitting off for the whole night,andleaving myself lonesome in the shop?MICHAEL -- [good-humouredly.] Isn't it the same whether I go for thewhole night or a part only? and I'm thinking it's a queer daughter youare if you'd have me crossingbackward through the Stooks of the DeadWomen, with a drop taken.PEGEEN. If I am a queer daughter, it's a queer father'd be leaving melonesome these twelve hours of dark, and I piling the turf with the dogsbarking,and the calves mooing, and my own teeth rattling with the fear.JIMMY -- [flatteringly.] -- What is there to hurt you, and you a fine,hardy girl would knock the head of any two men in the place?PEGEEN -- [workingherself up.] -- Isn't there the harvest boys withtheir tongues red for drink, and the ten tinkers is camped in the eastglen, and the thousand militia -- bad cess to them! -- walking idlethrough the land. There's lots surelyto hurt me, and I won't stop alonein it, let himself do what he will.MICHAEL. If you're that afeard, let Shawn Keogh stop along with you.It's the will of God, I'm thinking, himself should be seeing to you now.[They allturn on Shawn.]SHAWN -- [in horrified confusion.] -- I would and welcome, MichaelJames, but I'm afeard of Father Reilly; and what at all would the HolyFather and the Cardinals of Rome be saying if they heard I didthe likeof that?MICHAEL -- [with contempt.] -- God help you! Can't you sit in by thehearth with the light lit and herself beyond in the room? You'll do thatsurely, for I've heard tell there's a queer fellow above, going madorgetting his death, maybe, in the gripe of the ditch, so she'd be saferthis night with a person here.SHAWN -- [with plaintive despair.] -- I'm afeard of Father Reilly, I'msaying. Let you not be tempting me, and we nearmarried itself.PHILLY -- [with cold contempt.] -- Lock him in the west room. He'll staythen and have no sin to be telling to the priest.MICHAEL -- [to Shawn, getting between him and the door.] -- Go up now.SHAWN --[at the top of his voice.] -- Don't stop me, Michael James. Letme out of the door, I'm saying, for the love of the Almighty God. Let meout (trying to dodge past him). Let me out of it, and may God grant youHisindulgence in the hour of need.MICHAEL -- [loudly.] Stop your noising, and sit down by the hearth.[Gives him a push and goes to counter laughing.]SHAWN -- [turning back, wringing his hands.] -- Oh, Father Reillyandthe saints of God, where will I hide myself to-day? Oh, St. Joseph andSt. Patrick and St. Brigid, and St. James, have mercy on me now! [Shawnturns round, sees door clear, and makes a rush for it.]MICHAEL --[catching him by the coattail.] -- You'd be going, is it?SHAWN -- [screaming.] Leave me go, Michael James, leave me go, you oldPagan, leave me go, or I'll get the curse of the priests on you, andof the scarlet-coatedbishops of the courts of Rome. [With a suddenmovement he pulls himself out of his coat, and disappears out of thedoor, leaving his coat in Michael's hands.]MICHAEL -- [turning round, and holding up coat.] -- Well,there's thecoat of a Christian man. Oh, there's sainted glory this day in thelonesome west; and by the will of God I've got you a decent man, Pegeen,you'll have no call to be spying after if you've a score of younggirls,maybe, weeding in your fields.PEGEEN [taking up the defence of her property.] -- What right have youto be making game of a poor fellow for minding the priest, when it'syour own the fault is, not paying a pennypot-boy to stand along withme and give me courage in the doing of my work? [She snaps the coat awayfrom him, and goes behind counter with it.]MICHAEL -- [taken aback.] -- Where would I get a pot-boy? Would youhaveme send the bell-man screaming in the streets of Castlebar?SHAWN -- [opening the door a chink and putting in his head, in a smallvoice.] -- Michael James!MICHAEL -- [imitating him.] -- What ails you?SHAWN.The queer dying fellow's beyond looking over the ditch. He's comeup, I'm thinking, stealing your hens. (Looks over his shoulder.) Godhelp me, he's following me now (he runs into room), and if he's heardwhat I said,he'll be having my life, and I going home lonesome in thedarkness of the night. [For a perceptible moment they watch the doorwith curiosity. Some one coughs outside. Then Christy Mahon, a slightyoung man, comes invery tired and frightened and dirty.]CHRISTY -- [in a small voice.] -- God save all here!MEN. God save you kindly.CHRISTY -- [going to the counter.] -- I'd trouble you for a glass ofporter, woman of the house. [He putsdown coin.]PEGEEN -- [serving him.] -- You're one of the tinkers, young fellow, isbeyond camped in the glen?CHRISTY. I am not; but I'm destroyed walking.MICHAEL -- [patronizingly.] Let you come up then to the fire.You'relooking famished with the cold.CHRISTY. God reward you. (He takes up his glass and goes a little wayacross to the left, then stops and looks about him.) Is it often thepolice do be coming into this place, master ofthe house?MICHAEL. If you'd come in better hours, you'd have seen \"Licensed forthe sale of Beer and Spirits, to be consumed on the premises,\" writtenin white letters above the door, and what would the polis wantspyingon me, and not a decent house within four miles, the way every livingChristian is a bona fide, saving one widow alone?CHRISTY -- [with relief.] -- It's a safe house, so. [He goes over to thefire, sighing andmoaning. Then he sits down, putting his glass besidehim and begins gnawing a turnip, too miserable to feel the othersstaring at him with curiosity.]MICHAEL -- [going after him.] -- Is it yourself fearing the polis?You'rewanting, maybe?CHRISTY. There's many wanting.MICHAEL. Many surely, with the broken harvest and the ended wars. (Hepicks up some stockings, etc., that are near the fire, and carries themaway furtively.) It shouldbe larceny, I'm thinking?CHRISTY -- [dolefully.] I had it in my mind it was a different word anda bigger.PEGEEN. There's a queer lad. Were you never slapped in school, youngfellow, that you don't know the name ofyour deed?CHRISTY -- [bashfully.] I'm slow at learning, a middling scholar only.MICHAEL. If you're a dunce itself, you'd have a right to know thatlarceny's robbing and stealing. Is it for the like of thatyou'rewanting?CHRISTY -- [with a flash of family pride.] -- And I the son of a strongfarmer (with a sudden qualm), God rest his soul, could have boughtup the whole of your old house a while since, from the butt ofhistailpocket, and not have missed the weight of it gone.MICHAEL -- [impressed.] If it's not stealing, it's maybe something big.CHRISTY -- [flattered.] Aye; it's maybe something big.JIMMY. He's a wicked-looking youngfellow. Maybe he followed after ayoung woman on a lonesome night.CHRISTY -- [shocked.] Oh, the saints forbid, mister; I was all times adecent lad.PHILLY -- [turning on Jimmy.] -- You're a silly man, Jimmy Farrell.Hesaid his father was a farmer a while since, and there's himself now ina poor state. Maybe the land was grabbed from him, and he did what anydecent man would do.MICHAEL -- [to Christy, mysteriously.] -- Was itbailiffs?CHRISTY. The divil a one.MICHAEL. Agents?CHRISTY. The divil a one.MICHAEL. Landlords?CHRISTY -- [peevishly.] Ah, not at all, I'm saying. You'd see the likeof them stories on any little paper of a Munstertown. But I'm notcalling to mind any person, gentle, simple, judge or jury, did the likeof me. [They all draw nearer with delighted curiosity.]PHILLY. Well, that lad's a puzzle--the world.JIMMY. He'd beat Dan Davies'circus, or the holy missioners makingsermons on the villainy of man. Try him again, Philly.PHILLY. Did you strike golden guineas out of solder, young fellow, orshilling coins itself?CHRISTY. I did not, mister, not sixpencenor a farthing coin.JIMMY. Did you marry three wives maybe? I'm told there's a sprinklinghave done that among the holy Luthers of the preaching north.CHRISTY -- [shyly.] -- I never married with one, let alone with acoupleor three.PHILLY. Maybe he went fighting for the Boers, the like of the manbeyond, was judged to be hanged, quartered and drawn. Were you off east,young fellow, fighting bloody wars for Kruger and the freedomof theBoers?CHRISTY. I never left my own parish till Tuesday was a week.PEGEEN -- [coming from counter.] -- He's done nothing, so. (To Christy.)If you didn't commit murder or a bad, nasty thing, or false coining,orrobbery, or butchery, or the like of them, there isn't anything thatwould be worth your troubling for to run from now. You did nothing atall.CHRISTY -- [his feelings hurt.] -- That's an unkindly thing to be sayingto a poororphaned traveller, has a prison behind him, and hangingbefore, and hell's gap gaping below.PEGEEN [with a sign to the men to be quiet.] -- You're only saying it.You did nothing at all. A soft lad the like of you wouldn'tslit thewindpipe of a screeching sow.CHRISTY -- [offended.] You're not speaking the truth.PEGEEN -- [in mock rage.] -- Not speaking the truth, is it? Would youhave me knock the head of you with the butt of thebroom?CHRISTY -- [twisting round on her with a sharp cry of horror.] -- Don'tstrike me. I killed my poor father, Tuesday was a week, for doing thelike of that.PEGEEN [with blank amazement.] -- Is it killed yourfather?CHRISTY -- [subsiding.] With the help of God I did surely, and that theHoly Immaculate Mother may intercede for his soul.PHILLY -- [retreating with Jimmy.] -- There's a daring fellow.JIMMY. Oh, glory be toGod!MICHAEL -- [with great respect.] -- That was a hanging crime, misterhoney. You should have had good reason for doing the like of that.CHRISTY -- [in a very reasonable tone.] -- He was a dirty man, Godforgivehim, and he getting old and crusty, the way I couldn't put upwith him at all.PEGEEN. And you shot him dead?CHRISTY -- [shaking his head.] -- I never used weapons. I've no license,and I'm a law-fearing man.MICHAEL.It was with a hilted knife maybe? I'm told, in the big worldit's bloody knives they use.CHRISTY -- [loudly, scandalized.] -- Do you take me for a slaughter-boy?PEGEEN. You never hanged him, the way Jimmy Farrellhanged his dog fromthe license, and had it screeching and wriggling three hours at the buttof a string, and himself swearing it was a dead dog, and the peelersswearing it had life?CHRISTY. I did not then. I just riz theloy and let fall the edge ofit on the ridge of his skull, and he went down at my feet like an emptysack, and never let a grunt or groan from him at all.MICHAEL -- [making a sign to Pegeen to fill Christy's glass.] --Andwhat way weren't you hanged, mister? Did you bury him then?CHRISTY -- [considering.] Aye. I buried him then. Wasn't I digging spudsin the field?MICHAEL. And the peelers never followed after you the eleven days"}
+{"doc_id":"doc_46","qid":"","text":"<html><head><title>Zerophilia Script at IMSDb.</title><meta name=\"description\" content=\"Zerophilia script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Zerophilia script, Zerophiliamovie script, Zerophilia film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=SubjectCONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0];s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>    <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\"title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center></td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                                       ZEROPHILIA</b>                                       Written by<b> </b>                                     MartinCurland<b>          </b><b>          </b><b>          </b><b>          </b>                                                      Revised: March 1,2004<b>                                                                           1.</b><b>          </b><b>          </b><b>          </b><b>          </b><b>          FADE IN:</b><b>          </b><b>          EXT. WILDERNESS -NIGHT</b><b>          </b>          Mist. Dark trees.     Dripping vines.        An ENGINE RUMBLES in the          distance.<b>          </b>          The full moon shimmers on a puddle.          A FROG SPLATSIN,          splashing a one man pup tent.<b>          </b><b>          INSIDE THE TENT</b><b>          </b>          LUKE's eyes pop open, disoriented, realizing he's fallen          asleep reading by flashlight. He'snineteen, still slightly          awkward and unaware he's growing handsome.<b>          </b>          He listens as the ENGINE RUMBLES LOUDER, closer.<b>          </b>          He peers out through the tent flap. Glaringhead lamps ROAR          toward him. Scrambling out of his sleeping bag, he HURLS          himself against the side of the tent, as...<b>          </b><b>          OUTSIDE</b><b>          </b>          an RV CAMPERnearly plows down the tent, skidding to a stop          in the mud.<b>          </b>          Stillness.<b>          </b>          Luke extricates himself from the tent.          He runs to the driver-          side window of theRV.<b>          </b><b>                                 LUKE</b>                       Are you all right?<b>          </b>          Inside, ALEXA, thirties, earthy, looks up at him bleary-eyed.          She nods'yes.'<b>          </b><b>                                 LUKE (CONT'D)</b>                       How did you even get here?       There's                       noroad.<b>          </b><b>                                    ALEXA</b>                       I'm sorry.     I'm from Utah.<b>          </b><b>                                    LUKE</b>                       It'sokay.<b>          </b><b>                                 ALEXA</b>                       Are you alone outhere?<b>          </b><b>                                                                   2.</b><b>          </b><b>          </b><b>          </b>          He nods 'yes.'    She bursts intoTEARS.<b>          </b><b>                              ALEXA (CONT'D)</b>                    My husband. Bastard. I've been                    driving for days. I don't even                    know where I'mgoing.<b>          </b><b>                                LUKE</b>                    Oh, wow.    I'm really sorry.<b>          </b>          She gathers herself, sniffling.<b>          </b><b>          </b>                    I have warmapple kringel in the                    camper. Would you like some?<b>          </b><b>                              LUKE</b>                    Uh, what isit?<b>          </b><b>                                ALEXA</b>                    Pastry.<b>          </b><b>          </b><b>          INSIDE RV CAMPER</b><b>          </b>          Luke stands at the RV's tiny kitchen counter,wolfing pastry          off a paper plate.<b>          </b><b>                              ALEXA</b>                    So, this \"Survival Quest\" isyour                    vacation?<b>          </b><b>                               LUKE</b>                    Yeah. It's my third try.     Kind a'                    lame,huh?<b>          </b><b>                              ALEXA</b>                    No. Seven days alone in the                    wilderness?   I'd be afraid.<b>          </b><b>                              LUKE</b>                    It's justsomething I really wanted                    to do.<b>          </b>          Luke notices an odd pile of stuff by the sink.<b>          </b><b>                              ALEXA</b>                    His shoes. Fishinglures.        The                    electricdrill.<b>          </b><b>                                LUKE</b>                    Good.<b>          </b><b>                                                                      3.</b><b>          </b><b>          </b><b>          </b>          Shesmiles, grateful, eyeing his torn t-shirt and shorts.<b>          </b><b>                              ALEXA</b>                    You're all wet and muddy. Why                    don't I hang those up todry?<b>          </b><b>                                LUKE</b>                    Thanks.    I'm okay.<b>          </b><b>                              ALEXA</b>                    I'm propositioningyou.<b>          </b><b>                                LUKE</b>                    Oh...                    Oh, wow.                    You are?<b>          </b>          He considers, fearful, butthrilled.<b>          </b><b>          </b><b>          EXT. LANGFORD UNIVERSITY - MORNING</b><b>          </b>          Students crisscross on bikes in front of the quadrangle.<b>          </b>          The huge roundheadlights and muscular front grill of an old          SEMI-TRUCK RUMBLES up to the curb. It's the cab only, like          the sliced-off front of a train engine.<b>          </b>          Luke hops down, startling his friends,KEENAN and JANINE,          passionately making out on the sidewalk.<b>          </b>          Twenty, brainy and athletic, Janine adjusts her glasses, the          only remnant of a bookish past, as she thoughtfullyconsiders          Luke's massive truck.<b>          </b><b>                              JANINE</b>                    It's remarkable. Sort of retro. I                    thought you were gettin' apickup?<b>          </b><b>                              LUKE</b>                    I changed my mind.<b>          </b>          Hoping for a more enthusiastic response, he turns to Keenan,          who climbs up and peeks insidethe cab. He's rugged,          streetwise, perpetually bemused, -maybe Ed Norton and Bill          Murray had a son...<b>          </b><b>                              KEENAN</b>                    It's awesome. It'spleather.<b>          </b><b>                                LUKE</b>                    Fuck you.    You think it'sstupid.<b>          </b><b>                                                                      4.</b><b>          </b><b>          </b>          Janine stares at him.<b>          </b><b>                                LUKE(CONT'D)</b>                    What?<b>          </b>          She shrugs, trying to put her finger on it, and when Luke          rolls up his T-shirt sleeves, she grins.<b>          </b><b>                                LUKE(CONT'D)</b>                    What?!<b>          </b><b>                              JANINE</b>                    Oh my God. You got laid.                    Finally! Who is she?<b>          </b>          Luke glares atKeenan.<b>          </b><b>                              KEENAN</b>                    I didn't say a word! I swear!     You                    know Janine. She's got X-ray                    vision.                        (toJanine)                    Camping! A total stranger.<b>          </b><b>                              JANINE</b>                    I knew that whole \"waitin' to meet                    the right girl\" thing wascrap.                    Congratulations! I have to get to                    Physics. The truck's great.<b>          </b><b>                              KEENAN</b>                    See ya',hottie.<b>          </b><b>                              JANINE</b>                    Could find something to call me,                    other than what every guy in the                    world wouldsay?<b>          </b><b>                              KEENAN</b>                    \"Sweetheart?\" \"Babe?\"                    \"Aphrodite?\"<b>          </b>          Janine sneers.    At a loss, Keenan grabs her and kissesher          passionately.<b>          </b>          She walks off rolling her eyes, but secretly loves it.<b>          </b>          Keenan climbs up into the cab.<b>          </b><b>                              KEENAN(CONT'D)</b>                    So this is gonna' be like yourcar?<b>          </b><b>                                                                      5.</b><b>          </b><b>          </b><b>          </b><b>                              LUKE</b>                    Look, I know it's dopey. Butdon't                    you recognize it? It's painted and                    the muffler's switched out, -but                    this was my dad's.<b>          </b>          Keenan looks around with fresh eyes. He reaches an armway          up under the glove box and GRINS, pulling out a small stash          of weed.<b>          </b><b>                                 KEENAN</b>                    Ten years.     A little driedout.<b>          </b><b>          </b><b>          EXT. COUNTRY HIGHWAY - DAY</b><b>          </b>          The truck barrels along through the trees.     Luke and Keenan          share ajoint.<b>          </b><b>                              LUKE</b>                    First off, that woman. We didn't                    go all the way, youknow?<b>          </b><b>                               KEENAN</b>                    Yeah?   Okay, so?<b>          </b><b>                              LUKE</b>                    You think technically I'm stilla                    virgin?<b>          </b><b>                              KEENAN</b>                    Were you insideher?<b>          </b><b>                                 LUKE</b>                    Yeah.<b>          </b><b>                                 KEENAN</b>                    Itcounts.     Next.   ...What?<b>          </b><b>                              LUKE</b>                    I been havin' this weird dream.                    The thing is, I think maybe the                    dream's real. Forget it. Noway                    I'm tellin' you.<b>          </b><b>                              KEENAN</b>                    You know enough of my secrets to                    get me shot. Sharon's mom on                    Thanksgiving? Whatthe fuck dream                    is there you can't tellme?<b>          </b><b>                                                                      6.</b><b>          </b><b>          </b><b>          </b><b>                              LUKE</b>                    It's about part of me"}
+{"doc_id":"doc_47","qid":"","text":"The Project Gutenberg EBook of Persuasion, by Jane AustenThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it under theterms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: PersuasionAuthor: Jane AustenRelease Date: June 5, 2008 [EBook #105]Last Updated: February 15, 2015Language:English*** START OF THIS PROJECT GUTENBERG EBOOK PERSUASION ***Produced by Sharon Partridge and Martin Ward. HTML versionby Al Haines.PersuasionbyJane Austen(1818)Chapter 1Sir Walter Elliot, ofKellynch Hall, in Somersetshire, was a man who,for his own amusement, never took up any book but the Baronetage; therehe found occupation for an idle hour, and consolation in a distressedone; there his facultieswere roused into admiration and respect, bycontemplating the limited remnant of the earliest patents; there anyunwelcome sensations, arising from domestic affairs changed naturallyinto pity and contempt as heturned over the almost endless creationsof the last century; and there, if every other leaf were powerless, hecould read his own history with an interest which never failed.  Thiswas the page at which the favouritevolume always opened:           \"ELLIOT OF KELLYNCH HALL.\"Walter Elliot, born March 1, 1760, married, July 15, 1784, Elizabeth,daughter of James Stevenson, Esq. of South Park, in the county ofGloucester, by whichlady (who died 1800) he has issue Elizabeth, bornJune 1, 1785; Anne, born August 9, 1787; a still-born son, November 5,1789; Mary, born November 20, 1791.\"Precisely such had the paragraph originally stood fromthe printer'shands; but Sir Walter had improved it by adding, for the information ofhimself and his family, these words, after the date of Mary's birth--\"Married, December 16, 1810, Charles, son and heir of CharlesMusgrove,Esq. of Uppercross, in the county of Somerset,\" and by inserting mostaccurately the day of the month on which he had lost his wife.Then followed the history and rise of the ancient and respectablefamily, inthe usual terms; how it had been first settled in Cheshire;how mentioned in Dugdale, serving the office of high sheriff,representing a borough in three successive parliaments, exertions ofloyalty, and dignity of baronet,in the first year of Charles II, withall the Marys and Elizabeths they had married; forming altogether twohandsome duodecimo pages, and concluding with the arms andmotto:--\"Principal seat, Kellynch Hall, in thecounty of Somerset,\" andSir Walter's handwriting again in this finale:--\"Heir presumptive, William Walter Elliot, Esq., great grandson of thesecond Sir Walter.\"Vanity was the beginning and the end of Sir Walter Elliot'scharacter;vanity of person and of situation.  He had been remarkably handsome inhis youth; and, at fifty-four, was still a very fine man.  Few womencould think more of their personal appearance than he did, norcouldthe valet of any new made lord be more delighted with the place he heldin society.  He considered the blessing of beauty as inferior only tothe blessing of a baronetcy; and the Sir Walter Elliot, who unitedthesegifts, was the constant object of his warmest respect anddevotion.His good looks and his rank had one fair claim on his attachment; sinceto them he must have owed a wife of very superior character to anythingdeserved by his own.  Lady Elliot had been an excellent woman,sensible and amiable; whose judgement and conduct, if they might bepardoned the youthful infatuation which made her Lady Elliot, had neverrequiredindulgence afterwards.--She had humoured, or softened, orconcealed his failings, and promoted his real respectability forseventeen years; and though not the very happiest being in the worldherself, had found enoughin her duties, her friends, and her children,to attach her to life, and make it no matter of indifference to herwhen she was called on to quit them.--Three girls, the two eldestsixteen and fourteen, was an awful legacy fora mother to bequeath, anawful charge rather, to confide to the authority and guidance of aconceited, silly father.  She had, however, one very intimate friend, asensible, deserving woman, who had been brought, bystrong attachmentto herself, to settle close by her, in the village of Kellynch; and onher kindness and advice, Lady Elliot mainly relied for the best helpand maintenance of the good principles and instruction which shehadbeen anxiously giving her daughters.This friend, and Sir Walter, did not marry, whatever might have beenanticipated on that head by their acquaintance.  Thirteen years hadpassed away since Lady Elliot's death,and they were still nearneighbours and intimate friends, and one remained a widower, the othera widow.That Lady Russell, of steady age and character, and extremely wellprovided for, should have no thought of asecond marriage, needs noapology to the public, which is rather apt to be unreasonablydiscontented when a woman does marry again, than when she does not; butSir Walter's continuing in singleness requiresexplanation.  Be itknown then, that Sir Walter, like a good father, (having met with oneor two private disappointments in very unreasonable applications),prided himself on remaining single for his dear daughters'sake.  Forone daughter, his eldest, he would really have given up any thing,which he had not been very much tempted to do.  Elizabeth hadsucceeded, at sixteen, to all that was possible, of her mother's rightsandconsequence; and being very handsome, and very like himself, herinfluence had always been great, and they had gone on together mosthappily.  His two other children were of very inferior value.  Mary hadacquired alittle artificial importance, by becoming Mrs CharlesMusgrove; but Anne, with an elegance of mind and sweetness ofcharacter, which must have placed her high with any people of realunderstanding, was nobody witheither father or sister; her word had noweight, her convenience was always to give way--she was only Anne.To Lady Russell, indeed, she was a most dear and highly valuedgod-daughter, favourite, and friend.  LadyRussell loved them all; butit was only in Anne that she could fancy the mother to revive again.A few years before, Anne Elliot had been a very pretty girl, but herbloom had vanished early; and as even in its height, herfather hadfound little to admire in her, (so totally different were her delicatefeatures and mild dark eyes from his own), there could be nothing inthem, now that she was faded and thin, to excite his esteem. Hehadnever indulged much hope, he had now none, of ever reading her name inany other page of his favourite work.  All equality of alliance mustrest with Elizabeth, for Mary had merely connected herself with anoldcountry family of respectability and large fortune, and had thereforegiven all the honour and received none: Elizabeth would, one day orother, marry suitably.It sometimes happens that a woman is handsomer attwenty-nine than shewas ten years before; and, generally speaking, if there has beenneither ill health nor anxiety, it is a time of life at which scarcelyany charm is lost.  It was so with Elizabeth, still the samehandsomeMiss Elliot that she had begun to be thirteen years ago, and Sir Waltermight be excused, therefore, in forgetting her age, or, at least, bedeemed only half a fool, for thinking himself and Elizabeth asbloomingas ever, amidst the wreck of the good looks of everybody else; for hecould plainly see how old all the rest of his family and acquaintancewere growing.  Anne haggard, Mary coarse, every face intheneighbourhood worsting, and the rapid increase of the crow's foot aboutLady Russell's temples had long been a distress to him.Elizabeth did not quite equal her father in personal contentment.Thirteen years hadseen her mistress of Kellynch Hall, presiding anddirecting with a self-possession and decision which could never havegiven the idea of her being younger than she was.  For thirteen yearshad she been doing thehonours, and laying down the domestic law athome, and leading the way to the chaise and four, and walkingimmediately after Lady Russell out of all the drawing-rooms anddining-rooms in the country.  Thirteenwinters' revolving frosts hadseen her opening every ball of credit which a scanty neighbourhoodafforded, and thirteen springs shewn their blossoms, as she travelledup to London with her father, for a few weeks' annualenjoyment of thegreat world.  She had the remembrance of all this, she had theconsciousness of being nine-and-twenty to give her some regrets andsome apprehensions; she was fully satisfied of being still quiteashandsome as ever, but she felt her approach to the years of danger, andwould have rejoiced to be certain of being properly solicited bybaronet-blood within the next twelvemonth or two.  Then might she againtakeup the book of books with as much enjoyment as in her early youth,but now she liked it not.  Always to be presented with the date of herown birth and see no marriage follow but that of a youngest sister,made thebook an evil; and more than once, when her father had left itopen on the table near her, had she closed it, with averted eyes, andpushed it away.She had had a disappointment, moreover, which that book, andespeciallythe history of her own family, must ever present the remembrance of.The heir presumptive, the very William Walter Elliot, Esq., whoserights had been so generously supported by her father, haddisappointedher.She had, while a very young girl, as soon as she had known him to be,in the event of her having no brother, the future baronet, meant tomarry him, and her father had always meant that sheshould.  He had notbeen known to them as a boy; but soon after Lady Elliot's death, SirWalter had sought the acquaintance, and though his overtures had notbeen met with any warmth, he had persevered in seeking it,makingallowance for the modest drawing-back of youth; and, in one of theirspring excursions to London, when Elizabeth was in her first bloom, MrElliot had been forced into the introduction.He was at that time a veryyoung man, just engaged in the study of thelaw; and Elizabeth found him extremely agreeable, and every plan in hisfavour was confirmed.  He was invited to Kellynch Hall; he was talkedof and expected all the rest ofthe year; but he never came.  Thefollowing spring he was seen again in town, found equally agreeable,again encouraged, invited, and expected, and again he did not come; andthe next tidings were that he wasmarried.  Instead of pushing hisfortune in the line marked out for the heir of the house of Elliot, hehad purchased independence by uniting himself to a rich woman ofinferior birth.Sir Walter had resented it.  As the headof the house, he felt that heought to have been consulted, especially after taking the young man sopublicly by the hand; \"For they must have been seen together,\" heobserved, \"once at Tattersall's, and twice in thelobby of the House ofCommons.\"  His disapprobation was expressed, but apparently very littleregarded.  Mr Elliot had attempted no apology, and shewn himself asunsolicitous of being longer noticed by the family, asSir Walterconsidered him unworthy of it:  all acquaintance between them hadceased.This very awkward history of Mr Elliot was still, after an interval ofseveral years, felt with anger by Elizabeth, who had liked the manforhimself, and still more for being her father's heir, and whose strongfamily pride could see only in him a proper match for Sir WalterElliot's eldest daughter.  There was not a baronet from A to Z whom herfeelingscould have so willingly acknowledged as an equal.  Yet somiserably had he conducted himself, that though she was at this presenttime (the summer of 1814) wearing black ribbons for his wife, she couldnot admit him tobe worth thinking of again.  The disgrace of his firstmarriage might, perhaps, as there was no reason to suppose itperpetuated by offspring, have been got over, had he not done worse;but he had, as by theaccustomary intervention of kind friends, theyhad been informed, spoken most disrespectfully of them all, mostslightingly and contemptuously of the very blood he belonged to, andthe honours which were hereafter tobe his own.  This could not bepardoned.Such were Elizabeth Elliot's sentiments and sensations; such the caresto alloy, the agitations to vary, the sameness and the elegance, theprosperity and the nothingness of herscene of life; such the feelingsto give interest to a long, uneventful residence in one country circle,to fill the vacancies which there were no habits of utility abroad, notalents or accomplishments for home, to occupy.Butnow, another occupation and solicitude of mind was beginning to beadded to these.  Her father was growing distressed for money.  Sheknew, that when he now took up the Baronetage, it was to drive theheavy bills ofhis tradespeople, and the unwelcome hints of MrShepherd, his agent, from his thoughts.  The Kellynch property wasgood, but not equal to Sir Walter's apprehension of the state requiredin its possessor.  While LadyElliot lived, there had been method,moderation, and economy, which had just kept him within his income; butwith her had died all such right-mindedness, and from that period hehad been constantly exceeding it.  Ithad not been possible for him tospend less; he had done nothing but what Sir Walter Elliot wasimperiously called on to do; but blameless as he was, he was not onlygrowing dreadfully in debt, but was hearing of it sooften, that itbecame vain to attempt concealing it longer, even partially, from hisdaughter.  He had given her some hints of it the last spring in town;he had gone so far even as to say, \"Can we retrench?  Does it occurtoyou that there is any one article in which we can retrench?\" andElizabeth, to do her justice, had, in the first ardour of female alarm,set seriously to think what could be done, and had finally proposedthese twobranches of economy, to cut off some unnecessary charities,and to refrain from new furnishing the drawing-room; to whichexpedients she afterwards added the happy thought of their taking nopresent down to Anne, ashad been the usual yearly custom.  But thesemeasures, however good in themselves, were insufficient for the realextent of the evil, the whole of which Sir Walter found himself obligedto confess to her soonafterwards.  Elizabeth had nothing to propose ofdeeper efficacy.  She felt herself ill-used and unfortunate, as did herfather; and they were neither of them able to devise any means oflessening their expenses withoutcompromising their dignity, orrelinquishing their comforts in a way not to be borne.There was only a small part of his estate that Sir Walter could disposeof; but had every acre been alienable, it would have madenodifference.  He had condescended to mortgage as far as he had thepower, but he would never condescend to sell.  No; he would neverdisgrace his name so far.  The Kellynch estate should be transmittedwhole andentire, as he had received it.Their two confidential friends, Mr Shepherd, who lived in theneighbouring market town, and Lady Russell, were called to advise them;and both father and daughter seemed to expect thatsomething should bestruck out by one or the other to remove their embarrassments andreduce their expenditure, without involving the loss of any indulgenceof taste or pride.Chapter 2Mr Shepherd, a civil, cautiouslawyer, who, whatever might be his holdor his views on Sir Walter, would rather have the disagreeable promptedby anybody else, excused himself from offering the slightest hint, andonly begged leave to recommendan implicit reference to the excellentjudgement of Lady Russell, from whose known good sense he fullyexpected to have just such resolute measures advised as he meant to seefinally adopted.Lady Russell was mostanxiously zealous on the subject, and gave itmuch serious consideration.  She was a woman rather of sound than ofquick abilities, whose difficulties in coming to any decision in thisinstance were great, from theopposition of two leading principles.She was of strict integrity herself, with a delicate sense of honour;but she was as desirous of saving Sir Walter's feelings, as solicitousfor the credit of the family, as aristocratic in herideas of what wasdue to them, as anybody of sense and honesty could well be.  She was abenevolent, charitable, good woman, and capable of strong attachments,most correct in her conduct, strict in her notions ofdecorum, and withmanners that were held a standard of good-breeding.  She had acultivated mind, and was, generally speaking, rational and consistent;but she had prejudices on the side of ancestry; she had a valueforrank and consequence, which blinded her a little to the faults of thosewho possessed them.  Herself the widow of only a knight, she gave thedignity of a baronet all its due; and Sir Walter, independent of hisclaims asan old acquaintance, an attentive neighbour, an obliginglandlord, the husband of her very dear friend, the father of Anne andher sisters, was, as being Sir Walter, in her apprehension, entitled toa great deal ofcompassion and consideration under his presentdifficulties.They must retrench; that did not admit of a doubt.  But she was veryanxious to have it done with the least possible pain to him andElizabeth. She drew upplans of economy, she made exact calculations,and she did what nobody else thought of doing:  she consulted Anne, whonever seemed considered by the others as having any interest in thequestion. She consulted,and in a degree was influenced by her inmarking out the scheme of retrenchment which was at last submitted toSir Walter. Every emendation of Anne's had been on the side of honestyagainst importance.  She wantedmore vigorous measures, a more completereformation, a quicker release from debt, a much higher tone ofindifference for everything but justice and equity.\"If we can persuade your father to all this,\" said LadyRussell,looking over her paper, \"much may be done.  If he will adopt theseregulations, in seven years he will be clear; and I hope we may be ableto convince him and Elizabeth, that Kellynch Hall has a respectabilityinitself which cannot be affected by these reductions; and that thetrue dignity of Sir Walter Elliot will be very far from lessened in theeyes of sensible people, by acting like a man of principle.  What willhe be doing, in fact,but what very many of our first families havedone, or ought to do?  There will be nothing singular in his case; andit is singularity which often makes the worst part of our suffering, asit always does of our conduct.  Ihave great hope of prevailing.  Wemust be serious and decided; for after all, the person who hascontracted debts must pay them; and though a great deal is due to thefeelings of the gentleman, and the head of ahouse, like your father,there is still more due to the character of an honest man.\"This was the principle on which Anne wanted her father to beproceeding, his friends to be urging him.  She considered it as an actofindispensable duty to clear away the claims of creditors with allthe expedition which the most comprehensive retrenchments could secure,and saw no dignity in anything short of it.  She wanted it to beprescribed, andfelt as a duty.  She rated Lady Russell's influencehighly; and as to the severe degree of self-denial which her ownconscience prompted, she believed there might be little more difficultyin persuading them to a complete,than to half a reformation.  Herknowledge of her father and Elizabeth inclined her to think that thesacrifice of one pair of horses would be hardly less painful than ofboth, and so on, through the whole list of LadyRussell's too gentlereductions.How Anne's more rigid requisitions might have been taken is of littleconsequence.  Lady Russell's had no success at all: could not be put upwith, were not to be borne. \"What! everycomfort of life knocked off!Journeys, London, servants, horses, table--contractions andrestrictions every where!  To live no longer with the decencies even ofa private gentleman!  No, he would sooner quit Kellynch Hallat once,than remain in it on such disgraceful terms.\"\"Quit Kellynch Hall.\"  The hint was immediately taken up by MrShepherd, whose interest was involved in the reality of Sir Walter'sretrenching, and who was perfectlypersuaded that nothing would be donewithout a change of abode.  \"Since the idea had been started in thevery quarter which ought to dictate, he had no scruple,\" he said, \"inconfessing his judgement to be entirely onthat side.  It did notappear to him that Sir Walter could materially alter his style ofliving in a house which had such a character of hospitality and ancientdignity to support.  In any other place Sir Walter might judgeforhimself; and would be looked up to, as regulating the modes of life inwhatever way he might choose to model his household.\"Sir Walter would quit Kellynch Hall; and after a very few days more ofdoubt and"}
+{"doc_id":"doc_48","qid":"","text":"<html><head><title>Saving Private Ryan Script at IMSDb.</title><meta name=\"description\" content=\"Saving Private Ryan script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"SavingPrivate Ryan script, Saving Private Ryan movie script, Saving Private Ryan film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\"content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ?'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie ScriptDatabase\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <scripttype=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><html><head><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>S A V I N G   P R I V AT E   R Y A N</title></head><pre><b>               S A V I N G   P R I V A T E   R Y A N</b>               by Robert Roday               (Early Draft)               Typed for the Internet by:               David Pritchettscreenwryter@hotmail.com<b>               --------------------------------------------------------------</b><b>               FADE IN:</b>               CREDITS:  White lettering over a backbackground.  The               THUNDEROUS SOUNDS OF A MASSIVE NAVAL BARRAGE are heard.  The               power is astonishing.  It roars through the body, blows back               the hair and rattles theears.<b>               FADE IN:</b><b>               EXT. OMAHA BEACH - NORMANDY - DAWN</b>               The ROAR OF NAVAL GUNS continues but now WE SEE THEM FIRING.               Huge fifteen inchguns.<b>               SWARM OF LANDING CRAFT</b>               Heads directly into a nightmare.  MASSIVE EXPLOSIONS from               German artillery shells and mined obstacles tear apartthe               beach.  Hundreds of German machine guns, loaded with tracers,               pour out a red snowstorm ofbullets.<b>                                     OFFSHORE</b><b>                         SUPERIMPOSITION:</b><b>                                     OMAHA BEACH, NORMANDY</b>                         June 6,1944<b>                                     0600 HOURS</b>                         HUNDREDS OF LANDING CRAFT Each holding                         thirty men, near the beaches.<b>                                     THECLIFFS</b>                         At the far end of the beach, a ninety-                         foot cliff.  Topped by bunkers.                         Ringed by fortified machine gun nests.                         A clear line-of-fire down theentire                         beach.<b>                                     TEN LANDING CRAFT</b>                         Make their way toward the base of                         the cliffs.  Running a gauntletof                         explosions.<b>                                     SUPERIMPOSITION:</b><b>                         THE FOLLOWING IS BASED ON A TRUE</b>                         STORY THE LEAD LANDING CRAFTPlows                         through the waves.<b>               THE CAMERA MOVES PAST THE FACES OF THE MEN</b>               Boys.  Most are eighteen or nineteen years old.  Tough.               Well-trained.  Trying toblock out the fury around them.<b>               A DIRECT HIT ON A NEARBY LANDING CRAFT</b>               A huge EXPLOSION of fuel, fire, metal and flesh.<b>               THE LEAD LANDING CRAFT</b>               TheMotorman holds his course.  Shells EXPLODE around them.               FLAMING OIL BURNS on the water.  CANNON FIRE SMASHES into               the bow.<b>               THE MOTORAMAN IS RIPPED TOBITS</b>               BLOOD AND FLESH shower the men behind him.  The mate takes               the controls.<b>                                     A YOUNG SOLDIER</b>                         His face covered with the remainsof                         the motorman.  Starts to lose it.                         Begins to shudder and weep.  His                         name is DeLancey.<b>               THE BOYS AROUND HIM</b>               Do their best to starestraight ahead.  But the fear infects               them.  It starts to spread.<b>                                     A FIGURE</b>                         Pushes through the men.  Puts himself                         in front ofDeLancey.               The figure is CAPTAIN JOHN MILLER.  Early thirties.  By far               the oldest man on the craft.  Relaxed, battle-hardened,               powerful, ignoring the hell around them.  He smiles, putsa               cigar in his mouth, strikes a match on the front of DeLancey's               helmet and lights the cigar.               DeLancey tries to look away but Miller grips him by the jaw               and forces him to lockeyes.  Miller smiles.  DeLancey is               terrified.               Delancey Captain, are we all gonna die?               Miller Hell no, two-thirds, tops.               Delancey Oh, Jesus...               Miller I want every one of you tolook at the man on your               left.  Now look at the man on your right.  Feel sorry for               those to sons-of-bitches, they're going to get it, you're               not going to get a scratch.  A few, includingDeLancey, manage               thin smiles.  Miller releases his grip on DeLancey who moves               his jaw as if to see if it's broken.  Miller pats him on the               cheek and moves on to thebow.<b>                                     MILLER</b>                         Looks over the gunwale at THE HELL<b>                         IN FRONT OF THEM.</b><b>               PAN DOWN TO MILLER'S HAND</b>               Itquivers in fear.  Miller glances around, sees that none               of the men have noticed.  He stares at his hand as if it               belongs to someone else.  It stops shaking.  He turns his               eyes back to theobjective.<b>               THE LEAD LANDING CRAFT HITS THE BEACH</b>               The six surviving boats alongside.<b>               EXPLOSIVE PROPELLED GRAPPLING HOOKS FIRE</b>               From the landingcrafts.  Arc toward the top of the cliffs.<b>               THE LEAD CRAFT RAMP GOES DOWN</b>               A river of MACHINE GUN FIRE pours into the craft.  A dozen               men are INSTANTLY KILLED.  Amongthem, DeLancey.<b>                                     MILLER</b>                         Somehow survives.  Jumps into the                         breakers.<b>                                     MILLER</b><b>                         MOVE,GODDAMN IT!  GO!  GO!  GO!</b><b>                                     EXPLOSIONS EVERYWHERE</b>                         THE GERMANS On the edge of the cliff.                         Rain down MACHINE GUN FIREand<b>                         GRENADES.</b><b>                                     THE AMERICANS</b>                         Struggle through the surf.  FIRING                         up as best they can.  Making forthe                         base of the cliffs.<b>               INCENDIARY GRENADES, HURLED FROM ABOVE,</b><b>               EXPLODE, SPREADINGFIRE</b><b>                                     MILLER</b>                         Ignores the EXPLOSIONS and BULLETS.                         Uses hand signals and curtorders.<b>                                     MILLER</b><b>                         THERE!  THERE!  HOOKS THERE!  FIRE</b><b>                         SQUAD, THOSE ROCKS!</b><b>                                     THEMEN</b>                         Obey instantly.  Set the grappling                         hooks.  Take position.  Return fire.<b>               THE SOUNDS OF BATTLE</b>               Drown out most voices.  Except the SCREAMS OFTHE WOUNDED<b>               AND DYING.</b><b>                                     THE MEN</b>                         Know what they have to do.  Start up                         the ropes.  Into the teeth ofthe                         German defenders.<b>                                     MILLER</b>                         Back-straps his Thompson sub-machine                         gun.  Starts climbing with thefirst                         group.<b>                                     THE CLIFF FACE</b>                         The Americans swarm up the ropes.                         Taking turns firing up at the Germans.<b>               MILLER SEESA STALLED CLIMBER</b>               A soft-faced boy.  Grabs him by the back of his collar.               Roughly yanks him up.  Nearly choking him.  They boyclimbs               on.<b>                                     HALF-WAY</b>                         An American private is HIT.  FALLS,                         taking two others with him.  All                         three land on the rocksbelow.                         Another way to die.<b>                                     NEAR THE TOP</b>                         Less steep.  They leave the ropes.                         Free climb, scrambling up therocks.<b>                                     MILLER</b>                         Joins half-a-dozen pinned down men.                         Others bottleneck behind them.  Miller                         scans the route and thedefenders.               Sees an open gap.  Deadly.  Beyond is a protective overhang.               With a clear line to the top.<b>                                     MILLER</b>                         That's the route.               Millermotions to six men huddled near him.<b>                                     MILLER</b>                         Go!<b>                                     THE SIX MEN</b>                         Take an instant to getready.  Then                         SCRAMBLE into the gap.<b>               MILLER AND THE OTHERS</b>               Do their best to cover them.  POUR FIRE up at the Germans.               Bad angle.  No Germans arehit.<b>                                     THE SIX MEN</b>                         Are CUT TO RIBBONS by MACHINE GUN                         FIRE.  All KILLED.  They fall to the                         rocks below.               SARGE,mid-twenties, experienced, Miller's right arm and               best friend, dives into the rocks next to Miller.               Sarge That's a goddamned shooting gallery,Captain.<b>                                     MILLER</b>                         It's the only way.<b>                                     MILLER</b>                         Turns to the next half-dozenmen.<b>                                     MILLER</b><b>                         YOU'RE NEXT!</b><b>                                     THE SECOND SIX</b>                         Move to the head of thegap.  Miller                         moves for a better angle against the                         machine guns.  Calls to JACKSON, a                         tall, gangly Southern countryboy,                         sharp-shooter.<b>                                     MILLER</b><b>                         JACKSON, PICK OFF A FEW OF THEM,</b><b>                         WILLYOU?</b><b>                                     JACKSON</b>                              (heavy Southern accent)                         You betcha, Captain.               Miller signals others where to direct their cover fire.               Turnsto the second six.<b>                                     MILLER</b><b>                         GO!</b><b>                                     THE SECOND SIX</b>                         Take deep breaths.  Head intothe                         gap.<b>               MILLER AND OTHERS BLAST SURPRISING FIRE</b>               JACKSON, NAILS a pair of Germans.  MILLER CUTS DOWN two more.               SARGE gets one.  Notenough.<b>                                     THE SECOND SIX</b>                         Are RAKED BY MACHINE GUNS.  All"}
+{"doc_id":"doc_49","qid":"","text":"The Project Gutenberg EBook of The Sea Fairies, by L. Frank BaumThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it underthe terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: The Sea FairiesAuthor: L. Frank BaumPosting Date: July 26, 2009 [EBook #4358]Release Date: August,2003First Posted: January 14, 2002Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE SEA FAIRIES ***Produced by Charles Aldarondo.  HTML version by Al Haines.TO JUDITH OF RANDOLPHMASSACHUSETTSTHE SEA FAIRIESBY L. FRANK BAUMAUTHOR OF THE EMERALD CITY OF OZ, DOROTHY AND THEWIZARD IN OZ, OZMA OF OZ, THE ROAD TO OZ,THE LAND OF OZ, ETC.ILLUSTRATED BYJOHN R.NEILLTHE oceans are big and broad. I believe two-thirds of theearth's surface is covered with water. What people inhabitthis water has always been a subject of curiosity to theinhabitants of the land. Strange creaturescome from the seasat times, and perhaps in the ocean depths are many, more strangethan mortal eye has ever gazed upon.This story is fanciful. In it the sea people talk and actmuch as we do, and the mermaidsespecially are not unlike thefairies with whom we have learned to be familiar. Yet theyare real sea people, for all that, and with the exception of Zogthe Magician they are all supposed to exist in the ocean's depths.I amtold that some very learned people deny that mermaidsor sea-serpents have ever inhabited the oceans, but it would bevery difficult for them to prove such an assertion unless they hadlived under the water as Trot andCap'n Bill did in this story.I hope my readers who have so long followed Dorothy'sadventures in the Land of Oz will be interested in Trot's equallystrange experiences. The ocean has always appealed to me asa veritablewonderland, and this story has been suggested to memany times by my young correspondents in their letters. Indeed,a good many children have implored me to \"write somethingabout the mermaids,\" and I havewillingly granted the request.Hollywood, 1911.L. FRANK BAUM.LIST OF CHAPTERSCHAPTER   1  TROT AND CAP'N BILL   2  THE MERMAIDS   3  THE DEPTHS OF THE DEEP BLUE SEA   4  THE PALACE OF QUEENAQUAREINE   5  THE SEA-SERPENT   6  EXPLORING THE OCEAN   7  THE ARISTOCRATIC CODFISH   8  A BANQUET UNDER WATER   9  THE BASHFUL OCTOPUS  10  THE UNDISCOVERED ISLAND  11  ZOG THETERRIBLE AND HIS SEA DEVILS  12  THE ENCHANTED ISLAND  13  PRISONERS OF THE SEA MONSTER  14  CAP'N JOE AND CAP'N BILL  15  THE MAGIC OF THE MERMAIDS  16  THE TOP OF THE GREAT DOME  17  THEQUEEN'S GOLDEN SWORD  18  A DASH FOR LIBERTY  19  KING ANKO TO THE RESCUE  20  THE HOME OF THE OCEAN MONARCH  21  KING JOE  22  TROT LIVES TO TELL THE TALECHAPTER 1TROT AND CAP'NBILL\"Nobody,\" said Cap'n Bill solemnly, \"ever sawr a mermaid an' livedto tell the tale.\"\"Why not?\" asked Trot, looking earnestly up into the old sailor'sface.They were seated on a bench built around a giant acacia treethatgrew just at the edge of the bluff. Below them rolled the blue wavesof the great Pacific. A little way behind them was the house, a neatframe cottage painted white and surrounded by huge eucalyptus andpeppertrees. Still farther behind that--a quarter of a mile distantbut built upon a bend of the coast--was the village, overlooking apretty bay.Cap'n Bill and Trot came often to this tree to sit and watch theocean below them.The sailor man had one \"meat leg\" and one \"hickoryleg,\" and he often said the wooden one was the best of the two. OnceCap'n Bill had commanded and owned the \"Anemone,\" a trading schoonerthat plied along thecoast; and in those days Charlie Griffiths, whowas Trot's father, had been the Captain's mate. But ever since Cap'nBill's accident, when he lost his leg, Charlie Griffiths had beenthe captain of the little schooner while hisold master livedpeacefully ashore with the Griffiths family.This was about the time Trot was born, and the old sailor becamevery fond of the baby girl. Her real name was Mayre, but when shegrew big enough to walk,she took so many busy little steps everyday that both her mother and Cap'n Bill nicknamed her \"Trot,\" and soshe was thereafter mostly called.It was the old sailor who taught the child to love the sea, to loveit almost asmuch as he and her father did, and these two, whorepresented the \"beginning and the end of life,\" became firm friendsand constant companions.\"Why hasn't anybody seen a mermaid and lived?\" asked Trotagain.\"'Cause mermaids is fairies, an' ain't meant to be seen by us mortalfolk,\" replied Cap'n Bill.\"But if anyone happens to see 'em, what then, Cap'n?\"\"Then,\" he answered, slowly wagging his head, \"the mermaidsgive 'ema smile an' a wink, an' they dive into the water an' gets drownded.\"\"S'pose they knew how to swim, Cap'n Bill?\"\"That don't make any diff'rence, Trot. The mermaids live deep down,an' the poor mortals nevercome up again.\"The little girl was thoughtful for a moment. \"But why do folks divein the water when the mermaids smile an' wink?\" she asked.\"Mermaids,\" he said gravely, \"is the most beautiful creatures intheworld--or the water, either. You know what they're like, Trot,they's got a lovely lady's form down to the waist, an' then theother half of 'em's a fish, with green an' purple an' pink scalesall down it.\"\"Have they gotarms, Cap'n Bill?\"\"'Course, Trot; arms like any other lady. An' pretty faces thatsmile an' look mighty sweet an' fetchin'. Their hair is long an'soft an' silky, an' floats all around 'em in the water. When theycomes up atopthe waves, they wring the water out'n their hair andsing songs that go right to your heart. If anybody is unlucky enoughto be 'round jes' then, the beauty o' them mermaids an' their sweetsongs charm 'em like magic;so's they plunge into the waves to getto the mermaids. But the mermaids haven't any hearts, Trot, nomore'n a fish has; so they laughs when the poor people drown an'don't care a fig. That's why I says, an' I says ittrue, that nobodynever sawr a mermaid an' lived to tell the tale.\"\"Nobody?\" asked Trot.\"Nobody a tall.\"\"Then how do you know, Cap'n Bill?\" asked the little girl, lookingup into his face with big, round eyes.Cap'n Billcoughed. Then he tried to sneeze, to gain time. Then hetook out his red cotton handkerchief and wiped his bald head withit, rubbing hard so as to make him think clearer. \"Look, Trot; ain'tthat a brig out there?\" heinquired, pointing to a sail far out inthe sea.\"How does anybody know about mermaids if those who have seen themnever lived to tell about them?\" she asked again.\"Know what about 'em, Trot?\"\"About their green andpink scales and pretty songs and wet hair.\"\"They don't know, I guess. But mermaids jes' natcherly has to belike that, or they wouldn't be mermaids.\"She thought this over. \"Somebody MUST have lived, Cap'n Bill,\"shedeclared positively. \"Other fairies have been seen by mortals; whynot mermaids?\"\"P'raps they have, Trot, p'raps they have,\" he answered musingly.\"I'm tellin' you as it was told to me, but I never stopped toinquireinto the matter so close before. Seems like folks wouldn'tknow so much about mermaids if they hadn't seen 'em; an' yetaccordin' to all accounts the victim is bound to get drownded.\"\"P'raps,\" suggested Trot softly,\"someone found a fotygraph of oneof 'em.\"\"That might o' been, Trot, that might o' been,\" answered Cap'n Bill.A nice man was Cap'n Bill, and Trot knew he always liked to explaineverything so she could fully understandit. The aged sailor was nota very tall man, and some people might have called him chubby, oreven fat. He wore a blue sailor shirt with white anchors worked onthe corners of the broad, square collar, and his bluetrousers werevery wide at the bottom. He always wore one trouser leg over hiswooden limb and sometimes it would flutter in the wind like a flagbecause it was so wide and the wooden leg so slender. His roughkerseycoat was a pea-jacket and came down to his waistline. In thebig pockets of his jacket he kept a wonderful jackknife, and hispipe and tobacco, and many bits of string, and matches and keys andlots of other things.Whenever Cap'n Bill thrust a chubby hand intoone of his pockets, Trot watched him with breathless interest, forshe never knew what he was going to pull out.The old sailor's face was brown as a berry. He had a fringeof hairaround the back of his head and a fringe of whisker around the edgeof his face, running from ear to ear and underneath his chin. Hiseyes were light blue and kind in expression. His nose was big andbroad, and hisfew teeth were not strong enough to crack nuts with.Trot liked Cap'n Bill and had a great deal of confidence in hiswisdom, and a great admiration for his ability to make tops andwhistles and toys with that marvelousjackknife of his. In thevillage were many boys and girls of her own age, but she never hadas much fun playing with them as she had wandering by the seaaccompanied by the old sailor and listening to hisfascinatingstories.She knew all about the Flying Dutchman, and Davy Jones' Locker, andCaptain Kidd, and how to harpoon a whale or dodge an iceberg orlasso a seal. Cap'n Bill had been everywhere in the world,almost,on his many voyages. He had been wrecked on desert islands likeRobinson Crusoe and been attacked by cannibals, and had a host ofother exciting adventures. So he was a delightful comrade for thelittle girl,and whatever Cap'n Bill knew Trot was sure to know intime.\"How do the mermaids live?\" she asked. \"Are they in caves, or justin the water like fishes, or how?\"\"Can't say, Trot,\" he replied. \"I've asked divers about that,butnone of 'em ever run acrost a mermaid's nest yet, as I've heard of.\"\"If they're fairies,\" she said, \"their homes must be very pretty.\"\"Mebbe so, Trot, but damp. They are sure to be damp, you know.\"\"I'd like to see amermaid, Cap'n Bill,\" said the child earnestly.\"What, an' git drownded?\" he exclaimed.\"No, and live to tell the tale. If they're beautiful, and laughing,and sweet, there can't be much harm in them, I'm sure.\"\"Mermaids ismermaids,\" remarked Cap'n Bill in his most solemnvoice. \"It wouldn't do us any good to mix up with 'em, Trot.\"\"May-re! May-re!\" called a voice from the house.\"Yes, Mamma!\"\"You an' Cap'n Bill come in tosupper.\"CHAPTER 2THE MERMAIDSThe next morning, as soon as Trot had helped wipe the breakfastdishes and put them away in the cupboard, the little girl and Cap'nBill started out toward the bluff. The air was softand warm and thesun turned the edges of the waves into sparkling diamonds. Acrossthe bay the last of the fisherboats was speeding away out to sea,for well the fishermen knew this was an ideal day to catchrockbass,barracuda and yellowtail.The old man and the young girl stood on the bluff and watched allthis with interest. Here was their world. \"It isn't a bit rough thismorning. Let's have a boat ride, Cap'n Bill,\" said thechild.\"Suits me to a T,\" declared the sailor. So they found the windingpath that led down the face of the cliff to the narrow beach belowand cautiously began the descent. Trot never minded the steep pathor the looserocks at all, but Cap'n Bill's wooden leg was not souseful on a downgrade as on a level, and he had to be careful not toslip and take a tumble.But by and by they reached the sands and walked to a spot justbeneath thebig acacia tree that grew on the bluff. Halfway to thetop of the cliff hung suspended a little shed-like structure thatsheltered Trot's rowboat, for it was necessary to pull the boat outof reach of the waves which beat infury against the rocks at hightide. About as high up as Cap'n Bill could reach was an iron ringsecurely fastened to the cliff, and to this ring was tied a rope.The old sailor unfastened the knot and began paying out therope,and the rowboat came out of its shed and glided slowly downward tothe beach. It hung on a pair of davits and was lowered just as aboat is lowered from a ship's side. When it reached the sands, thesailorunhooked the ropes and pushed the boat to the water's edge.It was a pretty little craft, light and strong, and Cap'n Bill knewhow to sail it or row it, as Trot might desire.Today they decided to row, so the girl climbedinto the bow and hercompanion stuck his wooden leg into the water's edge \"so he wouldn'tget his foot wet\" and pushed off the little boat as he climbedaboard. Then he seized the oars and began gentlypaddling.\"Whither away, Commodore Trot?\" he asked gaily.\"I don't care, Cap'n. It's just fun enough to be on the water,\" sheanswered, trailing one hand overboard. So he rowed around by theNorth Promontory, wherethe great caves were, and much as they wereenjoying the ride, they soon began to feel the heat of the sun.\"That's Dead Man's Cave, 'cause a skellington was found there,\"observed the child as they passed a dark,yawning mouth in thecliff. \"And that's Bumble Cave, 'cause the bumblebees make nests inthe top of it. And here's Smuggler's Cave, 'cause the smugglers usedto hide things in it.\"She knew all the caves well, and so didCap'n Bill. Many of themopened just at the water's edge, and it was possible to row theirboat far into their dusky depths.\"And here's Echo Cave,\" she continued, dreamily, as they slowlymoved along the coast, \"andGiant's Cave, and--oh, Cap'n Bill! Doyou s'pose there were ever any giants in that cave?\"\"'Pears like there must o' been, Trot, or they wouldn't o' named itthat name,\" he replied, pausing to wipe his bald head with theredhandkerchief while the oars dragged in the water.\"We've never been into that cave, Cap'n,\" she remarked, looking atthe small hole in the cliff--an archway through which the waterflowed. \"Let's go in now.\"\"What for,Trot?\"\"To see if there's a giant there.\"\"Hm. Aren't you 'fraid?\"\"No, are you? I just don't b'lieve it's big enough for a giant toget into.\"\"Your father was in there once,\" remarked Cap'n Bill, \"an' he saysit's the biggest caveon the coast, but low down. It's full o'water, an' the water's deep down to the very bottom o' the ocean;but the rock roof's liable to bump your head at high tide .\"\"It's low tide now,\" returned Trot. \"And how could anygiant live inthere if the roof is so low down?\"\"Why, he couldn't, mate. I reckon they must have called it Giant'sCave 'cause it's so big, an' not 'cause any giant man lived there.\"\"Let's go in,\" said the girl again. \"I'd like to'splore it.\"\"All right,\" replied the sailor. \"It'll be cooler in there than outhere in the sun. We won't go very far, for when the tide turns wemightn't get out again.\" He picked up the oars and rowed slowlytoward the cave.The black archway that marked its entrance seemedhardly big enough to admit the boat at first, but as they drewnearer, the opening became bigger. The sea was very calm here, forthe headland shielded it from thebreeze.\"Look out fer your head, Trot!\" cautioned Cap'n Bill as the boatglided slowly into the rocky arch. But it was the sailor who had toduck, instead of the little girl. Only for a moment, though. Justbeyond the openingthe cave was higher, and as the boat floated intothe dim interior they found themselves on quite an extensive branchof the sea. For a time neither of them spoke and only the softlapping of the water against the sides ofthe boat was heard. Abeautiful sight met the eyes of the two adventurers and held themdumb with wonder and delight.It was not dark in this vast cave, yet the light seemed to come fromunderneath the water, whichall around them glowed with an exquisitesapphire color. Where the little waves crept up the sides of therocks they shone like brilliant jewels, and every drop of sprayseemed a gem fit to deck a queen. Trot leaned herchin on her handsand her elbows on her lap and gazed at this charming sight with realenjoyment. Cap'n Bill drew in the oars and let the boat drift whereit would while he also sat silently admiring the scene.Slowly thelittle craft crept farther and farther into the diminterior of the vast cavern, while its two passengers feasted theireyes on the beauties constantly revealed. Both the old seaman andthe little girl loved the ocean in all itsvarious moods. To them itwas a constant companion and a genial comrade. If it stormed andraved, they laughed with glee; if it rolled great breakers againstthe shore, they clapped their hands joyfully; if it layslumberingat their feet, they petted and caressed it, but always they lovedit.Here was the ocean yet. It had crept under the dome of overhangingrock to reveal itself crowned with sapphires and dressed in azuregown,revealing in this guise new and unexpected charms. \"Goodmorning, Mayre,\" said a sweet voice.Trot gave a start and looked around her in wonder. Just beside herin the water were little eddies--circles withincircles--such as arecaused when anything sinks below the surface. \"Did--did you hearthat, Cap'n Bill?\" she whispered solemnly.Cap'n Bill did not answer. He was staring with eyes that fairlybulged out at a place behindTrot's back, and he shook a little, asif trembling from cold. Trot turned half around, and then shestared, too. Rising from the blue water was a fair face around whichfloated a mass of long, blonde hair. It was a sweet,girlish facewith eyes of the same deep blue as the water and red lips whosedainty smile disposed two rows of pearly teeth. The cheeks wereplump and rosy, the brows gracefully penciled, while the chin wasrounded andhad a pretty dimple in it.\"The most beauti-ful-est in all the world,\" murmured Cap'n Bill in avoice of horror, \"an' no one has ever lived to--to tell the tale!\"There was a peal of merry laughter at this, laughter thatrippledand echoed throughout the cavern. Just at Trot's side appeared a newface even fairer than the other, with a wealth of brown hairwreathing the lovely features. And the eyes smiled kindly into thoseof the child.\"Are you a--a mermaid?\" asked Trot curiously. She wasnot a bit afraid. They seemed both gentle and friendly.\"Yes, dear,\" was the soft answer.\"We are all mermaids!\" chimed a laughing chorus, and here and there,allabout the boat, appeared pretty faces lying just upon thesurface of the water.\"Are you part fishes?\" asked Trot, greatly pleased by this wonderfulsight.\"No, we are all mermaid,\" replied the one with the brown hair.\"Thefishes are partly like us, because they live in the sea and mustmove about. And you are partly like us, Mayre dear, but have awkwardstiff legs so you may walk on the land. But the mermaids livedbefore fishes andbefore mankind, so both have borrowed somethingfrom us.\"\"Then you must be fairies if you've lived always,\" remarked Trot,nodding wisely.\"We are, dear. We are the water fairies,\" answered the one with theblondehair, coming nearer and rising till her slender white throatshowed plainly.\"We--we're goners, Trot!\" sighed Cap'n Bill with a white, woebegoneface.\"I guess not, Cap'n,\" she answered calmly. \"These prettymermaidsaren't going to hurt us, I'm sure.\"\"No indeed,\" said the first one who had spoken. \"If we were wickedenough to wish to harm you, our magic could reach you as easily uponthe land as in this cave. But we lovelittle girls dearly and wishonly to please them and make their lives more happy.\"\"I believe that!\" cried Trot earnestly.Cap'n Bill groaned.\"Guess why we have appeared to you,\" said another mermaid, coming tothe sideof the boat.\"Why?\" asked the child.\"We heard you say yesterday you would like to see a mermaid, and sowe decided to grant your wish.\"\"That was real nice of you,\" said Trot gratefully.\"Also, we heard all the foolishthings Cap'n Bill said about us,\"remarked the brown-haired one smilingly, \"and we wanted to prove tohim that they were wrong.\"\"I on'y said what I've heard,\" protested Cap'n Bill. \"Never havin'seen a mermaid afore, Icouldn't be ackerate, an' I never expectedto see one an' live to tell the tale.\"Again the cave rang with merry laughter, and as it died away, Trotsaid, \"May I see your scales, please? And are they green and purpleandpink like Cap'n Bill said?\" They seemed undecided what to say tothis and swam a little way off, where the beautiful heads formed agroup that was delightful to see. Perhaps they talked together, forthe brown-hairedmermaid soon came back to the side of the boat andasked, \"Would you like to visit our kingdom and see all the wondersthat exist below the sea?\"\"I'd like to,\" replied Trot promptly, \"but I couldn't. I'd getdrowned.\"\"Thatyou would, mate!\" cried Cap'n Bill.\"Oh no,\" said the mermaid. \"We would make you both like one ofourselves, and then you could live within the water as easily as wedo.\"\"I don't know as I'd like that,\" said the child, \"atleast foralways.\"\"You need not stay with us a moment longer than you please,\"returned the mermaid, smiling as if amused at the remark. \"Wheneveryou are ready to return home, we promise to bring you to thisplaceagain and restore to you the same forms you are now wearing.\"\"Would I have a fish's tail?\" asked Trot earnestly.\"You would have a mermaid's tail,\" was the reply.\"What color would my scales be--pink, or"}
+{"doc_id":"doc_50","qid":"","text":"The Project Gutenberg EBook of The Metal Monster, by A. MerrittThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it underthe terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: The Metal MonsterAuthor: A. MerrittRelease Date: September, 2002  [Etext #3479]Posting Date: October 12,2009Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE METAL MONSTER ***Produced by Judy BossTHE METAL MONSTERBy A. MerrittPROLOGUEBefore the narrative which follows was placed inmy hands, I had neverseen Dr. Walter T. Goodwin, its author.When the manuscript revealing his adventures among the pre-historicruins of the Nan-Matal in the Carolines (The Moon Pool) had been givenme by theInternational Association of Science for editing and revisionto meet the requirements of a popular presentation, Dr. Goodwin had leftAmerica. He had explained that he was still too shaken, too depressed,to be able torecall experiences that must inevitably carry with themfreshened memories of those whom he loved so well and from whom, hefelt, he was separated in all probability forever.I had understood that he had gone to someremote part of Asia to pursuecertain botanical studies, and it was therefore with the liveliestsurprise and interest that I received a summons from the President ofthe Association to meet Dr. Goodwin at a designatedplace and hour.Through my close study of the Moon Pool papers I had formed a mentalimage of their writer. I had read, too, those volumes of botanicalresearch which have set him high above all other Americanscientists inthis field, gleaning from their curious mingling of extremelytechnical observations and minutely accurate but extraordinarily poeticdescriptions, hints to amplify my picture of him. It gratified me tofind I haddrawn a pretty good one.The man to whom the President of the Association introduced me wassturdy, well-knit, a little under average height. He had a broad butrather low forehead that reminded me somewhat of thelate electricalwizard Steinmetz. Under level black brows shone eyes of clear hazel,kindly, shrewd, a little wistful, lightly humorous; the eyes both of adoer and a dreamer.Not more than forty I judged him to be. Aclose-trimmed, pointed bearddid not hide the firm chin and the clean-cut mouth. His hair was thickand black and oddly sprinkled with white; small streaks and dots ofgleaming silver that shone with a curiously metallicluster.His right arm was closely bound to his breast. His manner as he greetedme was tinged with shyness. He extended his left hand in greeting, andas I clasped the fingers I was struck by their peculiar, pronounced,yetpleasant warmth; a sensation, indeed, curiously electric.The Association's President forced him gently back into his chair.\"Dr. Goodwin,\" he said, turning to me, \"is not entirely recovered asyet from certainconsequences of his adventures. He will explain to youlater what these are. In the meantime, Mr. Merritt, will you read this?\"I took the sheets he handed me, and as I read them felt the gaze of Dr.Goodwin full uponme, searching, weighing, estimating. When I raised myeyes from the letter I found in his a new expression. The shyness wasgone; they were filled with complete friendliness. Evidently I hadpassed muster.\"You willaccept, sir?\" It was the president's gravely courteous tone.\"Accept!\" I exclaimed. \"Why, of course, I accept. It is not only one ofthe greatest honors, but to me one of the greatest delights to act as acollaborator with Dr.Goodwin.\"The president smiled.\"In that case, sir, there is no need for me to remain longer,\" he said.\"Dr. Goodwin has with him his manuscript as far as he has progressedwith it. I will leave you two alone for yourdiscussion.\"He bowed to us and, picking up his old-fashioned bell-crowned silk hatand his quaint, heavy cane of ebony, withdrew. Dr. Goodwin turned to me.\"I will start,\" he said, after a little pause, \"from when I metRichardDrake on the field of blue poppies that are like a great prayer-rug atthe gray feet of the nameless mountain.\"The sun sank, the shadows fell, the lights of the city sparkled out, forhours New York roared about meunheeded while I listened to the taleof that utterly weird, stupendous drama of an unknown life, of unknowncreatures, unknown forces, and of unconquerable human heroism playedamong the hidden gorges ofunknown Asia.It was dawn when I left him for my own home. Nor was it for manyhours after that I laid his then incomplete manuscript down and soughtsleep--and found a troubled sleep.A. MERRITTCHAPTER I. VALLEYOF THE BLUE POPPIESIn this great crucible of life we call the world--in the vaster one wecall the universe--the mysteries lie close packed, uncountable as grainsof sand on ocean's shores. They thread gigantic, thestar-flung spaces;they creep, atomic, beneath the microscope's peering eye. They walkbeside us, unseen and unheard, calling out to us, asking why we are deafto their crying, blind to their wonder.Sometimes the veilsdrop from a man's eyes, and he sees--and speaks ofhis vision. Then those who have not seen pass him by with the liftedbrows of disbelief, or they mock him, or if his vision has been greatenough they fall upon anddestroy him.For the greater the mystery, the more bitterly is its verity assailed;upon what seem the lesser a man may give testimony and at least gain forhimself a hearing.There is reason for this. Life is a ferment, andupon and about it,shifting and changing, adding to or taking away, beat over legions offorces, seen and unseen, known and unknown. And man, an atom in theferment, clings desperately to what to him seems stable;nor greets withjoy him who hazards that what he grips may be but a broken staff, and,so saying, fails to hold forth a sturdier one.Earth is a ship, plowing her way through uncharted oceans of spacewherein are strangecurrents, hidden shoals and reefs, and where blowthe unknown winds of Cosmos.If to the voyagers, painfully plotting their course, comes one who criesthat their charts must be remade, nor can tell WHY they mustbe--thatman is not welcome--no!Therefore it is that men have grown chary of giving testimony uponmysteries. Yet knowing each in his own heart the truth of that vision hehas himself beheld, lo, it is that in whosereality he most believes.The spot where I had encamped was of a singular beauty; so beautifulthat it caught the throat and set an ache within the breast--until fromit a tranquillity distilled that was like healingmist.Since early March I had been wandering. It was now mid-July. And for thefirst time since my pilgrimage had begun I drank--not of forgetfulness,for that could never be--but of anodyne for a sorrow which had heldfastupon me since my return from the Carolines a year before.No need to dwell here upon that--it has been written. Nor shall I recitethe reasons for my restlessness--for these are known to those who haveread thathistory of mine. Nor is there cause to set forth at length thesteps by which I had arrived at this vale of peace.Sufficient is to tell that in New York one night, reading over what isperhaps the most sensational of mybooks--\"The Poppies and Primulas ofSouthern Tibet,\" the result of my travels of 1910-1911, I determined toreturn to that quiet, forbidden land. There, if anywhere, might I findsomething akin to forgetting.There was acertain flower which I long had wished to study in itsmutations from the singular forms appearing on the southern slopes ofthe Elburz--Persia's mountainous chain that extends from Azerbaijanin the west to Khorasan inthe east; from thence I would follow itsmodified types in the Hindu-Kush ranges and its migrations along thesouthern scarps of the Trans-Himalayas--the unexplored upheaval, higherthan the Himalayas themselves,more deeply cut with precipice and gorge,which Sven Hedin had touched and named on his journey to Lhasa.Having accomplished this, I planned to push across the passes to theManasarowar Lakes, where, legend hasit, the strange, luminous purplelotuses grow.An ambitious project, undeniably fraught with danger; but it iswritten that desperate diseases require desperate remedies, and untilinspiration or message how to rejointhose whom I had loved so dearlycame to me, nothing less, I felt, could dull my heartache.And, frankly, feeling that no such inspiration or message could come, Idid not much care as to the end.In Teheran I had pickedup a most unusual servant; yes, more than this,a companion and counselor and interpreter as well.He was a Chinese; his name Chiu-Ming. His first thirty years had beenspent at the great Lamasery of Palkhor-Choindeat Gyantse, west ofLhasa. Why he had gone from there, how he had come to Teheran, I neverasked. It was most fortunate that he had gone, and that I had found him.He recommended himself to me as the best cookwithin ten thousand milesof Pekin.For almost three months we had journeyed; Chiu-Ming and I and the twoponies that carried my impedimenta.We had traversed mountain roads which had echoed to the marching feetofthe hosts of Darius, to the hordes of the Satraps. The highways of theAchaemenids--yes, and which before them had trembled to the tramplingsof the myriads of the godlike Dravidian conquerors.We had slipped overancient Iranian trails; over paths which thewarriors of conquering Alexander had traversed; dust of bones ofMacedons, of Greeks, of Romans, beat about us; ashes of the flamingambitions of the Sassanidae whimperedbeneath our feet--the feet of anAmerican botanist, a Chinaman, two Tibetan ponies. We had crept throughclefts whose walls had sent back the howlings of the Ephthalites, theWhite Huns who had sapped the strength ofthese same proud Sassanidsuntil at last both fell before the Turks.Over the highways and byways of Persia's glory, Persia's shame andPersia's death we four--two men, two beasts--had passed. For a fortnightwe hadmet no human soul, seen no sign of human habitation.Game had been plentiful--green things Chiu-Ming might lack for hiscooking, but meat never. About us was a welter of mighty summits. Wewere, I knew,somewhere within the blending of the Hindu-Kush with theTrans-Himalayas.That morning we had come out of a ragged defile into this valley ofenchantment, and here, though it had been so early, I had pitched mytent,determining to go no farther till the morrow.It was a Phocean vale; a gigantic cup filled with tranquillity. A spiritbrooded over it, serene, majestic, immutable--like the untroubled calmwhich rests, the Burmese believe,over every place which has guarded theBuddha, sleeping.At its eastern end towered the colossal scarp of the unnamed peakthrough one of whose gorges we had crept. On his head was a cap ofsilver set with paleemeralds--the snow fields and glaciers that crownedhim. Far to the west another gray and ochreous giant reared its bulk,closing the vale. North and south, the horizon was a chaotic sky land ofpinnacles, spired andminareted, steepled and turreted and domed, eachdiademed with its green and argent of eternal ice and snow.And all the valley was carpeted with the blue poppies in wide, unbrokenfields, luminous as the morningskies of mid-June; they rippled mileafter mile over the path we had followed, over the still untrodden pathwhich we must take. They nodded, they leaned toward each other, theyseemed to whisper--then to lift theirheads and look up like crowdingswarms of little azure fays, half impudently, wholly trustfully, intothe faces of the jeweled giants standing guard over them. And when thelittle breeze walked upon them it was as thoughthey bent beneath thesoft tread and were brushed by the sweeping skirts of unseen, hasteningPresences.Like a vast prayer-rug, sapphire and silken, the poppies stretchedto the gray feet of the mountain. Between theirsouthern edge andthe clustering summits a row of faded brown, low hills knelt--likebrown-robed, withered and weary old men, backs bent, faces hiddenbetween outstretched arms, palms to the earth and browstouching earthwithin them--in the East's immemorial attitude of worship.I half expected them to rise--and as I watched a man appeared on one ofthe bowed, rocky shoulders, abruptly, with the ever-startlingsuddennesswhich in the strange light of these latitudes objects spring intovision. As he stood scanning my camp there arose beside him a ladenpony, and at its head a Tibetan peasant. The first figure waved itshand;came striding down the hill.As he approached I took stock of him. A young giant, three good inchesover six feet, a vigorous head with unruly clustering black hair; aclean-cut, clean-shaven American face.\"I'm DickDrake,\" he said, holding out his hand. \"Richard Keen Drake,recently with Uncle's engineers in France.\"\"My name is Goodwin.\" I took his hand, shook it warmly. \"Dr. Walter T.Goodwin.\"\"Goodwin the botanist--? Then Iknow you!\" he exclaimed. \"Know allabout you, that is. My father admired your work greatly. You knewhim--Professor Alvin Drake.\"I nodded. So he was Alvin Drake's son. Alvin, I knew, had died about ayear before Ihad started on this journey. But what was his son doing inthis wilderness?\"Wondering where I came from?\" he answered my unspoken question. \"Shortstory. War ended. Felt an irresistible desire for somethingdifferent.Couldn't think of anything more different from Tibet--always wanted togo there anyway. Went. Decided to strike over toward Turkestan. And hereI am.\"I felt at once a strong liking for this young giant. Nodoubt,subconsciously, I had been feeling the need of companionship with my ownkind. I even wondered, as I led the way into my little camp, whether hewould care to join fortunes with me in my journeyings.Hisfather's work I knew well, and although this stalwart lad was unlikewhat one would have expected Alvin Drake--a trifle dried, precise,wholly abstracted with his experiments--to beget, still, I reflected,heredity like theLord sometimes works in mysterious ways its wonders toperform.It was almost with awe that he listened to me instruct Chiu-Ming as tojust how I wanted supper prepared, and his gaze dwelt fondly upon theChinesebusy among his pots and pans.We talked a little, desultorily, as the meal was prepared--fragments oftraveler's news and gossip, as is the habit of journeyers who come uponeach other in the silent places. Ever thespeculation grew in his faceas he made away with Chiu-Ming's artful concoctions.Drake sighed, drawing out his pipe.\"A cook, a marvel of a cook. Where did you get him?\"Briefly I told him.Then a silence fell upon us.Suddenly the sun dipped down behind theflank of the stone giant guarding the valley's western gate; the wholevale swiftly darkened--a flood of crystal-clear shadows poured withinit. It was the prelude to that miracle ofunearthly beauty seen nowhereelse on this earth--the sunset of Tibet.We turned expectant eyes to the west. A little, cool breeze raced downfrom the watching steeps like a messenger, whispered to the noddingpoppies,sighed and was gone. The poppies were still. High overhead ahoming kite whistled, mellowly.As if it were a signal there sprang out in the pale azure of the westernsky row upon row of cirrus cloudlets, rank upon rank ofthem, thrustingtheir heads into the path of the setting sun. They changed from mottledsilver into faint rose, deepened to crimson.\"The dragons of the sky drink the blood of the sunset,\" said Chiu-Ming.As though agigantic globe of crystal had dropped upon the heavens,their blue turned swiftly to a clear and glowing amber--then as abruptlyshifted to a luminous violet A soft green light pulsed through thevalley.Under it, like hillsensorcelled, the rocky walls about it seemed toflatten. They glowed and all at once pressed forward like giganticslices of palest emerald jade, translucent, illumined, as though by acirclet of little suns shining behindthem.The light faded, robes of deepest amethyst dropped around the mountain'smighty shoulders. And then from every snow and glacier-crowned peak,from minaret and pinnacle and towering turret, leaped forth aconfusionof soft peacock flames, a host of irised prismatic gleamings, an orderedchaos of rainbows.Great and small, interlacing and shifting, they ringed the valley withan incredible glory--as if some god of light itselfhad touched theeternal rocks and bidden radiant souls stand forth.Through the darkening sky swept a rosy pencil of living light; thatutterly strange, pure beam whose coming never fails to clutch the throatof thebeholder with the hand of ecstasy, the ray which the Tibetansname the Ting-Pa. For a moment this rosy finger pointed to the east,then arched itself, divided slowly into six shining, rosy bands; beganto creep downwardtoward the eastern horizon where a nebulous, pulsingsplendor arose to meet it.And as we watched I heard a gasp from Drake. And it was echoed by myown.For the six beams were swaying, moving with ever swiftermotion fromside to side in ever-widening sweep, as though the hidden orb from whichthey sprang were swaying like a pendulum.Faster and faster the six high-flung beams swayed--and then broke--brokeas though agigantic, unseen hand had reached up and snapped them!An instant the severed ends ribboned aimlessly, then bent, turned downand darted earthward into the welter of clustered summits at the northand swiftly weregone, while down upon the valley fell night.\"Good God!\" whispered Drake. \"It was as though something reached up,broke those rays and drew them down--like threads.\"\"I saw it.\" I struggled with bewilderment. \"I sawit. But I never sawanything like it before,\" I ended, most inadequately.\"It was PURPOSEFUL,\" he whispered. \"It was DELIBERATE. As thoughsomething reached up, juggled with the rays, broke them, and drewthemdown like willow withes.\"\"The devils that dwell here!\" quavered Chiu-Ming.\"Some magnetic phenomenon.\" I was half angry at myself for my own touchof panic. \"Light can be deflected by passage through amagnetic field.Of course that's it. Certainly.\"\"I don't know.\" Drake's tone was doubtful indeed. \"It would take a whaleof a magnetic field to have done THAT--it's inconceivable.\" He harkedback to his first idea. \"It wasso--so DAMNED deliberate,\" he repeated.\"Devils--\" muttered the frightened Chinese.\"What's that?\" Drake gripped my arm and pointed to the north. A deeperblackness had grown there while we had been talking, a poolof darknessagainst which the mountain summits stood out, blade-sharp edges faintlyluminous.A gigantic lance of misty green fire darted from the blackness andthrust its point into the heart of the zenith; following it,leaped intothe sky a host of the sparkling spears of light, and now the blacknesswas like an ebon hand, brandishing a thousand javelins of tinseledflame.\"The aurora,\" I said.\"It ought to be a good one,\" mused Drake,gaze intent upon it. \"Did younotice the big sun spot?\"I shook my head.\"The biggest I ever saw. Noticed it first at dawn this morning. Somelittle aurora lighter--that spot. I told you--look at that!\" he cried.The greenlances had fallen back. The blackness gathered itselftogether--then from it began to pulse billows of radiance, spangled withinfinite darting swarms of flashing corpuscles like uncounted hosts ofdancing fireflies.Higherthe waves rolled--phosphorescent green and iridescent violet,weird copperous yellows and metallic saffrons and a shimmer ofglittering ash of rose--then wavered, split and formed into gigantic,sparkling, marchingcurtains of splendor.A vast circle of light sprang out upon the folds of the flickering,rushing curtains. Misty at first, its edges sharpened until they restedupon the blazing glory of the northern sky like a pale ring ofcoldflame. And about it the aurora began to churn, to heap itself, torevolve.Toward the ring from every side raced the majestic folds, drewthemselves together, circled, seethed around it like foam of fire aboutthe lip ofa cauldron, and poured through the shining circle as thoughit were the mouth of that fabled cavern where old Aeolus sits blowingforth and breathing back the winds that sweep the earth.Yes--into the ring's mouth theaurora flew, cascading in a columnedstream to earth. Then swiftly, a mist swept over all the heavens, veiledthat incredible cataract.\"Magnetism?\" muttered Drake. \"I guess NOT!\"\"It struck about where the Ting-Pa wasbroken and seemed drawn down likethe rays,\" I said.\"Purposeful,\" Drake said. \"And devilish. It hit on all my nerves likea--like a metal claw. Purposeful and deliberate. There was intelligencebehind that.\"\"Intelligence?Drake--what intelligence could break the rays of thesetting sun and suck down the aurora?\"\"I don't know,\" he answered.\"Devils,\" croaked Chiu-Ming. \"The devils that defied Buddha--and havegrown strong--\"\"Like ametal claw!\" breathed Drake.Far to the west a sound came to us; first a whisper, then a wildrushing, a prolonged wailing, a crackling. A great light flashedthrough the mist, glowed about us and faded. Again the wailing,"}
+{"doc_id":"doc_51","qid":"","text":"The Project Gutenberg EBook of The Pilot and his Wife, by Jonas LieThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it underthe terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: The Pilot and his WifeAuthor: Jonas LieRelease Date: April 8, 2005 [EBook #15588]Language: English*** STARTOF THIS PROJECT GUTENBERG EBOOK THE PILOT AND HIS WIFE ***Produced by Clare Boothby, Jim Wiborg and the Online DistributedProofreading Team.THE PILOT AND HIS WIFE_TRANSLATED FROM THENORWEGIAN OF_JONAS LIEBYG.L. TOTTENHAMWILLIAM BLACKWOOD AND SONSEDINBURGH AND LONDONMDCCCLXXVIITHE PILOT AND HIS WIFE.CHAPTER I.On the stern, pine-clad southern coast of Norway, offthepicturesquely-situated town of Arendal, stand planted far out into thesea the white walls of the Great and Little Torungen Lighthouses, eachon its bare rock-island of corresponding name, the lesser of whichseems, asyou sail past, to have only just room for the lighthouse andthe attendant's residence by the side. It is a wild and lonelysituation,--the spray, in stormy weather, driving in sheets against thewalls, and eagles andsea-birds not unfrequently dashing themselves todeath against the thick glass panes at night; while in winter allcommunication with the land is very often cut off, either by drift orpatchy ice, which is impassable eitheron foot or by boat.These, however, and others of the now numerous lights along thatdangerous coast, are of comparatively recent erection. Many persons nowliving can remember the time when for long reaches theonly lighting wasthe gleam of the white breakers themselves. And the captain who hadpassed the Oxö light off Christiansand might think himself lucky if hesighted the distant Jomfruland up by Kragerö.About a scoreof years before the lighthouse was placed on LittleTorungen there was, however, already a house there, if it could bedignified by that name, with its back and one side almost up to the eaveof the roof stuck into a heapof stones, so that it had the appearanceof bending forward to let the storm sweep over it. The low entrance-dooropened to the land, and two small windows looked out upon the sea, andupon the boat, which was usuallydrawn up in a cleft above the sea-weedoutside.When you entered, or, more properly speaking, descended into it, therewas more room than might have been expected; and it contained sundryarticles of furniture, suchas a handsome press and sideboard, which noone would have dreamt of finding under such a roof. In one corner therestood an old spinning-wheel covered with dust, and with a smoke-blackenedtuft of wool still hangingfrom its reel; from which, and from othersmall indications, it might be surmised that there had once been a womanin the house, and that tuft of wool had probably been her last spin.There sat now on the bench by thehearth a lonely old man, of aflint-hard and somewhat gloomy countenance, with a mass of white hairfalling over his ears and neck, who was generally occupied with somecobbling work, and who from time to time, as hedrew out the thread,would make some remark aloud, as if he thought he still had the partnerof his life for audience. The look askance over his brass spectacleswith which he greeted any casual stranger who might comeinto the househad very little welcome in it, and an expression about his sunken mouthand sharp chin said plainly enough that the other might state hisbusiness at once and be gone. He sought no company; and the onlytime hehad ever been seen at church was when he came rowing over to Tromö withhis wife's body in her coffin. When the pastor sprinkled earth upon it,it was observed that the tears streamed down his cheeks, and itwas longafter dark before he quitted the churchyard to return. He had become aproverb for obstinacy for miles beyond his own residence; and people whodealt with him for fish in the harbour, if they once began tobargain,were as likely as not to see him without a word just quietly row away.All that was known further about \"Old Jacob,\" as he was called, was thathe had once been a pilot, and that he had had a son who had takentodrinking, through whose fault it had been eventually that the father hadlost his certificate; and it was thought that on the occasion inquestion the father had taken the son's blame upon himself. Since thenhe hadshunned society, and had retired with his wife to his presenthabitation, whither, after their son was drowned, they had brought theirlittle orphan granddaughter, who now was his sole companion. His onlyostensiblemeans of living were by shoemaking, and by fishing, theproduce of which he generally disposed of to passing ships, and, duringthe earlier period of his sojourn there, by shooting occasionally. Butit was understood thathe received a small regular contribution fromseveral of the pilots, certificated or otherwise, of the district, forkeeping a fire alight on his hearth during the dark autumn nights, andso giving them, by the light from histwo windows, something to steer bywhen they arrived off the coast after nightfall. Whether the light wasshown for their benefit particularly, or whether it was not ratherintended for the guidance of smuggling vesselsstanding in under coverof the night to land their cargoes, it was not their business toinquire. Its friendly assistance was, at all events, not unacknowledgedby these latter, and very acceptable presents, in the shape ofkegs ofspirits, bags of coffee, tobacco, meal, and so forth, would, from timeto time, come rolling into the old man's room, so that upon the whole,he was well-to-do enough out there upon his rock.Of late years he hadfallen into feeble health, and found it not so easyto row the long distance over to land. Even in his best days he had,owing to an old injury to one of his legs, found some difficulty ingetting down to the boat; and now,therefore, he sat during the greaterpart of the day over the hearth, in his woolen jacket and leatherbreeches, with his indoor work. Now and then, when his granddaughter--achild with a thick crop of hair falling abouther ears, and a rough dogconstantly at her heels--would burst into the house with all thefreshness of the outside air blowing round her, as it were, and deliverherself of her intelligence, he might be drawn, perhaps, tothe windowto look out over the sea, and afterwards, like a growling bear disturbedfrom its lair, even follow her with some difficulty out of the door withthe spyglass. There he would station himself, so as to use hershoulderas a rest for his shaking hand, and with his never-ceasing directionsand growling going on behind her neck, she would do her best to fix theglass on the desired object. His crossness would then disappear,littleby little, in their joint speculation as to what ship it could be, or inwhatever remarks it might suggest; and after giving his decision, theold man would generally hobble in again.He was really very proud of hisgranddaughter's cleverness. She coulddistinguish with her naked eye as clearly as he could through the glass.She never made a mistake about the craft, large or small, that belongedto that part of the coast, and could,besides, say to a nicety, whatsort of master each had. Her superiority of sight she asserted, too,with a tyranny to which he made no resistance, although it might havetried a temper many degrees more patient than hiswas.One day, however, she was at a loss. They made out a crescent on theflag, and this caused even the old man a moment's astonishment. But hedeclared then, for her information, shortly and decisively, that it wasa\"barbarian.\"This satisfied her for a moment. But then she asked--\"What is a barbarian, grandfather?\"\"It is a Turk.\"\"Yes, but a Turk?\"\"Oh! it's--it's--a Mohammedan--\"\"A what!--a Moham--\"\"A Mohammedan--a robber onboard ship.\"\"On board ship!\"He was not going to give up his ascendancy in the matter, hard as shepushed him; so he bethought him of a pack of old tales there-anent, andwent on to explain drily--\"They go to theBaltic--to Russia--to salt human flesh.\"\"Human flesh!\"\"Yes, and sometimes, too, they seize vessels in the open sea and dotheir salting there.\"She fixed a pair of large, terrified eyes on him, which made the oldmancontinue--\"And it is especially for little girls they look. That meat is thefinest, and goes by tons down to the Grand Turk.\"Having played this last trump, he was going in again, but was stopped byher eagerquestion--\"Do they use a glass there on board?\" And when he said they did, sheslipped quickly by him through the door, and kept cautiously within aslong as the vessel was to be seen through the window-pane onthehorizon.The moods of the two were for once reversed. The old man looked very slyover his work, whilst she was quiet and cowed. Once only she broke outangrily--\"But why doesn't the king get rid of them? If I wascaptain of aman-of-war, I'd--\"\"Yes, Elizabeth, if you were captain of a man-of-war!--what then?\"The child's conceptions apparently reached no further than such mattersas these as yet. She had seen few human beingsas she grew up, and inrecent years, after her grandmother's death, she and her grandfather hadbeen the only regular inhabitants of the island. Every now and thenthere might perhaps come a boat on one errand oranother, and a coupleof times she had paid a visit to her maternal aunt on land, at Arendal.Her grandfather had taught her to read and write, and with what shefound in the Bible and psalm-book, and in 'Exploits ofDanish andNorwegian Naval Heroes,' a book in their possession, she had in a mannerlived pretty much upon the anecdotes which in leisure moments she couldextract from that grandfather, so chary of his speech,about his sailorlife in his youth.They had besides, in the little inner room, a small print, without aframe, of the action near the Heather Islands, in which he had takenpart. It represented the frigate Naiad, with the brigsSamso, Kiel, andLolland, in furious conflict with the English ship of the line Dictator,which lay across the narrow harbour with the brig Calypso, and waspounding the Naiad to pieces. The names of the ships wereprintedunderneath.On the print there was little to be seen but mast-heads andcannon-mouths, and a confusion of smoke, but in this had the child livedwhole years of her life; and many a time in fancy had she stoodthereand fought the Englishman. Men-of-war and their officers had become thehighest conception of her fancy, and the dearest wish of her heart wasthat a man-of-war might some day pass so near to Torungen thatshe wouldbe able to see distinctly everything on board.CHAPTER II.After old Jacob had fallen into ill health, lighterman Kristiansen usedto come out oftener to Torungen with provisions and other necessaries;and hisvisits now became periodical.He was accompanied one autumn by his son Salvé, a black-haired,dark-eyed, handsome lad, with a sharp, clever face, who had worked inthe fishing-boats along the coast from hischildhood almost, and had, infact, been brought up amongst its sunken rocks and reefs and breakers.He was something small in stature, perhaps; but what he wanted inrobustness he made up in readiness andactivity--qualities which stoodhim in good stead in the many quarrels into which his too ready tonguewas wont to bring him. He was eighteen years old at this time; had beenalready engaged as an able seaman; andwas in great request at theSandvigen and Vraangen dances,--a fact of which he was perfectly wellaware. Old Jacob's granddaughter, being a little girl of only fourteenyears of age, was of course altogether beneath hisnotice, and he didn'tcondescend to speak to her. He merely delivered himself of the witticismthat she was like a heron; and with her thick, checked woollenhandkerchief tied with the ends behind her waist, theresemblance wasnot so very far-fetched. At any rate, he declared on the way home thatsuch a specimen of womankind he, for his part, had never come acrossbefore, and that he would give anything to see her dancingin the publicroom with her thin arms and legs--it would be like a grasshopper.The next time he came, she took out her grandfather's watch in itssilver case and showed it to him, and some conversation passedbetweenthem. His first impression of her was that she was stupid. She askedquestions about every sort of thing, and seemed to think that he mustknow everything. And finally, she wanted to know what it was likeonshore among the great folk of Arendal, and particularly how the ladiesbehaved. It afforded him much amusement at the time to see with whatsimple credulity she took in everything he chose to invent on thesubject;but after he had left he was not sure that he wasn't sorry forwhat he had done, and at the same time he made the discovery that thegirl, in her way, was anything but silly.His remorse was to be brought home to himpresently, for old Jacob hadhad duly recounted to him over again all his cock-and-bull stories, andwas in high dudgeon. When he came again the old man was very snappish tohim, and he found it so unpleasant in thehouse that he made all thehaste he could to get his business done. While he was thus occupied, thelittle girl told him all about the Naiad, and the part her grandfatherhad taken in the action. Salvé, who was ruffled,and thought the old manhad been an ill-mannered old dog, followed the relation from time totime with a sneering remark, which in her eagerness she didn't notice,or didn't understand. But when he had finished whathe had to do, hegave vent to his feelings in a way she did understand,--he laughedincredulously.\"Old Jacob there on board the Naiad! This is the first time anybody everheard of it.\"The individual in questionunfortunately came out at the moment to seethe boat off, and turning, to him, red with anger, she cried--\"Grandfather! he doesn't believe you were on board the Naiad that time!\"The old man answered at first as if hedidn't deign to enter upon anycontroversy on the subject--\"Oh, I suppose it's only little girls' prattle again.\"But whether it was wounded vanity, or a sudden access of irritationagainst the lad, or that his eye fell upon hisgranddaughter standingthere, so evidently incensed and resentful, he flared up the nextmoment, and thrusting his huge fist under the youngster's nose, burstout--\"If you want to know all about it, you young swabber, Imay tell you Istood on the Naiad's gun-deck with better folk than _you_ are everlikely to come across\"--he stamped his foot here as if he had the deckunder him--\"when, with one broadside from the Dictator, the threemastsand bowsprit were shot away, and the main deck came crashing down uponthe lower;\"--the last sentence was taken from 'Exploits of Danish andNorwegian Naval Heroes,' and the old man was as proud of theselines ashe would have been of a medal.\"When the crash came,\" he pursued, always in the same posture, and inthe manner of the sacred text, \"he who stands here and tells the talehad but just time to save himself byleaping into the sea through agun-port.\"But he threw off then the trammels of the text, and continued _inpropriâ personâ_, violently gesticulating with his fists, and steadilyadvancing all the time, while Salvéprudently retreated before hisadvance down to the boat.\"We don't deal in lies and fabricate stories out here like you, youyoung whipper-snapper of a ship's cub; and if it wasn't for your father,who has sense enough torope's-end you himself, I'd lay a stick acrossyour back till you hadn't a howl left in you.\"With this finale of the longest speech to which he had given vent forthirty years perhaps, he turned with a short nod to the father,and wentinto the house again.Elizabeth was miserable that Salvé should go away like this, without somuch as deigning to say good-bye to her. And her grandfather was crossenough himself; for he was afraid that hehad done something foolish,and broken with the lighterman.CHAPTER III.Salvé came out to the rock again the next autumn, after a voyage toLiverpool and Havre.At first he was rather shy, although his father and oldJacob Torungenhad in the interval, in spite of that little affair of the previousyear, been on the best of terms. The white bear, however, as he calledhim, seemed to have altogether forgotten what had passed; and withthegirl he was very easily reconciled--she had learnt now not to telleverything to her grandfather.Whilst the lighterman and old Jacob enjoyed a heart-warming glasstogether in the house, Salvé carried the things upto the cellar,Elizabeth following him up and down every time, and the conversationmeanwhile going round all the points of the compass, so to speak. Aftershe had asked him about Havre de Grace, where he had been,and aboutAmerica, where he had not been,--if his captain's wife was as fine as aman-of-war captain's; and then if he wouldn't like one day to marry afine lady,--she wanted at last to know, from the laughing sailor lad,ifthe officers' wives were ever allowed to be with them in war.Her face had of late acquired something wonderfully attractive in itsexpression--such a seriousness would come over it sometimes, althoughshe continued aschildlike as ever; and such eyes as hers were, at allevents in Salvé's experience, not common. At any rate, after this, heinvariably accompanied his father upon these expeditions.The last time he was out there he toldher about the dances on shore atSandvigen, and took care to give her to understand that the girls mademuch of him there--but he was tired now of dancing with them.She was very curious on this subject, andextracted from him that he hadhad two tremendous fights that winter. She looked at him in terror, andasked rather hesitatingly--\"But had they done anything to you?\"\"Oh, no! all dancing entertainments have a littleextra dance like thatto wind up with. They merely wanted to dance with the girl I had askedfirst.\"\"Is it so dangerous, then? What sort of a girl was she?--I mean, whatwas her name?\"\"Oh, one was called Marie, and theother was Anne--Herluf Andersen'sdaughter. They were pretty girls, I can tell you. Anne had a whitebrooch and earrings, and danced more smoothly than ever you saw a cuttersail. Mate George said the same.\"Theupshot of this conversation was, that she found out that the girlsin Arendal, and in the ports generally where he had touched, were allwell dressed; and the next time he returned from Holland, he promised hewouldbring with him a pair of morocco-leather shoes with silver bucklesfor her.With this promise they parted, after she had allowed him--and that theremight be no mistake, twice over--to take the accurate measure ofherfoot; and there were roses of joy in her cheeks, as she called after himto be sure and not forget them.The year after Salvé came with the shoes. There were silver buckles inthem, and they were very smart; but ifthey were, they had cost him morethan half a month's pay.Elizabeth was more carefully dressed now, and might almost be calledgrown up. She hesitated about accepting the shoes, and didn't askquestions abouteverything as she used to do. Nor was she so willing tostand and talk with him alone by the boat--she liked to have him upwithin hearing of the others.\"Don't you see how high the sea is running?\" he said, and triedtopersuade her that the boat would be dashed to pieces on the rocks. Butshe saw that it wasn't true, and went up with a little toss of her headalone. He followed her.She must have learned all this in Arendal, where inthe course of theautumn she had been confirmed, and where she had lived with her aunt.But she had grown marvellously handsome in that time--so much so,indeed, that Salvé was almost taken aback when he sawher; and when theysaid good-bye, it was no longer in the old laughing tones, but with someslight embarrassment on his side--he didn't seem to know exactly howmatters lay between them.After that she filled his headso completely that he had not a thoughtfor anything else.CHAPTER IV.The old Juno, to which Salvé belonged, was lying at that time atSandvigen, and was only waiting for a north-east wind to come out. Shewas asquare-rigged vessel, with a crew of nineteen hands all told,which had plied for many years in American waters, and off and on in theNorth Sea, and was reckoned at the time one of Arendal's largest craft.Her arrival ordeparture was quite an event for the town andneighbourhood; and to have a berth in her was considered among thesailors of the district a very high honour indeed--the more so that hermaster and principal owner,Captain Beck, was a particularly good chiefto serve under, and a lucky one to boot.When at last, between ten and eleven o'clock one morning, she weighedanchor, and before a light north-westerly breeze, with hersmall sailsset, glided out to sea, the quays were crowded with spectators, themajority of the crew belonging to the place, and it being generallyknown that they were bound on a longer voyage than usual. On board"}
+{"doc_id":"doc_52","qid":"","text":"The Project Gutenberg eBook, The Sea-Wolf, by Jack LondonThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it under theterms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: The Sea-WolfAuthor: Jack LondonRelease Date: December 24, 2010  [eBook #1074]First released: October 15,1997Language: EnglishCharacter set encoding: UTF-8***START OF THE PROJECT GUTENBERG EBOOK THE SEA-WOLF***Transcribed from the 1917 William Heinemann edition by David Price,emailccx074@pglaf.org                               THE SEA-WOLF                                    BY                               JACK LONDON                                AUTHOR OF               â\u0000\u0000THE CALL OF THE WILD,â\u0000\u0000 â\u0000\u0000THEFAITH OF MEN,â\u0000\u0000                                   ETC.                                * * * * *                            _POPULAR EDITION_.                                * * * * *                                  LONDON                            WILLIAMHEINEMANN                                   1917                                * * * * *_First published_, _November_ 1904._New Impression_, _December_ 1904, _April_ 1908._Popular Edition_, _July_ 1910; _New Impressions_,_March_ 1912,_September_ 1912, _November_ 1913, _May_ 1915, _May_ 1916, _July_ 1917.                                * * * * *             _Copyright_, _London_, _William Heinemann_, 1904CHAPTER II scarcely knowwhere to begin, though I sometimes facetiously place thecause of it all to Charley Furusethâ\u0000\u0000s credit.  He kept a summer cottagein Mill Valley, under the shadow of Mount Tamalpais, and never occupiedit exceptwhen he loafed through the winter months and read Nietzsche andSchopenhauer to rest his brain.  When summer came on, he elected to sweatout a hot and dusty existence in the city and to toil incessantly.  Hadit notbeen my custom to run up to see him every Saturday afternoon andto stop over till Monday morning, this particular January Monday morningwould not have found me afloat on San Francisco Bay.Not but that I wasafloat in a safe craft, for the _Martinez_ was a newferry-steamer, making her fourth or fifth trip on the run betweenSausalito and San Francisco.  The danger lay in the heavy fog whichblanketed the bay, and of which,as a landsman, I had littleapprehension.  In fact, I remember the placid exaltation with which Itook up my position on the forward upper deck, directly beneath thepilot-house, and allowed the mystery of the fog to layhold of myimagination.  A fresh breeze was blowing, and for a time I was alone inthe moist obscurityâ\u0000\u0000yet not alone, for I was dimly conscious of thepresence of the pilot, and of what I took to be the captain, in theglasshouse above my head.I remember thinking how comfortable it was, this division of labour whichmade it unnecessary for me to study fogs, winds, tides, and navigation,in order to visit my friend who lived across anarm of the sea.  It wasgood that men should be specialists, I mused.  The peculiar knowledge ofthe pilot and captain sufficed for many thousands of people who knew nomore of the sea and navigation than I knew.  Onthe other hand, insteadof having to devote my energy to the learning of a multitude of things, Iconcentrated it upon a few particular things, such as, for instance, theanalysis of Poeâ\u0000\u0000s place in Americanliteratureâ\u0000\u0000an essay of mine, by theway, in the current _Atlantic_.  Coming aboard, as I passed through thecabin, I had noticed with greedy eyes a stout gentleman reading the_Atlantic_, which was open at my veryessay.  And there it was again, thedivision of labour, the special knowledge of the pilot and captain whichpermitted the stout gentleman to read my special knowledge on Poe whilethey carried him safely from Sausalitoto San Francisco.A red-faced man, slamming the cabin door behind him and stumping out onthe deck, interrupted my reflections, though I made a mental note of thetopic for use in a projected essay which I hadthought of calling â\u0000\u0000TheNecessity for Freedom: A Plea for the Artist.â\u0000\u0000  The red-faced man shot aglance up at the pilot-house, gazed around at the fog, stumped across thedeck and back (he evidently had artificiallegs), and stood still by myside, legs wide apart, and with an expression of keen enjoyment on hisface.  I was not wrong when I decided that his days had been spent on thesea.â\u0000\u0000Itâ\u0000\u0000s nasty weather like this herethat turns heads grey before theirtime,â\u0000\u0000 he said, with a nod toward the pilot-house.â\u0000\u0000I had not thought there was any particular strain,â\u0000\u0000 I answered.  â\u0000\u0000Itseems as simple as A, B, C.  They know thedirection by compass, thedistance, and the speed.  I should not call it anything more thanmathematical certainty.â\u0000\u0000â\u0000\u0000Strain!â\u0000\u0000 he snorted.  â\u0000\u0000Simple as A, B, C!  Mathematical certainty!â\u0000\u0000He seemed tobrace himself up and lean backward against the air as hestared at me.  â\u0000\u0000How about this here tide thatâ\u0000\u0000s rushinâ\u0000\u0000 out through theGolden Gate?â\u0000\u0000 he demanded, or bellowed, rather.  â\u0000\u0000How fast is sheebbinâ\u0000\u0000?Whatâ\u0000\u0000s the drift, eh?  Listen to that, will you?  A bell-buoy, and weâ\u0000\u0000rea-top of it!  See â\u0000\u0000em alterinâ\u0000\u0000 the course!â\u0000\u0000From out of the fog came the mournful tolling of a bell, and I could seethepilot turning the wheel with great rapidity.  The bell, which hadseemed straight ahead, was now sounding from the side.  Our own whistlewas blowing hoarsely, and from time to time the sound of other whistlescame tous from out of the fog.â\u0000\u0000Thatâ\u0000\u0000s a ferry-boat of some sort,â\u0000\u0000 the new-comer said, indicating awhistle off to the right.  â\u0000\u0000And there!  Dâ\u0000\u0000ye hear that?  Blown by mouth.Some scow schooner, mostlikely.  Better watch out, Mr. Schooner-man.Ah, I thought so.  Now hellâ\u0000\u0000s a poppinâ\u0000\u0000 for somebody!â\u0000\u0000The unseen ferry-boat was blowing blast after blast, and the mouth-blownhorn was tooting interror-stricken fashion.â\u0000\u0000And now theyâ\u0000\u0000re payinâ\u0000\u0000 their respects to each other and tryinâ\u0000\u0000 to getclear,â\u0000\u0000 the red-faced man went on, as the hurried whistling ceased.His face was shining, his eyesflashing with excitement as he translatedinto articulate language the speech of the horns and sirens.  â\u0000\u0000Thatâ\u0000\u0000s asteam-siren a-goinâ\u0000\u0000 it over there to the left.  And you hear that fellowwith a frog in histhroatâ\u0000\u0000a steam schooner as near as I can judge,crawlinâ\u0000\u0000 in from the Heads against the tide.â\u0000\u0000A shrill little whistle, piping as if gone mad, came from directly aheadand from very near at hand.  Gongssounded on the _Martinez_.  Ourpaddle-wheels stopped, their pulsing beat died away, and then theystarted again.  The shrill little whistle, like the chirping of a cricketamid the cries of great beasts, shot through the fogfrom more to theside and swiftly grew faint and fainter.  I looked to my companion forenlightenment.â\u0000\u0000One of them dare-devil launches,â\u0000\u0000 he said.  â\u0000\u0000I almost wish weâ\u0000\u0000d sunkhim, the littlerip!  Theyâ\u0000\u0000re the cause of more trouble.  And what goodare they?  Any jackass gets aboard one and runs it from hell tobreakfast, blowinâ\u0000\u0000 his whistle to beat the band and tellinâ\u0000\u0000 the rest ofthe world to lookout for him, because heâ\u0000\u0000s cominâ\u0000\u0000 and canâ\u0000\u0000t look out forhimself!  Because heâ\u0000\u0000s cominâ\u0000\u0000!  And youâ\u0000\u0000ve got to look out, too!  Rightof way!  Common decency!  They donâ\u0000\u0000t know the meaninâ\u0000\u0000of it!â\u0000\u0000I felt quite amused at his unwarranted choler, and while he stumpedindignantly up and down I fell to dwelling upon the romance of the fog.And romantic it certainly wasâ\u0000\u0000the fog, like the grey shadow ofinfinitemystery, brooding over the whirling speck of earth; and men, mere motesof light and sparkle, cursed with an insane relish for work, riding theirsteeds of wood and steel through the heart of the mystery, gropingtheirway blindly through the Unseen, and clamouring and clanging in confidentspeech the while their hearts are heavy with incertitude and fear.The voice of my companion brought me back to myself with a laugh.  Itoohad been groping and floundering, the while I thought I rode clear-eyedthrough the mystery.â\u0000\u0000Hello! somebody cominâ\u0000\u0000 our way,â\u0000\u0000 he was saying.  â\u0000\u0000And dâ\u0000\u0000ye hear that?Heâ\u0000\u0000s cominâ\u0000\u0000fast.  Walking right along.  Guess he donâ\u0000\u0000t hear us yet.Windâ\u0000\u0000s in wrong direction.â\u0000\u0000The fresh breeze was blowing right down upon us, and I could hear thewhistle plainly, off to one side and a littleahead.â\u0000\u0000Ferry-boat?â\u0000\u0000 I asked.He nodded, then added, â\u0000\u0000Or he wouldnâ\u0000\u0000t be keepinâ\u0000\u0000 up such a clip.â\u0000\u0000  Hegave a short chuckle.  â\u0000\u0000Theyâ\u0000\u0000re gettinâ\u0000\u0000 anxious up there.â\u0000\u0000I glancedup.  The captain had thrust his head and shoulders out of thepilot-house, and was staring intently into the fog as though by sheerforce of will he could penetrate it.  His face was anxious, as was theface of mycompanion, who had stumped over to the rail and was gazingwith a like intentness in the direction of the invisible danger.Then everything happened, and with inconceivable rapidity.  The fogseemed to break away asthough split by a wedge, and the bow of asteamboat emerged, trailing fog-wreaths on either side like seaweed onthe snout of Leviathan.  I could see the pilot-house and a white-beardedman leaning partly out of it, onhis elbows.  He was clad in a blueuniform, and I remember noting how trim and quiet he was.  His quietness,under the circumstances, was terrible.  He accepted Destiny, marched handin hand with it, and coollymeasured the stroke.  As he leaned there, heran a calm and speculative eye over us, as though to determine theprecise point of the collision, and took no notice whatever when ourpilot, white with rage, shouted,â\u0000\u0000Now youâ\u0000\u0000ve done it!â\u0000\u0000On looking back, I realize that the remark was too obvious to makerejoinder necessary.â\u0000\u0000Grab hold of something and hang on,â\u0000\u0000 the red-faced man said to me.  Allhis blusterhad gone, and he seemed to have caught the contagion ofpreternatural calm.  â\u0000\u0000And listen to the women scream,â\u0000\u0000 he saidgrimlyâ\u0000\u0000almost bitterly, I thought, as though he had been through theexperiencebefore.The vessels came together before I could follow his advice.  We must havebeen struck squarely amidships, for I saw nothing, the strange steamboathaving passed beyond my line of vision.  The _Martinez_heeled over,sharply, and there was a crashing and rending of timber.  I was thrownflat on the wet deck, and before I could scramble to my feet I heard thescream of the women.  This it was, I am certain,â\u0000\u0000the mostindescribableof blood-curdling sounds,â\u0000\u0000that threw me into a panic.  I remembered thelife-preservers stored in the cabin, but was met at the door and sweptbackward by a wild rush of men and women.  Whathappened in the next fewminutes I do not recollect, though I have a clear remembrance of pullingdown life-preservers from the overhead racks, while the red-faced manfastened them about the bodies of an hystericalgroup of women.  Thismemory is as distinct and sharp as that of any picture I have seen.  Itis a picture, and I can see it now,â\u0000\u0000the jagged edges of the hole in theside of the cabin, through which the grey fog swirledand eddied; theempty upholstered seats, littered with all the evidences of suddenflight, such as packages, hand satchels, umbrellas, and wraps; the stoutgentleman who had been reading my essay, encased in cork andcanvas, themagazine still in his hand, and asking me with monotonous insistence if Ithought there was any danger; the red-faced man, stumping gallantlyaround on his artificial legs and buckling life-preservers on allcomers;and finally, the screaming bedlam of women.This it was, the screaming of the women, that most tried my nerves.  Itmust have tried, too, the nerves of the red-faced man, for I have anotherpicture which willnever fade from my mind.  The stout gentleman isstuffing the magazine into his overcoat pocket and looking on curiously.A tangled mass of women, with drawn, white faces and open mouths, isshrieking like a chorus oflost souls; and the red-faced man, his facenow purplish with wrath, and with arms extended overhead as in the act ofhurling thunderbolts, is shouting, â\u0000\u0000Shut up!  Oh, shut up!â\u0000\u0000I remember the scene impelledme to sudden laughter, and in the nextinstant I realized I was becoming hysterical myself; for these were womenof my own kind, like my mother and sisters, with the fear of death uponthem and unwilling to die.  And Iremember that the sounds they madereminded me of the squealing of pigs under the knife of the butcher, andI was struck with horror at the vividness of the analogy.  These women,capable of the most sublimeemotions, of the tenderest sympathies, wereopen-mouthed and screaming.  They wanted to live, they were helpless,like rats in a trap, and they screamed.The horror of it drove me out on deck.  I was feeling sick andsqueamish,and sat down on a bench.  In a hazy way I saw and heard men rushing andshouting as they strove to lower the boats.  It was just as I had readdescriptions of such scenes in books.  The tacklesjammed.  Nothingworked.  One boat lowered away with the plugs out, filled with women andchildren and then with water, and capsized.  Another boat had beenlowered by one end, and still hung in the tackle by theother end, whereit had been abandoned.  Nothing was to be seen of the strange steamboatwhich had caused the disaster, though I heard men saying that she wouldundoubtedly send boats to our assistance.Idescended to the lower deck.  The _Martinez_ was sinking fast, for thewater was very near.  Numbers of the passengers were leaping overboard.Others, in the water, were clamouring to be taken aboard again.  Nooneheeded them.  A cry arose that we were sinking.  I was seized by theconsequent panic, and went over the side in a surge of bodies.  How Iwent over I do not know, though I did know, and instantly, why those inthewater were so desirous of getting back on the steamer.  The water wascoldâ\u0000\u0000so cold that it was painful.  The pang, as I plunged into it, was asquick and sharp as that of fire.  It bit to the marrow.  It was like thegripof death.  I gasped with the anguish and shock of it, filling mylungs before the life-preserver popped me to the surface.  The taste ofthe salt was strong in my mouth, and I was strangling with the acridstuff in my throatand lungs.But it was the cold that was most distressing.  I felt that I couldsurvive but a few minutes.  People were struggling and floundering in thewater about me.  I could hear them crying out to one another.  AndIheard, also, the sound of oars.  Evidently the strange steamboat hadlowered its boats.  As the time went by I marvelled that I was stillalive.  I had no sensation whatever in my lower limbs, while a chillingnumbnesswas wrapping about my heart and creeping into it.  Small waves,with spiteful foaming crests, continually broke over me and into mymouth, sending me off into more strangling paroxysms.The noises grew indistinct,though I heard a final and despairing chorusof screams in the distance, and knew that the _Martinez_ had gone down.Later,â\u0000\u0000how much later I have no knowledge,â\u0000\u0000I came to myself with a startof fear.  I wasalone.  I could hear no calls or criesâ\u0000\u0000only the sound ofthe waves, made weirdly hollow and reverberant by the fog.  A panic in acrowd, which partakes of a sort of community of interest, is not soterrible as a panicwhen one is by oneself; and such a panic I nowsuffered.  Whither was I drifting?  The red-faced man had said that thetide was ebbing through the Golden Gate.  Was I, then, being carried outto sea?  And thelife-preserver in which I floated?  Was it not liable togo to pieces at any moment?  I had heard of such things being made ofpaper and hollow rushes which quickly became saturated and lost allbuoyancy.  And I couldnot swim a stroke.  And I was alone, floating,apparently, in the midst of a grey primordial vastness.  I confess that amadness seized me, that I shrieked aloud as the women had shrieked, andbeat the water with mynumb hands.How long this lasted I have no conception, for a blankness intervened, ofwhich I remember no more than one remembers of troubled and painfulsleep.  When I aroused, it was as after centuries of time;and I saw,almost above me and emerging from the fog, the bow of a vessel, and threetriangular sails, each shrewdly lapping the other and filled with wind.Where the bow cut the water there was a great foaming andgurgling, and Iseemed directly in its path.  I tried to cry out, but was too exhausted.The bow plunged down, just missing me and sending a swash of water clearover my head.  Then the long, black side of the vesselbegan slippingpast, so near that I could have touched it with my hands.  I tried toreach it, in a mad resolve to claw into the wood with my nails, but myarms were heavy and lifeless.  Again I strove to call out, but madenosound.The stern of the vessel shot by, dropping, as it did so, into a hollowbetween the waves; and I caught a glimpse of a man standing at the wheel,and of another man who seemed to be doing little else thansmoke a cigar.I saw the smoke issuing from his lips as he slowly turned his head andglanced out over the water in my direction.  It was a careless,unpremeditated glance, one of those haphazard things men do whentheyhave no immediate call to do anything in particular, but act because theyare alive and must do something.But life and death were in that glance.  I could see the vessel beingswallowed up in the fog; I saw the backof the man at the wheel, and thehead of the other man turning, slowly turning, as his gaze struck thewater and casually lifted along it toward me.  His face wore an absentexpression, as of deep thought, and I becameafraid that if his eyes didlight upon me he would nevertheless not see me.  But his eyes did lightupon me, and looked squarely into mine; and he did see me, for he sprangto the wheel, thrusting the other man aside,and whirled it round andround, hand over hand, at the same time shouting orders of some sort.The vessel seemed to go off at a tangent to its former course and leaptalmost instantly from view into the fog.I felt myselfslipping into unconsciousness, and tried with all the powerof my will to fight above the suffocating blankness and darkness that wasrising around me.  A little later I heard the stroke of oars, growingnearer and nearer,and the calls of a man.  When he was very near I heardhim crying, in vexed fashion, â\u0000\u0000Why in hell donâ\u0000\u0000t you sing out?â\u0000\u0000  Thismeant me, I thought, and then the blankness and darkness rose overme.CHAPTER III seemed swinging in a mighty rhythm through orbit vastness.  Sparklingpoints of light spluttered and shot past me.  They were stars, I knew,and flaring comets, that peopled my flight among thesuns.  As I reachedthe limit of my swing and prepared to rush back on the counter swing, agreat gong struck and thundered.  For an immeasurable period, lapped inthe rippling of placid centuries, I enjoyed andpondered my tremendousflight.But a change came over the face of the dream, for a dream I told myselfit must be.  My rhythm grew shorter and shorter.  I was jerked from swingto counter swing with irritating haste.  Icould scarcely catch mybreath, so fiercely was I impelled through the heavens.  The gongthundered more frequently and more furiously.  I grew to await it with anameless dread.  Then it seemed as though I were beingdragged overrasping sands, white and hot in the sun.  This gave place to a sense ofintolerable anguish.  My skin was scorching in the torment of fire.  Thegong clanged and knelled.  The sparkling points of light flashedpast mein an interminable stream, as though the whole sidereal system weredropping into the void.  I gasped, caught my breath painfully, and openedmy eyes.  Two men were kneeling beside me, working overme.  My mightyrhythm was the lift and forward plunge of a ship on the sea.  Theterrific gong was a frying-pan, hanging on the wall, that rattled andclattered with each leap of the ship.  The rasping, scorching sandswerea manâ\u0000\u0000s hard hands chafing my naked chest.  I squirmed under the pain ofit, and half lifted my head.  My chest was raw and red, and I could seetiny blood globules starting through the torn and inflamedcuticle.â\u0000\u0000Thatâ\u0000\u0000ll do, Yonson,â\u0000\u0000 one of the men said.  â\u0000\u0000Carnâ\u0000\u0000t yer see youâ\u0000\u0000vebloominâ\u0000\u0000 well rubbed all the gentâ\u0000\u0000s skin orf?â\u0000\u0000The man addressed as Yonson, a man of the heavyScandinavian type, ceasedchafing me, and arose awkwardly to his feet.  The man who had spoken tohim was clearly a Cockney, with the clean lines and weakly pretty, almosteffeminate, face of the man who hasabsorbed the sound of Bow Bells withhis motherâ\u0000\u0000s milk.  A draggled muslin cap on his head and a dirtygunny-sack about his slim hips proclaimed him cook of the decidedly dirtyshipâ\u0000\u0000s galley in which I found"}
+{"doc_id":"doc_53","qid":"","text":"<html><head><title>Buried Script at IMSDb.</title><meta name=\"description\" content=\"Buried script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Buried script, Buried movie script,Buried film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=SubjectCONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0];s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>    <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\"title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center></td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre> <b>                                    BURIED</b>                                  Written by                                ChrisSparling                         <b>                         FADE IN:</b><b>          INT. UNKNOWN ROOM - NIGHT</b>          Darkness. Silence. After a long beat, we hear movement,          confined and contained.          Wethen hear the sound of a man, PAUL CONROY, groaning,          making confused attempts at words. We hear his movement;          short, abrupt shifting, ending almost immediately with the          sound of his bodybanging against wood.          He screams, though it's clear from the sound that his mouth          is covered by something.          After attempting to sit up, he immediately bangs his head          against something. It'sterribly warm and his breaths are          labored.          He attempts to move to his left and right, only to find that          he is confined on those sides, as well. He frantically          shifts about, only to discover, by touch,that he is encased          in something.          Something is very wrong, and he doesn't need to see to know          that.          Finally, we see him, lit by the flame of the Zippo he holds          in his hands, which arebound together in front of him with          rope. A rolled-up, dirty rag is tied tightly around his          head, stretched across his mouth. Dried blood stains his          hair and forehead.                                   We see thathe is lying in an old fashioned, wooden coffin.          Nothing more than a few rotted-out planks of wood nailed          together. Realizing the same, Paul is struck by an          overwhelming, instant panic.          Withgreat difficulty, and while still holding the lit Zippo,          Paul removes the muzzle from his mouth.<b>                          PAUL</b>           What...? What is this?          His words become almost unintelligible as heflails about,          though fear is understood in his every utterance.          He screams aloud, but his voice is captured by thecoffin          walls.<b>           2.</b>                                                  <b>                          PAUL</b>           Oh my God! Help me!! Help me!!          He kicks and slams his hands against the top and sides ofthe          coffin, all to no avail. His violent movements cause small          grains of sand to trickle in through the space between the          sides and top of the coffin, as well as a small gap that          exists between oneof the coffin's broken wooden planks.          Sweat cascades down the side of his neck, dripping from his          dampened brow. The heat inside the extremely close confines          of the coffin isstifling.<b>                          PAUL (CONT'D)</b>           Somebody help me! Please!!          Paul continues with his futile efforts to pry off the top of          the coffin. The sides, the top, the bottom -- all aretoo          thoroughly reinforced by the force of what surrounds the          coffin. Sand. It becomes clear to him that he is buried.          He tries his best to calm himself, though he has trouble          catching his breath.It takes him some time, but he          eventually achieves some semblance of calm.          Getting a good look at him for the first time, we see that          Paul is somewhere around 37 years old. Unshavenand          physically unremarkable, he embodies the blue-collar American          everyman.          He coughs. The minimal amount of oxygen in the coffin makes          it hard for him to breathe.          His eyes widen abit upon seeing an exposed, rusty nail. He          tries desperately to use the nail to cut through the old,          frayed ropes that bind his hands. Doing so is no easy task.          The incredibly tight quarters makes hisevery action nearly          impossible.          After a lengthy struggle, the rope snaps. Paul quickly frees          his hands. A small victory. Very small.          The heat is unbearable. Paul takes off hisbutton-down          shirt, leaving him in a T-shirt. His body battles against          the walls and the ceiling of the coffin with every move he          makes.          He tosses his button-down shirt down by his feet.His          undershirt is drenched through with sweat.          Still trying to calm himself, but having little success in          doing so, Paul looks around the coffin. His feet, though          only his body-length away, seemmiles from him.<b>           3.</b>                                                            He looks at the top of the coffin, and then back at his feet.          With great difficulty, he shifts his body so that his feet          are pressedagainst the top of the coffin. He attempts to          use his leg strength to push the top off of him, but it          doesn't move even a millimeter.          After several failed attempts, and with his legs exhausted,          Pauldrops his feet from the top of the coffin. He lay for a          moment in silence, followed by an outburst of crying.          Close to his head, on the corner of the floor, we see there's          another broken plank. A smallhole.          He closes his cigarette lighter, extinguishing the flame. In          total darkness, he continues to cry.                         <b>                          PAUL (CONT'D)</b>           What is this?          With his sobbingslowly subsiding, the coffin soon grows          eerily silent.          The sound of Paul's labored breaths are all we hear, softened          under the blanket of absolute darkness.          After a beat, the silence is interruptedby a subtle buzzing          sound. The muted sight of strange, blueish light flickers in          the coffin, by Paul's feet. He is extremely startled.          The buzzing continues, as does the minimal splashing of          light.It's coming from underneath his discarded button-down          shirt, down near his feet.          He lights the Zippo to get a better look.                                   Pulling the shirt away, he realizes that what he ishearing          and seeing is the vibrating ring and display features of an          older model cell phone.          He frantically reaches for it, though the coffin is far too          small for him to reposition himself soeasily.          To his dismay, the phone stops ringing. But, his efforts to          reach it continue. He uses his feet to search for the phone.          After some trouble finding it, he eventually locates it.          Clamping thephone together between his clasped feet, Paul          then painfully angles his body so that he can reach his feet          with his hands and grab it.          He is soon able to reach it. Immediately thereafter, he          flipsopen the phone and puts the receiver in front of him.<b>           4.</b>                                                            We see that there is a Text Message waiting for Paul on the          phone. However, Paul barelynotices.          The time on the phone reads 6:12pm. While the numbers and          display screen icons are familiar to Americans, all the words          are in Arabic.          What he does notices is that the phone barelyhas one bar of          signal strength. Worse yet, there is only half of the          battery life remaining.          He tries to remember the Safe Number he was given. With the          phone open and ready to be dialed, Paulstruggles to recall          the information.<b>                          PAUL (CONT'D)</b>           Come on, come on. What was it?                                   Getting only two digits into dialing the number, hecannot          remember much more and closes the phone.          He wedges the lit Zippo into sand, which is compacted against          a small hole in the wall of the coffin.          Paul reaches into his pants pocket,frantically searching for          something. He hastily removes a prescription pill bottle and          a small, metal flask. Both are not what he was looking for.          He then reaches to his back pocket and removes hiswallet.          It's empty. His license, his credit cards, his cash and,          most importantly at that very moment, a piece of paper with          the Safe Number written on it, are all missing.<b>                          PAUL(CONT'D)</b>           No. Where the hell is it? Son of           a...Come on!                                   He screams aloud again, hoping greatly that someone can hear          him. His frenzied maneuvering puts out the flameof the          Zippo.<b>                          PAUL (CONT'D)</b>           Help me! Please! Somebody help           me!          His words barely make it pass the coffin walls.          With the cell phone still in hand, andlaboring to reclaim          the breath he just expended, Paul turns to desperation. He          dials the international code of 001, and then dials 911.          A FEMALE 911 OPERATOR answers almostimmediately.<b>           5.</b>                                                  <b>                          FEMALE 911 OPERATOR</b>           911, please hold.          The Female 911 Operator places Paul onhold.<b>                          PAUL</b>           No! Wait!          Paul accidentally bangs the cap of the Zippo against the          coffin wall, putting out the flame.          She quickly returns.<b>                          FEMALE911 OPERATOR</b>           911. What is your emergency?<b>                          PAUL</b>           Hello?<b>                          FEMALE 911 OPERATOR</b>           911. What's the problem, sir?          Paul is soincredibly panicked that he has trouble remaining          coherent. After a few sparks, the Zippo is re-lit.<b>                          PAUL</b>           I'm buried. You have to help me.           You have to help me, Ican't           breathe...<b>                          FEMALE 911 OPERATOR</b><b>                          SIR --</b><b>                          PAUL</b>           I'm buried in a coffin. Please           help me! Send someone tofind           me...<b>                          FEMALE 911 OPERATOR</b>           Sir...slow down. What is your           name?<b>                          PAUL</b>           Paul. Paul Conroy.<b>                          FEMALE 911OPERATOR</b>           Okay, Mister Conroy. Can you tell           me your location?<b>                          PAUL</b>           I don't know. I'm in a coffin. I           don't know where. I'm scared.           Please helpme.<b>           6.</b>                                                  <b>                          FEMALE 911 OPERATOR</b>          You're in a coffin?<b>                          PAUL</b>          Yeah, it's, like, one of thoseold,          wooden ones.<b>                          FEMALE 911 OPERATOR</b>          Are you at a funeral home?<b>                          PAUL</b>          No. I don't know. No.<b>                          FEMALE 911OPERATOR</b>          How are calling me right now?<b>                          PAUL</b>          What?<b>                          FEMALE 911 OPERATOR</b>          If you're buried in a coffin, where          are you callingfrom?<b>                          PAUL</b>          A cell phone. There was an old          cell phone in the coffin.<b>                          FEMALE 911 OPERATOR</b>          You're calling from yourcell          phone?<b>                          PAUL</b>          Yes. No. It's not mine, but yes,          I'm calling from a cell phone.<b>                          FEMALE 911 OPERATOR</b>          There was a cell phone inthe          coffin when you climbed in?<b>                          PAUL</b>          I didn't climb in.<b>                          FEMALE 911 OPERATOR</b>          How did you end up in thecoffin,          sir?<b>                          PAUL</b>          I was put here.<b>                          FEMALE 911 OPERATOR</b>          In the coffin?<b>                          PAUL</b>          Yes. Please send"}
+{"doc_id":"doc_54","qid":"","text":"The Project Gutenberg eBook, The Woggle-Bug Book, by L. Frank Baum,Illustrated by Ike MorganThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it,give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: The Woggle-Bug BookAuthor: L. Frank BaumRelease Date: June 23, 2007  [eBook#21914]Language: EnglishCharacter set encoding: ISO-646-US (US-ASCII)***START OF THE PROJECT GUTENBERG EBOOK THE WOGGLE-BUG BOOK***E-text prepared by Michael Gray(Lost_Gamer@comcast.net)Note: Project Gutenberg also has an HTML version of this      file which includes the original illustrations.      See 21914-h.htm or21914-h.zip:      (http://www.gutenberg.net/dirs/2/1/9/1/21914/21914-h/21914-h.htm)      or      (http://www.gutenberg.net/dirs/2/1/9/1/21914/21914-h.zip)THE WOGGLE-BUG BOOKbyL. FRANK BAUMPictures byIke MorganChicagoThe Reilly & Britton Co.1905Copyright1905byL. Frank BaumEvery Right ReservedThe Unique Adventures of the WOGGLE-BUGONE day Mr. H. M. Woggle-Bug, T. E., becoming separated fromhiscomrades who had accompanied him from the Land of Oz, and finding thattime hung heavy on his hands (he had four of them), decided to walkdown the Main street of the City and try to discover something orotherof interest.The initials \"H. M.\" before his name meant \"Highly Magnified,\" for thisWoggle-Bug was several thousand times bigger than any other woggle-bugyou ever saw. And the initials \"T. E.\" after his namedmeant \"ThoroughlyEducated\"--and so he was, in the Land of Oz. But his education, beingapplied to a woggle-bug intellect, was not at all remarkable in thiscountry, where everything is quite different than Oz. YettheWoggle-Bug did not suspect this, and being, like so many other thoroughlyeducated persons, proud of his mental attainments, he marched along thestreet with an air of importance that made one wonder whatgreatthoughts were occupying his massive brain.Being about as big, in his magnified state, as a man, the Woggle-Bugtook care to clothe himself like a man; only, instead of choosing sobercolors for his garments, hedelighted in the most gorgeous reds andyellows and blues and greens; so that if you looked at him long thebrilliance of his clothing was liable to dazzle your eyes.I suppose the Waggle-Bug did not realize at all what aqueer appearancehe made. Being rather nervous, he seldom looked into a mirror; and asthe people he met avoided telling him he was unusual, he had falleninto the habit of considering himself merely an ordinarycitizen of thebig city wherein he resided.So the Woggle-Bug strutted proudly along the street, swinging a cane inone hand, flourishing a pink handkerchief in the other, fumbling hiswatch-fob with another, and feeling hisnecktie was straight withanother. Having four hands to use would prove rather puzzling to you orme, I imagine; but the Woggie-Bug was thoroughly accustomed to them.Presently he came to a very fine store with bigplate-glass windows,and standing in the center of the biggest window was a creature sobeautiful and radiant and altogether charming that the first glance ather nearly took his breath away. Her complexion was lovely,for it waswax; but the thing which really caught the Woggle-Bug's fancy was themarvelous dress she wore. Indeed, it was the latest (last year's) Parismodel, although the Woggle-Bug did not know that; and thedesigner musthave had a real woggly love for bright colors, for the gown was made ofred cloth covered with big checks which were so loud the fashion bookscalled them \"Wagnerian Plaids.\"Never had our friend theWoggle-Bug seen such a beautiful gown before,and it afflicted him so strongly that he straightaway fell in love withthe entire outfit--even to the wax-complexioned lady herself! Verypolitely he tipped his to her; but shestared coldly back without inany way acknowledging the courtesy.\"Never mind,\" he thought; \"'faint heart never won fair lady.' And I'mdetermined to win this kaliedoscope of beauty or perish in theattempt!\" You willnotice that our insect had a way of using big wordsto express himself, which leads us to suspect that the school system inOz is the same they employ in Boston.As, with swelling heart, the Woggle-Bug feasted his eyesupon theenchanting vision, a small green tag that was attached to a button ofthe waist suddenly attracted his attention. Upon the tag was marked:\"Price $7.93--GREATLY REDUCED.\"\"Ah!\" murmured the Woggle-Bug;\"my darling is in greatly reducedcircumstances, and $7.93 will make her mine! Where, oh where, shall Ifind the seven ninety-three wherewith to liberate this divinity andmake her Mrs. Woggle-Bug?\"\"Move on!\" said agruff policeman, who came along swinging his club.And the Woggle-Bug obediently moved on, his brain working fast andfurious in the endeavor to think of a way to procure seven dollars andninety-three cents.You see,in the Land of Oz they use no money at all, so that when theWoggle-Bug arrived in America he did not possess a single penny. And noone had presented him with any money since.\"Yet there must be several ways toprocure money in this country,\" hereflected; \"for otherwise everybody would be as penniless as I am. Buthow, I wonder, do they manage to get it?\"Just then he came along a side street where a number of men wereatwork digging a long and deep ditch in which to lay a new sewer.\"Now these men,\" thought the Woggle-Bug, \"must get money for shovelingall that earth, else they wouldn't do it. Here is my chance to win thecharmingvision of beauty in the shop window!\"Seeking out the foreman, he asked for work, and the foreman agreed tohire him.\"How much do you pay these workmen?\" asked the highly magnified one.\"Two dollars a day,\"answered the foreman.\"Then,\" said the Woggle-Bug, \"you must pay me four dollars a day; for Ihave four arms to their two, and can do double their work.\"\"If that is so, I'll pay you four dollars,\" agreed the man.TheWoggle-Bug was delighted.\"In two days,\" he told himself, as he threw off his brilliant coat andplaced his hat upon it, and rolled up his sleeves; \"in two days I canearn eight dollars--enough to purchase my greatlyreduced darling andbuy her seven cents worth of caramels besides.\"He seized two spades and began working so rapidly with his four armsthat the foreman said: \"You must have been forewarned.\"\"Why?\" asked theInsect.\"Because there's a saying that to be forewarned is to be four-armed,\"replied the other.\"That is nonsense,\" said the Woggle-Bug, digging with all his might;\"for they call you the foreman, and yet I only see one ofyou.\"\"Ha, ha!\" laughed the man, and he was so proud of his new worker thathe went into the corner saloon to tell his friend the barkeeper what atreasure he had found.It was just after noon that the Woggle-Bug hiredas a ditch-digger inorder to win his heart's desire; so at noon on the second day he quitwork, and having received eight silver dollars he put on his coat andrushed away to the store that he might purchase his intendedbride.But, alas for the uncertainty of all our hopes! Just as the Woggle-Bugreached the door he saw a lady coming out of the store dressed inidentical checks with which he had fallen in love!At first he did not know whatto do or say, for the young lady'scomplexion was not wax--far from it. But a glance into the windowshowed him the wax lady now dressed in a plain black tailor-made suit,and at once he knew the wearer of theWagnerian plaids was his reallove, and not the stiff creature behind the glass.\"Beg pardon!\" he exclaimed, stopping the young lady; \"but you're mine.Here's the seven ninety-three, and seven cents for candy.\"But sheglanced at him in a haughty manner, and walked away with hernose slightly elevated.He followed. He could not do otherwise with those delightful checksshining before him like beacon-lights to urge him on.The younglady stepped into a car, which whirled away rapidly. For amoment he was nearly paralyzed at his loss; then he started after thecar as fast as he could go, and this was very fast indeed--he being awoggle-bug.Somebodycried: \"Stop, thief!\" and a policeman ran out to arrest him.But the Woggle-Bug used his four hands to push the officer aside, andthe astonished man went rolling into the gutter so recklessly that hisuniform bore marksof the encounter for many days.Still keeping an eye on the car, the Woggle-Bug rushed on. Hefrightened two dogs, upset a fat gentleman who was crossing the street,leaped over an automobile that shot in front of him,and finally ranplump into the car, which had abruptly stopped to let off a passenger.Breathing hard from his exertions, he jumped upon the rear platform ofthe car, only to see his charmer step off at the front andwalkmincingly up the steps of a house. Despite his fatigue, he flew afterher at once, crying out:\"Stop, my variegated dear--stop! Don't you know you're mine?\"But she slammed the door in his face, and he sat downupon the stepsand wiped his forehead with his pink handkerchief and fanned himselfwith his hat and tried to think what he should do next.Presently a very angry man came out of the house. He had a revolver inonehand and a carving-knife in the other.\"What do you mean by insulting my wife?\" he demanded.\"Was that your wife?\" asked the Woggle-Bug, in meek astonishment.\"Of course it is my wife,\" answered the man.\"Oh, Ididn't know,\" said the insect, rather humbled. \"But I'll giveyou seven ninety-three for her. That's all she's worth, you know; for Isaw it marked on the tag.\"The man gave a roar of rage and jumped into the air with theintentionof falling on the Woggle-Bug and hurting him with the knife and pistol.But the Woggle-Bug was suddenly in a hurry, and didn't wait to bejumped on. Indeed, he ran so very fast that the man was content tolethim go, especially as the pistol wasn't loaded and the carving-knifewas as dull as such knives usually are.But his wife had conceived a great dislike for the Wagnerian checkcostume that had won for her theWoggle-Bug's admiration. \"I'll neverwear it again!\" she said to her husband, when he came in and told herthat the Woggle-Bug was gone.\"Then,\" he replied, \"you'd better give it to Bridget; for she's beenbothering meabout her wages lately, and the present will keep herquite for a month longer.\"So she called Bridget and presented her with the dress, and thedelighted servant decided to wear it that night to MickeySchwartz'sball.Now the poor Woggle-Bug, finding his affection scorned, was feelingvery blue and unhappy that evening, When he walked out, dressed (amongother things) in a purple-striped shirt, with a yellow necktieandpea-green gloves, he looked a great deal more cheerful than he reallywas. He had put on another hat, for the Woggle-Bug had a superstitionthat to change his hat was to change his luck, and luck seemed tohaveoverlooked the fact that he was in existence.The hat may really have altered his fortunes, as the Insect shortly metIkey Swanson, who gave him a ticket to Mickey Schwartz's ball; forIkey's clean dickey had notcome home from the laundry, and so he couldnot go himself.The Woggle-Bug, thinking to distract his mind from his dreams of love,attended the hall, and the first thing he saw as he entered the roomwas Bridgetclothed in that same gorgeous gown of Wagnerian plaid thathad so fascinated his bugly heart.The dear Bridget had added to her charms by putting seven full-blownimitation roses and three second-hand ostrich-plumesin her red hair;so that her entire person glowed like a sunset in June.The Woggle-bug was enraptured; and, although the divine Bridget waswaltzing with Fritzie Casey, the Insect rushed to her side and, seizingher withall his four arms at once, cried out in his truly educatedBostonian way:\"Oh, my superlative conglomeration of beauty! I have found you atlast!\"Bridget uttered a shriek, and Fritzie Casey doubled two fists thatlooked liketombstones, and advanced upon the intruder.Still embracing the plaid costume with two arms, the Woggle-Bug tippedMr. Casey over with the other two. But Bridget made a bound and landedwith her broad heel, whichsupported 180 pounds, firmly upon theInsect's toes. He gave a yelp of pain and promptly released the lady,and a moment later he found himself flat upon the floor with a dozen ofthe dancers piled upon him--all ofwhom were pummeling each other withmuch pleasure and a firm conviction that the diversion had been plannedfor their special amusement.But the Woggle-Bug had the strength of many men, and when he floppedthebig wings that were concealed by the tails of his coat, thegentlemen resting upon him were scattered like autumn leaves in a gustof wind.The Insect stood up, rearranged his dress, and looked about him.Bridget had runaway and gone home, and the others were still fightingamongst themselves with exceeding cheerfulness. So the Woggle-Bugselected a hat which fit him (his own having been crushed out of shape)and walkedsorrowfully back to his lodgings.\"Evidently that was not a lucky hat I wore to the ball,\" he reflected;\"but perhaps this one I now have will bring about a change in myfortunes.\"Bridget needed money; and as she hadworn her brilliant costume onceand allowed her friends to see how becoming it was, she carried it thenext morning to a second-hand dealer and sold it for three dollars incash.Scarcely had she left the shop when a ladyof Swedish extraction--awidow with four small children in her train--entered and asked to lookat a gown. The dealer showed her the one he had just bought fromBridget, and its gay coloring so pleased the widow thatshe immediatelypurchased it for $3.65.\"Ay tank ets a good deal money, by sure,\" she said to herself; \"but dasleedle children mus' have new fadder to mak mind un tak care deremudder like, by yimminy! An' Ay tank noman look may way in das oledress I been wearing.\"She took the gown and the four children to her home, where she lost notime in trying on the costume, which fitted her as perfectly as aflour-sack does a peck ofpotatoes.\"Das _beau_--tiful!\" she exclaimed, in rapture, as she tried to seeherself in a cracked mirror. \"Ay go das very afternoon to valk in dapark, for das man-folks go crazy-like ven he sees may fine frocks!\"Then shetook her green parasol and a hand-bag stuffed with papers (tomake it look prosperous and aristocratic) and sallied forth to thepark, followed by all her interesting flock.The men didn't fail to look at her, as you mayguess; but none lookedwith yearning until the Woggle-Bug, sauntering gloomily along a path,happened to raise his eyes and see before him his heart's delight thevery identical Wagnerian plaids which had filled him withsuchunbounded affection.\"Aha, my excruciatingly lovely creation!\" he cried, running up andkneeling before the widow; \"I have found you once again. Do not, I begof you, treat me with coldness!\"For he had learnedfrom experience not to unduly startle his charmer attheir first moment of meeting; so he made a firm attempt to controlhimself, that the wearer of the checked gown might not scorn him.The widow had no greataffection for bugs, having wrestled with thespecies for many years; but this one was such a big-bug and sohandsomely dressed that she saw no harm in encouraging him--especiallyas the men she had sought tocaptivate were proving exceedingly shy.\"So you tank Ay I ban loavely?\" she asked, with a coy glance at theInsect.\"I do! With all my heart I do!\" protested the Woggle-Bug, placing allfour hands, one after another, overthat beating organ.\"Das mak plenty trouble by you. I don'd could be yours!\" sighed thewidow, indeed regretting her admirer was not an ordinary man.\"Why not?\" asked the Woggle-Bug. \"I have still the sevenninety-three;and as that was the original price, and you are now slightly worn andsecond-handed, I do not see why I need despair of calling you my own.\"It is very queer, when we think of it, that the Woggle-Bug couldnotseparate the wearer of his lovely gown from the gown itself. Indeed, healways made love directly to the costume that had so enchanted him,without any regard whatsoever to the person inside it; and the onlywaywe can explain this remarkable fact is to recollect that the Woggle-Bugwas only a woggle-bug, and nothing more could be expected of him. Thewidow did not, of course, understand his speech in the least; butshegathered the fact that the Woggle-Bug had id money, so she sighed andhinted that she was very hungry, and that there was a good short-orderrestaurant just outside the park.The Woggle-Bug became thoughtful atthis. He hated to squander hismoney, which he had come to regard a sort of purchase price with whichto secure his divinity. But neither could he allow those darling checksto go hungry; so he said:\"If you will come withme to the restaurant, I will gladly supply youwith food.\"The widow accepted the invitation at once, and the Woggle-Bug walkedproudly beside her, leading all of the four children at once with hisfour hands.Two such gaycostumes as those worn by the widow and the Woggle-Bug areseldom found together, and the restaurant man was so impressed by thesight that he demanded his money in advance.The four children, jabberingdelightedly in their broken English,clambered upon four stools, and the widow sat upon another. And theWoggle-Bug, who was not hungry (being engaged in feasting his eyes uponthe checks), laid down a silver dollaras a guarantee of good faith.It was wonderful to see so much pie and cake and bread-and-butter andpickles and dough-nuts and sandwiches disappear into the mouths of thefour innocents and their comparativelyinnocent mother. The Woggle-Bughad to add another quarter to the vanished dollar before the scorewas finally settled; and no sooner had the tribe trooped outrestaurant than they turned into the open portals of anIce-CreamParlor, where they all attacked huge stacks of pale ice-cream andconsumed several plates of lady-fingers and cream-puffs.Again the Woggle-Bug reluctantly abandoned a dollar; but the end wasnot yet. Thedear children wanted candy and nuts; and then they warnedpink lemonade; and then pop-corn and chewing-gum; and always theWoggle-Bug, after a glance at the entrancing costume, found himselfunable to resistpaying for the treat.It was nearly evening when the widow pleaded fatigue and asked to betaken home. For none of them was able to eat another morsel, and theWoggle-Bug wearied her with his protestations ofboundless admiration.\"Will you permit me to call upon you this evening?\" asked the Insect,pleadingly, as he bade the wearer of the gown good-bye on herdoor-step.\"Sure like!\" she replied, not caring to dismiss himharshly; and thehappy Woggle-Bug went home with a light heart, murmuring to himself:\"At last the lovely plaids are to be my own! The new hat I found at theball has certainly brought me luck.\"I am glad our friend theWoggle-Bug had those few happy moments, for hewas destined to endure severe disappointments in the near future.That evening he carefully brushed his coat, put on a green satinnecktie and a purple embroideredwaist-coat, and walked briskly towardsthe house of the widow. But, alas! as he drew near to the dwelling amost horrible stench greeted his nostrils, a sense of great depressioncame over him, and upon pausing beforethe house his body began totremble and his eyes rolled wildly in their sockets.For the wily widow, wishing to escape her admirer, had sprinkled thedoor-step and the front walk with insect Exterminator, and not eventheWoggle-Bug's love for the enchanting checked gown could induce him tolinger longer in that vicinity.Sick and discouraged, he returned home, where his first act was tosmash the luckless hat and replace it withanother. But it was sometime before he recovered from the horrors of that near approach toextermination, and he passed a very wakeful and unhappy night, indeed.Meantime the widow had traded with a friend of hers(who had once beena wash-lady for General Funston) the Wagnerian costume for a crazyquilt and a corset that was nearly as good as new and a pair of silkstockings that were not mates. It was a good bargain for bothof them,and the wash-lady being colored--that is, she had a deep mahoganycomplexion--was delighted with her gorgeous gown and put it on the verynext morning when she went to deliver the wash to thebrick-layer'swife.Surely it must have been Fate that directed the Woggle-Bug's steps;for, as he walked disconsolately along, an intuition caused him toraise his eyes, and he saw just ahead of him his affinity--carryingalarge clothes-basket.\"Stop!\" he called our, anxiously; \"stop, my fair Grenadine, I imploreyou!\"The colored lady cast one glance behind her and imagined that Satan hadat last arrived to claim her. For she had never"}
+{"doc_id":"doc_55","qid":"","text":"The Project Gutenberg EBook of Villette, by Charlotte BrontëThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it under theterms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: VilletteAuthor: Charlotte BrontëPosting Date: August 23, 2010 [EBook #9182]Release Date: October, 2005FirstPosted: September 12, 2003[Last updated: March 2, 2016]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK VILLETTE ***Produced by Delphine Lettau, Charles Franks and DistributedProofreadersVILLETTE.BYCHARLOTTE BRONTÃ\u0000.CONTENTSCHAPTER       I.  BRETTON      II.  PAULINA     III.  THE PLAYMATES      IV.  MISS MARCHMONT       V.  TURNING A NEWLEAF      VI.  LONDON     VII.  VILLETTE    VIII.  MADAME BECK      IX.  ISIDORE       X.  DR. JOHN      XI.  THE PORTRESS'S CABINET     XII.  THE CASKET    XIII.  A SNEEZE OUT OF SEASON     XIV.  THEFÃ\u0000TE      XV.  THE LONG VACATION     XVI.  AULD LANG SYNE    XVII.  LA TERRASSE   XVIII.  WE QUARREL     XIX.  THE CLEOPATRA      XX.  THE CONCERT     XXI.  REACTION    XXII.  THELETTER   XXIII.  VASHTI    XXIV.  M. DE BASSOMPIERRE     XXV.  THE LITTLE COUNTESS    XXVI.  A BURIAL   XXVII.  THE HÃ\u0000TEL CRÃ\u0000CY  XXVIII.  THE WATCHGUARD    XXIX.  MONSIEUR'S FÃ\u0000TE     XXX.  M.PAUL    XXXI.  THE DRYAD   XXXII.  THE FIRST LETTER  XXXIII.  M. PAUL KEEPS HIS PROMISE   XXXIV.  MALEVOLA    XXXV.  FRATERNITY   XXXVI.  THE APPLE OF DISCORD  XXXVII.  SUNSHINEXXXVIII.  CLOUD   XXXIX.  OLD AND NEW ACQUAINTANCE      XL.  THE HAPPY PAIR     XLI.  FAUBOURG CLOTILDE    XLII.  FINISVILLETTE.CHAPTER I.BRETTON.My godmother lived in a handsome house in the cleanand ancient town ofBretton. Her husband's family had been residents there for generations,and bore, indeed, the name of their birthplace--Bretton of Bretton:whether by coincidence, or because some remote ancestorhad been apersonage of sufficient importance to leave his name to hisneighbourhood, I know not.When I was a girl I went to Bretton about twice a year, and well Iliked the visit. The house and its inmates speciallysuited me. Thelarge peaceful rooms, the well-arranged furniture, the clear widewindows, the balcony outside, looking down on a fine antique street,where Sundays and holidays seemed always to abide--so quiet wasitsatmosphere, so clean its pavement--these things pleased me well.One child in a household of grown people is usually made very much of,and in a quiet way I was a good deal taken notice of by Mrs. Bretton,who hadbeen left a widow, with one son, before I knew her; herhusband, a physician, having died while she was yet a young andhandsome woman.She was not young, as I remember her, but she was still handsome,tall,well-made, and though dark for an Englishwoman, yet wearing always theclearness of health in her brunette cheek, and its vivacity in a pairof fine, cheerful black eyes. People esteemed it a grievous pity thatshehad not conferred her complexion on her son, whose eyes wereblue--though, even in boyhood, very piercing--and the colour of hislong hair such as friends did not venture to specify, except as the sunshone on it, whenthey called it golden. He inherited the lines of hismother's features, however; also her good teeth, her stature (or thepromise of her stature, for he was not yet full-grown), and, what wasbetter, her health without flaw,and her spirits of that tone andequality which are better than a fortune to the possessor.In the autumn of the year ---- I was staying at Bretton; my godmotherhaving come in person to claim me of the kinsfolk withwhom was at thattime fixed my permanent residence. I believe she then plainly sawevents coming, whose very shadow I scarce guessed; yet of which thefaint suspicion sufficed to impart unsettled sadness, and mademe gladto change scene and society.Time always flowed smoothly for me at my godmother's side; not withtumultuous swiftness, but blandly, like the gliding of a full riverthrough a plain. My visits to her resembled thesojourn of Christianand Hopeful beside a certain pleasant stream, with \"green trees on eachbank, and meadows beautified with lilies all the year round.\" The charmof variety there was not, nor the excitement ofincident; but I likedpeace so well, and sought stimulus so little, that when the latter cameI almost felt it a disturbance, and wished rather it had still heldaloof.One day a letter was received of which the contentsevidently causedMrs. Bretton surprise and some concern. I thought at first it was fromhome, and trembled, expecting I know not what disastrous communication:to me, however, no reference was made, and the cloudseemed to pass.The next day, on my return from a long walk, I found, as I entered mybedroom, an unexpected change. In, addition to my own French bed in itsshady recess, appeared in a corner a small crib, drapedwith white; andin addition to my mahogany chest of drawers, I saw a tiny rosewoodchest. I stood still, gazed, and considered.\"Of what are these things the signs and tokens?\" I asked. The answerwas obvious. \"Asecond guest is coming: Mrs. Bretton expects othervisitors.\"On descending to dinner, explanations ensued. A little girl, I wastold, would shortly be my companion: the daughter of a friend anddistant relation of the lateDr. Bretton's. This little girl, it wasadded, had recently lost her mother; though, indeed, Mrs. Bretton erelong subjoined, the loss was not so great as might at first appear.Mrs. Home (Home it seems was the name) hadbeen a very pretty, but agiddy, careless woman, who had neglected her child, and disappointedand disheartened her husband. So far from congenial had the unionproved, that separation at last ensued--separation bymutual consent,not after any legal process. Soon after this event, the lady havingover-exerted herself at a ball, caught cold, took a fever, and diedafter a very brief illness. Her husband, naturally a man of verysensitivefeelings, and shocked inexpressibly by too suddencommunication of the news, could hardly, it seems, now be persuaded butthat some over-severity on his part--some deficiency in patience andindulgence--hadcontributed to hasten her end. He had brooded over thisidea till his spirits were seriously affected; the medical men insistedon travelling being tried as a remedy, and meanwhile Mrs. Bretton hadoffered to take chargeof his little girl. \"And I hope,\" added mygodmother in conclusion, \"the child will not be like her mamma; assilly and frivolous a little flirt as ever sensible man was weak enoughto marry. For,\" said she, \"Mr. Home _is_ asensible man in his way,though not very practical: he is fond of science, and lives half hislife in a laboratory trying experiments--a thing his butterfly wifecould neither comprehend nor endure; and indeed\" confessedmygodmother, \"I should not have liked it myself.\"In answer to a question of mine, she further informed me that her latehusband used to say, Mr. Home had derived this scientific turn from amaternal uncle, a Frenchsavant; for he came, it seems; of mixed Frenchand Scottish origin, and had connections now living in France, of whommore than one wrote _de_ before his name, and called himself noble.That same evening at nineo'clock, a servant was despatched to meet thecoach by which our little visitor was expected. Mrs. Bretton and I satalone in the drawing-room waiting her coming; John Graham Bretton beingabsent on a visit to one ofhis schoolfellows who lived in the country.My godmother read the evening paper while she waited; I sewed. It was awet night; the rain lashed the panes, and the wind sounded angry andrestless.\"Poor child!\" said Mrs.Bretton from time to time. \"What weather forher journey! I wish she were safe here.\"A little before ten the door-bell announced Warren's return. No soonerwas the door opened than I ran down into the hall; there lay atrunkand some band-boxes, beside them stood a person like a nurse-girl, andat the foot of the staircase was Warren with a shawled bundle in hisarms.\"Is that the child?\" I asked.\"Yes, miss.\"I would have opened theshawl, and tried to get a peep at the face, butit was hastily turned from me to Warren's shoulder.\"Put me down, please,\" said a small voice when Warren opened thedrawing-room door, \"and take off this shawl,\"continued the speaker,extracting with its minute hand the pin, and with a sort of fastidioushaste doffing the clumsy wrapping. The creature which now appeared madea deft attempt to fold the shawl; but the draperywas much too heavyand large to be sustained or wielded by those hands and arms. \"Give itto Harriet, please,\" was then the direction, \"and she can put it away.\"This said, it turned and fixed its eyes on Mrs.Bretton.\"Come here, little dear,\" said that lady. \"Come and let me see if youare cold and damp: come and let me warm you at the fire.\"The child advanced promptly. Relieved of her wrapping, she appearedexceedinglytiny; but was a neat, completely-fashioned little figure,light, slight, and straight. Seated on my godmother's ample lap, shelooked a mere doll; her neck, delicate as wax, her head of silky curls,increased, I thought, theresemblance.Mrs. Bretton talked in little fond phrases as she chafed the child'shands, arms, and feet; first she was considered with a wistful gaze,but soon a smile answered her. Mrs. Bretton was not generallyacaressing woman: even with her deeply-cherished son, her manner wasrarely sentimental, often the reverse; but when the small strangersmiled at her, she kissed it, asking, \"What is my little one'sname?\"\"Missy.\"\"But besides Missy?\"\"Polly, papa calls her.\"\"Will Polly be content to live with me?\"\"Not _always_; but till papa comes home. Papa is gone away.\" She shookher head expressively.\"He will return to Polly, orsend for her.\"\"Will he, ma'am? Do you know he will?\"\"I think so.\"\"But Harriet thinks not: at least not for a long while. He is ill.\"Her eyes filled. She drew her hand from Mrs. Bretton's and made amovement to leave herlap; it was at first resisted, but shesaid--\"Please, I wish to go: I can sit on a stool.\"She was allowed to slip down from the knee, and taking a footstool, shecarried it to a corner where the shade was deep, and thereseatedherself. Mrs. Bretton, though a commanding, and in grave matters even aperemptory woman, was often passive in trifles: she allowed the childher way. She said to me, \"Take no notice at present.\" But I didtakenotice: I watched Polly rest her small elbow on her small knee, herhead on her hand; I observed her draw a square inch or two ofpocket-handkerchief from the doll-pocket of her doll-skirt, and then Iheard herweep. Other children in grief or pain cry aloud, withoutshame or restraint; but this being wept: the tiniest occasional snifftestified to her emotion. Mrs. Bretton did not hear it: which was quiteas well. Ere long, a voice,issuing from the corner, demanded--\"May thebell be rung for Harriet!\"I rang; the nurse was summoned and came.\"Harriet, I must be put to bed,\" said her little mistress. \"You mustask where my bed is.\"Harriet signifiedthat she had already made that inquiry.\"Ask if you sleep with me, Harriet.\"\"No, Missy,\" said the nurse: \"you are to share this young lady's room,\"designating me.Missy did not leave her seat, but I saw her eyes seek me.After someminutes' silent scrutiny, she emerged from her corner.\"I wish you, ma'am, good night,\" said she to Mrs. Bretton; but shepassed me mute.\"Good-night, Polly,\" I said.\"No need to say good-night, since we sleepin the same chamber,\" wasthe reply, with which she vanished from the drawing-room. We heardHarriet propose to carry her up-stairs. \"No need,\" was again heranswer--\"no need, no need:\" and her small step toiledwearily up thestaircase.On going to bed an hour afterwards, I found her still wide awake. Shehad arranged her pillows so as to support her little person in asitting posture: her hands, placed one within the other, restedquietlyon the sheet, with an old-fashioned calm most unchildlike. I abstainedfrom speaking to her for some time, but just before extinguishing thelight, I recommended her to lie down.\"By and by,\" was the answer.\"Butyou will take cold, Missy.\"She took some tiny article of raiment from the chair at her crib side,and with it covered her shoulders. I suffered her to do as she pleased.Listening awhile in the darkness, I was aware that shestillwept,--wept under restraint, quietly and cautiously.On awaking with daylight, a trickling of water caught my ear. Behold!there she was risen and mounted on a stool near the washstand, withpains and difficultyinclining the ewer (which she could not lift) soas to pour its contents into the basin. It was curious to watch her asshe washed and dressed, so small, busy, and noiseless. Evidently shewas little accustomed to performher own toilet; and the buttons,strings, hooks and eyes, offered difficulties which she encounteredwith a perseverance good to witness. She folded her night-dress, shesmoothed the drapery of her couch quite neatly;withdrawing into acorner, where the sweep of the white curtain concealed her, she becamestill. I half rose, and advanced my head to see how she was occupied.On her knees, with her forehead bent on her hands, Iperceived that shewas praying.Her nurse tapped at the door. She started up.\"I am dressed, Harriet,\" said she; \"I have dressed myself, but I do notfeel neat. Make me neat!\"\"Why did you dress yourself, Missy?\"\"Hush!speak low, Harriet, for fear of waking _the girl_\" (meaning me,who now lay with my eyes shut). \"I dressed myself to learn, against thetime you leave me.\"\"Do you want me to go?\"\"When you are cross, I have many atime wanted you to go, but not now.Tie my sash straight; make my hair smooth, please.\"\"Your sash is straight enough. What a particular little body you are!\"\"It must be tied again. Please to tie it.\"\"There, then. When Iam gone you must get that young lady to dress you.\"\"On no account.\"\"Why? She is a very nice young lady. I hope you mean to behave prettilyto her, Missy, and not show your airs.\"\"She shall dress me on noaccount.\"\"Comical little thing!\"\"You are not passing the comb straight through my hair, Harriet; theline will be crooked.\"\"Ay, you are ill to please. Does that suit?\"\"Pretty well. Where should I go now that I amdressed?\"\"I will take you into the breakfast-room.\"\"Come, then.\"They proceeded to the door. She stopped.\"Oh! Harriet, I wish this was papa's house! I don't know these people.\"\"Be a good child, Missy.\"\"I am good, butI ache here;\" putting her hand to her heart, andmoaning while she reiterated, \"Papa! papa!\"I roused myself and started up, to check this scene while it was yetwithin bounds.\"Say good-morning to the young lady,\"dictated Harriet. She said,\"Good-morning,\" and then followed her nurse from the room. Harriettemporarily left that same day, to go to her own friends, who lived inthe neighbourhood.On descending, I found Paulina(the child called herself Polly, but herfull name was Paulina Mary) seated at the breakfast-table, by Mrs.Bretton's side; a mug of milk stood before her, a morsel of breadfilled her hand, which lay passive on thetable-cloth: she was noteating.\"How we shall conciliate this little creature,\" said Mrs. Bretton tome, \"I don't know: she tastes nothing, and by her looks, she has notslept.\"I expressed my confidence in the effects of timeand kindness.\"If she were to take a fancy to anybody in the house, she would soonsettle; but not till then,\" replied Mrs. Bretton.CHAPTER II.PAULINA.Some days elapsed, and it appeared she was not likely to take muchof afancy to anybody in the house. She was not exactly naughty or wilful:she was far from disobedient; but an object less conducive tocomfort--to tranquillity even--than she presented, it was scarcelypossible to havebefore one's eyes. She moped: no grown person couldhave performed that uncheering business better; no furrowed face ofadult exile, longing for Europe at Europe's antipodes, ever bore morelegibly the signs of homesickness than did her infant visage. Sheseemed growing old and unearthly. I, Lucy Snowe, plead guiltless ofthat curse, an overheated and discursive imagination; but whenever,opening a room-door, I found her seatedin a corner alone, her head inher pigmy hand, that room seemed to me not inhabited, but haunted.And again, when of moonlight nights, on waking, I beheld her figure,white and conspicuous in its night-dress, kneelingupright in bed, andpraying like some Catholic or Methodist enthusiast--some precociousfanatic or untimely saint--I scarcely know what thoughts I had; butthey ran risk of being hardly more rational and healthy thanthatchild's mind must have been.I seldom caught a word of her prayers, for they were whispered low:sometimes, indeed, they were not whispered at all, but put upunuttered; such rare sentences as reached my ear stillbore the burden,\"Papa; my dear papa!\" This, I perceived, was a one-idea'd nature;betraying that monomaniac tendency I have ever thought the mostunfortunate with which man or woman can be cursed.What mighthave been the end of this fretting, had it continuedunchecked, can only be conjectured: it received, however, a sudden turn.One afternoon, Mrs. Bretton, coaxing her from her usual station in acorner, had lifted her intothe window-seat, and, by way of occupyingher attention, told her to watch the passengers and count how manyladies should go down the street in a given time. She had satlistlessly, hardly looking, and not counting,when--my eye being fixedon hers--I witnessed in its iris and pupil a startling transfiguration.These sudden, dangerous natures--_sensitive_ as they are called--offermany a curious spectacle to those whom a coolertemperament has securedfrom participation in their angular vagaries. The fixed and heavy gazeswum, trembled, then glittered in fire; the small, overcast browcleared; the trivial and dejected features lit up; the sadcountenancevanished, and in its place appeared a sudden eagerness, an intenseexpectancy. \"It _is_!\" were her words.Like a bird or a shaft, or any other swift thing, she was gone from theroom. How she got thehouse-door open I cannot tell; probably it mightbe ajar; perhaps Warren was in the way and obeyed her behest, whichwould be impetuous enough. I--watching calmly from the window--saw her,in her black frock andtiny braided apron (to pinafores she had anantipathy), dart half the length of the street; and, as I was on thepoint of turning, and quietly announcing to Mrs. Bretton that the childwas run out mad, and ought instantly tobe pursued, I saw her caughtup, and rapt at once from my cool observation, and from the wonderingstare of the passengers. A gentleman had done this good turn, and now,covering her with his cloak, advanced torestore her to the housewhence he had seen her issue.I concluded he would leave her in a servant's charge and withdraw; buthe entered: having tarried a little while below, he came up-stairs.His reception immediatelyexplained that he was known to Mrs. Bretton.She recognised him; she greeted him, and yet she was fluttered,surprised, taken unawares. Her look and manner were even expostulatory;and in reply to these, rather thanher words, he said,--\"I could nothelp it, madam: I found it impossible to leave the country withoutseeing with my own eyes how she settled.\"\"But you will unsettle her.\"\"I hope not. And how is papa's little Polly?\"Thisquestion he addressed to Paulina, as he sat down and placed hergently on the ground before him.\"How is Polly's papa?\" was the reply, as she leaned on his knee, andgazed up into his face.It was not a noisy, not awordy scene: for that I was thankful; but itwas a scene of feeling too brimful, and which, because the cup did notfoam up high or furiously overflow, only oppressed one the more. On alloccasions of vehement,unrestrained expansion, a sense of disdain orridicule comes to the weary spectator's relief; whereas I have everfelt most burdensome that sort of sensibility which bends of its ownwill, a giant slave under the sway ofgood sense.Mr. Home was a stern-featured--perhaps I should rather say, ahard-featured man: his forehead was knotty, and his cheekbones weremarked and prominent. The character of his face was quite Scotch;butthere was feeling in his eye, and emotion in his now agitatedcountenance. His northern accent in speaking harmonised with hisphysiognomy. He was at once proud-looking and homely-looking. He laidhis hand on thechild's uplifted head. She said--\"Kiss Polly.\"He kissed her. I wished she would utter some hysterical cry, so that Imight get relief and be at ease. She made wonderfully little noise: sheseemed to have got what shewanted--_all_ she wanted, and to be in atrance of content. Neither in mien nor in features was this creaturelike her sire, and yet she was of his strain: her mind had been filledfrom his, as the cup from the"}
+{"doc_id":"doc_56","qid":"","text":"Project Gutenberg's Search the Sky, by Frederik Pohl and C. M. KornbluthThis eBook is for the use of anyone anywhere in the United States and mostother parts of the world at no cost and with almost norestrictionswhatsoever.  You may copy it, give it away or re-use it under the terms ofthe Project Gutenberg License included with this eBook or online atwww.gutenberg.org.  If you are not located in the United States,you'll haveto check the laws of the country where you are located before using this ebook.Title: Search the SkyAuthor: Frederik Pohl        C. M. KornbluthRelease Date: June 3, 2016 [EBook #52228]Language:EnglishCharacter set encoding: UTF-8*** START OF THIS PROJECT GUTENBERG EBOOK SEARCH THE SKY ***                  By Frederik Pohl and C. M. Kornbluth                         _THE SPACEMERCHANTS_                            _SEARCH THE SKY_------------------------------------------------------------------------                               SEARCHTHE                                  SKY                                   by                             Frederik Pohl                                  and                            C. M. Kornbluth                      BALLANTINE BOOKS · NEWYORK------------------------------------------------------------------------                          COPYRIGHT, 1954, BY                   FREDERIK POHL AND C. M. KORNBLUTH             LIBRARY OF CONGRESS CATALOGUE CARDNO. 54-6478                PRINTED IN THE UNITED STATES OF AMERICA                         BALLANTINE BOOKS, INC.                  404 Fifth Avenue, New York 18, N.Y.                  ------------------------------------                           TRANSCRIBER'S NOTE                   Extensive research did not uncover                  any evidence that the U.S. copyright                    on this publicationwas renewed.------------------------------------------------------------------------                               SEARCH THE                                  SKY..... 1DECAY.Ross stood on the tradersâ\u0000\u0000 ramp, overlooking the Yards, andthe wordkept bobbing to the top of his mind.Decay.About all of Halseyâ\u0000\u0000s Planet there was the imperceptible reek of decay.The clean, big, bustling, efficient spaceport only made the sensationstronger. From wherehe stood on the height of the Ramp, he could seethe Yards, the spires of Halsey City ten kilometers awayâ\u0000\u0000and thetumble-down gray acres of Ghost Town between.Ross wrinkled his nose. He wasnâ\u0000\u0000t a man givento brooding, but the scentof decay had saturated his nostrils that morning. He had tossed andturned all the night, wrestling with a decision. And he had got upearly, so early that the only thing that made sense was towalk to work.And that meant walking through Ghost Town. He hadnâ\u0000\u0000t done that in a longtime, not since childhood. Ghost Town was a wonderful place to play.â\u0000\u0000Tag,â\u0000\u0000 â\u0000\u0000Follow My Fuehrer,â\u0000\u0000â\u0000\u0000Senators and Presidentâ\u0000\u0000â\u0000\u0000all the ancientgames took on new life when you could dodge and turn among crumblingruins, dart down unmarked lanes, gallop through sagging shacks where youmight stir out ascreeching, unexpected recluse.But it was clear thatâ\u0000\u0000in the fifteen years between childhood games and atroubled manâ\u0000\u0000s walk to workâ\u0000\u0000Ghost Town had grown.Everybody knew that! Ask the right specialists,and theyâ\u0000\u0000d tell you howmuch and how fast. An acre a year, a street a month, a block a week, thespecialists would twinkle at you, convinced that the acre, street, blockwas under control, since they could measureit.Ask the right specialists and they would tell you why it was happening.One answer per specialist, with an ironclad guarantee that there wouldbe no overlapping of replies. â\u0000\u0000A purely psychological phenomenon,Mr.Ross. A vibration of the pendulum toward greater municipal compactness,a huddling, a mature recognition of the facts of interdependence,basically a step forward....â\u0000\u0000â\u0000\u0000A purely biological phenomenon, Mr.Ross. Falling birth rate due tobiochemical deficiency of trace elements processed out of our planetarydiet. Fortunately the situation has been recognized in time and my billbefore the Chamber will provide....â\u0000\u0000â\u0000\u0000Apurely technological problem, Mr. Ross. Maintenance of a sprawlingcity is inevitably less efficient than that of a compact unit.Inevitably there has been a drift back to the central areas and theconvenience ofair-conditioned walkways, winterized plazas....â\u0000\u0000Yes. It was a purely psychological-biological-technological-educational-demographic problem, and it was basically a step forward.Ross wondered how many GhostTowns lay corpselike on the surface ofHalseyâ\u0000\u0000s Planet. Decay, he thought. Decay.But it had nothing to do with his problem, the problem that had kept himawake all the night, the problem that blighted the viewbefore him now.The trading bell clanged. The dayâ\u0000\u0000s work began.For Ross it might be his last dayâ\u0000\u0000s work at the Yards.                  *       *       *       *       *He walked slowly from the ramp to the offices of theOldham TradingCorporation. â\u0000\u0000Morning, Ross boy,â\u0000\u0000 his breezy young boss greeted him.Charles Oldham IVâ\u0000\u0000s father had always taken a paternal attitude towardhis help, and Charles Oldham IV was not goingto change anything thatDaddy had done. He shook Rossâ\u0000\u0000s hand at the door of the suite andapologized because they hadnâ\u0000\u0000t been able to find a new secretary for himyet. Theyâ\u0000\u0000d been looking for two weeks,but the three applicants theyhad been able to dredge up had all been hopeless. â\u0000\u0000Itâ\u0000\u0000s the damnChamber,â\u0000\u0000 said Charles Oldham IV, winsomely gesturing with his hands toshow how helpless men of affairswere against the blunderinginterference of Government. â\u0000\u0000Damn labor shortage is nothing but a damnartificial scarcity crisis. Daddy saw it; he knew it was coming.â\u0000\u0000Ross almost told him he was quitting, but heldback. Maybe it wasbecause he didnâ\u0000\u0000t want to spoil Oldhamâ\u0000\u0000s day with bad news, right on topof the opening bell. Or maybe it was because, in spite of a sleeplessnight, he still wasnâ\u0000\u0000t quite sure.Themorningâ\u0000\u0000s work helped him to become sure. It was the same monotonousgrind.Three freighters had arrived at dawn from Halseyâ\u0000\u0000s third moon, but noneof them was any affair of his. There was an exportshipment of jewelryand watches to be attended to, but the ship was not to take off foranother week. It scarcely classified as urgent. Ross worked on themanifests for a couple of hours, stared through his window for anhour,and then it was time for lunch.Little Marconi hailed him as he passed through the tradersâ\u0000\u0000 lounge.Of all the juniors on the Exchange, Marconi was the one Ross foundeasiest to take. He was lean and dark whereRoss was solid and fair;worse, he stood four ranks above Ross in seniority. But, since Rossworked for Oldham, and Marconi worked for Haarlandâ\u0000\u0000s, the differencecould be waived in social intercourse.Ross suspectedthat, to Marconi as to him, trading was only a jobâ\u0000\u0000a dullone, and not a crusade. And he knew that Marconiâ\u0000\u0000s reading was notconfined to bills of lading. â\u0000\u0000Lunch?â\u0000\u0000 asked Marconi. â\u0000\u0000Sure,â\u0000\u0000 Rosssaid.And he knew heâ\u0000\u0000d probably spill his secret to the little man fromHaarlandâ\u0000\u0000s.The skyroom was crowdedâ\u0000\u0000comparatively. All eight of the usual tableswere taken; they pushed on into the roped-off area bythe windows andfound a table overlooking the Yards. Marconi blew dust off his chair.â\u0000\u0000Been a long time since this was used,â\u0000\u0000 he grumbled. â\u0000\u0000Drink?â\u0000\u0000 He raisedhis eyebrows when Ross nodded. It made abreak; Marconi was the oneusually who had a drink with lunch, Ross never touched it.When the drinks came, each of them said to the other in perfectsynchronism: â\u0000\u0000Iâ\u0000\u0000ve got something to tell you.â\u0000\u0000Theylooked startledâ\u0000\u0000then laughed. â\u0000\u0000Go ahead,â\u0000\u0000 said Ross.The little man didnâ\u0000\u0000t even argue. Rapturously he drew a photo out of hispocket.God, thought Ross wearily, Lurline again! He studied the picture withashow of interest. â\u0000\u0000New snap?â\u0000\u0000 he asked brightly. â\u0000\u0000Lovely girlâ\u0000\u0000â\u0000\u0000â\u0000\u0000 Then henoticed the inscription: _To my fiance, with crates of love._ â\u0000\u0000Well!â\u0000\u0000 hesaid, â\u0000\u0000Fiance, is it? Congratulations,Marconi!â\u0000\u0000Marconi was almost drooling on the photo. â\u0000\u0000Next month,â\u0000\u0000 he said happily.â\u0000\u0000A big, big wedding. For keeps, Rossâ\u0000\u0000for keeps. With children!â\u0000\u0000Ross made an expression of polite surprise.â\u0000\u0000You donâ\u0000\u0000t say!â\u0000\u0000 he said.â\u0000\u0000Itâ\u0000\u0000s all down in black and white! She agrees to have two children inthe first five yearsâ\u0000\u0000no permissive clause, a straight guarantee. Fifteenhundred annual allowance perchild. And, Ross, do you know what? Herlawyer told her right in front of me that she ought to ask for threethousand, and she told him, â\u0000\u0000No, Mr. Turek. I happen to be in love.â\u0000\u0000 Howdo you like that,Ross?â\u0000\u0000â\u0000\u0000A girl in a million,â\u0000\u0000 Ross said feebly. His private thoughts were thatMarconi had been gaffed and netted like a sugar perch. Lurline was ofthe Old Landowners, who didnâ\u0000\u0000t own anything much butland these days,and Marconi was an undersized nobody who happened to make a very goodliving. Sure she happened to be in love. Smartest thing she could be. Ofcourse, promising to have children sounded prettyspecial; but thepapers were full of those things every day. Marconi could reliably becounted on to hang himself. Heâ\u0000\u0000d promise her breakfast in bed everythird week end, or the maid that he couldnâ\u0000\u0000t possibly findon the labormarket, and the courts would throw all the promises on both sides out ofthe contract as a matter of simple equity. But the marriage would stick,all right.Marconi had himself a final moist, fatuous sigh andreturned the phototo his pocket. â\u0000\u0000And now,â\u0000\u0000 he asked brightly, craning his neck for thewaiter, â\u0000\u0000whatâ\u0000\u0000s your news?â\u0000\u0000Ross sipped his drink, staring out at the nuzzling freighters in theirhemisphericalslips. He said abruptly, â\u0000\u0000I might be on one of those nextweek. Fallonâ\u0000\u0000s got a purserâ\u0000\u0000s berth open.â\u0000\u0000Marconi forgot the waiter and gaped. â\u0000\u0000Quitting?â\u0000\u0000â\u0000\u0000Iâ\u0000\u0000ve got to do something!â\u0000\u0000 Rossexploded. His own voice scared him;there was a knife blade of hysteria in the sound of it. He gripped theedge of the table and forced himself to be calm and deliberate.Marconi said tardily, â\u0000\u0000Easy,Ross.â\u0000\u0000â\u0000\u0000Easy! Youâ\u0000\u0000ve said it, Marconi: â\u0000\u0000Easy.â\u0000\u0000 Everythingâ\u0000\u0000s so damned easy andso damned boring that Iâ\u0000\u0000m just about ready to blow! Iâ\u0000\u0000ve got to dosomething,â\u0000\u0000 he repeated.â\u0000\u0000Iâ\u0000\u0000m getting nowhere! I push papers around andthen I push them back again. You know what happens next. You get softand paunchy. You find yourself going by the book instead of by yourhead. Youâ\u0000\u0000recovered, if you go by the bookâ\u0000\u0000no matter what happens. Andyou might just as well be dead!â\u0000\u0000â\u0000\u0000Now, Rossâ\u0000\u0000â\u0000\u0000â\u0000\u0000â\u0000\u0000Now, hell!â\u0000\u0000 Ross flared. â\u0000\u0000Marconi, I swear I think thereâ\u0000\u0000ssomethingwrong with me! Look, take Ghost Town for instance. Ever wonder whynobody lives there, except a couple of crazy old hermits?â\u0000\u0000â\u0000\u0000Why, itâ\u0000\u0000s Ghost Town,â\u0000\u0000 Marconi explained. â\u0000\u0000Itâ\u0000\u0000sdeserted.â\u0000\u0000â\u0000\u0000And why is it deserted? What happened to the people who used to livethere?â\u0000\u0000Marconi shook his head. â\u0000\u0000You need a vacation, son,â\u0000\u0000 he saidsympathetically. â\u0000\u0000That was a long time ago.Hundreds of years, maybe.â\u0000\u0000â\u0000\u0000But where did the people go?â\u0000\u0000 Ross persisted desperately. â\u0000\u0000All of thecity was inhabited hundreds of years agoâ\u0000\u0000the city was twice as big as itis now. Howcome?â\u0000\u0000Marconi shrugged. â\u0000\u0000Dunno.â\u0000\u0000Ross collapsed. â\u0000\u0000Donâ\u0000\u0000t know. You donâ\u0000\u0000t know, I donâ\u0000\u0000t know, nobody knows.Only thing is, I care! Iâ\u0000\u0000m curious. Marconi, I getâ\u0000\u0000well,moody.Depressed. I get to worrying about crazy things. Ghost Town, for one.And why canâ\u0000\u0000t they find a secretary for me? And am I really differentfrom everybody else or do I just think soâ\u0000\u0000and doesnâ\u0000\u0000t thatmean that Iâ\u0000\u0000minsane?â\u0000\u0000He laughed. Marconi said warmly, â\u0000\u0000Ross, you arenâ\u0000\u0000t the only one; donâ\u0000\u0000tever think you are. I went through it myself. Found the answer, too. Youwait, Ross.â\u0000\u0000He paused.Ross said suspiciously, â\u0000\u0000Yeah?â\u0000\u0000Marconi tapped the breast pocket with the photo of Lurline. â\u0000\u0000Sheâ\u0000\u0000ll comealong,â\u0000\u0000 he said.Ross managed not to sneer in his face. â\u0000\u0000No,â\u0000\u0000 he said wearily.â\u0000\u0000Look, Idonâ\u0000\u0000t advertise it, but I was married once. I was eighteen, it lastedfor a year and Iâ\u0000\u0000m the one who walked out. Flat-fee settlement; it tookme five years to pay off the loan, but I never regrettedit.â\u0000\u0000Marconi began gravely, â\u0000\u0000Sexual incompatibilityâ\u0000\u0000â\u0000\u0000â\u0000\u0000Ross cut him off with an impatient gesture. â\u0000\u0000In that department,â\u0000\u0000 hesaid, â\u0000\u0000it so happens she was a genius.Butâ\u0000\u0000â\u0000\u0000â\u0000\u0000â\u0000\u0000But?â\u0000\u0000Ross shrugged. â\u0000\u0000I must have been crazy,â\u0000\u0000 he said shortly. â\u0000\u0000I keptthinking that she was half-dead, dying on the vine like the rest ofHalseyâ\u0000\u0000s Planet. And I must still becrazy, because I still think so.â\u0000\u0000The little man involuntarily felt his breast pocket. He said gently,â\u0000\u0000Maybe youâ\u0000\u0000ve been working too hard.â\u0000\u0000â\u0000\u0000Too hard!â\u0000\u0000 Ross laughed, a curious blend of true humorandself-disgust. â\u0000\u0000Well,â\u0000\u0000 he admitted, â\u0000\u0000I need a change, anyhow. I might aswell be on a longliner. At least Iâ\u0000\u0000d have my spree to look back on.â\u0000\u0000â\u0000\u0000No!â\u0000\u0000 Marconi said, so violently that Rossslopped the drink he waslifting to his mouth.Ross looked hard at the little manâ\u0000\u0000hard and speculatively. â\u0000\u0000No, then,â\u0000\u0000he said. â\u0000\u0000It was just a figure of speech, of course. But tell mesomething, wonâ\u0000\u0000tyou, Marconi?â\u0000\u0000â\u0000\u0000Tell you what?â\u0000\u0000â\u0000\u0000Tell me why such a violent reaction to the word â\u0000\u0000longliner.â\u0000\u0000 I want toknow.â\u0000\u0000â\u0000\u0000Hell, Ross,â\u0000\u0000 the little man grumbled, â\u0000\u0000you know what a longlineris.Gutter-scrapings for crews; nothing for a man like you.â\u0000\u0000â\u0000\u0000I want to know more,â\u0000\u0000 Ross insisted. â\u0000\u0000When I ask you what a longlineris, what the crew do with themselves for two or three centuries,youchange the subject. You always change the subject! Maybe you knowsomething I donâ\u0000\u0000t know. I want to know what it is, and this time thesubject doesnâ\u0000\u0000t get changed. You donâ\u0000\u0000t get off the hook until Ifindout.â\u0000\u0000 He took a sip of his drink and leaned back. â\u0000\u0000Tell me aboutlongliners,â\u0000\u0000 he said. â\u0000\u0000Iâ\u0000\u0000ve never seen one coming in; itâ\u0000\u0000s been fifteenyears or so since that bucket from Sirius IV, hasnâ\u0000\u0000tit? But you were onthe job then.â\u0000\u0000Marconi was no longer a man in love or one of the few people whom Rossconsidered to be wholly aliveâ\u0000\u0000like him. He was a hard-eyed littlestranger with a stubborn mouth and aningratiating veneer. In short hewas again a trader, and a good one.â\u0000\u0000Iâ\u0000\u0000ll tell you anything I know,â\u0000\u0000 Marconi declared positively, andinsincerely. â\u0000\u0000Tend to that fellow first though, will you?â\u0000\u0000 He pointedtoa uniformed Yards messenger whose eye had just alighted on Ross. The manthreaded his way, stumbling, through the tables and laid a sealedenvelope down in the puddle left by Rossâ\u0000\u0000s drink.â\u0000\u0000Sorry, sir,â\u0000\u0000he said crisply, wiped off the envelope with hishandkerchief and, for lagniappe, wiped the puddle off the table intoRossâ\u0000\u0000s lap.Speechless, Ross signed for the envelope on a red-tabbed slip markedURGENT *PRIORITY * RUSH. The messenger saluted, almost putting his owneye out, and left, crashing into tables and chairs.â\u0000\u0000Half-dead,â\u0000\u0000 Ross muttered, following him with his eyes. â\u0000\u0000How the devildo they stay aliveat all?â\u0000\u0000Marconi said, unsmiling, â\u0000\u0000Youâ\u0000\u0000re taking this kick pretty seriously,Ross. I admit heâ\u0000\u0000s a little clumsy, butâ\u0000\u0000â\u0000\u0000â\u0000\u0000â\u0000\u0000But nothing,â\u0000\u0000 said Ross. â\u0000\u0000Donâ\u0000\u0000t try to tell me youdonâ\u0000\u0000t knowsomethingâ\u0000\u0000s wrong, Marconi! Heâ\u0000\u0000s a bumbling incompetent, and half hisgeneration is just like him.â\u0000\u0000 He looked bitterly at the envelope anddropped it on the table again. â\u0000\u0000Moremanifests,â\u0000\u0000 he said. â\u0000\u0000I swear Iâ\u0000\u0000llstart throwing tableware if I have to check another bill of lading.Brighten my day, Marconi; tell me about the longliners. Youâ\u0000\u0000re not offthe hook yet, youknow.â\u0000\u0000Marconi signaled for another drink. â\u0000\u0000All right,â\u0000\u0000 he said. â\u0000\u0000Marconi tellsall about longliners. Theyâ\u0000\u0000re ships. They go from the planet of one starto the planet of another star. It takes a long time,because stars aremany light-years apart and rocket ships cannot travel as fast as light.Einstein said soâ\u0000\u0000whoever he was. Do we start with the Sirius IV ship? Iwas around when it came in, all right. Fifteen years ago,and Halseyâ\u0000\u0000sPlanet is still enjoying the benefits of it. And so is Leverett and SonsTrading Corporation. They did fine on flowers from seeds that bucketbrought, they did fine on sugar perch from eggs that bucketbrought.Iâ\u0000\u0000ve never had it myself. Raw fish for dessert! But some people swear byitâ\u0000\u0000at five shields a portion. They can have it.â\u0000\u0000â\u0000\u0000The hook, Marconi,â\u0000\u0000 Ross reminded grimly.Trader Marconi laughedamiably. â\u0000\u0000Sorry. Well, what else? Pictures andmusic, but Iâ\u0000\u0000m not much on them. I do read, though, and as a reader Isay, God bless that bucket from Sirius IV. We never had a novelist likeMorris Halliday on thisplanetâ\u0000\u0000or an essayist like Jay Waring. Letâ\u0000\u0000ssee, there have been eight Halliday novels off the microfilms so far,and I think Leverett still has a couple in the vaults. Leverett mustbeâ\u0000\u0000â\u0000\u0000â\u0000\u0000â\u0000\u0000Marconi. Idonâ\u0000\u0000t want to hear about Leverett and Sons. Or MorrisHalliday, or Waring. I want to hear about longliners.â\u0000\u0000â\u0000\u0000Iâ\u0000\u0000m trying to tell you,â\u0000\u0000 Marconi said sullenly, the mask down.â\u0000\u0000No, youâ\u0000\u0000re not.Youâ\u0000\u0000re telling me that the longline ships go from onestellar system to another with merchandise. I know that.â\u0000\u0000â\u0000\u0000Then what do you want?â\u0000\u0000â\u0000\u0000Donâ\u0000\u0000t be difficult, Marconi. I want to know the facts. Allaboutlongliners. The big hush-hush. The candid explanations that explainnothingâ\u0000\u0000except that a starship is a starship. I know that theyâ\u0000\u0000reclosed-system, multigeneration jobs; a group of people get in on SiriusIVand their great-great-great-great-grandchildren come giggling andstumbling out on Halseyâ\u0000\u0000s Planet. I know that every couple ofgenerations your firmâ\u0000\u0000and mine, for that matterâ\u0000\u0000builds one with profitsthatwould be taxed off anyway and slings it out, stocked with seeds andfilm and sound tape and patent designs and manufacturing specificationsfor every new gimmick on the market, in the hope that itâ\u0000\u0000ll be backlongafter weâ\u0000\u0000re dead with a similar cargo to enrich your firmâ\u0000\u0000s and myfirmâ\u0000\u0000s then-current owners. Sounds sillyâ\u0000\u0000but, as I say, itâ\u0000\u0000s tax moneyanyhow. I know that your firm and mine staff the shipswith half a dozenbums of each sex, who are loaded aboard with a dandy case of deliriumtremens, contracted from spending their bounty money the only way theyknow how. And thatâ\u0000\u0000s just about all I know. Take itfrom there, Marconi.And be specific.â\u0000\u0000The little man shrugged irritably. â\u0000\u0000That gagâ\u0000\u0000s beginning to wear thin,Ross,â\u0000\u0000 he complained. â\u0000\u0000What do you want me to tell youâ\u0000\u0000the number ofwelds inBulkhead 47 of â\u0000\u0000Starship 74â\u0000\u0000? Whatâ\u0000\u0000s the difference? As yousaid, a starship is a starship is a longliner. Without them theinhabited solar systems would have no means of contact or commerce. Whatelse isthere to say?â\u0000\u0000Ross looked suddenly lost. â\u0000\u0000Iâ\u0000\u0000donâ\u0000\u0000t know,â\u0000\u0000 he said. â\u0000\u0000Donâ\u0000\u0000t you know,Marconi?â\u0000\u0000Marconi hesitated, and for a moment Ross was sure he did knowâ\u0000\u0000knewsomething, atany rate, something that might be an answer to the doubtsand nagging inconsistencies that were bothering him. But then Marconishrugged and looked at his watch and ordered another drink.But there was somethingwrong. Ross felt himself in the position of adiagnostician whose patient willfully refuses to tell where it hurts.The planet was sickâ\u0000\u0000but wouldnâ\u0000\u0000t admit it. Sick? Dying! Maybe he was onthe wrong track entirely.Maybe the starships had nothing to do with it.Maybe there was nothing that Marconi knew that would fit a piece intothe puzzle and make the answer come out all clearâ\u0000\u0000but Ghost Towncontinued to grow acre byacre, year by year. And Oldham still hadnâ\u0000\u0000tfound him a secretary capable of writing her own name.â\u0000\u0000According to the historians, everything fits nicely into place,â\u0000\u0000 Rosssaid, dubiously. â\u0000\u0000They say we camehere ourselves in longliners once,Marconi. Our ancestors under some man named Halsey colonized this place,fourteen hundred years ago. According to the longliners that come infrom other stars, their ancestorscolonized wherever they came from instarships from a place called Earth. Where is this Earth, Marconi?â\u0000\u0000Marconi said succinctly, â\u0000\u0000Look in the star charts. Itâ\u0000\u0000s there.â\u0000\u0000â\u0000\u0000Yes,"}
+{"doc_id":"doc_57","qid":"","text":"The Project Gutenberg EBook of The Tale of Two Bad Mice, by Beatrix PotterThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-useit under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: The Tale of Two Bad MiceAuthor: Beatrix PotterRelease Date: March 31, 2014 [EBook#45264]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE TALE OF TWO BAD MICE ***Produced by David Edwards, Emmy and the Online DistributedProofreading Team at http://www.pgdp.net(This file wasproduced from images generously made available by TheInternet Archive)THE TALE OF TWO BAD MICE    FOR    =W. M. L. W.=    THE LITTLE GIRL    WHO HAD THE DOLL'S HOUSE[Illustration]    THE TALEOF    TWO BAD MICE    BY    BEATRIX POTTER    _Author of    'The Tale of Peter Rabbit,' &c._    [Illustration]    LONDON    FREDERICK WARNE AND CO.    AND NEW YORK    1904    [_All rights reserved_]    COPYRIGHT1904    BY    FREDERICK WARNE & CO.    ENTERED AT STATIONERS' HALL.[Illustration]ONCE upon a time there was a very beautiful doll's-house; it was redbrick with white windows, and it had real muslin curtains anda frontdoor and a chimney.IT belonged to two Dolls called Lucinda and Jane; at least it belongedto Lucinda, but she never ordered meals.Jane was the Cook; but she never did any cooking, because the dinnerhad beenbought ready-made, in a box full of shavings.[Illustration][Illustration]THERE were two red lobsters and a ham, a fish, a pudding, and somepears and oranges.They would not come off the plates, but they wereextremely beautiful.ONE morning Lucinda and Jane had gone out for a drive in the doll'sperambulator. There was no one in the nursery, and it was very quiet.Presently there was a little scuffling, scratching noise in acornernear the fire-place, where there was a hole under the skirting-board.Tom Thumb put out his head for a moment, and then popped it in again.Tom Thumb was a mouse.[Illustration][Illustration]A MINUTEafterwards, Hunca Munca, his wife, put her head out, too; andwhen she saw that there was no one in the nursery, she ventured out onthe oilcloth under the coal-box.THE doll's-house stood at the other side of thefire-place. Tom Thumband Hunca Munca went cautiously across the hearthrug. They pushed thefront door--it was not fast.[Illustration][Illustration]TOM THUMB and Hunca Munca went upstairs and peeped intothedining-room. Then they squeaked with joy!Such a lovely dinner was laid out upon the table! There were tinspoons, and lead knives and forks, and two dolly-chairs--all _so_convenient!TOM THUMB set to work at onceto carve the ham. It was a beautifulshiny yellow, streaked with red.The knife crumpled up and hurt him; he put his finger in his mouth.\"It is not boiled enough; it is hard. You have a try, HuncaMunca.\"[Illustration][Illustration]HUNCA MUNCA stood up in her chair, and chopped at the ham with anotherlead knife.\"It's as hard as the hams at the cheesemonger's,\" said Hunca Munca.THE ham broke off the platewith a jerk, and rolled under the table.\"Let it alone,\" said Tom Thumb; \"give me some fish, Hunca Munca!\"[Illustration][Illustration]HUNCA MUNCA tried every tin spoon in turn; the fish was glued to thedish.Then TomThumb lost his temper. He put the ham in the middle of thefloor, and hit it with the tongs and with the shovel--bang, bang,smash, smash!The ham flew all into pieces, for underneath the shiny paint it wasmade ofnothing but plaster!THEN there was no end to the rage and disappointment of Tom Thumb andHunca Munca. They broke up the pudding, the lobsters, the pears and theoranges.As the fish would not come off the plate,they put it into the red-hotcrinkly paper fire in the kitchen; but it would not burn either.[Illustration][Illustration]TOM THUMB went up the kitchen chimney and looked out at the top--therewas no soot.WHILE TomThumb was up the chimney, Hunca Munca had anotherdisappointment. She found some tiny canisters upon the dresser,labelled--Rice--Coffee--Sago--but when she turned them upside down,there was nothing insideexcept red and blue beads.[Illustration][Illustration]THEN those mice set to work to do all the mischief theycould--especially Tom Thumb! He took Jane's clothes out of the chest ofdrawers in her bedroom, and he threwthem out of the top floor window.But Hunca Munca had a frugal mind. After pulling half the feathers outof Lucinda's bolster, she remembered that she herself was in want of afeather bed.WITH Tom Thumb's assistanceshe carried the bolster downstairs, andacross the hearth-rug. It was difficult to squeeze the bolster into themouse-hole; but they managed it somehow.[Illustration][Illustration]THEN Hunca Munca went back andfetched a chair, a book-case, abird-cage, and several small odds and ends. The book-case and thebird-cage refused to go into the mouse-hole.HUNCA MUNCA left them behind the coal-box, and went to fetch acradle.[Illustration][Illustration]HUNCA MUNCA was just returning with another chair, when suddenly therewas a noise of talking outside upon the landing. The mice rushed backto their hole, and the dolls came into thenursery.WHAT a sight met the eyes of Jane and Lucinda!Lucinda sat upon the upset kitchen stove and stared; and Jane leantagainst the kitchen dresser and smiled--but neither of them madeanyremark.[Illustration][Illustration]THE book-case and the bird-cage were rescued from under thecoal-box--but Hunca Munca has got the cradle, and some of Lucinda'sclothes.SHE also has some useful pots and pans,and several other things.[Illustration][Illustration]THE little girl that the doll's-house belonged to, said,--\"I will geta doll dressed like a policeman!\"BUT the nurse said,--\"I will set a mouse-trap!\"[Illustration]SO that isthe story of the two Bad Mice,--but they were not so veryvery naughty after all, because Tom Thumb paid for everything he broke.He found a crooked sixpence under the hearthrug; and upon ChristmasEve, he andHunca Munca stuffed it into one of the stockings of Lucindaand Jane.[Illustration][Illustration]AND very early every morning--before anybody is awake--Hunca Muncacomes with her dust-pan and her broom to sweepthe Dollies' house!    THE END.    PRINTED BY    EDMUND EVANS,    THE RACQUET COURT PRESS,    LONDON, S.E.End of Project Gutenberg's The Tale of Two Bad Mice, by Beatrix Potter*** END OF THIS PROJECTGUTENBERG EBOOK THE TALE OF TWO BAD MICE ******** This file should be named 45264.txt or 45264.zip *****This and all associated files of various formats will be foundin:        http://www.gutenberg.org/4/5/2/6/45264/Produced by David Edwards, Emmy and the Online DistributedProofreading Team at http://www.pgdp.net (This file wasproduced from images generously madeavailable by TheInternet Archive)Updated editions will replace the previous one--the old editionswill be renamed.Creating the works from public domain print editions means that noone owns a United States copyright inthese works, so the Foundation(and you!) can copy and distribute it in the United States withoutpermission and without paying copyright royalties.  Special rules,set forth in the General Terms of Use part of this license,apply tocopying and distributing Project Gutenberg-tm electronic works toprotect the PROJECT GUTENBERG-tm concept and trademark.  ProjectGutenberg is a registered trademark, and may not be used if youchargefor the eBooks, unless you receive specific permission.  If youdo not charge anything for copies of this eBook, complying with therules is very easy.  You may use this eBook for nearly any purposesuch as creation ofderivative works, reports, performances andresearch.  They may be modified and printed and given away--you may dopractically ANYTHING with public domain eBooks.  Redistribution issubject to the trademark license,especially commercialredistribution.*** START: FULL LICENSE ***THE FULL PROJECT GUTENBERG LICENSEPLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORKTo protect the Project Gutenberg-tmmission of promoting the freedistribution of electronic works, by using or distributing this work(or any other work associated in any way with the phrase \"ProjectGutenberg\"), you agree to comply with all the terms ofthe Full ProjectGutenberg-tm License available with this file or online at  www.gutenberg.org/license.Section 1.  General Terms of Use and Redistributing Project Gutenberg-tmelectronic works1.A.  By reading or usingany part of this Project Gutenberg-tmelectronic work, you indicate that you have read, understand, agree toand accept all the terms of this license and intellectual property(trademark/copyright) agreement.  If you donot agree to abide by allthe terms of this agreement, you must cease using and return or destroyall copies of Project Gutenberg-tm electronic works in your possession.If you paid a fee for obtaining a copy of or accessto a ProjectGutenberg-tm electronic work and you do not agree to be bound by theterms of this agreement, you may obtain a refund from the person orentity to whom you paid the fee as set forth in paragraph1.E.8.1.B.  \"Project Gutenberg\" is a registered trademark.  It may only beused on or associated in any way with an electronic work by people whoagree to be bound by the terms of this agreement.  There are afewthings that you can do with most Project Gutenberg-tm electronic workseven without complying with the full terms of this agreement.  Seeparagraph 1.C below.  There are a lot of things you can do withProjectGutenberg-tm electronic works if you follow the terms of this agreementand help preserve free future access to Project Gutenberg-tm electronicworks.  See paragraph 1.E below.1.C.  The Project GutenbergLiterary Archive Foundation (\"the Foundation\"or PGLAF), owns a compilation copyright in the collection of ProjectGutenberg-tm electronic works.  Nearly all the individual works in thecollection are in the public domain inthe United States.  If anindividual work is in the public domain in the United States and you arelocated in the United States, we do not claim a right to prevent you fromcopying, distributing, performing, displaying orcreating derivativeworks based on the work as long as all references to Project Gutenbergare removed.  Of course, we hope that you will support the ProjectGutenberg-tm mission of promoting free access to electronicworks byfreely sharing Project Gutenberg-tm works in compliance with the terms ofthis agreement for keeping the Project Gutenberg-tm name associated withthe work.  You can easily comply with the terms of thisagreement bykeeping this work in the same format with its attached full ProjectGutenberg-tm License when you share it without charge with others.1.D.  The copyright laws of the place where you are located alsogovernwhat you can do with this work.  Copyright laws in most countries are ina constant state of change.  If you are outside the United States, checkthe laws of your country in addition to the terms of thisagreementbefore downloading, copying, displaying, performing, distributing orcreating derivative works based on this work or any other ProjectGutenberg-tm work.  The Foundation makes no representationsconcerningthe copyright status of any work in any country outside the UnitedStates.1.E.  Unless you have removed all references to Project Gutenberg:1.E.1.  The following sentence, with active links to, or otherimmediateaccess to, the full Project Gutenberg-tm License must appear prominentlywhenever any copy of a Project Gutenberg-tm work (any work on which thephrase \"Project Gutenberg\" appears, or with which thephrase \"ProjectGutenberg\" is associated) is accessed, displayed, performed, viewed,copied or distributed:This eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You maycopy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.org1.E.2.  If an individual Project Gutenberg-tm electronic work is derivedfrom thepublic domain (does not contain a notice indicating that it isposted with permission of the copyright holder), the work can be copiedand distributed to anyone in the United States without paying any feesor charges.  Ifyou are redistributing or providing access to a workwith the phrase \"Project Gutenberg\" associated with or appearing on thework, you must comply either with the requirements of paragraphs 1.E.1through 1.E.7 orobtain permission for the use of the work and theProject Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or1.E.9.1.E.3.  If an individual Project Gutenberg-tm electronic work is postedwith the permission ofthe copyright holder, your use and distributionmust comply with both paragraphs 1.E.1 through 1.E.7 and any additionalterms imposed by the copyright holder.  Additional terms will be linkedto the ProjectGutenberg-tm License for all works posted with thepermission of the copyright holder found at the beginning of this work.1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tmLicense terms from thiswork, or any files containing a part of thiswork or any other work associated with Project Gutenberg-tm.1.E.5.  Do not copy, display, perform, distribute or redistribute thiselectronic work, or any part of this electronicwork, withoutprominently displaying the sentence set forth in paragraph 1.E.1 withactive links or immediate access to the full terms of the ProjectGutenberg-tm License.1.E.6.  You may convert to and distribute thiswork in any binary,compressed, marked up, nonproprietary or proprietary form, including anyword processing or hypertext form.  However, if you provide access to ordistribute copies of a Project Gutenberg-tm work ina format other than\"Plain Vanilla ASCII\" or other format used in the official versionposted on the official Project Gutenberg-tm web site (www.gutenberg.org),you must, at no additional cost, fee or expense to the user,provide acopy, a means of exporting a copy, or a means of obtaining a copy uponrequest, of the work in its original \"Plain Vanilla ASCII\" or otherform.  Any alternate format must include the full ProjectGutenberg-tmLicense as specified in paragraph 1.E.1.1.E.7.  Do not charge a fee for access to, viewing, displaying,performing, copying or distributing any Project Gutenberg-tm worksunless you comply with paragraph1.E.8 or 1.E.9.1.E.8.  You may charge a reasonable fee for copies of or providingaccess to or distributing Project Gutenberg-tm electronic works providedthat- You pay a royalty fee of 20% of the gross profits you derivefrom     the use of Project Gutenberg-tm works calculated using the method     you already use to calculate your applicable taxes.  The fee is     owed to the owner of the Project Gutenberg-tm trademark, but he     hasagreed to donate royalties under this paragraph to the     Project Gutenberg Literary Archive Foundation.  Royalty payments     must be paid within 60 days following each date on which you     prepare (or are legallyrequired to prepare) your periodic tax     returns.  Royalty payments should be clearly marked as such and     sent to the Project Gutenberg Literary Archive Foundation at the     address specified in Section 4,\"Information about donations to     the Project Gutenberg Literary Archive Foundation.\"- You provide a full refund of any money paid by a user who notifies     you in writing (or by e-mail) within 30 days of receipt thats/he     does not agree to the terms of the full Project Gutenberg-tm     License.  You must require such a user to return or     destroy all copies of the works possessed in a physical medium     and discontinue all use ofand all access to other copies of     Project Gutenberg-tm works.- You provide, in accordance with paragraph 1.F.3, a full refund of any     money paid for a work or a replacement copy, if a defect in the     electronicwork is discovered and reported to you within 90 days     of receipt of the work.- You comply with all other terms of this agreement for free     distribution of Project Gutenberg-tm works.1.E.9.  If you wish to charge afee or distribute a Project Gutenberg-tmelectronic work or group of works on different terms than are setforth in this agreement, you must obtain permission in writing fromboth the Project Gutenberg Literary ArchiveFoundation and MichaelHart, the owner of the Project Gutenberg-tm trademark.  Contact theFoundation as set forth in Section 3 below.1.F.1.F.1.  Project Gutenberg volunteers and employees expend considerableeffortto identify, do copyright research on, transcribe and proofreadpublic domain works in creating the Project Gutenberg-tmcollection.  Despite these efforts, Project Gutenberg-tm electronicworks, and the medium on whichthey may be stored, may contain\"Defects,\" such as, but not limited to, incomplete, inaccurate orcorrupt data, transcription errors, a copyright or other intellectualproperty infringement, a defective or damaged disk orother medium, acomputer virus, or computer codes that damage or cannot be read byyour equipment.1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the \"Rightof Replacement or Refund\" describedin paragraph 1.F.3, the ProjectGutenberg Literary Archive Foundation, the owner of the ProjectGutenberg-tm trademark, and any other party distributing a ProjectGutenberg-tm electronic work under this agreement,disclaim allliability to you for damages, costs and expenses, including legalfees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICTLIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACTEXCEPT THOSEPROVIDED IN PARAGRAPH 1.F.3.  YOU AGREE THAT THE FOUNDATION, THETRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BELIABLE TO YOU FOR ACTUAL, DIRECT,INDIRECT, CONSEQUENTIAL, PUNITIVE ORINCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCHDAMAGE.1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover adefect inthis electronic work within 90 days of receiving it, you canreceive a refund of the money (if any) you paid for it by sending awritten explanation to the person you received the work from.  If youreceived the work on aphysical medium, you must return the medium withyour written explanation.  The person or entity that provided you withthe defective work may elect to provide a replacement copy in lieu of arefund.  If you receivedthe work electronically, the person or entityproviding it to you may choose to give you a second opportunity toreceive the work electronically in lieu of a refund.  If the second copyis also defective, you may demand arefund in writing without furtheropportunities to fix the problem.1.F.4.  Except for the limited right of replacement or refund set forthin paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NOOTHERWARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TOWARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.1.F.5.  Some states do not allow disclaimers of certainimpliedwarranties or the exclusion or limitation of certain types of damages.If any disclaimer or limitation set forth in this agreement violates thelaw of the state applicable to this agreement, the agreement shallbeinterpreted to make the maximum disclaimer or limitation permitted bythe applicable state law.  The invalidity or unenforceability of anyprovision of this agreement shall not void the remainingprovisions.1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, thetrademark owner, any agent or employee of the Foundation, anyoneproviding copies of Project Gutenberg-tm electronic works inaccordancewith this agreement, and any volunteers associated with the production,promotion and distribution of Project Gutenberg-tm electronic works,harmless from all liability, costs and expenses, including legalfees,that arise directly or indirectly from any of the following which you door cause to occur: (a) distribution of this or any Project Gutenberg-tmwork, (b) alteration, modification, or additions or deletions to anyProjectGutenberg-tm work, and (c) any Defect you cause.Section  2.  Information about the Mission of Project Gutenberg-tmProject Gutenberg-tm is synonymous with the free distribution ofelectronic works in formatsreadable by the widest variety of computersincluding obsolete, old, middle-aged and new computers.  It existsbecause of the efforts of hundreds of volunteers and donations frompeople in all walks of life.Volunteers andfinancial support to provide volunteers with theassistance they need are critical to reaching Project Gutenberg-tm'sgoals and ensuring that the Project Gutenberg-tm collection willremain freely available for generations"}
+{"doc_id":"doc_58","qid":"","text":"Project Gutenberg's The Tale of Ginger and Pickles, by Beatrix PotterThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: The Tale of Ginger and PicklesAuthor: Beatrix PotterRelease Date: February 2, 2005 [EBook#14877]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE TALE OF GINGER AND PICKLES ***Produced by Robert Cicconetti, Melissa Er-Raqabi and the PG OnlineDistributed ProofreadingTeam.THE TALE OF GINGER AND PICKLESDEDICATEDWITH VERY KIND REGARDS TO OLD MR. JOHN TAYLOR,WHO \"THINKS HE MIGHT PASS AS A DORMOUSE!\" (THREE YEARS IN BED AND NEVER AGRUMBLE!)[Illustration]THE TALE OF GINGER & PICKLESBY BEATRIX POTTER_Author of \"The Tale of Peter Rabbit,\" &c._[Illustration]FREDERICK WARNE1909 by Frederick Warne & Co.Printed and bound in Great BritainbyWilliam Clowes Limited, Beccles and London[Illustration]Once upon a time there was a village shop. The name over the window was\"Ginger and Pickles.\"It was a little small shop just the right size for Dolls--Lucindaand JaneDoll-cook always bought their groceries at Ginger and Pickles.The counter inside was a convenient height for rabbits. Ginger andPickles sold red spotty pocket-handkerchiefs at a penny three farthings.They alsosold sugar, and snuff and galoshes.In fact, although it was such a small shop it sold nearlyeverything--except a few things that you want in a hurry--like bootlaces,hair-pins and mutton chops.Ginger and Pickles werethe people who kept the shop. Ginger was a yellowtom-cat, and Pickles was a terrier.The rabbits were always a little bit afraid of Pickles.[Illustration][Illustration]The shop was also patronized by mice--only the micewere rather afraid ofGinger.Ginger usually requested Pickles to serve them, because he said it madehis mouth water.\"I cannot bear,\" said he, \"to see them going out at the door carryingtheir little parcels.\"\"I have thesame feeling about rats,\" replied Pickles, \"but it wouldnever do to eat our own customers; they would leave us and go to TabithaTwitchit's.\"\"On the contrary, they would go nowhere,\" replied Ginger gloomily.(TabithaTwitchit kept the only other shop in the village. She did notgive credit.)[Illustration][Illustration]Ginger and Pickles gave unlimited credit.Now the meaning of \"credit\" is this--when a customer buys a bar of soap,insteadof the customer pulling out a purse and paying for it--she saysshe will pay another time.And Pickles makes a low bow and says, \"With pleasure, madam,\" and it iswritten down in a book.The customers come again andagain, and buy quantities, in spite of beingafraid of Ginger and Pickles.But there is no money in what is called the \"till.\"[Illustration][Illustration]The customers came in crowds every day and bought quantities,especiallythe toffee customers. But there was always no money; they never paid foras much as a pennyworth of peppermints.But the sales were enormous, ten times as large as Tabitha Twitchit's.[Illustration]As therewas always no money, Ginger and Pickles were obliged to eattheir own goods.Pickles ate biscuits and Ginger ate a dried haddock.They ate them by candle-light after the shop was closed.[Illustration]When it came toJan. 1st there was still no money, and Pickles was unableto buy a dog licence.\"It is very unpleasant, I am afraid of the police,\" said Pickles.\"It is your own fault for being a terrier; _I_ do not require a licence,and neitherdoes Kep, the Collie dog.\"\"It is very uncomfortable, I am afraid I shall be summoned. I have triedin vain to get a licence upon credit at the Post Office;\" said Pickles.\"The place is full of policemen. I met one as I wascoming home.\"\"Let us send in the bill again to Samuel Whiskers, Ginger, he owes 22/9for bacon.\"\"I do not believe that he intends to pay at all,\" replied Ginger.[Illustration]\"And I feel sure that Anna Maria pocketsthings--Where are all the creamcrackers?\"\"You have eaten them yourself,\" replied Ginger.[Illustration]Ginger and Pickles retired into the back parlour.They did accounts. They added up sums and sums, andsums.\"Samuel Whiskers has run up a bill as long as his tail; he has had anounce and three-quarters of snuff since October.\"\"What is seven pounds of butter at 1/3, and a stick of sealing wax andfour matches?\"\"Send inall the bills again to everybody 'with comp'ts,'\" replied Ginger.[Illustration][Illustration]After a time they heard a noise in the shop, as if something had beenpushed in at the door. They came out of the back parlour.There was anenvelope lying on the counter, and a policeman writing in a note-book!Pickles nearly had a fit, he barked and he barked and made little rushes.\"Bite him, Pickles! bite him!\" spluttered Ginger behind asugar-barrel,\"he's only a German doll!\"The policeman went on writing in his notebook; twice he put his pencil inhis mouth, and once he dipped it in the treacle.Pickles barked till he was hoarse. But still the policemantook no notice.He had bead eyes, and his helmet was sewed on with stitches.[Illustration]At length on his last little rush--Pickles found that the shop was empty.The policeman had disappeared.But the enveloperemained.[Illustration][Illustration]\"Do you think that he has gone to fetch a real live policeman? I am afraidit is a summons,\" said Pickles.\"No,\" replied Ginger, who had opened the envelope, \"it is the rates andtaxes,£3 19 11-3/4.\"\"This is the last straw,\" said Pickles, \"let us close the shop.\"They put up the shutters, and left. But they have not removed from theneighbourhood. In fact some people wish they had gonefurther.[Illustration]Ginger is living in the warren. I do not know what occupation he pursues;he looks stout and comfortable.[Illustration][Illustration]Pickles is at present a gamekeeper.[Illustration]The closing of theshop caused great inconvenience. Tabitha Twitchitimmediately raised the price of everything a half-penny; and she continuedto refuse to give credit.Of course there are the trades-men's carts--the butcher, the fish-manandTimothy Baker.But a person cannot live on \"seed wigs\" and sponge-cake andbutter-buns--not even when the sponge-cake is as good as Timothy's![Illustration]After a time Mr. John Dormouse and his daughterbegan to sell peppermintsand candles.But they did not keep \"self-fitting sixes\"; and it takes five mice tocarry one seven inch candle.[Illustration][Illustration]Besides--the candles which they sell behave very strangelyin warmweather.[Illustration]And Miss Dormouse refused to take back the ends when they were broughtback to her with complaints.And when Mr. John Dormouse was complained to, he stayed in bed, and wouldsaynothing but \"very snug;\" which is not the way to carry on a retailbusiness.[Illustration][Illustration]So everybody was pleased when Sally Henny Penny sent out a printed posterto say that she was going to re-open theshop--\"Henny's Opening Sale!Grand co-operative Jumble! Penny's penny prices! Come buy, come try, comebuy!\"The poster really was most 'ticing.[Illustration]There was a rush upon the opening day. The shop wascrammed withcustomers, and there were crowds of mice upon the biscuit canisters.Sally Henny Penny gets rather flustered when she tries to count outchange, and she insists on being paid cash; but she is quiteharmless.[Illustration]And she has laid in a remarkable assortment of bargains.There is something to please everybody.End of Project Gutenberg's The Tale of Ginger and Pickles, by Beatrix Potter*** END OF THISPROJECT GUTENBERG EBOOK THE TALE OF GINGER AND PICKLES ******** This file should be named 14877-8.txt or 14877-8.zip *****This and all associated files of various formats will be foundin:        http://www.gutenberg.net/1/4/8/7/14877/Produced by Robert Cicconetti, Melissa Er-Raqabi and the PG OnlineDistributed Proofreading Team.Updated editions will replace the previous one--the old editionswillbe renamed.Creating the works from public domain print editions means that noone owns a United States copyright in these works, so the Foundation(and you!) can copy and distribute it in the United Stateswithoutpermission and without paying copyright royalties.  Special rules,set forth in the General Terms of Use part of this license, apply tocopying and distributing Project Gutenberg-tm electronic works toprotect thePROJECT GUTENBERG-tm concept and trademark.  ProjectGutenberg is a registered trademark, and may not be used if youcharge for the eBooks, unless you receive specific permission.  If youdo not charge anythingfor copies of this eBook, complying with therules is very easy.  You may use this eBook for nearly any purposesuch as creation of derivative works, reports, performances andresearch.  They may be modified andprinted and given away--you may dopractically ANYTHING with public domain eBooks.  Redistribution issubject to the trademark license, especially commercialredistribution.*** START: FULL LICENSE ***THE FULLPROJECT GUTENBERG LICENSEPLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORKTo protect the Project Gutenberg-tm mission of promoting the freedistribution of electronic works, by using ordistributing this work(or any other work associated in any way with the phrase \"ProjectGutenberg\"), you agree to comply with all the terms of the Full ProjectGutenberg-tm License (available with this file or onlineathttp://gutenberg.net/license).Section 1.  General Terms of Use and Redistributing Project Gutenberg-tmelectronic works1.A.  By reading or using any part of this Project Gutenberg-tmelectronic work, you indicatethat you have read, understand, agree toand accept all the terms of this license and intellectual property(trademark/copyright) agreement.  If you do not agree to abide by allthe terms of this agreement, you mustcease using and return or destroyall copies of Project Gutenberg-tm electronic works in your possession.If you paid a fee for obtaining a copy of or access to a ProjectGutenberg-tm electronic work and you do not agreeto be bound by theterms of this agreement, you may obtain a refund from the person orentity to whom you paid the fee as set forth in paragraph 1.E.8.1.B.  \"Project Gutenberg\" is a registered trademark.  It may onlybeused on or associated in any way with an electronic work by people whoagree to be bound by the terms of this agreement.  There are a fewthings that you can do with most Project Gutenberg-tm electronic worksevenwithout complying with the full terms of this agreement.  Seeparagraph 1.C below.  There are a lot of things you can do with ProjectGutenberg-tm electronic works if you follow the terms of this agreementand helppreserve free future access to Project Gutenberg-tm electronicworks.  See paragraph 1.E below.1.C.  The Project Gutenberg Literary Archive Foundation (\"the Foundation\"or PGLAF), owns a compilation copyright in thecollection of ProjectGutenberg-tm electronic works.  Nearly all the individual works in thecollection are in the public domain in the United States.  If anindividual work is in the public domain in the United States and youarelocated in the United States, we do not claim a right to prevent you fromcopying, distributing, performing, displaying or creating derivativeworks based on the work as long as all references to Project Gutenbergareremoved.  Of course, we hope that you will support the ProjectGutenberg-tm mission of promoting free access to electronic works byfreely sharing Project Gutenberg-tm works in compliance with the terms ofthisagreement for keeping the Project Gutenberg-tm name associated withthe work.  You can easily comply with the terms of this agreement bykeeping this work in the same format with its attached fullProjectGutenberg-tm License when you share it without charge with others.1.D.  The copyright laws of the place where you are located also governwhat you can do with this work.  Copyright laws in most countries areina constant state of change.  If you are outside the United States, checkthe laws of your country in addition to the terms of this agreementbefore downloading, copying, displaying, performing, distributing orcreatingderivative works based on this work or any other ProjectGutenberg-tm work.  The Foundation makes no representations concerningthe copyright status of any work in any country outside the UnitedStates.1.E.  Unlessyou have removed all references to Project Gutenberg:1.E.1.  The following sentence, with active links to, or other immediateaccess to, the full Project Gutenberg-tm License must appear prominentlywhenever any copyof a Project Gutenberg-tm work (any work on which thephrase \"Project Gutenberg\" appears, or with which the phrase \"ProjectGutenberg\" is associated) is accessed, displayed, performed, viewed,copied ordistributed:This eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwiththis eBook or online at www.gutenberg.net1.E.2.  If an individual Project Gutenberg-tm electronic work is derivedfrom the public domain (does not contain a notice indicating that it isposted with permission of thecopyright holder), the work can be copiedand distributed to anyone in the United States without paying any feesor charges.  If you are redistributing or providing access to a workwith the phrase \"Project Gutenberg\"associated with or appearing on thework, you must comply either with the requirements of paragraphs 1.E.1through 1.E.7 or obtain permission for the use of the work and theProject Gutenberg-tm trademark as setforth in paragraphs 1.E.8 or1.E.9.1.E.3.  If an individual Project Gutenberg-tm electronic work is postedwith the permission of the copyright holder, your use and distributionmust comply with both paragraphs 1.E.1through 1.E.7 and any additionalterms imposed by the copyright holder.  Additional terms will be linkedto the Project Gutenberg-tm License for all works posted with thepermission of the copyright holder found at thebeginning of this work.1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tmLicense terms from this work, or any files containing a part of thiswork or any other work associated with ProjectGutenberg-tm.1.E.5.  Do not copy, display, perform, distribute or redistribute thiselectronic work, or any part of this electronic work, withoutprominently displaying the sentence set forth in paragraph 1.E.1 withactivelinks or immediate access to the full terms of the ProjectGutenberg-tm License.1.E.6.  You may convert to and distribute this work in any binary,compressed, marked up, nonproprietary or proprietary form, includinganyword processing or hypertext form.  However, if you provide access to ordistribute copies of a Project Gutenberg-tm work in a format other than\"Plain Vanilla ASCII\" or other format used in the official versionpostedon the official Project Gutenberg-tm web site (www.gutenberg.net),you must, at no additional cost, fee or expense to the user, provide acopy, a means of exporting a copy, or a means of obtaining a copy uponrequest,of the work in its original \"Plain Vanilla ASCII\" or otherform.  Any alternate format must include the full Project Gutenberg-tmLicense as specified in paragraph 1.E.1.1.E.7.  Do not charge a fee for access to, viewing,displaying,performing, copying or distributing any Project Gutenberg-tm worksunless you comply with paragraph 1.E.8 or 1.E.9.1.E.8.  You may charge a reasonable fee for copies of or providingaccess to or distributingProject Gutenberg-tm electronic works providedthat- You pay a royalty fee of 20% of the gross profits you derive from     the use of Project Gutenberg-tm works calculated using the method     you already use tocalculate your applicable taxes.  The fee is     owed to the owner of the Project Gutenberg-tm trademark, but he     has agreed to donate royalties under this paragraph to the     Project Gutenberg Literary ArchiveFoundation.  Royalty payments     must be paid within 60 days following each date on which you     prepare (or are legally required to prepare) your periodic tax     returns.  Royalty payments should be clearly markedas such and     sent to the Project Gutenberg Literary Archive Foundation at the     address specified in Section 4, \"Information about donations to     the Project Gutenberg Literary Archive Foundation.\"- You provide afull refund of any money paid by a user who notifies     you in writing (or by e-mail) within 30 days of receipt that s/he     does not agree to the terms of the full Project Gutenberg-tm     License.  You must require sucha user to return or     destroy all copies of the works possessed in a physical medium     and discontinue all use of and all access to other copies of     Project Gutenberg-tm works.- You provide, in accordance withparagraph 1.F.3, a full refund of any     money paid for a work or a replacement copy, if a defect in the     electronic work is discovered and reported to you within 90 days     of receipt of the work.- You comply with allother terms of this agreement for free     distribution of Project Gutenberg-tm works.1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tmelectronic work or group of works on different terms than aresetforth in this agreement, you must obtain permission in writing fromboth the Project Gutenberg Literary Archive Foundation and MichaelHart, the owner of the Project Gutenberg-tm trademark.  Contact theFoundationas set forth in Section 3 below.1.F.1.F.1.  Project Gutenberg volunteers and employees expend considerableeffort to identify, do copyright research on, transcribe and proofreadpublic domain works in creating theProject Gutenberg-tmcollection.  Despite these efforts, Project Gutenberg-tm electronicworks, and the medium on which they may be stored, may contain\"Defects,\" such as, but not limited to, incomplete, inaccurateorcorrupt data, transcription errors, a copyright or other intellectualproperty infringement, a defective or damaged disk or other medium, acomputer virus, or computer codes that damage or cannot be read byyourequipment.1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the \"Rightof Replacement or Refund\" described in paragraph 1.F.3, the ProjectGutenberg Literary Archive Foundation, the owner of theProjectGutenberg-tm trademark, and any other party distributing a ProjectGutenberg-tm electronic work under this agreement, disclaim allliability to you for damages, costs and expenses, including legalfees.  YOUAGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICTLIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSEPROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION,THETRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BELIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE ORINCIDENTAL DAMAGES EVEN IF YOU GIVENOTICE OF THE POSSIBILITY OF SUCHDAMAGE.1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover adefect in this electronic work within 90 days of receiving it, you canreceive a refund of the money(if any) you paid for it by sending awritten explanation to the person you received the work from.  If youreceived the work on a physical medium, you must return the medium withyour written explanation.  The personor entity that provided you withthe defective work may elect to provide a replacement copy in lieu of arefund.  If you received the work electronically, the person or entityproviding it to you may choose to give you asecond opportunity toreceive the work electronically in lieu of a refund.  If the second copyis also defective, you may demand a refund in writing without furtheropportunities to fix the problem.1.F.4.  Except for thelimited right of replacement or refund set forthin paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHERWARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITEDTOWARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.1.F.5.  Some states do not allow disclaimers of certain impliedwarranties or the exclusion or limitation of certain types of damages.If anydisclaimer or limitation set forth in this agreement violates thelaw of the state applicable to this agreement, the agreement shall beinterpreted to make the maximum disclaimer or limitation permitted bythe applicablestate law.  The invalidity or unenforceability of anyprovision of this agreement shall not void the remaining provisions.1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, thetrademark owner, anyagent or employee of the Foundation, anyoneproviding copies of Project Gutenberg-tm electronic works in accordancewith this agreement, and any volunteers associated with the production,promotion and distribution"}
+{"doc_id":"doc_59","qid":"","text":"The Project Gutenberg eBook, Ruth, by Elizabeth Cleghorn GaskellThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it underthe terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: RuthAuthor: Elizabeth Cleghorn GaskellRelease Date: December 26, 2001  [eBook #4275]Most recently updatedMarch 1, 2008Language: English***START OF THE PROJECT GUTENBERG EBOOK RUTH***E-text prepared by Charles Aldarondoand revised by Joseph E. Loewenstein, M.D.RUTHbyELIZABETH GASKELLFirst publishedin book form by Chapman and Hall in 1853CONTENTS        I. The Dressmaker's Apprentice at Work       II. Ruth Goes to the Shire-Hall      III. Sunday at Mrs Mason's       IV. Treading in Perilous Places        V. In NorthWales       VI. Troubles Gather About Ruth      VII. The Crisis--Watching and Waiting     VIII. Mrs Bellingham \"Does the Thing Handsomely\"       IX. The Storm-Spirit Subdued        X. A Note and the Answer       XI.Thurstan and Faith Benson      XII. Losing Sight of the Welsh Mountains     XIII. The Dissenting Minister's Household      XIV. Ruth's First Sunday at Eccleston       XV. Mother and Child      XVI. Sally Tells of HerSweethearts, and Discourses           on the Duties of Life     XVII. Leonard's Christening    XVIII. Ruth Becomes a Governess in Mr Bradshaw's Family      XIX. After Five Years       XX. Jemima Refuses to BeManaged      XXI. Mr Farquhar's Attentions Transferred     XXII. The Liberal Candidate and His Precursor    XXIII. Recognition     XXIV. The Meeting on the Sands      XXV. Jemima Makes a Discovery     XXVI. MrBradshaw's Virtuous Indignation    XXVII. Preparing to Stand on the Truth   XXVIII. An Understanding Between Lovers     XXIX. Sally Takes Her Money Out of the Bank      XXX. The Forged Deed     XXXI. An Accident tothe Dover Coach    XXXII. The Bradshaw Pew Again Occupied   XXXIII. A Mother to Be Proud Of    XXXIV. \"I Must Go and Nurse Mr Bellingham\"     XXXV. Out of Darkness into Light    XXXVI. The End   Drop, drop, slowtears!   And bathe those beauteous feet,   Which brought from heaven   The news and Prince of peace.   Cease not, wet eyes,   For mercy to entreat:   To cry for vengeance   Sin doth never cease.   In your deepfloods   Drown all my faults and fears;   Nor let His eye   See sin, but through my tears.   _Phineas Fletcher_CHAPTER IThe Dressmaker's Apprentice at WorkThere is an assize-town in one of the eastern counties whichwas muchdistinguished by the Tudor sovereigns, and, in consequence of theirfavour and protection, attained a degree of importance that surprisesthe modern traveller.A hundred years ago its appearance was that ofpicturesque grandeur.The old houses, which were the temporary residences of such of thecounty-families as contented themselves with the gaieties of aprovincial town, crowded the streets and gave them the irregularbutnoble appearance yet to be seen in the cities of Belgium. The sidesof the streets had a quaint richness, from the effect of the gables,and the stacks of chimneys which cut against the blue sky above;while, if the eyefell lower down, the attention was arrested by allkinds of projections in the shape of balcony and oriel; and it wasamusing to see the infinite variety of windows that had been crammedinto the walls long before Mr Pitt'sdays of taxation. The streetsbelow suffered from all these projections and advanced stories above;they were dark, and ill-paved with large, round, jolting pebbles, andwith no side-path protected by kerb-stones; therewere no lamp-postsfor long winter nights; and no regard was paid to the wants of themiddle class, who neither drove about in coaches of their own, norwere carried by their own men in their own sedans into theveryhalls of their friends. The professional men and their wives, theshopkeepers and their spouses, and all such people, walked about atconsiderable peril both night and day. The broad unwieldy carriageshemmed themup against the houses in the narrow streets. Theinhospitable houses projected their flights of steps almost into thecarriage-way, forcing pedestrians again into the danger they hadavoided for twenty or thirty paces.Then, at night, the only lightwas derived from the glaring, flaring oil-lamps hung above the doorsof the more aristocratic mansions; just allowing space for thepassers-by to become visible, before they againdisappeared into thedarkness, where it was no uncommon thing for robbers to be in waitingfor their prey.The traditions of those bygone times, even to the smallest socialparticular, enable one to understand moreclearly the circumstanceswhich contributed to the formation of character. The daily lifeinto which people are born, and into which they are absorbed beforethey are well aware, forms chains which only one in a hundredhasmoral strength enough to despise, and to break when the right timecomes--when an inward necessity for independent individual actionarises, which is superior to all outward conventionalities. Thereforeit is well toknow what were the chains of daily domestic habit whichwere the natural leading-strings of our forefathers before theylearnt to go alone.The picturesqueness of those ancient streets has departed now.The Astleys, theDunstans, the Waverhams--names of power in thatdistrict--go up duly to London in the season, and have sold theirresidences in the county-town fifty years ago, or more. And when thecounty-town lost its attraction forthe Astleys, the Dunstans, theWaverhams, how could it be supposed that the Domvilles, the Bextons,and the Wildes would continue to go and winter there in theirsecond-rate houses, and with their increasedexpenditure? So thegrand old houses stood empty awhile; and then speculators venturedto purchase, and to turn the deserted mansions into many smallerdwellings, fitted for professional men, or even (bend your earlower,lest the shade of Marmaduke, first Baron Waverham, hear) into shops!Even that was not so very bad, compared with the next innovation onthe old glories. The shopkeepers found out that the oncefashionablestreet was dark, and that the dingy light did not show off theirgoods to advantage; the surgeon could not see to draw his patient'steeth; the lawyer had to ring for candles an hour earlier than hewasaccustomed to do when living in a more plebeian street. In short, bymutual consent, the whole front of one side of the street was pulleddown, and rebuilt in the flat, mean, unrelieved style of George theThird. Thebody of the houses was too solidly grand to submit toalteration; so people were occasionally surprised, after passingthrough a commonplace-looking shop, to find themselves at the foot ofa grand carved oakenstaircase, lighted by a window of stained glass,storied all over with armorial bearings.Up such a stair--past such a window (through which the moonlight fellon her with a glory of many colours)--Ruth Hilton passedwearily oneJanuary night, now many years ago. I call it night; but, strictlyspeaking, it was morning. Two o'clock in the morning chimed forththe old bells of St Saviour's. And yet more than a dozen girls stillsat in theroom into which Ruth entered, stitching away as if forvery life, not daring to gape, or show any outward manifestation ofsleepiness. They only sighed a little when Ruth told Mrs Mason thehour of the night, as the resultof her errand; for they knew that,stay up as late as they might, the work-hours of the next day mustbegin at eight, and their young limbs were very weary.Mrs Mason worked away as hard as any of them; but she wasolder andtougher; and, besides, the gains were hers. But even she perceivedthat some rest was needed. \"Young ladies! there will be an intervalallowed of half an hour. Ring the bell, Miss Sutton. Martha shallbring youup some bread and cheese and beer. You will be so good asto eat it standing--away from the dresses--and to have your handswashed ready for work when I return. In half an hour,\" said she oncemore, very distinctly;and then she left the room.It was curious to watch the young girls as they instantaneouslyavailed themselves of Mrs Mason's absence. One fat, particularlyheavy-looking damsel laid her head on her folded arms and wasasleepin a moment; refusing to be wakened for her share in the frugalsupper, but springing up with a frightened look at the sound ofMrs Mason's returning footstep, even while it was still far off onthe echoing stairs.Two or three others huddled over the scantyfireplace, which, with every possible economy of space, and noattempt whatever at anything of grace or ornament, was inserted inthe slight, flat-looking wall, that had beenrun up by the presentowner of the property to portion off this division of the grand olddrawing-room of the mansion. Some employed the time in eating theirbread and cheese, with as measured and incessant a motionof the jaws(and almost as stupidly placid an expression of countenance), as youmay see in cows ruminating in the first meadow you happen to pass.Some held up admiringly the beautiful ball-dress in progress,whileothers examined the effect, backing from the object to be criticisedin the true artistic manner. Others stretched themselves into allsorts of postures to relieve the weary muscles; one or two gave ventto all theyawns, coughs, and sneezes that had been pent up so longin the presence of Mrs Mason. But Ruth Hilton sprang to the large oldwindow, and pressed against it as a bird presses against the bars ofits cage. She put backthe blind, and gazed into the quiet moonlightnight. It was doubly light--almost as much so as day--for everythingwas covered with the deep snow which had been falling silently eversince the evening before. Thewindow was in a square recess; the oldstrange little panes of glass had been replaced by those which gavemore light. A little distance off, the feathery branches of a larchwaved softly to and fro in the scarcelyperceptible night-breeze.Poor old larch! the time had been when it had stood in a pleasantlawn, with the tender grass creeping caressingly up to its verytrunk; but now the lawn was divided into yards and squalidbackpremises, and the larch was pent up and girded about withflag-stones. The snow lay thick on its boughs, and now and then fellnoiselessly down. The old stables had been added to, and altered intoa dismal street ofmean-looking houses, back to back with the ancientmansions. And over all these changes from grandeur to squalor, bentdown the purple heavens with their unchanging splendour!Ruth pressed her hot forehead againstthe cold glass, and strainedher aching eyes in gazing out on the lovely sky of a winter's night.The impulse was strong upon her to snatch up a shawl, and wrapping itround her head, to sally forth and enjoy the glory;and time was whenthat impulse would have been instantly followed; but now, Ruth's eyesfilled with tears, and she stood quite still, dreaming of the daysthat were gone. Some one touched her shoulder while herthoughts werefar away, remembering past January nights, which had resembled this,and were yet so different.\"Ruth, love,\" whispered a girl who had unwillingly distinguishedherself by a long hard fit of coughing, \"comeand have some supper.You don't know yet how it helps one through the night.\"\"One run--one blow of the fresh air would do me more good,\" saidRuth.\"Not such a night as this,\" replied the other, shivering at theverythought.\"And why not such a night as this, Jenny?\" answered Ruth. \"Oh! athome I have many a time run up the lane all the way to the mill, justto see the icicles hang on the great wheel; and when I was once out,Icould hardly find in my heart to come in, even to mother, sittingby the fire;--even to mother,\" she added, in a low, melancholy tone,which had something of inexpressible sadness in it. \"Why, Jenny!\"said she, rousingherself, but not before her eyes were swimmingwith tears, \"own, now, that you never saw those dismal, hateful,tumble-down old houses there look half so--what shall I call them?almost beautiful--as they do now, withthat soft, pure, exquisitecovering; and if they are so improved, think of what trees, andgrass, and ivy must be on such a night as this.\"Jenny could not be persuaded into admiring the winter's night, whichto her cameonly as a cold and dismal time, when her cough was moretroublesome, and the pain in her side worse than usual. But she puther arm round Ruth's neck, and stood by her, glad that the orphanapprentice, who was notyet inured to the hardship of a dressmaker'sworkroom, should find so much to give her pleasure in such a commonoccurrence as a frosty night.They remained deep in separate trains of thought till Mrs Mason'sstep washeard, when each returned, supperless but refreshed, to herseat.Ruth's place was the coldest and the darkest in the room, althoughshe liked it the best; she had instinctively chosen it for the sakeof the wall opposite toher, on which was a remnant of the beautyof the old drawing-room, which must once have been magnificent, tojudge from the faded specimen left. It was divided into panels ofpale sea-green, picked out with white andgold; and on these panelswere painted--were thrown with the careless, triumphant hand of amaster--the most lovely wreaths of flowers, profuse and luxuriantbeyond description, and so real-looking, that you couldalmostfancy you smelt their fragrance, and heard the south wind go softlyrustling in and out among the crimson roses--the branches of purpleand white lilac--the floating golden-tressed laburnum boughs.Besides these,there were stately white lilies, sacred to theVirgin--hollyhocks, fraxinella, monk's-hood, pansies, primroses;every flower which blooms profusely in charming old-fashioned countrygardens was there, depicted among itsgraceful foliage, but not inthe wild disorder in which I have enumerated them. At the bottom ofthe panel lay a holly-branch, whose stiff straightness was ornamentedby a twining drapery of English ivy and mistletoe andwinter aconite;while down either side hung pendant garlands of spring and autumnflowers; and, crowning all, came gorgeous summer with the sweetmusk-roses, and the rich-coloured flowers of June and July.SurelyMonnoyer, or whoever the dead and gone artist might be, wouldhave been gratified to know the pleasure his handiwork, even in itswane, had power to give to the heavy heart of a young girl; for theyconjured up visionsof other sister-flowers that grew, and blossomed,and withered away in her early home.Mrs Mason was particularly desirous that her workwomen should exertthemselves to-night, for, on the next, the annual hunt-ballwas totake place. It was the one gaiety of the town since the assize-ballshad been discontinued. Many were the dresses she had promised shouldbe sent home \"without fail\" the next morning; she had not let oneslipthrough her fingers, for fear, if it did, it might fall into thehands of the rival dressmaker, who had just established herself inthe very same street.She determined to administer a gentle stimulant to the flaggingspirits,and with a little preliminary cough to attract attention,she began:\"I may as well inform you, young ladies, that I have been requestedthis year, as on previous occasions, to allow some of my young peopleto attend inthe ante-chamber of the assembly-room with sandalribbon, pins, and such little matters, and to be ready to repair anyaccidental injury to the ladies' dresses. I shall send four--of themost diligent.\" She laid a markedemphasis on the last words, butwithout much effect; they were too sleepy to care for any of thepomps and vanities, or, indeed, for any of the comforts of thisworld, excepting one sole thing--their beds.Mrs Mason was avery worthy woman, but, like many other worthy women,she had her foibles; and one (very natural to her calling) was topay an extreme regard to appearances. Accordingly, she had alreadyselected in her own mindthe four girls who were most likely to docredit to the \"establishment;\" and these were secretly determinedupon, although it was very well to promise the reward to the mostdiligent. She was really not aware of thefalseness of this conduct;being an adept in that species of sophistry with which peoplepersuade themselves that what they wish to do is right.At last there was no resisting the evidence of weariness. They weretold to goto bed; but even that welcome command was languidlyobeyed. Slowly they folded up their work, heavily they moved about,until at length all was put away, and they trooped up the wide, darkstaircase.\"Oh! how shall Iget through five years of these terrible nights! inthat close room! and in that oppressive stillness! which lets everysound of the thread be heard as it goes eternally backwards andforwards,\" sobbed out Ruth, as shethrew herself on her bed, withouteven undressing herself.\"Nay, Ruth, you know it won't be always as it has been to-night. Weoften get to bed by ten o'clock; and by-and-by you won't mind thecloseness of the room.You're worn out to-night, or you would nothave minded the sound of the needle; I never hear it. Come, let meunfasten you,\" said Jenny.\"What is the use of undressing? We must be up again and at work inthreehours.\"\"And in those three hours you may get a great deal of rest, if youwill but undress yourself and fairly go to bed. Come, love.\"Jenny's advice was not resisted; but before Ruth went to sleep, shesaid:\"Oh! I wish Iwas not so cross and impatient. I don't think I used tobe.\"\"No, I am sure not. Most new girls get impatient at first; but itgoes off, and they don't care much for anything after awhile. Poorchild! she's asleep already,\" saidJenny to herself.She could not sleep or rest. The tightness at her side was worse thanusual. She almost thought she ought to mention it in her lettershome; but then she remembered the premium her father hadstruggledhard to pay, and the large family, younger than herself, that had tobe cared for, and she determined to bear on, and trust that when thewarm weather came both the pain and the cough would go away.Shewould be prudent about herself.What was the matter with Ruth? She was crying in her sleep as if herheart would break. Such agitated slumber could be no rest; so Jennywakened her.\"Ruth! Ruth!\"\"Oh, Jenny!\" saidRuth, sitting up in bed, and pushing back themasses of hair that were heating her forehead, \"I thought I saw mammaby the side of the bed, coming, as she used to do, to see if I wereasleep and comfortable; and whenI tried to take hold of her, shewent away and left me alone--I don't know where; so strange!\"\"It was only a dream; you know you'd been talking about her to me,and you're feverish with sitting up late. Go to sleepagain, and I'llwatch, and waken you if you seem uneasy.\"\"But you'll be so tired. Oh, dear! dear!\" Ruth was asleep again, evenwhile she sighed.Morning came, and though their rest had been short, the girlsaroserefreshed.\"Miss Sutton, Miss Jennings, Miss Booth, and Miss Hilton, you willsee that you are ready to accompany me to the shire-hall by eighto'clock.\"One or two of the girls looked astonished, but themajority,having anticipated the selection, and knowing from experience theunexpressed rule by which it was made, received it with the sullenindifference which had become their feeling with regard to mostevents--adeadened sense of life, consequent upon their unnaturalmode of existence, their sedentary days, and their frequent nights oflate watching.But to Ruth it was inexplicable. She had yawned, and loitered, andlooked off atthe beautiful panel, and lost herself in thoughts ofhome, until she fully expected the reprimand which at any other timeshe would have been sure to receive, and now, to her surprise, shewas singled out as one of themost diligent!Much as she longed for the delight of seeing the nobleshire-hall--the boast of the county--and of catching glimpses of thedancers, and hearing the band; much as she longed for some variety tothe dull,monotonous life she was leading, she could not feel happyto accept a privilege, granted, as she believed, in ignorance of thereal state of the case; so she startled her companions by risingabruptly and going up to MrsMason, who was finishing a dress whichought to have been sent home two hours before:\"If you please, Mrs Mason, I was not one of the most diligent; I amafraid--I believe--I was not diligent at all. I was very tired;andI could not help thinking, and when I think, I can't attend to mywork.\" She stopped, believing she had sufficiently explained hermeaning; but Mrs Mason would not understand, and did not wish for anyfurtherelucidation.\"Well, my dear, you must learn to think and work too; or, if youcan't do both, you must leave off thinking. Your guardian, you know,expects you to make great progress in your business, and I am sureyouwon't disappoint him.\"But that was not to the point. Ruth stood still an instant, althoughMrs Mason resumed her employment in a manner which any one but a \"newgirl\" would have known to be intelligible enough, that"}
+{"doc_id":"doc_60","qid":"","text":"<html><head><title>Save the Last Dance Script at IMSDb.</title><meta name=\"description\" content=\"Save the Last Dance script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Savethe Last Dance script, Save the Last Dance movie script, Save the Last Dance film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\"content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ?'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie ScriptDatabase\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <scripttype=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>                      SAVE THE LAST DANCE                               by                         Duane G. Adler                          revisionsby                        Toni-Ann Johnson                      Current Revisions by                    Cheryl Edwards (6/11/99)<b>REWRITE -- FIRST SET OF REVISIONS</b>Cort/Madden CompanyParamount Studios5555 MelroseAvenueChevalier Building, Ste. 203Los Angeles, California<b>JUNE 11, 1999</b><b></b><b>    FADE IN:</b><b>1   EXT. PENNSYLVANIA COUNTRYSIDE - LONG SHOT - DAY            1</b>    of an empty stretch ofland parted down the middle by    railroad tracks. An Amtrak Commuter crests the horizon,    heads TOWARD us. As it gets CLOSER, we GO IN TIGHTER to    see --<b>2   FACE OF SARAJOHNSON                                       2</b>    17, pressed at one of its windows.<b>3   REVERSE ANGLE - REFLECTION IN TRAIN'S WINDOW -             3</b><b>    SARA'S FACE</b>    distant and lovely and sad.SUPERIMPOSED against an    endless stream of sky and trees. The train speeds up and    SARA's face flies by, disappearing FROM FRAME.<b>4   INT. AMTRAK TRAIN - MOVING - DUSK                          4</b>    Azaftig BLACK WOMAN clumsily negotiates the aisle.    Stops at the first of a few empty seats left in the car.<b>                             WOMAN</b>               This seat taken?<b>    ANGLE ON SARA</b>    looking up,around. She shakes her head, clears her    backpack and magazines from the seat beside her. The    Woman drops down, settles in. A long silence. The Woman    glances at the American Ballet magazine on Sara'slap.    Tries to make conversation.<b>                             WOMAN</b>               I love ballet. Never had the body               for it. Do you dance?    Sara folds her arms, turns away mumbling underbreath.<b>                            SARA</b>               Used to.    Sara gazes out the window. The world outside begins to    dissolve melting into images from another time, another    place. Her eyes stare blankly OUT ATus, blinded by her    memories.<b></b><b>                                                            2.</b><b>5   FLASHBACK - INT. AUDITORIUM - KINDERGARTEN RECITAL - DAY 5</b>    A stage full of five-year-olds in tightsand tutus. A    little girl performs center stage. She's remarkably    poised, remarkably good. CAMERA PANS TO the audience. A    woman in an Irish clover necklace springs to her feet    clapping loudly. The little girl'seyes catch the glint    of the necklace's gold. Mommy. She flashes a megawatt    smile, ends the dance with an unscripted bow, as we...<b>                                                   DISSOLVE TO:</b><b>6   INT. BALLETCLASS - EVENING (FIVE YEARS LATER)                6</b>    Young Sara, lithe and earnest, dances. A budding beauty    blessed with long limbs and natural grace, she makes it    look easy. Gliding past the enviousstares of    classmates, she scans the hall for a glint of gold.    Finds it in the back of the room where her mother, Glynn,    stands watching her. Their eyes connect with mutual    smiles and those smiles CARRY usTO:<b>7   INT. SARA'S EXETER HOUSE - LIVING ROOM - DAY                  7</b>    A pair of flexing feet in ballet slippers on a hardwood    floor. PAN UP and PULL BACK to reveal Sara at 17,    dancing in the spaceopened up by cornered furniture and    rolled up rugs. As Glynn looks on, Sara completes the    routine with a pirouette. She spins out of it with a    preoccupied frown on herface.<b>                            GLYNN</b>               What's the matter?   It was good.<b>                            SARA</b>                    (checks her                     stance in mirror)             Everybody there's going tobe             good, Mom. I have to be better.                    (then, beginning                     again)             My knees still knock when I do my             free form. Did you noticethat?<b>                           GLYNN</b>             I noticed that it was fine.<b>                           SARA</b>                    (escalating                     frustration)             It's not supposed to be fine.             It'ssupposed to be special.<b>                           (MORE)</b><b>                                                 (CONTINUED)</b><b></b><b>                                                              3.</b><b>7   CONTINUED:                                                     7</b><b>                           SARA (CONT'D)</b>             And it just lays there, it doesn't             do anything. I bet they notice             that. That it doesn't do             anything. That I don'tdo             anything special enough to get in.<b>                                GLYNN</b>                 Sara.   You'll get in.<b>                               SARA</b>                 Don't lie because you love me.     My                 freeform sucks.<b>                               GLYNN</b>                        (giving up that                         battle)                 I've got something for you. Come                 on. Sit. Mouth closed, eyes                 shut. Nopouting. No peeking.    Sara flops down on the sofa beside her. Closes her eyes.    Glynn removes the clover chain from her neck, fastens it    around Sara's.<b>                               GLYNN</b>                 For lucktomorrow. Not that                 you'll need it. You dance like an                 angel.    The necklace is Glynn's talisman. Sara knows what it    means to her. She throws her arms around Glynn, holds    onto hertightly.<b>                               SARA</b>                 I love the necklace but you're                 still the best luck I'll ever                 have.    Glynn, not one to choke up, chokes up.        They cling to    eachother.<b>8   INT. AMTRAK TRAIN (MOVING) - ON SARA - DUSK (PRESENT)          8</b>    In the blink of her eyes, the memory fades. She pulls    the window shade, shifts in her seat. Her fingers travel    to the clovernecklace at her throat. Linger. The Woman    regards her.<b>                               WOMAN</b>                 Nice... the necklace.<b>                                                     (CONTINUED)</b><b></b><b>                                                               4.</b><b>8    CONTINUED:                                                     8</b><b>                                SARA</b>                  Oh. It's a good luck charm.                  Doesn't alwayswork.     The Woman's wearing a crucifix.     She indicates it.     Smiles.<b>                                 WOMAN</b>                  Mine either.<b>9    FLASHBACK - INT./EXT. BUS/RURAL ROAD -MORNING                 9</b>     A sea of young white faces. A jock entertains the troops     with two straws up his nose. Sara sits next to her best     friend, LINDSAY, 17. Lindsay, chomping on a wad of gum,     turnsfrom the jock to Sara with a bubble in bloom,     bursts it with her teeth.<b>                                LINDSAY</b>                  Wanna pray? You're leaving for                  Philly after first period. I                  won't seeyou. We should pray.<b>                                SARA</b>                         (stupefied)                  Lindsay... no. Not here.     Lindsay grabs Sara's hand and bows her head.      Sara,     embarrassed, aligns her headwith Lindsay's.      She's     praying nobody sees them.<b>                                LINDSAY</b>                  'Awesome, Father, S.J. auditions                  today. She's ready for them.                  Please make themready for her.                  Even if she screws up. Thanks.                  Amen.'                         (sure shrug; another                          bubble)                  God's gotten me outta all kinds of                  shit. He oughta beable to get                  you into Juilliard.<b>10   EXT. EXETER SENIOR HIGH SCHOOL - LATER THAT MORNING            10</b>     Sara exits with a bouquet of roses, takes the steps two     and three at a time. Glynn'swaiting in a flower van at     the curb.<b></b><b>                                                             5.</b><b>11   INT./EXT. FLOWER VAN (DRIVING)/RESIDENTIAL STREETS           11</b>     Sara and Glynn. The back ofthe van is filled with     flower arrangements. Glynn takes note of the roses in     Sara's hand.<b>                             GLYNN</b>               Where'd you get those,traitor?<b>                             SARA</b>               Ellison -- Mr. Ellison. He               actually told me to break a leg.<b>                             GLYNN</b>               Roses from the principal, even               droopy,out-of-season yellow ones,               is beyond cool, kiddo. You're               definitely movin' up in the world.     Sara looks through the windshield.   It's startingto     drizzle.<b>                             SARA</b>               Know what would be great? If you               didn't drop me off at the bus               station. If we just kept going               until we get toPhilly.<b>                             GLYNN</b>               Ruin everyone's Valentine's Day               and not have a shop when I get               back. That's your definition of               great? I can see theheadline               now: 'Starving Artist Kills Unfit               Mother.'                      (gently)               Sweetheart, we talked about this.               I'll get there as soon as I can.     Sara looks at her and Glynn instantlyfeels guilty.<b>                             SARA</b>               Right. This is the hardest, most               important day of my life and all               you can do is get there as soon as               you can. Thanks,Mom.<b>12   EXT. GREYHOUND BUS STATION (READING, PA) -                   12</b><b>     CONTINUOUS ACTION</b>     Glynn pulls the van into the parking lot. Smiles at     Sara. Sara doesn't smile back. She's tooangry. Too     scared.<b>                                                  (CONTINUED)</b><b></b><b>                                                             6.</b><b>12   CONTINUED:                                                   12</b><b>                                SARA</b>                  So I guess I'll see you later.<b>                                GLYNN</b>                  I won't miss your audition, Sara.                  I'll be there, okay? If I have to                  swimthe Susquehanna, I'll be                  there.<b>                                 SARA</b>                  Swim?   You can't swim, Mom.<b>                             GLYNN</b>               I'll float then.     A moment. They look at eachother. Sara finally smiles.     They embrace and she hops out the van. Glynn calls after     her.<b>                             GLYNN</b>               Hey... Happy Valentine's Day.<b>13   INT. AMTRAK TRAIN (MOVING) - ONSARA - NIGHT (PRESENT)       13</b>     Feigning sleep. From the corner of her eye, she watches     the Woman beside her flip through the American Ballet     Magazine. We move back in time through theirpages.<b>14   FLASHBACK - INT. UNIVERSITY OF PENNSYLVANIA - WAITING        14</b><b>     ROOM - DAY</b>     Sara, in costume, flips through a magazine. She taps her     toes, checks her watch. A phalanx ofparents and dancers     are clustered around a sign posted on the door:     JUILLIARD SCHOOL OF DANCE AUDITIONS. Sara stares at it.     Re-checks her watch. An official with a clipboard walks     toward her. Where'sher mother?<b>15   INT. UNIV. OF PENNSYLVANIA - STAGE/AUDITORIUM -              15</b><b>     MOMENTS LATER</b>     Sara on stage. She looks past a row of Juilliard JUDGES     into the audience. No glint of"}
+{"doc_id":"doc_61","qid":"","text":"Project Gutenberg's A Portrait of the Artist as a Young Man, by James JoyceThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-useit under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: A Portrait of the Artist as a Young ManAuthor: James JoycePosting Date: July 2, 2009 [EBook#4217]Release Date: July, 2003First Posted: December 8, 2001[Last updated: March 30, 2014]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK PORTRAIT--ARTIST AS YOUNG MAN ***Produced byCol Choat.  HTML version by Al Haines.A Portrait of the Artist as a Young ManbyJames Joyce<p>_\"Et ignotas animum dimittit in artes.\"Ovid, Metamorphoses, VIII., 18._</p>Chapter 1Once upon a time and a very goodtime it was there was a moocow comingdown along the road and this moocow that was coming down along the roadmet a nicens little boy named baby tuckoo...His father told him that story: his father looked at himthrough aglass: he had a hairy face.He was baby tuckoo. The moocow came down the road where Betty Byrnelived: she sold lemon platt.    O, the wild rose blossoms    On the little green place.He sang that song. Thatwas his song.    O, the green wothe botheth.When you wet the bed first it is warm then it gets cold. His mother puton the oilsheet. That had the queer smell.His mother had a nicer smell than his father. She played onthe pianothe sailor's hornpipe for him to dance. He danced:    Tralala lala,    Tralala tralaladdy,    Tralala lala,    Tralala lala.Uncle Charles and Dante clapped. They were older than his father andmother but uncle Charleswas older than Dante.Dante had two brushes in her press. The brush with the maroon velvetback was for Michael Davitt and the brush with the green velvet backwas for Parnell. Dante gave him a cachou every time hebrought her apiece of tissue paper.The Vances lived in number seven. They had a different father andmother. They were Eileen's father and mother. When they were grown uphe was going to marry Eileen. He hid underthe table. His mother said:--O, Stephen will apologize.Dante said:--O, if not, the eagles will come and pull out his eyes.--    Pull out his eyes,    Apologize,    Apologize,    Pull out his eyes.    Apologize,    Pull out hiseyes,    Pull out his eyes,    Apologize.* * * * *The wide playgrounds were swarming with boys. All were shouting and theprefects urged them on with strong cries. The evening air was pale andchilly and after everycharge and thud of the footballers the greasyleather orb flew like a heavy bird through the grey light. He kept onthe fringe of his line, out of sight of his prefect, out of the reachof the rude feet, feigning to run now andthen. He felt his body smalland weak amid the throng of the players and his eyes were weak andwatery. Rody Kickham was not like that: he would be captain of thethird line all the fellows said.Rody Kickham was adecent fellow but Nasty Roche was a stink. RodyKickham had greaves in his number and a hamper in the refectory. NastyRoche had big hands. He called the Friday pudding dog-in-the-blanket.And one day he hadasked:--What is your name?Stephen had answered: Stephen Dedalus.Then Nasty Roche had said:--What kind of a name is that?And when Stephen had not been able to answer Nasty Roche had asked:--What is yourfather?Stephen had answered:--A gentleman.Then Nasty Roche had asked:--Is he a magistrate?He crept about from point to point on the fringe of his line, makinglittle runs now and then. But his hands were bluish withcold. He kepthis hands in the side pockets of his belted grey suit. That was a beltround his pocket. And belt was also to give a fellow a belt. One day afellow said to Cantwell:--I'd give you such a belt in asecond.Cantwell had answered:--Go and fight your match. Give Cecil Thunder a belt. I'd like to seeyou. He'd give you a toe in the rump for yourself.That was not a nice expression. His mother had told him not tospeakwith the rough boys in the college. Nice mother! The first day in thehall of the castle when she had said goodbye she had put up her veildouble to her nose to kiss him: and her nose and eyes were red. But hehadpretended not to see that she was going to cry. She was a nicemother but she was not so nice when she cried. And his father had givenhim two five-shilling pieces for pocket money. And his father had toldhim if hewanted anything to write home to him and, whatever he did,never to peach on a fellow. Then at the door of the castle the rectorhad shaken hands with his father and mother, his soutane fluttering inthe breeze, and thecar had driven off with his father and mother onit. They had cried to him from the car, waving their hands:--Goodbye, Stephen, goodbye!--Goodbye, Stephen, goodbye!He was caught in the whirl of a scrimmage and,fearful of the flashingeyes and muddy boots, bent down to look through the legs. The fellowswere struggling and groaning and their legs were rubbing and kickingand stamping. Then Jack Lawton's yellow boots dodgedout the ball andall the other boots and legs ran after. He ran after them a little wayand then stopped. It was useless to run on. Soon they would be goinghome for the holidays. After supper in the study hall he wouldchangethe number pasted up inside his desk from seventy-seven to seventy-six.It would be better to be in the study hall than out there in the cold.The sky was pale and cold but there were lights in the castle.Hewondered from which window Hamilton Rowan had thrown his hat on theha-ha and had there been flowerbeds at that time under the windows. Oneday when he had been called to the castle the butler had shown himthemarks of the soldiers' slugs in the wood of the door and had given hima piece of shortbread that the community ate. It was nice and warm tosee the lights in the castle. It was like something in a book.PerhapsLeicester Abbey was like that. And there were nice sentences in DoctorCornwell's Spelling Book. They were like poetry but they were onlysentences to learn the spelling from.    Wolsey died in LeicesterAbbey    Where the abbots buried him.    Canker is a disease of plants,    Cancer one of animals.It would be nice to lie on the hearthrug before the fire, leaning hishead upon his hands, and think on those sentences. Heshivered as if hehad cold slimy water next his skin. That was mean of Wells to shoulderhim into the square ditch because he would not swop his little snuffbox for Wells's seasoned hacking chestnut, the conqueror offorty. Howcold and slimy the water had been! A fellow had once seen a big ratjump into the scum. Mother was sitting at the fire with Dante waitingfor Brigid to bring in the tea. She had her feet on the fender andherjewelly slippers were so hot and they had such a lovely warm smell!Dante knew a lot of things. She had taught him where the MozambiqueChannel was and what was the longest river in America and what wasthename of the highest mountain in the moon. Father Arnall knew more thanDante because he was a priest but both his father and uncle Charlessaid that Dante was a clever woman and a well-read woman. AndwhenDante made that noise after dinner and then put up her hand to hermouth: that was heartburn.A voice cried far out on the playground:--All in!Then other voices cried from the lower and third lines:--All in! Allin!The players closed around, flushed and muddy, and he went among them,glad to go in. Rody Kickham held the ball by its greasy lace. A fellowasked him to give it one last: but he walked on without evenansweringthe fellow. Simon Moonan told him not to because the prefect waslooking. The fellow turned to Simon Moonan and said:--We all know why you speak. You are McGlade's suck.Suck was a queer word. Thefellow called Simon Moonan that name becauseSimon Moonan used to tie the prefect's false sleeves behind his backand the prefect used to let on to be angry. But the sound was ugly.Once he had washed his hands inthe lavatory of the Wicklow Hotel andhis father pulled the stopper up by the chain after and the dirty waterwent down through the hole in the basin. And when it had all gone downslowly the hole in the basin had made asound like that: suck. Onlylouder.To remember that and the white look of the lavatory made him feel coldand then hot. There were two cocks that you turned and water came out:cold and hot. He felt cold and then alittle hot: and he could see thenames printed on the cocks. That was a very queer thing.And the air in the corridor chilled him too. It was queer and wettish.But soon the gas would be lit and in burning it made a lightnoise likea little song. Always the same: and when the fellows stopped talking inthe playroom you could hear it.It was the hour for sums. Father Arnall wrote a hard sum on the boardand then said:--Now then, who willwin? Go ahead, York! Go ahead, Lancaster!Stephen tried his best, but the sum was too hard and he felt confused.The little silk badge with the white rose on it that was pinned on thebreast of his jacket began to flutter.He was no good at sums, but hetried his best so that York might not lose. Father Arnall's face lookedvery black, but he was not in a wax: he was laughing. Then Jack Lawtoncracked his fingers and Father Arnall lookedat his copybook and said:--Right. Bravo Lancaster! The red rose wins. Come on now, York! Forgeahead!Jack Lawton looked over from his side. The little silk badge with thered rose on it looked very rich because he hada blue sailor top on.Stephen felt his own face red too, thinking of all the bets about whowould get first place in elements, Jack Lawton or he. Some weeks JackLawton got the card for first and some weeks he got thecard for first.His white silk badge fluttered and fluttered as he worked at the nextsum and heard Father Arnall's voice. Then all his eagerness passed awayand he felt his face quite cool. He thought his face must bewhitebecause it felt so cool. He could not get out the answer for the sumbut it did not matter. White roses and red roses: those were beautifulcolours to think of. And the cards for first place and second place andthirdplace were beautiful colours too: pink and cream and lavender.Lavender and cream and pink roses were beautiful to think of. Perhaps awild rose might be like those colours and he remembered the song aboutthe wildrose blossoms on the little green place. But you could nothave a green rose. But perhaps somewhere in the world you could.The bell rang and then the classes began to file out of the rooms andalong the corridorstowards the refectory. He sat looking at the twoprints of butter on his plate but could not eat the damp bread. Thetablecloth was damp and limp. But he drank off the hot weak tea whichthe clumsy scullion, girt with awhite apron, poured into his cup. Hewondered whether the scullion's apron was damp too or whether all whitethings were cold and damp. Nasty Roche and Saurin drank cocoa thattheir people sent them in tins. Theysaid they could not drink the tea;that it was hogwash. Their fathers were magistrates, the fellows said.All the boys seemed to him very strange. They had all fathers andmothers and different clothes and voices. Helonged to be at home andlay his head on his mother's lap. But he could not: and so he longedfor the play and study and prayers to be over and to be in bed.He drank another cup of hot tea and Fleming said:--What'sup? Have you a pain or what's up with you?--I don't know, Stephen said.--Sick in your breadbasket, Fleming said, because your face lookswhite. It will go away.--O yes, Stephen said.But he was not sick there. Hethought that he was sick in his heart ifyou could be sick in that place. Fleming was very decent to ask him. Hewanted to cry. He leaned his elbows on the table and shut and openedthe flaps of his ears. Then he heardthe noise of the refectory everytime he opened the flaps of his ears. It made a roar like a train atnight. And when he closed the flaps the roar was shut off like a traingoing into a tunnel. That night at Dalkey the trainhad roared likethat and then, when it went into the tunnel, the roar stopped. Heclosed his eyes and the train went on, roaring and then stopping;roaring again, stopping. It was nice to hear it roar and stop and thenroarout of the tunnel again and then stop.Then the higher line fellows began to come down along the matting inthe middle of the refectory, Paddy Rath and Jimmy Magee and theSpaniard who was allowed to smoke cigarsand the little Portuguese whowore the woolly cap. And then the lower line tables and the tables ofthe third line. And every single fellow had a different way of walking.He sat in a corner of the playroom pretending towatch a game ofdominoes and once or twice he was able to hear for an instant thelittle song of the gas. The prefect was at the door with some boys andSimon Moonan was knotting his false sleeves. He was tellingthemsomething about Tullabeg.Then he went away from the door and Wells came over to Stephen andsaid:--Tell us, Dedalus, do you kiss your mother before you go to bed?Stephen answered:--I do.Wells turned to theother fellows and said:--O, I say, here's a fellow says he kisses his mother every nightbefore he goes to bed.The other fellows stopped their game and turned round, laughing.Stephen blushed under their eyes andsaid:--I do not.Wells said:--O, I say, here's a fellow says he doesn't kiss his mother before hegoes to bed.They all laughed again. Stephen tried to laugh with them. He felt hiswhole body hot and confused in a moment.What was the right answer tothe question? He had given two and still Wells laughed. But Wells mustknow the right answer for he was in third of grammar. He tried to thinkof Wells's mother but he did not dare to raisehis eyes to Wells'sface. He did not like Wells's face. It was Wells who had shouldered himinto the square ditch the day before because he would not swop hislittle snuff box for Wells's seasoned hacking chestnut, theconquerorof forty. It was a mean thing to do; all the fellows said it was. Andhow cold and slimy the water had been! And a fellow had once seen a bigrat jump plop into the scum.The cold slime of the ditch covered hiswhole body; and, when the bellrang for study and the lines filed out of the playrooms, he felt thecold air of the corridor and staircase inside his clothes. He stilltried to think what was the right answer. Was it right to kisshismother or wrong to kiss his mother? What did that mean, to kiss? Youput your face up like that to say good night and then his mother puther face down. That was to kiss. His mother put her lips on his cheek;her lipswere soft and they wetted his cheek; and they made a tinylittle noise: kiss. Why did people do that with their two faces?Sitting in the study hall he opened the lid of his desk and changed thenumber pasted up insidefrom seventy-seven to seventy-six. But theChristmas vacation was very far away: but one time it would comebecause the earth moved round always.There was a picture of the earth on the first page of his geography:abig ball in the middle of clouds. Fleming had a box of crayons and onenight during free study he had coloured the earth green and the cloudsmaroon. That was like the two brushes in Dante's press, the brush withthegreen velvet back for Parnell and the brush with the maroon velvetback for Michael Davitt. But he had not told Fleming to colour themthose colours. Fleming had done it himself.He opened the geography to study thelesson; but he could not learn thenames of places in America. Still they were all different places thathad different names. They were all in different countries and thecountries were in continents and the continents werein the world andthe world was in the universe.He turned to the flyleaf of the geography and read what he had writtenthere: himself, his name and where he was.    Stephen Dedalus    Class of Elements    ClongowesWood College    Sallins    County Kildare    Ireland    Europe    The World    The UniverseThat was in his writing: and Fleming one night for a cod had written onthe opposite page:    Stephen Dedalus is myname,    Ireland is my nation.    Clongowes is my dwellingplace    And heaven my expectation.He read the verses backwards but then they were not poetry. Then heread the flyleaf from the bottom to the top till hecame to his ownname. That was he: and he read down the page again. What was after theuniverse?Nothing. But was there anything round the universe to show where itstopped before the nothing place began?It couldnot be a wall; but there could be a thin thin line there allround everything. It was very big to think about everything andeverywhere. Only God could do that. He tried to think what a bigthought that must be; but hecould only think of God. God was God'sname just as his name was Stephen. DIEU was the French for God and thatwas God's name too; and when anyone prayed to God and said DIEU thenGod knew at once that it wasa French person that was praying. But,though there were different names for God in all the differentlanguages in the world and God understood what all the people whoprayed said in their different languages, still Godremained always thesame God and God's real name was God.It made him very tired to think that way. It made him feel his headvery big. He turned over the flyleaf and looked wearily at the greenround earth in themiddle of the maroon clouds. He wondered which wasright, to be for the green or for the maroon, because Dante had rippedthe green velvet back off the brush that was for Parnell one day withher scissors and had toldhim that Parnell was a bad man. He wonderedif they were arguing at home about that. That was called politics.There were two sides in it: Dante was on one side and his father and MrCasey were on the other side buthis mother and uncle Charles were onno side. Every day there was something in the paper about it.It pained him that he did not know well what politics meant and that hedid not know where the universe ended. He feltsmall and weak. Whenwould he be like the fellows in poetry and rhetoric? They had bigvoices and big boots and they studied trigonometry. That was very faraway. First came the vacation and then the next term andthen vacationagain and then again another term and then again the vacation. It waslike a train going in and out of tunnels and that was like the noise ofthe boys eating in the refectory when you opened and closed theflapsof the ears. Term, vacation; tunnel, out; noise, stop. How far away itwas! It was better to go to bed to sleep. Only prayers in the chapeland then bed. He shivered and yawned. It would be lovely in bed afterthesheets got a bit hot. First they were so cold to get into. Heshivered to think how cold they were first. But then they got hot andthen he could sleep. It was lovely to be tired. He yawned again. Nightprayers and then bed:he shivered and wanted to yawn. It would belovely in a few minutes. He felt a warm glow creeping up from the coldshivering sheets, warmer and warmer till he felt warm all over, ever sowarm and yet he shivered alittle and still wanted to yawn.The bell rang for night prayers and he filed out of the study hallafter the others and down the staircase and along the corridors to thechapel. The corridors were darkly lit and the chapel wasdarkly lit.Soon all would be dark and sleeping. There was cold night air in thechapel and the marbles were the colour the sea was at night. The seawas cold day and night: but it was colder at night. It was cold anddarkunder the seawall beside his father's house. But the kettle wouldbe on the hob to make punch.The prefect of the chapel prayed above his head and his memory knew theresponses:    O Lord open our lips    And ourmouths shall announce Thy praise.    Incline unto our aid, O God!    O Lord make haste to help us!There was a cold night smell in the chapel. But it was a holy smell. Itwas not like the smell of the old peasants who kneltat the back of thechapel at Sunday mass. That was a smell of air and rain and turf andcorduroy. But they were very holy peasants. They breathed behind him onhis neck and sighed as they prayed. They lived in Clane, afellow said:there were little cottages there and he had seen a woman standing atthe half-door of a cottage with a child in her arms as the cars hadcome past from Sallins. It would be lovely to sleep for one night inthatcottage before the fire of smoking turf, in the dark lit by thefire, in the warm dark, breathing the smell of the peasants, air andrain and turf and corduroy. But O, the road there between the treeswas dark! You would belost in the dark. It made him afraid to thinkof how it was.He heard the voice of the prefect of the chapel saying the lastprayers. He prayed it too against the dark outside under the trees.  VISIT, WE BESEECH THEE, OLORD, THIS HABITATION AND DRIVE  AWAY FROM IT ALL THE SNARES OF THE ENEMY. MAY THY HOLY  ANGELS DWELL HEREIN TO PRESERVE US IN PEACE AND MAY THY  BLESSINGS BE ALWAYS UPON US THROUGH"}
+{"doc_id":"doc_62","qid":"","text":"<html><head><title>Manhunter Script at IMSDb.</title><meta name=\"description\" content=\"Manhunter script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Manhunter script,Manhunter movie script, Manhunter film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\"rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><html><head><script><b><!--</b><b>/*</b>Break-out-of-frames scriptBy Website Abstraction (http://wsabstract.com)Over 400+ freescripts here!Above notice MUST stay entact for use<b>*/</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>Manhunter</title></head><pre><b>                  \"REDDRAGON\"</b>                   Screenplay                       By                  Michael Mann<b>                                   SECOND DRAFT</b>                                   July 20, 1984<b>EXT. MARATHON, FLORIDA, BEACH -GRAHAM + CRAWFORD - DAY</b>The highlit aqua water burns out sections of the two menimposed in front of it. The beach is white sand. JACKCRAWFORD -- mid-forties, large -- came down from Washington.Hissuitcoat over the driftwood log and his rolled-up whitesleeves says City, not Florida Keys. WILL GRAHAM -- latethirties -- in a faded Hawaiian number and sun-bleached vio-let shorts, belongs. Graham smokes. Crawforddrinks froma glass of iced tea. Then:<b>                          CRAWFORD</b>           I should have caught you at the boat           yard when you got off work. You           don't want to talk about ithere...<b>                          GRAHAM</b>           I don't want to talk about it           anywhere.                   (beat)           If you brought pictures, leave them           in the briefcase. Molly and Kevin           will be backsoon.<b>                          CRAWFORD</b>           How much do you know?<b>                          GRAHAM</b>           What was in the 'Miami Herald' and           the'Times.'                   (beat)           Confessions?<b>                          CRAWFORD</b>           Eighty-six so far. All cranks. He           smashes the mirrors and uses the           pieces.                   (beat)           None ofthem knew that;<b>                          GRAHAM</b>           What else did you keep out of the           papers?<b>                          CRAWFORD</b>           Blond, right-handed, really strong,           wears a sizeeleven shoe. The prints           are all smooth gloves. He's on a           full moon cycle. Both times. His           blood is AB Positive.<b>                          GRAHAM</b>           Somebody hurthim?<b>                          CRAWFORD</b>           Typed him from semen. He's a secretor.Crawford takes a sip of the iced tea and looks at Graham.<b>2.</b>Graham flips his cigarette into thesurf.<b>                           CRAWFORD</b>           Will... you saw this in the papers.           The second one was all over TV. Did           you ever think about givin' mea           call?<b>                          GRAHAM</b>           No.<b>                           CRAWFORD</b>           Why not?<b>                           GRAHAM</b>           The Bureau already has the best lab.           Plus youhave Bloom at the University           of Chicago...<b>                           CRAWFORD</b>           And I got you down here fixing fuckin'           boat motors.<b>                           GRAHAM</b>           You don't needme. I wouldn't           be useful to you anymore, Jack.<b>                           CRAWFORD</b>           Last two like this we had, you           caught.<b>                           GRAHAM</b>           That was three years ago.And by           doing the same things you and the           rest of them at the lab are doing.<b>                           CRAWFORD</b>           That's not entirely true, Will.           It's the way youthink.<b>                           GRAHAM</b>           I think there has been a lot of           bullshit about the way I think.                   (beat)           I came down here to get away from           allthat.<b>                          CRAWFORD</b>           You look all right now.<b>                          GRAHAM</b>           I am all right.Crawford pulls two pictures from his shirt pocket. He keepsthem face down. Theydraw at Will. Crawford knows this.<b>3.</b><b>                            CRAWFORD</b>            If you can't look anymore, I            understand...<b>                            GRAHAM</b>            As long as they'redead...<b>                           CRAWFORD</b>            These are all dead, Will.<b> PICTURES</b> If we expected gory crime photos, these are not them. Two snapshots: a woman followed by three children and aduck carrying picnic items up a bank of a pond. A second family behind a birthday cake at a table. They're all smiling.<b> CLOSE: GRAHAM</b> looks at the pictures for a full twenty seconds. Then he puts them downand looks along the beach.<b> GRAHAM'S POV: MOLLY + KEVIN</b> KEVIN -- lanky and tall at eleven -- hunkers down at the water's edge, 50 yards away examining something in the sand. MOLLY -- suntanned,blonde and sensuous at thirty stands watching the two men, her hand on her hip. Waves careen around her ankles. Her body language openly states hostility. It's towards Crawford.<b>                           GRAHAM(O.S.)</b>            Let's talk after dinner. Stay and            eat.<b>                            CRAWFORD (O.S.)</b>            I'LL come back later. I got messages            at the Holiday Inn to collect Molly starts walkingforward. On it...<b>                                                 CUT TO:</b><b> INT. GRAHAM'S KITCHEN - MOLLY + GRAHAM - NIGHT</b> are doing dishes. Graham wipes while Mollywashes.<b>                            MOLLY</b>            He stopped by to see me at the shop            before he came out here.<b>                            GRAHAM</b>            What did hewant?<b>4.</b><b>                                 MOLLY</b>                 He asked how you are.<b>                                GRAHAM</b>                 And you said?<b>                                 MOLLY</b>                 I saidyou are fine, he should leave                 you the hell alone.<b>                                 GRAHAM</b>                 I'm a forensic specialist, Molly.                 You've seen mydiploma?                          (sarcastic)                 I got a diploma and everything.<b>                                 MOLLY</b>                 You mended a crack in the wallpaper                 with yourdiploma.                          (heat)                 You are open and easy now... It took                 you a lot of work to get to that...<b>                                 GRAHAM</b>                 We have it good, don'twe?<b>                                 MOLLY</b>                 All the things that happened to you                 before make you know that...      There is a soft pleading in hervoice.<b>                                GRAHAM</b>                 What the hell can I do?<b>                                 MOLLY</b>                          (after a pause)                 What you've already decided. You're                 notreally asking.<b>                                GRAHAM</b>                 If I were?<b>                                 MOLLY</b>                          (facing him)                 Stay here with me. Me. Me. Me.                 AndKevin.                          (heat)                 That's selfish, huh?<b>                                 GRAHAM</b>                          (touches the side                          of her face)                 I don'tcare.                          (beat>                 He'll never see me or know my name.                 If we find him, the police will have                 to take him down. Not me, I'm just                 looking atevidence.<b>5.</b>As he puts an arm around Molly...<b>                                                CUT TO:</b><b>EXT. BEACH - KEVIN - TWILIGHT</b>is working in the sand. Behind him Graham is staplingchicken wire totwo foot-high fence posts.<b>                          KEVIN</b>           Will it keep them out?<b>                          GRAHAM</b>           Yeah. ..<b>                           KEVIN</b>           How many turtle eggs you thinkare           in here?<b>                           GRAHAM</b>           In this hatchery? Forty to fifty.<b>                           KEVIN</b>           Crabs would get most of the newborns           before they made it to the sea,huh?<b>                           GRAHAM</b>           Yeah, but not now.. These will all           make it... guaranteed.<b>                                                CUT TO:</b><b>EXT. GRAHAM HOUSE - CRAWFORD + MOLLY -NIGHT</b>On the porch swing. Beyond them at the water's edge Grahamnothing to each other    the fence. Crawford and Molly sayor a while. Then, finally:<b>                           MOLLY</b>           Whatever I say,you'll take him           away, won't you?<b>                          CRAWFORD</b>           I have to.<b>                           MOLLY</b>           You're his friend, Jack. Why can't           you leave himalone?<b>                           CRAWFORD</b>           Because it's his bad luck to be           special.<b>                           MOLLY</b>           He thinks you want him to lookat           evidence.<b>6.</b><b>                          CRAWFORD</b>           Nobody's better with evidence. But           he has the other thing, too. He           doesn't like that part ofit...<b>                          MOLLY</b>           You wouldn't like it, either if you           had it.There is a pause between them. Molly lights a cigarette.Crawford leans forward, resting his thick, pale, forearmson hisknees.<b>                          CRAWFORD</b>           Talking about 'like,' you don't like           me very much, do you?<b>                          MOLLY</b>           No.                   (beat)           I don't like people whopark in the           'handicapped zone'...<b>                          CRAWFROD</b>           I'LL try to keep him as far away from           it as I can...<b>                                                CUT TO:</b><b>EXT. ATLANTASTREET - WIDE - NIGHT</b>Small poplars line the curb. It rained. The sidewalks arewet. They are drying in splotches. The street is deserted.The front walk vertically bisects the FRAME. An AtlantaPolice department carpulls to the curb and stops. The dooropens, lighting the interior and Will Graham starts out thepassenger side.<b>                          GRAHAM</b>                   (distant)           Thanks for thelift.<b>                          OFFICER</b>           I'll come inside with you, if you           like, but Mr. Crawford said you'd           probably want to be alone.<b>                          GRAHAM</b>           That'sright.<b>                          OFFTCER</b>           There's a VTR setup waiting in your           hotel room, that you asked for           They transferred the home movies of           both families once half-inchVHS.<b>7.</b><b>                            GRAHAM</b>                    (getting out)            Thanks. Graham exits the car and walks TOWARDS us. We PAN AROUND as he moves through EXTREME CLOSEUP and see theLeeds family house with all of the Atlanta Police department \"crime scene\" postings Graham doesn't enter the front door. Be walks around the side.<b>                                                 CUT TO:</b><b> INT. LEEDSHOUSE, KITCHEN - WIDE - NIGHT</b> Three big sliding glass doors. The center one has been re- placed with plywood. It's dark. A flashlight's beam starts playing through the bushes in the side yard.., then the lightappears and blasts IN the LENS. It lights lots of dishes in the sink. The dark kitchen looks like anybody's kitchen. The house feels occupied. The Leed's possessions have been undisturbed.<b> CLOSE: GLASS"}
+{"doc_id":"doc_63","qid":"","text":"The Project Gutenberg EBook of Tarzan of the Apes, by Edgar Rice BurroughsThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it awayorre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: Tarzan of the ApesAuthor: Edgar Rice BurroughsRelease Date: June 23, 2008 [EBook #78]Lastupdated: May 5, 2012Language: English*** START OF THIS PROJECT GUTENBERG EBOOK TARZAN OF THE APES ***Produced by Judith Boss.  HTML version by Al Haines.Tarzan of the ApesByEdgar RiceBurroughs         CONTENTS      I  Out to Sea     II  The Savage Home    III  Life and Death     IV  The Apes      V  The White Ape     VI  Jungle Battles    VII  The Light of Knowledge   VIII  The Tree-top Hunter     IX  Manand Man      X  The Fear-Phantom     XI  \"King of the Apes\"    XII  Man's Reason   XIII  His Own Kind    XIV  At the Mercy of the Jungle     XV  The Forest God    XVI  \"Most Remarkable\"   XVII  Burials  XVIII  The JungleToll    XIX  The Call of the Primitive     XX  Heredity    XXI  The Village of Torture   XXII  The Search Party  XXIII  Brother Men   XXIV  Lost Treasure    XXV  The Outpost of the World   XXVI  The Height ofCivilization  XXVII  The Giant Again XXVIII  ConclusionChapter IOut to SeaI had this story from one who had no business to tell it to me, or toany other.  I may credit the seductive influence of an old vintage uponthenarrator for the beginning of it, and my own skeptical incredulityduring the days that followed for the balance of the strange tale.When my convivial host discovered that he had told me so much, and thatI was prone todoubtfulness, his foolish pride assumed the task the oldvintage had commenced, and so he unearthed written evidence in the formof musty manuscript, and dry official records of the British ColonialOffice to supportmany of the salient features of his remarkablenarrative.I do not say the story is true, for I did not witness the happeningswhich it portrays, but the fact that in the telling of it to you I havetaken fictitious names for theprincipal characters quite sufficientlyevidences the sincerity of my own belief that it MAY be true.The yellow, mildewed pages of the diary of a man long dead, and therecords of the Colonial Office dovetail perfectly withthe narrative ofmy convivial host, and so I give you the story as I painstakinglypieced it out from these several various agencies.If you do not find it credible you will at least be as one with me inacknowledging that it isunique, remarkable, and interesting.From the records of the Colonial Office and from the dead man's diarywe learn that a certain young English nobleman, whom we shall call JohnClayton, Lord Greystoke, wascommissioned to make a peculiarly delicateinvestigation of conditions in a British West Coast African Colony fromwhose simple native inhabitants another European power was known to berecruiting soldiers for its nativearmy, which it used solely for theforcible collection of rubber and ivory from the savage tribes alongthe Congo and the Aruwimi.  The natives of the British Colonycomplained that many of their young men were enticedaway through themedium of fair and glowing promises, but that few if any ever returnedto their families.The Englishmen in Africa went even further, saying that these poorblacks were held in virtual slavery, since aftertheir terms ofenlistment expired their ignorance was imposed upon by their whiteofficers, and they were told that they had yet several years to serve.And so the Colonial Office appointed John Clayton to a new postinBritish West Africa, but his confidential instructions centered on athorough investigation of the unfair treatment of black Britishsubjects by the officers of a friendly European power.  Why he wassent, is, however, oflittle moment to this story, for he never made aninvestigation, nor, in fact, did he ever reach his destination.Clayton was the type of Englishman that one likes best to associatewith the noblest monuments of historicachievement upon a thousandvictorious battlefields--a strong, virile man--mentally, morally, andphysically.In stature he was above the average height; his eyes were gray, hisfeatures regular and strong; his carriagethat of perfect, robusthealth influenced by his years of army training.Political ambition had caused him to seek transference from the army tothe Colonial Office and so we find him, still young, entrusted with adelicateand important commission in the service of the Queen.When he received this appointment he was both elated and appalled.  Thepreferment seemed to him in the nature of a well-merited reward forpainstaking andintelligent service, and as a stepping stone to postsof greater importance and responsibility; but, on the other hand, hehad been married to the Hon. Alice Rutherford for scarce a threemonths, and it was the thought oftaking this fair young girl into thedangers and isolation of tropical Africa that appalled him.For her sake he would have refused the appointment, but she would nothave it so.  Instead she insisted that he accept, and,indeed, take herwith him.There were mothers and brothers and sisters, and aunts and cousins toexpress various opinions on the subject, but as to what they severallyadvised history is silent.We know only that on abright May morning in 1888, John, LordGreystoke, and Lady Alice sailed from Dover on their way to Africa.A month later they arrived at Freetown where they chartered a smallsailing vessel, the Fuwalda, which was tobear them to their finaldestination.And here John, Lord Greystoke, and Lady Alice, his wife, vanished fromthe eyes and from the knowledge of men.Two months after they weighed anchor and cleared from the portofFreetown a half dozen British war vessels were scouring the southAtlantic for trace of them or their little vessel, and it was almostimmediately that the wreckage was found upon the shores of St. Helenawhichconvinced the world that the Fuwalda had gone down with all onboard, and hence the search was stopped ere it had scarce begun; thoughhope lingered in longing hearts for many years.The Fuwalda, a barkentine ofabout one hundred tons, was a vessel ofthe type often seen in coastwise trade in the far southern Atlantic,their crews composed of the offscourings of the sea--unhanged murderersand cutthroats of every race andevery nation.The Fuwalda was no exception to the rule.  Her officers were swarthybullies, hating and hated by their crew.  The captain, while acompetent seaman, was a brute in his treatment of his men.  He knew, oratleast he used, but two arguments in his dealings with them--abelaying pin and a revolver--nor is it likely that the motleyaggregation he signed would have understood aught else.So it was that from the second day outfrom Freetown John Clayton andhis young wife witnessed scenes upon the deck of the Fuwalda such asthey had believed were never enacted outside the covers of printedstories of the sea.It was on the morning of thesecond day that the first link was forgedin what was destined to form a chain of circumstances ending in a lifefor one then unborn such as has never been paralleled in the history ofman.Two sailors were washing downthe decks of the Fuwalda, the first matewas on duty, and the captain had stopped to speak with John Clayton andLady Alice.The men were working backwards toward the little party who were facingaway from thesailors.  Closer and closer they came, until one of themwas directly behind the captain.  In another moment he would havepassed by and this strange narrative would never have been recorded.But just that instant theofficer turned to leave Lord and LadyGreystoke, and, as he did so, tripped against the sailor and sprawledheadlong upon the deck, overturning the water-pail so that he wasdrenched in its dirty contents.For an instantthe scene was ludicrous; but only for an instant.  Witha volley of awful oaths, his face suffused with the scarlet ofmortification and rage, the captain regained his feet, and with aterrific blow felled the sailor to thedeck.The man was small and rather old, so that the brutality of the act wasthus accentuated.  The other seaman, however, was neither old norsmall--a huge bear of a man, with fierce black mustachios, and a greatbullneck set between massive shoulders.As he saw his mate go down he crouched, and, with a low snarl, sprangupon the captain crushing him to his knees with a single mighty blow.From scarlet the officer's face wentwhite, for this was mutiny; andmutiny he had met and subdued before in his brutal career.  Withoutwaiting to rise he whipped a revolver from his pocket, firing pointblank at the great mountain of muscle toweringbefore him; but, quickas he was, John Clayton was almost as quick, so that the bullet whichwas intended for the sailor's heart lodged in the sailor's leg instead,for Lord Greystoke had struck down the captain's arm ashe had seen theweapon flash in the sun.Words passed between Clayton and the captain, the former making itplain that he was disgusted with the brutality displayed toward thecrew, nor would he countenance anythingfurther of the kind while heand Lady Greystoke remained passengers.The captain was on the point of making an angry reply, but, thinkingbetter of it, turned on his heel and black and scowling, strode aft.He did not careto antagonize an English official, for the Queen'smighty arm wielded a punitive instrument which he could appreciate, andwhich he feared--England's far-reaching navy.The two sailors picked themselves up, the olderman assisting hiswounded comrade to rise.  The big fellow, who was known among his matesas Black Michael, tried his leg gingerly, and, finding that it bore hisweight, turned to Clayton with a word of gruffthanks.Though the fellow's tone was surly, his words were evidently wellmeant.  Ere he had scarce finished his little speech he had turned andwas limping off toward the forecastle with the very apparent intentionofforestalling any further conversation.They did not see him again for several days, nor did the captain accordthem more than the surliest of grunts when he was forced to speak tothem.They took their meals in his cabin,as they had before the unfortunateoccurrence; but the captain was careful to see that his duties neverpermitted him to eat at the same time.The other officers were coarse, illiterate fellows, but little abovethe villainouscrew they bullied, and were only too glad to avoidsocial intercourse with the polished English noble and his lady, sothat the Claytons were left very much to themselves.This in itself accorded perfectly with their desires,but it alsorather isolated them from the life of the little ship so that they wereunable to keep in touch with the daily happenings which were toculminate so soon in bloody tragedy.There was in the whole atmosphere ofthe craft that undefinablesomething which presages disaster.  Outwardly, to the knowledge of theClaytons, all went on as before upon the little vessel; but that therewas an undertow leading them toward someunknown danger both felt,though they did not speak of it to each other.On the second day after the wounding of Black Michael, Clayton came ondeck just in time to see the limp body of one of the crew beingcarriedbelow by four of his fellows while the first mate, a heavy belaying pinin his hand, stood glowering at the little party of sullen sailors.Clayton asked no questions--he did not need to--and the following day,as thegreat lines of a British battleship grew out of the distanthorizon, he half determined to demand that he and Lady Alice be putaboard her, for his fears were steadily increasing that nothing butharm could result fromremaining on the lowering, sullen Fuwalda.Toward noon they were within speaking distance of the British vessel,but when Clayton had nearly decided to ask the captain to put themaboard her, the obviousridiculousness of such a request becamesuddenly apparent.  What reason could he give the officer commandingher majesty's ship for desiring to go back in the direction from whichhe had just come!What if he told themthat two insubordinate seamen had been roughlyhandled by their officers?  They would but laugh in their sleeves andattribute his reason for wishing to leave the ship to but onething--cowardice.John Clayton, LordGreystoke, did not ask to be transferred to theBritish man-of-war.  Late in the afternoon he saw her upper works fadebelow the far horizon, but not before he learned that which confirmedhis greatest fears, and causedhim to curse the false pride which hadrestrained him from seeking safety for his young wife a few short hoursbefore, when safety was within reach--a safety which was now goneforever.It was mid-afternoon thatbrought the little old sailor, who had beenfelled by the captain a few days before, to where Clayton and his wifestood by the ship's side watching the ever diminishing outlines of thegreat battleship.  The old fellow waspolishing brasses, and as he cameedging along until close to Clayton he said, in an undertone:\"'Ell's to pay, sir, on this 'ere craft, an' mark my word for it, sir.'Ell's to pay.\"\"What do you mean, my good fellow?\" askedClayton.\"Wy, hasn't ye seen wats goin' on?  Hasn't ye 'eard that devil's spawnof a capting an' is mates knockin' the bloomin' lights outen 'arf thecrew?\"Two busted 'eads yeste'day, an' three to-day.  Black Michael's asgoodas new agin an' 'e's not the bully to stand fer it, not 'e; an' mark myword for it, sir.\"\"You mean, my man, that the crew contemplates mutiny?\" asked Clayton.\"Mutiny!\" exclaimed the old fellow.  \"Mutiny!  Theymeans murder, sir,an' mark my word for it, sir.\"\"When?\"\"Hit's comin', sir; hit's comin' but I'm not a-sayin' wen, an' I'vesaid too damned much now, but ye was a good sort t'other day an' Ithought it no more'n right towarn ye.  But keep a still tongue in yer'ead an' when ye 'ear shootin' git below an' stay there.\"That's all, only keep a still tongue in yer 'ead, or they'll put apill between yer ribs, an' mark my word for it, sir,\" and theoldfellow went on with his polishing, which carried him away from wherethe Claytons were standing.\"Deuced cheerful outlook, Alice,\" said Clayton.\"You should warn the captain at once, John.  Possibly the troublemayyet be averted,\" she said.\"I suppose I should, but yet from purely selfish motives I am almostprompted to 'keep a still tongue in my 'ead.' Whatever they do now theywill spare us in recognition of my stand for thisfellow Black Michael,but should they find that I had betrayed them there would be no mercyshown us, Alice.\"\"You have but one duty, John, and that lies in the interest of vestedauthority.  If you do not warn the captainyou are as much a party towhatever follows as though you had helped to plot and carry it out withyour own head and hands.\"\"You do not understand, dear,\" replied Clayton.  \"It is of you I amthinking--there lies my firstduty.  The captain has brought thiscondition upon himself, so why then should I risk subjecting my wife tounthinkable horrors in a probably futile attempt to save him from hisown brutal folly?  You have no conception,dear, of what would followwere this pack of cutthroats to gain control of the Fuwalda.\"\"Duty is duty, John, and no amount of sophistries may change it.  Iwould be a poor wife for an English lord were I to be responsibleforhis shirking a plain duty.  I realize the danger which must follow, butI can face it with you.\"\"Have it as you will then, Alice,\" he answered, smiling.  \"Maybe we areborrowing trouble.  While I do not like the looks ofthings on boardthis ship, they may not be so bad after all, for it is possible thatthe 'Ancient Mariner' was but voicing the desires of his wicked oldheart rather than speaking of real facts.\"Mutiny on the high sea may havebeen common a hundred years ago, butin this good year 1888 it is the least likely of happenings.\"But there goes the captain to his cabin now.  If I am going to warnhim I might as well get the beastly job over for I havelittle stomachto talk with the brute at all.\"So saying he strolled carelessly in the direction of the companionwaythrough which the captain had passed, and a moment later was knockingat his door.\"Come in,\" growled thedeep tones of that surly officer.And when Clayton had entered, and closed the door behind him:\"Well?\"\"I have come to report the gist of a conversation I heard to-day,because I feel that, while there may be nothing toit, it is as wellthat you be forearmed.  In short, the men contemplate mutiny andmurder.\"\"It's a lie!\" roared the captain.  \"And if you have been interferingagain with the discipline of this ship, or meddling in affairsthatdon't concern you you can take the consequences, and be damned.  Idon't care whether you are an English lord or not.  I'm captain of thishere ship, and from now on you keep your meddling nose out ofmybusiness.\"The captain had worked himself up to such a frenzy of rage that he wasfairly purple of face, and he shrieked the last words at the top of hisvoice, emphasizing his remarks by a loud thumping of the tablewith onehuge fist, and shaking the other in Clayton's face.Greystoke never turned a hair, but stood eying the excited man withlevel gaze.\"Captain Billings,\" he drawled finally, \"if you will pardon my candor,I mightremark that you are something of an ass.\"Whereupon he turned and left the captain with the same indifferent easethat was habitual with him, and which was more surely calculated toraise the ire of a man of Billings'class than a torrent of invective.So, whereas the captain might easily have been brought to regret hishasty speech had Clayton attempted to conciliate him, his temper wasnow irrevocably set in the mold in whichClayton had left it, and thelast chance of their working together for their common good was gone.\"Well, Alice,\" said Clayton, as he rejoined his wife, \"I might havesaved my breath.  The fellow proved mostungrateful.  Fairly jumped atme like a mad dog.\"He and his blasted old ship may hang, for aught I care; and until weare safely off the thing I shall spend my energies in looking after ourown welfare.  And I rather fancythe first step to that end should beto go to our cabin and look over my revolvers.  I am sorry now that wepacked the larger guns and the ammunition with the stuff below.\"They found their quarters in a bad state ofdisorder.  Clothing fromtheir open boxes and bags strewed the little apartment, and even theirbeds had been torn to pieces.\"Evidently someone was more anxious about our belongings than we,\" saidClayton.  \"Let'shave a look around, Alice, and see what's missing.\"A thorough search revealed the fact that nothing had been taken butClayton's two revolvers and the small supply of ammunition he had savedout for them.\"Those arethe very things I most wish they had left us,\" said Clayton,\"and the fact that they wished for them and them alone is mostsinister.\"\"What are we to do, John?\" asked his wife.  \"Perhaps you were right inthat our bestchance lies in maintaining a neutral position.\"If the officers are able to prevent a mutiny, we have nothing to fear,while if the mutineers are victorious our one slim hope lies in nothaving attempted to thwart orantagonize them.\"\"Right you are, Alice.  We'll keep in the middle of the road.\"As they started to straighten up their cabin, Clayton and his wifesimultaneously noticed the corner of a piece of paper protrudingfrombeneath the door of their quarters.  As Clayton stooped to reach for ithe was amazed to see it move further into the room, and then herealized that it was being pushed inward by someone from without.Quickly andsilently he stepped toward the door, but, as he reached forthe knob to throw it open, his wife's hand fell upon his wrist.\"No, John,\" she whispered.  \"They do not wish to be seen, and so wecannot afford to see them.  Donot forget that we are keeping to themiddle of the road.\"Clayton smiled and dropped his hand to his side.  Thus they stoodwatching the little bit of white paper until it finally remained atrest upon the floor just inside thedoor.Then Clayton stooped and picked it up.  It was a bit of grimy, whitepaper roughly folded into a ragged square.  Opening it they found acrude message printed almost illegibly, and with many evidences ofanunaccustomed task.Translated, it was a warning to the Claytons to refrain from reportingthe loss of the revolvers, or from repeating what the old sailor hadtold them--to refrain on pain of death.\"I rather imagine we'llbe good,\" said Clayton with a rueful smile.\"About all we can do is to sit tight and wait for whatever may come.\"Chapter IIThe Savage HomeNor did they have long to wait, for the next morning as Clayton wasemergingon deck for his accustomed walk before breakfast, a shot rangout, and then another, and another.The sight which met his eyes confirmed his worst fears.  Facing thelittle knot of officers was the entire motley crew ofthe Fuwalda, andat their head stood Black Michael.At the first volley from the officers the men ran for shelter, and frompoints of vantage behind masts, wheel-house and cabin they returned thefire of the five men who"}
+{"doc_id":"doc_64","qid":"","text":"Project Gutenberg's The Tale of Mr. Jeremy Fisher, by Beatrix PotterThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it underthe terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: The Tale of Mr. Jeremy FisherAuthor: Beatrix PotterRelease Date: February 16, 2005 [EBook #15077]Language:English*** START OF THIS PROJECT GUTENBERG EBOOK THE TALE OF MR. JEREMY FISHER ***Produced by David Newman, Melissa Er-Raqabi and the PG OnlineDistributed Proofreading Team athttp://www.pgdp.net[Transcriber's Note: This book is heavily illustrated; references to theillustrations have been removed from this text version. Please look forthe fully illustrated html version athttp://www.gutenberg.net.]THE TALE OFMR. JEREMY FISHERBYBEATRIX POTTER_Author of__\"The Tale of Peter Rabbit,\" &c._FREDERICK WARNE & CO., INC.NEW YORKCOPYRIGHT, 1906BYFREDERICK WARNE &COFORSTEPHANIEFROMCOUSIN B.Once upon a time there was a frog called Mr. Jeremy Fisher; he lived in alittle damp house amongst the buttercups at the edge of a pond.The water was all slippy-sloppy in the larderand in the back passage.But Mr. Jeremy liked getting his feet wet; nobody ever scolded him, and henever caught a cold!He was quite pleased when he looked out and saw large drops of rain,splashing in the pond--\"Iwill get some worms and go fishing and catch a dish of minnows for mydinner,\" said Mr. Jeremy Fisher. \"If I catch more than five fish, I willinvite my friends Mr. Alderman Ptolemy Tortoise and Sir Isaac Newton.TheAlderman, however, eats salad.\"Mr. Jeremy put on a macintosh, and a pair of shiny goloshes; he took hisrod and basket, and set off with enormous hops to the place where he kepthis boat.The boat was round andgreen, and very like the other lily-leaves. It wastied to a water-plant in the middle of the pond.Mr. Jeremy took a reed pole, and pushed the boat out into open water. \"Iknow a good place for minnows,\" said Mr. JeremyFisher.Mr. Jeremy stuck his pole into the mud and fastened the boat to it.Then he settled himself cross-legged and arranged his fishing tackle. Hehad the dearest little red float. His rod was a tough stalk of grass, hislinewas a fine long white horse-hair, and he tied a little wriggling wormat the end.The rain trickled down his back, and for nearly an hour he stared at thefloat.\"This is getting tiresome, I think I should like some lunch,\" saidMr.Jeremy Fisher.He punted back again amongst the water-plants, and took some lunch out ofhis basket.\"I will eat a butterfly sandwich, and wait till the shower is over,\" saidMr. Jeremy Fisher.A great big water-beetlecame up underneath the lily leaf and tweaked thetoe of one of his goloshes.Mr. Jeremy crossed his legs up shorter, out of reach, and went on eatinghis sandwich.Once or twice something moved about with a rustle anda splash amongstthe rushes at the side of the pond.\"I trust that is not a rat,\" said Mr. Jeremy Fisher; \"I think I had betterget away from here.\"Mr. Jeremy shoved the boat out again a little way, and dropped in thebait.There was a bite almost directly; the float gave a tremendousbobbit!\"A minnow! a minnow! I have him by the nose!\" cried Mr. Jeremy Fisher,jerking up his rod.But what a horrible surprise! Instead of a smooth fatminnow, Mr. Jeremylanded little Jack Sharp the stickleback, covered with spines!The stickleback floundered about the boat, pricking and snapping until hewas quite out of breath. Then he jumped back into thewater.And a shoal of other little fishes put their heads out, and laughed atMr. Jeremy Fisher.And while Mr. Jeremy sat disconsolately on the edge of his boat--suckinghis sore fingers and peering down into the water--a_much_ worse thinghappened; a really _frightful_ thing it would have been, if Mr. Jeremy hadnot been wearing a macintosh!A great big enormous trout came up--ker-pflop-p-p-p! with a splash--andit seized Mr. Jeremywith a snap, \"Ow! Ow! Ow!\"--and then it turned anddived down to the bottom of the pond!But the trout was so displeased with the taste of the macintosh, that inless than half a minute it spat him out again; and theonly thing itswallowed was Mr. Jeremy's goloshes.Mr. Jeremy bounced up to the surface of the water, like a cork and thebubbles out of a soda water bottle; and he swam with all his might to theedge of the pond.Hescrambled out on the first bank he came to, and he hopped home acrossthe meadow with his macintosh all in tatters.\"What a mercy that was not a pike!\" said Mr. Jeremy Fisher. \"I have lostmy rod and basket; but itdoes not much matter, for I am sure I shouldnever have dared to go fishing again!\"He put some sticking plaster on his fingers, and his friends both came todinner. He could not offer them fish, but he had somethingelse in hislarder.Sir Isaac Newton wore his black and gold waistcoat,And Mr. Alderman Ptolemy Tortoise brought a salad with him in a stringbag.And instead of a nice dish of minnows--they had a roastedgrasshopperwith lady-bird sauce; which frogs consider a beautiful treat; but _I_think it must have been nasty!THE ENDEnd of Project Gutenberg's The Tale of Mr. Jeremy Fisher, by Beatrix Potter*** END OF THISPROJECT GUTENBERG EBOOK THE TALE OF MR. JEREMY FISHER ******** This file should be named 15077.txt or 15077.zip *****This and all associated files of various formats will be foundin:        http://www.gutenberg.net/1/5/0/7/15077/Produced by David Newman, Melissa Er-Raqabi and the PG OnlineDistributed Proofreading Team at http://www.pgdp.netUpdated editions will replace the previousone--the old editionswill be renamed.Creating the works from public domain print editions means that noone owns a United States copyright in these works, so the Foundation(and you!) can copy and distribute it in theUnited States withoutpermission and without paying copyright royalties.  Special rules,set forth in the General Terms of Use part of this license, apply tocopying and distributing Project Gutenberg-tm electronic workstoprotect the PROJECT GUTENBERG-tm concept and trademark.  ProjectGutenberg is a registered trademark, and may not be used if youcharge for the eBooks, unless you receive specific permission.  If youdo notcharge anything for copies of this eBook, complying with therules is very easy.  You may use this eBook for nearly any purposesuch as creation of derivative works, reports, performances andresearch.  They may bemodified and printed and given away--you may dopractically ANYTHING with public domain eBooks.  Redistribution issubject to the trademark license, especially commercialredistribution.*** START: FULL LICENSE***THE FULL PROJECT GUTENBERG LICENSEPLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORKTo protect the Project Gutenberg-tm mission of promoting the freedistribution of electronic works, byusing or distributing this work(or any other work associated in any way with the phrase \"ProjectGutenberg\"), you agree to comply with all the terms of the Full ProjectGutenberg-tm License (available with this file oronline athttp://gutenberg.net/license).Section 1.  General Terms of Use and Redistributing Project Gutenberg-tmelectronic works1.A.  By reading or using any part of this Project Gutenberg-tmelectronic work, youindicate that you have read, understand, agree toand accept all the terms of this license and intellectual property(trademark/copyright) agreement.  If you do not agree to abide by allthe terms of this agreement, youmust cease using and return or destroyall copies of Project Gutenberg-tm electronic works in your possession.If you paid a fee for obtaining a copy of or access to a ProjectGutenberg-tm electronic work and you do notagree to be bound by theterms of this agreement, you may obtain a refund from the person orentity to whom you paid the fee as set forth in paragraph 1.E.8.1.B.  \"Project Gutenberg\" is a registered trademark.  It mayonly beused on or associated in any way with an electronic work by people whoagree to be bound by the terms of this agreement.  There are a fewthings that you can do with most Project Gutenberg-tm electronicworkseven without complying with the full terms of this agreement.  Seeparagraph 1.C below.  There are a lot of things you can do with ProjectGutenberg-tm electronic works if you follow the terms of thisagreementand help preserve free future access to Project Gutenberg-tm electronicworks.  See paragraph 1.E below.1.C.  The Project Gutenberg Literary Archive Foundation (\"the Foundation\"or PGLAF), owns acompilation copyright in the collection of ProjectGutenberg-tm electronic works.  Nearly all the individual works in thecollection are in the public domain in the United States.  If anindividual work is in the public domainin the United States and you arelocated in the United States, we do not claim a right to prevent you fromcopying, distributing, performing, displaying or creating derivativeworks based on the work as long as allreferences to Project Gutenbergare removed.  Of course, we hope that you will support the ProjectGutenberg-tm mission of promoting free access to electronic works byfreely sharing Project Gutenberg-tm works incompliance with the terms ofthis agreement for keeping the Project Gutenberg-tm name associated withthe work.  You can easily comply with the terms of this agreement bykeeping this work in the same format withits attached full ProjectGutenberg-tm License when you share it without charge with others.1.D.  The copyright laws of the place where you are located also governwhat you can do with this work.  Copyright laws inmost countries are ina constant state of change.  If you are outside the United States, checkthe laws of your country in addition to the terms of this agreementbefore downloading, copying, displaying, performing,distributing orcreating derivative works based on this work or any other ProjectGutenberg-tm work.  The Foundation makes no representations concerningthe copyright status of any work in any country outside theUnitedStates.1.E.  Unless you have removed all references to Project Gutenberg:1.E.1.  The following sentence, with active links to, or other immediateaccess to, the full Project Gutenberg-tm License must appearprominentlywhenever any copy of a Project Gutenberg-tm work (any work on which thephrase \"Project Gutenberg\" appears, or with which the phrase \"ProjectGutenberg\" is associated) is accessed, displayed,performed, viewed,copied or distributed:This eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the ProjectGutenberg License includedwith this eBook or online at www.gutenberg.net1.E.2.  If an individual Project Gutenberg-tm electronic work is derivedfrom the public domain (does not contain a notice indicating that itisposted with permission of the copyright holder), the work can be copiedand distributed to anyone in the United States without paying any feesor charges.  If you are redistributing or providing access to a workwith thephrase \"Project Gutenberg\" associated with or appearing on thework, you must comply either with the requirements of paragraphs 1.E.1through 1.E.7 or obtain permission for the use of the work and theProjectGutenberg-tm trademark as set forth in paragraphs 1.E.8 or1.E.9.1.E.3.  If an individual Project Gutenberg-tm electronic work is postedwith the permission of the copyright holder, your use and distributionmust complywith both paragraphs 1.E.1 through 1.E.7 and any additionalterms imposed by the copyright holder.  Additional terms will be linkedto the Project Gutenberg-tm License for all works posted with thepermission of thecopyright holder found at the beginning of this work.1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tmLicense terms from this work, or any files containing a part of thiswork or any other workassociated with Project Gutenberg-tm.1.E.5.  Do not copy, display, perform, distribute or redistribute thiselectronic work, or any part of this electronic work, withoutprominently displaying the sentence set forth inparagraph 1.E.1 withactive links or immediate access to the full terms of the ProjectGutenberg-tm License.1.E.6.  You may convert to and distribute this work in any binary,compressed, marked up, nonproprietary orproprietary form, including anyword processing or hypertext form.  However, if you provide access to ordistribute copies of a Project Gutenberg-tm work in a format other than\"Plain Vanilla ASCII\" or other format usedin the official versionposted on the official Project Gutenberg-tm web site (www.gutenberg.net),you must, at no additional cost, fee or expense to the user, provide acopy, a means of exporting a copy, or a means ofobtaining a copy uponrequest, of the work in its original \"Plain Vanilla ASCII\" or otherform.  Any alternate format must include the full Project Gutenberg-tmLicense as specified in paragraph 1.E.1.1.E.7.  Do not chargea fee for access to, viewing, displaying,performing, copying or distributing any Project Gutenberg-tm worksunless you comply with paragraph 1.E.8 or 1.E.9.1.E.8.  You may charge a reasonable fee for copies of orprovidingaccess to or distributing Project Gutenberg-tm electronic works providedthat- You pay a royalty fee of 20% of the gross profits you derive from     the use of Project Gutenberg-tm works calculated using themethod     you already use to calculate your applicable taxes.  The fee is     owed to the owner of the Project Gutenberg-tm trademark, but he     has agreed to donate royalties under this paragraph to the     ProjectGutenberg Literary Archive Foundation.  Royalty payments     must be paid within 60 days following each date on which you     prepare (or are legally required to prepare) your periodic tax     returns.  Royaltypayments should be clearly marked as such and     sent to the Project Gutenberg Literary Archive Foundation at the     address specified in Section 4, \"Information about donations to     the Project Gutenberg LiteraryArchive Foundation.\"- You provide a full refund of any money paid by a user who notifies     you in writing (or by e-mail) within 30 days of receipt that s/he     does not agree to the terms of the full ProjectGutenberg-tm     License.  You must require such a user to return or     destroy all copies of the works possessed in a physical medium     and discontinue all use of and all access to other copies of     ProjectGutenberg-tm works.- You provide, in accordance with paragraph 1.F.3, a full refund of any     money paid for a work or a replacement copy, if a defect in the     electronic work is discovered and reported to you within90 days     of receipt of the work.- You comply with all other terms of this agreement for free     distribution of Project Gutenberg-tm works.1.E.9.  If you wish to charge a fee or distribute a ProjectGutenberg-tmelectronic work or group of works on different terms than are setforth in this agreement, you must obtain permission in writing fromboth the Project Gutenberg Literary Archive Foundation andMichaelHart, the owner of the Project Gutenberg-tm trademark.  Contact theFoundation as set forth in Section 3 below.1.F.1.F.1.  Project Gutenberg volunteers and employees expend considerableeffort to identify, docopyright research on, transcribe and proofreadpublic domain works in creating the Project Gutenberg-tmcollection.  Despite these efforts, Project Gutenberg-tm electronicworks, and the medium on which they may bestored, may contain\"Defects,\" such as, but not limited to, incomplete, inaccurate orcorrupt data, transcription errors, a copyright or other intellectualproperty infringement, a defective or damaged disk or other medium,acomputer virus, or computer codes that damage or cannot be read byyour equipment.1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the \"Rightof Replacement or Refund\" described in paragraph1.F.3, the ProjectGutenberg Literary Archive Foundation, the owner of the ProjectGutenberg-tm trademark, and any other party distributing a ProjectGutenberg-tm electronic work under this agreement, disclaimallliability to you for damages, costs and expenses, including legalfees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICTLIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPTTHOSEPROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THETRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BELIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT,CONSEQUENTIAL, PUNITIVE ORINCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCHDAMAGE.1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover adefect in thiselectronic work within 90 days of receiving it, you canreceive a refund of the money (if any) you paid for it by sending awritten explanation to the person you received the work from.  If youreceived the work on aphysical medium, you must return the medium withyour written explanation.  The person or entity that provided you withthe defective work may elect to provide a replacement copy in lieu of arefund.  If you receivedthe work electronically, the person or entityproviding it to you may choose to give you a second opportunity toreceive the work electronically in lieu of a refund.  If the second copyis also defective, you may demand arefund in writing without furtheropportunities to fix the problem.1.F.4.  Except for the limited right of replacement or refund set forthin paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NOOTHERWARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TOWARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.1.F.5.  Some states do not allow disclaimers of certainimpliedwarranties or the exclusion or limitation of certain types of damages.If any disclaimer or limitation set forth in this agreement violates thelaw of the state applicable to this agreement, the agreement shallbeinterpreted to make the maximum disclaimer or limitation permitted bythe applicable state law.  The invalidity or unenforceability of anyprovision of this agreement shall not void the remainingprovisions.1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, thetrademark owner, any agent or employee of the Foundation, anyoneproviding copies of Project Gutenberg-tm electronic works inaccordancewith this agreement, and any volunteers associated with the production,promotion and distribution of Project Gutenberg-tm electronic works,harmless from all liability, costs and expenses, including legalfees,that arise directly or indirectly from any of the following which you door cause to occur: (a) distribution of this or any Project Gutenberg-tmwork, (b) alteration, modification, or additions or deletions to anyProjectGutenberg-tm work, and (c) any Defect you cause.Section  2.  Information about the Mission of Project Gutenberg-tmProject Gutenberg-tm is synonymous with the free distribution ofelectronic works in formatsreadable by the widest variety of computersincluding obsolete, old, middle-aged and new computers.  It existsbecause of the efforts of hundreds of volunteers and donations frompeople in all walks of life.Volunteers andfinancial support to provide volunteers with theassistance they need, is critical to reaching Project Gutenberg-tm'sgoals and ensuring that the Project Gutenberg-tm collection willremain freely available for generationsto come.  In 2001, the ProjectGutenberg Literary Archive Foundation was created to provide a secureand permanent future for Project Gutenberg-tm and future generations.To learn more about the Project GutenbergLiterary Archive Foundationand how your efforts and donations can help, see Sections 3 and 4and the Foundation web page at http://www.pglaf.org.Section 3.  Information about the Project Gutenberg LiteraryArchiveFoundationThe Project Gutenberg Literary Archive Foundation is a non profit501(c)(3) educational corporation organized under the laws of thestate of Mississippi and granted tax exempt status by theInternalRevenue Service.  The Foundation's EIN or federal tax identificationnumber is 64-6221541.  Its 501(c)(3) letter is posted athttp://pglaf.org/fundraising.  Contributions to the Project GutenbergLiterary ArchiveFoundation are tax deductible to the full extentpermitted by U.S. federal laws and your state's laws.The Foundation's principal office is located at 4557 Melan Dr. S.Fairbanks, AK, 99712., but its volunteers andemployees are scatteredthroughout numerous locations.  Its business office is located at809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, emailbusiness@pglaf.org.  Email contact links and up to date"}
+{"doc_id":"doc_65","qid":"","text":"<html><head><title>JFK Script at IMSDb.</title><meta name=\"description\" content=\"JFK script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"JFK script, JFK movie script, JFK filmscript\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Filmscripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><scripttype=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript';ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0];s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>    <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\"title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center></td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>                                           JFK                                            By                               Oliver Stone & ZacharySklar                                    Based on books by                                 Jim Marrs & Jim Garrison<b>                </b><b>                                                                    FADE IN</b>               Credits run incounterpoint through a 7 to 10 minute sequence                of documentary images setting the tone of John F. Kennedy's                Presidency and the atmosphere of those tense times, 1960                through1963.  An omniscient narrator's voice marches us                through in old time Pathe' newsreel fashion.<b>                                     VOICE</b>                         January, 1961 - President DwightD.                          Eisenhower's Farewell Address to the                          Nation -<b>               EISENHOWER ADDRESS</b><b>                                     EISENHOWER</b>                         The conjunction of animmense military                          establishment and a large arms                          industry is new in the American                          experience.  The total influence -                          economic, political, evenspiritual -                          is felt in every city, every                          statehouse, every office of the                          Federal Government... In the councils                          of government we must guardagainst                          the acquisition of unwarranted                          influence, whether sought or unsought,                          by the military industrial complex.                         The potential for thedisastrous                          rise of misplaced power exists and                          will persist... We must never let                          the weight of this combination                          endanger our liberties ordemocratic                          processes.  We should take nothing                          for granted...<b>               ELECTION IMAGERY</b>               School kids reciting the Pledge of Allegiance.  WPA filmsof                farmers harvesting the Texas plains.  Rain, thunderheads, a                dusty car coming from far away on a road moving towards                Dallas.  Cowboys round up the cattle.  Young marrieds ina                church.  Hillsides of tract homes going up.  The American                breadbasket, the West.  Over this we hear Eisenhower's                address.  As we move into the election campaign of 1960,we                see the TV debates, Nixon vs. Kennedy, Mayor Daley, Kennedy                victorious...               Against this is juxtaposed other forces: segregation, J.                Edgar Hoover, military advisors, Castro,Marilyn Monroe,                Lumumba... three frames of the Zapruder film counter-cut...                ending with the Kennedy inauguration and the irony of Earl                Warren administering the oath as he willKennedy's eulogy.<b>                                     VOICE 2</b>                         November, 1960 - Senator John F.                          Kennedy of Massachusetts wins one of                          the narrowest electionvictories in                          American history over the Vice-                          President Richard Nixon by a little                          more than 100,000 votes.  Rumors                          abound that he stole the electionin                          Illinois through the Democratic                          political machine of Mayor Daley...                              (inauguration shots)                         At his inauguration, at a timewhen                          American males all wore hats, he let                          his hair blow free in the wind.                           Alongside his beautiful and elegant                          wife of French origin,Jacqueline                          Bouvier, J.F.K. is the symbol of the                          new freedom of the 1960's, signifying                          change and upheaval to the American                          public, scaring many andhated                          passionately by some.  To win the                          election and to appease their fears,                          Kennedy at first takes a tough Cold                          War stance.<b>               BAY OFPIGS IMAGERY</b>               The beach, the bombardment, the rounding up of prisoners,                Kennedy's public apology, Allen Dulles standing next to                J.F.K., both uncomfortable with the smalltalk...<b>                                     VOICE 3</b>                         He inherits a secret war against the                          Communist Castro dictatorship in                          Cuba, a war run by the CIA andangry                          Cuban exiles out of bases in the                          Southern United States, Panama,                          Nicaragua and Guatemala.  Castro is                          a successful revolutionaryfrightening                          to American business interests in                          Latin America - companies like Cabot's                          United Fruit, Continental Can, and                          Rockefeller's StandardOil.  This                          war culminates in the disastrous Bay                          of Pigs invasion in April 1961, when                          Kennedy refuses to provide air cover                          for the exile brigade.  Of the1600                          men who invade, 114 are killed, 1200                          are captured.  The Cuban exiles and                          the CIA are furious at Kennedy's                          irresolution... Kennedy, takingpublic                          responsibility for the failure,                          privately claims the CIA lied to him                          and tried to manipulate him into                          ordering an all-out Americaninvasion                          of Cuba.  He vows to splinter the                          CIA into a thousand pieces and fires                          Director Allen Dulles, Deputies                          Charles Cabell and RichardBissell,                          the top leadership of the Agency.<b>               SECRET WAR IMAGERY</b>               Cuban rallies, footage of training camps, espionage                activities, boats, cases of weapons, RobertKennedy... John                Roselli, Sam Giancana, Santos Trafficante, Richard Helms                (the new CIA chief), Bill Harvey, Head of ZR/RIFLE, Howard                Hunt...<b>                                     VOICE4</b>                         The CIA, however, continues it's                          secret war on Castro with dozens of                          sabotage and assassination attempts                          under it's ZR/RIFLE andMONGOOSE                          programs - The Agency collaborates                          with organized crime elements such                          as John Roselli, Sam Giancana, and                          Santos Trafficante ofTampa, whose                          casino operations in Cuba, worth                          more than a hundred million dollars                          a year in income, Castro has shut                          down.<b>               CUBANMISSILE CRISIS</b>               Khrushchev, Kennedy, Castro on television, meetings with                Cabinet, Russian vessels in Caribbean, U.S. nuclear bases on                alert, civilians going to underground safeareas... the                Russian ship turning around, the country smiling...<b>                                     VOICE 5</b>                         In October 1962, the world comes to                          the brink of nuclear warwhen Kennedy                          quarantines Cuba after announcing                          the presence of offensive Soviet                          nuclear missiles 90 miles off American                          shores.  The Joint Chiefsof Staff                          and the CIA call for an invasion.                           Kennedy refuses.  Soviet ships with                          more missiles sail towards the island,                          but at the last moment turnback.                           The world breathes with relief but                          backstage in Washington, rumors abound                          that J.F.K. has cut a secret deal                          with Russian Premier Khrushchevnot                          to invade Cuba in return for a Russian                          withdrawal of missiles.  Suspicions                          abound that Kennedy is \"soft on                          Communism.\"<b>               NUCLEARTEST BAN IMAGERY</b>               Closing down Cuban Camps, McNamara speaking, Khrushchev and                Kennedy, the \"hot line\" telephone system inaugurated, Kennedy                with Jackie and childrensailing off Cape Cod... Vietnam                introduction, early shots, Green Berets, counterinsurgency                programs, De Lansdale, leading up to the Test Ban signings...                then J.F.K. at AmericanUniversity, June 10, 1963.<b>                                     VOICE 6</b>                         In the ensuing months, Kennedy clamps                          down on Cuban exile activities,                          closing training camps,restricting                          covert operations, prohibiting                          shipment of weapons out of the                          country.  The covert arm of the CIA                          nevertheless continues its planto                          assassinate Castor... In March '63,                          Kennedy announces drastic cuts in                          the defense budget.  In November                          1963, he orders the withdrawalby                          Christmas of the first 1000 troops                          of the 16,000 stationed in Vietnam.                           He tells several of his intimates                          that he will withdraw allVietnam                          troops after the '64 election, saying                          to the Assistant Secretary of State,                          Roger Hilsman, \"The Bay of Pigs has                          taught me one, not to trustgenerals                          or the CIA, and two, that if the                          American people do not want to use                          American troops to remove a Communist                          regime 90 miles from ourcoast, how                          can I ask them to use troops to remove                          a Communist regime 9,000 miles                          away?\"... Finally, in August 1963,                          over the objections of theJoint                          Chiefs of Staff, the United States,                          Great Britain and the Soviet Union                          sign a treaty banning nuclear bomb                          tests in the atmosphere,underwater                          and in space...  Early that fateful                          summer, Kennedy speaks of his new                          vision at American Universityin                          Washington.<b>                                     JFK</b>                         What kind of peace do we seek?  Not                          a pax Americana enforced on the world                          by Americanweapons of war... We                          must re-examine our own attitudes                          towards the Soviet Union... If we                          cannot now end our differences at                          least we can helpmake the world                          safe for diversity.  For, in the                          final analysis, our most basic link                          is that we all inhabit this small                          planet.  We all breathe thesame                          air.  We all cherish our children's                          future.  And we are all mortal...<b>               CONCLUDING KENNEDY IMAGERY</b>               Diplomats at the United Nations... AdlaiStevenson, Castor...                Martin Luther King and the March on Washington (a snatch of                his \"I Have a Dream\" speech)... Bobby Kennedy and Jimmy Hoffa                going at it... U.S.  Steel Chairman's"}
+{"doc_id":"doc_66","qid":"","text":"The Project Gutenberg eBook, The Duke's Children, by Anthony TrollopeThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: The Duke's ChildrenAuthor: Anthony TrollopeRelease Date: January, 2003    [eBook #3622]Most recentlyupdated: August 20, 2007Language: English***START OF THE PROJECT GUTENBERG EBOOK THE DUKE'S CHILDREN***E-text prepared by Kenneth David Cooper and revised by Joseph E.Loewenstein, M.D.THEDUKE'S CHILDRENbyANTHONY TROLLOPEFirst published in serial form in _All the Year Round_in 1879 and 1880 and in book form in 1880CONTENTS         I. When the Duchess Was Dead        II. Lady MaryPalliser       III. Francis Oliphant Tregear        IV. Park Lane         V. \"It Is Impossible\"        VI. Major Tifto       VII. Conservative Convictions      VIII. \"He Is a Gentleman\"        IX. \"In Medias Res\"         X. \"Why Not LikeRomeo If I Feel Like Romeo?\"        XI. \"Cruel\"       XII. At Richmond      XIII. The Duke's Injustice       XIV. The New Member for Silverbridge        XV. The Duke Receives a Letter,--and Writes One       XVI. \"PoorBoy\"      XVII. The Derby     XVIII. One of the Results of the Derby       XIX. \"No; My Lord, I Do Not\"        XX. \"Then He Will Come Again\"       XXI. Sir Timothy Beeswax      XXII. The Duke in His Study     XXIII. FrankTregear Wants a Friend      XXIV. \"She Must Be Made to Obey\"       XXV. A Family Breakfast-Table      XXVI. Dinner at the Beargarden     XXVII. Major Tifto and the Duke    XXVIII. Mrs. Montacute Jones'sGarden-Party      XXIX. The Lovers Meet       XXX. What Came of the Meeting      XXXI. Miss Boncassen's River-Party. No. 1     XXXII. Miss Boncassen's River-Party. No. 2    XXXIII. The Langham Hotel     XXXIV. LordPopplecourt      XXXV. \"Don't You Think--?\"     XXXVI. Tally-Ho Lodge    XXXVII. Grex   XXXVIII. Crummie-Toddie     XXXIX. Killancodlem        XL. \"And Then!\"       XLI. Ischl      XLII. Again at Killancodlem     XLIII.What Happened at Doncaster      XLIV. How It Was Done       XLV. \"There Shall Not Be Another Word About It\"      XLVI. Lady Mary's Dream     XLVII. Miss Boncassen's Idea of Heaven    XLVIII. The Party at Custins IsBroken Up      XLIX. The Major's Fate         L. The Duke's Arguments        LI. The Duke's Guests       LII. Miss Boncassen Tells the Truth      LIII. \"Then I Am As Proud As a Queen\"       LIV. \"I Don't Think She Is aSnake\"        LV. Polpenno       LVI. The News Is Sent to Matching      LVII. The Meeting at \"The Bobtailed Fox\"     LVIII. The Major Is Deposed       LIX. No One Can Tell What May Come to Pass        LX. Lord Gerald inFurther Trouble       LXI. \"Bone of My Bone\"      LXII. The Brake Country     LXIII. \"I've Seen 'Em Like That Before\"      LXIV. \"I Believe Him to Be a Worthy Young Man\"       LXV. \"Do You Ever Think What MoneyIs?\"      LXVI. The Three Attacks     LXVII. \"He Is Such a Beast\"    LXVIII. Brook Street      LXIX. \"Pert Poppet!\"       LXX. \"Love May Be a Great Misfortune\"      LXXI. \"What Am I to Say, Sir?\"     LXXII. CarltonTerrace    LXXIII. \"I Have Never Loved You\"     LXXIV. \"Let Us Drink a Glass of Wine Together\"      LXXV. The Major's Story     LXXVI. On Deportment    LXXVII. \"Mabel, Good-Bye\"   LXXVIII. The Duke Returns toOffice     LXXIX. The First Wedding      LXXX. The Second WeddingCHAPTER IWhen the Duchess Was DeadNo one, probably, ever felt himself to be more alone in the worldthan our old friend, the Duke of Omnium, whenthe Duchess died. Whenthis sad event happened he had ceased to be Prime Minister. Duringthe first nine months after he had left office he and the Duchessremained in England. Then they had gone abroad, taking withthemtheir three children. The eldest, Lord Silverbridge, had been atOxford, but had had his career there cut short by some more thanordinary youthful folly, which had induced his father to agree withthe collegeauthorities that his name had better be taken off thecollege books,--all which had been cause of very great sorrow tothe Duke. The other boy was to go to Cambridge; but his father hadthought it well to give him atwelvemonth's run on the Continent,under his own inspection. Lady Mary, the only daughter, was theyoungest of the family, and she also had been with them on theContinent. They remained the full year abroad,travelling with alarge accompaniment of tutors, lady's-maids, couriers, and sometimesfriends. I do not know that the Duchess or the Duke had enjoyed itmuch; but the young people had seen something of foreigncourts andmuch of foreign scenery, and had perhaps perfected their French. TheDuke had gone to work at his travels with a full determination tocreate for himself occupation out of a new kind of life. He hadstudiedDante, and had striven to arouse himself to ecstatic joyamidst the loveliness of the Italian lakes. But through it all hehad been aware that he had failed. The Duchess had made no suchresolution,--had hardly, perhaps,made any attempt; but, in truth,they had both sighed to be back among the war-trumpets. They had bothsuffered much among the trumpets, and yet they longed to return. Hetold himself from day to day, that thoughhe had been banished fromthe House of Commons, still, as a peer, he had a seat in Parliament,and that, though he was no longer a minister, still he might beuseful as a legislator. She, in her career as a leader offashion,had no doubt met with some trouble,--with some trouble but with nodisgrace; and as she had been carried about among the lakes andmountains, among the pictures and statues, among the countsandcountesses, she had often felt that there was no happiness except inthat dominion which circumstances had enabled her to achieve once,and might enable her to achieve again--in the realms of Londonsociety.Then,in the early spring of 187--, they came back to England, havingpersistently carried out their project, at any rate in regard totime. Lord Gerald, the younger son, was at once sent up to Trinity.For the eldest son a seatwas to be found in the House of Commons,and the fact that a dissolution of Parliament was expected served toprevent any prolonged sojourn abroad. Lady Mary Palliser was at thattime nineteen, and her entrance intothe world was to be her mother'sgreat care and great delight. In March they spent a few days inLondon, and then went down to Matching Priory. When she left town theDuchess was complaining of cold, sore throat, anddebility. A weekafter their arrival at Matching she was dead.Had the heavens fallen and mixed themselves with the earth, had thepeople of London risen in rebellion with French ideas of equality,had the Queenpersistently declined to comply with the constitutionaladvice of her ministers, had a majority in the House of Commons lostits influence in the country,--the utter prostration of the berefthusband could not have beenmore complete. It was not only that hisheart was torn to pieces, but that he did not know how to look outinto the world. It was as though a man should be suddenly called uponto live without hands or even arms. Hewas helpless, and knew himselfto be helpless. Hitherto he had never specially acknowledged tohimself that his wife was necessary to him as a component part of hislife. Though he had loved her dearly, and had in allthings consultedher welfare and happiness, he had at times been inclined to thinkthat in the exuberance of her spirits she had been a troublerather than a support to him. But now it was as though all outsideapplianceswere taken away from him. There was no one of whom hecould ask a question.For it may be said of this man that, though throughout his life hehad had many Honourable and Right Honourable friends, and thatthoughhe had entertained guests by the score, and though he had achievedfor himself the respect of all good men and the thorough admirationof some few who knew him, he had hardly made for himself asingleintimate friend--except that one who had now passed away from him. Toher he had been able to say what he thought, even though she wouldoccasionally ridicule him while he was declaring his feelings. Buttherehad been no other human soul to whom he could open himself.There were one or two whom he loved, and perhaps liked; but hisloving and his liking had been exclusively political. He had sohabituated himself to devotehis mind and his heart to the service ofhis country, that he had almost risen above or sunk below humanity.But she, who had been essentially human, had been a link between himand the world.There were his threechildren, the youngest of whom was now nearlynineteen, and they surely were links! At the first moment of hisbereavement they were felt to be hardly more than burdens. A moreloving father there was not in England,but nature had made him soundemonstrative that as yet they had hardly known his love. In alltheir joys and in all their troubles, in all their desires and alltheir disappointments, they had ever gone to their mother. Shehadbeen conversant with everything about them, from the boys' billsand the girl's gloves to the innermost turn in the heart and thedisposition of each. She had known with the utmost accuracy thenature of the scrapesinto which Lord Silverbridge had precipitatedhimself, and had known also how probable it was that Lord Geraldwould do the same. The results of such scrapes she, of course,deplored; and therefore she would give goodcounsel, pointing out howimperative it was that such evil-doings should be avoided; but withthe spirit that produced the scrapes she fully sympathised. Thefather disliked the spirit almost worse than the results; andwastherefore often irritated and unhappy.And the difficulties about the girl were almost worse to bear thanthose about the boys. She had done nothing wrong. She had given nosigns of extravagance or other juvenilemisconduct. But she wasbeautiful and young. How was he to bring her out into the world? Howwas he to decide whom she should or whom she should not marry? Howwas he to guide her through the shoals and rockswhich lay in thepath of such a girl before she can achieve matrimony?It was the fate of the family that, with a world of acquaintance,they had not many friends. From all close connection with relativeson the side of theDuchess they had been dissevered by old feelingsat first, and afterwards by want of any similitude in the habitsof life. She had, when young, been repressed by male and femaleguardians with an iron hand. Suchrepression had been needed, and hadbeen perhaps salutary, but it had not left behind it much affection.And then her nearest relatives were not sympathetic with the Duke. Hecould obtain no assistance in the care of hisgirl from that source.Nor could he even do it from his own cousins' wives, who were hisnearest connections on the side of the Pallisers. They were womento whom he had ever been kind, but to whom he had neveropened hisheart. When, in the midst of the stunning sorrow of the first week,he tried to think of all this, it seemed to him that there wasnobody.There had been one lady, a very dear ally, staying in the house withthemwhen the Duchess died. This was Mrs. Finn, the wife of PhineasFinn, who had been one of the Duke's colleagues when in office.How it had come to pass that Mrs. Finn and the Duchess had becomesingularly boundtogether has been told elsewhere. But there had beenclose bonds,--so close that when the Duchess on their return from theContinent had passed through London on her way to Matching, ill atthe time and verycomfortless, it had been almost a thing of course,that Mrs. Finn should go with her. And as she had sunk, and thendespaired, and then died, it was this woman who had always been ather side, who had ministered toher, and had listened to the fearsand the wishes and hopes she had expressed respecting the children.At Matching, amidst the ruins of the old Priory, there is a parishburying-ground, and there, in accordance with herown wish, almostwithin sight of her own bedroom-window, she was buried. On the dayof the funeral a dozen relatives came, Pallisers and M'Closkies, whoon such an occasion were bound to show themselves, asmembers of thefamily. With them and his two sons the Duke walked across to thegraveyard, and then walked back; but even to those who stayed thenight at the house he hardly spoke. By noon on the following daytheyhad all left him, and the only stranger in the house was Mrs. Finn.On the afternoon of the day after the funeral the Duke and his guestmet, almost for the first time since the sad event. There had beenjust apressure of the hand, just a glance of compassion, just somemurmur of deep sorrow,--but there had been no real speech betweenthem. Now he had sent for her, and she went down to him in the roomin which hecommonly sat at work. He was seated at his table when sheentered, but there was no book open before him, and no pen ready tohis hand. He was dressed of course in black. That, indeed, was usualwith him, but nowthe tailor by his funereal art had added somedeeper dye of blackness to his appearance. When he rose and turned toher she thought that he had at once become an old man. His hair wasgrey in parts, and he had neveraccustomed himself to use that skillin managing his outside person by which many men are able to preservefor themselves a look, if not of youth, at any rate of freshness.He was thin, of an adust complexion, and hadacquired a habit ofstooping which, when he was not excited, gave him an appearance ofage. All that was common to him; but now it was so much exaggeratedthat he who was not yet fifty might have been taken to beover sixty.He put out his hand to greet her as she came up to him.\"Silverbridge,\" he said, \"tells me that you go back to Londonto-morrow.\"\"I thought it would be best, Duke. My presence here can be of nocomfort toyou.\"\"I will not say that anything can be of comfort. But of course itis right that you should go. I can have no excuse for asking you toremain. While there was yet a hope for her--\" Then he stopped, unableto say a wordfurther in that direction, and yet there was no sign ofa tear and no sound of a sob.\"Of course I would stay, Duke, if I could be of any service.\"\"Mr. Finn will expect you to return to him.\"\"Perhaps it would be better that Ishould say that I would stay wereit not that I know that I can be of no real service.\"\"What do you mean by that, Mrs. Finn?\"\"Lady Mary should have with her at such a time some other friend.\"\"There was none otherwhom her mother loved as she loved you--none,none.\" This he said almost with energy.\"There was no one lately, Duke, with whom circumstances causedher mother to be so closely intimate. But even that perhapswasunfortunate.\"\"I never thought so.\"\"That is a great compliment. But as to Lady Mary, will it notbe as well that she should have with her, as soon as possible,someone,--perhaps someone of her own kindred if it bepossible, or,if not that, at least one of her own kind?\"\"Who is there? Whom do you mean?\"\"I mean no one. It is hard, Duke, to say what I do mean, but perhapsI had better try. There will be,--probably there havebeen,--someamong your friends who have regretted the great intimacy which chanceproduced between me and my lost friend. While she was with us no suchfeeling would have sufficed to drive me from her. She hadchosen forherself, and if others disapproved her choice that was nothing to me.But as regards Lady Mary, it will be better, I think, that from thebeginning she should be taught to look for friendship and guidancetothose--to those who are more naturally connected with her.\"\"I was not thinking of any guidance,\" said the Duke.\"Of course not. But with one so young, where there is intimacy therewill be guidance. There should besomebody with her. It was almostthe last thought that occupied her mother's mind. I could not tellher, Duke, but I can tell you, that I cannot with advantage to yourgirl be that somebody.\"\"Cora wished it.\"\"Her wishes,probably, were sudden and hardly fixed.\"\"Who should it be, then?\" asked the father, after a pause.\"Who am I, Duke, that I should answer such a question?\"After that there was another pause, and then the conferencewas endedby a request from the Duke that Mrs. Finn would stay at Matching foryet two days longer. At dinner they all met,--the father, the threechildren, and Mrs. Finn. How far the young people among themselveshadbeen able to throw off something of the gloom of death need nothere be asked; but in the presence of their father they were sad andsombre, almost as he was. On the next day, early in the morning, theyounger ladreturned to his college, and Lord Silverbridge went up toLondon, where he was supposed to have his home.\"Perhaps you would not mind reading these letters,\" the Duke said toMrs. Finn, when she again went to him, incompliance with a messagefrom him asking for her presence. Then she sat down and read twoletters, one from Lady Cantrip, and the other from a Mrs. JeffreyPalliser, each of which contained an invitation for hisdaughter,and expressed a hope that Lady Mary would not be unwilling to spendsome time with the writer. Lady Cantrip's letter was long, and wentminutely into circumstances. If Lady Mary would come to her, shewouldabstain from having other company in the house till her youngfriend's spirits should have somewhat recovered themselves. Nothingcould be more kind, or proposed in a sweeter fashion. There had,however, beenpresent to the Duke's mind as he read it a feeling thata proposition to a bereaved husband to relieve him of the societyof an only daughter, was not one which would usually be made toa father. In such a position achild's company would probablybe his best solace. But he knew,--at this moment he painfullyremembered,--that he was not as are other men. He acknowledged thetruth of this, but he was not the less grieved andirritated by thereminder. The letter from Mrs. Jeffrey Palliser was to the sameeffect, but was much shorter. If it would suit Mary to come to themfor a month or six weeks at their place in Gloucestershire, theywould bothbe delighted.\"I should not choose her to go there,\" said the Duke, as Mrs. Finnrefolded the latter letter. \"My cousin's wife is a very good woman,but Mary would not be happy with her.\"\"Lady Cantrip is an excellent friendfor her.\"\"Excellent. I know no one whom I esteem more than Lady Cantrip.\"\"Would you wish her to go there, Duke?\"There came a wistful piteous look over the father's face. Why shouldhe be treated as no other fatherwould be treated? Why should itbe supposed that he would desire to send his girl away from him?But yet he felt that it would be better that she should go. It washis present purpose to remain at Matching through aportion of thesummer. What could he do to make a girl happy? What comfort wouldthere be in his companionship?\"I suppose she ought to go somewhere,\" he said.\"I had not thought of it,\" said Mrs. Finn.\"I understoodyou to say,\" replied the Duke, almost angrily, \"thatshe ought to go to someone who would take care of her.\"\"I was thinking of some friend coming to her.\"\"Who would come? Who is there that I could possibly ask? Youwill notstay.\"\"I certainly would stay, if it were for her good. I was thinking,Duke, that perhaps you might ask the Greys to come to you.\"\"They would not come,\" he said, after a pause.\"When she was told that it was forher sake, she would come, Ithink.\"Then there was another pause. \"I could not ask them,\" he said; \"forhis sake I could not have it put to her in that way. Perhaps Mary hadbetter go to Lady Cantrip. Perhaps I had betterbe alone here for atime. I do not think that I am fit to have any human being here withme in my sorrow.\"CHAPTER IILady Mary PalliserIt may as well be said at once that Mrs. Finn knew something of LadyMary whichwas not known to the father, and which she was not yetprepared to make known to him. The last winter abroad had been passedat Rome, and there Lady Mary Palliser had become acquainted with acertain Mr.Tregear,--Francis Oliphant Tregear. The Duchess, who hadbeen in constant correspondence with her friend, had asked questionsby letter as to Mr. Tregear, of whom she had only known that hewas the younger son of aCornish gentleman, who had become LordSilverbridge's friend at Oxford. In this there had certainly been butlittle to recommend him to the intimacy of such a girl as Lady MaryPalliser. Nor had the Duchess, whenwriting, ever spoken of him as aprobable suitor for her daughter's hand. She had never connected thetwo names together. But Mrs. Finn had been clever enough to perceivethat the Duchess had become fond of Mr.Tregear, and would willinglyhave heard something to his advantage. And she did hear something tohis advantage,--something also to his disadvantage. At his mother'sdeath this young man would inherit a property"}
+{"doc_id":"doc_67","qid":"","text":"<html><head><title>Nurse Betty Script at IMSDb.</title><meta name=\"description\" content=\"Nurse Betty script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Nurse Betty script,Nurse Betty movie script, Nurse Betty film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\"rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b><HTML></b><b><HEAD></b>      <TITLE>\"NURSE BETTY\" -- by John C. Richards & James Flamberg</TITLE><script><b><!--</b>if(window!= top)top.location.href=location.href<b>// --></b></script><b></HEAD></b><b><BODY></b><b>   <PRE></b><b><CENTER><B>NURSE BETTY</B></b>Screenplay by John C. Richards & JamesFlambergStory by John C. Richards</CENTER>                                                         Shooting Script(FINAL)<b>                                                         3/9/99</b><b>                                                                FADE IN:</b><b>      1     INT. OPERATING ROOM - DAY                                1</b>            A tensesurgery in progress.  Meters flicker, instruments            flash in the bright overhead light.  In the midst of it all            stands DR. DAVID RAVELL, 35.  The master of his domain.            Ravell leans forward so a NURSEcan mop the sweat from his            brow as he completes a last, delicate procedure.  His co            workers sigh collectively with relief.<b>                                DAVID</b>                          (to Asst.Surgeon)                      Close her up, will you?<b>      2     INT. HOSPITAL CORRIDOR - DAY                             2</b>            Dr. Ravell comes out of surgery, clearly exhausted.  Without            his surgical mask heis ruggedly handsome.  TWO NURSES            follow, attending him like a fighter fresh from the ring:            CHLOE, 25, Raven-haired and striking, and JASMINE, 24, an            exotic mix of African-American andAsian.            BLAKE DANIELS, 58, the silver-haired Chief Surgeon, rushes up            the corridor.  On his heels is DR. LONNIE WALSH, 33. Lonnie            is also conspicuously handsome, but he'll always be secondto            David.  In everything.            The look on Blake's face stops David in his tracks.<b>                                BLAKE</b>                      There's been a train crash near Santa                      Barbara. They'reflying an aortal trauma                      here now.  How can I ask you this,                      David...            David rubs his eyes.  Thinks about it.<b>                                DAVID</b>                      I can do it,Blake.            His bravery isn't lost on the two nurses, although Chloe            exchanges a quick, covert glance with Lonnie.<b>                                CHLOE</b>                      Is he crazy, Jasmine?   He's been onhis                      feet for fourteen hours.<b>                                JASMINE</b>                      Chloe, it's been this way since Leslie                      died.  Losing himself in his work,poor                      thing...<b>                                                                    2.</b><b>                                YOUNGERMAN'S</b><b>                                VOICE</b><b>                          (O.S.)</b>                      ... I'll give you something to lose                      yourself in...<b>                                OLDER MAN'SVOICE</b><b>                          (O.S.)</b>                      Excuse me, miss?<b>            PULL BACK TO REVEAL: WE ARE LOOKING AT A TELEVISION SCREEN</b><b>            BEHIND THE COUNTER OF ASMALL-TOWN DINER.</b><b>            INSERT:            FAIR OAKS, KANSAS</b><b>      3     INT. TIP TOP DINER - DAY                                 3</b>            Quaint, Midwestern eatery.  Knick-knacks and photosabound.            The booths and counter are packed with LOCALS.  A family            dining section off in one corner.            TWO GUYS sitting at the counter in team jackets.  The older            of the two holds up hisempty coffee cup.  But his WAITRESS,            standing a couple seats down from him, doesn't move. She's            completely absorbed in watching the soap opera that plays on            two battered, fuzzy TVsets.            BETTY SIZEMORE, 30, has a wholesome attractiveness that            competes with a bit too much makeup and a cheesy white            waitress uniform. TWO OTHER WAITRESSES attend tocustomers            behind her.            The younger of the two guys is involved in the soap opera.            But the older one, still wants coffee.  He gestures toward            Betty.<b>                                OLDERMAN</b>                      Miss?            Betty leans forward, grabs the coffee pot and moves in front            of him.  Without taking her eyes from the TV, she pours the            java, which somehow lands in his cupwithout spilling a drop.<b>                                OLDER MAN</b>                                (cont'd)                      Very impressive.  That is very...                          (turning to others)                      Did anybody seethat?            The LOCAL GUYS around him don't even bother to look up. Of            course, they've seen it before.  Bettysmiles.<b>                                                                    3.</b><b>                                OLDER MAN</b>                                (cont'd)                      Thank you.  Could I bother you for a                      littlemore...?            Before he can even finish, Betty is topping him off with            milk.<b>                                BETTY</b>                      Skim, right?                          (tears open an Equal)                      And half apack, if I remember correct...            The older gentleman's mouth works a bit but nothing comes            out.  He is flabbergasted by her attention to detail.  She            looks at the younger man, who is still followingthe show and            gobbling down a huge bacon burger.                                BETTY (cont'd)                      You know, you're never too young to start                      on a lean meatsubstitute...<b>                          (BEAT)</b>                      You wanna try some turkey bacon on that?<b>                                YOUNGER MAN</b>                      You want a tip when I'mthrough?<b>                                BETTY</b>                      It's your body...            Betty turns back to change pots.  The older man watches her            intently as the younger of the two mumbles tohimself.<b>                                YOUNGER MAN</b>                          (to himself)                      That's right, so why don't you get up off                      it...<b>                                OLDERMAN</b>                      Wesley...                          (to Betty)                      I've told him the same thing.  Thanks for                      the suggestion.<b>                                BETTY</b>                      Noproblem.            Betty flashes the men a winning smile and moves off, one eye            always on the TV as she approaches two local types.            SHERIFF ELDEN BALLARD, 32, a short, tightly wound littleman,            sitting at his own booth.  Ballard is spit and polish all the            way:  creases in his shirt, a glossy shine on his shoes.            Badge proudly displayed.  He sitswith<b>                                                                    4.</b>            ROY OSTREY, 31, a gangly, bookish local reporter.  Betty            drops five ketchup packets and four mayonnaise packets on the            table forhim.  Another smile.<b>                                ROY</b>                      Hi, Betty.  You're looking good...<b>                                BETTY</b>                      Thanks, Roy, you're sweet... a big liar,                      butsweet.  I liked your editorial this                      morning...<b>                                ROY</b>                      Oh, appreciate it.  I was trying to, ahh,                      give a sense of historyto...<b>                                BALLARD</b>                          (interrupting)                      Yeah, it was great.  Really put the whole                      idea of \"church bake sales\"in                      perspective...<b>                                ROY</b>                      You know, Elden, some people actually                      read more than just theClassifieds...<b>                                BALLARD</b>                      Why don't you go back to doing something                      you're good at... like that Lonelyhearts                      column?                          (chucklesto himself)                      I'll take a refill there, Betty...            His cup is full before he can even finish the sentence.<b>                                BETTY</b>                      Hey, Sheriff.  How'severything?<b>                                BALLARD</b>                      Oh, you know, the usual... keeping the                      world safe.<b>                                BETTY</b>                      ... I meant yourfood.<b>                                BALLARD</b>                      Oh, right... 's fine.  Thanks.<b>                                ROY</b>                      I thought you said the eggsweren't...<b>                                BALLARD</b>                      It's fine.  Mind your own meal...<b>                                                                    5.</b><b>                                ROY</b>                      Youshould get the order you want.<b>                                BALLARD</b>                      And you should keep your nose out of                      another man's omelette...                          (to Betty)                      It's nobig deal, Betty.<b>                                BETTY</b>                      There's yolks in there, huh?  It's no                      prob'... gotta keep you on track.            Betty grabs Ballard's plate without another word, giveshim a            reassuring rub on the shoulders and moves off.  He smiles            appreciatively after her, then turns on Roy.<b>                                BALLARD</b>                      Why you always gotta embarrassme?  I                      been eating lunch with you since grade                      school and you always gotta embarrass me!<b>                                ROY</b>                      They're just eggs, Elden,how                      embarrassing can eggs be?<b>                                BALLARD</b>                      ... plenty<b>                                ROY</b>                      Who eats eggs for lunch,anyhow?<b>                                BALLARD</b>                      Mind your own business.  You just said                      that shit so you could look at her a                      little longer, anyway...            Still carryingBallard's plate, she returns to the counter.<b>                                BETTY</b>                      Come on, guys, I told you it's egg whites                      only for the Sheriff...                          (quietly)                      ...I put him in that 'zone' thing.<b>                                COOK #1</b>                      Well, it better be a pretty good size                      zone if he's in it...            Betty and the cooks share a quick laugh.  They move tochange            his order while Betty glances up at the TV.<b>                                                                    6.</b><b>      4     INT. HOSPITAL CORRIDOR - RETURN TO TV SCREEN             4</b>            Lonniecatches up to Blake in the corridor.<b>                                LONNIE</b>                      Blake, I can handle that transplant!<b>                                BLAKE</b>                      We need someone with the right kindof                      experience, Lonnie.<b>                                LONNIE</b>                      Even if he's falling asleep on his feet?<b>                                BLAKE</b>                      Lonnie, it's a complex"}
+{"doc_id":"doc_68","qid":"","text":"The Project Gutenberg EBook of Uncle Silas, by J. S. LeFanuThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it under theterms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: Uncle Silas       A Tale of Bartram-HaughAuthor: J. S. LeFanuRelease Date: January 31, 2005 [EBook#14851]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK UNCLE SILAS ***Produced by Suzanne Shell, Bob McKillip and the Online DistributedProofreading Team.[Transcriber's note: The spellinginconsistencies of the original havebeen retained in this etext.]UNCLE SILASA Tale of Bartram-HaughBy J. S. LeFanu1899TOTHE RIGHT HON.THE COUNTESS OF GIFFORD,AS A TOKEN OFRESPECT, SYMPATHY, ANDADMIRATION_This Tale_IS INSCRIBED BYTHE AUTHOR_A PRELIMINARY WORD_The writer of this Tale ventures, in his own person, to address a very fewwords, chiefly of explanation, to his readers. A leading situationin this'Story of Bartram-Haugh' is repeated, with a slight variation, from a shortmagazine tale of some fifteen pages written by him, and published long agoin a periodical under the title of 'A Passage in the SecretHistory of anIrish Countess,' and afterwards, still anonymously, in a small volume underan altered title. It is very unlikely that any of his readers should haveencountered, and still more so that they should remember,this trifle. Thebare possibility, however, he has ventured to anticipate by this briefexplanation, lest he should be charged with plagiarism--always a disrespectto a reader.May he be permitted a few words also ofremonstrance against thepromiscuous application of the term 'sensation' to that large school offiction which transgresses no one of those canons of construction andmorality which, in producing the unapproachable'Waverley Novels,' theirgreat author imposed upon himself? No one, it is assumed, would describeSir Walter Scott's romances as 'sensation novels;' yet in that marvellousseries there is not a single tale in which death,crime, and, in some form,mystery, have not a place.Passing by those grand romances of 'Ivanhoe,' 'Old Mortality,' and'Kenilworth,' with their terrible intricacies of crime and bloodshed,constructed with so fine a masteryof the art of exciting suspense andhorror, let the reader pick out those two exceptional novels in the serieswhich profess to paint contemporary manners and the scenes of common life;and remembering in the'Antiquary' the vision in the tapestried chamber,the duel, the horrible secret, and the death of old Elspeth, the drownedfisherman, and above all the tremendous situation of the tide-bound partyunder the cliffs; and in'St. Ronan's Well,' the long-drawn mystery, thesuspicion of insanity, and the catastrophe of suicide;--determine whetheran epithet which it would be a profanation to apply to the structure ofany, even the most excitingof Sir Walter Scott's stories, is fairlyapplicable to tales which, though illimitably inferior in execution, yetobserve the same limitations of incident, and the same moral aims.The author trusts that the Press, to whosemasterly criticism and generousencouragement he and other humble labourers in the art owe so much, willinsist upon the limitation of that degrading term to the peculiar type offiction which it was originally intended toindicate, and prevent, as theymay, its being made to include the legitimate school of tragic Englishromance, which has been ennobled, and in great measure founded, by thegenius of Sir WalterScott.CONTENTSCHAPTERI. AUSTIN RUTHYN, OF KNOWL, AND HIS DAUGHTERII. UNCLE SILASIII. A NEW FACEIV. MADAME DE LA ROUGIERREV. SIGHTS AND NOISESVI. A WALK IN THE WOODVII. CHURCHSCARSDALEVIII. THE SMOKERIX. MONICA KNOLLYSX. LADY KNOLLYS REMOVES A COVERLETXI. LADY KNOLLYS SEES THE FEATURESXII. A CURIOUS CONVERSATIONXIII. BEFORE AND AFTER BREAKFASTXIV. ANGRYWORDSXV. A WARNINGXVI. DOCTOR BRYERLY LOOKS INXVII. AN ADVENTUREXVIII. A MIDNIGHT VISITORXIX. AU REVOIRXX. AUSTIN RUTHYN SETS OUT ON HIS JOURNEYXXI. ARRIVALSXXII. SOMEBODY IN THEROOM WITH THE COFFINXXIII. I TALK WITH DOCTOR BRYERLYXXIV. THE OPENING OF THE WILLXXV. I HEAR FROM UNCLE SILASXXVI. THE STORY OF UNCLE SILASXXVII. MORE ABOUT TOM CHARKE'S SUICIDEXXVIII.I AM PERSUADEDXXIX. HOW THE AMBASSADOR FAREDXXX. ON THE ROADXXXI. BARTRAM-HAUGHXXXII. UNCLE SILASXXXIII. THE WINDMILL WOODXXXIV. ZAMIELXXXV. WE VISIT A ROOM IN THE SECONDSTOREYXXXVI. AN ARRIVAL AT DEAD OF NIGHTXXXVII. DOCTOR BRYERLY EMERGESXXXVIII. A MIDNIGHT DEPARTUREXXXIX. COUSIN MONICA AND UNCLE SILAS MEETXL. IN WHICH I MAKE ANOTHER COUSIN'SACQUAINTANCEXLI. MY COUSIN DUDLEYXLII. ELVERSTON AND ITS PEOPLEXLIII. NEWS AT BARTRAM GATEXLIV. A FRIEND ARISESXLV. A CHAPTER-FULL OF LOVERSXLVI. THE RIVALSXLVII. DOCTOR BRYERLYREAPPEARSXLVIII. QUESTION AND ANSWERXLIX. AN APPARITIONL. MILLY'S FAREWELLLI. SARAH MATILDA COMES TO LIGHTLII. THE PICTURE OF A WOLFLIII. AN ODD PROPOSALLIV. IN SEARCH OF MR. CHARKE'SSKELETONLV. THE FOOT OF HERCULESLVI. I CONSPIRELVII. THE LETTERLVIII. LADY KNOLLYS' CARRIAGELIX. A SUDDEN DEPARTURELX. THE JOURNEYLXI. OUR BED-CHAMBERLXII. A WELL-KNOWN FACE LOOKSINLXIII. SPICED CLARETLXIV. THE HOUR OF DEATHLXV. IN THE OAK PARLOURCONCLUSIONUNCLE SILASA Tale of Bartram-HaughCHAPTER I_AUSTIN RUTHYN, OF KNOWL, AND HIS DAUGHTER_It was winter--that is,about the second week in November--and great gustswere rattling at the windows, and wailing and thundering among our talltrees and ivied chimneys--a very dark night, and a very cheerful fireblazing, a pleasantmixture of good round coal and spluttering dry wood, ina genuine old fireplace, in a sombre old room. Black wainscoting glimmeredup to the ceiling, in small ebony panels; a cheerful clump of wax candleson thetea-table; many old portraits, some grim and pale, others pretty,and some very graceful and charming, hanging from the walls. Few pictures,except portraits long and short, were there. On the whole, I think youwouldhave taken the room for our parlour. It was not like our modernnotion of a drawing-room. It was a long room too, and every way capacious,but irregularly shaped.A girl, of a little more than seventeen, looking, Ibelieve, younger still;slight and rather tall, with a great deal of golden hair, dark grey-eyed,and with a countenance rather sensitive and melancholy, was sitting at thetea-table, in a reverie. I was that girl.The only otherperson in the room--the only person in the house related tome--was my father. He was Mr. Ruthyn, of Knowl, so called in his county,but he had many other places, was of a very ancient lineage, who hadrefused abaronetage often, and it was said even a viscounty, being of aproud and defiant spirit, and thinking themselves higher in station andpurer of blood than two-thirds of the nobility into whose ranks, it wassaid, they hadbeen invited to enter. Of all this family lore I knew butlittle and vaguely; only what is to be gathered from the fireside talk ofold retainers in the nursery.I am sure my father loved me, and I know I loved him. With thesureinstinct of childhood I apprehended his tenderness, although it was neverexpressed in common ways. But my father was an oddity. He had been earlydisappointed in Parliament, where it was his ambition tosucceed. Though aclever man, he failed there, where very inferior men did extremely well.Then he went abroad, and became a connoisseur and a collector; took a part,on his return, in literary and scientific institutions,and also in thefoundation and direction of some charities. But he tired of this mimicgovernment, and gave himself up to a country life, not that of a sportsman,but rather of a student, staying sometimes at one of hisplaces andsometimes at another, and living a secluded life.Rather late in life he married, and his beautiful young wife died, leavingme, their only child, to his care. This bereavement, I have been told,changedhim--made him more odd and taciturn than ever, and his temper also,except to me, more severe. There was also some disgrace about his youngerbrother--my uncle Silas--which he felt bitterly.He was now walking upand down this spacious old room, which, extendinground an angle at the far end, was very dark in that quarter. It was hiswont to walk up and down thus, without speaking--an exercise which used toremind me ofChateaubriand's father in the great chamber of the Châteaude Combourg. At the far end he nearly disappeared in the gloom, and thenreturning emerged for a few minutes, like a portrait with a background ofshadow,and then again in silence faded nearly out of view.This monotony and silence would have been terrifying to a person lessaccustomed to it than I. As it was, it had its effect. I have known myfather a whole day withoutonce speaking to me. Though I loved him verymuch, I was also much in awe of him.While my father paced the floor, my thoughts were employed about the eventsof a month before. So few things happened at Knowlout of the accustomedroutine, that a very trifling occurrence was enough to set people wonderingand conjecturing in that serene household. My father lived in remarkableseclusion; except for a ride, he hardly ever leftthe grounds of Knowl; andI don't think it happened twice in the year that a visitor sojourned amongus.There was not even that mild religious bustle which sometimes besets thewealthy and moral recluse. My father hadleft the Church of England forsome odd sect, I forget its name, and ultimately became, I was told, aSwedenborgian. But he did not care to trouble me upon the subject. So theold carriage brought my governess, when Ihad one, the old housekeeper,Mrs. Rusk, and myself to the parish church every Sunday. And my father, inthe view of the honest rector who shook his head over him--'a cloud withoutwater, carried about of winds, and awandering star to whom is reserved theblackness of darkness'--corresponded with the 'minister' of his church, andwas provokingly contented with his own fertility and illumination; andMrs. Rusk, who was a sound andbitter churchwoman, said he fancied he sawvisions and talked with angels like the rest of that 'rubbitch.'I don't know that she had any better foundation than analogy and conjecturefor charging my father withsupernatural pretensions; and in all pointswhen her orthodoxy was not concerned, she loved her master and was a loyalhousekeeper.I found her one morning superintending preparations for the reception ofa visitor, inthe hunting-room it was called, from the pieces of tapestrythat covered its walls, representing scenes _à la Wouvermans_, of falconry,and the chase, dogs, hawks, ladies, gallants, and pages. In the midst ofwhom Mrs.Rusk, in black silk, was rummaging drawers, counting linen, andissuing orders.'Who is coming, Mrs. Rusk?'Well, she only knew his name. It was a Mr. Bryerly. My papa expected him todinner, and to stay for somedays.'I guess he's one of those creatures, dear, for I mentioned his name justto Dr. Clay (the rector), and he says there _is_ a Doctor Bryerly, a greatconjurer among the Swedenborg sect--and that's him, I dosuppose.'In my hazy notions of these sectaries there was mingled a suspicion ofnecromancy, and a weird freemasonry, that inspired something of awe andantipathy.Mr. Bryerly arrived time enough to dress at hisleisure, before dinner. Heentered the drawing-room--a tall, lean man, all in ungainly black, with awhite choker, with either a black wig, or black hair dressed in imitationof one, a pair of spectacles, and a dark, sharp,short visage, rubbing hislarge hands together, and with a short brisk nod to me, whom he plainlyregarded merely as a child, he sat down before the fire, crossed his legs,and took up a magazine.This treatment wasmortifying, and I remember very well the resentment ofwhich _he_ was quite unconscious.His stay was not very long; not one of us divined the object of his visit,and he did not prepossess us favourably. He seemedrestless, as men of busyhabits do in country houses, and took walks, and a drive, and read in thelibrary, and wrote half a dozen letters.His bed-room and dressing-room were at the side of the gallery, directlyopposite tomy father's, which had a sort of ante-room _en suite_, in whichwere some of his theological books.The day after Mr. Bryerly's arrival, I was about to see whether my father'swater caraffe and glass had been duly laid onthe table in this ante-room,and in doubt whether he was there, I knocked at the door.I suppose they were too intent on other matters to hear, but receiving noanswer, I entered the room. My father was sitting in hischair, with hiscoat and waistcoat off, Mr. Bryerly kneeling on a stool beside him, ratherfacing him, his black scratch wig leaning close to my father's grizzledhair. There was a large tome of their divinity lore, I suppose,open onthe table close by. The lank black figure of Mr. Bryerly stood up, and heconcealed something quickly in the breast of his coat.My father stood up also, looking paler, I think, than I ever saw him tillthen, and hepointed grimly to the door, and said, 'Go.'Mr. Bryerly pushed me gently back with his hands to my shoulders, andsmiled down from his dark features with an expression quite unintelligibleto me.I had recovered myselfin a second, and withdrew without a word. The lastthing I saw at the door was the tall, slim figure in black, and the dark,significant smile following me: and then the door was shut and locked, andthe twoSwedenborgians were left to their mysteries.I remember so well the kind of shock and disgust I felt in the certaintythat I had surprised them at some, perhaps, debasing incantation--asuspicion of this Mr. Bryerly, of theill-fitting black coat, and whitechoker--and a sort of fear came upon me, and I fancied he was assertingsome kind of mastery over my father, which very much alarmed me.I fancied all sorts of dangers in the enigmaticalsmile of the lankhigh-priest. The image of my father, as I had seen him, it might be,confessing to this man in black, who was I knew not what, haunted me withthe disagreeable uncertainties of a mind very uninstructedas to the limitsof the marvellous.I mentioned it to no one. But I was immensely relieved when the sinistervisitor took his departure the morning after, and it was upon thisoccurrence that my mind was nowemployed.Some one said that Dr. Johnson resembled a ghost, who must be spoken tobefore it will speak. But my father, in whatever else he may have resembleda ghost, did not in that particular; for no one but I in hishousehold--andI very seldom--dared to address him until first addressed by him. I had nonotion how singular this was until I began to go out a little among friendsand relations, and found no such rule in force anywhereelse.As I leaned back in my chair thinking, this phantasm of my father came, andturned, and vanished with a solemn regularity. It was a peculiar figure,strongly made, thick-set, with a face large, and very stern; hewore aloose, black velvet coat and waistcoat. It was, however, the figure of anelderly rather than an old man--though he was then past seventy--but firm,and with no sign of feebleness.I remember the start with which,not suspecting that he was close by me, Ilifted my eyes, and saw that large, rugged countenance looking fixedly onme, from less than a yard away.After I saw him, he continued to regard me for a second or two; andthen,taking one of the heavy candlesticks in his gnarled hand, he beckoned me tofollow him; which, in silence and wondering, I accordingly did.He led me across the hall, where there were lights burning, and intoalobby by the foot of the back stairs, and so into his library.It is a long, narrow room, with two tall, slim windows at the far end, nowdraped in dark curtains. Dusky it was with but one candle; and he pausednear thedoor, at the left-hand side of which stood, in those days, anold-fashioned press or cabinet of carved oak. In front of this he stopped.He had odd, absent ways, and talked more to himself, I believe, than to allthe rest ofthe world put together.'She won't understand,' he whispered, looking at me enquiringly. 'No, shewon't. _Will_ she?'Then there was a pause, during which he brought forth from his breastpocket a small bunch of somehalf-dozen keys, on one of which he lookedfrowningly, every now and then balancing it a little before his eyes,between his finger and thumb, as he deliberated.I knew him too well, of course, to interpose a word.'Theyare easily frightened--ay, they are. I'd better do it another way.'And pausing, he looked in my face as he might upon a picture.'They _are_--yes--I had better do it another way--another way; yes--andshe'll notsuspect--she'll not suppose.'Then he looked steadfastly upon the key, and from it to me, suddenlylifting it up, and said abruptly, 'See, child,' and, after a second or two,'_Remember_ this key.'It was oddly shaped, andunlike others.'Yes, sir.' I always called him 'sir.''It opens that,' and he tapped it sharply on the door of the cabinet. 'Inthe daytime it is always here,' at which word he dropped it into his pocketagain. 'You see?--and atnight under my pillow--you hear me?''Yes, sir.''You won't forget this cabinet--oak--next the door--on your left--you won'tforget?''No, sir.''Pity she's a girl, and so young--ay, a girl, and so young--nosense--giddy. Yousay, you'll _remember_?''Yes, sir.''It behoves you.'He turned round and looked full upon me, like a man who has taken a suddenresolution; and I think for a moment he had made up his mind to tell me agreat dealmore. But if so, he changed it again; and after another pause,he said slowly and sternly--'You will tell nobody what I have said, underpain of my displeasure.''Oh! no, sir!''Good child!''_Except_,' he resumed, 'under onecontingency; that is, in case I shouldbe absent, and Dr. Bryerly--you recollect the thin gentleman, in spectaclesand a black wig, who spent three days here last month--should come andenquire for the key, youunderstand, in my absence.''Yes, sir.'So he kissed me on the forehead, and said--'Let us return.'Which, accordingly, we did, in silence; the storm outside, like a dirge ona great organ, accompanying our flitting.CHAPTERII_UNCLE SILAS_When we reached the drawing-room, I resumed my chair, and my father hisslow and regular walk to and fro, in the great room. Perhaps it was theuproar of the wind that disturbed the ordinary tenor ofhis thoughts; but,whatever was the cause, certainly he was unusually talkative that night.After an interval of nearly half an hour, he drew near again, and sat downin a high-backed arm-chair, beside the fire, and nearlyopposite to me, andlooked at me steadfastly for some time, as was his wont, before speaking;and said he--'This won't do--you must have a governess.'In cases of this kind I merely set down my book or work, as itmight be,and adjusted myself to listen without speaking.'Your French is pretty well, and your Italian; but you have no German.Your music may be pretty good--I'm no judge--but your drawing might bebetter--yes--yes.I believe there are accomplished ladies--finishinggovernesses, they call them--who undertake more than any one teacher wouldhave professed in my time, and do very well. She can prepare you, andnext winter, then,you shall visit France and Italy, where you may beaccomplished as highly as you please.''Thank you, sir.''You shall. It is nearly six months since Miss Ellerton left you--too longwithout a teacher.'Then followed aninterval.'Dr. Bryerly will ask you about that key, and what it opens; you show allthat to _him_, and no one else.''But,' I said, for I had a great terror of disobeying him in ever so minutea matter, 'you will then be absent,sir--how am I to find the key?'He smiled on me suddenly--a bright but wintry smile--it seldom came, andwas very transitory, and kindly though mysterious.'True, child; I'm glad you are so wise; _that_, you will find, Ihaveprovided for, and you shall know exactly where to look. You have remarkedhow solitarily I live. You fancy, perhaps, I have not got a friend, andyou are nearly right--_nearly_, but not altogether. I have a verysurefriend--_one_--a friend whom I once misunderstood, but now appreciate.'I wondered silently whether it could be Uncle Silas.'He'll make me a call, some day soon; I'm not quite sure when. I won't tellyou hisname--you'll hear that soon enough, and I don't want it talked of;and I must make a little journey with him. You'll not be afraid of beingleft alone for a time?''And have you promised, sir?' I answered, with anotherquestion, mycuriosity and anxiety overcoming my awe. He took my questioning verygood-humouredly.'Well--_promise_?--no, child; but I'm under condition; he's not to bedenied. I must make the excursion with him"}
+{"doc_id":"doc_69","qid":"","text":"The Project Gutenberg EBook of Queen of the Black Coast, by Robert E. HowardThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it awayorre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: Queen of the Black CoastAuthor: Robert E. HowardRelease Date: February 24, 2013 [EBook#42183]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK QUEEN OF THE BLACK COAST ***Produced by Greg Weeks, Mary Meehan and the OnlineDistributed Proofreading Team athttp://www.pgdp.net                     QUEEN OF THE BLACK COAST                       By Robert E. Howard    [Transcriber's Note: This etext was first published in Weird Tales    May 1934. Extensive research did not uncoverany evidence that the    U.S. copyright on this publication was renewed.]1 Conan Joins the Pirates    _Believe green buds awaken in the spring,      That autumn paints the leaves with somber fire;    Believe I held myheart inviolate      To lavish on one man my hot desire._    THE SONG OF BÃ\u0000LITHoofs drummed down the street that sloped to the wharfs. The folk thatyelled and scattered had only a fleeting glimpse of a mailedfigure on ablack stallion, a wide scarlet cloak flowing out on the wind. Far up thestreet came the shout and clatter of pursuit, but the horseman did notlook back. He swept out onto the wharfs and jerked the plungingstallionback on its haunches at the very lip of the pier. Seamen gaped up athim, as they stood to the sweep and striped sail of a high-prowed,broad-waisted galley. The master, sturdy and black-bearded, stood inthebows, easing her away from the piles with a boat-hook. He yelled angrilyas the horseman sprang from the saddle and with a long leap landedsquarely on the mid-deck.'Who invited you aboard?''Get under way!'roared the intruder with a fierce gesture thatspattered red drops from his broadsword.'But we're bound for the coasts of Kush!' expostulated the master.'Then I'm for Kush! Push off, I tell you!' The other cast a quickglanceup the street, along which a squad of horsemen were galloping; farbehind them toiled a group of archers, crossbows on their shoulders.'Can you pay for your passage?' demanded the master.'I pay my way withsteel!' roared the man in armor, brandishing thegreat sword that glittered bluely in the sun. 'By Crom, man, if youdon't get under way, I'll drench this galley in the blood of its crew!'The shipmaster was a good judge ofmen. One glance at the dark scarredface of the swordsman, hardened with passion, and he shouted a quickorder, thrusting strongly against the piles. The galley wallowed outinto clear water, the oars began to clackrhythmically; then a puff ofwind filled the shimmering sail, the light ship heeled to the gust, thentook her course like a swan, gathering headway as she skimmed along.On the wharfs the riders were shaking theirswords and shouting threatsand commands that the ship put about, and yelling for the bowmen tohasten before the craft was out of arbalest range.'Let them rave,' grinned the swordsman hardily. 'Do you keep her onhercourse, master steersman.'The master descended from the small deck between the bows, made his waybetween the rows of oarsmen, and mounted the mid-deck. The strangerstood there with his back to the mast,eyes narrowed alertly, swordready. The shipman eyed him steadily, careful not to make any movetoward the long knife in his belt. He saw a tall powerfully built figurein a black scale-mail hauberk, burnished greavesand a blue-steel helmetfrom which jutted bull's horns highly polished. From the mailedshoulders fell the scarlet cloak, blowing in the sea-wind. A broadshagreen belt with a golden buckle held the scabbard of thebroadswordhe bore. Under the horned helmet a square-cut black mane contrasted withsmoldering blue eyes.'If we must travel together,' said the master, 'we may as well be atpeace with each other. My name is Tito,licensed master-shipman of theports of Argos. I am bound for Kush, to trade beads and silks and sugarand brass-hilted swords to the black kings for ivory, copra, copper ore,slaves and pearls.'The swordsman glancedback at the rapidly receding docks, where thefigures still gesticulated helplessly, evidently having trouble infinding a boat swift enough to overhaul the fast-sailing galley.'I am Conan, a Cimmerian,' he answered. 'I cameinto Argos seekingemployment, but with no wars forward, there was nothing to which I mightturn my hand.''Why do the guardsmen pursue you?' asked Tito. 'Not that it's any of mybusiness, but I thoughtperhaps----''I've nothing to conceal,' replied the Cimmerian. 'By Crom, though I'vespent considerable time among you civilized peoples, your ways are stillbeyond my comprehension.'Well, last night in a tavern, acaptain in the king's guard offeredviolence to the sweetheart of a young soldier, who naturally ran himthrough. But it seems there is some cursed law against killingguardsmen, and the boy and his girl fled away. It wasbruited about thatI was seen with them, and so today I was haled into court, and a judgeasked me where the lad had gone. I replied that since he was a friend ofmine, I could not betray him. Then the court waxedwrath, and the judgetalked a great deal about my duty to the state, and society, and otherthings I did not understand, and bade me tell where my friend had flown.By this time I was becoming wrathful myself, for I hadexplained myposition.'But I choked my ire and held my peace, and the judge squalled that Ihad shown contempt for the court, and that I should be hurled into adungeon to rot until I betrayed my friend. So then, seeingthey were allmad, I drew my sword and cleft the judge's skull; then I cut my way outof the court, and seeing the high constable's stallion tied near by, Irode for the wharfs, where I thought to find a ship bound forforeignparts.''Well,' said Tito hardily, 'the courts have fleeced me too often insuits with rich merchants for me to owe them any love. I'll havequestions to answer if I ever anchor in that port again, but I can proveI actedunder compulsion. You may as well put up your sword. We'repeaceable sailors, and have nothing against you. Besides, it's as wellto have a fighting-man like yourself on board. Come up to the poop-deckand we'll have atankard of ale.''Good enough,' readily responded the Cimmerian, sheathing his sword.The _Argus_ was a small sturdy ship, typical of those trading-craftwhich ply between the ports of Zingara and Argos and thesoutherncoasts, hugging the shoreline and seldom venturing far into the openocean. It was high of stern, with a tall curving prow; broad in thewaist, sloping beautifully to stem and stern. It was guided by thelongsweep from the poop, and propulsion was furnished mainly by the broadstriped silk sail, aided by a jibsail. The oars were for use in tackingout of creeks and bays, and during calms. There were ten to the side,fivefore and five aft of the small mid-deck. The most precious part ofthe cargo was lashed under this deck, and under the fore-deck. The menslept on deck or between the rowers' benches, protected in bad weatherbycanopies. With twenty men at the oars, three at the sweep, and theshipmaster, the crew was complete.So the _Argus_ pushed steadily southward, with consistently fairweather. The sun beat down from day to day withfiercer heat, and thecanopies were run up--striped silken cloths that matched the shimmeringsail and the shining goldwork on the prow and along the gunwales.They sighted the coast of Shem--long rollingmeadowlands with the whitecrowns of the towers of cities in the distance, and horsemen withblue-black beards and hooked noses, who sat their steeds along the shoreand eyed the galley with suspicion. She did not putin; there was scantprofit in trade with the sons of Shem.Nor did master Tito pull into the broad bay where the Styx river emptiedits gigantic flood into the ocean, and the massive black castles ofKhemi loomed over theblue waters. Ships did not put unasked into thisport, where dusky sorcerers wove awful spells in the murk of sacrificialsmoke mounting eternally from blood-stained altars where naked womenscreamed, and where Set,the Old Serpent, arch-demon of the Hyboriansbut god of the Stygians, was said to writhe his shining coils among hisworshippers.Master Tito gave that dreamy glass-floored bay a wide berth, even whenaserpent-prowed gondola shot from behind a castellated point of land, andnaked dusky women, with great red blossoms in their hair, stood andcalled to his sailors, and posed and postured brazenly.Now no moreshining towers rose inland. They had passed the southernborders of Stygia and were cruising along the coasts of Kush. The seaand the ways of the sea were never-ending mysteries to Conan, whosehomeland wasamong the high hills of the northern uplands. The wandererwas no less of interest to the sturdy seamen, few of whom had ever seenone of his race.They were characteristic Argosean sailors, short and stockilybuilt.Conan towered above them, and no two of them could match his strength.They were hardy and robust, but his was the endurance and vitality of awolf, his thews steeled and his nerves whetted by the hardness ofhislife in the world's wastelands. He was quick to laugh, quick andterrible in his wrath. He was a valiant trencherman, and strong drinkwas a passion and a weakness with him. Naïve as a child in many ways,unfamiliarwith the sophistry of civilization, he was naturallyintelligent, jealous of his rights, and dangerous as a hungry tiger.Young in years, he was hardened in warfare and wandering, and hissojourns in many lands wereevident in his apparel. His horned helmetwas such as was worn by the golden-haired Ã\u0000sir of Nordheim; his hauberkand greaves were of the finest workmanship of Koth; the fine ring-mailwhich sheathed his arms andlegs was of Nemedia; the blade at his girdlewas a great Aquilonian broadsword; and his gorgeous scarlet cloak couldhave been spun nowhere but in Ophir.So they beat southward, and master Tito began to look forthehigh-walled villages of the black people. But they found only smokingruins on the shore of a bay, littered with naked black bodies. Titoswore.'I had good trade here, aforetime. This is the work of pirates.''And if wemeet them?' Conan loosened his great blade in its scabbard.'Mine is no warship. We run, not fight. Yet if it came to a pinch, wehave beaten off reavers before, and might do it again; unless it wereBêlit's_Tigress_.''Who is Bêlit?''The wildest she-devil unhanged. Unless I read the signs a-wrong, it washer butchers who destroyed that village on the bay. May I some day seeher dangling from the yard-arm! She is calledthe queen of the blackcoast. She is a Shemite woman, who leads black raiders. They harry theshipping and have sent many a good tradesman to the bottom.'From under the poop-deck Tito brought out quilted jerkins,steel caps,bows and arrows.'Little use to resist if we're run down,' he grunted. 'But it rasps thesoul to give up life without a struggle.'       *       *       *       *       *It was just at sunrise when the lookout shouted awarning. Around thelong point of an island off the starboard bow glided a long lethalshape, a slender serpentine galley, with a raised deck that ran fromstem to stern. Forty oars on each side drove her swiftly throughthewater, and the low rail swarmed with naked blacks that chanted andclashed spears on oval shields. From the masthead floated a long crimsonpennon.'Bêlit!' yelled Tito, paling. 'Yare! Put her about! Intothatcreek-mouth! If we can beach her before they run us down, we have achance to escape with our lives!'So, veering sharply, the _Argus_ ran for the line of surf that boomedalong the palm-fringed shore, Tito stridingback and forth, exhortingthe panting rowers to greater efforts. The master's black beardbristled, his eyes glared.'Give me a bow,' requested Conan. 'It's not my idea of a manly weapon,but I learned archery among theHyrkanians, and it will go hard if Ican't feather a man or so on yonder deck.'Standing on the poop, he watched the serpent-like ship skimming lightlyover the waters, and landsman though he was, it was evident to himthatthe _Argus_ would never win that race. Already arrows, arching from thepirate's deck, were falling with a hiss into the sea, not twenty pacesastern.'We'd best stand to it,' growled the Cimmerian; 'else we'll all diewithshafts in our backs, and not a blow dealt.''Bend to it, dogs!' roared Tito with a passionate gesture of his brawnyfist. The bearded rowers grunted, heaved at the oars, while theirmuscles coiled and knotted, and sweatstarted out on their hides. Thetimbers of the stout little galley creaked and groaned as the men fairlyripped her through the water. The wind had fallen; the sail hung limp.Nearer crept the inexorable raiders, and theywere still a good milefrom the surf when one of the steersmen fell gagging across a sweep, along arrow through his neck. Tito sprang to take his place, and Conan,bracing his feet wide on the heaving poop-deck, liftedhis bow. He couldsee the details of the pirate plainly now. The rowers were protected bya line of raised mantelets along the sides, but the warriors dancing onthe narrow deck were in full view. These were painted andplumed, andmostly naked, brandishing spears and spotted shields.On the raised platform in the bows stood a slim figure whose white skinglistened in dazzling contrast to the glossy ebon hides about it. Bêlit,without adoubt. Conan drew the shaft to his ear--then some whim orqualm stayed his hand and sent the arrow through the body of a tallplumed spearman beside her.Hand over hand the pirate galley was overhauling the lightership.Arrows fell in a rain about the _Argus_, and men cried out. All thesteersmen were down, pincushioned, and Tito was handling the massivesweep alone, gasping black curses, his braced legs knots of strainingthews.Then with a sob he sank down, a long shaft quivering in hissturdy heart. The _Argus_ lost headway and rolled in the swell. The menshouted in confusion, and Conan took command in characteristic fashion.'Up, lads!' heroared, loosing with a vicious twang of cord. 'Grab yoursteel and give these dogs a few knocks before they cut our throats!Useless to bend your backs any more: they'll board us ere we can rowanother fifty paces!'Indesperation the sailors abandoned their oars and snatched up theirweapons. It was valiant, but useless. They had time for one flight ofarrows before the pirate was upon them. With no one at the sweep, the_Argus_rolled broadside, and the steel-baked prow of the raider crashedinto her amidships. Grappling-irons crunched into the side. From thelofty gunwales, the black pirates drove down a volley of shafts thattore through thequilted jackets of the doomed sailormen, then sprangdown spear in hand to complete the slaughter. On the deck of the piratelay half a dozen bodies, an earnest of Conan's archery.The fight on the _Argus_ was shortand bloody. The stocky sailors, nomatch for the tall barbarians, were cut down to a man. Elsewhere thebattle had taken a peculiar turn. Conan, on the high-pitched poop, wason a level with the pirate's deck. As thesteel prow slashed into the_Argus_, he braced himself and kept his feet under the shock, castingaway his bow. A tall corsair, bounding over the rail, was met in midairby the Cimmerian's great sword, which sheared himcleanly through thetorso, so that his body fell one way and his legs another. Then, with aburst of fury that left a heap of mangled corpses along the gunwales,Conan was over the rail and on the deck of the _Tigress_.Inan instant he was the center of a hurricane of stabbing spears andlashing clubs. But he moved in a blinding blur of steel. Spears bent onhis armor or swished empty air, and his sword sang its death-song.Thefighting-madness of his race was upon him, and with a red mist ofunreasoning fury wavering before his blazing eyes, he cleft skulls,smashed breasts, severed limbs, ripped out entrails, and littered thedeck like ashambles with a ghastly harvest of brains and blood.Invulnerable in his armor, his back against the mast, he heaped mangledcorpses at his feet until his enemies gave back panting in rage andfear. Then as they liftedtheir spears to cast them, and he tensedhimself to leap and die in the midst of them, a shrill cry froze thelifted arms. They stood like statues, the black giants poised for thespear-casts, the mailed swordsman with hisdripping blade.       *       *       *       *       *Bêlit sprang before the blacks, beating down their spears. She turnedtoward Conan, her bosom heaving, her eyes flashing. Fierce fingers ofwonder caught at his heart. Shewas slender, yet formed like a goddess:at once lithe and voluptuous. Her only garment was a broad silkengirdle. Her white ivory limbs and the ivory globes of her breasts drovea beat of fierce passion through theCimmerian's pulse, even in thepanting fury of battle. Her rich black hair, black as a Stygian night,fell in rippling burnished clusters down her supple back. Her dark eyesburned on the Cimmerian.She was untamed as adesert wind, supple and dangerous as a she-panther.She came close to him, heedless of his great blade, dripping with bloodof her warriors. Her supple thigh brushed against it, so close she cameto the tall warrior. Herred lips parted as she stared up into hissomber menacing eyes.'Who are you?' she demanded. 'By Ishtar, I have never seen your like,though I have ranged the sea from the coasts of Zingara to the fires ofthe ultimatesouth. Whence come you?''From Argos,' he answered shortly, alert for treachery. Let her slimhand move toward the jeweled dagger in her girdle, and a buffet of hisopen hand would stretch her senseless on the deck.Yet in his heart hedid not fear; he had held too many women, civilized or barbaric, in hisiron-thewed arms, not to recognize the light that burned in the eyes ofthis one.'You are no soft Hyborian!' she exclaimed. 'You arefierce and hard as agray wolf. Those eyes were never dimmed by city lights; those thews werenever softened by life amid marble walls.''I am Conan, a Cimmerian,' he answered.To the people of the exotic climes, thenorth was a mazy half-mythicalrealm, peopled with ferocious blue-eyed giants who occasionallydescended from their icy fastnesses with torch and sword. Their raidshad never taken them as far south as Shem, and thisdaughter of Shemmade no distinction between Ã\u0000sir, Vanir or Cimmerian. With the unerringinstinct of the elemental feminine, she knew she had found her lover,and his race meant naught, save as it invested him withthe glamor offar lands.'And I am Bêlit,' she cried, as one might say, 'I am queen.''Look at me, Conan!' She threw wide her arms. 'I am Bêlit, queen of theblack coast. Oh, tiger of the North, you are cold as the snowymountainswhich bred you. Take me and crush me with your fierce love! Go with meto the ends of the earth and the ends of the sea! I am a queen by fireand steel and slaughter--be thou my king!'His eyes swept theblood-stained ranks, seeking expressions of wrath orjealousy. He saw none. The fury was gone from the ebon faces. Herealized that to these men Bêlit was more than a woman: a goddess whosewill was unquestioned.He glanced at the _Argus_, wallowing in thecrimson sea-wash, heeling far over, her decks awash, held up by thegrappling-irons. He glanced at the blue-fringed shore, at the far greenhazes of the ocean, at the vibrantfigure which stood before him; andhis barbaric soul stirred within him. To quest these shining blue realmswith that white-skinned young tiger-cat--to love, laugh, wander andpillage--'I'll sail with you,' he grunted,shaking the red drops from his blade.'Ho, N'Yaga!' her voice twanged like a bowstring. 'Fetch herbs and dressyour master's wounds! The rest of you bring aboard the plunder and castoff.'As Conan sat with his backagainst the poop-rail, while the old shamanattended to the cuts on his hands and limbs, the cargo of the ill-fated_Argus_ was quickly shifted aboard the _Tigress_ and stored in smallcabins below deck. Bodies of thecrew and of fallen pirates were castoverboard to the swarming sharks, while wounded blacks were laid in thewaist to be bandaged. Then the grappling-irons were cast off, and as the_Argus_ sank silently into theblood-flecked waters, the _Tigress_ movedoff southward to the rhythmic clack of the oars.As they moved out over the glassy blue deep, Bêlit came to the poop. Hereyes were burning like those of a she-panther in thedark as she toreoff her ornaments, her sandals and her silken girdle and cast them athis feet. Rising on tiptoe, arms stretched upward, a quivering line ofnaked white, she cried to the desperate horde: 'Wolves of theblue sea,behold ye now the dance--the mating-dance of Bêlit, whose fathers werekings of Askalon!'And she danced, like the spin of a desert whirlwind, like the leaping ofa quenchless flame, like the urge of creation"}
+{"doc_id":"doc_70","qid":"","text":"Project Gutenberg's He Walked Around the Horses, by Henry Beam PiperThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: He Walked Around the HorsesAuthor: Henry Beam PiperIllustrator: CartierRelease Date: July 11, 2006[EBook #18807]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK HE WALKED AROUND THE HORSES ***Produced by Greg Weeks, William Woods and the OnlineDistributed Proofreading Team athttp://www.pgdp.netTranscriber's note:This etext was produced from Astounding Science Fiction April 1948.Extensive research did not uncover any evidence that the copyrighton this publication wasrenewed.[Illustration]HE WALKEDAROUND THE HORSESBY H. BEAM PIPERIllustrated by Cartier_This tale is based on an authenticated,documented fact. A man vanished--rightout of this world. And where hewent--__In November 1809, an Englishman named Benjamin Bathurst vanished,inexplicably and utterly.__He was en route to Hamburg from Vienna, where he had been servingas his government's envoy to the courtof what Napoleon had leftof the Austrian Empire. At an inn in Perleburg, in Prussia, whileexamining a change of horses for his coach, he casually steppedout of sight of his secretary and his valet. He was not seentoleave the inn yard. He was not seen again, ever.__At least, not in this continuum...._(From Baron Eugen von Krutz, Minister of Police, to His Excellencythe Count von Berchtenwald, Chancellor to His MajestyFriedrichWilhelm III of Prussia.)25 November, 1809Your Excellency:A circumstance has come to the notice of this Ministry, thesignificance of which I am at a loss to define, but, since itappears to involve matters ofState, both here and abroad, I amconvinced that it is of sufficient importance to be brought toyour personal attention. Frankly, I am unwilling to take anyfurther action in the matter without your advice.Briefly, thesituation is this: We are holding, here at theMinistry of Police, a person giving his name as Benjamin Bathurst,who claims to be a British diplomat. This person was taken intocustody by the police at Perleburg yesterday,as a result of adisturbance at an inn there; he is being detained on technicalcharges of causing disorder in a public place, and of being asuspicious person. When arrested, he had in his possession adispatch case,containing a number of papers; these are of such anextraordinary nature that the local authorities declined to assumeany responsibility beyond having the man sent here to Berlin.After interviewing this person andexamining his papers, I am,I must confess, in much the same position. This is not, I amconvinced, any ordinary police matter; there is something verystrange and disturbing here. The man's statements, taken alone,areso incredible as to justify the assumption that he is mad. Icannot, however, adopt this theory, in view of his demeanor,which is that of a man of perfect rationality, and because of theexistence of these papers. Thewhole thing is mad; incomprehensible!The papers in question accompany, along with copies of thevarious statements taken at Perleburg, a personal letter to mefrom my nephew, Lieutenant Rudolf von Tarlburg. Thislast isdeserving of your particular attention; Lieutenant von Tarlburgis a very level-headed young officer, not at all inclined to befanciful or imaginative. It would take a good deal to affect himas he describes.The mancalling himself Benjamin Bathurst is now lodged in anapartment here at the Ministry; he is being treated with everyconsideration, and, except for freedom of movement, accordedevery privilege.I am, most anxiouslyawaiting your advice, et cetera, et cetera,Krutz(Report of Traugott Zeller, _Oberwachtmeister_, _Staatspolizei_,made at Perleburg, 25 November, 1809.)At about ten minutes past two of the afternoon of Saturday,25November, while I was at the police station, there entered a manknown to me as Franz Bauer, an inn servant employed by ChristianHauck, at the sign of the Sword & Scepter, here in Perleburg.This man Franz Bauermade complaint to _Staatspolizeikapitan_Ernst Hartenstein, saying that there was a madman making troubleat the inn where he, Franz Bauer, worked. I was, therefore,directed, by _Staatspolizeikapitan_ Hartenstein,to go to theSword & Scepter Inn, there to act at discretion to maintain thepeace.Arriving at the inn in company with the said Franz Bauer, I founda considerable crowd of people in the common room, and, in themidst ofthem, the innkeeper, Christian Hauck, in altercation witha stranger. This stranger was a gentlemanly-appearing person,dressed in traveling clothes, who had under his arm a smallleather dispatch case. As I entered, Icould hear him, speaking inGerman with a strong English accent, abusing the innkeeper, thesaid Christian Hauck, and accusing him of having drugged his, thestranger's, wine, and of having stolen his, thestranger's,coach-and-four, and of having abducted his, the stranger's,secretary and servants. This the said Christian Hauck was loudlydenying, and the other people in the inn were taking theinnkeeper's part, andmocking the stranger for a madman.On entering, I commanded everyone to be silent, in the king's name,and then, as he appeared to be the complaining party of the dispute,I required the foreign gentleman to state tome what was thetrouble. He then repeated his accusations against the innkeeper,Hauck, saying that Hauck, or, rather, another man who resembledHauck and who had claimed to be the innkeeper, had drugged hiswineand stolen his coach and made off with his secretary and hisservants. At this point, the innkeeper and the bystanders all beganshouting denials and contradictions, so that I had to pound on atable with mytruncheon to command silence.I then required the innkeeper, Christian Hauck, to answer thecharges which the stranger had made; this he did with a completedenial of all of them, saying that the stranger had had nowinein his inn, and that he had not been inside the inn until a fewminutes before, when he had burst in shouting accusations, andthat there had been no secretary, and no valet, and no coachman,and nocoach-and-four, at the inn, and that the gentleman wasraving mad. To all this, he called the people who were in thecommon room to witness.I then required the stranger to account for himself. He saidthat his namewas Benjamin Bathurst, and that he was a Britishdiplomat, returning to England from Vienna. To prove this, heproduced from his dispatch case sundry papers. One of these wasa letter of safe-conduct, issued by thePrussian Chancellery, inwhich he was named and described as Benjamin Bathurst. The otherpapers were English, all bearing seals, and appearing to beofficial documents.Accordingly, I requested him to accompany meto the police station,and also the innkeeper, and three men whom the innkeeper wanted tobring as witnesses.Traugott Zeller_Oberwachtmeister_Report approved,Ernst Hartenstein_Staatspolizeikapitan_(Statement ofthe self-so-called Benjamin Bathurst, taken at thepolice station at Perleburg, 25 November, 1809.)My name is Benjamin Bathurst, and I am Envoy Extraordinary andMinister Plenipotentiary of the government of HisBritannic Majestyto the court of His Majesty Franz I, Emperor of Austria, or, atleast, I was until the events following the Austrian surrendermade necessary my return to London. I left Vienna on the morningof Monday,the 20th, to go to Hamburg to take ship home; I wastraveling in my own coach-and-four, with my secretary, Mr. BertramJardine, and my valet, William Small, both British subjects, anda coachman, Josef Bidek, anAustrian subject, whom I had hiredfor the trip. Because of the presence of French troops, whom Iwas anxious to avoid, I was forced to make a detour west as faras Salzburg before turning north toward Magdeburg,where Icrossed the Elbe. I was unable to get a change of horses for mycoach after leaving Gera, until I reached Perleburg, where Istopped at the Sword & Scepter Inn.Arriving there, I left my coach in the inn yard, and Iand mysecretary, Mr. Jardine, went into the inn. A man, not this fellowhere, but another rogue, with more beard and less paunch, andmore shabbily dressed, but as like him as though he were hisbrother, representedhimself as the innkeeper, and I dealt withhim for a change of horses, and ordered a bottle of wine formyself and my secretary, and also a pot of beer apiece for myvalet and the coachman, to be taken outside to them.Then Jardineand I sat down to our wine, at a table in the common room, untilthe man who claimed to be the innkeeper came back and told usthat the fresh horses were harnessed to the coach and ready togo. Then wewent outside again.I looked at the two horses on the off side, and then walked aroundin front of the team to look at the two nigh-side horses, and as Idid I felt giddy, as though I were about to fall, and everythingwentblack before my eyes. I thought I was having a faintingspell, something I am not at all subject to, and I put out my handto grasp the hitching bar, but could not find it. I am sure, now,that I was unconscious for sometime, because when my headcleared, the coach and horses were gone, and in their place was abig farm wagon, jacked up in front, with the right front wheeloff, and two peasants were greasing the detached wheel.Ilooked at them for a moment, unable to credit my eyes, andthen I spoke to them in German, saying, \"Where the devil's mycoach-and-four?\"They both straightened, startled: the one who was holding the wheelalmostdropped it.\"Pardon, excellency,\" he said, \"there's been no coach-and-four here,all the time we've been here.\"\"Yes,\" said his mate, \"and we've been here since just after noon.\"I did not attempt to argue with them. Itoccurred to me--andit is still my opinion--that I was the victim of some plot; thatmy wine had been drugged, that I had been unconscious for sometime, during which my coach had been removed and thiswagonsubstituted for it, and that these peasants had been put to workon it and instructed what to say if questioned. If my arrival atthe inn had been anticipated, and everything put in readiness,the whole businesswould not have taken ten minutes.I therefore entered the inn, determined to have it out withthis rascally innkeeper, but when I returned to the common room,he was nowhere to be seen, and this other fellow, who hasgivenhis name as Christian Hauck, claimed to be the innkeeper anddenied knowledge of any of the things I have just stated.Furthermore, there were four cavalrymen, Uhlans, drinking beerand playing cards at the tablewhere Jardine and I had had ourwine, and they claimed to have been there for several hours.I have no idea why such an elaborate prank, involving theparticipation of many people, should be played on me, except attheinstigation of the French. In that case, I cannot understandwhy Prussian soldiers should lend themselves to it.Benjamin Bathurst(Statement of Christian Hauck, innkeeper, taken at the policestation at Perleburg, 25November, 1809.)May it please your honor, my name is Christian Hauck, and I keepan inn at the sign of the Sword & Scepter, and have these pastfifteen years, and my father, and his father, before me, for thepast fiftyyears, and never has there been a complaint like thisagainst my inn. Your honor, it is a hard thing for a man whokeeps a decent house, and pays his taxes, and obeys the laws,to be accused of crimes of this sort.I knownothing of this gentleman, nor of his coach, nor hissecretary, nor his servants; I never set eyes on him before hecame bursting into the inn from the yard, shouting and ravinglike a madman, and crying out, \"Where thedevil's that rogue ofan innkeeper?\"I said to him, \"I am the innkeeper; what cause have you tocall me a rogue, sir?\"The stranger replied:\"You're not the innkeeper I did business with a few minutes ago,and he's therascal I want to see. I want to know what the devil'sbeen done with my coach, and what's happened to my secretary andmy servants.\"I tried to tell him that I knew nothing of what he was talkingabout, but he wouldnot listen, and gave me the lie, saying thathe had been drugged and robbed, and his people kidnaped. He evenhad the impudence to claim that he and his secretary had beensitting at a table in that room, drinkingwine, not fifteenminutes before, when there had been four noncommissioned officersof the Third Uhlans at that table since noon. Everybody in theroom spoke up for me, but he would not listen, and was shoutingthat wewere all robbers, and kidnapers, and French spies, and Idon't know what all, when the police came.Your honor, the man is mad. What I have told you about this is thetruth, and all that I know about this business, sohelp me God.Christian Hauck(Statement of Franz Bauer, inn servant, taken at the police stationat Perleburg, 25 November, 1809.)May it please your honor, my name is Franz Bauer, and I am aservant at the Sword &Scepter Inn, kept by Christian Hauck.This afternoon, when I went into the inn yard to empty a bucket ofslops on the dung heap by the stables, I heard voices and turnedaround, to see this gentleman speaking toWilhelm Beick and FritzHerzer, who were greasing their wagon in the yard. He had not beenin the yard when I had turned away to empty the bucket, and Ithought that he must have come in from the street. Thisgentlemanwas asking Beick and Herzer where was his coach, and when theytold him they didn't know, he turned and ran into the inn.Of my own knowledge, the man had not been inside the inn beforethen, nor hadthere been any coach, or any of the people he spokeof, at the inn, and none of the things he spoke of happened there,for otherwise I would know, since I was at the inn all day.When I went back inside, I found him inthe common room shoutingat my master, and claiming that he had been drugged and robbed. Isaw that he was mad and was afraid that he would do some mischief,so I went for the police.Franz Bauerhis (x)mark(Statements of Wilhelm Beick and Fritz Herzer, peasants, taken atthe police station at Perleburg, 25 November, 1809.)May it please your honor, my name is Wilhelm Beick, and I ama tenant on the estate of theBaron von Hentig. On this day, Iand Fritz Herzer were sent into Perleburg with a load of potatoesand cabbages which the innkeeper at the Sword & Scepter hadbought from the estate superintendent. After we hadunloadedthem, we decided to grease our wagon, which was very dry, beforegoing back, so we unhitched and began working on it. We tookabout two hours, starting just after we had eaten lunch, and inall that time,there was no coach-and-four in the inn yard. Wewere just finishing when this gentleman spoke to us, demanding toknow where his coach was. We told him that there had been nocoach in the yard all the time we hadbeen there, so he turnedaround and ran into the inn. At the time, I thought that he hadcome out of the inn before speaking to us, for I know that hecould not have come in from the street. Now I do not know wherehecame from, but I know that I never saw him before that moment.Wilhelm Beickhis (x) markI have heard the above testimony, and it is true to my ownknowledge, and I have nothing to add to it.Fritz Herzerhis (x)mark(From _Staatspolizeikapitan_ Ernst Hartenstein, to His Excellency,the Baron von Krutz, Minister of Police.)25 November, 1809Your Excellency:The accompanying copies of statements taken this day will explainhowthe prisoner, the self-so-called Benjamin Bathurst, came intomy custody. I have charged him with causing disorder and being asuspicious person, to hold him until more can be learned abouthim. However, as herepresents himself to be a British diplomat,I am unwilling to assume any further responsibility, and amhaving him sent to your excellency, in Berlin.In the first place, your excellency, I have the strongest doubtsof theman's story. The statement which he made before me, andsigned, is bad enough, with a coach-and-four turning into a farmwagon, like Cinderella's coach into a pumpkin, and three peoplevanishing as though swallowedby the earth. But all this isperfectly reasonable and credible, beside the things he said tome, of which no record was made.Your excellency will have noticed, in his statement, certainallusions to the Austrian surrender,and to French troops inAustria. After his statement had been taken down, I noticed theseallusions, and I inquired, what surrender, and what were Frenchtroops doing in Austria. The man looked at me in apityingmanner, and said:\"News seems to travel slowly, hereabouts; peace was concludedat Vienna on the 14th of last month. And as for what Frenchtroops are doing in Austria, they're doing the same thingsBonaparte'sbrigands are doing everywhere in Europe.\"\"And who is Bonaparte?\" I asked.He stared at me as though I had asked him, \"Who is the Lord Jehovah?\"Then, after a moment, a look of comprehension came into hisface.\"So, you Prussians concede him the title of Emperor, and referto him as Napoleon,\" he said. \"Well, I can assure you that HisBritannic Majesty's government haven't done so, and never will;not so long as oneEnglishman has a finger left to pull a trigger.General Bonaparte is a usurper; His Britannic Majesty's governmentdo not recognize any sovereignty in France except the House ofBourbon.\" This he said very sternly, asthough rebuking me.[Illustration]It took me a moment or so to digest that, and to appreciate all itsimplications. Why, this fellow evidently believed, as a matter offact, that the French Monarchy had been overthrown bysome militaryadventurer named Bonaparte, who was calling himself the EmperorNapoleon, and who had made war on Austria and forced a surrender. Imade no attempt to argue with him--one wastes time arguingwithmadmen--but if this man could believe that, the transformation of acoach-and-four into a cabbage wagon was a small matter indeed. So,to humor him, I asked him if he thought General Bonaparte's agentswereresponsible for his trouble at the inn.\"Certainly,\" he replied. \"The chances are they didn't know meto see me, and took Jardine for the minister, and me for thesecretary, so they made off with poor Jardine. I wonder,though,that they left me my dispatch case. And that reminds me; I'llwant that back. Diplomatic papers, you know.\"I told him, very seriously, that we would have to check hiscredentials. I promised him I would makeevery effort to locatehis secretary and his servants and his coach, took a completedescription of all of them, and persuaded him to go into anupstairs room, where I kept him under guard. I did startinquiries, calling in allmy informers and spies, but, as Iexpected, I could learn nothing. I could not find anybody, even,who had seen him anywhere in Perleburg before he appeared at theSword & Scepter, and that rather surprised me, assomebody shouldhave seen him enter the town, or walk along the street.In this connection, let me remind your excellency of thediscrepancy in the statements of the servant, Franz Bauer, and ofthe two peasants. Theformer is certain the man entered the innyard from the street; the latter are just as positive that he didnot. Your excellency, I do not like such puzzles, for I am surethat all three were telling the truth to the best oftheirknowledge. They are ignorant common folk, I admit, but theyshould know what they did or did not see.After I got the prisoner into safekeeping, I fell to examining hispapers, and I can assure your excellency thatthey gave me a shock.I had paid little heed to his ravings about the King of Francebeing dethroned, or about this General Bonaparte who called himselfthe Emperor Napoleon, but I found all these things mentioned inhispapers and dispatches, which had every appearance of being officialdocuments. There was repeated mention of the taking, by the French,of Vienna, last May, and of the capitulation of the AustrianEmperor to thisGeneral Bonaparte, and of battles being fought allover Europe, and I don't know what other fantastic things. Yourexcellency, I have heard of all sorts of madmen--one believinghimself to be the Archangel Gabriel, orMohammed, or a werewolf,and another convinced that his bones are made of glass, or that heis pursued and tormented by devils--but so help me God, this is thefirst time I have heard of a madman who haddocumentary proof forhis delusions! Does your excellency wonder, then, that I want nopart of this business?But the matter of his credentials was even worse. He had papers,sealed with the seal of the British ForeignOffice, and to everyappearance genuine--but they were signed, as Foreign Minister, byone George Canning, and all the world knows that Lord Castlereaghhas been Foreign Minister these last five years. And to cap itall,"}
+{"doc_id":"doc_71","qid":"","text":"<html><head><title>Jurassic Park: The Lost World Script at IMSDb.</title><meta name=\"description\" content=\"Jurassic Park: The Lost World script at the Internet Movie Script Database.\"><meta name=\"keywords\"content=\"Jurassic Park: The Lost World script, Jurassic Park: The Lost World movie script, Jurassic Park: The Lost World film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><metaname=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttypeCONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ?'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie ScriptDatabase\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <scripttype=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><html><head><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>THE LOST WORLDJURASSIC PARK</title></head><pre><b> THE LOST WORLD</b><b> JURASSIC PARK</b> Screenplay by   David Koepp<b> </b>      based on the novel by Michael Crichton<b> EXT. TROPICAL LAGOON -DAY</b> A 135-foot-luxury yacht is anchored just offshore in a tropical lagoon.  The beach is a stunning crescent of white sand at the jungle fringe, utterly deserted.<b> ISLA SORNA</b> 87 miles southeast of NublarTwo SHIP HANDS, dressed in white uniforms, have set up a picnic table with three chairs on the sand and are carefully laying out luncheon service -- fine china, silver, crystal decanters with red and white wine. PAULBOWMAN, fortyish, sits in a chair off to the side, reading.  MRS. BOWMAN, painfully thin, with the perpetually surprised look of a woman who's had her eyes done more than once, supervises the settings of the table.She looks up and sees a little girl, CATHY, seven or eight years old, wandering off down the beach.<b> MRS. BOWMAN</b> Cathy!  Don't wander off! Cathy keeps wandering. MRS. BOWMAN (cont'd) Cathy, comeback!  You can look for shells right here! Cathy gestures, pretending she can't hear.<b> BOWMAN</b> (eyes still in his book) Leave her alone.<b> MRS. BOWMAN</b> What about snakes?<b> BOWMAN</b> There'sno snakes on a beach.  Let her have fun, for once.<b> FURTHER DOWN THE BEACH,</b> Cathy keeps wandering away, MUTTERING to herself as her parents' quarreling voices fade in the distance.<b> CATHY</b>Please be quiet, please be quiet please be quiet... Rounding a curve in the beach, her parents disappear from view behind her.  A RUSTLING sound draws her attention, and she turns, toward where the thick junglefoliage gives way to the sand. A large bush, maybe twelve feet tall, is moving, its branches swaying and shaking.  Curious, Cathy walks up to the bush, which abruptly stops moving. A small, lizard-like animal, darkgreen with brown stripes along its back, steps out from the bush.  Only about a foot tall, it stands on its hind legs, balancing on its thick tail. It walks upright, bobbing its head like a chicken.<b> CATHY</b> Well, hellothere! The animal (a COMPSOGNATHUS) just stares at her.  Cathy squats down on her haunches. CATHY (cont'd) What are you?  A little bird or something? She opens her hand.  She's got a handful of goldfish crackers.CATHY (cont'd) Are you hungry?  You want a goldfish? The compy bobs forward a few steps, cautiously. CATHY (cont'd) Come on.  I won't hurt you. The compy draws closer.  Cathy holds the cracker in the palm of herhand.  The compy gets closer still -- -- and hops numbly up onto Cathy's palm.  Her arm dips a bit under the weight, but it's not that heavy, and she holds it up easily.  It bobs its head, scarfs up the goldfish, and eatsit. Enchanted, Cathy breaks into an enormous grin and returns her hand, calling back over her shoulder. CATHY (cont'd) Mom!  Dad!  You gotta come see this! I found something! She turns back. Thirty more compyshave come out onto the sand.  They're standing there, bobbing anxiously, staring at her from a few feet away.  Cathy's smile fades. She turns her head slowly to the right.  TWENTY MORE COMPYS have come in fromthat side, forming a semi-circle, bobbing and CHIPPING as they surround her. CATHY (cont'd) (terrified) What do you guys want?<b> BACK ON THE BEACH,</b> the table is set.  Mrs. Bowman calls out.<b> MRS.BOWMAN</b> Cathy, sweetheart!  Lunch is ready! From around the curve of the beach, a flock of birds bolts from the jungle trees as Cathy's shrill SCREAMS suddenly pierce the air.<b> MRS. BOWMAN</b><b>PAUL!</b> She takes off, running down the beach, Mr. Bowman leaps out of his chair and follows, and all available deck hands race off to help, kicking up geysers of sand behind them.<b> DOWN THE BEACH,</b>Mrs. Bowman stops dead in her tracks when she rounds the bend in the beach.  We don't see what she sees, but we hear the frenzied SQUEAKING of the strange compys.  Mr. Bowman and the Hands race past her tohelp Cathy as Mrs. Bowman lets loose a horrified, slack-jawed SCREAM, her mouth a perfect oval.<b> DISSOLVE TO:</b><b> INT. BOARD ROOM - DAY</b> Mrs. Bowman's screaming face dissolves slowly over theYAWNING face of a bored CORPORATE EXECUTIVE, TWENTY OTHER EXECUTIVES sit around a conference table in the boardroom of a monied corporation.  All are in expensive suits, most are over sixty.  There are rowsof BACKBENCHERS too, whispering in their lawyers who sit behind their clients, whispering in their ears.  Empty coffee cups and fast food containers on the table hint that everyone's been here a long time. A familiarVOICE resounds through the boardroom as we move down the long table, pat the grim faces of the board members.<b> VOICE (O.S.)</b> The hurricane seemed like a disaster at the time, but now I think it was ablessing, nature's way of freeing those animals from their human confines.  Of giving them another chance to survive, but this time as they were meant to, without man's interference. The source of the voice is JOHNHAMMOND, the founder of InGen and creator of Jurassic Park.  But he's not in the room.  His image is on a closed circuit TV screen, which has been wheeled up to the end of the table. And he doesn't look good.  He'sterribly infirmed, propped up in bed, his face pale and drawn, medical equipment BEEPING around him. HAMMOND (cont'd) There are some corporate issues that are not about the bottom line.  We have so much still tolearn about those creatures.  A whole world of intricate, interlocking behaviors, vanished everywhere -- except for Site B. Please.  Let's not do what is good for more men at the expense at what is best for all mankind.The CHAIRMAN, seventyish, nods awkwardly to the television.<b> CHAIRMAN</b> Thank you, John.  Mr. Ludlow? He turns to PETER LUDLOW, late thirties, a man with the anxious look of someone who insists the buckstop on his desk. Ludlow flips open a file, pulls out a stack of black and white eight by tens, and tosses them on the table.<b> LUDLOW</b> (an accent similar to Hammond's) These pictures were taken in a hospital inCosta Rica forty-eight hours ago, after an American family on a yacht cruise stumbled onto Site B.  The little girl will be fine, but her parents are wealthy, angry, and very fond of lawsuits.  But that's hardly new to us, isit? (takes a paper from the file) Wrongful death settlements, partial list:  family of Donald Gennaro, 36.5 million dollars; family of Robert Muldoon, 12.6 million.  Damaged or destroyed equipment, 17.3 million.Demolition, de-construction, and disposal of Isla Nublar facilities, organic and inorganic, one hundred and twenty-six million dollars.  The list goes on, gentlemen -- research funding, media payoffs.  Silence is expensive.He's warming up.  Not a bad performer. LUDLOW (cont'd) This corporation has been bleeding from the throat for four years.  You, our board of directors, have set patiently and listened to ecology lectures while Mr.Hammond signed your checks and spent your money. You have watched your stock drop from seventy-eight and a quarter to nineteen flat with no good and in sight.  And all along, we have held a significant productasset that we could have safely harvested and displayed for profit.  Enormous profit. He reaches out to a model on the table and gives it a shove, sending it sliding down the length of the table in front of them.  It's amini-mall version of a zoo.  Cages hold tiny replicas of various kinds of dinosaurs while Boy Scout troops and Tourists look on in wonder. LUDLOW (cont'd) Enough money to wipe out four years of lawsuits and damagecontrol and unpleasant infighting, enough to not only send our stock back to where it was but to double it.  And the one thing, the only thing standing between us and this asset is a born-again naturalist who happens tobe our own CEO.  Well, I don't work for Mother Nature.  I work for you. Two of his Backbenchers distribute documents from a stack. Ludlow takes one and reads from it. LUDLOW (cont'd) \"Whereas the Chief ExecutiveOfficer has engaged in wasteful and negligent business practices to further his own personal environmental beliefs -- Whereas these practices have affected the financial performance of the company by incurringsignificant losses -- Whereas the shareholders have been materially harmed by these losses -- Thereby, be it resolved that John Parker Hammond should be resolved from the office of Chief Executive Officer, affectiveimmediately.\"  Mr. Chairman, I move the resolution be put to an immediate vote.  Do I have a second?<b> BOARD MEMBER</b> I second the motion,  Mr. Chairman, Please poll the members by a show of hands. TheCHAIRMAN signs heavily, feeling like a traitor.  He can't bear to look at Hammond on the TV monitor.<b> CHAIRMAN</b> All those in favor of InGen Corporate Resolution 213C, please signify your approval by raisingyour right hand. It starts slowly, guiltily, but every hand in the room goes up.  Ludlow sits back, victorious.  Hammond, furious, raises his right hand, which holds a remote control, and points it at the TV screen.  It goesblank.<b> CUT TO:</b><b> EXT. WELDER'S YARD - NIGHT</b> Sparks fly out the windows and doors of a shed in the middle of a welder's yard.  Scrap iron and steel lies everywhere. Somewhere inside the shed, aphone RINGS. The WHOOSH of the arc welder shuts off.  DIETER STARK, a big barrel-chested man of forty or so, his face streaked with soot and grime, steps outside with a cordless phone, a cigarette dangling from hislips.<b> DIETER</b> Yeah. He takes a deep drag while someone talks on the other end.  He smiles and blows out a cloud of smoke.<b> CUT TO:</b><b> INT. NEW YORK SUBWAY - NIGHT</b> Smoke turns intosteam as a subway THUNDER into a station underneath Manhattan.  The door WHOOSH open, spit out some COMMUTERS and suck up a few more. A tall man hurries down the platform, limping heavily, moving as fastas he can.  The subway doors begin to close, but just before they meet -- -- the man jams a cane in between, stopping them.  The man is IAN MALCOLM, fortyish, dressed in black from head to toe. There's a hardwisdom in Malcolm's eyes that may not have been there's a few years ago -- he know what you think, and he doesn't care.<b> INT. SUBWAY CAR - NIGHT</b> MALCOLM finds a seat on the crowded subway car andsits down. He looks awful.  Tired.  Weathered.  He notices a CURIOUS MAN across from his is staring at his.  Malcolm looks away.  The Curious Man still stares.  Nervy, the Curious Man gets up and approaches.<b>MALCOLM</b> (under his breath) Shit. The Curious Man sits down next to Malcolm, grinning.<b> MAN</b> You're him, aren't you?<b> MALCOLM</b> Excuse me?<b> MAN</b> The guy.  The scientist.  I saw you onTV. (conspiratorially) I believed you. No response from Malcolm.  The guy leans in even closer. MAN (cont'd) Roooooarr.<b> MALCOLM</b> (a withering look) I was misquoted.  I was merely speculating on theevolutionary scenario of a Lost World.  I never said I was in any such place. He gets up and moves to another seat on the car, away from the Curious Man.  As he sits down, he notices two other COMMUTERS across"}
+{"doc_id":"doc_72","qid":"","text":"<html><head><title>Broadcast News Script at IMSDb.</title><meta name=\"description\" content=\"Broadcast News script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Broadcast Newsscript, Broadcast News movie script, Broadcast News film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX,FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b><HTML></b><HEAD><script><b><!--</b><b>/*</b>Break-out-of-frames scriptBy Website Abstraction (http://wsabstract.com)Over400+ free scripts here!Above notice MUST stay entact for use<b>*/</b>if (window!= top)top.location.href=location.href<b>// --></b></script><TITLE>Broadcast News</TITLE><!--MadeByHappywel&WZ--><b></HEAD></b><b><BODY></b><h4><div align=center>Broadcast  Newsby James L. Brooks.</div></h4><b><BR><BR><BR></b><pre><b> FADE IN</b><b> EXT. CITY STREET -DAY</b> A restaurant supply truck is curbside, near a small restaurant.  GERALD GRUNICK, forty-one, is closing the back door of his truck, feeling good about the world, a common state for him.  He moves towards thecab of the truck and gets inside as we SUPER:<b> KANSAS CITY, MO. - 1963</b><b> INT. TRUCK - DAY</b> As he sits down beaming over his recent good fortune... now we REVEAL his twelve-year-old son, TOM,seated quietly beside him. He seems a bit down.  Gerald glances at his son.<b> GERALD</b> I don't know a recent Saturday I've sold more.  You didn't think I'd sell that health restaurant, did you?<b> TOM</b>No.  Not even you.<b> GERALD</b> Why so glum?<b> TOM</b> I don't know.<b> GERALD</b> (a beat) Go ahead.<b> TOM</b> No, nothing.  I've got a problem, I guess.<b> GERALD</b> Were you bothering bythose waitresses making a fuss?<b> TOM</b> No.  But, honest.  What are you supposed to say when they keep talking about your looks?  I don't even know what they mean -- \"Beat them off with a stick.\" Gerald stiffsa grin.<b> GERALD</b> You know, Tom, I feel a little proud when people comment on your looks.  Maybe you should feel that way.<b> TOM</b> Proud?  I'm just embarrassed that I like when they say thosethings.<b> GERALD</b> As long as that's your only problem you're...<b> TOM</b> It's not. He looks directly at his father and talks quietly, and sincerely.<b> TOM</b> I got my report card.  Three Cs, two Ds and anincomplete.<b> GERALD</b> Oh my.  I see you studying so hard, Tom.  What do you think the problem is?<b> TOM</b> I'll just have to try harder.  I don't know.  I will. (talking himself into it) I will.  I will.  I will. Heshakes his head for emphasis, glad he's received this pep talk from himself -- he hands the card to his father.<b> TOM</b> Thanks, Dad, this talk helped.  Will you sign it, please?<b> GERALD</b> (as he signs)Would it help if I got you a tutor?<b> TOM</b> (suddenly hopeful) That would be great. (worried) It better help.  What can you do with yourself if all you do is look good?<b> SUPER THE LEGEND -- \"FUTURENETWORK ANCHORMAN\"</b><b> FADE OUT</b><b> FADE IN</b><b> BOSTON, MASS. - 1965</b><b> INT. HIGH SCHOOL - AUDITORIUM - DAY</b> AARON ALTMAN, looking almost preposterously young in hisgraduation gown -- is delivering his valedictory.  He is a rare bread -- a battle-scarred innocent.<b> AARON</b> ...and finally to the teachers of Whitman High School, I don't have the words to express my gratitudewhich may have more to say about the quality of the English Department here than my own limitations... He awaits a laugh and gets only the weird sound of collective discomfort.<b> AARON</b> ...that was, ofcourse, not meant to be taken seriously.  A personal note.   I am frequently asked what the special difficulties are in being graduated from High School two months shy of my fifteenth birthday.  I sometimes think it wasthe difficulties themselves which enabled me to do it. If I'd been appreciated or even tolerated I wouldn't have been in such a hurry to graduate.  I hope the next student who comes along and is able to excel isn't madeto feel so much an outcast.  But I'm looking forward to college; this is the happiest day I've had in a long time.  I thank you and I forgive you. This is very little applause.<b> ANGLE ON TEACHERS</b><b> MALETEACHER</b> I'm always so confused by Aaron. Is he brave and earnest or just a conceited little dick-head?<b> BACK TO AARON AS WE SUPER: \"FUTURE NETWORK NEWS REPORTER\"</b><b> ANGLE ONSTAGE</b> As Aaron walks to his seat past three full grown tough looking semi-literate high school graduates.<b> YOUTH #1</b> Later, Aaron.<b> EXT. SCHOOL YARD - DAY</b> Clusters of graduates at the fencebordering the sunken school yard looking down as the tough cap and gowners seen earlier cuff Aaron around.<b> CLOSER IN</b> Aaron feeling from a blow -- his lip bleeding -- his teeth covered with blood...as hegets to his feet.  He is livid -- something primal triggered by this brutality.<b> AARON</b> Go ahead, Stephen -- take your last licks. (points at his face) But this will heal -- what I'm going to say to you will scar youforever.  Ready?  Here it is. He dodges as they come after him.  They catch him by the hair and hurl him to the ground.  As he gets up he hurls his devastating verbal blow.<b> AARON</b> You'll never make more thannineteen thousand dollars a year. Ha ha ha. They twist his arm and grip him -- his face scraped on the concrete.<b> AARON</b> Okay, take this:  You'll never leave South Boston and I'm going to see the whole damnworld.  You'll never know the pleasure of writing a graceful sentence or having an original thought.  Think about it. He's punched in the stomach and sinks to the ground.  As the Young Toughs walk off Aaron catches aphrase of their conversation.<b> YOUTH TOUGH</b> Nineteen thousand dollars... Not bad.<b> FADE IN</b><b> ATLANTA, GEORGIA - 1968</b><b> INT. SUBURBAN HOME - NIGHT</b> JANE CRAIG, ten years old,is in her room typing.  Above the desk where she works is a bulletin board with letters and pictures tacked to each one.  Her desk has several file racks which contain bulging but neat stacks of air mail envelopes -- a rollof stamps in a dispenser is to one side.  Jane types very well in the glare of her desk lamp.<b> JANE</b> (voice over; as she types) Dear Felatzia, it's truly amazing to me that we live a world apart and yet have thesame favorite music. I loved the picture you sent and have it up on my bulletin board. You're growing so much faster than I am that I...<b> OTHER ANGLE</b> SHOWING Jane's FATHER standing near the door.<b>JANE</b> (voice over) ...am starting to get jealous. I read in the newspapers about the Italian strike and riots in Milan.  I hope you weren't...<b> FATHER</b> (softly) Honey?... Jane SCREAMS, and grabs her heart,breathing heavily, babbles nervously at her Dad.<b> JANE</b> Oh God -- Daddy -- don't...don't... don't ever scare me like that -- please. We SUPER:  \"FUTURE NETWORK NEWS PRODUCER\" Her father is himself takenaback with the shock of her reaction. Falling back towards the door:<b> FATHER</b> Jane -- For God's sake... (recovering) Look, it's time for you to go to sleep.<b> JANE</b> I just have two more pen pals and thenI'm done.<b> FATHER</b> You don't have to finish tonight.<b> JANE</b> (he doesn't get in) Nooo.  This way the rotation stays the same.<b> FATHER</b> Finish quickly.  I don't want you getting obsessive aboutthese things.  Good night. We REMAIN WITH Jane who has obviously become disconcerted and troubled.<b> INT. HOUSE - NIGHT</b> As Jane moves to room at the other end of the hall -- a family room where herFather reads the latest <u>Rolling Stone</u> of the mid-60's -- Hunter Thompson, the New Journalism, the slim Jann Wenner -- Jane bursts into the room.<b> JANE</b> Dad, you want me to choose my words socarefully and then you just throw a word like 'obsessive' at me.  Now, unless I'm wrong and... (enunciating) ...please correct me if I am, 'obsession' is practically a psychiatric term... concerning people who don't haveanything else but the object of their obsession -- who can't stop and do anything else.  Well, Here I am stopping to tell you this.  Okay? So would you please try and be a little more precise instead of calling a personsomething like 'obsessive.' She advances furiously on her Father since even this strung out, even with two additional pen pal letters to get off, she had enough sense of duty to kiss him good night before storming fromthe room.  She exits the room INTO BLACK. Stay on BLACK as we begin MAIN TITLES:<b> OVER EXT. SMALL MID-WESTERN CITY - DAY</b> Emerging from the blackness -- Jane Craig -- now a twenty-eight-year-oldwoman -- a long speed walker wearing a jacket to which reflecting stripes have been glued -- the kind of gear only possessed by someone who runs at off-hours.  The Jacket itself is a wish-I-had-it souvenir from someimportant news assignment, the sort of treasure you love about all else yet never mention.  She stops running as she feeds quarters into the first of a phalanx of newspaper machines -- getting seven different papersbefore moving on.<b> INT. MOTEL ROOM - DAY</b> As she enters from the bathroom, having showered and dressed. The sun is jus now rising.  She sits next to her phone.<b> INSERT:  JANE'S ROOM</b> TheFilofax book is almost an additional character -- a crucial hand-fashioned tool of Jane's trade.  She flicks at a page -- takes down a typewritten sheet scotch-taped to it showing the room number of her crew andreporter.<b> ON JANE</b> As she dials one room number.<b> JANE</b> (into phone) Hi...It's me...<b> INT. DUPLICATE MOTEL ROOM - DAY</b> ANGLE ON CAMERAMAN -- his equipment in evidence thoughessentially asleep holding his bedmate's hand, as he listens to Jane.<b> JANE'S VOICE</b> (voice over) It's thirty minutes before you have to meet me in the lobby -- nudge your wife.<b> BACK TO SCENE</b><b>JANE</b> There's probably no time to eat... but there's a cafeteria at the bus depot once we get down there.  I love working with you two...It saves me a call. She dales.<b> INT. DUPLICATE MOTEL ROOM</b> WhereAaron is switching his TV from station to station, monitoring the early morning news.  His PHONE RINGS.<b> AARON</b> Hi.  Turn on your TV... <u>Good Morning America</u>, the <u>Morning News</u> and<u>Today</u> are all about to talk to Arnold Schwarzenegger and I think he's live on at least two of them.<b> BACK TO SCENE</b><b> JANE</b> At six o'clock on the wake-up news they used the wrong missilegraphic.<b> AARON</b> (Austrian accent) Now listen, Arnold just said that he's been making three million a movie now.  But he's not ever gonna change.  He's still the same person when he was making two milliondollars a movie.  He feels no different.  He also bought a brand- new condo with Maria, they gonna furnish tastefully.<b> JANE</b> A half hour in the lobby.<b> AARON</b> (Austrian accent) Okay, I'll see you in thelobbies [<i>sic</i>]. She hangs up -- takes the phone off the hook and lays it on the bed for a moment's solitude.  She sits stiffly, palms on top of her legs.  It looks like someone with unusually good posture, waitingfor something, and now we BEGIN TO SEE the first signs redden and she begins to cry.  Now she sobs -- then miraculously shakes it off and exits quickly to the bathroom.  This crying episode is clearly part of hermorning routine.<b> INT. BUS STATION - DAY</b> Jane standing behind her husband-wife - camera-sound team as they train their attention on Aaron; who is getting ready to do a stand-up.  There is a DERELICT offto one side.  Aaron holds his microphone at the ready.<b> AARON</b> Ready.<b> </b><b> CAMERAMAN</b> Your hair's a little funny.<b> AARON</b> It's an ethnic curl, I can't do anything about it.<b>"}
+{"doc_id":"doc_73","qid":"","text":"<html><head><title>Spartan Script at IMSDb.</title><meta name=\"description\" content=\"Spartan script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Spartan script, Spartan moviescript, Spartan film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=SubjectCONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0];s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>    <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\"title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center></td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>                         SPARTAN                     a screenplay by                       David Mametcopyright (c) 2002by David Mamet<b></b><b>FADEIN:</b><b>EXT. WOODED HILLSIDE. DAY.</b>We see the drawn face of a young woman. Camera tracks withher as she runs through the thick woods. She is exertingherself heavily as she moves up a steep hillside.She looksbehind her quickly, and continues.ANGLE, we see a young man, and then another, running throughthe woods, out of breath. They are dressed in filthy BDU's,and show several days growth of beard. The leaderstops fora moment, and looks around. The two men separate.ANGLE, the  young woman, who has come to a small ledge, overa ravine.  She stops, panting, and bends over, to attempt tocatch her  breath. She looksaround, and looks back, her backto a steep  wall, a steep drop before her.ANGLE, the first young man, having come up to the spotvacated by the young woman. In the BG we see his colleague.He looks down, and seesmovement in the brush below him, inthe ravine. He starts to descend, and then looks up.ANGLE, the young woman, pulling herself up the steeprockface. The young man regains the ledge and looks up.Camera takeshim around a bend in the ledge.Standing here we discover ROBERT SCOTT. He is somewhat olderthan the two men, he is very fit, also dressed in filthyBDU's. He is making a note in a small notebook, which hecloses.Now, the two men look across the ravine at the youngwoman, seen disappearing over a ridge.<b>                       SCOTT</b>                  (quietly)             ...you better catch her...The man looks around, and beginsclimbing up the rockfacebehind him, pulling himself up, hand over hand by the rootsof trees. Several feet up, he falls on his back. He tries towork himself to his knees and winces in pain. He looks toScott forhelp.<b>                       SCOTT</b>             ...your Dad's napping on the             sofa, your Mom's watching Let's             Make A Deal, and God is Dead.             What do you expect me todo...?<b>                       YOUNG MAN</b>                  (very weakly)             ...I'm tired, Sir...Sir, there's             noway...<b></b><b>                                                              2.</b><b>                      SCOTT</b>            There's always a way...Don't You            tell me there's no way...A pause, as the man tries again to get tohis feet. Scottlooks up at the young woman on top of the ridge and givesher a \"hold\" gesture. She stops, at his command. Scott nods,as if to himself, and then kicks the young man in the ribs.The man starts, his eyesgrow, and he gets to his feet.<b>                      SCOTT</b>            How 'bout that? That's called            'Adrenaline'. You said you Wanted            In.He moves into the now-standing young man, and hits him,notheavily, but convincingly, several times.<b>                      SCOTT</b>            This is where you get in. The            mugger don't care. The shooter            don't care...get up...Or I will            beat you to death onthis fucken            hill...Now: you better Catch her...He motions with his head. In the BG we see the young womannod, and begin running again. We see her, for a moment,breast a hill, and disappear again...ANGLE, onthe young man, as he looks at Scott, empty, now,of self-pity, as if he just realized something.<b>                      SCOTT</b>                 (responding to his look.                 As if to say \"That's right.\")            There'snothing but the mission...The young man begins to climb the rockface.HOLD on Scott for a moment.<b>INT. TRAINING FACILITY. DAY.</b>A large, hand-painted sign hangs on the cinderblock wall ofthe roughbuilding. It reads:                    These are the precincts of pain.                    A goddess lives here.                    Her name is Victory.In front of the sign walks the young woman we saw earlier.She is exhausted, she hasa towel wrapped around her neck.Camera takes her to Scott, who is holding a cup of coffee,and making notes in the small notebook we saw earlier.<b></b><b>                                                             3.</b>Shestands, waiting, as she finishes his note.<b>                         SCOTT</b>            Well done.<b>                      YOUNG WOMAN (JACKIE BLACK)</b>            A signal honor to work withyou,            sir.<b>                      SCOTT</b>            Thank you, Sergeant.He starts away from her, and she raises her hand slightly,to indicate she has something more to say. He turns back toher.<b>                      JACKIE BLACK</b>            Sir: Day or Night. Black or White.            You reach out for me. \"Black,            Jaqueline A. US 24191489.\"<b>                      SCOTT</b>            I'll remember,Sergeant.She nods, and walks off. Scott walks toward a mess tent. Heis joined by George Blane, a very military-looking figure ofan older man. He wears an informal fatigue outfit, mismatchedjacket and trousers,without insignia. Scott is greeted byhim, as they walk toward the mess tent. Scott shows thenotebook to Blane, and Blane refers from the notebook towhat we see are a group of eighty young men, in the messtent, twoof them the men we saw on the hill. Blane takesthe notebook and walks off, as Scott enters the mess tent.ANGLE HIS POV, Scott enters the tent. Several of the youngmen react to him. He nods to them. Among them,we see theyoung man Scott berated on the hill, who rises and comesover to Scott.ANGLE, on Scott, who sits, as a uniformed man brings him atinfoil tray with some food on it. Scott takes out astiletto from his pocket,presses a button and the bladeemerges. He begins to use it to cut up his meat. The youngman from the hill, Anton, stands sheepishly near Scott, tillScott turns, acknowledging him.Anton takes a card out of his pocket,the size of a creditcard, old, creased cardboard: It reads, \"Rogers Rangers,Rules for Engagement. 1782\". There is a line drawing of aman with a musket, and we read, on the card, beneath it,boldtype rules for fightingguerilla style. Written on thecard, in old faded ink, \"SGT. Anton, M. US. 3149584, UnitedStates Special Forces.\" The young man (Anton) shows the cardtoScott.<b></b><b>                                                           4.</b><b>                      SCOTT</b>                 (of the card)            What's this then?<b>                      ANTON</b>            It was my father's,sir.<b>                      SCOTT</b>            He carry it Over There?As they speak, we see, in an insert, the printed rules -\"Dated 1759\". \"Rule 4: Tell the truth about what you see andwhat you do - there is an armydepending on us for correctinformation. You can lie all you please when you tell otherfolks about the Rangers, but don't never lie to a Ranger oran Officer\".<b>                        ANTON</b>            Yes,sir.<b>                      SCOTT</b>            He come back?<b>                      ANTON</b>            Yes, sir. He did.<b>                      SCOTT</b>                 (nods. Pause)            Well, so.Scott pauses again. As helooks at the young man, who isobviously unable to express his gratitude, and sense ofoccasion.<b>                      SCOTT</b>            You carry that card, son. It            might save your life.                 (Antonnods)            ...You could use it to light a            fire, or something...Blane's Aide calls the men to order.<b>                      BLANE'S AIDE</b>            The Candidate Cadre will fall in            on the White Line...Themen start to come to their feet, and leave the mess tent.<b>                      ANTON</b>            I just wanted to say, sir...That,            to meetyou...<b></b><b>                                                              5.</b><b>                      SCOTT</b>                 (rising, as he gives                 the Ranger card back                 to Anton)            You never met me.You've been up            for a week. You're seeing Snakes...The exhausted men come to their feet, and into a line. Theyare happy, and joking with one another. In the BG we seethose who failed the course, sitting apart,file onto a buswhich has just pulled up.ANGLE on a young man, who looks out of the window.ANGLE HIS POV. Twenty or so similarly exhausted men, withdufflebags, are being shuffled onto the bus.ANGLE, on the youngman, Anton, as he exits the tent, whostands next to Scott, outside the tent. Scott stands next toan old, but pristine Mustang Cobra. He withdraws a smalldufflebag from the front seat, and looks up to see Antonstandingnext to him.<b>                       ANTON</b>                 (looking after the                 departing, failed men)            ...I can't imagine how they live            with it...ANGLE on Scott. As he thinks a very brief moment, asifreluctant to become philosophical, and then turns back to Anton.<b>                      SCOTT</b>            Make sure you can't imagine it,            cause, if you can, it's just one            step to doing it.Anton shakes hishead, sadly, at the spectacle of the failedmen.<b>                      SCOTT</b>                 (pause)            ...they'll be back where they            came from by Morning, and all            this is just a BadDream.<b>                      ANTON</b>            My name is...<b></b><b>                                                             6.</b><b>                      SCOTT</b>            Do I need to know?                 (pause)            If Iwant Camaraderie, I'll join            the Masons.                 (pause. Then, summing                 it all up:)            There's just the mission.Beat. Anton steps away.<b>                      BLANE'S AIDE</b>                 (as heglances down at                 his clipboard)            Congratulations on completion of            this evolution. I know you would            probably like some sleep, but I            do not think you'd mind sparing            tenminutes for Induction.The camera pans over the smiling faces of the eight veryproud young men.ANGLE on Blane and Scott, off to the side.Beyond them, we see the bus holding the failed candidates,fillingup.<b>                      BLANE</b>            Thank you, Bobby.<b>                      SCOTT</b>            Not at all, Sir...<b>                      BLANE</b>            ...You goinghome?<b>                      SCOTT</b>            ...weather permitting, Sir...<b>                      BLANE'S AIDE</b>                 (in the distance. As                 camera tracks with                 Blane and Scott)            ...as Icall your names:                 (he consults his clipboard)            Grossler, Anton...These two men steps forward.ANGLE, on Anton, nodding to himself at the proudest momentof his life.ANGLE, CU Scott, looking athim.<b></b><b>                                                                7.</b>Camera takes Blane and Scott into a cinderblock buildingwhich houses a shooting range. We see various housefronts,and storefronts, and targets.A long table along one wallholds a coffee urn. Blane draws two cups of coffee.Through the open door we see Anton and Grossler, smiling,entering the building. Anton comes into the room, and smilesat Scott.We seeScott look away, sadly. He shares a look with Blane,drains his coffee cup, crumples it, throws it away. Blanegestures to Scott, meaning, \"Shall we begin?\" Scotthesitates for a moment, and thennods.<b>FOCUS.</b>ANGLE, on Scott, in the BG, as Blane steps forward toaddress the two candidates.<b>                        BLANE</b>                  (over his shoulder, to                  an Aide)             ...would you bolt"}
+{"doc_id":"doc_74","qid":"","text":"<html><head><title>When a Stranger Calls Script at IMSDb.</title><meta name=\"description\" content=\"When a Stranger Calls script at the Internet Movie Script Database.\"><meta name=\"keywords\"content=\"When a Stranger Calls script, When a Stranger Calls movie script, When a Stranger Calls film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><metaname=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttypeCONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ?'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie ScriptDatabase\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <scripttype=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                                  WHEN A STRANGER CALLS</b>                                       Written by                                Steve Feke and FredWalton<b>                                                         SHOOTING DRAFT</b><b>                </b><b>               FADE IN:</b><b>               EXT. SUBURBAN STREET - NIGHT</b>               A quiet upper-middle classneighborhood. The CAMERA is at                the curb, looking down the street. There are no sidewalks.                Trees arch overhead. CICADAS drone on the soundtrack.               The OPENING TITLES briefly FADE INand OUT, framed by the                trees on either side of the street. Footsteps are heard                approaching.               As the picture TITLE FADES, out of the dark emerges a GIRL                17 years old, carryingschoolbooks. This is JILL. CAMERA                PANS with her ninety degrees as she comes to the front of a                house and stops.               Lights are on in the bottom half of the house, and the                curtainsacross the windows are open. A single light burns                in the upper right side of the house, presumable in a bedroom,                but the curtains in the room are drawn.               A scene TITLE appears on thelower half of the screen:                               8 pm Tuesday, March 23, 1971               The TITLE FADES, and Jill heads up the walk to the front                door of the house.               The light in the upper floor of thehouse is turned off.<b>               INT. HOUSE - FRONT HALL</b>               A middle-aged DOCTOR is standing at the foot of the stairs.                His WIFE is descending the stairs, putting on herearrings.                She is in an obvious hurry.<b>                                     WIFE</b>                         Where's the girl?<b>                                     DOCTOR</b>                         I only called her ten minutes ago--<b>                                     WIFE</b>                              (passing into living                               room)                         I made our reservation for 8:15.                          We're going to be late.               Thedoorbell rings.<b>                                     DOCTOR</b>                         Here she is now.               He crosses to the front door and opens it. The girl smiles                at him uncomfortably fromoutside.<b>                                     JILL</b>                         Dr. Minakis?<b>                                     DOCTOR</b>                         Mandrakis. It's okay. Everyone gets                          it wrong the first time.You're Jill?                          Come on in.<b>                                     JILL</b>                              (entering)                         Thank you.               The wife comes back into the fronthall.<b>                                     WIFE</b>                         I've written the number of the                          restaurant on the notepad by the                          phone.                              (toDoctor)                         Zip me up, will you please?                              (to Jill)                         If we aren't home in two hours, it                          means we've decided to go on to a                          movie and won'tbe back until after                          midnight. Is that all right?<b>                                     JILL</b>                         Sure.<b>                                     DOCTOR</b>                              (helping wife onwith                               her coat)                         I've told my service to pick up any                          calls coming in to my office phone.<b>                                     WIFE</b>                         The children areasleep upstairs --                          first door on your left at the top                          of the landing. They're both just                          getting over a cold -- so try not to                          wakethem.<b>                                     JILL</b>                         Okay.<b>                                     WIFE</b>                         Do you have any questions?               Jill shakes herhead.<b>                                     WIFE</b>                         We have to go now. We're late.               They cross to the front door and begin to exit.<b>                                     DOCTOR</b>                         Makeyourself at home. The                          refrigerator's loaded.<b>                                     WIFE</b>                              (pulling doctor through                               the door)                         Goodbye.               Thedoctor pokes his head back through the door.<b>                                     DOCTOR</b>                         We even have some low-fat yogurt.<b>                                     WIFE (O.S.)</b>                         Will youplease come on!<b>                                     DOCTOR</b>                         Bye.               The doctor pulls the door shut behind him. Jill turns toward                the living room. Pause. She walks into the living roomand                sets her books down on a table with the telephone on it.               O.S. we hear the car doors close, the engine start up, then                the car backing out the driveway and heading down thestreet.<b>                                                                    CUT TO:</b><b>               INT. DINING ROOM - LATER</b>               It is dark. O.S. we hear the phone in the living room being                lifted off itsreceiver, a dial tone, then a number is dialed.                Pause, then ringing. CAMERA SLOWLY DOLLIES from the dining                room, across the front hall and into the living room where                we see Jill talkingover the phone to a girlfriend, NANCY.<b>                                     NANCY (O.S.)</b>                         Hello?<b>                                     JILL</b>                         Nancy?<b>                                     NANCY(O.S.)</b>                         Hello, Jill? How's it going?                              (out of phone)                         I got it, Dad!                              (beat)                         Father!                              (into phoneagain)                         Jesus Christ! My father's in one of                          his moods again. Male menopause, you                          know. So how are you?<b>                                     JILL</b>                         Allright.<b>                                     NANCY (O.S.)</b>                         Are you over at Dr. Mandrakis'?<b>                                     JILL</b>                         Yeah, I've been here for about an                          houralready.<b>                                     NANCY (O.S.)</b>                         Isn't it a neat house?<b>                                     JILL</b>                         I guess... I haven't looked around                          verymuch.<b>                                     NANCY (O.S.)</b>                         Did you see his kids?<b>                                     JILL</b>                         No, they were asleep when I gothere.<b>                                     NANCY (O.S.)</b>                         They're really cute. So what can I                          do for you?<b>                                     JILL</b>                         You didn't happen to talkto Billy                          today, did you?<b>                                     NANCY (O.S.)</b>                         Yeah, I talked to him.<b>                                     JILL</b>                         Did he say anything aboutme?               Pause.<b>                                     NANCY (O.S.)</b>                         I don't know what you did to him, or                          said to him, or what... but he's                          really pissed off at you!What did                          you do?<b>                                     JILL</b>                         It's what I didn't do.<b>                                     NANCY (O.S.)</b>                              (sarcastic)                         Yeah, Ican imagine.<b>                                     JILL</b>                         Do me a favor, Nance.<b>                                     NANCY(O.S.)</b>                         What.<b>                                     JILL</b>                         Do you think you'll be talking with                          Billy some time tonight?<b>                                     NANCY(O.S.)</b>                         Prabably. I'm going to the library                          in a few minutes. I just have to get                          out of this house!                              (beat)                         Hey! Why don't Billyand I come over                          there? He'll come along if I tell                          him to.<b>                                     JILL</b>                         That isn't what I had in mind.<b>                                     NANCY(O.S.)</b>                         You'll be safe with Billy. I'll be                          there. Come on.<b>                                     JILL</b>                         Nancy, all you want to do is come                          over here andget drunk.<b>                                     NANCY (O.S.)</b>                         Who? Me?<b>                                     JILL</b>                              (mimicking)                         Who?Me?<b>                                     NANCY (O.S.)</b>                         You want to see Billy, don't you?!<b>                                     JILL</b>                         I've got a lot of work to do. I don't                          wantyou coming over!               Long pause.<b>                                     NANCY (O.S.)</b>                         You know what your problem is, Jill,                          is you're so straight. I really mean                          that.You go to a private school,                          you wear a bra. No one can have a                          good time with you!                              (beat)                         You know, Billy asked me to goout                          with him this weekend, and I was                          really really tempted because I like                          Billy... a lot... as much as you do.                          But I told him I couldn't, thatI                          didn't think it was right because                          you were my friend --<b>                                     JILL</b>                         You are myfriend.               Pause.<b>                                     NANCY (O.S.)</b>                         Yeah. I guess so.<b>                                     JILL</b>                         Listen, just give Billy thenumber                          here, but don't tell him I told you                          to. Okay?               Pause.<b>                                     NANCY (O.S.)</b>                         Okay. I've got to gonow.<b>                                     JILL</b>                         Okay, Nancy. Bye. And thank you.<b>                                     NANCY (O.S.)</b>                         Yeah. Bye.               Jill makes a face at the phone andhangs up. She tries to go                back to her homework, but she cannot.<b>                                                                    CUT TO:</b><b>               INT. LIVING ROOM - LATER</b>               Jill is working now,diligently. The phone rings. She picks                it up.<b>                                     JILL</b>                         Hello?               There is a brief pause; then the line goes dead and a dial                tone cuts in. Jill hangsup and goes back to work.               Pause.               The phone rings again. Jill picks it up.<b>                                     JILL</b>                         Billy?...               A VOICE speaks on the other end of thephone.<b>                                     DUNCAN (O.S.)</b>                         Have you checked the children?<b>                                     JILL</b>                         What?               The line goes dead. Dial tone. Jill"}
+{"doc_id":"doc_75","qid":"","text":"<html><head><title>Curious Case of Benjamin Button, The Script at IMSDb.</title><meta name=\"description\" content=\"Curious Case of Benjamin Button, The script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Curious Case of Benjamin Button, The script, Curious Case of Benjamin Button, The movie script, Curious Case of Benjamin Button, The film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\"content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=ratingCONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq =_gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:'== document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>TheInternet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie ScriptDatabase\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <scripttype=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                  THE CURIOUS CASE OF BENJAMIN BUTTON</b>                               Written by                                EricRoth             Based on the short story by F. Scott Fitzgerald<b>                                                         10/30/07</b><b>                            </b>    As all things do, it begins in the dark. EYES blink    open. Blueeyes. The first thing they see is a WOMAN    near 40, standing looking out a window, watching the wind    blowing, rattling a window.<b>                            A WOMAN'S (V.O.)</b>              What are you lookingat?<b>                            CAROLINE</b>              The wind, Mother... They say a              hurricane is on its way... You've              been asleep... I was waiting to              see you...<b>1   INT. HOSPITAL ROOM,NEW ORLEANS - MORNING, PRESENT          1</b>    Now we see we're in a hospital room with layers of white    enamel paint trying without success to hide the years...    An old WOMAN, past 80, withered, still regalwith a green    turban around her bald head is propped by pillows, her    blue eyes looking out at us from her bed... She's    connected to an intravenous for sustenance and a morphine    drip... Her name, is DAISYFULLER. She speaks with a    Southern lilt.<b>                            DAISY</b>              If it wasn't for hurricanes we              wouldn't have a hurricane season.<b>                            CAROLINE</b>              I'veforgotten what the weather              can be like here. I've lived with              four seasons so many years now.    We see a young Black Woman, a \"caregiver,\" DOROTHY BAKER,    in a corner, thumbing a magazine,with one eye at the    window...<b>                            DOROTHY BAKER</b>              I saw on the news they're              predicting trouble...<b>                            DAISY</b>              1928 they stacked peoplelike              firewood to close a hole in a              levee.    But Daisy has other things on her mind... murmuring...<b>                                                  (CONTINUED)</b><b></b><b>                                                                    2.</b><b>1   CONTINUED:                                                      1</b><b>                               DAISY (CONT'D)</b>                 It all runs together... like a                 fingerpainting... I feel likeI'm                 on a boat, drifting...<b>                               CAROLINE</b>                      (tenderly)                 Can I do anything for you, Mother?                 Make anythingeasier?<b>                                DAISY</b>                 Hmmm. There is nothing to do,                 Caroline. This is what it is...                 I'm finding it harder to keep my                 eyes open... my mouth allfilled                 with cotton...    And agitated, feeling confined, she scratches at her    nightgown as if it were sticking to her... she starts to take    it off... Dorothy gets up and straightens it forher.<b>                               DOROTHY BAKER</b>                 There, there, Miss Daisy... you'll                 scratch yourself to ribbons...                      (to Caroline)                 It's their way of lettinggo...                      (the finality)                 ...prob'ly today.    Caroline is well aware of it, but the words, her    admonition of death being so close at hand, makes    everything even morepresent...<b>                               CAROLINE</b>                 Do you want more medication,                 Mother? The doctor said you can                 have all you want.    Daisy is quiet, looking into the distance.Caroline,    seeking closure, sits on the bed with her and starts to    cry. Daisy puts her thin arms around her daughter,    comforting her.<b>                               CAROLINE (CONT'D)</b>                 A friend told meshe never had a                 chance to say goodbye to her                 mother.                      (grateful to have the                       chance)                 I wanted to thank you, Mother, for                 bringing me into thisworld. For                 raising me sowell.<b>                               (MORE)</b><b>                                                      (CONTINUED)</b><b></b><b>                                                                3.</b><b>1   CONTINUED:(2)                                              1</b><b>                            CAROLINE (CONT'D)</b>              I wanted to tell you how much              you've meant to me. I'm going to              miss you so much...    They holdeach other for some time... They separate...    And there's an awkwardness they have nothing left to talk    about... nothing left to say to each other... a hole in    their relationship... Caroline fills it with theeternal    question...<b>                            CAROLINE (CONT'D)</b>              Are you afraid?<b>                             DAISY</b>              Curious.   What comes next...    She winces at some physicalpain.<b>                            DOROTHY BAKER</b>              The pain's coming more steadily...              Her breathing will falter soon...              No need for her to suffer..    She raises the morphine level... Daisycloses her eyes...    drifting with the morphine... and a thought, a dream, a    sound, crosses her mind... and she says...<b>                            DAISY</b>              They built that train station in              1918. Yourfather was there the              day it opened... He said a tuba              band was playing...Oom-pah-pah...<b>2   EXT. THE NEW TRAIN STATION, NEW ORLEANS - DAY, 1918         2</b>    And we see a TUBA BAND isplaying while a ribbon cutting    ceremony is taking place across the steps of the new<b>    TRAIN STATION...</b><b>                            DAISY</b>              Oom-pah-pah, oom-pah-pah...The              finestclockmaker in all of the              South built that clock...<b>3   INT. CLOCKMAKER'S SHOP, NEW ORLEANS - NIGHT, 1917           3</b>    We see an old French Quarter storefront with an endless    array of clocks andwatches...<b>                            DAISY'S (V.O.)</b>              His name was Mr. Gateau. Mr.              Cake.<b></b><b>                                                                3A.</b><b>4   INT. THE HOSPITAL ROOM, NEWORLEANS - MORNING, PRESENT       4</b>    The slightest of smiles crosses Daisy's lips... saying to    herself again... \"Mr. Cake...\"<b>5   INT. CLOCKMAKER'S SHOP, NEW ORLEANS - MORNING,PRESENT       5</b>    We see a diminutive man in a frock coat with small,    delicate hands, \"Mr. Cake,\" working in his downstairs    workshop. More than a few clocks stroke midnight, a    handsome Creole Womancomes into the workshop...<b>                                                  (CONTINUED)</b><b></b><b>                                                                   4.</b><b>5   CONTINUED:                                                     5</b><b>                               DAISY'S (V.O.)</b>                 He was married to a Creole of                 Evangeline Parish and they had a                 son.    Taking his arm, she helps him up to show him to hisbed.<b>                               DAISY'S (V.O.) (CONT'D)</b>                 Did I mention, Mr. Gateau was from                 birth, absolutely blind.<b>6   INT. CLOCKMAKER'S SHOP, NEW ORLEANS - NIGHT,1917              6</b>    ...The clockmaker his fine hands blindly working...<b>                                DAISY'S (V.O.)</b>                 And when their son came of age,                 like boys will do, he joinedthe                 army. They saw him off at the old                 train station.<b>7   EXT. OLD TRAIN STATION, NEW ORLEANS - DAY, 1917                7</b>    An old wooden barn of a building. Their son, hugginghis    parents, getting on a flatbed train crowded with other    soldiers, pulling away... Mr. Gateau, blindly waving his    hat goodbye to his son...<b>                               DAISY'S (V.O.)</b>                 Oh how heworked, for months he                 did nothing but work on the clock                 for the great train station.<b>8   INT. WORKSHOP BELOW THE CLOCKMAKER'S HOME - NIGHT, 1918        8</b>    The sound of clocksconstant ticking. Mr. Gateau at    work...<b>                               DAISY'S (V.O.)</b>                 One day a letter came...    Blanche comes into the workshop... a letter in her    hand... She reads to her blindhusband...<b>                               BLANCHE DEVEREUX</b>                 \"I am sorry to inform you that                 your son was killed fighting for                 his country, at the battle of the                 Marne. In thedeath of Sgt.                 Martin Gateau I lose one of my                 most trusted men.<b>                               (MORE)</b><b>                                                     (CONTINUED)</b><b></b><b>                                                                    5.</b><b>8    CONTINUED:                                                     8</b><b>                                BLANCHE DEVEREUX (CONT'D)</b>                  When I informed members ofour                  company he had fallen, on every                  face could be seen the mark of                  sorrow... ...we were in hope the                  Lord would spare him to return                  home together... Alas thiswas not                  to be. I send along his pants,                  shirt, cavalry pin, kerchief, and                  haircomb.\"<b>                                DAISY (V.O.)</b>                  Mr. Gateau, done for thenight,                  went up to his bed.     Mr. Gateau, blindly feeling his way up the stairs...<b>                                DAISY'S (V.O.)</b>                  And their son came home.<b>9    EXT. OLD TRAIN STATION, NEWORLEANS - DAY, 1918                9</b>     We see \"Mr. Cake\" in his familiar hat, his wife holding     his arm, standing among the rows of coffins.<b>                                DAISY'S (V.O.)</b>                  They buriedhim where the Gateau                  family had been buried for a                  hundred and seven years...<b>10   EXT. NEW ORLEANS CEMETERY - DAY, 1918                          10</b>     An old New Orleans cemetery,vines crawling the     sepulchers.<b>                                DAISY'S (V.O.)</b>                  Mr. Cake went back to work on his                  clock... laboring to finish...<b>11   INT. THE CLOCK WORKSHOP, NEWORLEANS - LATE NIGHT, 1918        11</b>     Mr. Gateau blindly setting the last spring, closing up     the clock back... finished at last.<b>                                DAISY'S (V.O.)</b>                  It was a morning toremember...                  Papa said there were people                  everywhere...<b>12   INT. THE NEW TRAIN STATION, NEW ORLEANS - DAY, 1918            12</b>     And we see a large throng gathered to watch theunveiling     of the clock. Politicians, citizens, and pickpockets     alike...<b>                                                      (CONTINUED)</b><b></b><b>                                                                  6.</b><b>12   CONTINUED:                                                  12</b><b>                                DAISY'S (V.O.)</b>                  Even Teddy Roosevelt had come.     And we see the distinctive figure of Theodore Roosevelt,     in overcoatand hat, the war heavy on his shoulders. We     watch Mr. Cake, with the aid of an assistant, climbing     the scaffolding to his clock covered by a velvet drape...     He stands for a moment... and with a simple tug,"}
+{"doc_id":"doc_76","qid":"","text":"<html><head><title>Real Genius Script at IMSDb.</title><meta name=\"description\" content=\"Real Genius script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Real Genius script, RealGenius movie script, Real Genius film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\"rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b><HTML> <HEAD>       <TITLE>REAL GENIUS</TITLE></b><LINK rel=\"stylesheet\" type=\"text/css\"><META http-equiv=\"Content-Type\"content=\"text/html; charset=iso-8859-1\"><style type=\"text/css\">BODY { background-color: \"#FFFFFF\"; font-family: Courier New, Helvetica, sans-serif; font-size:10.0pt }DIV { position:absolute; left:5px; top:20px;width:734px; height:500px;  }#loc { font-family:Courier New; font-weight: normal;margin-top:0in; margin-right:1.2in; margin-bottom:0in;margin-left:0.8in;text-transform:uppercase } #slug { font-family:CourierNew; font-weight: normal; margin-top:0in; margin-right:1.2in; margin-bottom:0in; margin-left:0.8in; text-transform:uppercase;<b> </b><b>} </b>#act { font-family:Courier New; font-weight:normal;margin-top:0in; margin-right:1.8in; margin-bottom:0in;margin-left:0.8in } #speaker { font-family:Courier New; font-weight: normal;margin-top:0in; margin-right:1.in;margin-bottom:0in;margin-left:2.8in;text-transform:uppercase }#spkdir { font-family:Courier New; font-weight: normal;margin-top:0in; margin-right:2.7in; margin-bottom:0in;margin-left:2.2in }#dia {font-family:Courier New; font-weight: normal;margin-top:0in; margin-right:2.6in; margin-bottom:0in;margin-left:1.6in }#pg { font-family:Courier New; font-weight: normal;margin-top:0in; margin-right:1.75in;margin-bottom:0in;margin-left:6.5in }#right { font-family:Courier New; font-weight: normal;margin-top:0in; margin-right:0.75in; margin-bottom:0in;margin-left:5.0in }</style><divid=\"Layer1\"><b></HEAD></b><b><BODY></b></p><p><p ID=\"slug\">REAL GENIUS</p><p><p ID=\"slug\">EXT. SKY-DAY</p><p><p ID=\"act\">A Black B-1 Bomber banks steeply exposing its underside tous.</p><p><P ID=\"speaker\">MAN (V.O./FILTERED)<P ID=\"dia\">Slingshot this is Watchdog. Rabbit's home.</p><p><p ID=\"act\">Rolling out of its bank, the bomber begins a steep climb revealing the fact that it iscarrying a small delta winged shuttle on it back. The bomber's wings slide back.</p><p><P ID=\"speaker\">BOMBER PILOT (V.O./FILTERED)<P ID=\"dia\">Roger watchdog. Understand we are go forcrossbow.</p><p><p ID=\"act\">Suddenly a rocket engine on the back of the modified bomber fires thrusting the plane into steep climb.</p><p><p ID=\"slug\">INT. B-1 FLIGHT DECK-DAY</p><p><p ID=\"act\">THEPLANE VIBRATES. The pilot and co-pilot are busy in their seats. Behind them sits a third pilot wearing a space suit. He gives them a thumbs-up signal, rises and crawls to the rear.</p><p><P ID=\"speaker\">BOMBERPILOT<P ID=\"spkdir\">(into the mike/ over the roar)<P ID=\"dia\">Watchdog, Slingshot. let us know when the rabbit's in the hole.</p><p><p ID=\"slug\">EXT. A CROWD-DAY</p><p><p ID=\"act\">A blond haired,blue-eyed man with a small walkie-talkie is standing in the midst of a group of cheering Central American peasants and townsfolk. He is disguised as one of them.</p><p><p ID=\"act\">ANGLE ON VILLABALCONY</p><p><p ID=\"act\">The uniformed President of this formerly sleepy, now strategically critical nation is waving to his people. He is flanked by military guards. He turns and walks into the villa.</p><p><pID=\"slug\">EXT. B-1 BOMBER-DAY</p><p><p ID=\"act\">The bomber approaches the top of it's arc.</p><p><P ID=\"speaker\">ATHERTON<P ID=\"dia\">The shuttle pilot climbs into his seat, straps in and checks hisinstruments.</p><p><P ID=\"speaker\">SHUTTLE PILOT<P ID=\"dia\">All systems check. Crossbow is armed.</p><p><P ID=\"speaker\">BOMBER PILOT (V.O.)<P ID=\"dia\">Roger, Ignition sequence, start, separationin five...</p><p><p ID=\"slug\">EXT. TOP OF THE BOMBER</p><p><p ID=\"act\">The explosive bolts blow on the shuttle mount.</p><p><p ID=\"slug\">INT. BOMBER FLIGHT DECK</p><p><p ID=\"act\">The pilotpushes his yolk forward.</p><p><p ID=\"slug\">EXT. BOMBER</p><p><p ID=\"act\">As the bomber falls way, the shuttle's booster ignites with a roar, thrusting it toward space.</p><p><p ID=\"slug\">EXT.SPACE-LOOKING BACK</p><p><p ID=\"act\">We see a tiny glowing speck coming towards us. very quickly it gains in altitude and we see that it is the shuttle. Suddenly it is upon us and blasts over ourheads.</p><p><p ID=\"act\">ANGLE FROM BEHIND</p><p><p ID=\"act\">We follow the shuttle. The engine stops. There is a small explosion, which pushes the booster rocket away. Small maneuvering rockets fireand the shuttle establishes itself in a nose down altitude.</p><p><P ID=\"speaker\">SHUTTLE PILOT (V.O. FILTERED)<P ID=\"dia\">Crossbow is established.</p><p><P ID=\"speaker\">BOMBER PILOT(V.O./FILTERED)<P ID=\"dia\">Roger, we have ground confirmation. Reference grid seven. Check pathfinder, on.</p><p><P ID=\"speaker\">SHUTTLE PILOT (V.O. FILTERED)<P ID=\"dia\">Roger, I'm going on the scope.Moving Target Indicator, engage.</p><p><p ID=\"act\">Behind and above the cockpit a large hatch opens and a large circular spinning mirror rises and locks into position.</p><p><p ID=\"slug\">INT.SHUTTLE</p><p><p ID=\"act\">The pilot reaches above him and pulls down a viewfinder and begins looking through it.</p><p><p ID=\"slug\">EXT. THE SHUTTLE.</p><p><p ID=\"act\">A target sighting lens movesfrom right to left, stops, and then moves back but this time with the mirror moving in unison.</p><p><p ID=\"slug\">INT. THE SHUTTLE</p><p><p ID=\"act\">While still looking through the viewfinder, the pilotmanipulates the targeting controls.</p><p><p ID=\"act\">INSERT</p><p><p ID=\"act\">PILOT'S POV OF THE SCREEN</p><p><p ID=\"act\">Crosshairs, a grid patter and digital, rangefinder readouts appear overvarious parts of the Earth's topography as the pilot searches for his target. Then it steadies on a polarized image of a group of people. One of the images seems to stand out brighter than the others.</p><p><pID=\"slug\">EXT. VILLA PATIO-DAY</p><p><p ID=\"act\">The president and his aide are chatting with a group of visiting dignitaries. There is a jovial atmosphere as they order drinks from a waiter. The president isproudly displaying one of his medals to his guests. it has a very unique jewel-like object in its middle.</p><p><p ID=\"slug\">INT. THE SHUTTLE</p><p><p ID=\"act\">The pilot is watching through theviewfinder.</p><p><P ID=\"speaker\">PILOT<P ID=\"spkdir\">(into mike)<P ID=\"dia\">Scanner on. Target locked. Tracking locked.</p><p><p ID=\"slug\">EXT. THE SHUTTLE</p><p><p ID=\"act\">The mirror andsighting lens adjust as they track the target.</p><p><p ID=\"slug\">EXT. VILLA PATIO</p><p><p ID=\"act\">The President is served a cup of coffee. He asks the waiter for sugar. The waiter turns back to hiscart.</p><p><p ID=\"slug\">INT. THE SHUTTLE</p><p><p ID=\"act\">The pilot puts his hands on the joysticks and flips open the trigger covers.</p><p><P ID=\"speaker\">PILOT<P ID=\"dia\">Nice and easy doesit.</p><p><p ID=\"slug\">EXT. THE SHUTTLE</p><p><p ID=\"act\">Dead silence, then the mirror erupts in brilliant light and sends an incredibly bright beam toward the Earth. Behind the shuttle we see exhaust gasesventing in giant plumes into space.</p><p><p ID=\"slug\">EXT. VILLA PATIO</p><p><p ID=\"act\">The beam strikes the president like the finger of god. He vaporizes. The waiter turns back with the asked-for sugar tofind a smoking hole where the President once stood.</p><p><p ID=\"slug\">EXT. SPACE</p><p><p ID=\"act\">The shuttle finishes its work and the beam shuts down. The mirror folds away and the shuttle arcs acrossthe screen preparing for re-entry, firing small retro rockets.</p><p><P ID=\"speaker\">PILOT (V.O)<P ID=\"dia\">I'm coming home. Just like shooting ducks in a barrel.</p><p><p ID=\"act\">PULL BACK TOREVEAL</p><p><p ID=\"slug\">INT. A HIGH-LEVEL GOVERNMENT CONFERENCE ROOM-NO WINDOWS </p><p><p ID=\"act\">A large screen at one end of the room continues to show the re-entry.</p><p><PID=\"speaker\">ANNOUNCER (V.O.)<P ID=\"dia\">The Crossbow Project. There's no defense like a good offense.</p><p><p ID=\"act\">In the middle of the room is a giant donut of a round conference table. Anothercircle hangs above and casts light downward in such a way as to light the table-top but caser those sitting around it in shadow. We can see them but not well. There are SIX MEN in suits. The look is sinister as Hell; butthe talk is for Rotary Club meeting.</p><p><p ID=\"act\">A MAN, sitting at three o'clock, wearing an Air force major's uniform, points at a remote control device at the screen and stops the film. The lighting does notchange. he turns to the man sitting at twelve o'clock.</p><p><P ID=\"speaker\">CARMICHAEL<P ID=\"dia\">Nice little weapon isn't it, Dave?</p><p><P ID=\"speaker\">DECKER<P ID=\"dia\">Well, I guess so, but gosh,Don, it's a movie. You want me to start buying weapons from George Lucas?</p><p><p ID=\"act\">Polite laughter all around.</p><p><P ID=\"speaker\">CARMICHAEL<P ID=\"dia\">Now that would be somethin',wouldn't it?</p><p><P ID=\"speaker\">DECKER<P ID=\"dia\">Well, sometimes I think I might as well.<P ID=\"spkdir\">(to one of the others)<P ID=\"dia\">What do you think of what you saw, Roy?</p><p><PID=\"speaker\">ROY<P ID=\"dia\">I think there weren't enough girls.</p><p><p ID=\"act\">More polite laughter. Then Roy turns ice cold in a flash.</p><p><P ID=\"speaker\">ROY (cont'd)<P ID=\"dia\">Is this thing forbiological targets only?</p><p><P ID=\"speaker\">CARMICHAEL<P ID=\"dia\">No, Sir, this thing would take the skin right off, of Air Force One if you wanted. Not that I'm saying we'd ever want to kill our own President,but, you know, for example.</p><p><P ID=\"speaker\">ROY<P ID=\"dia\">Our studies indicate that this type of weapon is totally useless for warfare.</p><p><P ID=\"speaker\">DECKER<P ID=\"dia\">It's not intendedfor use in your kind of warfare, Roy. This is a perfect peace time weapon.</p><p><P ID=\"speaker\">ROY<P ID=\"dia\">What's the kill potential?</p><p><P ID=\"speaker\">CARMICHAEL<P ID=\"dia\">As soon as thesize-to power ratio is licked we'll have about seven bangs for the buck.</p><p><P ID=\"speaker\">ROY<P ID=\"dia\">When that?</p><p><p ID=\"act\">Carmichael shrugs the sign for \"who knows?\"</p><p><PID=\"speaker\">DECKER<P ID=\"dia\">Seriously, Don, I have to report to the Secretary that everything's on schedule. We have plans for your little ray's gun this summer.</p><p><P ID=\"speaker\">CARMICHAEL<PID=\"spkdir\">(Trying to cover)<P ID=\"dia\">As I understand it, guys, there's some major practical difficulties. I'm pushing as hard as I can.</p><p><P ID=\"speaker\">DECKER<P ID=\"dia\">Well, Don, you tell thosegeniuses you've got until the end of the next fiscal quarter to come up with a working model or I'm pulling the plug on the funding.</p><p><P ID=\"speaker\">CARMICHAEL<P ID=\"spkdir\">(very nervous)<PID=\"dia\">I'm assured they're on the verge of a major breakthrough.</p><p><P ID=\"speaker\">DECKER<P ID=\"dia\">Good. Just as long as we get a working weapon out of it by June. Right, general?</p><p><PID=\"speaker\">ROY<P ID=\"dia\">I wouldn't know, Dave. I haven't had a working weapon since Korea.</p><p><P ID=\"speaker\">DECKER<P ID=\"dia\">Right.<P ID=\"spkdir\">(to assistant)<P ID=\"dia\">Larry, let's see"}
+{"doc_id":"doc_77","qid":"","text":"<html><head><title>Up in the Air Script at IMSDb.</title><meta name=\"description\" content=\"Up in the Air script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Up in the Air script, Upin the Air movie script, Up in the Air film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\"rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b></b><b></b><b>                             UP IN THE AIR</b><b></b><b></b><b></b>                              Writtenby<b></b>                    Jason Reitman & Sheldon Turner<b></b><b></b><b></b><b></b><b></b>          Secure your own mask before assistingothers.<b>                         </b><b>                         </b><b>                         </b>           - Common Pre-Flight Instruction<b>           1.</b><b>                         </b><b>                         </b>          ASPOTLIGHT reveals RYAN BINGHAM standing at a PODIUM.<b>                         </b>          He unzips a BACKPACK and sets it down beside him.<b>                         </b><b>                          RYAN</b>           Howmuch does your life weigh?<b>                         </b>          Ryan pauses to let us consider this.<b>                         </b><b>                          RYAN (CONT'D)</b>           Imagine for a second thatyou're           carrying a backpack... I want you           to feel the straps on your           shoulders... You feel them?           (gives us a beat)           Now, I want you to pack it with all           the stuff you have in yourlife.           Start with the little things. The           stuff in drawers and on shelves.           The collectables and knick-knacks.           Feel the weight as it adds up. Now,           start adding the larger stuff.Your           clothes, table top appliances,           lamps, linens, your TV. That           backpack should be getting pretty           heavy at this point - Go Bigger.           Your couch, your bed, your kitchen           table.Stuff it all in... Your car,           get it in there... Your home,           whether you have a studio apartment           or a two story house, I want you to           stuff it into thatbackpack.<b>                         </b>          Ryan takes a beat to let the weight sink in.<b>                         </b><b>                          RYAN (CONT'D)</b>           Now try towalk.<b>                         </b>          We hear people around us chuckling. Ryan smiles. Reveal:<b>                         </b><b>                         </b><b>          INT. HOTEL CONFERENCE ROOM -AFTERNOON</b><b>                         </b>          The kind that shifts between lower income corporate retreats          and lower income weddings.<b>                         </b>          The few dozen people seem to bevisualizing as told.<b>                         </b><b>                          RYAN (CONT'D)</b>           Kinda hard, isn't it? This is what           we do to ourselves on a daily           basis. We weigh ourselves down           untilwe can't even move. And make           no mistake - Moving is living.<b>           2.</b><b>                         </b><b>                         </b>          We see nodding. People's gearsturning.<b>                         </b><b>                          RYAN (CONT'D)</b>           Now, I'm going to set your backpack           on fire. What do you want to take           out of it? Photos? Photos are for           peoplewho can't remember. Drink           some gingko and let the photos           burn. In fact let everything burn           and imagine waking up tomorrow with           nothing.           (a beat of emphasis)           It's kind ofexhilarating isn't it?           That is how I approach every day.<b>                         </b>          A titter through the crowd.<b>                         </b><b>                         </b><b>          INT. BOEING 757 -DAY</b><b>                         </b>          A FEMALE FLIGHT ATTENDANT is looking directly at us.<b>                         </b><b>           FEMALE FLIGHT ATTENDANT</b>           Do you want thecancer?<b>                         </b>          Turn to see RYAN looking back.<b>                         </b>          Handsome. Anonymous. Right now -Confused.<b>                         </b><b>                          RYAN</b>           Excuse me?<b>                         </b><b>           FEMALE FLIGHT ATTENDANT</b><b>                          (SAMEDELIVERY)</b>           Do you want the cancer?<b>                         </b>          Ryan furrows - What the hell is going on here?<b>                         </b>          The flight attendant raises her hand to reveal a CANOF SODA.<b>                         </b><b>           FEMALE FLIGHT ATTENDANT</b>           The can, sir?<b>                         </b><b>                          RYAN</b>           Oh... No. Um, no thankyou.<b>                         </b>          The flight attendant moves to the next aisle. Ryan takes a          beat, then returns to his work.<b>                         </b><b>                         </b><b>          INT. SMALLCONFERENCE ROOM, SUN CASUALTY - DAY</b><b>                         </b>          Two words - Subordinate chic.<b>           3.</b><b>                         </b><b>                         </b>          Seated at a tiny table isRYAN. The Grim Reaper in a suit.<b>                         </b>          We see a series of REAL PEOPLE react to the news of being          fired. They should be non-actors (actual victims of recent          layoffs) that canreact organically to the news with          authenticity. Some are hurt. Others are upset and even          abusive. The series concludes with...<b>                         </b><b>                         </b><b>          STEVE (ANACTOR)</b><b>                         </b>          ... who's on the verge of tears.<b>                         </b><b>                          STEVE</b>           Who the fuck are you?<b>                         </b>          FREEZE onRyan.<b>                         </b><b>           RYAN (V.O.)</b>           Excellent question. Who the fuck am           I? Poor Steve has worked here for           sevenyears.<b>                         </b><b>                          FLASH IMAGES:</b><b>                         </b><b>                         </b><b>          INT. STEVE'S CUBICLE -DAY</b><b>                         </b><b>           RYAN (V.O.)</b>           He's never had a meeting with me           before...<b>                         </b><b>                         </b><b>          INT. CONFERENCE ROOM -DAY</b><b>                         </b>          Steve in a small meeting.<b>                         </b><b>           RYAN (V.O.)</b>           ...or passed me in thehall...<b>                         </b><b>                         </b><b>          INT. ELEVATOR BRIDGE - DAY</b><b>                         </b>          Steve passes a femalecoworker.<b>                         </b><b>           RYAN (V.O.)</b>           ... or told me a story in the break           room....<b>                         </b><b>                         </b><b>          INT. BREAK ROOM -DAY</b><b>                         </b>          Steve laughs at a coworker's story.<b>           4.</b><b>                         </b><b>                         </b><b>           RYAN (V.O.)</b>           And that's because I don'twork           here. I work for another company           that lends me out to pussies like           Steve's boss...<b>                         </b><b>                         </b><b>          INT. STEVE'S BOSS'S OFFICE -DAY</b><b>                         </b>          Steve's BOSS sits at his desk. Subtitle reads - \"A Big Pussy\"<b>                         </b><b>           RYAN (V.O.)</b>           ... who don't have the balls to           sack theirown employees. And in           some cases, for good reason.           Because, people do crazy shit when           they get fired.<b>                         </b><b>                         FLASHIMAGES:</b><b>                         </b>          Steve wipes off his boss's desk.<b>                         </b>          Steve shreds sensitive documents.<b>                         </b>          Steve pours bleach into thecommunal coffee pot.<b>                         </b>          Steve loads an assault rifle. He stands up to get a view of          his coworkers on a coffee break.<b>                         </b><b>                          BACKTO:</b><b>                         </b><b>                         </b><b>          INT. SMALL CONFERENCE ROOM - DAY</b><b>                         </b>          Steve is trying to hold ittogether.<b>                         </b><b>           RYAN (V.O.)</b>           And that's where I come in.<b>                         </b><b>                          STEVE</b>           What did I... do? What could Ihave           done differently here?<b>                         </b><b>                          RYAN</b>           This is not an assessment of your           productivity. It's important not to           personalizethis.<b>                         </b>          Steve scoffs at this.<b>                         </b>          Ryan slides Steve aPACKET.<b>           5.</b><b>                         </b><b>                         </b><b>                          RYAN (CONT'D)</b>           Steve, I want you to review this           packet. Take it seriously. Ithink           you're going to find a lot of           answers in there.<b>                         </b><b>                          STEVE</b><b>                          (DISMISSIVE)</b>           Oh, I'm sure it's going bereally           helpful.<b>                         </b><b>                          RYAN (CONT'D)</b>           Look, anybody who ever built an           empire, or changed the world, sat           where you are now. And it'sbecause           they sat there that they were able           to do it.<b>                         </b>          And just for a moment, Steve looks hopeful.<b>                         </b><b>                          RYAN(CONT'D)</b>           I'm going to need your key card.<b>                         </b><b>                          STEVE</b>           Right...<b>                         </b>          Steve begins removing it from hiswallet.<b>                         </b><b>                          RYAN</b>           Take the day. Put together your           personal things. Talk to your co-           workers. Tomorrow, go out and get           some exercise. Gofor a jog. Give           yourself routines and pretty soon           you'll find your legs.<b>                         </b>          Steve nods and gets up to leave. Just as he's about to walk          out, he stops and turnsback.<b>                         </b><b>                          STEVE</b>           Wait, how do I get in touch with you?<b>                         </b><b>                          RYAN</b>           Don't worry. We'll be intouch           soon. This is just the beginning.<b>                         </b>          Steve nods and exits the room.<b>                         </b><b>           RYAN (V.O.)</b>           I'll never see Steveagain.<b>           6.</b><b>                         </b><b>                         </b><b>          INT. RYAN'S ROOM - PHOENIX HILTON - DAY</b><b>                         </b>          The choreography of Ryan's packing isworthy of Tchaikovsky.<b>                         </b>          A coat slides off a hanger... A travel toothbrush folds          closed like a switchblade... A briefcase clicks onto a roll-          away bag... A hand flips a light switchwithout looking.<b>                         </b><b>                         </b><b>          INT. LOBBY, PHOENIX HILTON - DAY</b><b>                         </b>          Ryan is at the check out"}
+{"doc_id":"doc_78","qid":"","text":"<html><head><title>Field of Dreams Script at IMSDb.</title><meta name=\"description\" content=\"Field of Dreams script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Field of Dreamsscript, Field of Dreams movie script, Field of Dreams film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX,FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>          ?</b><b>                             FIELD OF DREAMS</b>                                                        Written by                          PhilAlden Robinson                                                  March 9, 1988<b>                                         FINAL DRAFT SCREENPLAY</b>                         <b>                         1</b><b>                         FADEIN</b><b>          MONTAGE OF PHOTOS</b><b>          RAY (V.O.)</b>          My father\u0000s name was John Kinsella.          A faded, sepia shot of a dirty little kid on a farm.<b>          RAY (V.O.)</b>          It\u0000s anIrish name. He was born in          North Dakota, in 1896...          Young man in doughboy uniform.<b>          RAY (V.O.)</b>          ...and never saw a big city until he          came back from France in1918.          Chicago. Tenement. Comiskey Park. Ballgames.<b>          RAY (V.O.)</b>          He settled in Chicago, where he quickly          learned to live and die with the White          Sox. Died a little when they lostthe          1919 World Series...          Newspaper headlines. Photo of Shoeless Joe Jackson.<b>          RAY (V.O.)</b>          ...died a lot the following summer when          eight members of the team wereaccused          of throwing that Series.          Dad (a catcher) playing ball. At work. Weeding.<b>          RAY (V.O.)</b>          He played in the minors for a year or          two, but nothing ever came of it.Moved          to Brooklyn in \u000035, married Mom in \u000038,          and was already an old man working at          the Naval Yards when I was born in 1949.          Ray as an infant. With his father. In front of EbbetsField          in miniature Dodger uniform, etc.<b>          RAY (V.O.)</b>          My name\u0000s Ray Kinsella. Mom died when          I was three, and I suppose Dad did the          best he could. Instead of MotherGoose,          I was put to bed at night to storiesof<b>                         (MORE)</b><b>                         CONTINUED</b>                                                                                                    <b>                         2</b><b>                         1CONTINUED</b><b>                          RAY (CONT'D)</b>          Babe Ruth, Lou Gehrig...and the great          Shoeless Joe Jackson. Dad was a Yankees          fan then, so of course I rooted for          Brooklyn. But in'58 the Dodgers moved          away, so we had to find other things to          fight about. We did. And when it came          time to go to college, I picked the          farthest one from home I could find.          Berkeley inthe 1960s: hippies, protesters, etc.<b>          RAY (V.0.)</b>          This, of course, drove him right up the          wail, which I suppose was the point.          Officially my major was English, but          really it was theSixties.          Ray looking foolish in long hair and tie-dye.<b>          RAY (V.O.)</b>          I marched, I smoked some grass, I tried          to like sitar music... and I met Annie.          Annie: blue jeans, T-shirt,freckles. Their courtship.<b>          RAY (V.0.)</b>          The only thing we had in common was that          she came from Iowa and I had once heard          of Iowa. We moved in together. After          graduation, wemoved to the Midwest, and          stayed with her family as long as we          could.          Unsmiling American Gothic types.<b>          RAY (V.O.)</b>          Almost a full afternoon.          The apartment, Ray atdifferent jobs, the wedding.<b>          RAY (V.0.)</b>          We rented an apartment and I took a job          selling insurance. I also drove a cab          and worked in a pizza parlor. Dad died          in June of 1 74.Annie and I got married          that fail.          Baby pictures.<b>          RAY (V.O.)</b>          A few years later Karin was born. She          smelled weird, but we loved her anyway.          Then Annie got the crazy ideathat she          could talk me into buying a farm.<b>                         CONTINUED</b>                                                                                                    <b>                         3</b><b>                         1CONTINUED (2)</b><b>                         1</b>          Ray, Annie, and four-year-old Karin by the \"SOLD\" sign of          their farm. Ray in a cornfield.<b>          RAY (V.0.)</b>          I'm thirty-eight years old and I'mabout          to become a farmer. I love my family,          I love baseball, and I miss New York.          Moving in on Ray's face.<b>          RAY (V.0.)</b>          But until I heard The Voice...I'd never          done a crazything in my whole life.<b>                         DISSOLVE TO</b><b>          2 THE CORNFIELD - DUSK</b><b>                         2</b>          It is dusk on a spring evening. The sky is a robin's-egg          blue, and thewind is soft as a day-old chick. Ray          Kinsella is working in the cornfield when a voice -- like          that of a public address announcer -- speaks to him.<b>                         THE VOICE</b>          'If you build it, hewill come.'          Ray looks up and around, but sees nothing that could be the          source of this sound. All around him are empty fields.          He stands quietly for a few moments, then goes backto          work.<b>                         THE VOICE</b>          'If you build it, he will come.'          Ray jerks his head in all directions to see where this          voice is coming from, but again, he sees nothingunusual          -- just the furrowed fields and a few hundred feet away,          the massive old farmhouse with a sagging veranda on three          sides. On the north veranda is a wooden porch swing where          Annieand Karin sit, sipping lemonade and dreaming.<b>                         RAY</b><b>                         (CALLS)</b>          Annie, what was that?<b>                         ANNIE</b><b>                         (CALLSBACK)</b>          What was what?<b>                         RAY</b>          That voice.<b>                         ANNIE</b>          Whatvoice?<b>                         CONTINUED</b>                                                                                                    <b>                         4</b><b>                         2CONTINUED</b><b>                         2</b><b>                         RAY</b>          Just now. Like an announcement.          Annie confers briefly with Karin, then calls back toRay.<b>                         ANNIE</b>          We didn't hear anything.<b>                         RAY</b>          Oh.          Ray thinks for a second, then shakes it off, trying to          dislodge that thought from his mind, andgets back to work.<b>                         THE VOICE</b>          'If you build it, he will come.'          Again, he bolts upright and looks around. Again, he sees          nothing. This is beginning to bug him. Hecalls:<b>                         RAY</b>          Okay, you must've heard that.<b>          3 ON THE PORCH</b><b>                         3</b>          Annie and Karin lock at each other and exchange a shrug.          Annieextends her arms palms upward, and calls to Ray.<b>                         ANNIE</b>          Sorry. Come on. Dinner.          Annie leads Karin inside.<b>          4 -IN THEFIELD</b><b>                         4</b>          Ray looks all around him with an \"Okay, fellas, what's the          joke?\" look on his face. But there is no one there. He          puts down his tools and walks toward thehouse.<b>          5 INT. KITCHEN</b>          Ray enters, looks at his wife skeptically and joins his          wife and daughter setting the table.<b>                         RAY</b>          Was there like a sound truck onthe          highway, or something?<b>                         ANNIE</b>          Nape.<b>                         CONTINUED</b>                                                                                                    <b>                         5</b><b>                         5 CONTINUED</b><b>                         5</b><b>                         RAY</b>          Kids with a radio?<b>                         ANNIE</b>          Nope. You really hearingvoices?<b>                         RAY</b>          Just one.<b>                         ANNIE</b>          Ah. God?<b>                         RAY</b>          More like a. . .ballpark announcer.          Annie shoots him an \"Are youkidding?\" look. Ray responds          with a shrug. They sit down to eat.<b>                         ANNIE</b>          What'd it say?<b>                         RAY</b>          'If you build. it, he willcome.'<b>                         ANNIE</b>          If you build what, who will come?<b>                         RAY</b><b>                         (SHRUGS)</b>          He didn't say.<b>                         ANNIE</b>          Ooh, Ihate it when that happens.<b>                         RAY</b>          Me too.<b>                          CUT TO</b><b>          6 RAY AND ANNIE'S BEDROOM - NIGHT</b><b>                         6</b>          They are snuggledtogether, asleep. All is quiet. Then:<b>                         THE VOICE</b>          'If you build it, he will come.'          Ray's eyes pop open. He looks at Annie, who does not stir.          Without moving, he looks aroundthe room. There is no one          there. Very quietly, he crosses to the window and looks          out. He whispers out toward the cornfield:<b>                         RAY</b>          Build what? Forwho?<b>                         CONTINUED</b>                                                                                                    <b>                         6</b><b>                         6 CONTINUED 6</b>          Behind him, Anniestirs.<b>                         ANNIE</b>          Ray?<b>                         RAY</b>          It's okay, honey, I'm just-talking to          the cornfield.          He sighs and goes back to bed. Annie cuddles up to him.          Hereyes are closed, but Ray's eyes remain open. He is          puzzled and concerned.<b>                         CUT TO</b><b>                         7 TELEVISION SCREEN</b>           A scene from the 1950 movie Harvey, inwhich James Stewart          insists he is conversing with an invisible rabbit.<b>          8 RAY AND ANNIE'S KITCHEN MORNING</b><b>                         L</b>          ittle Karin is watching Harvey while she eatsher          breakfast. Ray enters, looking like he had very little          sleep, and promptly turns the TV set off.<b>                         KARIN</b>          Why'd you do that? It wasfunny.<b>                         RAY</b>          Trust me, Karin, it's not funny. The          man is sick. He's very sick.          Annie enters, putting on her coat.<b>                         ANNIE</b>          Karin, if you'refinished, get your coat          and school bag. Let's go.          Karin bolts from the table.<b>                         RAY</b>          Uh honey, I'll take her today. I'v-e got          some errands intown.<b>                         ANNIE</b>          Far out.          She takes off her coat and kisses Ray as he takes-the car          keys and heads outside. Annie sits at the kitchen table.<b>                         CONTINUED</b>                                                                                                    <b>                         7</b><b>                         CONTINUED</b><b>                         8</b><b>                         ANNIE</b>          What ifthe voice calls while you're          gone?<b>                         RAY</b>          Take a message.<b>                         ANNIE</b>          Right.          He exits. She grins, turns on the TV and watches"}
+{"doc_id":"doc_79","qid":"","text":"<html><head><title>Gang Related Script at IMSDb.</title><meta name=\"description\" content=\"Gang Related script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Gang Related script,Gang Related movie script, Gang Related film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\"rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                                      \"GANG RELATED\"</b>                                        Written by                                         JimKouf<b>                                      SHOOTING DRAFT</b><b>                                           1997</b><b>                </b><b>               FADE IN:</b><b>               NEON SIGN - THE PRINCE MOTEL -NIGHT</b>               The N and the E are not working. So it reads the PR IC motel.                ROOMS TO RENT BY DAY, WEEK, MONTH. KITCHENETTES. The Prince                Motel has passed its prime. A few beat upcars are parked                outside rooms. We CRANE DOWN to ROOM SEVEN. Curtains closed,                but someone is holding it open a crack, looking out. We PUSH                in CLOSE TO THE WINDOW and the EYElooking over the parking                lot. Then the curtain closes.<b>               INT. ROOM SEVEN - PRINCE MOTEL - NIGHT</b>               Peeling flowered wallpaper, ultra-cheap furniture. The man                movingaway from the window is RODRIGUEZ. He is slender,                sports a thin mustache, hair slicked straight back. He's in                his late thirties. Slightly nervous.               Another man sits on the couch, looking ata magazine. He is                forty, solidly built. His name is FRANK DIVINCI.<b>                                     DIVINCI</b>                         Says here they got slips in Honolulu.                          325 a month. Utilitiesincluded.                          That's not bad.               Rodriguez sits down.<b>                                     DIVINCI</b>                         But I gotta get at least a forty                          footer. It'll handle roughwater                          better and I'll need the room if I'm                          gonna live on it.               Rodriguez stands up, moves back to the window. Divincilooks                up.<b>                                     RODRIGUEZ</b>                         I don't know how you doit.<b>                                     DIVINCI</b>                         What?<b>                                     RODRIGUEZ</b>                         How you can think about Hawaiinow?<b>                                     DIVINCI</b>                         My heart's in Hawaii.<b>                                     RODRIGUEZ</b>                         You never been there. How can your                          heart bethere.<b>                                     DIVINCI</b>                         You're tellin' me there's no place                          you'd rather be other thanhere?<b>                                     RODRIGUEZ</b>                         No, I'm saying I just don't know how                          you can think about Hawaiiright                          now.<b>                                     DIVINCI</b>                         If I was in Hawaii right now, I                          wouldn't be thinking about here. See                          thedifference?<b>                                     RODRIGUEZ</b>                         No.<b>                                     DIVINCI</b>                         Look, I'm not in Hawaii, I'm here.                          But I don't want to behere, I want                          to be in Hawaii. I can't be in Hawaii,                          therefore I think about it so as to                          not get depressed about beinghere.<b>                                     RODRIGUEZ</b>                         But I'm here, I know I'm here, I                          don't like being here, but I can't                          be anyplace else because I lookaround                          and I see all this shit. How do you                          get around that?! That's whatI'm                          asking.<b>                                     DIVINCI</b>                         Focus.<b>                                     RODRIGUEZ</b>                         Focus.               Divinci nods. Rodriguez looks at hiswatch.<b>                                     RODRIGUEZ</b>                         It's time. No more Hawaii, okay?                          Focus onthis.<b>                                     DIVINCI</b>                              (smiles)                         Aloha.               Rodriguez shakes his head, exasperated, andexits.<b>                                     RODRIGUEZ</b>                              (to himself)                         Aloha my ass.<b>                                                                    CUT TO:</b><b>               EXT. DARK STREET- NIGHT</b>               Poor side of town. A few old cars parked on the street. Some                buildings vacant. A LATE MODEL WHITE CADILLAC cruises past.                We HEAR LOUD RAP MUSIC.<b>               INT.CADILLAC - NIGHT</b>               LIONEL HUDD drives. Hudd is thirty. African American. The                MUSIC is loud. His clothes lean to African roots. A WOMAN                sits next to the passenger window. Hername is CYNTHIA WEBB.                Cynthia is thirty-five, dressed in short provocative skirt,                tight top. A little too much make-up. She's lead a hard life.               She glances at Hudd. Hudd glances at her,looks down at her                skirt hiked up on her leg.<b>                                     CYNTHIA</b>                         Left at the corner.               Hudd's eyes linger on her thighs for a moment, then heturns                his attention back to driving, tapping along with the heavy                bass.<b>               EXT. PRINCE MOTEL - NIGHT</b>               The Cadillac pulls into the parking lot. Parks in frontof                room SEVEN. Hudd gets out, looks around. Cynthia gets out,                leads him to SEVEN. Knocks.               The curtains pull back. Divinci looks at Hudd and Cynthia.                She nods to him. Thedoor unlocks and opens.               Cynthia enters. Hudd looks around again. Then follows.<b>               INT. MOTEL ROOM SEVEN - NIGHT</b>               Divinci waits at the door. He and Hudd eye each otheras                Hudd enters the room. Divinci looks out, making sure no one                has followed, then shuts the door.<b>                                     DIVINCI</b>                         Hope you don't mind me checkin'you                          for weapons.<b>                                     HUDD</b>                         Hell yes I mind.               Divinci hesitates. This could break thedeal.<b>                                     HUDD</b>                         I just don't want no man handlin'                          me.               Hudd looks at Cynthia. The suggestion istaken.<b>                                     DIVINCI</b>                         Okay. Check him.               Hudd spreads his legs, lifts his arms. Cynthia would rather                not have the job, but there's nochoice.<b>                                     HUDD</b>                         Lotta good hidin' places on this                          body. Check good.               Cynthia runs her hands over Hudd, checking pockets,pants,                sleeves. Finally coming to his crotch. Hudd smiles.<b>                                     HUDD</b>                         Careful. It's loaded.               Cynthia has heard it all before. She's not squeamish inthe                least and she gives him a good going over.<b>                                     CYNTHIA</b>                         He's got nothin'.               She smiles back at Hudd. Then moves away, sits on thecouch                and seductively crosses her legs.               Divinci, satisfied, pulls a PLASTIC BAG packed tight with                COCAINE out of his pocket, tosses it to Hudd.               Hudd sits on the couch, opens thebag, sticks his finger in                and tastes the contents. But never takes his eyes off Divinci.<b>                                     HUDD</b>                         Not bad, not bad. Any more where                          this camefrom?<b>                                     DIVINCI</b>                         Maybe.<b>                                     HUDD</b>                         Then maybe we talkagain.<b>                                     DIVINCI</b>                         Maybe.               Hudd stands, unzips his pants. Reaches in to grab his cock,                but instead, pulls out a stack of MONEY. Inchthick.<b>                                     HUDD</b>                         Told you there was a lotta good hidin'                          places on this body.               Hudd hands the money to Divinci and pockets the plasticbag.                Then crosses to the door. Glances back at Cynthia.<b>                                     HUDD</b>                         Bet you gotta lotta nice hidin'                          places, too.               Then Hudd smiles andexits.<b>               EXT. PRINCE MOTEL - NIGHT</b>               Hudd gets into his Cadillac, pulls out of the motel parking                lot.<b>               EXT. STREET - NIGHT</b>               Deserted. No one on thestreet this late. Several of the                buildings are boarded up.<b>               INT. CADILLAC - NIGHT</b>               Hudd drives. No music this time. His attitude has changed.                More serious. LIGHTS in theREAR VIEW MIRROR. Coming up fast.                Hudd watches as the car pulls around to pass.               He glances at the CAR as it pulls past him, but all we SEE                is the FLASH OF A BLAST FROM A GUN. FrontWINDOW EXPLODING.<b>               THE CADILLAC</b>               swerves into a parked car. The OTHER CAR -- a BUICK REGAL --                screeches to a stop next to it. ONE MAN gets out. Moving                quicklyto the Cadillac. It's dark, difficult to see. He                carries a SMITH AND WESSON .44. Opens the door. He's wearing <b>               PLASTIC GLOVES.</b>               Hudd is dead, slumped against the passengerdoor. The man                reaches in, turns off the engine, grabs the plastic bag of                cocaine. And now we see it's Divinci.<b>               INT. BUICK REGAL - NIGHT</b>               Rodriguez is the driver.Anxious. Engine running.<b>                                     RODRIGUEZ</b>                         Come on! Hurry up!               Divinci dashes back to the Buick, hops in. Rodriguez floors                it.<b>               THEBUICK</b>               tears off down the dark street.<b>                                                                    CUT TO:</b><b>               EXT. APARTMENT BUILDING - NIGHT</b>               Not a great part of the city.Apartment buildings line both                sides of the street. An alley runs between two of the                buildings. A TAXI pulls up in front. HEADLIGHTS SHINING on a                MAN passed out in thestreet.               Cynthia exits the taxi. The taxi pulls away. She glances at                the man passed out in the street.               His clothes are ragged. He's filthy. His face covered in                beard and greasy dirtyhair. Hard to tell how old he is.                Maybe forty. Maybe eighty. Who knows? His hand clutches a                bottle in a bag.<b>                                     CYNTHIA</b>                         Hey, Joe, wake up. Getouta the street                          before you get run over. Joe, wake                          up!               She nudges him with her foot. The man groans, rolls back.                Dead"}
+{"doc_id":"doc_80","qid":"","text":"<html><head><title>Dog Day Afternoon Script at IMSDb.</title><meta name=\"description\" content=\"Dog Day Afternoon script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Dog DayAfternoon script, Dog Day Afternoon movie script, Dog Day Afternoon film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX,FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><html><head><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>DOG DAYAFTERNOON</title></head><pre><b>                                   \"DOG DAY AFTERNOON\"</b>                                            by                                      Frank Pierson                                       FinalDraft<b>                </b><b>               FADE IN:</b><b>               EXT. ELECTRIC SIGN</b>               It FILLS THE SCREEN (designed to exactly FILL THE FRAME size                of whatever ratio we're shootingin).  It says:<b>                                           2:51</b>               This message will be a little cryptic to the movie audience                on an essentially BLACK SCREEN.  HOLD for a beat, then it                changes:the lights flash this sign, which should explain it                to everyone:<b>                                           94°</b>               And a slow distant ROLL OF THUNDER in the far distance; now                the SOUND ofmedia begin to come up loud, under:<b>               EXT. FLATBUSH AVENUE - DAY</b>               LONG SHOT down the Avenue, 400 mm lens, heat waves shimmering,                thousands of old people, and peoplewith children in strollers                moving restlessly about in the heat on those endless miles                of benches.               The SHOT is ON SCREEN only for a beat or two, then gone...<b>               SOUND TRACKCOMES FROM A THOUSAND TRANSISTOR RADIOS, TV SETS, </b><b>               AUTO RADIOS, BLENDED IN THE OPEN AIR...</b><b>                                     RADIO ANNOUNCER 1(V.O.)</b>                         ...the situation continued tense in                          the Middle East today, as...<b>               EXT. SHEA STADIUM (TV CLIP) - DAY</b>               An unnamed player swings and hits a highpop up...<b>                                     ANNOUNCER 2 (V.O.)</b>                         ...hits a high inside pitch foul                          into the upper stands...<b>               ANGLE ON CROWD</b>               as the ballcomes down they scramble and fight for it...               A touch of viciousness...<b>                                     ANNOUNCER 3 (V.O.)</b>                         ...B-52's meanwhile, unleashed the                          heaviestbombing of the war...<b>               EXT. MOVIE HOUSE TO MACDONALD'S - DAY</b>               We are SEEING HEIDI, though we don't know it yet - she's                just another pretty 175-pound Italian girl with twokids,                KIMMY, JIMMY, about four and five years old.  Right now she                is a lump of browning flesh, shining with oil among rows of                similar ladies (mostly thinner, but all with acertain                unhealthy softness about them) laid out in rows and groups                across the sand.  SHOOT LOW AND LONG, so heat shimmers rise,                as though the heat were baking the oil out of thismob,                visible suntan oil pollution...  Heidi's transistor blasts                ROCK MUSIC into the air.<b>                                     LYRICS (OVER)</b>                              (RobertaFlack)<b>                         REVEREND LEE, SHE SAID, LORD KNOWS I </b><b>                         LOVE YOU, REVEREND LEE - DO IT TO ME</b>                              (etc.,etc.)<b>                                     ANNOUNCER 3 (V.O.)</b>                         ...the American High Command announced                          the famed 25th Cavalry Division would                          be cominghome!  The 25th Cavalry,                          long since afoot, hardened in battle                          in the jungles of World War II...<b>               FAR DISTANT THUNDER ROLLS...</b><b>               INT/EXT. SONNY'SCAR - STREET - DAY</b>               It is parked in a drab Brooklyn street.  Beside the car stands                SAL, medium height, also good-looking in an intense boyish                way.  His eyes dart about suspiciously,the ever-watchful                Sal.               There is a watchful reserve in Sal that contrasts to Sonny's                outgoing bounciness: first impression is Sonny is all bark;                Sal is the bite.  Sal is dressed inimpressive blue suit                style, he looks like a kid trying to impress the Godfather.                 He even wears a hat.  Now, matching Sal's preparations inside                the car, he checks his tie's alignment, shootshis cuffs and                is ready...               Meanwhile, on their car radio:<b>                                     ELTON JOHN</b>                              (Amoreena)<b>                         AND SHE DREAMS OF CRYSTALSTREAMS OF </b><b>                         DAYS GONE BY WHEN WE COULD LEAN </b><b>                         LAUGHING FIT TO BURST UPON EACH </b><b>                         OTHER...</b><b>               ANOTHERANGLE BY CAR</b>               As he turns, from the back of the car, JACKIE appears with a                huge florist box, tied with ribbon.  Jackie is an eighteen                year old with bad complexion and in contrast toSonny and                Sal is dressed in teenage sloppiness.  Adidas, T-shirt,                bowling jacket, jeans.  He is uncertain: waits for directions                from Sonny.  Sonny takes the florist box fromhim.               We see a water truck drive down the street, followed by                Sonny's car, which drives up near bank.  It stops, Jackie                gets out, crosses to bank window, peers through,then<b>               ANGLE INSIDE CAR</b>               returns to car.  Leans in, has fake conversation with Sonny.               They are waiting.  Sonny checks his watch, turns to Sal in                backseat:<b>                                     SONNY</b>                         30 seconds, Sal...               They wait.  At appropriate moment, Sal exits car, walks toward                bank.  Slowly Sonny gets out.<b>               INT.BANK - DAY</b>               A slightly seedy little branch bank, old yellow brick, blond                varnished wood, a rubber plant, an American flag.  Through                the windows we SEE HOWARD, the aged blackbank guard, in                uniform, taking down the American flag from outside.  Past                him comes Sal carrying an attache case.  He passes Howard                coming toward us through the door into thebank.  As he passes <b>               CAMERA:</b><b>               INSERT: BANK CLOCK</b>               as it CLICKS from 2:57 to 2:58 PM.<b>               MOVING SHOT WITH SAL</b>               as he moves toward theleft-hand deposit-slips desks.               He picks out a car-loan application slip, then walks toward                the manager's desk (as the sign on the desk proclaims) of                PATRICK MULVANEY.  Sal sits down, hisback to Mulvaney, facing                the front door of the bank.  Mulvaney is on the phone.<b>               ON DOOR</b>               as Sonny bustles through in his bouncy dancer's walk.  He                carries the largeflorist box.  He moves toward the left-                hand deposit-slips desks, takes one out and begins to fill                one out.<b>               ON HOWARD</b>               as he pulls out the keys, attached to the belt ofhis uniform.                 Jackie approaches the door of the bank and stops, neither in                nor out, as though he can't make up his mind.  Howard watches                him, waiting patiently, keys in hand, folded flagunder his                arm.<b>               CLOSE - SAL</b>               still sitting, back to Mulvaney, watching Jackie's approach                and entrance, ready to move on cue.<b>               ON DOOR</b>               onHoward as he looks at Jackie, still half in, half out.                 Howard speaks to him:<b>                                     HOWARD</b>                         Closing time; you want in or out?               Jackie steps in and asHoward locks the door to prevent more                customers from entering, Jackie walks toward Sonny, filling                out a slip at the left-hand area.  CAMERA FOLLOWS Jackie.               He stops at deposit-slipsdesk, next to Sonny.<b>               CLOSE - SAL</b>               as if by pre-arranged signal, Sal now stands up, moves to                the side of Mulvaney'sdesk.<b>                                     SAL</b>                         You the manager?<b>               ON MULVANEY</b>               who is still on the phone.  He gestures at the sign on his                desk that says so, andgestures for Sal to sit down.<b>               ON SAL</b>               as he sits, producing as he does a machine pistol, which he                holds on Mulvaney's chest, out of sight from others inthe                bank.<b>               MULVANEY</b>               His mouth simply stops, and he stares at the gun.  Mulvaney                is a comic opera Irishman in his early fifties, florid...                cheerful, bushyeyebrows; he acts out everything he says...<b>                                     SAL</b>                         Just go on talking, like nothing was                          happening,okay?<b>                                     MULVANEY</b>                              (into phone)                         Listen, lemme call you back.               He hangs up, and looks from the gun up to Sal's blankhard                face.  To his own amazement, he grins: a hopeful grin that                says: \"Like me - don't hurt me.\"  And he's embarrassed by                it.  As we watch, his smile turns sour.<b>               HIS POV -FLASH</b>               Sal's absolutely unmoved face.<b>               TWO SHOT - SONNY AND JACKIE</b>               Jackie moves over to Sonny.<b>                                     JACKIE</b>                         Sonny, I'mgettin' real bad vibes.<b>                                     SONNY</b>                         Jackie - what are you talking about?<b>                                     JACKIE</b>                         Maybe we can take somethingsmaller...                          like a Spanish grocery.<b>                                     SONNY</b>                              (indicating what's                               happening with Sal                               andMulvaney)                         It's too late - just get away from                          me - don't talk to me now - go over                          to your place...               Jackie moves to another deposit-slips desk - takes oneout                and begins to fill it out.<b>               ON TELLER'S CAGE AREA</b>               as a LADY with a BABY in a stroller moves away from the Teller                and starts to walk toward the frontdoor.  DEBORAH is marking                figures on a piece of paper at 1st Teller's cage.               SYLVIA and MIRIAM stand behind her - their backs to Sonny.               Howard, who has put the folded flag in a plasticbag in a                front desk, follows Lady toward the door.  He unlocks the                door and hands the Baby a lollipop, courtesy of the bank,                and she exits the bank.<b>               CLOSE - NEW ANGLE -SONNY</b>               glancing at clock, taking a sharp deep breath...<b>               SAL</b>               staring at Mulvaney.<b>               MULVANEY</b>               the ruins of his smile still on hisface.<b>               HOWARD</b>               straightens up from locking the door; the figure of the Lady                and the Baby can be seen receding outside...<b>               SONNY</b>               seeing that thebank is closed, locked in, with no customers,                crosses toward the front teller's cage area, carrying the                florist box.  As he reaches the other side, he rips open the                box and takes the rifle out"}
+{"doc_id":"doc_81","qid":"","text":"<html><head><title>Blade Script at IMSDb.</title><meta name=\"description\" content=\"Blade script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Blade script, Blade movie script,Blade film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=SubjectCONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0];s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>    <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\"title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center></td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><html><head><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>BLADE - by David S.Goyer</title></head><pre><b>                                BLADE</b><b>                                -----</b>                                  by<b> </b>                            David S. Goyer Darkness, BLOOD-CURDLING SCREAMS.Presentation credits roll as we<b> FADE UP ON:</b><b> INT. HOSPITAL, INNER-CITY TRAUMA WARD - NIGHT</b> It's 1967, the Summer of Love and -- BOOM! Entry doors swing open as PARAMEDICS wheel in aFEMALE BLEEDER, VANESSA (20s, black, nine months pregnant). She's deathly pale, spewing founts of blood from a savagely slashed throat -- A SHOCK-TRAUMA TEAM swarms over her, inserting a vacutainer into anartery to draw blood, wrapping a blood pressure cuff around her arm --<b> NURSE #1</b> (with stethoscope) She's not breathing!<b> SENIOR RESIDENT</b> Intubate her! The RESPIRATORY THERAPIST feeds anendotracheal tube down the woman's ruined throat, attaches that to an Amblu bag --<b> RESIDENT</b> Blood-pressure's forty and falling -- The woman starts spasming violently. It takes three staff members just tohold her down.<b> SENIOR RESIDENT</b> Jesus, her water's broken -- (calling for help) She's going into uterine contractions -- CAMERA PUSHES IN on the woman as she bolts upright, SCREAMING to wake the dead.We PLUNGE INTO the darkness of her mouth and find ourselves --<b> INSIDE HER BLOODSTREAM</b> The sound of a HEART BEATING, pounding as we whip-snake through --<b> CORPUSCLES </b> floating inamber plasma. Erythrocytes, leukocytes, neutrophils and eosinophils. The rhythmic expansion of the artery walls, pulsing with each successive surge of blood as the HEART BEATS FASTER AND FASTER, taking us --<b>IN UTERO,</b> A CHILD, alive but unborn, shifting in a sea of amniotic fluid, surrounded by the white, protective substance known as vernix caseosa. The HEARTBEAT races like a locomotive now. The unborn childshifts, turns its head towards us -- -- and opens its eyes.<b> CUT TO:</b><b> A SWORDBLADE</b> cleaving the darkness, radiant light slicing across gleaming Damascus steel. Words acid-etched in the weapon'sfine-tempered surface:<b> BLADE</b> Main credits end.<b> EXT. INNER CITY, INDUSTRIAL GHETTO - NIGHT</b> A decaying no man's land populated by condemned buildings and HUNGRY HOMELESS. Steam risesfrom manhole covers, drifting across the litter- lined streets. Suddenly -- A black Mercedes 850 appears over the crest of a hill, ROARING past us, stereo system belting out FILTER.<b> INT. MERCEDES - NIGHT</b>Raquel, a wasp-wasted woman, sits behind the wheel. 20s, rich, sickeningly attractive. Hungry eyes. Squirming around in the passenger seat is DENNIS, a model/actor boy- toy with a sub-zero IQ and a \"fuck mesideways\" grin. <b> DENNIS</b> So where we going?<b> RAQUEL</b> It's a surprise. <b> DENNIS</b> I likes surprises. Raquel eyeballs Dennis -- \"if looks could devour\". <b> RAQUEL</b> What do you havedown there, little man?<b> DENNIS</b> Heat-seeker.<b> RAQUEL</b> I'll bet. Raquel slides a manicured hand up his thigh, squeezes his groin. Dennis MOANS. She pulls her hand away, downshifts.<b> EXT.VACANT LOT - NIGHT</b> The 850 threads a narrow alley into a vacant lot, BRAKES hard. Raquel and Dennis climb out. She leads him into --<b> EXT. MEAT PACKING PLANT - NIGHT</b> Industry never sleeps, andcertainly not this grisly facility. Raquel leads Dennis around the back of the plant, where a host of WORKERS are loading refrigerated trucks with product.<b> DENNIS</b> What the fuck are we doing here? Raquel justsmiles, heads on into the plant via a loading door. The workers ignore her.<b> INT. MEAT PACKING PLANT - NIGHT</b> Dennis follows Raquel through the bowels of the plant, catching glimpses here and there ofcarcasses being rendered or hacked apart. Through one partially open door we see what might be a line of BODYBAGS being trundled into the back of a truck via a hook and chain pulley-system. But Dennis doesn't haveenough time to be disturbed by the vision, because he's being pulled away by Raquel, led down --<b> A STAIRWELL</b> We are in the basement now. At the end of the hall is a steel door, with perhaps, just thefaintest HINT OF MUSIC heard coming from beyond. Raquel knocks. A \"peep-hole\" slat opens and a BLACK LIGHT shines into Raquel's eyes. A VOICE behind the door offers a verbal challenge, speaking a language we'venever heard, laced with a devilish cadence. Raquel responds in kind. The door opens. Raquel gives Dennis a knowing wink, enters. Dennis follows. <b> INT. CLUB - NIGHT</b> Raquel and Dennis move past a hulkingDOORMAN, making their way down a narrow stairway. Dennis is suitably impressed.<b> THE CLUB </b> is elite, underground -- an \"abattoir-chic\" version of an old-time juke joint with a greasy, dangerous vibe.White-tiled walls and floors for easy hosing, chromed fittings, run-off gutters, drains. No bar.<b> BODIES </b> writhe on the strobe-lit dance floor. A heavy S&M scene. Leather. Latex. Tattoos. Body-piercings. A D.J.wearing head-mounted spotlights orchestrates the tunes on twin- decks. MUSIC assaults us -- a beat so heavy it could jar the fillings from your teeth. Brutal \"DARKCORE\" along the lines of Prodigy or Underground.Raquel pulls Dennis out onto the dance floor. They sway. A lupine-featured GAULTIER GIRL with a streak of white running through her raven hair moves in behind Dennis, pressing up against him. Rachel Williams as theAngel of Death -- we'll call her MERCURY. Mercury flicks her tongue against Dennis' ear -- it's been pierced with a silver post which clicks against her teeth. Tattooed across her back in black is a swirling, tribal vortex.Dennis is now sandwiched between Raquel and Mercury, the three of them dry-humping their way to every man's glory. The beat gets LOUDER. The action heavier. The atmosphere more narcotic. People are strippingoff their clothes, sweating like fiends. It's a virtual orgy. Dennis laughs, reveling in the hedonism. Everything rises to a fever pitch --<b> DENNIS</b> (over the music) Fuck, I need a drink!!! Raquel just smiles -- thenDennis notices a DROP OF SOMETHING spatter his hand. It looks like blood. Dennis looks up, concerned -- -- MORE BLOOD DROPLETS are falling. Raquel's face is sprinkled with them now. Dennis stops dancing. What isthis? Some kind of fucked up performance art? Raquel turns her face toward the ceiling, as if washing herself in a summer shower, now the other club goers are looking up too --<b> BLOOD SHOWERS DOWN</b> fromsprinkler heads in the ceiling, drenching the dancers. The club goers love it, thrusting their heads back, mouths open wide to receive the crimson offering. Horrified, Dennis recoils, turning towards --<b> RAQUEL,</b>whose face morphs into a preternatural snarl. Her canines extend, tapering to razor-sharp points. Her tongue flicks, lizard-like as fingernails sharpen into claws. All this while the whites of her eyes BLEED RED, pupilsoscillating hypnotically. <b> RAQUEL</b> What's wrong, baby? Dennis SCREAMS, pushes away from Raquel, only -- -- Mercury has fangs now too. In fact, everyone in the club does, with the exception of poor Dennis.That's because they're all vampires. Dennis tries to run, but the burly Doorman blocks his exit, brutally smashing his fist into Dennis' face. Dennis falls, dazed. The club-goers close in around him. They make a game ofit, shoving him from one person to another, their pale faces leering like twisted jack-o-lanterns. The strobe lights quicken to a seizure-inducing intensity. Dennis spins, tumbling into Raquel's arms. She shoves himforward -- Dennis lands on the floor, falling at someone's boot-clad feet. He looks up. A DARK FIGURE sits in the shadows, unnoticed until this moment. The figure stands, moves into the light as time screeches to a halt-- <b> A BLACK MAN, </b> towers above Dennis, wearing dark glasses and a leather longcoat -- a sneer of cruel contempt etched upon a face tempered by a lifetime of horror. His name is BLADE. Blade whips open hislong coat, shrugging it off, revealing an arsenal of high-tech weapons strapped to his body: 6-point adjustable body armor, a modified CAR-15 assault rifle with an ultra-violet entry light, two Casull .454 revolvers, a\"Demon\" automatic cross-bow, a bandoleer of mahogany stakes, an Indian-style katar punching dagger -- and last, but certainly not least, his namesake -- a silver sword which is secured in a back-scabbard.<b>CLOSE ON BLADE</b> A gaze as cold and pitiless as a midnight sun. The vampire club-goers stare back. Nuclear silence. And then -- All hell breaks loose. With a SNARL, Raquel charges at Blade, moving atsuperhuman speed, practically a blur -- Blade draws his Casulls, FIRES in multiple directions --<b> MACRO BULLET SHOT </b> as a round roars through the air towards Raquel. A silver-tipped dum- dum bullet whichexplodes on contact. WHAM! The round punches a fist-sized hole through Raquel's chest, continuing on into the vamp behind her! Vampire blood fountains. Both creatures tumble forward, their bodies liquefying intopuddles of black oil which go gurgling down the run-off drains. Blade continues FIRING, then -CLICK!- magazines empty. Next. He holsters the Casulls, swings up his assault rifle, calmly flicks on the UV entry lightmounted above --<b> MERCURY </b> leaps twenty feet straight up into the air. We've never seen anything move so fast. She CRASHES through a glass skylight, disappearing into the night just as -- -- a shaft ofblinding UV \"sunlight\" cuts across the vampires. They rear back, skin smoking from the light's corrosive effects. Blade opens FIRE, pumping round after round of wooden fragmentation bullets into the crowd -- vampiregenocide. The strobe lights flicker as the mayhem mounts. Some of the vampires try to flee, scurrying up the stairs, but the exit quickly becomes clogged with liquefying bodies -- -- then Blade's CAR-15 jams. Theremaining club-goers see their opening, surge forward en masse -- Blade drops the rifle, reaches over his shoulder and -SCHINGGG!- unsheathes his sword with a double-handed grip. <b> THE SWORD</b> Fouracid-etched feet of blood-soaked Damascus steel. An edge so sharp it could cleave a shadow in two. Blade moves like lightning, hacking his way into TWO CHARGING VAMPIRES. Blade spins again, cuts ANOTHERVAMPIRE clean in half --<b> ON THE FAR END OF THE CLUB,</b> a LATEX-CLAD VAMP makes a break for it. Blade flings his sword, sending it spinning end over end -- THUNK! The sword punches into the vampire'sheart. The hellish creature convulses, dies. Beat. Blade retrieves his sword, then senses --<b> SOMETHING BIG</b> rising up behind him. In a flash, Blade swings his sword downward, cutting off the vampire's righthand at the elbow. The severed limb falls to the floor -- -- but it doesn't slow the hulking creature down. It SLAMS into Blade. Blade flies backwards thirty feet, tumbling over tables, slamming into the rear wall so hardthat plaster rains down from the ceiling. Blade suddenly finds himself wrestling with a feral-faced six-foot- something nightmare named QUINN. The vampire rears back its head, jaws stretching wide. Every inch of hisface is covered with ritual scarification patterns and Maori-like tribal tattoos. Blade forces an elbow against Quinn's throat, trying to keep him at bay. With his other hand he reaches to his bandoleer, pulls out a stake --"}
+{"doc_id":"doc_82","qid":"","text":"<html><head><title>Serenity Script at IMSDb.</title><meta name=\"description\" content=\"Serenity script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Serenity script, Serenity moviescript, Serenity film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=SubjectCONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0];s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>    <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\"title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center></td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b> </b><b>                                   SERENITY</b><b>     </b>                                  Written by                                  JossWhedon                                                      April 18, 2004<b>          </b><b>          EXT. CLASSROOM - DAY</b>          It's a group of twelve-year-olds, serious and well dressed.          They sit on their heels undera sparsely elegant tent, small          wooden desks with embedded screens in front of them. The          tent is on a lawn surrounded by lush foliage. People walk          about and vehicles glide quietly overhead. Autopian vista.<b>          GIRL</b>          Now that the war's over, our          soldiers get to come home, yes?<b>          TEACHER</b>          Some of them. Some will be          stationed on the rim planetsas          Peace Enforcers.<b>          BOY</b>          I don't understand. Why were the          Independents even fighting us?          Why wouldn't they look to bemore          civilized?<b>          TEACHER</b>          That's a good question. Does          anybody want to open on that?<b>          GIRL</b>          I hear they're cannibals.<b>          ANOTHER BOY</b>          That'sonly Reavers.<b>          ANOTHER GIRL</b>          Reavers aren't real.<b>          ANOTHER BOY</b>          Full well they are. They attack          settlers from space, they kill          them and wear their skins andrape          them for hours and hours --<b>          TEACHER</b>          (in Chinese)<b>          </b><b>          (CALMER)</b>          It's true that there are...          dangers on the outer planets. So          let's followup on Borodin's          question. With all the social and          medical advancements we can bring          to the Independents, why would          they fight so hard againstus?<b>          4</b><b>          </b><b>          </b><b>          </b><b>          </b><b>          3.</b><b>          RIVER</b>          We meddle.<b>          TEACHER</b>          River?           RIVER is a dark,intense little girl, writing with one hand          and \"typing\" with the other. (Typing consists of holding a          long wooden stylus and tapping either end down different          columns of chinese characters on herdesktop screen.) She is          a good two years younger than the other kids.<b>          RIVER</b>          People don't like to be meddled          with. We tell them what to do,          what to think, don't rundon't          walk we're in their homes and in          their heads and we haven't the          right. We're meddlesome.<b>          TEACHER</b>          (gently taking her<b>          STYLUS)</b>          River, we're nottelling people          what to think. We're just trying          to show them how.          She violently PLUNGES the stylus into the girl's forehead<b>          INT. LAB - NIGHT</b>           And we FLASH CUT to the actualpresent: a 16 year old RIVER          sitting in a metal chair, needles stuck in her skull (one          right where the teacher had stuck her) being adjusted by a          technician. A second monitors her brainpatterns.          The lab is cold, blue, steel. Insidiously clean.<b>          2ND TECHNICIAN</b>          She's dreaming.<b>          FIRST TECHNICIAN</b>          Nightmare?<b>          2ND TECHNICIAN</b>          Offthe charts. Scary monsters.<b>          DOCTOR MATHIAS</b>          Let's amp it up. Delcium, eight-          drop.          DOCTOR MATHIAS is not instantly likable -- nor gradually, for          that matter. A cold man, andmore than a little satisfied          with himself.<b>          </b><b>          </b><b>          </b><b>          </b><b>          4.</b>          Behind him stands a GOVERNMENT INSPECTOR, observing. And          makinghim a little nervous.          The Inspector is in shadow, but his uniform indicates          -- no          substantial rank, as does the eagle-crested baton          longer than a ruler -- that he clutches in one glovedhand.<b>          DOCTOR MATHIAS</b><b>          (CONTINUING)</b>          See, most of our best work is done          when they're asleep. We can          monitor and direct their          subconscious,implant          suggestions...          River starts convulsing, mewing in misery. The Inspector          starts forward, slowly.<b>          DOCTOR MATHIAS</b><b>          (CONTINUING)</b>          It's a little startling tosee,          but the results are spectacular.          Especially in this case. River          Tam is our star pupil.          The Inspector steps into the light. He is rigid, cold,          staring at the girl with no emotion at all. Hisname, as we          will very soon learn, is SIMON.<b>          SIMON</b>          I've heard that.<b>          DOCTOR MATHIAS</b>          She's a genius. Her mental          capacity is extraordinary, even          with theside-effects.<b>          SIMON</b>          Tell me about them.<b>          DOCTOR MATHIAS</b>          Well, obviously, she's unstable...          the neural stripping gives them          heightened cognitivereception,          but it also destabilizes their own          reality matrix. It manifests as          borderline schizophrenia... which          at this point is the price for          being trulypsychic.<b>          SIMON</b>          (moves toward her)          What use do we have for a psychic          if she'sinsane?<b>          J</b><b>          </b><b>          </b><b>          </b><b>          </b><b>          5.</b><b>          DOCTOR MATHIAS</b>          I don't have to tell you the          security potential of someonewho          can read minds. And she has lucid          periods -- we hope to improve upon          the... I'm sorry, Sir, I have to          ask if there's some reason for          thisinspection.<b>          SIMON</b><b>          (TURNING)</b>          Am I making you nervous?<b>          DOCTOR MATHIAS</b>          Key members of Parliament have          personally observed thissubject.          I was told their support for the          project was unanimous. The          demonstration of her power --<b>          SIMON</b>          (turns back to her)          How is she physically?<b>          DOCTORMATHIAS</b>           Like nothing we've seen. All our          subjects are conditioned for          combat, but River... she's a          creature of extraordinary grace.<b>          400</b><b>          SIMON</b>          Yes.She always did love to dance.          He drops to one knee, slamming his baton to the floor.<b>          ANGLE: THE BATON</b>          As the top pops off like a bouncing betty (the grenade),          flying up over Simonand River's heads and then bursting          forth in a flat circle of blue energy that bisects the room,          flowing through the staff's heads and knocking them out.          Simon rushes to River, gently removes theprobes from her          head and swabs her, whispering:<b>          SIMON</b><b>          (CONTINUING)</b>          River. Wake up. Please, it's          Simon. River. It's your brother.          Wake up...          Shebegins to stir as a noise moves him to the door, looking          out and removing his uniform to reveal an orderly'stunic          beneath.<b>          IWO</b><b>          </b><b>          </b><b>          </b><b>          </b><b>          6.</b>          River is suddenly next to him. He jumps alittle.<b>          RIVER</b>          Simon.          A beat, as they face each other, Simon fighting emotion.<b>          RIVER</b><b>          (CONTINUING)</b>          They know you've come.<b>          INT. GUARDSTATION - CONTINUING</b>          As a guard looks at a monitor. He mostly resembles a secret          service man -- more bureaucrat than thug. A second man rolls          into frame on a chair behind him, alsowatching the screen.<b>          INT. RESEARCH CENTER CORRIDOR - CONTINUING</b>          Simon walks River through the corridor. They approach a pair          of double doors.<b>          SIMON</b>          Wecan't make it to the surface          from inside.          Simon turns suddenly as he hears footsteps, people heading at          them from the other side of the doors.          4woSIMON<b>          (CONTINUING)</b>          Find a --          But River has, impossibly, scampered up over some lab          equipment to the dark top of the corridor, where she holds          herself in a perfect split, feetagainst the walls and          outstretched hand holding the sprinkler for support.          The doors burst open and two doctors pass by, hardly noticing          the lone orderly. Passing right under River.<b>           EXT.VENTILATION SHAFT - MOMENTS LATER</b>          It's small, 15 feet by 15 feet. Goes a long way up and a          long way down. One wide hinged window looks in on the hall          inside. Simon and River approachwith quiet haste.          They slip through the window. Simon shuts it, wedges his          baton into the handle as the SECURITY AGENTS APPROACH. They          fire at the glass, but their lasers have noeffect.          Wind whips River's hair about as she looks up to see a small          patch of daylight visible ten stories up. Sees the sky          blotted out by a small ship that hovers abovethem.<b>          V0</b><b>          </b><b>          </b><b>          </b><b>          </b><b>          7.</b>          ANGLE: THE SHIP is floating over the grass of rolling hills,          the city gleaming far beyond. Thisfacility is well hidden.          A gurney-sized section of the ship's belly detaches and drops          down ten stories, cables spooling it out of the ship. It          comes to Simon and River and stopssuddenly.<b>          SIMON</b>          Get on!          He is standing by the window -- and the Security Agent is          right behind him, PUNCHING the window with all his might.          Simon helps River onto thegurney, then jumps on himself as          the Security Agent cracks the glass. The two are whisked up          in the gurney, River on her knees, Simon standing beside her          holding one of the cables--<b>           THE OPERATIVE (O.S.)</b>          Stop.          The action freezes.<b>           THE OPERATIVE (0.S.)</b><b>           (CONTINUING)</b>          Lovely. Lovely. Backtrack.          The action REVERSES,taking us back to the moment of Simon          and River on the gurney just before it rises.          f t o<b>          THE OPERATIVE (O.S.)</b><b>          (CONTINUING)</b>          Stop.          There is a motionlessbeat, River frozen in that crouch, and          he steps through what we now see is a hologram of the event.          The Government's man. We'll just call him THE OPERATIVE.          He is thoughtful, a little removed.Wire-rimmed glasses, a          suit too nondescript to be a uniform, too neat to be casual          wear. He is in:<b>          INT. INSTITUTE RECORDS ROOM - DAY</b>          -- which is long and bare but for drawers ofholographic          records, a set-up for watching recordings (where the image of          Simon and River floats), and a table with computer and chair.          The Operative crosses to the table, looks over somepapers.<b>          THE OPERATIVE</b>          Biograph. Simon Tam.<b>          CLOSE ON: THE OPERATIVE'S"}
+{"doc_id":"doc_83","qid":"","text":"The Project Gutenberg EBook of A Voyage to Arcturus, by David LindsayThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: A Voyage to ArcturusAuthor: David LindsayPosting Date: September 17, 2008 [EBook #1329]ReleaseDate: May, 1998[Last updated: June 28, 2012]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK A VOYAGE TO ARCTURUS ***Produced by An Anonymous VolunteerA VOYAGE TO ARCTURUS.ByDavid LindsayContents:     1   The Seance     2   In the Street     3   Starkness     4   The Voice     5   The Night of Departure     6   Joiwind     7   Panawe     8   The Lusion Plain     9   Oceaxe     10  Tydomin     11  OnDisscourn     12  Spadevil     13  The Wombflash Forest     14  Polecrab     15  Swaylone's Island     16  Leehallfae     17  Corpang     18  Haunte     19  Sullenbode     20  Barey     21  MuspelChapter 1. THE SEANCEOn amarch evening, at eight o'clock, Backhouse, the medium--afast-rising star in the psychic world--was ushered into the studyat Prolands, the Hampstead residence of Montague Faull. The room wasilluminated only by thelight of a blazing fire. The host, eying himwith indolent curiosity, got up, and the usual conventional greetingswere exchanged. Having indicated an easy chair before the fire to hisguest, the South American merchantsank back again into his own. Theelectric light was switched on. Faull's prominent, clear-cut features,metallic-looking skin, and general air of bored impassiveness, did notseem greatly to impress the medium, who wasaccustomed to regard menfrom a special angle. Backhouse, on the contrary, was a novelty to themerchant. As he tranquilly studied him through half closed lids and thesmoke of a cigar, he wondered how this little,thickset person with thepointed beard contrived to remain so fresh and sane in appearance, inview of the morbid nature of his occupation.\"Do you smoke?\" drawled Faull, by way of starting the Conversation. \"No?Thenwill you take a drink?\"\"Not at present, I thank you.\"A pause.\"Everything is satisfactory? The materialisation will take place?\"\"I see no reason to doubt it.\"\"That's good, for I would not like my guests to be disappointed. Ihaveyour check written out in my pocket.\"\"Afterward will do quite well.\"\"Nine o'clock was the time specified, I believe?\"\"I fancy so.\"The conversation continued to flag. Faull sprawled in his chair, andremainedapathetic.\"Would you care to hear what arrangements I have made?\"\"I am unaware that any are necessary, beyond chairs for your guests.\"\"I mean the decoration of the seance room, the music, and soforth.\"Backhouse stared at his host. \"But this is not a theatricalperformance.\"\"That's correct. Perhaps I ought to explain.... There will be ladiespresent, and ladies, you know, are aesthetically inclined.\"\"In that case Ihave no objection. I only hope they will enjoy theperformance to the end.\"He spoke rather dryly.\"Well, that's all right, then,\" said Faull. Flicking his cigar into thefire, he got up and helped himself to whisky.\"Will youcome and see the room?\"\"Thank you, no. I prefer to have nothing to do with it till the timearrives.\"\"Then let's go to see my sister, Mrs. Jameson, who is in the drawingroom. She sometimes does me the kindness to actas my hostess, as I amunmarried.\"\"I will be delighted,\" said Backhouse coldly.They found the lady alone, sitting by the open pianoforte in a pensiveattitude. She had been playing Scriabin and was overcome. Themediumtook in her small, tight, patrician features and porcelain-like hands,and wondered how Faull came by such a sister. She received him bravely,with just a shade of quiet emotion. He was used to such receptionsatthe hands of the sex, and knew well how to respond to them.\"What amazes me,\" she half whispered, after ten minutes of graceful,hollow conversation, \"is, if you must know it, not so much themanifestationitself--though that will surely be wonderful--asyour assurance that it will take place. Tell me the grounds of yourconfidence.\"\"I dream with open eyes,\" he answered, looking around at the door, \"andothers see mydreams. That is all.\"\"But that's beautiful,\" responded Mrs. Jameson. She smiled ratherabsently, for the first guest had just entered.It was Kent-Smith, the ex-magistrate, celebrated for his shrewd judicialhumour, which,however, he had the good sense not to attempt to carryinto private life. Although well on the wrong side of seventy, his eyeswere still disconcertingly bright. With the selective skill of an oldman, he immediately settledhimself in the most comfortable of manycomfortable chairs.\"So we are to see wonders tonight?\"\"Fresh material for your autobiography,\" remarked Faull.\"Ah, you should not have mentioned my unfortunate book. An oldpublicservant is merely amusing himself in his retirement, Mr. Backhouse. Youhave no cause for alarm--I have studied in the school of discretion.\"\"I am not alarmed. There can be no possible objection to yourpublishingwhatever you please.\"\"You are most kind,\" said the old man, with a cunning smile.\"Trent is not coming tonight,\" remarked Mrs. Jameson, throwing a curiouslittle glance at her brother.\"I never thought hewould. It's not in his line.\"\"Mrs. Trent, you must understand,\" she went on, addressing theex-magistrate, \"has placed us all under a debt of gratitude. She hasdecorated the old lounge hall upstairs most beautifully, andhas securedthe services of the sweetest little orchestra.\"\"But this is Roman magnificence.\"\"Backhouse thinks the spirits should be treated with more deference,\"laughed Faull.\"Surely, Mr. Backhouse--a poeticenvironment...\"\"Pardon me. I am a simple man, and always prefer to reduce things toelemental simplicity. I raise no opposition, but I express my opinion.Nature is one thing, and art is another.\"\"And I am not sure thatI don't agree with you,\" said the ex-magistrate.\"An occasion like this ought to be simple, to guard against thepossibility of deception--if you will forgive my bluntness, Mr.Backhouse.\"\"We shall sit in full light,\" repliedBackhouse, \"and every opportunitywill be given to all to inspect the room. I shall also ask you to submitme to a personal examination.\"A rather embarrassed silence followed. It was broken by the arrival oftwo moreguests, who entered together. These were Prior, the prosperousCity coffee importer, and Lang, the stockjobber, well known in his owncircle as an amateur prestidigitator. Backhouse was slightly acquaintedwith thelatter. Prior, perfuming the room with the faint odour of wineand tobacco smoke, tried to introduce an atmosphere of joviality intothe proceedings. Finding that no one seconded his efforts, however, heshortly subsidedand fell to examining the water colours on the walls.Lang, tall, thin, and growing bald, said little, but stared at Backhousea good deal.Coffee, liqueurs, and cigarettes were now brought in. Everyone partook,except Langand the medium. At the same moment, Professor Halbert wasannounced. He was the eminent psychologist, the author and lectureron crime, insanity, genius, and so forth, considered in their mentalaspects. Hispresence at such a gathering somewhat mystified the otherguests, but all felt as if the object of their meeting had immediatelyacquired additional solemnity. He was small, meagre-looking, and mildin manner, but wasprobably the most stubborn-brained of all that mixedcompany. Completely ignoring the medium, he at once sat down besideKent-Smith, with whom he began to exchange remarks.At a few minutes past the appointedhour Mrs. Trent entered,unannounced. She was a woman of about twenty-eight. She had a white,demure, saintlike face, smooth black hair, and lips so crimson and fullthat they seemed to be bursting with blood. Hertall, graceful body wasmost expensively attired. Kisses were exchanged between her and Mrs.Jameson. She bowed to the rest of the assembly, and stole a half glanceand a smile at Faull. The latter gave her a queerlook, and Backhouse,who lost nothing, saw the concealed barbarian in the complacent gleamof his eye. She refused the refreshment that was offered her, and Faullproposed that, as everyone had now arrived, theyshould adjourn to thelounge hall.Mrs. Trent held up a slender palm. \"Did you, or did you not, give mecarte blanche, Montague?\"\"Of course I did,\" said Faull, laughing. \"But what's the matter?\"\"Perhaps I have beenrather presumptuous. I don't know. I have inviteda couple of friends to join us. No, no one knows them.... The two mostextraordinary individuals you ever saw. And mediums, I am sure.\"\"It sounds very mysterious.Who are these conspirators?\"\"At least tell us their names, you provoking girl,\" put in Mrs. Jameson.\"One rejoices in the name of Maskull, and the other in that ofNightspore. That's nearly all that I know about them, sodon't overwhelmme with, any more questions.\"\"But where did you pick them up? You must have picked them upsomewhere.\"\"But this is a cross-examination. Have I sinned again convention? Iswear I will tell you notanother word about them. They will be heredirectly, and then I will deliver them to your tender mercy.\"\"I don't know them,\" said Faull, \"and nobody else seems to, but, ofcourse, we will all be very pleased to havethem.... Shall we wait, orwhat?\"\"I said nine, and it's past that now. It's quite possible they may notturn up after all.... Anyway, don't wait.\"\"I would prefer to start at once,\" said Backhouse.The lounge, a lofty room,forty feet long by twenty wide, had beendivided for the occasion into two equal parts by a heavy brocade curtaindrawn across the middle. The far end was thus concealed. The nearer halfhad been converted into anauditorium by a crescent of armchairs. Therewas no other furniture. A large fire was burning halfway along the wall,between the chairbacks and the door. The room was brilliantly lighted byelectric bracket lamps. Asumptuous carpet covered the floor.Having settled his guests in their seats, Faull stepped up to thecurtain and flung it aside. A replica, or nearly so, of the Drury Lanepresentation of the temple scene in The Magic Flutewas then exposed toview: the gloomy, massive architecture of the interior, the glowing skyabove it in the background, and, silhouetted against the latter, thegigantic seated statue of the Pharaoh. A fantastically carvedwoodencouch lay before the pedestal of the statue. Near the curtain, obliquelyplaced to the auditorium, was a plain oak armchair, for the use of themedium.Many of those present felt privately that the setting wasquiteinappropriate to the occasion and savoured rather unpleasantlyof ostentation. Backhouse in particular seemed put out. The usualcompliments, however, were showered on Mrs. Trent as the deviser ofso remarkablea theatre. Faull invited his friends to step forward andexamine the apartment as minutely as they might desire. Prior andLang were the only ones to accept. The former wandered about among thepasteboard scenery,whistling to himself and occasionally tapping a partof it with his knuckles. Lang, who was in his element, ignored the restof his party and commenced a patient, systematic search, on his ownaccount, for secretapparatus. Faull and Mrs. Trent stood in a cornerof the temple, talking together in low tones; while Mrs. Jameson,pretending to hold Backhouse in conversation, watched them as only adeeply interested woman knowshow to watch.Lang, to his own disgust, having failed to find anything of a suspiciousnature, the medium now requested that his own clothing should besearched.\"All these precautions are quite needless and beside thematter inhand, as you will immediately see for yourselves. My reputation demands,however, that other people who are not present would not be able to sayafterward that trickery has been resorted to.\"To Lang againfell the ungrateful task of investigating pockets andsleeves. Within a few minutes he expressed himself satisfied thatnothing mechanical was in Backhouse's possession. The guests reseatedthemselves. Faull ordered twomore chairs to be brought for Mrs. Trent'sfriends, who, however, had not yet arrived. He then pressed an electricbell, and took his own seat.The signal was for the hidden orchestra to begin playing. A murmur ofsurprisepassed through the audience as, without previous warning, thebeautiful and solemn strains of Mozart's \"temple\" music pulsated throughthe air. The expectation of everyone was raised, while, beneath herpallor andcomposure, it could be seen that Mrs. Trent was deeply moved.It was evident that aesthetically she was by far the most importantperson present. Faull watched her, with his face sunk on his chest,sprawling asusual.Backhouse stood up, with one hand on the back of his chair, and beganspeaking. The music instantly sank to pianissimo, and remained so for aslong as he was on his legs.\"Ladies and gentlemen, you are about towitness a materialisation. Thatmeans you will see something appear in space that was not previouslythere. At first it will appear as a vaporous form, but finally it willbe a solid body, which anyone present may feel andhandle--and, forexample, shake hands with. For this body will be in the human shape.It will be a real man or woman--which, I can't say--but a man orwoman without known antecedents. If, however, you demand fromme anexplanation of the origin of this materialised form--where it comesfrom, whence the atoms and molecules composing its tissues arederived--I am unable to satisfy you. I am about to produce thephenomenon; ifanyone can explain it to me afterward, I shall be verygrateful.... That is all I have to say.\"He resumed his seat, half turning his back on the assembly, and pausedfor a moment before beginning his task.It was preciselyat this minute that the manservant opened the doorand announced in a subdued but distinct voice: \"Mr. Maskull, Mr.Nightspore.\"Everyone turned round. Faull rose to welcome the late arrivals.Backhouse also stood up,and stared hard at them.The two strangers remained standing by the door, which was closedquietly behind them. They seemed to be waiting for the mild sensationcaused by their appearance to subside beforeadvancing into the room.Maskull was a kind of giant, but of broader and more robust physiquethan most giants. He wore a full beard. His features were thick andheavy, coarsely modelled, like those of a woodencarving; but his eyes,small and black, sparkled with the fires of intelligence and audacity.His hair was short, black, and bristling. Nightspore was of middleheight, but so tough-looking that he appeared to be trained outof allhuman frailties and susceptibilities. His hairless face seemed consumedby an intense spiritual hunger, and his eyes were wild and distant. Bothmen were dressed in tweeds.Before any words were spoken, a loudand terrible crash of fallingmasonry caused the assembled party to start up from their chairs inconsternation. It sounded as if the entire upper part of the buildinghad collapsed. Faull sprang to the door, and called to theservant tosay what was happening. The man had to be questioned twice before hegathered what was required of him. He said he had heard nothing. Inobedience to his master's order, he went upstairs. Nothing,however, wasamiss there, neither had the maids heard anything.In the meantime Backhouse, who almost alone of those assembled hadpreserved his sangfroid, went straight up to Nightspore, who stoodgnawing hisnails.\"Perhaps you can explain it, sir?\"\"It was supernatural,\" said Nightspore, in a harsh, muffled voice,turning away from his questioner.\"I guessed so. It is a familiar phenomenon, but I have never heard it soloud.\"Hethen went among the guests, reassuring them. By degrees they settleddown, but it was observable that their former easy and good-humouredinterest in the proceedings was now changed to strainedwatchfulness.Maskull and Nightspore took the places allotted to them. Mrs. Trentkept stealing uneasy glances at them. Throughout the entire incident,Mozart's hymn continued to be played. The orchestra also hadheardnothing.Backhouse now entered on his task. It was one that began to be familiarto him, and he had no anxiety about the result. It was not possibleto effect the materialisation by mere concentration of will, ortheexercise of any faculty; otherwise many people could have done what hehad engaged himself to do. His nature was phenomenal--the dividingwall between himself and the spiritual world was broken in manyplaces.Through the gaps in his mind the inhabitants of the invisible, when hesummoned them, passed for a moment timidly and awfully into the solid,coloured universe.... He could not say how it was brought about....Theexperience was a rough one for the body, and many such struggles wouldlead to insanity and early death. That is why Backhouse was sternand abrupt in his manner. The coarse, clumsy suspicion of some ofthewitnesses, the frivolous aestheticism of others, were equally obnoxiousto his grim, bursting heart; but he was obliged to live, and, to pay hisway, must put up with these impertinences.He sat down facing the woodencouch. His eyes remained open but seemedto look inward. His cheeks paled, and he became noticeably thinner. Thespectators almost forgot to breathe. The more sensitive among them beganto feel, or imagine, strangepresences all around them. Maskull'seyes glittered with anticipation, and his brows went up and down, butNightspore appeared bored.After a long ten minutes the pedestal of the statue was seen to becomeslightlyblurred, as though an intervening mist were rising from theground. This slowly developed into a visible cloud, coiling hither andthither, and constantly changing shape. The professor half rose, andheld his glasses withone hand further forward on the bridge of hisnose.By slow stages the cloud acquired the dimensions and approximate outlineof an adult human body, although all was still vague and blurred. Ithovered lightly in the air,a foot or so above the couch. Backhouselooked haggard and ghastly. Mrs. Jameson quietly fainted in her chair,but she was unnoticed, and presently revived. The apparition now settleddown upon the couch, and at themoment of doing so seemed suddenly togrow dark, solid, and manlike. Many of the guests were as pale as themedium himself, but Faull preserved his stoical apathy, and glanced onceor twice at Mrs. Trent. She wasstaring straight at the couch, and wastwisting a little lace handkerchief through the different fingers of herhand. The music went on playing.The figure was by this time unmistakably that of a man lying down. Thefacefocused itself into distinctness. The body was draped in a sort ofshroud, but the features were those of a young man. One smooth handfell over, nearly touching the floor, white and motionless. The weakerspirits of thecompany stared at the vision in sick horror; the restwere grave and perplexed. The seeming man was dead, but somehow it didnot appear like a death succeeding life, but like a death preliminary tolife. All felt that hemight sit up at any minute.\"Stop that music!\" muttered Backhouse, tottering from his chair andfacing the party. Faull touched the bell. A few more bars sounded, andthen total silence ensued.\"Anyone who wants to mayapproach the couch,\" said Backhouse withdifficulty.Lang at once advanced, and stared awestruck at the supernatural youth.\"You are at liberty to touch,\" said the medium.But Lang did not venture to, nor did any of theothers, who one by onestole up to the couch--until it came to Faull's turn. He looked straightat Mrs. Trent, who seemed frightened and disgusted at the spectaclebefore her, and then not only touched the apparition butsuddenlygrasped the drooping hand in his own and gave it a powerful squeeze.Mrs. Trent gave a low scream. The ghostly visitor opened his eyes,looked at Faull strangely, and sat up on the couch. A cryptic smilestartedplaying over his mouth. Faull looked at his hand; a feeling ofintense pleasure passed through his body.Maskull caught Mrs. Jameson in his arms; she was attacked by anotherspell of faintness. Mrs. Trent ran forward,and led her out of the room.Neither of them returned.The phantom body now stood upright, looking about him, still with hispeculiar smile. Prior suddenly felt sick, and went out. The othermen more or less hungtogether, for the sake of human society, butNightspore paced up and down, like a man weary and impatient, whileMaskull attempted to interrogate the youth. The apparition watched himwith a baffling expression, butdid not answer. Backhouse was sittingapart, his face buried in his hands.It was at this moment that the door was burst open violently, and astranger, unannounced, half leaped, half strode a few yards into theroom, andthen stopped. None of Faull's friends had ever seen himbefore. He was a thick, shortish man, with surprising musculardevelopment and a head far too large in proportion to his body. Hisbeardless yellow face indicated,"}
+{"doc_id":"doc_84","qid":"","text":"<html><head><title>Sister Act Script at IMSDb.</title><meta name=\"description\" content=\"Sister Act script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Sister Act script, Sister Actmovie script, Sister Act film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=SubjectCONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0];s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>    <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\"title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center></td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                               SISTER ACT</b>                               Written by                              PaulRudnick                                                 July 19, 1991      Page 1.<b>     SISTER ACT</b><b>     FADE IN:</b><b>     INT. ST. ANNE'S ACADEMY - AKRON, OHIO - CLASSROOM</b>     We are in a parochial schoolclassroom, in the late      Sixties.  The children all wear uniforms and sit at little      desks.  SISTER IMMACULATA stands at the front of the room;      she is a middle-aged nun, very severe.  The children are      allterrified of her.<b>                               SISTER IMMACULATA</b>               Who can name all the Apostles?  Yes?<b>     ANGLE ON CHRISTINE CARTER</b>     A thirteen-year-old girl sitting at a desk.  Sheraises      her hand.<b>                               SISTER IMMACULATA</b>               Christine?<b>                               CHRISTINE</b>               Sister, may I be excused?<b>                               SISTERIMMACULATA</b>               Christine...<b>                               CHRISTINE</b>               It's an emergency.  Real bad.     Sister Immaculata nods, pursing her lips.  Christine      stands and heads for thedoor.<b>     </b><b>                                                          CUT TO:</b><b>     INT. GIRLS ROOM</b>     Christine is now in the deserted St. Anne's girls room.      She is standing on tiptoes, looking in themirror.  She has      taken her hair out of its neat barrettes; she is combing it      out.  She applies lipstick.     Christine reaches into her schoolbag; she pulls out a      stack of glittery bracelets and slips themon.  She      unbuttons the top few buttons of her stiff white blouse.       She sprays herself with dime store cologne.<b>                                                          CUT TO:</b><b>     EXT. HALLWAY</b>     Christineopens the girls' room door; she looks both ways.       No one is around; she saunters down the hall.     Page 2.<b>     ANGLE ON A DOOR MARKED BROOM CLOSET</b>     Christine opens this door.  She looks into thecloset.      There is a very nervous thirteen-year-old BOY waiting for      her inside.<b>                               CHRISTINE</b>               Hi, Jimmy.     Christine slips inside the closet and closes the door      behindher.<b>     ANGLE ON SISTER IMMACULATA</b>     Striding down the hall, with a bloodthirsty look in her      eye, and a nasty-looking wooden ruler in her hand.  She      flings open the broom closetdoor,<b>     ANGLE ON CHRISTINE AND JIMMY</b>     in the broom closet.  Jimmy's face is covered with      lipstick.  Christine's hair is awry.  The couple has      clearly been makingout.<b>                               SISTER IMMACULATA</b>                             (outraged)               Miss Christine Carter!  Again!  Don't                you know what happens to girls like you?                 Don't you knowwhat they become?<b>     INT. CHRISTY'S APARTMENT - ANGLE ON A LARGE, TATTERED </b><b>     POSTER-NIGHT (TODAY)</b>     Taped over a crack on a wall.  The poster shows a      glittering CHRISTY VANCARTIER:  singing star of a fifth-     rate Vegas lounge.  Christy wears tight spangles and a      major wig on the poster.  She has clearly lived up, or      down, to all of Sister Immaculata's expectations.     The CAMERAPANS through the dark bedroom in which the      poster hangs; a neon sign flashes outside the window,      casting a red and blue haze over the premises.  A dressing      room table is cluttered with dozens of bottles ofnail      polish and makeup, and garish clothing and flashy jewelry      are scattered everywhere.     We hear the movement of BED SPRINGS as someone sits up in      the dark.<b>                               CHRISTY'SVOICE</b>               Come on, Vince -- hold me a minute.<b>                               VINCE'S VOICE</b>               I'd love to. babe -- but I've got to go.                 It was great.  Likeusual.<b>                               CHRISTY'S VOICE</b>               It was twenty minutes.  Like usual.     Page 3.<b>                               VINCE'S VOICE</b>               The best.     VINCE LAROCCA stands at themirror, adjusting his clothing      and checking his hair.  Vince is a powerful, charismatic      man who rules an organized crime empire with personal      magnetism and threat.  Vince's hold over Christy is      obvious, ifunfortunate; he can seem expansive and generous      one minute, ruthless and dangerous the next.<b>                               VINCE</b>                             (half to Christy, half                              to themirror)               You are something else.     Christy turns on a lamp and lights a cigarette.<b>                               CHRISTY</b>               Come on -- stay.  Just a little.  We can                talk, I'll get a pizza.  Pizzain bed,                we'll have fun.  And you still haven't                told me what happened.  What did she say?<b>                               VINCE</b>               What did whosay?<b>                               CHRISTY</b>               Who?  The other woman.  Your wife.     Vince turns to face Christy, turning on the charm.<b>                               VINCE</b>               You are so damnsexy.<b>                               CHRISTY</b>               Vince...<b>                               VINCE</b>               How did I get so lucky?  What is it now,                five years we've been together?  Who doI                thank?<b>                               CHRISTY</b>                             (not buying it)               Today was the deadline, Vince.     Vince sits on the bed.  He takes Christy's hand, and      kissesit.<b>                               VINCE</b>               I want us to be together.  Like people.                 Honest, decent people.  In the eyes of                God.  Babe, today... I wentto                confession.<b>                               CHRISTY</b>               You did what?     Page 4.<b>                               VINCE</b>               For the first time in I don't know how                long.  I wantedeverything done right.                Open and above board.  I told Father                Antonelli I was in love.  I told him it                was a special love, for all theages.<b>                               CHRISTY</b>                             (starting to fall for                              it)               You said that?  And what did he say?                 Did he say you could leave her?  Didhe                say we'd be happy?<b>                               VINCE</b>                             (looking deep into her                              eyes)               He said that if I got a divorce I'd burn                in Hell.  For alleternity.     Vince kisses Christy's hands again and drops turns away      and starts putting on hisshoes.<b>                               CHRISTY</b>               What?                             (outraged)<b>                               VINCE</b>               You want me to go against a priest?  Get                excommunicated?  Youthink I'm nuts?<b>                               CHRISTY</b>               You bastard!<b>                               VINCE</b>                             (trying to calm her)               We can still see each other.  Justlike                always.  It's a different kind of sin.                Smaller.<b>                               CHRISTY</b>               You pig!     Vince backs off, and starts searching for hisjacket.<b>                               VINCE</b>               Babe, it's not me!  I love you!  It's                God!<b>                               CHRISTY</b>               You lying sleazeball!  The best years of                mylife!  What am I, garbage?  Am I lint?     Vince ducks as Christy throws an ashtray at him, and it      smashes against the wall.<b>                               VINCE</b>               You're upset.  I understand.  Ishould                go.  I hate to.     Page 5.     A CLOCK-RADIO hits the wall beside Vince's head.<b>                               CHRISTY</b>               Get out of here!  And never come back!     A LAMP hits the wall, asVince dodges it.  He makes a      phone gesture with his hand.<b>                               VINCE</b>               I'll call.     Vince kisses two fingers, and blows the kiss to Christy.      He leaves.     Christy is left standingon the bed, holding a      particularly garish stuffed animal she was about to hurl.       With Vince gone she slumps to the bed, cradling the stuffed      animal. She is caught between tears andrage.<b>                                                          CUT TO:</b><b>     EXT. LAS VEGAS - NIGHT</b>     ANGLE on various neon Vegas landmarks -- the Golden      Nugget, Caesar's Palace, Bally's, etc.  Scrunchedin      between two larger hotels and casinos is the MOONLIGHT      HOTEL AND CASINO.  The Moonlight isn't all that small, it's      just seen better days.<b>     INT. LOUNGE - NIGHT</b>     A spotlight hits a solitaryfigure on a small stage.  The      man is caped and dramatic, but not especially talented; an      Elvis impersonator who's just a shade off in voice, looks      and style.<b>                               ELVIS</b>               Goodevening, ladies and gentlemen.  Are                you lonesome tonight?  Welcome to the                Moonlight Hotel and Casino's incredible                Platinum Oldies Spectacular.     Backstage, there's still a look ofresolve in Christy's      eye as she waits to go on with MICHELLE and TINA, her back-     up singers.<b>                               MICHELLE</b>               But you can't quit.  What'll happento                us?                             (to Tina)               Tell her she can't quit.<b>                               TINA</b>               I told her.  She stuck pantyhose in my                mouth.     Onstage, Elvis glances into thewings to be sure the      Ronelles are ready.     Page 6.<b>                               ELVIS</b>               Please welcome our own girl group                extraordinaire, our beehives of beauty --               the fabulousRonelles!     Elvis disappears.  The spotlight hits Christy, who wears a      high beehive wig and a sequinned, early Supremes-style      gown.  Michelle and Tina wear matching gowns and wigs.  The      band begins adoo-wop vamp.<b>                               CHRISTY</b>               Oh, girls.<b>                               RONELLES</b>               Yes, Betty?<b>                               CHRISTY</b>               This prom is a realdrag.<b>                               RONELLES</b>               Oh-huh.<b>                               CHRISTY</b>               Oh my!                             (gasping)<b>                               RONELLES</b>               What is it,Betty?<b>                               CHRISTY</b>               Look at that.  Get a gander.<b>                               RONELLES</b>               Ohmy!                             (sighing)<b>                               CHRISTY</b>               He's so dreamy.  He's like... a Greek                god.  He's the cutest guy here.    He's                boss.  He'sfab.  He's...<b>                               RONELLES</b>               Yes, Betty?<b>                               CHRISTY</b>                             (singing)<b>               HE'S SOFINE.</b><b>                               RONELLES</b><b>               D00-LANG, DOO-LANG, D00-LANG.</b><b>                               CHRISTY</b><b>               WISH HE WAS MINE.  THAT HANDSOME BOY"}
+{"doc_id":"doc_85","qid":"","text":"The Project Gutenberg EBook of Of Human Bondage, by W. Somerset MaughamThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it awayorre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: Of Human BondageAuthor: W. Somerset MaughamRelease Date: May 6, 2008 [EBook#351]  [Original release date: October, 1995]  [Most recently updated: July 12, 2013]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK OF HUMAN BONDAGE ***OF HUMAN BONDAGEBYW.SOMERSET MAUGHAMIThe day broke gray and dull. The clouds hung heavily, and there was arawness in the air that suggested snow. A woman servant came into a roomin which a child was sleeping and drew thecurtains. She glancedmechanically at the house opposite, a stucco house with a portico, andwent to the child's bed.\"Wake up, Philip,\" she said.She pulled down the bed-clothes, took him in her arms, and carriedhimdownstairs. He was only half awake.\"Your mother wants you,\" she said.She opened the door of a room on the floor below and took the child overto a bed in which a woman was lying. It was his mother. Shestretched outher arms, and the child nestled by her side. He did not ask why he hadbeen awakened. The woman kissed his eyes, and with thin, small hands feltthe warm body through his white flannel nightgown. Shepressed him closerto herself.\"Are you sleepy, darling?\" she said.Her voice was so weak that it seemed to come already from a greatdistance. The child did not answer, but smiled comfortably. He was veryhappy in thelarge, warm bed, with those soft arms about him. He tried tomake himself smaller still as he cuddled up against his mother, and hekissed her sleepily. In a moment he closed his eyes and was fast asleep.The doctorcame forwards and stood by the bed-side.\"Oh, don't take him away yet,\" she moaned.The doctor, without answering, looked at her gravely. Knowing she wouldnot be allowed to keep the child much longer, the womankissed him again;and she passed her hand down his body till she came to his feet; she heldthe right foot in her hand and felt the five small toes; and then slowlypassed her hand over the left one. She gave asob.\"What's the matter?\" said the doctor. \"You're tired.\"She shook her head, unable to speak, and the tears rolled down her cheeks.The doctor bent down.\"Let me take him.\"She was too weak to resist his wish, and shegave the child up. The doctorhanded him back to his nurse.\"You'd better put him back in his own bed.\"\"Very well, sir.\" The little boy, still sleeping, was taken away. Hismother sobbed now broken-heartedly.\"What willhappen to him, poor child?\"The monthly nurse tried to quiet her, and presently, from exhaustion, thecrying ceased. The doctor walked to a table on the other side of the room,upon which, under a towel, lay the body ofa still-born child. He liftedthe towel and looked. He was hidden from the bed by a screen, but thewoman guessed what he was doing.\"Was it a girl or a boy?\" she whispered to the nurse.\"Another boy.\"The woman did notanswer. In a moment the child's nurse came back. Sheapproached the bed.\"Master Philip never woke up,\" she said. There was a pause. Then thedoctor felt his patient's pulse once more.\"I don't think there's anything Ican do just now,\" he said. \"I'll callagain after breakfast.\"\"I'll show you out, sir,\" said the child's nurse.They walked downstairs in silence. In the hall the doctor stopped.\"You've sent for Mrs. Carey's brother-in-law,haven't you?\"\"Yes, sir.\"\"D'you know at what time he'll be here?\"\"No, sir, I'm expecting a telegram.\"\"What about the little boy? I should think he'd be better out of the way.\"\"Miss Watkin said she'd take him, sir.\"\"Who'sshe?\"\"She's his godmother, sir. D'you think Mrs. Carey will get over it, sir?\"The doctor shook his head.IIIt was a week later. Philip was sitting on the floor in the drawing-roomat Miss Watkin's house in Onslow gardens.He was an only child and used toamusing himself. The room was filled with massive furniture, and on eachof the sofas were three big cushions. There was a cushion too in eacharm-chair. All these he had taken and,with the help of the gilt routchairs, light and easy to move, had made an elaborate cave in which hecould hide himself from the Red Indians who were lurking behind thecurtains. He put his ear to the floor and listenedto the herd ofbuffaloes that raced across the prairie. Presently, hearing the door open,he held his breath so that he might not be discovered; but a violent handpulled away a chair and the cushions fell down.\"Younaughty boy, Miss Watkin WILL be cross with you.\"\"Hulloa, Emma!\" he said.The nurse bent down and kissed him, then began to shake out the cushions,and put them back in their places.\"Am I to come home?\" heasked.\"Yes, I've come to fetch you.\"\"You've got a new dress on.\"It was in eighteen-eighty-five, and she wore a bustle. Her gown was ofblack velvet, with tight sleeves and sloping shoulders, and the skirt hadthree largeflounces. She wore a black bonnet with velvet strings. Shehesitated. The question she had expected did not come, and so she couldnot give the answer she had prepared.\"Aren't you going to ask how your mamma is?\"she said at length.\"Oh, I forgot. How is mamma?\"Now she was ready.\"Your mamma is quite well and happy.\"\"Oh, I am glad.\"\"Your mamma's gone away. You won't ever see her any more.\" Philip did notknow what shemeant.\"Why not?\"\"Your mamma's in heaven.\"She began to cry, and Philip, though he did not quite understand, criedtoo. Emma was a tall, big-boned woman, with fair hair and large features.She came from Devonshireand, notwithstanding her many years of service inLondon, had never lost the breadth of her accent. Her tears increased heremotion, and she pressed the little boy to her heart. She felt vaguely thepity of that childdeprived of the only love in the world that is quiteunselfish. It seemed dreadful that he must be handed over to strangers.But in a little while she pulled herself together.\"Your Uncle William is waiting in to see you,\" shesaid. \"Go and saygood-bye to Miss Watkin, and we'll go home.\"\"I don't want to say good-bye,\" he answered, instinctively anxious to hidehis tears.\"Very well, run upstairs and get your hat.\"He fetched it, and when hecame down Emma was waiting for him in the hall.He heard the sound of voices in the study behind the dining-room. Hepaused. He knew that Miss Watkin and her sister were talking to friends,and it seemed to him--hewas nine years old--that if he went in they wouldbe sorry for him.\"I think I'll go and say good-bye to Miss Watkin.\"\"I think you'd better,\" said Emma.\"Go in and tell them I'm coming,\" he said.He wished to make themost of his opportunity. Emma knocked at the doorand walked in. He heard her speak.\"Master Philip wants to say good-bye to you, miss.\"There was a sudden hush of the conversation, and Philip limped in.HenriettaWatkin was a stout woman, with a red face and dyed hair. Inthose days to dye the hair excited comment, and Philip had heard muchgossip at home when his godmother's changed colour. She lived with anelder sister,who had resigned herself contentedly to old age. Two ladies,whom Philip did not know, were calling, and they looked at him curiously.\"My poor child,\" said Miss Watkin, opening her arms.She began to cry. Philipunderstood now why she had not been in toluncheon and why she wore a black dress. She could not speak.\"I've got to go home,\" said Philip, at last.He disengaged himself from Miss Watkin's arms, and she kissed himagain.Then he went to her sister and bade her good-bye too. One of the strangeladies asked if she might kiss him, and he gravely gave her permission.Though crying, he keenly enjoyed the sensation he was causing;he wouldhave been glad to stay a little longer to be made much of, but felt theyexpected him to go, so he said that Emma was waiting for him. He went outof the room. Emma had gone downstairs to speak with a friendin thebasement, and he waited for her on the landing. He heard HenriettaWatkin's voice.\"His mother was my greatest friend. I can't bear to think that she'sdead.\"\"You oughtn't to have gone to the funeral, Henrietta,\"said her sister. \"Iknew it would upset you.\"Then one of the strangers spoke.\"Poor little boy, it's dreadful to think of him quite alone in the world.I see he limps.\"\"Yes, he's got a club-foot. It was such a grief to hismother.\"Then Emma came back. They called a hansom, and she told the driver whereto go.IIIWhen they reached the house Mrs. Carey had died in--it was in a dreary,respectable street between Notting Hill Gate andHigh Street,Kensington--Emma led Philip into the drawing-room. His uncle was writingletters of thanks for the wreaths which had been sent. One of them, whichhad arrived too late for the funeral, lay in its cardboardbox on thehall-table.\"Here's Master Philip,\" said Emma.Mr. Carey stood up slowly and shook hands with the little boy. Then onsecond thoughts he bent down and kissed his forehead. He was a man ofsomewhat less thanaverage height, inclined to corpulence, with his hair,worn long, arranged over the scalp so as to conceal his baldness. He wasclean-shaven. His features were regular, and it was possible to imaginethat in his youth hehad been good-looking. On his watch-chain he wore agold cross.\"You're going to live with me now, Philip,\" said Mr. Carey. \"Shall youlike that?\"Two years before Philip had been sent down to stay at the vicarage afteranattack of chicken-pox; but there remained with him a recollection of anattic and a large garden rather than of his uncle and aunt.\"Yes.\"\"You must look upon me and your Aunt Louisa as your father and mother.\"Thechild's mouth trembled a little, he reddened, but did not answer.\"Your dear mother left you in my charge.\"Mr. Carey had no great ease in expressing himself. When the news came thathis sister-in-law was dying, he setoff at once for London, but on the waythought of nothing but the disturbance in his life that would be caused ifher death forced him to undertake the care of her son. He was well overfifty, and his wife, to whom he hadbeen married for thirty years, waschildless; he did not look forward with any pleasure to the presence of asmall boy who might be noisy and rough. He had never much liked hissister-in-law.\"I'm going to take you downto Blackstable tomorrow,\" he said.\"With Emma?\"The child put his hand in hers, and she pressed it.\"I'm afraid Emma must go away,\" said Mr. Carey.\"But I want Emma to come with me.\"Philip began to cry, and thenurse could not help crying too. Mr. Careylooked at them helplessly.\"I think you'd better leave me alone with Master Philip for a moment.\"\"Very good, sir.\"Though Philip clung to her, she released herself gently. Mr.Carey tookthe boy on his knee and put his arm round him.\"You mustn't cry,\" he said. \"You're too old to have a nurse now. We mustsee about sending you to school.\"\"I want Emma to come with me,\" the childrepeated.\"It costs too much money, Philip. Your father didn't leave very much, andI don't know what's become of it. You must look at every penny you spend.\"Mr. Carey had called the day before on the family solicitor.Philip'sfather was a surgeon in good practice, and his hospital appointmentssuggested an established position; so that it was a surprise on his suddendeath from blood-poisoning to find that he had left his widow littlemorethan his life insurance and what could be got for the lease of their housein Bruton Street. This was six months ago; and Mrs. Carey, already indelicate health, finding herself with child, had lost her headandaccepted for the lease the first offer that was made. She stored herfurniture, and, at a rent which the parson thought outrageous, took afurnished house for a year, so that she might suffer from no inconveniencetillher child was born. But she had never been used to the management ofmoney, and was unable to adapt her expenditure to her alteredcircumstances. The little she had slipped through her fingers in one wayandanother, so that now, when all expenses were paid, not much more thantwo thousand pounds remained to support the boy till he was able to earnhis own living. It was impossible to explain all this to Philip and hewassobbing still.\"You'd better go to Emma,\" Mr. Carey said, feeling that she could consolethe child better than anyone.Without a word Philip slipped off his uncle's knee, but Mr. Carey stoppedhim.\"We must gotomorrow, because on Saturday I've got to prepare my sermon,and you must tell Emma to get your things ready today. You can bring allyour toys. And if you want anything to remember your father and mother byyoucan take one thing for each of them. Everything else is going to besold.\"The boy slipped out of the room. Mr. Carey was unused to work, and heturned to his correspondence with resentment. On one side of the deskwasa bundle of bills, and these filled him with irritation. One especiallyseemed preposterous. Immediately after Mrs. Carey's death Emma had orderedfrom the florist masses of white flowers for the room in which thedeadwoman lay. It was sheer waste of money. Emma took far too much uponherself. Even if there had been no financial necessity, he would havedismissed her.But Philip went to her, and hid his face in her bosom, andwept as thoughhis heart would break. And she, feeling that he was almost her ownson--she had taken him when he was a month old--consoled him with softwords. She promised that she would come and see himsometimes, and thatshe would never forget him; and she told him about the country he wasgoing to and about her own home in Devonshire--her father kept a turnpikeon the high-road that led to Exeter, and therewere pigs in the sty, andthere was a cow, and the cow had just had a calf--till Philip forgot histears and grew excited at the thought of his approaching journey.Presently she put him down, for there was much to bedone, and he helpedher to lay out his clothes on the bed. She sent him into the nursery togather up his toys, and in a little while he was playing happily.But at last he grew tired of being alone and went back to thebed-room, inwhich Emma was now putting his things into a big tin box; he rememberedthen that his uncle had said he might take something to remember hisfather and mother by. He told Emma and asked her what heshould take.\"You'd better go into the drawing-room and see what you fancy.\"\"Uncle William's there.\"\"Never mind that. They're your own things now.\"Philip went downstairs slowly and found the door open. Mr. Careyhad leftthe room. Philip walked slowly round. They had been in the house so shorta time that there was little in it that had a particular interest to him.It was a stranger's room, and Philip saw nothing that struck hisfancy.But he knew which were his mother's things and which belonged to thelandlord, and presently fixed on a little clock that he had once heard hismother say she liked. With this he walked again ratherdisconsolatelyupstairs. Outside the door of his mother's bed-room he stopped andlistened. Though no one had told him not to go in, he had a feeling thatit would be wrong to do so; he was a little frightened, and hisheart beatuncomfortably; but at the same time something impelled him to turn thehandle. He turned it very gently, as if to prevent anyone within fromhearing, and then slowly pushed the door open. He stood on thethresholdfor a moment before he had the courage to enter. He was not frightenednow, but it seemed strange. He closed the door behind him. The blinds weredrawn, and the room, in the cold light of a Januaryafternoon, was dark.On the dressing-table were Mrs. Carey's brushes and the hand mirror. In alittle tray were hairpins. There was a photograph of himself on thechimney-piece and one of his father. He had often beenin the room whenhis mother was not in it, but now it seemed different. There was somethingcurious in the look of the chairs. The bed was made as though someone weregoing to sleep in it that night, and in a case onthe pillow was anight-dress.Philip opened a large cupboard filled with dresses and, stepping in, tookas many of them as he could in his arms and buried his face in them. Theysmelt of the scent his mother used. Then hepulled open the drawers,filled with his mother's things, and looked at them: there were lavenderbags among the linen, and their scent was fresh and pleasant. Thestrangeness of the room left it, and it seemed to himthat his mother hadjust gone out for a walk. She would be in presently and would comeupstairs to have nursery tea with him. And he seemed to feel her kiss onhis lips.It was not true that he would never see her again.It was not true simplybecause it was impossible. He climbed up on the bed and put his head onthe pillow. He lay there quite still.IVPhilip parted from Emma with tears, but the journey to Blackstable amusedhim, and,when they arrived, he was resigned and cheerful. Blackstable wassixty miles from London. Giving their luggage to a porter, Mr. Carey setout to walk with Philip to the vicarage; it took them little more thanfive minutes,and, when they reached it, Philip suddenly remembered thegate. It was red and five-barred: it swung both ways on easy hinges; andit was possible, though forbidden, to swing backwards and forwards on it.Theywalked through the garden to the front-door. This was only used byvisitors and on Sundays, and on special occasions, as when the Vicar wentup to London or came back. The traffic of the house took place throughaside-door, and there was a back door as well for the gardener and forbeggars and tramps. It was a fairly large house of yellow brick, with ared roof, built about five and twenty years before in an ecclesiasticalstyle. Thefront-door was like a church porch, and the drawing-roomwindows were gothic.Mrs. Carey, knowing by what train they were coming, waited in thedrawing-room and listened for the click of the gate. When she heard itshewent to the door.\"There's Aunt Louisa,\" said Mr. Carey, when he saw her. \"Run and give hera kiss.\"Philip started to run, awkwardly, trailing his club-foot, and thenstopped. Mrs. Carey was a little, shrivelled woman ofthe same age as herhusband, with a face extraordinarily filled with deep wrinkles, and paleblue eyes. Her gray hair was arranged in ringlets according to the fashionof her youth. She wore a black dress, and her onlyornament was a goldchain, from which hung a cross. She had a shy manner and a gentle voice.\"Did you walk, William?\" she said, almost reproachfully, as she kissed herhusband.\"I didn't think of it,\" he answered, with aglance at his nephew.\"It didn't hurt you to walk, Philip, did it?\" she asked the child.\"No. I always walk.\"He was a little surprised at their conversation. Aunt Louisa told him tocome in, and they entered the hall. It waspaved with red and yellowtiles, on which alternately were a Greek Cross and the Lamb of God. Animposing staircase led out of the hall. It was of polished pine, with apeculiar smell, and had been put in becausefortunately, when the churchwas reseated, enough wood remained over. The balusters were decorated withemblems of the Four Evangelists.\"I've had the stove lighted as I thought you'd be cold after yourjourney,\" saidMrs. Carey.It was a large black stove that stood in the hall and was only lighted ifthe weather was very bad and the Vicar had a cold. It was not lighted ifMrs. Carey had a cold. Coal was expensive. Besides, Mary Ann,the maid,didn't like fires all over the place. If they wanted all them fires theymust keep a second girl. In the winter Mr. and Mrs. Carey lived in thedining-room so that one fire should do, and in the summer they couldnotget out of the habit, so the drawing-room was used only by Mr. Carey onSunday afternoons for his nap. But every Saturday he had a fire in thestudy so that he could write his sermon.Aunt Louisa took Philip upstairsand showed him into a tiny bed-room thatlooked out on the drive. Immediately in front of the window was a largetree, which Philip remembered now because the branches were so low that itwas possible to climb quitehigh up it.\"A small room for a small boy,\" said Mrs. Carey. \"You won't be frightenedat sleeping alone?\"\"Oh, no.\"On his first visit to the vicarage he had come with his nurse, and Mrs.Carey had had little to do with him.She looked at him now with someuncertainty.\"Can you wash your own hands, or shall I wash them for you?\"\"I can wash myself,\" he answered firmly.\"Well, I shall look at them when you come down to tea,\" said Mrs.Carey.She knew nothing about children. After it was settled that Philip shouldcome down to Blackstable, Mrs. Carey had thought much how she should treathim; she was anxious to do her duty; but now he was thereshe foundherself just as shy of him as he was of her. She hoped he would not benoisy and rough, because her husband did not like rough and noisy boys.Mrs. Carey made an excuse to leave Philip alone, but in a"}
+{"doc_id":"doc_86","qid":"","text":"<html><head><title>Pitch Black Script at IMSDb.</title><meta name=\"description\" content=\"Pitch Black script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Pitch Black script, PitchBlack movie script, Pitch Black film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\"rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><html><head>   <title>\"Pitch Black\", shooting draft, revised by David Twohy</title></head><bodybgcolor=\"#FFFFFF\">   <pre>                           <b><u>PITCH BLACK</u>                           Screenplay                               by                           David Twohy</b>               Based on material by Ken and JimWheat                                             <u>Revised First Draft</u><b>                                             3/3/98</b><b>     NOTE: THE HARD COPY OF THIS SCRIPT CONTAINED SCENE NUMBERS</b><b>     AND SOME\"OMITTED\" SLUGS. THEY HAVE BEEN REMOVED FOR THIS</b><b>     SOFT COPY.</b><b>     NOTE ALSO: THE HARD COPY OF THIS SCRIPT WAS IN THE NON-</b><b>     PREFORMAT FONT \"TIMES NEW ROMAN\".THIS HAS BEEN CHANGED</b><b>     TO PREFORMATTED TEXT FOR THIS SOFT COPY.</b>Though mentioned often in the script, the creatures in PITCH BLACK are seldom seen at length; rather, they are glimpsed,they are heard, they are felt. They are, really, the embodiment of your nocturnal fears: A howling coyote that jars you awake; the painting on the wall that comes to lifewhen stared at too long...the sway of your bedjust before the earthquake hits. Chimera of the night. The point is made so the reader appreciatesthat the focus of the finished film will not be on what the creatures do, but on what the creatures do to reveal the innernature of the characters. For PITCH BLACK is, at its heart, a story of humanity and courage -- and lack of the same.                                                       David Twohy<b>     CUT IN:</b><b>     INT. MAINCABIN</b>     A CRYO-LOCKER BLOWS OPEN, spitting out...     CAROLYN FRY. She hits the deck of the main cabin: Four crew     lockers in a forward section, countless more in back. But the     deck is canted at a sickangle and ALARMS SCREAM everywhere:     The world is dying around her.     Legs wobbly, shivering like a flu victim, Fry stumbles to the     next forward locker. It's riddled with holes. One DEAD CREWIE     is seenthrough fractured plexi, body pocked and bloodied. But     in the next cryo-locked...     The CAPTAIN is struggling awake. Fry's face floods with relief.     Slapping anintercom:<b>                              FRY</b>               Hear me? Cap'n? Some kinda compromise to               the hull...holding for now, but...Goddamn,               I'm glad you're alive. Gotta pullyour               E-release...no, red handle, red handle.               I'll get the warm-ups out while --     PHFUT-PHFUT-PHFUT-PHFUT: <u>Particles bore through the cabin</u>,     blasting open the captain's chest,shattering plexi, DETONATING     INSTRUMENTS on the opposite wall and leaving CONTRAILS     HISSING in the air.     Fry lands on her ass, horrified. Suddenly...     Another LOCKER BLOWS OPEN. A body falls right ontop of Fry --     but this one's still alive. Disoriented, frantic:<b>                              OWENS</b>               Why did I fall on you?<b>                              FRY</b>               He's dead. Cap'n's dead. Christ, Iwas               looking right at him when --<b>                              OWENS</b>               I mean, I mean, chrono shows we're 22               weeks out, so gravity wasn't supposed to               kick in for another 19. Imean, I mean,               I mean, why did I fall <u>at all</u>?<b>                              FRY</b>               You hear me? Captain's dead. Owens too.<b>                              OWENS</b>               Oh, no. Not Owens,not.... Wai', wai',               wait. <u>I'm Owens</u>. Right?     They swap nightmare looks, momentarily unsure of their own     identities.<b>                              FRY</b>               Cryo-sleep. Swear to God, itsloughs               brain cells.<b>     INT. NAV-BAY - MAIN CABIN</b>     They stumble into nav-bay. ALARMS CONTINUE. Fry grabs warm-up     suits out of storage, pitches one to Owens, checks herscreens.<b>                              FRY</b>               1550 millibars, dropping 20 MB per minute,               shit, we're hemorrhaging air. <u>Somethin'</u>               took a swipe atus.<b>                              OWENS</b>               Just tell me we're still in the shipping               lane. Just show me all those stars, all               those bright, beautiful, deep-space....     Owens activates an exteriorview: <u>A planet rushes up at us</u>.     <u>That's</u> why they have gravity.<b>                              FRY</b>               Jesus God....<b>     EXT. SHIP - PLANET'S ATMOSPHERE - DAY</b>     The SHIP PLOWSthrough the upper atmosphere, antennae pylons     already disintegrating.<b>     INT. PASSAGE TO FLIGHT DECK</b>     Heart battering her ribs, Fry runs forward, using hand-holds to     steady herself. Over aheadset:<b>                              OWENS (V.O.)</b>               They trained you for this, right? Fry?<b>               FRY?</b>     She doesn't answer.<b>     INT. FLIGHT DECK - DAY</b>     Fry harnesses in, startsrunning switches -- but fumbles a few     times, making mental errors. Finally she gets crash-shutters     open to reveal...     CLOUD STRATA sweeping up past the windscreen like floor-lights     on a dropping elevator.We're shedding <u>big</u> altitude.<b>     INT. NAV-BAY - MAIN CABIN</b><b>                              OWENS</b>               ... crisis program selected Number Two of               this system because it shows at least<u>some</u>               oxygen and more than 1,500 -- would you<b>               SHUT THE FUCK UP!</b>                         (hammers a button,<b>                          SILENCES ALARMS)</b>               -- more than1,500-millibars of pressure               at surface-level. Okay, so maybe the ship               did something right for a change....<b>     INT. FLIGHT DECK - DAY</b>     As Fry runs more switches.<b>     INT. SHIP -DAY</b>     As JETTISON DOORS CLOSE around the ship.<b>     INT. FLIGHT DECK - DAY</b>     As Fry flips up a security-latch -- and thumbs the switch below.<b>     EXT. SHIP - PLANET'S ATMOSPHERE -DAY</b>     MULTIPLE SHOTS: EXPLOSIVE BOLTS RAPID-FIRE around the ship's     skin, blowing away non-essentials that hinder aerodynamics --     including big deep-space drives. But this last separation puts     theship into a dangerous roll.<b>     INT. FLIGHT DECK - DAY</b>     Out the windscreen, cloud strata roll vertiginously. Fry throws     actuators...<b>     EXT. SHIP - PLANET'S ATMOSPHERE - DAY</b>     And airbrakesdeploy. She manages to kill the roll. But the     ship's still coming in nose-high.<b>     INT. NAV-BAY - MAIN CABIN</b><b>                              OWENS</b>               ...showing no major waterbodies...maximum               terrain, 220 meters over mean surface...               largely cinder and gypsum with some               evaporite deposits....     JETTISON DOORS CLOSE behind Owens, segregating him fromthe     passenger compartment. It scares him for a <u>new</u> reason.<b>                              OWENS</b>               Fry? What're you doing?<b>     INT. FLIGHT DECK - DAY</b>     Fry flips up a newsecurity-latch. INTERCUTTING:<b>                              OWENS</b>               Fry?<b>                              FRY</b>               Can't get my nose down...too much load               backthere....<b>                              OWENS</b>               You mean that \"load\" of passengers?<b>                              FRY</b>               So what, we should both go down too?               Out of sheer fuckingnobility?     Tortured silence. Fry's thumb moves to the switch that will     jettison the passenger cabin. Jettison 50 people.<b>     INT. MAIN CABIN</b>     SELECTED SHOTS of faces inside cryo-lockers, among themJOHNS.     He's prime-of-life, badge on display, some kind of cop. Shaken     awake, he clears condensation to check the locker directly across     from his, finding...     RIDDICK. Small black goggles hide his eyes. Ametal bit wedged     in his mouth lends a perpetual grimace. A read-out admonishes<b>     \"LOCK-OUT PROTOCOL IN EFFECT. ABSOLUTELY NO EARLY</b><b>     RELEASE.\"</b><b>     INT. FLIGHT DECK -DAY</b><b>                              OWENS</b>               Look, Fry. Company says we're responsible               for every one of those --<b>                              FRY</b>               Company's not here, isit?<b>                              OWENS</b>               When captain went down, you stepped up --               whether you like it or not. Now they               train you for this, so--<b>                              FRY</b>               And there wasn't a simulated cockroach               alive within 50 clicks of the simulated               crash site! <u>That's</u> how they train you!               On a fuckingsimulator!     Owens unbuckles from his chair.<b>                              OWENS</b>               Don't touch that switch!     Overcome by guilt, Fry retracts her thumb of mass destruction.     But a HUGE JOLT puts thethumb right back.<b>                              FRY</b>               I'm not dying for them.     <u>She pushes it</u>. But this time...<b>     EXT. SHIP - PLANET'S ATMOSPHERE - DAY</b>     No bolts fire. Nothingseparates from the SHIP THAT SCREAMS DOWN     through the clouds.<b>     INT. NAV-BAY - MAIN CABIN</b>     Now we see why: Owens reopened the jettison doors locally -- and     <u>blocked</u> themopen.<b>                              FRY</b>               Owens!<b>                              OWENS</b>               70 seconds! You still got 70 seconds to               level this beast out!<b>     INT. FLIGHT DECK -DAY</b>     Seething anger and guilt, Fry pops more airbrakes, shedding more     speed, more heat. The ship <u>does</u> level -- but it's still being     pounded hellishly. She tries to get a stable view out...     Thewindscreen. We're breaking through cloud-bottoms. There's     just a glimpse of landscape before...<b>     EXT. SHIP - PLANET'S ATMOSPHERE - DAY</b>     <u>An airbrake fails</u>. It shears off and pinwheelsinto...<b>     INT. FLIGHT DECK - DAY</b>     The windscreen. <u>It cracks into a thousand spiderwebs</u> -- but     impossibly it holds. For now.<b>                              OWENS (V.O.)</b>               What the shitwas that?     Sunlight flares from every fractured edge: It's like looking     into burning diamonds, and Fry can only get an impression     of the outside world. Now she has to rely on...     A ground-mapping display. 120meters altitude. And dropping.<b>     INT. CRYO-LOCKER - DAY</b>     INTERCUT Johns. Realizing he's in some kind of shit-storm, he     claws at safety restraints.<b>     INT. FLIGHT DECK -DAY</b>     Ground-mapper: 60 meters. COLLISION ALARMS kick in.     Out the fractured windscreen, we see a huge dark mass rise up     into view. <u>Land</u>.     40 meters...30...20...10....     Frybraces.     IMPACT. The WINDSCREENS IMPLODE. AIR HURRICANES in.<b>     INT. NAV-BAY - MAIN CABIN</b>     IMPACT. Chairs rip from their moorings. Strapped into one,     Owens slams into theceiling.<b>     INT. MAIN CABIN - DAY</b>     IMPACT. Johns BLOWS OUT of his locker -- and wishes to God he     would've stayed inside, because just beside him...     <u>The hull is crackingopen</u>.     NIGHTMARE SHOT: A huge section of the cabin tears free...     skitters and CRASHES along the planetfloor behind us...and     disintegrates out of sight. 40 cryo-lockers vanished with it.     40"}
+{"doc_id":"doc_87","qid":"","text":"The Project Gutenberg EBook of Of The Nature of Things, by [Titus Lucretius Carus] LucretiusThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, giveit away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: Of The Nature of ThingsAuthor: [Titus Lucretius Carus] LucretiusTranslator: WilliamEllery LeonardPosting Date: July 31, 2008 [EBook #785]Release Date: January, 1997Language: English*** START OF THIS PROJECT GUTENBERG EBOOK OF THE NATURE OF THINGS ***Produced by Levent KurnazOFTHE NATURE OF THINGSBy Titus Lucretius CarusA Metrical TranslationBy William Ellery LeonardBOOK IPROEM     Mother of Rome, delight of Gods and men,     Dear Venus that beneath the gliding stars     Makest toteem the many-voyaged main     And fruitful lands--for all of living things     Through thee alone are evermore conceived,     Through thee are risen to visit the great sun--     Before thee, Goddess, and thy comingon,     Flee stormy wind and massy cloud away,     For thee the daedal Earth bears scented flowers,     For thee waters of the unvexed deep     Smile, and the hollows of the serene sky     Glow with diffused radiance forthee!     For soon as comes the springtime face of day,     And procreant gales blow from the West unbarred,     First fowls of air, smit to the heart by thee,     Foretoken thy approach, O thou Divine,     And leap the wildherds round the happy fields     Or swim the bounding torrents. Thus amain,     Seized with the spell, all creatures follow thee     Whithersoever thou walkest forth to lead,     And thence through seas and mountains andswift streams,     Through leafy homes of birds and greening plains,     Kindling the lure of love in every breast,     Thou bringest the eternal generations forth,     Kind after kind. And since 'tis thou alone     Guidest theCosmos, and without thee naught     Is risen to reach the shining shores of light,     Nor aught of joyful or of lovely born,     Thee do I crave co-partner in that verse     Which I presume on Nature to compose     ForMemmius mine, whom thou hast willed to be     Peerless in every grace at every hour--     Wherefore indeed, Divine one, give my words     Immortal charm. Lull to a timely rest     O'er sea and land the savage works ofwar,     For thou alone hast power with public peace     To aid mortality; since he who rules     The savage works of battle, puissant Mars,     How often to thy bosom flings his strength     O'ermastered by the eternalwound of love--     And there, with eyes and full throat backward thrown,     Gazing, my Goddess, open-mouthed at thee,     Pastures on love his greedy sight, his breath     Hanging upon thy lips. Him thusreclined     Fill with thy holy body, round, above!     Pour from those lips soft syllables to win     Peace for the Romans, glorious Lady, peace!     For in a season troublous to the state     Neither may I attend this task ofmine     With thought untroubled, nor mid such events     The illustrious scion of the Memmian house     Neglect the civic cause.                            Whilst human kind     Throughout the lands lay miserablycrushed     Before all eyes beneath Religion--who     Would show her head along the region skies,     Glowering on mortals with her hideous face--     A Greek it was who first opposing dared     Raise mortal eyes thatterror to withstand,     Whom nor the fame of Gods nor lightning's stroke     Nor threatening thunder of the ominous sky     Abashed; but rather chafed to angry zest     His dauntless heart to be the first to rend     Thecrossbars at the gates of Nature old.     And thus his will and hardy wisdom won;     And forward thus he fared afar, beyond     The flaming ramparts of the world, until     He wandered the unmeasurable All.     Whencehe to us, a conqueror, reports     What things can rise to being, what cannot,     And by what law to each its scope prescribed,     Its boundary stone that clings so deep in Time.     Wherefore Religion now is underfoot,     And us his victory now exalts to heaven.     I know how hard it is in Latian verse     To tell the dark discoveries of the Greeks,     Chiefly because our pauper-speech must find     Strange terms to fit thestrangeness of the thing;     Yet worth of thine and the expected joy     Of thy sweet friendship do persuade me on     To bear all toil and wake the clear nights through,     Seeking with what of words and what ofsong     I may at last most gloriously uncloud     For thee the light beyond, wherewith to view     The core of being at the centre hid.     And for the rest, summon to judgments true,     Unbusied ears and singleness ofmind     Withdrawn from cares; lest these my gifts, arranged     For thee with eager service, thou disdain     Before thou comprehendest: since for thee     I prove the supreme law of Gods and sky,     And the primordialgerms of things unfold,     Whence Nature all creates, and multiplies     And fosters all, and whither she resolves     Each in the end when each is overthrown.     This ultimate stock we have devised to name     Procreantatoms, matter, seeds of things,     Or primal bodies, as primal to the world.     I fear perhaps thou deemest that we fare     An impious road to realms of thought profane;     But 'tis that same religion oftener far     Hathbred the foul impieties of men:     As once at Aulis, the elected chiefs,     Foremost of heroes, Danaan counsellors,     Defiled Diana's altar, virgin queen,     With Agamemnon's daughter, foully slain.     She felt thechaplet round her maiden locks     And fillets, fluttering down on either cheek,     And at the altar marked her grieving sire,     The priests beside him who concealed the knife,     And all the folk in tears at sight ofher.     With a dumb terror and a sinking knee     She dropped; nor might avail her now that first     'Twas she who gave the king a father's name.     They raised her up, they bore the trembling girl     On to thealtar--hither led not now     With solemn rites and hymeneal choir,     But sinless woman, sinfully foredone,     A parent felled her on her bridal day,     Making his child a sacrificial beast     To give the ships auspiciouswinds for Troy:     Such are the crimes to which Religion leads.     And there shall come the time when even thou,     Forced by the soothsayer's terror-tales, shalt seek     To break from us. Ah, many a dream evennow     Can they concoct to rout thy plans of life,     And trouble all thy fortunes with base fears.     I own with reason: for, if men but knew     Some fixed end to ills, they would be strong     By some deviceunconquered to withstand     Religions and the menacings of seers.     But now nor skill nor instrument is theirs,     Since men must dread eternal pains in death.     For what the soul may be they do notknow,     Whether 'tis born, or enter in at birth,     And whether, snatched by death, it die with us,     Or visit the shadows and the vasty caves     Of Orcus, or by some divine decree     Enter the brute herds, as ourEnnius sang,     Who first from lovely Helicon brought down     A laurel wreath of bright perennial leaves,     Renowned forever among the Italian clans.     Yet Ennius too in everlasting verse     Proclaims those vaults ofAcheron to be,     Though thence, he said, nor souls nor bodies fare,     But only phantom figures, strangely wan,     And tells how once from out those regions rose     Old Homer's ghost to him and shed salttears     And with his words unfolded Nature's source.     Then be it ours with steady mind to clasp     The purport of the skies--the law behind     The wandering courses of the sun and moon;     To scan the powers thatspeed all life below;     But most to see with reasonable eyes     Of what the mind, of what the soul is made,     And what it is so terrible that breaks     On us asleep, or waking in disease,     Until we seem to mark andhear at hand     Dead men whose bones earth bosomed long ago.SUBSTANCE IS ETERNAL     This terror, then, this darkness of the mind,     Not sunrise with its flaring spokes of light,     Nor glittering arrows of morningcan disperse,     But only Nature's aspect and her law,     Which, teaching us, hath this exordium:     Nothing from nothing ever yet was born.     Fear holds dominion over mortality     Only because, seeing in land andsky     So much the cause whereof no wise they know,     Men think Divinities are working there.     Meantime, when once we know from nothing still     Nothing can be create, we shall divine     More clearly what weseek: those elements     From which alone all things created are,     And how accomplished by no tool of Gods.     Suppose all sprang from all things: any kind     Might take its origin from any thing,     No fixed seedrequired. Men from the sea     Might rise, and from the land the scaly breed,     And, fowl full fledged come bursting from the sky;     The horned cattle, the herds and all the wild     Would haunt with varying offspringtilth and waste;     Nor would the same fruits keep their olden trees,     But each might grow from any stock or limb     By chance and change. Indeed, and were there not     For each its procreant atoms, could thingshave     Each its unalterable mother old?     But, since produced from fixed seeds are all,     Each birth goes forth upon the shores of light     From its own stuff, from its own primal bodies.     And all from all cannotbecome, because     In each resides a secret power its own.     Again, why see we lavished o'er the lands     At spring the rose, at summer heat the corn,     The vines that mellow when the autumn lures,     If notbecause the fixed seeds of things     At their own season must together stream,     And new creations only be revealed     When the due times arrive and pregnant earth     Safely may give unto the shores of light     Hertender progenies? But if from naught     Were their becoming, they would spring abroad     Suddenly, unforeseen, in alien months,     With no primordial germs, to be preserved     From procreant unions at an adversehour.     Nor on the mingling of the living seeds     Would space be needed for the growth of things     Were life an increment of nothing: then     The tiny babe forthwith would walk a man,     And from the turf wouldleap a branching tree--     Wonders unheard of; for, by Nature, each     Slowly increases from its lawful seed,     And through that increase shall conserve its kind.     Whence take the proof that things enlarge andfeed     From out their proper matter. Thus it comes     That earth, without her seasons of fixed rains,     Could bear no produce such as makes us glad,     And whatsoever lives, if shut from food,     Prolongs its kindand guards its life no more.     Thus easier 'tis to hold that many things     Have primal bodies in common (as we see     The single letters common to many words)     Than aught exists without its origins.     Moreover,why should Nature not prepare     Men of a bulk to ford the seas afoot,     Or rend the mighty mountains with their hands,     Or conquer Time with length of days, if not     Because for all begotten things abides     Thechangeless stuff, and what from that may spring     Is fixed forevermore? Lastly we see     How far the tilled surpass the fields untilled     And to the labour of our hands return     Their more abounding crops; there areindeed     Within the earth primordial germs of things,     Which, as the ploughshare turns the fruitful clods     And kneads the mould, we quicken into birth.     Else would ye mark, without all toil of ours,     Spontaneousgenerations, fairer forms.     Confess then, naught from nothing can become,     Since all must have their seeds, wherefrom to grow,     Wherefrom to reach the gentle fields of air.     Hence too it comes that Nature alldissolves     Into their primal bodies again, and naught     Perishes ever to annihilation.     For, were aught mortal in its every part,     Before our eyes it might be snatched away     Unto destruction; since no force wereneeded     To sunder its members and undo its bands.     Whereas, of truth, because all things exist,     With seed imperishable, Nature allows     Destruction nor collapse of aught, until     Some outward force mayshatter by a blow,     Or inward craft, entering its hollow cells,     Dissolve it down. And more than this, if Time,     That wastes with eld the works along the world,     Destroy entire, consuming matter all,     Whencethen may Venus back to light of life     Restore the generations kind by kind?     Or how, when thus restored, may daedal Earth     Foster and plenish with her ancient food,     Which, kind by kind, she offers untoeach?     Whence may the water-springs, beneath the sea,     Or inland rivers, far and wide away,     Keep the unfathomable ocean full?     And out of what does Ether feed the stars?     For lapsed years and infinite agemust else     Have eat all shapes of mortal stock away:     But be it the Long Ago contained those germs,     By which this sum of things recruited lives,     Those same infallibly can never die,     Nor nothing to nothingevermore return.     And, too, the selfsame power might end alike     All things, were they not still together held     By matter eternal, shackled through its parts,     Now more, now less. A touch might be enough     Tocause destruction. For the slightest force     Would loose the weft of things wherein no part     Were of imperishable stock. But now     Because the fastenings of primordial parts     Are put together diversely andstuff     Is everlasting, things abide the same     Unhurt and sure, until some power comes on     Strong to destroy the warp and woof of each:     Nothing returns to naught; but all return     At their collapse to primalforms of stuff.     Lo, the rains perish which Ether-father throws     Down to the bosom of Earth-mother; but then     Upsprings the shining grain, and boughs are green     Amid the trees, and trees themselves waxbig     And lade themselves with fruits; and hence in turn     The race of man and all the wild are fed;     Hence joyful cities thrive with boys and girls;     And leafy woodlands echo with new birds;     Hence cattle, fatand drowsy, lay their bulk     Along the joyous pastures whilst the drops     Of white ooze trickle from distended bags;     Hence the young scamper on their weakling joints     Along the tender herbs, fresh heartsafrisk     With warm new milk. Thus naught of what so seems     Perishes utterly, since Nature ever     Upbuilds one thing from other, suffering naught     To come to birth but through some other'sdeath.     *****     And now, since I have taught that things cannot     Be born from nothing, nor the same, when born,     To nothing be recalled, doubt not my words,     Because our eyes no primal germsperceive;     For mark those bodies which, though known to be     In this our world, are yet invisible:     The winds infuriate lash our face and frame,     Unseen, and swamp huge ships and rend the clouds,     Or,eddying wildly down, bestrew the plains     With mighty trees, or scour the mountain tops     With forest-crackling blasts. Thus on they rave     With uproar shrill and ominous moan. The winds,     'Tis clear, are sightlessbodies sweeping through     The sea, the lands, the clouds along the sky,     Vexing and whirling and seizing all amain;     And forth they flow and pile destruction round,     Even as the water's soft and supplebulk     Becoming a river of abounding floods,     Which a wide downpour from the lofty hills     Swells with big showers, dashes headlong down     Fragments of woodland and whole branching trees;     Nor can the solidbridges bide the shock     As on the waters whelm: the turbulent stream,     Strong with a hundred rains, beats round the piers,     Crashes with havoc, and rolls beneath its waves     Down-toppled masonry andponderous stone,     Hurling away whatever would oppose.     Even so must move the blasts of all the winds,     Which, when they spread, like to a mighty flood,     Hither or thither, drive things on before     And hurl toground with still renewed assault,     Or sometimes in their circling vortex seize     And bear in cones of whirlwind down the world:     The winds are sightless bodies and naught else--     Since both in works and waysthey rival well     The mighty rivers, the visible in form.     Then too we know the varied smells of things     Yet never to our nostrils see them come;     With eyes we view not burning heats, nor cold,     Nor are we wontmen's voices to behold.     Yet these must be corporeal at the base,     Since thus they smite the senses: naught there is     Save body, having property of touch.     And raiment, hung by surf-beat shore, growsmoist,     The same, spread out before the sun, will dry;     Yet no one saw how sank the moisture in,     Nor how by heat off-driven. Thus we know,     That moisture is dispersed about in bits     Too small for eyes tosee. Another case:     A ring upon the finger thins away     Along the under side, with years and suns;     The drippings from the eaves will scoop the stone;     The hooked ploughshare, though of iron, wastes     Amidthe fields insidiously. We view     The rock-paved highways worn by many feet;     And at the gates the brazen statues show     Their right hands leaner from the frequent touch     Of wayfarers innumerable whogreet.     We see how wearing-down hath minished these,     But just what motes depart at any time,     The envious nature of vision bars our sight.     Lastly whatever days and nature add     Little by little, constrainingthings to grow     In due proportion, no gaze however keen     Of these our eyes hath watched and known. No more     Can we observe what's lost at any time,     When things wax old with eld and foul decay,     Orwhen salt seas eat under beetling crags.     Thus Nature ever by unseen bodies works.THE VOID     But yet creation's neither crammed nor blocked     About by body: there's in things a void--     Which to have knownwill serve thee many a turn,     Nor will not leave thee wandering in doubt,     Forever searching in the sum of all,     And losing faith in these pronouncements mine.     There's place intangible, a void and room.     Forwere it not, things could in nowise move;     Since body's property to block and check     Would work on all and at an times the same.     Thus naught could evermore push forth and go,     Since naught elsewhere wouldyield a starting place.     But now through oceans, lands, and heights of heaven,     By divers causes and in divers modes,     Before our eyes we mark how much may move,     Which, finding not a void, would faildeprived     Of stir and motion; nay, would then have been     Nowise begot at all, since matter, then,     Had staid at rest, its parts together crammed.     Then too, however solid objects seem,     They yet are formedof matter mixed with void:     In rocks and caves the watery moisture seeps,     And beady drops stand out like plenteous tears;     And food finds way through every frame that lives;     The trees increase and yield theseason's fruit     Because their food throughout the whole is poured,     Even from the deepest roots, through trunks and boughs;     And voices pass the solid walls and fly     Reverberant through shut doorways of ahouse;     And stiffening frost seeps inward to our bones.     Which but for voids for bodies to go through     'Tis clear could happen in nowise at all.     Again, why see we among objects some     Of heavier weight, but ofno bulkier size?     Indeed, if in a ball of wool there be     As much of body as in lump of lead,     The two should weigh alike, since body tends     To load things downward, while the void abides,     By contrary nature,the imponderable.     Therefore, an object just as large but lighter     Declares infallibly its more of void;     Even as the heavier more of matter shows,     And how much less of vacant room inside.     That which we'reseeking with sagacious quest     Exists, infallibly, commixed with things--     The void, the invisible inane.                                  Right here     I am compelled a question to expound,     Forestalling something certainfolk suppose,     Lest it avail to lead thee off from truth:     Waters (they say) before the shining breed     Of the swift scaly creatures somehow give,     And straightway open sudden liquid paths,     Because the fishesleave behind them room     To which at once the yielding billows stream.     Thus things among themselves can yet be moved,     And change their place, however full the Sum--     Received opinion, wholly falseforsooth.     For where can scaly creatures forward dart,     Save where the waters give them room? Again,     Where can the billows yield a way, so long     As ever the fish are powerless to go?     Thus either all bodiesof motion are deprived,     Or things contain admixture of a void     Where each thing gets its start in moving on.     Lastly, where after impact two broad bodies     Suddenly spring apart, the air must crowd     Thewhole new void between those bodies formed;     But air, however it stream with hastening gusts,     Can yet not fill the gap at once--for first     It makes for one place, ere diffused through all.     And then, if haply any"}
+{"doc_id":"doc_88","qid":"","text":"The Project Gutenberg eBook, The Art of War, by Sun TzuThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it under the termsof the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: The Art of WarAuthor: Sun TzuTranslator: Lionel GilesRelease Date: May 1994  [eBook #132][Last updated: January 14,2012]Language: EnglishCharacter set encoding: ISO-646-US (US-ASCII)***START OF THE PROJECT GUTENBERG EBOOK THE ART OF WAR ***Note: Please see Project Gutenberg's eBook #17405 for a version ofthiseBook without the Giles commentary (that is, with only theSun Tzu text).                    SUN TZU ON THE ART OF WAR            THE OLDEST MILITARY TREATISE IN THE WORLD          Translated from the Chinese withIntroduction                       and Critical Notes                               BY                       LIONEL GILES, M.A. Assistant in the Department of Oriental Printed Books and MSS.                      in the BritishMuseum                     First Published in 1910-----------------------------------------------------------------                          To my brother                  Captain Valentine Giles, R.G.                        in the hopethat                      a work 2400 years old           may yet contain lessons worth consideration                     by the soldier of today                        this translation                  is affectionatelydedicated.-----------------------------------------------------------------Preface to the Project Gutenberg Etext--------------------------------------     When Lionel Giles began his translation of Sun Tzu's ART OFWAR, thework was virtually unknown in Europe.  Its introductionto Europe began in 1782 when a French Jesuit Father living inChina, Joseph Amiot, acquired a copy of it, and translated itinto French.  It was not a good translationbecause, according toDr. Giles, \"[I]t contains a great deal that Sun Tzu did notwrite, and very little indeed of what he did.\"     The first translation into English was published in 1905 inTokyo by Capt. E. F. Calthrop,R.F.A.  However, this translationis, in the words of Dr. Giles, \"excessively bad.\"  He goesfurther in this criticism:  \"It is not merely a question ofdownright blunders, from which none can hope to be whollyexempt.Omissions were frequent; hard passages were willfully distortedor slurred over.  Such offenses are less pardonable.  They wouldnot be tolerated in any edition of a Latin or Greek classic, anda similar standard ofhonesty ought to be insisted upon intranslations from Chinese.\"  In 1908 a new edition of Capt.Calthrop's translation was published in London.  It was animprovement on the first -- omissions filled up andnumerousmistakes corrected -- but new errors were created in the process.Dr. Giles, in justifying his translation, wrote:  \"It was notundertaken out of any inflated estimate of my own powers; but Icould not help feelingthat Sun Tzu deserved a better fate thanhad befallen him, and I knew that, at any rate, I could hardlyfail to improve on the work of my predecessors.\"     Clearly, Dr. Giles' work established much of the groundworkforthe work of later translators who published their owneditions.  Of the later editions of the ART OF WAR I haveexamined;  two feature Giles' edited translation and notes,  theother two present the same basic informationfrom the ancientChinese commentators found in the Giles edition.  Of these four,Giles' 1910 edition is the most scholarly and presents the readeran incredible amount of information concerning Sun Tzu's text,muchmore than any other translation.     The Giles' edition of the ART OF WAR, as stated above, was ascholarly work.  Dr. Giles was a leading sinologue at the timeand an assistant in the Department of Oriental PrintedBooks andManuscripts in the British Museum.  Apparently he wanted toproduce a definitive edition, superior to anything else thatexisted and perhaps something that would become a standardtranslation.  It was thebest translation available for 50 years.But apparently there was not much interest in Sun Tzu in English-speaking countries since it took the start of the SecondWorld War to renew interest in his work.  Severalpeoplepublished unsatisfactory English translations of Sun Tzu.  In1944,  Dr. Giles' translation was edited and published in theUnited States in a series of military science books.  But itwasn't until 1963 that a goodEnglish translation (by Samuel B.Griffith and still in print) was published that was an equal toGiles' translation.  While this translation is more lucid thanDr. Giles' translation, it lacks his copious notes that make hissointeresting.     Dr. Giles produced a work primarily intended for scholars ofthe Chinese civilization and language.  It contains the Chinesetext of Sun Tzu, the English translation, and voluminous notesalong withnumerous footnotes.  Unfortunately, some of his notesand footnotes contain Chinese characters; some are completelyChinese.  Thus,  a conversion to a Latin alphabet etext wasdifficult.  I did the conversion in completeignorance of Chinese(except for what I learned while doing the conversion).  Thus, Ifaced the difficult task of paraphrasing it while retaining asmuch of the important text as I could.  Every paraphraserepresents a loss;thus I did what I could to retain as much ofthe text as possible.  Because the 1910 text contains a Chineseconcordance, I was able to transliterate proper names, books, andthe like at the risk of making the text moreobscure.  However,the text, on the whole, is quite satisfactory for the casualreader, a transformation made possible by conversion to an etext.However, I come away from this task with the feeling of lossbecause I knowthat someone with a background in Chinese can do abetter job than I did; any such attempt would be welcomed.                              BobSutton                              al876@cleveland.freenet.edu                              bobs@gnu.ai.mit.edu-----------------------------------------------------------------INTRODUCTIONSun Wu and hisBook-------------------     Ssu-ma Ch`ien gives the following biography of Sun Tzu:  [1]--       Sun Tzu Wu was a native of the Ch`i State.  His ART OF  WAR brought him to the notice of Ho Lu, [2] King of Wu.  Ho  Lusaid to him:  \"I have carefully perused your 13 chapters.  May I submit your theory of managing soldiers to a slight  test?\"       Sun Tzu replied:  \"You may.\"       Ho Lu asked:  \"May the test be applied towomen?\"       The answer was again in the affirmative, so arrangements  were made to bring 180 ladies out of the Palace.  Sun Tzu  divided them into two companies, and placed one of the King's  favorite concubines atthe head of each.  He then bade them  all take spears in their hands, and addressed them thus:   \"I  presume you know the difference between front and back, right  hand and left hand?\"       The girlsreplied:  Yes.       Sun Tzu went on:  \"When I say \"Eyes front,\"  you must  look straight ahead.  When I say \"Left turn,\" you must face  towards your left hand.  When I say \"Right turn,\"  you must  face towards yourright hand.  When I say \"About turn,\"  you  must face right round towards your back.\"       Again the girls assented.  The words of command having  been thus explained, he set up the halberds and battle-axes  in orderto begin the drill.  Then, to the sound of drums, he  gave the order \"Right turn.\"  But the girls only burst out  laughing.  Sun Tzu said:  \"If words of command are not clear  and distinct, if orders are not thoroughlyunderstood, then  the general is to blame.\"       So he started drilling them again, and this time gave  the order \"Left turn,\" whereupon the girls once more burst  into fits of laughter.  Sun Tzu:  \"If words of commandare  not clear and distinct, if orders are not thoroughly  understood, the general is to blame.  But if his orders ARE  clear, and the soldiers nevertheless disobey, then it is the  fault of their officers.\"       So saying, heordered the leaders of the two companies  to be beheaded.  Now the king of Wu was watching the scene  from the top of a raised pavilion; and when he saw that his  favorite concubines were about to be executed, hewas greatly  alarmed and hurriedly sent down the following message:   \"We  are now quite satisfied as to our general's ability to handle  troops.  If We are bereft of these two concubines, our meat  and drink will losetheir savor.  It is our wish that they  shall not be beheaded.\"       Sun Tzu replied:  \"Having once received His Majesty's  commission to be the general of his forces, there are certain  commands of His Majesty which,acting in that capacity, I am  unable to accept.\"       Accordingly,  he had the two leaders beheaded,  and  straightway installed the pair next in order as leaders in  their place.  When this had been done, the drum wassounded  for the drill once more; and the girls went through all the  evolutions, turning to the right or to the left, marching  ahead or wheeling back, kneeling or standing, with perfect  accuracy and precision, notventuring to utter a sound.  Then  Sun Tzu sent a messenger to the King saying:  \"Your soldiers,  Sire, are now properly drilled and disciplined, and ready for  your majesty's inspection.  They can be put to any usethat  their sovereign may desire; bid them go through fire and  water, and they will not disobey.\"       But the King replied:  \"Let our general cease drilling  and return to camp.  As for us, We have no wish to comedown  and inspect the troops.\"       Thereupon Sun Tzu said:  \"The King is only fond of  words, and cannot translate them into deeds.\"       After that, Ho Lu saw that Sun Tzu was one who knew how  to handle an army,and finally appointed him general.  In the  west, he defeated the Ch`u State and forced his way into  Ying, the capital; to the north he put fear into the States  of Ch`i and Chin, and spread his fame abroad amongstthe  feudal princes.  And Sun Tzu shared in the might of the King.     About Sun Tzu himself this is all that Ssu-ma Ch`ien has totell us in this chapter.  But he proceeds to give a biography ofhis descendant,  Sun Pin,born about a hundred years after hisfamous ancestor's death, and also the outstanding military geniusof his time.  The historian speaks of him too as Sun Tzu, and inhis preface we read:  \"Sun Tzu had his feet cut offand yetcontinued to discuss the art of war.\" [3]  It seems likely, then,that  \"Pin\" was a nickname bestowed on him after his mutilation,unless the story was invented in order to account for the name.The crowningincident of his career, the crushing defeat of histreacherous rival P`ang Chuan, will be found briefly related inChapter V. ss. 19, note.     To return to the elder Sun Tzu.  He is mentioned in twoother passages of theSHIH CHI: --       In the third year of his reign [512 B.C.] Ho Lu, king of  Wu, took the field with Tzu-hsu [i.e. Wu Yuan] and Po P`ei,  and attacked Ch`u.  He captured the town of Shu and slew the  two prince's sonswho had formerly been generals of Wu.  He  was then meditating a descent on Ying [the capital]; but the  general Sun Wu said:  \"The army is exhausted.  It is not yet  possible.  We must wait\"....  [After furthersuccessful  fighting,]  \"in the ninth year  [506 B.C.],  King Ho Lu  addressed Wu Tzu-hsu and Sun Wu, saying:   \"Formerly, you  declared that it was not yet possible for us to enter Ying.  Is the time ripe now?\"  The twomen replied:  \"Ch`u's general  Tzu-ch`ang, [4] is grasping and covetous, and the princes of  T`ang and Ts`ai both have a grudge against him.  If Your  Majesty has resolved to make a grand attack, you must win  overT`ang and Ts`ai, and then you may succeed.\"   Ho Lu  followed this advice, [beat Ch`u in five pitched battles and  marched into Ying.] [5]     This is the latest date at which anything is recorded of SunWu.  He does notappear to have survived his patron, who diedfrom the effects of a wound in 496.     In another chapter there occurs this passage:  [6]       From this time onward, a number of famous soldiers  arose, one after theother:  Kao-fan, [7] who was employed by  the Chin State; Wang-tzu, [8] in the service of Ch`i; and Sun  Wu, in the service of Wu.  These men developed and threw  light upon the principles of war.     It is obviousenough that Ssu-ma Ch`ien at least had nodoubt about the reality of Sun Wu as an historical personage; andwith one exception, to be noticed presently, he is by far themost important authority on the period inquestion.  It will notbe necessary, therefore, to say much of such a work as the WUYUEH CH`UN CH`IU, which is supposed to have been written by ChaoYeh of the 1st century A.D.  The attribution is somewhatdoubtful;but even if it were otherwise, his account would be oflittle value, based as it is on the SHIH CHI and expanded withromantic details.  The story of Sun Tzu will be found, for whatit is worth, in chapter 2.  The only newpoints in it worthnoting are:  (1)  Sun Tzu was first recommended to Ho Lu by WuTzu-hsu.  (2) He is called a native of Wu.  (3) He had previouslylived a retired life, and his contemporaries were unaware ofhisability.     The following passage occurs in the Huai-nan Tzu:   \"Whensovereign and ministers show perversity of mind, it is impossibleeven for a Sun Tzu to encounter the foe.\"  Assuming that thiswork is genuine(and hitherto no doubt has been cast upon it), wehave here the earliest direct reference for Sun Tzu, for Huai-nanTzu died in 122 B.C., many years before the SHIH CHI was given tothe world.     Liu Hsiang (80-9 B.C.)says:  \"The reason why Sun Tzu at thehead of 30,000 men beat Ch`u with 200,000 is that the latter wereundisciplined.\"     Teng Ming-shih informs us that the surname \"Sun\" wasbestowed on Sun Wu's grandfather byDuke Ching of Ch`i [547-490B.C.].  Sun Wu's father Sun P`ing, rose to be a Minister of Statein Ch`i, and Sun Wu himself, whose style was Ch`ang-ch`ing,  fledto Wu on account of the rebellion which was beingfomented by thekindred of T`ien Pao.  He had three sons, of whom the second,named Ming, was the father of Sun Pin.  According to this accountthen, Pin was the grandson of Wu, which, considering that SunPin'svictory over Wei was gained in 341 B.C., may be dismissedas chronological impossible.  Whence these data were obtained byTeng Ming-shih I do not know, but of course no reliance whatevercan be placed inthem.     An interesting document which has survived from the close ofthe Han period is the short preface written by the Great Ts`aoTs`ao, or Wei Wu Ti, for his edition of Sun Tzu.  I shall give itin full:  --       I haveheard that the ancients used bows and arrows to  their advantage. [10]  The SHU CHU mentions \"the army\" among  the \"eight objects of government.\"  The I CHING says:  \"'army' indicates firmness and justice;  theexperienced  leader will have good fortune.\"  The SHIH CHING says:  \"The  King rose majestic in his wrath, and he marshaled his  troops.\"  The Yellow Emperor, T`ang the Completer and Wu Wang  all used spears andbattle-axes in order to succor their  generation.  The SSU-MA FA says:  \"If one man slay another of  set purpose, he himself may rightfully be slain.\"  He who  relies solely on warlike measures shall be exterminated;he  who relies solely on peaceful measures shall perish.  Instances of this are Fu Ch`ai [11] on the one hand and Yen  Wang on the other. [12]  In military matters, the Sage's rule  is normally to keep the peace, and tomove his forces only  when occasion requires.  He will not use armed force unless  driven to it by necessity.       Many books have I read on the subject of war and  fighting; but the work composed by Sun Wu is theprofoundest  of them all.  [Sun Tzu was a native of the Ch`i state,  his  personal name was Wu.  He wrote the ART OF WAR in 13 chapters  for Ho Lu, King of Wu.  Its principles were tested on women,  and he wassubsequently made a general.  He led an army  westwards,  crushed the Ch`u state and entered Ying the  capital.  In the north, he kept Ch`i and Chin in awe.  A  hundred years and more after his time, Sun Pin lived.He was  a descendant of Wu.] [13]  In his treatment of deliberation  and planning, the importance of rapidity in taking the field,  [14] clearness of conception, and depth of design,  Sun Tzu  stands beyond the reach ofcarping criticism.  My  contemporaries, however, have failed to grasp the full  meaning of his instructions, and while putting into practice  the smaller details in which his work abounds,  they have  overlooked itsessential purport.  That is the motive which  has led me to outline a rough explanation of the whole.     One thing to be noticed in the above is the explicitstatement that the 13 chapters were specially composed forKingHo Lu.  This is supported by the internal evidence of I. ss. 15,in which it seems clear that some ruler is addressed.     In the bibliographic section of the HAN SHU, there is anentry which has given rise to muchdiscussion:  \"The works of SunTzu of Wu in 82 P`IEN (or chapters), with diagrams in 9 CHUAN.\"It is evident that this cannot be merely the 13 chapters known toSsu-ma Ch`ien,  or those we possess today.  ChangShou-chiehrefers to an edition of Sun Tzu's ART OF WAR of which the \"13chapters\" formed the first CHUAN, adding that there were twoother CHUAN besides.  This has brought forth a theory, that thebulk of these 82chapters consisted of other writings of Sun Tzu--  we should call them apocryphal -- similar to the WEN TA, ofwhich a specimen dealing with the Nine Situations [15] ispreserved in the T`UNG TIEN, and another in HoShin's commentary.It is suggested that before his interview with Ho Lu, Sun Tzu hadonly written the 13 chapters, but afterwards composed a sort ofexegesis in the form of question and answer between himself andtheKing.  Pi I-hsun, the author of the SUN TZU HSU LU, backsthis up with a quotation from the WU YUEH CH`UN CH`IU:  \"The Kingof Wu summoned Sun Tzu, and asked him questions about the art ofwar.  Each time heset forth a chapter of his work, the Kingcould not find words enough to praise him.\"  As he points out, ifthe whole work was expounded on the same scale as in the above-mentioned fragments, the total number ofchapters could not failto be considerable.  Then the numerous other treatises attributedto Sun Tzu might be included.  The fact that the HAN CHIHmentions no work of Sun Tzu except the 82 P`IEN, whereas the SuiandT`ang bibliographies give the titles of others in addition tothe \"13 chapters,\" is good proof, Pi I-hsun thinks, that all ofthese were contained in the 82 P`IEN.  Without pinning our faithto the accuracy of details suppliedby the WU YUEH CH`UN CH`IU,or admitting the genuineness of any of the treatises cited by PiI-hsun,  we may see in this theory a probable solution of themystery.  Between Ssu-ma Ch`ien and Pan Ku there wasplenty oftime for a luxuriant crop of forgeries to have grown up under themagic name of Sun Tzu, and the 82 P`IEN may very well represent acollected edition of these lumped together with the originalwork.  It is alsopossible, though less likely, that some of themexisted in the time of the earlier historian and were purposelyignored by him. [16]     Tu Mu's conjecture seems to be based on a passage whichstates:  \"Wei Wu Ti strungtogether Sun Wu's Art of War,\" whichin turn may have resulted from a misunderstanding of the finalwords of Ts`ao King's preface.  This, as Sun Hsing-yen pointsout, is only a modest way of saying that he made anexplanatoryparaphrase, or in other words, wrote a commentary on it.  On thewhole, this theory has met with very little acceptance.  Thus,the SSU K`U CH`UAN SHU says:  \"The mention of the 13 chapters inthe SHIHCHI shows that they were in existence before the HANCHIH, and that latter accretions are not to be considered part ofthe original work.  Tu Mu's assertion can certainly not be takenas proof.\"     There is every reason tosuppose, then, that the 13 chaptersexisted in the time of Ssu-ma Ch`ien practically as we have themnow.  That the work was then well known he tells us in so manywords.  \"Sun Tzu's 13 Chapters and Wu Ch`i's Art ofWar are thetwo books that people commonly refer to on the subject ofmilitary matters.  Both of them are widely distributed, so I willnot discuss them here.\"  But as we go further back, seriousdifficulties begin toarise.  The salient fact which has to befaced is that the TSO CHUAN, the greatest contemporary record,makes no mention whatsoever of Sun Wu, either as a general or asa writer.  It is natural, in view of this awkwardcircumstance,that many scholars should not only cast doubt on the story of SunWu as given in the SHIH CHI, but even show themselves franklyskeptical as to the existence of the man at all.  The mostpowerfulpresentment of this side of the case is to be found inthe following disposition by Yeh Shui-hsin: [17] --       It is stated in Ssu-ma Ch`ien's history that Sun Wu was  a native of the Ch`i State, and employed by Wu; and"}
+{"doc_id":"doc_89","qid":"","text":"Project Gutenberg's The Marriage of William Ashe, by Mrs. Humphry WardThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: The Marriage of William AsheAuthor: Mrs. Humphry WardRelease Date: November 22, 2004 [EBook#14126][This file last updated November 24, 2010]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE MARRIAGE OF WILLIAM ASHE ***Produced by Andrew Templeton, Juliet Sutherland, CharlieKirschnerand the Online Distributed Proofreading Team.[Illustration: LADY KITTY BRISTOL]The MarriageofWilliam AsheBYMRS. HUMPHRY WARDAuthor of \"Lady Rose's Daughter\" \"Eleanor\" etc.ILLUSTRATED BYALBERTSTERNER[Illustration]1905Contents                                  PAGEPART I. ACQUAINTANCE . . . . . . .   1PART II. THREE YEARS AFTER . . . . 125PART III. DEVELOPMENT  . . . . . . 293PART IV. STORM . . . . . . . . . .365PART V. REQUIESCAT . . . . . . . . 511TOD.M.W.DAUGHTER AND FRIENDI INSCRIBE THIS BOOKMARCH, 1905IllustrationsLADY KITTY BRISTOL . . . . . . . . . . . . . . . . . . .  _Frontispiece_LADY TRANMORE AND MARYLYSTER  . . . . . . . . . . . . _Facing page_   6\"A SLIM GIRL IN WHITE AT THE FAR END OF THE LARGE ROOM\"  . . . . . .  44THE FINISHING TOUCHES  . . . . . . . . . . . . . . . . . . . . . . . 200\"HE GATHERED HER IN HISARMS\"  . . . . . . . . . . . . . . . . . . . 278\"THE ACTRESS PAUSED TO STARE AT LADY KITTY\"  . . . . . . . . . . . . 438\"SHE THOUGHT OF CLIFFE STANDING BESIDE THE DOOR OF THE GREAT HALL\" . 474\"HE DREW SOMECHAIRS TOGETHER BEFORE THE FIRE\" . . . . . . . . . . . 556PART IACQUAINTANCE                              \"Just oblige me and touch     With your scourge that minx Chloe, but don't hurt her much.\"The Marriage of WilliamAsheI\"He ought to be here,\" said Lady Tranmore, as she turned away from thewindow.Mary Lyster laid down her work. It was a fine piece of churchembroidery, which, seeing that it had been designed for her by no lessaperson than young Mr. Burne Jones himself, made her the envy of herpre-Raphaelite friends.\"Yes, indeed. You made out there was a train about twelve.\"\"Certainly. They can't have taken more than an hour tospeechify afterthe declaration of the poll. And I know William meant to catch thattrain if he possibly could.\"\"And take his seat this evening?\"Lady Tranmore nodded. She moved restlessly about the room, fidgetingwith abook here and there, and evidently full of thoughts. Mary Lysterwatched her a little longer, then quietly took up her work again. Herair of well-bred sympathy, the measured ease of her movements,contrasted with LadyTranmore's impatience. Yet in truth she waslistening no less sharply than her companion to the sounds in thestreet outside.Lady Tranmore made her way to the window, and stood there looking out onthe park. It wasthe week before Easter, and the plane-trees were notyet in leaf. But a few thorns inside the park railings were alreadylavishly green and there was a glitter of spring flowers beside the parkwalks, not showing, however,in such glorious abundance as became thefashion a few years later. It was a mild afternoon and the drive wasfull of carriages. From the bow-window of the old irregular house inwhich she stood, Lady Tranmore couldwatch the throng passing andrepassing, could see also the traffic in Park Lane on either side.London, from this point of sight, wore a cheerful, friendly air. The dimsunshine, the white-clouded sky, the touches of revivinggreen andflowers, the soft air blowing in from a farther window which was open,brought with them impressions of spring, of promise, and rebirth, whichinsensibly affected Lady Tranmore.\"Well, I wonder what Williamwill do, this time, in Parliament!\" shesaid, as she dropped again into her seat by the fire and began to cutthe pages of a new book.\"He is sure to do extremely well,\" said Miss Lyster.Lady Tranmore shrugged hershoulders. \"My dear--do you know that Williamhas been for eight years--since he left Trinity--one of the idlest youngmen alive?\"\"He had one brief!\"\"Yes--somewhere in the country, where all the juniors get one inturn,\"said Lady Tranmore. \"That was the year he was so keen and went oncircuit, and never missed a sessions. Next year nothing would inducehim to stir out of town. What has he done with himself all theseeightyears? I can't imagine.\"\"He has grown--uncommonly handsome,\" said Mary Lyster, with a momentaryhesitation as she threaded her needle afresh.\"I never remember him anything else,\" said Lady Tranmore. \"Alltheartists who came here and to Narroways wanted to paint him. I used tothink it would make him a spoiled little ape. But nothing spoiled him.\"Miss Lyster smiled. \"You know, Cousin Elizabeth--and you may aswellconfess it at once!--that you think him the ablest, handsomest, andcharmingest of men!\"\"Of course I do,\" said Lady Tranmore, calmly. \"I am certain,moreover--now--that he will be Prime Minister. And as foridleness,that, of course, is only a _façon de parler_. He has worked hard enoughat the things which please him.\"\"There--you see!\" said Mary Lyster, laughing.\"Not politics, anyway,\" said the elder lady, reflectively. \"Hewentinto the House to please me, because I was a fool and wanted to seehim there. But I must say when his constituents turned him out lastyear I thought they would have been a mean-spirited set if theyhadn't. Theyknew very well he'd never done a stroke for them.Attendances--divisions--perfectly scandalous!\"\"Well, here he is, in triumphantly for somewhere else--with all sorts ofdelightful prospects!\"Lady Tranmore sighed. Herwhite fingers paused in their task.\"That, of course, is because--now--he's a personage. Everything'll bemade easy for him now. My dear Mary, they talk of England's being ademocracy!\"The speaker raised her handsomeshoulders; then, as though to shake offthoughts of loss and grief which had suddenly assailed her, she abruptlychanged the subject.\"Well--work or no work--the first thing we've got to do is to marryhim.\"She looked upsharply. But not the smallest tremor could she detect inMary Lyster's gently moving hand. There was, however, no reply to herremark.\"Don't you agree, Polly?\" said Lady Tranmore, smiling.Her smile--which still gavegreat beauty to her face--was charming, buta little sly, as she observed her companion.\"Why, of course,\" said Miss Lyster, inclining her head to one side thatshe might judge the effect of some green shades she had justput in.\"But that surely will be made easy for him, too.\"\"Well, after all, the girls can't propose! And I never saw him take anyinterest in a girl yet--outside his own family, of course,\" added LadyTranmore, hastily.\"No--hedoes certainly devote himself to the married women,\" repliedMiss Lyster, in the half-absent tone of one more truly interested in herembroidery than in the conversation.\"He would sooner have an hour with Madamed'Estrées than a week with theprettiest miss in London. That's quite true, but I vow it's the girls'own fault! They should stand on their dignity--snub the creaturesmore! In my young days--\"[Illustration: LADYTRANMORE AND MARY LYSTER]\"Ah, there wasn't a glut of us then,\" said Mary, calmly. \"Listen!\"--sheheld up her hand.\"Yes,\" said Lady Tranmore, springing up. \"There he is.\"She stood waiting. The door flew open, andin came a tall young man.\"William, how late you are!\" said Lady Tranmore, as she flew into hisarms.\"Well, mother, are you pleased?\"Her son held her at arm's-length, smiling kindly upon her.\"Of course I am,\" said LadyTranmore. \"And you--are you horribly tired?\"\"Not a bit. Ah, Mary!--how do you do?\"Miss Lyster had risen, and the cousins shook hands.\"But I don't deny it's very jolly to come back--out of all that beastlyscrimmage,\"said the new member, as he threw himself into an arm-chairby the fire with his hands behind his head, while Lady Tranmore preparedhim a cup of tea.\"I expect you've enjoyed it,\" said Miss Lyster, also moving towardsthefire.\"Well, when you're in it there's a certain excitement in wondering howyou're going to come out of it! But one might say that, of course, ofthe infernal regions.\"\"Not quite,\" said Mary Lyster, smilingdemurely.\"Polly! you _are_ a Tory. Everybody else's hell has moved--but yours!Thank you, mother,\" as Lady Tranmore gave him tea. Then, stretching outhis great frame in lazy satisfaction, he turned his brown eyesfrom onelady to the other. \"I say, mother, I haven't seen anything asgood-looking as you--or Polly there, if she'll forgive me--for weeks.\"\"Hold your tongue, goose,\" said his mother, as she replenished theteapot.\"What--there were no pretty girls--not one?\"\"Well, they didn't come my way,\" said William, contentedly munching atbread-and-butter. \"I have gone through all the usual humbug--andperjured my soul in all the usualways--without any consolation worthspeaking of.\"\"Don't talk nonsense, sir,\" said Lady Tranmore. \"You know you likespeaking--and you like compliments--and you've had plenty of both.\"\"You didn't read me,mother!\"\"Didn't I?\" she said, smiling. He groaned, and took another piece oftea-cake.\"My own family at least, don't you think, might omit that?\"\"H'm, sir--So you didn't believe a word of your own speeches?\" saidLadyTranmore, as she stood behind him and smoothed his hair back from hisforehead.\"Well, who does?\" He looked up gayly and kissed the tips of her fingers.\"And it's in that spirit you're going back into the House?\"Mary Lysterthrew him the question--with a slight pinching of the lips--as sheresumed her work.\"Spirit? What do you mean, Polly? One plays the game, of course--and ithas its moments--its hot corners, so to speak--or Isuppose no one wouldplay it!\"\"And the goal?\" She lifted a gently disapproving face, in a movementwhich showed anew the large comeliness of head and neck.\"Why--to keep the other fellows out, of course!\" He lifted anarm anddrew his mother down to sit on the edge of his chair.\"William, you're not to talk like that,\" said Lady Tranmore, decidedly,laying her cheek, however, against his hand the while. \"It was all verywell when youwere quite a free-lance--but now--Oh! never mindMary--she's discreet--and she knows all about it.\"\"What--that they're thinking of giving me Hickson's place? Parham hasjust written to me--I found the letterdown-stairs--to ask me to go andsee him.\"\"Oh! it's come?\" said Lady Tranmore, with a start of pleasure. LordParham was the Prime Minister. \"Now don't be a humbug, William, andpretend you're not pleased. But you'llhave to work, mind!\" She held upan admonishing finger. \"You'll have to answer letters, mind!--you'llhave to keep appointments, mind!\"\"Shall I?... Ah!--Hudson--\"He turned. The butler was in the room.\"His lordship, mylady, would like to see Mr. William before dinner ifhe could make it convenient.\"\"Certainly, Hudson, certainly,\" said the young man. \"Tell his lordshipI'll be with him in ten minutes.\"Then, as the butler departed--\"How'sfather, mother?\"\"Oh! much as usual,\" said Lady Tranmore, sadly.\"And you?\"He laid his arm boyishly round her waist, and looked up at her, hishandsome face all affection and life. Mary Lyster, observing them,thoughtthem a remarkable pair--he in the very prime and heyday ofbrilliant youth, she so beautiful still, in spite of the filling-out ofmiddle life--which, indeed, was at the moment somewhat toned anddisguised by the deepmourning, the sweeping crape and dull silk inwhich she was dressed.\"I'm all right, dear,\" she said, quietly, putting her hand on hisshoulder. \"Now, go on with your tea. Mary--feed him! I'll go and talk tofather till youcome.\"She disappeared, and William Ashe approached his cousin.\"She _is_ better?\" he said, with an anxiety that became him.\"Oh yes! Your election has been everything to her--and your letters. Youknow how sheadores you, William.\"Ashe drew a long breath.\"Yes--isn't it bad luck?\"\"William!\"\"For her, I mean. Because, you know--I can't live up to it. I know it'sher doing--bless her!--that old Parham's going to give me thisthing.And it's a perfect scandal!\"\"What nonsense, William!\"\"It is!\" he maintained, springing up and standing before her, with hishands in his pockets. \"They're going to offer me the Under-Secretaryshipfor ForeignAffairs, and I shall take it, I suppose, and be thankful.And do you know\"--he dropped out the words with emphasis--\"that I don'tknow a word of German--and I can't talk to a Frenchman for half an hourwithoutdisgracing myself. There--that's how we're governed!\"He stood staring at her with his bright large eyes--amused, yetstrangely detached--as though he had very little to do with what he wastalking about.Mary Lystermet his look in some bewilderment, conscious all the timethat his neighborhood was very agreeable and stirring.\"But every one says--you speak so well on foreign subjects.\"\"Well, any fool can get up a Blue Book.Only--luckily for me--all thefools don't. That's how I've scored sometimes. Oh! I don't denythat--I've scored!\" He thrust his hands deeper into his pockets, hiswhole tall frame vibrant, as it seemed to her, with will andgood-humor.\"And you'll score again,\" she said, smiling. \"You've got a wonderfulopportunity, William. That's what the Bishop says.\"\"Much obliged to him!\"Ashe looked down upon her rather oddly.\"He told me he hadnever believed you were such an idler as other peoplethought you--that he felt sure you had great endowments, and that youwould use them for the good of your country, and\"--she hesitatedslightly--\"of the Church. Iwish you'd talk to him sometimes, William.He sees so clearly.\"\"Oh! does he?\" said Ashe.Mary had dropped her work, and her face--a little too broad, withfeatures a trifle too strongly marked--was raised towards him. Itspalecolor had passed into a slight blush. But the more strenuous expressionhad somehow not added to her charm, and her voice had taken a slightlynasal tone.Through the mind of William Ashe, as he stood lookingdown upon her,passed a multitude of flying impressions. He knew perfectly well thatMary Lyster was one of the maidens whom it would be possible for him tomarry. His mother had never pressed her upon him, but shewouldcertainly acquiesce. It would have been mere mock modesty on his partnot to guess that Mary would probably not refuse him. And she washandsome, well provided, well connected--oppressively so, indeed; amanmight quail a little before her relations. Moreover, she and he hadalways been good friends, even when as a boy he could not refrain fromteasing her for a slow-coach. During his electoral weeks in the countrythethought of \"Polly\" had often stolen kindly upon his rare moments ofpeace. He must marry, of course. There was no particular excitement orromance about it. Now that his elder brother was dead and he had becometheheir, it simply had to be done. And Polly was very nice--quitesweet-tempered and intelligent. She looked well, moved well, would fillthe position admirably.Then, suddenly, as these half-thoughts rushed through hisbrain, abreath of something cold and distracting--a wind from the land of_ennui_--seemed to blow upon them and scatter them. Was it the mentionof the Bishop--tiresome, pompous fellow--or her slightlypedantictone--or the infinitesimal hint of \"management\" that her speech implied?Who knows? But in that moment perhaps the scales of life inclined.\"Much obliged to the Bishop,\" he repeated, walking up and down. \"Iamafraid, however, I don't take things as seriously as he does. Oh, I hopeI shall behave decently--but, good Lord, what a comedy it is! You knowthe sort of articles\"--he turned towards her--\"our papers will bewritingto-morrow on my appointment. They'll make me out no end of afine fellow--you'll see! And, of course, the real truth is, as you and Iknow perfectly well, that if it hadn't been for poor Freddy's death--andmother--andher dinners--and the chaps who come here--I might havewhistled for anything of the sort. And then I go down to Ledmenham andstand as a Liberal, and get all the pious Radicals to work for me! It'sa humbuggingworld--isn't it?\"He returned to the fireplace, and stood looking down upon her--grinning.Mary had resumed her embroidery. She, too, was dimly conscious ofsomething disappointing.\"Of course, if you choose to take itlike that, you can,\" she said,rather tartly. \"Of course, everything can be made ridiculous.\"\"Well, that's a blessing, anyway!\" said Ashe, with his merry laugh. \"Butlook here, Mary, tell me about yourself. What have youbeendoing?--dancing--riding, eh?\"He threw himself down beside her, and began an elder-brotherlycross-examination, which lasted till Lady Tranmore returned and beggedhim to go at once to his father.When hereturned to the drawing-room, Ashe found his mother alone. Itwas growing dark, and she was sitting idle, her hands in her lap,waiting for him.\"I must be off, dear,\" he said to her. \"You won't come down and seemetake my seat?\"She shook her head.\"I think not. What did you think of your father?\"\"I don't see much change,\" he said, hesitating.\"No, he's much the same.\"\"And you?\" He slid down on the sofa beside her and threwhis arm roundher. \"Have you been fretting?\"Lady Tranmore made no reply. She was a self-contained woman, not readilymoved to tears. But he felt her hand tremble as he pressed it.\"I sha'n't fret now\"--she said after amoment--\"now that you've comeback.\"Ashe's face took a very soft and tender expression.\"Mother, you know--you think a great deal too much of me--you're tooambitious for me.\"She gave a sound between a laugh anda sob, and, raising her hands, shesmoothed back his curly hair and held his face between them.\"When do you see Lord Parham?\" she asked.\"Eight o'clock--in his room at the House. I'll send you up a note.\"\"You'll behome early?\"\"No--don't wait for me.\"She dropped her hands, after giving him a kiss on the cheek.\"I know where you're going! It's Madame d'Estrées' evening.\"\"Well--you don't object?\"\"Object?\" She shrugged hershoulders. \"So long as it amuses you--Youwon't find _one_ woman there to-night.\"\"Last time there were two,\" he said, smiling, as he rose from the sofa.\"I know--Lady Quantock--and Mrs. Mallory. Now they've desertedher, Ihear. What fresh gossip has turned up I don't know. Of course,\" shesighed, \"I've been out of the world. But I believe there have beendevelopments.\"\"Well, I don't know anything about it--and I don't think I wantto know.She's very agreeable, and one meets everybody there.\"\"_Everybody_. Ungallant creature!\" she said, giving a little pull to hiscollar, the set of which did not please her.\"Sorry! Mother!\"--his laughing eyespursued her--\"Do you want to marryme off directly?--I know you do!\"\"I want nothing but what you yourself should want. Of course, you mustmarry.\"\"The young women don't care twopence about me!\"\"William!--be abear if you like, but not an idiot!\"\"Perfectly true,\" he declared; \"not the dazzlers and the high-fliers,anyway--the only ones it would be an excitement to carry off.\"\"You know very well,\" she said, slowly, \"that now youmight marryanybody.\"He threw his head back rather haughtily.\"Oh! I wasn't thinking about money, and that kind of thing. Well, giveme time, mother--don't hurry me! And now I'd better stop talkingnonsense, changemy clothes, and be off. Good-bye, dear--you shall hearwhen the job's perpetrated!\"\"William, really!--don't say these things--at least to anybody but me.You understand very well\"--she drew herself up ratherfinely--\"that if Ihadn't known, in spite of your apparent idleness, you would do any workthey _set_ you to do, to your own credit and the country's, I'd neverhave lifted a finger for you!\"William Ashe laughed out.\"Oh!intriguing mother!\" he said, stooping again to kiss her. \"So youadmit you did it?\"He went off gayly, and she heard him flying up-stairs three steps at atime, as though he were still an untamed Eton boy, and there werenothree weeks' hard political fighting behind him, and no interview whichmight decide his life before him.He entered his own sitting-room on the second floor, shut the doorbehind him, and glanced round him withdelight. It was a large roomlooking on a side street, and obliquely to the park. Its walls werecovered with books--books which almost at first sight betrayed to theaccustomed eye that they were the familiar companionsof a student.Almost every volume had long paper slips inside it, and when openedwould have been found to contain notes and underlinings in a somewhatreckless and destructive abundance. A large table, also loadeduntidilywith books and papers, stood in the centre of the room; many of themwere note-books, stored with evidences of the most laborious and patientwork; a Cambridge text lay beside them face downward, as he hadleft iton departure. His mother's housekeeper, who had been one of his bestfriends from babyhood, was the only person allowed to dust his room--buton the strict condition that she replaced everything as she found"}
+{"doc_id":"doc_90","qid":"","text":"<html><head><title>RocknRolla Script at IMSDb.</title><meta name=\"description\" content=\"RocknRolla script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"RocknRolla script,RocknRolla movie script, RocknRolla film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\"rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                              ROCKNROLLA</b>                              Written by                              GuyRitchie                                                June 19, 2007<b></b>    WHITE Revision   -   6-6-07                                  1.<b>1   INT. DERELICT BUILDING - DAY                                      1</b>    WE MEET:MUMBLES(late 30s) and ONE TWO (late 30s). They are    listening to a sales pitch from two REAL ESTATE AGENTS.    We SEE all the relevant pictures of their pitch explaining a    changing city,LONDON.<b>                            SLICK ESTATE AGENT (V.O.)</b>              Two years ago this property cost one              million pounds.                  (we SEE building)              Today, it costs five million.    Thecamera WHIP PANS over to another part of the building to    see the other ESTATE AGENT giving his pitch. The camera    will keep this back and forth for the duration of the scene.<b>                            OTHER SLICKESTATE AGENT (V.O.)</b>              How did this happen?                  (CUT TO relevant                   pictures as he speaks)              Attractive tax opportunities for              foreign investment,restrictive              building consent and massive hedge              fund bonuses,...                  (beat)              London, my good man, is fast becoming              the financial and cultural capital              of theworld.<b>                            SLICK ESTATE AGENT</b>              And of course the Russians have come              to town.<b>                            OTHER SLICK ESTATE AGENT</b>              Makes it hard to competewith an ex-              Soviet oligarch that has six billion              dollars in his back pocket. They              don't haggle the price, they double              the price.<b>                            SLICK ESTATEAGENT</b>              Russians come, prices rise, and it              doesn't stop. It only goes one way.<b>                            OTHER SLICK ESTATE AGENT</b>              Up.<b>                            SLICK ESTATEAGENT</b>              I can't teach you how to skin a cat,              but I can tell you a lot about the              money in bricks andmortar.<b>                            (MORE)</b><b>                                                 (CONTINUED)</b><b>                                                        ROCKNROLLA</b><b></b>    PINKRevision    -   6-20-07                                   1A.<b>1   CONTINUED:                                                           1</b><b>                             SLICK ESTATE AGENT (CONT'D)</b>                 Like he said, it's goingone way.                 You need to see a lawyer.<b>                                                (CONTINUED)</b><b>                                                           ROCKNROLLA</b><b></b>    PINKRevision    -   6-19-07                                2.<b>1   CONTINUED: (2)                                                   1</b>    One Two and Mumbles look at one another.<b>                             ONE TWO</b>              We needto see a Lawyer.<b>2   INT. LAWYER'S OFFICE                                             2</b>    CUT TO a modern looking LAWYER'S office.   We SEE the LAWYER    advising MUMBLES AND ONETWO.<b>                             LAWYER TYPE</b>              They say it's only going one way.<b>3   EXT. STREET - DAY                                                3</b>    ONE TWO and the LAWYER are here looking at thebuilding, it    is a bit dilapidated and bleak.<b>                             LAWYER TYPE</b>              It looks like a great deal.<b>4   INT. LAWYER'S OFFICE                                             4</b>    We cut back into theoffice where the LAWYER lays out the    building plans.<b>                             LAWYER TYPE</b>              These are the plans,...it costs ten              and it'll be worth twenty with              planning. But first you gottagive              the councilor a drink.<b>5   INT. COUNCILOR'S OFFICE                                          5</b>    CUT TO the desk of a COUNCILOR (mid thirties middle    management)who is receiving a brown envelopefrom the LAWYER.<b>                             COUNCILOR</b>                  (off the envelope)              Tell them they'll get the planning,...<b>6   INT. LAWYER'S OFFICE                                             6</b>    We CUTBACK to our LAWYER now smug.    One Two and Mumbles are    standing in front of him.<b>                             LAWYER TYPE</b>              You'll get the planning. Take care              of the councilor and it willmove              like shit through a goose.<b>                                                     ROCKNROLLA</b><b></b>     PINK Revision   -   6-20-07                               2A.<b>6A   INT.SPEELER                                                    6A</b><b>                             ONE TWO</b>               We need help.<b>                             MUMBLES</b>               Lenny Cole?<b>                             ONETWO</b>               Dog number one,...<b>                             MUMBLES</b>               But he moves fast and he loves bricks               and mortar.<b>7    INT. LENNY COLE'SOFFICE                                        7</b>     MEET LENNY COLE(50s, dark, a little tubby), Mumbles and One     Two are here. Lenny's office is kitsch, he fancies himself     as a man ofclass.<b>                             LENNY COLE</b>               I do move fast and I love bricks and               mortar, properties are always the               safe bet, but you better know what               you're doing 'cos thisain't soft               money. You trip up,...                   (beat)               And it's not me that's gonna get               hurt. You got security?<b>                             MUMBLES</b>               We gotproperty.<b>                             LENNY COLE</b>               Don't let me down boys.                   (beat)               Come on then, give us your hand.     They shake hands and sign thepapers.<b>                                                       ROCKNROLLA</b><b></b>     PINK Revision   -   6-19-07                                     3.<b>8    INT. COUNCILOR'SOFFICE                                              8</b>     The Councilor is the phone to the Lawyer.      He speaks in hushed     tones clandestine like.<b>                              COUNCILOR</b>                   (intophone)               Can't talk now, but there has been a               problem. I can't get you the               planning.<b>9    INT. LAWYER'S OFFICE                                                 9</b>     The Lawyer is on the phonewith Mumbles and One Two.<b>                              LAWYER TYPE</b>                   (into phone)               I'm sorry boys, can't get the               planning.<b>9A   INT.SPEELER                                                         9A</b>     One two is on the phone.      He looks over to Mumbles.<b>                              ONE TWO</b>               He can't get theplaning.<b>                              MUMBLES</b>               He can't get the planing?<b>10   EXT. DERELICT BUILDING                                               10</b>     Lenny is looking out to One Two and Mumbles who arestanding     outside his car looking very white. Lenny screams from the     back seat.<b>                              LENNY COLE</b>               What do you mean you can't get the               fuckinplanning?                   (pointing)               There is seven million of my cash in               there, without planning it's worth               five,...you owe me. I take the               building, you lose your share, butI               am still outta pocket two large ones.               Find it.     The window goes up and the car pulls off.      Lenny picks up     his phone, he dials huffing andpuffing.<b>                                                        ROCKNROLLA</b><b></b>     WHITE Revision   -   6-6-07                                  4.<b>11   INT. LENNY'S CAR --CONTINUOUS                                    11</b><b>                             LENNY COLE</b>                 Is that you Councilor?                      (Lenny smiles)                 I hear you got that car youwas                 after,....now, sort the planning                 out.<b>                             COUNCILOR (V.O.)</b>                 Sorted Lenny.     He puts the phone down and looks over smiling.     MEET ARCHY     (Lenny'sright hand man, 50s).<b>                             LENNY COLE</b>                 What's wrong with you Arch?<b>                             ARCHY</b>                 That's a bit strong isn't it Len?                 They come from thesame place as                 you, you'll clean 'em out.<b>                             LENNY COLE</b>                 Same place as me? Do I look like an                 immigrant Archy?                     (beat)                 No one gaveme a leg up, did they?                 They need a bit of fear, 'cos                 otherwise they're gonna come up                 against me,...need a little lesson                 don't they?<b>12   INT.SPEELER                                                      12</b>     One Two and Mumbles are here, it's quiet until,..<b>                             ONE TWO</b>                 We gottasell.<b>                             MUMBLES</b>                 And be left with what?<b>                             ONE TWO</b>                 Just gotta start again,....<b>     FADE OUT.</b><b>13   INT. CORRIDOR OF SPORTSARENA                                     13</b>     Start CREDITS over sports arena entrance.     Lenny is being walked down a corridor, the      walls are lined     with photographs of old soccerstars.<b>                                                (CONTINUED)</b><b>                                                        ROCKNROLLA</b><b></b>     PINKRevision   -   6-20-07                             4A.<b>13   CONTINUED:                                                     13</b>     On each side of him are two ESCORTS(ex-military types, heavy     looking). As they pass each door,we realize where ever he     is going, it has to be important. The ESCORTS talk in to     their microphones and to the different GUARDS on eachdoor     way.<b>                                             (CONTINUED)</b><b>                                                    ROCKNROLLA</b><b></b>     WHITE Revision   -   6-6-07                                5.<b>13   CONTINUED:(2)                                                   13</b>     Every now and then we see the SPORTS ARENA in the back ground.     At last we reach the main door to the head office.<b>14   INT. HEADOFFICE                                                 14</b>     As the door is opened we see a small crowd of MEN in suits     gathered around a kind-looking MAN with bright blue eyes.     He nods a couple of times.     We CUTTO the front of Lenny who is clearly impressed, Mr.     Blue eyes pays him no attention. The small crowd of business     MEN shake hands and head to the door at which Lenny is waiting     patiently.<b>15   INT.SPORTS ARENA -- DAY                                         15</b>     CLOSE UP on the back of URI (Russian Jew, 40s, slick, and     well groomed, he is our Mr. Blue Eyes) overlooking his sports     arena. We stay on the back"}
+{"doc_id":"doc_91","qid":"","text":"<html><head><title>Artist, The Script at IMSDb.</title><meta name=\"description\" content=\"Artist, The script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Artist, The script, Artist,The movie script, Artist, The film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\"rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                            THE ARTIST</b>                            Written by                       Michel Hazanavicius    Silent film, illustrated musically,with some title cards to    indicate the dialogues, with actors whose lips move when they    speak although we never hear their voices. The images are in    black and white, in format1.33.<b>1   TITLES                                                       1</b>    The letters of the titles come up on a title card typical of    the 1920s. Elegant motifs around the edge of the frame, and,    in the background, thereare geometrical shapes reminiscent    of the light beams of a film première. Behind is a stylized    town. The titles end in a fade to black. On black, the date    appears on the screen: 1927<b>2   INT. LABORATORY -DAY                                        2</b>    In a \"futuristic\" 1920s laboratory, a man in tail coat and    bow tie is being tortured. Ultrasound is being piped into his    ears. It's incredibly painful! He's screaming.    Titlecard:    I'm not telling!   I won't talk!!!    His torturers, cold men of science in white coats, gradually    increase the volume. The pain seems unbearable, the volume    reaches level 10 (maximum), the man passesout!<b>3   INT. CELLS & CORRIDORS - DAY                                 3</b>    Guards wearing long leather overcoats throw the man into a    cell!    As the man is lying there on the ground, a dog wiggles    through thebars at the window. The dog, a Jack Russell,    jumps on top of the man - visibly his master - and begins to    lick his face. The man opens one eye! When he sees his dog,    he can't help cracking a smile...    The man,now on his feet, looks in pain. Despite the pain, he    motions to his dog who begins to bark in lively fashion.    Outside the cell, the guard looks curious about the noise. He    goes to the door, opens the spy flap andfinds himself face    to face with the man, eye to eye just a couple of inches    apart! The man moves his eyes in such a way that he    hypnotizes the guard! Superimposed on the screen: a spinning    black and whitespiral, until the dazed guard take his keys,    opens the door and releases the man and his dog.<b>                                                                 2.</b>    The man (the hero, thus) imprisons the guard withoutharming    him, then runs over to the guard's desk. His ears are still    causing him pain, but he opens a drawer and takes out his    belongings: a top hat which he snaps open, and a mask, which    he puts over hishead to conceal his eyes.    We catch up with the masked man walking down corridors. He    suddenly stops, copied by his dog who follows him like his    shadow. The man, on his guard, has spotted anotherguard    where two corridors meet.    With a look, he orders his dog to move forwards into the    guard's line of sight. The guard looks over at the animal.    Using his fingers, the hero pretends to shoot his dog.The    dog collapses, plays dead. The guard, increasingly curious,    gets to his feet. He slowly approaches the motionless dog.    When he comes close he is attacked from the side by the hero,    who quickly puts himout of action with a mere punch!    The masked man then rushes to another cell, and releases a    young female prisoner. She too is wearing evening dress. As    she is thanking him he staggers and clutches his earsin    pain. She's concerned.    Title card:    Can I help you in some way?    He refuses.    Title card:    No. I don't get helped.   I give the help around here.    He composes himself. She casts him an admiring glance.Then,    in view of the urgency of their situation, they escape at a    run.<b>4   EXT. HOUSE/LABORATORY - DAY                                       4</b>    They come out of a house that is lost in the hills, climb    into aBugatti sports car that the man starts by rubbing two    wires together, and speed off.<b>5   EXT. ROAD - DAY                                                   5</b>    The car speeds along the road. Its occupants turn roundto    check they aren't being followed.<b>                                                              3.</b><b>6   INT. HOUSE/LAB - DAY                                           6</b>    The guard who got knocked out picks himself up,realizes what's    happened and dashes over to his office. He grabs a radio    emitter and begins sending a message.<b>7   EXT. AIR FIELD - DAY                                           7</b>    The hero, the young woman andthe dog come to a halt in the    Bugatti on the air field, by a telegraph pole whose wires    lead...to a watch tower.    In the watch tower, a radio receptor is vibrating. A soldier    approaches, listens and suddenlyunderstands! He grabs hold of    his gun and goes out onto the air field, only to find the    fugitives! He tries to shoot at them as he draws closer, but    the hero manages to throw an airplane propeller at him,before    climbing inside where the woman and dog are waiting for him.    The airplane begins to move.    The soldier shoots.    The airplane is positioning itself on the runway, while the    soldier continues to fire!    Theaircraft gains speed.    The soldier is still shooting, but too late, as the heroo pulls    back the joystick, and the airplane takes to the sky...    The soldier is furious, but the hero is all smiles as he looks    back towards theground and shouts something.    Title card: Free Georgia forever!!!    The airplane flies away into the evening sky.<b>8   EXT. AIRPLANE - NIGHT                                          8</b>    A little later in the night, still atthe controls, the man is    fighting not to fall asleep. Behind him, the women is sleeping,    the dog is lying in her arms. Suddenly she is awoken by    explosions happening close by! Pandemonium! The mandoesn't    understand it either, he tries to pick up altitude, but quickly    notices that the explosions are in fact pretty and    inoffensive. He consults a calendar dial on the control panel    that shows it is July 14th,immediately understands, and    bursts into laughter.    Title card: We've arrived, welcome to France!!!<b>                                                               4.</b>     As the music picks up the tune of The Marseillaise,the     airplane flies away through the exploding fireworks...     The words \"The End\" appear on the screen.<b>9    INT. WINGS MOVIE THEATER LOS ANGELES - NIGHT                   9</b>     From the moment theyparked the car onwards, we become     absorbed by what's happening around the screening of end of     this film.     Behind the screen, we've seen the actor who plays the hero -     his name is George Valentin - closelystudying the reactions     of the audience. He was standing close to his dog, motioning     to it not to make a noise. The dog's name is Jack.     In the same area, we've also seen the lead actress. Her name     isConstance Gray. She too looks tense and is latched onto     the arm of a pleasant-looking man who is chewing anxiously on     a cigar. The man looks rich, but a little weak. He's surely     the producer.<b>10   INT.MOVIE THEATER LOS ANGELES - NIGHT                     10</b>     In the house, much of the audience is open-mouthed, excited,     immobile and often wide-eyed.     In the pit, a symphony orchestra plays toaccompany the film.     (9) Now that the film is ending, and the last note is     sounding, the cast anxiously awaits the audience's verdict,     which, after two or three seconds of silence, bursts into     thunderousapplause, to the great joy of the actor and the     people around him, especially the actress and the producer,     who kiss each other on the lips.     Two theater hands bring down the curtain.     (10) The lights come on.George Valentin comes onto the stage     and acknowledges the audience, they are cheering for him. He     is so happy he dances a few tap steps to express his joy then     he acknowledges the orchestra before finallymotioning to     someone in the wings to join him. Jack the dog trots over in     response. The crowd laughs and cheers, George waves to the     dog, Jack waves back then waves at the audience, the people     areloving it!     In the wings, Constance is fuming with rage, but on stage,     George is pretending with his fingers to pull at the dog, who     fakes death. Thunderous applauseagain.<b>                                                               5.</b>     Behind the actress, the producer can't hold back a smile, and     this enrages the actress still more.     Suddenly, George, hamming it up, rememberssomething he'd     forgotten, and asks someone from the other side of the wings     to join him. It's Constance. She comes over, smiling to the     audience, and says something to George with a smile.     Title card: I'llget you for that.     She waves, but we can tell that her smile is set between her     teeth. She isn't feeling comfortable. George motions firing a     gun with his fingers, but she does not fall down, merely     casts him a\"very funny\" glance. George looks at his fingers,     not understanding why they don't work anymore then mimes     throwing them away behind him, as though they've become     useless. Constance stalks back off intothe wings in     annoyance, but the audience is ecstatic. Once in the wings,     the actress sticks up her middle finger at George, and     exaggeratedly mouths so he can read her lips: \"Put this up     your ass.\" George,grinning broadly, responds by clapping his     hands in applause, then leaves the stage, executing a few     more dance steps as he does so. The audience is delighted.     As he comes off stage, George gets soundly toldoff by     Constance, but, still grinning, he motions towards the     audience who are still asking for more. The producer,     although delighted by the successful reception, makes a weak     attempt to calm the actressdown. As for George, he returns     to the stage, the audience roars. He pretends to want to     leave the stage, and mimes bumping into an invisible wall     just as he's leaving the stage. George holds his nose,the     audience goes wild, Constance gets even madder, and while     George carries on clowning about, the producer too breaks     into a beaming smile. He's probably realized that George has     the audience on hisside... Constance, furious, storms off. She     is followed by the producer who is trying to placate her,     although it looks like he's got his work cut out for him.<b>11   EXT. MOVIE THEATER LOS ANGELES -NIGHT                      11</b>     Outside, we are in front of a typically American movie theater     decked out with all the accessories of a grand première. The     entrance is lit up, there are crowds gathered on thesidewalk,     cops are guarding the red carpet with a cordon of bodies, etc.     George comes out, causing the crowds, mainly young women, to     press forwards - and the photographers' flashes to spark into     life. Thecops are struggling to maintain control of the     situation as George poses for the photographers and waves at     his many fans.<b>                                                               6.</b>     In the crowd, a young womanright at the front is staring at     him in rapture. She drops her bag and, as she bends to pick it     up, a swell in the crowd pushes her underneath the arms of the     policeman in front of her, out of the crowd and intoGeorge.     She stares at him, more in love than ever, delighted to be     there. The police wait for someone to give orders. George     doesn't quite know what to do. Nobody moves. The young woman     finally burstsout laughing, which, after a moment of shock,     causes George to laugh too, thus placating the cops and tacitly     signaling to the photographers that they can take pictures of     the scene. The flashes seem to lend"}
+{"doc_id":"doc_92","qid":"","text":"<html><head><title>Repo Man Script at IMSDb.</title><meta name=\"description\" content=\"Repo Man script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Repo Man script, Repo Manmovie script, Repo Man film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=SubjectCONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0];s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>    <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\"title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center></td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                                            REPO MAN</b>                                           Written by                                            AlexCox                                          Transcript by                                           Steve Farmer               Repo Man theme music now begins playing. Map is shown in background                (green text on black background),zoomed in on Los Alamos, New                Mexico. While remaining credits are shown, the map travels to                Sante Fe, then Albuquerque, then begins following US66 west through                Arizona to California,finally ending up a few miles east of                Goffs (northwest of Needles).<b> </b>               Green '64 Chevy Malibu               Malibu is weaving down the highway in the desert, passes billboard                withmotorcycle cop behind it. Cop pulls out behind Malibu.<b> </b><b>               </b><b>                                     J. FRANK PARNELL</b>                         Forty-niner and his daughterClementine.                          Oh my darlin, oh my darlin...<b> </b>               Motorcycle cop pulls the car over, gets off motorcycle and raps                on car window.<b> </b><b>                                     J. FRANKPARNELL</b>                         Clementine Clemen-<b>                                     COUNTY SHERIFF</b>                         Let me see your drivers license.<b>                                     RADIO</b>                         Postten-eighteen. Post ten-eighteen.<b> </b><b>                         </b><b>                                     COUNTY SHERIFF</b>                         From out of town, hmm? What's you got                          in the trunk?<b></b><b>                                     J. FRANK PARNELL</b>                         oah...you don't want to look in there.<b> </b><b>                         </b><b>                                     COUNTYSHERIFF</b>                         Give me the keys.               The motorcycle cop walks around to the back of the car and opens                the trunk. The car has New Mexico license plates KBB-283. In                everyscene after this when the plates are visible, they will                be 127-GBH.<b> </b><b>                                     COUNTY SHERIFF</b><b>                         AHHHHHH!</b>               The motorcycle cop getsdisintegrated, leaving behind a pair                of flaming boots (a reference to the movie Timerider, which was                co-written and produced by Mike Nesmith). Parnell watches from                side mirror, wherewe see that the left side of his sunglasses                have no lens.<b> </b><b>                                     J. FRANK PARNELL</b>                         Oh my darlin Clementine, you are lost                          now goneforever, dreadful sorry Clementine.<b> </b><b>                         </b>               Otto and Kevin, in the supermarket, facing cans of generic yellow                cling sliced peaches.<b></b><b>                                     KEVIN</b>                         Do Do Do De Do De Do De Do De Do Feeling                          Do De Da Do De Do De Do Feeling seven-up.                          I'm feeling seven-up.Feeling seven                          up. I'm feeling seven up. It's a crisp                          refreshing feeling crystal clear and                          light. America's drinking seven-up and                          it sure feels right.Feeling lucky seven.<b> </b><b>                         </b>               Otto puts price sticker on Kevin's glasses.<b>                                     OTTO</b>                         Kevin stop singingman.<b>                                     KEVIN</b>                         Feeling seven eleven.<b>                                     KEVIN</b>                         Hum. I wasn't singingguy.<b>                                     OTTO</b>                         I'm standing right next to you and you're                          fucking (flippin) singing. Cut it out.<b></b><b>                         </b><b>                                     KEVIN</b>                         Jeeze. Why so tense guy?<b>                                     MR.HUMPHRIES</b>                         Otto?<b>                                     KEVIN</b>                         Mister Humphries!<b>                                     MR. HUMPHRIES</b>                         You were late again thismorning. Now                          normally I'd let it go but it's been                          brought to my attention that you're                          not paying attention to the way you                          space the cans. Manyyoung men of your                          age in these uncertain times-<b> </b><b>                                     MR. HUMPHRIES</b>                         Otto! Are you paying attention to me?<b></b><b>                         </b><b>                                     LOUIE</b>                         Hey! He's talking to you!               Kevin chuckles               Otto grabs Kevin by the front of his shirt, steps aroundhim,                and pushes him into the stack of cans (this has been described                as a goof but it's clearly just a case of awkward staging used                to make the shot work).<b> </b>               Louie pullshis gun.<b>                                     LOUIE</b>                         (Basta!) <b>                                     KEVIN</b>                         You gotta love getting fired from your                          job in a big way, Otto.<b></b><b>                                     MR. HUMPHRIES</b>                         What are you laughing at? Louie, throw                          him out too.<b></b><b>                                     LOUIE</b>                         Come on you  worm. Get out of here.<b> </b><b>                         </b>               Louie shoves Kevin down aisle where Otto is walking out.Otto                takes off his clip-on bow tie and tosses it back towards Louie.                Louie twirls his gun and puts it away. Note that the store aisle                is lined with nothing but generic products, plain blacklettering                on white background. All products in movie from now on will have                this appearance.<b> </b>               Punks slamdancing to Coup D'etat in the back of a warehouse.<b></b><b>               </b>               Otto is there slamdancing and Duke walks up, the two of them                swing each other around. Behind them, the graffiti on the wall                says \"Circle Jerks\", a band whichwill appear later in the movie.<b> </b><b>               </b><b>                                     OTTO</b>                         How you doing dude? When did you get                          out of the slammer man?<b></b>               Otto enters bedroom where Debbi is waiting in bed.<b>                                     DEBBI</b>                         What's the difference?]<b>                                     OTTO</b>                         Huh?               Otto lays back on the bed and puts his hands behind his head.<b></b><b>               </b><b>                                     OTTO</b>                         okay               Debbi pulls back his shirt a little and begins kissing his stomach,                then stops.<b></b><b>                                     DEBBI</b>                         Otto. Otto.<b>                                     OTTO</b>                         What?<b>                                     DEBBI</b>                         Get me anotherbeer.               Otto goes downstairs and there's a party going on. Institutionalized                plays in background.<b> </b><b>                                     KEVIN</b>                         Ow. Cool. Ow. Dammit. I'msupposed to                          be the host here.<b> </b><b>                                     KEVIN</b>                         Ow!               Otto returns to thebedroom<b>                                     OTTO</b>                         Debbi honey. I got you a beer.               Otto turns on light and finds Duke there withDebbi.<b>                                     [OTTO</b>                         Shit.<b>                                     DEBBI</b>                         Just ignore him Duke he's nothing but                          a big baby.<b></b><b>                                     DUKE</b>                         Turn the fucking light out.]               Otto leaves room just as Kevin arrives and looks in the door.<b></b><b>               </b><b>                                     KEVIN</b>                         What are you doing? Nobody supposed                          to be up here. This is my parent's room.<b></b><b>                         </b><b>                                     </b>                         Dude, nobody supposed to be up here,                          this is my parent's room.)<b> </b>               [Otto in a vacant lot drinkinga beer.               It's early morning and Otto starts walking.<b>                                     OTTO</b>                         Don't want to talk about anything else.                          We don't want to know. We're justdedicated...to                          our favorite shows. Saturday night live,                          Monday night football, Dallas, Jeffersons,                          Gilligan's island, Flintstones. ]<b></b><b>                         </b>               Otto still walking, but it's light now.               Bud pulls up next to him in a blue sedan.<b>                                     BUD</b>                         Hey kid! (Honk) Hey! Hey kid!Hey! Hey!                          Are you hard of hearing?<b> </b><b>                                     OTTO</b>                         What do you want?<b>                                     BUD</b>                         You want to maketen bucks?<b>                                     OTTO</b>                         Fuck you, queer.(Shove off, pervert)<b> </b><b>                         </b><b>                                     BUD</b>                         Now waitaminute wait a minute kid you                          got the wrong idea. Look my old lady                          is real sick and I got to get her to                          the hospital, okay?<b></b><b>                                     OTTO</b>                         So what? Take her there.<b>                                     BUD</b>                         I can't. I can't leave her car in this                          bad area. Look Ineed some helpful soul                          to drive it for me, okay? She's pregnant.                          She's with twins. She could drop at                          any time. All right?<b></b><b>                                     OTTO</b>                         Well, uh, how much are you going to                          give me?<b> </b><b>                                     BUD</b>                         Fifteenbucks.<b>                                     OTTO</b>                         No. Won't do it for less than twenty.<b> </b><b>                         </b><b>                                     BUD</b>                         Twenty-five. Followme in my old lady's                          car. It\u0000s right here. okay?<b> </b><b>                                     OTTO</b>                         All right... Where's, uh, where's your                          old lady at?<b></b><b>                                     BUD</b>                         Never mind about that. Right now we                          need to get both of my cars out of this                          bad area, allright? Come on.<b>"}
+{"doc_id":"doc_93","qid":"","text":"<html><head><title>Phone Booth Script at IMSDb.</title><meta name=\"description\" content=\"Phone Booth script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Phone Booth script,Phone Booth movie script, Phone Booth film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\"rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><html><head><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>PhoneBooth</title></head><pre><b>                          PHONE BOOTH</b>                              by                          Larry Cohen<b> FADE IN:</b><b> NEW YORK CITY - AERIAL VIEW OF DOWNTOWN MANHATTAN -DAY</b><b> MULTIPLE STREET SCENES - DAY</b> The sidewalks crowded as usual.  A sea of humanity.  People come and go -- always in a hurry.  Oblivious of one another. A TRAFFIC JAM -- A STREET being torn upby construction workers; A SANITATION TRUCK loading up refuse; VENDORS PEDDLING nuts and salted pretzels; PANHANDLERS blocking a passerby.  Intimidating.  Demanding.  Almost mocking. We're surrounded bythe teeming life of the city as we've come to expect it -- complete with a cacophony of sound. MULTIPLE CUTS -- Phone kiosks and phone booths on the East Side and West Side -- uptown and down. One frustratedcaller has lost his money in the slot and he takes it out on the equipment -- smashing the receiver violently against the coin box until the instrument splinters into a dozen pieces.<b> NARRATOR</b> There are237,911 pay telephones in the five burroughs of the city of New York.  Many of them are still in working order.<b> DOZENS OF QUICK CUTS --</b> NEW YORKERS on the phone in extreme close up.  We don't hear thewords.  Only the facial expressions inform us that these are human beings under tremendous pressure.  Life in the city is wearing them down.<b> MULTIPLE SHOTS - JUST MOUTHS</b> Lips jabbering intoreceivers.  Cross-cut against one another.<b> NARRATOR</b> Despite increased usage of cellular devices, an estimated four and a half million New Yorkers and two million visitors still utilize pay telephones on aregular basis.  At thirty-five cents a pop... for the first three minutes.<b> ANGLE ON CORNER IN MID-MANHATTAN - DAY</b> There's a phone booth situated on the southeast side of the street.<b> NARRATOR</b>You're looking at the telephone booth at the corner of 45th Street and 8th Avenue in the heart of the Manhattan theatrical district.  It has been scheduled to be removed and replaced by a kiosk.  It's one of the fewremaining phone booths left in the city. CAMERA MOVES IN on the irate caller in the booth -- a very well-dressed gray-haired lady -- totally conservative in appearance.<b> WOMAN IN BOOTH</b> (into receiver) Youhave lied to me for the last time, you lowlife prick bastard!  I don't ever want to hear the sound of your fucking voice again. (listens) Yes, well fuck you, too! She slams down the receiver and exits.  The booth remainsvacant for a brief interval.<b> NARRATOR</b> At least three hundred calls daily originate from this booth.  The coins are collected twice a day. This booth has been burglarized forty-one times in the last six months.Someone is approaching the booth, fishing in his pocket for coins.  This is STUART SHEPARD, snappily dressed, his hair styled and his nails manicured.  Here is a man who clearly takes excellent care of himself.  Hesports a Donna Karen suit and silk Armani tie. He's about to step into the booth when he's accosted by a middle-aged man in a soiled apron who's run out of a nearby restaurant and has finally caught up with him.<b>MARIO</b> Stu, we got to talk.<b> STU</b> Wish I could accommodate you, Mario, but this is my busy time of day.<b> MARIO</b> How come you cross the street every time you go past the restaurant?<b>STU</b> Why don't I stop in later for some lunch?<b> MARIO</b> There's no more drinks or free meals until the restaurant starts showing up in the columns like you said.<b> STU</b> I'm doing my level best foryou people.<b> MARIO</b> One lousy mention in the Post and you expect to eat for six months!<b> STU</b> I got the food critic from the Village Voice all lined up to give you a review.<b> MARIO</b> That's whatyou tell me last July. And he never shows.<b> STU</b> I was allowing you time to expand the menu.  Wallpaper the bathrooms, for God sakes.  You get only one shot with these fucking critics and I don't want you toblow a rare opportunity.<b> MARIO</b> You the one blowing it.  How long you think you can fuck everybody?<b> STU</b> Hold on right there.  I've got a very excellent reputation around this town.<b> MARIO</b>So how come you take two nice suits of clothes from Harry and never get his daughter on David Letterman?<b> STU</b> Hell, I'm not an agent.  I'm a publicist.<b> MARIO</b> Mister, you're nothing!<b> STU</b>Believe me, Valerie's on the waiting list to audition.  Harry's got no complaints.  He just let me pick out this tie the other day.<b> MARIO</b> That Harry's a damn fool!<b> STU</b> Mario, please let me make this upto you.  How about I arrange for the opening night party for this new off-Broadway show I'm handling -- to be held at your place with local TV coverage on nine and eleven?  I mean I had it promised to another client --who actually pays me money.  But it isn't firmed up yet.  And I could throw it your way.  Maybe.<b> MARIO</b> What is involved?<b> STU</b> You'd toss in the buffet for say seventy or eighty.  The producers wouldsupply their own vino, of course.  I'd deliver you a truckload of celebrities.  And if they like the food, they'll all come back, naturally.<b> MARIO</b> What celebrities?<b> STU</b> You want Liza Minelli?  An Oscarwinner.  Or Douglas Fairbanks, Jr.?<b> MARIO</b> Is he still alive?<b> STU</b> I saw him last night going into the Four Seasons.  I'll bring you over a whole VIP list when we come by for dinner.<b> MARIO</b>How come everybody wants to eat but nobody wants to pay?<b> STU</b> You can't think small like that. Hey, you still feature musicians Fridays and Saturdays?<b> MARIO</b> At least they work for theirmeals.<b> STU</b> What about Harry's daughter as an extra added attraction?  She'll belt out five or six showtunes -- two sets a night -- and it won't cost you a fucking nickel.<b> MARIO</b> How come?<b>STU</b> Star Showcase!  Let me handle setting that up.  And when she eventually goes on Letterman, she'll announce I'm currently appearing over at Mario's fine supper club.  Right over CBS she'll say that,Mario.<b> MARIO</b> You're full of shit.  You know that?  All bullshit!<b> STU</b> That's just a vulgar word for PR. (placing an arm around him) Mario, you can't hurt my feelings. Even when I was a kid and theyhurled certain invectives my way, it never bothered me.  Other kids would fall apart if anybody called them a fucking name.  Me, I just loved the attention!  'Shit-for- brains' -- that's what the bigger kids namedme.  And I answered to it.  Hey, 'shit-for brains' reporting for duty.  Everybody loved me for that.  I could take abuse.  After a while, I kind of wore them down.  There was nothing more they could say to me.  So theystopped.  I kind of missed it.<b> MARIO</b> I'm sorry I even talked to you.<b> STU</b> I'll bet your loving wife put you up to this.  She saw me pass by and she sent you out in the street. But I don't hold it againstyou personally -- you still serve up superior veal chop. (entering phone booth) Now I got urgent business to conduct, Mario. He slides the booth closed in Mario's face. The frustrated restaurateur glares at him throughthe glass before giving up and walking off -- talking to himself as he goes up the block. INSIDE THE BOOTH, Stu inserts his thirty-five cents and dials.<b> STU</b> Hello, Mavis, sweet creature.<b> MAVIS' VOICE</b>Where have you been?  Do you think I have nothing to do but wait around for you to call?<b> STU</b> I'm only a few minutes late, loveliest individual on earth.<b> MAVIS' VOICE</b> Stu, I'm so lonely.  When can Isee you?<b> STU</b> Good news in that arena.  Kelly goes into rehearsal as of Monday. You know how dedicated she is.  By the time she gets back from dancing her ass off, she goes right to sleep.  We'll have bothour days and certain nights.  Not to mention when they take the show on the road.<b> MAVIS' VOICE</b> How long is that for?<b> STU</b> Four to five weeks -- minimum.<b> MAVIS' VOICE</b> Maybe I shouldquit my job so we can be together full time.<b> STU</b> I wouldn't do that.<b> MAVIS' VOICE</b> Sometimes I think if I have to give one more fucking manicure...<b> STU</b> That's how you met me.<b>MAVIS' VOICE</b> I never saw a worse set of nails. Bit right down to the quick.<b> STU</b> I'm much better groomed since you've been looking after me.<b> MAVIS' VOICE</b> I'm glad you admit it.<b> STU</b>Even Kelly remarked on it when I first met her.<b> MAVIS' VOICE</b> She could care less how you look. She's only interested in pushing her own career.  Some wife you're stuck with!<b> STU</b> The marriage isnot without its compensations.  Do you imagine I could afford that apartment on what I'm earning?  Not with everybody cutting back on the publicity.  Not to mention a million college graduates coming into theprofession trying to cut me out. And one thing you can't expect from your clients is loyalty.  They get a couple of bad notices, they dump you.  Goodbye.<b> MAVIS' VOICE</b> Don't go.<b> STU</b> I wasn't sayinggoodbye to you.  I was saying how the clients try to give you the wave off without even a month's notice. A conservative businessman now stands outside the booth waiting to use it.  He deliberately glances at hiswatch a few times to demonstrate his impatience.  This bothers Stu who slides the booth open a crack.<b> STU</b> (yelling) What?  Is your watch busted?  It's twenty after eleven and I'm gonna be occupiedindefinitely with my transaction.  So get out of my face! He closes the booth up again and turns his back to the gentleman who gives up and departs.<b> STU</b> Sorry, honey.  There will be no furtherinterruption.<b> MAVIS' VOICE</b> Why must you always be calling me from some booth?<b> STU</b> On account of that phone records are regularly subpoenaed in divorce proceedings.  And I don't want someentry showing up on my cellular bill either.  She gets the mail. She looks these items over. Sometimes she even dials up a strange number to see who it is.<b> MAVIS' VOICE</b> Then she suspects something.<b>STU</b> It's only because her last husband, the choreographer, ran around on her.  She can't get that out of her head.  That's how she caught onto him.  The phone bills.<b> MAVIS' VOICE</b> She hasn't developedmuch skill at holding a man.<b> STU</b> You know what a self-fulfilling prophecy is?  She was so sure I was going to find me a woman that she finally drove me back to you.  I thought I'd feel all guilty about it -- butI guess it hasn't kicked in yet. (beat) Still, I wouldn't do anything to hurt her.  Basically, Kelly's a decent individual.<b> MAVIS' VOICE</b> What about hurting me?  Like last time?<b> STU</b> Hurt?  You were gladto be rid of me.<b> MAVIS' VOICE</b> For a while I was, 'til I took stock of what was around.  You're the lesser of many evils.<b> STU</b> That's about the nicest thing you ever said.<b> MAVIS' VOICE</b> I'llhave it engraved.<b> STU</b> We've been up front with each other from the beginning.  Let's keep it that way.  How about a drink?  Say seven o'clock?  The Monkey Bar?<b> MAVIS' VOICE</b> Meet me in front.  Idon't like walking in there unescorted.<b> STU</b> Yeah, you're great enough looking to be mistaken for one of those thousand dollar a night girls.<b> MAVIS' VOICE</b> It happens all the time lately.<b> STU</b>"}
+{"doc_id":"doc_94","qid":"","text":"<html><head><title>Clueless Script at IMSDb.</title><meta name=\"description\" content=\"Clueless script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Clueless script, Clueless moviescript, Clueless film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=SubjectCONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0];s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>    <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\"title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center></td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b><HTML></b><b><HEAD></b><TITLE>Clueless</TITLE><b></HEAD></b><body bgcolor=#ffffff text=#000000 link=#ff0000vlink=#808080 alink=#ff8000><b><CENTER></b>  <P><B><TT><FONT SIZE=+1>Directed by Amy Heckerling</FONT></TT></B></P><b></CENTER></b><b><PRE><B><TT><FONTSIZE=+1>CAST:</FONT></TT></B></PRE></b><b><BLOCKQUOTE></b><PRE><B><TT><FONT SIZE=+1>Alicia Silverstone.........Cher HorowitzStacey Dash................DionneBrittany Murphy............TaiPaulStephen Rudd..........JoshDonald Adeosun Faison......MurrayElisa Donovan..............AmberBreckin Meyer..............TravisJeremy Sisto...............EltonDan Hedaya.................MelAida Linares...............LucyWallaceShawn..............Mr. HallTwink Caplan...............Miss GeistJustin Walker..............ChristianSabastian Rashidi..........ParoudasmHerb Hall..................PrincipalJulie Brown................Miss StoegerSusanMohun................HeatherNicole Bilderback..........SummerRon Orbach.................DMV TesterSean Holland...............LawrenceRoger Kabler...............College GuyJace Alexander.............RobberJoshLozoff................LoganCarl Gottlieb..............MinisterJoseph D. Reitman..........StudentAnthony Beninati...........BartenderMicki Duran................DancerGregg Russell..............DancerJermaineMontell...........DancerDanielle Eckert............Dancer</FONT></TT></B></PRE><b></BLOCKQUOTE></b><PRE><B><TT><FONT SIZE=+1>Written by      Jane Austen   (novel Emma)       AmyHeckerlingCinematography by      Bill PopeMusic by      David KitayProduction Design by      Steven J. JordanCostume Design by      Mona MayFilm Editing by      Debra ChiateProduced by      Barry M.Berg  (co-producer)       Twink Caplan  (associate)       Robert Lawrence (III)      Scott Rudin      Adam Schroeder  (co-producer) Other crew      Den Abraham..............set dresser       Barry M. Berg............unitproduction manager       Alan 'Doc' Friedman......make-up       Richard Graves...........assistant director       Raul Gutierrez...........assistant to Scott Rudin       William Hiney............art director       LawrenceKarman..........camera operator       Mark Kusy................set dresser       James LaBarge............set dresser       Alyson Dee Moore.........foley       James Muro...............steadicam operator       WendyMurray.............set dresser       Patricia Nedd............foley       Nina Paskowitz...........hair styles       Karyn Rachtman...........music supervisor       Patrick Romano...........stunt co-ordinator       MarciaRoss..............casting       Daniel Silverberg........assistant director       Jeffrey T. Spellman......location manager       Amy Wells................set decorator       Diana Williams...........assistant director</FONT></TT></B></PRE><P>&nbsp;</P><P><B><TT><FONT SIZE=+1>OK, so here it is. The entire script to Cluelessincluding <FONT COLOR=\"#0080FF\">important actions</FONT>, songs from the<FONTCOLOR=\"#FF0080\">soundtrack</FONT>, and my own personal <FONT COLOR=\"#FF8000\">comments</FONT>.Just hit the little speaker <imr smc=\"http://www.geocities.com/Hollywood/Hills/5342/speaker.gif\"HEIGHT=19 WIDTH=20 ALIGN=TEXTTOP>&nbsp;nextto the character's name to hear the lines from the movie <FONT COLOR=\"#FF0000\">(They'renot working yet)</FONT>. I hope you enjoy reading it as much as Ienjoyedwriting it. It's amazing the things you pick up when watching a scene 50times. One thing: this is written by a hopelessly devoted and loyal AliciaSilverstone fan, so some of the commentary may be biased. But, Ifigureif you're reading this then you must have some interest her. Enjoy.</FONT></TT></B></P><P><B><TT><FONT SIZE=+1>Any suggestions, errors, anything?! Please emailme <AHREF=\"mailto:pacey578@rocketmail.com\">pacey578@rocketmail.com</A></FONT></TT></B></P><P>&nbsp; </P><b><PRE><B><TT><FONT SIZE=+2>SCENE I - CHER'SHOUSE</FONT></TT></B></PRE></b><PRE><B><TT><FONT COLOR=\"#FF0080\"><FONT SIZE=+1>&quot;Kids in America&quot; The Muffs</FONT></FONT></TT></B></PRE><PRE><TT><FONTCOLOR=\"#0080FF\"><FONT SIZE=+1>(Heaps of shots of the girls having fun)</FONT></FONT></TT></PRE><b><PRE><B><TT><FONT SIZE=+1>CHERV.O.</FONT></TT></B></PRE></b><b><BLOCKQUOTE></b><P><TT><FONT SIZE=+1>So OK, you're probably thinking, &quot;Is this, likea Noxema commercial, or what?!&quot; But seriously, I actually have awaynormal life for a teenage girl. I mean I get up, I brush my teeth, andI pick out my school clothes.</FONT></TT><imr smc=\"http://www.geocities.com/Hollywood/Hills/5342/clue-s1p1.jpg\" HEIGHT=150WIDTH=201 ALIGN=RIGHT></P><b></BLOCKQUOTE></b><P><B><TT><FONT COLOR=\"#FF0080\"><FONT SIZE=+1>&quot;Fashion Girl&quot;DavidBowie</FONT></FONT></TT></B></P><b><BLOCKQUOTE></b><P><TT><FONT SIZE=+1>Daddy's a litigator. Those are the scariest kindsof lawyers. Even Lucy, our maid, is terrified of him. He's so good hegetspaid five hundred dollars an hour just to fight with people, but he fightswith me for free 'cause I'm his daughter.</FONT></TT></P><b></BLOCKQUOTE></b><b><P><B><TT><FONTSIZE=+1>CHER</FONT></TT></B></P></b><b><BLOCKQUOTE></b><P><TT><FONT SIZE=+1>Daddy!</FONT></TT></P><b></BLOCKQUOTE></b><b><P><B><TT><FONTSIZE=+1>MEL</FONT></TT></B></P></b><b><BLOCKQUOTE></b><P><TT><FONT SIZE=+1>Cher, please don't start with the juiceagain.</FONT></TT></P><b></BLOCKQUOTE></b><b><P><B><TT><FONT SIZE=+1>CHER</FONT></TT></B></P></b><b><BLOCKQUOTE></b><P><TT><FONT SIZE=+1>Daddy, you need your vitaminC.</FONT></TT></P><b></BLOCKQUOTE></b><b><P><B><TT><FONT SIZE=+1>MEL</FONT></TT></B></P></b><b><BLOCKQUOTE></b><P><TT><FONT SIZE=+1>Where's mybriefcase?</FONT></TT></P><b></BLOCKQUOTE></b><b><P><B><TT><FONT SIZE=+1>CHER</FONT></TT></B></P></b><b><BLOCKQUOTE></b><P><TT><FONT SIZE=+1>It's been a couple ofmonths now, so I say we go outto Malibu.</FONT></TT></P><b></BLOCKQUOTE></b><b><P><B><TT><FONT SIZE=+1>MEL</FONT></TT></B></P></b><b><BLOCKQUOTE></b><P><TT><FONTSIZE=+1>Don't tell me those braindead low-lifes have beencalling again.</FONT></TT></P><b></BLOCKQUOTE></b><b><P><B><TT><FONTSIZE=+1>CHER</FONT></TT></B></P></b><b><BLOCKQUOTE></b><P><TT><FONT SIZE=+1>They are your parents. And don't try sneaking outof the office. Dr. Lovitz is coming by to give you a flushot.</FONT></TT></P><b></BLOCKQUOTE></b><b><P><B><TT><FONT SIZE=+1>MEL</FONT></TT></B></P></b><b><BLOCKQUOTE></b><P><TT><FONT SIZE=+1>Oh, Josh is in town. He's comingfor dinner.</FONT></TT></P><b></BLOCKQUOTE></b><b><P><B><TT><FONT SIZE=+1>CHER</FONT></TT></B></P></b><b><BLOCKQUOTE></b><P><TT><FONTSIZE=+1>Why?</FONT></TT></P><b></BLOCKQUOTE></b><b><P><B><TT><FONT SIZE=+1>MEL</FONT></TT></B></P></b><b><BLOCKQUOTE></b><P><TT><FONT SIZE=+1>Because he's yourstep-brother!</FONT></TT></P><b></BLOCKQUOTE></b><b><P><B><TT><FONT SIZE=+1>CHER</FONT></TT></B></P></b><b><BLOCKQUOTE></b><P><TT><FONT SIZE=+1>But you were hardlyeven married to his mother andthat was five years ago. Why do I have to see Josh?</FONT></TT></P><b></BLOCKQUOTE></b><P><TT><FONT COLOR=\"#FF8000\"><FONT SIZE=+1>(Watch thoseLIPS!!)</FONT></FONT></TT></P><b><P><B><TT><FONT SIZE=+1>MEL</FONT></TT></B></P></b><b><BLOCKQUOTE></b><P><TT><FONT SIZE=+1>You divorce wives, notchildren.</FONT></TT></P><b></BLOCKQUOTE></b><b><P><B><TT><FONT SIZE=+1>CHER</FONT></TT></B></P></b><b><BLOCKQUOTE></b><P><TT><FONTSIZE=+1>Here.</FONT></TT></P><b></BLOCKQUOTE></b><b><P><B><TT><FONT SIZE=+1>MEL</FONT></TT></B></P></b><b><BLOCKQUOTE></b><P><TT><FONT SIZE=+1>Forgetit!</FONT></TT></P><b></BLOCKQUOTE></b><b><P><B><TT><FONT SIZE=+2>SCENE II - CHER'S CAR</FONT></TT></B></P></b><P><B><TT><FONT COLOR=\"#FF0080\"><FONT SIZE=+1>&quot;Justa girl&quot; NoDoubt</FONT></FONT></TT></B></P><b><P><B><TT><FONT SIZE=+1>CHER V.O.</FONT></TT></B></P></b><b><BLOCKQUOTE></b><P><TT><FONT SIZE=+1>Did I show you theloqued-out Jeep Daddy got me? It'sgot four wheel drive, dual side airbags and monster sound system. I don'thave a licence yet, but I need something to learnon.</FONT></TT></P><b></BLOCKQUOTE></b><P><TT><FONT COLOR=\"#0080FF\"><FONT SIZE=+1>(Cher runs over a potted planton thekerb)</FONT></FONT></TT></P><b><BLOCKQUOTE></b><P><TT><FONT SIZE=+1>Oh, why that came out of nowhere.</FONT></TT></P><b></BLOCKQUOTE></b><P><TT><FONTCOLOR=\"#FF8000\"><FONT SIZE=+1>(Watch her face when she looksback at the road)</FONT></FONT></TT></P><b><BLOCKQUOTE></b><P><TT><FONT SIZE=+1>Here's where Dionne lives. She's my friendbecausewe both know what it's like to have people be jealous of us.</FONT></TT></P><b></BLOCKQUOTE></b><b><P><B><TT><FONTSIZE=+1>DIONNE</FONT></TT></B></P></b><b><BLOCKQUOTE></b><P><TT><FONT SIZE=+1>Dude!</FONT></TT></P><b></BLOCKQUOTE></b><b><P><B><TT><FONTSIZE=+1>CHER</FONT></TT></B></P></b><b><BLOCKQUOTE></b><P><TT><FONT SIZE=+1>Girlfriend!</FONT></TT></P><b></BLOCKQUOTE></b><b><P><B><TT><FONT SIZE=+1>CHERV.O.</FONT></TT></B></P></b><b><BLOCKQUOTE></b><P><TT><FONT SIZE=+1>And I must give her snaps for her courageousfashionefforts.</FONT></TT></P><b></BLOCKQUOTE></b><b><P><B><TT><FONT SIZE=+1>DIONNE</FONT></TT></B></P></b><b><BLOCKQUOTE></b><P><TT><FONT SIZE=+1>HeyCher.</FONT></TT><imr smc=\"clue-s2p1.jpg\" HEIGHT=150 WIDTH=188 ALIGN=RIGHT></P><b></BLOCKQUOTE></b><P><B><TT><FONT SIZE=+1>CHER V.O. </FONT></TT></B><A"}
+{"doc_id":"doc_95","qid":"","text":"The Project Gutenberg EBook of The Efficiency Expert, by Edgar Rice BurroughsThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it awayorre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.org/licenseTitle: The Efficiency ExpertAuthor: Edgar Rice BurroughsPosting Date: May 6, 2012 [EBook#3475]Release Date: October, 2002  [Etext #3475][The actual date this file first posted = 10/30/01]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE EFFICIENCY EXPERT ***Produced by FredM. Adams (fsadams@magma.cs)THE EFFICIENCY EXPERTCHAPTER I.JIMMY TORRANCE, JR.The gymnasium was packed as Jimmy Torrance stepped into the ring for thefinal event of the evening that was to decide theboxing championship ofthe university. Drawing to a close were the nearly four years of hiscollege career--profitable years, Jimmy considered them, and certainlysuccessful up to this point. In the beginning of his senioryear he hadcaptained the varsity eleven, and in the coming spring he would againsally forth upon the diamond as the star initial sacker of collegedom.His football triumphs were in the past, his continued baseballsuccessesa foregone conclusion--if he won to-night his cup of happiness, and anunassailably dominant position among his fellows, would be assured,leaving nothing more, in so far as Jimmy reasoned, to be desiredfromfour years attendance at one of America's oldest and most famousuniversities.The youth who would dispute the right to championship honors with Jimmywas a dark horse to the extent that he was a freshman, and,therefore,practically unknown. He had worked hard, however, and given a goodaccount of himself in his preparations for the battle, and there wererumors, as there always are about every campus, of marvelousexploitsprior to his college days. It was even darkly hinted that he was aprofessional pugilist. As a matter of fact, he was the best exponent ofthe manly art of self-defense that Jimmy Torrance had ever faced, andinaddition thereto he outweighed the senior and outreached him.The boxing contest, as the faculty members of the athletic committeepreferred to call it, was, from the tap of the gong, as pretty atwo-fisted scrap asever any aggregation of low-browed fight fanswitnessed. The details of this gory contest, while interesting, have noparticular bearing upon the development of this tale. What interests usis the outcome, which occurredin the middle of a very bloody fourthround, in which Jimmy Torrance scored a clean knock-out.It was a battered but happy Jimmy who sat in his room the followingMonday afternoon, striving to concentrate his mindupon a collegetext-book which should, by all the laws of fiction, have been 'wellthumbed,' but in reality, possessed unruffled freshness which belied itsreal age.\"I wish,\" mused Jimmy, \"that I could have got to the birdwho inventedmathematics before he inflicted all this unnecessary anguish upon analready unhappy world. In about three rounds I could have savedthousands from the sorrow which I feel every time I open thisbloomingbook.\"He was still deeply engrossed in the futile attempt of accomplishing inan hour that for which the college curriculum set aside several monthswhen there came sounds of approaching footsteps rapidlyascending thestairway. His door was unceremoniously thrown open, and there appearedone of those strange apparitions which is the envy and despair of thesmall-town youth--a naturally good-looking young fellow, thesartorialarts of whose tailor had elevated his waist-line to his arm-pits,dragged down his shoulders, and caved in his front until he had theappearance of being badly dished from chin to knees. His trousersappeared tohave been made for a man with legs six inches longer thanhis, while his hat was evidently several sizes too large, since it wouldhave entirely extinguished his face had it not been supported by hisears.\"Hello, Kid!\" criedJimmy.  \"What's new?\"\"Whiskers wants you,\" replied the other.  \"Faculty meeting. They justgot through with me.\"\"Hell!\" muttered Jimmy feelingly.  \"I don't know what Whiskers wantswith me, but he never wants tosee anybody about anything pleasant.\"\"I am here,\" agreed the other, \"to announce to the universe that you areright, Jimmy. He didn't have anything pleasant to say to me. In fact, heinsinuated that dear old almamater might be able to wiggle alongwithout me if I didn't abjure my criminal life. Made some nastycomparison between my academic achievements and foxtrotting. I wonder,Jimmy, how they get that way?\"\"That's whythey are profs,\" explained Jimmy.  \"There are two kinds ofpeople in this world--human beings and profs. When does he want me?\"\"Now.\"Jimmy arose and put on his hat and coat.  \"Good-by, Kid,\" he said.\"Pray for me,and leave me one cigarette to smoke when I get back,\"and, grinning, he left the room.James Torrance, Jr., was not greatly abashed as he faced the dourtribunal of the faculty. The younger members, among whom wereseveral heknew to be mighty good fellows at heart, sat at the lower end of thelong table, and with owlish gravity attempted to emulate the appearanceand manners of their seniors. At the head of the table sat Whiskers,asthe dignified and venerable president of the university was popularlynamed. It was generally believed and solemnly sworn to throughout thelarge corps of undergraduates that within the knowledge of any livingmanWhiskers had never been known to smile, and to-day he was runningtrue to form.\"Mr. Torrance,\" he said, sighing, \"it has been my painful duty on morethan one occasion to call your attention to the uniformly lowaverage ofyour academic standing. At the earnest solicitation of the facultymembers of the athletic committee, I have been influenced, against mybetter judgment, to temporize with an utterly insufferablecondition.\"You are rapidly approaching the close of your senior year, and in thelight of the records which I have before me I am constrained to believethat it will be utterly impossible for you to graduate, unless fromnowto the end of the semester you devote yourself exclusively to youracademic work. If you cannot assure me that you will do this, I believeit would be to the best interests of the university for you to resignnow, ratherthan to fail of graduation. And in this decision I am fullyseconded by the faculty members of the athletic committee, who realizethe harmful effect upon university athletics in the future were soprominent an athlete asyou to fail at graduation.\"If they had sentenced Jimmy to be shot at sunrise the blow couldscarcely have been more stunning than that which followed therealization that he was not to be permitted to round out hisfourthsuccessful season at first base. But if Jimmy was momentarily stunned hegave no outward indication of the fact, and in the brief interval ofsilence following the president's ultimatum his alert mind functionedwiththe rapidity which it had often shown upon the gridiron, thediamond, and the squared circle.Just for a moment the thought of being deprived of the pleasure andexcitement of the coming baseball season filled his mindto theexclusion of every other consideration, but presently a less selfishimpulse projected upon the screen of recollection the figure of thefather he idolized. The boy realized the disappointment that this manwould feelshould his four years of college end thus disastrously andwithout the coveted diploma.And then it was that he raised his eyes to those of the president.\"I hope, sir,\" he said, \"that you will give me one more chance--thatyouwill let me go on as I have in the past as far as baseball is concerned,with the understanding that if at the end of each month between now andcommencement I do not show satisfactory improvement I shall notbepermitted to play on the team. But please don't make that restrictionbinding yet. If I lay off the track work I believe I can make up enoughso that baseball will not interfere with my graduation.\"And so Whiskers, whowas much more human than the student body gave himcredit for being, and was, in the bargain, a good judge of boys, gaveJimmy another chance on his own terms, and the university's heavyweightchampion returnedto his room filled with determination to make good atthe eleventh hour.Possibly one of the greatest obstacles which lay in Jimmy's path towardacademic honors was the fact that he possessed those qualities ofcharacterwhich attracted others to him, with the result that there wasseldom an hour during the day that he had his room to himself. On hisreturn from the faculty meeting he found a half-dozen of his classmatesthere, awaitinghis return.\"Well?\" they inquired as he entered.\"It's worse than that,\" said Jimmy, as he unfolded the harrowing detailsof what had transpired at his meeting with the faculty. \"And now,\" hesaid, \"if you birds love me,keep out of here from now untilcommencement. There isn't a guy on earth can concentrate on anythingwith a roomful of you mental ciphers sitting around and yapping aboutgirls and other non-essentialcreations.\"\"Non-essential!\" gasped one of his visitors, letting his eyes wanderover the walls of Jimmy's study, whereon were nailed, pinned or hungcountless framed and unframed pictures of non-essential creations.\"Allright, Jimmy,\" said another.  \"We are with you, horse, foot andartillery. When you want us, give us the high-sign and we will come.Otherwise we will leave you to your beloved books. It is too bad,though, as the bar-boywas just explaining how the great drought mightbe circumvented by means of carrots, potato peelings, dish-water, and araisin.\"\"Go on,\" said Jimmy; \"I am not interested,\" and the boys left him to his\"beloved\"books.Jimmy Torrance worked hard, and by dint of long hours and hard-workingtutors he finished his college course and won his diploma. Nor did hehave to forego the crowning honors of his last baseballseason,although, like Ulysses S. Grant, he would have graduated at the head ofhis class had the list been turned upside down.CHAPTER II.JIMMY WILL ACCEPT A POSITION.Following his graduation he went to New Yorkto visit with one of hisclassmates for a short time before returning home. He was a veryself-satisfied Jimmy, nor who can wonder, since almost from hismatriculation there had been constantly dinned into his earstheplaudits of his fellow students. Jimmy Torrance had been the one bigoutstanding feature of each succeeding class from his freshman to hissenior year, and as a junior and senior he had been the acknowledgedleaderof the student body and as popular a man as the university hadever known.To his fellows, as well as to himself, he had been a great success--thesuccess of the university--and he and they saw in the futureonlycontinued success in whatever vocation he decided to honor with hispresence. It was in a mental attitude that had become almost habitualwith him, and which was superinduced by these influences, thatJimmyapproached the new life that was opening before him. For a while hewould play, but in the fall it was his firm intention to settle down tosome serious occupation, and it was in this attitude that he opened aletterfrom his father--the first that he had received since hisgraduation.The letter was written on the letterhead of the Beatrice Corn Mills,Incorporated, Beatrice, Nebraska, and in the upper left-hand corner, insmall type,appeared \"James Torrance, Sr., President and GeneralManager,\" and this is what he read:     Dear Jim    You have graduated--I didn't think you would--with honors in    football, baseball, prize-fighting, and fivethousand    dollars in debt. How you got your diploma is beyond me--in    my day you would have got the sack. Well, son, I am not    surprised nor disappointed--it is what I expected. I know    you are clean, though,and that some day you will awaken to    the sterner side of life and an appreciation of your    responsibilities.    To be an entirely orthodox father I should raise merry hell    about your debts and utter inutility, at thesame time    disinheriting you, but instead I am going to urge you to    come home and run in debt here where the cost of living is    not so high as in the East--meanwhile praying that your    awakening may comewhile I am on earth to rejoice.          Your affectionate                  FATHER,    Am enclosing check to cover your debts and present needs.For a long time the boy sat looking at the letter before him.  He rereadit once,twice, three times, and with each reading the film ofunconscious egotism that had blinded him to his own shortcomingsgradually became less opaque, until finally he saw himself as his fathermust see him. He had cometo college for the purpose of fitting himselfto succeed in some particular way in the stern battle of life whichmust follow his graduation; for, though his father had ample means tosupport him in indolence, Jimmy hadnever even momentarily consideredsuch an eventuality.In weighing his assets now he discovered that he had probably asexcellent a conception of gridiron strategy and tactics as any man inAmerica; that as a boxer heoccupied a position in the forefront ofamateur ranks; and he was quite positive that out-side of the majorleagues there was not a better first baseman.But in the last few minutes there had dawned upon him therealizationthat none of these accomplishments was greatly in demand in the businessworld. Jimmy spent a very blue and unhappy hour, and then slowly hisnatural optimism reasserted itself, and with it came therealization ofhis youth and strength and inherent ability, which, without egotism, hemight claim.\"And then, too,\" he mused, \"I have my diploma.  I am a college graduate,and that must mean something. If dad had onlyreproached me orthreatened some condign punishment I don't believe I should feel half asbadly as I do. But every line of that letter breathes disappointment inme; and yet, God bless him, he tells me to come homeand spend his moneythere. Not on your life! If he won't disinherit me, I am going todisinherit myself. I am going to make him proud of me. He's the best dada fellow ever had, and I am going to show him that Iappreciate him.\"And so he sat down and wrote his father this reply:    DEAR DAD:    I have your letter and check.  You may not believe it, but    the former is worth more to me than the latter. Not,    however, that Ispurn the check, which it was just like you    to send without a lot of grumbling and reproaches, even if I    do deserve them.    Your letter shows me what a rotten mess I have made of    myself. I'm not going to handyou a lot of mush, dad, but I    want to try to do something that will give you reason to at    least have hopes of rejoicing before I come home again. If I    fail I'll come home anyway, and then neither one of uswill    have any doubt but what you will have to support me for the    rest of my life. However, I don't intend to fail, and one of    these days I will bob up all serene as president of a bank    or a glue factory. In the meantime I'll keep you posted as    to my whereabouts, but don't send me another cent until I    ask for it; and when I do you will know that I have failed.    Tell mother that I will write her in a day or two, probably    fromChicago, as I have always had an idea that that was one    burg where I could make good.    With lots of love to you all,                                        Your affectionate                                        SON.It was a hot July daythat James Torrance, Jr., alighted from theTwentieth Century Limited at the La Salle Street Station, and, enteringa cab, directed that he be driven to a small hotel; \"for,\" hesoliloquized, \"I might as well starteconomizing at once, as it might beseveral days before I land a job such as I want,\" in voicing whichsentiments he spoke with the tongues of the prophets.Jimmy had many friends in Chicago with whom, upon theoccasion ofnumerous previous visits to the Western metropolis, he had spent manyhilarious and expensive hours, but now he had come upon the seriousbusiness of life, and there moved within him a strongdetermination towin financial success without recourse to the influence of rich andpowerful acquaintances.Since the first crushing blow that his father's letter had dealt hisegotism, Jimmy's self-esteem had beengradually returning, though alongnew and more practical lines. His self-assurance was formed in a similarmold to those of all his other salient characteristics, and theseconformed to his physical proportions, forphysically, mentally andmorally Jimmy Torrance was big; not that he was noticeably taller thanother men or his features more than ordinarily attractive, but there wassomething so well balanced and harmonious in allthe proportions of hisframe and features as to almost invariably compel a second glance fromeven a casual observer, especially if the casual observer happened to bein the nonessential creation class.And so Jimmy,having had plenty of opportunity to commune with himselfduring the journey from New York, was confident that there were manyopportunities awaiting him in Chicago. He remembered distinctly ofhaving readsomewhere that the growing need of big business concerns wascompetent executive material--that there were fewer big men than therewere big jobs--and that if such was the case all that remained to bedone was toconnect himself with the particular big job that suited him.In the lobby of the hotel he bought several of the daily papers, andafter reaching his room he started perusing the \"Help Wanted\" columns.Immediately he wasimpressed and elated by the discovery that there wereplenty of jobs, and that a satisfactory percentage of them appeared tobe big jobs. There were so many, however, that appealed to him asexcellent possibilities thathe saw it would be impossible to apply foreach and every one; and then it occurred to him that he might occupy amore strategic position in the negotiations preceding his acceptance ofa position if his future employercame to him first, rather than shouldhe be the one to apply for the position.And so he decided the wisest plan would be to insert an ad in the\"Situations Wanted\" column, and then from the replies select thosewhichmost appealed to him; in other words, he would choose from thecream of those who desired the services of such a man as himself ratherthan risk the chance of obtaining a less profitable position throughundue haste inseizing upon the first opening advertised.Having reached this decision, and following his habitual custom, hepermitted no grass to grow beneath his feet. Writing out an ad, hereviewed it carefully, compared it withothers that he saw upon theprinted page, made a few changes, rewrote it, and then descended to thelobby, where he called a cab and was driven to the office of one of thearea's metropolitan morningnewspapers.Jimmy felt very important as he passed through the massive doorway intothe great general offices of the newspaper. Of course, he didn't exactlyexpect that he would be ushered into the presence of thepresident orbusiness manager, or that even the advertising manager would necessarilyhave to pass upon his copy, but there was within him a certain sensationthat at that instant something was transpiring that in lateryears wouldbe a matter of great moment, and he was really very sorry for thepublishers of the newspaper that they did not know who it was who wasinserting an ad in their Situations Wanted column.He could not helpbut watch the face of the young man who received hisad and counted the words, as he was sure that the clerk's facialexpression would betray his excitement. It was a great moment for JimmyTorrance. He realized thatit was probably the greatest moment of hislife--that here Jimmy Torrance ceased to be, and James Torrance, Jr.,Esq., began his career. But though he carefully watched the face of theclerk, he was finally forced toadmit that the young man possessedwonderful control over his facial expression.\"That bird has a regular poker-face,\" mused Jimmy; \"never batted aneye,\" and paying for his ad he pocketed the change and walkedout.\"Let's see,\" he figured; \"it will be in tomorrow morning's edition.  Thetired business man will read it either at breakfast or after he reacheshis office. I understand that there are three million people here inChicago.Out of that three million it is safe to assume that one millionwill read my advertisement, and of that one-million there must be atleast one thousand who have responsible positions which are, at present,inadequatelyfilled.\"Of course, the truth of the matter is that there are probably tens ofthousands of such positions, but to be conservative I will assume thatthere are only one thousand, and reducing it still further to almostanabsurdity, I will figure that only ten per cent of those reply to myadvertisement. In other words, at the lowest possible estimate I shouldhave one hundred replies on the first day. I knew it was foolish to runit for"}
+{"doc_id":"doc_96","qid":"","text":"The Project Gutenberg EBook of Voodoo Planet, by Andre NortonThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it underthe terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: Voodoo PlanetAuthor: Andre NortonRelease Date: July 16, 2006 [EBook #18846]Language: English*** STARTOF THIS PROJECT GUTENBERG EBOOK VOODOO PLANET ***Produced by Greg Weeks, LN Yaddanapudi and the OnlineDistributed Proofreading Team at http://www.pgdp.net[Illustration (Cover):DUEL OF THE COSMICMAGICIANSVOODOOPLANETANDRE NORTONComplete Novel]CHALLENGE ME WITH MONSTERS!\"From between the two shuffling dancers padded something on four feet.The canine-feline creature was more than just ahead; it was aloose-limbed, graceful body fully eight feet in length, and the red eyesin the prick-eared head were those of a killer.... Words issued frombetween those curved fangs, words which Dane might notunderstand....\"Dane slid his blade out surreptitiously, setting its point against thepalm of his hand and jabbing painfully; but the terrible creaturecontinued to advance.... There was no blurring of its lines....\"DaneThorson of the space-ship _Solar Queen_ knew there was only one wayto win out over this hideous thing--a battle to the end between hisrational mind and the hypnotic witchcraft of Lumbrilo, the mental wizardof theplanet Khatka.CAST OF CHARACTERSDane ThorsonHe wanted to spend a short vacation on Khatka, not the rest of his life.Medic TauWas he physician or magician--or a little bit of both?Chief Ranger AsakiTracking theforests had taught him that mad animals--whether real orimaginary--were to be feared.Captain JellicoWould his knowledge of alien life-forms help him in his fight againstalien ghosts?NymaniNot even this pilot's mostscientific skill could overcome a voodoocharm's ground-drag.LumbriloOn his own planet he was a witch doctor; on Earth he'd have been amaster politician.VOODOO PLANETbyANDRE NORTONACE BOOKS, INC.23 West47th Street, New York 36, N. Y.VOODOO PLANETCopyright (c), 1959, by Ace Books, Inc.All Rights ReservedPrinted in U. S.A.  +--------------------------------------------------------------+  |                                                              |  |                      Transcriber's Note                      |  |                                                              |  | There isno evidence that the copyright on this publication  |  |                         was renewed.                         |  |                                                              |  +--------------------------------------------------------------+ITalk ofheat--or better not--on Xecho. This water-logged world combinedall the most unattractive features of a steam bath and one could onlydream of coolness, greenness--more land than a stingy string of islands.The youngman on the promontory above the crash of the waves wore thewinged cap of a spaceman with the insignia of a cargo-master and notmuch else, save a pair of very short shorts. He wiped one hand absentlyacross hisbare chest and brought it away damp as he studied, throughprotective sun goggles, the treacherous promise of the bright sea. One_could_ swim--if he wanted to lose most of his skin. There were minuteorganisms inthat liquid that smacked their lips--if they hadlips--every time they thought of a Terran.Dane Thorson licked his own lips, tasting salt, and plodded back throughthe sand of the spaceport to the berth of the _SolarQueen_. This hadbeen a long day, and one with more snarl-ups than he cared to count,keeping him on a constant, dogged trot between the ship and the fittingyard where riggers labored with the slowest motionspossible to thehuman body--or so it seemed to the exasperated acting-Cargo-Master ofthe Free Trader. Captain Jellico had long ago taken refuge in his cabinto preserve the remnants of his temper. Dane had beenallowed no suchescape.The _Queen_ had a schedule for refitting to serve as a mail ship, andthat time allowance did not allow for humidity playing the devil withthe innards of robot fitters. She _had_ to be ready to liftwhen theCombine ship now plying that run set down and formally signed off in herfavor. Luckily, most of the work was done and Dane had given a lastsearching inspection before signing the rigger's book and reportingtohis captain.The air-conditioned interior of the _Queen_ comforted him as he climbedto his quarters. Ship air was flat, chemically pure but unappetizingstuff. Today it was a relief to breathe. Dane went on to thebather. Atleast there was no lack of water--with the local skinners filtered out.It was chill but relaxing on his gaunt young body.He was sealing on his lightest tunic when the ramp buzzer sounded. Avisitor--oh, not thesupervisor-rigger again! Dane went to answer withdragging feet. For the crew of the _Queen_ at the moment numberedexactly four, with himself for general errand boy. Captain Jellico wasin his quarters two levelsabove, Medic Tau was presumably overhaulinghis supplies, and Sindbad, ship's cat, asleep in some empty cabin.Dane jerked his tunic into place, very much on his guard as he came tothe head of the ramp. But it wasnot the supervisor-rigger. Dane,thoroughly used to unusual-appearing strangers, both human and alien,was impressed by this visitor.He was tall, this quiet man, his great height accented by a fitleanness, a narrownessof waist and hip, a length of leg and arm. Hismain article of clothing was the universal shorts of the Xecho settler.But, being fashioned of saffron yellow, they were the more brilliantbecause of his darkness of skin. Forhe was not the warm brown of theTerran Negroes Dane had served beside, though he shared their generalfeatures. His flesh was really black, black with an almost bluish sheen.Instead of shirt or tunic, his deep chestwas crossed by two widestraps, the big medallion marking their intersection giving forthflashes of gem fire when he breathed. He wore at his belt not thestandard stun gun of a spaceman, but a weapon which resembledthe moredeadly Patrol blaster, as well as a long knife housed in a jeweled andfringed sheath. To the eye he was an example of barbaric force tamedand trimmed to civilized efficiency.He saluted, palm out, and spokeGalactic Basic with only a suggestion ofaccent.\"I am Kort Asaki. I believe Captain Jellico expects me.\"\"Yes, sir!\" Dane snapped to attention. So this was the Chief Ranger fromfabulous Khatka, Xecho's sister planet.Theother ascended the cat ladder easily, missing no detail of theship's interior as he passed. His expression was still one of politeinterest as his guide rapped on the panel door of Jellico's cabin. And ahorrible screech fromQueex, the captain's pet hoobat, drowned out anyimmediate answer. Then followed that automatic thump on the floor of theblue-feathered, crab-parrot-toad's cage, announcing that its master wasin residence.Since thecaptain's cordial welcome extended only to his guest, Daneregretfully descended to the mess cabin to make unskilled preparationsfor supper--though there was not much you could do to foul upconcentrates in anautomatic cooker.\"Company?\" Tau sat beyond the cooking unit nursing a mug of Terrancoffee. \"And do you _have_ to serve music with the meals, especiallythat particular selection?\"Dane flushed, stopped whistling inmid-note. \"Terra Bound\" _was_ oldand pretty well worn out; he didn't know why he always unconsciouslysounded off with that.\"A Chief Ranger from Khatka just came on board,\" he reported, carefullyoffhand, as hebusied himself reading labels. He knew better than toserve fish or any of its derivatives in disguise again.\"Khatka!\" Tau sat up straighter. \"Now there's a planet worth visiting.\"\"Not on a Free Trader's pay,\" commentedDane.\"You can always hope to make a big strike, boy. But what I wouldn't giveto lift ship for there!\"\"Why? You're no hunter. How come you want to heat jets for that port?\"\"Oh, I don't care about the game preserves,though they're worth seeing,too. It's the people themselves--\"\"But they're Terran settlers, or at least from Terran stock, aren'tthey?\"\"Sure,\" Tau sipped his coffee slowly. \"But there are settlers andsettlers, son. And alot depends upon when they left Terra and why, andwho they were--also what happened to them after they landed out here.\"\"And Khatkans are really special?\"\"Well, they have an amazing history. The colony wasfounded by escapedprisoners--and just one racial stock. They took off from Earth close tothe end of the Second Atomic War. That was a race war, remember? Whichmade it doubly ugly.\" Tau's mouth twisted in disgust.\"As if the colorof a man's skin makes any difference in what lies under it! One side inthat line-up tried to take over Africa--herded most of the natives intoa giant concentration camp and practiced genocide on a grandscale. Thenthey were cracked themselves, hard and heavy. During the confusion somesurvivors in the camp staged a revolt, helped by the enemy. Theycaptured an experimental station hidden in the center of the campandmade a break into space in two ships which had been built there. Thatvoyage must have been a nightmare, but they were desperate. Somehow theymade it out here to the rim and set down on Khatka withoutpower enoughto take off again--and by then most of them were dead.\"But we humans, no matter what our race, are a tough breed. The refugeesdiscovered that climatically their new world was not too differentfromAfrica, a lucky chance which might happen only once in a thousand times.So they thrived, the handful who survived. But the white techniciansthey had kidnaped to run the ships didn't. For they set up a color barinreverse. The lighter your skin, the lower you were in the socialscale. By that kind of selective breeding the present Khatkans are verydark indeed.\"They reverted to the primitive for survival. Then, about twohundredyears ago, long before the first Survey Scout discovered them, somethinghappened. Either the parent race mutated, or, as sometimes occurs, aline of people of superior gifts emerged--not in a few isolatedbirths,but with surprising regularity in five family clans. There was a shortperiod of power struggle until they realized the foolishness of civilwar and formed an oligarchy, heading a loose tribal organization. Withthe FiveFamilies to push and lead, a new civilization developed, andwhen Survey came to call they were no longer savages. Combine bought thetrade rights about seventy-five years ago. Then the Company and theFiveFamilies got together and marketed a luxury item to the galaxy. You knowhow every super-jet big shot on twenty-five planets wants to say he'shunted on Khatka. And if he can point out a graz head on his wall,orwear a tail bracelet, he's able to strut with the best. To holiday onKhatka is both fabulous and fashionable--and very, very profitable forthe natives and for Combine who sells transportation to the travelers.\"\"I hearthey have poachers, too,\" Dane remarked.\"Yes, that naturally follows. You know what a glam skin brings on themarket. Wherever you have a rigidly controlled export you're going tohave poachers and smugglers. Butthe Patrol doesn't go to Khatka. Thenatives handle their own criminals. Personally, I'd cheerfully take aninety-nine-year sentence in the Lunar mines in place of what theKhatkans dish out to a poacher they net!\"\"So thatrumor has spread satisfactorily!\"Coffee slopped over the brim of Tau's mug and Dane dropped the packet ofsteak concentrate he was about to feed into the cooker. Chief RangerAsaki loomed in the doorway of the messas suddenly as if he had beenteleported to that point.The medic arose to his feet and smiled politely at the visitor.\"Do I detect in that observation, sir, the suggestion that the tales Ihave heard were deliberately set toblast where they would do the mostgood as deterrents?\"A fleeting grin broke the impassive somberness of the black face.\"I was informed you are a man skilled in 'magic,' Medic. You certainlydisplay the traditionalsorcerer's quickness of wit. But this rumor isalso truth.\" The quirk of good humor had gone again, and there was anedge in the Chief Ranger's voice which cut. \"Poachers on Khatka wouldwelcome the Patrol in place ofthe attention they now receive.\"He came into the mess cabin, Jellico behind him, and Dane pulled downtwo of the snap seats. He was holding a mug under the spout of thecoffee dispenser as the captain madeintroductions.\"Thorson--our acting-cargo-master.\"\"Thorson,\" the Khatkan acknowledged with a grave nod of his head, andthen glanced down to floor level with a look of surprise. Weaving apattern about his legs,purring loudly, Sindbad was offering anunusually fervent welcome of his own. The Ranger went down on one knee,his hand out for Sindbad's inquiring sniff. Then the cat butted thatdark palm, batted at it playfully withclaw-sheathed paw.\"A Terran cat! It is of the lion family?\"\"Far removed,\" Jellico supplied. \"You'd have to add a lot of bulk toSindbad to promote him to the lion class.\"\"We have only the old tales.\" Asaki sounded almostwistful as the catjumped to his knee and clawed for a hold on his chest belts. \"But I donot believe that lions were ever so friendly toward my ancestors.\"Dane would have removed the cat, but the Khatkan arose withSindbad,still purring loudly, resting in the crook of his arm. The Ranger wassmiling with a gentleness which changed the whole arrogant cast of hiscountenance.\"Do not bring this one to Khatka with you, Captain, or youwill nevertake him away again. Those who dwell in the inner courts would not lethim vanish from their sight. Ah, so this pleases you, small lion?\" Herubbed Sindbad gently under the throat and the cat stretched hisneck,his yellow eyes half closed in bliss.\"Thorson,\" the Captain turned to Dane, \"that arrival report on my deskwas the final one from Combine?\"\"Yes, sir. There's no hope of the _Rover_ setting down here beforethatdate.\"Asaki sat down, still holding the cat. \"So you see, Captain, fortune hasarranged it all. You have two tens of days. Four days to go in mycruiser, four days for your return here, and the rest to explorethepreserve. We could not ask for better luck, for I do not know when ourpaths may cross again. In the normal course of events I will not haveanother mission to Xecho for a year, perhaps longer. Also--\" Hehesitatedand then spoke to Tau. \"Medic, Captain Jellico has informed methat you have made a study of magic on many worlds.\"\"That is so, sir.\"\"Do you then believe that it is real force, or that it is only asuperstition forchild-people who set up demons to howl petitions towhen some darkness falls upon them?\"\"Some of the magic I have seen is trickery, some of it founded upon aninner knowledge of men and their ways which a shrewdwitch doctor canuse to his advantage. There always remains\"--Tau put down his mug,\"--there always remains a small residue of happenings and results forwhich we have not yet found any logical explanations--\"\"And Ibelieve,\" Asaki interrupted, \"it is also true that a race can beconditioned from birth to be sensitive to forms of magic so that men ofthat blood are particularly susceptible.\" That was more of a statementthan a question,but Tau answered it.\"That is very true. A Lamorian, for example, can be 'sung' to death. Ihave witnessed such a case. But upon a Terran or another off-world manthe same suggestion would have no effect.\"\"Those whosettled Khatka brought such magic with them.\" The ChiefRanger's fingers still moved about Sindbad's jaw and throat soothingly,but his tone was chill, the coldest thing in the cramped space of themess cabin.\"Yes, ahighly developed form of it,\" Tau agreed.\"More highly developed perhaps than even you can believe, Medic!\"That came in a hiss of cold rage. \"I think that its presentmanifestation--death by a beast that is not abeast--could be worthyour detailed study.\"\"Why?\" Tau came bluntly to the point.\"Because it is a killing magic and it is being carefully used to rid myworld of key men, men we need badly. If there is a weak point inthiscloudy attack shaping against us, we must learn it, and soon!\"It was Jellico who added the rest. \"We are invited to visit Khatka andsurvey a new hunting range as Chief Ranger Asaki's personal termguests.\"Danedrew a deep breath of wonder. Guest rights on Khatka were jealouslyguarded--they were too valuable to their owners to waste. Whole familieslived on the income from the yearly rental of even half a one. ButtheRangers, by right of office, had several which they could grant tovisiting scientists or men from other worlds holding positions similarto their own. To have such an opportunity offered to an ordinary Traderwas almostincredible.His wonder was matched by Tau's and must have been plain to read for theChief Ranger smiled.\"For a long time Captain Jellico and I have exchanged biological data onalien life-forms--his skill inphotographing such, his knowledge as anxenobiologist are widely recognized. And so I have permission for him tovisit the new Zoboru preserve, not yet officially opened. And you, MedicTau, your help, or at least yourdiagnosis, we need in anotherdirection. So, one expert comes openly, another not so openly. Though,Medic, your task is approved by my superiors. And\"--he glanced atDane--\"perhaps to muddle the trail for thesuspicious, shall we not askthis young man also?\"Dane's eyes went to the captain. Jellico was always fair and his crewwould have snapped into action on his word alone--even if they werefronting a rain of Thorkiandeath darts and that order was to advance.But, on the other hand, Dane would never have asked a favor, and thebest he hoped for was to be able to perform his duties withoutunfavorable comment upon theircommission. He had no reason to believeJellico was willing to agree to this.\"You have two weeks' planet-side leave coming, Thorson. If you want tospend it on Khatka....\" Jellico actually grinned then. \"I take it thatyoudo. When do we up-ship, sir?\"\"You said that you must wait for the return of your other crewmembers--shall we say mid-afternoon tomorrow?\" The Chief Ranger stood upand put Sindbad down though the cat protestedwith several sharp meows.\"Small lion,\" the tall Khatkan spoke to the cat as to an equal, \"this isyour jungle, and mine lies elsewhere. But should you ever grow tired oftraveling the stars, there is always a home for youin my courts.\"When the Chief Ranger went out the door, Sindbad did not try to follow,but he uttered one mournful little cry of protest and loss.\"So he wants a trouble shooter, does he?\" Tau asked. \"All right, I'lltry tohunt out his goblins for him; it'll be worth that to visitKhatka!\"Dane, remembering the hot glare of the Xecho spaceport, the sea onecould not swim in, contrasted that with the tri-dees he had seen of thegreen hunters'paradise on the next planet of the system. \"Yes, sir!\" heechoed and made a haphazard choice for the cooker.\"Don't be too lighthearted,\" Tau warned. \"I'll say that any stew whichwas too hot for that Ranger to handlemight give us burned fingers--andquick. When we land on Khatka, walk softly and look over your shoulder,and be prepared for the worst.\"IILightning played along the black ridges above them, and below was asheerdrop to a river which was only a silver thread. Under their boots,man-made and yet dominating the wildness of jungle and mountain, was aplatform of rock slabs, fused to support a palace of toweringyellow-white wallsand curved cups of domes, a palace which was alsohalf fortress, half frontier post.Dane set his hands on the parapet of the river drop, blinked as alightning bolt crackled in a sky-splitting glare of violet fire. Thiswasabout as far from the steaming islands of Xecho as a man couldimagine.\"The demon graz prepare for battle.\" Asaki nodded toward the distantcrackling.Captain Jellico laughed. \"Supposed to be whetting their tusks, eh?Iwouldn't care to meet a graz that could produce such a display by meretusk whetting.\"\"No? But think of the reward for the tracker who discovers where such goto die. To find the graveyard of the graz herds wouldmake any manwealthy beyond dreams.\"\"How much truth is there in that legend?\" Tau asked.The Chief Ranger shrugged. \"Who can say? This much _is_ true: I haveserved my life in the forests since I could walk. I havelistened to thetalk of Trackers, Hunters, Rangers in my father's courtyards and fieldcamps since I could understand their words. Yet never has any manreported the finding of a body of a graz that died a natural death.Thescavengers might well account for the bulk of flesh, but the tusks andthe bones should be visible for years. And this, too, I have seen withmy own eyes: a graz close to death, supported by two of its kind andbeingurged along to the big swamps. Perhaps it is only that thesuffering animal longs for water at its end, or perhaps in the heart ofthat morass there does lie the graz graveyard. But no man has found anaturally dead graz,"}
+{"doc_id":"doc_97","qid":"","text":"Project Gutenberg's The Maid of Sker, by Richard Doddridge BlackmoreThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: The Maid of SkerAuthor: Richard Doddridge BlackmoreRelease Date: July 1, 2014 [EBook#46156]Language: EnglishCharacter set encoding: UTF-8*** START OF THIS PROJECT GUTENBERG EBOOK THE MAID OF SKER ***Produced by Matthias Grammel, sp1nd and the OnlineDistributed Proofreading Teamat http://www.pgdp.net (Thisfile was produced from images generously made availableby The Internet Archive)                        THE MAID OF SKER.[Illustration: \"_All for captain, crew and cargo, was a littlehelplesschild._\"]                        THE MAID OF SKER.                               BY                         R. D. BLACKMORE,                            AUTHOR OF      'LORNA DOONE,' 'CLARA VAUGHAN,' AND 'CRADOCKNOWELL.'         á¾½Î\u0000ῥῥε, θεοá¿\u0000Ï\u0000ίν Ï\u0000á¾½ á¼\u0000Ï\u0000θÏ\u0000á¼\u0000, κá¼\u0000ι á¼\u0000νθÏ\u0000Ï\u0000Ï\u0000οιÏ\u0000ιν á¼ Ï\u0000ιÏ\u0000Ï\u0000ε,             Ï\u0000Ï Ï\u0000Ï\u0000ῳ á½\u0000Ï\u0000 á¼\u0000ν κá½\u0000λÏ\u0000ῲ Ï\u0000οἱκίλονá¼\u0000ιÏ\u0000εÏ\u0000 á½ Ï\u0000ιν.]                           NEW EDITION,                      WITH A FRONTISPIECE.                  WILLIAM BLACKWOOD AND SONS                     EDINBURGH ANDLONDON                          MDCCCXCIIICONTENTS     CHAP.                                          PAGE        I. FISHERMAN DAVY A FISH OUT OF WATER,         1       II. HUNGER DRIVES HIM A-FISHING,                3      III.THE FISH ARE AS HUNGRY AS HE IS,            7       IV. HE LANDS AN UNEXPECTED FISH,               12        V. A LITTLE ORPHAN MERMAID,                   15       VI. FINDS A HOME OF SOME SORT,                 21      VII.BOAT _VERSUS_ BARDIE,                      27     VIII. CHILDREN WILL BE CHILDREN,                 32       IX. SANDHILLS TURNED TO SAND-HOLES,            38        X. UNDER THE ROCK,                            44       XI. AWRECKER WRECKED,                         49      XII. HOW TO SELL FISH,                          57     XIII. THE CORONER AND THE CORONET,               64      XIV. IN ACCORDANCE WITH THE EVIDENCE,           70       XV. AVERDICT ON THE JURY,                     76      XVI. TRUTH LIES SOMETIMES IN A WELL,            81     XVII. FOR A LITTLE CHANGE OF AIR,                89    XVIII. PUBLIC APPROBATION,                        97      XIX. ACRAFT BEYOND THE LAW,                   106       XX. CONFIDENTIAL INTERCOURSE,                 112      XXI. CROSS-EXAMINATION,                        119     XXII. ANOTHER DISAPPOINTMENT,                   125    XXIII.INTO GOOD SOCIETY,                        131     XXIV. SOUND INVESTMENTS,                        137      XXV. A LONG GOOD-BYE,                          145     XXVI. BRAUNTON BURROWS,                         151    XXVII. A FINESPECTACLE,                         158   XXVIII. SOMETHING ABOUT HIM,                      164     XXIX. A VISIT TO A PARSON,                      171      XXX. ON DUTY,                                  182     XXXI. TWOLOVERS,                               189    XXXII. AMONG THE SAVAGES,                        194   XXXIII. IN A STATE OF NATURE,                     203    XXXIV. WAITING AND LEARNING,                     212     XXXV. THE POLITEFERRYMAN,                      220    XXXVI. UNDER FAIRER AUSPICES,                    227   XXXVII. TWO POOR CHILDREN,                        234  XXXVIII. A FINE OLD GENTLEMAN,                     241    XXXIX. NOTICE TOQUIT,                           250       XL. FORCIBLE EJECTMENT,                       257      XLI. THE RIGHT MAN IN THE RIGHT PLACE,         267     XLII. THE LITTLE MAID AND THE MIDSHIPMAN,       276    XLIII. A FINEPRICE FOR BARDIE,                  283     XLIV. PROVIDES FOR EDUCATION,                   292      XLV. INTRODUCES A REAL HERO,                   298     XLVI. AFTER SEVEN YEARS,                        305    XLVII. MISCHIEFIN A HOUSEHOLD,                  312   XLVIII. A BREATHLESS DISINTERMENT,                320     XLIX. ONE WHO HAS INTERRED HIMSELF,             327        L. A BRAVE MAN RUNS AWAY,                    334       LI. TRIPLEEDUCATION,                         341      LII. GREAT MARCH OF INTELLECT,                 347     LIII. BEATING UP FOR THE NAVY,                  356      LIV. TAMING OF THE SAVAGES,                    368       LV. UPONFOREIGN SERVICE,                     374      LVI. EXILES OF SOCIETY,                        380     LVII. MANY WEAK MOMENTS,                        387    LVIII. MORE HASTE, LESS SPEED,                   398      LIX. IN A ROCKYBOWER,                         403       LX. NELSON AND THE NILE,                      411      LXI. A SAVAGE DEED,                            415     LXII. A RASH YOUNG CAPTAIN,                     421    LXIII. POLLY ATHOME,                            430     LXIV. SUSAN QUITE ACQUITS HERSELF,              438      LXV. SO DOES POOR OLD DAVY,                    447     LXVI. THE MAID AT LAST IS \"DENTIFIED,\"          453    LXVII. DOG EATSDOG,                             458   LXVIII. THE OLD PITCHER AT THE WELL AGAIN,        465THE MAID OF SKER.CHAPTER I.FISHERMAN DAVY A FISH OUT OF WATER.I am but an ancient fisherman upon the coast ofGlamorganshire, withwork enough of my own to do, and trouble enough of my own to heed, ingetting my poor living. Yet no peace there is for me among my friendsand neighbours, unless I will set to and try--as theybid me twice a-dayperhaps--whether I cannot tell the rights of a curious adventure whichit pleased Providence should happen, off and on, amidst us, now for agood many years, and with many ins and outs to it. Theyassure me, also,that all good people who can read and write for ten, or it may betwenty, miles around the place I live in, will buy my book--if I canmake it--at a higher price, perhaps, per lb., than they would givemeeven for sewin, which are the very best fish I catch: and henceprovision may be found for the old age and infirmities, now gaining uponme, every time I try to go out fishing.In this encouragement and prospect Ihave little faith, knowing how muchmore people care about what they eat than what they read. Nevertheless Iwill hope for the best, especially as my evenings now are very long andwearisome; and I was counted ahopeful scholar, fifty years agoneperhaps, in our village school here--not to mention the Royal Navy; andmost of all, because a very wealthy gentleman, whose name will appear inthis story, has promised to pay allexpenses, and £50 down (if I do itwell), and to leave me the profit, if any.Notwithstanding this, the work of writing must be very dull to me,after all the change of scene, and the open air and sea, and the manyspreesashore, and the noble fights with Frenchmen, and the power ofoaths that made me jump so in his Majesty's navy. God save the King, andQueen, and members of the Royal Family, be they as many as theywill--and theyseem, in faith, to be manifold. But His power is equal toit all, if they will but try to meet Him.However, not to enter upon any view of politics--all of which are farbeyond the cleverest hand at a bait among us--I aminditing of a thingvery plain and simple, when you come to understand it; yet containing alittle strangeness, and some wonder, here and there, and apt to movegood people's grief at the wrongs we do one another.Great part of itfell under mine own eyes, for a period of a score of years, or somethingthereabout. My memory still is pretty good; but if I contradict myself,or seem to sweep beyond my reach, or in any way to meddlewith thingswhich I had better have let alone, as a humble man and a Christian, Ipray you to lay the main fault thereof on the badness of the times, andthe rest upon human nature. For I have been a roving man, andmay havegathered much of evil from contact with my fellow-men, although byorigin meant for good. In this I take some blame to myself; for if I hadpolished my virtue well, the evil could not have stuck toit.Nevertheless, I am, on the whole, pretty well satisfied with myself;hoping to be of such quality as the Lord prefers to those perfectcreatures with whom He has no trouble at all, and therefore noenjoyment.Butsometimes, taking up a book, I am pestered with a troop of doubts;not only about my want of skill, and language, and experience, butchiefly because I never have been a man of consummate innocence,excellence, andhigh wisdom, such as all these writers are, if we go bytheir own opinions.Now, when I plead among my neighbours, at the mouth of the old well, allthe above, my sad shortcomings, and my own strong sense of them(whichperhaps is somewhat over-strong), they only pat me on the back, andsmile at one another, and make a sort of coughing noise, according to mybashfulness. And then if I look pleased (which for my life I cannothelpdoing), they wink, as it were, at one another, and speak up like this:--\"Now, Davy, you know better. You think yourself at least as good as anyone of us, Davy, and likely far above us all. Therefore, Davythefisherman, out with all you have to say, without any French palaver.You have a way of telling things so that we can see them.\"With this, and with that, and most of all with hinting about aFrenchman, they put me onmy mettle, so that I sit upon the side-stonesof the old-well gallery (which are something like the companion-rail ofa fore-and-after), and gather them around me, with the householders putforemost, according to theirincome, and the children listening betweentheir legs; and thus I begin, but never end, the tale I now begin toyou, and perhaps shall never end it.CHAPTER II.HUNGER DRIVES HIM A-FISHING.In the summer of the year1782, I, David Llewellyn, of Newton-Nottage,fisherman and old sailor, was in great distress and trouble, more than Ilike to tell you. My dear wife (a faithful partner for eight-and-twentyyears, in spite of a very quicktemper) was lately gone to a betterworld; and I missed her tongue and her sharp look-out at almost everycorner. Also my son (as fine a seaman as ever went aloft), after helpingLord Rodney to his great victory overGrass the Frenchman, had been lostin a prize-ship called the Tonner, of 54 guns and 500 Crappos, whichsank with all hands on her way home to Spithead, under Admiral Graves.His young wife (who had been sent to usto see to, with his blessing) nosooner heard of this sad affair as in the Gazette reported, and his paythat week stopped on her, but she fell into untimely travail, and wasdead ere morning. So I buried my wife anddaughter-in-law, and lost allchance to bury my son, between two Bridgend market-days.Now this is not very much, of course, compared with the troubles somepeople have. But I had not been used to this matter,except in case of amessmate; and so I was greatly broken down, and found my eyes so weak ofa morning, that I would not be seen out of doors, almost.The only one now to keep a stir or sound of life in my littlecottage,which faces to the churchyard, was my orphan grandchild \"Bunny,\"daughter of my son just drowned, and his only child that we knew of.Bunny was a rare strong lass, five years old about then, I think; astoutand hearty-feeding child, able to chew every bit of her victuals,and mounting a fine rosy colour, and eyes as black as Archangel pitch.One day, when I was moping there, all abroad about my bearings, and nobetter thanwater-ballasted, the while I looked at my wife's new broom,now carrying cobweb try-sails, this little Bunny came up to me as if shehad a boarding-pike, and sprang into the netting hammocks of the bestblack coat Iwore.\"Grand-da!\" she said, and looked to know in what way I would look ather; \"Grand-da, I must have sumkin more to eat.\"\"Something more to eat!\" I cried, almost with some astonishment, well asI knew herappetite; for the child had eaten a barley-loaf, and twopig's feet, and a dog-fish.\"Yes, more; more bexfass, grand-da.\" And though she had not the words totell, she put her hands in a way that showed me she ought tohave moresolid food. I could not help looking sadly at her, proud as I was of herappetite. But, recovering in a minute or two, I put a good face upon it.\"My dear, and you shall have more,\" I said; \"only take your feet outofmy pocket. Little heart have I for fishing, God knows; but a-fishing Iwill go this day, if mother Jones will see to you.\"For I could not leave her alone quite yet, although she was a bravelittle maid, and no fire now wasburning. But within a child's trot frommy door, and down toward the sandhills, was that famous ancient well ofwhich I spoke just now, dedicate to St John the Baptist, where they usedto scourge themselves. The villagechurch stood here, they say, beforethe inroad of the sand; and the water was counted holy. How that may be,I do not know; but the well is very handy. It has a little grey roundtower of stone domed over the heart of it,to which a covered way goesdown, with shallow steps irregular. If it were not for this plan, thesand would whelm the whole of it over; even as it has overwhelmed allthe departure of the spring, and the cottages oncesurrounding it. Downthese steps the children go, each with a little brown pitcher, holdinghands and groping at the sides, as they begin to feel darker. And whatwith the sand beneath their feet, and the narrowing of theroof above,and the shadows moving round them, and the doubt where the water beginsor ends (which nobody knows at any time), it is much but what somelittle maid tumbles in, and the rest have to pull her outagain.For this well has puzzled all the country, and all the men of greatlearning, being as full of contrariety as a maiden courted. It comes andgoes, in a manner, against the coming and going of the sea, which isonlyhalf a mile from it; and twice in a day it is many feet deep, andagain not as many inches. And the water is so crystal-clear, that downin the dark it is like a dream. Some people say that John the Baptisthad nothing to dowith the making of it, because it was made before histime by the ancient family of De Sandford, who once owned all the manorshere. In this, however, I place no faith, having read my Bible to betterpurpose than tobelieve that John Baptist was the sort of man to claimanything, least of all any water, unless he came honestly by it.In either case, it is very pretty to see the children round the entranceon a summer afternoon, whenthey are sent for water. They are all alittle afraid of it, partly because of its maker's name, and his havinghis head on a charger, and partly on account of its curious ways, andthe sand coming out of its \"nostrils\" whenfirst it begins to flow.That day with which I begin my story, Mrs Jones was good enough to takecharge of little Bunny; and after getting ready to start, I set thethong of our latch inside, so that none but neighbours whoknew thetrick could enter our little cottage (or rather \"mine\" I should saynow); and thus with conger-rod, and prawn-net, and a long pole for thebass, and a junk of pressed tobacco, and a lump of barley-bread, andamaybird stuffed with onions (just to refine the fishiness), away I setfor a long-shore day, upon as dainty a summer morn as ever shone out ofthe heavens.\"Fisherman Davy\" (as they call me all around our parts) wasfifty andtwo years of age, I believe, that very same July, and with all my heartI wish that he were as young this very day. For I never have found suchcall to enter into the affairs of another world, as to forgetmybusiness here, or press upon Providence impatiently for a more heavenlystate of things. People may call me worldly-minded for cherishing such aview of this earth; and perhaps it is not right of me. However, Icanput up with it, and be in no unkindly haste to say \"good-bye\" to myneighbours. For, to my mind, such a state of seeking, as many amongst usdo even boast of, is, unless in a bad cough or a perilous calenture,acertain proof of curiosity displeasing to our Maker, and I might evensay of fickleness degrading to a true Briton.The sun came down upon my head, so that I thought of bygone days, when Iserved under Captain Howe,or Sir Edward Hawke, and used to stroll awayupon leave, with half a hundred Jacks ashore, at Naples, or in Bermudas,or wherever the luck might happen. Now, however, was no time for me tothink of strolling, becauseI could no longer live at the expense of theGovernment, which is the highest luck of all, and full of noble dignity.Things were come to such a push that I must either work or starve; andcould I but recall the past, I wouldstroll less in the days gone by. Apension of one and eightpence farthing for the weeks I was alive (beingin right of a heavy wound in capture of the Bellona, Frenchman oftwo-and-thirty guns, by his Majesty's frigateVesta, under Captain Hood)was all I had to hold on by, in support of myself and Bunny, except theslippery fish that come and go as Providence orders them. She had sailedfrom Martinique, when luckily we fell in withher; and I never shallforget the fun, and the five hours at close quarters. We could see thepowder on the other fellows' faces while they were training their gunsat us, and we showed them, with a slap, our noses, whichthey nevercontrived to hit. She carried heavier metal than ours, and had sixtymore men to work it, and therefore we were obliged at last to captureher by boarding. I, like a fool, was the first that leaped intohermizen-chains, without looking before me, as ought to have been. TheFrenchmen came too fast upon me, and gave me more than I bargained for.Thus it happened that I fell off, in the very prime of life andstrength,from an able-bodied seaman and captain of the foretop to asort of lurcher along shore, and a man who must get his own living withnets and rods and suchlike. For that very beautiful fight took place inthe year 1759,before I was thirty years old, and before his presentmost gracious Majesty came to the throne of England. And inasmuch as avillanous Frenchman made at me with a cutlash, and a power of blue oaths(taking a nastyadvantage of me, while I was yet entangled), and thumpedin three of my ribs before a kind Providence enabled me to relieve himof his head at a blow--I was discharged, when we came to Spithead, withan excellentcharacter in a silk bag, and a considerable tightness ofbreathing, and leave to beg my way home again.Now I had not the smallest meaning to enter into any of theseparticulars about myself, especially as my story mustbe all about otherpeople--beautiful maidens, and fine young men, and several of the primegentry. But as I have written it, so let it stay; because, perhaps,after all, it is well that people should have some littleknowledge ofthe man they have to deal with, and learn that his character andposition are a long way above all attempt at deceit.To come back once again, if you please, to that very hot day of July1782--whence I meanto depart no more until I have fully done withit--both from the state of the moon, I knew, and from the neap when mywife went off, that the top of the spring was likely to be in the duskof that same evening. At first Ihad thought of going down straightbelow us to Newton Bay, and peddling over the Black Rocks towards theOgmore river, some two miles to the east of us. But the bright sun gaveme more enterprise; and rememberinghow the tide would ebb, also how lowmy pocket was, I felt myself bound in honour to Bunny to make a realpush for it, and thoroughly search the conger-holes and thelobster-ledges, which are the best on all our coast,round about PoolTavan, and down below the old house at Sker.CHAPTER III.THE FISH ARE AS HUNGRY AS HE IS.To fish at Sker had always been a matter of some risk and conflict;inasmuch as Evan Thomas, who livedin the ancient house there, and keptthe rabbit-warren, never could be brought to know that the sea did notbelong to him. He had a grant from the manor, he said, and the shore waspart of the manor; and whosoevercame hankering there was a poacher, athief, and a robber. With these hard words, and harder blows, he keptoff most of the neighbourhood; but I always felt that the lurch of thetide was no more than the heeling of aship, and therefore that any onefree of the sea, was free of the ebb and flow of it.So when he began to reproach me once, I allowed him to swear himselfthoroughly out, and then, in a steadfast manner, said, \"BlackEvan, theshore is not mine or yours. Stand you here and keep it, and I will nevercome again;\" for in three hours' time there would be a fathom of waterwhere we stood. And when he caught me again, I answered, \"EvanBlack, ifyou catch me inland, meddling with any of your land-goods, coneys, orhares, or partridges, give me a leathering like a man, and I must put upwith it; but dare you touch me on this shore, which belongs to ourlordthe King, all the way under high-water mark, and by the rod of the RedSea I will show you the law of it.\"He looked at me and the pole I bore, and, heavy and strong man as hewas, he thought it wiser to speak me"}
+{"doc_id":"doc_98","qid":"","text":"Project Gutenberg's Captain Brassbound's Conversion, by George Bernard ShawThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it awayorre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: Captain Brassbound's ConversionAuthor: George Bernard ShawPosting Date: January 17, 2009[EBook #3418]Release Date: September, 2002Language: English*** START OF THIS PROJECT GUTENBERG EBOOK CAPTAIN BRASSBOUND'S CONVERSION ***Produced by Eve SobolCAPTAIN BRASSBOUND'SCONVERSIONBy Bernard ShawACT IOn the heights overlooking the harbor of Mogador, a seaport on the westcoast of Morocco, the missionary, in the coolness of the late afternoon,is following the precept of Voltaire bycultivating his garden. He isan elderly Scotchman, spiritually a little weatherbeaten, as having tonavigate his creed in strange waters crowded with other craft but stilla convinced son of the Free Church and the NorthAfrican Mission, witha faithful brown eye, and a peaceful soul. Physically a wiry small-knitman, well tanned, clean shaven, with delicate resolute features anda twinkle of mild humor. He wears the sun helmet and pagri,theneutral-tinted spectacles, and the white canvas Spanish sand shoes ofthe modern Scotch missionary: but instead of a cheap tourist's suit fromGlasgow, a grey flannel shirt with white collar, a green sailor knot tiewitha cheap pin in it, he wears a suit of clean white linen, acceptablein color, if not in cut, to the Moorish mind.The view from the garden includes much Atlantic Ocean and a long stretchof sandy coast to the south, swept bythe north east trade wind,and scantily nourishing a few stunted pepper trees, mangy palms, andtamarisks. The prospect ends, as far as the land is concerned, inlittle hills that come nearly to the sea: rudiments, these,of the AtlasMountains. The missionary, having had daily opportunities of looking atthis seascape for thirty years or so, pays no heed to it, being absorbedin trimming a huge red geranium bush, to English eyesunnaturallybig, which, with a dusty smilax or two, is the sole product of his petflower-bed. He is sitting to his work on a Moorish stool. In the middleof the garden there is a pleasant seat in the shade of a tamarisktree.The house is in the south west corner of the garden, and the geraniumbush in the north east corner.At the garden-door of the house there appears presently a man who isclearly no barbarian, being in fact a lessagreeable product peculiarto modern commercial civilization. His frame and flesh are those of anill-nourished lad of seventeen; but his age is inscrutable: only theabsence of any sign of grey in his mud colored hairsuggests that he isat all events probably under forty, without prejudice to the possibilityof his being under twenty. A Londoner would recognize him at once as anextreme but hardy specimen of the abortion produced bynature in a cityslum. His utterance, affectedly pumped and hearty, and naturally vulgarand nasal, is ready and fluent: nature, a Board School education, andsome kerbstone practice having made him a bit of an orator.His dialect,apart from its base nasal delivery, is not unlike that of smart Londonsociety in its tendency to replace diphthongs by vowels (sometimesrather prettily) and to shuffle all the traditional vowelpronunciations. Hepronounces ow as ah, and i as aw, using the ordinaryow for o, i for a, a for u, and e for a, with this reservation, thatwhen any vowel is followed by an r he signifies its presence, not bypronouncing the r, which he neverdoes under these circumstances, but byprolonging and modifyinq the vowel, sometimes even to the extreme degreeof pronouncing it properly. As to his yol for l (a compendious deliveryof the provincial eh-al), andother metropolitan refinements, amazing toall but cockneys, they cannot be indicated, save in the above imperfectmanner, without the aid of a phonetic alphabet. He is dressed insomebody else's very second best as acoast-guardsman, and gives himselfthe airs of a stage tar with sufficient success to pass as a possiblefish porter of bad character in casual employment during busy timesat Billingsgate. His manner shows an earnestdisposition to ingratiatehimself with the missionary, probably for some dishonest purpose.THE MAN. Awtenoon, Mr. Renkin. (The missionary sits up quickly, andturns, resigning himself dutifully to the interruption.) Yrhonor'seolth.RANKIN (reservedly). Good afternoon, Mr. Drinkwotter.DRINKWATER. You're not best pleased to be hinterrupted in yr bit ogawdnin bow the lawk o me, gavner.RANKIN. A missionary knows nothing of leksof that soart, or of dislekseither, Mr. Drinkwotter. What can I do for ye?DRINKWATER (heartily). Nathink, gavner. Awve brort noos fer yer.RANKIN. Well, sit ye doon.DRINKWATER. Aw thenk yr honor. (He sits down onthe seat under the treeand composes himself for conversation.) Hever ear o Jadge Ellam?RANKIN. Sir Howrrd Hallam?DRINKWATER. Thet's im-enginest jadge in Hingland!--awlus gives the ketwen it's robbry withvoylence, bless is awt. Aw sy nathink agin im: awmall fer lor mawseolf, AW em.RANKIN. Well?DRINKWATER. Hever ear of is sist-in-lor: Lidy Sisly Winefleet?RANKIN. Do ye mean the celebrated Leddy--thetraveller?DRINKWATER. Yuss: should think aw doo. Walked acrost Harfricar withnathink but a little dawg, and wrowt abaht it in the Dily Mile (theDaily Mail, a popular London newspaper), she did.RANKIN. Is she SirHowrrd Hallam's sister-in-law?DRINKWATER. Deeceased wawfe's sister: yuss: thet's wot SHE is.RANKIN. Well, what about them?DRINKWATER. Wot abaht them! Waw, they're EAH. Lannid aht of a steamyacht inMogador awber not twenty minnits agow. Gorn to the Britishcornsl's. E'll send em orn to you: e ynt got naowheres to put em. Sor emawr (hire) a Harab an two Krooboys to kerry their laggige. Thort awd caman teollyer.RANKIN. Thank you. It's verra kind of you, Mr. Drinkwotter.DRINKWATER. Down't mention it, gavner. Lor bless yer, wawn't it you asconverted me? Wot was aw wen aw cam eah but a pore lorst sinner? Down'tawow y'a turn fer thet? Besawds, gavner, this Lidy Sisly Winefleet mawtwor't to tike a walk crost Morocker--a rawd inter the mahntns or sechlawk. Weoll, as you knaow, gavner, thet cawn't be done eah withahtahescort.RANKIN. It's impoassible: th' would oall b' murrdered. Morocco is notlek the rest of Africa.DRINKWATER. No, gavner: these eah Moors ez their religion; an it mikesem dinegerous. Hever convert a Moor,gavner?RANKIN (with a rueful smile). No.DRINKWATER (solemnly). Nor never will, gavner.RANKIN. I have been at work here for twenty-five years, Mr. Drinkwotter;and you are my first and only convert.DRINKWATER.Down't seem naow good, do it, gavner?RANKIN. I don't say that. I hope I have done some good. They come to mefor medicine when they are ill; and they call me the Christian who isnot a thief. THAT issomething.DRINKWATER. Their mawnds kennot rawse to Christiennity lawk hahrsken, gavner: thet's ah it is. Weoll, ez haw was syin, if a hescortis wornted, there's maw friend and commawnder Kepn Brarsbahnd oftheschooner Thenksgivin, an is crew, incloodin mawseolf, will see the lidyan Jadge Ellam through henny little excursion in reason. Yr honor mawtmention it.RANKIN. I will certainly not propose anything so dangerous asanexcursion.DRINKWATER (virtuously). Naow, gavner, nor would I awst you to. (Shakinghis head.) Naow, naow: it IS dinegerous. But hall the more call for ahescort if they should ev it hin their mawnds to gow.RANKIN.I hope they won't.DRINKWATER. An sow aw do too, gavner.RANKIN (pondering). 'Tis strange that they should come to Mogador, ofall places; and to my house! I once met Sir Howrrd Hallam, years ago.DRINKWATER(amazed). Naow! didger? Think o thet, gavner! Waw, sow aw didtoo. But it were a misunnerstedin, thet wors. Lef the court withaht astine on maw kerrickter, aw did.RANKIN (with some indignation). I hope you don'tthink I met Sir Howrrdin that way.DRINKWATER. Mawt yeppn to the honestest, best meanin pusson, aw doassure yer, gavner.RANKIN. I would have you to know that I met him privately, Mr.Drinkwotter. His brotherwas a dear friend of mine. Years ago. He wentout to the West Indies.DRINKWATER. The Wust Hindies! Jist acrost there, tather sawd thethowcean (pointing seaward)! Dear me! We cams hin with vennity, an wedeepawtsin dawkness. Down't we, gavner?RANKIN (pricking up his ears). Eh? Have you been reading that littlebook I gave you?DRINKWATER. Aw hev, et odd tawms. Very camfitn, gavner. (He rises,apprehensive lest furthercatechism should find him unprepared.) Awllsy good awtenoon, gavner: you're busy hexpectin o Sr Ahrd an Lidy Sisly,ynt yer? (About to go.)RANKIN (stopping him). No, stop: we're oalways ready for travellershere. Ihave something else to say--a question to ask you.DRINKWATER (with a misgiving, which he masks by exaggerating his heartysailor manner). An weollcome, yr honor.RANKIN. Who is this CaptainBrassbound?DRINKWATER (guiltily). Kepn Brarsbahnd! E's-weoll, e's maw Kepn, gavner.RANKIN. Yes. Well?DRINKWATER (feebly). Kepn of the schooner Thenksgivin, gavner.RANKIN (searchingly). Have ye ever hairdof a bad character in theseseas called Black Paquito?DRINKWATER (with a sudden radiance of complete enlightenment). Aoh, naraw tikes yer wiv me, yr honor. Nah sammun es bin a teolln you thet KepnBrarsbahnd anBleck Pakeetow is hawdentically the sime pussn. Ynt thetsow?RANKIN. That is so. (Drinkwater slaps his knee triumphantly. Themissionary proceeds determinedly) And the someone was a verra honest,straightforwardman, as far as I could judge.DRINKWATER (embracing the implication). Course a wors, gavner: Ev awsaid a word agin him? Ev aw nah?RANKIN. But is Captain Brassbound Black Paquito then?DRINKWATER. Waw, it'sthe nime is blessed mather give im at erknee, bless is little awt! Ther ynt naow awm in it. She ware a WustHinjin--howver there agin, yer see (pointing seaward)--leastwaws, naowshe worn't: she were a Brazilian, awthink; an Pakeetow's Brazilian fora bloomin little perrit--awskin yr pawdn for the word. (Sentimentally)Lawk as a Hinglish lidy mawt call er little boy Birdie.RANKIN (not quite convinced). But why BLACKPaquito?DRINKWATER (artlessly). Waw, the bird in its netral stite bein green, ane evin bleck air, y' knaow--RANKIN (cutting him short). I see. And now I will put ye anotherquestion. WHAT is Captain Brassbound, orPaquito, or whatever he callshimself?DRINKWATER (officiously). Brarsbahnd, gavner. Awlus calls isseolfBrarsbahnd.RANKIN. Well. Brassbound, then. What is he?DRINKWATER (fervently). You awsks me wot e is,gavner?RANKIN (firmly). I do.DRINKWATER (with rising enthusiasm). An shll aw teoll yer wot e is, yrhonor?RANKIN (not at all impressed). If ye will be so good, Mr. Drinkwotter.DRINKWATER (with overwhelmingconviction). Then awll teoll you, gavner,wot he is. Ee's a Paffick Genlmn: thet's wot e is.RANKIN (gravely). Mr. Drinkwotter: pairfection is an attribute, notof West Coast captains, but of thr Maaker. And there aregentlemen andgentlemen in the world, espaecially in these latitudes. Which sort ofgentleman is he?DRINKWATER. Hinglish genlmn, gavner. Hinglish speakin; Hinglish fawther;West Hinjin plawnter; Hinglish true bluebreed. (Reflectively) Tech obrahn from the mather, preps, she bein Brazilian.RANKIN. Now on your faith as a Christian, Felix Drinkwotter, is CaptainBrassbound a slaver or not?DRINKWATER (surprised into his naturalcockney pertness). Naow e ynt.RANKIN. Are ye SURE?DRINKWATER. Waw, a sliver is abaht the wanne thing in the wy of a genlmno fortn thet e YNT.RANKIN. I've haird that expression \"gentleman of fortune\" before,Mr.Drinkwotter. It means pirate. Do ye know that?DRINKWATER. Bless y'r awt, y' cawnt be a pawrit naradys. Waw, the awseas is wuss pleest nor Piccadilly Suckus. If aw was to do orn thetthere Hetlentic Howcean thethings aw did as a bwoy in the WorterleooRowd, awd ev maw air cat afore aw could turn maw ed. Pawrit beblaowed!--awskink yr pawdn, gavner. Nah, jest to shaow you ah littlethet there striteforard man y' midemention on knaowed wot e was atorkinabaht: oo would you spowse was the marster to wich Kepn Brarsbahndserved apprentice, as yr mawt sy?RANKIN. I don't know.DRINKWATER. Gawdn, gavner, Gawdn. Gawdn oKawtoom--stetcher stends inTrifawlgr Square to this dy. Trined Bleck Pakeetow in smawshin hap theslive riders, e did. Promist Gawdn e wouldn't never smaggle slives norgin, an (with suppressed aggravation) WOWN'T,gavner, not if we gowsdahn on ahr bloomin bended knees to im to do it.RANKIN (drily). And DO ye go down on your bended knees to him to do it?DRINKWATER (somewhat abashed). Some of huz is hanconverted men,gavner;an they sy: You smaggles wanne thing, Kepn; waw not hanather?RANKIN. We've come to it at last. I thought so. Captain Brassbound is asmuggler.DRINKWATER. Weoll, waw not? Waw not, gavner? Ahrs is aFree Tridenition. It gows agin us as Hinglishmen to see these bloomin furrinerssettin ap their Castoms Ahses and spheres o hinfluence and sich lawkhall owver Arfricar. Daown't Harfricar belong as much to huz as tothem?thet's wot we sy. Ennywys, there ynt naow awm in ahr business. All wedaz is hescort, tourist HOR commercial. Cook's hexcursions to the HatlasMahntns: thet's hall it is. Waw, it's spreadin civlawzytion, it is. Yntitnah?RANKIN. You think Captain Brassbound's crew sufficiently equipped forthat, do you?DRINKWATER. Hee-quipped! Haw should think sow. Lawtnin rawfles, twelveshots in the meggezine! Oo's to storp us?RANKIN.The most dangerous chieftain in these parts, the Sheikh Sidi elAssif, has a new American machine pistol which fires ten bullets withoutloadin; and his rifle has sixteen shots in the magazine.DRINKWATER (indignantly).Yuss; an the people that sells sichthings into the ends o' them eathen bleck niggers calls theirseolvesChristians! It's a crool shime, sow it is.RANKIN. If a man has the heart to pull the trigger, it matters littlewhat colorhis hand is, Mr. Drinkwotter. Have ye anything else to say tome this afternoon?DRINKWATER (rising). Nathink, gavner, cept to wishyer the bust o yolth,and a many cornverts. Awtenoon, gavner.RANKIN. Goodafternoon to ye, Mr. Drinkwotter.As Drinkwater turns to go, a Moorish porter comes from the house withtwo Krooboys.THE PORTER (at the door, addressing Rankin). Bikouros (Moroccan forEpicurus, a general Moorishname for the missionaries, who are supposedby the Moors to have chosen their calling through a love of luxuriousidleness): I have brought to your house a Christian dog and his woman.DRINKWATER. There's eathenmenners fer yer! Calls Sr Ahrd Ellam an LidyWinefleet a Christian dorg and is woman! If ee ed you in the dorcket the Centl Crimnal, you'd fawnd aht oo was the dorg and oo was ismarster, pretty quick, youwould.RANKIN. Have you broat their boxes?THE PORTER. By Allah, two camel loads!RANKIN. Have you been paid?THE PORTER. Only one miserable dollar, Bikouros. I have brought them toyour house. They will payyou. Give me something for bringing gold toyour door.DRINKWATER. Yah! You oughter bin bawn a Christian, you ought. You knaowtoo mach.RANKIN. You have broat onnly trouble and expense to my door, Hassan;andyou know it. Have I ever charged your wife and children for mymedicines?HASSAN (philosophically). It is always permitted by the Prophet to ask,Bikouros. (He goes cheerfully into the house with theKrooboys.)DRINKWATER. Jist thort eed trah it orn, a did. Hooman nitre is the simeeverywheres. Them eathens is jast lawk you an' me, gavner.A lady and gentleman, both English, come into the garden. Thegentleman,more than elderly, is facing old age on compulsion, not resignedly. Heis clean shaven, and has a brainy rectangular forehead, a resolute nosewith strongly governed nostrils, and a tightly fastened downmouth whichhas evidently shut in much temper and anger in its time. He has a habitof deliberately assumed authority and dignity, but is trying to takelife more genially and easily in his character of tourist, whichisfurther borne out by his white hat and summery racecourse attire.The lady is between thirty and forty, tall, very goodlooking,sympathetic, intelligent, tender and humorous, dressed with cunningsimplicity not as abusinesslike, tailor made, gaitered tourist, but asif she lived at the next cottage and had dropped in for tea in blouseand flowered straw hat. A woman of great vitality and humanity, whobegins a casual acquaintance atthe point usually attained by Englishpeople after thirty years acquaintance when they are capable of reachingit at all. She pounces genially on Drinkwater, who is smirking at her,hat in hand, with an air of heartywelcome. The gentleman, on the otherhand, comes down the side of the garden next the house, instinctivelymaintaining a distance between himself and the others.THE LADY (to Drinkwater). How dye do? Are you themissionary?DRINKWATER (modestly). Naow, lidy, aw will not deceive you, thow themistike his but netral. Awm wanne of the missionary's good works,lidy--is first cornvert, a umble British seaman--countrymen oyours,lidy, and of is lawdship's. This eah is Mr. Renkin, the bust worker inthe wust cowst vawnyawd. (Introducing the judge) Mr. Renkin: is lawdshipSr Ahrd Ellam. (He withdraws discreetly into the house.)SIR HOWARD(to Rankin). I am sorry to intrude on you, Mr. Rankin; but inthe absence of a hotel there seems to be no alternative.LADY CICELY (beaming on him). Besides, we would so much RATHER stay withyou, if you will have us,Mr. Rankin.SIR HOWARD (introducing her). My sister-in-law, Lady Cicely Waynflete,Mr. Rankin.RANKIN. I am glad to be of service to your leddyship. You will bewishing to have some tea after your journey, I'mthinking.LADY CICELY. Thoughtful man that you are, Mr. Rankin! But we've hadsome already on board the yacht. And I've arranged everything with yourservants; so you must go on gardening just as if we were nothere.SIR HOWARD. I am sorry to have to warn you, Mr. Rankin, that LadyCicely, from travelling in Africa, has acquired a habit of walking intopeople's houses and behaving as if she were in her own.LADY CICELY. But,my dear Howard, I assure you the natives like it.RANKIN (gallantly). So do I.LADY CICELY (delighted). Oh, that is so nice of you, Mr. Rankin. Thisis a delicious country! And the people seem so good! They have suchnicefaces! We had such a handsome Moor to carry our luggage up! And twoperfect pets of Krooboys! Did you notice their faces, Howard?SIR HOWARD. I did; and I can confidently say, after a long experience offaces of theworst type looking at me from the dock, that I have neverseen so entirely villainous a trio as that Moor and the two Krooboys, towhom you gave five dollars when they would have been perfectly satisfiedwithone.RANKIN (throwing up his hands). Five dollars! 'Tis easy to see you arenot Scotch, my leddy.LADY CICELY. Oh, poor things, they must want it more than we do; and youknow, Howard, that Mahometans never spendmoney in drink.RANKIN. Excuse me a moment, my leddy. I have a word in season to say tothat same Moor. (He goes into the house.)LADY CICELY (walking about the garden, looking at the view and at theflowers). Ithink this is a perfectly heavenly place.Drinkwater returns from the house with a chair.DRINKWATER (placing the chair for Sir Howard). Awskink yr pawdn for thelibbety, Sr Ahrd.SIR HOWARD (looking a him). I haveseen you before somewhere.DRINKWATER. You ev, Sr Ahrd. But aw do assure yer it were hall amistike.SIR HOWARD. As usual. (He sits down.) Wrongfully convicted, of course.DRINKWATER (with sly delight). Naow,gavner. (Half whispering, with anineffable grin) Wrorngfully hacquittid!SIR HOWARD. Indeed! That's the first case of the kind I have ever met.DRINKWATER. Lawd, Sr Ahrd, wot jagginses them jurymen was! You anmeknaowed it too, didn't we?SIR HOWARD. I daresay we did. I am sorry to say I forget the exactnature of the difficulty you were in. Can you refresh my memory?DRINKWATER. Owny the aw sperrits o youth, y'lawdship. Worterleoo Rowdkice. Wot they calls Ooliganism.SIR HOWARD. Oh! You were a Hooligan, were you?LADY CICELY (puzzled). A Hooligan!DRINKWATER (deprecatingly). Nime giv huz pore thortless leds baw agenton the Dily Chrornicle, lidy. (Rankin returns. Drinkwater immediatelywithdraws, stopping the missionary for a moment near the threshold tosay, touching his forelock) Awll eng abaht within ile, gavner, hin kiceawshould be wornted. (He goes into the house with soft steps.)Lady Cicely sits down on the bench under the tamarisk. Rankin takes hisstool from the flowerbed and sits down on her left, Sir Howard being onher right.LADY"}
+{"doc_id":"doc_99","qid":"","text":"<html><head><title>50-50 Script at IMSDb.</title><meta name=\"description\" content=\"50-50 script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"50-50 script, 50-50 movie script,50-50 film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=SubjectCONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0];s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>    <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\"title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center></td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                           50/50 (I'M WITH CANCER)</b>                                                         Written by                               WillReiser                                                                                                    <b>                                                               7/2/08</b><b>          FADE IN:</b>                         <b>          OPENING TITLESEQUENCE</b>                                                  <b>          EXT. SAN DIEGO - DAY</b>                                   It's another picture perfect day in San Diego. The beaches,          golf courses, and yacht clubs arepacked with hundreds of          rapturous citizens.                                                  <b>          EXT. BUS STOP - DAY</b>                                   A BUS pulls up and unloads it'spassengers.                                   We follow ADAM SCHWARTZ(25), a kind faced, mild mannered,          pragmatist - who despite his youth has the cynicism of an old          man. He steps off the bus, crosses thestreet and approaches<b>          MOUNT SINAI HOSPITAL.</b>                                                  <b>          INT. MOUNT SINAI HOSPITAL - DAY</b>                                   Adam enters the Hospital. The mood iscalm. All the chaos one          would expect to find in a hospital of this size is tucked          away behind the sterile and monochrome walls.                                   Adam walks to the reception counter. TheRECEPTIONIST is          engrossed with the latest edition of US Weekly. She ignores          Adam who just stands there awkwardly, unsure of what to do.                                   Adam gives out a small cough to grabher attention. The          Receptionist keeps her eyes fixed on her magazine.                         <b>                          RECEPTIONIST</b>           Can I helpyou?                         <b>                          ADAM</b>           I have anappointment.                         <b>                          RECEPTIONIST</b>           Name?                         <b>                          ADAM</b>           Adam Schwartz.                                   The Receptionist says nothing.Adam stands silent, not          knowing what to do. He coughs again.                                   Annoyed, the Receptionist looks up but saysnothing.<b>           2.</b>                                                  <b>                          ADAM (CONT'D)</b><b>                          (CONFUSED)</b>           Um, am I supposed to gosomewhere?                                   With her eyes the Receptionist points to the waiting area.                         <b>                          ADAM (CONT'D)</b>           Oh, should I go sit?                                   TheReceptionist rolls her eyes and returns to her magazine.                                   Adam looks around the empty waiting room. He takes a seat and          browses through a dozen outdated magazines: Highlights,Time,          Life, Modern Maternity, etc. Only moments later, as though he          hadn't just introduced himself, the Receptionist calls out:                         <b>                          RECEPTIONIST</b>           AdamSchwartz.                                   Adam looks around the waiting room. There's no one else          there. Again the receptionist calls out again -                         <b>                          RECEPTIONIST(CONT'D)</b>           Adam Schwartz.                         <b>                          ADAM</b>           Yeah, that's me.                         <b>                          RECEPTIONIST</b>           Followme.                                   The Receptionist leads Adam to a small changing room and          hands him a hospital gown.                         <b>                          RECEPTIONIST (CONT'D)</b>           Put thison.                         <b>                          ADAM</b>           Do I need to take off all my           clothes?                                   The Receptionist stares blankly at Adam.                         <b>                          ADAM(CONT'D)</b>           I'll figure it out.                                   The Receptionist leaves. Adam awkwardly undresses and slips          on the hospital gown. Unsure which end of the gown is the          front, Adam adjuststhe garment a few times until he decides          he has it right.                                   Adam pulls back the curtain of the changing room to find          JOANNE, an overly cheerynurse.<b>           3.</b>                                                  <b>                          NURSE JOANNE</b>           Hi Adam, my name is Joanne, so nice           to meet you.                                   Adam scratches hischest, the hospital gown is beginning to          irritate his skin.                         <b>                          ADAM</b>           You don't happen to have anything           in a cottonblend?                         <b>                          NURSE JOANNE</b><b>                          (LAUGHS)</b>           Cotton. You're funny.                                   Joanne hands Adam a giant specimen cup marked with athick          yellow line.                         <b>           NURSE JOANNE (CONT'D)</b>           Now I'm going to need you to fill           this cup with urine. You think you           can dothat?                         <b>                          ADAM</b>           You want me to fill this entire           cup.                         <b>                          JOANNE</b>           Yup.                                   Adam looks down atthe cup in total disbelief.                         <b>                          ADAM</b>           It's gonna take me at least a week           to fill this. Can I take ithome?                         <b>                          JOANNE</b><b>                          (LAUGHS)</b>           Take it home. You're so funny.                                   The CAMERA PANS to reveal a group of MEDICALSTUDENTS taking          diligent notes in the background. WE PAN AGAIN this time to          the next room:                                                  <b>          INT. HOSPITAL. BATHROOM</b>                                   Adamstruggles to fill the cup. After a few beats, there's a          knock on the door.                         <b>           JOANNE (O.S.)</b>           You okay in thereAdam?<b>           4.</b>                                                  <b>                          ADAM</b>           Just another minute.                                   Adam looks down at the empty cup in frustration. TheCAMERA          PANS to the next room:                                                  <b>          INT. HOSPITAL. X-RAY ROOM</b>                                   Adam stands in front of an X-Ray machine. TheAPATHETIC          TECHNICIAN has him stand in a dozen uncomfortable positions          for long periods of time: sideways, one arm in the air, then          the other arm, on one leg, then the other, one leg inthe          air, then the other, and so on.                                   Again we see the group of Medical Students taking notes. The          CAMERA PANS to the next room:                                                  <b>          INT.HOSPITAL. EXAMINING ROOM</b>                                   Joanne pulls out a giant needle.                         <b>                          JOANNE</b>           Here comes the choo-choo!                                   In the backwe see the Med Students still taking notes. The          CAMERA PANS to the next room:                                                  <b>          INT. HOSPITAL. MRI ROOM</b>                                   Adam is lying on the gurneyof an MRI machine. He is slowly          drawn into the enclosed body scanner.                         <b>                          TECHNICIAN</b><b>                          (AUTHORITATIVELY)</b>           Now make sure you liecompletely           still. Otherwise we'll have to do           it all over again. Which we're not           going to have to do, right?                                                  <b>          INT. HOSPITAL. MRI ROOM -LATER</b>                                   Adam lies perfectly still in the enclosed body scanner.                         <b>                          ADAM</b>           Hello? Is anybody out there?                                   There's no onethere. He's been left unattended. The MRI          Technician is watching the Laker game in the next room.<b>           5.</b>                                                  <b>                          ADAM (CONT'D)</b>           I haveto pee.                                   The Med Students continue to take notes.                         <b>          END OPENING TITLE SEQUENCE</b>                                                  <b>          EXT. SAN DIEGO -EVENING</b>                                   Through the window of the hospital the CAMERA PULLS OUT and          PANS across the San Diego skyline. We watch as the Sun sets          to night, then rises tomorning...                                                  <b>          EXT. SAN DIEGO BEACH - MORNING</b>                         <b>                         SUPER: JUNE</b>                                   It's a gray morning as the thickspring fog slowly begins to          lift. With no one in sight, the only sound that can be heard          is that of the waves crashing onto the shoreline and then          rolling back out to the PacificOcean.                                   About a mile inland, we come upon:                                                  <b>          EXT. GRAND VIEW GATED COMMUNITY - DAY</b>                                   Rows of identical two andthree bedroom town houses with          lawns groomed to perfection fill the community. This is          Southern California Suburbia.                                   The sound of the waves crashing gets increasingly louderand          louder as we PUSH IN ON:                                                  <b>          INT. ADAM'S HOUSE - CONTINUOUS</b>                                   The interior of Adam's house is spotless. Pictures on the          walls:Adam and his dad sailing. Adam and his parents at his          Bar Mitzvah. Adam and his best friend, Seth, at High School          Graduation. A University of Berkeley hat. A National Academic          Achievement Awardin the Sciences.                                   Curled in a fetal position, Adam sleeps peacefully next to          RACHEL (25), his loving girlfriend. Cute, charming, and          artsy, Rachel is \"Winnie Cooper\" all grownup.                                   The sound of the waves crashing stops abruptly. A loud          obnoxious alarm clock goes off. Startled, Adam jumps up.          Drenched in sweat, and completely disoriented, helooks          around in confusion.<b>           6.</b>                                                            After a moment, Adam pulls an earplug out of each ear, and          turns off the alarm. The sound of the crashing wavesturns          back on. Adam pushes a button on the alarm clock and the          sound of the waves stops, but the loud obnoxious alarm          returns. He pushes the clock again. The alarm turns off but          now wehear the sound of crickets chirping. Again Adam pushes          a button, this time we hear the sound of a loud thunder/rain          storm, he pushes a button again, this time we hear the sound          of loud clangingchurch bells. Rachel rolls over -                         <b>                          RACHEL</b>           (asleep and incoherent)           Make it"}
+{"doc_id":"doc_100","qid":"","text":"<html><head><title>Blade II Script at IMSDb.</title><meta name=\"description\" content=\"Blade II script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Blade II script, Blade II moviescript, Blade II film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=SubjectCONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0];s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>    <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\"title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center></td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><HTML><HEAD><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script><TITLE>\"BLADE II\" -- byDavid Goyer</TITLE><b></HEAD></b><body><b><PRE></b>     BLADE II -- By David Goyer<b>            EXT. COMMUNITY BLOOD BANK - NIGHT</b>            PULL BACK from a neon red cross ablaze in the coldDecember            night to REVEAL an inner-city, store-front clinic.  Trash and            leaves blow over wet, snowy pavement.            ANGLE ON a PALE FIGURE standing across the street.  He looks            feverish andstrung-out, in serious need of a fix.  This is            JARED NOMAK, 20s.  He starts towards the clinic.<b>            INT. COMMUNITY BLOOD BANK - ENTRANCE - NIGHT</b>            Potential DONORS sit in a waitingarea, filling out forms,            leafing through informational material.  A sign in the window            reads: \"Se habla Espanol\".  Others read: \"YOU ARE MAKING A            DIFFERENCE\", \"GIVE LIFE\", and \"BECOME APLATELET DONOR\".  We            overhear a bored-looking EMPLOYEE behind the information desk            quizzing someone over the phone:<b>                                EMPLOYEE</b>                      Have you recentlyvisited a tropical                      country?  Uh-huh?  In the past twelve                      months have you gotten a tattoo, non                      sterile acupuncture, or undergone any                      ear, skin or bodypiercing?            We MOVE PAST the employee to Nomak, waiting.<b>                                NURSE (O.S.)</b>                      Jared Nomak?            Nomak looks up.  We get a better look at his face now -he            has a thin scar running from his lower lip down his chin.  A            childhood accident, perhaps.  A NURSE smiles and motions for            him to join her.  She's carrying aclipboard.<b>                                NURSE (CONT'D)</b>                      Hi.  We're ready for you now.<b>            INT. COMMUNITY BLOOD BANK - HALLWAY - NIGHT</b>            Nomak follows the Nurse into adimly-lit hallway.  We track            their progress in a convex safety mirror suspended from the            hallway ceiling as they pass all manner of medical supplies --            centrifuges, an apheresis device,etc.<b>                                NURSE</b>                          (referring to her clipboard)                      I see from your questionnaire that you                      don't have any immediate next ofkin?<b>                                NOMAK</b>                      Not that I'm in contact with.<b>                                NURSE</b>                      Nobody to call in case of anemergency?<b>                                NOMAK</b>                      No --                          (apprehensive)                      Does that mean I can't be a donor?<b>                                NURSE</b>                      Itdepends.  We came up with some                      unusual results on your blood test.            Nomak follows the Nurse to a steel door were TWO SECURITY            GUARDS await them.  Both look bored, paying littleattention            to the monitor which offers a view of the examining room            beyond.  There is also a small window with safety glass.            GUARD #1 opens the door, following Nomak and theNurse            inside.  GUARD #2 remains behind, manning the hallway.<b>            INT. COMMUNITY BLOOD BANK - EXAMINING ROOM - NIGHT</b>            The Nurse ushers Nomak into the room, indicating heshould            sit in a kind of reclining dental chair with arm and            headrests.  Nomak notices a security camera mountedabove.<b>                                NOMAK</b>                          (anxious)                      How unusual?            Beat.  The Nurse sets aside Nomak's file,looking            uncomfortable.<b>                                NURSE</b>                      Your blood has a very rare phenotype,                      one that's quite valuable to peoplelike                      us.<b>                                NOMAK</b>                      Us?  What are you talking about?            A kind-faced DOCTOR enters, nodding to Guard#1.<b>                                DOCTOR</b>                      It's a good news-bad news scenario,                      Jared.  Good news for us, bad for you.            The Doctor and Nurse smile, BARING FANGS.  We realizenow            that they are both vampires.  The Guard, too.  He grips Nomak            by the throat, forcing him back into the restraint chair.  As            the vampire Guard does so, his hand brushes againstNomak's            jaw.  The flesh on Nomak's chin briefly separates along the            scar - almost as if it were a seam.            The guard pauses - and Nomak LAUGHS.  Definitely NOT the            reaction the vampireswere expecting from a potential victim.            Nomak starts to shake and twitch, like he's going into some            kind of seizure.  The whites of his eyes bleed red.  He            throws his head back, opening his mouthas a PAIR OF RAZOR            SHARP CANINES extrude from his gums.  These are longer, much            more lethal-looking than the fangs of the vampires and --            Nomak lashes out, knocking the Guardbackwards.  The Nurse            SCREAMS.  Nomak clamps his mouth onto her throat, SLAMMING            her back against the wall.            The vampire Doctor rushes to the door, scrambling to unbolt            it.  Nomakreaches for him, HOWLING with blood-drunk laughter            as he lifts the Doctor up.  Nomak flings the Doctor about            like a toy, using his body to SMASH the lights, then the            security cameraabove.<b>            INT. COMMUNITY BLOOD BANK - HALLWAY - NIGHT</b>            We hear SCREAMS and HORRIBLE NOISES coming from the examining            room.  Guard #2 draws a gun and looks to thesecurity monitor            with alarm.  The screen goes black.  He looks to the small            window, trying to peer into the now-darkened room beyond --            SPLASH!  A wave of blood smears across a window.  AHAND            wipes a patch of blood away, revealing Nomak's baleful,            distorted eyes.  Guard #2 starts to back away when --            BANG!  Nomak slams against the other side of the steeldoor.            BANG!BANG!BANG!  The door begins to bend, hand-shaped            impressions bulging outward as Nomak starts to peel the door            apart like it was an aluminum can.            Guard #2 has seenenough.  He turns and runs even as the door            CAVES INWARD off its hinges.  Forward momentum sends the door            sliding across the hallway floor where it trips up the Guard.<b>            ON THEDOORWAY</b>            as Nomak steps into the hallway.  Because of the lights            above, there are alternating pools of light and shadow in the            hall.  Nomak advances towards us, his face coming in andout            of darkness.<b>                                NOMAK</b>                      Vampires --            With each pool of light, his awful smile seems to distort            further and further, until his mouth seems to bewidening all            the way back to his ears.<b>                                NOMAK (CONT'D)</b>                      I fucking hate vampires.            On the floor, the vampire Guard CRIES OUT in fear,helplessly            raising his hands to defend himself.  Nomak HOWLS and leaps            towards him/us, blacking out the screen with his hurtling            form as we--<b>                                                                 CUT TO:</b><b>            EXT. INNER-CITY BACK-ALLEY - NIGHT</b>            BOOM!  A second-story door flies open and FIVE VAMPIRE thug            wannabes comespilling out.  They race down a flight of            stairs, tripping and tumbling over themselves.  In descending            order, they are: RUSH, a pimped-out Vanilla Ice clone wearing            Karl Kani gear, followed byJIGSAW, ST. CLOUD, T-BAG and<b>            SEGURA.</b><b>            BLADE</b>            exits just behind them, eschewing the stairs completely and            vaulting over the railing.  He unholsters his MACH pistolas            he drops, FIRING it as he lands in a cat-like stance on the            snowy ground below --            BA-BANG!  A silver-tipped bullet punches through T-Bag's            chest.  He turns to ash even as his fellowvamps dash through            the disintegrating cloud that used to be his body.  The            embers melt the snow where they land.            A super-charged foot chase ensues, with hunter and prey            moving atspeeds in excess of anything a human would ever be            capable of.  We're talking thirty-five, even forty miles an            hour.<b>            ON BLADE</b>            Running like a bull, condensed vapor streamingfrom his mouth            and nostrils.  Splashing through puddles of icy water            storming through barriers of plywood and razor wire, leaping            over mountains of garbage bags.<b>            ON THEVAMPIRES</b>            as they flatten a length of cyclone fencing like it was crepe            paper.  They scramble up an obstacle of waste bins, leaping            into the air --<b>            BACK TOBLADE</b>            pulling out his twin-bladed boomerang as he runs.  He flings            the weapon.  It twirls around, catching --<b>            ST. CLOUD IN MID-LEAP</b>            and cutting the vampire completelyin half.  As the            disintegrating halves of St. Cloud fall to the side, Blade            storms over the waste bin.<b>            EXT. INNER-CITY - SECOND ALLEY - NIGHT</b>            The remaining vampires stumbleinto a narrower alley where a            GROUP OF BUMS are warming themselves over a series of oil            drum fires.            Jigsaw slips, TRIPPING over one of the burning oil drums,            catching himselfablaze.  He doesn't give a shit.  He keeps            on running, barreling his way into --<b>            INT. NOODLE FACTORY - NIGHT</b>            -- the back entrance of a cramped, sweat-shop.  Some kindof            noodle factory filled with steam and equipment and YAMMERING            FOREIGNERS and --            -- here comes Blade, hot on the vampires' heels, shouldering            workers aside and --<b>            EXT.NOODLE FACTORY - NIGHT</b>            -- Rush and the remaining vamps spill out onto the street            where a number of motorcycles are waiting for them -- two BMW            R1200 motorbikes and a tricked-outPanhead Harley chopper            with ape-hanger handlebars.            Rush and Segura leap atop their BMWs.  Jigsaw rolls into a            puddle of water, dousing himself, then jumps onto his            chopper.  As thevamps peel out --<b>            BLADE</b>            Bursts from the factory.  Segura revs his BMW, trying to run            him down.  At the last second, Blade pivots aside like a            matador.  Segura circles around foranother try.            Blade leaps, somersaulting through the air, then lands on the            back of the bike behind Segura.  SHINGGG!  Blade pulls a            retractable garrotte wire from the sleeve of his jacketand            wraps it around Segura's throat.            With a violent twist, Blade decapitates Segura.  As the            vampire's headless body turns to ash before him, Blade leans            forward and takes the controls of"}
+{"doc_id":"doc_101","qid":"","text":"<html><head><title>White Christmas Script at IMSDb.</title><meta name=\"description\" content=\"White Christmas script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"WhiteChristmas script, White Christmas movie script, White Christmas film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX,FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><html><head><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>WHITECHRISTMAS</title></head><pre><b>                                    \"WHITE CHRISTMAS\"</b>                                            by                      Melvin Frank, Norman Krasna and NormanPanama<b>                </b><b>               FULL SHOT - REAR AREA - (DAY) - (GLASS)</b>               This is December 24, 1944, in the first safe area directly                behind the battle line, in the Italiantheatre.               In the distance occasional artillery light flashes are seen                and artillery rumbles are heard.  The battered terrain shows                the effects of battle.               In the foreground is arecreation area, covered with                camouflage; entertainment is in progress on a raised stage.                 Men of the division are seated about on benches, boxes, and                the ground.  A camouflaged motorpool of jeeps and tanks is                nearby.<b>               MED. SHOT - NEAR RECREATION AREA</b>               We can HEAR LAUGHTER and APPLAUSE from the men as a jeep                with two stars on the frontindicating it is the General's                car jounces along a road toward the side of the recreation                area.  A YOUNG SERGEANT is at the wheel, an ADJUTANT beside                him, and in the rear are GENERALWAVERLY and GENERAL CARLTON.<b>               JEEP - MED. CLOSE</b>               As it jounces along.  General Waverly is weather-beaten and                weary; his uniform, while neat, shows the effects oflong                wear.  General Carlton, on the other hand, is stiff, clean                and fresh from the Pentagon.               He is staring off at the recreation area.<b>                                     GENERALCARLTON</b>                              (To Adjutant)                         What's this all about, Colonel?<b>                                     ADJUTANT</b>                              (Turning)                         A little entertainment forthe men,                          sir.  Tonight's Christmas Eve.<b>                                     GENERAL CARLTON</b>                         These men are moving up tonight.                           They should be lined up forfull                          inspection!               The jeep has come to a halt.<b>                                     GENERAL WAVERLY</b>                              (Eyeing him)                         You're absolutelyright.                              (To Adjutant)                         There's no Christmas in the Army,                          Colonel.<b>                                     ADJUTANT</b>                         Yes, sir.               Waverly and theAdjutant alight from the jeep.<b>                                     GENERAL WAVERLY</b>                              (To Carlton)                         There's always a slip-up or two during                          a change incommand.  The men get a                          little loose.  But I know I'm leaving                          them in good hands.<b>                                     GENERALCARLTON</b>                              (Stiffly)                         Thank you.                              (To Driver)                         Sergeant, take me to headquarters                          immediately!  We'll have thosemen                          turned out on the double!               The Sergeant looks at General Waverly.<b>                                     GENERAL WAVERLY</b>                         Goodbye, Sergeant.  Take theshort                          cut.<b>                                     SERGEANT</b>                         Yes, sir!               The jeep pulls off and makes a half circle. The Adjutant                makes a gesture, as if to stop it. TheGeneral stops him.<b>               TWO SHOT - GENERAL WAVERLY AND ADJUTANT</b>               The Adjutant turns to him.<b>                                     ADJUTANT</b>                         That's not the way toheadquarters!<b>                                     GENERAL WAVERLY</b>                         Joe, you know that, and I know that,                          but the new General doesn't know it.                         Or he won't for aboutan hour and a                          half.<b>                                     ADJUTANT</b>                         That Sergeant'll be a private                          tomorrow!<b>                                     GENERALWAVERLY</b>                         Yes... isn't he lucky?               He takes the Adjutant by the arm and leads him toward the                recreation area.<b>               RAISED PLATFORM - MED.SHOT</b>               CAPTAIN BOB WALLACE (BING CROSBY) is wearing a makeshift                beard and Santa Claus hat and PRIVATE PHILIP DAVIS (DONALD                O'CONNOR) is in combat clothes.  They aredoing a number to                entertain the soldiers, WHAT DOES A SOLDIER WANT FOR                CHRISTMAS?  During introduction, we<b>                                                                    CUTTO:</b><b>               5A.</b><b>               TWO SHOT - GENERAL AND ADJUTANT</b>               just starting to take seats, off to one side where they are                not noticed by theperformers.<b>               5B.</b><b>               GROUP SHOT - ABOUT 6 SOLDIERS</b>               seated in audience.  They look off, see General, start to                rise.<b>               5C.</b><b>               TWOSHOT - GENERAL AND ADJUTANT</b>               The General notices them - motions for them to sit down again,                indicating he doesn't want attention called tohimself.<b>               5D.</b><b>               PLATFORM - FULL SHOT</b>               The number concludes to applause.  Bob holds up his hand for                silence.  He removes hisbeard.<b>                                     BOB</b>                         Thanks, fellows.  I guess by now you                          know the Old Man's being replaced by                          a new Commanding General freshout                          of the Pentagon... this divisions's                          been awfully lucky so far, but tonight                          they're running a special on St.                          Christophers at the PX... TheOld                          Man's heading back to the rear -                          he's never moved in that direction                          in his life.  All I can say is, we                          owe so much to General Waverlyand                          the way --<b>                                     WAVERLY'S VOICE</b>                              (A bellow)<b>                         ATTENTION!</b>               Automatically, Bob stiffens.  Phil does thesame.<b>               AUDIENCE - FULL SHOT</b>               Every man is at attention and every head has turned to where                General Waverly has taken up a position near the front of                theplatform.<b>                                     GENERAL WAVERLY</b>                         Captain Wallace, button your shirt.                         You're out of uniform!                              (Bob, grinning,hastily                               buttons his shirt)                         This division is now under the command                          of General Harold G. Carlton, and I                          don't want anyone to forget it--                          not that he'll let you.  He's tough --                          just what this sloppy outfit needs.                           You'll be standing inspection night                          and day -- you may even learn howto                          march.  And if you don't give him                          everything you got, I may come back                          and fight for the enemy.  Merry                          Christmas!               The boys respondwith \"Merry Christmas\".<b>                                     GENERAL WAVERLY</b>                              (Embarrassed)                         Well -- I guess that's about it - uh -                          uh --               Bob, covering hisembarrassment:<b>                                     BOB</b>                         Perhaps I can help you out, sir.               He turns to the musicians, gives the downbeat.  They play                THE OLD MAN, which is sung bythe entire outfit.               The General stands at attention through the first chorus,                visibly moved.  During the second chorus he starts up the                aisle, revealing for the first time that his left legis                bandaged to the knee. The Adjutant puts out his arm to help.                 Waverly refuses. Toward the finish of the song, he turns,                faces the men and salutes them.  The men return thesalute.                 (This is not a military mistake, the General salutes the                enlisted men as a deliberate gesture.)  There is a Red Cross                ambulance standingby.<b>                                                               DISSOLVE TO:</b><b>               CLOSE SHOT - (NIGHT) - TINY CANDLE</b>               THE CAMERA PULLS BACK to reveal a hand lighting a candle on                atiny makeshift Christmas tree.  We reveal a number of                enlisted men huddled around the tree in a trench, including                Bob and Phil.  One of the men looks at his wristwatch.  Now                anotherdoes.<b>               CLOSE SHOT - WRISTWATCH</b>               The hand is approaching midnight.<b>               CLOSE SHOT - SOLDIER</b>               He is looking at his wristwatch.<b>               CLOSE SHOT -WRISTWATCH</b>               The second hand is pointing to the hour.<b>               FULL SHOT OF SCENE</b>               This is the prearranged signal for Bob to begin singing WHITE                CHRISTMAS.  Philaccompanies him on a harmonica.  Toward the                end of the song, an enemy barrage DROWNS out the music.  A                shell BURSTS in the vicinity.<b>               CLOSE SHOT - BOB ANDPHIL</b>               Phil pulls Bob down in time to save him from the shrapnel                burst.  This has also pushed Bob's face into the mud, which                he thinks is unnecessary.  Phil, ignoring Bob's hostilelook,                brightly continues with WHITE CHRISTMAS from where the song                left off.  Bob finishes with him, but eyeing him.<b>                                                               DISSOLVETO:</b><b>               EXT. SKY - (NIGHT)</b>               CAMERA SHOOTING UP to the sky as brilliant fireworks explosion                lights up the screen.  Over sceneSUPERIMPOSE:<b>               12-A.</b><b>               INSERT - NEWSPAPER</b>               Headline reads: \"V-E DAY!\"               As CAMERA MOVES FAST INTO headline, we LOSE the fireworks                display andthe headline covers the whole screen.<b>                                                               DISSOLVE TO:</b><b>               12-B.</b><b>               INSERT - CHURCH TOWERS - (DAY)</b>               Bells are ringing forcelebration of V-E Day.  CAMERA MOVES                INTO mouth of one bell, blacking out the screen.<b>                                                               DISSOLVE TO:</b><b>               EXT. BILL POSTER OF FLORIDASHOW - (NIGHT)</b>               featuring names and pictures of Bob and Phil.  CAMERA MOVES                to a CLOSE SHOT of the picture, HOLDS for a second, then                suddenly the picture comes to life and weare on the stage                of the theatre where Bob and Phil are doing the production                number \"BELLS\".<b>               MED. SHOT - INT. THEATRE - AUDIENCE</b>               Perhaps twenty people,"}
+{"doc_id":"doc_102","qid":"","text":"<html><head><title>Ghost and the Darkness, The Script at IMSDb.</title><meta name=\"description\" content=\"Ghost and the Darkness, The script at the Internet Movie Script Database.\"><meta name=\"keywords\"content=\"Ghost and the Darkness, The script, Ghost and the Darkness, The movie script, Ghost and the Darkness, The film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><metaname=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttypeCONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ?'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie ScriptDatabase\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <scripttype=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><html><head><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>the Ghost and theDarkness - by William Goldman</title></head><pre><b>\"THE GHOST AND THE DARKNESS\"</b>byWilliam Goldman<b>FADE IN ON</b>A TINY FIGURE OF A MAN hurrying toward camera. The figure gets larger ashe approaches. But as yet we cannot tell who he is or where we are. MALE VOICE (over) This is the most famous true story of Africa. It happened a hundred years ago, but even now, when children ask about it, you donot tell them at night. (The FIGURE continues to grow) It began with the race to build a railroad across Africa. (beat) But this is not about building a railroad- it is about Patterson.And now we can tell that the FIGURE isa YOUNG MAN, A LIEUTENANT COLONEL. This is PATTERSON. He is gifted and bright and serious, serious about his life, serious about his career. He has been successful in everything he's attempted, in part because ofhis talents, in part because he is willing to outwork anybody.<b>AND THIS IS WHERE WE ARE: ENGLAND.</b>More specifically, in a high-ceilinged corridor of an elegant building - lovely woodwork all around.Everything is neat, everything is clean and in order. MALE VOICE (over) Patterson was thirty. A brilliant engineer. A fine man, but do not become attached to him- there are many fine men in this story but do notbecome attached to any of them. (beat) So many of them die.Patterson stops at a large ornate door, knocks. Waits. MALE VOICE (over) And remember this: only the impossible parts of what follows really happened...(Now the door opens and we-)<b>CUT TO</b>Just a wonderfully handsome man standing in the doorway. This is ROBERT BEAUMONT - 40, with an irresistable smile. We're in his office and the place reflects the man -clean, cold. There are maps and charts on the walls. He ushers Patterson inside.<b> BEAUMONT</b> (The great smile flashes) John Henry Patterson, come in. I'm Robert Beaumont. (They shake hands) Firm- I likethat, tells me a lot about you- (beat) -now why don't you tell me about me? To get you started, many people find me handsome, with a wonderful smile. I'm sure you agree. (Surprised, uncomfortable, Patterson nods)Winning personality, heaps of charm?<b> PATTERSON</b> My wife is the game player in the family, sir.<b> BEAUMONT</b> Games? (staring dead at Patterson) Look at me closely, Patterson: I am a monster. Myonly pleasure is tormenting people who work for me, such as yourself. (again the smile - only now it's chilling) One mistake and I promise you this: I'll make you hate me.<b>CUT TO</b>PATTERSON, as he realizesBeaumont is serious. Beaumont turns sharply and moves to a large map.<b>CUT TO</b>THE MAP. It covers a great deal of East Africa with a very clear line that ends at Lake Victoria, a distance of some 600miles.<b> BEAUMONT</b> (pointing along the line) We are building this railroad across Africa for the glorious purpose of saving Africa from the Africans. And, of course, to end slavery. The Germans and French are ourcompetition. We are ahead, and we will stay ahead providing you do what I hired you to do-<b>CUT TO</b>A MORE DETAILED MAP. This one ends at \"Tsavo,\" 130 miles in.<b> BEAUMONT</b> -build the bridge overthe Tsavo river. And be finished in four months time. Can you do that?<b> PATTERSON</b> I'm sure you've examined my record. So you know I've never yet been late on a bridge.<b> BEAUMONT</b> You've neverbuilt in Africa.<b> PATTERSON</b> But I have in India- every country presents problems.<b> BEAUMONT</b> You'll need your confidence, I promise you.<b> PATTERSON</b> I've got a reason far beyondconfidence: my wife is having our firstborn in five months and I promised I'd be with her when the baby comes.<b> BEAUMONT</b> Very moving, Patterson; I'm touched you confided in me. (beat) But I don't reallygive a shit about your upcoming litter. I've made you with this assignment- (the smile) -don't make me break you.<b> PATTERSON</b> (smiling right back) You won't have the chance. (glancing at his watch) Anyfurther words of encouragement? (silence) Then I've a train to catch.They look at each other a moment in silence - and it's very clear they do not like each other. Patterson turns, leaves and we<b>CUT TO</b><b>ARAILWAY STATION, IMMEDIATELY AFTER</b>A train is loading up. A lot of activity, a lot of noise. Patterson stands in the midst of it, anxiously looking around.<b>CUT TO</b>HELENA PATTERSON, hurrying throughthe crowd. Early 20s, with the kind of serene beauty of Jean Simmons. She is still slim, has not begun to show. She spots him, puts a smile on, goes straight into his arms.<b> HELENA</b> I tried to be late, John- itwould have been easier if you'd gone.<b> PATTERSON</b> (They are nutty about each other - he nods) We're not much good at goodbyes, Helena.<b> HELENA</b> (brightly) Tell me about Beaumont- does heunderstand how brilliant you are, how lucky he is to have you?<b> PATTERSON</b> It was embarrassing- the man showered me with compliments.They start to walk hand in hand along the platform toward a quieterplace. Patterson is suddenly very serious-<b> HELENA</b> Oh dear- (beat) -you're geting that downtrodden look again-<b> PATTERSON</b> -well, it's just... (beat) ...other men don't abandon their wives at such atime-<b> HELENA</b> (not unkindly) -oh please- if I'd been against your taking this, you would have abandoned me. You've been desperate to see Africa your whole life.<b> PATTERSON</b> What if there arecomplications?-<b> HELENA</b> -not \"what if\"- there will be, there always are. Which only means that our \"son\" and I- note my confidence- will have an excuse to come visit.THE TRAIN WHISTLE sounds.<b>HELENA</b> Go, now. (He kisses her hand) Such a gentleman. (Now he holds her)<b> PATTERSON</b> I am desperate to see Africa- but I hate the leaving.<b>CUT TO</b>HELENA. She hates it, too.<b>HELENA</b> You build bridges, John- (beat) -you've got to go where the rivers are.They hold each other a moment more, then break, then back into each other's arms a final time, then-<b>CUT TO</b>THE TRAIN,and thick clouds of steam--Patterson runs into the clouds and disappears.<b>HOLD FOR A MOMENT.</b><b>KEEP HOLDING.</b>Patterson runs out of the steam and we<b>PULL BACK TO REVEAL</b><b>ADIFFERENT TRAIN, A DIFFERENT COUNTRY, A DIFFERENT WORLD.</b>This is the train to TSAVO and Patterson is alone on the engine seat- a wooden bench in front of the engine used by railroad inspectors andvisiting VIPs. Behind it is a white circular piece of wood used to keep the engine heat from the passengers.<b>CUT TO</b>NIGEL STARLING, running as best as he can alongside the train, trying to pull himself up ontothe engine seat.STARLING is a terribly appealing young man. Clothes do not fit him well, and he is constantly tugging at this sleeve or that shirttail, trying to get things right. He wears glasses, tends nonetheless tosquint at the world. He is, above all, a good man, morally impeccable and very much a product of these Victorian times.<b> STARLING</b> (as Patterson helps him aboard) Many thanks. (squints) You're Patterson,yes? (Patterson nods) Nigel Starling- I'll be assisting you at Tsavo- but surely Beaumont must have told you that.<b> PATTERSON</b> He just gave me his \"monster\" speech.<b> STARLING</b> That. I know Robertseems dreadful, but when you truly get to know the man, well, he's much worse. (beat) And I'm one of his defenders. (Patterson smiles) Forget him for now- it's your first ride to Tsavo- I think you'll find it breathtaking.(And on that word-)<b>CUT TO</b>STARLING coughing like crazy, hands over his face which is caked with dust- he and Patterson stare out at an absolutely dreary desert.<b> PATTERSON</b> (shouting towardStarling) \"Breathtaking\" doesn't begin to do it justice. (As Starling starts to laugh, his mouth opens and sand flies in, and his coughing fit returns and)<b>CUT TO</b><b>THE DESERT. ENDLESS. LATER IN THEDAY.</b><b>CUT TO</b>THE TWO OF THEM, bent over, arms covering their faces as the dust gets worse- a wind has kicked up.<b>CUT TO</b><b>THE TRAIN, TRYING TO MAKE IT UP A STEEP GRADE. STILLLATER.</b>Patterson and Starling are walking beside the train now, helping to push it, trudging through the dust. All the other passengers spread out behind them, also pushing- the train obviously needs all theassistance it can get.<b>CUT TO</b><b>INSIDE A RAILROAD CAR, EARLY EVENING.</b>Patterson and Starling, filthy, sit together. Starling has nodded off. Patterson has a book open in his lap--we can tell there aredrawings of African animals- not all that accurate.Now Patterson's eyes close and he sleeps.<b>CUT TO</b><b>THE TRAIN POUNDING THROUGH THE NIGHT.</b>Stokers shovel coal. They are exhausted but theykeep at it.<b>CUT TO</b><b>PATTERSON. WAKING IN THE CAR, RUBBING HIS EYES. IT'S DAWN.</b>He stares out--and from his face it's clear something special has happened. And now, at last-<b>CUTTO</b>SOMETHING SPECIAL- and what it is, of course, is Patterson's first view of the Africa of his imagination.Because the desert has ended, and now there are grasses and trees and one more thing--bursts ofanimals. On both sides of the train.A flock of birds materializes here, a cluster of gazelles doing there amazing leap there.Patterson is like a kid in a candy store.<b>CUT TO</b>PATTERSON AND STARLING, backoutside in the engine seat again. Starling points-<b> STARLING</b> Aren't they amazing?<b>CUT TO</b>WHAT HE'S POINTING AT: Some giraffes running along, their absurd shape suddenly graceful as they eat upthe ground in incredibly long strides.<b>CUT TO</b>PATTERSON AND STARLING, staring out.<b> PATTERSON</b> You know the most amazing thing about them?- they only sleep five minutes a day. (Starlingglances at him- clearly, he didn't know that)<b>CUT TO</b>A FAMILY OF HYENAS. Close by, loping in their scary way.<b> STARLING</b> Don't much like them.<b> PATTERSON</b> (nods) The females are bigger-only animal here like that- have to be or they wouldn't survive because the males eat the young.<b>CUT TO</b>STARLING studying Patterson. Clearly, he didn't know that, either.<b>CUT TO</b>SOME HIPPOSmoving along. Starling turns to Patterson.<b> STARLING</b> Anything special about them?<b> PATTERSON</b> Just that they fart through their mouths. (beat) Must make kissing something of a gamble.<b>STARLING</b> (laughs) I've lived in Africa a year and I don't know what you know. How long have you been here?<b> PATTERSON</b> (looks at his watch) Almost three hours. (beat) But I've been getting ready allmy life. (Now, from them-)<b>CUT TO</b>A BUNCH OF IMPOVERISHED-LOOKING NATIVE WOMEN. They hold children who wave at the passing train. The children are more impoverished looking than theirmothers.<b> STARLING</b> (suddenly touched) Every time I see something like that, I know we're right to be here- to bring Christianity into their lives, enrich their souls.<b> PATTERSON</b> Beaumont says it's to"}
+{"doc_id":"doc_103","qid":"","text":"<html><head><title>Misery Script at IMSDb.</title><meta name=\"description\" content=\"Misery script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Misery script, Misery movie script,Misery film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=SubjectCONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0];s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>    <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\"title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center></td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><html><head><title>Misery - by William Goldman</title><script><b><!--</b>if (window!= top)top.location.href=location.href<b>//--></b></script></head><pre><b>                                         \"MISERY\"</b>                                            by                                     William Goldman                                  Based on the Novelby                                       Stephen King<b>                </b><b>               FADE IN ON:</b>               A SINGLE CIGARETTE. A MATCH. A HOTEL ICE BUCKET that holds a                bottle of champagne. Thecigarette is unlit. The match is of                the kitchen variety. The champagne, unopened, is Dom Perignon.                There is only one sound at first: a strong WIND--               --now another sound, sharper--asudden burst of TYPING as we<b>               PULL BACK TO REVEAL</b>               PAUL SHELDON typing at a table in his hotel suite. It's really                a cabin that's part of a lodge. Not an ornate place.Western                themed.               He is framed by a window looking out at some gorgeous                mountains. It's afternoon. The sky is grey. Snow is scattered                along the ground. We're out westsomewhere. The WIND grows                stronger--there could be a storm.               PAUL pays no attention to what's going on outside as he                continues to type.               He's the hero of what follows.Forty-two, he's got a good                face, one with a certain mileage to it. We are not, in other                words, looking at a virgin. He's been a novelist for eighteen                years and for half that time, the mostrecent half, a                remarkably successful one.               He pauses for a moment, intently, as if trying to stare a                hole in the paper. Now his fingers fly, and there's another                burst of TYPING. Hestudies what he's written, then--<b>                                                                    CUT TO:</b>               THE PAPER, as he rolls it out of the machine, puts it on the                table, prints, in almost childlike letters,these words:<b>                                         THE END</b><b>                                                                    CUT TO:</b>               A PILE OF MANUSCRIPT at the rear of the table. He puts this                last pageon, gets it straight and in order, hoists it up,                folds it to his chest, the entire manuscript--hundreds of                pages.<b>                                                                    CUT TO:</b>               PAUL, as heholds his book to him. He is, just for a brief                moment, moved.<b>                                                                    CUT TO:</b>               A SUITCASE across the room. PAUL goes to it, opens itand                pulls something out from inside: a battered red leather                briefcase. Now he takes his manuscript, carefully opens the                briefcase, gently puts the manuscript inside. He closesit,                and the way he handles it, he might almost be handling a                child. Now he crosses over, opens the champagne, pours himself                a single glass, lights the one cigarette with the lonematch--               there is a distinct feeling of ritual about this. He inhales                deeply, makes a toasting gesture, then drinks, smokes, smiles.               HOLD BRIEFLY,then--<b>                                                                    CUT TO:</b><b>               LODGE - DAY</b>               PAUL--exiting his cabin. He stops, makes a snowball, throws                it, hitting asign.<b>                                     PAUL</b>                         Still got it.               He throws a suitcase into the trunk of his '65 MUSTANG and,                holding his leather case, he hops into the car anddrives                away.<b>                                                                    CUT TO:</b>               A SIGN that reads \"Silver Creek Lodge.\" Behind the sign is                the hotel itself--old, desolate. Now the '65Mustang comes                out of the garage, guns ahead toward the sign. As \"Shotgun\"                by Jr. Walker and the Allstars starts, he heads off intothe                mountains.<b>                                                                    CUT TO:</b>               THE SKY. Gun-metal grey. The clouds seem pregnant withsnow.<b>                                                                    CUT TO:</b>               PAUL, driving the Mustang, the battered briefcase on the                seat besidehim.<b>                                                                    CUT TO:</b>               THE ROAD AHEAD. Little dainty flakes of snow are suddenly                visible.<b>                                                                    CUTTO:</b>               THE CAR, going into a curve and<b>                                                                    CUT TO:</b>               PAUL, driving, and as he comes out of the curve, a stunned                look hits his face aswe<b>                                                                    CUT TO:</b>               THE ROAD AHEAD--and here it comes--a mountain storm; it's as                if the top has been pulled off the sky and with nowarning                whatsoever, we're into a blizzard and<b>                                                                    CUT TO:</b>               THE MUSTANG, slowing, driving deeper into themountains.<b>                                                                    CUT TO:</b>               PAUL, squinting ahead, windshield wipers on now.<b>                                                                    CUT TO:</b>               THEMUSTANG, rounding another curve, losing traction--<b>                                                                    CUT TO:</b>               PAUL, a skilled driver, bringing the car easily undercontrol.<b>                                                                    CUT TO:</b><b>               THE ROAD</b>               Snow is piling up.<b>                                                                    CUT TO:</b>               PAULdriving confidently, carefully. Now he reaches out,                ejects the tape, expertly turns it over, pushes it in and,                as the MUSIC continues, he hums along withit.<b>                                                                    CUT TO:</b>               THE SKY. Only you can't see it.               There's nothing to see  but the unending snow, nothing to                hear but the wind whichkeeps getting wilder.<b>                                                                    CUT TO:</b>               THE ROAD. Inches of snow on the ground now. This is desolate                anddangerous.<b>                                                                    CUT TO:</b>               PAUL, driving.<b>                                                                    CUT TO:</b>               THE SNOW.Worse.<b>                                                                    CUT TO:</b>               THE ROAD, curving sharply, drop ping. A sign reads: \"Curved                Road, Next 13Miles.\"<b>                                                                    CUT TO:</b>               THE MUSTANG, coming into view, hitting the curve--no problem--               no problem at all--and then suddenly, there is a veryserious                problem and as the car skids out of control--<b>                                                                    CUT TO:</b>               PAUL, doing his best, fighting the conditions and just as it                looks likehe's got things going his way--<b>                                                                    CUT TO:</b>               THE ROAD, swerving down and<b>                                                                    CUT TO:</b>               THEMUSTANG, all traction gone and<b>                                                                    CUT TO:</b>               PAUL, helpless and<b>                                                                    CUT TO:</b>               THE MUSTANG,skidding, skidding and<b>                                                                    CUT TO:</b>               THE ROAD as it drops more steeply away and the wind whips                the snow acrossand<b>                                                                    CUT TO:</b>               THE MUSTANG starting to spin and<b>                                                                    CUT TO:</b>               THE MOUNTAINSIDE as thecar skids off the road, careens down,                slams into a tree, bounces off, flips, lands upside down,                skids, stops finally, dead.<b>               HOLD ON THE CAR A MOMENT</b>               There is still thesound of the WIND, and there is still the                music coming from the tape, perhaps the only part of the car                left undamaged. Nothing moves inside. There is only the WIND                and the TAPE. Thewind gets louder.<b>                                                                    CUT TO:</b>               THE WRECK looked at from a distance. The MUSIC sounds are                only faintlyheard.<b>                                                                    CUT TO:</b>               THE AREA WHERE THE WRECK IS--AS SEEN FROM THE ROAD. The car                is barely visible as the snow begins to coverit.<b>                                                                    CUT TO:</b>               THE WRECK from outside, and we're close to it now, with the                snow coming down ever harder--already bits of the carare                covered in white.<b>               CAMERA MOVES IN TO</b>               PAUL. He's inside and doing his best to fight is, but his                consciousness is going. He tries to keep his eyes openbut                they're slits.               Slowly, he manages to reach out with his left arm for his                briefcase--               --and he clutches it to his battered body. The MUSIC continues                on.               ButPAUL is far from listening. His eyes flutter, flutter                again. Now they're starting to close.               The man is dying.               Motionless, he still clutches the battered briefcase.               HOLD ON THE CASE.Then--<b>                                                               DISSOLVE TO:</b>               The BRIEFCASE in Paul's hands as he sits at a desk.<b>                                     SINDELL (O.S.)</b>                         What'sthat?<b>               PULL BACK TO REVEAL</b>               We are in New York City in the office of Paul's literary                agent, MARCIA SINDELL. The walls of the large room are                absolutely crammed withbook and movie posters, in English                and all other kinds of other languages, all of them featuring                the character of MISERY CHASTAIN, a perfectly beautiful woman.                Misery's Challenge,Misery's Triumph--eight of them. All                written by Paul Sheldon.<b>                                                                    CUT TO:</b>               PAUL, lifting up the battered briefcase--maybe when newit                cost two bucks, but he treats it like gold.<b>                                     PAUL</b>                         An old friend. I was rummaging through                          a closet and it was justsitting                          there. Like it was waiting for me.<b>                                                                    CUT TO:</b><b>                                     SINDELL</b>                              (searching fora                               compliment)                         It's... it's nice, Paul. It's got...                          character.<b>                                                                    CUT TO:</b><b>               THE TWO OF"}
+{"doc_id":"doc_104","qid":"","text":"<html><head><title>Terminator Salvation Script at IMSDb.</title><meta name=\"description\" content=\"Terminator Salvation script at the Internet Movie Script Database.\"><meta name=\"keywords\"content=\"Terminator Salvation script, Terminator Salvation movie script, Terminator Salvation film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\"content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ?'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie ScriptDatabase\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <scripttype=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>           <b>          </b><b>          </b><b>          </b><b>                            TERMINATOR:SALVATION</b><b>          </b><b>          </b>                                 Written by<b>          </b>                       John Brancato & MichaelFerris<b>          </b><b>          </b><b>          </b><b>          </b><b>                                                        REVISEDDRAFT</b><b>                                                             10.12.05</b><b>          </b><b>          </b><b>          </b><b>          </b><b>          SUPER ON BLACK:</b><b>          </b><b>          LONGVIEWSTATE CORRECTIONAL FACILITY, TEXAS, 2003.</b><b>          </b><b>          FADE IN ON:</b><b>          </b><b>          </b><b>          INT.   DEATH ROW/CELL - DAWN</b><b>          </b>          STARTTIGHT ON MARCUS WRIGHT. He's an intense, powerful man,          20's-30's, his head shaven. Marcus stares INTO CAMERA with a          resigned expression. We hear the voice of aPRIEST:<b>          </b><b>                               PRIEST</b>                     Yea, though I walk through the valley                     of the shadow of death, I will fear                     no evil: for thou art beside me;thy                     rod and thy staff they comfort me...<b>          </b>          CAMERA PULLS BACK, straight up. MARCUS lies in his cot,          staring at the ceiling. He's smoking a CIGARETTE. This          OVERHEADANGLE reveals a PRIEST with a BIBLE, in a folding          chair beside him. A CHESS SET, stacks of BOOKS, WRITING          MATERIALS in the cell. TWO GUARDS wait, shackles in hand.<b>          </b>          MARCUShas no interest in scripture. He blows a cloud of          SMOKE which drifts in the direction of the PRIEST, who blinks          and shuts his bible.<b>          </b>          One of the GUARDS unlocks the cell doorfor--<b>          </b>          DR. SERENA KOGAN. She's in her 30's-50's, brilliant,          attractive, but thin and pale, a scarf tied around her head.          She carries a CLIPBOARD. The PRIEST backs off to giveher          some privacy with Marcus.<b>          </b><b>                               SERENA</b>                     Marcus-- I'm Doctor Serena Kogan, I'm                     with Project Angel. You consentedto                     donate your body to science...<b>          </b><b>          </b><b>                                                               (CONTINUED)</b><b>          </b><b>                                                                                 2.</b><b>          CONTINUED:</b><b>          </b><b>                                 MARCUS</b>                       Yeah, I'm pretty much done withit.<b>          </b><b>                                 SERENA</b>                       You've been chosen for our research.<b>          </b><b>                                   MARCUS</b>                       Chosen?    Luckyme.<b>          </b><b>                                 SERENA</b>                       We just need a couple of signatures...<b>          </b>          Marcus sits up, she passes him the clipboard and pen-- he          notes that herhands are SHAKING.<b>          </b><b>                                 MARCUS</b>                       You don't need to be scared.<b>          </b><b>                                   SERENA</b>                       I'm not.    It'snerve degeneration.<b>          </b>          MARCUS looks up from the form, takes in the scarf covering          her sparsehair.<b>          </b><b>                                   MARCUS</b>                       Cancer?<b>          </b><b>                                  SERENA</b><b>                           (NODS)</b>                       You're not the onlyone with a                       death sentence.<b>          </b>          MARCUS meets her eyes.      She studies him a beat.<b>          </b>                                 SERENA (cont'd)                       What you're doing isimportant,                       Marcus. Our work is still highly                       experimental... but you may be                       helping people in ways you can't                       begin toimagine.<b>          </b><b>                                 MARCUS</b>                       I'm a regular hero.<b>          </b>          With that sarcastic comment, he SIGNS HIS NAME-- we see the          words \"PROJECTANGEL\" at the top of DENSE TYPE on the form.<b>          </b>          SERENA takes the clipboard, starts to rise.         She touches his          hand for amoment.<b>                                                                   (CONTINUED)</b><b>          </b><b>                                                                          3.</b><b>          CONTINUED:(2)</b><b>          </b><b>                                  SERENA</b>                     Thank you.     And... I'm sorry.<b>          </b><b>                               MARCUS</b>                     No one livesforever.<b>          </b>          THE GUARD sees SERENA out.<b>          </b><b>          </b><b>          INT.   DEATH ROW/CORRIDOR - NIGHT</b><b>          </b>          LOW ANGLE - MARCUS' CHAINED ANKLESclank as the GUARDS lead          him down the corridor, past PRISONERS in their cells; some          avert their eyes, others give a nod or raise a fist.<b>          </b><b>                               PRIEST(V.O.)</b>                     Marcus, this is your last                     opportunity to make a confession...<b>          </b>          MARCUS stares straight ahead, taking deep, steady breaths,          struggling not to succumbto fear.<b>          </b>                               PRIEST (V.O.) (cont'd)                     Is there nothing you would say to                     Officer Martinez' family?<b>          </b><b>          </b><b>          INT.   DEATHROW/EXECUTION CHAMBER - NIGHT</b><b>          </b>          CLOSE - BUCKLES TIGHTEN... AN ALCOHOL SWAB on MARCUS'          FOREARM... A NEEDLE punctures hisskin.<b>          </b><b>                               MARCUS (V.O.)</b>                     What can I say. I was seventeen, I                     was angry, I was stupid.<b>          </b>          FINGERS turn the VALVE to releasethe LETHAL CHEMICALS.<b>          </b>          CLOSE ON MARCUS' EYES, looking up toward--<b>          </b>          THE DEADLY I.V., running into his arm.<b>          </b>          From this, he lookstoward--<b>          </b>          HIS REFLECTION in a one-way mirror, the dim shapes of          WITNESSES beyond.<b>          </b><b>          </b><b>          </b><b>                                                            (CONTINUED)</b><b>          </b><b>                                                                              4.</b><b>          CONTINUED:</b><b>          </b>                                 MARCUS (V.O.) (cont'd)                       Yeah...I'm sorry about it. I'm                       sorry about everything. The whole                       goddamn world...<b>          </b>          As the lethal injection takes hold, his POV moves to BRIGHT          LIGHTS overhead,losing FOCUS and BLEACHING TO WHITE...<b>          </b>          From the WHITE SCREEN, a FACE emerges, backlit, blurred--          it's SERENA. She's in focus for just a moment, leaning INTO          CAMERA-- thenmoves OUT OF FRAME.<b>          </b><b>                                                           CUT TO BLACK.</b><b>          </b><b>          </b><b>          SUPER ONBLACK:</b><b>          </b><b>          SOUTH-CENTRAL SECTOR, NORTH AMERICA, 2018</b><b>          </b><b>          </b><b>          EXT.   CORNFIELD - DUSK</b><b>          </b>          CORNSTALKS as faras the eye can see, rustling in a summer          breeze. FIGURES are moving within the FIELD. We only make          them out in SILHOUETTE, but all carry HEAVYRIFLES.<b>          </b><b>          </b><b>          INT.   A-10 COCKPIT - DUSK</b><b>          </b>          A COMPUTER TARGETING SCREEN - the FIGURES are HIGHLIGHTED in          this tactical display, as is anOCTAGONAL HATCH into the          ground beneath the corn.<b>          </b><b>          </b><b>          EXT.   CORNFIELD - DUSK</b><b>          </b>          THE FIGURES in the corn look up-- we hear anAIRCRAFT          APPROACH with a JET WHINE--<b>          </b>          FWOOM! A MASSIVE CONCUSSION as a BUNKER-BUSTING MISSILE          BORES into the earth at high-velocity, burrowingdeep--<b>          </b>          --then a HUGE BLAST - FLAME and DIRT are thrown high in the          air, many of the FIGURES blown sky-high.<b>          </b>          A FLAMING BODY hits the ground IN FG, FACE TOCAMERA... we          now see it was a STEEL TERMINATOR-- its METAL SKULL BLOWN          OPEN and SCORCHED, its RED EYES SHATTERED.<b>          </b><b>                                                                (CONTINUED)</b><b>          </b><b>                                                                            5.</b><b>          CONTINUED:</b><b>          </b>          A-10 WARTHOGS-- stubby attack planes-- SCREAM from thesky,          RAKING THE REMAINING FIGURES with CANNON FIRE, BLASTING THEM          to bits. These aircraft no longer bear traditional U.S.          insignia-- they're painted in WILD COLORS, graffitilettering          says things like: \"BOT BLASTER,\" \"KILL FOR CONNOR,\" \"RAGE          AGAINST THE MACHINES,\" etc... Resistance fighters.<b>          </b>          Motley military and civilian CHOPPERS LAND in theCORNFIELD,          disgorging RESISTANCE SOLDIERS. These are human troops in          high-tech HELMETS, carrying slightly futuristic conventional<b>          ASSAULT WEAPONS.</b><b>          </b>          THEWARTHOGS veer off, laying NAPALM in the distance behind          the SOLDIERS. The troops run toward--<b>          </b>          --AN OPENING which has been blown into the ground, the          remains of theoctagonal hatch where the bunker-buster hit.<b>          </b>          A surviving TERMINATOR rises from the SINGED CORN, FIRES its<b>          PLASMA RIFLE--</b><b>          </b>          --DROPPING A SOLDIER.His comrades FIRE EXPLOSIVE BULLETS--          and BLOW THE ROBOT APART. The LEADER of this assault group          waves his soldiers to enter the darkhatchway.<b>          </b><b>          </b><b>          INT.   UNDERGROUND FACILITY/CORRIDOR - NIGHT</b><b>          </b>          COLLAPSED CEILINGS, FLAMES, a high-tech installation in          ruins; REDLIGHTING, distinctive of Skynet environments.<b>          </b>          SOLDIERS flick on HELMET LAMPS and make their way carefully          inside-- pretty deserted. They kick aside rubble toenter--<b>          </b><b>          </b><b>          INT.   UNDERGROUND FACILITY/ROBOTIC ROOM - NIGHT</b><b>          </b>          HELMET BEAMS play over BANKS OF ELECTRONICS"}
+{"doc_id":"doc_105","qid":"","text":"Project Gutenberg's The Children of the New Forest, by Captain MarryatThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: The Children of the New ForestAuthor: Captain MarryatRelease Date: May 21, 2007 [EBook#21558]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE CHILDREN OF THE NEW FOREST ***Produced by Nick Hodson of London, EnglandThe Children of the New Forest, by CaptainMarryat.________________________________________________________________________Captain Frederick Marryat was born July 10 1792, and died August 8 1848.He retired from the British navy in 1828 inorder to devote himself towriting.  In the following 20 years he wrote 26 books, many of which areamong the very best of English literature, and some of which are stillin print.Marryat had an extraordinary gift for theinvention of episodes in hisstories.  He says somewhere that when he sat down for the day's work, henever knew what he was going to write.  He certainly was a literarygenius.\"The Children of the New Forest\" waspublished in 1847, thetwenty-fourth book to flow from Marryat's pen, and the last publishedwhilst he was still alive.  It was written for children, and has beenphenomenally succesful: it is still in print over 150 yearslater.This e-text was transcribed in 1998 by Nick Hodson, and was reformattedin 2003, and again in 2005.________________________________________________________________________THE CHILDREN OFTHE NEW FOREST, BY CAPTAIN FREDERICK MARRYAT.CHAPTER ONE.The circumstances which I am about to relate to my juvenile readers tookplace in the year 1647.  By referring to the history of England of thatdatethey will find that King Charles the First, against whom theCommons of England had rebelled, after a civil war of nearly five years,had been defeated, and was confined as a prisoner at Hampton Court.  TheCavaliers, orthe party who fought for King Charles, had all beendispersed, and the Parliamentary army under the command of Cromwell werebeginning to control the Commons.It was in the month of November in this year that KingCharles,accompanied by Sir John Berkely Ashburnham and Legg, made his escapefrom Hampton Court, and rode as fast as the horses could carry themtowards that part of Hampshire which led to the New Forest.  Thekingexpected that his friends had provided a vessel in which he might escapeto France; but in this he was disappointed.  There was no vessel ready,and after riding for some time along the shore he resolved to gotoTitchfield, a seat belonging to the Earl of Southampton.  After a longconsultation with those who attended him, he yielded to their advice,which was, to trust to Colonel Hammond, who was governor of the Isle ofWightfor the Parliament, but who was supposed to be friendly to theking.  Whatever might be the feelings of commiseration of ColonelHammond towards a king so unfortunately situated, he was firm in hisduties towards hisemployers, and the consequence was that King Charlesfound himself again a prisoner in Carisbrook Castle.But we must now leave the king, and retrace history to the commencementof the civil war.  A short distancefrom the town of Lymington, which isnot far from Titchfield, where the king took shelter, but on the otherside of the Southampton Water, and south of the New Forest, to which itadjoins, was a property called Arnwood,which belonged to a Cavalier ofthe name of Beverley.  It was at that time a property of considerablevalue, being very extensive, and the park ornamented with valuabletimber; for it abutted on the New Forest, andmight have been supposedto have been a continuation of it.  This Colonel Beverley, as we mustcall him, for he rose to that rank in the king's army, was a valuedfriend and companion of Prince Rupert's, and commandedseveral troops ofcavalry.  He was ever at his side in the brilliant charges made by thisgallant prince, and at last fell in his arms at the battle of Naseby.Colonel Beverley had married into the family of the Villiers, andtheissue of his marriage was two sons and two daughters; but his zeal andsense of duty had induced him, at the commencement of the war, to leavehis wife and family at Arnwood, and he was fated never to meetthemagain.  The news of his death had such an effect upon Mrs Beverley,already worn with anxiety on her husband's account, that a few monthsafterwards she followed him to an early tomb, leaving the fourchildrenunder the charge of an elderly relative till such time as the family ofthe Villiers could protect them; but, as will appear by our history,this was not at that period possible.  The life of a king and many otherliveswere in jeopardy, and the orphans remained at Arnwood, still underthe care of their elderly relation, at the time that our historycommences.The New Forest, my readers are perhaps aware, was first enclosed byWilliamthe Conqueror as a royal forest for his own amusement, for inthose days most crowned heads were passionately fond of the chase; andthey may also recollect that his successor, William Rufus, met his deathin thisforest by the glancing of an arrow shot by Sir Walter Tyrrell.Since that time to the present day it has continued a royal domain.  Atthe period of which we are writing it had an establishment of verderersand keepers,paid by the Crown, amounting to some forty or fifty men.At the commencement of the civil war they remained at their posts, butsoon found, in the disorganised state of the country, that their wageswere no longer to beobtained; and then, when the king had decided uponraising an army, Beverley, who held a superior office in the forest,enrolled all the young and athletic men who were employed in the forest,and marched them awaywith him to join the king's army.  Some fewremained, their age not rendering their services of value, and amongthem was an old and attached servant of Beverley's, a man above sixtyyears of age, whose name wasJacob Armitage, and who had obtained thesituation through Colonel Beverley's interest.  Those who remained inthe forest lived in cottages many miles asunder, and indemnifiedthemselves for the non-payment of theirsalaries by killing the deer forsale and for their own subsistence.The cottage of Jacob Armitage was situated on the skirts of the NewForest, about a mile and a half from the mansion of Arnwood; and whenColonelBeverley went to join the king's troops, feeling how littlesecurity there would be for his wife and children in those troubledtimes, he requested the old man, by his attachment to the family, not tolose sight of Arnwood,but to call there as often as possible to see ifhe could be of service to Mrs Beverley.  The colonel would havepersuaded Jacob to have altogether taken up his residence at themansion; but to this the old manobjected.  He had been all his lifeunder the greenwood tree, and could not bear to leave the forest.  Hepromised the colonel that he would watch over his family, and ever be athand when required; and he kept hisword.  The death of Colonel Beverleywas a heavy blow to the old forester, and he watched over Mrs Beverleyand the orphans with the greatest solicitude; but when Mrs Beverleyfollowed her husband to the tomb hethen redoubled his attentions, andwas seldom more than a few hours at a time away from the mansion.  Thetwo boys were his inseparable companions, and he instructed them, youngas they were, in all the secrets ofhis own calling.  Such was the stateof affairs at the time that King Charles made his escape from HamptonCourt; and I now shall resume my narrative from where it was broken off.As soon as the escape of Charles theFirst was made known to Cromwelland the Parliament, troops of horse were despatched in every directionto the southward, towards which the prints of the horses' hoofs provedthat he had gone.  As they found that hehad proceeded in the directionof the New Forest, the troops were subdivided and ordered to scour theforest, in parties of twelve to twenty, while others hastened down toSouthampton, Lymington, and every otherseaport or part of the coastfrom which the king might be likely to embark.  Old Jacob had been atArnwood on the day before, but on this day he had made up his mind toprocure some venison, that he might not gothere again empty-handed; forMiss Judith Villiers was very partial to venison, and was not slow toremind Jacob if the larder was for many days deficient in that meat.Jacob had gone out accordingly; he had gained hisleeward position of afine buck, and was gradually nearing him by stealth, now behind a hugeoak-tree, and then crawling through the high fern, so as to get withinshot unperceived, when on a sudden the animal, whichhad been quietlyfeeding, bounded away and disappeared in the thicket.  At the same timeJacob perceived a small body of horse galloping through the glen inwhich the buck had been feeding.  Jacob had never yet seentheParliamentary troops, for they had not during the war been sent intothat part of the country, but their iron skull-caps, their buffaccoutrements, and dark habiliments, assured him that such these mustbe; so verydifferent were they from the gaily-equipped Cavalier cavalrycommanded by Prince Rupert.  At the time that they advanced, Jacob hadbeen lying down in the fern near to some low black-thorn-bushes; notwishing to beperceived by them, he drew back between the bushes,intending to remain concealed until they should gallop out of sight; forJacob thought, \"I am a king's forester, and they may consider me as anenemy; and whoknows how I may be treated by them?\"  But Jacob wasdisappointed in his expectations of the troops riding past him; on thecontrary, as soon as they arrived at an oak-tree within twenty yards ofwhere he wasconcealed, the order was given to halt and dismount; thesabres of the horsemen clattered in their iron sheaths as the order wasobeyed, and the old man expected to be immediately discovered; but oneof thethorn-bushes was directly between him and the troopers, andeffectually concealed him.  At last Jacob ventured to raise his head andpeep through the bush; and he perceived that the men were loosening thegirths oftheir black horses, or wiping away the perspiration from theirsides with handfuls of fern.A powerfully-framed man, who appeared to command the others, wasstanding with his hand upon the arched neck of his steed,which appearedas fresh and vigorous as ever, although covered with foam andperspiration.  \"Spare not to rub down, my men,\" said he, \"for we havetried the mettle of our horses, and have now but onehalf-hour'sbreathing-time.  We must be on, for the work of the Lord must be done.\"\"They say that this forest is many miles in length and breadth,\"observed another of the men, \"and we may ride many a mile to nopurpose;but here is James Southwold, who once was living in it as a verderer;nay, I think that he said that he was born and bred in these woods.  Wasit not so, James Southwold?\"\"It is even as you say,\" replied anactive-looking young man; \"I wasborn and bred in this forest, and my father was a verderer before me.\"Jacob Armitage, who listened to the conversation, immediately recognisedthe young man in question.  He was oneof those who had joined theking's army with the other verderers and keepers.  It pained him much toperceive that one who had always been considered a frank, true-heartedyoung man, and who left the forest to fightin defence of his king, wasnow turned a traitor, and had joined the ranks of the enemy; and Jacobthought how much better it had been for James Southwold if he had neverquitted the New Forest, and had not beencorrupted by evil company: \"Hewas a good lad,\" thought Jacob, \"and now he is a traitor and ahypocrite.\"\"If born and bred in this forest, James Southwold,\" said the leader ofthe troop, \"you must fain know all its mazesand paths.  Now call tomind, are there no secret hiding-places in which people may remainconcealed; no thickets which may cover both man and horse?  Peradventurethou mayst point out the very spot where this manCharles may behidden.\"\"I do know one dell, within a mile of Arnwood,\" replied James Southwold,\"which might cover double our troop from the eyes of the most wary.\"\"We will ride there, then,\" replied theleader.  \"Arnwood, sayest thou?Is not that the property of the Malignant, Cavalier Beverley, who wasshot down at Naseby?\"\"Even so,\" replied Southwold; \"and many is the time--that is, in theolden time, before I wasregenerated--many is the day of revelry that Ihave passed there; many the cup of good ale that I have quaffed.\"\"And thou shalt quaff it again,\" replied the leader.  \"Good ale was notintended only for Malignants, but forthose who serve diligently.  Afterwe have examined the dell which thou speakest of, we will direct ourhorses' heads towards Arnwood.\"\"Who knows but what the man Charles may be concealed in the Malignant'shouse?\"observed another.\"In the day, I should say no,\" replied the leader; \"but in the night theCavaliers like to have a roof over their heads; and therefore at night,and not before, will we proceed thither.\"\"I have searchedmany of their abodes,\" observed another; \"but search isalmost in vain.  What with their spring panels and secret doors, theirfalse ceilings and double walls, one may ferret for ever and findnothing.\"\"Yes,\" replied theleader, \"their abodes are full of these Popishabominations; but there is one way which is sure; and if the man Charlesbe concealed in any house, I venture to say that I will find him.  Fireand smoke will bring him forth;and to every Malignant's house withintwenty miles will I apply the torch; but it must be at night, for we arenot sure of his being housed during the day.  James Southwold, thouknowest well the mansion of Arnwood?\"\"Iknow well my way to all the offices below--the buttery, the cellar,and the kitchen; but I cannot say that I have ever been into theapartments of the upper house.\"\"That it needeth not; if thou canst direct us to the lowerentrance, itwill be sufficient.\"\"That can I, Master Ingram,\" replied Southwold, \"and to where the bestale used to be found.\"\"Enough, Southwold, enough; our work must be done, and diligently.  Now,my men, tightenyour girths; we will just ride to the dell: if itconceals not whom we seek, it shall conceal us till night, and then thecountry shall be lighted up with the flames of Arnwood, while wesurround the house and preventescape.  Levellers, to horse!\"The troopers sprang upon their saddles, and went off at a hard trot,Southwold leading the way.  Jacob remained among the fern until theywere out of sight, and then rose up.  He looked fora short time in thedirection in which the troopers had gone, stooped down again to take uphis gun, and then said, \"There's providence in this; yes, and there'sprovidence in my not having my dog with me, for he wouldnot haveremained quiet for so long a time.  Who would ever have thought thatJames Southwold would have turned a traitor!  More than traitor, for heis now ready to bite the hand that has fed him, to burn the housethathas ever welcomed him.  This is a bad world, and I thank heaven that Ihave lived in the woods.  But there is no time to lose;\" and the oldforester threw his gun over his shoulder and hastened away in thedirectionof his own cottage.\"And so the king has escaped,\" thought Jacob, as he went along, \"and hemay be in the forest!  Who knows but he may be at Arnwood, for he musthardly know where to go for shelter?  I must hasteand see Miss Judithimmediately.  `Levellers, to horse!' the fellow said.  What's aLeveller?\" thought Jacob.As perhaps my readers may ask the same question, they must know that alarge proportion of the Parliamentaryarmy had at this time assumed thename of Levellers, in consequence of having taken up the opinion thatevery man should be on an equality, and property should be equallydivided.  The hatred of these people to anyone above them in rank orproperty, especially towards those of the king's party, which mostlyconsisted of men of rank and property, was unbounded, and they weremerciless and cruel to the highest degree; throwingoff much of hatfanatical bearing and language which had before distinguished thePuritans.  Cromwell had great difficulty in eventually putting themdown, which he did at last accomplish by hanging and slaughteringmany.Of this Jacob knew nothing; all he knew was, that Arnwood was to beburnt down that night, and that it would be necessary to remove thefamily.  As for obtaining assistance to oppose the troopers, that heknew tobe impossible.  As he thought of what must take place, hethanked God for having allowed him to gain the knowledge of what was tohappen, and hastened on his way.  He had been about eight miles fromArnwood whenhe had concealed himself in the fern.  Jacob first went tohis cottage to deposit his gun, saddled his forest pony, and set off forArnwood.  In less than two hours the old man was at the door of themansion; it was thenabout three o'clock in the afternoon, and being inthe month of November, there was not so much as two hours of daylightremaining.  \"I shall have a difficult job with the stiff old lady,\"thought Jacob, as he rang the bell;\"I don't believe that she would riseout of her high chair for old Noll and his whole army at his back.  Butwe shall see.\"CHAPTER TWO.Before Jacob is admitted to the presence of Miss Judith Villiers, wemust give someaccount of the establishment at Arnwood.  With theexception of one male servant, who officiated in the house and stable ashis services might be required, every man of the household of ColonelBeverley had followedthe fortunes of their master, and as none hadreturned, they, in all probability, had shared his fate.  Three femaleservants, with the man above mentioned, composed the whole household.Indeed, there was everyreason for not increasing the establishment; forthe rents were either paid in part or not paid at all.  It was generallysupposed that the property, now that the Parliament had gained the day,would be sequestrated,although such was not yet the case; and thetenants were unwilling to pay, to those who were not authorised toreceive, the rents which they might be again called upon to make good.Miss Judith Villiers, therefore, foundit difficult to maintain thepresent household; and although she did not tell Jacob Armitage thatsuch was the case, the fact was, that very often the venison which hebrought to the mansion was all the meat that was inthe larder.  Thethree female servants held the offices of cook, attendant upon MissVilliers, and housemaid; the children being under the care of noparticular servant, and left much to themselves.  There had beenachaplain in the house, but he had quitted before the death of MrsBeverley, and the vacancy had not been filled up; indeed, it could notwell be, for the one who left had not received his salary for manymonths, and MissJudith Villiers, expecting every day to be summoned byher relations to bring the children and join them, sat in her high chairwaiting for the arrival of this summons, which, from the distractedstate of the times, hadnever come.As we have before said, the orphans were four in number; the two eldestwere boys, and the youngest were girls.  Edward, the eldest boy, wasbetween thirteen and fourteen years old; Humphrey, thesecond, wastwelve; Alice, eleven; and Edith, eight.  As it is the history of theseyoung persons which we are about to narrate, we shall say little aboutthem at present, except that for many months they had been underlittleor no restraint, and less attended to.  Their companions were Benjamin,the man who remained in the house, and old Jacob Armitage, who passedall the time he could spare with them.  Benjamin was rather weakinintellect, and was a source of amusement rather than otherwise.  As forthe female servants, one was wholly occupied with her attendance on MissJudith, who was very exacting, and had a high notion of herownconsequence.  The other two had more than sufficient employment; as,when there is no money to pay with, everything must be done at home.That, under such circumstances, the boys became boisterous andthelittle girls became romps, is not to be wondered at; but their havingbecome so was the cause of Miss Judith seldom admitting them into herroom.  It is true that they were sent for once a day, to ascertain ifthey werein the house or in existence, but soon dismissed and left totheir own resources.  Such was the neglect to which these young orphanswere exposed.  It must, however, be admitted, that this very neglectmade themindependent and bold, full of health from constant activity,and more fitted for the change which was so soon to take place.\"Benjamin,\" said Jacob, as the other came to the door, \"I must speakwith the old lady.\"\"Have"}
+{"doc_id":"doc_106","qid":"","text":"<html><head><title>Bruce Almighty Script at IMSDb.</title><meta name=\"description\" content=\"Bruce Almighty script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Bruce Almightyscript, Bruce Almighty movie script, Bruce Almighty film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX,FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>  BRUCE ALMIGHTYby Steve Koren & Mark O'Keefe  Rewrite by Steve Oedekerk<b>           7/30/02</b> Shady AcresEntertainment<b></b><b>INT. KOWOLSKI'S BAKERY - KITCHEN - DAY</b>A news crew shuttles around a GIGANTIC COOKIE. Standing byare the KOWOLSKI BROTHERS, GUSTOV and VOL, two SHORT,STOCKY,MEN, along with MOTHER KOWOLSKI and other bakery familyemployees. A \"30 YEAR ANNIVERSARY\" sign hangs in thebackground.BRUCE NOLAN looks into a make-up mirror, desperately tryingto place a largesegment of wayward hair.<b>                     BRUCE</b>          Oh, God, no! The hair's wrong.          This is a bad sign.               (calling out)          We really need to get a make-up          person?!The segmentproducer, ALLY LOMAN, steps over.<b>                     ALLY</b>          Not in the budget. And not to                         *<b>                                                                *</b>          worry, you're going to lookgreat          in this.She holds out a HAIR NET.<b>                     BRUCE</b>          A hair net? I'm not wearing a hair          net. I just did the hair.<b>                     ALLY</b>               (matter of fact)          Healthcode. In the kitchen or          around the cookie, you gotta have          it.<b>                     BRUCE</b>               (to crew: re hair net)          You guy's should tell me this          before hand, this is like ahuge          waste of...moose.Bruce spreads the hair net, bends down out of frame, comes uplooking ridiculous and very disgruntled.<b>                     BRUCE</b>          Remind me to swing by anelementary                   *          school after this and serve lunch.Ally laughs.<b></b><b>                                                       2.</b><b>                     ALLY</b>          You're a thing of beauty.     In          three,two, one. . .Bruce SNAPS from pissed to instant charismatic TV newsman.(Note: Whenever Bruce speaks on camera he speaks in his\"REPORTER'S VOICE\" - that recognizable, too-smooth deliverythat all news reportersseem to have. In mathematical termsBruce's version is to the 7th power.)<b>                    BRUCE</b>          For three decades the Kowolski          Family Bakery has been a mainstay          in downtown Buffalo.Known for          their sinfully rich, cream filled,          deep fried polski pierogis. And          the occasional sugar induced coma          that follows. Today, in honor of          their 30 year anniversary,Momma          Kowolski and her sons Gustov and          Vol, decided to do something, a          little bit different. Tell me          guys, how did this idea come about?<b>                       GUSTOV</b>          Well,    Volsaid to me, 'Gustov, why          don't    we make the biggest chocolate          chip    cookie in Buffalo?' And I          said,    'Yeah, sure.'<b>                    BRUCE</b>          Wow. Fascinating.Bruce steps up to the HUGECOOKIE.<b>                    BRUCE</b>          The previous Buffalo cookie record          was 3 feet, 17 inches baked by          Gladys Pelsnick. But this behemoth          cookie clearly proving that Gustov          and Volhave much more free time.The Kowolski brothers and all celebrate in the background,toasting with big mugs of milk. Bruce steps forward, looksdramatically at camera, slow zoom in as hespeaks.<b>                       BRUCE (CONT'D)</b>          As we witness the ceremonial          toasting with milk it makes one          pause and think. What are we          really looking athere?<b>                       (MORE)</b><b></b><b>                                                        3.</b><b>                    BRUCE (CONT'D)</b>          Is it just a big cookie or does          this cookie represent the prideof          Buffalo? Our dedicated and hard          working citizens the key          ingredient, with a few nuts thrown          in.              (motions his eyes to the               Kowolski twins)          And finally, the love ofour          families which provides the warm          chewy center making our beloved          Buffalo the sweetest place to live.Camera is in CLOSE as Bruce signs-off.<b>                    BRUCE (CONT'D)</b>          Andthat's the way the cookie          crumbles. I'm Bruce Nolan,          Eyewitness News.Bruce's hair net SLIPS UP, PUFFING HIS HAIR INTO A BUN ON THETOP OF HIS HEAD. The Kowolskis and bystanders all laugh.Theframe FREEZES.We PULL BACK from the TV and find Bruce holding the remote,watching the recorded spot on TV. We are now...<b>INT. BRUCE AND GRACE'S APARTMENT - NIGHT</b>Bruce is with his longtimegirlfriend, GRACE. She has a boxof photos on the coffee table in front of her organizing theminto a photo album.<b>                    BRUCE</b>          So, what do you think?<b>                       GRACE</b>          It'sgood.<b>                       BRUCE</b>          It sucks. It's a story about a          cookie. People with eating          disorders will be riveted,               (goes into huge pathetic                fan character)          Dear Bruce,love the bakery piece.          I can't wait to vomit so I can make          room for more cookies.<b>                       GRACE</b>          I thought it was funny. I love the          hair net. How'd you get it todo          that?<b></b><b>                                                             4.</b><b>                        BRUCE</b>          What? I'm cutting that. They made          me wear that stupid thing. I don't          even look likemyself. The hair is          one of the most important parts of          an on camera persona. Right out of          the gate, I lost the hair          advantage.Grace looks at a photo,<b>                        GRACE</b>          Oh,my gosh, look at this one. My          sister is so drunk.She places it in the album.<b>                        BRUCE</b>          Grace. Try to stay focused here.          I need yourhelp.<b>                     GRACE</b>          Aren't you taking this a little too          seriously?<b>                        BRUCE</b>           It's sweeps Grace. It is serious.           There's an anchor job open. This           isimportant. This is our future!Bruce points to the TV as he says \"future,\" not realizinghe's pointing at the ridiculous image of himself with thehair net bun. Grace can't help butgiggle.<b>                        GRACE</b>           I'm sorry.Bruce collapses into Grace's arms like a child. He clearlyhas a fragile temperament.<b>                     BRUCE</b>               (sighs)          I'm never going toget anchor doing          these kind of assignments. I want          my work to matter.<b>                     GRACE</b>          It does matter. You're funny. You          make people smile. Come on, take a          break, helpme put this album          together.<b></b><b>                    BRUCE</b>               (reluctant)          Alright.Grace holds up a photo.<b>                    GRACE</b>          Oh look at this. It's the first          day wemoved in together.It's the two of them, younger, laughing.<b>                      BRUCE</b>               (down)          Yeah, so full of hopes and dreams.<b>                    GRACE</b>          Oh, here's me at mysister's          wedding. I caught the bouquet.It's a picture of Grace overpowering the other bridesmaidsfor the bouquet.<b>                    BRUCE</b>          You look pretty intense,hun.<b>                    GRACE</b>          Well, I was thinking about you.Grace cuddles into Bruce.<b>                    BRUCE</b>          So, you're attracted to me in some          way, is that what you're tryingto          say?Grace rolls over onto Bruce.<b>                    GRACE</b>          You have no idea.<b>                    BRUCE</b>          I was saving myself for the wedding          night, but if you keep this up,I          may lose my resolve.Grace stands, pulling Bruce up.<b>                    GRACE</b>          Well, that's the way the cookie          crumbles.They kiss, stumbling toward thebedroom.<b></b><b>                                                           6.</b><b>                       BRUCE</b>            Hey, that's a good line, but you            need more resonance. Fromthe            diaphragm.                (newscaster voice)            That's the way the cookie crumbles.<b>                      GRACE</b>            Oh, say itagain.<b>                      BRUCE</b>                (bigger)            That's the way the cookie crumbles.<b>                      GRACE</b>                (sweet, southern groupie)            Oh, I just loveon-air            personalities.<b>                       BRUCE</b>                 (newscaster voice)            Well then, let me take these            clothes off and slip into my hair            net.Grace laughs, Bruce joins in as theydisappear into thebedroom.<b>                                            CUT TO:</b><b>A TELEVISION SCREEN</b>We see the INTRO FOR SIXTY MINUTES:<b>                      NEWS CLIP</b>            I'm Ed Bradley, I'mMerely Safer,            an d I ' m --LESLIE STAHL is HIT IN THE NECK WITH A TRANQUILIZER DART.Her head wavers, then DROPS on the desk. The camera PANS toBRUCE, who lowers a bamboo blow gun, coolyaddresses camera.<b>                      BRUCE</b>            ...Bruce Nolan. And this is Sixty            Minutes.<b>THE SIXTY MINUTES TICKING CLOCK</b><b>                                            DISSOLVETO:</b><b>BRUCE'S ALARM CLOCK - IT RINGS</b>We are in. . .<b></b><b>                                                            7.</b><b>INT. BRUCE AND GRACE'S APARTMENT - MORNING</b>Bruce lies next to Gracewith a big smile on his face. Gracehits the alarm, rolls over snuggling close to Bruce.<b>                    GRACE</b>          Sweety, time to get up...She kisses Bruce, gets up.<b>                    BRUCE</b>          No, I'mhaving a great dream.The covers are RIPPED OUT OF FRAME.   Bruce throws a mockhissy fit.<b>INT. BEDROOM - MORNING</b>Bruce watches TV as he buttons hisshirt.<b>                     SPORTSCASTER</b>          ...and the Sabers lost another          close one last night. Four to          three to the Toronto Maple Leafs.<b>                     BRUCE</b>          Of course they lost,they're my          team.<b>                                            CUT TO:</b><b>MOMENTS LATER</b>Bruce checks his hair in the mirror practicing his new sign-off.<b>                     BRUCE</b>          \"And that's theway the cookie          crumbles.\"               (calls to Grace)          You know, I think there might be          something to that cookie line.          Everything great anchor has his own          signature sign-off.               (asWalter Cronkite)          \"And that's the way the cookie          crumbles.\"<b>ANGLE - SAM</b>Peeing in the corner on thecarpet.<b></b><b>                                                              8.</b><b>                     BRUCE</b>          Oh no!   Grace, the dog!<b>                    GRACE (O.S.)</b>          I'm in theshower!<b>                     BRUCE</b>          Ah!<b>INT. APARTMENT STAIRCASE</b>Bruce runs along carrying the peeing Sam with extended armsdodges a man ascending the stares, who getssprinkled.<b>                    BRUCE</b>          Whoops, sorry.<b>EXT. APARTMENT - CONTINUOUS</b>Bruce makes it outside, sets Sam down on the grass. Samlooks up innocently at Bruce,"}
+{"doc_id":"doc_107","qid":"","text":"<html><head><title>Tombstone Script at IMSDb.</title><meta name=\"description\" content=\"Tombstone script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Tombstone script,Tombstone movie script, Tombstone film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\"rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><html><head><script><b><!--</b>if (window!= top)top.location.href=location.href<b>//--></b></script><title>TOMBSTONE</title></head><pre><b>TOMBSTONE</b>An original screenplayByKevin Jarre                                           Fourth draft                                           March 15, 1993ROLLPROLOGUE OVER MAIN TITLE:  a collage of old photos, prints, etc., and silent live-action vignettes, all dark and heavily shadowed like a dimly-remembered dream.  The first images show the opulence of the Gilded Age,the epic vistas of the west, cattle drives and cowtowns with all their violence....<b>                     V.O. NARRATION</b>          \"The economic explosion following          the Civil War created an          unprecedentednation-wide market          for beef.  Previously worthless          cattle running wild throughout          Texas were gathered into herds           And driven north to the railheads           In Kansas.  Fortunes were madeas           Cowtowns sprang up on the           Prairies, wide-open centers of          Commerce and vice, their streets          Choked with heavily-armed young          Men fresh from the cattle drives.          In those daysthe correct term          For a cowhand was 'drover'.          'Cowboy', like 'cowpoke', was          originally an insult implying          deviant sexuality and was rarely          used.  But these invading drovers          were awild breed for soon          shootings and wholesale drunken          riots became so frequent that          ordinary citizens literally could          not walk down the street.  In fact          at their height the cowtownshad          higher murder rates than modern          New York or Los Angeles and there          Was no law but that of the gun.\"A dashing FIGURE in a Prince Albert coat appears, long locks tumbling down his shoulders,twin Navy Colts thrust into a red sash at his waist, a tin star on his chest.  Next we see him in action, downing 3 barroom opponents at once, pistols FLASHING around the room like a strobe light:<b>                     V.O.NARRATION</b>          \"Straight-up at 75 yards or eye-          to-eye at point-blank range, the           greatest gunman of all time was          an Illinois abolitionist farm boy          named James Butler Hickok,better          known as Wild Bill, the Prince of           Pistoleers.  But Wild Bill worked          His trade on the side of justice          And as marshal of cowtowns like          Hays City and Abilene he became a          Legend,the one man who stood          Between law and chaos.\"Now Hickock sits facing us, playing poker as a shabby-looking FIGURE with a gun steals up behind him and FIRES.....<b>                     V.O.NARRATION</b>          \"Wild Bill's fame spread nation-          wide but his end came quietly in           the spring of '76 when a strange          cross-eyed little drifter put a          bullet through the back ofhis          head, apparently for no other          reason than he wanted to kill a           celebrity.\"Now a group of cowhands carouse a streetcorner, raising hell as 2 mustachiod young LAWMEN walk up, trying to quietthem down.<b>                     V.O. NARRATION</b>          \"In Dodge City meanwhile, Wyatt           Earp and Bat Masterson were           Becoming known as fast-guns.  But          Their fame had nothing to dowith          Shooting.\"Seeing it's hopeless, the lawmen whip out their pistols and start clubbing the drover's making them stagger and grimace, holding their heads....<b>                     V.O.NARRATION</b>          \"Earp and Masterson operated more          like modern policemen, using           teamwork and persuasion to keep          order.  Still, sometimes things           got out of hand.\"An ARMEDDROVER creeps up behind the lawmen, about to fire....<b>                     V.O. NARRATION</b>          \"But Wyatt had a guardian angel.\"A REED-THIN FIGURE with a sawed-off shotgun steps from the shadows behindthe drover and FIRES.  The huge blast WHITES-OUT the screen for an instant, making the drover seem to disappear.  The lawmen spin around.  The thin man breaks the shotgun open then calmly holds out his wrists tobe cuffed.  Earp looks at him in shock, mouthing the word \"thanks\".<b>                     V.O. NARRATION</b>          \"John Henry 'Doc' Holliday was          the son of an aristocratic,          highly cultured southernfamily.          Trained in Philadelphia, he had          Embarked on a career as a society          Dentist when he contracted          Tuberculosis.  Advised to practice          In the west where it was thought          Theclimate and clean air would          Prolong his life, Doc soon          Realized it was all only a matter          Of time and gave up dentistry to          Become a professional gambler and           Gunman...\"The scene shifts toan elegant Victorian home: a stern Jewish patriarch orders his darkly beautiful DAUGHTER upstairs as her weeping mother looks on.  The girl huffs up the stairs followed by her little white dog.  Next, the girl and dog areseen escaping through a window to the street below and a waiting cab.<b>                     V.O. NARRATION</b>          \"Others headed east.  Bent on          becoming an actress.  Josephine          Marcus defied herwealthy and          Very proper San Francisco Jewish          Family to run away with a           Traveling theatrical company,          Braving the perils of the           Frontier on her own.  Dangerous as          This mightseem, it was another          Age and women were so rare, their           Presence so cherished that they          Could travel virtually anywhere          In the west in perfect safety.\"Now we see HORSEMEN silhouettedagainst the night sky, a hand knocking on a door, figures conferring in darkness, then more riders, moving west in restless haste toward the rising sun....<b>                     V.O. NARRATION</b>          \"At about thistime the Texas          Rangers, having eliminated the          Commanche threat, turned their           Attention to the outlaw gangs          Marauding along the Rio Grande,          Cleaning up the border strip in4          Years of hard riding.  Those they          Could not indict or convict the           Rangers put down in their Black          Book, letting it be known that          They could either leave Texas or          Face summaryexecution.  This          Resulted in the mass migration of          The absolute dregs of the Texas          Underworld to the most dangerous,          Uncivilized part of the entire          Country, the southeast cornerof           The Arizona Territory.\"A jagged, moonlit landscape, a lone prospector and his burro moving along a ridge, a pick digging into a rocky ledge, an ore car emerging from a mine shaft, finally a hilltop cluster oftents becoming the skeletal wood-frame beginnings of a town....<b>                     V.O. NARRATION</b>          \"Harsh and inhospitable, savaged          in turn by the Apache and Mexican          bandits, this hadalways been an          accursed place, a virtual hell on          earth where it was thought life          itself could never prosper, much                     V.O. NARRATION (cont.)          less civilization.  Then in 1879,          aprospector named Ed Schiefflin          set off alone into the Dragoon          Mountains.  Friends told him he          Was crazy, that the only thing          He'd find in this Godforsaken          Place would be histombstone.          Instead he found silver, lots of           It, and overnight the town of          Tombstone sprang up.  Mining          Taking out millions in ore.  Land          Value shot sky-high and          Speculators andgamblers and          Opportunists of all nations          Scrambled in by the thousands to          Make Tombstone queen of the          Boomtowns, so rich that the          Latest Paris fashions, hard to           Find even inthe biggest cities,           Were sold there by the wagonload          From the makeshift storefronts.\"An engraving of a stagecoach holdup, herds of cattle moving north, a newspaper story of a massacre in Mexico,congressmen railing at each other, shaking their fists....<b>                     V.O. NARRATION</b>          \"Meanwhile, the exile Texans had          banded together to form the          nucleaus of an organizedgang.          Seizing controp of the           Surrounding countryside they           Robbed stagecoaches at will while          The big absentee business          Interests employed them as tax          Collectors and strongarmmen.  But          The backbone of their trade          Remained border rustling,          Periodic raids into Mexico to          Steal cattle while engaging in          What was described as a virtual          Orgy of murder andviolence.  The           Raids became so frequent and so          Bloody that the Mexican          Government formally protested to          U.S. President Chester A. Arthur,          Prompting heated debatein           Congress.  General Sherman          Declared that the only possible           Way of bringing order was to send          In the army but in the wake of          Civil War Reconstruction federal          Intervention incivilian affairs          Was politically impossible.\"Pounding hooves, flowing manes, a pack of night-riding HORSEMEN kicking hell-for-leather across the desert moonscape....<b>                     V.O.NARRATION</b>          \"With only some 100 members, the           gang was an elite body of gunmen,          known by the red silk sashes they          wore around their waists.          Fiercely proud oftheir          Terrifying reputation and          Answerable to no one, they were a          Law unto themselves, finally           Emerging as one of the earliest           Examples in American history of          Full-scale organizedcrime.\"END MAIN TITLE as the screen fades to an ominous black and....<b>                     V.O. NARRATION</b>          \"They called themselves the          Cowboys.\"<b>EXT - SONORA DESERT/CANYON ENTRANCE -DAY</b>Burning daylight, hard reality.  A squad of uniformed MEXICAN RURALES rides through the Sonora desert, sabres glinting in the sun.  Approaching the mouth of a rocky canyon their hard-bitten CAPTAINsignals them to stop, leaning down to study a jumble of hoofprints on the ground.  He turns to the anxious-looking YOUNG RURALE on his right, speaking in Spanish viasubtitle:<b>                     CAPTAIN</b>          It's them, only an hour north.<b>                     YOUNG RURALE</b>          But this is the border.<b>                     CAPTAIN</b>          You saw what those animalsdid at           That rancho.  You think a border          Is going to stop me?  No, I'm           Going to see them suffer for what           They did!  I swear it on my soul!The Captain spurs his horse and they ride on at agallop, plunging into the canyon....<b>DELETED</b><b>EXT - SKELETON CANYON - NIGHT</b>The full moon throws fantastic shadows across the high walls of the canyon as the Rurales ride through.  At the bendthe Captain halts them.  The young one starts to speak but the Captain shushes him, peering into the darkness.  A few beats then:<b>                     CAPTAIN</b>          Turn around!  Fast!  Now!But suddenlyGUNFIRE erupts from the shadows all around them, blasting them from the saddle, each powder flash lighting up the canyon for an instant, freezing each victim in the moment of his death.  Then, just as abruptly thefiring stops, leaving only the Captain, the young Rurale, and a 3rd Rurale alive.  Dazed and bloody, they struggle to their feet as 6 armed FIGURES emerge from the shadows, walking into the moonlight toward"}
+{"doc_id":"doc_108","qid":"","text":"The Project Gutenberg EBook of Seventeen, by Booth TarkingtonThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it underthe terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: Seventeen       A Tale Of Youth And Summer Time And The Baxter Family Especially WilliamAuthor: BoothTarkingtonRelease Date: February 21, 2006 [EBook #1611]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK SEVENTEEN ***Produced by Charles Keller and David WidgerSEVENTEENA TALE OFYOUTH ANDSUMMER TIME ANDTHE BAXTER FAMILYESPECIALLY WILLIAMBy Booth TarkingtonSEVENTEENTO S.K.T.CONTENTS     I.      WILLIAM     II.     THE UNKNOWN     III.    THE PAINFUL AGE     IV.     GENESISAND CLEMATIS     V.      SORROWS WITHIN A BOILER     VI.     TRUCULENCE     VII.    MR. BAXTER'S EVENING CLOTHES     VIII.   JANE     IX.     LITTLE SISTERS HAVE BIG EARS     X.      MR. PARCHER ANDLOVE     XI.     BEGINNING A TRUE FRIENDSHIP     XII.    PROGRESS OF THE SYMPTOMS     XIII.   AT HOME TO HIS FRIENDS     XIV.    TIME DOES FLY     XV.     ROMANCE OF STATISTICS     XVI.    THESHOWER     XVII.   JANE'S THEORY     XVIII.  THE BIG, FAT LUMMOX     XIX.    \"I DUNNO WHY IT IS\"     XX.     SYDNEY CARTON     XXI.    MY LITTLE SWEETHEARTS     XXII.   FORESHADOWINGS     XXIII.  FATHERSFORGET     XXIV.   CLOTHES MAKE THE MAN     XXV.    YOUTH AND MR. PARCHER     XXVI.   MISS BOKE     XXVII.  MAROONED     XXVIII. RANNIE KIRSTED     XXIX.   ''DON'T FORGET!''     XXX.     THEBRIDE-TO-BESEVENTEENIWILLIAMWilliam Sylvanus Baxter paused for a moment of thought in front of thedrug-store at the corner of Washington Street and Central Avenue. He hadan internal question to settle beforehe entered the store: he wishedto allow the young man at the soda-fountain no excuse for saying, \"Well,make up your mind what it's goin' to be, can't you?\" Rudeness of thiskind, especially in the presence of girls andwomen, was hard to bear,and though William Sylvanus Baxter had borne it upon occasion, hehad reached an age when he found it intolerable. Therefore, to avoidoffering opportunity for anything of the kind, he decidedupon chocolateand strawberry, mixed, before approaching the fountain. Once there,however, and a large glass of these flavors and diluted ice-creamproving merely provocative, he said, languidly--an affectation, forhecould have disposed of half a dozen with gusto: \"Well, now I'm here, Imight as well go one more. Fill 'er up again. Same.\"Emerging to the street, penniless, he bent a fascinated and dramaticgaze upon his reflectionin the drug-store window, and then, as heturned his back upon the alluring image, his expression altered toone of lofty and uncondescending amusement. That was his glance at thepassing public. From the heights, heseemed to bestow upon the worlda mysterious derision--for William Sylvanus Baxter was seventeen longyears of age, and had learned to present the appearance of one whopossesses inside information about life andknows all strangers and mostacquaintances to be of inferior caste, costume, and intelligence.He lingered upon the corner awhile, not pressed for time. Indeed, hefound many hours of these summer months heavy uponhis hands, for he hadno important occupation, unless some intermittent dalliance with awork on geometry (anticipatory of the distant autumn) might be thoughtimportant, which is doubtful, since he usually went tosleep on theshady side porch at his home, with the book in his hand. So, havingnothing to call him elsewhere, he lounged before the drug-store in theearly afternoon sunshine, watching the passing to and fro of thelowerorders and bourgeoisie of the middle-sized midland city which claimedhim (so to speak) for a native son.Apparently quite unembarrassed by his presence, they went about theirbusiness, and the only people wholooked at him with any attention werepedestrians of color. It is true that when the gaze of these fell uponhim it was instantly arrested, for no colored person could have passedhim without a little pang of pleasure and oflonging. Indeed, thetropical violence of William Sylvanus Baxter's tie and the strangebrilliancy of his hat might have made it positively unsafe for him towalk at night through the negro quarter of the town. And thoughno mancould have sworn to the color of that hat, whether it was blue or green,yet its color was a saner thing than its shape, which was blurred,tortured, and raffish; it might have been the miniature model of avolcanothat had blown off its cone and misbehaved disastrously on itslower slopes as well. He had the air of wearing it as a matter of courseand with careless ease, but that was only an air--it was the apple ofhis eye.For therest, his costume was neutral, subordinate, and even a littleneglected in the matter of a detail or two: one pointed flap of his softcollar was held down by a button, but the other showed a frayed threadwhere the buttononce had been; his low patent-leather shoes were of aluster not solicitously cherished, and there could be no doubt that heneeded to get his hair cut, while something might have been done, too,about the individualizedhirsute prophecies which had made independentappearances, here and there, upon his chin. He examined these from timeto time by the sense of touch, passing his hand across his face andallowing his finger-tips aslight tapping motion wherever they detecteda prophecy.Thus he fell into a pleasant musing and seemed to forget the crowdedstreet.IITHE UNKNOWNHe was roused by the bluff greeting of an acquaintance notdissimilar tohimself in age, manner, and apparel.\"H'lo, Silly Bill!\" said this person, halting beside William SylvanusBaxter. \"What's the news?\"William showed no enthusiasm; on the contrary, a frown ofannoyanceappeared upon his brow. The nickname \"Silly Bill\"--long ago compoundedby merry child-comrades from \"William\" and \"Sylvanus\"--was not to histaste, especially in public, where he preferred to be addressedsimplyand manfully as \"Baxter.\" Any direct expression of resentment, however,was difficult, since it was plain that Johnnie Watson intended nooffense whatever and but spoke out of custom.\"Don't know any,\" Williamreplied, coldly.\"Dull times, ain't it?\" said Mr. Watson, a little depressed by hisfriend's manner. \"I heard May Parcher was comin' back to town yesterday,though.\"\"Well, let her!\" returned William, still severe.\"They saidshe was goin' to bring a girl to visit her,\" Johnnie began ina confidential tone. \"They said she was a reg'lar ringdinger and--\"\"Well, what if she is?\" the discouraging Mr. Baxter interrupted. \"Makeslittle difference to ME, Iguess!\"\"Oh no, it don't. YOU don't take any interest in girls! OH no!\"\"No, I do not!\" was the emphatic and heartless retort. \"I never saw onein my life I'd care whether she lived or died!\"\"Honest?\" asked Johnnie, struckby the conviction with which this speechwas uttered. \"Honest, is that so?\"\"Yes, 'honest'!\" William replied, sharply. \"They could ALL die, _I_wouldn't notice!\"Johnnie Watson was profoundly impressed. \"Why, _I_ didn'tknow you feltthat way about 'em, Silly Bill. I always thought you were kind of--\"\"Well, I do feel that way about 'em!\" said William Sylvanus Baxter, and,outraged by the repetition of the offensive nickname, he began tomoveaway. \"You can tell 'em so for me, if you want to!\" he added over hisshoulder. And he walked haughtily up the street, leaving Mr. Watson toponder upon this case of misogyny, never until that moment suspected.Itwas beyond the power of his mind to grasp the fact that WilliamSylvanus Baxter's cruel words about \"girls\" had been uttered becauseWilliam was annoyed at being called \"Silly Bill\" in a public place, andhad not knownhow to object otherwise than by showing contempt for anytopic of conversation proposed by the offender. This latter, being ofa disposition to accept statements as facts, was warmly interested,instead of being hurt,and decided that here was something worth talkingabout, especially with representatives of the class so sweepinglyexcluded from the sympathies of Silly Bill.William, meanwhile, made his way toward the \"residencesection\" of thetown, and presently--with the passage of time found himself eased of hisannoyance. He walked in his own manner, using his shoulders to emphasizean effect of carelessness which he wished to produceupon observers. Forhis consciousness of observers was abnormal, since he had it whether anyone was looking at him or not, and it reached a crucial stage wheneverhe perceived persons of his own age, but of oppositesex, approaching.A person of this description was encountered upon the sidewalk within ahundred yards of his own home, and William Sylvanus Baxter saw her whileyet she was afar off. The quiet and shadythoroughfare was empty of allhuman life, at the time, save for those two; and she was upon the sameside of the street that he was; thus it became inevitable that theyshould meet, face to face, for the first time in theirlives. Hehad perceived, even in the distance, that she was unknown to him, astranger, because he knew all the girls in this part of the town whodressed as famously in the mode as that! And then, as thedistancebetween them lessened, he saw that she was ravishingly pretty; far, farprettier, indeed, than any girl he knew. At least it seemed so, for itis, unfortunately, much easier for strangers to be beautiful. Asidefromthis advantage of mystery, the approaching vision was piquant andgraceful enough to have reminded a much older boy of a spotless whitekitten, for, in spite of a charmingly managed demureness, there waspreciselythat kind of playfulness somewhere expressed about her. Justnow it was most definite in the look she bent upon the light and fluffyburden which she carried nestled in the inner curve of her right arm:a tiny dog withhair like cotton and a pink ribbon round his neck--ananimal sated with indulgence and idiotically unaware of his privilege.He was half asleep!William did not see the dog, or it is the plain, anatomical truththat when hesaw how pretty the girl was, his heart--his physicalheart--began to do things the like of which, experienced by an elderlyperson, would have brought the doctor in haste. In addition, hiscomplexion altered--he broke outin fiery patches. He suffered frombreathlessness and from pressure on the diaphragm.Afterward, he could not have named the color of the little parasol shecarried in her left hand, and yet, as it drew nearer and nearer,a rosyhaze suffused the neighborhood, and the whole world began to turn anexquisite pink. Beneath this gentle glow, with eyes downcast in thought,she apparently took no note of William, even when she and Williamhadcome within a few yards of each other. Yet he knew that she would lookup and that their eyes must meet--a thing for which he endeavored toprepare himself by a strange weaving motion of his neck againstthefriction of his collar--for thus, instinctively, he strove to obtaingreater ease and some decent appearance of manly indifference. He feltthat his efforts were a failure; that his agitation was ruinous andmust beperceptible at a distance of miles, not feet. And then, inthe instant of panic that befell, when her dark-lashed eyelids slowlylifted, he had a flash of inspiration.He opened his mouth somewhat, and as her eyes met his,full andstartlingly, he placed three fingers across the orifice, and alsooffered a slight vocal proof that she had surprised him in the midst ofa yawn.\"Oh, hum!\" he said.For the fraction of a second, the deep blue spark inher eyes glowedbrighter--gentle arrows of turquoise shot him through and through--andthen her glance withdrew from the ineffable collision. Her small,white-shod feet continued to bear her onward, away from him,whilehis own dimmed shoes peregrinated in the opposite direction--Williamnecessarily, yet with excruciating reluctance, accompanying them. Butjust at the moment when he and the lovely creature were side byside,and her head turned from him, she spoke that is, she murmured, but hecaught the words.\"You Flopit, wake up!\" she said, in the tone of a mother talkingbaby-talk. \"SO indifferink!\"William's feet and his breathhalted spasmodically. For an instant hethought she had spoken to him, and then for the first time he perceivedthe fluffy head of the dog bobbing languidly over her arm, with themotion of her walking, and hecomprehended that Flopit, and not WilliamSylvanus Baxter, was the gentleman addressed. But--but had she MEANThim?His breath returning, though not yet operating in its usual manner,he stood gazing after her,while the glamorous parasol passed down theshady street, catching splashes of sunshine through the branches ofthe maple-trees; and the cottony head of the tiny dog continued to bevisible, bobbing rhythmically overa filmy sleeve. Had she meant thatWilliam was indifferent? Was it William that she really addressed?He took two steps to follow her, but a suffocating shyness stopped himabruptly and, in a horror lest she should glanceround and detect himin the act, he turned and strode fiercely to the gate of his own homebefore he dared to look again. And when he did look, affecting greatcasualness in the action, she was gone, evidently havingturned thecorner. Yet the street did not seem quite empty; there was stillsomething warm and fragrant about it, and a rosy glamor lingered inthe air. William rested an elbow upon the gate-post, and with hischinreposing in his hand gazed long in the direction in which the unknownhad vanished. And his soul was tremulous, for she had done her work buttoo well.\"'Indifferink'!\" he murmured, thrilling at his ownexceedinglyindifferent imitation of her voice. \"Indifferink!\" that was just what hewould have her think--that he was a cold, indifferent man. It was whathe wished all girls to think. And \"sarcastic\"! He had been enviousoneday when May Parcher said that Joe Bullitt was \"awfully sarcastic.\"William had spent the ensuing hour in an object-lesson intended to makeMiss Parcher see that William Sylvanus Baxter was twice as sarcasticas JoeBullitt ever thought of being, but this great effort had beenunsuccessful, because William, failed to understand that Miss Parcherhad only been sending a sort of message to Mr. Bullitt. It was a devicenot unique amongher sex; her hope was that William would repeat herremark in such a manner that Joe Bullitt would hear it and call toinquire what she meant.\"'SO indifferink'!\" murmured William, leaning dreamily upon thegate-post.\"Indifferink!\" He tried to get the exact cooing quality ofthe unknown's voice. \"Indifferink!\" And, repeating the honeyed word, soentrancingly distorted, he fell into a kind of stupor; vague, beautifulpictures rising beforehim, the one least blurred being of himself, onhorseback, sweeping between Flopit and a racing automobile. Andthen, having restored the little animal to its mistress, Williamsat carelessly in the saddle (he had theGuardsman's seat) while theperfectly trained steed wheeled about, forelegs in the air, preparingto go. \"But shall I not see you again, to thank you more properly?\" shecried, pleading. \"Some other day--perhaps,\" heanswered.And left her in a cloud of dust.IIITHE PAINFUL AGE\"OH WILL--EE!\"Thus a shrill voice, to his ears hideously different from that other,interrupted and dispersed his visions. Little Jane, his ten-year-oldsister,stood upon the front porch, the door open behind her, and in herhand she held a large slab of bread-and-butter covered with apple sauceand powdered sugar. Evidence that she had sampled this compound was uponhercheeks, and to her brother she was a repulsive sight.\"Will-ee!\" she shrilled. \"Look! GOOD!\" And to emphasize the adjectiveshe indelicately patted the region of her body in which she believedher stomach to be located.\"There's a slice for you on the dining-roomtable,\" she informed him, joyously.Outraged, he entered the house without a word to her, and, proceedingto the dining-room, laid hands upon the slice she had mentioned,butdeclined to eat it in Jane's company. He was in an exalted mood, andthough in no condition of mind or body would he refuse food of almostany kind, Jane was an intrusion he could not suffer at this time.He carriedthe refection to his own room and, locking the door, sat downto eat, while, even as he ate, the spell that was upon him deepened inintensity.\"Oh, eyes!\" he whispered, softly, in that cool privacy and shelter fromtheworld. \"Oh, eyes of blue!\"The mirror of a dressing-table sent him the reflection of his own eyes,which also were blue; and he gazed upon them and upon the rest of hisimage the while he ate his bread-and-butter andapple sauce and sugar.Thus, watching himself eat, he continued to stare dreamily at the mirroruntil the bread-and-butter and apple sauce and sugar had disappeared,whereupon he rose and approached thedressing-table to study himself atgreater advantage.He assumed as repulsive an expression as he could command, at the sametime making the kingly gesture of one who repels unwelcome attentions;and it is beyonddoubt that he was thus acting a little scene ofindifference. Other symbolic dramas followed, though an invisibleobserver might have been puzzled for a key to some of them. One,however, would have proved easilyintelligible: his expression havingaltered to a look of pity and contrition, he turned from the mirror,and, walking slowly to a chair across the room, used his right hand ina peculiar manner, seeming to stroke the air at apoint about ten inchesabove the back of the chair. \"There, there, little girl,\" he said in alow, gentle voice. \"I didn't know you cared!\"Then, with a rather abrupt dismissal of this theme, he returned to themirror and, aftera questioning scrutiny, nodded solemnly, forming withhis lips the words, \"The real thing--the real thing at last!\" Hemeant that, after many imitations had imposed upon him, Love--the realthing--had come to him in theend. And as he turned away he murmured,\"And even her name--unknown!\"This evidently was a thought that continued to occupy him, for he walkedup and down the room, frowning; but suddenly his brow cleared andhiseye lit with purpose. Seating himself at a small writing-table bythe window, he proceeded to express his personality--though withconsiderable labor--in something which he did not doubt to be a poem.Three-quartersof an hour having sufficed for its completion, including\"rewriting and polish,\" he solemnly signed it, and then read it severaltimes in a state of hushed astonishment. He had never dreamed that hecould do anything likethis.                    MILADY          I do not know her name          Though it would be the same          Where roses bloom at twilight          And the lark takes his flight          It would be the same anywhere          Wheremusic sounds in air          I was never introduced to the lady          So I could not call her Lass or Sadie          So I will call her Milady          By the sands of the sea          She always will be          Just M'lady tome.                         --WILLIAM SYLVANUS BAXTER, Esq., July 14It is impossible to say how many times he might have read the poem over,always with increasing amazement at his new-found powers, had he notbeeninterrupted by the odious voice of Jane.\"Will--ee!\"To William, in his high and lonely mood, this piercing summons broughtan actual shudder, and the very thought of Jane (with tokens of applesauce and sugar still uponher cheek, probably) seemed a kind ofsacrilege. He fiercely swore his favorite oath, acquired from the heroof a work of fiction he admired, \"Ye gods!\" and concealed his poem inthe drawer of the writing-table, for Jane'sfootsteps were approachinghis door.\"Will--ee! Mamma wants you.\" She tried the handle of the door.\"G'way!\" he said.\"Will--ee!\" Jane hammered upon the door with her fist. \"Will--ee!\"\"What you want?\" he shouted.Janeexplained, certain pauses indicating that her attention waspartially diverted to another slice of bread-and-butter and apple sauceand sugar. \"Will--ee, mamma wants you--wants you to go help Genesisbring somewash-tubs home and a tin clo'es-boiler--from the second-handman's store.\"\"WHAT!\"Jane repeated the outrageous message, adding, \"She wants you tohurry--and I got some more bread-and-butter and apple sauce andsugarfor comin' to tell you.\"William left no doubt in Jane's mind about his attitude in referenceto the whole matter. His refusal was direct and infuriated, but, in themidst of a multitude of plain statements which he wasmaking, therewas a decisive tapping upon the door at a point higher than Jane couldreach, and his mother's voice interrupted:\"Hush, Willie! Open the door, please.\"He obeyed furiously, and Mrs. Baxter walked in with adeprecating air,while Jane followed, so profoundly interested that, until almost theclose of the interview, she held her bread-and-butter and apple sauceand sugar at a sort of way-station on its journey to her"}
+{"doc_id":"doc_109","qid":"","text":"<html><head><title>Star Wars: Return of the Jedi Script at IMSDb.</title><meta name=\"description\" content=\"Star Wars: Return of the Jedi script at the Internet Movie Script Database.\"><meta name=\"keywords\"content=\"Star Wars: Return of the Jedi script, Star Wars: Return of the Jedi movie script, Star Wars: Return of the Jedi film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><metaname=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttypeCONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ?'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie ScriptDatabase\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <scripttype=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>RETURN <b>OF THE </b><b>JEDI</b>byLawrence Kasdan<b>&</b>George LucasFrom The NovelbyGeorge LucasThird DraftProperty ofLucasfilm Ltd.Completion Date December 1, 1981<b>1    SPACE                                                           </b>The boundless heavens serve as a back-drop for the MAIN TITLE, followed by a ROLL-UP, which crawls intoinfinity.Episode VI<b>RETURN OF THE JEDI</b>Luke Skywalker has returned to his home planet of Tatooine in an attempt to rescue his friend Han Solo from the clutches of theÊvile gangster Jabba the Hutt. Little doesLuke know that the GALACTIC EMPIRE has secretly begun construction on a new armored space station even more powerful than the first dreaded Death Star. When completed, this ultimate weapon will spell certaindoom for the small band of Rebels struggling to restore freedom to the galaxy...PAN DOWN to reveal a monstrous half-completed Death Star, its massive superstructure curling away from the completed section like thearms of a giant octopus. Beyond, in benevolent contrast, floats the small, green moon of ENDOR.An Imperial Star Destroyer moves overhead toward the massive armored space station, followed by two zipping TIEfighters. A small Imperial shuttle rockets from the main bay of the ship and hustles toward the Death Star.<b>2    INT IMPERIAL SHUTTLE - COCKPIT </b>The shuttle captain makes contact with the DeathStar.<b>SHUTTLE CAPTAIN</b>Command station, this is ST 321. Code Clearance Blue. We're starting our approach. Deactivate the security shield.DEATH STAR CONTROLLER (filtered VO)The security deflector shieldwill be deactivated when we have confirmation of your code transmission. Stand by... You are clear to proceed.<b>SHUTTLE CAPTAIN</b>We're starting our approach.<b>3    INT DEATH STAR - CONTROLROOM</b>Operators move about among the control panels. A SHIELD OPERATOR hits switches beside a large screen, on which is a display of the Death Star, the moon Endor, and a bright web delineating the invisibledeflector shield.A control officer rushes over to the shield operator.<b>OFFICER</b>Inform the commander that Lord Vader's shuttle has arrived.<b>OPERATOR</b>Yes, sir.The control officer moves to a view portand watches as the Imperial shuttle lands in the massive docking bay. A squad of Imperial stormtroopers moves into formation before the craft.<b>4    INT DEATH STAR - MAIN DOCKING BAY</b>The DEATH STARCOMMANDER, MOFF JERJERROD, a tall, confident technocrat, strides through the assembled troops to the base of the shuttle ramp. The troops snap to attention; many are uneasy about the new arrival. But the DeathStar commander stands arrogantly tall.The exit hatch of the shuttle opens with a WHOOSH, revealing only darkness. Then, heavy FOOTSTEPS AND MECHANICAL BREATHING. From this black void appears DARTHVADER, LORD OF THE SITH. Vader looks over the assemblage as he walks down the ramp.<b>JERJERROD</b>Lord Vader, this is an unexpected pleasure. We're honored by your presence.<b>VADER</b>You maydispense with the pleasantries, Commander. I'm here to put you back onschedule.The commander turns ashen and begins to shake.<b>JERJERROD</b>I assure you, Lord Vader, my men are working as fast as theycan.<b>VADER</b>Perhaps I can find new ways to motivate them.<b>JERJERROD</b>I tell you, this station will be operational as planned.<b>VADER</b>The Emperor does not share your optimistic appraisal of thesituation.<b>JERJERROD</b>But he asks the impossible. I need more men.<b>VADER</b>Then perhaps you can tell him when he arrives.JERJERROD (aghast)The Emperor's coming here?<b>VADER</b>That iscorrect, Commander. And he is most displeased with your apparent lack of progress.<b>JERJERROD</b>We shall double our efforts.<b>VADER</b>I hope so, Commander, for your sake. The Emperor is not asforgiving as I am.<b>5    EXT ROAD TO JABBA'S PALACE - TATOOINE</b>A lonely, windswept road meanders through the desolate Tatooine terrain. We HEAR a familiar BEEPING and a distinctive reply before catchingsight of ARTOO-DETOO and SEE-THREEPIO, making their way along the road toward the ominous palace of Jabba the Hutt.<b>THREEPIO</b>Of course I'm worried. And you should be, too. Lando Calrissian and poorChewbacca never returned from this awful place.Artoo whistles timidly.<b>THREEPIO</b>Don't be so sure. If I told you half the things I've heard about this Jabba the Hutt, you'd probably short-circuit.The two droidsfearfully approach the massive gate to the palace.<b>THREEPIO</b>Artoo, are you sure this is the right place? I better knock, I suppose.<b>6    EXT JABBA'S PALACE - GATE </b>Threepio looks around for some kindof signaling device, then timidly knocks on the iron door.THREEPIO (instantly) There doesn't seem to be anyone there. Let's go back and tell Master Luke.A small hatch in the middle of the door opens and a spiderymechanical arm, with a large electronic eyeball on the end, pops out and inspects the two droids.<b>STRANGE VOICE</b>Tee chuta hhat yudd!<b>THREEPIO</b>Goodness gracious me! Threepio points to Artoo, thento himself.<b> THREEPIO</b> Artoo Detoowha bo Seethreepiowha ey toota odd mischka Jabba du Hutt.The eye looks from one robot to the other, there is a laugh then the eye zips back into the door. The hatch slamsshut. Artoo beeps his concern.<b>THREEPIO</b>I don't think they're going to let us in, Artoo. We'd better go.Artoo beeps his reluctance as Threepio turns to leave. Suddenly the massive door starts to rise with ahorrific metallic SCREECH. The robots turn back and face an endless black cavity. The droids look at one another, afraid to enter.Artoo starts forward into the gloom. Threepio rushes after his stubby companion. Thedoor lowers noisily behind them.<b>THREEPIO </b>Artoo, wait. Oh, dear! Artoo. Artoo, I really don't think we should rush into all this.Artoo continues down the corridor, with Threepio following.<b>THREEPIO</b>Oh,Artoo!  Artoo, wait for me!<b>7    INT JABBA'S PALACE - HALLWAY</b>The door slams shut with a loud crash that echoes throughout the dark passageway. The frightened robots are met by two giant, greenGAMORREAN GUARDS, who fall in behind them. Threepio glances quickly back at the two lumbering brutes, then back to Artoo. One guard grunts an order. Artoo beeps nervously.<b>THREEPIO</b>Just you deliverMaster Luke's message and get us out of here. Oh my! Oh! Oh, no.Walking toward them out of the darkness is BIB FORTUNA, a humanlike alien with long tentacles protruding from his skull.<b>BIB</b>Die WannaWanga!<b>THREEPIO</b>Oh, my! Die Wanna Wauaga. We -- we bring a message to your master, Jabba the Hutt.Artoo lets out a series of quick beeps.THREEPIO (cont)...and a gift.(thinks a moment, then toArtoo)Gift, what gift?Bib shakes his head negatively.<b>BIB</b>Nee Jabba no badda. Me chaade su goodie.Bib holds out his hand toward Artoo and the tiny droid backs up a bit, letting out a protesting array ofsqueaks. Threepio turns to the strange-looking alien.<b>THREEPIO</b>He says that our instructions are to give it only to Jabba himself.Bib thinks about this for a moment.<b>THREEPIO</b>I'm terribly sorry. I'mafraid he's ever so stubborn about these sort of things.Bib gestures for the droids to follow.<b>BIB</b>Nudd Chaa.The droids follow the tall, tentacled alien into the darkness, trailed by the twoguards.<b>THREEPIO</b>Artoo, I have a bad feeling about this.<b>8    INT JABBA'S THRONE ROOM</b>The throne room is filled with the vilest, most grotesque CREATURES ever conceived in the universe. Artoo andThreepio seem very small as they pause in the doorway to the dimly lit chamber. Light shafts partially illuminate the drunken courtiers as Bib Fortuna crosses the room to the platform upon which rests the leader of thisnauseating crowd: JABBA THE HUTT. The monarch of the galactic underworld is a repulsive blob of bloated fat with a maniacal grin. Chained to the horrible creature is the beautiful alien female dancer named OOLA. Atthe foot of the dais sits an obnoxious birdlike creature, SALACIOUS CRUMB. Bib whispers something in the slobbering degenerate's ear. Jabba laughs horribly, at the two terrified droids before him. Threepio bowspolitely.<b>THREEPIO</b>Good morning.<b>JABBA</b>Bo Shuda!The robots jump forward to stand before the repulsive, loose-skinned villain.<b>THREEPIO</b>The message, Artoo, the message.Artoo whistles,and a beam of light projects from his domed head, creating a hologram of LUKE on the floor. The image grows to over ten feet tall, and the young Jedi towers over the space gangsters.<b>LUKE</b>Greetings, ExaltedOne. Allow me to introduce myself. I am Luke Skywalker, Jedi Knight and friend to Captain Solo. I know that you are powerful, mighty Jabba, and that your anger with Solo must be equally powerful. I seek an audiencewith Your Greatness to bargain for Solo's life. (Jabba's crowd laughs) With your wisdom, I'm sure that we can work out an arrangement which will be mutually beneficial and enable us to avoid any unpleasantconfrontation. As a token of my goodwill, I present to you a gift: these two droids.Threepio is startled by this announcement.<b>THREEPIO</b>What did he say?LUKE (cont)... Both are hardworking and will serve youwell.<b>THREEPIO</b>This can't be! Artoo, you're playing the wrong message.Luke's hologram disappears.Jabba laughs while Bib speaks to him in Huttese.JABBA (in Huttese subtitled)There will be nobargain.<b>THREEPIO</b>We're doomed.JABBA (in Huttese subtitled)I will not give up my favorite decoration. I like Captain Solo where he is.Jabba laughs hideously and looks toward an alcove beside the throne.Hanging high, flat against the wall, exactly as we saw him last, is a carbonized HAN SOLO.<b>THREEPIO</b>Artoo, look! Captain Solo. And he's still frozen in carbonite.<b>9    INT DUNGEON CORRIDOR </b>One ofJabba's Gamorrean guards marches Artoo and Threepio down a dank, shadowy passageway lined with holding cells. The cries of unspeakable creatures bounce off the cold stone walls. Occasionally a repulsive arm ortentacle grabs through the bars at the hapless droids. Artoo beeps pitifully.<b>THREEPIO</b>What could possibly have come over Master Luke. Is it something I did? He never expressed any unhappiness with mywork. Oh! Oh! Hold it! Ohh!A large tentacle wraps around Threepio's neck. He manages to break free, and they move on to a door at the end of the corridor.<b>10   INT BOILER ROOM</b>The door slides open,revealing a room filled with steam and noisy machinery. The guard motions them into the boiler room, where they are met by a tall, thin humanlike robot named EV-9D9. Behind the robot can be seen a torture rackpulling the legs off a screaming baby work droid. A second power droid is upside down.  As smoking branding irons are pressed into his feet, the stubby robot lets out an agonized electronic scream. Artoo and Threepiocringe as the guard grunts to EV-<b>9D9.</b><b>NINEDENINE</b>Ah, good. New acquisitions. You are a protocol droid, are you not?<b>THREEPIO</b>I am See-Threepio, human-cy...<b>NINEDENINE</b>Yes or"}
+{"doc_id":"doc_110","qid":"","text":"<html><head>   <title>\"Beloved,\" early draft, by RichardLaGravenese</title><head><body>   <pre>                               <i><u>BELOVED</u></i>                              Screenplay                                  by                          Richard LaGravenese                         Basedon the Novel by                             Toni Morrison     HARPO FILMS     345 N. Maple Drive     Beverly Hills, CA 90210     (310) 278-5559 - O     (310) 278-6110 - F                           October 11, 1996     FADEIN...     EXT. 124 BLUESTONE ROAD - DAWN.     It is winter in Ohio. A house sits isolated beside a barren     field. The field stretches beyond, until a line of distant     woods stops it. Around the back of the house standsa rundown     STORAGE SHED, a cold house, a privy and a water pump. A porch     with a single door serves as the only entrance.     Camera begins a slow move toward the house as we;     SUPER - <b>OHIO,1865</b>     WE HEAR SOUNDS from inside the house - BUMPS, A CHAIR FALLING     OVER...and FEET RUNNING on wooden floor boards.                                                            CUT TO:     INT. 124 BLUESTONEROAD - DAWN.     C.U. - THE HANDS OF TWO BROTHERS HOLDING EACH OTHER AS THEY     RUN DOWN THE STAIRS..     BULGAR (13 yrs. old) and HOWARD (14 yrs. old) run down the     steps from the second floor.They are fully dressed, carrying     a small bag of belongings.                         HOWARD               We gonna need food. Wait here.     Bulgar reluctantly lets go of Howard's hand as the latter     runs into the kitchen.Alone, he edges towards the front     door, when suddenly;     THE DOOR SLOWLY CREAKS OPEN on it's own. Scared, he steps     away slowly.     INT. KITCHEN - DAWN.     Howard is trying to toss some food into abag. He spots A     CAKE sitting on top the wooden table, with some pieces     already eaten. He finds a knife and approaches the table.     He is about to cut into the cake when he sees TWO TINY HAND     PRINTSappear on the cake's surface. Howard stops cold -     dropping the knife.     INT. FRONT ENTRANCE - DAWN.     Howard exits the kitchen and takes Bulgar's hand;                         HOWARD               Comeon!                         DENVER (OS)               Bul?     The boys look up the stairs and see their baby sister, nine     year old DENVER.                         DENVER               Where you goin?     The brothers arebrokenhearted at the sight of her. They love     their sister. But there are stronger forces here.     A MIRROR on a wall beside Howard cracks down the middle.                         HOWARD               We gotta go!     Bulgarlooks up to Denver. They exchange a look of deep     affection and pained longing. He wants to take her.                         HOWARD               Bye, Denver. You take care.                         DENVER               Bye?Bul?     Bulgar is starting to cry. He rushes up the steps and hugs     his sister. He kisses her hard then breaks away. Denver's     outstretched hand misses his shirt and hangsmid-air.                         DENVER               No..Bul...     Bulgar flies down the steps and disappears out of the house     holding Howard's hand once more.     Denver sits alone at the top of the stairs.  She sadlylooks     up and weeps, as if to the house itself:                         DENVER               Now what you go and do that for?     EXT. ROAD TO THE TRAIN - DAWN.     THE VOICE OF SETHE HUMMING A MELODY carries overthe images     of:     The two boys running for their lives towards the train,     holding hands all the way.  Howard is the first to reach it.     As it passes by, he throws his bag upon it and jumps in.     Bulgar races besideit as Howard reaches for him.     C.U. - HOWARD'S HAND reaching for BULGAR's...They connect.     WIDE SHOT - The boys are on the train as it leaves town.     On it's route, the train passes a ramshackleGRAVEYARD.     CAMERA MOVES SLOWLY INTO THE GRAVEYARD until it reaches A     HEADSTONE, made with flecked pink stone. Upon the headstone     is only one word:<b>     BELOVED.</b>     EXT. 124BLUESTONE RD. - CONTINUOUS.     Camera moves slowly towards the side exterior of 124, into a     Close-Up of a WOMAN looking out of a second floor bedroom     window. It is SETHE, mother of the two boys andDenver. She     hums her melody, softly, sadly, with a resigned understanding     of why her boys are running away...and a deep pain that is     too constant to notice.                                                          FADEOUT;     FADE IN:     INT. 124 - BABY SUGGS BEDROOM - LATER THAT DAY.     BABY SUGGS, grandmother and mother-in-law to Sethe, sits in     her bed fondling colored fabric of BRIGHT GREEN..It is the     onlyvibrant color in an otherwise drab surrounding. Suggs is     bed-ridden, exhausted to her bones - her face a mosaic of     suffering and sacrifice and tested faith.                         BABY SUGGS               Ya know what I'dlove to see? I loved to               see me some lavender. You got any               lavender? Or even pink - pink'll do.     Sethe is placing folded laundry into a dresser. She stops and     checks her pockets for rags orswatches...She looks around     the room..                         SETHE               No. Sorry.                         BABY SUGGS               Ah, winter in Ohio is especially rough if               you've got an appetite forcolor.     Suggs goes back to contemplating her green until;                         SETHE (OS)               Oh wait...     Suggs looks up to see Sethe sticking her pink tongue out at     her. Suggs smiles.                         BABYSUGGS               Oh, that's fine. Fine.     Sethe lets out a small laugh. She walks toward the window,     stretching her body. Her expression changes as she thinks of     her boys. Baby Suggs reads her like abook.                         BABY SUGGS               They'll be all right. I'm surprised they               lasted here this long.                         SETHE               I don't know. Maybe we should have moved.                         BABYSUGGS               What'd be the point? Not a house in the               country ain't packed to the rafters with               some dead Negro's grief. We lucky our               ghost is a baby. My husband spiritcome               back? Or yours? Don't talk to me! Ha..You               lucky. You got one child left, still               pullin at your skirts. Be thankful. I had               eight. Eight with six fathers. Every one               of themgone from me. Four taken, four               chased and all, I expect, worrying               somebody's house into evil. My first born               - alls I can remember of her now is how               she loved the burned bottomof bread. Her               little hands..I wouldn't know'em if they               slapped me. Can you beat that? Eight               children and that's all I remember.                                        SETHE                    (returning toher work)               You remember Halle.                         BABY SUGGS               Oh, I remember bits and pieces of all               of'em I guess..Halle, of course..I had               Halle a lifetime. Almost twentyyears...               My two girls, sold and gone before I               could even a heard about it, and them               without their grown up teeth yet. My               third child, my son after Halle...I let               that strawboss have me for four months               so's I could keep that boy. Next year, he               had him traded for lumber anyway and me               pregnant with his child. I couldn't love               that child. I wouldn't. Notany of the               rest either. God take what He               would....and He did...                         SETHE               The boys wouldn't have left if Halle were               here.                         BABYSUGGS               Those boys didn't even know him. You had               six whole years of marriage to my Halle               Fathered every one of your children. A               blessing. I learned hard that aman's               just a man, but a son like that...like               Halle..now that's somebody.     Sethe's mixed feelings show all over her face. Although she     loved Halle, there is clearly something unresolved inher.                         SETHE               Just got a few more things to do, then               I'll start supper.     Sethe exits.     EXT. 124 BLUESTONE RD. - LATE DAY.     Denver is playing in the front yard by herself.     Setheis pumping water into a bucket for clothes washing. A     gentle breeze carries a LEAF into the bucket. Sethe sees it     floating atop the water for a moment, then picks it up.     C.U. of SETHE as the image triggers afeeling - and the     feeling a memory - from long ago.     Sethe looks around her and finds she is no longer standing in     the barren field of 124...but rather-     MEMORY;     EXT. SWEET HOME - LATE DAY.     Astunning vista of the plantation SWEET HOME - sun beating     down on groves and rows of gorgeous sycamores for as far as     the eye can see. Sethe's figure dwarfed by the majestic     landscape.     Sethe looksfrightened. Her breathing grows shallow. She     hears something;     THE SOUND OF A WAGON'S WHEELS - rolling over a road, growing     louder, coming towardsher                                                          INTERCUT;     C.U. OF A WAGON WHEEL MOVING RAPIDLY ON A ROAD. CAMERA PANS     UP TO THE MAN DRIVING THE WAGON - A STERN WHITE MAN WEARINGA     DISTINCTIVE HAT...     SETHE TURNS away from the sycamores towards the road to see;     END OF MEMORY;     EXT. 124 BLUESTONE - LATE DAY.     A MAN driving a horse and wagon with two children inthe     back, coming up Bluestone Road. He wears no hat.     Sethe breathes easily. She looks around her -the reality of     124's barren field has returned. The memory of Sweet Home's     sycamores havevanished.     Denver is playing near the road. As the wagon nears 124,     Denver looks up and smiles. The Man whips the horse hard so     as to ride past the house faster. The children stare at     Denver and 124, withhorror and curiosity.     The stares of the children destroy Denver's smile. She     watches them go, then turns to hide her upset and sees her     mother watching her.     Sethe looks to Denver with empathy andimpotence: wanting to     ease her daughter's pain and knowing full well she cannot.     Hurt and angry, Denver runs past Sethe, towards the woods.     EXT. WOODS - LATE DAY.     Denver runs with a purpose,knowing exactly where she is     going.     She reaches FIVE BOXWOOD BUSHES planted in a ring. The tall     bushes stretch toward each other four feet off the ground,     forming a round, emerald room in the center,seven feet high,     with walls fifty inches thick of murmuring leaves.     This is Denver's private place. She bends low and crawls     through the leaves into the center. Once there, this lonely     child wipes away hertears and tries to pull herself     together. She lays her face against the cool earth.     INT. 124 BLUESTONE RD. - NIGHT.     Denver walks to her room in her night dress. She passes the     opened door of her mother'sbedroom and peeks in:     INT. SETHE'S BEDROOM - NIGHT.     Sethe kneeling by her bed, as if praying...     Beside Sethe, A WHITE DRESS KNEELS as well, with it's sleeve     around Sethe's waist. Like two friendlygrown-up women,     comforting each other in prayer.     Denver tip toes away.     INT. DENVER'S ROOM - NIGHT.     Sethe enters to check on Denver, whom she thinks is asleep.     She leans over and kisses herforehead, only to discover she     is awake;                         DENVER               Mama?                         SETHE               What is it baby?                         DENVER               You think maybe when daddy comes,he               could talk to the baby ghost. Maybe make               her behave and then people won't be               scared of here no more.                         SETHE               I don'tknow.                         DENVER               Why won't she ever settle?                         SETHE               She's mad like a baby gets mad. You               forgetting how little it is. She wasn't               even two years oldwhen she died. Too               little to understand.                         DENVER               For a baby she throws a powerful spell.                         SETHE               No more powerful than the way I loved her.     Hearing hermother say this, moves Denver.                         DENVER               What do you pray for Mama?                         SETHE               Oh, I don't really pray anymore. Ijust               talk.                         DENVER               About what?                         SETHE               Oh, about time. How some things go. Pass               on. Some things juststay.                         DENVER               What things?                         SETHE               Like, the place I was at before here -               Sweet Home. Even if that whole farm and               every tree and blade of grasson it died -               it'll still be there. Waiting. And if you               go and stand in the place where it was,               what happened there once, will happen               again.                         DENVER               If it'sstill there, waiting, that mean               nothing ever dies?                         SETHE               Nothing ever does. That's why I had to               get my children out. No matter what.               That's why you can never gothere.                         DENVER               You never tell me all what happened. Just               that they whipped you and you run off               pregnant with me.                         SETHE               You don't need toknow nothing else.                         DENVER                    (nods)               I saw a white dress kneeling next to you               when you was praying.                         SETHE               White? Maybe it was my beddingdress.               Describe it to me.                         DENVER               Had a high neck. Whole mess of buttons               coming down the back.                         SETHE               Buttons. Well, that's not mybedding               dress. I never had a button on nothing.               What else?                         DENVER               A bunch at the back. On the sit down               part.                         SETHE               Abustle?                         DENVER               I don't know what it's called.                         SETHE               You say it was holding on to me. How?                         DENVER               Kneeling next to you while youwere               praying. I mean, talking. It looked just               like you.                         SETHE               Well, I'll be.                         DENVER               I think it was a sign. I think maybe               baby's gotplans.                         SETHE               What plans?                         DENVER               I don't know, but that dress holding onto               you got to mean something.                         SETHE               Maybe. Maybeit does.     Sethe smiles sympathetically for her lonely child. They hear     a sound in the house - floor boards creaking.                         DENVER               She's crawling again.     Sethe nods and holds her daughter'shand as they listen.                                                          FADE OUT;     SUPER: <b>1873.</b>                                                           FADE IN;     EXT. 124 BLUESTONE ROAD - DAY.     C.U. - PAUL D.GARNER.     Paul stands on the road, gazing up at the house. Grateful     he's arrived, cautious about what he'll find, he steps     towards the porch. His clothes are ragged. His feet sore and      blistering in hisshoes.     EXT. THE PUMP - DAY.     Off to the side of the house, Sethe washes her feet and legs     at the pump. She looks up and sees Paul's figure walking     towards the house. The sun blazes in her eyes. She can'tmake     out who it is, or whether or not he's even real. As he     reaches the porch, Paul disappears from view.     Sethe walks towards the front of the house. When she is     little more than forty feet away, she stops -still not     certain Paul is a real man or an hallucination of the past.                         SETHE               Paul? Paul D.? Is that you?                         PAUL                    (smiles)               What's left.                    (Herises)               How you been girl, besides barefoot?     Sethe jams her balled up stockings into her pocket. She     smiles like a little girl, not able to believe her eyes.                         SETHE               You lookinggood.                         PAUL               Devil's confusion. He lets me look good               long as I feel bad.                         SETHE               How long has it been?                         PAUL               'Bout eighteen years, Ifigure.                         SETHE               Eighteen years.                         PAUL               And I swear I been walking every one of               them. Mind if I join you?     He begins taking off hisshoes.                         SETHE               You want to soak them? Let me get you               some water.                         PAUL               No, uh, uh. Can't baby feet. A whole more               tramping they got to doyet.                         SETHE               You're not leaving right away, are you?               You stay awhile.                         PAUL               Well, long enough to see Baby Suggs,               you..Where isshe?                         SETHE               Dead.                         PAUL               Aw no. When?                         SETHE               Eight years now. Almost nine.                         PAUL               Was it hard? I hope shedidn't die hard.                         SETHE               Soft as cream. Being alive was the hard               part. Sorry you missed her though. Is               that what you came by for?                         PAUL               That'ssome of what I came for. The rest               is you.     Sethe doesn't know what to do with her eyes when he says     this..she looks away instinctively. Paul realizes that may     have sounded too intimate so he leansback and sighs:                         PAUL               The truth be known, I go anywhere these               days. Anywhere they let me sit down.                         SETHE               Come oninside.                         PAUL               Porch is fine. Cool out here. Sit with               me.     Like a nervous little girl, Sethe takes a sit beside a man     for the first time in years, folding her sweat stainedskirt     beneath her.                         PAUL               So Baby Suggs is gone. Somehow never               thought death would find her.                         SETHE               It findseveryone.                         PAUL               We managed well enough without meeting               it.                         SETHE               I suppose.     Awkward pause. Sethe tries to find the words to a difficult     question -but one that is foremost in her mind;                         SETHE               I wouldn't have to ask about him, would               I?...You'd tell me if there was anything               to tell, wouldn't you?     Paul knows instantlyshe is asking about Halle.                         PAUL               You know I would. But I don't know any               more about what happened to Halle now               than I did then.     Something about Paul's expressionmight suggest he's keeping     something from her. He turns his gaze outward as he says;                         PAUL               You must think he's still alive.                         SETHE               No. I think he's dead. It's justnot               being sure that keeps him alive.                         PAUL               What did Baby Suggs think?                         SETHE               Same. Ha, listen to her, all her children               dead and she felt each onego the very               day and hour it happened.                         PAUL               When she say Halle went?                         SETHE               1855. Same day my baby was born.                         PAUL               Youhad that baby, did you? Damn, never               thought you'd make it. Running off               pregnant.                         SETHE               Had to. Couldn't be no waiting.                         PAUL               All by yourselftoo.                         SETHE               Almost. A white girl helped me.                         PAUL               Then she helped herself, God bless her.     Awkward silence.                         SETHE               We got spare rooms.You could stay the               night, if you had a mind to.                         PAUL               You don't sound too steady in the offer.                         SETHE               Oh it's..it's truly meant. I just hope               you'llpardon my house.     Paul smiles a warm, touched smile that after all that they've      survived, Sethe is worried about what he'll think of her     home.                         PAUL               My house. I like the sound ofthat.     Sethe smiles, then rises to escort him in.     INT. 124 BLUESTONE ROAD - DAY.     Sethe opens the front door and enters, with Paul behind her,     hanging his shoes by the laces over his shoulder. As"}
+{"doc_id":"doc_111","qid":"","text":"The Project Gutenberg EBook of The Mystery of a Hansom Cab, by Fergus HumeThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it awayorre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: The Mystery of a Hansom CabAuthor: Fergus HumePosting Date: July 2, 2009 [EBook#4223]Release Date: July, 2003First Posted: December 8, 2001Last updated: February 28, 2013Last updated: June 8, 2013Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE MYSTERY OF AHANSOM CAB ***Produced by Col Choat.  HTML version by Al Haines.The Mystery of a Hansom CabbyFergus HumeCONTENTS      I.  WHAT THE ARGUS SAID.     II.  THE EVIDENCE AT THE INQUEST.    III.  ONEHUNDRED POUNDS REWARD.     IV.  MR. GORBY MAKES A START.      V.  MRS. HAMILTON UNBOSOMS HERSELF.     VI.  MR. GORBY MAKES FURTHER DISCOVERIES.    VII.  THE WOOL KING.   VIII.  BRIAN TAKES AWALK AND A DRIVE.     IX.  MR. GORBY IS SATISFIED AT LAST.      X.  IN THE QUEEN'S NAME.     XI.  COUNSEL FOR THE PRISONER.    XII.  SHE WAS A TRUE WOMAN.   XIII.  MADGE MAKES ADISCOVERY.    XIV.  ANOTHER RICHMOND IN THE FIELD.     XV.  A WOMAN OF THE PEOPLE.    XVI.  MISSING.   XVII.  THE TRIAL.  XVIII.  SAL RAWLINS TELLS ALL SHE KNOWS.    XIX.  THE VERDICT OF THEJURY.     XX.  THE \"ARGUS\" GIVES ITS OPINION.    XXI.  THREE MONTHS AFTERWARDS.   XXII.  A DAUGHTER OF EVE.  XXIII.  ACROSS THE WALNUTS AND THE WINE.   XXIV.  BRIAN RECEIVES ALETTER.    XXV.  WHAT DR. CHINSTON SAID.   XXVI.  KILSIP HAS A THEORY OF HIS OWN.  XXVII.  MOTHER GUTTERSNIPE JOINS THE MAJORITY. XXVIII.  MARK FRETTLBY HAS A VISITOR.   XXIX.  MR. CALTON'SCURIOSITY IS SATISFIED.    XXX.  NEMESIS.   XXXI.  HUSH-MONEY.  XXXII.  DE MORTUIS NIL NISI BONUM. XXXIII.  THE CONFESSION.  XXXIV.  THE HANDS OF JUSTICE.   XXXV.  \"THE LOVE THAT LIVES.\"PREFACEInits original form, \"The Mystery of a Hansom Cab\" has reached thesale of 375,000 copies in this country, and some few editions in theUnited States of America. Notwithstanding this, the present publishershave the bestof reasons for believing, that there are thousands ofpersons whom the book has never reached. The causes of this havedoubtless been many, but chief among them was the form of thepublication itself. It is for thissection of the public chiefly thatthe present edition is issued. In placing it before my new readers, Ihave been asked by the publishers thoroughly to revise the work, and,at the same time, to set at rest the manyconflicting reportsconcerning it and myself, which have been current since its initialissue. The first of these requests I have complied with, and the manytypographic, and other errors, which disfigured the firstedition,have, I think I can safely say, now disappeared. The second request Iam about to fulfil; but, in order to do so, I must ask my readers to goback with me to the beginning of all things, so far as this specialbook isconcerned.The writing of the book was due more to accident than to design. I wasbent on becoming a dramatist, but, being quite unknown, I found itimpossible to induce the managers of the Melbourne Theatres toaccept,or even to read a play. At length it occurred to me I might further mypurpose by writing a novel. I should at all events secure a certainamount of local attention. Up to that time I had written only one ortwo shortstories, and the \"Cab\" was not only the first book I everpublished, but the first book I ever wrote; so to youth and lack ofexperience must be ascribed whatever was wanting in the book. I repeatthat the story waswritten only to attract local attention, and no onewas more astonished than I when it passed beyond the narrow circle forwhich it had originally been intended.My mind made up on this point, I enquired of a leadingMelbournebookseller what style of book he sold most of. He replied that thedetective stories of Gaboriau had a large sale; and as, at this time, Ihad never even heard of this author, I bought all his works--elevenorthereabouts--and read them carefully. The style of these storiesattracted me, and I determined to write a book of the same class;containing a mystery, a murder, and a description of low life inMelbourne. This was theorigin of the \"Cab.\" The central idea i.e. themurder in a cab--came to me while driving at a late hour to St. Kilda,a suburb of Melbourne; but it took some time and much thought to workit out to a logical conclusion. Iwas two months sketching out theskeleton of the novel, but even so, when I had written it, the resultproved unsatisfactory, for I found I had not sufficiently wellconcealed the mystery upon which the whole interest ofthe bookdepended. In the first draft I made Frettlby the criminal, but onreading over the M.S. I found that his guilt was so obvious that Iwrote out the story for a second time, introducing the character ofMoreland as ascape-goat. Mother Guttersnipe I unearthed in the slumsoff Little Bourke Street; and I gave what I am afraid was perhaps toovivid a picture of her language and personality. These I have toneddown in the presentedition. Calton and the two lodging-house keeperswere actual personages whom I knew very well, and I do not think I haveexaggerated their idiosyncracies, although many have, I believe,doubted the existence of suchoddities. All the scenes in the book,especially the slums, are described from personal observation; and Ipassed a great many nights in Little Bourke Street, gathering material.Having completed the book, I tried to get itpublished, but every oneto whom I offered it refused even to look at the manuscript on theground that no Colonial could write anything worth reading. They gaveno reason for this extraordinary opinion, but it wassufficient forthem, and they laughed to scorn the idea that any good could come outof Nazareth--i.e., the Colonies. The story thus being boycotted on allhands, I determined to publish it myself, and accordingly aneditionof, I think, some five thousand copies was brought out at my own cost.Contrary to the expectations of the publishers, and I must add to myown, the whole edition went off in three weeks, and the publicdemandeda second. This also sold rapidly, and after some months, proposals weremade to me that the book should be brought out in London. Later on Iparted with the book to several speculators, who formedthemselves intowhat they called \"The Hansom Cab Publishing Company.\" Taking the bookto London, they published it there with great success, and it had aphenomenal sale, which brought in a large sum of money. Thesuccesswas, in the first instance, due, in no small degree, to a very kind andgenerous criticism written by Mr. Clement Scott. I may here state thatI had nothing to do with the Company, nor did I receive any moneyforthe English sale of the book beyond what I sold it for; and, as amatter of fact, I did not arrive in England until a year after thenovel was published. I have heard it declared that the plot is foundedon a real criminalcase; but such a statement is utterly withoutfoundation, as the story is pure fiction from beginning to end. Severalpeople before and since my arrival in England, have assumed theauthorship of the book to themselves;and one gentleman went so far asto declare that he would shoot me if I claimed to have written it. I amglad to say that up to the present he has not carried out hisintention. Another individual had his cards printed,\"Fergus Hume.Author of 'The Mystery of a Hansom Cab,'\" and also added the price forwhich he was prepared to write a similar book. Many of the papers putthis last piece of eccentricity down to my account.I may statein conclusion, that I belong to New Zealand, and not toAustralia, that I am a barrister, and not a retired policeman, that Iam yet two decades off fifty years of age, that Fergus Hume is my realname, and not anom-de-plume; and finally, that far from making afortune out of the book, all I received for the English and Americanrights, previous to the issue of this Revised Edition by my presentpublishers, was the sum of fiftypounds. With this I take my leave, andI trust that the present edition may prove as successful as did thefirst.CHAPTER I.WHAT THE ARGUS SAID.The following report appeared in the Argus newspaper of Saturday,the28th July, 18--\"Truth is said to be stranger than fiction, and certainly theextraordinary murder which took place in Melbourne on Thursday night,or rather Friday morning, goes a long way towards verifyingthissaying. A crime has been committed by an unknown assassin, within ashort distance of the principal streets of this great city, and issurrounded by an inpenetrable mystery. Indeed, from the nature of thecrime itself,the place where it was committed, and the fact that theassassin has escaped without leaving a trace behind him, it would seemas though the case itself had been taken bodily from one of Gaboreau'snovels, and that hisfamous detective Lecoq alone would be able tounravel it. The facts of the case are simply these:--\"On the twenty-seventh day of July, at the hour of twenty minutes totwo o'clock in the morning, a hansom cab drove upto the police stationin Grey Street, St. Kilda, and the driver made the startling statementthat his cab contained the body of a man who he had reason to believehad been murdered. Being taken into the presence of theinspector, thecabman, who gave his name as Malcolm Royston, related the followingstrange story:--\"At the hour of one o'clock in the morning, he was driving down CollinsStreet East, when, as he was passing the Burkeand Wills' monument, hewas hailed by a gentleman standing at the corner by the Scotch Church.He immediately drove up, and saw that the gentleman who hailed him wassupporting the deceased, who appeared to beintoxicated. Both were inevening dress, but the deceased had on no overcoat, while the otherwore a short covert coat of a light fawn colour, which was open. AsRoyston drove up, the gentleman in the light coat said,'Look here,cabby, here's some fellow awfully tight, you'd better take him home!'\"Royston then asked him if the drunken man was his friend, but this theother denied, saying that he had just picked him up from thefootpath,and did not know him from Adam. At this moment the deceased turned hisface up to the light of the lamp under which both were standing, andthe other seemed to recognise him, for he recoiled a pace, lettingthedrunken man fall in a heap on the pavement, and gasping out 'You?' heturned on his heel, and walked rapidly away down Russell Street in thedirection of Bourke Street.\"Royston was staring after him, and wonderingat his strange conduct,when he was recalled to himself by the voice of the deceased, who hadstruggled to his feet, and was holding on to the lamp-post, swaying toand fro. 'I wan' g'ome,' he said in a thick voice, 'St.Kilda.' He thentried to get into the cab, but was too drunk to do so, and finally satdown again on the pavement. Seeing this, Royston got down, and liftinghim up, helped him into the cab with some considerabledifficulty. Thedeceased fell back into the cab, and seemed to drop off to sleep; so,after closing the door, Royston turned to remount his driving-seat,when he found the gentleman in the light coat whom he had seenholdingup the deceased, close to his elbow. Royston said, 'Oh, you've comeback,' and the other answered, 'Yes, I've changed my mind, and will seehim home.' As he said this he opened the door of the cab, steppedinbeside the deceased, and told Royston to drive down to St. Kilda.Royston, who was glad that the friend of the deceased had come to lookafter him, drove as he had been directed, but near the Church ofEnglandGrammar School, on the St. Kilda Road, the gentleman in thelight coat called out to him to stop. He did so, and the gentleman gotout of the cab, closing the door after him.\"'He won't let me take him home,' he said, 'soI'll just walk back tothe city, and you can drive him to St. Kilda.'\"'What street, sir?' asked Royston.\"'Grey Street, I fancy,' said the other, 'but my friend will direct youwhen you get to the Junction.' \"'Ain't he too muchon, sir?' saidRoyston, dubiously.\"'Oh, no! I think he'll be able to tell you where he lives--it's GreyStreet or Ackland Street, I fancy. I don't know which.'\"He then opened the door of the cab and looked in. 'Good night,oldman,' he said--the other apparently did not answer, for the gentlemanin the light coat, shrugging his shoulders, and muttering 'sulkybrute,' closed the door again. He then gave Royston half-a-sovereign,lit acigarette, and after making a few remarks about the beauty of thenight, walked off quickly in the direction of Melbourne. Royston drovedown to the Junction, and having stopped there, according to hisinstructions heasked his 'fare' several times where he was to drivehim to. Receiving no response and thinking that the deceased was toodrunk to answer, he got down from his seat, opened the door of the cab,and found the deceasedlying back in the corner with a handkerchiefacross his mouth. He put out his hand with the intention of rousinghim, thinking that he had gone to sleep. But on touching him thedeceased fell forward, and on examination,to his horror, he found thathe was quite dead. Alarmed at what had taken place, and suspecting thegentleman in the light coat, he drove to the police station at St.Kilda, and there made the above report. The body ofthe deceased wastaken out of the cab and brought into the station, a doctor being sentfor at once. On his arrival, however, he found that life was quiteextinct, and also discovered that the handkerchief which wastiedlightly over the mouth was saturated with chloroform. He had nohesitation in stating that from the way in which the handkerchief wasplaced, and the presence of chloroform, that a murder had beencommitted, andfrom all appearances the deceased died easily, andwithout a struggle. The deceased is a slender man, of medium height,with a dark complexion, and is dressed in evening dress, which willrender identification difficult,as it is a costume which has nodistinctive mark to render it noticeable. There were no papers or cardsfound on the deceased from which his name could be discovered, and theclothing was not marked in any way. Thehandkerchief, however, whichwas tied across his mouth, was of white silk, and marked in one of thecorners with the letters 'O.W.' in red silk. The assassin, of course,may have used his own handkerchief to commit thecrime, so that if theinitials are those of his name they may ultimately lead to hisdetection. There will be an inquest held on the body of the deceasedthis morning, when, no doubt, some evidence may be elicited whichmaysolve the mystery.\"In Monday morning's issue of the ARGUS the following article appearedwith reference to the matter:--\"The following additional evidence which has been obtained may throwsome light on themysterious murder in a hansom cab of which we gave afull description in Saturday's issue:--'Another hansom cabman called atthe police office, and gave a clue which will, no doubt, prove of valueto the detectives intheir search for the murderer. He states that hewas driving up the St. Kilda Road on Friday morning about half-past oneo'clock, when he was hailed by a gentleman in a light coat, who steppedinto the cab and told himto drive to Powlett Street, in EastMelbourne. He did so, and, after paying him, the gentleman got out atthe corner of Wellington Parade and Powlett Street and walked slowly upPowlett Street, while the cab drove back totown. Here all clue ends,but there can be no doubt in the minds of our readers as to theidentity of the man in the light coat who got out of Royston's cab onthe St. Kilda Road, with the one who entered the other cab andalightedtherefrom at Powlett Street. There could have been no struggle, as hadany taken place the cabman, Royston, surely would have heard the noise.The supposition is, therefore, that the deceased was too drunk tomakeany resistance, and that the other, watching his opportunity, placedthe handkerchief saturated with chloroform over the mouth of hisvictim. Then after perhaps a few ineffectual struggles the latter wouldsuccumbto the effects of his inhalation. The man in the light coat,judging from his conduct before getting into the cab, appears to haveknown the deceased, though the circumstance of his walking away onrecognition, andreturning again, shows that his attitude towards thedeceased was not altogether a friendly one.\"The difficulty is where to start from in the search after the authorof what appears to be a deliberate murder, as thedeceased seems to beunknown, and his presumed murderer has escaped. But it is impossiblethat the body can remain long without being identified by someone, asthough Melbourne is a large city, yet it is neither Parisnor London,where a man can disappear in a crowd and never be heard of again. Thefirst thing to be done is to establish the identity of the deceased,and then, no doubt, a clue will be obtained leading to the detectionofthe man in the light coat who appears to have been the perpetrator ofthe crime. It is of the utmost importance that the mystery in which thecrime is shrouded should be cleared up, not only in the interests ofjustice,but also in those of the public--taking place as it did in apublic conveyance, and in the public street. To think that the authorof such a crime is at present at large, walking in our midst, andperhaps preparing for thecommittal of another, is enough to shake thestrongest nerves. In one of Du Boisgobey's stories, entitled 'AnOmnibus Mystery,' a murder closely resembling this tragedy takes placein an omnibus, but we question if eventhat author would have beendaring enough to write about a crime being committed in such anunlikely place as a hansom cab. Here is a great chance for some of ourdetectives to render themselves famous, and we feelsure that they willdo their utmost to trace the author of this cowardly and dastardlymurder.\"CHAPTER II.THE EVIDENCE AT THE INQUEST.At the inquest held on the body found in the hansom cab the followingarticlestaken from the deceased were placed on the table:--1. Two pounds ten shillings in gold and silver.2. The white silk handkerchief which was saturated with chloroform, andwas found tied across the mouth of thedeceased, marked with theletters O.W. in red silk.3. A cigarette case of Russian leather, half filled with \"Old Judge\"cigarettes. 4. A left-hand white glove of kid--rather soiled--withblack seams down the back. SamuelGorby, of the detective office, waspresent in order to see if anything might be said by the witnesseslikely to point to the cause or to the author of the crime.The first witness called was Malcolm Royston, in whose cab thecrimehad been committed. He told the same story as had already appeared inthe ARGUS, and the following facts were elicited by the Coroner:--Q. Can you give a description of the gentleman in the light coat, whowasholding the deceased when you drove up?A. I did not observe him very closely, as my attention was taken up bythe deceased; and, besides, the gentleman in the light coat was in theshadow.Q Describe him from whatyou saw of him.A. He was fair, I think, because I could see his moustache, rathertall, and in evening dress, with a light coat over it. I could not seehis face very plainly, as he wore a soft felt hat, which was pulleddownover his eyes.Q. What kind of hat was it he wore--a wide-awake?A. Yes. The brim was turned down, and I could see only his mouth andmoustache.Q. What did he say when you asked him if he knew the deceased?A. Hesaid he didn't; that he had just picked him up.Q. And afterwards he seemed to recognise him?A. Yes. When the deceased looked up he said \"You!\" and let him fall onto the ground; then he walked away towards BourkeStreet.Q. Did he look back?A. Not that I saw.Q. How long were you looking after him?A. About a minute.Q. And when did you see him again?A. After I put deceased into the cab I turned round and found him atmyelbow.Q. And what did he say?A. I said, \"Oh! you've come back,\" and he said, \"Yes, I've changed mymind, and will see him home,\" and then he got into the cab, and told meto drive to St. Kilda.Q. He spoke then as ifhe knew the deceased?A. Yes; I thought that he recognised him only when he looked up, andperhaps having had a row with him walked away, but thought he'd comeback.Q. Did you see him coming back?A. No; thefirst I saw of him was at my elbow when I turned.Q. And when did he get out? A. Just as I was turning down by theGrammar School on the St. Kilda Road.Q. Did you hear any sounds of fighting or struggling in the cabduringthe drive?A. No; the road was rather rough, and the noise of the wheels goingover the stones would have prevented my hearing anything.Q. When the gentleman in the light coat got out did he appear"}
+{"doc_id":"doc_112","qid":"","text":"<html><head><title>Remember Me Script at IMSDb.</title><meta name=\"description\" content=\"Remember Me script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Remember Mescript, Remember Me movie script, Remember Me film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX,FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b></b><b></b><b></b><b>                              REMEMBER ME</b><b></b><b></b><b></b>                              Writtenby<b></b>                     William Fetters & Jenny Lumet<b></b><b></b><b></b><b></b><b></b><b></b>                                           Revised April 16th, 2009<b></b><b></b><b>1   EXT. SMITHSTREET STATION -- BROOKLYN -- NIGHT                 1</b><b></b>    It's very late. It's quiet. Just the sounds of The City<b></b>    LINDA SANTANA CRAIG, an attractive Hispanic woman in her    thirties, waits atthe ELEVATED STATION for the F train.<b></b>    Linda looks great. She's dressed festively but tastefully.    Next to her is her eleven year old DAUGHTER, ALICIA. She is    twirling about the platform, still jazzed fromthe birthday    party they attended in The City.<b></b>    Alicia wears a black dress with a pink cardigan and has a pink    handbag. We notice a CHARM BRACELET with four-leaf clovers on    her rightwrist.<b></b>    The mother and daughter wait alone at one end of the station    platform.<b></b>    TWO TEENAGE BOYS wait at the other end. They speak soft,    SLURRED SPANISH to eachother.<b></b>    Linda gives the boys a glance and evaluates. She watches them    as Alicia spits a wad of gum into her mom's open hand.<b></b>    The Boys approach. Linda tenses. At the last second theboys    make a hard left turn and disappear down the stairwell. It's    quiet again. Linda relaxes, smiles at her daughter. The F    TRAIN is rounding the final bend into the station.<b></b>    Their focus is on this train.It's getting closer, louder.<b></b>    And so they don't see, don't hear the Boys coming back up the    stairwell behind them.<b></b>    Not until the boys have the mother and daughter boxed in and    the one whocan hardly grow a mustache is showing them his    gun.<b></b>    Linda puts her arm around her daughter. Alicia looks    terrified.<b></b>    The train roars INTO THE STATION as Linda quickly hands over    herpurse, her watch. She hands over her engagement ring and    her wedding band.<b></b>    One of the boys yanks Alicia's little purse away from her.<b></b>    The other boy fumbles the wedding band. The ringCLANGS to    the ground and rolls to a stop a few feet away.<b></b>    We hear MEN'S VOICES echoing up the stairwell.<b></b>    Now the Boys are boxed in. And starting topanic.<b>                                                                2.</b><b></b><b></b><b>    -- THE TRAIN DOORS SLIDE OPEN --.</b><b></b>    The Boys see their way out and step into the last empty rail    car,leaving the mother and daughter alone on the platform.<b></b>    Through the window on the train, Linda stares at the boy    holding her daughter's purse, her face hardening into a MASK<b>    OFCONTEMPT.</b><b></b>    The boy clocks it. Who does she think she is?<b></b><b>    -- THE TRAIN DOORS BEGIN TO CLOSE --</b><b></b>    When a HAND WITH TATTOOED KNUCKLES reaches out and stopsthe    car doors from closing.<b></b>    A forearm and gun extend out of that last subway car ...    There's a muzzle flash... a distant POP... a cloud of smoke    ... a mist of blood... and Linda's body collapses onitself.<b></b>    Alicia's face, shock, terror and blood.<b></b><b></b><b>2   EXT. SMITH STREET STATION -- LATER THAT NIGHT --   M.O.S        2</b><b></b>    A WORKING CRIME SCENE, lots of uniforms andlight, a white    sheet draped over Linda's body where it fell.<b></b>    BLUE AND RED LIGHT dances against the stairwell wall where a    man is taking the stairs two at a time. Late thirties, big,    plain clothes, he isSERGEANT JAMES CRAIG. When he reaches    the platform, he stops.<b></b>    Craig kneels before the white sheet. Peels it back. We stay    on him. We don't see what he sees. We just see how he sees    it. Then heturns...<b></b>    THE WEDDING BAND. It's been tagged and numbered as evidence.    Craig picks it right out of the chalk outline and slips it    into his pocket.<b></b>    Alicia, wrapped in a blanket, standing nextto a round police    MATRON. The Matron is tenderly trying to clean Alicia's face.    Alicia locks eyes with Craig and stumbles towards him, her    legs not quite working.<b></b>    Craig saves her from the stumble andenvelops her, lifting    her as the blanket falls to the ground.<b></b>    Alicia makes little gasping noises. Trying to speak but    can't.<b></b>    Craig walking back now, carrying his entire world. He reaches    thestairwell and suddenly falls to one knee. Alicia gasps.<b>                                                                3.</b><b></b><b></b>    The closest UNIFORM puts a hand on his arm. A moment.    Composure. A deepbreath. Then as quickly as he went down,    he's back up.<b></b>    Craig looks back now, taking it all in. Is it real? Sees all    the cops looking at him, then begins down the stairs.<b></b>    WE DRIFT UP above thestation until we find ourselves with a    clear view of the southern tip of Manhattan, where the TWIN<b>    TOWERS STAND TALL.</b><b></b><b></b><b>3   INT. LOWER EAST SIDE RAILROAD FLAT -- BEDROOM-- MORNING        3</b><b></b>    SUBTITLE: \"Eight Years Later\"<b></b>    Tiny kitchen, clutter, a MESSENGER BIKE hanging from hooks on    the wall, a lot of books. There is a PHONE RINGING underthe    bed.<b></b>    TYLER ROTH, early twenties, handsome, looking haggard. He is    sitting on the floor, shirtless, bed head, wrapped in a    blanket. A GUITAR is on his lap. Tyler has propped some well    worn,hand written pages of MUSIC against a box of off-brand    laundry detergent and is squinting at the notes, frustration    etched in his face.<b></b>    A forgettable BLONDE lies sleeping on the bed.<b></b>    Tyler,not a born musician, is trying to teach himself one of    the PHRASES OF MUSIC in front of him. He is completely lost    in the moment, with DEEP GROOVES in his fingers. By the    ASHTRAY next to him, we can tell he'sbeen at this a couple    of hours.<b></b>    The Blonde in the bed re: the ringing phone...<b></b><b>                        BLONDE</b>                  (out of it)              Hello?<b></b>    Tyler gropes around the floorwith one hand until he finds the    phone, simultaneously glancing at the digital clock. His eyes    widen in alarm.<b></b><b>                        TYLER</b>              Yeah...                  (listens)              Of course. I'mon my way. I              know...I know...I know...I know.<b></b>    Tyler climbs out of his blanket and yanks on a pair of dark    suit pants. Before he pulls on his white undershirt we    observe a TATTOO that simplysays \"Michael\" over his heart.<b>                                                                 4.</b><b></b><b></b>    He searches through a beat-up chest of drawers, seeking a    reasonably clean button downshirt...<b></b><b>                        TYLER V/O</b>              Gandhi said that whatever you do in              life will be insignificant but it              is very important that you do it...<b></b>    ...And scrubs at amysterious stain on the shoulder of an    expensive but worn to hell suit jacket with a dishwasher    brush.<b></b><b>                        TYLER V/O</b>              ...I tend to agree with thefirst              part.<b></b><b></b><b>4   EXT. GREEN WOOD CEMETERY --BROOKLYN -- LATER                     4</b><b></b>    A cluster of MOURNERS stand before a tombstone in the    distance. They are not infuneral dress, as this is not a    funeral. It's a memorial.<b></b>    A beat up GYPSY CAB with a WEST INDIAN DRIVER pulls to a    stop. From the trees and the sky we know its LATE    SPRING/EARLY SUMMER. Agorgeous day.<b></b>    Tyler gets out of the cab, holding the rim of his empty    coffee cup in his teeth. He sorts a rumpled wad of singles    and hands some to the driver, who screeches into reverse.    Time ismoney.<b></b>    Tyler crushes the coffee cup flat and slips it in his jacket    pocket then lights up a smoke. He takes one long drag then    extinguishes it and slips the butt into his pocket. He begins    towards themourners.<b></b>    His mother... DIANE HOFFMAN, a beauty. Past burdens etched in    the lines on her face. Dressed tastefully in expensive    bohemian. She smiles like someone who's been crying but    doesn'twant anyone to know she has.<b></b><b>                        TYLER</b>                  (sweetly)              Hello, your majesty. How are you?<b></b><b>                        DIANE</b>              I'm fine... you lookgood...<b></b>    He kisses his mother's hand and he's moving to greet his    stepfather...<b></b>    LES HOFFMAN, Unruly curls streaked in gray, tweed jacket and    tie. They exchange a firm handshake andmuttered hellos.<b>                                                              5.</b><b></b><b></b>    The weight of Tyler's gaze falls to CAROLINE ROTH, his    diminutive bespectacled, eleven year old sister. She's    holding alittle paper bag.<b></b>    She flashes him a look. He kneels besides her and whispers...<b></b><b>                        TYLER</b>              Thanks for organizing everybody.<b></b>    Caroline makes a face. Turnsher nose away from him.<b></b><b>                        CAROLINE</b>              You smell like Listerine and beer.<b></b>    He snorts and kisses her cheek.<b></b>    Caroline reaches into her bag and takes out ahandful of    smooth white stones, on which she has painted the names:    \"Mom\" \"Tyler\" \"Les\", \"Dad\", \"Caroline\". She begins to arrange    them in a little circle on the grave.<b></b>    Tyler'sfather...<b></b>    CHARLES ROTH, late fifties, breathes power, precisely    dressed, two hundred dollar haircut. A predator.<b></b><b>                        CHARLES</b>                  (aside, to Tyler)              Youcouldn't wear a tie?<b></b>    Tyler holds his father's eye.<b></b><b>                        TYLER</b>              Could have.<b></b>    Beat.<b></b>    Charles adjusts his own collar like it's anexplosive.<b></b>    POV: The Tombstone. The four adult family members stand side-    by-side. They look like strangers on the subway as Caroline    sits on the ground, arranging thestones.<b></b><b></b><b>5   INT. JUNIOR'S RESTAURANT-- BROOKLYN -- AFTER                  5</b><b></b>    The family sits together in a booth. Tyler rolls a Bic    lighter over his knuckles. Caroline draws afunny portrait of    Tyler on her napkin. He is smoking nine cigarettes at once.    Diane gives the menu a ridiculous amount of attention. Les is    eyeing the Cheesecake. Charles subtly aligns hissilverware.<b>                                                             6.</b><b></b><b></b><b>                    DIANE</b>          ...This is nice... I think it's          nice that we still dothis...<b></b><b>                       CAROLINE</b>                 (gently)          Mom.<b></b><b>                    DIANE</b>          I forgot. I'm trying to purge          \"nice\" from my vocabulary. Michael          would likethat we still do this.<b></b>Tyler takes out a cigarette. Lights it. Without saying a wordhis mother takes it and snubs it out in an empty water glass.<b></b><b>                    DIANE</b>              (toCaroline)          Did you tell Tyler what your art          teacher said about your portrait?<b></b>Caroline, as bemused as an eleven year old can be, looks ather mother, then at her brother. She adopts a very"}
+{"doc_id":"doc_113","qid":"","text":"<html><head><title>Braveheart Script at IMSDb.</title><meta name=\"description\" content=\"Braveheart script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Braveheart script,Braveheart movie script, Braveheart film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\"rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>                                       \"BRAVEHEART\"                                            by                                     RandallWallace                                       Early Draft<b>                </b><b>               FADE IN:</b><b>               EXT. THE SCOTTISH COUNTRYSIDE - DAY</b>               Epic beauty: cobalt mountains beneath aglowering purple sky                fringed with pink, as if the clouds were a lid too small for                the earth; a cascading landscape of boulders shrouded in                deep green grass; and the blue lochs, reflectingthe sky. We                hear a voice, husky, Scottish...<b>                                     VOICE OVER</b>                         I will tell you of William Wallace.<b>               EXT. MACANDREWS FARM - DAY</b>               Afarmhouse and a large barn lie nestled in a Scottish valley.                Riding down the roads that lead in from opposite sides are                Scottish noblemen in full regalia: eye-popping tartans,                sparklingchestplates. Even the horses are draped in scarlet.                Behind each nobleman rides a single page boy.<b>                                     VOICE OVER</b>                         Historians from England will sayI                          am a liar. But history is written by                          those who have hung heroes.               Another noble rides in from the opposite side. Two more appear                down the road, converging onthe barn.<b>                                     VOICE OVER</b>                         The King of Scotland had died without                          a son, and the king of England, a                          cruel pagan known as Edwardthe                          Longshanks, claimed the throne for                          himself. Scotland\u0000s nobles fought                          him, and fought each other, over the                          crown. So Longshanks invited themto                          talks of truce. No weapons, one page                          only.               The nobles eye each other cautiously, but the truce holds.               They enter the barn, with their pages...<b>               EXT.SCOTTISH FARM - DAY</b>               Nestled in emerald hills are the thatched roof house and                barn and outbuildings of a well-run farm. The farmer, MALCOLM                WALLACE, and his nineteen-year-oldson JOHN, both strong,                tough men, are riding away from the farm. They hear hooves                behind them and turn to see a boy riding after them.<b>                                     VOICEOVER</b>                         Among the farmers of that shire was                          Malcolm Wallace, a commoner, with                          his own lands and two sons: John...               We FAVOR JOHN WALLACE, thenineteen-year-old sitting easily                on his horse, beside his father...<b>                                     VOICE OVER</b>                         ...and William.               WILLIAM, a skinny eight-year-old riding bareback,catches up                to his father and older brother.<b>                                     FATHER</b>                         Told ya to stay.<b>                                     WILLIAM</b>                         I finished my chores.Where we goin'?<b>                                     FATHER</b>                         MacAndrews'. He was supposed to visit                          when the truce was over.               They ride on, over the lushhills.<b>               EXT. THE MACANDREWS FARM - DAY</b>               The horses are all gone; the place looks deserted. UP ON THE                HILL we see the three Wallaces, lookingdown.<b>                                     FATHER</b>                         Stay here.               He means William. He and his elder son spur their horses.<b>               AT THE BARN - DAY</b>               The Wallaces ride up,looking around.<b>                                     FATHER</b>                         MacAndrews!... MacAndrews!?               Malcolm finds a pitchfork, John the woodpile axe...<b>               INT. THE BARN</b>               POVfrom within as the door opens and a widening block of                sunlight illuminates the dusty shadows. Malcolm and John                Wallace step in, and are shocked to see...<b>               POV THEWALLACES</b>               Hanging from the rafters of the barn are thirty Scottish                noblemen and thirty pages, their faces purple and contorted                by the strangulation hanging, their tonguesprotruding.               Malcolm stabs the pitchfork into the ground in useless anger;                John still grips the axe as he follows his father through                the hanging bodies of the noblemen to the back row, tosee                the one man in commoner's dress, like theirs...<b>                                     FATHER</b>                         MacAndrews.               A SHUFFLE; John spins; William has entered the backdoor.<b>                                     JOHN</b>                         William! Get out of here!<b>                                     WILLIAM</b>                         Why would MacAndrews make somany                          scarecrows?               Before his father and brother can think of anything to say,                William, with a boy's curiosity, touches the spurred foot of                the hanged noblemen we firstsaw riding in. It's too solid;                he takes a real look at the face, and suddenly --<b>                                     WILLIAM</b>                         R -- real!!!... Ahhhhhgggg!...               He turns to run, but knocksback into the feet of the hanged                man behind him! In blind panic he darts in another direction,                and runs into another corpse, and another; the hanged men                begin to swing, making it harderfor William's father and                older brother to fight their way to him.<b>                                     FATHER</b>                         William! William!               Then, worst of all, William sees the pages, boys likehimself,                hanged in a row behind their masters!               Finally his father and brother reach William and hug him                tight. There in the barn, among the swinging bodies of the                hangednobles, Malcolm Wallace grips his sons.<b>                                     FATHER</b>                         Murderin' English bastards.<b>                                                                    CUT TO:</b><b>               EXT.WALLACE FARMHOUSE - NIGHT</b>               The cottage looks peaceful, the windows glowing yellow into                the night. From outside the house we see John rise and close                the shutters of the kitchen,where men are gathered. We PAN                UP to the upper bedroom window...<b>               INSIDE THAT BEDROOM</b>               Young William is in nightmarish sleep. He mumbles in smothered                terror;he twitches. We see<b>               HIS NIGHTMARE</b>               In the blue-grays of his dream, William stands at the door                of the barn, gazing at the hanged knights. We WHIP PAN to                their faces,garish, horrible... Then one of the heads moves                and its eyes open! William wants to run, but he can't get                his body to respond... and the hanging nobleman, his bloated                tongue still burstingthrough his lips, moans...<b>                                     GHOUL</b>                         Will--iam...!               WILLIAM tears himself from sleep; looking around, swallowing                back his tears andpanic.<b>               IN THE KITCHEN</b>               A dozen strong, tough farmers have huddled. Red-headed                CAMPBELL, scarred and missing fingers, is stirred up, while                his friendMacCLANNOUGH is reluctant.<b>                                     CAMPBELL</b>                         Wallace is right! We fight 'em!<b>                                     MACCLANNOUGH</b>                         Every nobleman who hadany will to                          fight was at that meeting.<b>                                     MALCOLM WALLACE</b>                         So it's up to us! We show them we                          won't lie down to be theirslaves!<b>                                     MACCLANNOUGH</b>                         We can't beat an army, not with the                          fifty farmers we can raise!<b>                                     MALCOLMWALLACE</b>                         We don't have to beat 'em, just fight                          'em. To show 'em we're not dogs, but                          men.               Young Wallace has snuck down and is eavesdropping fromthe                stairs. He sees his father drip his finger into a jug of                whiskey and use the wet finger to draw on the tabletop.<b>                                     MALCOLM WALLACE</b>                         They have acamp here. We attack                          them at sunset tomorrow. Give us all                          night to run home.<b>               EXT. WALLACE FARM - DAY</b>               Malcolm and John have saddled horses; theyare checking the                short swords they've tucked into grain sacks when William                comes out of the barn with his own horse.<b>                                     MALCOLM</b>                         William, you'restaying here.<b>                                     WILLIAM</b>                         I can fight.               These words from his youngest son make Malcolm pause, and                kneel, to look into William'seyes.<b>                                     MALCOLM</b>                         Aye. But it's our wits that make us                          men. I love ya, boy. You stay.               Malcolm and John mount their horses and ride away,leaving                William looking forlorn. They wave; he waves back.<b>               EXT SCOTTISH HILLS, NEAR THE WALLACE FARM - DAY</b>               It's strangely quiet, until William and his friendHAMISH                CAMPBELL, a red-headed like his father, race up the hillside                and duck in among a grove of trees. Breathless, gasping,                they press their backs to the tree bark. William peersaround                a tree, then shrinks back and whispers...<b>                                     WILLIAM</b>                         They're coming!<b>                                     HAMISH</b>                         Howmany?<b>                                     WILLIAM</b>                         Three, maybemore!<b>                                     HAMISH</b>                         Armed?<b>                                     WILLIAM</b>                         They're English soldiers, ain'tthey?<b>                                     HAMISH</b>                         With your father and brother gone,                          they'll kill us and burn the farm!<b>                                     WILLIAM</b>                         It'sup to us, Hamish!               Hamish leans forward for a look, but William pulls him back.<b>                                     WILLIAM</b>                         Not yet! Here he comes, be ready!               They wait; heavyFOOTSTEPS. Then from around the edge of the                grove three enormous, ugly hogs appear. The boys hurling                rotten eggs. The eggs slap the snouts of the pigs, who scatter                as the boyscharge, howling. We PULL BACK... as the sun goes                down on their play.<b>               EXT. THE WALLACE HOUSE - SUNDOWN</b>               The boys walk toward the house, beneath a lavendersky.<b>                                     HAMISH</b>                         Wanna stay with me tonight?<b>                                     WILLIAM</b>                         I wanna have supper"}
+{"doc_id":"doc_114","qid":"","text":"<html><head><title>Perks of Being a Wallflower, The Script at IMSDb.</title><meta name=\"description\" content=\"Perks of Being a Wallflower, The script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Perks of Being a Wallflower, The script, Perks of Being a Wallflower, The movie script, Perks of Being a Wallflower, The film script\"><meta name=\"viewport\" content=\"width=device-width,initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><metaname=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><metaname=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq ||[];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' ==document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>TheInternet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie ScriptDatabase\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <scripttype=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>                 THE PERKS OF BEING a WALLFLOWER                            Written by                          Stephen Chbosky    Final Draft<b>    FADEIN:</b><b>1   EXT. TUNNEL - NIGHT                                             1</b>    The titles begin over black. We hear the sound of an old    typewriter. Someone reaching out to us. The bell dings,    announcing the end ofa line, and we see our title...<b>    THE PERKS OF BEING A WALLFLOWER</b>    Music begins, picture fades up, and we are in the city.    Downtown Pittsburgh. Looking out of the back window like a    child in the backof a station wagon.    We see lights on buildings and everything that makes us    wonder. We see the bridge. And the river below. And then    we enter...    The Tunnel.    We keep moving backwards, watching thelights. Golden,    alive, and hypnotic. The music carries us as we float out of    the tunnel. Onto another bridge. And over the highway.    We move into the night sky, back through the trees, through a    window, andinto...<b>2   INT. CHARLIE'S BEDROOM - NIGHT                                  2</b>    It is a neat and tidy little room. Few posters or books.    CHARLIE is 15. He is innocent, hopeful, awkward, and likable    to everyone buthis classmates. He sits at his desk, writing    a letter in pencil as he tapes the title song through the    radio on his cassette boom box.<b>                         CHARLIE (V.O.)</b>               Dear Friend, I am writing toyou because               she said you listen and understand and               didn't try to sleep with that person at               that party even though you could have.               Please don't try to figure out who sheis               because then you might figure out who I               am, and I don't want you to do that. I               just need to know that people like you               exist. Like if you met me, you wouldn't               think Iwas the weird kid who spent time               in the hospital. And I wouldn't make you               nervous.<b>3   INT. CHARLIE'S HOUSE - MOMENTS LATER                            3</b>    Charlie anxiously walks through thehallway of his suburban    split level house.<b>                                                                       2.</b><b>                        CHARLIE (V.O.)</b>              I hope it's okay for me to think that.              You see, Ihaven't really talked to              anyone outside of my family all summer.    Charlie moves to the living room where dad watches a football    game. Mom reads a page turner and sips her white wine.    Charlie waits forthem to notice him. And waits. And waits.<b>4   INT. CHARLIE'S BEDROOM - NIGHT                                      4</b>    Charlie sits at his desk, continuing his letter in pencil.<b>                        CHARLIE(V.O.)</b>              But tomorrow is my first day of high              school ever, and I really need to turn              things around this year.                  (hopeful)              So, I have a plan.<b>5   INT. MILL GROVE HIGHSCHOOL HALLWAY - LAST DAY                      5</b>    We see it in Charlie's mind. Slow motion and wondrous. The    kids clear out their lockers by throwing their old papers in    the air like a New York confettiparade.<b>                        CHARLIE (V.O.)</b>              As I enter the school for the first time,              I will visualize what it will be like on              the last day of my senior year.    Charlie walks down thehall.   Triumphant.   Confident.   Happy.<b>                        CHARLIE (V.O.) (CONT'D)</b>              Unfortunately, I counted, and that's...<b>                                                       SMASH CUT TO:</b><b>6   INT.MILL GROVE HIGH SCHOOL HALLWAY - FIRST DAY                     6</b>    Reality. The bell rings, and we see the chaotic maze from    Charlie's POV. A SENIOR BULLY leads the ritual, making    dozens of freshmen hopdown the hall.<b>                        SENIOR BULLY</b>              Hop, freshman toads. Hop!    Move it, boys!    As seniors grab more victims, Charlie moves to the wall.<b>                        CHARLIE(V.O.)</b>              ... 1,385 days from now.    VARSITY FOOTBALL PLAYERS pass, wearing their letterjackets.<b>                                                                    3.</b><b>                        LINEBACKER</b>              Man, you got big.<b>                        NOSE TACKLE</b>              Worked out all summer.   Rockhard, dude.    At the front of the pack is BRAD HAYS (17), the quarterback.    He's good looking, charismatic, and friendly. The big man on    campus. Nice guy, too.<b>                        BRAD HAYS</b>              Wouldyou guys get a room?    They laugh. Charlie turns to the trophy case to avoid them.    Trying to make himself as small as possible.<b>                        CHARLIE (V.O.)</b>                  (trying to beoptimistic)              Just 1,385 days.<b>7   INT. MILL GROVE HIGH SCHOOL - CAFETERIA - LUNCH                  7</b>    Charlie moves down the lunch line with his sister. CANDACE    KELMECKIS is 17 and a beautifultype A, straight A priss.<b>                        CHARLIE (V.O.)</b>              In the meantime, I'd hoped that my sister              Candace and her boyfriend Derek would              have let me eat lunch with theirearth              club.<b>                        CANDACE</b>              Seniors only.                  (barks to Derek)              What are you doing with a plastic spork?    Candace turns to her boyfriend, DEREK, 17. Derek issuch a    pussy, the most masculine thing about him is his pony-tail.<b>                        DEREK</b>              I don't want to bring back silverware--<b>                        CANDACE</b>              Derek, you're EarthClub Treasurer.    Derek takes the silverware like a beaten dog. Charlie    watches them move into the intimidating cafeteria.<b>8   INT. CAFETERIA - LATER                                           8</b>    Charlie sits in thecorner alone, observing everyone having a    great time with their friends. He sees a pretty girl with    blonde hair having the best first day. This is SUSAN,14.<b>                                                                   4.</b><b>                        CHARLIE (V.O.)</b>              When my sister said no, I thought maybe              my old friend Susan would want tohave              lunch with me.    Charlie catches her eye and waves, but she looks away.<b>                        CHARLIE (V.O.) (CONT'D)</b>              In middle school, Susan was very fun to              be around, butnow she doesn't like to              say hi to me anymore.    Charlie turns his attention to the quarterback, Brad Hays.<b>                         CHARLIE (V.O.) (CONT'D)</b>              And then there's Brad Hays, who'sthe              quarterback of our team. Before my              brother went to play football for Penn              State, he and Brad played together. So,              I thought maybe he'd say hi to me. But              Brad's asenior, and I'm me, so... who am              I kidding?    Brad catches Charlie staring at him.   Awkward.<b>9   INT. SHOP CLASS - DAY                                           9</b>    Charlie sits by himself, watching thefreshmen boys laugh as    a senior paints a goatee on his face with a grease pencil.<b>                        CHARLIE (V.O.)</b>              On the bright side, one senior decided to              make fun of the teacher insteadof the              freshmen. He even drew on Mr. Callahan's              legendary goatee with a grease pencil.    Meet PATRICK (18), full of confidence, mischief, and so over    high school. He is the class clown, performinga perfect    imitation of the teacher, Mr. Callahan.<b>                        PATRICK</b>              Boys, the prick punch is not a toy. I              learned that in 'Nam back in '68.              \"Callahan,\" the sergeant said, \"putdown              that prick punch and go kill some gooks.\"    The laughter suddenly dies as the real MR. CALLAHAN (57)    walks up behind the oblivious Patrick.<b>                        PATRICK (CONT'D)</b>              Butyou know what happened? That prick              punch killed my best friend in a Saigon              whorehouse.<b>                                                                     5.</b>     Patrick suddenly feels Mr. Callahan behindhim.   Oops.<b>                         MR. CALLAHAN</b>               I heard you were going to be in my class.               Are you proud being a senior taking               freshman shop,Patty-Cakes?<b>                         PATRICK</b>               My name is Patrick. You call me Patrick               or you call me nothing.<b>                         MR. CALLAHAN</b>               Okay... Nothing.     The classlaughs. Except Charlie.   He watches Patrick take     the long walk back to his seat.<b>                         CHARLIE (V.O.)</b>               I felt really bad for Patrick. He wasn't               saying the impersonation to bemean or               anything. He was just trying to make us               freshmen feel better.<b>                         MR. CALLAHAN</b>               Everyone open your safety guides.               Nothing... why don't you readfirst?     Patrick opens the book.<b>                         PATRICK</b>               Chapter 1. Surviving your fascist shop               teacher, who needs to put kids down to               feel big.                   (to theclass)               Oh, wow. This is useful guys. We should               read on.     Charlie smiles.   He loves him already.<b>10   INT. ENGLISH CLASS - MORNING                                    10</b>     The kids pass backpaperback copies of To Kill A Mockingbird.     Charlie opens his Trapper Keeper, takes a pencil out of the     plastic pouch, and writes... \"ENGLISH CLASS... DAY ONE.\"<b>                         CHARLIE(V.O.)</b>               My last class of the day is advanced               English, and I'm excited to finally start               learning with the smartest kids in the               school...     A SMART ASS FRESHMAN girl with bracessmiles at him.<b>                                                               6.</b><b>                    SMART ASS FRESHMAN</b>              (whispers)          Nice Trapper Keeper, faggot.The kids around him laugh. Charlie's earsturn red. At theblackboard, the teacher writes his name... Mr. Anderson. Butyou can call him BILL (27). Bill is an idealist.<b>                    BILL</b>          Shhh. I'm Mr. Anderson. And thanks to          Teach forAmerica, I'm going to be your          teacher for freshman English. This          semester, we're going to be learning          Harper Lee's To Kill a Mockingbird.          Genius book. Now, who wants to get out          of thefirst pop quiz?All hands go up.   Except Charlie's.   Bill paces the rows.<b>                    BILL (CONT'D)</b>          I'm shocked. Alright. You can skip the          quiz if you tell me which author invented          thepaperback book. Anyone?As kids think, Bill confiscates contraband, removes hats.<b>                    BILL (CONT'D)</b>          He's British. He also invented the          serial. In fact, at the end of chapter 3          of hisfirst novel, he had a man hanging          off a cliff by his fingernails. Hence,          the term cliffhanger. Anybody?<b>                    FRESHMAN GIRL</b>          Shakespeare.<b>                    BILL</b>          That's agreat guess, but no, Shakespeare          didn't write novels. Anybody else?              (off their silence)          The author was...Bill is about to give the answer when he notices Charlie hasalready written... Charles"}
+{"doc_id":"doc_115","qid":"","text":"The Project Gutenberg EBook of Desperate Remedies, by Thomas HardyThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: Desperate RemediesAuthor: Thomas HardyRelease Date: November 2000 [EBook #3044]Posting Date:May 25, 2009 Language: English*** START OF THIS PROJECT GUTENBERG EBOOK DESPERATE REMEDIES ***Produced by Les BowlerDESPERATE REMEDIESBy Thomas HardyCONTENTSPREFATORY NOTE     I.     THEEVENTS OF THIRTY YEARS     II.    THE EVENTS OF A FORTNIGHT     III.   THE EVENTS OF EIGHT DAYS     IV.    THE EVENTS OF ONE DAY     V.     THE EVENTS OF ONE DAY     VI.    THE EVENTS OF TWELVEHOURS     VII.   THE EVENTS OF EIGHTEEN DAYS     VIII.  THE EVENTS OF EIGHTEEN DAYS     IX.    THE EVENTS OF TEN WEEKS     X.     THE EVENTS OF A DAY AND NIGHT     XI.    THE EVENTS OF FIVEDAYS     XII.   THE EVENTS OF TEN MONTHS     XIII.  THE EVENTS OF ONE DAY     XIV.   THE EVENTS OF FIVE WEEKS     XV.    THE EVENTS OF THREE WEEKS     XVI.   THE EVENTS OF ONE WEEK     XVII.  THEEVENTS OF ONE DAY     XVIII. THE EVENTS OF THREE DAYS     XIX.   THE EVENTS OF A DAY AND NIGHT     XX.    THE EVENTS OF THREE HOURS     XXI.   THE EVENTS OF EIGHTEENHOURS            SEQUELPREFATORY NOTEThe following story, the first published by the author, was writtennineteen years ago, at a time when he was feeling his way to amethod. The principles observed in itscomposition are, no doubt, tooexclusively those in which mystery, entanglement, surprise, and moralobliquity are depended on for exciting interest; but some of the scenes,and at least one of the characters, have beendeemed not unworthy of alittle longer preservation; and as they could hardly be reproduced in afragmentary form the novel is reissued complete--the more readily thatit has for some considerable time been reprintedand widely circulatedin America. January 1889.To the foregoing note I have only to add that, in the present edition of'Desperate Remedies,' some Wessex towns and other places that are commonto the scenes ofseveral of these stories have been called for thefirst time by the names under which they appear elsewhere, for thesatisfaction of any reader who may care for consistency in such matters.This is the only materialchange; for, as it happened that certaincharacteristics which provoked most discussion in my latest story werepresent in this my first--published in 1871, when there was no Frenchname for them it has seemed best tolet them stand unaltered.T.H. February 1896.I. THE EVENTS OF THIRTY YEARS1. DECEMBER AND JANUARY, 1835-36In the long and intricately inwrought chain of circumstance whichrenders worthy of record someexperiences of Cytherea Graye, EdwardSpringrove, and others, the first event directly influencing the issuewas a Christmas visit.In the above-mentioned year, 1835, Ambrose Graye, a young architect whohad justbegun the practice of his profession in the midland town ofHocbridge, to the north of Christminster, went to London to spend theChristmas holidays with a friend who lived in Bloomsbury. They hadgone up to Cambridgein the same year, and, after graduating together,Huntway, the friend, had taken orders.Graye was handsome, frank, and gentle. He had a quality of thoughtwhich, exercised on homeliness, was humour; on nature,picturesqueness;on abstractions, poetry. Being, as a rule, broadcast, it was all three.Of the wickedness of the world he was too forgetful. To discover evil ina new friend is to most people only an additional experience:to him itwas ever a surprise.While in London he became acquainted with a retired officer in theNavy named Bradleigh, who, with his wife and their daughter, lived ina street not far from Russell Square. Though theywere in no more thancomfortable circumstances, the captain's wife came of an ancient familywhose genealogical tree was interlaced with some of the most illustriousand well-known in the kingdom.The young lady, theirdaughter, seemed to Graye by far the mostbeautiful and queenly being he had ever beheld. She was about nineteenor twenty, and her name was Cytherea. In truth she was not so veryunlike country girls of that type ofbeauty, except in one respect.She was perfect in her manner and bearing, and they were not. A meredistinguishing peculiarity, by catching the eye, is often read asthe pervading characteristic, and she appeared to himno less thanperfection throughout--transcending her rural rivals in very nature.Graye did a thing the blissfulness of which was only eclipsed by itshazardousness. He loved her at first sight.His introductions had led himinto contact with Cytherea and her parentstwo or three times on the first week of his arrival in London, andaccident and a lover's contrivance brought them together as frequentlythe week following. The parents likedyoung Graye, and having fewfriends (for their equals in blood were their superiors in position), hewas received on very generous terms. His passion for Cytherea grew notonly strong, but ineffably exalted: she, withoutpositively encouraginghim, tacitly assented to his schemes for being near her. Her father andmother seemed to have lost all confidence in nobility of birth, withoutmoney to give effect to its presence, and looked uponthe buddingconsequence of the young people's reciprocal glances with placidity, ifnot actual favour.Graye's whole impassioned dream terminated in a sad and unaccountableepisode. After passing through three weeksof sweet experience, he hadarrived at the last stage--a kind of moral Gaza--before plunging into anemotional desert. The second week in January had come round, and it wasnecessary for the young architect to leavetown.Throughout his acquaintanceship with the lady of his heart there hadbeen this marked peculiarity in her love: she had delighted in hispresence as a sweetheart should do, yet from first to last she hadrepressed allrecognition of the true nature of the thread whichdrew them together, blinding herself to its meaning and only naturaltendency, and appearing to dread his announcement of them. The presentseemed enough for herwithout cumulative hope: usually, even if love isin itself an end, it must be regarded as a beginning to be enjoyed.In spite of evasions as an obstacle, and in consequence of them as aspur, he would put the matter offno longer. It was evening. He tookher into a little conservatory on the landing, and there among theevergreens, by the light of a few tiny lamps, infinitely enhancing thefreshness and beauty of the leaves, he made thedeclaration of a love asfresh and beautiful as they.'My love--my darling, be my wife!'She seemed like one just awakened. 'Ah--we must part now!' she faltered,in a voice of anguish. 'I will write to you.' She loosened herhand andrushed away.In a wild fever Graye went home and watched for the next morning. Whoshall express his misery and wonder when a note containing these wordswas put into his hand?'Good-bye; good-bye forever. As recognized lovers something divides useternally. Forgive me--I should have told you before; but your love wassweet! Never mention me.'That very day, and as it seemed, to put an end to a painful conditionofthings, daughter and parents left London to pay off a promised visit toa relative in a western county. No message or letter of entreaty couldwring from her any explanation. She begged him not to follow her, andthemost bewildering point was that her father and mother appeared, fromthe tone of a letter Graye received from them, as vexed and sad as heat this sudden renunciation. One thing was plain: without admittingherreason as valid, they knew what that reason was, and did not intend toreveal it.A week from that day Ambrose Graye left his friend Huntway's houseand saw no more of the Love he mourned. From time to time hisfriendanswered any inquiry Graye made by letter respecting her. But very poorfood to a lover is intelligence of a mistress filtered through a friend.Huntway could tell nothing definitely. He said he believed there hadbeensome prior flirtation between Cytherea and her cousin, an officerof the line, two or three years before Graye met her, which had suddenlybeen terminated by the cousin's departure for India, and the younglady'stravelling on the Continent with her parents the whole of theensuing summer, on account of delicate health. Eventually Huntway saidthat circumstances had rendered Graye's attachment more hopeless still.Cytherea'smother had unexpectedly inherited a large fortune and estatesin the west of England by the rapid fall of some intervening lives. Thishad caused their removal from the small house in Bloomsbury, and, as itappeared, arenunciation of their old friends in that quarter.Young Graye concluded that his Cytherea had forgotten him and his love.But he could not forget her.2. FROM 1843 TO 1861Eight years later, feeling lonely anddepressed--a man withoutrelatives, with many acquaintances but no friends--Ambrose Graye meta young lady of a different kind, fairly endowed with money and goodgifts. As to caring very deeply for another womanafter the loss ofCytherea, it was an absolute impossibility with him. With all, thebeautiful things of the earth become more dear as they elude pursuit;but with some natures utter elusion is the one special event whichwillmake a passing love permanent for ever.This second young lady and Graye were married. That he did not, firstor last, love his wife as he should have done, was known to all; butfew knew that his unmanageableheart could never be weaned from uselessrepining at the loss of its first idol.His character to some extent deteriorated, as emotional constitutionswill under the long sense of disappointment at having missedtheirimagined destiny. And thus, though naturally of a gentle and pleasantdisposition, he grew to be not so tenderly regarded by his acquaintancesas it is the lot of some of those persons to be. The winning andsanguinereceptivity of his early life developed by degrees a moodynervousness, and when not picturing prospects drawn from baseless hopehe was the victim of indescribable depression. The practical issue ofsuch a conditionwas improvidence, originally almost an unconsciousimprovidence, for every debt incurred had been mentally paid off with areligious exactness from the treasures of expectation before mentioned.But as years revolved,the same course was continued from the lack ofspirit sufficient for shifting out of an old groove when it has beenfound to lead to disaster.In the year 1861 his wife died, leaving him a widower with two children.Theelder, a son named Owen, now just turned seventeen, was taken fromschool, and initiated as pupil to the profession of architect in hisfather's office. The remaining child was a daughter, and Owen's juniorby a year.Herchristian name was Cytherea, and it is easy to guess why.3. OCTOBER THE TWELFTH, 1863We pass over two years in order to reach the next cardinal event ofthese persons' lives. The scene is still the Grayes' nativetown ofHocbridge, but as it appeared on a Monday afternoon in the month ofOctober.The weather was sunny and dry, but the ancient borough was to be seenwearing one of its least attractive aspects. First on accountof thetime. It was that stagnant hour of the twenty-four when the practicalgarishness of Day, having escaped from the fresh long shadows andenlivening newness of the morning, has not yet made anyperceptibleadvance towards acquiring those mellow and soothing tones which graceits decline. Next, it was that stage in the progress of the week whenbusiness--which, carried on under the gables of an old countryplace,is not devoid of a romantic sparkle--was well-nigh extinguished. Lastly,the town was intentionally bent upon being attractive by exhibitingto an influx of visitors the local talent for dramatic recitation, andprovincialtowns trying to be lively are the dullest of dull things.Little towns are like little children in this respect, that theyinterest most when they are enacting native peculiarities unconsciousof beholders. Discovering themselvesto be watched they attempt tobe entertaining by putting on an antic, and produce disagreeablecaricatures which spoil them.The weather-stained clock-face in the low church tower standing at theintersection of thethree chief streets was expressing half-past twoto the Town Hall opposite, where the much talked-of reading fromShakespeare was about to begin. The doors were open, and those personswho had already assembledwithin the building were noticing the entranceof the new-comers--silently criticizing their dress--questioning thegenuineness of their teeth and hair--estimating their private means.Among these later ones came anexceptional young maiden who glowed amidthe dulness like a single bright-red poppy in a field of brown stubble.She wore an elegant dark jacket, lavender dress, hat with grey stringsand trimmings, and gloves of acolour to harmonize. She lightly walkedup the side passage of the room, cast a slight glance around, andentered the seat pointed out to her.The young girl was Cytherea Graye; her age was now about eighteen.Duringher entry, and at various times whilst sitting in her seat andlistening to the reader on the platform, her personal appearance formedan interesting subject of study for several neighbouring eyes.Her face was exceedinglyattractive, though artistically less perfectthan her figure, which approached unusually near to the standard offaultlessness. But even this feature of hers yielded the palm to thegracefulness of her movement, which wasfascinating and delightful to anextreme degree.Indeed, motion was her speciality, whether shown on its most extendedscale of bodily progression, or minutely, as in the uplifting ofher eyelids, the bending of her fingers,the pouting of her lip. Thecarriage of her head--motion within motion--a glide upon a glide--wasas delicate as that of a magnetic needle. And this flexibility andelasticity had never been taught her by rule, nor even beenacquired byobservation, but, nullo cultu, had naturally developed itself with heryears. In childhood, a stone or stalk in the way, which had been theinevitable occasion of a fall to her playmates, had usually left hersafeand upright on her feet after the narrowest escape by oscillationsand whirls for the preservation of her balance. At mixed Christmasparties, when she numbered but twelve or thirteen years, and washeartily despised onthat account by lads who deemed themselves men, herapt lightness in the dance covered this incompleteness in her womanhood,and compelled the self-same youths in spite of resolutions to seize uponher childishfigure as a partner whom they could not afford to contemn.And in later years, when the instincts of her sex had shown her thispoint as the best and rarest feature in her external self, she was notfound wanting inattention to the cultivation of finish in its details.Her hair rested gaily upon her shoulders in curls and was of a shiningcorn yellow in the high lights, deepening to a definite nut-brown aseach curl wound round into theshade. She had eyes of a sapphire hue,though rather darker than the gem ordinarily appears; they possessedthe affectionate and liquid sparkle of loyalty and good faith asdistinguishable from that harder brightnesswhich seems to expressfaithfulness only to the object confronting them.But to attempt to gain a view of her--or indeed of any fascinatingwoman--from a measured category, is as difficult as to appreciate theeffect of alandscape by exploring it at night with a lantern--or of afull chord of music by piping the notes in succession. Nevertheless itmay readily be believed from the description here ventured, thatamong the many winningphases of her aspect, these were particularlystriking:--  During pleasant doubt, when her eyes brightened stealthily and  smiled (as eyes will smile) as distinctly as her lips, and in the  space of a single instant expressedclearly the whole round of  degrees of expectancy which lie over the wide expanse between Yea  and Nay.  During the telling of a secret, which was involuntarily  accompanied by a sudden minute start, and ecstaticpressure of  the listener's arm, side, or neck, as the position and degree  of intimacy dictated.  When anxiously regarding one who possessed her affections.She suddenly assumed the last-mentioned bearing in theprogress of thepresent entertainment. Her glance was directed out of the window.Why the particulars of a young lady's presence at a very mediocreperformance were prevented from dropping into the oblivion whichtheirintrinsic insignificance would naturally have involved--why they wereremembered and individualized by herself and others through afteryears--was simply that she unknowingly stood, as it were, upon theextremeposterior edge of a tract in her life, in which the realmeaning of Taking Thought had never been known. It was the last hour ofexperience she ever enjoyed with a mind entirely free from a knowledgeof that labyrinthinto which she stepped immediately afterwards--tocontinue a perplexed course along its mazes for the greater portion oftwenty-nine subsequent months.The Town Hall, in which Cytherea sat, was a building of brownstone, andthrough one of the windows could be seen from the interior of the roomthe housetops and chimneys of the adjacent street, and also the upperpart of a neighbouring church spire, now in course of completionunderthe superintendence of Miss Graye's father, the architect to the work.That the top of this spire should be visible from her position in theroom was a fact which Cytherea's idling eyes had discovered withsomeinterest, and she was now engaged in watching the scene that was beingenacted about its airy summit. Round the conical stonework rose a cageof scaffolding against the blue sky, and upon this stood fivemen--fourin clothes as white as the new erection close beneath their hands, thefifth in the ordinary dark suit of a gentleman.The four working-men in white were three masons and a mason's labourer.The fifth man wasthe architect, Mr. Graye. He had been givingdirections as it seemed, and retiring as far as the narrow footwayallowed, stood perfectly still.The picture thus presented to a spectator in the Town Hall was curiousandstriking. It was an illuminated miniature, framed in by the darkmargin of the window, the keen-edged shadiness of which emphasized bycontrast the softness of the objects enclosed.The height of the spire was aboutone hundred and twenty feet, and thefive men engaged thereon seemed entirely removed from the sphere andexperiences of ordinary human beings. They appeared little largerthan pigeons, and made their tinymovements with a soft, spirit-likesilentness. One idea above all others was conveyed to the mind of aperson on the ground by their aspect, namely, concentration of purpose:that they were indifferent to--evenunconscious of--the distracted worldbeneath them, and all that moved upon it. They never looked off thescaffolding.Then one of them turned; it was Mr. Graye. Again he stood motionless,with attention to theoperations of the others. He appeared to be lostin reflection, and had directed his face towards a new stone they werelifting.'Why does he stand like that?' the young lady thought at length--up tothat moment as listlessand careless as one of the ancient Tarentines,who, on such an afternoon as this, watched from the Theatre the entryinto their Harbour of a power that overturned the State.She moved herself uneasily. 'I wish he wouldcome down,' she whispered,still gazing at the skybacked picture. 'It is so dangerous to beabsent-minded up there.'When she had done murmuring the words her father indecisively laid holdof one of the scaffold-poles,as if to test its strength, then let it goand stepped back. In stepping, his foot slipped. An instant of doublingforward and sideways, and he reeled off into the air, immediatelydisappearing downwards.His agonizeddaughter rose to her feet by a convulsive movement. Herlips parted, and she gasped for breath. She could utter no sound. One byone the people about her, unconscious of what had happened, turned theirheads, andinquiry and alarm became visible upon their faces at thesight of the poor child. A moment longer, and she fell to the floor.The next impression of which Cytherea had any consciousness was of beingcarried from astrange vehicle across the pavement to the steps of herown house by her brother and an older man. Recollection of what hadpassed evolved itself an instant later, and just as they entered thedoor--through whichanother and sadder burden had been carried but a fewinstants before--her eyes caught sight of the south-western sky, and,without heeding, saw white sunlight shining in shaft-like lines from arift in a slaty cloud."}
+{"doc_id":"doc_116","qid":"","text":"<html><head><title>Men in Black 3 Script at IMSDb.</title><meta name=\"description\" content=\"Men in Black 3 script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Men in Black 3script, Men in Black 3 movie script, Men in Black 3 film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX,FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                                   MEN IN BLACK 3 </b>                                     Written by                           Etan Cohen & LowellCunningham<b>          CLOSE ON A PAIR OF MIRROR AVIATOR SUNGLASSES</b>          Standard issue throughout the south to abusive, racist prison          guards.          Widen to reveal that, indeed, these glassesare on the          sneering face of just such a man.          We follow the guard<b>          DOWN A DINGY PRISON HALLWAY</b>          Paint peeling off the rusty bars. Somewhere, someone is          playing harmonica.Prisoners yell complaints as he passes.          He meets them all with--<b>                         GUARD</b>          Shut up, convict! Get yer hands          off the bars!          The guard passes through several levels ofsecurity doors,          deeper and deeper into the more secure bowels of the prison --          home of the scum of the scum.          Meanwhile...<b>          PRISON VISITING ROOM</b>          The lazy-ass guards incharge of screening visitors read          magazines, watch TV. Footsteps -- someone's here. Which          pisses them off, because that means they actually have to do          their jobs.          The unseen visitor buzzesfor help. They take their time          getting off their asses. When they finally look up, their          gaze becomes a leer. Follow it to:          DEVIL GIRL, the visitor. Too tall, too muscled, but hot if          you're into thatkind of thing -- an R. Crumb drawing come to          life.          She holds a CAKE -- the cutest, perfectly-frosted pink cake          right off the cover of the Betty Crocker cookbook.<b>                         GUARD2</b>          Lookie here. Yaz's visitor. I          guess even a turd gets flies to          land on it.<b>                         GUARD 3</b>          Me, I like a biggirl.                                                                                                    <b>          2.</b>          They smirk, hoping for a reaction. Devil girl emits a low,          sinister growl like an angry Doberman... The guardslook at          each other and GET DOWN TO BUSINESS:<b>                         GUARD 2</b>          I.D., visitation papers.<b>          BACK DOWN THE HALLWAY WITH THE GUARD</b>          He reaches the end of thehallway. The biggest, most          absurdly-reinforced double security door. He punches in a          code.          The giant door retracts -- its immense weight has it          squeaking and groaning the whole way.Whoever's behind this          thing must've done something REAL bad.<b>          WITH DEVIL GIRL</b>          Going through the metal detectors, waved over with security          wands. The guards are being thorough.Maybe more thorough          than they need to be. They check everything -- even the          cake. The digital readout tells them NO METAL DETECTED.<b>                         GUARD 3</b>          She's clean. Well, notCLEAN, but          you know.          They laugh, buzz her through.<b>          WITH THE GUARD</b>          The giant door finally opens, he continues to the end of the          hallway. Stops in front of a cell. Yellsin:<b>                         GUARD</b>          Hey, Yaz! You got a visitor.          Let's go, pretty boy.<b>                         VISITING ROOM</b>          Spare. Just a table and chairs in the middle -- poured          concrete.Nothing a convict could, say, smash into the face          of a guard.          The perimeter of the room is lined with armed guards -- looks          like they're not takingchances.                                                                                                    <b>          3.</b>          At the lone table -- Devil Girl waits with her cake. She          hears the door open -- her face lights up as IN STEPSHER<b>                         BELOVED --</b>          YAZ, an evil hippie/biker badass right out of Easy Rider. A          huge mane of hair, a big handlebar moustache that frames a          grubby unshavenface...          Everything about him seems strangely independently alive --          every strand of hair, every fringe on his dirty jacket -- the          way Elvis was in his prime.          He wears a distinctive SKULL PINKIERING. A smirk plays on          his mouth that says -- I'm smarter than you, asshole.          The guards escort Yaz, who can barely walk in his CHAINS and          MANACLES. They dump him into one of the chairs. DevilGirl          jumps up, they lock in a kiss -- it goes on too long.          A guard pokes them with his billy club --<b>                         GUARD 2</b>          This ain't a conjugal visit.          quit yerconjugating.<b>                         YAZ</b>          When's the last time you conjugated          anything?<b>                         DEVIL GIRL</b>          I brought you a cake.<b>                         YAZ</b>          Thanks,darling.<b>                         (TO GUARDS)</b>          Hey could you cut this up for us?          It's our anniversary. I'm romantic          like that.          A guard picks up the cake. Smirks and takes a dirtythree-          fingered scoop of frosting.<b>                         GUARD 2</b><b>                         (MOUTH FULL)</b>          Not great. She must.be good at          somethin' else.          They all LAUGH. He goes back foranother scoop.<b>                         YAZ</b>          I wouldn't do that.<b>                         GUARD 2</b>          Why's that,convict?                                                                                                    <b>          4.</b><b>                         GUARD POV:</b>          Where he scraped away the frosting, REVEAL A HORRIBLEALIEN<b>                         MOUTH</b><b>                         GUARD 2 (CONT'D)</b><b>                         WHAT TH--</b>          But in a flash, the mouth SPRINGS OUT -- IT BELONGS TO A          VORACIOUSALIEN -- another springs out behind it -- they          consume the guard's entire face.<b>                         YAZ</b>          That's why.          The aliens jump into Yaz's hands like a matching pair of          grotesqueORGANIC SIDEARMS -- as vicious and bloodthirsty as          their master, snarling and hungry for blood.          The guards draw their weapons, but YAZ IS FASTER.-- he          launches his aliens, taking them allout.          Yaz \"holsters\" the aliens and...<b>          THE PRISON BREAK IS ON!!</b>          One guard, badly wounded, crawls to SOUND THE ALARM          In the reflection of a pair of blood-spatteredaviator          glasses -- Devil Girl puts the guard down with his own          weapon.          She uses one of the cake-aliens like a saw to get Yaz out of          his chains.<b>                         YAZ</b>          There'snothing sexier than a girl          killing for me.          She runs a hand over his bicep.<b>                         DEVIL GIRL</b>          You got so strong in prison.          Yaz notices the almost-deadguard:<b>                         YAZ</b>          I'm not just a man of brute force,          you know. I prefer to be known for          my rapier wit--          His tongue SHOOTS OUT OF HIS MOUTH -- like a rapier--          impaling the guard--                                                                                                    <b>          5.</b><b>                         YAZ (CONT'D)</b>          --and tongue.          The tongue retracts -- he andDevil Girl KISS.          They collect weapons off the guards and use the aliens to saw          open the door.<b>          YAZ AND DEVIL GIRL ESCAPE</b>          Prisoners go nuts, guards scramble -- smoke,screaming,          chaos.          Yaz and Devil Girl, armed with weapons they took off the dead          guards, BLAST THEIR WAY OUT.          He's a sociopathic badass... and she's no slouch either.           Along the way,Yaz shoots the door off the armory and grabs          an armload of weapons -- Shotguns, pistols, and a Rocket-          Propelled grenade (RPG).          He uses and discards them as he goes.          They head for thefront gate and FREEDOM...          But..          They turn the corner and find 50 GUARDS in FULL RIOT GEAR --          Plexiglass shields, helmets, shotguns -- all aimed at Yaz.          All Yaz has left is hisRPG.<b>          GUARD ON MEGAPHONE</b>          Give it up, Yaz! There's no way          out!          A beat of stand-off -- Yaz and Devil girl facing off against          the 50 Guards... No one blinking...          Prisoners.watching... what's gonna go down?<b>                         GUARD</b>          You can't win. You've only got one          shot in there!          Yaz lets the tension linger -- he seems to enjoy it. The          guards SWELTERin their heavy riot gear.<b>                         YAZ</b>          You look hot. Mind if I open a          window?                                                                                                    <b>          6.</b>          The guardsshare a look - huh?? Yaz grins, turns his RPG          towards the wall behind the guards. The guards' faces go<b>          WIDE WITH TERROR.</b><b>                         GUARD</b>          Hey! Whoa! What are youdoing?          Don't do that!<b>          SLAM!</b>          Yaz blasts a hole in the wall -- the guards are IMMEDIATELY          SUCKED OUT like from a hole blown in an airplane.          What the...?          Yaz stepsthrough the hole.<b>                         ON YAZ</b>          As he and Devil girl step through the hole, take a deep,          satisfied breath of FREEDOM.          Reveal we are on...<b>          THE SURFACE OF THEMOON</b>          The signage on the prison reads INTERGALACTIC DEPARTMENT OF<b>          CORRECTIONS, LUNAR DIVISION</b>          Yaz looks up at the BLUE MARBLE OF EARTH, smiles.          As Yaz fixes hisgaze on our planet, his hair, his fringes          INDEPENDENTLY ARTICULATE YAZ'S MALEVOLENT EMOTIONS... they          also seem drawn here. Like bees, they express acollective          intelligence.<b>                         YAZ</b>          I'm coming for you...          Following Yaz's gaze to the Earth, we launch into...<b>                         CREDITS</b>          MiB credits fly us through theGalaxy.          Ending on a PARTICULARLY INHOSPITABLE LOOKING PLANET          As it revolves, we observe its strange craters and surface,          where steaming fissures belch geysers of noxiousgases...                                                                                                    <b>                         7</b><b>          KAY'S VOICE (V.0.)</b>          When you really think about it, the          universe is a pretty awfulplace.          Full of danger, brutality, and ten          million kinds of scum. So the          trick is to find one or two things          that make life in this cesspool          worth living.          And reveal we are actually lookingat...<b>                         PEKING DUCK</b>          Rotating on a spit.          JAY and KAY watch this awful duck rotate.<b>                         JAY</b>          That? That nasty, greasy thing          makes your life worthliving?          There's people eating here, younger          than that duck.<b>                         KAY</b>          I was talking about the noodles.          Best noodles in town.          And we are in<b>          INT. CHINESERESTAURANT - CHINATOWN, NYC - NIGHT</b>          Tanks everywhere filled with strange fish. An eclectic NY          crowd eats -- Wall Street guys, hipsters, a Chinese family or          two, a couple of NYU professortypes who love the          \"authenticity\" of this place.          KAY flashes a badge to the OWNER, Chinese.<b>                         KAY</b>          Good evening, Mr. Wu.<b>          MR. WU</b>          (heavily accented,"}
+{"doc_id":"doc_117","qid":"","text":"The Project Gutenberg EBook of Youth, by Joseph ConradThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it under the termsof the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: YouthAuthor: Joseph ConradRelease Date: May 1996 [EBook #525]Posting Date: June 18, 2009Language: English***START OF THIS PROJECT GUTENBERG EBOOK YOUTH ***Produced by Judith Boss and David WidgerYOUTHA NARRATIVEBy Joseph Conrad  \"... But the Dwarf answered: No; something human is dearer to me  than thewealth of all the world.\" GRIMM'S TALES.TO MY WIFEYOUTHThis could have occurred nowhere but in England, where men and seainterpenetrate, so to speak--the sea entering into the life of most men,and the menknowing something or everything about the sea, in the way ofamusement, of travel, or of bread-winning.We were sitting round a mahogany table that reflected the bottle, theclaret-glasses, and our faces as we leanedon our elbows. There was adirector of companies, an accountant, a lawyer, Marlow, and myself. Thedirector had been a _Conway_ boy, the accountant had served four years atsea, the lawyer--a fine crusted Tory, HighChurchman, the best of oldfellows, the soul of honour--had been chief officer in the P. & O.service in the good old days when mail-boats were square-rigged at leaston two masts, and used to come down the China Seabefore a fair monsoonwith stun'-sails set alow and aloft. We all began life in the merchantservice. Between the five of us there was the strong bond of the sea,and also the fellowship of the craft, which no amount ofenthusiasm foryachting, cruising, and so on can give, since one is only the amusementof life and the other is life itself.Marlow (at least I think that is how he spelt his name) told the story,or rather the chronicle, of avoyage:\"Yes, I have seen a little of the Eastern seas; but what I remember bestis my first voyage there. You fellows know there are those voyages thatseem ordered for the illustration of life, that might stand for asymbolof existence. You fight, work, sweat, nearly kill yourself, sometimes dokill yourself, trying to accomplish something--and you can't. Notfrom any fault of yours. You simply can do nothing, neither greatnorlittle--not a thing in the world--not even marry an old maid, or get awretched 600-ton cargo of coal to its port of destination.\"It was altogether a memorable affair. It was my first voyage to theEast, and my firstvoyage as second mate; it was also my skipper's firstcommand. You'll admit it was time. He was sixty if a day; a little man,with a broad, not very straight back, with bowed shoulders and one legmore bandy than theother, he had that queer twisted-about appearanceyou see so often in men who work in the fields. He had a nut-crackerface--chin and nose trying to come together over a sunken mouth--and itwas framed in iron-greyfluffy hair, that looked like a chin strap ofcotton-wool sprinkled with coal-dust. And he had blue eyes in thatold face of his, which were amazingly like a boy's, with that candidexpression some quite common menpreserve to the end of their days bya rare internal gift of simplicity of heart and rectitude of soul.What induced him to accept me was a wonder. I had come out of a crackAustralian clipper, where I had been third officer,and he seemed tohave a prejudice against crack clippers as aristocratic and high-toned.He said to me, 'You know, in this ship you will have to work.' I saidI had to work in every ship I had ever been in. 'Ah, but thisisdifferent, and you gentlemen out of them big ships;... but there! Idare say you will do. Join to-morrow.'\"I joined to-morrow. It was twenty-two years ago; and I was just twenty.How time passes! It was one of thehappiest days of my life. Fancy!Second mate for the first time--a really responsible officer! I wouldn'thave thrown up my new billet for a fortune. The mate looked me overcarefully. He was also an old chap, but ofanother stamp. He had a Romannose, a snow-white, long beard, and his name was Mahon, but he insistedthat it should be pronounced Mann. He was well connected; yet there wassomething wrong with his luck, and hehad never got on.\"As to the captain, he had been for years in coasters, then in theMediterranean, and last in the West Indian trade. He had never beenround the Capes. He could just write a kind of sketchy hand, anddidn'tcare for writing at all. Both were thorough good seamen of course,and between those two old chaps I felt like a small boy between twograndfathers.\"The ship also was old. Her name was the _Judea_. Queer name,isn't it?She belonged to a man Wilmer, Wilcox--some name like that; but he hasbeen bankrupt and dead these twenty years or more, and his name don'tmatter. She had been laid up in Shadwell basin for ever so long.You mayimagine her state. She was all rust, dust, grime--soot aloft, dirt ondeck. To me it was like coming out of a palace into a ruined cottage.She was about 400 tons, had a primitive windlass, wooden latches tothedoors, not a bit of brass about her, and a big square stern. There wason it, below her name in big letters, a lot of scroll work, with thegilt off, and some sort of a coat of arms, with the motto 'Do or Die'underneath. Iremember it took my fancy immensely. There was a touch ofromance in it, something that made me love the old thing--something thatappealed to my youth!\"We left London in ballast--sand ballast--to load a cargo ofcoal in anorthern port for Bankok. Bankok! I thrilled. I had been six years atsea, but had only seen Melbourne and Sydney, very good places, charmingplaces in their way--but Bankok!\"We worked out of the Thamesunder canvas, with a North Sea pilot onboard. His name was Jermyn, and he dodged all day long about the galleydrying his handkerchief before the stove. Apparently he never slept.He was a dismal man, with aperpetual tear sparkling at the end of hisnose, who either had been in trouble, or was in trouble, or expectedto be in trouble--couldn't be happy unless something went wrong. Hemistrusted my youth, mycommon-sense, and my seamanship, and made apoint of showing it in a hundred little ways. I dare say he was right.It seems to me I knew very little then, and I know not much more now;but I cherish a hate for thatJermyn to this day.\"We were a week working up as far as Yarmouth Roads, and then we gotinto a gale--the famous October gale of twenty-two years ago. It waswind, lightning, sleet, snow, and a terrific sea. We wereflying light,and you may imagine how bad it was when I tell you we had smashedbulwarks and a flooded deck. On the second night she shifted her ballastinto the lee bow, and by that time we had been blown offsomewhere onthe Dogger Bank. There was nothing for it but go below with shovels andtry to right her, and there we were in that vast hold, gloomy like acavern, the tallow dips stuck and flickering on the beams, thegalehowling above, the ship tossing about like mad on her side; there weall were, Jermyn, the captain, everyone, hardly able to keep our feet,engaged on that gravedigger's work, and trying to toss shovelfuls ofwetsand up to windward. At every tumble of the ship you could see vaguelyin the dim light men falling down with a great flourish of shovels.One of the ship's boys (we had two), impressed by the weirdness of thescene,wept as if his heart would break. We could hear him blubberingsomewhere in the shadows.\"On the third day the gale died out, and by-and-by a north-country tugpicked us up. We took sixteen days in all to get fromLondon to theTyne! When we got into dock we had lost our turn for loading, and theyhauled us off to a tier where we remained for a month. Mrs. Beard (thecaptain's name was Beard) came from Colchester to see theold man. Shelived on board. The crew of runners had left, and there remained onlythe officers, one boy, and the steward, a mulatto who answered to thename of Abraham. Mrs. Beard was an old woman, with a face allwrinkledand ruddy like a winter apple, and the figure of a young girl. Shecaught sight of me once, sewing on a button, and insisted on having myshirts to repair. This was something different from the captains' wivesIhad known on board crack clippers. When I brought her the shirts, shesaid: 'And the socks? They want mending, I am sure, and John's--CaptainBeard's--things are all in order now. I would be glad of something todo.'Bless the old woman! She overhauled my outfit for me, and meantimeI read for the first time _Sartor Resartus_ and Burnaby's _Ride toKhiva_. I didn't understand much of the first then; but I remember Ipreferred thesoldier to the philosopher at the time; a preferencewhich life has only confirmed. One was a man, and the other was eithermore--or less. However, they are both dead, and Mrs. Beard is dead, andyouth, strength,genius, thoughts, achievements, simple hearts--all dies.... No matter.\"They loaded us at last. We shipped a crew. Eight able seamen and twoboys. We hauled off one evening to the buoys at the dock-gates, ready togoout, and with a fair prospect of beginning the voyage next day. Mrs.Beard was to start for home by a late train. When the ship was fastwe went to tea. We sat rather silent through the meal--Mahon, the oldcouple, andI. I finished first, and slipped away for a smoke, my cabinbeing in a deck-house just against the poop. It was high water, blowingfresh with a drizzle; the double dock-gates were opened, and the steamcolliers weregoing in and out in the darkness with their lights burningbright, a great plashing of propellers, rattling of winches, and a lotof hailing on the pier-heads. I watched the procession of head-lightsgliding high and of greenlights gliding low in the night, when suddenlya red gleam flashed at me, vanished, came into view again, and remained.The fore-end of a steamer loomed up close. I shouted down the cabin,'Come up, quick!' and thenheard a startled voice saying afar in thedark, 'Stop her, sir.' A bell jingled. Another voice cried warningly,'We are going right into that barque, sir.' The answer to this was agruff 'All right,' and the next thing was a heavycrash as the steamerstruck a glancing blow with the bluff of her bow about our fore-rigging.There was a moment of confusion, yelling, and running about. Steamroared. Then somebody was heard saying, 'All clear,sir.'... 'Areyou all right?' asked the gruff voice. I had jumped forward to see thedamage, and hailed back, 'I think so.' 'Easy astern,' said the gruffvoice. A bell jingled. 'What steamer is that?' screamed Mahon. Bythattime she was no more to us than a bulky shadow maneuvering a littleway off. They shouted at us some name--a woman's name, Miranda orMelissa--or some such thing. 'This means another month in thisbeastlyhole,' said Mahon to me, as we peered with lamps about the splinteredbulwarks and broken braces. 'But where's the captain?'\"We had not heard or seen anything of him all that time. We went aft tolook. A dolefulvoice arose hailing somewhere in the middle of the dock,'_Judea_ ahoy!'... How the devil did he get there?... 'Hallo!' weshouted. 'I am adrift in our boat without oars,' he cried. A belatedwaterman offered his services,and Mahon struck a bargain with him forhalf-a-crown to tow our skipper alongside; but it was Mrs. Beard thatcame up the ladder first. They had been floating about the dock in thatmizzly cold rain for nearly an hour. Iwas never so surprised in mylife.\"It appears that when he heard my shout 'Come up,' he understood at oncewhat was the matter, caught up his wife, ran on deck, and across,and down into our boat, which was fast tothe ladder. Not bad for asixty-year-old. Just imagine that old fellow saving heroically in hisarms that old woman--the woman of his life. He set her down on a thwart,and was ready to climb back on board when thepainter came adriftsomehow, and away they went together. Of course in the confusion wedid not hear him shouting. He looked abashed. She said cheerfully, 'Isuppose it does not matter my losing the train now?' 'No,Jenny--you gobelow and get warm,' he growled. Then to us: 'A sailor has no businesswith a wife--I say. There I was, out of the ship. Well, no harm donethis time. Let's go and look at what that fool of a steamersmashed.'\"It wasn't much, but it delayed us three weeks. At the end of that time,the captain being engaged with his agents, I carried Mrs. Beard's bag tothe railway-station and put her all comfy into a third-classcarriage.She lowered the window to say, 'You are a good young man. If you seeJohn--Captain Beard--without his muffler at night, just remind him fromme to keep his throat well wrapped up.' 'Certainly, Mrs. Beard,' Isaid.'You are a good young man; I noticed how attentive you are to John--toCaptain--' The train pulled out suddenly; I took my cap off to the oldwoman: I never saw her again... Pass the bottle.\"We went to sea nextday. When we made that start for Bankok we had beenalready three months out of London. We had expected to be a fortnight orso--at the outside.\"It was January, and the weather was beautiful--the beautifulsunnywinter weather that has more charm than in the summer-time, because itis unexpected, and crisp, and you know it won't, it can't, last long.It's like a windfall, like a godsend, like an unexpected piece of luck.\"Itlasted all down the North Sea, all down Channel; and it lasted tillwe were three hundred miles or so to the westward of the Lizards: thenthe wind went round to the sou'west and began to pipe up. In two days itblew agale. The _Judea_, hove to, wallowed on the Atlantic like an oldcandlebox. It blew day after day: it blew with spite, without interval,without mercy, without rest. The world was nothing but an immensity ofgreat foamingwaves rushing at us, under a sky low enough to touchwith the hand and dirty like a smoked ceiling. In the stormy spacesurrounding us there was as much flying spray as air. Day after day andnight after night there wasnothing round the ship but the howl of thewind, the tumult of the sea, the noise of water pouring over her deck.There was no rest for her and no rest for us. She tossed, she pitched,she stood on her head, she sat onher tail, she rolled, she groaned, andwe had to hold on while on deck and cling to our bunks when below, in aconstant effort of body and worry of mind.\"One night Mahon spoke through the small window of my berth. Itopenedright into my very bed, and I was lying there sleepless, in my boots,feeling as though I had not slept for years, and could not if I tried.He said excitedly--\"'You got the sounding-rod in here, Marlow? I can't getthe pumps tosuck. By God! it's no child's play.'\"I gave him the sounding-rod and lay down again, trying to think ofvarious things--but I thought only of the pumps. When I came on deckthey were still at it, and mywatch relieved at the pumps. By the lightof the lantern brought on deck to examine the sounding-rod I caught aglimpse of their weary, serious faces. We pumped all the four hours.We pumped all night, all day, all theweek,--watch and watch. She wasworking herself loose, and leaked badly--not enough to drown us at once,but enough to kill us with the work at the pumps. And while we pumpedthe ship was going from us piecemeal:the bulwarks went, the stanchionswere torn out, the ventilators smashed, the cabin-door burst in. Therewas not a dry spot in the ship. She was being gutted bit by bit. Thelong-boat changed, as if by magic, intomatchwood where she stood in hergripes. I had lashed her myself, and was rather proud of my handiwork,which had withstood so long the malice of the sea. And we pumped. Andthere was no break in the weather. Thesea was white like a sheet offoam, like a caldron of boiling milk; there was not a break in theclouds, no--not the size of a man's hand--no, not for so much as tenseconds. There was for us no sky, there were for us nostars, no sun,no universe--nothing but angry clouds and an infuriated sea. We pumpedwatch and watch, for dear life; and it seemed to last for months, foryears, for all eternity, as though we had been dead and gone toa hellfor sailors. We forgot the day of the week, the name of the month, whatyear it was, and whether we had ever been ashore. The sails blew away,she lay broadside on under a weather-cloth, the ocean pouredoverher, and we did not care. We turned those handles, and had the eyes ofidiots. As soon as we had crawled on deck I used to take a round turnwith a rope about the men, the pumps, and the mainmast, and weturned,we turned incessantly, with the water to our waists, to our necks, overour heads. It was all one. We had forgotten how it felt to be dry.\"And there was somewhere in me the thought: By Jove! this is the deuceofan adventure--something you read about; and it is my first voyage assecond mate--and I am only twenty--and here I am lasting it out as wellas any of these men, and keeping my chaps up to the mark. I was pleased.Iwould not have given up the experience for worlds. I had moments ofexultation. Whenever the old dismantled craft pitched heavily with hercounter high in the air, she seemed to me to throw up, like an appeal,like adefiance, like a cry to the clouds without mercy, the wordswritten on her stern: '_Judea_, London. Do or Die.'\"O youth! The strength of it, the faith of it, the imagination of it! Tome she was not an old rattle-trap cartingabout the world a lot of coalfor a freight--to me she was the endeavour, the test, the trial of life.I think of her with pleasure, with affection, with regret--as you wouldthink of someone dead you have loved. I shall neverforget her....Pass the bottle.\"One night when tied to the mast, as I explained, we were pumpingon, deafened with the wind, and without spirit enough in us to wishourselves dead, a heavy sea crashed aboard and sweptclean over us. Assoon as I got my breath I shouted, as in duty bound, 'Keep on, boys!'when suddenly I felt something hard floating on deck strike the calf ofmy leg. I made a grab at it and missed. It was so dark wecould not seeeach other's faces within a foot--you understand.\"After that thump the ship kept quiet for a while, and the thing,whatever it was, struck my leg again. This time I caught it--and it wasa saucepan. At first,being stupid with fatigue and thinking of nothingbut the pumps, I did not understand what I had in my hand. Suddenly itdawned upon me, and I shouted, 'Boys, the house on deck is gone. Leavethis, and let's look forthe cook.'\"There was a deck-house forward, which contained the galley, the cook'sberth, and the quarters of the crew. As we had expected for days to seeit swept away, the hands had been ordered to sleep in thecabin--theonly safe place in the ship. The steward, Abraham, however, persistedin clinging to his berth, stupidly, like a mule--from sheer frightI believe, like an animal that won't leave a stable falling in anearthquake.So we went to look for him. It was chancing death, sinceonce out of our lashings we were as exposed as if on a raft. But wewent. The house was shattered as if a shell had exploded inside. Mostof it had goneoverboard--stove, men's quarters, and their property,all was gone; but two posts, holding a portion of the bulkhead to whichAbraham's bunk was attached, remained as if by a miracle. We groped inthe ruins and cameupon this, and there he was, sitting in his bunk,surrounded by foam and wreckage, jabbering cheerfully to himself. Hewas out of his mind; completely and for ever mad, with this sudden shockcoming upon the fag-endof his endurance. We snatched him up, lugged himaft, and pitched him head-first down the cabin companion. You understandthere was no time to carry him down with infinite precautions and waitto see how he got on.Those below would pick him up at the bottom ofthe stairs all right. We were in a hurry to go back to the pumps. Thatbusiness could not wait. A bad leak is an inhuman thing.\"One would think that the sole purpose ofthat fiendish gale had been tomake a lunatic of that poor devil of a mulatto. It eased before morning,and next day the sky cleared, and as the sea went down the leak took up.When it came to bending a fresh set of sailsthe crew demanded to putback--and really there was nothing else to do. Boats gone, decks sweptclean, cabin gutted, men without a stitch but what they stood in, storesspoiled, ship strained. We put her head for home,and--would you believeit? The wind came east right in our teeth. It blew fresh, it blewcontinuously. We had to beat up every inch of the way, but she didnot leak so badly, the water keeping comparatively smooth. Twohours'pumping in every four is no joke--but it kept her afloat as far asFalmouth.\"The good people there live on casualties of the sea, and no doubt wereglad to see us. A hungry crowd of shipwrights sharpened theirchiselsat the sight of that carcass of a ship. And, by Jove! they had prettypickings off us before they were done. I fancy the owner was already ina tight place. There were delays. Then it was decided to take partof the"}
+{"doc_id":"doc_118","qid":"","text":"The Project Gutenberg eBook, The Way of the World, by William CongreveThis eBook is for the use of anyone anywhere in the United States and mostother parts of the world at no cost and with almost no restrictionswhatsoever.  You may copy it, give it away or re-use it under the terms ofthe Project Gutenberg License included with this eBook or online at www.gutenberg.org.  If you are not located in the United States, you'llhaveto check the laws of the country where you are located before using this ebook.Title: The Way of the World       A ComedyAuthor: William CongreveRelease Date: January 25, 2015  [eBook #1292][This file was firstposted on March 26, 1998]Language: EnglishCharacter set encoding: UTF-8***START OF THE PROJECT GUTENBERG EBOOK THE WAY OF THE WORLD***Transcribed from the 1895 Methuen & Co. edition (_Comediesof WilliamCongreve_, _Volume_ 2) by David Price, email ccx074@pglaf.org                           THE WAY OF THE WORLD                                 A COMEDY    _Audire est operæ pretium_, _procedere recte_    _Quimæchis non vultis_.â\u0000\u0000HOR. _Sat._ i. 2, 37.    â\u0000\u0000_Metuat doti deprensa_.â\u0000\u0000_Ibid_.TO THE RIGHT HONOURABLERALPH, EARL OF MOUNTAGUE, ETC.MY LORD,â\u0000\u0000Whether the world will arraign me of vanity ornot, that I havepresumed to dedicate this comedy to your lordship, I am yet in doubt;though, it may be, it is some degree of vanity even to doubt of it.  Onewho has at any time had the honour of your lordshipâ\u0000\u0000sconversation,cannot be supposed to think very meanly of that which he would prefer toyour perusal.  Yet it were to incur the imputation of too muchsufficiency to pretend to such a merit as might abide the test ofyourlordshipâ\u0000\u0000s censure.Whatever value may be wanting to this play while yet it is mine, will besufficiently made up to it when it is once become your lordshipâ\u0000\u0000s; and itis my security, that I cannot have overratedit more by my dedicationthan your lordship will dignify it by your patronage.That it succeeded on the stage was almost beyond my expectation; for butlittle of it was prepared for that general taste which seems now tobepredominant in the palates of our audience.Those characters which are meant to be ridiculed in most of our comediesare of fools so gross, that in my humble opinion they should ratherdisturb than divert thewell-natured and reflecting part of an audience;they are rather objects of charity than contempt, and instead of movingour mirth, they ought very often to excite our compassion.This reflection moved me to designsome characters which should appearridiculous not so much through a natural folly (which is incorrigible,and therefore not proper for the stage) as through an affected wit: a witwhich, at the same time that it isaffected, is also false.  As there issome difficulty in the formation of a character of this nature, so thereis some hazard which attends the progress of its success upon the stage:for many come to a play so overchargedwith criticism, that they veryoften let fly their censure, when through their rashness they havemistaken their aim.  This I had occasion lately to observe: for this playhad been acted two or three days before some ofthese hasty judges couldfind the leisure to distinguish betwixt the character of a Witwoud and aTruewit.I must beg your lordshipâ\u0000\u0000s pardon for this digression from the truecourse of this epistle; but that it may notseem altogether impertinent,I beg that I may plead the occasion of it, in part of that excuse ofwhich I stand in need, for recommending this comedy to your protection.It is only by the countenance of your lordship, andthe _few_ soqualified, that such who write with care and pains can hope to bedistinguished: for the prostituted name of poet promiscuously levels allthat bear it.Terence, the most correct writer in the world, had aScipio and a Lelius,if not to assist him, at least to support him in his reputation.  Andnotwithstanding his extraordinary merit, it may be their countenance wasnot more than necessary.The purity of his style, the delicacyof his turns, and the justness ofhis characters, were all of them beauties which the greater part of hisaudience were incapable of tasting.  Some of the coarsest strokes ofPlautus, so severely censured by Horace, weremore likely to affect themultitude; such, who come with expectation to laugh at the last act of aplay, and are better entertained with two or three unseasonable jeststhan with the artful solution of the fable.As Terenceexcelled in his performances, so had he great advantages toencourage his undertakings, for he built most on the foundations ofMenander: his plots were generally modelled, and his characters readydrawn to hishand.  He copied Menander; and Menander had no less light inthe formation of his characters from the observations of Theophrastus, ofwhom he was a disciple; and Theophrastus, it is known, was not only thedisciple,but the immediate successor of Aristotle, the first andgreatest judge of poetry.  These were great models to design by; and thefurther advantage which Terence possessed towards giving his plays thedue ornaments ofpurity of style, and justness of manners, was not lessconsiderable from the freedom of conversation which was permitted himwith Lelius and Scipio, two of the greatest and most polite men of hisage.  And, indeed, theprivilege of such a conversation is the onlycertain means of attaining to the perfection of dialogue.If it has happened in any part of this comedy that I have gained a turnof style or expression more correct, or at leastmore corrigible, than inthose which I have formerly written, I must, with equal pride andgratitude, ascribe it to the honour of your lordshipâ\u0000\u0000s admitting me intoyour conversation, and that of a society whereeverybody else was so wellworthy of you, in your retirement last summer from the town: for it wasimmediately after, that this comedy was written.  If I have failed in myperformance, it is only to be regretted, wherethere were so many notinferior either to a Scipio or a Lelius, that there should be one wantingequal in capacity to a Terence.If I am not mistaken, poetry is almost the only art which has not yetlaid claim to yourlordshipâ\u0000\u0000s patronage.  Architecture and painting, tothe great honour of our country, have flourished under your influence andprotection.  In the meantime, poetry, the eldest sister of all arts, andparent of most,seems to have resigned her birthright, by havingneglected to pay her duty to your lordship, and by permitting others of alater extraction to prepossess that place in your esteem, to which nonecan pretend a bettertitle.  Poetry, in its nature, is sacred to the goodand great: the relation between them is reciprocal, and they are everpropitious to it.  It is the privilege of poetry to address them, and itis their prerogative alone to give itprotection.This received maxim is a general apology for all writers who consecratetheir labours to great men: but I could wish, at this time, that thisaddress were exempted from the common pretence of all dedications;andthat as I can distinguish your lordship even among the most deserving, sothis offering might become remarkable by some particular instance ofrespect, which should assure your lordship that I am, with all duesenseof your extreme worthiness and humanity, my lord, your lordshipâ\u0000\u0000s mostobedient and most obliged humble servant,                                                           WILL.CONGREVE.PROLOGUE.                         Spoken by MR. BETTERTON.   OF those few fools, who with ill stars are curst,   Sure scribbling fools, called poets, fare the worst:   For theyâ\u0000\u0000re a sort of fools which fortunemakes,   And, after she has made â\u0000\u0000em fools, forsakes.   With Natureâ\u0000\u0000s oafs â\u0000\u0000tis quite a diffâ\u0000\u0000rent case,   For Fortune favours all her idiot race.   In her own nest the cuckoo eggs we find,   Oâ\u0000\u0000er whichshe broods to hatch the changeling kind:   No portion for her own she has to spare,   So much she dotes on her adopted care.   Poets are bubbles, by the town drawn in,   Suffered at first some trifling stakes towin:   But what unequal hazards do they run!   Each time they write they venture all theyâ\u0000\u0000ve won:   The Squire thatâ\u0000\u0000s buttered still, is sure to be undone.   This author, heretofore, has found your favour,   Butpleads no merit from his past behaviour.   To build on that might prove a vain presumption,   Should grants to poets made admit resumption,   And in Parnassus he must lose his seat,   If that be found a forfeitedestate.   He owns, with toil he wrought the following scenes,   But if theyâ\u0000\u0000re naught neâ\u0000\u0000er spare him for his pains:   Damn him the more; have no commiseration   For dulness on mature deliberation.   Heswears heâ\u0000\u0000ll not resent one hissed-off scene,   Nor, like those peevish wits, his play maintain,   Who, to assert their sense, your taste arraign.   Some plot we think he has, and some new thought;   Some humourtoo, no farceâ\u0000\u0000but thatâ\u0000\u0000s a fault.   Satire, he thinks, you ought not to expect;   For so reformed a town who dares correct?   To please, this time, has been his sole pretence,   Heâ\u0000\u0000ll not instruct, lest it shouldgive offence.   Should he by chance a knave or fool expose,   That hurts none here, sure here are none of those.   In short, our play shall (with your leave to show it)   Give you one instance of a passive poet,   Who toyour judgments yields all resignation:   So save or damn, after your own discretion.DRAMATIS PERSONÃ\u0000.                                 MEN.FAINALL, in love with Mrs. Marwood,              _Mr. Betterton_.MIRABELL, in lovewith Mrs. Millamant,           _Mr. Verbruggen_.WITWOUD, follower of Mrs. Millamant,             _Mr. Bowen_.PETULANT, follower of Mrs. Millamant,            _Mr. Bowman_.SIR WILFULL WITWOUD, half brother toWitwoud,    _Mr. Underhill_.and nephew to Lady Wishfort,WAITWELL, servant to Mirabell,                   _Mr. Bright_.                                WOMEN.LADY WISHFORT, enemy to Mirabell, for having     _Mrs. Leigh_.falselypretended love to her,MRS. MILLAMANT, a fine lady, niece to Lady       _Mrs. Bracegirdle_.Wishfort, and loves Mirabell,MRS. MARWOOD, friend to Mr. Fainall, and likes   _Mrs. Barry_.Mirabell,MRS. FAINALL, daughter toLady Wishfort, and     _Mrs. Bowman_.wife to Fainall, formerly friend to Mirabell,FOIBLE, woman to Lady Wishfort,                  _Mrs. Willis_.MINCING, woman to Mrs. Millamant,                _Mrs.Prince_.                      DANCERS, FOOTMEN, ATTENDANTS.                              SCENE: London.              _The time equal to that of the presentation_.ACT I.â\u0000\u0000SCENE I.                           _AChocolate-house_.      MIRABELL _and_ FAINALL _rising from cards_.  BETTY _waiting_.MIRA.  You are a fortunate man, Mr. Fainall.FAIN.  Have we done?MIRA.  What you please.  Iâ\u0000\u0000ll play on to entertainyou.FAIN.  No, Iâ\u0000\u0000ll give you your revenge another time, when you are not soindifferent; you are thinking of something else now, and play toonegligently: the coldness of a losing gamester lessens the pleasure ofthewinner.  Iâ\u0000\u0000d no more play with a man that slighted his ill fortunethan Iâ\u0000\u0000d make love to a woman who undervalued the loss of her reputation.MIRA.  You have a taste extremely delicate, and are for refining onyourpleasures.FAIN.  Prithee, why so reserved?  Something has put you out of humour.MIRA.  Not at all: I happen to be grave to-day, and you are gay; thatâ\u0000\u0000sall.FAIN.  Confess, Millamant and you quarrelled lastnight, after I leftyou; my fair cousin has some humours that would tempt the patience of aStoic.  What, some coxcomb came in, and was well received by her, whileyou were by?MIRA.  Witwoud and Petulant, and whatwas worse, her aunt, your wifeâ\u0000\u0000smother, my evil geniusâ\u0000\u0000or to sum up all in her own name, my old LadyWishfort came in.FAIN.  Oh, there it is then: she has a lasting passion for you, and withreason.â\u0000\u0000What,then my wife was there?MIRA.  Yes, and Mrs. Marwood and three or four more, whom I never sawbefore; seeing me, they all put on their grave faces, whispered oneanother, then complained aloud of the vapours, andafter fell into aprofound silence.FAIN.  They had a mind to be rid of you.MIRA.  For which reason I resolved not to stir.  At last the good oldlady broke through her painful taciturnity with an invective against longvisits.  Iwould not have understood her, but Millamant joining in theargument, I rose and with a constrained smile told her, I thought nothingwas so easy as to know when a visit began to be troublesome; she reddenedand Iwithdrew, without expecting her reply.FAIN.  You were to blame to resent what she spoke only in compliance withher aunt.MIRA.  She is more mistress of herself than to be under the necessity ofsuch aresignation.FAIN.  What? though half her fortune depends upon her marrying with myladyâ\u0000\u0000s approbation?MIRA.  I was then in such a humour, that I should have been betterpleased if she had been lessdiscreet.FAIN.  Now I remember, I wonder not they were weary of you; last nightwas one of their cabal-nights: they have â\u0000\u0000em three times a week and meetby turns at one anotherâ\u0000\u0000s apartments, where theycome together like thecoronerâ\u0000\u0000s inquest, to sit upon the murdered reputations of the week.  Youand I are excluded, and it was once proposed that all the male sex shouldbe excepted; but somebody moved that toavoid scandal there might be oneman of the community, upon which motion Witwoud and Petulant wereenrolled members.MIRA.  And who may have been the foundress of this sect?  My LadyWishfort, I warrant, whopublishes her detestation of mankind, and fullof the vigour of fifty-five, declares for a friend and ratafia; and letposterity shift for itself, sheâ\u0000\u0000ll breed no more.FAIN.  The discovery of your sham addresses to her, toconceal your loveto her niece, has provoked this separation.  Had you dissembled better,things might have continued in the state of nature.MIRA.  I did as much as man could, with any reasonable conscience;Iproceeded to the very last act of flattery with her, and was guilty of asong in her commendation.  Nay, I got a friend to put her into a lampoon,and compliment her with the imputation of an affair with a youngfellow,which I carried so far, that I told her the malicious town took noticethat she was grown fat of a sudden; and when she lay in of a dropsy,persuaded her she was reported to be in labour.  The devilâ\u0000\u0000s inâ\u0000\u0000t, ifanold woman is to be flattered further, unless a man should endeavourdownright personally to debauch her: and that my virtue forbade me.  Butfor the discovery of this amour, I am indebted to your friend, oryourwifeâ\u0000\u0000s friend, Mrs. Marwood.FAIN.  What should provoke her to be your enemy, unless she has made youadvances which you have slighted?  Women do not easily forgive omissionsof that nature.MIRA.  Shewas always civil to me, till of late.  I confess I am not oneof those coxcombs who are apt to interpret a womanâ\u0000\u0000s good manners to herprejudice, and think that she who does not refuse â\u0000\u0000em everything canrefuseâ\u0000\u0000em nothing.FAIN.  You are a gallant man, Mirabell; and though you may have crueltyenough not to satisfy a ladyâ\u0000\u0000s longing, you have too much generosity notto be tender of her honour.  Yet you speak with anindifference whichseems to be affected, and confesses you are conscious of a negligence.MIRA.  You pursue the argument with a distrust that seems to beunaffected, and confesses you are conscious of a concern forwhich thelady is more indebted to you than is your wife.FAIN.  Fie, fie, friend, if you grow censorious I must leave you:â\u0000\u0000Iâ\u0000\u0000lllook upon the gamesters in the next room.MIRA.  Who are they?FAIN.  Petulant andWitwoud.â\u0000\u0000Bring me some chocolate.MIRA.  Betty, what says your clock?BET.  Turned of the last canonical hour, sir.MIRA.  How pertinently the jade answers me!  Ha! almost one aâ\u0000\u0000 clock![_Looking on hiswatch_.]  Oh, yâ\u0000\u0000are come!SCENE II.                         MIRABELL _and_ FOOTMAN.MIRA.  Well, is the grand affair over?  You have been something tedious.SERV.  Sir, thereâ\u0000\u0000s such coupling at Pancras that theystand behind oneanother, as â\u0000\u0000twere in a country-dance.  Ours was the last couple to leadup; and no hopes appearing of dispatch, besides, the parson growinghoarse, we were afraid his lungs would have failedbefore it came to ourturn; so we drove round to Dukeâ\u0000\u0000s Place, and there they were riveted in atrice.MIRA.  So, so; you are sure they are married?SERV.  Married and bedded, sir; I am witness.MIRA.  Have you thecertificate?SERV.  Here it is, sir.MIRA.  Has the tailor brought Waitwellâ\u0000\u0000s clothes home, and the newliveries?SERV.  Yes, sir.MIRA.  Thatâ\u0000\u0000s well.  Do you go home again, dâ\u0000\u0000ye hear, and adjourntheconsummation till farther order; bid Waitwell shake his ears, and DamePartlet rustle up her feathers, and meet me at one aâ\u0000\u0000 clock by Rosamondâ\u0000\u0000spond, that I may see her before she returns to herlady.  And, as youtender your ears, be secret.SCENE III.                        MIRABELL, FAINALL, BETTY.FAIN.  Joy of your success, Mirabell; you look pleased.MIRA.  Ay; I have been engaged in a matter of some sort ofmirth, whichis not yet ripe for discovery.  I am glad this is not a cabal-night.  Iwonder, Fainall, that you who are married, and of consequence should bediscreet, will suffer your wife to be of such a party.FAIN.  Faith, Iam not jealous.  Besides, most who are engaged are womenand relations; and for the men, they are of a kind too contemptible togive scandal.MIRA.  I am of another opinion: the greater the coxcomb, always themorethe scandal; for a woman who is not a fool can have but one reason forassociating with a man who is one.FAIN.  Are you jealous as often as you see Witwoud entertained byMillamant?MIRA.  Of her understanding Iam, if not of her person.FAIN.  You do her wrong; for, to give her her due, she has wit.MIRA.  She has beauty enough to make any man think so, and complaisanceenough not to contradict him who shall tell herso.FAIN.  For a passionate lover methinks you are a man somewhat toodiscerning in the failings of your mistress.MIRA.  And for a discerning man somewhat too passionate a lover, for Ilike her with all her faults; nay,like her for her faults.  Her folliesare so natural, or so artful, that they become her, and thoseaffectations which in another woman would be odious serve but to make hermore agreeable.  Iâ\u0000\u0000ll tell thee, Fainall, sheonce used me with thatinsolence that in revenge I took her to pieces, sifted her, and separatedher failings: I studied â\u0000\u0000em and got â\u0000\u0000em by rote.  The catalogue was solarge that I was not without hopes, one dayor other, to hate herheartily.  To which end I so used myself to think of â\u0000\u0000em, that at length,contrary to my design and expectation, they gave me every hour less andless disturbance, till in a few days it becamehabitual to me to rememberâ\u0000\u0000em without being displeased.  They are now grown as familiar to me as myown frailties, and in all probability in a little time longer I shalllike â\u0000\u0000em as well.FAIN.  Marry her, marryher; be half as well acquainted with her charmsas you are with her defects, and, my life onâ\u0000\u0000t, you are your own managain.MIRA.  Say you so?FAIN.  Ay, ay; I have experience.  I have a wife, and so forth.SCENEIV.                          [_To them_] MESSENGER.MESS.  Is one Squire Witwoud here?BET.  Yes; whatâ\u0000\u0000s your business?MESS.  I have a letter for him, from his brother Sir Wilfull, which I amcharged to deliver into hisown hands.BET.  Heâ\u0000\u0000s in the next room, friend.  That way.SCENE V.                        MIRABELL, FAINALL, BETTY.MIRA.  What, is the chief of that noble family in town, Sir WilfullWitwoud?FAIN.  He is expectedto-day.  Do you know him?MIRA.  I have seen him; he promises to be an extraordinary person.  Ithink you have the honour to be related to him.FAIN.  Yes; he is half-brother to this Witwoud by a former wife, whowassister to my Lady Wishfort, my wifeâ\u0000\u0000s mother.  If you marry Millamant,you must call cousins too.MIRA.  I had rather be his relation than his acquaintance.FAIN.  He comes to town in order to equip himself fortravel.MIRA.  For travel!  Why the man that I mean is above forty.FAIN.  No matter for that; â\u0000\u0000tis for the honour of England that all Europeshould know we have blockheads of all ages.MIRA.  I wonder there is not anact of parliament to save the credit ofthe nation and prohibit the exportation of fools.FAIN.  By no means, â\u0000\u0000tis better as â\u0000\u0000tis; â\u0000\u0000tis better to trade with alittle loss, than to be quite eaten up with beingoverstocked.MIRA.  Pray, are the follies of this knight-errant and those of thesquire, his brother, anything related?FAIN.  Not at all: Witwoud grows by the knight like a medlar grafted on acrab.  One will melt in yourmouth and tâ\u0000\u0000other set your teeth on edge;one is all pulp and the other all core.MIRA.  So one will be rotten before he be ripe, and the other will berotten without ever being ripe at all.FAIN.  Sir Wilfull is an odd"}
+{"doc_id":"doc_119","qid":"","text":"<html><head><title>Cradle 2 the Grave Script at IMSDb.</title><meta name=\"description\" content=\"Cradle 2 the Grave script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Cradle 2the Grave script, Cradle 2 the Grave movie script, Cradle 2 the Grave film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX,FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>CRADLE TO THE GRAVE             Written by  John O'Brien and Channing Gibson              Story by            John O'Brien          May 2002Draft<b>      FOR EDUCATIONAL</b><b>       PURPOSES ONLY</b><b></b><b>                                                                 2.</b><b>FADE IN:</b><b>EXT. STREETS (LOS ANGELES) - DAY</b>End of theday.     An armored truck moves through the city ofLos Angeles.<b>EXT. JEWELRY EXCHANGE - DAY</b>The armored truck pulls up. An ARMORED TRUCK GUARD emergesfrom the back with a satchel and headsinside.<b>INT. JEWELRY EXCHANGE - LOBBY - CONTINUOUS ACTION</b>A large foyer. Security station and elevators. PARTY SOUNDScan be heard from a second floor balcony.DOUGLAS is the security guardmanning the station. Seeingthe Armored car Guard entering, he picks up the phone anddials. Beat. Into phone --<b>                         DOUGLAS</b>           Last delivery's finally here.The Armored Truck Guardapproaches the security station. Ashe and Douglas exchange paperwork, the Armored Truck Guardreferences the sounds from upstairs --<b>                           ARMORED TRUCKGUARD</b>           Party?<b>                         DOUGLAS</b>           Introducing a new line of jewelry.<b>                         ARMORED TRUCK GUARD</b>           Wife wants me to buy her a ruby ring.           Toldher to spend a little time with           the family jewels first.PING. An ELEVATOR opens. A second security guard's inside.Handing over the satchel and heading out --<b>                           ARMORED TRUCKGUARD</b>           Keep it real.<b>INT. ELEVATOR - CONTINUOUS ACTION</b>We see the security guard with the satchel use a key-card togain elevator access to the lower floors. As the elevatordoors slideclosed...<b></b><b>                                                              3.</b><b>INT. VAULT ANTEROOM - MOMENTS LATER</b>An exclusive showroom. Display tables empty. At one end ofthe room, the elevator. At theother end, the open door toa walk-in vault.The ELEVATOR PINGS, and the doors open. The guard emergeswith the cart. Pushes it across the room to the outside ofthe vault.A man in a suit emerges from the vault andstarts unloadingthe cart into the vault.<b>INT. SUBWAY STATION - DAY</b>A train arrives.   People jostle on and off.One man remains on the platform. MILES. Crisp dresser.Carrying a large leather bag. A cylinderhanging by a strapover his shoulder.The train doors begin to close.   When...A fist inserts itself between the doors. They re-open, anda man steps onto the platform. TONY FAIT. Well-dressed.Intense.Fait joins Miles.They watch the train pull out. Theycheck to make sure the station's empty. Then jump off theplatform into the tunnel and disappear.<b>INT. VAULT ANTEROOM - DAY</b>The man in the suit has finished unloading thecart. Hecloses the heavy vault door and spins a large wheel on thedoor, securing the vault.<b>INT. SUBWAY TUNNEL - DAY</b>Fait and Miles run down the dark tunnel, staying close tothe wall. Miles stumbles. Fallstoward the deadly, high-voltage third rail.Out of nowhere, Fait's hand grabs Miles' jacket. Stops him.Just before he hits. Inches from the rail. Fait pulls himback up and away from thedanger.<b>                        FAIT</b>          Watch yourself.Miles nods.<b></b><b>                                                              4.</b><b>                           FAIT</b>          Keep it tight.Miles nods again, and theyset off.<b>INT. JEWELRY EXCHANGE - LOBBY - DAY</b>Sounds of the PARTY continue from upstairs. At the securitystation, the guard, Douglas, looks up from a magazine andscans the security monitors.<b>ANGLE -SECURITY MONITORS</b>depicting the empty vault, empty vault anteroom, variousempty store areas and the elevator, in which we see the manin the suit riding up.<b>BACK TO SCENE</b>Douglas settles back inwith his magazine.<b>INT. SUBWAY TUNNEL - DAY</b>Fait and Miles reach an access door tagged with paint.    Faitstarts to open it.Suddenly, the tunnel is filled with the ROAR of anAPPROACHING TRAIN. Fait andMiles leap to the wall.   Presstheir backs against it as tightly as they can.The TRAIN whooms past, inches from their faces. When it'sgone, Miles sighs with relief. Fait cracks the access door.<b>INT. SUBWAY UTILITYTUNNELS - DAY</b>Fait moves quickly, Miles following. Fait makes fast leftsand rights, following more spray paint.They branch off into a small dirt-floored space, deep in thesub-foundation of a building. Fait stops.Overhead is aflat ceiling. On the ceiling, his flashlight finds a spray-painted circle.<b>                           FAIT</b>          Bull's-eye.Without a word, Miles begins assembling equipment.    Faitpulls out a cellphone.<b>EXT. PARKING GARAGE - (SANTA MONICA) ROOFTOP - DAY</b><b></b><b>                                                                    5.</b>A man, DUNCAN SU, sits in a rental 2002 Thunderbird.<b>INT. SU'SRENTAL T-BIRD - CONTINUOUS ACTION</b>Su's focused, intense, listening to a fancy WALKMAN throughHEADPHONES. We hear what he hears. Only there's no music,just STATIC.Suddenly, on Su's headphones, aPHONE RINGS. Su grows evenmore alert. We hear a man with a French accent answer thephone.<b>                           CHRISTOPHE (V.O.)</b>           Yes?<b>                         FAIT (V.O.)</b>           We're inposition.<b>                         CHRISTOPHE (V.O.)</b>           Delivery confirmed. The stones are           there.<b>                           FAIT (V.O.)</b>           Not for long.<b>CLICK.   HISS.</b>Su didn't like what hejust heard.       Curses in Chinese.   Andtakes off.<b>EXT. CHRISTOPHE'S APARTMENT BUILDING - DAY</b>Perched on the side of a cliff above the Pacific, next tothe park. The top floor is at street level.Su easily gainsaccess to the roof of the building. Hemoves to an exact position just at the ocean-side edge. It'san eight-story drop.Su faces in.      And then... Hops backward off the roof.Falling feet-first through the air, Sumomentarily grabsonto an eight-floor balcony rail, slowing his descent, thenlets go.Momentarily grabs a seventh-floor rail and lets go. Grabs asixth-floor rail. Hangs on this time. Vaults lightly ontothe balcony.<b>INT.CHRISTOPHE'S APARTMENT - LIVING ROOM - DAY</b><b></b><b>                                                                    6.</b>A large, free-standing FISH TANK BUBBLES away. Nearby,CHRISTOPHE is packing to leavetown. When...<b>                         SU (0.S.)</b>           Where are the stones?Christophe turns.       Sees Su standing behind him.<b>                         CHRISTOPHE</b>                   (French accent)           Who thefuck are you?Wham.   The Chinese boxing version of a bitch-slap.<b>                         SU</b>           Who's getting them for you?<b>                            CHRISTOPHE</b>           Fuckoff.Wham!   Wham!   Wham!     Wham!   Much more violent than a bitch-slap.<b>                            CHRISTOPHE</b>           I'll tell you.<b>                            SU</b>           I know.<b>INT. SUB-FOUNDATION -DAY</b>A plasma torch burns through the metal-reinforced slaboverhead. Fait taps Miles, who turns off the torch.Fait hammers at the last layer. And...<b>INT. VAULT ANTEROOM - CONTINUOUS ACTION</b>A holeappears under the private display table, where itcan't be seen by the room's security camera.<b>INT. SUB-FOUNDATION - DAY</b>Fait communicates via a high-tech,transmitting/receivingearwig.<b>                            FAIT</b>           Daria.<b>INT. JEWELRY EXCHANGE - LOBBY - DAY</b>Douglas looks up from his magazine and checks the securitymonitors again. Everythinga-okay.<b></b><b>                                                                   7.</b><b>ANGLE - FRONT DOOR</b>A limo pulls up outside.<b>EXT. JEWELRY EXCHANGE - DAY</b>A uniformed chauffeur gets out of the limo,moves to theback and opens the door. A very attractive woman in ashort, tight dress emerges.<b>INT. JEWELRY EXCHANGE - LOBBY - DAY</b>Escorted by the chauffeur, the woman, DARIA, enters. Sheapproachesthe security station. Up close, in the light,Daria's even more alluring. And knows how to wield it.<b>                        DARIA</b>          I'm here for the reception.<b>                          DOUGLAS</b>          Name,please?<b>                          DARIA</b>          Angie Rawlins.Douglas scans a list of names.      Checks off hers.<b>                        DOUGLAS</b>          Thank you. You can go on up.       Front          elevator, tothe mezzanine.Daria turns toward the elevator. Then doesn't go. Justglances up toward the party, suddenly unenthusiastic.<b>                        DARIA</b>          ... I hate these things.      Don't you          hate thesethings?<b>                        DOUGLAS</b>          I'm just here to do my job.Daria looks back at Douglas.      Studies him a moment.   Likingwhat she sees.<b>                        DARIA</b>          Then again, you neverknow who you're          going to meet...She shifts her wrap, baring cleavage.      Then leans over thedesk. Giving Douglas aneyeful.<b>                          DARIA</b><b></b><b>                                                               8.</b>          I'll bet you're a lot more fun than          any of those boring people upstairs.Douglas is unaffected.   Justlooks at her blankly.<b>                         DOUGLAS</b>          Really, ma'am.   I have a job to do.Daria doesn't understand why he's not interested in her.Then she glimpses Douglas's magazine lying on thedesk.<b>DARIA'S POV</b>The magazine is Genre.   Males for males.   Buff boys.   Bigpecs, big penises.<b>BACK TO SCENE</b>Daria steps back.<b>                        DARIA</b>          Well, I suppose I should goup and          see what they're selling.Daria turns back and calls to her chauffeur, TOMMY.<b>                         DARIA</b>          Tommy...What happens next happens very quickly and sotto voce, asDaria walkstoward Tommy:She whispers into a hidden mike --<b>                        DARIA</b>          Change of plans. He's gay.Tommy hears it over his earwig.<b>                         TOMMY</b>          Noway.<b>                         DARIA</b>          Yeah way.<b>INTERCUT WITH:</b><b>INT. SUB-FOUNDATION - DAY</b>Fait and Miles have heard it, too.   Into his mike--<b>                          FAIT</b>          Tommy.    Your turn.<b></b><b>                                                            9.</b>A look of alarm on Tommy's face.    Into his mike--<b>                         TOMMY</b>          Uh-uh.<b>                        FAIT</b>          This isn't a conversation.    Do it.It's an order.    Tommy knows he hasto.   Shit.<b>                         TOMMY</b>          Shit.<b>                         DARIA</b>          Key-card.Then, still to Tommy, her voice again at normal volume --<b>                        DARIA</b>          Why don't youkeep my purse?     I          shouldn't be too long.Daria hands Tommy her purse. Palms the key-card from him.Then heads toward the elevator, as...Tommy replaces the sick look on his face. Does his best tolook flirty ashe walks over to the security station. Leansover the desk with a yummy-smile on his face.<b>                         TOMMY</b>          ... Aloha.(NOTE: The following scene is INTERCUT with Scenes 20 thru 28.)Douglas"}
+{"doc_id":"doc_120","qid":"","text":"The Project Gutenberg EBook of Godfrey Morgan, by Jules VerneThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it underthe terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: Godfrey Morgan       A Californian MysteryAuthor: Jules VerneRelease Date: November 15, 2007 [EBook#23489]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK GODFREY MORGAN ***Produced by Taavi Kalju, Martin Pettit and the OnlineDistributed Proofreading Team at http://www.pgdp.net (Thisfilewas produced from images generously made availableby The Internet Archive/American Libraries.)GODFREY MORGANA CALIFORNIAN MYSTERYBYJULES VERNEILLUSTRATED_AUTHOR'S COPYRIGHT EDITION_LONDON:SAMPSON LOW, MARSTON & COMPANY, _Limited_.[Illustration: \"Going! Going!\" _page 15_]CONTENTS.CHAPTER I.                                                                PAGEIn which the reader has the opportunity of buying anIsland inthe Pacific Ocean                                                  1CHAPTER II.How William W. Kolderup, of San Francisco, was at loggerheadswith J. R. Taskinar, of Stockton                                  11CHAPTER III.Theconversation of Phina Hollaney and Godfrey Morgan, witha piano accompaniment                                             24CHAPTER IV.In which T. Artelett, otherwise Tartlet, is duly introducedto thereader                                                     35CHAPTER V.In which they prepare to go, and at the end of which they gofor good                                                          43CHAPTER VI.In which the reader makes theacquaintance of a new personage     53CHAPTER VII.In which it will be seen that William W. Kolderup was probablyright in insuring his ship                                        62CHAPTER VIII.Which leads Godfrey to bitterreflections on the mania fortravelling                                                        77CHAPTER IX.In which it is shown that Crusoes do not have everything asthey wish                                                         91CHAPTER X.Inwhich Godfrey does what any other shipwrecked man wouldhave done under the circumstances                                104CHAPTER XI.In which the question of lodging is solved as well as itcouldbe                                                         117CHAPTER XII.Which ends with a thunder-bolt                                   129CHAPTER XIII.In which Godfrey again sees a slight smoke over another partof theIsland                                                    143CHAPTER XIV.Wherein Godfrey finds some wreckage, to which he and hiscompanion give a hearty welcome                                  155CHAPTER XV.In which there happenswhat happens at least once in the lifeof every Crusoe, real or imaginary                               167CHAPTER XVI.In which something happens which cannot fail to surprisethereader                                                           179CHAPTER XVII.In which Professor Tartlet's gun really does marvels             190CHAPTER XVIII.Which treats of the moral and physical education of a simplenativeof the Pacific                                            203CHAPTER XIX.In which the situation already gravely compromised becomesmore and more complicated                                        216CHAPTER XX.In which Tartletreiterates in every key that he would ratherbe off                                                           228CHAPTER XXI.Which ends with quite a surprising reflection by thenegroCarefinotu                                                       242CHAPTER XXII.Which concludes by explaining what up to now had appearedinexplicable                                                     260GODFREY MORGAN.CHAPTERI.IN WHICH THE READER HAS THE OPPORTUNITY OF BUYING AN ISLAND IN THEPACIFIC OCEAN.\"An island to sell, for cash, to the highest bidder!\" said Dean Felporg,the auctioneer, standing behind his rostrum in theroom where theconditions of the singular sale were being noisily discussed.\"Island for sale! island for sale!\" repeated in shrill tones again andagain Gingrass, the crier, who was threading his way in and out of theexcitedcrowd closely packed inside the largest saloon in the auctionmart at No. 10, Sacramento Street.The crowd consisted not only of a goodly number of Americans from theStates of Utah, Oregon, and California, but also ofa few Frenchmen, whoform quite a sixth of the population.Mexicans were there enveloped in their sarapes; Chinamen in theirlarge-sleeved tunics, pointed shoes, and conical hats; one or twoKanucks from the coast;and even a sprinkling of Black Feet,Grosventres, or Flatheads, from the banks of the Trinity river.The scene is in San Francisco, the capital of California, but not at theperiod when the placer-mining fever wasraging--from 1849 to 1852. SanFrancisco was no longer what it had been then, a caravanserai, aterminus, an _inn_, where for a night there slept the busy men who werehastening to the gold-fields west of the SierraNevada. At the end ofsome twenty years the old unknown Yerba-Buena had given place to a townunique of its kind, peopled by 100,000 inhabitants, built under theshelter of a couple of hills, away from the shore, butstretching off tothe farthest heights in the background--a city in short which hasdethroned Lima, Santiago, Valparaiso, and every other rival, and whichthe Americans have made the queen of the Pacific, the \"glory ofthewestern coast!\"It was the 15th of May, and the weather was still cold. In California,subject as it is to the direct action of the polar currents, the firstweeks of this month are somewhat similar to the last weeks ofMarch inCentral Europe. But the cold was hardly noticeable in the thick of theauction crowd. The bell with its incessant clangour had broughttogether an enormous throng, and quite a summer temperature causedthedrops of perspiration to glisten on the foreheads of the spectatorswhich the cold outside would have soon solidified.Do not imagine that all these folks had come to the auction-room withthe intention of buying. Imight say that all of them had but come tosee. Who was going to be mad enough, even if he were rich enough, topurchase an isle of the Pacific, which the government had in someeccentric moment decided to sell?Would the reserve price ever bereached? Could anybody be found to work up the bidding? If not, it wouldscarcely be the fault of the public crier, who tried his best to temptbuyers by his shoutings and gestures, and theflowery metaphors of hisharangue. People laughed at him, but they did not seem much influencedby him.\"An island! an isle to sell!\" repeated Gingrass.\"But not to buy!\" answered an Irishman, whose pocket did not holdenoughto pay for a single pebble.\"An island which at the valuation will not fetch six dollars an acre!\"said the auctioneer.\"And which won't pay an eighth per cent.!\" replied a big farmer, who waswell acquainted withagricultural speculations.\"An isle which measures quite sixty-four miles round and has an area oftwo hundred and twenty-five thousand acres!\"\"Is it solid on its foundation?\" asked a Mexican, an old customer attheliquor-bars, whose personal solidity seemed rather doubtful at themoment.\"An isle with forests still virgin!\" repeated the crier, \"with prairies,hills, watercourses--\"\"Warranted?\" asked a Frenchman, who seemedrather inclined to nibble.\"Yes! warranted!\" added Felporg, much too old at his trade to be movedby the chaff of the public.\"For two years?\"\"To the end of the world!\"\"Beyond that?\"\"A freehold island!\" repeated the crier,\"an island without a singlenoxious animal, no wild beasts, no reptiles!--\"\"No birds?\" added a wag.\"No insects?\" inquired another.\"An island for the highest bidder!\" said Dean Felporg, beginning again.\"Come, gentlemen,come! Have a little courage in your pockets! Who wantsan island in perfect state of repair, never been used, an island in thePacific, that ocean of oceans? The valuation is a mere nothing! It isput at eleven hundredthousand dollars, is there any one will bid? Whospeaks first? You, sir?--you, over there nodding your head like aporcelain mandarin? Here is an island! a really good island! Who says anisland?\"\"Pass it round!\" said avoice as if they were dealing with a picture ora vase.And the room shouted with laughter, but not a half-dollar was bid.However, if the lot could not be passed round, the map of the island wasat the public disposal. Thewhereabouts of the portion of the globeunder consideration could be accurately ascertained. There was neithersurprise nor disappointment to be feared in that respect. Situation,orientation, outline, altitudes, levels,hydrography, climatology, linesof communication, all these were easily to be verified in advance.People were not buying a pig in a poke, and most undoubtedly there couldbe no mistake as to the nature of the goods onsale. Moreover, theinnumerable journals of the United States, especially those ofCalifornia, with their dailies, bi-weeklies, weeklies, bi-monthlies,monthlies, their reviews, magazines, bulletins, &c., had been forseveralmonths directing constant attention to the island whose sale byauction had been authorized by Act of Congress.The island was Spencer Island, which lies in the west-south-west of theBay of San Francisco, about 460miles from the Californian coast, in 32°15' north latitude, and 145° 18' west longitude, reckoning fromGreenwich. It would be impossible to imagine a more isolated position,quite out of the way of all maritime orcommercial traffic, althoughSpencer Island was relatively, not very far off, and situatedpractically in American waters. But thereabouts the regular currentsdiverging to the north and south have formed a kind of lake ofcalms,which is sometimes known as the \"Whirlpool of Fleurieu.\"It is in the centre of this enormous eddy, which has hardly anappreciable movement, that Spencer Island is situated. And so it issighted by very few ships.The main routes of the Pacific, which jointhe new to the old continent, and lead away to China or Japan, run in amore southerly direction. Sailing-vessels would meet with endless calmsin the Whirlpool of Fleurieu; andsteamers, which always take theshortest road, would gain no advantage by crossing it. Hence ships ofneither class know anything of Spencer Island, which rises above thewaters like the isolated summit of one of thesubmarine mountains of thePacific. Truly, for a man wishing to flee from the noise of the world,seeking quiet in solitude, what could be better than this island, lostwithin a few hundred miles of the coast? For a voluntaryRobinsonCrusoe, it would be the very ideal of its kind! Only of course he mustpay for it.And now, why did the United States desire to part with the island? Wasit for some whim? No! A great nation cannot act on capricein anymatter, however simple. The truth was this: situated as it was, SpencerIsland had for a long time been known as a station perfectly useless.There could be no practical result from settling there. In a militarypointof view it was of no importance, for it only commanded anabsolutely deserted portion of the Pacific. In a commercial point ofview there was a similar want of importance, for the products would notpay the freight eitherinwards or outwards. For a criminal colony it wastoo far from the coast. And to occupy it in any way, would be a veryexpensive undertaking. So it had remained deserted from time immemorial,and Congress, composedof \"eminently practical\" men, had resolved to putit up for sale--on one condition only, and that was, that its purchasershould be a free American citizen. There was no intention of giving awaythe island for nothing, andso the reserve price had been fixed at$1,100,000. This amount for a financial society dealing with suchmatters was a mere bagatelle, if the transaction could offer anyadvantages; but as we need hardly repeat, itoffered none, and competentmen attached no more value to this detached portion of the UnitedStates, than to one of the islands lost beneath the glaciers of thePole.In one sense, however, the amount wasconsiderable. A man must be richto pay for this hobby, for in any case it would not return him ahalfpenny per cent. He would even have to be immensely rich for thetransaction was to be a \"cash\" one, and even in theUnited States it isas yet rare to find citizens with $1,100,000 in their pockets, who wouldcare to throw them into the water without hope of return.And Congress had decided not to sell the island under the price.Elevenhundred thousand dollars, not a cent less, or Spencer Island wouldremain the property of the Union.It was hardly likely that any one would be mad enough to buy it on theterms.Besides, it was expressly reservedthat the proprietor, if one offered,should not become king of Spencer Island, but president of a republic.He would gain no right to have subjects, but only fellow-citizens, whocould elect him for a fixed time, and wouldbe free from re-electing himindefinitely. Under any circumstances he was forbidden to play atmonarchy. The Union could never tolerate the foundation of a kingdom, nomatter how small, in American waters.Thisreservation was enough to keep off many an ambitious millionaire,many an aged nabob, who might like to compete with the kings of theSandwich, the Marquesas, and the other archipelagoes of the Pacific.In short, forone reason or other, nobody presented himself. Time wasgetting on, the crier was out of breath in his efforts to secure abuyer, the auctioneer orated without obtaining a single specimen ofthose nods which hisestimable fraternity are so quick to discover; andthe reserve price was not even mentioned.However, if the hammer was not wearied with oscillating above therostrum, the crowd was not wearied with waiting around it.The jokingcontinued to increase, and the chaff never ceased for a moment. Oneindividual offered two dollars for the island, costs included. Anothersaid that a man ought to be paid that for taking it.And all the time thecrier was heard with,--\"An island to sell! an island for sale!\"And there was no one to buy it.\"Will you guarantee that there are flats there?\" said Stumpy, the grocerof Merchant Street, alluding to the deposits so famousin alluvialgold-mining.\"No,\" answered the auctioneer, \"but it is not impossible that there are,and the State abandons all its rights over the gold lands.\"\"Haven't you got a volcano?\" asked Oakhurst, the bar-keeperofMontgomery Street.\"No volcanoes,\" replied Dean Felporg, \"if there were, we could not sellat this price!\"An immense shout of laughter followed.\"An island to sell! an island for sale!\" yelled Gingrass, whose lungstiredthemselves out to no purpose.\"Only a dollar! only a half-dollar! only a cent above the reserve!\" saidthe auctioneer for the last time, \"and I will knock it down! Once!Twice!\"Perfect silence.\"If nobody bids we must put thelot back! Once! Twice!\"Twelve hundred thousand dollars!\"The four words rang through the room like four shots from a revolver.The crowd, suddenly speechless, turned towards the bold man who haddared to bid.It wasWilliam W. Kolderup, of San Francisco.CHAPTER II.HOW WILLIAM W. KOLDERUP, OF SAN FRANCISCO, WAS AT LOGGERHEADS WITH J. R.TASKINAR, OF STOCKTON.A man extraordinarily rich, who counted dollars bythe million as othermen do by the thousand; such was William W. Kolderup.People said he was richer than the Duke of Westminster, whose income issome $4,000,000 a year, and who can spend his $10,000 a day, orsevendollars every minute; richer than Senator Jones, of Nevada, who has$35,000,000 in the funds; richer than Mr. Mackay himself, whose annual$13,750,000 give him $1560 per hour, or half-a-dollar to spendeverysecond of his life.I do not mention such minor millionaires as the Rothschilds, theVanderbilts, the Dukes of Northumberland, or the Stewarts, nor thedirectors of the powerful bank of California, and otheropulentpersonages of the old and new worlds whom William W. Kolderup would havebeen able to comfortably pension. He could, without inconvenience, havegiven away a million just as you and I might give away ashilling.It was in developing the early placer-mining enterprises in Californiathat our worthy speculator had laid the solid foundations of hisincalculable fortune. He was the principal associate of Captain Sutter,the Swiss,in the localities, where, in 1848, the first traces werediscovered. Since then, luck and shrewdness combined had helped him on,and he had interested himself in all the great enterprises of bothworlds. He threw himselfboldly into commercial and industrialspeculations. His inexhaustible funds were the life of hundreds offactories, his ships were on every sea. His wealth increased not inarithmetical but in geometrical progression. Peoplespoke of him as oneof those few \"milliardaires\" who never know how much they are worth. Inreality he knew almost to a dollar, but he never boasted of it.At this very moment when we introduce him to our readers withall theconsideration such a many-sided man merits, William W. Kolderup had 2000branch offices scattered over the globe, 80,000 employés in America,Europe, and Australia, 300,000 correspondents, a fleet of 500shipswhich continually ploughed the ocean for his profit, and he was spendingnot less than a million a year in bill-stamps and postages. In short, hewas the honour and glory of opulent Frisco--the nicknamefamiliarlygiven by the Americans to the Californian capital.A bid from William W. Kolderup could not but be a serious one. And whenthe crowd in the auction room had recognized who it was that by $100,000had cappedthe reserve price of Spencer Island, there was anirresistible sensation, the chaffing ceased instantly, jokes gave placeto interjections of admiration, and cheers resounded through the saloon.Then a deep silencesucceeded to the hubbub, eyes grew bigger, and earsopened wider. For our part had we been there we would have had to holdour breath that we might lose nothing of the exciting scene which wouldfollow should anyone dare to bid against William W. Kolderup.But was it probable? Was it even possible?No! And at the outset it was only necessary to look at William W.Kolderup to feel convinced that he could never yield on a questionwherehis financial gallantry was at stake.He was a big, powerful man, with huge head, large shoulders, well-builtlimbs, firmly knit, and tough as iron. His quiet but resolute look wasnot willingly cast downwards, his greyhair, brushed up in front, was asabundant as if he were still young. The straight lines of his noseformed a geometrically-drawn right-angled triangle. No moustache; hisbeard cut in Yankee fashion bedecked his chin, andthe two upper pointsmet at the opening of the lips and ran up to the temples inpepper-and-salt whiskers; teeth of snowy whiteness were symmetricallyplaced on the borders of a clean-cut mouth. The head of one ofthosetrue kings of men who rise in the tempest and face the storm. Nohurricane could bend that head, so solid was the neck which supportedit. In these battles of the bidders each of its nods meant anadditionalhundred thousand dollars.There was no one to dispute with him.\"Twelve hundred thousand dollars--twelve hundred thousand!\" said theauctioneer, with that peculiar accent which men of his vocation findmosteffective.\"Going at twelve hundred thousand dollars!\" repeated Gingrass the crier.\"You could safely bid more than that,\" said Oakhurst, the bar-keeper;\"William Kolderup will never give in.\"\"He knows no one will chanceit,\" answered the grocer from MerchantStreet.Repeated cries of \"Hush!\" told the two worthy tradesmen to be quiet. Allwished to hear. All hearts palpitated. Dare any one raise his voice inanswer to the voice of WilliamW. Kolderup? He, magnificent to lookupon, never moved. There he remained as calm as if the matter had nointerest for him. But--and this those near to him noticed--his eyes werelike revolvers loaded with dollars,ready to fire.\"Nobody speaks?\" asked Dean Felporg.Nobody spoke.\"Once! Twice!\"\"Once! Twice!\" repeated Gingrass, quite accustomed to this littledialogue with his chief.\"Going!\"\"Going!\"\"Fortwelve--hundred--thousand--dollars--Spencer--Island--com--plete!\"\"For twelve--hundred--thousand--dollars!\"\"That is so? No mistake?\"\"No withdrawal?\"\"For twelve hundred thousand dollars, Spencer Island!\"Thewaistcoats rose and fell convulsively. Could it be possible that atthe last second a higher bid would come? Felporg with his right handstretched on the table was shaking his ivory hammer--one rap, two raps,and thedeed would be done.The public could not have been more absorbed in the face of a summaryapplication of the law of Justice Lynch!The hammer slowly fell, almost touched the table, rose again, hoveredan instant like asword which pauses ere the drawer cleaves the victimin twain; then it flashed swiftly downwards.But before the sharp rap could be given, a voice was heard givingutterance to these four"}
+{"doc_id":"doc_121","qid":"","text":"The Project Gutenberg EBook of Comrades, by Thomas DixonThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it under theterms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: Comrades       A Story of Social Adventure in CaliforniaAuthor: Thomas DixonIllustrator: C. D. WilliamsRelease Date:March 1, 2011 [EBook #35447]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK COMRADES ***Produced by David Edwards, Jeannie Howse and the OnlineDistributed Proofreading Team athttp://www.pgdp.net (Thisfile was produced from images generously made availableby The Internet Archive)       *       *       *       *       *    +-----------------------------------------------------------+    | Transcriber'sNote:                                       |    |                                                           |    | Inconsistent hyphenation in the original document has     |    | beenpreserved.                                           |    |                                                           |    | Obvious typographical errors have been corrected. For     |    | a complete list, please see the end of thisdocument.     |    |                                                           |    +-----------------------------------------------------------+       *       *       *       *       *Comrades[Illustration]Thomas Dixon JR.    [Illustration: NORMANCLASPED HER IN HIS ARMS.]  COMRADES  _A STORY OF SOCIAL ADVENTURE  IN CALIFORNIA_  BY  THOMAS DIXON, Jr.  Illustrated by  C.D. WILLIAMS  [Illustration]  GROSSET & DUNLAP  Publishers  ::  NewYork  ALL RIGHTS RESERVED, INCLUDING THAT OF TRANSLATION  INTO FOREIGN LANGUAGES, INCLUDING THE SCANDINAVIAN  COPYRIGHT, 1909, BY THOMAS DIXON, JR.  PUBLISHED, JANUARY, 1909  DEDICATEDTO  THE DEAREST LITTLE  GIRL IN THE WORLD, MY DAUGHTER  LOUISECONTENTSCHAPTER                                                      PAGE       I. The Woman in Red                                      3      II. A New Joan ofArc                                    19     III. The Birth of a Man                                   31      IV. Among the Shadows                                    37       V. The Island of Ventura                                48      VI. The RedFlag                                         56     VII. Father and Son                                       73    VIII. Through the Eyes of Love                             85      IX. A Faded Picture                                      90       X. Son andFather                                       93      XI. The Way of a Woman                                  103     XII. A Royal Gift                                        105    XIII. The Burning of the Bridges                          110     XIV. The NewWorld                                       118      XV. For the Cause                                       123     XVI. Barbara Chooses a Profession                        130    XVII. A Call for Heroes                                   134   XVIII. A NewAristocracy                                   151     XIX. Some Troubles in Heaven                             166      XX. The Unconventional                                  181     XXI. A Pair of Cold Gray Eyes                            186    XXII.The Fighting Instinct                               192   XXIII. The Cords Tighten                                   207    XXIV. Some Interrogation Points                           212     XXV. The MasterHand                                     224    XXVI. At the Parting of the Ways                          235   XXVII. The Fruits of Patience                              246  XXVIII. The New Master                                      257    XXIX. A Testof Strength                                  269     XXX. A Vision from the Hilltop                           274    XXXI. In Love and War                                     283   XXXII. A Primitive Lover                                   291  XXXIII.Equality                                            295   XXXIV. A Brother to the Beast                              306    XXXV. Love and Locksmiths                                 313   XXXVI. The ShiningEmblem                                  318LEADING CHARACTERS OF THE STORY_Scene_: California. _Time_: 1898-1901  NORMAN WORTH            An Amateur Socialist  COLONEL WORTH           His Father  ELENASTOCKTON          The Colonel's Ward  HERMAN WOLF             A Socialist Leader  CATHERINE               His Affinity Wife  BARBARA BOZENTA         A New Joan of Arc  METHODIST JOHN          A Pauper  TOMMOONEY              A Miner  JOHN DIGGS              A Truth Seeker  ROLAND ADAIR            Bard of RamcatILLUSTRATIONS  \"Norman clasped her in hisarms\"                 _Frontispiece_                                                      FACING PAGE  \"'Lift the flag back to its place!'\"                         72  Barbara                                                     214  \"Wolf graspedher\"                                          292COMRADESCOMRADESCHAPTER ITHE WOMAN IN RED\"Fools and fanatics!\"Colonel Worth crumpled the morning paper with a gesture of rage andwalked to the window.Elenafollowed softly and laid her hand on his arm.\"What is it, Guardie? I thought you were supremely happy this morningover the news that Dewey has smashed the Spanish fleet?\"\"And so I am, little girl,\" was the gentlereply, \"or was until my eyefell on this call of the Socialists for a meeting to-night to denouncethe war--denounce the men who are dying for the flag. Read theirsummons.\"He opened the crumpled sheet and pointed toits head lines:\"Down with the Stars and Stripes--up with the Red Flag ofRevolution--the symbol of universal human brotherhood! Come and bringyour friends. A big surprise for all!\" The Colonel's jawssnappedsuddenly.\"I'd like to give them the surprise they need to-night.\"\"What?\" Elena asked.\"A serenade.\"\"A serenade?\"\"Yes, with Mauser rifles and Gatling guns. I'd mow them down as Iwould a herd of wild beastsloose in the streets of San Francisco.\"\"Merely for a difference of opinion, Governor?\" lazily broke in avoice from the depths of a heavy armchair.\"If you want to put it so, Norman, yes. Opinions, my boy, are theessenceof life--they may lead to heaven or hell. Opinions makecowards or heroes, patriots or traitors, criminals or saints.\"\"But you believe in free speech?\" persisted the boy.\"Yes. And that's more than any Socialist can say. Idon't deny theirright to speak their message. What I can't understand is how thepeople who have been hounded from the tyrant-ridden countries of theold world and found shelter and protection beneath our flagshouldturn thus to curse the hand that shields them.\"\"But if they propose to give you a better flag, Governor?\" drawled thelazy voice. \"Why not consider?\"\"Look, Elena! Did the sun ever shine on anything morebeautiful? Seeit fluttering from a thousand house-tops--the proud emblem of humanfreedom and human progress! Dewey has lifted it this morning on thefoulest slave-pen of the Orient--the flag that has never metdefeat.The one big faith in me is the belief that Almighty God inspired ourfathers to build this Republic--the noblest dream yet conceived by themind of man. Dewey has sunk a tyrant fleet and conquered an empireofslaves without the loss of a single man. The God of our fathers waswith him. We have a message for the swarming millions of the East----\"\"Pardon the interruption, Governor, but I must hold the mirror up tonaturejust a moment--your portrait sketched by the poet-laureate ofthe English-speaking world. He speaks of the American:    \"Enslaved, illogical, elate.      He greets the embarrassed gods, nor fears    To shake the ironhand of Fate      Or match with Destiny for beers.    \"Lo! imperturbable he rules,      Unkempt, disreputable, vast--    And in the teeth of all the schools      I--I shall save him at the last!\"The Colonel smiled.\"How do youlike the picture?\"\"Not bad for an Englishman, Norman. You know we licked Englandtwice----\"\"And we kin do it again, b' gosh, can't we?\" blustered the younger manwith mock heroics.\"You can bet we can, my son!\"continued the Colonel, quietly. \"Theroar of Dewey's guns are echoing round the world this morning. Thelesson will not be lost. You will observe that even your English poetforesees at last our salvation.    \"'And in theteeth of all the schools      I--I shall save him at the last!'\"\"Even in spite of the Socialists?\" queried the boy, with a grin.\"In spite of every foe--even those within our own household. War isthe searchlight of history, thegreat revealer of national life, ofhidden strength and unexpected weakness. I saw it in the Civilconflict--I've seen it in this little struggle----\"\"Then you do acknowledge it's not the greatest struggle inhistory--that'ssomething to be thankful for in these days ofpatriotism,\" exclaimed Norman, rising and stretching himself beforethe open fire while he winked mischievously at Elena.\"It's big enough, my boy, to show us the truth aboutour nation. Ourold problems are no longer real. The Union our fathers dreamed hascome at last. We are one people--one out of many--and we can whipSpain before breakfast----\"\"With one hand tied behind our back!\"laughed the boy.\"Yes, and blindfolded. It will be easy. But the next serious job willbe to bury a half million deluded fools in this country who callthemselves Socialists.\"The Colonel paused and a look of forebodingclouded his face as hegazed from the window of his house on Nob Hill over the city of SanFrancisco, which he loved with a devotion second only to hispassionate enthusiasm for the Union.Elena sat watching him in silentsympathy. He was the one perfect manof her life dreams, the biggest, strongest, tenderest soul she hadever known. Since the day she crept into his arms a lonely littleorphan ten years old she had worshipped him asfather, mother,guardian, lover, friend--all in one. She had accepted Norman's loveand promised to be his wife more to please his father than from anyoverwhelming passion for the handsome, lazy young athlete. It hadcomeabout as a matter of course because Colonel Worth wished it.The Colonel turned from the window, and his eyes rested on Elena'supturned face.\"It will be bloody work--but we've got to do it----\"Elena sprang to herfeet with a start and a laugh.\"Do what, Guardie? I forgot what you were talking about.\"\"Then don't worry your pretty head about it, dear. It's a job we menwill look after in due time.\"He stooped and kissed herforehead. \"By-by until to-night--I'll dropdown to the club and hear the latest from the front.\"With the firm, swinging stride of a man who lives in the open theColonel passed through the door of the library.\"Norman, Ican't realize that you two are father and son--he looksmore like your brother.\"\"At least my older brother----\"\"Yes, of course, but you would never take him for a man offorty-eight. I like the touch of gray in his hair. Itmeans dignity,strength, experience. I've always hated sap-headed youngsters.\"\"Say, Elena, for heaven's sake, who are you in love with anyhow--withme or the Governor?\"A smile flickered around the corners of thegirl's eyes and mouthbefore she slowly answered:\"I sometimes think I really love you both, Norman--but there aretimes when I have doubts about you.\"\"Thanks. I suppose I must be duly grateful for small favours, orelseresign myself to call you 'Mother.'\"\"Would such a fate be intolerable?\"Elena drew her magnificent figure to its full height and looked intothe young athlete's face with laughing audacity.\"By George, Elena, if I'mhonest with you, I'd have to say no. You aretall, stately, dignified, beautiful from the crown of your black hairto the tip of your dainty toe--the most stunning-looking woman I eversaw. I never think of you as a girl justout of school. You alwaysremind me of a glorious royal figure in some old romance of the MiddleAges----\"\"Now I'm sure I love you, Norman--for the moment at least.\"\"Then promise to go with me on a lark to-night,\" hesuddenly cried.\"A lark?\"Elena's gray-blue eyes danced beneath their black lashes.\"Yes, a real lark, daring, adventurous, dangerous, audacious.\"\"What is it--what is it? Tell me quick.\"The girl seized Norman's arm witheager, childish glee.\"Let's go to that Socialist meeting and beard the lion in his den.\"Elena drew back.\"No. Guardie will be furious!\"\"Ah, who's afraid? Guardie be hanged!\"\"Go by yourself.\"\"No, you've got to go withme.\"\"I won't do it. You just want to worry your father and then hidebehind my skirts.\"\"You can see yourself that's the easiest way to manage it. If he has afit, I can just say that your curiosity was excited and I had togowith you.\"\"But it's not excited.\"\"For the purposes of the lark I tell you that it is excited. There'stoo much patriotism in the air. It's giving me nervous prostration. Iwant something to brace me up. I think those fellowscan give me somegood points to tease the Governor with.\"\"Tease the Governor! You flatter yourself, Norman. He doesn't pay anymore attention to your talk than he would to the bark of a six weeks'old puppy.\"\"That'swhat riles me. The Governor's so cocksure of himself. I don'tknow how to answer him, but I know he's wrong. The fury with which hehates the Socialists rouses my curiosity. I've always found that thegood things in lifeare forbidden. All respectable people arepositively forbidden to attend a Socialist--traitors'--meeting. Forthat reason let's go.\"\"No.\"\"Ah, come on. Don't be a chump. Be a sport!\"\"I'd like the lark, but I won't hurtGuardie's feelings; so that's theend of it.\"\"Going to be a surprise, they say.\"\"What kind of a surprise?\"\"Going to spring a big sensation.\"Elena's eyes began to dance again.\"The woman called the Scarlet Nun is going tospeak, and Herman Wolf,the famous 'blond beast' of Socialism, will preside. They aremates--affinities.\"\"Married?\"\"God knows. A hundred weird stories about them circulate in theunder-world.\"\"I won't go! Don't you sayanother word!\" Elena snapped.Norman was silent.\"Are you sure it would be perfectly safe, Norman?\" the girl softlyasked.\"Perfectly. I know every inch of that quarter of the city--went therea hundred times the year Iwas a reporter.\"\"I won't go!\"\"It's the wickedest street in town. They say it's the worst block inAmerica.\"\"I don't want to see it.\" Elena laughed.\"And the hall is a famous red-light dancing dive in the heart ofHell's HalfAcre.\"\"Hush! Hush! I tell you I won't--_I won't_ go! But--but if I _do_--youpromise to hold my hand every minute, Norman?\"\"And keep my arm around your waist, if you like.\"Elena's cheeks flushed and her voicequivered with excitement as shepaused in the doorway.\"I'll be ready in twenty minutes after dinner.\"\"Bully for my chum! I'll tell the Governor we've gone for a stroll.\"As the shadows slowly fell over the city, Norman ledElena down themarble steps of his father's palatial home and paused for a moment onthe edge of the hill on which were perched the seats of the mighty.Elena fumbled with a new glove.\"Are you ready to descend withme to the depths, my princess indisguise?\" he gaily asked.\"Did you ever know me to flunk when I gave my word?\"\"No, you're a brick, Elena.\"Norman seized her arm and strode down the steep hillside with sure,firmstep, the girl accompanying his every movement with responsivejoy.\"You're awfully wicked to get me into a scrape of this kind, Norman,\"she cried, with bantering laughter. \"You know I was dying to goslumming, andGuardie wouldn't let me. It's awfully mean of you totake advantage of me like this.\"He stopped suddenly and looked gravely into her flushed face.\"Let's go back, then.\"\"No! I won't.\"Norman broke into a laugh. \"Thenaway with vain regrets! And rememberthe fate of Lot's wife.\"Elena pressed his hand close to her side and whispered:\"You are with me. The big handsome captain of last year's footballteam. Very young and very vainand very foolish and very lazy--but Ido think you'd stand by me in a scrap, Norman. Wouldn't you?\"\"Well, I rather think!\" was the deep answer, half whispered, as theysuddenly turned a corner and plunged into thered-light district. Hisstrong hand gripped her wrist with unusual tenderness.\"So who's afraid?\" she cried, looking up into his face just as adrunken blear-eyed woman staggered through an open door and lurchedagainsther.A low scream of terror came from Elena as she sprang back, and thewoman's head struck the pavement with a dull whack. Norman bent overher and started to lift the heavy figure, when her fist suddenly shotintohis face.\"Go ter hell--I can take care o' myself!\"\"Evidently,\" he laughed.Elena's hand suddenly gripped his.\"Let's go back, Norman.\"\"Nonsense--who's afraid?\"\"I am. I don't mind saying it. This is more than I bargainedfor.\"The woman scrambled to her feet and limped back into the doorway.Elena shivered. \"I didn't know such women lived on this earth.\"\"To say nothing of living but a stone's throw from your own door,\"hecontinued.\"Let's go back,\" she pleaded.\"No. A thing like this is merely one more reason why we should keepon. This only shows that the world we live in isn't quite perfect, asthe Governor seems to think. TheseSocialists may be right after all.Now that we've started let's hear their side of it. Come on! Don't bea quitter!\"Norman seized her arm and hurried through the swiftly moving throng ofthe under-world--gambling touts,thieves, cut-throats, pick-pockets,opium fiends, drunkards, thugs, carousing miners, and sailors--butabove all, everywhere, omnipresent, the abandoned woman--painted,bedizened, lurching through the streets,hanging in doorways, clingingto men on the sidewalks, beckoning from windows, singing vulgar songson crude platforms among throngs of half-drunken men, whirling pastdoors and windows in dance-halls, theircracked voices shrill andrasping above the din of cheap music.Elena stopped suddenly and clung heavily to Norman's arm.\"Please, Norman, let's go back. I can't endure this.\"\"And you're my chum that never flunkedwhen she gave her word?\" heasked with scorn. \"We are only a few feet from the hall now.\"\"Where is it?\"\"Right there in the middle of the block where you see that sign withthe blazing red torch.\"\"Come on, then,\" Elenasaid, with a shudder.They walked quickly through the long, dimly lighted passage to theentrance of the hall. It was densely packed with a crowd of fivehundred. Elena closed her eyes and allowed Norman to lead herthroughthe mob that blocked the space inside the door. At the entrance to thecentre aisle he encountered an usher who stared with bulging eyes athis towering figure. Norman leaned close and whispered:\"My boy, canyou possibly get us two seats?\"\"Can I git de captain er de football team two seats? Well, des watchme!\"The boy darted up the aisle, dived under the platform, drew out twofolding-chairs, placed them in the aisle on thefront row, dartedback, and bowed with grave courtesy.\"Dis way, sir!\"Norman followed with Elena clinging timidly and blindly to his arm. Ina moment they were seated. He offered the boy a dollar.The youngster bowedagain.\"De honour is all mine, sir. But you can give it to the Cause whenthey pass the box.\"Norman turned to Elena. \"Well, doesn't that jar you? Asixteen-year-old boy declines a tip, and says give it to the Cause!\"Theboy darted up the steps of the platform and whispered to thechairman:\"Git on to his curves! Dat's de captain o' de football--de bloke dat'sworth millions, an' don't give a doggone!\"A woman dressed in deep red who satbeside the chairman leaned closeand asked with quiet intensity:\"You mean young Worth, the millionaire of Nob Hill?\"\"Bet yer life! Dat's him!\"The woman in red whispered to the chairman, who nodded, while hiskeengray eyes flashed a ray of light from his heavy brows as he turnedtoward Norman.The woman wheeled suddenly in her chair, and with her back to theaudience bent over a girl who was evidently hiding behindher.\"Outdo yourself to-night, Barbara. Young Norman Worth, the son of ourmulti-millionaire nabob, is sitting in the aisle just in front of you.Win him for the Cause and I'll give you the half of our kingdom.\"\"How can Iknow him?\" the girl asked excitedly.\"He's not ten feet from the platform in the centre aisle--frontrow--clean shaven--a young giant of twenty-three--the handsomest manin the house. Put your soul _and_ your body inevery word you utter,every breath you breathe--and _win_ him!\"\"I'll try,\" was the low reply.CHAPTER IIA NEW JOAN OF ARCThe woman in scarlet rose, lifted her hand, and the crowd sprang totheir feet to the music ofthe most stirring song of revolution everwritten.Norman and Elena were both swept from their seats in spite ofthemselves. Elena's eyes flashed with excitement.\"What on earth is that they are singing, Norman?\" shewhispered.\"The Marseillaise hymn.\"\"Isn't it thrilling?\" she gasped.\"It makes your heart leap, doesn't it?\"\"And, heavens, how they sing it!\" she exclaimed.Norman turned and looked over the crowd of eager faces--everyman andwoman singing with the passionate enthusiasm of religious fanatics--anenthusiasm electric, contagious, overwhelming. In spite of himself hefelt his heart beat with quickened sympathy.He was amazed at the"}
+{"doc_id":"doc_122","qid":"","text":"The Project Gutenberg EBook of Iola Leroy, by Frances E.W. HarperThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it underthe terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: Iola Leroy       Shadows UpliftedAuthor: Frances E.W. HarperRelease Date: May 14, 2004 [EBook#12352]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK IOLA LEROY ***Produced by Suzanne Shell and PG Distributed ProofreadersIOLA LEROY,ORSHADOWS UPLIFTED.BYFRANCES E.W.HARPER.1893, PhiladelphiaTO MY DAUGHTERMARY E. HARPER,THIS BOOK IS LOVINGLY DEDICATED.INTRODUCTION.I confess when I first learned that Mrs. Harper was about to write \"astory\" on some features of theAnglo-African race, growing out of whatwas once popularly known as the \"peculiar institution,\" I had my doubtsabout the matter. Indeed it was far from being easy for me to think thatshe was as fortunate as she mighthave been in selecting a subject whichwould afford her the best opportunity for bringing out a work of meritand lasting worth to the race--such a work as some of her personalfriends have long desired to see from hergraphic pen. However, afterhearing a good portion of the manuscript read, and a general statementwith regard to the object in view, I admit frankly that my partialindifference was soon swept away; at least I waswilling to wait forfurther developments.Being very desirous that one of the race, so long distinguished in thecause of freedom for her intellectual worth as Mrs. Harper has had thehonor of being, should not at this latedate in life make a blunderwhich might detract from her own good name, I naturally proposed toawait developments before deciding too quickly in favor of givingencouragement to her contemplated effort.However, Iwas perfectly aware of the fact that she had much material inher possession for a most interesting book on the subject of thecondition of the colored people in the South. I know of no other woman,white or colored,anywhere, who has come so intimately in contact withthe colored people in the South as Mrs. Harper. Since emancipation shehas labored in every Southern State in the Union, save two, Arkansas andTexas; in thecolleges, schools, churches, and the cabins not excepted,she has found a vast field and open doors to teach and speak on thethemes of education, temperance, and good home building, industry,morality, and the like,and never lacked for evidences of heartyappreciation and gratitude.Everywhere help was needed, and her heart being deeply absorbed in thecause she willingly allowed her sympathies to impel her to performmostheroic services.With her it was no uncommon occurrence, in visiting cities or towns, tospeak at two, three, and four meetings a day; sometimes to promiscuousaudiences composed of everybody who would care tocome.But the kind of meetings she took greatest interest in were meetingscalled exclusively for women. In this attitude she could pour out hersympathies to them as she could not do before a mixed audience;andindeed she felt their needs were far more pressing than any other class.And now I am prepared to most fully indorse her story. I doubt whethershe could, if she had tried ever so much, have hit upon a subject sowelladapted to reach a large number of her friends and the public withboth entertaining and instructive matter as successfully as she has donein this volume.The grand and ennobling sentiments which have characterized allherutterances in laboring for the elevation of the oppressed will not befound missing in this book.The previous books from her pen, which have been so very widelycirculated and admired, North and South--\"ForestLeaves,\" \"MiscellaneousPoems,\" \"Moses, a Story of the Nile,\" \"Poems,\" and \"Sketches of SouthernLife\" (five in number)--these, I predict, will be by far eclipsed bythis last effort, which will, in all probability, be thecrowning effortof her long and valuable services in the cause of humanity.While, as indicated, Mrs. Harper has done a large amount of work in theSouth, she has at the same time done much active service inthetemperance cause in the North, as thousands of this class can testify.Before the war she was engaged as a speaker by anti-slaveryassociations; since then, by appointment of the Women's ChristianTemperanceUnion, she has held the office of \"Superintendent of ColoredWork\" for years. She has also held the office of one of the Directors ofthe Women's Congress of the United States.Under the auspices of these influential,earnest, and intelligentassociations, she has been seen often on their platforms with theleading lady orators of the nation.Hence, being widely known not only amongst her own race but likewise bythe reformers,laboring for the salvation of the intemperate and othersequally unfortunate, there is little room to doubt that the book will bein great demand and will meet with warm congratulations from a goodlynumber outside ofthe author's social connections.Doubtless the thousands of colored Sunday-schools in the South, incasting about for an interesting, moral story-book, full of practicallessons, will not be content to be without \"IOLALEROY, OR SHADOWSUPLIFTED.\"WILLIAM STILL.CONTENTS.ChapterI. The Mystery of Market Speech and Prayer MeetingsII. Contraband of WarIII. Uncle Daniel's StoryIV. Arrival of the Union ArmyV. Release of IolaLeroyVI. Robert Johnson's Promotion and ReligionVII. Tom Anderson's DeathVIII. The Mystified DoctorIX. Eugene Leroy and Alfred LorraineX. Shadows in the HomeXI. The Plague and the LawXII. School-girlNotionsXIII. A Rejected SuitorXIV. Harry LeroyXV. Robert and his CompanyXVI. After the BattleXVII. Flames in the School-RoomXVIII. Searching for Lost OnesXIX. Striking ContrastsXX. A RevelationXXI. A Home forMotherXXII. Further Lifting of the VeilXXIII. Delightful ReunionsXXIV. Northern ExperienceXXV. An Old FriendXXVI. Open QuestionsXXVII. Diverging PathsXXVIII. Dr. Latrobe's MistakeXXIX. Visitors from the SouthXXX.Friends in CouncilXXXI. Dawning AffectionsXXXII. Wooing and WeddingXXXIII. ConclusionNoteCHAPTER I.MYSTERY OF MARKET SPEECH AND PRAYER-MEETING.\"Good mornin', Bob; how's butter dis mornin'?\"\"Fresh;just as fresh, as fresh can be.\"\"Oh, glory!\" said the questioner, whom we shall call Thomas Anderson,although he was known among his acquaintances as Marster Anderson's Tom.His informant regarding the conditionof the market was Robert Johnson,who had been separated from his mother in his childhood and reared byhis mistress as a favorite slave. She had fondled him as a pet animal,and even taught him to read.Notwithstanding their relation as mistressand slave, they had strong personal likings for each other.Tom Anderson was the servant of a wealthy planter, who lived in the cityof C----, North Carolina. This planter wasquite advanced in life, butin his earlier days he had spent much of his time in talking politics inhis State and National capitals in winter, and in visiting pleasureresorts and watering places in summer. His plantationswere left to thecare of overseers who, in their turn, employed negro drivers to aid themin the work of cultivation and discipline. But as the infirmities of agewere pressing upon him he had withdrawn from active life, andgiven themanagement of his affairs into the hands of his sons. As Robert Johnsonand Thomas Anderson passed homeward from the market, having boughtprovisions for their respective homes, they seemed to beverylight-hearted and careless, chatting and joking with each other; butevery now and then, after looking furtively around, one would drop intothe ears of the other some news of the battle then raging betweentheNorth and South which, like two great millstones, were grinding slaveryto powder.As they passed along, they were met by another servant, who said inhurried tones, but with a glad accent in his voice:--\"Did you seede fish in de market dis mornin'? Oh, but dey war splendid,jis' as fresh, as fresh kin be.\"\"That's the ticket,\" said Robert, as a broad smile overspread his face.\"I'll see you later.\"\"Good mornin', boys,\" said anotherservant on his way to market. \"How'seggs dis mornin'?\"\"Fust rate, fust rate,\" said Tom Anderson. \"Bob's got it down fine.\"\"I thought so; mighty long faces at de pos'-office dis mornin'; but I'dbetter move 'long,\" andwith a bright smile lighting up his face hepassed on with a quickened tread.There seemed to be an unusual interest manifested by these men in thestate of the produce market, and a unanimous report of itsgoodcondition. Surely there was nothing in the primeness of the butter orthe freshness of the eggs to change careless looking faces into suchexpressions of gratification, or to light dull eyes with such gladness.What didit mean?During the dark days of the Rebellion, when the bondman was turning hiseyes to the American flag, and learning to hail it as an ensign ofdeliverance, some of the shrewder slaves, coming in contact withtheirmasters and overhearing their conversations, invented a phraseology toconvey in the most unsuspected manner news to each other from thebattle-field. Fragile women and helpless children were left ontheplantations while their natural protectors were at the front, and yetthese bondmen refrained from violence. Freedom was coming in the wake ofthe Union army, and while numbers deserted to join their forces,othersremained at home, slept in their cabins by night and attended to theirwork by day; but under this apparently careless exterior there was anundercurrent of thought which escaped the cognizance of theirmasters.In conveying tidings of the war, if they wished to announce a victory ofthe Union army, they said the butter was fresh, or that the fish andeggs were in good condition. If defeat befell them, then the butterandother produce were rancid or stale.Entering his home, Robert set his basket down. In one arm he held abundle of papers which he had obtained from the train to sell to theboarders, who were all anxious to hearfrom the seat of battle. Heslipped one copy out and, looking cautiously around, said to Linda, thecook, in a low voice:--\"Splendid news in the papers. Secesh routed. Yankees whipped 'em out oftheir boots. Papers full ofit. I tell you the eggs and the butter'smighty fresh this morning.\"\"Oh, sho, chile,\" said Linda, \"I can't read de newspapers, but oleMissus' face is newspaper nuff for me. I looks at her ebery mornin' wenshe comes interdis kitchen. Ef her face is long an' she walks kine o'droopy den I thinks things is gwine wrong for dem. But ef she comes outyere looking mighty pleased, an' larffin all ober her face, an' steppin'so frisky, den I knows deSecesh is gittin' de bes' ob de Yankees.Robby, honey, does you really b'lieve for good and righty dat demYankees is got horns?\"\"Of course not.\"\"Well, I yered so.\"\"Well, you heard a mighty big whopper.\"\"Anyhow,Bobby, things goes mighty contrary in dis house. Ole Miss is inde parlor prayin' for de Secesh to gain de day, and we's prayin' in decabins and kitchens for de Yankees to get de bes' ob it. But wasn't MissNancy glad wendem Yankees run'd away at Bull's Run. It was nuffin butBull's Run an' run away Yankees. How she did larff and skip 'bout dehouse. An' den me thinks to myself you'd better not holler till you gitsout ob de woods. I specs'fore dem Yankees gits froo you'll be larffintother side ob your mouf. While you was gone to market ole Miss com'dout yere, her face looking as long as my arm, tellin' us all 'bout dewar and saying dem Yankees whippedour folks all to pieces. And she was'fraid dey'd all be down yere soon. I thought they couldn't come toosoon for we. But I didn't tell her so.\"\"No, I don't expect you did.\"\"No, I didn't; ef you buys me for a fool you losesyour money shore. Shesaid when dey com'd down yere she wanted all de men to hide, for dey'dkill all de men, but dey wouldn't tech de women.\"\"It's no such thing. She's put it all wrong. Why them Yankees are ourbestfriends.\"\"Dat's jis' what I thinks. Ole Miss was jis' tryin to skeer a body. An'when she war done she jis' set down and sniffled an' cried, an' I war soglad I didn't know what to do. But I had to hole in. An' I made out Iwarorful sorry. An' Jinny said, 'O Miss Nancy, I hope dey won't comeyere.' An' she said, 'I'se jis' 'fraid dey will come down yere andgobble up eberything dey can lay dere hands on.' An' she jis' looked asef her heart warmos' broke, an' den she went inter de house. An' whenshe war gone, we jis' broke loose. Jake turned somersets, and said hewarnt 'fraid ob dem Yankees; he know'd which side his brad was butteredon. Dat Jake is acuter. When he goes down ter git de letters he cuts upall kines ob shines and capers. An' to look at him skylarking dere whilede folks is waitin' for dere letters, an' talkin' bout de war, yerwouldn't think dat boy had athimbleful of sense. But Jake's listenin'all de time wid his eyes and his mouf wide open, an' ketchin' eberythinghe kin, an' a heap ob news he gits dat way. As to Jinny, she jis'capered and danced all ober de flore. An' Ijis' had to put my han' oberher mouf to keep ole Miss from yereing her. Oh, but we did hab a goodtime. Boy, yer oughter been yere.\"\"And, Aunt Linda, what did you do?\"\"Oh, honey, I war jis' ready to crack my sideslarffin, jis' to see whata long face Jinny puts on wen ole Miss is talkin', an' den to see datface wen missus' back is turned, why it's good as a circus. It's nuff tomake a horse larff.\"\"Why, Aunt Linda, you never saw acircus?\"\"No, but I'se hearn tell ob dem, and I thinks dey mus' be mighty funny.An' I know it's orful funny to see how straight Jinny's face looks wenshe's almos' ready to bust, while ole Miss is frettin' and fumin''boutdem Yankees an' de war. But, somehow, Robby, I ralely b'lieves dat wecullud folks is mixed up in dis fight. I seed it all in a vision. An'soon as dey fired on dat fort, Uncle Dan'el says to me: 'Linda, we'sgwine to gitour freedom.' An' I says: 'Wat makes you think so?\" An' hesays: 'Dey've fired on Fort Sumter, an' de Norf is boun' to whip.'\"\"I hope so,\" said Robert. \"I think that we have a heap of friends upthere.\"\"Well, I'm jis' gwineto keep on prayin' an' b'lievin'.\"Just then the bell rang, and Robert, answering, found Mrs. Johnsonsuffering from a severe headache, which he thought was occasioned by herworrying over the late defeat of theConfederates. She sent him on anerrand, which he executed with his usual dispatch, and returned to somework which he had to do in the kitchen. Robert was quite a favorite withAunt Linda, and they often hadconfidential chats together.\"Bobby,\" she said, when he returned, \"I thinks we ort ter hab aprayer-meetin' putty soon.\"\"I am in for that. Where will you have it?\"\"Lem me see. Las' Sunday we had it in Gibson's woods;Sunday 'fore las',in de old cypress swamp; an' nex' Sunday we'el hab one in McCullough'swoods. Las' Sunday we had a good time. I war jis' chock full an' runnin'ober. Aunt Milly's daughter's bin monin all summer, an'she's jis' comethroo. We had a powerful time. Eberythin' on dat groun' was jis' alive.I tell yer, dere was a shout in de camp.\"\"Well, you had better look out, and not shout too much, and pray andsing too loud, because,'fore you know, the patrollers will be on yourtrack and break up your meetin' in a mighty big hurry, before you cansay 'Jack Robinson.'\"\"Oh, we looks out for dat. We's got a nice big pot, dat got cracked las'winter, but itwill hole a lot o' water, an' we puts it whar we can tellit eberything. We has our own good times. An' I want you to come Sundaynight an' tell all 'bout the good eggs, fish, and butter. Mark my words,Bobby, we's allgwine to git free. I seed it all in a vision, as plainas de nose on yer face.\"\"Well, I hope your vision will come out all right, and that the eggswill keep and the butter be fresh till we have our next meetin'.\"\"Now, Bob, yousen' word to Uncle Dan'el, Tom Anderson, an' de rest obdem, to come to McCullough's woods nex' Sunday night. I want to hab asin-killin' an' debil-dribin' time. But, boy, you'd better git out eryere. Ole Miss'll be downon yer like a scratch cat.\"Although the slaves were denied unrestricted travel, and the holding ofmeetings without the surveillance of a white man, yet they contrived tomeet by stealth and hold gatherings where theycould mingle theirprayers and tears, and lay plans for escaping to the Union army.Outwitting the vigilance of the patrollers and home guards, theyestablished these meetings miles apart, extending into severalStates.Sometimes their hope of deliverance was cruelly blighted by hearing ofsome adventurous soul who, having escaped to the Union army, had beenpursued and returned again to bondage. Yet hope survived allthesedisasters which gathered around the fate of their unfortunate brethren,who were remanded to slavery through the undiscerning folly of those whowere strengthening the hands which were dealing their deadliestblows atthe heart of the Nation. But slavery had cast such a glamour over theNation, and so warped the consciences of men, that they failed to readaright the legible transcript of Divine retribution which waswrittenupon the shuddering earth, where the blood of God's poor children hadbeen as water freely spilled.CHAPTER II.CONTRABAND OF WAR.A few evenings after this conversation between Robert and Linda,aprayer-meeting was held. Under the cover of night a few dusky figuresmet by stealth in McCullough's woods.\"Howdy,\" said Robert, approaching Uncle Daniel, the leader of theprayer-meeting, who had preceded himbut a few minutes.\"Thanks and praise; I'se all right. How is you, chile?\"\"Oh, I'm all right,\" said Robert, smiling, and grasping Uncle Daniel'shand.\"What's de news?\" exclaimed several, as they turned their faceseagerlytowards Robert.\"I hear,\" said Robert, \"that they are done sending the runaways back totheir masters.\"\"Is dat so?\" said a half dozen earnest voices. \"How did you yere it?\"\"I read it in the papers. And Tom told mehe heard them talking about itlast night, at his house. How did you hear it, Tom? Come, tell us allabout it.\"Tom Anderson hesitated a moment, and then said:--\"Now, boys, I'll tell you all 'bout it. But you's got to bemighty mum'bout it. It won't do to let de cat outer de bag.\"\"Dat's so! But tell us wat you yered. We ain't gwine to say nuffin tonobody.\"\"Well,\" said Tom, \"las' night ole Marster had company. Two bigginerals, and deywas hoppin' mad. One ob dem looked like a turkeygobbler, his face war so red. An' he sed one ob dem Yankee ginerals, Ithinks dey called him Beas' Butler, sed dat de slaves dat runned awaywar some big name--I don'tknow what he called it. But it meant dat allob we who com'd to de Yankees should be free.\"\"Contraband of war,\" said Robert, who enjoyed the distinction of being agood reader, and was pretty well posted about thewar. Mrs. Johnson hadtaught him to read on the same principle she would have taught a petanimal amusing tricks. She had never imagined the time would come whenhe would use the machinery she had put in hishands to help overthrowthe institution to which she was so ardently attached.\"What does it mean? Is it somethin' good for us?\"\"I think,\" said Robert, a little vain of his superior knowledge, \"it isthe best kind of good. Itmeans if two armies are fighting and thehorses of one run away, the other has a right to take them. And it isjust the same if a slave runs away from the Secesh to the Union lines.He is called a contraband, just the sameas if he were an ox or a horse.They wouldn't send the horses back, and they won't send us back.\"\"Is dat so?\" said Uncle Daniel, a dear old father, with a look ofsaintly patience on his face. \"Well, chillen, what do youmean to do?\"\"Go, jis' as soon as we kin git to de army,\" said Tom Anderson.\"What else did the generals say? And how did you come to hear them,Tom?\" asked Robert Johnson.\"Well, yer see, Marster's too ole andfeeble to go to de war, but hisheart's in it. An' it makes him feel good all ober when dem big gineralscomes an' tells him all 'bout it. Well, I war laying out on de porchfas' asleep an' snorin' drefful hard. Oh, I war so soun'asleep dat wenMarster wanted some ice-water he had to shake me drefful hard to wake meup. An' all de time I war wide 'wake as he war.\"\"What did they say?\" asked Robert, who was always on the lookout fornewsfrom the battle-field.\"One ob dem said, dem Yankees war talkin' of puttin' guns in our han'sand settin' us all free. An' de oder said, 'Oh, sho! ef dey puts guns indere hands dey'll soon be in our'n; and ef dey sets em freedey wouldn'tknow how to take keer ob demselves.'\"\"Only let 'em try it,\" chorused a half dozen voices, \"an' dey'll soonsee who'll git de bes' ob de guns; an' as to taking keer ob ourselves, Ispecs we kin take keer obourselves as well as take keer ob dem.\"\"Yes,\" said Tom, \"who plants de cotton and raises all de crops?\"    \"'They eat the meat and give us the bones,      Eat the cherries and give us the stones,'\"And I'm getting tired of"}
+{"doc_id":"doc_123","qid":"","text":"<html><head><title>Conan the Barbarian Script at IMSDb.</title><meta name=\"description\" content=\"Conan the Barbarian script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Conanthe Barbarian script, Conan the Barbarian movie script, Conan the Barbarian film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\"content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ?'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie ScriptDatabase\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <scripttype=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                              CONAN THE BARBARIAN</b>                                  Written by                   Thomas Dean Donnelly & JoshuaOppenheimer                                                                                                                              Based on the writings of                               Robert E.Howard                                                                                                                                                            October 7, 2009<b>          OVER BLACK:</b>                                   In the darkness, we hear thesolitary sound of a HEARTBEAT,          resounding like a drum.                         <b>           NARRATOR (V.O)</b>           In between the years when the           oceans drank Atlantis and the rise           of the Sons ofAryas, there was an           age undreamed of, when shining           kingdoms lay spread across the           world like blue mantles under the           stars. Hither came Conan, the           Cimmerian: a thief, a slayer,a           king born of battle.                                   Muffled sounds, as if underwater, echo: CLANGING swords, the          guttural CRIES of combat.                         <b>                         UNBORNBABY</b>                                   Eyes closed, floating at peace within red glow of the womb.                                   Suddenly, a flash of steel, as a sword pierces the womb, its          tip not an inch from the baby'shead.                                   As the sword is ripped out, light streams in from outside, we          travel with it, into the DIN of BATTLE.                                                  <b>          EXT. CIMMERIA - MUDDY FIELD -DAY</b>                                   A blonde-haired, armored AESIR RAIDER withdraws the bloody          sword from the stomach of ISLENE, a wild-maned Cimmerian          beauty, many months pregnant, now clutchingher bloody          stomach.                                   Across a muddy battlefield, the air a maelstrom of falling          snowflakes and embers from trees aflame, the powerfully built          CORIN rallies his fellowCIMMERIANS, until he spots Islene.                         <b>                          CORIN</b>           Islene!!!                                   Wielding a broadsword, runes etched into its surface, Corin          cuts a bloody paththrough his enemies, his eyes never          leaving Islene.                                   The Aesir standing over Islene LAUGHS as she claws at the          earth behind her, trying to pull herselfaway.                         <b>                          AESIR</b>           Now, now little whore. Did I get           you or your little one?<b>           2.</b>                                                            Islene's hand reaches backonce again -- and it finds a          fallen warrior's SWORD. In one fluid motion she swings the          sword around her body and drives it into the gap in the          Aesir's armor -- at hisgroin.                         <b>                          ISLENE</b>           I'd ask you the same.                                   The Aesir HOWLS in agony, raising his sword to deliver the          killing blow -- when another swordpierces his chest. The          Aesir falls, revealing Corin standing behind him.                                   Corin throws aside his horned helmet, and falls to his knees          beside Islene, checking her wound. When he pullshis hands          back they are coated in blood.                                   Their eyes meet. Torment. Loss. They both know. She pulls a          knife from the folds of her pelts, puts it in hishand.                         <b>                          ISLENE (CONT'D)</b>           Take your child.                         <b>                          CORIN</b>           I cannot.                                   Islene looks to her naked belly.The baby inside presses          against its womb, a visible impression on her flesh.                         <b>                          ISLENE</b>           There is no time, husband. I would           see my child'sface.                                   Islene's eyes flutter as she struggles. Corin lowers the          knife. Islene's eyes lock with Corin's as he puts the knife          to use. Never once does she scream.                                   Amoment later, Corin lifts the crying, blood-covered BOY up          through the falling snowflakes to Islene's lap.                         <b>                          ISLENE (CONT'D)</b>           A boy. He will be strong. Awarrior           with no equal.                         <b>                          CORIN</b>           Do not speak, love.                         <b>                          ISLENE</b>           You have never been able to still           mytongue, and you will not this           day. He will be wild, Corin. You           must temper him.                                   She shares one kiss with her child, its first taste not of          mother's milk, but of herblood.<b>           3.</b>                                                  <b>                          ISLENE (CONT'D)</b><b>                          (FADING)</b>           Conan.His--name--is--Conan.                         <b>                         CONAN</b>                                   The boy's eyes are as deep and blue as the Eastern Sea.                         <b>          TITLE CARD:CONAN</b>                         <b>                          CUT TO:</b>                                                  <b>          EXT. CIMMERIAN VILLAGE - DAY</b>                                   A small Cimmerian village lies in a heavilyforested valley,          a redoubt from the icy mountains surrounding it.                                   Round wooden huts surround a stone-lined pit, where young          CIMMERIAN BOYS, ages 12-15 stand. Pollen driftsthrough the          air, giving it an ethereal haze.                                   At the center of the pit URAN, an elder Cimmerian warrior          speaks.                         <b>                          URAN</b>           A Cimmerianwarrior is like any           other man. A Cimmerian warrior           feels hunger. He feels cold. Like           other men he may lie and cheat.           (stares the boys down)           But when a Cimmerianwarrior           hungers, he hungers only for the           blood of his enemy. When he feels           cold, it is the cold steel of his           sword. When he lies, he lies in           wait for his enemy. And whenhe           cheats, he cheats death itself!                                   Uran stops at the end of the line, where a boy stands a good          two heads smaller than the rest. He is no more than eight,          but his face is asstoic, driven.                         <b>                          URAN (CONT'D)</b>           Conan! You are too young to be           here. Withdraw.                                   CONAN, determined, doesn't move an inch. TheLARGEST TEEN          menacingly steps up to the smaller boy.                         <b>                          LARGEST TEEN</b>           He said leave, motherlesswhelp.<b>           4.</b>                                                            The hulking teen goes to shove Conan, but Conan pulls his arm          towards him, lashing out with his other hand, punching the          teen in thethroat.                                   The large boy goes down hard, hands and knees, gasping for          air.                                   A smattering of LAUGHS erupt from the boys, quickly silenced          by Uran's stare. Uranhands out RIVER STONES to each boy,          ending with Conan. The boys know what to do: they put the          large stones in their mouths.                         <b>                          URAN</b>           In the black cragin the high pass           stands a wooden training sword. The           one who claims it, with stone still           in his mouth, will have earned the           right to train with the warriors.                                   The boyslook at each other, sizing up the competition.                         <b>                          URAN (CONT'D)</b>           Well? What are you waiting for?!                                   And off they run. They knock each other down,punching the          other's stomachs, each trying to force the other to expel          their stones. One or two succeed.                                   Most of the remaining boys run for the trail that winds high          into themountains. But a few head right for the sheer cliff          face.                                   Conan follows the ones headed to the cliff.                         <b>                         CLIFF FACE</b>                                   Andwhen the Cimmerian boys climb, it is a sight to behold.          They find cracks we can barely see and scale the smooth rock          face as though it were a ladder.                                   The hulking teen reaches forthe same handhold as Conan,          trying to knock him off. Conan swings with one hand and finds          another path. In moments he is ahead.                                                  <b>          EXT. FOREST -DAY</b>                                   Conan is in the lead as he crests the cliff top, the bigger          boys right behind him.                                   They race through the forest, heading uphill--                                   When Conan spots movement ahead. He pauses --<b>           5.</b>                                                            And the largest teen elbows past Conan, into the lead. The          boy runs twopaces more and suddenly flies off his feet, an          AXE lodged squarely in his forehead.                                   All the boys stop. Out of the dense forest come                         <b>          FOUR PICTISHSAVAGES</b>                                   Covered with fearsome war paint and armed with dual hand          axes, the rotting heads of their enemies are slung at their          waist.                                   The boys spit outthe rocks in their mouths and YELL. They          turn and run in the opposite direction.                                   Only Conan doesn't move, even as another boy pulls athim.                         <b>                          CIMMERIAN BOY</b>           Conan! Run!                                   But Conan simply pulls the axe from his large boy's skull. He          turns to face the Picts, his eyesburning.                                   The Picts LAUGH and CHARGE CONAN.                         <b>                          CUT TO:</b>                         <b>                         LATER</b>                                   Corin arrives withUran and other armed CIMMERIAN WARRIORS.          They get a brief glimpse of a single PICT, escaping in the          other direction. One of the Cimmerians takes off in pursuit.          Corin desperately searches for hisson.                         <b>                          CORIN</b>           Conan? Conan?!                                   Conan steps forward from out of a thicket, his body covered          in Pict blood. Three PICTS lie massacred, thebodies hacked          to pieces.                         <b>                          CORIN (CONT'D)</b>           What have you done, boy?                                   Conan walks past the other stunned Cimmerians, up tohis          father. Conan SPITS OUT the bloody stone from his mouth.                         <b>                          CONAN</b>           They killed one. I killed three. I           am a warrior now.                                   Uranand the other Cimmerian men exchange worried glances.          Looking at the carved up bodies of the Picts, they are          aghast. Conan looks confused. Why aren't they"}
+{"doc_id":"doc_124","qid":"","text":"<html><head><title>Soldier Script at IMSDb.</title><meta name=\"description\" content=\"Soldier script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Soldier script, Soldier moviescript, Soldier film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=SubjectCONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0];s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>    <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\"title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center></td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                             SOLDIER</b>                            Written by                        David WebbPeoples<b>                                                  REVISED DRAFT</b>                                                  October 2, 1997<b>     INT.  HOSPITAL NURSERY - NIGHT</b>     BABIES in bassinets, isolettes,incubators.  BABIES sleeping,     BABIES blinking, BABIES cooing, BABIES chirping, BABIES     squalling.     It's the SQUALLING BABIES, the ones with pinched faces and tiny     bunched fists, that seem to interest theTWO ANONYMOUS MEN in     Military Uniforms.  (Their anonymity is assured by the angles     from which they are seen; they are hands, they are feet, they are     the backs of heads.)     A lone NURSE watches themgrimly as they make their \"selections,\"     marking the cribs of the most active, noisy BABIES with X's.<b>                                                       CUT TO:</b><b>     EXT.  VAN/HOSPITAL - NIGHT</b>     ANGLE ONVAN DOORS slamming shut on a dozen squalling BABIES in     tiered red cribs.     ANGLE ON THE VAN pulling away from the loading dock of the large     hospital as a date is SUPERED over thescene...<b>                                1992</b><b>                                                       CUT TO:</b><b>     INT.  CAGE/BASEMENT ROOM - DAY OR NIGHT</b>     Vicious teeth, savage snarls, tearing flesh as threefierce     fighting DOGS battle a single WOLVERINE in large steel cage.     The cage is in the middle of a gloomy windowless room surrounded     by twenty TWO-YEAR-OLDS seated on folding chairs and dressedin     identical gray overalls.  As the TWO-YEAR-OLDS watch the battle,     amazement on their innocent faces, a date appears SUPERED over     the scene...<b>                                1994</b>     WE DISCOVER in theshadows more ANONYMOUS MEN (and WOMEN), some     of them in Military Uniforms, observing the children.<b>                                                       CUT TO:</b><b>     INT.  A WINDOWLESS CEMENT ROOM -DAY OR NIGHT</b>     It's creepy:  the same children two years older, milling about a     bare cement room, apparently unsupervised.  They ought to look     cute, but somehow these joyless FOUR-YEAR-OLDS lookslightly     sinister, all of them wearing drab uniforms and military burr-cut     hair.  Again a date is SUPERED over the scene --<b>                                1996</b>     -- just as an AGGRESSIVE FOUR-YEAR-OLDapproaches a PASSIVE FOUR     YEAR-OLD seated on the floor and kicks him.     It's a harmless child's kick.  But then, as the DATE DISAPPEARS,     he kicks the PASSIVE FOUR-YEAR-OLD again.  And again.     Theservo-motor in a remote video camera mounted high on the wall     WHINES slightly as the camera pans to the record the action.<b>                                                       CUT TO:</b><b>     INT.  WINDOWLESS\"CLASSROOM\" - DAY OR NIGHT</b>     Puzzles.  Fingers fit shapes into holes.  The puzzles aren't fun     puzzles; they're obviously tests of intelligence or dexterity or     both.  SIX-YEAR-OLDS now, the boys perform ina grim room under     fluorescent lights as more ANONYMOUS MEN and WOMEN in polished     shoes and sharply creased military slacks cruise the aisles,     observing.     As a date appears SUPERED over thisscene...<b>                                1998</b>     WE NOTICE one of the SIX-YEAR-OLDS is becoming familiar to us.     TODD.  We NOTICE his intense eyes as he dexterously manipulates     apuzzle.<b>                                                       CUT TO:</b><b>     EXT.  FIELD - DAY</b>     Behind a cyclone fence topped with curlicues of razor wire, the     boys, now TEN-YEAR-OLDS, are marching information under the     supervision of a (faceless) DRILL SERGEANT.  Again a date is     SUPERED over the scene...<b>                                2002</b><b>                                                       CUTTO:</b><b>     INT.  GYMNASIUM - DAY</b>     Fourteen-year-old TODD is doing bench presses in shorts while all     around him his FOURTEEN-YEAR-OLD COMRADES work out with weights     in a very grim andspartan gym that resembles a sinister     concentration camp more than the yuppie spas of the 20th Century.     The date appears SUPERED over thescene...<b>                                2006</b><b>                                                       CUT TO:</b><b>     EXT.  OBSTACLE COURSE/MONTAGE - DAY</b>     The FOURTEEN-YEAR-OLDS, TODD among them, jump,roll, dive, crawl,     swim, and rappel through a brutal course featuring:     vertical wooden walls,     fast moving rapids,     tangles of barbed wire,     steep rock faces,     and finally a jungle of dangling chains with tinycircular     \"platforms\" about eight inches in diameter every ten feet.     FOURTEEN YEAR OLDS bloody each other with pugil sticks and padded     cudgels while they swing twenty feet above the ground.  One of     themis knocked off, plummets downward.  CRUNCH!<b>                                                       CUT TO:</b><b>     EXT.  SNOW COVERED LANDSCAPE - DAY</b>     Long even strides, two inches of snow.  Breathing hard,the     SIXTEEN-YEAR-OLDS now lope through hills and woods in shorts and      T-shirts, their breath coming in steamy blasts as the date is     SUPERED over the scene...<b>                                2008</b>     This abrutal cross country run under a grim sky in bitter cold     weather, but the SIXTEEN-YEAR-OLDS are super-fit, their faces     hard and without expression, their eyes as cold as snake eyes.     Except for the STRAGGLER,a lone boy who's bringing up the rear,      obviously in trouble, gasping for air, struggling, struggling,      struggling to keep his feet...     ANGLE ON A HILL where ANONYMOUS OBSERVERS, all in militarydress,      watch.     ANGLE ON THE STRAGGLER, unable to keep his feet, going down,     gasping.  With fearful eyes, he looks toward the hill where he     knows the OBSERVERS are.     ANGLE ON THE PACK, sixteenSIXTEEN-YEAR-OLDS not looking back,     even as a single SHOT rings out.  TODD doesn't even blink, just     keeps running.<b>                                                       CUT TO:</b><b>     EXT.  SHOOTING RANGE -DAY</b>     Suddenly, out of nowhere, a scary mechanized pop-up target, a     MILITARY FIGURE, erupts from the long grass, weapon pointing.     Before the weapon can flash a laser bean, AUTOMATIC FIREravages     the target and it disappears back into the grass.  The boys,     EIGHTEEN-YEAR-OLDS now, are wearing combat gear and carrying     automatic weapons as they advance through a sloping field oftall     grass.     Different sophisticated TARGETS pop up urgently, sometimes close,      sometimes far, some MOVING rapidly on tracks.     The EIGHTEEN-YEAR-OLDS expertly mow down menacingMILITARY     FIGURES while holding their fire when ANIMAL TARGETS or UNARMED     CIVILIANS and CHILDREN appear.     The eighteen-year-old on point is RILEY, a muscular redhead.     TODD is right behind him asa date is SUPERED over the scene...<b>                                 2010</b>     Suddenly multiple TARGETS appear, charging.     BUDDA BUDDA BUDDA!  First TARGET down!     RILEY, panning for the next target, holdsfire, passes over two      MOTHERS HOLDING CHILDREN, pans for a nearby SOLDIER TARGET.  But     the SOLDIER TARGET zips behind the MOTHERS HOLDING CHILDREN,     taking cover, weapon pointed atRILEY.     For half a second RILEY hesitates!     BUDDA BUDDA BUDDA!  TODD blazes away, mercilessly blowing away     the MOTHERS HOLDING CHILDREN TARGET and the SOLDIERTARGET.<b>                          THE MAIN TITLE APPEARS</b>     as the ROAR OF GUNS gives way to MUSIC...<b>                                                       CUT TO:</b><b>     INT.  PROCESSING ROOM -DAY</b>     Skillful hands operate a tattoo pen, stenciling an insignia and     a number on the left side of RILEY'S face over the cheekbone.     His cheek says RILEY, L.B., his face reveals nothingas...<b>                          OPENING CREDITS BEGIN</b>     The next face is TODD.  The skillful hands with the tattoo pen go     to work on his face, marking, stenciling the skin as...<b>                       OPENINGCREDITS CONTINUE</b>     Then the tattoo artist's bands finish with TODD and move on to     the next MAN, leaving TODD staring straight ahead, his cheek     tattooed, his face like carved stone, his eyes asunfathomable as     the eyes of a statue as THE OPENING CREDITS CONCLUDE.<b>                                                       CUT TO:</b><b>     EXT.  JUNGLE - DAY</b>     Machinegun fire, SOLDIERS in cammiesmoving through lush tropical      growth.     A mortar explodes, a SOLDIER is engulfed in shrapnel.  As the     smoke clears, the SOLDIER screams mindlessly like a siren.  This     is real war, not training.     A title anddate appear on the screen, saying...<b>                       2011, THE BOLIVIAN WAR</b>     As the title fades, we glimpse TODD advancing at a crouch through     smoke and enemy fire, blazing away at the unseenenemy.  Sweaty     and smudged, his uniform torn and stained with blood, TODD     reveals nothing on his stone face.  But he's clearly     unintimidated by the death of his screaming comrade aswe...<b>                                                       CUT TO:</b><b>     EXT.  PINE WOODS - DAY</b>     Automatic weapons CHATTER as TODD struggles through thick snowy     woods, half-carrying a bloody comradebarely recognizable as     RILEY.  Bullets spatter bark and leaves as TODD and RILEY take     cover behind a fallen log.  A date and title appear, SUPERED over     the action...<b>                    2012, THE MONTANA\"INCIDENT\"</b>     RILEY is nearly unconscious.  TODD glances at his own wound, a     savage opening in his side.  He considers the torn flesh as      dispassionately as a man checking a flea bite.     Bullets whizaround the wounded man as we...<b>                                                       CUT TO:</b><b>     EXT.  DESERT, VILLAGE - DAY</b>     Sunbaked landscape, a burning village, ENEMY CORPSES sprawled     here andthere, burned or horribly mutilated by artillery fire.      SUPERED over the corpses, a date and title...<b>                    2014-2016, THE SAUDI CAMPAIGN</b>     WE DISCOVER TODD, RILEY, and several OTHERSOLDIERS, exhausted,     parched, in torn and bloodied uniforms, sharing a single canteen     under the blazing sun.  War is hard work!<b>                                                       CUT TO:</b><b>     EXT.  LAUNCHPAD - DAY</b>     A fury of flames, the THUNDER of ignition as huge rocket engines     lift a space vehicle off the launching pad and propel it skyward.<b>     EXT.  OUTER SPACE</b>     Profound SILENCE!  The spacevehicle that the rocket propelled is     a weathered looking military spaceship gliding through the     blackness of outer space like a huge shark.  A date and title     appear SUPERED over thescene...<b>                          2017, TANNHAUSER GATE</b>     As the title fades away in the eerie silence, we...<b>                                                       CUT TO:</b><b>     EXT.  ANOTHER PLANET -NIGHT</b>     A huge moon looms in the blackness above a barely visible     landscape...<b>                    2020, THE ARGENTINE SECTOR</b>     SIX SOLDIERS stagger through the rough terrain in pressure"}
+{"doc_id":"doc_125","qid":"","text":"The Project Gutenberg EBook of This Side of Paradise, by F. Scott FitzgeraldThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-useit under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: This Side of ParadiseAuthor: F. Scott FitzgeraldPosting Date: August 6, 2008 [EBook #805]ReleaseDate: February, 1997[Last updated: June 22, 2011]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THIS SIDE OF PARADISE ***Produced by David Reed, and Ken ReederTHIS SIDE OFPARADISEBy F. Scott Fitzgerald      ... Well this side of Paradise!...       There's little comfort in the wise.                              --Rupert Brooke.       Experience is the name so many people       give to theirmistakes.                              --Oscar Wilde.             To SIGOURNEY FAYCONTENTS     BOOK ONE: The Romantic Egotist      1.   AMORY, SON OF BEATRICE      2.   SPIRES AND GARGOYLES      3.   THE EGOTISTCONSIDERS      4.   NARCISSUS OFF DUTY     [INTERLUDE: MAY, 1917-FEBRUARY, 1919. ]     BOOK TWO: The Education of a Personage      1.   THE DEBUTANTE      2.   EXPERIMENTS INCONVALESCENCE      3.   YOUNG IRONY      4.   THE SUPERCILIOUS SACRIFICE      5.   THE EGOTIST BECOMES A PERSONAGEBOOK ONE--The Romantic EgotistCHAPTER 1. Amory, Son of BeatriceAmory Blaineinherited from his mother every trait, except thestray inexpressible few, that made him worth while. His father, anineffectual, inarticulate man with a taste for Byron and a habit ofdrowsing over the EncyclopediaBritannica, grew wealthy at thirtythrough the death of two elder brothers, successful Chicago brokers, andin the first flush of feeling that the world was his, went to Bar Harborand met Beatrice O'Hara. In consequence,Stephen Blaine handed down toposterity his height of just under six feet and his tendency to waver atcrucial moments, these two abstractions appearing in his son Amory.For many years he hovered in the backgroundof his family's life, anunassertive figure with a face half-obliterated by lifeless, silky hair,continually occupied in \"taking care\" of his wife, continually harassedby the idea that he didn't and couldn't understand her.ButBeatrice Blaine! There was a woman! Early pictures taken on herfather's estate at Lake Geneva, Wisconsin, or in Rome at the SacredHeart Convent--an educational extravagance that in her youth was onlyfor thedaughters of the exceptionally wealthy--showed the exquisitedelicacy of her features, the consummate art and simplicity of herclothes. A brilliant education she had--her youth passed in renaissanceglory, she wasversed in the latest gossip of the Older Roman Families;known by name as a fabulously wealthy American girl to Cardinal Vitoriand Queen Margherita and more subtle celebrities that one must have hadsome cultureeven to have heard of. She learned in England to preferwhiskey and soda to wine, and her small talk was broadened in two sensesduring a winter in Vienna. All in all Beatrice O'Hara absorbed thesort of education thatwill be quite impossible ever again; a tutelagemeasured by the number of things and people one could be contemptuous ofand charming about; a culture rich in all arts and traditions, barren ofall ideas, in the last ofthose days when the great gardener clipped theinferior roses to produce one perfect bud.In her less important moments she returned to America, met StephenBlaine and married him--this almost entirely because shewas a littlebit weary, a little bit sad. Her only child was carried througha tiresome season and brought into the world on a spring day inninety-six.When Amory was five he was already a delightful companion for her.Hewas an auburn-haired boy, with great, handsome eyes which he would growup to in time, a facile imaginative mind and a taste for fancy dress.From his fourth to his tenth year he did the country with his motherinher father's private car, from Coronado, where his mother became sobored that she had a nervous breakdown in a fashionable hotel, down toMexico City, where she took a mild, almost epidemic consumption.Thistrouble pleased her, and later she made use of it as an intrinsic partof her atmosphere--especially after several astounding bracers.So, while more or less fortunate little rich boys were defyinggovernesses on thebeach at Newport, or being spanked or tutored or readto from \"Do and Dare,\" or \"Frank on the Mississippi,\" Amory was bitingacquiescent bell-boys in the Waldorf, outgrowing a natural repugnanceto chamber music andsymphonies, and deriving a highly specializededucation from his mother.\"Amory.\"\"Yes, Beatrice.\" (Such a quaint name for his mother; she encouraged it.)\"Dear, don't _think_ of getting out of bed yet. I've alwayssuspectedthat early rising in early life makes one nervous. Clothilde is havingyour breakfast brought up.\"\"All right.\"\"I am feeling very old to-day, Amory,\" she would sigh, her face a rarecameo of pathos, her voiceexquisitely modulated, her hands as facileas Bernhardt's. \"My nerves are on edge--on edge. We must leave thisterrifying place to-morrow and go searching for sunshine.\"Amory's penetrating green eyes would look outthrough tangled hair athis mother. Even at this age he had no illusions about her.\"Amory.\"\"Oh, _yes_.\"\"I want you to take a red-hot bath as hot as you can bear it, and justrelax your nerves. You can read in the tub ifyou wish.\"She fed him sections of the \"Fetes Galantes\" before he was ten; ateleven he could talk glibly, if rather reminiscently, of Brahms andMozart and Beethoven. One afternoon, when left alone in the hotel atHotSprings, he sampled his mother's apricot cordial, and as the tastepleased him, he became quite tipsy. This was fun for a while, buthe essayed a cigarette in his exaltation, and succumbed to a vulgar,plebeian reaction.Though this incident horrified Beatrice, it alsosecretly amused her and became part of what in a later generation wouldhave been termed her \"line.\"\"This son of mine,\" he heard her tell a room full of awestruck,admiringwomen one day, \"is entirely sophisticated and quite charming--butdelicate--we're all delicate; _here_, you know.\" Her hand was radiantlyoutlined against her beautiful bosom; then sinking her voice toawhisper, she told them of the apricot cordial. They rejoiced, for shewas a brave raconteuse, but many were the keys turned in sideboard locksthat night against the possible defection of little Bobby or Barbara....Thesedomestic pilgrimages were invariably in state; two maids, theprivate car, or Mr. Blaine when available, and very often a physician.When Amory had the whooping-cough four disgusted specialists glared ateach otherhunched around his bed; when he took scarlet fever the numberof attendants, including physicians and nurses, totalled fourteen.However, blood being thicker than broth, he was pulled through.The Blaines wereattached to no city. They were the Blaines of LakeGeneva; they had quite enough relatives to serve in place of friends,and an enviable standing from Pasadena to Cape Cod. But Beatrice grewmore and more prone tolike only new acquaintances, as there werecertain stories, such as the history of her constitution and its manyamendments, memories of her years abroad, that it was necessary forher to repeat at regular intervals. LikeFreudian dreams, they must bethrown off, else they would sweep in and lay siege to her nerves. ButBeatrice was critical about American women, especially the floatingpopulation of ex-Westerners.\"They have accents,my dear,\" she told Amory, \"not Southern accentsor Boston accents, not an accent attached to any locality, just anaccent\"--she became dreamy. \"They pick up old, moth-eaten London accentsthat are down on their luckand have to be used by some one. They talkas an English butler might after several years in a Chicago grand-operacompany.\" She became almost incoherent--\"Suppose--time in every Westernwoman's life--she feelsher husband is prosperous enough for her tohave--accent--they try to impress _me_, my dear--\"Though she thought of her body as a mass of frailties, she consideredher soul quite as ill, and therefore important in herlife. She hadonce been a Catholic, but discovering that priests were infinitely moreattentive when she was in process of losing or regaining faith in MotherChurch, she maintained an enchantingly wavering attitude. Oftenshedeplored the bourgeois quality of the American Catholic clergy, and wasquite sure that had she lived in the shadow of the great Continentalcathedrals her soul would still be a thin flame on the mighty altar ofRome.Still, next to doctors, priests were her favorite sport.\"Ah, Bishop Wiston,\" she would declare, \"I do not want to talk ofmyself. I can imagine the stream of hysterical women fluttering at yourdoors, beseeching you to besimpatico\"--then after an interlude filledby the clergyman--\"but my mood--is--oddly dissimilar.\"Only to bishops and above did she divulge her clerical romance. When shehad first returned to her country there had beena pagan, Swinburnianyoung man in Asheville, for whose passionate kisses and unsentimentalconversations she had taken a decided penchant--they had discussedthe matter pro and con with an intellectual romancingquite devoid ofsappiness. Eventually she had decided to marry for background, and theyoung pagan from Asheville had gone through a spiritual crisis, joinedthe Catholic Church, and was now--Monsignor Darcy.\"Indeed,Mrs. Blaine, he is still delightful company--quite thecardinal's right-hand man.\"\"Amory will go to him one day, I know,\" breathed the beautiful lady,\"and Monsignor Darcy will understand him as he understoodme.\"Amory became thirteen, rather tall and slender, and more than ever on tohis Celtic mother. He had tutored occasionally--the idea being that hewas to \"keep up,\" at each place \"taking up the work where he leftoff,\"yet as no tutor ever found the place he left off, his mind was still invery good shape. What a few more years of this life would have made ofhim is problematical. However, four hours out from land, Italy bound,withBeatrice, his appendix burst, probably from too many meals in bed,and after a series of frantic telegrams to Europe and America, to theamazement of the passengers the great ship slowly wheeled around andreturnedto New York to deposit Amory at the pier. You will admit thatif it was not life it was magnificent.After the operation Beatrice had a nervous breakdown that bore asuspicious resemblance to delirium tremens, and Amorywas left inMinneapolis, destined to spend the ensuing two years with his aunt anduncle. There the crude, vulgar air of Western civilization first catcheshim--in his underwear, so to speak.          *****A KISS FORAMORYHis lip curled when he read it.  \"I am going to have a bobbing party,\" it said, \"on Thursday,  December the seventeenth, at five o'clock, and I would like it  very much if you could come.                        Yourstruly,  R.S.V.P.                                     Myra St. Claire.He had been two months in Minneapolis, and his chief struggle had beenthe concealing from \"the other guys at school\" how particularly superiorhe felt himself tobe, yet this conviction was built upon shiftingsands. He had shown off one day in French class (he was in senior Frenchclass) to the utter confusion of Mr. Reardon, whose accent Amory damnedcontemptuously, and tothe delight of the class. Mr. Reardon, who hadspent several weeks in Paris ten years before, took his revenge on theverbs, whenever he had his book open. But another time Amory showed offin history class, with quitedisastrous results, for the boys therewere his own age, and they shrilled innuendoes at each other all thefollowing week:\"Aw--I b'lieve, doncherknow, the Umuricun revolution was _lawgely_ anaffair of the middul_clawses_,\" or\"Washington came of very good blood--aw, quite good--I b'lieve.\"Amory ingeniously tried to retrieve himself by blundering on purpose.Two years before he had commenced a history of the United Stateswhich,though it only got as far as the Colonial Wars, had been pronounced byhis mother completely enchanting.His chief disadvantage lay in athletics, but as soon as he discoveredthat it was the touchstone of powerand popularity at school, he beganto make furious, persistent efforts to excel in the winter sports, andwith his ankles aching and bending in spite of his efforts, he skatedvaliantly around the Lorelie rink every afternoon,wondering how soonhe would be able to carry a hockey-stick without getting it inexplicablytangled in his skates.The invitation to Miss Myra St. Claire's bobbing party spent the morningin his coat pocket, where it had anintense physical affair with a dustypiece of peanut brittle. During the afternoon he brought it to lightwith a sigh, and after some consideration and a preliminary draft in theback of Collar and Daniel's \"First-Year Latin,\"composed an answer:  My dear Miss St. Claire:  Your truly charming envitation for the evening of next Thursday  evening was truly delightful to receive this morning.  I will be  charm and inchanted indeed to presentmy compliments on next  Thursday evening.                          Faithfully,                                          Amory Blaine.          *****On Thursday, therefore, he walked pensively along the slippery,shovel-scrapedsidewalks, and came in sight of Myra's house, on thehalf-hour after five, a lateness which he fancied his mother wouldhave favored. He waited on the door-step with his eyes nonchalantlyhalf-closed, and planned hisentrance with precision. He would crossthe floor, not too hastily, to Mrs. St. Claire, and say with exactly thecorrect modulation:\"My _dear_ Mrs. St. Claire, I'm _frightfully_ sorry to be late, but mymaid\"--he pausedthere and realized he would be quoting--\"but my uncleand I had to see a fella--Yes, I've met your enchanting daughter atdancing-school.\"Then he would shake hands, using that slight, half-foreign bow, with allthestarchy little females, and nod to the fellas who would be standing'round, paralyzed into rigid groups for mutual protection.A butler (one of the three in Minneapolis) swung open the door. Amorystepped inside anddivested himself of cap and coat. He was mildlysurprised not to hear the shrill squawk of conversation from the nextroom, and he decided it must be quite formal. He approved of that--as heapproved of the butler.\"MissMyra,\" he said.To his surprise the butler grinned horribly.\"Oh, yeah,\" he declared, \"she's here.\" He was unaware that his failureto be cockney was ruining his standing. Amory considered him coldly.\"But,\" continued thebutler, his voice rising unnecessarily, \"she's theonly one what _is_ here. The party's gone.\"Amory gasped in sudden horror.\"What?\"\"She's been waitin' for Amory Blaine. That's you, ain't it? Her mothersays that if youshowed up by five-thirty you two was to go after 'em inthe Packard.\"Amory's despair was crystallized by the appearance of Myra herself,bundled to the ears in a polo coat, her face plainly sulky, her voicepleasant onlywith difficulty.\"'Lo, Amory.\"\"'Lo, Myra.\" He had described the state of his vitality.\"Well--you _got_ here, _any_ways.\"\"Well--I'll tell you. I guess you don't know about the auto accident,\"he romanced.Myra's eyes openedwide.\"Who was it to?\"\"Well,\" he continued desperately, \"uncle 'n aunt 'n I.\"\"Was any one _killed?_\"Amory paused and then nodded.\"Your uncle?\"--alarm.\"Oh, no just a horse--a sorta gray horse.\"At this point the Ersebutler snickered.\"Probably killed the engine,\" he suggested. Amory would have put him onthe rack without a scruple.\"We'll go now,\" said Myra coolly. \"You see, Amory, the bobs were orderedfor five and everybody washere, so we couldn't wait--\"\"Well, I couldn't help it, could I?\"\"So mama said for me to wait till ha'past five. We'll catch the bobsbefore it gets to the Minnehaha Club, Amory.\"Amory's shredded poise dropped from him.He pictured the happy partyjingling along snowy streets, the appearance of the limousine, thehorrible public descent of him and Myra before sixty reproachful eyes,his apology--a real one this time. He sighedaloud.\"What?\" inquired Myra.\"Nothing. I was just yawning. Are we going to _surely_ catch up with 'embefore they get there?\" He was encouraging a faint hope that they mightslip into the Minnehaha Club and meet theothers there, be found inblasé seclusion before the fire and quite regain his lost attitude.\"Oh, sure Mike, we'll catch 'em all right--let's hurry.\"He became conscious of his stomach. As they stepped into the machinehehurriedly slapped the paint of diplomacy over a rather box-like planhe had conceived. It was based upon some \"trade-lasts\" gleaned atdancing-school, to the effect that he was \"awful good-looking and_English_, sortof.\"\"Myra,\" he said, lowering his voice and choosing his words carefully,\"I beg a thousand pardons. Can you ever forgive me?\" She regardedhim gravely, his intent green eyes, his mouth, that to herthirteen-year-old,arrow-collar taste was the quintessence of romance.Yes, Myra could forgive him very easily.\"Why--yes--sure.\"He looked at her again, and then dropped his eyes. He had lashes.\"I'm awful,\" he said sadly. \"I'm diff'runt. Idon't know why I make fauxpas. 'Cause I don't care, I s'pose.\" Then, recklessly: \"I been smokingtoo much. I've got t'bacca heart.\"Myra pictured an all-night tobacco debauch, with Amory pale and reelingfrom the effectof nicotined lungs. She gave a little gasp.\"Oh, _Amory_, don't smoke. You'll stunt your _growth!_\"\"I don't care,\" he persisted gloomily. \"I gotta. I got the habit. I'vedone a lot of things that if my fambly knew\"--hehesitated, giving herimagination time to picture dark horrors--\"I went to the burlesque showlast week.\"Myra was quite overcome. He turned the green eyes on her again. \"You'rethe only girl in town I like much,\" heexclaimed in a rush of sentiment.\"You're simpatico.\"Myra was not sure that she was, but it sounded stylish though vaguelyimproper.Thick dusk had descended outside, and as the limousine made a suddenturn she wasjolted against him; their hands touched.\"You shouldn't smoke, Amory,\" she whispered. \"Don't you know that?\"He shook his head.\"Nobody cares.\"Myra hesitated.\"_I_ care.\"Something stirred within Amory.\"Oh, yes, youdo! You got a crush on Froggy Parker. I guess everybodyknows that.\"\"No, I haven't,\" very slowly.A silence, while Amory thrilled. There was something fascinating aboutMyra, shut away here cosily from the dim, chill air.Myra, a littlebundle of clothes, with strands of yellow hair curling out from underher skating cap.\"Because I've got a crush, too--\" He paused, for he heard in thedistance the sound of young laughter, and, peeringthrough the frostedglass along the lamp-lit street, he made out the dark outline of thebobbing party. He must act quickly. He reached over with a violent,jerky effort, and clutched Myra's hand--her thumb, to beexact.\"Tell him to go to the Minnehaha straight,\" he whispered. \"I wanta talkto you--I _got_ to talk to you.\"Myra made out the party ahead, had an instant vision of her mother, andthen--alas for convention--glancedinto the eyes beside. \"Turn down thisside street, Richard, and drive straight to the Minnehaha Club!\" shecried through the speaking tube. Amory sank back against the cushionswith a sigh of relief.\"I can kiss her,\" hethought. \"I'll bet I can. I'll _bet_ I can!\"Overhead the sky was half crystalline, half misty, and the night aroundwas chill and vibrant with rich tension. From the Country Club steps theroads stretched away, dark creaseson the white blanket; huge heaps ofsnow lining the sides like the tracks of giant moles. They lingered fora moment on the steps, and watched the white holiday moon.\"Pale moons like that one\"--Amory made a vaguegesture--\"make peoplemysterieuse. You look like a young witch with her cap off and her hairsorta mussed\"--her hands clutched at her hair--\"Oh, leave it, it looks_good_.\"They drifted up the stairs and Myra led the wayinto the little den ofhis dreams, where a cosy fire was burning before a big sink-down couch.A few years later this was to be a great stage for Amory, a cradle formany an emotional crisis. Now they talked for a momentabout bobbingparties.\"There's always a bunch of shy fellas,\" he commented, \"sitting at thetail of the bob, sorta lurkin' an' whisperin' an' pushin' each otheroff. Then there's always some crazy cross-eyed girl\"--he gaveaterrifying imitation--\"she's always talkin' _hard_, sorta, to thechaperon.\"\"You're such a funny boy,\" puzzled Myra.\"How d'y' mean?\" Amory gave immediate attention, on his own ground atlast.\"Oh--always talking aboutcrazy things. Why don't you come ski-ing withMarylyn and I to-morrow?\"\"I don't like girls in the daytime,\" he said shortly, and then, thinkingthis a bit abrupt, he added: \"But I like you.\" He cleared his throat. \"Ilike youfirst and second and third.\"Myra's eyes became dreamy. What a story this would make to tellMarylyn! Here on the couch with this _wonderful_-looking boy--the littlefire--the sense that they were alone in the great"}
+{"doc_id":"doc_126","qid":"","text":"Project Gutenberg's The Spanish Curate, by Francis Beaumont and John FletcherThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it awayorre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: The Spanish Curate       A ComedyAuthor: Francis Beaumont and John FletcherRelease Date:April 25, 2004 [EBook #12141]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE SPANISH CURATE ***Produced by Jonathan Ingram, Jayam Subramanian and PGDistributedProofreaders     THE SPANISH CURATE,     A COMEDY.       *       *       *       *       *     Persons Represented in the Play.     Don Henrique, _an uxorious Lord,     cruel to his Brother_.     Don Jamie, _youngerBrother to_ Don     Henrique.     Bartolus, _a covetous Lawyer Husband     to_ Amaranta.     Leandro, _a Gentleman who wantonly     loves the Lawyers Wife_.     Angelo, } _Three Gentlemen Friend[s]_     Milanes,}_to_ Leandro.     Arsenio,}     Ascanio, _Son to_ Don Henrique.     Octavio, _supposed Husband to_ Jacintha.     Lopez, _the_ Spanish Curate.     Diego, _his Sexton_.     Assistant, _which we call a Judge_.     Algazeirs,_whom we call Serjeants_.     4 Parishioners.     Apparitor.     Singers.     Servants.     _WOMEN_.     Violante, _supposed Wife to_ Don     Henrique.     Jacintha, _formerly contracted to_ Don     Henrique.     Amaranta,_Wife to_ Bartolus.     A Woman Moor, _Servant to_ Amaranta.       *       *       *       *       *     _The Scene_ Spain.       *       *       *       *       *     The principal Actors were,     Joseph Taylor.  } {WilliamEglestone.     John Lowin.     } {Thomas Polard.     Nicholas Toolie.} {Robert Benfeild.       *       *       *       *       *     Actus primus. Scena prima.       *       *       *       *       *     _Enter_ Angelo, Milanes, _and_Arsenio.     _Arsenio.     Leandro_ paid all.     _Mil_.     'Tis his usual custom,     And requisite he should: he has now put off     The Funeral black, (your rich heir wears with joy,     When he pretends to weep for hisdead Father)     Your gathering Sires, so long heap muck together,     That their kind Sons, to rid them of their care,     Wish them in Heaven; or if they take a taste     Of Purgatory by the way, it mattersnot,     Provided they remove hence; what is befaln     To his Father, in the other world, I ask not;     I am sure his prayer is heard: would I could use one     For mine, in the same method.     _Ars_.     Fie uponthee.     This is prophane.     _Mil_.     Good Doctor, do not school me     For a fault you are not free from: On my life     Were all Heirs in _Corduba_, put to their Oaths,     They would confess with me, 'tis a soundTenet:     I am sure _Leandro_ do's.     _Ars_.     He is th'owner     Of a fair Estate.     _Mil_.     And fairly he deserves it,     He's a Royal Fellow: yet observes a mean     In all his courses, careful too on whom     Heshowers his bounties: he that's liberal     To all alike, may do a good by chance,     But never out of Judgment: This invites     The prime men of the City to frequent     All places he resorts to, and are happy     In hissweet Converse.     _Ars.     Don Jamie_ the Brother     To the Grandee _Don Henrique_, appears much taken     With his behaviour.     _Mil_.     There is something more in't:     He needs his Purse, and knows how tomake use on't.     'Tis now in fashion for your _Don_, that's poor,     To vow all Leagues of friendship with a Merchant     That can supply his wants, and howsoe're     _Don Jamie's_ noble born, his elder Brother     _DonHenrique_ rich, and his Revenues long since     Encreas'd by marrying with a wealthy Heir     Call'd, Madam _Vi[o]lante_, he yet holds     A hard hand o're _Jamie_, allowing him     A bare annuity only.     _Ars_.     Yet'tis said     He hath no child, and by the Laws of _Spain_     If he die without issue, _Don Jamie_     Inherits his Estate.     _Mil_.     Why that's the reason     Of their so many jarrs: though the young Lord     Be sick ofthe elder Brother, and in reason     Should flatter, and observe him, he's of a nature     Too bold and fierce, to stoop so, but bears up,     Presuming on his hopes.     _Ars_.     What's the young Lad     That all of 'emmake so much of?     _Mil._     'Tis a sweet one,     And the best condition'd youth, I ever saw yet,     So humble, and so affable, that he wins     The love of all that know him, and so modest,     That (in despight ofpoverty) he would starve     Rather than ask a courtesie: He's the Son     Of a poor cast-Captain, one _Octavio_;     And She, that once was call'd th'fair _Jacinta_,     Is happy in being his Mother: for hissake,     _Enter_ Jamie, Leandro, _and_ Ascanio.     (Though in their Fortunes faln) they are esteem'd of,     And cherish'd by the best. O here they come.     I now may spare his Character, but observe him,     He'ljustifie my report.     _Jam_.     My good _Ascanio_,     Repair more often to me: above Women     Thou ever shalt be welcome.     _Asc_.     My Lord your favours     May quickly teach a raw untutour'd Youth     To beboth rude and sawcy.     _Lean_.     You cannot be     Too frequent where you are so much desir'd:     And give me leave (dear friend) to be your Rival     In part of his affection; I will buy it     At anyrate.     _Jam_.     Stood I but now possess'd     Of what my future hope presages to me,     I then would make it clear thou hadst a Patron     That would not say but do: yet as I am,     Be mine, I'le not receive thee asa servant,     But as my Son, (and though I want my self)     No Page attending in the Court of _Spain_     Shall find a kinder master.     _Asc_.     I beseech you     That my refusal of so great an offer     May make no illconstruction, 'tis not pride     (That common vice is far from my condition)     That makes you a denyal to receive     A favour I should sue for: nor the fashion     Which the Country follows, in which to be a servant     Inthose that groan beneath the heavy weight     Of poverty, is held an argument     Of a base abject mind, I wish my years     Were fit to do you service in a nature     That might become a Gentleman (give meleave     To think my self one) My Father serv'd the King     As a Captain in the field; and though his fortune     Return'd him home a poor man, he was rich     In Reputation, and wounds fairly taken.     Nor am I by hisill success deterr'd,     I rather feel a strong desire that sways me     To follow his profession, and if Heaven     Hath mark'd me out to be a man, how proud,     In the service of my Country, should I be,     To trail a Pikeunder your brave command!     There, I would follow you as a guide to honour,     Though all the horrours of the War made up     To stop my passage.     _Jam_.     Thou art a hopeful Boy,     And it was bravely spoken:For this answer,     I love thee more than ever.     _Mil_.     Pity such seeds     Of promising courage should not grow and prosper.     _Ang_.     What ever his reputed Parents be,     He hath a mind that speaks himright and noble.     _Lean_.     You make him blush; it needs not sweet _Ascanio_,     We may hear praises when they are deserv'd,     Our modesty unwounded. By my life     I would add something to the buildingup     So fair a mind, and if till you are fit     To bear Arms in the Field, you'l spend some years     In _Salamanca_, I'le supply your studies     With all conveniences.     _Asc_.     Your goodness (Signiors)     Andcharitable favours overwhelm me.     If I were of your blood, you could not be     More tender of me: what then can I pay     (A poor Boy and a stranger) but a heart     Bound to your service? with what willingness     Iwould receive (good Sir) your noble offer,     Heaven can bear witness for me: but alas,     Should I embrace the means to raise my fortunes,     I must destroy the lives of my poor Parents     (To who[m] I ow mybeing) they in me     Place all their comforts, and (as if I were     The light of their dim eyes) are so indulgent     They cannot brook one short dayes absence from me;     And (what will hardly win belief) thoughyoung,     I am their Steward and their Nurse: the bounties     Which others bestow on me serves to sustain 'em,     And to forsake them in their age, in me     Were more than Murther.     _Enter_Henrique.     _Aug_.     This is a kind of begging     Would make a Broker charitable.     _Mil_.     Here, (sweet heart)     I wish it were more.     _Lean_.     When this is spent,     Seek for supply fromme.     _Jam_.     Thy piety     For ever be remembred: nay take all,     Though 'twere my exhibition to a Royal     For one whole year.     _Asc_.     High Heavens reward your goodness.     _Hen_.     So Sir, is this a slipof your own grafting,     You are so prodigal?     _Jam_.     A slip Sir?     _Hen_.     Yes,     A slip; or call it by the proper name,     Your Bastard.     _Jam_.     You are foul-mouth'd; do not provoke me,     I shall forgetyour Birth if you proceed,     And use you, (as your manners do deserve) uncivilly.     _Hen_.     So brave! pray you give me hearing,     Who am I Sir?     _Jam_.     My elder Brother: One     That might have been borna fool, and so reputed,     But that you had the luck to creep into     The world a year before me.     _Lean_.     Be more temperate.     _Jam_.     I neither can nor will, unless I learn it     By his example: let him use hisharsh     Unsavoury reprehensions upon those     That are his Hinds, and not on me. The Land     Our Father left to him alone rewards him,     For being twelve months elder, let that be     Forgotten, and let hisParasites remember     One quality of worth or vertue in him     That may authorize him, to be a censurer     Of me, or my manners, and I will     Acknowledge him for a Tutor, till then, never.     _Hen_.     From whomhave you your means Sir?     _Jam_.     From the will     Of my dead Father; I am sure I spend not     Nor give't upon your purse.     _Hen.     But will it hold out     Without my help?     _Jam_.     I am sure it shall, I'lesink else,     For sooner I will seek aid from a Whore,     Than a courtesie from you.     _Hen_.     'Tis well; you are proud of     Your new Exchequer, when you have cheated him     And worn him to the quick, I may befound     In the List of your acquaintance.     _Lean_     Pray you hold     And give me leave (my Lord) to say thus much     (And in mine own defence) I am no Gull     To be wrought on by perswasion: nor noCoward     To be beaten out of my means, but know to whom     And why I give or lend, and will do nothing     But what my reason warrants; you may be     As sparing as you please, I must be bold     To make use ofmy own, without your licence.     _Jam_.     'Pray thee let him alone, he is not worth thy anger.     All that he do's (_Leandro_) is for my good,     I think there's not a Gentleman of _Spain_,     That has a betterSteward, than I have of him.     _Hen_.     Your Steward Sir?     _Jam_.     Yes, and a provident one:     Why, he knows I am given to large expence,     And therefore lays up for me: could you believe else     That he,that sixteen years hath worn the yoke     Of barren wedlock, without hope of issue     (His Coffers full, his Lands and Vineyards fruitful)     Could be so sold to base and sordid thrift,     As almost to deny himself, themeans     And necessaries of life? Alas, he knows     The Laws of _Spain_ appoint me for his Heir,     That all must come to me, if I out-live him,     Which sure I must do, by the course of Nature,     And the assistanceof good Mirth, and Sack,     How ever you prove Melancholy.     _Hen_.     If I live,     Thou dearly shalt repent this.     _Jam_.     When thou art dead,     I am sure I shall not.     _Mil_.     Now they begin to burn     Likeoppos'd Meteors.     _Ars_.     Give them line, and way,     My life for _Don Jamie_.     _Jam_.     Continue still     The excellent Husband, and joyn Farm to Farm,     Suffer no Lordship, that in a clear day     Falls in theprospect of your covetous eye     To be anothers; forget you are a Grandee;     Take use upon use, and cut the throats of Heirs     With cozening Mortgages: rack your poor Tenants,     Till they look like so manySkeletons     For want of Food; and when that Widows curses,     The ruines of ancient Families, tears of Orphans     Have hurried you to the Devil, ever remember     All was rak'd up for me (your thankfulBrother)     That will dance merrily upon your Grave,     And perhaps give a double Pistolet     To some poor needy Frier, to say a Mass     To keep your Ghost from walking.     _Hen_.     That the Law     Should force meto endure this!     _Jam_.     Verily,     When this shall come to pass (as sure it will)     If you can find a loop-hole, though in Hell,     To look on my behaviour, you shall see me     Ransack your Iron Chests, and onceagain     _Pluto's_ flame-colour'd Daughter shall be free     To domineer in Taverns, Masques, and Revels     As she was us'd before she was your Captive.     Me thinks the meer conceipt of it, should make you     Gohome sick, and distemper'd; if it do's,     I'le send you a Doctor of mine own, and after     Take order for your Funeral.     _Hen_.     You have said, Sir,     I will not fight with words, but deeds to tame you,     Restconfident I will, and thou shalt wish     This day thou hadst been dumb.--                                               [_Exit_.     _Mil_.     You have given him a heat,     But with your own distemper.     _Jam_.     Not awhit,     Now he is from mine eye, I can be merry,     Forget the cause and him: all plagues go with him,     Let's talk of something else: what news is stirring?     Nothing to pass the time?     _Mil_.     'Faith it issaid     That the next Summer will determine much     Of that we long have talk'd of, touching the Wars.     _Lean_.     What have we to do with them? Let us discourse     Of what concerns our selves. 'Tis now infashion     To have your Gallants set down in a Tavern,     What the Arch-Dukes purpose is the next spring, and what     Defence my Lords (the States) prepare: what course     The Emperour takes against theencroaching Turk,     And whether his Moony-standards are design'd     For _Persia_ or _Polonia_: and all this     The wiser sort of State-Worms seem to know     Better than their own affairs: this is discourse     Fit forthe Council it concerns; we are young,     And if that I might give the Theme, 'twere better     To talk of handsome Women.     _Mil_.     And that's one,     Almost as general.     _Ars_.     Yet none agree     Who are thefairest.     _Lean_.     Some prefer the _French_,     For their conceited Dressings: some the plump     _Italian Bona-Robas_, some the State     That ours observe; and I have heard one swear,     (A merry friend ofmine) that once in _London_,     He did enjoy the company of a Gamester,     (A common Gamester too) that in one night     Met him th' _Italian, French_, and _Spanish_ wayes,     And ended in the _Dutch_; for tocool her self,     She kiss'd him drunk in the morning.     _Fam_.     We may spare     The travel of our tongues in forraign Nations,     When in _Corduba_, if you dare give credit     To my report (for I have seen her,Gallants)     There lives a Woman (of a mean birth too,     And meanly match'd) whose all-excelling Form     Disdains comparison with any She     That puts in for a fair one, and though you borrow     From everyCountry of the Earth the best     Of those perfections, which the Climat yields     To help to make her up, if put in Ballance,     This will weigh down the Scale.     _Lean_.     You talk of wonders.     _Jam_.     She isindeed a wonder, and so kept,     And, as the world deserv'd not to behold     What curious Nature made without a pattern,     Whose Copy she hath lost too, she's shut up,     Sequestred from theworld.     _Lean_.     Who is the owner     Of such a Jem? I am fire'd.     _Jam_.     One _Bartolus_,     A wrangling Advocate.     _Ars_.     A knave on Record.     _Mil_.     I am sure he cheated me of the best part     Ofmy Estate.     _Jam_.     Some Business calls me hence,     (And of importance) which denies me leisure     To give you his full character: In few words     (Though rich) he's covetous beyond expression,     And toencrease his heap, will dare the Devil,     And all the plagues of darkness: and to these     So jealous, as if you would parallel     Old _Argus_ to him, you must multiply     His Eyes an hundred times: of these nonesleep.     He that would charm the heaviest lid, must hire     A better _Mercurie_, than _Jove_ made use of:     Bless your selves from the thought of him and her,     For 'twill be labour lost: So farewelSigniors.--                                               [_Exit_.     _Ars_.     _Leandro_? in a dream? wake man for shame.     _Mil_.     Trained into a fools paradise with a tale     Of an imagin'd Form.     _Lea_.     _Jamie_ isnoble,     And with a forg'd Tale would not wrong his Friend,     Nor am I so much fir'd with lust as Envie,     That such a churl as _Bartolus_ should reap     So sweet a harvest, half my State to any     To help me to ashare.     _Ars_.     Tush do not hope for     Impossibilities.     _Lea_.     I must enjoy her,     And my prophetique love tells me I shall,     Lend me but your assistance.     _Ars_.     Give it o're.     _Mil_.     I would nothave thee fool'd.     _Lea_. I have strange Engines     Fashioning here: and _Bartolus_ on the Anvil,     Disswade me not, but help me.     _Mil_.     Take your fortune,     If you come off well, praise your wit; ifnot,     Expect to be the subject of our Laughter.                                             [_Exeunt_.     SCENA II.     _Enter_ Octavio, _and_ Jacinta.     _Jac_.     You met _Don Henrique_?     _Oct_.     Yes.     _Jac_.     Whatcomfort bring you?     Speak cheerfully: how did my letter work     On his hard temper? I am sure I wrote it     So feelingly, and with the pen of sorrow,     That it must force Compunction.     _Oct_.     You arecozen'd;     Can you with one hand prop a falling Tower?     Or with the other stop the raging main,     When it breaks in on the usurped shore?     Or any thing that is impossible?     And then conclude that there is someway left,     To move him to compassion.     _Jac_.     Is there a Justice     Or thunder (my _Octavio_) and he     Not sunk unto the center?     _Oct_.     Good _Jacinta_,     With your long practised patience bearafflictions,     And by provoking call not on Heavens anger,     He did not only scorn to read your letter,     But (most inhumane as he is) he cursed you,     Cursed you most bitterly.     _Jac_.     The bad manscharity.     Oh that I could forget there were a Tye,     In me, upon him! or the relief I seek,     (If given) were bounty in him, and not debt,     Debt of a dear accompt!     _Oct_.     Touch not that string,     'Twill butencrease your sorrow: and tame silence,     (The Balm of the oppressed) which hitherto     Hath eas'd your griev'd soul, and preserv'd your fame,     Must be your Surgeon still.     _Jac_.     If the contagion     Of mymisfortunes had not spread it self     Upon my Son _Ascanio_, though my wants     Were centupli'd upon my self, I could be patient:     But he is so good, I so miserable,     His pious care, his duty, andobedience,     And all that can be wish'd for from a Son,     Discharg'd to me, and I, barr'd of all means     To return any scruple of the debt     I owe him as a Mother, is a Torment,     Too painfull to beborn.     _Oct_.     I suffer with you,     In that; yet find in this assurance comfort,     High Heaven ordains (whose purposes cannot alter)     _Enter_ Ascanio.     Children that pay obedience to their Parents,     Shallnever beg their Bread.     _Jac_.     Here comes our joy,     Where has my dearest been?     _Asc_.     I have made, Mother,     A fortunate voyage and brought home rich prize,     In a few hours: the owners toocontented,     From whom I took it. See here's Gold, good store too,     Nay, pray you take it.     _Jac_.     Mens Charities are so cold,     That if I knew not, thou wert made of Goodness,     'Twould breed a jealousie inme by what means,     Thou cam'st by such a sum.     _Asc_.     Were it ill got,     I am sure it could not be employed so well,     As to relieve your wants. Some noble friends,     (Rais'd by heavens mercy to me, not mymerits)     Bestow'd it on me.     _Oct_.     It were a sacriledge     To rob thee of their bounty, since they gave it     To thy use only.     _Jac_. Buy thee brave Cloathes with it     And fit thee for a fortune, and leaveus     To our necessities; why do'st thou weep?     _Asc_.     Out of my fear I have offended you;     For had I not, I am sure you are too kind,     Not to accept the offer of my service,     In which I am a gainer; I haveheard     My tutor say, of all aereal fowl     The Stork's the Embleme of true pietie,     Because when age hath seiz'd upon her dam,     And made unfit for flight, the gratefull young one     Takes her upon his back,provides her food,     Repaying so her tender care of him,     E're he was fit to fly, by bearing her:     Shall I then that have reason and discourse     That tell me all I can doe is too little,     Be more unnatural than a silly"}
+{"doc_id":"doc_127","qid":"","text":"<html><head><title>Ed TV Script at IMSDb.</title><meta name=\"description\" content=\"Ed TV script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Ed TV script, Ed TV movie script, EdTV film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=SubjectCONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0];s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>    <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\"title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center></td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><html><head><script><b><!--</b><b>/*</b>Break-out-of-frames scriptBy Website Abstraction (http://wsabstract.com)Over 400+ freescripts here!Above notice MUST stay entact for use<b>*/</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>Ed TV</title></head><pre><b> ED TV</b> by Lowell Ganz & BabalooMandel Sixth Rewrite July 16,1997  This is the first eRelease for the script of the movie \"Ed TV\"  This script was scanned, proof read and formatted by Ueli Riegg  eMail: ueli.riegg@gmx.ch; URL:http://studiour.tsx.org<b>  1 INT. HIGH SCHOOL GYMNASIUM - NIGHT</b> The following is shot DOCUMENTARY-STYLE. A GIRLS VOLLEYBALL GAME has just ended. It was a big game. Some kind of championship.ONE TEAM is CELEBRATING -- jumping up and down, squealing and hugging each other. We are focused on the bench of the TEAM TRAT LOST. They're very sad -- several are crying. One girl, in particular, (AMY) isreally sobbing. She's sweat- stained, tired and just blubbering. Stuff's coming out of her eyes, her nose, her mouth and the camera is seeing it all. The COACH, a fortyish man looks at all the weeping girls -- Amy inparticular.<b> COACH</b> You quit! You gave up! He KICKS a CHAIR. Now Amy is really a mess. She's crying, coughing, shaking.<b> COACH (CONT'D)</b> (right in Amy's face) You quit!! The Coach storms off.<b>COACH (CONT'D)</b> Qutters! ... Quitters! Amy is wailing and choking on her own tears. This IMAGE FREEZES.<b> TERRY (V.O.)</b> And that would be it. I don't think you need any narration at all. Just end it rightthere.<b> REVEAL</b><b>  2 INT. OFFICE - DAY</b><b> BEGIN CREDITS</b> We're in New York City. We're in the conference room of a modestly successful cable TV station called \"Real TV.\" The people are young,energetic, clever. It's crowded, noisy -the furniture is beaten up, bulletin boards cover the walls, with large index cards all over them. This room is not for show -- work gets done here. SEVEN OR EIGHT PEOPLE arepresent. One of them is CYNTHIA REED. She's the boss.<b> TERRY</b> (to Cynthia) What do you think?<b> CYNTHIA</b> It's horrible, it's depressing, I love it. What else?<b> ALICE</b> I want to re-pitch thatpregnancy idea. Find six women early in their pregnancies and follow them all right through to the births.<b> KEITH</b> (negative) Yeah, when all that stuff comes out. Mixed reactions, mostly negative.<b>CYNTHIA</b> I have an idea.<b> IMMEDIATE ATTENTION</b><b> CYNTHIA (CONT'D)</b> This is something I've been thinking about for a long time. We're \"Real TV\" right? I mean that's the name of thestation.<b> AGREEMENT</b><b> CYNTHIA (CONT'D)</b> So let's go real. We find someone. Just a regular person, someone. And we put their life on television - live... all day long. Silence. No movement at all.<b>CYNTHIA (CONT'D)</b> Calm down.<b> KEITH</b> What do you mean, like PBS did in the seventies? What was that family?<b> GREG</b> The Louds.<b> KEITH</b> Yeah.<b> CYNTHIA</b> No. We go waybeyond that. We don't film it and edit it and put it on later. We go on the air live every morning and the show goes off each night, when our subject goes to bed. In between, we're on live all day, every day - the sameperson, -- for (shrugs) let's say a month. No one is wild for this. Some hate it -- some are unconvinced.<b> FELICIA</b> That's not a show that's a surveillance camera.<b> GREG</b> You can't do that.<b>CYNTHIA</b> The hell we can't. Look, the beauty of being a cable channel is we can take chances. I've thought about this and I'm telling you, I think this can make a noise. A loud one. There are twelve thousandchannels. You've got to do something that says \"Look at me!\" Hell, people look at fish tanks all day. This is people! (more firmly) Someone's real life -- an TV, all day long - live... And, you know what? I'm doing it.Pause. The others know the argument is over.<b> GREG</b> In that case, we love it.<b> END CREDITS</b><b>  3 EXT. POOL HALL - DAY</b> A BUS passes. On the bus is an ad. It says, \"Would you like to star inyour own TV show? Call Real TV (and a phone number) Coming (and a date).\"<b>  4 INT. POOL HALL - NIGHT - PARAMUS NEW JERSEY</b> This is a nice upscale pool hall. A party is in progress in a special privatearea -- a room upstairs let's say -- a loft. Thirty or forty PEOPLE in their twenties and thirties are informally celebrating the engagement of two of their friends. It's NOISY, it's fun, it's informal. It's not a high-end group.By that we mean, not, for the most part young lawyers or stockbrokers. They're mostly blue-collar. Community college graduates. WE OPEN ON ED PEKURNY. He's an attractive man, about thirty. There's still somethinga little juvenile about him -- not stupid, just boyish. SOMEONE is VIDEOTAPING HIM for one of those congratulation montage things that are done at parties these days. Ed is good at this. He's not professional but he's aloosey-goosey guy who's kind of good on camera.<b> ED</b> I want to congratulate Kevin and Tracy on their engagement. I knew you guys were meant for each other from the moment Tracy told us she waspregnant.<b> TRACY</b> You asshole! Everyone else is cracking up.<b> ED</b> (innocently) What? What did I say?<b> TRACY</b> My mother's going to see this!<b>  5 INT. PARTY - LATER</b> Other people arebeing \"interviewed\" on tape. Ed is SHOOTING POOL with his buddy, JOHN. John's had a couple of drinks. He's a little melancholy. He is looking across the room, thoughtfully.<b> ED</b> What?<b> JOHN</b> Look atthis -- people are getting married, they're getting married...<b> ED</b> You said that.<b> JOHN</b> We're falling behind. Ed waves dismissively.<b> JOHN (CONT'D)</b> You know who we are?<b> ED</b> Tellme.<b> JOHN</b> We're the guys who clean up after the parade.<b> ED</b> I'm gonna stick this right in your eye.<b> JOHN</b> I was at this comedy club last week and this comedian says \"If you're over thirtyand your job requires you to wear a name tag, you screwed up your life.\" And I'm laughing and then I realize I wear a nametag.<b> ED</b> So do I. So what? I'm doing all right.<b> JOHN</b> Your brother'shere.<b> ANGLE ON THE DOOR</b> Ed's brother RAY and Ray's girlfriend SHARI arrive at the party. Shari is pretty in an unglamorous kind of way. They both wave and then Shari goes off to talk to some of theLADIES and Ray joins Ed and John.<b> RAY</b> What's up?<b> ED</b> Where were you?<b> RAY</b> (reluctantly) I was... having dinner with Shari and her parents.<b> JOHN/ED</b> (taunting) Oooh!<b>RAY</b> I'm telling you, it's closing in on me. All of a sudden it's like a thing, it's a whole thing.<b> ED</b> What do you mean all of a sudden? You've been going with her six months.<b> RAY</b> I know. I meanI'm sitting there and her father's asking me about my \"career prospects\" and I'm playing \"Risk,\" with her kid brother, Leon and at dinner the dog's sniffing at my balls -- at least I hope it was the dog. 'Cause her motherdisappeared for a while. They LAUGH.<b>  6 INT. PARTY - LATER</b> It's getting wild. Some of the girls are dancing raucously.<b> ANGLE ON A TABLE (NOT A POOL TABLE, AN EATING-TABLE)</b> Ed, Ray, John,Shari and maybe another WOMAN. Ray is holding a big tray of SHRIMP BALLS. During the conversation, Ray throws them in the air and catches them in his mouth like popcorn. Once, he even bounces one off the wallinto his mouth.<b> ED</b> You know, those are for everybody. Ray waves dismissively, then gets an idea.<b> RAY</b> Oh! (to Shari) Show them that thing you can do. (to the others) This is great. I just found outshe can do this, her brother told me. (to Shari) Come on.<b> SHARI</b> (thinks it's stupid) I don't -<b> RAY</b> Come on... She hesitates, but she really doesn't mind. Slightly, amused she takes her FIST and fits itcompletely INTO her MOUTH.<b> ED</b> Whoa!! Oh! Ray is cracking up.<b> RAY</b> Is that unbelievable? She removes her hand.<b> SHARI</b> And that concludes today's show. (to Ray) This is where you goaround and collect the money. Ed LAUGHS. Ray gives her a KISS. Shari's roommate RITA sits down.<b> RITA</b> Hi.<b> SHARI</b> You guys know my roommate, Rita. They do, vaguely.<b> ED</b> What's goingon over there?<b> RITA</b> Everybody's making audition tapes for that Real TV thing.<b> JOHN</b> Oh, that thing. Yeah. Did you hear about this?<b> ED</b> (not sure) Yeah, what - they put some schmuck onTV all day long or something?<b> RAY</b> You know, that would be like a great thing.<b> ED</b> What?<b> RAY</b> That! Being that guy. Being the guy they watch.<b> ED</b> What are you drunk?<b>RAY</b> Yeah, but let's stay on one subject. Whoever that person is is going to be famous. They'll be able to get whatever they want. They'll ... trust me, this is my business.<b> ED</b> What is?!<b> RAY</b> Showbusiness.<b> ED</b> You're in show business?<b> RAY</b> Yeah. I service video equipment.<b> ED</b> That's like... those people stitching Nikes in Panama saying they're in the NBA.<b> RAY</b> (insulted) I'mnot stitching Nikes in Panama! ... Bedwetter!<b> ED</b> Thumbsucker!<b> RAY</b> I'm making a tape.<b> ED</b> We're excited.<b>  7 INT. BAR - A FEW MINUTES LATER</b> Ed and Shari, waiting for drinkorders.<b> ED</b> So Ray met the family.<b> SHARI</b> Yeah...<b> ED</b> I hear the dog really liked him.<b> SHARI</b> Oh, the whole family loved him. Of course, they loved the last guy I went out with, andhe strung me along for three years and dumped me.<b> ED</b> Really? You see, to me, you shouldn't have any trouble with men. There should be, like, a line behind you. She takes Ed's beer.<b> SHARI</b> Youshouldn't drink. They LAUGH.<b>  8 INT. TABLE - A LITTLE LATER</b> Ed and Shari ARM-WRESTLING. After a struggle, Ed wins. Ed is impressed.<b> ED</b> Jesus! Shari wrings out her arm and picks up herbeer.<b> SHARI</b> (continuing a previous conversation) And, you know, every guy I ever broke up with, the minute it was over, I could tell you what went wrong, how it went wrong, why it had to go wrong... butwhen I'm in it... lost. I'm like a love coroner. Bring me the corpse, I'11 tell you what killed it. But how to prevent it? Lost. Ed LAUGHS.<b> ED</b> Ray's on. They walk over.<b> ANGLE ON RAY</b><b> RAY</b> (tocamera) Hi. I'm Ray Pekurney. I'm from Paramus, New Jersey...<b>  9 INT. CYNTHIA'S OFFICE - DAY</b> She's watching Ray's tape. Ray thinks he's funnier and cuter than he is.<b> RAY (ON TAPE)</b> All myfriends tell me \"Ray, you've got too much personality for one guy.\" It's like at a party -- I'm at the center of the attention. Everybody loves me. He gets hit in the face by a hors d'oeuvre.<b> RAY (CONT'D)</b> Ha, ha,ha. I'll kick your ass. No really, let me show you my girlfriend. She's really cute. He reaches out and grabs Shari's wrist. Shari is struggling to stay out of frame. We just see her arm and Ray pulling on it. Ray letsgo.<b> RAY (CONT'D)</b> She's strong, 'cause she's a Fedex girl. She lifts those packages. But she's not dikey at all, she's really pretty.<b> CYNTHIA FAST-FORWARDS</b> WE SEE the camera shooting an emptyspace. Then Ed's head appears sideways right in front of the CAMERA.<b> ED</b> Hello I'm Ed. He starts to sniff.<b> ED (CONT'D)</b> What smells? He steps back from the camera and straightens his head as he"}
+{"doc_id":"doc_128","qid":"","text":"The Project Gutenberg EBook of The Cid, by Pierre CorneilleThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it under theterms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: The CidAuthor: Pierre CorneilleRelease Date: February 7, 2005 [EBook #14954]Language: English*** START OFTHIS PROJECT GUTENBERG EBOOK THE CID ***Produced by David Garcia, Branko Collin and the Online DistributedProofreading Team.[Transcriber's note: This text is no longer copyrighted; originalcopyright notepreserved for accuracy.]Handy Literal TranslationsCORNEILLE'STHE CIDA Literal Translation, byROSCOE MONGAN1896, BY HINDS & NOBLEHINDS, NOBLE & ELDREDGE, Publishers,31-33-35 West Fifteenth Street, NewYork CityPREFACE.Cid Campeador is the name given in histories, traditions and songs tothe most celebrated of Spain's national heroes.His real name was Rodrigo or Ruy Diaz (i.e. \"son of Diego\"), aCastilian noble bybirth. He was born at Burgos about the year 1040.There is so much of the mythical in the history of this personage thathypercritical writers, such as Masdeu, have doubted his existence; butrecent researches havesucceeded in separating the historical from theromantic.Under Sancho II, son of Ferdinand, he served as commander of the royaltroops. In a war between the two brothers, Sancho II. and Alfonso VI. ofLeon, due tosome dishonorable stratagem on the part of Rodrigo, Sanchowas victorious and his brother was forced to seek refuge with theMoorish King of Toledo.In 1072 Sancho was assassinated at the siege of Zamora, and as heleftno heir the Castilians had to acknowledge Alfonso as King. AlthoughAlfonso never forgave the Cid for having, as leader of the Castilians,compelled him to swear that he (the Cid) had no hand in the murder ofhisbrother Sancho, as a conciliatory measure, he gave his cousinXimena, daughter of the Count of Oviedo, to the Cid in marriage, butafterwards, in 1081, when he found himself firmly seated on the throne,yielding to hisown feelings of resentment and incited by the Leonesenobles, he banished him from the kingdom.At the head of a large body of followers, the Cid joined the MoorishKing of Saragossa, in whose service he fought againstboth Moslems andChristians. It was probably during this exile that he was first calledthe Cid, an Arabic title, which means the _lord_. He was verysuccessful in all his battles.In conjunction with Mostain, grandson ofMoctadir, he invaded Valenciain 1088, but afterwards carried on operations alone, and finally, aftera long siege, made himself master of the city in June, 1094. He retainedpossession of Valencia for five years andreigned like an independentsovereign over one of the richest territories in the Peninsula, but diedsuddenly in 1099 of anger and grief on hearing that his relative, AlvarFañez, had been vanquished and the army whichhe had sent to hisassistance had been defeated.After the Cid's death his wife held Valencia till 1102, when she wasobliged to yield to the Almoravides and fly to Castile, where she diedin 1104. Her remains were placedby those of her lord in the monasteryof San Pedro de Cardeña.THE CID.ACT THE FIRST.Scene I.--CHIMÃ\u0000NE and ELVIRA._Chimène._ Elvira, have you given me a really true report? Do youconceal nothing that myfather has said?_Elvira._ All my feelings within me are still delighted with it. Heesteems Rodrigo as much as you love him; and if I do not misread hismind, he will command you to respond to his passion._Chimène._Tell me then, I beseech you, a second time, what makes youbelieve that he approves of my choice; tell me anew what hope I ought toentertain from it. A discourse so charming cannot be too often heard;you cannot tooforcibly promise to the fervor of our love the sweetliberty of manifesting itself to the light of day. What answer has hegiven regarding the secret suit which Don Sancho and Don Rodrigo arepaying to you? Have you nottoo clearly shown the disparity between thetwo lovers which inclines me to the one side?_Elvira._ No; I have depicted your heart as filled with anindifference which elates not either of them nor destroys hope,and,without regarding them with too stern or too gentle an aspect, awaits thecommands of a father to choose a spouse. This respect has delightedhim--his lips and his countenance gave me at once a worthy testimonyofit; and, since I must again tell you the tale, this is what he hastenedto say to me of them and of you: 'She is in the right. Both are worthyof her; both are sprung from a noble, valiant, and faithful lineage;young butyet who show by their mien [_lit._ cause to easily be readin their eyes] the brilliant valor of their brave ancestors. Don Rodrigo,above all, has no feature in his face which is not the noble [_lit._high] representative of aman of courage [_lit._ heart], and descendsfrom a house so prolific in warriors, that they enter into life [_lit._take birth there] in the midst of laurels. The valor of his father, inhis time without an equal, as long as hisstrength endured, wasconsidered a marvel; the furrows on his brow bear witness to [_lit._have engraved his] exploits, and tell us still what he formerly was. Ipredict of the son what I have seen of the father, and mydaughter, inone word, may love him and please me.' He was going to the council, thehour for which approaching, cut short this discourse, which he hadscarcely commenced; but from these few words, I believe that hismind[_lit._ thoughts] is not quite decided between your two lovers. The kingis going to appoint an instructor for his son, and it is he for whom anhonor so great is designed. This choice is not doubtful, andhisunexampled valor cannot tolerate that we should fear any competition. Ashis high exploits render him without an equal, in a hope so justifiablehe will be without a rival; and since Don Rodrigo has persuadedhisfather, when going out from the council, to propose the affair. I leaveyou to judge whether he will seize this opportunity [_lit._ whether hewill take his time well], and whether all your desires will soonbegratified._Chimène._ It seems, however, that my agitated soul refuses this joy,and finds itself overwhelmed by it. One moment gives to fate differentaspects, and in this great happiness I fear a greatreverse._Elvira._ You see this fear happily deceived._Chimène._ Let us go, whatever it may be, to await the issue.Scene II.--The INFANTA, LEONORA, and a PAGE._Infanta (to Page_). Page, go, tell Chimène fromme, that to-day she israther long in coming to see me, and that my friendship complains of hertardiness. [_Exit Page._]_Leonora._ Dear lady, each day the same desire urges you, and at yourinterview with her, I seeyou every day ask her how her love proceeds._Infanta._ It is not without reason. I have almost compelled her toreceive the arrows with which her soul is wounded. She loves Rodrigo,and she holds him from my hand;and by means of me Don Rodrigo hasconquered her disdain. Thus, having forged the chains of these lovers, Iought to take an interest in seeing their troubles at an end._Leonora._ Dear lady, however, amidst their goodfortune you exhibit agrief which proceeds to excess. Does this love, which fills them bothwith gladness, produce in this noble heart [of yours] profound sadness?And does this great interest which you take in themrender you unhappy,whilst they are happy? But I proceed too far, and become indiscreet._Infanta._ My sadness redoubles in keeping the secret. Listen, listenat length, how I have struggled; listen what assaults myconstancy[_lit._ virtue or valor] yet braves. Love is a tyrant which spares noone. This young cavalier, this lover which I give [her]--I love him._Leonora._ You love him!_Infanta._ Place your hand upon my heart, andfeel [_lit._ see] how itthrobs at the name of its conqueror! how it recognizes him!_Leonora._ Pardon me, dear lady, if I am wanting in respect in blamingthis passion; a noble princess to so far forget herself as to admitinher heart a simple [_or_, humble] cavalier! And what would the Kingsay?--what would Castile say? Do you still remember of whom you are thedaughter?_Infanta._ I remember it so well, that I would shed my bloodrather thandegrade my rank. I might assuredly answer to thee, that, in noble souls,worth alone ought to arouse passions; and, if my love sought to excuseitself, a thousand famous examples might sanction it. But I willnotfollow these--where my honor is concerned, the captivation of myfeelings does not abate my courage, and I say to myself always, that,being the daughter of a king, all other than a monarch is unworthy ofme. WhenI saw that my heart could not protect itself, I myself gaveaway that which I did not dare to take; and I put, in place of my self,Chimène in its fetters, and I kindled their passions [_lit._ fires] inorder to extinguish myown. Be then no longer surprised if my troubledsoul with impatience awaits their bridal; thou seest that my happiness[_lit._ repose] this day depends upon it. If love lives by hope, itperishes with it; it is a fire whichbecomes extinguished for want offuel; and, in spite of the severity of my sad lot, if Chimène ever hasRodrigo for a husband, my hope is dead and my spirit, is healed.Meanwhile, I endure an incredible torture; even upto this bridal.Rodrigo is dear to me; I strive to lose him, and I lose him with regret,and hence my secret anxiety derives its origin. I see with sorrow thatlove compels me to utter sighs for that [object] which [as aprincess] Imust disdain. I feel my spirit divided into two portions; if my courageis high, my heart is inflamed [with love]. This bridal is fatal to me, Ifear it, and [yet] I desire it; I dare to hope from it only anincompletejoy; my honor and my love have for me such attractions, thatI [shall] die whether it be accomplished, or whether it be notaccomplished._Leonora._ Dear lady, after that I have nothing more to say, exceptthat, withyou, I sigh for your misfortunes; I blamed you a short timesince, now I pity you. But since in a misfortune [i.e. an ill-timedlove] so sweet and so painful, your noble spirit [_lit._ virtue]contends against both its charmand its strength, and repulses itsassault and regrets its allurements, it will restore calmness to youragitated feelings. Hope then every [good result] from it, and from theassistance of time; hope everything fromheaven; it is too just [_lit._it has too much justice] to leave virtue in such a long continuedtorture._Infanta._ My sweetest hope is to lose hope.(_The Page re-enters._)_Page._ By your commands, Chimène comes tosee you._Infanta_ (to _Leonora_). Go and converse with her in that gallery[yonder]._Leonora._ Do you wish to continue in dreamland?_Infanta._ No, I wish, only, in spite of my grief, to compose myself[_lit._ to put myfeatures a little more at leisure]. I follow you.[_Leonora goes out along with the Page._]Scene III.--The INFANTA (alone).Just heaven, from which I await my relief, put, at last, some limit tothe misfortune which isovercoming [_lit._ possesses] me; secure myrepose, secure my honor. In the happiness of others I seek my own. Thisbridal is equally important to three [parties]; render its completionmore prompt, or my soul moreenduring. To unite these two lovers with amarriage-tie is to break all my chains and to end all my sorrows. But Itarry a little too long; let us go to meet Chimène, and, byconversation, to relieve our grief.SceneIV.--COUNT DE GORMAS and DON DIEGO (meeting)._Count._ At last you have gained it [_or_, prevailed], and the favor ofa King raises you to a rank which was due only to myself; he makes youGovernor of the Princeof Castile._Don Diego._ This mark of distinction with which he distinguishes[_lit._ which he puts into] my family shows to all that he is just, andcauses it to be sufficiently understood, that he knows how torecompensebygone services._Count._ However great kings may be, they are only men [_lit._ they arethat which we are]; they can make mistakes like other men, and thischoice serves as a proof to all courtiers thatthey know how to [_or_,can] badly recompense present services._Don Diego._ Let us speak no more of a choice at which your mindbecomes exasperated. Favor may have been able to do as much as merit;but we owethis respect to absolute power, to question nothing when aking has wished it. To the honor which he has done me add another--letus join by a sacred tie my house to yours. You have an only daughter,and I have anonly son; their marriage may render us for ever more thanfriends. Grant us this favor, and accept, him as a son-in-law._Count._ To higher alliances this precious son ought [_or_, is likely]to aspire; and the newsplendor of your dignity ought to inflate hisheart with another [higher] vanity. Exercise that [dignity], sir, andinstruct the prince. Show him how it is necessary to rule a province: tomake the people tremble everywhereunder his law; to fill the good withlove, and the wicked with terror. Add to these virtues those of acommander: show him how it is necessary to inure himself to fatigue; inthe profession of a warrior [_lit._ of Mars] torender himself withoutan equal; to pass entire days and nights on horseback; to sleepall-armed: to storm a rampart, and to owe to himself alone the winningof a battle. Instruct him by example, and render him perfect,bringingyour lessons to his notice by carrying them into effect._Don Diego._ To instruct himself by example, in spite of your jealousfeelings, he shall read only the history of my life. There, in a longsuccession of gloriousdeeds, he shall see how nations ought to besubdued; to attack a fortress, to marshal an army, and on great exploitsto build his renown._Count._ Living examples have a greater [_lit._ another] power. Aprince, in abook, learns his duty but badly [_or_, imperfectly]; andwhat, after all, has this great number of years done which one of mydays cannot equal? If you have been valiant, I am so to-day, and thisarm is the strongestsupport of the kingdom. Granada and Arragon tremblewhen this sword flashes; my name serves as a rampart to all Castile;without me you would soon pass under other laws, and you would soon haveyour enemies as[_lit._ for] kings. Each day, each moment, to increasemy glory, adds laurels to laurels, victory to victory. The prince, by myside, would make the trial of his courage in the wars under the shadowof my arm; he wouldlearn to conquer by seeing me do so; and, to provespeedily worthy of his high character, he would see----_Don Diego._ I know it; you serve the king well. I have seen you fightand command under me, when [old] agehas caused its freezing currents toflow within my nerves [i.e. \"when the frosts of old age had numbed mynerves\"--_Jules Bue_], your unexampled [_lit._ rare] valor has worthily[_lit._ well] supplied my place; in fine, tospare unnecessary words,you are to-day what I used to be. You see, nevertheless, that in thisrivalry a monarch places some distinction between us._Count._ That prize which I deserved you have carried off._DonDiego._ He who has gained that [advantage] over you has deserved itbest._Count._ He who can use it to the best advantage is the most worthy ofit._Don Diego._ To be refused that prize [_lit._ it] is not a goodsign._Count._ You have gained it by intrigue, being an old courtier._Don Diego._ The brilliancy of my noble deeds was my only recommendation[_lit._ support]._Count._ Let us speak better of it [i.e. more plainly]: theking doeshonor to your age._Don Diego._ The king, when he does it [i.e. that honor], gives it[_lit._ measures it] to courage._Count._ And for that reason this honor was due only to me [_lit._ myarm]._Don Diego._ Hewho has not been able to obtain it did not deserve it._Count._ Did not deserve it? I!_Don Diego._ You._Count._ Thy impudence, rash old man, shall have its recompense. [_Hegives him a slap on the face._] _Don Diego(drawing his sword [_lit._putting the sword in his hand_]). Finish [this outrage], and take mylife after such an insult, the first for which my race has ever hadcause to blush [_lit._ has seen its brow grow red]._Count._And what do you think you can do, weak us you are [_lit._ withsuch feebleness]?_Don Diego._ Oh, heaven! my exhausted strength fails me in thisnecessity!_Count._ Thy sword is mine; but thou wouldst be too vain ifthisdiscreditable trophy had laden my hand [i.e. if I had carried away atrophy so discreditable]. Farewell--adieu! Cause the prince to read, inspite of jealous feelings, for his instruction, the history of thy life.This justpunishment of impertinent language will serve as no smallembellishment for it.Scene V.--DON DIEGO.O rage! O despair! O inimical old age! Have I then lived so long onlyfor this disgrace? And have I grown grey inwarlike toils, only to seein one day so many of my laurels wither? Does my arm [i.e. my valor],which all Spain admires and looks up to [_lit._ with respect]--[does] myarm, which has so often saved this empire, and sooften strengthenedanew the throne of its king, now [_lit._ then] betray my cause, and donothing for me? O cruel remembrance of my bygone glory! O work of alifetime [_lit._ so many days] effaced in a day! newdignity fatal to myhappiness! lofty precipice from which mine honor falls! must I see thecount triumph over your splendor, and die without vengeance, or live inshame? Count, be now the instructor of my prince! Thishigh rank becomes[_lit._ admits] no man without honor, and thy jealous pride, by thisfoul [_lit._ remarkable] insult, in spite of the choice of the king, hascontrived [_lit._ has known how] to render me unworthy of it.And thou,glorious instrument of my exploits, but yet a useless ornament of anenfeebled body numbed by age [_lit._ all of ice], thou sword, hithertoto be feared, and which in this insult has served me for show, andnotfor defence, go, abandon henceforth the most dishonored [_lit._ thelast] of his race; pass, to avenge me, into better hands!Scene VI.--DON DIEGO and DON RODRIGO._Don Diego._ Rodrigo, hast thou courage[_lit._ a heart]?_Don Rodrigo._ Any other than my father would have found that outinstantly._Don Diego._ Welcome wrath! worthy resentment, most pleasing to mygrief! I recognize my blood in this noble rage; myyouth revives in thisardor so prompt. Come, my son, come, my blood, come to retrieve myshame--come to avenge me!_Don Rodrigo._ Of what?_Don Diego._ Of an insult so cruel that it deals a deadly strokeagainst thehonor of us both--of a blow! The insolent [man] would havelost his life for it, but my age deceived my noble ambition; and thissword, which my arm can no longer wield, I give up to thine, to avengeand punish. Goagainst this presumptuous man, and prove thy valor: it isonly in blood that one can wash away such an insult; die or slay.Moreover, not to deceive thee, I give thee to fight a formidableantagonist [_lit._ a man to befeared], I have seen him entirely coveredwith blood and dust, carrying everywhere dismay through an entire army.I have seen by his valor a hundred squadrons broken; and, to tell theestill something more--more thanbrave soldier, more than great leader,he is----_Don Rodrigo._ Pray, finish._Don Diego._ The father of Chimène._Don Rodrigo._ The----_Don Diego._ Do not reply; I know thy love. But he who lives dishonoredisunworthy of life; the dearer the offender the greater the offence. Inshort, thou knowest the insult, and thou holdest [in thy grasp the meansof] vengeance. I say no more to thee. Avenge me, avenge thyself!Showthyself a son worthy of a father such as I [am]. Overwhelmed bymisfortunes to which destiny reduces me, I go to deplore them. Go, run,fly, and avenge us!Scene VII.--DON RODRIGO.Pierced even to the depth[_or,_ bottom of the heart] by a blowunexpected as well as deadly, pitiable avenger of a just quarrel andunfortunate object of an unjust severity, I remain motionless, and mydejected soul yields to the blow which isslaying me. So near seeing mylove requited! O heaven, the strange pang [_or,_ difficulty]! In thisinsult my father is the person aggrieved, and the aggressor is thefather of Chimène!What fierce conflicts [of feelings] Iexperience! My love is engaged[_lit._ interests itself] against my own honor. I must avenge a fatherand lose a mistress. The one stimulates my courage, the other restrainsmy arm. Reduced to the sad choice of eitherbetraying my love or ofliving as a degraded [man], on both sides my situation is wretched[_lit._ evil is infinite]. O heaven, the strange pang [_or,_difficulty]! Must I leave an insult unavenged? Must I punish the fatherofChimène?Father, mistress, honor, love--noble and severe restraint--a bondagestill to be beloved [_lit._ beloved tyranny], all my pleasures are dead,or my glory is sullied. The one renders me unhappy; the otherunworthyof life. Dear and cruel hope of a soul noble but still enamored, worthyenemy of my greatest happiness, thou sword which causest my painfulanxiety, hast thou been given to me to avenge my honor? Hast thou"}
+{"doc_id":"doc_129","qid":"","text":"Project Gutenberg's Little Lord Fauntleroy, by Frances Hodgson BurnettThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: Little Lord FauntleroyAuthor: Frances Hodgson BurnettRelease Date: January 16, 2006 [EBook #479][Lastupdated: December 9, 2011]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK LITTLE LORD FAUNTLEROY ***Produced by Charles Keller and David WidgerLITTLE LORD FAUNTLEROYBy FrancesHodgson BurnettICedric himself knew nothing whatever about it. It had never been evenmentioned to him. He knew that his papa had been an Englishman, becausehis mamma had told him so; but then his papa haddied when he was solittle a boy that he could not remember very much about him, except thathe was big, and had blue eyes and a long mustache, and that it was asplendid thing to be carried around the room on hisshoulder. Since hispapa's death, Cedric had found out that it was best not to talk to hismamma about him. When his father was ill, Cedric had been sent away, andwhen he had returned, everything was over; and hismother, who hadbeen very ill, too, was only just beginning to sit in her chair by thewindow. She was pale and thin, and all the dimples had gone from herpretty face, and her eyes looked large and mournful, and shewas dressedin black.\"Dearest,\" said Cedric (his papa had called her that always, and so thelittle boy had learned to say it),--\"dearest, is my papa better?\"He felt her arms tremble, and so he turned his curly head andlooked inher face. There was something in it that made him feel that he was goingto cry.\"Dearest,\" he said, \"is he well?\"Then suddenly his loving little heart told him that he'd better put bothhis arms around her neckand kiss her again and again, and keep hissoft cheek close to hers; and he did so, and she laid her face on hisshoulder and cried bitterly, holding him as if she could never let himgo again.\"Yes, he is well,\" she sobbed;\"he is quite, quite well, but we--we haveno one left but each other. No one at all.\"Then, little as he was, he understood that his big, handsome young papawould not come back any more; that he was dead, as he hadheard of otherpeople being, although he could not comprehend exactly what strangething had brought all this sadness about. It was because his mammaalways cried when he spoke of his papa that he secretly made uphis mindit was better not to speak of him very often to her, and he found out,too, that it was better not to let her sit still and look into the fireor out of the window without moving or talking. He and his mammaknewvery few people, and lived what might have been thought very lonelylives, although Cedric did not know it was lonely until he grew olderand heard why it was they had no visitors. Then he was told that hismammawas an orphan, and quite alone in the world when his papa hadmarried her. She was very pretty, and had been living as companion to arich old lady who was not kind to her, and one day Captain Cedric Errol,who wascalling at the house, saw her run up the stairs with tears onher eyelashes; and she looked so sweet and innocent and sorrowful thatthe Captain could not forget her. And after many strange things hadhappened, theyknew each other well and loved each other dearly, andwere married, although their marriage brought them the ill-will ofseveral persons. The one who was most angry of all, however, wasthe Captain's father, who livedin England, and was a very rich andimportant old nobleman, with a very bad temper and a very violentdislike to America and Americans. He had two sons older than CaptainCedric; and it was the law that the elder ofthese sons should inheritthe family title and estates, which were very rich and splendid; if theeldest son died, the next one would be heir; so, though he was a memberof such a great family, there was little chance thatCaptain Cedricwould be very rich himself.But it so happened that Nature had given to the youngest son gifts whichshe had not bestowed upon his elder brothers. He had a beautiful faceand a fine, strong, gracefulfigure; he had a bright smile and a sweet,gay voice; he was brave and generous, and had the kindest heart in theworld, and seemed to have the power to make every one love him. And itwas not so with his elderbrothers; neither of them was handsome,or very kind, or clever. When they were boys at Eton, they were notpopular; when they were at college, they cared nothing for study, andwasted both time and money, andmade few real friends. The old Earl,their father, was constantly disappointed and humiliated by them; hisheir was no honor to his noble name, and did not promise to end in beinganything but a selfish, wasteful,insignificant man, with no manly ornoble qualities. It was very bitter, the old Earl thought, that the sonwho was only third, and would have only a very small fortune, should bethe one who had all the gifts, and all thecharms, and all the strengthand beauty. Sometimes he almost hated the handsome young man because heseemed to have the good things which should have gone with the statelytitle and the magnificent estates; andyet, in the depths of his proud,stubborn old heart, he could not help caring very much for his youngestson. It was in one of his fits of petulance that he sent him off totravel in America; he thought he would send himaway for a while, sothat he should not be made angry by constantly contrasting him with hisbrothers, who were at that time giving him a great deal of trouble bytheir wild ways.But, after about six months, he began tofeel lonely, and longed insecret to see his son again, so he wrote to Captain Cedric and orderedhim home. The letter he wrote crossed on its way a letter the Captainhad just written to his father, telling of his love for theprettyAmerican girl, and of his intended marriage; and when the Earl receivedthat letter he was furiously angry. Bad as his temper was, he hadnever given way to it in his life as he gave way to it when he readtheCaptain's letter. His valet, who was in the room when it came, thoughthis lordship would have a fit of apoplexy, he was so wild with anger.For an hour he raged like a tiger, and then he sat down and wrote to hisson,and ordered him never to come near his old home, nor to write tohis father or brothers again. He told him he might live as he pleased,and die where he pleased, that he should be cut off from his familyforever, and thathe need never expect help from his father as long ashe lived.The Captain was very sad when he read the letter; he was very fond ofEngland, and he dearly loved the beautiful home where he had been born;he had evenloved his ill-tempered old father, and had sympathized withhim in his disappointments; but he knew he need expect no kindness fromhim in the future. At first he scarcely knew what to do; he had not beenbrought upto work, and had no business experience, but he had courageand plenty of determination. So he sold his commission in the Englisharmy, and after some trouble found a situation in New York, and married.The changefrom his old life in England was very great, but he was youngand happy, and he hoped that hard work would do great things for him inthe future. He had a small house on a quiet street, and his little boywas born there,and everything was so gay and cheerful, in a simple way,that he was never sorry for a moment that he had married the rich oldlady's pretty companion just because she was so sweet and he loved herand she lovedhim. She was very sweet, indeed, and her little boy waslike both her and his father. Though he was born in so quiet and cheap alittle home, it seemed as if there never had been a more fortunate baby.In the first place,he was always well, and so he never gave any onetrouble; in the second place, he had so sweet a temper and ways socharming that he was a pleasure to every one; and in the third place,he was so beautiful to look atthat he was quite a picture. Instead ofbeing a bald-headed baby, he started in life with a quantity of soft,fine, gold-colored hair, which curled up at the ends, and went intoloose rings by the time he was six months old;he had big brown eyes andlong eyelashes and a darling little face; he had so strong a back andsuch splendid sturdy legs, that at nine months he learned suddenly towalk; his manners were so good, for a baby, that itwas delightful tomake his acquaintance. He seemed to feel that every one was his friend,and when any one spoke to him, when he was in his carriage in thestreet, he would give the stranger one sweet, serious lookwith thebrown eyes, and then follow it with a lovely, friendly smile; and theconsequence was, that there was not a person in the neighborhood of thequiet street where he lived--even to the groceryman at the corner,whowas considered the crossest creature alive--who was not pleased to seehim and speak to him. And every month of his life he grew handsomer andmore interesting.When he was old enough to walk out with hisnurse, dragging a smallwagon and wearing a short white kilt skirt, and a big white hat set backon his curly yellow hair, he was so handsome and strong and rosy that heattracted every one's attention, and his nursewould come home and tellhis mamma stories of the ladies who had stopped their carriages to lookat and speak to him, and of how pleased they were when he talked to themin his cheerful little way, as if he had knownthem always. His greatestcharm was this cheerful, fearless, quaint little way of making friendswith people. I think it arose from his having a very confiding nature,and a kind little heart that sympathized with every one,and wished tomake every one as comfortable as he liked to be himself. It made himvery quick to understand the feelings of those about him. Perhaps thishad grown on him, too, because he had lived so much with hisfather andmother, who were always loving and considerate and tender and well-bred.He had never heard an unkind or uncourteous word spoken at home; he hadalways been loved and caressed and treated tenderly,and so his childishsoul was full of kindness and innocent warm feeling. He had always heardhis mamma called by pretty, loving names, and so he used them himselfwhen he spoke to her; he had always seen that hispapa watched over herand took great care of her, and so he learned, too, to be careful ofher.So when he knew his papa would come back no more, and saw how verysad his mamma was, there gradually came into hiskind little heart thethought that he must do what he could to make her happy. He was not muchmore than a baby, but that thought was in his mind whenever he climbedupon her knee and kissed her and put his curlyhead on her neck, andwhen he brought his toys and picture-books to show her, and when hecurled up quietly by her side as she used to lie on the sofa. He was notold enough to know of anything else to do, so he didwhat he could, andwas more of a comfort to her than he could have understood.\"Oh, Mary!\" he heard her say once to her old servant; \"I am sure heis trying to help me in his innocent way--I know he is. He looks atmesometimes with a loving, wondering little look, as if he were sorry forme, and then he will come and pet me or show me something. He is such alittle man, I really think he knows.\"As he grew older, he had a greatmany quaint little ways which amusedand interested people greatly. He was so much of a companion for hismother that she scarcely cared for any other. They used to walk togetherand talk together and play together.When he was quite a little fellow,he learned to read; and after that he used to lie on the hearth-rug, inthe evening, and read aloud--sometimes stories, and sometimes big bookssuch as older people read, andsometimes even the newspaper; and oftenat such times Mary, in the kitchen, would hear Mrs. Errol laughing withdelight at the quaint things he said.\"And, indade,\" said Mary to the groceryman, \"nobody cud helplaughin' atthe quare little ways of him--and his ould-fashioned sayin's! Didn'the come into my kitchen the noight the new Prisident was nominated andshtand afore the fire, lookin' loike a pictur', wid his hands inhisshmall pockets, an' his innocent bit of a face as sayrious as a jedge?An' sez he to me: 'Mary,' sez he, 'I'm very much int'rusted in the'lection,' sez he. 'I'm a 'publican, an' so is Dearest. Are you a'publican, Mary?''Sorra a bit,' sez I; 'I'm the bist o' dimmycrats!'An' he looks up at me wid a look that ud go to yer heart, an' sez he:'Mary,' sez he, 'the country will go to ruin.' An' nivver a day sincethin has he let go by widout argyin'wid me to change me polytics.\"Mary was very fond of him, and very proud of him, too. She had been withhis mother ever since he was born; and, after his father's death, hadbeen cook and housemaid and nurse andeverything else. She was proud ofhis graceful, strong little body and his pretty manners, and especiallyproud of the bright curly hair which waved over his forehead and fell incharming love-locks on his shoulders. Shewas willing to work early andlate to help his mamma make his small suits and keep them in order.\"'Ristycratic, is it?\" she would say. \"Faith, an' I'd loike to see thechoild on Fifth Avey-NOO as looks loike him an' shtepsout as handsomeas himself. An' ivvery man, woman, and choild lookin' afther him in hisbit of a black velvet skirt made out of the misthress's ould gownd; an'his little head up, an' his curly hair flyin' an' shinin'. It's loikeayoung lord he looks.\"Cedric did not know that he looked like a young lord; he did notknow what a lord was. His greatest friend was the groceryman at thecorner--the cross groceryman, who was never cross to him. Hisname wasMr. Hobbs, and Cedric admired and respected him very much. He thoughthim a very rich and powerful person, he had so many things in hisstore,--prunes and figs and oranges and biscuits,--and he hadahorse and wagon. Cedric was fond of the milkman and the baker and theapple-woman, but he liked Mr. Hobbs best of all, and was on terms ofsuch intimacy with him that he went to see him every day, and oftensatwith him quite a long time, discussing the topics of the hour. It wasquite surprising how many things they found to talk about--the Fourthof July, for instance. When they began to talk about the Fourth of Julytherereally seemed no end to it. Mr. Hobbs had a very bad opinion of\"the British,\" and he told the whole story of the Revolution, relatingvery wonderful and patriotic stories about the villainy of the enemy andthe bravery ofthe Revolutionary heroes, and he even generously repeatedpart of the Declaration of Independence.Cedric was so excited that his eyes shone and his cheeks were red andhis curls were all rubbed and tumbled into ayellow mop. He could hardlywait to eat his dinner after he went home, he was so anxious to tellhis mamma. It was, perhaps, Mr. Hobbs who gave him his first interestin politics. Mr. Hobbs was fond of reading thenewspapers, and so Cedricheard a great deal about what was going on in Washington; and Mr. Hobbswould tell him whether the President was doing his duty or not. Andonce, when there was an election, he found it allquite grand, andprobably but for Mr. Hobbs and Cedric the country might have beenwrecked.Mr. Hobbs took him to see a great torchlight procession, and many of themen who carried torches remembered afterward astout man who stood neara lamp-post and held on his shoulder a handsome little shouting boy, whowaved his cap in the air.It was not long after this election, when Cedric was between seven andeight years old, thatthe very strange thing happened which made sowonderful a change in his life. It was quite curious, too, that theday it happened he had been talking to Mr. Hobbs about England andthe Queen, and Mr. Hobbs had saidsome very severe things about thearistocracy, being specially indignant against earls and marquises. Ithad been a hot morning; and after playing soldiers with some friendsof his, Cedric had gone into the store to rest,and had found Mr. Hobbslooking very fierce over a piece of the Illustrated London News, whichcontained a picture of some court ceremony.\"Ah,\" he said, \"that's the way they go on now; but they'll get enoughof it someday, when those they've trod on rise and blow 'em upsky-high,--earls and marquises and all! It's coming, and they may lookout for it!\"Cedric had perched himself as usual on the high stool and pushed hishat back, andput his hands in his pockets in delicate compliment to Mr.Hobbs.\"Did you ever know many marquises, Mr. Hobbs?\" Cedric inquired,--\"orearls?\"\"No,\" answered Mr. Hobbs, with indignation; \"I guess not. I'd like tocatchone of 'em inside here; that's all! I'll have no grasping tyrantssittin' 'round on my cracker-barrels!\"And he was so proud of the sentiment that he looked around proudly andmopped his forehead.\"Perhaps they wouldn'tbe earls if they knew any better,\" said Cedric,feeling some vague sympathy for their unhappy condition.\"Wouldn't they!\" said Mr. Hobbs. \"They just glory in it! It's in 'em.They're a bad lot.\"They were in the midst of theirconversation, when Mary appeared.Cedric thought she had come to buy some sugar, perhaps, but she had not.She looked almost pale and as if she were excited about something.\"Come home, darlint,\" she said; \"themisthress is wantin' yez.\"Cedric slipped down from his stool.\"Does she want me to go out with her, Mary?\" he asked. \"Good-morning,Mr. Hobbs. I'll see you again.\"He was surprised to see Mary staring at him in adumfounded fashion, andhe wondered why she kept shaking her head.\"What's the matter, Mary?\" he said. \"Is it the hot weather?\"\"No,\" said Mary; \"but there's strange things happenin' to us.\"\"Has the sun givenDearest a headache?\" he inquired anxiously.But it was not that. When he reached his own house there was a coupestanding before the door and some one was in the little parlor talkingto his mamma. Mary hurried himupstairs and put on his best summersuit of cream-colored flannel, with the red scarf around his waist, andcombed out his curly locks.\"Lords, is it?\" he heard her say. \"An' the nobility an' gintry. Och! badcess to them!Lords, indade--worse luck.\"It was really very puzzling, but he felt sure his mamma would tell himwhat all the excitement meant, so he allowed Mary to bemoan herselfwithout asking many questions. When he wasdressed, he ran downstairsand went into the parlor. A tall, thin old gentleman with a sharp facewas sitting in an arm-chair. His mother was standing near by with a paleface, and he saw that there were tears in hereyes.\"Oh! Ceddie!\" she cried out, and ran to her little boy and caught himin her arms and kissed him in a frightened, troubled way. \"Oh! Ceddie,darling!\"The tall old gentleman rose from his chair and looked at Cedricwith hissharp eyes. He rubbed his thin chin with his bony hand as he looked.He seemed not at all displeased.\"And so,\" he said at last, slowly,--\"and so this is little LordFauntleroy.\"IIThere was never a more amazed littleboy than Cedric during the weekthat followed; there was never so strange or so unreal a week. In thefirst place, the story his mamma told him was a very curious one. He wasobliged to hear it two or three times beforehe could understand it. Hecould not imagine what Mr. Hobbs would think of it. It began with earls:his grandpapa, whom he had never seen, was an earl; and his eldestuncle, if he had not been killed by a fall from hishorse, would havebeen an earl, too, in time; and after his death, his other uncle wouldhave been an earl, if he had not died suddenly, in Rome, of a fever.After that, his own papa, if he had lived, would have been anearl, but,since they all had died and only Cedric was left, it appeared that HEwas to be an earl after his grandpapa's death--and for the present hewas Lord Fauntleroy.He turned quite pale when he was first told ofit.\"Oh! Dearest!\" he said, \"I should rather not be an earl. None of theboys are earls. Can't I NOT be one?\"But it seemed to be unavoidable. And when, that evening, they sattogether by the open window looking out intothe shabby street, heand his mother had a long talk about it. Cedric sat on his footstool,clasping one knee in his favorite attitude and wearing a bewilderedlittle face rather red from the exertion of thinking. Hisgrandfatherhad sent for him to come to England, and his mamma thought he must go.\"Because,\" she said, looking out of the window with sorrowful eyes, \"Iknow your papa would wish it to be so, Ceddie. He loved hishome verymuch; and there are many things to be thought of that a little boy can'tquite understand. I should be a selfish little mother if I did not sendyou. When you are a man, you will see why.\"Ceddie shook his headmournfully.\"I shall be very sorry to leave Mr. Hobbs,\" he said. \"I'm afraid he'llmiss me, and I shall miss him. And I shall miss them all.\"When Mr. Havisham--who was the family lawyer of the Earl of Dorincourt,and who"}
+{"doc_id":"doc_130","qid":"","text":"The Project Gutenberg EBook of The Mardi Gras Mystery, by H. Bedford-JonesThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it awayorre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: The Mardi Gras MysteryAuthor: H. Bedford-JonesIllustrator: John Newton HowittRelease Date:March 22, 2012 [EBook #39229]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE MARDI GRAS MYSTERY ***Produced by Darleen Dove, Ernest Schaal, and the OnlineDistributed ProofreadingTeam at http://www.pgdp.net (Thisfile was produced from images generously made availableby The Internet Archive/American Libraries.)                             THE MARDIGRAS                                MYSTERY                                BOOKS BY                            H. BEDFORD-JONES                        CONQUEST                        CROSS AND THE HAMMER: A                          TALE OF THEDAYS OF THE                          VIKINGS                        FLAMEHAIR THE SKALD: A                          TALE OF THE DAYS OF                          HARDREDE                        GOLDEN GHOST                        THE MESATRAIL                        THE MARDI GRAS MYSTERY                        UNDER FIRE[Illustration: \"_'You frightened me, holy man!' she cried gaily.'Confess to you, indeed! Not I.'_\"]                             THE MARDIGRAS                                 MYSTERY                                   BY                            H.BEDFORD-JONES                             [Illustration]                              FRONTISPIECE                                   BY                           JOHN NEWTON HOWITT                    GARDEN CITY, N. Y., ANDTORONTO                       DOUBLEDAY, PAGE & COMPANY                                  1921                        COPYRIGHT, 1920, 1921, BY                        DOUBLEDAY, PAGE & COMPANY           ALL RIGHTS RESERVED,INCLUDING THAT OF TRANSLATION           INTO FOREIGN LANGUAGES, INCLUDING THE SCANDINAVIAN                                CONTENTS    CHAPTER                                                     PAGE       I.CARNIVAL                                                 3      II. MASQUERS                                                21     III. THE BANDIT                                              38      IV. CALLERS                                                 58       V.THE MASQUER UNMASKS                                     82      VI. CHACHERRE                                              107     VII. IN THE OPEN                                            125    VIII.COMUS                                                  143      IX. ON THE BAYOU                                           169       X. MURDER                                                 190      XI. THEGANGSTERS                                          209     XII. THE ULTIMATUM                                          228    XIII. THE COIN FALLS HEADS                                   249     XIV. CHACHERRE'SBUNDLE                                     262      XV. WHEN THE HEAVENS FALL                                  280     XVI. THE IMPREGNABILITY OF MR. FELL                         299    XVII.MI-CARÃ\u0000ME                                              310                             THE MARDI GRAS                                MYSTERY                         THE MARDI GRAS MYSTERY                               CHAPTERI                               _Carnival_Jachin Fell pushed aside the glass curtains between the voluminousover-draperies in the windows of the Chess and Checkers Club, and gazedout upon the riotous streets of New Orleans.Half an hour he had beenwaiting here in the lounge room for Dr. Cyril Ansley, a middle-agedbachelor who had practised in Opelousas for twenty years, and who hadcome to the city for the Mardi Gras festivities. Anotherman might haveseemed irritated by the wait, but Jachin Fell was quite unruffled.He had much the air of a clerk. His features were thin and unremarkable;his pale eyes constantly wore an expression of wonderingaloofness, asthough he saw around him much that he vainly tried to understand. In hisentire manner was a shy reticence. He was no clerk, however, this wasevident from his attire. He was garbed from head to foot insoberlyblending shades of gray whose richness was notable only at close view.One fancied him a very precise sort of man, an old maid of the wrongsex.Doctor Ansley, an Inverness flung over his evening clothes,entered thelounge room, and Fell turned to him with a dry, toneless chuckle.\"You're the limit! Did you forget we were going to the Maillards'to-night?\"Ansley appeared vexed and irritated. \"Confound it, Fell!\" heexclaimed.\"I've been all over town looking for El Reys. Caught in a crowd--no ElReys yet!\"Again Fell uttered his toneless chuckle. His voice was absolutely level,unmarked by any change of inflection.\"My dear fellow,there are only three places in the city that can affordto carry El Reys in these parlous times! This club, however, happens tobe one of the three. Here, sit down and forget your troubles over a realsmoke! We need notleave for fifteen minutes yet, at least.\"Doctor Ansley laid aside his cape, stick, and hat, and dropped into oneof the comfortable big chairs. He accepted the proffered cigar with asigh. Across his knees he laid an eveningpaper, whose flaring headlinesproclaimed an extra.\"I suppose you've been gadding all around the town ever since theRevellers opened the season?\" he inquired.\"Hardly,\" said Fell with his shy air. \"I'm growing a bit stiffwith age,as Eliza said when she crossed the ice. I don't gad much.\"\"You intend to mask for the Maillards'?\" Ansley cast his eye over thegray business attire of the little man.\"I never mask.\" Jachin Fell shook his head.\"I'll get a domino and go asI am. Excuse me--I'll order a domino now, and also provide a few more ElReys for the evening. Back in a moment.\"Doctor Ansley, who was himself a non-resident member of the clubandsocially prominent when he could grant himself leisure for society,followed the slight figure of the other man with speculative eyes. Wellas he knew Jachin Fell, he invariably found the man a source ofpuzzledspeculation.During many years Jachin Fell had been a member of the most exclusiveNew Orleans clubs. He was even received in the inner circles of Creolesociety, which in itself was evidence supreme as to hisposition. Atthis particular club he was famed as a wizard master of chess. He neverentered a tournament, yet he consistently defeated the champions inprivate matches--defeated them with a bewildering ease, a shyandapologetic ease, an ease which left the beholders incredulous andaghast.With all this, Jachin Fell was very much of a mystery, even among hisclosest friends. Very little was known of him; he was inconspicuous toadegree, and it was usually assumed that he was something of a recluse,the result of a thwarted love affair in his youth. He was a lawyer, andcertainly maintained offices in the Maison Blanche building, but heneverappeared in the courts and no case of his pleading was known.It was said that he lived in the rebuilt casa of some old Spanishgrandee in the Vieux Carre, and that this residence of his was averitable treasure-trove ofhistoric and beautiful things. This was mererumour, adding a spice of romance to the general mystery. Ansley knewhim as well as did most men, and Ansley knew of a few who could boast ofhaving been a guest inJachin Fell's home. There was a mother, aninvalid of whom Fell sometimes spoke and to whom he appeared to devotehimself. The family, an old one in the city, promised to die out withJachin Fell.Ansley puffed at hiscigar and considered these things. Outside, in theNew Orleans streets, was rocketing the mad mirth of carnival. The weekpreceding Mardi Gras was at its close. Since the beginning of the newyear the festival had beencelebrated in a steadily climaxing series ofballs and entertainments, largely by the older families who kept to theold customs, and to a smaller extent by society at large. Now the finalweek was at hand, or rather thefinal three days--the period of thegreat balls, the period when tourists were flooding into town; fortourists, the whole time of Mardi Gras was comprised within these threedays. Despite agonized predictions, prohibitionhad not adverselyaffected Mardi Gras or the gaiety of its celebration.Now, as ever, was Mardi Gras symbolized by masques. In New Orleans themasquerade was not the pale and pitiful frolic of colder climes, wheretheoccasion is but one for display of jewels and costumes, and whereactual concealment of identity is a farce. Here in New Orleans werejewels and costumes in a profusion of splendour; but here was preservedtheunderlying idea of the masque itself--that in concealment ofidentity lay the life of the thing! Masquers swept the streets gaily; ifharlequin husband flirted with domino wife--why, so much the merrier!There was littleharm in the Latin masque, and great mirth.When Jachin Fell returned and lighted his cigar he sank into one of theluxurious chairs beside Ansley and indicated the newspaper lying acrossthe latter's knee, its flaringheadlines standing out blackly.\"What's that about the Midnight Masquer? He's not appeared again?\"\"What?\" Ansley glanced at him in surprise. \"You've not heard?\"Fell shook his head. \"I seldom read the papers.\"\"Goodheavens, man! He showed up last night at the Lapeyrouse dance, twominutes before midnight, as usual! A detective had been engaged, but wasafterward found locked in a closet, bound with his own handcuffs.TheMasquer wore his usual costume--and went through the party famously,stripping everyone in sight. Then he backed through the doors andvanished. How he got in they can't imagine; where he went theycan'timagine, unless it was by airplane. He simply appeared, then vanished!\"Fell settled deeper into his chair, pointed his cigar at the ceiling,and sighed.\"Ah, most interesting! The loot was valued at about a hundredthousand?\"\"I thought you said you'd not heard of it?\" demanded Ansley.Fell laughed softly and shyly. \"I didn't. I merely hazarded a guess.\"\"Wizard!\" The doctor laughed in unison. \"Yes, about that amount.Exaggerated,of course; still, there were jewels of great value----\"\"The Masquer is a piker,\" observed Fell, in his toneless voice.\"Eh? A piker--when he can make a hundred-thousand-dollar haul?\"\"Don't dream that those figuresrepresent value, Doctor. They don't! Allthe loot the Masquer has taken since he began work is worth little tohim. Jewels are hard to sell. This game of banditry is romantic, butit's out of date these days. Of course, thecrook has obtained a bit ofmoney, but not enough to be worth the risk.\"\"Yet he has got quite a bit,\" returned Ansley, thoughtfully. \"All themen have money, naturally; we don't want to find ourselves bare at somegaycarnival moment! I'll warrant you've a hundred or so in your pocketright now!\"\"Not I,\" rejoined Fell, calmly. \"One ten-dollar bill. Also I left mywatch at home. And I'm not dressed; I don't care to lose mypearlstuds.\"\"Eh?\" Ansley frowned. \"What do you mean?\"Jachin Fell took a folded paper from his pocket and handed it to thephysician.\"I met Maillard at the bank this morning. He called me into his officeand handed methis--he had just received it in the mail.\"Doctor Ansley opened the folded paper; an exclamation broke from him ashe read the note, which was addressed to their host of the evening.    JOSEPH MAILLARD,President,        Exeter National Bank, City.    I thank you for the masque you are giving to-night. I shall be    present. Please see that Mrs. M. wears her diamonds--I need    them.                                           THEMIDNIGHT MASQUER.Ansley glanced up. \"What's this--some hoax? Some carnival jest?\"\"Maillard pretended to think so.\" Fell shrugged his shoulders as herepocketed the note. \"But he was nervous. He was afraid ofbeing laughedat, and wouldn't go to the police. But he'll have a brace of detectivesinside the house to-night, and others outside.\"Ever since the first ball of the year by the Twelfth Night Club thisMidnight Masquer, as hewas termed, had held New Orleans gripped interror, fascination, and vivid interest. Until a month previous to thisweek of Mardi Gras he had operated rarely; he had robbed with a starkand inelegant forcefulness, abrutality. Suddenly his methodschanged--he appeared and transacted his business with a romanticcourtesy, a daredevil gaiety; his robberies became bizarre andextraordinary.During the past month he appeared atleast once a week, now at someprivate ball, now at some restaurant banquet, but always in the samegarb: the helmet, huge goggles and mask, and leathern clothes of aservice aviator. On these occasions the throbbingroar of an airplanemotor had been reported so that it was popular gossip that he landed onthe roof of his designated victims and made his getaway in the samemanner--by airplane. No machine had ever been seen, andthe theory wasbelieved by some, hooted at by others.The police were helpless. The Midnight Masquer laughed openly at themand conducted his depredations with brazen unconcern, appearing where hewas leastexpected. The anti-administration papers were clamouring abouta \"crime wave\" and \"organization of crooks,\" but without any visiblebasis for such clamours. The Midnight Masquer worked alone.Doctor Ansley glancedat his watch, and deposited his cigar in an ashtray.\"We'd best be moving, Fell. You'll want a domino?\"\"I ordered one when I got my cigars. It'll be here in a minute.\"\"Do you seriously think that note is genuine?\"Fellshrugged lightly. \"Who knows? I'm not worried. Maillard can affordto be robbed. It will be interesting to see how he takes it if thefellow does show up.\"\"You're a calm one!\" Ansley chuckled. \"Oh, I believe the prince is tobethere to-night. You've met him, I suppose?\"\"No. I've had a rush of business lately, as Eliza said when she crossedthe ice: haven't gone out much. Heard something about him, though. AnAmerican, isn't he? They sayhe's become quite popular in town.\"Ansley nodded. \"Quite a fine chap. His mother was an American--shemarried the Prince de Gramont; an international affair of the pastgeneration. De Gramont led her a dog's life, Ihear, until he was killedin a duel. She lived in Paris with the boy, sent him to school here athome, and he was at Yale when the war broke. He was technically a Frenchsubject, so he went back to serve his time.\"Still,he's an American now. Calls himself Henry Gramont, and woulddrop the prince stuff altogether if these French people around herewould let him. He's supposed to be going into some kind of business, butjust now he'shaving the time of his life. Every old dowager is tryingto catch him.\"Jachin Fell nodded. \"I've no use for nobility; a rotten crowd! But thischap appears interesting. I'll be glad to size him up. Ah, here's mydomino now!\"Apage brought the domino. Fell, discarding the mask, threw the dominoabout his shoulders, and the two men left the club in company.They sought their destination afoot--the home of the banker JosephMaillard. Thestreets were riotous, filled with an eddying, laughingcrowd of masquers and merrymakers of all ages and sexes; confettitwirled through the air, horns were deafening, and laughing voices roseinto sharp screams ofunrestrained delight.Here and there appeared the rather constrained figures of tourists fromthe North. These, staid and unable to throw themselves into the utterabandon of this carnival spirit, could but stare inperplexed wonder atthe scene, so alien to them, while they marvelled at the gaiety of theseSouthern folk who could go so far with liberty and yet not overstep thebounds of license.At last gaining St. Charles Avenue,with the Maillard residence ahalf-dozen blocks distant, the two companions found themselves well awayfrom the main carnival throngs. Even here, however, was no lack ofrevellers afoot for the evening--stray flotsam ofthe downtown crowds,or members of neighbourhood gatherings on their way to entertainment.As the two walked along they were suddenly aware of a lithe figureapproaching from the rear; with a running leap and anexclamation ofdelight the figure forced itself in between them, grasping an arm ofeither man, and a bantering voice broke in upon their train of talk.\"Forfeit!\" it cried. \"Forfeit--where are your masks, sobergentlemen?This grave physician may be pardoned, but not a domino who refuses tomask! And for forfeit you shall be my escort and take me whither you aregoing.\"Laughing, the two fell into step, glancing at the gayfigure betweenthem. A Columbine, she was both cloaked and masked. Encircling her hairwas a magnificent scarf shot with metal designs of solid gold--a mostunusual thing. Also, from her words it was evident that shehadrecognized them.\"Willingly, fair Columbine,\" responded Fell in his dry and unimpassionedtone of voice. \"We shall be most happy, indeed, to protect and take youwith us----\"\"So far as the door, at least,\" interruptedAnsley, with evidentcaution. But Fell drily laughed aside this wary limitation.\"Nay, good physician, farther!\" went on Fell. \"Our Columbine has anexcellent passport, I assure you. This gauzy scarf about her raventresseswas woven for the good Queen Hortense, and I would venture arandom guess that, clasped about her slender throat, lies the queen'scollar of star sapphires----\"\"Oh!\" From the Columbine broke a cry of warning andswift dismay. \"Don'tyou dare speak my name, sir--don't you dare!\"Fell assented with a chuckle, and subsided.Ansley regarded his two companions with sidelong curiosity. He could notrecognize Columbine, and he couldnot tell whether Fell were speaking ofthe scarf and jewels in jest or earnest. Such historic things were notuncommon in New Orleans, yet Ansley never heard of these particulartreasures. However, it seemed that Fellknew their companion, andaccepted her as a fellow guest at the Maillard house.\"What are you doing out on the streets alone?\" demanded Fell, suddenly.\"Haven't you any friends or relatives to take care ofyou?\"Columbine's laughter pealed out, and she pressed Fell's arm confidingly.\"Have I not some little rights in the world, monsieur?\" she said inFrench. \"I have been mingling with the dear crowds and enjoyingthem,before I go to be buried in the dull splendours of the rich man's house.Tell me, do you think that the Midnight Masquer will make an appearanceto-night?\"\"I have every reason to believe that he will,\" said JachinFell,gravely.Columbine put one hand to her throat, and shivered a trifle.\"You--you really think so? You are not trying to frighten me?\" Her voicewas no longer gay. \"But--the jewels----\"\"Wear them, wear them!\" Therewas command in the tone of Fell. \"Werethey not given you to wear to-night? Then wear them, by all means. Don'tworry, my dear.\"Columbine said nothing for a moment; her gaiety seemed to be suddenlyextinguishedand quenched. Ansley was wondering uneasily at theconstraint, when at length she broke the silence.\"Since you have ordered, let the command be obeyed!\" She essayed alaugh, which appeared rather forced. \"Yet, ifthey are lost and aretaken by the Masquer----\"\"In that case,\" said Fell, \"let the blame be mine entirely. If they arelost, little Columbine, others will be lost with them, fear not! I thinkthat this party would be a rich haulfor the Masquer, eh? Take the richman and his friends--they could bear plucking, that crowd! Rogues all.\"\"Confound you, Fell!\" exclaimed Ansley, uneasily. \"If the bandit doesshow up there would be the very devil topay!\"\"And Maillard would do the paying.\" Fell's dry chuckle held a note ofbitterness. \"Let him. Who cares? Look at his house, there, blazing withlights. Who pays for those lights? The people his financial tentacleshaveclosed their sucker-like grip upon. His wife's jewels have beenpurchased with the coin of oppression and injustice. His son's life isone of roguery and drunken wildness----\"\"Man, are you mad?\" Ansley indicated theColumbine between them. \"We'renot alone here--you must not talk that way----\"Jachin Fell only chuckled again. Columbine's laugh broke in with renewedgaiety:\"Nonsense, my dear Galen! We surely may be allowed tobe ourselvesduring carnival! Away with the heresies of hypocritical society. Ourfriend speaks the sober truth. We masquers may admit among ourselvesthat Bob Maillard is----\"\"Is not the man we would have ourdaughters marry, provided we haddaughters,\" said Fell. Then he gestured toward the house ahead of them,and his tone changed: \"Still, now that we are about to enter that house,we must remind ourselves of courtesyand the limitations of guests. Sayno more. Produce your invitation, Columbine, for I think we shall findthat the doors to-night are guarded by Cerberus.\"They had come to a file of limousines and cars, and approached"}
+{"doc_id":"doc_131","qid":"","text":"<html><head><title>What About Bob? Script at IMSDb.</title><meta name=\"description\" content=\"What About Bob? script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"What AboutBob? script, What About Bob? movie script, What About Bob? film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX,FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                                    \"WHAT ABOUT BOB?\"</b>                                      Screenplay by                                       TomSchulman                                         Story by                              Alvin Sargent and Laura Ziskin<b>                                      SHOOTING DRAFT</b><b>                </b><b>               OPENING CRAWL ON ABLACK SCREEN</b>               \"Medical journals report only 31 cases in history of people                swallowing their toothbrushes. The champion toothbrush                swallower was a Soviet psychiatric patient whodowned 16 in                1984. The all-time champion swallower of any object swallowed                2533 objects in 1927.\"<b>               ECU: A TOOTHBRUSH - CREDITS ROLLING</b>               We HEAR a manclearing his throat. He enters and a shiny                glob of toothpaste is squeezed onto the bristles.<b>               INT. BOB WILEY'S BATHROOM, MORNING</b>               BOB WILEY, thirties, anxious, beginsbrushing his teeth.                Suddenly, in trying to brush a back molar, Bob looses control                of the toothbrush and swallows half of it whole. Choking,                gasping, he tries to pull the toothbrushout.<b>               EXT. BOB WILEY'S APARTMENT BUILDING, SAME</b>               PAN and TILT up from a woman walking her dog on the streets                of Manhattan to a third floor apartment window. There isBob                struggling frantically with the toothbrush.<b>               INT. BOB WILEY'S BATHROOM, MORNING</b>               Bob is losing the battle, and in three excruciating swallows,                like a mouse goingdown the throat of a snake, the toothbrush                disappears down his throat. Bob pounds his chest, swallowing                as he does. Then, delicately, he belches. He takes a deep                breath, relaxessomewhat, and opens the medicine cabinet.                There sit ten packaged toothbrushes. Bob opens one.<b>               AS WE... END CREDITS...</b><b>                                                               DISSOLVETO:</b><b>               EXT. A PARKING LOT, LAKE WINNIPESAUKEE, NEW HAMPSHIRE, DAY. </b><b>               AUTUMN</b>               Pricey BMW's, MERCEDES, etc. sport license plates whichread:                FREUD JUNGNRICH HEADDOC PERCA' DAN' etc. Three pre-teens                ride by on bikes and shove the trunks of the cars. Car alarms                sound off like birds. We PAN WITH THE KIDS thenPAST THEM                out to sea to see:<b>               EXT. THE MIDDLE OF THE LAKE, ABOARD A CRIS CRAFT, SAME</b>               Four psychiatrists and three spouses are pleasure boating.                Here all isquiet except the wind and the sound of the birds                (or is it the car alarms?). Shrinks and their wives sit around                an intense doctor in his forties.<b>                                     DOCTOR 1(FEINBERG)</b>                         I've had the same nightmare three                          nights running.<b>                                     DOCTOR 2</b>                         Come on, David, we're on avacation.<b>                                     FEINBERG</b>                         I'm leaving my office for summer                          vacation, when suddenly my patients                          rush up lookinginsane.<b>               EXT. A PARK AVENUE OFFICE BUILDING, DAY. DREAM-LIKE SLOW </b><b>               MOTION</b>               Dr. Feinberg exits the building with his suitcase. To his                horror an angryhorde of men and women, looking like a                sadistic lynch mob, swarm him and attack.<b>                                     FEINBERG (V.O.)</b>                         \"Don't leave us!\" they scream.Then                          they beat me and bite me and kill                          me...!               As Feinberg runs to get away he is dragged down then overrun                by his angry patients.<b>               BACK TO THEBOATS</b><b>                                     FEINBERG</b>                         It's the worst nightmare I've had                          since residency. Night after night...                          it'sterrifying!<b>                                     PHIL</b>                         At least your nightmare is only a                          dream. What about what happened to                          Leo Marvin?<b>                                     AYOUNG DOCTOR</b>                         Who's Leo Marvin?<b>                                     PHIL</b>                         You never heard of the famous Dr.                          Marvin?<b>               ANGLE ON A VACANT LOTON SHORE</b>               There is a dock, an overgrown slab, and a chimney.<b>                                     PHIL (O.S.)</b>                         That used to be his vacation house.<b>                                     FEINBERG(O.S.)</b>                         There's nothing there.<b>               BACK TO THE BOAT</b><b>                                     PHIL</b>                         Grab a strong drink and some                          Dramamine. I'll tellyou a story                          that will send you into Rorschach.<b>                                     ANOTHER WIFE</b>                         Who's Leo Marvin?<b>                                     PHIL</b>                         Well, Ireally can't tell you about                          Leo Marvin unless I first tell you                          about Bob.<b>                                     ANOTHER WIFE</b>                         Who's Bob?<b>               EXT. THE STREETSOF MANHATTAN, UPPER WEST SIDE, DAY</b>               The SOUND of BIRDS segues to car alarms. We're on the streets                of New York, CRANING and ZOOMING like a bird up and into a                swelteringapartment.<b>               INT. BOB WILEY'S APARTMENT, SAME</b>               Bob Wiley sits on his bed in boxer shorts. On his night stand                are cardboard plaques: one lists the warning signsof                diabetes, another lists cancer's seven warning signals.                Stacked by the bed are psychology books and a few bottles of                prescription pills. In front of Bob is a vaporizer. Bobholds                his cheeks and twists them in small circles in front of the                steam.<b>                                     BOB</b>                              (a mantra-like chant)                         I feel good. I feel great. Ifeel                          wonderful! I feel good. I feel great.                          I feel wonderful! I --<b>                                     A WIFE (V.O.)</b>                         But who's Leo Marvin? I knowI've                          heard the name.<b>                                     DOCTOR 4 (V.O.)</b>                         Was he the guy who specialized in                          necrophiliacs?<b>                                     PHIL(V.O.)</b>                         No!                              (sighs)                         If you must.<b>               INT. A PSYCHIATRIST'S OFFICE, DAY</b>               The striking thing about DR. LEO MARVIN's office isorder                and neatness. As Marvin talks on the phone, he unconsciously                adjusts the already meticulously placed gewgaws on his desk.                Marvin is mid-forties, authoritative, stiff,perfectly                manicured. Adorning the office are diplomas, personal                mementos, primitive masks, Mondrian-like paintings, his framed                medical school grades, a bust of Freud, and diplomas. Onhis                desk is a book titled Baby Steps TM with Marvin's picture on                it.<b>                                     MARVIN</b><b>                              (INTO PHONE)</b>                         Of course I want topublicize the                          book, Hugo and it's a wonderful                          opportunity, but its my vacation.                          The Today Show went to Dr. Ruth's                          vacation house, why can't CBSMorning                          come to Lake Winnipesaukee?... Would                          you work on it?... Thank you Hugo. I                          appreciate it.<b>                                     SECRETARY'SVOICE</b><b>                              (OVER INTERCOM)</b>                         Dr. Marvin, there's a Dr. Carswell                          Fensterwald calling. He says you                          went to schooltogether.<b>                                     MARVIN</b>                              (wracking his memory)                         Fensterwald. Carswell Fensterwald.                          It sounds familiar but... Theysure                          come out of the woodwork when you                          get famous, Clair. Put him through.<b>                                     FENSTERWALD</b><b>                              (ON SPEAKERPHONE)</b>                         Leo?<b>                                     MARVIN</b><b>                              (INTO SPEAKER PHONE)</b>                         Carswell?<b>               INT. ANOTHER PSYCHIATRIST'S OFFICE,SAME</b>               Carswell Fensterwald looks unstable. As he talks on his phone,                he is boxing up his office. Prominent on his desk is a copy                of Marvin's book. The conversationINTERCUTS.<b>                                     FENSTERWALD</b>                         Long time no see, huh? You have a                          big book out. Things areclicking,                          huh?<b>                                     MARVIN</b>                         That's the way I planned it.<b>                                     FENSTERWALD</b>                         Listen, Leo, I'm closing mypractice.                          Most of my patients are on the West                          Side but I have one case I'd like to                          refer you.<b>                                     MARVIN</b>                         Carswell,thanks but --<b>                                     FENSTERWALD</b>                         I know, you're incredibly busy.<b>                                     MARVIN</b>                         Swamped. I've raised my rate. Imight                          even cut my sessions to forty                          minutes...<b>                                     FENSTERWALD</b>                         Leo, I know you don't like flattery                          but if anybody Iknow is going to                          win a Nobel Prize, it's you. You                          gotta be thinking about your next                          book so I know you'll find this case                          particularlyinteresting.<b>                                     MARVIN</b>                         What sort of case is it, Carswell?               Marvin paces. He adjusts a diploma down, then up, thendown.<b>                                     FENSTERWALD</b>                         Actually, Leo, I don't know.<b>                                     MARVIN</b>                         Carswell, if this is a dysfunctional--<b>                                     FENSTERWALD</b>                         No no, nothing like that. He keeps                          his appointments. Pays on time. See                          him once. If he's not the mostcomplex                          and -- persistent -- case you've                          ever seen, drop him. His name's Bob                          Wiley. He needs someonebrilliant.<b>                                     MARVIN</b>                         Okay. I'll work him in for an                          interview. Say, Carswell, how come                          you're quitting thebusiness?<b>                                     FENSTERWALD</b>                         We're a dying breed, Leo. Good luck.               Fensterwald hangs up. He lets out a silent jubilant howl of                gleeful"}
+{"doc_id":"doc_132","qid":"","text":"The Project Gutenberg EBook of The Vortex Blaster, by Edward Elmer SmithThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-useit under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: The Vortex BlasterAuthor: Edward Elmer SmithRelease Date: September 16, 2007 [EBook#22629]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE VORTEX BLASTER ***Produced by Greg Weeks, V. L. Simpson and the OnlineDistributed Proofreading Team athttp://www.pgdp.net    [Illustration: _The Lensman and the observer helped    Storm into his heavily padded armor. Their movements    were automatic--the ointment, the devices--_]  _INTRODUCING \"Storm\" Cloud,who, through tragedy, is    destined to become the most noted figure in the                      galaxy--THE_                     VORTEX BLASTER              (_Complete in this issue!_)                           by                   E. E.SMITH, Ph.D._Author of \"The Skylark,\" \"Skylark Three,\" \"The Skylark        of Valeron,\" the Lensman stories, etc._Safety devices that do not protect.The \"unsinkable\" ships that, before the days of Bergenholm and ofatomicand cosmic energy, sank into the waters of the earth.More particularly, safety devices which, while protecting against oneagent of destruction, attract magnet-like another and worse. Such as thearmored cablewithin the walls of a wooden house. It protects theelectrical conductors within against accidental external shorts; but,inadequately grounded as it must of necessity be, it may attract andupon occasion has attracted thestupendous force of lightning. Then,fused, volatilized, flaming incandescent throughout the length, breadth,and height of a dwelling, that dwelling's existence thereafter is to bemeasured in minutes.Specifically, fourlightning rods. The lightning rods protecting thechromium, glass, and plastic home of Neal Cloud. Those rods wereadequately grounded, grounded with copper-silver cables the bigness of astrong man's arm; for NealCloud, atomic physicist, knew his lightningand he was taking no chances whatever with the safety of his lovely wifeand their three wonderful kids.He did not know, he did not even suspect, that under certainconditionsof atmospheric potential and of ground-magnetic stress his perfectlydesigned lightning-rod system would become a super-powerful magnet forflying vortices of atomic disintegration.And now Neal Cloud,atomic physicist, sat at his desk in a strained,dull apathy. His face was a yellowish-gray white, his tendoned handsgripped rigidly the arms of his chair. His eyes, hard and lifeless,stared unseeingly past the small,three-dimensional block portrait ofall that had made life worth living.For his guardian against lightning had been a vortex-magnet at themoment when a luckless wight had attempted to abate the nuisance of a\"loose\"atomic vortex. That wight died, of course--they almost alwaysdo--and the vortex, instead of being destroyed, was simply broken upinto an indefinite number of widely-scattered new vortices. And one ofthese bits offurious, uncontrolled energy, resembling more nearly ahandful of material rived from a sun than anything else with whichordinary man is familiar, darted toward and crashed downward to earththrough Neal Cloud's newhouse.That home did not burn; it simply exploded. Nothing of it, in it, oraround it stood a chance, for in a fractional second of time the placewhere it had been was a crater of seething, boiling lava--a crater whichfilledthe atmosphere to a height of miles with poisonous vapors; whichflooded all circumambient space with lethal radiations.Cosmically, the whole thing was infinitesimal. Ever since man learnedhow to liberate intra-atomicenergy, the vortices of disintegration hadbeen breaking out of control. Such accidents had been happening, werehappening, and would continue indefinitely to happen. More than oneworld, perhaps, had been or wouldbe consumed to the last gram by suchloose atomic vortices. What of that? Of what real importance are a fewgrains of sand to an ocean beach five thousand miles long, a hundredmiles wide, and ten miles deep?Andeven to that individual grain of sand called \"Earth\"--or, in modernparlance, \"Sol Three,\" or \"Tellus of Sol\", or simply \"Tellus\"--theaffair was of negligible importance. One man had died; but, in dying, hehad added onemore page to the thick bulk of negative results already onfile. That Mrs. Cloud and her children had perished was merelyunfortunate. The vortex itself was not yet a real threat to Tellus. Itwas a \"new\" one, and thus itwould be a long time before it would becomeother than a local menace. And well before that could happen--beforeeven the oldest of Tellus' loose vortices had eaten away much of hermass or poisoned much of heratmosphere, her scientists would havesolved the problem. It was unthinkable that Tellus, the point of originand the very center of Galactic Civilization, should cease to exist.       *       *       *       *       *But to NealCloud the accident was the ultimate catastrophe. Hispersonal universe had crashed in ruins; what was left was not worthpicking up. He and Jo had been married for almost twenty years and thebonds between them hadgrown stronger, deeper, truer with every passingday. And the kids.... It _couldn't_ have happened ... fate COULDN'T dothis to him ... but it had ... it could. Gone ... gone ... GONE....And to Neal Cloud, atomic physicist,sitting there at his desk in torn,despairing abstraction, with black maggots of thought gnawing holes inhis brain, the catastrophe was doubly galling because of its cruelirony. For he was second from the top in theAtomic Research Laboratory;his life's work had been a search for a means of extinguishment ofexactly such loose vortices as had destroyed his all.His eyes focussed vaguely upon the portrait. Clear, honest gray eyes...lines of character and of humor ... sweetly curved lips, ready to smileor to kiss....He wrenched his eyes away and scribbled briefly upon a sheet of paper.Then, getting up stiffly, he took the portrait and movedwoodenly acrossthe room to a furnace. As though enshrining it he placed the plasticblock upon a refractory between the electrodes and threw a switch. Afterthe flaming arc had done its work he turned and handed thepaper to atall man, dressed in plain gray leather, who had been watching him withquiet, understanding eyes. Significant enough to the initiated of theimportance of this laboratory is the fact that it was headed byanUnattached Lensman.\"As of now, Phil, if it's QX with you.\"The Gray Lensman took the document, glanced at it, and slowly,meticulously, tore it into sixteen equal pieces.\"Uh, uh, Storm,\" he denied, gently. \"Not aresignation. Leave ofabsence, yes--indefinite--but not a resignation.\"\"Why?\" It was scarcely a question; Cloud's voice was level,uninflected. \"I won't be worth the paper I'd waste.\"\"Now, no,\" the Lensman conceded,\"but the future's another matter. Ihaven't said anything so far, because to anyone who knew you and Jo as Iknew you it was abundantly clear that nothing could be said.\" Two handsgripped and held. \"For the future,though, four words were uttered longago, that have never been improved upon. 'This, too, shall pass.'\"\"You think so?\"\"I don't think so, Storm--I know so. I've been around a long time. Youare too good a man, and theworld has too much use for you, for you togo down permanently out of control. You've got a place in the world, andyou'll be back--\" A thought struck the Lensman, and he went on in analtered tone. \"You wouldn't--butof course you wouldn't--you couldn't.\"\"I don't think so. No, I won't--that never was any kind of a solution toany problem.\"Nor was it. Until that moment, suicide had not entered Cloud's mind, andhe rejected it instantly.His kind of man did not take the easy way out.After a brief farewell Cloud made his way to an elevator and was whiskeddown to the garage. Into his big blue DeKhotinsky Sixteen Special andaway.Through traffic soheavy that front-, rear-, and side-bumpers almosttouched he drove with his wonted cool skill; even though, consciously,he did not know that the other cars were there. He slowed, turned,stopped, \"gave her the oof,\" allin correct response to flashing signalsin all shapes and colors--purely automatically. Consciously, he did notknow where he was going, nor care. If he thought at all, his numbedbrain was simply trying to run away fromits own bitter imaging--which,if he had thought at all, he would have known to be a hopeless task. Buthe did not think; he simply acted, dumbly, miserably. His eyes saw,optically; his body reacted, mechanically; histhinking brain wascompletely in abeyance.Into a one-way skyway he rocketed, along it over the suburbs and intothe transcontinental super-highway. Edging inward, lane after lane, hereached the \"unlimited\"way--unlimited, that is, except for beinglimited to cars of not less than seven hundred horsepower, in perfectmechanical condition, driven by registered, tested drivers at speeds notless than one hundred andtwenty-five miles an hour--flashed hisregistry number at the control station, and shoved his right foot downto the floor.       *       *       *       *       *Now everyone knows that an ordinary DeKhotinsky Sporter will doahundred and forty honestly-measured miles in one honestly measured hour;but very few ordinary drivers have ever found out how fast one of thosebrutal big souped-up Sixteens can wheel. They simply haven't gotwhat ittakes to open one up.\"Storm\" Cloud found out that day. He held that two-and-a-half-tonJuggernaut on the road, wide open, for two solid hours. But it didn'thelp. Drive as he would, he could not outrun that whichrode with him.Beside him and within him and behind him. For Jo was there. Jo and thekids, but mostly Jo. It was Jo's car as much as it was his. \"Babe, thebig blue ox,\" was Jo's pet name for it; because, like PaulBunyan'sfabulous beast, it was pretty nearly six feet between the eyes.Everything they had ever had was that way. She was in the seat besidehim. Every dear, every sweet, every luscious, lovely memory of herwasthere ... and behind him, just out of eye-corner visibility, were thethree kids. And a whole lifetime of this loomed ahead--a vista ofemptiness more vacuous far than the emptiest reaches of intergalacticspace.Damnation! He couldn't stand much more of--High over the roadway, far ahead, a brilliant octagon flared red. Thatmeant \"STOP!\" in any language. Cloud eased up his accelerator, easeddown his mighty brakes. Hepulled up at the control station and atrimly-uniformed officer made a gesture.\"Sorry, sir,\" the policeman said, \"but you'll have to detour here.There's a loose atomic vortex beside the road up ahead--\"Oh! It's Dr. Cloud!\"Recognition flashed into the guard's eyes. \"Ididn't recognize you at first. You can go ahead, of course. It'll be twoor three miles before you'll have to put on your armor; you'll know whenbetter than anyone can tell you.They didn't tell us they were going tosend for _you_. It's just a little new one, and the dope we got was thatthey were going to shove it off into the canyon with pressure.\"\"They didn't send for me.\" Cloud tried to smile.\"I'm just drivingaround--haven't my armor along, even. So I guess I might as well goback.\"He turned the Special around. A loose vortex--new. There might be ahundred of them, scattered over a radius of two hundredmiles. Sistersof the one that had murdered his family--the hellish spawn of thataccursed Number Eleven vortex that that damnably incompetent bunglingass had tried to blow up.... Into his mind there leaped apicture,wire-sharp, of Number Eleven as he had last seen it, and simultaneouslyan idea hit him like a blow from a fist.He thought. _Really_ thought, now; cogently, intensely, clearly. If hecould do it ... could actuallyblow out the atomic flame of an atomicvortex ... not exactly revenge, but.... By Klono's brazen bowels, itwould work--it'd _have_ to work--he'd _make_ it work! And grimly,quietly, but alive in every fiber now, he droveback toward the citypractically as fast as he had come away.       *       *       *       *       *If the Lensman was surprised at Cloud's sudden reappearance in thelaboratory he did not show it. Nor did he offer anycomment as hiserstwhile first assistant went to various lockers and cupboards,assembling meters, coils, tubes, armor, and other paraphernalia andapparatus.\"Guess that's all I'll need, Chief,\" Cloud remarked, finally.\"Here's ablank check. If some of this stuff shouldn't happen to be in usablecondition when I get done with it, fill it out to suit, will you?\"\"No,\" and the Lensman tore up the check just as he had torn up theresignation. \"Ifyou want the stuff for legitimate purposes, you're onPatrol business and it is the Patrol's risk. If, on the other hand, youthink that you're going to try to snuff a vortex, the stuff stays here.That's final, Storm.\"\"You'reright--and wrong, Phil,\" Cloud stated, not at all sheepishly.\"I'm going to blow out Number One vortex with duodec, yes--but I'm_really_ going to blow it out, not merely make a stab at it as an excusefor suicide, as youthink.\"\"How?\" The big Lensman's query was skepticism incarnate. \"It can't bedone, except by an almost impossibly fortuitous accident. You yourselfhave been the most bitterly opposed of us all to thesesuicidalattempts.\"\"I know it--I didn't have the solution myself until a few hours ago--ithit me all at once. Funny I never thought of it before; it's been rightin sight all the time.\"\"That's the way with most problems,\" theChief admitted. \"Plain enoughafter you see the key equation. Well, I'm perfectly willing to beconvinced, but I warn you that I'll take a lot of convincing--andsomeone else will do the work, not you.\"\"When I get doneyou'll see why I'll pretty nearly have to do it myself.But to convince you, exactly what is the knot?\"\"Variability,\" snapped the older man. \"To be effective, the charge ofexplosive at the moment of impact must match,within very close limits,the activity of the vortex itself. Too small a charge scatters itaround, in vortices which, while much smaller than the original, arestill large enough to be self-sustaining. Too large a chargesimplyrekindles the original vortex--still larger--in its original crater. Andthe activity that must be matched varies so tremendously, in magnitude,maxima, and minima, and the cycle is so erratic--ranging from secondstohours without discoverable rhyme or reason--that all attempts to do soat any predetermined instant have failed completely. Why, even Kinnisonand Cardynge and the Conference of Scientists couldn't solve it,anymore than they could work out a tractor beam that could be used as atow-line on one.\"\"Not exactly,\" Cloud demurred. \"They found that it could be forecast,for a few seconds at least--length of time directlyproportional to thelength of the cycle in question--by an extension of the calculus ofwarped surfaces.\"\"Humph!\" the Lensman snorted. \"So what? What good is a ten-secondforecast when it takes a calculating machinean hour to solve theequations.... Oh!\" He broke off, staring.\"Oh,\" he repeated, slowly, \"I forgot that you're a lightningcalculator--a mathematical prodigy from the day you were born--who neverhas to use a calculatingmachine even to compute an orbit.... But thereare other things.\"\"I'll say there are; plenty of them. I'd thought of the calculator anglebefore, of course, but there was a worse thing than variability tocontendwith....\"\"What?\" the Lensman demanded.\"Fear,\" Cloud replied, crisply. \"At the thought of a hand-to-hand battlewith a vortex my brain froze solid. Fear--the sheer, stark, naturalhuman fear of death, that robs a man ofthe fine edge of control andbrings on the very death that he is trying so hard to avoid. That's whathad me stopped.\"\"Right ... you may be right,\" the Lensman pondered, his fingers drummingquietly upon his desk. \"Andyou are not afraid of death--now--evensubconsciously. But tell me, Storm, please, that you won't invite it.\"\"I will not invite it, sir, now that I've got a job to do. But that's asfar as I'll go in promising. I won't make anysuperhuman effort to avoidit. I'll take all due precautions, for the sake of the job, but if itgets me, what the hell? The quicker it does, the better--the sooner I'llbe with Jo.\"\"You believe that?\"\"Implicitly.\"\"The vortices areas good as gone, then. They haven't got any morechance than Boskone has of licking the Patrol.\"\"I'm afraid so,\" almost glumly. \"The only way for it to get me is for meto make a mistake, and I don't feel any comingon.\"\"But what's your angle?\" the Lensman asked, interest lighting his eyes.\"You can't use the customary attack; your time will be too short.\"\"Like this,\" and, taking down a sheet of drafting paper, Cloud sketchedrapidly.\"This is the crater, here, with the vortex at the bottom,there. From the observers' instruments or from a shielded set-up of myown I get my data on mass, emission, maxima, minima, and so on. Then Ihave them makeme three duodec bombs--one on the mark of the activityI'm figuring on shooting at, and one each five percent over and underthat figure--cased in neocarballoy of exactly the computed thickness tolast until it gets tothe center of the vortex. Then I take off in aflying suit, armored and shielded, say about here....\"\"If you take off at all, you'll take off in a suit, inside a one-manflitter,\" the Lensman interrupted. \"Too many instrumentsfor a suit, tosay nothing of bombs, and you'll need more screen than a suit candeliver. We can adapt a flitter for bomb-throwing easily enough.\"\"QX; that would be better, of course. In that case, I set my flitterinto aprojectile trajectory like this, whose objective is the center ofthe vortex, there. See? Ten seconds or so away, at about this point, Itake my instantaneous readings, solve the equations at that particularwarped surfacefor some certain zero time....\"\"But suppose that the cycle won't give you a ten-second solution?\"\"Then I'll swing around and try again until a long cycle _does_ showup.\"\"QX. It will, sometime.\"\"Sure. Then, havingeverything set for zero time, and assuming that theactivity is somewhere near my postulated value....\"\"Assume that it isn't--it probably won't be,\" the Chief grunted.\"I accelerate or decelerate--\"\"Solving new equationsall the while?\"\"Sure--don't interrupt so--until at zero time the activity, extrapolatedto zero time, matches one of my bombs. I cut that bomb loose, shootmyself off in a sharp curve, and Z-W-E-E-E-T--POWIE! She's out!\"With anexpressive, sweeping gesture.\"You hope,\" the Lensman was frankly dubious. \"And there you are, rightin the middle of that explosion, with two duodec bombs outside yourarmor--or just inside your flitter.\"\"Oh,no. I've shot them away several seconds ago, so that they explodesomewhere else, nowhere near me.\"\"_I_ hope. But do you realize just how busy a man you are going to beduring those ten or twelve seconds?\"\"Fully.\"Cloud's face grew somber. \"But I will be in full control. Iwon't be afraid of anything that can happen--_anything_. And,\" he wenton, under his breath, \"that's the hell of it.\"\"QX,\" the Lensman admitted finally, \"you cango. There are a lot ofthings you haven't mentioned, but you'll probably be able to work themout as you go along. I think I'll go out and work with the boys in thelookout station while you're doing your stuff. When areyou figuring onstarting?\"\"How long will it take to get the flitter ready?\"\"A couple of days. Say we meet you there Saturday morning?\"\"Saturday the tenth, at eight o'clock. I'll be there.\"       *       *       *       *       *Andagain Neal Cloud and Babe, the big blue ox, hit the road. And as herolled the physicist mulled over in his mind the assignment to which hehad set himself.Like fire, only worse, intra-atomic energy was a good servant,but aterrible master. Man had liberated it before he could really control it.In fact, control was not yet, and perhaps never would be, perfect. Up toa certain size and activity, yes. They, the millions upon millionsofself-limiting ones, were the servants. They could be handled, fenced in,controlled; indeed, if they were not kept under an exciting bombardmentand very carefully fed, they would go out. But at long intervals, forsomeone of a dozen reasons--science knew _so_ little, fundamentally, ofthe true inwardness of the intra-atomic reactions--one of these small,tame, self-limiting vortices flared, nova-like, into a large, wild,self-sustainingone. It ceased being a servant then, and became amaster. Such flare-ups occurred, perhaps, only once or twice in acentury on Earth; the trouble was that they were so utterly, damnably_permanent_. They never wentout. And no data were ever secured: forevery living thing in the vicinity of a flare-up died; every instrumentand every other solid thing within a radius of a hundred feet melteddown into the reeking, boiling slag of itscrater.Fortunately, the rate of growth was slow--as slow, almost, as it waspersistent--otherwise Civilization would scarcely have had a planetleft. And unless something could be done about loose vortices beforetoo"}
+{"doc_id":"doc_133","qid":"","text":"<html><head><title>Superbad Script at IMSDb.</title><meta name=\"description\" content=\"Superbad script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Superbad script, Superbadmovie script, Superbad film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=SubjectCONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0];s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>    <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\"title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center></td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                                SUPERBAD</b>                               Written by                      Seth Rogen & EvanGoldberg                                                      July 20, 2006<b>    OPENING CREDITS OVER SUPER-FUNKY BLAXPLOITATION-STYLE MUSIC,</b>    which builds to an exciting crescendo filling us with the    expectationof a thrilling, action-packed opening sequence.    Instead we get:<b>    INT. SETH'S CAR - MORNING</b>    Seth, seventeen, a bit heavyset, in the midst of a sad    attempt at growing a goatee and clearly a terribledriver,    cruises along while fiddling with the CD player. He pulls out    his cell and dials.<b>                           SETH</b>              Yo.<b>    INTERCUT WITH:</b><b>    INT. EVAN'S HOUSE - KITCHEN -CONTINUOUS</b><b>2                                                                   2</b>    Evan, seventeen, a little too tall and slim, a boy who    clearly never figured out how to style his hair, is finishing    off a bowl of cereal.He is on his cell phone.<b>                           EVAN</b>              What's up?<b>                        SETH</b>              I was doing research last night, for next              year, and I think I'm gonna go withBang              Bus.<b>                        EVAN</b>              Which one's Bang Bus?<b>                        SETH</b>              The one where they bang the chicks on the              bus. Thirteen bucks a month.Total              access, live Web Cam feed. The works.              It'll be like I'm on the bus, banging              them myself.<b>                        EVAN</b>              That stuff's bullshit, they're all faking              it. Andplus, your parents are gonna look              at the bill.<b>                         SETH</b>              It shows up under a different name.                  (beat)              I hope. Bang Bus.<b>                         (MORE)</b><b>                                                      (CONTINUED)</b><b>                                                                     2.</b><b>2   CONTINUED:                                                         2</b><b>                           SETH(CONT'D)</b>                 That wouldn't look good. Maybe I should                 just pick the one with the least dirty                 sounding name.<b>                           EVAN</b>                 Weapons of Ass Destruction'sout then.    Seth pulls up in front of a house.<b>                           SETH</b>                 I could tell my parents I'm doing a                 project on Rome and I have to research                 orgies.<b>    EXT. EVAN'SHOUSE - CONTINUOUS</b><b>3                                                                         3</b>    Evan walks out his front door. WE REVEAL he is walking    towards Seth'scar.<b>                           EVAN</b>                     (still into phone)                 Yeah. Just tell them your taking a class                 on blow jobs.    They both hang up and Evan gets in the car. Seth is about to    pullaway, when EVAN'S MOTHER comes out the front door.<b>                           EVAN'S MOM</b>                 Thanks for taking him, Seth.    Evan changes the radio station. Seth slaps hishand.<b>                           SETH</b>                 Don't touch that!<b>                           EVAN'S MOM</b>                 You two are so funny. I can't imagine                 what you'll do without each othernext                 year. Evan told me you didn't get into                 State.<b>                           SETH</b>                 Yeah, you know. I got some other places.                 Good places. I think we'll befine.<b>                           EVAN'S MOM</b>                 Are you going to miss each other?<b>                           EVAN</b>                 Miss each other? No!<b>                                                            (CONTINUED)</b><b>                                                                     3.</b><b>3   CONTINUED:                                                         3</b><b>                           SETH</b>                 That'sdisgusting.<b>                              MOM</b>                 Bye, boys.    Seth and Evan drive off.<b>                           SETH</b>                 I am truly, truly jealous that you got to                 suck on those tits whenyou were a baby.<b>                           EVAN</b>                 Fuck you, man.<b>    EXT. CLARK SECONDARY- SOON AFTER</b><b>4                                                                         4</b>    They drive up toClark Secondary. There is a giant sign that    reads \"Seniors - Two Glorious Weeks Until Graduation\". Seth    turns into the STAFF parking lot.<b>    INT/EXT. 7-11 STORE - MOMENTSLATER</b><b>5                                                                         5</b>    Seth and Evan walk past a group of smokers, towards the 7-11.<b>                           EVAN</b>                 You're being an idiot, man.You really                 shouldn't park there.<b>                           SETH</b>                 Fuck it. I'm a senior about to graduate.                 They should be suckin' my balls. It's the                 least they can do forstealing three                 years of my life.    They walk past DIMITRI (18, big Native American guy) as they    enter the store. Dimitri aggressively bumps his shoulderinto    Seth.<b>                           EVAN</b>                 What the hell's wrong with Dimitri?<b>                           SETH</b>                 Oh, yeah dude, I forgot to tell you. I                 knocked the fuckin' shit out ofhim in                 capture the flag last week.<b>                           EVAN</b>                 Good! 9th Grade Camp he gave me whiplash                 in \"King of the Ring.\" I fucking hate                 that guy.    They go tothe magazine rack and stare at a Maxim cover.<b>                                                            (CONTINUED)</b><b>                                                                    4.</b><b>5   CONTINUED:                                                        5</b><b>                           EVAN (CONT'D)</b>                 Look at those nipples.<b>                           SETH</b>                 They're like baby toes.<b>                           EVAN</b>                 It'snot fair. I have to hide every                 erection I get.<b>                           SETH</b>                 Sometimes I get boners so big I can't                 hide them. And then I get nervous and my                 heart startspounding, and it all just,                 like, feeds my boner. It just becomes                 this...thing...that's attached to me. And                 it won't go away.<b>                           EVAN</b>                 Just imagine ifgirls weren't weirded out                 by our boners and they actually wanted to                 see `em, like this shit.<b>                           SETH</b>                 You know it's been, like, a year and a                 half sinceI've seen an actual human                 female nipple. Besides my mom's. I saw it                 last month, and it was sick.<b>                           EVAN</b>                 Holy shit. Liat was two years ago? I                 guessso. She was insanely hot, though.<b>                           SETH</b>                 Exactly. Too hot. That's what sucks.<b>                           EVAN</b>                 How can that possibly suck? I'd be                 fuckin'psyched if I'd gotten with a girl                 that hot. You got, like, two dozen                 handjobs!<b>                           SETH</b>                 And three quarters of a blowjob, But that                 was fuckin' it. It wasthe peak of my ass-                 gettin' career, and it happened way, way,                 way too early.<b>                           EVAN</b>                 You're like OrsonWelles.<b>                                                           (CONTINUED)</b><b>                                                                  5.</b><b>5   CONTINUED:(2)                                                  5</b><b>                        SETH</b>              Exactly! If I'd built up to it, I'd              probably at least be having steady sex              with a mediocre-looking girl atthis              point. I honestly now see why Orson              Welles ate his fat ass to death.<b>                        EVAN</b>              You'll have sex in college. Everyone              does. And if not, you'll have theBang              Bus.<b>                        SETH</b>              But the key is to be good at sex by the              time you're in college. You don't want              girls to think you suck dick atfucking.<b>                        EVAN</b>              I still think you've got a chance with              Jules. She got mad hot over last summer,              and clearly hasn't realized it, `cause              she still flirts withyou.<b>                        SETH</b>              Are you joking, man? Let's see here...she              dated Dan Remick, Matt Muir, Josh Corber              and what's-his-face. All of those were              cool guys. She's beenhot way longer than              you think. Why would she end her high              school career with me?<b>                        EVAN</b>              Well, Helen got with ArielShafir.<b>                        SETH</b>              Yeah, and he was a complete fucking              loser. You're a step up from that. Which              is why you should stop being a pussy and              do her! You couldnailthe shit out of              her for, like, two months before you              leave. That bitch looks like a good              fucker.<b>                        EVAN</b>              Hey! I'm sick of you talking about her              likethat, man!    Evan starts to walk out. Seth follows.<b>                        SETH</b>              What, you can talk about that bitch all              day every single day, but I can't say one              thing abouther?<b>                                                         (CONTINUED)</b><b>                                                                  6.</b><b>5   CONTINUED:(3)                                                  5</b><b>                        EVAN</b>              I don't constantly insult her.<b>                        SETH</b>              I didn't insult her! I said she looks              like a good fucker!She looks like she              can take a dick. That's a good thing.              Some women pride themselves on their dick-              taking abilities.<b>    EXT. 7-11 -CONTINUOUS</b><b>6                                                                      6</b>    Seth and Evan come out the front doors. TERRY, one of the    rough-looking smokers, callsout.<b>                        TERRY</b>              Yo. Seth. Did you hear I'm having the big              grad party?    Evan, a little scared, keeps hisdistance.<b>                        SETH</b>              No.<b>                        TERRY</b>              Yeah.    Terry spits on Seth's shirt.<b>                        TERRY (CONT'D)</b>              And you're not coming. Tell yourfucking              faggot friend he can't come either.    Seth wipes the spit off. He looks at Terry and seems as    though he's about to say something, but is interrupted when    Terry starts hocking up more spit. Sethruns away as Terry    and his friends laugh. He catches up to Evan and they head    back to school.<b>                        EVAN</b>              Wow. You really bitched out on thatone.<b>                         SETH</b>              I bitched out? You bitched out! You were              across the street before I even realized              what was going on.                  (beat)              That guy's such a"}
+{"doc_id":"doc_134","qid":"","text":"The Project Gutenberg EBook of The Flea, by Harold RussellThis eBook is for the use of anyone anywhere in the United States and mostother parts of the world at no cost and with almost norestrictionswhatsoever.  You may copy it, give it away or re-use it under the terms ofthe Project Gutenberg License included with this eBook or online atwww.gutenberg.org.  If you are not located in the United States,you'll haveto check the laws of the country where you are located before using this ebook.Title: The FleaAuthor: Harold RussellRelease Date: December 2, 2014 [EBook #47513]Language: EnglishCharacter setencoding: UTF-8*** START OF THIS PROJECT GUTENBERG EBOOK THE FLEA ***Produced by Giovanni Fini, Bryan Ness and the OnlineDistributed Proofreading Team at http://www.pgdp.net (Thisfile was produced fromimages generously made availableby The Internet Archive/American Libraries.)                         TRANSCRIBERâ\u0000\u0000S NOTES:â\u0000\u0000Obvious print and punctuation errors were corrected.â\u0000\u0000Underlined text has beenrendered as *underlined text*.The Cambridge Manuals of Science and Literature                               THE FLEA                      CAMBRIDGE UNIVERSITY PRESS                       London: FETTER LANE,E.C.                          C. F. CLAY, MANAGER[Illustration: LOGO]                    Edinburgh: 100, PRINCES STREET             London: H. K. LEWIS, 136, GOWER STREET, W.C.            WILLIAM WESLEY & SON, 28, ESSEXSTREET, STRAND                       Berlin: A. ASHER AND CO.                       Leipzig: F. A. BROCKHAUS                     New York: G. P. PUTNAMâ\u0000\u0000S SONS             Bombay and Calcutta: MACMILLAN AND CO.,LTD.                         _All rights reserved_[Illustration:  _After a drawing by Dr Jordan_Oriental rat-flea (_Xenopsylla cheopis_ Rothsch.). Male.][Illustration; DECORATED FRONT PAGE:                               THEFLEA                                  BY                            HAROLD RUSSELL,                        B.A., F.Z.S., M.B.O.U.                        With nine illustrations                              Cambridge:                        at the UniversityPress                                 1913]                               Cambridge                      PRINTED BY JOHN CLAY, M.A.                        AT THE UNIVERSITY PRESS_With the exception of the coat of arms at the foot, the designonthe title page is a reproduction of one used by the earliest knownCambridge printer, John Siberch, 1521_PREFACETHE aim of this book is to give in plain language some account of asmall, but noteworthy, group ofinsects. I have avoided, whenever Icould, using the technical terms of zoology. To avoid doing so entirelyis impossible in a book which describes insects in some detail. Notechnical term has, I hope, been used withoutan explanation.Over thirty years have elapsed since Taschenbergâ\u0000\u0000s German book, _DieFlöhe_, appeared. Our knowledge has made enormous strides since then.More species of flea are now known from the BritishIslands alonethan were then known from the whole world. So far as I am aware, nobook, devoted to what is known about fleas, has ever been published inEnglish. The statements about these insects in the generaltext-booksof entomology are frequently antiquated and inaccurate. But there isa fairly extensive literature on the _Siphonaptera_ scattered throughscientific periodicals mostly in English, German, Italian, DutchandRussian. I have given some references in the Bibliography.The naturalists now living who have devoted any time to the specialstudy of fleas may almost be counted on oneâ\u0000\u0000s fingers. In England thereare MrCharles Rothschild and Dr Jordan; in the Shetland Islands, theRev. James Waterston; in Germany, Taschenberg of Halle and Dampf ofKönigsberg; in Russia, Wagner of Kieff; in Holland, Oudemans of Arnhem;in Italy,Tiraboschi of Rome; in the United States, Carl Baker and afew others. I have not mentioned medical men who have investigatedfleas in connection with plague.There are small collections of fleas in the Natural HistoryMuseums atSouth Kensington (London), Paris, Berlin, Königsberg, Vienna, Budapest,S. Petersburg and Washington. Of private collections Mr CharlesRothschildâ\u0000\u0000s at Tring is by far the best in the world. Itcontainssomething like a hundred thousand specimens and is most admirably kept.I must express profound and sincere gratitude to Mr Rothschild forhaving helped me in numberless ways and advised me in manydifficulties.It is well known that the mere mention of fleas is not only considereda subject for merriment, but in some people produces, by subjectivesuggestion, violent irritation of the skin. The scientific studyof fleashas, however, received a great impetus since it has beenascertained that they are the active agents in spreading plague.Rat-fleas are of various kinds, and not all fleas will bite man. Aknowledge of the different specieshas suddenly become useful. Thehumble, but ridiculous, systematist with his glass tubes of alcohol forcollecting fleas, his microscopic distinctions, and Latin nomenclaturehas become a benefactor of humanity. Somepeople seem to be practicallyimmune to the bites of fleas, but even to such persons their visits areunwelcome. A famous Frenchwoman once declared: â\u0000\u0000_Quant à  moi ce nâ\u0000\u0000estpas la morsure, câ\u0000\u0000est lapromenade._â\u0000\u0000                                                     H. R.  LONDON,  _September, 1913_.CONTENTS  CHAP.                                                     PAGE         Preface                                               v      I.Introductory                                          1     II. The external structure of a flea                     21    III. The mouth-parts and sense-organs                     38     IV. The internal organs of a flea                        52      V.The Human flea and other species                     62     VI. The Chigoes and their allies                         74    VII. Fleas and Plague                                     83   VIII. Rat-fleas andBat-fleas                              97  Appendix A. Systematic view of the order _Siphonaptera_    108      â\u0000\u0000    B. A list of British fleas and their hosts        110      â\u0000\u0000    C. On collecting and preservingfleas             113      â\u0000\u0000    D. Bibliography                                   118  Index                                                      122LIST OF ILLUSTRATIONS     Male Orientalrat-flea                    _frontispiece_  FIGURE                                                     PAGE  1. The larva of a flea                                       6  2. Types of genal and thoracic combs of a flea              26  3. The hind leg of aflea                                   30  4. The mouth-parts of a flea                                43  5. The antenna of a flea                                    47  6. The alimentary canal of a flea                           53  7. The head of a femaledog-flea and a female cat-flea      71  8. Pregnant female of _Dermatophilus cæcata_                81CHAPTER IINTRODUCTORYFLEAS form a group of insects that have, until recently, been littlestudied by zoologists. Wecall them insects because they are jointedanimals, or Arthropods, with three pairs of legs in the adultcondition. The reader will best understand the position which fleasoccupy in the general classification of animals byremembering thatthe arthropods, or jointed animals, are one of a dozen subkingdoms, orphyla, to which the various members of the great animal kingdom havebeen assigned. There is good ground for believing that allthe animalsincluded in each phylum trace their ancestry back to a common primitiveform which lived in more or less remote ages. Besides (1) _Insects_,the arthropods, or jointed animals, include (2) _Crustaceans_,such ascrabs, lobsters, shrimps, wood-lice, water-fleas and barnacles; (3)_Myriapods_, such as centipedes and millipedes; and (4) _Arachnids_,such as spiders, scorpions, mites and ticks. To all these varied formsofanimal life fleas, and other insects, are therefore more or lessnearly related.The animals belonging to this large and important collection, whichcompose the arthropod phylum, have certain commoncharacteristicfeatures. We find a body made up of a series of more or less completelysimilar segments placed one behind the other. In this they resemblecertain worms which are far less highly organised. The bodyiselongated, symmetrical on either side, and the mouth and anus are atopposite ends. There is, however, an important advance on the segmentedworms. Each typical segment carries a pair of appendages which areverydifferent from the foot-stumps that are found on certain worms. Theseappendages of arthropods are divisible into distinct limb-segments,separated from one another by moveable joints, and acted upon byspecialmuscles.The common ancestor of all the various arthropods which are foundliving on the earth to-day, was probably composed of a series ofsegments each very similar to the last and each bearing a pair of verysimilarappendages. In the course of ages, these appendages have beenastoundingly modified in form and in function. So it happens thatwe find in the arthropods of the present day pairs of antennæ, ofmandibles and othermouth-parts, of pincers, of legs, of swimming-feetand of tail pieces which on close examination can all be traced back toa common structure. The body-segments, also, have been strangely fusedtogether and modified.All that has been so far said applies equally tofleas and to other insects.It is of great interest, when one comes to make a minute study ofthe form and external structure of a flea, to try and trace themodifications thatmust have taken place in the course of descent fromthe ancestral arthropod; but the relationship of fleas to other insectsliving at the present day is of more immediate concern. Insects arehighly specialized arthropodsand fleas are highly specialized insects.This means that they have become vastly modified from the primitiveancestral type and fitted thereby for a life among certain defined andpeculiar surroundings.It will beunnecessary to remind the reader who knows anything ofzoology or of botany that all classification is now based on descent.Since naturalists have abandoned a belief in the special creationof the various species ofanimals now living on the earth and haveconclusively shown that they have arisen by descent and modificationfrom other forms, the problem is to reconstruct a vast genealogicaltree. What then were the ancestors ofthe fleas and to what otherinsects, in consequence, do they appear to be related?It is probable that the ancestors of the fleas were winged insects, andthat the organs of flight were gradually lost, as they becameuseless,when a partially parasitic life was adopted. At one time entomologistsregarded fleas as wingless flies and placed them in the order Diptera.Certain supposed scaly plates on their bodies were regarded astheatrophied relics of wings. It is, however, more than doubtful whetherthis view is correct; and all modern entomologists who have given anyspecial study to fleas are agreed that they are sufficiently unlikeany otherliving insects to deserve a place in an order by themselves.To this order the name _Siphonaptera_ has been given: which means thatthe insects comprised in it are provided with sucking mouths and aredestitute ofwings. Another name for the order is Aphaniptera, but thisis gradually falling into disuse. Linnæus (1758) only mentions twospecies of flea: the human flea which he appropriately named _Pulexirritans_, and the chigoeof hot countries which he called _Pulexpenetrans_, from the habit which the female has of burrowing under theskin of her victims. At the time of writing, about 460 species of fleahave been described and named; butsome of the names are doubtlesssynonymous, and the actual number of separable species that have beendiscovered is somewhere about four hundred. The vast majority of thesehave been described within the last fewyears, which shows what can bedone when attention is turned to any neglected group of animals. Therecan be no doubt that many undiscovered species still remain, and willnow, in due course, be collected, describedand named.The position which should be assigned to the order Siphonaptera in thegeneral scheme of insect classification is a question on which the mostlearned modern entomologists have disputed with considerablevigour.Some see the nearest relatives among the beetles, others among theflies. The majority, as we shall see later on, would place them nearthe Diptera: but since no convincing arguments have been producedoneither side it may be wisest to regard the question as still at presentunsolved.Fleas belong to one of the groups of insects which go through acomplete metamorphosis. Their life-history consequently falls intofourdivisions: egg, larva, pupa and imago. If the climate permits,the female flea lays her eggs all the year round, and from one to fiveare dropped at a time. Unlike those of many other parasites they arenever attached tothe hairs of the hosts, but appear to be depositedindiscriminately on the floors of houses or in the nests and sleepingplaces of their hosts. The eggs generally hatch in a few days, and aminute, white, wormlike larvaemerges (Fig. 1). The larvæ, of some, andpossibly of all, fleas are provided with a wonderful adaptation in theshape of an egg-breaker or hatching-spine. This is a thin plate, likethe edge of a knife, where the point ofthe head comes in contact withthe shell. The movements of the prisoner make a slight split in theegg-shell, which then bursts asunder. This organ has vanished in laterlarval life, and it is probably lost after the firstmoult. The larvais legless and has thirteen segments. It grows rapidly, and, as itgrows, moults its skin several times. It is provided with mouth-partsadapted for biting, and eats any decaying organic refuse. The larvæmaybe reared on the sweepings of an ordinary room or the dirty scurf whichcollects at the bottom of old birdsâ\u0000\u0000 nests. It is hardly necessary toadd that the mother takes no interest whatever in the larvæ andthatthe belief that she feeds them on dried blood is not based on any soundfoundations.[Illustration: Fig. 1. The larva of a flea. The body consists ofthirteen segments and is legless. On the fore part of the head aretheantennæ and on the upper part of the head is shown the knife-like edgeof the egg-breaker. The mouth-parts are adapted for biting. On the lastsegment of the body are the two caudal stylets.]The larval stage lastssome days, and the animal spins a small cocoonbefore pupating. In the course of a few more days, the time probablydepending on the weather, the perfect flea emerges. The larvæ generallylive in places where theperfect insects will have an opportunity offinding a host as soon as they leave the pupal envelope. The nestsof their hosts where the young are being reared are always favouriteplaces. It seems possible that thecomparative immunity from fleaswhich hoofed mammals or Ungulates enjoy may be due to the fact thatthe young beast follows its mother from the time of birth instead ofpassing its early life helpless in anest.Observations made on the development of the dog-flea (_Ctenocephaluscanis_) in India show that eggs laid on October 17 hatched on October19. The larva spun its cocoon on October 25 and the mature fleaemergedon November 2. In Northern Europe the human flea takes about four weeksin summer and six weeks in winter to pass through its metamorphosis.Unlike many parasitic insects, fleas do not constantly passtheirtime upon the bodies of their victims. The greater part of theirlife is probably spent on the ground, in the house, or nest, of themammal or bird which serves them with blood. In this respect there isconsiderabledifference in the habits of different species of flea.Some attach themselves to an animal and actually burrow into the skin.These are the most parasitic species. Some only come to feed and leaveto lay their eggs. Manyprobably do not suck blood more than once intheir lives.An animal which harbours fleas and which nourishes the adult insectwith blood is called a _host_. No fleas are more than what is calledtemporary parasites; whichmeans that they pass but a portion of theirlives on their hosts and frequently take occasion to hop on and off.All fleas, apparently, go from host to host. The labours of diligentcollectors have proved that the greatmajority of mammals and birdshave fleas. As a general rule, it is true to say that certain speciesof flea are associated with certain species of host. Thus man is thetrue host of _Pulex irritans_; the cat family are the truehosts ofthe cat-flea (_Ctenocephalus felis_); and the dog family are the truehosts of the dog-flea (_Ctenocephalus canis_). But the human flea issometimes found on cats and dogs, and cat and dog-fleasoccasionallybite human beings; and cat-fleas are found on dogs and dog-fleas arefound on cats. All fleas, so far as we know, may occasionally pass fromone species of host to another; but they do not, for the mostpart,seem to flourish in unaccustomed quarters. Some fleas are more catholicin their tastes than others. Some seem to be very strictly confined toone host, and even when starving only suck strange blood underprotest.There is a species of flea that has only (except by accident) beenfound on the long-tailed field-mouse and another that has only beenfound on the hedgehog. Other fleas are commonly found on twoabsolutelydistinct animals; a good instance of this is the human flea which, atall events in certain parts of England, is a regular parasite of thebadger.As distinguished from true or natural hosts one must separatewhatmay be termed casual or accidental hosts. All animals which come incontact with one another, or which live in close proximity, mayexchange fleas. So even bird-fleas may be collected from mammals andtypicallymammalian fleas from birds. In this fashion puzzles mayarise which tax the ingenuity of the collector to solve. Bird-fleasare sometimes found on bats, and this may be obviously attributed tothe bats having inhabited ahole which was tenanted by starlings or anold loft infested with the fleas of pigeons. All beasts of prey aresometimes found to harbour the fleas of animals they have devoured.Rabbitsâ\u0000\u0000 fleas are found on wild-cats;hedgehogsâ\u0000\u0000 fleas on foxes; micefleas on weasels; and fleas characteristic of small birds on stoats.So also in the case of mice, rats and voles with holes and runs in thesame hedgerow, the parasites usually peculiarto one are not uncommonlyfound on the others. It is sometimes difficult to determine the truehost of a flea.Much more puzzling to explain are the reasons which confine a flea toa certain host and which cause closelyallied hosts to have differentfleas. The fleas from the house-martin and the sand-martin are quitedifferent; those from the domestic fowl and the domestic pigeon aredistinct species. The causes which have affected theevolution of thevarious forms of flea are too obscure to enable anyone at the presentday to offer any satisfactory explanation.Speaking generally, the fleas found on birds have points in common,and they probably forma natural group to themselves. What may becalled true bird-fleas have been collected from almost all Europeanbirds. An unwieldy genus (_Ceratophyllus_) comprises many species ofdifferent flea. Some species arevery abundant and infest the nests ofmany different birds. Others are extremely rare. One of these rarities(_C. vagabundus_) is found in the nests of puffins and other sea-birds.Another has been collected on antarcticpetrels. Penguins have aspecial genus of flea to themselves. A specimen, unique at one time(_Ceratophyllus borealis_), in Mr N. C. Rothschildâ\u0000\u0000s collection wasobtained from the gannet. It has now been found onrock-pipits in theShetland Islands.Two very rare fleas (_C. farreni_ and C. _rothschildi_) are found inthe nests of house-martins; yet the nests of these birds are infestedwith common species besides. A plague flea(_Xenopsylla_) has beenfound on an African swift.Forty-six different species of flea have been found in the BritishIslands, but many of these are extremely scarce.We know too little about the geographical distribution offleas to laydown many accurate generalities. When a great deal more material hasbeen collected and studied, it may be possible to show that certaingroups are associated with certain regions of the earth orcertainorders of animals. To some extent this is already seen to be the case.The fleas indigenous to the New World are distantly related to thoseof the Old World. Broadly speaking the geographical distribution oftheparasite must follow that of the host. But sometimes the parasite isimpatient of cold and cannot follow the host out of the tropics. Thechigoes and their allies are fleas of hot countries. Different kindsof bats are foundfrom the tropics to the Arctic circle, but the samebat-fleas are not found everywhere.When a flea has a cosmopolitan range it is probable that it hastravelled over the world in company with its host.Monkeys have no"}
+{"doc_id":"doc_135","qid":"","text":"<html><head><title>Thunderheart Script at IMSDb.</title><meta name=\"description\" content=\"Thunderheart script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Thunderheart script,Thunderheart movie script, Thunderheart film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\"rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                                       THUNDERHEART</b>                                        Written by                                        JohnFusco                                                                Fourth draft                                                                Oct. 5, 1990<b>                </b>               A DRUM. Beating slow. And deep. Like a heart.<b>               FADEIN:</b><b>               EXT. THE GREAT PLAINS SOUTH DAKOTA - DAWN</b>               Something is rising from the Black Hills. A sphere of light,                too red to be the sun. A sphere of contained fire,undulating                in crimson and ochre, and rising slowly, majestically, to                the pulse. To the DRUM. It is the sun. But it is a Paha Sapa                sunrise. A Black Hills sunrise. And it isspectacular.               The DRUM, pounds deeper, bigger, as the sun gets higher.                Stronger. Igniting a vast landscape of gentle slopes and                foothills; throwing shadows on the plains that look like,as                the Indians say, an old man dancing. The grass is golden.                And high. The wind moves through it, snakes through it.                Slowly.<b>               BEGIN CREDITS.</b>               Voices; aTRADITIONAL INDIAN SONG (Lakota), summoning Wakan                Tanka - The Great Mystery.               And now, rising up over one of the small land waves, a head                comes into view. Shoulders. A man,running in ghostly SLOW                MOTION, his long black hair trailing in the wind. The INDIAN                MAN wears only buckskin pants and a bone choker around his                neck.               Legs and armschurning, the man runs with antelope grace,                backlit by the sunrise, bounding toward us. Running... his                heart pounding. SONG RISING... DRUM POUNDING... FIVE MORE                VOICES inhigh-pitched tremolo join the song.               And then the runner soars, like an eagle from a bluff,                airborne, flying over a small dip, arms outstretched, and it                would be a wondrous thing if therewere not a fine, crimson,                mist all around him and if slow motion was not suddenly                overtaken by LIVE SPEED, revealing the brutal force of gunfire                which has slammed the Indian into theair, throwing him.                Slamming him hard into the grass. And it is over as quickly                and violently as a deer shot dead.               LAKOTA SONG ends abruptly.<b>               LONG SHOT - THE GREATPLAINS</b>               the sun burns like lava at the horizon. DRUM beats like a                heart. And Somewhere off in a distant cottonwood, an OWL.                Then Silence. Deep, disturbingstillness.<b>               EXT. CAPITAL BELTWAY - WASHINGTON. D.C - DAY</b>               ROCK N'ROLL shatters the silence.               Cars -- a multicolored metallic criss-cross reflecting off a                building madeof mirrors -- races past an electronic billboard                that blinks in red skyhigh digital: PRUDENTIAL LIFE INSURANCE.                7:59. 73 degrees.               The D.C. Superhighway. And off behind it, in thedistance,                Capital Hill holds imposing vigil, the massive cast iron                dome of The Capital, catching the sun. But everything is                soon smothered by a METRO BUS, hogging the far lane ofthe                Beltway, leaning on its HORN.               Good morning.               And the rock n'roll is everybody's radio, everybody's tempo.<b>               CARBON MONOXIDE WAVE</b>               shimmers across thebeltway hugging then releasing a solitary                vehicle that we stay with... move with... A black Nissan 240                SX, hard-waxed.<b>               INT. 240 SX - TRAVELING</b>               Behind the wheel --an intense young man with close-cropped                black hair, eyes hidden by sunglasses. Whatever he does for                a living, he does in a suit (not expensive but well-fit. But                we might also note thatany extra suit cash has gone instead                into the silver-plated watch on his left wrist). Lean as a                rake, sallow in the cheeks, there is something insatiable                about him -- a hungry energy thatwon't let him go.               RAY LEVOI, late 20's, early 30's, pulls out of a threatening                traffic jam and races on the narrow right between thirty                cars and a cement girder.<b>               EXT. TSTREET - OUTSIDE WEST-CENTRAL</b>               The black SX has jumped off an exit and has entered the light-               industrial section of Washington. It pulls up near a loading                dock behind an old graybuilding and several parked cars and                vans. Ray steps out, smooths his jacket, locks and SETS HIS <b>               CAR ALARM.</b>               Another young man -- chubby, clean-shaven; in a nicersuit                than Ray's -- steps out from a parked Miata, and approaches                Ray. CARL PODJWICK balances a coffee, a U.S.A. Today and a                black eel-skinbriefcase.<b>                                     CARL</b>                         Hey.<b>                                     RAY</b>                         Hey. Nice tie.<b>                                     CARL</b>                         Don't get tooattached.               They start walking briskly toward the loading dock.<b>                                     RAY</b>                         Ya got the paper?               They mountsteps.<b>                                     CARL</b>                         Yeah.<b>                                     RAY</b>                         You're my hero, Carl.<b>                                     CARL</b>                         Heroes ain'tsupposed to shake. I'm                          shakin', man, look at me.<b>                                     RAY</b>                         Breathe, Carl. Four, nice, deep ones.               They stop at the door of a service elevator andCarl breathes.                Expanding his chest, exhaling. Ray adjusts Carl's tie for                him, his collar. He speaks quietly. Quickly.<b>                                     RAY</b>                         Anyone stops us going in,we're with                          the Bowen-Hamilton Textile Company.                          We have rug samples.<b>                                     CARL</b>                         Rugsamples.<b>                                     RAY</b>                         We are one-dimensional, boring                          peddlers of fine carpet, Carl.               Carl nods. Ray hesitates, adjusts his own collar andenters                the service elevator. Carl follows. Door closes.<b>               BEGIN CREDITS END.</b><b>               INT. GRAY BUILDING - FENCING OPERATION</b>               Carl follows Ray into the big sparseroom of unfinished                sheetrock walls. There is nothing in here but cardboard boxes,                and two people; a bearded HISPANIC MAN standing behind a                counter, writing on a clipboard. The otheris a middle-aged                BLACK MAN in a purple silk shirt sitting in a chair with a                newspaper held open. He barely looks over the top of the                Wall StreetJournal.<b>                                     BLACK MAN</b>                         Hey, look who's here.<b>                                     RAY</b>                         Louis, my man, what's happenin'?               Ray walks up to thecounter. Carl lingers, fidgeting. Ray                sets his briefcase on the counter and click-clicks it open.                The Hispanic fence man looks inside, and begins pulling out                stacks of treasurychecks.<b>                                     FENCE MAN</b>                         Clean ones?<b>                                     RAY</b>                         Immaculate.               Ray gestures to Carl and he nervously sets hisbriefcase on                the counter, fumbles with the first latch. The second. He                flips it open.               The fence man casts his eyes down at a neat cache of Grade A                Treasury. A lot of it. Then hiseyes rise to Carl.<b>                                     FENCE MAN</b>                         What ya got there, seventy-five                          thousand?<b>                                     CARL</b>                         A hundred andten. Count it.<b>                                     LOUIS (BLACK MAN)</b>                         Have the girl count it, we can't sit                          around here countin' bonds, we got                          things to dohere.               The fence man pushes an intercom button and yells into a                speaker.<b>                                     FENCE MAN</b><b>                         SALLLLY!</b>               Carl's eyes flit to Ray. Ray'seyes flit to Carl.               Louis crushes his newspaper down and lifts a big Colt Python                from his lap just as --               A section of sheetrock kicks open and THREE FEDERAL OFFICERS                bust out,each clutching a handgun, SHOUTING inaudibly.<b>                                     LOUIS</b>                         F.B.I.! Get your face on the fuckin'                          floor! MOVE!               Carl startled, does an almosteffeminate dip down to one                knee, but that knee is swept out from under him, slapping                him flat onto plywood where he is instantly frisked down by                the fence man who is wielding a 9 mmhandgun. But the white                collar criminal is more stunned by the fact that --               Ray is walking across the floor with his hands in his pockets                over to the Mr. Coffee. He pours one, and adds somemilk.                Turns and watches the bust while opening a packet of Sweet                n'Low.<b>                                     RAY</b>                         Slamdunk.<b>                                     LOUIS</b>                         Beauty. Beauty...               Ray rests his weight against the coffee station, takes a                careful sip. Carl is yanked to his feet by the fence manand                he stands there, looking at Ray, baffled. Completely shocked.<b>                                     CARL</b>                         Jesus Christ, Larry, what the fu--                          Larry. That's not even yourname, is                          it? What's your real name, you fucking                          scumbag?<b>                                     RAY</b>                         Don't have one, Carl. I have a number,                          man. Justlike the numbers on those                          treasury checks. You stole from your                          own country, Carl. Shame on you.               Coffee in hand, Ray walks briskly toward thedoor.<b>                                     LOUIS</b>                         Sugar Ray.               Ray turns. Louis takes a few steps toward him, putting his                gun back in hiswaistband.<b>                                     LOUIS</b>                         They want ya Home. Upstairs wants to                          see ya.               Ray stands frozen, holding the door knob, and digestingwhat                are apparently influential words.<b>                                     LOUIS</b>                         Make sure ya spell my name right.               Ray just stares for a moment. Then hurries out thedoor.               Carl, being arm-gripped by two agents and photographed like                a trout, gazes bewildered at thedoor.<b>                                     CARL</b>                              (incredulous)                         We just spent four months together...                          I thought he was my friend... what                          the fuck,"}
+{"doc_id":"doc_136","qid":"","text":"<html><head><title>Meet Joe Black Script at IMSDb.</title><meta name=\"description\" content=\"Meet Joe Black script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Meet Joe Blackscript, Meet Joe Black movie script, Meet Joe Black film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX,FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b> M E E T   J O E   B L A C K</b> Screenplay by Bo Goldman<b> --------------------------------------------------------------</b><b> EXT.ANNANDALE-ON-HUDSON, N.Y. - 4:00 AM</b> A patch of water. PULL BACK TO REVEAL more water.  BACK FARTHER TO REVEAL an expanse of river, up the bank to massive lawn running up to a great, classic HudsonRiver manor house; the country estate of William Parrish.<b> INT. PARRISH COUNTRY ESTATE - 4:00 AM</b> MOVE THROUGH French doors that lead from a wide terrace into an expansive living room, DOWN widecorridors lined with Bierstadt and Cole paintings, the Hudson River School, mists and trees and small boats and distant humans.<b> INT. PARRISH BEDROOM - 4:00 AM</b> MOVE THROUGH the doorway to reveal amaster bedroom furnish- ed with exquisite simplicity, revelatory of its sleeping occupant, WILLIAM PARRISH, 64, a warm but commanding face, a man of maturity yet who exudes a glow of enthusiasm. Although asleep,there is an uncommon restlessness to him. Parrish grips his upper arm as if in pain.  Now the severity of the pain wakes him, he squeezes his arm.  The wind comes up, through the wind a VOICE is heard distantly, or isit the wind itself:<b>      VOICE (V.O.)</b> ... Yes. Parrish blinks, has he heard something, has he not, he is not sure, he releases his arm, his grimace of pain fades, the discomfort seems momentarily to havesubsided. He rises now, crosses to the bathroom.  As he pees, a breeze outside the window, the wind again, but then the Voice comes up:<b>      VOICE (V.O.)</b> Yes... It is unmistakably a Voice, it is not the wind,Parrish has heard something, he looks around, but no one is there.  He can't finish peeing, turns back to his bedroom.  All beweild- ered, Parrish looks around once more, climbs back into bed, trying to trace the sourceof what he has heard or hasn't heard; he is not sure. He pulls the covers up now, not a SOUND, tries to close his eyes.<b>      VOICE (V.O.)</b> Yes. Parrish sits up again, frightened, but still there is no one there, heseems fraught with indecision, should he get up, should he not, what is happening?  He looks out: absolute stillness and silence, CRICKETS chirp down by the river, a light FLICKERS from a shadboat, Parrish closes hiseyes but then they flutter open, he glances up at the ceiling and finally, exhausted, falls back asleep.<b> EXT. REAR TERRACE, PARRISH COUNTRY ESTATE - NEXT MORNING</b> The great lawn infested with workmen,planting stakes, un- rolling a huge canvas tent, gardeners fashioning topiary and adding landscaping of their own, crews setting up platforms, speakers, lights.  Ubiquitous is ALLISON, 35, Parrish's older daughter,foremen competing for her attention and she relishing every moment. A Painter approaches.<b>      PAINTER</b> The big tent, Miss Allison --<b>      ALLISON</b> Paint is rust and moss green. Medieval colors --Daddy's like an old knight. A Florist stops her.<b>      FLORIST</b> The head table --?<b>      ALLISON</b> What about it?<b>      FLORIST</b> The flowers, ma'am--?<b>      ALLISON</b> Freesia, freesia,everywhere.  Daddy loves freesia -- and you, over there, lights.  Not too bright.  I'm looking for a saffron glow -- sort of tea- dance twenties.<b> EXT. GREAT HALL, COUNTRY ESTATE - MORNING</b> Parrish, groomedfor the day, trots down the stairs, observ- ing the activity outside through the windows.  He checks his watch, strides down the hall, encounters MAY, 50, a family retainer who is opening the doors to the terrace asParrish passes.<b>      PARRISH</b> What do you think of all this, May?<b>      MAY</b> It's going to be beautiful.  And Miss Allison says the President may come.<b>      PARRISH</b> Oh, the President's got betterthings to do than come to my birthday party.<b>      MAY</b> (smiling) What? Parrish grins, continues on, is intercepted by Allison who, on catching sight of him, bounces in from the terrace.<b>      ALLISON</b>Daddy!<b>      PARRISH</b> Hi, Allison --<b>      ALLISON</b> Have you got a minute?<b>      PARRISH</b> Not much more.  Big day in the big city.  What's on your mind?<b>      ALLISON</b>Fireworks.  Update -- we're con- structing the number '65' on the barge, archers from the State College at New Paltz will shoot flaming arrows at it, when it catches fire it will give us the effect of a Viking funeral withnone of the morbidity... The Hudson River Authority says, for you, they'll make a special dispensation - of course there'll be an overtime bill for the Poughkeepsie Fire Dept...<b>      PARRISH</b> Allison, I trustyou.  This is your thing.<b>      ALLISON</b> But it's your birthday. Parrish smiles complaisantly, they continue on into a break- fast room where SUSAN, 30, Parrish's younger daughter, is grazing at a table laden withcereals and fruits and coffee.<b>      SUSAN</b> Good morning, Dad.<b>      PARRISH</b> Hi, honey.<b>      ALLISON</b> (to Susan) I'm Allison, you're 'honey'.<b>      SUSAN</b> (smiling) Drew called from theAStar, they're still two minutes away.<b>      PARRISH</b> Drew's aboard?<b>      SUSAN</b> He wanted to ride back down with you. Now sit and relax, get some- thing in that flat tummy of yours -- But Parrishonly pours coffee.      SUSAN (cont'd) (to Allison) You coming?<b>      ALLISON</b> You've got patients waiting, I've got three hysterical chefs, one loves truffles, the other hates truffles, the third one doesn't knowwhat truffles are.  I'd better drive down. Parrish gazes at the going-on outside which are increasing in intensity.<b>      PARRISH</b> (unconsciously) I hate parties --<b>      ALLISON</b> Calm down, Daddy, you'llsee, you're going to love it.<b>      PARRISH</b> Isn't it enough to be on this earth sixty-five years without having to be reminded of it.<b>      ALLISON</b> No. Allison goes, Susan observes Parrish fidgeting.<b>     SUSAN</b> Will you relax?  I know it is a big deal day --<b>      PARRISH</b> How did you know?<b>      SUSAN</b> Drew told me.<b>      PARRISH</b> Does Drew tell you everything?<b>      SUSAN</b> Ihope so.<b>      PARRISH</b> You like him, don't you?<b>      SUSAN</b> Yeah.  I guess so. A moment.<b>      PARRISH</b> I don't like to interfere.<b>      SUSAN</b> ...Then don't. The helicopter CHOPS inoverhead.      SUSAN (cont'd) -- Here comes our boy now -- Shall we?<b> EXT. COUNTRY ESTATE - MORNING</b> A BUTLER and May carry the overnight bags for the family as led by Parrish, they hurry towards thehelicopter.  En route they pass QUINCE, 38, Allison's husband, who is perched at a portable bar with AMBROSE, the head caterer, tasting wines.<b>      QUINCE</b> ...This shit's not bad.<b>      AMBROSE</b> -- Thelate harvest Riesling, Mr. Quince, a possibility for dessert.<b>      QUINCE</b> (pointing to another bottle) And that?<b>      AMBROSE</b> Pinot Grigio.  We're considering it for the appetizer. Ambrose takes a sip,swishes the wine in his mouth, spits it in a bucket.<b>      QUINCE</b> What do you do that for?<b>      AMBROSE</b> Well sir, it's 9:30 in the morning.<b>      QUINCE</b> 9:30's almost 10:30.  Where I comefrom, the sun's over the yardarm, m'boy, and the cocktail lamp is lit. Quince drains his wine, presents it for a refill, when he is hailed by Allison.<b>      ALLISON</b> Quince!  Everybody's waiting! Quince downs thisglass too, runs for the helicopter as DREW, 34, a young man going places, emerges from it, approaches Parrish and Susan.<b>      DREW</b> (to Susan) Hello, Beautiful.<b>      SUSAN</b> Hi. Drew kisses her, overher shoulder he glances at Parrish.<b>      PARRISH</b> Good morning, Drew.  Thanks for coming out.<b>      DREW</b> Well, it's a big day.  Wanted to line up a few ducks before kickoff. Any thoughts?  Last minuterefine- ments or variations?<b>      PARRISH</b> 'Thoughts'?  Not a one -- but I did hear a voice last night.<b>      DREW</b> A voice?<b>      PARRISH</b> In my sleep.<b>      DREW</b> What'd it say?<b>     PARRISH</b> 'Yes'.<b>      DREW</b> 'Yes' to the deal?<b>      PARRISH</b> Maybe, who knows?  You know how voices are.  Let's go. Quince comes running up now.<b>      QUINCE</b> Hi, Bill --<b>     PARRISH</b> Good morning, Quince.<b>      QUINCE</b> How're you doing--?<b>      PARRISH</b> I'm doing great.  You ready?<b>      QUINCE</b> I am, this is it.  B Day.<b>      PARRISH</b> How's that,Quince?<b>      QUINCE</b> Bontecou Day.  Going to close with Big John -- Look at you, Bill, all cool as a cat and over at Bontecou's, I'll bet he's shitting in his pants.<b>      ALLISON</b> (to Quince) Honey,please.<b>      QUINCE</b> Okay.  All aboard - New York, New York!<b>      ALLISON</b> Remember everybody, tonight, dinner in the city at Daddy's.  You too, Drew.  We've still got some loose ends --<b>     PARRISH</b> Not my birthday again?<b>      SUSAN</b> You're only six-five once.<b>      PARRISH</b> Thank God.  Now could we go?  Let's get this day started. Drew ushers everybody on, first Parrish, thenSusan and Quince, Drew the last to climb on, shuts the door behind him As Allison hurries away from the whirling rotors.<b> INT. ASTAR HELICOPTER - DAY</b> The configuration of seats has Drew beside Parrish, infront of them Quince and Susan opposite each other in single seats. Just as Drew removes color-coded folders from his attache case and spreads them out for Parrish on his tray table, the pilot waves to Drew, indicating'phone call'.  Drew gets up and heads for the cockpit, Parrish scans the folders, glances over at Susan who is making some notes on a file of her own. He motions to her to please come sit beside him, she checks thatDrew is still busy in the cockpit, tucks her papers into her carryall, and crosses over to Parrish who folds away the work that Drew set before him into his tray table, locks it.<b>      SUSAN</b> I thought you were in ameeting--?<b>      PARRISH</b> I am.  With you. He peers up ahead at Drew, on the telephone and gesticulat- ing intensely, right at home in the cockpit despite the CHOP of the blades and the pilot pressed upagainst him.      PARRISH (cont'd) Do you love Drew?<b>      SUSAN</b> ...There's a start for a meeting.<b>      PARRISH</b> I know it's none of my business -- Susan doesn't answer for a moment, then impulsivelykisses her father on the cheek.<b>      SUSAN</b> No, it's none of your business. Another moment.<b>      PARRISH</b> Do you love Drew?<b>      SUSAN</b> You mean like you loved Mom?<b>     PARRISH</b> Forget about me and Mom -- are you going to marry him?<b>      SUSAN</b> Probably. A moment.<b>      PARRISH</b> (smiles) Don't get carried away.<b>      SUSAN</b> Uh oh --<b>     PARRISH</b> Susan, you're a hell of a woman. You've got a great career, you're beautiful --<b>      SUSAN</b> And I'm your daughter and no man will ever be good enough for me.<b>      PARRISH</b> Well, Iwasn't going to say that --<b>      SUSAN</b> What were you going to say?<b>      PARRISH</b> Listen, I'm crazy about the guy -- He's smart, he's aggressive, he could carry Parrish Communications into the 21stcentury and me along with it.<b>      SUSAN</b> So what's wrong with that?<b>      PARRISH</b> That's for me.  I'm talking about you.  It's not so much what you say about Drew, it's what you don't say.<b>     SUSAN</b> You're not listening --<b>      PARRISH</b> Oh yes, I am.  Not an ounce of excitement, not a whisper of a thrill, this relationship has all the passion of a pair of titmice.<b>      SUSAN</b> Don't get"}
+{"doc_id":"doc_137","qid":"","text":"The Project Gutenberg EBook of Eastern Standard Tribe, by Cory DoctorowThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-useit under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.net** This is a COPYRIGHTED Project Gutenberg eBook, Details Below ****     Please follow the copyrightguidelines in this file.     **Title: Eastern Standard TribeAuthor: Cory DoctorowRelease Date: November 20, 2005 [EBook #17028]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK EASTERNSTANDARD TRIBE ***Eastern Standard TribeCory DoctorowCopyright 2004 Cory Doctorowdoctorow@craphound.comhttp://www.craphound.com/estTor Books, March 2004ISBN:0765307596--=======Blurbs:=======\"Utterly contemporary and deeply peculiar -- a hard combination to beat(or, these days, to find).\"- William Gibson,Author of Neuromancer--\"Cory Doctorow knocks me out. Ina good way.\"- Pat Cadigan,Author of Synners--\"Cory Doctorow is just far enough ahead of the game to give you that authenticchill of the future, and close enough to home for us to know that he's talkingabout wherewe live as well as where we're going to live; a connected worldfull of disconnected people. One of whom is about to lobotomise himself throughthe nostril with a pencil. Funny as hell and sharp as steel.\"- WarrenEllis,Author of Transmetropolitan--=======================A note about this book:=======================Last year, in January 2003, my first novel [ http://craphound.com/down ] cameout. Iwas 31 years old, and I'd been calling myself a novelist since the age of12. It was the storied dream-of-a-lifetime, come-true-at-last. I was and amproud as hell of that book, even though it is just one book among manyreleasedlast year, better than some, poorer than others; and even though the print-run(which sold out very quickly!) though generous by science fiction standards,hardly qualifies it as a work of mass entertainment.Thething that's extraordinary about that first novel is that it was releasedunder terms governed by a Creative Commons [ http://creativecommons.org ]license that allowed my readers to copy the book freely and distributeit farand wide. Hundreds of thousands of copies of the book were made and distributedthis way. *Hundreds* of *thousands*.Today, I release my second novel, and my third[http://www.argosymag.com/NextIssue.html ], a collaboration with Charlie Strossis due any day, and two [http://www.fantasticmetropolis.com/show.html?fn.preview_doctorow ] more[http://www.craphound.com/usrbingodexcerpt.txt ] are under contract. My career asa novelist is now well underway -- in other words, I am firmly afoot on a longroad that stretches into the future: my future, sciencefiction's future,publishing's future and the future of the world.The future is my business, more or less. I'm a science fiction writer. One wayto know the future is to look good and hard at the present. Here's a thingI'venoticed about the present: MORE PEOPLE ARE READING MORE WORDS OFF OF MORESCREENS THAN EVER BEFORE. Here's another thing I've noticed about the present:FEWER PEOPLE ARE READING FEWER WORDSOFF OF FEWER PAGES THAN EVER BEFORE. Thatdoesn't mean that the book is *dying* -- no more than the advent of the printingpress and the de-emphasis of Bible-copying monks meant that the book was dying-- butit does mean that the book is changing. I think that *literature* isalive and well: we're reading our brains out! I just think that the complexsocial practice of \"book\" -- of which a bunch of paper pages between twocoversis the mere expression -- is transforming and will transform further.I intend on figuring out what it's transforming into. I intend on figuring outthe way that some writers -- that *this writer*, right here, wearingmyunderwear -- is going to get rich and famous from his craft. I intend onfiguring out how *this writer's* words can become part of the social discourse,can be relevant in the way that literature at its best can be.I don'tknow what the future of book looks like. To figure it out, I'm doingsome pretty basic science. I'm peering into this opaque, inscrutable system ofpublishing as it sits in the year 2004, and I'm making a perturbation.I'mstirring the pot to see what surfaces, so that I can see if the system revealsitself to me any more thoroughly as it roils. Once that happens, maybe I'll beable to formulate an hypothesis and try an experiment or twoand maybe -- justmaybe -- I'll get to the bottom of book-in-2004 and beat the competition tomaking it work, and maybe I'll go home with all (or most) of the marbles.It's a long shot, but I'm a pretty sharp guy, and Iknow as much about thisstuff as anyone out there. More to the point, trying stuff and doing researchyields a non-zero chance of success. The alternatives -- sitting pat, or worse,getting into a moral panic about \"piracy\"and accusing the readers who areblazing new trail of \"the moral equivalent of shoplifting\" -- have a *zero*percent chance of success.Most artists never \"succeed\" in the sense of attaining fame and modest fortune.Acareer in the arts is a risky long-shot kind of business. I'm doing what I canto sweeten my odds.So here we are, and here is novel number two, a book called Eastern StandardTribe, which you can walk into shops allover the world and buy [http://craphound.com/est/buy.php ] as a physical artifact -- a very nicephysical artifact, designed by Chesley-award-winning art director Irene Galloand her designer Shelley Eshkar, publishedby Tor Books, a huge, profit-makingarm of an enormous, multinational publishing concern. Tor is watching whathappens to this book nearly as keenly as I am, because we're all very interestedin what the book isturning into.To that end, here is the book as a non-physical artifact. A file. A bunch oftext, slithery bits that can cross the world in an instant, using the Internet,a tool designed to copy things very quickly from one placeto another; and usingpersonal computers, tools designed to slice, dice and rearrange collections ofbits. These tools demand that their users copy and slice and dice -- rip, mixand burn! -- and that's what I'm hoping youwill do with this.Not (just) because I'm a swell guy, a big-hearted slob. Not because Tor is runby addlepated dot-com refugees who have been sold some snake-oil about thee-book revolution. Because you -- thereaders, the slicers, dicers and copiers-- hold in your collective action the secret of the future of publishing.Writers are a dime a dozen. Everybody's got a novel in her or him. Readers are aprecious commodity. You'vegot all the money and all the attention and you runthe word-of-mouth network that marks the difference between a little book, soonforgotten, and a book that becomes a lasting piece of posterity for its author,changingthe world in some meaningful way.I'm unashamedly exploiting your imagination. Imagine me a new practice of book,readers. Take this novel and pass it from inbox to inbox, through your IMclients, over P2P networks.Put it on webservers. Convert it to weird, obscureebook formats. Show me -- and my colleagues, and my publisher -- what the futureof book looks like.I'll keep on writing them if you keep on reading them. But as cooland wonderfulas writing is, it's not half so cool as inventing the future. Thanks for helpingme do it.Here's a summary of the license: http://creativecommons.org/licenses/by-nd-nc/1.0 Attribution. The licensor permitsothers to copy, distribute, display, and perform the work. In return, licensees must give the original author credit. No Derivative Works. The licensor permits others to copy, distribute, display and perform only unalteredcopies of the work -- not derivative works based on it. Noncommercial. The licensor permits others to copy, distribute, display, and perform the work. In return, licensees may not use the work for commercial purposes-- unless they get the licensor's permission.And here's the license itself: http://creativecommons.org/licenses/by-nd-nc/1.0-legalcode THE WORK (AS DEFINED BELOW) IS PROVIDED UNDER THE TERMS OF THISCREATIVE COMMONS PUBLIC LICENSE (\"CCPL\" OR \"LICENSE\"). THE WORK IS PROTECTED BY COPYRIGHT AND/OR OTHER APPLICABLE LAW. ANY USE OF THE WORK OTHER THAN AS AUTHORIZED UNDER THISLICENSE IS PROHIBITED. BY EXERCISING ANY RIGHTS TO THE WORK PROVIDED HERE, YOU ACCEPT AND AGREE TO BE BOUND BY THE TERMS OF THIS LICENSE. THE LICENSOR GRANTS YOU THE RIGHTSCONTAINED HERE IN CONSIDERATION OF YOUR ACCEPTANCE OF SUCH TERMS AND CONDITIONS. 1. Definitions a. \"Collective Work\" means a work, such as a periodical issue, anthology or encyclopedia, in which theWork in its entirety in unmodified form, along with a number of other contributions, constituting separate and independent works in themselves, are assembled into a collective whole. A work that constitutes a CollectiveWork will not be considered a Derivative Work (as defined below) for the purposes of this License. b. \"Derivative Work\" means a work based upon the Work or upon the Work and other pre-existing works, such as atranslation, musical arrangement, dramatization, fictionalization, motion picture version, sound recording, art reproduction, abridgment, condensation, or any other form in which the Work may be recast, transformed,or adapted, except that a work that constitutes a Collective Work will not be considered a Derivative Work for the purpose of this License. c. \"Licensor\" means the individual or entity that offers the Work under the termsof this License. d. \"Original Author\" means the individual or entity who created the Work. e. \"Work\" means the copyrightable work of authorship offered under the terms of this License. f. \"You\" means an individual orentity exercising rights under this License who has not previously violated the terms of this License with respect to the Work, or who has received express permission from the Licensor to exercise rights under thisLicense despite a previous violation. 2. Fair Use Rights. Nothing in this license is intended to reduce, limit, or restrict any rights arising from fair use, first sale or other limitations on the exclusive rights of the copyrightowner under copyright law or other applicable laws. 3. License Grant. Subject to the terms and conditions of this License, Licensor hereby grants You a worldwide, royalty-free, non-exclusive, perpetual (for the durationof the applicable copyright) license to exercise the rights in the Work as stated below: a. to reproduce the Work, to incorporate the Work into one or more Collective Works, and to reproduce the Work as incorporated inthe Collective Works; b. to distribute copies or phonorecords of, display publicly, perform publicly, and perform publicly by means of a digital audio transmission the Work including as incorporated in Collective Works;The above rights may be exercised in all media and formats whether now known or hereafter devised. The above rights include the right to make such modifications as are technically necessary to exercise the rights inother media and formats. All rights not expressly granted by Licensor are hereby reserved. 4. Restrictions. The license granted in Section 3 above is expressly made subject to and limited by the following restrictions: a.You may distribute, publicly display, publicly perform, or publicly digitally perform the Work only under the terms of this License, and You must include a copy of, or the Uniform Resource Identifier for, this License withevery copy or phonorecord of the Work You distribute, publicly display, publicly perform, or publicly digitally perform. You may not offer or impose any terms on the Work that alter or restrict the terms of this License orthe recipients' exercise of the rights granted hereunder. You may not sublicense the Work. You must keep intact all notices that refer to this License and to the disclaimer of warranties. You may not distribute, publiclydisplay, publicly perform, or publicly digitally perform the Work with any technological measures that control access or use of the Work in a manner inconsistent with the terms of this License Agreement. The aboveapplies to the Work as incorporated in a Collective Work, but this does not require the Collective Work apart from the Work itself to be made subject to the terms of this License. If You create a Collective Work, uponnotice from any Licensor You must, to the extent practicable, remove from the Collective Work any reference to such Licensor or the Original Author, as requested. b. You may not exercise any of the rights granted toYou in Section 3 above in any manner that is primarily intended for or directed toward commercial advantage or private monetary compensation. The exchange of the Work for other copyrighted works by means ofdigital file-sharing or otherwise shall not be considered to be intended for or directed toward commercial advantage or private monetary compensation, provided there is no payment of any monetary compensation inconnection with the exchange of copyrighted works. c. If you distribute, publicly display, publicly perform, or publicly digitally perform the Work or any Collective Works, You must keep intact all copyright notices for theWork and give the Original Author credit reasonable to the medium or means You are utilizing by conveying the name (or pseudonym if applicable) of the Original Author if supplied; the title of the Work if supplied. Suchcredit may be implemented in any reasonable manner; provided, however, that in the case of a Collective Work, at a minimum such credit will appear where any other comparable authorship credit appears and in amanner at least as prominent as such other comparable authorship credit. 5. Representations, Warranties and Disclaimer a. By offering the Work for public release under this License, Licensor represents and warrantsthat, to the best of Licensor's knowledge after reasonable inquiry: i. Licensor has secured all rights in the Work necessary to grant the license rights hereunder and to permit the lawful exercise of the rights grantedhereunder without You having any obligation to pay any royalties, compulsory license fees, residuals or any other payments; ii. The Work does not infringe the copyright, trademark, publicity rights, common law rightsor any other right of any third party or constitute defamation, invasion of privacy or other tortious injury to any third party. b. EXCEPT AS EXPRESSLY STATED IN THIS LICENSE OR OTHERWISE AGREED IN WRITING ORREQUIRED BY APPLICABLE LAW, THE WORK IS LICENSED ON AN \"AS IS\" BASIS, WITHOUT WARRANTIES OF ANY KIND, EITHER EXPRESS OR IMPLIED INCLUDING, WITHOUT LIMITATION, ANY WARRANTIESREGARDING THE CONTENTS OR ACCURACY OF THE WORK. 6. Limitation on Liability. EXCEPT TO THE EXTENT REQUIRED BY APPLICABLE LAW, AND EXCEPT FOR DAMAGES ARISING FROM LIABILITY TO A THIRD PARTYRESULTING FROM BREACH OF THE WARRANTIES IN SECTION 5, IN NO EVENT WILL LICENSOR BE LIABLE TO YOU ON ANY LEGAL THEORY FOR ANY SPECIAL, INCIDENTAL, CONSEQUENTIAL, PUNITIVE OR EXEMPLARYDAMAGES ARISING OUT OF THIS LICENSE OR THE USE OF THE WORK, EVEN IF LICENSOR HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES. 7. Termination a. This License and the rights grantedhereunder will terminate automatically upon any breach by You of the terms of this License. Individuals or entities who have received Collective Works from You under this License, however, will not have their licensesterminated provided such individuals or entities remain in full compliance with those licenses. Sections 1, 2, 5, 6, 7, and 8 will survive any termination of this License. b. Subject to the above terms and conditions, thelicense granted here is perpetual (for the duration of the applicable copyright in the Work). Notwithstanding the above, Licensor reserves the right to release the Work under different license terms or to stop distributingthe Work at any time; provided, however that any such election will not serve to withdraw this License (or any other license that has been, or is required to be, granted under the terms of this License), and this Licensewill continue in full force and effect unless terminated as stated above. 8. Miscellaneous a. Each time You distribute or publicly digitally perform the Work or a Collective Work, the Licensor offers to the recipient a licenseto the Work on the same terms and conditions as the license granted to You under this License. b. If any provision of this License is invalid or unenforceable under applicable law, it shall not affect the validity orenforceability of the remainder of the terms of this License, and without further action by the parties to this agreement, such provision shall be reformed to the minimum extent necessary to make such provision validand enforceable. c. No term or provision of this License shall be deemed waived and no breach consented to unless such waiver or consent shall be in writing and signed by the party to be charged with such waiver orconsent. d. This License constitutes the entire agreement between the parties with respect to the Work licensed here. There are no understandings, agreements or representations with respect to the Work not specifiedhere. Licensor shall not be bound by any additional provisions that may appear in any communication from You. This License may not be modified without the mutual written agreement of the Licensor andYou.--DedicationFor my parents.For my family.For everyone who helped me up and for everyone I let down. You know who you are.Sincerest thanks and most heartfelt apologies.Cory--1.I once had a Tai Chi instructorwho explained the difference between Chinese andWestern medicine thus: \"Western medicine is based on corpses, things that youdiscover by cutting up dead bodies and pulling them apart. Chinese medicine isbased onliving flesh, things observed from vital, moving humans.\"The explanation, like all good propaganda, is stirring and stilted, and notparticularly accurate, and gummy as the hook from a top-40 song, sticky in yourmind inthe sleep-deprived noontime when the world takes on a hallucinatoryhypperreal clarity. Like now as I sit here in my underwear on the roof of asanatorium in the back woods off Route 128, far enough from theperpetualconstruction of Boston that it's merely a cloud of dust like a herd of distantbuffalo charging the plains. Like now as I sit here with a pencil up my nose,thinking about homebrew lobotomies and wouldn't it benice if I gave myself one.Deep breath.The difference between Chinese medicine and Western medicine is the dissectionversus the observation of the thing in motion. The difference between reading astory and studyinga story is the difference between living the story andkilling the story and looking at its guts.School! We sat in English class and we dissected the stories that I'd escapedinto, laid open their abdomens and tagged theirorgans, covered their genitalswith polite sterile drapes, recorded dutiful notes *en masse* that told us whatthe story was about, but never what the story *was*. Stories are propaganda,virii that slide past your criticalimmune system and insert themselves directlyinto your emotions. Kill them and cut them open and they're as naked as anightclub in daylight.The theme. The first step in dissecting a story is euthanizing it: \"What isthetheme of this story?\"Let me kill my story before I start it, so that I can dissect it and understandit. The theme of this story is: \"Would you rather be smart or happy?\"This is a work of propaganda. It's a story aboutchoosing smarts over happiness.Except if I give the pencil a push: then it's a story about choosing happinessover smarts. It's a morality play, and the first character is about to take thestage. He's a foil for the theme,so he's drawn in simple lines. Here he is:2.Art Berry was born to argue.There are born assassins. Bred to kill, raised on cunning and speed, they arethe stuff of legend, remorseless and unstoppable. There are bornballerinas,confectionery girls whose parents subject them to rigors every bit as intense asthe tripwire and poison on which the assassins are reared. There are childrenborn to practice medicine or law; children born toserve their nations and dieheroically in the noble tradition of their forebears; children born to tread theboards or shred the turf or leave smoking rubber on the racetrack.Art's earliest memory: a dream. He is stuck inthe waiting room of one of theinnumerable doctors who attended him in his infancy. He is perhaps three, andhis attention span is already as robust as it will ever be, and in his dream --which is fast becoming anightmare -- he is bored silly.The only adornment in the waiting room is an empty cylinder that once held toyblocks. Its label colorfully illustrates the blocks, which look like they'd be ahell of a lot of fun, if someone"}
+{"doc_id":"doc_138","qid":"","text":"<html><head><title>Die Hard 2 Script at IMSDb.</title><meta name=\"description\" content=\"Die Hard 2 script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Die Hard 2 script, Die Hard2 movie script, Die Hard 2 film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\"rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre> <b>                                     DIE HARD 2</b>                                     Written by                                  DougRichardson                                    Revisions by                                 Steven E. de Souza<b>                                                        SHOOTING SCRIPT</b>                                                      November 16,1989                                                  <b>                         (X)</b><b>                         DIE HARD 2</b>          WHILE WE'RE IN BLACK we HEAR a PNEUMATIC \"KA-CHUNK\" andthen<b>                         MCCLANE'S VOICE</b>          Holy shit, whoa, whoa -<b>                         FADE IN:</b><b>          1 EXT. DULLES TERMINAL - DAY 1</b>          JOHN MCCLANE, long topcoat FLAPPING,comes running out of the          terminal towards an AIRPORT COP in plastic covered uniform who is          supervising a TOW TRUCK DRIVER who in turn is manhandling a          sedate sedan with Virginia plates and a\"GRANDMOTHER ON BOARD\"          sign on the rear window.<b>                         MCCLANE</b>          I'm here, I'm here, false alarm, let's          just let her down nice and easy-<b>                         COP</b>          Sure. At the impound lot.<b>                         (POINTING)</b>          Next time, read the sign.<b>                         MCCLANE</b>          You don't understand, I'm justmeeting          my wife's-plane - you gotta give me          this car back.<b>                         COP</b>          Sure. Tomorrow 8 to four, you pay          40 bucks, we give itback.<b>                         MCCLANE</b>          This is my mother in law's car. She          already hates me because I'm not a<b>                         DENTIST-</b><b>                         (SHOWING-BADGE)</b>          See, I'm a cop. LAPD. How about          some team spirit?<b>                         COP</b>          I was in LA once. Hatedit.<b>                         CONTINUED</b>                                                                                                    <b>                         2</b><b>                         (X)</b><b>                         1 CONTINUED-</b><b>                         MCCLANE</b>          (going with the flow)          I can relate to that. Hate it myself-          (turning to tow guy)          Hey, that's a plastic fender, Jesus-          (back to cop)          See, Iused to be a New York cop still          got my ID somewhere -I only moved          'cause my wife got promoted - look,          maybe we can settle this right here,          we're in Washington, heartbeatof          Democracy, one hand washes the other          He realizes the truck is DRIVING AWAY one way while the cop is          i going off the other way - McClane votes for the cop-<b>                          MCCLANE</b>           Hey, c'mon, it's Christmas -<b>                          COP</b>          So Ask Santa to bring youanother          car.<b>                         I</b><b>                         MCCLANE</b><b>                         (SOTTO)</b>          You son of a -          BEEP drowns out his last word. McClave sweeps aside hiscoat,          finds the beeper on his belt. He looks at the obviously          unfamilar number on the read out in puzzlement, then runs into          the terminal.<b>          2 INT. DULLES TERMINAL - DAY2</b>          CHRISTMAS MUSIC wafting through the building from a SCHOOL CHOIR          perched in front of a massive, three-story window. Blase          travelers PAUSE in their hectic rush to applaud theangelic          voices.          McClane shoves his way through some people - when they GLARE at          him he quickly APPLAUDS the kids, pulls up at an INFORMATION          BOOTH - the girl there is watching a LITTLETV on the shelf out          of sight from the public.<b>          MCCLANE 1ST NEWSCASTER</b>          Telephones? (on TV)           .and that White Christmas          INFORMATION GIRL may be here for a while,if          (pointing) that new storm front moves          Right over there. to the Metro area this           afternoon as predicted.          McClane nods, serves across the slicklinoleum.<b>                          CONTINUED</b>                                                                                                    <b>                         3</b><b>                         (X)</b><b>                         2 CONTINUED -2</b>          1ST NEWSCASTER(cont'd)          Correspondent Leonard Adkins is in          a warmer clime, with a story that          grows hotter by the minute.<b>          2A WITH MCCLANE 2A</b>          he fairlySKIDS to a halt at a line of PHONE BOOTHS - and outside          each booth a long LINE of people with their armfuls of luggage<b>                         A</b>          and gifts.          McClane's BEEPER goes offagain.<b>                         MCCLANE</b><b>                         (DESPONDENT)</b>          Ho - ho - ho...<b>                         3 3</b>          thru OMITTED thru<b>                         44</b><b>                         CUT TO:</b><b>          EXT. AIRPORT - THROUGH WINDOW - SAME TIME</b><b>                         I</b>          A plane TAKES OFF. We PULL BACK and realize we're in aMOTEL          ROOM. The TV is on and we SEE the TV PICTURE CHANGE to a          TROPICAL AIRFIELD. Khaki-clad heavily armed SOLDIERS form a          cordon as a stiff-backed handsome MAN of 60 in handcuffs andleg          chains is hustled aboard a plane.<b>                         2ND NEWSCASTER</b>          Security was tight today at Escalon          airport in the Republic of Val Verde,          where government authoritiesescorted          General Ramon Esperanza to the          military transport that will bring          him to the United States to stand          trial for narcotics trafficking.          A HAND thrusts in front of the CAMERA -FINGERS clenching and          curling oddly.<b>                         6 WIDER 6</b>          A half naked MAN is doing Tai Ch'i EXERCISES. This is COLONEL          WILLIAM STUART, U.S.A. (Ret.) His body is hard, withSCARS from          knives and bullets.          On the TV, the words \"FILE TAPE\" blink under Esperanza's IMAGE,.          here resplendent in a Latin American uniform, reviewing troops in          the field and then movingto a table under a tarp to sign          documents with American military officers. He hands a COLONEL the          pen just used on the document - asouvenir.<b>                         CONTINUED</b>                                                                                                    <b>                         4</b><b>                         (X)</b><b>                         6 CONTINUED -6</b><b>                         NEWSCASTER</b>          Only two years ago the controversial          General lead his country's Army in          its campaign against Communists          insurgents - a campaign foughtwith          American money and advisors.          Esperanza's fall from power caused<b>                         1</b>          ripples not only in his country'.s          recent election, but closer to home          I aswell...          PICTURE CHANGES to some WASHINGTON STEPS. The AMERICAN COLONEL          we just.saw exits a Federal building with some JUNIOR OFFICERS          and attorneys - avoidsreporters.<b>                         1</b><b>                         NEWSCASTER(CONT'D)</b>          .when high ranking Pentagon          officials were chargedwith supplying          I him with weapons despitethe          congressional ban.          The exercises finished, Stuart FREEZES in an eerie pose, until<b>          7 HIS HUER CHRONOMETER</b>          BEEPS an alarm -<b>          8 BACK TO SCENE 8</b>          Theman uncoils. Composes himself. Goes to the closet.<b>                         NEWSCASTER(CONT'D)</b>          But mounting evidence that Esperanza's          forces violated the neutrality of          neighboring countriesmade Congress          withhold funds-funds which Esperanza          I s accused of replacing by going into          the'lucrative business of cocaine          smuggling.          ,.One topcoat, one suit there, shirt and tie laidout like a          costume not usually worn. On the shelf above, one PACKAGE in<b>          DISTINCTIVE CHRISTTMAS WRAP.</b>          Stewart puts on the shirt. In the pocket is a PEN - the same pen          we justsaw on TV. If we haven't realized it yet, we realize it          now; t s is the same man.91          Suddenly Stuart WHIRLS like a GUNFIGHTER. But all he's got in          his hand is the remote control, snatched from thenightstand.<b>                         9 TV9</b><b>                         CONTINUED</b>                                                                                                    <b>                         5</b><b>                         (X)</b><b>                         9 CONTINUED -9</b><b>                         Q</b>          It clicks OFF -<b>                         CUT TO:</b><b>          10 INT. AIRPORT MOTEL - CORRIDOR - DAY 10</b>          CLOSE on the hallway door as Stuart COMES OUT, thepackage in          i his hand, the Huer ticking away. We WIDEN, TRUCK with him as          he moves down the corridor.          And now we SEE THEM - ten more TALL, HARD men, all coming into          the hallway fromtheir adjoining rooms within seconds of each          other, all carrying SIMILAR GIFT WRAPPED PACKAGES.          They get into two adjoining. elevators, the stark LIGHTS above          their heads and their unmovingexpressions making them look like          Aliens ready to beam up. As the doors CLOSE we<b>                         CUT TO:</b><b>          11 INT. TERMINAL - DAY 11</b>           McClane SQUEEZES past an enormousWOMAN exiting a phone booth           with a PRESENT as big as she is. Catching his breath, he drops           his quarter, dials.<b>                         12 12</b>          aru OMITTED thru<b>                         1313</b><b>                         CUT TO:</b><b>          14 INT. A JETLINER - INTERCUT 14</b>          HOLLY MCCLANE is here, AirPhone at her ear and a beautiful          SUNSET over the plane's wing visible throughthe nearby window.          With the Compaq portable computer, filofax and calculator piled          on it, Holly'.s seat back table looks like a traveling office.<b>                         MCCLANE</b>          Hello. This isLieutenant McClane          - Somebody there beep me?<b>                         HOLLY</b>          I'd like to think I'm somebody.<b>                         MCCLANE</b>          Holly! Did youland?<b>                         HOLLY</b>          John, wake up. It's the nineties.          Microchips, microwaves, faxes and          airphones.<b>                         MCCLANE</b>          As far as I'm concerned,progress          peaked with the frozenpizza.<b>                         CONTINUED</b>                                                                                                    <b>                         6</b><b>                         (X)</b><b>                         14 CONTINUED -"}
+{"doc_id":"doc_139","qid":"","text":"The Project Gutenberg EBook of Huntingtower, by John BuchanThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it under theterms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: HuntingtowerAuthor: John BuchanRelease Date: December 6, 2011 [EBook #3782]Language: English*** START OFTHIS PROJECT GUTENBERG EBOOK HUNTINGTOWER ***Produced by Edward A. White, Robert F. Jaffe, KirstenTozer, Charlene Taylor, Cathy Maxam and the OnlineDistributed Proofreading Team athttp://www.pgdp.net (Thisbook was produced from scanned images of public domainmaterial from the Google Print project.)TRANSCRIBER'S NOTE:In footnote number 1 (page 72) the author refers toa sketch on thefrontispiece of the book.  At the time of posting thisbook to Project Gutenberg, it was verified by the content provider thatthere is no frontispiece in this particular edition of Huntingtower.In the plain-text version of thisebook italics are indicated by_underscores_.Obvious typographical errors have been corrected without comment. Oneexample of an obvious typographical error is on page 237 where the word\"shamefaceedly\" waschanged to \"shamefacedly\". Other than obvioustypographical errors, the author's original spelling has been leftintact. This includes the use of unconventional spelling and dialect.Inconsistencies in the author's use ofhyphens and accent marks havebeen left unchanged, as in the original text.The following four changes were made to punctuation and spelling:     1. Page 96: An apostrophe was removed from the word \"an'\" inthe     phrase \"I've found a ladder, an auld yin\" (an old one).     2. Page 100: A question mark was changed to a period in the phrase     \"... he realised that he was in the presence of something the like     of which hehad never met in his life before.\"     4. Page 187: An apostrophe was removed from the word \"wing's\" in     the phrase \"... take the wings off a seagull.\"  HUNTINGTOWER  JOHN BUCHAN_By_ JOHNBUCHAN  HUNTINGTOWER  THE PATH OF THE KING  MR. STANDFAST  GREENMANTLE  THE WATCHERS BY THE THRESHOLD  SALUTE TO ADVENTURES  PRESTER JOHN  THE POWER HOUSE  THE THIRTY-NINESTEPS  THE BATTLE OF THE SOMMENEW YORK: GEORGE H. DORAN COMPANY  HUNTINGTOWER  BY  JOHN BUCHAN  NEW [Illustration] YORK  GEORGE H. DORAN COMPANY  COPYRIGHT, 1922,  BY GEORGE H. DORANCOMPANY  [Illustration]  HUNTINGTOWER.  II  PRINTED IN THE UNITED STATES OF AMERICATOW. P. KER_If the Professor of Poetry in the University of Oxford has notforgotten the rock whence he was hewn, thissimple story may give him anhour of entertainment. I offer it to you because I think you have met myfriend Dickson McCunn, and I dare to hope that you may even in your manysojournings in the Westlands haveencountered one or other of theGorbals Die-Hards. If you share my kindly feeling for Dickson, you willbe interested in some facts which I have lately ascertained about hisancestry. In his veins there flows a portion ofthe redoubtable blood ofthe Nicol Jarvies. When the Bailie, you remember, returned from hisjourney to Rob Roy beyond the Highland Line, he espoused his housekeeperMattie, \"an honest man's daughter and a nearcousin o' the Laird o'Limmerfield.\" The union was blessed with a son, who succeeded to theBailie's business and in due course begat daughters, one of whom marrieda certain Ebenezer McCunn, of whom there is recordin the archives ofthe Hammermen of Glasgow. Ebenezer's grandson, Peter by name, wasProvost of Kirkintilloch, and his second son was the father of my heroby his marriage with Robina Dickson, eldest daughter of oneRobertDickson, a tenant-farmer in the Lennox. So there are coloured threads inMr. McCunn's pedigree, and, like the Bailie, he can count kin, should hewish, with Rob Roy himself through \"the auld wife ayont the fireatStuckavrallachan.\"__Such as it is, I dedicate to you the story, and ask for no betterverdict on it than that of that profound critic of life and literature,Mr. Huckleberry Finn, who observed of the_ Pilgrim's Progress,_that he\"considered the statements interesting, but steep.\"_J. B.CONTENTS                                                    PAGE  PROLOGUE                                            11  CHAPTER     I HOW A RETIRED PROVISIONMERCHANT FELT        THE IMPULSE OF SPRING                         17    II OF MR. JOHN HERITAGE AND THE DIFFERENCE        IN POINTS OF VIEW                             28   III HOW CHILDE ROLAND AND ANOTHER CAMETO        THE DARK TOWER                                46    IV DOUGAL                                         70     V OF THE PRINCESS IN THE TOWER                   85    VI HOW MR. McCUNN DEPARTED WITH RELIEFAND        RETURNED WITH RESOLUTION                     114   VII SUNDRY DOINGS IN THE MIRK                     135  VIII HOW A MIDDLE-AGED CRUSADER ACCEPTEDA        CHALLENGE                                    154    IX THE FIRST BATTLE OF THE CRUIVES               171     X DEALS WITH AN ESCAPE AND A JOURNEY            189    XI GRAVITY OUT OFBED                            209   XII HOW MR. McCUNN COMMITTED AN ASSAULT        UPON AN ALLY                                 225  XIII THE COMING OF THE DANISH BRIG                 244   XIV THE SECOND BATTLE OF THECRUIVES              257    XV THE GORBALS DIE-HARDS GO INTO ACTION          286   XVI IN WHICH A PRINCESS LEAVES A DARK TOWER        AND A PROVISION MERCHANT RETURNS TO        HISFAMILY                                   306HUNTINGTOWERPROLOGUEThe girl came into the room with a darting movement like a swallow,looked round her with the same birdlike quickness, and then ran acrossthe polishedfloor to where a young man sat on a sofa with one leg laidalong it.\"I have saved you this dance, Quentin,\" she said, pronouncing the namewith a pretty staccato. \"You must be so lonely not dancing, so I willsit with you.What shall we talk about?\"The young man did not answer at once, for his gaze was held by her face.He had never dreamed that the gawky and rather plain little girl whom hehad romped with long ago in Paris wouldgrow into such a being. Theclean delicate lines of her figure, the exquisite pure colouring of hairand skin, the charming young arrogance of the eyes--this was beauty, hereflected, a miracle, a revelation. Her virginalfineness and her dress,which was the tint of pale fire, gave her the air of a creature of iceand flame.\"About yourself, please, Saskia,\" he said. \"Are you happy now that youare a grown-up lady?\"\"Happy!\" Her voice had athrill in it like music, frosty music. \"Thedays are far too short. I grudge the hours when I must sleep. They sayit is sad for me to make my début in a time of war. But the world isvery kind to me, and after all it is avictorious war for our Russia.And listen to this, Quentin. To-morrow I am to be allowed to beginnursing at the Alexander Hospital. What do you think of that?\"The time was January, 1916, and the place a room in thegreat NirskiPalace. No hint of war, no breath from the snowy streets, entered thatcurious chamber where Prince Peter Nirski kept some of the chief of hisfamous treasures. It was notable for its lack of draperyandupholstering--only a sofa or two and a few fine rugs on the cedar floor.The walls were of a green marble veined like malachite, the ceiling wasof darker marble inlaid with white intaglios. Scattered everywhereweretables and cabinets laden with celadon china, and carved jade, andivories, and shimmering Persian and Rhodian vessels. In all the roomthere was scarcely anything of metal and no touch of gilding or brightcolour.The light came from green alabaster censers, and the place swamin a cold green radiance like some cavern below the sea. The air waswarm and scented, and though it was very quiet there, a hum of voicesand thestrains of dance music drifted to it from the pillared corridorin which could be seen the glare of lights from the great ballroombeyond.The young man had a thin face with lines of suffering round the mouthand eyes. Thewarm room had given him a high colour, which increasedhis air of fragility. He felt a little choked by the place, which seemedto him for both body and mind a hot-house, though he knew very well thatthe Nirski Palaceon this gala evening was in no way typical of the landor its masters. Only a week ago he had been eating black bread with itsowner in a hut on the Volhynian front.\"You have become amazing, Saskia,\" he said. \"I won'tpay my oldplayfellow compliments; besides, you must be tired of them. I wish youhappiness all the day long like a fairy-tale Princess. But a crock likeme can't do much to help you to it. The service seems to be thewrongway round, for here you are wasting your time talking to me.\"She put her hand on his. \"Poor Quentin! Is the leg very bad?\"He laughed. \"Oh, no. It's mending famously. I'll be able to get aboutwithout a stick inanother month, and then you've got to teach me allthe new dances.\"The jigging music of a two-step floated down the corridor. It made theyoung man's brow contract, for it brought to him a vision of dead facesin thegloom of a November dusk. He had once had a friend who used towhistle that air, and he had seen him die in the Hollebeke mud. Therewas something _macabre_ in the tune.... He was surely morbid thisevening, forthere seemed something _macabre_ about the house, the room,the dancing, all Russia.... These last days he had suffered from a senseof calamity impending, of a dark curtain drawing down upon a splendidworld. Theydidn't agree with him at the Embassy, but he could not getrid of the notion.The girl saw his sudden abstraction.\"What are you thinking about?\" she asked. It had been her favouritequestion as a child.\"I was thinking thatI rather wished you were still in Paris.\"\"But why?\"\"Because I think you would be safer.\"\"Oh, what nonsense, Quentin dear! Where should I be safe if not in myown Russia, where I have friends--oh, so many, and tribesand tribes ofrelations? It is France and England that are unsafe with the German gunsgrumbling at their doors.... My complaint is that my life is toocosseted and padded. I am too secure, and I do not want to besecure.\"The young man lifted a heavy casket from a table at his elbow. It was ofdark green imperial jade, with a wonderfully carved lid. He took off thelid and picked up three small oddments of ivory--a priest with abeard,a tiny soldier and a draught-ox. Putting the three in a triangle, hebalanced the jade box on them.\"Look, Saskia! If you were living inside that box you would think itvery secure. You would note the thickness of thewalls and the hardnessof the stone, and you would dream away in a peaceful green dusk. But allthe time it would be held up by trifles--brittle trifles.\"She shook her head. \"You do not understand. You cannotunderstand. Weare a very old and strong people with roots deep, deep in the earth.\"\"Please God you are right,\" he said. \"But, Saskia, you know that if Ican ever serve you, you have only to command me. Now I can dono morefor you than the mouse for the lion--at the beginning of the story. Butthe story had an end, you remember, and some day it may be in my powerto help you. Promise to send for me.\"The girl laughed merrily.\"The King of Spain's daughter,\" she quoted,    \"Came to visit me,     And all for the love     Of my little nut-tree.\"The other laughed also, as a young man in the uniform of thePreobrajenski Guard approached to claim thegirl. \"Even a nut-tree maybe a shelter in a storm,\" he said.\"Of course I promise, Quentin,\" she said. \"_Au revoir._ Soon I will comeand take you to supper, and we will talk of nothing but nut-trees.\"He watched the twoleave the room, her gown glowing like a tongue offire in the shadowy archway. Then he slowly rose to his feet, for hethought that for a little he would watch the dancing. Something movedbeside him, and he turned intime to prevent the jade casket fromcrashing to the floor. Two of the supports had slipped.He replaced the thing on its proper table and stood silent for amoment.\"The priest and the soldier gone, and only the beast ofburden left....If I were inclined to be superstitious, I should call that a dashed badomen.\"CHAPTER IHOW A RETIRED PROVISION MERCHANT FELT THE IMPULSE OF SPRINGMr. Dickson McCunn completed the polishingof his smooth cheeks with thetowel, glanced appreciatively at their reflection in the looking-glass,and then permitted his eyes to stray out of the window. In the littlegarden lilacs were budding, and there was a gold lineof daffodilsbeside the tiny greenhouse. Beyond the sooty wall a birch flaunted itsnew tassels, and the jackdaws were circling about the steeple of theGuthrie Memorial Kirk. A blackbird whistled from a thorn-bush, andMr.McCunn was inspired to follow its example. He began a tolerable versionof \"Roy's Wife of Aldivalloch.\"He felt singularly light-hearted, and the immediate cause was his safetyrazor. A week ago he had bought thething in a sudden fit of enterprise,and now he shaved in five minutes, where before he had taken twenty, andno longer confronted his fellows, at least one day in three, with acountenance ludicrously mottled bysticking-plaster. Calculationrevealed to him the fact that in his fifty-five years, having begun toshave at eighteen, he had wasted three thousand three hundred andseventy hours--or one hundred and forty days--orbetween four and fivemonths--by his neglect of this admirable invention. Now he felt that hehad stolen a march on Time. He had fallen heir, thus late, to a fortunein unpurchasable leisure.He began to dress himself inthe sombre clothes in which he had beenaccustomed for thirty-five years and more to go down to the shop inMearns Street. And then a thought came to him which made him discard thegrey-striped trousers, sit downon the edge of his bed, and muse.Since Saturday the shop was a thing of the past. On Saturday athalf-past eleven, to the accompaniment of a glass of dubious sherry, hehad completed the arrangements by which theprovision shop in MearnsStreet, which had borne so long the legend of D. McCunn, together withthe branches in Crossmyloof and the Shaws, became the property of acompany, yclept the United Supply Stores, Limited.He had received inpayment cash, debentures and preference shares, and his lawyers and hisown acumen had acclaimed the bargain. But all the week-end he had been alittle sad. It was the end of so old a song, and heknew no other tuneto sing. He was comfortably off, healthy, free from any particular caresin life, but free too from any particular duties. \"Will I be going toturn into a useless old man?\" he asked himself.But he had wokeup this Monday to the sound of the blackbird, and theworld, which had seemed rather empty twelve hours before, was now briskand alluring. His prowess in quick shaving assured him of his youth.\"I'm no' that deadold,\" he observed, as he sat on the edge of the bed,to his reflection in the big looking-glass.It was not an old face. The sandy hair was a little thin on the top anda little grey at the temples, the figure was perhaps a littletoo fullfor youthful elegance, and an athlete would have censured the neck astoo fleshy for perfect health. But the cheeks were rosy, the skin clear,and the pale eyes singularly childlike. They were a little weak,thoseeyes, and had some difficulty in looking for long at the same object, sothat Mr. McCunn did not stare people in the face, and had, inconsequence, at one time in his career acquired a perfectly undeservedreputationfor cunning. He shaved clean, and looked uncommonly like awise, plump schoolboy. As he gazed at his simulacrum he stoppedwhistling \"Roy's Wife\" and let his countenance harden into a noblesternness. Then helaughed, and observed in the language of his youththat \"There was life in the auld dowg yet.\" In that moment the soul ofMr. McCunn conceived the Great Plan.The first sign of it was that he swept all his businessgarmentsunceremoniously on to the floor. The next that he rootled at the bottomof a deep drawer and extracted a most disreputable tweed suit. It hadonce been what I believe is called a Lovat mixture, but was nowanondescript sub-fusc, with bright patches of colour like moss onwhinstone. He regarded it lovingly, for it had been for twenty years hisholiday wear, emerging annually for a hallowed month to be stained withsalt andbleached with sun. He put it on, and stood shrouded in anodour of camphor. A pair of thick nailed boots and a flannel shirt andcollar completed the equipment of the sportsman. He had another longlook at himself in theglass, and then descended whistling to breakfast.This time the tune was \"Macgregor's Gathering,\" and the sound of itstirred the grimy lips of a man outside who was deliveringcoals--himself a Macgregor--to follow suit.Mr. McCunn was a veryfountain of music that morning.Tibby, the aged maid, had his newspaper and letters waiting by hisplate, and a dish of ham and eggs frizzling near the fire. He fell toravenously but still musingly,and he had reached the stage of sconesand jam before he glanced at his correspondence. There was a letter fromhis wife now holidaying at the Neuk Hydropathic. She reported that herhealth was improving, and thatshe had met various people who had knownsomebody who had known somebody else whom she had once known herself.Mr. McCunn read the dutiful pages and smiled. \"Mamma's enjoying herselffine,\" he observed tothe teapot. He knew that for his wife the earthlyparadise was a hydropathic, where she put on her afternoon dress andevery jewel she possessed when she rose in the morning, ate large mealsof which the noveltyatoned for the nastiness, and collected an immensecasual acquaintance with whom she discussed ailments, ministers, suddendeaths, and the intricate genealogies of her class. For his part herancorously hatedhydropathics, having once spent a black week under theroof of one in his wife's company. He detested the food, the Turkishbaths (he had a passionate aversion to baring his body beforestrangers), the inability to findanything to do and the compulsion toendless small talk. A thought flitted over his mind which he was tooloyal to formulate. Once he and his wife had had similar likings, butthey had taken different roads since their childdied. Janet! He sawagain--he was never quite free from the sight--the solemn littlewhite-frocked girl who had died long ago in the spring.It may have been the thought of the Neuk Hydropathic, or more likely thethinclean scent of the daffodils with which Tibby had decked the table,but long ere breakfast was finished the Great Plan had ceased to be anairy vision and become a sober well-masoned structure. Mr. McCunn--Imayconfess it at the start--was an incurable romantic.He had had a humdrum life since the day when he had first entered hisuncle's shop with the hope of some day succeeding that honest grocer;and his feet had neverstrayed a yard from his sober rut. But his mind,like the Dying Gladiator's, had been far away. As a boy he had voyagedamong books, and they had given him a world where he could shape hiscareer according to hiswhimsical fancy. Not that Mr. McCunn was what isknown as a great reader. He read slowly and fastidiously, and sought inliterature for one thing alone. Sir Walter Scott had been his firstguide, but he read the novels notfor their insight into human characteror for their historical pageantry, but because they gave him materialwherewith to construct fantastic journeys. It was the same withDickens. A lit tavern, a stage-coach, post-horses,the clack of hoofs ona frosty road, went to his head like wine. He was a Jacobite not becausehe had any views on Divine Right, but because he had always before hiseyes a picture of a knot of adventurers in cloaks, newlanded fromFrance, among the western heather.On this select basis he had built up his small library--Defoe, Hakluyt,Hazlitt and the essayists, Boswell, some indifferent romances and ashelf of spirited poetry. His tastesbecame known, and he acquired areputation for a scholarly habit. He was president of the LiterarySociety of the Guthrie Memorial Kirk, and read to its members a varietyof papers full of a gusto which rarely becamecritical. He had beenthree times chairman at Burns Anniversary dinners, and had deliveredorations in eulogy of the national Bard; not because he greatly admiredhim--he thought him rather vulgar--but because he tookBurns as anemblem of the un-Burns-like literature which he loved. Mr. McCunn was noscholar and was sublimely unconscious of background. He grew his flowersin his small garden-plot oblivious of their origin so longas they gavehim the colour and scent he sought. Scent, I say, for he appreciatedmore than the mere picturesque. He had a passion for words and cadences,and would be haunted for weeks by a cunning phrase,"}
+{"doc_id":"doc_140","qid":"","text":"The Project Gutenberg EBook of The Woodlanders, by Thomas HardyThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: The WoodlandersAuthor: Thomas HardyPosting Date: August 30, 2008 [EBook #482]Release Date: April,1996Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE WOODLANDERS ***THE WOODLANDERSbyThomas HardyCHAPTER I.The rambler who, for old association or other reasons, should tracetheforsaken coach-road running almost in a meridional line from Bristol tothe south shore of England, would find himself during the latter halfof his journey in the vicinity of some extensive woodlands,interspersed withapple-orchards.  Here the trees, timber orfruit-bearing, as the case may be, make the wayside hedges ragged bytheir drip and shade, stretching over the road with easefulhorizontality, as if they found the unsubstantialair an adequatesupport for their limbs.  At one place, where a hill is crossed, thelargest of the woods shows itself bisected by the high-way, as the headof thick hair is bisected by the white line of its parting.  The spotislonely.The physiognomy of a deserted highway expresses solitude to a degreethat is not reached by mere dales or downs, and bespeaks a tomb-likestillness more emphatic than that of glades and pools. The contrastofwhat is with what might be probably accounts for this.  To step, forinstance, at the place under notice, from the hedge of the plantationinto the adjoining pale thoroughfare, and pause amid its emptiness fora moment,was to exchange by the act of a single stride the simpleabsence of human companionship for an incubus of the forlorn.At this spot, on the lowering evening of a by-gone winter's day, therestood a man who had enteredupon the scene much in the aforesaidmanner.  Alighting into the road from a stile hard by, he, though by nomeans a \"chosen vessel\" for impressions, was temporarily influenced bysome such feeling of being suddenlymore alone than before he hademerged upon the highway.It could be seen by a glance at his rather finical style of dress thathe did not belong to the country proper; and from his air, after awhile, that though theremight be a sombre beauty in the scenery, musicin the breeze, and a wan procession of coaching ghosts in the sentimentof this old turnpike-road, he was mainly puzzled about the way.  Thedead men's work that hadbeen expended in climbing that hill, theblistered soles that had trodden it, and the tears that had wetted it,were not his concern; for fate had given him no time for any butpractical things.He looked north and south, andmechanically prodded the ground with hiswalking-stick.  A closer glance at his face corroborated the testimonyof his clothes.  It was self-complacent, yet there was small apparentground for such complacence.  Nothingirradiated it; to the eye of themagician in character, if not to the ordinary observer, the expressionenthroned there was absolute submission to and belief in a littleassortment of forms and habitudes.At first not a soulappeared who could enlighten him as he desired, orseemed likely to appear that night.  But presently a slight noise oflaboring wheels and the steady dig of a horse's shoe-tips becameaudible; and there loomed in thenotch of the hill and plantation thatthe road formed here at the summit a carrier's van drawn by a singlehorse.  When it got nearer, he said, with some relief to himself, \"'TisMrs. Dollery's--this will help me.\"The vehiclewas half full of passengers, mostly women.  He held up hisstick at its approach, and the woman who was driving drew rein.\"I've been trying to find a short way to Little Hintock this lasthalf-hour, Mrs. Dollery,\" hesaid.  \"But though I've been to GreatHintock and Hintock House half a dozen times I am at fault about thesmall village.  You can help me, I dare say?\"She assured him that she could--that as she went to Great Hintockhervan passed near it--that it was only up the lane that branched out ofthe lane into which she was about to turn--just ahead. \"Though,\"continued Mrs. Dollery, \"'tis such a little small place that, as a towngentleman,you'd need have a candle and lantern to find it if ye don'tknow where 'tis.  Bedad! I wouldn't live there if they'd pay me to.Now at Great Hintock you do see the world a bit.\"He mounted and sat beside her, with his feetoutside, where they wereever and anon brushed over by the horse's tail.This van, driven and owned by Mrs. Dollery, was rather a movableattachment of the roadway than an extraneous object, to those who knewitwell.  The old horse, whose hair was of the roughness and color ofheather, whose leg-joints, shoulders, and hoofs were distorted byharness and drudgery from colthood--though if all had their rights, heought,symmetrical in outline, to have been picking the herbage of someEastern plain instead of tugging here--had trodden this road almostdaily for twenty years.  Even his subjection was not made congruousthroughout, forthe harness being too short, his tail was not drawnthrough the crupper, so that the breeching slipped awkwardly to oneside.  He knew every subtle incline of the seven or eight miles ofground between Hintock andSherton Abbas--the market-town to which hejourneyed--as accurately as any surveyor could have learned it by aDumpy level.The vehicle had a square black tilt which nodded with the motion of thewheels, and at apoint in it over the driver's head was a hook to whichthe reins were hitched at times, when they formed a catenary curve fromthe horse's shoulders.  Somewhere about the axles was a loose chain,whose only knownpurpose was to clink as it went.  Mrs. Dollery, havingto hop up and down many times in the service of her passengers, wore,especially in windy weather, short leggings under her gown formodesty's sake, and instead ofa bonnet a felt hat tied down with ahandkerchief, to guard against an earache to which she was frequentlysubject.  In the rear of the van was a glass window, which she cleanedwith her pocket-handkerchief everymarket-day before starting.  Lookingat the van from the back, the spectator could thus see through itsinterior a square piece of the same sky and landscape that he sawwithout, but intruded on by the profiles of theseated passengers, who,as they rumbled onward, their lips moving and heads nodding in animatedprivate converse, remained in happy unconsciousness that theirmannerisms and facial peculiarities were sharplydefined to the publiceye.This hour of coming home from market was the happy one, if not thehappiest, of the week for them.  Snugly ensconced under the tilt, theycould forget the sorrows of the world without, andsurvey life andrecapitulate the incidents of the day with placid smiles.The passengers in the back part formed a group to themselves, and whilethe new-comer spoke to the proprietress, they indulged in aconfidentialchat about him as about other people, which the noise ofthe van rendered inaudible to himself and Mrs. Dollery, sitting forward.\"'Tis Barber Percombe--he that's got the waxen woman in his window atthe top of AbbeyStreet,\" said one.  \"What business can bring him fromhis shop out here at this time and not a journeyman hair-cutter, but amaster-barber that's left off his pole because 'tis not genteel!\"They listened to hisconversation, but Mr. Percombe, though he hadnodded and spoken genially, seemed indisposed to gratify the curiositywhich he had aroused; and the unrestrained flow of ideas which hadanimated the inside of the vanbefore his arrival was checkedthenceforward.Thus they rode on till they turned into a half-invisible little lane,whence, as it reached the verge of an eminence, could be discerned inthe dusk, about half a mile to the right,gardens and orchards sunk ina concave, and, as it were, snipped out of the woodland.  From thisself-contained place rose in stealthy silence tall stems of smoke,which the eye of imagination could trace downward totheir root onquiet hearth-stones festooned overhead with hams and flitches.  It wasone of those sequestered spots outside the gates of the world where mayusually be found more meditation than action, and morepassivity thanmeditation; where reasoning proceeds on narrow premises, and results ininferences wildly imaginative; yet where, from time to time, no lessthan in other places, dramas of a grandeur and unity trulySophocleanare enacted in the real, by virtue of the concentrated passions andclosely knit interdependence of the lives therein.This place was the Little Hintock of the master-barber's search. Thecoming night graduallyobscured the smoke of the chimneys, but theposition of the sequestered little world could still be distinguishedby a few faint lights, winking more or less ineffectually through theleafless boughs, and the undiscernedsongsters they bore, in the formof balls of feathers, at roost among them.Out of the lane followed by the van branched a yet smaller lane, at thecorner of which the barber alighted, Mrs. Dollery's van going on tothelarger village, whose superiority to the despised smaller one as anexemplar of the world's movements was not particularly apparent in itsmeans of approach.\"A very clever and learned young doctor, who, they say, isin leaguewith the devil, lives in the place you be going to--not because there'sanybody for'n to cure there, but because 'tis the middle of hisdistrict.\"The observation was flung at the barber by one of the women atparting,as a last attempt to get at his errand that way.But he made no reply, and without further pause the pedestrian plungedtowards the umbrageous nook, and paced cautiously over the dead leaveswhich nearlyburied the road or street of the hamlet. As very fewpeople except themselves passed this way after dark, a majority of thedenizens of Little Hintock deemed window-curtains unnecessary; and onthis account Mr.Percombe made it his business to stop opposite thecasements of each cottage that he came to, with a demeanor which showedthat he was endeavoring to conjecture, from the persons and things heobserved within, thewhereabouts of somebody or other who resided here.Only the smaller dwellings interested him; one or two houses, whosesize, antiquity, and rambling appurtenances signified thatnotwithstanding their remoteness theymust formerly have been, if theywere not still, inhabited by people of a certain social standing, beingneglected by him entirely.  Smells of pomace, and the hiss offermenting cider, which reached him from the backquarters of othertenements, revealed the recent occupation of some of the inhabitants,and joined with the scent of decay from the perishing leaves underfoot.Half a dozen dwellings were passed without result.  Thenext, whichstood opposite a tall tree, was in an exceptional state of radiance,the flickering brightness from the inside shining up the chimney andmaking a luminous mist of the emerging smoke.  The interior, asseenthrough the window, caused him to draw up with a terminative air andwatch.  The house was rather large for a cottage, and the door, whichopened immediately into the living-room, stood ajar, so that a ribbonoflight fell through the opening into the dark atmosphere without.Every now and then a moth, decrepit from the late season, would flitfor a moment across the out-coming rays and disappear again into thenight.CHAPTERII.In the room from which this cheerful blaze proceeded, he beheld a girlseated on a willow chair, and busily occupied by the light of the fire,which was ample and of wood.  With a bill-hook in one hand and aleatherglove, much too large for her, on the other, she was makingspars, such as are used by thatchers, with great rapidity.  She wore aleather apron for this purpose, which was also much too large for herfigure.  On her lefthand lay a bundle of the straight, smooth stickscalled spar-gads--the raw material of her manufacture; on her right, aheap of chips and ends--the refuse--with which the fire was maintained;in front, a pile of thefinished articles.  To produce them she took upeach gad, looked critically at it from end to end, cut it to length,split it into four, and sharpened each of the quarters with dexterousblows, which brought it to a triangularpoint precisely resembling thatof a bayonet.Beside her, in case she might require more light, a brass candlestickstood on a little round table, curiously formed of an old coffin-stool,with a deal top nailed on, the whitesurface of the latter contrastingoddly with the black carved oak of the substructure.  The socialposition of the household in the past was almost as definitively shownby the presence of this article as that of an esquire ornobleman byhis old helmets or shields. It had been customary for every well-to-dovillager, whose tenure was by copy of court-roll, or in any way morepermanent than that of the mere cotter, to keep a pair of thesestoolsfor the use of his own dead; but for the last generation or two afeeling of cui bono had led to the discontinuance of the custom, andthe stools were frequently made use of in the manner described.The youngwoman laid down the bill-hook for a moment and examined thepalm of her right hand, which, unlike the other, was ungloved, andshowed little hardness or roughness about it.  The palm was red andblistering, as if thispresent occupation were not frequent enough withher to subdue it to what it worked in.  As with so many right handsborn to manual labor, there was nothing in its fundamental shape tobear out the physiologicalconventionalism that gradations of birth,gentle or mean, show themselves primarily in the form of this member.Nothing but a cast of the die of destiny had decided that the girlshould handle the tool; and the fingerswhich clasped the heavy ashhaft might have skilfully guided the pencil or swept the string, hadthey only been set to do it in good time.Her face had the usual fulness of expression which is developed by alife ofsolitude.  Where the eyes of a multitude beat like waves upon acountenance they seem to wear away its individuality; but in the stillwater of privacy every tentacle of feeling and sentiment shoots out invisibleluxuriance, to be interpreted as readily as a child's look byan intruder.  In years she was no more than nineteen or twenty, but thenecessity of taking thought at a too early period of life had forcedthe provisional curvesof her childhood's face to a premature finality.Thus she had but little pretension to beauty, save in one prominentparticular--her hair.  Its abundance made it almost unmanageable; itscolor was, roughly speaking, andas seen here by firelight, brown, butcareful notice, or an observation by day, would have revealed that itstrue shade was a rare and beautiful approximation to chestnut.On this one bright gift of Time to the particularvictim of his nowbefore us the new-comer's eyes were fixed; meanwhile the fingers of hisright hand mechanically played over something sticking up from hiswaistcoat-pocket--the bows of a pair of scissors, whose polishmadethem feebly responsive to the light within.  In her present beholder'smind the scene formed by the girlish spar-maker composed itself into apost-Raffaelite picture of extremest quality, wherein the girl's hairalone,as the focus of observation, was depicted with intensity anddistinctness, and her face, shoulders, hands, and figure in general,being a blurred mass of unimportant detail lost in haze and obscurity.He hesitated nolonger, but tapped at the door and entered.  The youngwoman turned at the crunch of his boots on the sanded floor, andexclaiming, \"Oh, Mr. Percombe, how you frightened me!\" quite lost hercolor for a moment.Hereplied, \"You should shut your door--then you'd hear folk open it.\"\"I can't,\" she said; \"the chimney smokes so.  Mr. Percombe, you look asunnatural out of your shop as a canary in a thorn-hedge. Surely youhave notcome out here on my account--for--\"\"Yes--to have your answer about this.\" He touched her head with hiscane, and she winced.  \"Do you agree?\" he continued.  \"It is necessarythat I should know at once, as the lady issoon going away, and ittakes time to make up.\"\"Don't press me--it worries me.  I was in hopes you had thought no moreof it.  I can NOT part with it--so there!\"\"Now, look here, Marty,\" said the barber, sitting down onthecoffin-stool table.  \"How much do you get for making these spars?\"\"Hush--father's up-stairs awake, and he don't know that I am doing hiswork.\"\"Well, now tell me,\" said the man, more softly.  \"How much do youget?\"\"Eighteenpence a thousand,\" she said, reluctantly.\"Who are you making them for?\"\"Mr. Melbury, the timber-dealer, just below here.\"\"And how many can you make in a day?\"\"In a day and half the night, threebundles--that's a thousand and ahalf.\"\"Two and threepence.\" The barber paused.  \"Well, look here,\" hecontinued, with the remains of a calculation in his tone, whichcalculation had been the reduction to figures of theprobable monetarymagnetism necessary to overpower the resistant force of her presentpurse and the woman's love of comeliness, \"here's a sovereign--a goldsovereign, almost new.\" He held it out between his fingerand thumb.\"That's as much as you'd earn in a week and a half at that rough man'swork, and it's yours for just letting me snip off what you've got toomuch of.\"The girl's bosom moved a very little.  \"Why can't the ladysend to someother girl who don't value her hair--not to me?\" she exclaimed.\"Why, simpleton, because yours is the exact shade of her own, and 'tisa shade you can't match by dyeing.  But you are not going to refusemenow I've come all the way from Sherton o' purpose?\"\"I say I won't sell it--to you or anybody.\"\"Now listen,\" and he drew up a little closer beside her.  \"The lady isvery rich, and won't be particular to a few shillings; soI willadvance to this on my own responsibility--I'll make the one sovereigntwo, rather than go back empty-handed.\"\"No, no, no!\" she cried, beginning to be much agitated.  \"You area-tempting me, Mr. Percombe.  Yougo on like the Devil to Dr. Faustusin the penny book.  But I don't want your money, and won't agree.  Whydid you come? I said when you got me into your shop and urged me somuch, that I didn't mean to sell myhair!\" The speaker was hot andstern.\"Marty, now hearken.  The lady that wants it wants it badly.  And,between you and me, you'd better let her have it.  'Twill be bad foryou if you don't.\"\"Bad for me? Who is she,then?\"The barber held his tongue, and the girl repeated the question.\"I am not at liberty to tell you.  And as she is going abroad soon itmakes no difference who she is at all.\"\"She wants it to go abroad wi'?\"Percombeassented by a nod.  The girl regarded him reflectively.\"Barber Percombe,\" she said, \"I know who 'tis.  'Tis she at theHouse--Mrs. Charmond!\"\"That's my secret.  However, if you agree to let me have it, I'll tellyou inconfidence.\"\"I'll certainly not let you have it unless you tell me the truth. It isMrs. Charmond.\"The barber dropped his voice.  \"Well--it is.  You sat in front of herin church the other day, and she noticed how exactly yourhair matchedher own.  Ever since then she's been hankering for it, and at lastdecided to get it.  As she won't wear it till she goes off abroad, sheknows nobody will recognize the change.  I'm commissioned to get itforher, and then it is to be made up.  I shouldn't have vamped all thesemiles for any less important employer.  Now, mind--'tis as much as mybusiness with her is worth if it should be known that I've let out hername;but honor between us two, Marty, and you'll say nothing thatwould injure me?\"\"I don't wish to tell upon her,\" said Marty, coolly.  \"But my hair ismy own, and I'm going to keep it.\"\"Now, that's not fair, after what I'vetold you,\" said the nettledbarber.  \"You see, Marty, as you are in the same parish, and in one ofher cottages, and your father is ill, and wouldn't like to turn out, itwould be as well to oblige her.  I say that as afriend.  But I won'tpress you to make up your mind to-night. You'll be coming to marketto-morrow, I dare say, and you can call then.  If you think it overyou'll be inclined to bring what I want, I know.\"\"I've nothingmore to say,\" she answered.Her companion saw from her manner that it was useless to urge herfurther by speech.  \"As you are a trusty young woman,\" he said, \"I'llput these sovereigns up here for ornament, that youmay see howhandsome they are.  Bring the hair to-morrow, or return thesovereigns.\" He stuck them edgewise into the frame of a small mantlelooking-glass.  \"I hope you'll bring it, for your sake and mine.  Ishouldhave thought she could have suited herself elsewhere; but asit's her fancy it must be indulged if possible. If you cut it offyourself, mind how you do it so as to keep all the locks one way.\" Heshowed her how this was tobe done.\"But I sha'nt,\" she replied, with laconic indifference.  \"I value mylooks too much to spoil 'em.  She wants my hair to get another loverwith; though if stories are true she's broke the heart of many a"}
+{"doc_id":"doc_141","qid":"","text":"The Project Gutenberg EBook of The Gambler, by Fyodor DostoyevskyThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: The GamblerAuthor: Fyodor DostoyevskyPosting Date: March 1, 2009 [EBook #2197]Release Date: May,2000[Last updated: July 24, 2011]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE GAMBLER ***Produced by Martin Adamson.  HTML version by Al Haines.THE GAMBLERByFYODORDOSTOYEVSKYTranslated by C. J. HogarthIAt length I returned from two weeks leave of absence to find that mypatrons had arrived three days ago in Roulettenberg. I received fromthem a welcome quite different tothat which I had expected. TheGeneral eyed me coldly, greeted me in rather haughty fashion, anddismissed me to pay my respects to his sister. It was clear that fromSOMEWHERE money had been acquired. I thought Icould even detect acertain shamefacedness in the General's glance. Maria Philipovna, too,seemed distraught, and conversed with me with an air of detachment.Nevertheless, she took the money which I handed to her,counted it, andlistened to what I had to tell. To luncheon there were expected thatday a Monsieur Mezentsov, a French lady, and an Englishman; for,whenever money was in hand, a banquet in Muscovite style wasalwaysgiven. Polina Alexandrovna, on seeing me, inquired why I had been solong away. Then, without waiting for an answer, she departed. Evidentlythis was not mere accident, and I felt that I must throw somelightupon matters. It was high time that I did so.I was assigned a small room on the fourth floor of the hotel (for youmust know that I belonged to the General's suite). So far as I couldsee, the party had already gainedsome notoriety in the place, whichhad come to look upon the General as a Russian nobleman of greatwealth. Indeed, even before luncheon he charged me, among other things,to get two thousand-franc notes changedfor him at the hotel counter,which put us in a position to be thought millionaires at all events fora week! Later, I was about to take Mischa and Nadia for a walk when asummons reached me from the staircase that Imust attend the General.He began by deigning to inquire of me where I was going to take thechildren; and as he did so, I could see that he failed to look me inthe eyes. He WANTED to do so, but each time was met byme with such afixed, disrespectful stare that he desisted in confusion. In pompouslanguage, however, which jumbled one sentence into another, and atlength grew disconnected, he gave me to understand that I was toleadthe children altogether away from the Casino, and out into the park.Finally his anger exploded, and he added sharply:\"I suppose you would like to take them to the Casino to play roulette?Well, excuse my speakingso plainly, but I know how addicted you are togambling. Though I am not your mentor, nor wish to be, at least I havea right to require that you shall not actually compromise me.\"\"I have no money for gambling,\" Iquietly replied.\"But you will soon be in receipt of some,\" retorted the General,reddening a little as he dived into his writing desk and appliedhimself to a memorandum book. From it he saw that he had 120 roublesofmine in his keeping.\"Let us calculate,\" he went on. \"We must translate these roubles intothalers. Here--take 100 thalers, as a round sum. The rest will be safein my hands.\"In silence I took the money.\"You must notbe offended at what I say,\" he continued. \"You are tootouchy about these things. What I have said I have said merely as awarning. To do so is no more than my right.\"When returning home with the children beforeluncheon, I met acavalcade of our party riding to view some ruins. Two splendidcarriages, magnificently horsed, with Mlle. Blanche, Maria Philipovna,and Polina Alexandrovna in one of them, and the Frenchman,theEnglishman, and the General in attendance on horseback! The passers-bystopped to stare at them, for the effect was splendid--the Generalcould not have improved upon it. I calculated that, with the 4000francswhich I had brought with me, added to what my patrons seemedalready to have acquired, the party must be in possession of at least7000 or 8000 francs--though that would be none too much for Mlle.Blanche, who,with her mother and the Frenchman, was also lodging inour hotel. The latter gentleman was called by the lacqueys \"Monsieur leComte,\" and Mlle. Blanche's mother was dubbed \"Madame la Comtesse.\"Perhaps in verytruth they WERE \"Comte et Comtesse.\"I knew that \"Monsieur le Comte\" would take no notice of me when we metat dinner, as also that the General would not dream of introducing us,nor of recommending me to the\"Comte.\" However, the latter had livedawhile in Russia, and knew that the person referred to as an \"uchitel\"is never looked upon as a bird of fine feather. Of course, strictlyspeaking, he knew me; but I was an uninvitedguest at the luncheon--theGeneral had forgotten to arrange otherwise, or I should have beendispatched to dine at the table d'hote. Nevertheless, I presentedmyself in such guise that the General looked at me with atouch ofapproval; and, though the good Maria Philipovna was for showing me myplace, the fact of my having previously met the Englishman, Mr. Astley,saved me, and thenceforward I figured as one of thecompany.This strange Englishman I had met first in Prussia, where we hadhappened to sit vis-a-vis in a railway train in which I was travellingto overtake our party; while, later, I had run across him in France,and againin Switzerland--twice within the space of two weeks! Tothink, therefore, that I should suddenly encounter him again here, inRoulettenberg! Never in my life had I known a more retiring man, for hewas shy to the pitchof imbecility, yet well aware of the fact (for hewas no fool). At the same time, he was a gentle, amiable sort of anindividual, and, even on our first encounter in Prussia I had contrivedto draw him out, and he had toldme that he had just been to the NorthCape, and was now anxious to visit the fair at Nizhni Novgorod. How hehad come to make the General's acquaintance I do not know, but,apparently, he was much struck withPolina. Also, he was delighted thatI should sit next him at table, for he appeared to look upon me as hisbosom friend.During the meal the Frenchman was in great feather: he was discursiveand pompous to every one.In Moscow too, I remembered, he had blown agreat many bubbles. Interminably he discoursed on finance and Russianpolitics, and though, at times, the General made feints to contradicthim, he did so humbly, and asthough wishing not wholly to lose sightof his own dignity.For myself, I was in a curious frame of mind. Even before luncheon washalf finished I had asked myself the old, eternal question: \"WHY do Icontinue to danceattendance upon the General, instead of having lefthim and his family long ago?\" Every now and then I would glance atPolina Alexandrovna, but she paid me no attention; until eventually Ibecame so irritated that Idecided to play the boor.First of all I suddenly, and for no reason whatever, plunged loudly andgratuitously into the general conversation. Above everything I wantedto pick a quarrel with the Frenchman; and, with thatend in view Iturned to the General, and exclaimed in an overbearing sort ofway--indeed, I think that I actually interrupted him--that that summerit had been almost impossible for a Russian to dine anywhere attablesd'hote. The General bent upon me a glance of astonishment.\"If one is a man of self-respect,\" I went on, \"one risks abuse by sodoing, and is forced to put up with insults of every kind. Both atParis and on theRhine, and even in Switzerland--there are so manyPoles, with their sympathisers, the French, at these tables d'hote thatone cannot get a word in edgeways if one happens only to be a Russian.\"This I said in French. TheGeneral eyed me doubtfully, for he did notknow whether to be angry or merely to feel surprised that I should sofar forget myself.\"Of course, one always learns SOMETHING EVERYWHERE,\" said the Frenchmanin acareless, contemptuous sort of tone.\"In Paris, too, I had a dispute with a Pole,\" I continued, \"and thenwith a French officer who supported him. After that a section of theFrenchmen present took my part. They did so assoon as I told them thestory of how once I threatened to spit into Monsignor's coffee.\"\"To spit into it?\" the General inquired with grave disapproval in histone, and a stare, of astonishment, while the Frenchman lookedat meunbelievingly.\"Just so,\" I replied. \"You must know that, on one occasion, when, fortwo days, I had felt certain that at any moment I might have to departfor Rome on business, I repaired to the Embassy of theHoly See inParis, to have my passport visaed. There I encountered a sacristan ofabout fifty, and a man dry and cold of mien. After listening politely,but with great reserve, to my account of myself, this sacristanaskedme to wait a little. I was in a great hurry to depart, but of course Isat down, pulled out a copy of L'Opinion Nationale, and fell to readingan extraordinary piece of invective against Russia which it happenedtocontain. As I was thus engaged I heard some one enter an adjoining roomand ask for Monsignor; after which I saw the sacristan make a low bowto the visitor, and then another bow as the visitor took his leave.Iventured to remind the good man of my own business also; whereupon,with an expression of, if anything, increased dryness, he again askedme to wait. Soon a third visitor arrived who, like myself, had comeonbusiness (he was an Austrian of some sort); and as soon as ever he hadstated his errand he was conducted upstairs! This made me very angry. Irose, approached the sacristan, and told him that, since Monsignorwasreceiving callers, his lordship might just as well finish off my affairas well. Upon this the sacristan shrunk back in astonishment. It simplypassed his understanding that any insignificant Russian should daretocompare himself with other visitors of Monsignor's! In a tone of theutmost effrontery, as though he were delighted to have a chance ofinsulting me, he looked me up and down, and then said: \"Do you supposethatMonsignor is going to put aside his coffee for YOU?\" But I onlycried the louder: \"Let me tell you that I am going to SPIT into thatcoffee! Yes, and if you do not get me my passport visaed this veryminute, I shall take it toMonsignor myself.\"\"What? While he is engaged with a Cardinal?\" screeched the sacristan,again shrinking back in horror. Then, rushing to the door, he spreadout his arms as though he would rather die than let meenter.Thereupon I declared that I was a heretic and a barbarian--\"Je suisheretique et barbare,\" I said, \"and that these archbishops andcardinals and monsignors, and the rest of them, meant nothing at all tome. In aword, I showed him that I was not going to give way. He lookedat me with an air of infinite resentment. Then he snatched up mypassport, and departed with it upstairs. A minute later the passporthad been visaed! Hereit is now, if you care to see it,\"--and I pulledout the document, and exhibited the Roman visa.\"But--\" the General began.\"What really saved you was the fact that you proclaimed yourself aheretic and a barbarian,\"remarked the Frenchman with a smile. \"Celan'etait pas si bete.\"\"But is that how Russian subjects ought to be treated? Why, when theysettle here they dare not utter even a word--they are ready even todeny the factthat they are Russians! At all events, at my hotel inParis I received far more attention from the company after I had toldthem about the fracas with the sacristan. A fat Polish nobleman, whohad been the most offensiveof all who were present at the tabled'hote, at once went upstairs, while some of the Frenchmen were simplydisgusted when I told them that two years ago I had encountered a manat whom, in 1812, a French 'hero'fired for the mere fun of discharginghis musket. That man was then a boy of ten and his family are stillresiding in Moscow.\"\"Impossible!\" the Frenchman spluttered. \"No French soldier would fireat a child!\"\"Neverthelessthe incident was as I say,\" I replied. \"A very respectedex-captain told me the story, and I myself could see the scar left onhis cheek.\"The Frenchman then began chattering volubly, and the General supportedhim; but Irecommended the former to read, for example, extracts fromthe memoirs of General Perovski, who, in 1812, was a prisoner in thehands of the French. Finally Maria Philipovna said something tointerrupt theconversation. The General was furious with me for havingstarted the altercation with the Frenchman. On the other hand, Mr.Astley seemed to take great pleasure in my brush with Monsieur, and,rising from the table,proposed that we should go and have a drinktogether. The same afternoon, at four o'clock, I went to have mycustomary talk with Polina Alexandrovna; and, the talk soon extended toa stroll. We entered the Park, andapproached the Casino, where Polinaseated herself upon a bench near the fountain, and sent Nadia away to alittle distance to play with some other children. Mischa also Idispatched to play by the fountain, and in thisfashion we--that is tosay, Polina and myself--contrived to find ourselves alone.Of course, we began by talking on business matters. Polina seemedfurious when I handed her only 700 gulden, for she had thoughttoreceive from Paris, as the proceeds of the pledging of her diamonds, atleast 2000 gulden, or even more.\"Come what may, I MUST have money,\" she said. \"And get it somehow Iwill--otherwise I shall be ruined.\"Iasked her what had happened during my absence.\"Nothing; except that two pieces of news have reached us from St.Petersburg. In the first place, my grandmother is very ill, andunlikely to last another couple of days.We had this from TimothyPetrovitch himself, and he is a reliable person. Every moment we areexpecting to receive news of the end.\"\"All of you are on the tiptoe of expectation?\" I queried.\"Of course--all of us, andevery minute of the day. For ayear-and-a-half now we have been looking for this.\"\"Looking for it?\"\"Yes, looking for it. I am not her blood relation, you know--I ammerely the General's step-daughter.  Yet I am certainthat the old ladyhas remembered me in her will.\"\"Yes, I believe that you WILL come in for a good deal,\" I said withsome assurance.\"Yes, for she is fond of me. But how come you to think so?\"I answered this questionwith another one. \"That Marquis of yours,\" Isaid, \"--is HE also familiar with your family secrets?\"\"And why are you yourself so interested in them?\" was her retort as sheeyed me with dry grimness.\"Never mind. If I amnot mistaken, the General has succeeded inborrowing money of the Marquis.\"\"It may be so.\"\"Is it likely that the Marquis would have lent the money if he had notknown something or other about your grandmother? Didyou notice, too,that three times during luncheon, when speaking of her, he called her'La Baboulenka'? [Dear little Grandmother]. What loving, friendlybehaviour, to be sure!\"\"Yes, that is true. As soon as ever he learntthat I was likely toinherit something from her he began to pay me his addresses. I thoughtyou ought to know that.\"\"Then he has only just begun his courting? Why, I thought he had beendoing so a long while!\"\"YouKNOW he has not,\" retorted Polina angrily. \"But where on earth didyou pick up this Englishman?\" She said this after a pause.\"I KNEW you would ask about him!\" Whereupon I told her of my previousencounters withAstley while travelling.\"He is very shy,\" I said, \"and susceptible. Also, he is in love withyou.--\"\"Yes, he is in love with me,\" she replied.\"And he is ten times richer than the Frenchman. In fact, what does theFrenchmanpossess? To me it seems at least doubtful that he possessesanything at all.\"\"Oh, no, there is no doubt about it. He does possess some chateau orother. Last night the General told me that for certain. NOW areyousatisfied?\"\"Nevertheless, in your place I should marry the Englishman.\"\"And why?\" asked Polina.\"Because, though the Frenchman is the handsomer of the two, he is alsothe baser; whereas the Englishman is notonly a man of honour, but tentimes the wealthier of the pair.\"\"Yes? But then the Frenchman is a marquis, and the cleverer of thetwo,\" remarked Polina imperturbably.\"Is that so?\" I repeated.\"Yes; absolutely.\"Polina wasnot at all pleased at my questions; I could see that she wasdoing her best to irritate me with the brusquerie of her answers. But Itook no notice of this.\"It amuses me to see you grow angry,\" she continued. \"However,inasmuchas I allow you to indulge in these questions and conjectures, you oughtto pay me something for the privilege.\"\"I consider that I have a perfect right to put these questions to you,\"was my calm retort; \"for thereason that I am ready to pay for them,and also care little what becomes of me.\"Polina giggled.\"Last time you told me--when on the Shlangenberg--that at a word fromme you would be ready to jump down a thousandfeet into the abyss. Someday I may remind you of that saying, in order to see if you will be asgood as your word. Yes, you may depend upon it that I shall do so. Ihate you because I have allowed you to go to suchlengths, and I alsohate you and still more--because you are so necessary to me. For thetime being I want you, so I must keep you.\"Then she made a movement to rise. Her tone had sounded very angry.Indeed, of lateher talks with me had invariably ended on a note oftemper and irritation--yes, of real temper.\"May I ask you who is this Mlle. Blanche?\" I inquired (since I did notwish Polina to depart without an explanation).\"YouKNOW who she is--just Mlle. Blanche. Nothing further hastranspired. Probably she will soon be Madame General--that is to say,if the rumours that Grandmamma is nearing her end should prove true.Mlle. Blanche, withher mother and her cousin, the Marquis, know verywell that, as things now stand, we are ruined.\"\"And is the General at last in love?\"\"That has nothing to do with it. Listen to me. Take these 700 florins,and go and playroulette with them. Win as much for me as you can, forI am badly in need of money.\"So saying, she called Nadia back to her side, and entered the Casino,where she joined the rest of our party. For myself, I took, inmusingastonishment, the first path to the left. Something had seemed tostrike my brain when she told me to go and play roulette. Strangelyenough, that something had also seemed to make me hesitate, and to setmeanalysing my feelings with regard to her. In fact, during the twoweeks of my absence I had felt far more at my ease than I did now, onthe day of my return; although, while travelling, I had moped like animbecile,rushed about like a man in a fever, and actually beheld herin my dreams. Indeed, on one occasion (this happened in Switzerland,when I was asleep in the train) I had spoken aloud to her, and set allmy fellow-travellerslaughing. Again, therefore, I put to myself thequestion: \"Do I, or do I not love her?\" and again I could return myselfno answer or, rather, for the hundredth time I told myself that Idetested her. Yes, I detested her;there were moments (more especiallyat the close of our talks together) when I would gladly have given halfmy life to have strangled her! I swear that, had there, at suchmoments, been a sharp knife ready to my hand,I would have seized thatknife with pleasure, and plunged it into her breast. Yet I also swearthat if, on the Shlangenberg, she had REALLY said to me, \"Leap intothat abyss,\" I should have leapt into it, and with equalpleasure. Yes,this I knew well. One way or the other, the thing must soon be ended.She, too, knew it in some curious way; the thought that I was fullyconscious of her inaccessibility, and of the impossibility of myeverrealising my dreams, afforded her, I am certain, the keenest possiblepleasure. Otherwise, is it likely that she, the cautious and cleverwoman that she was, would have indulged in this familiarity andopenness withme? Hitherto (I concluded) she had looked upon me in thesame light that the old Empress did upon her servant--the Empress whohesitated not to unrobe herself before her slave, since she did notaccount a slave aman. Yes, often Polina must have taken me forsomething less than a man!\"Still, she had charged me with a commission--to win what I could atroulette. Yet all the time I could not help wondering WHY it wassonecessary for her to win something, and what new schemes could havesprung to birth in her ever-fertile brain. A host of new and unknownfactors seemed to have arisen during the last two weeks. Well, itbehoved meto divine them, and to probe them, and that as soon aspossible. Yet not now: at the present moment I must repair to theroulette-table.III confess I did not like it. Although I had made up my mind to play, Ifelt averse"}
+{"doc_id":"doc_142","qid":"","text":"Project Gutenberg's The Story of a Bad Boy, by Thomas Bailey AldrichThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: The Story of a Bad BoyAuthor: Thomas Bailey AldrichRelease Date: February 25, 2006 [EBook #1948]LastUpdated: June 5, 2010Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE STORY OF A BAD BOY ***Produced by An Anonymous Volunteer and David WidgerTHE STORY OF A BAD BOYby ThomasBailey AldrichChapter One--In Which I Introduce MyselfThis is the story of a bad boy. Well, not such a very bad, but a prettybad boy; and I ought to know, for I am, or rather I was, that boymyself.Lest the title shouldmislead the reader, I hasten to assure him herethat I have no dark confessions to make. I call my story the story ofa bad boy, partly to distinguish myself from those faultless younggentlemen who generally figure innarratives of this kind, and partlybecause I really was not a cherub. I may truthfully say I was anamiable, impulsive lad, blessed with fine digestive powers, and nohypocrite. I didn't want to be an angel and with theangels stand; Ididn't think the missionary tracts presented to me by the Rev. WibirdHawkins were half so nice as Robinson Crusoe; and I didn't send mylittle pocket-money to the natives of the Feejee Islands, butspentit royally in peppermint-drops and taffy candy. In short, I was a realhuman boy, such as you may meet anywhere in New England, and no morelike the impossible boy in a storybook than a sound orange is likeonethat has been sucked dry. But let us begin at the beginning.Whenever a new scholar came to our school, I used to confront him atrecess with the following words: \"My name's Tom Bailey; what's yourname?\" If thename struck me favorably, I shook hands with the newpupil cordially; but if it didn't, I would turn on my heel, for I wasparticular on this point. Such names as Higgins, Wiggins, and Sprigginswere deadly affronts to myear; while Langdon, Wallace, Blake, and thelike, were passwords to my confidence and esteem.Ah me! some of those dear fellows are rather elderly boys by thistime--lawyers, merchants, sea-captains, soldiers,authors, what not? PhilAdams (a special good name that Adams) is consul at Shanghai, where Ipicture him to myself with his head closely shaved--he never had too muchhair--and a long pigtail banging down behind.He is married, I hear;and I hope he and she that was Miss Wang Wang are very happy together,sitting cross-legged over their diminutive cups of tea in a skybluetower hung with bells. It is so I think of him; to me he ishencefortha jewelled mandarin, talking nothing but broken China. Whitcomb is ajudge, sedate and wise, with spectacles balanced on the bridge of thatremarkable nose which, in former days, was so plentifully sprinkledwithfreckles that the boys christened him Pepper Whitcomb. Just to thinkof little Pepper Whitcomb being a judge! What would he do to me now, Iwonder, if I were to sing out \"Pepper!\" some day in court? FredLangdonis in California, in the native-wine business--he used to make the bestlicorice-water I ever tasted! Binny Wallace sleeps in the Old SouthBurying-Ground; and Jack Harris, too, is dead--Harris, who commandedusboys, of old, in the famous snow-ball battles of Slatter's Hill. Was ityesterday I saw him at the head of his regiment on its way to join theshattered Army of the Potomac? Not yesterday, but six years ago. It wasat thebattle of the Seven Pines. Gallant Jack Harris, that never drewrein until he had dashed into the Rebel battery! So they found him--lyingacross the enemy's guns.How we have parted, and wandered, and married, anddied! I wonder whathas become of all the boys who went to the Temple Grammar School atRivermouth when I was a youngster? \"All, all are gone, the old familiarfaces!\"It is with no ungentle hand I summon them back,for a moment, from thatPast which has closed upon them and upon me. How pleasantly they liveagain in my memory! Happy, magical Past, in whose fairy atmosphere evenConway, mine ancient foe, stands forthtransfigured, with a sort ofdreamy glory encircling his bright red hair!With the old school formula I commence these sketches of my boyhood. Myname is Tom Bailey; what is yours, gentle reader? I take for grantedit isneither Wiggins nor Spriggins, and that we shall get on famouslytogether, and be capital friends forever.Chapter Two--In Which I Entertain Peculiar ViewsI was born at Rivermouth, but, before I had a chance to becomevery wellacquainted with that pretty New England town, my parents removed to NewOrleans, where my father invested his money so securely in the bankingbusiness that he was never able to get any of it out again.But of thishereafter.I was only eighteen months old at the time of the removal, and it didn'tmake much difference to me where I was, because I was so small; butseveral years later, when my father proposed to takeme North to beeducated, I had my own peculiar views on the subject. I instantly kickedover the little Negro boy who happened to be standing by me at themoment, and, stamping my foot violently on the floor of thepiazza,declared that I would not be taken away to live among a lot of Yankees!You see I was what is called \"a Northern man with Southern principles.\"I had no recollection of New England: my earliest memorieswereconnected with the South, with Aunt Chloe, my old Negro nurse, andwith the great ill-kept garden in the centre of which stood our house--awhitewashed stone house it was, with wide verandas--shut out fromthestreet by lines of orange, fig, and magnolia trees. I knew I was bornat the North, but hoped nobody would find it out. I looked upon themisfortune as something so shrouded by time and distance that maybenobodyremembered it. I never told my schoolmates I was a Yankee,because they talked about the Yankees in such a scornful way it mademe feel that it was quite a disgrace not to be born in Louisiana, or atleast in one of theBorder States. And this impression was strengthenedby Aunt Chloe, who said, \"dar wasn't no gentl'men in the Norf no way,\"and on one occasion terrified me beyond measure by declaring that,\"if any of dem meanwhites tried to git her away from marster, she wasjes'gwine to knock 'em on de head wid a gourd!\"The way this poor creature's eyes flashed, and the tragic air with whichshe struck at an imaginary \"mean white,\" areamong the most vivid thingsin my memory of those days.To be frank, my idea of the North was about as accurate as thatentertained by the well-educated Englishmen of the present dayconcerning America. I supposedthe inhabitants were divided into twoclasses--Indians and white people; that the Indians occasionally dasheddown on New York, and scalped any woman or child (giving the preferenceto children) whom they caughtlingering in the outskirts afternightfall; that the white men were either hunters or schoolmasters, andthat it was winter pretty much all the year round. The prevailing styleof architecture I took to be log-cabins.With thisdelightful picture of Northern civilization in my eye, thereader will easily understand my terror at the bare thought of beingtransported to Rivermouth to school, and possibly will forgive me forkicking over little blackSam, and otherwise misconducting myself, whenmy father announced his determination to me. As for kicking little Sam--Ialways did that, more or less gently, when anything went wrong with me.My father was greatlyperplexed and troubled by this unusually violentoutbreak, and especially by the real consternation which he saw writtenin every line of my countenance. As little black Sam picked himself up,my father took my hand inhis and led me thoughtfully to the library.I can see him now as he leaned back in the bamboo chair and questionedme. He appeared strangely agitated on learning the nature of myobjections to going North, andproceeded at once to knock down all mypine log houses, and scatter all the Indian tribes with which I hadpopulated the greater portion of the Eastern and Middle States.\"Who on earth, Tom, has filled your brain withsuch silly stories?\"asked my father, wiping the tears from his eyes.\"Aunt Chloe, sir; she told me.\"\"And you really thought your grandfather wore a blanket embroidered withbeads, and ornamented his leggins with thescalps of his enemies?\"\"Well, sir, I didn't think that exactly.\"\"Didn't think that exactly? Tom, you will be the death of me.\"He hid his face in his handkerchief, and, when he looked up, he seemedto have been sufferingacutely. I was deeply moved myself, though I didnot clearly understand what I had said or done to cause him to feel sobadly. Perhaps I had hurt his feelings by thinking it even possible thatGrandfather Nutter was anIndian warrior.My father devoted that evening and several subsequent evenings to givingme a clear and succinct account of New England; its early struggles, itsprogress, and its present condition--faint and confusedglimmeringsof all which I had obtained at school, where history had never been afavorite pursuit of mine.I was no longer unwilling to go North; on the contrary, the proposedjourney to a new world full of wonders keptme awake nights. I promisedmyself all sorts of fun and adventures, though I was not entirely atrest in my mind touching the savages, and secretly resolved to go onboard the ship--the journey was to be made bysea--with a certain littlebrass pistol in my trousers-pocket, in case of any difficulty with thetribes when we landed at Boston.I couldn't get the Indian out of my head. Only a short time previouslythe Cherokees--or was itthe Camanches?--had been removed from theirhunting-grounds in Arkansas; and in the wilds of the Southwest the redmen were still a source of terror to the border settlers. \"Troublewith the Indians\" was the staplenews from Florida published in the NewOrleans papers. We were constantly hearing of travellers being attackedand murdered in the interior of that State. If these things were done inFlorida, why not inMassachusetts?Yet long before the sailing day arrived I was eager to be off. Myimpatience was increased by the fact that my father had purchased for mea fine little Mustang pony, and shipped it to Rivermouth afortnightprevious to the date set for our own departure--for both my parents wereto accompany me. The pony (which nearly kicked me out of bed one nightin a dream), and my father's promise that he and my motherwould come toRivermouth every other summer, completely resigned me to the situation.The pony's name was Gitana, which is the Spanish for gypsy; so I alwayscalled her--she was a lady pony--Gypsy.At length thetime came to leave the vine-covered mansion among theorange-trees, to say goodby to little black Sam (I am convinced he washeartily glad to get rid of me), and to part with simple Aunt Chloe,who, in the confusion ofher grief, kissed an eyelash into my eye, andthen buried her face in the bright bandana turban which she had mountedthat morning in honor of our departure.I fancy them standing by the open garden gate; the tearsare rollingdown Aunt Chloe's cheeks; Sam's six front teeth are glistening likepearls; I wave my hand to him manfully then I call out \"goodby\" in amuffled voice to Aunt Chloe; they and the old home fade away. I amneverto see them again!Chapter Three--On Board the TyphoonI do not remember much about the voyage to Boston, for after the firstfew hours at sea I was dreadfully unwell.The name of our ship was the \"A No. 1,fast-sailing packet Typhoon.\"I learned afterwards that she sailed fast only in the newspaperadvertisements. My father owned one quarter of the Typhoon, and that iswhy we happened to go in her. I tried to guess whichquarter of the shiphe owned, and finally concluded it must be the hind quarter--the cabin,in which we had the cosiest of state-rooms, with one round window in theroof, and two shelves or boxes nailed up against thewall to sleep in.There was a good deal of confusion on deck while we were getting underway. The captain shouted orders (to which nobody seemed to pay anyattention) through a battered tin trumpet, and grew so redin the facethat he reminded me of a scooped-out pumpkin with a lighted candleinside. He swore right and left at the sailors without the slightestregard for their feelings. They didn't mind it a bit, however, but wentonsinging--     \"Heave ho!     With the rum below,     And hurrah for the Spanish Main O!\"I will not be positive about \"the Spanish Main,\" but it was hurrah forsomething O. I considered them very jolly fellows, and soindeed theywere. One weather-beaten tar in particular struck my fancy--a thick-set,jovial man, about fifty years of age, with twinkling blue eyes and afringe of gray hair circling his head like a crown. As he took offhistarpaulin I observed that the top of his head was quite smooth and flat,as if somebody had sat down on him when he was very young.There was something noticeably hearty in this man's bronzed face, aheartinessthat seemed to extend to his loosely knotted neckerchief. Butwhat completely won my good-will was a picture of enviable lovelinesspainted on his left arm. It was the head of a woman with the body of afish. Her flowinghair was of livid green, and she held a pink comb inone hand. I never saw anything so beautiful. I determined to know thatman. I think I would have given my brass pistol to have had such apicture painted on myarm.While I stood admiring this work of art, a fat wheezy steamtug, withthe word AJAX in staring black letters on the paddlebox, came puffing upalongside the Typhoon. It was ridiculously small and conceited,comparedwith our stately ship. I speculated as to what it was going to do. In afew minutes we were lashed to the little monster, which gave a snort anda shriek, and commenced backing us out from the levee (wharf)with thegreatest ease.I once saw an ant running away with a piece of cheese eight or ten timeslarger than itself. I could not help thinking of it, when I found thechubby, smoky-nosed tug-boat towing the Typhoon outinto the MississippiRiver.In the middle of the stream we swung round, the current caught us, andaway we flew like a great winged bird. Only it didn't seem as if we weremoving. The shore, with the countlesssteamboats, the tangled rigging ofthe ships, and the long lines of warehouses, appeared to be gliding awayfrom us.It was grand sport to stand on the quarter-deck and watch all this.Before long there was nothing to beseen on other side but stretches oflow swampy land, covered with stunted cypress trees, from which droopeddelicate streamers of Spanish moss--a fine place for alligators and Congosnakes. Here and there we passed ayellow sand-bar, and here and there asnag lifted its nose out of the water like a shark.\"This is your last chance to see the city, To see the city, Tom,\" saidmy father, as we swept round a bend of the river.I turned andlooked. New Orleans was just a colorless mass of somethingin the distance, and the dome of the St. Charles Hotel, upon whichthe sun shimmered for a moment, was no bigger than the top of old AuntChloe'sthimble.What do I remember next? The gray sky and the fretful blue waters of theGulf. The steam-tug had long since let slip her hawsers and gone pantingaway with a derisive scream, as much as to say, \"I've done myduty, nowlook out for yourself, old Typhoon!\"The ship seemed quite proud of being left to take care of itself, and,with its huge white sails bulged out, strutted off like a vain turkey.I had been standing by my father nearthe wheel-house all this while,observing things with that nicety of perception which belongs onlyto children; but now the dew began falling, and we went below to havesupper.The fresh fruit and milk, and the slices ofcold chicken, looked verynice; yet somehow I had no appetite There was a general smell of tarabout everything. Then the ship gave sudden lurches that made it amatter of uncertainty whether one was going to put hisfork to his mouthor into his eye. The tumblers and wineglasses, stuck in a rack over thetable, kept clinking and clinking; and the cabin lamp, suspended by fourgilt chains from the ceiling, swayed to and fro crazily. Nowthe floorseemed to rise, and now it seemed to sink under one's feet like afeather-bed.There were not more than a dozen passengers on board, includingourselves; and all of these, excepting a bald-headed oldgentleman--aretired sea-captain--disappeared into their staterooms at an early hourof the evening.After supper was cleared away, my father and the elderly gentleman,whose name was Captain Truck, played atcheckers; and I amused myselffor a while by watching the trouble they had in keeping the men in theproper places. Just at the most exciting point of the game, the shipwould careen, and down would go the whitecheckers pell-mell among theblack. Then my father laughed, but Captain Truck would grow very angry,and vow that he would have won the game in a move or two more, ifthe confounded old chicken-coop--that's whathe called the ship--hadn'tlurched.\"I--I think I will go to bed now, please,\" I said, laying my band on myfather's knee, and feeling exceedingly queer.It was high time, for the Typhoon was plunging about in themostalarming fashion. I was speedily tucked away in the upper berth, whereI felt a trifle more easy at first. My clothes were placed on a narrowshelf at my feet, and it was a great comfort to me to know that mypistolwas so handy, for I made no doubt we should fall in withPirates before many hours. This is the last thing I remember with anydistinctness. At midnight, as I was afterwards told, we were struck bya gale which never leftus until we came in sight of the Massachusettscoast.For days and days I had no sensible idea of what was going on around me.That we were being hurled somewhere upside-down, and that I didn't likeit, was about all Iknew. I have, indeed, a vague impression that myfather used to climb up to the berth and call me his \"Ancient Mariner,\"bidding me cheer up. But the Ancient Mariner was far from cheering up,if I recollect rightly; and Idon't believe that venerable navigatorwould have cared much if it had been announced to him, through aspeaking-trumpet, that \"a low, black, suspicious craft, with rakingmasts, was rapidly bearing down upon us!\"Infact, one morning, I thought that such was the case, for bang! wentthe big cannon I had noticed in the bow of the ship when we came onboard, and which had suggested to me the idea of Pirates. Bang! wentthe gunagain in a few seconds. I made a feeble effort to get at mytrousers-pocket! But the Typhoon was only saluting Cape Cod--thefirst land sighted by vessels approaching the coast from a southerlydirection.The vessel hadceased to roll, and my sea-sickness passed away asrapidly as it came. I was all right now, \"only a little shaky in mytimbers and a little blue about the gills,\" as Captain Truck remarked tomy mother, who, like myself,had been confined to the state-room duringthe passage.At Cape Cod the wind parted company with us without saying as muchas \"Excuse me\"; so we were nearly two days in making the run which infavorable weather isusually accomplished in seven hours. That's whatthe pilot said.I was able to go about the ship now, and I lost no time in cultivatingthe acquaintance of the sailor with the green-haired lady on his arm.I found him in theforecastle--a sort of cellar in the front part of thevessel. He was an agreeable sailor, as I had expected, and we became thebest of friends in five minutes.He had been all over the world two or three times, and knew noend ofstories. According to his own account, he must have been shipwreckedat least twice a year ever since his birth. He had served under Decaturwhen that gallant officer peppered the Algerines and made thempromisenot to sell their prisoners of war into slavery; he had worked a gunat the bombardment of Vera Cruz in the Mexican War, and he had been onAlexander Selkirk's Island more than once. There were very fewthings hehadn't done in a seafaring way.\"I suppose, sir,\" I remarked, \"that your name isn't Typhoon?\"\"Why, Lord love ye, lad, my name's Benjamin Watson, of Nantucket. ButI'm a true blue Typhooner,\" he added,which increased my respect forhim; I don't know why, and I didn't know then whether Typhoon was thename of a vegetable or a profession.Not wishing to be outdone in frankness, I disclosed to him that my namewasTom Bailey, upon which he said he was very glad to hear it.When we got more intimate, I discovered that Sailor Ben, as he wishedme to call him, was a perfect walking picturebook. He had two anchors, astar, and afrigate in full sail on his right arm; a pair of lovely bluehands clasped on his breast, and I've no doubt that other parts of hisbody were illustrated in the same agreeable manner. I imagine he wasfond of drawings, and"}
+{"doc_id":"doc_143","qid":"","text":"The Project Gutenberg EBook of The Magnificent Ambersons, by Booth TarkingtonThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it awayorre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: The Magnificent AmbersonsAuthor: Booth TarkingtonRelease Date: September, 2005 [EBook#8867]Posting Date: August 2, 2009Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE MAGNIFICENT AMBERSONS ***Produced by An Anonymous VolunteerTHE MAGNIFICENT AMBERSONSByBooth TarkingtonChapter IMajor Amberson had \"made a fortune\" in 1873, when other people werelosing fortunes, and the magnificence of the Ambersons began then.Magnificence, like the size of a fortune, is alwayscomparative, as evenMagnificent Lorenzo may now perceive, if he has happened to haunt NewYork in 1916; and the Ambersons were magnificent in their day and place.Their splendour lasted throughout all the yearsthat saw their Midlandtown spread and darken into a city, but reached its topmost during theperiod when every prosperous family with children kept a Newfoundlanddog.In that town, in those days, all the women whowore silk or velvet knewall the other women who wore silk or velvet, and when there was a newpurchase of sealskin, sick people were got to windows to see it go by.Trotters were out, in the winter afternoons, racinglight sleighs onNational Avenue and Tennessee Street; everybody recognized boththe trotters and the drivers; and again knew them as well on summerevenings, when slim buggies whizzed by in renewals of thesnow-timerivalry. For that matter, everybody knew everybody else's familyhorse-and-carriage, could identify such a silhouette half a mile downthe street, and thereby was sure who was going to market, or toareception, or coming home from office or store to noon dinner or eveningsupper.During the earlier years of this period, elegance of personal appearancewas believed to rest more upon the texture of garments thanupon theirshaping. A silk dress needed no remodelling when it was a year or soold; it remained distinguished by merely remaining silk. Old men andgovernors wore broadcloth; \"full dress\" was broadcloth with\"doeskin\"trousers; and there were seen men of all ages to whom a hat meant onlythat rigid, tall silk thing known to impudence as a \"stove-pipe.\"In town and country these men would wear no other hat, and,withoutself-consciousness, they went rowing in such hats.Shifting fashions of shape replaced aristocracy of texture: dressmakers,shoemakers, hatmakers, and tailors, increasing in cunning and in power,found means tomake new clothes old. The long contagion of the \"Derby\"hat arrived: one season the crown of this hat would be a bucket; thenext it would be a spoon. Every house still kept its bootjack, buthigh-topped boots gave wayto shoes and \"congress gaiters\"; and thesewere played through fashions that shaped them now with toes likebox-ends and now with toes like the prows of racing shells.Trousers with a crease were considered plebeian;the crease proved thatthe garment had lain upon a shelf, and hence was \"ready-made\"; thesebetraying trousers were called \"hand-me-downs,\" in allusion to theshelf. In the early 'eighties, while bangs and bustles werehavingtheir way with women, that variation of dandy known as the \"dude\" wasinvented: he wore trousers as tight as stockings, dagger-pointed shoes,a spoon \"Derby,\" a single-breasted coat called a \"Chesterfield,\"withshort flaring skirts, a torturing cylindrical collar, laundered to apolish and three inches high, while his other neckgear might be a heavy,puffed cravat or a tiny bow fit for a doll's braids. With evening dresshe wore atan overcoat so short that his black coat-tails hung visible,five inches below the over-coat; but after a season or two he lengthenedhis overcoat till it touched his heels, and he passed out of his tighttrousers into trouserslike great bags. Then, presently, he was seenno more, though the word that had been coined for him remained in thevocabularies of the impertinent.It was a hairier day than this. Beards were to the wearers' fancy,andthings as strange as the Kaiserliche boar-tusk moustache werecommonplace. \"Side-burns\" found nourishment upon childlike profiles;great Dundreary whiskers blew like tippets over young shoulders;moustaches weretrained as lambrequins over forgotten mouths; and itwas possible for a Senator of the United States to wear a mist of whitewhisker upon his throat only, not a newspaper in the land finding theornament distinguishedenough to warrant a lampoon. Surely no more isneeded to prove that so short a time ago we were living in another age!At the beginning of the Ambersons' great period most of the houses ofthe Midland town were of apleasant architecture. They lacked style, butalso lacked pretentiousness, and whatever does not pretend at all hasstyle enough. They stood in commodious yards, well shaded by leftoverforest trees, elm and walnut andbeech, with here and there a line oftall sycamores where the land had been made by filling bayous from thecreek. The house of a \"prominent resident,\" facing Military Square, orNational Avenue, or Tennessee Street,was built of brick upon a stonefoundation, or of wood upon a brick foundation. Usually it had a \"frontporch\" and a \"back porch\"; often a \"side porch,\" too. There was a \"fronthall\"; there was a \"side hall\"; and sometimesa \"back hall.\" From the\"front hall\" opened three rooms, the \"parlour,\" the \"sitting room,\" andthe \"library\"; and the library could show warrant to its title--for somereason these people bought books. Commonly, thefamily sat more inthe library than in the \"sitting room,\" while callers, when they cameformally, were kept to the \"parlour,\" a place of formidable polish anddiscomfort. The upholstery of the library furniture was a littleshabby;but the hostile chairs and sofa of the \"parlour\" always looked new. Forall the wear and tear they got they should have lasted a thousand years.Upstairs were the bedrooms; \"mother-and-father's room\" thelargest; asmaller room for one or two sons another for one or two daughters; eachof these rooms containing a double bed, a \"washstand,\" a \"bureau,\" awardrobe, a little table, a rocking-chair, and often a chair or twothathad been slightly damaged downstairs, but not enough to justify eitherthe expense of repair or decisive abandonment in the attic. And therewas always a \"spare-room,\" for visitors (where thesewing-machineusually was kept), and during the 'seventies there developed anappreciation of the necessity for a bathroom. Therefore the architectsplaced bathrooms in the new houses, and the older houses tore outacupboard or two, set up a boiler beside the kitchen stove, and soughta new godliness, each with its own bathroom. The great American plumberjoke, that many-branched evergreen, was planted at this time.At the rearof the house, upstairs was a bleak little chamber, called\"the girl's room,\" and in the stable there was another bedroom,adjoining the hayloft, and called \"the hired man's room.\" House andstable cost seven or eightthousand dollars to build, and people withthat much money to invest in such comforts were classified as the Rich.They paid the inhabitant of \"the girl's room\" two dollars a week, and,in the latter part of this period, twodollars and a half, and finallythree dollars a week. She was Irish, ordinarily, or German or it mightbe Scandinavian, but never native to the land unless she happened to bea person of colour. The man or youth who livedin the stable had likewages, and sometimes he, too, was lately a steerage voyager, but muchoftener he was coloured.After sunrise, on pleasant mornings, the alleys behind the stables weregay; laughter and shoutingwent up and down their dusty lengths, witha lively accompaniment of curry-combs knocking against back fences andstable walls, for the darkies loved to curry their horses in the alley.Darkies always prefer to gossip inshouts instead of whispers; andthey feel that profanity, unless it be vociferous, is almost worthless.Horrible phrases were caught by early rising children and carried toolder people for definition, sometimes atinopportune moments; whileless investigative children would often merely repeat the phrases insome subsequent flurry of agitation, and yet bring about consequences soemphatic as to be recalled with ease in middlelife.They have passed, those darky hired-men of the Midland town; and theintrospective horses they curried and brushed and whacked and amiablycursed--those good old horses switch their tails at flies no more. Foralltheir seeming permanence they might as well have been buffaloes--orthe buffalo laprobes that grew bald in patches and used to slide fromthe careless drivers' knees and hang unconcerned, half way to theground. Thestables have been transformed into other likenesses, orswept away, like the woodsheds where were kept the stove-wood andkindling that the \"girl\" and the \"hired-man\" always quarrelled over: whoshould fetch it. Horseand stable and woodshed, and the whole tribe ofthe \"hired-man,\" all are gone. They went quickly, yet so silently thatwe whom they served have not yet really noticed that they are vanished.So with other vanishings.There were the little bunty street-cars on thelong, single track that went its troubled way among the cobblestones.At the rear door of the car there was no platform, but a step wherepassengers clung in wet clumpswhen the weather was bad and the carcrowded. The patrons--if not too absent-minded--put their fares into aslot; and no conductor paced the heaving floor, but the driver would rapremindingly with his elbow upon theglass of the door to his little openplatform if the nickels and the passengers did not appear to coincide innumber. A lone mule drew the car, and sometimes drew it off the track,when the passengers would get out andpush it on again. They really owedit courtesies like this, for the car was genially accommodating: a ladycould whistle to it from an upstairs window, and the car would haltat once and wait for her while she shut thewindow, put on her hat andcloak, went downstairs, found an umbrella, told the \"girl\" what to havefor dinner, and came forth from the house.The previous passengers made little objection to such gallantry on thepart ofthe car: they were wont to expect as much for themselves on likeoccasion. In good weather the mule pulled the car a mile in a littleless than twenty minutes, unless the stops were too long; but when thetrolley-carcame, doing its mile in five minutes and better, it wouldwait for nobody. Nor could its passengers have endured such a thing,because the faster they were carried the less time they had to spare! Inthe days beforedeathly contrivances hustled them through their lives,and when they had no telephones--another ancient vacancy profoundlyresponsible for leisure--they had time for everything: time to think, totalk, time to read, timeto wait for a lady!They even had time to dance \"square dances,\" quadrilles, and \"lancers\";they also danced the \"racquette,\" and schottisches and polkas, andsuch whims as the \"Portland Fancy.\" They pushed back thesliding doorsbetween the \"parlour\" and the \"sitting room,\" tacked down crash overthe carpets, hired a few palms in green tubs, stationed three or fourItalian musicians under the stairway in the \"front hall\"--and hadgreatnights!But these people were gayest on New Year's Day; they made it a truefestival--something no longer known. The women gathered to \"assist\" thehostesses who kept \"Open House\"; and the carefree men,dandified andperfumed, went about in sleighs, or in carriages and ponderous \"hacks,\"going from Open House to Open House, leaving fantastic cards in fancybaskets as they entered each doorway, and emerging a littlelater, morecarefree than ever, if the punch had been to their liking. It alwayswas, and, as the afternoon wore on, pedestrians saw great gesturing andwaving of skin-tight lemon gloves, while ruinous fragments of songweredropped behind as the carriages rolled up and down the streets.\"Keeping Open House\" was a merry custom; it has gone, like the all-daypicnic in the woods, and like that prettiest of all vanished customs,theserenade. When a lively girl visited the town she did not longgo unserenaded, though a visitor was not indeed needed to excuse aserenade. Of a summer night, young men would bring an orchestra undera pretty girl'swindow--or, it might be, her father's, or that of anailing maiden aunt--and flute, harp, fiddle, 'cello, cornet, and bassviol would presently release to the dulcet stars such melodies as singthrough \"You'll Remember Me,\"\"I Dreamt That I Dwelt in Marble Halls,\"\"Silver Threads Among the Gold,\" \"Kathleen Mavourneen,\" or \"TheSoldier's Farewell.\"They had other music to offer, too, for these were the happy daysof \"Olivette\" and \"TheMacotte\" and \"The Chimes of Normandy\" and\"Girofle-Girofla\" and \"Fra Diavola.\" Better than that, these were thedays of \"Pinafore\" and \"The Pirates of Penzance\" and of \"Patience.\" Thislast was needed in the Midlandtown, as elsewhere, for the \"aestheticmovement\" had reached thus far from London, and terrible things werebeing done to honest old furniture. Maidens sawed what-nots in two, andgilded the remains. They took therockers from rocking-chairs and gildedthe inadequate legs; they gilded the easels that supported the crayonportraits of their deceased uncles. In the new spirit of art theysold old clocks for new, and threw wax flowersand wax fruit, and theprotecting glass domes, out upon the trash-heap. They filled vases withpeacock feathers, or cattails, or sumac, or sunflowers, and set thevases upon mantelpieces and marble-topped tables. Theyembroidereddaisies (which they called \"marguerites\") and sunflowers and sumac andcat-tails and owls and peacock feathers upon plush screens and uponheavy cushions, then strewed these cushions upon floors wherefathersfell over them in the dark. In the teeth of sinful oratory, thedaughters went on embroidering: they embroidered daisies and sunflowersand sumac and cat-tails and owls and peacock feathers upon \"throws\"whichthey had the courage to drape upon horsehair sofas; they paintedowls and daisies and sunflowers and sumac and cat-tails and peacockfeathers upon tambourines. They hung Chinese umbrellas of paper tothechandeliers; they nailed paper fans to the walls. They \"studied\"painting on china, these girls; they sang Tosti's new songs; theysometimes still practiced the old, genteel habit of lady-fainting, andwere most charming ofall when they drove forth, three or four in abasket phaeton, on a spring morning.Croquet and the mildest archery ever known were the sports of peoplestill young and active enough for so much exertion; middle-ageplayedeuchre. There was a theatre, next door to the Amberson Hotel, and whenEdwin Booth came for a night, everybody who could afford to buy a ticketwas there, and all the \"hacks\" in town were hired. \"The BlackCrook\"also filled the theatre, but the audience then was almost entirely ofmen who looked uneasy as they left for home when the final curtain fellupon the shocking girls dressed as fairies. But the theatre did notoften doso well; the people of the town were still too thrifty.They were thrifty because they were the sons or grandsons of the \"earlysettlers,\" who had opened the wilderness and had reached it from theEast and the South withwagons and axes and guns, but with no money atall. The pioneers were thrifty or they would have perished: they hadto store away food for the winter, or goods to trade for food, and theyoften feared they had notstored enough--they left traces of that fearin their sons and grandsons. In the minds of most of these, indeed,their thrift was next to their religion: to save, even for the sakeof saving, was their earliest lesson anddiscipline. No matter howprosperous they were, they could not spend money either upon \"art,\" orupon mere luxury and entertainment, without a sense of sin.Against so homespun a background the magnificence of theAmbersons wasas conspicuous as a brass band at a funeral. Major Amberson bought twohundred acres of land at the end of National Avenue; and through thistract he built broad streets and cross-streets; paved themwith cedarblock, and curbed them with stone. He set up fountains, here and there,where the streets intersected, and at symmetrical intervals placedcast-iron statues, painted white, with their titles clear uponthepedestals: Minerva, Mercury, Hercules, Venus, Gladiator, EmperorAugustus, Fisher Boy, Stag-hound, Mastiff, Greyhound, Fawn, Antelope,Wounded Doe, and Wounded Lion. Most of the forest trees had been lefttoflourish still, and, at some distance, or by moonlight, the place wasin truth beautiful; but the ardent citizen, loving to see his city grow,wanted neither distance nor moonlight. He had not seen Versailles, but,standingbefore the Fountain of Neptune in Amberson Addition, at brightnoon, and quoting the favourite comparison of the local newspapers,he declared Versailles outdone. All this Art showed a profit from thestart, for the lotssold well and there was something like a rushto build in the new Addition. Its main thoroughfare, an obliquecontinuation of National Avenue, was called Amberson Boulevard, andhere, at the juncture of the newBoulevard and the Avenue, MajorAmberson reserved four acres for himself, and built his new house--theAmberson Mansion, of course.This house was the pride of the town. Faced with stone as far backas thedining-room windows, it was a house of arches and turrets andgirdling stone porches: it had the first porte-cochere seen in thattown. There was a central \"front hall\" with a great black walnutstairway, and open to agreen glass skylight called the \"dome,\" threestories above the ground floor. A ballroom occupied most of thethird story; and at one end of it was a carved walnut gallery for themusicians. Citizens told strangers that thecost of all this blackwalnut and wood-carving was sixty thousand dollars. \"Sixty thousanddollars for the wood-work alone! Yes, sir, and hardwood floors all overthe house! Turkish rugs and no carpets at all, except aBrussels carpetin the front parlour--I hear they call it the 'reception-room.' Hot andcold water upstairs and down, and stationary washstands in every lastbedroom in the place! Their sideboard's built right into the houseandgoes all the way across one end of the dining room. It isn't walnut,it's solid mahogany! Not veneering--solid mahogany! Well, sir, I presumethe President of the United States would be tickled to swap theWhiteHouse for the new Amberson Mansion, if the Major'd give him thechance--but by the Almighty Dollar, you bet your sweet life the Majorwouldn't!\"The visitor to the town was certain to receive further enlightenment,forthere was one form of entertainment never omitted: he was alwayspatriotically taken for \"a little drive around our city,\" even if hishost had to hire a hack, and the climax of the display was the AmbersonMansion. \"Lookat that greenhouse they've put up there in the sideyard,\" the escort would continue. \"And look at that brick stable! Mostfolks would think that stable plenty big enough and good enough to livein; it's got running waterand four rooms upstairs for two hired men andone of 'em's family to live in. They keep one hired man loafin' in thehouse, and they got a married hired man out in the stable, and his wifedoes the washing. They gotbox-stalls for four horses, and they keepa coupay, and some new kinds of fancy rigs you never saw the beat of!'Carts' they call two of 'em--'way up in the air they are--too high forme! I guess they got every new kind offancy rig in there that's beeninvented. And harness--well, everybody in town can tell when Ambersonsare out driving after dark, by the jingle. This town never did see somuch style as Ambersons are putting on, thesedays; and I guess it'sgoing to be expensive, because a lot of other folks'll try to keep upwith 'em. The Major's wife and the daughter's been to Europe, and mywife tells me since they got back they make tea there everyafternoonabout five o'clock, and drink it. Seems to me it would go against aperson's stomach, just before supper like that, and anyway tea isn't fitfor much--not unless you're sick or something. My wife saysAmbersonsdon't make lettuce salad the way other people do; they don't chop itup with sugar and vinegar at all. They pour olive oil on it with theirvinegar, and they have it separate--not along with the rest of themeal.And they eat these olives, too: green things they are, something like ahard plum, but a friend of mine told me they tasted a good deal like abad hickory-nut. My wife says she's going to buy some; you got toeatnine and then you get to like 'em, she says. Well, I wouldn't eat ninebad hickory-nuts to get to like them, and I'm going to let these olivesalone. Kind of a woman's dish, anyway, I suspect, but most everybody'llbe"}
+{"doc_id":"doc_144","qid":"","text":"The Project Gutenberg EBook of The Deserted Village, by Oliver GoldsmithThis eBook is for the use of anyone anywhere in the United States and mostother parts of the world at no cost and with almost norestrictionswhatsoever.  You may copy it, give it away or re-use it under the terms ofthe Project Gutenberg License included with this eBook or online atwww.gutenberg.org.  If you are not located in the United States,you'll haveto check the laws of the country where you are located before using this ebook.Title: The Deserted VillageAuthor: Oliver GoldsmithIllustrator: The Etching ClubRelease Date: November 19, 2015 [EBook#50500]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE DESERTED VILLAGE ***Produced by David Widger from page images generouslyprovided by Google BooksTHE DESERTED VILLAGEByOliver GoldsmithIllustrated by the Etching ClubNew York: D. Appleton And Co. BroadwayMDCCCLVII[Illustration: 0001][Illustration: 0008]The Illustrations in this Volume are copied, with permission,from a series ofEtchings published some years since by the\"Etching Club.\" Only a few impressions of that work wereprinted, the copper-plates were destroyed, and the book, exceptin a very expensive form, has long been unattainable.Greatcare has been taken to render the present Wood-blocks as likethe original Etchings as the different methods of engraving willallow.ILLUSTRATIONS                                                                     Page    SweetAuburn! loveliest milage of the plain...T. Creswick, R.A....007    The never-failing brook, the busy mill........T. Creswick, R.A....008    The hawthorn bush, with seals in shade........C. W. Cope, R.A.....009    The matron'sglance that would reprove........H. J. Townsend......010    The hollow sounding bittern guards its nest...F. Tayler...........012    These, far departing, seek a kinder shore.....C. Stonhouse........014    Amidst the swainsshow my book-learn'd skill..J. C. Horsley.......015    And, as a hare, whom hounds and horns pursue..F. Tayler...........016    To spurn imploring famine from the gale.......C. W. Cope, R.A.....017    While resignationgently slopes the way.......T. Creswick, R.A....018    The playful children let loose from school....T. Webster, R.A.....019    All but yon widow'd solitary thing............F. Tayler...........020    The village preacher's modestmansion rose....T. Creswick, R.A....021    He chid their wanderings; relieved pain.......C. W. Cope, R.A.....022    Shoulder'd his crutch, and show'd fields won..C. W. Cope, R.A.....023    Beside the bed where parting lifewas laid....R. Redgrave, R.A....025    And pluck'd his gown, share the man's smile...J. C. Horsley.......026    The village master taught his little school...T. Webster, R.A.....027    Full well they laugh'd withglee..............T. Webster, R.A.....028    Convey'd the dismal tidings when he frown'd...T. Webster, R.A.....028    In arguing too the parson own'd his skill.....C. W. Cope, R.A.....029    Near yonder thorn, that lifts itshead high...T. Creswick, R.A....030    Where village statesmen with looks profound...F. Tayler...........031    But the long pomp, the midnight masquerade....J. C. Horsley.......033    Proud swells the tide with loads ofore.......T. Creswick, R.A....034    If to some common's fenceless limit stray'd...C. Stonhouse........036    Where the poor houseless female lies..........J. C. Horsley.......037    She left her wheel and robes ofbrown.........J. C. Horsley.......038    The rattling terrors of the vengeful snake....T. Creswick, R.A....040    The cooling brookt the grassy-vested green....T. Creswick, R.A....041    The good old sire the first prepared togo....C. W. Cope, R.A.....042    Whilst her husband strove to lend relief......R. Redgrave, R.A....043    Down where yon vessel spreads the sail........T. Creswick, R.A....044    Or winter wraps the polar world insnow.......T. Creswick, R.A....045    As rocks resist the billows aNd the sky.......T. Creswick, R.A....046Drawn on wood, from the original Etchings, by E. K. Johnson, andengraved by Horace Harral, Thomas Bolton, andJames Cooper.{007}[Illustration: 0016]THE DESERTED VILLAGESweet Auburn! loveliest village of the plain,Where health and plenty cheer'd the labouring swain,Where smiling spring its earliest visit paid,And partingsummer's lingering blooms delay'd.{008}[Illustration: 0017]Dear lovely bowers of innocence and ease,Seats of my youth, when every sport could please,How often have I loiter'd o'er thy green,Where humblehappiness endear'd each scene!How often have I paused on every charm,The shelter'd cot, the cultivated farm,{009}[Illustration: 0020]The never-failing brook, the busy mill,The decent church that topt theneighbouring hill,The hawthorn bush, with seats beneath the shade,For talking age and whispering lovers made!How often have I blest the coming day,When toil remitting lent its turn to play,{010}And all the villagetrain, from labour free,Led up their sports beneath the spreading tree;[Illustration: 0021]While many a pastime circled in the shade,The young contending as the old survey'd;And many a gambol frolick'd o'er theground,And sleights of art and feats of strength went round;{011}And still, as each repeated pleasure tired,Succeeding sports the mirthful band inspired:The dancing pair that simply sought renown,By holding out totire each other down;The swain mistrustless of his smutted face,While secret laughter titter'd round the place;The bashful virgin's sidelong looks of love,The matron's glance that would those looks reprove;These werethy charms, sweet village! sports like these,With sweet succession, taught e'en toil to please;These round thy bowers their cheerful influence shed,These were thy charms--but all these charms are fled.Sweet smilingvillage, loveliest of the lawn!Thy sports are fled, and all thy charms withdrawn;Amidst thy bowers the tyrant's hand is seen,And desolation saddens all thy green:One only master grasps the whole domain,And half atillage stints thy smiling plain:No more thy glassy brook reflects the day,But choked with sedges works its weedy way;Along thy glades a solitary guest,The hollow-sounding bittern guards its nest;{012}Amidst thydesert walks the lapwing flies,And tires their echoes with unvaried cries.[Illustration: 0025]Sunk are thy bowers in shapeless ruin all,And the long grass o'ertops the mouldering wall;And trembling, shrinking from thespoiler's hand,Far, far away thy children leave the land.{013}Ill  fares the land, to hastening ills a prey,Where wealth accumulates, and men decay:Princes and lords may flourish, or may fade;A breath can make them,as a breath has made:But a bold peasantry, their country's pride,When once destroy'd, can never be supplied.A time there was, ere England's griefs began,When every rood of ground maintain'd its man;For him lightlabour spread her wholesome store,Just gave what life required, but gave no more:His best companions, innocence and health;And his best riches, ignorance of wealth.But times are alter'd; trade's unfeeling trainUsurpthe land, and dispossess the swain;Along the lawn, where scatter'd hamlets rose,Unwieldy wealth and cumbrous pomp repose;And every want to luxury allied,And every pang that folly pays to pride.Those gentle hoursthat plenty bade to bloom,Those calm desires that ask'd but little room,Those healthful sports that graced the peaceful scene,Lived in each look, and brighten'd all the green;{014}These, far departing, seek a kindershore,And rural mirth and manners are no more.[Illustration: 0027]Sweet Auburn! parent of the blissful hour,Thy glades forlorn confess the tyrant's power.Here, as I take my solitary roundsAmidst thy tangling walksand ruin'd grounds,And, many a year elapsed, return to viewWhere once the cottage stood, the hawthorn grew,Remembrance wakes with all her busy train,Swells at my breast, and turns the past to pain.{015}In all mywanderings round this world of care,In all my griefs--and God has given my share--[Illustration: 0030]To husband out life's taper at the close,And keep the flame from wasting by repose:I still had hopes, my latesthours to crown,Amidst these humble bowers to lay me down;I still had hopes, for pride attends us still,Amidst the swains to show my book-learn'd skill,{016}Around my fire an evening group to draw,And tell of all Ifelt, and all I saw;And, as a hare, whom hounds and horns pursue,Pants to the place from whence at first he flew,[Illustration: 0031]I still had hopes, my long vexations past,Here to return--and die at home at last.Oblest retirement, friend to life's decline,Retreats from care, that never must be mine:How blest is he who crowns, in shades like these,A youth of labour with an age of ease;{017}Who quits a world where strongtemptations try,And since 'tis hard to combat, learns to fly!For him no wretches, born to work and weep,Explore the mine, or tempt the dangerous deep;[Illustration: 0034]No surly porter stands, in guilty state,To spurnimploring famine from the gate--But on he moves to meet his latter end,Angels around befriending virtue's friend;Sinks to the grave with unperceived decay,While resignation gently slopes the way;{018}And, all hisprospects brightening to the last,His heaven commences ere the world be past.[Illustration: 0035]Sweet was the sound, when oft, at evening's close,Up yonder hill the village murmur rose:There, as I pass'd withcareless steps and slow,The mingling notes came soften'd from below;The swain responsive as the milk-maid sung,The sober herd that low'd to meet their young;The noisy geese that gabbled o'er the pool,The playfulchildren just let loose from school;{019}The watch-dog's voice that bay'd the whispering wind,And the loud laugh that spoke the vacant mind;[Illustration: 0038]These all in sweet confusion sought the shade,And fill'deach pause the nightingale had made.But now the sounds of population fail:No cheerful murmurs fluctuate in the gale,No busy steps the grass-grown footway tread,But all the bloomy flush of life is fled;All but yonwidow'd solitary thing,That feebly bends beside the plashy spring:{020}She, wretched matron, forced in age, for bread,To strip the brook with mantling cresses spread[Illustration: 0039]To pick her wintry faggot fromthe thorn,To seek her nightly shed and weep till morn;She only left of all the harmless train,The sad historian of the pensive plain.{021}Near yonder copse, where once the garden smiled,And still where many a gardenflower grows wild,[Illustration: 0042]There, where a few torn shrubs the place disclose,The village preacher's modest mansion rose.A man he was to all the country dear,And passing rich with forty pounds ayear;{022}Remote from towns he ran his godly race,Nor e'er had changed, nor wish'd to change his place[Illustration: 0043]Unskilful he to fawn, or seek for power,By doctrines fashion'd to the varying hour;Far otheraims his heart had learn'd to prize,More bent to raise the wretched than to rise.{023}His house was known to all the vagrant train;He chid their wanderings, but relieved their pain:[Illustration: 0046]The longremember'd beggar was his guest,Whose beard descending swept his aged breast;The ruin'd spendthrift, now no longer proud,Claim'd kindred there, and had his claims allow'd;{024}The broken soldier, kindly bade tostay,Sate by his fire, and talk'd the night away;Wept o'er his wounds, or, tales of sorrow done,Shoulder'd his crutch, and show'd how fields were won.Pleased with his guests, the good man learn'd to glow,And quiteforgot their vices in their woe;Careless their merits or their faults to scan,His pity gave ere charity began.Thus to relieve the wretched was his pride,And e'en his failings lean'd to virtue's side;But in his duty prompt, atevery call,He watch'd and wept, he pray'd and felt for all:And, as a bird each fond endearment triesTo tempt its new-fledged offspring to the skies,He tried each art, reproved each dull delay,Allured to brighter worlds,and led the way.Beside the bed where parting life was laid,And sorrow, guilt, and pain, by turns dismay'd,The reverend champion stood. At his control,Despair and anguish fled the struggling soul;{025}Comfort camedown the trembling wretch to raise,And his last faltering accents whisper'd praise.[Illustration: 0050]At church, with meek and unaffected grace,His looks adorn'd the venerable place;Truth from his lips prevail'd withdouble sway,And fools, who came to scoff, remain'd to pray.The service past, around the pious man,With ready zeal each honest rustic ran:{026}E'en children follow'd with endearing wile,And pluck'd his gown, to sharethe good man's smile[Illustration: 0051]His ready smile a parent's warmth express'd,Their welfare pleased him, and their cares distress'dTo them his heart, his love, his griefs, were given,But all his serious thoughtshad rest in heaven.As some tall cliff, that lifts its awful form,Swells from the vale, and midway leaves the storm,{027}Though round its breast the rolling clouds are spread,Eternal sunshine settles on itshead.[Illustration: 0054]Beside yon straggling fence that skirts the wayWith blossom'd furze, unprofitably gay,There, in his noisy mansion, skill'd to rule,The village master taught his little school:A man severe he was,and stern to view;I knew him well, and every truant knew:[Illustration: 0055]Full well they laugh'd with counterfeited gleeAt all his jokes, for many a joke had he;{028}Well had the boding tremblers learn'd to traceTheday's disasters in his morning face:Full well the busy whisper, circling round,Convey'd the dismal tidings when he frown'd;{029}Yet he was kind, or if severe in aught,The love he bore to learning was in fault:The villageall declared how much he knew;'Twas certain he could write and cipher too:Lands he could measure, terms and tides presage,And e'en the story ran that he could gauge:[Illustration: 0058]In arguing too the parsonown'd his skill,For e'en though vanquish'd, he could argue still;{030}While words of learned length, and thundering sound,Amazed the gazing rustics ranged around;And still they gazed, and still the wonder grewThatone small head could carry all he knew.But past is all his fame: the very spot,Where many a time he triumph'd, is forgot.[Illustration: 0059]Near yonder thorn that lifts its head on high,Where once the sign-post caughtthe passing eye,Low lies that house where nut-brown draughts inspired,Where grey-beard mirth and smiling toil retired,{031}Where village statesmen talk'd with looks profound,And news much older than their alewent round.[Illustration: 0062]Imagination fondly stoops to traceThe parlour splendours of that festive place;The white-wash'd wall, the nicely-sanded floor,The varnish'd clock that click'd behind the door;{032}Thechest contrived a double debt to pay,A bed by night, a chest of drawers by day;The pictures placed for ornament and use,The twelve good rules, the royal game of gooseThe hearth, except when winter chill'd theday,With aspen boughs, and flowers, and fennel gayWhile broken tea-cups, wisely kept for show,Ranged o'er the chimney, glisten'd in a row.Vain, transitory splendours! could not allReprieve the tottering mansion fromits fall IObscure it sinks, nor shall it more impartAn hour's importance to the poor man's heart:Thither no more the peasant shall repairTo sweet oblivion of his daily care:No more the farmer's news, the barber's tale,Nomore the woodman's ballad shall prevail;No more the smith his dusky brow shall clear,Relax his ponderous strength, and lean to hear;The host himself no longer shall be foundCareful to see the mantling bliss goround;Nor the coy maid, half willing to be prest,Shall kiss the cup to pass it to the rest.{033}Yes! let the rich deride, the proud disdain,These simple blessings of the lowly train:To me more dear, congenial to myheart,One native charm, than all the gloss of art;Spontaneous joys, where nature has its play,The soul adopts, and owns their first-born sway;Lightly they frolic o'er the vacant mind,Unenvied, unmolested,unconfined.[Illustration: 0066]But the long pomp, the midnight masquerade,With all the freaks of wanton wealth array'd,In these, ere triflers half their wish obtain,The toilsome pleasure sickens into pain;{034}And,e'en while fashion's brightest arts decoy,The heart distrusting asks, if this be joy?Ye friends to truth, ye statesmen, who surveyThe rich man's joys increase, the poor's decay,'Tis yours to judge how wide the limitsstandBetween a splendid and a happy land.[Illustration: 0067]Proud swells the tide with loads of freighted ore,And shouting Folly hails them from her shore;Hoards e'en beyond the miser's wish abound,And rich menflock from all the world around.Yet count our gains. This wealth is but a nameThat leaves our useful product still the same.{035}Not so the loss. The man of wealth and prideTakes up a space that many poorsupplied;Space for his lake, his park's extended bounds,Space for his horses, equipage, and hounds;The robe that wraps his limbs in silken slothHas robb'd the neighbouring fields of half their growth;His seat, wheresolitary sports are seen,Indignant spurns the cottage from the green;Around the world each needful product flies,For all the luxuries the world supplies:While thus the land, adorn'd for pleasure all,In barren splendourfeebly waits the fall.As some fair female, unadorn'd and plain,Secure to please while youth confirms her reign,Slights every borrow'd charm that dress supplies,Nor shares with art the triumph of her eyes;But whenthose charms are past, for charms are frail,When time advances, and when lovers fail,She then shines forth, solicitous to bless,In all the glaring impotence of dress;Thus fares the land, by luxury betray'd,In nature'ssimplest charms at first array'd;{036}But verging to decline, its splendours rise,Its vistas strike, its palaces surprise;While, scourged by famine, from the smiling landThe mournful peasant leads his humble band;Andwhile he sinks, without one arm to save,The country blooms--a garden and a grave!Where then, ah! where shall poverty reside,To 'scape the pressure of contiguous pride?[Illustration: 0071]If to some common'sfenceless limits stray'd,He drives his flock to pick the scanty blade,Those fenceless fields the sons of wealth divide,And e'en the bare-worn common is denied.{037}If to the city sped--What waits him there?To seeprofusion, that he must not share;To see ten thousand baneful arts combinedTo pamper luxury, and thin mankind;To see each joy the sons of pleasure know,Extorted from his fellow-creature's woe.[Illustration:0074]Here, while the courtier glitters in brocade,There the pale artist plies the sickly trade;Here, while the proud their long-drawn pomp display,There the black gibbet glooms beside the way;{038}The dome wherepleasure holds her midnight reign,Here, richly deck'd, admits the gorgeous train;Tumultuous grandeur crowds the blazing square,The rattling chariots clash, the torches glare.Sure scenes like these no troubles e'erannoy!Sure these denote one universal joy!Are these thy serious thoughts? Ah, turn thine eyesWhere the poor houseless shivering female lies:She once, perhaps, in village plenty blest,Has wept at tales of innocencedistrest;[Illustration: 0075]Her modest looks the cottage might adorn,Sweet as the primrose peeps beneath the thorn;{039}Now lost to all; her friends, her virtue fled,Near her betrayer's door she lays her head,And,pinch'd with cold, and shrinking from the shower,With heavy heart deplores that luckless hourWhen idly first, ambitious of the town,She left her wheel and robes of country brown.Do thine, sweet Auburn, thine, theloveliest train,Do thy fair tribes participate her pain?E'en now, perhaps, by cold and hunger led,At proud men's doors they ask a little bread!Ah, no. To distant climes, a dreary scene,Where half the convex world intrudesbetween,Through torrid tracts with fainting steps they go,Where wild Altama murmurs to their woe.Far different there from all that charm'd before,The various terrors of that horrid shore;Those blazing suns that dart adownward ray,And fiercely shed intolerable day;Those matted woods where birds forget to sing,But silent-bats in drowsy clusters cling;{040}Those poisonous fields with rank luxuriance crown'd,Where the dark scorpiongathers death around;Where at each step the stranger fears to wakeThe rattling terrors of the vengeful snake;[Illustration: 0079]Where crouching tigers wait their hapless prey,And savage men more murderous stillthan they;While oft in whirls the mad tornado flies,Mingling the ravaged landscape with the skies.Far different these from every former scene,The cooling brook, the grassy-vested green,{041}The breezy covert of thewarbling grove,That only shelter'd thefts of harmless love.[Illustration: 0082]Good Heaven! what sorrows gloom'd that parting day,That call'd them from their native walks away!When the poor exiles, every pleasurepast,Hung round the bowers, and fondly look'd their last,And took a long farewell, and wish'd in vainFor seats like these beyond the western main;And shuddering still to face the distant deep,Return'd and wept, and still"}
+{"doc_id":"doc_145","qid":"","text":"Project Gutenberg's Mrs. Warren's Profession, by George Bernard ShawThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: Mrs. Warren's ProfessionAuthor: George Bernard ShawRelease Date: February 11, 2006 [EBook#1097][Last updated: July 6, 2011]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK MRS. WARREN'S PROFESSION ***Produced by An Anonymous Volunteer and David WidgerMRS WARREN'SPROFESSIONby George Bernard Shaw1894With The Author's Apology (1902)THE AUTHOR'S APOLOGYMrs Warren's Profession has been performed at last, after a delay ofonly eight years; and I have once more sharedwith Ibsen the triumphantamusement of startling all but the strongest-headed of the Londontheatre critics clean out of the practice of their profession. Noauthor who has ever known the exultation of sending the Pressinto anhysterical tumult of protest, of moral panic, of involuntary and franticconfession of sin, of a horror of conscience in which the power ofdistinguishing between the work of art on the stage and the real lifeof thespectator is confused and overwhelmed, will ever care for thestereotyped compliments which every successful farce or melodramaelicits from the newspapers. Give me that critic who rushed from my playto declarefuriously that Sir George Crofts ought to be kicked. What atriumph for the actor, thus to reduce a jaded London journalist tothe condition of the simple sailor in the Wapping gallery, who shoutsexecrations at Iago andwarnings to Othello not to believe him! Butdearer still than such simplicity is that sense of the sudden earthquakeshock to the foundations of morality which sends a pallid crowd ofcritics into the street shrieking that thepillars of society arecracking and the ruin of the State is at hand. Even the Ibsen championsof ten years ago remonstrate with me just as the veterans of those bravedays remonstrated with them. Mr Grein, the hardyiconoclast who firstlaunched my plays on the stage alongside Ghosts and The Wild Duck,exclaimed that I have shattered his ideals. Actually his ideals! Whatwould Dr Relling say? And Mr William Archer himself disownsme because I\"cannot touch pitch without wallowing in it\". Truly my play must be moreneeded than I knew; and yet I thought I knew how little the others know.Do not suppose, however, that the consternation of thePress reflectsany consternation among the general public. Anybody can upset thetheatre critics, in a turn of the wrist, by substituting for theromantic commonplaces of the stage the moral commonplaces of thepulpit,platform, or the library. Play Mrs Warren's Profession to an audienceof clerical members of the Christian Social Union and of women wellexperienced in Rescue, Temperance, and Girls' Club work, and nomoralpanic will arise; every man and woman present will know that as longas poverty makes virtue hideous and the spare pocket-money of richbachelordom makes vice dazzling, their daily hand-to-hand fightagainstprostitution with prayer and persuasion, shelters and scanty alms,will be a losing one. There was a time when they were able to urge thatthough \"the white-lead factory where Anne Jane was poisoned\" may beafar more terrible place than Mrs Warren's house, yet hell is still moredreadful. Nowadays they no longer believe in hell; and the girls amongwhom they are working know that they do not believe in it, and wouldlaugh atthem if they did. So well have the rescuers learnt that MrsWarren's defence of herself and indictment of society is the thing thatmost needs saying, that those who know me personally reproach me, notfor writing thisplay, but for wasting my energies on \"pleasantplays\" for the amusement of frivolous people, when I can build up suchexcellent stage sermons on their own work. Mrs Warren's Profession isthe one play of mine which Icould submit to a censorship without doubtof the result; only, it must not be the censorship of the minor theatrecritic, nor of an innocent court official like the Lord Chamberlain'sExaminer, much less of people whoconsciously profit by Mrs Warren'sprofession, or who personally make use of it, or who hold the widelywhispered view that it is an indispensable safety-valve for theprotection of domestic virtue, or, above all, who aresmitten with asentimental affection for our fallen sister, and would \"take her uptenderly, lift her with care, fashioned so slenderly, young, and SOfair.\" Nor am I prepared to accept the verdict of the medicalgentlemenwho would compulsorily sanitate and register Mrs Warren, whilst leavingMrs Warren's patrons, especially her military patrons, free to destroyher health and anybody else's without fear of reprisals. But Ishould bequite content to have my play judged by, say, a joint committee ofthe Central Vigilance Society and the Salvation Army. And the sternermoralists the members of the committee were, the better.Some of thejournalists I have shocked reason so unripely that they willgather nothing from this but a confused notion that I am accusing theNational Vigilance Association and the Salvation Army of complicity inmy own scandalousimmorality. It will seem to them that people who wouldstand this play would stand anything. They are quite mistaken. Suchan audience as I have described would be revolted by many of ourfashionable plays. Theywould leave the theatre convinced that thePlymouth Brother who still regards the playhouse as one of the gates ofhell is perhaps the safest adviser on the subject of which he knows solittle. If I do not draw the sameconclusion, it is not because I am oneof those who claim that art is exempt from moral obligations, and denythat the writing or performance of a play is a moral act, to be treatedon exactly the same footing as theft ormurder if it produces equallymischievous consequences. I am convinced that fine art is the subtlest,the most seductive, the most effective instrument of moral propaganda inthe world, excepting only the example ofpersonal conduct; and I waiveeven this exception in favor of the art of the stage, because it worksby exhibiting examples of personal conduct made intelligible and movingto crowds of unobservant, unreflecting peopleto whom real life meansnothing. I have pointed out again and again that the influence of thetheatre in England is growing so great that whilst private conduct,religion, law, science, politics, and morals are becomingmore andmore theatrical, the theatre itself remains impervious to commonsense, religion, science, politics, and morals. That is why I fight thetheatre, not with pamphlets and sermons and treatises, but with plays;andso effective do I find the dramatic method that I have no doubt Ishall at last persuade even London to take its conscience and its brainswith it when it goes to the theatre, instead of leaving them at homewith itsprayer-book as it does at present. Consequently, I am thelast man in the world to deny that if the net effect of performing MrsWarren's Profession were an increase in the number of persons enteringthat profession, itsperformance should be dealt with accordingly.Now let us consider how such recruiting can be encouraged by thetheatre. Nothing is easier. Let the King's Reader of Plays, backed bythe Press, make an unwritten butperfectly well understood regulationthat members of Mrs Warren's profession shall be tolerated on the stageonly when they are beautiful, exquisitely dressed, and sumptuouslylodged and fed; also that they shall, at theend of the play, die ofconsumption to the sympathetic tears of the whole audience, or stepinto the next room to commit suicide, or at least be turned out by theirprotectors and passed on to be \"redeemed\" by old andfaithful lovers whohave adored them in spite of their levities. Naturally, the poorer girlsin the gallery will believe in the beauty, in the exquisite dresses, andthe luxurious living, and will see that there is no real necessityforthe consumption, the suicide, or the ejectment: mere pious forms, allof them, to save the Censor's face. Even if these purely officialcatastrophes carried any conviction, the majority of English girlsremain so poor, sodependent, so well aware that the drudgeries of suchhonest work as is within their reach are likely enough to lead themeventually to lung disease, premature death, and domestic desertion orbrutality, that they wouldstill see reason to prefer the primrose pathto the strait path of virtue, since both, vice at worst and virtue atbest, lead to the same end in poverty and overwork. It is true that theBoard School mistress will tell you thatonly girls of a certain kindwill reason in this way. But alas! that certain kind turns out oninquiry to be simply the pretty, dainty kind: that is, the only kindthat gets the chance of acting on such reasoning. Read the firstreportof the Commission on the Housing of the Working Classes [Bluebook C4402, 8d., 1889]; read the Report on Home Industries (sacred word,Home!) issued by the Women's Industrial Council [Home IndustriesofWomen in London, 1897, 1s., 12 Buckingham Street, W. C.]; and askyourself whether, if the lot in life therein described were your lotin life, you would not prefer the lot of Cleopatra, of Theodora, of theLady of theCamellias, of Mrs Tanqueray, of Zaza, of Iris. If you cango deep enough into things to be able to say no, how many ignoranthalf-starved girls will believe you are speaking sincerely? To them thelot of Iris is heavenly incomparison with their own. Yet our King, likehis predecessors, says to the dramatist, \"Thus, and thus only, shallyou present Mrs Warren's profession on the stage, or you shall starve.Witness Shaw, who told theuntempting truth about it, and whom We, bythe Grace of God, accordingly disallow and suppress, and do what in Uslies to silence.\" Fortunately, Shaw cannot be silenced. \"The harlot'scry from street to street\" is louderthan the voices of all the kings.I am not dependent on the theatre, and cannot be starved into makingmy play a standing advertisement of the attractive side of Mrs Warren'sbusiness.Here I must guard myself against amisunderstanding. It is not the faultof their authors that the long string of wanton's tragedies, from Antonyand Cleopatra to Iris, are snares to poor girls, and are objected toon that account by many earnest men andwomen who consider Mrs Warren'sProfession an excellent sermon. Mr Pinero is in no way bound to suppressthe fact that his Iris is a person to be envied by millions of betterwomen. If he made his play false to life byinventing fictitiousdisadvantages for her, he would be acting as unscrupulously as any tractwriter. If society chooses to provide for its Irises better than forits working women, it must not expect honest playwrights tomanufacturespurious evidence to save its credit. The mischief lies in thedeliberate suppression of the other side of the case: the refusal toallow Mrs Warren to expose the drudgery and repulsiveness of plying forhireamong coarse, tedious drunkards; the determination not to let theParisian girl in Brieux's Les Avaries come on the stage and drive intopeople's minds what her diseases mean for her and for themselves. Allthat, saysthe King's Reader in effect, is horrifying, loathsome.Precisely: what does he expect it to be? would he have us represent itas beautiful and gratifying? The answer to this question, I fear, mustbe a blunt Yes; for it seemsimpossible to root out of an Englishman'smind the notion that vice is delightful, and that abstention from itis privation. At all events, as long as the tempting side of it is kepttowards the public, and softened by plenty ofsentiment and sympathy, itis welcomed by our Censor, whereas the slightest attempt to place it inthe light of the policeman's lantern or the Salvation Army shelteris checkmated at once as not merely disgusting, but, ifyou please,unnecessary.Everybody will, I hope, admit that this state of things is intolerable;that the subject of Mrs Warren's profession must be either tapualtogether, or else exhibited with the warning side as freelydisplayedas the tempting side. But many persons will vote for a complete tapu,and an impartial sweep from the boards of Mrs Warren and Gretchen andthe rest; in short, for banishing the sexual instincts from thestagealtogether. Those who think this impossible can hardly have consideredthe number and importance of the subjects which are actually banishedfrom the stage. Many plays, among them Lear, Hamlet,Macbeth,Coriolanus, Julius Caesar, have no sex complications: the thread oftheir action can be followed by children who could not understand asingle scene of Mrs Warren's Profession or Iris. None of our plays rousethesympathy of the audience by an exhibition of the pains of maternity,as Chinese plays constantly do. Each nation has its own particular setof tapus in addition to the common human stock; and though each ofthese tapuslimits the scope of the dramatist, it does not make dramaimpossible. If the Examiner were to refuse to license plays with femalecharacters in them, he would only be doing to the stage what our tribalcustoms already doto the pulpit and the bar. I have myself written arather entertaining play with only one woman in it, and she is quiteheartwhole; and I could just as easily write a play without a woman init at all. I will even go so far asto promise the Mr Redford my supportif he will introduce this limitation for part of the year, say duringLent, so as to make a close season for that dullest of stock dramaticsubjects, adultery, and force our managers andauthors to find out whatall great dramatists find out spontaneously: to wit, that people whosacrifice every other consideration to love are as hopelessly unheroicon the stage as lunatics or dipsomaniacs. Hector is theworld's hero;not Paris nor Antony.But though I do not question the possibility of a drama in which loveshould be as effectively ignored as cholera is at present, there is notthe slightest chance of that way out of thedifficulty being taken bythe Mr Redford. If he attempted it there would be a revolt in which hewould be swept away in spite of my singlehanded efforts to defend him.A complete tapu is politically impossible. A completetoleration isequally impossible to Mr Redford, because his occupation would be goneif there were no tapu to enforce. He is therefore compelled to maintainthe present compromise of a partial tapu, applied, to the best ofhisjudgement, with a careful respect to persons and to public opinion. Anda very sensible English solution of the difficulty, too, most readerswill say. I should not dispute it if dramatic poets really were whatEnglishpublic opinion generally assumes them to be during theirlifetime: that is, a licentiously irregular group to be kept in orderin a rough and ready way by a magistrate who will stand no nonsensefrom them. But I cannotadmit that the class represented by Eschylus,Sophocles, Aristophanes, Euripides, Shakespear, Goethe, Ibsen, andTolstoy, not to mention our own contemporary playwrights, is as much inplace in Mr Redford's office as apickpocket is in Bow Street. Further,it is not true that the Censorship, though it certainly suppresses Ibsenand Tolstoy, and would suppress Shakespear but for the absurd rule thata play once licensed is always licensed(so that Wycherly is permittedand Shelley prohibited), also suppresses unscrupulous playwrights. Ichallenge Mr Redford to mention any extremity of sexual misconduct whichany manager in his senses would riskpresenting on the London stage thathas not been presented under his license and that of his predecessor.The compromise, in fact, works out in practice in favor of loose playsas against earnest ones.To carry convictionon this point, I will take the extreme course ofnarrating the plots of two plays witnessed within the last ten yearsby myself at London West End theatres, one licensed by the late QueenVictoria's Reader of Plays, theother by the present Reader to the King.Both plots conform to the strictest rules of the period when La Dame auxCamellias was still a forbidden play, and when The Second Mrs Tanqueraywould have been tolerated onlyon condition that she carefully explainedto the audience that when she met Captain Ardale she sinned \"but inintention.\"Play number one. A prince is compelled by his parents to marry thedaughter of a neighboring king,but loves another maiden. The scenerepresents a hall in the king's palace at night. The wedding has takenplace that day; and the closed door of the nuptial chamber is in view ofthe audience. Inside, the princess awaitsher bridegroom. A duenna is inattendance. The bridegroom enters. His sole desire is to escape from amarriage which is hateful to him. An idea strikes him. He will assaultthe duenna, and get ignominiously expelled fromthe palace by hisindignant father-in-law. To his horror, when he proceeds to carry outthis stratagem, the duenna, far from raising an alarm, is flattered,delighted, and compliant. The assaulter becomes the assaulted. Heflingsher angrily to the ground, where she remains placidly. He flies. Thefather enters; dismisses the duenna; and listens at the keyhole ofhis daughter's nuptial chamber, uttering various pleasantries, anddeclaring, witha shiver, that a sound of kissing, which he supposes toproceed from within, makes him feel young again.In deprecation of the scandalized astonishment with which such a storyas this will be read, I can only say that itwas not presented on thestage until its propriety had been certified by the chief officer of theQueen of England's household.Story number two. A German officer finds himself in an inn with a Frenchlady who haswounded his national vanity. He resolves to humble her bycommitting a rape upon her. He announces his purpose. She remonstrates,implores, flies to the doors and finds them locked, calls for helpand finds none athand, runs screaming from side to side, and, aftera harrowing scene, is overpowered and faints. Nothing further beingpossible on the stage without actual felony, the officer then relentsand leaves her. When sherecovers, she believes that he has carried outhis threat; and during the rest of the play she is represented as vainlyvowing vengeance upon him, whilst she is really falling in love withhim under the influence of hisimaginary crime against her. Finally sheconsents to marry him; and the curtain falls on their happiness.This story was certified by the present King's Reader, acting for theLord Chamberlain, as void in its generaltendency of \"anything immoralor otherwise improper for the stage.\" But let nobody conclude thereforethat Mr Redford is a monster, whose policy it is to deprave the theatre.As a matter of fact, both the above storiesare strictly in order fromthe official point of view. The incidents of sex which they contain,though carried in both to the extreme point at which another step wouldbe dealt with, not by the King's Reader, but by thepolice, do notinvolve adultery, nor any allusion to Mrs Warren's profession, nor tothe fact that the children of any polyandrous group will, when they growup, inevitably be confronted, as those of Mrs Warren's group arein myplay, with the insoluble problem of their own possible consanguinity.In short, by depending wholly on the coarse humors and the physicalfascination of sex, they comply with all the formulable requirements oftheCensorship, whereas plays in which these humors and fascinations arediscarded, and the social problems created by sex seriously faced anddealt with, inevitably ignore the official formula and are suppressed.If the oldrule against the exhibition of illicit sex relations on stagewere revived, and the subject absolutely barred, the only result wouldbe that Antony and Cleopatra, Othello (because of the Bianca episode),Troilus and Cressida,Henry IV, Measure for Measure, Timon of Athens,La Dame aux Camellias, The Profligate, The Second Mrs Tanqueray, TheNotorious Mrs Ebbsmith, The Gay Lord Quex, Mrs Dane's Defence, andIris would be swept fromthe stage, and placed under the same ban asTolstoy's Dominion of Darkness and Mrs Warren's Profession, whilst suchplays as the two described above would have a monopoly of the theatre asfar as sexual interest isconcerned.What is more, the repulsiveness of the worst of the certified playswould protect the Censorship against effective exposure and criticism.Not long ago an American Review of high standing asked me for anarticleon the Censorship of the English stage. I replied that such an articlewould involve passages too disagreeable for publication in a magazinefor general family reading. The editor persisted nevertheless; butnot untilhe had declared his readiness to face this, and had pledgedhimself to insert the article unaltered (the particularity of the pledgeextending even to a specification of the exact number of words in thearticle) did I consentto the proposal. What was the result?The editor, confronted with the two stories given above, threw hispledge to the winds, and, instead of returning the article, printedit with the illustrative examples omitted, and"}
+{"doc_id":"doc_146","qid":"","text":"<html><head><title>Fault in Our Stars, The Script at IMSDb.</title><meta name=\"description\" content=\"Fault in Our Stars, The script at the Internet Movie Script Database.\"><meta name=\"keywords\"content=\"Fault in Our Stars, The script, Fault in Our Stars, The movie script, Fault in Our Stars, The film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><metaname=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttypeCONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ?'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie ScriptDatabase\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <scripttype=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre> <b>                            THE FAULT IN OUR STARS</b>                                                           Written by                      Scott Neustadter &Michael H. Weber                                                                               Based on the novel by                                  John Green                                                                                                            May 1,2012<b>                                                          FIRST DRAFT</b>          HAZEL GRACE LANCASTER (16) lies in the grass, staring up at          the stars. We're CLOSE ON her FACE and we hear:<b>           HAZEL(V.O.)</b>           You have a choice in this world, I           believe, about how to tell sad           stories.          CUT TO a SERIES OF QUICK IMAGES:          - Hazel and the BOY we will come to know as AUGUSTUS\"GUS\"          WATERS (17) at an outdoor restaurant in some magical place.          [They look very much like the perfect Hollywood couple.]<b>           HAZEL (V.O.)</b>           On the one hand, you can sugarcoat           - the way they do in movies and           romance novels.          - \"Perfect\" Hazel and \"Perfect\" Gus sit on a BENCH          overlooking an incredible seascape in some foreign country.          She rests her headon his shoulder.<b>           HAZEL (V.O.)</b>           Where villains are vanquished           and... heroes are born and...          - \"Perfect\" Hazel and \"Perfect\" Gus kiss in a dark room.<b>           HAZEL(V.O.)</b>           ... beautiful people learn           beautiful lessons...          - \"Perfect\" Hazel and \"Perfect\" Gus fall onto a bed together.          They look deep into one another's eyes.<b>           HAZEL(V.O.)</b>           ... and nothing is too messed up           that can't be fixed with an apology           and a Peter Gabriel song.          BACK TO Hazel on the grass, still watching the stars. Were          those dreams orwere they memories? Still unclear.<b>           HAZEL (V.O.)</b>           I like that way as much as the next           girl, believe me. It's just not the           truth.          Hazel closes her eyes.<b>           HAZEL(V.O.)</b>           This is the truth.          And EVERYTHING GOES BLACK. We HEAR:<b>           HAZEL (V.O.)</b>           Sorry.<b>           FADE IN ON:</b><b>           2.</b>                         <b>          INTDOCTOR'S OFFICE - DAY</b>          The real Hazel is no less beautiful than the one we just saw.<b>           HAZEL (V.O.)</b>           Late in the Winter of my 17th           year...          There are, however, some keyand obvious differences.          First, you'll notice the OXYGEN TUBE in her nostrils which          help her to breathe.          Second, you'll notice her hair - which we couldn't see in the          grass. It's much shorter thanthe \"Perfect\" version, the          result of someone whose head was completely shaved a few          years before.<b>           HAZEL (V.O.)</b>           ... my mother decided Iwas           depressed.<b>                          HAZEL</b>           I'm not depressed.          Hazel's legs dangle over the side of an exam table. Her          mother FRANNIE (early 40s, younger than she feels)explains          to the DOCTOR:<b>                          FRANNIE</b>           ... she eats like a bird. She           barely leaves the house,<b>                          HAZEL</b>           I'm notdepressed.<b>                          FRANNIE</b>           ... she reads the same book over           and over...<b>                          DOCTOR</b>           She's depressed.<b>                          HAZEL</b>           I'm notdepressed!          Off her look, CUT TO:          QUICK SEQUENCE, which play over:<b>                          HAZEL (V.O.)</b>           The booklets and web sites always           list depression as a side effectof           cancer...          - A SHOPPING MALL. Filled with TEENAGE GIRLS - gossipping,          laughing - being teenage girls, basically. And here's Hazel.          With her Mom. And her oxygen tank. Just anotherday.<b>           3.</b>                         <b>                          HAZEL (V.O.)</b>           Depression's not a side effect of           cancer...          - HAZEL'S LIVING ROOM. She sits watching game shows inthe          middle of the afternoon. Her Mom brings her a sandwich. A          glass of water. And then a whole host of prescription meds.          Hazel eyes them with indifference.<b>                          HAZEL(V.O.)</b>           ... it's a side effect of dying.          - A STARBUCKS. Hazel sits alone reading a dog-eared, heavily          underlined copy of a novel (\"An Imperial Affliction\" by Peter          Van Houten). She only looksup when distracted by a squeal of          delight. A YOUNG GUY has lifted a YOUNG GIRL over his          shoulder playfully. He spins her around. Hazel watches a beat          - goes back to thebook.<b>                          HAZEL (V.O.)</b>           Which is what was happening to me.          And we CUT BACK TO:                         <b>          INT DOCTOR'S OFFICE - SAME</b>          Frannie continues to talkto the doctor. Hazel continues to          dangle her feet.<b>                          FRANNIE</b>           ... some days she won't even get           out of bed.          The Doctor scratches his beard,thinking.<b>                          DOCTOR</b>           I may switch you to Zoloft. Or           Lexapro. And twice a day instead of           once.<b>                          HAZEL</b>           Why stopthere?<b>                          DOCTOR</b>           Hmm?<b>                          HAZEL</b>           Keep `em coming. I can take it. I'm           like the Keith Richards of cancer           kids.          The Doctor looks atFrannie who just shakes her head.<b>                          DOCTOR</b>           Have you been going to that Support           Group I suggested?          Instead of answering, Hazel looks at herMom.<b>           4.</b>                         <b>                          FRANNIE</b>           She's gone a few times.<b>                          HAZEL</b>           I'm not sure it's forme.<b>                          DOCTOR</b>           If you're depressed --<b>                          HAZEL</b><b>                          (EXASPERATED)</b>           I'm notde--<b>                          DOCTOR</b><b>                          (IGNORING HER)</b>           -- support Groups are a great way           to connect with people whoare...<b>                          HAZEL</b>           What?<b>                          DOCTOR</b><b>                          (BEAT)</b>           On the same journey.<b>                          HAZEL</b>           \"Journey?\"Really?<b>                          FRANNIE</b>           Hazel.<b>                          DOCTOR</b>           Just give it a chance, ok? For me.          Hazel rolls her eyes, knows she's lost thisbattle.<b>                          DOCTOR</b>           Who knows? You might even find           it... enlightening.<b>           SMASH CUT TO:</b>                         <b>          INT CHURCH BASEMENT -DAY</b>          CLOSE UP on PATRICK (30s, pony-tail). He has a guitar.<b>                          PATRICK</b>           ... we are gathered here today -           literally - in the heart of Jesus.          ANGLE on Hazel whojust shakes her head. This is the lamest          thing she could be doing right now.<b>                          PATRICK</b>           Who would like to share their story           with the group?          The basement is filled withSICK PEOPLE. Hazel among them.          Most are under the age of 18. QUICK CUTS:<b>           5.</b>                         <b>                          SPEAKER #1</b>           Jillian. 15.Lymphoma.<b>                          SPEAKER #2</b>           Angel. 17. Ewing sarcoma.<b>                          PATRICK</b>           Patrick. 34. Testicular. It started           a few years ago, when I was...          As Hazelwatches, bored, and Patrick continues, we hear:<b>           HAZEL (V.O.)</b>           I'll spare you the gory details of           Patrick's ball cancer. Basically,           they found it in his nuts, cut most           of it out, healmost died, but he           didn't die, and now here he is -           divorced, friendless, addicted to           video games, exploiting his           cancertastic past in the heart of           Jesus - \"literally\" - to showus           that one day - if we're lucky - we           could be just like him.          They all say:<b>           ALL IN UNISON</b>           \"We're here for you Patrick.\"          Hazel says it the least enthusiastically. She lockseyes with          her only friend in Support Group, a blonde kid with an eye          patch, ISAAC. He's also shaking his head.<b>                          PATRICK</b>           Who else would like toshare?<b>                          (NO RESPONSE)</b>           Hazel?          Oh no. Patrick gestures for her to speak. Reluctantly she          stands, sighs...<b>                          HAZEL</b>           I'm, uh, Hazel.16.<b>                          (BEAT)</b>           Thyroid originally but with quite           the impressive satellite colony in           my lungs.          Not much more to say, Hazel is about to sitdown.<b>                          PATRICK</b>           And how are you doing Hazel?          Hazel has no idea how to answer that.<b>           HAZEL (V.O.)</b>           You mean besides theterminal           cancer?<b>           6.</b>                                   But that's not what she says. She says:<b>                          HAZEL</b>           Alright? I guess...?          Isaac tries not to laugh at this. Hazel sitsback down.<b>           ALL IN UNISON</b>           \"We're here for you Hazel.\"          Hazel exhales. This is not at all helpful. A few more beats.<b>                          PATRICK</b>           Maybe now I'll play asong...                         <b>          EXT CHURCH - LATER</b>          Frannie sits in the car in the parking lot, reading from a          book, waiting for Group to be over. She sees the church door          open and puts thebook away. Hazel comes out. Frannie looks          at her like \"well, was it great?\" Hazel just exhales and gets          in the car. CUT TO:                         <b>          INT HAZEL'S LIVING ROOM - ANOTHERDAY</b>          \"America's Next Top Model\" is on the TV. Hazel sits on one          side of the L-shaped couch, flipping through her novel.          Frannie and Hazel's dad MICHAEL (40s, kind, doing his best to          staypositive) sit on the other side, watching her - but          trying not to make it seem that way. After a few beats:<b>                          FRANNIE</b>           It's Fridaynight.<b>                          HAZEL</b>           Hmm?<b>                          FRANNIE</b>           I was just thinking... you should           call your friends, see what they're           upto.<b>                          HAZEL</b><b>                          (DISINTERESTED)</b>           That's ok.          Frannie and Michael look at one another, don't sayanything.<b>                          MICHAEL</b>           Wanna see a movie?          Hazel looks up from the book. Sees her parents. Gets an idea.<b>                          HAZEL</b>           Why don't you guys go to a"}
+{"doc_id":"doc_147","qid":"","text":"The Project Gutenberg EBook of War and the Future, by H. G. WellsThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it underthe terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: War and the FutureAuthor: H. G. WellsRelease Date: March 21, 2006 [EBook #1804]Language: English***START OF THIS PROJECT GUTENBERG EBOOK WAR AND THE FUTURE ***Produced by Morgan L. Owens and David WidgerWAR AND THE FUTUREItaly, France and Britain at Warby H. G. WellsContents     The Passing ofthe Effigy     The War in Italy (August, 1916)     I. The Isonzo Front     II. The Mountain War     III. Behind the Front     The Western War (September, 1916)     I. Ruins     II. The Grades of War     III. The WarLandscape     IV. New Arms for Old Ones     V. Tanks     How People Think About the War     I. Do they Really Think at all?     II. The Yielding Pacifist and the Conscientious Objector     III. The Religious Revival     IV.The Riddle of the British     V. The Social Changes in Progress     VI. The Ending of the WarTHE PASSING OF THE EFFIGY1One of the minor peculiarities of this unprecedented war is the Tour ofthe Front. After somemonths of suppressed information--in which eventhe war correspondent was discouraged to the point of elimination--itwas discovered on both sides that this was a struggle in which Opinionwas playing a larger andmore important part than it had ever donebefore. This wild spreading weed was perhaps of decisive importance;the Germans at any rate were attempting to make it a cultivated flower.There was Opinion flowering awayat home, feeding rankly on rumour;Opinion in neutral countries; Opinion getting into great tanglesof misunderstanding and incorrect valuation between the Allies. Theconfidence and courage of the enemy; theamiability and assistance ofthe neutral; the zeal, sacrifice, and serenity of the home population;all were affected. The German cultivation of opinion began longbefore the war; it is still the most systematic and, becauseof thepsychological ineptitude of the Germans, it is probably the clumsiest.The French _Maison de la Presse_ is certainly the best organisation inexistence for making things clear, counteracting hostile suggestion,theBritish official organisations are comparatively ineffective; but whatis lacking officially is very largely made up for by the good willand generous efforts of the English and American press. An interestingmonographmight be written upon these various attempts of thebelligerents to get themselves and their proceedings explained.Because there is perceptible in these developments, quite over andabove the desire to influenceopinion, a very real effort to get thingsexplained. It is the most interesting and curious--one might almostwrite touching--feature of these organisations that they do notconstitute a positive and defined propaganda suchas the Germansmaintain. The German propaganda is simple, because its ends are simple;assertions of the moral elevation and loveliness of Germany; of theinsuperable excellences of German Kultur, the Kaiser, andCrown Prince,and so forth; abuse of the \"treacherous\" English who allied themselveswith the \"degenerate\" French and the \"barbaric\" Russians; nonsense about\"the freedom of the seas\"--the emptiest phrase inhistory--childishattempts to sow suspicion between the Allies, and still more childishattempts to induce neutrals and simple-minded pacifists of alliednationality to save the face of Germany by initiatingpeacenegotiations. But apart from their steady record and reminder of Germanbrutalities and German aggression, the press organisations of the Allieshave none of this definiteness in their task. The aim of thenationalintelligence in each of the allied countries is not to exalt one's ownnation and confuse and divide the enemy, but to get a real understandingwith the peoples and spirits of a number of different nations,anunderstanding that will increase and become a fruitful and permanentunderstanding between the allied peoples. Neither the English, theRussians, the Italians, nor the French, to name only the bigger Europeanallies,are concerned in setting up a legend, as the Germans areconcerned in setting up a legend of themselves to impose upon mankind.They are reality dealers in this war, and the Germans are effigymongers. Practically theAllies are saying each to one another, \"Praycome to me and see for yourself that I am very much the human stuff thatyou are. Come and see that I am doing my best--and I think that isnot so very bad a best....\" Andwith that is something else still moresubtle, something rather in the form of, \"And please tell me what youthink of me--and all this.\"So we have this curious byplay of the war, and one day I find Mr.Nabokoff, the editorof the _Retch_, and Count Alexy Tolstoy, thatwriter of delicate short stories, and Mr. Chukovsky, the subtle critic,calling in upon me after braving the wintry seas to see the Britishfleet; M. Joseph Reinach follows thempresently upon the same errand;and then appear photographs of Mr. Arnold Bennett wading in the trenchesof Flanders, Mr. Noyes becomes discreetly indiscreet about what he hasseen among the submarines, and Mr.Hugh Walpole catches things from Mr.Stephen Graham in the Dark Forest of Russia. All this is quite over andabove such writing of facts at first hand as Mr. Patrick McGill and adozen other real experiencing soldiers--notto mention the soldiers'letters Mr. James Milne has collected, or the unforgettable andimmortal _Prisoner of War_ of Mr. Arthur Green--or such admirable warcorrespondents' work as Mr. Philip Gibbs or Mr. Washburnehas done. Someof us writers--I can answer for one--have made our Tour of the Frontswith a very understandable diffidence. For my own part I did not wantto go. I evaded a suggestion that I should go in 1915. I travelbadly,I speak French and Italian with incredible atrocity, and am an extremePacifist. I hate soldiering. And also I did not want to write anything\"under instruction\". It is largely owing to a certain stiffness inthecomposition of General Delme-Radcliffe is resolved that Italy shall notfeel neglected by the refusal of the invitation from the ComandoSupremo by anyone who from the perspective of Italy may seem to bearepresentative of British opinion. If Herbert Spencer had beenalive General Radcliffe would have certainly made him come,travelling-hammock, ear clips and all--and I am not above confessingthat I wish that HerbertSpencer was alive--for this purpose. I foundUdine warm and gay with memories of Mr. Belloc, Lord Northcliffe, Mr.Sidney Low, Colonel Repington and Dr. Conan Doyle, and anticipating thearrival of Mr. Harold Cox. Sowe pass, mostly in automobiles that bumptremendously over war roads, a cloud of witnesses each testifying afterhis manner. Whatever else has happened, we have all been photographedwith invincible patience andresolution under the direction of ColonelBarberich in a sunny little court in Udine.My own manner of testifying must be to tell what I have seen and whatI have thought during this extraordinary experience. It has beenmynatural disposition to see this war as something purposeful and epic,as it is great, as an epoch, as \"the War that will end War\"--but ofthat last, more anon. I do not think I am alone in this inclination to adramatic andlogical interpretation. The caricatures in the French shopsshow civilisation (and particularly Marianne) in conflict with a hugeand hugely wicked Hindenburg Ogre. Well, I come back from this tour withsomething not sosimple as that. If I were to be tied down to one wordfor my impression of this war, I should say that this war is _Queer._ Itis not like anything in a really waking world, but like something in adream. It hasn't exactlythat clearness of light against darkness orof good against ill. But it has the quality of wholesome instinctstruggling under a nightmare. The world is not really awake. This vagueappeal for explanations to all sorts ofpeople, this desire to exhibitthe business, to get something in the way of elucidation at presentmissing, is extraordinarily suggestive of the efforts of the mind towake up that will sometimes occur at a deep crisis. Mymemory of thistour I have just made is full of puzzled-looking men. I have seenthousands of _poilus_ sitting about in cafes, by the roadside, intents, in trenches, thoughtful. I have seen Alpini sitting restfully andstaringwith speculative eyes across the mountain gulfs towards unseenand unaccountable enemies. I have seen trainloads of wounded staringout of the ambulance train windows as we passed. I have seen thesedimintimations of questioning reflection in the strangest juxtapositions;in Malagasy soldiers resting for a spell among the big shells they werehoisting into trucks for the front, in a couple of khaki-clad Maorissitting uponthe step of a horse-van in Amiens station. It is always thesame expression one catches, rather weary, rather sullen, inturned. Theshoulders droop. The very outline is a note of interrogation. They lookup as theprivileged tourist of the front, in the big automobile orthe reserved compartment, with his officer or so in charge,passes--importantly. One meets a pair of eyes that seems to say:\"Perhaps _you_ understand....\"In whichcase---...?\"It is a part, I think, of this disposition to investigate what makeseveryone collect \"specimens\" of the war. Everywhere the souvenir forcesitself upon the attention. The homecoming permissionaire bringswithhim invariably a considerable weight of broken objects, bits of shell,cartridge clips, helmets; it is a peripatetic museum. It is as if hehoped for a clue. It is almost impossible, I have found, to escape thesepieces inevidence. I am the least collecting of men, but I have broughthome Italian cartridges, Austrian cartridges, the fuse of an Austrianshell, a broken Italian bayonet, and a note that is worth half a francwithin the confines ofAmiens. But a large heavy piece of exploded shellthat had been thrust very urgently upon my attention upon the Carso Icontrived to lose during the temporary confusion of our party by thearrival and explosion ofanother prospective souvenir in our closeproximity. And two really very large and almost complete specimens ofsome species of _Ammonites_ unknown to me, from the hills to the eastof the Adige, partially wrapped ina back number of the _Corrieredella Sera_, that were pressed upon me by a friendly officer, wereunfortunately lost on the line between Verona and Milan through thegross negligence of a railway porter. But I doubt ifthey would havethrown any very conclusive light upon the war.2I avow myself an extreme Pacifist. I am against the man who first takesup the weapon. I carry my pacifism far beyond the ambiguous little groupofBritish and foreign sentimentalists who pretend so amusingly to besocialists in the _Labour Leader_, whose conception of foreign policy isto give Germany now a peace that would be no more than a breathing timefor afresh outrage upon civilisation, and who would even make heroes ofthe crazy young assassins of the Dublin crime. I do not understand thosepeople. I do not merely want to stop this war. I want to nail down warin itscoffin. Modern war is an intolerable thing. It is not a thingto trifle with in this Urban District Council way, it is a thing toend forever. I have always hated it, so far that is as my imaginationenabled me to realise it; andnow that I have been seeing it, sometimesquite closely for a full month, I hate it more than ever. I neverimagined a quarter of its waste, its boredom, its futility, itsdesolation. It is merely a destructive and dispersiveinstead of aconstructive and accumulative industrialism. It is a gigantic, dusty,muddy, weedy, bloodstained silliness. It is the plain duty of every manto give his life and all that he has if by so doing he may help to endit.I hate Germany, which has thrust this experience upon mankind, asI hate some horrible infectious disease. The new war, the war on themodern level, is her invention and her crime. I perceive that on ourside and in itsbroad outlines, this war is nothing more than a giganticand heroic effort in sanitary engineering; an effort to remove Germanmilitarism from the life and regions it has invaded, and to bank itin and discredit and enfeebleit so that never more will it repeat itspresent preposterous and horrible efforts. All human affairs and allgreat affairs have their reservations and their complications, but thatis the broad outline of the business as it hasimpressed itself on mymind and as I find it conceived in the mind of the average man of thereading class among the allied peoples, and as I find it understood inthe judgement of honest and intelligent neutralobservers.It is my unshakeable belief that essentially the Allies fight for apermanent world peace, that primarily they do not make war but resistwar, that has reconciled me to this not very congenial experienceoftouring as a spectator all agog to see, through the war zones. At anyrate there was never any risk of my playing Balaam and blessing theenemy. This war is tragedy and sacrifice for most of the world, forthe Germansit is simply the catastrophic outcome of fifty years ofelaborate intellectual foolery. Militarism, Welt Politik, and here weare! What else _could_ have happened, with Michael and his infernal WarMachine in the very centreof Europe, but this tremendous disaster?It is a disaster. It may be a necessary disaster; it may teach a lessonthat could be learnt in no other way; but for all that, I insist, itremains waste, disorder, disaster.There is adisposition, I know, in myself as well as in others, towriggle away from this verity, to find so much good in the collapse thathas come to the mad direction of Europe for the past half-century as tomake it on the wholealmost a beneficial thing. But at most I can findit in no greater good than the good of a nightmare that awakens thesleeper in a dangerous place to a realisation of the extreme danger ofhis sleep. Better had he beenawake--or never there. In Venetia CaptainPirelli, whose task it was to keep me out of mischief in the war zone,was insistent upon the way in which all Venetia was being opened upby the new military roads; there hasbeen scarcely a new road made inVenetia since Napoleon drove his straight, poplar-bordered highwaysthrough the land. M. Joseph Reinach, who was my companion upon theFrench front, was equally impressed by thestirring up and exchange ofideas in the villages due to the movement of the war. Charles Lamb'sstory of the discovery of roast pork comes into one's head with aneffect of repartee. More than ideas are exchanged in thewar zone,and it is doubtful how far the sanitary precautions of the militaryauthorities avails against a considerable propaganda of disease. A moreserious argument for the good of war is that it evokes heroicqualitiesthat it has brought out almost incredible quantities of courage,devotion, and individual romance that did not show in the suffocatingpeace time that preceded the war. The reckless and beautiful zeal ofthewomen in the British and French munition factories, for example, thegaiety and fearlessness of the common soldiers everywhere; these thingshave always been there--like champagne sleeping in bottles in a cellar.Butwas there any need to throw a bomb into the cellar?I am reminded of a story, or rather of the idea for a story that Ithink I must have read in that curious collection of fantasies andobservations, Hawthorne's _NoteBook._ It was to be the story of a manwho found life dull and his circumstances altogether mediocre. He hadloved his wife, but now after all she seemed to be a very ordinary humanbeing. He had begun life with highhopes--and life was commonplace. Hewas to grow fretful and restless. His discontent was to lead to someaction, some irrevocable action; but upon the nature of that action I donot think the _Note Book_ was very clear.It was to carry him in sucha manner that he was to forget his wife. Then, when it was too late,he was to see her at an upper window, stripped and firelit, a gloriousthing of light and loveliness and tragic intensity....Theelementary tales of the world are very few, and Hawthorne's storyand Lamb's story are, after all, only variations upon the sametheme. But can we poor human beings never realise our quality withoutdestruction?3Oneof the larger singularities of the great war is its failure toproduce great and imposing personalities, mighty leaders, Napoleons,Caesars. I would indeed make that the essential thing in my reckoningof the war. It is adrama without a hero; without countless incidentalheroes no doubt, but no star part. Even the Germans, with a nationalpredisposition for hero-cults and living still in an atmosphere ofVictorian humbug, can producenothing better than that timber image,Hindenburg.It is not that the war has failed to produce heroes so much as thatit has produced heroism in a torrent. The great man of this war is thecommon man. It becomesridiculous to pick out particular names. Thereare too many true stories of splendid acts in the past two years ever tobe properly set down. The V.C.'s and the palms do but indicate samples.One would need anencyclopaedia, a row of volumes, of the gloriousnessof human impulses. The acts of the small men in this war dwarf all thepretensions of the Great Man. Imperatively these multitudinous heroesforbid the setting up ofeffigies. When I was a young man I imitatedSwift and posed for cynicism; I will confess that now at fifty andgreatly helped by this war, I have fallen in love with mankind.But if I had to pick out a single figure to standfor the finest qualityof the Allies' war, I should I think choose the figure of GeneralJoffre. He is something new in history. He is leadership without vulgarambition. He is the extreme antithesis to the Imperial boomsterofBerlin. He is as it were the ordinary common sense of men, incarnate. Heis the antithesis of the effigy.By great good luck I was able to see him. I was delayed in Paris on myway to Italy, and my friend Captain Milletarranged for a visit to theFrench front at Soissons and put me in charge of Lieutenant de Tessin,whom I had met in England studying British social questions long beforethis war. Afterwards Lieutenant de Tessin took meto the great hotel--itstill proclaims \"_Restaurant_\" in big black letters on the gardenwall--which shelters the General Headquarters of France, and here Iwas able to see and talk to Generals Pelle and Castelnau as well astoGeneral Joffre. They are three very remarkable and very different men.They have at least one thing in common; it is clear that not one ofthem has spent ten minutes in all his life in thinking of himself asa Personageor Great Man. They all have the effect of being active andable men doing an extremely complicated and difficult but extremelyinteresting job to the very best of their ability. With me they had allone quality in common.They thought I was interested in what they weredoing, and they were quite prepared to treat me as an intelligent man ofa different sort, and to show me as much as I could understand....Let me confess that de Tessinhad had to persuade me to go toHeadquarters. Partly that was because I didn't want to use up eventen minutes of the time of the French commanders, but much more was itbecause I have a dread of Personages.Thereis something about these encounters with personages--as if one wasdealing with an effigy, with something tremendous put up to be seen.As one approaches they become remoter; great unsuspected crevassesarediscovered. Across these gulfs one makes ineffective gestures. They donot meet you, they pose at you enormously. Sometimes there is somethingmore terrible than dignity; there is condescension. They are affable.Ihad but recently had an encounter with an imported Colonial statesman,who was being advertised like a soap as the coming saviour of England.I was curious to meet him. I wanted to talk to him about all sorts ofthingsthat would have been profoundly interesting, as for example hisimpressions of the Anglican bishops. But I met a hoarding. I met a thinglike a mask, something surrounded by touts, that was dully trying--as wesay inLondon--to \"come it\" over me. He said he had heard of me. Hehad read _Kipps._ I intimated that though I had written _Kipps_ I hadcontinued to exist--but he did not see the point of that. I said certainthings to himabout the difference in complexity between politicallife in Great Britain and the colonies, that he was manifestly totallycapable of understanding. But one could as soon have talked with one ofthe statesmen at MadameTussaud's. An antiquated figure.The effect of these French commanders upon me was quite different frommy encounter with that last belated adventurer in the effigy line. Ifelt indeed that I was a rather idle and flimsyperson coming into thepresence of a tremendously compact and busy person, but I had none ofthat unpleasant sensation of a conventional role, of being expected toplay the minute worshipper in the presence of the"}
+{"doc_id":"doc_148","qid":"","text":"<html><head><title>Up Script at IMSDb.</title><meta name=\"description\" content=\"Up script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Up script, Up movie script, Up filmscript\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Filmscripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><scripttype=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript';ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0];s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>    <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\"title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center></td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre> <b>          </b><b>                                       UP</b><b>          </b>                                   Writtenby<b>          </b>                   Pete Docter, Bob Peterson & Thomas McCarthy<b>          </b><b>          </b><b>                                                                   1.</b><b>          </b>          A 1930'sNEWSREEL.<b>          </b><b>                              NEWSREEL ANNOUNCER (V.O.)</b>                    \"Movietown News\" presents...                    Spotlight on Adventure!          The mysterious SOUTH AMERICANJUNGLE. A massive waterfall          cascades down a gigantic, flat-topped mountain.<b>          </b><b>                              NEWSREEL ANNOUNCER (V.O.)</b>                    What you are now witnessingis                    footage never before seen by                    civilized humanity: a lost world in                    South America! Lurking in the                    shadow of majestic Paradise Falls,                    it sports plants andanimals                    undiscovered by science. Who would                    dare set foot on this inhospitable                    summit?<b>          </b>          A painted portrait of a dashing youngadventurer.<b>          </b><b>                              NEWSREEL ANNOUNCER (V.O.)</b>                    Why, our subject today: Charles                    Muntz!          A massive DIRIGIBLE descends on anairfield.<b>          </b><b>                              NEWSREEL ANNOUNCER (V.O.)</b>                    The beloved explorer lands his                    dirigible, the \"Spirit of                    Adventure,\" in New Hampshirethis                    week, completing a year long                    expedition to the lost world!<b>          </b><b>          </b><b>          INT. MOVIE THEATRE - CONTINUOUS</b>          Of everyone watching in themodest, small town theater, no          one is more enthralled than 8 year old CARL FREDRICKSEN.<b>          </b><b>                              NEWSREEL ANNOUNCER (O.S.)</b>                    This lighter-than-air craftwas                    designed by Muntz himself, and is                    longer than 22 Prohibition paddy-                    wagons placed end to end.          Young Carl stares, mouth agape, wearing leather flighthelmet          and goggles -- just like his idol on the silver screen.<b>          </b><b>                              NEWSREEL ANNOUNCER (V.O.)</b>                    And here comes the adventurernow!<b>          </b><b>                                                                     2.</b><b>          </b><b>          </b>          NEWSREEL FOOTAGE: the dashing Muntz descends down the          gangplank to the delight ofthe crowd. His dogs trail him.<b>          </b><b>                              NEWSREEL ANNOUNCER (V.O.)</b>                    Never apart from his faithful dogs,                    Muntz conceived the craftfor                    canine comfort! It's a veritable                    floating palace in the sky...<b>          </b>          An opulent dining room.<b>                              NEWSREEL ANNOUNCER(V.O.)</b>                    ...complete with doggie bath and                    mechanical canine walker.<b>          </b>          One dog runs suffers through mechanized bath time, while a          second wears an electrodehelmet and runs on a treadmill.<b>                              NEWSREEL ANNOUNCER (V.O.)</b>                    And Jiminy Cricket, do the locals                    consider Muntz the bee's knees!                    Andhow!<b>          </b>          Cameras flash as Muntz stands heroic, striking his signature          \"thumbs up\" stance.<b>                              MUNTZ</b>                    \"Adventure is out there!\"          In the theater,Young Carl returns the thumbs up.<b>                               NEWSREEL ANNOUNCER (V.O.)</b>                    But what has Muntz brought back                    this time?<b>          </b>          Muntz speaks to acrowded auditorium, on stage beside a          curtained object.<b>                              MUNTZ</b>                    Gentlemen, I give you: the Monster                    of Paradise Falls!          He pulls away the drape toreveal a GIANT BIRD SKELETON.<b>          </b><b>                              CROWD</b>                    Ooh!          Young Carl leans forward, eyes bulging.<b>          </b><b>                              NEWSREELANNOUNCER (V.O.)</b>                    And golly, what a swell monster                    this is. But what's this?          Skeptical scientists analyze thebones.<b>          </b><b>                                                                        3.</b><b>          </b><b>          </b><b>                              NEWSREEL ANNOUNCER (V.O.)</b>                    Scientists cry foul! TheNational                    Explorers Society accuses Muntz of                    fabricating the skeleton!<b>          </b><b>                                 YOUNG CARL</b>                    No!<b>          </b>          Muntz's portrait isremoved from a wall of paintings of other          famous explorers.<b>                              NEWSREEL ANNOUNCER (V.O.)</b>                    The organization strips Muntz of                    hismembership.<b>          </b>          Muntz's \"Explorer's Society\" badge is ceremoniously RIPPED          from his jacket.          Carl GASPS.<b>          </b>          Muntz stands next to his dirigible at an airfield.       Hegrimly          addresses the crowd.<b>          </b><b>                              NEWSREEL ANNOUNCER (V.O.)</b>                    Humiliated, Muntz vows a return to                    Paradise Falls and promisesto                    capture the beast... alive!<b>          </b><b>                              MUNTZ</b>                    I promise to capture the beast...                    alive!<b>          </b>          In the theater, young Carlsmiles.<b>                              MUNTZ</b>                    And I will not come back until I do!          The crowd CHEERS.<b>          </b>          Muntz gives his thumbs up from the cockpit as the dirigible          liftsoff.<b>                                 NEWSREEL ANNOUNCER (V.O.)</b>                    And so the    explorer is off to clear                    his name.     Bon voyage Charles                    Muntz, and    good luck capturingthe                    Monster of    Paradise Falls!          Carl looks like he just witnessed a miracle.<b>          </b><b>                                                             DISSOLVETO:</b><b>          </b><b>                                                                    4.</b><b>          </b><b>          </b><b>          </b><b>          EXT. SMALL TOWN NEIGHBORHOOD, 1930'S - DAY -CONTINUOUS</b><b>          </b>          Young Carl \"flies\" his blue balloon (\"The Spirit of          Adventure\" hand-written on it) as he runs along the sidewalk.          He still wears helmet and goggles.<b>          TITLECARD: WALT DISNEY PICTURES PRESENTS</b><b>          </b><b>                              NEWSREEL ANNOUNCER (V.O.)</b>                    Here's Charles Muntz piloting his                    famousdirigible!!<b>          </b><b>          TITLE CARD: A PIXAR ANIMATION STUDIOS FILM</b><b>                              NEWSREEL ANNOUNCER (V.O.)</b>                    He hurdles Pike'sPeak!<b>          </b>          Carl jumps over a small rock.<b>                              NEWSREEL ANNOUNCER (V.O.)</b>                    He hurdles the Grand Canyon!<b>          </b>          Carl jumps over a crack inthe sidewalk.<b>                              NEWSREEL ANNOUNCER (V.O.)</b>                    He hurdles Mount Everest!<b>          </b>          Carl jumps over a tree stump... and smacks into itinstead.<b>                              NEWSREEL ANNOUNCER (V.O.)</b>                    He... goes around Mount Everest!                    Is there nothing he cannot do?<b>          </b><b>          TITLECARD:   UP</b><b>          </b><b>                              NEWSREEL ANNOUNCER (V.O.)</b>                    Yes, as Muntz himself says:                    \"Adventure is--\"<b>          </b><b>                              GIRL'SVOICE (O.S.)</b>                    \"Adventure is out there!\"          Carl stops.   Who said that?<b>          </b>          The voice comes from a dilapidated HOUSE, windows boarded up          and lawn overgrown withweeds.          The weather vane atop the house turns, pulled by ropes.<b>          </b><b>                              GIRL'S VOICE (O.S.)</b>                    Look out! Mount Rushmore! Hard to                    starboard. Mustget the Spirit of                    Adventure over Mount Rushmore...<b>          </b><b>                                                                       5.</b><b>          </b><b>          </b>          Carl walks toward thevoice.<b>          </b><b>                              GIRL'S VOICE (O.S.)</b>                    Hold together old girl. How're my                    dogs doing? Ruff ruff!<b>          </b><b>          INT. DILAPIDATED HOUSE,HALLWAY - CONTINUOUS</b><b>          </b>          Carl squeezes through the broken door into the foyer.   He          follows the voice toward the living room.<b>          </b><b>                              GIRL'S VOICE(O.S.)</b>                    All engines ahead full! Let's take                    her up to 26,000 feet! Rudders                    eighteen degrees towards the south.<b>          </b><b>          INT. DILAPIDATED HOUSE, LIVINGROOM - CONTINUOUS</b><b>          </b>          Carl rounds the corner to see...<b>          </b>          ELLIE, an eight year old girl, her mussy red hair barely          visible beneath her flight helmet and goggles.Bare footed,          her overalls are patched and dirty.          The old house has been transformed into a make-believe          dirigible cockpit. Ellie steers, the wheel made from a rusty          oldbicycle.<b>          </b><b>                              YOUNG ELLIE</b>                    It's a beautiful day, winds out of                    the east at ten knots.                    Visibility... unlimited.                        (yells acommand)                    Enter the weather in the logbook!          The navigator (her hamster) skitters in its cage.<b>          </b>          Ellie uses two tied-together Coke bottles asbinoculars.<b>          </b><b>                              YOUNG ELLIE</b>                    Oh! There's something down there!                    I will bring it back for science.                    Awwww, it's apuppy!<b>          </b>          Carl is distracted by the Muntz newspaper clippings taped to          the wall.<b>          </b><b>                               YOUNG ELLIE (O.S.)</b>                    No time!   A storm!Lightning! Hail!          Ellie pops up in front of Carl.<b>          </b><b>                                                                    6.</b><b>          </b><b>          </b><b>                              YOUNGELLIE</b>                    What are you doing!?!<b>          </b>          Carl screams. He lets go of his balloon. It floats through          a broken part of the ceiling and disappears.          Ellie circles Carlaccusingly.<b>          </b><b>                              YOUNG ELLIE</b>                    Don't you know this is an exclusive                    club? Only explorers get in here.                    Not just any kid off thestreet                    with a helmet and a pair of                    goggles. Do you think you got what                    it takes? Well, do you?!?<b>          </b>          Carl FUMPHERS.<b>                              YOUNG"}
+{"doc_id":"doc_149","qid":"","text":"The Project Gutenberg EBook of Quality Street, by J. M. BarrieThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it under theterms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: Quality Street       A ComedyAuthor: J. M. BarrieRelease Date: February 12, 2010 [EBook #31266]Language:English*** START OF THIS PROJECT GUTENBERG EBOOK QUALITY STREET ***Produced by Al HainesTHE PLAYS OF J. M. BARRIEQUALITY STREETA COMEDYCHARLES SCRIBNER'S SONSNEW YORK :::::::::1923COPYRIGHT, 1918, BYJ. M. BARRIEPrinted in the United States of America_All rights reserved under the International Copyright Act.Performance forbidden and right of representation reserved.Application for theright of performing this play must be made toCharles Frohman, Inc., Empire Theatre, New York.__THE WORKS OF J. M. BARRIE.__NOVELS, STORIES, AND SKETCHES.__Uniform Edition._  AULD LIGHT IDYLLS, BETTERDEAD.  WHEN A MAN'S SINGLE.  A WINDOW IN THRUMS, AN EDINBURGH ELEVEN.  THE LITTLE MINISTER.  SENTIMENTAL TOMMY.  MY LADY NICOTINE, MARGARET OGILVY.  TOMMY AND GRIZEL.  THE LITTLE WHITEBIRD.  PETER AND WENDY.  _Also_  HALF HOURS, DER TAG.  ECHOES OF THE WAR._PLAYS.__Uniform Edition._  DEAR BRUTUS  A KISS FOR CINDERELLA  ALICE SIT-BY-THE-FIRE.  WHAT EVERY WOMANKNOWS.  QUALITY STREET.  THE ADMIRABLE CRICHTON.  ECHOES OF THE WAR.  _Containing_: The Old Lady Shows Her Medals--The New  Word--Barbara's Wedding--A Well-Remembered Voice.  HALFHOURS.  _Containing_: Pantaloon--The Twelve-Pound  Look--Rosalind--The Will._Others in Preparation.__INDIVIDUAL EDITIONS._PETER PAN IN KENSINGTON GARDENS.  Illustrated by ARTHUR RACKHAM.PETER ANDWENDY.  Illustrated by F. D. BEDFORD.PETER PAN AND WENDY.  Illustrated by MISS ATTWELL.TOMMY AND GRIZEL.  Illustrated by BERNARD PARTRIDGE.MARGARET OGILVY.*** For particulars concerning _The ThistleEdition_ of the Works of J.M. BARRIE, sold only by subscription, send for circular.NEW YORK: CHARLES SCRIBNER'S SONSACT ITHE BLUE AND WHITE ROOM_The scene is the blue and white room in the house of theMisses Susanand Phoebe Throssel in Quality Street; and in this little country townthere is a satisfaction about living in Quality Street which evenreligion cannot give.  Through the bowed window at the back we haveaglimpse of the street.  It is pleasantly broad and grass-grown, and islinked to the outer world by one demure shop, whose door rings a bellevery time it opens and shuts.  Thus by merely peeping, every one inQualityStreet can know at once who has been buying a Whimsy cake, andusually why.  This bell is the most familiar sound of Quality Street.Now and again ladies pass in their pattens, a maid perhaps protectingthem with anumbrella, for flakes of snow are falling discreetly.Gentlemen in the street are an event; but, see, just as we raise thecurtain, there goes the recruiting sergeant to remind us that we are inthe period of the Napoleonicwars.  If he were to look in at the windowof the blue and white room all the ladies there assembled would drawthemselves up; they know him for a rude fellow who smiles at theapproach of maiden ladies and continuesto smile after they havepassed.  However, he lowers his head to-day so that they shall not seehim, his present design being converse with the Misses Throssel's maid.__The room is one seldom profaned by the foot ofman, and everything init is white or blue.  Miss Phoebe is not present, but here are MissSusan, Miss Willoughby and her sister Miss Fanny, and Miss HenriettaTurnbull.  Miss Susan and Miss Willoughby, alas, alreadywear caps; butall the four are dear ladies, so refined that we ought not to bediscussing them without a more formal introduction.  There seems nosufficient reason why we should choose Miss Phoebe as ourheroinerather than any one of the others, except, perhaps, that we like hername best.  But we gave her the name, so we must support our choice andsay that she is slightly the nicest, unless, indeed, Miss Susanisnicer.__Miss Fanny is reading aloud from a library book while the others sewor knit.  They are making garments for our brave soldiers now far awayfighting the Corsican Ogre._MISS FANNY.  '... And so the day passedand evening came, black,mysterious, and ghost-like.  The wind moaned unceasingly like ashivering spirit, and the vegetation rustled uneasily as if somethingweird and terrifying were about to happen.  Suddenly out ofthedarkness there emerged a _Man_.(_She says the last word tremulously but without looking up.  Thelisteners knit more quickly._)The unhappy Camilla was standing lost in reverie when, without pausingto advertiseher of his intentions, he took both her hands in his.(_By this time the knitting has stopped, and all are listening as ifmesmerised._)Slowly he gathered her in his arms----(MISS SUSAN _gives an excited little cry._)MISSFANNY.  And rained hot, burning----'MISS WILLOUGHBY.  Sister!MISS FANNY (_greedily_).  'On eyes, mouth----'MISS WILLOUGHBY (_sternly_).  Stop.  Miss Susan, I am indeed surprisedyou should bring such anamazing, indelicate tale from the library.MISS SUSAN (_with a slight shudder_).  I deeply regret, MissWilloughby----  (_Sees_ MISS FANNY _reading quickly to herself._)  Oh,Fanny!  If you please, my dear.(_Takes thebook gently from her._)MISS WILLOUGHBY.  I thank you.(_She knits severely._)MISS FANNY (_a little rebel_).  Miss Susan is looking at the end.(MISS SUSAN _closes the book guiltily._)MISS SUSAN(_apologetically_).  Forgive my partiality for romance,Mary.  I fear 'tis the mark of an old maid.MISS WILLOUGHBY.  Susan, that word!MISS SUSAN (_sweetly_).  'Tis what I am.  And you also, Mary, my dear.MISSFANNY (_defending her sister_).  Miss Susan, I protest.MISS WILLOUGHBY (_sternly truthful_).  Nay, sister, 'tis true.  We areknown everywhere now, Susan, you and I, as the old maids of QualityStreet.  (_Generaldiscomfort._)MISS SUSAN.  I am happy Phoebe will not be an old maid.MISS HENRIETTA (_wistfully_).  Do you refer, Miss Susan, to V. B.?(MISS SUSAN _smiles happily to herself._)MISS SUSAN.  Miss Phoebe of theringlets as he has called her.MISS FANNY.  Other females besides Miss Phoebe have ringlets.MISS SUSAN.  But you and Miss Henrietta have to employ papers, my dear.(_Proudly_) Phoebe, never.MISS WILLOUGHBY(_in defence of_ FANNY).  I do not approve of MissPhoebe at all.MISS SUSAN (_flushing_).  Mary, had Phoebe been dying you would havecalled her an angel, but that is ever the way.  'Tis all jealousy tothe bride andgood wishes to the corpse.  (_Her guests rise, hurt._)My love, I beg your pardon.MISS WILLOUGHBY.  With your permission, Miss Susan, I shall put on mypattens.(MISS SUSAN _gives permission almost haughtily, andthe ladies retireto the bedroom,_ MISS FANNY _remaining behind a moment to ask aquestion._)MISS FANNY.  A bride?  Miss Susan, do you mean that V. B. has declared?MISS SUSAN.  Fanny, I expect it hourly.(MISSSUSAN, _left alone, is agitated by the terrible scene with_ MISSWILLOUGHBY.)(_Enter_ PHOEBE _in her bonnet, and we see at once that she really isthe nicest.  She is so flushed with delightful news that shealmostforgets to take off her pattens before crossing the blue and whiteroom._)MISS SUSAN.  You seem strangely excited, Phoebe.PHOEBE.  Susan, I have met a certain individual.MISS SUSAN.  V. B.?  (PHOEBE _nodsseveral times, and her gleaming eyestell_ MISS SUSAN _as much as if they were a romance from the library._)My dear, you are trembling.PHOEBE (_bravely_).  No--oh no.MISS SUSAN.  You put your hand to yourheart.PHOEBE.  Did I?MISS SUSAN (_in a whisper_).  My love, has he offered?PHOEBE (_appalled_).  Oh, Susan.(_Enter_ MISS WILLOUGHBY, _partly cloaked._)MISS WILLOUGHBY.  How do you do, MissPhoebe.  (_Portentously_)  Susan,I have no wish to alarm you, but I am of opinion that there is a man inthe house.  I suddenly felt it while putting on my pattens.MISS SUSAN.  You mean--a follower--in thekitchen?  (_She courageouslyrings the bell, but her voice falters._)  I am just a little afraid ofPatty.(_Enter_ PATTY, _a buxom young woman, who loves her mistresses andsmiles at them, and knows how to terrorisethem._)Patty, I hope we may not hurt your feelings, but--PATTY (_sternly_).  Are you implicating, ma'am, that I have a follower?MISS SUSAN.  Oh no, Patty.PATTY.  So be it.MISS SUSAN (_ashamed_).  Patty, comeback, (_Humbly_)  I told afalsehood just now; I am ashamed of myself.PATTY (_severely_).  As well you might be, ma'am.PHOEBE (_so roused that she would look heroic if she did not spoil theeffect by wagging herfinger at_ PATTY).  How dare you.  There is a manin the kitchen.  To the door with him.PATTY.  A glorious soldier to be so treated!PHOEBE.  The door.PATTY.  And if he refuses?(_They looked perplexed._)MISSSUSAN.  Oh dear!PHOEBE.  If he refuses send him here to me.(_Exit PATTY._)MISS SUSAN.  Lion-hearted Phoebe.MISS WILLOUGHBY.  A soldier?  (_Nervously_) I wish it may not be thatimpertinent recruitingsergeant.  I passed him in the street to-day.He closed one of his eyes at me and then quickly opened it.  I knewwhat he meant.PHOEBE.  He does not come.MISS SUSAN.  I think I hear their voices in dispute.(_She islistening through the floor.  They all stoop or go on theirknees to listen, and when they are in this position the_ RECRUITINGSERGEANT _enters unobserved.  He chuckles aloud.  In a moment_ PHOEBE_is alone withhim._)SERGEANT (_with an Irish accent_).  Your servant, ma'am.PHOEBE (_advancing sternly on him_).  Sir-- (_She is perplexed, as heseems undismayed._) Sergeant--  (_She sees mud from his boots onthecarpet._)  Oh! oh!  (_Brushes carpet._) Sergeant, I am wishful to scoldyou, but would you be so obliging as to stand on this paper while I doit?SERGEANT.  With all the pleasure in life, ma'am.PHOEBE (_forgetting tobe angry_).  Sergeant, have you killed people?SERGEANT.  Dozens, ma'am, dozens.PHOEBE.  How terrible.  Oh, sir, I pray every night that the Lord inHis loving-kindness will root the enemy up.  Is it true thattheCorsican Ogre eats babies?SERGEANT.  I have spoken with them as have seen him do it, ma'am.PHOEBE.  The Man of Sin.  Have you ever seen a vivandiere, sir?(_Wistfully_)  I have sometimes wished there werevivandieres in theBritish Army.  (_For a moment she sees herself as one._)  Oh, Sergeant,a shudder goes through me when I see you in the streets enticing thosepoor young men.SERGEANT.  If you were one of them,ma'am, and death or glory was thecall, you would take the shilling, ma'am.PHOEBE.  Oh, not for that.SERGEANT.  For King and Country, ma'am?PHOEBE (_grandly_).  Yes, yes, for that.SERGEANT (_candidly_).  Notthat it is all fighting.  The sack ofcaptured towns--the loot.PHOEBE (_proudly_).  An English soldier never sacks nor loots.SERGEANT.  No, ma'am.  And then--the girls.PHOEBE.  What girls?SERGEANT.  In the townsthat--that we don't sack.PHOEBE.  How they must hate the haughty conqueror.SERGEANT.  We are not so haughty as all that.PHOEBE (_sadly_).  I think I understand.  I am afraid, Sergeant, you donot tell those pooryoung men the noble things I thought you told them.SERGEANT.  Ma'am, I must e'en tell them what they are wishful to hear.There ha' been five, ma'am, all this week, listening to me and thenshowing me their heels,but by a grand stroke of luck I have them atlast.PHOEBE.  Luck?(MISS SUSAN _opens door slightly and listens._)SERGEANT.  The luck, ma'am, is that a gentleman of the town hasenlisted.  That gave them the pushforward.(MISS SUSAN _is excited._)PHOEBE.  A gentleman of this town enlisted?  (_Eagerly_)  Sergeant, who?SERGEANT.  Nay, ma'am, I think it be a secret as yet.PHOEBE.  But a gentleman!  'Tis the most amazing,exciting thing.Sergeant, be so obliging.SERGEANT.  Nay, ma'am, I can't.MISS SUSAN (_at door, carried away by excitement_).  But you must, youmust!SERGEANT (_turning to the door_).  You see, ma'am--(_The dooris hurriedly closed._)PHOEBE (_ashamed_).  Sergeant, I have not been saying the things Imeant to say to you.  Will you please excuse my turning you out of thehouse somewhat violently.SERGEANT.  I am used to it,ma'am.PHOEBE.  I won't really hurt you.SERGEANT.  Thank you kindly, ma'am.PHOEBE (_observing the bedroom door opening a little, and speaking in aloud voice_).  I protest, sir; we shall permit no followers inthishouse.  Should I discover you in my kitchen again I shall pitch youout--neck and crop.  Begone, sir.(_The_ SERGEANT _retires affably.  All the ladies except_ MISSHENRIETTA _come out, admiring_ PHOEBE.  _The_WILLOUGHBYS _are attiredfor their journey across the street._)MISS WILLOUGHBY.  Miss Phoebe, we could not but admire you.(PHOEBE, _alas, knows that she is not admirable._)PHOEBE.  But the gentlemanrecruit?MISS SUSAN.  Perhaps they will know who he is at the woollen-drapers.MISS FANNY.  Let us inquire.(_But before they go_ MISS WILLOUGHBY _has a duty to perform._)MISS WILLOUGHBY.  I wish toapologise.  Miss Phoebe, you are a dear,good girl.  If I have made remarks about her ringlets, Susan, it wasjealousy.  (PHOEBE _and_ MISS SUSAN _wish to embrace her, but she isnot in the mood for it._) Come,sister.MISS FANNY (_the dear woman that she is_).  Phoebe, dear, I wish youvery happy.(_PHOEBE presses her hand._)MISS HENRIETTA (_entering, and not to be outdone_).  Miss Phoebe, Igive you joy.(_The threeladies go, the two younger ones a little tearfully, and wesee them pass the window._)PHOEBE (_pained_).  Susan, you have been talking to them about V. B.MISS SUSAN.  I could not help it.  (_Eagerly_) Now, Phoebe,what is ityou have to tell me?PHOEBE (_in a low voice_).  Dear, I think it is too holy to speak of.MISS SUSAN.  To your sister?PHOEBE.  Susan, as you know, I was sitting with an unhappy woman whosehusband hasfallen in the war.  When I came out of the cottage he waspassing.MISS SUSAN.  Yes?PHOEBE.  He offered me his escort.  At first he was very silent--as hehas often been of late.MISS SUSAN.  _We_ knowwhy.PHOEBE.  Please not to say that I know why.  Suddenly he stopped andswung his cane.  You know how gallantly he swings his cane.MISS SUSAN.  Yes, indeed.PHOEBE.  He said: 'I have something I am wishful totell you, MissPhoebe; perhaps you can guess what it is.'MISS SUSAN.  Go on!PHOEBE.  To say I could guess, sister, would have been unladylike.  Isaid: 'Please not to tell me in the public thoroughfare'; to whichheinstantly replied: 'Then I shall call and tell you this afternoon.'MISS SUSAN.  Phoebe!(_They are interrupted by the entrance of_ PATTY _with tea.  They seethat she has brought three cups, and know that this is herimpertinentway of implying that mistresses, as well as maids, may have a'follower.'  When she has gone they smile at the daring of the woman,and sit down to tea._)PHOEBE.  Susan, to think that it has all happened ina single year.MISS SUSAN.  Such a genteel competency as he can offer; such adesirable establishment.PHOEBE.  I had no thought of that, dear.  I was recalling our firstmeeting at Mrs. Fotheringay's quadrilleparty.MISS SUSAN.  We had quite forgotten that our respected local physicianwas growing elderly.PHOEBE.  Until he said: 'Allow me to present my new partner, Mr.Valentine Brown.'MISS SUSAN.  Phoebe, do youremember how at the tea-table hefacetiously passed the cake-basket with nothing in it!PHOEBE.  He was so amusing from the first.  I am thankful, Susan, thatI too have a sense of humour.  I am exceedingly funny attimes; am Inot, Susan?MISS SUSAN.  Yes, indeed.  But he sees humour in the most unexpectedthings.  I say something so ordinary about loving, for instance, tohave everything either blue or white in this room, and Iknow not whyhe laughs, but it makes me feel quite witty.PHOEBE (_a little anxiously_).  I hope he sees nothing odd or quaintabout us.MISS SUSAN.  My dear, I am sure he cannot.PHOEBE.  Susan, the picnics.MISSSUSAN.  Phoebe, the day when he first drank tea in this house.PHOEBE.  He invited himself.MISS SUSAN.  He merely laughed when I said it would cause such talk.PHOEBE.  He is absolutely fearless.  Susan, he hassmoked his pipe inthis room.(_They are both a little scared._)MISS SUSAN.  Smoking is indeed a dreadful habit.PHOEBE.  But there is something so dashing about it.MISS SUSAN (_with melancholy_).  And now I am tobe left alone.PHOEBE.  No.MISS SUSAN.  My dear, I could not leave this room.  My lovely blue andwhite room.  It is my husband.PHOEBE (_who has become agitated_).  Susan, you must make my house yourhome.  Ihave something distressing to tell you.MISS SUSAN.  You alarm me.PHOEBE.  You know Mr. Brown advised us how to invest half of our money.MISS SUSAN.  I know it gives us eight per cent., though why it shoulddo soI cannot understand, but very obliging, I am sure.PHOEBE.  Susan, all that money is lost; I had the letter several daysago.MISS SUSAN.  Lost?PHOEBE.  Something burst, dear, and then they absconded.MISSSUSAN.  But Mr. Brown--PHOEBE.  I have not advertised him of it yet, for he will think it washis fault.  But I shall tell him to-day.MISS SUSAN.  Phoebe, how much have we left?PHOEBE.  Only sixty pounds a year, soyou see you must live with us,dearest.MISS SUSAN.  But Mr. Brown--he----PHOEBE (_grandly_).  He is a man of means, and if he is not proud tohave my Susan I shall say at once: 'Mr. Brown--the door.'(_She pressesher cheek to_ MISS SUSAN'S.)MISS SUSAN (_softly_).  Phoebe, I have a wedding gift for you.PHOEBE.  Not yet?MISS SUSAN.  It has been ready for a long time.  I began it when youwere not ten years old and I was ayoung woman.  I meant it for myself,Phoebe.  I had hoped that he--his name was William--but I think I musthave been too unattractive, my love.PHOEBE.  Sweetest--dearest----MISS SUSAN.  I always associate it witha sprigged poplin I was wearingthat summer, with a breadth of coloured silk in it, being a navalofficer; but something happened, a Miss Cicely Pemberton, and they arequite big boys now.  So long ago, Phoebe--he wasvery tall, with brownhair--it was most foolish of me, but I was always so fond ofsewing--with long straight legs and such a pleasant expression.PHOEBE.  Susan, what was it?MISS SUSAN.  It was a wedding-gown, mydear.  Even plain women, Phoebe,we can't help it; when we are young we have romantic ideas just as ifwe were pretty.  And so the wedding-gown was never used.  Long beforeit was finished I knew he would not offer,but I finished it, and thenI put it away.  I have always hidden it from you, Phoebe, but of late Ihave brought it out again, and altered it.(_She goes to ottoman and unlocks it._)PHOEBE.  Susan, I could not wearit.  (MISS SUSAN _brings thewedding-gown._)  Oh! how sweet, how beautiful!MISS SUSAN.  You will wear it, my love, won't you?  And the tears itwas sewn with long ago will all turn into smiles on myPhoebe'swedding-day.(_They are tearfully happy when a knock is heard on the street door._)PHOEBE.  That knock.MISS SUSAN.  So dashing.PHOEBE.  So imperious.  (_She is suddenly panic-stricken._)  Susan, Ithinkhe kissed me once.MISS SUSAN (_startled_).  You _think_?PHOEBE.  I know he did.  That evening--a week ago, when he was squiringme home from the concert.  It was raining, and my face was wet; he saidthat waswhy he did it.MISS SUSAN.  Because your face was wet?PHOEBE.  It does not seem a sufficient excuse now.MISS SUSAN (_appalled_).  O Phoebe, before he had offered.PHOEBE (_in distress_).  I fear me it was mostunladylike.(VALENTINE BROWN _is shown in.  He is a frank, genial young man oftwenty-five who honestly admires the ladies, though he is amused bytheir quaintness.  He is modestly aware that it is in the blueandwhite room alone that he is esteemed a wit._)BROWN.  Miss Susan, how do you do, ma'am?  Nay, Miss Phoebe, though wehave met to-day already I insist on shaking hands with you again.MISS SUSAN.  Always sodashing.(VALENTINE _laughs and the ladies exchange delighted smiles._)VALENTINE (_to_ MISS SUSAN).  And my other friends, I hope I find themin health?  The spinet, ma'am, seems quite herself to-day; I trusttheottoman passed a good night?MISS SUSAN (_beaming_).  We are all quite well, sir.VALENTINE.  May I sit on this chair, Miss Phoebe?  I know Miss Susanlikes me to break her chairs.MISS SUSAN.  Indeed, sir, I donot.  Phoebe, how strange that he shouldthink so.PHOEBE (_instantly_).  The remark was humorous, was it not?VALENTINE.  How you see through me, Miss Phoebe.(_The sisters again exchange delighted"}
+{"doc_id":"doc_150","qid":"","text":"<html><head><title>Gods and Monsters Script at IMSDb.</title><meta name=\"description\" content=\"Gods and Monsters script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Gods andMonsters script, Gods and Monsters movie script, Gods and Monsters film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX,FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><html><head>   <title>\"Gods and Monsters\", shooting draft, by Bill Condon</title></head><bodybgcolor=\"#FFFFFF\">   <pre>                         <u>\"GODS AND MONSTERS\"</u>                              Screenplay                                  by                             Bill Condon                          Based on thenovel                       \"Father of Frankenstein\"                                  by                           Christopher Bram                             May 30, 1997<b>                            SHOOTING DRAFT</b><b>     NOTE: THE HARDCOPY OF THIS SCRIPT CONTAINED SCENE NUMBERS</b><b>     AND SOME \"SCENE OMITTED\" SLUGS. THEY HAVE BEEN REMOVED FOR</b><b>     THIS SOFT COPY.</b><b>     FADE IN:</b><b>     MAIN TITLESBEGIN</b>     Writhing pools of light and dark, out of which emerge images     from \"The Bride of Frankenstein,\" directed by James Whale.     Elsa Lanchester, as the Monster's Bride, looks up, down,     left, right,startled to be alive.  The Monster stares at     her.  \"Friend?\" he asks, tenderly, desperately.<b>     EXT. COUNTRYSIDE - NIGHT (B & W)</b>     Lightning splits the black-and-white sky, revealing a single     shatteredoak in a desolate landscape.  Below, a HUMAN     SILHOUETTE stumbles through the darkness, the top of his     head flat, his arms long and heavy, his boots weighted with     mud.     Suddenly the storm fades.  Lightcreeps into the scene, and     color, as we DISSOLVE TO:<b>     THE PACIFIC OCEAN</b>     melting into a hazy morning sky.  In a box canyon off the     coast highway, we see row after neat row of trailer homes,a     makeshift village for beach bums.<b>     INT. TRAILER - DAY</b>     CLAYTON BOONE opens his eyes.  He is 26, handsome in a     rough-hewn, Chet Baker-like way, with broad shoulders and a     flattophaircut.  He grabs a crumpled pack of Lucky Strikes,     lights a bent cigarette.     Clay stands and walks bare-assed across the single tin room,     his head almost touching the ceiling.<b>     EXT. TRAILER PARK -DAY</b>     Clay goes a few rounds with a weatherstained speed bag     that's set up behind his trailer.<b>     INT. TRAILER - DAY</b>     Clay towels off, glances at the morning paper.  He moves     aside a pile ofpaperbacks on a card table until he finds a     calendar.  His finger targets today's first appointment.     \"10 A.M. - 788 Amalfi Drive.\"<b>     EXT. TRAILER PARK - DAY</b>     Clay steps out of the trailer, clean-shavenand dressed in     dungarees, a T-shirt with a fresh pack of cigarettes flipped     into one sleeve.  He weight-lifts a secondhand mower onto     the bed of his rusty pick-up.     Clay climbs into the truck, slides the key intothe     ignition.  It takes a few tries but the engine finally turns     over.<b>     EXT. PACIFIC COAST HIGHWAY - DAY</b>     Clay's truck sails down the road, \"Hound Dog\" blaring on the     radio.  MAIN TITLESEND.<b>     EXT. COLONIAL-STYLE HOUSE - DAY</b>     Sprinklers twirl on a grassy slope outside a rambling     clapboard house.  Below, a swimming pool forms a perfect     rectangle of still water.  A title reads:SANTA MONICA<b>     CANYON.  1957.</b>     The pick-up drives past.  Clay parks in the back, hops out.<b>     ANGLE - HOUSE</b>     A SHADOWY FIGURE stands at a window, watching Clay unload     his redpower mower.<b>     INT. HOUSE - LIVING ROOM - DAY</b>     The shadow is a man with dove white hair, wearing a dress     shirt and seersucker jacket.  This is JAMES WHALE, age67.<b>                                     DAVID</b>                    I'd have more peace of mind if the                    live-in nurse were still here.<b>                                     HANNA</b>                    She was nothing butbother.  I not                    like her, Mr. Jimmy not like her.                    We do better if you live-in again,                    Mr. David.     In the dining room, visible through open double doors, DAVID     LEWIS, 55, speakssoftly with the housekeeper, HANNA.  She     is a squat, muffin-faced Hungarian woman in her late 50s,     dressed in black, her hair cinched in a tight bun.  She     speaks with a thickaccent.<b>                                     DAVID</b>                    You'll contact me if there's an                    emergency?<b>                                     HANNA</b>                    Yes, I call you at thisnumber.                         (calls out)                    Mr. Jimmy?  More coffee?<b>                                     WHALE</b>                    What?  Oh yes.  Why not?     He moves into the dining room, sits oppositeDavid.<b>                                     WHALE</b>                    Isn't Hanna a peach?     Hanna ignores him, returns to the kitchen.<b>                                     DAVID</b>                    She tells me you haven'tbeen                    sleeping well.<b>                                     WHALE</b>                    It's the ridiculous pills they                    prescribe.  If I take them, I spend                    the next day stupid as astone.                    If I don't, my mind seems to go off                    in a hundred directions at once --<b>                                     DAVID</b>                    Then take thepills.<b>                                     WHALE</b>                    I wanted to be alert for your visit                    today.  Especially since I saw so                    little of you in the hospital.     The remark hits itstarget.<b>                                     DAVID</b>                    I'm sorry, Jimmy.  But with this                    movie and two difficult stars --<b>                                     WHALE</b>                    \"The fault, dear David,is not in                    ourselves but in our stars.\"<b>                                     DAVID</b>                         (too anxious to laugh)                    You remember how a production eats                    up one'slife.<b>                                     WHALE</b>                    Oh, David.  There's no pleasure in                    making you feel guilty.                         (stands)                    You better go, my boy.  You'llbe                    late for that aeroplane.     David extends his hand, but Whale draws him into a hug.  As     he starts out, David points to a framed painting.<b>                                     DAVID</b>                    By theway, I like the Renoir.<b>                                     WHALE</b>                    Thank you.<b>                                     DAVID</b>                         (calls out)                    Goodbye, Hanna.     Hanna runs out of thekitchen to escort David to the door.     Whale drifts back to the window, watches as Clay revs up the     lawnmower, creating a cloud of white smoke.  We CUT TO:<b>     EXT. STREETS OF DUDLEY - DAY(1900)</b>     A bean-pole child with flaming red hair (WHALE at age 12)     stares up at the coal smoke pouring from a seemingly endless     row of chimneys.  We're in Dudley, a factory town in the     EnglishMidlands region known as the Black Country.<b>                                     SARAH WHALE (O.S.)</b>                    Stop lagging behind, Jimmy.  We'll                    be late forchurch.<b>                                     YOUNG WHALE</b>                    Yes, Mum.     Whale runs to catch up to his six brothers and sisters.  His     father, WILLIAM WHALE, frowns at the boy's prissytrot.<b>                                     WILLIAM WHALE</b>                    Straighten up, son.     Young Whale's movements thicken into a dim imitation of     manly reserve.  The Whale family marches up asteeply     mounting street to Dixon's Green Methodist Church.<b>     INT. WHALE'S HOUSE - LIVING ROOM - DAY</b>     Whale's eyes tighten.  He focuses on Clay Boone as he peels     off his T-shirt, revealing atattoo on his upper right     forearm.<b>                                     WHALE</b>                    Hanna?  Who's the new yardman?<b>                                     HANNA</b>                    Bone?  Boom?  SomethingBee.  I                    hire him while you were in the                    hospital.  He came cheap.     Whale nods, chooses a walking stick.  He emerges into the     sunlight.<b>     EXT. WHALE'S HOUSE - DAY</b>     Whalemoves jauntily onto the front lawn, singing to     himself:<b>                                     WHALE</b>                    The bells of hell go ting-a-ling                    For you but not for me.                    Oh death where is thysting-a-ling?                    Grave where thy victory?     Whale steps up next to Clay.<b>                                     WHALE</b>                    Good morning.<b>                                     CLAY</b>                         (notlooking up)                    Mornin'.<b>                                     WHALE</b>                    My name is Whale.  This is my                    house.<b>                                     CLAY</b>                    Niceplace.<b>                                     WHALE</b>                    And your name is --?<b>                                     CLAY</b>                    Boone.  ClaytonBoone.<b>                                     WHALE</b>                    I couldn't help but notice your                    tattoo.  That phrase?  Death Before                    Dishonor.  What does itmean?<b>                                     CLAY</b>                    Just that I was in the Marines.<b>                                     WHALE</b>                    The Marines.  Good for you.  You                    must have served inKorea.     Clay shrugs nonchalantly.<b>                                     WHALE</b>                    Getting to be a warm day.  A                    scorcher, as you Yanks callit.<b>                                     CLAY</b>                    Yeah.  I better get on with my                    work.     Whale clears his throat behind the back of hishand.<b>                                     WHALE</b>                    When you're through, Mr. Boone,                    feel free to make use of the pool.                    We're quite informal here.  You                    don't have toworry about a suit.     Clay glances warily at Whale.<b>                                     CLAY</b>                    No thanks.  I got another job to                    get to this afternoon.     Whale holds Clay'slook.<b>                                     WHALE</b>                    Some other time, perhaps?  Keep up                    the fine work.     Whale heads off, smiling to himself.  Pleased to be naughty     again.<b>     INT.WHALE'S HOUSE - STUDIO - DAY</b>     The room is filled with unframed canvasses, many of them     copies of paintings by the Old Masters.     Whale rolls out the easel, lifts a half-painted canvas into     position.  Hestares at the blotches of color, trying to     remember what he intended to paint.     Whale pulls out a heavy volume on Rembrandt, opens to a     black-and-white plate of \"The Polish Rider.\"  We CUT TO:<b>     INT.WHALE HOUSE - DUDLEY - NIGHT (1908)</b>     A rough pencil outline of the same painting.  Whale, age 16,     sits on his bed, ignoring the roughhousing of the three     younger BROTHERS who share the room.  Thedoor opens and     Whale's mother SARAH enters.<b>                                     SARAH WHALE</b>                    Jimmy.  The privy needs cleaning.<b>                                     WHALE</b>                    I have myclass tonight.     Both have Midlands accents, like head colds that flatten     their speech.  Whale holds up the sketch to show his mother.<b>                                     SARAH WHALE</b>                    Don't get above"}
+{"doc_id":"doc_151","qid":"","text":"The Project Gutenberg eBook, A Sentimental Journey through France andItaly, by Laurence Sterne, Edited by Henry MorleyThis eBook is for the use of anyone anywhere in the United States and mostother parts ofthe world at no cost and with almost no restrictionswhatsoever.  You may copy it, give it away or re-use it under the terms ofthe Project Gutenberg License included with this eBook or online atwww.gutenberg.org.  Ifyou are not located in the United States, you'll haveto check the laws of the country where you are located before using this ebook.Title: A Sentimental Journey through France and ItalyAuthor: Laurence SterneEditor:Henry MorleyRelease Date: April 7, 2015  [eBook #804][This file was first posted on February 12, 1997]Language: EnglishCharacter set encoding: UTF-8***START OF THE PROJECT GUTENBERG EBOOK ASENTIMENTAL JOURNEY THROUGHFRANCE AND ITALY***Transcribed from the 1892 George Bell and Son edition by David Price,email ccx074@pglaf.org                                    A                           SENTIMENTALJOURNEY                                 THROUGH                            FRANCE AND ITALY;                              BY MR. YORICK.                     [THE REV. LAURENCE STERNE, M.A.]                        [FIRST PUBLISHED IN1768.]THEY order, said I, this matter better in France.â\u0000\u0000You have been inFrance? said my gentleman, turning quick upon me, with the most civiltriumph in the world.â\u0000\u0000Strange! quoth I, debating the matter withmyself,That one and twenty miles sailing, for â\u0000\u0000tis absolutely no further fromDover to Calais, should give a man these rights:â\u0000\u0000Iâ\u0000\u0000ll look into them: so,giving up the argument,â\u0000\u0000I went straight to mylodgings, put up half adozen shirts and a black pair of silk breeches,â\u0000\u0000â\u0000\u0000the coat I have on,â\u0000\u0000said I, looking at the sleeve, â\u0000\u0000will do;â\u0000\u0000â\u0000\u0000took a place in the Doverstage; and the packet sailing at ninethe next morning,â\u0000\u0000by three I hadgot sat down to my dinner upon a fricaseed chicken, so incontestably inFrance, that had I died that night of an indigestion, the whole worldcould not have suspended the effects ofthe _droits dâ\u0000\u0000aubaine_; {557}â\u0000\u0000myshirts, and black pair of silk breeches,â\u0000\u0000portmanteau and all, must havegone to the King of France;â\u0000\u0000even the little picture which I have so longworn, and so often havetold thee, Eliza, I would carry with me into mygrave, would have been torn from my neck!â\u0000\u0000Ungenerous! to seize upon thewreck of an unwary passenger, whom your subjects had beckoned to theircoast!â\u0000\u0000Byheaven! Sire, it is not well done; and much does it grieve me,â\u0000\u0000tis the monarch of a people so civilized and courteous, and so renownedfor sentiment and fine feelings, that I have to reason with!â\u0000\u0000But I havescarce set a foot in your dominions.â\u0000\u0000CALAIS.When I had fished my dinner, and drank the King of Franceâ\u0000\u0000s health, tosatisfy my mind that I bore him no spleen, but, on the contrary, highhonour for the humanityof his temper,â\u0000\u0000I rose up an inch taller for theaccommodation.â\u0000\u0000Noâ\u0000\u0000said Iâ\u0000\u0000the Bourbon is by no means a cruel race: they may be misled,like other people; but there is a mildness in their blood.  AsIacknowledged this, I felt a suffusion of a finer kind upon my cheekâ\u0000\u0000morewarm and friendly to man, than what Burgundy (at least of two livres abottle, which was such as I had been drinking) could haveproduced.â\u0000\u0000Just God! said I, kicking my portmanteau aside, what is there in thisworldâ\u0000\u0000s goods which should sharpen our spirits, and make so manykind-hearted brethren of us fall out so cruelly as we do by theway?When man is at peace with man, how much lighter than a feather is theheaviest of metals in his hand! he pulls out his purse, and holding itairily and uncompressed, looks round him, as if he sought for an objecttoshare it with.â\u0000\u0000In doing this, I felt every vessel in my framedilate,â\u0000\u0000the arteries beat all cheerily together, and every power whichsustained life, performed it with so little friction, that â\u0000\u0000twould haveconfoundedthe most _physical précieuse_ in France; with all hermaterialism, she could scarce have called me a machine.â\u0000\u0000Iâ\u0000\u0000m confident, said I to myself, I should have overset her creed.The accession of that idea carriednature, at that time, as high as shecould go;â\u0000\u0000I was at peace with the world before, and this finishâ\u0000\u0000d thetreaty with myself.â\u0000\u0000â\u0000\u0000Now, was I King of France, cried Iâ\u0000\u0000what a moment for an orphan tohavebeggâ\u0000\u0000d his fatherâ\u0000\u0000s portmanteau of me!THE MONK.CALAIS.I HAD scarce uttered the words, when a poor monk of the order of St.Francis came into the room to beg something for his convent.  No mancaresto have his virtues the sport of contingenciesâ\u0000\u0000or one man may begenerous, as another is puissant;â\u0000\u0000_sed non quoad hanc_â\u0000\u0000or be it as itmay,â\u0000\u0000for there is no regular reasoning upon the ebbs and flows ofourhumours; they may depend upon the same causes, for aught I know, whichinfluence the tides themselves: â\u0000\u0000twould oft be no discredit to us, tosuppose it was so: Iâ\u0000\u0000m sure at least for myself, that in many acase Ishould be more highly satisfied, to have it said by the world, â\u0000\u0000I had hadan affair with the moon, in which there was neither sin nor shame,â\u0000\u0000 thanhave it pass altogether as my own act and deed, whereinthere was so muchof both.â\u0000\u0000But, be this as it may,â\u0000\u0000the moment I cast my eyes upon him, I waspredetermined not to give him a single sous; and, accordingly, I put mypurse into my pocketâ\u0000\u0000buttoneditâ\u0000\u0000set myself a little more upon my centre,and advanced up gravely to him; there was something, I fear, forbiddingin my look: I have his figure this moment before my eyes, and think therewas that in it whichdeserved better.The monk, as I judged by the break in his tonsure, a few scattered whitehairs upon his temples, being all that remained of it, might be aboutseventy;â\u0000\u0000but from his eyes, and that sort of fire whichwas in them,which seemed more temperâ\u0000\u0000d by courtesy than years, could be no more thansixty:â\u0000\u0000Truth might lie betweenâ\u0000\u0000He was certainly sixty-five; and thegeneral air of his countenance, notwithstandingsomething seemâ\u0000\u0000d to havebeen planting-wrinkles in it before their time, agreed to the account.It was one of those heads which Guido has often painted,â\u0000\u0000mild,paleâ\u0000\u0000penetrating, free from all commonplaceideas of fat contentedignorance looking downwards upon the earth;â\u0000\u0000it lookâ\u0000\u0000d forwards; butlookâ\u0000\u0000d as if it lookâ\u0000\u0000d at something beyond this world.â\u0000\u0000How one of hisorder came by it, heaven above, wholet it fall upon a monkâ\u0000\u0000s shouldersbest knows: but it would have suited a Bramin, and had I met it upon theplains of Indostan, I had reverenced it.The rest of his outline may be given in a few strokes; one might putitinto the hands of any one to design, for â\u0000\u0000twas neither elegant norotherwise, but as character and expression made it so: it was a thin,spare form, something above the common size, if it lost not thedistinction by abend forward in the figure,â\u0000\u0000but it was the attitude ofIntreaty; and, as it now stands presented to my imagination, it gainedmore than it lost by it.When he had entered the room three paces, he stood still; and layinghisleft hand upon his breast (a slender white staff with which he journeyâ\u0000\u0000dbeing in his right)â\u0000\u0000when I had got close up to him, he introduced himselfwith the little story of the wants of his convent, and thepoverty of hisorder;â\u0000\u0000and did it with so simple a grace,â\u0000\u0000and such an air of deprecationwas there in the whole cast of his look and figure,â\u0000\u0000I was bewitchâ\u0000\u0000d notto have been struck with it.â\u0000\u0000A betterreason was, I had predetermined not to give him a single sous.THE MONK.CALAIS.â\u0000\u0000â\u0000\u0000TIS very true, said I, replying to a cast upwards with his eyes, withwhich he had concluded his address;â\u0000\u0000â\u0000\u0000tis verytrue,â\u0000\u0000and heaven be theirresource who have no other but the charity of the world, the stock ofwhich, I fear, is no way sufficient for the many _great claims_ which arehourly made upon it.As I pronounced the words_great claims_, he gave a slight glance withhis eye downwards upon the sleeve of his tunic:â\u0000\u0000I felt the full force ofthe appealâ\u0000\u0000I acknowledge it, said I:â\u0000\u0000a coarse habit, and that but once inthree years withmeagre diet,â\u0000\u0000are no great matters; and the true point ofpity is, as they can be earnâ\u0000\u0000d in the world with so little industry, thatyour order should wish to procure them by pressing upon a fund which isthe propertyof the lame, the blind, the aged and the infirm;â\u0000\u0000the captivewho lies down counting over and over again the days of his afflictions,languishes also for his share of it; and had you been of the _order ofmercy_, insteadof the order of St. Francis, poor as I am, continued I,pointing at my portmanteau, full cheerfully should it have been openâ\u0000\u0000d toyou, for the ransom of the unfortunate.â\u0000\u0000The monk made me a bow.â\u0000\u0000But ofallothers, resumed I, the unfortunate of our own country, surely, havethe first rights; and I have left thousands in distress upon our ownshore.â\u0000\u0000The monk gave a cordial wave with his head,â\u0000\u0000as much as to say,Nodoubt there is misery enough in every corner of the world, as well aswithin our conventâ\u0000\u0000But we distinguish, said I, laying my hand upon thesleeve of his tunic, in return for his appealâ\u0000\u0000we distinguish, mygoodfather! betwixt those who wish only to eat the bread of their ownlabourâ\u0000\u0000and those who eat the bread of other peopleâ\u0000\u0000s, and have no otherplan in life, but to get through it in sloth and ignorance, _for theloveof God_.The poor Franciscan made no reply: a hectic of a moment passâ\u0000\u0000d across hischeek, but could not tarryâ\u0000\u0000Nature seemed to have done with herresentments in him;â\u0000\u0000he showed none:â\u0000\u0000butletting his staff fall within hisarms, he pressed both his hands with resignation upon his breast, andretired.THE MONK.CALAIS.MY heart smote me the moment he shut the doorâ\u0000\u0000Psha! said I, with an airofcarelessness, three several timesâ\u0000\u0000but it would not do: everyungracious syllable I had utterâ\u0000\u0000d crowded back into my imagination: Ireflected, I had no right over the poor Franciscan, but to deny him; andthat thepunishment of that was enough to the disappointed, without theaddition of unkind language.â\u0000\u0000I considerâ\u0000\u0000d his gray hairsâ\u0000\u0000his courteousfigure seemâ\u0000\u0000d to re-enter and gently ask me what injury he haddoneme?â\u0000\u0000and why I could use him thus?â\u0000\u0000I would have given twenty livres for anadvocate.â\u0000\u0000I have behaved very ill, said I within myself; but I have onlyjust set out upon my travels; and shall learn bettermanners as I getalong.THE DESOBLIGEANT.CALAIS.WHEN a man is discontented with himself, it has one advantage however,that it puts him into an excellent frame of mind for making a bargain.Now there being notravelling through France and Italy without achaise,â\u0000\u0000and nature generally prompting us to the thing we are fittestfor, I walkâ\u0000\u0000d out into the coach-yard to buy or hire something of thatkind to my purpose: an old_désobligeant_ {562} in the furthest corner ofthe court, hit my fancy at first sight, so I instantly got into it, andfinding it in tolerable harmony with my feelings, I ordered the waiter tocall Monsieur Dessein, the masterof the hotel:â\u0000\u0000but Monsieur Desseinbeing gone to vespers, and not caring to face the Franciscan, whom I sawon the opposite side of the court, in conference with a lady just arrivedat the inn,â\u0000\u0000I drew the taffetacurtain betwixt us, and being determinedto write my journey, I took out my pen and ink and wrote the preface toit in the _désobligeant_.PREFACE.IN THE DESOBLIGEANT.IT must have been observed by many aperipatetic philosopher, That naturehas set up by her own unquestionable authority certain boundaries andfences to circumscribe the discontent of man; she has effected herpurpose in the quietest and easiest mannerby laying him under almostinsuperable obligations to work out his ease, and to sustain hissufferings at home.  It is there only that she has provided him with themost suitable objects to partake of his happiness, andbear a part ofthat burden which in all countries and ages has ever been too heavy forone pair of shoulders.  â\u0000\u0000Tis true, we are endued with an imperfect powerof spreading our happiness sometimes beyond _her_limits, but â\u0000\u0000tis soordered, that, from the want of languages, connections, and dependencies,and from the difference in education, customs, and habits, we lie underso many impediments in communicating oursensations out of our ownsphere, as often amount to a total impossibility.It will always follow from hence, that the balance of sentimentalcommerce is always against the expatriated adventurer: he must buy whathehas little occasion for, at their own price;â\u0000\u0000his conversation willseldom be taken in exchange for theirs without a large discount,â\u0000\u0000andthis, by the by, eternally driving him into the hands of more equitablebrokers,for such conversation as he can find, it requires no greatspirit of divination to guess at his partyâ\u0000\u0000This brings me to my point; and naturally leads me (if the see-saw ofthis _désobligeant_ will but let me get on) intothe efficient as well asfinal causes of travellingâ\u0000\u0000Your idle people that leave their native country, and go abroad for somereason or reasons which may be derived from one of these general causes:â\u0000\u0000  Infirmity ofbody,  Imbecility of mind, or  Inevitable necessity.The first two include all those who travel by land or by water, labouringwith pride, curiosity, vanity, or spleen, subdivided and combined _adinfinitum_.The third classincludes the whole army of peregrine martyrs; moreespecially those travellers who set out upon their travels with thebenefit of the clergy, either as delinquents travelling under thedirection of governors recommendedby the magistrate;â\u0000\u0000or young gentlementransported by the cruelty of parents and guardians, and travelling underthe direction of governors recommended by Oxford, Aberdeen, and Glasgow.There is a fourth class,but their number is so small that they would notdeserve a distinction, were it not necessary in a work of this nature toobserve the greatest precision and nicety, to avoid a confusion ofcharacter.  And these men I speakof, are such as cross the seas andsojourn in a land of strangers, with a view of saving money for variousreasons and upon various pretences: but as they might also savethemselves and others a great deal ofunnecessary trouble by saving theirmoney at home,â\u0000\u0000and as their reasons for travelling are the least complexof any other species of emigrants, I shall distinguish these gentlemen bythe nameof                            Simple Travellers.Thus the whole circle of travellers may be reduced to the following_heads_:â\u0000\u0000  Idle Travellers,  Inquisitive Travellers,  Lying Travellers,  Proud Travellers,  VainTravellers,  Splenetic Travellers.Then follow:  The Travellers of Necessity,  The Delinquent and Felonious Traveller,  The Unfortunate and Innocent Traveller,  The Simple Traveller,And last of all (if you please) TheSentimental Traveller, (meaningthereby myself) who have travellâ\u0000\u0000d, and of which I am now sitting down togive an account,â\u0000\u0000as much out of _Necessity_, and the _besoin de Voyager_,as any one in the class.Iam well aware, at the same time, as both my travels and observationswill be altogether of a different cast from any of my forerunners, that Imight have insisted upon a whole nitch entirely to myself;â\u0000\u0000but Ishouldbreak in upon the confines of the _Vain_ Traveller, in wishing to drawattention towards me, till I have some better grounds for it than themere _Novelty of my Vehicle_.It is sufficient for my reader, if he has beena traveller himself, thatwith study and reflection hereupon he may be able to determine his ownplace and rank in the catalogue;â\u0000\u0000it will be one step towards knowinghimself; as it is great odds but he retains sometincture andresemblance, of what he imbibed or carried out, to the present hour.The man who first transplanted the grape of Burgundy to the Cape of GoodHope (observe he was a Dutchman) never dreamt of drinkingthe same wineat the Cape, that the same grape produced upon the French mountains,â\u0000\u0000hewas too phlegmatic for thatâ\u0000\u0000but undoubtedly he expected to drink somesort of vinous liquor; but whether good or bad,or indifferent,â\u0000\u0000he knewenough of this world to know, that it did not depend upon his choice, butthat what is generally called _choice_, was to decide his success:however, he hoped for the best; and in these hopes,by an intemperateconfidence in the fortitude of his head, and the depth of his discretion,_Mynheer_ might possibly oversee both in his new vineyard; and bydiscovering his nakedness, become a laughing stock to hispeople.Even so it fares with the Poor Traveller, sailing and posting through thepoliter kingdoms of the globe, in pursuit of knowledge and improvements.Knowledge and improvements are to be got by sailing and postingfor thatpurpose; but whether useful knowledge and real improvements is all alottery;â\u0000\u0000and even where the adventurer is successful, the acquired stockmust be used with caution and sobriety, to turn to anyprofit:â\u0000\u0000but, asthe chances run prodigiously the other way, both as to the acquisitionand application, I am of opinion, That a man would act as wisely, if hecould prevail upon himself to live contented without foreignknowledge orforeign improvements, especially if he lives in a country that has noabsolute want of either;â\u0000\u0000and indeed, much grief of heart has it oft andmany a time cost me, when I have observed how many a foulstep theInquisitive Traveller has measured to see sights and look intodiscoveries; all which, as Sancho Panza said to Don Quixote, they mighthave seen dry-shod at home.  It is an age so full of light, that there isscarcea country or corner in Europe whose beams are not crossed andinterchanged with others.â\u0000\u0000Knowledge in most of its branches, and in mostaffairs, is like music in an Italian street, whereof those may partakewho paynothing.â\u0000\u0000But there is no nation under heavenâ\u0000\u0000and God is my record(before whose tribunal I must one day come and give an account of thiswork)â\u0000\u0000that I do not speak it vauntingly,â\u0000\u0000but there is no nationunderheaven abounding with more variety of learning,â\u0000\u0000where the sciences may bemore fitly wooâ\u0000\u0000d, or more surely won, than here,â\u0000\u0000where art is encouraged,and will so soon rise high,â\u0000\u0000where Nature(take her altogether) has solittle to answer for,â\u0000\u0000and, to close all, where there is more wit andvariety of character to feed the mind with:â\u0000\u0000Where then, my dearcountrymen, are you going?â\u0000\u0000We are onlylooking at this chaise, said they.â\u0000\u0000Your most obedientservant, said I, skipping out of it, and pulling off my hat.â\u0000\u0000We werewondering, said one of them, who, I found was an _InquisitiveTraveller_,â\u0000\u0000what couldoccasion its motion.â\u0000\u0000â\u0000\u0000Twas the agitation, said I,coolly, of writing a preface.â\u0000\u0000I never heard, said the other, who was a_Simple Traveller_, of a preface wrote in a _désobligeant_.â\u0000\u0000It would havebeenbetter, said I, in a _vis-a-vis_.â\u0000\u0000_As an Englishman does not travel to see Englishmen_, I retired to myroom.CALAIS.I PERCEIVED that something darkenâ\u0000\u0000d the passage more than myself, as Isteppâ\u0000\u0000d along itto my room; it was effectually Mons. Dessein, the masterof the hôtel, who had just returned from vespers, and with his hat underhis arm, was most complaisantly following me, to put me in mind of mywants.  I hadwrote myself pretty well out of conceit with the_désobligeant_, and Mons. Dessein speaking of it, with a shrug, as if itwould no way suit me, it immediately struck my fancy that it belongâ\u0000\u0000d tosome _InnocentTraveller_, who, on his return home, had left it to Mons.Desseinâ\u0000\u0000s honour to make the most of.  Four months had elapsed since ithad finished its career of Europe in the corner of Mons. Desseinâ\u0000\u0000scoach-yard;and having sallied out from thence but a vampt-up business atthe first, though it had been twice taken to pieces on Mount Sennis, ithad not profited much by its adventures,â\u0000\u0000but by none so little as thestanding somany months unpitied in the corner of Mons. Desseinâ\u0000\u0000scoach-yard.  Much indeed was not to be said for it,â\u0000\u0000but somethingmight;â\u0000\u0000and when a few words will rescue misery out of her distress, Ihate the manwho can be a churl of them.â\u0000\u0000Now was I the master of this hôtel, said I, laying the point of myfore-finger on Mons. Desseinâ\u0000\u0000s breast, I would inevitably make a point ofgetting rid of this unfortunate_désobligeant_;â\u0000\u0000it stands swingingreproaches at you every time you pass by it._Mon Dieu_! said Mons. Dessein,â\u0000\u0000I have no interestâ\u0000\u0000Except the interest,said I, which men of a certain turn of mind take,Mons. Dessein, in theirown sensations,â\u0000\u0000Iâ\u0000\u0000m persuaded, to a man who feels for others as well asfor himself, every rainy night, disguise it as you will, must cast a dampupon your spirits:â\u0000\u0000You suffer, Mons."}
+{"doc_id":"doc_152","qid":"","text":"The Project Gutenberg EBook of The Cask of Amontillado, by Edgar Allan PoeThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it awayorre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: The Cask of AmontilladoAuthor: Edgar Allan PoeRelease Date: June 6, 2010 [EBook#1063]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE CASK OF AMONTILLADO ***Produced by Levent Kurnaz.  HTML version by Al Haines.The Cask of AmontilladobyEdgar Allan PoeThethousand injuries of Fortunato I had borne as I best could, butwhen he ventured upon insult, I vowed revenge.  You, who so well knowthe nature of my soul, will not suppose, however, that I gave utteranceto athreat.  _At length_ I would be avenged; this was a point definitelysettled--but the very definitiveness with which it was resolved,precluded the idea of risk.  I must not only punish, but punish withimpunity.  A wrong isunredressed when retribution overtakes itsredresser.  It is equally unredressed when the avenger fails to makehimself felt as such to him who has done the wrong.It must be understood that neither by word nor deedhad I givenFortunato cause to doubt my good will.  I continued, as was my wont, tosmile in his face, and he did not perceive that my smile _now_ was atthe thought of his immolation.He had a weak point--thisFortunato--although in other regards he was aman to be respected and even feared.  He prided himself on hisconnoisseurship in wine.  Few Italians have the true virtuoso spirit.For the most part their enthusiasm isadopted to suit the time andopportunity--to practise imposture upon the British and Austrian_millionaires_.  In painting and gemmary, Fortunato, like his countrymen,was a quack--but in the matter of old wines he wassincere.  In thisrespect I did not differ from him materially: I was skillful in theItalian vintages myself, and bought largely whenever I could.It was about dusk, one evening during the supreme madness of thecarnivalseason, that I encountered my friend.  He accosted me withexcessive warmth, for he had been drinking much.  The man wore motley.He had on a tight-fitting parti-striped dress, and his head wassurmounted by theconical cap and bells.  I was so pleased to see him,that I thought I should never have done wringing his hand.I said to him--\"My dear Fortunato, you are luckily met.  How remarkablywell you are looking to-day!  But Ihave received a pipe of what passesfor Amontillado, and I have my doubts.\"\"How?\" said he.  \"Amontillado?  A pipe?  Impossible!  And in the middleof the carnival!\"\"I have my doubts,\" I replied; \"and I was silly enoughto pay the fullAmontillado price without consulting you in the matter. You were not tobe found, and I was fearful of losing a bargain.\"\"Amontillado!\"\"I have my doubts.\"\"Amontillado!\"\"And I must satisfythem.\"\"Amontillado!\"\"As you are engaged, I am on my way to Luchesi.  If any one has acritical turn, it is he.  He will tell me--\"\"Luchesi cannot tell Amontillado from Sherry.\"\"And yet some fools will have it that his tasteis a match for yourown.\"\"Come, let us go.\"\"Whither?\"\"To your vaults.\"\"My friend, no; I will not impose upon your good nature.  I perceiveyou have an engagement.  Luchesi--\"\"I have no engagement;--come.\"\"Myfriend, no.  It is not the engagement, but the severe cold withwhich I perceive you are afflicted.  The vaults are insufferably damp.They are encrusted with nitre.\"\"Let us go, nevertheless.  The cold is merely nothing.Amontillado!You have been imposed upon.  And as for Luchesi, he cannot distinguishSherry from Amontillado.\"Thus speaking, Fortunato possessed himself of my arm. Putting on a maskof black silk, and drawing a_roquelaire_ closely about my person, Isuffered him to hurry me to my palazzo.There were no attendants at home; they had absconded to make merry inhonour of the time.  I had told them that I should not returnuntil themorning, and had given them explicit orders not to stir from the house.These orders were sufficient, I well knew, to insure their immediatedisappearance, one and all, as soon as my back was turned.I took fromtheir sconces two flambeaux, and giving one to Fortunato,bowed him through several suites of rooms to the archway that led intothe vaults.  I passed down a long and winding staircase, requesting himto be cautious ashe followed. We came at length to the foot of thedescent, and stood together on the damp ground of the catacombs of theMontresors.The gait of my friend was unsteady, and the bells upon his cap jingledas hestrode.\"The pipe,\" said he.\"It is farther on,\" said I; \"but observe the white web-work whichgleams from these cavern walls.\"He turned towards me, and looked into my eyes with two filmy orbs thatdistilled the rheum ofintoxication.\"Nitre?\" he asked, at length.\"Nitre,\" I replied.  \"How long have you had that cough?\"\"Ugh! ugh! ugh!--ugh! ugh! ugh!--ugh! ugh! ugh!--ugh! ugh! ugh!--ugh!ugh! ugh!\"My poor friend found it impossible toreply for many minutes.\"It is nothing,\" he said, at last.\"Come,\" I said, with decision, \"we will go back; your health isprecious.  You are rich, respected, admired, beloved; you are happy, asonce I was.  You are a man tobe missed.  For me it is no matter.  Wewill go back; you will be ill, and I cannot be responsible.  Besides,there is Luchesi--\"\"Enough,\" he said; \"the cough is a mere nothing; it will not kill me.I shall not die of acough.\"\"True--true,\" I replied; \"and, indeed, I had no intention of alarmingyou unnecessarily--but you should use all proper caution. A draught ofthis Medoc will defend us from the damps.\"Here I knocked off the neck ofa bottle which I drew from a long row ofits fellows that lay upon the mould.\"Drink,\" I said, presenting him the wine.He raised it to his lips with a leer.  He paused and nodded to mefamiliarly, while his bells jingled.\"Idrink,\" he said, \"to the buried that repose around us.\"\"And I to your long life.\"He again took my arm, and we proceeded.\"These vaults,\" he said, \"are extensive.\"\"The Montresors,\" I replied, \"were a great and numerousfamily.\"\"I forget your arms.\"\"A huge human foot d'or, in a field azure; the foot crushes a serpentrampant whose fangs are imbedded in the heel.\"\"And the motto?\"\"_Nemo me impune lacessit_.\"\"Good!\" he said.The winesparkled in his eyes and the bells jingled.  My own fancy grewwarm with the Medoc.  We had passed through walls of piled bones, withcasks and puncheons intermingling, into the inmost recesses ofcatacombs.  Ipaused again, and this time I made bold to seizeFortunato by an arm above the elbow.\"The nitre!\" I said; \"see, it increases.  It hangs like moss upon thevaults.  We are below the river's bed.  The drops of moisturetrickleamong the bones.  Come, we will go back ere it is too late.  Yourcough--\"\"It is nothing,\" he said; \"let us go on.  But first, another draught ofthe Medoc.\"I broke and reached him a flagon of De Grave.  He emptiedit at abreath.  His eyes flashed with a fierce light.  He laughed and threwthe bottle upwards with a gesticulation I did not understand.I looked at him in surprise.  He repeated the movement--a grotesque one.\"You donot comprehend?\" he said.\"Not I,\" I replied.\"Then you are not of the brotherhood.\"\"How?\"\"You are not of the masons.\"\"Yes, yes,\" I said; \"yes, yes.\"\"You?  Impossible!  A mason?\"\"A mason,\" I replied.\"A sign,\" he said,\"a sign.\"\"It is this,\" I answered, producing a trowel from beneath the folds ofmy _roquelaire_.\"You jest,\" he exclaimed, recoiling a few paces.  \"But let us proceedto the Amontillado.\"\"Be it so,\" I said, replacing the toolbeneath the cloak and againoffering him my arm.  He leaned upon it heavily.  We continued ourroute in search of the Amontillado.  We passed through a range of lowarches, descended, passed on, and descendingagain, arrived at a deepcrypt, in which the foulness of the air caused our flambeaux rather toglow than flame.At the most remote end of the crypt there appeared another lessspacious.  Its walls had been lined withhuman remains, piled to thevault overhead, in the fashion of the great catacombs of Paris.  Threesides of this interior crypt were still ornamented in this manner.From the fourth side the bones had been thrown down,and laypromiscuously upon the earth, forming at one point a mound of somesize.  Within the wall thus exposed by the displacing of the bones, weperceived a still interior recess, in depth about four feet in widththree, inheight six or seven.  It seemed to have been constructed forno especial use within itself, but formed merely the interval betweentwo of the colossal supports of the roof of the catacombs, and wasbacked by one of theircircumscribing walls of solid granite.It was in vain that Fortunato, uplifting his dull torch, endeavoured topry into the depth of the recess.  Its termination the feeble light didnot enable us to see.\"Proceed,\" I said; \"hereinis the Amontillado.  As for Luchesi--\"\"He is an ignoramus,\" interrupted my friend, as he stepped unsteadilyforward, while I followed immediately at his heels.  In an instant hehad reached the extremity of the niche, andfinding his progressarrested by the rock, stood stupidly bewildered.  A moment more and Ihad fettered him to the granite.  In its surface were two iron staples,distant from each other about two feet, horizontally.  Fromone ofthese depended a short chain, from the other a padlock.  Throwing thelinks about his waist, it was but the work of a few seconds to secureit.  He was too much astounded to resist.  Withdrawing the key Isteppedback from the recess.\"Pass your hand,\" I said, \"over the wall; you cannot help feeling thenitre.  Indeed, it is _very_ damp.  Once more let me _implore_ you toreturn.  No?  Then I must positively leave you.  But I mustfirstrender you all the little attentions in my power.\"\"The Amontillado!\" ejaculated my friend, not yet recovered from hisastonishment.\"True,\" I replied; \"the Amontillado.\"As I said these words I busied myself among thepile of bones of whichI have before spoken.  Throwing them aside, I soon uncovered a quantityof building stone and mortar.  With these materials and with the aid ofmy trowel, I began vigorously to wall up theentrance of the niche.I had scarcely laid the first tier of the masonry when I discoveredthat the intoxication of Fortunato had in a great measure worn off. Theearliest indication I had of this was a low moaning cry fromthe depthof the recess.  It was _not_ the cry of a drunken man. There was then along and obstinate silence.  I laid the second tier, and the third, andthe fourth; and then I heard the furious vibrations of thechain.  Thenoise lasted for several minutes, during which, that I might hearken toit with the more satisfaction, I ceased my labours and sat down uponthe bones. When at last the clanking subsided, I resumed thetrowel,and finished without interruption the fifth, the sixth, and the seventhtier.  The wall was now nearly upon a level with my breast.  I againpaused, and holding the flambeaux over the mason-work, threw afewfeeble rays upon the figure within.A succession of loud and shrill screams, bursting suddenly from thethroat of the chained form, seemed to thrust me violently back.  For abrief moment I hesitated--Itrembled.  Unsheathing my rapier, I beganto grope with it about the recess; but the thought of an instantreassured me.  I placed my hand upon the solid fabric of the catacombs,and felt satisfied.  I reapproached thewall; I replied to the yells ofhim who clamoured.  I re-echoed--I aided--I surpassed them in volumeand in strength.  I did this, and the clamourer grew still.It was now midnight, and my task was drawing to a close.  Ihadcompleted the eighth, the ninth, and the tenth tier.  I had finished aportion of the last and the eleventh; there remained but a single stoneto be fitted and plastered in.  I struggled with its weight; I placedit partiallyin its destined position.  But now there came from out theniche a low laugh that erected the hairs upon my head.  It wassucceeded by a sad voice, which I had difficulty in recognizing as thatof the noble Fortunato.  Thevoice said--\"Ha! ha! ha!--he! he! he!--a very good joke indeed--an excellent jest.We shall have many a rich laugh about it at the palazzo--he! he!he!--over our wine--he! he! he!\"\"The Amontillado!\" I said.\"He! he!he!--he! he! he!--yes, the Amontillado.  But is it not gettinglate?  Will not they be awaiting us at the palazzo, the Lady Fortunatoand the rest?  Let us be gone.\"\"Yes,\" I said, \"let us be gone.\"\"_For the love of God,Montresor!_\"\"Yes,\" I said, \"for the love of God!\"But to these words I hearkened in vain for a reply.  I grew impatient.I called aloud--\"Fortunato!\"No answer.  I called again--\"Fortunato--\"No answer still.  I thrust a torchthrough the remaining aperture andlet it fall within.  There came forth in reply only a jingling of thebells.  My heart grew sick on account of the dampness of the catacombs.I hastened to make an end of my labour.  Iforced the last stone intoits position; I plastered it up.  Against the new masonry I re-erectedthe old rampart of bones.  For the half of a century no mortal hasdisturbed them.  _In pace requiescat!_End of ProjectGutenberg's The Cask of Amontillado, by Edgar Allan Poe*** END OF THIS PROJECT GUTENBERG EBOOK THE CASK OF AMONTILLADO ******** This file should be named 1063.txt or 1063.zip *****This and allassociated files of various formats will be found in:        http://www.gutenberg.org/1/0/6/1063/Produced by Levent Kurnaz.  HTML version by Al Haines.Updated editions will replace the previous one--the oldeditionswill be renamed.Creating the works from public domain print editions means that noone owns a United States copyright in these works, so the Foundation(and you!) can copy and distribute it in the United Stateswithoutpermission and without paying copyright royalties.  Special rules,set forth in the General Terms of Use part of this license, apply tocopying and distributing Project Gutenberg-tm electronic works toprotect thePROJECT GUTENBERG-tm concept and trademark.  ProjectGutenberg is a registered trademark, and may not be used if youcharge for the eBooks, unless you receive specific permission.  If youdo not charge anythingfor copies of this eBook, complying with therules is very easy.  You may use this eBook for nearly any purposesuch as creation of derivative works, reports, performances andresearch.  They may be modified andprinted and given away--you may dopractically ANYTHING with public domain eBooks.  Redistribution issubject to the trademark license, especially commercialredistribution.*** START: FULL LICENSE ***THE FULLPROJECT GUTENBERG LICENSEPLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORKTo protect the Project Gutenberg-tm mission of promoting the freedistribution of electronic works, by using ordistributing this work(or any other work associated in any way with the phrase \"ProjectGutenberg\"), you agree to comply with all the terms of the Full ProjectGutenberg-tm License (available with this file or onlineathttp://gutenberg.net/license).Section 1.  General Terms of Use and Redistributing Project Gutenberg-tmelectronic works1.A.  By reading or using any part of this Project Gutenberg-tmelectronic work, you indicatethat you have read, understand, agree toand accept all the terms of this license and intellectual property(trademark/copyright) agreement.  If you do not agree to abide by allthe terms of this agreement, you mustcease using and return or destroyall copies of Project Gutenberg-tm electronic works in your possession.If you paid a fee for obtaining a copy of or access to a ProjectGutenberg-tm electronic work and you do not agreeto be bound by theterms of this agreement, you may obtain a refund from the person orentity to whom you paid the fee as set forth in paragraph 1.E.8.1.B.  \"Project Gutenberg\" is a registered trademark.  It may onlybeused on or associated in any way with an electronic work by people whoagree to be bound by the terms of this agreement.  There are a fewthings that you can do with most Project Gutenberg-tm electronic worksevenwithout complying with the full terms of this agreement.  Seeparagraph 1.C below.  There are a lot of things you can do with ProjectGutenberg-tm electronic works if you follow the terms of this agreementand helppreserve free future access to Project Gutenberg-tm electronicworks.  See paragraph 1.E below.1.C.  The Project Gutenberg Literary Archive Foundation (\"the Foundation\"or PGLAF), owns a compilation copyright in thecollection of ProjectGutenberg-tm electronic works.  Nearly all the individual works in thecollection are in the public domain in the United States.  If anindividual work is in the public domain in the United States and youarelocated in the United States, we do not claim a right to prevent you fromcopying, distributing, performing, displaying or creating derivativeworks based on the work as long as all references to Project Gutenbergareremoved.  Of course, we hope that you will support the ProjectGutenberg-tm mission of promoting free access to electronic works byfreely sharing Project Gutenberg-tm works in compliance with the terms ofthisagreement for keeping the Project Gutenberg-tm name associated withthe work.  You can easily comply with the terms of this agreement bykeeping this work in the same format with its attached fullProjectGutenberg-tm License when you share it without charge with others.1.D.  The copyright laws of the place where you are located also governwhat you can do with this work.  Copyright laws in most countries areina constant state of change.  If you are outside the United States, checkthe laws of your country in addition to the terms of this agreementbefore downloading, copying, displaying, performing, distributing orcreatingderivative works based on this work or any other ProjectGutenberg-tm work.  The Foundation makes no representations concerningthe copyright status of any work in any country outside the UnitedStates.1.E.  Unlessyou have removed all references to Project Gutenberg:1.E.1.  The following sentence, with active links to, or other immediateaccess to, the full Project Gutenberg-tm License must appear prominentlywhenever any copyof a Project Gutenberg-tm work (any work on which thephrase \"Project Gutenberg\" appears, or with which the phrase \"ProjectGutenberg\" is associated) is accessed, displayed, performed, viewed,copied ordistributed:This eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwiththis eBook or online at www.gutenberg.net1.E.2.  If an individual Project Gutenberg-tm electronic work is derivedfrom the public domain (does not contain a notice indicating that it isposted with permission of thecopyright holder), the work can be copiedand distributed to anyone in the United States without paying any feesor charges.  If you are redistributing or providing access to a workwith the phrase \"Project Gutenberg\"associated with or appearing on thework, you must comply either with the requirements of paragraphs 1.E.1through 1.E.7 or obtain permission for the use of the work and theProject Gutenberg-tm trademark as setforth in paragraphs 1.E.8 or1.E.9.1.E.3.  If an individual Project Gutenberg-tm electronic work is postedwith the permission of the copyright holder, your use and distributionmust comply with both paragraphs 1.E.1through 1.E.7 and any additionalterms imposed by the copyright holder.  Additional terms will be linkedto the Project Gutenberg-tm License for all works posted with thepermission of the copyright holder found at thebeginning of this work.1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tmLicense terms from this work, or any files containing a part of thiswork or any other work associated with ProjectGutenberg-tm.1.E.5.  Do not copy, display, perform, distribute or redistribute thiselectronic work, or any part of this electronic work, withoutprominently displaying the sentence set forth in paragraph 1.E.1 withactivelinks or immediate access to the full terms of the ProjectGutenberg-tm License.1.E.6.  You may convert to and distribute this work in any binary,compressed, marked up, nonproprietary or proprietary form, includinganyword processing or hypertext form.  However, if you provide access to ordistribute copies of a Project Gutenberg-tm work in a format other than\"Plain Vanilla ASCII\" or other format used in the official versionpostedon the official Project Gutenberg-tm web site (www.gutenberg.net),you must, at no additional cost, fee or expense to the user, provide acopy, a means of exporting a copy, or a means of obtaining a copy uponrequest,of the work in its original \"Plain Vanilla ASCII\" or otherform.  Any alternate format must include the full Project Gutenberg-tmLicense as specified in paragraph 1.E.1.1.E.7.  Do not charge a fee for access to, viewing,"}
+{"doc_id":"doc_153","qid":"","text":"The Project Gutenberg EBook of The Return of the Soldier, by Rebecca WestThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-useit under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: The Return of the SoldierAuthor: Rebecca WestRelease Date: August 24, 2011 [EBook#37189]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE RETURN OF THE SOLDIER ***Produced by Chuck Greif and the Online DistributedProofreading Team at http://www.pgdp.net (Thisbook wasproduced from scanned images of public domain materialfrom the Google Print project.)[Illustration: frontispiece]THE RETURNOF THE SOLDIERBYREBECCA WESTNEW [Illustration: colophon] YORKGEORGE H.DORAN COMPANYCOPYRIGHT, 1918,BY GEORGE H. DORAN COMPANYTHE RETURN OF THE SOLDIER-C-PRINTED IN THE UNITED STATES OF AMERICALIST OF ILLUSTRATIONSHe lay there in the confiding relaxation ofachild                                     _Frontispiece_                                                    FACING                                                      PAGE\"Give it a brush now and then, like agoodsoul\"                                                    6She would get into the four-foot punt thatwas used as a ferry and bring it over veryslowly                                                  66\"I oughtn't to do it, oughtI?\"                        176THE RETURNOF THE SOLDIERCHAPTER I\"Ah, don't begin to fuss!\" wailed Kitty. \"If a woman began to worry inthese days because her husband hadn't written to her for a fortnight!Besides, if he'dbeen anywhere interesting, anywhere where the fightingwas really hot, he'd have found some way of telling me instead of justleaving it as 'Somewhere in France.' He'll be all right.\"We were sitting in the nursery. I hadnot meant to enter it again, nowthat the child was dead; but I had come suddenly on Kitty as she slippedthe key into the lock, and I had lingered to look in at the high room,so full of whiteness and clear colors, sounendurably gay and familiar,which is kept in all respects as though there were still a child in thehouse. It was the first lavish day of spring, and the sunlight waspouring through the tall, arched windows and theflowered curtains sobrightly that in the old days a fat fist would certainly have beenraised to point out the new, translucent glories of the rosebud.Sunlight was lying in great pools on the blue cork floor and the softrugs,patterned with strange beasts, and threw dancing beams, whichshould have been gravely watched for hours, on the white paint and theblue distempered walls. It fell on the rocking-horse, which had beenChris's idea ofan appropriate present for his year-old son, and showedwhat a fine fellow he was and how tremendously dappled; it picked outMary and her little lamb on the chintz ottoman. And along themantelpiece, under the lovedprint of the snarling tiger, in attitudesthat were at once angular and relaxed, as though they were ready forplay at their master's pleasure, but found it hard to keep from drowsingin this warm weather, sat the TeddyBear and the chimpanzee and thewoolly white dog and the black cat with eyes that roll. Everything wasthere except Oliver. I turned away so that I might not spy on Kittyrevisiting her dead. But she called afterme:\"Come here, Jenny. I'm going to dry my hair.\" And when I looked again Isaw that her golden hair was all about her shoulders and that she woreover her frock a little silken jacket trimmed with rosebuds. Shelookedso like a girl on a magazine cover that one expected to find a large \"15cents\" somewhere attached to her person. She had taken Nanny's bigbasket-chair from its place by the high-chair, and was pushing it overtothe middle window. \"I always come in here when Emery has washed myhair. It's the sunniest room in the house. I wish Chris wouldn't haveit kept as a nursery when there's no chance--\" She sat down, swept herhairover the back of the chair into the sunlight, and held out to meher tortoiseshell hair-brush. \"Give it a brush now and then, like a goodsoul; but be careful. Tortoise snaps so!\"I took the brush and turned to the window,leaning my forehead againstthe glass and staring unobservantly at the view. You probably know thebeauty of that view; for when Chris rebuilt Baldry Court after hismarriage he handed it over to architects who had notso much the wildeye of the artist as the knowing wink of the manicurist, and betweenthem they massaged the dear old place into matter for innumerablephotographs in the illustrated papers. The house lies on the crestofHarrowweald, and from its windows the eye drops to miles of emeraldpasture-land lying wet and brilliant under a westward line of sleekhills; blue with distance and distant woods, while nearer it range thesuavedecorum of the lawn and the Lebanon cedar, the branches of whichare like darkness made palpable, and the minatory gauntnesses of thetopmost pines in the wood that breaks downward, its bare boughs a closetextureof browns and purples, from the pond on the edge of the hill.[Illustration: \"Give it a brush now and then, like a good soul\"]That day its beauty was an affront to me, because, like mostEnglishwomen of my time, I waswishing for the return of a soldier.Disregarding the national interest and everything else except the keenprehensile gesture of our hearts toward him, I wanted to snatch myCousin Christopher from the wars and sealhim in this green pleasantnesshis wife and I now looked upon. Of late I had had bad dreams about him.By nights I saw Chris running across the brown rottenness ofNo-Man's-Land, starting back here because he trodupon a hand, not evenlooking there because of the awfulness of an unburied head, and not tillmy dream was packed full of horror did I see him pitch forward on hisknees as he reached safety, if it was that. For on thewar-films I haveseen men slip down as softly from the trench-parapet, and none but thegrimmer philosophers could say that they had reached safety by theirfall. And when I escaped into wakefulness it was only to liestiff andthink of stories I had heard in the boyish voice of the modernsubaltern, which rings indomitable, yet has most of its gay notesflattened: \"We were all of us in a barn one night, and a shell camealong. My pal sangout, 'Help me, old man; I've got no legs!' and I hadto answer, 'I can't, old man; I've got no hands!'\" Well, such are thedreams of Englishwomen to-day. I could not complain, but I wished forthe return of our soldier. So Isaid:\"I wish we could hear from Chris. It is a fortnight since he wrote.\"And then it was that Kitty wailed, \"Ah, don't begin to fuss!\" and bentover her image in a hand-mirror as one might bend for refreshmentoverscented flowers.I tried to build about me such a little globe of ease as alwaysensphered her, and thought of all that remained good in our lives thoughChris was gone. I was sure that we were preserved from thereproach ofluxury, because we had made a fine place for Chris, one little part ofthe world that was, so far as surfaces could make it so, good enough forhis amazing goodness. Here we had nourished that surpassingamiabilitywhich was so habitual that one took it as one of his physicalcharacteristics, and regarded any lapse into bad temper as a calamity asstartling as the breaking of a leg; here we had made happinessinevitable forhim. I could shut my eyes and think of innumerableproofs of how well we had succeeded, for there never was so visiblycontented a man. And I recalled all that he did one morning just a yearago when he went to thefront.First he had sat in the morning-room and talked and stared out on thelawns that already had the desolation of an empty stage, although he hadnot yet gone; then broke off suddenly and went about the house,lookinginto many rooms. He went to the stables and looked at the horses and hadthe dogs brought out; he refrained from touching them or speaking tothem, as though he felt himself already infected with the squalorof warand did not want to contaminate their bright physical well-being. Thenhe went to the edge of the wood and stood staring down into the clumpsof dark-leaved rhododendrons and the yellow tangle of lastyear'sbracken and the cold winter black of the trees. (From this very window Ihad spied on him.) Then he moved broodingly back to the house to bewith his wife until the moment of his going, when Kitty and I stoodonthe steps to see him motor off to Waterloo. He kissed us both. As hebent over me I noticed once again how his hair was of two colors, brownand gold. Then he got into the car, put on his Tommy air, and said:\"Solong! I'll write you from Berlin!\" and as he spoke his head droppedback, and he set a hard stare on the house. That meant, I knew, that heloved the life he had lived with us and desired to carry with him to thedrearyplace of death and dirt the complete memory of everything abouthis home, on which his mind could brush when things were at their worst,as a man might finger an amulet through his shirt. This house, this lifewith us,was the core of his heart.\"If he could come back!\" I said. \"He was so happy here!\"And Kitty answered:\"He could not have been happier.\"It was important that he should have been happy, for, you see, he wasnot likeother city men. When we had played together as children in thatwood he had always shown great faith in the imminence of the improbable.He thought that the birch-tree would really stir and shrink and quickeninto anenchanted princess, that he really was a red Indian, and thathis disguise would suddenly fall from him at the right sundown, that atany moment a tiger might lift red fangs through the bracken, and heexpected thesethings with a stronger motion of the imagination than theordinary child's make-believe. And from a thousand intimations, from hisoccasional clear fixity of gaze on good things as though they were aboutto dissolve intobetter, from the passionate anticipation with which hewent to new countries or met new people, I was aware that this faith hadpersisted into his adult life. He had exchanged his expectation ofbecoming a red Indian forthe equally wistful aspiration of becomingcompletely reconciled to life. It was his hopeless hope that some timehe would have an experience that would act on his life like alchemy,turning to gold all the dark metals ofevents, and from that revelationhe would go on his way rich with an inextinguishable joy. There hadbeen, of course, no chance of his ever getting it. Literally therewasn't room to swing a revelation in his crowded life.First of all, athis father's death he had been obliged to take over a business that wasweighted by the needs of a mob of female relatives who were all uselesseither in the old way, with antimacassars, or in the new way,withgolf-clubs; then Kitty had come along and picked up his conception ofnormal expenditure, and carelessly stretched it as a woman stretches anew glove on her hand. Then there had been the difficult task oflearningto live after the death of his little son. It had lain on us,the responsibility, which gave us dignity, to compensate him for hislack of free adventure by arranging him a gracious life. But now, justbecause our performancehad been so brilliantly adequate, how dreary wasthe empty stage!We were not, perhaps, specially contemptible women, because nothingcould ever really become a part of our life until it had been referredto Chris'sattention. I remember thinking, as the parlor-maid came inwith a card on the tray, how little it mattered who had called and whatflag of prettiness or wit she flew, since there was no chance that Chriswould come in andstand over her, his fairness red in the firelight, andshow her that detached attention, such as an unmusical man pays to goodmusic, which men of anchored affections give to attractive women.Kitty read from thecard:\"'Mrs. William Grey, Mariposa, Ladysmith Road, Wealdstone,' I don't knowanybody in _Wealdstone_.\" That is the name of the red suburban stainwhich fouls the fields three miles nearer London than Harrowweald.Onecannot now protect one's environment as one once could. \"Do I know her,Ward? Has she been here before?\"\"Oh, no, ma'am.\" The parlor-maid smiled superciliously. \"She said shehad news for you.\" From her toneone could deduce an over-confidingexplanation made by a shabby visitor while using the door-mat almost toozealously.Kitty pondered, then said:\"I'll come down.\" As the girl went, Kitty took up the amber hair-pinsfromher lap and began swathing her hair about her head. \"Last year'sfashion,\" she commented; \"but I fancy it'll do for a person with thatsort of address.\" She stood up, and threw her little silkdressing-jacket over therocking-horse. \"I'm seeing her because she mayneed something, and I specially want to be kind to people while Chris isaway. One wants to deserve well of heaven.\" For a minute she was aloofin radiance, but as welinked arms and went out into the corridor shebecame more mortal, with a pout. \"The people that come breaking intoone's nice, quiet day!\" she moaned reproachfully, and as we came to thehead of the broad stair-caseshe leaned over the white balustrade topeer down on the hall, and squeezed my arm. \"Look!\" she whispered.Just beneath us, in one of Kitty's prettiest chintz arm-chairs, sat amiddle-aged woman. She wore a yellowishraincoat and a black hat withplumes. The sticky straw hat had only lately been renovated by somethingout of a little bottle bought at the chemist's. She had rolled her blackthread gloves into a ball on her lap, so thatshe could turn her grayalpaca skirt well above her muddy boots and adjust its brush-braid witha seamed red hand that looked even more worn when she presently raisedit to touch the glistening flowers of the pinkazalea that stood on atable beside her. Kitty shivered, then muttered:\"Let's get this over,\" and ran down the stairs. On the last step shepaused and said with conscientious sweetness, \"Mrs. Grey!\"\"Yes,\" answered thevisitor. She lifted to Kitty a sallow and relaxedface the expression of which gave me a sharp, pitying pang ofprepossession in her favor: it was beautiful that so plain a womanshould so ardently rejoice in another'sloveliness. \"Are you Mrs.Baldry?\" she asked, almost as if she were glad about it, and stood up.The bones of her bad stays clicked as she moved. Well, she was not sobad. Her body was long and round and shapely, andwith a noblesquareness of the shoulders; her fair hair curled diffidently about agood brow; her gray eyes, though they were remote, as if anything worthlooking at in her life had kept a long way off, were full oftenderness;and though she was slender, there was something about her of thewholesome, endearing heaviness of the ox or the trusted big dog. Yet shewas bad enough. She was repulsively furred with neglect andpoverty, aseven a good glove that has dropped down behind a bed in a hotel and haslain undisturbed for a day or two is repulsive when the chambermaidretrieves it from the dust and fluff.She flung at us as we satdown:\"My general maid is sister to your second housemaid.\"It left us at a loss.\"You've come about a reference?\" asked Kitty.\"Oh, no. I've had Gladys two years now, and I've always found her a verygood girl. I want noreference.\" With her finger-nail she followed theburst seam of the dark pigskin purse that slid about on her shiny alpacalap. \"But girls talk, you know. You mustn't blame them.\" She seemed tobe caught in a thicket ofembarrassment, and sat staring up at theazalea.With the hardness of a woman who sees before her the curse of women'slives, a domestic row, Kitty said that she took no interest in servants'gossip.\"Oh, it isn't--\" hereyes brimmed as though we had beenunkind--\"servants' gossip that I wanted to talk about. I only mentionedGladys\"--she continued to trace the burst seam of her purse--\"becausethat's how I heard you didn'tknow.\"\"What don't I know?\"Her head drooped a little.\"About Mr. Baldry. Forgive me, I don't know his rank.\"\"Captain Baldry,\" supplied Kitty, wonderingly. \"What is it that I don'tknow?\"She looked far away from us, tothe open door and its view of dark pinesand pale March sunshine, and appeared to swallow something.\"Why, that he's hurt,\" she gently said.\"Wounded, you mean?\" asked Kitty.Her rusty plumes oscillated as she movedher mild face about with an airof perplexity.\"Yes,\" she said, \"he's wounded.\"Kitty's bright eyes met mine, and we obeyed that mysterious humanimpulse to smile triumphantly at the spectacle of afellow-creatureoccupied in baseness. For this news was not true. It could not possiblybe true. The War Office would have wired to us immediately if Chris hadbeen wounded. This was such a fraud as one sees recordedin the papersthat meticulously record squalor in paragraphs headed, \"Heartless Fraudon Soldier's Wife.\" Presently she would say that she had gone to someexpense to come here with her news and that she was poor,and at thefirst generous look on our faces there would come some tale of troublethat would disgust the imagination by pictures of yellow-wood furniturethat a landlord oddly desired to seize and a pallid child withbandagesround its throat. I cast down my eyes and shivered at the horror. Yetthere was something about the physical quality of the woman, unlovelythough she was, which preserved the occasion from utter baseness.I feltsure that had it not been for the tyrannous emptiness of that evil,shiny pigskin purse that jerked about on her trembling knees the poordriven creature would have chosen ways of candor and gentleness. Itwas,strangely enough, only when I looked at Kitty and marked how herbrightly colored prettiness arched over this plain criminal as thoughshe were a splendid bird of prey and this her sluggish insect food thatI felt themoment degrading.Kitty was, I felt, being a little too clever over it.\"How is he wounded?\" she asked.The caller traced a pattern on the carpet with her blunt toe.\"I don't know how to put it; he's not exactly wounded. Ashell burst--\"\"Concussion?\" suggested Kitty.She answered with an odd glibness and humility, as though tendering us aterm she had long brooded over without arriving at comprehension, andhoping that our superiorintelligences would make something of it:\"Shell-shock.\" Our faces did not illumine, so she dragged on lamely,\"Anyway, he's not well.\" Again she played with her purse. Her face wasvisibly damp.\"Not well? Is hedangerously ill?\"\"Oh, no.\" She was too kind to harrow us. \"Not dangerously ill.\"Kitty brutally permitted a silence to fall. Our caller could not bearit, and broke it in a voice that nervousness had turned to a funny,diffidentcroak.\"He's in the Queen Mary Hospital at Boulogne.\" We did not speak, and shebegan to flush and wriggle on her seat, and stooped forward to fumbleunder the legs of her chair for her umbrella. The sight of itsgreenseams and unveracious tortoiseshell handle disgusted Kitty into speech.\"How do you know all this?\"Our visitor met her eyes. This was evidently a moment for which she hadsteeled herself, and she rose to it with acatch of her breath. \"A manwho used to be a clerk along with my husband is in Mr. Baldry'sregiment.\" Her voice croaked even more piteously, and her eyes begged:\"Leave it at that! Leave it at that! If you onlyknew--\"\"And what regiment is that?\" pursued Kitty.The poor sallow face shone with sweat.\"I never thought to ask,\" she said.\"Well, your friend's name--\"Mrs. Grey moved on her seat so suddenly and violently that thepigskinpurse fell from her lap and lay at my feet. I supposed that she cast itfrom her purposely because its emptiness had brought her to thishumiliation, and that the scene would close presently in a few quiettears.Ihoped that Kitty would let her go without scarring her too much withwords and would not mind if I gave her a little money. There was nodoubt in my mind but that this queer, ugly episode in which this womanbuttedlike a clumsy animal at a gate she was not intelligent enough toopen would dissolve and be replaced by some more pleasing composition inwhich we would take our proper parts; in which, that is, she would turnfromour rightness ashamed. Yet she cried:\"But Chris is ill!\"It took only a second for the compact insolence of the moment topenetrate, the amazing impertinence of the use of his name, theaccusation of callousness shebrought against us whose passion for Chriswas our point of honor, because we would not shriek at her false news,the impudently bright, indignant gaze she flung at us, the lift of hervoice that pretended she could notunderstand our coolness andirrelevance. I pushed the purse away from me with my toe, and hated heras the rich hate the poor as insect things that will struggle out of thecrannies which are their decent home andintroduce ugliness to the lightof day. And Kitty said in a voice shaken with pitilessness:\"You are impertinent. I know exactly what you are doing. You have readin the 'Harrow Observer' or somewhere that my husband is"}
+{"doc_id":"doc_154","qid":"","text":"Project Gutenberg's Germania and Agricola, by Caius Cornelius TacitusThis eBook is for the use of anyone anywhere in the United States and mostother parts of the world at no cost and with almost norestrictionswhatsoever.  You may copy it, give it away or re-use it under the terms ofthe Project Gutenberg License included with this eBook or online atwww.gutenberg.org.  If you are not located in the United States,you'll haveto check the laws of the country where you are located before using this ebook.Title: Germania and AgricolaAuthor: Caius Cornelius TacitusPosting Date: February 24, 2015 [EBook #9090]Release Date:October, 2005First Posted: September 4, 2003Language: Latin*** START OF THIS PROJECT GUTENBERG EBOOK GERMANIA AND AGRICOLA ***Produced by David Starner, Tapio Riikonen and DistributedProofreadersThe GERMANIA and AGRICOLAOfCaius Cornelius TacitusWith Notes for CollegesBy W. S. TylerProfessor of the Greek and Latin Languages in Amherst CollegePREFACE.This edition of the Germania andAgricola of Tacitus is designed to meetthe following wants, which, it is believed, have been generally felt byteachers and pupils in American Colleges.1. A Latin text, approved and established by the essentialconcurrence ofall the more recent editors. The editions of Tacitus now in use in thiscountry abound in readings purely conjectural, adopted without due regardto the peculiarities of the author, and in direct contraventionof thecritical canon, that, other things being equal, the more difficultreading is the more likely to be genuine. The recent German editionslabor to exhibit and explain, so far as possible, the reading of the bestMSS.2. Amore copious illustration of the grammatical constructions, also ofthe rhetorical and poetical usages peculiar to Tacitus, withouttranslating, however, to such an extent as to supersede the properexertions of the student.Few books require so much illustration of thiskind, as the Germania and Agricola of Tacitus; few have received more inGermany, yet few so little here. In a writer so concise and abrupt asTacitus, it has been deemednecessary to pay particular regard to theconnexion of thought, and to the particles, as the hinges of thatconnexion.3. A comparison of the writer and his cotemporaries with authors of theAugustan age, so as to markconcisely the changes which had been alreadywrought in the language and taste of the Roman people. It is chiefly witha view to aid such a comparison, that it has been thought advisable toprefix a Life of Tacitus, whichis barren indeed of personal incidents,but which it is hoped may serve to exhibit the author in his relation tothe history, and especially to the literature, of his age.4. The department in which less remained to be donethan any other, forthe elucidation of Tacitus, was that of Geography, History, andArchaeology. The copious notes of Gordon and Murphy left little to bedesired in this line; and these notes are not only accessible toAmericanscholars in their original forms, but have been incorporated, more orless, into all the college editions. If any peculiar merit attaches tothis edition, in this department, it will be found in the frequentreferences tosuch classic authors as furnish collateral information, andin the illustration of the private life of the Romans, by the help ofsuch recent works as Becker's Gallus. The editor has also been able toavail himself of SharonTurner's History of the Anglo Saxons, which shedsnot a little light on the manners of the Germans.5. Many of the ablest commentaries on the Germania and Agricola haveappeared within a comparatively recent period,some of them remarkableexamples of critical acumen and exegetical tact, and others, models ofschool and college editions. It has been the endeavor of the editor tobring down the literature pertaining to Tacitus to thepresent time, andto embody in small compass the most valuable results of the labors ofsuch recent German editors as Grimm, Günther, Gruber, Kiessling, Dronke,Roth, Ruperti, and Walther.The text is, in the main,that of Walther, though the other editors justnamed have been consulted; and in such minor differences as exist betweenthem, I have not hesitated to adopt the reading which seemed best toaccord with the usage andgenius of Tacitus, especially when sanctionedby a decided preponderance of critical suffrage. Other readings have beenreferred to in the Notes, so far as they are of any considerableimportance, or supported byrespectable authority. Partly forconvenience, but chiefly as a matter of taste, I have ventured to followthe German editions in dispensing entirely with diacritical marks, and insome peculiarities of less importance, whichif not viewed with favor, itis hoped, will not be judged with severity. The punctuation is the resultof a diligent comparison of the best editions, together with a carefulstudy of the connexion of language and ofthought.The German editions above mentioned, together with several French,English, and American works, have not only been constantly before me, buthave been used with great freedom, and credit awarded tothemaccordingly. Some may think their names should have appeared lessfrequently; others that they should have received credit to a stillgreater extent. Suffice it to say, I have never intended to quote thelanguage, orborrow the thoughts of an author, without giving his name;and in matters of fact or opinion, I have cited authorities not only whenI have been indebted to them for the suggestion, but whenever, in a caseof coincidenceof views, I thought the authorities would be of anyinterest to the student.I have not considered it needful, with German scrupulosity, todistinguish between my own references and those of others. It may safelybe takenfor granted, that the major, perhaps the better, part of themhave been derived from foreign sources. But no references have beenadmitted on trust. They have been carefully verified, and it is hopedthat numerous asthey are, they will be found pertinent and useful,whether illustrative of things, or of mere verbal usage. Some, who usethe book, will doubtless find occasion to follow them out either in wholeor in part; and those whodo not, will gain a general impression as tothe sources from which collateral information may be obtained, that willbe of no small value.The frequent references to the Notes of Professor Kingsley, will show theestimationin which I hold them. Perhaps I have used them too freely. Myonly apology is, that so far as they go, they are just what is wanted;and if I had avoided using them to a considerable extent, I must havesubstitutedsomething less perfect of my own. Had they been more copious,and extended more to verbal and grammatical illustrations, these Notesnever would have appeared.The editor is convinced, from his experience as ateacher, that thestudent of Tacitus will not master the difficulties, or appreciate themerits, of so peculiar an author, unless his peculiarities are distinctlypointed out and explained. Indeed, the student, in reading anyclassicauthor, needs, not to be carried along on the broad shoulders of anindiscriminate translator, but to be guided at every step in learning hislessons, by a judicious annotator, who will remove his difficulties, andaidhis progress; who will point out to him what is worthy of attention,and guard him against the errors to which he is constantly exposed; forfirst impressions are lively and permanent, and the errors of the study,eventhough corrected in the recitation, not unfrequently leave animpression on the mind which is never effaced.Besides the aid derived from books, to which the merit of this edition,if it have any merit, will be chiefly owing,the editor takes thisopportunity to acknowledge his many obligations to those professors andother literary gentlemen, who have extended to him assistance andencouragement. To Prof. H. B. Hackett, of NewtonTheological Seminary,especially, he is indebted for favors, which, numerous and invaluable inthemselves, as the results of a singularly zealous and successfuldevotion to classical learning, are doubly grateful as thetokens of apersonal friendship, which began when we were members of the same classin college. The work was commenced at his suggestion, and has beencarried forward with his constant advice and co-operation. Hisampleprivate library, and, through his influence, the library of the Seminary,have been placed at my disposal; and the notes passed under his eye andwere improved in not a few particulars, at his suggestion, though heisin no way responsible for their remaining imperfections. I have alsoreceived counsel and encouragement in all my labors from my esteemedcolleague, Prof. N. W. Fiske, whose instructions in the samedepartmentwhich has since been committed to my charge, first taught me to love theGreek and Latin classics. I have only to regret that his ill health andabsence from the country have prevented me from deriving stillgreateradvantages from his learning and taste. An unforeseen event has, in likemanner, deprived me of the expected cooperation of Prof. Lyman Coleman,now of Nassau Hall College in N. J., in concert with whom thiswork wasplanned, and was to have been executed, and on whose ripe scholarship,and familiarity with the German language and literature, I chiefly reliedfor its successful accomplishment.I should not do justice to myfeelings, were I to omit the expression ofmy obligations to the printer and publishers for the unwearied patiencewith which they have labored to perfect the work, under all thedisadvantages attending thesuperintendance of the press, at such adistance. If there should still be found in it inaccuracies andblemishes, it will not be because they have spared any pains to make it acorrect and beautiful book.It is with unfeigneddiffidence that I submit to the public this firstattempt at literary labor. I am fully sensible of its many imperfections,at the same time I am conscious of an ability to make it better at somefuture day, should it meet thefavorable regard of the classical teachersof our land, to whom it is dedicated as an humble contribution to thatcause in which they are now laboring, with such unprecedented zeal.Should it contribute in any measure toa better understanding, or ahigher appreciation by our youthful countrymen of a classic author, fromwhom, beyond almost any other, I have drawn instruction and delight, Ishall not have labored in vain._AmherstCollege, June 1, 1847_.PREFACE TO THE REVISED EDITIONThe text of this edition has been carefully revised and compared withthose of Döderlein, Halle, 1847, Orelli, Zurich, 1848, and Ritter, Bonnand Cambridge,1848. The notes also have been re-examined and, to aconsiderable extent, re-written; partly to correspond with the progressof my own mind, partly in accordance with suggestions derived from theabove namededitions, and from friendly criticisms either by letter or inthe public journals. Among the journals, I am particularly indebted tothe Bibliotheca Sacra and the New-Englander; and for communications byletter, I am underespecial obligations to Professors Crosby and Sanbornof Dartmouth College, Robbins of Middlebury, and Lincoln of BrownUniversity.In revising the geography of the Germania, I have consulted, withouthowever enteringmuch into detail, Ukert's invaluable treatise on theGeography of the Greeks and Romans, whose volume on Germany contains atranslation and running commentary on almost the entire work of Tacitus.Particularattention has been paid to the ethnology of the tribes andnations, in reference to whose origin and early history Tacitus is amongthe best authorities. In this department the works of Prichard and Lathamhave been mychief reliance. Grimm and Zeuss, though often referred to, Iregret to say I have been able to consult only at second hand.In sending out this revised edition of these most delightful treatises ofan author, in the study ofwhose works I never tire, I cannot but expressthe hope, that it has been not a little improved by these alterations andadditions, while it will be found to have lost none of the essentialfeatures by which the first editionwas commended to so good a measure ofpublic favor.W. S. Tyler._Amherst, May_, 1852LIFE OF TACITUS.It is the office of genius and learning, as of light, to illustrateother things, and not itself. The writers, who, of allothers perhaps,have told us most of the world, just as it has been and is, have told usleast of themselves. Their character we may infer, with more or lessexactness, from their works, but their history is unwritten andmust forever remain so. Homer, though, perhaps, the only one who has been arguedout of existence, is by no means the only one whose age and birthplacehave been disputed. The native place of Tacitus is merematter ofconjecture. His parentage is not certainly known. The time of his birthand the year of his death are ascertained only by approximation, and veryfew incidents are recorded in the history of his life; still we knowtheperiod in which he lived, the influences under which his character wasdeveloped and matured, and the circumstances under which he wrote hisimmortal works. In short, we know his times, though we canscarcelygather up enough to denominate his life; and the times in which an authorlived, are often an important, not to say, essential means of elucidatinghis writings.CAIUS CORNELIUS TACITUS was born in the earlypart of the reign of Nero,and near the middle of the first century in the Christian Era. Theprobability is, that he was the son of Cornelius Tacitus, a man ofequestrian rank, and procurator of Belgic Gaul under Nero; thathe wasborn at Interamna in Umbria, and that he received a part of his educationat Massilia (the modern Marseilles), which was then the Athens of theWest, a Grecian colony, and a seat of truly Grecian cultureandrefinement. It is not improbable that he enjoyed also the instructions ofQuintilian, who for twenty years taught at Rome that pure and manlyeloquence, of which his Institutes furnish at once such perfect rules,andso fine an example. If we admit the Dialogue de Claris Oratoribus tobe the work of Tacitus, his beau-idéal of the education proper for anorator was no less comprehensive, no less elevated, no less liberal, thanthat ofCicero himself; and if his theory of education was, likeCicero's, only a transcript of his own education, he must have beendisciplined early in all the arts and sciences--in all the departmentsof knowledge which were thencultivated at Rome; a conclusion in which weare confirmed also by the accurate and minute acquaintance which heshows, in his other works, with all the affairs, whether civil ormilitary, public or private, literary orreligious, both of Greece andRome.The boyhood and youth of Tacitus did, indeed, fall on evil times.Monsters in vice and crime had filled the throne, till their morals andmanners had infected those of all the people. Thestate was distracted,and apparently on the eve of dissolution. The public taste, like thegeneral conscience, was perverted. The fountains of education werepoisoned. Degenerate Grecian masters were inspiring theirRoman pupilswith a relish for a false science, a frivolous literature, a vitiatedeloquence, an Epicurean creed, and a voluptuous life.But with sufficient discernment to see the follies and vices of his age,and with sufficientvirtue to detest them, Tacitus must have found hislove of wisdom and goodness, of liberty and law, strengthened by thevery disorders and faults of the times. If the patriot ever loves awell-regulated freedom, it will bein and after the reign of a tyrant,preceded or followed by what is still worse, anarchy. If the pure and thegood ever reverence purity and goodness, it will be amid the generalprevalence of vice and crime. If the sageever pants after wisdom, it iswhen the fountains of knowledge have become corrupted. The reigns of Neroand his immediate successors were probably the very school, of allothers, to which we are most indebted for thecomprehensive wisdom, theelevated sentiments, and the glowing eloquence of the biographer ofAgricola, and the historian of the Roman Empire. His youth saw, and felt,and deplored the disastrous effects of Nero'sinhuman despotism, and ofthe anarchy attending the civil wars of Galba, Otho, and Vitellius. Hismanhood saw, and felt, and exulted in the contrast furnished by thereigns of Vespasian and Titus, though the sun of thelatter too soon wentdown, in that long night of gloom, and blood, and terror, the tyranny ofDomitian. And when, in the reigns of Nerva and Trajan, he enjoyed therare felicity of thinking what he pleased, and speakingwhat he thought,he was just fitted in the maturity of his faculties, and the extent ofhis observation and reflections, \"to enroll slowly, year after year, thatdreadful reality of crimes and sufferings, which even dramatichorror, inall its license of wild imagination, can scarcely reach, the longunvarying catalogue of tyrants and executioners, and victims that returnthanks to the gods and die, and accusers rich with their blood, andmoremighty as more widely hated, amid the multitudes of prostrate slaves,still looking whether there may not yet have escaped some lingeringvirtue which it may be a merit to destroy, and having scarcely leisuretofeel even the agonies of remorse in the continued sense of theprecariousness of their own gloomy existence.\" [Brown's Philosophy of theMind.]Tacitus was educated for the bar, and continued to pleadcauses,occasionally at least, and with not a little success, even after he hadentered upon the great business of his life, as a writer of history. Wefind references to his first, and perhaps his last appearance, asanadvocate, in the Letters of Pliny, which are highly complimentary. Thefirst was, when Pliny was nineteen, and Tacitus a little older (how muchwe are not informed), when Tacitus distinguished himself, so as toawakenthe emulation and the envy, though not in a bad sense, of Pliny. The lastwas some twenty years later, when Tacitus and Pliny, the tried friends ofa whole life, the brightest ornaments of literature and of theforum,were associated by the choice of the Senate, and pleaded together atthe bar of the Senate, and in the presence of the Emperor Trajan, forthe execution of justice upon Marius Priscus, who was accusedofmaladministration in the proconsulship of Africa. Pliny says, thatTacitus spoke with singular gravity and eloquence, and the Senate passeda unanimous vote of approbation and thanks to both the orators, for theabilityand success with which they had managed the prosecution (Plin.Epis. ii. 11)We have also the comments of Pliny on a panegyrical oration, whichTacitus pronounced, when consul, upon his predecessor in theconsularoffice, Verginius Rufus, perhaps the most remarkable man of his age,distinguished alike as a hero, a statesman, and a scholar, and yet somodest or so wise that he repeatedly refused the offer of theimperialpurple. \"Fortune,\" says Pliny, \"always faithful to Verginius, reservedfor her last favor, such an orator to pronounce a eulogium on suchvirtues. It was enough to crown the glory of a well spent life\" (Plin.Epis. ii.1).The speeches in the historical works of Tacitus, though rather conciseand abstract for popular orations, are full of force and fire. Some ofthem are truly Demosthenic in their impassioned and fiery logic. Thespeech ofGalgacus before the Briton army, when driven into the extremityof Caledonia by the Romans under Agricola, can hardly be surpassed forpatriotic sentiments, vigorous reasoning, and burning invective. Theaddress ofGermanicus to his mutinous soldiers (in the Annals) is notless remarkable for tender pathos. The sage and yet soldierlike addressof the aged Galba to his adopted son Piso, the calm and manly speech ofPiso to the bodyguard, the artful harangue of the demagogue Otho to histroops, the no less crafty address of Mucianus to Vespasian, the headlongrapidity of Antonius' argument for immediate action, the plausible pleaof MarcellusEprius against the honest attack of Helvidius Priscus, andthe burning rebukes of the intrepid Vocula to his cowardly andtreacherous followers--all these, in the Histories, show no ordinarydegree of rhetorical skill andversatility. Indeed, the entire body ofhis works is animated with the spirit of the orator, as it is tinged alsowith the coloring of the poet. For this reason, they are doubtlessdeficient in the noble simplicity of the earlierclassical histories; butfor the same reason they may be a richer treasure for the professionalmen at least of modern times.Of his marriage with the daughter of Agricola, and its influence on hischaracter and prospects,as also of his passing in regular gradationthrough the series of public honors at Rome, beginning with thequaestorship under Vespasian, and ending with the consulship under Nerva,Tacitus informs us himself (A. 9, His.i. 1), barely alluding to them,however, in the general, and leaving all the details to mere conjecture.We learn to our surprise, that he not only escaped the jealousy of thetyrant Domitian, but was even promoted by him"}
+{"doc_id":"doc_155","qid":"","text":"<html><head><title>Supergirl Script at IMSDb.</title><meta name=\"description\" content=\"Supergirl script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Supergirl script, Supergirlmovie script, Supergirl film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=SubjectCONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0];s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>    <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\"title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center></td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>Revised Screenplay 17th January, 1983.<b>ALEXANDER SALKIND</b>presents<b>SUPERGIRL</b>byDavid OdellCopyright1983<b>CANTHARUS PRODUCTIONS N.V.</b>All Rights Reserved<b>EXT. SPACE </b><b>THE CAMERA PULLS BACK. . . </b><b>INT. ARGO CITY</b>AND REVEALS THE inside of a domed city honeycombed withfantastic arches. The city is inhabited by young beautiful people in luxurious but simple costumes.THE CAMERA ROAMS through the City, observing some people seated at a kind of cafe sipping drinks and relaxing; otherpeople are in some kind of exercise class doing beautiful graceful movement; and finally a class of five year old children listen intently to a teacher who is demonstrating a molecular model.<b> TEACHER</b> And now,who can give me the electron wave functions for Kryptonian covalent bonding?The five year olds eagerly raise their hands. The teacher points to one.<b>CHILD</b> The cube root of the wavelength over the naturallog of the integral of the speed of light squared.The teacher smiles.<b>TEACHER</b> Well, maybe that was a bit too easy...THE CAMERA ROAMS ON through the city, following the sound of a strange, ethereallybeautiful singing. The CAMERA discovers the source of the sound: an ARTIST sculpting a beautiful crystalline object with a MATTERWAND. The wand makes the singing noise as it creates matter out of energy. The Artist,whose name is ZALTAR, sometimes whistles along in counterpoint. .A small girl is watching him with fascination. Her name is Kara, and she is seven.Behind her, the dome, which encloses the City, marks the edge of thelimbo outside.<b>KARA</b>What are you making:<b> ZALTAR</b>It's going to be a tree, I think.<b>KARA </b>What's a tree?<b> ZALTAR</b>It's something they have on Earth. You know, where your cousinwent.<b> KARA </b>Where is Earth?<b> ZALTAR</b>Didn't you study six-dimensional geometry in school?<b> KARA</b>Yes, I know the equations---I just can't see it in my head.Zaltar laughs.<b> ZALTAR</b>Even I have trouble with that sometimes. Earth is in outer space. And we're in inner space. <b> KARA</b>I don't understand.<b> ZALTAR</b>Wait till you're older. Here -- watch this. Zaltar takes a smallOMEGAHEDRON out of his pocket and holds it in his hand.<b> ZALTAR.</b> This is one of the four Power Sources of the City. I borrowed it from the Guardians. Look what I can do with it. Zaltar touches hisMATTER.WAND to the OMEGAHEDRON and the wand instantly becomes charged with flickering light. He touches his wand to the tree sculpture---and the sculpture comes alive with dancing lights and shadows. Karaclaps her hands with delight at the spectacle. Zaltar steps back and admires his handiwork. He carefully puts down theOMEGAHEDRON at his feet, takes a small flask from his belt, and drinks.<b> ZALTAR</b> You see,a tree is a living thing.<b> KARA</b> Can you create life?<b> </b><b>ZALTAR</b> No, no, just the illusion of life. A kind of half-life, maybe. A pale shadow of the real thing. But it is lovely, the way the light playsover the surface. . . A woman's voice can be heard calling in the distance.<b>WOMAN'S VOICE </b>Kara. Kara.Kara calls out in reply.<b> KARA </b>I'm here, mother.Kara's mother ALURA appears through the laceyarchitecture of the city.<b>ALURA</b> Kara, you shouldn't be so near the Edge without a grown-up.<b> KARA</b>I'm sorry, Mother.<b> ZALTAR</b>I was keeping an eye on her.Alura puts her arm around herdaughter affectionately, showing she's not really angry. Together they watch Zaltar's latest sculpture, flickering with the play of inner light and shadow.<b>ALURA</b> Thank you, Zaltar, but she has to obey therules.Zaltar takes another swig from his flask. and lowers his voice confidentially.<b>ZALTAR</b> You and your husband have been kind to me, Alura. I have something to tell you: I'm going away. Soon.<b> ALURA</b>But where?Zaltar bends down to Kara and hands her his matterwand.<b>ZALTAR</b> Put your fingers there, Kara. And press hard.She does, and the wand makes a horrible squawk. Kara laughs withdelight.<b>ZALTAR</b> Good. Now, go make something pretty.Kara scampers away, hardly able to believe her good fortune, and starts to make all kinds of surprising sounds with the wand on the plaza nearby. Zaltarspeaks to Alura in a low, confidential voice.<b>ZALTAR</b>I've discovered a new way into the Phantom Zone.<b> ALURA</b>But the phantom Zone is for criminals.<b> ZALTAR</b>It's big. And empty. I'm tired oflimiting myself to  Argo City. I want to do something new. I'm starting to repeat myself here with this airy, glittery stuff....Zaltar waves a hand deprecatingly at the city around him.<b>ALURA</b> But Zaltar---youfounded the city! It's yours. We were all just refugees from Krypton when you gathered us together and brought us here, to the inner dimension. You can't abandon us now. You have a responsibility to us!In thebackground, Kara has been modeling a spiky insect-like CREATURE. Now she suddenly finds the OMEGAHEDRON on the ground beside her. She doesn't stop to wonder how it got there from beside Zaltar's feet. Shesimply picks up the OMEGAHEDRON and touches it to the spiky creature. The creature suddenly flicks its wings and COMES TO LIFE, unnoticed by the adults. Kara drops the wand and laughs out loud with delight as themagical creature takes off from the ground and starts flying in circles around her head, glittering as if it were made of diamonds.<b>ZALTAR</b>I'm an artist, Alura. My work comes first. Other people comesecond.<b> ALURA</b>How can you create beauty...with a selfish heart?The spiky insect-creature flies closer and closer around the little girl's head, buzzing angrily. Her look of delight turns to fear. She tries to shoothe creature away. It flies off toward the thin membrane that encloses the city.The spiky creature flies into the membrane and tears a ragged hole in it. With a giant WHOOSH all the air in the city starts to rush out thehole. Kara is swept along toward the hole by the wind. She cries out and stretches pleading hands toward her mother. THE OMEGAHEDRON is swept toward the hole as well. Kara grabs onto the ragged edge of themembrane.<b>ZALTAR </b>Kara---the Power Source!Kara reaches for it, but it is too far from her, and the OMEGAHEDRON is sucked out into infinity by the wind. Zaltar picks up the matterwand from where Karadropped it and touches her with the wand. She is instantly held fast. Zaltar pulls her back inside. He gives her to her mother Alura. Then Zaltar touches his wand to the membrane and seals the hole with masterfulchords like a brass choir. The wind dies down and all is silent, except for the quiet sobbing of Kara in her mother's arms. Zaltar kneels down beside her and strokes her golden hair  tenderly.<b>KARA</b> I'm sorry... Ididn't know.<b> ZALTAR</b> It was my fault. You aren't old enough to use the wand. I shouldn't have given it to you.<b> ALURA</b>But the Power Source, Zaltar.<b> ZALTAR</b>It couldn't be helped. The city willhave to make do with three.<b> ALURA</b>But what will happen?<b> ZALTAR </b>The Guardians will be angry. They may even send me to the Phantom Zone. You see, I didn't really have permission to borrow it. Imust go explain to them...Zaltar hurries off nervously. THE CAMERA HOLDS ON KARA'S FACE as she senses this may be her last sight of Zaltar.<b>DISSOLVE TO:</b><b>EXT. A SPRINGTIME MEADOW - U.S.A. - DAY.UNDER TITLES</b>A beautiful blonde in jeans and a frilly blouse is walking across a field of wildflowers. Butterflies flitter and dart from flower to flower. The blonde's name is SELENA. She is our ideal image of the girlnext door, who grew up into a dynamite lady.Her current boyfriend follows along behind her, lugging a big wicker hamper from their pickup truck parked at the edge of the road. Selena finds a grassy spot under an oldoak. and spreads out a red and white checked gingham cloth..<b>SELENA </b>Over here George. It's the perfect spot. Nice view.George sets down the wicker basket and Selena starts to unpack a scrumptious picnicof home cooked food. She unpacks fried chicken, hard-boiled eggs, potato salad, cold beer and a big rich creamy-frosted devils food cake.<b> GEORGE</b> You sure are a good cook, Selena. Man, that looks too prettyto eat.<b> SELENA</b>Better eat it quick. It won't look too pretty when it's all covered with ants.She hands him a chicken drumstick and a hard-boiled egg.<b> GEORGE</b> Selena, I've been thinking. It's time Isettled down---and I don't know a nicer lady to settledown with than you.<b>SELENA</b> Why George, are you proposing?<b> GEORGE</b>Marry me, Selena. The hardware store doesn't bring in much now,but...<b>SELENA</b> George---I thought you'd never ask.A shrill whistling sound from above makes them look up. With a loud plop and a spatter of icing the OMEGAHEDRON falls into the middle of the chocolatecake.<b>GEORGE</b> What the heck is that?They look up in the boughs of the tree overhead, and then down at the chocolate cake splashed all over the checked cloth.<b>SELENA</b>A squirrel Frisbee?Selenareaches out and picks up the OMEGAHEDRON. It comes away from the cake without a trace of the chocolate icing sticking to its surface, as if made of some substance, which repels other kinds of matter.Selena holdsthe shining Omegahedron in her hand and examines it, turning it around and around as if hypnotized. Her face takes on a new expression. Almost as if the simple, wholesome innocence of her nature had been blastedaway by some profound new knowledge of the universe.<b>SELENA</b> That's funny. I'd swear I know just what this is, but I've never seen it before.She stands up and walks across the checkered cloth, in a beelinefor the pickup truck.<b>GEORGE</b> Hey, where you going?<b> SELENA</b>      (calling over her shoulder) I've got things to do.<b> GEORGE </b>What about my proposal?<b> SELENA </b>         (dismissively)Call me next week. Maybe we can have lunch.She gets in the pickup and. drives away.<b>GEORGE </b>Hey! My truck!<b>DISSOLVE TO:</b><b> KARA' S FACE</b>She is ten years older now, a young lady. Almostready to assume the long flowing gown of an adult, but still in the tunic worn by those under eighteen.<b>ALURA</b>       (voice over) But Kara, you are too young to go.<b>ANOTHER ANGLE. ARGO CITY.DIMMED</b>They are in the assembly amphitheater of the city, where the kindergarten nuclear physics class was seen. Kara is in the centre of the ring, with adults seated in scattered rows around her. Her parentsZor-El and Alura are standing in front of her.<b>KARA</b> I am almost an adult. This is what I want.<b>ZOR-EL</b> But Kara, no one has ever gone from here to Earth. The journey is dangerous.<b> KARA</b>Itwas my fault we lost the Power Source.<b> ZOR-EL</b>Years ago. And it was Zaltar who stole it.<b> KARA</b>I allowed it to escape the City.<b> ALURA</b>Ever since we told you how your cousin Superman wassent there as an infant, all you have wanted to do was visit this place.<b> KARA</b>Yes, I do want to go. But someone must go. Our scanning shows the Power Source has finally reached the Earth. It could destroyeverything unless someone brings it back.<b> ZOR-EL </b>Superman will return it.<b> KARA</b>Why haven't you been able to contact him? He should have returned from the neutron galaxy ages ago. He may be"}
+{"doc_id":"doc_156","qid":"","text":"<html><head><title>Little Nicky Script at IMSDb.</title><meta name=\"description\" content=\"Little Nicky script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Little Nicky script, LittleNicky movie script, Little Nicky film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\"rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><html><head><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script>    <TITLE>\"LITTLE NICKY\" --by Tim Herlihy, Adam Sandler & Steven Brill</TITLE></head><pre><b> FADE IN:</b><b> EXT. SUBURBIA - NIGHT</b> A beautiful late summer night.  Crickets chirping, sprinklers sprinkling. We PAN across oneparticular lawn, up one particular tree, where we see THE PEEPER (Jon Lovitz) sitting on a limb.  He has a bottle of wine, some sandwiches, a Walkman.  Suddenly the lights turn on.<b> PEEPER</b> (whispering)Showtime! We see a young mother walk into the room outside the Peeper's window.  She is wearing business attire.<b> PEEPER (CONT'D)</b> Rough day at the office Mrs. Dunleavy? (takes bite of sandwich) Wellyou'll feel better once you slip off those work clothes and get into some sweats. The mother sits on the bed and pulls off her shoes, rubbing her feet.<b> PEEPER (CONT'D)</b> Oh my G-D, yes!  I wish you would letme rub those feet.  Of course I wouldn't use my hands.  Heh heh heh heh... He sips some wine. The mother starts to unbutton her blouse.  She takes it off, revealing a nice bra.<b> PEEPER (CONT'D)</b> Looks likeVictoria just told me her secret. The peeper frantically writes in a dirty notebook.  Mouthing the words as he goes.<b> PEEPER (CONT'D)</b> Thursday the ninth, eight-thirty p.m., first brassiere sighting... (stopswriting) I will pleasure myself to this image for months.  MONTHS I TELL YOU! The mother starts to unbutton her pants.  Her young son walks in wearing a scouts uniform.<b> PEEPER (CONT'D)</b> Young ScottieDunleavy.  What unfortunate timing.  You mother was just getting comfy. The son talks to his mother excitedly.<b> PEEPER (CONT'D)</b> Yes, yes, I'm sure you tied many great knots today or whatever.  Now getout. The son, not going anywhere, sits in a chair.<b> PEEPER (CONT'D)</b> Now what.  This simply won't do. The peeper takes out a cell phone and dials.  The son answers.<b> SCOTTIE</b> Hello?<b> PEEPER</b>Hello, Scottie.  Why don't you go downstairs like a good boy and let your mother freshen up.<b> SCOTTIE</b> Who is this?<b> PEEPER</b> Just a little birdie.  A birdie who wants to see if your mother's pantiesmatch her bra.<b> MOTHER</b> Oh my G-D Scottie.  Is there a man up our tree? The peeper gets nervous.<b> PEEPER</b> Tell her no.  Tell her it's just a big bird. The peeper starts flapping his arms and makingbird noises. We SEE Scottie with his sling shot.  The mother nods yes.  He shoots it.  It hits the peeper square in the head.  He falls to the ground with a thud.<b> PEEPER (CONT'D)</b> Mrs. Dunleavy, please comehelp me.  And wear your bikini. The peeper looks up.  He sees Scottie pushing a television out the window.  It lands on top of the peeper.  He's dead.<b>    HARD CUT:</b><b> INT. HOLE - DAY</b> The peeper iszooming down a hole, walls of dirt racing by on all sides. The peeper is falling down, down, down.  The whole way screaming like a five-year old girl.<b> PEEPER'S POV</b> We see the tunnel turn into more of a slidenow and the peeper races towards the opening which is lit by fire.  He<b> SCREAMS.</b><b> EXT. FIRE GATES OF HELL</b> We see the GATE/WALL OF FLAMES.  We hear screaming.  Wham! We see the peepercome flying through the flames and land in a heap in a shallow pit of coals. Dazed, he stands and we see other people shooting through the fire wall at different levels.  (NOTE: All the arrivals clothes are now burned &shredded).<b> GATEKEEPER (O.S.)</b> Welcome! The peeper looks left to see the GATEKEEPER standing at his station greeting the new SOULS with mock cheer.<b> PEEPER</b> Am I in hell?<b> GATEKEEPER</b>What do you think? A GIANT BIRD appears and bites the peeper's crotch area.  We leave the peeper in the pit and tilt up to...<b> MATTE PAINTING HELL</b><b> MUSIC UP: \"RUNNING WITH THE DEVIL\" BY VANHALEN</b> The VAST and insane kingdom of Hell.  A road leads toward it like the yellow brick road only with fire and coals.  We see the black castle in the distance.  The camera zooms into the castle, to one particularwindow.<b> INT. NICKY'S ROOM - DAY</b> Looks like an American teenager's room - models, a dresser, heavy metal posters (tons of OZZY stuff) everywhere (but no bed - Devils don't sleep).  Nicky is air guitaring tothe song.  Over at the stereo, we see the cassette playing titled<b> \"NICKY'S MONSTER METAL MIX.\"</b> The head demon, JIMMY THE DEMON, opens the door, scaring NICKY who falls backward into the table,breaking it.<b> NICKY</b> (embarrassed) Hey...<b> JIMMY THE DEMON</b> Your father wants to see you and your brothers in the throne room.<b> NICKY</b> Okay, but Jimmy, when the house is rockin', don'tforget the knockin'!<b> INT. BLACK PALACE THRONE ROOM - DAY</b> ADRIAN and CASSIUS are playing darts.  They're aiming for people's faces that are coming through the wall.<b> CASSIUS</b> I knew it.  He'sfinally retiring.<b> ADRIAN</b> I've been waiting on this day for ten thousand years. He throws a dart that hits one of the heads in the forehead.<b> HUMAN DARTBOARD</b> Aaaah!<b> CASSIUS</b> If the oldman picks me to take over Hell, I'll keep the torture going twenty four seven.  No breaks.<b> ADRIAN</b> Well Dad says it's the breaks that make the torture.  You have to let people feel a sense of relief. Cassiuswhips a dart which hits one of the HUMAN DARTBOARDS in the eye.<b> HUMAN DARTBOARD</b> Aaaaaaaaaaaah!<b> ADRIAN</b> Then again, the beauty of Dad retiring is what he says doesn't matter anymore.Cassius pulls out the dart.  The eye comes with it.<b> CASSIUS</b> I'll take that. Cassius throws the eye on the ground and stomps it.  THWACK! It splatters like a grape.<b> HUMAN DARTBOARD</b> Was thatreally necessary? Nicky enters sheepishly.<b> CASSIUS</b> Hey, how's Daddy's little girl doing today?<b> NICKY</b> Good, thanks. Cassius snaps his fingers in Nicky's face.<b> CASSIUS</b> Hey. Hey.Hey.  Wanna mind wrestle? Cassius' eyes start glowing red.<b> NICKY</b> Actually, I'll take a rain check on0 Nicky is slammed into a nearby desk as if by an invisible force.<b> CASSIUS</b> Got ya!<b> NICKY</b>(picking up his head) Yes, you got me... Nicky's head slams back down again.<b> CASSIUS</b> Got ya, again!<b> NICKY</b> (picking head up) Got me for sure, yes... He grabs a lamp off the desk and crackshimself over the head.<b> CASSIUS</b> Got ya!  Now here's the big finish... Nicky frowns as he finds his own right hand heading for his own crotch.<b> NICKY</b> Oh no.  Please Cassius... Nicky's hand is beingpossessed.  It gets closer and closer until it latches on to Nicky's crotch.<b> NICKY (CONT'D)</b> Aaaaah. Cassius concentrates even harder, making Nicky twist his own hand.  Nicky screams even louder.  Adriansmiles.  They don't notice that DAD, wearing a sweatsuit (and with very small devil horns), enters behind them.<b> DAD</b> What are you boys doing? Cassius releases Nicky's hand.<b> NICKY</b> Nothing,Dad.  Just re-arranging the furniture.<b> DAD</b> Cassius, didn't I tell you to stay out of your brother's mind?<b> CASSIUS</b> I forgot.<b> DAD</b> Maybe this will help you remember. Dad's eyes flash red andCassius punches himself hard in the nose, sending him back against the wall and down to the floor. Dad gives Nicky a wink.  Nicky smiles.  Dad has an air of confidence and power.<b> DAD (CONT'D)</b> Noweverybody sit down.<b> NICKY</b> Hey, Dad, I'm almost finished laying down my monsters of metal compilation tape.  I really think it's a masterpiece.<b> DAD</b> Okay, kid, we'll listen to it later. He leads theboys to the throne area.  We see outside the window the peeper staring in sexily.  Dad looks, shakes his head.  Just then, THE BIRD appears and attacks him.  Dad closes the curtains. Nicky, Adrian and Cassius sit onlittle stools at the foot of his throne.  Dad lights a cigarette with his finger, the tip of which glows red like a cigarette lighter and looks down at his three sons.<b> DAD (CONT'D)</b> My dad, your granddad, Lucifer,was thrown out of Heaven by G-d and rules here in hell for ten thousand years. And after this ten thousand years had passed, he decided to abdicate his throne... Confused, Nicky sheepishly raises his hand.<b> DAD(CONT'D)</b> ...to step aside. (Nicky lowers his hand) ...and let me become the ruler of hell. This, as some of you might know, is my ten thousandth year as Prince of Darkness.  So I think the time has come to discusswho will succeed me. Jimmy the Demon walks in.<b> JIMMY THE DEMON</b> Knock, knock.<b> DAD</b> Yes, Jimmy. He whispers in Dad's ear.<b> DAD (CONT'D)</b> No, no, that's not what I said.  He can keephis thumbs, but the fingers gotta go.<b> JIMMY THE DEMON</b> (turning to leave) Oh, and don't forget, you're shoving a pineapple up Hitler's ass at four o'clock. Dad nods, and Jimmy shuffles out.  Dad turns hisattention back to his sons.<b> DAD</b> This was a very difficult decision, because I have three wonderful sons.  I mean, Adrian, so smart, so ruthless. And Cassius, so strong, so tough.  And Nicky, so...so...<b>NICKY</b> Don't worry about coming up with anything.  It's cool.<b> DAD</b> Such a sweet boy.  But after much thought and careful consideration, I've decided that the ruler for the next ten thousand years is goingto have to be...me.<b> CASSIUS AND ADRIAN</b> (dumbfounded) What!?<b> NICKY</b> Hallelujah. They all look at Nicky.<b> NICKY (CONT'D)</b> I mean...tough break.<b> DAD</b> The important thing forthe stability of our rule is to maintain the balance between good and evil.  And I don't think any of you are ready for that responsibility yet.  You need the wisdom that comes only with the passage of time.<b>CASSIUS</b> Dad!  This is Hoyashit. Dad glares.  Cassius goes FLYING BACK.  One of the Human Dartboards laughs.  Cassius whips a dart and hits him in the tongue.  Jimmy enters and points at his watch.<b>DAD</b> Right.  Right.  Send him in. (to the boys) I'm sorry, boys.  I've got to get back to work. Nicky, Cassius and Adrian start filing out.  Adrian stops.<b> ADRIAN</b> You sure about this decision, Dad?<b>DAD</b> I'm telling you, pal, it's the right thing to do. HITLER (in a French maid's outfit), is being brought in by Jimmy.  They head towards the closet. Inside the closet is a crate of pineapples.  Hitler picks out arelatively small one.  Dad shakes his head \"no.\"  Dad walks over to the closet.  Hitler picks out a really big pineapple. Dad nods \"yes.\"  Hitler sadly hands it to Dad.  Jimmy bends Hitler over and as Dad raises thefruit...<b> CLOSE ON HITLER'S EYES</b> As the pineapple's jammed up his ass.<b> HITLER</b> Holy schnit!!<b> EXT. HIGHWAY TO HELL - DAY</b> Cassius and Adrian are standing by the road still flowing withsouls.  Both are pissed.  There's a big, ugly, Bigfoot looking MONSTER hanging out with them, kind of nodding along.<b> CASSIUS</b> You work your ass off for ten thousand years, hurting people, helping others hurtpeople, then you get a decision like that.<b> ADRIAN</b> And he's dead serious.<b> CASSIUS</b> It's just such a slap in the face. Adrian turns to the Monster.<b> ADRIAN</b> Um, excuse me, we're having aprivate conversation here.<b> CASSIUS</b> Yeah, get out of here!  Beat it! Cassius insanely snaps his fingers in the Monster's face. The Monster shrugs and walks off.<b> ADRIAN</b> Twenty-thousand years ago,"}
+{"doc_id":"doc_157","qid":"","text":"<html><head><title>Air Force One Script at IMSDb.</title><meta name=\"description\" content=\"Air Force One script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Air Force One script,Air Force One movie script, Air Force One film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\"rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b><HTML><HEAD></b><title>Air Force One</title><script><b><!--</b>if (window!= top)top.location.href=location.href<b>//--></b></script><b></HEAD></b><pre>                                    Air Force One                                      Andrew Marlow <b>               FADE IN:</b><b>               INT. C-130 HERCULES TURBO-PROP -NIGHT</b>               Eighteen combat-ready special forces, wearing assault black,                jump packs and combat gear, stare down the deep end of a                greasy ramp into the night sky.  Village lights flicker19,000                feet below.               The STRIKE FORCE LEADER signals to his team.               Without a moment's hesitation, they dive into the darkness                and plummet toward earth.<b>               EXT.MANSION - NIGHT</b>               A military GUARD, old Soviet-style uniform, rounds the corner                of the large estate toting an AK-47.               A red laser dot appears briefly on his forehead and, aftera                beat, the red dot seems to bleed.  The Guard collapses dead.                 Two other GUARDS are dispatched with single, silenced shots.               A Strike Team member at a junction box awaits asignal.               Through infra-red binoculars the strike Force Leader watches                his assault troops as they take positions.<b>                                     STRIKE FORCE LEADER</b>                              (intoheadset/in                               Russian)<b>                         GO!</b>               On the estate - as the power goes out.  The team on the                mansion's front porch pops the door and poursin.<b>               INT. MANSION - NIGHT</b>               FOLLOWING - the FIVE TEAM MEMBERS as they rush a stairway in                phalanx formation.  They nearly knock over an old lady, who                in turn letsout a blood curdling scream.<b>               UPSTAIRS CORRIDOR -</b>               The team kicks open a door.  Rushes into the room.<b>               INT. BEDROOM -</b>               Assault weapons pointed at thebed.  The soldiers yank back                bedsheets to reveal IVAN STRAVANAVITCH, a middle-aged man                and his half-naked 18-year-oldconcubine.<b>                                     SOLDIER</b>                              (in Russian)                         Get up, now!  Up!               The soldiers pull Stravanavitch to his feet and haul him out                of theroom.               FOLLOWING -  As they push down the hallway.               MANSION SECURITY GUARDS rally with haphazard gunfire.               Out come the strike force's flash-banggrenades.  Exploding                everywhere, disorienting Stravanavitch's men.<b>               EXT. FIELD - NIGHT</b>               Signal flares burn as a helicopter descends on the position.                 The Strike Teamevacuates across the field and forces a                struggling Stravanavitch into the low-hovering copter.               The commandos swiftly board the craft as a handful of                Stravanavitch's guards break into theclearing.  They open                fire.               And the mounted machine guns on the helicopter return.               One of the Strike Team members takes a bullet to the neck.                 He's' pulled by his comrades intothe chopper as it lifts                into the sky, its guns spitting lead...<b>               STRIKE FORCE LEADER (V.0.)</b>               Archangel, this is Restitution.               Archangel, this is Restitution.  The package iswrapped.                 Over.<b>                                     VOICE (V.0. RADIO)</b>                         Roger, Restitution.  We are standing                          by for delivery.<b>                                     FADE TOBLACK</b>                         The SOUNDS of a dinner banquet.                           Forks clanking against plates and                          the din of a hundred conversations,                          broken by...               TheDING, DING, DING of a SPOON tapping against a wine glass.               SUPER TITLE:   &quot;MOSCOW - THREE WEEKS LATER<b>               FADE IN:</b><b>               INT. BANQUET ROOM -NIGHT</b>               Hundreds of men and women in formal evening wear sit at round                banquet tables.  A HUSH falls over the guests as the DINGING                continues.  All attention turns to the fronttable.               A rotund, silver haired-man in his late sixties rises and                sidles past U.S. and Russian flags up to the podium                microphone.  He is STOLI PETROV, President ofRussia.<b>                                     PETROV</b>                              (in Russian)                         Thank you for joining us this evening.               Petrov's harsh Russian issues through the room.  But overit                we hear a young woman's voice translating.<b>                                     TRANSLATOR (V.0.)</b>                         Tonight we are honored to have with                          us a man of remarkable courage,who,                          despite strong international                          criticism...<b>               AT THE FRONT TABLE -</b>               A translator's words ring in the earpiece of a handsome man                in hismid-forties.  Worry lines crease his forehead and the                touch of gray at his temples attest to three very difficult                years in office.               This man is JAMES MARSHALL, and he is the PRESIDENT ofthe                UNITED STATES OF AMERICA.  He busily makes last minute changes                to his speech.<b>                                     TRANSLATOR</b>                              (V.0. earpiece)                         Haschosen to join our fight against                          tyranny in forging a new world                          community.  Ladies and gentlemen, I                          give you the President of the United                          States ofAmerica...               Mr. President.               Thunderous applause as Marshall rises and approaches the                podium.               At the back of the room, DOHERTY, a senior policy adviser                whispers to thePresident's Chief of Staff ED SHEPHERD...<b>                                     DOHERTY</b>                         Maybe we should consider running him                          for re-election instead of the U.S.               The applausedies as Marshall begins to speak.<b>                                     MARSHALL</b>                              (in Russian with                               subtitles)                         Good evening and thank you.  FirstI                          would ask you to join me in a moment                          of silence for the victims of the                          Turkmenistan massacres.               The room remains silent a few beats.  Most guestsrespectfully                bow their heads.               Marshall begins again, but this time in English.  The young                woman translates simultaneously for the Russianaudience.<b>                                     MARSHALL</b>                         As you know, three weeks ago American                          Special Forces, in cooperation with                          the Russian Republican Army,secured                          the arrest of Turkmenistan's self-                         proclaimed dictator, General Ivan                          Stravanavitch, whose brutal sadistic                          reign had given new meaning tothe                          word horror.  I am proud to say our                          operation was a success.               Applause from the audience.  Marshall turns the page onhis                speech.<b>                                     MARSHALL</b>                         And now, yesterday's biggest threat                          to world peace... today awaits trial                          for crimes againsthumanity.               During the applause, Marshall pulls a page from the speech,                folds it and slides it into his pocket.  He removes his                glasses and looks out into the crowd.  His tone becomesmore                personal.               He's not reciting the speech anymore.<b>                                     MARSHALL</b>                         What we did here was important.  We                          finally pulled our headsout of the                          sand, we finally stood up to the                          brutality and said &quot;We've had enough.                           Every time we ignore these atrocities--                          the rapes, the deathsquads, the                          genocides- every time we negotiate                          with these, these thugs to keep them                          out of gig country and away from gig                          families, every time wedo thiS.E.                          we legitimize terror.               Terror is not a legitimate system of government.  And to                those who commit the atrocities I say, we will no longer                tolerate, we will nolonger negotiate, and we will no longer                be afraid.  It's your turn to be afraid.               Applause rolls through the crowd.<b>               EXT. MOSCOW INTERNATIONAL AIRPORT -NIGHT</b>               Sprawling terminals spread out to runways like tentacles.<b>               ON THE TARMAC -</b>               Bathed in floodlights, perched majestically on the runway,                dwarfing nearbycommuter and military jets, stands...<b>                                     AIR FORCE ONE</b>                         The President's own Boeing 747-200,                          dubbed &quot;the flying WhiteHouse&quot;.                           The distinctive royal blue stripe                          over a thin gold line tapers to a                          tail adorned with the American flag                          and the Presidential SealSecret                          Service agents and Marines stand                          guard at the aircraft's perimeter.               A RUSSIAN NEWS VAN emerges from the darkness and pulls to a                stop by a SecretService barricade.               SPECIAL AGENT GIBBS greets the Russian news team that emerges.<b>                                     GIBBS</b>                         Gentlemen, welcome to Air Force One.               Pleasepresent your equipment to Special Agent Walters for                inspection.               The news team's segment producer, a crusty old Russian named                KORSHUNOV raises his big bushyeyebrows.<b>                                     KORSHUNOV</b>                         We've already been inspected.<b>                                     GIBBS</b>                         Sir, this plane carries thePresident                          of the United States.               Though we wish to extend your press service every courtesy,                you will comply with our security measures to theletter.<b>                                     KORSHUNOV</b>                         Of course.  I'm sorry.               Korshunov and the FIVE MEMBERS of his news crew present their                video cameras, sound equipment andsupplies to Special Agent                WALTERS for inspection.  Secret Service DOGS sniff through                the baggage.<b>                                     GIBBS</b>                         Please place your thumbs on theID                          pad.               Korshunov puts his thumb on the ID pad of a portable computer.               The computer matches up his thumbprint with his dossierand                photograph.  &quot;CLEARED&quot; flashes on the computer screen.<b>               INT. HALLWAY - NIGHT</b>               The President, walking with his"}
+{"doc_id":"doc_158","qid":"","text":"The Project Gutenberg EBook of The Lure of the Mask, by Harold MacGrathThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-useit under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: The Lure of the MaskAuthor: Harold MacGrathIllustrator: Harrison Fisher             Karl AndersonReleaseDate: July 27, 2007 [EBook #22158][Last updated: July 22, 2011]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE LURE OF THE MASK ***Produced by Rick Niles, Mary Meehan and theOnlineDistributed Proofreading Team at http://www.pgdp.net                      _The_ LURE OF THE MASK                      _By_ HAROLD MAC GRATH                      WITH ILLUSTRATIONS BY                         HARRISONFISHER                               AND                          KARL ANDERSON                          INDIANAPOLIS                   THE BOBBS-MERRILL COMPANY                           PUBLISHERS                         COPYRIGHT1908                            PRESS OF                        BRAUN WORTH & CO.                     BOOKBINDERS AND PRINTERS                         BROOKLYN, N.Y.TOMY FELLOW TRAVELERANDGENTLE CRITICCONTENTS       ITHE VOICE IN THE FOG      II OBJECT, MATRIMONY     III MADAME ANGOT      IV BLINDFOLDED       V THE MASK      VI INTO THE FOG AGAIN     VII THE TOSS OF A COIN    VIII WHAT MERRIHEW FOUND      IX MRS.SANDFORD WINKS       X CARABINIERI      XI THE CITY IN THE SEA     XII A BOX OF CIGARS    XIII KITTY ASKS QUESTIONS     XIV GREY VEILS      XV MANY NAPOLEONS     XVI O'MALLY SUGGESTS    XVIIGIOVANNI   XVIII THE ARIA FROM IL TROVATORE     XIX TWO GENTLEMEN FROM VERONA      XX KITTY DROPS A BANDBOX     XXI AN INVITATION TO A BALL    XXII TANGLES   XXIII THE DÃ\u0000NOUEMENT    XXIVMEASURE FOR MEASURE     XXV FREE    XXVI THE LETTER   XXVII BELLAGGIOTHE LURE OF THE MASKCHAPTER ITHE VOICE IN THE FOGOut of the unromantic night, out of the somber blurring January fog,came a voicelifted in song, a soprano, rich, full and round, young, yetmatured, sweet and mysterious as a night-bird's, haunting and elusive asthe murmur of the sea in a shell: a lilt from _La Fille de MadameAngot_, a light operalong since forgotten in New York. Hillard,genuinely astonished, lowered his pipe and listened. To sit dreaming byan open window, even in this unlovely first month of the year, in thatgrim unhandsome city which boastsof its riches and still accepts withsmug content its rows upon rows of ugly architecture, to sit dreaming,then, of red-tiled roofs, of cloud-caressed hills, of terracedvineyards, of cypresses in their dark aloofness, is not outof thenatural order of things; but that into this idle and pleasant dreamthere should enter so divine a voice, living, feeling, pulsing, this wasnot ordinary at all.And Hillard was glad that the room was in darkness. He roseeagerly andpeered out. But he saw no one. Across the street the arc-lamp burneddimly, like an opal in the matrix, while of architectural outlines notone remained, the fog having kindly obliterated them.The Voice roseand sank and soared again, drawing nearer and nearer. Itwas joyous and unrestrained, and there was youth in it, the touch ofspring and the breath of flowers. The music was Lecocq's, that is tosay, French; but thetongue was of a country which Hillard knew to bethe garden of the world. Presently he observed a shadow emerge from theyellow mist, to come within the circle of light, which, faint as it was,limned in against thenothingness beyond the form of a woman. She walkeddirectly under his window.As the invisible comes suddenly out of the future to assume distinctproportions which either make or mar us, so did this unknowncantatricecome out of the fog that night and enter into Hillard's life, toreadjust its ambitions, to divert its aimless course, to give impetus toit, and a directness which hitherto it had not known.\"Ah!\"He leaned over thesill at a perilous angle, the bright coal of his pipespilling comet-wise to the area-way below. He was only subconscious ofhaving spoken; but this syllable was sufficient to spoil theenchantment. The Voice ceasedabruptly, with an odd break. The singerlooked up. Possibly her astonishment surpassed even that of heraudience. For a few minutes she had forgotten that she was in New York,where romance may be found only in thebook-shops; she had forgottenthat it was night, a damp and chill forlorn night; she had forgotten thepain in her heart; there had been only a great and irresistible longingto sing.Though she raised her face, he coulddistinguish no feature, for thelight was behind. However, he was a man who made up his mind quickly.Brunette or blond, beautiful or otherwise, it needed but a moment tofind out. Even as this decision was made hewas in the upper hall,taking the stairs two at a bound. He ran out into the night, bareheaded.Up the street he saw a flying shadow. Plainly she had anticipated hisimpulse and the curiosity behind it. Even as he gavechase the shadowmelted in the fog, as ice melts in running waters, as flame dissolves insunshine. She was gone. He cupped his ear with his hand; in vain, therecame no sound as of pattering feet; there was nothing butfog andsilence.\"Well, if this doesn't beat the Dutch!\" he murmured.He laughed disappointedly. It did not matter that he was three andthirty; he still retained youth enough to feel chagrined at such atrivial defeat. Herehad been something like a genuine adventure, and ithad slipped like water through his clumsy fingers.\"Deuce take the fog! But for that I'd have caught her.\"But reason promptly asked him what he should have donehad he caught thesinger. Yes, supposing he had, what excuse would he have had to offer?Denial on her part would have been simple, and righteous indignation atbeing accosted on the street simpler still. He had notseen her face,and doubtless she was aware of this fact. Thus, she would have had allthe weapons for defense and he not one for attack. But though reasonargued well, it did not dislodge his longing. He would havebeenperfectly happy to have braved her indignation for a single glance ather face. He walked back, lighting his pipe. Who could she be? Whatpeculiar whimsical freak had sent her singing past his window at oneo'clockof the morning? A grand opera singer, returning home from a latesupper? But he dismissed this opinion even as he advanced it. He knewsomething about grand opera singers. They attend late suppers, it istrue, butthey ride home in luxurious carriages and never risk theirgolden voices in this careless if romantic fashion. And in New Yorknobody took the trouble to serenade anybody else, unless paid in advanceand armed with apolice permit. As for being a comic-opera star, herefused to admit the possibility; and he relegated this well-satisfiedconstellation to the darks of limbo. He had heard a Voice.A vast, shadow loomed up in the middle ofthe street, presently to takeupon itself the solid outlines of a policeman who came lumbering over toadd or subtract his quota of interest in the affair. Hillard wiselystopped and waited for him, pulling up the collar of hisjacket, as hebegan to note that there was a winter's tang to the fog.\"Hi, what's all this?\" the policeman called out roughly.\"To what do you refer?\" Hillard counter-questioned, puffing. He slippedhis hands into thepockets of his jacket.\"I heard a woman singin', that's what!\" explained the guardian of thelaw.\"So did I.\"\"Oh, you did, huh?\"\"Certainly. It is patent that my ears are as good as yours.\"\"Huh! See her?\"\"For a moment,\"Hillard admitted.\"Well, we can't have none o' this in the streets. It's disorderly.\"\"My friend,\" said Hillard, rather annoyed at the policeman's tone, \"youdon't think for an instant that I was directing this operetta?\"\"Think?Where's your hat?\"Hillard ran his hand over his head. The policeman had him here. \"I didnot bring it out.\"\"Too warm and summery; huh? It don't look good. I've been watchin' theseparts fer a leddy. They call her LeddyLightfinger; an' she has some O'the gents done to a pulp when it comes to liftin' jools an' trinkets.Somebody fergits to lock the front door, an' she finds it out. Why didyou come out without yer lid?\"\"Just forgot it, that'sall.\"\"Which way'd she go?\"\"You'll need a map and a search-light. I started to run after hermyself. I heard a voice from my window; I saw a woman; I made for thestreet; _niente_!\"\"Huh?\"\"_Niente_, nothing!\"\"Oh! I see;Dago. Seems to me now that this woman was singin' I-taly-an,too.\" They were nearing the light, and the policeman gazed intently atthe hatless young man. \"Why, it's Mr. Hillard! I'm surprised. Well,well! Some day I'llrun in a bunch o' these chorus leddies, jes' fer alesson. They git lively at the restaurants over on Broadway, an' thinthey raise the dead with their singin', which, often as not, is anythin'but singin'. An' here it is, afterone.\"\"But this was not a chorus lady,\" replied Hillard, thoughtfully reachinginto his vest for a cigar.\"Sure, an' how do you know?\" with renewed suspicions.\"The lady had a singing voice.\"\"Huh! They all think alike aboutthat. But mebbe she wasn't bad at thebusiness. Annyhow....\"\"It was rather out of time and place, eh?\" helpfully.\"That's about the size of it. This Leddy Lightfinger is a case. She hasus all thinkin' on our nights off. Cleveran' edjicated, an' jabbers inhalf a dozen tongues. It's a thousan' to the man who jugs her. But shedon't sing; at least, they ain't any report to that effect. Perhaps yourleddy was jes' larkin' a bit. But it's got to bestopped.\"Hillard passed over the cigar, and the policeman bit off the end,nodding with approval at such foresight. The young man then profferedthe coal of his pipe and the policeman took his light therefrom,realizingthat after such a peace-offering there was nothing for him todo but move on. Yet on dismal lonesome nights, like this one, it is agodsend and a comfort to hear one's own voice against the darkness. Sohelingered.\"Didn't get a peep at her face?\"\"Not a single feature. The light was behind her.\" Hillard tapped one toeand then the other.\"An' how was she dressed?\"\"In fog, for all I could see.\"\"On the level now, didn't youknow who she was?\" The policeman gaveHillard a sly dig in the ribs with his club.\"On my word!\"\"Some swell, mebbe.\"\"Undoubtedly a lady. That's why it looks odd, why it brought me into thestreet. She sang in classicItalian. And what's more, for the privilegeof hearing that voice again, I should not mind sitting on this cold curbtill the milkman comes around in the morning.\"\"That wouldn't be fer long,\" laughed the policeman, takingout his watchand holding it close to the end of his cigar. \"Twenty minutes after one.Well, I must be gittin' back to me beat. An' you'd better be goin' in;it's cold. Good night.\"\"Good night,\" Hillard respondedcheerfully.\"Say, what's I-taly-an fer good night?\" still reluctant to go on.\"_Buona notte._\"\"Bony notty; huh, sounds like Chinese fer rheumatism. Been to Italy?\"\"I was born there,\" patiently.\"No! Why, you're noDago!\"\"Not so much as an eyelash. The stork happened to drop the basket there,that's all.\"\"Ha! I see. Well, Ameriky is good enough fer me an' mine,\" complacently.\"I dare say!\"\"An' if this stogy continues t' behave,we'll say no more about thevanishin' leddy.\" And with this the policeman strolled off into the fog,his suspicions in nowise removed. He knew many rich young bachelors likeHillard. If it wasn't a chorus lady, it was aprima donna, which was notfar in these degenerate days from being the same thing.Hillard regained his room and leaned with his back to the radiator. Hehad an idea. It was rather green and salad, but as soon as hishandswere warm he determined to put this idea into immediate use. The Voicehad stirred him deeply, stirred him with the longing to hear it again,to see the singer's face, to learn what extraordinary impulse hadloosedthe song. Perhaps it was his unspoken loneliness striving to call outagainst this self-imposed isolation; for he was secretly lonely, as allbachelors must be who have passed the Rubicon of thirty. He madenoanalysis of this new desire, or rather this old desire, newly awakened.He embraced it gratefully. Such is the mystery and power of the humanvoice: this one, passing casually under his window, had awakenedhim.Never the winter came with its weary round of rain and fog and snow thathis heart and mind did not fly over the tideless southern sea to theland of his birth if not of his blood. Sorrento, that jewel of the ruddyclifts!There was fog outside his window, and yet how easy it was topicture the turquoise bay of Naples shimmering in the morning light!There was Naples itself, like a string of its own pink coral, lyingcrescent-wise on thedistant strand; there were the snowcaps fading onthe far horizon; the bronzed fishermen and their wives, a sheer twohundred feet below him, pulling in their glistening nets; the amethystisles of Capri and Ischiaeternally hanging midway between the blue ofthe sky and the blue of the sea; and there, towering menacingly aboveall this melting beauty, the dark, grim pipe of Vulcan. How easily,indeed, he could see all thesethings!With a quick gesture of both hands, Latin, always Latin, he crossed theroom to a small writing-desk, turned on the lights and sat down. Hesmiled as he took up the pen to begin his composition. Not one chanceina thousand. And after several attempts he realized that the letter hehad in mind was not the simplest to compose. There were a dozen futileefforts before he produced anything like satisfaction. Then he filledout asmall check. A little later he stole down-stairs, round the cornerto the local branch of the post-office, and returned. It was only ablind throw, such as dicers sometimes make in the dark. But chance lovesher truegamester, and to him she makes a faithful servant.\"I should be sorely tempted,\" he mused, picking up a novel and selectinga comfortable angle in the Morris, \"I should be sorely tempted to callany other man a silly ass.Leddy Lightfinger--it would be a fine joke ifmy singer turned out to be that irregular person.\"He fell to reading, but it was not long before he yawned. He shied thebook into a corner, drew off his boots and cast them intothe hall. Amoment after his valet appeared, gathered up the boots, tucked themunder his arm, and waited.\"I want nothing, Giovanni. I have only been around to the post-office.\"\"I heard the door open and close fourtimes, signore.\"\"It was I each time. If this fog does not change into rain, I shall wantmy riding-breeches to-morrow morning.\"\"It is always raining here,\" Giovanni remarked sadly.\"Not always; there are pleasant days inthe spring and summer. It isbecause this is not Italy. The Hollander wonders how any reasonablebeing can dwell in a country where they do not drink gin. It's home,Giovanni; rain pelts you from a different angle here.There is nothingmore; you may go. It is two o'clock, and you are dead for sleep.\"But Giovanni only bowed; he did not stir.\"Well?\" inquired his master.\"It is seven years now, signore.\"\"So it is; seven this coming April.\"\"Iam now a citizen of this country; I obey its laws; I vote.\"\"Yes, Giovanni, you are an American citizen, and you should be proud ofit.\"Giovanni smiled. \"I may return to my good Italia without danger.\"\"That depends. Ifyou do not run across any official who recognizesyou.\"Giovanni spread his hands. \"Official memory seldom lasts so long asseven years. The signore has crossed four times in this period.\"\"I would gladly have taken youeach time, as you know.\"\"Oh, yes! But in two or three years the police do not forget. In sevenit is different.\"\"Ah!\" Hillard was beginning to understand the trend of thisconversation. \"So, then, you wish to return?\"\"Yes,signore. I have saved a little money,\" modestly.\"A little?\" Hillard laughed. \"For seven years you have received fiftyAmerican dollars every month, and out of it you do not spend as manycopper centesimi. I am certainthat you have twenty thousand lire tuckedaway in your stocking; a fortune!\"\"I buy the blacking for the signore's boots,\" gravely.Hillard saw the twinkle in the black eyes. \"I have never,\" he saidtruthfully, \"asked you toblack my boots.\"\"Penance, signore, penance for my sins; and I am not without gratitude.There was a time when I had rather cut off a hand than black a boot; butall that is changed. We of the Sabine Hills are proud, asthe signoreknows. We are Romans out there; we despise the cities; and we do nothold out our palms for the traveler's pennies. I am a peasant, butalways remember the blood of the Cæsars. Who can say? Besides, Ihaveheld a sword for the church. I owe no allegiance to the puny House ofSavoy!\" There was no twinkle in the black eyes now; there was aferocious gleam. It died away quickly, however; the squared shouldersdrooped,and there was a deprecating shrug. \"Pardon, signore; this isfar away from the matter of boots. I grow boastful; I am an old man andshould know better. But does the signore return to Italy in the spring?\"\"I don't know,Giovanni, I don't know. But what's on your mind?\"\"Nothing new, signore,\" with eyes cast down to hide the returninglights.\"You are a bloodthirsty ruffian!\" said Hillard shortly. \"Will time neversoften the murder in yourheart?\"\"I am as the good God made me. I have seen through blood, and time cannot change that. Besides, the Holy Father will do something for one whofought for the cause.\"\"He will certainly not countenancebloodshed, Giovanni.\"\"He can absolve it. And as you say, I am rich, as riches go in theSabine Hills.\"\"I was in hopes you had forgotten.\"\"Forgotten? The signore will never understand; it is his father's blood.She was sopretty and youthful, eye of my eye, heart of my heart! Andinnocent! She sang like the nightingale. She was always happy. Up withthe dawn, to sleep with the stars. We were alone, she and I. The sheepsupported meand she sold her roses and dried lavender. It was all sobeautiful ... till he came. Ah, had he loved her! But a plaything, apastime! The signore never had a daughter. What is she now? A namelessthing in the streets!\"Giovanni raised his arms tragically; the hootsclattered to the floor. \"Seven years! It is a long time for one of myblood to wait.\"\"Enough!\" cried Hillard; but there was a hardness in his throat at thesight of the old man'stears. Where was the proud and stately man, theblack-bearded shepherd in faded blue linen, in picturesque garters, withhis reed-like pipe, that he, Hillard, had known in his boyhood days?Surely not here. Giovanni hadknown the great wrong, but Hillard couldnot in conscience's name foster the spirit which demanded an eye for aneye. So he said: \"I can give you only my sympathy for your loss, but Iabhor the spirit of revenge whichcan not find satisfaction in anythingsave murder.\"Giovanni once more picked up the boots. \"I shall leave the signore inthe spring.\"\"As you please,\" said Hillard gently.Giovanni bowed gravely and made off with his boots.Hillard remainedstaring thoughtfully at the many-colored squares in the rug under hisfeet. It would be lonesome with Giovanni gone. The old man had evidentlymade up his mind.... But the Woman with the Voice, wouldshe see thenotice in the paper? And if she did, would she reply to it? What afoundation for a romance!... Bah! He prepared for bed.To those who reckon earthly treasures as the only thing worth having,John Hillard wasa fortunate young man. That he was without kith or kinwas considered by many as an additional piece of good fortune. Born inSorrento, in one of the charming villas which sweep down to the verybrow of the cliffs,educated in Rome up to his fifteenth year; taken atthat age from the dreamy, drifting land and thrust into the noisy,bustling life which was his inheritance; fatherless and motherless attwenty; a college youth who wasfor ever mixing his Italian with hisEnglish and being laughed at; hating tumult and loving quiet;warm-hearted and impulsive, yet meeting only habitual reserve from hiscompatriots whichever way he turned; it is not tobe wondered at that hepreferred the land of his birth to that of his blood.All this might indicate an artistic temperament, the ability to do pettythings grandly; but Hillard had escaped this. He loved his Raphaels,hisTitians, his Veroneses, his Rubenses, without any desire to makeindifferent copies of them; he admired his Dante, his Petrarch, hisGoldoni, without the wish to imitate them. He was full of sentimentwithout beingsentimental, a poet who thought but never indited verses.His father's blood was in his veins, that is to say, the salt ofrestraint; thus, his fortune grew and multiplied. The strongest andreddest corpuscle had been thegift of his mother. She had left him thelegacy of loving all beautiful things in moderation, the legacy ofgentleness, of charity, of strong loves and frank hatreds, of humor, ofliving out in the open, of dreaming greatthings and accomplishing noneof them.The old house in which he lived was not in the fashionable quarter ofthe town; but that did not matter. Nor did it vary externally from anyof its unpretentious neighbors. Inside,"}
+{"doc_id":"doc_159","qid":"","text":"The Project Gutenberg EBook of The Research Magnificent, by H. G. WellsThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: The Research MagnificentAuthor: H. G. WellsPosting Date: August 3, 2008 [EBook #1138]Release Date:December, 1997Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE RESEARCH MAGNIFICENT ***Produced by Donald LainsonTHE RESEARCH MAGNIFICENTby H. G. Wells(1915)CONTENTS     THEPRELUDE           ON FEAR AND ARISTOCRACY     THE STORY       I.  THE BOY GROWS UP      II.  THE YOUNG MAN ABOUT TOWN     III.  AMANDA      IV.  THE SPIRITED HONEYMOON       V.  THE ASSIZE OFJEALOUSY      VI.  THE NEW HAROUN AL RASCHIDTHE RESEARCH MAGNIFICENTTHE PRELUDEON FEAR AND ARISTOCRACY1The story of William Porphyry Benham is the story of a man who was ledinto adventure by anidea. It was an idea that took possession of hisimagination quite early in life, it grew with him and changed with him,it interwove at last completely with his being. His story is its story.It was traceably germinating in theschoolboy; it was manifestly presentin his mind at the very last moment of his adventurous life. He belongedto that fortunate minority who are independent of daily necessities, sothat he was free to go about the worldunder its direction. It led himfar. It led him into situations that bordered upon the fantastic, itmade him ridiculous, it came near to making him sublime. And this ideaof his was of such a nature that in several aspects hecould documentit. Its logic forced him to introspection and to the making of a record.An idea that can play so large a part in a life must necessarily havesomething of the complication and protean quality of life itself. Itisnot to be stated justly in any formula, it is not to be rendered by anepigram. As well one might show a man's skeleton for his portrait. Yet,essentially, Benham's idea was simple. He had an incurable, an almostinnatepersuasion that he had to live life nobly and thoroughly. Hiscommoner expression for that thorough living is \"the aristocratic life.\"But by \"aristocratic\" he meant something very different from thequality of a Russianprince, let us say, or an English peer. He meant anintensity, a clearness.... Nobility for him was to get something out ofhis individual existence, a flame, a jewel, a splendour--it is a thingeasier to understand than tosay.One might hesitate to call this idea \"innate,\" and yet it comes sooninto a life when it comes at all. In Benham's case we might trace itback to the Day Nursery at Seagate, we might detect it stirring alreadyat thepetticoat stage, in various private struttings and valiantdreamings with a helmet of pasteboard and a white-metal sword. We havemost of us been at least as far as that with Benham. And we havedied like Horatius,slaying our thousands for our country, or we haveperished at the stake or faced the levelled muskets of the firingparty--\"No, do not bandage my eyes\"--because we would not betray thesecret path that meantdestruction to our city. But with Benham thevein was stronger, and it increased instead of fading out as he grewto manhood. It was less obscured by those earthy acquiescences, thosediscretions, that saving sense ofproportion, which have made most ofus so satisfactorily what we are. \"Porphyry,\" his mother had discoveredbefore he was seventeen, \"is an excellent boy, a brilliant boy, but, Ibegin to see, just a little unbalanced.\"Theinterest of him, the absurdity of him, the story of him, is that.Most of us are--balanced; in spite of occasional reveries we do come toterms with the limitations of life, with those desires and dreams anddiscretions that,to say the least of it, qualify our nobility, we takerefuge in our sense of humour and congratulate ourselves on a certainamiable freedom from priggishness or presumption, but for Benham thateasy declension to ahumorous acceptance of life as it is did not occur.He found his limitations soon enough; he was perpetuallyrediscovering them, but out of these interments of the spirit he roseagain--remarkably. When we others havedecided that, to be plain aboutit, we are not going to lead the noble life at all, that the thing istoo ambitious and expensive even to attempt, we have done so becausethere were other conceptions of existence that weregood enough for us,we decided that instead of that glorious impossible being of ourselves,we would figure in our own eyes as jolly fellows, or sly dogs, or sane,sound, capable men or brilliant successes, and soforth--practicablethings. For Benham, exceptionally, there were not these practicablethings. He blundered, he fell short of himself, he had--as you willbe told--some astonishing rebuffs, but they never turned him asideforlong. He went by nature for this preposterous idea of nobility as alinnet hatched in a cage will try to fly.And when he discovered--and in this he was assisted not a little by hisfriend at his elbow--when he discoveredthat Nobility was not the simplething he had at first supposed it to be, he set himself in a mood onlyslightly disconcerted to the discovery of Nobility. When it dawned uponhim, as it did, that one cannot be noble, so tospeak, IN VACUO, he sethimself to discover a Noble Society. He began with simple beliefs andfine attitudes and ended in a conscious research. If he could not getthrough by a stride, then it followed that he must getthrough by aclimb. He spent the greater part of his life studying and experimentingin the noble possibilities of man. He never lost his absurd faith inthat conceivable splendour. At first it was always just round thecorneror just through the wood; to the last it seemed still but a little waybeyond the distant mountains.For this reason this story has been called THE RESEARCH MAGNIFICENT. Itwas a real research, it was documented.In the rooms in Westhaven Streetthat at last were as much as one could call his home, he had accumulatedmaterial for--one hesitates to call it a book--let us say it was ananalysis of, a guide to the noble life. Thereafter his tragic deathcame his old friend White, the journalist and novelist, under a promise,and found these papers; he found them to the extent of a crammedbureau, half a score of patent files quite distended and awriting-tabledrawer-full, and he was greatly exercised to find them. They were,White declares, they are still after much experienced handling, anindigestible aggregation. On this point White is very assured.WhenBenham thought he was gathering together a book he was dreaming, Whitesays. There is no book in it....Perhaps too, one might hazard, Benham was dreaming when he thought thenoble life a human possibility.Perhaps man, like the ape and the hyaenaand the tapeworm and many other of God's necessary but less attractivecreatures, is not for such exalted ends. That doubt never seems to havegot a lodgment in Benham'sskull; though at times one might suppose itthe basis of White's thought. You will find in all Benham's story,if only it can be properly told, now subdued, now loud and amazed anddistressed, but always traceable, thisstartled, protesting question,\"BUT WHY THE DEVIL AREN'T WE?\" As though necessarily we ought to be.He never faltered in his persuasion that behind the dingy face of thisworld, the earthy stubbornness, the basenessand dulness of himselfand all of us, lurked the living jewels of heaven, the light of glory,things unspeakable. At first it seemed to him that one had only just tohammer and will, and at the end, after a life of willing andhammering,he was still convinced there was something, something in the nature ofan Open Sesame, perhaps a little more intricate than one had supposedat first, a little more difficult to secure, but still in thatnature,which would suddenly roll open for mankind the magic cave of theuniverse, that precious cave at the heart of all things, in which onemust believe.And then life--life would be the wonder it so perplexinglyjustisn't....2Benham did not go about the world telling people of this consumingresearch. He was not the prophet or preacher of his idea. It was tooliving and intricate and uncertain a part of him to speak freely about.Itwas his secret self; to expose it casually would have shamed him. Hedrew all sorts of reserves about him, he wore his manifest imperfectionsturned up about him like an overcoat in bitter wind. He was contentto beinexplicable. His thoughts led him to the conviction that thismagnificent research could not be, any more than any other researchcan be, a solitary enterprise, but he delayed expression; in a mightywriting and stowingaway of these papers he found a relief from theunpleasant urgency to confess and explain himself prematurely. So thatWhite, though he knew Benham with the intimacy of an old schoolfellowwho had renewed hisfriendship, and had shared his last days and been awitness of his death, read the sheets of manuscript often with surpriseand with a sense of added elucidation.And, being also a trained maker of books, White as heread was moreand more distressed that an accumulation so interesting should be soentirely unshaped for publication. \"But this will never make a book,\"said White with a note of personal grievance. His hasty promise intheirlast moments together had bound him, it seemed, to a task he now foundimpossible. He would have to work upon it tremendously; and even then hedid not see how it could be done.This collection of papers wasnot a story, not an essay, not aconfession, not a diary. It was--nothing definable. It went into noconceivable covers. It was just, White decided, a proliferation. A vastproliferation. It wanted even a title. There were signsthat Benham hadintended to call it THE ARISTOCRATIC LIFE, and that he had tried at someother time the title of AN ESSAY ON ARISTOCRACY. Moreover, it wouldseem that towards the end he had been disposed todrop the word\"aristocratic\" altogether, and adopt some such phrase as THE LARGERLIFE. Once it was LIFE SET FREE. He had fallen away more and more fromnearly everything that one associates with aristocracy--atthe end onlyits ideals of fearlessness and generosity remained.Of all these titles THE ARISTOCRATIC LIFE seemed at first most likea clue to White. Benham's erratic movements, his sudden impulses, hisangers, hisunaccountable patiences, his journeys to strange places, andhis lapses into what had seemed to be pure adventurousness, could all beput into system with that. Before White had turned over three pages ofthe greatfascicle of manuscript that was called Book Two, he had foundthe word \"Bushido\" written with a particularly flourishing capitalletter and twice repeated. \"That was inevitable,\" said White with thecomforting regret onefeels for a friend's banalities. \"And it dates...[unreadable] this was early....\"\"Modern aristocracy, the new aristocracy,\" he read presently, \"has stillto be discovered and understood. This is the necessary next stepformankind. As far as possible I will discover and understand it, and asfar as I know it I will be it. This is the essential disposition of mymind. God knows I have appetites and sloths and habits and blindnesses,but so faras it is in my power to release myself I will escape tothis....\"3White sat far into the night and for several nights turning over papersand rummaging in untidy drawers. Memories came back to him of his deadfriend andpieced themselves together with other memories and joinedon to scraps in this writing. Bold yet convincing guesses began to leapacross the gaps. A story shaped itself....The story began with the schoolfellow he hadknown at MinchinghamptonSchool.Benham had come up from his father's preparatory school at Seagate. Hehad been a boy reserved rather than florid in his acts and manners, aboy with a pale face, incorrigible hairand brown eyes that went darkand deep with excitement. Several times White had seen him excited, andwhen he was excited Benham was capable of tensely daring things. On oneoccasion he had insisted upon walkingacross a field in which was anaggressive bull. It had been put there to prevent the boys takinga short cut to the swimming place. It had bellowed tremendously andfinally charged him. He had dodged it and got away; atthe time it hadseemed an immense feat to White and the others who were safely upthe field. He had walked to the fence, risking a second charge by hisdeliberation. Then he had sat on the fence and declared hisintentionof always crossing the field so long as the bull remained there. He hadsaid this with white intensity, he had stopped abruptly in mid-sentence,and then suddenly he had dropped to the ground, clutched thefence,struggled with heaving shoulders, and been sick.The combination of apparently stout heart and manifestly weak stomachhad exercised the Minchinghampton intelligence profoundly.On one or two other occasionsBenham had shown courage of the samerather screwed-up sort. He showed it not only in physical but in mentalthings. A boy named Prothero set a fashion of religious discussionin the school, and Benham, after someself-examination, professed anatheistical republicanism rather in the manner of Shelley. This broughthim into open conflict with Roddles, the History Master. Roddles haddiscovered these theological controversies insome mysterious way, andhe took upon himself to talk at Benham and Prothero. He treated them tothe common misapplication of that fool who \"hath said in his heart thereis no God.\" He did not perceive there was anydifference between thefool who says a thing in his heart and one who says it in the dormitory.He revived that delectable anecdote of the Eton boy who professeddisbelief and was at once \"soundly flogged\" by his headmaster. \"Yearsafterwards that boy came back to thank ----\"\"Gurr,\" said Prothero softly. \"STEW--ard!\"\"Your turn next, Benham,\" whispered an orthodox controversialist.\"Good Lord! I'd like to see him,\" said Benham witha forced loudnessthat could scarcely be ignored.The subsequent controversy led to an interview with the head. Fromit Benham emerged more whitely strung up than ever. \"He said he wouldcertainly swish me if Ideserved it, and I said I would certainly killhim if he did.\"\"And then?\"\"He told me to go away and think it over. Said he would preach aboutit next Sunday.... Well, a swishing isn't a likely thing anyhow. ButI would....There isn't a master here I'd stand a thrashing from--notone.... And because I choose to say what I think!... I'd run amuck.\"For a week or so the school was exhilarated by a vain and ill-concealedhope that the headmight try it just to see if Benham would. It wastantalizingly within the bounds of possibility....These incidents came back to White's mind as he turned over thenewspapers in the upper drawer of the bureau. The drawerwas labelled\"Fear--the First Limitation,\" and the material in it was evidentlydesigned for the opening volume of the great unfinished book. Indeed, aportion of it was already arranged and written up.As White readthrough this manuscript he was reminded of a score ofschoolboy discussions Benham and he and Prothero had had together. Herewas the same old toughness of mind, a kind of intellectual hardihood,that hadsometimes shocked his schoolfellows. Benham had been one ofthose boys who do not originate ideas very freely, but who go out tothem with a fierce sincerity. He believed and disbelieved with emphasis.Prothero hadfirst set him doubting, but it was Benham's own temperamenttook him on to denial. His youthful atheism had been a matter for secretconsternation in White. White did not believe very much in God eventhen, but thispositive disbelieving frightened him. It was goingtoo far. There had been a terrible moment in the dormitory, during athunderstorm, a thunderstorm so vehement that it had awakened themall, when Latham, thehumourist and a quietly devout boy, had suddenlychallenged Benham to deny his Maker.\"NOW say you don't believe in God?\"Benham sat up in bed and repeated his negative faith, while littleHopkins, the Bishop's son,being less certain about the accuracy ofProvidence than His aim, edged as far as he could away from Benham'scubicle and rolled his head in his bedclothes.\"And anyhow,\" said Benham, when it was clear that he was notto bestruck dead forthwith, \"you show a poor idea of your God to think he'dkill a schoolboy for honest doubt. Even old Roddles--\"\"I can't listen to you,\" cried Latham the humourist, \"I can't listen toyou.It's--HORRIBLE.\"\"Well, who began it?\" asked Benham.A flash of lightning lit the dormitory and showed him to Whitewhite-faced and ablaze with excitement, sitting up with the bed-clothesabout him. \"Oh WOW!\" wailedthe muffled voice of little Hopkins as thethunder burst like a giant pistol overhead, and he buried his head stilldeeper in the bedclothes and gave way to unappeasable grief.Latham's voice came out of the darkness.\"This ATHEISM that you andBilly Prothero have brought into the school--\"He started violently at another vivid flash, and every one remainedsilent, waiting for the thunder....But White remembered no more of thecontroversy because he had made afrightful discovery that filled and blocked his mind. Every time thelightning flashed, there was a red light in Benham's eyes....It was only three days after when Prothero discoveredexactly the samephenomenon in the School House boothole and talked of cats and cattle,that White's confidence in their friend was partially restored....4\"Fear, the First Limitation\"--his title indicated the spirit ofBenham'sopening book very clearly. His struggle with fear was the very beginningof his soul's history. It continued to the end. He had hardly decided tolead the noble life before he came bump against the fact that hewasa physical coward. He felt fear acutely. \"Fear,\" he wrote, \"is theforemost and most persistent of the shepherding powers that keep usin the safe fold, that drive us back to the beaten track and comfortand--futility.The beginning of all aristocracy is the subjugation offear.\"At first the struggle was so great that he hated fear without anyqualification; he wanted to abolish it altogether.\"When I was a boy,\" he writes, \"I thought Iwould conquer fear for goodand all, and never more be troubled by it. But it is not to be done inthat way. One might as well dream of having dinner for the rest of one'slife. Each time and always I have found that it hasto be conqueredafresh. To this day I fear, little things as well as big things. I haveto grapple with some little dread every day--urge myself.... Just asI have to wash and shave myself every day.... I believe it is sowithevery one, but it is difficult to be sure; few men who go into dangerscare very much to talk about fear....\"Later Benham found some excuses for fear, came even to dealings withfear. He never, however, admits thatthis universal instinct is anybetter than a kindly but unintelligent nurse from whose fosteringrestraints it is man's duty to escape. Discretion, he declared, mustremain; a sense of proportion, an \"adequacy of enterprise,\"but thediscretion of an aristocrat is in his head, a tactical detail, it hasnothing to do with this visceral sinking, this ebb in the nerves. \"Fromtop to bottom, the whole spectrum of fear is bad, from panic fear atoneextremity down to that mere disinclination for enterprise, thatreluctance and indolence which is its lowest phase. These are things ofthe beast, these are for creatures that have a settled environment, alife history, thatspin in a cage of instincts. But man is a beast ofthat kind no longer, he has left his habitat, he goes out to limitlessliving....\"This idea of man going out into new things, leaving securities, habits,customs, leaving hisnormal life altogether behind him, underlay allBenham's aristocratic conceptions. And it was natural that heshould consider fear as entirely inconvenient, treat it indeed withingratitude, and dwell upon the immenseliberations that lie beyond forthose who will force themselves through its remonstrances....Benham confessed his liability to fear quite freely in these notes. Hisfear of animals was ineradicable. He had had anoverwhelming dread ofbears until he was twelve or thirteen, the child's irrational dreadof impossible bears, bears lurking under the bed and in the eveningshadows. He confesses that even up to manhood he could notcross afield containing cattle without keeping a wary eye upon them--his bulladventure rather increased than diminished that disposition--he hated astrange dog at his heels and would manoeuvre himself as soon aspossibleout of reach of the teeth or heels of a horse. But the peculiar dread ofhis childhood was tigers. Some gaping nursemaid confronted him suddenlywith a tiger in a cage in the menagerie annexe of a circus. \"Mysmallmind was overwhelmed.\"\"I had never thought,\" White read, \"that a tiger was much larger thana St. Bernard dog.... This great creature!... I could not believe anyhunter would attack such a monster except by"}
+{"doc_id":"doc_160","qid":"","text":"<html><head><title>8MM Script at IMSDb.</title><meta name=\"description\" content=\"8MM script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"8MM script, 8MM movie script, 8MMfilm script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=SubjectCONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0];s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>    <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\"title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center></td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><html><head>   <title>\"8MM\", by Andrew Kevin Walker</title></head><body bgcolor=\"#FFFFFF\">   <pre>                             eightmillimeter                            written by                            Andrew Kevin Walker<b>                                                      5/06/97</b>                                                      first<b>     INT.  MIAMI AIRPORT,TERMINAL -- DAY</b>     Amongst the weary tourist families and solitary businessmen     sits TOM WELLES, middle-aged, hair neat, suit crisp and     gray.  He's eating crackers from a cellophane package,     sippingsoda from a paper cup, watching an ARRIVAL GATE.<b>     AT THE GATE</b>     PASSENGERS arrive: the paunchy, graying men of First Class     leading the pack, except for a handsome YOUNG REPUBLICAN     posterboy hurrying along.<b>     ACROSS THE TERMINAL</b>     Welles gets up and FOLLOWS...<b>     EXT.  MIAMI AIRPORT, CURBSIDE -- DAY</b>     Welles comes outside, squinting in the sun, moving downthe     sidewalk, looking back over his shoulder...     The Young Republican is lead to a waiting LIMO by a DRIVER.     Welles moves to the nearby TAXI STAND...<b>     INT.  TAXI -- DAY</b>     Welles gets in, turningin his seat to watch behind.<b>                             CAB DRIVER</b>               Where to?     Welles keeps watching, sees the limo pull away and pass.<b>                             WELLES</b>               Follow thatlimousine.  Don't get               too close, don't let it get too far               away.  Just keep with it.<b>                             CAB DRIVER</b>               Youkidding?<b>                             WELLES</b>               Nope.     The cab set in motion.  Welles takes out cigarettes,     lighting one, takes out a small NOTEPAD and makes notations.<b>                             CABDRIVER</b>               Uh, listen... you're not supposed to               be smoking in here.  I'm sorry,               that's company policy...<b>                             WELLES</b>               How about this... every cigaretteI               smoke, I give you five dollars?<b>                             CAB DRIVER</b>               Okay... okay, yeah, that'd be good...<b>     EXT.  MIAMI BEACH, \"GOLD COAST\" -- DAY</b>     In front of an Art Decohotel, the driver opens the     limousine door and the Young Republican steps out. <b>     ACROSS THE STREET </b>     Welles watches from inside the double-parked taxicab. <b>     EXT.  MIAMI BEACH MOTORLODGE -- DAY </b>     Not exactly four-star.  \"<b>AD LT MOVIES EVERY ROOM.</b>\" <b>     INT.  MIAMI BEACH MOTOR LODGE -- DAY</b>     Welles is asleep on the bed, full dressed, hands folded     across hisstomach, snoring lightly, sweaty. <b>     INT.  MIAMI BEACH MOTOR LODGE, RESTAURANT -- DAY </b>     Welles sits alone at the bar, eating a sandwich, bored.  He     watches some fuzzy ESPN on the t.v., looks athis watch. <b>     EXT.  MIAMI BEACH MOTOR LODGE -- DAY </b>     Welles walks across the parking lot, gets into his RENTAL     CAR, starts it and drives away. <b>     EXT.  MIAMI BEACH DISCOTHEQUE -- NIGHT</b>     Young Republican and a GAUDY WOMAN exit the disco, MUSIC     THROBBING out from the doors behind them.  They join hands,     drunk, heading to the street, looking for their limo. <b>     DOWN THESTREET</b>     Welles is seated in his parked rental car, raises a CAMERA     with TELEPHOTO LENS: whir, CLICK, whir, CLICK, whir, CLICK...     Welles lowers the camera, letting out a yawn. <b>     INT.  AIRPLANE,COACH -- NIGHT </b>     The familiar DRONE of flight.  Welles is shoehorned into his     aisle seat, using tiny utensils to eat his tiny meal.     An OLDER WOMAN arrives in the aisle.  Welles picks up his     tray, closeshis tray table, unbuckling his seatbelt,     struggling to get up... finally successful, balancing his     tray, letting the woman in to the window seat. <b>                             OLDER WOMAN </b>                 Thankyou.      Welles nods, forcing a smile, sitting back down.  He returns     to toiling over his miniature supper. <b>     EXT.  HARRISBURG INTERNATIONAL AIRPORT -- NIGHT </b>     Welles' AIRPLANE ROARS down witha SCREECH, landing lights     gleaming.  The airport is small, relatively isolated.     TITLE:      <b>Harrisburg, Pennsylvania</b><b>     INT.  HARRISBURG INTERNATIONAL AIRPORT -- NIGHT</b>     Passengersarrive.  Welles is with them, searching the few     PEOPLE waiting in the terminal hallway.  Welles smiles...     Welles' wife, AMY, smiles when she sees him.  She's plain     and pretty, holding one hand on a BABYSTROLLER beside her.     Welles comes to her, embracing her, appreciating her.<b>                             AMY</b>                 Welcome home.<b>                             WELLES</b>                 Do you know how much Imissed you?     They kiss, but Amy pulls away, sniffs him.<b>                             AMY </b>                 What's this... have you been                 smoking... ? <b>                             WELLES</b>                 Smoking?  I'm not smoking. <b>                             AMY </b>                 Your clothing reeks of it. <b>                             WELLES </b>                 You know, Amy, I've beensitting                 around in bars and everywhere                 following this guy... I mean, is                 this what I get first thing?  Before                 you even \"hello,\" you accuse me... ?<b>                             AMY</b>                 I'm not accusing you... <b>                             WELLES </b>                 Well, I'm not smoking, okay? <b>                             AMY </b>                 Okay, I believe you.<b>                             WELLES </b>                 We've been all through that.  I've                 been on my best behavior.     Welles bends to the stroller, picks up his infant daughter,     CINDY, and hoists her in theair, overjoyed. <b>                             WELLES </b>                 Hello, pumpkin-head, did you miss                 me?  I sure missed you...      He kisses the happy child, holding her in one arm.<b>                             WELLES </b>                 Let's get my bags and get the hell                 out of here.      Welles pulls Amy close and kisses her again, leads the way.     Amy follows, pushing the stroller.<b>                             AMY </b>                 How's the detective business?<b>                             WELLES </b>                 Business was fine.  I'll tell you                 what, you couldn't pay me enoughto                 live down there. <b>                             AMY </b>                 You better not be smoking, that's                 all I can say. <b>                             WELLES </b>                 Honey, I'm not,please...      Amy takes Welles hand, smiling at him. <b>     INT.  WELLES' HOUSE, BEDROOM -- NIGHT</b>     Welles and Amy make love in the darkness.  Standard,     missionary position sex, little passion.  Theyslow to a     finish, uneventfully, holding each other.  Their breathing     quiets.  Their daughter CINDY can be HEARD CRYING elsewhere.     Welles kisses his wife again, rolls off of her and sits on     the edge of thebed.  Amy covers herself. <b>                             AMY</b>                 I love you.<b>                             WELLES</b>                 I love you.      He looks towards her in the dark.  He gets up, gets a towel     from thebathroom and wraps it around him. <b>     INT.  WELLES' HOUSE, BABY'S ROOM -- NIGHT </b>     Cindy's crying.  Welles enters, goes to lean into the crib.<b>                             WELLES </b>                 What's allthe trouble, Cinderella?                 What are you crying about, huh?      He lifts and cradles Cindy, comforting her. <b>     EXT.  HARRISBURG CITYSCAPE -- ESTABLISHING --DAY </b>     A small city of moderatearchitecture facing the Susquehanna.<b>     INT.  OFFICE -- DAY </b>     An old money office with windows over the river.  A well-to-     do POLITICIAN looks unhappily through PHOTOS on his desk.     Welles sits bythe Pennsylvania state flag, watching.     PHOTOS show the Young Republican and Gaudy Woman in Miami:     leaving the Art Deco hotel, the Discotheque, a restaurant...<b>                             WELLES</b>                 Your son-in-law dealt with the dry                 cleaning franchise during the day,                 saw that woman every night.                        (clears his throat)                  The specifics are in the report,and                 information about the woman.  It's                 unpleasant, I know.  I apologize... <b>                             POLITICIAN </b>                 None too discreet, is he? <b>                             WELLES</b>                 No, sir, he is not. <b>                             POLITICIAN </b>                 He's an imbecile.  I tried to warn                 my daughter, but what can you do?      The politician shakes his head indisgust.  Welles rises. <b>                             WELLES </b>                 The um... you'll find my invoice in                 the envelope. If that's all...<b>                             POLITICIAN </b>                 Yes, MisterWelles, thank you. <b>                             WELLES </b>                 Certainly, Senator.  If I can ever                 be of further assistance.     Welles leaves, glances back, shuts the door. <b>     EXT.  HARRISBURGSTREETS -- DAY </b>     Welles drives his plain Ford past the CAPITAL BUILDING. <b>     EXT.  HARRISBURG, BRIDGE -- DAY </b>     Welles' car crosses the Susquehanna, leaving the city. <b>     EXT.  WELLES'HOUSE, BACKYARD -- DAY </b>     Sunny day.  Welles wears tan khakis, T-shirt and fishing     cap, mowing his lawn with his ROARING lawnmower.  Welles'     yard is modest, surrounding his modest split levelsuburban     one in a neighborhood of similar homes and similar yards.     Welles turns the lawnmower, stopping to mop his brow.  One     of his neighbors is repainting a back porch.  The neighbor     waves.  Welleswaves, resumes mowing. <b>     INT.  BOWLING ALLEY -- NIGHT</b>     MUSIC'S LOUD.  League Night.  Every lane full.  Welles is     with his team in BOWLING SHIRTS.  Welles hoists his ball,     preparing tobowl.  He takes three steps, releases...     Down the lane, PINS SCATTER.  One pin remains standing.     Welles balls up his fists and curses, walks back towards his     rowdy, mocking teammates.  He shouts back atthem, laughing,     grabbing his beer and drinking, waiting at the ball return. <b>     INT.  WELLES' HOUSE, KITCHEN -- NIGHT </b>     Dinner.  Welles and Amy eat at the kitchen table with Cindy     in a highchair.  Amy feeds Cindy between bites.  Welles is     still in his league shirt. <b>                             AMY </b>                 You think you'll have time for the                 water heater thisweekend?<b>                             WELLES </b>                 Sure.  I'll call the guy. <b>                             AMY </b>                 You're not using the same guy who                 tried to fix it?<b>                             WELLES </b>                 I'm not using him again for                 anything.  He was worthless.                        (eating)                 You have bridge here Saturday? <b>                             AMY</b>                 Betty's out of town so we're playing                 next week.      Welles nods, eating.  He watches Amy feed Cindy.  The PHONE     starts RINGING.  Welles goes to answer it.<b>                             WELLES </b>                       (into PHONE)                  Hello.  Yes... could you hold on a                 minute...?     Welles hands the phone to Amy, pats Cindy's head as he heads     downstairs,"}
+{"doc_id":"doc_161","qid":"","text":"<html><head><title>12 Script at IMSDb.</title><meta name=\"description\" content=\"12 script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"12 script, 12 movie script, 12 filmscript\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Filmscripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><scripttype=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript';ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0];s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>    <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\"title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center></td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b><HTML></b><b><HEAD></b>  <META NAME=\"GENERATOR\" CONTENT=\"Adobe PageMill 2.0 Mac\">  <TITLE>12 -Script</TITLE><b></HEAD></b><BODY TEXT=\"#ffffff\" BGCOLOR=\"#000000\" ALINK=\"#4ff7ff\" VLINK=\"#f0fcff\" LINK=\"#20dfdc\"><b><PRE><B><TT><FONTSIZE=-1></FONT></TT></B></b><b><B><TT><FONT SIZE=-1>CUT FROM BLACK</FONT></TT></B></b><b><FONT SIZE=-1></FONT></b><b><B><TT><FONTSIZE=-1>TITLE:</FONT></TT></B><TT><FONT SIZE=-1> FIN</FONT></TT></b><b><FONT SIZE=-1></FONT></b><b><TT><FONT SIZE=-1>EXTERIOR - LA - DAY</FONT></TT></b><TT><FONTSIZE=-1>Fin of red 1957 Chevy Impala convertible driving </FONT></TT><TT><FONT SIZE=-1>somewhere in the West. A car passes going the other </FONT></TT><TT><FONTSIZE=-1>way.</FONT></TT><b><FONT SIZE=-1></FONT></b><B><TT><FONT SIZE=-1>TITLE:</FONT></TT></B><TT><FONT SIZE=-1> PLACE: Los Angeles</FONT></TT><b><FONTSIZE=-1></FONT></b><A HREF=\"#\" TARGET=\"frame33482\"><B><TT><FONT SIZE=-1>MUSIC:</FONT></TT></B><TT><FONT SIZE=-1> Shadowy Men On A Shadowy Planet &quot;GoodCop,</FONT></TT></A><A HREF=\"http://mediahost.singular.com/shadowmen.ram\" TARGET=\"frame33482\"><TT><FONT SIZE=-1>Bad Cop.&quot;</FONT></TT></A><b><FONTSIZE=-1></FONT></b><b><TT><FONT SIZE=-1>EXTERIOR - LA - DAY</FONT></TT></b><TT><FONT SIZE=-1>POV driving on freeway in rain.</FONT></TT><b><FONTSIZE=-1></FONT></b><b><TT><FONT SIZE=-1>EXTERIOR - LA - DAY</FONT></TT></b><TT><FONT SIZE=-1>People with umbrellas standing on corner.</FONT></TT><b><FONTSIZE=-1></FONT></b><b><TT><FONT SIZE=-1>EXTERIOR - LA - DAY</FONT></TT></b><TT><FONT SIZE=-1>People with umbrella walking over bridge.</FONT></TT><b><FONTSIZE=-1></FONT></b><b><TT><FONT SIZE=-1>EXTERIOR - LA - DAY</FONT></TT></b><TT><FONT SIZE=-1>People walk across downtown intersection with </FONT></TT><TT><FONTSIZE=-1>umbrellas,</FONT></TT><FONT SIZE=-1> <TT>bus in background.</TT></FONT><b><FONT SIZE=-1></FONT></b><b><TT><FONT SIZE=-1>EXTERIOR - LA - DAY</FONT></TT></b><TT><FONTSIZE=-1>Rain and shadow on pavement.</FONT></TT><b><FONT SIZE=-1></FONT></b><b><TT><FONT SIZE=-1>EXTERIOR - LA - DAY</FONT></TT></b><TT><FONT SIZE=-1>LA river wide, medium,close. We see graffiti </FONT></TT><TT><FONT SIZE=-1>swamped by high water.</FONT></TT><b><FONT SIZE=-1></FONT></b><b><TT><FONT SIZE=-1>EXTERIOR - LA -DAY</FONT></TT></b><TT><FONT SIZE=-1>Large man walking with umbrella.</FONT></TT><b><FONT SIZE=-1></FONT></b><b><TT><FONT SIZE=-1>WE HEAR: THUNDER</FONT></TT></b><b><FONT SIZE=-1></FONT></b><b><B><TT><FONT SIZE=-1>MUSIC STOPS</FONT></TT></B></b><b><FONT SIZE=-1></FONT></b><b><TT><FONT SIZE=-1> FIRSTWOMAN</FONT></TT></b><TT><FONT SIZE=-1> I've been here one year and I've lived </FONT></TT><TT><FONT SIZE=-1> through an earthquake, fires, floods...</FONT></TT><b><FONTSIZE=-1></FONT></b><b><TT><FONT SIZE=-1> SECOND WOMAN</FONT></TT></b><TT><FONT SIZE=-1> The rains...it just keeps coming...the </FONT></TT><TT><FONT SIZE=-1> floods...the hillsides arecoming down... </FONT></TT><TT><FONT SIZE=-1> you can't get to and from work and it's </FONT></TT><TT><FONT SIZE=-1> just a mess.</FONT></TT><b><FONTSIZE=-1></FONT></b><b><TT><FONT SIZE=-1>EXTERIOR - LA - DAY</FONT></TT></b><TT><FONT SIZE=-1>People walking against high winds, umbrella reversed.</FONT></TT><b><FONTSIZE=-1></FONT></b><b><TT><FONT SIZE=-1>EXTERIOR - LA - DAY</FONT></TT></b><TT><FONT SIZE=-1>Family walking in the rain. Children protected by </FONT></TT><TT><FONT SIZE=-1>plasticbags.</FONT></TT><b><FONT SIZE=-1></FONT></b><b><FONT SIZE=-1></FONT></b><b><TT><FONT SIZE=-1> THIRD WOMAN</FONT></TT></b><TT><FONT SIZE=-1> You survive by natural instincts,you </FONT></TT><TT><FONT SIZE=-1> go with the flow.</FONT></TT><b><FONT SIZE=-1></FONT></b><b><B><TT><FONT SIZE=-1>SFX: THUNDER</FONT></TT></B></b><b><FONTSIZE=-1></FONT></b><b><TT><FONT SIZE=-1>EXTERIOR - LA - DAY</FONT></TT></b><TT><FONT SIZE=-1>Woman's foot stepping across swollen gutter.</FONT></TT><b><FONTSIZE=-1></FONT></b><b><B><TT><FONT SIZE=-1>MUSIC RESTARTS</FONT></TT></B></b><b><FONT SIZE=-1></FONT></b><b><TT><FONT SIZE=-1>EXTERIOR - LA RIVER-DAY</FONT></TT></b><TT><FONT SIZE=-1>Prow of buttress in rapids. The rains have stopped, </FONT></TT><TT><FONT SIZE=-1>only the floods remain.</FONT></TT><b><FONTSIZE=-1></FONT></b><b><TT><FONT SIZE=-1>EXTERIOR - BEACH - EVENING</FONT></TT></b><TT><FONT SIZE=-1>Waves breaking on beach.</FONT></TT><b><FONTSIZE=-1></FONT></b><b><TT><FONT SIZE=-1>EXTERIOR - OCEAN - NIGHT</FONT></TT></b><TT><FONT SIZE=-1>Tanker at night.</FONT></TT><b><FONT SIZE=-1></FONT></b><b><TT><FONTSIZE=-1>EXTERIOR - AIRPORT - NIGHT</FONT></TT></b><TT><FONT SIZE=-1>Airplane lights come on.</FONT></TT><b><FONT SIZE=-1></FONT></b><b><TT><FONT SIZE=-1>EXTERIOR - OCEAN -NIGHT</FONT></TT></b><TT><FONT SIZE=-1>Landing lights over water.</FONT></TT><b><FONT SIZE=-1></FONT></b><b><TT><FONT SIZE=-1>EXTERIOR - AIRPORT -NIGHT</FONT></TT></b><TT><FONT SIZE=-1>Airplane landing at night.</FONT></TT><B><TT><FONT SIZE=-1>SFX </FONT></TT></B><TT><FONT SIZE=-1>jet passingoverhead.</FONT></TT><b><FONT SIZE=-1></FONT></b><b><TT><FONT SIZE=-1>EXTERIOR - LA - NIGHT</FONT></TT></b><TT><FONT SIZE=-1>Camera pans over the city and over theocean.</FONT></TT><b><FONT SIZE=-1></FONT></b><b><TT><FONT SIZE=-1>EXTERIOR - LA - NIGHT</FONT></TT></b><TT><FONT SIZE=-1>The panning city lights converge with a passingcar.</FONT></TT><b><FONT SIZE=-1></FONT></b><b><TT><FONT SIZE=-1>EXTERIOR - LA - NIGHT</FONT></TT></b><TT><FONT SIZE=-1>It is TONY, a handsome man in his 30's, driving on</FONT></TT><TT><FONT SIZE=-1>Melrose. He approaches an intersection that is </FONT></TT><TT><FONT SIZE=-1>blocked by a truck. He flashes his headlights </FONT></TT><TT><FONTSIZE=-1>signaling to the truck to move and let him by but </FONT></TT><TT><FONT SIZE=-1>the truck stops. TONY is stuck.</FONT></TT><b><FONT SIZE=-1></FONT></b><b><TT><FONTSIZE=-1>EXTERIOR - LA -DAY</FONT></TT></b><TT><FONT SIZE=-1>ALLEN, a stout comedian, at a temp job, answering </FONT></TT><TT><FONT SIZE=-1>phones.</FONT></TT><b><FONTSIZE=-1></FONT></b><b><FONT SIZE=-1></FONT></b><b><TT><FONT SIZE=-1> TALK SHOW HOST (V.O.)</FONT></TT></b><TT><FONT SIZE=-1> And we're back with &quot;Interpreting</FONT></TT><TT><FONT SIZE=-1> Your Dreams.&quot;  And I believe we </FONT></TT><TT><FONT SIZE=-1> have Allen in Hollywood on line...</FONT></TT><TT><FONT SIZE=-1> 12. Hello Allen...are youthere? </FONT></TT><TT><FONT SIZE=-1> Hello..?</FONT></TT><b><FONT SIZE=-1></FONT></b><TT><FONT SIZE=-1>ALLEN has the TALK SHOW HOST on hold so he doesn't </FONT></TT><TT><FONTSIZE=-1>hear</FONT></TT><FONT SIZE=-1> <TT>her.</TT></FONT><b><FONT SIZE=-1></FONT></b><b><FONT SIZE=-1></FONT></b><b><TT><FONT SIZE=-1>ALLEN</FONT></TT></b><TT><FONT SIZE=-1> Okay...hold on. Yeah I'll take care of </FONT></TT><TT><FONT SIZE=-1> you in a second...I'm transferring </FONT></TT><TT><FONT SIZE=-1> youover..</FONT></TT><b><FONT SIZE=-1></FONT></b><b><TT><FONT SIZE=-1> TALK SHOW HOST</FONT></TT></b><TT><FONT SIZE=-1> We are live on the air....Hello...?</FONT></TT><b><FONTSIZE=-1></FONT></b><b><TT><FONT SIZE=-1> ALLEN</FONT></TT></b><TT><FONT SIZE=-1> Hello.? Yeah okay I've got somebody else </FONT></TT><TT><FONT SIZE=-1> on hold...I'm going to transferyou </FONT></TT><TT><FONT SIZE=-1> over. It might be a second, just hold on.</FONT></TT><b><FONT SIZE=-1></FONT></b><b><TT><FONT SIZE=-1> TALK SHOWHOST</FONT></TT></b><TT><FONT SIZE=-1> (aside) I'm on hold..</FONT></TT><b><FONT SIZE=-1></FONT></b><b><TT><FONT SIZE=-1>EXTERIOR - THE BIG ISLAND FROM ABOVE -DAY</FONT></TT></b><TT><FONT SIZE=-1>The Big Island floats in sparkling light. WE HEAR a </FONT></TT><TT><FONT SIZE=-1>radio show filtered through the small speaker of an</FONT></TT><TT><FONT SIZE=-1>old radio.</FONT></TT><b><TT><FONT SIZE=-1> </FONT></TT></b><b><FONT SIZE=-1></FONT></b><b><TT><FONT SIZE=-1> TALK SHOWHOST</FONT></TT></b><TT><FONT SIZE=-1> Okay, we're going to have to go...</FONT></TT><b><TT><FONT SIZE=-1> </FONT></TT></b><b><TT><FONT SIZE=-1>ALLEN</FONT></TT></b><TT><FONT SIZE=-1> Okay, oh doctor.</FONT></TT><b><FONT SIZE=-1></FONT></b><b><TT><FONT SIZE=-1> TALK SHOW HOST</FONT></TT></b><TT><FONT SIZE=-1>Hello?</FONT></TT><b><FONT SIZE=-1></FONT></b><b><TT><FONT SIZE=-1>EXTERIOR - RANCH HOUSE FROM ABOVE - DAY</FONT></TT></b><TT><FONT SIZE=-1>We see rooftops of ranch buildingsfrom high above.</FONT></TT><TT><FONT SIZE=-1>We HEAR the sound of a plane flying overhead. We </FONT></TT><TT><FONT SIZE=-1>HEAR ALLEN'S voice.</FONT></TT><b><FONTSIZE=-1></FONT></b><b><FONT SIZE=-1></FONT></b><b><TT><FONT SIZE=-1> ALLEN</FONT></TT></b><TT><FONT SIZE=-1> Are you there?</FONT></TT><b><FONTSIZE=-1></FONT></b><b><TT><FONT SIZE=-1>EXTERIOR - RANCH HOUSE - DAY</FONT></TT></b><TT><FONT SIZE=-1>The Ranch House stands isolated in a dry island </FONT></TT><TT><FONT"}
+{"doc_id":"doc_162","qid":"","text":"The Project Gutenberg EBook of The Kempton-Wace Letters, by Jack London and Anna StrunskyThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it,give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: The Kempton-Wace LettersAuthor: Jack London        Anna StrunskyRelease Date:February 27, 2010 [EBook #31422]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE KEMPTON-WACE LETTERS ***Produced by Curtis Weyant, Martin Pettit and the OnlineDistributedProofreading Team at http://www.pgdp.net (Thisfile was produced from images generously made availableby The Internet Archive/American Libraries.)THE KEMPTON-WACE LETTERS       *       *       *       *       *JACKLONDON'S BOOKS\"_He opened windows for them upon the splendour and the savagery, thepomp and the pitifulness that he had found in many corners of the earth.He saw that in every scene, in every human activitythere was an elementwhich lifted it into the region of the beautiful, and he made all hisreaders see it, whether he was learned or ignorant; cultivated or onlyjust able to read. Full justice has never been done to him.There was nosilver in his purse, only gold._\"--Hamilton Fyfe in \"The Daily Mail.\"The Valley of the Moon              7s. 6d. net and 4s. netJerry of the Islands                7s. 6d. net and 2s. 6d. netMichael, Brother ofJerry           7s. 6d. net and 2s. netHearts of Three                     6s. net and 2s. 6d. netIsland Tales                        7s. 6d. netThe Red One                         6s. net and 2s. netThe Acorn-Planter                   3s. 6d.netThe Little Lady of the Big House    6s. net and 2s. 6d. net[A]The Mutiny of the Elsinore       6s. net and 2s. netThe Strength of the Strong          6s. net and 1s. 6d. netThe Night-Born                      6s. net and 2s.net[A]A Daughter of the Snows          7s. 6d. net and 2s. 6d. netLost Face                           6s. net and 1s. 6d. netSouth Sea Tales                     6s. net and 1s. 6d. netWhen God Laughs                     6s. net and 1s.6d. net[A]Smoke Bellew                     6s. net and 1s. 6d. netThe Kempton-Wace Letters            2s. 6d. netSmoke and Shorty                    6s. and 2s. 6d. netThe Cruise of the Snark             2s. netThe Cruise of theDazzler           1s. 6d. netTurtles of Tasman                   1s. 6d. netBefore Adam                         1s. 6d. netThe Scarlet Plague                  1s. 6d. netThe God of His Fathers              1s. 6d.netAdventure                           2s. netThe House of Pride                  1s. 6d. netLove of Life                        1s. 6d. netA Son of the Sun                    6s. net and 2s. netAn Odyssey of the North             1s. 6d.netChildren of the Frost               1s. 6d. net[A]John Barleycorn                  6s. net and 2s. net[A]The Jacket                       6s. net and 2s. netRevolution                          2s. netWar of the Classes                  2s.netThe Human Drift                     6s. net and 2s. netThe Iron Heel                       2s. netThe Road                            2s. net[A] Films have been founded on these novelsMILLS & BOON, Ltd., 49 Rupert St., London,W.1.       *       *       *       *       *THE KEMPTON-WACE LETTERSBYJACK LONDONANDANNA STRUNSKY     \"_And of naught else than Love would we           discourse._\"--DANTE, Sonnet II.MILLS & BOON, LIMITED 49RUPERT STREET LONDON, W.1_Copyright in the United States of America, 1903, by the MacmillanCompany Printed in Great Britain by Love & Malcomson Ltd. London andRedhill._KEMPTON-WACE LETTERSIFROM DANEKEMPTON TO HERBERT WACELONDON,3 A QUEEN'S ROAD, CHELSEA, S.W.August 14, 19--.Yesterday I wrote formally, rising to the occasion like the conventionalhappy father rather than the man who believes in themiracle and livesfor it. Yesterday I stinted myself. I took you in my arms, glad of whatis and stately with respect for the fulness of your manhood. It isto-day that I let myself leap into yours in a passion of joy. I dwellonwhat has come to pass and inflate myself with pride in your fulfilment,more as a mother would, I think, and she your mother.But why did you not write before? After all, the great event was notwhen you found youroffer of marriage accepted, but when you found youhad fallen in love. Then was your hour. Then was the time forcongratulation, when the call was first sounded and the reveille of Timeand About fell upon your soul andthe march to another's destiny wasbegun. It is always more important to love than to be loved. I wish ithad been vouchsafed me to be by when your spirit of a sudden grewwilling to bestow itself without question or letor hope of return, whenthe self broke up and you grew fain to beat out your strength in praiseand service for the woman who was soaring high in the blue wastes. Youhave known her long, and you must have been herslong, yet no word ofher and of your love reached me. It was not kind to be silent.Barbara spoke yesterday of your fastidiousness, and we told each otherthat you had gained a triumph of happiness in your love, for youare notof those who cheat themselves. You choose rigorously, straining for theheart of the end as do all rigorists who are also hedonists. Because weare in possession of this bit of data as to your temperamental cosmoswecan congratulate you with the more abandon. Oh, Herbert, do you knowthat this is a rampant spring, and that on leaving Barbara I trampedout of the confines into the green, happier, it almost seems, than Ihaveever been? Do you know that because you love a woman and she lovesyou, and that because you are swept along by certain forces, that I amhappy and feel myself in sight of my portion of immortality on earth,farmore than because of my books, dear lad, far more?I wish I could fly England and get to you. Should I have a shade less ofyou than formerly, if we were together now? From your too much green ofwealth, a barrennessof friendship? It does not matter; what is her gaincannot be my loss. One power is mine,--without hindrance, in freedom andin right, to say to Ellen's son, \"Godspeed!\" to place Hester Stebbins'shand in his, and bidthem forth to the sunrise, into the glory of day!Ever your devoted father,DANE KEMPTON.IIFROM HERBERT WACE TO DANE KEMPTONTHE RIDGE,BERKELEY, CALIFORNIA.September 3, 19--.Here I am, back in the oldquarters once more, with the old afternoonclimb across the campus and up into the sky, up to the old rooms, theold books, and the old view. You poor fog-begirt Dane Kempton, could youbut have lounged with me onthe window couch, an hour past, and watchedthe light pass out of the day through the Golden Gate and the nightcreep over the Berkeley Hills and down out of the east! Why should youlinger on there in London town!We grow away from each other, itseems--you with your wonder-singing, I with my joyful science.Poesy and economics! Alack! alack! How did I escape you, Dane, when mindand mood you mastered me? The augurieswere fair. I, too, should havebeen a singer, and lo, I strive for science. All my boyhood was singing,what of you; and my father was a singer, too, in his own fine way. Dearto me is your likening of him toWaring.--\"What's become of Waring?\" He_was_ Waring. I can think of him only as one who went away, \"chose landtravel or seafaring.\"Gwynne says I am sometimes almost a poet--Gwynne, you know, ArthurGwynne,who has come to live with me at The Ridge. \"If it were not foryour dismal science,\" he is sure to add; and to fire him I lay it to thedefects of early training. I know he thinks that I never halfappreciated you, and that I donot appreciate you now. If you willrecollect, you praised his verses once. He cherishes that praise amongsthis sweetest treasures. Poor dear good old Gwynne, tender, sensitive,shrinking, with the face of a seraph andthe heart of a maid. Never weretwo men more incongruously companioned. I love him for himself. Hetolerates me, I do secretly believe, because of you. He longs to meetyou,--he knew you well through my father,--andwe often talk you over.Be sure at every opportunity I tear off your halo and trundle it about.Trust me, you receive scant courtesy.How I wander on. My pen is unruly after the long vacation; my thoughtyet wayward,what of the fever of successful wooing. And besides, ...how shall I say?... such was the gracious warmth of your letter, of bothyour letters, that I am at a loss. I feel weak, inadequate. It almostseems as though you hadmade a demand upon something that is not in me.Ah, you poets! It would seem your delight in my marriage were greaterthan mine. In my present mood, it is you who are young, you who love; Iwho have lived and amold.Yes, I am going to be married. At this present moment, I doubt not, amillion men and women are saying the same thing. Hewers of wood anddrawers of water, princes and potentates, shy-shrinking maidensandbrazen-faced hussies, all saying, \"I am going to be married.\" And alllooking forward to it as a crisis in their lives? No. After all,marriage is the way of the world. Considered biologically, it is aninstitution necessary forthe perpetuation of the species. Why should itbe a crisis? These million men and women will marry, and the work ofthe world go on just as it did before. Shuffle them about, and the workof the world would yet goon.True, a month ago it did seem a crisis. I wrote you as much. It did seema disturbing element in my life-work. One cannot view with equanimitythat which appears to be totally disruptive of one's dear little systemofliving. But it only appeared so; I lacked perspective, that was all.As I look upon it now, everything fits well and all will run smoothly Iam sure.You know I had two years yet to work for my Doctorate. I still havethem. Asyou see, I am back to the old quarters, settled down in the oldgroove, hammering away at the old grind. Nothing is changed. And besidesmy own studies, I have taken up an assistant instructorship in theDepartment ofEconomics. It is an ambitious course, and an importantone. I don't know how they ever came to confide it to me, or how I foundthe temerity to attempt it,--which is neither here nor there. It is allagreed. Hester is asensible girl.The engagement is to be long. I shall continue my career as charted. Twoyears from now, when I shall have become a Doctor of Social Sciences(and candidate for numerous other things), I shall alsobecome abenedict. My marriage and the presumably necessary honeymoon chime inwith the summer vacation. There is no disturbing element even there. Oh,we are very practical, Hester and I. And we are both strongenough tolead each our own lives.Which reminds me that you have not asked about her. First, let me shockyou--she, too, is a scientist. It was in my undergraduate days that wemet, and ere the half-hour struck wewere quarrelling felicitously overWeismann and the neo-Darwinians. I was at Berkeley at the time, acocksure junior; and she, far maturer as a freshman, was at Stanford,carrying more culture with her into heruniversity than is given theaverage student to carry out.Next, and here your arms open to her, she is a poet. Pre-eminently sheis a poet--this must be always understood. She is the greater poet, Itake it, in thisdawning twentieth century, because she is a scientist;not in spite of being a scientist as some would hold. How shall Idescribe her? Perhaps as a George Eliot, fused with an ElizabethBarrett, with a hint of Huxley and atrace of Keats. I may say she issomething like all this, but I must say she is something other anddifferent. There is about her a certain lightsomeness, a glow or flashalmost Latin or oriental, or perhaps Celtic. Yes, thatmust beit--Celtic. But the high-stomached Norman is there and the stubbornSaxon. Her quickness and fine audacity are checked and poised, as itwere, by that certain conservatism which gives stability to purposeandpower to achievement. She is unafraid, and wide-looking and far-looking,but she is not over-looking. The Saxon grapples with the Celt, and theNorman forces the twain to do what the one would not dream of doingandwhat the other would dream beyond and never do. Do you catch me? Hermost salient charm, is I think, her perfect poise, her exquisiteadjustment.Altogether she is a most wonderful woman, take my word for it.And afterall she is described vicariously. Though she has published nothing andis exceeding shy, I shall send you some of her work. There will you findand know her. She is waiting for stronger voice and sings softly asyet.But hers will be no minor note, no middle flight. She is--well, she isHester. In two years we shall be married. Two years, Dane. Surely youwill be with us.One thing more; in your letter a certain undertone which Icould notfail to detect. A shade less of me than formerly?--I turn and look intoyour face--Waring's handiwork you remember--his painter's fancy of youin those golden days when I stood on the brink of the world, andyoushowed me the delights of the world and the way of my feet therein. So Iturn and look, and look and wonder. _A shade less_ of me, of you? Poesyand economics! Where lies the blame?HERBERT.IIIFROM DANEKEMPTON TO HERBERT WACELONDON,September 30, 19--.It is because you know not what you do that I cannot forgive you. Couldyou know that your letter with its catalogue of advantages andarrangements mustoffend me as much as it belies (let us hope) you andthe woman of your love, I would pardon the affront of it upon us all,and ascribe the unseemly want of warmth to reserve or to the sadnesswhich grips the heart whenjoy is too palpitant. But something warns methat you are unaware of the chill your words breathe, and that is alapse which it is impossible to meet with indulgence.\"He does not love her,\" was Barbara's quick decision,and she laid theopen letter down with a definiteness which said that you, too, are laidout and laid low. Your sister's very wrists can be articulate. However,I laughed at her and she soon joined me. We do not mean tobeextravagant with our fears. Who shall prescribe the letters of lovers totheir sisters and foster-fathers? Yet there are some things theirletters should be incapable of saying, and amongst them that love is nota crisisand a rebirth, but that it is common as the commonplace, a hitor miss affair which \"shuffling\" could not affect.Barbara showed me your note to her. \"Had I written like this of myselfand Earl--\"\"You could not,\" Iobjected.\"Then Herbert should have been as little able to do it,\" she deducedwith emphasis. Here I might have told her that men and women are racesapart, but no one talks cant to Barbara. So I did not console her,andit stands against you in our minds that on this critical occasion youhave baffled us with coldness.An absence of six years, broken into twice by a brief few months, mustwork changes. When Barbara called your letterunnatural, she forgot howlittle she knows what is natural to you. She and I have been wont topredetermine you, your character, foothold, and outlook, by--say by thefact that you knew your Wordsworth and that youknew him without beingable to take for yourself his austere peace. Youth which lives by hopeis riven by unrest.     \"I made no vows; vows were made for me,     Bond unknown to me was given       That I should be,else sinning gently,     A dedicated spirit.\"That pale sunrise seen from Mt. Tamalpais and your voice vibrant tofierceness on the \"else sinning gently\"--to me the splendour of rose onpiled-up ridges of mist spoke all foryou, so dear have you always been.It rested on the possible wonder of your life. It threw you into thescintillant Dawn with an abandon meet to a son of Waring.Tell me, do you still read your Wordsworth on your knees?I am bent withregret for the time when your mind had no surprises for me, when thedays were flushed halcyon with my hope in you. I resent your developmentif it is because of it that you speak prosaically of a prosaicmarriageand of a honeymoon simultaneous with the Degree. I think you are toowell pleased with the simultaneousness.Yet the fact of the letter is fair. It cannot be that the soul of it isnot. Hester Stebbins is a poet. Ilean forward and think it out as Idid some days ago when the news came. I conjure up the look of love. Ifthe woman is content (how much more than content the feeling she boundswith in knowing you hers as she isyours), what better test that all iswell? I conjure up the look of love. It is thus at meeting and thus atparting. Even here, to-night, when all is chill and hard to understand,I catch the flash and the warmth, and what Isee restores you to me, buthow deep the plummet of my mind needed to sound before it reached you.It is because you permitted yourself to speak when silence had expressedyou better.Show me the ideally realHester Stebbins, the spark of fire which isshe. The storms have not broken over her head. She will laugh and makepoetry of her laughter. If before she met you she wept, that, too, willhelp the smiling. There is laughterwhich is the echo of a Misereresobbed by the ages. Men chuckle in the irony of pain, and they smilecold, lessoned smiles in resignation; they laugh in forgetfulness andthey laugh lest they die of sadness. A shrug of theshoulders, awidening of the lips, a heaving forth of sound, and the life is saved.The remedy is as drastic as are the drugs used for epilepsy, which inquelling the spasm bring idiocy to the patient. If we are made idiotsbyour laughter, we are paying dearly for the privilege of continuing inlife.Hester shall laugh because she is glad and must tell her joy, and shewill not lose it in the telling. Greet her for me and hasten to proveyourself,for     \"The Poet, gentle creature that he is,     Hath like the Lover, his unruly times;     His fits when he is neither sick nor well,     Though no distress be near him but his own     Unmanageable thoughts.\"You will judgeby this letter that I am neither sick nor well, and thatI reach for a distress which is not near. If I were Merchant rather thanPoet, it would be otherwise with me.DANE.IVFROM HERBERT WACE TO DANE KEMPTONTHERIDGE,BERKELEY, CALIFORNIA.October 27, 19--.Do I still read my Wordsworth on my knees? Well, we may as well have itout. I have foreseen this day so long and shunned it that now I meet italmost with extendedhands. No, I do not read my Wordsworth on my knees.My mind is filled with other things. I have not the time. I am not theHerbert Wace of six years gone. It is fair that you should know this;fair, also, that you shouldknow the Herbert Wace of six years gone wasnot quite the lad you deemed him.There is no more pathetic and terrible thing than the prejudice of love.Both you and I have suffered from it. Six years ago, ay, andbeforethat, I felt and resented the growing difference between us. When underyour spell, it seemed that I was born to lisp in numbers and devotemyself to singing, that the world was good and all of it fit forsinging. Butaway from you, even then, doubts faced me, and I knew invague fashion that we lived in different worlds. At first in vaguefashion, I say; and when with you again, your spell dominated me and Icould not question. Youwere true, you were good, I argued, all that waswonderful and glorious; therefore, you were also right. You mastered mewith your charm, as you were wont to master those who loved you.But there came times whenyour sympathy failed me and I stood alone onoutlooks I had achieved alone. There was no response from you. I couldnot hear your voice. I looked down upon a real world; you were caught upin a beautiful cloudlandand shut away from me. Possibly it was becauselife of itself appealed to you, while to me appealed the mechanics oflife. But be it as it may, yours was a world of ideas and fancies, minea world of things and facts.Entershere the prejudice of love. It was the lad that discovered ourdifference and concealed; it was the man who was blind and could notdiscover. There we erred, man and boy; and here, both men now, we makeall wellagain.Let me be explicit. Do you remember the passion with which I read the\"Intellectual Development of Europe?\" I understood not the tithe of it,but I was thrilled. My common sense was thrilled, I suppose; but itwasall very joyous, gripping hold of the tangible world for the first time.And when I came to you, warm with the glow of adventure, you lookedblankly, then smiled indulgently and did not answer. You regardedmyardour complacently. A passing humour of adolescence, you thought; and Ithought: \"Dane does not read his Draper on his knees.\" Wordsworth wasgreat to me; Draper was great also. You had no patience with him,and Iknow now, as I felt then, your consistent revolt against hismaterialistic philosophy.Only the other day you complained of a letter of mine, calling it coldand analytical. That I should be cold and analytical despite alltheprodding and pressing and moulding I have received at your hands, andthe hands of Waring, marks only more clearly our temperamentaldifference; but it does not mark that one or the other of us is less adedicated"}
+{"doc_id":"doc_163","qid":"","text":"<html><head><title>Arsenic and Old Lace Script at IMSDb.</title><meta name=\"description\" content=\"Arsenic and Old Lace script at the Internet Movie Script Database.\"><meta name=\"keywords\"content=\"Arsenic and Old Lace script, Arsenic and Old Lace movie script, Arsenic and Old Lace film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\"content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ?'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie ScriptDatabase\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <scripttype=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                         ARSENIC AND OLD LACE</b>                              Written by                     Julius J. & Philip G.Epstein                        Adapted from the play by                           Joseph Kesselring<b>   CREDITS</b>   Credits roll, in white letters, on several funny cartoons, all of   them about witches and witchcraft (a caldronover a fire, with two   witches on either side of it - A close-up of one of the witches -   A witches falling down from the sky on her broomstick, and loosing   her hat in the fall - A furious black cat spitting at anowl   seated on a branch - A carafe with two glasses, actually a direct   reference to the film - An Halloween pumpkin pressing her two   forefingers in its ears, with music notes around it - Black bats   flying over avillage).<b>   BROOKLYN - GENERAL OVERVIEW - EXTERIOR DAY</b>   A general overview of Brooklyn, near New York, seen from the roof   of a very high building. Written in white letters on this   overview, thefollowing words :                         This is a Hallowe'en                       tale of Brooklyn, where                        anything can happen--                         and it usually does.   Then :                           At 3 P.M. onthis                         particular day, this                             was happening-   Several white circles move on the screen, then the whole screen is   covered by a huge base ball, with «Brooklyn» written on it in   blackletters.<b>   BASEBALL GAME - SPECTATORS - EXTERIOR DAY</b>   Close-up of the face of man, screaming :<b>          BASEBALL FAN</b>          I'll knock your block off, you big stiff ! You're a bum !   The cameramoves away, so we can see the other baseball spectators   behind the first one.<b>   BASEBALL FIELD - EXTERIOR DAY</b>   General view of a baseball field, where a game is being played.   Follow several very quicksequences (one or two seconds each) : A   general view of the spectators. Then a player throwing a ball.   Then a very excited brass band playing. Then a few very excited   spectators. Then another player throwing aball.   Finally we see a batter missing his ball. We hear the Umpire,   standing behind the catcher and heavily covered with a protection   suit, yelling :<b>       THE UMPIRE</b>       Strike ! You're out !   The batter,who missed the ball, drops his bat on the ground and   comes back to the Umpire. He tears the Umpire helmet and mask   away, and gives him a good punch in the nose. The Umpire falls on   the ground. The catcherthen hits the batter. The Umpire rises   slowly from the ground.   Several very quick sequences : The ball-thrower drops his glove   and runs to the fight. Then several excited spectators stand up to   join the fight.Several player, who were waiting for their turn to   go on the field, also run to the fight. Then a view of the fight,   where all the players are hitting each other. Then the popcorn   seller, dropping his basket to join thefight. Then spectators   jumping over the balustrades to join the fight. Then another view   of the players fighting. Then a final view of the Umpire, laying   on the field and leaning on one elbow, and quietly munchingsome   food.<b>   NEW YORK - A BRIDGE - EXTERIOR DAY</b>   We see a large view of a bridge with a white boat passing   underneath. Written in large white letters on the screen, the   words :                      Whileat the same time                     across the river in the<b>                        UNITED STATE PROPER</b>                      there was a romance in                              the air.<b>MARRIAGE LICENSE BUREAU - INTERIORDAY</b>Close-up on the sign «MARRIAGE LICENSE BUREAU», with peoplepassing underneath.<b>       AN EXCITED GIRL VOICE</b>       Elmer, here it is.<b>       A MORE QUIET MALE VOICE</b>       I knew you'dfind it.<b>       ANOTHER MALE VOICE</b>       Boy, I could sure use a drink.The camera gets down from the sign to floor level. Two journalistsare approaching, one equipped with a camera.<b>       THEPHOTOGRAPHER</b>       I wonder if any big shots are getting married today ?They stop at the door of the room.Larger view of the room, where several people are, either standingin a queue, either sitting at a tableand filling forms, eitherchatting in groups of two or threeBack to the two journalists still standing a the door.<b>       THE OTHER JOURNALIST</b>       Looks like the same suckers get married every day.He looksaround for a few second, then starts to move away.<b>       THE OTHER JOURNALIST</b>       Come on.The photographer makes him come back. He points to someone in theroom.<b>       THEPHOTOGRAPHER</b>       Hey, the guy with the cheaters.In a line of people queueing in front of a counter, we seeMortimer Brewster, with a hat and a pair of large dark glasses. Heturns around and notices the twojournalists looking at him. Heraises the collar of his black coat to try to hide his face. Thegirl in front of him turns around to look at him. She has blondecurly hair and wears a hat with a strange white feather. SheisElaine Harper. With both his hands, Mortimer turns her face backtoward the counter.Back to the two journalists at the door of the room.<b>       THE OTHER JOURNALIST</b>       Now what's he hiding from ?Hestarts moving to get a better look at Mortimer.Mortimer moves in front of Elaine, who smiles.The two journalists are now in the room, and they look atMortimer.<b>       THE OTHER JOURNALIST</b>       Hey, isn't thatMortimer Brewster?<b>       THE PHOTOGRAPHER</b>       Mortimer Brewster, the dramatic critic ?Mortimer looks very embarrassed.Back to the two journalists.<b>       THE OTHER JOURNALIST</b>       No, it's nothim. But what a scoop it would be ! The guy       who wrote The Bachelor's Bible finally getting hooked       himself. Nope. It's too good to be true. Come on, let's       snap the mayor in his new fire helmet and gohome.<b>       THE PHOTOGRAPHER</b>       Hey, let's stick around, and see who the guy is.Back to the line of people waiting in front of the counter. Themarriage clerk is standing behind a set of metal bars. A coupleofpeople leaves the counter. It's now Mortimer and Elaine's turn.The marriage clerk sings :<b>       THE CLERK</b>       \"Two by two they come and go. Hip hip hig hay !\"He smiles to Mortimer and Elaine.<b>       THECLERK</b>       Good morning, children. Your name, please ?<b>       ELAINE</b>       Elaine Harper.She spoke in a very soft voice. The clerk put his hand around hisear.<b>        THE CLERK</b>        Speak a littlelouder.She speaks louder.<b>       ELAINE</b>       Elaine Harper.<b>       THE CLERK</b>       Thank you. Yours ?Mortimer comes very close to the bars above the counterandwhispers.<b>       MORTIMER</b>       Mortimer Brewster.The clerk puts his hand back around his ear.The two journalists are straining their own ears to be able tounderstand Mortimer's name<b>       THECLERK</b>       How's that ?Mortimer raises his glasses, but still whispers.<b>       MORTIMER</b>       Mortimer Brewster.<b>       THE CLERK</b>       Speak up, sonny. There's nothing to be afraid of.Mortimerbends down, putting his chin at the counter level. Thenhe stands up again, and opens the gate in front of the clerk. Heknocks his head on the bar above the gate. He straightens his hat,and brings his face close to theclerk's one. He still whispers.<b>       MORTIMER</b>       I want to keep this undercover.<b>       THE CLERK</b>       Love her ? But of course you love her. You're going to       marry her, aren't you?<b>       MORTIMER</b>       No-no, you don't understand. Come here, come.With his finger, he signals the clerk to come close to him.<b>       MORTIMER</b>       You see, I don't want this to get out for a while.I'm       Mortimer Brewster.<b>       THE CLERK</b>       You're who ?Mortimer stops controlling himself and starts yelling<b>       MORTIMER</b>       Mortimer Brew...He doesn't finish telling his name, takes Elaine'shand, and runsoutside the room, dragging Elaine behind him.The two journalists react to the news.<b>       THE OTHER JOURNALIST</b>       That's him !They start running after Mortimer.<b>CORRIDOR OUTSIDETHE MARRIAGE BUREAU - INTERIOR DAY</b>Still dragging Elaine, Mortimer runs in the corridor.<b>       THE OTHER JOURNALIST</b>       (voice over)       Mister Brewster !Mortimer pushes Elaine into a telephonebooth and enters behindher. There is already a man in the booth who is using the phone.With three people in the booth, Mortimer can hardly close the doorbehind him.The two journalists runs in thecorridor.<b>       THE OTHER JOURNALIST</b>       Oh, Mister Brewster !But they pass the booth without noticing that Mortimer is inside.In the booth, the man, still holding the phone receiver, tries toprotest theintrusion.<b>       THE MAN ON THE PHONE</b>       Now, look...Mortimer takes the receiver from him and speaks into it.<b>       MORTIMER</b>       Goodbye, dear.He hangs up the receiver, and then pushesviolently the manoutside the booth. The man looks very angry, but doesn't try tocome back in the booth.In the booth, a very exciter Mortimer is talking to Elaine.<b>       MORTIMER</b>       Don't you understand ?How can I marry you ? Me, the symbol       of bachelorhood. I've sneered at every love scene in every       play. I've written four million words against marriage !       Not only hooked, but to a minister's daughter, andnot only       a minister's daughter but a girl from Brooklyn. And look at       the way you look ! What is that sort of contraption you've       got there ?He taps on a pin on the lapel of Elaine'sjacket.<b>       ELAINE</b>       That's a pin I borrowed from your aunts. You know what       they're saying, \"Something borrowed...\"<b>       MORTIMER</b>       Yeah, I know that \"Something borrowed, somethingblue.\"       Old, new. Rice and old shoes. Carry you over the threshold.       Niagara Falls. All that silly tripe I made fun for years.       Is this what I've come to ? I can't go through with it. I       won't marry you. Andthat's that.He takes his glasses off. Elaine whispers :<b>       ELAINE</b>       Yes, Mortimer.<b>       MORTIMER</b>       What do you mean, «Yes, Mortimer» ? Aren't you insulted ?       Aren't you going to cry ?Aren't you going to make a       scene ?<b>       ELAINE</b>       No, Mortimer.<b>       MORTIMER</b>       And don't «No, Mortimer» me, either ! Don't you see       marriage is a superstition. It's old-fashioned.It's...       a... a... Ohh !...He kisses her very passionately.He stops kissing her, and gets out of the booth, dragging herbehind him. They enter the marriage bureau.<b>MARRIAGE LICENSE BUREAU - INTERIORDAY</b>They get back a the end of the line of people waiting to bemarried.The girl in front of Elaine winks to Elaine. Elaine winks back toher.A man in front of the girls turns toward Mortimer and smiles tohim, in aslightly idiotic way. Mortimer looks at him, a bitsurprised, and gives him a forced smile, showing his teeth.<b>BROOKLYN - RESIDENTIAL DISTRICT - EXTERIOR DAY</b>We see a street in Brooklyn, in front of nicehouse. Written onthe screen in large white letters :                        And now, back to                     one of Brooklyn's most                      charming residential                           districts--<b>BROOKLYN - CHURCHYARD"}
+{"doc_id":"doc_164","qid":"","text":"<html><head><title>Arbitrage Script at IMSDb.</title><meta name=\"description\" content=\"Arbitrage script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Arbitrage script, Arbitragemovie script, Arbitrage film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=SubjectCONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0];s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>    <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\"title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center></td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                            ARBITRAGE</b>                                                                             Written by                        NicholasJarecki                                                                                                    <b>                                                            4/17/11</b><b>          BLACK.</b>                                   Over CREDITS weHEAR:                         <b>           MARIA (O.S.)</b>           ...but you took a huge bet on the           housing crisis in the middle of the           biggest boom anybody'd ever seen.Why?                         <b>           ROBERT (O.S.)</b>           I'm a child of the 50's. My father           welded steel for the Navy. And my           mother worked at theVA.                                                  <b>          INT. ROBERT'S MANSION - DAY</b>                                   As the conversation continues we see:                                   1. A MAID clean an expansive living room,waxing a mahogany          table.                                   2. A BUTLER open sliding doors to an empty grand sitting          room.                                   3. An overhead shot as a SERVANT carries packages up along          winding staircase.                         <b>                          ROBERT</b>           They lived through the Depression,           Pearl Harbor, and the Bomb. And they           didn't think bad thingsmight           happen; they knew they would happen.                         <b>                          MARIA</b>           Is that what's happening now?                         <b>                          ROBERT</b>           When I was akid my favorite           teacher was Mr. James. Mr. James           said that world events always           revolve around five things:           (extending his fingersone-<b>                          BY-ONE)</b>                                                  <b>          INT. ROBERT'S LIVING ROOM - DAY</b>                                   And right on cue, we see for the first time -- ROBERTMILLER          (60) -- sitting on a sofa across from MARIA BARTIROMO and a          CAMERA CREW, mid-interview. ELLEN MILLER (58) watches on a          nearbyMONITOR.                         <b>                          ROBERT</b><b>           M-O-N-E-Y.</b>           Goldenrod - 4.17.112.                         <b>                          MARIA</b><b>                          (LAUGHING)</b>           Was this freshman econ?                         <b>                          ROBERT</b>           This was fifth-gradeecon.           (smiles, off her laugh)           But this is something we've seen           over and over again, time and time           again, that competition for this--           limited amount of dollars out           there, canmake even the best of us           manic. So it's not surprising that           we see these asset bubbles, but           when reality sets in of course,           they burst.                         <b>          CUT TOBLACK.</b>                         <b>                         \"ARBITRAGE\"</b>                                                  <b>          CLOUDS GIVE WAY TO A:</b>                         <b>          FALCON 900EX - SOARING THROUGHTHE SKIES AT 550MPH</b>                                   And we push tighter into the plane, cutting into the engine,          as we hear a sonic boom and focus inside,revealing...                                                  <b>          INT. FALCON</b>                                   A sleek, slate-gray cabin, divided into three seating areas.                                   At the back of the plane, fiveAIDES DE CAMP chatter in hushed          tones, pouring over a sea of red-inked paper.                                   In the galley, GAVIN BRIAR (42), pours a coffee. He brings it<b>                         BACKTO</b>                         <b>                         ROBERT</b>                                   who sits alone in his private area facing the cockpit,          scribbling his own red-ink across a stack ofCONTRACT          DOCUMENTS. His effortless slouch, silver hair, and all-          commanding mannerisms make one thing clear: Robert's our man.                         <b>                          GAVIN</b>           (handinghim the coffee)           Here you go...                                   Robert sips it.           Goldenrod - 4.17.11 3.                         <b>                          GAVIN(CONT'D)</b><b>                          (SITTING)</b>           You're disappointed.                         <b>                          ROBERT</b>           Quants? Derivatives structures?           What was thatabout?                         <b>                          GAVIN</b>           It makes no sense.                         <b>                          ROBERT</b>           That's what you said last week.           Why'd we go downthere?                         <b>                          GAVIN</b>           To sign.                         <b>                          ROBERT</b>           And did wesign?                         <b>                          GAVIN</b>           No.                         <b>                          ROBERT</b>           No. We did not. Instead I fly two           thousand miles for amarketing           meeting... And where was Mayfield?           What was this \"emergency\"? What was           that about?                         <b>                          GAVIN</b>           (after a beat)           Did you speak tothe auditors?                         <b>                          ROBERT</b>           Why?                         <b>                          GAVIN</b>           What if... we don't don't close this           week...                                   Wepush into a close-up of Robert, as he contemplates what          this would mean.                                                  <b>          EXT. WESTCHESTER AIRFIELD - MOMENTS LATER</b>                                   The ROARof thirty million dollars landing near tall grass.                                                  <b>          EXT. HANGAR - CONTINUOUS</b>                                   Robert walks down the passenger steps onto thetarmac,          followed by Gavin and the aides.           Goldenrod - 4.17.11 4.                                   They approach a waiting MERCEDES MAYBACH. The aides hand file          BOXES and BRIEFCASES to the Hispanicdriver, RAMON, who loads          them into the trunk.                                                  <b>          EXT. STREETS - CONTINUOUS</b>                                   The blur of city lights as the limo passes over bridgesand          towards the city and Park Avenue and finally approaches                                                  <b>          EXT. GRACIE SQUARE - ROBERT'S MANSION - CONTINUOUS</b>                                   An enormousturn-of-the-last-century Stanford-White-designed          red-brick MANSION- two already-giant townhouses combined.          Robert and Gavin exit the limo and headinside.                                                  <b>          INT. ROBERT'S MANSION - ENTRY HALL - CONTINUOUS</b>                                   It's our first glimpse of Robert's home, and it doesn't          disappoint. It's an1850's Tudor given a full once-over,          maintaining period details but updated with a Modernist          flair. It actually works.                                   A SERVANT takes Robert's briefcase from him as heenters,          handing him three small PRESENTS which he puts under his arm.                                   We HEAR sounds of a DINNER PARTY complete with CHILDREN          laughing. Hold on Robert's face- somemixture of excitement          and anticipation.                                                  <b>          INT. DINING ROOM - CONTINUOUS</b>                                   A party in progress, dinner alreadyserved.                                   Seated around a large square table are: ELLEN (58, Robert's          wife), BROOKE (28, Robert's daughter), PETER (31, Robert's          son), TOM (Brooke's boyfriend), ANNE (Peter'swife), and<b>          THREE GRANDCHILDREN.</b>                                   Ellen's playing with one of the kids. She sees Robert.                         <b>                          ELLEN</b><b>                          (LIGHTINGUP)</b>           Look, your grandfather's here!                                   The kids clamor for Robert's attention. He moves around the          table, hugging themall.                         <b>                          ROBERT</b>           Hi, guys!           Goldenrod - 4.17.11 5.                         <b>                          GRANDCHILD</b>           Hi Grampi! What did you bringus?                                   Robert hands out the presents, and the kids unwrap them in a          frenzy. He continues making the rounds until he finally gets to          Brooke and Peter, seated next to eachother.                                   They embrace, but we notice clear restraint, a marked contrast          to his behavior towards their kids.                         <b>                          BROOKE</b>           It's your birthday,Dad, not theirs.           You're spoiling them rotten.                         <b>                          ROBERT</b><b>                          (GRINNING)</b>           It's my job! It's my job. You guys           turned outfine!                         <b>                          BROOKE</b><b>                          (HALF-SMILE)</b>           Debatable.                         <b>                          ROBERT</b>           (to Peter, as they hugand<b>                          SMILE)</b>           How you doin', son? Good?                                   Robert rounds the table and takes his seat next to Ellen as          she discreetly waves to theSERVANTS.                         <b>                          ELLEN</b>           We had to eat. The kids were           starving...                         <b>                          ROBERT</b>           (hugging her, happy)           No, nothat's okay. Where's my           drink, is this mine, here?                                   Another SERVANT enters with a CAKE flickering birthday          candles. Everyone notices and startsCLAPPING.                         <b>                          ALL</b><b>           HEY! HAPPY BIRTHDAY! YAY!</b>                                   Robert smiles. They finish cheering, then CLINK glasses fora          toast.                         <b>                          ROBERT</b>           Thank you, thank you, thank you all           very much, it's such a surprise, I           didn't even know it was mybirthday!                                   Everyone laughs a little.           Goldenrod - 4.17.11 6.                         <b>                          ROBERT (CONT'D)</b>           What did Mark Twain say about? He           said-- oldage... is clearly a case           of mind over matter. If you don't           mind, it doesn't matter.<b>                          (MORE LAUGHTER)</b>           I've done a lot of things in my life,           worked very hard, butbeing here,           looking around-- at all these shining,           radiant faces, I know that my best           work is right here in this room, right           now... I'm deeply proud of all of you.           That's the best gift yourmother and I           could have hoped for,<b>                          (KISSES ELLEN)</b>           so, thank you...                         <b>                          PETER</b><b>                          (CALLING"}
+{"doc_id":"doc_165","qid":"","text":"<html><head><title>Strangers on a Train Script at IMSDb.</title><meta name=\"description\" content=\"Strangers on a Train script at the Internet Movie Script Database.\"><meta name=\"keywords\"content=\"Strangers on a Train script, Strangers on a Train movie script, Strangers on a Train film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\"content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ?'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie ScriptDatabase\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <scripttype=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>                   STRANGERS ON A TRAIN                             by             Raymond Chandler and Czenzi Ormonde<b>FINAL DRAFT</b>October18, 1950Converted to PDF by SCREENTALK<b>                                       FOR EDUCATIONAL PURPOSES ONLY</b>www.screentalk.org<b></b><b>FADE IN:</b><b>EXT. UNION STATION, WASHINGTON, D.C.DAY</b><b>LONG SHOT THE CAPITOL DOME IN THE B.G. AND THE AUTOMOBILE</b><b>ENTRANCE TO THE STATION IN THE F.G. LOW CAMERA</b>Activity of cars and taxis arriving and dischargingpassengerswith luggage, busy redcaps, etcetera.We FOCUS on a taxi pulling up and stopping, The driver handsout modest looking luggage, including a bunch of tennisrackets in cases to a redcap. CAMERA PANS DOWNas thepassenger gets out of the taxi so that we see only his shoesand the lower part of his trousers. He is wearing darkcolored brogues and a conservative suit apparently. Thefeet move toward, the entrance to thestation and out ofscene. Immediately a chauffeur-driven limousine drives upand an expensive place of airplane luggage is handed out ofthis, and the passenger alighting from the back is seen tobe wearing black andwhite sport shoes which, as before, areall we see of him. The sport shoes start off in the wake ofthe brogues.<b>INT. STATION LOBBY</b>CAMERA FOLLOWS the sport shoes and the brogues across thelobby into apassenger tunnel. There is the usual activityof passengers walking to and from, a loud-speaker announcingtrains, etc.<b>EXT. PASSENGER TUNNEL</b>As the brogues and the sport shoes emerge to the trainplatform,CAMERA PANS them over to the steps of the train.<b>INT. TRAIN</b>The brogues and the sport shoes pass separately down theaisle, the sport shoes turning in at a compartment door andthe brogues continuingtoward the parlor car.<b>                                                DISSOLVE TO:</b><b>INT. PARLOR CAR (PROCESS)</b>The brogues come to rest before a chair as the owner sitsdown. A moment later the sport shoescome to rest. beforein adjoining chair.<b></b>      Converted to PDF by www.screentalk.org                 2.The legs belonging to the sport shoes stretch out, and oneof the shoes touches one of thebrogues.                      MAN'S VOICE (over scene)          Oh, excuse Me!CAMERA PULLS BACK AND UP to SHOW two young men seated in twoparlor car chairs. BRUN0 ANTHONY, the wearer of the sportshoes, is abouttwenty-five. He wears his expensive clotheswith the tweedy nonchalance of a young man who has alwayshad the best. The wearer of the brogues is a fine lookingbut, at the moment, a somewhat troubled young man.This isGUY HAINES. He, too, is in his middle twenties and is welldressed because he can now afford to be. He nods politely,acknowledging Bruno's apology, then turns away with thegesture implying he wantsprivacy.<b>                      BRUNO</b>              (smiling with sudden               recognition)          I beg your pardon, but aren't you          Guy Haines.Guy nods with a polite half smile. Being a well knowntournamenttennis player, he has had this sort of experiencebefore.<b>                      BRUNO</b>              (snapping his finger)          Sure! I saw you blast Faraday right          off the court in South Orange last          season.What a backhand! Made the          semi-finals, didn't you?Guy acknowledges this with a modest nod and turns to hismagazine rolled up in is fist.<b>                      BRUNO</b>              (with open admiration)          Icertainly admire people who do          things.              (smiling and               introducing himself)          I'm Bruno Anthony. Bruno. See Guy          looks up. Bruno indicates his gold          tie pin which bears his namein cut-          out letters. Guy looks at it with          the faintest expression of disdain.          I suppose you think it's corny. But          my mother gave it to me so of course          I wear it to pleaseher.<b></b>      Converted to PDF by www.screentalk.org                3.<b>                      GUY</b>              (patiently)(a faint               smile)          How do you do.<b>                      BRUNO</b>              (with anapologetic               grin)          I don't usually talk so much.   Go          Ahead and read.<b>                        GUY</b>              (wryly)          Thanks.Guy tries to read but is uneasily aware of Bruno'sopenappraisal.<b>                      BRUNO</b>          It must be pretty exciting to be so          important.<b>                      GUY</b>              (fidgeting slightly)          A tennis player isn't soimportant.<b>                      BRUNO</b>          People who do things are important.          I never seem to do anything.Not knowing how to answer this, Guy looks alittleembarrassed.<b>                      BRUNO</b>              (still insistent on               being friendly)          I suppose you're going to Southampton --          for thedoubles.<b>                      GUY</b>              (politely)          You are a tennis fan.Bruno is inordinately pleased by this small tribute.<b>                      BRUNO</b>          Wish I could see you play. But I've          gotto be back in Washington tomorrow.          I live in Arlington, you know.He has taken out a cigarette case.   Holds it out to Guy.<b></b>      Converted to PDF bywww.screentalk.org                      4.<b>                               BRUNO</b>             Cigarette?<b>                         GUY</b>             Not now, thanks.          I don't smokemuch.<b>                         BRUNO</b>             I smoke too much.He fumbles for a match.          Guy brings out a lighter and handsit to Bruno.<b>                         BRUNO</b>             Thanks.                 (hestares at the                  lighter, impressed)             Elegant.<b>CLOSE SHOT OF THE LIGHTER</b>Showing that it has the insignia of crossed rackets embossedon it, and underneath is engraved the inscription: \"ToGfrom A\".<b>                         BRUNO'S VOICE</b>                 (reading)             To G from A. Bet I can guess who A             is.<b>WIDER SHOT</b>Guy reactssharply.<b>                               GUY</b>                    (coldly)             Yes?<b>                         BRUNO</b>             Anne Burton. Sometimes I turn the             sport page and look at the society             news.And the pictures. She's very             beautiful, Senator Burton's daughter.<b>                         GUY</b>             You're quite a reader, Mr. Anthony.<b>                         BRUNO</b>             Yes, I am. Ask meanything, from             today's stock reports to Li'l Abner,             and I got the answer.<b>                         (MORE)</b><b></b>      Converted to PDF by www.screentalk.org         5.<b>                      BRUNO(CONT'D)</b>          Even news about people I don't know.          Like who'd like to marry whom when          his wife gets her divorce.<b>                      GUY</b>              (sharply)          Perhaps you read toomuch.<b>                      BRUNO</b>              (contritely)          There I go again. Too friendly. I          meet someone I' like and open my yap          too wide. I'm sorry...At the appeal on Bruno's face, Guy slowlyrelents.<b>                      GUY</b>          That's all right. Forget it.    I          guess I'm pretty jumpy.Bruno smiles with and signals a waiter.<b>                      BRUNO</b>          There's a new cure forthat.              (to waiter)          Scotch and plain water. A pair.          Double.              (to Guy with a chuckle)          Only kind of doubles I play.<b>                      GUY</b>          You'll have to drink both ofthem.<b>                      BRUNO</b>              (grinning)          And I can do it.              (moving in)          When's the wedding?<b>                      GUY</b>          What?<b>                      BRUNO</b>          Thewedding. You and Anne Burton.              (a gesture of               explanation)          It was in the papers.<b>                      GUY</b>          It shouldn't have been. Unless          they've legalized bigamyovernight.<b></b>      Converted to PDF by www.screentalk.org             6.<b>                     BRUNO</b>         I have a theory about that. I'd         like to tell you about it some time.         But right now I supposedivorce Is         still the simplest operation.The waiter has brought the drinks. Bruno slips the lighterinto hip pocket to free his hands for the bills which hegives to the waiter, waving away the change. He offers aglass toGuy. Guy takes it.<b>                     GUY</b>             (as if he needs it)         I guess I will.<b>                     BRUNO</b>             (happily)         This is wonderful -- having your         company all the way to NewYork.<b>                     GUY</b>             (forced to explain)         As a matter of fact, I'm not going         direct. I'm stopping off. At         Metcalf.<b>                     BRUNO</b>         Metcalf? What would anybodywant to         go there for?<b>                     GUY</b>         It's my home town.<b>                     BRUNO</b>         Oh, I get it! A little talk with         your wife to about the divorce! I         suppose she was the girlnext door.         Held her hand in high school and         before you knew it -- hooked!             (proud of his              perspicacity)         Am I right?<b>                     GUY</b>             (laconically)         Closeenough.<b>                     BRUNO</b>             (raises his glass)         Well, here's luck, Guy. Drink up --         then we'll have some lunch sent to         my compartment.<b></b>      Converted to PDF bywww.screentalk.org                7.<b>                      GUY</b>          Thanks very much. But I think I'll          go to the dining car.              (he hails a waiter               who is passing through               with afood-laden               tray)          Do you know if there are any vacant          seats in the dining car now?<b>                       WAITER</b>          Not for about twenty minutes I'm          afraid,Sir.<b>                      BRUNO</b>              (pleased)          See? You'll have to lunch with me.              (motions the waiter               back)          Say, waiter, bring me some lamb chops          and French fries andchocolate ice          cream, Compartment D, Car 121.              (turns to Guy)          What'll you have, Guy?<b>                      GUY</b>          Thanks just the same, but I really          don't think--<b>                      BRUNO</b>          Oh, go on and order.The waiter is hovering impatiently.   Guy gives in out ofembarrassment.<b>                      GUY</b>          Well, I'll Just have a hamburger and          a cupof coffee.<b>                      BRUNO</b>              (delighted, lifts his               glass in another               toast)          To the next Mrs. Haines.Guy nods curtly.<b>                                                  DISSOLVETO:</b><b></b>      Converted to PDF by www.screentalk.org              8.<b>INT. BRUNO'S COMPARTMENT ON TRAIN (PROCESS)</b>Bruno and Guy are finishing lunch. Bruno has been drinkingand his eyes arebright and feverish. An almost empty liquorbottle is near a couple of detective novels covered withgaudily Illustrated dust jackets. Bruno has in unlightedcigarette in his mouth. Guy's lighter is on the table.Bruno snaps it"}
+{"doc_id":"doc_166","qid":"","text":"The Project Gutenberg EBook of Boon, The Mind of the Race, The Wild Assesof the Devil, and The Last Trump;, by Herbert George WellsThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: Boon, The Mind of the Race, The WildAsses of the Devil, and The Last Trump;       Being a First Selection from the Literary Remains of George       Boon, Appropriate to the TimesAuthor: Herbert George WellsRelease Date: January 15, 2011 [EBook#34962]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK BOON, THE MIND OF THE RACE ***Produced by Malcolm Farmer, Barbara Tozier, and the OnlineDistributed Proofreading Team athttp://www.pgdp.net (Thisfile was produced from images generously made availableby The Internet Archive/Canadian Libraries)                     Boon, The Mind of the Race,                     The Wild Asses of theDevil,                         _and_ The Last Trump                   Being a First Selection from the                   Literary Remains of George Boon,                       Appropriate to the Times                     Prepared for Publicationby                            REGINALD BLISS             AUTHOR OF \"THE COUSINS OF CHARLOTTE BRONTE,\"              \"A CHILD'S HISTORY OF THE CRYSTAL PALACE,\"                 \"FIRELIGHT RAMBLES,\" \"EDIBLEFUNGI,\"                \"WHALES IN CAPTIVITY,\" AND OTHER WORKS                                 WITH                     An Ambiguous Introduction by                             H. G. WELLS                        T. FISHER UNWIN,LTD.                       LONDON; ADELPHI TERRACE                      _First published in 1915_                        (All rights reserved)INTRODUCTIONWhenever a publisher gets a book by one author he wants anIntroductionwritten to it by another, and Mr. Fisher Unwin is no exception to therule. Nobody reads Introductions, they serve no useful purpose, andthey give no pleasure, but they appeal to the business mind, Ithink,because as a rule they cost nothing. At any rate, by the pressure of acertain inseparable intimacy between Mr. Reginald Bliss and myself,this Introduction has been extracted from me. I will confess that Ihave notread his book through, though I have a kind of first-handknowledge of its contents, and that it seems to me an indiscreet,ill-advised book....I have a very strong suspicion that this Introduction idea is designedtoentangle me in the responsibility for the book. In America, at anyrate, \"The Life of George Meek, Bath Chairman,\" was ascribed to meupon no better evidence. Yet any one who likes may go to Eastbourneand find Meekwith chair and all complete. But in view of thecomplications of the book market and the large simplicities of thepublic mind, I do hope that the reader--and by that I mean thereviewer--will be able to see thereasonableness and the necessity ofdistinguishing between me and Mr. Reginald Bliss. I do not wish toescape the penalties of thus participating in, and endorsing, hismanifest breaches of good taste, literary decorum,and friendlyobligation, but as a writer whose reputation is already too crowdedand confused and who is for the ordinary purposes of every day knownmainly as a novelist, I should be glad if I could escape thepublicidentification I am now repudiating. Bliss is Bliss and Wells isWells. And Bliss can write all sorts of things that Wells could notdo.This Introduction has really no more to say thanthat.                                                      H. G. WELLS.CONTENTSINTRODUCTIONCHAPTER THE FIRSTTHE BACK OF MISS BATHWICK AND GEORGE BOONCHAPTER THE SECONDBEING THE FIRST CHAPTER OF \"THEMIND OF THE RACE\"CHAPTER THE THIRDTHE GREAT SLUMP, THE REVIVAL OF LETTERS, AND THE GARDEN BY THE SEACHAPTER THE FOURTHOF ART, OF LITERATURE, OF MR HENRY JAMESCHAPTER THE FIFTHOF THEASSEMBLING AND OPENING OF THE WORLD CONFERENCE ON THE MIND OFTHE RACECHAPTER THE SIXTHOF NOT LIKING HALLERY AND THE ROYAL SOCIETY FOR THE DISCOURAGEMENT OFLITERATURECHAPTER THESEVENTHWILKINS MAKES CERTAIN OBJECTIONSCHAPTER THE EIGHTHTHE BEGINNING OF \"THE WILD ASSES OF THE DEVIL\"CHAPTER THE NINTHTHE HUNTING OF THE WILD ASSES OF THE DEVILCHAPTER THETENTHTHE STORY OF THE LAST TRUMP       BOON, THE MIND OF THE RACE, THE WILD ASSES OF THE DEVIL,                        _and_ THE LAST TRUMPCHAPTER THE FIRSTThe Back of Miss Bathwick and George Boon§1It is quite probable that the reader does not know of the death ofGeorge Boon, and that \"remains\" before his name upon the title-pagewill be greeted with a certain astonishment. In the ordinary course ofthings,before the explosion of the war, the death of George Boonwould have been an event--oh! a three-quarters of a column or more inthe _Times_ event, and articles in the monthlies and reminiscences. Asit is, he is not somuch dead as missing. Something happened at theeleventh hour--I think it was chiefly the Admiralty report of thefight off the Falkland Islands--that blew his obituary notices cleanout of the papers. And yet he was oneof our most popular writers, andin America I am told he was in the \"hundred thousand class.\" But nowwe think only of Lord Kitchener's hundred thousands.It is no good pretending about it. The war has ended all that.Boondied with his age. After the war there will be a new sort ofbook-trade and a crop of new writers and a fresh tone, and everythingwill be different. This is an obituary, of more than George Boon.... Iregard theoutlook with profound dismay. I try to keep my mind off itby drilling with the Shrewsbury last line of volunteers and trainingdown the excrescences of my physical style. When the war is over willbe time enough toconsider the prospects of a superannuated man ofletters. We National Volunteers are now no mere soldiers on paper; wehave fairly washable badges by way of uniform; we have boughtourselves dummy rifles; we havepersuaded the War Office to give us areluctant recognition on the distinct understanding that we haveneither officers nor authority. In the event of an invasion, Iunderstand, we are to mobilize and ... do quite a numberof usefulthings. But until there is an invasion in actual progress, nothing isto be decided more precisely than what this whiff of printer'sshrapnel, these four full stops, conveys....§ 2I must confess I was monstrouslydisappointed when at last I could getmy hands into those barrels in the attic in which Boon had stored hissecret writings. There was more perhaps than I had expected; I do notcomplain of the quantity, but of thedisorder, the incompleteness, thewant of discipline and forethought.Boon had talked so often and so convincingly of these secret books hewas writing, he had alluded so frequently to this or that greatproject, he wouldbegin so airily with \"In the seventeenth chapter ofmy 'Wild Asses of the Devil,'\" or \"I have been recasting the thirdpart of our 'Mind of the Race,'\" that it came as an enormous shock tome to find there was noseventeenth chapter; there was not even acompleted first chapter to the former work, and as for the latter,there seems nothing really finished or settled at all beyond thefragments I am now issuing, except a series ofsketches of LordRosebery, for the most part in a toga and a wreath, engaged in alettered retirement at his villa at Epsom, and labelled \"PatricianDignity, the Last Phase\"--sketches I suppress as of nopresentinterest--and a complete gallery of imaginary portraits (with severalduplicates) of the Academic Committee that has done so much forBritish literature (the Polignac prize, for example, and Sir HenryNewbolt'sprofessorship) in the last four or five years. Soincredulous was I that this was all, that I pushed my inquiries fromtheir original field in the attic into other parts of the house,pushed them, indeed, to the very verge ofransacking, and in that Igreatly deepened the want of sympathy already separating me from Mrs.Boon. But I was stung by a thwarted sense of duty, and quite resolvedthat no ill-advised interference should standbetween me and thepublication of what Boon has always represented to me as the mostintimate productions of his mind.Yet now the first rush of executorial emotion is over I can begin todoubt about Boon's intention inmaking me his \"literary executor.\" Didhe, after all, intend these pencilled scraps, these marginalcaricatures, and--what seems to me most objectionable--annotatedletters from harmless prominent people forpublication? Or was hisselection of me his last effort to prolong what was, I think, if oneof the slightest, one also of the most sustained interests of hislife, and that was a prolonged faint jeering at my expense?Becausealways--it was never hidden from me--in his most earnest moments Boonjeered at me. I do not know why he jeered at me, it was always ratherpointless jeering and far below his usual level, but jeer he did.Evenwhile we talked most earnestly and brewed our most intoxicatingdraughts of project and conviction, there was always this scarceperceptible blossom and flavour of ridicule floating like a drowningsprig of blueborage in the cup. His was indeed essentially one ofthose suspended minds that float above the will and action; when atlast reality could be evaded no longer it killed him; he never reallybelieved nor felt the urgentneed that goads my more accurate natureto believe and do. Always when I think of us together, I feel that Iam on my legs and that he sits about. And yet he could tell me thingsI sought to know, prove what I sought tobelieve, shape beliefs to aconviction in me that I alone could never attain.He took life as it came, let his fancy play upon it, selected,elucidated, ignored, threw the result in jest or observation orelaborate mystification atus, and would have no more of it.... Hewould be earnest for a time and then break away. \"The Last Trump\" isquite typical of the way in which he would turn upon himself. It setsout so straight for magnificence; itbreaks off so abominably. Youwill read it.Yet he took things more seriously than he seemed to do.This war, I repeat, killed him. He could not escape it. It bore himdown. He did his best to disregard it. But its worststresses caughthim in the climax of a struggle with a fit of pneumonia brought on bya freak of bathing by moonlight--in an English October, a thing he didto distract his mind from the tension after the Marne--anditdestroyed him. The last news they told him was that the Germans hadmade their \"shoot and scuttle\" raid upon Whitby and Scarborough. Therewas much circumstantial description in the morning's paper. Theyhadsmashed up a number of houses and killed some hundreds of people,chiefly women and children. Ten little children had been killed ormutilated in a bunch on their way to school, two old ladies at aboarding-househad had their legs smashed, and so on.\"Take this newspaper,\" he said, and held it out to his nurse. \"Takeit,\" he repeated irritably, and shook it at her.He stared at it as it receded. Then he seemed to be staring atdistantthings.\"Wild Asses of the Devil,\" he said at last. \"Oh! Wild Asses of theDevil! I thought somehow it was a joke. It wasn't a joke. There theyare, and the world is theirs.\"And he turned his face to the wall and neverspoke again.§ 3But before I go on it is necessary to explain that the George Boon Ispeak of is not exactly the same person as the George Boon, the GreatWriter, whose fame has reached to every bookshop in theworld. Thesame bodily presence perhaps they had, but that is all. Except when hechose to allude to them, those great works on which that great famerests, those books and plays of his that have made him ahouseholdword in half a dozen continents, those books with their style asperfect and obvious as the gloss upon a new silk hat, with their flatnarrative trajectory that nothing could turn aside, their unsubduedandapparently unsubduable healthy note, their unavoidable humour, andtheir robust pathos, never came between us. We talked perpetually ofliterature and creative projects, but never of that \"output\" of his.We talked asmen must talk who talk at all, with an untrammelledfreedom; now we were sublime and now curious, now we pursuedsubtleties and now we were utterly trivial, but always it was in anundisciplined, irregular style quiteunsuitable for publication. That,indeed, was the whole effect of the George Boon I am now trying toconvey, that he was indeed essentially not for publication. And thiseffect was in no degree diminished by the fact thatthe photograph ofhis beautiful castellated house, and of that extraordinarilyirrelevant person Mrs. Boon--for I must speak my mind of her--and ofher two dogs (Binkie and Chum), whom he detested, were, so tospeak,the poulet and salade in the menu of every illustrated magazine.The fact of it is he was one of those people who will _not_photograph; so much of him was movement, gesture, expression,atmosphere, andcolour, and so little of him was form. His was theexact converse of that semi-mineral physical quality that men callhandsome, and now that his career has come to its sad truncation I seeno reason why I should furtherconceal the secret of the clear,emphatic, solid impression he made upon all who had not met him. Itwas, indeed, a very simple secret;--_He never wrote anything for his public with his own hand._He did this of setintention. He distrusted a certain freakishness ofhis finger-tips that he thought might have injured him with hismultitudinous master. He knew his holograph manuscript would certainlyget him into trouble. He employeda lady, the lady who figures in hiswill, Miss Bathwick, as his amanuensis. In Miss Bathwick was all hissecurity. She was a large, cool, fresh-coloured, permanently younglady, full of serious enthusiasms; she had beenfaultlessly educatedin a girls' high school of a not too modern type, and she regardedBoon with an invincible respect. She wrote down his sentences(spelling without blemish in all the European languages) as theycamefrom his lips, with the aid of a bright, efficient, new-lookingtypewriter. If he used a rare word or a whimsical construction, shewould say, \"I beg your pardon, Mr. Boon,\" and he would at once correctit; and if by anylapse of an always rather too nimble imagination hecarried his thoughts into regions outside the tastes and interests ofthat enormous _ante-bellum_ public it was his fortune to please, then,according to the nature of hisdivagation, she would either cough orsigh or--in certain eventualities--get up and leave the room.By this ingenious device--if one may be permitted to use theexpression for so pleasant and trustworthy an assistant--hedid to alarge extent free himself from the haunting dread of losing his publicby some eccentricity of behaviour, some quirk of thought orfluctuation of \"attitude\" that has pursued him ever since the greatsuccess of\"Captain Clayball,\" a book he wrote to poke fun at thecrude imaginings of a particularly stupid schoolboy he liked, had puthim into the forefront of our literary world.§ 4He had a peculiar, and, I think, a groundlessterror of the public ofthe United States of America, from which country he derived the largermoiety of his income. In spite of our remonstrances, he subscribed tothe New York _Nation_ to the very end, and he insisted,in spite offact, reason, and my earnest entreaties (having regard to the futureunification of the English-speaking race), in figuring thatcontinental empire as a vain, garrulous, and prosperous female ofuncertain age, andstill more uncertain temper, with unfoundedpretensions to intellectuality and an ideal of refinement of the mostnegative description, entirely on the strength of that one sample. Onemight as well judge England by the_Spectator_. My protests seemedonly to intensify his zest in his personification of Columbia as theAunt Errant of Christendom, as a wild, sentimental, and advancedmaiden lady of inconceivable courage and enterprise,whom everythingmight offend and nothing cow. \"I know,\" he used to say, \"somethingwill be said or done and she'll have hysterics; the temptation tosmuggle something through Miss Bathwick's back is getting almosttoomuch for me. I _could_, you know. Or some one will come along withsomething a little harder and purer and emptier and more emphaticallyhandsome than I can hope to do. I shall lose her one of these days....Howcan I hope to keep for ever that proud and fickle heart?\"And then I remember he suddenly went off at a tangent to sketch out agreat novel he was to call \"Aunt Columbia.\" \"No,\" he said, \"they wouldsuspect that--'AuntDove.'\" She was to be a lady of great,unpremeditated wealth, living on a vast estate near a rather crowdedand troublesome village. Everything she did and said affected thevillage enormously. She took the people'schildren into heremployment; they lived on her surplus vegetables. She was to have aparticularly troublesome and dishonest household of servants and aspoiled nephew called Teddy. And whenever she felt dull orenergeticshe drove down into the village and lectured and blamed thevillagers--for being overcrowded, for being quarrelsome, for beingpoor and numerous, for not, in fact, being spinster ladies of enormousgoodfortune.... That was only the beginning of one of those vastschemes of his that have left no trace now in all the collection.His fear of shocking America was, I think, unfounded; at any rate, hesucceeded in the necessarysuppressions every time, and until the dayof his death it was rare for the American press-cuttings that wereremoved in basketfuls almost daily with the other debris of hisbreakfast-table to speak of him in anything butquasi-amorous tones.He died for them the most spiritual as well as the most intellectualof men; \"not simply intellectual, but lovable.\" They spoke of hispensive eyes, though, indeed, when he was not glaring at acamera theywere as pensive as champagne, and when the robust pathos bumpedagainst the unavoidable humour as they were swept along the narrowtorrent of his story they said with all the pleasure of anaptquotation that indeed in his wonderful heart laughter mingled withtears.§ 5I think George Boon did on the whole enjoy the remarkable setting ofhis philosophical detachment very keenly; the monstrous fame ofhimthat rolled about the world, that set out east and came backcircumferentially from the west and beat again upon his doors. Helaughed irresponsibly, spent the resulting money with an intelligentgenerosity, andtalked of other things. \"It is the quality of life,\"he said, and \"The people love to have it so.\"I seem to see him still, hurrying but not dismayed, in flight from thecamera of an intrusive admirer--an admirer not so much ofhim as ofhis popularity--up one of his garden walks towards his agreeablestudy. I recall his round, enigmatical face, an affair of rosyrotundities, his very bright, active eyes, his queer, wiry, black hairthat went out toevery point in the heavens, his ankles and neck andwrists all protruding from his garments in their own peculiar way,protruding a little more in the stress of flight. I recall, too, hisgeneral effect of careless and, on thewhole, commendable dirtiness,accentuated rather than corrected by the vivid tie of softorange-coloured silk he invariably wore, and how his light pacesdanced along the turf. (He affected in his private dominionstrousersof faint drab corduroy that were always too short, braced up withvehement tightness, and displaying claret-coloured socks above hiseasy, square-toed shoes.) And I know that even that lumberingcameracoming clumsily to its tripod ambush neither disgusted nor vulgarizedhim. He liked his game; he liked his success and the opulentstateliness it gave to the absurdities of Mrs. Boon and all thecircumstances of hisprofoundly philosophical existence; and he likedit all none the worse because it was indeed nothing of himself at all,because he in his essence was to dull intelligences and commonplaceminds a man invisible, a man wholeft no impression upon thecamera-plate or moved by a hair's breadth the scale of a materialistbalance.§ 6But I will confess the state of the remains did surprise anddisappoint me.His story of great literary enterprises,holograph and conducted inthe profoundest secrecy, tallied so completely with, for example,certain reservations, withdrawals that took him out of one's companyand gave him his evident best companionship, as itwere, when he wasalone. It was so entirely like him to concoct lengthy books away fromhis neatly ordered study, from the wise limitations of Miss Bathwick'ssignificant cough and her still more significant back, that weall, Ithink, believed in these unseen volumes unquestioningly. While thosefine romances, those large, bright plays, were being conceived in apublicity about as scandalous as a royal gestation, publicly plannedand"}
+{"doc_id":"doc_167","qid":"","text":"<html><head><title>All About Eve Script at IMSDb.</title><meta name=\"description\" content=\"All About Eve script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"All About Eve script,All About Eve movie script, All About Eve film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\"rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><html><head><script><b><!--</b><b>/*</b>Break-out-of-frames scriptBy Website Abstraction (http://wsabstract.com)Over 400+ freescripts here!Above notice MUST stay entact for use<b>*/</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>All About Eve</title></head><pre><b>FADE IN:</b><b>INT. DININGHALL - SARAH SIDDONS SOCIETY - NIGHT</b>It is not a large room and jammed with tables, mostly forfour but some for six and eight. A long table of honor, forabout thirty people, has been placed upon a dais. Dineris over. Demi-tasses, cigars and brandy. The overalleffect is one of worn elegance and dogged gentility. It isJune.The CAMERA, as it has been throughout the CREDIT TITLES, ison the SARAH SIDDONS AWARD. It is agold statuette, about afoot high, of Sarah Siddons as The Tragic Muse. Exquisitelyframed in a nest of flowers, it rests on a miniature altar inthe center of the table of honor. Over this we hear the crisp, cultured, preciseVOICE ofADDISON deWITT:<b> ADDISON'S VOICE</b> The Sarah Siddons Award for Distinguished Achievement is perhaps unknown to you. It has been spared the sensational and commercial publicity that attendssuch questionable \"honors\" as the Pulitzer Prize and those awards presented annually by the film society...The CAMERA has EASED BACK to include some of the table ofhonor and a distinguished gentleman withsnow-white hair whois speaking. We do not hear what he says. <b> ADDISON'S VOICE</b> The distinguished looking gentleman is an extremely old actor. Being an actor - he will go on speaking for some time. It isnot important what you hear what he says. The CAMERA EASES BACK some more, and CONTINUES until itdiscloses a fairly COMPREHENSIVE SHOT of the room<b> ADDISON'S VOICE</b> However it is important thatyou know where you are, and why you are here. This is the dining room of the Sarah Siddons Society. The occasion is its annual banquet and presentation of the highest honor our Theater knows - the Sarah SiddonsAward for Distinguished Achievement. A GROUP OF WAITERS are clustered near the screen masking theentrances of the kitchen. The screens are papered with oldtheatrical programs. The waiters are all aged andvenerable.They look respectfully toward the speaker. <b> ADDISON'S VOICE</b> These hollowed walls, indeed many of these faces, have looked upon Modjeska, Ada Rehan and Minnie Fiske; Mansfield's voice filledthe room, Booth breathed this air. It is unlikely that the windows have been opened since his death. CLOSE - THE AWARD on its altar, it shines proudly above fiveor six smaller altars which surround it and which arenowempty. <b> ADDISON'S VOICE</b> The minor awards, as you can see, have already been presented. Minor awards are for such as the writer and director - since their function is merely to construct a tower so thatthe world can applaud a light which flashes on top of it and no brighter light has ever dazzled the eye than Eve Harrington. Eve... but more of Eve, later. All about Eve, in fact.  THE CAMERA MOVES TO: CLOSE -ADDISON deWITT, not young, notunattractive, a fastidious dresser, sharp of eye andmerciless of tongue. An omnipresent cigarette holder projectsfrom his mouth like the sward of D'Artagnan. He sits back in his chair,musingly, his fingers makinglittle cannonballs out of bread crumbs. His narration coversthe MOVE of the CAMERA to him:<b> ADDISON'S VOICE</b> To those of you who do not read, attend the Theater, listen touncensored radio programs or know anything of the world in which we live - it is perhaps necessary to introduce myself. My name is Addison deWitt. My native habitat is the Theater - in it I toil not, neither do I spin. Iam a critic and commentator. I am essential to the Theater - as ants are to a picnic, as the ball weevil to a cotton field... He looks to his left. KAREN RICHARDS is lovely and thirtyishin an unprofessional way. She isscraping bread crumbs,spilled sugar, etc., into a pile with a spoon. Addison takesone of her bread crumbs. She smiles absently. Addison rollsthe bread crumb into a cannonball. <b> ADDISON'S VOICE</b> This isKaren Richards. She is the wife of a playwright, therefore of the Theater by marriage. Nothing in her background or breeding should have brought her any closer the stage than row E, center...Karen continues herdoodling. <b> ADDISON'S VOICE</b> ... however, during her senior year in Radcliffe, Lloyd Richards lectured on drama. The following year Karen became Mrs. Lloyd Richards. Lloyd is the author of 'Footsteps on theCeiling' - the play which has won for Eve Harrington the Sarah Siddons Award...Karen absently pats the top of her little pile of refuse. Ahand reaches in to take the spoon away. Karen looks as theCAMERA PANS with ITto MAX FABIAN. He sits at her left. He'sa sad-faced man with glasses and a look of constantapprehension. He smiles apologetically and indicated a whitepowder with he unwraps. He pantomimes that his ulcerissnapping.   Karen smiles back, returns to her doodling. Addison mashes acigarette stub, pops it out of his holder. He eyes Max. <b> ADDISON'S VOICE</b> There are two types of theatrical producers. One has agreat many wealthy friends who will risk a tax deductible loss. This type is interested in Art. Max drops the powder into some water, stirs it, drinks, burpsdelicately and close his eyes. <b> ADDISON'S VOICE</b> Theother is one to whom each production mean potential ruin or fortune. This type is out to make a buck. Meet Max Fabian. He is the producer of the play which has won Eve Harrington the Sarah Siddons Award...Max restsfitfully. He twitches. A hand reaches into theSCENE, removes a bottle of Scotch from before him. The CAMERAfollows the bottle to MARGO CHANNING. She sits at Max's left,at deWitt's right. An attractive, strong face.She ischildish, adult, reasonable, unreasonable - usually one whenshe should be the other, but always positive. She pours astiff drink.   Addison hold out the soda bottle to her. She looks at it, andat him, as if it were atarantula and he had gone mad. Hesmiles and pours a glass of soda for himself. <b> ADDISON'S VOICE</b> Margo Channing is the Star of the Theater. She made her first stage appearance, at the age of four, in'Midsummer Night's Dream'. She played a fairy and entered - quite unexpectedly - stark naked. She has been a Star ever since. Margo sloshes her drink around moodily, pulls at it.<b> ADDISON'S VOICE</b> Margo isa great Star. A true Star. She never was or will be anything less or anything less... (slight pause) ... the part for which Eve Harrington is receiving the Sarah Siddons Award was intended originally for MargoChanning...Addison, having sipped his soda water, puts a new cigarettein his holder, leans back, lights it, looks and exhales inthe general direction of the table of honor. As he speaks theCAMERA MOVES in the directionof his glance...<b> ADDISON'S VOICE</b> Having covered in tedious detail not only the history of the Sarah Siddons Society, but also the history of acting since Thespis first stepped out of the chorus line - ourdistinguished chairman has finally arrived at our reason for being here...  At this point Addison's voice FADES OUT and the voice of theaged actor FADES IN. CAMERA is in MEDIUM CLOSE SHOT of himand the podium.<b> AGED ACTOR</b> I have been proud and privileged to have spent my life in the Theater - \"a poor player ... that struts and frets his hour upon the stage\" - and I have been honored to be, for forty years, ChiefPromoter of the Sarah Siddons Society... (he lifts the Sarah Siddons Award from its altar) Thirty-nine times have I placed in deserving hands this highest honor the Theater knows... (he grows a bit arch, he uses hiseyebrows) Surely no actor is older than I - I have earned my place out of the sun... (indulgent laughter) ... and never before has this Award gone to anyone younger than its recipient tonight. How fitting that it shouldpass from my hands to hers...EVE HANDS: Lovely, beautifully groomed. In serene repose,they rest between a demi-tasse cup and an exquisite smallevening cup.  <b> AGED ACTOR</b> Such young hands. Such ayoung lady. Young in years, but whose heart is as old as the Theater...Addison's eyes narrow quizzically as he listens. Then,slowly, he turns to look at Karen...<b> AGED ACTOR</b> Some of us a privileged to knowher. We have seen beyond the beauty and artistry- Karen never ceases her thoughtful pat-a-cake with the crumbs. <b> AGED ACTOR</b> -that have made her name resound through the nation. We know her humility.Her devotion, her loyalty to her art. Addison's glance moves from Karen to Margo. <b> AGED ACTOR</b> Her love, her deep and abiding love for us-Margo's face is a mask. She looks down at the drink whichshecradles with both hands. <b> AGED ACTOR</b> -for what we are and what we do. The Theater. She has had one wish, one prayer, one dream. To belong to us. (he's nearing his curtain line) Tonight her dream hascome true. And henceforth we shall dream the same of her. (a slight pause) Honored members, ladies and gentlemen - for distinguished achievement in the Theater - the Sarah Siddons Award to Miss Eve Harrington.The entire room is galvanized into sudden and tumultuousapplause. Some enthusiastic gentlemen rise to her feet...Flash bulbs start popping about halfway down the table of theAged Actor's left... Eve rises - beautiful,radiant, poised, exquisitely gowned.She stands in simple and dignified response to the ovation. A dozen photographers skip, squat, and dart about like waterbugs. Flash bulbs pop and pop and pop...THE WAITERSapplaud enthusiastically...AGED ACTOR, Award in hand, he beams at her...EVE smiles sweetly to her left, then to her right...MAX has come to. He applauds lustily.ADDISON's applauding too, more discreetly. MARGO,not applauding. But you sense no deliberate slight,merely an impression that as she looks at Eve her mind is onsomething else...KAREN, nor is she applauding. But her gaze is similarly fixedon Eve in a strange, farawayfashion. ADDISON, still applauding, his eyes flash first at Margo andthen at Karen. Then he directs them back to Eve. He smilesever so slightly.  The applause has continued unabated. EVE turns now, andmovesgracefully toward the Aged Actor. She moves throughapplauding ladies and gentlemen; from below the flash bulbskeep popping... As she nears her goal, the Ages Actor turns to her. He holdsout the award. Herhand reaches out for it. At that precisemoment - with the award just beyond her fingertips - THEPICTURE HOLDS, THE ACTION STOPS. The SOUND STOPS. <b> ADDISON'S VOICE</b> Eve. Eve, the Golden Girl. Thecover girl, the girl next door, the girl on the moon... Time has been good to Eve, Life goes where she goes - she's been profiled, covered, revealed, reported, what she eats and when and where, whom she knows andwhere she was and when and where she's going...   ADDISON has stopped applauding, he's sitting forward, staringintently at Eve... his narration continues unbroken.<b> ADDISON'S VOICE</b> ... Eve. You all knowall about Eve... what can there be to know that you don't know...?As he leans back, the APPLAUSE FADES IN as tumultuous asbefore. Addison's look moves slowly from Eve to Karen.  KAREN, she leans forward now, hereyes intently on Eve. Herlovely face FILLS THE SCREEN as the APPLAUSE FADES ONCE MORE -as she thinks back:<b> KAREN'S VOICE</b> When was it? How long? It seems a lifetime ago. Lloyd always said that in the"}
+{"doc_id":"doc_168","qid":"","text":"Project Gutenberg's The Shewing-up of Blanco Posnet, by George Bernard ShawThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it awayorre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: The Shewing-up of Blanco PosnetAuthor: George Bernard ShawRelease Date: May, 2004[EBook #5722]This file was first posted on August 17, 2002Last Updated: April 10, 2013Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE SHEWING-UP OF BLANCO POSNET ***Produced by EveSobol and Distributed ProofreadersTHE SHEWING-UP OF BLANCO POSNETBy Bernard Shaw1909TRANSCRIBER'S NOTE: The edition from which this work was taken wasprinted without contractions, so there is Ill for I'lland dont fordon't, for example, and show is spelt shew.PREFACETHE CENSORSHIPThis little play is really a religious tract in dramatic form. If oursilly censorship would permit its performance, it might possibly help tosetright-side-up the perverted conscience and re-invigorate the starvedself-respect of our considerable class of loose-lived playgoers whosepoint of honor is to deride all official and conventional sermons. As itis, it onlygives me an opportunity of telling the story of the SelectCommittee of both Houses of Parliament which sat last year to enquireinto the working of the censorship, against which it was alleged bymyself and others that asits imbecility and mischievousness could notbe fully illustrated within the limits of decorum imposed on the press,it could only be dealt with by a parliamentary body subject to no suchlimits.A READABLE BLUEBOOKFewbooks of the year 1909 can have been cheaper and more entertainingthan the report of this Committee. Its full title is REPORT FROM THEJOINT SELECT COMMITTEE OF THE HOUSE OF LORDS AND THE HOUSE OFCOMMONSON THE STAGE PLAYS (CENSORSHIP) TOGETHER WITH THE PROCEEDINGS OF THECOMMITTEE, MINUTES OF EVIDENCE, AND APPENDICES. What the phrase \"theStage Plays\" means in this title I do notknow; nor does anyone else.The number of the Bluebook is 214.How interesting it is may be judged from the fact that it containsverbatim reports of long and animated interviews between the Committeeand suchwitnesses as W. William Archer, Mr. Granville Barker, Mr. J.M. Barrie, Mr. Forbes Robertson, Mr. Cecil Raleigh, Mr. John Galsworthy,Mr. Laurence Housman, Sir Herbert Beerbohm Tree, Mr. W. L. Courtney, SirWilliamGilbert, Mr. A. B. Walkley, Miss Lena Ashwell, Professor GilbertMurray, Mr. George Alexander, Mr. George Edwardes, Mr. Comyns Carr,the Speaker of the House of Commons, the Bishop of Southwark, Mr. HallCaine, Mr.Israel Zangwill, Sir Squire Bancroft, Sir Arthur Pinero, andMr. Gilbert Chesterton, not to mention myself and a number of gentlemenless well known to the general public, but important in the world of thetheatre. Thepublication of a book by so many famous contributors wouldbe beyond the means of any commercial publishing firm. His Majesty'sStationery Office sells it to all comers by weight at the veryreasonable price ofthree-and-threepence a copy.HOW NOT TO DO ITIt was pointed out by Charles Dickens in Little Dorrit, which remainsthe most accurate and penetrating study of the genteel littleness ofour class governments in theEnglish language, that whenever an abusebecomes oppressive enough to persuade our party parliamentariansthat something must be done, they immediately set to work to facethe situation and discover How Not ToDo It. Since Dickens's daythe exposures effected by the Socialists have so shattered theself-satisfaction of modern commercial civilization that it is no longerdifficult to convince our governments that something must bedone,even to the extent of attempts at a reconstruction of civilization ona thoroughly uncommercial basis. Consequently, the first part of theprocess described by Dickens: that in which the reformers were snubbedbyfront bench demonstrations that the administrative departments wereconsuming miles of red tape in the correctest forms of activity, andthat everything was for the best in the best of all possible worlds,is out offashion; and we are in that other phase, familiarized by thehistory of the French Revolution, in which the primary assumption isthat the country is in danger, and that the first duty of all parties,politicians, andgovernments is to save it. But as the effect of thisis to give governments a great many more things to do, it also gives apowerful stimulus to the art of How Not To Do Them: that is to say, theart of contriving methodsof reform which will leave matters exactly asthey are.The report of the Joint Select Committee is a capital illustration ofthis tendency. The case against the censorship was overwhelming; and thedefence was moredamaging to it than no defence at all could havebeen. Even had this not been so, the mere caprice of opinion had turnedagainst the institution; and a reform was expected, evidence or noevidence. Therefore theCommittee was unanimous as to the necessity ofreforming the censorship; only, unfortunately, the majority attachedto this unanimity the usual condition that nothing should be done todisturb the existing state ofthings. How this was effected may begathered from the recommendations finally agreed on, which are asfollows.1. The drama is to be set entirely free by the abolition of the existingobligation to procure a licence fromthe Censor before performing aplay; but every theatre lease is in future to be construed as if itcontained a clause giving the landlord power to break it and evict thelessee if he produces a play without first obtaining theusual licencefrom the Lord Chamberlain.2. Some of the plays licensed by the Lord Chamberlain are so viciousthat their present practical immunity from prosecution must be put anend to; but no manager who procuresthe Lord Chamberlain's licence fora play can be punished in any way for producing it, though a specialtribunal may order him to discontinue the performance; and even thisorder must not be recorded to hisdisadvantage on the licence of histheatre, nor may it be given as a judicial reason for cancelling thatlicence.3. Authors and managers producing plays without first obtaining theusual licence from the Lord Chamberlainshall be perfectly free to doso, and shall be at no disadvantage compared to those who follow theexisting practice, except that they may be punished, have the licencesof their theatres endorsed and cancelled, and havethe performancestopped pending the proceedings without compensation in the event of theproceedings ending in their acquittal.4. Authors are to be rescued from their present subjection to anirresponsible secrettribunal which can condemn their plays withoutgiving reasons, by the substitution for that tribunal of a Committee ofthe Privy Council, which is to be the final authority on the fitness ofa play for representation; and thisCommittee is to sit in camera if andwhen it pleases.5. The power to impose a veto on the production of plays is to beabolished because it may hinder the growth of a great national drama;but the Office of Examiner ofPlays shall be continued; and the LordChamberlain shall retain his present powers to license plays, but shallbe made responsible to Parliament to the extent of making it possibleto ask questions there concerning hisproceedings, especially now thatmembers have discovered a method of doing this indirectly.And so on, and so forth. The thing is to be done; and it is not to bedone. Everything is to be changed and nothing is to bechanged. Theproblem is to be faced and the solution to be shirked. And the word ofDickens is to be justified.THE STORY OF THE JOINT SELECT COMMITTEELet me now tell the story of the Committee in greater detail,partly asa contribution to history; partly because, like most true stories, it ismore amusing than the official story.All commissions of public enquiry are more or less intimidated bothby the interests on which they have tosit in judgment and, whentheir members are party politicians, by the votes at the back of thoseinterests; but this unfortunate Committee sat under a quite exceptionalcross fire. First, there was the king. The Censor is amember of hishousehold retinue; and as a king's retinue has to be jealously guardedto avoid curtailment of the royal state no matter what may be thefunction of the particular retainer threatened, nothing but anexpressroyal intimation to the contrary, which is a constitutionalimpossibility, could have relieved the Committee from the fear ofdispleasing the king by any proposal to abolish the censorship of theLord Chamberlain. Now allthe lords on the Committee and some of thecommoners could have been wiped out of society (in their sense of theword) by the slightest intimation that the king would prefer not to meetthem; and this was a heavy riskto run on the chance of \"a great andserious national drama\" ensuing on the removal of the Lord Chamberlain'sveto on Mrs Warren's Profession. Second, there was the Nonconformistconscience, holding the LiberalGovernment responsible for the Committeeit had appointed, and holding also, to the extent of votes enough toturn the scale in some constituencies, that the theatre is the gate ofhell, to be tolerated, as vice istolerated, only because the power tosuppress it could not be given to any public body without too serious aninterference with certain Liberal traditions of liberty which are stilluseful to Nonconformists in other directions.Third, there was thecommercial interest of the theatrical managers and their syndicates ofbackers in the City, to whom, as I shall shew later on, the censorshipaffords a cheap insurance of enormous value. Fourth, therewas thepowerful interest of the trade in intoxicating liquors, fiercelydetermined to resist any extension of the authority of teetotaller-ledlocal governing bodies over theatres. Fifth, there were the playwrights,withoutpolitical power, but with a very close natural monopoly of atalent not only for play-writing but for satirical polemics. And sinceevery interest has its opposition, all these influences had createdhostile bodies by theoperation of the mere impulse to contradict them,always strong in English human nature.WHY THE MANAGERS LOVE THE CENSORSHIPThe only one of these influences which seems to be generallymisunderstood is thatof the managers. It has been assumed repeatedlythat managers and authors are affected in the same way by thecensorship. When a prominent author protests against the censorship, hisopinion is supposed to bebalanced by that of some prominent managerwho declares that the censorship is the mainstay of the theatre, andhis relations with the Lord Chamberlain and the Examiner of Plays acherished privilege and aninexhaustible joy. This error was not removedby the evidence given before the Joint Select Committee. The managersdid not make their case clear there, partly because they did notunderstand it, and partly becausetheir most eminent witnesses were notpersonally affected by it, and would not condescend to plead it, feelingthemselves, on the contrary, compelled by their self-respect to admitand even emphasize the fact that theLord Chamberlain in the exercise ofhis duties as licenser had done those things which he ought not tohave done, and left undone those things which he ought to have done. MrForbes Robertson and Sir Herbert Tree, forinstance, had never felt thereal disadvantage of which managers have to complain. This disadvantagewas not put directly to the Committee; and though the managers areagainst me on the question of the censorship, Iwill now put their casefor them as they should have put it themselves, and as it can be readbetween the lines of their evidence when once the reader has the clue.The manager of a theatre is a man of business. He isnot an expert inpolitics, religion, art, literature, philosophy, or law. He calls ina playwright just as he calls in a doctor, or consults a lawyer, orengages an architect, depending on the playwright's reputation andpastachievements for a satisfactory result. A play by an unknown man mayattract him sufficiently to induce him to give that unknown man a trial;but this does not occur often enough to be taken into account:hisnormal course is to resort to a well-known author and take (mostly withmisgiving) what he gets from him. Now this does not cause any anxietyto Mr Forbes Robertson and Sir Herbert Tree, because they areonlyincidentally managers and men of business: primarily they are highlycultivated artists, quite capable of judging for themselves anythingthat the most abstruse playwright is likely to put before them, But theplainsailing tradesman who must be taken as the typical manager (forthe West end of London is not the whole theatrical world) is by no meansequally qualified to judge whether a play is safe from prosecution ornot. He maynot understand it, may not like it, may not know what theauthor is driving at, may have no knowledge of the ethical, political,and sectarian controversies which may form the intellectual fabric ofthe play, and mayhonestly see nothing but an ordinary \"character part\"in a stage figure which may be a libellous and unmistakeable caricatureof some eminent living person of whom he has never heard. Yet if heproduces the play he islegally responsible just as if he had written ithimself. Without protection he may find himself in the dock answeringa charge of blasphemous libel, seditious libel, obscene libel, or allthree together, not to mention thepossibility of a private action fordefamatory libel. His sole refuge is the opinion of the Examiner ofPlays, his sole protection the licence of the Lord Chamberlain. Arefusal to license does not hurt him, because he canproduce anotherplay: it is the author who suffers. The granting of the licencepractically places him above the law; for though it may be legallypossible to prosecute a licensed play, nobody ever dreams of doing it.Thereally responsible person, the Lord Chamberlain, could not be putinto the dock; and the manager could not decently be convicted when hecould procure in his defence a certificate from the chief officer of theKing'shousehold that the play was a proper one.A TWO GUINEA INSURANCE POLICYThe censorship, then, provides the manager, at the negligible premiumof two guineas per play, with an effective insurance against theauthorgetting him into trouble, and a complete relief from all conscientiousresponsibility for the character of the entertainment at his theatre.Under such circumstances, managers would be more than human if theydidnot regard the censorship as their most valuable privilege. This is thesimple explanation of the rally of the managers and their Associationsto the defence of the censorship, of their reiterated resolutions ofconfidencein the Lord Chamberlain, of their presentations of plate,and, generally, of their enthusiastic contentment with the presentsystem, all in such startling contrast to the denunciations of thecensorship by the authors. It alsoexplains why the managerial witnesseswho had least to fear from the Censor were the most reluctant in hisdefence, whilst those whose practice it is to strain his indulgence tothe utmost were almost rapturous in hispraise. There would be absoluteunanimity among the managers in favor of the censorship if they were allsimply tradesmen. Even those actor-managers who made no secret beforethe Committee of their contempt forthe present operation of thecensorship, and their indignation at being handed over to a domesticofficial as casual servants of a specially disorderly kind, demanded,not the abolition of the institution, but such a reformas might make itconsistent with their dignity and unobstructive to their higher artisticaims. Feeling no personal need for protection against the author, theyperhaps forgot the plight of many a manager to whom themodern advanceddrama is so much Greek; but they did feel very strongly the need ofbeing protected against Vigilance Societies and Municipalities andcommon informers in a country where a large section of thecommunitystill believes that art of all kinds is inherently sinful.WHY THE GOVERNMENT INTERFEREDIt may now be asked how a Liberal government had been persuaded tomeddle at all with a question in which so manyconflicting interestswere involved, and which had probably no electoral value whatever.Many simple simple souls believed that it was because certain severelyvirtuous plays by Ibsen, by M. Brieux, by Mr GranvilleBarker, and byme, were suppressed by the censorship, whilst plays of a scandalouscharacter were licensed without demur. No doubt this influencedpublic opinion; but those who imagine that it could influenceBritishgovernments little know how remote from public opinion and how fullof their own little family and party affairs British governments, bothLiberal and Unionist, still are. The censorship scandal had existed foryearswithout any parliamentary action being taken in the matter, andmight have existed for as many more had it not happened in 1906 thatMr Robert Vernon Harcourt entered parliament as a member of the LiberalParty, ofwhich his father had been one of the leaders during theGladstone era. Mr Harcourt was thus a young man marked out for officeboth by his parentage and his unquestionable social position as oneof the governing class.Also, and this was much less usual, hewas brilliantly clever, and was the author of a couple of plays ofremarkable promise. Mr Harcourt informed his leaders that he was goingto take up the subject of the censorship.The leaders, recognizing hishereditary right to a parliamentary canter of some sort as a prelude tohis public career, and finding that all the clever people seemed tobe agreed that the censorship was an anti-Liberalinstitution andan abominable nuisance to boot, indulged him by appointing a SelectCommittee of both Houses to investigate the subject. The then Chancellorof the Duchy of Lancaster, Mr Herbert Samuel (nowPostmaster-General),who had made his way into the Cabinet twenty years ahead of the usualage, was made Chairman. Mr Robert Harcourt himself was of course amember. With him, representing the Commons, wereMr Alfred Mason, a manof letters who had won a seat in parliament as offhandedly as he hassince discarded it, or as he once appeared on the stage to help me outof a difficulty in casting Arms and the Man when thatpiece was thenewest thing in the advanced drama. There was Mr Hugh Law, an Irishmember, son of an Irish Chancellor, presenting a keen and joyous frontto English intellectual sloth. Above all, there was ColonelLockwood torepresent at one stroke the Opposition and the average popular man. Thishe did by standing up gallantly for the Censor, to whose support theOpposition was in no way committed, and by visibly defying themostcherished conventions of the average man with a bunch of carnationsin his buttonhole as large as a dinner-plate, which would have made aBunthorne blench, and which very nearly did make Mr GranvilleBarker(who has an antipathy to the scent of carnations) faint.THE PEERS ON THE JOINT SELECT COMMITTEEThe House of Lords then proceeded to its selection. As fashionable dramain Paris and London concerns itselfalmost exclusively with adultery,the first choice fell on Lord Gorell, who had for many years presidedover the Divorce Court. Lord Plymouth, who had been Chairman to theShakespear Memorial project (now merged inthe Shakespear MemorialNational Theatre) was obviously marked out for selection; and it wasgenerally expected that the Lords Lytton and Esher, who had takena prominent part in the same movement, would havebeen added. Thisexpectation was not fulfilled. Instead, Lord Willoughby de Broke, whohad distinguished himself as an amateur actor, was selected along withLord Newton, whose special qualifications for the Committee,if he hadany, were unknown to the public. Finally Lord Ribblesdale, the arguteson of a Scotch mother, was thrown in to make up for any shortcomingin intellectual subtlety that might arise in the case of hisyoungercolleagues; and this completed the two teams.THE COMMITTEE'S ATTITUDE TOWARD THE THEATREIn England, thanks chiefly to the censorship, the theatre is notrespected. It is indulged and despised as adepartment of what ispolitely called gaiety. It is therefore not surprising that the majorityof the Committee began by taking its work uppishly and carelessly.When it discovered that the contemporary drama, licensed bythe LordChamberlain, included plays which could be described only behind closeddoors, and in the discomfort which attends discussions of very nastysubjects between men of widely different ages, it calmly put itsownconvenience before its public duty by ruling that there should be nodiscussion of particular plays, much as if a committee on temperancewere to rule that drunkenness was not a proper subject of conversationamong"}
+{"doc_id":"doc_169","qid":"","text":"Project Gutenberg's The Legend of Sleepy Hollow, by Washington IrvingThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: The Legend of Sleepy HollowAuthor: Washington IrvingPosting Date: June 25, 2008 [EBook #41]ReleaseDate: October, 1992Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE LEGEND OF SLEEPY HOLLOW ***Produced by Ilana M. (Kingsley) Newby and Greg NewbyTHE LEGEND OF SLEEPYHOLLOWby Washington IrvingFOUND AMONG THE PAPERS OF THE LATE DIEDRICH KNICKERBOCKER.        A pleasing land of drowsy head it was,          Of dreams that wave before the half-shut eye;        And of gaycastles in the clouds that pass,          Forever flushing round a summer sky.                                         CASTLE OF INDOLENCE.In the bosom of one of those spacious coves which indent the easternshore of theHudson, at that broad expansion of the river denominatedby the ancient Dutch navigators the Tappan Zee, and where they alwaysprudently shortened sail and implored the protection of St. Nicholaswhen they crossed,there lies a small market town or rural port, whichby some is called Greensburgh, but which is more generally and properlyknown by the name of Tarry Town. This name was given, we are told, informer days, by thegood housewives of the adjacent country, from theinveterate propensity of their husbands to linger about the villagetavern on market days. Be that as it may, I do not vouch for the fact,but merely advert to it, for thesake of being precise and authentic.Not far from this village, perhaps about two miles, there is a littlevalley or rather lap of land among high hills, which is one of thequietest places in the whole world. A small brookglides through it,with just murmur enough to lull one to repose; and the occasionalwhistle of a quail or tapping of a woodpecker is almost the only soundthat ever breaks in upon the uniform tranquillity.I recollect that,when a stripling, my first exploit insquirrel-shooting was in a grove of tall walnut-trees that shades oneside of the valley. I had wandered into it at noontime, when all natureis peculiarly quiet, and was startled by theroar of my own gun, as itbroke the Sabbath stillness around and was prolonged and reverberatedby the angry echoes. If ever I should wish for a retreat whither I mightsteal from the world and its distractions, anddream quietly away theremnant of a troubled life, I know of none more promising than thislittle valley.From the listless repose of the place, and the peculiar character of itsinhabitants, who are descendants from theoriginal Dutch settlers, thissequestered glen has long been known by the name of SLEEPY HOLLOW, andits rustic lads are called the Sleepy Hollow Boys throughout all theneighboring country. A drowsy, dreamyinfluence seems to hang over theland, and to pervade the very atmosphere. Some say that the placewas bewitched by a High German doctor, during the early days of thesettlement; others, that an old Indian chief, theprophet or wizard ofhis tribe, held his powwows there before the country was discovered byMaster Hendrick Hudson. Certain it is, the place still continues underthe sway of some witching power, that holds a spell overthe minds ofthe good people, causing them to walk in a continual reverie. They aregiven to all kinds of marvellous beliefs, are subject to trances andvisions, and frequently see strange sights, and hear music and voicesinthe air. The whole neighborhood abounds with local tales, haunted spots,and twilight superstitions; stars shoot and meteors glare oftener acrossthe valley than in any other part of the country, and the nightmare,withher whole ninefold, seems to make it the favorite scene of hergambols.The dominant spirit, however, that haunts this enchanted region, andseems to be commander-in-chief of all the powers of the air, is theapparitionof a figure on horseback, without a head. It is said by someto be the ghost of a Hessian trooper, whose head had been carried awayby a cannon-ball, in some nameless battle during the Revolutionary War,and who isever and anon seen by the country folk hurrying along inthe gloom of night, as if on the wings of the wind. His haunts are notconfined to the valley, but extend at times to the adjacent roads, andespecially to the vicinityof a church at no great distance. Indeed,certain of the most authentic historians of those parts, who have beencareful in collecting and collating the floating facts concerning thisspectre, allege that the body of thetrooper having been buried in thechurchyard, the ghost rides forth to the scene of battle in nightlyquest of his head, and that the rushing speed with which he sometimespasses along the Hollow, like a midnight blast, isowing to his beingbelated, and in a hurry to get back to the churchyard before daybreak.Such is the general purport of this legendary superstition, which hasfurnished materials for many a wild story in that region ofshadows; andthe spectre is known at all the country firesides, by the name of theHeadless Horseman of Sleepy Hollow.It is remarkable that the visionary propensity I have mentioned is notconfined to the nativeinhabitants of the valley, but is unconsciouslyimbibed by every one who resides there for a time. However wide awakethey may have been before they entered that sleepy region, they aresure, in a little time, to inhalethe witching influence of the air, andbegin to grow imaginative, to dream dreams, and see apparitions.I mention this peaceful spot with all possible laud, for it is in suchlittle retired Dutch valleys, found here and thereembosomed in thegreat State of New York, that population, manners, and customs remainfixed, while the great torrent of migration and improvement, which ismaking such incessant changes in other parts of thisrestless country,sweeps by them unobserved. They are like those little nooks of stillwater, which border a rapid stream, where we may see the straw andbubble riding quietly at anchor, or slowly revolving in theirmimicharbor, undisturbed by the rush of the passing current. Though manyyears have elapsed since I trod the drowsy shades of Sleepy Hollow, yetI question whether I should not still find the same trees and thesamefamilies vegetating in its sheltered bosom.In this by-place of nature there abode, in a remote period of Americanhistory, that is to say, some thirty years since, a worthy wight of thename of Ichabod Crane, whosojourned, or, as he expressed it, \"tarried,\"in Sleepy Hollow, for the purpose of instructing the children of thevicinity. He was a native of Connecticut, a State which supplies theUnion with pioneers for the mind as wellas for the forest, and sendsforth yearly its legions of frontier woodmen and country schoolmasters.The cognomen of Crane was not inapplicable to his person. He was tall,but exceedingly lank, with narrow shoulders,long arms and legs, handsthat dangled a mile out of his sleeves, feet that might have served forshovels, and his whole frame most loosely hung together. His head wassmall, and flat at top, with huge ears, large greenglassy eyes, and along snipe nose, so that it looked like a weather-cock perched upon hisspindle neck to tell which way the wind blew. To see him striding alongthe profile of a hill on a windy day, with his clothesbagging andfluttering about him, one might have mistaken him for the genius offamine descending upon the earth, or some scarecrow eloped from acornfield.His schoolhouse was a low building of one large room,rudely constructedof logs; the windows partly glazed, and partly patched with leaves ofold copybooks. It was most ingeniously secured at vacant hours, by awithe twisted in the handle of the door, and stakes setagainst thewindow shutters; so that though a thief might get in with perfect ease,he would find some embarrassment in getting out,--an idea most probablyborrowed by the architect, Yost Van Houten, from the mysteryof aneelpot. The schoolhouse stood in a rather lonely but pleasant situation,just at the foot of a woody hill, with a brook running close by, anda formidable birch-tree growing at one end of it. From hence the lowmurmurof his pupils' voices, conning over their lessons, might be heardin a drowsy summer's day, like the hum of a beehive; interrupted now andthen by the authoritative voice of the master, in the tone of menaceorcommand, or, peradventure, by the appalling sound of the birch, as heurged some tardy loiterer along the flowery path of knowledge. Truth tosay, he was a conscientious man, and ever bore in mind the goldenmaxim,\"Spare the rod and spoil the child.\" Ichabod Crane's scholars certainlywere not spoiled.I would not have it imagined, however, that he was one of those cruelpotentates of the school who joy in the smart of theirsubjects; onthe contrary, he administered justice with discrimination rather thanseverity; taking the burden off the backs of the weak, and laying it onthose of the strong. Your mere puny stripling, that winced at theleastflourish of the rod, was passed by with indulgence; but the claims ofjustice were satisfied by inflicting a double portion on some littletough wrong-headed, broad-skirted Dutch urchin, who sulked and swelledandgrew dogged and sullen beneath the birch. All this he called \"doinghis duty by their parents;\" and he never inflicted a chastisementwithout following it by the assurance, so consolatory to the smartingurchin, that \"hewould remember it and thank him for it the longest dayhe had to live.\"When school hours were over, he was even the companion and playmateof the larger boys; and on holiday afternoons would convoy some ofthesmaller ones home, who happened to have pretty sisters, or goodhousewives for mothers, noted for the comforts of the cupboard. Indeed,it behooved him to keep on good terms with his pupils. The revenuearising fromhis school was small, and would have been scarcelysufficient to furnish him with daily bread, for he was a huge feeder,and, though lank, had the dilating powers of an anaconda; but to helpout his maintenance, he was,according to country custom in thoseparts, boarded and lodged at the houses of the farmers whose childrenhe instructed. With these he lived successively a week at a time, thusgoing the rounds of the neighborhood,with all his worldly effects tiedup in a cotton handkerchief.That all this might not be too onerous on the purses of his rusticpatrons, who are apt to consider the costs of schooling a grievousburden, and schoolmasters asmere drones, he had various ways ofrendering himself both useful and agreeable. He assisted the farmersoccasionally in the lighter labors of their farms, helped to makehay, mended the fences, took the horses towater, drove the cows frompasture, and cut wood for the winter fire. He laid aside, too, all thedominant dignity and absolute sway with which he lorded it in his littleempire, the school, and became wonderfully gentleand ingratiating.He found favor in the eyes of the mothers by petting the children,particularly the youngest; and like the lion bold, which whilom somagnanimously the lamb did hold, he would sit with a child on oneknee,and rock a cradle with his foot for whole hours together.In addition to his other vocations, he was the singing-master of theneighborhood, and picked up many bright shillings by instructing theyoung folks inpsalmody. It was a matter of no little vanity to him onSundays, to take his station in front of the church gallery, with a bandof chosen singers; where, in his own mind, he completely carried awaythe palm from theparson. Certain it is, his voice resounded far aboveall the rest of the congregation; and there are peculiar quavers stillto be heard in that church, and which may even be heard half a mile off,quite to the opposite side ofthe millpond, on a still Sunday morning,which are said to be legitimately descended from the nose of IchabodCrane. Thus, by divers little makeshifts, in that ingenious way which iscommonly denominated \"by hook andby crook,\" the worthy pedagogue got ontolerably enough, and was thought, by all who understood nothing of thelabor of headwork, to have a wonderfully easy life of it.The schoolmaster is generally a man of someimportance in the femalecircle of a rural neighborhood; being considered a kind of idle,gentlemanlike personage, of vastly superior taste and accomplishments tothe rough country swains, and, indeed, inferior inlearning only to theparson. His appearance, therefore, is apt to occasion some little stirat the tea-table of a farmhouse, and the addition of a supernumerarydish of cakes or sweetmeats, or, peradventure, the parade ofa silverteapot. Our man of letters, therefore, was peculiarly happy in thesmiles of all the country damsels. How he would figure among them in thechurchyard, between services on Sundays; gathering grapes for themfromthe wild vines that overran the surrounding trees; reciting for theiramusement all the epitaphs on the tombstones; or sauntering, with awhole bevy of them, along the banks of the adjacent millpond; while themorebashful country bumpkins hung sheepishly back, envying his superiorelegance and address.From his half-itinerant life, also, he was a kind of travelling gazette,carrying the whole budget of local gossip from house tohouse, so thathis appearance was always greeted with satisfaction. He was, moreover,esteemed by the women as a man of great erudition, for he had readseveral books quite through, and was a perfect master ofCotton Mather's\"History of New England Witchcraft,\" in which, by the way, he mostfirmly and potently believed.He was, in fact, an odd mixture of small shrewdness and simplecredulity. His appetite for the marvellous,and his powers of digestingit, were equally extraordinary; and both had been increased by hisresidence in this spell-bound region. No tale was too gross or monstrousfor his capacious swallow. It was often his delight,after his schoolwas dismissed in the afternoon, to stretch himself on the rich bed ofclover bordering the little brook that whimpered by his schoolhouse, andthere con over old Mather's direful tales, until the gatheringdusk ofevening made the printed page a mere mist before his eyes. Then, as hewended his way by swamp and stream and awful woodland, to the farmhousewhere he happened to be quartered, every sound of nature,at thatwitching hour, fluttered his excited imagination,--the moan of thewhip-poor-will from the hillside, the boding cry of the tree toad, thatharbinger of storm, the dreary hooting of the screech owl, or thesuddenrustling in the thicket of birds frightened from their roost. Thefireflies, too, which sparkled most vividly in the darkest places, nowand then startled him, as one of uncommon brightness would stream acrosshis path; andif, by chance, a huge blockhead of a beetle came winginghis blundering flight against him, the poor varlet was ready to give upthe ghost, with the idea that he was struck with a witch's token. Hisonly resource on suchoccasions, either to drown thought or drive awayevil spirits, was to sing psalm tunes and the good people of SleepyHollow, as they sat by their doors of an evening, were often filled withawe at hearing his nasal melody,\"in linked sweetness long drawn out,\"floating from the distant hill, or along the dusky road.Another of his sources of fearful pleasure was to pass long winterevenings with the old Dutch wives, as they sat spinning by thefire,with a row of apples roasting and spluttering along the hearth, andlisten to their marvellous tales of ghosts and goblins, and hauntedfields, and haunted brooks, and haunted bridges, and haunted houses,andparticularly of the headless horseman, or Galloping Hessian of theHollow, as they sometimes called him. He would delight them equally byhis anecdotes of witchcraft, and of the direful omens and portentoussights andsounds in the air, which prevailed in the earlier times ofConnecticut; and would frighten them woefully with speculations uponcomets and shooting stars; and with the alarming fact that the world didabsolutely turnround, and that they were half the time topsy-turvy!But if there was a pleasure in all this, while snugly cuddling inthe chimney corner of a chamber that was all of a ruddy glow from thecrackling wood fire, and where, ofcourse, no spectre dared to showits face, it was dearly purchased by the terrors of his subsequent walkhomewards. What fearful shapes and shadows beset his path, amidst thedim and ghastly glare of a snowy night!With what wistful look did heeye every trembling ray of light streaming across the waste fields fromsome distant window! How often was he appalled by some shrub coveredwith snow, which, like a sheeted spectre,beset his very path! How oftendid he shrink with curdling awe at the sound of his own steps on thefrosty crust beneath his feet; and dread to look over his shoulder, lesthe should behold some uncouth being trampingclose behind him! And howoften was he thrown into complete dismay by some rushing blast, howlingamong the trees, in the idea that it was the Galloping Hessian on one ofhis nightly scourings!All these, however, weremere terrors of the night, phantoms of the mindthat walk in darkness; and though he had seen many spectres in his time,and been more than once beset by Satan in divers shapes, in his lonelyperambulations, yetdaylight put an end to all these evils; and he wouldhave passed a pleasant life of it, in despite of the Devil and all hisworks, if his path had not been crossed by a being that causes moreperplexity to mortal man thanghosts, goblins, and the whole race ofwitches put together, and that was--a woman.Among the musical disciples who assembled, one evening in each week,to receive his instructions in psalmody, was Katrina VanTassel,the daughter and only child of a substantial Dutch farmer. She was ablooming lass of fresh eighteen; plump as a partridge; ripe and meltingand rosy-cheeked as one of her father's peaches, and universallyfamed,not merely for her beauty, but her vast expectations. She was withal alittle of a coquette, as might be perceived even in her dress, which wasa mixture of ancient and modern fashions, as most suited to setoffher charms. She wore the ornaments of pure yellow gold, which hergreat-great-grandmother had brought over from Saardam; the temptingstomacher of the olden time, and withal a provokingly short petticoat,todisplay the prettiest foot and ankle in the country round.Ichabod Crane had a soft and foolish heart towards the sex; and it isnot to be wondered at that so tempting a morsel soon found favor in hiseyes, more especiallyafter he had visited her in her paternal mansion.Old Baltus Van Tassel was a perfect picture of a thriving, contented,liberal-hearted farmer. He seldom, it is true, sent either his eyes orhis thoughts beyond theboundaries of his own farm; but within thoseeverything was snug, happy and well-conditioned. He was satisfied withhis wealth, but not proud of it; and piqued himself upon the heartyabundance, rather than the style inwhich he lived. His stronghold wassituated on the banks of the Hudson, in one of those green, sheltered,fertile nooks in which the Dutch farmers are so fond of nestling. Agreat elm tree spread its broad branches over it,at the foot of whichbubbled up a spring of the softest and sweetest water, in a little wellformed of a barrel; and then stole sparkling away through the grass, toa neighboring brook, that babbled along among alders anddwarf willows.Hard by the farmhouse was a vast barn, that might have served for achurch; every window and crevice of which seemed bursting forth with thetreasures of the farm; the flail was busily resounding withinit frommorning to night; swallows and martins skimmed twittering about theeaves; and rows of pigeons, some with one eye turned up, as if watchingthe weather, some with their heads under their wings or buried intheirbosoms, and others swelling, and cooing, and bowing about their dames,were enjoying the sunshine on the roof. Sleek unwieldy porkers weregrunting in the repose and abundance of their pens, from whencesalliedforth, now and then, troops of sucking pigs, as if to snuff the air.A stately squadron of snowy geese were riding in an adjoining pond,convoying whole fleets of ducks; regiments of turkeys were gobblingthroughthe farmyard, and Guinea fowls fretting about it, likeill-tempered housewives, with their peevish, discontented cry. Beforethe barn door strutted the gallant cock, that pattern of a husband, awarrior and a finegentleman, clapping his burnished wings and crowingin the pride and gladness of his heart,--sometimes tearing up the earthwith his feet, and then generously calling his ever-hungry family ofwives and children to enjoythe rich morsel which he had discovered.The pedagogue's mouth watered as he looked upon this sumptuous promiseof luxurious winter fare. In his devouring mind's eye, he pictured tohimself every roasting-pig running"}
+{"doc_id":"doc_170","qid":"","text":"The Project Gutenberg EBook of McTeague, by Frank NorrisThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it under theterms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: McTeagueAuthor: Frank NorrisRelease Date: March 12, 2006 [EBook #165]Language: English*** START OF THISPROJECT GUTENBERG EBOOK MCTEAGUE ***Produced by Pauline J. Iacono and David WidgerMcTEAGUEA Story of San Franciscoby Frank NorrisCHAPTER 1It was Sunday, and, according to his custom on that day,McTeague tookhis dinner at two in the afternoon at the car conductors' coffee-jointon Polk Street. He had a thick gray soup; heavy, underdone meat, veryhot, on a cold plate; two kinds of vegetables; and a sort ofsuetpudding, full of strong butter and sugar. On his way back to his office,one block above, he stopped at Joe Frenna's saloon and bought a pitcherof steam beer. It was his habit to leave the pitcher there on his waytodinner.Once in his office, or, as he called it on his signboard, \"DentalParlors,\" he took off his coat and shoes, unbuttoned his vest, and,having crammed his little stove full of coke, lay back in his operatingchair at thebay window, reading the paper, drinking his beer, andsmoking his huge porcelain pipe while his food digested; crop-full,stupid, and warm. By and by, gorged with steam beer, and overcome by theheat of the room, thecheap tobacco, and the effects of his heavy meal,he dropped off to sleep. Late in the afternoon his canary bird, in itsgilt cage just over his head, began to sing. He woke slowly, finishedthe rest of his beer--very flat andstale by this time--and taking downhis concertina from the bookcase, where in week days it kept the companyof seven volumes of \"Allen's Practical Dentist,\" played upon it somehalf-dozen very mournful airs.McTeaguelooked forward to these Sunday afternoons as a period ofrelaxation and enjoyment. He invariably spent them in the same fashion.These were his only pleasures--to eat, to smoke, to sleep, and to playupon hisconcertina.The six lugubrious airs that he knew, always carried him back to thetime when he was a car-boy at the Big Dipper Mine in Placer County, tenyears before. He remembered the years he had spent theretrundling theheavy cars of ore in and out of the tunnel under the direction of hisfather. For thirteen days of each fortnight his father was a steady,hard-working shift-boss of the mine. Every other Sunday he becameanirresponsible animal, a beast, a brute, crazy with alcohol.McTeague remembered his mother, too, who, with the help of the Chinaman,cooked for forty miners. She was an overworked drudge, fiery andenergetic for allthat, filled with the one idea of having her son risein life and enter a profession. The chance had come at last when thefather died, corroded with alcohol, collapsing in a few hours. Two orthree years later a travellingdentist visited the mine and put up histent near the bunk-house. He was more or less of a charlatan, but hefired Mrs. McTeague's ambition, and young McTeague went away with himto learn his profession. He had learntit after a fashion, mostly bywatching the charlatan operate. He had read many of the necessary books,but he was too hopelessly stupid to get much benefit from them.Then one day at San Francisco had come the newsof his mother's death;she had left him some money--not much, but enough to set him up inbusiness; so he had cut loose from the charlatan and had opened his\"Dental Parlors\" on Polk Street, an \"accommodationstreet\" of smallshops in the residence quarter of the town. Here he had slowlycollected a clientele of butcher boys, shop girls, drug clerks, and carconductors. He made but few acquaintances. Polk Street called himthe\"Doctor\" and spoke of his enormous strength. For McTeague was a younggiant, carrying his huge shock of blond hair six feet three inchesfrom the ground; moving his immense limbs, heavy with ropes ofmuscle,slowly, ponderously. His hands were enormous, red, and covered with afell of stiff yellow hair; they were hard as wooden mallets, strongas vises, the hands of the old-time car-boy. Often he dispensedwithforceps and extracted a refractory tooth with his thumb and finger.His head was square-cut, angular; the jaw salient, like that of thecarnivora.McTeague's mind was as his body, heavy, slow to act, sluggish. Yettherewas nothing vicious about the man. Altogether he suggested the draughthorse, immensely strong, stupid, docile, obedient.When he opened his \"Dental Parlors,\" he felt that his life was asuccess, that he could hopefor nothing better. In spite of the name,there was but one room. It was a corner room on the second floor overthe branch post-office, and faced the street. McTeague made it do fora bedroom as well, sleeping on the bigbed-lounge against the wallopposite the window. There was a washstand behind the screen in thecorner where he manufactured his moulds. In the round bay window werehis operating chair, his dental engine, and themovable rack on whichhe laid out his instruments. Three chairs, a bargain at the second-handstore, ranged themselves against the wall with military precisionunderneath a steel engraving of the court of Lorenzo de'Medici, whichhe had bought because there were a great many figures in it for themoney. Over the bed-lounge hung a rifle manufacturer's advertisementcalendar which he never used. The other ornaments were asmallmarble-topped centre table covered with back numbers of \"The AmericanSystem of Dentistry,\" a stone pug dog sitting before the little stove,and a thermometer. A stand of shelves occupied one corner, filledwiththe seven volumes of \"Allen's Practical Dentist.\" On the top shelfMcTeague kept his concertina and a bag of bird seed for the canary. Thewhole place exhaled a mingled odor of bedding, creosote, and ether.But forone thing, McTeague would have been perfectly contented. Justoutside his window was his signboard--a modest affair--that read:\"Doctor McTeague. Dental Parlors. Gas Given\"; but that was all. It washis ambition, hisdream, to have projecting from that corner window ahuge gilded tooth, a molar with enormous prongs, something gorgeous andattractive. He would have it some day, on that he was resolved; but asyet such a thingwas far beyond his means.When he had finished the last of his beer, McTeague slowly wiped hislips and huge yellow mustache with the side of his hand. Bull-like, heheaved himself laboriously up, and, going to thewindow, stood lookingdown into the street.The street never failed to interest him. It was one of those crossstreets peculiar to Western cities, situated in the heart of theresidence quarter, but occupied by smalltradespeople who lived in therooms above their shops. There were corner drug stores with huge jarsof red, yellow, and green liquids in their windows, very brave and gay;stationers' stores, where illustrated weeklieswere tacked upon bulletinboards; barber shops with cigar stands in their vestibules; sad-lookingplumbers' offices; cheap restaurants, in whose windows one saw piles ofunopened oysters weighted down by cubes of ice,and china pigs and cowsknee deep in layers of white beans. At one end of the street McTeaguecould see the huge power-house of the cable line. Immediately oppositehim was a great market; while farther on, over thechimney stacks of theintervening houses, the glass roof of some huge public baths glitteredlike crystal in the afternoon sun. Underneath him the branch post-officewas opening its doors, as was its custom between twoand threeo'clock on Sunday afternoons. An acrid odor of ink rose upward to him.Occasionally a cable car passed, trundling heavily, with a stridentwhirring of jostled glass windows.On week days the street was verylively. It woke to its work about seveno'clock, at the time when the newsboys made their appearance togetherwith the day laborers. The laborers went trudging past in a stragglingfile--plumbers' apprentices, theirpockets stuffed with sections oflead pipe, tweezers, and pliers; carpenters, carrying nothing but theirlittle pasteboard lunch baskets painted to imitate leather; gangs ofstreet workers, their overalls soiled with yellowclay, their picks andlong-handled shovels over their shoulders; plasterers, spotted with limefrom head to foot. This little army of workers, tramping steadily inone direction, met and mingled with other toilers of adifferentdescription--conductors and \"swing men\" of the cable company going onduty; heavy-eyed night clerks from the drug stores on their way home tosleep; roundsmen returning to the precinct police station tomake theirnight report, and Chinese market gardeners teetering past under theirheavy baskets. The cable cars began to fill up; all along the streetcould be seen the shopkeepers taking down their shutters.Betweenseven and eight the street breakfasted. Now and then a waiterfrom one of the cheap restaurants crossed from one sidewalk to theother, balancing on one palm a tray covered with a napkin. Everywherewas the smell ofcoffee and of frying steaks. A little later, followingin the path of the day laborers, came the clerks and shop girls,dressed with a certain cheap smartness, always in a hurry, glancingapprehensively at the power-houseclock. Their employers followedan hour or so later--on the cable cars for the most part whiskeredgentlemen with huge stomachs, reading the morning papers with greatgravity; bank cashiers and insurance clerks withflowers in theirbuttonholes.At the same time the school children invaded the street, filling the airwith a clamor of shrill voices, stopping at the stationers' shops, oridling a moment in the doorways of the candy stores.For over half anhour they held possession of the sidewalks, then suddenly disappeared,leaving behind one or two stragglers who hurried along with greatstrides of their little thin legs, very anxious andpreoccupied.Towards eleven o'clock the ladies from the great avenue a block abovePolk Street made their appearance, promenading the sidewalks leisurely,deliberately. They were at their morning's marketing. Theywere handsomewomen, beautifully dressed. They knew by name their butchers and grocersand vegetable men. From his window McTeague saw them in front of thestalls, gloved and veiled and daintily shod, thesubservient provisionmen at their elbows, scribbling hastily in the order books. They allseemed to know one another, these grand ladies from the fashionableavenue. Meetings took place here and there; a conversationwas begun;others arrived; groups were formed; little impromptu receptions wereheld before the chopping blocks of butchers' stalls, or on the sidewalk,around boxes of berries and fruit.From noon to evening thepopulation of the street was of a mixedcharacter. The street was busiest at that time; a vast and prolongedmurmur arose--the mingled shuffling of feet, the rattle of wheels, theheavy trundling of cable cars. At fouro'clock the school childrenonce more swarmed the sidewalks, again disappearing with surprisingsuddenness. At six the great homeward march commenced; the cars werecrowded, the laborers thronged the sidewalks,the newsboys chanted theevening papers. Then all at once the street fell quiet; hardly a soulwas in sight; the sidewalks were deserted. It was supper hour. Eveningbegan; and one by one a multitude of lights, from thedemoniac glare ofthe druggists' windows to the dazzling blue whiteness of the electricglobes, grew thick from street corner to street corner. Once more thestreet was crowded. Now there was no thought but foramusement. Thecable cars were loaded with theatre-goers--men in high hats andyoung girls in furred opera cloaks. On the sidewalks were groups andcouples--the plumbers' apprentices, the girls of the ribboncounters,the little families that lived on the second stories over their shops,the dressmakers, the small doctors, the harness-makers--all the variousinhabitants of the street were abroad, strolling idly from shopwindowto shop window, taking the air after the day's work. Groups of girlscollected on the corners, talking and laughing very loud, making remarksupon the young men that passed them. The tamale men appeared. Aband ofSalvationists began to sing before a saloon.Then, little by little, Polk Street dropped back to solitude. Eleveno'clock struck from the power-house clock. Lights were extinguished. Atone o'clock the cable stopped,leaving an abrupt silence in the air.All at once it seemed very still. The ugly noises were the occasionalfootfalls of a policeman and the persistent calling of ducks and geesein the closed market. The street wasasleep.Day after day, McTeague saw the same panorama unroll itself. The baywindow of his \"Dental Parlors\" was for him a point of vantage from whichhe watched the world go past.On Sundays, however, all waschanged. As he stood in the bay window,after finishing his beer, wiping his lips, and looking out into thestreet, McTeague was conscious of the difference. Nearly all the storeswere closed. No wagons passed. A fewpeople hurried up and down thesidewalks, dressed in cheap Sunday finery. A cable car went by; on theoutside seats were a party of returning picnickers. The mother, thefather, a young man, and a young girl, and threechildren. The two olderpeople held empty lunch baskets in their laps, while the bands of thechildren's hats were stuck full of oak leaves. The girl carried a hugebunch of wilting poppies and wild flowers.As the carapproached McTeague's window the young man got up and swunghimself off the platform, waving goodby to the party. Suddenly McTeaguerecognized him.\"There's Marcus Schouler,\" he muttered behind hismustache.Marcus Schouler was the dentist's one intimate friend. The acquaintancehad begun at the car conductors' coffee-joint, where the two occupiedthe same table and met at every meal. Then they made thediscovery thatthey both lived in the same flat, Marcus occupying a room on the floorabove McTeague. On different occasions McTeague had treated Marcus foran ulcerated tooth and had refused to accept payment.Soon it came to bean understood thing between them. They were \"pals.\"McTeague, listening, heard Marcus go up-stairs to his room above. In afew minutes his door opened again. McTeague knew that he had comeoutinto the hall and was leaning over the banisters.\"Oh, Mac!\" he called. McTeague came to his door.\"Hullo! 'sthat you, Mark?\"\"Sure,\" answered Marcus. \"Come on up.\"\"You come on down.\"\"No, come on up.\"\"Oh, youcome on down.\"\"Oh, you lazy duck!\" retorted Marcus, coming down the stairs.\"Been out to the Cliff House on a picnic,\" he explained as he sat downon the bed-lounge, \"with my uncle and his people--the Sieppes, youknow.By damn! it was hot,\" he suddenly vociferated. \"Just look at that! Justlook at that!\" he cried, dragging at his limp collar. \"That's the thirdone since morning; it is--it is, for a fact--and you got your stovegoing.\" Hebegan to tell about the picnic, talking very loud and fast,gesturing furiously, very excited over trivial details. Marcus could nottalk without getting excited.\"You ought t'have seen, y'ought t'have seen. I tell you, it wasoutasight. It was; it was, for a fact.\"\"Yes, yes,\" answered McTeague, bewildered, trying to follow. \"Yes,that's so.\"In recounting a certain dispute with an awkward bicyclist, in which itappeared he had become involved,Marcus quivered with rage. \"'Say thatagain,' says I to um. 'Just say that once more, and'\"--here a rollingexplosion of oaths--\"'you'll go back to the city in the Morgue wagon.Ain't I got a right to cross a street even, I'dlike to know, withoutbeing run down--what?' I say it's outrageous. I'd a knifed him inanother minute. It was an outrage. I say it was an OUTRAGE.\"\"Sure it was,\" McTeague hastened to reply. \"Sure, sure.\"\"Oh, and wehad an accident,\" shouted the other, suddenly off on anothertack. \"It was awful. Trina was in the swing there--that's my cousinTrina, you know who I mean--and she fell out. By damn! I thought she'dkilled herself;struck her face on a rock and knocked out a front tooth.It's a wonder she didn't kill herself. It IS a wonder; it is, for afact. Ain't it, now? Huh? Ain't it? Y'ought t'have seen.\"McTeague had a vague idea that MarcusSchouler was stuck on his cousinTrina. They \"kept company\" a good deal; Marcus took dinner with theSieppes every Saturday evening at their home at B Street station, acrossthe bay, and Sunday afternoons he and thefamily usually made littleexcursions into the suburbs. McTeague began to wonder dimly how itwas that on this occasion Marcus had not gone home with his cousin. Assometimes happens, Marcus furnished theexplanation upon the instant.\"I promised a duck up here on the avenue I'd call for his dog at fourthis afternoon.\"Marcus was Old Grannis's assistant in a little dog hospital that thelatter had opened in a sort of alley justoff Polk Street, some fourblocks above Old Grannis lived in one of the back rooms of McTeague'sflat. He was an Englishman and an expert dog surgeon, but MarcusSchouler was a bungler in the profession. His fatherhad been aveterinary surgeon who had kept a livery stable near by, on CaliforniaStreet, and Marcus's knowledge of the diseases of domestic animals hadbeen picked up in a haphazard way, much after the manner ofMcTeague'seducation. Somehow he managed to impress Old Grannis, a gentle,simple-minded old man, with a sense of his fitness, bewildering him witha torrent of empty phrases that he delivered with fierce gesturesandwith a manner of the greatest conviction.\"You'd better come along with me, Mac,\" observed Marcus. \"We'll get theduck's dog, and then we'll take a little walk, huh? You got nothun todo. Come along.\"McTeague wentout with him, and the two friends proceeded up to theavenue to the house where the dog was to be found. It was a hugemansion-like place, set in an enormous garden that occupied a wholethird of the block; and whileMarcus tramped up the front steps and rangthe doorbell boldly, to show his independence, McTeague remained belowon the sidewalk, gazing stupidly at the curtained windows, the marblesteps, and the bronze griffins,troubled and a little confused by allthis massive luxury.After they had taken the dog to the hospital and had left him to whimperbehind the wire netting, they returned to Polk Street and had a glass ofbeer in the backroom of Joe Frenna's corner grocery.Ever since they had left the huge mansion on the avenue, Marcus had beenattacking the capitalists, a class which he pretended to execrate. Itwas a pose which he often assumed,certain of impressing the dentist.Marcus had picked up a few half-truths of political economy--it wasimpossible to say where--and as soon as the two had settled themselvesto their beer in Frenna's back room he tookup the theme of the laborquestion. He discussed it at the top of his voice, vociferating, shakinghis fists, exciting himself with his own noise. He was continuallymaking use of the stock phrases of the professionalpolitician--phraseshe had caught at some of the ward \"rallies\" and \"ratification meetings.\"These rolled off his tongue with incredible emphasis, appearing at everyturn of his conversation--\"Outraged constituencies,\"\"cause of labor,\"\"wage earners,\" \"opinions biased by personal interests,\" \"eyes blindedby party prejudice.\" McTeague listened to him, awestruck.\"There's where the evil lies,\" Marcus would cry. \"The masses mustlearnself-control; it stands to reason. Look at the figures, look at thefigures. Decrease the number of wage earners and you increase wages,don't you? don't you?\"Absolutely stupid, and understanding never a word,McTeague wouldanswer:\"Yes, yes, that's it--self-control--that's the word.\"\"It's the capitalists that's ruining the cause of labor,\" shoutedMarcus, banging the table with his fist till the beer glasses danced;\"white-livereddrones, traitors, with their livers white as snow, eatunthe bread of widows and orphuns; there's where the evil lies.\"Stupefied with his clamor, McTeague answered, wagging his head:\"Yes, that's it; I think it's theirlivers.\"Suddenly Marcus fell calm again, forgetting his pose all in an instant.\"Say, Mac, I told my cousin Trina to come round and see you about thattooth of her's. She'll be in to-morrow, I guess.\"CHAPTER 2After hisbreakfast the following Monday morning, McTeague looked overthe appointments he had written down in the book-slate that hung againstthe screen. His writing was immense, very clumsy, and very round, withhuge,full-bellied l's and h's. He saw that he had made an appointmentat one o'clock for Miss Baker, the retired dressmaker, a little old maidwho had a tiny room a few doors down the hall. It adjoined that of OldGrannis.Quitean affair had arisen from this circumstance. Miss Baker and OldGrannis were both over sixty, and yet it was current talk amongstthe lodgers of the flat that the two were in love with each other.Singularly enough, they"}
+{"doc_id":"doc_171","qid":"","text":"<html><head><title>Made Script at IMSDb.</title><meta name=\"description\" content=\"Made script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Made script, Made movie script, Madefilm script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=SubjectCONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0];s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>    <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\"title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center></td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>               <html>               <head>               <title>\"Made\" -- by JonFavreau</title>               </head>               <body>               <pre>               MADE               INT. SPORTSMAN'S LODGE - SAN FERNANDO VALLEY - DAY               A large crowd has gathered to watch two WHITEBOXERS square               off in a temporary ring in the center of a converted banquet               hall. One is BOBBY, the other is RICKY. They are drawn               together to start the bout by a bell and a hand gestureas               the REFEREE backs away. Immediately the two fighters unload               a relentless barrage of POWER PUNCHES. Neither man is               holding back, and the punches all find purchase inthe               swelling faces of their opponent. The crowd rises to its               feet in appreciation of this rare level of competition in               the lower strata of the heavyweightdivision.                                                                    CUT TO:               EXT. BOBBY'S CAR - COLDWATER CANYON - LOS ANGELES - SUNSET               Bobby drives Ricky home through the winding twists ofLA's               landmark canyon. Both their faces are swollen, verging on               the grotesque. Bobby drives a black Special Edition 1979               Trans Am with the gold Firebird stenciled across thehood.               The car is not in great shape, but in its day ruled the               road. A Hawaiian mini warrior mask hangs from the rear view.               The T-top is out, and Ricky struggles to light his               cigarettein the wind. He finally ignites the whole book of               matches in frustration, lights up, then tosses it out.               It lands, still flaming, at the base of a 'No Smoking in               the Canyon' sign. They drive downthe palm tree lined               stretch of road bordering Beverly Hills. They turn East on               Sunset Boulevard. The Strip lights are first flickering to               life.               EXT. RICKY'S APARTMENT - YUCCACORRIDOR - NIGHT               The opening SCORE dies away as Ricky sits beside Bobby. The               neighborhood is awful. The light of the corner liquor store               and a menthol cigarette billboard make up forthe broken               street lamps. Ricky smooths out his running suit and steals               an instinctive cautionary look, scanning all the blind spots               for predators. The swelling has now truly set in. He'sa               mess.                                     RICKY                         Did Max mention anything about any                         jobs?                                     BOBBY                         What aboutboxing?                                     RICKY                         What about it?                                     BOBBY                         What are you saying?                                     RICKY                         You said if you didn'thave a                         winning record after eleven fights,                         you'd talk to Max.                                     BOBBY                         So?                                     RICKY                         So, it was adraw.                                     BOBBY                         Yeah, I'm 5-5 and 1.                                     RICKY                         So, it's not a winning record.                                     BOBBY                         It's not losingrecord.                                     RICKY                         That's not what you said. You said                         if you didn't have a winning record-                                     BOBBY                         Don't beshitty.                                     RICKY                         How am I being shitty?                                     BOBBY                         Don't be shitty.                                     RICKY                         I wouldn't keep buggingyou, but                         you said he said he would have a job                         for us.                                     BOBBY                         I'm not gonna bring it up tohim.                                     RICKY                         Of course I don't want you to bring                         it up to him... But if it comes up...                                     BOBBY                         I'll pageyou.                                     RICKY                         Yeah. Page me. You know the number?                                     BOBBY                         Yeah. I know thenumber.                                     RICKY                         Cause if you don't know the number,                         I can page you with the number so                         you'll have thenumber.                                     BOBBY                         I know the number.                                     RICKY                         I'll page you with the number. I'll                         see you later. What time youdone?                                     BOBBY                         I got no idea.                                     RICKY                         Ask if he said anything to her.                                     BOBBY                         Iwill.                                     RICKY                         I'll page you with the number.                                     BOBBY                         Bye.               He drives off. Ricky checks his pager, still furtively               scanningthe street.               EXT. JESSICA'S HOUSE - BLACKBURN - LOS ANGELES - NIGHT               Bobby pulls up in front of the quaint Spanish Colonial               two-flat. He bounds up the stairs to the upperunit.               INT. JESSICA'S HOUSE - CONTINUOUS               He lets himself in, searching for his girlfriend. The               apartment is Z-Gallery, with a few accents ofBobby's               HAWAIIANA.                                     BOBBY                         Honey?                                     JESS (O.S.) (O.S.)                         Where were you?               He finds her in the bedroom. JESSICA isa knockout. Too               pretty. The pretty that makes a woman a full-time job.               What's worse is she's decked out like a whore. She's wearing               slutty lingerie covered by a bland terry cloth bathrobe.Her               ridiculously long legs are garnished with candy-apple porn               star sky high heels.  Bobby watches with cultivated patience               as she applies tasteless amounts of make-up from a Maccase               the size of a tackle box. She's in a hurry.                                     BOBBY                              (swallowing utter                              contempt)                         So, what kind of gig isthis?                                     JESS                         Easy night. Bachelor party. Can we                         give Wendy a ride?                                     BOBBY                         No. What kind of bachelorparty?                                     JESS                         The easy kind. They're young and                         rich and well mannered.               She turns to look at him and reacts to hishorrifying               appearance.                                     JESS (continues) (CONT'D)                         Oh my god. What happened?                                     BOBBY                         A draw. What makes youthink                         they're well mannered?                                     JESS                         Bobby, this is a plumb gig. It's a                         bunch of young agents and it's at a                         restaurant. It's gonnabe easy and                         we'll make a lot of money.                                     BOBBY                         I don't like you working with                         Wendy. Why are you workingwith                         Wendy?                                     JESS                         They requested her. It was her gig.                         Max put me on as a favor.                                     BOBBY                         Somefavor. I hope they know you're                         not like Wendy.                                     JESS                         Oh, please.                                     BOBBY                         If they asked for her,they're                         probably expecting blowjobs all                         around.                                     JESS                         Will you cut it out! Get ready,                         we're alreadylate.                                     BOBBY                         Who's watching the baby?                                     JESS                         She's downstairs with Ruth.Get                         ready.                                     BOBBY                         I'm ready.                                     JESS                         Bullshit. These are classy                         customers. You can't show upall                         fucked up with a Fila running suit                         on.                                     BOBBY                         They're not too classy to have tits                         rubbed in their face.               She risesand swaps her robe for a floor length overcoat.               God, is she hot.                                     JESS                         Stop. I love you.               She leans in for a kiss. He lets his anger melt. He leans               in tokiss her. She gives him last minute cheek to save the               perfection of her sparkling twenty minute lips.                                     JESS (continues) (CONT'D)                         Let's go.               He follows, slightlyslighted.               EXT. JESSICA'S HOUSE - BLACKBURN - LOS ANGELES               As the couple hurries down the stairs, The face of a SMALL               GIRL peeks out the first floor window. This is CHLOE,Jess'               daughter. Her age is somewhere between Paper Moon and Jerry               Maguire. She watches without expression as her mom leaves               for work.               EXT. HAVANA ROOM - BEVERLY HILLS- NIGHT               They valet the car and approach the members only cigar               lounge. Bobby opens the door for her.               INT. HAVANA ROOM - LOWER LOBBY - NIGHT               An attractive femaleHOSTESS sees Bobby's undesirable               appearance.                                     HOSTESS                         May I help..?               She then sees Jessica and guesses heroccupation.                                     HOSTESS (continues) (CONT'D)                         Oh, hi. They've been expecting you.                         Take the elevator upstairs. You can                         change in the cardroom.               INT. ELEVATOR - HAVANA ROOM - NIGHT               They stand side by side in silence as the lift rises. Jess               adjusts her bosom. Bobby continues to percolate. His pager               goes off. Herecognizes the number.                                     BOBBY                         You talk to Max today?                                     JESS                         I'm not gonna mention Ricky tohim.                                     BOBBY                         Don't expect you to mention it to                         him. I'm just saying, if-                                     JESS                         The only way he'll go with Rickyis                         if you're in too.                                     BOBBY                         Well, that's not gonna happen.                                     JESS                         Fine. You want to help Ricky, talk                         toMaxie yourself.                                     BOBBY                         I feel weird asking him.                                     JESS                         You shouldn't. He likes you.                                     BOBBY                         Ijust wish he never brought it up.                         Ricky won't shut up about it.                                     JESS                         Forget Ricky. You should be glad                         Max got you driving for"}
+{"doc_id":"doc_172","qid":"","text":"<html><head>   <title>\"Demolition Man,\" by Daniel Waters; and Jonathan Lemkin</title></head><body><pre>                             <u>DEMOLITION MAN</u>                          ParticipatingWriters:                              Peter Lenkov                              Robert Reneau                              Daniel Waters                               Fred Decker                             Jonathan Lemkin                                Storyby:                              Peter Lenkov                              Daniel Waters                             Screenplay by:                              Daniel Waters                             Jonathan Lemkin        SILVERPICTURES                                                  November 19, 1992                                                  c 1992        [NOTE: THE FOLLOWING SCREENPLAY HAD NUMBERED SCENES.        THESE HAVE BEEN OMITTED FORTHIS SOFT COPY.]                                 \"The world of the future will                                 be an ever more demanding                                 struggle against the limitations                                 of ourintelligence...\"                                                    Norbert Wiener                                 \"On the whole, I'd rather bein                                 Philadelphia...\"                                                    W.C.  Fields                             <u>DEMOLITION MAN</u>        FADE IN:        EXT. BLACK SKY - NIGHT        Dark, ominous clouds ofsmoke.  A beat of semi-calm.        And then... A long blast of TRACER FIRE cuts through.        And another.  And another.  We TILT DOWN to discover we        are --        EXT. LOS ANGELES - AIRBORNE - MOVING -NIGHT (1998)        A city on fire.  A block here, block there.  More TRACER        FIRE.  A cross between the LA riots and Gulf War.  A        SUPERED TITLE:  LA RIOT III.  And then FADING IN BELOW:        MONTH4.  We CONTINUE MOVING ABOVE the ravaged city --                                VOICE #1 (V.O.)                         (filtered)                  You imagine what it was like when                  they had to fly choppersthrough                  this shit?                                VOICE #2 (V.O.)                  Not even.        Gliding totally silently INTO FRAME is the biggest,        darkest, midnight blue blimp you've ever seen.  Small        goldletters on the side -- LAPD.  Fully armored beneath.        Woven kevlar on the sides.  BULLETS REBOUND with a long        ZZZZZIP off the sides.  PING SOFTLY off the plastic armor        on thebottom.                                VOICE #1 (V.O.)                  I don't understand where we're                  going and why the hell we're                  bothering anyhow...        A new voice responds.  This one brooks nodiscussion --                                SPARTAN (V.O.)                  Because there's anger and there's                  frustration, and then there's pure                  fucking evil...        INT. BLIMP POD - CONTINUOUS ACTION -NIGHT        JOHN SPARTAN peers down into the fiery landscape.                                SPARTAN                  Where we're going is pure fucking                  evil.                         (beat)                  Thirty people whowere riding that                  muni bus are still missing.  I've                  got this bad hunch about who took                  them and where they are...        EXT. EXTREME SOUTH CENTRAL LA - FROM ABOVE - AIRBORNE-        NIGHT        Way up ahead, amid the flames, is a fortress.  A square        city block.  Walled.  Something out of the middle ages.        The walls are entirely made from stacked abandoned cars.        INT. BLIMPPOD - NIGHT        Spartan is dragging a heavy bag up towards the door.        PILOT #2 looks at him curiously.                                PILOT #2                  How come they call you Demolition                  Man?  Are youwith the bomb squad?        Spartan gets his bag into position.                                SPARTAN                  I just...                         (shrugs                          apologetically)                  ... demolish things.        He checksout the window.  They're not quite there.                                SPARTAN                  I do my job, shit happens.                         (to Pilot #1)                  Get a thermo.        The PILOT takes a thermogram of thebuilding in the        middle of the compound.  We see a series of heat-outlined        figures moving inside.                                PILOT #1                  Six.  One still, in the middle.                  The rest moving around.  Idon't                  see any thirty people.                                SPARTAN                         (checking the thermo)                  What's that?        To the naked eye, out the window, tucked against the        wall of cars, alarge tarp.  To the thermo, the still        warm inner workings of the muni bus.  Faint outlines of        the engine, drive train, even seats and frame.  Bingo.        Spartan takes a deep breath.  Loosens up hisright        shoulder.  Loosens up his left.  Checks the gun on his        right hip.  Checks the gun on his left.  They both cross        draw.  Reaches down to the bag at his feet.  LAPD in        reflective letters on the side ofa backpack.  Spartan        yanks some kind of rope out of it.                                PILOT #2                  Isn't that for getting people <u>out</u>                  of burningbuildings...                                SPARTAN                  Yeah, sometimes...        Slaps a carabiner onto a big eyebolt by the door.  They're        dead center now over the complex below.  He opens the        door.  Jumpsout.        EXT. BLIMP - NIGHT        Spartan falls three hundred feet from the blimp.  Dead        silent.  The line runs free behind him.  It's a giant        fireproof bungee cord.  As the downward force of gravity        andthe upward pull of the bungee become exactly the        same, Spartan stops dead in the air for just the briefest        moment.  Whips out a Bowie knife and slashes the cord        above his head.  Falls free the last tenfeet to the roof        of the building.  Lands on his feet.  Lightning cross        draw.  A gun appears in each hand.        EXT. FORTRESS - MAIN BUILDING - ROOFTOP - NIGHT        A lookout pops up on Spartan'sright.  Spartan clobbers        him.  Another lookout pops up on Spartan's left.  Spartan        ducks, rolls quietly, clobbers him, too.  Listens.  No        one's taken notice.  Holsters the guns.  Moves in towards        theroof hatch.        INT. FORTRESS - MAIN BUILDING - THIRD FLOOR - NIGHT        Stacked with armaments and stolen goods.  M70's straight        outta the National Guard Armory.  Crates of ammo.  Stacks        oflooted Sony HoloSets still in the boxes.        Spartan makes his way carefully along.  Ready.  Spins at        a SOUND.  Nothing there.  Spartan crouches low.  Slips        around the crates.  At the far end, a very largeguard        is doing just the same thing to peer at where Spartan        just was.        Spartan launches himself at the guard.  Hammers his head        against the floor.  This guy is not getting up again for        a longtime.  Spartan spins at a SOUND.  Another equally        large guard dives on Spartan from behind.  He never makes        contact.  Spartan uses his momentum to fling him past and        into the wall.  This guy isn'tgetting up again in the        near future either.  Now the room is clear.  Moves        towards the stairs.        INT. FORTRESS - MAIN BUILDING - SECOND FLOOR - NIGHT        SIMON PHOENIX snorts a long pale blue lineup one        nostril.  A long pink line up the other.  One blue eye,        one brown eye.  Blond hair.  Black skin.  Looks up at        another thug.  Punches up the security cams on half a        dozen slightly futuristicmonitors.  Unconscious guards        can be seen on all of them.  And on the last, Spartan,        coming... Phoenix jabs a loaded orange syringe into an        arm.  The drugs all hit variouslobes.                                PHOENIX                  Motherfucker.        INT. FORTRESS - MAIN BUILDING - STAIRWELL - NIGHT        Spartan creeps quietly down.  Looking, watching,        listening.  Suddenly, the stairsare racked with MACHINE        GUN FIRE.  Chips of concrete fly from around his feet.        Spartan flattens against the wall.  Half a beat.  Steps        out FIRING.  The machine gun stops.  A body plummetsby        down the center shaft of the stairs.                                SPARTAN                  That's a warm welcome.        INT. FORTRESS - MAIN BUILDING - SECOND FLOOR - NIGHT        Phoenix is dumping can after canof gas all over the        floor, the walls, everything.        ANOTHER ANGLE - STAIRWELL AND LANDING        Spartan steps onto the landing.  Checks high and low.        Room is clear.  He can smell the gas.        BACKTO PHOENIX        Simon pries open the fuse box.  Flips off all the        breakers.  Building is plunged into darkness.        BACK TO SPARTAN        Spartan quietly speaks into the LAPD button mike onhis        lapel.                                SPARTAN                  How 'bout some light, guys?        Half a beat later, blinding white light blows through        the windows.        EXT. FORTRESS - FROM ABOVE - NIGHT        Theblimp casts down a wall of light.  32 million        candlepower pours straight down.        INT. FORTRESS - MAIN BUILDING - SECOND FLOOR - NIGHT        A wild melange of white, white light and dark,dark        shadows.  The gas fumes ripple, refract in the air.        Lights bounce off the pools of gasoline.  Spartan rolls        into the room.  Both guns come up.                                SPARTAN                  SimonPhoenix.  You're under                  arrest.                         (then)                  Where are the muni passengers?                                PHOENIX                  Fuck you, Spartan.  They're gone.                  I told the city noone comes down                  here anymore.  Cops figured it                  out, postmen figured it out.  Damn                  bus drivers wouldn't listen.                  Arrest me?  You've got no                  jurisdictionhere.  You're in my                  kingdom now.  Fifty blocks in                  every direction.  And it's mine.                                SPARTAN                         (simply)                  It'sover.                                PHOENIX                  It's over?!                         (knows it's true)                  Yeah.  It's over.  But I've been                  king once, and I ain't ever going                  back tojail.        Spartan keeps the guns trained on Phoenix.  Simon        scratches his arm.  It's a junkie's twitch.  Or is it...        Spartan can't see it, but there's a kitchen match tucked        behind Simon's ear.  Phoenixreaches up to scratch        another itch.  Frees the match in one gestures, strikes        it and tosses it into the pool of gas.  Smiles.  A        friendly happy smile.        The room bursts into flames.  He throws back hishead and        laughs.  Spartan dives on him.  Tries to hurl them both        through the window.        But Phoenix is either stronger or just far crazier and        drugged up.  Smashes the two of them into thewall        instead.  They trade blows.  The building gets worse.        AMMO starts to EXPLODE downstairs.        EXT. FORTRESS - MAIN YARD - NIGHT        A giant LAPD wrecker with a cow catcher frontblasts        through the main gates.  LAPD Humvees follow.        A young cop (ZACHARY LAMB) gets out, looks at the main        building, shakes his head in amusement at the        destruction--                                LAMB                  It's Spartan again...        INT. FORTRESS - MAIN BUILDING - SECOND FLOOR - NIGHT        The battle continues.  The two trading blow for blow in        this fiery arena.  Thetwo men are practically on fire.        Finally Spartan knocks Phoenix cold, a clean shot        straight in the face.  Phoenix drops in a heap to the        floor.  Spartan shakes his head, sighs, bends down to        retrieve hisprisoner and...        INT./EXT. FORTRESS - MAIN BUILDING - NIGHT        The BUILDING EXPLODES.  Long and LOUD and high and        mighty.        OVERHEAD POV        The fireball rockets by the blimp.        INT.BLIMP - POD - NIGHT        The Pilots with mouths agape as the fireball crashes by.        EXT. FORTRESS - MAIN YARD - NIGHT        The EARTH RUMBLES.  Those who aren't thrown to the        ground dive forcover.  The SECONDARY EXPLOSION kicks        in.  Everything that didn't blow straight up in the air        blows out what remains of the sides of the building.        Nothing's left standing.        EXT. FORTRESS - MAINYARD - NIGHT (AFTERMATH)        The dust begins to settle.  Flaming wreckage and embers        are still dropping from five hundred feet up.  A beat.  A        beam shifts in the wreckage.  It's a big beam.  Itmoves        aside.  Spartan emerges dragging his prisoner out behind        him.  As he's being dragged along, Phoenix comes to.        Spartan hands him off to another officer to be booked.        Captain STEVE HEALY,Spartan's long-suffering captain and        friend, comes out of the crowd of officers.                                HEALY                  What's the matter with you?                  That's why nobody ever invites                  youover.                                SPARTAN                  I hate small talk.  You sent me to                  do a job, I did it.  It wasn't even                  me who blew everything up thistime.                                HEALY                  Yeah.  Sure.        Healy continues to shake his head in consternation.  No        way he believes that... Spartan ignores him.  Wipes the        soot from his face.  Shakes hishead in disgust, walks        away...        The Tactical Fire Response vehicles have arrived.  Fully-        armored firemen wearing bulletproof gear fight the blaze.        Spartan continues to stride away.  And theneverything        fucks up.  One of the TFR OFFICERS in the wreckage calls        out --                                TFR OFFICER                  Captain.  Captain!                         (shocked)                  There's a lot of bodies inhere.        Spartan stops dead.  He looks sick.  Healy's not        thrilled, but he knows what's required of him --                                HEALY                         (to Spartan)                  You have the right toremain                  silent.                                                   SMASH CUT TO:        INT. CRYO PRISON - STARK WHITE CORRIDOR - DAY        Spartan in stark white overalls.  A beautiful, shaken        woman holding thehand of a small child.  About six.        Spartan bends down to the little girl.  Unclenches his        fist.  His LAPD badge inside.  Pins it on the little        girl, KATIE.                                SPARTAN                  I'm going tobe back.  I'll still                  be your dad.  I promise.        She holds the badge, nods solemnly.  Spartan kisses her        on the cheek.                                KATIE SPARTAN                  I love you, Daddy.        She'syoung enough that it's unclear whether she        understands that her father is going away for good.        Spartan chokes back a sob.  Stands back up.  Kisses his        wife.  Everything that can be said, has beensaid.  They        kiss again.        Behind him, in front of two locked doors, are a pair of        prison guards in odd, heavily-insulated uniforms.  Tanks,        heater batteries, guns.  Spartan heads towards thefar        doors.  They follow.  Spartan steps through the doors,        the guards now at either elbow.  And into --        INT. CRYO PRISON - MAIN ROOM - DAY        The CryoPenitentiary is a Godel-esque nightmareof        architecturally-perverse layers and levels, the        Guggenheim mixed with industrial meat locker.  All still        half under construction.        Spartan is led along the middle ring to where a doctor,        twowhite-coated technicians and a young-looking WARDEN        SMITHERS are waiting.        Above him prisoners are encased into the ground in        massive glass hockey pucks, contracted into painedfetal        positions.  Their faces are hauntingly twisted into        gargoyle expressions of tortured struggle.        The group arrives at an empty chamber.  The technicians        nod to Spartan.  He drops off the whiteoveralls.  Steps        free.  Stands naked.  Doctor injects him with luminescent        blue fluid.  The techies slap on sensor pads.  Head,        heart, all over... Spraying him down with Freon.  Mist        everywhere... Wesee the temperature dropping on the        monitors.  The Warden looks at a crib sheet.  Clears his        throat.                                SMITHERS                  John Spartan.  You've done great                  deeds for thecity of Los Angeles,                  so it is with some regret that I                  hereby...                                SPARTAN                  Skip it...        Spartan shivers, contemplating one of hisstiffening        hands.                                SMITHERS                  John Spartan.  You've been                  sentenced to 70 years in the                  California CryoPenitentiary for                  the involuntarymanslaughter of                  thirty...                                SPARTAN                  Skip it...        Spartan is beginning to shake from the cold.  His lips        turning blue before our eyes.  Color just drainsaway.                                SMITHERS                  I'm sorry, John.                         (then; a smile)                  Don't catch cold.                                SPARTAN                  Fuh... fuf... funny.        The techniciansattempt to help Spartan into the chamber.        He shakes them off to stagger down on his own.  Let's not        kid ourselves, he's scared --                                SPARTAN                  See ya next century...        TITLESBEGIN as...        The casing door is closed over him.  MONITORS down the        lining of the circular chamber show a digital rap sheet,        a dropping thermometer, a parole date, and today's date:        November 20,1998.  A super-chilled clear goo flows in,        packing and preserving isolated Michelangeloesque        segments of the defiant statue that is John Spartan.        But he's still conscious.  Still even struggling abit.        On the arm above the chamber, inside a vacuum bell a        small vial is auto unscrewed.  LOCKED and SAFETY lights        cycle.  We see a tiny white chip inside.  The vial is        moved into place by a tinyrobot arm.  Bottom vent is        opened.  The chip is dumped into the chamber.  It's the        opposite of watching ice shatter.  Instead, the whole        hockey puck goes solid in an instant and a half.  The        thermoread-out drops in an instant to a half degree        above 0 degrees Kelvin.  It's done.        The VIEWER makes a GENTLY DIZZYING JOURNEY AROUND the        chamber, SETTLING FOR A MOMENT ON Spartan'scontorted-        into-a-defiant-sneer face.        INT. CRYO PRISON - MAIN ROOM - DAY (2042)        The VIEWER'S VIEWPOINT KEEPS PULLING OUT to see that the        date on Spartan's MONITOR now reads August 3,2042.        Warden Smithers, now a bespectacled, gray-haired old        man, in a peculiar uniform, shuffles past the completely        unaged Spartan.        He grumbles by in a phone headset equipped withfiberoptic        video gear, and OUT OF FRAME we see that the        prison has become vaster, stranger, with multiple grated        catwalks and more networks of artfully-engineered piping.        And heavily, heavilystocked with prisoners...        Smithers looks up at his holoset.  Hovering in front of        him in the air is Lenina Huxley.                                HUXLEY (IMAGE)                  Mellow greeting, Warden JohnJ.                  Smithers.                                SMITHERS                         (this again)                  Yeah.  <u>BE</u> well.  Lieutenant                  Lenina Huxley.        EXT. SAN ANGELES - STREETS - DAY(2042)        A 2042 police car glides INTO FRAME.  We MOVE WITH it        as it passes by a series of austere geometric buildings.        Green, green glass.  Blue, blue sky.  Cleaner than        Disneyland.  The future isperfect.  More emissionless        cars gliding silently by.                                HUXLEY (V.O.)                  As it is a beautiful Monday                  morning, and as my duty log                  irrationally requiresit...        INT. LENINA'S POLICE CAR - MOVING - DAY        Behind the wheel, the mischievously-beautiful LENINA        HUXLEY.  A heads up display announces she is calling        Warden John J. Smithers.  The order ofbusiness is        \"Prison Population Informative Query.\"  And future or        not, Lenina fusses with her hair.  With <u>both</u> hands.        The steering wheel is not present atall.                                HUXLEY                  I am hereby querying you on the                  prison population update.                         (hopefully)                  Does the tedium continue?        ON HEADS UPDISPLAY        Warden Smithers gently reminds her that ---                                SMITHERS (IMAGE)                  Incontrovertibly and unequivocally,                  yes.  The prisoners are ice cubes.                  They do"}
+{"doc_id":"doc_173","qid":"","text":"<html><head><title>Lord of the Rings: Return of the King Script at IMSDb.</title><meta name=\"description\" content=\"Lord of the Rings: Return of the King script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"Lord of the Rings: Return of the King script, Lord of the Rings: Return of the King movie script, Lord of the Rings: Return of the King film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\"content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=ratingCONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq =_gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:'== document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>TheInternet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie ScriptDatabase\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <scripttype=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>              For Your Consideration            Best Adapted Screenplay By    Fran Walsh, Philippa Boyens, Peter Jackson       Based on the Book byJ.R.R. Tolkien<b>THE LORD OF THE RINGS: THE RETURN OF THE KING</b><b></b><b>BLACK SCREEN . . .</b>SUPER:                New Line Cinema PresentsSUPER:               A WingNut Films Production<b>BLACKSCREEN:</b><b>EXT. RIVER ANDUIN - DAY</b>ANGLE ON: SMEAGOL and his cousin, DEAGOL, sit in a SMALLCORACLE, their FISHING LINES draped over the side . . . SUNSHINEglinting off the surface of thewater.An idyllic image.SUDDENLY . . . DEAGOL's FISHING ROD BENDS under the weight of a<b>LARGE FISH.</b><b>                        DEAGOL</b>                 (excited)            Smeagol, I've got one!                 (helaughs)            I've got a fish, Smeagol!<b>                       SMEAGOL</b>                 (excitedly)            Go on, pull it in.DEAGOL pulls on his ROD, but is HAULED OVERBOARD anddisappears underwater with aSPLASH!ANGLE ON: SMEAGOL leaning over the BOAT . . . CONCERNED.                       SMEAGOL (cont'd)                 (worried)            Deagol!<b>EXT. UNDERWATER, RIVER ANDUIN - DAY</b>ANGLE ON: DEAGOL istowed to the RIVER BED by a LARGE FISH. . . he suddenly lets go of the line . . . eyes fixed on aSHINING GOLD RING, lying in 'the SILT.<b></b>                                     Final Revision - October, 2003 2<b>EXT.RIVER ANDUIN, GLADDEN FIELDS - DAY</b>CLOSE ON: DEAGOL climbs out of the WATER, onto the RIVER<b>BANK.</b>CLOSE ON: the RING   revealed in DEAGOL'S PALM . . .ANGLE ON: SMEAGOL peers over hisshoulder . . . the GOLDreflects in SMEAGOL'S EYES!ON SOUNDTRACK: The HUM of the RING growing LOUDER . . .<b>                     SMEAGOL</b>           Give us that, Deagol, my love!DEAGOL turns to look at him, asmirk on his face.<b>                      DEAGOL</b>           Why?CLOSE ON: SMEAGOL moves towards DEAGOL . . .<b>                     SMEAGOL</b>           Because its my birthday, and I wants it.ANGLE ON:SMEAGOL jumps on DEAGOL . . . STRANGLING HIM! SMEAGOLrips the GLITTERING RING from DEAGOL'S LIMP HAND.                      SMEAGOL (cont'd)           My precious!CLOSE ON: SMEAGOL slips the RING onto hisFINGER and DISAPPEARS.<b>                                                       DISSOLVE TO:</b><b>INT. MISTY MOUNTAINS CAVES - DAY</b>IMAGES: SMEAGOL descending into madness. His body TWISTS andDISTORTS . .. he becomes a CREEPY, SHRIVELLED wretch . . . finallycrawling into a DARK CAVE beneath the MISTY MOUNTAINS.<b>                     SMEAGOL V/0</b>           They cursed us. Murderer. Murderer they           calledus. They cursed us and drove us           away.<b>                      (M°RE)                            (CONTINUED)</b><b></b>                                      Final Revision - October, 20033.<b>CONTINUED:</b>                        SMEAGOL V/0 (cont'd)             And we wept, Precious, we wept to be so             alone. And we forgot the taste of bread,             the sound of trees, the softness ofthe             wind . . . We even forgot our own name.                  (in a choking cough)             Gollum! Gollum!ANGLE ON: GOLLUM in the CAVE staring at the RING in hishand.<b>                        GOLLUM</b>             It's mine! My own. It came to me.<b>                        SMEAGOL</b>                  (ecstatic)             My Precious.<b>                                                        DISSOLVETO:</b><b>EXT. CULVERT, VALE OF MORGUL - DAWN</b>ANGLE ON: A GRIM LANDSCAPE, covered in THORN BUSHES and thescars of RECENT FIRES. The DARK MORGUL VALLEY disappears uptowards theMOUNTAINS.SETTLE ON: FRODO and SAM in a FILTHY CULVERT.SAM twitches in a RESTLESS SLEEP. But FRODO is awake . . . Hishand trails down to the CHAIN around his NECK ...A SUDDEN HISS! FRODO quicklyhides the RING as GOLLUM peersat them with GLEAMING EYES.<b>                        GOLLUM</b>             Wake up! Wake up! Wake up, sleepies! We             must go, yes, we must go at once!SAM STIRS, looks atFRODO . . .<b>                        SAM</b>             Haven't you had any sleep, Mr Frodo?FRODO shakes his HEAD.                        SAM (cont'd)             I've gone and had toomuch!<b>                                                        (CONTINUED)</b><b></b>                                        Final Revision - October, 2003 4.<b>CONTINUED:</b>SAM looks at the dead, BROWN TWILIGHT, below theLOWERING<b>CLOUD.</b>                        SAM (cont'd)             It must be getting late.<b>                        FRODO</b>             No . . . no it isn't. It isn't midday yet.             The days are growing darker.TheGROUND suddenly QUIVERS, as a ROLLING, RUMBLING NOISEECHOES down the VALLEY.<b>                        GOLLUM</b>             Come on, must go, no time ...<b>                        SAM</b>             Not before MrFrodo's had something to eat.<b>                        GOLLUM</b>             . . . no time to lose, silly.SAM shoots GOLLUM a HOSTILE LOOK and turns back to rummage inhis KNAPSACK. He holds up a piece of driedLEMBAS BREAD to<b>FRODO.</b><b>                        SAM</b>             Here.<b>                        FRODO</b>             What about you?<b>                        SAM</b>                  (lying badly)             I'm nothungry - leastways, not for lembas             bread.<b>                        FRODO</b>             Sam.<b>                        SAM</b>                  (confessing)             Alright. We don't have that muchleft.<b>                         (MORE)</b><b>                                                          (CONTINUED)</b><b></b>                                     Final Revision - October, 2003 5.<b>CONTINUED: ( 2)</b>                      SAM (cont'd)            We have to be careful or we're going to run            out. You go ahead and eat that, Mr Frodo.            I've rationed it. There should be enough.FRODO looksa t SAMquestioningly.<b>                        FRODO</b>            For what?<b>                       SAM</b>            The journey home.FRODO says nothing.                                            .<b>EXT. CULVERT, VALE OF MORGUL -DAY</b>WIDE: FRODO and SAM follow GOLLUM as he leads them on thewining, torturous path ... clambering through BRACKEN andover JAGGED ROCKS.<b>                       GOLLUM</b>            Come, Hobbitses.Very close now. Very close            to Mordor! No safe places here. Hurry!            Shhh.<b>EXT. THE FOREST OF ISENGARD. DAY</b>GANDALF leads ARAGORN, LEGOLAS, THEODEN and GIMLI throughdark woodland. . .The MOVING FOREST of FANGORN ...opens before them . . .creating an AVENUE of TREES, which allows them access alongthe old ISENGARD ROAD. A THICK, HUMID MIST fills the forest.SUPER:             The Returnof the KingANGLE ON: The FOEST SEPARATES ahead, REVEALING: the RUINS of<b>ISENGARD.</b><b>EXT. ISENGARED GATE - DAY</b>WIDE ON: All about, the GREAT STONE WALL is cracked andsplintered intocountless jagged shards.<b>                                                     (CONTINUED)</b><b></b>                                          Final Revision - October, 2003 6.<b>CONTINUED:</b>Far off, half veiled int he swirlingSTEAM, the TOWER ofORTHANC stands ... Unbroken by the storm. Pale waters lapabout its feet.ANGLE ON: TWO SMALL HOBBITS are sitting on the SMASHED WALL. . . MERRY and PIPPIN! SPREAD before them is afeast ofBREADS, MEATS and WINE. They PUFF on long pipes as they lieback in the SUN.<b>                       PIPPIN</b>             I feel like I ' m back at the Green Dragon,             after a hard dayswork.<b>                       MERRY</b>             Only, you've never done a hard days work.MERRY cuts PIPPIN off before he can respond in kind.                       MERRY (cont'd)             Welcome, my Lords, toIsengard.<b>                        GANDALF</b>ANGLE ON: GANDALF, ARAGORN, LEGOLAS and GIMLI stare at theSIGHT before them . . .<b>                       GIMLI</b>             You young rascals! A merry hunt you'veled             us on, and now we find you feasting and             smoking.<b>                        PIPPIN</b>                  (mouth full)             We are sitting on a field of victory,             enjoying a few well-earnedcomforts.             The salted pork is particularly good.<b>                        GIMLI</b>                  (suddenly interested)             Salted pork?<b>                        GANDALF</b>                  (shaking hishead)             Hobbits!<b>                                                         (CONTINUED)</b><b></b>                                         Final Revision - October, 2003 7.<b>CONTINUED:(2)</b><b>                     MERRY</b>           We're under orders from Treebeard, who's           taken over management of Isengard.WIDE: GANDALF leads the company through the flotsam andjetsam which floatsupon the muddied waters surrounding theTOWER ... TREEBEARD, the GIANT ENT, strides towards them,ALARMING all but GANDALF.<b>                     TREEBEARD</b>           Huraroom ... Young Master Gandalf, I'mglad           you've come. Wood and water, stock and ,           stone I can master, but there's a wizard to           be managed here ... Locked in his tower.<b>                      GANDALF</b>           And there Sarumanmust remain, under your           guard, Treebeard.<b>                     GIMLI</b>           Let's just have his head and be done with           it.                            .GANDALF stares up the long length of the DARK TOWER .. .<b>                      GANDALF</b>                (quietly)           No. He has no power any more.THE OLD ENT nods his head wisely . . .<b>                       TREEBEARD</b>           The filth of Saruman is washing away...           Trees will come back to live here, young           trees . . . wild trees.CLOSE ON: PIPPIN, his eye caught by something lying in the WATERANGLE ON: The MUDDY waters GLOWING wit a golden light . ..ARAGORN turns as, quick as a FLASH, PIPPIN has jumped off hisho rse an d pi cke d u p -- th e PA LAN TIR !<b>                                                        (CONTINUED)</b><b></b>                                      FinalRevision - October, 2003 8,<b>CONTINUED: ( 3 )</b>                      TREEBEARD (cont'd)            Well bless my bark!<b>                        GANDALF</b>                 (urgent)            Peregrin Took! I'll take that, mylad!PIPPIN doesn't move, his eyes staring in wonder at the smoothblack stone ...                       GANDALF (cont'd)            Quickly, now!RELUCTANTLY, PIPPIN hands the PALANTIR to GANDALF ... whoimmediatelysmothers it in his cloak.ANGLE ON: GANDALF looks back at PIPPIN . . . troubled.<b>EXT. EDORAS - DAY</b>WIDE: BACK SHOT - a GROUP OF RIDERS gallop towards the ROHANCITY of EDORAS . . .PUSH IN: EOWYNstanding alone outside the GOLDEN HALL,waiting . . .<b>                                                               CUT</b><b>INT. EDORAS, GOLDEN HALL - EVENING</b>WIDE: A ROARING FIRE; a LAMB ROASTING on SPI;LONG TABLESladen with FOOD; BARRELS of WINE; a banquet is-laid ready forthe returning soldiers.<b>                       THEODEN</b>            Tonight we remember those who gave their            blood to defend this"}
+{"doc_id":"doc_174","qid":"","text":"The Project Gutenberg EBook of The Call of the Wild, by Jack LondonThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: The Call of the WildAuthor: Jack LondonRelease Date: July 1, 2008 [EBook #215]Language: English***START OF THIS PROJECT GUTENBERG EBOOK THE CALL OF THE WILD ***Produced by Ryan, Kirstin, Linda and Rick Trapp in LovingMemory of Ivan Louis ReeseTHE CALL OF THE WILDby JackLondon      Contents      I     Into the Primitive      II    The Law of Club and Fang      III   The Dominant Primordial Beast      IV    Who Has Won to Mastership      V     The Toil of Trace and Tail      VI    For the Love of aMan      VII   The Sounding of the CallChapter I. Into the Primitive         \"Old longings nomadic leap,          Chafing at custom's chain;          Again from its brumal sleep          Wakens the ferine strain.\"Buck did not readthe newspapers, or he would have known that troublewas brewing, not alone for himself, but for every tide-water dog, strongof muscle and with warm, long hair, from Puget Sound to San Diego.Because men, gropingin the Arctic darkness, had found a yellow metal,and because steamship and transportation companies were booming thefind, thousands of men were rushing into the Northland. These men wanteddogs, and the dogsthey wanted were heavy dogs, with strong muscles bywhich to toil, and furry coats to protect them from the frost.Buck lived at a big house in the sun-kissed Santa Clara Valley. JudgeMiller's place, it was called. It stoodback from the road, half hiddenamong the trees, through which glimpses could be caught of the widecool veranda that ran around its four sides. The house was approached bygravelled driveways which wound aboutthrough wide-spreading lawns andunder the interlacing boughs of tall poplars. At the rear things were oneven a more spacious scale than at the front. There were great stables,where a dozen grooms and boys heldforth, rows of vine-clad servants'cottages, an endless and orderly array of outhouses, long grape arbors,green pastures, orchards, and berry patches. Then there was the pumpingplant for the artesian well, and the bigcement tank where JudgeMiller's boys took their morning plunge and kept cool in the hotafternoon.And over this great demesne Buck ruled. Here he was born, and here hehad lived the four years of his life. It was true,there were otherdogs, There could not but be other dogs on so vast a place, but they didnot count. They came and went, resided in the populous kennels, or livedobscurely in the recesses of the house after the fashionof Toots, theJapanese pug, or Ysabel, the Mexican hairless,--strange creatures thatrarely put nose out of doors or set foot to ground. On the other hand,there were the fox terriers, a score of them at least, whoyelpedfearful promises at Toots and Ysabel looking out of the windows at themand protected by a legion of housemaids armed with brooms and mops.But Buck was neither house-dog nor kennel-dog. The whole realmwas his.He plunged into the swimming tank or went hunting with the Judge's sons;he escorted Mollie and Alice, the Judge's daughters, on long twilightor early morning rambles; on wintry nights he lay at the Judge'sfeetbefore the roaring library fire; he carried the Judge's grandsons on hisback, or rolled them in the grass, and guarded their footsteps throughwild adventures down to the fountain in the stable yard, and evenbeyond,where the paddocks were, and the berry patches. Among theterriers he stalked imperiously, and Toots and Ysabel he utterlyignored, for he was king,--king over all creeping, crawling, flyingthings of Judge Miller's place,humans included.His father, Elmo, a huge St. Bernard, had been the Judge's inseparablecompanion, and Buck bid fair to follow in the way of his father. He wasnot so large,--he weighed only one hundred and fortypounds,--for hismother, Shep, had been a Scotch shepherd dog. Nevertheless, one hundredand forty pounds, to which was added the dignity that comes of goodliving and universal respect, enabled him to carry himselfin rightroyal fashion. During the four years since his puppyhood he had livedthe life of a sated aristocrat; he had a fine pride in himself, was evena trifle egotistical, as country gentlemen sometimes become becauseoftheir insular situation. But he had saved himself by not becoming a merepampered house-dog. Hunting and kindred outdoor delights had kept downthe fat and hardened his muscles; and to him, as to thecold-tubbingraces, the love of water had been a tonic and a health preserver.And this was the manner of dog Buck was in the fall of 1897, when theKlondike strike dragged men from all the world into the frozenNorth.But Buck did not read the newspapers, and he did not know that Manuel,one of the gardener's helpers, was an undesirable acquaintance. Manuelhad one besetting sin. He loved to play Chinese lottery. Also, inhisgambling, he had one besetting weakness--faith in a system; and thismade his damnation certain. For to play a system requires money, whilethe wages of a gardener's helper do not lap over the needs of a wifeandnumerous progeny.The Judge was at a meeting of the Raisin Growers' Association, and theboys were busy organizing an athletic club, on the memorable night ofManuel's treachery. No one saw him and Buck go offthrough the orchardon what Buck imagined was merely a stroll. And with the exception of asolitary man, no one saw them arrive at the little flag station knownas College Park. This man talked with Manuel, and moneychinked betweenthem.\"You might wrap up the goods before you deliver 'm,\" the stranger saidgruffly, and Manuel doubled a piece of stout rope around Buck's neckunder the collar.\"Twist it, an' you'll choke 'm plentee,\"said Manuel, and the strangergrunted a ready affirmative.Buck had accepted the rope with quiet dignity. To be sure, it was anunwonted performance: but he had learned to trust in men he knew, and togive them creditfor a wisdom that outreached his own. But when the endsof the rope were placed in the stranger's hands, he growled menacingly.He had merely intimated his displeasure, in his pride believing that tointimate was tocommand. But to his surprise the rope tightened aroundhis neck, shutting off his breath. In quick rage he sprang at the man,who met him halfway, grappled him close by the throat, and with a defttwist threw him overon his back. Then the rope tightened mercilessly,while Buck struggled in a fury, his tongue lolling out of his mouth andhis great chest panting futilely. Never in all his life had he been sovilely treated, and never in all hislife had he been so angry. But hisstrength ebbed, his eyes glazed, and he knew nothing when the train wasflagged and the two men threw him into the baggage car.The next he knew, he was dimly aware that histongue was hurting andthat he was being jolted along in some kind of a conveyance. The hoarseshriek of a locomotive whistling a crossing told him where he was. Hehad travelled too often with the Judge not to knowthe sensation ofriding in a baggage car. He opened his eyes, and into them came theunbridled anger of a kidnapped king. The man sprang for his throat, butBuck was too quick for him. His jaws closed on the hand, nordid theyrelax till his senses were choked out of him once more.\"Yep, has fits,\" the man said, hiding his mangled hand from thebaggageman, who had been attracted by the sounds of struggle. \"I'mtakin' 'm up for theboss to 'Frisco. A crack dog-doctor there thinksthat he can cure 'm.\"Concerning that night's ride, the man spoke most eloquently for himself,in a little shed back of a saloon on the San Francisco water front.\"All I get isfifty for it,\" he grumbled; \"an' I wouldn't do it over fora thousand, cold cash.\"His hand was wrapped in a bloody handkerchief, and the right trouser legwas ripped from knee to ankle.\"How much did the other mug get?\"the saloon-keeper demanded.\"A hundred,\" was the reply. \"Wouldn't take a sou less, so help me.\"\"That makes a hundred and fifty,\" the saloon-keeper calculated; \"andhe's worth it, or I'm a squarehead.\"The kidnapperundid the bloody wrappings and looked at his laceratedhand. \"If I don't get the hydrophoby--\"\"It'll be because you was born to hang,\" laughed the saloon-keeper.\"Here, lend me a hand before you pull your freight,\" headded.Dazed, suffering intolerable pain from throat and tongue, with the lifehalf throttled out of him, Buck attempted to face his tormentors. But hewas thrown down and choked repeatedly, till they succeeded in filingtheheavy brass collar from off his neck. Then the rope was removed, and hewas flung into a cagelike crate.There he lay for the remainder of the weary night, nursing his wrath andwounded pride. He could notunderstand what it all meant. What did theywant with him, these strange men? Why were they keeping him pent up inthis narrow crate? He did not know why, but he felt oppressed by thevague sense of impendingcalamity. Several times during the night hesprang to his feet when the shed door rattled open, expecting to see theJudge, or the boys at least. But each time it was the bulging face ofthe saloon-keeper that peered in athim by the sickly light of a tallowcandle. And each time the joyful bark that trembled in Buck's throat wastwisted into a savage growl.But the saloon-keeper let him alone, and in the morning four men enteredand pickedup the crate. More tormentors, Buck decided, for they wereevil-looking creatures, ragged and unkempt; and he stormed and raged atthem through the bars. They only laughed and poked sticks at him, whichhepromptly assailed with his teeth till he realized that that was whatthey wanted. Whereupon he lay down sullenly and allowed the crate to belifted into a wagon. Then he, and the crate in which he was imprisoned,begana passage through many hands. Clerks in the express office tookcharge of him; he was carted about in another wagon; a truck carriedhim, with an assortment of boxes and parcels, upon a ferry steamer; hewas truckedoff the steamer into a great railway depot, and finally hewas deposited in an express car.For two days and nights this express car was dragged along at the tailof shrieking locomotives; and for two days and nights Buckneither atenor drank. In his anger he had met the first advances of the expressmessengers with growls, and they had retaliated by teasing him. When heflung himself against the bars, quivering and frothing, theylaughedat him and taunted him. They growled and barked like detestable dogs,mewed, and flapped their arms and crowed. It was all very silly, heknew; but therefore the more outrage to his dignity, and his angerwaxedand waxed. He did not mind the hunger so much, but the lack of watercaused him severe suffering and fanned his wrath to fever-pitch. Forthat matter, high-strung and finely sensitive, the ill treatment hadflunghim into a fever, which was fed by the inflammation of his parchedand swollen throat and tongue.He was glad for one thing: the rope was off his neck. That had giventhem an unfair advantage; but now that it was off,he would show them.They would never get another rope around his neck. Upon that he wasresolved. For two days and nights he neither ate nor drank, and duringthose two days and nights of torment, he accumulated afund of wraththat boded ill for whoever first fell foul of him. His eyes turnedblood-shot, and he was metamorphosed into a raging fiend. So changed washe that the Judge himself would not have recognized him; and theexpressmessengers breathed with relief when they bundled him off the train atSeattle.Four men gingerly carried the crate from the wagon into a small,high-walled back yard. A stout man, with a red sweater thatsaggedgenerously at the neck, came out and signed the book for the driver.That was the man, Buck divined, the next tormentor, and he hurledhimself savagely against the bars. The man smiled grimly, and broughtahatchet and a club.\"You ain't going to take him out now?\" the driver asked.\"Sure,\" the man replied, driving the hatchet into the crate for a pry.There was an instantaneous scattering of the four men who had carrieditin, and from safe perches on top the wall they prepared to watch theperformance.Buck rushed at the splintering wood, sinking his teeth into it, surgingand wrestling with it. Wherever the hatchet fell on the outside, hewasthere on the inside, snarling and growling, as furiously anxious to getout as the man in the red sweater was calmly intent on getting him out.\"Now, you red-eyed devil,\" he said, when he had made anopeningsufficient for the passage of Buck's body. At the same time he droppedthe hatchet and shifted the club to his right hand.And Buck was truly a red-eyed devil, as he drew himself together for thespring, hairbristling, mouth foaming, a mad glitter in his blood-shoteyes. Straight at the man he launched his one hundred and forty poundsof fury, surcharged with the pent passion of two days and nights. Inmid air, just as hisjaws were about to close on the man, he receiveda shock that checked his body and brought his teeth together with anagonizing clip. He whirled over, fetching the ground on his back andside. He had never been struckby a club in his life, and did notunderstand. With a snarl that was part bark and more scream he was againon his feet and launched into the air. And again the shock came and hewas brought crushingly to the ground.This time he was aware that it wasthe club, but his madness knew no caution. A dozen times he charged, andas often the club broke the charge and smashed him down.After a particularly fierce blow, he crawled to hisfeet, too dazed torush. He staggered limply about, the blood flowing from nose and mouthand ears, his beautiful coat sprayed and flecked with bloody slaver.Then the man advanced and deliberately dealt him a frightfulblow onthe nose. All the pain he had endured was as nothing compared with theexquisite agony of this. With a roar that was almost lionlike in itsferocity, he again hurled himself at the man. But the man, shiftingtheclub from right to left, coolly caught him by the under jaw, at the sametime wrenching downward and backward. Buck described a complete circlein the air, and half of another, then crashed to the ground on hisheadand chest.For the last time he rushed. The man struck the shrewd blow he hadpurposely withheld for so long, and Buck crumpled up and went down,knocked utterly senseless.\"He's no slouch at dog-breakin', that'swot I say,\" one of the men onthe wall cried enthusiastically.\"Druther break cayuses any day, and twice on Sundays,\" was the reply ofthe driver, as he climbed on the wagon and started the horses.Buck's senses cameback to him, but not his strength. He lay where hehad fallen, and from there he watched the man in the red sweater.\"'Answers to the name of Buck,'\" the man soliloquized, quoting from thesaloon-keeper's letter whichhad announced the consignment of the crateand contents. \"Well, Buck, my boy,\" he went on in a genial voice, \"we'vehad our little ruction, and the best thing we can do is to let it go atthat. You've learned your place,and I know mine. Be a good dog and all'll go well and the goose hang high. Be a bad dog, and I'll whale thestuffin' outa you. Understand?\"As he spoke he fearlessly patted the head he had so mercilessly pounded,andthough Buck's hair involuntarily bristled at touch of the hand,he endured it without protest. When the man brought him water he drankeagerly, and later bolted a generous meal of raw meat, chunk by chunk,from theman's hand.He was beaten (he knew that); but he was not broken. He saw, once forall, that he stood no chance against a man with a club. He had learnedthe lesson, and in all his after life he never forgot it. That clubwasa revelation. It was his introduction to the reign of primitive law,and he met the introduction halfway. The facts of life took on a fierceraspect; and while he faced that aspect uncowed, he faced it with all thelatentcunning of his nature aroused. As the days went by, other dogscame, in crates and at the ends of ropes, some docilely, and some ragingand roaring as he had come; and, one and all, he watched them passunder thedominion of the man in the red sweater. Again and again, as helooked at each brutal performance, the lesson was driven home to Buck:a man with a club was a lawgiver, a master to be obeyed, though notnecessarilyconciliated. Of this last Buck was never guilty, though hedid see beaten dogs that fawned upon the man, and wagged their tails,and licked his hand. Also he saw one dog, that would neither conciliatenor obey, finallykilled in the struggle for mastery.Now and again men came, strangers, who talked excitedly, wheedlingly,and in all kinds of fashions to the man in the red sweater. And at suchtimes that money passed between themthe strangers took one or more ofthe dogs away with them. Buck wondered where they went, for they nevercame back; but the fear of the future was strong upon him, and he wasglad each time when he was notselected.Yet his time came, in the end, in the form of a little weazened man whospat broken English and many strange and uncouth exclamations which Buckcould not understand.\"Sacredam!\" he cried, when his eyes litupon Buck. \"Dat one dam bullydog! Eh? How moch?\"\"Three hundred, and a present at that,\" was the prompt reply of the manin the red sweater. \"And seem' it's government money, you ain't got nokick coming, eh,Perrault?\"Perrault grinned. Considering that the price of dogs had been boomedskyward by the unwonted demand, it was not an unfair sum for so finean animal. The Canadian Government would be no loser, nor woulditsdespatches travel the slower. Perrault knew dogs, and when he looked atBuck he knew that he was one in a thousand--\"One in ten t'ousand,\" hecommented mentally.Buck saw money pass between them, and wasnot surprised when Curly, agood-natured Newfoundland, and he were led away by the little weazenedman. That was the last he saw of the man in the red sweater, and asCurly and he looked at receding Seattle fromthe deck of the Narwhal, itwas the last he saw of the warm Southland. Curly and he were taken belowby Perrault and turned over to a black-faced giant called Francois.Perrault was a French-Canadian, and swarthy; butFrancois was aFrench-Canadian half-breed, and twice as swarthy. They were a new kindof men to Buck (of which he was destined to see many more), and whilehe developed no affection for them, he none the less grewhonestly torespect them. He speedily learned that Perrault and Francois were fairmen, calm and impartial in administering justice, and too wise in theway of dogs to be fooled by dogs.In the 'tween-decks of theNarwhal, Buck and Curly joined two otherdogs. One of them was a big, snow-white fellow from Spitzbergen who hadbeen brought away by a whaling captain, and who had later accompanieda Geological Survey into theBarrens. He was friendly, in a treacheroussort of way, smiling into one's face the while he meditated someunderhand trick, as, for instance, when he stole from Buck's food at thefirst meal. As Buck sprang to punishhim, the lash of Francois's whipsang through the air, reaching the culprit first; and nothing remainedto Buck but to recover the bone. That was fair of Francois, he decided,and the half-breed began his rise in Buck'sestimation.The other dog made no advances, nor received any; also, he did notattempt to steal from the newcomers. He was a gloomy, morose fellow, andhe showed Curly plainly that all he desired was to be left alone,andfurther, that there would be trouble if he were not left alone. \"Dave\"he was called, and he ate and slept, or yawned between times, and tookinterest in nothing, not even when the Narwhal crossed QueenCharlotteSound and rolled and pitched and bucked like a thing possessed. WhenBuck and Curly grew excited, half wild with fear, he raised his head asthough annoyed, favored them with an incurious glance, yawned,and wentto sleep again.Day and night the ship throbbed to the tireless pulse of the propeller,and though one day was very like another, it was apparent to Buck thatthe weather was steadily growing colder. At last, onemorning, thepropeller was quiet, and the Narwhal was pervaded with an atmosphere ofexcitement. He felt it, as did the other dogs, and knew that a changewas at hand. Francois leashed them and brought them ondeck. At thefirst step upon the cold surface, Buck's feet sank into a white mushysomething very like mud. He sprang back with a snort. More of this whitestuff was falling through the air. He shook himself, but more of itfellupon him. He sniffed it curiously, then licked some up on his tongue. Itbit like fire, and the next instant was gone. This puzzled him. He triedit again, with the same result. The onlookers laughed uproariously, andhe"}
+{"doc_id":"doc_175","qid":"","text":"The Project Gutenberg EBook of The Spoilers, by Rex BeachThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it under theterms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: The SpoilersAuthor: Rex BeachPosting Date: May 2, 2013 [EBook #5076]Release Date: February, 2004First Posted:April 16, 2002Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE SPOILERS ***Produced by Charles Franks and the Online Distributed Proofreading Team.THE SPOILERSBy REX BEACHAuthor of\"THE AUCTION BLOCK\" \"RAINBOW'S END\" \"THE IRON TRAIL\" Etc.Illustrated       THIS BOOKIS LOVINGLY DEDICATED TO       MY MOTHERCONTENTSCHAPTER    I. THE ENCOUNTER   II. THE STOWAWAY  III. IN WHICHGLENISTER ERRS   IV. THE KILLING    V. WHEREIN A MAN APPEARS   VI. AND A MINE IS JUMPED  VII. THE \"BRONCO KID'S\" EAVESDROPPING VIII. DEXTRY MAKES A CALL   IX. SLUICE ROBBERS    X. THE WIT OF ANADVENTURESS   XI. WHEREIN A WRIT AND A RIOT FAIL  XII. COUNTERPLOTS XIII. IN WHICH A MAN IS POSSESSED OF A DEVIL  XIV. A MIDNIGHT MESSENGER   XV. VIGILANTES  XVI. IN WHICH THE TRUTH BEGINSTO BARE ITSELF XVII. THE DRIP OF WATER IN THE DARKXVIII. WHEREIN A TRAP IS BAITED  XIX. DYNAMITE   XX. IN WHICH THREE GO TO THE SIGN OF THE SLED AND BUT TWO RETURN  XXI. THE HAMMER-LOCKXXII. THE PROMISE OF DREAMSCHAPTER ITHE ENCOUNTERGlenister gazed out over the harbor, agleam with the lights of anchoredships, then up at the crenelated mountains, black against the sky. Hedrank the cool airburdened with its taints of the sea, while the bloodof his boyhood leaped within him.\"Oh, it's fine--fine,\" he murmured, \"and this is my country--mycountry, after all, Dex. It's in my veins, this hunger for the North.Igrow. I expand.\"\"Careful you don't bust,\" warned Dextry. \"I've seen men get plumb drunkon mountain air. Don't expand too strong in one spot.\" He went backabruptly to his pipe, its villanous fumes promptly avertingany dangerof the air's too tonic quality.\"Gad! What a smudge!\" sniffed the younger man. \"You ought to be inquarantine.\"\"I'd ruther smell like a man than talk like a kid. You desecrate thehour of meditation withrhapsodies on nature when your aesthetics ain'thoned up to the beauties of good tobacco.\"The other laughed, inflating his deep chest. In the gloom he stretchedhis muscles restlessly, as though an excess of vigor filledhim.They were lounging upon the dock, while before them lay the Santa Mariaready for her midnight sailing. Behind slept Unalaska, quaint, antique,and Russian, rusting amid the fogs of Bering Sea. Where, a weekbefore,mild-eyed natives had dried their cod among the old bronze cannon, nowa frenzied horde of gold-seekers paused in their rush to the new ElDorado. They had come like a locust cloud, thousands strong, settlingonthe edge of the Smoky Sea, waiting the going of the ice that barredthem from their Golden Fleece--from Nome the new, where men foundfortune in a night.The mossy hills back of the village were ridged with graves ofthosewho had died on the out-trip the fall before, when a plague had grippedthe land--but what of that? Gold glittered in the sands, so said thesurvivors; therefore men came in armies. Glenister and Dextry hadleftNome the autumn previous, the young man raving with fever. Now theyreturned to their own land.\"This air whets every animal instinct in me,\" Glenister broke outagain. \"Away from the cities I turn savage. I feel theold primitivepassions--the fret for fighting.\"\"Mebbe you'll have a chance.\"\"How so?\"\"Well, it's this way. I met Mexico Mullins this mornin'. You mind oldMexico, don't you? The feller that relocated Discovery Claim onAnvilCreek last summer?\"\"You don't mean that 'tin-horn' the boys were going to lynch forclaim-jumping?\"\"Identical! Remember me tellin' you about a good turn I done him oncedown Guadalupe way?\"\"Greasershooting-scrape, wasn't it?\"\"Yep! Well, I noticed first off that he's gettin fat; high-livin' fat,too, all in one spot, like he was playin' both ends ag'in the centre.Also he wore di'mon's fit to handle with ice-tongs.\"Says I,lookin' at his side elevation, 'What's accented your middlesyllable so strong, Mexico?'\"'Prosperity, politics, an' the Waldorf-Astorier,' says he. It seemsMex hadn't forgot old days. He claws me into a corner an' says,'Bill,I'm goin' to pay you back for that Moralez deal.'\"'It ain't comin' to me,' says I. 'That's a bygone!'\"'Listen here,' says he, an', seein' he was in earnest, I let him runon.\"'How much do you value that claim o' yournat?'\"'Hard tellin',' says I. 'If she holds out like she run last fall,there'd ought to be a million clear in her.\"\"'How much'll you clean up this summer?'\"''Bout four hundred thousand, with luck.'\"'Bill,' says he, 'there's hella-poppin' an' you've got to watch thatground like you'd watch a rattle-snake. Don't never leave 'em get agrip on it or you're down an' out.'\"He was so plumb in earnest it scared me up, 'cause Mexico ain't agabbyman.\"'What do you mean?' says I.\"'I can't tell you nothin' more. I'm puttin' a string on my own neck,sayin' THIS much. You're a square man, Bill, an' I'm a gambler, but yousaved my life oncet, an' I wouldn't steer youwrong. For God's sake,don't let 'em jump your ground, that's all.'\"'Let who jump it? Congress has give us judges an' courts an'marshals--' I begins.\"'That's just it. How you goin' to buck that hand? Them's the bestcardsin the deck. There's a man comin' by the name of McNamara. Watchhim clost. I can't tell you no more. But don't never let 'em get a gripon your ground.' That's all he'd say.\"\"Bah! He's crazy! I wish somebody would tryto jump the Midas; we'denjoy the exercise.\"The siren of the Santa Maria interrupted, its hoarse warning throbbingup the mountain.\"We'll have to get aboard,\" said Dextry.\"Sh-h! What's that?\" the other whispered.Atfirst the only sound they heard was a stir from the deck of thesteamer. Then from the water below them came the rattle of rowlocks anda voice cautiously muffled.\"Stop! Stop there!\"A skiff burst from the darkness,grounding on the beach beneath. Afigure scrambled out and up the ladder leading to the wharf.Immediately a second boat, plainly in pursuit of the first one, struckon the beach behind it.As the escaping figure mountedto their level the watchers perceivedwith amazement that it was a young woman. Breath sobbed from her lungs,and, stumbling, she would have fallen but for Glenister, who ranforward and helped her to her feet.\"Don'tlet them get me,\" she panted.He turned to his partner in puzzled inquiry, but found that the old manhad crossed to the head of the landing ladder up which the pursuerswere climbing.\"Just a minute--you there! Back upor I'll kick your face in.\" Dextry'svoice was sharp and unexpected, and in the darkness he loomed tall andmenacing to those below.\"Get out of the way. That woman's a runaway,\" came from the one higheston theladder.\"So I jedge.\"\"She broke qu--\"\"Shut up!\" broke in another. \"Do you want to advertise it? Get out ofthe way, there, ye damn fool! Climb up, Thorsen.\" He spoke like a buckomate, and his words stirred the bile ofDextry.Thorsen grasped the dock floor, trying to climb up, but the old minerstamped on his fingers and the sailor loosened his hold with a yell,carrying the under men with him to the beach in his fall.\"This way! Followme!\" shouted the mate, making up the bank for theshore end of the wharf.\"You'd better pull your freight, miss,\" Dextry remarked; \"they'll behere in a minute.\"\"Yes, yes! Let us go! I must get aboard the Santa Maria.She's leavingnow. Come, come!\"Glenister laughed, as though there were a humorous touch in her remark,but did not stir.\"I'm gettin' awful old an' stiff to run,\" said Dextry, removing hismackinaw, \"but I allow I ain't tooold for a little diversion in theway of a rough-house when it comes nosin' around.\" He moved lightly,though the girl could see in the half-darkness that his hair wassilvery.\"What do you mean?\" she questioned,sharply.\"You hurry along, miss; we'll toy with 'em till you're aboard.\" Theystepped across to the dockhouse, backing against it. The girl followed.Again came the warning blast from the steamer, and the voice ofanofficer:\"Clear away that stern line!\"\"Oh, we'll be left!\" she breathed, and somehow it struck Glenister thatshe feared this more than the men whose approaching feet he heard.\"YOU can make it all right,\" he urged her,roughly. \"You'll get hurt ifyou stay here. Run along and don't mind us. We've been thirty days onshipboard, and were praying for something to happen.\" His voice wasboyishly glad, as if he exulted in the fray that was tocome; and nosooner had he spoken than the sailors came out of the darkness uponthem.During the space of a few heart-beats there was only a tangle ofwhirling forms with the sound of fist on flesh, then the blot splitupand forms plunged outward, falling heavily. Again the sailors rushed,attempting to clinch. They massed upon Dextry only to grasp empty air,for he shifted with remarkable agility, striking bitterly, as an oldwolf snaps.It was baffling work, however, for in the darkness hisblows fell short or overreached.Glenister, on the other hand, stood carelessly, beating the men off asthey came to him. He laughed gloatingly, deep in his throat, asthoughthe encounter were merely some rough sport. The girl shuddered, for thedesperate silence of the attacking men terrified her more than a din,and yet she stayed, crouched against the wall.Dextry swung at a dimtarget, and, missing it, was whirled off hisbalance. Instantly his antagonist grappled with him, and they fell tothe floor, while a third man shuffled about them. The girl throttled ascream.\"I'm goin' to kick 'im, Bill,\" theman panted hoarsely. \"Le' me fix'im.\" He swung his heavy shoe, and Bill cursed with stirring eloquence.\"Ow! You're kickin' me! I've got 'im, safe enough. Tackle the big un.\"Bill's ally then started towards the others, hisbody bent, his armsflexed yet hanging loosely. He crouched beside the girl, ignoring her,while she heard the breath wheezing from his lungs; then silently heleaped. Glenister had hurled a man from him, then steppedback to avoidthe others, when he was seized from behind and felt the man's armswrapped about his neck, the sailor's legs locked about his thighs. Nowcame the girl's first knowledge of real fighting. The two spun backandforth so closely entwined as to be indistinguishable, the othersholding off. For what seemed many minutes they struggled, the young manstriving to reach his adversary, till they crashed against the wallnear her andshe heard her champion's breath coughing in his throat atthe tightening grip of the sailor. Fright held her paralyzed, for shehad never seen men thus. A moment and Glenister would be down beneaththeir stampingfeet--they would kick his life out with their heavyshoes. At thought of it, the necessity of action smote her like a blowin the face. Her terror fell away, her shaking muscles stiffened, andbefore realizing what she did shehad acted.The seaman's back was to her. She reached out and gripped him by thehair, while her fingers, tense as talons, sought his eyes. Then thefirst loud sound of the battle arose. The man yelled in suddenterror;and the others as suddenly fell back. The next instant she felt a handupon her shoulder and heard Dextry's voice.\"Are ye hurt? No? Come on, then, or we'll get left.\" He spoke quietly,though his breath was loud,and, glancing down, she saw the huddledform of the sailor whom he had fought.\"That's all right--he ain't hurt. It's a Jap trick I learned. Hurry up!\"They ran swiftly down the wharf, followed by Glenister and bythegroans of the sailors in whom the lust for combat had been quenched. Asthey scrambled up the Santa Maria's gang-plank, a strip of waterwidened between the boat and the pier.\"Close shave, that,\" panted Glenister,feeling his throat gingerly,\"but I wouldn't have missed it for a spotted pup.\"\"I've been through b'iler explosions and snowslides, not to mention atriflin' jail-delivery, but fer real sprightly diversions I don'trecall nothin'more pleasin' than this.\" Dextry's enthusiasm wasboylike.\"What kind of men are you?\" the girl laughed nervously, but got noanswer.They led her to their deck cabin, where they switched on the electriclight, blinking ateach other and at their unknown guest.They saw a graceful and altogether attractive figure in a trim, shortskirt and long, tan boots. But what Glenister first saw was her eyes;large and gray, almost brown under theelectric light. They were activeeyes, he thought, and they flashed swift, comprehensive glances at thetwo men. Her hair had fallen loose and crinkled to her waist, allagleam. Otherwise she showed no sign of her recentordeal.Glenister had been prepared for the type of beauty that follows thefrontier; beauty that may stun, but that has the polish and chill of anew-ground bowie. Instead, this girl with the calm, reposeful facestruck anote almost painfully different from her surroundings,suggesting countless pleasant things that had been strange to him forthe past few years.Pure admiration alone was patent in the older man's gaze.\"I make oration,\"said he, \"that you're the gamest little chap I everfought over, Mexikin, Injun, or white. What's the trouble?\"\"I suppose you think I've done something dreadful, don't you?\" shesaid. \"But I haven't. I had to get away fromthe Ohio to-nightfor--certain reasons. I'll tell you all about it to-morrow. I haven'tstolen anything, nor poisoned the crew--really I haven't.\" She smiledat them, and Glenister found it impossible not to smile withher,though dismayed by her feeble explanation.\"Well, I'll wake up the steward and find a place for you to go,\" hesaid at length. \"You'll have to double up with some of the women,though; it's awfully crowdedaboard.\"She laid a detaining hand on his arm. He thought he felt her tremble.\"No, no! I don't want you to do that. They mustn't see me to-night. Iknow I'm acting strangely and all that, but it's happened so quicklyIhaven't found myself yet. I'll tell you to-morrow, though, really.Don't let any one see me or it will spoil everything. Wait tillto-morrow, please.\"She was very white, and spoke with eager intensity.\"Help you? Why, sureMike!\" assured the impulsive Dextry, \"an', seehere, Miss--you take your time on explanations. We don't care a cusswhat you done. Morals ain't our long suit, 'cause 'there's never a lawof God or man runs north ofFifty-three,' as the poetry man remarked,an' he couldn't have spoke truer if he'd knowed what he was sayin'.Everybody is privileged to 'look out' his own game up here. A squaredeal an' no questions asked.\"She lookedsomewhat doubtful at this till she caught the heat ofGlenister's gaze. Some boldness of his look brought home to her theactual situation, and a stain rose in her cheek. She noted him morecarefully; noted his heavyshoulders and ease of bearing, an ease andlooseness begotten of perfect muscular control. Strength was equallysuggested in his face, she thought, for he carried a marked youngcountenance, with thrusting chin,aggressive thatching brows, andmobile mouth that whispered all the changes from strength to abandon.Prominent was a look of reckless energy. She considered him handsome ina heavy, virile, perhaps too purelyphysical fashion.\"You want to stowaway?\" he asked.\"I've had a right smart experience in that line,\" said Dextry, \"but Inever done it by proxy. What's your plan?\"\"She will stay here to-night,\" said Glenister quickly. \"Youand I willgo below. Nobody will see her.\"\"I can't let you do that,\" she objected. \"Isn't there some place whereI can hide?\" But they reassured her and left.When they had gone, she crouched trembling upon her seat for alongtime, gazing fixedly before her. \"I'm afraid!\" she whispered; \"I'mafraid. What am I getting into? Why do men look so at me? I'mfrightened. Oh, I'm sorry I undertook it.\" At last she rose wearily.The close cabinoppressed her; she felt the need of fresh air. So,turning out the lights, she stepped forth into the night. Figuresloomed near the rail and she slipped astern, screening herself behind alife-boat, where the cool breezefanned her face.The forms she had seen approached, speaking earnestly. Instead ofpassing, they stopped abreast of her hiding-place; then, as they beganto talk, she saw that her retreat was cut off and that she mustnotstir.\"What brings her here?\" Glenister was echoing a question of Dextry's.\"Bah! What brings them all? What brought 'the Duchess,' and CherryMalotte, and all the rest?\"\"No, no,\" said the old man. \"She ain't thatkind--she's too fine, toodelicate--too pretty.\"\"That's just it--too pretty! Too pretty to be alone--or anything exceptwhat she is.\"Dextry growled sourly. \"This country has plumb ruined you, boy. Youthink they're allalike--an' I don't know but they are--all but thisgirl. Seems like she's different, somehow--but I can't tell.\"Glenister spoke musingly:\"I had an ancestor who buccaneered among the Indies, a long timeago--so I'm told.Sometimes I think I have his disposition. He comesand whispers things to me in the night. Oh, he was a devil, and I'vegot his blood in me--untamed and hot--I can hear him saying somethingnow--something about thespoils of war. Ha, ha! Maybe he's right. Ifought for her to-night--Dex--the way he used to fight for hissweethearts along the Mexicos. She's too beautiful to be good--and'there's never a law of God or man runs north ofFifty-three.'\"They moved on, his vibrant, cynical laughter stabbing the girl till sheleaned against the yawl for support.She held herself together while the blood beat thickly in her ears,then fled to the cabin, hurlingherself into her berth, where shewrithed silently, beating the pillow with hands into which her nailshad bitten, staring the while into the darkness with dry and achingeyes.CHAPTER IITHE STOWAWAYShe awoke to thethrob of the engines, and, gazing cautiously throughher stateroom window, saw a glassy, level sea, with the sun brightlyagleam on it.So this was Bering? She had clothed it always with the mystery of herschool-days,thinking of it as a weeping, fog-bound stretch of graywaters. Instead, she saw a flat, sunlit main, with occasionalsea-parrots flapping their fat bodies out of the ship's course. Aglistening head popped up from the watersabreast, and she heard thecry of \"seal!\"Dressing, the girl noted minutely the personal articles scattered aboutthe cabin, striving to derive therefrom some fresh hint of thecharacteristics of the owners. First, there wasan elaborate,copper-backed toilet-set, all richly ornamented and leather-bound. Themetal was magnificently hand-worked and bore Glenister's initial. Itspoke of elegant extravagance, and seemed oddly out of place inanArctic miner's equipment, as did also a small set of De Maupassant.Next, she picked up Kipling's Seven Seas, marked liberally, and feltthat she had struck a scent. The roughness and brutality of the poemshad alwayschilled her, though she had felt vaguely their splendidpulse and swing. This was the girl's first venture from a shelteredlife. She had not rubbed elbows with the world enough to find thatTruth may be rough, unshaven,and garbed in homespun. The bookconfirmed her analysis of the junior partner.Pendent from a hook was a worn and blackened holster from which peepedthe butt of a large Colt's revolver, showing evidence of manyyears'service. It spoke mutely of the white-haired Dextry, who, before herinspection was over, knocked at the door, and, when she admitted him,addressed her cautiously:\"The boy's down forrad, teasin' grub out of aflunky. He'll be up in aminute. How'd ye sleep?\"\"Very well, thank you,\" she lied, \"but I've been thinking that I oughtto explain myself to you.\"\"Now, see here,\" the old man interjected, \"there ain't no explanationsneededtill you feel like givin' them up. You was in trouble--that'sunfortunate; we help you--that's natural; no questions asked--that'sAlaska.\"\"Yes--but I know you must think--\"\"What bothers me,\" the other continuedirrelevantly, \"is how in blazeswe're goin' to keep you hid. The steward's got to make up this room,and somebody's bound to see us packin' grub in.\"\"I don't care who knows if they won't send me back. They wouldn'tdothat, would they?\" She hung anxiously on his words.\"Send you back? Why, don't you savvy that this boat is bound for Nome?There ain't no turnin' back on gold stampedes, and this is the wildestrush the world eversaw. The captain wouldn't turn back--hecouldn't--his cargo's too precious and the company pays five thousand aday for this ship. No, we ain't puttin' back to unload no stowaways atfive thousand per. Besides, wepassengers wouldn't let him--time's tooprecious.\" They were interrupted by the rattle of dishes outside, andDextry was about to open the door when his hand wavered uncertainlyabove the knob, for he heard the heartygreeting of the ship's captain.\"Well, well, Glenister, where's all the breakfast going?\"\"Oo!\" whispered the old man--\"that's Cap' Stephens.\"\"Dextry isn't feeling quite up to form this morning,\" replied"}
+{"doc_id":"doc_176","qid":"","text":"<html><head><title>Code of Silence Script at IMSDb.</title><meta name=\"description\" content=\"Code of Silence script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Code of Silencescript, Code of Silence movie script, Code of Silence film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX,FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                                     CODE OF SILENCE</b><b> </b>                                       Written by                 Michael Butler, DennisShryack, Mike Gray & John Mason                                        Story by                             Michael Butler & Dennis Shryack<b>                                      SHOOTINGDRAFT</b><b>                                           1985</b><b>                </b><b>               EXT. CHICAGO - NIGHT TO DAWN</b>               Thundering north through the glass canyons of the Loop,the                elevated train SCREECHES through the city awakening. As it                races north across the river past ancient factories giving                way to high rise splendor, lights glistening againstthe                dawn, we see the complex business of bringing a city to life                in the morning.               On the Near North Side an assortment of revelers are winding                up their night on thetown.               The pressmen loiter outside the Tribune loading docks, and                fishing boats are outbound through the Chicago River locks.               A streetsweeping crew moves through the FultonMarket,                Chicago's central meat and produce distribution center.               At the Merchandise Mart platform the elevated train picks up                two old cleaning ladies wearingbabushkas.<b>               EXT. ALLEY - DAY</b>               The el train RUMBLES north past the aging tenements of Uptown                into the Belmont Avenue Station.               And down below, a garbage truck isslowly working its way up                the alley. A garbage man in city overalls WHISTLES to the                driver and the truck stops. He rolls a can to the grinding                jaw as the driver sits, tense and alert,scanning the street.               There's something odd about this driver. And the garbage man                too, for that matter.<b>               EXT. EL PLATFORM - DAY</b>               SPIDER, a nervous looking black man,steps out onto the                platform. As the train pulls away we see him reach into his                shirt pocket and CLICKS his ball point pen a couple of times.                He WHISPERS into it. It is a concealed radiotransmitter.<b>                                     SPIDER</b>                         Say, hey, Cub fans, I hope to hell                          y'all down there cause we got a big                          game today.               He heads for thestairs and the street below.<b>               INT. TRUCK CAB - DAY</b>               The truck cab is equipped with a police radio. The driver,                RICH DONATO, adjusts the volume. Over the SPEAKER,HEAVY                WITH STATIC, we can hear the SOUND of the RECEDING EL TRAIN.<b>                                     SPIDER (V.O.)</b>                              (from radio)                         The school bus bewaitin.               Donato motions for the garbage man.<b>               EXT. ALLEY - DAY</b>               EDDIE CUSACK jumps up on the truck's running board and sticks                his head in. On the seat beside Donatois a sledgehammer and                a sawed off automatic rifle. The two men stare at each other                as they concentrate on the CRACKLING RADIO.<b>                                     SPIDER(V.O.)</b>                              (from radio)                         S'happenin, Doc?<b>                                     DOC (V.O.)</b>                              (from radio)                         Hey, I got it all right here,my                          man. Jus be waitin on you.<b>                                     SPIDER (V.O.)</b>                              (from radio)                         We ain't got far to go.<b>               EXT. EL STATION -DAY</b>               DOC is at the wheel of a late model Cadillac. Spider gets in                and they pull slowly away from the curb.<b>               EXT. EL STATION - DAY</b>               At the corner in a beat up Pontiacare officers MUSIC and                BRENNAN. The two rough looking detectives follow Doc's car                through half closed eyes.               They also HEAR Spider's TRANSMITTER. The quality ofthe                reception improves as Spider and his antennae clear the steel                support structure of the el platform.<b>                                     DOC (V.O.)</b>                              (fromradio)                         This early bird shit just ain't my                          style.<b>                                     SPIDER (V.O.)</b>                              (from radio)                         Dig it. Too close to real workfor                          me.               Doc and Spider talk in a nervous false bravado.<b>               EXT. ALLEY - DAY</b>               Eddie nods to Donato who grabs a walkie-talkie from theseat.<b>                                     DONATO</b>                              (to walkie-talkie)                         O.K. Home Team. Ready in the bullpen.<b>                                     MUSIC(V.O.)</b>                              (from radio)                         Copy Shortstop. Double play. We're                          with him now.<b>                                     SPOTTER (V.O.)</b>                              (fromradio)                         Center's in.               SILENCE. Eddie looks at Donato.<b>                                     EDDIE</b>                         Where's Cragie?<b>               EXT. CEMETERY - DAY</b>               Two copsare against the wall separating the cemetery from                the El. CRAGIE, a weathered twenty-five year veteran; and                NICK KOSALAS, the new kid on the team. Cragie sits on a crate                with astyrofoam cup of coffee.               Kosalas is trying to maneuver his cup lid off, and still                hold on to his walkie-talkie.<b>                                     DONATO (V.O.)</b>                              (fromradio)                         Talk to me left field.<b>                                     KOSALAS</b>                              (to mike)                         Ready sir. Left Field in position.               Cragie pulls a pint of whiskey from hispocket and sweetens                his coffee with a healthy shot. He notices Kosalas, who has                set down the thermos and is nervously moving from legto                leg.<b>                                     CRAGIE</b>                         Have a shot, kid. A little nerve                          tonic.<b>                                     KOSALAS</b>                         What's the matter withyou?               Cragie grins and raises his cup to drink. His hand shakes                and he has to steady it with the other.               The RADIO CRACKLES.<b>                                     SPOTTER(V.O.)</b>                              (from radio)                         O.K., guys, runner on first base.<b>               INT. SPOTTER APARTMENT - DAY</b>               A spotter, KOBAS, covers the scene from an abandonedbuilding                across the street.<b>                                     KOBAS</b>                              (to walkie-talkie)                         Just turning on Paulina.<b>                                     EDDIE(V.O.)</b>                              (from radio)                         Double Play, you got him in sight?<b>                                     MUSIC (V.O.)</b>                              (from radio)                         Yeah, we got the onhim. He's headin                          for the alley.<b>               EXT. ALLEY - DAY</b>               Eddie wrestles another garbage can into the truck's hopper                as Doc's car cruises slowly past.               Eddie andSpider LOCK EYES for a split second.               The car moves on and stops at the far end of the alley. The                lights switch off. After a moment, Spider and Doc leave the                car and check out the scene.Doc carries a satchel.<b>                                     DOC (V.O.)</b>                              (from radio)                         I say nice and simple now.<b>                                     SPIDER(V.O.)</b>                              (from radio)                         We real cool, Doc. We're frosty. We                          jus' doin' a little business, you                          know? Ain't no big thing.               The two men slipinto the back gate of an old tenement. They                pass through a gangway to the front of the building, and                climb the front stairs.               Though we can no longer see them, we HEAR a DOOROPENING, a                GREETING in Spanish, and FEET FOUNDING up the steps.               The garbage truck GRINDS forward and halts again. Eddie comes                up to the cab. He is wearing a gun under hisoveralls. He                and Donato listen on the RADIO to the CONVERSATION coming                from inside the building.<b>               INT. COMACHO FRONT STAIRS - DAY</b>               A muscular Latino, POMPASCOMACHO, leads Spider and Doc down                the paint-peeling corridor. The SOUND of BABIES CRYING and                FAMILIES WAKING gives a sense of teeming humanity behind                everydoor.               The Latino knocks at a door heavily fortified with burglar                bars. The door opens. The bars are unlocked.<b>                                     SPIDER</b>                         How y'alldoin?<b>                                     VOICE (V.O.)</b>                              (from within)                         It's O.K. O.K. Como esta?               Pompas leaves the two men and heads down the stairs toward                thefront door.<b>               INT. COMACHO APARTMENT - DAY</b>               Doc and Spider enter. They're patted down.               A sleepy eyed Latino woman comes to stand in the bedroom                doorway.VICTOR COMACHO barks at her in Spanish, and she                disappears into the bedroom.<b>               EXT. ALLEY - DAY</b>               Eddie stands on the running board of the truck with Donato                at thewheel. They listen to the RADIO.<b>                                     DOC (V.O.)</b>                              (from radio)                         Hey, man, we're clean, huh. Weain't                          fools.<b>                                     SPIDER (V.O.)</b>                         You do that real nice, Pancho. what                          say we get married.               Eddie tosses a soiled Rubic's Cube intoDonato's lap.<b>                                     EDDIE</b>                         Found you a present.<b>                                     DONATO</b>                         Shit, those things will fuck upyour                          mind.<b>               EXT. CEMETERY - DAY</b>               Cragie is watching over the wall with his binoculars. He                looks back at Kosalas, who is hopping from foot tofoot.<b>                                     CRAGIE</b>                         If you gotta take a leak, do it now.<b>                                     KOSALAS</b>                         I can't go wading in with myshlong                          flapping in the wind.<b>                                     CRAGIE</b>                         Sure you can. It's called diversionary                          tactics.               Cragie laughs and swigs straight fromthe bottle. The RADIO <b>               CRACKLES.</b><b>                                     BRENNAN (V.O.)</b>                              (from radio)                         What's going on in theballpark?<b>                                     DONATO (V.O.)</b>                              (from radio)                         Don't get froggy. Wait for the green                          light.<b>               EXT. COMACHO STREET -"}
+{"doc_id":"doc_177","qid":"","text":"The Project Gutenberg EBook of Lisbeth Longfrock, by Hans AanrudThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it underthe terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: Lisbeth LongfrockAuthor: Hans AanrudIllustrator: Othar HolmboeTranslator: Laura E. PoulssonRelease Date:August 18, 2008 [EBook #26348]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK LISBETH LONGFROCK ***Produced by Chris Curnow, Joseph Cooper and the OnlineDistributed Proofreading Teamat http://www.pgdp.net[Illustration: LISBETH LONGFROCK]LISBETH LONGFROCKTRANSLATED FROM THE NORWEGIAN OF HANS AANRUDBYLAURA E. POULSSONILLUSTRATED BYOTHAR HOLMBOEGINN ANDCOMPANYBOSTON · NEW YORK · CHICAGO · LONDONATLANTA · DALLAS · COLUMBUS · SAN FRANCISCOCOPYRIGHT, 1907, BYLAURA E. POULSSONALL RIGHTS RESERVEDPRINTED IN THE UNITED STATES OFAMERICAThe Athenæum PressGINN AND COMPANY · PROPRIETORS ·BOSTON · U.S.A.PREFACEHans Aanrud's short stories are considered by his own countrymen asbelonging to the most original and artisticallyfinished life picturesthat have been produced by the younger _literati_ of Norway. Theyare generally concerned with peasant character, and present in truebalance the coarse and fine in peasant nature. The style ofspeech isoccasionally over-concrete for sophisticated ears, but it is notunwholesome. Of weak or cloying sweetness--so abhorrent to Norwegiantaste--there is never a trace._Sidsel Sidsærk_ was dedicated to theauthor's daughter on her eighthbirthday, and is doubtless largely reminiscent of Aanrud's ownchildhood. If I have been able to give a rendering at all worthy of theoriginal, readers of _Lisbeth Longfrock_ will find thatthe whole storybreathes a spirit of unaffected poetry not inconsistent with the commonlife which it depicts. This fine blending of the poetic and commonplaceis another characteristic of Aanrud's writings.While translatingthe book I was living in the region where the scenesof the story are laid, and had the benefit of local knowledgeconcerning terms used, customs referred to, etc. No pains were sparedin verifying particulars, especiallythrough elderly people on thefarms, who could best explain the old-fashioned terms and who had aclear remembrance of obsolescent details of sæter life. For thiswelcome help and for elucidations through other friendsI wish here tooffer my hearty thanks.Being desirous of having the conditions of Norwegian farm life made asclear as possible to young English and American readers, I felt thatseveral illustrations were necessary andthat it would be well forthese to be the work of a Norwegian. To understand how the sun can bealready high in the heavens when it rises, and how, when it sets, theshadow of the western mountain can creep as quicklyas it does from thebottom of the valley up the opposite slope, one must have someconception of the narrowness of Norwegian valleys, with steep mountainridges on either side. I felt also that readers would beinterested inpictures showing how the dooryard of a well-to-do Norwegian farm looks,how the open fireplace of the roomy kitchen differs from ourfireplaces, how tall and slender a Norwegian stove is, builtwithalternating spaces and heat boxes, several stories high, and howCrookhorn and the billy goat appeared when about to begin their grandtussle up at Hoel Sæter._Sidsel Sidsærk_ has given much pleasure to old andyoung. I hope that_Lisbeth Longfrock_ may have the same good fortune.LAURA E. POULSSONHOPKINTON, MASSACHUSETTSCONTENTSCHAPTER                                                  PAGE   I. LISBETH LONGFROCK GOESTO HOEL FARM                   1  II. LISBETH LONGFROCK AS SPINNING WOMAN                  12 III. LEAVING PEEROUT CASTLE                               22  IV. SPRING: LETTING THE ANIMALS OUT TOPASTURE           33   V. SUMMER: TAKING THE ANIMALS UP TO THE SÃ\u0000TER           52  VI. THE TAMING OF CROOKHORN                              68 VII. HOME FROM THE SÃ\u0000TER                                  84VIII. ONGLORY PEAK                                        98  IX. THE VISIT TO PEEROUT CASTLE                         113   X. SUNDAY AT THE SÃ\u0000TER                                 129  XI. LISBETH APPOINTED HEADMILKMAID                     139LIST OF ILLUSTRATIONSLISBETH LONGFROCK                               _Frontispiece_                                                         PAGEHOEL FARM                                                   4THE BIGKITCHEN AT HOEL FARM                               12LISBETH'S ROOM UNDER THE STAIRS                            34THE VALLEY AND THE FARMS                                   52UP AT THESÃ\u0000TER                                            68LISBETH LONGFROCKCHAPTER ILISBETH LONGFROCK GOES TO HOEL FARMBearhunter, the big, shaggy old dog at Hoel Farm, sat on the stone stepin front of the house,looking soberly around the spacious dooryard.It was a clear, cold winter's day toward the beginning of spring, andthe sun shone brightly over the glittering snow. In spite of the brightsunshine, however, Bearhunterwould have liked to be indoors muchbetter than out, if his sense of responsibility had permitted; for hispaws ached with the cold, and he had to keep holding them up one afteranother from the stone slab to keep fromgetting the \"claw ache.\"Bearhunter did not wish to risk that, because \"claw ache\" is verypainful, as every northern dog knows.But to leave his post as watchman was not to be thought of just now,for the pigs and thegoats were out to-day. At this moment they werebusy with their separate affairs and behaving very well,--the pigs overon the sunny side of the dooryard scratching themselves against thecorner of the cow house, andthe goats gnawing bark from the big heapof pine branches that had been laid near the sheep barn for theirspecial use. They looked as if they thought of nothing but theirscratching and gnawing; but Bearhunter knewwell, from previousexperience, that no sooner would he go into the house than both pigsand goats would come rushing over to the doorway and do all themischief they could. That big goat, Crookhorn,--the new onewho hadcome to the farm last autumn and whom Bearhunter had not yet broughtunder discipline,--had already strayed in a roundabout way to the verycorner of the farmhouse, and was looking at Bearhunter inaself-important manner, as if she did not fear him in the least. She wasreally an intolerable creature, that goat Crookhorn! But just let herdare--!Bearhunter felt that he must sit on the cold doorstep for sometimelonger, at any rate. He glanced up the road occasionally as if to seewhether any one was coming, so that the pigs and goats might not thinkthey had the whole of his attention.He had just turned his head leisurelytoward the narrow road that camedown crosswise over the slope from the Upper Farms, when--what in theworld was that!Something _was_ coming,--a funny little roly-poly something. What apity, thought Bearhunter,that his sight was growing so poor! At anyrate, he had better give the people in the house warning.So he gave several deep, echoing barks. The goats sprang together in aclump and raised their ears; the pigs stopped inthe very midst oftheir scratching to listen. That Bearhunter was held in great respectcould easily be seen.He still remained sitting on the doorstep, staring up the road. Neverin his life had he seen such a thing as thatnow approaching. Perhaps,after all, it was nothing worth giving warning about. He would take aturn up the road and look at it a little nearer. So, arching his bushytail into a handsome curve and putting on his mostgood-humoredexpression, he sauntered off.Yes, it must be a human being, although you would not think so. Itbegan to look very much like \"Katrine the Finn,\" as they called her,who came to the farm every winter; butit could not be Katrine--it wasaltogether too little. It wore a long, wide skirt, and from under theskirt protruded the tips of two big shoes covered with gray woolenstocking feet from which the legs had been cut off.Above the skirtthere was a round bundle of clothes with a knitted shawl tied aroundit, and from this protruded two stumps with red mittens on. Perched onthe top of all was a smaller shape, muffled up in a smallerknittedshawl,--that, of course, must be the head. Carried at the back was ahuge bundle tied up in a dark cloth, and in front hung a pretty woodenpail, painted red.Really, Bearhunter had to stand still and gaze. Thestrange figure, inthe meantime, had become aware of him, and it also came to astandstill, as if in a dilemma. At that, Bearhunter walked over to thefarther side of the road and took his station there, trying tolookindifferent, for he did not wish to cause any fright. The strangefigure then made its way carefully forward again, drawing graduallycloser and closer to its own side of the road. As it came nearer toBearhunter thefigure turned itself around by degrees, until, whendirectly opposite to him, it walked along quite sidewise.Then it was that Bearhunter got a peep through a little opening in theupper shawl; and there he saw the tip of atiny, turned-up red nose,then a red mouth that was drawn down a little at the corners as ifready for crying, and then a pair of big blue eyes that were fastenedupon him with a look of terror.[Illustration: HOELFARM]Pooh! it was nothing, after all, but a little girl, well bundled upagainst the cold. Bearhunter did not know her--but wait a bit! hethought he had seen that pail before. At any rate it would be absurd totry to frightenthis queer little creature.His tail began to wag involuntarily as he walked across the road totake a sniff at the pail.The little girl did not understand his action at once. Stepping back inalarm, she caught her heels in herlong frock and down she tumbled bythe side of the road. Bearhunter darted off instantly; but afterrunning a short distance toward the house he stopped and looked at heragain, making his eyes as gentle as he couldand wagging his tailenergetically. With Bearhunter that wagging of the tail meant hearty,good-natured laughter.Then the little girl understood. She got up, smiled, and jogged slowlyafter him. Bearhunter trottedleisurely ahead, looking back at her fromtime to time. He knew now that she had an errand at Hoel Farm, and thathe was therefore in duty bound to help her.Thus it was that Lisbeth Longfrock of Peerout Castle madeher entranceinto Hoel Farm.                     *      *      *      *      *Peerout Castle was perched high above the Upper Farms, on a crag thatjutted out from a barren ridge just under a mountain peak called \"TheBigHammer.\" The real name of the little farm was New Ridge,[1] and\"Peerout Castle\" was only a nickname given to it by a joker becausethere was so fine an outlook from it and because it bore no resemblancewhatever toa castle. The royal lands belonging to this castleconsisted of a little plot of cultivated soil, a bit of meadow landhere and there, and some heather patches where tiny blueberry bushesand small mountain-cranberryplants grew luxuriantly. The castle'soutbuildings were a shabby cow house and a pigsty. The cow house wasbuilt against the steep hillside, with three walls of loosely builtstone, and its two stalls were dug half theirlength into the hill. Thetiny pigsty was built in the same fashion.      [1] It is customary in Norway for each farm, however small, to      have a name.As for the castle itself, that was a very, very small, turf-roofedcabinlying out on the jutting crag in the middle of the rocky ridge.It had only one small window, with tiny panes of glass, that looked outover the valley. And yet, in whatever part of the surrounding countryone might be, bylooking in that direction--and looking highenough--one could always see that little castle, with its single windowpeering out like a watchful eye over the landscape.Since the castle from which Lisbeth Longfrock came wasno moremagnificent than this, it may easily be understood that she was nodisguised princess, but only a poor little girl. Coming to Hoel Farmfor the first time was for her like visiting an estate that was, invery truth,royal; and besides, she had come on an important \"grown-up\"errand. She was taking her mother's place and visiting Hoel as aspinning woman.Lisbeth's mother, whose name was Randi,[2] had worked hard for thelastfour years to get food for herself and her children up at PeeroutCastle. Before that the family had been in very comfortablecircumstances; but the father had died, leaving the mother with thecastle, one cow, and thecare of the two children. The children wereJacob, at that time about six years old, and Lisbeth, a couple of yearsyounger. Life was often a hard struggle for the mother; but they had,at any rate, a house over theirheads, and they could get wood withouthaving to go very far for it, since the forest lay almost within astone's throw.      [2] (In the original, Roennaug.) This was the mother's first      name. Her full name would beRandi Newridge, or Randi Peerout.In the summer Randi managed to dig up her tiny plots of ground after afashion, so that she could harvest a few potatoes and a little grain.By cutting grass and stripping off birch leavesshe had thus farmanaged each year to give Bliros, their cow, enough to eat. And wherethere is a cow there is always food.In the winter she spun linen and wool for the women on the farms farand near, but as she hadlived at Hoel Farm as a servant before she wasmarried, it was natural that most of her spinning should be forKjersti[3] Hoel.      [3] Kyare'-stee.In such ways had Randi been able to care for her family. MeanwhileJacob,now ten years old, had grown big enough to earn his own living.In the spring before the last a message had come from Nordrum Farm thata boy was needed to look after the flocks, and Jacob had at onceapplied andbeen accepted. He and Lisbeth had often knelt on the longwooden bench under the little window at Peerout Castle, and gazed uponthe different farms, choosing which they would work on when they werebig enough.Jacob had always chosen Nordrum Farm,--probably because hehad heard Farmer Nordrum spoken of as the big man of the community;while Lisbeth had always thought that it would be pleasanter at HoelFarm becauseit was owned by a woman.When autumn came Farmer Nordrum had concluded that he would have usefor such a boy as Jacob during the winter also, and so Jacob had stayedon. This last Christmas, however, he hadgone home for the whole dayand had taken with him a Christmas present for his sister from a littlegirl at Nordrum. The present was a gray woolen frock,--a very nice one.Jacob had grown extremely pleasant and full offun while at Nordrum,Lisbeth thought. When she tried the frock on and it reached way down tothe ground before and behind, he called her \"Lisbeth Longfrock\" andLisbeth Longfrock she had remained from thatday.After Christmas, times had been somewhat harder at Peerout Castle.Bliros, who generally gave milk the whole year round, had become dry,and would not give milk for several months. She was to have a calf intheearly summer. During the last few weeks there had not been milkenough even for Randi's and Lisbeth's coffee.To go to Svehaugen,[4] the nearest farm, for milk was no short trip;and milk was scarce there too, asRandi well knew. Besides, she couldnot spare the time to go. She had to finish spinning Kjersti Hoel'swool. When she once got that off her hands, they could have plenty ofmilk for their coffee, and other good thingsbesides. What a relief itwould be when that time came!      [4] Sva-howg-en.So Randi worked steadily at her spinning, Lisbeth being now big enoughto help in carding the wool. For a week she spun almostwithoutceasing, scarcely taking time for meals, but drinking a good deal ofstrong black coffee. Not until very late one evening was Kjersti Hoel'swool all spun and ready. By that time Randi was far from well. Whetherornot her illness was caused, as she thought, by drinking so muchblack coffee, certain it is that when Kjersti Hoel's wool was all spunRandi felt a tightness in her chest, and when she got up the nextmorning and tried toget ready to go to Hoel with the spinning, she wasseized with such a sudden dizziness that she had to go back to bedagain. She was too weak for anything else.Now it was the custom in Norway for the spinning womanto take back tothe different farms the wool she had spun, and for the farmers' wivesto praise her work, treat her to something good to eat and drink, payher, and then give her directions about the way the next spinningwasto be done. All this Randi would have to give up for the present--therewas no help for it; but she wondered how it would do to send Lisbeth toHoel Farm in her stead. The little girl would find her way safely,Randiwas sure, although Randi had never as yet taken her to that farmbecause it was so far off. The payment for the spinning was to be ineatables as well as money, and Lisbeth could bring home part of whatwas due. Then,though they still might lack many things, their drop ofcoffee could have cream in it, as coffee ought to have. The remainderof the payment and the directions for the next spinning Randi herselfcould get when she wasbetter.If she could only be sure that Lisbeth would behave properly and notact like a changeling, a troll child!Lisbeth eagerly promised that if her mother would allow her to go shewould behave exactly as a spinningwoman should,--she would, really!And she remembered perfectly well just how everything was done thattime she had gone with her mother to one of the nearer farms.So Lisbeth put on her long frock, which was usedonly for very best,and her mother wrapped her up snugly in the two shawls. Then the bundleof yarn was slung over her back, the pail was hung in front, manydirections were given to her about the road, and off shestarted.And that is the way Lisbeth Longfrock happened to come toddling afterBearhunter to Hoel Farm on that clear, cold winter's day toward thebeginning of spring.CHAPTER IILISBETH LONGFROCK AS SPINNINGWOMANWhen Lisbeth found herself in the farm dooryard, with the differentbuildings all about her, she really had to stand still and gaze around.Oh, how large everything was!--quite on another scale from thingsathome. Why, the barn door was so broad and high that Peerout Castlecould easily go right through it, and each windowpane in the big housewas as large as their own whole window. And such a goat!--for just thenshecaught sight of Crookhorn, who had come warily up to the doorway,and who only saw fit to draw back as Bearhunter approached. Not thatCrookhorn was afraid of Bearhunter,--no, indeed!The goat was larger than mostgoats,--about as large as a good-sizedcalf. If the cows belonging to Hoel Farm were as much larger thanordinary cows, thought Lisbeth, they would be able to eat grass fromthe roof of Peerout Castle while standing,just as usual, on theground.[5] She glanced searchingly at the cow-house door. No, it wasnot larger than such doors usually were, so the cows were evidently nobigger than other cows.      [5] Norwegian children incountry districts are accustomed to see      goats walking about on the roofs of turf-covered huts, nibbling      the herbage; but the idea of a creature so large as to be able to      eat from the roof while standing on theground was very      astonishing to Lisbeth.Bearhunter had followed after Crookhorn until the latter was well outof the way; then he had come back again, and now stood wagging his tailand turning toward the housedoor as if coaxing Lisbeth to go in. Yes,she must attend to her errand and not stay out there staring ateverything.So she followed after Bearhunter and went into the hall way. She liftedthe latch of the inner door, turnedherself around carefully as shewent in so as to make room for her bundle, fastened the door behindher--and there she stood inside the big kitchen at Hoel![Illustration: THE BIG KITCHEN AT HOEL FARM]There were onlytwo people in the kitchen,--one a young servant maid inthe middle of the room spinning, and the other the mistress herself,Kjersti Hoel, over by the white wall of the big open fireplace,grinding coffee.Both looked upwhen they heard the door open.Lisbeth Longfrock stood still for a moment, then made a deep courtesyunder her long frock and said in a grown-up way, just as she had heardher mother say, \"Good day, and God blessyour work.\"Kjersti Hoel had to smile when she saw the little roly-poly bundle overby the door, talking in such a grown-up fashion. But she answered assoberly as if she also were talking to a grown-up person: \"Goodday. Isthis a young stranger out for a walk?\"\"Yes.\"\"And what is the stranger's name, and where is she from? I see that Ido not know her.\"\"No, you could not be expected to. My mother and Jacob call me"}
+{"doc_id":"doc_178","qid":"","text":"<html><head><title>Easy A Script at IMSDb.</title><meta name=\"description\" content=\"Easy A script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Easy A script, Easy A movie script,Easy A film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=SubjectCONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0];s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>    <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\"title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center></td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                                   EASY \"A\"</b>                                                           Written by                                                          Bert V.Royal                                                                                                    <b>                                                      FIRST DRAFT</b>                                                   August 3,2008                            <b>                         IN DARKNESS:</b>                         <b>           OLIVE (V.O.)</b>           The rumors of my promiscuity have           been greatlyexaggerated.                         <b>                          FADE IN:</b>                                                  <b>          INT. OLIVE'S BEDROOM - PRESENT DAY</b>                                   OLIVE PENDERGHAST (17), a cuteteenager, speaks directly into          the WEBCAM atop her computer.                         <b>                          OLIVE</b>           Let the record show that I, Olive           Penderghast, being of sound mind,           amplebreast size and the           occasional corny knock knock joke,           do enter this video blog into           evidence in the case against me.           Because I'm being judged by a jury           of my peers, I will attemptto           insert `like' and `totally' into my           confession as much as possible. So           here it goes... I confess I'm, in           no small part, to blame for the           vociferous gossip that has turned           myVarsity letter scarlet, but -           for anyone hoping that the sizzling           details of my sordid past will           provide you with a reason to lock           the door and make love to a dollop           of your sister'smoisturizing           lotion - you'll be gravely           disappointed.           (Beat.)           Look, I just need to set the record           straight and what better way to do           that, than to broadcast it onthe           Internet. So, here it is -- Part           One: The Shudder-Inducing and           Cliched, However Totally False           Account Of How I Lost My Virginity           To A Guy At A Community College In           ANeighboring Town.           (Beat.)           Let me just begin by saying that           there are two sides to every story.           This is my side, the right one.           (Beat.)           Like,totally.<b>           2.</b>                                                  <b>          INT. CAFETERIA - DAY</b>                                   Olive sits with her best friend, RHIANNON ABERNATHY (17), a          brash teenager. It wouldbe safe to say that these girls are          definitely on the \"B List\" at their school.                         <b>                          RHIANNON</b>           Fuck off! George is not a `sexy'           name. George is like what youname           your teddy bear, not the name you           wanna scream out during an orgasm.                         <b>                          OLIVE</b>           That's bullshit. There are lots of           sexyGeorges.                         <b>                          RHIANNON</b>           Name three.                                   Olive starts to say something, but Rhiannon interruptsher.                         <b>                          RHIANNON (CONT'D)</b>           Besides Clooney. Too easy.                         <b>                          OLIVE</b>           Shouldn't that alone beenough?                         <b>                          RHIANNON</b>           Fine. That's one. Number two?                         <b>                          OLIVE</b><b>                          (THINKING)</b>           Okay. George...Ummmm... Reeves!                         <b>                          RHIANNON</b>           Who's that?                         <b>                          OLIVE</b>           Superman. From way back. Hewas           hot.                         <b>                          RHIANNON</b>           No way. Teddy bear.                         <b>                          OLIVE</b>           Bullshit. Ben Affleck played him           in thatmovie!                         <b>                          RHIANNON</b>           So what? Charlize Theron played           that butt-fucking-ugly lesbo serial           killer. Besides he's fromanother           century.<b>                          (MORE)</b><b>           3.</b>                         <b>                          RHIANNON (CONT'D)</b>           We're speaking present day. I           mean, Jesus, Mortimer wasprobably           a sexy name in some era.                         <b>                          OLIVE</b>           George Stephanopolous.                         <b>                          RHIANNON</b>           What are you?Fifty?                         <b>                          OLIVE</b><b>                          (THINKING HARD)</b>           George...                         <b>                          RHIANNON</b>           Bush? Yeah. He's onehot           mutherfucker. Just face it.           There's no such thing as a sexy           George.                         <b>                          OLIVE</b>           Well, mine is. So, I think we           should just put thisconversation           to bed.                         <b>                          RHIANNON</b>           Fine. Don't come. I hate you.                                   Rhiannon folds her arms andpouts.                                                  <b>          INT. OLIVE'S BEDROOM - PRESENT DAY</b>                                   Olive continues to narrate into herwebcam.                         <b>                          OLIVE</b>           Let me back up. I don't know if           any of you have ever met them, but           Rhiannon's parents are quite           possibly the creepiest people ina           four county radius.                                                  <b>          INT. THE ABERNATHY LIVING ROOM</b>                                   MR. and MRS. ABERNATHY (50's) sit on their couch, smiling at          thetelevision, in their horrifically rustic home.                                   MR. ABERNATHY bares a striking resemblance to ukelele player,          Tiny Tim. (Although the man we're looking at has an even          morefrightening smile.)                                   MRS. ABERNATHY has hair to her ankles and dresses like a          Mormon.<b>           4.</b>                                                  <b>           OLIVE (V.O.)</b>           I'vealways felt sort of sorry for           Rhiannon, but not enough to do what           she was asking me to do.                                   We float upwards to -                                                  <b>          INT. RHIANNON'SROOM - CONTINUOUS</b>                                   Rhiannon is on the phone, agitated.                         <b>                          RHIANNON</b>           (Into the phone)           PLEASE. Please. I'm beggingyou.           I'll pay you.                                                  <b>          INT. OLIVE'S BEDROOM - CONTINUOUS</b>                                   Olive is on the other end of the phoneconversation.                                   We INTERCUT between the two sides.                         <b>                          OLIVE</b>           Rhi, I can't. I told you Ihave           plans.                         <b>                          RHIANNON</b>           You're lying. You're a lying bitch           and I hate you so much rightnow.                         <b>                          OLIVE</b><b>                          (LYING)</b>           I'm not lying. I promise I'm not.           I really would love to go camping           with your family this weekend.I           had fun with your family last year.                                                  <b>          EXT. WOODS - LAST YEAR - NIGHT</b>                                   Olive, uncomfortable, and Rhiannon, bored, sit arounda          campfire with the Abernathys.                                   The couple stare at the fire with the same creepy smile          plastered on their faces.                                   There is an excruciatingly long and painfulsilence.                         <b>           MR. ABERNATHY</b>           Would you like a marshmallow, Olive           Oil?<b>           5.</b>                                                            Mrs. Abernathy squeaks out a meek titterthat is annoyingly          high-pitched.                         <b>           MRS. ABERNATHY</b>           Olive oil. That's funny. Very,           veryfunny.                         <b>                          OLIVE</b><b>                          (POLITELY)</b>           No thank you, Mr. Abernathy.                         <b>           MR. ABERNATHY</b>           You can call meMortimer, Olive           Branch.                                   Mrs. Abernathy titters again. Rhiannon rolls her eyes.                                   There is another awkwardly long silence, while the Abernathys          grin away attheir fire.                                                  <b>          INT. RHIANNON'S ROOM - MOMENTS LATER</b>                                   Rhiannon is getting increasingly angrier at herfriend.                         <b>                          RHIANNON</b>           (Into the phone)           Why don't you just say it? You           don't like my parents. You think           they're hopelessly pathetic and           devoidof souls and wish that you           could live with normal people who           didn't meet at a Star Trek           convention!!                                   She quickly catches her faux pas and stopstalking.                         <b>                          OLIVE</b>           (Sympathetic to her<b>                          FRIEND)</b>           Rhi, I like your parents. They're           sweet. But I can't go campingthis           weekend.                         <b>                          RHIANNON</b>           Quick. Hurry and make up a lie.                         <b>                          OLIVE</b>           I have adate.                         <b>                          RHIANNON</b>           Liar.<b>           6.</b>                                                  <b>                          OLIVE</b><b>                          (LYING)</b>           No. Ido.                         <b>                          RHIANNON</b>           With who?                         <b>                          OLIVE</b>           You don't knowhim.                         <b>                          RHIANNON</b>           And neither do you, you selfish           bitch!                         <b>                          OLIVE</b>           I'm serious. He goes to the           communitycollege with my brother           in Denton.                         <b>                          RHIANNON</b>           What's his name then?                         <b>                          OLIVE</b><b>                          (WAXINGCUTE)</b>           Who? My brother?                         <b>                          RHIANNON</b>           Stop stalling. You're totally           trying to come up with a name.           Just sayit.                                                  <b>          INT. OLIVE'S BEDROOM - PRESENT DAY</b>                                   Into the webcam --                         <b>                          OLIVE</b>           I'm not proud of this.Less about           the lie and more about the           unoriginality of it. Okay, have           you guys ever watched `The Brady           Bunch'? Of course you haven't.           You're busy watching fakepeople           pretend to be real on MTV. That's           why I knew I could get away with           it. See, there was this episode           where Jan - the awkward middle           child - made up a boyfriend"}
+{"doc_id":"doc_179","qid":"","text":"<html><head><title>O Brother Where Art Thou? Script at IMSDb.</title><meta name=\"description\" content=\"O Brother Where Art Thou? script at the Internet Movie Script Database.\"><meta name=\"keywords\"content=\"O Brother Where Art Thou? script, O Brother Where Art Thou? movie script, O Brother Where Art Thou? film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><metaname=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttypeCONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ?'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie ScriptDatabase\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <scripttype=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><html><head><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>\"O BROTHER, WHEREART THOU\"</title></head><pre><b> \"O BROTHER, WHERE ART THOU\"</b>   By    Ethan Coen and Joel Coen<b> BLACK</b> In black, we hear a chain-gang chant, many voices together, spaced around the unisonstrike of picks against rock. A title burns in: O muse! Sing in me, and through me tell the story Of that man skilled in all the ways of contending... A wanderer, harried for years on end... On the sound of an impact wecut to:<b> A PICK</b> splitting a rock. As the chant continues, wider angles show the chain-gang at work. They are black men in bleached and faded stripes, chained together, working under a brutal midday sun. It isflat delta countryside; the straight-ruled road stretches to infinity. Mounted guards with shotguns lazily patrol the line. The chain-gang chant is regular and, it seems, timeless. We slowly fade out, returning to<b>BLACK</b> The last of the voices fades. After a long beat we hear the guitar introduction to Harry McClintock's 'The Big Rock Candy Mountain.'<b> A WHEAT FIELD</b> A road cuts across the middle background.Noonday sun beats down. We hear the distant picks and shovels of men at work and see, rising above ground level, the occasional upraised pick and spade heaving dirt. Men are digging a ditch alongside the road. Aftera long beat, three men pop up in the wheat field in the middle foreground. They wear faded stripes and grey duck- billed caps. They scurry abreast toward the camera, throwing an occasional glance back at theditch-diggers. A clanking sound accompanies their run. Oddly, the wheat between them sweeps down as they run. After a brief sprint they drop back down into the wheat. In the background a man enters frame left,strolling along the road, wearing a khaki uniform and sunglasses, a shotgun resting against one shoulder. He glances idly down into the ditch and strolls on out of frame right. The three men rise back up from the wheatand, clanking, resume their sprint.<b> THREE PAIRS OF EYES</b> They are topped by three cap bills, and peer out from behind a blind of greenery. We hear distant whistling. The men are looking at a weathered barn.A young boy, whistling, is heading down the road that leads away from the barn, jiggling the traces of the old plough horse that leads him. He turns a corner and is gone.<b> BARNYARD</b> The three clanking men(we can now see their leg irons) are awkwardly chasing a chicken around the yard. The squawking yardbird doesn't need to move much to elude the three bunched men.<b> COUNTRY LANE</b> It curves in a gentle Sinto the background. It is sun- dappled, pretty. We hear clanking footsteps approaching at a trot. The three men enter in the foreground and trot on down the lane. The leftmost has a flapping chicken tucked under onearm.<b> AFTERNOON CAMPFIRE</b> The three men sit in a side-by-side arc around a dying fire, one of them contentedly picking his teeth with a small chicken bone, another wiping grease off his chin with a sleeve,the third idly poking at the fire with a spit. Each of them, still bound by chains, clinks as he moves. One of them abruptly cocks his head, listening. The others notice his attitude and also freeze, listening. We hear thedistant baying of hounds.<b> ROLLING HILLS</b> From high on a ridge we see the three chained men running toward us. In addition to their clanks we hear a distant chugging sound.<b> TRACKING</b> Laterallywith the clanking, running feet. The chugging sound is very loud.<b> RUNNING</b> Next to a freight train. A boxcar door is open.<b> INSIDE THE BOXCAR</b> The lead convict hooks an elbow in and starts haulinghimself up, his two clanking friends keeping pace outside. Six hobos sit in the boxcar, lounging against sacks of O'Daniel's Flour. They impassively watch the convict clamber in as his two confederates run to keep up.The convict hauls himself to his feet. In spite of his stubble he has carefully tended hair and a pencil mustache. He is Everett. As he dusts himself off:<b> EVERETT</b> Say, uh, any a you boys smithies? The hobosstare. Everett gives an ingratiating smile as, behind him, the second convict starts to haul himself into the boxcar, the third convict still keeping pace outside.<b> EVERETT</b> Or, if not smithies per se, were youotherwise trained in the metallurgic arts before straitened circumstances forced you into a life of aimless wanderin'? The convict running outside the boxcar door stumbles and disappears and the middle convict isyanked out immediately after. Everett, just finishing his speech, flips forward in turn, smashes his chin onto the floor and is sucked out the open doorway, his clawing fingernails leaving parallel grooves on the boxcarfloorboards. The hobos impassively watch.<b> OUTSIDE</b> The three men tumble, clanking, down the track embankment. Squush - they come to a rest in swampland at the bottom. They shake their heads clear,then rise to their feet in the muck and watch the train recede. Its fading clatter leaves the baying of hounds.<b> EVERETT</b> Jesus - can't I count on you people? The second con is Delmar.<b> DELMAR</b> Sorry,Everett. Everett looks desperately about.<b> EVERETT</b> All right - if we take off through that bayou- The third con, Pete, bald but also with beard stubble, angrily cuts in.<b> PETE</b> Wait a minute! Who electedyou leader a this outfit?<b> EVERETT</b> Well, Pete, I just figured it should be the one with capacity for abstract thought. But if that ain't the consensus view, hell, let's put her to a vote!<b> PETE</b> Suits me! I'mvotin' for yours truly!<b> EVERETT</b> Well I'm votin' for yours truly too! Both men look interrogatively to Delmar. He looks from Pete to Everett, and nods agreeably.<b> DELMAR</b> Okay - I'm with you fellas.Everett makes a sudden hushing gesture and all listen. The baying of hounds is louder now, but through it we hear a distant scrape of metal against metal, like the workings of a rusty pump. The men turn in unison tolook up the track. A small, distant form is moving slowly up the track toward them. As it draws closer it resolves into a human-propelled flatcar. An ancient black man rhythmically pumps its long seesaw handle. Thethree convicts look out at the swampland which begins to show movement, the bowing grass trampled by men and dogs. The flatcar draws even and slows.<b> EVERETT</b> Mind if we join you, ol' timer?<b> OLDMAN</b> Join me, my sons. The three men clamber aboard and the old man resumes pumping. The three men exchange glances; Delmar waves a clanking hand before the old man's milky eyes. No reaction.<b>DELMAR</b> You work for the railroad, grandpa?<b> OLD MAN</b> I work for no man.<b> PETE</b> Got a name, do ya?<b> OLD MAN</b> I have no name.<b> EVERETT</b> Well, that right there may be whyyou've had difficulty finding gainful employment. Ya see, in the mart of competitive commerce, the-<b> OLD MAN</b> You seek a great fortune, you three who are now in chains... The men fall silent.<b> OLDMAN</b> And you will find a fortune - though it will not be the fortune you seek... The three convicts, faces upturned, listen raptly to the blind prophet.<b> OLD MAN</b> ...But first, first you must travel a long anddifficult road - a road fraught with peril, uh-huh, and pregnant with adventure. You shall see things wonderful to tell. You shall see a cow on the roof of a cottonhouse, uh-huh, and oh, so many startlements... Thecloudy eyes of the old man stare sightlessly down the track as the seesaw handle rises and falls through frame.<b> OLD MAN</b> ...I cannot say how long this road shall be. But fear not the obstacles in your path, forFate has vouchsafed your reward.  And though the road may wind, and yea, your hearts grow weary, still shall ye foller the way, even unto your salvation. The old man pumps - reek-a reek-a reek-a - as all contemplatehis words. Loud and sudden:<b> OLD MAN</b><b> IZZAT CLEAR?</b> The men start, then mumble polite acknowledgement. The railroad tracks wind to the setting sun. Reek-a reek-a reek-a - the flatcar rolls, inwide shot, toward the golden horizon.<b> FADE OUT</b><b> DAY</b> A hot dusty road leading up to a lone farmhouse. The three men walk, clanking and abreast.<b> DELMAR</b> How'd he know about thetreasure?<b> EVERETT</b> Don't know, Delmar-though the blind are reputed to possess sensitivities compensatin' for their lack of sight, even to the point of developing para- normal psychic powers. Now clearly,seein' the future would fall neatly into that ka-taggery. It's not so surprising, then, if an organism deprived of earthly vision-<b> PETE</b> He said we wouldn't get it! He said we wouldn't get the treasure we seek!Everett grows testy:<b> EVERETT</b> Well what does he know - he's an ignorant old man! Jesus, Pete, I'm telling you I buried it myself, and if your cousin still runs this-here horse farm and has a forge and someshoein' impediments to restore our liberty of movement- Bang! A rifle shot kicks up dust in front of the men.<b> CHILD'S VOICE</b> Hold it rah chair! The front of the farm house shows only a harshly shaded frontporch and a dark screen door. The screen door swings open and a child emerges on to the porch and steps down into the sunlight, holding a gun almost bigger than he is. The grimy-faced boy, about eight years old,wears tattered overalls.<b> CHILD</b> You men from the bank?<b> PETE</b> You Wash's boy?<b> CHILD</b> Yassir! And Daddy tolt me I'm to shoot whosoever from the bank! He pokes his rifle at the three men,who raise their hands.<b> DELMAR</b> Well, we ain't from no bank, young feller.<b> CHILD</b> Yassir! I'm also suppose to shoot folks servin' papers!<b> DELMAR</b> Well we ain't got no papers.<b> CHILD</b>Yassir! I nicked the census man!<b> DELMAR</b> There's a good boy. Is your daddy about?<b> THE BACK OF THE HOUSE</b> Wash Hogwallop, a sour-looking bald man, sits near a rusted bathtub in a yard litteredwith ancient car parts and farm implements overgrown with weeds. He is whittling artlessly at a stick. He glances up as the three convicts clank around the corner, then returns to his whittling.<b> WASH</b> 'Lo, Pete.Hooor yer friends?<b> EVERETT</b> Pleased to make your acquaintance, Mister Hogwallop. M'name's Ulysses Everett McGill.<b> DELMAR</b> 'N I'm Delmar O'Donnell.<b> PETE</b> How ya been, Wash? Beenwhat, twelve, thirteen year'n? Still looking sourly at his whittling:<b> WASH</b> You've grown chatty. He tosses the stick aside and sighs.<b> WASH</b> I expect you'll want them chains knocked off.<b> THEHOGWALLOP KITCHEN</b> The four men and little boy sit around the kitchen table eating stew. A Sears Roebuck catalogue on the boy's chair brings him to table height. The cons are now rid of their chains and aredressed in ill-fitting farmer's wear.<b> WASH</b> They foreclosed on Cousin Vester. He hanged himself a year come May.<b> PETE</b> And Uncle Ratliff?<b> WASH</b> The anthrax took most of his cows. The restdon't milk, and he lost a boy to mumps.<b> PETE</b> Where's Cora, Cousin Wash? Wash glances at the little boy.<b> WASH</b> Couldn't say. Mrs. Hogwallop up and <b> R-U-N-N-O-F-T.</b><b> EVERETT</b>"}
+{"doc_id":"doc_180","qid":"","text":"<html><head><title>Color of Night Script at IMSDb.</title><meta name=\"description\" content=\"Color of Night script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Color of Night script,Color of Night movie script, Color of Night film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\"rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                                    COLOR OF NIGHT</b>                                                               Written by                              Billy Ray &Matthew Chapman                         <b>                         CREDITS</b>                                   Credits start on a black screen, then they continue during the          whole scene at Michelle's place, and they end at thebeginning of          the scene at Bill Capa's office.                         <b>          MICHELLE'S PLACE - INTERIOR DAY</b>                                   Close-up on a silver lipstick stand made into a bad tastemusical          box. We see Michelle's hand selecting a lipstick then we see          Michelle putting the lipstick on her lips, seated in front of the          mirror of her dressing table. She is dressed in a green frock,and          her face shows that she is quite disturbed.           Her apartment's decoration is very heavy, with a lot of various          useless objects and gold-plated furniture and many mirrors.           She looks for a newdress in her wardrobe, and get mad at not          finding it. She then goes to a sofa covered with cushions, which          she throws all around the place, still madder at not finding her          dress. A cat, who was lyingon the armrest of the sofa, runs away          hurriedly from the mad Michelle.                         <b>                          MICHELLE</b>           God !...... No !......                                   Michelle is back in front of themirror of her dressing-table. She          takes the lipstick and put a lot of it on her lips, then on her          teeth, then all around her mouth. She makes faces to herself in          the mirror. She seems more and moredisturbed.           She takes a chrome-plated revolver in her drawer, starts to put          it in her purse, then takes it out, spins the cylinder of the          revolver, and puts the revolver in her mouth, as if she wantedto          kill herself. But instead, she starts sucking the barrel, while          she strokes the revolver in a quite erotic way.                         <b>          BILL CAPA' OFFICE - INTERIORDAY</b>                                   Large planes of ground glass. We hear, without understanding them,          some voices and laughs. Then a male voice becomesmore          understandable...                         <b>                          BILL'S VOICE</b>           So who do you think is the enemy ?... No, no, give me a           specific answer...                                   ... then Michelleappears on the screen. She is dressed in a green          suit, she is heavily made up, et she still seems very disturbed.           The office is very chic and evidently belongs to a very rich New-          York psycho-analyst.Beautiful and good taste furniture. Shelves          with leather-bound books.                         <b>                          MICHELLE</b>           You are the goddamned enemy, Capa, you and this all tower           ofpsycho-babble. You know what I hope ? That God gets real           pissed off and He shrivels up your cock, so that it points           straight down to Hell, where you belongs !...                                   During this reply,Bill Capa has appeared on the screen. He is          seated. He is wearing a long-sleeve shirt, a necktie, but no          jacket. He laughs at Michelle's lastsentence.                         <b>                          BILL</b>           OK... Michelle, so you will become His Avenging Angel, and           swoop down to finish me off.          He standsup.                         <b>                          MICHELLE</b>           Now, I finally get it : you're are like my ex-husband. You           think that everything got to be either black or white           because you got color-blind.But God is on my side now. He           knows I'm not like you                         <b>                          BILL</b>           Well, we are pretty much the same, Michelle. We all doit.                         <b>                          MICHELLE</b>           We all do what ?                         <b>                          BILL</b>           Tend to view our lives as we were looking through a           keyhole. I's a verylimited view of the truth. So, we have           to fill in the blanks. We invent things.                         <b>                          MICHELLE</b>           I don't know what youmean.                         <b>                          BILL</b>           You invent enemies to test your strength against. You           invent gods to protect you from theseenemies.                         <b>                          MICHELLE</b>          Cutting him.           What a depressing view of life you have, that is such           horse-shit!                         <b>                          BILL</b>           Who is the enemy ? One minute you have friends, the next           moment they've slipped away. You leave here and I wonder           who is Michelle reallyhating this week. I try to remember           and I can't bring it to mind. Do you know why ?                         <b>                          MICHELLE</b>           No, why don't you tellme                         <b>                          BILL</b>           Take a look in the mirror, Michelle                         <b>                          MICHELLE</b>           Which mirror ?... This mirror?...                         <b>                          BILL</b>           Any mirror. Tell me what you see.                         <b>                          MICHELLE</b>          We see Michelle as if we were watching her from behind themirror.           I see... I see your reflection over my shoulder... I see... there           is nothing much that I really like... I think I prefer the           view outside actually...                                   During this last reply, Bill,standing up, is fidgeting with          something on his desk. At Michelle's last words, he turns toward          her, looking alarmed. But he doesn't have time to do prevent her          from breaking through the glass paneand jumping outside. He yells          «Michelle» twice.                         <b>          A STREET IN NEW-YORK - EXTERIOR DAY</b>                                   We see Michelle's body falling all the way down. Capa'soffice          must be around the 25th floor. The body crashes on the street. A          police horse, who was near the impact, rears up in fright. As if          the asphalt were translucent, we see Michelle's bodyfrom          underneath, with the blood flowing around it.                         <b>                          SEVERAL VOICES</b>           All right, get back there... Stay back !... Get back in your           car... Stopit...                         <b>          BILL CAPA'S OFFICE - INTERIOR DAY</b>                                   We see Bill with tears in his eyes. He walks to the broken window,          and lookoutside.                         <b>                          BILL</b>          Voice over.           My God, it was the reddest blood I ever saw, poured around           her green dress. And... Then the reddisappeared...                         <b>          OPHTHALMOLOGIST'S OFFICE - INTERIOR DAY</b>                                   Bill is seated with a huge ophthalmologic device on his head. He          finishes the precedingreply.<b>                          BILL</b>           Christ, Ed. It was like a vibration of color broadcast from           Hell. And then the red started to fade away.                                   The ophthalmologist moves the deviceaway. We see Bill's face, and          behind him, projected on the wall, an abstract drawing made of          colored spots close together. The red spots start to blink and          then they becomegrey.                         <b>          LARRY'S PLACE - INTERIOR DAY</b>                                   It is the apartment of an old New-York intellectual. A bit messy.          A old Earth globe on a stand. Objects and bookseverywhere, but          with an warm atmosphere. Larry wears an open shirt and a sweater.          Bill also is in open shirt, with a sleeveless sweater. At the          beginning of the scene, Bill is lying on acouch.                         <b>                          LARRY</b>           Poor Capa ! You're here for me to pity you.                                   Larry puts down the newspaper he was reading. It is the New York          Post. Onthe front page, a title in large prints : «Patient's          family sues Manhattan shrink»                         <b>                          BILL</b>           Hell, yes. It doesn't take Sigmund Freud to figure out I           don't care tosee the color of my patients' blood.                         <b>                          LARRY</b>           I'm a little surprised that this happened to you.                         <b>                          BILL</b>           Starts to standup.           Sure. You always thought I was a cold-hearted son of a           bitch.                         <b>                          LARRY</b>           Not really, but there is a kind of arrogance here.          Bill laughs.           Doyou really believe that you're responsible for her           illness. You were a small recent part of her life.                         <b>                          BILL</b>           Yes, that's right, that's right. But it's all toofucking           glib for me, Larry. I cannot dispose of this woman that           easily.                         <b>                          LARRY</b>           Well, you always were a romantic. Are you involved with           anyoneelse ?                                   Larry starts to make tea in a corner of the room. Bill is seated          on an armchair during the following reply, and strokes the grey          cat who is lying on thetable.                         <b>                          BILL</b>           No. I am still a romantic. I just don't have anybody to be           romantic with. They want to fuck me or marry me... None of           them want to loveme<b>                          LARRY</b>           Maybe you don't want to be loved. You had a happy marriage           once.                         <b>                          BILL</b>           She loved me to death. Then she ran offand loved somebody           else to death.                         <b>                          LARRY</b>           Of course, there is something else here. To deny red is to           denyemotion.                         <b>                          BILL</b>           Oh yeah !                         <b>                          LARRY</b>           As you know, that could be very dangerous.                                   Bill standsup.                         <b>                          BILL</b>           Yes, yes, I know. Very dangerous. I know and I have got           something broken. I know it's gonna take some time toget           fixed.                                   He picks up his jacket on a chair and put it on.                         <b>                          LARRY</b>           You're a pretty good therapist. How long does it take a man           likeyou to forgive himself.                         <b>                          BILL</b>           I see you when I get back from Los Angeles.                                   During the two last replies, Bill has walked to the frontdoor.                         <b>                          LARRY</b>           Don't run away because of one treatment failure.                         <b>                          BILL</b>           I'm not running away, Larry, it's just a littletrip to Los           Angeles. Besides, you can't really run away. It's all up           here, isn't it...          He shows his forehead and pretends he is shooting a bullet in it.           Pow !... It's a package deal. The head goes"}
+{"doc_id":"doc_181","qid":"","text":"Project Gutenberg's The House on the Borderland, by William Hope HodgsonThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-useit under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: The House on the BorderlandAuthor: William Hope HodgsonRelease Date: November 10, 2003 [EBook#10002]Last updated: January 19, 2009Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE HOUSE ON THE BORDERLAND ***Produced by Suzanne Shell, Sjaani and PG DistributedProofreadersTHE HOUSE ON THE BORDERLANDWilliam Hope Hodgson_From the Manuscript discovered in 1877 by Messrs. Tonnison andBerreggnog in the Ruins that lie to the South of the Village ofKraighten, in theWest of Ireland. Set out here, with Notes_.TO MY FATHER_(Whose feet tread the lost aeons)_Open the door,  And listen!Only the wind's muffled roar,  And the glistenOf tears 'round the moon.  And, in fancy, thetreadOf vanishing shoon--  Out in the night with the Dead.\"Hush! And hark  To the sorrowful cryOf the wind in the dark.  Hush and hark, without murmur or sigh,    To shoon that tread the lost aeons:  To the sound thatbids you to die.Hush and hark! Hush and Hark!\"                               _Shoon of the Dead_AUTHOR'S INTRODUCTION TO THE MANUSCRIPTMany are the hours in which I have pondered upon the story that is setforth inthe following pages. I trust that my instincts are not awrywhen they prompt me to leave the account, in simplicity, as it washanded to me.And the MS. itself--You must picture me, when first it was given into mycare,turning it over, curiously, and making a swift, jerky examination.A small book it is; but thick, and all, save the last few pages, filledwith a quaint but legible handwriting, and writ very close. I have thequeer, faint,pit-water smell of it in my nostrils now as I write, andmy fingers have subconscious memories of the soft, \"cloggy\" feel of thelong-damp pages.I read, and, in reading, lifted the Curtains of the Impossible thatblind themind, and looked out into the unknown. Amid stiff, abruptsentences I wandered; and, presently, I had no fault to charge againsttheir abrupt tellings; for, better far than my own ambitious phrasing,is this mutilatedstory capable of bringing home all that the oldRecluse, of the vanished house, had striven to tell.Of the simple, stiffly given account of weird and extraordinary matters,I will say little. It lies before you. The inner storymust be uncovered,personally, by each reader, according to ability and desire. And evenshould any fail to see, as now I see, the shadowed picture and conceptionof that to which one may well give the accepted titles ofHeaven and Hell;yet can I promise certain thrills, merely taking the story as a story.WILLIAM HOPE HODGSON December 17, 1907_I_THE FINDING OF THE MANUSCRIPTRight away in the west of Ireland lies a tinyhamlet called Kraighten.It is situated, alone, at the base of a low hill. Far around therespreads a waste of bleak and totally inhospitable country; where, hereand there at great intervals, one may come upon the ruins ofsome longdesolate cottage--unthatched and stark. The whole land is bare andunpeopled, the very earth scarcely covering the rock that lies beneathit, and with which the country abounds, in places rising out of thesoilin wave-shaped ridges.Yet, in spite of its desolation, my friend Tonnison and I had elected tospend our vacation there. He had stumbled on the place by mere chancethe year previously, during the course of a longwalking tour, anddiscovered the possibilities for the angler in a small and unnamed riverthat runs past the outskirts of the little village.I have said that the river is without name; I may add that no map that Ihavehitherto consulted has shown either village or stream. They seemto have entirely escaped observation: indeed, they might never exist forall that the average guide tells one. Possibly this can be partlyaccounted for bythe fact that the nearest railway station (Ardrahan) issome forty miles distant.It was early one warm evening when my friend and I arrived in Kraighten.We had reached Ardrahan the previous night, sleeping there inroomshired at the village post office, and leaving in good time on thefollowing morning, clinging insecurely to one of the typicaljaunting cars.It had taken us all day to accomplish our journey over some of theroughesttracks imaginable, with the result that we were thoroughlytired and somewhat bad tempered. However, the tent had to be erected andour goods stowed away before we could think of food or rest. And so weset to work,with the aid of our driver, and soon had the tent up upon asmall patch of ground just outside the little village, and quite near tothe river.Then, having stored all our belongings, we dismissed the driver, as hehad tomake his way back as speedily as possible, and told him to comeacross to us at the end of a fortnight. We had brought sufficientprovisions to last us for that space of time, and water we could getfrom the stream. Fuelwe did not need, as we had included a smalloil-stove among our outfit, and the weather was fine and warm.It was Tonnison's idea to camp out instead of getting lodgings in one ofthe cottages. As he put it, there was nojoke in sleeping in a room witha numerous family of healthy Irish in one corner and the pigsty in theother, while overhead a ragged colony of roosting fowls distributedtheir blessings impartially, and the whole place sofull of peat smokethat it made a fellow sneeze his head off just to put it insidethe doorway.Tonnison had got the stove lit now and was busy cutting slices of baconinto the frying pan; so I took the kettle and walkeddown to the riverfor water. On the way, I had to pass close to a little group of thevillage people, who eyed me curiously, but not in any unfriendly manner,though none of them ventured a word.As I returned with mykettle filled, I went up to them and, after afriendly nod, to which they replied in like manner, I asked themcasually about the fishing; but, instead of answering, they just shooktheir heads silently, and stared at me. Irepeated the question,addressing more particularly a great, gaunt fellow at my elbow; yetagain I received no answer. Then the man turned to a comrade and saidsomething rapidly in a language that I did notunderstand; and, at once,the whole crowd of them fell to jabbering in what, after a few moments,I guessed to be pure Irish. At the same time they cast many glances inmy direction. For a minute, perhaps, they spokeamong themselves thus;then the man I had addressed faced 'round at me and said something. Bythe expression of his face I guessed that he, in turn, was questioningme; but now I had to shake my head, and indicatethat I did notcomprehend what it was they wanted to know; and so we stood looking atone another, until I heard Tonnison calling to me to hurry up with thekettle. Then, with a smile and a nod, I left them, and all in thelittlecrowd smiled and nodded in return, though their faces still betrayedtheir puzzlement.It was evident, I reflected as I went toward the tent, that theinhabitants of these few huts in the wilderness did not know a wordofEnglish; and when I told Tonnison, he remarked that he was aware of thefact, and, more, that it was not at all uncommon in that part of thecountry, where the people often lived and died in their isolatedhamletswithout ever coming in contact with the outside world.\"I wish we had got the driver to interpret for us before he left,\" Iremarked, as we sat down to our meal. \"It seems so strange for thepeople of this place noteven to know what we've come for.\"Tonnison grunted an assent, and thereafter was silent for a while.Later, having satisfied our appetites somewhat, we began to talk, layingour plans for the morrow; then, after asmoke, we closed the flap of thetent, and prepared to turn in.\"I suppose there's no chance of those fellows outside taking anything?\"I asked, as we rolled ourselves in our blankets.Tonnison said that he did not think so,at least while we were about;and, as he went on to explain, we could lock up everything, except thetent, in the big chest that we had brought to hold our provisions. Iagreed to this, and soon we were both asleep.Nextmorning, early, we rose and went for a swim in the river; afterwhich we dressed and had breakfast. Then we roused out our fishingtackle and overhauled it, by which time, our breakfasts having settledsomewhat, wemade all secure within the tent and strode off in thedirection my friend had explored on his previous visit.During the day we fished happily, working steadily upstream, and byevening we had one of the prettiest creels offish that I had seen for along while. Returning to the village, we made a good feed off our day'sspoil, after which, having selected a few of the finer fish for ourbreakfast, we presented the remainder to the group ofvillagers who hadassembled at a respectful distance to watch our doings. They seemedwonderfully grateful, and heaped mountains of what I presumed to beIrish blessings upon our heads.Thus we spent several days,having splendid sport, and first-rateappetites to do justice upon our prey. We were pleased to find howfriendly the villagers were inclined to be, and that there was noevidence of their having ventured to meddle withour belongings duringour absences.It was on a Tuesday that we arrived in Kraighten, and it would be on theSunday following that we made a great discovery. Hitherto we had alwaysgone up-stream; on that day,however, we laid aside our rods, and,taking some provisions, set off for a long ramble in the oppositedirection. The day was warm, and we trudged along leisurely enough,stopping about mid-day to eat our lunch upon agreat flat rock near theriverbank. Afterward we sat and smoked awhile, resuming our walk onlywhen we were tired of inaction.For perhaps another hour we wandered onward, chatting quietly andcomfortably on this andthat matter, and on several occasions stoppingwhile my companion--who is something of an artist--made rough sketchesof striking bits of the wild scenery.And then, without any warning whatsoever, the river we hadfollowed soconfidently, came to an abrupt end--vanishing into the earth.\"Good Lord!\" I said, \"who ever would have thought of this?\"And I stared in amazement; then I turned to Tonnison. He was looking,with a blankexpression upon his face, at the place where the riverdisappeared.In a moment he spoke.\"Let us go on a bit; it may reappear again--anyhow, it is worthinvestigating.\"I agreed, and we went forward once more, thoughrather aimlessly; for wewere not at all certain in which direction to prosecute our search. Forperhaps a mile we moved onward; then Tonnison, who had been gazing aboutcuriously, stopped and shaded his eyes.\"See!\"he said, after a moment, \"isn't that mist or something, overthere to the right--away in a line with that great piece of rock?\" Andhe indicated with his hand.I stared, and, after a minute, seemed to see something, butcould not becertain, and said so.\"Anyway,\" my friend replied, \"we'll just go across and have a glance.\"And he started off in the direction he had suggested, I following.Presently, we came among bushes, and, after atime, out upon the top ofa high, boulder-strewn bank, from which we looked down into a wildernessof bushes and trees.\"Seems as though we had come upon an oasis in this desert of stone,\"muttered Tonnison, as hegazed interestedly. Then he was silent, hiseyes fixed; and I looked also; for up from somewhere about the center ofthe wooded lowland there rose high into the quiet air a great column ofhazelike spray, upon which thesun shone, causing innumerable rainbows.\"How beautiful!\" I exclaimed.\"Yes,\" answered Tonnison, thoughtfully. \"There must be a waterfall, orsomething, over there. Perhaps it's our river come to light again. Let'sgoand see.\"Down the sloping bank we made our way, and entered among the trees andshrubberies. The bushes were matted, and the trees overhung us, so thatthe place was disagreeably gloomy; though not darkenough to hide fromme the fact that many of the trees were fruit trees, and that, here andthere, one could trace indistinctly, signs of a long departedcultivation. Thus it came to me that we were making our waythrough theriot of a great and ancient garden. I said as much to Tonnison, and heagreed that there certainly seemed reasonable grounds for my belief.What a wild place it was, so dismal and somber! Somehow, as wewentforward, a sense of the silent loneliness and desertion of the oldgarden grew upon me, and I felt shivery. One could imagine thingslurking among the tangled bushes; while, in the very air of the place,there seemedsomething uncanny. I think Tonnison was conscious of thisalso, though he said nothing.Suddenly, we came to a halt. Through the trees there had grown upon ourears a distant sound. Tonnison bent forward, listening. Icould hear itmore plainly now; it was continuous and harsh--a sort of droning roar,seeming to come from far away. I experienced a queer, indescribable,little feeling of nervousness. What sort of place was it into whichwehad got? I looked at my companion, to see what he thought of the matter;and noted that there was only puzzlement in his face; and then, as Iwatched his features, an expression of comprehension crept overthem,and he nodded his head.\"That's a waterfall,\" he exclaimed, with conviction. \"I know the soundnow.\" And he began to push vigorously through the bushes, in thedirection of the noise.As we went forward, the soundbecame plainer continually, showing thatwe were heading straight toward it. Steadily, the roaring grew louderand nearer, until it appeared, as I remarked to Tonnison, almost to comefrom under our feet--and still wewere surrounded by the treesand shrubs.\"Take care!\" Tonnison called to me. \"Look where you're going.\" And then,suddenly, we came out from among the trees, on to a great open space,where, not six paces in front ofus, yawned the mouth of a tremendouschasm, from the depths of which the noise appeared to rise, along withthe continuous, mistlike spray that we had witnessed from the top of thedistant bank.For quite a minute westood in silence, staring in bewilderment at thesight; then my friend went forward cautiously to the edge of the abyss.I followed, and, together, we looked down through a boil of spray at amonster cataract of frothingwater that burst, spouting, from the sideof the chasm, nearly a hundred feet below.\"Good Lord!\" said Tonnison.I was silent, and rather awed. The sight was so unexpectedly grand andeerie; though this latter qualitycame more upon me later.Presently, I looked up and across to the further side of the chasm.There, I saw something towering up among the spray: it looked like afragment of a great ruin, and I touched Tonnison on theshoulder. Heglanced 'round, with a start, and I pointed toward the thing. His gazefollowed my finger, and his eyes lighted up with a sudden flash ofexcitement, as the object came within his field of view.\"Come along,\"he shouted above the uproar. \"We'll have a look at it.There's something queer about this place; I feel it in my bones.\" And hestarted off, 'round the edge of the craterlike abyss. As we neared thisnew thing, I saw that Ihad not been mistaken in my first impression. Itwas undoubtedly a portion of some ruined building; yet now I made outthat it was not built upon the edge of the chasm itself, as I had atfirst supposed; but perchedalmost at the extreme end of a huge spur ofrock that jutted out some fifty or sixty feet over the abyss. In fact,the jagged mass of ruin was literally suspended in midair.Arriving opposite it, we walked out on to theprojecting arm of rock,and I must confess to having felt an intolerable sense of terror as Ilooked down from that dizzy perch into the unknown depths below us--intothe deeps from which there rose ever the thunder ofthe falling waterand the shroud of rising spray.Reaching the ruin, we clambered 'round it cautiously, and, on thefurther side, came upon a mass of fallen stones and rubble. The ruinitself seemed to me, as I proceedednow to examine it minutely, to be aportion of the outer wall of some prodigious structure, it was so thickand substantially built; yet what it was doing in such a position Icould by no means conjecture. Where was therest of the house, orcastle, or whatever there had been?I went back to the outer side of the wall, and thence to the edge of thechasm, leaving Tonnison rooting systematically among the heap of stonesand rubbish onthe outer side. Then I commenced to examine the surfaceof the ground, near the edge of the abyss, to see whether there were notleft other remnants of the building to which the fragment of ruinevidently belonged. Butthough I scrutinized the earth with the greatestcare, I could see no signs of anything to show that there had ever beena building erected on the spot, and I grew more puzzled than ever.Then, I heard a cry fromTonnison; he was shouting my name, excitedly,and without delay I hurried along the rocky promontory to the ruin. Iwondered whether he had hurt himself, and then the thought came, thatperhaps he had foundsomething.I reached the crumbled wall and climbed 'round. There I found Tonnisonstanding within a small excavation that he had made among the _débris_:he was brushing the dirt from something that looked like abook, muchcrumpled and dilapidated; and opening his mouth, every second or two, tobellow my name. As soon as he saw that I had come, he handed his prizeto me, telling me to put it into my satchel so as to protectit from thedamp, while he continued his explorations. This I did, first, however,running the pages through my fingers, and noting that they were closelyfilled with neat, old-fashioned writing which was quite legible, saveinone portion, where many of the pages were almost destroyed, beingmuddied and crumpled, as though the book had been doubled back at thatpart. This, I found out from Tonnison, was actually as he haddiscoveredit, and the damage was due, probably, to the fall of masonry upon theopened part. Curiously enough, the book was fairly dry, which Iattributed to its having been so securely buried among the ruins.Havingput the volume away safely, I turned-to and gave Tonnison a handwith his self-imposed task of excavating; yet, though we put in over anhour's hard work, turning over the whole of the upheaped stones andrubbish, wecame upon nothing more than some fragments of broken wood,that might have been parts of a desk or table; and so we gave upsearching, and went back along the rock, once more to the safety ofthe land.The nextthing we did was to make a complete tour of the tremendouschasm, which we were able to observe was in the form of an almostperfect circle, save for where the ruin-crowned spur of rock jutted out,spoiling itssymmetry.The abyss was, as Tonnison put it, like nothing so much as a giganticwell or pit going sheer down into the bowels of the earth.For some time longer, we continued to stare about us, and then, noticingthatthere was a clear space away to the north of the chasm, we bent oursteps in that direction.Here, distant from the mouth of the mighty pit by some hundreds ofyards, we came upon a great lake of silent water--silent,that is, savein one place where there was a continuous bubbling and gurgling.Now, being away from the noise of the spouting cataract, we were able tohear one another speak, without having to shout at the tops ofourvoices, and I asked Tonnison what he thought of the place--I told himthat I didn't like it, and that the sooner we were out of it the betterI should be pleased.He nodded in reply, and glanced at the woods behindfurtively. I askedhim if he had seen or heard anything. He made no answer; but stoodsilent, as though listening, and I kept quiet also.Suddenly, he spoke.\"Hark!\" he said, sharply. I looked at him, and then away amongthe treesand bushes, holding my breath involuntarily. A minute came and went instrained silence; yet I could hear nothing, and I turned to Tonnison tosay as much; and then, even as I opened my lips to speak, therecame astrange wailing noise out of the wood on our left.... It appeared tofloat through the trees, and there was a rustle of stirring leaves, andthen silence.All at once, Tonnison spoke, and put his hand on my shoulder.\"Let usget out of here,\" he said, and began to move slowly toward where thesurrounding trees and bushes seemed thinnest. As I followed him, it cameto me suddenly that the sun was low, and that there was a rawsense ofchilliness in the air.Tonnison said nothing further, but kept on steadily. We were among thetrees now, and I glanced around, nervously; but saw nothing, save thequiet branches and trunks and the tangledbushes. Onward we went, and nosound broke the silence, except the occasional snapping of a twig underour feet, as we moved forward. Yet, in spite of the quietness, I had ahorrible feeling that we were not alone; and"}
+{"doc_id":"doc_182","qid":"","text":"The Project Gutenberg EBook of The Hour of the Dragon, by Robert E. HowardThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it awayorre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: The Hour of the DragonAuthor: Robert E. HowardRelease Date: March 2, 2013 [EBook#42243]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE HOUR OF THE DRAGON ***Produced by Greg Weeks, Mary Meehan and the OnlineDistributed Proofreading Team athttp://www.pgdp.net                  THE HOUR OF THE DRAGON                   By Robert E. Howard    [Transcriber's Note: This etext was first published in Weird Tales    December 1935, January, February, March and April1936. Extensive    research did not uncover any evidence that the U.S. copyright on    this publication was renewed.]1O Sleeper, Awake!The long tapers flickered, sending the black shadows wavering along thewalls,and the velvet tapestries rippled. Yet there was no wind in thechamber. Four men stood about the ebony table on which lay the greensarcophagus that gleamed like carven jade. In the upraised right hand ofeach man acurious black candle burned with a weird greenish light.Outside was night and a lost wind moaning among the black trees.Inside the chamber was tense silence, and the wavering of the shadows,while four pairs of eyes,burning with intensity, were fixed on the longgreen case across which cryptic hieroglyphics writhed, as if lent lifeand movement by the unsteady light. The man at the foot of thesarcophagus leaned over it and movedhis candle as if he were writingwith a pen, inscribing a mystic symbol in the air. Then he set down thecandle in its black gold stick at the foot of the case, and, mumblingsome formula unintelligible to his companions, hethrust a broad whitehand into his fur-trimmed robe. When he brought it forth again it was asif he cupped in his palm a ball of living fire.The other three drew in their breath sharply, and the dark, powerful manwho stoodat the head of the sarcophagus whispered: 'The Heart ofAhriman!' The other lifted a quick hand for silence. Somewhere a dogbegan howling dolefully, and a stealthy step padded outside the barredand bolted door. Butnone looked aside from the mummy-case over whichthe man in the ermine-trimmed robe was now moving the great flamingjewel while he muttered an incantation that was old when Atlantis sank.The glare of the gemdazzled their eyes, so that they could not be sureof what they saw; but with a splintering crash, the carven lid of thesarcophagus burst outward as if from some irresistible pressure appliedfrom within, and the four men,bending eagerly forward, saw theoccupant--a huddled, withered, wizened shape, with dried brown limbslike dead wood showing through moldering bandages.'Bring that thing _back_?' muttered the small dark man whostood on theright, with a short sardonic laugh. 'It is ready to crumble at a touch.We are fools--''Shhh!' It was an urgent hiss of command from the large man who held thejewel. Perspiration stood upon his broad whiteforehead and his eyeswere dilated. He leaned forward, and, without touching the thing withhis hand, laid on the breast of the mummy the blazing jewel. Then hedrew back and watched with fierce intensity, his lipsmoving insoundless invocation.It was as if a globe of living fire flickered and burned on the dead,withered bosom. And breath sucked in, hissing, through the clenchedteeth of the watchers. For as they watched, an awfultransmutationbecame apparent. The withered shape in the sarcophagus was expanding,was growing, lengthening. The bandages burst and fell into brown dust.The shriveled limbs swelled, straightened. Their dusky huebegan tofade.'By Mitra!' whispered the tall, yellow-haired man on the left. 'He was_not_ a Stygian. That part at least was true.'Again a trembling finger warned for silence. The hound outside was nolonger howling. Hewhimpered, as with an evil dream, and then thatsound, too, died away in silence, in which the yellow-haired man plainlyheard the straining of the heavy door, as if something outside pushedpowerfully upon it. He halfturned, his hand at his sword, but the manin the ermine robe hissed an urgent warning: 'Stay! Do not break thechain! And on your life do not go to the door!'The yellow-haired man shrugged and turned back, and thenhe stoppedshort, staring. In the jade sarcophagus lay a living man: a tall, lustyman, naked, white of skin, and dark of hair and beard. He laymotionless, his eyes wide open, and blank and unknowing as anewbornbabe's. On his breast the great jewel smoldered and sparkled.The man in ermine reeled as if from some let-down of extreme tension.'Ishtar!' he gasped. 'It is Xaltotun!--_and he lives!_ Valerius!Tarascus!Amalric! Do you see? Do you see? You doubted me--but I havenot failed! We have been close to the open gates of hell this night, andthe shapes of darkness have gathered close about us--aye, they followed_him_ tothe very door--but we have brought the great magician back tolife.''And damned our souls to purgatories everlasting, I doubt not,' mutteredthe small, dark man, Tarascus.The yellow-haired man, Valerius, laughedharshly.'What purgatory can be worse than life itself? So we are all damnedtogether from birth. Besides, who would not sell his miserable soul fora throne?''There is no intelligence in his stare, Orastes,' said the largeman.'He has long been dead,' answered Orastes. 'He is as one newly awakened.His mind is empty after the long sleep--nay, he was _dead_, notsleeping. We brought his spirit back over the voids and gulfs of nightandoblivion. I will speak to him.'He bent over the foot of the sarcophagus, and fixing his gaze on thewide dark eyes of the man within, he said, slowly: 'Awake, Xaltotun!'The lips of the man moved mechanically. 'Xaltotun!'he repeated in agroping whisper.'_You_ are Xaltotun!' exclaimed Orastes, like a hypnotist driving homehis suggestions. 'You are Xaltotun of Python, in Acheron.'A dim flame flickered in the dark eyes.'I was Xaltotun,' hewhispered. 'I am dead.''You _are_ Xaltotun!' cried Orastes. 'You are not dead! You live!''I am Xaltotun,' came the eery whisper. 'But I am dead. In my house inKhemi, in Stygia, there I died.''And the priests whopoisoned you mummified your body with their darkarts, keeping all your organs intact!' exclaimed Orastes. 'But now youlive again! The Heart of Ahriman has restored your life, drawn yourspirit back from space andeternity.''The Heart of Ahriman!' The flame of remembrance grew stronger. 'Thebarbarians stole it from me!''He remembers,' muttered Orastes. 'Lift him from the case.'The others obeyed hesitantly, as if reluctant totouch the man they hadrecreated, and they seemed not easier in their minds when they felt firmmuscular flesh, vibrant with blood and life, beneath their fingers. Butthey lifted him upon the table, and Orastes clothedhim in a curiousdark velvet robe, splashed with gold stars and crescent moons, andfastened a cloth-of-gold fillet about his temples, confining the blackwavy locks that fell to his shoulders. He let them do as theywould,saying nothing, not even when they set him in a carven throne-like chairwith a high ebony back and wide silver arms, and feet like golden claws.He sat there motionless, and slowly intelligence grew in his darkeyesand made them deep and strange and luminous. It was as if long-sunkenwitchlights floated slowly up through midnight pools of darkness.Orastes cast a furtive glance at his companions, who stood staring inmorbidfascination at their strange guest. Their iron nerves hadwithstood an ordeal that might have driven weaker men mad. He knew itwas with no weaklings that he conspired, but men whose courage was asprofound as theirlawless ambitions and capacity for evil. He turned hisattention to the figure in the ebon-black chair. And this one spoke atlast.'I remember,' he said in a strong, resonant voice, speaking Nemedianwith a curious, archaicaccent. 'I am Xaltotun, who was high priest ofSet in Python, which was in Acheron. The Heart of Ahriman--I dreamed Ihad found it again--where is it?'Orastes placed it in his hand, and he drew breath deeply as hegazedinto the depths of the terrible jewel burning in his grasp.'They stole it from me, long ago,' he said. 'The red heart of the nightit is, strong to save or to damn. It came from afar, and from long ago.While I held it,none could stand before me. But it was stolen from me,and Acheron fell, and I fled in exile into dark Stygia. Much I remember,but much I have forgotten. I have been in a far land, across misty voidsand gulfs and unlitoceans. What is the year?'Orastes answered him. 'It is the waning of the Year of the Lion, threethousand years after the fall of Acheron.''Three thousand years!' murmured the other. 'So long? Who are you?''I amOrastes, once a priest of Mitra. This man is Amalric, baron ofTor, in Nemedia; this other is Tarascus, younger brother of the king ofNemedia; and this tall man is Valerius, rightful heir of the throne ofAquilonia.''Why haveyou given me life?' demanded Xaltotun. 'What do you require ofme?'The man was now fully alive and awake, his keen eyes reflecting theworking of an unclouded brain. There was no hesitation or uncertainty inhismanner. He came directly to the point, as one who knows that no mangives something for nothing. Orastes met him with equal candor.'We have opened the doors of hell this night to free your soul andreturn it to yourbody because we need your aid. We wish to placeTarascus on the throne of Nemedia, and to win for Valerius the crown ofAquilonia. With your necromancy you can aid us.'Xaltotun's mind was devious and full ofunexpected slants.'You must be deep in the arts yourself, Orastes, to have been able torestore my life. How is it that a priest of Mitra knows of the Heart ofAhriman, and the incantations of Skelos?''I am no longer apriest of Mitra,' answered Orastes. 'I was cast forthfrom my order because of my delving in black magic. But for Amalricthere I might have been burned as a magician.'But that left me free to pursue my studies. Ijourneyed in Zamora, inVendhya, in Stygia, and among the haunted jungles of Khitai. I read theiron-bound books of Skelos, and talked with unseen creatures in deepwells, and faceless shapes in black reeking jungles. Iobtained aglimpse of your sarcophagus in the demon-haunted crypts below the blackgiant-walled temple of Set in the hinterlands of Stygia, and I learnedof the arts that would bring back life to your shriveled corpse.Frommoldering manuscripts I learned of the Heart of Ahriman. Then for a yearI sought its hiding-place, and at last I found it.''Then why trouble to bring me back to life?' demanded Xaltotun, with hispiercing gaze fixedon the priest. 'Why did you not employ the Heart tofurther your own power?''Because no man today knows the secrets of the Heart,' answered Orastes.'Not even in legends live the arts by which to loose its full powers.Iknew it could restore life; of its deeper secrets I am ignorant. Imerely used it to bring you back to life. It is the use of yourknowledge we seek. As for the Heart, you alone know its awful secrets.'Xaltotun shook hishead, staring broodingly into the flaming depths.'My necromantic knowledge is greater than the sum of all the knowledgeof other men,' he said; 'yet I do not know the full power of the jewel.I did not invoke it in the olddays; I guarded it lest it be usedagainst me. At last it was stolen, and in the hands of a featheredshaman of the barbarians it defeated all my mighty sorcery. Then itvanished, and I was poisoned by the jealous priests ofStygia before Icould learn where it was hidden.''It was hidden in a cavern below the temple of Mitra, in Tarantia,' saidOrastes. 'By devious ways I discovered this, after I had located yourremains in Set's subterraneantemple in Stygia.'Zamorian thieves, partly protected by spells I learned from sourcesbetter left unmentioned, stole your mummy-case from under the verytalons of those which guarded it in the dark, and bycamel-caravan andgalley and ox-wagon it came at last to this city.'Those same thieves--or rather those of them who still lived after theirfrightful quest--stole the Heart of Ahriman from its haunted cavernbelow thetemple of Mitra, and all the skill of men and the spells ofsorcerers nearly failed. One man of them lived long enough to reach meand give the jewel into my hands, before he died slavering and gibberingof what he hadseen in that accursed crypt. The thieves of Zamora arethe most faithful of men to their trust. Even with my conjurements, nonebut they could have stolen the Heart from where it has lain indemon-guarded darknesssince the fall of Acheron, three thousand yearsago.'Xaltotun lifted his lion-like head and stared far off into space, as ifplumbing the lost centuries.'Three thousand years!' he muttered. 'Set! Tell me what has chancedinthe world.''The barbarians who overthrew Acheron set up new kingdoms,' quotedOrastes. 'Where the empire had stretched now rose realms calledAquilonia, and Nemedia, and Argos, from the tribes that foundedthem.The older kingdoms of Ophir, Corinthia and western Koth, which had beensubject to the kings of Acheron, regained their independence with thefall of the empire.''And what of the people of Acheron?' demandedXaltotun. 'When I fledinto Stygia, Python was in ruins, and all the great, purple-toweredcities of Acheron fouled with blood and trampled by the sandals of thebarbarians.''In the hills small groups of folk still boastdescent from Acheron,'answered Orastes. 'For the rest, the tide of my barbarian ancestorsrolled over them and wiped them out. They--my ancestors--had sufferedmuch from the kings of Acheron.'A grim and terriblesmile curled the Pythonian's lips.'Aye! Many a barbarian, both man and woman, died screaming on the altarunder this hand. I have seen their heads piled to make a pyramid in thegreat square in Python when the kingsreturned from the west with theirspoils and naked captives.''Aye. And when the day of reckoning came, the sword was not spared. SoAcheron ceased to be, and purple-towered Python became a memory offorgottendays. But the younger kingdoms rose on the imperial ruins andwaxed great. And now we have brought you back to aid us to rule thesekingdoms, which, if less strange and wonderful than Acheron of old, areyet rich andpowerful, well worth fighting for. Look!' Orastes unrolledbefore the stranger a map drawn cunningly on vellum.Xaltotun regarded it, and then shook his head, baffled.'The very outlines of the land are changed. It is likesome familiarthing seen in a dream, fantastically distorted.''Howbeit,' answered Orastes, tracing with his forefinger, 'here isBelverus, the capital of Nemedia, in which we now are. Here run theboundaries of the land ofNemedia. To the south and southeast are Ophirand Corinthia, to the east Brythunia, to the west Aquilonia.''It is the map of a world I do not know,' said Xaltotun softly, butOrastes did not miss the lurid fire of hate thatflickered in his darkeyes.'It is a map you shall help us change,' answered Orastes. 'It is ourdesire first to set Tarascus on the throne of Nemedia. We wish toaccomplish this without strife, and in such a way that nosuspicion willrest on Tarascus. We do not wish the land to be torn by civil wars, butto reserve all our power for the conquest of Aquilonia.'Should King Nimed and his sons die naturally, in a plague for instance,Tarascuswould mount the throne as the next heir, peacefully andunopposed.'Xaltotun nodded, without replying, and Orastes continued.'The other task will be more difficult. We cannot set Valerius on theAquilonian thronewithout a war, and that kingdom is a formidable foe.Its people are a hardy, war-like race, toughened by continual wars withthe Picts, Zingarians and Cimmerians. For five hundred years Aquiloniaand Nemedia haveintermittently waged war, and the ultimate advantagehas always lain with the Aquilonians.'Their present king is the most renowned warrior among the westernnations. He is an outlander, an adventurer who seized thecrown by forceduring a time of civil strife, strangling King Namedides with his ownhands, upon the very throne. His name is Conan, and no man can standbefore him in battle.'Valerius is now the rightful heir of thethrone. He had been driveninto exile by his royal kinsman, Namedides, and has been away from hisnative realm for years, but he is of the blood of the old dynasty, andmany of the barons would secretly hail theoverthrow of Conan, who is anobody without royal or even noble blood. But the common people areloyal to him, and the nobility of the outlying provinces. Yet if hisforces were overthrown in the battle that must firsttake place, andConan himself slain, I think it would not be difficult to put Valeriuson the throne. Indeed, with Conan slain, the only center of thegovernment would be gone. He is not part of a dynasty, but only aloneadventurer.''I wish that I might see this king,' mused Xaltotun, glancing toward asilvery mirror which formed one of the panels of the wall. This mirrorcast no reflection, but Xaltotun's expression showed that heunderstoodits purpose, and Orastes nodded with the pride a good craftsman takes inthe recognition of his accomplishments by a master of his craft.'I will try to show him to you,' he said. And seating himself beforethemirror, he gazed hypnotically into its depths, where presently a dimshadow began to take shape.It was uncanny, but those watching knew it was no more than thereflected image of Orastes' thought, embodied inthat mirror as awizard's thoughts are embodied in a magic crystal. It floated hazily,then leaped into startling clarity--a tall man, mightily shouldered anddeep of chest, with a massive corded neck and heavily muscledlimbs. Hewas clad in silk and velvet, with the royal lions of Aquilonia workedin gold upon his rich jupon, and the crown of Aquilonia shone on hissquare-cut black mane; but the great sword at his side seemedmorenatural to him than the regal accouterments. His brow was low and broad,his eyes a volcanic blue that smoldered as if with some inner fire. Hisdark, scarred, almost sinister face was that of a fighting-man, andhisvelvet garments could not conceal the hard, dangerous lines of hislimbs.'That man is no Hyborian!' exclaimed Xaltotun.'No; he is a Cimmerian, one of those wild tribesmen who dwell in thegray hills of the north.''Ifought his ancestors of old,' muttered Xaltotun. 'Not even the kingsof Acheron could conquer them.''They still remain a terror to the nations of the south,' answeredOrastes. 'He is a true son of that savage race, and hasproved himself,thus far, unconquerable.'Xaltotun did not reply; he sat staring down at the pool of living firethat shimmered in his hand. Outside, the hound howled again, long andshudderingly.2A Black Wind BlowsTheyear of the dragon had birth in war and pestilence and unrest. Theblack plague stalked through the streets of Belverus, striking down themerchant in his stall, the serf in his kennel, the knight at his banquetboard.Before it the arts of the leeches were helpless. Men said it hadbeen sent from hell as punishment for the sins of pride and lust. It wasswift and deadly as the stroke of an adder. The victim's body turnedpurple and thenblack, and within a few minutes he sank down dying, andthe stench of his own putrefaction was in his nostrils even before deathwrenched his soul from his rotting body. A hot, roaring wind blewincessantly from thesouth, and the crops withered in the fields, thecattle sank and died in their tracks.Men cried out on Mitra, and muttered against the king; for somehow,throughout the kingdom, the word was whispered that the kingwassecretly addicted to loathsome practises and foul debauches in theseclusion of his nighted palace. And then in that palace death stalkedgrinning on feet about which swirled the monstrous vapors of the plague.Inone night the king died with his three sons, and the drums thatthundered their dirge drowned the grim and ominous bells that rang fromthe carts that lumbered through the streets gathering up the rottingdead.Thatnight, just before dawn, the hot wind that had blown for weeksceased to rustle evilly through the silken window curtains. Out of thenorth rose a great wind that roared among the towers, and there wascataclysmicthunder, and blinding sheets of lightning, and driving rain.But the dawn shone clean and green and clear; the scorched ground veileditself in grass, the thirsty crops sprang up anew, and the plague wasgone--itsmiasma swept clean out of the land by the mighty wind.Men said the gods were satisfied because the evil king and his spawnwere slain, and when his young brother Tarascus was crowned in the greatcoronation hall,the populace cheered until the towers rocked,acclaiming the monarch on whom the gods smiled.Such a wave of enthusiasm and rejoicing as swept the land is frequentlythe signal for a war of conquest. So no one was"}
+{"doc_id":"doc_183","qid":"","text":"The Project Gutenberg EBook of The Adventure of the Dying Detective, by Arthur Conan DoyleThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it,give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: The Adventure of the Dying DetectiveAuthor: Arthur Conan DoylePosting Date:October 23, 2008 [EBook #2347]Release Date: October, 2000[Last updated: May 3, 2011]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK ADVENTURE OF DYING DETECTIVE ***Produced by DavidBrannan.  HTML version by Al Haines.The Adventure of the Dying DetectiveBySir Arthur Conan DoyleMrs. Hudson, the landlady of Sherlock Holmes, was a long-sufferingwoman.  Not only was her first-floor flat invadedat all hours bythrongs of singular and often undesirable characters but her remarkablelodger showed an eccentricity and irregularity in his life which musthave sorely tried her patience. His incredible untidiness,hisaddiction to music at strange hours, his occasional revolver practicewithin doors, his weird and often malodorous scientific experiments,and the atmosphere of violence and danger which hung around him madehimthe very worst tenant in London.  On the other hand, his paymentswere princely. I have no doubt that the house might have been purchasedat the price which Holmes paid for his rooms during the years that Iwas withhim.The landlady stood in the deepest awe of him and never dared tointerfere with him, however outrageous his proceedings might seem.  Shewas fond of him, too, for he had a remarkable gentleness and courtesyinhis dealings with women.  He disliked and distrusted the sex, but hewas always a chivalrous opponent. Knowing how genuine was her regardfor him, I listened earnestly to her story when she came to my rooms inthesecond year of my married life and told me of the sad condition towhich my poor friend was reduced.\"He's dying, Dr. Watson,\" said she.  \"For three days he has beensinking, and I doubt if he will last the day.  He wouldnot let me geta doctor.  This morning when I saw his bones sticking out of his faceand his great bright eyes looking at me I could stand no more of it.'With your leave or without it, Mr. Holmes, I am going for adoctorthis very hour,' said I.  'Let it be Watson, then,' said he.  Iwouldn't waste an hour in coming to him, sir, or you may not see himalive.\"I was horrified for I had heard nothing of his illness.  I need not saythat Irushed for my coat and my hat.  As we drove back I asked for thedetails.\"There is little I can tell you, sir.  He has been working at a casedown at Rotherhithe, in an alley near the river, and he has broughtthis illnessback with him.  He took to his bed on Wednesday afternoonand has never moved since.  For these three days neither food nor drinkhas passed his lips.\"\"Good God!  Why did you not call in a doctor?\"\"He wouldn't haveit, sir.  You know how masterful he is.  I didn'tdare to disobey him.  But he's not long for this world, as you'll seefor yourself the moment that you set eyes on him.\"He was indeed a deplorable spectacle.  In the dim lightof a foggyNovember day the sick room was a gloomy spot, but it was that gaunt,wasted face staring at me from the bed which sent a chill to my heart.His eyes had the brightness of fever, there was a hectic flushuponeither cheek, and dark crusts clung to his lips; the thin hands uponthe coverlet twitched incessantly, his voice was croaking andspasmodic.  He lay listlessly as I entered the room, but the sight ofme brought agleam of recognition to his eyes.\"Well, Watson, we seem to have fallen upon evil days,\" said he in afeeble voice, but with something of his old carelessness of manner.\"My dear fellow!\" I cried, approaching him.\"Standback!  Stand right back!\" said he with the sharp imperiousnesswhich I had associated only with moments of crisis. \"If you approachme, Watson, I shall order you out of the house.\"\"But why?\"\"Because it is my desire.  Isthat not enough?\"Yes, Mrs. Hudson was right.  He was more masterful than ever.  It waspitiful, however, to see his exhaustion.\"I only wished to help,\" I explained.\"Exactly!  You will help best by doing what you aretold.\"\"Certainly, Holmes.\"He relaxed the austerity of his manner.\"You are not angry?\" he asked, gasping for breath.Poor devil, how could I be angry when I saw him lying in such a plightbefore me?\"It's for your ownsake, Watson,\" he croaked.\"For MY sake?\"\"I know what is the matter with me.  It is a coolie disease fromSumatra--a thing that the Dutch know more about than we, though theyhave made little of it up to date.  Onething only is certain.  It isinfallibly deadly, and it is horribly contagious.\"He spoke now with a feverish energy, the long hands twitching andjerking as he motioned me away.\"Contagious by touch, Watson--that's it, bytouch.  Keep your distanceand all is well.\"\"Good heavens, Holmes!  Do you suppose that such a consideration weighswith me of an instant?  It would not affect me in the case of astranger.  Do you imagine it wouldprevent me from doing my duty to soold a friend?\"Again I advanced, but he repulsed me with a look of furious anger.\"If you will stand there I will talk.  If you do not you must leave theroom.\"I have so deep a respectfor the extraordinary qualities of Holmes thatI have always deferred to his wishes, even when I least understoodthem.  But now all my professional instincts were aroused.  Let him bemy master elsewhere, I at leastwas his in a sick room.\"Holmes,\" said I, \"you are not yourself.  A sick man is but a child,and so I will treat you.  Whether you like it or not, I will examineyour symptoms and treat you for them.\"He looked at me withvenomous eyes.\"If I am to have a doctor whether I will or not, let me at least havesomeone in whom I have confidence,\" said he.\"Then you have none in me?\"\"In your friendship, certainly.  But facts are facts, Watson,and,after all, you are only a general practitioner with very limitedexperience and mediocre qualifications.  It is painful to have to saythese things, but you leave me no choice.\"I was bitterly hurt.\"Such a remark isunworthy of you, Holmes.  It shows me very clearlythe state of your own nerves.  But if you have no confidence in me Iwould not intrude my services.  Let me bring Sir Jasper Meek or PenroseFisher, or any of the bestmen in London.  But someone you MUST have,and that is final.  If you think that I am going to stand here and seeyou die without either helping you myself or bringing anyone else tohelp you, then you have mistakenyour man.\"\"You mean well, Watson,\" said the sick man with something between a soband a groan.  \"Shall I demonstrate your own ignorance? What do youknow, pray, of Tapanuli fever?  What do you know of the blackFormosacorruption?\"\"I have never heard of either.\"\"There are many problems of disease, many strange pathologicalpossibilities, in the East, Watson.\"  He paused after each sentence tocollect his failing strength.  \"Ihave learned so much during somerecent researches which have a medico-criminal aspect.  It was in thecourse of them that I contracted this complaint.  You can do nothing.\"\"Possibly not.  But I happen to know thatDr. Ainstree, the greatestliving authority upon tropical disease, is now in London.  Allremonstrance is useless, Holmes, I am going this instant to fetch him.\"I turned resolutely to the door.Never have I had such ashock!  In an instant, with a tiger-spring, thedying man had intercepted me.  I heard the sharp snap of a twisted key.The next moment he had staggered back to his bed, exhausted and pantingafter his one tremendousoutflame of energy.\"You won't take the key from me by force, Watson, I've got you, myfriend.  Here you are, and here you will stay until I will otherwise.But I'll humour you.\"  (All this in little gasps, withterriblestruggles for breath between.)  \"You've only my own good at heart.  Ofcourse I know that very well.  You shall have your way, but give metime to get my strength.  Not now, Watson, not now.  It's four o'clock.Atsix you can go.\"\"This is insanity, Holmes.\"\"Only two hours, Watson.  I promise you will go at six.  Are youcontent to wait?\"\"I seem to have no choice.\"\"None in the world, Watson.  Thank you, I need no help in arrangingtheclothes.  You will please keep your distance.  Now, Watson, there isone other condition that I would make.  You will seek help, not fromthe man you mention, but from the one that I choose.\"\"By all means.\"\"The firstthree sensible words that you have uttered since you enteredthis room, Watson.  You will find some books over there. I am somewhatexhausted; I wonder how a battery feels when it pours electricity intoanon-conductor?  At six, Watson, we resume our conversation.\"But it was destined to be resumed long before that hour, and incircumstances which gave me a shock hardly second to that caused by hisspring to thedoor.  I had stood for some minutes looking at the silentfigure in the bed.  His face was almost covered by the clothes and heappeared to be asleep.  Then, unable to settle down to reading, Iwalked slowly round theroom, examining the pictures of celebratedcriminals with which every wall was adorned.  Finally, in my aimlessperambulation, I came to the mantelpiece.  A litter of pipes,tobacco-pouches, syringes, penknives,revolver-cartridges, and otherdebris was scattered over it.  In the midst of these was a small blackand white ivory box with a sliding lid.  It was a neat little thing,and I had stretched out my hand to examine it moreclosely, when----It was a dreadful cry that he gave--a yell which might have been hearddown the street.  My skin went cold and my hair bristled at thathorrible scream.  As I turned I caught a glimpse of a convulsedfaceand frantic eyes.  I stood paralyzed, with the little box in my hand.\"Put it down!  Down, this instant, Watson--this instant, I say!\" Hishead sank back upon the pillow and he gave a deep sigh of relief as Ireplaced thebox upon the mantelpiece.  \"I hate to have my thingstouched, Watson.  You know that I hate it.  You fidget me beyondendurance. You, a doctor--you are enough to drive a patient into anasylum.  Sit down, man, and letme have my rest!\"The incident left a most unpleasant impression upon my mind.  Theviolent and causeless excitement, followed by this brutality of speech,so far removed from his usual suavity, showed me how deepwas thedisorganization of his mind.  Of all ruins, that of a noble mind is themost deplorable.  I sat in silent dejection until the stipulated timehad passed.  He seemed to have been watching the clock as well as I,for itwas hardly six before he began to talk with the same feverishanimation as before.\"Now, Watson,\" said he.  \"Have you any change in your pocket?\"\"Yes.\"\"Any silver?\"\"A good deal.\"\"How many half-crowns?\"\"I havefive.\"\"Ah, too few!  Too few!  How very unfortunate, Watson!  However, suchas they are you can put them in your watchpocket.  And all the rest ofyour money in your left trouser pocket.  Thank you. It will balanceyouso much better like that.\"This was raving insanity.  He shuddered, and again made a sound betweena cough and a sob.\"You will now light the gas, Watson, but you will be very careful thatnot for one instant shall itbe more than half on.  I implore you to becareful, Watson.  Thank you, that is excellent. No, you need not drawthe blind.  Now you will have the kindness to place some letters andpapers upon this table within myreach. Thank you.  Now some of thatlitter from the mantelpiece. Excellent, Watson!  There is a sugar-tongsthere.  Kindly raise that small ivory box with its assistance.  Placeit here among the papers.  Good!  You cannow go and fetch Mr.Culverton Smith, of 13 Lower Burke Street.\"To tell the truth, my desire to fetch a doctor had somewhat weakened,for poor Holmes was so obviously delirious that it seemed dangerous toleavehim.  However, he was as eager now to consult the person named ashe had been obstinate in refusing.\"I never heard the name,\" said I.\"Possibly not, my good Watson.  It may surprise you to know that theman uponearth who is best versed in this disease is not a medical man,but a planter.  Mr. Culverton Smith is a well-known resident ofSumatra, now visiting London.  An outbreak of the disease upon hisplantation, which wasdistant from medical aid, caused him to study ithimself, with some rather far-reaching consequences.  He is a verymethodical person, and I did not desire you to start before six,because I was well aware that you wouldnot find him in his study.  Ifyou could persuade him to come here and give us the benefit of hisunique experience of this disease, the investigation of which has beenhis dearest hobby, I cannot doubt that he could helpme.\"I gave Holmes's remarks as a consecutive whole and will not attempt toindicate how they were interrupted by gaspings for breath and thoseclutchings of his hands which indicated the pain from which hewassuffering.  His appearance had changed for the worse during the fewhours that I had been with him.  Those hectic spots were morepronounced, the eyes shone more brightly out of darker hollows, and acold sweatglimmered upon his brow. He still retained, however, thejaunty gallantry of his speech. To the last gasp he would always be themaster.\"You will tell him exactly how you have left me,\" said he.  \"You willconvey the veryimpression which is in your own mind--a dying man--adying and delirious man.  Indeed, I cannot think why the whole bed ofthe ocean is not one solid mass of oysters, so prolific the creaturesseem.  Ah, I amwandering!  Strange how the brain controls the brain!What was I saying, Watson?\"\"My directions for Mr. Culverton Smith.\"\"Ah, yes, I remember.  My life depends upon it.  Plead with him,Watson.  There is no goodfeeling between us.  His nephew, Watson--Ihad suspicions of foul play and I allowed him to see it.  The boy diedhorribly.  He has a grudge against me.  You will soften him, Watson.Beg him, pray him, get him here byany means.  He can save me--only he!\"\"I will bring him in a cab, if I have to carry him down to it.\"\"You will do nothing of the sort.  You will persuade him to come. Andthen you will return in front of him.  Make anyexcuse so as not tocome with him.  Don't forget, Watson.  You won't fail me. You never didfail me.  No doubt there are natural enemies which limit the increaseof the creatures.  You and I, Watson, we have done ourpart.  Shall theworld, then, be overrun by oysters? No, no; horrible!  You'll conveyall that is in your mind.\"I left him full of the image of this magnificent intellect babblinglike a foolish child.  He had handed me the key,and with a happythought I took it with me lest he should lock himself in.  Mrs. Hudsonwas waiting, trembling and weeping, in the passage.  Behind me as Ipassed from the flat I heard Holmes's high, thin voice insomedelirious chant.  Below, as I stood whistling for a cab, a man came onme through the fog.\"How is Mr. Holmes, sir?\" he asked.It was an old acquaintance, Inspector Morton, of Scotland Yard, dressedin unofficialtweeds.\"He is very ill,\" I answered.He looked at me in a most singular fashion.  Had it not been toofiendish, I could have imagined that the gleam of the fanlight showedexultation in his face.\"I heard some rumour of it,\"said he.The cab had driven up, and I left him.Lower Burke Street proved to be a line of fine houses lying in thevague borderland between Notting Hill and Kensington.  The particularone at which my cabman pulled uphad an air of smug and demurerespectability in its old-fashioned iron railings, its massivefolding-door, and its shining brasswork.  All was in keeping with asolemn butler who appeared framed in the pink radiance of atintedelectrical light behind him.\"Yes, Mr. Culverton Smith is in.  Dr. Watson!  Very good, sir, I willtake up your card.\"My humble name and title did not appear to impress Mr. Culverton Smith.Through the half-open doorI heard a high, petulant, penetrating voice.\"Who is this person?  What does he want?  Dear me, Staples, how oftenhave I said that I am not to be disturbed in my hours of study?\"There came a gentle flow of soothingexplanation from the butler.\"Well, I won't see him, Staples.  I can't have my work interrupted likethis.  I am not at home.  Say so.  Tell him to come in the morning ifhe really must see me.\"Again the gentlemurmur.\"Well, well, give him that message.  He can come in the morning, or hecan stay away.  My work must not be hindered.\"I thought of Holmes tossing upon his bed of sickness and counting theminutes, perhaps,until I could bring help to him.  It was not a timeto stand upon ceremony.  His life depended upon my promptness.  Beforethe apologetic butler had delivered his message I had pushed past himand was in theroom.With a shrill cry of anger a man rose from a reclining chair beside thefire.  I saw a great yellow face, coarse-grained and greasy, withheavy, double-chin, and two sullen, menacing gray eyes which glared atmefrom under tufted and sandy brows.  A high bald head had a smallvelvet smoking-cap poised coquettishly upon one side of its pink curve.The skull was of enormous capacity, and yet as I looked down I saw tomyamazement that the figure of the man was small and frail, twisted inthe shoulders and back like one who has suffered from rickets in hischildhood.\"What's this?\" he cried in a high, screaming voice.  \"What is themeaningof this intrusion?  Didn't I send you word that I would see youto-morrow morning?\"\"I am sorry,\" said I, \"but the matter cannot be delayed.  Mr. SherlockHolmes--\"The mention of my friend's name had an extraordinaryeffect upon thelittle man.  The look of anger passed in an instant from his face.  Hisfeatures became tense and alert.\"Have you come from Holmes?\" he asked.\"I have just left him.\"\"What about Holmes?  How is he?\"\"Heis desperately ill.  That is why I have come.\"The man motioned me to a chair, and turned to resume his own.  As hedid so I caught a glimpse of his face in the mirror over themantelpiece.  I could have sworn that it wasset in a malicious andabominable smile.  Yet I persuaded myself that it must have been somenervous contraction which I had surprised, for he turned to me aninstant later with genuine concern upon his features.\"I amsorry to hear this,\" said he.  \"I only know Mr. Holmes throughsome business dealings which we have had, but I have every respect forhis talents and his character.  He is an amateur of crime, as I am ofdisease.  For himthe villain, for me the microbe. There are myprisons,\" he continued, pointing to a row of bottles and jars whichstood upon a side table. \"Among those gelatine cultivations some of thevery worst offenders in the worldare now doing time.\"\"It was on account of your special knowledge that Mr. Holmes desired tosee you.  He has a high opinion of you and thought that you were theone man in London who could help him.\"The little manstarted, and the jaunty smoking-cap slid to the floor.\"Why?\" he asked.  \"Why should Mr. Homes think that I could help him inhis trouble?\"\"Because of your knowledge of Eastern diseases.\"\"But why should he think thatthis disease which he has contracted isEastern?\"\"Because, in some professional inquiry, he has been working amongChinese sailors down in the docks.\"Mr. Culverton Smith smiled pleasantly and picked up hissmoking-cap.\"Oh, that's it--is it?\" said he.  \"I trust the matter is not so graveas you suppose.  How long has he been ill?\"\"About three days.\"\"Is he delirious?\"\"Occasionally.\"\"Tut, tut!  This sounds serious.  It would beinhuman not to answer hiscall.  I very much resent any interruption to my work, Dr. Watson, butthis case is certainly exceptional.  I will come with you at once.\"I remembered Holmes's injunction.\"I have anotherappointment,\" said I.\"Very good.  I will go alone.  I have a note of Mr. Holmes's address.You can rely upon my being there within half an hour at most.\"It was with a sinking heart that I reentered Holmes's bedroom. Forallthat I knew the worst might have happened in my absence. To my enormousrelief,  he had improved greatly in the interval. His appearance was asghastly as ever, but all trace of delirium had left him and he spokeina feeble voice, it is true, but with even more than his usual crispnessand lucidity.\"Well, did you see him, Watson?\"\"Yes; he is coming.\"\"Admirable, Watson!  Admirable!  You are the best of messengers.\"\"He wished toreturn with me.\"\"That would never do, Watson.  That would be obviously impossible.  Didhe ask what ailed me?\"\"I told him about the Chinese in the East End.\"\"Exactly!  Well, Watson, you have done all that a goodfriend could.You can now disappear from the scene.\"\"I must wait and hear his opinion, Holmes.\"\"Of course you must.  But I have reasons to suppose that this opinionwould be very much more frank and valuable if heimagines that we arealone.  There is just room behind the head of my bed, Watson.\"\"My dear Holmes!\"\"I fear there is no alternative, Watson.  The room does not lend itselfto concealment, which is as well, as it is the"}
+{"doc_id":"doc_184","qid":"","text":"The Project Gutenberg EBook of Agatha's Husband, by Dinah Maria Craik (AKA: Dinah Maria Mulock)This eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copyit, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: Agatha's Husband       A NovelAuthor: Dinah Maria Craik (AKA: Dinah MariaMulock)Posting Date: March 13, 2009 [EBook #21767]Release Date: June 8, 2007Language: English*** START OF THIS PROJECT GUTENBERG EBOOK AGATHA'S HUSBAND ***David WidgerAGATHA'S HUSBANDANOVELBy The Author Of'John Halifax, Gentleman'DINAH MARIA CRAIK,AKA: Dinah Maria MulockWith Illustrations By Walter CraneMacmillan And Co.1875INSCRIBED TO M, P.,INMEMORIAL OF THE FRIENDSHIP OF ALIFETIME1852.LIST OF ILLUSTRATIONS.The husband's farewell\"She began leisurely to read\"\"Will you accept it, with my love?\"Arrival at Kingcombe HolmOn horsebackAlong the roadAGATHA'S HUSBAND.CHAPTER I.--Ifthere ever was a woman thoroughly like her name, it was AgathaBowen. She was good, in the first place--right good at heart, thoughwith a slight external roughness (like the sound of the g in her name),which tookaway all sentimentalism. Then the vowels--the three broadrich a's--which no one can pronounce with nimini-pimini closed lips--howthoroughly they answered to her character!--a character in the which wasnothingsmall, mean, cramped, or crooked.But if we go on unfolding her in this way, there will not be theslightest use in writing her history, or that of one in whom her life isbeautifully involved and enclosed--as every marriedwoman's should be--He was still in clouded mystery--an individual yet to be; and two otherindividuals had been \"talking him over,\" feminine-fashion, in MissAgatha Bowen's drawing-room, much to that lady'samusement andedification. For, being moderately rich, she had her own suite of roomsin the house where she boarded; and having no mother--sorrowful lot fora girl of nineteen!--she sometimes filled her drawing-roomwith veryuseless and unprofitable acquaintances. These two married ladies--oneyoung, the other old--Mrs. Hill and Mrs. Thornycroft--had been for thelast half-hour vexing their very hearts out to find Agatha ahusband--aweakness which, it must be confessed, lurks in the heart of almost everymarried lady.Agatha had been laughing at it, alternately flushing up or lookingscornful, as her mouth had a natural propensity forlooking; balancingherself occasionally on the arm of the sofa, which, being rather smalland of a light figure, she could do with both impunity and grace; orelse rushing to the open window, ostensibly to let her blackkitteninvestigate street-sights from its mistress's shoulder. Agatha was verymuch of a child still, or could be when she chose.Mrs. Hill had been regretting some two or three \"excellent matches\" ofwhich she felt sureMiss Bowen had thrown away her chance; and youngMrs. Thornycroft had tried hard to persuade her dearest Agatha how verymuch happier she would be in a house of her own, than as a boarder evenin this excellentphysician's family. But Agatha only laughed on, anddevoted herself more than ever to the black kitten.She was, I fear, a damsel who rather neglected the _bienséances_ oflife. Only, in her excuse, it must be allowedthat her friends weredoing what they had no earthly business to do; since; if there is onesubject above all upon which a young woman has a right to keep herthoughts, feelings, and intentions to herself, and to exactfrom othersthe respect of silence, it is that of marriage. Possibly, Agatha Bowenwas of this opinion.\"Mrs. Hill, you are a very kind, good soul: and Emma Thornycroft, I likeyou very much; but if--(Oh! be quiet,Tittens!)--if you could manage tolet me and 'my Husband' alone.\"These were the only serious words she said--and they were but halfserious; she evidently felt such an irresistible propensity to laugh.\"Now,\" continuedshe, turning the conversation, and putting on adignified aspect, which occasionally she took it into her head toassume, though more in playfulness than earnest--\"now let me tell youwho you will meet here at dinnerto-day.\"\"Major Harper, of course.\"\"I do not see the 'of course' Mrs. Thornycroft,\" returned Agatha,rather sharply; then, melting into a smile, she added: \"Well, 'ofcourse,' as you say; what more likely visitor could I havethan myguardian?\"\"Trustee, my dear; guardians belong to romances, where young ladies arealways expected to hate, or fall in love with them.\"Agatha flushed slightly. Now, unlike most girls, Miss Bowen did notlookpretty when she blushed; her skin being very dark, and not over clear,the red blood coursing under it dyed her cheek, not \"celestial, rosyred,\" but a warm mahogany colour. Perhaps a consciousness of thisdeepenedthe unpleasant blushing fit, to which, like most sensitivepeople at her age, she was always rather prone.\"Not,\" continued Mrs. Thornycroft, watching her,--\"not that I think anylove affair is likely to happen in your case;Major Harper is far toomuch of a settled-down bachelor, and at the same time too old.\"Agatha pulled a comical face, and made a few solemn allusions toMethuselah. She had a peculiarly quick, even abrupt manner ofspeaking,saying a dozen words in the time most young ladies would take to drawlout three; and possessing, likewise, the rare feminine quality of neversaying a word more than was necessary.\"Agatha, how funny youare!\" laughed her easily-amused friend. \"But,dear, tell me who else is coming?\" And she glanced doubtfully down on agown that looked like a marriage-silk \"dyed and renovated.\"\"Oh, no ladies--and gentlemen neversee whether one is dressed inbrocade or sackcloth,\" returned Agatha, rather maliciously;--\"only,'old Major Harper' as you are pleased to call him, and\"----\"Nay, I didn't call him very old--just forty, orthereabouts--though hedoes not look anything like it. Then he is so handsome, and, I must say,Agatha, pays you such extreme attention.\"Agatha laughed again--the quick, light-hearted laugh of nineteen--andherbrown eyes brightened with innocent pleasure.Young Mrs. Thornycroft again looked down uneasily at her dress--not fromovermuch vanity, but because her hounded mind recurred instinctivelyfrom extraneous or largeinterests to individual and lesser ones.\"Is there really any one particular coming, my dear? Of course, _you_have no trouble about evening dress; mourning is such easy comfortablewear.\" (Agatha turned her headquickly aside.) \"That handsome silkof yours looks quite well still; and mamma there,\" glancing at thecontentedly knitting Mrs. Hill--\"old ladies never require much dress;but if you had only told me to prepare forcompany\"----\"Pretty company! Merely our own circle--Dr. Ianson, Mrs. Ianson, andMiss Ianson--you need not mind outshining her now\"----\"No, indeed! I am married.\"\"Then the 'company' dwindles down to two besidesyourselves; MajorHarper and his brother.\"\"Oh! What sort of a person is the brother?\"\"I really don't know; I have never seen him. He is just come home fromCanada; the youngest of the family--and I hate boys,\" repliedAgatha,running the sentences one upon the other in her quick fashion.\"The youngest of the family--how many are there in all?\" inquired theelder lady, her friendly anxiety being probably once more onmatrimonialthoughts intent.\"I am sure, Mrs. Hill, I cannot tell. I have never seen any of them butMajor Harper, and I never saw him till my poor father died; all whichcircumstances you know quite well, and Emma too;so there is no need totalk a thing twice over.\"From her occasional mode of speech, some people might say, and did say,that Agatha Bowen \"had a temper of her own.\" It is very true, she wasnot one of those mild,amiable heroines who never can give a sharp wordto any one. And now and then, probably from the morbid restlessnessof unsatisfied youth--a youth, too, that fate had deprived of thosehome-ties, duties, andsacrifices, which are at once so arduous and sowholesome--she had a habit of carrying, not only the real black kitten,but the imaginary and allegorical \"little black dog,\" on her shoulder.It was grinning there invisiblynow; shaking her curls with shortquick motion, swelling her rich full lips--those sort of lips which areglorious in smiles, but which in repose are apt to settle into a gravitynot unlike crossness.She was looking thus--nother best, it must be allowed--when a servant,opening the drawing-room door, announced \"Visitors for Miss Bowen.\"The first who entered, very much in advance of the other, appeared withthat easy, agreeable air whichat once marks the gentleman, and one longaccustomed to the world in all its phases, especially to the femininephase; for he bowed over Agatha's hand, and smiled in Agatha's nowbrightening face, with a sort of tendermanliness, that implied hisbeing used to pleasing women, and having an agreeable though not anungenerous consciousness of the fact.\"Are you better--really better? Are you quite sure you have no coldleft? Nothing tomake your friends anxious about you?\" (Agatha shook herhead smilingly.) \"That's right; I am so glad.\"And no doubt Major Harper was; for a true kind-heartedness, softenedeven to tender-heartedness, was visible inhis handsome face. Which facehad been for twenty years the admiration of nearly every woman in everydrawing-room he entered: a considerable trial for any man. Now and thensome independent young lady, who hadreasons of her own for preferringrosy complexions, turn-up noses, and \"runaway\" chins, might quarrelwith the Major's fine Roman profile and jet-black moustache and hair;but--there was no denying it--he was, even atforty, a remarkablyhandsome man; one of the old school of Chesterfield perfection, which isfast dying out.Everybody liked him, more or less; and some people--a few men and not afew women, had either in friendshipor in warmer fashion--deeplyloved him. Society in general was quite aware of this; nor, it must beconfessed, did Major Harper at all attempt to disprove or ignore thefact. He wore his honours--as he did a cross won, noone quite knewhow, during a brief service in the Peninsula--neither pompously norboastingly, but with the mild indifference of conscious desert.All this could be at once discerned in his face, voice, and manner;fromwhich likewise a keen observer might draw the safe conclusion that,though a decided man of fashion, and something of a dandy, he was aboveeither puppyism or immorality. And Agatha's rich Anglo-Indian fatherhadnot judged foolishly when he put his only child and her property in thetrust of, as he believed, that rare personage, an honest man.If the girl Agatha, who took honesty as a matter of course in everygentleman,endowed this particular one with a few qualities more than hereally possessed, it was an amiable weakness on her part, for which,as Major Harper would doubtless have said with a seriously troubledcountenance, \"noone could possibly blame _him._\"In speaking of the Major we have taken little notice--as little, indeed,as Agatha did--of the younger Mr. Harper.\"My brother, Miss Bowen. He came home when my sister Emily died.\"Thebrief introduction terminated in a slight fall of voice, which made theyoung lady look sympathisingly at the handsome face that took shades ofsadness as easily as shades of mirth. In her interest for the Majorshemerely bowed to his brother; just noticed that the stranger was a tall,fair \"boy,\" not at all resembling her own friend; and after a politespeech or two of welcome, to which Mr. Harper answered very briefly,she hardlylooked at him again until she and her guests adjourned to thefamily drawing-room of Dr. Ianson.There, the Major happening to be engrossed by doing earnest politenessto Mrs. Thornycroft and her mother, Agatha hadto enter side by sidewith the younger brother, and likewise to introduce him to the worthyfamily whose inmate she was.She did so, making the whole circuit of the room towards Miss JaneIanson, in the hope that hewould cast anchor, or else be grappled bythat young lady, and so she should get rid of him. However, fate wasadverse; the young gentleman showed no inclination to be thus put aside,and Miss Bowen, driven todespair, was just going to extinguish himaltogether with some specimen of the unceremonious manner which sheoccasionally showed to \"boys,\" when, observing him more closely, shediscovered that he could notexactly come under this category.His fair face, fair hair, and thin, stripling-like figure, had deceivedher. Investigating deeper, there was a something in his grave eyeand firmly-set mouth which bespoke the man, not theboy. Agatha, who,treating him with a careless womanly superiority that girls of nineteenuse, had asked \"how long he had been in Canada?\" and been answered\"Fifteen years,\"--hesitated at her next intendedquestion--the very rudeand malicious one--\"How old he was when he left home?\"\"I was, as you say, very young when I quitted England,\" he answered, toa less pointed remark of Miss Ianson's. \"I must have been a ladof nineor ten--little more.\"Agatha quite started to think of the disrespectful way in which shehad treated a gentleman twenty-five years old! It made her shy anduncomfortable for some minutes, and she rather repentedof her habit ofpatronising \"boys.\"However, what was even twenty-five? A raw, uncouth age. No man wasreally good for anything until he was thirty. And, as quickly ascourtesy and good feeling allowed her, she glidedfrom the uninterestingyounger brother to the charmed circle where the elder was talking away,as only Major Harper could talk, using all the weapons of conversationby turns, to a degree that never can be trulydescribed. Like Taglioni's_entrechats_, or Grisi's melodious notes, such extrinsic talent dies onthe senses of the listener, who cannot prove, scarcely even explain, butonly say that it was so. Nevertheless, with all hispower of amusing, akeen observer might have discerned in Major Harper a want of depth--ofreading--of thought; a something that marked out the man of societyin contradiction to the man of intellect or of letters. Hadhe been anauthor--which he was once heard to thank Heaven he was not--he wouldprobably have been one of those shallow, fashionable sentimentalistswho hang like Mahomed's coffin between earth and heaven, aneyesore untoboth. As it was, his modicum of talent made him a most pleasant man inhis own sphere--the drawing-room.\"Really,\" whispered the good, corpulent Dr. Ianson, who had beenlaughing so much that he quiteforgot dinner was behind time, \"my dearMiss Bowen, your friend is the most amusing, witty, delightful person.It is quite a pleasure to have such a man at one's table.\"\"Quite a pleasure, indeed,\" echoed Mrs. Ianson,deeply thankful toanything or anybody that stood in the breach between herself, herhusband, and the dilatory cook.Agatha looked gratified and proud. Casting a shy glance towards whereher friend was talking to EmmaThomycroft and Miss Ianson, she metthe eye of the younger brother. It expressed such keen, thoughgrave observance of her, that she felt her cheeks warm into the old,unbecoming, uncomfortable blush.It was rather asatisfaction that, just then, they were summonedto dinner; Major Harper, in his half tender, half paternal manner,advancing to take her downstairs; which was his custom, when, asfrequently happened, Agatha Bowenwas the woman he liked best in theroom. This was indeed his usual way in all societies, except when out ofkindliness of heart he now and then made a temporary sacrifice in favourof some woman who he thought liked_him_ best. Though even in this case,perhaps, he would not have erred, or felt that he erred, in offering hisarm to Agatha.She looked happy, as any young girl would, in receiving the attentionsof a man whom alladmired; and was quite contented to sit next to him,listening while he talked cheerfully and brilliantly, less for herpersonal, entertainment than that of the table in general. Which shethought, considering the dulness ofthe Ianson circle, and that even herown kind-hearted, long-known friend, Emma Thomycroft, was not the mostintellectual woman in the world,--showed great good nature on the partof Major Harper.Perhaps the mostsilent person at table was the younger brother, whoseChristian name Agatha did not know. However, hearing the Major callhim once or twice by an odd-sounding word, something like \"Beynell\" or\"Ennell,\" she had thecuriosity to inquire.\"Oh, it is N. L.--his initials; which I call him by, instead of thevery ugly name his cruel godfathers and godmothers imposed upon him as alife-long martyrdom.\"\"What name is that?\" asked Agatha,looking across at the luckless victimof nomenclature, who seemed to endure his woes with great equanimity.He met her eye, and answered for himself, showing he had been listeningto her all the time. \"I am calledNathanael--it is an old familyname--Nathanael Locke Harper.\"\"You don't look very like a Nathanael,\" observed his neighbour, Mrs.Thornycroft, doubtless wishing to be complimentary.\"I think he does,\" said Agatha,kindly, for she was struck by theinfinitely sweet and \"good\" expression which the young man's face justthen wore. \"He looks like the Nathanael of Scripture, 'in whom therewas no guile.'\"A pause--for the Iansons werethose sort of religious people who thinkany Biblical allusions irreverent. But Major Harper said, heartily,\"That's true!\" and cordially, nay affectionately, pressed Agatha'shand. Nathanael slightly coloured, as if withpleasure, though he madeno answer of any kind. He was evidently unused to bandy either jests orcompliments.If anything could be objected to in a young man so retiring andunobtrusive as he, it was a certainsomething the very opposite ofhis brother's cheerful frankness. His features, regular, delicate, andperfectly colourless; his hair long, straight, and of the palest brown,without any shadow of what painters would call a\"warm tint,\" auburn orgold, running through it; his slow, quiet movements, rare speech, and acertain passive composure of aspect, altogether conveyed the impressionof a nature which, if not positively repellant, wasdecidedly cold.Agatha felt it, and though from the rule of opposites, this species ofcharacter awoke in her a spice of interest, yet was the interest of toofaint and negative a kind to attract her more than momentarily.Inher own mind she set down Nathanael Harper as \"a very odd sort ofyouth\"--(_a youth_ she still persisted in calling him)--and turnedagain to his brother.They had dined late,--and the brief evening bade fair to passasafter-dinner evenings do. Arrived in the drawing-room, old Mrs. Hillwent to sleep; Miss Ianson, a pale young woman, in delicate health,disappeared; Mrs. Ianson and Mrs. Thornycroft commenced alow-toned,harmless conversation, which was probably about \"servants\" and \"babies.\"Agatha being at that age when domestic affairs are very uninteresting,and girlish romance has not yet ripened into the sweet andsolemninstincts of motherhood, stole quietly aside, and did the very rudething of taking up a book and beginning to read \"in company.\" But, asbefore stated, Miss Agatha had a will of her own, which she usuallyfollowedout, even when it ran a little contrary to the ultra-refinedlaws of propriety.The book not being sufficiently interesting, she was beginning, likemany another clever girl of nineteen, to think the society of marriedladies agreat bore, and to wonder when the gentlemen would comeup-stairs'. Her wish was shortly gratified by the door's opening--butonly to admit the \"youth\" Nathanael.However, partly for civility, and partly through lack ofentertainment,Agatha smiled upon even him, and tried to make him talk.This was not an easy matter, since in all qualities he seemed to behis elder brother's opposite. Indeed, his reserve and brevity of speechemulatedAgatha's own; so they got on together ill enough, until by somehappy chance they lighted on the subject of Canada and the Backwoods.Where is there boy or girl of romantic imagination who did not, atsome juvenileperiod of existence, revel in descriptions of Americanforest-life? Agatha had scarcely passed this, the latest of her variousmanias; and on the strength of it, she and Mr. Harper became moresociable. She evencondescended to declare \"that it was a pleasure tomeet with one who had absolutely seen, nay, lived among red Indians.'\"\"Ay, and nearly died among them too,\" added Major Harper, coming up sounexpectedly thatAgatha had not noticed him. \"Tell Miss Bowen how youwere captured, tied to the stake, half-tomahawked, etc.--how you livedIndian fashion for a whole year, when you were sixteen. Wonderful lad! Asecond NathanielBumppo!\" added he, tapping his brother's shoulder.The young man drew back, merely answered \"that the story would notinterest Miss Bowen,\" and retired, whether out of pride or shyness itwas impossible to say.The"}
+{"doc_id":"doc_185","qid":"","text":"<html><head><title>Boondock Saints, The Script at IMSDb.</title><meta name=\"description\" content=\"Boondock Saints, The script at the Internet Movie Script Database.\"><meta name=\"keywords\"content=\"Boondock Saints, The script, Boondock Saints, The movie script, Boondock Saints, The film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\"content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ?'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie ScriptDatabase\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <scripttype=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                                   THE BOONDOCK SAINTS</b>                                        Written by<b>                                        TROYDUFFY</b>                                   Shooting Script:  White August 28, 1997<b>                </b><b>               INT.  GOTHIC CHURCH  10:00 A.M.  ST. PATRICK'S DAY</b><b>               DOWNTOWNBOSTON</b>               As we open we see the inside of an enormous church. A young                looking PRIEST in his mid-thirties is finishing the delivery                of the Lord\u0000s Prayer. In the back of the church, inthe last                pew, there are two who kneel on the cold, stone floor.               They do not stand to sing, nor do they offer signs of peace                when told, but they pray. They grip and rub theirrosaries.                They mutter their words in Latin.               CONNOR and MURPHY MacMANUS (mid-twenties) are shrouded in                thick waist length navy P-coats, worn leather boots and the                hungryclothes of the poor. The boys heads are shaved and                they have facial hair.<b>                                     MONSIGNOR</b>                              (dismissingyoung                               priest)                         Thank you Father Macklepenny, for                          coming all the way across town to be                          our guest speaker today. I hopeyou                          found our little parish to your                          liking.               Macklepenny takes his seat on the alter along side the regular                priests of the church. The MacManus brothers suddenlystand,                as all others remain seated. Each church goer between them                and the aisle shifts his/her position to allow the boys                passage, as if on command. The two turn and begin tostride                for the alter, eyes down, determined.<b>                                     ANNABELLE MACMANUS (V.O.)</b>                              (thick Irish accent)                         They've never been like anyoneelse.                          From the moment they were born, of                          the same womb, on the same day, they                          just had their own way, my boys did.                          And I always knew that oneday they                          would do something of true greatness.                          I just never expected they would                          bring about such a... such a                          reckoning.               The MacManusbrothers are fraternal twins. As Annabelle                MacManus speaks, Macklepenny is taken aback as he scans the                congregation amazed to find that he is the only one who thinks                this out of theordinary.               The monsignor begins his sermon. Macklepenny rises to stop                the boys from this disgraceful disturbance.               The elder clergyman finds Macklepenny's arm, keepinghim                seated while shaking his head. Macklepenny's confusion gives                way to awe as he watches the brothers step onto the altar,                brush by the six seated priests, and approach theenormous                crucifix.               They both fall to their knees and kiss the feet of Christ.                They rise and as abruptly as they came, they turn and head                back down the aisle for the front door.They stop at the                rear of the church, turning to listen to the sermon.<b>                                     MONSIGNOR</b>                              (loud, authoritative)                         ...and I am reminded of thisholy                          day of the sad story of Kitty                          Geneviese. This poor soul cried out                          time and time again for help but no                          person answered her calls.Though                          many saw, not one so much as called.                          Her assailant wiped the bloody knife                          off on her lifeless little body.                          They watched as he simplywalked                          away. Nobody wanted to get involved.                          Nobody wanted to take a stand... We                          must fear evil men and deal with                          them accordingly but what wemust                          truly guard against, what we must                          fear most                              (beat)                         Is the indifference of good men.               The MacManuses turn and walk out thedoor.<b>               EXT. CHURCH STEPS  SUNNY MORNING</b>               The boys put on their dark glasses and pause at the top of                the steps to light up their cigarettes. They both rolltheir                cigarette butts along their tongues and screw them into their                lips. In this unique way they light up, seemingly oblivious                to their synchronicity andmimic.<b>                                     CONNOR</b>                              (Irish accent)                         I do believe the Monsignor finally                          got apoint.<b>                                     MURPHY</b>                              (Irish accent)                         Aye.               They leave.<b>               INT. NOLAND'S MEAT PACKING PLANT  4:00 P.M.  SAMEDAY</b>               Murphy, wearing a white blood soaked smock and apron stands                around the corner of the entrance to the loading dock. He                grips a gigantic, bloody slab of meat and smirks.Connor                flips his cigarette out the loading dock and passes his                brother's hiding place. He notices the workers have stopped,                and are looking athim.<b>                                     CONNOR</b>                         What?               Murphy slaps Connor square in the face with the bloody slab.               Connor's face is caked with blood as he stands stunned.He                then leaps on Murphy, sending him into a pile of nearby                hamburger. He grabs a large cow tongue from a nearby heap                and begins slapping Murphy in the face with it as theyboth                laugh and the workers cheer.               Their boss, McGERKIN approaches with a very large woman.               Her head is clean-shaven. The two are still laughing, out of                breath, theyturn.<b>                                     MCGERKIN</b>                         Boys this is Rose, Baum, Gurtle...                          Gurtle.<b>                                     ROZ</b>                         RozengurtleBaumgartner.<b>                                     MCGERKIN</b>                         You'll be training her today, and do                          a good job.<b>                                     BOTHBOYS</b>                         Aye.<b>                                     CONNOR</b>                              (wipes hand and extends                               it)                         Pleased ta meet ya Rozie.               She points to atattoo on her neck that reads untouched by                man.<b>                                     ROZ</b>                         I prefer to be called Rozengurtleby                          men.<b>                                     CONNOR</b>                              (taken aback)                         Okay then... let's get ya started.               Connor exits withRoz.<b>                                     MURPHY</b>                         Christ, that's the largest woman                          I've ever seen.<b>                                     MCGERKIN</b>                         It's self-imposedaffirmative action.                          If we hire big, fat, angry lesbians,                          then the leftist groups representing                          big, fat angry lesbians, won't think                          we're violating theirrights.<b>                                     MURPHY</b>                         Well, how politically correct you                          are. That's good stuff.<b>                                     MCGERKIN</b>                         Hey, thosepeople can shut ya down.                          They'll sue you into the ground                          claiming they were put under mental                          duress, inner pain. andsufferin'.<b>                                     MURPHY</b>                         Well, as long as we're hirin' fat                          lesbians, give your ma a call.               Murphy laughs as he jogsaway.<b>                                     MCGERKIN</b>                         Fuck you Murphy.<b>               INT. NOLAND'S MEAT PACKING PLANT  CUT STATION  SAME DAY</b>               Rozengurtle and Connor stand infront of a bunch of co-workers                who are cutting meat as it goes by on assembly.<b>                                     CONNOR</b>                         Okay, just cut off as much fat as                          you can as itgoes by and the rule                          of thumb here is...<b>                                     ROZ</b>                         Rule ofthumb?<b>                                     CONNOR</b>                              (questioningly)                         Yeah?<b>                                     ROZ</b>                         Do you know where that termcomes                          from? In the early 1900's it was                          legal for men to beat their wives as                          long as they used a stick no wider                          than their thumb.               Connorholds up his thumb and stares at it.<b>                                     CONNOR</b>                         Can't do much damage with that.                          Perhaps, it shoulda been the rule of                          wrist.Ha!                              (he elbows her)                         Rule of wrist.               She returns an icy stare. He hands her the knife. The co-               workers all seem wary of Roz.               Murphy stands on one side ofRoz, Connor on the other,                surrounded by a tight group of workers. Everyone is within                ear shot of one another, cutting meat as it goes by. Knowing                glances are shared by everyone. It is anuncomfortable mood.<b>                                     CONNOR</b>                         HeyMurphy?<b>                                     MURPHY</b>                         Aye.<b>                                     CONNOR</b>                              (slight smirk)                         How many feminists does it taketo                          screw in a light bulb?<b>                                     MURPHY</b>                         How many?<b>                                     CONNOR</b>                         Two. One ta screw it in and oneta                          suck my cock.               Everyone burst out laughing. Rozengurtle jabs a knife in a                piece of meat and turns to Connor. She pushes him and starts                walking toward him. He startsbacking up, laughing.<b>                                     ROZ</b>                              (angry)                         I knew you two pricks would give me                          problems. Give me shit cause I'ma                          woman. I'm not gonna take your male                          dominance bullshit!<b>                                     CONNOR</b>                              (trying to calm her,                               but still"}
+{"doc_id":"doc_186","qid":"","text":"The Project Gutenberg EBook of The Reef, by Edith WhartonThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it under theterms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: The ReefAuthor: Edith WhartonPosting Date: July 12, 2008 [EBook #283]Release Date: June, 1995Language:English*** START OF THIS PROJECT GUTENBERG EBOOK THE REEF ***Produced by Gail Jahn, and John HammTHE REEFby Edith WhartonBOOK II\"Unexpected obstacle. Please don't come till thirtieth. Anna.\"All the wayfrom Charing Cross to Dover the train had hammered the wordsof the telegram into George Darrow's ears, ringing every change of ironyon its commonplace syllables: rattling them out like a discharge ofmusketry,letting them, one by one, drip slowly and coldly into hisbrain, or shaking, tossing, transposing them like the dice in some gameof the gods of malice; and now, as he emerged from his compartment atthe pier, and stoodfacing the wind-swept platform and the angry seabeyond, they leapt out at him as if from the crest of the waves, stungand blinded him with a fresh fury of derision.\"Unexpected obstacle. Please don't come till thirtieth.Anna.\"She had put him off at the very last moment, and for the second time:put him off with all her sweet reasonableness, and for one of her usual\"good\" reasons--he was certain that this reason, like the other,(thevisit of her husband's uncle's widow) would be \"good\"! But it was thatvery certainty which chilled him. The fact of her dealing so reasonablywith their case shed an ironic light on the idea that there had beenanyexceptional warmth in the greeting she had given him after their twelveyears apart.They had found each other again, in London, some three monthspreviously, at a dinner at the American Embassy, and when shehad caughtsight of him her smile had been like a red rose pinned on her widow'smourning. He still felt the throb of surprise with which, amongthe stereotyped faces of the season's diners, he had come uponherunexpected face, with the dark hair banded above grave eyes; eyes inwhich he had recognized every little curve and shadow as he would haverecognized, after half a life-time, the details of a room he had playedinas a child. And as, in the plumed starred crowd, she had stood outfor him, slender, secluded and different, so he had felt, the instanttheir glances met, that he as sharply detached himself for her. All thatand more hersmile had said; had said not merely \"I remember,\" but \"Iremember just what you remember\"; almost, indeed, as though her memoryhad aided his, her glance flung back on their recaptured moment itsmorningbrightness. Certainly, when their distracted Ambassadress--withthe cry: \"Oh, you know Mrs. Leath? That's perfect, for General Farnhamhas failed me\"--had waved them together for the march to thedining-room,Darrow had felt a slight pressure of the arm on his, a pressure faintlybut unmistakably emphasizing the exclamation: \"Isn't it wonderful?--InLondon--in the season--in a mob?\"Little enough, on the part ofmost women; but it was a sign of Mrs.Leath's quality that every movement, every syllable, told with her. Evenin the old days, as an intent grave-eyed girl, she had seldom misplacedher light strokes; and Darrow, onmeeting her again, had immediatelyfelt how much finer and surer an instrument of expression she hadbecome.Their evening together had been a long confirmation of this feeling. Shehad talked to him, shyly yetfrankly, of what had happened to her duringthe years when they had so strangely failed to meet. She had told himof her marriage to Fraser Leath, and of her subsequent life in France,where her husband's mother, left awidow in his youth, had beenre-married to the Marquis de Chantelle, and where, partly in consequenceof this second union, the son had permanently settled himself. She hadspoken also, with an intense eagerness ofaffection, of her little girlEffie, who was now nine years old, and, in a strain hardly less tender,of Owen Leath, the charming clever young stepson whom her husband'sdeath had left to her care...A porter, stumblingagainst Darrow's bags, roused him to the fact thathe still obstructed the platform, inert and encumbering as his luggage.\"Crossing, sir?\"Was he crossing? He really didn't know; but for lack of any morecompellingimpulse he followed the porter to the luggage van, singledout his property, and turned to march behind it down the gang-way. Asthe fierce wind shouldered him, building up a crystal wall against hisefforts, he felt anewthe derision of his case.\"Nasty weather to cross, sir,\" the porter threw back at him as they beattheir way down the narrow walk to the pier. Nasty weather, indeed; butluckily, as it had turned out, there was no earthlyreason why Darrowshould cross.While he pushed on in the wake of his luggage his thoughts slipped backinto the old groove. He had once or twice run across the man whom AnnaSummers had preferred to him, andsince he had met her again he had beenexercising his imagination on the picture of what her married life musthave been. Her husband had struck him as a characteristic specimen ofthe kind of American as to whom oneis not quite clear whether helives in Europe in order to cultivate an art, or cultivates an art as apretext for living in Europe. Mr. Leath's art was water-colour painting,but he practised it furtively, almost clandestinely,with the disdain ofa man of the world for anything bordering on the professional, whilehe devoted himself more openly, and with religious seriousness, to thecollection of enamelled snuff-boxes. He was blond andwell-dressed, withthe physical distinction that comes from having a straight figure, athin nose, and the habit of looking slightly disgusted--as who shouldnot, in a world where authentic snuff-boxes were growing dailyharder tofind, and the market was flooded with flagrant forgeries?Darrow had often wondered what possibilities of communion there couldhave been between Mr. Leath and his wife. Now he concluded that therehadprobably been none. Mrs. Leath's words gave no hint of her husband'shaving failed to justify her choice; but her very reticence betrayedher. She spoke of him with a kind of impersonal seriousness, as if hehad been acharacter in a novel or a figure in history; and what shesaid sounded as though it had been learned by heart and slightly dulledby repetition. This fact immensely increased Darrow's impression thathis meeting with herhad annihilated the intervening years. She, who wasalways so elusive and inaccessible, had grown suddenly communicative andkind: had opened the doors of her past, and tacitly left him to draw hisown conclusions. Asa result, he had taken leave of her with thesense that he was a being singled out and privileged, to whom she hadentrusted something precious to keep. It was her happiness in theirmeeting that she had given him, hadfrankly left him to do with as hewilled; and the frankness of the gesture doubled the beauty of the gift.Their next meeting had prolonged and deepened the impression. They hadfound each other again, a few days later,in an old country house fullof books and pictures, in the soft landscape of southern England.The presence of a large party, with all its aimless and agitateddisplacements, had served only to isolate the pair and give them(atleast to the young man's fancy) a deeper feeling of communion, and theirdays there had been like some musical prelude, where the instruments,breathing low, seem to hold back the waves of sound that pressagainstthem.Mrs. Leath, on this occasion, was no less kind than before; but shecontrived to make him understand that what was so inevitably coming wasnot to come too soon. It was not that she showed any hesitationas tothe issue, but rather that she seemed to wish not to miss any stage inthe gradual reflowering of their intimacy.Darrow, for his part, was content to wait if she wished it. Heremembered that once, in America, whenshe was a girl, and he hadgone to stay with her family in the country, she had been out when hearrived, and her mother had told him to look for her in the garden. Shewas not in the garden, but beyond it he had seenher approaching down along shady path. Without hastening her step she had smiled and signed tohim to wait; and charmed by the lights and shadows that played upon heras she moved, and by the pleasure ofwatching her slow advance towardhim, he had obeyed her and stood still. And so she seemed now to bewalking to him down the years, the light and shade of old memories andnew hopes playing variously on her, andeach step giving him the visionof a different grace. She did not waver or turn aside; he knew she wouldcome straight to where he stood; but something in her eyes said \"Wait\",and again he obeyed and waited.On thefourth day an unexpected event threw out his calculations.Summoned to town by the arrival in England of her husband's mother, sheleft without giving Darrow the chance he had counted on, and he cursedhimself for adilatory blunderer. Still, his disappointment was temperedby the certainty of being with her again before she left for France;and they did in fact see each other in London. There, however, theatmosphere had changedwith the conditions. He could not say that sheavoided him, or even that she was a shade less glad to see him; butshe was beset by family duties and, as he thought, a little too readilyresigned to them.The Marquise deChantelle, as Darrow soon perceived, had the samemild formidableness as the late Mr. Leath: a sort of insistentself-effacement before which every one about her gave way. It wasperhaps the shadow of this lady'spresence--pervasive even during heractual brief eclipses--that subdued and silenced Mrs. Leath. The latterwas, moreover, preoccupied about her stepson, who, soon after receivinghis degree at Harvard, had beenrescued from a stormy love-affair, andfinally, after some months of troubled drifting, had yielded to hisstep-mother's counsel and gone up to Oxford for a year of supplementarystudy. Thither Mrs. Leath went once ortwice to visit him, and herremaining days were packed with family obligations: getting, as shephrased it, \"frocks and governesses\" for her little girl, who hadbeen left in France, and having to devote the remaining hoursto longshopping expeditions with her mother-in-law. Nevertheless, during herbrief escapes from duty, Darrow had had time to feel her safe in thecustody of his devotion, set apart for some inevitable hour; and thelastevening, at the theatre, between the overshadowing Marquise and theunsuspicious Owen, they had had an almost decisive exchange of words.Now, in the rattle of the wind about his ears, Darrow continued tohear themocking echo of her message: \"Unexpected obstacle.\" In such anexistence as Mrs. Leath's, at once so ordered and so exposed, he knewhow small a complication might assume the magnitude of an \"obstacle;\"yet, evenallowing as impartially as his state of mind permitted forthe fact that, with her mother-in-law always, and her stepsonintermittently, under her roof, her lot involved a hundred smallaccommodations generally foreign tothe freedom of widowhood--even so,he could not but think that the very ingenuity bred of such conditionsmight have helped her to find a way out of them. No, her \"reason\",whatever it was, could, in this case, benothing but a pretext; unlesshe leaned to the less flattering alternative that any reason seemed goodenough for postponing him! Certainly, if her welcome had meant what heimagined, she could not, for the secondtime within a few weeks,have submitted so tamely to the disarrangement of their plans; adisarrangement which--his official duties considered--might, for all sheknew, result in his not being able to go to her formonths.\"Please don't come till thirtieth.\" The thirtieth--and it was now thefifteenth! She flung back the fortnight on his hands as if he had beenan idler indifferent to dates, instead of an active young diplomatistwho, torespond to her call, had had to hew his way through a veryjungle of engagements! \"Please don't come till thirtieth.\" That was all.Not the shadow of an excuse or a regret; not even the perfunctory \"havewritten\" withwhich it is usual to soften such blows. She didn't wanthim, and had taken the shortest way to tell him so. Even in his firstmoment of exasperation it struck him as characteristic that she shouldnot have padded herpostponement with a fib. Certainly her moral angleswere not draped!\"If I asked her to marry me, she'd have refused in the same language.But thank heaven I haven't!\" he reflected.These considerations, which hadbeen with him every yard of the way fromLondon, reached a climax of irony as he was drawn into the crowd on thepier. It did not soften his feelings to remember that, but for her lackof forethought, he might, at thisharsh end of the stormy May day, havebeen sitting before his club fire in London instead of shivering in thedamp human herd on the pier. Admitting the sex's traditional right tochange, she might at least have advisedhim of hers by telegraphingdirectly to his rooms. But in spite of their exchange of letters shehad apparently failed to note his address, and a breathless emissary hadrushed from the Embassy to pitch her telegram intohis compartment asthe train was moving from the station.Yes, he had given her chance enough to learn where he lived; and thisminor proof of her indifference became, as he jammed his way through thecrowd, themain point of his grievance against her and of his derisionof himself. Half way down the pier the prod of an umbrella increased hisexasperation by rousing him to the fact that it was raining. Instantlythe narrow ledgebecame a battle-ground of thrusting, slanting, parryingdomes. The wind rose with the rain, and the harried wretches exposed tothis double assault wreaked on their neighbours the vengeance they couldnot take on theelements.Darrow, whose healthy enjoyment of life made him in general a goodtraveller, tolerant of agglutinated humanity, felt himself obscurelyoutraged by these promiscuous contacts. It was as though all thepeopleabout him had taken his measure and known his plight; as though theywere contemptuously bumping and shoving him like the inconsiderablething he had become. \"She doesn't want you, doesn't want you,doesn'twant you,\" their umbrellas and their elbows seemed to say.He had rashly vowed, when the telegram was flung into his window: \"Atany rate I won't turn back\"--as though it might cause the sender amalicious joyto have him retrace his steps rather than keep on toParis! Now he perceived the absurdity of the vow, and thanked his starsthat he need not plunge, to no purpose, into the fury of waves outsidethe harbour.With thisthought in his mind he turned back to look for his porter;but the contiguity of dripping umbrellas made signalling impossible and,perceiving that he had lost sight of the man, he scrambled up again tothe platform. As hereached it, a descending umbrella caught him in thecollar-bone; and the next moment, bent sideways by the wind, it turnedinside out and soared up, kite-wise, at the end of a helpless femalearm.Darrow caught theumbrella, lowered its inverted ribs, and looked up atthe face it exposed to him.\"Wait a minute,\" he said; \"you can't stay here.\"As he spoke, a surge of the crowd drove the owner of the umbrellaabruptly down on him.Darrow steadied her with extended arms, andregaining her footing she cried out: \"Oh, dear, oh, dear! It's inribbons!\"Her lifted face, fresh and flushed in the driving rain, woke in hima memory of having seen it at adistant time and in a vaguelyunsympathetic setting; but it was no moment to follow up such clues, andthe face was obviously one to make its way on its own merits.Its possessor had dropped her bag and bundles toclutch at the tatteredumbrella. \"I bought it only yesterday at the Stores; and--yes--it'sutterly done for!\" she lamented.Darrow smiled at the intensity of her distress. It was food for themoralist that, side by side withsuch catastrophes as his, human naturewas still agitating itself over its microscopic woes!\"Here's mine if you want it!\" he shouted back at her through theshouting of the gale.The offer caused the young lady to look athim more intently. \"Why,it's Mr. Darrow!\" she exclaimed; and then, all radiant recognition: \"Oh,thank you! We'll share it, if you will.\"She knew him, then; and he knew her; but how and where had they met? Heputaside the problem for subsequent solution, and drawing her into amore sheltered corner, bade her wait till he could find his porter.When, a few minutes later, he came back with his recovered property,and the news thatthe boat would not leave till the tide had turned, sheshowed no concern.\"Not for two hours? How lucky--then I can find my trunk!\"Ordinarily Darrow would have felt little disposed to involve himselfin the adventure of ayoung female who had lost her trunk; but at themoment he was glad of any pretext for activity. Even should he decide totake the next up train from Dover he still had a yawning hour to fill;and the obvious remedy wasto devote it to the loveliness in distressunder his umbrella.\"You've lost a trunk? Let me see if I can find it.\"It pleased him that she did not return the conventional \"Oh, WOULD you?\"Instead, she corrected him with alaugh--\"Not a trunk, but my trunk; I'veno other--\" and then added briskly: \"You'd better first see to gettingyour own things on the boat.\"This made him answer, as if to give substance to his plans by discussingthem: \"Idon't actually know that I'm going over.\"\"Not going over?\"\"Well...perhaps not by this boat.\" Again he felt a stealing indecision.\"I may probably have to go back to London. I'm--I'm waiting...expectinga letter...(She'llthink me a defaulter,\" he reflected.) \"But meanwhilethere's plenty of time to find your trunk.\"He picked up his companion's bundles, and offered her an arm whichenabled her to press her slight person more closelyunder his umbrella;and as, thus linked, they beat their way back to the platform, pulledtogether and apart like marionettes on the wires of the wind, hecontinued to wonder where he could have seen her. He hadimmediatelyclassed her as a compatriot; her small nose, her clear tints, a kindof sketchy delicacy in her face, as though she had been brightly butlightly washed in with water-colour, all confirmed the evidence ofherhigh sweet voice and of her quick incessant gestures. She was clearly anAmerican, but with the loose native quality strained through a closerwoof of manners: the composite product of an enquiring andadaptablerace. All this, however, did not help him to fit a name to her, for justsuch instances were perpetually pouring through the London Embassy, andthe etched and angular American was becoming rarer than thefluid type.More puzzling than the fact of his being unable to identify her wasthe persistent sense connecting her with something uncomfortable anddistasteful. So pleasant a vision as that gleaming up at him betweenwetbrown hair and wet brown boa should have evoked only associations aspleasing; but each effort to fit her image into his past resulted in thesame memories of boredom and a vague discomfort...II\"Don't you rememberme now--at Mrs. Murrett's?\" She threw the question atDarrow across a table of the quiet coffee-room to which, after a vainlyprolonged quest for her trunk, he had suggested taking her for a cup oftea.In this mustyretreat she had removed her dripping hat, hung it on thefender to dry, and stretched herself on tiptoe in front of the roundeagle-crowned mirror, above the mantel vases of dyed immortelles, whileshe ran her fingerscomb-wise through her hair. The gesture had acted onDarrow's numb feelings as the glow of the fire acted on his circulation;and when he had asked: \"Aren't your feet wet, too?\" and, afterfrank inspection of astout-shod sole, she had answered cheerfully:\"No--luckily I had on my new boots,\" he began to feel that humanintercourse would still be tolerable if it were always as free fromformality.The removal of his companion'shat, besides provoking this reflection,gave him his first full sight of her face; and this was sofavourable that the name she now pronounced fell on him with a quitedisproportionate shock of dismay.\"Oh, Mrs.Murrett's--was it THERE?\"He remembered her now, of course: remembered her as one of the shadowysidling presences in the background of that awful house in Chelsea, oneof the dumb appendages of the shriekingunescapable Mrs. Murrett, intowhose talons he had fallen in the course of his head-long pursuit ofLady Ulrica Crispin. Oh, the taste of stale follies! How insipid it was,yet how it clung!\"I used to pass you on the stairs,\"she reminded him.Yes: he had seen her slip by--he recalled it now--as he dashed up tothe drawing-room in quest of Lady Ulrica. The thought made him steal alonger look. How could such a face have been merged in"}
+{"doc_id":"doc_187","qid":"","text":"The Project Gutenberg EBook of Lothair, by Benjamin DisraeliThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it under theterms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: LothairAuthor: Benjamin DisraeliRelease Date: April, 2005  [EBook #7835]Posting Date: July 27, 2009Language:English*** START OF THIS PROJECT GUTENBERG EBOOK LOTHAIR ***Produced by K. Kay ShearinLOTHAIRBy Benjamin DisraeliCHAPTER 1\"I remember him a little boy,\" said the duchess, \"a pretty little boy,but veryshy. His mother brought him to us one day. She was a dearfriend of mine; you know she was one of my bridesmaids?\"\"And you have never seen him since, mamma?\" inquired a married daughter,who looked like theyounger sister of her mother.\"Never; he was an orphan shortly after; I have often reproached myself,but it is so difficult to see boys. Then, he never went to school, butwas brought up in the Highlands with a rathersavage uncle; and if heand Bertram had not become friends at Christchurch, I do not well seehow we ever could have known him.\"These remarks were made in the morning-room of Brentham, where themistress of themansion sat surrounded by her daughters, all occupiedwith various works. One knitted a purse, another adorned a slipper athird emblazoned a page. Beautiful forms in counsel leaned over framesembroidery, while twofair sisters more remote occasionally burst intomelody as they tried the passages of a new air, which had been dedicatedto them in the manuscript of some devoted friend.The duchess, one of the greatest heiresses ofBritain, singularlybeautify and gifted with native grace, had married in her teens one ofthe wealthiest and most powerful of our nobles, and scarcely order thanherself. Her husband was as distinguished for hisappearance and hismanners as his bride, and those who speculate on race were interestedin watching the development of their progeny, who in form and color, andvoice, and manner, and mind, were a reproduction oftheir parents,who seemed only the elder brother and sister of a gifted circle. Thedaughters with one exception came first, and all met the same fate.After seventeen years of a delicious home they were presented,andimmediately married; and all to personages of high consideration. Afterthe first conquest, this fate seemed as regular as the order of Nature.Then came a son, who was now at Christchurch, and then severalothers,some at school, and some scarcely out of the nursery. There was onedaughter unmarried, and she was to be presented next season. Thoughthe family likeness was still apparent in Lady Corisande, ingeneralexpression she differed from her sisters. They were all alike with theirdelicate aquiline noses, bright complexions, short upper lips, and eyesof sunny light. The beauty of Lady Corisande was even moredistinguishedand more regular, but whether it were the effect of her dark-brown hairand darker eyes, her countenance had not the lustre of the res, and itsexpression was grave and perhaps pensive.The duke, thoughstill young, and naturally of a gay and joyoustemperament, had a high sense of duty, and strong domestic feelings. Hewas never wanting in his public place, and he was fond of his wife andhis children; still more, proudof them. Every day when he looked intothe glass, and gave the last touch to his consummate toilet, he offeredhis grateful thanks to Providence that his family was not unworthy ofhim.His grace was accustomed to saythat he had only one misfortune, andit was a great one; he had no home. His family had married so manyheiresses, and he, consequently, possessed so many halls and castles, atall of which, periodically, he wished,from a right feeling, to reside,that there was no sacred spot identified with his life in which hisheart, in the bustle and tumult of existence, could take refuge.Brentham was the original seat of his family, and he wasevenpassionately fond of it; but it was remarkable how very short a periodof his yearly life was passed under its stately roof. So it was hiscustom always to repair to Brentham the moment the season was over, andhewould exact from his children, that, however short might be the time,they would be his companions under those circumstances. The daughtersloved Brentham, and they loved to please their father; but thesons-in-law,though they were what is called devoted to their wives,and, unusual as it may seem, scarcely less attached to their legalparents, did not fall very easily into this arrangement. The countryin August without sport wasunquestionably to them a severe trial:nevertheless, they rarely omitted making their appearance, and, if theydid occasionally vanish, sometimes to Cowes, sometimes to Switzerland,sometimes to Norway, they alwayswrote to their wives, and alwaysalluded to their immediate or approaching return; and their lettersgracefully contributed to the fund of domestic amusement.And yet it would be difficult to find a fairer scene thanBrenthamoffered, especially in the lustrous effulgence of a glorious Englishsummer. It was an Italian palace of freestone; vast, ornate, and inscrupulous condition; its spacious and graceful chambers filled withtreasuresof art, and rising itself from statued and stately terraces.At their foot spread a gardened domain of considerable extent, brightwith flowers, dim with coverts of rare shrubs, and musical withfountains. Its limit reached apark, with timber such as the midlandcounties only can produce. The fallow deer trooped among its fernysolitudes and gigantic oaks; but, beyond the waters of the broad andwinding lake, the scene became moresavage, and the eye caught the darkforms of the red deer on some jutting mount, shrinking with scorn fromcommunion with his gentler brethren.CHAPTER 2Lothair was the little boy whom the duchess remembered. Hewas aposthumous child, and soon lost a devoted mother. His only relation wasone of his two guardians, a Scotch noble--a Presbyterian and a Whig.This uncle was a widower with some children, but they were girls,and,though Lothair was attached to them, too young to be his companions.Their father was a keen, hard man, honorable and just but with nosoftness of heart or manner. He guarded with precise knowledge andwithunceasing vigilance over Lothair's vast inheritance, which was in manycounties and in more than one kingdom; but he educated him in a Highlandhome, and when he had reached boyhood thought fit to send him totheHigh School of Edinburgh. Lothair passed a monotonous, if not a dull,life; but he found occasional solace in the scenes of a wild andbeautiful nature, and delight in all the sports of the field and forest,in which he wasearly initiated and completely indulged. Although anEnglishman, he was fifteen before he re-visited his country, and thenhis glimpses of England were brief, and to him scarcely satisfactory. Hewas hurried sometimes tovast domains, which he heard were his own; andsometimes whisked to the huge metropolis, where he was shown St. Paul'sand the British-Museum. These visits left a vague impression of bustlewithout kindness andexhaustion without excitement; and he was glad toget back to his glens, to the moor and the mountain-streams.His father, in the selection of his guardians, had not contemplatedthis system of education. While hesecured by the appointment of hisbrother-in-law, the most competent and trustworthy steward of his son'sfortune, he had depended on another for that influence which shouldmould the character, guide the opinions,and form the tastes of hischild. The other guardian was a clergyman, his father's private tutorand heart-friend; scarcely his parent's senior, but exercising overhim irresistible influence, for he was a man of shiningtalents andabounding knowledge, brilliant and profound. But unhappily, shortlyafter Lothair became an orphan, this distinguished man seceded from theAnglican communion, and entered the Church of Rome. From thismomentthere was war between the guardians. The uncle endeavored to drive hiscolleague from the trust: in this he failed, for the priest would notrenounce his office. The Scotch noble succeeded, however, in makingita fruitless one: he thwarted every suggestion that emanated from theobnoxious quarter; and, indeed, the secret reason of the almost constantresidence of Lothair in Scotland, and of his harsh education, was thefearof his relative, that the moment he crossed the border he might, bysome mysterious process, fall under the influence that his guardian somuch dreaded and detested.There was however, a limit to these severeprecautions, even beforeLothair should reach his majority. His father had expressed in his willthat his son should be educated at the University of Oxford, and at thesame college of which he had been a member. Hisuncle was of opinion hecomplied with the spirit of this instruction by sending Lothair to theUniversity of Edinburgh, which would give the last tonic to his moralsystem; and then commenced a celebrated chancery-suit,instituted by theRoman Catholic guardian, in order to enforce a literal compliancewith the educational condition of the will. The uncle looked uponthis movement as a popish plot, and had recourse to everyavailableallegation and argument to baffle it: but ultimately in vain. With everyprecaution to secure his Protestant principles, and to guard against theinfluence, or even personal interference of his Roman Catholicguardian,the lord-chancellor decided that Lothair should be sent to Christchurch.Here Lothair, who had never been favored with a companion of his ownage and station, soon found a congenial one in the heir ofBrentham.Inseparable in pastime, not dissociated even in study, sympathizingcompanionship soon ripened into fervent friendship. They lived somuch together that the idea of separation became not only painfulbutimpossible; and, when vacation arrived, and Brentham was to be visitedby its future lord, what more natural than that it should be arrangedthat Lothair should be a visitor to his domain?CHAPTER 3Although Lothairwas the possessor of as many palaces and castles as theduke himself, it is curious that his first dinner at Brentham wasalmost his introduction into refined society. He had been a guest at theoccasional banquets of hisuncle; but these were festivals of thePicts and Scots; rude plenty and coarse splendor, with noise instead ofconversation, and a tumult of obstructive defendants, who impeded, bytheir want of skill, the very conveniencewhich they were purposed tofacilitate. How different the surrounding scene! A table covered withflowers, bright with fanciful crystal, and porcelain that had belongedto sovereigns, who had given a name to its color orits form. Asfor those present, all seemed grace and gentleness, from the radiantdaughters of the house to the noiseless attendants that anticipated allhis wants, and sometimes seemed to suggest his wishes.Lothair satbetween two of the married daughters. They addressed himwith so much sympathy that he was quite enchanted. When they asked theirpretty questions and made their sparkling remarks, roses seemed to dropfromtheir lips, and sometimes diamonds. It was a rather large party,for the Brentham family were so numerous that they themselves madea festival. There were four married daughters, the duke and twosons-in-law, aclergyman or two, and some ladies and gentlemen who wereseldom absent from this circle, and who, by their useful talents andvarious accomplishments, alleviated the toil or cares of life from whicheven princes are notexempt.When the ladies had retired to the duchess's drawing-room, all themarried daughters clustered round their mother.\"Do you know, mamma, we all think him very, good-looking,\" said theyoungest marrieddaughter, the wife of the listless and handsome St.Aldegonde.\"And not at all shy,\" said Lady Montairy, \"though reserved.\"\"I admire deep-blue eyes with dark lashes,\" said the duchess.Notwithstanding the decision ofLady Montairy, Lothair was scarcely freefrom embarrassment when he rejoined the ladies; and was so afraid ofstanding alone, or talking only to men, that he was almost on the pointof finding refuge in hisdinner-companions, had not he instinctivelyfelt that this would have been a social blunder. But the duchessrelieved him: her gracious glance caught his at the right moment, andshe rose and met him some way as headvanced. The friends had arrivedso late, that Lothair had had only time to make a reverence of ceremonybefore dinner.\"It is not our first meeting,\" said her grace; \"but that you cannotremember.\"\"Indeed I do,\" saidLothair, \"and your grace gave me a golden heart.\"\"How can you remember such things,\" exclaimed the duchess, \"which I hadmyself forgotten!\"\"I have rather a good memory,\" replied Lothair; \"and it is notwonderfulthat I should remember this, for it is the only present that ever wasmade me.\"The evenings at Brentham were short, but they were sweet. It was amusical family, without being fanatical on the subject. Therewas alwaysmusic, but it was not permitted that the guests should be deprived ofother amusements. But music was the basis of the evening's campaigns.The duke himself sometimes took a second; the four marrieddaughterswarbled sweetly; but the great performer was Lady Corisande. When herimpassioned tones sounded, there was a hushed silence in every chamber;otherwise, many things were said and done amidaccompanying melodies,that animated without distracting even a whistplayer. The duke himselfrather preferred a game of piquet or cart with Captain Mildmay,and sometimes retired with a troop to a distant, but stillvisible,apartment, where they played with billiard-balls games which were notbilliards.The ladies had retired, the duke had taken his glass of seltzer-water,and had disappeared. The gentry lingered and looked at eachother, as ifthey were an assembly of poachers gathering for an expedition, and thenLord St. Aldegonde, tall, fair, and languid, said to Lothair, \"do yousmoke?\"\"No!\"\"I should have thought Bertram would have seducedyou by this time. Thenlet us try. Montairy will give you one of his cigarettes, so mild thathis wife never finds him out.\"CHAPTER 4The breakfast-room at Brentham was very bright. It opened on a gardenof its own,which, at this season, was so glowing, and cultured intopatterns so fanciful and finished, that it had the resemblance of a vastmosaic. The walls of the chamber were covered with bright drawings andsketches of ourmodern masters, and frames of interesting miniatures,and the meal was served on half a dozen or more round tables, which viedwith each other in grace and merriment; brilliant as a cluster of Greekor Italian republics,instead of a great metropolitan table, likea central government absorbing all the genius and resources of thesociety.Every scene In this life at Brentham charmed Lothair, who, though notconscious of being of aparticularly gloomy temper, often felt thathe had, somehow or other, hitherto passed through life rarely withpleasure, and never with joy.After breakfast the ladies retired to their morning-room, and thegentlemenstrolled to the stables, Lord St. Aldegonde lighting a Manillacheroot of enormous length. As Lothair was very fond of horses, thisdelighted him. The stables at Brentham were rather too far from thehouse, but they weremagnificent, and the stud worthy of them. It wasnumerous and choice, and, above all it was useful. It could supply,a readier number of capital riding-horses than any stable in England.Brentham was a great ridingfamily. In the summer season the dukedelighted to head a numerous troop, penetrate far into the country, andscamper home to a nine-o'clock dinner. All the ladies of the house werefond and fine horse-women. Themount of one of these riding-parties wasmagical. The dames and damsels vaulted on their barbs, and genets,and thorough-bred hacks, with such airy majesty; they were absolutelyoverwhelming with their bewilderinghabits and their bewitching hats.Every thing was so new in this life at Brentham to Lothair, as wellas so agreeable, that the first days passed by no means rapidly; for,though it sounds strange, time moves with equalslowness whether weexperience many impressions or none. In a new circle every character isa study, and every incident an adventure; and the multiplicity of theimages and emotions restrains the hours. But after a fewdays, thoughLothair was not less delighted, for he was more so, he was astonishedat the rapidity of time. The life was exactly the same, but equallypleasant; the same charming companions, the same refined festivity,thesame fascinating amusements; but to his dismay Lothair recollected thatnearly a fortnight had elapsed since his arrival. Lord St. Aldegondealso was on the wing; he was obliged to go to Cowes to see a sickfriend,though he considerately left Bertha behind him. The otherson-in-law remained, for he could not tear himself away from his wife.He was so distractedly fond of Lady Montairy that he would onlysmoke cigarettes. Lothairfelt it was time to go, and he broke thecircumstance to his friend Bertram.These two \"old fellows,\" as they mutually described each other, couldnot at all agree as to the course to be pursued. Bertram lookeduponLothair's suggestion as an act of desertion from himself. At their timeof life, the claims of friendship are paramount. And where could Lothairgo to? And what was there to do? Nowhere, and nothing. Whereas, ifhewould remain a little longer, as the duke expected and also the duchess,Bertram would go with him anywhere he liked, and do any thing he chose.So Lothair remained.In the evening, seated by Lady Montairy, Lothairobserved on hersister's singing, and said, \"I never heard any of our great singers, butI cannot believe there is a finer voice in existence.\"\"Corisande's is a fine voice,\" said Lady Montairy, \"but I admire herexpressionmore than her tone; for there are certainly many finervoices, and some day you will hear them.\"\"But I prefer expression,\" said Lothair very decidedly.\"Ah, yes! doubtless,\" said Lady Montairy, who was working a purse,\"andthat's what we all want, I believe; at least we married daughters,they say. My brother, Granville St. Aldegonde, says we are all too muchalike, and that Bertha St. Aldegonde would be parallel if she had nosisters.\"\"Idon't at all agree with Lord St. Aldegonde,\" said Lothair, withenergy. \"I do not think it is possible to have too many relatives likeyou and your sisters.\"Lady Montairy looked up with a smile, but she did not meet asmilingcountenance. He seemed, what is called an earnest young man, this friendof her brother Bertram.At this moment the duke sent swift messengers for all: to come, eventhe duchess, to partake in a new game justarrived from Russia, somemiraculous combination of billiard-balls. Some rose directly, somelingering a moment arranging their work, but all were in motion.Corisande was at the piano, and disencumbering herself ofsome music.Lothair went up to her rather abruptly:\"Your singing,\" he said, \"is the finest thing I ever heard. I am sohappy that I am not going to leave Brentham to-morrow. There is no placein the world that I thinkequal to Brentham.\"\"And I love it, too, and no other place,\" she replied; \"and I should bequite happy if I never left it.\"CHAPTER 5Lord Montairy was passionately devoted to croquet. He flattered himselfthat he was themost accomplished male performer existing. He would havethought absolutely the most accomplished, were it not for the unrivalledfeats of Lady Montairy. She was the queen of croquet. Her sistersalso used the malletwith admirable skill, but not like Georgina. LordMontairy always looked forward to his summer croquet at Brentham. Itwas a great croquet family, the Brentham family; even listless Lord St.Aldegonde would sometimesplay, with a cigar never out of his mouth.They did not object to his smoking in the air. On the contrary, \"theyrather liked it.\" Captain Mildmay, too, was a brilliant hand, and hadwritten a treatise on croquet--the bestgoing.There was a great croquet-party one morning at Brentham. Some neighborshad been invited who loved the sport. Mr. Blenkinsop a grave younggentleman, whose countenance never relaxed while he played, andwho wasunderstood, to give his mind entirely up to croquet. He was the ownerof the largest estate in the county, and it was thought would have verymuch liked to have allied himself with one of the young ladies ofthehouse of Brentham; but these flowers were always plucked so quickly,that his relations with the distinguished circle never grew moreintimate than croquet. He drove over with some fine horses, and severalcases andbags containing instruments and weapons for the fray. Hissister came with him, who had forty thousand pounds, but, they said, insome mysterious manner dependent on his consent to her marriage; andit was added"}
+{"doc_id":"doc_188","qid":"","text":"The Project Gutenberg EBook of Rainbow Valley, by Lucy Maud MontgomeryThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-useit under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: Rainbow ValleyAuthor: Lucy Maud MontgomeryRelease Date: March, 2004 [EBook #5343]This file wasfirst posted on July 3, 2002Last Updated: April 15, 2013Language: English*** START OF THIS PROJECT GUTENBERG EBOOK RAINBOW VALLEY ***Produced by Bernard J. Farber, Carmen Baxter, Dona Rucci,ElizabethMorton, Rebekah Neely, Joe Johnson, Joan Chovan,Judith Fetterolf, Mary Nuzzo, Sally Drake, Sally Starks,Steve Callis, Virginia Mohlere-Dellinger, Mary MarkOckerbloom and Ben CrowderRAINBOW VALLEYBy L. M.MontgomeryAuthor of \"Anne of Green Gables,\" \"Anne of the Island,\" \"Anne's House ofDreams,\" \"The Story Girl,\" \"The Watchman,\"etc.________________________________________________________________________This book has been put on-line as part of the BUILD-A-BOOK Initiative atthe Celebration of Women Writers through thecombined work of Bernard J.Farber, Carmen Baxter, Dona Rucci, Elizabeth Morton, Rebekah Neely, JoeJohnson, Joan Chovan, Judith Fetterolf, Mary Nuzzo, Sally Drake,Sally Starks, Steve Callis, VirginiaMohlere-Dellinger and Mary MarkOckerbloom.http://digital.library.upenn.edu/women/Reformatted by BenCrowder________________________________________________________________________               \"The thoughts of youth are long, long thoughts.\"               --LONGFELLOWTO THE MEMORY OFGOLDWINLAPP, ROBERT BROOKES AND MORLEY SHIERWHO MADE THE SUPREME SACRIFICE THAT THE HAPPY VALLEYS OF THEIR HOME LANDMIGHT BE KEPT SACRED FROM THE RAVAGE OF THE INVADERCONTENTS      I.Home Again     II. Sheer Gossip    III. The Ingleside Children     IV. The Manse Children      V. The Advent of Mary Vanse     VI. Mary Stays at the Manse    VII. A Fishy Episode   VIII. Miss Cornelia Intervenes     IX. UnaIntervenes      X. The Manse Girls Clean House     XI. A Dreadful Discovery    XII. An Explanation and a Dare   XIII. The House on the Hill    XIV. Mrs. Alec Davis Makes a Call     XV. More Gossip    XVI. Tit for Tat   XVII.A Double Victory  XVIII. Mary Brings Evil Tidings    XIX. Poor Adam!     XX. Faith Makes a Friend    XXI. The Impossible Word   XXII. St. George Knows All About It  XXIII. The Good-Conduct Club   XXIV. A CharitableImpulse    XXV. Another Scandal and Another \"Explanation\"   XXVI. Miss Cornelia Gets a New Point of View  XXVII. A Sacred Concert XXVIII. A Fast Day   XXIX. A Weird Tale    XXX. The Ghost on the Dyke   XXXI. CarlDoes Penance  XXXII. Two Stubborn People XXXIII. Carl Is--not--whipped  XXXIV. Una Visits the Hill   XXXV. \"Let the Piper Come\"RAINBOW VALLEYCHAPTER I. HOME AGAINIt was a clear, apple-green evening in May,and Four Winds Harbour wasmirroring back the clouds of the golden west between its softly darkshores. The sea moaned eerily on the sand-bar, sorrowful even in spring,but a sly, jovial wind came piping down the redharbour road along whichMiss Cornelia's comfortable, matronly figure was making its way towardsthe village of Glen St. Mary. Miss Cornelia was rightfully Mrs. MarshallElliott, and had been Mrs. Marshall Elliott forthirteen years, but evenyet more people referred to her as Miss Cornelia than as Mrs.Elliott. The old name was dear to her old friends, only one of themcontemptuously dropped it. Susan Baker, the gray and grim andfaithfulhandmaiden of the Blythe family at Ingleside, never lost an opportunityof calling her \"Mrs. Marshall Elliott,\" with the most killing andpointed emphasis, as if to say \"You wanted to be Mrs. and Mrs. you shallbewith a vengeance as far as I am concerned.\"Miss Cornelia was going up to Ingleside to see Dr. and Mrs. Blythe, whowere just home from Europe. They had been away for three months, havingleft in February to attend afamous medical congress in London; andcertain things, which Miss Cornelia was anxious to discuss, had takenplace in the Glen during their absence. For one thing, there was a newfamily in the manse. And such afamily! Miss Cornelia shook her headover them several times as she walked briskly along.Susan Baker and the Anne Shirley of other days saw her coming, as theysat on the big veranda at Ingleside, enjoying the charmof the cat'slight, the sweetness of sleepy robins whistling among the twilit maples,and the dance of a gusty group of daffodils blowing against the old,mellow, red brick wall of the lawn.Anne was sitting on the steps, herhands clasped over her knee, looking,in the kind dusk, as girlish as a mother of many has any right to be;and the beautiful gray-green eyes, gazing down the harbour road, wereas full of unquenchable sparkle anddream as ever. Behind her, in thehammock, Rilla Blythe was curled up, a fat, roly-poly little creatureof six years, the youngest of the Ingleside children. She had curly redhair and hazel eyes that were now buttoned upafter the funny, wrinkledfashion in which Rilla always went to sleep.Shirley, \"the little brown boy,\" as he was known in the family \"Who'sWho,\" was asleep in Susan's arms. He was brown-haired, brown-eyedandbrown-skinned, with very rosy cheeks, and he was Susan's especiallove. After his birth Anne had been very ill for a long time, and Susan\"mothered\" the baby with a passionate tenderness which none of theotherchildren, dear as they were to her, had ever called out. Dr. Blythe hadsaid that but for her he would never have lived.\"I gave him life just as much as you did, Mrs. Dr. dear,\" Susan was wontto say. \"He is just asmuch my baby as he is yours.\" And, indeed, it wasalways to Susan that Shirley ran, to be kissed for bumps, and rockedto sleep, and protected from well-deserved spankings. Susan hadconscientiously spanked all theother Blythe children when she thoughtthey needed it for their souls' good, but she would not spank Shirleynor allow his mother to do it. Once, Dr. Blythe had spanked him andSusan had been stormily indignant.\"Thatman would spank an angel, Mrs. Dr. dear, that he would,\" she haddeclared bitterly; and she would not make the poor doctor a pie forweeks.She had taken Shirley with her to her brother's home during hisparents'absence, while all the other children had gone to Avonlea, and she hadthree blessed months of him all to herself. Nevertheless, Susan was veryglad to find herself back at Ingleside, with all her darlings aroundheragain. Ingleside was her world and in it she reigned supreme. Even Anneseldom questioned her decisions, much to the disgust of Mrs. RachelLynde of Green Gables, who gloomily told Anne, whenever she visitedFourWinds, that she was letting Susan get to be entirely too much of a bossand would live to rue it.\"Here is Cornelia Bryant coming up the harbour road, Mrs. Dr. dear,\"said Susan. \"She will be coming up to unload threemonths' gossip onus.\"\"I hope so,\" said Anne, hugging her knees. \"I'm starving for Glen St.Mary gossip, Susan. I hope Miss Cornelia can tell me everything thathas happened while we've been away--EVERYTHING--whohas got born, ormarried, or drunk; who has died, or gone away, or come, or fought, orlost a cow, or found a beau. It's so delightful to be home again withall the dear Glen folks, and I want to know all about them. Why,Iremember wondering, as I walked through Westminster Abbey which of hertwo especial beaux Millicent Drew would finally marry. Do you know,Susan, I have a dreadful suspicion that I love gossip.\"\"Well, of course,Mrs. Dr. dear,\" admitted Susan, \"every proper womanlikes to hear the news. I am rather interested in Millicent Drew's casemyself. I never had a beau, much less two, and I do not mind now, forbeing an old maid doesnot hurt when you get used to it. Millicent'shair always looks to me as if she had swept it up with a broom. But themen do not seem to mind that.\"\"They see only her pretty, piquant, mocking, little face, Susan.\"\"Thatmay very well be, Mrs. Dr. dear. The Good Book says that favour isdeceitful and beauty is vain, but I should not have minded finding thatout for myself, if it had been so ordained. I have no doubt we willall be beautifulwhen we are angels, but what good will it do us then?Speaking of gossip, however, they do say that poor Mrs. Harrison Millerover harbour tried to hang herself last week.\"\"Oh, Susan!\"\"Calm yourself, Mrs. Dr. dear. Shedid not succeed. But I really do notblame her for trying, for her husband is a terrible man. But she wasvery foolish to think of hanging herself and leaving the way clear forhim to marry some other woman. If I had beenin her shoes, Mrs. Dr.dear, I would have gone to work to worry him so that he would tryto hang himself instead of me. Not that I hold with people hangingthemselves under any circumstances, Mrs. Dr. dear.\"\"What isthe matter with Harrison Miller, anyway?\" said Anneimpatiently. \"He is always driving some one to extremes.\"\"Well, some people call it religion and some call it cussedness, beggingyour pardon, Mrs. Dr. dear, for usingsuch a word. It seems they cannotmake out which it is in Harrison's case. There are days when hegrowls at everybody because he thinks he is fore-ordained to eternalpunishment. And then there are days when he sayshe does not care andgoes and gets drunk. My own opinion is that he is not sound in hisintellect, for none of that branch of the Millers were. His grandfatherwent out of his mind. He thought he was surrounded by bigblack spiders.They crawled over him and floated in the air about him. I hope I shallnever go insane, Mrs. Dr. dear, and I do not think I will, because it isnot a habit of the Bakers. But, if an all-wise Providence shoulddecreeit, I hope it will not take the form of big black spiders, for I loathethe animals. As for Mrs. Miller, I do not know whether she reallydeserves pity or not. There are some who say she just married Harrisonto spiteRichard Taylor, which seems to me a very peculiar reasonfor getting married. But then, of course, _I_ am no judge of thingsmatrimonial, Mrs. Dr. dear. And there is Cornelia Bryant at the gate, soI will put this blessedbrown baby on his bed and get my knitting.\"CHAPTER II. SHEER GOSSIP\"Where are the other children?\" asked Miss Cornelia, when the firstgreetings--cordial on her side, rapturous on Anne's, and dignifiedonSusan's--were over.\"Shirley is in bed and Jem and Walter and the twins are down in theirbeloved Rainbow Valley,\" said Anne. \"They just came home this afternoon,you know, and they could hardly wait until supperwas over beforerushing down to the valley. They love it above every spot on earth. Eventhe maple grove doesn't rival it in their affections.\"\"I am afraid they love it too well,\" said Susan gloomily. \"Little Jemsaid once hewould rather go to Rainbow Valley than to heaven when hedied, and that was not a proper remark.\"\"I suppose they had a great time in Avonlea?\" said Miss Cornelia.\"Enormous. Marilla does spoil them terribly. Jem, inparticular, can dono wrong in her eyes.\"\"Miss Cuthbert must be an old lady now,\" said Miss Cornelia, getting outher knitting, so that she could hold her own with Susan. Miss Corneliaheld that the woman whose handswere employed always had the advantageover the woman whose hands were not.\"Marilla is eighty-five,\" said Anne with a sigh. \"Her hair issnow-white. But, strange to say, her eyesight is better than it was whenshewas sixty.\"\"Well, dearie, I'm real glad you're all back. I've been dreadfullonesome. But we haven't been dull in the Glen, believe ME. There hasn'tbeen such an exciting spring in my time, as far as church mattersgo.We've got settled with a minister at last, Anne dearie.\"\"The Reverend John Knox Meredith, Mrs. Dr. dear,\" said Susan, resolvednot to let Miss Cornelia tell all the news.\"Is he nice?\" asked Anne interestedly.MissCornelia sighed and Susan groaned.\"Yes, he's nice enough if that were all,\" said the former. \"He is VERYnice--and very learned--and very spiritual. But, oh Anne dearie, he hasno common sense!\"How was it you calledhim, then?\"\"Well, there's no doubt he is by far the best preacher we ever had inGlen St. Mary church,\" said Miss Cornelia, veering a tack or two. \"Isuppose it is because he is so moony and absent-minded that he nevergota town call. His trial sermon was simply wonderful, believe ME. Everyone went mad about it--and his looks.\"\"He is VERY comely, Mrs. Dr. dear, and when all is said and done, I DOlike to see a well-looking man in thepulpit,\" broke in Susan, thinkingit was time she asserted herself again.\"Besides,\" said Miss Cornelia, \"we were anxious to get settled. And Mr.Meredith was the first candidate we were all agreed on. Somebody hadsomeobjection to all the others. There was some talk of calling Mr.Folsom. He was a good preacher, too, but somehow people didn't care forhis appearance. He was too dark and sleek.\"\"He looked exactly like a great blacktomcat, that he did, Mrs. Dr.dear,\" said Susan. \"I never could abide such a man in the pulpit everySunday.\"\"Then Mr. Rogers came and he was like a chip in porridge--neither harmnor good,\" resumed Miss Cornelia.\"But if he had preached like Peter andPaul it would have profited him nothing, for that was the day old CalebRamsay's sheep strayed into church and gave a loud 'ba-a-a' just as heannounced his text. Everybodylaughed, and poor Rogers had no chanceafter that. Some thought we ought to call Mr. Stewart, because he was sowell educated. He could read the New Testament in five languages.\"\"But I do not think he was any surerthan other men of getting to heavenbecause of that,\" interjected Susan.\"Most of us didn't like his delivery,\" said Miss Cornelia, ignoringSusan. \"He talked in grunts, so to speak. And Mr. Arnett couldn't preachAT ALL.And he picked about the worst candidating text there is in theBible--'Curse ye Meroz.'\"\"Whenever he got stuck for an idea, he would bang the Bible and shoutvery bitterly, 'Curse ye Meroz.' Poor Meroz got thoroughlycursed thatday, whoever he was, Mrs. Dr. dear,\" said Susan.\"The minister who is candidating can't be too careful what text hechooses,\" said Miss Cornelia solemnly. \"I believe Mr. Pierson would havegot the call if hehad picked a different text. But when he announced 'Iwill lift my eyes to the hills' HE was done for. Every one grinned, forevery one knew that those two Hill girls from the Harbour Head have beensetting their caps forevery single minister who came to the Glen forthe last fifteen years. And Mr. Newman had too large a family.\"\"He stayed with my brother-in-law, James Clow,\" said Susan. \"'How manychildren have you got?' I askedhim. 'Nine boys and a sister for each ofthem,' he said. 'Eighteen!' said I. 'Dear me, what a family!' And thenhe laughed and laughed. But I do not know why, Mrs. Dr. dear, and I amcertain that eighteen children wouldbe too many for any manse.\"\"He had only ten children, Susan,\" explained Miss Cornelia, withcontemptuous patience. \"And ten good children would not be much worsefor the manse and congregation than the four whoare there now. ThoughI wouldn't say, Anne dearie, that they are so bad, either. I likethem--everybody likes them. It's impossible to help liking them. Theywould be real nice little souls if there was anyone to look aftertheirmanners and teach them what is right and proper. For instance, at schoolthe teacher says they are model children. But at home they simply runwild.\"\"What about Mrs. Meredith?\" asked Anne.\"There's NO Mrs.Meredith. That is just the trouble. Mr. Meredith isa widower. His wife died four years ago. If we had known that I don'tsuppose we would have called him, for a widower is even worse ina congregation than a single man.But he was heard to speak of hischildren and we all supposed there was a mother, too. And when they camethere was nobody but old Aunt Martha, as they call her. She's a cousinof Mr. Meredith's mother, I believe, andhe took her in to save her fromthe poorhouse. She is seventy-five years old, half blind, and very deafand very cranky.\"\"And a very poor cook, Mrs. Dr. dear.\"\"The worst possible manager for a manse,\" said Miss Corneliabitterly.\"Mr. Meredith won't get any other housekeeper because he says it wouldhurt Aunt Martha's feelings. Anne dearie, believe me, the state of thatmanse is something terrible. Everything is thick with dust andnothingis ever in its place. And we had painted and papered it all so nicebefore they came.\"\"There are four children, you say?\" asked Anne, beginning to mother themalready in her heart.\"Yes. They run up just like thesteps of a stair. Gerald's the oldest.He's twelve and they call him Jerry. He's a clever boy. Faith is eleven.She is a regular tomboy but pretty as a picture, I must say.\"\"She looks like an angel but she is a holy terror formischief, Mrs. Dr.dear,\" said Susan solemnly. \"I was at the manse one night last week andMrs. James Millison was there, too. She had brought them up a dozen eggsand a little pail of milk--a VERY little pail, Mrs. Dr.dear. Faithtook them and whisked down the cellar with them. Near the bottom of thestairs she caught her toe and fell the rest of the way, milk and eggsand all. You can imagine the result, Mrs. Dr. dear. But that childcameup laughing. 'I don't know whether I'm myself or a custard pie,' shesaid. And Mrs. James Millison was very angry. She said she would nevertake another thing to the manse if it was to be wasted and destroyedinthat fashion.\"\"Maria Millison never hurt herself taking things to the manse,\"sniffed Miss Cornelia. \"She just took them that night as an excuse forcuriosity. But poor Faith is always getting into scrapes. She issoheedless and impulsive.\"\"Just like me. I'm going to like your Faith,\" said Anne decidedly.\"She is full of spunk--and I do like spunk, Mrs. Dr. dear,\" admittedSusan.\"There's something taking about her,\" conceded MissCornelia. \"You neversee her but she's laughing, and somehow it always makes you wantto laugh too. She can't even keep a straight face in church. Una isten--she's a sweet little thing--not pretty, but sweet. AndThomasCarlyle is nine. They call him Carl, and he has a regular mania forcollecting toads and bugs and frogs and bringing them into the house.\"\"I suppose he was responsible for the dead rat that was lying on a chairinthe parlour the afternoon Mrs. Grant called. It gave her a turn,\"said Susan, \"and I do not wonder, for manse parlours are no places fordead rats. To be sure it may have been the cat who left it, there. HE isas full of theold Nick as he can be stuffed, Mrs. Dr. dear. A manse catshould at least LOOK respectable, in my opinion, whatever he reallyis. But I never saw such a rakish-looking beast. And he walks along theridgepole of the mansealmost every evening at sunset, Mrs. Dr. dear,and waves his tail, and that is not becoming.\"\"The worst of it is, they are NEVER decently dressed,\" sighed MissCornelia. \"And since the snow went they go to schoolbarefooted.Now, you know Anne dearie, that isn't the right thing for mansechildren--especially when the Methodist minister's little girl alwayswears such nice buttoned boots. And I DO wish they wouldn't play in theoldMethodist graveyard.\"\"It's very tempting, when it's right beside the manse,\" said Anne. \"I'vealways thought graveyards must be delightful places to play in.\"\"Oh, no, you did not, Mrs. Dr. dear,\" said loyal Susan,determined toprotect Anne from herself. \"You have too much good sense and decorum.\"\"Why did they ever build that manse beside the graveyard in the firstplace?\" asked Anne. \"Their lawn is so small there is no placefor themto play except in the graveyard.\"\"It WAS a mistake,\" admitted Miss Cornelia. \"But they got the lot cheap.And no other manse children ever thought of playing there. Mr. Meredithshouldn't allow it. But he hasalways got his nose buried in a book,when he is home. He reads and reads, or walks about in his study in aday-dream. So far he hasn't forgotten to be in church on Sundays, buttwice he has forgotten about theprayer-meeting and one of the eldershad to go over to the manse and remind him. And he forgot about FannyCooper's wedding. They rang him up on the 'phone and then he rushedright over, just as he was, carpetslippers and all. One wouldn'tmind if the Methodists didn't laugh so about it. But there's onecomfort--they can't criticize his sermons. He wakes up when he's in thepulpit, believe ME. And the Methodist minister can'tpreach at all--sothey tell me. _I_ have never heard him, thank goodness.\"Miss Cornelia's scorn of men had abated somewhat since her marriage,but her scorn of Methodists remained untinged of charity. Susansmiledslyly.\"They do say, Mrs. Marshall Elliott, that the Methodists andPresbyterians are talking of uniting,\" she said.\"Well, all I hope is that I'll be under the sod if that ever comes topass,\" retorted Miss Cornelia. \"I shall"}
+{"doc_id":"doc_189","qid":"","text":"The Project Gutenberg EBook of The Eagle Cliff, by R.M. BallantyneThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it underthe terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: The Eagle CliffAuthor: R.M. BallantyneRelease Date: November 6, 2007 [EBook #23373]Language: English***START OF THIS PROJECT GUTENBERG EBOOK THE EAGLE CLIFF ***Produced by Nick Hodson of London, EnglandThe Eagle Cliff, by R.M.Ballantyne.________________________________________________________________________This is a truly delightful book by this prolific author.  I know of noother of his books that leaves so many images inthe mind, so freshafter many a year.  The scene starts with a young man cycling on hispenny-farthing towards London.  On the way he has an accident, knockingdown an elderly lady, but fleeing the scene when he seesa policemancoming.  But when he gets home he finds a telegram informing him thathis friends will be departing very soon in a yacht, to visit theislands on the North-West of Britain, so he joins them.Unfortunately thereis a fog and the yacht is damaged but all the youngmen and their crew manage to get ashore, finding themselves in theneighbourhood of a large house, the residence of a gentleman and hisfamily.  They are invited tostay there as his guests, and it is atthis point that the adventures begin, involving fishing, shooting,bird-watching, sailing and so forth.  There is a charming young ladyalso staying in the house, and deploying her hobbyof painting.  Ourhero falls in love with her, but is very much taken aback when she isjoined by her mother, who turns out to be none other than the elderlylady he had knocked down back in London.  Even moredisastrous was thefire that destroyed the house.  This is a brilliant book, and you willlove it.As a footnote you may be surprised that one of the children is calledJunkie.  This certainly does not mean that same as it doestoday:instead it is a nickname given to a favourite boy-child, and you willfind several examples of this in Ballantyne'sbooks.________________________________________________________________________THE EAGLE CLIFF, BY R.M. BALLANTYNE.CHAPTER ONE.BEGINS THE TALE--NATURALLY.From the earliest records ofhistory we learn that man has ever beenenvious of the birds, and of all other winged creatures.  He has longedand striven to fly.  He has also signally failed to do so.We say \"failed\" advisedly, because his variousattempts in thatdirection have usually resulted in disappointment and broken bones.  Asto balloons, we do not admit that they fly any more than do ships;balloons merely float and glide, when not otherwise engaged intumbling,collapsing, and bursting.This being so, we draw attention to the fact that the nearest approachwe have yet made to the sensation of flying is that achieved by rushingdown a long, smooth, steep hill-road on awell-oiled and perfectball-bearings bicycle!  Skating cannot compare with this, for thatrequires exertion; bicycling down hill requires none.  Hunting cannot,no matter how splendid the mount, for that implies a certainelement ofbumping, which, however pleasant in itself, is not suggestive of thesmooth swift act of flying.We introduce this subject merely because thoughts somewhat similar tothose which we have so inadequatelyexpressed were burning in the brainof a handsome and joyful young man one summer morning not long ago, as,with legs over the handles, he flashed--if he did not actually fly--downone of our Middlesex hills on hisway to London.Urgent haste was in every look and motion of that young man's fine eyesand lithe body.  He would have bought wings at any price had that beenpossible; but, none being yet in the market, he made themost of hiswheel--a fifty-eight inch one, by the way, for the young man's legs werelong, as well as strong.Arrived at the bottom of the hill the hilarious youth put his feet tothe treadles, and drove the machinevigorously up the opposite slope.It was steep, but he was powerful.  He breathed hard, no doubt, but henever flagged until he gained the next summit.  A shout burst from hislips as he rolled along the level top, forthere, about ten miles off,lay the great city, glittering in the sunshine, and with only anamber-tinted canopy of its usual smoke above it.Among the tall elms and in the flowering hedgerows between which heswept,innumerable birds warbled or twittered their astonishment that hecould fly with such heedless rapidity through that beautiful country,and make for the dismal town in such magnificent weather.  One aspiringlarkoverhead seemed to repeat, with persistent intensity, its trill ofself gratulation that it had not been born a man.  Even the cattleappeared to regard the youth as a sort of ornithological curiosity, forthe sentiment, \"Well,you are a goose!\" was clearly written on theirmild faces as he flew past them.Over the hill-top he went--twelve miles an hour at the least--until hereached the slope on the other side; then down he rushed again,drivingat the first part of the descent like an insane steam-engine, till thepace must have increased to twenty miles, at which point, the whirl ofthe wheel becoming too rapid, he was obliged once more to rest his legsonthe handles, and take to repose, contemplation, and wiping his heatedbrow--equivalent this, we might say, to the floating descent of thesea-mew.  Of course the period of rest was of brief duration, for,although the hillwas a long slope, with many a glimpse of lovelinessbetween the trees, the time occupied in its flight was short, and, atthe bottom a rustic bridge, with an old inn and a thatched hamlet, withan awkwardly sharp turn inthe road beyond it, called for wary andintelligent guidance of this lightning express.Swiftly but safely to the foot of the hill went John Barret (that wasthe youth's name), at ever-increasing speed, and without check; fornoone seemed to be moving about in the quiet hamlet, and the old Englishinn had apparently fallen asleep.A delicious undulating swoop at the bottom indicates the crossing of thebridge.  A flash, and the inn is inrear.  The hamlet displays no signof life, nevertheless Barret is cautious.  He lays a finger on the brakeand touches the bell.  He is half-way through the hamlet and all goeswell; still no sign of life except--yes, thisso-called proof of everyrule is always forthcoming, except that there is the sudden appearanceof one stately cock.  This is followed immediately by its sudden andunstately disappearance.  A kitten also emerges fromsomewhere, glares,arches, fuffs, becomes indescribable, and--is not!  Two or threechildren turn up and gape, but do not recover in time to insult, or toincrease the dangers of the awkward turn in the road which is nowathand.Barret looks thoughtful.  Must the pace be checked here?  The road isopen and visible.  It is bordered by grass banks and ditches on eitherside.  He rushes close to the left bank and, careering gracefully totheright like an Algerine felucca in a white squall, dares the laws ofgravitation and centrifugal force to the utmost limitation, anddescribes a magnificent segment of a great circle.  Almost before youcan wink he isstraight again, and pegging along with irresistiblepertinacity.Just beyond the hamlet a suburban lady is encountered, with claspedhands and beseeching eyes, for a loose hairy bundle, animated by thespirit of a dog,stands in the middle of the road, bidding defiance tothe entire universe!  The hairy bundle loses its head all at once,likewise its heart: it has not spirit left even to get out of the way.A momentary lean of the bicycle firstto the left and then to the rightdescribes what artists call \"the line of beauty,\" in a bight of whichthe bundle remains behind, crushed in spirit, but unhurt in body.At the bottom of the next hill a small roadside inn greetsour cyclist.That which cocks, kittens, dangers, and dogs could not effect, the innaccomplishes.  He \"slows.\"  In front of the door he describes an airycirclet, dismounting while yet in motion, leans the lightningexpressagainst the wall, and enters.  What! does that vigorous, handsome,powerful fellow, in the flush of early manhood, drink?  Ay, truly hedoes.\"Glass of bitter, sir?\" asks the exuberant landlord.\"Ginger,\" says theyoung man, pointing significantly to a bit of blueribbon in his button-hole.\"Come far to-day, sir?\" asks the host, as he pours out the liquid.\"Fifty miles--rather more,\" says Barret, setting down the glass.\"Fine weather,sir, for bicycling,\" says the landlord, sweeping in thecoppers.\"Very; good-day.\"Before that cheery \"Good-day\" had ceased to affect the publican's brainBarret was again spinning along the road to London.It was the roadon which the mail coaches of former days used to whirl,to the merry music of bugle, wheel, and whip, along which so many menand women had plodded in days gone by, in search of fame and fortune andhappiness:some, to find these in a greater or less degree, with much ofthe tinsel rubbed off, others, to find none of them, but insteadthereof, wreck and ruin in the mighty human whirlpool; and not a few todiscover the fact thathappiness does not depend either on fortune orfame, but on spiritual harmony with God in Jesus Christ.Pedestrians there still were on that road, bound for the same goal, and,doubtless, with similar aims; but mail andother coaches had been drivenfrom the scene.Barret had the broad road pretty much to himself.Quickly he ran into the suburban districts, and here his urgent hastehad to be restrained a little.\"What if I am too late!\" hethought, and almost involuntarily put on aspurt.Soon he entered the crowded thoroughfares, and was compelled to curbboth steed and spirit.  Passing through one of the less-frequentedstreets in the neighbourhood ofFinchley Road, he ventured to give therein to his willing charger.But here Fortune ceased to smile--and Fortune was to be commended forher severity.Barret, although kind, courteous, manly, sensitive, andreasonablycareful, was not just what he ought to have been.  Although a hero, hewas not perfect.  He committed the unpardonable sin of turning a streetcorner sharply!  A thin little old lady crossed the road at thesameidentical moment, slowly.  They met!  Who can describe that meeting?Not the writer, for he did not see it; more's the pity!  Very few peoplesaw it, for it was a quiet corner.  The parties concerned cannot be saidtohave seen, though they felt it.  Both went down.  It was awful,really, to see a feeble old lady struggling with an athlete and abicycle!Two little street boys, and a ragged girl appeared as if by magic.  Theyalwaysdo!\"Oh!  I say!  Ain't he bin and squashed 'er?\"Such was the remark of one of the boys.\"Pancakes is plump to 'er,\" was the observation of the other.The ragged girl said nothing, but looked unspeakable things.Burningwith shame, trembling with anxiety, covered with dust andconsiderably bruised, Barret sprang up, left his fallen steed, and,raising the little old lady with great tenderness in his arms, sat heron the pavement with herback against the railings, while he poured outabject apologies and earnest inquiries.Strange to say the old lady was not hurt in the least--only a good dealshaken and very indignant.Stranger still, a policeman suddenlyappeared in the distance.  At thesame time a sweep, a postman, and a servant girl joined the group.Young Barret, as we have said, was sensitive.  To become the object andcentre of a crowd in such circumstances wasoverwhelming.  A climax wasput to his confusion, when one of the street arabs, observing thepoliceman, suddenly exclaimed:--\"Oh!  I say, 'ere's a bobby!  What a lark.  Won't you be 'ad up beforethe beaks?  It'll be acase o' murder.\"\"No, it won't,\" retorted the other boy; \"it'll be a case o' manslaughteran' attempted suicide jined.\"Barret started up, allowing the servant maid to take his place, and sawthe approachingconstable.  Visions of detention, publicity, trial,conviction, condemnation, swam before him.\"A reg'lar Krismas panty-mime for nuffin'!\" remarked the ragged girl,breaking silence for the first time.Scarcely knowing whathe did, Barret leaped towards his bicycle, set itup, vaulted into the saddle, as he well knew how, and was safely out ofsight in a few seconds.Yet not altogether safe.  A guilty conscience pursued, overtook, and satuponhim.  Shame and confusion overwhelmed him.  Up to that date he hadbeen honourable, upright, straightforward; as far as the world'sestimation went, irreproachable.  Now, in his own estimation, he wasmean, false,underhand, sneaking!But he did not give way to despair.  He was a true hero, else we wouldnot have had anything to write about him.  Suddenly he slowed, frowned,compressed his lips, described a complete circle--inspite of afurniture van that came in his way--and deliberately went back to thespot where the accident had occurred; but there was no little lady to beseen.  She had been conveyed away, the policeman was gone, thelittleboys were gone, the ragged girl, sweep, postman, and servant maid--allwere gone, \"like the baseless fabric of a vision,\" leaving only newfaces and strangers behind to wonder what accident and thin old ladytheexcited youth was asking about--so evanescent are the incidents thatoccur; and so busily pre-occupied are the human torrents that rush inthe streets of London!The youth turned sadly from the spot and continuedhis journey at aslower pace.  As he went along, the thought that the old lady might havereceived internal injuries, and would die, pressed heavily upon him:Thus, he might actually be a murderer, at the best aman-slaughterer,without knowing it, and would carry in his bosom a dreadful secret, anda terrible uncertainty, to the end of his life!Of course he could go to that great focus of police energy--ScotlandYard--and givehimself up; but on second thoughts he did not quite seehis way to that.  However, he would watch the daily papers closely.That evening, in a frame of mind very different from the mentalcondition, in which he had setout on his sixty miles' ride in theafternoon, John Barret presented himself to his friend and oldschoolfellow, Bob Mabberly.\"You're a good fellow, Barret; I knew you would come; but you look warm.Have you beenrunning?\" asked Mabberly, opening the door of his lodgingto his friend.  \"Come in: I have news for you.  Giles Jackman has agreedto go.  Isn't that a comfort? for, besides his rare and valuablesporting qualities, he ismore than half a doctor, which will beimportant, you know, if any of us should get ill or come to grief.  Sitdown and we'll talk it over.\"Now, it was a telegram from Bob Mabberly which led John Barret tosuddenlyundertake a sixty miles' ride that day, and which was thus theindirect cause of the little old lady being run down.  The telegram ranas follows:--\"Come instanter.  As you are.  Clothes unimportant.  Yacht engaged.Crewalso.  Sail, without fail, Thursday.  Plenty more to say when wemeet.\"\"Now, you see, Bob, with your usual want of precision, or care, or somesuch quality--\"\"Stop, Barret.  Do be more precise in the use oflanguage.  How can thewant of a thing be a _quality_?\"\"You are right, Bob.  Let me say, then, that with your usual unprecisionand carelessness you sent me a telegram, which could not reach me tilllate on Wednesdaynight, after all trains were gone, telling me that yousail, without fail, on Thursday, but leaving me to guess whether youmeant Thursday morning or evening.\"\"How stupid!  My dear fellow, I forgot that!\"\"Just so.  Well tomake sure of losing no time, instead of coming hereby trains, which, as you know, are very awkward and slow in ourneighbourhood, besides necessitating long waits and several changes, Ijust packed my portmanteau,gun, rods, etcetera, and gave directions tohave them forwarded here by the first morning train, then took a fewwinks of sleep, and at the first glimmer of daylight mounted my wheeland set off across country as straightas country roads would permitof--and--here I am.\"\"True, Barret, and in good time for tea too.  We don't sail tillmorning, for the tide does not serve till six o'clock, so that will giveus plenty of time to put the finishingtouches to our plans, allow yourthings to arrive, and permit of our making--or, rather, renewing--ouracquaintance with Giles Jackman.  You remember him, don't you?\"\"Yes, faintly.  He was a broad, sturdy,good-humoured, reckless, littleboy when I last saw him at old Blatherby's school.\"\"Just so.  Your portrait is correct.  I saw him last month, after a goodmany years' interval, and he is exactly what he was, butconsiderablyexaggerated at every point.  He is not, indeed, a little, but a middlesized man now; as good-humoured as ever; much more reckless; sturdierand broader a great deal, with an amount of hair about his lip,chin,and head generally that would suffice to fit out three or four averagemen.  He has been in India--in the Woods and Forests Department, orsomething of that sort--and has killed tigers, elephants, and such-likebythe hundred, they say; but I've met him only once or twice, and hedon't speak much about his own doings.  He is home on sick-leave justnow.\"\"Sick-leave!  Will he be fit to go with us?\" asked Barret, doubtfully.\"Fit!\"cried Mabberly.  \"Ay, much more fit than you are, strong andvigorous though you be, for the voyage home has not only cured him; ithas added superabundant health.  Voyages always do to sickAnglo-Indians, don't youknow?  However ill a man may be in India, allhe has to do is to obtain leave of absence and get on board of a shiphomeward bound, and straightway health, rushing in upon him like ariver, sends him home more thancured.  So now our party is made up,yacht victualled, anchor tripped; and--`all's well that ends well.'\"\"But all is not ended, Bob.  Things have only begun, and, as regardsmyself, they have begun disastrously,\" saidBarret, who thereuponrelated the incident of the little old lady being run down.\"My dear fellow,\" cried Mabberly, laughing, \"excuse me, don't imagine meindifferent to the sufferings of the poor old thing; but do youreallysuppose that one who was tough enough, after such a collision, to sit upat all, with or without the support of the railings, and give way toindignant abuse--\"\"Not abuse, Bob, indignant looks and sentiments; shewas too thorough alady to think of abuse--\"\"Well, well; call it what you please; but you may depend upon it thatshe is not much hurt, and you will hear nothing more about the matter.\"\"That's it!  That's the very thingthat I dread,\" returned Barret,anxiously.  \"To go through life with the possibility that I may be anuncondemned and unhung murderer is terrible to think of.  Then I can'tget over the meanness of my running away sosuddenly.  If any one hadsaid I was capable of such conduct I should have laughed at him.  Yethave I lived to do it--contemptibly--in cold blood.\"\"Contemptibly it may have been, but not in cold blood, for did you notsayyou were roused to a state of frenzied alarm at the sight of thebobby? and assuredly, although unhung as yet, you are not uncondemned,if self-condemnation counts for anything.  Come, don't take such adespondingview of the matter.  We shall see the whole affair in themorning papers before sailing, with a report of the old lady's name andcondition--I mean condition of health--as well as your unmanly flight,without leaving yourcard; so you'll be able to start with an easy--Ha!a cab! yes, it's Jackman.  I know his manservant,\" said Mabberly, as helooked out at the window.Another moment and a broad-chested man, of about five-and-twenty,with abronzed face--as far as hair left it visible--a pair of merry blue eyes,and a hearty manner, was grasping his old schoolfellows by the hand, andendeavouring to trace the likeness in John Barret to the quiet littleboywhom he used to help with his tasks many years before.\"Man, who would have thought you could have grown into such a greatlong-legged fellow?\" he said stepping back to take a more perfect lookat his friend, whoreturned the compliment by asking who could haveimagined that he would have turned into a Zambezian gorilla.\"Where'll I put it, sor?\" demanded a voice of metallic bassness in thedoorway.\"Down there--anywhere,Quin,\" said Jackman turning quickly; \"and be offas fast as you can to see after that rifle and cartridges.\"\"Yes, sor,\" returned the owner of the bass voice, putting down a smallportmanteau, straightening himself,touching his forehead with amilitary salute, and stalking away solemnly.\"I say, Giles, it's not often one comes across a zoological specimenlike that.  Where did you pick him up?\" asked Mabberly.\"In the woods andforests of course,\" said Jackman, \"where I have pickedup everything of late--from salary to jungle fevers.  He's an oldsoldier--also on sick-leave, though he does not look like it.  He cameoriginally from the west of"}
+{"doc_id":"doc_190","qid":"","text":"<html><head><title>It's Complicated Script at IMSDb.</title><meta name=\"description\" content=\"It's Complicated script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"It's Complicatedscript, It's Complicated movie script, It's Complicated film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX,FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b></b><b></b><b></b><b>                           IT'S COMPLICATED</b><b></b><b></b><b></b>                              Writtenby<b></b>                             Nancy Meyers<b></b><b></b><b></b><b></b><b>     FADE IN:</b><b></b><b></b><b>1   EXT. BEACH HOUSE - MONTECITO, CALIFORNIA - DAY                1    </b>    Alate afternoon sky, a red tile roof and the Santa Barbara    coast line frame this party of old friends. A trio plays               Brazilian music as guests carry drinks and nibble ondessert.      <b></b><b></b><b>2   CLOSE - ON A FOURSOME OF FRIENDS                              2</b>    The Couple who live in this house, SALLY AND TED, drink    champagne as they chat with their closestfriends, JANE AND        <b>    JAKE.</b><b></b>    JANE is mid-fifties and has embraced that fact. She knows 50    is not the new 40 and because of that, she is still described    by all who know her as beautiful.Everything about this    woman's appearance screams \"solid.\"<b></b>    The years have been good to JAKE. He's never lost his looks,    his killer smile, or his ability to charm. He lifts his    glass ofchampagne.                                                <b>                         JAKE</b>               Happy happy happy...<b></b><b>                         JANE</b>                   (reminding him)               --Anniversary.<b></b>    Jake pauses, wryly turns to Jane, making her smile.<b></b><b>                         JAKE</b>               Some things neverchange.<b></b><b>                            SALLY</b>               Thank God.<b></b><b>                         JANE</b>               I thought maybe you were drifting.<b></b><b>                         TED</b>               Hewas pausing.<b></b><b>                         JAKE</b>               Exactly....                   (sighs, raising his glass)               Happy... Anniversary. You two have               led an extraordinarilyblessed               life.<b>                         (MORE)</b><b>                                                          2.</b>                    JAKE(cont'd)          As long as I've known you both,          you've always managed to somehowdo          everything entirely right.<b></b><b>                    JANE</b>          -- That's so true.<b></b><b>                    JAKE</b>          But, honestly, how can it be thirty          years!?!   When did we do thattrip          to Spain?              (looks to Jane)          It was for both of our what..?<b></b><b>                    JANE</b>          -- Fifteenth anniversaries.<b></b><b>                    JAKE</b>          God, that was agreat trip...<b></b>The Two Women exchange a quick look when a tall, ADORABLE 21    YEAR OLD BOY joins the group, holding a bottle of beer. Thisis OLIVER, Sally and Ted's son. All four light up as Oliverputs hisarm around his Mom.<b></b><b>                    JANE</b>          Ollie, how was graduation?<b></b><b>                    OLIVER</b>          It was fantastic. I can't believe          I'm not in school anymore.When's          Luke's graduation?<b></b><b>                       JAKE</b>          Next week.<b></b><b>                    JANE</b>              (correcting him)          It's in threedays!<b></b><b>                     JAKE</b>          Sorry!   I mean this week.<b></b><b>                    TED</b>          Are the girls going?<b></b><b>                    JANE</b>          They can'twait.                                      Jane glances across the party and sees AGNESS, A FREE           SPIRITED PRETTY WOMAN in her thirties, wearing a sarong over    a bathing suit and walking directly toward them. Shecarries    a slice of cake. Jane becomes instantly distracted and          uncomfortable.<b>                                                      3.</b><b></b><b></b><b></b><b>                    OLIVER</b>          How long isLuke home before he has          to go back for work?<b></b><b>                    JANE</b>          -- Only a week...                                <b>                    SALLY                                  </b>          Aw, that'sit?                                   <b>                    JANE</b>          I know, I hate it. Well...              (Agness joins the group,                                    standing next to Jake)                                Congratsagain...              (puts down her champagne)          Great party...<b></b><b>                    OLIVER</b>          You're leaving?<b></b><b>                    JANE</b>          Yeah, I have some              (Agness handsJake a piece               of cake. Jane works hard               at not appearing               flustered)          -- stuff I have to get done tonight          for work...              (to Jake & Agness)          I'll see you two in NewYork.<b></b><b>                    AGNESS</b>          Absolutely. Lookin' forward to it.<b></b><b>                      JANE</b>          Good.    Well....<b></b><b>                    AGNESS</b>          -- Jane, what areyou wearing to                           the graduation?<b></b><b>                    JANE</b>          Oh, a suit or dress, probably a          suit.<b></b><b>                      AGNESS</b>          Fancy.    Okay.<b></b>Janesmiles tightly, raises her eyebrows to Sally.<b>                                                        4.</b><b></b><b></b><b></b><b>                    JAKE</b>          See you there, Janey.    Where are          you stayingagain?<b></b><b>                    JANE</b>          We're at The Park Regent. You said                           you were at The Four Seasons,                                right?<b></b><b>                    JAKE</b>          I don'tknow.              (to Agness)          Where are we?<b></b><b>                    AGNESS</b>          We're at The Park Regent too.                      <b>                       JANE</b>              (hates    this)          Oh.Good.     That'll be convenient,          actually.     Okay, so, see you soon..                           (waves    awkwardly)<b></b><b>                    SALLY</b>          -- I'll walk you out.<b></b>As they WALK AWAY, theyHEAR:<b></b><b>                    AGNESS</b>          So, Ted, do you think you can help          us get Pedro into El Montecito for          kindergarten?<b></b><b>ANGLE - JANE AND SALLY - WALKING INTOHOUSE</b><b></b><b>                    SALLY</b>              (laughs)          I thought it was sweet how well you          and Jake were getting along. Felt          like oldtimes.<b></b><b>                    JANE</b>          Yeah, well, we know how to do this          by now. It has been ten years.                     <b>                    SALLY</b>          That's crazy.<b></b>Jane hugs Sallygood bye, her eyes landing on Agness         affectionately rubbing Jake's back.                          <b>                                                              5.</b><b></b><b></b><b></b><b></b><b>    ANGLE - THEFRONT DOOR</b><b></b>    as it closes after Jane.<b></b><b></b><b>    ON JAKE - AS HE TURNS BACK</b><b></b>    and sees Jane is gone.<b></b><b>                                                      CUTTO:</b><b></b><b></b><b>3   TWENTY-THREE YEAR OLD GABBY                                   3    </b>    in jeans and a tank top CARRYING A CARTON OF BOOKS, A YOGA    MAT AND A SMALL LAMP. Gabby is Janeand Jake's middle child.           But unlike most middle children, this one has never suffered    from being ignored. Not a possibility with Jane as your    mother. We are:<b></b><b></b><b>    EXT. JANE'S HOUSE -LATE DAY</b><b></b>    The house is modest and charming and sits on a few acres in    the lush green hills of Santa Barbara. Neat rows of    vegetables dot the landscape.<b></b>    Gabby arrives at her alreadypacked Prius, where her OLDER             SISTER, LAUREN, 26, is trying to fit everything into the    trunk. Lauren is more conservatively dressed than Gabby and            has an air of maturity abouther.<b></b><b>                        LAUREN</b>              Gabby, stop...you're never going to                                    fit all this in... you can come                                        back for the resttomorrow.<b></b><b>                        GABBY                                          </b>              I can't come back t---<b></b>    Gabby looks up to see HARLEY, LAUREN'S FIANCE, in a T-shirt            and over-the-kneegym shorts, lugging a huge suitcase down    the front path, a duffel strapped across his chest.                <b>                        GABBY                                          </b>              Oh, God...that's all myclothes.<b></b><b>                        HARLEY</b>                  (sets the suitcase down as                   he sees an SUV heading to                   thehouse)<b>                        (MORE)</b><b>                                                           6.</b>                    HARLEY(cont'd)          Okay, your Mom is home. She'll                                  figure this out.<b></b>TheSUV pulls to a stop, Jane gets out. Gabby starts pulling    cartons out of her trunk to make room for her clothes.          <b>                    JANE</b>          Gabby, you're leaving now? I                                    thoughtyou were going in the          morning?<b></b><b>                    GABBY                                       </b>          I know but my friends are all there          and they wanted me to cometonight.<b></b><b>                    JANE</b>          But honey, it's gonna get dark          soon. You can't see out the back          window. It's Saturday night.          People will be on theroad          drinking...<b></b><b>                    LAUREN</b>          Mom, she'll be there in a couple of          hours, she'll be fine.<b></b><b>                    GABBY                                       </b>          Okay, I'mleaving this stuff here.          I'll be back for it in a few days.<b></b><b>                    JANE</b>          Want me to drive it down in the          morning?              (Gabby'sBLACKBERRY                                              BUZZES, she laughs,                                             thumbs flying)                                             I could be there by lunch. We could          go to that big Bed, Bath,and          Beyond, buy kitchen stuff... Gabby,                             can you look up from that thing??<b></b><b>                    GABBY                                       </b>              (looking up)          I got it covered,Ma.              (to Harley)          Hey gangsta, help me carry these...<b></b><b>                    HARLEY</b>              (exhausted)          Yep....<b></b>Gabby and Harley CARRY THE BOXES back into thehouse.   Jane    seems worried as she watches them.                              <b>                                                             7.</b><b></b><b></b><b></b><b>                    LAUREN</b>          Mom, are you afraidto sleep in the                               house alone?<b></b><b>                    JANE</b>          What are you....? No!              (Lauren looks doubtful)          -- I'm not! One of you isalways                                  moving out...                                                         (Gabby re-joins)                                              But I am wondering who I'm gonna          watch The Hillswith?<b></b><b></b><b>                    GABBY                                         </b>              (huge hug)          Mamacita... I'm gonna miss you.<b></b>Jane hugs her back, but is aware of not hugging too"}
+{"doc_id":"doc_191","qid":"","text":"<html><head><title>Neverending Story, The Script at IMSDb.</title><meta name=\"description\" content=\"Neverending Story, The script at the Internet Movie Script Database.\"><meta name=\"keywords\"content=\"Neverending Story, The script, Neverending Story, The movie script, Neverending Story, The film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><metaname=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttypeCONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ?'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie ScriptDatabase\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <scripttype=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><!DOCTYPE HTML PUBLIC \"-//W3C//DTD HTML 4.0 Transitional//EN\"><!-- saved fromurl=(0044)http://www.geocities.com/aranmax/SCRIPT.html --><HTML xmlns:v = \"urn:schemas-microsoft-com:vml\" xmlns:o = \"urn:schemas-microsoft-com:office:office\" xmlns:w =\"urn:schemas-microsoft-com:office:word\"><HEAD><TITLE>Script</TITLE><META http-equiv=Content-Type content=\"text/html; charset=windows-1252\"><META content=\"MSHTML 5.50.4522.1800\"name=GENERATOR></HEAD><BODY lang=EN-US style=\"tab-interval: .5in\" vLink=purple link=blue><TABLE width=600 border=0><b>  <TBODY></b><b>  <TR></b><b>    <TD></b>      <DD>This Script wastranscribed by AranMax at <a href=\"http://www.geocities.com/aranmax/\">The Neverending Story</a> Page.</DD></TD></TR></TBODY></TABLE><b><P></b><b><P></b><META content=Word.Documentname=ProgId><META content=\"Microsoft Word 9\" name=Generator><META content=\"Microsoft Word 9\" name=Originator><LINK href=\"./Script_files/filelist.xml\" rel=File-List><!--[if gte mso 9]><xml><o:DocumentProperties>  <o:Author>Aran Peters</o:Author>  <o:LastAuthor>Joseph M. Dugandzic</o:LastAuthor>  <o:Revision>2</o:Revision>  <o:TotalTime>462</o:TotalTime>  <o:Created>2000-04-05T06:46:00Z</o:Created>  <o:LastSaved>2000-04-05T06:46:00Z</o:LastSaved>  <o:Pages>37</o:Pages>  <o:Words>7418</o:Words>  <o:Characters>42286</o:Characters>  <o:Company></o:Company>  <o:Lines>352</o:Lines>  <o:Paragraphs>84</o:Paragraphs>  <o:CharactersWithSpaces>51930</o:CharactersWithSpaces>  <o:Version>9.2720</o:Version></o:DocumentProperties></xml><![endif]--><!--[if gte mso 9]><xml> <w:WordDocument>  <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery>  <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery>  <w:UseMarginsForDrawingGridOrigin/>  <w:Compatibility>   <w:FootnoteLayoutLikeWW8/>   <w:ShapeLayoutLikeWW8/>   <w:AlignTablesRowByRow/>   <w:ForgetLastTabAlignment/>   <w:LayoutRawTableWidth/>   <w:LayoutTableRowsApart/>  </w:Compatibility> </w:WordDocument></xml><![endif]--><STYLE>@page Section1 {size: 8.5in 11.0in; margin: 1.0in 99.0pt 1.0in1.0in; mso-header-margin: 1.0in; mso-footer-margin: 1.0in; mso-paper-source: 0; }P.MsoNormal { FONT-SIZE: 10pt; MARGIN: 0in 0in 0pt; FONT-FAMILY: \"Times New Roman\"; mso-style-parent: \"\"; mso-pagination:widow-orphan; mso-fareast-font-family: \"Times New Roman\"; mso-bidi-font-family: \"Times New Roman\"<b>}</b>LI.MsoNormal { FONT-SIZE: 10pt; MARGIN: 0in 0in 0pt; FONT-FAMILY: \"Times New Roman\";mso-style-parent: \"\"; mso-pagination: widow-orphan; mso-fareast-font-family: \"Times New Roman\"; mso-bidi-font-family: \"Times New Roman\"<b>}</b>DIV.MsoNormal { FONT-SIZE: 10pt; MARGIN: 0in 0in 0pt;FONT-FAMILY: \"Times New Roman\"; mso-style-parent: \"\"; mso-pagination: widow-orphan; mso-fareast-font-family: \"Times New Roman\"; mso-bidi-font-family: \"Times New Roman\"<b>}</b>P.MsoBodyText {FONT-SIZE: 10pt; MARGIN: 0in 256.5pt 0pt 0in; FONT-FAMILY: Arial; mso-pagination: widow-orphan; mso-fareast-font-family: \"Times New Roman\"; mso-bidi-font-family: \"Times NewRoman\"<b>}</b>LI.MsoBodyText { FONT-SIZE: 10pt; MARGIN: 0in 256.5pt 0pt 0in; FONT-FAMILY: Arial; mso-pagination: widow-orphan; mso-fareast-font-family: \"Times New Roman\"; mso-bidi-font-family: \"TimesNew Roman\"<b>}</b>DIV.MsoBodyText { FONT-SIZE: 10pt; MARGIN: 0in 256.5pt 0pt 0in; FONT-FAMILY: Arial; mso-pagination: widow-orphan; mso-fareast-font-family: \"Times New Roman\"; mso-bidi-font-family:\"Times New Roman\"<b>}</b>P.MsoBodyTextIndent { FONT-SIZE: 10pt; MARGIN: 0in 0in 0pt 1in; FONT-FAMILY: Arial; mso-pagination: widow-orphan; mso-fareast-font-family: \"Times New Roman\";mso-bidi-font-family: \"Times New Roman\"<b>}</b>LI.MsoBodyTextIndent { FONT-SIZE: 10pt; MARGIN: 0in 0in 0pt 1in; FONT-FAMILY: Arial; mso-pagination: widow-orphan; mso-fareast-font-family: \"Times NewRoman\"; mso-bidi-font-family: \"Times New Roman\"<b>}</b>DIV.MsoBodyTextIndent { FONT-SIZE: 10pt; MARGIN: 0in 0in 0pt 1in; FONT-FAMILY: Arial; mso-pagination: widow-orphan; mso-fareast-font-family:\"Times New Roman\"; mso-bidi-font-family: \"Times New Roman\"<b>}</b>P.MsoBodyText2 { FONT-SIZE: 10pt; MARGIN: 0in 3.5in 0pt 0in; FONT-FAMILY: Arial; mso-pagination: widow-orphan;mso-fareast-font-family: \"Times New Roman\"; mso-bidi-font-family: \"Times New Roman\"<b>}</b>LI.MsoBodyText2 { FONT-SIZE: 10pt; MARGIN: 0in 3.5in 0pt 0in; FONT-FAMILY: Arial; mso-pagination:widow-orphan; mso-fareast-font-family: \"Times New Roman\"; mso-bidi-font-family: \"Times New Roman\"<b>}</b>DIV.MsoBodyText2 { FONT-SIZE: 10pt; MARGIN: 0in 3.5in 0pt 0in; FONT-FAMILY: Arial;mso-pagination: widow-orphan; mso-fareast-font-family: \"Times New Roman\"; mso-bidi-font-family: \"Times New Roman\"<b>}</b>P.MsoBodyText3 { FONT-SIZE: 10pt; MARGIN: 0in 247.5pt 0pt 0in; FONT-FAMILY:Arial; mso-pagination: widow-orphan; mso-fareast-font-family: \"Times New Roman\"; mso-bidi-font-family: \"Times New Roman\"<b>}</b>LI.MsoBodyText3 { FONT-SIZE: 10pt; MARGIN: 0in 247.5pt 0pt 0in;FONT-FAMILY: Arial; mso-pagination: widow-orphan; mso-fareast-font-family: \"Times New Roman\"; mso-bidi-font-family: \"Times New Roman\"<b>}</b>DIV.MsoBodyText3 { FONT-SIZE: 10pt; MARGIN: 0in 247.5pt0pt 0in; FONT-FAMILY: Arial; mso-pagination: widow-orphan; mso-fareast-font-family: \"Times New Roman\"; mso-bidi-font-family: \"Times New Roman\"<b>}</b>P.MsoBodyTextIndent2 { FONT-SIZE: 10pt; MARGIN:0in 0in 0pt 0.5in; FONT-FAMILY: Arial; mso-pagination: widow-orphan; mso-fareast-font-family: \"Times New Roman\"; mso-bidi-font-family: \"Times New Roman\"<b>}</b>LI.MsoBodyTextIndent2 { FONT-SIZE: 10pt;MARGIN: 0in 0in 0pt 0.5in; FONT-FAMILY: Arial; mso-pagination: widow-orphan; mso-fareast-font-family: \"Times New Roman\"; mso-bidi-font-family: \"Times New Roman\"<b>}</b>DIV.MsoBodyTextIndent2 {FONT-SIZE: 10pt; MARGIN: 0in 0in 0pt 0.5in; FONT-FAMILY: Arial; mso-pagination: widow-orphan; mso-fareast-font-family: \"Times New Roman\"; mso-bidi-font-family: \"Times New Roman\"<b>}</b>P.MsoBlockText{ FONT-SIZE: 10pt; MARGIN: 0in 117pt 0pt 2in; FONT-FAMILY: Arial; mso-pagination: widow-orphan; mso-fareast-font-family: \"Times New Roman\"; mso-bidi-font-family: \"Times NewRoman\"<b>}</b>LI.MsoBlockText { FONT-SIZE: 10pt; MARGIN: 0in 117pt 0pt 2in; FONT-FAMILY: Arial; mso-pagination: widow-orphan; mso-fareast-font-family: \"Times New Roman\"; mso-bidi-font-family: \"TimesNew Roman\"<b>}</b>DIV.MsoBlockText { FONT-SIZE: 10pt; MARGIN: 0in 117pt 0pt 2in; FONT-FAMILY: Arial; mso-pagination: widow-orphan; mso-fareast-font-family: \"Times New Roman\"; mso-bidi-font-family:\"Times New Roman\"<b>}</b>A:link { COLOR: blue; TEXT-DECORATION: underline; text-underline: single<b>}</b>SPAN.MsoHyperlink { COLOR: blue; TEXT-DECORATION: underline; text-underline:single<b>}</b>A:visited { COLOR: purple; TEXT-DECORATION: underline; text-underline: single<b>}</b>SPAN.MsoHyperlinkFollowed { COLOR: purple; TEXT-DECORATION: underline; text-underline:single<b>}</b><b>P.H2 {</b> FONT-WEIGHT: bold; FONT-SIZE: 18pt; MARGIN: 5pt 0in; LAYOUT-GRID-MODE: line; FONT-FAMILY: \"Times New Roman\"; mso-pagination: widow-orphan; mso-fareast-font-family:\"Times New Roman\"; mso-bidi-font-family: \"Times New Roman\"; mso-style-name: H2; mso-style-next: Normal; mso-outline-level: 3; mso-bidi-font-size: 10.0pt; mso-bidi-font-weight: normal<b>}</b><b>LI.H2{</b> FONT-WEIGHT: bold; FONT-SIZE: 18pt; MARGIN: 5pt 0in; LAYOUT-GRID-MODE: line; FONT-FAMILY: \"Times New Roman\"; mso-pagination: widow-orphan; mso-fareast-font-family: \"Times New Roman\";mso-bidi-font-family: \"Times New Roman\"; mso-style-name: H2; mso-style-next: Normal; mso-outline-level: 3; mso-bidi-font-size: 10.0pt; mso-bidi-font-weight: normal<b>}</b><b>DIV.H2 {</b> FONT-WEIGHT:bold; FONT-SIZE: 18pt; MARGIN: 5pt 0in; LAYOUT-GRID-MODE: line; FONT-FAMILY: \"Times New Roman\"; mso-pagination: widow-orphan; mso-fareast-font-family: \"Times New Roman\"; mso-bidi-font-family: \"TimesNew Roman\"; mso-style-name: H2; mso-style-next: Normal; mso-outline-level: 3; mso-bidi-font-size: 10.0pt; mso-bidi-font-weight: normal<b>}</b>DIV.Section1 { page:Section1<b>}</b><b></STYLE></b><!--[if gte mso 9]><xml> <o:shapedefaults v:ext=\"edit\" spidmax=\"2050\"/></xml><![endif]--><!--[if gte mso 9]><xml> <o:shapelayout v:ext=\"edit\">  <o:idmapv:ext=\"edit\" data=\"1\"/> </o:shapelayout></xml><![endif]--><DIV align=center><TABLE width=600 border=0><b>  <TBODY></b><b>  <TR></b><b>    <TD></b>      <DIV class=Section1>      <Pclass=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\">THE NEVERENDING       STORY<o:p></o:p></SPAN></P>      <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\"><![if!supportEmptyParas]><![endif]>&nbsp;<o:p></o:p></SPAN></P>      <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\">Based on the book by       Michael Ende<o:p></o:p></SPAN></P>      <Pclass=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\">Screenplay by Wolfgang       Peterson<o:p></o:p></SPAN></P>      <P class=MsoNormal><SPAN       style=\"FONT-FAMILY:Arial\">1984<o:p></o:p></SPAN></P>      <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\"><![if !supportEmptyParas]><![endif]>&nbsp;<o:p></o:p></SPAN></P>      <P class=MsoNormal><SPANstyle=\"FONT-FAMILY: Arial\">FADE       IN:<o:p></o:p></SPAN></P>      <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\"><![if !supportEmptyParas]><![endif]>&nbsp;<o:p></o:p></SPAN></P>      <Pclass=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN       style=\"FONT-FAMILY: Arial\">Limahl\u0000s \u0000The Neverending Story\u0000 plays as       the<o:p></o:p></SPAN></P>      <P class=MsoNormalstyle=\"TEXT-INDENT: 0.5in\"><SPAN       style=\"FONT-FAMILY: Arial\">CREDITS PLAY OVER a dazzling display of some       <o:p></o:p></SPAN></P>      <P class=MsoNormal style=\"TEXT-INDENT:0.5in\"><SPAN       style=\"FONT-FAMILY: Arial\">great clouded storm. THE NOTHING. Great masses       of <o:p></o:p></SPAN></P>      <P class=MsoNormal style=\"TEXT-INDENT:0.5in\"><SPAN       style=\"FONT-FAMILY: Arial\">clouds swirl and churn and collide on the       screen.<o:p></o:p></SPAN></P>      <P class=MsoNormal><SPAN style=\"FONT-FAMILY:"}
+{"doc_id":"doc_192","qid":"","text":"<html><head><title>Observe and Report Script at IMSDb.</title><meta name=\"description\" content=\"Observe and Report script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Observeand Report script, Observe and Report movie script, Observe and Report film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX,FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>           <b>          </b><b>          </b><b>                                 OBSERVE ANDREPORT</b><b>          </b><b>          </b><b>          </b>                                    Written by<b>          </b>                                    JodyHill<b>          </b><b>          </b><b>          </b><b>          </b><b>          </b><b>          </b><b>          FADE IN:                                                   </b><b>          </b><b>          EXT. CAROLINA MALL -MORNING</b><b>          </b><b>          ONE LONG TRACKING SHOT FROM THE BACK.</b><b>          </b>          A PERVERT in a trench coat runs along the edge of the          mall. A group of OLD WOMEN iscoming toward the MAIN          ENTRANCE. The Pervert opens his trench coat and flashes          the old women. They SCREAM!<b>          </b>          The Pervert ducks behind the bushes and runs with the          skillof a Navy SEAL. A FAMILY is walking down the          sidewalk. The Pervert opens his trench coat and flashes          them.<b>          </b>          The Pervert ducks behind a dumpster. He keeps running          and seesa car driving by. The Pervert flashes the CAR.<b>          </b>          The Pervert takes a two-step run, sees ANOTHER LADY,          flashes her. He dives behind a car. Then pops up and          flashes ANOTHERGIRL.<b>          </b>          It's an all-out Pervert assault!<b>          </b>          The Pervert then runs across the parking lot, jumps a          fence, and darts from the property -- vanishing as          quickly as a Ninjawho just perfectly executed an          assassination.<b>          </b><b>          </b><b>          INT. MALL - BUSINESS OFFICES - DAY</b><b>          </b>          MARK, the Mall Manager, walks by a group of women,who               were exposed to the Pervert. They crowd around and                   complainloudly.                                           <b>                                                                     </b><b>                                   MARK</b>                     Ladies, please, we're doing                                          everythingwe can to handle the                     situation. Nothing is more                                           important to us than the safety of                                   our shoppers. Now in the                                             meantime,feel free to check out                     some of our wonderful back-to-                     school sales. Excuse me for a                                        minute.<b>          </b>          Mark walks down the hallway that houses all ofthe                   business affair offices. He stops at the RECEPTIONIST'S              desk.                                                      <b>          </b><b>                                   MARK</b>                     Have you seen Ronnie?<b>          </b><b>                                                      (CONTINUED)</b><b>          </b><b>                                                                   2.</b><b>          </b><b>          CONTINUED:</b><b>          </b><b>                                     RECEPTIONIST</b>                       I haven't seen him all morning.<b>          </b>          The Mall Manager quickly walks off.    On the way, he                    passes aJANITOR.                                              <b>          </b><b>                                     MARK</b>                       Ramon, have you seenRonnie?<b>          </b><b>                                     JANITOR</b>                       No, senor.<b>                                                                         </b>          The Mall Manager keepswalking.<b>          </b><b>          </b><b>          INT. SECURITY OFFICE - DAY</b><b>          </b>          The Mall Manager comes into the surveillance room. It's          a small office with monitors that show thedifferent          security cameras around the mall. DENNIS, a Mall          Security guard with sunglasses who will not utter a word          ever, turns around in thechair.<b>          </b><b>                                     MARK</b>                       Where is Ronnie?                                  <b>          </b>          Dennisshrugs.<b>          </b><b>                                                         CUT TO:</b><b>          </b><b>          </b><b>          INT. GARAGE - DAY</b><b>          </b>          Blackness. White shafts of lightsporadically shoot          through the dark and we see IMAGES. A GIANT FLASHLIGHT          is inserted into a UTILITY BELT. MACE is inserted in the          other side. A WALKIE-TALKIE is turned on. A TASERis          sparked. MIRRORED SUNGLASSES are pushed over the nose.<b>          </b>          A garage door raises and bright light spills in...<b>          </b><b>          </b><b>          EXT. GARAGE -DAY</b><b>          </b>          A garage door opens slowly and reveals a souped-up ORANGE          GOLF CART. There's a siren on top that spins around.          The man driving is RONNIE BARNHARDT (28), a stockymall          security guard whose expression reads all business.          Ronnie pulls out of the garage...<b>          </b><b>          SUPERIMPOSE:    OBSERVE ANDREPORT</b><b>          </b><b>                                                               3.</b><b>          </b><b>          EXT. MALL - DAY</b><b>          </b>          HEAVY METAL MUSIC. A group of anarchist SKATERSrages          through the mall parking lot tearing up everything they          see. A couple of them smoke cigarettes. One skater          grinds over a bench. One kid ollies onto the hood of a          car. Another slams intoan old man and knocks him over.<b>          </b>          Meanwhile, Ronnie sits in his golf cart -- waiting. He          looks eerily like Mel Gibson at the beginning of Mad Max.<b>          </b>          The skaters ride pasta set of construction cones. One          skater picks up the cone and tosses it across the parking          lot.<b>          </b>          The skaters soar past Ronnie, who flips on the silent          orange siren and giveschase.<b>          </b>          As the skaters ride through the parking lot, Ronnie pulls          up and drives alongside of them.<b>          </b><b>                                  RONNIE</b>                            (cop authorityvoice)                    Pull over to the sidewalk, NOW!<b>          </b>          STEVIE, the leader of the skaters, yells back.<b>          </b><b>                                  STEVIE</b>                    Fuck off, Ronnie, it's justa                                          parking lot.                                       <b>          </b><b>                                  RONNIE</b>                    Sir, pull over to thesidewalk,<b>                    NOW!</b><b>          </b>          HECTOR, another skater, joins in.<b>          </b><b>                                  HECTOR</b>                    Leave usalone.                                    <b>          </b><b>                                  STEVIE</b>                    Yeah, skating's not a crime,dick.<b>          </b><b>                                  RONNIE</b>                    Skateboarding is not allowed on                    mall premises. Pull overnow!<b>          </b><b>                                  STEVIE</b>                    We're not leaving.<b>          </b><b>                                  HECTOR</b>                    Yeah, fuck you!<b>          </b>          Theskateboarders flip Ronnie off and push hard to get                 away from him. Ronnie guns it and an all out chase          ensues.<b>          </b><b>                                                      (CONTINUED)</b><b>          </b><b>                                                                 4.</b><b>          </b><b>          CONTINUED:</b><b>          </b>          Ronnie pulls up alongside of a SLOW SKATER. Ronnie side-          swipes the skater,forcing the skater to run into a trash          can and fall.<b>          </b>          Ronnie catches up to ANOTHER SKATER. This time, Ronnie          tries to hit the skater on the side again, but he is too          fast. Ronnieswerves trying to get him, but he dodges          and ducks. Ronnie hits the brake. The skater thinks he          has escaped, but looks up and sees that a car is in his          way. The skater nails the car and is thrown overthe          hood.<b>          </b>          Ronnie is back in the chase and only Hector and Stevie          are left. Ronnie guns the golf cart and zooms up closely          behind the two kids.<b>          </b>          Ronnierams Hector over and over from behind. Hector          wobbles. Ronnie rams him again. Hector goes swerving          off and falls down hard.<b>          </b>          Ronnie doesn't break his pace and guns it towardStevie.<b>          </b>          Stevie is good. He turns and rides through cars, ollies          over parking blocks, and through pedestrians. Ronnie          burns down the lane beside him.<b>          </b>          Stevielooks behind and Ronnie is nowhere in sight.    He's          in the clear.<b>          </b>          Stevie turns back around and sees Ronnie, driving in          reverse straight towards him. Ronnie rams into the          skaterand knocks the poor kid on his ass.                     <b>          </b><b>                                     STEVIE                              </b>                       What the fuck are youdoing?                      <b>          </b><b>                                     RONNIE                              </b>                       I was driving in reverse and                                             trying to get you to flip intothe                                       back seat.                                        <b>          </b><b>                                     STEVIE                              </b>                       What?                                             <b>          </b><b>                                     RONNIE</b>                       That way I could handcuff you                                            smoothly and take you in. You                                            know, never mind, just get inthe                                        goddamn golf cart.                                <b>          </b>          Stevie picks himself up slowly and hobbles toward the                    golfcart.                                                     <b>          </b><b>                                                               5.</b><b>          </b><b>          INT. MALL - SECURITY OFFICE -MORNING</b><b>          </b>          Ronnie is in the room with the monitors. The skaters sit          across from him. There's a poster on the wall with the          security guard motto: OBSERVE ANDREPORT.<b>          </b>          Ronnie fiddles with his walkie-talkie.                      <b>          </b><b>                                  RONNIE</b>                    It seems like we go throughthis                                      every day. What's it going to                                         take for you all to realize that I                                    won't tolerate this horseplay and                                     just dowhatever you want to and                                      don't worry about the"}
+{"doc_id":"doc_193","qid":"","text":"The Project Gutenberg EBook of The Coming Race, by Edward Bulwer LyttonThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: The Coming RaceAuthor: Edward Bulwer LyttonRelease Date: February 18, 2006 [EBook #1951]LastUpdated: August 28, 2016Language: EnglishCharacter set encoding: UTF-8*** START OF THIS PROJECT GUTENBERG EBOOK THE COMING RACE ***Produced by Fred Ihde and David WidgerTHE COMING RACEbyEdward Bulwer, Lord LyttonChapter I.I am a native of _____, in the United States of America. My ancestorsmigrated from England in the reign of Charles II.; and my grandfatherwas not undistinguished in the War ofIndependence. My family,therefore, enjoyed a somewhat high social position in right of birth;and being also opulent, they were considered disqualified for the publicservice. My father once ran for Congress, but wassignally defeated byhis tailor. After that event he interfered little in politics, and livedmuch in his library. I was the eldest of three sons, and sent at the ageof sixteen to the old country, partly to complete my literaryeducation,partly to commence my commercial training in a mercantile firm atLiverpool. My father died shortly after I was twenty-one; and being leftwell off, and having a taste for travel and adventure, I resigned, foratime, all pursuit of the almighty dollar, and became a desultorywanderer over the face of the earth.In the year 18__, happening to be in _____, I was invited by aprofessional engineer, with whom I had madeacquaintance, to visit therecesses of the ________ mine, upon which he was employed.The reader will understand, ere he close this narrative, my reason forconcealing all clue to the district of which I write, and willperhapsthank me for refraining from any description that may tend to itsdiscovery.Let me say, then, as briefly as possible, that I accompanied theengineer into the interior of the mine, and became sostrangelyfascinated by its gloomy wonders, and so interested in my friend\u0000sexplorations, that I prolonged my stay in the neighbourhood, anddescended daily, for some weeks, into the vaults and galleries hollowedbynature and art beneath the surface of the earth. The engineer waspersuaded that far richer deposits of mineral wealth than had yet beendetected, would be found in a new shaft that had been commenced underhisoperations. In piercing this shaft we came one day upon a chasmjagged and seemingly charred at the sides, as if burst asunder at somedistant period by volcanic fires. Down this chasm my friend causedhimself to belowered in a \u0000cage,\u0000 having first tested the atmosphereby the safety-lamp. He remained nearly an hour in the abyss. When hereturned he was very pale, and with an anxious, thoughtful expressionof face, verydifferent from its ordinary character, which was open,cheerful, and fearless.He said briefly that the descent appeared to him unsafe, and leading tono result; and, suspending further operations in the shaft, wereturnedto the more familiar parts of the mine.All the rest of that day the engineer seemed preoccupied by someabsorbing thought. He was unusually taciturn, and there was a scared,bewildered look in his eyes, as thatof a man who has seen a ghost. Atnight, as we two were sitting alone in the lodging we shared togethernear the mouth of the mine, I said to my friend,--\u0000Tell me frankly what you saw in that chasm: I am sure it wassomethingstrange and terrible. Whatever it be, it has left your mind in a stateof doubt. In such a case two heads are better than one. Confide in me.\u0000The engineer long endeavoured to evade my inquiries; but as, whilehespoke, he helped himself unconsciously out of the brandy-flask to adegree to which he was wholly unaccustomed, for he was a very temperateman, his reserve gradually melted away. He who would keep himselftohimself should imitate the dumb animals, and drink water. At last hesaid, \u0000I will tell you all. When the cage stopped, I found myself ona ridge of rock; and below me, the chasm, taking a slanting direction,shot downto a considerable depth, the darkness of which my lamp couldnot have penetrated. But through it, to my infinite surprise, streamedupward a steady brilliant light. Could it be any volcanic fire? In thatcase, surely Ishould have felt the heat. Still, if on this there wasdoubt, it was of the utmost importance to our common safety to clear itup. I examined the sides of the descent, and found that I could ventureto trust myself to theirregular projection of ledges, at least for someway. I left the cage and clambered down. As I drew nearer and nearer tothe light, the chasm became wider, and at last I saw, to my unspeakableamaze, a broad level roadat the bottom of the abyss, illumined as faras the eye could reach by what seemed artificial gas-lamps placed atregular intervals, as in the thoroughfare of a great city; and I heardconfusedly at a distance a hum as ofhuman voices. I know, of course,that no rival miners are at work in this district. Whose could be thosevoices? What human hands could have levelled that road and marshalledthose lamps?\u0000The superstitious belief,common to miners, that gnomes or fiends dwellwithin the bowels of the earth, began to seize me. I shuddered at thethought of descending further and braving the inhabitants of this nethervalley. Nor indeed could Ihave done so without ropes, as from the spotI had reached to the bottom of the chasm the sides of the rock sank downabrupt, smooth, and sheer. I retraced my steps with some difficulty. NowI have told youall.\u0000\u0000You will descend again?\u0000\u0000I ought, yet I feel as if I durst not.\u0000\u0000A trusty companion halves the journey and doubles the courage. I willgo with you. We will provide ourselves with ropes of suitable lengthandstrength--and--pardon me--you must not drink more to-night, our handsand feet must be steady and firm tomorrow.\u0000Chapter II.With the morning my friend\u0000s nerves were rebraced, and he was notless excited bycuriosity than myself. Perhaps more; for he evidentlybelieved in his own story, and I felt considerable doubt of it; not thathe would have wilfully told an untruth, but that I thought he must havebeen under one of thosehallucinations which seize on our fancy or ournerves in solitary, unaccustomed places, and in which we give shape tothe formless and sound to the dumb.We selected six veteran miners to watch our descent; and as thecageheld only one at a time, the engineer descended first; and when he hadgained the ledge at which he had before halted, the cage rearose for me.I soon gained his side. We had provided ourselves with a strong coilofrope.The light struck on my sight as it had done the day before on myfriend\u0000s. The hollow through which it came sloped diagonally: it seemedto me a diffused atmospheric light, not like that from fire, but softandsilvery, as from a northern star. Quitting the cage, we descended,one after the other, easily enough, owing to the juts in the side, tillwe reached the place at which my friend had previously halted, and whichwas aprojection just spacious enough to allow us to stand abreast. Fromthis spot the chasm widened rapidly like the lower end of a vast funnel,and I saw distinctly the valley, the road, the lamps which my companionhaddescribed. He had exaggerated nothing. I heard the sounds he hadheard--a mingled indescribable hum as of voices and a dull tramp as offeet. Straining my eye farther down, I clearly beheld at a distance theoutline ofsome large building. It could not be mere natural rock, itwas too symmetrical, with huge heavy Egyptian-like columns, and thewhole lighted as from within. I had about me a small pocket-telescope,and by the aid ofthis, I could distinguish, near the building Imention, two forms which seemed human, though I could not be sure. Atleast they were living, for they moved, and both vanished within thebuilding. We now proceeded toattach the end of the rope we had broughtwith us to the ledge on which we stood, by the aid of clamps andgrappling hooks, with which, as well as with necessary tools, we wereprovided.We were almost silent in ourwork. We toiled like men afraid to speak toeach other. One end of the rope being thus apparently made firm to theledge, the other, to which we fastened a fragment of the rock, rested onthe ground below, a distance ofsome fifty feet. I was a younger man anda more active man than my companion, and having served on board ship inmy boyhood, this mode of transit was more familiar to me than to him. Ina whisper I claimed theprecedence, so that when I gained the ground Imight serve to hold the rope more steady for his descent. I got safelyto the ground beneath, and the engineer now began to lower himself.But he had scarcelyaccomplished ten feet of the descent, when thefastenings, which we had fancied so secure, gave way, or rather therock itself proved treacherous and crumbled beneath the strain; and theunhappy man was precipitatedto the bottom, falling just at my feet,and bringing down with his fall splinters of the rock, one of which,fortunately but a small one, struck and for the time stunned me. When Irecovered my senses I saw my companionan inanimate mass beside me,life utterly extinct. While I was bending over his corpse in grief andhorror, I heard close at hand a strange sound between a snort and ahiss; and turning instinctively to the quarter fromwhich it came, I sawemerging from a dark fissure in the rock a vast and terrible head,with open jaws and dull, ghastly, hungry eyes--the head of a monstrousreptile resembling that of the crocodile or alligator, butinfinitelylarger than the largest creature of that kind I had ever beheld in mytravels. I started to my feet and fled down the valley at my utmostspeed. I stopped at last, ashamed of my panic and my flight, andreturnedto the spot on which I had left the body of my friend. Itwas gone; doubtless the monster had already drawn it into its den anddevoured it. The rope and the grappling-hooks still lay where they hadfallen, but theyafforded me no chance of return; it was impossible tore-attach them to the rock above, and the sides of the rock were toosheer and smooth for human steps to clamber. I was alone in this strangeworld, amidst thebowels of the earth.Chapter III.Slowly and cautiously I went my solitary way down the lamplit road andtowards the large building I have described. The road itself seemed likea great Alpine pass, skirting rockymountains of which the one throughwhose chasm I had descended formed a link. Deep below to the left laya vast valley, which presented to my astonished eye the unmistakeableevidences of art and culture. Therewere fields covered with a strangevegetation, similar to none I have seen above the earth; the colour ofit not green, but rather of a dull and leaden hue or of a golden red.There were lakes and rivulets which seemed tohave been curved intoartificial banks; some of pure water, others that shone like pools ofnaphtha. At my right hand, ravines and defiles opened amidst the rocks,with passes between, evidently constructed by art, andbordered by treesresembling, for the most part, gigantic ferns, with exquisite varietiesof feathery foliage, and stems like those of the palm-tree. Others weremore like the cane-plant, but taller, bearing large clusters offlowers.Others, again, had the form of enormous fungi, with short thick stemssupporting a wide dome-like roof, from which either rose or drooped longslender branches. The whole scene behind, before, and beside mefar asthe eye could reach, was brilliant with innumerable lamps. The worldwithout a sun was bright and warm as an Italian landscape at noon, butthe air less oppressive, the heat softer. Nor was the scene beforemevoid of signs of habitation. I could distinguish at a distance, whetheron the banks of the lake or rivulet, or half-way upon eminences,embedded amidst the vegetation, buildings that must surely be the homesof men.I could even discover, though far off, forms that appeared tome human moving amidst the landscape. As I paused to gaze, I saw tothe right, gliding quickly through the air, what appeared a smallboat, impelled by sailsshaped like wings. It soon passed out of sight,descending amidst the shades of a forest. Right above me there was nosky, but only a cavernous roof. This roof grew higher and higher at thedistance of the landscapesbeyond, till it became imperceptible, as anatmosphere of haze formed itself beneath.Continuing my walk, I started,--from a bush that resembled a greattangle of sea-weeds, interspersed with fern-like shrubs and plantsoflarge leafage shaped like that of the aloe or prickly-pear,--a curiousanimal about the size and shape of a deer. But as, after bounding awaya few paces, it turned round and gazed at me inquisitively, I perceivedthat itwas not like any species of deer now extant above the earth,but it brought instantly to my recollection a plaster cast I had seenin some museum of a variety of the elk stag, said to have existed beforethe Deluge. Thecreature seemed tame enough, and, after inspecting me amoment or two, began to graze on the singular herbiage around undismayedand careless.Chapter IV.I now came in full sight of the building. Yes, it had beenmade byhands, and hollowed partly out of a great rock. I should have supposedit at the first glance to have been of the earliest form of Egyptianarchitecture. It was fronted by huge columns, tapering upwardfrommassive plinths, and with capitals that, as I came nearer, I perceivedto be more ornamental and more fantastically graceful that Egyptianarchitecture allows. As the Corinthian capital mimics the leaf of theacanthus,so the capitals of these columns imitated the foliage of thevegetation neighbouring them, some aloe-like, some fern-like. And nowthere came out of this building a form--human;--was it human? It stoodon the broadway and looked around, beheld me and approached. Itcame within a few yards of me, and at the sight and presence of it anindescribable awe and tremor seized me, rooting my feet to the ground.It reminded me ofsymbolical images of Genius or Demon that are seen onEtruscan vases or limned on the walls of Eastern sepulchres--images thatborrow the outlines of man, and are yet of another race. It was tall,not gigantic, but tallas the tallest man below the height of giants.Its chief covering seemed to me to be composed of large wings foldedover its breast and reaching to its knees; the rest of its attire wascomposed of an under tunic andleggings of some thin fibrous material.It wore on its head a kind of tiara that shone with jewels, and carriedin its right hand a slender staff of bright metal like polished steel.But the face! it was that which inspired myawe and my terror. It wasthe face of man, but yet of a type of man distinct from our known extantraces. The nearest approach to it in outline and expression is theface of the sculptured sphinx--so regular in its calm,intellectual,mysterious beauty. Its colour was peculiar, more like that of the redman than any other variety of our species, and yet different from it--aricher and a softer hue, with large black eyes, deep and brilliant,andbrows arched as a semicircle. The face was beardless; but a namelesssomething in the aspect, tranquil though the expression, and beauteousthough the features, roused that instinct of danger which the sight ofatiger or serpent arouses. I felt that this manlike image was endowedwith forces inimical to man. As it drew near, a cold shudder came overme. I fell on my knees and covered my face with my hands.Chapter V.A voiceaccosted me--a very quiet and very musical key of voice--in alanguage of which I could not understand a word, but it served todispel my fear. I uncovered my face and looked up. The stranger (I couldscarcely bringmyself to call him man) surveyed me with an eye thatseemed to read to the very depths of my heart. He then placed his lefthand on my forehead, and with the staff in his right, gently touched myshoulder. The effect ofthis double contact was magical. In place of myformer terror there passed into me a sense of contentment, of joy, ofconfidence in myself and in the being before me. I rose and spoke inmy own language. He listened tome with apparent attention, but with aslight surprise in his looks; and shook his head, as if to signify thatI was not understood. He then took me by the hand and led me in silenceto the building. The entrance wasopen--indeed there was no door to it.We entered an immense hall, lighted by the same kind of lustre as in thescene without, but diffusing a fragrant odour. The floor was in largetesselated blocks of precious metals, andpartly covered with a sort ofmatlike carpeting. A strain of low music, above and around, undulated asif from invisible instruments, seeming to belong naturally to the place,just as the sound of murmuring waters belongsto a rocky landscape, orthe warble of birds to vernal groves.A figure in a simpler garb than that of my guide, but of similarfashion, was standing motionless near the threshold. My guide touchedit twice with his staff,and it put itself into a rapid and glidingmovement, skimming noiselessly over the floor. Gazing on it, I then sawthat it was no living form, but a mechanical automaton. It might be twominutes after it vanished through adoorless opening, half screened bycurtains at the other end of the hall, when through the same openingadvanced a boy of about twelve years old, with features closelyresembling those of my guide, so that they seemedto me evidently sonand father. On seeing me the child uttered a cry, and lifted a stafflike that borne by my guide, as if in menace. At a word from the elderhe dropped it. The two then conversed for some moments,examining mewhile they spoke. The child touched my garments, and stroked my facewith evident curiosity, uttering a sound like a laugh, but with anhilarity more subdued that the mirth of our laughter. Presently theroofof the hall opened, and a platform descended, seemingly constructedon the same principle as the \u0000lifts\u0000 used in hotels and warehouses formounting from one story to another.The stranger placed himself and thechild on the platform, and motionedto me to do the same, which I did. We ascended quickly and safely, andalighted in the midst of a corridor with doorways on either side.Through one of these doorways I wasconducted into a chamber fitted upwith an oriental splendour; the walls were tesselated with spars, andmetals, and uncut jewels; cushions and divans abounded; apertures as forwindows but unglazed, were made inthe chamber opening to the floor;and as I passed along I observed that these openings led into spaciousbalconies, and commanded views of the illumined landscape without. Incages suspended from the ceiling therewere birds of strange form andbright plumage, which at our entrance set up a chorus of song, modulatedinto tune as is that of our piping bullfinches. A delicious fragrance,from censers of gold elaborately sculptured,filled the air. Severalautomata, like the one I had seen, stood dumb and motionless by thewalls. The stranger placed me beside him on a divan and again spoketo me, and again I spoke, but without the least advancetowardsunderstanding each other.But now I began to feel the effects of the blow I had received from thesplinters of the falling rock more acutely that I had done at first.There came over me a sense of sickly faintness,accompanied with acute,lancinating pains in the head and neck. I sank back on the seat andstrove in vain to stifle a groan. On this the child, who had hithertoseemed to eye me with distrust or dislike, knelt by my sideto supportme; taking one of my hands in both his own, he approached his lips tomy forehead, breathing on it softly. In a few moments my pain ceased; adrowsy, heavy calm crept over me; I fell asleep.How long Iremained in this state I know not, but when I woke I feltperfectly restored. My eyes opened upon a group of silent forms, seatedaround me in the gravity and quietude of Orientals--all more or lesslike the first stranger;the same mantling wings, the same fashion ofgarment, the same sphinx-like faces, with the deep dark eyes and redman\u0000s colour; above all, the same type of race--race akin to man\u0000s, butinfinitely stronger of formand grandeur of aspect--and inspiring thesame unutterable feeling of dread. Yet each countenance was mild andtranquil, and even kindly in expression. And, strangely enough, itseemed to me that in this very calm andbenignity consisted the secretof the dread which the countenances inspired. They seemed as void of thelines and shadows which care and sorrow, and passion and sin, leave uponthe faces of men, as are the faces ofsculptured gods, or as, in theeyes of Christian mourners, seem the peaceful brows of the dead.I felt a warm hand on my shoulder; it was the child\u0000s. In his eyes therewas a sort of lofty pity and tenderness, such as"}
+{"doc_id":"doc_194","qid":"","text":"<html><head><title>Dark Star Script at IMSDb.</title><meta name=\"description\" content=\"Dark Star script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Dark Star script, Dark Starmovie script, Dark Star film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=SubjectCONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0];s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>    <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\"title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center></td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><html><head>   <title>\"Dark Star\", short film script, by John Carpenter & Dan O'Bannon</title></head><bodybgcolor=\"#ffffff\">   <pre>                    <u>DARK STAR: A SCIENCE FICTION ADVENTURE</u>                 A Screenplay by John Carpenter and Dan O'Bannon<b>     OPEN ON BLACK SILENCE.</b>     The sound ofelectronic music rises, hollow, metallic.     FADE IN on a long TRACKING SHOT through the universe.  As the NARRATOR     speaks we move through galaxies, nebulae, solar systems, moving from     the infinite slowlydown to a particular planetary system deep within     a maze of suns.<b>                                   NARRATOR</b>                              (over)                    It is the mid 22nd Century.  Mankind                    hasexplored the boundaries of his                    own solar system, and now he reaches                    out to the endless interstellar                    distances of the universe.  He moves                    away from his own smallplanetary                    system in huge hyperdrive starships:                    computer-driven, self-supporting,                    closed-system spacecraft that travel                    at mind-staggeringpost-light                    velocities.  Man has begun to spread                    among the stars.  Enormous ships                    embark with generations of colonists                    searching the depths of spacefor                    new earths, now homes, new                    beginnings.  Far in advance of these                    colony ships goes a new pioneer: the                    scouts, the pathfinders, a special                    breed ofman who has dedicated his                    life to blazing the trail through                    the most distant, unexplored                    galaxies, opening up the farthest                    frontiers of space.  These arethe                    men of the Advance Exploration                    Corps.  The task they face is one of                    unbelievable isolation and                    loneliness.  So far from home that                    Earth is no longereven a point of                    light in the sky, they must comb the                    universe for those unstable planets                    whose existence poses a threat to                    the peaceful colonists thatfollow.                    They must find these rogue planets                    -- and destroy them.  Among these                    commandos are the men of the                    scoutship <u>Dark Star</u>.     We are now movingtoward a planet.  Floating in front of the planet is     the SCOUTSHIP DARK STAR.  As we move toward the ship, we begin to hear     VOICES, crackling withstatic.<b>                                   DOOLITTLE</b>                              (over -- radio filter)                    Ah, what'd you say, Pinback?<b>                                   PINBACK</b>                              (over -- greatstatic)                    Mafhkin oble groop...<b>                                   DOOLITTLE</b>                              (over -- filter)                    Ah, what was that again, I still                    can't hearyou?<b>                                   PINBACK</b>                              (over -- filter)                    I said I'm trying to reach Talby.                    Something's wrong with the damn                    intercom.  I need alast-minute                    diameter approximation.     CAMERA IS NOW FLOATING TOWARD THE OBSERVATION DOME on top of the ship.     In the Dome sits TALBY.  He is staring around, wide-eyed, at the     planetsand stars.<b>                                   DOOLITTLE</b>                              (over -- filter)                    Talby, Talby, this is Doolittle.  Do                    you read me?  Talby?     WE MOVE IN CLOSE ON TALBY'SFACE.  The shot stops and holds as he     continues to stare, rapt.<b>                                   DOOLITTLE</b>                              (cont'd -- over --                              filter)                    Talby, do you readme?     There is a CRACKLE, and Doolittle's voice suddenly booms through, loud     andclear:<b>                                   DOOLITTLE</b>                              (cont'd)<b>                    TALBY!</b><b>                                   TALBY</b>                              (snaps out of it)                    Oh!  Ah, yes,Doolittle.  What is it?     <u>INTERIOR - CONTROL ROOM</u>     CLOSE SHOT of a digital clock, ticking down the seconds.<b>                                   DOOLITTLE</b>                    I need a diameterapproximation.<b>                                   TALBY</b>                              (over)                    Okay, Doolittle, I'll have it in a                    minute.     CAMERA BEGINS TO PULL BACK along the length of the controlroom,     revealing three men: BOILER, DOOLITTLE, and PINBACK.  They are seated     close together in cramped little chairs, surrounded by a maze of     instrumentation, pressing buttons, making adjustments andcorrections.     There is one EMPTY CHAIR; the panel in front of it looks burned.<b>                                   PINBACK</b>                    I need a GHF reading on thegravity                    correction.<b>                                   DOOLITTLE</b>                    I'll check it.<b>                                   BOILER</b>                    I have a reduced drive reading of                    seventhousand.<b>                                   PINBACK</b>                    Right, that checks outhere.<b>                                   DOOLITTLE</b>                    Pinback...<b>                                   PINBACK</b>                    Yes, Doolittle.<b>                                   DOOLITTLE</b>                    Your GHFreading is minus fifteen.<b>                                   PINBACK</b>                    Doolittle...<b>                                   DOOLITTLE</b>                    Yes.<b>                                   PINBACK</b>                    Ineed a computer reading on a fail-                    safe mark.<b>                                   DOOLITTLE</b>                    In a second.<b>                                   PINBACK</b>                    Boiler, can you set me up withsome                    temp figures?<b>                                   BOILER</b>                    Ninety seven million, minus eight,                    corrected to masscritical.<b>                                   PINBACK</b>                    I read that with a quantum increase                    of seven.<b>                                   DOOLITTLE</b>                    Pinback, I have a computerreading                    of nine five seven seven.<b>                                   BOILER</b>                    Time to start talking.<b>                                   PINBACK</b>                    Bomb bay systemsoperational.     Pinback hits a button on his panel.     <u>INTERIOR - BOMB BAY</u>     The screen is BLACK for an instant.  Then, two enormous doors begin to     open ponderously, revealing the planet rotatingbelow.  A huge BOMB,     designated with a giant <u>#19</u> on its side, lowers slowly out of the     ship on a rack.<b>                                   NARRATOR</b>                              (over)                    This is achain-reaction bomb,                    otherwise known as an Exponential                    Thermostellar Device.  Its own                    destructive power is small, barely                    enough to vaporize twelvecity                    blocks.  However, when it explodes in                    contact with an object the size of a                    planet, it starts a chain-reaction                    in the very matter of that planet,                    turningit into a giant reactor                    which destroys itself in one                    staggering thermal flash.                    These bombs are equipped with                    sophisticated thought andspeech                    mechanisms, to allow them to make                    executive decisions in the event of                    a crisis situation.  These judgment                    centers are controlled by a fail-                    safemechanism.     <u>INTERIOR - CONTROL ROOM</u><b>                                   DOOLITTLE</b>                    Lock fail safe.     Pinback turns a key in alock.<b>                                   PINBACK</b>                    Fail-safe locked.  Ah, Sergeant                    Pinback call1ng Bomb #19.  Do you                    read me, bomb?     <u>EXTERIOR - BOMB BAY</u>     Thebomb is suspended beneath the ship.<b>                                   BOMB #19</b>                    Bomb #19 to Sergeant Pinback, I read                    you.  Continue.     When the bomb speaks, it has the prim, fussyvoice of a minor civil     servant.     <u>INTERIOR - CONTROL ROOM</u><b>                                   PINBACK</b>                    Well, bomb, we have about sixty                    seconds to drop.  Just wonderingif                    everything is all right.  Have you                    checked your platinum euridium                    energy shielding?     <u>EXTERIOR - BOMB BAY</u><b>                                   BOMB#19</b>                    Energy shielding positive function.     <u>INTERIOR - CONTROL ROOM</u><b>                                   PINBACK</b>                    Swell.  Let's synchronize detonation                    time.  Doyou know when you're                    supposed to go off?     <u>EXTERIOR - BOMB BAY</u><b>                                   BOMB #19</b>                    Detonation in six minutes,twenty                    seconds.     <u>INTERIOR - CONTROL ROOM</u><b>                                   PINBACK</b>                    All right, I have detonation time                    at... Wait a minute,something's                    wrong with the clock.                              (hits panel)                    All right, I have detonation time                    at... no, that can't be right, it                    says threeyears.                              (beats panel again)                    Okay, I have six minutes exactly.                    Does that check out down there?     <u>EXTERIOR - BOMB BAY</u><b>                                   BOMB#19</b>                    Check at six minutes.     <u>INTERIOR - CONTROL ROOM</u><b>                                   PINBACK</b>                    Arm yourself, bomb.     <u>EXTERIOR - BOMB BAY</u>     Several lightsblip on along the bomb's side.<b>                                   BOMB #19</b>                    Armed.     <u>INTERIOR - CONTROL ROOM</u><b>                                   PINBACK</b>                    Well, then, everythingsounds fine.                    We'll drop you off in thirty-five                    seconds.  Good luck.     <u>EXTERIOR - BOMB BAY</u><b>                                   BOMB #19</b>                    Thanks.     <u>INTERIOR -CONTROL ROOM</u><b>                                   PINBACK</b>                    Begin main sequence.  Mark at 10-9-8-                    7-6-5-4-3-2-1-drop.     <u>EXTERIOR - THE SHIP</u>     Bomb #19 falls away fromthe ship and whizzes down toward the planet     below.     <u>INTERIOR - CONTROL ROOM</u><b>                                   DOOLITTLE</b>                    Hyperdrive sequence begun.  Hitit,                    Pinback.     Pinback hits the hyperdrive switch.  Force fields energize around the     men.     <u>EXTERIOR - THE SHIP</u>     The DARK STAR accelerates into hyperdrive and streaks away"}
+{"doc_id":"doc_195","qid":"","text":"<html><head><title>Fright Night (1985) Script at IMSDb.</title><meta name=\"description\" content=\"Fright Night (1985) script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"FrightNight (1985) script, Fright Night (1985) movie script, Fright Night (1985) film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\"content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ?'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie ScriptDatabase\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <scripttype=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre> <b>                                  FRIGHT NIGHT</b>                                   Written by                                   TomHolland                                                  <b>                                                          FINAL DRAFT</b>                                                        Sep 6th,1984                         <b>          1.</b><b>                         FADE IN:</b><b>          EXT. FULL MOON - NIGHT (AND CREDITS. ROLL)</b>          Clouds obscure the starless heavens for a moment, heavyand          ominous in the black firmament. Then suddenly they clear,          exposing a full moon streaked with red like a killer's          face, a stalking moon staring down at man's evil on the          earth below.          AHOWL breaks the night, a wolf pursuing its prey perhaps,          or perhaps something much, much worse. VOICES break the          perfect stillness.<b>          JONATHAN (V.0.)</b>          What wasthat?<b>          MISS NINA (V.0.)</b>          Just a child of night, Jonathan.          Come, sit here beside me on the          veranda.<b>          JONATHAN (V.0.)</b>          It's chilly out here.<b>          MISS NINA(V.0.)</b>          Oh, no, it isn't. It's beautiful. I          love the night so.<b>          2 EXT. RANCHO CORVALLIS - NIGHT</b>          A middling size town lost somewhere in the Southwest, the          lights of its sixtysome thousand residents twinkling like          so many Christmas lights in the night.<b>          JONATHAN (V.0.)</b>          I've never seen you so beautiful          before, Nina. So pale, so          luminescent,so          He suddenly stops. There is a moment. Then:<b>          MISS NINA (V.0. )</b>          Yes?<b>          JONATHAN (V.0.)</b>          Your lips are so red.<b>          MISS NINA (V.O.)</b>          Are they?Would you like to kiss          them?          The CAMERA STARTS TO PUSH IN CLOSER AND CLOSER on the town          as though searching for the source of thevoices.                                                                                                    <b>          2.</b><b>          3 EXT. CHARLEY'S STREET - NIGHT</b>          It's a typical middle class suburban street, full of pre-          1World War II houses, the substantial places they built          then, two and three story homes with attics and basements.,          porches and detached garages.          There is the SOUND OF A LONG DRAWN OUT KISSas Jonathan and          Miss Nina's lips meet. The CAMERA. MOVES DOWN the street,          still looking for the voices.<b>          4 EXT. DANDRIGE AND BREWSTER HOUSE -NIGHT</b><b>                         V</b>          The CAMERA PAUSES TO STARE AT the Dandrige house, so dif-          ferent in look and feel from all the other houses on the          street. It's huge, almost forboding, itswindows dark and          vacant, its lawn overgrown and weed-infested, a home that          has obviously been untended for a long time, unlived in and          uncared for. However the \"For Sale\" on the lawn hasa          \"Sold\" sign just beneath it.          The CAMERA PANS to the Brewster house next door, still          SEARCHING for those voices. It's in sharp contrast to the          Dandrige house, newly painted, its lawn neatlyshorn, a          house almost dwarfed in comparison to the Dandrige house,          but a happy home, its windows lit and smiling out warmly at          the night.          The voices seem to be coming from the Brewsterhouse, spe-          cifically from a dark second-story window that is open to          the night breeze.<b>          JONATHAN (V.0.)</b>          Why are you looking at me so          strangely, Nina?<b>          MISS NINA(V.0.)</b>          Not you, Jonathan. Your neck. Has          anyone ever told you it was          beautiful?<b>           JONATHAN (V.O. )</b><b>                          (UNCERTAINLY)</b>           No.<b>           MISS NINA(V.0.)</b>           Come, lay your head on my breast.           The CAMERA SLOWLY STARTS TO PUSH IN on the second-.story           window.<b>                         5 OMITTED</b><b>          6 INT. BREWSTER HOUSE- CHARLEY'S BEDROOM - NIGHT</b>          The CAMERA MOVES THROUGH the window, past the billowing          drapes to find itself staring at a TV, the flickering          screen the only light in theroom.<b>                         (CONTINUED)</b>                                                                                                    <b>          3.</b><b>                         6 CONTINUED:</b>          One of those terribleAIP/Hammer horror films is on the          tube, a woman, obviously a vampire, talking to one of those          vapid juveniles used so much in these types of films, the          two of them standing on a veranda to somehuge, old house.          The young man rests his head against her breast, incredibly          enough, unaware that she is bending toward his neck with          these huge fangs.          Just as. she is about to sink them intohis jugular, a tall,          saturnine man steps out of the darkness., wearing a rather          daffy Victorian suit and carrying a stake and mallet in his          hand. His name is PETER VINCENT.<b>          PETER(V.0.)</b>          Stop, you creature of the Night!          The vampiress leaps to her feet, her hapless, intended          victim forgotten. She faces Peter with a, hiss, her fangs          sparkling in themoonlight.<b>          MISS NINA (V.O.)</b>          Who are you who interrupts my nightly          feeding?<b>          PETER (V.O.)</b>          (drawing himself up to          his full height)          Peter Vincent, vampirekiller!          He rushes her, the stake held high to plunge into her          breast and the CAMERA TURNS AWAY from the TV as the sounds          of the movie CROSS FADE with the SOUNDS OF HEAVYBREATHING,          LIPS MEETING, TONGUES INTERTWINING in the room itself.          Only the room, a typical teenager's lair, seems devoid of          life, the bed empty, schoolbooks untouched sitting onthe          desk. The CAMERA BEGINS TO SEARCH the room, looking for          the source of this new sound, much more interesting than          the old flick on the tube.          And then it finds them, CHARLEYBREWSTER and AMY PETERSEN,          two sixteen-year olds, on the floor to the far side of the          bed, wedged between the bed and the window. They are both          as American as their jeans and making out likecrazy. They          twis.t and turn on the floor, Amy alternating between enjoy-          ing it and fighting Charley off, both of them white hot          with their mutual need. As he tries to slip his hand under          herblouse, she catches-a glimpse of the TV.          The horror movie has faded out to be replaced by the          interior of a local TV studio, a tacky graveyard set the          centerpiece, the visage of Peter Vincent, mucholder now,          rising out of a papier mache coffin and filling the screen          as CREDITSEND.<b>                         (CONTINUED)</b>                                                                                                               Rev. 11/16/84 4.<b>                         6 CONTINUED: (2)</b><b>           PETER(V.0.)</b>          This is Peter Vincent, bringing you'          Fright Night Theatre. Tonight's          journey into horror is \"Blood Castle,\"          one of my favorites. And for a very          good season. I star -in it.          Hedoes this booming laugh that goes through about ten echo          chambers as Charley, totally oblivious to the TV, works on          Amy's bra, trying to get it undone, obviously something she          doesn't want. Shetries to distract him.<b>                         AMY</b>          Charley, Peter Vincent's on.<b>                         CHARLEY</b>          (fumbling with the bra)          Forget PeterVincent.<b>                         AMY</b>          But you love him.<b>                         CHARLEY</b>          I love you more --          Behind them, the station break segues into a commercial, a          bunch of kidssinging and dancing joyfully to a Coca-Cola          commercial. On the floor, Charley finally gets Amy's bra          undone. That's it for her; she twists away.<b>                         AMY</b>          Charley, stopit.          Be doesn't listen, going for her again, their finger fight-          ing behind her back, hers trying to get the bra resnapped,          his trying to keep it undone and get her blouse off at the          same time. Shesuddenly pushes him away, really hard this          time.<b>                         AMY</b>          Charley, I said stop it.          Charley rolls over, leaping to his feet, frustratedas          hell.<b>                         CHARLEY</b>          Jesus, give me a break, Amy. We've          been going together almost a year and          all I hear is \"Charley, stop it!\"'          They stare at each other angrily,both of them breathing          hard, their young hormones roiling inside them. Then they          look away, not wanting to see the other's anger, staring at          the TV for lack of any better place tolook.<b>                         (CONTINUED)</b>                                                                                                    <b>          5.</b><b>                         CONTINUED: (3)</b>          The horror movie is on again,Peter Vincent and Jonathan          now carrying a coffin across a fog swept cemetery.          Charley looks back at Amy, his features softening.<b>                         CHARLEY</b>          I'm sorry, Amy.          She rises,both of them standing by the open window,          staring at each other.<b>                         AMY</b>          Me, too.          (she puts a hand out,          touching his arm)          I'm just scared, that's all.          Henods understandingly, touched by her honesty and inno-          cence, his basic decency winning out over his lust. Sud-          denly she steps into his arms, kissing him as she never has          before. She breaks,staring up into his face nervously.<b>                         AMY</b><b>                         (SOFTLY)</b>          Let's get into bed.:.<b>                         CHARLEY</b>          (staring at her, stunned)          You meanit?          She nods, stepping into his arms again, kissing him like          he's never been kissed before, the two of them slowly turn-          ing, Charley seeing the TV first with its grave digger          scene, then the wall,and finally out the window over Amy's          shoulder.          And he freezes. There, below in the side yard, he sees two          shadowy figures carrying what looks very much like a coffin          toward the storm doorsto the Dandrige house next door.          His mouth drops open as Amyâ\u0000¢slips out of his arms and onto          the bed, completely unaware of what he's seeing. She          starts to take off her blouse, Charley no longerlooking at          her, his gaze glued to the weird scene he's seeing out his          window.          As her blouse comes off, she lays back in the bed, looking          up at him, waiting for him to joinher.<b>                         AMY</b>          Charley, I'm ready.          He ignores her, grabbing his binoculars from his desk,          whipping.them to his eyes and focusing in-on-the"}
+{"doc_id":"doc_196","qid":"","text":"The Project Gutenberg EBook of Bussy D'Ambois and The Revenge of BussyD'Ambois, by George ChapmanThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  Youmay copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: Bussy D'Ambois and The Revenge of Bussy D'AmboisAuthor: GeorgeChapmanEditor: Frederick S. BoasRelease Date: March 24, 2007 [EBook #20890]Language: EnglishCharacter set encoding: UTF-8*** START OF THIS PROJECT GUTENBERG EBOOK BUSSY D'AMBOIS ***Produced byMelissa Er-Raqabi, Ted Garvin, Lisa Reigel,Michael Zeug, and the Online Distributed Proofreading Teamat http://www.pgdp.netTranscriber's Note: Words italicized in the original are surrounded by_underscores_. Wordsin bold in the original are surrounded by =equalsigns=. Greek words may not display properly--in that case, try theplain text version.BUSSY D'AMBOISANDTHE REVENGE OFBUSSY D'AMBOISBY GEORGECHAPMANEDITED BYFREDERICK S. BOAS, M.A.PROFESSOR OF ENGLISH LITERATURE INQUEEN'S COLLEGE, BELFASTBOSTON, U.S.A., AND LONDOND. C. HEATH & CO., PUBLISHERS1905COPYRIGHT, 1905, BYD. C.HEATH & CO.Prefatory NoteIn this volume an attempt is made for the first time to edit _BussyD'Ambois_ and _The Revenge of Bussy D'Ambois_ in a manner suitable tothe requirements of modern scholarship. Of therelations of this editionto its predecessors some details are given in the Notes on the Text ofthe two plays. But in these few prefatory words I should like to callattention to one or two points, and make someacknowledgments.The immediate source of _Bussy D'Ambois_ still remains undiscovered. Butthe episodes in the career of Chapman's hero, vouched for bycontemporaries like Brantôme and Marguerite of Valois, andrelated insome detail in my _Introduction_, are typical of the material which thedramatist worked upon. And an important clue to the spirit in which hehandled it is the identification, here first made, of part ofBussy'sdying speech with lines put by Seneca into the mouth of Hercules in hislast agony on Mount Oeta. The exploits of D'Ambois were in Chapman'simaginative vision those of a semi-mythical hero rather than ofaFrenchman whose life overlapped with his own.On the _provenance_ of _The Revenge of Bussy D'Ambois_ I have beenfortunately able, with valuable assistance from others, to cast much newlight. In an article in _TheAthenæum_, Jan. 10, 1903, I showed that theimmediate source of many of the episodes in the play was EdwardGrimeston's translation (1607) of Jean de Serres's _Inventaire Généralde l'Histoire de France_. Sincethat date I owe to Mr. H. Richards,Fellow of Wadham College, Oxford, the important discovery that a numberof speeches in the play are borrowed from the _Discourses_ of Epictetus,from whom Chapman drew hisconception of the character of ClermontD'Ambois. My brother-in-law, Mr. S. G. Owen, Student of Christ Church,has given me valuable help in explaining some obscure classicalallusions. Dr. J. A. H. Murray, the editor ofthe _New EnglishDictionary_, has kindly furnished me with the interpretation of adifficult passage in _Bussy D'Ambois_; and Mr. W. J. Craig, editor ofthe _Arden_ Shakespeare, and Mr. Le Gay Brereton, of the UniversityofSidney, have been good enough to proffer helpful suggestions. Finally Iam indebted to Professor George P. Baker, the General Editor of thisSeries, for valuable advice and help on a large number of points, whiletheproofs of this volume were passing through the press.                                                           F. S. B.BiographyGeorge Chapman was probably born in the year after Elizabeth'saccession. Anthony Wood gives 1557 asthe date, but the inscription onhis portrait, prefixed to the edition of _The Whole Works of Homer_ in1616, points to 1559. He was a native of Hitchin in Hertfordshire, as welearn from an allusion in his poem _EuthymiæRaptus_ or _The Teares ofPeace_, and from W. Browne's reference to him in _Britannia's Pastorals_as \"the learned shepheard of faire Hitching Hill.\" According to Wood \"in1574 or thereabouts, he being well grounded inschool learning was sentto the University.\" Wood is uncertain whether he went first to Oxford orto Cambridge, but he is sure, though he gives no authority for thestatement, that Chapman spent some time at the former\"where he wasobserved to be most excellent in the Latin & Greek tongues, but not inlogic or philosophy, and therefore I presume that that was the reasonwhy he took no degree there.\"His life for almost a couple ofdecades afterwards is a blank, though ithas been conjectured on evidences drawn from _The Shadow of Night_ and_Alphonsus Emperor of Germany_, respectively, that he served in one ofSir F. Vere's campaigns in theNetherlands, and that he travelled inGermany. _The Shadow of Night_, consisting of two \"poeticall hymnes\"appeared in 1594, and is his first extant work. It was followed in 1595by _Ovid's Banquet of Sence_, _TheAmorous Zodiac_, and other poems.These early compositions, while containing fine passages, are obscureand crabbed in style.[v-1] In 1598 appeared Marlowe's fragmentary _Heroand Leander_ with Chapman'scontinuation. By this year he hadestablished his position as a playwright, for Meres in his _PalladisTamia_ praises him both as a writer of tragedy and of comedy. We knowfrom Henslowe's _Diary_ that his earliest extantcomedy _The BlindeBegger of Alexandria_ was produced on February 12, 1596, and that forthe next two or three years he was working busily for this enterprisingmanager. _An Humerous dayes Myrth_ (pr. 1599), and_All Fooles_ (pr.1605) under the earlier title of _The World Runs on Wheels_,[vi-1] werecomposed during this period.Meanwhile he had begun the work with which his name is most closelylinked, his translation ofHomer. The first instalment, entitled _SeavenBookes of the Iliades of Homere, Prince of Poets_, was published in1598, and was dedicated to the Earl of Essex. After the Earl's executionChapman found a yet morepowerful patron, for, as we learn from theletters printed recently in _The Athenæum_ (cf. _Bibliography_, sec.III), he was appointed about 1604 \"sewer (i. e. cupbearer) in ordinary,\"to Prince Henry, eldest son ofJames I. The Prince encouraged him toproceed with his translation, and about 1609 appeared the first twelvebooks of the _Iliad_ (including the seven formerly published) with afine \"Epistle Dedicatory,\" to \"thehigh-born Prince of men, Henry.\" In1611 the version of the _Iliad_ was completed, and that of the _Odyssey_was, at Prince Henry's desire, now taken in hand. But the untimely deathof the Prince, on November 6th,1612, dashed all Chapman's hopes ofreceiving the anticipated reward of his labours. According to a petitionwhich he addressed to the Privy Council, the Prince had promised him onthe conclusion of his translation£300, and \"uppon his deathbed a goodpension during my life.\" Not only were both of these withheld, but hewas deprived of his post of \"sewer\" by Prince Charles. Nevertheless hecompleted the version of the_Odyssey_ in 1614, and in 1616 he publisheda folio volume entitled _The Whole Works of Homer_. The translation, inspite of its inaccuracies and its \"conceits,\" is, by virtue of itssustained dignity and vigour, one of thenoblest monuments ofElizabethan genius.By 1605, if not earlier, Chapman had resumed his work for the stage. Inthat year he wrote conjointly with Marston and Jonson the comedy of_Eastward Hoe_. On account ofsome passages reflecting on the Scotch,the authors were imprisoned. The details of the affair are obscure.According to Jonson, in his conversation later with Drummond, Chapmanand Marston were responsible for theobnoxious passages, and hevoluntarily imprisoned himself with them. But in one of the recentlyprinted letters, which apparently refers to this episode, Chapmandeclares that he and Jonson lie under the Kingsdispleasure for \"twoclawses and both of them not our owne,\" i. e., apparently, written byMarston.[vii-1] However this may be, the offenders were soon released,and Chapman continued energetically his dramatic work.In 1606 appearedtwo of his most elaborate comedies, _The Gentleman Usher_ and _MonsieurD'Olive_, and in the next year was published his first and mostsuccessful tragedy, _Bussy D'Ambois_. In 1608 wereproduced twoconnected plays, _The Conspiracie and Tragedie of Charles, Duke ofByron_, dealing with recent events in France, and based upon materialsin E. Grimeston's translation (1607) of Jean de Serres' History.AgainChapman found himself in trouble with the authorities, for the Frenchambassador, offended by a scene in which Henry IV's Queen was introducedin unseemly fashion, had the performance of the plays stopped foratime. Chapman had to go into hiding to avoid arrest, and when he cameout, he had great difficulty in getting the plays licensed forpublication, even with the omission of the offending episodes. Hisfourth tragedy basedon French history, _The Revenge of Bussy D'Ambois_,appeared in 1613. It had been preceded by two comedies, _May-Day_(1611), and _The Widdowes' Teares_ (1612). Possibly, as Mr Dobellsuggests (_Athenæum_,23 March, 1901), the coarse satire of the latterplay may have been due to its author's annoyance at the apparent refusalof his suit by a widow to whom some of the recently printed letters areaddressed. In 1613 heproduced his _Maske of the Middle Temple andLyncolns Inne_, which was one of the series performed in honour of themarriage of the Princess Elizabeth and the Elector Palatine. Anotherhymeneal work, produced on amuch less auspicious occasion, was anallegorical poem, _Andromeda Liberata_, celebrating the marriage of theEarl of Somerset with the divorced Lady Essex in December, 1613.The year 1614, when the _Odyssey_was completed, marks the culminatingpoint of Chapman's literary activity. Henceforward, partly perhaps owingto the disappointment of his hopes through Prince Henry's death, hisproduction was more intermittent.Translations of the _Homeric Hymns_,of the _Georgicks_ of Hesiod, and other classical writings, mainlyoccupy the period till 1631. In that year he printed another tragedy,_Cæsar and Pompey_, which, however, as welearn from the dedication, hadbeen written \"long since.\" The remaining plays with which his name hasbeen connected did not appear during his lifetime. A comedy, _The Ball_,licensed in 1632, but not published till1639, has the names of Chapmanand Shirley on the title-page, but the latter was certainly its mainauthor. Another play, however, issued in the same year, and ascribed tothe same hands, _The Tragedie of Chabot,Admiral of France_ makes theimpression, from its subject-matter and its style, of being chiefly dueto Chapman. In 1654 two tragedies, _Alphonsus Emperour of Germany_ and_The Revenge for Honour_, wereseparately published under Chapman'sname. Their authorship, however, is doubtful. There is nothing in thestyle or diction of _Alphonsus_ which resembles Chapman's undisputedwork, and it is hard to believe that hehad a hand in it. _The Revengefor Honour_ is on an Oriental theme, entirely different from thosehandled by Chapman in his other tragedies, and the versification ismarked by a greater frequency of feminine endingsthan is usual withhim; but phrases and thoughts occur which may be paralleled from hisplays, and the work may be from his hand.On May 12, 1634, he died, and was buried in the churchyard of St.Giles's in the Field,where his friend Inigo Jones erected a monument tohis memory. According to Wood, he was a person of \"most reverend aspect,religious and temperate, qualities rarely meeting in a poet.\" Though hismaterial successseems to have been small, he gained the friendship ofmany of the most illustrious spirits of his time--Essex, Prince Henry,Bacon, Jonson, Webster, among the number--and it has been his goodfortune to draw in afteryears splendid tributes from such successors inthe poetic art as Keats and A. C. Swinburne.FOOTNOTES:[v-1] This Biography was written before the appearance of Mr. Acheson'svolume, _Shakespeare and the RivalPoet_. Without endorsing all hisarguments or conclusions, I hold that Mr. Acheson has proved thatShakespeare in a number of his Sonnets refers to these earlier poems ofChapman's. He has thus brought almostconclusive evidence in support ofMinto's identification of Shakespeare's rival with Chapman--a conjecturewith which I, in 1896, expressed strong sympathy in my _Shakspere andhis Predecessors_.[vi-1] Thisidentification seems established by the entry in Henslowe's_Diary_, under date 2 July 1599. \"Lent unto thomas Dowton to paye MrChapman, in full paymente for his boocke called the world rones awhelles, and now allfoolles, but the foolle, some of ______ xxxs.\"[vii-1] See pp. 158-64, Jonson's _Eastward Hoe and Alchemist_, F. E.Schelling (Belles Lettres Series, 1904).IntroductionThe group of Chapman's plays based upon recentFrench history, to which_Bussy D'Ambois_ and its sequel belong, forms one of the most uniquememorials of the Elizabethan drama. The playwrights of the period wereprofoundly interested in the annals of their owncountry, and exploitedthem for the stage with a magnificent indifference to historicalaccuracy. Gorboduc and Locrine were as real to them as any Lancastrianor Tudor prince, and their reigns were made to furnishsalutary lessonsto sixteenth century \"magistrates.\" Scarcely less interesting were theheroes of republican Greece and Rome: Cæsar, Pompey, and Antony, deckedout in Elizabethan garb, were as familiar to theplaygoers of the timeas their own national heroes, real or legendary. But the contemporaryhistory of continental states had comparatively little attraction forthe dramatists of the period, and when they handled it, theyusually hadsome political or religious end in view. Under a thin veil of allegory,Lyly in _Midas_ gratified his audience with a scathing denunciation ofthe ambition and gold-hunger of Philip II of Spain; and half acenturylater Middleton in a still bolder and more transparent allegory, _TheGame of Chess_, dared to ridicule on the stage Philip's successor, andhis envoy, Gondomar. But both plays were suggested by the elementsoffriction in the relations of England and Spain.French history also supplied material to some of the Londonplaywrights, but almost exclusively as it bore upon the great conflictbetween the forces of Roman Catholicismand Protestantism. The _Masakerof France_, which Henslowe mentions as having been played on January 3,1592-3, may or may not be identical with Marlowe's _The Massacre atParis_, printed towards the close of thesixteenth century, but in allprobability it expressed similarly the burning indignation of ProtestantEngland at the appalling events of the Eve of St. Bartholomew. WhateverMarlowe's religious or irreligious views mayhave been, he acted on thisoccasion as the mouthpiece of the vast majority of his countrymen, andhe founded on recent French history a play which, with all its defects,is of special interest to our present inquiry. ForChapman, who finishedMarlowe's incompleted poem, _Hero and Leander_, must have been familiarwith this drama, which introduced personages and events that were partlyto reappear in the two _Bussy_ plays. A briefexamination of _TheMassacre at Paris_ will, therefore, help to throw into relief thespecial characteristics of Chapman's dramas.It opens with the marriage, in 1572, of Henry of Navarre and Margaret,sister of KingCharles IX, which was intended to assuage the religiousstrife. But the Duke of Guise, the protagonist of the play, isdetermined to counterwork this policy, and with the aid of Catherine deMedicis, the Queen-Mother, andthe Duke of Anjou (afterwards Henry III),he arranges the massacre of the Huguenots. Of the events of the fatalnight we get a number of glimpses, including the murder of aProtestant, Scroune, by Mountsorrell(Chapman's Montsurry), who isrepresented as one of the Guise's most fanatical adherents. Charles soonafterwards dies, and is succeeded by his brother Henry, but \"his mindruns on his minions,\" and Catherine and theGuise wield all real power.But there is one sphere which Guise cannot control--his wife's heart,which is given to Mugeroun, one of the \"minions\" of the King. Another ofthe minions, Joyeux, is sent against Henry ofNavarre, and is defeatedand slain; but Henry, learning that Guise has raised an army against hissovereign \"to plant the Pope and Popelings in the realm,\" joins forceswith the King against the rebel, who is treacherouslymurdered and diescrying, \"_Vive la messe!_ perish Huguenots!\" His brother, the Cardinal,meets a similar fate, but the house of Lorraine is speedily revenged bya friar, who stabs King Henry. He dies, vowing vengeanceupon Rome, andsending messages to Queen Elizabeth, \"whom God hath bless'd for hatingpapistry.\"It is easy to see how a play on these lines would have appealed to anElizabethan audience, while Marlowe, whether hisreligious sympathieswere engaged or not, realized the dramatic possibilities of the figureof the Guise, one of the lawlessly aspiring brotherhood that had soirresistible a fascination for his genius. But it is much moredifficultto understand why, soon after the accession of James I, Chapman shouldhave gone back to the same period of French history, and reintroduced anumber of the same prominent figures, Henry III, Guise, hisDuchess, andMountsorrell, not in their relation to great political and religiousoutbreaks, but grouped round a figure who can scarcely have been veryfamiliar to the English theatre-going public--Louis de Clermont,Bussyd'Amboise.[xii-1]This personage was born in 1549, and was the eldest son of Jacques deClermont d'Amboise, seigneur de Bussy et de Saxe-Fontaine, by his firstwife, Catherine de Beauvais. He followed the careerof arms, and in 1568we hear of him as a commandant of a company. He was in Paris during themassacre of St. Bartholomew, and took advantage of it to settle aprivate feud. He had had a prolonged lawsuit with hiscousin Antoine deClermont, a prominent Huguenot, and follower of the King of Navarre.While his rival was fleeing for safety he had the misfortune to fallinto the hands of Bussy, who dispatched him then and there.Heafterwards distinguished himself in various operations against theHuguenots, and by his bravery and accomplishments won the favour of theDuke of Anjou, who, after the accession of Henry III in 1575, was heirtothe throne. The Duke in this year appointed him his _couronell_, andhenceforward he passed into his service. In 1576, as a reward fornegotiating \"_la paix de Monsieur_\" with the Huguenots, the Dukereceived theterritories of Anjou, Touraine, and Berry, and at onceappointed Bussy governor of Anjou. In November the new governor arrivedat Angers, the capital of the Duchy, and was welcomed by the citizens;but the disordersand exactions of his troops soon aroused the anger ofthe populace, and the King had to interfere in their behalf, though fora time Bussy set his injunctions at defiance. At last he retired fromthe city, and rejoined theDuke, in close intercourse with whom heremained during the following years, accompanying him finally on hisunsuccessful expedition to the Low Countries in the summer of 1578. OnAnjou's return to court in January,1579, Bussy, who seems to havealienated his patron by his presumptuous behaviour, did not go with him,but took up his residence again in the territory of Anjou. He was lessoccupied, however, with his official dutiesthan with his criminalpassion for Françoise de Maridort, wife of the Comte de Monsoreau, whohad been appointed _grand-veneur_ to the Duke. The favorite mansion ofthe Comte was at La Coutancière, and it washere that Bussy ardentlypursued his intrigue with the Countess. But a jocular letter on thesubject, which he sent to the Duke of Anjou, was shown, according to thehistorian, De Thou, by the Duke to the King, who, inhis turn, passed iton to Montsoreau. The latter thereupon forced his wife to make atreacherous assignation with Bussy at the château on the night of the18th of August, and on his appearance, with his companion inpleasure,Claude Colasseau, they were both assassinated by the retainers of theinfuriated husband.The tragic close of Bussy's life has given his career an interestdisproportionate to his historical importance. But thedrama of LaCoutancière was only the final episode in a career crowded with romanticincidents. The annalists and memoir-writers of the period prove thatBussy's exploits as a duellist and a gallant had impressed vividlytheimagination of his contemporaries. Margaret of Valois, the wife of HenryIV, Brantôme, who was a relative and friend of D'Ambois, and L'Estoile,the chronicler and journalist, are amongst those who have left us"}
+{"doc_id":"doc_197","qid":"","text":"The Project Gutenberg EBook of Anne Of Avonlea, by Lucy Maud MontgomeryThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it awayorre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: Anne Of AvonleaAuthor: Lucy Maud MontgomeryRelease Date: March 7, 2006 [EBook#47]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK ANNE OF AVONLEA ***Produced by An Anonymous Volunteer and David WidgerANNE OF AVONLEAby Lucy Maud MontgomeryTomy formerteacherHATTIE GORDON SMITHin grateful remembrance of hersympathy and encouragement.     Flowers spring to blossom where she walks     The careful ways of duty,     Our hard, stiff lines of life with her     Areflowing curves of beauty.     --WHITTIER     I         An Irate Neighbor     II        Selling in Haste and Repenting at Leisure     III       Mr. Harrison at Home     IV        Different Opinions47     V         A Full-fledgedSchoolma'am     VI        All Sorts and Conditions of Men . . . and women     VII       The Pointing of Duty     VIII      Marilla Adopts Twins     IX        A Question of Color     X         Davy in Search of aSensation     XI        Facts and Fancies     XII       A Jonah Day     XIII      A Golden Picnic     XIV       A Danger Averted     XV        The Beginning of Vacation     XVI       The Substance of Things Hoped For     XVII      AChapter of Accidents     XVIII     An Adventure on the Tory Road     XIX       Just a Happy Day     XX        The Way It Often Happens     XXI       Sweet Miss Lavendar     XXII      Odds and Ends     XXIII     MissLavendar's Romance     XXIV      A Prophet in His Own Country     XXV       An Avonlea Scandal     XXVI      Around the Bend     XXVII     An Afternoon at the Stone House     XXVIII    The Prince Comes Back to theEnchanted Palace     XXIX      Poetry and Prose     XXX       A Wedding at the Stone HouseIAn Irate NeighborA tall, slim girl, \"half-past sixteen,\" with serious gray eyes and hairwhich her friends called auburn, had satdown on the broad red sandstonedoorstep of a Prince Edward Island farmhouse one ripe afternoon inAugust, firmly resolved to construe so many lines of Virgil.But an August afternoon, with blue hazes scarfing theharvest slopes,little winds whispering elfishly in the poplars, and a dancing slendorof red poppies outflaming against the dark coppice of young firs in acorner of the cherry orchard, was fitter for dreams than deadlanguages.The Virgil soon slipped unheeded to the ground, and Anne, her chinpropped on her clasped hands, and her eyes on the splendid mass offluffy clouds that were heaping up just over Mr. J. A. Harrison'shouselike a great white mountain, was far away in a delicious world where acertain schoolteacher was doing a wonderful work, shaping the destiniesof future statesmen, and inspiring youthful minds and hearts withhighand lofty ambitions.To be sure, if you came down to harsh facts . . . which, it must beconfessed, Anne seldom did until she had to . . . it did not seem likelythat there was much promising material for celebrities inAvonleaschool; but you could never tell what might happen if a teacher usedher influence for good. Anne had certain rose-tinted ideals of what ateacher might accomplish if she only went the right way about it; andshewas in the midst of a delightful scene, forty years hence, with afamous personage . . . just exactly what he was to be famous for was leftin convenient haziness, but Anne thought it would be rather nice to havehim acollege president or a Canadian premier . . . bowing low over herwrinkled hand and assuring her that it was she who had first kindled hisambition, and that all his success in life was due to the lessons shehad instilled solong ago in Avonlea school. This pleasant vision wasshattered by a most unpleasant interruption.A demure little Jersey cow came scuttling down the lane and five secondslater Mr. Harrison arrived . . . if \"arrived\" be nottoo mild a term todescribe the manner of his irruption into the yard.He bounced over the fence without waiting to open the gate, and angrilyconfronted astonished Anne, who had risen to her feet and stood lookingathim in some bewilderment. Mr. Harrison was their new righthandneighbor and she had never met him before, although she had seen himonce or twice.In early April, before Anne had come home from Queen's, Mr.Robert Bell,whose farm adjoined the Cuthbert place on the west, had sold out andmoved to Charlottetown. His farm had been bought by a certain Mr. J. A.Harrison, whose name, and the fact that he was a NewBrunswick man, wereall that was known about him. But before he had been a month in Avonleahe had won the reputation of being an odd person . . . \"a crank,\" Mrs.Rachel Lynde said. Mrs. Rachel was an outspokenlady, as those of youwho may have already made her acquaintance will remember. Mr. Harrisonwas certainly different from other people . . . and that is the essentialcharacteristic of a crank, as everybody knows.In thefirst place he kept house for himself and had publicly statedthat he wanted no fools of women around his diggings. FeminineAvonlea took its revenge by the gruesome tales it related about hishouse-keeping andcooking. He had hired little John Henry Carter ofWhite Sands and John Henry started the stories. For one thing, therewas never any stated time for meals in the Harrison establishment. Mr.Harrison \"got a bite\" when hefelt hungry, and if John Henry were aroundat the time, he came in for a share, but if he were not, he had to waituntil Mr. Harrison's next hungry spell. John Henry mournfully averredthat he would have starved to deathif it wasn't that he got home onSundays and got a good filling up, and that his mother always gave him abasket of \"grub\" to take back with him on Monday mornings.As for washing dishes, Mr. Harrison never made anypretence of doing itunless a rainy Sunday came. Then he went to work and washed them all atonce in the rainwater hogshead, and left them to drain dry.Again, Mr. Harrison was \"close.\" When he was asked to subscribeto theRev. Mr. Allan's salary he said he'd wait and see how many dollars'worth of good he got out of his preaching first . . . he didn't believein buying a pig in a poke. And when Mrs. Lynde went to ask for acontributionto missions . . . and incidentally to see the inside ofthe house . . . he told her there were more heathens among the old womangossips in Avonlea than anywhere else he knew of, and he'd cheerfullycontribute to amission for Christianizing them if she'd undertake it.Mrs. Rachel got herself away and said it was a mercy poor Mrs. RobertBell was safe in her grave, for it would have broken her heart to seethe state of her house inwhich she used to take so much pride.\"Why, she scrubbed the kitchen floor every second day,\" Mrs. Lynde toldMarilla Cuthbert indignantly, \"and if you could see it now! I had tohold up my skirts as I walked acrossit.\"Finally, Mr. Harrison kept a parrot called Ginger. Nobody in Avonlea hadever kept a parrot before; consequently that proceeding was consideredbarely respectable. And such a parrot! If you took John HenryCarter'sword for it, never was such an unholy bird. It swore terribly. Mrs.Carter would have taken John Henry away at once if she had been sureshe could get another place for him. Besides, Ginger had bitten apieceright out of the back of John Henry's neck one day when he had stoopeddown too near the cage. Mrs. Carter showed everybody the mark when theluckless John Henry went home on Sundays.All these thingsflashed through Anne's mind as Mr. Harrison stood,quite speechless with wrath apparently, before her. In his most amiablemood Mr. Harrison could not have been considered a handsome man; he wasshort and fat andbald; and now, with his round face purple with rageand his prominent blue eyes almost sticking out of his head, Annethought he was really the ugliest person she had ever seen.All at once Mr. Harrison found hisvoice.\"I'm not going to put up with this,\" he spluttered, \"not a day longer,do you hear, miss. Bless my soul, this is the third time, miss . . .  thethird time! Patience has ceased to be a virtue, miss. I warned your auntthelast time not to let it occur again . . .  and she's let it . . . she'sdone it . . . what does she mean by it, that is what I want to know. Thatis what I'm here about, miss.\"\"Will you explain what the trouble is?\" asked Anne, inher mostdignified manner. She had been practicing it considerably of late tohave it in good working order when school began; but it had no apparenteffect on the irate J. A. Harrison.\"Trouble, is it? Bless my soul, troubleenough, I should think. Thetrouble is, miss, that I found that Jersey cow of your aunt's in my oatsagain, not half an hour ago. The third time, mark you. I found her inlast Tuesday and I found her in yesterday. I camehere and told youraunt not to let it occur again. She has let it occur again. Where's youraunt, miss? I just want to see her for a minute and give her a piece ofmy mind . . . a piece of J. A. Harrison's mind, miss.\"\"If youmean Miss Marilla Cuthbert, she is not my aunt, and she has gonedown to East Grafton to see a distant relative of hers who is very ill,\"said Anne, with due increase of dignity at every word. \"I am very sorrythat my cowshould have broken into your oats . . .  she is my cow and notMiss Cuthbert's . . . Matthew gave her to me three years ago when she wasa little calf and he bought her from Mr. Bell.\"\"Sorry, miss! Sorry isn't going tohelp matters any. You'd better go andlook at the havoc that animal has made in my oats . . . trampled them fromcenter to circumference, miss.\"\"I am very sorry,\" repeated Anne firmly, \"but perhaps if you keptyourfences in better repair Dolly might not have broken in. It is your partof the line fence that separates your oatfield from our pasture and Inoticed the other day that it was not in very good condition.\"\"My fence is allright,\" snapped Mr. Harrison, angrier than ever at thiscarrying of the war into the enemy's country. \"The jail fence couldn'tkeep a demon of a cow like that out. And I can tell you, you redheadedsnippet, that if the cow isyours, as you say, you'd be better employedin watching her out of other people's grain than in sitting roundreading yellow-covered novels,\" . . . with a scathing glance at theinnocent tan-colored Virgil by Anne'sfeet.Something at that moment was red besides Anne's hair . . . which hadalways been a tender point with her.\"I'd rather have red hair than none at all, except a little fringe roundmy ears,\" she flashed.The shot told,for Mr. Harrison was really very sensitive about his baldhead. His anger choked him up again and he could only glare speechlesslyat Anne, who recovered her temper and followed up her advantage.\"I can makeallowance for you, Mr. Harrison, because I have animagination. I can easily imagine how very trying it must be to find acow in your oats and I shall not cherish any hard feelings against youfor the things you've said. Ipromise you that Dolly shall never breakinto your oats again. I give you my word of honor on THAT point.\"\"Well, mind you she doesn't,\" muttered Mr. Harrison in a somewhatsubdued tone; but he stamped off angrilyenough and Anne heard himgrowling to himself until he was out of earshot.Grievously disturbed in mind, Anne marched across the yard and shut thenaughty Jersey up in the milking pen.\"She can't possibly get out ofthat unless she tears the fence down,\"she reflected. \"She looks pretty quiet now. I daresay she has sickenedherself on those oats. I wish I'd sold her to Mr. Shearer when he wantedher last week, but I thought it wasjust as well to wait until we hadthe auction of the stock and let them all go together. I believe it istrue about Mr. Harrison being a crank. Certainly there's nothing of thekindred spirit about HIM.\"Anne had always aweather eye open for kindred spirits.Marilla Cuthbert was driving into the yard as Anne returned from thehouse, and the latter flew to get tea ready. They discussed the matterat the tea table.\"I'll be glad when theauction is over,\" said Marilla. \"It is too muchresponsibility having so much stock about the place and nobody but thatunreliable Martin to look after them. He has never come back yet and hepromised that he wouldcertainly be back last night if I'd give him theday off to go to his aunt's funeral. I don't know how many aunts he hasgot, I am sure. That's the fourth that's died since he hired here a yearago. I'll be more than thankfulwhen the crop is in and Mr. Barry takesover the farm. We'll have to keep Dolly shut up in the pen till Martincomes, for she must be put in the back pasture and the fences there haveto be fixed. I declare, it is a world oftrouble, as Rachel says. Here'spoor Mary Keith dying and what is to become of those two children ofhers is more than I know. She has a brother in British Columbia and shehas written to him about them, but she hasn'theard from him yet.\"\"What are the children like? How old are they?\"\"Six past . . . they're twins.\"\"Oh, I've always been especially interested in twins ever since Mrs.Hammond had so many,\" said Anne eagerly. \"Are theypretty?\"\"Goodness, you couldn't tell . . . they were too dirty. Davy had beenout making mud pies and Dora went out to call him in. Davy pushed herheadfirst into the biggest pie and then, because she cried, he got intoithimself and wallowed in it to show her it was nothing to cry about.Mary said Dora was really a very good child but that Davy was full ofmischief. He has never had any bringing up you might say. His fatherdied when hewas a baby and Mary has been sick almost ever since.\"\"I'm always sorry for children that have no bringing up,\" said Annesoberly. \"You know _I_ hadn't any till you took me in hand. I hope theiruncle will look afterthem. Just what relation is Mrs. Keith to you?\"\"Mary? None in the world. It was her husband . . . he was our thirdcousin. There's Mrs. Lynde coming through the yard. I thought she'd beup to hear about Mary.\"\"Don't tellher about Mr. Harrison and the cow,\" implored Anne.Marilla promised; but the promise was quite unnecessary, for Mrs. Lyndewas no sooner fairly seated than she said,\"I saw Mr. Harrison chasing your Jersey out of hisoats today when I wascoming home from Carmody. I thought he looked pretty mad. Did he makemuch of a rumpus?\"Anne and Marilla furtively exchanged amused smiles. Few things inAvonlea ever escaped Mrs. Lynde.It was only that morning Anne had said,\"If you went to your own room at midnight, locked the door, pulled downthe blind, and SNEEZED, Mrs. Lynde would ask you the next day how yourcold was!\"\"I believe he did,\"admitted Marilla. \"I was away. He gave Anne a pieceof his mind.\"\"I think he is a very disagreeable man,\" said Anne, with a resentfultoss of her ruddy head.\"You never said a truer word,\" said Mrs. Rachel solemnly. \"Iknewthere'd be trouble when Robert Bell sold his place to a New Brunswickman, that's what. I don't know what Avonlea is coming to, with so manystrange people rushing into it. It'll soon not be safe to go to sleep inourbeds.\"\"Why, what other strangers are coming in?\" asked Marilla.\"Haven't you heard? Well, there's a family of Donnells, for one thing.They've rented Peter Sloane's old house. Peter has hired the man to runhis mill. Theybelong down east and nobody knows anything about them.Then that shiftless Timothy Cotton family are going to move up fromWhite Sands and they'll simply be a burden on the public. He isin consumption . . . whenhe isn't stealing . . .  and his wife is aslack-twisted creature that can't turn her hand to a thing. She washesher dishes SITTING DOWN. Mrs. George Pye has taken her husband's orphannephew, Anthony Pye. He'll begoing to school to you, Anne, so you mayexpect trouble, that's what. And you'll have another strange pupil, too.Paul Irving is coming from the States to live with his grandmother.You remember his father, Marilla . . .Stephen Irving, him that jiltedLavendar Lewis over at Grafton?\"\"I don't think he jilted her. There was a quarrel . . . I suppose therewas blame on both sides.\"\"Well, anyway, he didn't marry her, and she's been as queeras possibleever since, they say . . . living all by herself in that little stonehouse she calls Echo Lodge. Stephen went off to the States and wentinto business with his uncle and married a Yankee. He's never beenhomesince, though his mother has been up to see him once or twice. His wifedied two years ago and he's sending the boy home to his mother for aspell. He's ten years old and I don't know if he'll be a verydesirablepupil. You can never tell about those Yankees.\"Mrs Lynde looked upon all people who had the misfortune to be bornor brought up elsewhere than in Prince Edward Island with adecidedcan-any-good-thing-come-out-of-Nazareth air. They MIGHT be good people,of course; but you were on the safe side in doubting it. She had aspecial prejudice against \"Yankees.\" Her husband had been cheatedoutof ten dollars by an employer for whom he had once worked in Boston andneither angels nor principalities nor powers could have convinced Mrs.Rachel that the whole United States was not responsible for it.\"Avonleaschool won't be the worse for a little new blood,\" said Marilladrily, \"and if this boy is anything like his father he'll be all right.Steve Irving was the nicest boy that was ever raised in these parts,though some people didcall him proud. I should think Mrs. Irving wouldbe very glad to have the child. She has been very lonesome since herhusband died.\"\"Oh, the boy may be well enough, but he'll be different from Avonleachildren,\" saidMrs. Rachel, as if that clinched the matter. Mrs.Rachel's opinions concerning any person, place, or thing, were alwayswarranted to wear. \"What's this I hear about your going to start up aVillage Improvement Society,Anne?\"\"I was just talking it over with some of the girls and boys at the lastDebating Club,\" said Anne, flushing. \"They thought it would be rathernice . . . and so do Mr. and Mrs. Allan. Lots of villages have themnow.\"\"Well, you'll get into no end of hot water if you do. Better leave italone, Anne, that's what. People don't like being improved.\"\"Oh, we are not going to try to improve the PEOPLE. It is Avonleaitself. There are lots ofthings which might be done to make itprettier. For instance, if we could coax Mr. Levi Boulter to pulldown that dreadful old house on his upper farm wouldn't that be animprovement?\"\"It certainly would,\" admitted Mrs.Rachel. \"That old ruin has been aneyesore to the settlement for years. But if you Improvers can coaxLevi Boulter to do anything for the public that he isn't to be paid fordoing, may I be there to see and hear theprocess, that's what. I don'twant to discourage you, Anne, for there may be something in your idea,though I suppose you did get it out of some rubbishy Yankee magazine;but you'll have your hands full with yourschool and I advise you as afriend not to bother with your improvements, that's what. But there,I know you'll go ahead with it if you've set your mind on it. You werealways one to carry a thing throughsomehow.\"Something about the firm outlines of Anne's lips told that Mrs. Rachelwas not far astray in this estimate. Anne's heart was bent on formingthe Improvement Society. Gilbert Blythe, who was to teach inWhiteSands but would always be home from Friday night to Monday morning, wasenthusiastic about it; and most of the other folks were willing to go infor anything that meant occasional meetings and consequentlysome \"fun.\"As for what the \"improvements\" were to be, nobody had any very clearidea except Anne and Gilbert. They had talked them over and planned themout until an ideal Avonlea existed in their minds, if nowhereelse.Mrs. Rachel had still another item of news.\"They've given the Carmody school to a Priscilla Grant. Didn't you go toQueen's with a girl of that name, Anne?\"\"Yes, indeed. Priscilla to teach at Carmody! How perfectlylovely!\"exclaimed Anne, her gray eyes lighting up until they looked like eveningstars, causing Mrs. Lynde to wonder anew if she would ever get itsettled to her satisfaction whether Anne Shirley were really a prettygirl ornot.IISelling in Haste and Repenting at LeisureAnne drove over to Carmody on a shopping expedition the next afternoonand took Diana Barry with her. Diana was, of course, a pledged member ofthe ImprovementSociety, and the two girls talked about little else allthe way to Carmody and back.\"The very first thing we ought to do when we get started is to have thathall painted,\" said Diana, as they drove past the Avonlea hall, arathershabby building set down in a wooded hollow, with spruce trees hoodingit about on all sides. \"It's a disgraceful looking place and we mustattend to it even before we try to get Mr. Levi Boulder to pull hishousedown. Father says we'll never succeed in DOING that. Levi Boulteris too mean to spend the time it would take.\"\"Perhaps he'll let the boys take it down if they promise to haulthe boards and split them up for him for"}
+{"doc_id":"doc_198","qid":"","text":"<html><head><title>Ninja Assassin Script at IMSDb.</title><meta name=\"description\" content=\"Ninja Assassin script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Ninja Assassinscript, Ninja Assassin movie script, Ninja Assassin film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX,FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b></b><b></b><b></b><b>                         NINJAASSASSIN</b><b></b><b></b><b></b><b></b><b></b>                           Written by<b></b>              Matthew Sand & J. MichaelStraczynski<b></b><b></b><b></b><b></b><b></b>                                      REVISED 2nd DRAFT   6/4/08<b></b><b></b><b>                                                        FADE IN:</b><b></b>    CLOSE ONa Horimono Tattoo as it is being drawn into    flesh. The ink is needled into the surface of the skin,    raw and bloody, the needled brush tapped with the    precision of ritual.<b></b>    The tattoo is in the style of aKuniyoshi print: Miyamoto    Musashi thrusting his spear into the writhing dragon.    The image has beauty but retains the violence required to    saturate flesh with art.<b></b>    The skin canvas shifts uncomfortablywith the needle-    work.<b></b><b>                             HOLLYWOOD</b>              Fuck!   Fucking-shit-fuck-fucking-              fuck!<b></b>    PULL BACK to reveal that we're in...<b></b><b></b><b>1   INT.TATTOO PARLOR - NIGHT                                      1</b><b></b>    A place of designer furniture, beautiful girls carrying    towels, tea and cigarettes. Dozens of Yakuza look on as    the process continues, sleevesrolled up or shirts off to    expose the lavish tattoos that cover their torsos.<b></b>    HOLLYWOOD, the young Yakuza member, is getting his first    tattoo, a relatively small one on his back.<b></b>    He grabs abottle of sake and suckles it like a baby.<b></b><b>                            HOLLYWOOD</b>              Watch it, old man!<b></b>    The old tattoo artist continues tapping his brush.       Maybe    a littleharder.<b></b><b>                               HOLLYWOOD (CONT'D)</b>              What the fuck?     You're doing it              wrong.<b></b><b>                            TATTOO ARTIST</b>              The needle is doingwhat the              needle does.<b></b><b>                            HOLLYWOOD</b>              What's that supposed tomean?<b></b><b></b><b></b><b></b><b>                                                     (CONTINUED)</b>                       GOLDENROD REVISED 2ndDRAFT    6/4/08        2.<b>1   CONTINUED:                                                        1</b><b></b><b>                               TATTOO MASTER</b>                 The irezumi does not hide the                 skin, the tattooreveals the                 nature of the man and illuminates                 the four noble professions in the                 Book of Five Rings: the Warrior,                 the Artist, the Merchant, and the                 farmer. If thereis a conflict                 between the needle and the skin,                 between the mark and the man, then                 perhaps the path you have chosen                 is not the path for which youare                 suited.<b></b><b>                               HOLLYWOOD</b>                 What did you just say, old man?<b></b>    Hollywood whips his gun out and jams it under the old    man'sjaw.<b></b><b>                               HOLLYWOOD (CONT'D)</b>                 I know you didn't just disrespect                 me, did you? You that fucking                 stupid? You disrespect me, and                 I'lltattoo this ceiling with your                 fucking brains!<b></b>    The old man speaks with a kind of deference honed through    years of service to men like Hollywood.<b></b><b>                                  TATTOOMASTER</b>                 No disrespect.<b></b>    Hollywood smiles.<b></b><b>                               HOLLYWOOD</b>                 You're lucky. I can't kill you                 'til you finish this thing.Gimme                 that mirror! How's it looking?<b></b>    Goons and girls all cluck their tongues in chorus.    Hollywood peers at the new tat through the mirror.         He    whistles approval as Yakuza One enterscarrying an    origami envelope.<b></b><b>                               HOLLYWOOD (CONT'D)</b>                 Not bad. Not bad. For an old fuck.<b></b><b>                               YAKUZA ONE</b>                 Hey,boss. This just came for you.<b></b><b>                                  HOLLYWOOD</b>                 What is it?<b></b><b></b><b>                                                       (CONTINUED)</b>                      GOLDENRODREVISED 2nd DRAFT   6/4/08      3.<b>1   CONTINUED: (2)                                                1</b><b></b><b>                              YAKUZA ONE</b>              Aletter.<b></b><b>                            HOLLYWOOD</b>              So open it, dumb ass.<b></b>    He opens the origami envelope, then hesitates at what he    sees.<b></b><b>                             HOLLYWOOD(CONT'D)</b>              What?   What is it?<b></b>    He pours the contents out into his hand.<b></b><b>                            YAKUZA ONE</b>              Looks like sand.<b></b>    He tastesit.<b></b><b>                            YAKUZA ONE (CONT'D)</b>              Yup. Sand. Black Sand.<b></b>    The tattoo master drops his brush.     It clatters to the    floor.<b></b><b>                              TATTOOMASTER</b>              No...<b></b><b>                            HOLLYWOOD</b>              You know what this is?<b></b>    The artist barely nods.<b></b><b>                            HOLLYWOOD(CONT'D)</b>              Wanna let us in on the joke?<b></b><b>                            TATTOO MASTER</b>              Years ago, I watched a man open an              envelope like that one.<b></b>    His eyes poolwith fury at the memory.<b></b><b>                            TATTOO MASTER (CONT'D)</b>              There were many with him and they              laughed like you laugh now. Then              it came from the shadowsand their              laughter was drowned in blood.              You cannot bargain with what is              coming. You cannot reason with it.              Because it is not a human being.              It is a demon sent straightfrom              hell that will never stop until              you are dead.<b></b><b></b><b>                                                     (CONTINUED)</b>                     GOLDENROD REVISED 2ndDRAFT   6/4/08   4.<b>1   CONTINUED: (3)                                            1</b><b></b><b>                            HOLLYWOOD</b>              What came out of the shadows?<b></b><b>                            TATTOOMASTER</b>              I cannot say the word.<b></b><b>                             HOLLYWOOD</b>              What word?<b></b>    He pulls open his robe, revealing a hauntingly beautiful    tattoo of a Shinobi demonthrusting its blade into a lump    of scar tissue at the center of his heart.<b></b><b>                            TATTOO ARTIST</b>              That night, one of their blades              struck here. I should havedied,              but for an accident of birth. My              heart is here, on the other side.<b></b>    Hollywood peers closer at the dark figure of thedemon.<b></b><b>                            HOLLYWOOD</b>              What the fuck is that?<b></b><b>                            YAKUZA ONE</b>              Looks like a Ninja,boss.<b></b><b>                            HOLLYWOOD</b>              A ninja? Are you kidding me?              That's the word you're afraid to              say? Ninja?<b></b>    As he starts tolaugh.<b></b><b>                            HOLLYWOOD (CONT'D)</b>              Ninja-Ninja-Ninja!<b></b>    His laughter is infectious.<b></b><b>                            HOLLYWOOD (CONT'D)</b>              You oldfuck! You had me going!              Ninja. That's some good shit.<b></b>    His Lieutenant laughs hard with him until the top of his    head disappears, sliced off from his jaw up, leaving his    tongue wagging inspace.<b></b>    Lights shatter around the room.<b></b>    Chaos ensues. The panicked screams of the fleeing    entourage co-mingle in chorus with gruesome death rattles    of Hollywood's foot soldiers as one byone, they are    eviscerated.<b></b><b></b><b>                                                    (CONTINUED)</b>                     GOLDENROD REVISED 2nd DRAFT   6/4/08    5.<b>1   CONTINUED:(4)                                             1</b><b></b>    There's a RUSH of movement, more felt than seen. The    whistle of swords through the air. Cries and screams.    Guns that fire suddenly and are just as suddenlystilled.<b></b>    STAY on the face of the Tattoo Master, barely visible in    the thin trace of moonlight from a nearby window.    Frozen. Immobile. As the killing continues around him.<b></b>    Then: silence, brokenby the sound of heavy, desperate    BREATHING, and a MATCH being struck by Hollywood who    looks up --<b></b>    -- and sees a dark figures standing before him. Everyone    else is dead. Only he and the TattooMaster remain. The    figure regards him with still silence. For perhaps the    first time in his life, Hollywood is terrified.<b></b><b>                            HOLLYWOOD (CONT'D)</b>              Listen... you don't have todo              this! Whatever you're getting              paid, I'll triple it! You hear me!              I'll pay you whatever you want!              Just name your price!<b></b>    Their answer is silence. Hollywood sees his gunsnearby.    With a desperate scream, he THROWS the match in the air    as he DIVES for his guns, grabbing one in each hand.<b></b>    There is a whistle of metal and suddenly his severed    hands are tumblinggracefully through the air.<b></b>    The blade swings again, slicing through his body as if it    were barely there, coming out the other side as --<b></b>    -- Hollywood's body erupts as it falls in twopieces,    splattering the artist with blood.<b></b>    The match touches the floor and goes out.<b></b>    The Tattoo Master does not move, has not moved.    Frozen.<b></b><b>                            TATTOOARTIST</b>              But you are real, aren't you?<b></b>    After a moment, the ninja emerges into the moonlight, the    way a shadow coalesces into a panther gliding from the    dark to inspect itskill.<b></b>    The artist doesn't move, but his eyes widen, his heart    pounding in his ears.<b></b><b>                            TATTOO ARTIST (CONT'D)</b>              For fifty-seven-years, I've told              yourstory...<b>                            (MORE)</b><b>                                                     (CONTINUED)</b>                     GOLDENROD REVISED 2nd DRAFT   6/4/08    6.<b>1   CONTINUED:(5)                                             1</b><b>                            TATTOO ARTIST (CONT'D)</b>              No one ever believed              me.<b></b>    The ninja walks towards him, his steps soundless. He    crouchesdown, his eyes taking in the old man's tattoo.<b></b><b>                            TATTOO ARTIST (CONT'D)</b>              But you are real, aren't you?<b></b>    There's the shing of a sword beingunsheathed.    The    artist closes his eyes, anticipating death.<b></b>    Silence. He waits for the death blow. It does not come.    He finally forces himself to open his eyes.<b></b>    The ninja is gone, having"}
+{"doc_id":"doc_199","qid":"","text":"<html><head><title>Die Hard Script at IMSDb.</title><meta name=\"description\" content=\"Die Hard script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Die Hard script, Die Hardmovie script, Die Hard film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=SubjectCONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0];s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>    <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\"title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center></td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                              \"DIE HARD\"</b><b>                              </b><b>                              </b>                              Screenplay     <b>                                  </b>                                  by<b>                              </b>                              Jeb Stuart<b>                             </b><b>                             </b>                             Revisionsby<b>                           </b><b>                           </b>                           Steven E.DeSouza<b>                          </b><b>                          </b><b>                          </b><b>                          </b>                          based on the novel<b>                         </b>                         Nothing LastsForever         <b>                                  </b>                                  by                                                        Roderick Thorp<b>        </b>        WITH REVISION #1  (Blue)    WITH REVISION#5  (Goldenrod)        November 2, 1987            November 5, 1987        WITH REVISION #2  (Pink)    WITH REVISION #6  (Salmon)        November 4, 1987            November 17, 1987        WITH REVISION#3  (Green)   WITH REVISION #7  (Blue)        November 4, 1987            November 23, 1987<b>        </b>        WITH REVISION #4  (Yellow)  WITH REVISION #8  (Pink)        November 5, 1987            November30, 1987<b>                                                      SECOND REVISED DRAFT</b>                                                      October 2, 1987A Gordon Company/Silver PicturesProduction<b>------------------------------------------------------------------------------</b><b>                              </b><b>                              \"DIE HARD\"</b><b>        FADE IN</b><b>1       405 FREEWAY -LOS ANGELES - EARLY EVENING              1 </b>        Christmas tinsel on the light poles.  We ARE LOOKING east past        Inglewood INTO the orange grid of L.A. at night when suddenly        we TILT UP TO CATCHthe huge belly of a landing 747 -- the        noise is deafening.<b>2       INT. 747 - PASSENGERS - SAME                           2 </b>        The usual moment just after landing when you let out that sigh        of relief thatyou've made it in one piece.  As the plane TAXIS        to its gate, they stir, gather personal belongings.<b>3       ON JOHN MCCLANE                                        3 </b>        mid-thirties, good-looking, athletic and tiredfrom his trip.        He sits by the window.  His relief on landing is subtle, but        we NOTICE.  Suddenly, he hears --<b>                                 SALESMAN'S VOICE</b>                  You don't like flying, doyou?        McClane turns, looks at the Babbit clone next to him.  Caught,        he tenses, holds his armrests in exaggerated fear.<b>                                 MCCLANE</b>                  No, no, where'd you get thatidea?<b>                                 SALESMAN</b>                         (smiling)                  Ya wanna know the secret of successful                  air travel?  After you get where you're                  going, ya take off yourshoes and socks.                  Then ya walk around on the rug barefoot                  and make fists with your toes.<b>                                 MCCLANE</b>                  Fists with yourtoes.<b>                                 SALESMAN</b>                  Maybe it's not a fist when it's your                  toes...I mean like this...work out                  that time zonetension.                         (demonstrating)                  Better'n a cup of coffee and a hot                  shower for the old jet lag.  I know                  it sounds crazy.  Trust me.  I've                  been doing it for nineyears.        The plane stops.  Passengers rise, start to take down overhead        luggage.  McClane does this, but as he opens the door above,        the businessman BLANCHES seeing:<b>3-A     HIS P.O.V. -MCCLANE'S BARETTA PISTOL                  3-A </b>        Peeking out from his jacket.<b>3-B     BACK TO SCENE                                          3-B </b>        Recognizing the look, McClane smilesreassuringly.<b>                                 MCCLANE</b>                  It's okay.                         (showing badge)                  I'm a cop.                         (pause)                  Trust me.  I've been doing itfor                  eleven.        The businessman relaxes, moves off.  McClane now wrestles down        the biggest Teddy Bear FAO Schwartz had to offer.  Balancing        this, he moves down to another overhead, takesout a topcoat        and an overnighter.  Barely managing all this, he turns,<b>        COLLIDING WITH:</b><b>3-C     A PRETTY STEWARDESS                                    3-C </b>        She bumps noses with the bear,gives a look.<b>                                 STEWARDESS</b>                         (smiling, about the bear)                  Maybe you should have bought hera                  ticket.<b>                                 MCCLANE</b>                  Her?        He scrutinizes the nether regions of the bear, shrugs.<b>                                 MCCLANE</b>                  She doesn'tcomplain.<b>                                 STEWARDESS</b>                         (eying him)                  Neither would I.        McClane smiles, with just enough of a sigh to know he's as        wistful aboutthings-that-might-have-been as she is...moves        down the aisle.<b>                                                      CUT TO:</b><b>4       INT. THE NAKATOMI BUILDING (LOS ANGELES) - EVENING     4 </b>        CLOSEON A bottle of Dom Perignon as the cork explodes across        a large office floor decorated for Christmas.  A Japanese man,        mid-fifties standing on a desk holds up the bottle triumphantly        and looks out at anadoring audience of junior executives and        office personnel.  He is JOSEPH TAKAGI, Sr V.P. of Sales for        Nakatomi, a multinational corporation.<b>                                 TAKAGI</b>                  Ladies andgentlemen...I congratulate                  each and every one of you for making                  this one of the greatest days in the                  history of the Nakatomi corporation...        In the b.g., obviously still at work, anattractive BUSINESSWOMAN        in her mid-thirties, studying a computer printout, heads toward        her office.  Falling into step with her is HARRY ELLIS,        thirty-seven, V.P. of Sales.  Well-dressed, withstylish,        slicked-back hair, he looks and acts very smooth.<b>                                 ELLIS</b>                  What about dinner?<b>                                 WOMAN (HOLLY)</b>                  Harry, it's ChristmasEve.  Families...                  Stockings...chestnuts...Rudolph and                  Frosty...those things ring a bell?        She turns into:<b>5       HER OFFICE                                             5 </b>        Her name is HOLLYGENNARO MCCLANE, though the nameplate on her        door stops after the first two.  She puts the printout down        on her secretary's desk.<b>                                 ELLIS</b>                         (inreply)                  I was thinking more of roaring                  fireplaces...mulled wine and a nice                  brie...        Holly ignores the come-on, turns to hersecretary.<b>                                 HOLLY</b>                  Ginny, it's 6:40, you're making me                  feel like Ebeneezer Scrooge.  Go on,                  join the party, have some champagne.        Ginny slowlymanipulates herself out of her seat.  She is        enormously pregnant.<b>                                 GINNY</b>                         (grateful)                  Thanks Ms. Gennaro.                         (worried)                  Do youthink the baby can handle                  a little sip?<b>                                 HOLLY</b>                         (eyeing her)                  Ginny, that baby's ready to tendbar.<b>                                 ELLIS</b>                         (not giving up)                  How about tomorrow night?        Holly just points to the door.  He follows Ginny out, clearly        not giving up.  Just then the partyon Holly's phone picks up        and we:<b>                                                      INTERCUT:</b><b>6       INT. NICE HOUSE IN SANTA MONICA                        6 </b>        where a five-year old LUCY MCCLANE racesher YOUNGER BROTHER        to the phone, winsthe wrestling match, and answers with a sense        of importance.  An Xmas tree is in the b.g.<b>                                 LUCY</b>                  McClaneresidence.  Lucy McClane                  speaking.        Holly suddenly smiles.  It is the first time we've seen her        smile and it speaks volumes about the person hidden under a        tough businessexterior.<b>                                 HOLLY</b>                         (with affection)                  Hello, Lucy McClane.  This is your                  mother.        She looks up and watches Ellis leave.  He \"shoots\" her witha        \"catch ya later\" wink.<b>                                 LUCY</b>                  Mommy!  When are you coming home?!<b>                                 HOLLY</b>                  Soon.  You'll be in bed when Iget                  there, though.<b>                                 LUCY</b>                  Will you come say 'good night'?<b>                                 HOLLY</b>                  Don't I always, you goose?                         (enjoyingLucy's giggle)                  Now put Paulina on the line, and                  no searching the house for presents!<b>                                 LUCY</b>                         (caught)                  I didn't look in the frontcloset                  under the steps!  Is Daddy coming                  home with you?<b>                                 JOHN, JR.</b>                         (hearing this, jumping up                         anddown)                  Yeah!  Daddy!  Daddy!  Daddy!                         (on second thought)                  And a Captain Power!<b>                                 HOLLY</b>                         (a little tightly)                  Well, we'llsee what Santa and Mommy                  can do.  Goose, put Paulina on, okay?        Lucy hands the phone to a young Salvadorian woman, PAULINA,        thehousekeeper.<b>                                 PAULINA</b>                  Hello, Mrs. Holly.  You coming home                  soon?<b>                                 HOLLY</b>                  I'm working onit.                         (beat)                  Did Mr. McClane call?                               *  <b>                                 PAULINA</b>                  No ma'am.        Holly hides a trace ofdisappointment.<b>                                 HOLLY</b>                  Well...maybe there wasn't time before               *                    the flight.  You should probably make                  up the spare room just incase.<b>                                 PAULINA</b>                         (smiling)                  Yes, Mrs. Holly.  I do that already.                *          Holly's smile comes through again.<b>7       INT. LAX -EVENING                                     7 </b>        McClane, wearing his wool topcoat and carrying the biggest        stuffed animal FAO Schwartz had in stock and his hangup bag,        comes down the American Airlinesramp and into the terminal.        He avoids one near-collision involving his stuffed animal, an        act which drives him into another fender bender with a CUTE        GIRL who looks like she's ready for high tide at"}
+{"doc_id":"doc_200","qid":"","text":"The Project Gutenberg eBook, The Tale of Jemima Puddle-Duck, by BeatrixPotterThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it awayorre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: The Tale of Jemima Puddle-DuckAuthor: Beatrix PotterRelease Date: January 27, 2005  [eBook#14814]Language: EnglishCharacter set encoding: ISO-646-US (US-ASCII)***START OF THE PROJECT GUTENBERG EBOOK THE TALE OF JEMIMA PUDDLE-DUCK***E-text prepared by Robert Cicconetti, Emmy, andthe Project GutenbergOnline Distributed Proofreading Team (http://www.pgdp.net)Note: Project Gutenberg also has an HTML version of this      file which includes the original illustrations.      See 14814-h.htm or14814-h.zip:      (http://www.gutenberg.net/dirs/1/4/8/1/14814/14814-h/14814-h.htm)      or      (http://www.gutenberg.net/dirs/1/4/8/1/14814/14814-h.zip)THE TALE OF JEMIMA PUDDLE-DUCKbyBEATRIXPOTTERAuthor of \"The Tale of Peter Rabbit,\" &cFrederick Warne & Co., Inc.New York1908[Illustration][Illustration]    A FARMYARD TALE    FOR    RALPH AND BETSY[Illustration]What a funny sight it is to see a brood ofducklings with a hen!--Listen to the story of Jemima Puddle-duck, who was annoyed because thefarmer's wife would not let her hatch her own eggs.[Illustration]Her sister-in-law, Mrs. Rebeccah Puddle-duck, wasperfectly willing toleave the hatching to some one else--\"I have not the patience to sit on anest for twenty-eight days; and no more have you, Jemima. You would letthem go cold; you know you would!\"\"I wish to hatchmy own eggs; I will hatch them all by myself,\" quackedJemima Puddle-duck.[Illustration]She tried to hide her eggs; but they were always found and carried off.Jemima Puddle-duck became quite desperate. Shedetermined to make a nestright away from the farm.[Illustration]She set off on a fine spring afternoon along the cart-road that leads overthe hill.She was wearing a shawl and a poke bonnet.[Illustration]When shereached the top of the hill, she saw a wood in the distance.She thought that it looked a safe quiet spot.[Illustration]Jemima Puddle-duck was not much in the habit of flying. She ran downhill afew yards flapping hershawl, and then she jumped off into the air.[Illustration]She flew beautifully when she had got a good start.She skimmed along over the tree-tops until she saw an open place in themiddle of the wood, where the treesand brushwood had been cleared.[Illustration]Jemima alighted rather heavily, and began to waddle about in search of aconvenient dry nesting-place. She rather fancied a tree-stump amongst sometallfox-gloves.But--seated upon the stump, she was startled to find an elegantly dressedgentleman reading a newspaper.He had black prick ears and sandy coloured whiskers.\"Quack?\" said Jemima Puddle-duck, with herhead and her bonnet on oneside--\"Quack?\"[Illustration]The gentleman raised his eyes above his newspaper and looked curiously atJemima--\"Madam, have you lost your way?\" said he. He had a long bushy tail whichhewas sitting upon, as the stump was somewhat damp.Jemima thought him mighty civil and handsome. She explained that she hadnot lost her way, but that she was trying to find a convenientdrynesting-place.[Illustration]\"Ah! is that so? indeed!\" said the gentleman with sandy whiskers, lookingcuriously at Jemima. He folded up the newspaper, and put it in hiscoat-tail pocket.Jemima complained of thesuperfluous hen.\"Indeed! how interesting! I wish I could meet with that fowl. I wouldteach it to mind its own business!\"[Illustration]\"But as to a nest--there is no difficulty: I have a sackful of feathers inmy wood-shed.No, my dear madam, you will be in nobody's way. You may sitthere as long as you like,\" said the bushy long-tailed gentleman.He led the way to a very retired, dismal-looking house amongst thefox-gloves.It was built offaggots and turf, and there were two broken pails, one ontop of another, by way of a chimney.[Illustration]\"This is my summer residence; you would not find my earth--my winterhouse--so convenient,\" said thehospitable gentleman.There was a tumble-down shed at the back of the house, made of oldsoap-boxes. The gentleman opened the door, and showed Jemima in.[Illustration]The shed was almost quite full of feathers--itwas almost suffocating; butit was comfortable and very soft.Jemima Puddle-duck was rather surprised to find such a vast quantity offeathers. But it was very comfortable; and she made a nest without anytrouble atall.[Illustration]When she came out, the sandy whiskered gentleman was sitting on a logreading the newspaper--at least he had it spread out, but he was lookingover the top of it.He was so polite, that he seemedalmost sorry to let Jemima go home forthe night. He promised to take great care of her nest until she came backagain next day.He said he loved eggs and ducklings; he should be proud to see a finenestful in hiswood-shed.[Illustration]Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest.They were greeny white and very large. The foxy gentleman admired themimmensely. He used to turn them over andcount them when Jemima was notthere.At last Jemima told him that she intended to begin to sit next day--\"and Iwill bring a bag of corn with me, so that I need never leave my nest untilthe eggs are hatched. Theymight catch cold,\" said the conscientiousJemima.[Illustration]\"Madam, I beg you not to trouble yourself with a bag; I will provide oats.But before you commence your tedious sitting, I intend to give you atreat. Let ushave a dinner-party all to ourselves!\"May I ask you to bring up some herbs from the farm-garden to make asavoury omelette? Sage and thyme, and mint and two onions, and someparsley. I will provide lard for thestuff--lard for the omelette,\" saidthe hospitable gentleman with sandy whiskers.[Illustration]Jemima Puddle-duck was a simpleton: not even the mention of sage andonions made her suspicious.She went round thefarm-garden, nibbling off snippets of all the differentsorts of herbs that are used for stuffing roast duck.[Illustration]And she waddled into the kitchen, and got two onions out of a basket.The collie-dog Kep met hercoming out, \"What are you doing with thoseonions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\"Jemima was rather in awe of the collie; she told him the whole story.The collie listened, with hiswise head on one side; he grinned when shedescribed the polite gentleman with sandy whiskers.[Illustration]He asked several questions about the wood, and about the exact position ofthe house and shed.Then he wentout, and trotted down the village. He went to look for twofox-hound puppies who were out at walk with the butcher.[Illustration]Jemima Puddle-duck went up the cart-road for the last time, on a sunnyafternoon. Shewas rather burdened with bunches of herbs and two onions ina bag.She flew over the wood, and alighted opposite the house of the bushylong-tailed gentleman.[Illustration]He was sitting on a log; he sniffed the air,and kept glancing uneasilyround the wood. When Jemima alighted he quite jumped.\"Come into the house as soon as you have looked at your eggs. Give me theherbs for the omelette. Be sharp!\"He was rather abrupt.Jemima Puddle-duck had never heard him speak likethat.She felt surprised, and uncomfortable.[Illustration]While she was inside she heard pattering feet round the back of the shed.Some one with a black nose sniffedat the bottom of the door, and thenlocked it.Jemima became much alarmed.[Illustration]A moment afterwards there were most awful noises--barking, baying, growlsand howls, squealing and groans.And nothing morewas ever seen of that foxy-whiskered gentleman.Presently Kep opened the door of the shed, and let out Jemima Puddle-duck.[Illustration]Unfortunately the puppies rushed in and gobbled up all the eggs before hecouldstop them.He had a bite on his ear and both the puppies were limping.[Illustration]Jemima Puddle-duck was escorted home in tears on account of those eggs.[Illustration]She laid some more in June, and she waspermitted to keep them herself:but only four of them hatched.Jemima Puddle-duck said that it was because of her nerves; but she hadalways been a bad sitter.***END OF THE PROJECT GUTENBERG EBOOK THE TALEOF JEMIMA PUDDLE-DUCK********** This file should be named 14814.txt or 14814.zip *******This and all associated files of various formats will be found in:http://www.gutenberg.org/dirs/1/4/8/1/14814Updatededitions will replace the previous one--the old editionswill be renamed.Creating the works from public domain print editions means that noone owns a United States copyright in these works, so the Foundation(and you!)can copy and distribute it in the United States withoutpermission and without paying copyright royalties.  Special rules,set forth in the General Terms of Use part of this license, apply tocopying and distributing ProjectGutenberg-tm electronic works toprotect the PROJECT GUTENBERG-tm concept and trademark.  ProjectGutenberg is a registered trademark, and may not be used if youcharge for the eBooks, unless you receive specificpermission.  If youdo not charge anything for copies of this eBook, complying with therules is very easy.  You may use this eBook for nearly any purposesuch as creation of derivative works, reports, performancesandresearch.  They may be modified and printed and given away--you may dopractically ANYTHING with public domain eBooks.  Redistribution issubject to the trademark license, especially commercialredistribution.***START: FULL LICENSE ***THE FULL PROJECT GUTENBERG LICENSEPLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORKTo protect the Project Gutenberg-tm mission of promoting the freedistribution ofelectronic works, by using or distributing this work(or any other work associated in any way with the phrase \"ProjectGutenberg\"), you agree to comply with all the terms of the Full ProjectGutenberg-tm License(available with this file or online athttp://gutenberg.net/license).Section 1.  General Terms of Use and Redistributing Project Gutenberg-tmelectronic works1.A.  By reading or using any part of this ProjectGutenberg-tmelectronic work, you indicate that you have read, understand, agree toand accept all the terms of this license and intellectual property(trademark/copyright) agreement.  If you do not agree to abide byallthe terms of this agreement, you must cease using and return or destroyall copies of Project Gutenberg-tm electronic works in your possession.If you paid a fee for obtaining a copy of or access to aProjectGutenberg-tm electronic work and you do not agree to be bound by theterms of this agreement, you may obtain a refund from the person orentity to whom you paid the fee as set forth in paragraph1.E.8.1.B.  \"Project Gutenberg\" is a registered trademark.  It may only beused on or associated in any way with an electronic work by people whoagree to be bound by the terms of this agreement.  There are afewthings that you can do with most Project Gutenberg-tm electronic workseven without complying with the full terms of this agreement.  Seeparagraph 1.C below.  There are a lot of things you can do withProjectGutenberg-tm electronic works if you follow the terms of this agreementand help preserve free future access to Project Gutenberg-tm electronicworks.  See paragraph 1.E below.1.C.  The Project GutenbergLiterary Archive Foundation (\"the Foundation\"or PGLAF), owns a compilation copyright in the collection of ProjectGutenberg-tm electronic works.  Nearly all the individual works in thecollection are in the public domain inthe United States.  If anindividual work is in the public domain in the United States and you arelocated in the United States, we do not claim a right to prevent you fromcopying, distributing, performing, displaying orcreating derivativeworks based on the work as long as all references to Project Gutenbergare removed.  Of course, we hope that you will support the ProjectGutenberg-tm mission of promoting free access to electronicworks byfreely sharing Project Gutenberg-tm works in compliance with the terms ofthis agreement for keeping the Project Gutenberg-tm name associated withthe work.  You can easily comply with the terms of thisagreement bykeeping this work in the same format with its attached full ProjectGutenberg-tm License when you share it without charge with others.1.D.  The copyright laws of the place where you are located alsogovernwhat you can do with this work.  Copyright laws in most countries are ina constant state of change.  If you are outside the United States, checkthe laws of your country in addition to the terms of thisagreementbefore downloading, copying, displaying, performing, distributing orcreating derivative works based on this work or any other ProjectGutenberg-tm work.  The Foundation makes no representationsconcerningthe copyright status of any work in any country outside the UnitedStates.1.E.  Unless you have removed all references to Project Gutenberg:1.E.1.  The following sentence, with active links to, or otherimmediateaccess to, the full Project Gutenberg-tm License must appear prominentlywhenever any copy of a Project Gutenberg-tm work (any work on which thephrase \"Project Gutenberg\" appears, or with which thephrase \"ProjectGutenberg\" is associated) is accessed, displayed, performed, viewed,copied or distributed:This eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You maycopy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.net1.E.2.  If an individual Project Gutenberg-tm electronic work is derivedfrom thepublic domain (does not contain a notice indicating that it isposted with permission of the copyright holder), the work can be copiedand distributed to anyone in the United States without paying any feesor charges.  Ifyou are redistributing or providing access to a workwith the phrase \"Project Gutenberg\" associated with or appearing on thework, you must comply either with the requirements of paragraphs 1.E.1through 1.E.7 orobtain permission for the use of the work and theProject Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or1.E.9.1.E.3.  If an individual Project Gutenberg-tm electronic work is postedwith the permission ofthe copyright holder, your use and distributionmust comply with both paragraphs 1.E.1 through 1.E.7 and any additionalterms imposed by the copyright holder.  Additional terms will be linkedto the ProjectGutenberg-tm License for all works posted with thepermission of the copyright holder found at the beginning of this work.1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tmLicense terms from thiswork, or any files containing a part of thiswork or any other work associated with Project Gutenberg-tm.1.E.5.  Do not copy, display, perform, distribute or redistribute thiselectronic work, or any part of this electronicwork, withoutprominently displaying the sentence set forth in paragraph 1.E.1 withactive links or immediate access to the full terms of the ProjectGutenberg-tm License.1.E.6.  You may convert to and distribute thiswork in any binary,compressed, marked up, nonproprietary or proprietary form, including anyword processing or hypertext form.  However, if you provide access to ordistribute copies of a Project Gutenberg-tm work ina format other than\"Plain Vanilla ASCII\" or other format used in the official versionposted on the official Project Gutenberg-tm web site (www.gutenberg.net),you must, at no additional cost, fee or expense to the user,provide acopy, a means of exporting a copy, or a means of obtaining a copy uponrequest, of the work in its original \"Plain Vanilla ASCII\" or otherform.  Any alternate format must include the full ProjectGutenberg-tmLicense as specified in paragraph 1.E.1.1.E.7.  Do not charge a fee for access to, viewing, displaying,performing, copying or distributing any Project Gutenberg-tm worksunless you comply with paragraph1.E.8 or 1.E.9.1.E.8.  You may charge a reasonable fee for copies of or providingaccess to or distributing Project Gutenberg-tm electronic works providedthat- You pay a royalty fee of 20% of the gross profits you derivefrom     the use of Project Gutenberg-tm works calculated using the method     you already use to calculate your applicable taxes.  The fee is     owed to the owner of the Project Gutenberg-tm trademark, but he     hasagreed to donate royalties under this paragraph to the     Project Gutenberg Literary Archive Foundation.  Royalty payments     must be paid within 60 days following each date on which you     prepare (or are legallyrequired to prepare) your periodic tax     returns.  Royalty payments should be clearly marked as such and     sent to the Project Gutenberg Literary Archive Foundation at the     address specified in Section 4,\"Information about donations to     the Project Gutenberg Literary Archive Foundation.\"- You provide a full refund of any money paid by a user who notifies     you in writing (or by e-mail) within 30 days of receipt thats/he     does not agree to the terms of the full Project Gutenberg-tm     License.  You must require such a user to return or     destroy all copies of the works possessed in a physical medium     and discontinue all use ofand all access to other copies of     Project Gutenberg-tm works.- You provide, in accordance with paragraph 1.F.3, a full refund of any     money paid for a work or a replacement copy, if a defect in the     electronicwork is discovered and reported to you within 90 days     of receipt of the work.- You comply with all other terms of this agreement for free     distribution of Project Gutenberg-tm works.1.E.9.  If you wish to charge afee or distribute a Project Gutenberg-tmelectronic work or group of works on different terms than are setforth in this agreement, you must obtain permission in writing fromboth the Project Gutenberg Literary ArchiveFoundation and MichaelHart, the owner of the Project Gutenberg-tm trademark.  Contact theFoundation as set forth in Section 3 below.1.F.1.F.1.  Project Gutenberg volunteers and employees expend considerableeffortto identify, do copyright research on, transcribe and proofreadpublic domain works in creating the Project Gutenberg-tmcollection.  Despite these efforts, Project Gutenberg-tm electronicworks, and the medium on whichthey may be stored, may contain\"Defects,\" such as, but not limited to, incomplete, inaccurate orcorrupt data, transcription errors, a copyright or other intellectualproperty infringement, a defective or damaged disk orother medium, acomputer virus, or computer codes that damage or cannot be read byyour equipment.1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the \"Rightof Replacement or Refund\" describedin paragraph 1.F.3, the ProjectGutenberg Literary Archive Foundation, the owner of the ProjectGutenberg-tm trademark, and any other party distributing a ProjectGutenberg-tm electronic work under this agreement,disclaim allliability to you for damages, costs and expenses, including legalfees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICTLIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACTEXCEPT THOSEPROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THETRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BELIABLE TO YOU FOR ACTUAL, DIRECT,INDIRECT, CONSEQUENTIAL, PUNITIVE ORINCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCHDAMAGE.1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover adefect inthis electronic work within 90 days of receiving it, you canreceive a refund of the money (if any) you paid for it by sending awritten explanation to the person you received the work from.  If youreceived the work on aphysical medium, you must return the medium withyour written explanation.  The person or entity that provided you withthe defective work may elect to provide a replacement copy in lieu of arefund.  If you receivedthe work electronically, the person or entityproviding it to you may choose to give you a second opportunity toreceive the work electronically in lieu of a refund.  If the second copyis also defective, you may demand arefund in writing without furtheropportunities to fix the problem.1.F.4.  Except for the limited right of replacement or refund set forthin paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NOOTHERWARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TOWARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.1.F.5.  Some states do not allow disclaimers of certain"}
+{"doc_id":"doc_201","qid":"","text":"<html><head><title>Next Three Days, The Script at IMSDb.</title><meta name=\"description\" content=\"Next Three Days, The script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"NextThree Days, The script, Next Three Days, The movie script, Next Three Days, The film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\"content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ?'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie ScriptDatabase\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <scripttype=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                         THE NEXT THREE DAYS</b>                              Written by                              PaulHaggis<b>                                                     SHOOTING SCRIPT</b>                                                      August 6, 2009<b>    FADE IN:</b><b>1   INT. SUV -- DAY                                                 1</b>    Nosound. We are in a speeding SUV. The passenger, LARA,    unsnaps her seat belt and reaches for the door handle. The    driver, JOHN, sees her door open and dives to GRAB her. The    SUV spins, HORNS BLARE, TIRESSCREECH, cars swerve to avoid    collision. We aren't sure what is happening, but we know    something has gone terribly wrong. Cut to BLACK. Read:<b>                       THE LAST THREE YEARS</b><b>2   INT.STEAK HOUSE -- NIGHT                                       2</b>    Two couples sit at a table, picking at dessert, JOHN and    LARA BRENNAN on one side, MICK and ERIT on the other. JOHN               is attractive in a wornkind of way, but has the eyes of a    kid with a discipline problem. You have to really know him    to understand if he is mocking you or agreeing with you. He    is a master of irony and has a true enjoyment of theabsurd.    LARA looks beautiful even in her wrinkled suit. She appears    to have had a hard day at the office. She's been drinking    at dinner; it hasn't eased her nerves. John's good-looking    brother, MICK, boasts hisblue collar roots and a gorgeous,              if slightly trashy, girlfriend, ERIT, who isn't ashamed of    her body or sharing her opinions. JOHN and MICK are laughing.            Lara puts cash on the tray beside Mick's creditcard.                <b>                           LARA</b>               You know what? If you were smart               you would stop talking right now.<b>                           ERIT</b>               Sue me. I just know that womenshould                                    never work for women.    John laughs and applauds.   Mick buries his head.                    <b>                           LARA</b>               How can you saythat??<b>                           ERIT</b>               They're always threatened. Especially               if you're beautiful and they're not.<b>                           LARA</b>               Erit, you are so full ofshit.<b>                           ERIT</b>               So, your boss isn't threatened by               you?<b>                                                (CONTINUED)</b><b>                                                               2.</b><b>2   CONTINUED:                                                       2</b><b>                             LARA</b>                 Because she's a bitch! --                     (as John and Mick laugh)                                              --Not becauseshe's a woman.<b>                             ERIT</b>                 And you would describe her as                 \"attractive\"?<b>                             LARA</b>                 That has nothing to do withit!<b>                             ERIT</b>                 And there is my answer.<b>                             JOHN</b>                 Either of you like another drink?    Lara shoots John a burning look as Erit builds on hervictory.<b>                             ERIT</b>                 Women should work under men, men                 under women. That's it.<b>                             JOHN</b>                     (egging her on)                 But menunder men?<b>                             ERIT</b>                 That's fine, too.                     (the men burst into laughter)                 They're used to it! Why areyou                 laughing?<b>                             MICK                                         </b>                     (re: Erit)                 I don't know, bro, but I think I'd                 rather work under you thanher.<b>                             ERIT</b>                     (insulted, shoots back)                 Oh please, I'd rather work under                 him, too.    That was a dig at Mick but Lara is primed for afight.                <b>                             LARA</b>                 You'd rather \"work under\" John?<b>                             ERIT                                         </b>                 You have a problem with that, too?                       <b>                                                 (CONTINUED)</b><b>                                                                   3.</b><b>2   CONTINUED:    (2)                                                   2</b><b>                             LARA                                            </b>                 No, why would I have a problem with                                          your little sexualinnuendo?                                <b>                             ERIT                                            </b>                 What is up your ass tonight??    Mick throws John a \"This is all your fault and now it is                     going toexplode\" look. John feigns complete innocence.                  <b>                             LARA</b>                 So, I shouldn't take offense that                 you're coming on to my husbandright                                         in front of me.                                             <b>                             ERIT</b>                     (claws out now)                 Lara, if I wanted your husband I                 would havehim.<b>                             LARA</b>                 How? You couldn't possibly show him                 more of your tits.    The men are on their feet before blows areexchanged.<b>                             ERIT</b>                 -- You know what your problem is?!<b>              JOHN                             MICK                          </b>      That was a greatmeal!           Okay--okay!<b>3   EXT. STEAK HOUSE PARKING LOT -- NIGHT                               3</b>    Mick and Erit head toward Mick's sporty pickup.     John and                 Lara step into foreground, Lara stillfuming.<b>                             JOHN</b>                 She is completely full of shit.<b>                             LARA</b>                 DON'T try and agree with me now.<b>                             JOHN</b>                 Youknow what? I don't even believe                 she is in the dental profession.    Lara knows this game; he is trying to get her out of her    black mood, and she has no intention of lettinghim.<b>                             LARA</b>                 Shut up.<b>                                                 (CONTINUED)</b><b>                                                                  4.</b><b>3   CONTINUED:                                                         3</b><b>                             JOHN</b>                 I bet she can't even spell                 anesthesiologist. Woman's a complete                 fraud.<b>                             LARA</b>                 Wewent to her office party, idiot.<b>                             JOHN</b>                 I think she hit on me that night,                 too.    Lara opens the back door of their black Prius and tosses in    the raincoat she wascarrying. They climb in, under....<b>                             LARA</b>                 You are completely delusional. She                 wasn't even hitting on you in there;                 I just don't likeher.<b>                             JOHN</b>                 I understand. People who look like                 that should not be allowed anywhere                 near oral surgery.    She feels a smile coming to her lips and tries toforce it    away.<b>                             LARA</b>                 You are such an asshole.<b>                             JOHN</b>                 You're in the chair trying to stay                 calm; how are you supposed to dothat                 with those things hanging over your--    She can't stand how attractive he is in this moment -- she    stops him short by kissing him passionately. His hands slip    under her blouse; she tugs at hissweater.<b>                             JOHN (CONT'D)</b>                 Someone's going to --    Her hand goes to his pants. He yanks at the seat lever and    it goes crashing back, Lara landing atop him.    After a momenthe sits up quickly and pushes down the visors.    She laughs and kisses him and they disappear into each other.<b>4   INT. BRENNAN HOUSE - BACK DOOR -- NIGHT                            4</b>    Lara and John enter,Lara carrying her raincoat, her hair    sticking up in the back, John's shirt untucked.<b>                                               (CONTINUED)</b><b>     WHITE    9-10-09                                                   5.</b><b>4   CONTINUED:                                                              4</b><b>                               LARA</b>                 Hello!    JENNA, the teenage baby-sitter, sees right through them.<b>                               LARA(CONT'D)</b>                 Did he cry?<b>                             JENNA</b>                 Only when I dropped him down the                                                 stairs.                                                             Lara shootsher a look, hangs up her coat and exits upstairs.<b>5   INT. BRENNAN HOUSE - UPSTAIRS HALLWAY                                   5</b>    She peeks in her son's room, sees him sleeping soundly.<b>6   INT. BRENNANHOUSE - FOYER                                              6</b>    Lara comes down to find John paying Jenna. John nods for    her to check the mirror. She tugs at the knot in herhair.<b>                              JOHN</b>                 Thanks.   See you next weekend.    Jenna exits. Lara shows him that his sweater is inside out.    John reacts: \"Oh God.\" Lara's smile broadens; she kisses    him. Hepins her to the wall and they start all over again.    He feels for the light switch. He finds it; we cut to BLACK.<b>7   INT. JOHN AND LARA'S BEDROOM -- NIGHT                                   7</b>    Lara wakes,troubled.      It's the middle of the night.<b>8   INT. LUKE'S ROOM -- NIGHT                                               8</b>    Lara finds Luke's window closed but unlocked. She locks it    and looks out. Satisfied, she sits andwatches her son sleep.<b>9   INT.    KITCHEN -- MORNING                                              9</b>    Three year-old LUKE holds a knife and fork as he sits at the    table watching his dad cut up hispancakes.<b>                             JOHN</b>                 Okay, your turn.    Luke skewers a piece with his fork.        Lara passes, hustling    to get to work.<b>                             JOHN (CONT'D)</b>                 Verygood, very good...<b>                                                   (CONTINUED)</b><b>                                                                6.</b><b>9   CONTINUED:                                                       9</b>    Luke puts it inhis mouth.<b>                             JOHN (CONT'D)</b>                 No, no, no; you feed me.                     (to Lara)                 Your son is hopeless.    Lara grabs her phone and leans over them to take aphoto.<b>                             LARA</b>                 Squeeze in tight.<b>                             JOHN</b>                 You can't do this every morning.   It                 is way toocorny.<b>                              LARA</b>                 Smile.   It's just until he's eighteen.    It flashes. Lara kisses John, puts an alien-looking electric    toothbrush on the table & walks off to pour coffee togo.<b>                              LARA (CONT'D)</b>                 Present.<b>                             JOHN</b>                     (examining it)                 Sweetie, you have to stop believing                 everything you read in a"}
+{"doc_id":"doc_202","qid":"","text":"The Project Gutenberg EBook of Press Cuttings, by George Bernard ShawThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: Press CuttingsAuthor: George Bernard ShawRelease Date: May, 2004 [EBook #5723]Posting Date: May28, 2009Language: English*** START OF THIS PROJECT GUTENBERG EBOOK PRESS CUTTINGS ***Produced by Eve SobolPRESS CUTTINGSBernard Shaw1913TRANSCRIBER'S NOTE: The edition from which this etextwas taken lackscontractions, so it reads dont for don't and Ill for I'll, for example.The play has been reproduced exactly as printed.The forenoon of the first of April, 1911.General Mitchener is at his writing table in theWar Office, openingletters. On his left is the fireplace, with a fire burning. On hisright, against the opposite wall is a standing desk with an officestool. The door is in the wall behind him, half way between the tableandthe desk. The table is not quite in the middle of the room: it isnearer to the hearthrug than to the desk. There is a chair at each endof it for persons having business with the general. There is a telephoneon the table.Long silence.A VOICE OUTSIDE. Votes for Women!The General starts convulsively; snatches a revolver from a drawer,and listens in an agony of apprehension. Nothing happens. He puts therevolver back, ashamed;wipes his brow; and resumes his work. Heis startled afresh by the entry of an Orderly. This Orderly is anunsoldierly, slovenly, discontented young man.MITCHENER. Oh, it's only you. Well?THE ORDERLY. Another one,sir. Shes chained herself.MITCHENER. Chained herself? How? To what? Weve taken away the railingsand everything that a chain can be passed through.THE ORDERLY. We forgot the doorscraper, sir. She laid down onthe flagsand got the chain through before she started hollerin. Shes lying therenow; and she says that youve got the key of the padlock in a letter in abuff envelope, and that you will see her when you openit.MITCHENER. Shes mad. Have the scraper dug up and let her go home with ithanging round her neck.THE ORDERLY. Theres a buff envelope there, sir.MITCHENER. Youre all afraid of these women (picking the letterup). Itdoes seem to have a key in it. (He opens the letter, and takes out a keyand a note.) \"Dear Mitch\"--Well, I'm dashed!THE ORDERLY. Yes Sir.MITCHENER. What do you mean by Yes Sir?THE ORDERLY. Well, yousaid you was dashed, Sir; and you did look ifyoull excuse my saying it, Sir--well, you looked it.MITCHENER (who has been reading the letter, and is too astonished toattend to the Orderlys reply). This is a letter from thePrime Ministerasking me to release the woman with this key if she padlocks herself,and to have her shown up and see her at once.THE ORDERLY (tremulously). Dont do it, governor.MITCHENER (angrily). How oftenhave I ordered you not to address me asgovernor. Remember that you are a soldier and not a vulgar civilian.Remember also that when a man enters the army he leaves fear behind him.Heres the key. Unlock her andshow her up.THE ORDERLY. Me unlock her! I dursent. Lord knows what she'd do to me.MITCHENER (pepperily, rising). Obey your orders instantly, Sir, and dontpresume to argue. Even if she kills you, it is your duty todie for yourcountry. Right about face. March. (The Orderly goes out, trembling.)THE VOICE OUTSIDE. Votes for Women! Votes for Women! Votes for Women!MITCHENER (mimicking her). Votes for Women! Votes forWomen! Votes forWomen! (in his natural voice) Votes for children! Votes for babies!Votes for monkeys! (He posts himself on the hearthrug, and awaits theenemy.)THE ORDERLY (outside). In you go. (He pushes apanting Suffraget intothe room.) The person sir. (He withdraws.)The Suffraget takes off her tailor made skirt and reveals a pair offashionable trousers.MITCHENER (horrified). Stop, madam. What are you doing? Youmust notundress in my presence. I protest. Not even your letter from the PrimeMinister--THE SUFFRAGET. My dear Mitchener: I AM the Prime Minister. (He tears offhis hat and cloak; throws them on the desk; andconfronts the General inthe ordinary costume of a Cabinet minister.)MITCHENER. Good heavens! Balsquith!BALSQUITH (throwing himself into Mitchener's chair). Yes: it is indeedBalsquith. It has come to this: that theonly way that the PrimeMinister of England can get from Downing Street to the War Office isby assuming this disguise; shrieking \"VOTES for Women\"; and chaininghimself to your doorscraper. They were at the corner inforce. Theycheered me. Bellachristina herself was there. She shook my hand and toldme to say I was a vegetarian, as the diet was better in Holloway forvegetarians.MITCHENER. Why didnt you telephone?BALSQUITH.They tap the telephone. Every switchboard in London is intheir hands or in those of their young men.MITCHENER. Where on Earth did you get that dress?BALSQUITH. I stole it from a little Exhibition got up by my wifeinDowning Street.MITCHENER. You dont mean to say its a French dress?BALSQUITH. Great Heavens, no. My wife isnt allowed even to put on hergloves with French chalk. Everything labelled Made in Camberwell.Sheadvised me to come to you. And what I have to say must be said here toyou personally, in the most intimate confidence, with the most urgentpersuasion. Mitchener: Sandstone has resigned.MITCHENER (amazed).Old Red resigned!BALSQUITH. Resigned.MITCHENER. But how? Why? Oh, impossible! the proclamation of martial lawlast Tuesday made Sandstone virtually Dictator in the metropolis, and toresign now is flatdesertion.BALSQUITH. Yes, yes, my dear Mitchener; I know all that as well as youdo: I argued with him until I was black in the face and he so redabout the neck that if I had gone on he would have burst. He isfuriousbecause we have abandoned his plan.MITCHENER. But you accepted it unconditionally.BALSQUITH. Yes, before we knew what it was. It was unworkable, you know.MITCHENER. I dont know. Why is itunworkable?BALSQUITH. I mean the part about drawing a cordon round Westminster at adistance of two miles; and turning all women out of it.MITCHENER. A masterpiece of strategy. Let me explain. The Suffragetsarea very small body; but they are numerous enough to be troublesome--evendangerous--when they are all concentrated in one place--say inParliament Square. But by making a two-mile radius and pushingthembeyond it, you scatter their attack over a circular line twelve mileslong. A superb piece of tactics. Just what Wellington would have done.BALSQUITH. But the women wont go.MITCHENER. Nonsense: they mustgo.BALSQUITH. They wont.MITCHENER. What does Sandstone say?BALSQUITH. He says: Shoot them down.MITCHENER. Of course.BALSQUITH. Youre not serious?MITCHENER. Im perfectly serious.BALSQUITH. But youcant shoot them down! Women, you know!MITCHENER (straddling confidently). Yes you can. Strange as it may seemto you as a civilian, Balsquith, if you point a rifle at a woman andfire it, she will drop exactly as a mandrops.BALSQUITH. But suppose your own daughters--Helen and Georgina.MITCHENER. My daughters would not dream of disobeying the proclamation.(As an after thought.) At least Helen wouldnt.BALSQUITH. ButGeorgina?MITCHENER. Georgina would if she knew shed be shot if she didnt. Thatshow the thing would work. Military methods are really the most mercifulin the end. You keep sending these misguided women toHolloway andkilling them slowly and inhumanely by ruining their health; and it doesno good: they go on worse than ever. Shoot a few, promptly and humanely;and there will be an end at once of all resistance and of allthesuffering that resistance entails.BALSQUITH. But public opinion would never stand it.MITCHENER (walking about and laying down the law). Theres no such thingas public opinion.BALSQUITH. No such thing as publicopinion!!MITCHENER. Absolutely no such thing as public opinion. There are certainpersons who entertain certain opinions. Well, shoot them down. When youhave shot them down, there are no longer any personsentertaining thoseopinions alive: consequently there is no longer any more of the publicopinion you are so much afraid of. Grasp that fact, my dear Balsquith;and you have grasped the secret of government. Publicopinion is mind.Mind is inseparable from matter. Shoot down the matter and you kill themind.BALSQUITH. But hang it all--MITCHENER (intolerantly). No I wont hang it all. It's no use comingto me and talking aboutpublic opinion. You have put yourself into thehands of the army; and you are committed to military methods. And thebasis of all military methods is that when people wont do what they aretold to do, you shoot themdown.BALSQUITH. Oh, yes; it's all jolly fine for you and Old Red. You dontdepend on votes for your places. What do you suppose will happen at thenext election?MITCHENER. Have no next election. Bring in a Bill at oncerepealingall the reform Acts and vesting the Government in a properly trainedmagistracy responsible only to a Council of War. It answers perfectly inIndia. If anyone objects, shoot him down.BALSQUITH. But none ofthe members of my party would be on the Councilof War. Neither should I. Do you expect us to vote for making ourselvesnobodies?MITCHENER. You'll have to, sooner or later, or the Socialists will makenobodies of thelot of you by collaring every penny you possess. Do yousuppose this damned democracy can be allowed to go on now that the mobis beginning to take it seriously and using its power to lay hands onproperty?Parliament must abolish itself. The Irish parliament voted forits own extinction. The English parliament will do the same if the samemeans are taken to persuade it.BALSQUITH. That would cost a lot ofmoney.MITCHENER. Not money necessarily. Bribe them with titles.BALSQUITH. Do you think we dare?MITCHENER (scornfully). Dare! Dare! What is life but daring, man? \"Todare, to dare, and again to dare\"--WOMAN'SVOICE OUTSIDE. Votes for Women!Mitchener, revolver in hand, rushes to the door and locks it. Balsquithhides under the table.A shot is heard.BALSQUITH (emerging in the greatest alarm). Good heavens, youhaventgiven orders to fire on them have you?MITCHENER. No; but its a sentinel's duty to fire on anyone who persistsin attempting to pass without giving the word.BALSQUITH (wiping his brow). This military business isreally awful.MITCHENER. Be calm, Balsquith. These things must happen; they savebloodshed in the long run, believe me. Ive seen plenty of it; and Iknow.BALSQUITH. I havent; and I dont know. I wish those guns didntmake sucha devil of a noise. We must adopt Maxim's Silencer for the army riflesif we are going to shoot women. I really couldnt stand hearing it.Some one outside tries to open the door and then knocks.MITCHENERand BALSQUITH. Whats that?MITCHENER. Whos there?THE ORDERLY. It's only me, governor. Its all right.MITCHENER (unlocking the door and admitting the Orderly, who comesbetween them). What was it?THEORDERLY. Suffraget, Sir.BALSQUITH. Did the sentry shoot her?THE ORDERLY. No, Sir: she shot the sentry.BALSQUITH (relieved). Oh: is that all?MITCHENER (most indignantly). All? A civilian shoots down one ofHisMajesty's soldiers on duty; and the Prime Minister of England asks Isthat all? Have you no regard for the sanctity of human life?BALSQUITH (much relieved). Well, getting shot is what a soldier is for.Besides, hedoesnt vote.MITCHENER. Neither do the Suffragets.BALSQUITH. Their husbands do. (To the Orderly.) By the way, did she killhim?THE ORDERLY. No, Sir. He got a stinger on his trousers, Sir; but itdidnt penetrate. Helost his temper a bit and put down his gun andclouted her head for her. So she said he was no gentleman; and we lether go, thinking she'd had enough, Sir.MITCHENER (groaning). Clouted her head! These women aremaking thearmy as lawless as themselves. Clouted her head indeed! A purely civilprocedure.THE ORDERLY. Any orders, Sir?MITCHENER. No. Yes. No. Yes: send everybody who took part in thisdisgraceful scene to theguardroom. No. Ill address the men on thesubject after lunch. Parade them for that purpose--full kit. Don't grinat me, Sir. Right about face. March. (The Orderly obeys and goes out.)BALSQUITH (taking Mitcheneraffectionately by the arm and walking himpersuasively to and fro). And now, Mitchener, will you come to therescue of the Government and take the command that Old Red has thrownup?MITCHENER. How can I? Youknow that the people are devoted heart andsoul to Sandstone. He is only bringing you \"on the knee,\" as we say inthe army. Could any other living man have persuaded the British nationto accept universal compulsorymilitary service as he did last year?Why, even the Church refused exemption. He is supreme--omnipotent.BALSQUITH. He WAS, a year ago. But ever since your book of reminiscenceswent into two more editions thanhis, and the rush for it led to thewrecking of the Times Book Club, you have become to all intents andpurposes his senior. He lost ground by saying that the wrecking was gotup by the booksellers. It showed jealousy:and the public felt it.MITCHENER. But I cracked him up in my book--you see I could do no lessafter the handsome way he cracked me up in his--and I cant go back on itnow. (Breaking loose from Balsquith.) No: its nouse, Balsquith: he candictate his terms to you.BALSQUITH. Not a bit of it. That affair of the curate--MITCHENER (impatiently). Oh, damn that curate. Ive heard of nothing butthat wretched mutineer for a fortnight past.He is not a curate: whilsthe is serving in the army he is a private soldier and nothing else. Ireally havent time to discuss him further. Im busy. Good morning. (Hesits down at his table and takes up hisletters.)BALSQUITH (near the door). I am sorry you take that tone, Mitchener.Since you do take it, let me tell you frankly that I think LieutenantChubbs-Jenkinson showed a great want of consideration for theGovernmentin giving an unreasonable and unpopular order, and bringing compulsorymilitary service into disrepute. When the leader of the Labor Partyappealed to me and to the House last year not to throw away alltheliberties of Englishmen by accepting universal Compulsory militaryservice without insisting on full civil rights for the soldier--MITCHENER. Rot.BALSQUITH. --I said that no British officer would be capable ofabusingthe authority with which it was absolutely necessary to invest him.MITCHENER. Quite right.BALSQUITH. That carried the House and carried the country--MITCHENER. Naturally.BALSQUITH. --And the feeling wasthat the Labor Party were soullesscads.MITCHENER. So they are.BALSQUITH. And now comes this unmannerly young whelp Chubbs-Jenkinson,the only son of what they call a soda king, and orders a curate to lickhisboots. And when the curate punches his head, you first sentence himto be shot; and then make a great show of clemency by commuting it to aflogging. What did you expect the curate to do?MITCHENER (throwingdown his pen and his letters and jumping up toconfront Balsquith). His duty was perfectly simple. He should haveobeyed the order; and then laid his complaint against the officer inproper form. He would have receivedthe fullest satisfaction.BALSQUITH. What satisfaction?MITCHENER. Chubbs-Jenkinson would have been reprimanded. In fact, heWAS reprimanded. Besides, the man was thoroughly insubordinate. Youcant deny that thevery first thing he did when they took him down afterflogging him was to walk up to Chubbs-Jenkinson and break his jaw. Thatshowed there was no use flogging him; so now he will get two years hardlabor; and servehim right.BALSQUITH. I bet you a guinea he wont get even a week. I bet you anotherthat Chubbs-Jenkinson apologizes abjectly. You evidently havent heardthe news.MITCHENER. What news?BALSQUITH. It turns outthat the curate is well connected. (Mitchenerstaggers at the shock. Speechless he contemplates Balsquith with a wildand ghastly stare; then reels into his chair and buries his face in hishands over the blotter. Balsquithcontinues remorselessly, stoopingover him to rub it in.) He has three aunts in the peerage; and LadyRichmond's one of them; (Mitchener utters a heartrending groan) andthey all adore him. The invitations for sixgarden parties and fourteendances have been cancelled for all the subalterns in Chubbs's regiment.Is it possible you havent heard of it?MITCHENER. Not a word.BALSQUITH (shaking his head). I suppose nobody daredto tell you. (Hesits down carelessly on Mitchener's right.)MITCHENER. What an infernal young fool Chubbs-Jenkinson is, not to knowthe standing of his man better! Why didnt he know? It was his businessto know. Heought to be flogged.BALSQUITH. Probably he will be, by the other subalterns.MITCHENER. I hope so. Anyhow, out he goes! Out of the army! He or I.BALSQUITH. His father has subscribed a million to the party funds.Weowe him a peerage.MITCHENER. I dont care.BALSQUITH. I do. How do you think parties are kept up? Not by thesubscriptions of the local associations, I hope. They dont pay for thegas at the meetings.MITCHENER.Man; can you not be serious? Here are we, face to face withLady Richmond's grave displeasure; and you talk to me about gas andsubscriptions. Her own nephew.BALSQUITH (gloomily). Its unfortunate. He was atOxford with BobbyBassborough.MITCHENER. Worse and worse. What shall we do?Balsquith shakes his head. They contemplate one another in miserablesilence.A VOICE WITHOUT. Votes for Women! Votes for Women!Aterrific explosion shakes the building--they take no notice.MITCHENER (breaking down). You dont know what this means to me,Balsquith. I love the army. I love my country.BALSQUITH. It certainly is ratherawkward.The Orderly comes in.MITCHENER (angrily). What is it? How dare you interrupt us like this?THE ORDERLY. Didnt you hear the explosion, Sir?MITCHENER. Explosion. What explosion? No: I heard no explosion: Ihavesomething more serious to attend to than explosions. Great Heavens: LadyRichmond's nephew has been treated like any common laborer; and whileEngland is reeling under the shock a private comes in and asksme if Iheard an explosion.BALSQUITH. By the way, what was the explosion?THE ORDERLY. Only a sort of bombshell, Sir.BALSQUITH. Bombshell!THE ORDERLY. A pasteboard one, Sir. Full of papers with VotesforWomen in red letters. Fired into the yard from the roof of the AllianceOffice.MITCHENER. Pooh! Go away. Go away.The Orderly, bewildered, goes out.BALSQUITH. Mitchener: you can save the country yet. Put onyourfull-dress uniform and your medals and orders and so forth. Get a guardof honor--something showy--horse guards or something of that sort; andcall on the old girl--MITCHENER. The old girl?BALSQUITH. Well, LadyRichmond. Apologize to her. Ask her leave toaccept the command. Tell her that youve made the curate your adjutant oryour aide-de-camp or whatever is the proper thing. By the way, what canyou makehim?MITCHENER. I might make him my chaplain. I dont see why I shouldnt havea chaplain on my staff. He showed a very proper spirit in punching thatyoung cub's head. I should have done the samemyself.BALSQUITH. Then Ive your promise to take command if Lady Richmondconsents?MITCHENER. On condition that I have a free hand. No nonsense aboutpublic opinion or democracy.BALSQUITH. As far as possible,I think I may say yes.MITCHENER (rising intolerantly and going to the hearthrug). That wont dofor me. Dont be weak-kneed, Balsquith. You know perfectly well that thereal government of this country is and alwaysmust be the government ofthe masses by the classes. You know that democracy is damned nonsense,and that no class stands less of it than the working class. You knowthat we are already discussing the steps that willhave to be taken ifthe country should ever be face to face with the possibility of aLabor majority in parliament. You know that in that case we shoulddisfranchise the mob, and, if they made a fuss, shoot them down.Youknow that if we need public opinion to support us, we can get anyquantity of it manufactured in our papers by poor devils of journalistswho will sell their souls for five shillings. You know--BALSQUITH. Stop. Stop, Isay. I dont know. That is the differencebetween your job and mine, Mitchener. After twenty years in the army aman thinks he knows everything. After twenty months in the Cabinet heknows that he knowsnothing.MITCHENER. We learn from history--BALSQUITH. We learn from history that men never learn anything fromhistory. Thats not my own: its Hegel.MITCHENER. Whos Hegel?BALSQUITH. Dead. A German"}
+{"doc_id":"doc_203","qid":"","text":"The Project Gutenberg EBook of Erdgeist (Earth-Spirit), by Frank WedekindThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-useit under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: Erdgeist (Earth-Spirit)       A Tragedy in Four ActsAuthor: Frank WedekindTranslator: SamuelEliotRelease Date: August 13, 2009 [EBook #29682]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK ERDGEIST (EARTH-SPIRIT) ***Produced by Michael Roe, Alexander Bauer and theOnlineDistributed Proofreading Team at http://www.pgdp.net  [ Transcriber's Note:  Every effort has been made to replicate this text as faithfully as  possible, including inconsistencies in spelling andhyphenation;  changes (corrections of spelling and punctuation) made to the  original text are listed at the end of this text.  Text that was _italic_ in the original is marked with _.  Text that was =spaced= in the originalis marked with =.]                           ERDGEIST                             LULU                      BY FRANK WEDEKIND                ERDGEIST (EARTH-SPIRIT) $1.00                PANDORA'S BOX (InPreparation)                           ERDGEIST                        (Earth-Spirit)                    A Tragedy in Four Acts                              BY                        FRANK WEDEKIND              Translated by Samuel A. Eliot,Jr.                           NEW YORK                   ALBERT AND CHARLES BONI                             1914                       Copyright, 1914                              by                   Albert and Charles Boni  \"I was created out ofranker stuff  By Nature, and to the earth by Lust am drawn.  Unto the spirit of evil, not of good,  The earth belongs. What deities send to us  From heaven are only universal goods;  Their light gives gladness, but makesno man rich;  And in their state possession not obtains.  Therefore, the stone of price, all-treasured gold,  Must from the powers of falsehood be enticed,  The evil race that dwells beneath the day.  Not without sacrificetheir favor is gained,  And no man liveth who from serving them  Hath extricated undefiled his soul.\"CHARACTERS  DR. SCHÃ\u0000N, newspaper owner and editor.  ALVA, his son, a writer.  DR. GOLL, M.D.  SCHWARZ, anartist.  PRINCE ESCERNY, an African explorer.  ESCHERICH, a reporter.  SCHIGOLCH, a beggar.  RODRIGO, an acrobat.  HUGENBERG, a schoolboy (played by a girl.)  FERDINAND, a coachman.  LULU.  COUNTESSGESCHWITZ.  HENRIETTE, a servant.PROLOGUE(At rise, is seen the entrance to a tent, out of which steps ananimal-tamer, with long, black curls, dressed in a white cravat, avermilion dress-coat, white trowsers andwhite top-boots. He carriesin his left hand a dog-whip and in his right a loaded revolver, andenters to the sound of cymbals and kettle-drums.)  Walk in! Walk in to the menagery,  Proud gentlemen and ladies lively andmerry!  With avid lust or cold disgust, the very  Beast without Soul bound and made secondary  To human genius, to stay and see!  Walk in, the show'll begin!--As customary,  One child to each two persons comes infree.  Here battle man and brute in narrow cages  Where one in haught disdain his long whip lashes  And one, with growls as when the thunder rages,  Against the man's throat murderously dashes,--  Where now thecrafty conquers, now the strong,  Now man, now beast, lies cowed the floor along;  The animal rears,--the human on all fours!  One ice-cold look of dominance--  The beast submissive bows before that glance,  And theproud heel upon his neck adores.  Bad are the times! Ladies and gentlemen  Who once before my cage in thronging crescents  Crowded, now honor operas, and then  Ibsen, with their so highly valued presence.  Myboarders here are so in want of fodder  That they reciprocally devour each other.  How well off at the theater is a player,  Sure of the meat upon his ribs, albeit  His frightful hunger may tear him and he it  Andcolleagues' inner cupboards be quite bare!--  Greatness in art we struggle to inherit,  Although the salary never match the merit.  What see you, whether in light or sombre plays?  =House-animals=, whose morals allmust praise,  Who wreak pale spites in vegetarian ways,  And revel in an easy cry or fret,  Just like those others--down in the parquet.  This hero has a head by one dram swirled;  That is in doubt whether his love beright;  A third you hear despairing of the world,--  Full five acts long you hear him wail his plight,  And no man ends him with a merciful sleight!  But the =real= beast, the =beautiful=, =wild= beast,  Your eyes on=that=, _I_, ladies, only feast!  You see the Tiger, that habitually  Devours whatever falls before his bound;  The Bear, so ravenous originally,  Who at a late night-meal sinks dead to ground;  You see the Monkey, littleand amusing,  From sheer ennui his petty powers abusing,--  He has some talent, of all greatness scant,  So, impudently, coquettes with his own want!  Upon my soul, within my tent's a mammal,  See, right behind thecurtain, here,--a Camel!  And all my creatures fawn about my feet  When my revolver cracks--                  (He shoots into the audience.)                                     Behold!  Brutes tremble all around me. I am cold:  The=man= stays cold,--you, with respect, to greet.  Walk in!--You hardly trust yourselves in here?--  Then very well, judge for yourselves! Each sphere  Has sent its crawling creatures to your telling:  Chameleons andserpents, crocodiles,  Dragons, and salamanders chasm-dwelling,--  I know, of course, you're full of quiet smiles  And don't believe a syllable I say.--       (He lifts the entrance-flap and calls into the tent.)  Hi,Charlie!--bring our =Serpent= just this way!  (A stage-hand with a big paunch carries out the actress of =Lulu= in  her Pierrot costume, and sets her down before the animal-tamer.)  She was created to incite tosin,  To lure, seduce, poison--yea, murder, in  A manner no man knows.--My pretty beast,                      (Tickling Lulu's chin.)  Only be =unaffected=, and not pieced  Out with distorted, artificial folly,  Even if thecritics praise thee for 't less wholly.  Thou hast no right to spoil the shape most fitting,  Most =true=, of =woman=, with meows and spitting!  And mind, all foolery and making faces  The =childish simpleness= of=Vice= disgraces.  Thou shouldst--to-day I speak emphatically--  Speak =naturally= and not unnaturally,  For the first principle in every art,  Since earliest times, was =True= and =Plain=, not=Smart=!                       (To the public.)  There's nothing special now to see in her,  But wait and watch what later will occur!  Her strength about the Tiger she coils stricter:  He roars and groans!--Who'll be the finalvictor?--  Hop, Charlie, march! Carry her to her place,  (The stage-hand carries Lulu in his arms; the animal-tamer                    pats her on the hips.)  Sweet innocence--my dearest treasure-case!      (The stage-handcarries Lulu back into the tent.)  And now I'll tell the best thing in the day:  My poll between the teeth of a beast of prey!  Walk in! Tho to be sure the show's not new,  Yet everyone takes pleasure in its view!  Wrenchopen this wild animal's jaws I dare,  And he to bite dares not! My pate's so =fair=,  So =wild=, so =gaily decked=, it wins respect!  I offer it him with confidence unchecked.  One =joke=, and my two templescrack!--but, lo,  The lightning of my eyes I will forego,  Staking my =life= against a =joke=! and throw  My whip, my weapons, down. I am in my skin!  I yield me to this beast!--His name do ye know?  --The honoredpublic! that has just walked in!  (The animal-tamer steps back into the tent, accompanied                by cymbals and kettledrums.)ACT I_A roomy studio. Entrance door at the rear, left. Another door at lowerleft to thebed-room. At centre, a platform for the model, with aSpanish screen behind it and a Smyrna rug in front. Two easels at lowerright. On the upper one is the picture of a young girl's head andshoulders. Against the otherleans a reversed canvas. Below these,toward centre, an ottoman, with a tiger-skin on it. Two chairs alongthe left wall. In the back-ground, right, a step-ladder.__Schön sits on the foot of the ottoman, inspectingcritically thepicture on the further easel. Schwarz stands behind the ottoman, hispalette and brushes in his hands._SCHÃ\u0000N. Do you know, I'm getting acquainted with a brand new side of thelady.SCHWARZ. I havenever painted anyone whose expression changed socontinuously. I could hardly keep a single feature the same two daysrunning.SCHÃ\u0000N. (Pointing to the picture and observing him.) Do you find that init?SCHWARZ. Ihave done everything imaginable to call forth some sort ofquiet in her mood by my conversation during the sittings.SCHÃ\u0000N. Then I understand the difference. (Schwarz dips his brush in theoil and draws it over thefeatures of the face.) Do you think thatmakes it look more like her?SCHWARZ. We can only work with art as scientifically as possible.SCHÃ\u0000N. Tell me--SCHWARZ. (Stepping back.) The color had sunk in pretty well,too.SCHÃ\u0000N. (Looking at him.) Have you ever loved a woman in your life?SCHWARZ. (Goes to the easel, puts a color on it, and steps back on theother side.) The dress isn't made to stand out enough yet. We don'tseethe living body under it.SCHÃ\u0000N. I make no doubt that the workmanship is good.SCHWARZ. If you'll step this way....SCHÃ\u0000N. (Rising.) You must have told her regular ghost-stories.SCHWARZ. As far back as youcan.SCHÃ\u0000N. (Stepping back, knocks down the canvas that was leaning againstthe lower easel.) Excuse me--SCHWARZ. (Picking it up.) That's all right.SCHÃ\u0000N. (Surprised.) What is that?SCHWARZ. Do you knowher?SCHÃ\u0000N. No. (Schwarz sets the picture on the easel. It is of a ladydressed as Pierrot with a long shepherd's crook in her hand.)SCHWARZ. A costume-picture.SCHÃ\u0000N. But, really, you've succeeded with=her=.SCHWARZ. You know her?SCHÃ\u0000N. No. And in that costume--?SCHWARZ. It isn't nearly finished yet. (Schön nods.) What would youhave? While she is posing for me I have the pleasure of entertainingherhusband.SCHÃ\u0000N. What?SCHWARZ. We talk about art, of course,--to complete my good fortune!SCHÃ\u0000N. But how did you make such a charming acquaintance?SCHWARZ. As they're generally made. An ancient,tottering little mandrops in on me here to know if I can paint his wife. Why, of course,were she as wrinkled as Mother Earth! Next day at ten prompt the doorsfly open, and the fat-belly drives this little beauty in beforehim. Ican feel even now how my knees shook. Then comes a sap-green lackey,stiff as a ramrod, with a package under his arm. Where is thedressing-room? Imagine my plight. I open the door there (pointingleft). Justluck that everything was in order. The sweet thing vanishesinto it, and the old fellow posts himself outside as a bastion. Twominutes later out she steps in this Pierrot. (Shaking his head.) Inever saw anything like it. (Hegoes left and stares in at thebedroom.)SCHÃ\u0000N. (Who has followed him with his eyes.) And the fat-belly standsguard?SCHWARZ. (Turning round.) The whole body in harmony with thatimpossible costume as if it hadcome into the world in it! Her way ofburying her elbows in her pockets, of lifting her little feet from therug,--the blood often shoots to my head....SCHÃ\u0000N. One can see that in the picture.SCHWARZ. (Shaking his head.)People like us, you know--SCHÃ\u0000N. Here the model is mistress of the conversation.SCHWARZ. She has never yet opened her mouth.SCHÃ\u0000N. Is it possible?SCHWARZ. Allow me to show the costume to you. (Goes outleft.)SCHÃ\u0000N. (Before the Pierrot.) A devilish beauty. (Before the otherpicture.) There's more depth here. (Coming down stage.) He is stillrather young for his age. (Schwarz comes back with a whitesatincostume.)SCHWARZ. What sort of material is that?SCHÃ\u0000N. (Feeling it.) Satin.SCHWARZ. And all in one piece.SCHÃ\u0000N. How does one get into it then?SCHWARZ. That I can't tell you.SCHÃ\u0000N. (Taking thecostume by the legs.) What enormous trowser-legs!SCHWARZ. The left one she pulls up.SCHÃ\u0000N. (Looking at the picture.) Above the knee!SCHWARZ. She does that entrancingly!SCHÃ\u0000N. And transparentstockings?SCHWARZ. Those have got to be painted, specially.SCHÃ\u0000N. Oh, you can do that.SCHWARZ. And with it all a coquetry!SCHÃ\u0000N. What brought you to that horrible suspicion?SCHWARZ. There are things thatour school-philosophy lets itself neverdream of. (He takes the costume back into his bedroom.)SCHÃ\u0000N. (Alone.) When we sleep....SCHWARZ. (Comes back; looks at his watch.) If you wish to make heracquaintancetoo--SCHÃ\u0000N. No.SCHWARZ. They must be here in a moment.SCHÃ\u0000N. How much longer will the lady have to sit?SCHWARZ. I shall probably have to bear the pains of Tantalus threemonths longer.SCHÃ\u0000N. I meanthe other one.SCHWARZ. I beg your pardon. Three times more at most. (Going to thedoor with him.) If the lady will just leave me the upper part of thedress then....SCHÃ\u0000N. With pleasure. Let us see you at my houseagain soon. ForHeaven's sake! (As he collides in the door-way with Dr. Goll and Lulu.)SCHWARZ. May I introduce ...DR. GOLL. (To Schön.) What are you doing here?LULU. (As Schön kisses her hand in greeting.)You're not going already?DR. GOLL. But what wind blows you here?SCHÃ\u0000N. I've been looking at the picture of my bride.LULU. (Coming forward.) Your bride is here?DR. GOLL. So you're having work done here,too?LULU. (Before the upper picture.) Look at it! Enchanting! Entrancing!DR. GOLL. (Looking round him.) Have you got her hidden somewhere roundhere?LULU. So that is the sweet young prodigy who's made a newperson out ofyou....SCHÃ\u0000N. She sits in the afternoon mostly.DR. GOLL. And you don't tell anyone about it?LULU. (Turning round.) Is she really so solemn?SCHÃ\u0000N. Probably the after-effects of the seminary still, dearlady.DR. GOLL. (Before the picture.) One can see that you have beentransformed profoundly.LULU. But now you mustn't let her wait any longer.SCHÃ\u0000N. In a fortnight I think the engagement will come out.DR. GOLL.(To Lulu.) Let's lose no time. Hop!LULU. (To Schön.) Just think, we came at a trot over the new bridge. Iwas driving, myself.DR. GOLL. (As Schön prepares to leave.) No, no. We two will talk somemore later. Getalong, Nellie. Hop!LULU. Now you're going to talk about me!DR. GOLL. Our Apelles is already wiping his brushes.LULU. I had imagined it would be much more amusing.SCHÃ\u0000N. But you have always the satisfaction ofpreparing for us thegreatest and rarest pleasure.LULU. (Going left.) Oh, just wait!SCHWARZ. (Before the bedroom door.) If madame will be so kind....(Shuts the door after her and stands in front of it.)DR. GOLL. Ichristened her Nellie, you know, in our marriage-contract.SCHÃ\u0000N. Did you?--Yes.DR. GOLL. What do you think of it?SCHÃ\u0000N. Why not call her rather Mignon?DR. GOLL. That would have been good, too. I didn't thinkof that.SCHÃ\u0000N. Do you consider the name so important?DR. GOLL. Hm.... You know, I have no children.SCHÃ\u0000N. But you've only been married a couple of months.DR. GOLL. Thanks, I don't want any.SCHÃ\u0000N.(Having taken out his cigarette-case.) Have a cigarette?DR. GOLL. (Helps himself.) I've plenty to do with this one. (ToSchwarz.) Say, what's your little danseuse doing now?SCHÃ\u0000N. (Turning round on Schwarz.) Youand a danseuse?SCHWARZ. The lady was sitting for me at that time only as a favor. Imade her acquaintance on a flying trip of the Cecilia Society.DR. GOLL. (To Schön.) Hm.... I think we're getting a changeofweather.SCHÃ\u0000N. The toilet isn't going so quickly, is it?DR. GOLL. It's going like lightning! Woman has got to be a virtuoso inher job. So must we all, each in his job, if life isn't to turn tobeggary. (Calls.) Hop,Nellie!LULU. (Inside.) Just a second!DR. GOLL. (To Schön.) I can't get onto these blockheads. (Referring toSchwarz.)SCHÃ\u0000N. I can't help envying them. These blockheads know nothing holierthan an altar-cloth, andfeel richer than you and me with 30,000-markincomes. Besides, you can't be judge of a man who from childhood haslived from palette to mouth. Try to get at his finances: it's anarithmetic example! I haven't the moralcourage, and one can easilyburn one's fingers at it, too.LULU. (As Pierrot, steps out of the bed-room.) Here I am!SCHÃ\u0000N. (Turns; after a pause.) Superb!LULU. (Nearer.) Well?SCHÃ\u0000N. You put shame on the boldestfancy.LULU. How do you like me?SCHÃ\u0000N. A picture before which art must despair.DR. GOLL. Don't you think so, too?SCHÃ\u0000N. (To Lulu.) Have you any notion what you do?LULU. I'm perfectly possessed ofmyself!SCHÃ\u0000N. Then you might be a little more discreet.LULU. But I'm only doing what's my duty.SCHÃ\u0000N. You are powdered?LULU. What do you take me for!DR. GOLL. I've never seen such a white skin as she'sgot. I've told ourRaphael here, too, to do just as little with the flesh tints aspossible. For once, I can't get enthusiastic about the modernart-nonsense.SCHWARZ. (By the easels, preparing his paints.) At any rate,it'sthanks to impressionism that present-day art can stand up beside theold masters without blushing.DR. GOLL. Oh, it can do quite well for a bit of butcher's work.SCHÃ\u0000N. For Heaven's sake don't get excited! (Lulufalls on Goll's neckand kisses him.)DR. GOLL. They can see your undershirt. You must pull it lower.LULU. I would soonest have left it off. It only bothers me.DR. GOLL. He should be able to paint it out.LULU. (Taking theshepherd's crook that leans against the Spanishscreen, and mounting the platform, to Schön.) What would you say now,if you had to stand at attention for two hours?SCHÃ\u0000N. I'd sell my soul to the devil for thechance to exchange withyou.DR. GOLL. (Sitting, left.) Come over here. Here is my post ofobservation.LULU. (Plucking her left trowser-leg up to the knee, to Schwarz.) So?SCHWARZ. Yes....LULU. (Plucking it a thoughthigher.) So?SCHWARZ. Yes, yes....DR. GOLL. (To Schön who has seated himself on the chair next him, witha gesture.) From this place I find her still more attractive.LULU. (Without stirring.) I beg pardon! I am equallyattractive on allsides.SCHWARZ. (To Lulu.) The right knee further forward, please.SCHÃ\u0000N. (With a gesture.) The body does show finer lines perhaps.SCHWARZ. The light to-day can be borne at least half way.DR.GOLL. Oh, you must throw on lots of it! Hold your brush a bitlonger.SCHWARZ. Certainly, Dr. Goll.DR. GOLL. Treat her as a piece of still-life.SCHWARZ. Certainly, Doctor. (To Lulu.) You used to hold your head aweemite higher, Mrs. Goll.LULU. (Raising her head.) Paint my lips a little open.SCHÃ\u0000N. Paint snow on ice. If you get warm doing that, then instantlyyour art gets inartistic!SCHWARZ. Certainly, Doctor.DR. GOLL. Art,you know, must so reproduce nature that one can find atleast some =spiritual= enjoyment in it!LULU. (Opening her mouth a little, to Schwarz.) So--look. I'll hold ithalf opened, so.SCHWARZ. As soon as the sun comes,the wall opposite throws warmreflections in here.DR. GOLL. (To Lulu.) You must keep your position just as if ourVelasquez here didn't exist at all.LULU. Well, a painter =isn't= a man at all, anyway.SCHÃ\u0000N. I don'tthink you ought to judge the whole profession by justone famous exception.SCHWARZ. (Stepping back from the easel.) I should have liked to havehad to hire a different studio last fall.SCHÃ\u0000N. (To Goll.) What Iwanted to ask you--have you seen the littleMurphy girl yet as a Peruvian pearl-fisher?DR. GOLL. I see her to-morrow for the fourth time. Prince Polossov tookme. His hair has already got dark yellow again withdelight.SCHÃ\u0000N. So you find her quite fabulous too.DR. GOLL. Who ever wants to judge of that beforehand?LULU. I think someone knocked.SCHWARZ. Pardon me a moment. (Goes and opens the door.)DR. GOLL. (ToLulu.) You can safely smile at him with less bashfulness!SCHÃ\u0000N. He makes nothing of it.DR. GOLL. And if he did!--What are we two sitting here for?ALVA SCHÃ\u0000N. (Entering, still behind the Spanish screen.) May onecomein?SCHÃ\u0000N. My son!LULU. Oh! It's Mr. Alva!DR. GOLL. Don't mind. Just come along in.ALVA. (Stepping forward, shakes hands with Schön and Goll.) Glad to seeyou. (Turning toward Lulu.) Do I see a-right? Oh, ifonly I couldengage you for my title part!LULU. I don't think I could dance nearly well enough for your show!ALVA. But you do have a dancing-master such as cannot be found on anystage in Europe.SCHÃ\u0000N. But whatbrings you here?DR. GOLL. Maybe you're having somebody or other painted here, too, insecret!ALVA. (To Schön.) I wanted to take you to the dress rehearsal.DR. GOLL. (As Schön rises.) Do you have 'em danceto-day in fullcostume?ALVA. Of course. Come along, too. In five minutes I must be on thestage. (To Lulu.) Unhappy!DR. GOLL. I've forgotten--what's the name of your ballet?ALVA. Dalailama.DR. GOLL. I thought =he="}
+{"doc_id":"doc_204","qid":"","text":"<html><head><title>Taxi Driver Script at IMSDb.</title><meta name=\"description\" content=\"Taxi Driver script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Taxi Driver script, TaxiDriver movie script, Taxi Driver film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\"rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><html><head><script><b><!--</b><b>/*</b>Break-out-of-frames scriptBy Website Abstraction (http://wsabstract.com)Over 400+ freescripts here!Above notice MUST stay entact for use<b>*/</b>if (window!= top)top.location.href=location.href<b>// --></b></script></head><pre><b>                         TAXIDRIVER</b>                             by                        Paul Schrader<b>                                                PROPERTY OF:</b><b>                                       </b><b>&#12;</b>&quot;The whole conviction of my lifenow rests upon the beliefthat loneliness, far from being a rare and curiousphenomenon, is the central and inevitable fact of humanexistence.&quot;--Thomas Wolfe,&quot;God's Lonely Man&quot;TRAVIS BICKLE, age26, lean, hard, the consummate loner. Onthe surface he appears good-looking, even handsome; he has aquiet steady look and a disarming smile which flashes fromnowhere, lighting up his whole face. But behind thatsmile,around his dark eyes, in his gaunt cheeks, one can see theominous stains caused by a life of private fear, emptinessand loneliness. He seems to have wandered in from a landwhere it is always cold, a countrywhere the inhabitantsseldom speak. The head moves, the expression changes, butthe eyes remain ever-fixed, unblinking, piercing empty space.Travis is now drifting in and out of the New York City nightlife, a darkshadow among darker shadows.  Not noticed, noreason to be noticed, Travis is one with his surroundings.He wears rider jeans, cowboy boots, a plaid western shirtand a worn beige Army jacket with a patch reading,&quot;KingKong Company 1968-70&quot;.He has the smell of sex about him: Sick sex, repressed sex,lonely sex, but sex nonetheless. He is a raw male force,driving forward; toward what, one cannot tell. Thenonelooks closer and sees the evitable. The clock sprig cannotbe wound continually tighter. As the earth moves toward thesun, Travis Bickle moves toward violence.FILM OPENS on EXT. of MANHATTAN CABGARAGE.  Weather-beatensign above driveway reads, &quot;Taxi Enter Here&quot;. Yellow cabsscuttle in and out. It is WINTER, snow is piled on thecurbs, the wind is howling.INSIDE GARAGE are parked row upon rowof multi-colored taxis.Echoing SOUNDS of cabs idling, cabbies talking. Steamybreath and exhaust fill the air.INT. CORRIDOR of cab company offices. Lettering on ajar doorreads:<b>                       PERSONALOFFICE</b>                     Marvis Cab Company                   Blue and White Cab Co.                          Acme Taxi                  Dependable Taxi Services                       JRB Cab Company                     Speedo TaxiService<b>&#12;</b><b>                                                            2.</b>SOUND of office busywork: shuffling, typing, arguing.PERSONAL OFFICE is a cluttered disarray. Sheets with heading&quot;Marvis,B&amp;W, Acme&quot; and so forth are tacked to crumblingplaster wall: It is March. Desk is cluttered with forms,reports and an old upright Royal typewriter.Dishelved middle-aged New Yorker looks up from the desk.WeCUT IN to ongoing conversation between the middle-agedPERSONNEL OFFICER and a YOUNG MAN standing in front on hisdesk.The young man is TRAVIS BICKLE. He wears his jeans, bootsand Army jacket. He takesa drag off his unfiltered cigarette.The PERSONNEL OFFICER is beat and exhausted: he arrives atwork exhausted. TRAVIS is something else again. His intensesteely gaze is enough to jar even the PERSONNEL OFFICERoutof his workaday boredom.<b>                         PERSONNEL OFFICER (O.S.)</b>            No trouble with the Hack Bureau?<b>                         TRAVIS (O.S.)</b>            No Sir.<b>                         PERSONNELOFFICER (O.S.)</b>            Got your license?<b>                         TRAVIS (O.S.)</b>            Yes.<b>                         PERSONNEL OFFICER</b>            So why do you want to be ataxi            driver?<b>                         TRAVIS</b>            I can't sleep nights.<b>                         PERSONNEL OFFICER</b>            There's porno theatres for that.<b>                         TRAVIS</b>            Iknow. I tried that.The PERSONNEL OFFICER, though officious, is mildly probingand curious.  TRAVIS is a cipher, cold and distant. Hespeaks as if his mind doesn't know what his mouth issaying.<b>                         PERSONNEL OFFICER</b>            So whatja do now?<b>&#12;</b><b>                                                            3.</b><b>                         TRAVIS</b>            I ride around nightsmostly.            Subways, buses. See things. Figur'd            I might as well get paid for it.<b>                         PERSONNEL OFFICER</b>            We don't need any misfits around            here, son.A thin smile cracksalmost indiscernibly across TRAVIS' lips.<b>                         TRAVIS</b>            You kiddin? Who else would hack            through South Bronx or Harlem at            night?<b>                         PERSONNELOFFICER</b>            You want to work uptown nights?<b>                         TRAVIS</b>            I'll work anywhere, anytime. I know            I can't be choosy.<b>                         PERSONNELOFFICER</b>                   (thinks a moment)            How's your driving record?<b>                         TRAVIS</b>            Clean. Real clean.                   (pause, thin smile)            As clean as myconscience.<b>                         PERSONNEL OFFICER</b>            Listen, son, you gonna get smart,            you can leave right now.<b>                         TRAVIS</b>                   (apologetic)            Sorry, sir. Ididn't mean that.<b>                         PERSONNEL OFFICER</b>            Physical? Criminal?<b>                         TRAVIS</b>            Also clean.<b>                         PERSONNELOFFICER</b>            Age?<b>                         PERSONNEL OFFICER</b>            Twenty-six.<b>                         PERSONNELOFFICER</b>            Education?<b>&#12;</b><b>                                                            4.</b><b>                         TRAVIS</b>            Some. Here and there.<b>                         PERSONNELOFFICER</b>            Military record?<b>                         TRAVIS</b>            Honorable discharge. May 1971.<b>                         PERSONNEL OFFICER</b>            Youmoonlightin?<b>                         TRAVIS</b>            No, I want long shifts.<b>                         PERSONNEL OFFICER</b>                   (casually, almost to himself)            We hire a lot of moonlightershere.<b>                         TRAVIS</b>            So I hear.<b>                         PERSONNEL OFFICER</b>                   (looks up at Travis)            Hell, we ain't that much fussy            anyway. There's always openingon            one fleet or another.                   (rummages through his                   drawer, collecting                   various pink, yellow                   and white forms)            Fill out these forms and give them            tothe girl at the desk, and leave            your phone number. You gotta phone?<b>                         TRAVIS</b>            No.<b>                         PERSONNEL OFFICER</b>            Well then check backtomorrow.<b>                         TRAVIS</b>            Yes, Sir.<b>                                            CUT TO:</b><b>CREDITS</b>CREDITS appear over scenes from MANHATTAN NIGHTLIFE. Thesnow has melted, it isspring.A rainy, slick, wet miserable night in Manhattan's theatredistrict.<b>&#12;</b><b>                                                            5.</b>Cabs and umbrellas are congested everywhere; well-dressedpedestrians arepushing, running, waving down taxis. Thehigh-class theatre patrons crowding out of the midtown showsare shocked to find that the same rain that falls on thepoor and common is also falling on them.The unremittingSOUNDS of HONKING and SHOUTING play againstthe dull pitter-patter of rain. The glare of yellow, red andgreen lights reflects off the pavements and autos.&quot;When it rains, the boss of the city is the taxidriver&quot; -so goes the cabbie's maxim, proven true by this particularnight's activity. Only the taxis seem to rise above thesituation: They glide effortlessly through the rain andtraffic, picking up whom they choose,going where they please.Further uptown, the crowds are neither so frantic nor soglittering.  The rain also falls on the street bums and agedpoor. Junkies still stand around on rainy street corners,hookers still prowl rainysidewalks. And the taxis servicethem too.All through the CREDITS the exterior sounds are muted, as ifcoming from a distant room or storefront around the corner.The listener is at a safe but privileged distance.Afterexamining various strata of Manhattan nightlife,CAMERA begins to CLOSE IN on one particular taxi, and it isassumed that this taxi is being driven by TRAVIS BICKLE.<b>ENDCREDITS</b><b>                                            CUT TO:</b>Travis's yellow taxi pulls in foreground. On left rear doorare lettered the words &quot;Dependable Taxi Service&quot;.We are somewhere on the upperfifties on Fifth Ave. The rainhas not let up.An ELDERLY WOMAN climbs in the right rear door, crushing herumbrella.  Travis waits a moment, then pulls away from thecurb with a start.Later, we see Travis' taxi speedingdown the rain-slickedavenue. The action is periodically accompanied by Travis'narration. He is reading from a haphazard personal diary.<b>                         TRAVIS (V.O.)</b>                   (monotone)            April10, 1972. Thank God for the            rain which has helped wash the            garbage and trash off the sidewalks.<b>&#12;</b><b>                                                            6.</b>TRAVIS' POV of sleazy midtownside street: Bums, hookers,junkies.<b>                         TRAVIS (V.O.)</b>            I'm working a single now, which            means stretch-shifts, six to six,            sometimes six to eight in the a.m.,            six days aweek.A MAN IN BUSINESS SUIT hails Travis to the curb.<b>                         TRAVIS (V.O.)</b>            It's a hustle, but it keeps me busy.            I can take in three to three-fifty            a week, more withskims.MAN IN BUSINESS SUIT, now seated in back seat, speaks up:<b>                         MAN IN BUSINESS SUIT</b>                   (urgent)            Is Kennedy operating, cabbie? Is it            grounded?On seat next toTRAVIS is half-eaten cheeseburger and orderof french fries. He puts his cigarette down and gulps as heanswers:<b>                         TRAVIS</b>            Why should it be grounded?<b>                         MAN INBUSINESS SUIT</b>            Listen - I mean I just saw the            needle of the Empire State Building.            You can't see it for the fog!<b>                         TRAVIS</b>            Then it's a good guess it'sgrounded.<b>                         MAN IN BUSINESS SUIT</b>            The Empire State in fog means            something, don't it? Do you know,            or don't you? What is yournumber,            cabbie?<b>                         TRAVIS</b>            Have you tried the telephone?<b>                         MAN IN BUSINESS SUIT</b>                   (hostile, impatient)            There isn't time for that. Inother            words, you don't know.<b>                         TRAVIS</b>            No.<b>&#12;</b><b>                                                            7.</b><b>                         MAN IN BUSINESS SUIT</b>            Well,"}
+{"doc_id":"doc_205","qid":"","text":"<html><head><title>Man on the Moon Script at IMSDb.</title><meta name=\"description\" content=\"Man on the Moon script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Man on theMoon script, Man on the Moon movie script, Man on the Moon film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX,FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>Man on the Moon      Man on the Moon (1999)      by Scott Alexander and Larry Karaszewski.<b>FADE IN:</b><b>INT. VOID -DAY</b>Standing in a nonexistent set is ANDY KAUFMAN, looking a bitnervous.  Wide-eyed, tentative, he stares at us with aneedy, unsettling cuteness.  His hair is slicked-down, andhe wears the \"FRIENDLY WORLD\"costume from the Andy Kaufmanspecial.Finally, Andy speaks -- in a peculiar FOREIGN ACCENT.<b> ANDY (AS FOREIGN MAN)</b> Hallo.  I am Andy.  Welcoom to my movie. (beat; he gets upset) I hoped the story ofmy life would be nice...but it turned out terrible!  It is all LIES!  Tings are mixed up... real people I knew play different people.  WHAT A MESS! So I broke into Universal and cut out the junk.  Now it's much shorter.  Infact, this is the end of the movie.  So tanks for comink! Bye-bye!Andy puts a needle on a phonograph, and swelling CLOSINGCREDITS MUSIC starts to play.  FINAL CREDITS roll.Andy stands frozen, awkwardly lookingat the audience.Every time the music ends he picks up the needle andrestarts the music.  He does that as many times as thecredits require.Finally, CREDITS END.  And then--a sly smile.  He leans in.DROPS HISACCENT and WHISPERS.<b> ANDY (AS REGULAR VOICE)</b> Okay!  Just my friends are left.  I wanted to get rid of those other people... they would have laughed in the wrong places. (beat) I was only kidding aboutthe movie... it's actually PRETTY GOOD! It shows everything... from me as a little boy until my death -- (his eyes pop; he covers his mouth) Oops!!  I wasn't supposed to talk about that!  Oh.  Eh, uh, we better justbegin.  It starts back in Great Neck, Long Island...Andy turns to a primitive 16mm PROJECTOR and turns it on.WHIR!  He smiles at the flickering light.<b> ANDY</b> Oh, yes.  I remember it well...We PUSH INTO thewhite light.  It fills our frame, blazingwhiter, whiter...<b>       DISSOLVE TO:</b><b>EXT. KAUFMAN HOUSE - 1957 - DAY</b>A BLACK AND WHITE image slowly becomes COLOR.  Great Neck,1957.  An upper-classJewish neighborhood.  In the street,crewcut BOYS play t-ball, laughing and shouting.  A fatconvertible pulls up to the smallest house, and STANLEYKAUFMAN, 40, gets out.  Still in his suit, he's a well-meaning slave tohis job -- tired, responsible.Stanley goes over to admire the t-ball game.  At bat is hisson MICHAEL, 6, a natural charmer.  Michael swings -- crack!-- and hits a solid single.  Stanley smiles.<b> STANLEY</b> That's myboy!  Good swingin', kiddo. (warm beat; then a look) Hey -- Michael... where's your brother?<b> MICHAEL</b> He's inside.Instantly -- Stanley's mood turns black.  He frowns angrily,then snatches his briefcase andmarches in.<b>INT. KAUFMAN HOUSE, KITCHEN - 1957 - DAY</b>Baby CAROL is crying.  Mom JANICE, 35, quickly peelscarrots, trying to get dinner made.  Stanley marches past.<b> STANLEY</b> Is he in hisroom?<b> JANICE</b> Of course he's in his room. (aggravated) All his \"friends\" are in there.Stanley glowers.  He huffs upstairs.<b>INT. KAUFMAN HOUSE, HALLWAY - 1957 - DAY</b>Stanley hurries up to Andy'sshut door.  We hear little Andydoing VOICES.<b> ANDY (O.S.)</b> (as WORRIED GIRL) But professor, why are the monsters growing so big? (now as BRITISH<b> PROFESSOR)</b> It's something in the junglewater. I need to crack the secret code.Stanley rolls his eyes.  He opens the door...<b>INT. KAUFMAN HOUSE, ANDY'S ROOM - 1957 - DAY</b>...revealing ANDY, 8, performing for the wall.  Andy ishappy andenthusiastic... as long as he's acting.<b> ANDY</b> (as BRITISH<b> PROFESSOR)</b> Maybe I should talk to the natives. (as dancing NATIVES) Shoom boom boo ba!  Shoom boom boo ba --<b> STANLEY</b>Andy!<b> ANDY</b> (startled) Oh!The boy suddenly turns off, becoming introverted... awkward.Frustrated, Stanley stares at his son.<b> STANLEY</b> Andy, this has to stop.  Our house isn't a televisionstation.  There is not a camera in that wall.Andy glances over at the wall.  Hmm. STANLEY (cont'd) (trying to cope) Son... listen to me.  It isn't healthy.  You should be outside, playing sports.<b> ANDY</b> But I'vegot a sports show. Championship wrestling, at five.<b> STANLEY</b> (he blows his top) You know that's not what I meant! Look, I'm gonna put my foot down! No more playing alone.  You wanna perform, you GOTTAhave an audience!<b> ANDY</b> (he points at the wall) B-but I have them.<b> STANLEY</b> No!  That is NOT an audience!  That is PLASTER!  An audience is people made of flesh!  They -- live and breathe!  Gotit?!Andy thinks, considering his options.  Then, he nods.<b> CUT TO:</b><b>INT. KAUFMAN HOUSE, FAMILY ROOM - 1957 - LATER THAT DAY</b>Baby Carol sits in her crib.  Andy's hands suddenly YANKherout.<b>INT. KAUFMAN HOUSE, ANDY'S ROOM - 1957 - DAY</b>Andy hurries in and plops Carol down on the floor.  Shedutifully sits there, deadpan.Andy returns to the center of the room.  He resumeshisshow.<b> ANDY</b> (as KIDDIE SHOW<b> HOST)</b> And now, boys and girls!  It's time for... TV Fun House! (he makes an<b> APPLAUSE SOUND)</b> Hi, everybody!  Are you ready for a singalong?  I'll saythe animal, and you make his sound!  Okay...?  Okay! (he starts to SING) \"Oh, the cow goes.........\"Carol stares, unblinking.  Then --<b> CAROL</b> Moo.<b> ANDY</b> (he smiles, pleased) \"And the doggoes......\"<b> CAROL</b><b> WOOF!</b><b> ANDY</b> \"And the cat says......\"<b>       DISSOLVE TO:</b><b>INT. NY NIGHTCLUB - 1975 - NIGHT</b>TIGHT on ANDY, now GROWN UP.  26-years-old, stillperformingthe song.<b> DRUNK AUDIENCE</b><b> MEOW!!</b>WIDE - It's a small, hip New York nightclub.<b> ANDY</b> \"And the bird says...\"<b> DRUNK AUDIENCE</b><b> TWEET!!</b><b> ANDY</b>\"And the lion goes...\"<b> DRUNK AUDIENCE</b><b> ROAR!!</b><b> ANDY</b> \"And that's the way it goes!\" (he grins) Thank you.  Goodbye!Andy waves and bows.  There's faint scattered applause.Andysighs.  An irritated MANAGER steps onstage.  He shootsAndy a disgruntled look, then takes the mike.<b> MANAGER</b> The comedy stylings of Andy Kaufman, Ladies and Gentlemen!In the b.g., Andy starts packingup his props: Hand puppets,conga drums, a phonograph... it all goes into a big bulkycase.<b>   CUT TO:</b><b>INT. NY NIGHTCLUB - 1975 - LATER THAT NIGHT</b>The club is empty.  At the bar, the managercleans up.  Andyeagerly comes over.  Offstage, his presence is soft, placid-- his voice barely above a whisper.<b> ANDY</b> So, Mr. Besserman, same slot tomorrow...?<b> MANAGER</b> (awkward) Eh, I dunno...Andy.  I'm... thinkin' of letting you go...<b> ANDY</b> You're firing me?? (beat) You don't even pay me!<b> MANAGER</b> Look -- I don't wanna seem insulting.  But... your act is like amateur hour: Singalongs...puppets... playing records...A stunned beat.  Andy is hurt.<b> ANDY</b> What do you want?  \"Take my wife, please\"??<b> MANAGER</b> Sure!  Comedy!  Make jokes about the traffic.  Do impressions.  Maybe alittle blue material...<b> ANDY</b> I don't swear.  I -- I don't do what everyone else does!<b> MANAGER</b> Well, everyone else gets this place cookin'!  Pal, it's hard for me to move the booze when you're singin'\"Pop Goes The Weasel.\"Andy stares, disheartened.    MANAGER (cont'd) I'm sorry.  You're finished here.An uncomfortable beat -- and then Andy starts crying.The manager is dumbfounded.  He doesn't know what todo.Tears are rolling pitifully down Andy's cheeks.  The manageris confused -- totally disoriented.  Shamed, Andy covers hisface, then runs out.  Silence.  The manager stares afterhim... having no idea what justhappened.<b>EXT. NY NIGHTCLUB - 1975 - NIGHT</b>Sobbing Andy bursts out the door.  He steps onto thesidewalk -- and IMMEDIATELY STOPS CRYING.  Just like that.Andy lifts his big case and startswalking.  Andy shakes hishead angrily.He turns down a dark street, hurrying alone through anunsavory New York neighborhood.  But then... TWO MENappear... silently approaching.  Andy stops uncertainly --debatingwhether to turn around.  But in that second -- thethugs are upon him, glaring menacingly.<b> THUG #1</b> Give us your wallet.Andy stares fearfully.  An anxious moment.  He thinks...considering his options.Then,he suddenly stammers in a thick FOREIGN ACCENT.<b> ANDY (AS FOREIGN MAN)</b> I -- doo not unterstand!!<b> THUG #1</b> Give us your money!<b> ANDY (AS FOREIGN MAN)</b> What??  Whatmooney?  Abu daboo!  I do not have mooney!The thugs glance at each other. ANDY (AS FOREIGN MAN) (cont'd) Pleaze!  I just move to America yezterday!  I do not know!<b> THUG #1</b> What's in the case?<b>ANDY (AS FOREIGN MAN)</b> NO!  Eeet, eet is just perzonal trifles from my homeland --<b> THUG #2</b> Shut up!  Gimme that thing!The guy snatches the case.  He impulsively BREAKS thelock... and clothes,congas and records fall out.The thugs are dismayed.<b> THUG #1</b> Goddamn immigrants!<b> THUG #2</b> This guy's pathetic.  Let's go.Harsh glances.  They angrily turn and leave.Andy takes a nervous breath,then starts picking his thingsoff the street.  He shouts after the guys:<b> ANDY (AS FOREIGN MAN)</b> Tank you veddy much...!<b> CUT TO:</b><b>EXT. NY IMPROV - 1975 - NIGHT</b>The Improv, the biggestcomedy club around.  People arelined up, waiting.  The man strides up -- GEORGE SHAPIRO, aHollywood talent manager.  George is old school: Bronxaccent, shmooze and a hug... but with a surprising sweetnessthat isquite disarming.  A DOORMAN sees him, grins, andwaves George in.<b>INT. NY IMPROV, BAR - 1975 - NIGHT</b>The bar is packed with COMICS and SHOW BIZ TYPES.  A fewturn and smile -- \"George!\"  \"Hey,George!\"  George takes acouple hands, whispers to someone else, then drifts intothe...<b>INT. NY IMPROV, SHOWROOM - 1975 - NIGHT</b>Where the show's in progress.  Owner BUDD FRIEDMAN seesGeorge andgives him a bear-hug.  Then he hustles George toa table.George sits -- and gives the stage his undivided attention.Up there is a WISEASS COMIC.<b> WISEASS COMIC</b> So I'm getting my mother-in-law a specialChristmas present: A pre- paid funeral!  The mortician asked me if I wanted her buried, embalmed or cremated.  I said, \"Make it all three!  I'm not takin' any chances!\" (the crowd LAUGHS) Thank you.  Good night!Thecomic waves and exits.  APPLAUSE.  George politelyclaps.  A PIANO PLAYER jumps in with an upbeat show tune.We think there's a break... when Andy suddenly, awkwardlysteps on stage.  He is in character as ForeignMan.  Pinkjacket, tie, hair slicked back, frightened like a deer inheadlights.  He puts down his big case, pulls out variousjunk, and arranges it on chairs.The room hushes, uncertain as to who the hell this guy is.Andytentatively grabs the mike.  The stagefright is agony.<b> ANDY (AS FOREIGN MAN)</b> Now?  Now...? (looking around) Tank you veddy much.  I am very happy to be here.  I tink -- this is a very beautiful place.  Butone ting I do not like is too much traffic.  Tonight I had to come from, eh, and the freeway, it was so much traffic.  It took me an hour and a half to get here!Andy chuckles, as if this were a punchline.Silence.  The crowdis baffled. ANDY (AS FOREIGN MAN) (cont'd) But -- talking about the terrible things: My wife.  Take my wife, please take her.Yikes.  A few NERVOUS LAUGHS.Andy gestures, as if they got the joke. ANDY (AS FOREIGN"}
+{"doc_id":"doc_206","qid":"","text":"<html><head><title>Lord of the Rings: Fellowship of the Ring, The Script at IMSDb.</title><meta name=\"description\" content=\"Lord of the Rings: Fellowship of the Ring, The script at the Internet Movie ScriptDatabase.\"><meta name=\"keywords\" content=\"Lord of the Rings: Fellowship of the Ring, The script, Lord of the Rings: Fellowship of the Ring, The movie script, Lord of the Rings: Fellowship of the Ring, The filmscript\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Filmscripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><scripttype=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript';ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0];s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>    <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\"title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center></td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>BLACK SCREENSUPER: New Line Cinema PresentsSUPER: A Wingnut Films Production<b>BLACK CONTINUES... ELVISH SINGING....AWOMAN'S VOICE IS</b>whispering, tinged with SADNESS and REGRET:<b>                    GALADRIEL (V.O.)</b>              (Elvish: subtitled)          \"I amar prestar sen: han mathon ne nen,          han mathon nechae...a han noston ned          wilith.\"              (English:)          The world is changed: I feel it in the          water, I feel it in the earth, I smell it          in the air...Much that once was is lost,          for none now live whoremember it.<b>SUPER: THE LORD OF THE RINGS</b><b>EXT. PROLOGUE -- DAY</b>IMAGE: FLICKERING FIRELIGHT. The NOLDORIN FORGE in EREGION.MOLTEN GOLD POURS from the lip of an IRONLADLE.<b>                    GALADRIEL (V.O.)</b>          It began with the forging of the Great          Rings.IMAGE: THREE RINGS, each set with a single GEM, are receivedby the HIGH ELVES-GALADRIEL, GIL-GALADand CIRDAN.<b>                    GALADRIEL (V.O.) (CONT'D)</b>          Three were given to the Elves, immortal,          wisest...fairest of all beings.IMAGE: SEVEN RINGS held aloft in triumph by the DWARFLORDS.<b>                    GALADRIEL (V.O.) (CONT'D)</b>          Seven to the Dwarf Lords, great miners          and craftsmen of the mountain halls.IMAGE: NINE RINGS clutched tightly by the KINGS OF MEN...asifholding-close a precious secret.<b>                    GALADRIEL (V.O.) (CONT'D)</b>          And Nine...nine rings were gifted to the          race of Men who, above all else, desire          power.<b>                    (MORE)</b><b>                                                   (CONTINUED)</b><b></b><b>                                                              2.</b><b>CONTINUED:</b><b>                    GALADRIEL (V.O.) (CONT'D)</b>          Forwithin these rings was bound the          strength and will to govern each race.<b>                                                   FADE TO BLACK</b><b>                    GALADRIEL (V.O.) (CONT'D)</b>          But they were all ofthem deceived.FADE UP: An ancient PARCHMENT MAP of MIDDLE EARTH...movingslowly across the MAP as if drawn by an unseen force theCAMERA closes in on a PLACE NAME...MORDOR.<b>                    GALADRIEL(V.O.) (CONT'D)</b>          ...for another ring was made.TEASING SHOTS: SAURON forging the ONE RING in the CHAMBERS of<b>SAMMATH NAUR.</b><b>                    GALADRIEL (V.O.) (CONT'D)</b>          Inthe land of Mordor, in the fires of          Mount Doom, the Dark Lord Sauron forged          in secret a Master Ring to control all          others.IMAGE: The ONE RING reflecting FIERY LAVA!   FIRE WRITINGemerges on theplain BAND OF GOLD.<b>                    GALADRIEL (V.O.) (CONT'D)</b>          ...and into this Ring he poured his          cruelty, his malice and his will to          dominate all life.IMAGE: THE ONE RING falls throughSPACE and into flames...<b>                    GALADRIEL (V.O.) (CONT'D)</b>          One Ring to rule them all...IMAGE: A GREAT SHADOW falls across the MAP...closing inaround the realm of GONDOR...<b>IMAGE:SCREAMING VILLAGERS, MEN, WOMEN, AND CHILDREN, RUN</b>from their homes, pursued by ARMIES OF HIDEOUS ORCS.<b>                    GALADRIEL</b>          One by one the Free lands of Middleearth          fell to the power of the ring.<b>                                                   FADE TO BLACK</b><b>                    GALADRIEL (V.O.) (CONT'D)</b>          But there were some...whoresisted.<b>                                                    (CONTINUED)</b><b></b><b>                                                              3.</b><b>CONTINUED:</b>FADE UP: ISILDUR, son of the KING OF GONDOR, leads anARMYACROSS the PLAINS OF DAGORLAD...<b>                    GALADRIEL (V.O.) (CONT'D)</b>          A last alliance of Men and Elves marched          against the armies of Mordor.<b>                    GALADRIEL (V.O.)(CONT'D)</b>          On the slopes of Mount Doom they fought          for the freedom of Middle- Earth.<b>TEASING SHOTS: THE BATTLE OF DAGORLAD...THE ELF LORD, ELROND,</b>commands rank after rank ofELVEN ARCHERS...ORCS RETREATINGbefore the ARMY of the LAST ALLIANCE...ELENDIL holds aloftthe great sword....NARSIL!<b>                    GALADRIEL</b>          Victory was near!IMAGES: THE HUGE, DARKFIGURE OF SARURON, bearing the ONERING on his finger, looms over the field of battle...<b>                    GALADRIEL (V.O.) (CONT'D)</b>          But the power of the Ring could not be          undone.IMAGE:SAURON lays waste to the armies of the LAST ALLIANCE.With desperate courage, ELENDIL leads a charge...THE BLACKMACE OF SAURON LASHES OUT!! IMAGE: ELENDIL'S body falls likea crumpled rag doll... IMAGE:ISILDUR cradles the body of hisfather in his arms. The SHADOW OF SAURON falls over him...<b>                    GALADRIEL (V.O.) (CONT'D)</b>          It was in this moment..when all hope had          faded, thatIsildur, son of the king,          took up his father's sword.ISILDUR snatches up the BROKEN BLADE OF NARSIL..The BLADEsevers SAURON'S FINGERS... AND THE ONE RING FLIES fromhisbody.<b>                    GALADRIEL (V.O.) (CONT'D)</b>          Sauron, the enemy of the Free Peoples of          Middle Earth, was defeated. SAURON'S          ARMOR clatters to the ground. HisbodyGONE....VAPORIZED! CLOSE ON: ISILDUR picks up the SEVEREDFINGER and removes the ONE RING...transfixed!<b>                    GALADRIEL (V.O.) (CONT'D)</b>          The Ring passed to Isildur...who hadthis          one chance to destroy evil forever.<b>                                                    (CONTINUED)</b><b></b><b>                                                                 4.</b><b>CONTINUED:</b>IMAGE: GLADDENFIELD...ISILDUR leads a small column of menthrough DARKENING WOODS...the ONE RING glinting on a CHAINaround his neck.<b>                      GALADRIEL (V.O.) (CONT'D)</b>            But the hearts of Men areeasily            corrupted. And the Ring of Power has a            will of its own.SUDDENLY!    ARROWS FLY!   They are ambushed by ORCS...ISILDUR<b>SCREAMS!</b><b>                                                     FADE TOBLACK</b>FADE UP: ISILDUR MATERIALIZES UNDER WATER...as THE RING slipsslowly from his finger. Ripples of LIGHT play acrossISILDUR'S PALE FACE...he is DEAD.<b>                      GALADRIEL (V.O.)(CONT'D)</b>            It betrayed Isildur to his death.IMAGE: THE RING falls through the MURKY WATERS of the RIVER<b>ANDUIN.</b><b>                      GALADRIEL (V.O.) (CONT'D)</b>            And some thingsthat should not have been            forgotten...were lost.<b>                                                     FADE TO BLACK</b><b>                      GALADRIEL (V.O.) (CONT'D)</b>            History became legend...legendbecame            myth.FADE UP: The waters of the ANDUIN RIVER lie dark andundisturbed.<b>                      GALADRIEL (V.O.) (CONT'D)</b>            And for two and a half thousand years the            Ring passed outof all knowledge.IMAGE: SILT SWIRLS...A THIN WHITE HAND reachesdown...grasping the RING...<b>                      GALADRIEL (V.O.) (CONT'D)</b>            Until, when chance came, it ensnared a            newbearer!IMAGE: THE THIN WHITE HAND opens to reveal one ring.<b>                      GOLLUM (V.O.)</b>            My Precious...<b></b><b>                                                                5.</b><b>IMAGE: MISTSHROUDED MOUNTAINS...</b><b>                    GALADRIEL (V.O.)</b>          The Ring came to the creature Gollum, who          took it deep into the tunnels of the          Misty Mountains.IMAGE: THE GLOOM of aMOUNTAIN CAVERN..a MURKY POOL ofWATER...in the DARKNESS the SHADOWY OUTLINE of an EMACIATED<b>FIGURE.</b><b>                    GALADRIEL (V.O.) (CONT'D)</b>          And there, it consumed him. ARASPY VOICE          mutters in the half light...<b>                    GOLLUM</b>          It came to me. My own.     My love...              (ecstatic whisper)          My preciousness.<b>                    GALADRIEL(V.O.)</b>          The Ring brought to Gollum unnatural long          life. For five hundred years it poisoned          his mind. And in the gloom of Gollum's          cave...<b>                                                     FADE TOBLACK</b><b>                       GALADRIEL (V.O.)   (CONT'D)</b>          It waited.FADE UP: Bathed in COLD MOONLIGHT, the WORLD lies DARK andSTILL...the unsettled quiet before thestorm...<b>                    GALADRIEL (V.O.) (CONT'D)</b>          Darkness crept back into the forests of          the world. Rumor grew of a Shadow in the          East...whispers of a nameless fear. And          the Ringof Power perceived...its time          had now come. It abandoned Gollum.SLOW MOTION: unseen by its KEEPER..THE RING falls to theMUDDY FLOOR of a MOUNTAIN TUNNEL...<b>                    GALADRIEL (V.O.)(CONT'D)</b>          But something happened then the Ring did          not intend...<b>                                                     FADE TO BLACK</b>IMAGE: FUMBLING in the dark, a SMALL HAND closes overthe<b></b><b>                                                                 6.</b><b>RING.</b><b>                      GALADRIEL</b>            It was picked up by the most unlikely            creatureimaginable...<b>                      BILBO</b>                (to himself)            What's this?A YOUNGISH LOOKING BILBO BAGGINS peers down at what lies inhis hand...PERPLEXED by what he hasfound.<b>                      GALADRIEL (V.O.)</b>            A Hobbit....Bilbo Baggins of the Shire.<b>                      BILBO</b>                (surprised)            A Ring.SUDDENLY!   A VOICE SCREAMS...ITS ANGUISHRINGING through the<b>COLD, DANK TUNNELS...</b><b>                       GOLLUM (V.O.)</b>            Lost!   Lost! My Precious is lost!!Frightened Bilbo quickly POCKETS the ONE RING and hurrieson.<b>                                                      DISSOLVE TO:</b><b>WIDE ON: THE CAMERA SOARS AWAY FROM THE MOUNTAINS.      MOVING</b><b>FASTER AND FASTER...THEIR DARK GREEN FORESTS ANDJAGGED</b><b>WHITE PEAKS RECEDING INTO THE SHROUD OF MIST</b><b>                      GALADRIEL (V.O.)</b>            For the time will soon come when Hobbits            will shape the fortunes ofall.<b>                                                    FADE TO BLACK</b><b>                                                          FADE IN:</b><b>EXT. HOBBITON WOODS -- DAY</b><b>ANGLE ON: TWO HOBBIT FEET</b>resting ona small rock...rising out of the LONG, OVERGROWN<b>GRASSES SUPER: THE FELLOWSHIP OF THE RING SUPER: THE</b>SHIRE....60 YEARS LATER CAMERA TRACKS TO: a Figure liesbeneath the dappled sunlight ofan old tree.<b>                                                      (CONTINUED)</b><b></b><b>                                                              7.</b><b>CONTINUED:</b>White flowers are scattered among the Well seededgrasses.An idyllic setting at the end of a long hot summer... thefigure is reading a book. ON THE SOUNDTRACK: In the distance,growing louder..over the Gentle clip clop of an approachingcart and horse can be heard"}
+{"doc_id":"doc_207","qid":"","text":"<html><head><title>Rescuers Down Under, The Script at IMSDb.</title><meta name=\"description\" content=\"Rescuers Down Under, The script at the Internet Movie Script Database.\"><meta name=\"keywords\"content=\"Rescuers Down Under, The script, Rescuers Down Under, The movie script, Rescuers Down Under, The film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><metaname=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttypeCONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ?'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie ScriptDatabase\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <scripttype=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>(c) 1990 The Walt Disney CompanyCompiled by Scott A. Concilla (skippy6400@delphi.com) July '95<b>THE CHARACTERS:</b>    Majorcharacters (voiced by...)         Bernard (Bob Newhart)         Miss Bianca (Eva Gabor)         Wilbur (John Candy)         Jake (Tristan Rogers)         Cody (Adam Ryen)         Percival McLeach (George C. Scott)    Minorcharacters         Joanna (Frank Welker)         Frank (Wayne Robson)         Krebbs (Douglas Seale)         Chairmouse (Bernard Fox)         Doctor (Bernard Fox)         Red (Peter Firth)         Baitmouse (BillyBarty)         Francois (Ed Gilbert)         Faloo (Carla Meyer)         Mother (Carla Meyer)         Nurse mouse (Russi Taylor)    Non-speaking         Polly; Kookie; Snake; Marahute; Dowager; Milktoast; CricketCook;         Telegraph mice; Nelson; Sparky; Twister; Razorback; Ranger.Release date:  November 16, 1990Running time:  74 minutes<b>                          THE RESCUERS DOWN UNDER</b>                            TheComplete Script(opening:     The camera slowly zooms through a variety of insects and rocks.              We follow a small yellow bug climb up a blade of grass.  As it              spreads its wings to fly, we are whiskedalong the Australian              outback and prairie by Ayers rock and eventually slow down as we              approach Cody's house.)(scene:  inside Cody's room.  The camera pans around to show Cody sleeping         inhis hammock.  The sound of Faloo's call is heard.  Cody hears         it, jumps out of bed, and runs to the window.  He puts on his         shirt and grabs his knife.)(scene:  Cody sneaks past his mother who is in thekitchen listening to the         radio.)Announcer:    ... thundershowers are expected in the Crocodile Falls area and              some of the surrounding gullies so take out your...(scene:  Outside Cody's house.  Cody leavesthe house, and closes the door         behind him, but not quietly.)Mom:     (from inside upon hearing the door) Cody!Cody:    (whincing) Yeah mom?Mom:     What about your breakfast?Cody:    I've got somesandwiches in my pack.Mom:     Well be home for supper.Cody:    (hopping the gate) No worries mom.(scene:  Cody runs toward the forest; Faloo's call is heard in the         background.  He runs past some rockformations and enters the         woods.  Birds follow him; and squak at him.)Cody:    (to the birds) I know, I'm coming.    (Cody jumps over a hollow log)          Hustle up Nelson, Faloo's sounding the call!    (Codyslides through a log, picks up a stick, and beats on the roof of    the wombats home.)          C'mon little wombats, hurry!    (Cody continues to run through the forest with all of the animals    following him.)    (Codyarrives at the tree where Faloo has been sounding the call.)         (to Faloo) Who's caught this time?Faloo:   You don't know her, Cody, her name is Marahute, the great golden         eagle.Cody:    Where isshe?Faloo:   She's caught, high on a cliff in a poacher's trap.  You're the         only one who can reach her.Cody:    I'll get her loose.Faloo:   Right-oh, hop on, no time to lose.    (Cody hops onto Faloo and they travelthrough the forest and along a    stream/river; more scenes of animals and the forest.)    (They arrive at the cliff.)         (pointing up towards the cliff) She's up on top of that ridge.  Be         careful lit'lfriend.(scene:  various \"time lapse\" views of Cody climbing up the cliff.)    (Cody reaches the top and sees the eagle.)Cody:    Marahute!    (Cody looks at the eagle; he approaches her slowly; she hears himand    wakes up; Marahute screeches and struggles to get free.)         (reassuring) Calm down, calm down.  I'm not gonna hurt you.  (Cody         strokes Marahute on the head) That's a girl.         Stay still... it'so.k.    (Cody gets out his knife; Marahute sees the glint of the knife and    begins to struggle and scream)         No wait!  I'm here to help you... easy!... easy!    (Cody cuts two ropes.  Cody cuts the last rope to freeMarahute.)         You're free!!    (As Marahute spreads her wings to fly, she knocks Cody off the cliff.)         Aaaiigh!    (Cody falls; Marahute dives down to catch him; she catches him just    before he hits the ground;they begin to fly around; the animals see    Cody on Marahute and stand in awe; Marahute files over several rock    formations; the fly up above the clouds; Cody looks at his reflection in    Marahute'seye.)         Higher!    (They fly even higher above the clouds; Marahute throws Cody and catches    him; Cody is now held in Marahute's talons.)         Woah!    (Cody mocks an eagle screech; he laughs as Marahutetickles him; they    cruise above the clouds which eventually open up to show the ground;    Marahute nose dives towards the ground and a stream; she holds Cody just    high enough above the water so that he iswater skiing; they approach a    flock of birds; Marahute lets Cody go and he skims through the birds,    scattering them; Marahute grabs Cody just before he falls in and then    put Cody right in front of her, on herbeak (pushing him from behind);    they go over the egde of a waterfall; Marahute catches Cody again; this    time he rides by standing on her back; they arrive at Marahute's nest)         Wow!    (Cody and Marahutelook at each other; Cody falls over as he attempts to    look at Marahute upside down. Marahute moves some grass and feathers to    show Cody her eggs)         You're a mom!    (Cody puts his ear to theeggs)         They're very warm.  Are they gonna hatch soon?    (Marahute ruffles her neck feathers in an affectionate manner; she sits    on the eggs and then looks out \"over her domain\".)         Where's the daddyeagle?  (Marahute drops her head) Oh... my dad's         gone too.    (Cody give Marahute an affectionate stroke;  as they fix the covering on    the eggs, the wind picks up and blows a feather in Cody's face; helooks    at it, plays with it, and puts it back.  Marahute picks it up and gives    it to Cody and he gives her a hug.)    (Marahute and Cody are now on the ground; Marahute takes off and Cody    runs around making flyingnoises)(scene:  just inside the forest.  A wanted poster of McLeach is posted on a         tree; A mouse is tied up with a bell attached to it that rings as         it struggles; Cody hears the bell and goes over to themouse.)Cody:    Heh heh... hey little fella, what happened to you?Baitmouse:    (panicking) Oh no! No, no, no, no!!  Get away, get away! It's a              trap, it's a trap.  Be careful, NO!Cody:    (as the mouse isspeaking) Don't worry, I'll get you loose.  Woah!         (Cody falls into the trap.  He looks up to see a blinking light         and the alarm.)(scene:  McLeach's truck; the radar has a blip on the screen.)McLeach:(laughs)  Got one!!(scene:  back in the hole/trap where Cody has fallen.)Baitmouse:    (from the top of the hole) Are you alright?Cody:    (rubbing his head) Yeah, I think so.Baitmouse:    Okey-dokey. (he runsoff)Cody:    Wait!  Hey!  Come back!    (Cody tries to climb out; he gets halfway up, grabs a tree root; it    breaks and he falls; the baitmouse begins to lower a vine down to help    Cody)Baitmouse:    Here you go, grabon.Cody:    That's great, just a little more, a little further... there!  I         got it.    (a rumble is heard and the ground begins to shake.)Baitmouse:    Uh-oh.    (view of McLeach's vehicle trampling through the forestdisturbing    everything)Baitmouse:    Yipe!    (The vine is severed as McLeach's truck comes to a screeching halt; Cody    falls; the truck opens; Joanna leans over pit and growls; Cody yells)McLeach: (unseen,approaching the trap) Well Joanna, what'd we get today?         A dingo, a fat ol' razorback, or a nice big.... (he sees Cody)         boy?!?    (McLeach thinks for a second, gives a dirty look to Joanna andkicks    her.)         Joanna, you been diggin' holes out here again??  (mumbling to         himself) Dumb lizard always tryin' to bury squirrels out here.Cody:    Unh-unh.  It's a trap, and poachin's against thelaw.McLeach: Trap?!  Where'd you get an idea like that??  Boy I think you've         been down in that hole for too long.  (he holds his gun out so         that Cody can grab it) Well c'mon, grab ahold.  We'll get youout         of this little ol' lizard hole and you can just run along home.    (Joanna has spotted the baitmouse on Cody's backpack.  She hisses and    makes a face.)Cody:    This IS a poacher's trap and YOU'RE apoacher.    (The mouse ducks back into the backpack; Joanna jumps on Cody, knocking    McLeach into the hole; his gun goes off; Joanna begins to attach Cody's    backpack.)         (to Joanna) Let go!!  Hey get off ofme!!McLeach: I'm gonna kill her.  (climbing out of the hole) I'm gonna kill         that dumb, slimey, egg-sucking salamander.Cody:    Cut it out!  Get off of me!    (Joanna continues to attack the backpack; McLeachpicks up his gun; he    points it at Joanna; looking through gun scope McLeach aims at Joanna,    she tries to get out of his view; as she does this, McLeach spots the    feather in Cody's pack; he picks up Cody by hisbackpack.)McLeach: Hmmm.... good girl Joanna.  (Joanna looks up and grins happily.)         (to Cody) Say where'd you get this pretty feather boy?Cody:    (humbly) It was a present.McLeach: (coddling) Oh, that's realnice.  Who gave it to ya?Cody:    (stumbling) It's a s... secret.McLeach: That's no secret boy, you see, (menacing) I already got the         father.  (makes a cutting sound and draws a feather across his         neck like hewas slashing a throat).  He, he he.  You just tell me         where momma and those little eggs are.    (Cody breaks free from McLeach by slipping out of his backpack.)Cody:    NO!!McLeach: Joanna, sick 'em!    (Codyruns through forest with Joanna close behind; he enters an open    area where we see a waterfall and water; Cody stops right at the edge of    the small cliff that drops into the water (Crocodile Falls); Joanna    followsclose behind; Cody reaches into his pocket and pulls out his    knife; he drops it; McLeach steps on his hand.)McLeach: You're comin' with me boy.Cody:    My mom'll call the rangers!McLeach: (sarcastically)  Oh no....not the rangers, what'll I do??         What'll I do??!  Don't let your mom call the rangers!!  Please         don't!!  (Joanna laughs) (McLeach laughs)  (McLeach throws Cody's         backpack into the river)  My poor babyboy got eaten by the         crocodiles, boo-hoo-hoo!  Let's go boy!Cody:    (from inside McLeach's cage)  Help!  Help!    (The baitmouse sees Cody in the cage; he runs to the local RAS telegraph    office; it begins to rainand wind is blowing; he bursts through the    door as the telegraph mouse is eating.)Baitmouse:  (very fast and excited) Help, help, help!!  Someone help!  McLeach            took the boy.  He took the little boy.  Sendfor help!!    (The telegraph mouse begins typing the message in morse code; camera    pans up to roof, where other mice aim the antenna; message is seen being    relayed to the Marshall Islands)    (In a wreckedplane on the Marshall Islands, a mouse listens to the    morse code message; he recognizes the distress call, activates the    controls on the plane, and relays message to Hawaii.)    (Message is seen being relayed toHawaii.  Screens fill with RAS RAS    RAS.  Mice are watching through binoculars in the back.  The send a    signal to other mice.  They dial the phone to distract guard.  Phone    rings.  Guard leaves.  Mice take over,"}
+{"doc_id":"doc_208","qid":"","text":"The Project Gutenberg EBook of Overruled, by George Bernard ShawThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: OverruledAuthor: George Bernard ShawPosting Date: May 28, 2009 [EBook #3830]Release Date: March,2003First Posted: September 30, 2001Last Updated: March 5, 2006Language: English*** START OF THIS PROJECT GUTENBERG EBOOK OVERRULED ***Produced by Eve Sobol.  HTML version by AlHaines.TRANSCRIBER'S NOTE: In the printed version of this text, allapostrophes for contractions such as \"can't\", \"wouldn't\" and \"he'd\"were omitted, to read as \"cant\", \"wouldnt\" and \"hed\". This etextrestores theomitted apostrophes.OVERRULEDBERNARD SHAW1912PREFACE TO OVERRULED.THE ALLEVIATIONS OF MONOGAMY.This piece is not an argument for or against polygamy. It is a clinicalstudy of how the thing actuallyoccurs among quite ordinary people,innocent of all unconventional views concerning it. The enormousmajority of cases in real life are those of people in that position.Those who deliberately and conscientiously professwhat are oddlycalled advanced views by those others who believe them to beretrograde, are often, and indeed mostly, the last people in the worldto engage in unconventional adventures of any kind, not onlybecausethey have neither time nor disposition for them, but because thefriction set up between the individual and the community by theexpression of unusual views of any sort is quite enough hindrance tothe hereticwithout being complicated by personal scandals. Thus thetheoretic libertine is usually a person of blameless family life,whilst the practical libertine is mercilessly severe on all otherlibertines, and excessivelyconventional in professions of socialprinciple.What is more, these professions are not hypocritical: they are for themost part quite sincere. The common libertine, like the drunkard,succumbs to a temptation which hedoes not defend, and against which hewarns others with an earnestness proportionate to the intensity of hisown remorse. He (or she) may be a liar and a humbug, pretending to bebetter than the detected libertines,and clamoring for their condignpunishment; but this is mere self-defence. No reasonable person expectsthe burglar to confess his pursuits, or to refrain from joining in thecry of Stop Thief when the police get on thetrack of another burglar.If society chooses to penalize candor, it has itself to thank if itsattack is countered by falsehood. The clamorous virtue of the libertineis therefore no more hypocritical than the plea of Not Guiltywhich isallowed to every criminal. But one result is that the theorists whowrite most sincerely and favorably about polygamy know least about it;and the practitioners who know most about it keep their knowledgeveryjealously to themselves. Which is hardly fair to the practice.INACCESSIBILITY OF THE FACTS.Also it is impossible to estimate its prevalence. A practice to whichnobody confesses may be both universal andunsuspected, just as avirtue which everybody is expected, under heavy penalties, to claim,may have no existence. It is often assumed--indeed it is the officialassumption of the Churches and the divorce courts that agentleman anda lady cannot be alone together innocently. And that is manifestblazing nonsense, though many women have been stoned to death in theeast, and divorced in the west, on the strength of it. On theotherhand, the innocent and conventional people who regard the gallantadventures as crimes of so horrible a nature that only the mostdepraved and desperate characters engage in them or would listen toadvances inthat direction without raising an alarm with the noisiestindignation, are clearly examples of the fact that most sections ofsociety do not know how the other sections live. Industry is the mosteffective check on gallantry.Women may, as Napoleon said, be theoccupation of the idle man just as men are the preoccupation of theidle woman; but the mass of mankind is too busy and too poor for thelong and expensive sieges which theprofessed libertine lays to virtue.Still, wherever there is idleness or even a reasonable supply ofelegant leisure there is a good deal of coquetry and philandering. Itis so much pleasanter to dance on the edge of aprecipice than to goover it that leisured society is full of people who spend a great partof their lives in flirtation, and conceal nothing but the humiliatingsecret that they have never gone any further. For there is nopleasingpeople in the matter of reputation in this department: every insult isa flattery; every testimonial is a disparagement: Joseph is despisedand promoted, Potiphar's wife admired and condemned: in short, youarenever on solid ground until you get away from the subject altogether.There is a continual and irreconcilable conflict between the naturaland conventional sides of the case, between spontaneous humanrelationsbetween independent men and women on the one hand and the propertyrelation between husband and wife on the other, not to mention theconfusion under the common name of love of a generousnaturalattraction and interest with the murderous jealousy that fastens on andclings to its mate (especially a hated mate) as a tiger fastens on acarcase. And the confusion is natural; for these extremes are extremesofthe same passion; and most cases lie somewhere on the scale betweenthem, and are so complicated by ordinary likes and dislikes, byincidental wounds to vanity or gratifications of it, and by classfeeling, that A will bejealous of B and not of C, and will tolerateinfidelities on the part of D whilst being furiously angry when theyare committed by E.THE CONVENTION OF JEALOUSYThat jealousy is independent of sex is shown by itsintensity inchildren, and by the fact that very jealous people are jealous ofeverybody without regard to relationship or sex, and cannot bear tohear the person they \"love\" speak favorably of anyone underanycircumstances (many women, for instance, are much more jealous of theirhusbands' mothers and sisters than of unrelated women whom they suspecthim of fancying); but it is seldom possible to disentangle thetwopassions in practice. Besides, jealousy is an inculcated passion,forced by society on people in whom it would not occur spontaneously.In Brieux's Bourgeois aux Champs, the benevolent hero finds himselfdetested bythe neighboring peasants and farmers, not because hepreserves game, and sets mantraps for poachers, and defends his legalrights over his land to the extremest point of unsocial savagery, butbecause, being anamiable and public-spirited person, he refuses to doall this, and thereby offends and disparages the sense of property inhis neighbors. The same thing is true of matrimonial jealousy; the manwho does not at leastpretend to feel it and behave as badly as if hereally felt it is despised and insulted; and many a man has shot orstabbed a friend or been shot or stabbed by him in a duel, or disgracedhimself and ruined his own wife in adivorce scandal, against hisconscience, against his instinct, and to the destruction of his home,solely because Society conspired to drive him to keep its own lowermorality in countenance in this miserable andundignified manner.Morality is confused in such matters. In an elegant plutocracy, ajealous husband is regarded as a boor. Among the tradesmen who supplythat plutocracy with its meals, a husband who is not jealous,andrefrains from assailing his rival with his fists, is regarded as aridiculous, contemptible and cowardly cuckold. And the laboring classis divided into the respectable section which takes the tradesman'sview, and thedisreputable section which enjoys the license of theplutocracy without its money: creeping below the law as its exemplarsprance above it; cutting down all expenses of respectability and evendecency; and franklyaccepting squalor and disrepute as the price ofanarchic self-indulgence. The conflict between Malvolio and Sir Toby,between the marquis and the bourgeois, the cavalier and the puritan,the ascetic and the voluptuary,goes on continually, and goes on notonly between class and class and individual and individual, but in theselfsame breast in a series of reactions and revulsions in which theirresistible becomes the unbearable, and theunbearable theirresistible, until none of us can say what our characters really arein this respect.THE MISSING DATA OF A SCIENTIFIC NATURAL HISTORY OF MARRIAGE.Of one thing I am persuaded: we shall neverattain to a reasonablehealthy public opinion on sex questions until we offer, as the data forthat opinion, our actual conduct and our real thoughts instead of amoral fiction which we agree to call virtuous conduct, andwhich wethen--and here comes in the mischief--pretend is our conduct and ourthoughts. If the result were that we all believed one another to bebetter than we really are, there would be something to be said for it;butthe actual result appears to be a monstrous exaggeration of thepower and continuity of sexual passion. The whole world shares the fateof Lucrezia Borgia, who, though she seems on investigation to have beenquite asuitable wife for a modern British Bishop, has been invested bythe popular historical imagination with all the extravagances of aMessalina or a Cenci. Writers of belles lettres who are rash enough toadmit that theirwhole life is not one constant preoccupation withadored members of the opposite sex, and who even countenance LaRochefoucauld's remark that very few people would ever imaginethemselves in love if they had neverread anything about it, aregravely declared to be abnormal or physically defective by critics ofcrushing unadventurousness and domestication. French authors of saintlytemperament are forced to include in their retinuecountesses of ardentcomplexion with whom they are supposed to live in sin. Sentimentalcontroversies on the subject are endless; but they are useless, becausenobody tells the truth. Rousseau did it by an extraordinaryeffort,aided by a superhuman faculty for human natural history, but the resultwas curiously disconcerting because, though the facts were soconventionally shocking that people felt that they ought to matter agreat deal,they actually mattered very little. And even at thateverybody pretends not to believe him.ARTIFICIAL RETRIBUTION.The worst of that is that busybodies with perhaps rather more than anormal taste for mischief arecontinually trying to make negligiblethings matter as much in fact as they do in convention by deliberatelyinflicting injuries--sometimes atrocious injuries--on the partiesconcerned. Few people have any knowledge ofthe savage punishments thatare legally inflicted for aberrations and absurdities to which nosanely instructed community would call any attention. We create anartificial morality, and consequently an artificial conscience,bymanufacturing disastrous consequences for events which, left tothemselves, would do very little harm (sometimes not any) and beforgotten in a few days.But the artificial morality is not therefore to be condemnedoffhand.In many cases it may save mischief instead of making it: for example,though the hanging of a murderer is the duplication of a murder, yet itmay be less murderous than leaving the matter to be settled bybloodfeud or vendetta. As long as human nature insists on revenge, theofficial organization and satisfaction of revenge by the State may bealso its minimization. The mischief begins when the official revengepersistsafter the passion it satisfies has died out of the race.Stoning a woman to death in the east because she has ventured to marryagain after being deserted by her husband may be more merciful thanallowing her to bemobbed to death; but the official stoning or burningof an adulteress in the west would be an atrocity because few of ushate an adulteress to the extent of desiring such a penalty, or ofbeing prepared to take the law intoour own hands if it were withheld.Now what applies to this extreme case applies also in due degree to theother cases. Offences in which sex is concerned are often needlesslymagnified by penalties, ranging from variousforms of social ostracismto long sentences of penal servitude, which would be seen to bemonstrously disproportionate to the real feeling against them if theremoval of both the penalties and the taboo on their discussionmade itpossible for us to ascertain their real prevalence and estimation.Fortunately there is one outlet for the truth. We are permitted todiscuss in jest what we may not discuss in earnest. A serious comedyabout sex istaboo: a farcical comedy is privileged.THE FAVORITE SUBJECT OF FARCICAL COMEDY.The little piece which follows this preface accordingly takes the formof a farcical comedy, because it is a contribution to theveryextensive dramatic literature which takes as its special department thegallantries of married people. The stage has been preoccupied by suchaffairs for centuries, not only in the jesting vein of RestorationComedyand Palais Royal farce, but in the more tragically turnedadulteries of the Parisian school which dominated the stage until Ibsenput them out of countenance and relegated them to their proper place asarticles ofcommerce. Their continued vogue in that departmentmaintains the tradition that adultery is the dramatic subject parexcellence, and indeed that a play that is not about adultery is not aplay at all. I was considered aheresiarch of the most extravagant kindwhen I expressed my opinion at the outset of my career as a playwright,that adultery is the dullest of themes on the stage, and that fromFrancesca and Paolo down to the latestguilty couple of the school ofDumas fils, the romantic adulterers have all been intolerable bores.THE PSEUDO SEX PLAY.Later on, I had occasion to point out to the defenders of sex as theproper theme of drama, thatthough they were right in ranking sex as anintensely interesting subject, they were wrong in assuming that sex isan indispensable motive in popular plays. The plays of Moliere are,like the novels of the Victorian epochor Don Quixote, as nearlysexless as anything not absolutely inhuman can be; and some ofShakespear's plays are sexually on a par with the census: they containwomen as well as men, and that is all. This had to beadmitted; but itwas still assumed that the plays of the XIX century Parisian schoolare, in contrast with the sexless masterpieces, saturated with sex; andthis I strenuously denied. A play about the convention that amanshould fight a duel or come to fisticuffs with his wife's lover if shehas one, or the convention that he should strangle her like Othello, orturn her out of the house and never see her or allow her to see herchildrenagain, or the convention that she should never be spoken toagain by any decent person and should finally drown herself, or theconvention that persons involved in scenes of recrimination orconfession by theseconventions should call each other certain abusivenames and describe their conduct as guilty and frail and so on: allthese may provide material for very effective plays; but such plays arenot dramatic studies of sex:one might as well say that Romeo andJuliet is a dramatic study of pharmacy because the catastrophe isbrought about through an apothecary. Duels are not sex; divorce casesare not sex; the Trade Unionism of marriedwomen is not sex. Only themost insignificant fraction of the gallantries of married peopleproduce any of the conventional results; and plays occupied wholly withthe conventional results are therefore utterly unsatisfyingas sexplays, however interesting they may be as plays of intrigue and plotpuzzles.The world is finding this out rapidly. The Sunday papers, which in thedays when they appealed almost exclusively to the lower middleclasswere crammed with police intelligence, and more especially with divorceand murder cases, now lay no stress on them; and police papers whichconfined themselves entirely to such matters, and were onceeagerlyread, have perished through the essential dulness of their topics. Andyet the interest in sex is stronger than ever: in fact, the literaturethat has driven out the journalism of the divorce courts is aliteratureoccupied with sex to an extent and with an intimacy andfrankness that would have seemed utterly impossible to Thackeray orDickens if they had been told that the change would complete itselfwithin fifty years of theirown time.ART AND MORALITY.It is ridiculous to say, as inconsiderate amateurs of the arts do, thatart has nothing to do with morality. What is true is that the artist'sbusiness is not that of the policeman; and that suchfactitiousconsequences and put-up jobs as divorces and executions and thedetective operations that lead up to them are no essential part oflife, though, like poisons and buttered slides and red-hot pokers, theyprovidematerial for plenty of thrilling or amusing stories suited topeople who are incapable of any interest in psychology. But the fineartists must keep the policeman out of his studies of sex and studiesof crime. It is by clingingnervously to the policeman that most of thepseudo sex plays convince me that the writers have either never had anyserious personal experience of their ostensible subject, or else havenever conceived it possible thatthe stage door present the phenomenaof sex as they appear in nature.THE LIMITS OF STAGE PRESENTATION.But the stage presents much more shocking phenomena than those of sex.There is, of course, a sense inwhich you cannot present sex on thestage, just as you cannot present murder. Macbeth must no more reallykill Duncan than he must himself be really slain by Macduff. But thefeelings of a murderer can be expressed ina certain artisticconvention; and a carefully prearranged sword exercise can be gonethrough with sufficient pretence of earnestness to be accepted by thewilling imaginations of the younger spectators as a desperatecombat.The tragedy of love has been presented on the stage in the same way. InTristan and Isolde, the curtain does not, as in Romeo and Juliet, risewith the lark: the whole night of love is played before thespectators.The lovers do not discuss marriage in an elegantly sentimental way:they utter the visions and feelings that come to lovers at the suprememoments of their love, totally forgetting that there are such thingsinthe world as husbands and lawyers and duelling codes and theories ofsin and notions of propriety and all the other irrelevancies whichprovide hackneyed and bloodless material for our so-called playsofpassion.PRUDERIES OF THE FRENCH STAGE.To all stage presentations there are limits. If Macduff were to stabMacbeth, the spectacle would be intolerable; and even the pretencewhich we allow on our stage isridiculously destructive to the illusionof the scene. Yet pugilists and gladiators will actually fight and killin public without sham, even as a spectacle for money. But no sobercouple of lovers of any delicacy could endure tobe watched. We inEngland, accustomed to consider the French stage much more licentiousthan the British, are always surprised and puzzled when we learn, as wemay do any day if we come within reach of suchinformation, that Frenchactors are often scandalized by what they consider the indecency of theEnglish stage, and that French actresses who desire a greater licensein appealing to the sexual instincts than the Frenchstage allows them,learn and establish themselves on the English stage. The German andRussian stages are in the same relation to the French and perhaps moreor less all the Latin stages. The reason is that, partly froma want ofrespect for the theatre, partly from a sort of respect for art ingeneral which moves them to accord moral privileges to artists, partlyfrom the very objectionable tradition that the realm of art is Alsatiaand thecontemplation of works of art a holiday from the burden ofvirtue, partly because French prudery does not attach itself to thesame points of behavior as British prudery, and has a different code ofthe mentionable andthe unmentionable, and for many other reasons theFrench tolerate plays which are never performed in England until theyhave been spoiled by a process of bowdlerization; yet French taste ismore fastidious than ours asto the exhibition and treatment on thestage of the physical incidents of sex. On the French stage a kiss isas obvious a convention as the thrust under the arm by which Macduffruns Macbeth through. It is even apurposely unconvincing convention:the actors rather insisting that it shall be impossible for anyspectator to mistake a stage kiss for a real one. In England, on thecontrary, realism is carried to the point at which nobodyexcept thetwo performers can perceive that the caress is not genuine. And herethe English stage is certainly in the right; for whatever questionthere arises as to what incidents are proper for representation on thestage"}
+{"doc_id":"doc_209","qid":"","text":"<html><head><title>Black Dahlia, The Script at IMSDb.</title><meta name=\"description\" content=\"Black Dahlia, The script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Black Dahlia,The script, Black Dahlia, The movie script, Black Dahlia, The film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX,FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>                            The Black Dahlia                               Written by                             Josh Friedman                         Based on the novelby                             James Ellroy<b>     CREDITS ROLL OVER</b>     Black and white newsreel footage from the 1930s. Clips from     prize fights featuring two different boxers against various     opponents. One alight heavyweight--pure finesse, a     counterpunches; the other, stouter and stronger, a     headhunting puncher.     The intercutting of the two fighters suggests a possible     showdown at the end of the newsreel. Nosuch luck.<b>     END CREDITS</b><b>     CLOSE UP ON:</b>     A TRIPLE CARBON LAPD \"INCIDENT REPORT\" FORM trapped in an old     Corona typewriter. The keys pound letters into theblank     spaces.<b>     INCIDENT: THE ZOOT SUIT RIOTS...JUNE 10, 1943...</b><b>     REPORTING OFFICER...DWIGHT \"BUCKY\" BLEICHERT</b><b>     EXT. BOYLE HEIGHTS - EVERGREEN AND WABASH -DUSK</b>     A WORLD WAR II ERA PERSONNEL CARRIER transports twenty silent     LAPD officers into the heart of downtown Los Angeles. The     sounds of glass breaking and men screaming serves asbackdrop     for their arrival.     We focus in on BUCKY BLEICHERT, 26, (The counterpuncher from     the newsreels) as he jumps from the carrier.     Bucky's minus his gun but plus a WWI tin helmet and athree     pound truncheon.<b>     BUCKY'S POV:</b>     Hundreds of in-uniform GI's use baseball bats and two-by-     fours to beat the shit out of Zoot Suit-wearing Mexicans.     Most of the cops wander to the edge ofthe race riot and     hobnob with the pockets of MPs and Shore Patrol who've chosen     to \"restore order\" by cheering on their countrymen against     the outnumbered but equally fierce zooters.     Sailors shatterstreetlights and shop windows. Darkness falls     quickly on what Bucky rightly realizes is chaos.     Suddenly Bucky's RUNNING--     away from the action...     down a side street and onto a<b>     QUIET RESIDENTIALBLOCK.</b>     He slows to a jog, trying to gather his thoughts. And then a     voice:<b>                          VOICE</b>               Bleichert! Bleichert!<b>     EXT. A BUNGALOW COURTYARD - SAME</b>     A POLICEOFFICER has THREE MARINES IN DRESS BLUES and ONE     ZOOT SUITER cornered in a center walkway.     The marines swipe clumsily at the officer with their two-by-     fours as he bobs back and forth on the balls ofhis feet,     dodging the blows like the ex-fighter he is.<b>                          VOICE OVER</b>               I already knew him by reputation, had our               respective records down pat: Lee               Blanchard,43-4-2 as a heavyweight,               formerly a regular attraction at the               Hollywood Legion Stadium.     The terrified Mexican stands frozen on one side of Blanchard,     trying to avoid the entire mess as thepoliceman parries the     marines' blows with his own truncheon.<b>                          LEE BLANCHARD</b>               Code three, Bleichert!     Bucky runs into the courtyard and immediately wades in,     fending offthe marines' blows to jab at them with his stick.<b>                          VOICE OVER</b>               And he knew me, Bucky Bleichert, light-               heavy, 36-0-0, ranked tenth by Ring               magazine in 1937fighting no-name               opponents in no-man's-land division.     On instinct, Bucky drops his baton and begins wailing on the     marines with his fists, connecting hard punches withsoft     midsections.                          VOICE OVER (cont'd)               In our first year at Central we'd never               spoke--but people spoke of us. Opinions               about a fantasyBleichert-Blanchard               fight, and who would win.     And now Blanchard moves in, lashing vicious truncheon blows     to the shoulders of the marines, sending them one by one into     aheap.                          VOICE OVER (cont'd)               I'd heard almost all of 'em: Blanchard by               early KO; Bleichert by decision;               Blanchard stopped on cuts--everything but               Bleichert byknockout.     The marines reduced to rubble, Lee Blanchard turns his     attention to the Zooter: he slaps handcuffs on him and leads     him away. He motions for Bucky to follow.     Lee turns back to themarines:<b>                          LEE</b>               To the halls of Tripoli, shitbirds.     One of them flips Lee off. The Zooter kicks him in the chest     as Lee pulls him away from them, laughing.     The three men startback toward the riots. Gunshots can be     heard. Palm trees blaze up into the night.                          LEE (cont'd)                   (re the Zooter)               Bucky Bleichert, meet Senor Tomas Dos               Santos,subject of an all-points fugitive               warrant for manslaughter committed during               the commission of a Class B Felony.               Snatched a purse off a hairbag and she               keeled of a heartattack.<b>                          BUCKY</b>               You come all the way down here to roust--<b>                          LEE</b>                   (smiling)               I came all the way down here same asyou               did.                   (jerks a finger to the riots)               Keep from gettin' killed. Happened to see               those jarheads beatin' on a good collar--                   (nudging Dos Santos)               HablaIngles, Tomas?     The man shakes his head \"no\".                          LEE (cont'd)               He's dead meat. Manslaughter Two's a gas               chamber jolt for spics. Hepcat here's               about six weeks away fromthe Big Adios.               Been better off getting a couple cracked               ribs from our Privates First Class back               there.     Blanchard spies a home with newspapers stacked on thefront     porch.                          LEE (cont'd)               We'll never get him booked tonight.<b>                                                            CUT TO:</b><b>     LEE JIMMYING THE FRONT DOOR...</b><b>     INT. THEKITCHEN - LATER</b>     Tomas Dos Santos cuffed by his ankles to a radiator. The     three men are on their second fifth of Cutty Sark swiped from     the kitchen cupboard.     Dos Santos sings a drunken Spanishversion of \"The     Chattanooga Choo Choo\" before slumping to his side and     passing out.     Bucky covers him with a blanket.<b>                          LEE</b>               Tom here's my ninth hard felon ofthe               month. Six weeks he'll be sucking gas. In               three years I'll be working Central               Warrants. Jewboy Deputy D.A. over there               wets his pants for fighters. Promised me               thenext spot he can wangle.<b>                          BUCKY</b>                   (not impressed)               Impressive.<b>                          LEE</b>                   (not impressed either)               Wanna hear something moreimpressive? My               first twenty fights were stumblebums               handpicked by my manager. My girlfriend               saw you fight a couple times over at the               Olympic. Says maybe you could takeme.     Lee gets up and wanders into the living room. From the     kitchen Bucky watches Lee stare out at the flames.<b>                          BUCKY</b>               Whatta we do about theMex?<b>                          LEE</b>               We'll take 'em in the morning.<b>                          BUCKY</b>               You'll take him.<b>                          LEE</b>               He's half yours,partner.<b>                          BUCKY</b>               He's all yours. And I'm not your partner.<b>                          LEE</b>                   (withoutturning)               Someday.<b>                                                       DISSOLVE TO:</b><b>     A CLOSE UP OF TOMAS DOS SANTOS' FACE</b>     screaming in silence.<b>     AS WE PULL BACK TOREVEAL</b>     Tomas Dos Santos dying in a large Plexiglas GAS CHAMBER.     Bucky stands in the back of the room, forcing himself to     watch. He can't stand it and leaves.<b>     IN THE FRONT ROW</b>     Leealso watches, elbows on knees and chin in hands. He can't     stand it, either. He stays.<b>     IN THE HALLWAY AFTERWARDS</b>     Bucky watches from afar as men in suits shake Lee's hand and     brush imaginarylint off of his BRAND NEW SERGEANT'S STRIPES.     Their eyes meet briefly as Bucky retreats to daylight.     Another TRIPLE CARBON FORM FILLED OUT ON THE CORONA...     Transfer and Promotion...Sergeant LeeBlanchard...     Highland Park Vice to Central Warrants...Effective<b>     10/14/46</b><b>     EXT. 2ND AND BEAUDRY - DAY</b>     An extremely bored Bucky Bleichert gives a man a speeding     ticket and sendshim on his way.<b>     EXT./INT. RADIO PATROL CAR - MOVING</b>     Bucky drives as a ROOKIE COP chatters in the seat next to     him.<b>                          ROOKIE</b>               Yep, three years in the CanalZone.               Nothin' but skeeter bites and drunk               fights over three-dollar skank tail...<b>     INT. THE CENTRAL MUSTER ROOM - DAY</b>     Bucky sits at his desk filling out a form as the rookiecop     prattles on in the background.<b>                          ROOKIE</b>               ...fights over three-dollar skank tail...<b>     AN OLDER OFFICER</b>     walks by the rookie and rolls his eyes. CatchingBucky's     look, the cop throws him a shadow punching one-two. Bucky     smiles thinly. Returns to his paperwork. Then another cop     passes by and breaks into a bob-and-weave. Bucky looks     puzzled andannoyed.     He grabs a third cop walking by (TOM JOSLIN).<b>                          BUCKY</b>               Somethin' up, Tommy?<b>                          TOM</b>               You, that's what.                   (off Bucky'slook)               You know Lee Blanchard over at Central               Warrants?     Bucky nods.<b>                          TOM</b>               His partner's toppin' his twenty and               goin' for early retirement. Word isthe               felony D.A.'s lookin' for a bright boy to               fill the spot. Christ knows why but it's               down to you and Johnny Vogel for the               spot.     Bucky takes a surreptitious peek across the roomat JOHNNY     VOGEL, fat, slick-hair and bad skin.<b>                          BUCKY</b>               His old man Fritzie's a Central Dick.<b>                          TOM</b>                   (chucking Bucky on thechin)               But who'd look better when they bring back               the boxing team, eh Buckaroo?     Bucky shakes his head, dismissing the whole thing.<b>     INT. THE RADIO PATROL CAR - ANOTHERDAY</b>     Bucky drives on as the rookie talks and talks...<b>                          VOICE OVER</b>               Warrants was local celebrity as a cop.               Warrants was plainclothes without a coat               and tie,romance and a mileage per diem               on your civilian car. Warrants was going               after the real bad guys and not rousting               winos and wienie waggers in front of the               MidnightMission.<b>     INT. BUCKY'S GARAGE - NIGHT</b>     Bucky hits a speed-bag, building up a sweat.<b>                          VOICE OVER</b>               I told myself I didn't care.     He hits the bag faster andfaster.<b>     INT. THE CENTRAL MUSTER ROOM - DAY</b>     A desk officer hands Bucky a note.<b>                                                            CUT TO:</b><b>     INT. CITY HALL - CHIEF OF DETECTIVES OFFICE -"}
+{"doc_id":"doc_210","qid":"","text":"<html><head><title>Ginger Snaps Script at IMSDb.</title><meta name=\"description\" content=\"Ginger Snaps script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Ginger Snaps script,Ginger Snaps movie script, Ginger Snaps film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\"rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b> </b><b>                                  GINGER SNAPS</b>                                   Written by                                  KarenWalton                                                     July 15th, 1996<b>          FADE IN</b><b>          EXT. FITZGERALD HOME -- NIGHT</b>          The house is dark. The moon is almost full. A dog barks.          Amelancholy voice, worn for its age, narrates:          BRIGITTE (V/o)          Ever try bein' different? An, I          don't mean jus' thinkin' about          it, either. Ginger an' me - I          mean I...          The house numbersread 669. The 9 slips: the number now          reads 666.<b>          BRIGITTE (CON'T/V/O)</b>          Ginger an' I? Went for different.          Big time.          There's a light on in a basement window. We creep up toit,          crushing the tulip. borders on the way. The window is propped          open with a sneaker: it looks like somebody's foot is caught          in it. Music plays inside-<b>          INT. GIRLS' BASEMENT BEDROOM -NIGHT</b>          Gyrating in her underwear to bad-girl grunge, BRIGITTE          FITZGERALD (15) straddles GINGER FITZGERALD (also 15 and in          underwear) on one of the twin single beds. Both girlshave          cigarettes lolling on their lower lips. Both girls have          pierced eyebrows, pierced noses and streaked hair. Brigitte          has blue nail polish on. Ginger hasbreasts.<b>          GINGER</b>          Brigitte. Quit dickin' around.          Jus' do it.          Brigitte reluctantly stops her thrashing and douses a cotton          ball in rubbing alcohol.          Without looking up from herTANK GIRL comic, Ginger hauls her          own shirt up to expose her navel.          Brigitte swabs Ginger's navel with the wet cotton ball. Her          eyes drift to Ginger's chest, then back to what she'sdoing.<b>          </b><b>          </b><b>          </b><b>          </b><b>           2</b><b>          BRIGITTE (V/O)</b>          Ginger's ten months older than          me. we're seriously tight.Share          everything. Everything.          Around them, many candles burn. There's a dead bolt on the          door. An attached full bath. The floors are thick with          paranormal books. The walls are covered inimages of UFO's          and horror flicks. A framed photo of Kurt Cobain with          Courtney Love has a place of honor. There's an old Polaroid          of the girls at five in Halloween costumes; Lill Red Riding          Hoodand the Big Bad Wolf. Ginger is the wolf.          Brigitte produces an enormous darning needle. It glints. she          levels it at Ginger's navel, her hand shaking.<b>          BR IGITTE</b>          Ready?<b>          GINGER</b>          (without looking up)          Uh-huh.<b>          BRIGITTE</b>          .I can't.          Ginger gives Brigitte a look over the top of her comic.          Brigitte takes adeep breath, and lines the needle up again.          Brigitte swallows hard and applies pressure. The needle          pierces Ginger's skin. Her stomach musclesflinch.<b>          GINGER</b><b>          OUCH!</b><b>          BRIGITTE</b>          You said it wouldn't hurt!<b>          GINGER</b>          Jus' hurry up!          The needle has stopped moving half-way throughthe skin.<b>          BRIGITTE</b>          Uh-oh .          Brigitte wiggles the needle. Blood wells up around it.<b>          BRIGITTE</b>          Um. I think it's stuck. Oh man.          There's blood...          Ginger lowersher comic. she takes one look at the needle          half-.in, half-out of her belly button - and cracksup.<b>          </b><b>          </b><b>          </b><b>          </b><b>           3</b><b>          BRIGITTE</b>          snot funny, Ginger!          Laughing her head off, Ginger gives the needle a goodtug          from her end. The skin tugs with it, resisting.<b>          BRIGITTE</b>          Ali, gawd, gross.          Ginger yanks the needle, hard. This time it moves.<b>          GINGER</b>          I got it, I gotit.          Ginger grits her teeth. The needle begins a slow progress.<b>          GINGER</b>          It's goin', it's goin'- gimme          the ring          Brigitte grabs at a tiny silver ring on the bed spread but          knocks itto the floor. Brigitte scrambles after it. Ginger          yanks the needle.<b>          GINGER</b>          Bee?! C'mon!          Brigitte finds the ring and hands it to Ginger. Ginger sets          the ring on the end of theneedle, looping it not-so-neatly          through.<b>          BRIGITTE</b>          Oh, groo-oo-o-ss!          The bloody needle pops clear. Ginger grinds on the ring to          close it. Ginger wipes her bloody hands on thebed. Brigitte          is taking deep, gulping breaths.<b>          GINGER</b>          Bee? Feeb. Y'okay?<b>          BRIGITTE</b>          Yeah. I think so.<b>          GINGER</b><b>          (TEASING)</b>          Yeah, Ithink not.<b>          BRIGITTE</b>          If you din't say it hurt, I'd a          been fine!          Ginger beams at her newpiercing.<b>          </b><b>          </b><b>          </b><b>          </b><b>           4</b><b>          GINGER</b>          Pretty cool, unh?          The flesh around the navel is hot pink and bruising.Brigitte          grins too.<b>          BRIGITTE</b>          very cool.<b>          GINGER</b>          Now I'll do you.          Brigitte bravely hangs onto to her smile.<b>          BRIGITTE (V/O)</b>          We doeverything together. But,          at fifteen? A chick can change.          Ya know?          [3A! You got no idea.<b>          EXT. THE FTTZGERALD BACKYARD - DAY</b>          It's a beautiful autumn day in suburbia. Birdssing. The          terrier next door (NORMAN) barks and barks.          A pierced navel is stretched taught, filling with blood.          Ginger's limp body is bent backward over a low fence. Blood          is flowing from whereshe's been speared through her chest:          Ginger's impaled on a white picket.<b>          BRIGITTE (V/O)</b>          Don't get me wrong. It's not          like we were all happy or          nothin' to beginwith.          Brigitte takes a long, ponderous drag on her cigarette as -          unmoved - she takes in Ginger's mortal wound. Brigitte eyes          the identical homes and gardens that stretch on tothe          horizon.<b>          BRIGITTE (V/O)</b>          The suburb of Bailey Downs?          Basically a well lit black hole.          The Kingdom of cul du sac.          That's French for Dead End.          Brigitte flicks hersmoke into a pile of neatly raked leaves.          It smolders then goes out. She scowls.<b>          </b><b>          </b><b>          </b><b>          </b><b>           5</b><b>          BRIGITTE (V/O)</b>          Youhad a gram of personality          out here? Life bit the big one.          A truck with COUNTY REGREENING PROGRAM on its side pulls up a          few houses over. Brigitte watches a shirtless sun-bronzed          Adonis -SAM -- climb out of the cab.<b>          BRIGITTE (V/O)</b>          Of course I'm generalizing.          A tarty teenage girl - TRINA - bounds up to Sam and gives him          a big wet one.<b>          BRIGITTE(V/0)</b>          No I'm not.<b>          GINGER</b>          The fuck, Bee. Take a picture          already.          Brigitte raises a 35mm still camera to her eye and frames her          sister's corpse in theviewfinder.<b>          ROLL HEAD CREDIT SEQUENCE:</b>          snap! A slide of Ginger - dead on a white picket fence -          smashes on. The HEAD CREDITS are superimposed on each of the          slideimages:          snap! Ginger sliced up with an electric knife in the kitchen,          Snap! Ginger drowned in a bubble bath,          Snap! Ginger hanged by nylons in the laundry room,          Snap! Ginger mangled underthe front tires of a mini van.<b>          PICTURE TITLE: GINGER SNAPS.</b><b>          INT. BAILEY HIGH ART ROOM - DAY</b>          The Fitzgerald sisters stand over a slide projector in art          class, just finishingthe slide show from the credit          sequence. An empty frame of blinding white light snaps onto          the collapsible screen at the front of the room.          The homely ART TEACHER looks very concerned as she hitsthe          lights. The other STUDENTS â\u0000¢-- all about fifteen, middle-class          and raging conformists -- sit in stunned silence. As Brigitte          and Ginger return to their side-by-sideseats,<b>          </b><b>          </b><b>          </b><b>          </b><b>           6</b><b>          BRIGITTE (V/O)</b>          We were always considered          freaks. For as long as I can          remember, therewas Us. And          there was Them. Like from          kindergarten.<b>          ART TEACHER</b>          Very -um. Class? Comments?          The students trade constipated looks.<b>          ARTTEACHER</b>          Brigitte. What does it mean for          you?          Brigitte shrugs and squirms.<b>          GINGER</b>          Means there's more to life than          -- well, li.fe.          The Fitzgeralds lookexpectantly at row after row of blank          faces. Brigitte shakes her head.<b>          BRIGITTE (V/O)</b>          Attempts at communication wore          futile.          JASON McCARDY- a good-looking high schoolCasanova - looks          Ginger over appraisingly. Ginger ignores him.<b>          BRIGITTE (V/O)</b>          Some of Them did seem to wanna          reach Ginger?          Brigitte glances from Ginger's breasts to herown flat chest.          Brigitte takes a deep breath.<b>          BRIGITTE (V/O)</b>          But nobody wanned to reach me.          The bell goes.<b>          BRIGITTE (V/O)</b>          (a tad defensive)          Like Icared.<b>          </b><b>          </b><b>          </b><b>          </b><b>           7</b><b>          INT. BAILEY HIGH HALLS - DAY</b>          TEENS clog the halls. Judging by the herd, Bailey High is not          bigon individual identity, or at least its outward          expression.          Ginger and Brigitte slip down the crowded corridors, sticking          out like sore thumbs. Ginger holds herforehead.<b>          GINGER</b>          Gawd, People! They hurt my          brain!<b>          BRIGITTE</b>          They didn't even get it.<b>          GINGER</b>          They'reretards.<b>          BRIGITTE</b>          They're cretins.<b>          GINGER</b>          They're bone-heads.<b>          BRIGITTE</b>          't'hey' re somnambulists.<b>          GINGER</b>          They'releems.<b>          BRIGITTE</b>          They're the goddamn walkin'-/          The girls stop before their locker. A folded up piece of          loose leaf has been crushed into it, its end sticking out.<b>          BR I GITTE</b><b>          (UNIMPRESSED)</b>          Another one?          Ginger opens the locker. She unfolds the paper. There's a big          fat joint inside, and a note that says: GINGER, CALL555-<b>          4636.</b>          Ginger pockets the joint, crumples the paper into a ball and          tosses it at a near-by trash can. She misses.          The girls head down thehall..<b>          BRIGITTE</b>          Somebody leaves you all. these          jays an, yer not even curious"}
+{"doc_id":"doc_211","qid":"","text":"<html><head><title>Walk to Remember, A Script at IMSDb.</title><meta name=\"description\" content=\"Walk to Remember, A script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Walkto Remember, A script, Walk to Remember, A movie script, Walk to Remember, A film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\"content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ?'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie ScriptDatabase\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <scripttype=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>           A WALK TO REMEMBER                            Screenplay by                            Karen Janszen                     Based on the novelby                        Nicholas Sparks       No portion of this script may be performed, reproduced,       or used by any means, or quoted or published in any       medium without the prior written consent of WarnerBros.                                             July 27, 2000<b>WARNER BROS.                                 © 2000</b>4000 Warner Boulevard                        WARNER BROS.Burbank, California 91522                    All RightsReserved<b></b><b>BLACK</b>A young man's V.O.:<b>                         ADULT LANDON (V.O.)</b>           I was born in Beaufort, North           Carolina. A place where the air           always smells of pine andsalt and           sea.The voice is gentle. Slightly Southern in inflection.   Ayoung doctor's soothing manner.<b>FADE IN:</b><b>EXT. COASTAL NORTH CAROLINA (DECEMBER) (PRESENT)</b>A vast view of thecoastline in winter -- beaches, rivers,sea marshes, inlets -- ebbing and flowing.<b>                         ADULT LANDON (V.O.)</b>           For many, days and nights are           spent fishing Pamlico Soundor           crabbing the Neuse River.The CAMERA FINDS a small coastal town, edged by a harboron which fishermen toil.<b>EXT. BEAUFORT, NORTH CAROLINA - MORNING (DECEMBER)</b>The CAMERA, MOVINGinland, CROSSES OVER modest housesdecked with plastic rooftop Santas...<b>                         ADULT LANDON (V.O.)</b>           While the ocean may be the focus           of daily labor, churches have           alwaystried to be the focus of           life.And MOVES UPHILL TO...<b>EXT. MAIN STREET</b>Where fake snow is sprayed on store windows. The CAMERACONTINUES TO the far side of Main Street -- with itsstately homeswith big lawns, flower beds, and tastefulChristmas garlands.<b>                         ADULT LANDON (V.O.)</b>           When I lived here, there were           eighteen churches within town           limitsalone.<b></b><b>                                                       2.</b><b>EXT. FOUR-WAY STOP</b>From each corner, four churches face each other. TheFellowship Hall Christian Church, the Church of theForgivenPeople, the Church of Sunday Atonement, and AllSaints Church.<b>                        ADULT LANDON (V.O.)</b>          They sponsored pancake breakfasts,          rummage sales, car washes, and          softballgames.<b>EXT. LANDON'S TRUCK - TRAVELING</b>The CAMERA FINDS and FOLLOWS a newish sport utilityvehicle with MD plates as it passes a rummage sale and asoftball game.<b>                        ADULT LANDON(V.O.)</b>          You'd think that all the people          here were friendly, welcoming,          open-hearted...Dr. LANDON CARTER, 33, drives the truck.<b>INT. CAR - TRAVELING</b>Landon looks urban, prosperous,well-groomed -- butretains his boyish whimsy and sense of irony. A cellphone and overnight bag on the seat next to him.<b>                         ADULT LANDON (V.O.)</b>          ... and that money orfamily          background or education or luck          didn't matter.Landon reaches out to adjust his side mirror, revealing asimple gold wedding band on his left hand.<b>EXT. STREET - TRAVELING</b>Landon's truckturns the corner and slows in front of thehuge Southern Baptist church.<b>                        ADULT LANDON (V.O.)</b>          But they did matter. They          mattered to everyone. Except          JamieSullivan...Landon's truck turns into a driveway just past the churchand heads for a cluster of buildings. Behind thebuildings, a cemetery.<b></b><b>                                                        3.</b><b>EXT. CLUSTEROF BUILDINGS - CONTINUOUS ACTION</b>The truck pulls up in front of the old parsonage -- it's adifferent color than he remembers.<b>                        ADULT LANDON (V.O.)</b>          ... Astronomer.Actress.          Believer in God...Landon hesitates a moment, then climbs out of his truck.<b>EXT. OLD PARSONAGE - CONTINUOUS ACTION</b>Landon heads up the walk and onto the front porch.Presses theDOORBELL. It RINGS inside. Landon is edgy,unsettled.<b>                        ADULT LANDON (V.O.)</b>          ... Believer in me.A nurse opens the door.<b>                                                DISSOLVETO:</b><b>EXT. BEAUFORT HIGH GYM - NIGHT (NOVEMBER, 1985)</b>ROCK MUSIC drifts out open doors -- barely recognizable as\"Born in the U.S.A.\" Students hang. Brains, preps,richies, heavy metals, jocks,punk rockers, goths, geeks.Mixing without mixing. Most are red-eyed, woozy, wasted.A couple of boys break dance to a BOOM BOX.Missing are the criminals...A shiny T-top CAMARO ROARS up. Stops, TIRESSQUEALING.VAN HALEN BLASTING. LANDON, 18, at the wheel. He isimpulsive, sexy-troubled, with the nothing-to-lose courageto act on destructive whims. He is envied, copied,feared.<b>INT. CAMARO</b>EMPTIESroll and CLINK on the floor. A tiny plasticskeleton dances as it hangs from the rearview mirror.Landon stamps a joint into the ashtray.<b>                        LANDON</b>                 (impatient, edgy)          Where is he?He's supposed tobe          here.<b>                                                (CONTINUED)</b><b></b><b>                                                              4.</b><b>CONTINUED:</b><b>                           ERIC</b>                    (from backseat)             I need to whizz.ERIC's skinny, high-energy.          A leg always jiggling.<b>                             LANDON</b>             Eric.    You're such a hummingbird.<b>                              BELINDA</b>             Iwanna dance.BELINDA is Landon's girlfriend. Richie princess, a bad-girl pretender. Big shoulder pads. Jellie bracelet.Swatch watch.<b>                              LANDON</b>             So godance.<b>                              BELINDA</b>             With you.<b>                              LANDON</b>             I.    Don't.   Dance.<b>                           ERIC</b>                    (pointing,like                     Tattoo)             Dee plane. Dee plane.They laugh.       Clay's by the dumpster.<b>EXT. DUMPSTER</b>CLAY, obese, wearing a too-small student monitor vest, isdumping garbage from a trash can. Aloud HONK. Clayturns to see the Camaro, then turns back to the school,coast clear. He quickly heaves in the empty trash can asthe Camaro pulls up.Eric pushes a door open.       Empties fall from the back seat.Clayclimbs in.<b>                              CLAY</b>             Go go go go.PRINCIPAL ED KELLY, middle-aged, pockmarked skin, Casiocalculator watch, exits the gym.<b>INT. CAMARO</b>Landon's looking at Kelly in therearview mirror.<b>                                                      (CONTINUED)</b><b></b><b>                                                          5.</b><b>CONTINUED:</b><b>                           LANDON</b>                    (mocking)             Kelly. He looks like his face             caught fire and he tried to put it             out with a fork.Landon inches the car forward, teasing Clay, teasingKelly.<b>                           ERIC</b>             Hecouldn't find his own butt with             both hands at high noon in a hall             of mirrors.Sniggering laughter.<b>                           CLAY</b>             Go!Landon presses the gas.    The CAR ROARSaway.<b>                           CLAY</b>             Kelly's so old he --<b>                           LANDON</b>             We're done with that already,             bonehead.Clay smiles, good-natured.    He often misses socialcues.<b>EXT. CAMARO - TRAVELING</b>Landon drops Clay's student monitor vest out onto theroad. Another car runs it over.<b>EXT. ROAD</b>Mr. Kelly walks over, picks up the vest. Shakes it.Frustrated. Eyes theempty beer bottles by the dumpster.<b>EXT. OUTSIDE CEMETERY GATE - LITTLE LATER</b>Camaro is parked on the dirt access road, headlightsshining through the locked rear gate. JOHN COUGARMELLENCAMP's\"Small Town\" playing.<b>INT. CAMARO</b>Landon, Clay, and Belinda sit drinking, smoking weed.Under the MUSIC, a CB RADIO scanner CHATSquietly.<b>                                                  (CONTINUED)</b><b></b><b>                                                         6.</b><b>CONTINUED:</b><b>                           ERIC (O.S.)</b>             So which isit?<b>EXT. CAMARO</b>Eric finishes taking a leak.<b>                           ERIC</b>                    (calling over,                     repeating)             Landon. To save your life, you             have to either go deaf or gonumb             in your dick and balls.Eric climbs back in the car.<b>INT. CAMARO</b>Landon, Belinda, Clay, Eric.<b>                             LANDON</b>             I'mthinking.<b>                           ERIC</b>             No thinking. The doctor only             gives you three seconds to             decide --<b>                           LANDON</b>             Could I lose one ear and onenut?<b>                           ERIC</b>             No questions, no negotiating --<b>                            BELINDA</b>                    (to Eric, annoyed)             Where do you get these stupid             questions --?<b>                           LANDON</b>             Hypotheticals --<b>                           ERIC</b>                    (to Belinda)             I'm just wondering --<b>                             BELINDA</b>             Don'twonder.Landon's looking out at thenight.<b>                                                 (CONTINUED)</b><b></b><b>                                                        7.</b><b>CONTINUED:</b><b>                           LANDON</b>             Jamie Sullivan.Everyonelooks up.     Derisive laughter.<b>THEIR POV</b>A pale, contemplative GIRL, 17, is jumping down off thegate, caught in the headlights. Wearing clothes sheprobably made herself; long hair hiding her face. Shelives inher mind, not her body.<b>BACK TO SCENE</b><b>                            BELINDA</b>             Brain.<b>                            ERIC</b>             Biblefreak.<b>                            LANDON</b>             Cherry.<b>EXT. CAMARO</b>JAMIE (GIRL), hearing the laughter, gathers herself andapproaches Landon's window, her SNEAKERS CRUNCHING in theGRAVEL. Shecrosses her pilly brown sweater across herchest.<b>                           JAMIE</b>                    (to Landon,                     tentative)             Hey. Hi. Your lights. Any             chance you could... turn them             off--<b>                           BELINDA</b>                    (leaning over                     Landon)             God give you this road?<b>                            JAMIE</b>             No--<b>                           BELINDA</b>             Then we'll be keeping the"}
+{"doc_id":"doc_212","qid":"","text":"<html><head><title>Usual Suspects, The Script at IMSDb.</title><meta name=\"description\" content=\"Usual Suspects, The script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"UsualSuspects, The script, Usual Suspects, The movie script, Usual Suspects, The film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\"content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ?'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie ScriptDatabase\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <scripttype=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b><HTML></b><b><HEAD></b><TITLE>The Usual Suspects</TITLE><b></HEAD></b><pre>The Usual SuspectsWritten ByChristopher McQuarrieProduced and Directed By Bryan SingerRevised, 05/25/94 White<BR>Revised, 06/01/94 Blue<BR>Revised, 06/07/94 Pink<BR>Revised, 06/11/94 Yellow<BR><b>SCRIPT DATE5/25/94</b><b>1 -BLACK</b>     The lonely sound of a buoy bell in the distance. Water     slapping against a smooth, flat surface in rhythm. The     creaking of wood.     Off in the very far distance, one can make outthe sound of     sirens.     SUDDENLY, a single match ignites and invades the darkness. It     quivers for a moment. A dimly lit hand brings the rest of the     pack to the match. A plume of yellow-white flame flaresand     illuminates the battered face of DEAN KEATON, age forty. His     salty-gray hair is wet and matted. His face drips with water     or sweat. A large cut runs the length of his face from the     corner of his eye to hischin. It bleeds freely. An un-lit     cigarette hangs in the corner of his mouth.     In the half-light we can make out that he is on the deck of a     large boat. A yacht, perhaps, or a small freighter. He sits     with his backagainst the front bulkhead of the wheel house.     His legs are twisted at odd, almost impossible angles. He     looks down.     A thin trail of liquid runs past his feet and off into the     darkness. Keaton lights thecigarette on the burning pack of     matches before throwing them into the liquid.     The liquid IGNITES with a poof.     The flame runs up the stream, gaining in speed and intensity.     It begins to ripple and rumble asit runs down the deck     towards the stern.                                                       <b>2     EXT. BOAT - NIGHT - STERN                                             2'</b>     A stack of oil drums rests on the stern. They are stackedon     a palette with ropes at each corner that attach it to a huge     crane on the dock. One of the barrels has been punctured at     it's base. Gasoline trickles freely from the hole.     The flame is racing now towards thebarrels. Keaton smiles     weakly to himself.     The flame is within a few yards of the barrels when another     stream of liquid splashes onto the gas. The flame fizzles out     pitifully with a hiss.     Two feet straddle theflame. A stream of urine flows onto the     deck from between them.<b>                                            BLUE 06/01/94</b><b>                                                               2.</b>The sound of a fly zipping. Follow thefeet as they move overto where Keaton rests at the wheel house.CRANE UP to the waist of the unknown man. He pulls a pack ofcigarettes out of one pocket and a strange antique lighterfrom the other. It is gold, with aclasp that folds down overthe flint. The man flicks up the clasp with his thumb andstrikes it with his index finger. It is a fluid motion,somewhat showy.Keaton looks up at the man. A look of realization crosses hisface. Itis followed by frustration, anger, and finallyresignation.<b>                         VOICE (O.S.)</b>           How are you, Keaton?<b>                             KEATON</b>           I'd have to say my spine wasbroken,           Keyser.He spits the name out like it was poison.The man puts the lighter back in his pocket and reaches underhis jacket. He produces a stainless .38 revolver.<b>                         VOICE(O.S.)</b>           Ready?<b>                             KEATON</b>           What time is it?The hand with the gun turns over, turning the gold watch onits wrist upward.The sound of sirens is closer now. Headed thisway.<b>                         VOICE (O.S.)</b>           Twelve thirty.Keaton grimaces bitterly and nods. He turns his head away andtakes another drag.The hand with the gun waits long enough for Keaton to enjoy  hislast drag before pulling the trigger.<b>GUNSHOT</b>The sound of Keaton's body slumping onto the deck.<b>                                          YELLOW06/11/94</b><b>                                                             3.</b>MOVE OUT ACROSS THE DECK. Below is the stream of gasolinestill flowing freely.The sound of the gasoline igniting. The flame runs in frontof ustowards the barrels, finally leaping up in a circlearound the drums, burning the wood of the pallet and lickingthe spouting stream as it pours from the hole.MOVE OUT ACROSS THE DOCK, away from the boat.The pier towhich the boat is moored is littered with DEADBODIES. Twenty or more men have been shot to pieces and liescattered everywhere in what can only be the aftermath of afierce fire-fight.<b>A BARGE COMES INTOVIEW.                                             </b>On the deck of the barge is a tangle of cables and girders.          The mesh of steel and rubber leaves a dark and open cocoon           beneath itsbase.                                                    <b>MOVE INTO THE DARKNESS.</b>Sirens are close now. Almost here. The sound of fire ragingout of control.<b>SIRENS BLARING. TIRES SQUEALING. CAR DOORSOPENING. FEET</b><b>POUNDING THE PAVEMENT.</b><b>MOVE FURTHER, SLOWER, INTO THE DARKNESS</b>Voices yelling. New light flickering in the surroundingdarkness.<b>SUDDENLY, ANEXPLOSION.</b>Then silence. TOTAL BLACKNESS.We hear the voice of ROGER &quot;VERBAL&quot; KINT, whom we will soonmeet.<b>                         VERBAL (V.O.)</b>           New York. - six weeks ago. A truckloaded           with stripped gun parts got jacked           outside of Queens. The driver didn't see           anybody, but somebody fucked up. He heard           a voice. Sometimes, that's all youneed.<b>                                                YELLOW 06/11/94</b><b>                                                                   4.</b><b>      BOOM</b><b>3     INT. DARK APARTMENT - DAY - NEW YORK - SIX WEEKS PRIORTO</b><b>      PRESENT DAY</b>      The black explodes with the opening of a door into a dark      room. Outside, the hall is filled with blinding white light.      Shadows in the shapes of men flood into the room. Wecan make      out men in hoods with flashlights. They are laden with      weapons.<b>                                   VOICES</b><b>                 POLICE. SEARCH WARRANT. DON'T MOVE.</b>      It is a blur of violentaction and sound.'Beams of      flashlights cut the darkness in all directions.<b>      FINALLY:</b>      A dozen flashlights land on one man. He lies naked in bed,      Merging from a deep sleep. He squints at the floodof      blinding white light, more annoyed than frightened. He nearly      laughs at the sound of countless guns cocking. He is      McMANUS. Age twenty-eight.<b>                               VOICE (O.S.)</b>                 Mr.McManus?                                  McMANUS                 Yeah.<b>                               VOICE (O.S.)</b>                 Police. We have a warrant for                 yourarrest.                                   McMANUS                 Will they be serving coffee downtown?      Two dozen black gloved hands grab him and yank him out of      bed.<b>4     INT. AUTO BODY SHOP -DAY                                            4 </b>      An old paint mixer vibrates furiously.      TODD HOCKNEY, a dark, portly man in his thirties is working      on an old Fire-bird.                                                          AYOUNG HISPANIC KID mixes paint a few feet away.      SUDDENLY, the garage door opens TO REVEAL:<b>                                                   YELLOW06/11/94</b><b>                                                                     4A .</b>        A row of five men silhouetted by the bright sun.        Hockney squints.<b>                                                YELLOW06/11/94</b><b>                                                                   5.</b><b>                                  HOCKNEY</b>                 Can I help you?      Hockney's voice isgruff.<b>                                    MAN</b>                 Todd Hockney'      Hockney reaches for something just inside the door of the      Fire-bird.  <b>                                  HOCKNEY</b>                 Who areyou?      All six men INSTANTLY PRODUCE GUNS and aim them at Hockney.<b>                                    MAN  </b>                 Police.      Hockney withdraws a filthy towel and wipes grease and sweat      from hisforehead.                                                       <b>                                  HOCKNEY</b>                 We don't do gun repair.<b>S     EXT. STREET - NEW YORK - DAY</b>      FRED FENSTER, a tall, thin man in histhirties strolls      casually down the street. He is dressed conspicuously in a      loud suit and tie with shoes that have no hope of matching.      He smokes a cigarette and chews gum at the same time.      He happens toglance over his shoulder and notice a brown      Ford sedan with four men in it cruising along the curb. He      picks up his step a little. The Ford keeps up.      He looks ahead at the corner. He tries to look ascomfortable      as he can, checking his watch as though remembering an      appointment he is late for. The Ford stays right on him.      SUDDENLY, he bolts. He gets no more than a few yards before      cars pour outof every conceivable nook and cranny. Brakes      are squealing, radios squawking, guns cocking. Fenster is      surrounded instantly. He stops short and flaps his hands on      his thighs in defeat.<b>6     INT.MONDINO'S RESTAURANT - DAY</b>      An attractive man and woman walk quickly through the front of      a small New York cafe. They are charged with nervous,excited      energy.<b>                                          YELLOW 06/11/94</b><b>                                                             5A.</b>The man is DEAN KEATON, a well dressed, sturdy looking man inhis forties withslightly graying hair. He looks much betterthan he did in the opening scene. The woman with him is EDIEFINNERAN, age thirty-three, poised and attractive - Easilythe calmer of thetwo.<b>                                                 BLUE 06/01/94</b><b>                                                                     6.</b>     They come to a staircase at the back of the restaurant     leading down to a dark room.Edie takes Keaton's arm and     stops him.<b>                                  EDIE</b>                Let me look at you.     Keaton is uncomfortable in his suit, or perhaps the     situation. Still, he smiles with genuinewarmth.     Edie straightens his tie and picks microscopic imperfections     from his lapel.<b>                              EDIE (CONT'D)</b>                Now remember, this is another kind of                business. They don'tearn your respect.                You owe it to them. Don't stare them down                but don't look away either. Confidence.                They are fools not to trust you. That's                theattitude.<b>                                 KEATON</b>                I'm having a stroke.<b>                                   EDIE</b>                You've come far. You're a good man. I                love you.     Keaton blinks thenstammers, looking for a response.<b>     PAUSE</b><b>                              EDIE (CONT'D)</b>                Live with it.     She kisses him and runs down the steps with Keaton close     behind. Keaton playfully grabs"}
+{"doc_id":"doc_213","qid":"","text":"<html><head><title>187 Script at IMSDb.</title><meta name=\"description\" content=\"187 script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"187 script, 187 movie script, 187 filmscript\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Filmscripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><scripttype=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript';ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0];s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>    <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\"title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center></td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>       187<br>                by<br><br>          Scott Yagemann<br><br><br><br><br>       REVISED SHOOTINGDRAFT<br><br>         November 4, 1996<br><br><br><br><br>FOR EDUCATIONAL PURPOSES ONLY<br><br>    Rev. 7/10/96<br><br><br>                             1   8   7<br><br><br>1   EXT. LOWERMANHATTAN SKYLINE - BROOKLYN BRIDGE - MORNING    1<br>    RUSH HOUR<br><br>    ON a pair of black Dexter penny loafers diligently<br>    pedaling an old Schwinn mountain bike. ADJUST ANGLEnow<br>    to meet the bicyclist...<br><br>    He's African-American. Anywhere from 33 to 40. Wears<br>    wire-rim glasses, a fresh white oxford shirt, creased<br>    slacks and a solid green tie. An unobtrusivefigure, at<br>    once familiar and yet undiscerning. The type you'd pass<br>    on a sidewalk and never even notice. He's TREVOR GARFIELD.<br><br>    ADJUST ANGLE FURTHER now to reveal the upperpromenade<br>    bike path and a dramatic view of Lower Manhattan behind<br>    him. Morning sun glimmers off the Trade Center towers.<br><br>    Trevor's shadow skitters along the wooden path, 160ft.<br>    above the East River.<br><br>    A fat briefcase, strapped to the back of his bike, rocks<br>    back and forth as he pumps the pedals.<br><br>    FROM ABOVE now a sweeping view of Trevor, alone onthe<br>    bike path, a speck, suspended above a sea of rush hour<br>    traffic on the bridge below.<br><br><br>2   EXT. ATLANTIC AVENUE (BEDFORD STUYVESANT) - MORNING         2<br><br>    Awrought-iron train trestle covered with graffiti shakes<br>    as an \"EL\" TRAIN ROARS overhead. Trevor races parallel<br>    with it along Atlantic Avenue. Every city block becomes<br>    more and morerundown.<br><br><br>3   EXT. ROOSEVELT WHITNEY HIGH SCHOOL (BEDFORD                 3<br>    STUYVESANT) - MORNING<br><br>    A cyclone fence frames the stalwart face of the old<br>    three-storyadministration building. Ubiquitous gray<br>    patches of paint fail to cover where taggers have most<br>    recently left their marks. The ASSISTANT PRINCIPAL, a<br>    black man with a booming voice, barks atlate-comers who<br>    are about to be tardy...<br><br>                            ASSISTANT PRINCIPAL<br>                     (clapping his hands)<br>              ... Let's go, people! Tardy lock-<br>              out starts inone minute! Get<br>              your butts in gear! One minute,<br>              people! Move it!<br><br>                                                  (CONTINUED)<br><br>     1   8   7 - Rev.7/10/96                                  2.<br><br>3    CONTINUED:                                                      3<br><br>     SUPERIMPOSE:    ROOSEVELT WHITNEY HIGH SCHOOL -<br>                     OCTOBER1994<br><br>     The Assistant Principal, attention diverted, doesn't even<br>     notice Trevor as he enters on his bike and races down the<br>     sidewalk in front of the school. With all theprompting,<br>     students still don't seem to be in much of a hurry.<br><br><br>4    OMITTED                                                         4<br><br><br>5    INT. RWHS \"A\" BUILDING - MAINENTRANCE                          5<br><br>     ... as Trevor squeezes through the doorway past students<br>     being processed through card readers and metal detectors<br>     and turns down the mainhall.<br><br><br>6    INT. RWHS - MAIN FLOOR                                          6<br><br>     With a glance over his shoulder, Trevor hops back onto<br>     his bike and pedals it down the middle of thecorridor.<br>     STRAGGLING STUDENTS either ignore him or look at him<br>     like he's insane.<br><br>                                STRAGGLING STUDENT<br>                         (as Trevor passes)<br>                  ...No ridin' bikes in 'a hallway,<br>                  stoo-pit.<br><br><br>6A   INT. STAIRWELL                                                  6A<br><br>     As Trevor reaches the end of the main corridor... and<br>     steers hisbike down the stairs.<br><br><br>7    INT. RWHS - BOTTOM FLOOR                                        7<br><br>     Trevor coasts skillfully down the stairs and emerges<br>     onto the bottom floor of the school. Hepedals away<br>     toward the other end of the corridor.<br><br><br>7A   EXT. TREVOR'S CLASSROOM                                         7A<br><br>     A crowd of 10th graders loiter outside Trevor'sroom.<br>     Seeing him coming, they stir to life with a flurry of<br>     taunts. Trevor chooses to face all dissension witha<br>     smile.<br><br>                                                       (CONTINUED)<br><br>     1   8   7 - Rev.7/10/96                               3.<br><br>7A   CONTINUED:                                                  7A<br><br>     As Trevor hops off his bike and unlocks the classroom<br>     door, he notices two lovers making out inthe hallway...<br><br>                                VOICE IN CROWD<br>                  ... Yuh late, Garfield.<br><br>                                TREVOR<br>                         (catching his breath)<br>                  ... No, bellhasn't rung yet.<br>                  Okay, let's get inside. C'mon.<br>                         (as they file<br>                          into the room)<br>                  ... Morning, morning. Riseand<br>                  shine.<br><br>     TWO STUDENTS make passing comments...<br><br>                                AUGGIE<br>                         (shaking his head)<br>                  ... You one crazy-ass nigga,G.<br><br>                                TYWAN<br>                         (a quarter stuck<br>                          in one ear)<br>                  ... Damn skippy.<br><br>                                TREVOR<br>                  Thankyou for sharing, Auggie.<br><br>                                TYWAN<br>                         (provoking Auggie)<br>                  ... Auggie doggie.<br><br>                                AUGGIE (O.S.)<br>                  Fuck you,Tywan. Yer mama's a<br>                  gangsta-rapper.<br><br>     Trevor offers a pleasant greeting to the two lovers.<br><br>                                TREVOR<br>                  'Scuse me, you two... thisisn't<br>                  the Playboy Channel.<br><br>     Trevor enters the room, but ducks his head back into<br>     the hall.<br><br>                                TREVOR<br>                  'Morning,Juanita.<br><br>8    INT. RWHS - TREVOR'S CLASSROOM - CONTINUOUS ACTION          8<br><br>     Walls are covered with assorted science posters.<br>     Styrofoam nuclei dangle from the ceiling.Trevor<br>     unstraps the fat briefcase from his bicycle and sets<br>     it on a metal stool next to his desk...<br>                                                   (CONTINUED)<br><br>                                                                   4.<br><br>8   CONTINUED:                                                          8<br><br>                               TREVOR<br>                        (enthusiastically)<br>                 Let's get started. Augustand<br>                 Tywan, you pass out the books.<br>                 Thank you, gentlemen.<br><br>    Auggie and Tywan don't budge.<br><br>                                TYWAN<br>                 Whas up wit' your car,G?   Yer<br>                 Pinto blow up?<br><br>    The majority of students aren't even paying attention.          A<br>    group in the back is already starting a cardgame.<br><br>                               TREVOR<br>                        (good-natured smile)<br>                 No, I don't own a Pinto, Tywan.<br>                        (addressing the class)<br>                 Okay, can I haveeveryone's<br>                 attention?<br><br>    No response, but it doesn't phase Trevor.         He removes<br>    the front wheels from his bike.<br><br>                               TREVOR<br>                 Thepurpose of the bicycle is to<br>                 demonstrate the principle of<br>                 centripetal force. That's the<br>                 opposite of the force we studied<br>                 yesterday, whichwas...<br><br>                                 VOICE IN THE CROWD<br>                 Magnum force.<br><br>    Hoots and laughter.<br><br>                               TREVOR<br>                 Centrifugal force...Centripetal<br>                 force is where the acceleration of<br>                 a body moving in circular motion<br>                 is directed toward its center by an<br>                 opposing force, thuscreating<br>                 momentum that constrains the body to<br>                 its circular path. Like a gyroscope.<br>                        (sees nothing<br>                         but yawns)<br>                 It's better if Ishow you. Here,<br>                 Tywan, you be my helper.<br><br>    Tywan and Auggie are busy talking in the corner.        They<br>    still haven't passed out the books.<br><br>                                                         (CONTINUED)<br><br>                                                              5.<br><br>8   CONTINUED:    (2)                                               8<br><br>                                TREVOR<br>                 Tywan?   Comeon.<br><br>    Tywan, solidly built like a Rodin bronze, saunters over.<br><br>                               TYWAN<br>                 Whad-up, G?<br>                        (to rest of class)<br>                 Hey, shut up! Y'all toodamn<br>                 loud, man!<br><br>    Class quiets but only marginally.<br><br>                               TREVOR<br>                 I need you to demonstrate<br>                 centripetalforce.<br>                        (removes briefcase<br>                         from stool)<br>                 Here, have a seat.<br><br>    Tywan sits and Trevor hands him the upside-downbicycle.<br><br>                               TREVOR<br>                 Okay, hold the bike steady with<br>                 your knees. That's it. Seat<br>                 positioned against your chest.<br><br>    Tywan glancesover at Auggie and starts to laugh.<br><br>                               TYWAN<br>                        (to Auggie)<br>                 Shut up, foo.<br><br>                               TREVOR<br>                 Okay, now crank thepedals and get<br>                 that back wheel spinning about<br>                 180 R.P.M.<br><br>                               TYWAN<br>                 Whas up wit'dat?<br><br>                               TREVOR<br>                        (coaxing him along)<br>                 You'll see. Be patient.<br><br>    A skeptical Tywan starts to crank the pedals, but he's<br>    not pedaling hardenough.<br><br>                               TREVOR<br>                 ... Put some muscle into it.<br><br>    Tywan cranks the pedals harder now. Trevor back-pedals<br>    over to the textbook shelf and randomlyselects a<br>    physical science book (but doesn't open it).<br><br>                                                      (CONTINUED)<br><br>    1   8   7 - Rev.7/10/96                                6.<br><br>8   CONTINUED:    (3)                                            8<br><br>                               TREVOR<br>                 ... Keep pedaling. Harder.<br><br>    A paper airplane sails"}
+{"doc_id":"doc_214","qid":"","text":"<html><head><title>Swordfish Script at IMSDb.</title><meta name=\"description\" content=\"Swordfish script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Swordfish script, Swordfishmovie script, Swordfish film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=SubjectCONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0];s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>    <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\"title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center></td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>SWORDFISH         by     Skip Woods     January 2001Final Production Draft<b>FOR EDUCATIONAL</b><b> PURPOSESONLY</b><b></b><b>1   BLACKNESS                                                     1</b>    We hear OVER...<b>                              GABRIEL (V.O.)</b>                You know the problem with                Hollywood? Theymake shit.                Unbelievable, unremarkable shit.                I'm not some grungy filmmaker-                wannabee searching for                existentialism through a haze of                bong-smoke. It's easy topick                apart bad acting, short-sighted                directing, or the purely moronic                stringing together of words many                of the studios term as prose. No,                I'm talking the lack ofrealism.                Realism. Not a pervasive element                in the modern American cinematic                vision.<b>    FADE IN:</b><b>    INT. STARBUCKS COFFEE SHOP - MORNING</b>    Three men sit at awindow booth drinking coffee and    talking. Two of the men sit on one side of the table;    STANLEY is in his early thirties, AGENT ROBERTS, early    forties. Both wear suits, the younger's is fairly    expensive and wellcut, the other's is polyester, enough    said. The MAN across, however, is quite different. He    is what they used to call a \"cool-cat.\"<b>                              GABRIEL (MAN)</b>                Take Dog Day Afternoonfor                example. Arguably Pacino's                greatest performance, excepting                The Godfather, Part I, and                Scarface, of course. A                masterpiece of directing, easily                Lumet'sbest. The acting, the                script, cinematography, all top                notch. But, they didn't push the                envelope. What if in Dog Day,                Sonny really wanted to get away                with it? What if,and here's                where it gets tricky. What if                they'd started killing hostages?                No mercy, no quarter, meet our                demands or the cute blonde in the                bell bottoms gets one inthe back                of the head, bam, splatter. What?                Still no bus?<b>                              (MORE)</b><b>                                                    (CONTINUED)</b><b></b><b>                                                              2.</b><b>1   CONTINUED:                                                      1</b><b>                               GABRIEL (CONT'D)</b>                 How many innocent victims would                 they let get sprayedacross the                 windows before the city reversed                 its policy on hostage situations?                 And this was 1976. No C.N.N., no                 C.N.B.C., no M.T.V. No Internet.                 Fast forward tothe present, same                 situation. Can you imagine the                 feeding frenzy of the modern                 media? In hours it would be the                 top story from Boston to Budapest.                 All caught in150 millimeter zoom,                 computer enhanced, and color                 corrected. You would practically                 taste the brain matter. Six                 hostages die. Ten. Twelve.                 Twenty. Thirty.Relentless. One                 after another. All over a bus, a                 plane, and a couple of million                 dollars that were federally                 insured.    He sits, letting the pictures sink in,then:<b>                               GABRIEL</b>                 Just a thought. I mean it's not                 really within the realm of                 conventional cinema, butwhat                 if...?<b>                               ROBERTS</b>                 You know, this movie of yours, I                 don't think it would have worked.<b>                                GABRIEL</b>                 Really?   Howcome?<b>                               ROBERTS</b>                        (shrugs)                 Audiences love happy endings.<b>                               GABRIEL</b>                 Pacino escapes. With themoney.                 Boyfriend gets the sex change                 operation. They live happily ever                 after.    Stanley shakes his head.<b>                                GABRIEL</b>                 No?<b>                                                      (CONTINUED)</b><b></b><b>                                                             3.</b><b>1   CONTINUED:    (2)                                              1</b><b>                               STANLEY</b>                 No.<b>                               GABRIEL</b>                 Homophobia?    Stanley shakes his head.<b>                               STANLEY</b>                 Bad guy can't win. It's a                 morality tale. One way orthe                 other, he's gotta go down.<b>                                GABRIEL</b>                 Oh, well. Life does tend to be                 stranger than fiction.                        (looking at watch)                 Well, guys,gotta jet. This place                 is kinda dead.    CAMERA PANS AROUND the coffee shop. Not a soul in the    place. We CONTINUE TO PAN AROUND 270 DEGREES TO the    front door, which is open. Outside the opendoorway are    crouched a squad of heavily body-armored SWAT members,    packed together, and aiming automatic weapons inside.<b>    ANGLE ONGABRIEL</b><b>                               GABRIEL</b>                 Thanks for the coffee.    He gets up. In his left hand, which has been hidden by    the table until now, he is holding a strange-looking    spring-loadedgrip. Gabriel is looking back at them.    Smiles.<b>                               GABRIEL</b>                 Rene Descartes is sitting in some                 bar in Paris. Bartender says,                 'Hey, you want anotherdrink?'                 Descartes says, 'I think not.'                 And disappears.    He smiles at his own joke, then turns and walks over to    the front door.<b>                               GABRIEL</b>                 Move.    No oneeven twitches.<b>                               GABRIEL</b>                 I won't askagain.<b>                                                     (CONTINUED)</b><b></b><b>                                                             4.</b><b>1   CONTINUED:    (3)                                             1</b>    He lifts up thedevice in his left hand.<b>    ANGLE ON ROBERTS</b>    who nods his head. The SWAT team moves back, letting    Gabriel out of the coffee shop.<b>                               GABRIEL</b>                 Thankyou.    Gabriel looks back at Stan sitting in the booth.<b>                               GABRIEL</b>                 Stanley... you coming?    Stan slides from the booth as Gabriel exits the coffee    shop --<b>2   EXT.STARBUCKS COFFEE SHOP - DAY                              2</b>    SILENCE -- no sounds on the SOUNDTRACK.    Gabriel and Stanley stop just outside the doorway.    Gabriel dons a pair of hip little shades, thencontinues    across the sidewalk and into the street.    He nonchalantly looks up. Suddenly the THUMP of    HELICOPTERS and the WAIL of SIRENS dominates the    soundtrack.    Pandemonium. HELICOPTERS RIP thesky, L.A. County PD and    a bunch of news vultures. Squad cars block off both ends    of the street while SWAT trucks, news vans, and looky-    loos are packed together into the distance.    Sharpshooters lean out ofwindows and snipers are    positioned on every open rooftop. Hundreds of weapons    are pointed at this man who saunters across the street as    if he's on his way to Sunday service, without a care in    theworld.    Slowly, Stanley follows Gabriel into the street.    Gabriel steps up on the far sidewalk, a huge armored bus    blocks most of the windows. He walks beside the bus,    under a huge \"WORLD BANC\" sign, andthrough the glass    front door, which shuts IN OUR FACE.<b>3   INT. BANK - CLOSEUP - GABRIEL - DAY                           3</b>    He turns away from the window and we FOLLOWhim.<b>                                                  (CONTINUED)</b><b></b><b>                                                                5.</b><b>3   CONTINUED:                                                        3</b>    The interior of thebank looks like New Orleans on Fat    Tuesday. Three Hummers sit in the middle of the floor,    surrounded by broken glass. Between them rests a bright    red Ferrari F50 (Gabriel's).    All but one of the front windowsof the bank, the one    with the door in it, has been welded over with 3/4 inch    plate steel.    Over two dozen hostages lie face down on the floor, arms    cable-tied behind their backs. Something has beenduct-    taped around their chests and each is wearing what    appears to be a dog collar.    The other occupants of the room are nine men. All of    whom would look as if they were attending the fashion    event of theyear were it not for the automatic weapons    each one carries.<b>                                 GABRIEL</b>                 How we doin'?    One of the ARMED MEN finishes putting a collar on a    young, normallygood-looking-but-now-covered-in-mascara,    whimpering blonde girl.<b>                                 MARCO (ARMED MAN)</b>                 Done.<b>                                GABRIEL</b>                 Good.   Take herout.<b>    SUPERIMPOSE:    FRIDAY, OCTOBER 18     8:41:22...</b>    The front door opens and one of the suited men drags out    the pretty blonde from earlier. She is sobbing and is in    such grief she can't evenwalk.<b>4   EXT. BANK - DAY                                                   4</b>    On the sidewalk, the suited man, his automatic weapon    slung, holds her up for everyone to see.<b>5   INT. BANK -DAY                                                   5</b>    Gabriel grabs his cell and dials.<b>6   INT. STARBUCKS COFFEE SHOP - DAY                                  6</b>    Roberts sits in the Starbucks which has beentransformed    into a high-tech command center reading anewspaper.<b>                                                        (CONTINUED)</b><b></b><b>                                                                6.</b><b>6   CONTINUED:                                                       6</b>    Wecannot see the headlines. Federal and state officers    scramble around handling problems. The PHONE RINGS.    Assistant Director Bill Joy (A.D. JOY), an older-looking    guy who looks more like an accountant than anassistant    director of the FBI, is handed the phone.<b>                               A.D. JOY</b>                 Is everyone in position?<b>                                SWAT LEADER</b>                 Almost,sir.<b>                                ROBERTS</b>                        (looks up from                         paper)                 What are you doing?    We PAN AROUND.<b>                               A.D. JOY</b>                        (toSWAT LEADER)                 Get her at your first opportunity.<b>                               SWAT LEADER</b>                        (into mike)                 High ground one and two. You                 have a greenlight.<b>                               ROBERTS</b>                 I've seen what this man is capable                 of --<b>                                A.D. JOY</b>                 The F.B.I. does not negotiate with                 terrorists. Iassumed you'd be                 aware of that.                        (answering phone)                 Joy.    Roberts picks up an extension.<b>                               GABRIEL (V.O.)</b>                 Don't talk, listen... When I"}
+{"doc_id":"doc_215","qid":"","text":"The Project Gutenberg EBook of Thuvia, Maid of Mars, by Edgar Rice BurroughsThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it awayorre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: Thuvia, Maid of MarsAuthor: Edgar Rice BurroughsPosting Date: June 23, 2008 [EBook#72]Release Date: July, 1993First Posted: November 14, 2001[Last updated: October 10, 2012]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THUVIA, MAID OF MARS ***Produced by JudithBoss and Charles Keller.  HTML version by Al Haines.Thuvia, Maid of MarsByEdgar Rice Burroughs             CONTENTS CHAPTER    I  Carthoris and Thuvia   II  Slavery  III  Treachery   IV  A Green Man's Captive    V  TheFair Race   VI  The Jeddak of Lothar  VII  The Phantom Bowmen VIII  The Hall of Doom   IX  The Battle in the Plain    X  Kar Komak, the Bowman   XI  Green Men and White Apes  XII  To Save Dusar XIII  Turjun, thePanthan  XIV  Kulan Tith's Sacrifice       Glossary of Names and TermsTHUVIA, MAID OF MARSCHAPTER ICARTHORIS AND THUVIAUpon a massive bench of polished ersite beneath the gorgeous bloomsof a giant pimaliaa woman sat.  Her shapely, sandalled foot tappedimpatiently upon the jewel-strewn walk that wound beneath thestately sorapus trees across the scarlet sward of the royal gardensof Thuvan Dihn, Jeddak of Ptarth, as adark-haired, red-skinnedwarrior bent low toward her, whispering heated words close to herear.\"Ah, Thuvia of Ptarth,\" he cried, \"you are cold even before thefiery blasts of my consuming love!  No harder than yourheart, norcolder is the hard, cold ersite of this thrice happy bench whichsupports your divine and fadeless form!  Tell me, O Thuvia ofPtarth, that I may still hope--that though you do not love me now,yet some day,some day, my princess, I--\"The girl sprang to her feet with an exclamation of surprise anddispleasure.  Her queenly head was poised haughtily upon her smoothred shoulders.  Her dark eyes looked angrily into those ofthe man.\"You forget yourself, and the customs of Barsoom, Astok,\" she said.\"I have given you no right thus to address the daughter of ThuvanDihn, nor have you won such a right.\"The man reached suddenly forth andgrasped her by the arm.\"You shall be my princess!\" he cried.  \"By the breast of Issus, thoushalt, nor shall any other come between Astok, Prince of Dusar,and his heart's desire.  Tell me that there is another, and Ishallcut out his foul heart and fling it to the wild calots of the deadsea-bottoms!\"At touch of the man's hand upon her flesh the girl went pallidbeneath her coppery skin, for the persons of the royal women ofthe courts ofMars are held but little less than sacred.  The actof Astok, Prince of Dusar, was profanation.  There was no terrorin the eyes of Thuvia of Ptarth--only horror for the thing the manhad done and for its possibleconsequences.\"Release me.\"  Her voice was level--frigid.The man muttered incoherently and drew her roughly toward him.\"Release me!\" she repeated sharply, \"or I call the guard, and thePrince of Dusar knows whatthat will mean.\"Quickly he threw his right arm about her shoulders and strove todraw her face to his lips.  With a little cry she struck him fullin the mouth with the massive bracelets that circled her free arm.\"Calot!\" sheexclaimed, and then:  \"The guard!  The guard!  Hastenin protection of the Princess of Ptarth!\"In answer to her call a dozen guardsmen came racing across thescarlet sward, their gleaming long-swords naked in the sun,themetal of their accoutrements clanking against that of their leathernharness, and in their throats hoarse shouts of rage at the sightwhich met their eyes.But before they had passed half across the royal garden towhereAstok of Dusar still held the struggling girl in his grasp, anotherfigure sprang from a cluster of dense foliage that half hid a goldenfountain close at hand.  A tall, straight youth he was, with blackhair and keen greyeyes; broad of shoulder and narrow of hip; aclean-limbed fighting man.  His skin was but faintly tinged withthe copper colour that marks the red men of Mars from the otherraces of the dying planet--he was like them,and yet there was asubtle difference greater even than that which lay in his lighterskin and his grey eyes.There was a difference, too, in his movements.  He came on in greatleaps that carried him so swiftly over theground that the speedof the guardsmen was as nothing by comparison.Astok still clutched Thuvia's wrist as the young warrior confrontedhim.  The new-comer wasted no time and he spoke but a single word.\"Calot!\" hesnapped, and then his clenched fist landed beneath theother's chin, lifting him high into the air and depositing him ina crumpled heap within the centre of the pimalia bush beside theersite bench.Her champion turnedtoward the girl.  \"Kaor, Thuvia of Ptarth!\" hecried.  \"It seems that fate timed my visit well.\"\"Kaor, Carthoris of Helium!\" the princess returned the young man'sgreeting, \"and what less could one expect of the son of suchasire?\"He bowed his acknowledgment of the compliment to his father, JohnCarter, Warlord of Mars.  And then the guardsmen, panting fromtheir charge, came up just as the Prince of Dusar, bleeding at themouth, andwith drawn sword, crawled from the entanglement of thepimalia.Astok would have leaped to mortal combat with the son of DejahThoris, but the guardsmen pressed about him, preventing, though itwas clearly evidentthat naught would have better pleased Carthorisof Helium.\"But say the word, Thuvia of Ptarth,\" he begged, \"and naught willgive me greater pleasure than meting to this fellow the punishmenthe has earned.\"\"It cannotbe, Carthoris,\" she replied.  \"Even though he has forfeitedall claim upon my consideration, yet is he the guest of the jeddak,my father, and to him alone may he account for the unpardonableact he has committed.\"\"Asyou say, Thuvia,\" replied the Heliumite.  \"But afterward heshall account to Carthoris, Prince of Helium, for this affront tothe daughter of my father's friend.\" As he spoke, though, thereburned in his eyes a fire thatproclaimed a nearer, dearer causefor his championship of this glorious daughter of Barsoom.The maid's cheek darkened beneath the satin of her transparent skin,and the eyes of Astok, Prince of Dusar, darkened, too,as he readthat which passed unspoken between the two in the royal gardens ofthe jeddak.\"And thou to me,\" he snapped at Carthoris, answering the youngman's challenge.The guard still surrounded Astok.  It was adifficult position forthe young officer who commanded it.  His prisoner was the son of amighty jeddak; he was the guest of Thuvan Dihn--until but now anhonoured guest upon whom every royal dignity had beenshowered.To arrest him forcibly could mean naught else than war, and yet hehad done that which in the eyes of the Ptarth warrior merited death.The young man hesitated.  He looked toward his princess.  She,too,guessed all that hung upon the action of the coming moment.  Formany years Dusar and Ptarth had been at peace with each other.Their great merchant ships plied back and forth between the largercities of the twonations.  Even now, far above the gold-shotscarlet dome of the jeddak's palace, she could see the huge bulkof a giant freighter taking its majestic way through the thinBarsoomian air toward the west and Dusar.By aword she might plunge these two mighty nations into a bloodyconflict that would drain them of their bravest blood and theirincalculable riches, leaving them all helpless against the inroadsof their envious and lesspowerful neighbors, and at last a preyto the savage green hordes of the dead sea-bottoms.No sense of fear influenced her decision, for fear is seldom knownto the children of Mars.  It was rather a sense of theresponsibilitythat she, the daughter of their jeddak, felt for the welfare ofher father's people.\"I called you, Padwar,\" she said to the lieutenant of the guard,\"to protect the person of your princess, and to keep thepeacethat must not be violated within the royal gardens of the jeddak.That is all.  You will escort me to the palace, and the Prince ofHelium will accompany me.\"Without another glance in the direction of Astok sheturned, andtaking Carthoris' proffered hand, moved slowly toward the massivemarble pile that housed the ruler of Ptarth and his glitteringcourt.  On either side marched a file of guardsmen.  Thus Thuviaof Ptarth founda way out of a dilemma, escaping the necessityof placing her father's royal guest under forcible restraint, andat the same time separating the two princes, who otherwise wouldhave been at each other's throat themoment she and the guard haddeparted.Beside the pimalia stood Astok, his dark eyes narrowed to mere slitsof hate beneath his lowering brows as he watched the retreatingforms of the woman who had aroused thefiercest passions of hisnature and the man whom he now believed to be the one who stoodbetween his love and its consummation.As they disappeared within the structure Astok shrugged his shoulders,and with amurmured oath crossed the gardens toward another wingof the building where he and his retinue were housed.That night he took formal leave of Thuvan Dihn, and though nomention was made of the happening withinthe garden, it was plainto see through the cold mask of the jeddak's courtesy that onlythe customs of royal hospitality restrained him from voicing thecontempt he felt for the Prince of Dusar.Carthoris was not present atthe leave-taking, nor was Thuvia.  Theceremony was as stiff and formal as court etiquette could make it,and when the last of the Dusarians clambered over the rail of thebattleship that had brought them upon thisfateful visit to thecourt of Ptarth, and the mighty engine of destruction had risenslowly from the ways of the landing-stage, a note of relief wasapparent in the voice of Thuvan Dihn as he turned to one of hisofficers witha word of comment upon a subject foreign to thatwhich had been uppermost in the minds of all for hours.But, after all, was it so foreign?\"Inform Prince Sovan,\" he directed, \"that it is our wish that thefleet whichdeparted for Kaol this morning be recalled to cruiseto the west of Ptarth.\"As the warship, bearing Astok back to the court of his father,turned toward the west, Thuvia of Ptarth, sitting upon the samebench where thePrince of Dusar had affronted her, watched thetwinkling lights of the craft growing smaller in the distance.Beside her, in the brilliant light of the nearer moon, sat Carthoris.His eyes were not upon the dim bulk of thebattleship, but on theprofile of the girl's upturned face.\"Thuvia,\" he whispered.The girl turned her eyes toward his.  His hand stole out to findhers, but she drew her own gently away.\"Thuvia of Ptarth, I love you!\" criedthe young warrior.  \"Tell methat it does not offend.\"She shook her head sadly.  \"The love of Carthoris of Helium,\" shesaid simply, \"could be naught but an honour to any woman; but youmust not speak, my friend, ofbestowing upon me that which I maynot reciprocate.\"The young man got slowly to his feet.  His eyes were wide inastonishment.  It never had occurred to the Prince of Helium thatThuvia of Ptarth might loveanother.\"But at Kadabra!\" he exclaimed.  \"And later here at your father'scourt, what did you do, Thuvia of Ptarth, that might have warnedme that you could not return my love?\"\"And what did I do, Carthoris of Helium,\"she returned, \"that mightlead you to believe that I DID return it?\"He paused in thought, and then shook his head.  \"Nothing, Thuvia,that is true; yet I could have sworn you loved me.  Indeed, youwell knew how near toworship has been my love for you.\"\"And how might I know it, Carthoris?\" she asked innocently.  \"Didyou ever tell me as much?  Ever before have words of love for mefallen from your lips?\"\"But you MUST have knownit!\" he exclaimed.  \"I am like myfather--witless in matters of the heart, and of a poor way withwomen; yet the jewels that strew these royal garden paths--thetrees, the flowers, the sward--all must have read the lovethat hasfilled my heart since first my eyes were made new by imaging yourperfect face and form; so how could you alone have been blind toit?\"\"Do the maids of Helium pay court to their men?\" asked Thuvia.\"You areplaying with me!\" exclaimed Carthoris.  \"Say that you arebut playing, and that after all you love me, Thuvia!\"\"I cannot tell you that, Carthoris, for I am promised to another.\"Her tone was level, but was there not withinit the hint of aninfinite depth of sadness?  Who may say?\"Promised to another?\"  Carthoris scarcely breathed the words.  Hisface went almost white, and then his head came up as befitted himin whose veins flowed theblood of the overlord of a world.\"Carthoris of Helium wishes you every happiness with the man ofyour choice,\" he said.  \"With--\" and then he hesitated, waitingfor her to fill in the name.\"Kulan Tith, Jeddak of Kaol,\" shereplied.  \"My father's friendand Ptarth's most puissant ally.\"The young man looked at her intently for a moment before he spokeagain.\"You love him, Thuvia of Ptarth?\" he asked.\"I am promised to him,\" she repliedsimply.He did not press her.  \"He is of Barsoom's noblest blood and mightiestfighters,\" mused Carthoris.  \"My father's friend and mine--wouldthat it might have been another!\" he muttered almost savagely.  Whatthegirl thought was hidden by the mask of her expression, whichwas tinged only by a little shadow of sadness that might have beenfor Carthoris, herself, or for them both.Carthoris of Helium did not ask, though he notedit, for hisloyalty to Kulan Tith was the loyalty of the blood of John Carterof Virginia for a friend, greater than which could be no loyalty.He raised a jewel-encrusted bit of the girl's magnificent trappingsto his lips.\"To thehonour and happiness of Kulan Tith and the priceless jewelthat has been bestowed upon him,\" he said, and though his voicewas husky there was the true ring of sincerity in it.  \"I told youthat I loved you, Thuvia, beforeI knew that you were promised toanother.  I may not tell you it again, but I am glad that you knowit, for there is no dishonour in it either to you or to Kulan Tithor to myself.  My love is such that it may embrace as wellKulanTith--if you love him.\"  There was almost a question in the statement.\"I am promised to him,\" she replied.Carthoris backed slowly away.  He laid one hand upon his heart,the other upon the pommel of hislong-sword.\"These are yours--always,\" he said.  A moment later he had enteredthe palace, and was gone from the girl's sight.Had he returned at once he would have found her prone upon theersite bench, her faceburied in her arms.  Was she weeping?  Therewas none to see.Carthoris of Helium had come all unannounced to the court of hisfather's friend that day.  He had come alone in a small flier, sureof the same welcome thatalways awaited him at Ptarth.  As therehad been no formality in his coming there was no need of formalityin his going.To Thuvan Dihn he explained that he had been but testing an inventionof his own with which hisflier was equipped--a clever improvementof the ordinary Martian air compass, which, when set for a certaindestination, will remain constantly fixed thereon, making it onlynecessary to keep a vessel's prow always in thedirection of thecompass needle to reach any given point upon Barsoom by the shortestroute.Carthoris' improvement upon this consisted of an auxiliary devicewhich steered the craft mechanically in the direction ofthecompass, and upon arrival directly over the point for which thecompass was set, brought the craft to a standstill and lowered it,also automatically, to the ground.\"You readily discern the advantages of this invention,\"he was sayingto Thuvan Dihn, who had accompanied him to the landing-stage uponthe palace roof to inspect the compass and bid his young friendfarewell.A dozen officers of the court with several body servantsweregrouped behind the jeddak and his guest, eager listeners to theconversation--so eager on the part of one of the servants that hewas twice rebuked by a noble for his forwardness in pushing himselfahead of hisbetters to view the intricate mechanism of the wonderful\"controlling destination compass,\" as the thing was called.\"For example,\" continued Carthoris, \"I have an all-night trip beforeme, as to-night.  I set the pointerhere upon the right-hand dialwhich represents the eastern hemisphere of Barsoom, so that thepoint rests upon the exact latitude and longitude of Helium.  ThenI start the engine, roll up in my sleeping silks and furs,and withlights burning, race through the air toward Helium, confident thatat the appointed hour I shall drop gently toward the landing-stageupon my own palace, whether I am still asleep or no.\"\"Provided,\" suggestedThuvan Dihn, \"you do not chance to collidewith some other night wanderer in the meanwhile.\"Carthoris smiled.  \"No danger of that,\" he replied.  \"See here,\"and he indicated a device at the right of the destinationcompass.\"This is my 'obstruction evader,' as I call it.  This visible deviceis the switch which throws the mechanism on or off.  The instrumentitself is below deck, geared both to the steering apparatus andthe controllevers.\"It is quite simple, being nothing more than a radium generatordiffusing radio-activity in all directions to a distance of ahundred yards or so from the flier.  Should this enveloping forcebe interrupted in anydirection a delicate instrument immediatelyapprehends the irregularity, at the same time imparting an impulseto a magnetic device which in turn actuates the steering mechanism,diverting the bow of the flier awayfrom the obstacle until the craft'sradio-activity sphere is no longer in contact with the obstruction,then she falls once more into her normal course.  Should thedisturbance approach from the rear, as in case of afaster-movingcraft overhauling me, the mechanism actuates the speed control aswell as the steering gear, and the flier shoots ahead and eitherup or down, as the oncoming vessel is upon a lower or higher planethanherself.\"In aggravated cases, that is when the obstructions are many, orof such a nature as to deflect the bow more than forty-five degreesin any direction, or when the craft has reached its destinationand dropped towithin a hundred yards of the ground, the mechanismbrings her to a full stop, at the same time sounding a loud alarmwhich will instantly awaken the pilot.  You see I have anticipatedalmost every contingency.\"ThuvanDihn smiled his appreciation of the marvellous device.  Theforward servant pushed almost to the flier's side.  His eyes werenarrowed to slits.\"All but one,\" he said.The nobles looked at him in astonishment, and one ofthem graspedthe fellow none too gently by the shoulder to push him back to hisproper place.  Carthoris raised his hand.\"Wait,\" he urged.  \"Let us hear what the man has to say--no creationof mortal mind isperfect.  Perchance he has detected a weaknessthat it will be well to know at once.  Come, my good fellow, andwhat may be the one contingency I have overlooked?\"As he spoke Carthoris observed the servant closelyfor the firsttime.  He saw a man of giant stature and handsome, as are all thoseof the race of Martian red men; but the fellow's lips were thinand cruel, and across one cheek was the faint, white line of asword-cut fromthe right temple to the corner of the mouth.\"Come,\" urged the Prince of Helium.  \"Speak!\"The man hesitated.  It was evident that he regretted the temeritythat had made him the centre of interested observation.  Butatlast, seeing no alternative, he spoke.\"It might be tampered with,\" he said, \"by an enemy.\"Carthoris drew a small key from his leathern pocket-pouch.\"Look at this,\" he said, handing it to the man.  \"If you knowaughtof locks, you will know that the mechanism which this unlooses isbeyond the cunning of a picker of locks.  It guards the vitals ofthe instrument from crafty tampering.  Without it an enemy musthalf wreck thedevice to reach its heart, leaving his handiworkapparent to the most casual observer.\"The servant took the key, glanced at it shrewdly, and then as hemade to return it to Carthoris dropped it upon the marbleflagging.Turning to look for it he planted the sole of his sandal full uponthe glittering object.  For an instant he bore all his weight uponthe foot that covered the key, then he stepped back and with anexclamation as ofpleasure that he had found it, stooped, recoveredit, and returned it to the Heliumite.  Then he dropped back to hisstation behind the nobles and was forgotten.A moment later Carthoris had made his adieux to ThuvanDihn andhis nobles, and with lights twinkling had risen into the star-shotvoid of the Martian night.CHAPTER IISLAVERYAs the ruler of Ptarth, followed by his courtiers, descended fromthe landing-stage above the palace,the servants dropped into theirplaces in the rear of their royal or noble masters, and behind theothers one lingered to the last.  Then quickly stooping he snatchedthe sandal from his right foot, slipping it into his"}
+{"doc_id":"doc_216","qid":"","text":"<html><head><title>Machine Gun Preacher Script at IMSDb.</title><meta name=\"description\" content=\"Machine Gun Preacher script at the Internet Movie Script Database.\"><meta name=\"keywords\"content=\"Machine Gun Preacher script, Machine Gun Preacher movie script, Machine Gun Preacher film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><metaname=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttypeCONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ?'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie ScriptDatabase\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <scripttype=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                                  MACHINE GUNPREACHER</b>                                                                                                                 Written by                                     Jason Keller                                                            based on the life of SamChilders                                                                                                    <b>          FINAL SHOOTING DRAFT</b>                         <b>                                                                   9/30/2010</b>          This istrue...<b>          EXT. VILLAGE - NIGHT - (2003)</b>                                   The night is stillborn.                                   Without sound or movement and nothing is in definition. All we see          are degrees ofblackness in this unlit world. The vague impressions          of an African village in the void... a ragged line of tukuls (straw          huts)... a bicycle propped against a mud wall... a soccer ball in          thedirt...                         <b>          INT. TUKUL - NIGHT</b>                                   And we find a Sudanese family asleep on reed mats. A mother, father          and their two boys. The younger boy we'll come to knowas \"WILLIAM\"          (9). His older brother \"CHRISTOPHER\" (12) curled next to him.                         <b>          EXT. VILLAGE - NIGHT</b>                                   And slowly the blackness begins to shift... anotherworldly light          seeping in from someplace far off... shadows contorting in a ghostly          orange flicker... images emerging... the silhouettes of men coming          into this village carrying flamingtorches.                         <b>          INT. TUKUL - NIGHT</b>                                   The family still sound asleep, oblivious to the torch glow coming          from outside, and suddenly--                         <b>          SCREAMING! -- GUNSHOTS!</b>                                   The family bolts awake, moving to their feet as the door to their          tukul SLAMS open -- THREE soldiers from the Lord'sResistance Army          (LRA) coming in carrying AK47's -- shouting in Arabic -- \"Get up!          Get up!\" -- the FATHER stepping forward -- holding up his hands --          \"Don't shoot!\"--                         <b>          KAK! KAK! KAK!</b>                                   And he's gunned down in cold blood. The soldiers grab the mother and          boys and begin to drag them out of the tukul -- but WILLIAMbreaks          free -- scrambles deeper into the room --                                   THE SOLDIER going after him -- WILLIAM darting behind a stack of          storage boxes knocking them to the ground -- franticallyburrowing          into the corner -- trying to get away but it's useless -- THE          SOLDIER grabs his feet and begins to pull him out -- WILLIAM KICKING          WILDLY -- digging his nails into the dirt -- and as he'sdragged out          of the corner he reaches out... inadvertently grabs a FADED          PHOTOGRAPH which has fallen on the ground...                         <b>          EXT. VILLAGE -NIGHT</b>                                   CHAOS! -- PANDEMONIUM! -- the black sky ablaze in apocalyptic fire --<b>                          2</b>                                   families yanked out of their burning tukuls by LRA rebels-- the          adult males of this village shot dead or bludgeoned to death -- the          women and children forced into the center of the village -- huddled          together and weeping --                                   -- andnow we see WILLIAM hauled out -- his captor shouting to          another soldier -- pointing to WILLIAM'S mother and she's pulled          from the group and forced onto her knees...                                   ... andWILLIAM is brought in front of her -- his captor saying          something in Arabic as he hands him a club -- \"Kill her!\" -- WILLIAM          shaking his head `no' -- tossing the club in the dirt and--                                   CRACKKK! -- WILLIAM is hit with the butt of a rifle -- goes down --          blood streaming down his face as he's pulled back up to his feet --          crying -- shaking withfear...                                   ... and then he sees his mother staring up at him... and despite the          hell unfolding around them we see a moment here between mother and          son... something calm andreassuring in the way she's looking at him          now... her eyes full of love... and pity... for her child in this          terrible moment... and before we see how this ends we --                         <b>                          CUTTO:</b>                         <b>                         BLACKNESS</b>                         <b>          FOR A LONG BEAT -- AND THEN WE BLEED UP WHITE LETTERS ON THE BLACK</b><b>          SCREEN THAT READ--</b>                         <b>                          MACHINEGUN PREACHER</b><b>          ... AND THEN THE ECHOED VOICES OF MEN YELLING TO ONE ANOTHER...</b><b>          BOOMING MUSIC... TAUNTS...WHISTLES... AN ANNOUNCEMENT, INAUDIBLE,</b><b>          OVER A LOUDSPEAKER... TAKING US TO...</b>                         <b>          INT. PRISON CORRIDOR - RURAL PENNSYLVANIA - DAY -(AUGUST/1998)</b>                                   And we see SAM CHILDERS coming down a corridor toward us, dressed in          jailhouse orange and flanked by a guard. He's stocky, 32 years old,          with a biker'shandlebar moustache. On the surface he appears good-          looking... even handsome if the light is right... but his face is          tricky... always changing... behind the quick smile, around his dark          eyes, in thetaut muscles of his neck we see violence.                         <b>          INT. PRISON RECEIVING AND RELEASING - DAY</b>                                   We see a CLERK handing Sam a prison issue tub full of hispersonal          affects. He takes out his clothes, digs out a leather wallet, a          watch, some silver rings and a lighter.                                   He looks up to the Clerk and flashes a malicious smile--                         <b>                          SAM</b>           Ya'll go fuck yourself now, k?<b>                          3</b>                         <b>          EXT. PRISON - DAY</b>                                   A beat-up CHEVYVEGA parked at the curb. Sam's wife, LYNN, 30's, in          a thrift store dress, leaning against the car, waiting.                                   Sam (dressed in civilian clothes now) pushes out a door and she sees          him,straightens her hair, an uneasy smile.                         <b>                          LYNN</b>           Hey baby.                         <b>          EXT SIDE OF ROAD/INT. LYNN'S CAR - DAY</b>                                   The Vegapulled of the side of the road and Sam fucking Lynn in the          back. There's nothing tender about what we're watching here. Sam          finishes and Lynn slumps into the seat, pulls down herdress.                         <b>                          SAM</b>           Gimme a smoke.                         <b>                          LYNN</b>           Don't got any.                         <b>                          SAM</b>           What,you quit?<b>                          (LYNN NODS)</b>           Shit, that ain't gonna last.                         <b>          EXT. MOBILE HOME PARK - DAY</b>                                   The Vega pulls up to a beat-to-shitsingle-wide and Sam and Lynn get          out. We see a homemade sign hanging outside the trailer that reads,          \"Welcome Home Daddy!\"                                   And now Sam's daughter PAIGE (6) bursts out ofthe trailer and down          the steps... Followed by Sam's mother, DAISY, mid 60's, comes out of          thetrailer.                         <b>                          PAIGE</b><b>           DADDY!</b>                                   And she jumps into his arms.                         <b>                          SAM</b>           Heybug...                         <b>                          PAIGE</b>           You see yer sign? Grandma and me made it           this mornin.                         <b>                          SAM</b>           Yep, realnice.                                   Lynn enters the trailer, Paige follows.<b>                          4</b>                         <b>                          SAM (CONT'D)</b>           How'ya doin,Mom?                         <b>                          DAISY</b>           Welcome home, Sam.                         <b>          INT. CHILDERS MOBILE HOME -DAY</b>                         <b>                          LYNN</b><b>                          (TO PAIGE)</b>           You excited, get some juice, help me set           the table.                                   Sam and Daisyenter.                                   There's a quiet anxiety to this homecoming. Everybody on edge,          careful.                         <b>                          LYNN (CONT'D)</b>           Hope you're staying forsupper.                         <b>                          DAISY</b>           Well, I didn't know if...                         <b>                          SAM</b><b>                          (TO LYNN)</b>           What time you gottawork?                                   Lynn hesitating, not sure how to answer... not sure what's going to          happen when she does... finally...                         <b>                          LYNN</b>           I ain't ontonight.                         <b>                          SAM</b>           What?                         <b>                          DAISY</b>           (changing the subject)           You know we could boil up that corn we           got inthere...                         <b>                          SAM</b>           Friday night you ain't on? Hell is that?                                   He walks toward thefridge.                         <b>                          LYNN</b>           Paige, get that chair.                         <b>                          SAM</b>           That cocksucker Mark better be givin you           yer time or I'm gonna goover there and           bust in his teeth. Why ain't there no           beer?<b>                          5</b>                         <b>                          LYNN</b>           I ain't dancin no more, Sam.                                   Heturns to her, studies her with cold eyes...                         <b>                          LYNN (CONT'D)</b>           Quit a couple weeks ago. Got a job over           atFreemont.                         <b>                          SAM</b>           You tellin me the truth or is this a           joke?                         <b>                          LYNN</b>           Pick up a second shift now andthen.           Weekends if I want em. It's good money.                         <b>                          SAM</b>           Good money? You stupid, woman? You quit           strippin to pack fucking mushroomsat           Freemont?                         <b>                          DAISY</b>           Sam...                         <b>                          SAM</b>           Mom, keep yer mouth shut.                                   Sam's face changing,starting to turn bad. A look we'll come to          know.                         <b>                          LYNN</b>           They're good to me over there, Sam. They           got daycare for Paige and I can get           medical at"}
+{"doc_id":"doc_217","qid":"","text":"                             THE SQUAW MANThis ebook is for the use of anyone anywhere in the United States andmost other parts of the world at no cost and with almost no restrictionswhatsoever. You may copy it, give itaway or re-use it under the termsof the Project Gutenberg License included with this ebook or online athttp://www.gutenberg.org/license. If you are not located in the UnitedStates, youâ\u0000\u0000ll have to check the laws ofthe country where you arelocated before using this ebook.Title: The Squaw ManAuthor: Julie Opp FavershamRelease Date: August 14, 2016 [EBook #52804]Language: EnglishCharacter set encoding: UTF-8*** STARTOF THIS PROJECT GUTENBERG EBOOK THE SQUAW MAN ***Produced by Al Haines.[Illustration: Cover art][Illustration: \"â\u0000\u0000BIG FATHERâ\u0000\u0000SEND FOR LITTLE HALâ\u0000\u0000HAL SEE THE RISING SUNâ\u0000\u0000\"See page250]                            *The Squaw Man*                               *A Novel*                                  *By                          Julie Opp Faversham*                       *Adapted from the Play by                          Edwin MiltonRoyle*                                New York                            Grosset & Dunlap                               Publishers            Published by arrangement with Harper & Brothers                 Copyright, 1906, by HARPER &BROTHERS.                         _All rights reserved._                       Published December, 1906.                                   TO                           WILLIAM FAVERSHAM                            *ILLUSTRATIONS*\"THE SQUAWMAN\" . . . Cover Inlay\"â\u0000\u0000BIG FATHERâ\u0000\u0000SEND FOR LITTLE HALâ\u0000\u0000HAL SEE THE RISING SUNâ\u0000\u0000\" . . .Frontispiece\"ALMOST AS ONE MAN THEY THRUST THEIR REVOLVERS INTO BUDâ\u0000\u0000S FACE\"\"SHE DREWHERSELF UP CLOSE TO HIM, AND SAID â\u0000\u0000ME KILL â\u0000\u0000UMâ\u0000\u0000\"\"â\u0000\u0000YES, DIANA. MY BOYâ\u0000\u0000MY SONâ\u0000\u0000\"_The illustrations in this book are reproduced from photographs ofscenes in the play, made byHallâ\u0000\u0000s Studio, New York; the cover inlay byMorrison, Chicago._                                 *HOME*                            *THE SQUAW MAN*                              *CHAPTER I*It was Jimâ\u0000\u0000s last day at home.  He stoodin the centre of the fragrantgarden and watched the glory of color suffusing the Surrey hills towardsthe west.  With a sigh he turned away and walked to the house.\"Whereâ\u0000\u0000s Diana?\" he called, as he came from thegarden through thecasement-window of the library.\"Dianaâ\u0000\u0000why, sheâ\u0000\u0000s in bed an hour ago, I should hope,\" replied his aunt,Lady Elizabeth Kerhill. \"She and Mabel went with Bates to see thedecorations and thensaid good-night.  Surely you didnâ\u0000\u0000t expect me toallow the children to stay up for the ball?\"Mabel was her daughter; Diana Marjoribanks was a young girl of thirteen,who had come to visit her.\"Poor imps! they wereso excited all day, and followed me about thegun-room where I was doing some packing.  They wanted me to coax you toallow them to see the ball, and the tenantry welcome Henry to-night.\"Lady Kerhill elevated hereyebrows in questioning amazement at Jim, asshe nervously twisted the lace of her gown, and with an impatientgesture motioned the subject aside.  She was a tall, angular woman, witha profile like the head on abronze coin; there was a suggestion of theeagle in her personality, and by her friends she was likened to thefamous Sarah Churchill, the first Duchess of Marlborough.To-night her face showed that anxious thoughtswere crowding in on heras she apprehensively watched the big, carved oak door leading into thehall. Jim knew his auntâ\u0000\u0000s firmness of character, and as silence followedhis words, he feared further discussion wasuseless; but the wistfulfaces of the children at tea-time in the nursery, as they coaxed him toplead for them to see the fun, made him venture a final appeal.\"You know, Aunt, Sir Charles brought Di over to stay withMabel so thatshe might see the festivities and incidentally say good-bye to me, soyou might turn angel and let Diana dance once with me at the verybeginning of the ball.  I shaâ\u0000\u0000nâ\u0000\u0000t see my little playfellow forages, youknow.\"A sound from outside held Lady Elizabethâ\u0000\u0000s attention more intently thanJimâ\u0000\u0000s pleading words.  He crossed to her in the window-enclosure andlaid his hand caressingly on her shoulder.\"TheColonel wired me that we were leaving Paddington at nine to-morrowmorning, and India is a long way off, Auntie mine.\"\"Nonsense,\" answered Lady Elizabeth, as she rose from the deepwindow-seat.  \"You are almosttwenty, and Diana is only a babeâ\u0000\u0000isnâ\u0000\u0000tshe, Henry?\"  She glanced up and appealed to the young man who rathernoisily entered the library.\"Whoâ\u0000\u0000s a babe?  Diana?  Why, mater, sheâ\u0000\u0000s a little witch, and Ipromisedher Iâ\u0000\u0000d let her see the illuminations at ten and then old Burrow shouldcarry her off to bed.\"Henry Wynnegate, seventh Earl of Kerhill, dropped into a great settleclose to the fire.  The ball was for thetenantry in celebration of hisreturn, after five yearsâ\u0000\u0000 absence with his regiment.  He was a tall,heavy-set young soldier of seven-and-twenty, with the famous Wynnegatebeauty, but it was marred by the shiftingexpression of his ratherdeep-set eyes and the heavy lines about his mouth.  Self was his god: itshowed in every expression of his face and in every action of his life.Jim Wynnegate, his cousin, the son of the youngerbrother of the lateEarl, Henryâ\u0000\u0000s father, turned from the window as Henry entered.  In theyoung boyâ\u0000\u0000s faceâ\u0000\u0000for he seemed younger than his yearsâ\u0000\u0000one could easilytrace the family resemblance; but Jim,with his great, clean spiritshining in his honest gray eyes, invited confidence and won it, from amongrel dog to a superior officer.  He was taller than Henry, and asslim as a young sapling.  The delicate, sensitive mouthwas balanced bya strong chin.In the oak-lined room, grown almost black with age, the candle-lightsflickering in the heavy brass sconces, stood these three lastdescendants of a great family. The Earlâ\u0000\u0000s brother, DickWynnegate, hadrun away with the daughter of an impecunious colonel.  A few yearslater, while on service in India, he was shot, and the young wife livedonly to bring the tiny boy Jim home and to leave him with herhusbandâ\u0000\u0000sbrother.  Even then the fortunes of the Wynnegates were somewhatimpaired, but the old Earl had taken the boy to his heart, and on hisdeath had confided him to his wife to share their fortune with hissonHenry.  His last words were, \"Be good to poor Dickâ\u0000\u0000s boy.\"  The estateswere entailed, so no provision could be made by him for Jim, but LadyKerhill, in her cold, just fashion, had tried to make Dickâ\u0000\u0000s boyhappy.Deep in his heart, Jim remembered the years that followed; rememberedthe selfish domination of the elder boy; remembered the blind adorationof his aunt for her son, the bearer of the torch, who was to carryonthe golden light of the house of Kerhill.  In the Anglo-Saxon idolatryof the Countess of Kerhill for the male of the family, all the oldtraditions and beliefs were justified.  Her boyâ\u0000\u0000-the man-child who wasto be thehead of the houseâ\u0000\u0000was her obsession. The tiny, flower-likegirl who came shortly before her husbandâ\u0000\u0000s death, learned soon to turnto Cousin Jim for comfort when her brother carelessly crushed her littlejoys, ashe selfishly planned and fought for his own gratification.Instinctively Jim watched his aunt, who, at Henryâ\u0000\u0000s word, had started tomove towards him.\"Of course, if you care to go and fetch Diana, I shall be happy,\"LadyKerhill said.Henry lounged back in his chair.  \"Well, if I forget, Jim can rememberfor meâ\u0000\u0000eh, Jim?\"Lady Kerhillâ\u0000\u0000s face became grave as she leaned over Henryâ\u0000\u0000s chair andclosely studied the flushedface.  She found there confirmation of thefear that had preyed on her mind for the past half-hour.\"Oh, Henry, youâ\u0000\u0000ve broken your word,\" she whispered.The reckless challenge of Henryâ\u0000\u0000s dark eyes as he movedimpatiently inhis chair was his only answer. Then in a burst of ill-concealedresentment he rose: \"Donâ\u0000\u0000t nag, mother.\"He swayed slightly as he crossed to the open casement. As Jim turned tohim, he sullenly pushedhim aside.\"And donâ\u0000\u0000t you preach,\" he muttered, as he started for the garden.Jim quickly caught him by the shoulder, \"Pull yourself together, Henry.Itâ\u0000\u0000s eight oâ\u0000\u0000clock and the people are gathering in thepark.\"Henryâ\u0000\u0000s only reply was a snarl as he disappeared in the shadow of thetrees.The broad window opened level on an Old World garden that led into thegreat park beyond.  The late twilight of the July night wasbathing parkand garden in a curious, unearthly light which made strange spectres ofthe slowly waving yew-trees.  The scent of the rose-bushes, the call ofthe late nightingale to his mate, and the ghostlysundial,sentinel-like, guarding the old place, made a fitting environment forMaudsley Towers.On a slight hill beyond the park, Jim could see the ruins of the famousNorman church.  To the right, at the farther end of thegarden, was theFairiesâ\u0000\u0000 Corner. There among the trees the fairies of the field weresupposed to sleep, and to listen to and grant the requests of thechildren, who had the courage to venture to them ateven-tide.  Jimâ\u0000\u0000sthoughts were busy to-night; all the old memories seemed to tug at hisheartstrings.He had carried Diana Marjoribanks there on her first visit to theTowers.  She was six then and he wastwelve.  She had clung to him andhid her head on his shoulderâ\u0000\u0000the tiny body had stiffened with fearâ\u0000\u0000asthey made their way to the dark enclosure of the trees.  He could stillhear her prayer.\"Dear Fairy, pleasemake Henry kinder to poor Jim, poor Mabel, and poorme!\"Even then, Henry had been the little tyrant of the Towers.And yet to-night Henryâ\u0000\u0000s wish, as of old, was law to his mother.  Sheconceded Diana to him at hisfirst careless request, although in allprobability he would forget the longing child in the nurseryâ\u0000\u0000forget hispromise to give her pleasure, as he had forgotten so often when he was aboy.Jim roused himself; as heturned to Lady Elizabeth he caught a glimpseof her with the mask off, the bitter disappointment of the motherâ\u0000\u0000sheart showing in every line of her proud face.  He crossed to her, butthe sound of carriage-wheelsturning into the driveway heralded theapproach of the first arrivals, and before Jim could speak the doorswere thrown open to the guests.Lady Elizabeth gave one look of appeal to Jim. It said: \"Help Henryandme!\"Up-stairs in the right wing of the old house, a tall, slender childcrouched close to the nursery window. She had crept from her cot, and,wrapped in a coverlet, waited, and clung to the belief that Henrywouldcome for her.  Jim had said he would try, but Henry had promised.  Shewas old enough to know that what Henry desired he obtained.  Her littleface was pressed closer and closer to the window as she listened totheswelling music and saw the guests thronging towards the park.  Carriageafter carriage brought its load of finery, until the child fancied thatthe entire county must be gathered below.  She could see throughtheclimbing roses down into the library, which jutted out at a sharp anglealmost opposite to the nursery window.  But of Jim or Henry she couldcatch no glimpse.The stars began to creep out and blink at the tiny figurein thewindow-seat.  Gradually the entire house grew quiet.  Allâ\u0000\u0000even theservantsâ\u0000\u0000had joined the revelry in the park.The music crashed louder.  Fiery showers of illumination could be seenshooting and flaminginto the sky.  It grew cold.  Tighter she drew thecoverlet and held closer the small puppy that nestled warm in her armsand slept.  In the adjoining room Mabel, Lady Kerhillâ\u0000\u0000s little daughter,lay fast asleep.\"Itâ\u0000\u0000sJimâ\u0000\u0000s last night.  I must say good-bye,\" the child whispered tothe fleecy white bundle in her arms. \"I must keep awake and saygood-bye.\"Fainter grew the music, darker the sky, and heavier the curvedeyelids.Slowly, with a sigh the child slipped to the floor, and the brown headpillowed itself on the cushioned window-seat.  Diana slept.In the park, the tenantry, eager to meet their young master, wereshoutingthemselves hoarse.  A speech of welcome followed the dazzlingilluminations.  Over it all, Lady Elizabeth, with Sir CharlesMarjoribanks, presided.Diana and her father lived on a neighboring estate, and Sir Charleshadcome to-night to rejoice with his old friend on the return of her son.Sir Charles was a man of slender physique, with a gentle, winningmanner; extremely delicate in health, he led for the most part asecluded life, andsince the death of his wife, at Dianaâ\u0000\u0000s birth, wentlittle into the social world.  Dianaâ\u0000\u0000s childhood had been almost aslonely as Jimâ\u0000\u0000s had been in his auntâ\u0000\u0000s home.  To-night Sir Charlesdelighted in seeingthe house of Wynnegate honored.  He scarcely notedthe reckless demeanor and wild spirits of Henry as unusual; only for Jimand Lady Elizabeth was it a night of anxiety.  Never for a moment didHenry escape Jimâ\u0000\u0000swatchful eyes; slip after slip made by Henry wascovered by Jimâ\u0000\u0000s tact and thoughtfulness, and with simple dignity hecarried the night to success.  Only when he stood aside and saw Henryreceive thedemonstrations of the county and tenantry did the bitternessof his position force itself upon him.  Not once did Henry remember hispromise to the child waiting for him.  Jim remembered; but the look ofappeal from hisaunt, and the sullen defiance of Henry, kept him closeto his cousinâ\u0000\u0000s side.The final bars of the last dance were dying away and the ball wasdrawing to its brilliant end.  In the east, a pale streak of light wasbeginningto show over the horizon.  Sir Charles, half an hour before,had gone to his room.  Exhausted by the long eveningâ\u0000\u0000s anxiety and latefestivities, Lady Kerhill forgot that Jim was to leave early in themorning and thatshe would not see him again, and had retired to her ownapartment.  In the great hall, tired and excited groups of guests weresaying good-night.\"Itâ\u0000\u0000s good-bye for Jim,\" Sir John Applegate, Dianaâ\u0000\u0000s cousin,called asthe last carriage drove away.A half-whimsical smile played over Jimâ\u0000\u0000s face. Then some one rememberedthat he was leaving England.  As he turned from the door, he met theeyes of his cousin fastened onhim, all the latent rebellion rising tothe surface.  Henry Kerhill was sober enough to know that Jim hadwatched and guarded him through the entire night, and had stood betweenhim and disgrace.  As he leaned againstthe tall mantel, the bitterconsciousness that the young boy had proved himself of fine mettle, atelike acid into his feverish brain.  He dug his hands deep into hispockets, then with a lurch he pulled himself together.Without a word heturned, crossed to the twisted staircase, and grasping the oak rails,slowly ascended. From the landing came the slam of a heavy door, and Jimknew that he was alone.So this was the end.  The strikingof the bell in the church-towerreminded him that it was now four oâ\u0000\u0000clock and that he was to leave atsix.  His luggage had been sent on ahead the previous day.  He changedquickly, without disturbing the tiredservants, and in half an hour wasready to walk to the station.  As he came down the broad staircase,lined with portraits of the ancestors of the house of Wynnegate, aslight noise in the corridor leading off from thebroad landingattracted him.  Before he could turn, a low voice called:\"Jimâ\u0000\u0000Jim!\"It was Diana.  Standing there in the dim light of the corridor, she madean entrancing picture.  With the parted hair falling away fromthe lowbrow, around the oval face, and the far-apart blue-black eyes, shelooked like the child Madonna of Rosettiâ\u0000\u0000s \"Annunciation.\"  The coverletwas drawn close about her, the puppy still hidden under itsfolds.\"Itâ\u0000\u0000s Di, Jim,\" she whispered as she hurried to him.  \"I waited andwaited for youâ\u0000\u0000I knew you were going away and I wanted to say good-bye.Burrow promised that she would let me see you, but sheâ\u0000\u0000sfast asleep,and so is Mabel.  I tried to wake them but I couldnâ\u0000\u0000t.\"  The littlefigure cuddled into his arms.Jimâ\u0000\u0000s heart was very full as he looked at the frail child in the earlydawn, the shadows of a restless nightshowing on her delicately modelledface. He drew her into a window-enclosure, and wrapping the heavycurtains about her, held her fast.\"Say something,\" the sweet voice coaxed.  \"I shall miss you so and waitfor you tocome back.  You will come back, wonâ\u0000\u0000t you?\"Jimâ\u0000\u0000s only answer was to press the little head close to his heart.  Inall the great house, she alone had cared to say good-byeâ\u0000\u0000to wish him inher childâ\u0000\u0000s waygodspeed.\"See,\" Diana continued as she opened her arms, \"here is something foryou to take away with you, so that you shaâ\u0000\u0000nâ\u0000\u0000t be lonely any more.\"  Sheopened her arms and held up the soft roll of fur with itsblinking eyesand pink-tipped nose.\"Di, dear Di,\" Jim whispered, as he patted the towsled hair.Quite seriously her big eyes searched Jimâ\u0000\u0000s face to be sure that hergift truly won approval.The church clock boomed thehour of five.  Jim hurriedly rose andslipped the dog into his coat-pocket.\"Good-bye, Di, and God bless you!\"She clung quietly to him with her arms tight around his neck for a longtime; then the little face quivered, andin a burst of tears she sankback among the cushions of the window-seat.  Jim hesitated a moment,then with a final pat on the dear head, hurriedly reached the doorwayand was out on the high-road. From a turn at thetop of the common hecaught a last glimpse of the great house, and in the big window of thehall could see the faint outline of the white figure still huddled amongthe cushions.All the suppression of the past days gaveway. With a cry, Jim threwhimself down on the damp ground and convulsive sobs shook his body.  Ithad all been hisâ\u0000\u0000his home, his countryâ\u0000\u0000and he was leaving it without afriend, without a loving hand or voiceto cheer him.He suddenly felt a damp nose thrust into his hand, and a soft tonguebegan to lap his face as though in sympathy.  The tiny puppy had fallenfrom his pocket and crawled on to his shoulder.  He rose to hisfeet andpicked up the fluffy ball; something in the round, pulpy mass made himlaugh.\"So Iâ\u0000\u0000ve found a friend, have I?  Is that what youâ\u0000\u0000re trying to tellme?\"The dog gave a faint yelp in reply and began to lickhis hand.  Holdingthe dog close to him, Jim walked on, all the boy in him welling up tomeet the promise of the new day.  Suddenly he stopped as he neared thestation platform, and stroking gently the soft fur, hewhispered:\"Iâ\u0000\u0000ll call you Di.\"                              *CHAPTER II*It was London in full swing.  A wild April shower had sprung up and wasquickly driving people into the shelter of passing hansoms.  There was asuddenexodus from the park of gayly gowned women, hurrying to theirwaiting carriages.  Bewildered nurses gathered their young charges intoprotecting corners.  Only a few minutes before it had been radiantsunshine.  Openhigh-swung see-victorias, with their powdered, liveriedmen on the boxes, and unprotected occupants driving from a royal houseto a ducal assemblage, were caught in the congested mass of hansoms,top-heavyâ\u0000\u0000busses, and passing carts. Stalwart, blue-coated giants weretrying to stem the rush and scramble.Diana crossed from the couch where she had been sitting to the openwindow.  In a weekâ\u0000\u0000s time she was to bemarried.  She held a note in herhand, which had just come by messenger.  It was from Henry.  He couldnot take her to Ranelagh as he had planned, he wrote.  Unexpectedbusiness had arisen, but he would see herlater in the evening.The room in which Diana stood faced Hyde Park. The house was one ofthose built a century ago by the mad Duke of Delford, and was famous forthe purity of its architecture.  On this spring day thefront lookedlike a hanging garden, so abundant and exquisite were the large boxes oftrailing flowers. The room with its Adam ceiling and mantel, its crimsonbrocade curtains against the pale-cream walls, its rarespecimens ofSheraton and Chippendale and precious bits of china, made a harmonioussetting for Diana in her dove-colored gown.  Bowls of yellow jonquilsand daffodils gleamed like golden bits of imprisoned sunlightonslender-legged tables.Diana was alone.  Lady Dillingham, her aunt, and the mistress of thePark Lane House was confined to her room with a sharp attack of gout.From the window looking out across the park, the rainglinted like afine sheet of steel.  It beat down the great beds of flaming hyacinthsand daffodils that lined the park walk with their glory of purple andyellow.  The blue-and-white fleecy sky of a past half-hour now hungoverthe town like a dirty shipâ\u0000\u0000s sail, with puffing, dun-colored cloudssweeping past.Diana half consciously watched the amusing scurry of the passers-by.Through the long, open windows protected by a projectingbalcony shecould hear the splashing of the rain against the pavement.  Theconfusion of carriages began to straighten itself out. The hurryingcrowds disappeared as though swallowed up in the drenched"}
+{"doc_id":"doc_218","qid":"","text":"<html><head><title>How to Lose Friends & Alienate People Script at IMSDb.</title><meta name=\"description\" content=\"How to Lose Friends & Alienate People script at the Internet Movie Script Database.\"><metaname=\"keywords\" content=\"How to Lose Friends & Alienate People script, How to Lose Friends & Alienate People movie script, How to Lose Friends & Alienate People film script\"><meta name=\"viewport\"content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\"content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=ratingCONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq =_gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:'== document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><bodytopmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><ahref=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>TheInternet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie ScriptDatabase\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <scripttype=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                    HOW TO LOSE FRIENDS AND ALIENATE PEOPLE</b>                                                          Writtenby                              Peter Straughan<b>                                               09/05/07 SHOOTING SCRIPT</b><b>         FADE IN:</b>                         <b>          1 TV SCREEN - BLACK AND WHITE MOVIE1</b>           ...British, fifties, a melodrama. We're looking at an           ACTRESS - glamorous, young - but very much in the back           ground of the scene - a secretary typing at herdesk.<b>                          REVERSE</b>           A YOUNG BOY sits watching the film, his clothes and the           room around him telling us this is England in the 1960s. He           is staring raptly at theactress.<b>           SIDNEY (V.O.)</b>           All my life I've been a Looky-           Loo.<b>                          DISSOLVE TO:</b>                         <b>          2 INT. GOLDEN GLOBES AWARDS - EVENING2</b><b>                          SLOW-MOTION</b>           We are CLOSE on an extremely handsome YOUNG MAN staring           past us with a dazzling smile.<b>           SIDNEY (V.O.)</b>           My name's SidneyYoung. I'm a           journalist...a hack. (Beat) Yeah,           that...that isn't me.           We PAN right and down to our hero - SIDNEY YOUNG -           thirties, an odd-ball with a knack for getting people to           dislikehim.<b>           SIDNEY (CONT'D) (V.O.) (CONT'D)</b>           This is me at the Golden Globe           Awards in L.A. this year. That's           my Armani tuxedo. That's a Rolex           Sea-Dweller 4000 watchI'm           wearing.           Still in SLOW-MOTION we TRACK BACK and see that Sidney is           at a table with several other people, all staring raptly           past us to the stage which is out ofshot.<b>                          SIDNEY (CONT'D)</b>           Those people all around me -           they're all famous. They're my           friends.           Beside him sits a beautiful young woman - SOPHIEMAES           (20's).<b>           2.</b>                                                  <b>           SIDNEY (CONT'D) (V.O.) (CONT'D)</b>           That's the actress Sophie Maes.           This morning she told me she           wouldlet me have sex with her if           she won the Best Actress Award.           Still in SLOW MOTION, Sophie suddenly covers her face with           her hands and begins to stand.<b>           SIDNEY (CONT'D) (V.O.)(CONT'D)</b>           She just won the Best Actress           Award.           Sophie walks out of the shot. Still sporting the fixed           smile, Sidney claps in SLO-MO along with everyone else in           the room. WeTRACK away from Sidney past tables of           CELEBRITIES towards an EXIT.<b>                          SIDNEY (CONT'D)</b>           My life didn't used to be like           this.           We PUSH THROUGH the EXIT DOORSand find ourselves           impossibly looking at...                         <b>          3 EXT. LONDON - LEICESTER SQUARE - LATE AFTERNOON 3</b>                         <b>          4 SLOW MOTION TRACKING SHOT4</b>           ...a crowd of FANS held back from us by a red rope, craning           their necks to see us more clearly, waving, cheering,           shouting, cameras flashing... Rain lashes down.           A CAPTION reads:\"Sidney's Life, One Year Ago. Bafta           Awards. London.\"<b>           SIDNEY (V.O.)</b>           Looky-Loos. That's what They call           you when you stand out in the           rain all night just to catcha           glimpse of Them going by.           REVERSE - CELEBRITIES walk down the red carpet, pausing to           wave at the fans.<b>                          SIDNEY (CONT'D)</b>           I used to pretend itwas           different for me because I was           getting paid by a magazine or           newspaper, whatever. But that's,           you know...I just loved watching           Them. I'd stand outside looking           in throughthe window and think           what it would be like to somehow           get inside. But there was only           one way to get past the thin red           line that separates the           celebrities from the civilians.           Youhad to be famous.<b>           3.</b>                                                                           <b>          4A EXT. SECURITY POINT - LATE AFTERNOON 4A</b>           Sidney stands talking to a young PR WOMAN at thesecurity           gate. He has a small, ugly PIG on a leash.<b>                          PR WOMAN</b>           Babe?<b>                          SIDNEY</b>           Babe Three. Yeah.           She looks doubtfully at thepig.<b>                          PR WOMAN</b>           Babe was a cute little piglet.<b>                          SIDNEY</b>           Harry Potter used to be a cute           little piglet too. What do you           want? TempusFugits...<b>                          PR WOMAN</b>           He hasn't got any ID.<b>                          SIDNEY</b>           How many pigs are coming tonight?           Look, I was told to bring him,           hand him over tothe producer,           Bob Milton, inside. You want me            to leave him here with you,           that's fine...<b>                          PR WOMAN</b>           No, you can't leave him with me.           I've got...Hold on,I'll...           She looks around, helplessly. She begins to unhook the red           rope. Sidney tries to hide his excitement.<b>           PR WOMAN (CONT'D)</b>           If you're positive that you're           supposedto...           An OLDER PR WOMAN stalks over.<b>           OLDER PR WOMAN</b><b>                          (ICILY)</b>           Well, well, SidneyYoung.<b>                          SIDNEY</b><b>                          (RUMBLED)</b>           Well, well...clipboard Nazi-type           woman.           She turns to the SECURITY standing beside them.<b>           OLDER PRWOMAN</b>           The pig doesn't get in.<b>           4.</b>                                                             She starts to walk away.<b>                          SIDNEY</b>           What about me?<b>           OLDER PRWOMAN</b>           I was talking about you.                         <b>                         5 MOMENTS LATER 5</b>           Sidney and the Pig are being \"escorted\" away from the red           carpet by theSecurity.<b>           SIDNEY (V.O.)</b>           The Looky-Loos dream is that one           day they will somehow get to           mingle with the stars. But the           Industry can't allow any           mingling. Stars haveto be kept           away from civilians, have to be           quarantined, so they don't become           normal. Like us.           They pass a ravishing HOLLYWOOD ACTRESS walking the other           way. She looks curiouslyat the pig as she passes. Sidney           stares after her, longingly.                         <b>          6 INT. SANDERSON HOTEL - EVENING 6</b>           TRACKING through the doors and into the lobby ofthe           exclusive hotel.<b>           SIDNEY (V.O.)</b>           But after the awards come the           parties - the Miramax Party, the           London Records Party and, best of           all - the Sharps MagazineParty,           so exclusive that there are no           pass-alongs, no plus-ones, no           press.           We find Sidney checking in at the desk.<b>                          SIDNEY (CONT'D)</b>           (toReceptionist,<b>                          HORRIFIED)</b>           How much? I only want to stay for           one night!                         <b>          7 INT. ELEVATOR - MOMENTS LATER 7</b>           Sidney stands in therising elevator, suit bag in his hand,           holdall at his feet.<b>           SIDNEY (V.O.)</b><b>           5.</b>                                    This is where the movie stars can           finally relax, secure inthe           knowledge they are among their           own kind.           We see the PIG'S SNOUT poking out of the zip of the           holdall.                         <b>          8 INT. HOTEL ROOM - EVENING 8</b>           Sidneyturns from the mirror to face us. He is wearing a           WAITER'S UNIFORM of white shirt, waistcoat, and bow tie. He           is also wearing a WIG and FALSE MOUSTACHE.<b>           SIDNEY (V.O.)</b>           Andthat is when I strike.           He picks up a tray of canapés from the bed and looks down           to where the Pig watches him from the floor.<b>                          SIDNEY (CONT'D)</b>           I want you in bed by ten.And no           porn.           He tosses the pig one of the canapés.                         <b>          9 INT. HOTEL - EVENING 9</b>           Sidney, tray in hand, peers around the corner to the           entrance to the hotel'sroofed COURTYARD. The Older PR           Woman we saw earlier stands at the door, a formidable           presence. As we watch she greets an approaching CELEBRITY           gushingly. Seizing his chance Sidney dartstowards the door           and, tray held aloft to cover his face, slips through into           the courtyard beyond.                         <b>          10 INT. HOTEL COURTYARD - SHARPS MAGAZINE PARTY - MOMENTS10</b><b>                          LATER</b>           ...as Sidney emerges from the washrooms, now dressed only           in the white shirt and black trousers. He scoops up a           passing glass of champagne, checks hismoustache and           surveys the courtyard - a room full of glamour: tanned           skin, diamonds, beautiful dresses, beautiful suits,           champagne. He stands surveying the crowd of A-list           celebrities infront of him, dazed.<b>                          SIDNEY</b><b>                          (TO HIMSELF)</b>           You can do this. You belong here.           You're a star. You're a big,           bright shiningstar...<b>           6.</b>                                                                           <b>          11 INT. HOTEL ROOM - EVENING 11</b>           The room is trashed - furniture over-turned, mini-bar open           and brokenbottles all over the floor. A weird squealing           which could almost be human is coming from the bathroom.<b>           ASSISTANT MANAGER (O.S.)</b>           Hello? Sir?           The squealingstops.<b>           ASSISTANT MANAGER (CONT'D)</b>           Is everything alright?           The door opens and the Assistant Manager walks in and           stands staring around him in horror. Behind him thepig           emerges from the bathroom and slips out of the open door,           across the corridor and straight into the open lift...                         <b>          12 INT. SHARPS PARTY - EVENING 12</b>           Sidney istalking to a very famous and very drunk Hollywood<b>           ACTRESS.</b><b>                          SIDNEY</b>           No, when I'm in L.A. I stay at           the Sunset Marquis, when I'm here           I always stay atthe Sanderson.           It's, you know, I don't feel at           home these days unless I'm in a           hotel.<b>                          HOLLYWOOD ACTRESS</b>           So what do youdo?<b>                          SIDNEY</b>           Oh, I'm a writer. Movie writer.<b>                          HOLLYWOOD ACTRESS</b>           Oh great.<b>                          SIDNEY</b>           Yeah. Got one inpre-production           now. You know it's really weird           running into you like this           because just the other day I was           telling the producer I thought           you'd be perfect for the lead.           She starts"}
+{"doc_id":"doc_219","qid":"","text":"The Project Gutenberg EBook of A King, and No Kingby Francis Beaumont and John FletcherThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, giveit away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: A King, and No KingAuthor: Francis Beaumont and John FletcherRelease Date: May 10,2004 [EBook #12312]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK A KING, AND NO KING ***Produced by Jonathan Ingram, Jayam Subramanian and PG DistributedProofreadersA KING, ANDNO KING.By Francis Beaumont and John FletcherPersons Represented in the Play.Arbaces, _King_  of Iberia.Tigranes, _King of_  Armenia.Gobrias, _Lord Protector, and Father of_  Arbaces.Bacurius, _anotherLord_.Mardonius.)Bessus,  ) _Two Captains_Ligo[n]es, _Father of_  Spaconia._Two Gentlemen_._Three Men and a Woman_.Philip, _a servant, and two Citizens Wives_._A Messenger_._A Servant to_  Bacurius._TwoSword-men_._A Boy_.Arane,  ) _The [Queen-Mother_.Panthea,) _Her Daughter_.Spaconia,) _A Lady Daughter of_  LigonesMandane,) _A waiting woman, and other attendants_.       *       *       *       *       *_Actusprimus. Scena prima_.       *       *       *       *       *_Enter_  Mardonius _and_  Bessus, _Two Captains_._Mar_.  _Bessus_, the King has made a fair hand on't, he has ended the  Wars at a blow, would my sword had aclose basket hilt to hold  Wine, and the blade would make knives, for we shall have nothing  but eating and drinking._Bes_.  We that are Commanders shall do well enough._Mar_.  Faith _Bessus_, such Commanders asthou may; I had as lieve set  thee Perdue for a pudding i'th' dark, as _Alexander_  the Great._Bes_.  I love these jests exceedingly._Mar_.  I think thou lov'st 'em better than quarrelling _Bessus_, I'le  say so much i'thybehalf, and yet thou 'rt valiant enough upon a  retreat, I think thou wouldst kill any man that stopt thee if  thou couldst._Bes_.  But was not this a brave Combate _Mardonius_?_Mar_.  Why, didst thousee't?_Bes_.  You stood wi'me._Mar_.  I did so, but me thought thou wink'dst every blow they strook._Bes_.  Well, I believe there are better souldiers than I, that never saw  two Princes fight in lists._Mar_.  By mytroth I think so too _Bessus_, many a thousand, but  certainly all that are worse than thou have seen as much._Bes_.  'Twas bravely done of our King._Mar_.  Yes, if he had not ended the wars: I'me glad thou dar'sttalk of  such dangerous businesses._Bes_.  To take a Prince prisoner in the heart of's own Country in single  combat._Mar_.  See how thy blood curdles at this, I think thou couldst be  contented to be beaten i'thispassion._Bes_.  Shall I tell you truly?_Mar_.  I._Bes_.  I could willingly venture for't._Mar_.  Um, no venture neither _Bessus_._Bes_.  Let me not live, if I do not think 'tis a braver piece of service  than that I'me sofam'd for._Mar_.  Why, art thou fam'd for any valour?_Bes_.  Fam'd! I, I warrant you._Mar_.  I'me e'en heartily glad on't, I have been with thee e're since  thou cam'st to th'wars, and this is the first word that everI  heard on't, prethee who fames thee._Bes_.  The Christian world._Mar_.  'Tis heathenishly done of'em in my conscience, thou deserv'st it  not._Bes_.  Yes, I ha' don good service._Mar_.  I do not know how thoumayst wait of a man in's Chamber, or thy  agility of shifting of a Trencher, but otherwise no service good  _Bessus_._Bes_.  You saw me do the service your self._Mar_.  Not so hasty sweet _Bessus_, where was it, isthe placevanish'd?_Bes_.  At _Bessus_  desp'rate redemption._Mar_.  At _Bessus_  desp'rate redemption, where's that?_Bes_.  There where I redeem'd the day, the place bears my name._Mar_.  Pray thee, whoChristened it?_Bes_.  The Souldiers._Mar_.  If I were not a very merrily dispos'd man, what would become of  thee? one that had but a grain of choler in the whole composition  of his body, would send thee of an errandto the worms for  putting thy name upon that field: did not I beat thee there i'th'  head o'th' Troops with a Trunchion, because thou wouldst needs  run away with thy company, when we should charge theenemy?_Bes_.  True, but I did not run._Mar_.  Right _Bessus_, I beat thee out on't._Bes_.  But came I not up when the day was gone, and redeem'dall?_Mar_.  Thou knowest, and so do I, thou meanedst to flie, andthy fear  making thee mistake, thou ranst upon the enemy, and a hot charge  thou gav'st, as I'le do thee right, thou art furious in running  away, and I think, we owe thy fear for our victory; If I were the  King, andwere sure thou wouldst mistake alwaies and run away  upon th' enemy, thou shouldst be General by this light._Bes_.  You'l never leave this till I fall foul._Mar_.  No more such words dear _Bessus_, for though I haveever known  thee a coward, and therefore durst never strike thee, yet if thou  proceedest, I will allow thee valiant, and beat thee._Bes_.  Come, our King's a brave fellow._Mar_.  He is so _Bessus_, I wonder how thoucam'st to know it. But if  thou wer't a man of understanding, I would tell thee, he is  vain-glorious, and humble, and angry, and patient, and merry and  dull, and joyful and sorrowful in extremity in an hour: Donot  think me thy friend for this, for if I ear'd who knew it, thou  shouldst not hear it _Bessus_. Here he is with his prey in his  foot._Enter &c. Senet Flourish_._Enter_  Arbaces _and_  Tigranes, _Two Kings and twoGentlemen_._Arb_.  Thy sadness brave _Tigranes_  takes away  From my full victory, am I become  Of so small fame, that any man should grieve  When I o'recome him? They that plac'd me here,  Intended it anhonour large enough, (though he  For the most valiant living, but to dare oppose me single,  Lost the day. What should afflict you, you are as free as I,  To be my prisoner, is to be more free  Than you were formerly,and never think  The man I held worthy to combate me  Shall be us'd servilely: Thy ransom is  To take my only Sister to thy Wife.  A heavy one _Tigranes_, for she is  A Lady, that the neighbour Princes send  Blanks tofetch home. I have been too unkind  To her _Tigranes_, she but nine years old  I left her, and ne're saw her since, your wars  Have held me long and taught me though a youth,  The way to victory, she was a prettychild,  Then I was little better, but now fame  Cries loudly on her, and my messengers  Make me believe she is a miracle;  She'l make you shrink, as I did, with a stroak  But of her eye _Tigranes_._Tigr_.  Is't the courseof _Iberia_  to use their prisoners thus?  Had fortune thrown my name above _Arbace_,  I should not thus have talk'd Sir, in _Armenia_  We hold it base, you should have kept your temper  Till you saw home again,where 'tis the fashion  Perhaps to brag._Arb_.  Be you my witness earth, need I to brag,  Doth not this captive Prince speak  Me sufficiently, and all the acts  That I have wrought upon his suffering Land;  Should I thenboast! where lies that foot of ground  Within his whole Realm, that I have not past,  Fighting and conquering; Far then from me  Be ostentation. I could tell the world  How I have laid his Kingdom desolate  By this soleArm prop't by divinity,  Stript him out of his glories, and have sent  The pride of all his youth to people graves,  And made his Virgins languish for their Loves,  If I would brag, should I that have the power  To teach theNeighbour world humility,  Mix with vain-glory?_Mar_.  Indeed this is none._Arb.  _Tigranes_, Nay did I but take delight  To stretch my deeds as others do, on words,  I could amaze my hearers._Mar_.So youdo._Arb_.  But he shall wrong his and my modesty,  That thinks me apt to boast after any act  Fit for a good man to do upon his foe.  A little glory in a souldiers mouth  Is well-becoming, be it far from vain._Mar_.  'Tispity that valour should be thus drunk._Arb_.  I offer you my Sister, and you answer  I do insult, a Lady that no suite  Nor treasure, nor thy Crown could purchase thee,  But that thou fought'st with me._Tigr_.  Thoughthis be worse  Than that you spake before, it strikes me not;  But that you think to overgrace me with  The marriage of your Sister, troubles me.  I would give worlds for ransoms were they mine,  Rather than haveher._Arb_.  See if I insult  That am the Conquerour, and for a ransom  Offer rich treasure to the Conquered,  Which he refuses, and I bear his scorn:  It cannot be self-flattery to say,  The Daughters of your Country setby her,  Would see their shame, run home and blush to death,  At their own foulness; yet she is not fair,  Nor beautiful, those words express her not,  They say her looks have something excellent,  That wants a name:yet were she odious,  Her birth deserves the Empire of the world,  Sister to such a brother, that hath ta'ne  Victory prisoner, and throughout the earth,  Carries her bound, and should he let her loose,  She durst notleave him; Nature did her wrong,  To Print continual conquest on her cheeks,  And make no man worthy for her to taste  But me that am too near her, and as strangely  She did for me, but you will think I brag._Mar_.  Ido I'le be sworn. Thy valour and thy passions sever'd, would  have made two excellent fellows in their kinds: I know not  whether I should be sorry thou art so valiant, or so passionate,  wou'd one of 'em wereaway._Tigr_.  Do I refuse her that I doubt her worth?  Were she as vertuous as she would be thought,  So perfect that no one of her own sex  Could find a want, had she so tempting fair,  That she could wish it off fordamning souls,  I would pay any ransom, twenty lives  Rather than meet her married in my bed.  Perhaps I have a love, where I have fixt  Mine eyes not to be mov'd, and she on me,  I am not fickle._Arb_.  Is that allthe cause?  Think you, you can so knit your self in love  To any other, that her searching sight  Cannot dissolve it? So before you tri'd,  You thought your self a match for me in [f]ight,  Trust me _Tigranes_, she can doas much  In peace, as I in war, she'l conquer too,  You shall see if you have the power to stand  The force of her swift looks, if you dislike,  I'le send you home with love, and name your ransom  Some other way, but ifshe be your choice,  She frees you: To _Iberia_  you must._Tigr_.  Sir, I have learn'd a prisoners sufferance,  And will obey, but give me leave to talk  In private with some friends before I go._Arb_.  Some to await himforth, and see him safe,  But let him freely send for whom he please,  And none dare to disturb his conference,  I will not have him know what bondage is,                                           [_Exit Tigranes_.  Till he be freefrom me. This Prince, _Mardonius_,  Is full of wisdom, valour, all the graces  Man can receive._Mar_.   And yet you conquer'd him._Arb_.  And yet I conquer'd him, and could have don't  Hadst thou joyn'd with him,though thy name in Arms  Be great; must all men that are vertuous  Think suddenly to match themselves with me?  I conquered him and bravely, did I not?_Bes_.  And please your Majesty, I was afraid atfirst._Mar_.   When wert thou other?_Arb_.  Of what?_Bes_.  That you would not have spy'd your best advantages, for your  Majesty in my opinion lay too high, methinks, under favour, you  should have lainthus._Mar_.  Like a Taylor at a wake._Bes_.  And then, if please your Majesty to remember, at one time, by my  troth I wisht my self wi'you._Mar_.  By my troth thou wouldst ha' stunk 'em both out o'th'Lists._Arb_.  What to do?_Bes_.  To put your Majesty in mind of an occasion; you lay thus, and  _Tigranes_  falsified a blow at your Leg, which you by doing thus  avoided; but if you had whip'd up your Leg thus, andreach'd him  on the ear, you had made the Blood-Royal run down his head._Mar_.  What Country Fence-school learn'st thou at?_Arb_.  Pish, did not I take him nobly?_Mar_.  Why you did, and you have talked enoughon't._Arb_.  Talkt enough?  Will you confine my word? by heaven and earth,  I were much better be a King of beasts  Than such a people: if I had not patience  Above a God, I should be call'd a Tyrant  Throughout theworld. They will offend to death  Each minute: Let me hear thee speak again,  And thou art earth again: why this is like  _Tigranes_  speech that needs would say I brag'd.  _Bessus_, he said I brag'd._Bes_.  Ha, ha,ha._Arb_.  Why dost thou laugh?  By all the world, I'm grown ridiculous  To my own Subjects: Tie me in a Chair  And jest at me, but I shall make a start,  And punish some that others may take heed  How they arehaughty; who will answer me?  He said I boasted, speak _Mardonius_,  Did I? He will not answer, O my temper!  I give you thanks above, that taught my heart  Patience, I can endure his silence; what willnone  Vouchsafe to give me answer? am I grown  To such a poor respect, or do you mean  To break my wind? Speak, speak, some one of you,  Or else by heaven._1 Gent_.  So please your._Arb_.  Monstrous,  I cannotbe heard out, they cut me off,  As if I were too saucy, I will live  In woods, and talk to trees, they will allow me  To end what I begin. The meanest Subject  Can find a freedom to discharge his soul  And not I, now it is atime to speak,  I hearken._1 Gent_.  May it please._Arb_.  I mean not you,  Did not I stop you once? but I am grown  To balk, but I defie, let another speak._2 Gent_.  I hope your Majesty._Arb_.  Thou drawest thywords,  That I must wait an hour, where other men  Can hear in instants; throw your words away,  Quick, and to purpose, I have told you this._Bes_.  And please your Majesty._Arb_.  Wilt thou devour me? this is sucha rudeness  As you never shew'd me, and I want  Power to command too, else _Mardonius_  Would speak at my request; were you my King,  I would have answered at your word _Mardonius_,  I pray you speak, andtruely, did I boast?_Mar_.Truth will offend you._Arb_.  You take all great care what will offend me,  When you dare to utter such things as these._Mar_.  You told _Tigranes_, you had won his Land,  With that sole armpropt by Divinity:  Was not that bragging, and a wrong to us,  That daily ventured lives?_Arb_.  O that thy name  Were as great, as mine, would I had paid my wealth,  It were as great, as I might combate thee,  Iwould through all the Regions habitable  Search thee, and having found thee, wi'my Sword  Drive thee about the world, till I had met  Some place that yet mans curiosity  Hath mist of; there, there would I strike theedead:  Forgotten of mankind, such Funeral rites  As beasts would give thee, thou shouldst have._Bes_.  The King rages extreamly, shall we slink away? He'l strike us._2 Gent_.  Content._Arb_.  There I would make youknow 'twas this sole arm.  I grant you were my instruments, and did  As I commanded you, but 'twas this arm  Mov'd you like wheels, it mov'd you as it pleas'd.  Whither slip you now? what are you too good  To wait onme (_puffe_,) I had need have temper  That rule such people; I have nothing left  At my own choice, I would I might be private:  Mean men enjoy themselves, but 'tis our curse,  To have a tumult that out of theirloves  Will wait on us, whether we will or no;  Go get you gone: Why here they stand like death,  My words move nothing._1 Gent_.  Must we go?_Bes_. I know not._Arb_.  I pray you leave me Sirs, I'me proud ofthis,  That you will be intreated from my sight:  Why now the[y] leave me all: _Mardonius_.                      [_Exeunt all but_  Arb. _and_  Mar._Mar_.  Sir._Arb_.  Will you leave me quite alone? me thinks  Civility shouldteach you more than this,  If I were but your friend: Stay here and wait._Mar_.  Sir shall I speak?_Arb_.  Why, you would now think much  To be denied, but I can scar[c]e intreat  What I would have: do,speak._Mar_.  But will you hear me out?_Arb_.  With me you Article to talk thus: well,  I will hear you out._Mar_.  Sir, that I have ever lov'd you, my sword hath spoken for me;  that I do, if it be doubted, I dare call anoath, a great one to  my witness; and were you not my King, from amongst men, I should  have chose you out to love above the rest: nor can this challenge  thanks, for my own sake I should have done it, because Iwould  have lov'd the most deserving man, for so you are._Arb_.  Alas _Mardonius_, rise you shall not kneel,  We all are souldiers, and all venture lives:  And where there is no difference in mens worths,  Titles arejests, who can outvalue thee?  _Mardonius_  thou hast lov'd me, and hast wrong,  Thy love is not rewarded, but believe  It shall be better, more than friend in arms,  My Father, and my Tutor, good_Mardonius_._Mar_.  Sir, you did promise you would hear me out._Arb_.  And so I will; speak freely, for from thee  Nothing can come but worthy things and true._Mar_.  Though you have all this worth, you hold somequalities that do  Eclipse your vertues._Arb_.  Eclipse my vertues?_Mar_.  Yes, your passions, which are so manifold, that they appear even  in this: when I commend you, you hug me for that truth: but when  I speakyour faults, you make a start, and flie the hearing but._Arb_.  When you commend me? O that I should live  To need such commendations: If my deeds  Blew not my praise themselves about the earth,  I were mostwretched: spare your idle praise:  If thou didst mean to flatter, and shouldst utter  Words in my praise, that thou thoughtst impudence,  My deeds should make 'em modest: when you praise I hug  you? 'tis so [false],that wert thou worthy thou shouldst receive  a death, a glorious death from me: but thou shalt understand  thy lies, for shouldst thou praise me into Heaven, and there  leave me inthron'd, I would despise thee thoughas much as  now, which is as much as dust because I see thy envie._Mar_.  However you will use me after, yet for your own promise sake,  hear me the rest._Arb_.  I will, and after call unto the winds, for they shalllend as  large an ear as I to what you utter: speak._Mar_.  Would you but leave these hasty tempers, which  I do not say take from you all your worth, but darken 'em,  then you will shineindeed._Arb_.  Well._Mar_.  Yet I would have you keep some passions, lest men should take you  for a God, your vertues are such._Arb_.  Why now you flatter._Mar_.  I never understood the word, were you no King,and free from  these moods, should I choose a companion for wit and pleasure, it  should be you; or for honesty to enterchange my bosom with, it  should be you; or wisdom to give me counsel, I would pick out  you;or valour to defend my reputation, still I should find you  out; for you are fit to fight for all the world, if it could come  in question: Now I have spoke, consider to your self, find out a  use; if so, then what shall fall to meis not material._Arb_.  Is not material? more than ten such lives, as mine, _Mardonius_:  it was nobly said, thou hast spoke truth, and boldly such a truth  as might offend another. I have been too passionate andidle,  thou shalt see a swift amendment, but I want those parts you  praise me for: I fight for all the world? Give me a sword, and  thou wilt go as far beyond me, as thou art beyond in years, I  know thou dar'st andwilt; it troubles me that I should use so  rough a phrase to thee, impute it to my folly, what thou wilt, so  thou wilt par[d]on me: that thou and I should differ thus!_Mar_.Why 'tis no matter Sir._Arb_.  Faith but it is, butthou dost ever take all things I do, thus  patiently, for which I never can requite thee, but with love, and  that thou shalt be sure of. Thou and I have not been merry  lately: pray thee tell me where hadst thou that samejewel in  thine ear?_Mar_.  Why at the taking of a Town._Arb_.  A wench upon my life, a wench _Mardonius_  gave thee that jewel._Mar_.  Wench! they respect not me, I'm old and rough, and every limb  about me, butthat which should, grows stiffer, I'those  businesses I may swear I am truly honest: for I pay justly for  what I take, and would be glad to be at a certainty._Arb_.  Why, do the wenches encroach upon thee?_Mar_.  I bythis light do they._Arb_.  Didst thou sit at an old rent with 'em?_Mar_.  Yes faith._Arb_.  And do they improve themselves?_Mar_.  I ten shillings to me, every new young fellow they come  acquainted with._Arb_.  Howcanst live on't?_Mar_.  Why I think I must petition to you._Arb_.  Thou shalt take them up at my price._Enter two Gentlemen and_  Bessus._Mar_.  Your price?_Arb_.  I at the Kings price._Mar_.  That may be morethan I'me worth._2 Gent_.  Is he not merry now?_1 Gent_.  I think not._Bes_.  He is, he is: we'l shew our selves._Arb_.  Bessus, I thought you had been in _Iberia_  by this, I bad you  hast; _Gobrias_  will wantentertainment for me._Bes_.  And please your Majesty I have a sute._Arb_.  Is't not lousie _Bessus_, what is't?_Bes_.  I am to carry a Lady with me._Arb_.  Then thou hast two sutes._Bes_.  And if I can prefer her tothe Lady _Pentha_  your Majesties  Sister, to learn fashions, as her friends term it, it will be  worth something to me._Arb_.  So many nights lodgings as 'tis thither, wilt not?_Bes_.  I know not that Sir, but gold I shall"}
+{"doc_id":"doc_220","qid":"","text":"The Project Gutenberg EBook of The Lady, or the Tiger?, by Frank R. StocktonThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it awayorre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: The Lady, or the Tiger?Author: Frank R. StocktonLast updated: December 28, 2008PostingDate: July 20, 2008 [EBook #396]Release Date: January, 1995Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE LADY, OR THE TIGER? ***Produced by Edward A. Malone.THE LADY, OR THETIGER?byFrank R. StocktonIn the very olden time there lived a semi-barbaric king, whose ideas,though somewhat polished and sharpened by the progressiveness ofdistant Latin neighbors, were still large, florid, anduntrammeled, asbecame the half of him which was barbaric. He was a man of exuberantfancy, and, withal, of an authority so irresistible that, at his will,he turned his varied fancies into facts. He was greatly giventoself-communing, and, when he and himself agreed upon anything, thething was done.  When every member of his domestic and politicalsystems moved smoothly in its appointed course, his nature was blandandgenial; but, whenever there was a little hitch, and some of hisorbs got out of their orbits, he was blander and more genial still, fornothing pleased him so much as to make the crooked straight and crushdown unevenplaces.Among the borrowed notions by which his barbarism had become semifiedwas that of the public arena, in which, by exhibitions of manly andbeastly valor, the minds of his subjects were refined and cultured.Buteven here the exuberant and barbaric fancy asserted itself. Thearena of the king was built, not to give the people an opportunity ofhearing the rhapsodies of dying gladiators, nor to enable them to viewthe inevitableconclusion of a conflict between religious opinions andhungry jaws, but for purposes far better adapted to widen and developthe mental energies of the people. This vast amphitheater, with itsencircling galleries, itsmysterious vaults, and its unseen passages,was an agent of poetic justice, in which crime was punished, or virtuerewarded, by the decrees of an impartial and incorruptible chance.When a subject was accused of acrime of sufficient importance tointerest the king, public notice was given that on an appointed day thefate of the accused person would be decided in the king's arena, astructure which well deserved its name, for,although its form and planwere borrowed from afar, its purpose emanated solely from the brain ofthis man, who, every barleycorn a king, knew no tradition to which heowed more allegiance than pleased his fancy, andwho ingrafted on everyadopted form of human thought and action the rich growth of hisbarbaric idealism.When all the people had assembled in the galleries, and the king,surrounded by his court, sat high up on histhrone of royal state onone side of the arena, he gave a signal, a door beneath him opened, andthe accused subject stepped out into the amphitheater. Directlyopposite him, on the other side of the inclosed space, weretwo doors,exactly alike and side by side. It was the duty and the privilege ofthe person on trial to walk directly to these doors and open one ofthem. He could open either door he pleased; he was subject to noguidanceor influence but that of the aforementioned impartial andincorruptible chance. If he opened the one, there came out of it ahungry tiger, the fiercest and most cruel that could be procured, whichimmediately sprang uponhim and tore him to pieces as a punishment forhis guilt. The moment that the case of the criminal was thus decided,doleful iron bells were clanged, great wails went up from the hiredmourners posted on the outer rim ofthe arena, and the vast audience,with bowed heads and downcast hearts, wended slowly their homeward way,mourning greatly that one so young and fair, or so old and respected,should have merited so dire afate.But, if the accused person opened the other door, there came forth fromit a lady, the most suitable to his years and station that his majestycould select among his fair subjects, and to this lady he wasimmediatelymarried, as a reward of his innocence. It mattered not thathe might already possess a wife and family, or that his affectionsmight be engaged upon an object of his own selection; the king allowedno such subordinatearrangements to interfere with his great scheme ofretribution and reward. The exercises, as in the other instance, tookplace immediately, and in the arena. Another door opened beneath theking, and a priest, followedby a band of choristers, and dancingmaidens blowing joyous airs on golden horns and treading an epithalamicmeasure, advanced to where the pair stood, side by side, and thewedding was promptly and cheerilysolemnized. Then the gay brass bellsrang forth their merry peals, the people shouted glad hurrahs, and theinnocent man, preceded by children strewing flowers on his path, ledhis bride to his home.This was the king'ssemi-barbaric method of administering justice. Itsperfect fairness is obvious. The criminal could not know out of whichdoor would come the lady; he opened either he pleased, without havingthe slightest idea whether,in the next instant, he was to be devouredor married. On some occasions the tiger came out of one door, and onsome out of the other. The decisions of this tribunal were not onlyfair, they were positively determinate:the accused person wasinstantly punished if he found himself guilty, and, if innocent, he wasrewarded on the spot, whether he liked it or not. There was no escapefrom the judgments of the king's arena.The institutionwas a very popular one. When the people gatheredtogether on one of the great trial days, they never knew whether theywere to witness a bloody slaughter or a hilarious wedding.  Thiselement of uncertainty lent aninterest to the occasion which it couldnot otherwise have attained. Thus, the masses were entertained andpleased, and the thinking part of the community could bring no chargeof unfairness against this plan, for did notthe accused person havethe whole matter in his own hands?This semi-barbaric king had a daughter as blooming as his most floridfancies, and with a soul as fervent and imperious as his own. As isusual in such cases,she was the apple of his eye, and was loved by himabove all humanity. Among his courtiers was a young man of thatfineness of blood and lowness of station common to the conventionalheroes of romance who loveroyal maidens. This royal maiden was wellsatisfied with her lover, for he was handsome and brave to a degreeunsurpassed in all this kingdom, and she loved him with an ardor thathad enough of barbarism in it to makeit exceedingly warm and strong.This love affair moved on happily for many months, until one day theking happened to discover its existence. He did not hesitate nor waverin regard to his duty in the premises. Theyouth was immediately castinto prison, and a day was appointed for his trial in the king's arena.This, of course, was an especially important occasion, and his majesty,as well as all the people, was greatly interested inthe workings anddevelopment of this trial. Never before had such a case occurred; neverbefore had a subject dared to love the daughter of the king. In afteryears such things became commonplace enough, but thenthey were in noslight degree novel and startling.The tiger-cages of the kingdom were searched for the most savage andrelentless beasts, from which the fiercest monster might be selectedfor the arena; and the ranks ofmaiden youth and beauty throughout theland were carefully surveyed by competent judges in order that theyoung man might have a fitting bride in case fate did not determine forhim a different destiny. Of course,everybody knew that the deed withwhich the accused was charged had been done. He had loved the princess,and neither he, she, nor any one else, thought of denying the fact; butthe king would not think of allowingany fact of this kind to interferewith the workings of the tribunal, in which he took such great delightand satisfaction. No matter how the affair turned out, the youth wouldbe disposed of, and the king would take anaesthetic pleasure inwatching the course of events, which would determine whether or not theyoung man had done wrong in allowing himself to love the princess.The appointed day arrived. From far and near the peoplegathered, andthronged the great galleries of the arena, and crowds, unable to gainadmittance, massed themselves against its outside walls.  The king andhis court were in their places, opposite the twin doors, thosefatefulportals, so terrible in their similarity.All was ready. The signal was given. A door beneath the royal partyopened, and the lover of the princess walked into the arena.  Tall,beautiful, fair, his appearance was greetedwith a low hum ofadmiration and anxiety. Half the audience had not known so grand ayouth had lived among them. No wonder the princess loved him! What aterrible thing for him to be there!As the youth advancedinto the arena he turned, as the custom was, tobow to the king, but he did not think at all of that royal personage.His eyes were fixed upon the princess, who sat to the right of herfather. Had it not been for the moietyof barbarism in her nature it isprobable that lady would not have been there, but her intense andfervid soul would not allow her to be absent on an occasion in whichshe was so terribly interested. From the moment thatthe decree hadgone forth that her lover should decide his fate in the king's arena,she had thought of nothing, night or day, but this great event and thevarious subjects connected with it. Possessed of more power,influence,and force of character than any one who had ever before been interestedin such a case, she had done what no other person had done,--she hadpossessed herself of the secret of the doors. She knew in whichof thetwo rooms, that lay behind those doors, stood the cage of the tiger,with its open front, and in which waited the lady.  Through these thickdoors, heavily curtained with skins on the inside, it was impossiblethat anynoise or suggestion should come from within to the person whoshould approach to raise the latch of one of them. But gold, and thepower of a woman's will, had brought the secret to the princess.And not only did sheknow in which room stood the lady ready to emerge,all blushing and radiant, should her door be opened, but she knew whothe lady was. It was one of the fairest and loveliest of the damsels ofthe court who had beenselected as the reward of the accused youth,should he be proved innocent of the crime of aspiring to one so farabove him; and the princess hated her. Often had she seen, or imaginedthat she had seen, this faircreature throwing glances of admirationupon the person of her lover, and sometimes she thought these glanceswere perceived, and even returned. Now and then she had seen themtalking together; it was but for amoment or two, but much can be saidin a brief space; it may have been on most unimportant topics, but howcould she know that? The girl was lovely, but she had dared to raiseher eyes to the loved one of theprincess; and, with all the intensityof the savage blood transmitted to her through long lines of whollybarbaric ancestors, she hated the woman who blushed and trembled behindthat silent door.When her lover turnedand looked at her, and his eye met hers as shesat there, paler and whiter than any one in the vast ocean of anxiousfaces about her, he saw, by that power of quick perception which isgiven to those whose souls are one,that she knew behind which doorcrouched the tiger, and behind which stood the lady. He had expectedher to know it. He understood her nature, and his soul was assured thatshe would never rest until she had madeplain to herself this thing,hidden to all other lookers-on, even to the king. The only hope for theyouth in which there was any element of certainty was based upon thesuccess of the princess in discovering this mystery;and the moment helooked upon her, he saw she had succeeded, as in his soul he knew shewould succeed.Then it was that his quick and anxious glance asked the question:\"Which?\" It was as plain to her as if heshouted it from where hestood. There was not an instant to be lost. The question was asked in aflash; it must be answered in another.Her right arm lay on the cushioned parapet before her. She raised herhand, andmade a slight, quick movement toward the right. No one buther lover saw her. Every eye but his was fixed on the man in the arena.He turned, and with a firm and rapid step he walked across the emptyspace. Everyheart stopped beating, every breath was held, every eyewas fixed immovably upon that man. Without the slightest hesitation, hewent to the door on the right, and opened it.Now, the point of the story is this: Did thetiger come out of thatdoor, or did the lady?The more we reflect upon this question, the harder it is to answer. Itinvolves a study of the human heart which leads us through deviousmazes of passion, out of which it isdifficult to find our way. Thinkof it, fair reader, not as if the decision of the question dependedupon yourself, but upon that hot-blooded, semi-barbaric princess, hersoul at a white heat beneath the combined fires ofdespair andjealousy. She had lost him, but who should have him?How often, in her waking hours and in her dreams, had she started inwild horror, and covered her face with her hands as she thought of herloveropening the door on the other side of which waited the cruelfangs of the tiger!But how much oftener had she seen him at the other door! How in hergrievous reveries had she gnashed her teeth, and torn her hair,whenshe saw his start of rapturous delight as he opened the door of thelady! How her soul had burned in agony when she had seen him rush tomeet that woman, with her flushing cheek and sparkling eye oftriumph;when she had seen him lead her forth, his whole frame kindled with thejoy of recovered life; when she had heard the glad shouts from themultitude, and the wild ringing of the happy bells; when she hadseenthe priest, with his joyous followers, advance to the couple, and makethem man and wife before her very eyes; and when she had seen them walkaway together upon their path of flowers, followed by thetremendousshouts of the hilarious multitude, in which her one despairing shriekwas lost and drowned!Would it not be better for him to die at once, and go to wait for herin the blessed regions of semi-barbaricfuturity?And yet, that awful tiger, those shrieks, that blood!Her decision had been indicated in an instant, but it had been madeafter days and nights of anguished deliberation. She had known shewould be asked, shehad decided what she would answer, and, without theslightest hesitation, she had moved her hand to the right.The question of her decision is one not to be lightly considered, andit is not for me to presume to setmyself up as the one person able toanswer it. And so I leave it with all of you: Which came out of theopened door,--the lady, or the tiger?End of Project Gutenberg's The Lady, or the Tiger?, by Frank R. Stockton***END OF THIS PROJECT GUTENBERG EBOOK THE LADY, OR THE TIGER? ******** This file should be named 396.txt or 396.zip *****This and all associated files of various formats will be foundin:        http://www.gutenberg.org/3/9/396/Produced by Edward A. Malone.Updated editions will replace the previous one--the old editionswill be renamed.Creating the works from public domain print editions meansthat noone owns a United States copyright in these works, so the Foundation(and you!) can copy and distribute it in the United States withoutpermission and without paying copyright royalties.  Special rules,set forth inthe General Terms of Use part of this license, apply tocopying and distributing Project Gutenberg-tm electronic works toprotect the PROJECT GUTENBERG-tm concept and trademark.  ProjectGutenberg is a registeredtrademark, and may not be used if youcharge for the eBooks, unless you receive specific permission.  If youdo not charge anything for copies of this eBook, complying with therules is very easy.  You may use this eBookfor nearly any purposesuch as creation of derivative works, reports, performances andresearch.  They may be modified and printed and given away--you may dopractically ANYTHING with public domaineBooks.  Redistribution issubject to the trademark license, especially commercialredistribution.*** START: FULL LICENSE ***THE FULL PROJECT GUTENBERG LICENSEPLEASE READ THIS BEFORE YOU DISTRIBUTE ORUSE THIS WORKTo protect the Project Gutenberg-tm mission of promoting the freedistribution of electronic works, by using or distributing this work(or any other work associated in any way with the phrase\"ProjectGutenberg\"), you agree to comply with all the terms of the Full ProjectGutenberg-tm License (available with this file or online athttp://gutenberg.net/license).Section 1.  General Terms of Use and RedistributingProject Gutenberg-tmelectronic works1.A.  By reading or using any part of this Project Gutenberg-tmelectronic work, you indicate that you have read, understand, agree toand accept all the terms of this license andintellectual property(trademark/copyright) agreement.  If you do not agree to abide by allthe terms of this agreement, you must cease using and return or destroyall copies of Project Gutenberg-tm electronic works inyour possession.If you paid a fee for obtaining a copy of or access to a ProjectGutenberg-tm electronic work and you do not agree to be bound by theterms of this agreement, you may obtain a refund from the personorentity to whom you paid the fee as set forth in paragraph 1.E.8.1.B.  \"Project Gutenberg\" is a registered trademark.  It may only beused on or associated in any way with an electronic work by people whoagree to bebound by the terms of this agreement.  There are a fewthings that you can do with most Project Gutenberg-tm electronic workseven without complying with the full terms of this agreement.  Seeparagraph 1.Cbelow.  There are a lot of things you can do with ProjectGutenberg-tm electronic works if you follow the terms of this agreementand help preserve free future access to Project Gutenberg-tm electronicworks.  Seeparagraph 1.E below.1.C.  The Project Gutenberg Literary Archive Foundation (\"the Foundation\"or PGLAF), owns a compilation copyright in the collection of ProjectGutenberg-tm electronic works.  Nearly all theindividual works in thecollection are in the public domain in the United States.  If anindividual work is in the public domain in the United States and you arelocated in the United States, we do not claim a right to preventyou fromcopying, distributing, performing, displaying or creating derivativeworks based on the work as long as all references to Project Gutenbergare removed.  Of course, we hope that you will support theProjectGutenberg-tm mission of promoting free access to electronic works byfreely sharing Project Gutenberg-tm works in compliance with the terms ofthis agreement for keeping the Project Gutenberg-tm nameassociated withthe work.  You can easily comply with the terms of this agreement bykeeping this work in the same format with its attached full ProjectGutenberg-tm License when you share it without charge withothers.1.D.  The copyright laws of the place where you are located also governwhat you can do with this work.  Copyright laws in most countries are ina constant state of change.  If you are outside the United States,checkthe laws of your country in addition to the terms of this agreementbefore downloading, copying, displaying, performing, distributing orcreating derivative works based on this work or any otherProjectGutenberg-tm work.  The Foundation makes no representations concerningthe copyright status of any work in any country outside the UnitedStates.1.E.  Unless you have removed all references to ProjectGutenberg:1.E.1.  The following sentence, with active links to, or other immediateaccess to, the full Project Gutenberg-tm License must appear prominentlywhenever any copy of a Project Gutenberg-tm work (any workon which thephrase \"Project Gutenberg\" appears, or with which the phrase \"ProjectGutenberg\" is associated) is accessed, displayed, performed, viewed,copied or distributed:This eBook is for the use of anyoneanywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.net1.E.2.  If an individual Project Gutenberg-tm electronic work is derivedfrom the public domain (does not contain a notice indicating that it isposted with permission of the copyright holder), the work"}
+{"doc_id":"doc_221","qid":"","text":"<html><head><title>Source Code Script at IMSDb.</title><meta name=\"description\" content=\"Source Code script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Source Code script,Source Code movie script, Source Code film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\"rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                                  SOURCE CODE</b>                                  Written by                                  BenRipley<b>                                                          1/18/2007</b>                         <b>                         SOURCE CODE</b>          Darkness.          A SOUND slowly builds: the rhythmic rocking of aTRAIN'S          WHEELS over RAILROAD TRACKS...<b>          INT. HIGH SPEED TRAIN - MORNING</b>          COLTER jolts awake. Sunlight hits his face.          He blinks. A stunned beat. He's disoriented.          Slowlyhe turns his head to one side...          PASSENGERS. Filling most of the seats. Office workers on          their morning commute into a city.          Turning the other way, he's confronted with a window. Trees          flashby, splitting the rising sunlight into a hypnotic          strobe pattern.          Colter looks to be thirty years old. A military buzz cut. A          disciplined physique, lean and spare, almost gaunt. Skin          burnished byyears of desert sandstorms and equatorial sun.          His expression, prematurely aged by combat, is perpetually          wary, sometimes predatory, accustomed to trouble.          Despite his military bearing, Colterwears a button down          shirt and navy sports coat. On his wrist is a digital watch.          It reads 7:40 a.m.          He swallows. A strange, creeping panic.          He has no idea where he is.<b>          EXT. NEWJERSEY COUNTRYSIDE - MORNING</b>          The train hurls straight at us.          NEW ANGLE -- Skimming alongside as the train twists and          turns, sucking up track -- feet, yards, miles of it.          Beneath it,the curving rails, which the rushing train barely          seems to touch. They vibrate with an eerie, dulcimer HUM.                                                                                                    <b>          2.</b><b>          INT.TRAIN - MORNING</b>          Colter hasn't moved. By his side he sees a canvas MESSENGER          BAG. Is that his?          Tentatively, he lifts the edge of the bag to look inside. A          red APPLE rolls against twoLIBRARY BOOKS. The bag's leather          NAME TAG reads: \"SEAN FENTRESS.\"\u0000          It's not coming back to him. This whole experience is          starting to freak him out.          He catches the scent of something. Apassenger walks by with          a STEAMING CUP OF COFFEE.          CHK-THOCK! Two rows back, an OVERWEIGHT MAN opens a can of          soda.          Sitting opposite Colter, facing him, is a WOMAN in herlate          twenties (CHRISTINA). In contrast to the corporate suits          around her, her appearance is thrift store funky: black nail          polish, dark lipstick, black hair with blue streaks, a button-          down blouseedged in black funeral lace with silver skull-and-          bones cufflinks. She's busy writing in a journal.<b>                         COLTER</b>          Ma'am?          Nothing.<b>                         COLTER</b>          Excuseme... ma'am?          She looks up. Blank stare.<b>                         COLTER</b>          What is this?<b>                         CHRISTINA</b>          What's what?<b>                         COLTER</b>          Where amI?<b>                         CHRISTINA</b>          (looks out the window)          Almost at Newark.          Goes back to her journal.<b>                         COLTER</b>          What's Newark? Acity?                                                                                                    <b>          3.</b><b>                         CHRISTINA</b>          It's more of a hell hole.          But Colter still doesn't understand. He gets up.Nausea          slams into him. He hangs on to the seat.<b>                         COLTER</b>          Woah.<b>                         (BEAT)</b>          I think I'm going topuke.<b>                         CHRISTINA</b>          (gestures, alarmed)          Okay, bathroom's that way.          Colter looks down the aisle, hesitating.<b>                         CHRISTINA</b>          Go.Seriously.          Colter eases himself into the aisle. Totters down the length          of the car until he finds the RESTROOM.          The door is LOCKED. The latch reads \"OCCUPIED.\"\u0000          Bracing himself, he lurchesforward into...<b>          INT. TRAIN - SECOND CAR - MORNING</b>          He freezes. It's a mirror image of the first car. But no,          the passengers are different.          Beside him there's a small door. Thinking it'sthe bathroom,          he instead opens it to find a CONDUCTOR'S COMPARTMENT. A          cramped office with chairs and surveillance monitors.<b>                         CONDUCTOR</b>          Ticket?          A heavy-setCONDUCTOR stands in the aisle. A jangling of          keys. Colter just stares at him. Dazed.<b>                         CONDUCTOR</b>          May I see your ticket?          The last thing on his mind. Bewildered, he searcheshis          pockets.<b>                         COLTER</b>          I don't think I...                                                                                                    <b>          4.</b><b>                         CONDUCTOR</b>          Haveto write you up then.          He pulls out a citation pad.<b>                         COLTER</b>          Is this...?          From inside his sports coat he pulls out a TRAIN TICKET. The          conductor snips his ticket andbrushes past.<b>                         COLTER</b>          Wait a sec. I'm a little out of it          here. Where's this train headed?<b>                         CONDUCTOR</b>          New York. PennStation.<b>                         COLTER</b>          New York?          Why would he be going to New York? How can this be          happening? Fear starts to grip him as the hallucination          simplycontinues.<b>                         COLTER</b>          Do you know where I got on?          The conductor examines his ticket again.<b>                         CONDUCTOR</b>          PrincetonJunction.<b>                         COLTER</b>          Where's that?<b>                         CONDUCTOR</b>          \"\u0000Bout ten minutes back.<b>                         COLTER</b>          But I've never been toPrinceton          Junction. See... I don't remember          waking up or buying a ticket or          getting on the train or anything          else. It's just a blank.<b>                         CONDUCTOR</b>          Luckyyou.          The jaded conductor moves on. Colter is alone with his          confusion. Takes a deep breath. The nausea haseased          slightly.                                                                                                    <b>          5.</b><b>                         COLTER</b>          Okay. You're gonna figure this          out.<b>          INT. TRAIN -FIRST CAR - MORNING</b>          Entering the first car again. The rows of passengers. Must          be at least forty people.          As he walks back up the aisle, he looks from face to face:          A pale COMPUTERENGINEER reviews some documents.          A forty-something SECRETARY does a crossword puzzle.          DEREK, a stock broker type, talks on his cell phone:<b>                         DEREK</b>          Trust me, by oneo'clock, the          bridge is going to be jammed...          A COLLEGE STUDENT, slumped against a window, eyes shut,          listens to an MP-3 player.          An OLD MAN with a faded wool suit clutches a cane.          ABACKPACKER, female, European, 20s, hiking boots, examines a          guidebook.          A dowdy OFFICER MANAGER type sorts supermarket coupons into a          tabbed file box.          An African American EXECUTIVEreads a newspaper.          None of them pays any attention to Colter.          A WHOOSH of AIR -- he turns to          An AIR-CONDITIONING VENT. The HISS of AIR sound sinister.          Like the exhalations of acreature.          A SCRAPE. He looks to see          A woman FILING HER NAILS.          Colter cringes. Every detail, every sensory impression seems          heightened, near the point of overload.          He reachesChristina again. Eases back in the seat across          from her. She writes in her journal, ignoring him.                                                                                                    <b>          6.</b>          There's somethingelse in his sports coat. A WALLET. He          turns it over a few times, inspecting it. Pulls out a          DRIVER'S LICENSE. Another man's face is in the photo. The          name on the license reads: \"SEAN FENTRESS.\"\u0000The same name as          on the messenger bag. The street address on the license          reads: \"58 Alexander Road, Princeton Junction, New Jersey.\"\u0000<b>                         COLTER</b>          Sean Fentress? Who thehell's          that?          And why does he have this guy's wallet? He leans forward to          speak with Christina again.<b>                         COLTER</b>          Ma'am?          She lowers her journal, annoyed. We seeshe hasn't been          writing but DRAWING. A well-executed sketch of a face.<b>                         CHRISTINA</b>          Why do you keep calling me ma'am?          How old do you think I am,anyway?<b>                         COLTER</b>          I'm having a little problem here.          I'm trying not to freak out, but I          think something's happened to me.<b>                         CHRISTINA</b>          Likewhat?<b>                         COLTER</b>          Like, total memory loss. Complete.          I don't know how I got here.<b>                         CHRISTINA</b>          So you drank too much last night.          So did I.Unfortunately, I          remember the whole thing.<b>                         COLTER</b>          That's not it. See... I'm a pilot.          I fly helicopters in Iraq. I'm in          the army.          She waits for more. As if he'stelling a joke.<b>                         COLTER</b>          I was on a mission. Right before I          woke up here I was in the middle of          amission...                                                                                                    <b>          7.</b>          Wavering. Unsure of himself. His memories.<b>                         CHRISTINA</b>          Boy, you really diddrink a lot          last night.<b>                         COLTER</b>          I'm telling you the truth.<b>          ANNOUNCER (V.O.)</b>          Now approaching Newark Station.          Newark Station, next stop.          Thetrain begins to SLOW DOWN. A few people begin to get up.          The platform of Newark Station slides into view.<b>                         COLTER</b>          These aren't my clothes. And this          wallethere...          He holds up the driver's license. One final attempt to          convince her.<b>                         COLTER</b>          You see this? This isn't me.<b>                         CHRISTINA</b>          Of course itis.<b>                         COLTER</b>          What?<b>                         CHRISTINA</b>          Take a look in the mirror, good          sir.          The mirror? She goes back to her sketchbook. Determined not          to beinterrupted again. Anxiety ripples through Colter.<b>                         COLTER</b>          This can't be happening.          The train lurches to a stop.<b>          ANNOUNCER (V.O.)</b>          NewarkStation.          Colter gets up. Through the windows, a few passengers          disembark onto the platform: Derek, the Old Man, the College          Kid and GUZMAN, a Middle Eastern man, who HURRIES past allof          them towards the station building.                                                                                                    <b>          8.</b>          Colter only half notices all this. He's intent on reaching          the train's"}
+{"doc_id":"doc_222","qid":"","text":"The Project Gutenberg EBook of The Black Dwarf, by Sir Walter ScottThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it underthe terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: The Black DwarfAuthor: Sir Walter ScottRelease Date: February 15, 2006 [EBook #1460]Last Updated: August30, 2016Language: EnglishCharacter set encoding: UTF-8*** START OF THIS PROJECT GUTENBERG EBOOK THE BLACK DWARF ***Produced by An Anonymous Volunteer and David WidgerTHE BLACK DWARFby SirWalter ScottCONTENTS.     I.    Tales of my Landlord     Introduction by \u0000Jedediah Cleishbotham\u0000      II.   Introduction to THE BLACK DWARF     III.  Main text of THE BLACK DWARF     Note:  Footnotes in the printedbook have been inserted in the     etext in square brackets (\u0000[]\u0000) close to the place where     they were referenced by a suffix in the original text.     Text in italics has been written in capital letters.I. TALES OF MYLANDLORDCOLLECTED AND REPORTED BY JEDEDIAH CLEISHBOTHAM, SCHOOLMASTER ANDPARISH-CLERK OF GANDERCLEUGH.INTRODUCTION.As I may, without vanity, presume that the name and officialdescriptionprefixed to this Proem will secure it, from the sedate and reflectingpart of mankind, to whom only I would be understood to address myself,such attention as is due to the sedulous instructor of youth, andthecareful performer of my Sabbath duties, I will forbear to hold upa candle to the daylight, or to point out to the judicious thoserecommendations of my labours which they must necessarily anticipatefrom the perusalof the title-page. Nevertheless, I am not unaware,that, as Envy always dogs Merit at the heels, there may be those whowill whisper, that albeit my learning and good principles cannot(lauded be the heavens) be deniedby any one, yet that my situation atGandercleugh hath been more favourable to my acquisitions in learningthan to the enlargement of my views of the ways and works of the presentgeneration. To the which objection,if, peradventure, any such shall bestarted, my answer shall be threefold:First, Gandercleugh is, as it were, the central part--the navel (SIFAS SIT DICERE) of this our native realm of Scotland; so that men, fromeverycorner thereof, when travelling on their concernments of business,either towards our metropolis of law, by which I mean Edinburgh, ortowards our metropolis and mart of gain, whereby I insinuate Glasgow,arefrequently led to make Gandercleugh their abiding stage and place ofrest for the night. And it must be acknowledged by the most sceptical,that I, who have sat in the leathern armchair, on the left-hand side ofthe fire,in the common room of the Wallace Inn, winter and summer,for every evening in my life, during forty years bypast (the ChristianSabbaths only excepted), must have seen more of the manners and customsof varioustribes and people, than if I had sought them out by myown painful travel and bodily labour. Even so doth the tollman at thewell-frequented turn-pike on the Wellbraehead, sitting at his ease inhis own dwelling, gathermore receipt of custom, than if, moving forthupon the road, he were to require a contribution from each person whomhe chanced to meet in his journey, when, according to the vulgar adage,he might possibly begreeted with more kicks than halfpence.But, secondly, supposing it again urged, that Ithacus, the most wise ofthe Greeks, acquired his renown, as the Roman poet hath assured us, byvisiting states and men, I reply tothe Zoilus who shall adhere to thisobjection, that, DE FACTO, I have seen states and men also; for I havevisited the famous cities of Edinburgh and Glasgow, the former twice,and the latter three times, in the course ofmy earthly pilgrimage. And,moreover, I had the honour to sit in the General Assembly (meaning, asan auditor, in the galleries thereof), and have heard as much goodlyspeaking on the law of patronage, as, with thefructification thereofin mine own understanding, hath made me be considered as an oracle uponthat doctrine ever since my safe and happy return to Gandercleugh.Again--and thirdly, If it be nevertheless pretended thatmy informationand knowledge of mankind, however extensive, and however painfullyacquired, by constant domestic enquiry, and by foreign travel, is,natheless, incompetent to the task of recording the pleasantnarrativesof my Landlord, I will let these critics know, to their own eternalshame and confusion as well as to the abashment and discomfiture of allwho shall rashly take up a song against me, that I am NOT thewriter,redacter, or compiler, of the Tales of my Landlord; nor am I, in onesingle iota, answerable for their contents, more or less. And now, yegeneration of critics, who raise yourselves up as if it were brazenserpents, tohiss with your tongues, and to smite with your stings, bowyourselves down to your native dust, and acknowledge that yours havebeen the thoughts of ignorance, and the words of vain foolishness. Lo!ye are caught inyour own snare, and your own pit hath yawned for you.Turn, then, aside from the task that is too heavy for you; destroynot your teeth by gnawing a file; waste not your strength by spurningagainst a castle wall; norspend your breath in contending in swiftnesswith a fleet steed; and let those weigh the Tales of my Landlord, whoshall bring with them the scales of candour cleansed from the rust ofprejudice by the hands of intelligentmodesty. For these alone they werecompiled, as will appear from a brief narrative which my zeal for truthcompelled me to make supplementary to the present Proem.It is well known that my Landlord was a pleasingand a facetious man,acceptable unto all the parish of Gandercleugh, excepting only theLaird, the Exciseman, and those for whom he refused to draw liquor upontrust. Their causes of dislike I will touch separately,adding my ownrefutation thereof.His honour, the Laird, accused our Landlord, deceased, of havingencouraged, in various times and places, the destruction of hares,rabbits, fowls black and grey, partridges, moor-pouts,roe-deer, andother birds and quadrupeds, at unlawful seasons, and contrary to thelaws of this realm, which have secured, in their wisdom, the slaughterof such animals for the great of the earth, whom I have remarkedto takean uncommon (though to me, an unintelligible) pleasure therein. Now, inhumble deference to his honour, and in justifiable defence of my frienddeceased, I reply to this charge, that howsoever the form ofsuchanimals might appear to be similar to those so protected by the law, yetit was a mere DECEPTIO VISUS; for what resembled hares were, in fact,HILL-KIDS, and those partaking of the appearance of moor-fowl,weretruly WOOD PIGEONS and consumed and eaten EO NOMINE, and not otherwise.Again, the Exciseman pretended, that my deceased Landlord did encouragethat species of manufacture called distillation, withouthaving anespecial permission from the Great, technically called a license, fordoing so. Now, I stand up to confront this falsehood; and in defianceof him, his gauging-stick, and pen and inkhorn, I tell him, that Ineversaw, or tasted, a glass of unlawful aqua vitae in the house ofmy Landlord; nay, that, on the contrary, we needed not such devices, inrespect of a pleasing and somewhat seductive liquor, which was vendedandconsumed at the Wallace Inn, under the name of MOUNTAIN DEW. Ifthere is a penalty against manufacturing such a liquor, let him show methe statute; and when he does, I\u0000ll tell him if I will obey it or no.Concerningthose who came to my Landlord for liquor, and went thirstyaway, for lack of present coin, or future credit, I cannot but say ithas grieved my bowels as if the case had been mine own. Nevertheless, myLandlordconsidered the necessities of a thirsty soul, and would permitthem, in extreme need, and when their soul was impoverished for lackof moisture, to drink to the full value of their watches and wearingapparel, exclusivelyof their inferior habiliments, which he wasuniformly inexorable in obliging them to retain, for the credit of thehouse. As to mine own part, I may well say, that he never refused methat modicum of refreshment withwhich I am wont to recruit nature afterthe fatigues of my school. It is true, I taught his five sons Englishand Latin, writing, book-keeping, with a tincture of mathematics, andthat I instructed his daughter in psalmody.Nor do I remember me ofany fee or HONORARIUM received from him on account of these my labours,except the compotations aforesaid. Nevertheless this compensation suitedmy humour well, since it is a hardsentence to bid a dry throat waittill quarter-day.But, truly, were I to speak my simple conceit and belief, I think myLandlord was chiefly moved to waive in my behalf the usual requisitionof a symbol, or reckoning, fromthe pleasure he was wont to take in myconversation, which, though solid and edifying in the main, was, likea well-built palace, decorated with facetious narratives and devices,tending much to the enhancement andornament thereof. And so pleased wasmy Landlord of the Wallace in his replies during such colloquies, thatthere was no district in Scotland, yea, and no peculiar, and, as itwere, distinctive custom therein practised, butwas discussed betwixtus; insomuch, that those who stood by were wont to say, it was wortha bottle of ale to hear us communicate with each other. And not a fewtravellers, from distant parts, as well as from theremote districts ofour kingdom, were wont to mingle in the conversation, and to tell newsthat had been gathered in foreign lands, or preserved from oblivion inthis our own.Now I chanced to have contracted for teachingthe lower classes with ayoung person called Peter, or Patrick, Pattieson, who had been educatedfor our Holy Kirk, yea, had, by the license of presbytery, his voiceopened therein as a preacher, who delighted in thecollection of oldentales and legends, and in garnishing them with the flowers of poesy,whereof he was a vain and frivolous professor. For he followed not theexample of those strong poets whom I proposed to him as apattern, butformed versification of a flimsy and modern texture, to the compoundingwhereof was necessary small pains and less thought. And hence I havechid him as being one of those who bring forward the fatalrevolutionprophesied by Mr. Robert Carey, in his Vaticination on the Death of thecelebrated Dr. John Donne:     Now thou art gone, and thy strict laws will be     Too hard for libertines in poetry;     Till verse (by theerefined) in this last age     Turn ballad rhyme.I had also disputations with him touching his indulging rather aflowing and redundant than a concise and stately diction in his proseexercitations. But notwithstanding thesesymptoms of inferior taste,and a humour of contradicting his betters upon passages of dubiousconstruction in Latin authors, I did grievously lament when PeterPattieson was removed from me by death, even as if hehad been theoffspring of my own loins. And in respect his papers had been left inmy care (to answer funeral and death-bed expenses), I conceived myselfentitled to dispose of one parcel thereof, entitled, \u0000Tales ofmyLandlord,\u0000 to one cunning in the trade (as it is called) of bookselling.He was a mirthful man, of small stature, cunning in counterfeiting ofvoices, and in making facetious tales and responses, and whom I have tolaudfor the truth of his dealings towards me.Now, therefore, the world may see the injustice that charges me withincapacity to write these narratives, seeing, that though I have provedthat I could have written them if Iwould, yet, not having done so,the censure will deservedly fall, if at all due, upon the memory of Mr.Peter Pattieson; whereas I must be justly entitled to the praise,when any is due, seeing that, as the Dean of St.Patrick\u0000s wittily andlogically expresseth it,     That without which a thing is not,     Is CAUSA SINE QUA NON.The work, therefore, is unto me as a child is to a parent; in the whichchild, if it proveth worthy, the parenthath honour and praise; but, ifotherwise, the disgrace will deservedly attach to itself alone.I have only further to intimate, that Mr. Peter Pattieson, in arrangingthese Tales for the press, hath more consulted his ownfancy than theaccuracy of the narrative; nay, that he hath sometimes blended twoor three stories together for the mere grace of his plots. Of whichinfidelity, although I disapprove and enter my testimony against it,yetI have not taken upon me to correct the same, in respect it was the willof the deceased, that his manuscript should be submitted to the presswithout diminution or alteration. A fanciful nicety it was on the partof mydeceased friend, who, if thinking wisely, ought rather to haveconjured me, by all the tender ties of our friendship and commonpursuits, to have carefully revised, altered, and augmented, at myjudgment and discretion.But the will of the dead must be scrupulouslyobeyed, even when we weep over their pertinacity and self-delusion. So,gentle reader, I bid you farewell, recommending you to such fare as themountains of your owncountry produce; and I will only farther premise,that each Tale is preceded by a short introduction, mentioning thepersons by whom, and the circumstances under which, the materialsthereof were collected.JEDEDIAHCLEISHBOTHAM.II. INTRODUCTION to THE BLACK DWARF.The ideal being who is here presented as residing in solitude, andhaunted by a consciousness of his own deformity, and a suspicion ofhis being generallysubjected to the scorn of his fellow-men, is notaltogether imaginary. An individual existed many years since, underthe author\u0000s observation, which suggested such a character. This poorunfortunate man\u0000s name wasDavid Ritchie, a native of Tweeddale. He wasthe son of a labourer in the slate-quarries of Stobo, and must havebeen born in the misshapen form which he exhibited, though he sometimesimputed it to ill-usage when ininfancy. He was bred a brush-maker atEdinburgh, and had wandered to several places, working at his trade,from all which he was chased by the disagreeable attention which hishideous singularity of form and faceattracted wherever he came. Theauthor understood him to say he had even been in Dublin.Tired at length of being the object of shouts, laughter, and derision,David Ritchie resolved, like a deer hunted from the herd, toretreat tosome wilderness, where he might have the least possible communicationwith the world which scoffed at him. He settled himself, with this view,upon a patch of wild moorland at the bottom of a bank on thefarmof Woodhouse, in the sequestered vale of the small river Manor, inPeeblesshire. The few people who had occasion to pass that way were muchsurprised, and some superstitious persons a little alarmed, to seesostrange a figure as Bow\u0000d Davie (i.e. Crooked David) employed in a task,for which he seemed so totally unfit, as that of erecting a house. Thecottage which he built was extremely small, but the walls, as wellasthose of a little garden that surrounded it, were constructed with anambitious degree of solidity, being composed of layers of large stonesand turf; and some of the corner stones were so weighty, as to puzzlethespectators how such a person as the architect could possibly haveraised them. In fact, David received from passengers, or those who cameattracted by curiosity, a good deal of assistance; and as no one knewhow muchaid had been given by others, the wonder of each individualremained undiminished.The proprietor of the ground, the late Sir James Naesmith, baronet,chanced to pass this singular dwelling, which, having been placedtherewithout right or leave asked or given, formed an exact parallel withFalstaff\u0000s simile of a \u0000fair house built on another\u0000s ground;\u0000 so thatpoor David might have lost his edifice by mistaking the property wherehehad erected it. Of course, the proprietor entertained no ideaof exacting such a forfeiture, but readily sanctioned the harmlessencroachment.The personal description of Elshender of Mucklestane-Moor has beengenerallyallowed to be a tolerably exact and unexaggerated portrait ofDavid of Manor Water. He was not quite three feet and a half high, sincehe could stand upright in the door of his mansion, which was just thatheight. Thefollowing particulars concerning his figure and temper occurin the SCOTS MAGAZINE for 1817, and are now understood to have beencommunicated by the ingenious Mr. Robert Chambers of Edinburgh, who hasrecordedwith much spirit the traditions of the Good Town, and, in otherpublications, largely and agreeably added to the stock of our popularantiquities. He is the countryman of David Ritchie, and had the bestaccess to collectanecdotes of him.\u0000His skull,\u0000 says this authority, \u0000which was of an oblong and ratherunusual shape, was said to be of such strength, that he could strike itwith ease through the panel of a door, or the end of a barrel.His laughis said to have been quite horrible; and his screech-owl voice, shrill,uncouth, and dissonant, corresponded well with his other peculiarities.\u0000There was nothing very uncommon about his dress. He usually worean oldslouched hat when he went abroad; and when at home, a sort of cowlor night-cap. He never wore shoes, being unable to adapt them tohis mis-shapen finlike feet, but always had both feet and legsquiteconcealed, and wrapt up with pieces of cloth. He always walked with asort of pole or pike-staff, considerably taller than himself. His habitswere, in many respects, singular, and indicated a mind congenial toitsuncouth tabernacle. A jealous, misanthropical, and irritable temper,was his prominent characteristic. The sense of his deformity haunted himlike a phantom. And the insults and scorn to which this exposed him,hadpoisoned his heart with fierce and bitter feelings, which, from otherpoints in his character, do not appear to have been more largely infusedinto his original temperament than that of his fellow-men.\u0000He detestedchildren, on account of their propensity to insult andpersecute him. To strangers he was generally reserved, crabbed, andsurly; and though he by no means refused assistance or charity, heseldom either expressed orexhibited much gratitude. Even towardspersons who had been his greatest benefactors, and who possessed thegreatest share of his good-will, he frequently displayed much capriceand jealousy. A lady who had knownhim from his infancy, and whohas furnished us in the most obliging manner with some particularsrespecting him, says, that although Davie showed as much respect andattachment to her father\u0000s family, as it was inhis nature to showto any, yet they were always obliged to be very cautious in theirdeportment towards him. One day, having gone to visit him with anotherlady, he took them through his garden, and was showingthem, with muchpride and good-humour, all his rich and tastefully assorted borders,when they happened to stop near a plot of cabbages which had beensomewhat injured by the caterpillars. Davie, observing one of theladiessmile, instantly assumed his savage, scowling aspect, rushed among thecabbages, and dashed them to pieces with his KENT, exclaiming, \u0000I hatethe worms, for they mock me!\u0000\u0000Another lady, likewise a friendand old acquaintance of his, veryunintentionally gave David mortal offence on a similar occasion.Throwing back his jealous glance as he was ushering her into his garden,he fancied he observed her spit, and exclaimed,with great ferocity, \u0000AmI a toad, woman! that ye spit at me--that ye spit at me?\u0000 and withoutlistening to any answer or excuse, drove her out of his gardenwith imprecations and insult. When irritated by persons forwhom heentertained little respect, his misanthropy displayed itself in words,and sometimes in actions, of still greater rudeness; and he used onsuch occasions the most unusual and singularly savage imprecationsandthreats.\u0000 [SCOTS MAGAZINE, vol. lxxx. p.207.]Nature maintains a certain balance of good and evil in all her works;and there is no state perhaps so utterly desolate, which does notpossess some source ofgratification peculiar to itself, This poorman, whose misanthropy was founded in a sense on his own preternaturaldeformity, had yet his own particular enjoyments. Driven into solitude,he became an admirer of thebeauties of nature. His garden, which hesedulously cultivated, and from a piece of wild moorland made a veryproductive spot, was his pride and his delight; but he was also anadmirer of more natural beauty: the softsweep of the green hill, thebubbling of a clear fountain, or the complexities of a wild thicket,were scenes on which he often gazed for hours, and, as he said, withinexpressible delight. It was perhaps for this reason thathe was fondof Shenstone\u0000s pastorals, and some parts of PARADISE LOST. The authorhas heard his most unmusical voice repeat the celebrated description ofParadise, which he seemed fully to appreciate. His other"}
+{"doc_id":"doc_223","qid":"","text":"The Project Gutenberg EBook of The Recruiting Officer, by George FarquharThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-useit under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: The Recruiting OfficerAuthor: George FarquharCommentator: Elizabeth InchbaldRelease Date: August 8,2011 [EBook #37012]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE RECRUITING OFFICER ***Produced by Delphine Lettau and the Online DistributedProofreading Canada Team athttp://www.pgdpcanada.net THE RECRUITING OFFICER, A COMEDY, IN FIVE ACTS; BY GEORGE FARQUHAR, ESQ. AS PERFORMED AT THE THEATRE ROYAL, COVENT GARDEN. PRINTED UNDER THE AUTHORITY OF THEMANAGERS FROM THE PROMPT BOOK. WITH REMARKS BY MRS. INCHBALD. LONDON: PRINTED FOR LONGMAN, HURST, REES, AND ORME PATERNOSTER ROW. WILLIAM SAVAGE, PRINTER, LONDON.REMARKS.If thetwo last acts of this drama were equal to the three first, itwould rank the foremost among Farquhar's works; for these are brilliantin wit, humour, character, incident, and every other requisite necessaryto form acomplete comedy. But the decrease of merit in a play, onapproaching its conclusion, is, as in all other productions, of mostunfortunate consequence.The author was himself a recruiting officer, and possibly gatheredallthe materials for this play on the very spot where he has placed hisscene--Shrewsbury. He has dedicated the piece \"to all friends round theWrekin,\" and has thanked the inhabitants of the town for thatcheerfulhospitality, which made, he adds, \"the recruiting service, to some menthe greatest fatigue on earth, to me the greatest pleasure in theworld.\"He even acknowledges, that he found the country folk, whom he hashereintroduced--meaning those most excellently drawn characters of Rose, herbrother, and the two recruits,--under the shade of that beforementionedhill near Shrewsbury, the Wrekin; and it may be well supposed,that hediscovered Serjeant Kite in his own Regiment, and Captain Plume in hisown person. Certainly those characters have every appearance of beingcopied from life--and probably, many other of his Salopianacquaintancehave here had their portraits drawn to perfection.The disguise of Sylvia in boy's clothes, is an improbable, and romanticoccurrence; yet it is one of those dramatic events, which were consideredas perfectlynatural in former times; although neither history, nortradition, gives any cause to suppose, that the English ladies wereaccustomed to attire themselves in man's apparel; and reason assuresus, that they could seldom,if ever, have concealed their sex by suchstratagem.Another incident in the \"Recruiting Officer\" might have had its value ahundred years ago--just the time since the play was first acted; but tothe present generation, itis so dull, that it casts a heaviness uponall those scenes, whereon it has any influence. Fortune-tellers are nowa set of personages, in whom, and in whose skill or fraud, no rationalperson takes interest; and though suchpeople still exist by theirprofession, they are so vile, they are beneath satire; and their dupessuch ideots, they do not even enjoy sense enough, for their folly toproduce risibility.Perhaps, the author despised this part ofhis play, as much as theseverest critic can do; but having expended his store of entertainmentupon the foregoing scenes, he was compelled to supply the bulk of thetwo last acts, from the scanty fund of wasted spirits,and exhaustedinvention.The life of Farquhar was full of adventures.--As a student, he wasexpelled the college of Dublin, for adventuring profane wit upon asacred theme, given to him by his tutor for his exercise.As anactor, he forsook the stage in grief and horror, on havingunknowingly made use of a real sword, instead of a counterfeit one, bywhich he wounded a brother performer, with whom he had to fence in atragedy, nearly tothe loss of his life.In love, and marriage, his enterprises were still more unhappilyterminated.--And merely as an author, and a soldier, can any eventsof his life be accounted prosperous.As a dramatic writer, Farquharwas eminently successful; and in hismilitary capacity, he was ever honoured and beloved--whether fightingwith a great army in Flanders, or recruiting with a small party inShropshire.DRAMATIS PERSONÃ\u0000. CAPTAINPLUME          _Mr. Holman._ JUSTICE BALANCE        _Mr. Murray._ WORTHY                 _Mr. Whitfield._ SERJEANT KITE          _Mr. Knight._ BULLOCK                _Mr. Fawcett._ FIRST RECRUIT          _Mr. Munden._SECOND RECRUIT         _Mr. Emery._ WELSH COLLIER          _Mr. Farley._ CONSTABLE              _Mr. Thompson._ CAPTAIN BRAZEN         _Mr. Lewis._ MELINDA                _Miss Chapman._ ROSE                   _Mrs.Gibbs._ LUCY                   _Mrs. Litchfield._ SYLVIA                 _Mrs. Johnson._ _SCENE--Shrewsbury._THE RECRUITING OFFICER.ACT THE FIRST.SCENE I._The Market Place.__Drum beats the Grenadier'sMarch.--Enter_ SERJEANT KITE, _followed by_THOMAS APPLETREE, COSTAR PEARMAIN, _and the_ MOB.Kite. [_Making a Speech._] If any gentlemen soldiers or others, havea mind to serve his majesty, and pull downthe French king; if any'prentices have severe masters, any children have undutiful parents; ifany servants have too little wages, or any husband too much wife, letthem repair to the noble Serjeant Kite, at the sign ofthe Raven, inthis good town of Shrewsbury, and they shall receive present relief andentertainment.--[_Drum._]--Gentlemen, I don't beat my drums here toinsnare or inveigle any man; for you must know, gentlemen,that I am aman of honour: besides, I don't beat up for common soldiers; no, I listonly grenadiers; grenadiers, gentlemen.----Pray, gentlemen, observethis cap--this is the cap of honour; it dubs a man a gentleman, inthedrawing of a trigger; and he, that has the good fortune to be born sixfoot high, was born to be a great man--Sir, will you give me leave totry this cap upon your head?_Cost._ Is there no harm in't? won't the cap listme?_Kite._ No, no, no more than I can.--Come, let me see how it becomesyou._Cost._ Are you sure there is no conjuration in it? no gunpowder plotupon me?_Kite._ No, no, friend; don't fear, man._Cost._ My mindmisgives me plaguily.--Let me see it--[_Going to put iton._] It smells woundily of sweat and brimstone. Smell, Tummas._Tho._ Ay, wauns does it._Cost._ Pray, Serjeant, what writing is this upon the face of it?_Kite._The crown, or the bed of honour._Cost._ Pray now, what may be that same bed of honour?_Kite._ Oh! a mighty large bed! bigger by half than the great bed atWare--ten thousand people may lie in it together, andnever feel oneanother._Cost._ My wife and I would do well to lie in't, for we don't care forfeeling one another----But do folk sleep sound in this same bed ofhonour?_Kite._ Sound! ay, so sound that they neverwake._Cost._ Wauns! I wish again that my wife lay there._Kite._ Say you so! then I find, brother----_Cost._ Brother! hold there friend; I am no kindred to you that I knowof yet.--Lookye, serjeant, no coaxing, nowheedling, d'ye see--If I havea mind to list, why so--if not, why 'tis not so--therefore take your capand your brothership back again, for I am not disposed at this presentwriting.--No coaxing, no brothering me,'faith._Kite._ I coax! I wheedle! I'm above it, sir: I have served twentycampaigns----but, sir, you talk well, and I must own that you are a man,every inch of you; a pretty, young, sprightly fellow!--I love a fellowwith aspirit; but I scorn to coax; 'tis base; though I must say, thatnever in my life have I seen a man better built. How firm and strong hetreads! he steps like a castle! but I scorn to wheedle any man--Come,honest lad! willyou take share of a pot?_Cost._ Nay, for that matter, I'll spend my penny with the best he thatwears a head, that is, begging your pardon, sir, and in a fair way._Kite._ Give me your hand then; and now, gentlemen, Ihave no more tosay but this--here's a purse of gold, and there is a tub of humming aleat my quarters--'tis the king's money, and the king's drink--he's agenerous king, and loves his subjects--I hope, gentlemen, youwon'trefuse the king's health._All Mob._ No, no, no._Kite._ Huzza, then! huzza for the king, and the honour of Shropshire._All Mob._ Huzza!_Kite._ Beat drum.     [_Exeunt, shouting.--Drum beating the Grenadier'sMarch._     _Enter_ PLUME, _in a Riding Habit_._Plume._ By the Grenadier's march, that should be my drum, and by thatshout, it should beat with success.--Let me see--four o'clock--[_Lookingon his Watch._] At tenyesterday morning I left London--an hundred andtwenty miles in thirty hours is pretty smart riding, but nothing to thefatigue of recruiting.     _Enter_ KITE._Kite._ Welcome to Shrewsbury, noble captain! from thebanks of theDanube to the Severn side, noble captain! you're welcome._Plume._ A very elegant reception, indeed, Mr. Kite. I find you arefairly entered into your recruiting strain--Pray what success?_Kite._ I've beenhere a week, and I've recruited five._Plume._ Five! pray what are they?_Kite._ I have listed the strong man of Kent, the king of the gipsies, aScotch pedlar, a scoundrel attorney, and a Welsh parson._Plume._ Anattorney! wert thou mad? list a lawyer! discharge him,discharge him, this minute._Kite._ Why, sir?_Plume._ Because I will have nobody in my company that can write; afellow that can write, can draw petitions--I saythis minute dischargehim._Kite._ And what shall I do with the parson?_Plume._ Can he write?_Kite._ Hum? he plays rarely upon the fiddle._Plume._ Keep him, by all means--But how stands the country affected?werethe people pleased with the news of my coming to town?_Kite._ Sir, the mob are so pleased with your honour, and the justicesand better sort of people, are so delighted with me, that we shall soondo yourbusiness----But, sir, you have got a recruit here, that youlittle think of._Plume._ Who?_Kite._ One that you beat up for the last time you were in the country.You remember your old friend Molly, at the Castle?_Plume._She's not with child, I hope?_Kite._ She was brought to-bed yesterday._Plume._ Kite, you must father the child._Kite._ And so her friends will oblige me to marry the mother._Plume._ If they should, we'll take her withus; she can wash, youknow, and make a bed upon occasion._Kite._ Ay, or unmake it upon occasion. But your honour knows that I ammarried already._Plume._ To how many?_Kite._ I can't tell readily--I have set themdown here upon the back ofthe muster-roll. [_Draws it out._] Let me see--_Imprimis_, Mrs. ShelySnikereyes; she sells potatoes upon Ormond key, in Dublin--Peggy Guzzle,the brandy woman at the Horse Guards, atWhitehall--Dolly Waggon, thecarrier's daughter, at Hull--Mademoiselle Van Bottomflat, at theBuss--then Jenny Oakum, the ship-carpenter's widow, at Portsmouth; butI don't reckon upon her, for she was married at thesame time to twolieutenants of marines, and a man of war's boatswain._Plume._ A full company--you have named five--come, make them half adozen--Kite, is the child a boy, or a girl?_Kite._ A chopping boy._Plume._Then set the mother down in your list, and the boy in mine;enter him a grenadier, by the name of Francis Kite, absent uponfurlow--I'll allow you a man's pay for his subsistence; and now, gocomfort the wench in thestraw._Kite._ I shall, sir._Plume._ But hold, have you made any use of your fortune-teller's habitsince you arrived?_Kite._ Yes, yes, sir; and my fame's all about the country for the mostfaithful fortune-teller that evertold a lie--I was obliged to let mylandlord into the secret, for the convenience of keeping it so; but heis an honest fellow, and will be faithful to any roguery that is trustedto him. This device, sir, will get you men, andme, money, which, Ithink, is all we want at present--But yonder comes your friend, Mr.Worthy--Has your honour any further commands?_Plume._ None at present. [_Exit_ KITE.] 'Tis indeed, the picture ofWorthy, butthe life is departed.     _Enter_ WORTHY.What, arms across, Worthy! methinks you should hold them open when afriend's so near--The man has got the vapours in his ears, I believe. Imust expel this melancholyspirit.  _Spleen, thou worst of fiends below,_  _Fly, I conjure thee, by this magic blow._                          [_Slaps_ WORTHY _on the Shoulder_._Wor._ Plume! my dear captain! welcome. Safe and soundreturned!_Plume._ I escaped safe from Germany, and sound, I hope, from London:you see I have lost neither leg, arm, nor nose. Then for my inside,'tis neither troubled with sympathies, nor antipathies; and I haveanexcellent stomach for roast beef._Wor._ Thou art a happy fellow: once I was so._Plume._ What ails thee, man? no inundations nor earthquakes, in Wales,I hope? Has your father rose from the dead, and reassumedhis estate?_Wor._ No._Plume._ Then you are married, surely?_Wor._ No._Plume._ Then you are mad, or turning quaker?_Wor._ Come, I must out with it.----Your once gay, roving friend, isdwindled into an obsequious,thoughtful, romantic, constant coxcomb._Plume._ And pray, what is all this for?_Wor._ For a woman._Plume._ Shake hands, brother. If you go to that, behold me asobsequious, as thoughtful, and as constant acoxcomb, as your worship._Wor._ For whom?_Plume._ For a regiment--but for a woman! 'Sdeath! I have been constantto fifteen at a time, but never melancholy for one: and can the love ofone bring you into thiscondition? Pray, who is this wonderful Helen?_Wor._ A Helen, indeed! not to be won under ten years' siege; as great abeauty, and as great a jilt._Plume._ A jilt! pho! is she as great a whore?_Wor._ No, no._Plume._ 'Tisten thousand pities!--But who is she?--do I know her?_Wor._ Very well._Plume._ That's impossible----I know no woman that will hold out a tenyears' siege._Wor._ What think you of Melinda?_Plume._ Melinda! why shebegan to capitulate this time twelvemonth, andoffered to surrender upon honourable terms: and I advised you to proposea settlement of five hundred pounds a year to her, before I went lastabroad._Wor._ I did, andshe hearkened to it, desiring only one week toconsider--when beyond her hopes the town was relieved, and I forced toturn the siege into a blockade._Plume._ Explain, explain._Wor._ My Lady Richly, her aunt inFlintshire, dies, and leaves her, atthis critical time, twenty thousand pounds._Plume._ Oh, the devil! what a delicate woman was there spoiled! But, bythe rules of war, now----Worthy, blockade was foolish--After suchaconvoy of provisions was entered the place, you could have no thought ofreducing it by famine; you should have redoubled your attacks, taken thetown by storm, or have died upon the breach._Wor._ I did make onegeneral assault, but was so vigorously repulsed,that, despairing of ever gaining her for a mistress, I have altered myconduct, given my addresses the obsequious, and distant turn, and courther now for a wife._Plume._So, as you grew obsequious, she grew haughty, and, because youapproached her like a goddess, she used you like a dog._Wor._ Exactly._Plume._ 'Tis the way of them all----Come, Worthy, your obsequiousand distantairs will never bring you together; you must not think tosurmount her pride by your humility. Would you bring her to betterthoughts of you, she must be reduced to a meaner opinion of herself.Let me see, the very firstthing that I would do, should be, to lie withher chambermaid, and hire three or four wenches in the neighbourhood toreport, that I had got them with child--Suppose we lampooned all thepretty women in town, and lefther out; or, what if we made a ball, andforgot to invite her, with one or two of the ugliest._Wor._ These would be mortifications I must confess; but we live in sucha precise, dull place, that we can have no balls, nolampoons, no----_Plume._ What, no bastards! and so many recruiting officers in town! Ithought 'twas a maxim among them, to leave as many recruits in thecountry as they carried out._Wor._ Nobody doubts your goodwill, noble captain, in serving yourcountry; witness our friend Molly at the Castle; there have been tearsin town about that business, captain._Plume._ I hope Sylvia has not heard of it._Wor._ Oh, sir, have you thoughtof her? I began to fancy you had forgotpoor Sylvia._Plume._ Your affairs had quite put mine out of my head. 'Tis true,Sylvia and I had once agreed to go to bed together, could we haveadjusted preliminaries; but shewould have the wedding beforeconsummation, and I was for consummation before the wedding: we couldnot agree._Wor._ But do you intend to marry upon no other conditions?_Plume._ Your pardon, sir, I'll marryupon no condition at all--If Ishould, I am resolved never to bind myself down to a woman for my wholelife, till I know whether I shall like her company for half an hour.Suppose I married a woman without a leg--such athing might be, unless Iexamined the goods before-hand.--If people would but try one another'sconstitutions before they engaged, it would prevent all theseelopements, divorces, and the devil knows what._Wor._ Nay,for that matter, the town did not stick to say that----_Plume._ I hate country towns for that reason.--If your town has adishonourable thought of Sylvia, it deserves to be burnt to theground--I love Sylvia, I admire herfrank, generous disposition--there'ssomething in that girl more than woman--In short, were I once a general,I would marry her._Wor._ 'Faith, you have reason--for were you but a corporal, she wouldmarry you--but myMelinda coquets it with every fellow she sees--I'lllay fifty pounds she makes love to you._Plume._ I'll lay you a hundred, that I return it if she does--Look ye,Worthy, I'll win her, and give her to you afterwards._Wor._ Ifyou win her, you shall wear her, 'faith; I would not value theconquest, without the credit of the victory.     _Enter_ KITE._Kite._ Captain, captain! a word in your ear._Plume._ You may speak out, here are none butfriends._Kite._ You know, sir, that you sent me to comfort the good woman in thestraw, Mrs. Molly--my wife, Mr. Worthy._Wor._ O ho! very well. I wish you joy, Mr. Kite._Kite._ Your worship very well may--for I havegot both a wife and achild in half an hour--But as I was saying--you sent me to comfort Mrs.Molly--my wife, I mean--but what d'ye think, sir? she was bettercomforted before I came._Plume._ As how?_Kite._ Why, sir,a footman in a blue livery had brought her ten guineasto buy her baby-clothes._Plume._ Who, in the name of wonder, could send them?_Kite._ Nay, sir, I must whisper that--Mrs. Sylvia._Plume._ Sylvia! generouscreature!_Wor._ Sylvia! impossible!_Kite._ Here are the guineas, sir--I took the gold as part of my wife'sportion. Nay, farther, sir, she sent word the child should be taken allimaginable care of, and that she intended tostand godmother. The samefootman, as I was coming to you with this news, called after me, andtold me, that his lady would speak to me--I went, and upon hearing thatyou were come to town, she gave me half aguinea for the news, andordered me to tell you, that Justice Balance, her father, who is justcome out of the country, would be glad to see you._Plume._ There's a girl for you, Worthy!--Is there any thing of womaninthis? no, 'tis noble, generous, manly friendship. Show me another womanthat would lose an inch of her prerogative that way, without tears,fits, and reproaches. The common jealousy of her sex, which is nothingbuttheir avarice of pleasure, she despises, and can part with thelover, though she dies for the man--Come, Worthy--where's the bestwine? for there I'll quarter._Wor._ At Horton's._Plume._ Let's away, then.--Mr. Kite, goto the lady, with my humbleservice, and tell her, I shall only refresh a little, and wait upon her._Wor._ Hold, Kite--have you seen the other recruiting captain?_Kite._ No, sir; I'd have you to know I don't keep suchcompany._Plume._ Another! who is he?_Wor._ My rival, in the first place, and the most unaccountablefellow--but I'll tell you more as we go. [_Exeunt._SCENE II._An Apartment._MELINDA _and_ SYLVIA_meeting_._Mel._ Welcome to town, cousin Sylvia. [_Salute._] I envied you yourretreat in the country; for Shrewsbury, methinks, and all your heads ofshires, are the most irregular places for living: here we havesmoke,scandal, affectation, and pretension; in short, every thing to give thespleen--and nothing to divert it--then the air is intolerable._Syl._ Oh, madam! I have heard the town commended for its air._Mel._ But youdon't consider, Sylvia, how long I have lived in it; forI can assure you that to a lady the least nice in her constitution--noair can be good above half a year. Change of air I take to be the mostagreeable of any variety inlife._Syl._ As you say, cousin Melinda, there are several sorts of airs._Mel._ Psha! I talk only of the air we breathe, or more properly of thatwe taste--Have not you, Sylvia, found a vast difference in the taste"}
+{"doc_id":"doc_224","qid":"","text":"Project Gutenberg's The Fatal Dowry, by Philip Massinger and Nathaniel FieldThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it awayorre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: The Fatal DowryAuthor: Philip Massinger        Nathaniel FieldEditor: Charles LacyLockertRelease Date: October 23, 2013 [EBook #44015]Language: EnglishCharacter set encoding: UTF-8*** START OF THIS PROJECT GUTENBERG EBOOK THE FATAL DOWRY ***Produced by Robert Cicconetti,Jennifer Linklater and theOnline Distributed Proofreading Team at http://www.pgdp.net(This file was produced from images generously madeavailable by The Internet Archive/Canadian Libraries)  THE FATALDOWRY  BY  PHILIP MASSINGER AND  NATHANIEL FIELD  EDITED, FROM THE ORIGINAL QUARTO,  WITH INTRODUCTION AND NOTES  A DISSERTATION  PRESENTED TO THE  FACULTY OF PRINCETON UNIVERSITY  INCANDIDACY FOR THE DEGREE  OF DOCTOR OF PHILOSOPHY  BY  CHARLES LACY LOCKERT, JR.  ASSISTANT PROFESSOR OF ENGLISH, KENYON COLLEGE  PRESS OF  THE NEW ERA PRINTING COMPANY  LANCASTER,PA.  1918  Accepted by the Department of English, June, 1916PREFACEThis critical edition of _The Fatal Dowry_ was undertaken as a Thesisin partial fulfilment of the requirements for the degree of Ph.D. atPrincetonUniversity. It was compiled under the guidance and directionof Professor T. M. Parrott of that institution, and every page ofit is indebted to him for suggestion, advice, and criticism. I canbut inadequately indicate thescope of his painstaking and scholarlysupervision, and can even less adequately express my appreciation ofhis ever-patient aid, which alone made this work possible.I desire also to acknowledge my debt to Professor J.Duncan Spaethof Princeton University, for his valuable suggestions in regard tothe presentation of my material, notably in the Introduction; also toProfessor T. W. Baldwin of Muskingum College and Mr. HenryBowman,both of them then fellow graduate students of mine at Princeton, forassistance on several occasions in matters of special inquiry; and toDr. M. W. Tyler of the Princeton Department of History for directingmein clearing up a lego-historical point; and finally to the libraries ofYale and Columbia Universities for their kind loan of needed books.INTRODUCTIONIn the Stationerâ\u0000\u0000s Register the following entry is recordedunder thedate of â\u0000\u000030º Martij 1632:â\u0000\u0000  CONSTABLE Entred for his copy vnder the hands of Sir HENRY HERBERT    and master _SMITHWICKE_ warden a Tragedy called _the ffatall    Dowry_.    Vj d.In the year1632 was published a quarto volume whose title-page wasinscribed: _The Fatall Dowry_: a Tragedy: As it hath been often Actedat the Private House in Blackfriars, by his Majesties Servants.Written by P. M. and N. F.London, Printed by John Norton, for FrancisConstable, and are to be sold at his shop at the Crane, in PaulsChurchyard. 1632.That the initials by which the authors are designated stand for PhilipMassinger and NathanielField is undoubted.LATER TEXTSThere is no other seventeenth century edition of _The Fatal Dowry_. Itwas included in various subsequent collections, as follows:I. _The Works of Philip Massinger_--edited by ThomasCoxeter,1759--re-issued in 1761, with an introduction by T. Davies.II. _The Dramatic Works of Philip Massinger_--edited by John MonckMason, 1779.III. _The Plays of Philip Massinger_--edited by William Gifford,1805.There was a revised second edition in 1813, which is still regarded asthe Standard Massinger Text, and was followed in subsequent editions ofGifford.IV. _Modern British Drama_--edited by Sir Walter Scott, 1811.The textof this reprint of _The Fatal Dowry_ is Giffordâ\u0000\u0000s.V. _Dramatic Works of Massinger and Ford_--edited by Hartley Coleridge,1840 (_et seq._). This follows the text of Gifford.VI. _The Plays of Philip Massinger._From the Text of William Gifford.With the Addition of the Tragedy Believe as You List. Edited by FrancisCunningham, 1867 (_et seq._). The Fatal Dowry in this edition, as inthe preceding, is a mere reprint of the SecondEdition of Gifford.VII. _Philip Massinger._ Selected Plays. (Mermaid Series.) Edited byArthur Symons, 1887-9 (_et seq._).In addition to the above, _The Fatal Dowry_ appeared in _The Plays ofPhilip Massinger_, adaptedfor family reading and the use of youngpersons, by the omission of objectionable passages,--edited by Harness,1830-1; and another expurgated version was printed in the _Mirror ofTaste and Dramatic Censor_, 1810.Both of these are based on the textof Gifford.The edition of Coxeter is closest of all to the Quarto, following evenmany of its most palpable mistakes, and adding some blunders on itsown account. Mason acceptspractically all of Coxeterâ\u0000\u0000s corrections,and supplies a great many more variants himself, not all of which arevery happy. Both these eighteenth century editors continually contractfor the sake of securing a perfectlyregular metre (e. g.: _Youâ\u0000\u0000re_for _You are_, I, i, 139; _thâ\u0000\u0000 honours_ for _the honours_, I, ii, 35;etc.), while Giffordâ\u0000\u0000s tendency is to give the full form for even thecontractions of the Quarto, changing its_â\u0000\u0000emâ\u0000\u0000s_ to _themâ\u0000\u0000s_, etc.Gifford can scarce find words sharp enough to express his scorn for hispredecessors in their lack of observance of the text of the Quarto,yet he himself frequently repeats theirgratuitous emendations whenthe original was a perfectly sure guide, and he has almost a mania fortampering with the Quarto on his own account. Symonsâ\u0000\u0000 _Mermaid_ text,while based essentially on that of Gifford,in a number of instancesdeparts from it, sometimes to make further emendations, but more oftento go back from those of Gifford to the version of the original, sothat on the whole this is the best text yetpublished.There has been a German translation by the Graf von Baudisson, underthe title of _Die Unselige Mitgift_, in his _Ben Jonson und seineSchule_, Leipsig, 1836; and a French translation, in prose, underthe titleof _La dot fatale_ by E. Lafond in _Contemporains deShakespeare_, Paris, 1864.DATEThe date of the composition or original production of _The Fatal Dowry_is not known. The Quarto speaks of it as having beenâ\u0000\u0000often acted,â\u0000\u0000 sothere is nothing to prevent our supposing that it came into existencemany years before its publication. It does not seem to have beenentered in Sir Henry Herbertâ\u0000\u0000s Office Book.[1] Thiswould indicate itsappearance to have been prior to Herbertâ\u0000\u0000s assumption of the duties ofhis office in August, 1623. In seeking a more precise date we can dealonly in probabilities.[2]The play having been producedby the Kingâ\u0000\u0000s Men, a company in whichField acted, it was most probably written during his associationtherewith. This was formed in 1616; the precise date of his retirementfrom the stage is not known. His nameappears in the patent of March27, 1619, just after the death of Burbage, and again and for the lasttime in a livery list for his Majestyâ\u0000\u0000s Servants, dated May 19, 1619.It is absent from the next grant for livery(1621) and from the actorsâ\u0000\u0000lists for various plays which are assigned to 1619 or 1620. We maytherefore assume safely that his connection with the stage ended beforethe close of 1619. On the basis of probability,then, the field isnarrowed to 1616-19.[3]More or less presumptive evidence may be adduced for a yet morespecific dating. During these years that Field acted with the Kingâ\u0000\u0000sMen, two plays appeared which bearstrong internal evidence of beingproducts of his collaboration with Massinger and Fletcher: _The Knightof Malta_ and _The Queen of Corinth_. While several parallels ofphraseology are afforded for _The Fatal Dowry_ bythese (as, indeed, byevery one of the works of Massinger) they are not nearly so numerousor so striking as similarities discoverable between it and certainother dramas of the Massinger _corpus_. With none does theconnectionseem so intimate as with _The Unnatural Combat_. Both plays open witha scene in which a young suppliant for a fatherâ\u0000\u0000s cause is counseled,in passages irresistibly reminiscent of each other, to lay asideprideand modesty for the parentâ\u0000\u0000s sake, because not otherwise can justicebe gained, and it is the custom of the age to sue for it shamelessly.Moreover, the offer by Beaufort and his associates to Malefort ofanyboon he may desire as a recompense for his service, and his acceptanceof it, correspond strikingly in both conduct and language with theconferring of a like favor upon Rochfort by the Court (I, ii, 258ff.); while therequest which Malefort prefers, that his daughter bemarried to Beaufort Junior, and the language with which that young manacknowledges this meets his own dearest wish, bear a no less patentresemblance to thebestowal of Beaumelle upon Charalois (II, ii,284-297). Now this last parallel is significant, because _The UnnaturalCombat_ is an unaided production of Massinger, while the analogue in_The Fatal Dowry_ occurs in ascene that is by the hand of Field. Thesimilarity may, of course, be only an accident, but presumably it isnot. Then did Field borrow from Massinger, or did Massinger from Field?The most plausible theory is that _TheUnnatural Combat_ was writtenimmediately after _The Fatal Dowry_, when Massingerâ\u0000\u0000s mind was sosaturated with the contents of the tragedy just laid aside that he wasliable to echo in the new drama theexpressions and import of lines inthe old, whether by himself or his collaborator. That at any rate thechronological relationship of the two plays is one of juxtaposition isfurther attested by the fact that in minorparallelisms,[4] too, to_The Fatal Dowry_, _The Unnatural Combat_ is richer than any other workof Massinger.Unfortunately _The Unnatural Combat_ is itself another play of whosedate no more can be said withassurance than that it preceeds the entryof Sir Henry Herbert into office in 1623, though its crude horrors,its ghost, etc., suggest moreover that it is its authorâ\u0000\u0000s initialindependent venture in the field of tragedy, his_Titus Andronicus_, anill-advised attempt to produce something after the â\u0000\u0000grand mannerâ\u0000\u0000 ofhalf a generation back. Next in closeness to _The Fatal Dowry_ amongthe works of Massinger as regards the numberof its reminiscences ofphraseology stands his share of _The Virgin Martyr_; next in closenessas regards the _strikingness_ of these parallels stands his share of_The Little French Lawyer_. These two plays can be dated_circa_ 1620.       *       *       *       *       *To sum up:_The Fatal Dowry_ appears to antedate the installation of Sir HenryHerbert in 1623.It was probably written while Field was with the Kingâ\u0000\u0000s Men; with whomhebecame associated in 1616, and whom he probably quitted in 1619.The indications point to its composition during the latter part of thisthree-year period (1616-19), for it yields more and closer parallelsto _The VirginMartyr_ and _The Little French Lawyer_, dated about1620, than to _The Knight of Malta_ and _The Queen of Corinth_, dated1617-8,--closer, indeed, than to any work of Massinger save one, _TheUnnatural Combat_,itself an undated but evidently early play, withwhich its relationship is clearly of the most intimate variety.       *       *       *       *       *The following (at best hazardously conjectural) scheme of sequence maybeadvanced:Fletcher and Massinger and Field together wrote _The Knight of Malta_and _The Queen of Corinth_--according to received theory, in 1617 or1618. Thereafter, the last two collaborators (desirous, perhaps,oftrying what they could do unaided and unshackled by the dominatingassociation of the chief dramatist of the day) joined hands in theproduction of the tragedy which is the subject of our study. Then, uponFieldâ\u0000\u0000sretirement, Massinger struck off, with _The Unnatural Combat_,into unassisted composition; but we next find him, whether because herecognized the short-comings of this turgid play or for other reasons,again indouble harness, at work upon _The Virgin Martyr_ and _TheLittle French Lawyer_. On this hypothesis, _The Fatal Dowry_ would bedated 1618-9.SOURCESNo source is known for the main plot of _The Fatal Dowry_. ASpanishoriginal has been suspected, but it has never come to light. The stresslaid throughout the action on that peculiarly Spanish conception ofâ\u0000\u0000the point of honorâ\u0000\u0000 (see under CRITICAL ESTIMATE, inconsiderationof the character of Charalois) is unquestionably suggestive of theland south of the Pyrenees, and we have an echo of _Don Quixote_in the exclamation of Charalois (III, i, 441): â\u0000\u0000Away, thoucuriousimpertinent.â\u0000\u0000 The identification, however, of the situation at Aymerâ\u0000\u0000shouse in IV, ii with a scene in Cervantesâ\u0000\u0000 _El viejo celoso_ (ObrasCompletas De Cervantes, Tomo XII, p. 277) is extremelyfanciful. Theonly similarity consists in the circumstance that in both, while thehusband is on the stage, the wife, who, unknown to him, entertainsa lover in the next room, is heard speaking within. But this isaspontaneous outcry on the part of Beaumelle, who does not suspect theproximity of her husband, and her discovery follows, and from thisthe denouement of the play; whereas in Cervantesâ\u0000\u0000 _entremes_ thewifedeliberately calls in bravado to her niece, who is also on-stage, andboasts of her lover,--and the husband thinks this is in jest, andnothing comes of it but comedy.The theme of the sonâ\u0000\u0000s redemption of hisfatherâ\u0000\u0000s corpse by his owncaptivity is from the classical story of Cimon and Miltiades, asnarrated by Valerius Maximus, De dictis factisque memorabilibus, etc.Lib. V, cap. III. De ingratis externorum: _Bene egissentAtheniensescum Miltiade, si eum post trecenta millia Persarum Marathone devicta,in exilium protinus misissent, ac non in carcere et vinculis moricoegissent; sed, ut puto, hactenus saevire adversus optimemeritumabunde duxerunt: immo ne corpus quidem eius, sic expirare coactisepulturae primus mandari passi sunt, quam filius eius Cimon eisdemvinculis se constrigendum traderet. Hanc hereditatem paternammaximiducis filius, et futurus ipse aetatis suae dux maximus, solam secrevisse, catenas et carcerem, gloriari potuit._In the version of Cornelius Nepos (Vitae, Cimon I) Cimon isincarcerated against his will.The action ofthe play is given the historical setting of the laterfifteenth century wars of Louis XI of France and Charles the Bold ofBurgundy, although this background is extremely hazy. The heroâ\u0000\u0000s nameis the title which Charlesbore while heir-apparent to the Duchy ofBurgundy; mention is made of Charles himself (â\u0000\u0000The warlike Charloyes,â\u0000\u0000I, ii, 171), to Louis (â\u0000\u0000the subtill Fox of France, The politiqueLewis,â\u0000\u0000 I, ii, 123-4), and toâ\u0000\u0000the more desperate Swisseâ\u0000\u0000 (I, ii,124), against whom Charles lost his life and the power of Burgundywas broken; while the three great defeats he suffered at their hands,Granson, Morat, Nancy, are named inI, ii, 170. Shortly after thesedisasters the events which the play sets forth must be supposed tooccur; the parliament by which in our drama Dijon is governed wasestablished by Louis XI when he annexed Burgundy in1477 and therebyabolished her ducal independence.COLLABORATIONIt is doubtful if Massinger ever collaborated with any author whosemanner harmonized as well with his own as did Fieldâ\u0000\u0000s. In hispartnership withDecker in _The Virgin Martyr_, the alternate handsof the two dramatists afford a weird contrast.[5] His union withFletcher was less incongruous, but Fletcher was too much inclined totake the bit between his teeth to bea comfortable companion in doubleharness,[6] and at all times his volatile, prodigal genius paired illwith the earnest, painstaking, not over-poetic moralist. But in FieldMassinger found an associate whose connectionwith himself was not onlycongenial, but even beneficial, to the end that together they couldachieve certain results of which either was individually incapable;just as it has been established was the case in theMiddleton-Rowleycollaboration. To a formal element of verse different, indeed, fromMassingerâ\u0000\u0000s, but not obtrusively so, a certain moral fibre of hisown (perhaps derived from his clerical antecedents), and alikefamiliarity with stage technique, Field added qualities which Massingernotably lacked, and thereby complemented him: a light and vigorous(if sometimes coarse) comic touch as opposed to Massingerâ\u0000\u0000scumbroushumor; a freshness and first-hand acquaintance with life as opposed toMassingerâ\u0000\u0000s bookishness; a capacity to visualize and individualizecharacter as opposed to Massingerâ\u0000\u0000s weakness for drawingtypes ratherthan people. The fruit of their joint endeavors testifies to aharmonious, conscientious, and mutually respecting partnership.In consideration of the above, it is surprising how substantially inaccord are mostof the opinions that have been expressed concerning theshare of the play written by each author.â\u0000\u0000A critical reader,â\u0000\u0000 says Monck Mason, â\u0000\u0000will perceive that Rochfortand Charalois speak a different languagein the Second and Third Acts,from that which they speak in the first and last, which are undoubtedlyMassingerâ\u0000\u0000s; as is also Part of the Fourth Act, but not the whole ofit.â\u0000\u0000Dr. Ireland, in a postscript to the text of_The Fatal Dowry_ inGiffordâ\u0000\u0000s edition, agrees with Mason in assigning the Second Actto Field and also the First Scene of the Fourth Act; the ThirdAct, however, he claims for Massinger, as well as that share oftheplay with which Mason credits him. Fleay and Boyle, the chiefmodern commentators who have taken up the question of the divisionof authorship with the aid of metrical tests and other criteria,agree fairly well with thespeculations of their less scientificpredecessors, and adopt an intermediate, reconciling position on thedisputed Third Act, dividing it between the two dramatists.[7]Boyle (_Englische Studien_, V, 94) assigns toMassinger Act I; Act IIIas far as line 316; Act IV, Scenes ii, iii, and iv; and the whole ofAct V, with the exception of Scene ii, lines 80-120, which he considersan interpolation of Field, whom he also believes to haverevised thelatter part of I, ii (from _Exeunt Officers with Romont_ to end).Fleay (_Chron. Eng. Dra._, I, 208) exactly agrees with this divisionsave that the latter part of I, ii, which Boyle believes emended byField, heassigns to that author outright; and that he places thedivision in Act III twenty-seven lines later (Field after _Manent Char.Rom._).In my own investigation I have used for each Scene the following teststo distinguishthe hands of the two authors:(_a_) Broad aesthetic considerations: the comparison of style andmethod of treatment with the known work of either dramatist.(_b_) The test of parallel phrases. Massingerâ\u0000\u0000s habit ofrepeatinghimself is notorious. I have gone through the entire body of hiswork, both that which appears under his name, and that which has beenassigned to him by modern research in the Beaumont & Fletcherplays,and noted all expressions I found analogous to any which occur in_The Fatal Dowry_. I have done the same for Fieldâ\u0000\u0000s work, examininghis two comedies, _Woman is a Weathercock_ and _Amends forLadies_,and Acts I and V of _The Knight of Malta_ and III and IV of _TheQueen of Corinth_, which the consensus of critical opinion recognizes(in my judgment, correctly) as his. He is generally believed tohavecollaborated also in _The Honest Manâ\u0000\u0000s Fortune_, but the exact extentof his work therein is so uncertain that I have not deemed it a properfield from which to adduce evidence. His hand has been asserted byoneauthority or another to appear in various other plays of the period,he having served, as it were, the role of a literary scapegoat on whomit was convenient to father any Scene not identified as belonging toBeaumont,Fletcher, or Massinger; but there is no convincing evidencefor his participation in the composition of any extant dramas save theabove named.(_c_) Metrical tests. I have computed the figures for _The Fatal Dowry_inregard to double or feminine endings and run-on lines. Massingerâ\u0000\u0000sverse displays high percentages (normally 30 per cent, to 45 per cent.)in the case of either. Fieldâ\u0000\u0000s verse varies considerably in the matterofrun-on lines at various periods of his life, but the proportion ofthem is always smaller than Massingerâ\u0000\u0000s. His double endings averageabout 18 per cent. I have also counted in each Scene the numberof speeches thatend within the line, and that end with the line,respectively. (Speeches ending with fragmentary lines are considered tohave mid-line endings.) This is declared by Oliphant (_Eng. Studien_,XIV, 72) the surest test for thework of Massinger. â\u0000\u0000His percentage ofspeeches,â\u0000\u0000 he says, â\u0000\u0000that end where the verses end is ordinarily as lowas 15.â\u0000\u0000 This is a tremendous exaggeration, but it is true that theratio of mid-line endings is"}
+{"doc_id":"doc_225","qid":"","text":"The Project Gutenberg EBook of The Sorrows of Satan, by Marie CorelliThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: The Sorrows of Satan       or, The Strange Experience of One Geoffrey Tempest,       Millionaire, ARomanceAuthor: Marie CorelliRelease Date: March 14, 2013 [EBook #42332]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE SORROWS OF SATAN ***Produced by Julie Barkley, David Wilsonand the OnlineDistributed Proofreading Team at http://www.pgdp.netTHE SORROWS OF SATANORTHE STRANGE EXPERIENCE OF ONEGEOFFREY TEMPEST, MILLIONAIREA ROMANCEBY MARIE CORELLIMETHUEN & CO.LTD., LONDON_36 Essex Street W.C._ _First Published                                    November 1895  Second, Third, Fourth, Fifth, Sixth, Seventh,      Eighth, Ninth, Tenth Editions                           1895  Eleventh, Twelfth,Thirteenth, Fourteenth, Fifteenth,      Sixteenth, Seventeenth, Eighteenth, Nineteenth,      Twentieth, Twenty-first, Twenty-second, Twenty-third,      Twenty-fourth, Twenty-fifth, Twenty-sixth,      Twenty-seventh,Twenty-eighth, Twenty-ninth,      Thirtieth, Thirty-first, Thirty-second Editions         1896  Thirty-third, Thirty-fourth, Thirty-fifth, Thirty-sixth      Editions                                                1897  Thirty-seventh,Thirty-eighth, Thirty-ninth      Editions                                                1898  Fortieth and Forty-first Editions                           1899  Forty-second Edition                                        1900  Forty-third and Forty-fourthEditions                       1901  Forty-fifth and Forty-sixth Editions                        1902  Forty-seventh Edition                                       1903  Forty-eighth Edition                                        1904  Forty-ninth andFiftieth Editions                           1905  Fifty-first Edition                                         1906  Fifty-second and Fifty-third Editions                       1907  Fifty-fourth Edition                                        1908  Fifty-fifthEdition                                         1909  Fifty-sixth Edition                                         1910  Fifty-seventh Edition                                       1911  Fifty-eighth Edition                                        1913  Fifty-ninthEdition                                         1914  Sixtieth Edition                                            1916  Sixty-first Edition                                         1917  Sixty-second and Sixty-third Editions                       1918  Sixty-fourthEdition                                        1920  Sixty-fifth Edition (Cheap Edition)                         1920  Sixty-sixth Edition    \"      \"                             1922  Sixty-seventhEdition  \"      \"                             1931  Sixty-eighth Edition   \"      \"                             1936                            Reprinted, 1952_68.2CATALOGUE NO. 2075/VPRINTED IN GREAT BRITAINTHE SORROWS OF SATANIDoyou know what it is to be poor? Not poor with the arrogant povertycomplained of by certain people who have five or six thousand a year tolive upon, and who yet swear they can hardly manage to make both endsmeet,but really poor,--downright, cruelly, hideously poor, with apoverty that is graceless, sordid and miserable? Poverty that compelsyou to dress in your one suit of clothes till it is wornthreadbare,--that denies you cleanlinen on account of the ruinouscharges of washerwomen,--that robs you of your own self-respect, andcauses you to slink along the streets vaguely abashed, instead ofwalking erect among your fellow-men inindependent ease,--this is thesort of poverty I mean. This is the grinding curse that keeps down nobleaspiration under a load of ignoble care; this is the moral cancer thateats into the heart of an otherwisewell-intentioned human creature andmakes him envious and malignant, and inclined to the use of dynamite.When he sees the fat idle woman of society passing by in her luxuriouscarriage, lolling back lazily, her facemottled with the purple and redsigns of superfluous eating,--when he observes the brainless and sensualman of fashion smoking and dawdling away the hours in the Park, as ifall the world and its millions of honest hardworkers were createdsolely for the casual diversion of the so-called 'upper' classes,--thenthe good blood in him turns to gall, and his suffering spirit rises infierce rebellion, crying out--\"Why in God's name, should thisinjusticebe? Why should a worthless lounger have his pockets full of gold by merechance and heritage, while I, toiling wearily from morn till midnight,can scarce afford myself a satisfying meal?\"Why indeed! Why shouldthe wicked flourish like a green bay-tree? I haveoften thought about it. Now however I believe I could help to solve theproblem out of my own personal experience. But ... such an experience!Who will credit it? Who willbelieve that anything so strange andterrific ever chanced to the lot of a mortal man? No one. Yet it istrue;--truer than much so-called truth. Moreover I know that many menare living through many such incidents ashave occurred to me, underprecisely the same influence, conscious perhaps at times, that they arein the tangles of sin, but too weak of will to break the net in whichthey have become voluntarily imprisoned. Will theybe taught, I wonder,the lesson I have learned? In the same bitter school, under the sameformidable taskmaster? Will they realize as I have been forced todo,--aye, to the very fibres of my intellectual perception,--thevast,individual, active Mind, which behind all matter, works unceasingly,though silently, a very eternal and positive God? If so, then darkproblems will become clear to them, and what seems injustice in theworld willprove pure equity! But I do not write with any hope of eitherpersuading or enlightening my fellow-men. I know their obstinacy toowell;--I can gauge it by my own. My proud belief in myself was, at onetime, not to beoutdone by any human unit on the face of the globe. AndI am aware that others are in similar case. I merely intend to relatethe various incidents of my career in due order exactly as theyhappened,--leaving to moreconfident heads the business of propoundingand answering the riddles of human existence as best they may.During a certain bitter winter, long remembered for its arctic severity,when a great wave of intense coldspread freezing influences not aloneover the happy isles of Britain, but throughout all Europe, I, GeoffreyTempest, was alone in London and well-nigh starving. Now a starving manseldom gets the sympathy hemerits,--so few can be persuaded to believein him. Worthy folks who have just fed to repletion are the mostincredulous, some of them being even moved to smile when told ofexisting hungry people, much as if thesewere occasional jests inventedfor after-dinner amusement. Or, with that irritating vagueness ofattention which characterizes fashionable folk to such an extent thatwhen asking a question they neither wait for theanswer nor understandit when given, the well-dined groups, hearing of some one starved todeath, will idly murmur 'How dreadful!' and at once turn to thediscussion of the latest 'fad' for killing time, ere it takes tokillingthem with sheer _ennui_. The pronounced fact of being hungry soundscoarse and common, and is not a topic for polite society, which alwayseats more than sufficient for its needs. At the period I am speakingofhowever, I, who have since been one of the most envied of men, knew thecruel meaning of the word hunger, too well,--the gnawing pain, the sickfaintness, the deadly stupor, the insatiable animal craving formerefood, all of which sensations are frightful enough to those who are,unhappily, daily inured to them, but which when they afflict one who hasbeen tenderly reared and brought up to consider himselfa'gentleman,'--God save the mark! are perhaps still more painful to bear.And I felt that I had not deserved to suffer the wretchedness in which Ifound myself. I had worked hard. From the time my father died,leavingme to discover that every penny of the fortune I imagined he possessedwas due to swarming creditors, and that nothing of all our house andestate was left to me except a jewelled miniature of my mother whohadlost her own life in giving me birth,--from that time I say, I had putmy shoulder to the wheel and toiled late and early. I had turned myUniversity education to the only use for which it or I seemedfitted,--literature. Ihad sought for employment on almost every journalin London,--refused by many, taken on trial by some, but getting steadypay from none. Whoever seeks to live by brain and pen alone is, at thebeginning of such acareer, treated as a sort of social pariah. Nobodywants him,--everybody despises him. His efforts are derided, hismanuscripts are flung back to him unread, and he is less cared for thanthe condemned murderer in gaol.The murderer is at least fed andclothed,--a worthy clergyman visits him, and his gaoler willoccasionally condescend to play cards with him. But a man gifted withoriginal thoughts and the power of expressing them,appears to beregarded by everyone in authority as much worse than the worst criminal,and all the 'jacks-in-office' unite to kick him to death if they can. Itook both kicks and blows in sullen silence and lived on,--not forthelove of life, but simply because I scorned the cowardice ofself-destruction. I was young enough not to part with hope tooeasily;--the vague idea I had that my turn would come,--that theever-circling wheel of Fortunewould perchance lift me up some day as itnow crushed me down, kept me just wearily capable of continuingexistence,--though it was merely a continuance and no more. For aboutsix months I got some reviewing workon a well-known literary journal.Thirty novels a week were sent to me to 'criticise,'--I made a habit ofglancing hastily at about eight or ten of them, and writing one columnof rattling abuse concerning these thuscasually selected,--theremainder were never noticed at all. I found that this mode of actionwas considered 'smart,' and I managed for a time to please my editor whopaid me the munificent sum of fifteen shillings for myweekly labour.But on one fatal occasion I happened to change my tactics and warmlypraised a work which my own conscience told me was both original andexcellent. The author of it happened to be an old enemy oftheproprietor of the journal on which I was employed;--my eulogistic reviewof the hated individual, unfortunately for me, appeared, with the resultthat private spite outweighed public justice, and I wasimmediatelydismissed.After this I dragged on in a sufficiently miserable way, doing 'hackwork' for the dailies, and living on promises that never becamerealities, till, as I have said, in the early January of the bitterwinteralluded to, I found myself literally penniless and face to facewith starvation, owing a month's rent besides for the poor lodging Ioccupied in a back street not far from the British Museum. I had beenout all day trudgingfrom one newspaper office to another, seeking forwork and finding none. Every available post was filled. I had alsotried, unsuccessfully, to dispose of a manuscript of my own,--a work offiction which I knew had somemerit, but which all the 'readers' in thepublishing offices appeared to find exceptionally worthless. These'readers' I learned, were most of them novelists themselves, who readother people's productions in their sparemoments and passed judgment onthem. I have always failed to see the justice of this arrangement; to meit seems merely the way to foster mediocrities and suppress originality.Common sense points out the fact thatthe novelist 'reader' who has aplace to maintain for himself in literature would naturally ratherencourage work that is likely to prove ephemeral, than that which mightpossibly take a higher footing than his own. Be thisas it may, andhowever good or bad the system, it was entirely prejudicial to me and myliterary offspring. The last publisher I tried was a kindly man wholooked at my shabby clothes and gaunt face with somecommiseration.\"I'm sorry,\" said he, \"very sorry, but my readers are quite unanimous.From what I can learn, it seems to me you have been too earnest. Andalso, rather sarcastic in certain strictures against society. Mydearfellow, that won't do. Never blame society,--it buys books! Now if youcould write a smart love-story, slightly _risqué_,--even a little morethan _risqué_ for that matter; that is the sort of thing that suitsthepresent age.\"\"Pardon me,\" I interposed somewhat wearily--\"but are you sure you judgethe public taste correctly?\"He smiled a bland smile of indulgent amusement at what he no doubtconsidered my ignorance inputting such a query.\"Of course I am sure,\"--he replied--\"It is my business to know thepublic taste as thoroughly as I know my own pocket. Understand me,--Idon't suggest that you should write a book on anypositively indecentsubject,--that can be safely left to the 'New' woman,\"--and helaughed,--\"but I assure you high-class fiction doesn't sell. The criticsdon't like it, to begin with. What goes down with them and withthepublic is a bit of sensational realism told in terse newspaper English.Literary English,--Addisonian English,--is a mistake.\"\"And I am also a mistake I think,\" I said with a forced smile--\"At anyrate if what you say betrue, I must lay down the pen and try anothertrade. I am old-fashioned enough to consider Literature as the highestof all professions, and I would rather not join in with those whovoluntarily degrade it.\"He gave me aquick side-glance of mingled incredulity and depreciation.\"Well, well!\" he finally observed--\"you are a little quixotic. That willwear off. Will you come on to my club and dine with me?\"I refused this invitation promptly. Iknew the man saw and recognised mywretched plight,--and pride--false pride if you will--rose up to myrescue. I bade him a hurried good-day, and started back to my lodging,carrying my rejected manuscript with me.Arrived there, my landlady metme as I was about to ascend the stairs, and asked me whether I would'kindly settle accounts' the next day. She spoke civilly enough, poorsoul, and not without a certain compassionatehesitation in her manner.Her evident pity for me galled my spirit as much as the publisher'soffer of a dinner had wounded my pride,--and with a perfectly audaciousair of certainty I at once promised her the money atthe time sheherself appointed, though I had not the least idea where or how I shouldget the required sum. Once past her, and shut in my own room, I flung myuseless manuscript on the floor and myself into a chair,and--swore. Itrefreshed me to swear, and it seemed natural,--for though temporarilyweakened by lack of food, I was not yet so weak as to shed tears,--and afierce formidable oath was to me the same sort of physicalrelief whichI imagine a fit of weeping may be to an excitable woman. Just as I couldnot shed tears, so was I incapable of apostrophizing God in my despair.To speak frankly, I did not believe in any God--_then_. I was tomyselfan all-sufficing mortal, scorning the time-worn superstitions ofso-called religion. Of course I had been brought up in the Christianfaith; but that creed had become worse than useless to me since I hadintellectuallyrealized the utter inefficiency of Christian ministers todeal with difficult life-problems. Spiritually I was adrift inchaos,--mentally I was hindered both in thought and achievement,--bodily,I was reduced to want. My casewas desperate,--I myself was desperate.It was a moment when if ever good and evil angels play a game of chancefor a man's soul, they were surely throwing the dice on the last wagerfor mine. And yet, with it all, I feltI had done my best. I was driveninto a corner by my fellow-men who grudged me space to live in, but Ihad fought against it. I had worked honestly and patiently;--all to nopurpose. I knew of rogues who gained plentyof money; and of knaves whowere amassing large fortunes. Their prosperity appeared to prove thathonesty after all was _not_ the best policy. What should I do then? Howshould I begin the jesuitical business ofcommitting evil that good,personal good, might come of it? So I thought, dully, if such strayhalf-stupefied fancies as I was capable of, deserved the name of thought.The night was bitter cold. My hands were numbed,and I tried to warmthem at the oil-lamp my landlady was good enough to still allow me theuse of, in spite of delayed cash-payments. As I did so, I noticed threeletters on the table,--one in a long blue envelopesuggestive of eithera summons or a returned manuscript,--one bearing the Melbourne postmark,and the third a thick square missive coroneted in red and gold at theback. I turned over all three indifferently, andselecting the one fromAustralia, balanced it in my hand a moment before opening it. I knewfrom whom it came, and idly wondered what news it brought me. Somemonths previously I had written a detailed account ofmy increasingdebts and difficulties to an old college chum, who finding England toonarrow for his ambition had gone out to the wider New world on aspeculative quest of gold mining. He was getting on well, soIunderstood, and had secured a fairly substantial position; and I hadtherefore ventured to ask him point-blank for the loan of fifty pounds.Here, no doubt, was his reply, and I hesitated before breaking the seal.\"Ofcourse it will be a refusal,\" I said half-aloud,--\"However kindly afriend may otherwise be, he soon turns crusty if asked to lend money. Hewill express many regrets, accuse trade and the general bad times andhope I willsoon 'tide over.' I know the sort of thing. Well,--afterall, why should I expect him to be different to other men? I've no claimon him beyond the memory of a few sentimental arm-in-arm days atOxford.\"A sigh escapedme in spite of myself, and a mist blurred my sight forthe moment. Again I saw the grey towers of peaceful Magdalen, and thefair green trees shading the walks in and around the dear old Universitytown where we,--Iand the man whose letter I now held in myhand,--strolled about together as happy youths, fancying that we wereyoung geniuses born to regenerate the world. We were both fond ofclassics,--we were brimful of Homerand the thoughts and maxims of allthe immortal Greeks and Latins,--and I verily believe, in thoseimaginative days, we thought we had in us such stuff as heroes are madeof. But our entrance into the social arena soonrobbed us of our sublimeconceit,--we were common working units, no more,--the grind and prose ofdaily life put Homer into the background, and we soon discovered thatsociety was more interested in the latestunsavoury scandal than in thetragedies of Sophocles or the wisdom of Plato. Well! it was no doubtextremely foolish of us to dream that we might help to regenerate aworld in which both Plato and Christ appear to havefailed,--yet themost hardened cynic will scarcely deny that it is pleasant to look backto the days of his youth if he can think that at least then, if onlyonce in his life, he had noble impulses.The lamp burned badly, and Ihad to re-trim it before I could settledown to read my friend's letter. Next door some-one was playing a violin,and playing it well. Tenderly and yet with a certain amount of _brio_the notes came dancing from the bow,and I listened, vaguely pleased.Being faint with hunger I was somewhat in a listless state bordering onstupor,--and the penetrating sweetness of the music appealing to thesensuous and æsthetic part of me, drownedfor the moment mere animalcraving.\"There you go!\" I murmured, apostrophizing the unseenmusician,--\"practising away on that friendly fiddle of yours,--no doubtfor a mere pittance which barely keeps you alive.Possibly you are somepoor wretch in a cheap orchestra,--or you might even be a street-playerand be able to live in this neighbourhood of the _élite_ starving,--youcan have no hope whatever of being the 'fashion'and making your bowbefore Royalty,--or if you have that hope, it is wildly misplaced. Playon, my friend, play on!--the sounds you make are very agreeable, andseem to imply that you are happy. I wonder if youare?--or if, like me,you are going rapidly to the devil!\"The music grew softer and more plaintive, and was now accompanied by therattle of hailstones against the window-panes. A gusty wind whistledunder the door androared down the chimney,--a wind cold as the grasp ofdeath and searching as a probing knife. I shivered,--and bending closeover the smoky lamp, prepared to read my Australian news. As I openedthe envelope, a billfor fifty pounds, payable to me at a well-knownLondon banker's, fell out upon the table. My heart gave a quick bound ofmingled relief and gratitude.\"Why Jack, old fellow, I wronged you!\" I exclaimed,--\"Your heart isinthe right place after all.\"And profoundly touched by my friend's ready generosity, I eagerlyperused his letter. It was not very long, and had evidently been writtenoff in haste.    Dear Geoff,    I'm sorry to hear you are"}
+{"doc_id":"doc_226","qid":"","text":"<html><head><title>Adjustment Bureau, The Script at IMSDb.</title><meta name=\"description\" content=\"Adjustment Bureau, The script at the Internet Movie Script Database.\"><meta name=\"keywords\"content=\"Adjustment Bureau, The script, Adjustment Bureau, The movie script, Adjustment Bureau, The film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><metaname=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttypeCONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ?'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie ScriptDatabase\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <scripttype=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                             THE ADJUSTMENT BUREAU</b>                                  Written by                                 GeorgeNolfi                           Based on a short story by                                 Philip K Dick <b>          BLACK SCREEN</b>          The sounds of a large crowd, but muffled, as if we're inside,          and hearing the crowdthrough a window or door. FADE IN ON:<b>          INT. SOME SORT OF LOBBY -- DAY</b>          DAVID NORRIS, 33, is having a private moment, looking down,          thinking. He wears a suit and tie. He seemsrelaxed and          confident. Content. Completely in his element.          In one of his hands he's absentmindedly twirling a couple of          individually-wrapped Ricola throat lozenges. We hear the          muffled voice ofsomeone on a PA system outside:<b>          VOICE ON PA SYSTEM</b>          Thank you so much for coming today--          A man in a BLUE BLAZER walks up to David.<b>                         BLUEBLAZER</b>          Congressman Norris-?          Now REVEAL that we're ±fl: the entry hall of the Admin Building          at St. Johns University. A thousand people crowd the quad          out front. \"Norris for Senate\"placards everywhere.<b>                         BLUE-BLAZER</b>          Fred O'Malley with the DNC. I've          never seen a crowd this big turn          out so early in the cycle.          CHARLIE TRAYNOR, 36,arrives--.<b>                         CHARLIE</b>          Just wait 'till you see how they          respond to him..          David pops a cherry lozenge into his mouth and straightens          his lapel pin, which is shaped like NewYork State.<b>                         DAVID</b>          Don't build me up like that,          Charlie. He'll be disappointed.<b>          EXT. ST. JOHNS UNIVERSITY -- MAIN QUAD -- DAY</b>          The crowd, many of themin their twenties, roars with          approval as David walks out to the lectern on the steps of          the Admin Building.<b>                         DAVID</b>          Hi there. I'm David Norris. And          I'm running for theUS Senate.                                                                                                    <b>          2/12/09 2.</b>          The crowd goes wild.<b>          MONTAGE -- SENATE CAMPAIGN</b>          --David finishes a speechat the FDNY Academy's graduation.          The cadets jump to their feet and give him a standing          ovation.          --David shakes the hands of workers entering a .Con Edison          plant in Buffalo. He's a natural atthis. Unlike most          politicians he actually seems to enjoy campaigning.          --Flashbulbs go off as he plays a game of pick-up basketball          with a group of Bronx teenagers. Charlie is nearby.          --Davidtakes a ceremonial shovel full of dirt to begin          redevelopment of an old military base upstate.          --He gives a speech at a Harlem church. Audiences watch          David the way they watched JFK, the way theywatch Obama          today. He inspires, makes them believe, makes them want to          follow him. Especially young people.          --David walks through a suburban mall happily shaking hands          as cameras followhim and citizens snap pictures with their          camera-phones. People crush around him. He:doesn't seem to          mind at all. He welcomes it. He feeds off it.          --He pops a cherry lozenge in his mouth and climbsup onto a          tractor to speak to a gathering of upstate farmers, speaking          into a bullhorn to compensate for his hoarse voice. Charlie          stands nearby watching him speak:.<b>          INT. SHERATONHOTEL ROOM --UPSTATE SOMEWHERE -- DUSK</b>          David enters his hotel room. The silence contrasts starkly          with the noisy energy of the campaign trail.          He turns on the TV. Scrolls through thechannels. After a          moment shuts it off. Total silence again. It bothers him.          He opens up his briefcase. Pulls out a thick file -- his          itinerary for the next three days. Dozens of speechesand          meetings across the state.          He glances at the summary page on the top. Glances down the          page with his finger, stopping, almost at random, on a speech          he's giving two days from now atthe Westchester County Open          Space Initiative.<b>                         DAVID</b><b>                         (TESTING HIMSELF)</b>          Karen Woods, founder.Husband:          Bob.                                                                                                    <b>           2/12/09 3.</b><b>                         DAVID (CONT'D)</b>          Kids: Samantha, painting, and          Ricky,Little League. John Pascal.          Wife: Anna. St. John's grad. Two          year old: Loyita...          He stops. Knows this cold. His finger runs down to a          Realtor's Association breakfast in Nassau County fourdays          out.<b>                         DAVID</b><b>                         (MORE TESTING)</b>          Abagail \"Abby\" Best, Stuart          Broxterman, Chapel Davis, Milan          Sabovic, Jim Vargas...          His ability toretain this sort of information is stunning.          He doesn't need to review. It's already all there.          He closes his itinerary file. Goes to the window and looks          out at the trees.          The silence back...it'sdeafening.<b>          INT. SHERATON LOBBY -- UPSTATE SOMEWHERE -- NIGHT</b>          Charlie enters the lobby. Stops suddenly: spots David,          holding court at`the hotel bar. Fifteen strangers aroundhim          as he regales them with a story, despite the fact that he's          clearly losing his voice. Charlie walks over, pulls him          aside.<b>                         CHARLIE</b>          What the hell? What happenedto          \"I'm going to have softie tea, rest          my voice, and go to bed early?\"          You have Diane Sawyer tomorrow and          you have to be up at four AM for us          to make it in time.          David is holding,a beer, in his left hand. With his free hand          he picks up a cup and saucer.<b>                         DAVID</b>          I had some tea.          (sees Charlie's not in the<b>                         MOOD)</b>          Comeon, man. We're eight points          up in the polls. I've gotta cut          loose every once in a while and          have a life.          This provokes a quizzical look from Charlie. Fifteen          strangers in a crappy upstateSheraton doesn't seem like          having a life to him...                                                                                                    <b>          2/12/094.</b><b>                         CHARLIE</b>          Ten.<b>                         DAVID</b>          What?<b>                         CHARLIE</b>          Latest poll has you ten points up.          A slow smile spreads acrossDavid's face.<b>                         CUT TO:</b><b>                         BLACK SCREEN</b>          The sound of a busy room. Then one voice, much louder:<b>          CAMPAIGN AIDE.</b>           County reporting:8901 for          Lynfield, 7233 for Norris.<b>          INT. WALDORF ASTORIA HOTEL SUITE -- NIGHT</b>          Charlie Traynor walks over to the aide who just shouted that.          She's writing vote totals onto a mapof New York by county.<b>                         CHARLIE</b><b>                         (NATURAL OPTIMIST)</b>          Better than I thought, I thought          we'd get killed in Seneca.          He turns to look at a large suitefull of more than a dozen          Norris supporters talking on phones and typing into laptops.<b>                         CHARLIE</b>          Eddie, call Boyd! Where the hell          are the. Suffolk numbers? We'vegot          to get the Suffolk numbers!<b>          EXT. ROOFTOP NEAR WALDORF -- NIGHT</b>          A light snow falls. Four MEN IN CONSERVATIVE SUITS,          overcoats, and fedoras walk across the roof of aforty-story          building. Their clothing is more timeless than old-          fashioned. And somehow so is their demeanor.          The men get to the edge and look down over the city, almost-          as if it's theirdomain.                                                                                                    <b>          2/12/09 5.</b><b>          INT. WALDORF HOTEL ROOM -- NIGHT</b>          David watches the election coverage on TV.Pundits are          discussing the New York Senate race, which CNN has already          called for David's opponent.<b>                         PUNDIT #1</b>          Congressman Norris has a reputation          for being verydirect, even blunt,          in his campaign speeches, which is          great until you say too many things          you wish you hadn't. Then you          start to look like an amateur.<b>                         PUNDIT#2</b>          That's bad for any candidate but          it's fatal if you're running for          Senate at the age of 33, your          opponent keeps calling you an          \"impulsive kid,\" and you almost          killed yourentire political career          five months ago with an act of          immaturity that ended up on the          front page of`.the New York Post.          David winces slightly. This is excruciating. Just then          Charlieenters.. The nerve center.suite is visible through          the open door behind him.<b>                         -CHARLIE</b>          Why are you still watching CNN?          They called this way too early.          David doesn'tshare his friend's optimism.<b>          INT. WALDORF HOTEL SUITE'-- NERVE CENTER -- NIGHT</b>          A' campaign aide with a phone to her ear shouts to the room:<b>                         AIDE</b>          SuffolkCounty Numbers!          Charlie and David emerge from the private room to listen.<b>           AIDE (O.S.)</b>          Lynfield: 415,120. Norris:<b>          370,233.</b>          Charlie's energy and optimism disappearinstantly.<b>                         CHARLIE</b>          (after long beat)          I really thought we'd win Suffolk.                                                                                                    <b>          2/12/09 6.</b>          Asenior aide walks over.<b>                         SENIOR AIDE</b>          Kings County just came in too.<b>                         A BRUTAL</b>          He shows a piece of paper to Charlie andDavid.          beat...<b>                         DAVID</b>          Well, it's over. And it's going to          be a blowout...          David puts on a brave face. . .but this is the first moment          that he realizes not only is hegoing to lose, but he's going          to lose big. It's going to be a grand,. public humiliation.<b>                         SENIOR AIDE</b>          NBC has us up next.          Charlie takes a clicker and turns the closest TV toNBC.<b>                         BRIAN WILLIAMS</b>          Turning now to the New York Senate          race, NBC is now calling the          election for Roger'Lynfield. After          a shockingly poor showing inboth          Suffolk county and in his home          county, Kings, it now appears that          David Norris will lose this          election badly, perhaps by as much          as 10 points.<b>          EXT. ROOFTOP --NIGHT</b>          The four men in dark suits.. The boss's name is RICHARDSON,          early 40s. His top aide is.AHARRY, 50s.<b>                         RICHARDSON</b>          This is a.bignight,gentleman.<b>                         (TOHARRY)</b>          Is ever ything set?          Harry nods. Richardson notices his eyes:<b>                         RICHARDSON</b>          You look tired. You should take"}
+{"doc_id":"doc_227","qid":"","text":"<html><head><title>Thor Script at IMSDb.</title><meta name=\"description\" content=\"Thor script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Thor script, Thor movie script, Thorfilm script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=SubjectCONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0];s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>    <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\"title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center></td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                                    THOR</b>                                 Written by                         Ashley Miller & Zack Stentz <b>          FADEIN:</b>          On the blackness of SPACE, beautiful and mysterious, strewn          with a billion stars.          Atop a building, a wrought-iron sign -- a HAMMER-WIELDING          BLACKSMITH -- spins listlessly in thewind as a swirling          breeze kicks up. A hint of what's to come.<b>          1 EXT. PUENTE ANTIGUO, NEW MEXICO - NIGHT 1</b>          A main street extends before us in this one-horse town, set          amidendless flat, arid scrubland. A large SUV slowly moves          down the street and heads out of town.<b>          2 EXT. SUV - NIGHT 2</b>          The SUV sits parked in the desert. Suddenly, the roof panels          ofthe SUV FOLD OPEN. The underside of the panels house a          variety of hand-built ASTRONOMICAL DEVICES, which now point          at the sky.          JANE FOSTER (late 20's) pops her head through the roof.She          positions a MAGNETOMETER, so its monitor calibrates with the          constellations above. It appears to be cobbled together from          spare parts of otherdevices.<b>                         JANE</b>          Hurry!          We hear a loud BANG followed by muffled CURSING from below.          Jane offers a hand down to ERIK SELVIG (60) who emerges as          well, rubbing hishead.<b>          JANE (CONT'D)</b>          Oh-- watch your head.<b>                         SELVIG</b>          Thanks. So what's this \"anomaly\"\u0000          of yours supposed to looklike?<b>                         JANE</b>          It's a little different each time.          Once it looked like, I don't know,          melted stars, pooling in a corner          of the sky. But last week it was a          rolling rainbowribbon--<b>                         SELVIG</b><b>                         (GENTLY TEASING)</b>          \"Racing \"\u0000round Orion?\"\u0000 I've always          said you should have been a poet.          Jane reigns in her excitement. Shetries for dignity.                                                                                                              4th BLUE REVISIONS 03-26-10 1A.<b>                         JANE</b>          Hey, Darcy. Pass up the bubbly and          mygloves, will you?          Intern DARCY LEWIS (20) hands Jane a bottle of Champagne and          a pair of gloves through the window. Jane passes it to          Selvig to hold while she pulls on the old gloves -- toolarge          and masculine for her small hands. He starts to unwrap the          foil, and she stops his hand with an excited grin.<b>          JANE (CONT'D)</b>          Not until you seeit!<b>                         SELVIG</b>          (re: the gloves)          I recognize those. Think how proud          he'd be to see you now.          Jane's grin fades to a sad smile.<b>                         JANE</b>          Thankyou.<b>                         SELVIG</b>          For what?<b>                         JANE</b>          The benefit of the doubt.          The two stare out at the sky expectantly. A long beat while          they scan the skies.Nothing. Jane's worried.                                                                                                              4th BLUE REVISIONS 03-26-10 2.<b>          JANE (CONT'D)</b>          It's never taken this longbefore.          Darcy calls up from the front seat.<b>          DARCY (O.S.)</b>          Can I turn on the radio?<b>                         JANE</b>          (an edge to her voice)          Sure, if you like rocking outto          KFRM, \"All agriculture, all the          time.\"\u0000          Worried, Jane heads back down into the vehicle.<b>          3 INT. SUV - NIGHT 3</b>          The SUV is bathed in the glow of high-techmonitoring          equipment and laptops, some looking like they're held          together with duct tape. Jane opens a well-worn NOTEBOOK of          handwritten notes and calculations. Selvig watchesthe          frustrated Jane with sympathy.<b>                         JANE</b>          The anomalies are always          precipitated by geomagnetic storms.          She shows him a complicated CHART she's drawn in thebook,          tracking occurrences and patterns.<b>          JANE (CONT'D)</b>          The last seventeen occurrences have          been predictable to the minute... I          just don't understand.          Somethingcatches Darcy's eye out the driver's side mirror.          She adjusts it. In the distance, ODD GLOWING CLOUDS form in          the skies over the Northeastern end of thedesert.<b>                         DARCY</b>          Jane?          Jane SHUSHES her, leafs through her notes. The bottle of          champagne begins to vibrate.<b>                         JANE</b>          There's got to be somenew          variable... Or an equipment          malfunction...          The lights and equipment in the SUV begin to FLICKER around          them. The computer monitors SQUELCH withstatic.                                                                                                              4th BLUE REVISIONS 03-26-10 2A.<b>                         DARCY</b>          I don't think there's anything          wrong with yourequipment...          The champagne bottle starts to RATTLE noisily now as it          shakes more violently. Jane and Selvig notice.                                                                                                              4th BLUEREVISIONS 03-26-10 3.          They watch it curiously, pressure building up inside it, when          the cork EXPLODES out of it. Champagne goes spewing          everywhere -- over equipment, overJane.<b>          DARCY (CONT'D)</b>          Jane?<b>                         JANE</b>          What?!<b>                         DARCY</b>          I think you want to see this.          Darcy points out the window. Jane andSelvig look out. Over          the desert --<b>          MASSIVE CLOUDS OF RAINBOW LIGHT</b>          Churn in the sky. The three stare, dumbfounded.<b>                         JANE</b>          Holy.Shatner.<b>                         SELVIG</b>          That's your \"subtle\"\u0000 aurora?!<b>                         JANE</b>          No-- yes! Let's go!<b>          4 EXT. DESERT - MOMENTS LATER 4</b>          The roof panels stillopen, the SUV races towards the strange          event, Jane, amazed by the sight, stands with half her body          out the roof, taking video of the light storm before them.          The SUV hits a bump. Jane nearly fliesout. Selvig grabs          her, yanks her back in.<b>          5 INT. SUV 5</b>          Jane grins, thrilled, pumped with adrenaline.<b>                         JANE</b>          Isn't this great?!          A thought strikesher.<b>          JANE (CONT'D)</b>          You're seeing it too, right? I'm          not crazy?<b>                         SELVIG</b>          That's debateable. Put your seat          belton!                                                                                                              4th BLUE REVISIONS 03-26-10 3A.          The SUV lurches.<b>          6 EXT. DESERT 6</b>          Winds HOWL around the SUV now. Upahead, spiraling down from          out of the clouds comes --<b>          AN ENORMOUS TORNADO</b>          Suffuse with the strange rainbow light, ROARING like a          thousand freight trains as it touchesdown.                                                                                                               4th BLUE REVISIONS 03-26-10 4.<b>          7 INT. SUV 7</b>          Selvig looks up through the still-open sunroof atthe          enormous glowing funnel cloud with wonder. Jane clambers          into the front seat, beside Darcy. She leans way out the          window, TAPING the storm.<b>                         JANE</b>          You've gottaget us closer so I can          take a magnetic reading.          Darcy laughs.<b>                         DARCY</b>          Yeah, right! Good one!          (then, realizing)          Oh God, you'reserious...<b>                         JANE</b>          You want those college credits or          not?<b>          8 EXT. SUV 8</b>          The SUV tears across a field towards the tornado, Jane          leaning out the window,taping the event. The SUV disturbs          two RAVENS perched on a cactus as they race past. The birds          take flight, when -- KRAKABOOM! A huge BOLT OF LIGHTNING          strikes down through the center of thefunnel cloud before          them with a terrifying intensity.<b>          9 INT. SUV 9</b>          The SUV rocks from the blast. Darcy's had enough. She turns          the wheel, starts to headaway.<b>                         DARCY</b>          Keep the credits. I'll intern at          Burger King.<b>                         JANE</b>          What are you doing?!<b>                         DARCY</b>          Saving ourlives!          Jane grabs the wheel, jerks it hard the other way. They          struggle for control, when the headlights fall on --<b>                         AMAN</b>                                                                                                              4th BLUE REVISIONS 03-26-10 5.          Directly in their path, stumbling through the winds. Darcy          slams on the brakes, Janeturns the wheel hard to avoid him.          The SUV swerves -- but too late.<b>          10 EXT. BIFROST LANDING SITE (EARTH) 10</b>          The side of the SUV slams into the man with a THUD, sending          himflying. The car SKIDS to a stop.<b>          11 INT. SUV 11</b>          Jane, Darcy, and Selvig trade shocked looks, breathing hard.          They peer through the dust clouds, unable to see through.          A paralyzedmoment, then they all leap out of the car.<b>          12 EXT. BIFROST LANDING SITE (EARTH) 12</b>          The three race from the SUV with flashlights. Jane spots the          man lying on the ground. He's dressed intattered clothing,          charred and blackened.<b>                         DARCY</b>          I think that was legally your          fault.<b>                         JANE</b>          Get the first aid kit.          Darcy heads back insidethe SUV as Jane, concerned, kneels          next to the man. Selvig hovers, protectively.          She gently turns his head to the light, and we see him          clearly for the first time. He is magnificentlyhandsome,          long blonde hair flowing around his classically sculpted          features. She cups her hands around his face, as if willing          the life back into him.<b>          JANE (CONT'D)</b>          Come on, bigguy. Do me a favor          and don't be dead, okay? Open your          eyes and look at me.          Suddenly, he GROANS, and she's startled, then relieved, as          his eyes flutter open. She looks deep into hisconfused,          azure eyes, which at last focus on her own. Locking onto          them.          For a moment, they each forget to breathe.          The connection is broken as Darcy returns with the kit. She          freezeswhen she sees how gorgeous the man is.                                                                                                              4th BLUE REVISIONS 03-26-10 5A.<b>                         DARCY</b>          Wow. Does he needCPR? Because I          know CPR.          A flustered Jane smooths her hair and sits back on her heels.          She looks up at Selvig. Back to being a scientist.<b>                         JANE</b><b>                         HISEYES--</b><b>                         DARCY</b><b>                         (DREAMILY)</b>          --are beautiful.<b>                         JANE</b>          --are dilating. That's a"}
+{"doc_id":"doc_228","qid":"","text":"Project Gutenberg's Wieland; or The Transformation, by Charles Brockden BrownThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it awayorre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: Wieland; or The Transformation       An American TaleAuthor: Charles Brockden BrownPostingDate: August 7, 2008 [EBook #792]Release Date: January, 1997Language: English*** START OF THIS PROJECT GUTENBERG EBOOK WIELAND; OR THE TRANSFORMATION ***WIELAND; OR THE TRANSFORMATIONAnAmerican Taleby Charles Brockden Brown          From Virtue's blissful paths away          The double-tongued are sure to stray;          Good is a forth-right journey still,          And mazy paths but lead toill.Advertisement.The following Work is delivered to the world as the first of a seriesof performances, which the favorable reception of this will induce theWriter to publish. His purpose is neither selfish nor temporary,butaims at the illustration of some important branches of the moralconstitution of man. Whether this tale will be classed with the ordinaryor frivolous sources of amusement, or be ranked with the few productionswhoseusefulness secures to them a lasting reputation, the reader mustbe permitted to decide.The incidents related are extraordinary and rare. Some of them, perhaps,approach as nearly to the nature of miracles as can bedone by thatwhich is not truly miraculous. It is hoped that intelligent readers willnot disapprove of the manner in which appearances are solved, but thatthe solution will be found to correspond with the known principlesofhuman nature. The power which the principal person is said to possesscan scarcely be denied to be real. It must be acknowledged to beextremely rare; but no fact, equally uncommon, is supported by thesamestrength of historical evidence.Some readers may think the conduct of the younger Wieland impossible. Insupport of its possibility the Writer must appeal to Physicians and tomen conversant with the latent springsand occasional perversions ofthe human mind. It will not be objected that the instances of similardelusion are rare, because it is the business of moral painters toexhibit their subject in its most instructive andmemorable forms. Ifhistory furnishes one parallel fact, it is a sufficient vindication ofthe Writer; but most readers will probably recollect an authentic case,remarkably similar to that of Wieland.It will be necessary toadd, that this narrative is addressed, in anepistolary form, by the Lady whose story it contains, to a smallnumber of friends, whose curiosity, with regard to it, had been greatlyawakened. It may likewise be mentioned,that these events tookplace between the conclusion of the French and the beginning of therevolutionary war. The memoirs of Carwin, alluded to at the conclusionof the work, will be published or suppressed according tothe receptionwhich is given to the present attempt.C. B. B. September 3, 1798.Chapter II feel little reluctance in complying with your request. You know notfully the cause of my sorrows. You are a stranger to the depthof mydistresses. Hence your efforts at consolation must necessarily fail. Yetthe tale that I am going to tell is not intended as a claim upon yoursympathy. In the midst of my despair, I do not disdain to contributewhatlittle I can to the benefit of mankind. I acknowledge your right tobe informed of the events that have lately happened in my family. Makewhat use of the tale you shall think proper. If it be communicatedto the world, itwill inculcate the duty of avoiding deceit. It willexemplify the force of early impressions, and show the immeasurableevils that flow from an erroneous or imperfect discipline.My state is not destitute of tranquillity. Thesentiment that dictatesmy feelings is not hope. Futurity has no power over my thoughts. To allthat is to come I am perfectly indifferent. With regard to myself, Ihave nothing more to fear. Fate has done its worst.Henceforth, I amcallous to misfortune.I address no supplication to the Deity. The power that governs thecourse of human affairs has chosen his path. The decree that ascertainedthe condition of my life, admits of norecal. No doubt it squares withthe maxims of eternal equity. That is neither to be questioned nordenied by me. It suffices that the past is exempt from mutation. Thestorm that tore up our happiness, and changed intodreariness and desertthe blooming scene of our existence, is lulled into grim repose; butnot until the victim was transfixed and mangled; till every obstacle wasdissipated by its rage; till every remnant of good waswrested from ourgrasp and exterminated.How will your wonder, and that of your companions, be excited by mystory! Every sentiment will yield to your amazement. If my testimonywere without corroborations, youwould reject it as incredible. Theexperience of no human being can furnish a parallel: That I, beyond therest of mankind, should be reserved for a destiny without alleviation,and without example! Listen to my narrative,and then say what it isthat has made me deserve to be placed on this dreadful eminence, if,indeed, every faculty be not suspended in wonder that I am still alive,and am able to relate it. My father's ancestry was nobleon the paternalside; but his mother was the daughter of a merchant. My grand-father wasa younger brother, and a native of Saxony. He was placed, when he hadreached the suitable age, at a German college. Duringthe vacations,he employed himself in traversing the neighbouring territory. On oneoccasion it was his fortune to visit Hamburg. He formed an acquaintancewith Leonard Weise, a merchant of that city, and was afrequent guestat his house. The merchant had an only daughter, for whom his guestspeedily contracted an affection; and, in spite of parental menaces andprohibitions, he, in due season, became her husband.By thisact he mortally offended his relations. Thenceforward he wasentirely disowned and rejected by them. They refused to contribute anything to his support. All intercourse ceased, and he received from themmerely thattreatment to which an absolute stranger, or detested enemy,would be entitled.He found an asylum in the house of his new father, whose temper waskind, and whose pride was flattered by this alliance. The nobility ofhisbirth was put in the balance against his poverty. Weise conceivedhimself, on the whole, to have acted with the highest discretion, inthus disposing of his child. My grand-father found it incumbent on himto search outsome mode of independent subsistence. His youth hadbeen eagerly devoted to literature and music. These had hitherto beencultivated merely as sources of amusement. They were now converted intothe means of gain.At this period there were few works of taste inthe Saxon dialect. My ancestor may be considered as the founder of theGerman Theatre. The modern poet of the same name is sprung from the samefamily, and, perhaps,surpasses but little, in the fruitfulness of hisinvention, or the soundness of his taste, the elder Wieland. His lifewas spent in the composition of sonatas and dramatic pieces. They werenot unpopular, but merely affordedhim a scanty subsistence. He diedin the bloom of his life, and was quickly followed to the grave by hiswife. Their only child was taken under the protection of the merchant.At an early age he was apprenticed to aLondon trader, and passed sevenyears of mercantile servitude.My father was not fortunate in the character of him under whose carehe was now placed. He was treated with rigor, and full employment wasprovided forevery hour of his time. His duties were laborious andmechanical. He had been educated with a view to this profession, and,therefore, was not tormented with unsatisfied desires. He did not holdhis present occupationsin abhorrence, because they withheld him frompaths more flowery and more smooth, but he found in unintermittedlabour, and in the sternness of his master, sufficient occasions fordiscontent. No opportunities ofrecreation were allowed him. He spentall his time pent up in a gloomy apartment, or traversing narrow andcrowded streets. His food was coarse, and his lodging humble. His heartgradually contracted a habit of moroseand gloomy reflection. He couldnot accurately define what was wanting to his happiness. He was nottortured by comparisons drawn between his own situation and thatof others. His state was such as suited his age andhis views as tofortune. He did not imagine himself treated with extraordinary orunjustifiable rigor. In this respect he supposed the condition ofothers, bound like himself to mercantile service, to resemble his own;yetevery engagement was irksome, and every hour tedious in its lapse.In this state of mind he chanced to light upon a book written by one ofthe teachers of the Albigenses, or French Protestants. He entertained norelishfor books, and was wholly unconscious of any power they possessedto delight or instruct. This volume had lain for years in a corner ofhis garret, half buried in dust and rubbish. He had marked it as it lay;had thrown it,as his occasions required, from one spot to another; buthad felt no inclination to examine its contents, or even to inquire whatwas the subject of which it treated.One Sunday afternoon, being induced to retire for a fewminutes to hisgarret, his eye was attracted by a page of this book, which, by someaccident, had been opened and placed full in his view. He was seated onthe edge of his bed, and was employed in repairing a rent insome partof his clothes. His eyes were not confined to his work, but occasionallywandering, lighted at length upon the page. The words \"Seek and yeshall find,\" were those that first offered themselves to his notice.Hiscuriosity was roused by these so far as to prompt him to proceed.As soon as he finished his work, he took up the book and turned tothe first page. The further he read, the more inducement he found tocontinue, and heregretted the decline of the light which obliged himfor the present to close it.The book contained an exposition of the doctrine of the sect ofCamissards, and an historical account of its origin. His mind was in astatepeculiarly fitted for the reception of devotional sentiments. Thecraving which had haunted him was now supplied with an object. His mindwas at no loss for a theme of meditation. On days of business, he roseat thedawn, and retired to his chamber not till late at night. He nowsupplied himself with candles, and employed his nocturnal and Sundayhours in studying this book. It, of course, abounded with allusions tothe Bible. All itsconclusions were deduced from the sacred text. Thiswas the fountain, beyond which it was unnecessary to trace the stream ofreligious truth; but it was his duty to trace it thus far.A Bible was easily procured, and heardently entered on the study of it.His understanding had received a particular direction. All his reverieswere fashioned in the same mould. His progress towards the formation ofhis creed was rapid. Every fact andsentiment in this book were viewedthrough a medium which the writings of the Camissard apostle hadsuggested. His constructions of the text were hasty, and formed on anarrow scale. Every thing was viewed in adisconnected position. Oneaction and one precept were not employed to illustrate and restrictthe meaning of another. Hence arose a thousand scruples to which he hadhitherto been a stranger. He was alternatelyagitated by fear and byecstacy. He imagined himself beset by the snares of a spiritual foe, andthat his security lay in ceaseless watchfulness and prayer.His morals, which had never been loose, were now modelled by astricterstandard. The empire of religious duty extended itself to his looks,gestures, and phrases. All levities of speech, and negligences ofbehaviour, were proscribed. His air was mournful and contemplative.He labouredto keep alive a sentiment of fear, and a belief ofthe awe-creating presence of the Deity. Ideas foreign to this weresedulously excluded. To suffer their intrusion was a crime against theDivine Majesty inexpiable but bydays and weeks of the keenest agonies.No material variation had occurred in the lapse of two years. Every dayconfirmed him in his present modes of thinking and acting. It was tobe expected that the tide of hisemotions would sometimes recede, thatintervals of despondency and doubt would occur; but these gradually weremore rare, and of shorter duration; and he, at last, arrived at a stateconsiderably uniform in thisrespect.His apprenticeship was now almost expired. On his arrival of age hebecame entitled, by the will of my grand-father, to a small sum. Thissum would hardly suffice to set him afloat as a trader in hispresentsituation, and he had nothing to expect from the generosity of hismaster. Residence in England had, besides, become almost impossible,on account of his religious tenets. In addition to these motives forseekinga new habitation, there was another of the most imperious andirresistable necessity. He had imbibed an opinion that it was his dutyto disseminate the truths of the gospel among the unbelieving nations.He was terrifiedat first by the perils and hardships to which the lifeof a missionary is exposed. This cowardice made him diligent in theinvention of objections and excuses; but he found it impossible whollyto shake off the belief thatsuch was the injunction of his duty.The belief, after every new conflict with his passions, acquired newstrength; and, at length, he formed a resolution of complying with whathe deemed the will of heaven.TheNorth-American Indians naturally presented themselves as the firstobjects for this species of benevolence. As soon as his servitudeexpired, he converted his little fortune into money, and embarked forPhiladelphia. Herehis fears were revived, and a nearer survey of savagemanners once more shook his resolution. For a while he relinquished hispurpose, and purchasing a farm on Schuylkill, within a few miles of thecity, set himself downto the cultivation of it. The cheapness of land,and the service of African slaves, which were then in general use,gave him who was poor in Europe all the advantages of wealth. He passedfourteen years in a thrifty andlaborious manner. In this time newobjects, new employments, and new associates appeared to have nearlyobliterated the devout impressions of his youth. He now becameacquainted with a woman of a meek and quietdisposition, and of slenderacquirements like himself. He proffered his hand and was accepted.His previous industry had now enabled him to dispense with personallabour, and direct attention to his own concerns. Heenjoyed leisure,and was visited afresh by devotional contemplation. The reading of thescriptures, and other religious books, became once more his favoriteemployment. His ancient belief relative to the conversion of thesavagetribes, was revived with uncommon energy. To the former obstacles werenow added the pleadings of parental and conjugal love. The strugglewas long and vehement; but his sense of duty would not be stifledorenfeebled, and finally triumphed over every impediment.His efforts were attended with no permanent success. His exhortationshad sometimes a temporary power, but more frequently were repelled withinsult andderision. In pursuit of this object he encountered the mostimminent perils, and underwent incredible fatigues, hunger, sickness,and solitude. The licence of savage passion, and the artifices of hisdepraved countrymen,all opposed themselves to his progress. His couragedid not forsake him till there appeared no reasonable ground to hope forsuccess. He desisted not till his heart was relieved from the supposedobligation to persevere.With his constitution somewhat decayed, he atlength returned to his family. An interval of tranquillity succeeded. Hewas frugal, regular, and strict in the performance of domestic duties.He allied himself with no sect,because he perfectly agreed with none.Social worship is that by which they are all distinguished; but thisarticle found no place in his creed. He rigidly interpreted that preceptwhich enjoins us, when we worship, to retireinto solitude, and shutout every species of society. According to him devotion was not only asilent office, but must be performed alone. An hour at noon, and an hourat midnight were thus appropriated.At the distance ofthree hundred yards from his house, on the top of arock whose sides were steep, rugged, and encumbered with dwarf cedarsand stony asperities, he built what to a common eye would have seemed asummer-house.The eastern verge of this precipice was sixty feet abovethe river which flowed at its foot. The view before it consisted of atransparent current, fluctuating and rippling in a rocky channel, andbounded by a rising scene ofcornfields and orchards. The edifice wasslight and airy. It was no more than a circular area, twelve feet indiameter, whose flooring was the rock, cleared of moss and shrubs, andexactly levelled, edged by twelve Tuscancolumns, and covered by anundulating dome. My father furnished the dimensions and outlines, butallowed the artist whom he employed to complete the structure on his ownplan. It was without seat, table, or ornamentof any kind.This was the temple of his Deity. Twice in twenty-four hours he repairedhither, unaccompanied by any human being. Nothing but physical inabilityto move was allowed to obstruct or postpone this visit. Hedid not exactfrom his family compliance with his example. Few men, equally sincerein their faith, were as sparing in their censures and restrictions,with respect to the conduct of others, as my father. The character ofmymother was no less devout; but her education had habituated her toa different mode of worship. The loneliness of their dwelling preventedher from joining any established congregation; but she was punctual intheoffices of prayer, and in the performance of hymns to her Saviour,after the manner of the disciples of Zinzendorf. My father refusedto interfere in her arrangements. His own system was embraced not,accuratelyspeaking, because it was the best, but because it had beenexpressly prescribed to him. Other modes, if practised by other persons,might be equally acceptable.His deportment to others was full of charity and mildness.A sadnessperpetually overspread his features, but was unmingled with sternness ordiscontent. The tones of his voice, his gestures, his steps were all intranquil unison. His conduct was characterised by a certainforbearanceand humility, which secured the esteem of those to whom his tenets weremost obnoxious. They might call him a fanatic and a dreamer, but theycould not deny their veneration to his invincible candour andinvariableintegrity. His own belief of rectitude was the foundation of hishappiness. This, however, was destined to find an end.Suddenly the sadness that constantly attended him was deepened. Sighs,and even tears,sometimes escaped him. To the expostulations of his wifehe seldom answered any thing. When he designed to be communicative, hehinted that his peace of mind was flown, in consequence of deviationfrom his duty. Acommand had been laid upon him, which he had delayed toperform. He felt as if a certain period of hesitation and reluctancehad been allowed him, but that this period was passed. He was nolonger permitted to obey.The duty assigned to him was transferred, inconsequence of his disobedience, to another, and all that remained wasto endure the penalty.He did not describe this penalty. It appeared to be nothing more forsome timethan a sense of wrong. This was sufficiently acute, and wasaggravated by the belief that his offence was incapable of expiation. Noone could contemplate the agonies which he seemed to suffer without thedeepestcompassion. Time, instead of lightening the burthen, appeared toadd to it. At length he hinted to his wife, that his end was near. Hisimagination did not prefigure the mode or the time of his decease, butwas fraughtwith an incurable persuasion that his death was at hand. Hewas likewise haunted by the belief that the kind of death that awaitedhim was strange and terrible. His anticipations were thus far vague andindefinite; butthey sufficed to poison every moment of his being, anddevote him to ceaseless anguish.Chapter IIEarly in the morning of a sultry day in August, he left Mettingen, to goto the city. He had seldom passed a day fromhome since his return fromthe shores of the Ohio. Some urgent engagements at this time existed,which would not admit of further delay. He returned in the evening, butappeared to be greatly oppressed with fatigue.His silence and dejectionwere likewise in a more than ordinary degree conspicuous. My mother'sbrother, whose profession was that of a surgeon, chanced to spend thisnight at our house. It was from him that I havefrequently received anexact account of the mournful catastrophe that followed.As the evening advanced, my father's inquietudes increased. He sat withhis family as usual, but took no part in their conversation. He"}
+{"doc_id":"doc_229","qid":"","text":"Project Gutenberg's The History of the Peloponnesian War, by ThucydidesThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: The History of the Peloponnesian WarAuthor: ThucydidesTranslator: Richard CrawleyRelease Date:December, 2004 [EBook #7142]Posting Date: May 1, 2009Language: English*** START OF THIS PROJECT GUTENBERG EBOOK PELOPONNESIAN WAR ***Produced by Albert ImrieTHE HISTORY OF THEPELOPONNESIAN WARBy Thucydides 431 BCTranslated by Richard Crawley     With Permission           to     CONNOP THIRLWALL     Historian of Greece     This Translation of the Work of His     Great Predecessor     isRespectfully Inscribed     by --The Translator--CONTENTS     BOOK I     CHAPTER I     The state of Greece from the earliest Times to the     Commencement of the Peloponnesian War     CHAPTER II     Causes of theWar--The Affair of Epidamnus--     The Affair of Potidaea     CHAPTER III     Congress of the Peloponnesian Confederacy at     Lacedaemon     CHAPTER IV     From the End of the Persian to the Beginning of     thePeloponnesian War--The Progress from     Supremacy to Empire     CHAPTER V     Second Congress at Lacedaemon--Preparations for     War and Diplomatic Skirmishes--Cylon--     Pausanias--Themistocles     BOOKII     CHAPTER VI     Beginning of the Peloponnesian War--First     Invasion of Attica--Funeral Oration of Pericles     CHAPTER VII     Second Year of the War--The Plague of Athens--     Position and Policy of Pericles--Fallof Potidaea     CHAPTER VIII     Third Year of the War--Investment of Plataea--     Naval Victories of Phormio--Thracian Irruption     into Macedonia under Sitalces     BOOK III     CHAPTER IX     Fourth and Fifth Years ofthe War--Revolt of     Mitylene     CHAPTER X     Fifth Year of the War--Trial and Execution of the     Plataeans--Corcyraean Revolution     CHAPTER XI     Sixth Year of the War--Campaigns of Demosthenes     in WesternGreece--Ruin of Ambracia     BOOK IV     CHAPTER XII     Seventh Year of the War--Occupation of pylos--     Surrender of the Spartan Army in Sphacteria     CHAPTER XIII     Seventh and Eighth Years of the War--Endof     Corcyraean Revolution--Peace of Gela--     Capture of Nisaea     CHAPTER XIV     Eighth and Ninth Years of the War--Invasion of     Boeotia--Fall of Amphipolis--Brilliant Successes     of Brasidas     BOOKV     CHAPTER XV     Tenth Year of the War--Death of Cleon and     Brasidas--Peace of Nicias     CHAPTER XVI     Feeling against Sparta in Peloponnese--League     of the Mantineans, Eleans, Argives,and     Athenians--Battle of Mantinea and breaking up of     the League     CHAPTER XVII     Sixteenth Year of the War--The Melian     Conference--Fate of Melos     BOOK VI     CHAPTER XVIII     Seventeenth Year of theWar--The Sicilian     Campaign--Affair of the Hermae--Departure of the     Expedition     CHAPTER XIX     Seventeenth Year of the War--Parties at Syracuse--     Story of Harmodius and Aristogiton--     Disgrace ofAlcibiades     CHAPTER XX     Seventeenth and Eighteenth Years of the War--     Inaction of the Athenian Army--Alcibiades at     Sparta--Investment of Syracuse     BOOK VII     CHAPTER XXI     Eighteenth andNineteenth Years of the War--     Arrival of Gylippus at Syracuse--Fortification     of Decelea--Successes of the Syracusans     CHAPTER XXII     Nineteenth Year of the War--Arrival of     Demosthenes--Defeat of theAthenians at Epipolae--     Folly and Obstinacy of Nicias     CHAPTER XXIII     Nineteenth Year of the War--Battles in the Great     Harbour--Retreat and Annihilation of the     Athenian Army     BOOK VIII     CHAPTERXXIV     Nineteenth and Twentieth Years of the War--     Revolt of Ionia--Intervention of Persia--The     War in Ionia     CHAPTER XXV     Twentieth and Twenty-first Years of the War--     Intrigues ofAlcibiades--Withdrawal of the     Persian Subsidies--Oligarchical Coup d'Etat     at Athens--Patriotism of the Army at Samos     CHAPTER XXVI     Twenty first Year of the War--Recall of     Alcibiades to Samos--Revolt ofEuboea and     Downfall of the Four Hundred--Battle of CynossemaBOOK ICHAPTER I_The State of Greece from the earliest Times to the Commencement of thePeloponnesian War_Thucydides, an Athenian, wrote thehistory of the war between thePeloponnesians and the Athenians, beginning at the moment that it brokeout, and believing that it would be a great war and more worthy ofrelation than any that had preceded it. Thisbelief was not withoutits grounds. The preparations of both the combatants were in everydepartment in the last state of perfection; and he could see the rest ofthe Hellenic race taking sides in the quarrel; those whodelayed doingso at once having it in contemplation. Indeed this was the greatestmovement yet known in history, not only of the Hellenes, but of a largepart of the barbarian world--I had almost said of mankind. Forthoughthe events of remote antiquity, and even those that more immediatelypreceded the war, could not from lapse of time be clearly ascertained,yet the evidences which an inquiry carried as far back aswaspracticable leads me to trust, all point to the conclusion that therewas nothing on a great scale, either in war or in other matters.For instance, it is evident that the country now called Hellas had inancient times nosettled population; on the contrary, migrations were offrequent occurrence, the several tribes readily abandoning their homesunder the pressure of superior numbers. Without commerce, withoutfreedom ofcommunication either by land or sea, cultivating no moreof their territory than the exigencies of life required, destitute ofcapital, never planting their land (for they could not tell when aninvader might not come and takeit all away, and when he did comethey had no walls to stop him), thinking that the necessities of dailysustenance could be supplied at one place as well as another, they caredlittle for shifting their habitation, andconsequently neither builtlarge cities nor attained to any other form of greatness. The richestsoils were always most subject to this change of masters; such as thedistrict now called Thessaly, Boeotia, most of thePeloponnese, Arcadiaexcepted, and the most fertile parts of the rest of Hellas. The goodnessof the land favoured the aggrandizement of particular individuals, andthus created faction which proved a fertile source ofruin. It alsoinvited invasion. Accordingly Attica, from the poverty of its soilenjoying from a very remote period freedom from faction, never changedits inhabitants. And here is no inconsiderable exemplification ofmyassertion that the migrations were the cause of there being nocorrespondent growth in other parts. The most powerful victims of war orfaction from the rest of Hellas took refuge with the Athenians as asafe retreat; andat an early period, becoming naturalized, swelled thealready large population of the city to such a height that Attica becameat last too small to hold them, and they had to send out colonies toIonia.There is also anothercircumstance that contributes not a little to myconviction of the weakness of ancient times. Before the Trojan warthere is no indication of any common action in Hellas, nor indeed of theuniversal prevalence of the name;on the contrary, before the time ofHellen, son of Deucalion, no such appellation existed, but the countrywent by the names of the different tribes, in particular of thePelasgian. It was not till Hellen and his sons grewstrong in Phthiotis,and were invited as allies into the other cities, that one by one theygradually acquired from the connection the name of Hellenes; though along time elapsed before that name could fasten itself uponall. Thebest proof of this is furnished by Homer. Born long after the TrojanWar, he nowhere calls all of them by that name, nor indeed any of themexcept the followers of Achilles from Phthiotis, who were theoriginalHellenes: in his poems they are called Danaans, Argives, and Achaeans.He does not even use the term barbarian, probably because theHellenes had not yet been marked off from the rest of the world byonedistinctive appellation. It appears therefore that the several Helleniccommunities, comprising not only those who first acquired the name,city by city, as they came to understand each other, but also thosewhoassumed it afterwards as the name of the whole people, were before theTrojan war prevented by their want of strength and the absence of mutualintercourse from displaying any collective action.Indeed, they couldnot unite for this expedition till they had gainedincreased familiarity with the sea. And the first person known to us bytradition as having established a navy is Minos. He made himself masterof what is now called theHellenic sea, and ruled over the Cyclades,into most of which he sent the first colonies, expelling the Cariansand appointing his own sons governors; and thus did his best to put downpiracy in those waters, a necessarystep to secure the revenues for hisown use.For in early times the Hellenes and the barbarians of the coast andislands, as communication by sea became more common, were tempted toturn pirates, under the conduct oftheir most powerful men; the motivesbeing to serve their own cupidity and to support the needy. Theywould fall upon a town unprotected by walls, and consisting of a merecollection of villages, and would plunder it;indeed, this came to bethe main source of their livelihood, no disgrace being yet attached tosuch an achievement, but even some glory. An illustration of thisis furnished by the honour with which some of the inhabitantsof thecontinent still regard a successful marauder, and by the question wefind the old poets everywhere representing the people as asking ofvoyagers--\"Are they pirates?\"--as if those who are asked the questionwouldhave no idea of disclaiming the imputation, or their interrogatorsof reproaching them for it. The same rapine prevailed also by land.And even at the present day many of Hellas still follow the old fashion,the OzolianLocrians for instance, the Aetolians, the Acarnanians, andthat region of the continent; and the custom of carrying arms is stillkept up among these continentals, from the old piratical habits.The whole of Hellas used onceto carry arms, their habitations beingunprotected and their communication with each other unsafe; indeed,to wear arms was as much a part of everyday life with them as with thebarbarians. And the fact that the peoplein these parts of Hellas arestill living in the old way points to a time when the same mode of lifewas once equally common to all. The Athenians were the first to layaside their weapons, and to adopt an easier and moreluxurious mode oflife; indeed, it is only lately that their rich old men left off theluxury of wearing undergarments of linen, and fastening a knot of theirhair with a tie of golden grasshoppers, a fashion which spreadtotheir Ionian kindred and long prevailed among the old men there. On thecontrary, a modest style of dressing, more in conformity with modernideas, was first adopted by the Lacedaemonians, the rich doing theirbestto assimilate their way of life to that of the common people.They also set the example of contending naked, publicly stripping andanointing themselves with oil in their gymnastic exercises. Formerly,even in the Olympiccontests, the athletes who contended wore beltsacross their middles; and it is but a few years since that the practiceceased. To this day among some of the barbarians, especially in Asia,when prizes for boxing andwrestling are offered, belts are worn by thecombatants. And there are many other points in which a likeness might beshown between the life of the Hellenic world of old and the barbarian ofto-day.With respect to theirtowns, later on, at an era of increased facilitiesof navigation and a greater supply of capital, we find the shoresbecoming the site of walled towns, and the isthmuses being occupied forthe purposes of commerce anddefence against a neighbour. But the oldtowns, on account of the great prevalence of piracy, were built awayfrom the sea, whether on the islands or the continent, and still remainin their old sites. For the pirates usedto plunder one another, andindeed all coast populations, whether seafaring or not.The islanders, too, were great pirates. These islanders were Carians andPhoenicians, by whom most of the islands were colonized, aswas provedby the following fact. During the purification of Delos by Athens inthis war all the graves in the island were taken up, and it was foundthat above half their inmates were Carians: they were identified bythefashion of the arms buried with them, and by the method of interment,which was the same as the Carians still follow. But as soon as Minoshad formed his navy, communication by sea became easier, as hecolonizedmost of the islands, and thus expelled the malefactors. The coastpopulation now began to apply themselves more closely to the acquisitionof wealth, and their life became more settled; some even began tobuildthemselves walls on the strength of their newly acquired riches. For thelove of gain would reconcile the weaker to the dominion of the stronger,and the possession of capital enabled the more powerful to reducethesmaller towns to subjection. And it was at a somewhat later stage ofthis development that they went on the expedition against Troy.What enabled Agamemnon to raise the armament was more, in my opinion,hissuperiority in strength, than the oaths of Tyndareus, whichbound the suitors to follow him. Indeed, the account given by thosePeloponnesians who have been the recipients of the most credibletradition is this. First of allPelops, arriving among a needypopulation from Asia with vast wealth, acquired such power that,stranger though he was, the country was called after him; and this powerfortune saw fit materially to increase in thehands of his descendants.Eurystheus had been killed in Attica by the Heraclids. Atreus was hismother's brother; and to the hands of his relation, who had left hisfather on account of the death of Chrysippus, Eurystheus,when he setout on his expedition, had committed Mycenae and the government. As timewent on and Eurystheus did not return, Atreus complied with thewishes of the Mycenaeans, who were influenced by fear oftheHeraclids--besides, his power seemed considerable, and he had notneglected to court the favour of the populace--and assumed the sceptreof Mycenae and the rest of the dominions of Eurystheus. And so thepower ofthe descendants of Pelops came to be greater than that of thedescendants of Perseus. To all this Agamemnon succeeded. He had also anavy far stronger than his contemporaries, so that, in my opinion,fear was quite asstrong an element as love in the formation of theconfederate expedition. The strength of his navy is shown by the factthat his own was the largest contingent, and that of the Arcadians wasfurnished by him; this at leastis what Homer says, if his testimony isdeemed sufficient. Besides, in his account of the transmission of thesceptre, he calls him   Of many an isle, and of all Argos king.Now Agamemnon's was a continental power; andhe could not have beenmaster of any except the adjacent islands (and these would not be many),but through the possession of a fleet.And from this expedition we may infer the character of earlierenterprises. NowMycenae may have been a small place, and many of thetowns of that age may appear comparatively insignificant, but no exactobserver would therefore feel justified in rejecting the estimate givenby the poets and bytradition of the magnitude of the armament. For Isuppose if Lacedaemon were to become desolate, and the temples and thefoundations of the public buildings were left, that as time went onthere would be a strongdisposition with posterity to refuse to accepther fame as a true exponent of her power. And yet they occupy two-fifthsof Peloponnese and lead the whole, not to speak of their numerous allieswithout. Still, as the city isneither built in a compact form noradorned with magnificent temples and public edifices, but composed ofvillages after the old fashion of Hellas, there would be an impressionof inadequacy. Whereas, if Athens were tosuffer the same misfortune,I suppose that any inference from the appearance presented to the eyewould make her power to have been twice as great as it is. We havetherefore no right to be sceptical, nor to contentourselves with aninspection of a town to the exclusion of a consideration of its power;but we may safely conclude that the armament in question surpassedall before it, as it fell short of modern efforts; if we can herealsoaccept the testimony of Homer's poems, in which, without allowing forthe exaggeration which a poet would feel himself licensed to employ, wecan see that it was far from equalling ours. He has represented itasconsisting of twelve hundred vessels; the Boeotian complement of eachship being a hundred and twenty men, that of the ships of Philoctetesfifty. By this, I conceive, he meant to convey the maximum andtheminimum complement: at any rate, he does not specify the amount of anyothers in his catalogue of the ships. That they were all rowers as wellas warriors we see from his account of the ships of Philoctetes, inwhichall the men at the oar are bowmen. Now it is improbable thatmany supernumeraries sailed, if we except the kings and high officers;especially as they had to cross the open sea with munitions of war,in ships, moreover,that had no decks, but were equipped in the oldpiratical fashion. So that if we strike the average of the largestand smallest ships, the number of those who sailed will appearinconsiderable, representing, as they did, thewhole force of Hellas.And this was due not so much to scarcity of men as of money. Difficultyof subsistence made the invaders reduce the numbers of the army to apoint at which it might live on the country during theprosecution ofthe war. Even after the victory they obtained on their arrival--and avictory there must have been, or the fortifications of the naval campcould never have been built--there is no indication of theirwholeforce having been employed; on the contrary, they seem to have turned tocultivation of the Chersonese and to piracy from want of supplies. Thiswas what really enabled the Trojans to keep the field for tenyearsagainst them; the dispersion of the enemy making them always a match forthe detachment left behind. If they had brought plenty of supplies withthem, and had persevered in the war without scattering for piracyandagriculture, they would have easily defeated the Trojans in the field,since they could hold their own against them with the division onservice. In short, if they had stuck to the siege, the capture of Troywould havecost them less time and less trouble. But as want of moneyproved the weakness of earlier expeditions, so from the same causeeven the one in question, more famous than its predecessors, may bepronounced on theevidence of what it effected to have been inferior toits renown and to the current opinion about it formed under the tuitionof the poets.Even after the Trojan War, Hellas was still engaged in removing andsettling, andthus could not attain to the quiet which must precedegrowth. The late return of the Hellenes from Ilium caused manyrevolutions, and factions ensued almost everywhere; and it was thecitizens thus driven into exile whofounded the cities. Sixty yearsafter the capture of Ilium, the modern Boeotians were driven out ofArne by the Thessalians, and settled in the present Boeotia, the formerCadmeis; though there was a division of themthere before, some of whomjoined the expedition to Ilium. Twenty years later, the Dorians and theHeraclids became masters of Peloponnese; so that much had to be doneand many years had to elapse before Hellascould attain to a durabletranquillity undisturbed by removals, and could begin to send outcolonies, as Athens did to Ionia and most of the islands, and thePeloponnesians to most of Italy and Sicily and some places in therestof Hellas. All these places were founded subsequently to the war withTroy.But as the power of Hellas grew, and the acquisition of wealth becamemore an object, the revenues of the states increasing, tyrannieswereby their means established almost everywhere--the old form of governmentbeing hereditary monarchy with definite prerogatives--and Hellas beganto fit out fleets and apply herself more closely to the sea. It issaidthat the Corinthians were the first to approach the modern style ofnaval architecture, and that Corinth was the first place in Hellas wheregalleys were built; and we have Ameinocles, a Corinthian shipwright,makingfour ships for the Samians. Dating from the end of this war, itis nearly three hundred years ago that Ameinocles went to Samos. Again,the earliest sea-fight in history was between the Corinthians andCorcyraeans; this"}
+{"doc_id":"doc_230","qid":"","text":"The Project Gutenberg EBook of Tancred, by Benjamin DisraeliThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it under theterms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: Tancred       Or, The New CrusadeAuthor: Benjamin DisraeliRelease Date: December 3, 2006 [EBook #20004]LastUpdated: September 6, 2016Language: EnglishCharacter set encoding: UTF-8*** START OF THIS PROJECT GUTENBERG EBOOK TANCRED ***Produced by David WidgerTANCREDORTHE NEW CRUSADEBy BenjaminDisraeli[Illustration: cover][Illustration: frontplate][Illustration: tancred-frontis-p72][Illustration: tancred-frontis-label][Illustration: tancred-titlepage][Illustration: page001]CHAPTER I.     _A Matter of Importance_INTHAT part of the celebrated parish of St. George which is bounded onone side by Piccadilly and on the other by Curzon Street, is a districtof a peculiar character. â\u0000\u0000Tis cluster of small streets of little houses,frequentlyintersected by mews, which here are numerous, and sometimesgradually, rather than abruptly, terminating in a ramification of thosemysterious regions. Sometimes a group of courts develops itself, andyou may evenchance to find your way into a small market-place. Those,however, who are accustomed to connect these hidden residences ofthe humble with scenes of misery and characters of violence, need notapprehend in thisdistrict any appeal to their sympathies, or any shockto their tastes. All is extremely genteel; and there is almost as muchrepose as in the golden saloons of the contiguous palaces. At any rate,if there be as much vice,there is as little crime.No sight or sound can be seen or heard at any hour, which could pain themost precise or the most fastidious. Even if a chance oath may float onthe air from the stable-yard to the lodging of aFrench cook, â\u0000\u0000tis ofthe newest fashion, and, if responded to with less of novel charm, therepartee is at least conveyed in the language of the most polite ofnations. They bet upon the Derby in these parts a little, areinterestedin Goodwood, which they frequent, have perhaps, in general, a weaknessfor play, live highly, and indulge those passions which luxury andrefinement encourage; but that is all.A policeman would as soon thinkof reconnoitring these secluded streetsas of walking into a house in Park Lane or Berkeley Square, to which,in fact, this population in a great measure belongs. For here reside thewives of house-stewards and of butlers,in tenements furnished by thehonest savings of their husbands, and let in lodgings to increase theirswelling incomes; here dwells the retired servant, who now devoteshis practised energies to the occasional festival,which, with hisaccumulations in the three per cents., or in one of the public-houses ofthe quarter, secures him at the same time an easy living, and the casualenjoyment of that great world which lingers in his memory.Here may befound his graceâ\u0000\u0000s coachman, and here his lordshipâ\u0000\u0000s groom, who keeps abook and bleeds periodically too speculative footmen, by betting oddson his masterâ\u0000\u0000s horses. But, above all, it is in thisdistrict thatthe cooks have ever sought a favourite and elegant abode. An air ofstillness and serenity, of exhausted passions and suppressed emotion,rather than of sluggishness and of dullness, distinguishes thisquarterduring the day.When you turn from the vitality and brightness of Piccadilly, thepark, the palace, the terraced mansions, the sparkling equipages, thecavaliers cantering up the hill, the swarming multitude, andenterthe region of which we are speaking, the effect is at first almostunearthly. Not a carriage, not a horseman, scarcely a passenger; thereseems some great and sudden collapse in the metropolitan system, as ifa pesthad been announced, or an enemy were expected in alarm by avanquished capital. The approach from Curzon Street has not this effect.Hyde Park has still about it something of Arcadia. There are woods andwaters, andthe occasional illusion of an illimitable distance of sylvanjoyance. The spirit is allured to gentle thoughts as we wander in whatis still really a lane, and, turning down Stanhope Street, behold thathouse which the greatLord Chesterfield tells us, in one of his letters,he was â\u0000\u0000building among the fields.â\u0000\u0000 The cawing of the rooks in hisgardens sustains the tone of mind, and Curzon Street, after a long,straggling, sawney course,ceasing to be a thoroughfare, and losingitself in the gardens of another palace, is quite in keeping with allthe accessories.In the night, however, the quarter of which we are speaking is alive.The manners of thepopulation follow those of their masters. They keeplate hours. The banquet and the ball dismiss them to their homes at atime when the trades of ordinary regions move in their last sleep, anddream of opening shuttersand decking the windows of their shops.At night, the chariot whirls round the frequent corners of these littlestreets, and the opening valves of the mews vomit forth their legionof broughams. At night, too, the footman,taking advantage of a ballat Holdernesse, or a concert at Lansdowne House, and knowing that,in either instance, the link-boy will answer when necessary for hissummoned name, ventures to look in at his club, readsthe paper, talksof his master or his mistress, and perhaps throws a main. The shops ofthis district, depending almost entirely for their custom on the classeswe have indicated, and kept often by their relations, followthe orderof the place, and are most busy when other places of business areclosed.A gusty March morning had subsided into a sunshiny afternoon, nearly twoyears ago, when a young man, slender, above the middleheight, with aphysiognomy thoughtful yet delicate, his brown hair worn long, slightwhiskers, on his chin a tuft, knocked at the door of a house inCarrington Street, May Fair. His mien and his costume denoted acharacterof the class of artists. He wore a pair of green trousers,braided with a black stripe down their sides, puckered towards thewaist, yet fitting with considerable precision to the boot of Frenchleather that enclosed awell-formed foot. His waistcoat was of maroonvelvet, displaying a steel watch-chain of refined manufacture, and ablack satin cravat, with a coral brooch. His bright blue frockcoat wasfrogged and braided like histrousers. As the knocker fell from theprimrose-coloured glove that screened his hand, he uncovered, andpassing his fingers rapidly through his hair, resumed his new silk hat,which he placed rather on one side of hishead.â\u0000\u0000Ah! Mr. Leander, is it you?â\u0000\u0000 exclaimed a pretty girl, who opened thedoor and blushed.â\u0000\u0000And how is the good papa, Eugenie? Is he at home? For I want to see himmuch.â\u0000\u0000â\u0000\u0000I will show you up tohim at once, Mr. Leander, for he will be veryhappy to see you. We have been thinking of hearing of you,â\u0000\u0000 she added,talking as she ushered her guest up the narrow staircase. â\u0000\u0000The good papahas a little cold:â\u0000\u0000tis not much, I hope; caught at Sir Wallingerâ\u0000\u0000s, alarge dinner; they would have the kitchen windows open, which spoilt allthe entrées, and papa got a cold; but I think, perhaps, it is as muchvexation asanything else, you know if anything goes wrong, especiallywith the entrées------â\u0000\u0000â\u0000\u0000He feels as a great artist must,â\u0000\u0000 said Leander, finishing her sentence.â\u0000\u0000However, I am not sorry at this moment to findhim a prisoner, for Iam pressed to see him. It is only this morning that I have returned fromMr. Coningsbyâ\u0000\u0000s at Hellingsley: the house full, forty covers everyday, and some judges. One does not grudge oneâ\u0000\u0000slabour if we areappreciated,â\u0000\u0000 added Leander; â\u0000\u0000but I have had my troubles. One of mymarmitons has disappointed me: I thought I had a genius, but on thethird day he lost his head; and had it not been---- Ah!good papa,â\u0000\u0000he exclaimed, as the door opened, and he came forward and warmly shookthe hand of a portly man, advanced in middle life, sitting in an easychair, with a glass of sugared water by his side, andreading a Frenchnewspaper in his chamber robe, and with a white cotton nightcap on hishead.â\u0000\u0000Ah! my child,â\u0000\u0000 said Papa Prevost, â\u0000\u0000is it you? You see me a prisoner;Eugenie has told you; a dinner at amerchantâ\u0000\u0000s; dressed in a draught;everything spoiled, and I------â\u0000\u0000 and sighing, Papa Prevost sipped his_eau sucrée_.â\u0000\u0000We have all our troubles,â\u0000\u0000 said Leander, in a consoling tone; â\u0000\u0000butwe will notspeak now of vexations. I have just come from the country;Daubuz has written to me twice; he was at my house last night; I foundhim on my steps this morning. There is a grand affair on the tapis.The son of the Dukeof Bellamont comes of age at Easter; it is to be abusiness of the thousand and one nights; the whole county to be feasted.Camachoâ\u0000\u0000s wedding will do for the peasantry; roasted oxen, and acapon in every platter,with some fountains of ale and good Porto. Ourmarmitons, too, can easily serve the provincial noblesse; but there isto be a party at the Castle, of double cream; princes of the blood,high relatives and grandees of theGolden Fleece. The dukeâ\u0000\u0000s cook is notequal to the occasion. â\u0000\u0000Tis an hereditary chef who gives dinners of thetime of the continental blockade. They have written to Daubuz to sendthem the first artist of theage,â\u0000\u0000 said Leander; â\u0000\u0000and,â\u0000\u0000 added he, withsome hesitation, â\u0000\u0000Daubuz has written to me.â\u0000\u0000â\u0000\u0000And he did quite right, my child,â\u0000\u0000 said Prevost, â\u0000\u0000for there is not aman in Europe that is yourequal. What do they say? That Abreu rivalsyou in flavour, and that Gaillard has not less invention. But who cancombine _goût_ with new combinations? â\u0000\u0000Tis yourself, Leander; and thereis no question, though youhave only twenty-five years, that you are thechef of the age.â\u0000\u0000â\u0000\u0000You are always very good to me, sir,â\u0000\u0000 said Leander, bending his headwith great respect; â\u0000\u0000and I will not deny that to be famous when youareyoung is the fortune of the gods. But we must never forget that I had anadvantage which Abreu and Gaillard had not, and that I was your pupil.â\u0000\u0000â\u0000\u0000I hope that I have not injured you,â\u0000\u0000 said Papa Prevost,with an air ofproud self-content. â\u0000\u0000What you learned from me came at least from a goodschool. It is something to have served under Napoleon,â\u0000\u0000 added Prevost,with the grand air of the Imperial kitchen.â\u0000\u0000Had it not been forWaterloo, I should have had the cross. But the Bourbons and the cooksof the Empire never could understand each other: They brought over anemigrant chef, who did not comprehend the tasteof the age. He wished tobring everything back to the time of the _oeil de bouf_. When Monsieurpassed my soup of Austerlitz untasted, I knew the old family was doomed.But we gossip. You wished to consultme?â\u0000\u0000â\u0000\u0000I want not only your advice but your assistance. This affair of theDuke of Bellamont requires all our energies. I hope you will accompanyme; and, indeed, we must muster all our forces. It is not to bedeniedthat there is a want, not only of genius, but of men, in our art. Thecooks are like the civil engineers: since the middle class have taken togiving dinners, the demand exceeds the supply.â\u0000\u0000â\u0000\u0000There isAndrien,â\u0000\u0000 said Papa Prevost; â\u0000\u0000you had some hopes of him?â\u0000\u0000â\u0000\u0000He is too young; I took him to Hellingsley, and he lost his head onthe third day. I entrusted the soufflées to him, and, but for themostdesperate personal exertions, all would have been lost. It was an affairof the bridge of Areola.â\u0000\u0000â\u0000\u0000Ah! _mon Dieu!_ those are moments!â\u0000\u0000 exclaimed Prevost. â\u0000\u0000Gaillard andAbreu will not serve underyou, eh? And if they would, they could not betrusted. They would betray you at the tenth hour.â\u0000\u0000â\u0000\u0000What I want are generals of division, not commanders-in-chief. Abreu issufficiently _bon garçon_, but he hastaken an engagement with Monsieurde Sidonia, and is not permitted to go out.â\u0000\u0000â\u0000\u0000With Monsieur de Sidonia! You once thought of that, my Leander. Andwhat is his salary?â\u0000\u0000â\u0000\u0000Not too much; four hundredand some perquisites. It would not suit me;besides, I will take no engagement but with a crowned head. But Abreulikes travelling, and he has his own carriage, which pleases him.â\u0000\u0000â\u0000\u0000There are Philippon andDumoreau,â\u0000\u0000 said Prevost; â\u0000\u0000they are very safe.â\u0000\u0000â\u0000\u0000I was thinking of them,â\u0000\u0000 said Leander, â\u0000\u0000they are safe, under you.And there is an Englishman, Smit, he is chef at Sir Stanleyâ\u0000\u0000s, but hismasteris away at this moment. He has talent.â\u0000\u0000â\u0000\u0000Yourself, four chefs, with your marmitons; it would do,â\u0000\u0000 said Prevost.â\u0000\u0000For the kitchen,â\u0000\u0000 said Leander; â\u0000\u0000but who is to dress the tables?â\u0000\u0000â\u0000\u0000A-h!â\u0000\u0000exclaimed Papa Prevost, shaking his head.â\u0000\u0000Daubuzâ\u0000\u0000 head man, Trenton, is the only one I could trust; and he wantsfancy, though his style is broad and bold. He made a pyramid of pinesrelieved with grapes,without destroying the outline, very good, thislast week, at Hellingsley. But Trenton has been upset on the railroad,and much injured. Even if he recover, his hand will tremble so for thenext month that! could have noconfidence in him.â\u0000\u0000â\u0000\u0000Perhaps you might find some one at the Dukeâ\u0000\u0000s?â\u0000\u0000â\u0000\u0000Out of the question!â\u0000\u0000 said Leander; â\u0000\u0000I make it always a conditionthat the head of every department shall be appointedby myself. I takePellerini with me for the confectionery. How often have I seen theeffect of a first-rate dinner spoiled by a vulgar dessert! laid flat onthe table, for example, or with ornaments that look as if they hadbeenhired at a pastrycookâ\u0000\u0000s: triumphal arches, and Chinese pagodas, andsolitary pines springing up out of ice-tubs surrounded with peaches, asif they were in the window of a fruiterer of CoventGarden.â\u0000\u0000â\u0000\u0000Ah! it is incredible what uneducated people will do,â\u0000\u0000 said Prevost.â\u0000\u0000The dressing of the tables was a department of itself in the Imperialkitchen.â\u0000\u0000â\u0000\u0000It demands an artist of a highcalibre,â\u0000\u0000 said Leander. â\u0000\u0000I know onlyone man who realises my idea, and he is at St. Petersburg. You do notknow Anastase? There is a man! But the Emperor has him secure. He canscarcely complain, however,since he is decorated, and has the rank offull colonel.â\u0000\u0000â\u0000\u0000Ah!â\u0000\u0000 said Prevost, mournfully, â\u0000\u0000there is no recognition of genius inthis country. What think you of Vanesse, my child? He has had aregulareducation.â\u0000\u0000â\u0000\u0000In a bad school: as a pis aller one might put up with him. But hiseternal tiers of bonbons! As if they were ranged for a supper of theCarnival, and my guests were going to pelt each other! No,I could notstand Vanesse, papa.â\u0000\u0000â\u0000\u0000The dressing of the table: â\u0000\u0000tis a rare talent,â\u0000\u0000 said Prevost,mournfully, â\u0000\u0000and always was. In the Imperial kitchen------â\u0000\u0000â\u0000\u0000Papa,â\u0000\u0000 said Eugenie, opening thedoor, and putting in her head, â\u0000\u0000hereis Monsieur Vanillette just come from Brussels. He has brought you abasket of truffles from Ardennes. I told him you were on business, butto-night, if you be at home, he couldcome.â\u0000\u0000â\u0000\u0000Vanillette!â\u0000\u0000 exclaimed Prevost, starting in his chair, â\u0000\u0000our littleVanillette! There is your man, Le-ander. He was my first pupil, as youwere my last, my child. Bring up our little Vanillette, Eugenie.He isin the household of King Leopold, and his forte is dressing the table!â\u0000\u0000CHAPTER II.     _The House of Bellamont_THE Duke of Bellamont was a personage who, from his rank, his blood, andhis wealth, mightalmost be placed at the head of the English nobility.Although the grandson of a mere country gentleman, his fortunateancestor, in the decline of the last century, had captivated the heiressof the Montacutes, Dukes ofBellamont, a celebrated race of the timesof the Plantagenets. The bridegroom, at the moment of his marriage,had adopted the illustrious name of his young and beautiful wife. Mr.Montacute was by nature a man ofenergy and of an enterprising spirit.His vast and early success rapidly developed his native powers. With thecastles and domains and boroughs of the Bellamonts, he resolved also toacquire their ancient baronies andtheir modern coronets. The times werefavourable to his projects, though they might require the devotion ofa life. He married amid the disasters of the American war. The king andhis minister appreciated theindependent support afforded them by Mr.Montacute, who represented his county, and who commanded five votesin the House besides his own. He was one of the chief pillars of theircause; but he was not onlyindependent, he was conscientious and hadscruples. Saratoga staggered him. The defection of the Montacute votes,at this moment, would have at once terminated the struggle betweenEngland and her colonies. A freshillustration of the advantages ofour parliamentary constitution! The independent Mr. Montacute, however,stood by his sovereign; his five votes continued to cheer the noble lordin the blue ribbon, and their master tookhis seat and the oaths in theHouse of Lords, as Earl of Bellamont and Viscount Montacute. This mightbe considered sufficiently well for one generation; but the silver spoonwhich some fairy had placed in the cradle ofthe Earl of Bellamont wasof colossal proportions. The French Revolution succeeded the Americanwar, and was occasioned by it. It was but just, therefore, that it alsoshould bring its huge quota to the elevation of theman whom a colonialrevolt had made an earl. Amid the panic of Jacobinism, the declamationsof the friends of the people, the sovereign having no longer Hanover fora refuge, and the prime minister examined as awitness in favour of thevery persons whom he was trying for high treason, the Earl of Bellamontmade a calm visit to Downing Street, and requested the revival of allthe honours of the ancient Earls and Dukes ofBellamont in his ownperson. Mr. Pitt, who was far from favourable to the exclusive characterwhich distinguished the English peerage in the last century, washimself not disinclined to accede to the gentle request of hispowerfulsupporter; but the king was less flexible. His Majesty, indeed, was onprinciple not opposed to the revival of titles in families to whom thedomains without the honours of the old nobility had descended; andherecognised the claim of the present Earls of Bellamont eventually toregain the strawberry leaf which had adorned the coronet of the fatherof the present countess. But the king was of opinion that thissupremedistinction ought only to be conferred on the blood of the old house,and that a generation, therefore, must necessarily elapse before aDuke of Bellamont could again figure in the golden book of theEnglisharistocracy.But George the Third, with all his firmness, was doomed to frequentdiscomfiture. His lot was cast in troubled waters, and he had often todeal with individuals as inflexible as himself. Benjamin Franklinwasnot more calmly contumacious than the individual whom his treason hadmade an English peer. In that age of violence, change and panic, power,directed by a clear brain and an obdurate spirit, could not fail ofitsaim; and so it turned out, that, in the very teeth of the royal will,the simple country gentleman, whose very name was forgotten, became,at the commencement of this century, Duke of Bellamont, MarquisofMontacute, Earl of Bellamont, Dacre, and Villeroy, with all the baroniesof the Plantagenets in addition. The only revenge of the king was, thathe never would give the Duke of Bellamont the garter. It was aswellperhaps that there should be something for his son to desire.The Duke and Duchess of Bellamont were the handsomest couple in England,and devoted to each other, but they had only one child. Fortunately,thatchild was a son. Precious life! The Marquis of Montacute wasmarried before he was of age. Not a moment was to be lost to find heirsfor all these honours. Perhaps, had his parents been less precipitate,their object mighthave been more securely obtained. The unionâ\u0000\u0000 was nota happy one. The first duke had, however, the gratification of dying agrandfather. His successor bore no resemblance to him, except in thatbeauty whichbecame a characteristic of the race. He was born to enjoy,not to create. A man of pleasure, the chosen companion of the Regent inhis age of riot, he was cut off in his prime; but he lived long enoughto break hiswifeâ\u0000\u0000s heart and his sonâ\u0000\u0000s spirit; like himself, too, anonly child.The present Duke of Bellamont had inherited something of the clearintelligence of his grandsire, with the gentle disposition of hismother. His fairabilities, and his benevolent inclinations, had beencultivated. His mother had watched over the child, in whom she foundalike the charm and consolation of her life. But, at a certain period ofyouth, the formation ofcharacter requires a masculine impulse, and thatwas wanting. The duke disliked his son; in time he became even jealousof him. The duke had found himself a father at too early a period oflife. Himself in his lusty youth,"}
+{"doc_id":"doc_231","qid":"","text":"<html><head><title>Verdict, The Script at IMSDb.</title><meta name=\"description\" content=\"Verdict, The script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Verdict, The script,Verdict, The movie script, Verdict, The film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\"rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>                                      \"THE VERDICT\"                                      Screenplay by                                       DavidMamet                                      Shooting Draft<b>                </b><b>               INT. FIRST FUNERAL PARLOR - DAY</b>               A working-class funeral in progress. THIRTY PEOPLE and an                inexpensivebier SEEN from the back of the hall.<b>               ANGLE</b>               A MAN's back FILLS the SCREEN. He is dressed in a black suit;                his hands are clasped behind him. ANOTHER MAN stands nextto                him. The Second Man reaches behind the First Man's back and                puts a discreetly folded ten-dollar bill into his hands.<b>               ANGLE</b>               These Two Men from the front. Bothsomber, in their early                fifties. They begin to walk down the aisle of the funeral                parlor.<b>               ANGLE</b>               The WIDOW. A woman in her late fifties sitting by thebier                receiving condolences. The Two Men approach her. The First                Man (the recipient of the money) speaks:<b>                                     FUNERAL DIRECTOR</b>                         Mrs. Dee, this isFrank Galvin -- a                          very good friend of ours, and a very                          fine attorney.<b>                                     GALVIN</b>                         It's a shame about yourhusband,                          Mrs. Dee.               The Widow nods.<b>                                     GALVIN</b>                         I knew him vaguely through the Lodge.                          He was a wonderfulman.                              (shakes head in                               sympathy)                         It was a crime what happened to him.                          A crime. If there's anything that I                          could do tohelp...               GALVIN removes a business card from his jacket pocket and                hands it to her as if he were giving her money. (i.e., \"Take                it. Really. I want you to have it...\" She takes thecard.               Beat.<b>                                     GALVIN</b>                              (thoughtfully realizes                               he is usurping her                               time)                         Well...                He shakesher hand and moves on.<b>               INT. COFFEE SHOP - DAY</b>               Galvin sitting in the deserted coffee shop in his raincoat.               Reading a section of the paper. He picks up histeacup,                drinks. Lowers it to the table.<b>               ANGLE - INSERT</b>               Galvin twists tea bag around a spoon to extract last drops                of tea. His hand moves to his felt pen lying on thetable.               He moves his hand to the paper, open at the obituary section.               We SEE several names crossed out. He circles one funeral                listing.<b>               ANGLE</b>               Galvin sitting,raises cup of tea to his lips. Looks around                deserted coffee shop. Sighs.<b>               INT. SECOND FUNERAL HOME AND STREET - AFTERNOON</b>               Galvin outside a second funeral home.WORKING-CLASS PEOPLE                entering, Galvin enters the home.<b>               ANGLE</b>               Galvin, coming down the aisle toward the front, shrugging                himself out of his overcoat, heapproaches the BEREAVED WIDOW                sitting by the front of the home, he extracts his card from                his pocket, starts to speak. He is stopped by the WIDOW'S                SON, a hefty man in hismid-forties, who interjects himself                between Galvin and the widow.<b>                                     SON</b>                              (of the card)                         What isthat...?<b>                                     GALVIN</b><b>                         I...</b><b>                                     SON</b>                         What the hell isthat...<b>                                     GALVIN</b>                         ...I was a friend of your fa...<b>                                     SON</b>                         You never knew my father.                              (hits card outof                               Galvin's hand)                         You get out of here, who the hell do                          you think you are...               The FUNERAL MANAGER hurries down the aisle, andstarts                extricating Galvin from the commotion.<b>                                     GALVIN</b>                              (to Funeral Manager)                         I'm talking to thisman...<b>                                     FUNERAL MANAGER</b>                         Excuse me, Mrs. Cleary...               He is manhandling Galvin toward the back of the funeral                parlor. The Son calls afterhim:<b>                                     SON</b>                         Who the hell do you think you are?<b>               EXT. SECOND FUNERAL PARLOR - AFTERNOON</b>               The Funeral Manager and Galvin standing inthe cold.<b>                                     FUNERAL MANAGER</b>                         I don't want you coming back here.                          Ever. Do youunderstand?<b>                                     GALVIN</b>                         I was just talking to...<b>                                     FUNERAL MANAGER</b>                         Those are bereaved people in there.               TheFuneral Manager gives Galvin a small shove, and goes                back to his post at the door, greeting the entering mourners.               \"Good evening...\"<b>               ANGLE</b>               Galvin, the ground cut outfrom under him. Standing watching                the mourners enter.<b>               EXT. SECOND FUNERAL STREET - DUSK</b>               Galvin walking down a residential street. He has been walking                a whilein the cold, snowy night. He stops for a stoplight                at a corner, waits for the light although there is no traffic.               Lights a cigarette. The light changes. He looks both ways                and irresolutely startsacross the street. He stops. He checks                his watch. He sighs, and starts back in the opposite                direction.<b>               INT. O'ROURKE'S BAR - NIGHT</b>               Galvin holding forth at the bar of aseedy drinking-man's                establishment, THREE DRINKERS, acquaintances, standing around                him, appreciative.<b>                                     GALVIN</b>                         Pat says, 'Mike... there's anew                          bar, you go in, for a half a buck                          you get a beer, a free lunch, and                          then take you in the back room and                          they get you laid.'               Thebartender, JIMMY, comes up to Galvin.<b>                                     JIMMY</b>                         Another, Frank...?<b>                                     GALVIN</b>                              (gestures toinclude                               group)                         ...everybody. Mike says, 'Pat, you                          mean to tell me for a buck you get a                          free lunch and a beer, and then you                          go inthe back and get laid?' 'That's                          correct.' Mike says, 'Pat. Have you                          been in this bar ?' Pat says, 'No,                          but my sister has...'                              (gestures toJimmy)                         Everyone. Buy yourself one too.<b>               INT. GALVIN'S OFFICE - NIGHT</b>               The seedy, disorganized small office, Galvin in shirt-sleeves                opening a file cabinet. Hetakes out an armload of files,                carries them to a wastebasket and throws them in. He sits on                his desk, as if exhausted by his effort, pours from a whiskey                bottle into a large water glass,downs the glass.               He has been drinking for some time. He starts stumbling back                to the file cabinet. On the way his eye is caught by his                degrees hanging on the wall. He stumbles to them,picks them                up and walks over to the wastebasket and throws them in. He                goes back to the file cabinet, the phone starts ringing.                Galvin lets it ring, continues emptying the files intothe                wastebasket, tearing some of them up as he does so.               He repeats softly to himself, as a litany, \"It doesn't make                a bit of difference, it doesn't make a bit of difference...\"                Hestarts back to the desk for the bottle, knocks the still-               ringing phone off the desk. He pours himself a drink.               As he downs it we hear -- softly -- from the phone on the                floor: a MAN'S VOICE.\"Frank. Frank. Frank. Goddamnit. Are                you there...? Frank...\" Galvin pays no attention.               Drinks his drink and gazes at the wall -- now empty of                degrees.<b>               ANGLE -P.O.V.</b>               The empty wall. Galvin's P.O.V. The telephone heard Voice                Over insisting, \"Frank...\"<b>               INT. GALVIN'S OFFICE ANTEROOM - NIGHT</b>               MICKEY MORRISSEY, a manin his late sixties, dressed in suit                and overcoat, looking worried, unlocks the door to the dark                anteroom. Looks around. Sees something in the next room.<b>               ANGLE -P.O.V.</b>               Galvin asleep on his couch, clothed as before. Covered in                his overcoat, the bottle and glass next to the couch on the                floor, the sound of the phone off thehook.<b>               ANGLE</b>               Mickey walks into the office. Stands looking at Galvin.<b>                                     MICKEY</b>                              (harshly)                         Getup.                              (beat, more harshly)                         Get up.               Galvin wakes up. Looks around. Swings his legs over the couch.                Drinks from the glass.Vacantly:<b>                                     GALVIN</b>                         Hi, Mickey...<b>                                     MICKEY</b>                         What the hell do you thinkyou're                          doing...?                              (surveys the wrecked                               office)                         What's going onhere...?<b>                                     GALVIN</b>                         Uh...<b>                                     MICKEY</b>                         Fuck you. I got a call today from                          SallyDoneghy...<b>                                     GALVIN</b>                         ...now who is that...?<b>                                     MICKEY</b>                         ...You're 'sposed to be in court in                          ten days andshe's telling me you                          haven't even met with them...<b>                                     GALVIN</b>                         Sally Doneghy, now who isthat?<b>                                     MICKEY</b>                         One lousy letter eighteen months                          ago... I try to throw a fuckin' case                          yourway...<b>                                     GALVIN</b>                         ...hey, I don't need your charity...<b>                                     MICKEY</b>                         ...I get these people to trust you--                          they're coming here tomorrow by the                          way -- I get this expert doctor to                          talk to you. I'm doing all your                          fuckin' legwork -- and it's"}
+{"doc_id":"doc_232","qid":"","text":"<html><head><title>French Connection, The Script at IMSDb.</title><meta name=\"description\" content=\"French Connection, The script at the Internet Movie Script Database.\"><meta name=\"keywords\"content=\"French Connection, The script, French Connection, The movie script, French Connection, The film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><metaname=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttypeCONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ?'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie ScriptDatabase\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <scripttype=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><html><head><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>The FrenchConnection</title></head><pre>                                         Rev. April 26, 1971<b>                 THE FRENCH CONNECTION</b>                           by          ERNEST TIDYMAN and WILLIAM FRIEDKINDIRECTOR:William FriedkinPRODUCER: Philip D'Antoni<b></b><b>EXT. LE VALLON</b>Opening shot - High angle on Lincoln along small bay withboats.Ext. Bar - Waist to full figure Pan Right to Left.  Detectivecomes out eatingpizza, looking around.  He crosses streetand stops against wall of impasse Michael.He looks O.S. left,His POV - L.S. of Lincoln behind fishing nets.Waist shot of Detective looking and eating.M.S. of Lincoln.C.S. ofDetective looking O.S. Left.Pan Right to Left with Charnier coming out from Fonfon withthree friends and they walk to the Lincoln.Pan Left to Right with Lincoln passing in front of theDetective.<b>EXT. CAFE LASAMARITAINE</b>High angle from balcony.  Zoom on Detective seated at thecafe, reading a newspaper.Cut on Lincoln along sidewalk of the cafe, then zoom back todiscover Detective seated.<b>EXT. MARSEILLESTREETS</b>Low angle from stairs Rue des Repenties and Pan Left toRight to Rue Sainte Francoise following the Detective.Pan Left to Right with Detective from Rue des Repenties toRue Baussenque.Low anglebetween Rue des Moulins and Rue des Accoules withDetective passing by.Ext. Rue du Panier - The Detective comes out from the bakerycamera Right and starts to climb up Rue des Moulins with hisbread.<b>EXT.STREET</b>High angle - on No. 50 Rue des Moulins.  Pan Left to Rightwith Detective coming up the street with his bread and goinginside his house, starting to open hisletter-box.<b></b><b>                                                            2.</b><b>INT. CORRIDOR</b>High angle - complete reverse.  As the Detective starts toopen his letter-box in B.G. a hand pointing a gun movesinforeground and blows off half of the French Detective's headwith the first shot.Cut to Nicoli C.S. who just fired.<b>EXT. A BAR IN BED-STUY - DAY</b>A large man in a Santa Claus suit and white beard isentertaininga group of black children.  He leads them inthe singing of a Christmas Carol (Hark the Herald AngelsSing).  The man is DETECTIVE FIRST GRADE JIMMY DOYLE.  Hisattention is split between the children and theactivityinside the bar.<b>INT. THE BAR - DOYLE'S POV - DAY</b>The place is crowded with mid-day drinkers.  Dimly outlinedat the far end of the bar are TWO BLACK MEN involved in somekind of transaction in whicha package is exchanged formoney.  As the transaction seems to be completed, cut to<b>EXT. THE BAR - DAY</b>Santa Claus (DOYLE) starts to ring his big Christmas bell,above the singing.  The bell is a signal toDETECTIVE SECONDGRADE BUDDY RUSSO.  At this moment RUSSO is in the clothesof a hot dog vendor and is in fact working behind a hot dogwagon.  At the ringing of DOYLE's bell he takes off hisapron, leaves thewagon, and runs toward the bar.<b>                         DOYLE</b>                   (as RUSSO passes him)            The guy in the brown coat.<b>INT. THE BAR - DAY</b>RUSSO enter the bar on the run.  He stops andlooks over theroom.<b>RUSSO'S POV</b>There are TWENTY or THIRTY MEN at the bar, at least TEN arewearing brown coats!  The TWO MEN involved in the deal seeRUSSO and start to run.  One (THE BUYER) takesoff out ofthe back door.  The other (THE PUSHER) jumps over the barand heads for the front entrance.<b></b><b>                                                            3.</b><b>EXT. THE BAR - DAY</b>THE PUSHER dashesout past Santa Claus (DOYLE).  RUSSOfollows him and all three give chase.<b>EXT. BED-STUY TENEMENT ALLEY - DAY</b>THREE FIGURES running down a New York tenement alley, thefirst in flight, the others inpursuit.  We pick up theincredible clutter of such an alley, mounts of rusting beercans, paper bags of garbage bulging and ripping open, oldbed springs, burned out mattresses, etc.<b>EXT. BED-STUY TENEMENT ALLEY- DAY</b>Close shot of BLACK PUSHER tripping on the tangle of trashgoing up against the wall in his stumble, face toward thecamera, and the figures of RUSSO and DOYLE leaping upon himfrom off-camera.  There isa blur or fast struggle as DOYLEand RUSSO try to get his arms and put him against the wall.BLACK PUSHER writhes loose and we close in on a knife in hishand, plunging rapidly into RUSSO'S leftforearm.<b>                         RUSSO</b>            Son of a bitch!The words are both warning and a grunt of pain.  As RUSSOtakes the blade and utters the words, we simultaneously goto DOYLE crouching andsnatching his .38 out of the rightankle holster.<b>EXT. BED-STUY TENEMENT ALLEY - DAY</b>Close shot of DOYLE and the BLACK PUSHER, DOYLE pistol-whipping him into submission with three lightening chops ofthegun to the PUSHER'S head.  DOYLE continues to beat theman mercilessly into submission.<b>INT. DOYLE'S CAR - DAY</b>3-shot of BLACK PUSHER sitting between DOYLE and RUSSO.DOYLE is at the wheel.  BLACKPUSHER is sitting on hishands, wrists manacled behind him, his head down and drippingblood onto the jacket and the canary-yellow turtleneck.  Allthree are breathinghard.<b>                         DOYLE</b>            What's your name, asshole?<b>                         BLACK PUSHER</b>            Fuck you, Santa Claus!DOYLE hits him across theface.<b></b><b>                                                            4.</b><b>                         RUSSO</b>            Your name is Willie Craven.BLACK PUSHER doesn't lookup.<b>                         DOYLE</b>            Who's your connection, Willie?            What's his name?No response.<b>                         RUSSO</b>            Who killed the old Jew in the            laundromat?BLACKPUSHER's brow furrows, looks up just a little.<b>                         BLACK PUSHER</b>            I don't...<b>                         DOYLE</b>            Ever pick your feet in Poughkeepsie?<b>                         BLACKPUSHER</b>            What?<b>                         DOYLE</b>            Did you ever pick your feet in            Poughkeepsie?<b>                         BLACK PUSHER</b>            I don't know what you'retalkin'            about.<b>                         DOYLE</b>            Were you ever in Poughkeepsie?<b>                         BLACK PUSHER</b>            No... yeah...<b>                         DOYLE</b>            Did you ever siton the edge of the            bed, take off your socks and stick            your fingers between your toes?<b>                         BLACK PUSHER</b>            Man, I'm clean.<b>                         DOYLE</b>            Youmade three sales to your            roaches back there.  We had to            chase you through all this shit and            you tell me you'reclean?<b></b><b>                                                            5.</b><b>                         RUSSO</b>            Who stuck up the laundromat?<b>                         DOYLE</b>            How about that time youwere            picking your feet in Poughkeepsie?The BLACK PUSHER'S eyes go to RUSSO in panic, looking forrelief from the pressure of the inquisition.<b>                         RUSSO</b>                   (in pain)            Youbetter give me the guy who got            the old Jew or you better give me            something or you're just a memory            in this town.<b>                         BLACK PUSHER</b>            That's a lot o' shit.  I didn'tdo            nothin'.The BLACK PUSHER's eyes are on DOYLE, frozen in confusionand fear.<b>                         DOYLE</b>            You put a shiv in my partner.  Know            what that means?  All winterI            gotta listen to him gripe about his            bowling scores.  Now I'm gonna bust            your ass for those three bags -            then I'm gonna nail you for pickin'            your feet in Poughkeepsie.<b>EXT.HEADQUARTERS NARCOTICS BUREAU OF THE NYPD 12 OLD SLIP</b><b>AND SOUTH STREETS - NIGHT</b>DOYLE and RUSSO standing side by side on the front steps ofthe old First Precinct on the Lower East Sideof Manhattan.RUSSO has his overcoat over his shoulders as a cape.  Thesleeve of his left arm is rolled up over a blood-stainedbandage on the left forearm.<b>                         DOYLE</b>            Havin'trouble?  You're a dumb            guinea.<b>                         RUSSO</b>            How'd I know he had a knife.<b>                         DOYLE</b>            Never trust anigger.<b>                         RUSSO</b>            He coulda been white.<b></b><b>                                                            6.</b><b>                         DOYLE</b>            Never trust anybody.  You goin'sick?<b>                         RUSSO</b>            Not a chance.RUSSO nods in acceptance of the remark.  The easy, synicalrapport between them is obvious: they are partners in abusiness where somebody is alwaysgetting hurt and pain ispart of the inventory.<b>                         DOYLE</b>            Let's popeye around the Chez for a            half hour, catch the end of the            show and a coupledrinks.<b>                         RUSSO</b>            Some other time Jimmy, I'm beat.DOYLE reaches into the right side pocket of BUDDY's suitcoatfor a cigarette and matches.  He lights up two in the pause,sticks one inRUSSO's mouth.<b>                         DOYLE</b>            Come on -- one drink.  Whatta you            say?<b>                         RUSSO</b>            Drink this.<b>                         DOYLE</b>            Whip itout.<b>INT. THE CLUB - NIGHT</b><b>THE TITLES COMMENCE</b><b>                    THE FRENCH CONNECTION</b>Titles over a close shot of a chorus line, with lots of titsand ass and lean, long legs in a brassyblare of music.  Wezoom back to the area where DOYLE and RUSSO are beginning tooccupy a table.  RUSSO takes the seat on the right, eyesimmediately on all that ginch, while DOYLE standing, givestheir order.  Wedo not hear the dialogue but DOYLE asksRUSSO what he wants BUDDY looks up and says \"Cinzano.\" DOYLEturns and says \"Two of these.\" DOYLE slips into the chairopposite RUSSO and the titles roll on.  Unlike RUSSOwho isconcentrating on the girls, DOYLE is digging the room andthe people who occupy the tables in it, as if he is the sortof man who cannot relax until he knows who is around him,why they arethere.<b></b><b>                                                            7.</b><b>INT. THE CLUB - NIGHT</b>A long view from DOYLE's position of the room, a quickcertain survey that stumbles twice; on laughter thatseemstoo raw and then over a flurry of activity by WAITERS andCAPTAINS serving a table on the main floor.  DOYLE'sattention is apprehended by the noise and activity thatemanate from the same largetable.<b>                         DOYLE</b>            I make at least two junk connections            at that table in the corner.  The            guy is the stripe combo, I know"}
+{"doc_id":"doc_233","qid":"","text":"<html><title>Pump Up The Volume Transcript</title><pre>Happy Harry Hardon - Did you ever get the feeling that everything in America is completely fucked up. You know that feeling that the whole country is likeone inch away from saying 'That's it, forget it.' You think about it. Everything is polluted. The environment, the government, the schools you name it. Speaking of schools. I was walking the households the other dayand I asked myself. Is there live after high school? Because I can't face tomorrow, let alone a whole year of this shit. Yeah, you got it folks. It's me again with a little attitude for all you out here and waiting for Atlanta.All you nice people living in the middle of America the beautiful. Lets see, we're on er 92 FM tonight and it feels like a nice clean little band so far. No one else is using it. The price is right. Heh, heh. And yes folks youguest it. Tonight I am as horny as a ten peckerd house, so stay tuned because this is Happy Harry Hardon reminding you to eat your cereal with a fork and do your homework in the dark..Murdock - Mr. Travis, LouisTravis. It's just for a second.Mr Woodward - So, I'll pick you up after your yearbook.Paige Woodward - Okay, dad.Mr Woodward - And no big dates tonight, you have to be well rested for your Historyexamtomorrow.Paige - Okay.Mazz - Yo Paige, anytime anywhere beautiful. Mr. Paige.Nora Diniro - Oh, Miss Paige Woodward arriving.Janie - So rich, so smart.Nora - So perfect.Murdock - Cheryl, good to see you. You'regoing to see the principal this morning.Cheryl - Can you tell me what this is about.Murdock - We'll see. Excuse Misses Creswood.Luis Chavez - Yes.Nora  - Check this out.Janie - What is it?Nora -  It's this guy. He's got apirate radio station. Hiss name is Happy Harry Hardon. He's a total sex maniac.Janie - Off course.Nora - He comes on every night at ten o'clock.Happy Harry Hardon - Okay, down to business. I got my wild cherry dietPepsi and I got my Black Jack gum here and I got that feeling, mmm that familiar feeling that something rank is going down up there. Yeah, I can smell it. I can almost taste it. The rankness in the air. It's everywhere.It's running through that old pipeline out there, trickling along the dumb concrete river and coming up the drains of those lovely tracktones we all live in. I mean I don't know. Everywhere I look it seems everything issold out.Annie - They say this is where the reception is the coolest.Johnathan - Then he'll probably live right around here.Mazz - Fucking Yuppies.Happy Harry Hardon - My dad sold out. And my mom sold out years agowhen she had me. And then they sold me out when they brought me to this hole in the world. They made me everything I am today so naturally I hate the bastards. Speaking of which, I am running a contest on thebest way to put them out of their misery. Tonight we have number twelve of one hundred things to do with your body when you're all alone. Now are you ready of the incredible sound of Happy Harry Hardon coming onhis own face. Oh, my god, it's very possible you know. Oh, oh this is a champion one. I'm going for it. He's still growing. This... Yes, Happy Harry Hardon will go to any language to keep his three listeners glued withHuwy Bluwy to their radios. But the question is. How far will you go? How far can you go to amaze and discuss the sensational Happy Harry Hardon. I mean. How serious are you? I ask you that. dear listener.MrWoodward - Hi beautiful. You know I can't figure out how you manage to get such greatgrades and you listen to that radio all night. You know. Tomorrow don't forget Yale interview. And I don't want you to look toosleepy. You know. Goodnight Sweetheart.Happy Harry Hardon - I'm getting a lot of letters here guys. Here. Dear Happy Harry Hardon, my boyfriend won't talk to me anymore. How do I show him that I really love him?Look, I don't know anything about these letters asking for love advice. I mean, if I knew anything about love I would be out there making it instead of talking to you guys. So just send me stuff to box 20710, USA MailParadise Hill Mess Arizona 84012. Replies guarantied. Dear Harry, I think your boring and upknocktius and have a high opinion of yourself. Course I'm you I'll probably thinking I sent this to myself. I think school isokay. if you just look at it right. I like your music, but I really don't see why you can't be cheerful for one second. I tell you since you ask. I just arrived in this stupid suburb. I have no friends, no money, no car, nolicence. And even if I did have a licence all I can do is drive out to some stupid mall. Maybe if I'm lucky play some fucking video games, smoke a joint and get stupid. You see, there's nothing to do anymore. Everythingdecents been done. All the great themes have been used up. Turned into theme parks. So I don't really find it cheerful to be living in totally exhausted decade where there is nothing to look forward to and no one to lookup to. That was deep. Oh no, not again. The creature stirs. Oh God, I think it is going to be a gusher. This is the sixth time in an hour. Oh god...Annie - He sounds like he chronically masturbated.Johnathan - He prideshimself on it.Happy Harry Hardon - You see, I take care of it. Oh, or else I'm going to explode. I just... Excuse me while I... While I... While I... Oh yeah... Oh yeah... Oh yeah, this is the big one. I'm gonna explode...Oh, take cover Arizona here I come.Mazz - Any time now, man.Happy Harry Hardon - Oh God... Oh God... This is the best. Oh God yeah... Free at last, I'm beat. I'm whipped. It's quitting time. Gotta recuperate.Mazz -There he goes. Some time he's on for five minutes, some time he's on for five hours. That's my man.Marla Hunter - God, I feel so out of touch here.Brian Hunter - We didn't move out here to stay in touch.Marla Hunter- And why did we move out here?Brian Hunter - Oh, because it's a nice place to live. I'm making good money and I'm theyoungest school commissioner in the History of Arizona.Marla Hunter - Brian, you know what.The man I married loved his work. Not power andmoney.Brian Hunter - That's all right I still love my work. And I love power and money.Marla Hunter - Young radical Brain, you were always fighting against the system.And now you are...Brian Hunter - I am the system, yeah. Is that a beer?Mark Hunter (Happy Harry Hardon) - Sure!Marla Hunter - Have you notice his behaviour lately?Brian Hunter - What about him?Marla Hunter -He's just so unhappy here.Brian Hunter - I'll go talk to him.<Brian's Study>Brian Hunter - Hi, what's up?Mark - I was just looking for some stamps.Brian Hunter - Oh fine, I got some right here. Sending a letter to oneof your friends back east?Mark - No, I thought I might send away for an inflatable date.Brian Hunter - You know, one of these days you're going to have to watch yourself young man.Mark - I love it when you call meyoung man.Brian Hunter - You know when I was your age I was in all the teams and a bunch of clubs. Look all I'm saying is that school must have some really terrific programs, it's very highly rated.Mark - Just save itfor the masses.Brian Hunter - Mark, they've got twelve hundred students down there. Surely some of themhave gotta be cool.Mark - Look the deal is I get decent grades and you guys leave me alone.<Back at HupertHumphrey>Janie - Okay so who is this guy?Nora - I don't know, nobody knows who he is, but he really hates this school so I guess he goes here.Janie - But all the guys that go here are geeks.Nora - Maybe not mydear! LaterJanie - Later?<English Class>Jan Emerson - And so then the logi cars questioned the few remaining death spurs more and more they began to fade away until there was nothing left of them and theydisappeared from the face of the earth.......... Hmm, pretty good hey? Leading with your heart, not your mind. I wondered if you would tell us what you were thinking when you wrote this?Mark - I just wrote it late lastnight.Jan - That's obvious it's practically a night book. Mark, I was hoping you'd share your feelings about it. <Bell rings> Saved by the bell. Don't think If I didn't read your composition it won't be read. Mark! We'relooking for new writers for The Clarion. Don't be embarrassed of your talent.<Murdock's woodwork class. A Happy Harry Hardon Tape blasting out of a stereo>Class - Morning Mr. MurdockMurdock - I'm not stupid youknow.<Staff room>Creswood - This school is judged on one category only: Academic scores. The lesson of modern education is that nothing comes easily, no pain, no gain.Murdock <enters> - Excuse me everyone doyou want to listen to this, it's the third this week. It's unbelievable.<Murdock plays a tape with Happy Harry Hardon simulating masturbation>Jan - <laughs>Creswood - Jan! This is no laughing matter.<SchoolLibrary>Nora - Hi!Mark - HiNora - You're in my writing class right.Mark - Right.Nora - Yeah I like Emerson (Jan) she's pretty funky. <Nora look at the date on Marks book> Now you're in trouble!.... You owe me twentyfive cents...... \"How To Talk Dirty And Influence People\" by Lenny Bruce. Who's he?... Any good?Mark - He's alright.Nora - Talk a lot.Mark - Not to much no.<Mark leaves and Nora looks down at checklist of possibleHard Harrys'>Nora - Cute, but no way!<A ten o'clock show>  Happy Harry Hardon - Guess who? It's ten o'clock do you care where your parents are? After all it's a jungle out there. <Everybody Knows plays> I don'tknow. Everywhere I look it seems that someone's getting butt surfed by the system. Parents are always talking about the system, and the sixties and how cool it was. Well look at where the sixties got them hey! Comeon people now smile on your brother everybody together try and love one another right now!!! Now that was the sixties, this is a song from the nineties from my buddies the Descendants. <The Descendants play> Ihate the sixties, I hate school, I hate principals, I hate vice principles!! But my true pure refined hatred is reserved for guidance councillors. Happy Harry just happens to have in his very hands a copy of a memo writtenby Mr. David Deaver, guidance councillor extrordinaire to one Miss Loretta Creswood, high school principle. \"I found Cheryl un-remorseful about her current condition\" Bastard can't even say she's knocked up. \"Andshe's unwilling to minimise it's affect on the morals of the student population.\" Guidance councillors!!!!! If they knew anything about career moves would they have ended up as guidance councillors? What do you saywe call Deaver up hey? Happy Harry Hardon just happens to have the home phone numbers of every employee up at Paradise Hills. Here we go, there you are Mr. Deesky <Happy Harry Hardon rings up MrDeaver>.Deaver - Deaver residence, David Deaver speaking.Happy Harry Hardon - Hey this is WKPS, we're doing a piece on high schools. We understand that your a guidance councillor.Deaver - I'm head of guidanceat Hubert Humphrey High in Paradise Hills Arizona. I've been there seven years.Happy Harry Hardon - Can you tell me a bit about what you do.Deaver - I run a comprehensive American values program, erm in whichwe discuss ethical situations, sex education and drug abuse.Happy Harry Hardon - What do you say to young people who look around at the world and see it's become, like you know, a sleazy country, a place you justcan't trust. Like your school for example. Why is it, it wins all of these awards and students are dropping out like flies, why..why is that. Now my listeners are interested in the decision to expel Cheryl Bates.Deaver - I,erm, I'm not aware of anything like that, I don't know what you're talking about.Happy Harry Hardon - That is not true sir. \"Cheryl refuses to accept suggestions of a more positive mental attitude towards her healthand her future. I'm afraid I find no alternative, but to suggest suspension.\"Deaver - Who is this? How did you get this number?Happy Harry Hardon - Are you going to admit it sir.Deaver - Admit what?Happy HarryHardon - That you're slime!Deaver - Now just wait a minute.Happy Harry Hardon - You interview a student and then you rat on her, you betray her trust, isn't that right Sir!<Deaver hangs up> Well as you can see,these guys are played out. Society is mutating so rapidly that anyone over the age of twenty has really no idea.... Err alright, back down to business. \"I share a room with my older brother and nearly every night afterhe turns off his light he come over to my bed and gives me a few arm nookies and stuff and then makes me scratch his back and other refinements\" It's about time we had some refinements on this show. \"Then sooneror later he gets worked up and further a do he rubs his thing and makes me watch.\" Signed \"I'm just screwed up\" Well first of all you're not screwed up, your an unscrewed up reaction to a screwed up situation. Feelingscrewed up at a screwed up time, in a screwed up place does not make you necessarily screwed up, if you catch my drift. Well as you know dear listeners if you enclose your number a reply is guaranteed. <Rings MissScrewed Up>Miss Screwed Up - HelloHappy Harry Hardon - This is Happy Harry Hardon, your live. Is this Miss Screwed Up.Miss Screwed Up - YesHappy Harry Hardon - Well I have a couple of questions. How big is it,this thing you described? Is it bigger than a baby's arm..... What you don't remember or you don't want to tell me?.... Or maybe you made this whole thing up hey? Remember my dear I can smell a lie like a fart in acar. <Miss Screwed Up hangs up> Well it's too bad about that one actually, to me the real truth is always a bigger turn on. It doesn't have to be a big deal, it could be anything.<Malcolm's bedroom>Mrs Kaiser -Malcolm have you finished your homework yet?Malcolm - Yes.Mrs Kaiser - Your father and I are downstairs, why don't you come and join us for once.Malcolm - No.Mrs Kaiser - Okay Malcolm have it your way.Malcolm -Thanks.<Back at Hard Harrys'>Happy Harry Hardon - Send me your most pathetic moment, your most anything, as long as it's real. I mean I want the size, the shape, the feel, the smell. I want blood sweat and tearson these letters. I want brains and ectoplasm and cum spilled all over them. Hallelujah! And now , all my horny listeners, get one hand free because yes, the eat me beat me lady is back. \"Come in. Every night youenter me like a criminal. You break into my brain, but you're no ordinary criminal. You put your feet up, you drink your can of Pepsi, you start to party, you turn up my stereo. Songs I've never heard, but I moveanyway. You get me crazy, I say 'Do it.' I don't care just do it. Jam me, jack me, push me, pull me -talk hard!\"............ I like that. Talk Hard. I like the idea that a voice can just go somewhere uninvited and just kind ofhang out like a dirty thought in a nice clean mind. To me a thought is like a virus. You know, it can just kill all the healthy thoughts and just take over. That would be serious.Nora - That would be totally serious.HappyHarry Hardon - I know all of my horny listeners would love it if I would call up the eat me beat me lady. But no! Because she never encloses her number.Nora - Tough look creepoid.Happy Harry Hardon - Always thesame red paper, the same beautiful black writing. She's probably a lot like me, a legend in her own mind. But you know what, I bet in real life she's probably not that wild. I bet she's kind of shy like so many of us whobriskly walk the halls, pretending to be late for some class, pretending to be distracted. Hey poetry lady, are you really this cool? Are you out there? Are you listening? Nora - I'm always out here.Happy Harry Hardon - Ifeel like I know you, and yet we'll never meet. Ah so be it... Now here's a song from my close personal buddies the Beastie Boys. A song that was so controversial they couldn't put it on their second album. What abouta little night light.<Beastie Boys play>Happy Harry Hardon - I just love being the rap king of Arizona. I don't know drugs are out, sex is out, politics are out, everything is on hold. I mean we definitely need somethingknew. We just keep waiting for some new voice to come out of somewhere and say \"Hey wait a minute, what is wrong with this picture.\" <picks up a letter and opens it> Well maybe this is the answer to everything,wouldn't that be nice hey.  \"Dear Happy Harry Hardon do you think I should kill myself\" Great! Signed \"I'm Serious\" And of course there is a number here. <Calls the number> Hello serious?Malcolm - YeahHappy HarryHardon - Are you okay?Malcolm - YepHappy Harry Hardon - I guess what I'm asking is how serious are you, well how are you going to do it?Malcolm - I'm gonna blow my fucking head off.Happy Harry Hardon - O! Welldo you have a gun.Malcolm - No I'm going to use my finger genius.Happy Harry Hardon - Alright. So where is this gonna take place hey?Malcolm - Right here.Happy Harry Hardon - Where is this alleged gun? Do youhave it with you? Did you at least write a note? You have a reason don't you? Your not going to be one of those people who kills themselves and nobody has any idea of why they did it? Hey that's why we need a notepal!Malcolm - I'm all alone.Happy Harry Hardon - No, hey, maybe it's okay to be alone sometimes, everybody's alone.Malcolm - You're not.Happy Harry Hardon - I didn't talk to one person today, not..not countingteachers. I sit alone everyday you know, sitting on the stairwell eating my lunch, reading a book. What about you?  <Malcolm hangs up> I hate that, now I'm depressed. Now I feel like killing myself, but I'm toodepressed to bother. <Tries to re-dial Malcolm, but it's engaged> Great! He's got the phone of the hook. Rejected again, that's okay I'm use to it, terminal loneliness....... People always think they no who a person isbut they're always wrong. Most parents have no idea. It's just that mine had me tested because I sit alone in my room alone, naked, wearing only a cock ring, heh heh! I mean it really bugs me, everyone knows what aperson should be, who cares who I should be! You know, in real life I could be that anonymous nerd sitting across from you in Chem. Lab, staring at you so hard, you turn around, he tries to smile, but the smile justcomes out all wrong. You just think how pathetic, then he just looks away and never looks back at you again. Well hey, who cares, that's my motto. Well sleep tight Cheryl, sleep tight Miss Refinements, sleep tightPoetry Lady, sleep tight Mr Serious, maybe you'll feel better tomorrow.<Tomorrow at school>Jamie - Hey what's a cock ring, it sounds cool.Alex - How should I know, maybe it's a ring with a cock on it.Jamie - But hesaid he was wearing.<Mark approaches Paige>Mark - HiPaige - Hi.<Someone puts a tape on of Happy Harry Hardon's conversation with Deaver>Murdock - You know people this dancing is a privilege and it will be takenaway if it's abused, do you understand that?<Nora searches the school grounds for Mark and finds him reading on the stairs>Nora - Hi, got a stick of gum. Black Jack!... You really as horny as a ten peckerd house?.....Hi my names Nora, what's yours?Mark - Mark.Nora - Mark! Well hi Mark.Mark - Hi.Nora - Listen, I was gonna cut fourth period, do you wanna join me for a smoke in the arts clay room.Mark - Er, no, I can't, got to go,sorry.Nora - Sorry!<Staff room>Murdock - These dam tapes keep cropping up all over the place, they were playing this in the alcove.Mr. Moore - Who is this guy anyway, everyday there's more graffiti.Mr. Stern - Idon't know, but he's turning the school upside down.Jan - Has anybody seen Luis Chavez he wasn't in my class today.Mr. Stern - Mine either.<Murdock plays the tape of Happy Harry Hardon reading out Deaver's letterto Creswood. Creswood enters the staff room.>Creswood - Turn that off, I've got an announcement to make.<Mark's English class>Jan - I have some very upsetting news. Last night one of our students, Malcolm Kaisertook his own life, for those of you who knew him, there will be a memorial service at Dempsey hill on Friday. I know it hurts, it's painful to lose someone.<Mark collects his post from the postal centre, exits and starts toread the eat me beat me lady's letter>Mark (Reads silently) - \"You're the voice crying out in the wilderness, your the voice that makes my brain burn and make my guts go gooey. Yeah you gut me, my insides spill onyour alter and tell the future, my steaming gleaming guts spill out your nature. I know you, not your name, but your game. I know the true you, come to me or I'll come to you.\"<Nora appears from behind the busstop>Nora - So you are him! Don't worry I'm not going to bust you or anything... Aren't you going to ask who I am?Mark - I don't think so, no!Nora - I'm the eat me beat me lady!   So you don't believe me. \"I knowyou, not your name, but your game. I know the true you, come to me or I'll come to you.\"  Hey relax, I'm not really like that, except when I am.Mark - Look it's not your fault. I was listening last night. I didn't thinkhe'd go through with it.<The Hunter dining table>Marla - Mark,  we heard about Malcolm Kaiser, we know.Brian - We were just wondering if you knew him?Mark - No not really.Brian - Mark, I'm going to ask you"}
+{"doc_id":"doc_234","qid":"","text":"The Project Gutenberg EBook of Shadows in Zamboula, by Robert E. HowardThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-useit under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.org/licenseTitle: Shadows in ZamboulaAuthor: Robert E. HowardRelease Date: February 25, 2013 [EBook#42196]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK SHADOWS IN ZAMBOULA ***Produced by Greg Weeks, Mary Meehan and the OnlineDistributed Proofreading Team athttp://www.pgdp.net                          SHADOWS IN ZAMBOULA                          By Robert E. Howard    [Transcriber's Note: This etext was first published in Weird Tales    November 1935. Extensive research did notuncover any evidence that    the U.S. copyright on this publication was renewed.]1 A Drum Begins'Peril hides in the house of Aram Baksh!'The speaker's voice quivered with earnestness and his lean, black-nailedfingersclawed at Conan's mightily muscled arm as he croaked hiswarning. He was a wiry, sun-burnt man with a straggling black beard, andhis ragged garments proclaimed him a nomad. He looked smaller and meanerthanever in contrast to the giant Cimmerian with his black brows, broadchest, and powerful limbs. They stood in a corner of the Sword-Makers'Bazar, and on either side of them flowed past the many-tongued,many-coloredstream of the Zamboula streets, which is exotic, hybrid,flamboyant and clamorous.Conan pulled his eyes back from following a bold-eyed, red-lippedGhanara whose short skirt bared her brown thigh at each insolentstep,and frowned down at his importunate companion.'What do you mean by peril?' he demanded.The desert man glanced furtively over his shoulder before replying, andlowered his voice.'Who can say? But desert menand travelers _have_ slept in the house ofAram Baksh, and never been seen or heard of again. What became of them?_He_ swore they rose and went their way--and it is true that no citizenof the city has everdisappeared from his house. But no one saw thetravelers again, and men say that goods and equipment recognized astheirs have been seen in the bazars. If Aram did not sell them, afterdoing away with their owners,how came they here?''I have no goods,' growled the Cimmerian, touching the shagreen-boundhilt of the broadsword that hung at his hip. 'I have even sold myhorse.''But it is not always rich strangers who vanish bynight from the houseof Aram Baksh!' chattered the Zuagir. 'Nay, poor desert men have sleptthere--because his score is less than that of the other taverns--andhave been seen no more. Once a chief of the Zuagirswhose son had thusvanished complained to the satrap, Jungir Khan, who ordered the housesearched by soldiers.''And they found a cellar full of corpses?' asked Conan in good-humoredderision.'Nay! They found naught!And drove the chief from the city with threatsand curses! But--' he drew closer to Conan and shivered--'something elsewas found! At the edge of the desert, beyond the houses, there is aclump of palm trees, and withinthat grove there is a pit. And withinthat pit have been found human bones, charred and blackened! Not once,but many times!''Which proves what?' grunted the Cimmerian.'Aram Baksh is a demon! Nay, in this accursedcity which Stygians builtand which Hyrkanians rule--where white, brown and black folk mingletogether to produce hybrids of all unholy hues and breeds--who can tellwho is a man, and who a demon in disguise? AramBaksh is a demon in theform of a man! At night he assumes his true guise and carries his guestsoff into the desert where his fellow demons from the waste meet inconclave.''Why does he always carry off strangers?'asked Conan skeptically.'The people of the city would not suffer him to slay their people, butthey care naught for the strangers who fall into his hands. Conan, youare of the West, and know not the secrets of thisancient land. But,since the beginning of happenings, the demons of the desert haveworshipped Yog, the Lord of the Empty Abodes, with fire--fire thatdevours human victims.'Be warned! You have dwelt for many moonsin the tents of the Zuagirs,and you are our brother! Go not to the house of Aram Baksh!''Get out of sight!' Conan said suddenly. 'Yonder comes a squad of thecity-watch. If they see you they may remember a horse thatwas stolenfrom the satrap's stable--'The Zuagir gasped, and moved convulsively. He ducked between a booth anda stone horse-trough, pausing only long enough to chatter: 'Be warned,my brother! There are demons inthe house of Aram Baksh!' Then he darteddown a narrow alley and was gone.Conan shifted his broad sword-belt to his liking, and calmly returnedthe searching stares directed at him by the squad of watchmen astheyswung past. They eyed him curiously and suspiciously, for he was a manwho stood out even in such a motley throng as crowded the windingstreets of Zamboula. His blue eyes and alien features distinguishedhimfrom the Eastern swarms, and the straight sword at his hip added pointto the racial difference.The watchmen did not accost him, but swung on down the street, while thecrowd opened a lane for them. They werePelishtim, squat, hook-nosed,with blue-black beards sweeping their mailed breasts--mercenaries hiredfor work the ruling Turanians considered beneath themselves, and no lesshated by the mongrel population for thatreason.Conan glanced at the sun, just beginning to dip behind the flat-toppedhouses on the western side of the bazar, and hitching once more at hisbelt, moved off in the direction of Aram Baksh's tavern.With ahillman's stride he moved through the ever-shifting colors of thestreets, where the ragged tunics of whining beggars brushed against theermine-trimmed khalats of lordly merchants, and the pearl-sewn satin ofrichcourtezans. Giant black slaves slouched along, jostlingblue-bearded wanderers from the Shemitish cities, ragged nomads from thesurrounding deserts, traders and adventurers from all the lands of theEast.The nativepopulation was no less heterogenous. Here, centuries ago,the armies of Stygia had come, carving an empire out of the easterndesert. Zamboula was but a small trading-town then, lying amidst a ringof oases, andinhabited by descendants of nomads. The Stygians built itinto a city and settled it with their own people, and with Shemite andKushite slaves. The ceaseless caravans, threading the desert from eastto west and backagain, brought riches and more mingling of races. Thencame the conquering Turanians, riding out of the East to thrust back theboundaries of Stygia, and now for a generation Zamboula had been Turan'swesternmostoutpost, ruled by a Turanian satrap.The babel of a myriad tongues smote on the Cimmerian's ears as therestless pattern of the Zamboula streets weaved about him--cleft now andthen by a squad of clatteringhorsemen, the tall, supple warriors ofTuran, with dark hawk-faces, clinking metal and curved swords. Thethrong scampered from under their horses' hoofs, for they were the lordsof Zamboula. But tall, somber Stygians,standing back in the shadows,glowered darkly, remembering their ancient glories. The hybridpopulation cared little whether the king who controlled their destiniesdwelt in dark Khemi or gleaming Aghrapur. Jungir Khanruled Zamboula,and men whispered that Nafertari, the satrap's mistress, ruled JungirKhan; but the people went their way, flaunting their myriad colors inthe streets, bargaining, disputing, gambling, swilling, loving, asthepeople of Zamboula have done for all the centuries its towers andminarets have lifted over the sands of the Kharamun.Bronze lanterns, carved with leering dragons, had been lighted in thestreets before Conanreached the house of Aram Baksh. The tavern was thelast occupied house on the street, which ran west. A wide garden,enclosed by a wall, where date-palms grew thick, separated it from thehouses farther east. To thewest of the inn stood another grove ofpalms, through which the street, now become a road, wound out into thedesert. Across the road from the tavern stood a row of deserted huts,shaded by straggling palm trees, andoccupied only by bats and jackals.As Conan came down the road he wondered why the beggars, so plentiful inZamboula, had not appropriated these empty houses for sleeping quarters.The lights ceased some distancebehind him. Here were no lanterns,except the one hanging before the tavern gate: only the stars, the softdust of the road underfoot, and the rustle of the palm leaves in thedesert breeze.Aram's gate did not open uponthe road, but upon the alley which ranbetween the tavern and the garden of the date-palms. Conan jerkedlustily at the rope which depended from the bell beside the lantern,augmenting its clamor by hammering on theiron-bound teakwork gate withthe hilt of his sword. A wicket opened in the gate and a black facepeered through.'Open, blast you,' requested Conan. 'I'm a guest. I've paid Aram for aroom, and a room I'll have, byCrom!'The black craned his neck to stare into the starlit road behind Conan;but he opened the gate without comment, and closed it again behind theCimmerian, locking and bolting it. The wall was unusually high;butthere were many thieves in Zamboula, and a house on the edge of thedesert might have to be defended against a nocturnal nomad raid. Conanstrode through a garden where great pale blossoms nodded inthestarlight, and entered the tap-room, where a Stygian with the shavenhead of a student sat at a table brooding over nameless mysteries, andsome nondescripts wrangled over a game of dice in a corner.Aram Bakshcame forward, walking softly, a portly man, with a blackbeard that swept his breast, a jutting hook-nose, and small black eyeswhich were never still.'You wish food?' he asked. 'Drink?''I ate a joint of beef and a loaf ofbread in the _suk_,' grunted Conan.'Bring me a tankard of Ghazan wine--I've got just enough left to pay forit.' He tossed a copper coin on the wine-splashed board.'You did not win at the gaming-tables?''How could I,with only a handful of silver to begin with? I paid youfor the room this morning, because I knew I'd probably lose. I wanted tobe sure I had a roof over my head tonight. I notice nobody sleeps in thestreets in Zamboula.The very beggars hunt a niche they can barricadebefore dark. The city must be full of a particularly blood-thirsty brandof thieves.'He gulped the cheap wine with relish, and then followed Aram out of thetap-room.Behind him the players halted their game to stare after himwith a cryptic speculation in their eyes. They said nothing, but theStygian laughed, a ghastly laugh of inhuman cynicism and mockery. Theothers lowered theireyes uneasily, avoiding one another's glance. Thearts studied by a Stygian scholar are not calculated to make him sharethe feelings of a normal human being.Conan followed Aram down a corridor lighted by copperlamps, and it didnot please him to note his host's noiseless tread. Aram's feet were cladin soft slippers and the hallway was carpeted with thick Turanian rugs;but there was an unpleasant suggestion of stealthinessabout theZamboulan.At the end of the winding corridor Aram halted at a door, across which aheavy iron bar rested in powerful metal brackets. This Aram lifted andshowed the Cimmerian into a well-appointed chamber,the windows ofwhich, Conan instantly noted, were small and strongly set with twistedbars of iron, tastefully gilded. There were rugs on the floor, a couch,after the Eastern fashion, and ornately carved stools. It was amuchmore elaborate chamber than Conan could have procured for the pricenearer the center of the city--a fact that had first attracted him,when, that morning, he discovered how slim a purse his roisterings forthe pastfew days had left him. He had ridden into Zamboula from thedesert a week before.Aram had lighted a bronze lamp, and he now called Conan's attention tothe two doors. Both were provided with heavy bolts.'You maysleep safely tonight, Cimmerian,' said Aram, blinking over hisbushy beard from the inner doorway.Conan grunted and tossed his naked broadsword on the couch.'Your bolts and bars are strong; but I always sleep withsteel by myside.'Aram made no reply; he stood fingering his thick beard for a moment ashe stared at the grim weapon. Then silently he withdrew, closing thedoor behind him. Conan shot the bolt into place, crossed theroom,opened the opposite door and looked out. The room was on the side of thehouse that faced the road running west from the city. The door openedinto a small court that was enclosed by a wall of its own.Theend-walls, which shut it off from the rest of the tavern compound, werehigh and without entrances; but the wall that flanked the road was low,and there was no lock on the gate.Conan stood for a moment in thedoor, the glow of the bronze lamp behindhim, looking down the road to where it vanished among the dense palms.Their leaves rustled together in the faint breeze; beyond them lay thenaked desert. Far up the street, inthe other direction, lights gleamedand the noises of the city came faintly to him. Here was only starlight,the whispering of the palm leaves, and beyond that low wall, the dust ofthe road and the deserted huts thrustingtheir flat roofs against thelow stars. Somewhere beyond the palm groves a drum began.The garbled warnings of the Zuagir returned to him, seeming somehow lessfantastic than they had seemed in the crowded, sunlitstreets. Hewondered again at the riddle of those empty huts. Why did the beggarsshun them? He turned back into the chamber, shut the door and bolted it.The light began to flicker, and he investigated, swearing whenhe foundthe palm oil in the lamp was almost exhausted. He started to shout forAram, then shrugged his shoulders and blew out the light. In the softdarkness he stretched himself fully clad on the couch, his sinewyhandby instinct searching for and closing on the hilt of his broadsword.Glancing idly at the stars framed in the barred windows, with the murmurof the breeze through the palms in his ears, he sank into slumber withavague consciousness of the muttering drum, out on the desert--the lowrumble and mutter of a leather-covered drum, beaten with soft, rhythmicstrokes of an open black hand....2 The Night SkulkersIt was the stealthyopening of a door which awakened the Cimmerian. Hedid not awake as civilized men do, drowsy and drugged and stupid. Heawoke instantly, with a clear mind, recognizing the sound that hadinterrupted his sleep. Lyingthere tensely in the dark he saw the outerdoor slowly open. In a widening crack of starlit sky he saw framed agreat black bulk, broad, stooping shoulders and a misshapen head blockedout against the stars.Conan feltthe skin crawl between his shoulders. He had bolted that doorsecurely. How could it be opening now, save by supernatural agency? Andhow could a human being possess a head like that outlined against thestars? Allthe tales he had heard in the Zuagir tents of devils andgoblins came back to bead his flesh with clammy sweat. Now the monsterslid noiselessly into the room, with a crouching posture and a shamblinggait; and afamiliar scent assailed the Cimmerian's nostrils, but didnot reassure him, since Zuagir legendry represented demons as smellinglike that.Noiselessly Conan coiled his long legs under him; his naked sword was inhis righthand, and when he struck it was as suddenly and murderously asa tiger lunging out of the dark. Not even a demon could have avoidedthat catapulting charge. His sword met and clove through flesh and bone,andsomething went heavily to the floor with a strangling cry. Conancrouched in the dark above it, sword dripping in his hand. Devil orbeast or man, the thing was dead there on the floor. He sensed death asany wild thingsenses it. He glared through the half-open door into thestarlit court beyond. The gate stood open, but the court was empty.Conan shut the door but did not bolt it. Groping in the darkness hefound the lamp and lightedit. There was enough oil in it to burn for aminute or so. An instant later he was bending over the figure thatsprawled on the floor in a pool of blood.It was a gigantic black man, naked but for a loin-cloth. One handstillgrasped a knotty-headed bludgeon. The fellow's kinky wool was built upinto horn-like spindles with twigs and dried mud. This barbaric coiffurehad given the head its misshapen appearance in the starlight.Providedwith a clue to the riddle, Conan pushed back the thick red lips, andgrunted as he stared down at teeth filed to points.He understood now the mystery of the strangers who had disappeared fromthe house ofAram Baksh; the riddle of the black drum thrumming outthere beyond the palm groves, and of that pit of charred bones--that pitwhere strange meat might be roasted under the stars, while black beastssquatted aboutto glut a hideous hunger. The man on the floor was acannibal slave from Darfar.There were many of his kind in the city. Cannibalism was not toleratedopenly in Zamboula. But Conan knew now why people lockedthemselves inso securely at night, and why even beggars shunned the open alleys anddoorless ruins. He grunted in disgust as he visualized brutish blackshadows skulking up and down the nighted streets, seekinghumanprey--and such men as Aram Baksh to open the doors to them. Theinnkeeper was not a demon; he was worse. The slaves from Darfar werenotorious thieves; there was no doubt that some of their pilferedlootfound its way into the hands of Aram Baksh. And in return he sold themhuman flesh.Conan blew out the light, stepped to the door and opened it, and ran hishand over the ornaments on the outer side. One of themwas movable andworked the bolt inside. The room was a trap to catch human prey likerabbits. But this time instead of a rabbit it had caught a saber-toothedtiger.Conan returned to the other door, lifted the bolt andpressed againstit. It was immovable and he remembered the bolt on the other side. Aramwas taking no chances either with his victims or the men with whom hedealt. Buckling on his sword-belt, the Cimmerian strodeout into thecourt, closing the door behind him. He had no intention of delaying thesettlement of his reckoning with Aram Baksh. He wondered how many poordevils had been bludgeoned in their sleep and dragged out ofthat roomand down the road that ran through the shadowed palm groves to theroasting-pit.He halted in the court. The drum was still muttering, and he caught thereflection of a leaping red glare through the groves.Cannibalism wasmore than a perverted appetite with the black men of Darfar; it was anintegral element of their ghastly cult. The black vultures were alreadyin conclave. But whatever flesh filled their bellies that night,itwould not be his.To reach Aram Baksh he must climb one of the walls which separated thesmall enclosure from the main compound. They were high, meant to keepout the man-eaters; but Conan was no swamp-bredblack man; his thews hadbeen steeled in boyhood on the sheer cliffs of his native hills. He wasstanding at the foot of the nearer wall when a cry echoed under thetrees.In an instant Conan was crouching at the gate,glaring down the road.The sound had come from the shadows of the huts across the road. Heheard a frantic choking and gurgling such as might result from adesperate attempt to shriek, with a black hand fastened overthevictim's mouth. A close-knit clump of figures emerged from the shadowsbeyond the huts, and started down the road--three huge black mencarrying a slender, struggling figure between them. Conan caughttheglimmer of pale limbs writhing in the starlight, even as, with aconvulsive wrench, the captive slipped from the grasp of the brutalfingers and came flying up the road, a supple young woman, naked as theday she wasborn. Conan saw her plainly before she ran out of the roadand into the shadows between the huts. The blacks were at her heels, andback in the shadows the figures merged and an intolerable scream ofanguish andhorror rang out.Stirred to red rage by the ghoulishness of the episode, Conan racedacross the road.Neither victim nor abductors were aware of his presence until the softswish of the dust about his feet brought themabout, and then he wasalmost upon them, coming with the gusty fury of a hill wind. Two of theblacks turned to meet him, lifting their bludgeons. But they failed toestimate properly the speed at which he was coming.One of them wasdown, disemboweled, before he could strike, and wheeling cat-like, Conanevaded the stroke of the other's cudgel and lashed in a whistlingcounter-cut. The black's head flew into the air; the headlessbody tookthree staggering steps, spurting blood and clawing horribly at the airwith groping hands, and then slumped to the dust.The remaining cannibal gave back with a strangled yell, hurling hiscaptive from him. She"}
+{"doc_id":"doc_235","qid":"","text":"<html><head><title>Death to Smoochy Script at IMSDb.</title><meta name=\"description\" content=\"Death to Smoochy script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Death toSmoochy script, Death to Smoochy movie script, Death to Smoochy film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX,FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>DEATH TO SMOOCHY           by      Adam Resnick      December 2000       Early Draft<b>   FOR EDUCATIONAL</b><b>    PURPOSESONLY</b><b></b><b>BEGIN CREDITS</b><b>EXT. KIDNET STUDIO -C - EVENING</b>A man in a puffy foam-rubber rhinoceros costume dancingunder the bright friendly lights of a television studio.Another rhinoand various foam-rubber animals dancebehind him to the happy MUSIC. The rhino finishes hisnumber and takes a bow. A bleacher full of kids burstsinto wild applause.<b>INT. BACKSTAGE - MOMENTS LATER</b>Afterthe taping. The rhino lumbers down the hallwaytoward wardrobe. He is suddenly grabbed by two large menand dragged out through the exit into...<b>INT. DARK PARKING GARAGE</b>... where several   thugs inovercoats emerge from theshadows and start   beating him with lead pipes. One ofthe men pulls out   a GUN and SHOOTS the rhino severaltimes. The SHOTS    REVERBERATE through the empty garage.<b>FINALCREDIT:</b><b>                                       CUT TO BLACK:</b><b>SUPERIMPOSE:    ONE YEAR EARLIER</b><b>FADE UP ON:</b><b>INT. TELEVISION STUDIO - DAY</b>It's the taping of another children'sshow -- \"RainbowRandolph and the Krinkle Kids.\" RANDOLPH SMILEY, aclean-cut man with a happy face and yellow bow tie,dances through Rainbowland with the \"Krinkle Kids\"(little people in top hats). He sings one ofhissignature songs: \"Friends Come In All Sizes.\" One ofthe main Krinkle Kids -- ANGELO PIKE -- dances behindhim.<b>                         RANDOLPH</b>                 (singing)          'Friends come in allsizes          That's a fact! It's True!          All colors of the rainbow            from Mauve toBlue...<b>                  (MORE)</b><b>                                       (CONTINUED)</b><b></b><b>                                                      2.</b><b>CONTINUED:</b><b>                     RANDOLPH(CONT'D)</b>             Their names may not be different               and their shoes may not match             One might say 'grasp' while the               other says 'snatch'             Some like to toss whileothers             like to caaaaatch... Beeee-               caaaause...             Friends come in all sizes             Take it from me! Golly Gee! Size               never matters when you want some               friendlypatter             From a pal who is true and can               lift you when you're blue             You can count on him and he can               count on yoooouuuu!             It's true... that...                    (bigfinish)             Friends come in all sizes!'<b>                                       DISSOLVE TO:</b><b>MONTAGE - RAINBOW RANDOLPH MERCHANDISE</b>\"Sugar Rainbows Cereal,\" plastic toys lined up on storeshelves,kids playing with Randolph dolls, kids eating\"Rainbow Potato Chips\" and \"Rainbow Candies.\" A \"RainbowBurster,\" a kind of gun that shoots plastic rainbows.Marquees announcing upcoming live appearances, etc. Wegetthe picture. Rainbow Randolph is the king of thekid shows.<b>INT. DIMLY-LIT BAR - NIGHT</b>A suburban-looking HUSBAND and WIFE enter. They findRainbow Randolph sitting alone, drinking a Scotch. Hairslickedback, sans bow tie, the friendly face no longerlooks so friendly. He nods for them to sit down. Aftera nervous beat, the Husband puts a briefcase on the tableand slides it to Randolph. Randolph takes a gulp of hisScotch.He unsnaps the briefcase and opens it. Fivegrand stares him in the face.<b>                     HUSBAND</b>             So... uh... you'll make sure my             boy dances up front, right? Where             he'll get the mostcamera time?Randolph slams the briefcase shut, startling the couple.<b>                     RANDOLPH</b>             You want your kid on theshow?<b>                                       (CONTINUED)</b><b></b><b>                                                           3.</b><b>CONTINUED:</b><b>                     HUSBAND</b>             Of... ofcourse.<b>                     WIFE</b>             Yes, very much.<b>                     RANDOLPH</b>             Then don't tell me how to run my             fucking business.<b>                     HUSBAND</b>             No, no,we were just --Randolph rises. He takes a final gulp of his Scotch andpicks up the briefcase.<b>                     RANDOLPH</b>             I'll call you if a spot opens up.He starts to walk off. Suddenly, the Husband andWifejump up from the table holding guns.<b>                     HUSBAND</b>             Freeze, you cocksucker!<b>                     WIFE</b>             Drop the briefcase!Federal agents storm into the bar and surroundRandolph.<b>EXT. TIMES SQUARE - DAWN</b>Bundles of the morning editions are tossed onto the curbfrom passing trucks.   The various headlines blare:<b>\"RAINBOW RANDOLPH BUSTED ACCEPTINGBRIBE\"</b><b>\"FCC PROBES KID SHOW BIZ\"</b><b>\"CORRUPTION IN KRINKLELAND\"</b><b>INT. TELEVISION STUDIO - DAY</b>The Rainbow Randolph/Krinkle Kid set is being dismantled.Backdrops are rolledup and the giant rainbow centerpieceis wheeled off. Workers with push brooms sweep up tonsof glittery \"magic Rainbow dust.\"<b>INT. NETWORK BOARDROOM - KIDNET - DAY</b>We are TIGHT ON the sweating faceof a MAN who looks likehe's about to be executed.<b>                                                 CUT BACK TO:</b><b></b><b>                                                      4.</b><b>STOKES</b>is standing at the end of a longconference table as theNETWORK BRASS glares at him.<b>                        STOKES</b>             (addressing the brass)          Gentlemen, let me be the first to          say, in all sobriety, that I'm as          shocked andoutraged as all of --The network CEO, a hog of a man, cuts him off.<b>                  CEO</b>          Save it for the papers, Stokes.          We've got nervous sponsors and an          angry public -- acombination          uglier than two monkeys fucking.          What are you doing about it?<b>                  STOKES</b>          Well, sir, I'm currently in the          process of compiling a list of          viable replacementsand it's my          hope...<b>                  CEO</b>          Clean replacements?    With          background checks? I assure you,          Mr. Stokes, this network cannot          survive another RainbowRandolph.          The goddamn P.R. department looks          like the Jim Jones camp.Another EXECUTIVE chimes in.<b>                  EXECUTIVE #1</b>          Remember, Stokes, this was your          dog that crappedon our rug.<b>                        EXECUTIVE #2</b>          We trusted you, Frank. And now          we're in a tight spot. We have to          post our quarterly earnings next          month, for Christ'ssake.<b>                   CEO</b>          Whoever takes that slot has to be          a straight arrow. Clean as a          whistle.<b>                  EXECUTIVE #3</b>          Right. Someone who'll take the          heat off. Oneof those sweater          types. Any chance of luring Fred          Rogers away fromP.B.S.?<b>                                     (CONTINUED)</b><b></b><b>                                                      5.</b><b>CONTINUED:</b><b>                     EXECUTIVE #4</b>             Yeah, if we back up theBrinks             truck.<b>                           EXECUTIVE #1</b>             No way. The idea now is to stop             the hemorrhaging.<b>                           EXECUTIVE #2</b>             You better fix this, Stokes.Get             us a white bread replacement,             fast. Bland, milk toast. Not a             speck of controversy.A giant hand slams on the table. All heads snap.The CEO drags his fingers along the shinymahogany.Deafening sound.<b>                     CEO</b>                (calm and measured)             Squeaky fucking clean.<b>INT. STOKES' OFFICE - DAY</b>Stokes sits behind his mahogany desk, sipping a glassofwine as he goes over potential Randolph replacements withNORA BISHOP, his pretty protege.<b>                     STOKES</b>             Bumble Bee Billy?<b>                     NORA</b>                (reading from alist)             Wife beater.<b>                     STOKES</b>             Square Dance Danny?<b>                     NORA</b>             Still appealing the mailfraud             thing.<b>                     STOKES</b>             Skippy Black and the Tippy Trolls?<b>                     NORA</b>             Black was deported, and the             trolls... well, who gives a shit.Nora kicks thetable in frustration.<b>                                        (CONTINUED)</b><b></b><b>                                                          6.</b><b>CONTINUED:</b><b>                     NORA</b>             This is impossible. If Iever see             that Rainbow Randolph again I'll             strangle him. Choke the life out             of him. Squeeze his scrawny neck             until his eyes pop out of his             skull and bounce off thewalls...<b>                     STOKES</b>             Before indulging such cheery             fantasies, let's just concentrate             on saving my job. Shall we?<b>                     NORA</b>             Sorry, Frank.Stokesflips through a thick stack of files.      He suddenlystops at one.<b>                     STOKES</b>             What's going on with Sheldon Mopes             these days.Nora laughs.<b>                     NORA</b>             Ohmy God. Have we sunk to that             level already? Smoochy the Rhino?             What a sap.<b>                     STOKES</b>             Sap's just the pill we need right             now. Mopes is a straightarrow.             Always has been.<b>                     NORA</b>             The guy can't get arrested, Frank.             He can't even break into the             birthday party circuit. Last I             heard he was workinghospitals and             nursing homes. He's a joke.Stokes stands up and walks around the room.<b>                     STOKES</b>             The truth of the matter is, a             successful children's showhas             always depended on two simple             elements: a fuzzy costume and a             lot of hype. Strip away the foam             rubber and the network money and             they're all jokes.Marginal             talents.. cabaret acts... off-             Broadwayrunoff...<b>                                       (CONTINUED)</b><b></b><b>                                                     7.</b><b>CONTINUED:</b><b>                     NORA</b>             I probably have ten acts inmy             development file -- acts I've been             cultivating -- that are more             deserving than Sheldon Mopes.<b>                     STOKES</b>             And each one a moral question             mark.Something I can't risk at             the moment.<b>                     NORA</b>                (frustrated)             We can do better than this guy,             Frank. He brings nothing tothe             table.<b>                     STOKES</b>             Except ethics. With Mopes,             there's never been a whiff of             controversy. The man's an             ethical, harmless, cornball. In             short, a"}
+{"doc_id":"doc_236","qid":"","text":"<html><head><title>Synecdoche, New York Script at IMSDb.</title><meta name=\"description\" content=\"Synecdoche, New York script at the Internet Movie Script Database.\"><meta name=\"keywords\"content=\"Synecdoche, New York script, Synecdoche, New York movie script, Synecdoche, New York film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><metaname=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttypeCONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ?'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie ScriptDatabase\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <scripttype=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                          SYNECDOCHE, NEW YORK</b>                               Written by                            CharlieKaufman<b>          </b><b>          </b><b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007.</b><b>          A1INT. CADEN AND ADELE'S BEDROOM - FALL 2005 - MORNING A1</b>          Darkness. Thesound of a radio and pots and pans clanging          fades in. Caden, 40, opens his eyes in bed, and groggily          looks at himself in the bureau mirror. The bedside clock          reads 7:45.<b>          1 INT. CADEN ANDADELE'S KITCHEN - FALL 2005 - SAME1</b>          Adele, 40, in t-shirt and sweats, mixes a bowl of instant          oatmeal, puts it in the microwave.<b>          RADIO VOICE</b>          ... a Labor Day luncheon today--<b>          OLIVE (O.S.) RADIO VOICE</b>          Mommy! Done! -- at Stuckey Hall --<b>          ADELERADIO VOICE</b>          Okay!-- in downtown Schenectady --          Adele leaves the kitchen. Caden, also 40,enters as she's          leaving. He's dressed in a ratty terrycloth robe.<b>          CADENADELE</b>          Morning. Morning. Tried not to wake          you.<b>          CADEN</b>          Thanks. You didn't. I was just--          As Caden's voice goes under, we follow Adele into --<b>          2 INT. CADEN AND ADELE'S BATHROOM - FALL 2005 - CONTINUOUS 2</b>          Olive, 4, sits on the toilet. Adele enters, rips sometoilet          paper off the roll and proceeds to wipe Olive. The phone          rings in the kitchen.<b>          ADELECADEN (O.S.)</b>          Caden, could you get that? It's Maria. I don't wantto.<b>          ADELE</b>          Ugh. Caden!          (looks at bright green          smear on toilet paper)          That's weird.          The phone stops ringing.<b>          OLIVE</b>          Is something wrong with mypoop?<b>          (CONTINUED)</b><b>          </b><b>          </b><b>          </b><b>          </b><b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007.</b><b>          2 CONTINUED:2</b><b>          ADELEMARIA'S VOICE</b>          No, honey. It's just green.Hi, it's me. Where are you?          Maybe you ate somethingI'll try you on your cell.          green.<b>          OLIVE (CONT'D)</b>          Ididn't! What's wrong with me?!          A cellphone rings in the other room.<b>          ADELE</b>          Honey, I have to get this. You're          going to be fine.<b>          OLIVE</b>          But, Mommy --          Adeleruns into --<b>          3 INT. CADEN AND ADELE'S KITCHEN - FALL 2005 - CONTINUOUS3</b>          She rifles through her purse, grabs her cellphone,answers.<b>          ADELE</b>          Hey.<b>          (LAUGHING)</b>          Oh, wiping Olive's ass. You?          Caden is pouring himself a cup of coffee. He sips it and          stares out the window. It'sraining.<b>          ADELE (CONT'D)</b>          You're kidding! Holy fuck!          Caden exits with his coffee, annoyed about the phone call.<b>          CADEN</b>          I don't feel well.<b>          4 INT. CADEN ANDADELE'S BATHROOM - FALL 2005 - CONTINUOUS 4</b>          Caden passes the bathroom. Olive is staring into the toilet          bowl. Adele can be heard chatting in thebackground.<b>          OLIVE</b>          Daddy, my poop is green.          Caden enters the bathroom, looks into the bowl at the green          feces and smeared toilet paper. He seems freaked out.<b>          OLIVE(CONT'D)</b>          Am I going to be okay?<b>          (CONTINUED)</b><b>          </b><b>          </b><b>          </b><b>          </b><b>           SYN, NY - GOLDENROD REVISIONS - JULY 30,20073.</b><b>          4CONTINUED: 4</b><b>          CADEN</b>          Of course, honey.<b>          OLIVE</b>          Did you have green poop when you          were little?<b>          CADENOLIVE</b>          I'msure I did, honey. Am I going to die?<b>          CADENOLIVE</b>          Of course not. You probablyI didn't! I didn't eat          ate something -- green!<b>          CADEN</b>          It'll be fine, sweetie. I'llbe          back in a minute.<b>          OLIVE (O.C.)</b><b>          (CALLING)</b>          Is poop alive?<b>          5EXT. CADEN AND ADELE'S HOUSE - FALL 2005 - MORNING 5</b>          Caden steps out the frontdoor in his bare feet and hurries          down the driveway in the rain. He picks up the newspaper,          pulls the mail from the box. As he heads back inside, he          flips through the mail. There's a magazine calledAttending          to your Illness addressed to Caden. A diseased person on the          cover. Across the street a gaunt man watches Caden, unseen.<b>          6INT. CADEN AND ADELE'S KITCHEN - FALL 2005 -MORNING 6</b>          Caden sits at the kitchen table with his coffee, reading the          paper, dated Friday, October 14, 2005.<b>          ADELE</b>          All right, baby. See you then.          Adele clicks off hercellphone.<b>          CADEN</b>          Harold Pinter died!<b>          ADELECADEN</b>          Yeah? Huh. Well, he wasOh wait. He won the Nobel          old, right?Prize. Good for him.<b>          OLIVE(O.S.)</b>          Mom!<b>          (CONTINUED)</b><b>          </b><b>          </b><b>          </b><b>          </b><b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 4.</b><b>          6CONTINUED:6</b><b>          ADELE OLIVE (O.S.)</b>          What?!Do you need to come look at          my poop again?!<b>          ADELE OLIVE (O.S.)</b>          No, Olive, it's fine. JustWhat if it's alive? Whatif          flush.I kill it? It's green! Like          plants!<b>          ADELE CADEN</b>          It's not alive, honey.God, remember that production          of The Dumbwaiter I did at          Albanyfest?          The toilet isflushed.<b>          OLIVE (O.S.) (CONT'D)</b>          Everything's alive. Everything          grows big. That's how you know.          Olive enters.<b>          ADELE</b>          I have your oatmeal,honey.<b>          OLIVE</b>          I want peanut butter and jelly.<b>          ADELE OLIVE</b>          Olive, c'mon. You told me I don't want oatmeal.          oatmeal. This isn't a          restaurant.          Adele growls,grabs the oatmeal, dumps it in the sink.<b>          OLIVE (CONT'D)CADEN</b>          Sorry, Mommy! I'm sorry!(looking at paper)          They found Avian flu in          Turkey. In the country          Turkey not turkeys.It's in          chickens.          Adele is making a peanut butter sandwich for Olive.<b>          OLIVE (CONT'D)</b>          Can I watch TV till school?          Caden clicks the remote for Olive and goes back to hispaper.          A cartoon cow talks to a cartoon sheep.<b>          (CONTINUED)</b><b>          </b><b>          </b><b>          </b><b>          </b><b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 20075.</b><b>          6 CONTINUED: (2)6</b><b>          COW</b>          There is a secret, something at          play under the surface, growing          like an invisible virus of thought.          The sheep nods. Caden pourshimself some more coffee, opens          the milk carton to pour some in, then sniffs at the spout.          He checks the date on the carton. It's October 20.<b>          CADEN COW</b>          Man. Milk's expired. Jesus.But you are being changed by          it. Second by second. Every          breath counts off time.          Caden goes back to his paper. Adele puts a peanut butter          sandwich in front ofOlive.<b>          ADELE</b>          Here. Now you better eat this.<b>          OLIVE CADEN</b>          I will. The first black graduate of          the University of Alabama          died. Vivian Malone Jones.          Stroke.Only 63.          Adele stares out the window at the rain.<b>          7 INT. DENTIST'S OFFICE - FALL 2005 - DAY 7</b>          Caden is in the dentist's chair, a bloody bib around his          neck. The dentist, in surgicalmask, probes his open mouth,          calls out numbers to an assistant, who records them.<b>          DENTIST</b><b>          2, 2, 1.3, 4, 2.3, 4, 4.</b>          (to Caden)          Family coming forThanksgiving?<b>          8 INT. CADEN AND ADELE'S BATHROOM - WINTER 2005 - NIGHT 8</b>          Caden shaves. A faucet explodes and smacks him in the          forehead. He is sent staggering backwards with ayelp, into          the far wall, his razor flying and blood pouring from a          jagged cut above his right eyebrow. Off-screen, we hear the          pounding footsteps of someone running toward us. Half of          Caden'sface is covered with shaving cream. Rivulets of          blood intermingle with it. Water shoots out where the tap          was, spraying the mirror, which is spattered with blood.          Adele, dressed in heavilypaint-splattered clothes, hurries          in and takes in the scene: the wet, the mess, the blood.<b>          (CONTINUED)</b><b>          </b><b>          </b><b>          </b><b>          </b><b>           SYN, NY -GOLDENROD REVISIONS - JULY 30, 2007 6.</b><b>          8CONTINUED:8</b><b>          ADELE</b>          Jesus! Caden! What the fuck -- ?!          Olive, in a nightgown, stands quietly in the doorway,her          curled toes clenched. She holds a large stuffed owl.<b>          CADENADELE</b>          Um. I was shaving and -- My God! Jesus! Look at your          head!          Dumbly, Caden tries to look up at hisforehead, then squints          nervously at himself in the mirror.<b>          ADELE (CONT'D)</b>          (to Olive)          Honey, don't look.          Olive turns around.<b>          ADELE (CONT'D)</b>          Put pressure.Press. Press!<b>          CADEN</b>          Do I press above or below it?<b>          ADELE</b>          I don't know! Just... both!          Caden sits on the toilet, presses a towel to his head. Adele          squats, goes intoa spasmodic coughing fit, finishes, opens          the cabinet under the sink, pushes her arm through bottles of          cleaning products, old sponges, old toothbrushes, toilet          paper rolls and other junk to theshut-off valves.<b>          ADELE (CONT'D)</b>          I can't turn it! It's gonna flood!          Olive hugs the owl tightly and it speaks.<b>          OWLADELE</b>          Whooo. Whooo. Whooo areI can't -- Oh wait, gotit!          you?          Adele turns off the water. Olive looks back into the room.<b>          OLIVE</b>          Mommy, Daddy has blood.<b>          9INT. EXAMINATION ROOM - WINTER 2005 - NIGHT9</b>          Caden sits on a metal table. The room has some meager          Christmas ornaments. A doctor stitches Caden'sforehead.<b>          (CONTINUED)</b><b>          </b><b>          </b><b>          </b><b>          </b><b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 7.</b><b>          9CONTINUED:9</b>          Caden squints into the bright light the doctor uses to see          his work. In the background we hear another patient.<b>          PATIENT (O.S.)</b><b>          (CRYING)</b>          Please,please, please...          Caden sees a nurse shoving a tube far up into a man's nose.          Another nurse wipes away the blood leaking out his nostril.<b>          CADEN</b>          Will there be a"}
+{"doc_id":"doc_237","qid":"","text":"<html><head><title>Bad Teacher Script at IMSDb.</title><meta name=\"description\" content=\"Bad Teacher script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Bad Teacher script, BadTeacher movie script, Bad Teacher film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\"rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                                  BAD TEACHER</b>                                  Written by                        Lee Eisenberg & GeneStupnitsky                                                    June 6, 2008                         <b>                         FADE IN:</b><b>          EXT. JOHN ADAMS MIDDLE SCHOOL - DAY</b>          To establish.          A school marqueewith removable plastic letters reads,          \"GOOD LUCK WITH FINALS!\" A JANITOR opens the glass and          starts removing the letters.<b>          INT. TEACHER'S LOUNGE - DAY</b>          POP! A Champagne corkhits the ceiling.          TEACHERS who rarely get to drink at work, jockey for          position, holding out their plastic flutes. (Note:          female teachers outnumber male teachers 12:1.)          PRINCIPAL WALLY SNUR,40s, balding, faces the teachers.          He has a habit of blinking hard before speaking.<b>                         PRINCIPAL SNUR</b>          Well, it's been another great year here          at JAMS. Who can forget Mr.Pinkus'          haunted classroom? Sandy, thank you.          SANDY PINKUS, 40s, sporting a ponytail, smiles, clearly          enjoying the small compliment.<b>                         SANDY</b>          I ain't afraid of noghost.          The other teachers laugh.<b>                         PRINCIPAL SNUR</b>          Or the wild success of...<b>          VOICE (O.C.)</b>          Wally, can I just say one quick thing?          Wally turns to AMYSQUIRREL, late 20s, cute and          wholesome. Any trace of sexuality she might have is          wiped away by her adult pigtails. She treats students          and adults alike -- likestudents.<b>                         AMY</b>          Just wanted to remind everyone the school          day's not over. So let's keep the          drinking under control, hmm? That's it.          Back to you, Wally.          A bunchof teacher roll their eyes.                                                                                                    <b>                         PRINCIPAL SNUR</b>          Thanks, Amy,          (then, back to his notes)          . Or the wildsuccess of the book drive          for the women's prison sponsored by Ms.          Savicki's class?          A broad-shouldered teacher with spiky hair, MS. SAVICKI, nods.<b>          PRINCIPAL SNUR(CONT'D)</b>          But now as the summer is upon us, it's          time to not only say goodbye to another          school year, but to also say goodbye to a          member of ourfaculty.<b>                         (BEAT)</b>          Elizabeth, can you come up here?          ELIZABETH HALSEY, mid 20s, pretty and petite, walks up to          the front. She sports an enormous diamond ring anddresses          slightly more cosmopolitan than the other teachers.<b>          PRINCIPAL SNUR (CONT'D)</b>          You've only been with us for one short          year, but know that you'll always be a          part of theJAMS family.          Elizabeth gives Principal Snur an appreciative smile.          The Teachers lightly applaud.<b>          PRINCIPAL SNUR (CONT'D)</b>          And we got you a little something.          Wally handsElizabeth an envelope. She opens it and.          pulls out a gift card: BOSTON MARKET. $37.<b>                         ELIZABETH</b>          Almost forty dollars. Thank you!<b>                         PRINCIPALSNUR</b>          Why don't you say a couple words?<b>                         ELIZABETH</b>          Okay. Um... I'm not really good at this          type of thing so I'll make it quick. I          know I've only been here ayear, but          there's so much I'm going to miss...<b>          INT. ELIZABETH'S CLASSROOM - DAY</b>          Elizabeth sits at her desk, cleaning it out. She's tossing          the few personal effects she has into abanker's box.                                                                                                    <b>          3.</b><b>          ELIZABETH (V.0.)</b>          My students, probably most of all.I'm not          saying they were littleangels, butthey          were all there to learn and that'sthe          greatest gift a student can give a teacher.          Elizabeth's class is horsing around, enjoying the last          days of seventh grade.          A dim-lookingBOY tentatively approaches her desk with          his yearbook in hand. He hands it to Elizabeth, who          considers what to write for a beat, then smiles as she          signs it.<b>          INT. JOHN ADAMS MIDDLESCHOOL - HALLWAY - DAY</b>          Elizabeth walks down the hall holding her box.          SIXTH, SEVENTH and EIGHTH graders all race past her,          running toward their summer vacation.<b>          ELIZABETH(V.0.)</b>          And I wish that I had gotten to know all of          you better, but between four classes and          planning a wedding, I had my hands full.          From the little I do know about you, I know          thatour students are in good hands.          Elizabeth passes Amy's classroom, where she is carefully          removing inspirational posters from her walls and rolling          them into cardboard tubes.<b>          EXT. JOHNADAMS MIDDLE SCHOOL - DAY</b>          Three middle school BURNOUTS are smoking weed in a          thicket on the outskirts of the school property.<b>          ELIZABETH (V.0.)</b>          And I can't believe it's allover. This          year flew by. And even though I'll never          teach again professionally, I've realized          that I don't need a blackboard and          classroom to set an example.          Elizabeth comes up behindthem.<b>                         ELIZABETH (CONT'D)</b>          Hand it over.          The Burnouts' eyes all go wide and they freeze. One of          the burnouts hands her thejoint.                                                                                                    <b>                         ELIZABETH (CONT'D)</b>          Everything.          The kids look at each other and then pull out a bag with          acouple of joints. They hand it over to Elizabeth.<b>                         ELIZABETH (CONT'D)</b>          This was a warning. Next time, I don't          call the principal. I call the cops.<b>          EXT. JOHN ADAMSMIDDLE SCHOOL - TEACHER PARKING LOT - DAY</b>          Elizabeth walks to her brand new MERCEDES. She gets in,          pulls out a joint and lights it. She takes a huge TOKE,          and then PEELS out of the lot.She tosses her banker's          box out the window and extends her hand, giving the          school THE FINGER.<b>          ELIZABETH (O.S.)</b>          Woo-hoo!          A couple students look at herstrangely.<b>                         ANGLE ON</b>          The dim-looking kid that had Elizabeth sign his yearbook.          He flips to the faculty section, and by the picture of          Elizabeth is her message: \"YOU AREILLITERATE!\"<b>                         DIM-LOOKING KID</b>          (struggling to read)          You are... Illit... Illit...          Elizabeth's car comes barrelling toward him and nearly          hits him.          She acceleratesinto the speed bumps, almost hitting the          JANITOR from the opening shot, who's changing the plastic          letters to read, \"HAVE A GREAT SUMMER!\"<b>                         JANITOR</b>          Slowdown!<b>          CHYRON: BAD TEACHER</b><b>          EXT. TOWNHOUSE NIGHT</b>          A Mercedes with the vanity plate \"HIS\" is parked in the          driveway of an upscale neighborhood. Elizabeth'smatching          Mercedes pulls into the adjacent spot. Her license plate          reads \"HERS.\"                                                                                                    <b>          INT. TOWNHOUSE - NIGHT</b>          Abachelor pad. Top of the line electronics. Lots of          black leather furniture. Tacky, but expensive.          Elizabeth pours two glasses of wine and takes a longsip.<b>                         ELIZABETH</b><b>                         (CALLING)</b>          Baby Doll?<b>          MARK (O.S.)</b>          Coming!          MARK, early 30s, exits the bedroom in his underwear.          He'sshaved his head to avoid signs of early balding and          is also a full four inches shorter than Elizabeth.          Thankfully for him, he has money.<b>                         MARK(CONT'D)</b><b>                         (ANXIOUS)</b>          Hey! That was a quick party.          Elizabeth kisses Mark on the top of his head and hands          him aglass.<b>                         ELIZABETH</b>          Yeah. You should have seen it. What a          joke.          She raises her glass for a toast. He raises his.<b>                         ELIZABETH (CONT'D)</b>          Here'sto me never having to work again.          And I owe it all to you, Lover.          Elizabeth takes a big sip.<b>                         ELIZABETH (CONT'D)</b><b>                         (FLIRTATIOUS)</b>          So I made areservation at Ruth's Chris,          and then I booked us a suite at the          Drake, and I thought we could finish the          night in \"anal alley.\" Hmm?          Something drops in the bedroom. Mark, alarmed,turns          towards the door. Elizabeth brushes past him into --<b>          INT. TOWNHOUSE - BEDROOM - CONTINUOUS</b>          Elizabeth enters to find -- NOTHING. Mark follows herin.                                                                                                              Elizabeth looks around -- under the bed, in the closet,          behind the door.<b>                         MARK</b>          See?Nothing.          Just then, the wooden chest at the foot of the bed SNEEZES.          Elizabeth opens the latch to find SHEILA, 23, dressed only          in a thong, scrunched in the fetal position. She stands,          revealingLARGE FAKE BREASTS, and steps out of the chest.<b>                         ELIZABETH</b><b>                         (TO MARK)</b>          Motherfucker!<b>                         ELIZABETH</b>          How could you do this tome?!          I'm sorry.<b>                         ELIZABETH</b>          You are buying me the biggest pair of          yellow diamond earrings they make! I'm          talking serious blood diamonds.          Sheila SNEEZESagain.          Bless you.<b>                         ELIZABETH</b><b>                         (TO SHEILA)</b>          Get out of my house, bitch!<b>                         MARK</b>          Don't talk to her likethat.<b>                         ELIZABETH</b>          Excuse me?          I love her.          Mark puts his arm around Sheila. Elizabeth eyes Sheila's          large breasts.<b>                         ELIZABETH</b>          You loveher? She's a hooker.                                                                                                    <b>                         MARK SHEILA</b>          She's not a hooker. I dance.          Elizabeth takes a deepbreath.<b>                         ELIZABETH (CONT'D)</b><b>                         (SWEET)</b>          Listen, Marky, you made a mistake.          You're human. I'm human. And this time          it was you. Maybe sixmonths from now,          you'll walk in on me. I don't know, but          probably.          Sheila SNEEZES again.<b>                         ELIZABETH (CONT'D)</b>          Shut the fuck up.          (then, to Mark,sweet)          And. maybe I'm talking crazy, but I don't          want to throw away our life together over          something like this. We're getting          married! I'm willing to fight forus.<b>                         MARK</b>          I'm not. And you know why? Because          Sheila loves me -- and not just for my          money.          Sheila squeezes his"}
+{"doc_id":"doc_238","qid":"","text":"<html><head><title>Sessions, The Script at IMSDb.</title><meta name=\"description\" content=\"Sessions, The script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Sessions, The script,Sessions, The movie script, Sessions, The film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\"rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                           THE SESSIONS</b>                     (formerly The Surrogate)                            Written by                            BenLewin                                             Based On A True Story<b>    EXT.   BERKELEY, CALIFORNIA.   DAY</b><b>1                                                                 1</b>    SUBTITLE Berkeley, California-1981-<b>    DISSOLVE TO ACTUAL TV NEWS FOOTAGE FROM 1981</b>    A busy intersection near the UC Berkeley campus. A strange,    self-propelled motorized gurney whirrs into view and makes    its way over apedestrian crosswalk. The passenger, MARK    O'BRIEN, in his early 30s, is visible only from the neck up.    The rest of him is covered by a blanket. He operates the    gurney with a mouth control and a set of mirrorspositioned    around his head.<b>                          NEWS REPORTER (V.O.)</b>               Mark O'Brien has been going to UC               Berkeley since 1978. That's O'Brien               in the motorized gurney headingfor               class last week.    The gurney continues along a leafy promenade on the campus.    Passers-by just go about their normal business.<b>                         NEWS REPORTER (V.O.)</b>               He hadpolio when he was 6 years               old. The disease left his body               crippled but his mind remained               sharp and alert, and since he               wanted to be a writer, Mark O'Brien               entered Cal tomajor in English and               learn his trade.    We hear a voice reciting a verse of poetry as we follow Mark    in his contraption.<b>                          MARK (V.O.)</b>               Graduation               Today I hearthe crowd's applause               Receive congratulations from my               friends               Today I ask if I've found a place               among the rest               I hope you see a man uponthis               stage               Who studied...read..wrote, and               passed the test               In cap and gown, diploma on my               chair    THE SCENE CHANGES to the interior of a large auditorium.A    graduation ceremony is in progress.  Suddenly, everyone in    the hall, GRADUATES, their FAMILIES, ACADEMICS and OTHERS,    rise to their feet as Mark, in his gurney, buzzes across the    stage, a mortar boardhung on one of the handles.<b>                 1A.</b><b>          NEWS REPORTER (V.O.)</b>And so, Mark O'Brien graduates fromCal, one of 250 English majors toreceive degreestoday.<b>                                            2.</b>     The DEAN steps forward, congratulates Mark and places a     diploma on his blanket. The gurney makes its way across the     rest of the stage to thunderousapplause.     THE SCENE CHANGES BACK to the campus exterior. The news     reporter talks to camera.<b>                           NEWS REPORTER</b>                If this report tells us anything,                it is that adisability is not                necessarily a handicap.     In the background, Mark's family and friends are gathered     round him in a jubilant mood.<b>                           NEWS REPORTER (CONT'D)</b>                MarkO'Brien teaches us that                courage and perseverance overcome                obstacles.                With Mark O'Brien at UC Berkeley,                Bill Hillman, Channel Five                Eyewitness News.<b>     END OFNEWS FOOTAGE</b><b>1A   EXT. SAN FRANCISCO. NIGHT                                    1A</b>     Classic shot of the illuminated Golden Gate Bridge.<b>     SUPER CAPTION: \"A FEW YEARSLATER\"</b><b>     EXT.   STREET OUTSIDE MARK'S.    NIGHT</b><b>2                                                                     2</b>     It is about 4.00 a.m. All is quiet. We follow a mean-looking     alley cat to the front ofa modest, ground-floor apartment.     It pauses, then slinks round the side, onto a ledge and in     through a partially-opened window.<b>     INT.    MARK'SPLACE.    NIGHT</b><b>3                                                                     3</b>     The cat comes through the window, hops onto the floor and     quickly finds a nice little plate of food scraps that has     been set outspecially. As it settles down to its meal, we     become aware of a heavy and regular sound, like a ship's     pump, coming from somewhere close-by.     In the center of the room is an object that looks like aprop     from a `50s sci-fi movie. A human head protrudes from one     end. The object is an iron lung, and its purpose is to keep     its occupant, Mark O'Brien, breathing. Every 4.5 seconds, the     pump mechanismcreates a vacuum inside, forcing Mark's chest     to expand and suck in air. He is fast asleep.<b>                                   2A.</b><b>                     MARK (V.O.)</b>          Breathing          Look you          This mostexcellent canopy, the          air,          Presses down upon me          At 15 pounds per square inch          A dense, heavy, blue-glowing ocean.          Teasing me with its nearness and          immensity.          And all Iget is a thin stream of          it.          A finger's width of the rope that          ties me to life.Having now eaten its fill, the cat has a good scratch, thenwanders over to the ironlung.<b>                                        3.</b>    It hops up onto the small platform that supports Mark's head    and slides itself along his face, once this way, once the    other way, then jumps on top of the iron lung andwalks its    length. Through the portholes, we just make out the shape of    Mark's bent, undersize body.  Suddenly, Mark's nose twitches.    He opens his eyes andgrimaces.<b>                           MARK</b>              Shit!    His face continues to contort as he tries to cope with the    terrible itching.  He shakes his head violently, then stops    suddenly and closes his eyes. We hearhis thoughts.<b>                        MARK (V.O.) (CONT'D)</b>              Okay, just focus. Now, scratch              with your mind, okay, your mind,              scratch with your mind...    After a couple more nose twitches,he settles down. It seems    to have worked. In his peripheral vision, Mark can see the    cat making itself comfortable in a corner chair, one of the    only other pieces of furniture in the room. The first hints    of dawnstart to appear through the curtains. They    illuminate a large framed portrait of the Virgin Mary hanging    on the wall.   Mark acknowledges it.<b>                        MARK (CONT'D)</b>              Goodmorning.    Sunlight streams in, making the picture look truly sacred.<b>    EXT.   MARK'S PLACE.    DAY</b><b>4                                                                 4</b>    JOAN, a solid but slovenly woman in her late30s, walks up to    Mark's front door, takes a key from her purse and lets    herself in.<b>    INT.   MARK'S PLACE.    DAY</b><b>5                                                                 5</b>    She comesin.<b>                        JOAN</b>              Good morning.    Mark does not immediately acknowledge her.<b>                        MARK</b>              You're late.<b>    A LITTLE LATER</b>    The center of the ironlung, basically a thin mattress, has    been slid out, and Joan is in the process of giving Mark a    bed bath. He is frail and helpless.<b>                                        4.</b>    There is a look of resentment in his eyes asthis apparently    unfeeling woman exercises total control over him, at least    temporarily.<b>                        MARK (V.O.)</b>              Joan              I swear this was one crazy bitch              Who'd swing me aboutenough to              scare me,              But careful enough so she could              say:              \"Now what was all the yelling              about? You polios are screamers.              Always were.\"              I didn't say aword, but typed my              skinny novel in my head,              And thought about revenge.    In the course of washing his private parts, Mark has an    involuntary erection. Joan gives him a shriveling look. He    feelsbelittled and humiliated.<b>    A LITTLE LATER</b>    Mark is on his side, his trousers are on and she is buttoning    up a bright red shirt. It is an awkward business. They do it    in silence, avoiding eye contact asmuch as possible.<b>    EXT. STREET OUTSIDE MARK'S PLACE.     DAY</b><b>6                                                                 6</b>    Joan pushes Mark along in a gurney, similar, but slightly    different from the onein the news clip. There are no mirrors    and no motor, just an oxygen tank, a tube and a mouthpiece    just next to Mark's mouth. Most of him is covered with a    colorful blanket. The whole thing is a sports-coupeversion    of his iron lung.<b>                        JOAN</b>              Would you mind if I asked you a              favor?<b>                        MARK</b>              You need help moving furniture?    She has no apparentsense of humor.<b>                        JOAN</b>              I need an advance on my pay, like              two weeks. That's not a big ask, is              it?    Mark looks rightfullyshocked.<b>                        MARK</b>              What if you don't last another two              weeks?<b>                                      4A.</b>He gives her a look, and means it. We hear histhoughts.<b>                     MARK (V.O.) (CONT'D)</b>          Joan never failed to put me in a          crappy mood. It was also a drag          that I was no longer allowed to use          my other gurney, theself-propelled          one. It had caused a couple of          spectacular accidents.They turn a corner and approach a church.<b>                                        5.</b><b>                           MARK (V.O.)(CONT'D)</b>                Basically, in spite of all the                mirrors, I couldn't see where I was                going.<b>6A   EXT. CATHOLIC CHURCH.     DAY                            6A</b>     Joan pushes Mark's gurneyinto the sanctuary.<b>     INT.   CATHOLIC CHURCH.    DAY</b><b>7                                                                 7</b>     FATHER BRENDAN is giving a sermon. Mark listens with     satisfaction. There are not manyothers there.<b>                           FATHER BRENDAN</b>                The Apostle Luke tells us that when                Elizabeth spoke to Mary, the baby                in her womb leapt - \"For lo, as                soon as thevoice of thy salutation                sounded in mine ears, the babe                leaped in my womb for joy\". So                Mary's fear and apprehension slowly                gave way to pride and purpose.                Elizabethsaw the greatness in                Mary. \"Blessed art thou among                women\". Elizabeth, pregnant herself                with St. John, felt the power of                this wondrous woman. It was                Elizabeth, andher absolute faith,                that gave Mary the courage she was                lacking, and she gave thanks                saying: \"My soul doth magnify the                Lord, and my spirit hath rejoiced                in God mySaviour\".                May the spirit of the Lord be                amongst you and remain with you                always.     Mass is over. PEOPLE come up to Mark and place a hand on his     head or chest and say, \"God blessyou.\" In the background we     can also hear Father Brendan.<b>                          FATHER BRENDAN (V.O.) (CONT'D)</b>                May the peace of the Lord bewith                you.<b>                          PARISHIONERS</b>                And also with you.<b>     A LITTLE LATER</b><b>                                        5A.</b><b>7A   INT. SIDE CHAPEL."}
+{"doc_id":"doc_239","qid":"","text":"Project Gutenberg's Tarzan and the Jewels of Opar, by Edgar Rice BurroughsThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-useit under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: Tarzan and the Jewels of OparAuthor: Edgar Rice BurroughsPosting Date: June 23, 2008 [EBook#92]Release Date: December, 1995First Posted: November 1, 2001Last updated: May 26, 2012Language: English*** START OF THIS PROJECT GUTENBERG EBOOK TARZAN AND THE JEWELS OF OPAR ***Produced byJudith Boss.  HTML version by Al Haines.Tarzan and the Jewels of OparByEdgar Rice BurroughsContentsCHAPTER   1  Belgian and Arab   2  On the Road to Opar   3  The Call of the Jungle   4  Prophecy andFulfillment   5  The Altar of the Flaming God   6  The Arab Raid   7  The Jewel-Room of Opar   8  The Escape from Opar   9  The Theft of the Jewels  10  Achmet Zek Sees the Jewels  11  Tarzan Becomes a BeastAgain  12  La Seeks Vengeance  13  Condemned to Torture and Death  14  A Priestess But Yet a Woman  15  The Flight of Werper  16  Tarzan Again Leads the Mangani  17  The Deadly Peril of Jane Clayton  18  TheFight For the Treasure  19  Jane Clayton and The Beasts of the Jungle  20  Jane Clayton Again a Prisoner  21  The Flight to the Jungle  22  Tarzan Recovers His Reason  23  A Night of Terror  24  Home1Belgian andArabLieutenant Albert Werper had only the prestige of the name he haddishonored to thank for his narrow escape from being cashiered.  Atfirst he had been humbly thankful, too, that they had sent him tothisGodforsaken Congo post instead of court-martialing him, as he had sojustly deserved; but now six months of the monotony, the frightfulisolation and the loneliness had wrought a change.  The young manbroodedcontinually over his fate.  His days were filled with morbidself-pity, which eventually engendered in his weak and vacillating minda hatred for those who had sent him here--for the very men he had atfirst inwardlythanked for saving him from the ignominy of degradation.He regretted the gay life of Brussels as he never had regretted thesins which had snatched him from that gayest of capitals, and as thedays passed he came tocenter his resentment upon the representative inCongo land of the authority which had exiled him--his captain andimmediate superior.This officer was a cold, taciturn man, inspiring little love in thosedirectly beneathhim, yet respected and feared by the black soldiers ofhis little command.Werper was accustomed to sit for hours glaring at his superior as thetwo sat upon the veranda of their common quarters, smoking theireveningcigarets in a silence which neither seemed desirous ofbreaking.  The senseless hatred of the lieutenant grew at last into aform of mania.  The captain's natural taciturnity he distorted into astudied attempt to insult himbecause of his past shortcomings.  Heimagined that his superior held him in contempt, and so he chafed andfumed inwardly until one evening his madness became suddenly homicidal.He fingered the butt of therevolver at his hip, his eyes narrowed andhis brows contracted.  At last he spoke.\"You have insulted me for the last time!\" he cried, springing to hisfeet.  \"I am an officer and a gentleman, and I shall put up with itnolonger without an accounting from you, you pig.\"The captain, an expression of surprise upon his features, turned towardhis junior.  He had seen men before with the jungle madness uponthem--the madness ofsolitude and unrestrained brooding, and perhaps atouch of fever.He rose and extended his hand to lay it upon the other's shoulder.Quiet words of counsel were upon his lips; but they were never spoken.Werperconstrued his superior's action into an attempt to close withhim.  His revolver was on a level with the captain's heart, and thelatter had taken but a step when Werper pulled the trigger.  Without amoan the man sank tothe rough planking of the veranda, and as he fellthe mists that had clouded Werper's brain lifted, so that he sawhimself and the deed that he had done in the same light that those whomust judge him would seethem.He heard excited exclamations from the quarters of the soldiers and heheard men running in his direction.  They would seize him, and if theydidn't kill him they would take him down the Congo to a point whereaproperly ordered military tribunal would do so just as effectively,though in a more regular manner.Werper had no desire to die.  Never before had he so yearned for lifeas in this moment that he had so effectivelyforfeited his right tolive.  The men were nearing him.  What was he to do?  He glanced aboutas though searching for the tangible form of a legitimate excuse forhis crime; but he could find only the body of the man hehad socauselessly shot down.In despair, he turned and fled from the oncoming soldiery.  Across thecompound he ran, his revolver still clutched tightly in his hand.  Atthe gates a sentry halted him.  Werper did notpause to parley or toexert the influence of his commission--he merely raised his weapon andshot down the innocent black.  A moment later the fugitive had tornopen the gates and vanished into the blackness of thejungle, but notbefore he had transferred the rifle and ammunition belts of the deadsentry to his own person.All that night Werper fled farther and farther into the heart of thewilderness.  Now and again the voice of alion brought him to alistening halt; but with cocked and ready rifle he pushed ahead again,more fearful of the human huntsmen in his rear than of the wildcarnivora ahead.Dawn came at last, but still the man ploddedon.  All sense of hungerand fatigue were lost in the terrors of contemplated capture.  He couldthink only of escape.  He dared not pause to rest or eat until therewas no further danger from pursuit, and so he staggeredon until atlast he fell and could rise no more.  How long he had fled he did notknow, or try to know.  When he could flee no longer the knowledge thathe had reached his limit was hidden from him in the unconsciousnessofutter exhaustion.And thus it was that Achmet Zek, the Arab, found him.  Achmet'sfollowers were for running a spear through the body of their hereditaryenemy; but Achmet would have it otherwise.  First he wouldquestion theBelgian.  It were easier to question a man first and kill himafterward, than kill him first and then question him.So he had Lieutenant Albert Werper carried to his own tent, and thereslaves administered wineand food in small quantities until at last theprisoner regained consciousness.  As he opened his eyes he saw thefaces of strange black men about him, and just outside the tent thefigure of an Arab.  Nowhere was theuniform of his soldiers to be seen.The Arab turned and seeing the open eyes of the prisoner upon him,entered the tent.\"I am Achmet Zek,\" he announced.  \"Who are you, and what were you doingin my country?  Whereare your soldiers?\"Achmet Zek!  Werper's eyes went wide, and his heart sank.  He was inthe clutches of the most notorious of cut-throats--a hater of allEuropeans, especially those who wore the uniform of Belgium.  Foryearsthe military forces of Belgian Congo had waged a fruitless war uponthis man and his followers--a war in which quarter had never been askednor expected by either side.But presently in the very hatred of the manfor Belgians, Werper saw afaint ray of hope for himself.  He, too, was an outcast and an outlaw.So far, at least, they possessed a common interest, and Werper decidedto play upon it for all that it might yield.\"I haveheard of you,\" he replied, \"and was searching for you.  Mypeople have turned against me.  I hate them.  Even now their soldiersare searching for me, to kill me.  I knew that you would protect mefrom them, for you,too, hate them.  In return I will take service withyou.  I am a trained soldier.  I can fight, and your enemies are myenemies.\"Achmet Zek eyed the European in silence.  In his mind he revolved manythoughts, chiefamong which was that the unbeliever lied.  Of coursethere was the chance that he did not lie, and if he told the truth thenhis proposition was one well worthy of consideration, since fightingmen were never overplentiful--especially white men with the trainingand knowledge of military matters that a European officer must possess.Achmet Zek scowled and Werper's heart sank; but Werper did not knowAchmet Zek, who wasquite apt to scowl where another would smile, andsmile where another would scowl.\"And if you have lied to me,\" said Achmet Zek, \"I will kill you at anytime.  What return, other than your life, do you expect foryourservices?\"\"My keep only, at first,\" replied Werper.  \"Later, if I am worth more,we can easily reach an understanding.\" Werper's only desire at themoment was to preserve his life.  And so the agreement was reachedandLieutenant Albert Werper became a member of the ivory and slave raidingband of the notorious Achmet Zek.For months the renegade Belgian rode with the savage raider.  He foughtwith a savage abandon, and avicious cruelty fully equal to that of hisfellow desperadoes.  Achmet Zek watched his recruit with eagle eye, andwith a growing satisfaction which finally found expression in a greaterconfidence in the man, and resultedin an increased independence ofaction for Werper.Achmet Zek took the Belgian into his confidence to a great extent, andat last unfolded to him a pet scheme which the Arab had long fostered,but which he never hadfound an opportunity to effect.  With the aid ofa European, however, the thing might be easily accomplished.  Hesounded Werper.\"You have heard of the man men call Tarzan?\" he asked.Werper nodded.  \"I have heardof him; but I do not know him.\"\"But for him we might carry on our 'trading' in safety and with greatprofit,\" continued the Arab.  \"For years he has fought us, driving usfrom the richest part of the country, harassing us,and arming thenatives that they may repel us when we come to 'trade.' He is veryrich.  If we could find some way to make him pay us many pieces of goldwe should not only be avenged upon him; but repaid for muchthat he hasprevented us from winning from the natives under his protection.\"Werper withdrew a cigaret from a jeweled case and lighted it.\"And you have a plan to make him pay?\" he asked.\"He has a wife,\" repliedAchmet Zek, \"whom men say is very beautiful.She would bring a great price farther north, if we found it toodifficult to collect ransom money from this Tarzan.\"Werper bent his head in thought.  Achmet Zek stoodawaiting his reply.What good remained in Albert Werper revolted at the thought of sellinga white woman into the slavery and degradation of a Moslem harem.  Helooked up at Achmet Zek.  He saw the Arab's eyesnarrow, and he guessedthat the other had sensed his antagonism to the plan.  What would itmean to Werper to refuse?  His life lay in the hands of thissemi-barbarian,  who esteemed the life of an unbeliever lesshighlythan that of a dog.  Werper loved life.  What was this woman to him,anyway?  She was a European, doubtless, a member of organized society.He was an outcast.  The hand of every white man was againsthim.  Shewas his natural enemy, and if he refused to lend himself to herundoing, Achmet Zek would have him killed.\"You hesitate,\" murmured the Arab.\"I was but weighing the chances of success,\" lied Werper, \"andmyreward.  As a European I can gain admittance to their home and table.You have no other with you who could do so much.  The risk will begreat.  I should be well paid, Achmet Zek.\"A smile of relief passed over theraider's face.\"Well said, Werper,\" and Achmet Zek slapped his lieutenant upon theshoulder.  \"You should be well paid and you shall.  Now let us sittogether and plan how best the thing may be done,\" and the twomensquatted upon a soft rug beneath the faded silks of Achmet's oncegorgeous tent, and talked together in low voices well into the night.Both were tall and bearded, and the exposure to sun and wind had givenanalmost Arab hue to the European's complexion.  In every detail ofdress, too, he copied the fashions of his chief, so that outwardly hewas as much an Arab as the other.  It was late when he arose andretired to his owntent.The following day Werper spent in overhauling his Belgian uniform,removing from it every vestige of evidence that might indicate itsmilitary purposes.  From a heterogeneous collection of loot, Achmet Zekprocureda pith helmet and a European saddle, and from his black slavesand followers a party of porters, askaris and tent boys to make up amodest safari for a big game hunter.  At the head of this party Werperset out fromcamp.2On the Road To OparIt was two weeks later that John Clayton, Lord Greystoke, riding infrom a tour of inspection of his vast African estate, glimpsed the headof a column of men crossing the plain that laybetween his bungalow andthe forest to the north and west.He reined in his horse and watched the little party as it emerged froma concealing swale.  His keen eyes caught the reflection of the sunupon the white helmetof a mounted man, and with the conviction that awandering European hunter was seeking his hospitality, he wheeled hismount and rode slowly forward to meet the newcomer.A half hour later he was mounting thesteps leading to the veranda ofhis bungalow, and introducing M. Jules Frecoult to Lady Greystoke.\"I was completely lost,\" M. Frecoult was explaining.  \"My head man hadnever before been in this part of the country andthe guides who wereto have accompanied me from the last village we passed knew even lessof the country than we.  They finally deserted us two days since.  I amvery fortunate indeed to have stumbled soprovidentially upon succor.I do not know what I should have done, had I not found you.\"It was decided that Frecoult and his party should remain several days,or until they were thoroughly rested, when Lord Greystokewould furnishguides to lead them safely back into country with which Frecoult's headman was supposedly familiar.In his guise of a French gentleman of leisure, Werper found littledifficulty in deceiving his host and iningratiating himself with bothTarzan and Jane Clayton; but the longer he remained the less hopeful hebecame of an easy accomplishment of his designs.Lady Greystoke never rode alone at any great distance fromthebungalow, and the savage loyalty of the ferocious Waziri warriors whoformed a great part of Tarzan's followers seemed to preclude thepossibility of a successful attempt at forcible abduction, or of thebribery of theWaziri themselves.A week passed, and Werper was no nearer the fulfillment of his plan, inso far as he could judge, than upon the day of his arrival, but at thatvery moment something occurred which gave him renewedhope and set hismind upon an even greater reward than a woman's ransom.A runner had arrived at the bungalow with the weekly mail, and LordGreystoke had spent the afternoon in his study reading andansweringletters.  At dinner he seemed distraught, and early in the evening heexcused himself and retired, Lady Greystoke following him very soonafter.  Werper, sitting upon the veranda, could hear their voicesinearnest discussion, and having realized that something of unusualmoment was afoot, he quietly rose from his chair, and keeping well inthe shadow of the shrubbery growing profusely about the bungalow, madehissilent way to a point beneath the window of the room in which hishost and hostess slept.Here he listened, and not without result, for almost the first words heoverheard filled him with excitement.  Lady Greystoke wasspeaking asWerper came within hearing.\"I always feared for the stability of the company,\" she was saying;\"but it seems incredible that they should have failed for so enormous asum--unless there has been somedishonest manipulation.\"\"That is what I suspect,\" replied Tarzan; \"but whatever the cause, thefact remains that I have lost everything, and there is nothing for itbut to return to Opar and get more.\"\"Oh, John,\" criedLady Greystoke, and Werper could feel the shudderthrough her voice, \"is there no other way?  I cannot bear to think ofyou returning to that frightful city.  I would rather live in povertyalways than to have you risk thehideous dangers of Opar.\"\"You need have no fear,\" replied Tarzan, laughing.  \"I am pretty wellable to take care of myself, and were I not, the Waziri who willaccompany me will see that no harm befalls me.\"\"They ranaway from Opar once, and left you to your fate,\" she remindedhim.\"They will not do it again,\" he answered.  \"They were very much ashamedof themselves, and were coming back when I met them.\"\"But there must besome other way,\" insisted the woman.\"There is no other way half so easy to obtain another fortune, as to goto the treasure vaults of Opar and bring it away,\" he replied.  \"Ishall be very careful, Jane, and the chancesare that the inhabitantsof Opar will never know that I have been there again and despoiled themof another portion of the treasure, the very existence of which theyare as ignorant of as they would be of its value.\"Thefinality in his tone seemed to assure Lady Greystoke that furtherargument was futile, and so she abandoned the subject.Werper remained, listening, for a short time, and then, confident thathe had overheard all thatwas necessary and fearing discovery, returnedto the veranda, where he smoked numerous cigarets in rapid successionbefore retiring.The following morning at breakfast, Werper announced his intention ofmaking anearly departure, and asked Tarzan's permission to hunt biggame in the Waziri country on his way out--permission which LordGreystoke readily granted.The Belgian consumed two days in completing his preparations,butfinally got away with his safari, accompanied by a single Waziri guidewhom Lord Greystoke had loaned him.  The party made but a single shortmarch when Werper simulated illness, and announced his intentionofremaining where he was until he had fully recovered.  As they had gonebut a short distance from the Greystoke bungalow, Werper dismissed theWaziri guide, telling the warrior that he would send for him when hewasable to proceed.  The Waziri gone, the Belgian summoned one ofAchmet Zek's trusted blacks to his tent, and dispatched him to watchfor the departure of Tarzan, returning immediately to advise Werper ofthe event andthe direction taken by the Englishman.The Belgian did not have long to wait, for the following day hisemissary returned with word that Tarzan and a party of fifty Waziriwarriors had set out toward the southeast early inthe morning.Werper called his head man to him, after writing a long letter toAchmet Zek.  This letter he handed to the head man.\"Send a runner at once to Achmet Zek with this,\" he instructed the headman.  \"Remainhere in camp awaiting further instructions from him orfrom me.  If any come from the bungalow of the Englishman, tell themthat I am very ill within my tent and can see no one.  Now, give me sixporters and sixaskaris--the strongest and bravest of the safari--and Iwill march after the Englishman and discover where his gold is hidden.\"And so it was that as Tarzan, stripped to the loin cloth and armedafter the primitive fashionhe best loved, led his loyal Waziri towardthe dead city of Opar, Werper, the renegade, haunted his trail throughthe long, hot days, and camped close behind him by night.And as they marched, Achmet Zek rode with hisentire followingsouthward toward the Greystoke farm.To Tarzan of the Apes the expedition was in the nature of a holidayouting.  His civilization was at best but an outward veneer which hegladly peeled off with hisuncomfortable European clothes whenever anyreasonable pretext presented itself.  It was a woman's love which keptTarzan even to the semblance of civilization--a condition for whichfamiliarity had bred contempt.  Hehated the shams and the hypocrisiesof it and with the clear vision of an unspoiled mind he had penetratedto the rotten core of the heart of the thing--the cowardly greed forpeace and ease and the safe-guarding ofproperty rights.  That the finethings of life--art, music and literature--had thriven upon suchenervating ideals he strenuously denied, insisting, rather, that theyhad endured in spite of civilization.\"Show me the fat,opulent coward,\" he was wont to say, \"who everoriginated a beautiful ideal.  In the clash of arms, in the battle forsurvival, amid hunger and death and danger, in the face of God asmanifested in the display of Nature'smost terrific forces, is born allthat is finest and best in the human heart and mind.\"And so Tarzan always came back to Nature in the spirit of a loverkeeping a long deferred tryst after a period behind prisonwalls.  HisWaziri, at marrow, were more civilized than he.  They cooked their meatbefore they ate it and they shunned many articles of food as uncleanthat Tarzan had eaten with gusto all his life and so insidious is"}
+{"doc_id":"doc_240","qid":"","text":"<html><head><title>Blade Runner Script at IMSDb.</title><meta name=\"description\" content=\"Blade Runner script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Blade Runner script,Blade Runner movie script, Blade Runner film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\"rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><html><head><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>Blade Runner - ByHampton Fancher</title></head><pre><b>                                </b><b>                                BLADE RUNNER</b>                               Screenplay by<b>                              HAMPTON FANCHER</b>        July24, 1980                    Brighton Productions Inc.                                         1420 No. Beachwood Drive                                         Hollywood, Calif.90028<b>                                ****************</b><b>        INT. TYRELL CORPORATION LOCKER ROOM - DAY               1</b><b>        THE EYE                                                 2</b>        It's magnified anddeeply revealed.  Flecks of green        and yellow in a field of milky blue.  Icy filaments        surround the undulating center.        The eye is brown in a tiny screen.  On the metallic        surface below, the wordsVOIGHT-KAMPFF are finely        etched.  There's a touch-light panel across the top        and on the side of the screen, a dial that registers        fluctuations of the iris.        The instrument is no bigger than a music boxand sits        on a table between two men.  The man talking is big,        looks like an over-stuffed kid.  \"LEON\" it says on        his breast pocket.  He's dressed in a warehouseman's        uniform and his pudgy hands arefolded expectantly in        his lap.  Despite the obvious heat, he looks very cool.        The man facing him is lean, hollow cheeked and dressed        in gray.  Detached and efficient, he looks like a cop        or anaccountant.  His name is HOLDEN and he's all        business, except for the sweat on his face.        The room is large and humid.  Rows of salvaged junk        are stacked neatly against the walls.  Two largefans        whir above their heads.<b>                                LEON</b>                  Okay if I talk?        Holden doesn't answer.  He's centering Leon's eye on        themachine.<b>                                LEON</b>                  I kinda get nervous when I                  take tests.<b>                                HOLDEN</b>                  Don'tmove.<b>                                LEON</b>                  Sorry.        He tries not to move but finally his lips can't help        a sheepish smile.<b>                                LEON</b>                  Already had I.Q. test thisyear --                  but I don't think I never had a...<b>                                HOLDEN</b>                         (cutting in)                  Reaction time is a factor in this,                  so please payattention.  Answer                  quickly as you can.        Leon compresses his lips and nods his big head eagerly.        Holden's voice is cold, geared to intimidate andevoke        response.<b>                                HOLDEN</b>                  You're in a desert, walking along                  in the sand when all of a sudden                  you look down and seea...<b>                                LEON</b>                  What one?        It was a timid interruption, hardlyaudible.<b>                                HOLDEN</b>                  What?<b>                                LEON</b>                  What desert?<b>                                HOLDEN</b>                  Doesn't make any differencewhat                  desert -- it's completely                  hypothetical.<b>                                LEON</b>                  But how come I'd be there?<b>                                HOLDEN</b>                  Maybe you're fed up,maybe you                  want to be by yourself -- who                  knows.  So you look down and                  see a tortoise.  It's crawling                  towards you...<b>                                LEON</b>                  Atortoise.  What's that?<b>                                HOLDEN</b>                  Know what a turtle is?<b>                                LEON</b>                  Of course.<b>                                HOLDEN</b>                  Samething.<b>                                LEON</b>                  I never seen a turtle.        He sees Holden's patience is wearing thin.<b>                                LEON</b>                  But I understand what youmean.<b>                                HOLDEN</b>                  You reach down and flip the                  tortoise over on its back, Leon.        Keeping an eye on his subject, Holden notes the dials        in theVoight-Kampff.  One of the needles quivers        slightly.<b>                                LEON</b>                  You make these questions, Mr.                  Holden, or they write 'em down                  foryou?        Disregarding the question, Holden continues, picking        up the pace.<b>                                HOLDEN</b>                  The tortoise lays on its back,                  its belly baking in the hotsun,                  beating its legs trying to turn                  itself over.  But it can't.  Not                  without your help.  But you're                  not helping.        Leon's upper lip isquivering.<b>                                LEON</b>                  Whatcha mean, I'm not helping?<b>                                HOLDEN</b>                  I mean you're not helping!                  Why is that, Leon?        Leonlooks shocked, surprised.  But the needles in        the computer barely move.  Holden goes for the inside        of his coat.  But big Leon is faster.  His LASER BURNS        a hole the size of a nickel through Holden'sstomach.        Unlike a bullet, a laser causes no impact.  It goes        through Holden's spine and comes out his back, clean        as a whistle.  Like a rag doll he falls back off the        bench from the waist up.  By thetime he hits the        floor, big slow Leon is already walking away.  But he        stops, turns and with a little smile of satisfaction,        FIRES at the machine on the table.        There's a flash and a puff of smoke.  TheVoight-Kampff        is hit dead center, crippled but not destroyed; as        Leon walks out of the room, one of its lights begins        to blink, faint but steady.<b>        EXT. DESERT -NIGHT                                     3</b>        The horizon marked by a thin copper line that maybe        the end, of the beginning of a day.        The train that follows, cuts through the night at 400        miles anhour.<b>        INT. TRAIN - NIGHT                                      4</b>        No clickitty-clack of track-bound noise, it's a long,        insulated Pullman of contoured seats and low-keyed        lighting, coloured to soothe,andempty, except for        the passenger half way down.        His eyes closed, head rested against the glass.  Ten        years ago, DECKARD might have been an athlete, a        track man or a welter-weight.  The bodylooks it, but        the face has seen some time -- not all of it good.<b>        INT. TRAIN - REFRESHMENT DISPENSER - NIGHT              5</b>        Deckard comes down the aisle, slips a coin into the        mechanism,receives a beer and returns to his seat.<b>        INT. TRAIN - NIGHT                                      6</b>        Tired of the program, he takes off the headset and        drops it next to three empty beer bottles anda        sandwich wrapper, adjusts his position and winds up        staring at his reflection in the window.  Runs a        hand over his face, it could use a shave.  He leans        closer and peers through the glass.        Outthere in the black a sign flashes past:  SAN<b>        ANGELES, THREE MINUTES.</b><b>        EXT. PLATFORM - NIGHT                                   7</b>        The train slides in, smooth as an eel, and stopswith-        out a sound.  Carrying a bag and umbrella, Deckard        disembarks ahead of the other passengers and into the        sweltering night.<b>        INT. CORRIDOR -NIGHT                                   8</b>        Deckard has got his coat swung over his shoulder, his        shirt already damp, as he walks down the long, hollow        passage under orbs of yellow light.<b>        EXT.TERMINAL - NIGHT                                   9</b>        Deckard unlocks his car and gets in.  Turns the ig-        nition and hits a sensor.  The dash console glows        and Deckard sits back waiting for the air unit tocool        things off.<b>                                DECKARD (V.O.)</b>                  It was 97 degrees in the city and                  no hope of improvement.  Not bad                  if you're a lizard.  But twohours                  earlier I was drinking Acquavit                  with an Eskimo lady in North East                  Alaska.  That's a tough change to                  make.  It was so good, I didn't                  want to leave, so I lefta day                  early.        A little detached, Deckard taps another sensor on the        panel, lights up a cigarette and watches as his mes-        sages flash across the viewer stating date, time and        caller.  The lastone is repeated five times.  Deckard        sighs, switches off the viewer and gets on the radio.<b>                                DECKARD</b>                  Contact.  This is Blade Runner One                  calling Com-fast27.        The SOUND OF A CHIME precedes the mechanical female        voice that answers.<b>                                VOICE</b>                  Blade Runner One, stand by please.        A pause.  Followed by a huskymale voice.<b>                                VOICE</b>                  Deckard.<b>                                DECKARD</b>                  Yah, Gaff.<b>                                GAFF (VOICE)</b>                  Where the hell youbeen?<b>                                DECKARD</b>                  You know where I been.  I been on                  vacation.<b>                                GAFF</b>                  Next time you go on vacation,                  do me afavor, let us know where                  it is.<b>                                DECKARD</b>                  What's up?<b>                                GAFF</b>                  Holden got hit.        There is a pause.  That was badnews.<b>                                DECKARD</b>                  Bad?<b>                                GAFF</b>                  Severed spine.  You'd better get                  in here.  Bryant's waiting foryou.<b>                                DECKARD</b>                  I'll see you in a minute.        The ENGINE REVS, the wipers rake two weeks of dust off        the windshield and Deckard jams out of the lot.<b>        INT. THEHALL OF JUSTICE - NIGHT                        10</b>        An enormous grey vault of a building.  A businesslike        Deckard strides down a long corridor with his brief-        case and police ID pinned to hiscoat.<b>                                DECKARD (V.O.)</b>                  I-X-4-P-D referred to as a Nexus-6,                  The Tyrell Corporation's new pride                  and joy.  Holden was administering                  theVoight-Kampff test when one                  nailed him.        The door in front of Deckard slides open and he walks        through.<b>                                DECKARD (V.O.)</b>                  The Nexus-6 must be fastbecause                  Holden was as quick as they come.                  The report said there were six of                  them.  Three males and three female.                  Led by a combat model calledRoy                  Batty.<b>        INT. INSPECTOR BRYANT'S OFFICE - NIGHT                  11</b>        The INSPECTOR is in his fifties.  The deep creases in        his face, the broken capillaries in his nose"}
+{"doc_id":"doc_241","qid":"","text":"The Project Gutenberg eBook, Catriona, by Robert Louis StevensonThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it underthe terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: CatrionaAuthor: Robert Louis StevensonRelease Date: November 11, 2012  [eBook #589][This file was firstposted on May 15, 1996]Language: EnglishCharacter set encoding: UTF-8***START OF THE PROJECT GUTENBERG EBOOK CATRIONA***Transcribed from the 1904 Cassell and Company edition by David Price,emailccx074@pglaf.org                                 CATRIONADEDICATION.                                    To                 CHARLES BAXTER, _Writer to the Signet_.MY DEAR CHARLES,It is the fate of sequels to disappoint those whohave waited for them;and my David, having been left to kick his heels for more than a lustrein the British Linen Companyâ\u0000\u0000s office, must expect his late re-appearanceto be greeted with hoots, if not withmissiles.  Yet, when I remember thedays of our explorations, I am not without hope.  There should be left inour native city some seed of the elect; some long-legged, hot-headedyouth must repeat to-day our dreamsand wanderings of so many years ago;he will relish the pleasure, which should have been ours, to follow amongnamed streets and numbered houses the country walks of David Balfour, toidentify Dean, and Silvermills,and Broughton, and Hope Park, and Pilrig,and poor old Lochendâ\u0000\u0000if it still be standing, and the Figgate Whinsâ\u0000\u0000ifthere be any of them left; or to push (on a long holiday) so far afieldas Gillane or the Bass.  So,perhaps, his eye shall be opened to beholdthe series of the generations, and he shall weigh with surprise hismomentous and nugatory gift of life.You are stillâ\u0000\u0000as when first I saw, as when I last addressed youâ\u0000\u0000inthevenerable city which I must always think of as my home.  And I have comeso far; and the sights and thoughts of my youth pursue me; and I see likea vision the youth of my father, and of his father, and the wholestreamof lives flowing down there far in the north, with the sound of laughterand tears, to cast me out in the end, as by a sudden freshet, on theseultimate islands.  And I admire and bow my head before the romanceofdestiny.                                                                  R. L. S._Vailima_, _Upolu_,_Samoa_, 1892.CATRIONAâ\u0000\u0000Part Iâ\u0000\u0000THE LORD ADVOCATECHAPTER Iâ\u0000\u0000A BEGGAR ON HORSEBACKThe 25th day of August,1751, about two in the afternoon, I, DavidBalfour, came forth of the British Linen Company, a porter attending mewith a bag of money, and some of the chief of these merchants bowing mefrom their doors.  Two daysbefore, and even so late as yestermorning, Iwas like a beggar-man by the wayside, clad in rags, brought down to mylast shillings, my companion a condemned traitor, a price set on my ownhead for a crime with thenews of which the country rang.  To-day I wasserved heir to my position in life, a landed laird, a bank porter by mecarrying my gold, recommendations in my pocket, and (in the words of thesaying) the ball directly atmy foot.There were two circumstances that served me as ballast to so much sail.The first was the very difficult and deadly business I had still tohandle; the second, the place that I was in.  The tall, black city, andthenumbers and movement and noise of so many folk, made a new world forme, after the moorland braes, the sea-sands and the still country-sidesthat I had frequented up to then.  The throng of the citizens inparticularabashed me.  Rankeillorâ\u0000\u0000s son was short and small in thegirth; his clothes scarce held on me; and it was plain I was illqualified to strut in the front of a bank-porter.  It was plain, if I didso, I should but set folklaughing, and (what was worse in my case) setthem asking questions.  So that I behooved to come by some clothes of myown, and in the meanwhile to walk by the porterâ\u0000\u0000s side, and put my handon his arm asthough we were a pair of friends.At a merchantâ\u0000\u0000s in the Luckenbooths I had myself fitted out: none toofine, for I had no idea to appear like a beggar on horseback; but comelyand responsible, so that servantsshould respect me.  Thence to anarmourerâ\u0000\u0000s, where I got a plain sword, to suit with my degree in life.  Ifelt safer with the weapon, though (for one so ignorant of defence) itmight be called an added danger.  Theporter, who was naturally a man ofsome experience, judged my accoutrement to be well chosen.â\u0000\u0000Naething kenspeckle,â\u0000\u0000 {1} said he; â\u0000\u0000plain, dacent claes.  As for therapier, nae doubt it sits wiâ\u0000\u0000 yourdegree; but an I had been you, I wouldhas waired my siller better-gates than that.â\u0000\u0000  And he proposed I shouldbuy winter-hosen from a wife in the Cowgate-back, that was a cousin ofhis own, and made themâ\u0000\u0000extraordinar endurable.â\u0000\u0000But I had other matters on my hand more pressing.  Here I was in thisold, black city, which was for all the world like a rabbit-warren, notonly by the number of its indwellers, but thecomplication of itspassages and holes.  It was, indeed, a place where no stranger had achance to find a friend, let be another stranger.  Suppose him even tohit on the right close, people dwelt so thronged in these tallhouses, hemight very well seek a day before he chanced on the right door.  Theordinary course was to hire a lad they called a _caddie_, who was like aguide or pilot, led you where you had occasion, and (your errandsbeingdone) brought you again where you were lodging.  But these caddies, beingalways employed in the same sort of services, and having it forobligation to be well informed of every house and person in the city,hadgrown to form a brotherhood of spies; and I knew from tales of Mr.Campbellâ\u0000\u0000s how they communicated one with another, what a rage ofcuriosity they conceived as to their employerâ\u0000\u0000s business, and howtheywere like eyes and fingers to the police.  It would be a piece of littlewisdom, the way I was now placed, to take such a ferret to my tails.  Ihad three visits to make, all immediately needful: to my kinsman Mr.Balfourof Pilrig, to Stewart the Writer that was Appinâ\u0000\u0000s agent, and toWilliam Grant Esquire of Prestongrange, Lord Advocate of Scotland.  Mr.Balfourâ\u0000\u0000s was a non-committal visit; and besides (Pilrig being in thecountry)I made bold to find the way to it myself, with the help of mytwo legs and a Scots tongue.  But the rest were in a different case.  Notonly was the visit to Appinâ\u0000\u0000s agent, in the midst of the cry about theAppin murder,dangerous in itself, but it was highly inconsistent withthe other.  I was like to have a bad enough time of it with my LordAdvocate Grant, the best of ways; but to go to him hot-foot from Appinâ\u0000\u0000sagent, was littlelikely to mend my own affairs, and might prove the mereruin of friend Alanâ\u0000\u0000s.  The whole thing, besides, gave me a look ofrunning with the hare and hunting with the hounds that was little to myfancy.  Idetermined, therefore, to be done at once with Mr. Stewart andthe whole Jacobitical side of my business, and to profit for that purposeby the guidance of the porter at my side.  But it chanced I had scarcegiven him theaddress, when there came a sprinkle of rainâ\u0000\u0000nothing tohurt, only for my new clothesâ\u0000\u0000and we took shelter under a pend at thehead of a close or alley.Being strange to what I saw, I stepped a little farther in.  Thenarrowpaved way descended swiftly.  Prodigious tall houses sprang upon eachside and bulged out, one storey beyond another, as they rose.  At the toponly a ribbon of sky showed in.  By what I could spy in thewindows, andby the respectable persons that passed out and in, I saw the houses to bevery well occupied; and the whole appearance of the place interested melike a tale.I was still gazing, when there came a suddenbrisk tramp of feet in timeand clash of steel behind me.  Turning quickly, I was aware of a party ofarmed soldiers, and, in their midst, a tall man in a great coat.  Hewalked with a stoop that was like a piece of courtesy,genteel andinsinuating: he waved his hands plausibly as he went, and his face wassly and handsome.  I thought his eye took me in, but could not meet it.This procession went by to a door in the close, which aserving-man in afine livery set open; and two of the soldier-lads carried the prisonerwithin, the rest lingering with their firelocks by the door.There can nothing pass in the streets of a city without some following ofidlefolk and children.  It was so now; but the more part melted awayincontinent until but three were left.  One was a girl; she was dressedlike a lady, and had a screen of the Drummond colours on her head; buthercomrades or (I should say) followers were ragged gillies, such as Ihad seen the matches of by the dozen in my Highland journey.  They allspoke together earnestly in Gaelic, the sound of which was pleasant in myearsfor the sake of Alan; and, though the rain was by again, and myporter plucked at me to be going, I even drew nearer where they were, tolisten.  The lady scolded sharply, the others making apologies andcringeingbefore her, so that I made sure she was come of a chiefâ\u0000\u0000shouse.  All the while the three of them sought in their pockets, and bywhat I could make out, they had the matter of half a farthing among theparty; whichmade me smile a little to see all Highland folk alike forfine obeisances and empty sporrans.It chanced the girl turned suddenly about, so that I saw her face for thefirst time.  There is no greater wonder than the way theface of a youngwoman fits in a manâ\u0000\u0000s mind, and stays there, and he could never tell youwhy; it just seems it was the thing he wanted.  She had wonderful brighteyes like stars, and I daresay the eyes had a part init; but what Iremember the most clearly was the way her lips were a trifle open as sheturned.  And, whatever was the cause, I stood there staring like a fool.On her side, as she had not known there was anyone sonear, she looked atme a little longer, and perhaps with more surprise, than was entirelycivil.It went through my country head she might be wondering at my new clothes;with that, I blushed to my hair, and at the sightof my colouring it isto be supposed she drew her own conclusions, for she moved her gilliesfarther down the close, and they fell again to this dispute, where Icould hear no more of it.I had often admired a lassie beforethen, if scarce so sudden and strong;and it was rather my disposition to withdraw than to come forward, for Iwas much in fear of mockery from the womenkind.  You would have thought Ihad now all the more reason topursue my common practice, since I had metthis young lady in the city street, seemingly following a prisoner, andaccompanied with two very ragged indecent-like Highlandmen.  But therewas here a differentingredient; it was plain the girl thought I had beenprying in her secrets; and with my new clothes and sword, and at the topof my new fortunes, this was more than I could swallow.  The beggar onhorseback could notbear to be thrust down so low, or, at least of it,not by this young lady.I followed, accordingly, and took off my new hat to her the best that Iwas able.â\u0000\u0000Madam,â\u0000\u0000 said I, â\u0000\u0000I think it only fair to myself to let youunderstand Ihave no Gaelic.  It is true I was listening, for I have friends of my ownacross the Highland line, and the sound of that tongue comes friendly;but for your private affairs, if you had spoken Greek, I mighthave hadmore guess at them.â\u0000\u0000She made me a little, distant curtsey.  â\u0000\u0000There is no harm done,â\u0000\u0000 saidshe, with a pretty accent, most like the English (but more agreeable).â\u0000\u0000A cat may look at aking.â\u0000\u0000â\u0000\u0000I do not mean to offend,â\u0000\u0000 said I.  â\u0000\u0000I have no skill of city manners; Inever before this day set foot inside the doors of Edinburgh.  Take mefor a country ladâ\u0000\u0000itâ\u0000\u0000s what I am; and I wouldrather I told you than youfound it out.â\u0000\u0000â\u0000\u0000Indeed, it will be a very unusual thing for strangers to be speaking toeach other on the causeway,â\u0000\u0000 she replied.  â\u0000\u0000But if you are landward {2}bred it will bedifferent.  I am as landward as yourself; I am Highland,as you see, and think myself the farther from my home.â\u0000\u0000â\u0000\u0000It is not yet a week since I passed the line,â\u0000\u0000 said I.  â\u0000\u0000Less than aweek ago I was on thebraes of Balwhidder.â\u0000\u0000â\u0000\u0000Balwhither?â\u0000\u0000 she cries.  â\u0000\u0000Come ye from Balwhither!  The name of it makesall there is of me rejoice.  You will not have been long there, and notknown some of our friends orfamily?â\u0000\u0000â\u0000\u0000I lived with a very honest, kind man called Duncan Dhu Maclaren,â\u0000\u0000 Ireplied.â\u0000\u0000Well, I know Duncan, and you give him the true name!â\u0000\u0000 she said; â\u0000\u0000and ifhe is an honest man, his wife ishonest indeed.â\u0000\u0000â\u0000\u0000Ay,â\u0000\u0000 said I, â\u0000\u0000they are fine people, and the place is a bonny place.â\u0000\u0000â\u0000\u0000Where in the great world is such another!â\u0000\u0000 she cries; â\u0000\u0000I am loving thesmell of that place and theroots that grow there.â\u0000\u0000I was infinitely taken with the spirit of the maid.  â\u0000\u0000I could be wishingI had brought you a spray of that heather,â\u0000\u0000 says I.  â\u0000\u0000And, though I didill to speak with you at the first, now itseems we have commonacquaintance, I make it my petition you will not forget me.  DavidBalfour is the name I am known by.  This is my lucky day, when I havejust come into a landed estate, and am not very long outof a deadlyperil.  I wish you would keep my name in mind for the sake ofBalwhidder,â\u0000\u0000 said I, â\u0000\u0000and I will yours for the sake of my lucky day.â\u0000\u0000â\u0000\u0000My name is not spoken,â\u0000\u0000 she replied, with a great dealof haughtiness.â\u0000\u0000More than a hundred years it has not gone upon menâ\u0000\u0000s tongues, save for ablink.  I am nameless, like the Folk of Peace. {3}  Catriona Drummond isthe one I use.â\u0000\u0000Now indeed I knew whereI was standing.  In all broad Scotland there wasbut the one name proscribed, and that was the name of the Macgregors.Yet so far from fleeing this undesirable acquaintancy, I plunged thedeeper in.â\u0000\u0000I have beensitting with one who was in the same case with yourself,â\u0000\u0000said I, â\u0000\u0000and I think he will be one of your friends.  They called himRobin Oig.â\u0000\u0000â\u0000\u0000Did ye so?â\u0000\u0000 cries she.  â\u0000\u0000Ye met Rob?â\u0000\u0000â\u0000\u0000I passedthe night with him,â\u0000\u0000 said I.â\u0000\u0000He is a fowl of the night,â\u0000\u0000 said she.â\u0000\u0000There was a set of pipes there,â\u0000\u0000 I went on, â\u0000\u0000so you may judge if thetime passed.â\u0000\u0000â\u0000\u0000You should be no enemy, at allevents,â\u0000\u0000 said she.  â\u0000\u0000That was his brotherthere a moment since, with the red soldiers round him.  It is him that Icall father.â\u0000\u0000â\u0000\u0000Is it so?â\u0000\u0000 cried I.  â\u0000\u0000Are you a daughter of JamesMoreâ\u0000\u0000s?â\u0000\u0000â\u0000\u0000All the daughter that he has,â\u0000\u0000 says she: â\u0000\u0000the daughter of a prisoner;that I should forget it so, even for one hour, to talk with strangers!â\u0000\u0000Here one of the gillies addressed her in whathe had of English, to knowwhat â\u0000\u0000sheâ\u0000\u0000 (meaning by that himself) was to do about â\u0000\u0000ta sneeshin.â\u0000\u0000  Itook some note of him for a short, bandy-legged, red-haired, big-headedman, that I was to know moreof to my cost.â\u0000\u0000There can be none the day, Neil,â\u0000\u0000 she replied.  â\u0000\u0000How will you getâ\u0000\u0000sneeshin,â\u0000\u0000 wanting siller!  It will teach you another time to be morecareful; and I think James More will not be verywell pleased with Neilof the Tom.â\u0000\u0000â\u0000\u0000Miss Drummond,â\u0000\u0000 I said, â\u0000\u0000I told you I was in my lucky day.  Here I am,and a bank-porter at my tail.  And remember I have had the hospitality ofyour own country ofBalwhidder.â\u0000\u0000â\u0000\u0000It was not one of my people gave it,â\u0000\u0000 said she.â\u0000\u0000Ah, well,â\u0000\u0000 said I, â\u0000\u0000but I am owing your uncle at least for some springsupon the pipes.  Besides which, I have offered myself to beyour friend,and you have been so forgetful that you did not refuse me in the propertime.â\u0000\u0000â\u0000\u0000If it had been a great sum, it might have done you honour,â\u0000\u0000 said she;â\u0000\u0000but I will tell you what this is.  JamesMore lies shackled in prison;but this time past they will be bringing him down here daily to theAdvocateâ\u0000\u0000s. . . .â\u0000\u0000â\u0000\u0000The Advocateâ\u0000\u0000s!â\u0000\u0000 I cried.  â\u0000\u0000Is that . . . ?â\u0000\u0000â\u0000\u0000It is the house of the LordAdvocate Grant of Prestongrange,â\u0000\u0000 said she.â\u0000\u0000There they bring my father one time and another, for what purpose I haveno thought in my mind; but it seems there is some hope dawned for him.All this sametime they will not let me be seeing him, nor yet him write;and we wait upon the Kingâ\u0000\u0000s street to catch him; and now we give him hissnuff as he goes by, and now something else.  And here is this son oftrouble, Neil,son of Duncan, has lost my four-penny piece that was tobuy that snuff, and James More must go wanting, and will think hisdaughter has forgotten him.â\u0000\u0000I took sixpence from my pocket, gave it to Neil, and bade himgo abouthis errand.  Then to her, â\u0000\u0000That sixpence came with me by Balwhidder,â\u0000\u0000said I.â\u0000\u0000Ah!â\u0000\u0000 she said, â\u0000\u0000you are a friend to the Gregara!â\u0000\u0000â\u0000\u0000I would not like to deceive you, either,â\u0000\u0000 saidI.  â\u0000\u0000I know very littleof the Gregara and less of James More and his doings, but since the whileI have been standing in this close, I seem to know something of yourself;and if you will just say â\u0000\u0000a friend to MissCatrionaâ\u0000\u0000 I will see you arethe less cheated.â\u0000\u0000â\u0000\u0000The one cannot be without the other,â\u0000\u0000 said she.â\u0000\u0000I will even try,â\u0000\u0000 said I.â\u0000\u0000And what will you be thinking of myself!â\u0000\u0000 she cried, â\u0000\u0000to beholding myhand to the first stranger!â\u0000\u0000â\u0000\u0000I am thinking nothing but that you are a good daughter,â\u0000\u0000 said I.â\u0000\u0000I must not be without repaying it,â\u0000\u0000 she said; â\u0000\u0000where is it you stop!â\u0000\u0000â\u0000\u0000To tell thetruth, I am stopping nowhere yet,â\u0000\u0000 said I, â\u0000\u0000being not fullthree hours in the city; but if you will give me your direction, I willbe so bold as come seeking my sixpence for myself.â\u0000\u0000â\u0000\u0000Will I can trust you forthat?â\u0000\u0000 she asked.â\u0000\u0000You need have little fear,â\u0000\u0000 said I.â\u0000\u0000James More could not bear it else,â\u0000\u0000 said she.  â\u0000\u0000I stop beyond thevillage of Dean, on the north side of the water, with Mrs.Drummond-Ogilvyof Allardyce, who is my near friend and will be glad tothank you.â\u0000\u0000â\u0000\u0000You are to see me, then, so soon as what I have to do permits,â\u0000\u0000 said I;and, the remembrance of Alan rolling in again upon my mind, Imade hasteto say farewell.I could not but think, even as I did so, that we had made extraordinaryfree upon short acquaintance, and that a really wise young lady wouldhave shown herself more backward.  I think it wasthe bank-porter thatput me from this ungallant train of thought.â\u0000\u0000I thoucht ye had been a lad of some kind oâ\u0000\u0000 sense,â\u0000\u0000 he began, shootingout his lips.  â\u0000\u0000Yeâ\u0000\u0000re no likely to gang far this gate.  A fuleand hissillerâ\u0000\u0000s shune parted.  Eh, but yeâ\u0000\u0000re a green callant!â\u0000\u0000 he cried, â\u0000\u0000anâ\u0000\u0000 aveecious, tae!  Cleikinâ\u0000\u0000 up wiâ\u0000\u0000 baubeejoes!â\u0000\u0000â\u0000\u0000If you dare to speak of the young lady. . . â\u0000\u0000 Ibegan.â\u0000\u0000Leddy!â\u0000\u0000 he cried.  â\u0000\u0000Haud us and safe us, whatten leddy?  Caâ\u0000\u0000 _thon_ aleddy?  The tounâ\u0000\u0000s fuâ\u0000\u0000 oâ\u0000\u0000 them.  Leddies!  Man, its weel seen yeâ\u0000\u0000re novery acquant in Embro!â\u0000\u0000A clapof anger took me.â\u0000\u0000Here,â\u0000\u0000 said I, â\u0000\u0000lead me where I told you, and keep your foul mouthshut!â\u0000\u0000He did not wholly obey me, for, though he no more addressed me directly,he very impudent sang at me as hewent in a manner of innuendo, and withan exceedingly ill voice and earâ\u0000\u0000    â\u0000\u0000As Mally Lee cam doun the street, her capuchin did flee,    She cuist a look ahint her to see her negligee.    And weâ\u0000\u0000re aâ\u0000\u0000 gauneast and wast, weâ\u0000\u0000re aâ\u0000\u0000 gann ajee,    Weâ\u0000\u0000re aâ\u0000\u0000 gaun east and wast courtinâ\u0000\u0000 Mally Lee.â\u0000\u0000CHAPTER IIâ\u0000\u0000THE HIGHLAND WRITERMr. Charles Stewart the Writer dwelt at the top of the longeststair evermason set a hand to; fifteen flights of it, no less; and when I had cometo his door, and a clerk had opened it, and told me his master waswithin, I had scarce breath enough to send my porterpacking.â\u0000\u0000Awaâ\u0000\u0000 east and west wiâ\u0000\u0000 ye!â\u0000\u0000 said I, took the money bag out of his hands,and followed the clerk in.The outer room was an office with the clerkâ\u0000\u0000s chair at a table spreadwith law papers.  Inthe inner chamber, which opened from it, a littlebrisk man sat poring on a deed, from which he scarce raised his eyes onmy entrance; indeed, he still kept his finger in the place, as thoughprepared to show me out andfall again to his studies.  This pleased melittle enough; and what pleased me less, I thought the clerk was in agood posture to overhear what should pass between us.I asked if he was Mr. Charles Stewart theWriter.â\u0000\u0000The same,â\u0000\u0000 says he; â\u0000\u0000and, if the question is equally fair, who may yoube yourself?â\u0000\u0000â\u0000\u0000You never heard tell of my name nor of me either,â\u0000\u0000 said I, â\u0000\u0000but I bringyou a token from a friendthat you know well.  That you know well,â\u0000\u0000 Irepeated, lowering my voice, â\u0000\u0000but maybe are not just so keen to hear fromat this present being.  And the bits of business that I have to proponeto you are rather in"}
+{"doc_id":"doc_242","qid":"","text":"The Project Gutenberg EBook of Pillars of Society, by Henrik IbsenThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it underthe terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: Pillars of SocietyAuthor: Henrik IbsenTranslator: R. Farquharson SharpPosting Date: February 27, 2010 [EBook#2296]Release Date: August, 2000Language: English*** START OF THIS PROJECT GUTENBERG EBOOK PILLARS OF SOCIETY ***Produced by Martin Adamson.  HTML version by Al Haines.Pillars of SocietyA play in fouracts.byHenrik IbsenTranslated by R. Farquharson SharpDRAMATIS PERSONAE  Karsten Bernick, a shipbuilder.  Mrs. Bernick, his wife.  Olaf, their son, thirteen years old.  Martha Bernick, Karsten Bernick's sister.  JohanTonnesen, Mrs. Bernick's younger brother.  Lona Hessel, Mrs. Bernick's elder half-sister.  Hilmar Tonnesen, Mrs. Bernick's cousin.  Dina Dorf, a young girl living with the Bernicks.  Rorlund, a schoolmaster.  Rummel, amerchant.  Vigeland and Sandstad, tradesman  Krap, Bernick's confidential clerk.  Aune, foreman of Bernick's shipbuilding yard.  Mrs. Rummel.  Hilda Rummel, her daughter.  Mrs. Holt.  Netta Holt, her daughter.  Mrs.Lynge.Townsfolk and visitors, foreign sailors, steamboat passengers, etc.,etc.(The action takes place at the Bernicks' house in one of the smallercoast towns in Norway)ACT I.(SCENE.--A spacious garden-room in theBERNICKS' house. In theforeground on the left is a door leading to BERNICK'S business room;farther back in the same wall, a similar door. In the middle of theopposite wall is a large entrance-door, which leads to thestreet. Thewall in the background is almost wholly composed of plate-glass; a doorin it opens upon a broad flight of steps which lead down to the garden;a sun-awning is stretched over the steps. Below the steps a partof thegarden is visible, bordered by a fence with a small gate in it. On theother side of the fence runs a street, the opposite side of which isoccupied by small wooden houses painted in bright colours. It issummer, andthe sun is shining warmly. People are seen, every now andthen, passing along the street and stopping to talk to one another;others going in and out of a shop at the corner, etc.In the room a gathering of ladies isseated round a table. MRS. BERNICKis presiding; on her left side are MRS. HOLT and her daughter NETTA,and next to them MRS. RUMMEL and HILDA RUMMEL. On MRS. BERNICK'S rightare MRS. LYNGE, MARTHABERNICK and DINA DORF. All the ladies are busyworking. On the table lie great piles of linen garments and otherarticles of clothing, some half finished, and some merely cut out.Farther back, at a small table on whichtwo pots of flowers and a glassof sugared water are standing, RORLUND is sitting, reading aloud from abook with gilt edges, but only loud enough for the spectators to catcha word now and then. Out in the garden OLAFBERNICK is running aboutand shooting at a target with a toy crossbow.After a moment AUNE comes in quietly through the door on the right.There is a slight interruption in the reading. MRS. BERNICK nods to himandpoints to the door on the left. AUNE goes quietly across, knockssoftly at the door of BERNICK'S room, and after a moment's pause,knocks again. KRAP comes out of the room, with his hat in his hand andsome papersunder his arm.)Krap: Oh, it was you knocking?Aune: Mr. Bernick sent for me.Krap: He did--but he cannot see you. He has deputed me to tell you--Aune: Deputed you? All the same, I would much rather--Krap:--deputed me to tell you what he wanted to say to you. You mustgive up these Saturday lectures of yours to the men.Aune: Indeed? I supposed I might use my own time--Krap: You must not use your own time inmaking the men useless inworking hours. Last Saturday you were talking to them of the harm thatwould be done to the workmen by our new machines and the new workingmethods at the yard. What makes you dothat?Aune: I do it for the good of the community.Krap: That's curious, because Mr. Bernick says it is disorganising thecommunity.Aune: My community is not Mr. Bernick's, Mr. Krap! As President of theIndustrialAssociation, I must--Krap: You are, first and foremost, President of Mr. Bernick'sshipbuilding yard; and, before everything else, you have to do yourduty to the community known as the firm of Bernick & Co.; that iswhatevery one of us lives for. Well, now you know what Mr. Bernick had tosay to you.Aune: Mr. Bernick would not have put it that way, Mr. Krap! But I knowwell enough whom I have to thank for this. It is that damnedAmericanboat. Those fellows expect to get work done here the way they areaccustomed to it over there, and that--Krap: Yes, yes, but I can't go into all these details. You know nowwhat Mr. Bernick means, and that issufficient. Be so good as to goback to the yard; probably you are needed there. I shall be down myselfin a little while. --Excuse me, ladies! (Bows to the ladies and goesout through the garden and down the street.AUNE goes quietly out tothe right. RORLUND, who has continued his reading during the foregoingconversation, which has been carried on in low tones, has now come tothe end of the book, and shuts it with abang.)Rorlund: There, my dear ladies, that is the end of it.Mrs. Rummel: What an instructive tale!Mrs. Holt: And such a good moral!Mrs. Bernick: A book like that really gives one something to thinkabout.Rorlund: Quiteso; it presents a salutary contrast to what,unfortunately, meets our eyes every day in the newspapers andmagazines. Look at the gilded and painted exterior displayed by anylarge community, and think what it reallyconceals!--emptiness androttenness, if I may say so; no foundation of morality beneath it. In aword, these large communities of ours now-a-days are whited sepulchres.Mrs. Holt: How true! How true!Mrs. Rummel: Andfor an example of it, we need look no farther than atthe crew of the American ship that is lying here just now.Rorlund: Oh, I would rather not speak of such offscourings of humanityas that. But even in highercircles--what is the case there? A spiritof doubt and unrest on all sides; minds never at peace, and instabilitycharacterising all their behaviour. Look how completely family life isundermined over there! Look at theirshameless love of casting doubt oneven the most serious truths!Dina (without looking up from her work): But are there not many bigthings done there too?Rorlund: Big things done--? I do not understand--.Mrs. Holt (inamazement): Good gracious, Dina--!Mrs. Rummel (in the same breath): Dina, how can you--?Rorlund: I think it would scarcely be a good thing for us if such \"bigthings\" became the rule here. No, indeed, we ought tobe only toothankful that things are as they are in this country. It is true enoughthat tares grow up amongst our wheat here too, alas; but we do our bestconscientiously to weed them out as well as we are able. Theimportantthing is to keep society pure, ladies--to ward off all the hazardousexperiments that a restless age seeks to force upon us.Mrs. Holt: And there are more than enough of them in the wind,unhappily.Mrs.Rummel: Yes, you know last year we only by a hair's breadthescaped the project of having a railway here.Mrs. Bernick: Ah, my husband prevented that.Rorlund: Providence, Mrs. Bernick. You may be certain that yourhusbandwas the instrument of a higher Power when he refused to have anythingto do with the scheme.Mrs. Bernick: And yet they said such horrible things about him in thenewspapers! But we have quite forgotten tothank you, Mr. Rorlund. Itis really more than friendly of you to sacrifice so much of your timeto us.Rorlund: Not at all. This is holiday time, and--Mrs. Bernick: Yes, but it is a sacrifice all the same, Mr. Rorlund.Rorlund(drawing his chair nearer): Don't speak of it, my dear lady.Are you not all of you making some sacrifice in a good cause?--and thatwillingly and gladly? These poor fallen creatures for whose rescue weare working maybe compared to soldiers wounded on the field of battle;you, ladies, are the kind-hearted sisters of mercy who prepare the lintfor these stricken ones, lay the bandages softly on their wounds, healthem and curethem.Mrs. Bernick: It must be a wonderful gift to be able to see everythingin such a beautiful light.Rorlund: A good deal of it is inborn in one--but it can be to a greatextent acquired, too. All that is needful is to seethings in the lightof a serious mission in life. (To MARTHA:) What do you say, MissBernick? Have you not felt as if you were standing on firmer groundsince you gave yourself up to your school work?Martha: I really donot know what to say. There are times, when I am inthe schoolroom down there, that I wish I were far away out on thestormy seas.Rorlund: That is merely temptation, dear Miss Bernick. You ought toshut the doors ofyour mind upon such disturbing guests as that. By the\"stormy seas\"--for of course you do not intend me to take your wordsliterally--you mean the restless tide of the great outer world, whereso many are shipwrecked.Do you really set such store on the life youhear rushing by outside? Only look out into the street. There they go,walking about in the heat of the sun, perspiring and tumbling aboutover their little affairs. No, weundoubtedly have the best of it, whoare able to sit here in the cool and turn our backs on the quarter fromwhich disturbance comes.Martha: Yes, I have no doubt you are perfectly right.Rorlund: And in a house like this,in a good and pure home, wherefamily life shows in its fairest colours--where peace and harmonyrule-- (To MRS. BERNICK:) What are you listening to, Mrs. Bernick?Mrs. Bernick (who has turned towards the door ofBERNICK'S room): Theyare talking very loud in there.Rorlund: Is there anything particular going on?Mrs. Bernick: I don't know. I can hear that there is somebody with myhusband.(HILMAR TONNESEN, smoking a cigar,appears in the doorway on the right,but stops short at the sight of the company of ladies.)Hilmar: Oh, excuse me-- (Turns to go back.)Mrs. Bernick: No, Hilmar, come along in; you are not disturbing us. Doyou wantsomething?Hilmar: No, I only wanted to look in here--Good morning, ladies. (ToMRS. BERNICK:) Well, what is the result?Mrs. Bernick: Of what?Hilmar: Karsten has summoned a meeting, you know.Mrs. Bernick: Hashe? What about?Hilmar:  Oh, it is this railway nonsense over again.Mrs. Rummel: Is it possible?Mrs. Bernick: Poor Karsten, is he to have more annoyance over that?Rorlund:  But how do you explain that, Mr. Tonnesen?You know that lastyear Mr. Bernick made it perfectly clear that he would not have arailway here.Hilmar: Yes, that is what I thought, too; but I met Krap, hisconfidential clerk, and he told me that the railway project hadbeentaken up again, and that Mr. Bernick was in consultation with three ofour local capitalists.Mrs. Rummel: Ah, I was right in thinking I heard my husband's voice.Hilmar:  Of course Mr. Rummel is in it, and so areSandstad and MichaelVigeland, \"Saint Michael\", as they call him.Rorlund:  Ahem!Hilmar: I beg your pardon, Mr. Rorlund?Mrs. Bernick: Just when everything was so nice and peaceful.Hilmar: Well, as far as I amconcerned, I have not the slightestobjection to their beginning their squabbling again. It will be alittle diversion, any way.Rorlund: I think we can dispense with that sort of diversion.Hilmar: It depends how you areconstituted. Certain natures feel thelust of battle now and then. But unfortunately life in a country towndoes not offer much in that way, and it isn't given to every one to(turns the leaves of the book RORLUND has beenreading). \"Woman as theHandmaid of Society.\" What sort of drivel is this?Mrs. Bernick: My dear Hilmar, you must not say that. You certainly havenot read the book.Hilmar: No, and I have no intention of reading it,either.Mrs. Bernick: Surely you are not feeling quite well today.Hilmar: No, I am not.Mrs. Bernick:  Perhaps you did not sleep well last night?Hilmar: No, I slept very badly. I went for a walk yesterday evening formyhealth's sake; and I finished up at the club and read a book about aPolar expedition. There is something bracing in following theadventures of men who are battling with the elements.Mrs. Rummel:  But it does notappear to have done you much good, Mr.Tonnesen.Hilmar:  No, it certainly did not. I lay all night tossing about, onlyhalf asleep, and dreamt that I was being chased by a hideous walrus.Olaf (who meanwhile has comeup the steps from the garden): Have youbeen chased by a walrus, uncle?Hilmar: I dreamt it, you duffer! Do you mean to say you are stillplaying about with that ridiculous bow? Why don't you get hold of areal gun?Olaf:I should like to, but--Hilmar:  There is some sense in a thing like that; it is always anexcitement every time you fire it off.Olaf: And then I could shoot bears, uncle. But daddy won't let me.Mrs. Bernick:  You reallymustn't put such ideas into his head, Hilmar.Hilmar:  Hm! It's a nice breed we are educating up now-a-days, isn'tit! We talk a great deal about manly sports, goodness knows--but weonly play with the question, all thesame; there is never any seriousinclination for the bracing discipline that lies in facing dangermanfully. Don't stand pointing your crossbow at me, blockhead--it mightgo off!Olaf:  No, uncle, there is no arrow init.Hilmar:  You don't know that there isn't--there may be, all the same.Take it away, I tell you!--Why on earth have you never gone over toAmerica on one of your father's ships? You might have seen a buffalohunt then,or a fight with Red Indians.Mrs. Bernick:  Oh, Hilmar--!Olaf: I should like that awfully, uncle; and then perhaps I might meetUncle Johan and Aunt Lona.Hilmar: Hm!--Rubbish.Mrs. Bernick: You can go down into thegarden again now, Olaf.Olaf: Mother, may I go out into the street too?Mrs. Bernick: Yes, but not too far, mind.(OLAF runs down into the garden and out through the gate in the fence.)Rorlund: You ought not to put suchfancies into the child's head, Mr.Tonnesen.Hilmar:  No, of course he is destined to be a miserable stay-at-home,like so many others.Rorlund:  But why do you not take a trip over there yourself?Hilmar: I? With mywretched health? Of course I get no consideration onthat account. But putting that out of the question, you forget that onehas certain obligations to perform towards the community of which oneforms a part. Theremust be some one here to hold aloft the banner ofthe Ideal.--Ugh, there he is shouting again!The Ladies: Who is shouting?Hilmar: I am sure I don't know. They are raising their voices so loudin there that it gets on mynerves.Mrs. Bernick: I expect it is my husband, Mr. Tonnesen. But you mustremember he is so accustomed to addressing large audiences.Rorlund: I should not call the others low-voiced, either.Hilmar:  Good Lord,no!--not on any question that touches theirpockets. Everything here ends in these petty material considerations.Ugh!Mrs. Bernick: Anyway, that is a better state of things than it used tobe when everything ended inmere frivolity.Mrs. Lynge: Things really used to be as bad as that here?Mrs. Rummel: Indeed they were, Mrs. Lynge. You may think yourself luckythat you did not live here then.Mrs. Holt:  Yes, times have changed, andno mistake, when I look backto the days when I was a girl.Mrs. Rummel: Oh, you need not look back more than fourteen or fifteenyears. God forgive us, what a life we led! There used to be a DancingSociety and aMusical Society--Mrs. Bernick:  And the Dramatic Club. I remember it very well.Mrs. Rummel: Yes, that was where your play was performed, Mr. Tonnesen.Hilmar (from the back of the room): What, what?Rorlund: Aplay by Mr. Tonnesen?Mrs. Rummel: Yes, it was long before you came here, Mr. Rorlund. And itwas only performed once.Mrs. Lynge: Was that not the play in which you told me you took thepart of a young man'ssweetheart, Mrs. Rummel?Mrs. Rummel (glancing towards RORLUND): I? I really cannot remember,Mrs. Lynge. But I remember well all the riotous gaiety that used to goon.Mrs. Holt: Yes, there were houses I couldname in which two largedinner-parties were given in one week.Mrs. Lynge: And surely I have heard that a touring theatrical companycame here, too?Mrs. Rummel: Yes, that was the worst thing of the lot.Mrs. Holt(uneasily):  Ahem!Mrs. Rummel: Did you say a theatrical company? No, I don't rememberthat at all.Mrs. Lynge: Oh yes, and I have been told they played all sorts of madpranks. What is really the truth of thosestories?Mrs. Rummel: There is practically no truth in them, Mrs. Lynge.Mrs. Holt: Dina, my love, will you give me that linen?Mrs. Bernick (at the same time): Dina, dear, will you go and askKatrine to bring us ourcoffee?Martha: I will go with you, Dina. (DINA and MARTHA go out by thefarther door on, the left.)Mrs. Bernick (getting up): Will you excuse me for a few minutes? Ithink we will have our coffee outside. (She goes outto the verandahand sets to work to lay a table. RORLUND stands in the doorway talkingto her. HILMAR sits outside, smoking.)Mrs. Rummel (in a low voice): My goodness, Mrs. Lynge, how youfrightened me!Mrs. Lynge:I?Mrs. Holt: Yes, but you know it was you that began it, Mrs. Rummel.Mrs. Rummel: I? How can you say such a thing, Mrs. Holt? Not a syllablepassed my lips!Mrs. Lynge: But what does it all mean?Mrs. Rummel:  Whatmade you begin to talk about--? Think--did you notsee that Dina was in the room?Mrs. Lynge:  Dina? Good gracious, is there anything wrong with--?Mrs. Holt: And in this house, too! Did you not know it wasMrs.Bernick's brother--?Mrs. Lynge: What about him? I know nothing about it at all; I am quitenew to the place, you know.Mrs. Rummel: Have you not heard that--? Ahem! (To her daughter) Hilda,dear, you can go fora little stroll in the garden?Mrs. Holt: You go too, Netta. And be very kind to poor Dina when shecomes back. (HILDA and NETTA go out into the garden.)Mrs. Lynge: Well, what about Mrs. Bernick's brother?Mrs.Rummel: Don't you know the dreadful scandal about him?Mrs. Lynge: A dreadful scandal about Mr. Tonnesen?Mrs. Rummel: Good Heavens, no. Mr. Tonnesen is her cousin, of course,Mrs. Lynge. I am speaking of herbrother--Mrs. Holt: The wicked Mr. Tonnesen--Mrs. Rummel: His name was Johan. He ran away to America.Mrs. Holt: Had to run away, you must understand.Mrs. Lynge: Then it is he the scandal is about?Mrs. Rummel:Yes; there was something--how shall I put it?--there wassomething of some kind between him and Dina's mother. I remember it allas if it were yesterday. Johan Tonnesen was in old Mrs. Bernick'soffice then; KarstenBernick had just come back from Paris--he had notyet become engaged--Mrs. Lynge:  Yes, but what was the scandal?Mrs. Rummel: Well, you must know that Moller's company were acting inthe town that winter--Mrs.Holt: And Dorf, the actor, and his wife were in the company. Allthe young men in the town were infatuated with her.Mrs. Rummel: Yes, goodness knows how they could think her pretty. Well,Dorf came home late oneevening--Mrs. Holt: Quite unexpectedly.Mrs. Rummel: And found his-- No, really it isn't a thing one can talkabout.Mrs. Holt: After all, Mrs. Rummel, he didn't find anything, because thedoor was locked on the inside.Mrs.Rummel: Yes, that is just what I was going to say--he found thedoor locked. And--just think of it--the man that was in the house hadto jump out of the window.Mrs. Holt: Right down from an attic window.Mrs. Lynge:And that was Mrs. Bernick's brother?Mrs. Rummel: Yes, it was he.Mrs. Lynge: And that was why he ran away to America?Mrs. Holt: Yes, he had to run away, you may be sure.Mrs. Rummel: Because something wasdiscovered afterwards that wasnearly as bad; just think--he had been making free with the cash-box...Mrs. Holt:  But, you know, no one was certain of that, Mrs. Rummel;perhaps there was no truth in the rumour.Mrs.Rummel: Well, I must say--! Wasn't it known all over the town? Didnot old Mrs. Bernick nearly go bankrupt as the result of it?  However,God forbid I should be the one to spread such reports.Mrs. Holt:  Well, anyway,Mrs. Dorf didn't get the money, because she--Mrs. Lynge:  Yes, what happened to Dina's parents afterwards?Mrs. Rummel:  Well, Dorf deserted both his wife and his child. Butmadam was impudent enough to stay herea whole year. Of course she hadnot the face to appear at the theatre any more, but she kept herself bytaking in washing and sewing--Mrs. Holt: And then she tried to set up a dancing school.Mrs. Rummel: Naturallythat was no good. What parents would trust theirchildren to such a woman? But it did not last very long. The fine madamwas not accustomed to work; she got something wrong with her lungs anddied of it.Mrs. Lynge:What a horrible scandal!Mrs. Rummel:  Yes, you can imagine how hard it was upon the Bernicks.It is the dark spot among the sunshine of their good fortune, as Rummelonce put it. So never speak about it in this"}
+{"doc_id":"doc_243","qid":"","text":"<html><head><title>Jaws 2 Script at IMSDb.</title><meta name=\"description\" content=\"Jaws 2 script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Jaws 2 script, Jaws 2 movie script,Jaws 2 film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=SubjectCONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0];s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>    <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\"title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center></td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>                                         \"JAWS 2\"                                  Final DraftScreenplay                                            by                                      Carl Gottlieb                                     Based on a Story                                            by                                      HowardSackler<b>                </b><b>               FADE IN:</b><b>               UNDERWATER - DAY</b>               Dramatically lit by sunlight filtering down from the surface.               A dim shape, massive, threatening,swims towards us from the                distance. Then it divides -- what was one is two, and the                shape becomes reality; two divers in Scuba gear swimming                side by side. They are wearing minimalrubber, considering                the cool New England waters: \"Farmer John\" wetsuits with cut-               off legs, assorted sport-diving paraphernalia, including an                expensive camera with a flashattachment.               One motions \"Down there,\" the other signals \"OK, I see it,\"                and they dive deeper, into darker waters, where the shafts                of sunlight pour into the depths, broken up by seaweedand                floating vegetation into cathedral-like columns of                illumination.<b>               SEA BOTTOM - DAY</b>               The wreck of the working fisherman's boat \"ORCA,\" formerly                underthe command of the late Captain Quint, deceased these                four years.               Buried in the sand near it, still connected by rusting strands                of cable, the mangled remains of a shark cage,glimmering                with stainless steel highlights. A fitful flash of yellow                from under a mossy beard -- a battered barrel, similarly                tangled.               The divers, Bert and Ernie, appear. They'refascinated by                the find, and Bert, with the camera, snaps a few flash shots.                The rapid sequence of flashes signals the presence of a motor                drive camera.<b>               ANOTHER POINT OFVIEW</b>               Distant flashes, obscured by vegetation in the foreground.<b>               SEA BOTTOM, THE ORCA</b>               Ernie is exploring the abandoned cabin; doors open and shut,                moved byinvisible currents stirred by his passage.               An occasional \"Flash!\" lights up the bottom as Bert continues                snapping away souvenir shots of this local landmark.<b>               BERT'S POINT OF VIEW -CAMERA VIEWFINDER (PROCESS)</b>               Ernie floats up out of a hatch, sees the camera, and strikes                a pose, clowning for the photographer's benefit. A big hand,                f.g., motions him up intoclear water for a formal portrait.               He obliges. Now he floats in front of us, gently paddling                his flippers to maintain vertical stability. One flash.               Another. Then a large, dim movement in theb.g.               Something's out there, moving towards us.               Flash. It's bigger, bearing down like a train in a tunnel.               Flash! It's on us. Flash! Teeth? Blood? Flash!Blackness,                Death.<b>               OCEAN BOTTOM, INSERT</b>               The camera floats gently down and settles in the sand. A                dark red mist eddies by. A last weakflash.<b>                                                         MATCH DISSOLVE TO:</b><b>               EXT. OCEAN - SUNDOWN</b>               Flash! An expensive cabin cruiser, the \"Diver Working\" flag                flutteringlimply in the breeze, is riding alone at anchor.               Flash! A distant lighthouse beacon winks at us. The boat                rocks in the ceaseless swell.               On the stern, \"Elizabeth T. - Newport, R.I.\" A long wayfrom                home...<b>                                                               DISSOLVE TO:</b><b>               EXT. AMITY BEACH - DAY</b>               A blue-and-white police jeep is bouncing over the sand.A                figure in civilian clothes driving alone on some urgent                mission. It's Martin Brody, Chief of Police on Amity.               The jeep slows to a stop, and he takes a flight of stairs                leading to aconcrete patio two at a time. A classical trumpet                solo is playing in the background. Brody charges through a                door, then abruptly slows and starts moving warily through a                hotel interior:The Holidome, a three-story extravaganza of                a motel, where some sort of formal ceremony is already in                progress. A banner announces: \"Grand Opening Ball -- Amity                Scholarship FundBenefit.\" Brody crosses under a High School                band, arranged dance-band style on a balcony; the trumpet                player, Polo, is finishing his solo, the assembled crowd                applauds politely. Brody istaking his place with some                dignitaries on the dais, as the presiding authority, Amity                Mayor Larry Vaughn, begins speaking.<b>                                     VAUGHN</b>                         Thank you,Paul Lohman, for that                          eloquent solo. Now, for that point                          in the ceremonies where we formally                          dedicate this magnificent resort-                         hotel complex, aworthwhile addition                          to the recreational paradise we call                          Amity.<b>               ANGLE ON THE DAIS</b>               Seated on folding chairs, wearing their good suits,several                of Amity's Selectmen, Real Estate Developer Len Peterson,                and Ellen Brody, very chic. Brody slips into the vacant chair                next to her. The following is conducted in urgentwhispers,                sotto voce, while Vaughn drones on.<b>                                     ELLEN</b>                         Where the hell wereyou?<b>                                     BRODY</b>                         Late.<b>                                     ELLEN</b>                         I can see that. Don't you know this                          is a bigdeal?<b>                         BRODY</b>                 Couldn't help it.                  Hendricks over there...                    (he indicates his                     deputy)                 ...still has the keys                  to the jeep inhis                  pocket, and I couldn't                  find the spares.<b>                         ELLEN</b>                 Terrific. Act as if                  you've been hereall                  along.<b>                         BRODY</b>                 How'm I supposed to do                  that?<b>                         ELLEN</b>                 Look bored.<b>                                                       VAUGHN</b>                                                  (droning along)                                               Holiday Inn joins the Amity                                                Shoresdevelopment                                                condominium complex in a                                                welcome expression renewed                                                interest in AmityIsland                                                as the hub of the Northeast                                                Recreational Vacation                                                Wonderland. We'rehappy                                                once again to be in the                                                center of things, where                                                the action is... We've had                                                ourshare of hard times                                                and long winters and the                                                past few years have not                                                been easy. But today,the                                                sun is rising on a new                                                Amity, a new island filled                                                withpromise.                                                  (applause)                                               Len Peterson's Amity Shores                                                Development is an exciting                                                additionto our island.                                                The Holiday Inn we stand                                                in is likewise a new friend                                                who we welcome asfamily.                                                Amity means 'friendship'                                                and our community extends                                                its friendship to allwho                                                seek her shores in peace                                                and harmony.                                                  (applause)               Brody settles into polite attentiveness,acknowledging a                wave from Hendricks, a politely bland young town cop in his                idea of civilian finery. Hendricks is fussing with the banner                on an attractive young lady in a bathingsuit...<b>               ANGLE ON VAUGHN</b><b>                                     VAUGHN</b>                         ...And now, Tina Wilcox, this year's                          Miss Amity, will cut the ribbonthat                          officially opens this luxurious new                          hotel...               Tina (the girl in the bathing suit) escapes Hendricks'                attentions, and teeters on high heels towards theribbon,                while Phil Fogarty, the local photographer, snaps away.<b>                                     VAUGHN</b>                         Tina was selected from more than 20                          of this island's lovelyyoung                         ladies in the Miss Amity competition                          held every spring, and she'll                          represent Amity Island in the Miss                          Massachusetts Competition inWorcester                          next month. When she cuts this ribbon,                          she will be opening our island to                          growth, to development, to planned                          expansion with fullemployment for                          our thriving community.<b>               ANGLE ON THE BAND</b>               Paul Lohman (\"Polo\" to his friends) is exchanging whispers                with Lucy, a flute playernearby.<b>                                     LUCY</b>                         I don't think she's such hot stuff.<b>                                     POLO</b>                         When are we going out? You andme?<b>                                     LUCY</b>                         Not tonight.<b>                                     POLO</b>                         You going with Patrick?               Lucy nods, Polo shrugs, and turns to Jane, a girlnearby.<b>                                     POLO</b>                         Listen, Jane -- you want to dance as                          soon as we get out of these monkey                          suits?               She nods happily, theywhisper together, while we:<b>                                                                    CUT TO:</b><b>               ANGLE ON DAIS</b>               Martin and Ellen have been joined by their youngestson,                Sean.<b>                                     SEAN</b>                         Mom, Michael won't talk to me.<b>                                     BRODY</b>                              (to Ellen)                         Shouldn't he beat home?<b>                                     ELLEN</b>                         Mrs. Silvera couldn't come.<b>                                     VAUGHN</b>                         This money tree, you may have noticed,                          is"}
+{"doc_id":"doc_244","qid":"","text":"<html><head><title>Breakfast Club, The Script at IMSDb.</title><meta name=\"description\" content=\"Breakfast Club, The script at the Internet Movie Script Database.\"><meta name=\"keywords\"content=\"Breakfast Club, The script, Breakfast Club, The movie script, Breakfast Club, The film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\"content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ?'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie ScriptDatabase\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <scripttype=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><html><head><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>THE BREAKFASTCLUB</title></head><pre>                      The Breakfast Club                    written and directed by                         John Hughes<b>BLANK SCREEN:</b>     Against Black, TITLE CARD:           \"...and these childrenthat you spit on,            as they try to change their worlds are           immune to your consultations.  They're         quite aware of what they're going through...                                        - David Bowie\"     The BlankScreen and Title Card SHATTER to reveal...<b>1. EXT. SHERMER HIGH SCHOOL - DAY</b>     During Brian's monologue, we see various views of things     inside the school including Bender'slocker.<b>                          BRIAN (VO)</b>               Saturday...March 24, 1984.  Shermer               High School, Shermer, Illinois.               60062.  Dear Mr. Vernon...we accept               the fact that we had tosacrifice a               whole Saturday in detention for               whatever it was that we did wrong,               what we did was wrong.  But we think               you're crazy to make us write this               essay telling youwho we think we               are, what do you care?  You see us               as you want to see us...in the               simplest terms and the most               convenient definitions.  You see us               as a brain, anathelete, a basket               case, a princess and a criminal.               Correct?  That's the way we saw each               other at seven o'clock this morning.               We werebrainwashed...<b>                                                  CUT TO:</b><b>2. INT. CLAIRE'S CAR - DAY</b>     We see CLAIRE and her FATHER sitting in their car in the     parking lot.     Claire is the prom queen and isclearly a snob.<b>                            CLAIRE</b>               I can't believe you can't get me               out of this...I mean it's so absurd               I have to be here on a Saturday!               It's not like I'm a defectiveor               anything...<b>                       CLAIRE'S FATHER</b>               I'll make it up to you...Honey,               ditching class to go shopping               doesn't make you a defective.  Have               a goodday.     Claire rolls her eyes and gets out of the car and walks     up the school front steps<b>                                                  CUT TO:</b><b>3. INT. BRIAN'S CAR - DAY</b>     We are in BRIAN's car.  HisMOTHER is there and so is     his little SISTER.  He is sort of a nerd.<b>                        BRIAN'S MOTHER</b>               Is this the first time or the last               time we dothis?<b>                            BRIAN</b>                    (upset)               Last...<b>                        BRIAN'S MOTHER</b>               Well get in there and use the time               to youradvantage...<b>                            BRIAN</b>               Mom, we're not supposed to study; we               just have to sit there and do               nothing.<b>                        BRIAN'S MOTHER</b>               Wellmister you figure out a way to               study.<b>                    BRIAN'S LITTLE SISTER</b>                    (annoyingly)               Yeah!<b>                        BRIAN'S MOTHER</b>               Well go!     Brian gets outof the car and walks towards the school.<b>                                                  CUT TO:</b><b>4. INT. ANDREW'S CAR - DAY</b>     We see ANDREW and his FATHER.  Andrew is clearly a jock;     he\u0000s wearing aletterman\u0000s jacket with lots of patches on it.<b>                       ANDREW'S FATHER</b>               Hey, I screwed around...guys screw               around, there's nothing wrong with               that.  Except you gotcaught, Sport.<b>                            ANDREW</b>               Yeah, Mom already reemed me, alright?<b>                       ANDREW'S FATHER</b>                    (angry)               You wanna miss a match?  Youwanna               blow your ride?  Now no school's               gonna give a scholarship to a               discipline case.     Andrew gets out of the car and walks into the school.<b>                                                  CUTTO:</b><b>5. EXT. SHERMER PARKING LOT - DAY</b>     We see JOHN BENDER walking towards us.  He is wearing     sunglasses.  A car is coming towards him but he doesn't     stop walking.     The car slams on itsbreaks directly in front of him.     Bender gets out of the frame.  Out of the car steps     ALLISON.  She is dressed all in black.  She steps     forward to look in the car's front window and the car     drivesaway.<b>                                                 CUT TO:</b><b>6. INT. LIBRARY - DAY</b>     There are six tables in two rows of three.     Claire is sitting at the front table.  Brian comes in     and sits at the table behindher.     Andrew comes in and points at the chair next to Claire     at the front table.  She shrugs and he sits there.     In walks Bender, he touches everything on the checkout     desk and takes a few things in theprocess.     He walks over to where Brian is sitting and points to     the table on the opposite side of the Library.  Brian     reluctantly gets up and moves.     Bender sits at the table where Brian was and puts his     feetup.     Allison walks in.  She walks all the way around the     library and sits in the back corner table, just behind     Brian.     Andrew and Claire look at each other and snicker.     Brian looks at her in confusion and thenturns away.     Enter RICHARD VERNON, a teacher.  He holds a stack     of papers in his left hand.  He addresses the group with     such disrespect it makes you wonder how he ever gotthe     job.<b>                            VERNON</b>               Well...well.  Here we are!  I want               to congradulate you for being on               time...     Claire raises herhand.<b>                            CLAIRE</b>               Excuse me, sir?  I think there's               been a mistake.  I know it's               detention, but...um...I don't think               I belong in here...     Vernon doesn'tcare.  He just continues to talk.<b>                            VERNON</b>               It is now seven-oh-six.  You have               exactly eight hours and fifty-four               minutes to think about whyyou're               here.  To ponder the error of your               ways...     Bender spits into the air and catches the spit in his     mouth again.     Claire looks like she is going togag.<b>                            VERNON</b>               ...and you may not talk.  You will               not move from these seats.     He glances up at Bender and points athim.<b>                            VERNON</b>               ...and you...     Vernon pulls the chair out from under Bender's feet.<b>                            VERNON</b>               ...will not sleep.  Alright people,               we'regonna try something a little               different today.  We are going to               write an essay--of no less than a               thousand words--describing to me               who you think youare.<b>                            BENDER</b>               Is this a test?     Vernon passes out paper and pencils and takes no notice     of Bender.<b>                            VERNON</b>               And when I say essay...Imean essay.               I do not mean a single word repeated               a thousand times.  Is that clear Mr.               Bender?     Bender looksup.<b>                            BENDER</b>               Crystal...<b>                            VERNON</b>               Good.  Maybe you'll learn a little               something about yourself.  Maybe               you'll even--decidewhether or not               you care to return.     Brian raises his hand and then stands.<b>                            BRIAN</b>               You know, I can answer that right               now sir...That'd be \"No\", no forme.               'cause...<b>                            VERNON</b>               Sit down Johnson...<b>                            BRIAN</b>               Thank you sir...     He sits.<b>                            VERNON</b>               Myoffice...     Vernon points.<b>                            VERNON</b>               ...is right across that hall.  Any               monkey business is ill-advised...     He looks around atthem.<b>                            VERNON</b>               ...any questions?<b>                            BENDER</b>               Yeah...I got a question.     Vernon looks at himsuspiciously.<b>                            BENDER</b>               Does Barry Manilow know you raid his               wardrobe?<b>                            VERNON</b>               I'll give you the answer to that               question,Mr. Bender, next Saturday.               Don't mess with the bull young man,               you'll get the horns.     Vernon leaves.<b>                            BENDER</b>               That man...is a brownie hound...     Everyonetries to get comfortable and we hear a loud     snapping sound.  Brian turns and looks and it is     Allison, biting her nails.     Bender's eyes widen as he turns to look.  Everyone is     looking now.  Allison notices themlooking at her.<b>                            BENDER</b>               You keep eating your hand and you're               not gonna be hungry for lunch...     Allison spits part of her nail atBender.<b>                            BENDER</b>               I've seen you before, you know...     We see Vernon look out from his office.     We see Brian playing with hispen.<b>                            BRIAN</b>                    (quietly to himself)               Who do I think I am?  Who are you?               Who are you?     He attaches the pen to his bottom lip and puts the top     under hisupper lip.<b>                            BRIAN</b>               I am a walrus...     Bender looks at him in utter confusion.  Brian notices     this, laughs and takes the pen out of his mouth--     embarrassed.     Bender and Brianbegin to take their jackets off at the     same time.  They both notice this.  Brian stops removing     his jacket.     Bender takes his all the way off.  Brian rubs his hands     together and pretends to be cold.  He pulls hisjacket     back on.  He turns and looks at Bender who is still     staring at him.<b>                            BRIAN</b>               It's the shits, huh?     Bender glares at him and Brian utters anuncomfortable     laugh.     Bender turns away and crumples up his essay paper.  He     throws it at Claire.  It misses and goes over Claire's     head.     Andrew and Claire acknowlege it but continue toignore     Bender.     Bender starts loudly \"singing\" the musical part of a     song.  \u0000Nah, nah, nah, nah, nah, nah...nah, nah, nah...\u0000<b>                            CLAIRE</b>                    (to herself)               I can'tbelieve this is really               happening to me...     Bender stops \"singing\" abruptly.<b>                            BENDER</b>               Oh, shit!  What're we s'posed to do               if we hafta take apiss?<b>                            CLAIRE</b>                    (disgusted)               Please...<b>                            BENDER</b>               If you gotta go...     We hear Bender unzip his"}
+{"doc_id":"doc_245","qid":"","text":"<html><head><title>Kingdom, The Script at IMSDb.</title><meta name=\"description\" content=\"Kingdom, The script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Kingdom, The script,Kingdom, The movie script, Kingdom, The film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\"rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                       THE KINGDOM</b>                        Written by<b>                 MATTHEW MICHAELCARNAHAN</b><b>                                                        8/18/2006</b><b></b><b>1   OMITTED - SEE 68A                                             1</b><b>2   INT. WASHINGTON, DC ELEMENTARY SCHOOL -DAY                   2</b>    We're in a kindergarten classroom of 25 SIX YEAR OLDS. All    sitting on the floor, legs crossed. Sitting in front of the    kids is Little KEVIN FLEURY, flanked by his mom LYLA FLEURY    and hisdad RONALD FLEURY, in a dark suit.    Little Kevin has a large cardboard square with pictures from    different stages of his life taped to it. He's telling the    class about the photos.    We're TIGHT ON the pictures.TIGHT ON the young faces. TIGHT    ON Fleury.<b>                         KEVIN FLEURY</b>              This is my Fredricksburg house and              my grandma Ruth playing with my              skateboard ramp. It's a TonyHawk              jump ramp.    A little girl, MICK raises her hand.<b>                        KEVIN FLEURY (CONT'D)</b>              Mick?    Silence from Mick<b>                        MICK</b>              I forgot what I was goingto say.    Kevin points to another picture.<b>                        KEVIN FLEURY</b>              This is me at my second birthday              party with my mom and my dad.              That's my cake.    Fleury looks downsweet at his son.<b>                        KEVIN FLEURY (CONT'D)</b>              This is me with my mom at the zoo              and this is my dad and me and my              grandpa Willie.    Kevin points to anotherphoto.<b>                        KEVIN FLEURY (CONT'D)</b>              And this is me and my dad and my              grandpa Willie at my dad's office.<b></b><b>                                          KINGDOM8/18/06   2.</b>The kids all lean forward and squirm as they try and getcloser to the pictures. MISS ROSS, the pretty twenty fiveyear old teacher watches from the side.<b>                    MICK</b>          Where'syour gun?<b>                    LITTLE BOY</b>          Yeah, where is your gun?Pretty much all the kids get in on this now. Everyone wantsto see Fleury's gun. Fleury makes eyes at Miss Ross. She'sgiving him a `nofucking way' hard eye.<b>                    FLEURY</b>          I'm assuming that there are no bad          guys in this room. Isn't that          right? I mean, are you guys good          guys or badguys?<b>                       THE WHOLE CLASS</b><b>          GOOD GUYS!</b><b>                    FLEURY</b>          Right. So why would I have brought          my gun to a room full of good guys?This silences theclass. Miss Ross keeps things moving,pointing to a photo.<b>                    MISS ROSS</b>          What's that picture?<b>                    KEVIN FLEURY</b>          This is me and my dad playing          Battleship atmy dad's apartment.Mick's hand goes back up.<b>                       KEVIN FLEURY (CONT'D)</b>          Mick?<b>                    MICK</b>          What is a battleship?<b>                    KEVINFLEURY</b>              (abruptly)          My parents are divorced.A beat. Lyla and Ron look down at Kevin, stalled...<b></b><b>                                             KINGDOM 8/18/06    3.</b><b>                        KEVINFLEURY (CONT'D)</b>              But that's OK `cause the most              important thing is to know that              everybody loves each other.    This hits a bit hard on Lyla and Ron. Miss Ross jumpsin.<b>                        MISS ROSS</b>              So, who's that in that picture up              on top?<b>                        KEVIN FLEURY</b>              That's my fish, his name is Jaws              and he's a really meanfish.<b>                                                    CONTINUED:</b><b>3   OMITTED - SEE 68A                                                3</b><b>4   INT. WASHINGTON DC ELEMENTARY SCHOOL-CONTINUOUS                 4</b>    Kevin is still going strong.<b>                         KEVIN FLEURY</b>              My mommy is a Think Tank worker and              she is really, really smart. She              went to twocolleges and has three              computers.<b>                                                    CONTINUED:</b><b>5   OMITTED - SEE 78A, 87                                            5</b><b>6   INT. WASHINGTON DC ELEMENTARYSCHOOL - DAY                       6</b>    Kevin's pointing to a picture of Ronald holding him as a tiny    newborn.<b>                        KEVIN FLEURY</b>              This is the day that my daddy says              is thehappiest day of his life.<b>                        MISS ROSS</b>              Really. His happiest day! Can you              tell us about that day, Mr. Fleury?    Fleury smiles, looks out at theclass.<b></b><b>                                          KINGDOM 8/18/06   4.</b><b>                    RONALD FLEURY</b>          I sure can. That was December 4th          and that was the day that we spent          thewhole day in the hospital          waiting for this guy right here to          come out of Kevin's mom's tummy.          And we waited and waited but he          wouldn't come and we kept waiting          and finally the doctorsaid          `OK...he's not gonna come out on          his own so we got to go get him.'          And well,Fleury stops, checks in with Miss Ross.<b>                    RONALD FLEURY (CONT'D)</b>          Can I tell thisstory?<b>                       MISS ROSS</b>          Go for it.                    RONALD Fleury          So they take her and put her on a          special bed and they give her some          medicine so she doesn't feelany          pain then they take out this tiny          little knife and make a tiny little          cut right here in her tummy.The kids are mesmerized...<b>                    MISS ROSS</b>          Then whathappened?                    RONALD Fleury          Then the doctor put her hands way          up into Kevin's mom's tummy. WAY          IN! And then you know what they          did?A little girl, LU LU: WIDEEYED<b>                    LU LU</b>          What did they do?<b>                    RONALD FLEURY</b>          They started to pull and pull and          pull... they had something in there          and it started coming andthey were          pulling and the doctor all of the          sudden said \"STOP!\"The class is frozen. Fleury has them.<b></b><b>                                            KINGDOM 8/18/06   5.</b><b>                        RONALDFLEURY (CONT'D)</b>              They stopped pulling and the doctor              looked up at me and said `Hey, Mr.              Fleury - you ready to have your              world rocked?' And I just stared at              her andshe pulled this little head              up out of that belly. And it was              him. His head. And I looked down at              him and screamed \"Kevin!!\" And he              looked down at me andscreamed              \"Daddy!!\"    The kids are howling!<b>                                                      CUT TO:</b><b>7   EXT. AN UNKNOWN ROOFTOP - LATE DAY                             7</b>    A Muslim family sits togetherat a table under a tented-    canopy: 32 year-old MAN nervously chewing on a toothpick, and    his 8 and 15 year-old SONS. The 8yo leans his weight into an    old MAN hunched and obscured by his grandson - this ishis    Grandfather. He gently rubs the Boy's head with an ancient    left hand. The Boy finger-paints in Arabic script, right to    left, getting paint on the table. Read the translation: There    is no God but Allah.    TheGrandfather's face is down, obscured by his shumagh: the    head-wrap worn by some Muslim men. Never a clear view of his    face. His 32 year old Son and eldest Grandson sit next to    them, the Son talking quietlyon a cell phone, chewing that    toothpick, eyes set on something in the distance: A Security    Gate three hundred yards away, the entrance to some sort of    compound. The Compound looks like a walled-offsubdivision,    most of which we can see from this high up.    The landscape is foreign. Scrub desert. Ten miles beyond, on    the horizon: the shimmer of a modern skyline. Surreal    monolithic shapes made more so bythe heat.    Muted yells-claps-screams waft in from that Compound now...    Catches the youngest Grandson's attention. Eyes lift up from    his painting: the yells-claps-screams are coming from a    softball gamemostly visible behind the Compound's reinforced    walls that extend a mile in each direction. Played on the    only stretch of green grass visible from thisvantage.<b>8   OMITTED                                                        8</b><b></b><b>                                              KINGDOM 8/18/06   6.</b><b>9    EXT. COMPOUND MAIN ENTRANCE - LATEDAY                          9</b>     Sounds from the softball game much louder now, just over the     walls. Security perimeters two checkpoints deep before you     get to the main gate. A maze of concrete Jersey-barriersto     slow all entering vehicles: give machine-gun emplacements     flanking the entrance plenty of time to shred those vehicles     if need be. Middle-Eastern Police platoons. 500 lbs. lift-     gates to dissuade anyvehicle that just tries to ram through.     SERGEANT HAYTHAM: a lean, 27 year-old Middle-Eastern     Policeman in-command of the Entrance. Sweats through his     uniform. A late-model Range Rover with blacked-outwindows     queues up. All the windows roll down: just a single, portly     White WOMAN behind the wheel, her INFANT CHILD in a car-seat     in front. Two other Uniformed Officers mirror-scan the bottom     of theRover.     A brief exchange, as Haytham checks his ID:<b>                         DRIVER</b>               How are you today, Sergeant?<b>                         HAYTHAM</b>               Sun is shining. Wind isblowing.               How bad can I be doing?<b>                         DRIVER</b>               I like that, \"Sun is shining...\"     A tight smile from Haytham.     The other Officers are checking the inside of the Rovernow.     They nod to Haytham, Haytham hands the ID back to her.     Windows rolls up. Lift-gate goes up. Range Rover pulls away,     navigating the zig-zag jersey barriers.<b>10   INT. COMPOUND - NEXTMOMENT                                 10</b>     Stay with the Range Rover as it moves deeper into the     complex. Think middle-class Phoenix suburb circa 1960: stucco     homes sandwiched between dormitory styleapartment blocks,     concrete and rock where grass should be.     The Range Rover passes a tank with a caged SOLDIER on top     sitting behind a fifty caliber GUN. A Police Land Cruiser     parked in the middle of theroad is the last of the security.     Official markings, emergency lights in the grill.<b></b><b>                                              KINGDOM 8/18/06   7.</b><b>11   EXT. UNKNOWN ROOFTOP - SAMEMOMENT                           11</b>     The Son studies the compound through binoculars, while the     youngest Grandson squints to study the softball game:     Interest cut with jealousy. More muted cheers float.Behind     and above him, his Grandfather's voice, rough as sand, to his     32 year-old Son, in Arabic:<b>                         GRANDFATHER (O.C.)</b>               Hang up the phone. If they're not               ready now,no words will change it.<b>12   EXT. COMPOUND SOFTBALL DIAMOND - NEXT MOMENT                 12</b>     Another Middle-Eastern POLICEMAN takes in the motley     competition: half-smiling, half-smirking at a"}
+{"doc_id":"doc_246","qid":"","text":"The Project Gutenberg EBook of Our Southern Highlanders, by Horace KephartThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it awayorre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: Our Southern HighlandersAuthor: Horace KephartRelease Date: March 20, 2010 [EBook#31709]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK OUR SOUTHERN HIGHLANDERS ***Produced by David Garcia, Stephanie Eason, and the OnlineDistributed Proofreading Team athttp://www.pgdp.net. (Thisfile was produced from images generously made availableby The Kentuckiana Digital Library.)OUR SOUTHERN HIGHLANDERS[Illustration: Photo by U. S. Forest ServiceBig Tom Wilson, thebear hunter, who discovered the body of Prof. ElishaMitchell where he perished near the summit of the Peak that afterwardwas named in his honor]  OUR SOUTHERN HIGHLANDERS  BY  HORACE KEPHART  AUTHOR OF\"THE BOOK OF CAMPING AND WOODCRAFT,\" \"CAMP  COOKERY,\" \"SPORTING FIREARMS,\" ETC.  _Illustrated_  NEW YORK  OUTING PUBLISHING COMPANY  MCMXVI  COPYRIGHT, 1913, BY  OUTING PUBLISHINGCOMPANY  All rights reserved  First Printing, November 1913  Second Printing, December 1913  Third Printing, January 1914  Fourth Printing, April 1914CONTENTSCHAPTER                                      PAGE   I.\"SOMETHING HIDDEN; GO AND FIND IT\"       11  II. \"THE BACK OF BEYOND\"                     28 III. THE GREAT SMOKY MOUNTAINS                50  IV. A BEAR HUNT IN THE SMOKIES               75   V. MOONSHINELAND                          110  VI. WAYS THAT ARE DARK                      126 VII. A LEAF FROM THE PAST                    145VIII. \"BLOCKADERS\" AND \"THE REVENUE\"          167  IX. THE OUTLANDER AND THENATIVE            191   X. THE PEOPLE OF THE HILLS                 212  XI. THE LAND OF DO WITHOUT                  234 XII. HOME FOLKS AND NEIGHBOR PEOPLE          256XIII. THE MOUNTAIN DIALECT                    276XIV. THE LAW OF THE WILDERNESS               305  XV. THE BLOOD-FEUD                          327 XVI. WHO ARE THE MOUNTAINEERS?               354XVII. \"WHEN THE SLEEPER WAKES\"                378ILLUSTRATIONSBigTom Wilson, the bear hunter              _Frontispiece_                                                FACING PAGEMap of Appalachia                                         8A family of pioneers in the twentieth century            16\"The very cliffsare sheathed with trees and shrubs\"     24At the Post-Office                                       32The author in camp in the Big Smokies                    40\"Bob\"                                                    48\"There are few juttingcrags\"                            56The bears' home--laurel and rhododendron                 64The old copper mine                                      72\"What soldiers these fellows would make underleadership of some backwoodsNapoleon\"                   80\"By and by up they came, carrying the bear onthe trimmed sapling\"                                     88Skinning a frozen bear                                   96\"... Powerful steep andlaurely....\"                    104Mountain still-house hidden in the laurel               112Moonshine still, side view                              120Moonshine still in full operation                       128Corn mill and blacksmithforge                          136A tub-mill                                              152Cabin on the Little Fork of Sugar Fork of HazelCreek in which the author lived alone for three years   160A mountainhome                                         176Many of the homes have but one window                   192The schoolhouse                                         208\"At thirty a mountain woman is apt to have aworn and fadedlook\"                                    216The misty veil of falling water                         232An average mountain cabin                               240A bee-gum                                               248Let the women do thework                               264\"Till the sky-line blends with the sky itself\"          288Whitewater Falls                                        312The road follows the creek--there may be a dozenfords in amile                                         320\"Dense forest and luxuriant undergrowth\"                336[Illustration: APPALACHIAThe wavy black line shows the outer boundaries of Southern AppalachianRegion. The shadedportion shows the chief areas covered by highmountains, 3,000 to 6,700 feet above sea-level.]OUR SOUTHERN HIGHLANDERSOUR SOUTHERN HIGHLANDERSCHAPTER I\"SOMETHING HIDDEN; GO AND FIND IT\"In oneof Poe's minor tales, written in 1845, there is a vague allusionto wild mountains in western Virginia \"tenanted by fierce and uncouthraces of men.\" This, so far as I know, was the first reference inliterature to ourSouthern mountaineers, and it stood as their onlycharacterization until Miss Murfree (\"Charles Egbert Craddock\") beganher stories of the Cumberland hills.Time and retouching have done little to soften ourHighlander'sportrait. Among reading people generally, South as well as North, toname him is to conjure up a tall, slouching figure in homespun, whocarries a rifle as habitually as he does his hat, and who may tiltitsmuzzle toward a stranger before addressing him, the form of salutationbeing:\"Stop thar! Whut's you-unses name? Whar's you-uns a-goin' ter?\"Let us admit that there is just enough truth in this caricature to giveit apoint that will stick. Our typical mountaineer is lank, he isalways unkempt, he is fond of toting a gun on his shoulder, and hiscuriosity about a stranger's name and business is promptly, thoughpolitely, outspoken. Forthe rest, he is a man of mystery. The greatworld outside his mountains knows almost as little about him as he doesof it; and that is little indeed. News in order to reach him must be ofsuch widespread interest as fairlyto fall from heaven; correspondingly,scarce any incidents of mountain life will leak out unless they be ofsensational nature, such as the shooting of a revenue officer inCarolina, the massacre of a Virginia court, or theoutbreak of anotherfeud in \"bloody Breathitt.\" And so, from the grim sameness of suchreports, the world infers that battle, murder, and sudden death arecommonplaces in Appalachia.To be sure, in Miss Murfree'snovels, as in those of John Fox, Jr., andof Alice MacGowan, we do meet characters more genial than feudists andillicit distillers; none the less, when we have closed the book, who isit that stands out clearest as type andpattern of the mountaineer? Isit not he of the long rifle and peremptory challenge? And whether thisbe because he gets most of the limelight, or because we have a furtiveliking for that sort of thing (on paper), orwhether the armed outlaw beindeed a genuine protagonist--in any case, the Appalachian people remainin public estimation to-day, as Poe judged them, an uncouth and fiercerace of men, inhabiting a wild mountainregion little known.The Southern highlands themselves are a mysterious realm. When Iprepared, eight years ago, for my first sojourn in the Great SmokyMountains, which form the master chain of the Appalachiansystem, Icould find in no library a guide to that region. The most diligentresearch failed to discover so much as a magazine article, writtenwithin this generation, that described the land and its people. Nay,there was noteven a novel or a story that showed intimate localknowledge. Had I been going to Teneriffe or Timbuctu, the librarieswould have furnished information a-plenty; but about this housetop ofeastern America they werestrangely silent; it was _terra incognita_.On the map I could see that the Southern Appalachians cover an area muchlarger than New England, and that they are nearer the center of ourpopulation than any othermountains that deserve the name. Why, then, solittle known? Quaintly there came to mind those lines familiar to myboyhood: \"Get you up this way southward, and go up into the mountain;and see the land, what it is;and the people that dwelleth therein,whether they be strong or weak, few or many; and what the land is thatthey dwell in, whether it be good or bad; and what cities they be thatthey dwell in, whether in tents, or instrongholds; and what the landis, whether it be fat or lean, whether there be wood therein or not.\"In that dustiest room of a great library where \"pub. docs.\" are stored,I unearthed a government report on forestry thatgave, at last, a clearidea of the lay of the land. And here was news. We are wont to think ofthe South as a low country with sultry climate; yet its mountain chainsstretch uninterruptedly southwestward from Virginia toAlabama, 650miles in an air line. They spread over parts of eight contiguous States,and cover an area somewhat larger than England and Scotland, or aboutthe same as that of the Alps. In short, the greatest mountainsystem ofeastern America is massed in our Southland. In its upper zone one sleepsunder blankets the year round.In all the region north of Virginia and east of the Black Hills ofDakota there is but one summit (MountWashington, in New Hampshire) thatreaches 6,000 feet above sea level, and there are only a dozen othersthat exceed 5,000 feet. By contrast, south of the Potomac there areforty-six peaks, and forty-one miles ofdividing ridges, that rise above6,000 feet, besides 288 mountains and some 300 miles of divide thatstand more than 5,000 feet above the sea. In North Carolina alone themountains cover 6,000 square miles, with an_average_ elevation of 2,700feet, and with twenty-one peaks that overtop Mount Washington.I repeated to myself: \"Why, then, so little known?\" The Alps and theRockies, the Pyrennees and the Harz are more familiarto the Americanpeople, in print and picture, if not by actual visit, than are theBlack, the Balsam, and the Great Smoky Mountains. It is true that summertourists flock to Asheville and Toxaway, Linville and Highlands,passingtheir time at modern hotels and motoring along a few macadamed roads,but what do they see of the billowy wilderness that conceals most of thenative homes? Glimpses from afar. What do they learn of therealmountaineer? Hearsay. For, mark you, nine-tenths of the Appalachianpopulation are a sequestered folk. The typical, the average mountainman prefers his native hills and his primitive ancient ways.We read moreand talk more about the Filipinos, see more of the Chineseand the Syrians, than of these three million next-door Americans who areof colonial ancestry and mostly of British stock. New York, we say, is acosmopolitancity; more Irish than in Dublin, more Germans than inMunich, more Italians than in Rome, more Jews than in nine Jerusalems;but how many New Yorkers ever saw a Southern mountaineer? I am sure thata party ofhillsmen fresh from the back settlements of the Unakas, ifdropped on the streets of any large city in the Union, and left to theirown guidance, would stir up more comment (and probably more trouble)than would asimilar body of whites from any other quarter of the earth;and yet this same odd people is more purely bred from old American stockthan any other element of our population that occupies, by itself, sogreat aterritory.The mountaineers of the South are marked apart from all other folks bydialect, by customs, by character, by self-conscious isolation. So trueis this that they call all outsiders \"furriners.\" It matters notwhetheryour descent be from Puritan or Cavalier, whether you come fromBoston or Chicago, Savannah or New Orleans, in the mountains you are a\"furriner.\" A traveler, puzzled and scandalized at this, asked a nativeofthe Cumberlands what he would call a \"Dutchman or a Dago.\" The fellowstudied a bit and then replied: \"Them's the outlandish.\"[Illustration: A Family of Pioneers in the Twentieth Century]Foreigner, outlander, it is allone; we are \"different,\" we are \"quar,\"to the mountaineer. He knows he is an American; but his conception ofthe metes and bounds of America is vague to the vanishing point. As forcountries over-sea--well, when acelebrated Nebraskan returned from histrip around the globe, one of my backwoods neighbors proudly informedme: \"I see they give Bryan a lot of receptions when he kem back from theother world.\"No one canunderstand the attitude of our highlanders toward the rest ofthe earth until he realizes their amazing isolation from all that liesbeyond the blue, hazy skyline of their mountains. Conceive a shipload ofemigrants castaway on some unknown island, far from the regular trackof vessels, and left there for five or six generations, unaided anduntroubled by the growth of civilization. Among the descendants of sucha company we wouldexpect to find customs and ideas unaltered from thetime of their forefathers. And that is just what we do find to-day amongour castaways in the sea of mountains. Time has lingered in Appalachia.The mountain folk stilllive in the eighteenth century. The progress ofmankind from that age to this is no heritage of theirs.Our backwoodsmen of the Blue Ridge and the Unakas, of their connectingchains, and of the outlying Cumberlands, arestill thinking essentiallythe same thoughts, still living in much the same fashion, as did theirancestors in the days of Daniel Boone. Nor is this their fault. They area people of keen intelligence and strong initiative whenthey can seeanything to win. But, as President Frost says, they have been\"beleaguered by nature.\" They are belated--ghettoed in the midst of acivilization that is as aloof from them as if it existed only on anotherplanet.And so, in order to be fair and just with these, our backwardkinsmen, we must, for the time, decivilize ourselves to the extent of_going back_ and getting an eighteenth century point of view.But, first, how comes it thatthe mountain folk have been so longdetached from the life and movement of their times? Why are they soforeign to present-day Americanism that they innocently call all therest of us foreigners?The answer lies on themap. They are creatures of environment, enmeshedin a labyrinth that has deflected and repelled the march of our nationfor three hundred years.In 1728, when Colonel William Byrd, of Westover, was runningtheboundary line between Virginia and North Carolina, he finally wasrepulsed by parallel chains of savage, unpeopled mountains that rosetier beyond tier to the westward, everywhere densely forested, andmatted intojungle by laurel and other undergrowth. In his _Journal_,writing in the quaint, old-fashioned way, he said: \"Our country has nowbeen inhabited more than 130 years by the English, and still we hardlyknow anything ofthe Appalachian Mountains, that are nowhere above 250miles from the sea. Whereas the French, who are later comers, haverang'd from Quebec Southward as far as the Mouth of Mississippi, in thebay of Mexico, and tothe West almost as far as California, which iseither way above 2,000 miles.\"A hundred and thirty years later, the same thing could have been said ofthese same mountains; for the \"fierce and uncouth races of men\" thatPoefaintly heard of remained practically undiscovered until they startledthe nation on the scene of our Civil War, by sending 180,000 of theirriflemen into the Union Army.If a corps of surveyors to-day should beengaged to run a line due westfrom eastern Virginia to the Blue Grass of Kentucky, they would have anarduous task. Let us suppose that they start from near Richmond andproceed along the line of 37° 50'. The BlueRidge is not especiallydifficult: only eight transverse ridges to climb up and down in fourteenmiles, and none of them more than 2,000 feet high from bottom to top.Then, thirteen miles across the lower end of TheValley, a curiousformation begins.As a foretaste, in the three and a half miles crossing Little House andBig House mountains, one ascends 2,200 feet, descends 1,400, climbsagain 1,600, and goes down 2,000 feet onthe far side. Beyond lie steepand narrow ridges athwart the way, paralleling each other like waves atsea. Ten distinct mountain chains are scaled and descended in the nextforty miles. There are few \"leads\" risinggradually to their crests.Each and every one of these ridges is a Chinese wall magnified toaltitudes of from a thousand to two thousand feet, and covered withthicket. The hollows between them are merely deeptroughs.In the next thirty miles we come upon novel topography. Instead of wavefollowing wave in orderly procession, we find here a choppy sea of smallmountains, with hollows running toward all points of thecompass.Instead of Chinese walls, we now have Chinese puzzles. The innateperversity of such configuration grows more and more exasperating as wetoil westward. In the two hundred miles from the Greenbrier totheKentucky River, the ridges are all but unscalable, and the streamssprangle in every direction like branches of mountain laurel.The only roads follow the beds of tortuous and rock-strewn watercourses, which may benearly dry when you start out in the morning, butwithin an hour may be raging torrents. There are no bridges. One mayford a dozen times in a mile. A spring \"tide\" will stop all travel, evenfrom neighbor to neighbor, fora day or two at a time. Buggies andcarriages are unheard of. In many districts the only means oftransportation is with saddlebags on horseback, or with a \"tow sack\"afoot. If the pedestrian tries a short-cut he will learnwhat thenatives mean when they say: \"Goin' up, you can might' nigh stand upstraight and bite the ground; goin' down, a man wants hobnails in theseat of his pants.\"James Lane Allen was not writing fiction when hesaid of the far-famedWilderness Road into Kentucky: \"Despite all that has been done tocivilize it since Boone traced its course in 1790, this honored historicthoroughfare remains to-day as it was in the beginning, withall itssloughs and sands, its mud and holes, and jutting ledges of rock andloose boulders, and twists and turns, and general total depravity....One such road was enough. They are said to have been notoriousforprofanity, those who came into Kentucky from this side. Naturally. Manywere infidels--there are roads that make a man lose faith. It is knownthat the more pious companies of them, as they traveled along, wouldnowand then give up in despair, sit down, raise a hymn, and have prayersbefore they could go further. Perhaps one of the provocations tohomicide among the mountain people should be reckoned this road. I haveseentwo of the mildest of men, after riding over it for a few hours,lose their temper and begin to fight--fight their horses, fight theflies, fight the cobwebs on their noses.\"Such difficulties of intercommunication are enough toexplain theisolation of the mountaineers. In the more remote regions thisloneliness reaches a degree almost unbelievable. Miss Ellen Semple, in afine monograph published in the _Geographical Journal_, of London,in1901, gave us some examples:     \"These Kentucky mountaineers are not only cut off from the outside     world, but they are separated from each other. Each is confined to     his own locality, and finds his little worldwithin a radius of a     few miles from his cabin. There are many men in these mountains who     have never seen a town, or even the poor village that constitutes     their county-seat.... The women ... are almost asrooted as the     trees. We met one woman who, during the twelve years of her married     life, had lived only ten miles across the mountain from her own     home, but had never in this time been back home to visit herfather     and mother. Another back in Perry county told me she had never been     farther from home than Hazard, the county-seat, which is only six     miles distant. Another had never been to the post-office,four     miles away; and another had never seen the ford of the Rockcastle     River, only two miles from her home, and marked, moreover, by the     country store of the district.\"When I first went into the Smokies, Istopped one night in a single-roomlog cabin, and soon had the good people absorbed in my tales of travelbeyond the seas. Finally the housewife said to me, with patheticresignation: \"Bushnell's the furdest ever I'vebeen.\" Bushnell, at thattime, was a hamlet of thirty people, only seven miles from where we sat.When I lived alone on \"the Little Fork of Sugar Fork of Hazel Creek,\"there were women in the neighborhood, young andold, who had never seena railroad, and men who had never boarded a train, although the Murphybranch ran within sixteen miles of our post-office. The first time thata party of these people went to the railroad, theywere uneasy andsuspicious. Nearing the way-station, a girl in advance came upon thefirst negro she ever saw in her life, and ran screaming back: \"Mygoddamighty, Mam, thar's the boogerman--I done seed him!\"Butbefore discussing the mountain people and their problems, let ustake an imaginary balloon voyage over their vast domain. South of thePotomac the Blue Ridge is a narrow rampart rising abruptly from theeast, one or"}
+{"doc_id":"doc_247","qid":"","text":"Project Gutenberg's Marius the Epicurean, Volume One, by Walter Horatio PaterThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it awayorre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: Marius the Epicurean, Volume OneAuthor: Walter Horatio PaterPosting Date: June 13, 2009[EBook #4057]Release Date: May, 2003First Posted: October 25, 2001Language: English*** START OF THIS PROJECT GUTENBERG EBOOK MARIUS THE EPICUREAN, VOLUME ONE ***Produced by Alfred J.Drake.  HTML version by Al Haines.MARIUS THE EPICUREAN, VOLUME ONEWALTER HORATIO PATERLondon: 1910. (The Library Edition.)NOTES BY THE E-TEXT EDITOR:Notes: The 1910 Library Edition employsfootnotes, a style inconvenientin an electronic edition.  I have therefore placed an asteriskimmediately after each of Pater's footnotes and a + sign after my ownnotes, and have listed each chapter's notes at thatchapter's end.Pagination and Paragraphing: To avoid an unwieldy electronic copy, Ihave transferred original pagination to brackets.  A bracketed numeralsuch as [22] indicates that the material immediately followingthenumber marks the beginning of the relevant page.  I have preservedparagraph structure except for first-line indentation.Hyphenation: I have not preserved original hyphenation since an e-textdoes not requireline-end or page-end hyphenation.Greek typeface: For this full-text edition, I have transliteratedPater's Greek quotations.  If there is a need for the original Greek,it can be viewed at my site,http://www.ajdrake.com/etexts, aVictorianist archive that contains the complete works of Walter Paterand many other nineteenth-century texts, mostly in first editions.MARIUS THE EPICUREAN, VOLUME ONE WALTERPATER    Cheimerinos oneiros, hote mêkistai hai vyktes.+    +\"A winter's dream, when nights are longest.\"    Lucian, The Dream, Vol. 3.CONTENTS    PART THE FIRST    1. \"The Religion of Numa\": 3-12    2.White-Nights: 13-26    3. Change of Air: 27-42    4. The Tree of Knowledge: 43-54    5. The Golden Book: 55-91    6. Euphuism: 92-110    7. A Pagan End: 111-120    PART THE SECOND    8. Animula Vagula:123-143    9. New Cyrenaicism: 144-157    10. On the Way: 158-171    11. \"The Most Religious City in the World\": 172-187    12. \"The Divinity that Doth Hedge a King\": 188-211    13. The \"Mistress and Mother\" ofPalaces: 212-229    14. Manly Amusement: 230-243MARIUS THE EPICUREAN, VOLUME ONEPART THE FIRSTCHAPTER I: \"THE RELIGION OF NUMA\"[3] As, in the triumph of Christianity, the old religion lingeredlatest inthe country, and died out at last as but paganism--thereligion of the villagers, before the advance of the Christian Church;so, in an earlier century, it was in places remote from town-life thatthe older and purer forms ofpaganism itself had survived the longest.While, in Rome, new religions had arisen with bewildering complexityaround the dying old one, the earlier and simpler patriarchal religion,\"the religion of Numa,\" as people lovedto fancy, lingered on withlittle change amid the pastoral life, out of the habits and sentimentof which so much of it had grown. Glimpses of such a survival we maycatch below the merely artificial attitudes of Latinpastoral poetry;in Tibullus especially, who has preserved for us many poetic details ofold Roman religious usage.     At mihi contingat patrios celebrare Penates,     Reddereque antiquo menstrua thura Lari:[4] --heprays, with unaffected seriousness.  Something liturgical,with repetitions of a consecrated form of words, is traceable in one ofhis elegies, as part of the order of a birthday sacrifice.  The hearth,from a spark of which, asone form of old legend related, the childRomulus had been miraculously born, was still indeed an altar; and theworthiest sacrifice to the gods the perfect physical sanity of theyoung men and women, which thescrupulous ways of that religion of thehearth had tended to maintain.  A religion of usages and sentimentrather than of facts and belief, and attached to very definite thingsand places--the oak of immemorial age, therock on the heath fashionedby weather as if by some dim human art, the shadowy grove of ilex,passing into which one exclaimed involuntarily, in consecrated phrase,Deity is in this Place!  Numen Inest!--it was innatural harmony withthe temper of a quiet people amid the spectacle of rural life, likethat simpler faith between man and man, which Tibullus expresslyconnects with the period when, with an inexpensive worship, theoldwooden gods had been still pressed for room in their homely littleshrines.And about the time when the dying Antoninus Pius ordered his goldenimage of Fortune to be carried into the chamber of his successor(nowabout to test the truth of the old Platonic contention, that the worldwould at last find itself [5] happy, could it detach some reluctantphilosophic student from the more desirable life of celestialcontemplation, andcompel him to rule it), there was a boy living in anold country-house, half farm, half villa, who, for himself, recruitedthat body of antique traditions by a spontaneous force of religiousveneration such as had originallycalled them into being.  More than acentury and a half had past since Tibullus had written; but therestoration of religious usages, and their retention where they stillsurvived, was meantime come to be the fashionthrough the influence ofimperial example; and what had been in the main a matter of familypride with his father, was sustained by a native instinct of devotionin the young Marius.  A sense of conscious powers externaltoourselves, pleased or displeased by the right or wrong conduct of everycircumstance of daily life--that conscience, of which the old Romanreligion was a formal, habitual recognition, was become in him apowerfulcurrent of feeling and observance.  The old-fashioned, partlypuritanic awe, the power of which Wordsworth noted and valued so highlyin a northern peasantry, had its counterpart in the feeling of theRoman lad, as hepassed the spot, \"touched of heaven,\" where thelightning had struck dead an aged labourer in the field: an uprightstone, still with mouldering garlands about it, marked the place.  Hebrought to that system of symbolic[6] usages, and they in turndeveloped in him further, a great seriousness--an impressibility to thesacredness of time, of life and its events, and the circumstances offamily fellowship; of such gifts to men as fire, water,the earth, fromlabour on which they live, really understood by him as gifts--a senseof religious responsibility in the reception of them.  It was areligion for the most part of fear, of multitudinous scruples, of ayear-longburden of forms; yet rarely (on clear summer mornings, forinstance) the thought of those heavenly powers afforded a welcomechannel for the almost stifling sense of health and delight in him, andrelieved it asgratitude to the gods.The day of the \"little\" or private Ambarvalia was come, to becelebrated by a single family for the welfare of all belonging to it,as the great college of the Arval Brothers officiated at Rome intheinterest of the whole state.  At the appointed time all work ceases;the instruments of labour lie untouched, hung with wreaths of flowers,while masters and servants together go in solemn procession along thedrypaths of vineyard and cornfield, conducting the victims whose bloodis presently to be shed for the purification from all natural orsupernatural taint of the lands they have \"gone about.\" The old Latinwords of the liturgy,to be said as the procession moved on its way,though their precise meaning was long [7] since become unintelligible,were recited from an ancient illuminated roll, kept in the paintedchest in the hall, together with thefamily records.  Early on that daythe girls of the farm had been busy in the great portico, filling largebaskets with flowers plucked short from branches of apple and cherry,then in spacious bloom, to strew before thequaint images of thegods--Ceres and Bacchus and the yet more mysterious Dea Dia--as theypassed through the fields, carried in their little houses on theshoulders of white-clad youths, who were understood to proceedto thisoffice in perfect temperance, as pure in soul and body as the air theybreathed in the firm weather of that early summer-time.  The cleanlustral water and the full incense-box were carried after them.  Thealtarswere gay with garlands of wool and the more sumptuous sort ofblossom and green herbs to be thrown into the sacrificial fire,fresh-gathered this morning from a particular plot in the old garden,set apart for thepurpose.  Just then the young leaves were almost asfragrant as flowers, and the scent of the bean-fields mingledpleasantly with the cloud of incense.  But for the monotonousintonation of the liturgy by the priests, cladin their strange, stiff,antique vestments, and bearing ears of green corn upon their heads,secured by flowing bands of white, the procession moved in absolutestillness, all persons, even the children, abstaining from [8]speechafter the utterance of the pontifical formula, Favetelinguis!--Silence!  Propitious Silence!--lest any words save thoseproper to the occasion should hinder the religious efficacy of the rite.With the lad Marius, who,as the head of his house, took a leading partin the ceremonies of the day, there was a devout effort to completethis impressive outward silence by that inward tacitness of mind,esteemed so important by religiousRomans in the performance of thesesacred functions.  To him the sustained stillness without seemed reallybut to be waiting upon that interior, mental condition of preparationor expectancy, for which he was just thenintently striving.  Thepersons about him, certainly, had never been challenged by thoseprayers and ceremonies to any ponderings on the divine nature: theyconceived them rather to be the appointed means of settingsuchtroublesome movements at rest.  By them, \"the religion of Numa,\" sostaid, ideal and comely, the object of so much jealous conservatism,though of direct service as lending sanction to a sort of highscrupulosity,especially in the chief points of domestic conduct, wasmainly prized as being, through its hereditary character, somethinglike a personal distinction--as contributing, among the otheraccessories of an ancient house, tothe production of that aristocraticatmosphere which separated them from newly-made people.  But [9] in theyoung Marius, the very absence from those venerable usages of alldefinite history and dogmaticinterpretation, had already awakened muchspeculative activity; and to-day, starting from the actual details ofthe divine service, some very lively surmises, though scarcely distinctenough to be thoughts, were movingbackwards and forwards in his mind,as the stirring wind had done all day among the trees, and were likethe passing of some mysterious influence over all the elements of hisnature and experience.  One thing onlydistracted him--a certain pityat the bottom of his heart, and almost on his lips, for the sacrificialvictims and their looks of terror, rising almost to disgust at thecentral act of the sacrifice itself, a piece of everydaybutcher'swork, such as we decorously hide out of sight; though some then presentcertainly displayed a frank curiosity in the spectacle thus permittedthem on a religious pretext.  The old sculptors of the greatprocessionon the frieze of the Parthenon at Athens, have delineated the placidheads of the victims led in it to sacrifice, with a perfect feeling foranimals in forcible contrast with any indifference as to theirsufferings.  Itwas this contrast that distracted Marius now in theblessing of his fields, and qualified his devout absorption upon thescrupulous fulfilment of all the details of the ceremonial, as theprocession approached the altars.[10]The names of that great populace of \"little gods,\" dear to theRoman home, which the pontiffs had placed on the sacred list of theIndigitamenta, to be invoked, because they can help, on specialoccasions, were notforgotten in the long litany--Vatican who causesthe infant to utter his first cry, Fabulinus who prompts his firstword, Cuba who keeps him quiet in his cot, Domiduca especially, forwhom Marius had through life aparticular memory and devotion, thegoddess who watches over one's safe coming home.  The urns of the deadin the family chapel received their due service.  They also were nowbecome something divine, a goodlycompany of friendly and protectingspirits, encamped about the place of their former abode--above allothers, the father, dead ten years before, of whom, remembering but atall, grave figure above him in earlychildhood, Marius habituallythought as a genius a little cold and severe.     Candidus insuetum miratur limen Olympi,     Sub pedibusque videt nubes et sidera.--Perhaps!--but certainly needs his altar here below, andgarlands to-dayupon his urn.  But the dead genii were satisfied with little--a fewviolets, a cake dipped in wine, or a morsel of honeycomb.  Daily, fromthe time when his childish footsteps were still uncertain, hadMariustaken them their portion of the family meal, at the second course,amidst the silence [11] of the company.  They loved those who broughtthem their sustenance; but, deprived of these services, would beheardwandering through the house, crying sorrowfully in the stillness of thenight.And those simple gifts, like other objects as trivial--bread, oil,wine, milk--had regained for him, by their use in such religiousservice, thatpoetic and as it were moral significance, which surelybelongs to all the means of daily life, could we but break through theveil of our familiarity with things by no means vulgar in themselves. Ahymn followed, while thewhole assembly stood with veiled faces.  Thefire rose up readily from the altars, in clean, bright flame--afavourable omen, making it a duty to render the mirth of the eveningcomplete.  Old wine was poured out freelyfor the servants at supper inthe great kitchen, where they had worked in the imperfect light throughthe long evenings of winter.  The young Marius himself took but a verysober part in the noisy feasting.  A devout,regretful after-taste ofwhat had been really beautiful in the ritual he had accomplished tookhim early away, that he might the better recall in reverie all thecircumstances of the celebration of the day.  As he sank into asleep,pleasant with all the influences of long hours in the open air, heseemed still to be moving in procession through the fields, with a kindof pleasurable awe.  That feeling was still upon him as he [12] awokeamid thebeating of violent rain on the shutters, in the first storm ofthe season.  The thunder which startled him from sleep seemed to makethe solitude of his chamber almost painfully complete, as if thenearness of those angryclouds shut him up in a close place alone inthe world.  Then he thought of the sort of protection which that day'sceremonies assured.  To procure an agreement with the gods--Pacemdeorum exposcere: that was themeaning of what they had all day beenbusy upon.  In a faith, sincere but half-suspicious, he would fain havethose Powers at least not against him.  His own nearer household godswere all around his bed.  The spell ofhis religion as a part of thevery essence of home, its intimacy, its dignity and security, wasforcible at that moment; only, it seemed to involve certain heavydemands upon him.CHAPTER II: WHITE-NIGHTS[13] To aninstinctive seriousness, the material abode in which thechildhood of Marius was passed had largely added.  Nothing, you felt,as you first caught sight of that coy, retired place,--surely nothingcould happen there, withoutits full accompaniment of thought orreverie.  White-nights! so you might interpret its old Latin name.*\"The red rose came first,\" says a quaint German mystic, speaking of\"the mystery of so-called white things,\" as being\"ever anafter-thought--the doubles, or seconds, of real things, and themselvesbut half-real, half-material--the white queen, the white witch, thewhite mass, which, as the black mass is a travesty of the true massturnedto evil by horrible old witches, is celebrated by youngcandidates for the priesthood with an unconsecrated host, by way ofrehearsal.\" So, white-nights, I suppose, after something like the sameanalogy, should be [14]nights not of quite blank forgetfulness, butpassed in continuous dreaming, only half veiled by sleep.  Certainlythe place was, in such case, true to its fanciful name in this, thatyou might very well conceive, in face of it,that dreaming even in thedaytime might come to much there.The young Marius represented an ancient family whose estate had comedown to him much curtailed through the extravagance of a certainMarcellus twogenerations before, a favourite in his day of thefashionable world at Rome, where he had at least spent his substancewith a correctness of taste Marius might seem to have inherited fromhim; as he was believed also toresemble him in a singularly pleasantsmile, consistent however, in the younger face, with some degree ofsombre expression when the mind within was but slightly moved.As the means of life decreased, the farm hadcrept nearer and nearer tothe dwelling-house, about which there was therefore a trace of workdaynegligence or homeliness, not without its picturesque charm for some,for the young master himself among them.  Themore observant passer-bywould note, curious as to the inmates, a certain amount of dainty careamid that neglect, as if it came in part, perhaps, from a reluctance todisturb old associations.  It was significant of thenationalcharacter, that a sort of elegant gentleman farming, as we say, hadbeen much affected by some of the most cultivated [15] Romans.  But itbecame something more than an elegant diversion, something of aseriousbusiness, with the household of Marius; and his actual interest in thecultivation of the earth and the care of flocks had brought him, atleast, intimately near to those elementary conditions of life, areverence forwhich, the great Roman poet, as he has shown by his ownhalf-mystic pre-occupation with them, held to be the ground ofprimitive Roman religion, as of primitive morals.  But then, farm-lifein Italy, including the cultureof the olive and the vine, has a graceof its own, and might well contribute to the production of an idealdignity of character, like that of nature itself in this gifted region.Vulgarity seemed impossible.  The place, thoughimpoverished, was stilldeservedly dear, full of venerable memories, and with a livingsweetness of its own for to-day.To hold by such ceremonial traditions had been a part of the strugglingfamily pride of the lad's father,to which the example of the head ofthe state, old Antoninus Pius--an example to be still further enforcedby his successor--had given a fresh though perhaps somewhat artificialpopularity.  It had been consistent withmany another homely andold-fashioned trait in him, not to undervalue the charm ofexclusiveness and immemorial authority, which membership in a localpriestly college, hereditary in his house, conferred upon him.  Toseta real value on [16] these things was but one element in that piousconcern for his home and all that belonged to it, which, as Mariusafterwards discovered, had been a strong motive with his father.  Theancienthymn--Fana Novella!--was still sung by his people, as the newmoon grew bright in the west, and even their wild custom of leapingthrough heaps of blazing straw on a certain night in summer was notdiscouraged.  Theprivilege of augury itself, according to tradition,had at one time belonged to his race; and if you can imagine how, oncein a way, an impressible boy might have an inkling, an inward mysticintimation, of the meaningand consequences of all that, what wasimplied in it becoming explicit for him, you conceive aright the mindof Marius, in whose house the auspices were still carefully consultedbefore every undertaking of moment.Thedevotion of the father then had handed on loyally--and that is allmany not unimportant persons ever find to do--a certain tradition oflife, which came to mean much for the young Marius.  The feeling withwhich hethought of his dead father was almost exclusively that of awe;though crossed at times by a not unpleasant sense of liberty, as hecould but confess to himself, pondering, in the actual absence of soweighty and continuala restraint, upon the arbitrary power which Romanreligion and Roman law gave to the parent over the son. [17] On thepart of his mother, on the other hand, entertaining the husband'smemory, there was a sustainedfreshness of regret, together with therecognition, as Marius fancied, of some costly self-sacrifice to becredited to the dead.  The life of the widow, languid and shadowyenough but for the poignancy of that regret, waslike one long serviceto the departed soul; its many annual observances centering about thefuneral urn--a tiny, delicately carved marble house, still white andfair, in the family-chapel, wreathed always with the richest"}
+{"doc_id":"doc_248","qid":"","text":"<html><head><title>Hot Tub Time Machine Script at IMSDb.</title><meta name=\"description\" content=\"Hot Tub Time Machine script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"HotTub Time Machine script, Hot Tub Time Machine movie script, Hot Tub Time Machine film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\"content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ?'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie ScriptDatabase\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <scripttype=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                             HOT TUB TIME MACHINE</b>                                 Written by                                 JoshHeald<b>                         </b><b>                         </b><b>                         </b>          Hot Tub Time Machine Theme          Lyrics by Josh Heald          Music by Def Leppard, Styx, Journey, Poison, orWhitesnake          Water cranked to a hundred and three          Got my tunes, my snacks, my booze, my skis          (Got the) freshest moves you ever seen          When I'm soakin in my Hot Tub TimeMachine          When you're going back to the 80s...          And you might be fuckin some ladies...          You bring your button fly jeans and some sweet hair gel          Want blow? All you gotta do is yell          (Yeahyou're) lookin real smooth, (and you're) lookin real mean          When you're soakin in your Hot Tub Time Machine          Yeah!          Hot Tub - Time Machine!          Hot Tub - Time Machine!          C'mon!           (Sweetguitar solo - 16 measures]           Relaxed as hell when you're goin through time          That's the 54 jets workin' on your spine           (Yeah) you gotta be loose and you gotta be lean          When you roll up in your HotTub Time Machine          Yeah your shirt's a little psychedelic...          And you're lookin kinda like Tom Selleck...          Yeah the chicks are wetter than the Everglades          But double bag your dude, don't wanna getAIDS          Just listen right up, consider me your dean          In the college of the Hot Tub Time Machine          Yeah!          Hot Tub - Time Machine!          Hot Tub - TimeMachine!          Yeah!<b>                         </b><b>                         FADE IN:</b><b>          EXT. POOL DECK - DAY</b><b>          BLUE SKIES. A BEAUTIFUL SUNNY DAY.</b>          CAMERA PANS DOWN toreveal A HOT TUB FULL OF HOT CHICKS IN          BIKINIS. They splash about playfully. Then--<b>          A FUCKING LION JUMPS IN THE HOT TUB!</b>          As the girls SCREAM and scramble for safety, the BEASTROARS          and it becomes the:<b>                         MGM LOGO</b><b>                         DISSOLVE TO:</b><b>          INT. BEDROOM - DAY</b>          ADAM COLEMAN (late 30s, good-looking, sweet-naturedface) is          in a great mood as he packs a SUITCASE.<b>          LILY (O.S.)</b>          Ready for the wildest bachelor          party of all time?          LILY (early 30s, shirt and jeans, hot in a smart andclassy          sense) walks in the room, smiling.<b>                         ADAM</b>          You know it. I'm gonna bang all          sorts of chicks this weekend!<b>                         LILY</b>          That's not the answer Iwas looking          for.<b>                         ADAM</b>          Sorry, honey.          Adam gives his beautiful fiancee a playful kiss.          She shows him some PHOTOS.<b>                         LILY</b>          Look what Ifound...<b>                         </b><b>                         </b><b>                         </b><b>                         </b><b>          2.</b><b>                         ANGLE: PHOTO</b>          A BUNCH OF TEENAGERS and20-SOMETHINGS PARTY IN A LARGE HOT          TUB at a SKI RESORT. It looks like the most fun ever.<b>                         ADAM</b>          Check out that young stud. Can you          believe he's about to getmarried?          Lily and Adam look through more PHOTOS of a YOUNG ADAM (17)          partying at a SKI RESORT with his FRIENDS:          -- In full 80s SKI GEAR on a mountain...          -- Eating PIZZA at \"PapaEnzo's,\" stuffing their faces...          -- Drinking BEERS at the \"Brew Haus,\" an awesome pub...          -- In the HOT TUB with SIX GIRLS...          Adam snatches the last photo from her.<b>                         ADAM(CONT'D)</b>          Ignore that one. Nothing happened.<b>                         (BEAT)</b>          I love you.          Lily laughs.<b>                         LILY</b>          Adam, you didn't know me yet.          As Adam goesback to packing, Lily leafs through some more of          the photos. She stops at one and her EXPRESSION CHANGES.<b>                         LILY (CONT'D)</b>          Who's this?          Lily shows Adam aPHOTO:          -- A SMOKING HOT SKI BUNNY (23, blonde, svelte, leg warmers).<b>                         ADAM</b>          I'm not sure.<b>                         LILY</b>          Really?          Lily shows Adam anotherPHOTO:          -- YOUNG ADAM with his arm around the SKI BUNNY, who looks          like she was ambushed for thephoto.<b>                         </b><b>                         </b><b>                         </b><b>                         </b><b>          3.</b><b>                         ADAM</b>          Oh!Jennie.<b>                         LILY</b>          Who's Jennie?<b>                         ADAM</b>          She's nobody. Ski instructor.          (off her look)          You didn't know me yet.          Lily still looks at him a littlehard.<b>                         ADAM (CONT'D)</b>          Lily, I was 17. She had boobs and          a face. Of course I'm gonna take          her picture.          Lily still looks a littlebothered.<b>                         LILY</b>          Do you still think of her?<b>                         ADAM</b>          Of course not! I think of you.          As Adam goes to EMBRACEher:<b>                         LILY</b>          Hold on...          Lily goes into the CLOSET.<b>                         ADAM</b>          Sweetie?          She comes out a moment later with a CARDBOARD BOX, whichshe          empties onto the BED. About FIFTY PORNO MAGAZINES spill out,          ranging from TITS MONTHLY to BLACK ASS.<b>                         ADAM (CONT'D)</b>          How did you know where I hidmy...          treasure?          Lily carefully picks up a BROCHURE from the pile, holding it          by the corner, not wanting to touch it.<b>                         LILY</b>          Explain this.          From ADAM'S POV, we seethe brochure:          -- A ski brochure featuring Jennie on thecover.<b>                         </b><b>                         </b><b>                         </b><b>                         </b><b>          4.</b><b>                         ADAM</b>          OK! You caught me! I          occasionally...reminisce... about          Jennie O'Keefe!<b>                         LILY</b>          That's gross.<b>                         (THEN)</b>          What's \"occasionally?\"<b>                         ADAM</b>          (without missing abeat)          About two hours ago when you were          on the phone with your mother.<b>                         LILY</b>          Jesus. Tell me how I'm supposed to          let you go to your bachelor party          and notbe a basket case?<b>                         ADAM</b>          What are you so worried about?<b>                         LILY</b>          I'm worried that you're still          thinking about thisgirl.<b>                         ADAM</b>          Baby, the girl in that picture was          nothing more than a crush. I could          never get her and there's no          possibility I'll ever be with her.          She was a totalstranger.          Lily gets a CURIOUS LOOK on her face.<b>                         LILY</b>          So... you're into strangers?<b>                         ADAM</b>          Well not the creepy \"your mom was          in an accident,now come with me\"          kind. But yeah, the hot lady in          the supermarket kind of stranger.          You have to admit - it's kinda hot.<b>                         LILY</b>          So you're saying if you and I          didn'tknow each other, it would be          pretty hot if we fooled around?<b>                         ADAM</b>          You kidding me? It would be          fuckingincredible.<b>                         </b><b>                         </b><b>                         </b><b>                         </b><b>          5.</b>          Lily smiles seductively, as Adam starts to getit.<b>                         ADAM (CONT'D)</b>          Wait a minute. Are you          suggesting... yes. YES!          Adam excitedly heads for the door.<b>                         ADAM (CONT'D)</b>          OK, I'll go down thehall. You get          into character.          (points at her)          This fucking rules.          Adam leaves the room and Lily REMOVES HER SHIRT, talking sexy          and slowly building thefantasy...<b>                         LILY</b>          Oh I'm all alone in this big house.          Cheerleading camp just ended and I          need to get out of these sweaty          clothes...<b>          ADAM(O.S.)</b>          Love where you're going with this,          baby! Keep it up!          She unbuttons her pants and SLIDES DOWN HER JEANS.<b>                         LILY</b>          Mmmm. My panties are sotight          against my firm naked body...<b>          ADAM (O.S.)</b>          You should probably take them off!<b>                         LILY</b>          Are you gonna let me do this?<b>          ADAM(O.S.)</b>          Sorry! Continue! You were just          about to take off your panties!          She slowly slides out of her panties, kicking them away. Now          she's TOTALLY NAKED. She continues to roleplay.<b>                         LILY</b>          It feels so good to be so naked. I          hope no one can see me...          Just then a BLACK MAN (late 30s, handsome, J Crew) saunters          through the bedroom door,holding a coffee and all riled up.<b>                         </b><b>                         </b><b>                         </b><b>                         </b><b>          6.</b><b>                         BLACK MAN</b>          OK, so thisasshole in front of me          at the donut place is -- WHOA!          Lily covers up and SCREAMS.<b>                         LILY</b>          Get out of here!!          He SPILLS the coffee on his hands and their rug as heturns.<b>                         BLACK MAN</b>          Fuck! Ow! I'm sorry. I'll clean          it up. That's gonna stain, though.<b>                         LILY</b>          Just leave!          He heads for the door, justas:          Adam comes in, wearing a MAILMAN hat and NOTHING ELSE.<b>                         ADAM</b>          Special delivery for -- Jesus          Christ!          The black man doesn't know which way to look. He covershis          eyes and drips coffee, as he blindly steps toward the door.<b>                         BLACK MAN</b><b>                         (NOT LOOKING)</b>          Just tell me when I'm in the clear.<b>                         CUTTO:</b><b>          EXT. ADAM'S HOUSE - DAY</b>          Adam wheels his suitcase down the front path of this modest,          well-kept suburban home, as a recovered, dressed, embarrassed          and somewhatshell-shocked Lily follows with a small bag.          They both stop 10 yards short of a RANGE ROVER, where the          black man, NICK, waits in the car, waving.<b>                         LILY</b>          I can't wait for youto come back          and marry me. Wow, that's crazy.          Adam looks almost like it just hit him.<b>                         </b><b>                         </b><b>                         </b><b>                         </b><b>       "}
+{"doc_id":"doc_249","qid":"","text":"<html><head><title>Life As A House Script at IMSDb.</title><meta name=\"description\" content=\"Life As A House script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Life As A Housescript, Life As A House movie script, Life As A House film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX,FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><HTML><HEAD><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>Life as a House - ByMark Andrus</title><b></HEAD></b><BODY><pre> LIFE AS A HOUSE<b> WRITTEN BY MARK ANDRUS</b><b> FADE IN:</b>            A clock alarm SOUNDS over TITLES on BLACK.  We HEARsomeone            clearing congested lungs, coughing up phlegm; a slight crash            STOPS both the cough and the alarm.<b>            EXT. GEORGE'S BEACH SHACK - MORNING</b>            The cottage is a tiny,peeling paint rat-trap set dead center            on a small ocean front cul-de-sac, surrounded by four massive            post-modern mansions.<b>            INT. GEORGE'S BEACH SHACK BEDROOM -MORNING</b>            GEORGE NELSON, 42, squints and shivers as the spotty morning            light and ocean breeze enter through an open window.  Bold            waves crash against the cliffs outside the room.  Afive-foot            wide stack of hand hewed beams are piled pyramid style,            making movement in the room next to impossible.  George            stands shirtless in underwear and coughs again.  Hesteps            over a pile of tools and stands at the window, facing the            sea.  A happy sounding tune by Guster, \"WHAT YOU WISH FOR,\"            begins with the lyrics: 'Woke up today, to everythinggray            and all that I saw just keeps going on and on...'<b>            EXT. WEBBER'S HOUSE - MORNING</b>            The post-modern house is three-levels of concrete and glass.<b>            INT. SAM WEBBER'SBEDROOM - MORNING</b>            SAM is sixteen with spiky black hair, a nose ring, two            earrings and painted black nails.  The song continues with:            '...sweep all the pieces under the bed, close allthe            curtains and cover my head.'  Sam looks wasted as he climbs            out of bed and rummages through his dresser, retrieving an            empty bottle of prescription drugs; he tosses thebottle.  He            walks to a desk where a half-built model of a house sits            unfinished and squeezes glue into a plastic bag and sniffs            it.  Sam enters the closet and digs into a pile of dirty            clothes,pulling out the tie to a robe; he knots it around            the closet pole and then twists it once to form a noose.  He            slips his neck through the noose and lowers his body; though            we don't see exactly whathe's doing below his neck, it's            evident through his jerking arm that he's masturbating.<b>            EXT. BECK'S OCEAN FRONT MANSION - MORNING</b>            COLLEEN BECK, George's next-door neighbor, isa well            maintained blonde in her late thirties.  She walks out of the            angular concrete mansion, grabs the paper and walks back in.<b>            INT. BECK'S KITCHEN - MORNING</b>            This is aminimalist kitchen, with pored concrete walls and            stainless steel cabinets.             Colleen drops the paper on the table and walks to the sink to            wash her hands.  The SONG CONTINUES: '...If thisserenade is            not what you want, it's just how it is...'  Colleen appears            distracted for a moment.  She walks outside onto the terrace            with wet hands, then bolts back in, breezing throughthe            kitchen with purpose.<b>            INT. ALYSSA BECK'S BATHROOM - MORNING</b>            ALYSSA is sixteen and perfect with strawberry blonde hair and            white teeth; her head is partially out thebathroom window.             Colleen bursts in, eases Alyssa aside and with effort, sticks            her head out of the same high open window.<b>                                COLLEEN</b>                      This isridiculous!            We must not see exactly what they see, but out the window and            almost beyond view, a stream of urine arks out from George            Nelson's beach house bedroom, into the pacific oceansome            twenty-feet below.  The piss stops.  Colleen bangs her head            trying to get it back inside the house.<b>            INT. WEBBER'S UPSTAIRS HALLWAY - MORNING</b>            ROBIN WEBBER isGeorge's ex-wife, still beautiful at forty.             She herds two boys, RYAN (8) and ADAM (7), down the hall.<b>                                ROBIN</b>                      Run downstairs and give your dad ahug.<b>                                RYAN</b>                      Why?<b>                                ROBIN</b>                      He'll be gone for his birthday.<b>                                ADAM</b>                      Can we have aparty for him while he's                      gone?            Robin stops and KNOCKS on a bedroom door.<b>                                ROBIN</b>                      I hope you're showered and readyfor                      school!            A loud CRASH stops Ryan and Adam at the top of the stairs.<b>            INT. SAM'S ROOM - MORNING</b>            Robin rushes in and glances around the room for herson.<b>                                ROBIN</b>                      Sam?!<b>            INT. SAM'S WEBBER'S CLOSET - MORNING</b>            The closet pole and a long line of clothes have been felled            by Sam'sdangerous whack-off technique; he's on the floor            with the robe tie still around his neck and a pile of shirts            sprawled over him.  The song continues: '...come out come            out, wherever you are,would you do it all over right from            the start, and what you wish for won't come true, you aren't            surprised to love, are you?'             Robin stops at the door, trying to figure out why her sonis            sitting in a pile of his own clothes.  Ryan and Adam join            her, looking equally perplexed.<b>            EXT. GEORGE NELSON'S CUL-DE-SAC - MORNING</b>            George's dog, GUSTER, is doing hisbusiness on the lawn of a            modern day robber baron, DAVID DOKOS, who exits his house            with a briefcase.  He hops into his Mercedes and proceeds to            chase Guster straight across hiswell-manicured grass.             Guster easily escapes death and runs off.  George walks out            of his shack as David hops the curb, flips him off and drives            away.  George wavesgoodbye.<b>                                GEORGE</b>                      Stick it up your ass!  Have a nice day.                            (glancing around)                      Guster!            Guster runs to his side as Colleen rushes out ofher house.<b>                                COLLEEN</b>                      This has got to stop!<b>                                GEORGE</b>                      He escaped.  He's going backin.<b>                                COLLEEN</b>                      Does it give you some sort of perverse                      pleasure to expose your...penis in plain                      view of my sixteen year-olddaughter?<b>                                GEORGE</b>                      There are no windows facing                      my...exposure.<b>                                COLLEEN</b>                      George, this is the thirdtime.<b>                                GEORGE</b>                      The plumber's due out on Friday.<b>                                COLLEEN</b>                      You'll have to explain that tothe                      police.<b>                                GEORGE</b>                      You were the only neighbor I could                      tolerate.<b>                                COLLEEN</b>                      I did warnyou.<b>                                GEORGE</b>                      My life is a warning.  I just can't                      figure out for what.            Colleen shies away from George's stare; he finally turns and            walks towardthe house but stops short as he turns back.<b>                                GEORGE (CONT'D)</b>                      Colleen, how hard was it for you to get                      your head outside that window farenough                      to see my dick?            This stops Colleen for a moment; it was difficult.  George            walks back to the cottage and locks Guster in before stepping            into an old Ford truck and drivingoff.  Colleen watches him            drive off, then turns to her house and stares.<b>            INT. WEBBER'S DINING ROOM - MORNING</b>            PETER WEBBER, Robin's husband, is adistinguished,            intimidating man with silver hair and an expensive suit.             LOIS, the maid, serves French toast to Ryan and Adam as Robin            sipstea.<b>                                ADAM</b>                      Sam broke his closet.            Peter glances at Robin, who shrugs.<b>                                ROBIN</b>                      I don't have a clue anymore.  Iwish                      you'd talk to him.  He needs a man.<b>                                PETER</b>                      His father is a man.<b>                                ROBIN</b>                      A man he respects.            Samwalks into the room from the hall, outfitted in all black            with kick ass boots.<b>                                SAM</b>                      Thanks for talking about me behind my                      back...useful incourt.<b>                                PETER</b>                      Are you wearing eye shadow?            Adam, Ryan and Robin check out the eyeshadow.<b>                                SAM</b>                      No.<b>                                PETER</b>                      Take it off.            Sam flutters his eyelids in defiance of hisstepfather.<b>                                PETER (CONT'D)</b>                      Do it now!<b>                                SAM</b>                      If I walk out the door, who's gonna be                      here tonight for the followthrough?            Peter hesitates for just a second.<b>                                SAM (CONT'D)</b>                      Have a nice flight.            Sam's out the door with his eye shadowintact.<b>                                RYAN</b>                      Queer.<b>                                ROBIN</b>                      What did you say?<b>                                RYAN</b>                      Dad said itfirst.            Robin focuses on Peter, who simply shrugs.  Adam stands up,            walks over to his father and gives him a hug.<b>                                ADAM</b>                      I get chocolate cake for yourbirthday.<b>                                PETER</b>                      Are your hands clean?            Adam is quick to back away from his father and lick the            fingers of one hand.<b>            INT. COMMUTER TRAIN -MORNING</b>            George is resting his head against the glass window as he            stares out at the blighted landscape leading to downtown Los            Angeles.  A sudden pang tightens his face; he presseshis            hand against his stomach and closes his eyes.<b>            EXT. LAGUNA BEACH HIGH SCHOOL - MORNING</b>            Sam is alone at the back of the parking lot, sitting on the            hood of an old Saab,smoking as two boys, JOSH and MAREK,            both seventeen, park a Porsche and pull Alyssa Beck (George's            peeping neighbor) and another girl out of thebackseat.<b>                                MAREK</b>                      Dude, nice look.            Sam simply nods as Marek and the other girl laugh at his all            black garb, earrings and eye"}
+{"doc_id":"doc_250","qid":"","text":"<html><head><title>Hancock Script at IMSDb.</title><meta name=\"description\" content=\"Hancock script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Hancock script, Hancock moviescript, Hancock film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=SubjectCONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0];s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>    <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\"title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center></td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                                       HANCOCK</b>                                      Written by                             Vincent Ngo & VinceGilligan<b>       </b><b>          </b><b>          FADE IN:</b>          BLACK. It's everywhere. It swallows the screen. And so we stare          into a sea of BLACK.<b>          NARRATOR (V.0.)</b>          I saw asevered head once. Except for the,          paleness, it looked healthy, well-fed.          The end came abruptly you could tell          'cause the mouth froze in mid-sentence.          \"Shh.  ,\" the curled lips attempted.Like          it started saying \"shucks\" or \"Shirley\"          or... \"shit happens.\" Your eyes don't          forget things like that. Like you don't          forget the sound animals make when          they're humping.Primal.          Raw. They endure          in you forever because the senses have a          brain all their own and they recall long          after you've succumbed to the la-la of          forgetfulness.          (a pregnantbeat)          Sometimes when it's dark out,-so dark          it's black, I'll see HIM.<b>          (BEAT)</b>          And it starts all over again.          From this blackness, a streak of LIGHTNING splits the nightsky.<b>          EXT. SKY - NIGHT</b>           We are in the eye of a STORM, an angry mass of clo uds raging          o f a howling WIND. across the black sky..It brings RAIN and THUNDER an d the swirl          AnENTITY emerges from this moist darkness.          weather and advances into our scope of visibilityies through the          A FLASH, of lightning erupts and it illuminates the sky. We SEE          the approaching entity as ithovers before us.          It's a man.          It's a man, plus.          It's a SUPERHERO,          garbed in an elastic dark-grey outfit - a faded RED CAPE extends b          ehind him, thrashing against the wind andrain.          This Superhero (30). Unshaven.          Disheveled. Worn. A face          chiselled with mileage.<b>          </b><b>          </b><b>          2.</b>          In the eyes, we can see his soul. Intense. Fierce. Anexposed          nerve, snagged in a fish hook.          He hangs in the air, tired, rain-soaked, pissed-off.          He stares down at the earth below and he beholds the saturated          visage of SHEEPSHEAD BAY, a seasideBrooklyn neighborhood.          And from the bowels of his very soul, this Superhero belches a          thunderous ROAR. He pivots in the air and dives toward land.          He slices through the downpour, arms extended,body erect,          engulfed in the dimensions of his cape.          The ground approaches, fast. He accelerates as if to embrace it.          Velocity sucks up all remaining space and there is IMPACT.          An EXPLOSION ashe rips through the street surface, penetrating          the asphalt - head first. Debris and concrete spew from the          ruptured orifice as he disappears inside.          There is an expulsion of subterranean pressure andit launches          nearby manhole LIDS from their spots - they bounce and CLANG          down the street like loose change.          The rain continues its onslaught.<b>          INT. APARTMENT - NIGHT</b>          Rainsloshes against a kitchen window. Where the sink is. Not          far from the kitchen table. Where the LONGFELLOW Family sits,          dinner before them.          HORUS (35) leans over his plate, eating his meal. Hereidles a          man of diminutive frame, bespectacled, placid - as harmless as          low fat milk.          He sits opposite MARY (30), frenetically appropriating food. A          gentle beauty. entwined in maternal angst sheis estrogen with an          attitude.          A meek little AARON (8), slouches between the folks - a BLACK          EYE tattoos the left of his face. Aaron stares at the damn          plate, finding no humor ineggplant.<b>          MARY</b>          The principal did'nothing. Like          schoolyard terrorism is no worse than          being tardy. What's the matter with          education? Back when, you could go to          schooland learn about Betsy Ross and...          mollusks and... not get stabbed on the          way home.<b>          </b><b>          4.</b><b>          INT. SUBWAY TUNNEL - NIGHT</b>          A subway TRAM idles by apassenger ramp. STEAM hisses from its          side and plumes into a wall of white mist.          And from this cloud of angry vapors, a figure appears. He          surfaces from the dark subway tunnel, a cool nonchalancein his          gait.          It is the Superhero, his identity safely concealed under the          collar of a tattered TRENCHCOAT. He traverses the loading deck,          PASSENGERS boarding and disembarking aroundhim.          He wades through them - to a deserted section of the subway. He          strolls over to a CIGARETTE MACHINE, up against the grafetti-          raped subway wall.          On the wall, a line of profanity declaresthat...<b>          \"YOUR MOTHER TAKES IT UP THE ASS.\"</b>          He surveys the machine. His right arm appears from the coat          pocket. Fingers merge into a tight fist. And casually, he rips          into the metalvendor like it was Jello.          His fist withdraws a handful of bills, coins. He pockets the          loot. He reaches back in and withdraws a carton of LUCKY STRIKE.          Deposits it under his coat.          And with that, heheads for the stairs - to the flooded streets          above.          At the ramp, and on cue, the subway tram closes its doors.          Trembles. Moves. Steams into the deep dark tunnel. White SMOKE          mushroomsfrom its tail. It lingers in the air as we...<b>          INT. APARTMENT - NIGHT</b>          see STEAM, rising from a faucet of running HOT water.          It rises from a sink of soiled dishes - where Marydeposits          another set of pots. She's clearing the table.          Down a dark hallway, a streak of light escapes from an open          door. Inside and on the bed, the frail posture of Horus changes          out of hisclothes.<b>          INT. BEDROOM - NIGHT</b>          Horus disrobes down to his t-shirt and briefs. He stands before          the closet mirror, scrutinizing the emaciated, sand-kicked-in-          the-facebody.<b>          5.</b>           Horns strikes           a He-man pose, his           biceps in the           wind.           He removes the Police apparel,           plastic. Proceeds to put it on.<b>   </b><b>          INT.RED</b><b>          EYE MOTEL - NIGHT</b><b>          FISH</b>          How the fuck can I help you sir?<b>           SUPERHERO</b>          A room.<b>     </b><b>          </b><b>          6.</b>          Hisblood-shot eyes mean it.          Fish turns to the back wall. Grabs a random KEY from a nail.<b>          FISH</b>          Top floor, 7F. Fifteen a pop, up front.          (re: the check-in sheet)          And your John Hancockmakes it sweet.          The Superhero scrutinizes the CHECK-IN sheet. Scribbles<b>          HANCOCK</b>          on the dotted line.          Fish hands over the key. Then, pulls it back fromHancock's          grab.<b>          FISH (CONT'D)</b>          I don't take messages, I don't do favors,          and I don't know you from Jack. You want          sheets, they're extra. Towel's extra.          Plunger'sextra.<b>          HANCOCK</b>          I need quiet. Is it quiet?<b>          FISH</b>          Quiet? Hey pal, we look like a public          library to you? The girls work. Some of          them scream, some of themmoan...<b>          (SMILES)</b>          and some of them just kinda lay there          cold. You want quiet, I got cotton balls          you can stick in your ear. They're extra.          Hancock eyes Fish, mentally dissectingthe vermin with his bare          hands. He withdraws from his coat the WAD of loot. Pushes it          under the window.          And while Fish collects, he leans into the window and emits a          deep GROWL. Fishrecoils. The bills fly.          Hancock takes the key. Exchanges it with a metal ORB - the          strangulated remains of the bell. It rolls out of his palm and          CLINKS off the counter.          Hancock sidles off. Fish -the cat's got his tongue.<b>          INT. BEDROOM - NIGHT</b>          Horus, in full uniform - dark blue pants, shirt.<b>          </b><b>          </b><b>          </b><b>          </b><b>          7.</b>          He dipsinto a dresser, pulls out a thick black leather belt -          complete with holster.          Horus returns to the dresser for one final item - It's obscured          by his arm but we feel it to be some heavy chunk ofmetal.          He confronts the mirror, twirls this piece, holsters it. And we          SEE it to be a FLASHLIGHT.          A shoulder patch reads...<b>          U-RENT SECURITY CO.</b>          Their motto: \"TO OBSERVEAND RECORD\"          Horus tucks a hat under his arms, ready to move.<b>          INT. AARON'S ROOM - NIGHT</b>          A jar of MARBLES rests upon a window ledge. Outside, the story          is rain.          On abed, sprawled on his back, Aaron gazes up at the empty          ceiling - the black eye squats prominently on his face.          Aaron brings his hand before his eyes. Looks at it. Studies it.          Slowly, his fingersconverge into a tight FIST - a boy's          interpretation of a man's weapon.          A gentle KNOCK disperses the knuckles. Horus peers in.<b>          HORUS</b>          How's theeye?<b>          AARON</b>          Black.          Horus enters.          Stands awkwardly before his son.<b>          HORUS</b>          It'll be gone in a week. Mom'11 touch it          up with some make-up and you won'teven          know it's there.<b>          AARON</b>          Yeah I will. And I don't want any girly          make-up on my face.          Horus deposits himself on the bed. Hunches over-h13knees.<b>          </b><b>          </b><b>          </b><b>          </b><b>          B.</b><b>          HORUS</b>          (almost apologetically)          There'll always be people around          who'll... exert force overthose of us          who just want to live in peace.          Aaron listens, observing his father's efforts.<b>          HORUS (CONT' D)</b>          (pain in every word)          The thing to do is... to avoid them.          They'reno-wins. Can't-wins. You hold the          anger... and move on. You hold the anger.          (turns to Aaron)          I tell you because I can't take it,          seeing you hurt. You're part ofme.<b>          (BEAT)</b>          I've felt what you're feeling now. And if          you've got any of me in you, you're gonna          feel what I felt-when you go up against          one of 'em. Turn away... that's whatyou          do... the other cheek. You do that for          me. No, you're not the coward. Not you.          No. I'll be the coward, all right? 'Cause          I don't want to see you hurt. I love you.          I ask you to do that forme... your old          man.          And while he utters these words, Mary watches from the dark          hallway - moved b y his affection.          She oversees a father-son embrace.<b>          HORUS(CONT'D)</b>          I'm late for work. Get some sleep.          Tomorrow always feels better...<b>          AARON</b>          .after a good night sleep.          The light FLICKS off and the man's silhouette form exitsthe          room.<b>          INT. HALLWAY - NIGHT</b>          Horus backs his way out. Shuts the door. Mary's hand greets him          from behind.          It startles the man. He.tries toregroup.<b>          HORUS</b>          Mary.<b>          </b><b>          </b><b>          </b><b>          </b><b>          9.</b>           Mary inches closer - passion oozes from every pore. She nestles          up"}
+{"doc_id":"doc_251","qid":"","text":"The Project Gutenberg EBook of Z. Marcas, by Honore de BalzacThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it under theterms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: Z. MarcasAuthor: Honore de BalzacTranslator: Clara Bell and OthersRelease Date: August, 1999  [Etext#1841]Posting Date: March 3, 2010Language: English*** START OF THIS PROJECT GUTENBERG EBOOK Z. MARCAS ***Produced by John Bickers, and DagnyZ. MARCASBy Honore De BalzacTranslated by Clara Belland Others                             DEDICATION  To His Highness Count William of Wurtemberg, as a token of the  Author's respectful gratitude.                                                      DE BALZAC.Z. MARCASI never sawanybody, not even among the most remarkable men of theday, whose appearance was so striking as this man's; the study of hiscountenance at first gave me a feeling of great melancholy, and at lastproduced analmost painful impression.There was a certain harmony between the man and his name. The Z.preceding Marcas, which was seen on the addresses of his letters, andwhich he never omitted from his signature, as thelast letter of thealphabet, suggested some mysterious fatality.MARCAS! say this two-syllabled name again and again; do you not feel asif it had some sinister meaning? Does it not seem to you that its ownermust bedoomed to martyrdom? Though foreign, savage, the name has aright to be handed down to posterity; it is well constructed, easilypronounced, and has the brevity that beseems a famous name. Is it notpleasant as wellas odd? But does it not sound unfinished?I will not take it upon myself to assert that names have no influence onthe destiny of men. There is a certain secret and inexplicable concordor a visible discord between theevents of a man's life and his namewhich is truly surprising; often some remote but very real correlationis revealed. Our globe is round; everything is linked to everythingelse. Some day perhaps we shall revert to theoccult sciences.Do you not discern in that letter Z an adverse influence? Does it notprefigure the wayward and fantastic progress of a storm-tossed life?What wind blew on that letter, which, whatever language we find itin,begins scarcely fifty words? Marcas' name was Zephirin; Saint Zephirinis highly venerated in Brittany, and Marcas was a Breton.Study the name once more: Z Marcas! The man's whole life lies in thisfantasticjuxtaposition of seven letters; seven! the most significant ofall the cabalistic numbers. And he died at five-and-thirty, so his lifeextended over seven lustres.Marcas! Does it not hint of some precious object that is brokenwith afall, with or without a crash?I had finished studying the law in Paris in 1836. I lived at that timein the Rue Corneille in a house where none but students came to lodge,one of those large houses where there is awinding staircase quite atthe back lighted below from the street, higher up by borrowedlights, and at the top by a skylight. There were forty furnishedrooms--furnished as students' rooms are! What does youth demandmorethan was here supplied? A bed, a few chairs, a chest of drawers, alooking-glass, and a table. As soon as the sky is blue the student openshis window.But in this street there are no fair neighbors to flirt with. Infrontis the Odeon, long since closed, presenting a wall that is beginning togo black, its tiny gallery windows and its vast expanse of slate roof.I was not rich enough to have a good room; I was not even rich enoughtohave a room to myself. Juste and I shared a double-bedded room on thefifth floor.On our side of the landing there were but two rooms--ours and a smallerone, occupied by Z. Marcas, our neighbor. For six months Justeand Iremained in perfect ignorance of the fact. The old woman who managed thehouse had indeed told us that the room was inhabited, but she had addedthat we should not be disturbed, that the occupant wasexceedinglyquiet. In fact, for those six months, we never met our fellow-lodger,and we never heard a sound in his room, in spite of the thinness of thepartition that divided us--one of those walls of lath and plasterwhichare common in Paris houses.Our room, a little over seven feet high, was hung with a vile cheappaper sprigged with blue. The floor was painted, and knew nothing ofthe polish given by the _frotteur's_ brush. Byour beds there was onlya scrap of thin carpet. The chimney opened immediately to the roof, andsmoked so abominably that we were obliged to provide a stove at our ownexpense. Our beds were mere painted woodencribs like those in schools;on the chimney shelf there were but two brass candlesticks, with orwithout tallow candles in them, and our two pipes with some tobacco in apouch or strewn abroad, also the little piles ofcigar-ash left there byour visitors or ourselves.A pair of calico curtains hung from the brass window rods, and on eachside of the window was a small bookcase in cherry-wood, such as everyone knows who has staredinto the shop windows of the Quartier Latin,and in which we kept the few books necessary for our studies.The ink in the inkstand was always in the state of lava congealed in thecrater of a volcano. May not any inkstandnowadays become a Vesuvius?The pens, all twisted, served to clean the stems of our pipes; and, inopposition to all the laws of credit, paper was even scarcer than coin.How can young men be expected to stay at homein such furnishedlodgings? The students studied in the cafes, the theatre, the Luxembourggardens, in _grisettes'_ rooms, even in the law schools--anywhere ratherthan in their horrible rooms--horrible for purposes ofstudy, delightfulas soon as they were used for gossiping and smoking in. Put a cloth onthe table, and the impromptu dinner sent in from the best eating-housein the neighborhood--places for four--two of them inpetticoats--showa lithograph of this \"Interior\" to the veriest bigot, and she will bebound to smile.We thought only of amusing ourselves. The reason for our dissipation layin the most serious facts of the politics of thetime. Juste and I couldnot see any room for us in the two professions our parents wished us totake up. There are a hundred doctors, a hundred lawyers, for one that iswanted. The crowd is choking these two pathswhich are supposed to leadto fortune, but which are merely two arenas; men kill each other there,fighting, not indeed with swords or fire-arms, but with intrigue andcalumny, with tremendous toil, campaigns in thesphere of the intellectas murderous as those in Italy were to the soldiers of the Republic. Inthese days, when everything is an intellectual competition, a man mustbe able to sit forty-eight hours on end in his chairbefore a table, asa General could remain for two days on horseback and in his saddle.The throng of aspirants has necessitated a division of the Faculty ofMedicine into categories. There is the physician who writes andthephysician who practises, the political physician, and the physicianmilitant--four different ways of being a physician, four classes alreadyfilled up. As to the fifth class, that of physicians who sell remedies,there is sucha competition that they fight each other with disgustingadvertisements on the walls of Paris.In all the law courts there are almost as many lawyers as there arecases. The pleader is thrown back on journalism, onpolitics, onliterature. In fact, the State, besieged for the smallest appointmentsunder the law, has ended by requiring that the applicants shouldhave some little fortune. The pear-shaped head of the grocer's sonisselected in preference to the square skull of a man of talent who hasnot a sou. Work as he will, with all his energy, a young man, startingfrom zero, may at the end of ten years find himself below the pointhe set outfrom. In these days, talent must have the good luck whichsecures success to the most incapable; nay, more, if it scorns the basecompromises which insure advancement to crawling mediocrity, it willnever get on.If wethoroughly knew our time, we also knew ourselves, and we preferredthe indolence of dreamers to aimless stir, easy-going pleasure to theuseless toil which would have exhausted our courage and worn out theedge ofour intelligence. We had analyzed social life while smoking,laughing, and loafing. But, though elaborated by such means as these,our reflections were none the less judicious and profound.While we were fully consciousof the slavery to which youth iscondemned, we were amazed at the brutal indifference of the authoritiesto everything connected with intellect, thought, and poetry. How oftenhave Juste and I exchanged glances whenreading the papers as we studiedpolitical events, or the debates in the Chamber, and discussed theproceedings of a Court whose wilful ignorance could find no parallel butin the platitude of the courtiers, the mediocrityof the men formingthe hedge round the newly-restored throne, all alike devoid of talent orbreadth of view, of distinction or learning, of influence or dignity!Could there be a higher tribute to the Court of Charles X. thanthepresent Court, if Court it may be called? What a hatred of the countrymay be seen in the naturalization of vulgar foreigners, devoid oftalent, who are enthroned in the Chamber of Peers! What a perversion ofjustice!What an insult to the distinguished youth, the ambitions nativeto the soil of France! We looked upon these things as upon a spectacle,and groaned over them, without taking upon ourselves to act.Juste, whom no oneever sought, and who never sought any one, was, atfive-and-twenty, a great politician, a man with a wonderful aptitude forapprehending the correlation between remote history and the facts of thepresent and of thefuture. In 1831, he told me exactly what would anddid happen--the murders, the conspiracies, the ascendency of the Jews,the difficulty of doing anything in France, the scarcity of talent inthe higher circles, and theabundance of intellect in the lowest ranks,where the finest courage is smothered under cigar ashes.What was to become of him? His parents wished him to be a doctor. But ifhe were a doctor, must he not wait twentyyears for a practice? Youknow what he did? No? Well, he is a doctor; but he left France, he is inAsia. At this moment he is perhaps sinking under fatigue in a desert, ordying of the lashes of a barbarous horde--orperhaps he is some Indianprince's prime minister.Action is my vocation. Leaving a civil college at the age of twenty, theonly way for me to enter the army was by enlisting as a common soldier;so, weary of the dismaloutlook that lay before a lawyer, I acquired theknowledge needed for a sailor. I imitate Juste, and keep out of France,where men waste, in the struggle to make way, the energy needed for thenoblest works. Follow myexample, friends; I am going where a man steershis destiny as he pleases.These great resolutions were formed in the little room in thelodging-house in the Rue Corneille, in spite of our haunting the BalMusard, flirtingwith girls of the town, and leading a careless andapparently reckless life. Our plans and arguments long floated in theair.Marcas, our neighbor, was in some degree the guide who led us to themargin of the precipice orthe torrent, who made us sound it, and showedus beforehand what our fate would be if we let ourselves fall into it.It was he who put us on our guard against the time-bargains a manmakes with poverty under thesanction of hope, by accepting precarioussituations whence he fights the battle, carried along by the devioustide of Paris--that great harlot who takes you up or leaves youstranded, smiles or turns her back on you withequal readiness, wearsout the strongest will in vexatious waiting, and makes misfortune waiton chance.At our first meeting, Marcas, as it were, dazzled us. On our return fromthe schools, a little before the dinner-hour,we were accustomed to goup to our room and remain there a while, either waiting for the other,to learn whether there were any change in our plans for the evening. Oneday, at four o'clock, Juste met Marcas on thestairs, and I saw him inthe street. It was in the month of November, and Marcas had no cloak;he wore shoes with heavy soles, corduroy trousers, and a bluedouble-breasted coat buttoned to the throat, which gave amilitary airto his broad chest, all the more so because he wore a black stock. Thecostume was not in itself extraordinary, but it agreed well with theman's mien and countenance.My first impression on seeing him wasneither surprise, nor distress,nor interest, nor pity, but curiosity mingled with all these feelings.He walked slowly, with a step that betrayed deep melancholy, his headforward with a stoop, but not bent like that of aconscience-strickenman. That head, large and powerful, which might contain the treasuresnecessary for a man of the highest ambition, looked as if it were loadedwith thought; it was weighted with grief of mind, butthere was no touchof remorse in his expression. As to his face, it may be summed up ina word. A common superstition has it that every human countenanceresembles some animal. The animal for Marcas was the lion.His hair waslike a mane, his nose was sort and flat; broad and dented at the tiplike a lion's; his brow, like a lion's, was strongly marked with adeep median furrow, dividing two powerful bosses. His high,hairycheek-bones, all the more prominent because his cheeks were so thin,his enormous mouth and hollow jaws, were accentuated by lines of tawnyshadows. This almost terrible countenance seemed illuminated bytwolamps--two eyes, black indeed, but infinitely sweet, calm and deep, fullof thought. If I may say so, those eyes had a humiliated expression.Marcas was afraid of looking directly at others, not for himself, butfor thoseon whom his fascinating gaze might rest; he had a power, andhe shunned using it; he would spare those he met, and he feared notice.This was not from modesty, but from resignation founded on reason, whichhaddemonstrated the immediate inutility of his gifts, the impossibilityof entering and living in the sphere for which he was fitted. Those eyescould at times flash lightnings. From those lips a voice of thunder mustsurelyproceed; it was a mouth like Mirabeau's.\"I have seen such a grand fellow in the street,\" said I to Juste oncoming in.\"It must be our neighbor,\" replied Juste, who described, in fact, theman I had just met. \"A man wholives like a wood-louse would be sure tolook like that,\" he added.\"What dejection and what dignity!\"\"One is the consequence of the other.\"\"What ruined hopes! What schemes and failures!\"\"Seven leagues of ruins!Obelisks--palaces--towers!--The ruins ofPalmyra in the desert!\" said Juste, laughing.So we called him the Ruins of Palmyra.As we went out to dine at the wretched eating-house in the Rue de laHarpe to which wesubscribed, we asked the name of Number 37, and thenheard the weird name Z. Marcas. Like boys, as we were, we repeatedit more than a hundred times with all sorts of comments, absurd ormelancholy, and thename lent itself to a jest. Juste would fire off theZ like a rocket rising, _z-z-z-z-zed_; and after pronouncing the firstsyllable of the name with great importance, depicted a fall by the dullbrevity of the second.\"Now, howand where does the man live?\"From this query, to the innocent espionage of curiosity there was nopause but that required for carrying out our plan. Instead of loiteringabout the streets, we both came in, each armedwith a novel. We readwith our ears open. And in the perfect silence of our attic rooms, weheard the even, dull sound of a sleeping man breathing.\"He is asleep,\" said I to Juste, noticing this fact.\"At seven o'clock!\"replied the Doctor.This was the name by which I called Juste, and he called me the Keeperof the Seals.\"A man must be wretched indeed to sleep as much as our neighbor!\" criedI, jumping on to the chest of drawerswith a knife in my hand, to whicha corkscrew was attached.I made a round hole at the top of the partition, about as big as afive-sou piece. I had forgotten that there would be no light in theroom, and on putting my eyeto the hole, I saw only darkness. At aboutone in the morning, when we had finished our books and were about toundress, we heard a noise in our neighbor's room. He got up, struck amatch, and lighted his dip. I got onto the drawers again, and I thensaw Marcas seated at his table and copying law-papers.His room was about half the size of ours; the bed stood in a recess bythe door, for the passage ended there, and its breadth wasadded tohis garret; but the ground on which the house was built was evidentlyirregular, for the party-wall formed an obtuse angle, and the room wasnot square. There was no fireplace, only a small earthenwarestove,white blotched with green, of which the pipe went up through the roof.The window, in the skew side of the room, had shabby red curtains. Thefurniture consisted of an armchair, a table, a chair, and awretchedbed-table. A cupboard in the wall held his clothes. The wall-paper washorrible; evidently only a servant had ever been lodged there beforeMarcas.\"What is to be seen?\" asked the Doctor as I got down.\"Look foryourself,\" said I.At nine next morning, Marcas was in bed. He had breakfasted off asaveloy; we saw on a plate, with some crumbs of bread, the remains ofthat too familiar delicacy. He was asleep; he did not wake tilleleven.He then set to work again on the copy he had begun the night before,which was lying on the table.On going downstairs we asked the price of that room, and were toldfifteen francs a month.In the course of a fewdays, we were fully informed as to the mode oflife of Z. Marcas. He did copying, at so much a sheet no doubt, for alaw-writer who lived in the courtyard of the Sainte-Chapelle. He workedhalf the night; after sleepingfrom six till ten, he began again andwrote till three. Then he went out to take the copy home before dinner,which he ate at Mizerai's in the Rue Michel-le-Comte, at a cost of ninesous, and came in to bed at six o'clock. Itbecame known to us thatMarcas did not utter fifteen sentences in a month; he never talked toanybody, nor said a word to himself in his dreadful garret.\"The Ruins of Palmyra are terribly silent!\" said Juste.Thistaciturnity in a man whose appearance was so imposing was strangelysignificant. Sometimes when we met him, we exchanged glances full ofmeaning on both sides, but they never led to any advances. Insensiblythisman became the object of our secret admiration, though we knew noreason for it. Did it lie in his secretly simple habits, his monasticregularity, his hermit-like frugality, his idiotically mechanical labor,allowing his mindto remain neuter or to work on his own lines, seemingto us to hint at an expectation of some stroke of good luck, or at someforegone conclusion as to his life?After wandering for a long time among the Ruins of Palmyra,we forgotthem--we were young! Then came the Carnival, the Paris Carnival,which, henceforth, will eclipse the old Carnival of Venice, unless someill-advised Prefect of Police is antagonistic.Gambling ought to be allowedduring the Carnival; but the stupidmoralists who have had gambling suppressed are inert financiers, andthis indispensable evil will be re-established among us when it isproved that France leaves millions at the Germantables.This splendid Carnival brought us to utter penury, as it does everystudent. We got rid of every object of luxury; we sold our second coats,our second boots, our second waistcoats--everything of which we hadaduplicate, except our friend. We ate bread and cold sausages; we lookedwhere we walked; we had set to work in earnest. We owed two months'rent, and were sure of having a bill from the porter for sixty oreightyitems each, and amounting to forty or fifty francs. We made no noise,and did not laugh as we crossed the little hall at the bottom of thestairs; we commonly took it at a flying leap from the lowest step intothestreet. On the day when we first found ourselves bereft of tobaccofor our pipes, it struck us that for some days we had been eating breadwithout any kind of butter.Great was our distress.\"No tobacco!\" said theDoctor.\"No cloak!\" said the Keeper of the Seals.\"Ah, you rascals, you would dress as the postillion de Longjumeau, youwould appear as Debardeurs, sup in the morning, and breakfast at nightat Very's--sometimes evenat the _Rocher de Cancale_.--Dry bread foryou, my boys! Why,\" said I, in a big bass voice, \"you deserve to sleepunder the bed, you are not worthy to lie in it--\"\"Yes, yes; but, Keeper of the Seals, there is no moretobacco!\" saidJuste.\"It is high time to write home, to our aunts, our mothers, and oursisters, to tell them we have no underlinen left, that the wear andtear of Paris would ruin garments of wire. Then we will solve anelegantchemical problem by transmuting linen into silver.\"\"But we must live till we get the answer.\"\"Well, I will go and bring out a loan among such of our friends as maystill have some capital to invest.\"\"And how much"}
+{"doc_id":"doc_252","qid":"","text":"The Project Gutenberg EBook of House Rats and Mice, by David E. LantzThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: House Rats and Mice       Farmers' Bulletin 896Author: David E. LantzRelease Date: March 10, 2011[EBook #35542]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK HOUSE RATS AND MICE ***Produced by Erica Pfister-Altschul, Larry B. Harrison andthe Online Distributed Proofreading Teamathttp://www.pgdp.net  [Transcriber's Note:  The following suspected errors have been changed in this text:    Page 6: \"highdays\" changed to \"highways\"    Page 11: \"abbatoirs\" changed to \"abattoirs\"    Page 11:Added missing \".\" to \"FIG. 5.\"]    Page 14: Added missing \".\" to \"FIG. 10.\"]HOUSE RATS AND MICEDAVID E. LANTZAssistant Biologist[Illustration]FARMERS' BULLETIN 896UNITED STATES DEPARTMENT OFAGRICULTURE       *       *       *       *       *Contribution from the Bureau of Biological SurveyE. W. NELSON, Chief    Washington, D. C.                                      October, 1917    Show this bulletin to a neighbor.Additional copies may be obtained    free from the Division of Publications, United States Department of    Agriculture                            WASHINGTON: GOVERNMENT PRINTING OFFICE: 1917The rat is the worstanimal pest in the world.From its home among filth it visits dwellings and storerooms to polluteand destroy human food.It carries bubonic plague and many other diseases fatal to man and hasbeen responsible for moreuntimely deaths among human beings than allthe wars of history.In the United States rats and mice each year destroy crops and otherproperty valued at over $200,000,000.This destruction is equivalent to the grossearnings of an army of over200,000 men.On many a farm, if the grain eaten and wasted by rats and mice could besold, the proceeds would more than pay all the farmer's taxes.The common brown rat breeds 6 to 10times a year and produces an averageof 10 young at a litter. Young females breed when only three or fourmonths old.At this rate a pair of rats, breeding uninterruptedly and withoutdeaths, would at the end of threeyears (18 generations) be increased to359,709,482 individuals.For centuries the world has been fighting rats without organization andat the same time has been feeding them and building for them fortressesforconcealment. If we are to fight them on equal terms we must denythem food and hiding places. We must organize and unite to ridcommunities of these pests. The time to begin is now.HOUSE RATS ANDMICE.CONTENTS.                                                   Page.    Destructive habits                                 3    Protection of food and other stores                5      Rat-proof building                               5      Keeping foodfrom rats and mice                  9    Destroying rats and mice                          11      Traps                                           11      Poisons                                         15      Domesticanimals                                18      Fumigation                                      18      Rat viruses                                     19      Natural enemies                                 20    Organized efforts to destroyrats                 20      Community efforts                               21      State and national aid                          21    Important repressive measures                     23DESTRUCTIVE HABITS OF HOUSE RATS ANDMICE.Losses from depredations of house rats amount to many millions ofdollars yearly--to more, in fact, than those from all other injuriousmammals combined. The common house mouse[1] and the brown rat[2](fig.1), too familiar to need description, are pests in nearly all parts ofthe country; while two other kinds of house rats, known as the blackrat[3] and the roof rat,[4] are found within our borders.[Illustration: FIG.1.--Brown rat.]Of these four introduced species--for none is native to America--thebrown rat is the most destructive, and, except the mouse, the mostnumerous and most widely distributed. Brought to America justbeforethe Revolution, it has supplanted and nearly exterminated its lessrobust relative the black rat; and in spite of the constant warfare ofman has extended its range and steadily increased in numbers. Itsdominanceis due to its great fecundity and its ability to adapt itselfto all sorts of surroundings. It breeds (in the middle part of theUnited States) six or more times a year and produces from 6 to 20 young(average 10) in a litter.Females breed when only 3 or 4 months old.Thus a pair, breeding uninterruptedly and without deaths, could in threeyears (18 generations) produce a posterity of 359,709,480 individuals.Mice and the black and roofrats produce smaller litters, but the periodof gestation, about 21 days, and the number of litters are the same forall.Rats and mice are practically omnivorous, feeding upon all kinds ofanimal and vegetable matter. Thebrown rat makes its home in the openfield, the hedge row, and the river bank, as well as in stone walls,piers, and all kinds of buildings. It destroys grains when newlyplanted, while growing, and in the shock, stack,mow, crib, granary,mill, elevator, or ship's hold, and also in the bin and feed trough. Itinvades store and warehouse and destroys furs, laces, silks, carpets,leather goods, and groceries. It attacks fruits, vegetables, andmeatsin the markets, and destroys by pollution ten times as much as itactually eats. It destroys eggs and young poultry, and eats the eggs andyoung of song and game birds. It carries disease germs from housetohouse and bubonic plague from city to city. It causes disastrousconflagrations; floods houses by gnawing lead water pipes; ruinsartificial ponds and embankments by burrowing; and damages foundations,floors,doors, and furnishings of dwellings.Unlike the brown rat the black rat rarely migrates to the fields. It hasdisappeared from most parts of the Northern States, but is occasionallyfound in remote villages or farms. At ourseaports it frequently arriveson ships from abroad, but seldom becomes very numerous. The roof rat iscommon in many parts of the South, where it is a persistent pest in caneand rice fields. It maintains itself againstthe brown rat partlybecause of its habit of living in trees. The common house mouse by nomeans confines its activities to the inside of buildings, but is oftenfound in open fields, where its depredations in shock andstack are wellknown.Not only are mice and rats, especially the brown rat, a cause ofdestruction and damage to property, but they are also a constant menaceto the health of man. It has been proved that they are thechief meansof perpetuating and transmitting bubonic plague and that they playimportant rôles in conveying other diseases to human beings. They areparasites, without redeeming characteristics, and shouldeverywhere berouted and destroyed.PROTECTION OF FOOD AND OTHER STORES FROM RATS AND MICE.Past attempts to exterminate rats and mice have failed, not so muchbecause of lack of effective means asbecause of the neglect ofnecessary precautions and the absence of concerted endeavors. We haverendered our work abortive by continuing to provide subsistence andhiding places for the animals. If these advantagesare denied,persistent and general use of the usual methods of destruction willprove far more successful.RAT-PROOF BUILDING.First in importance, as a measure of rat repression, is the exclusion ofthe animals fromplaces where they find food and safe retreats forrearing their young.The best way to keep rats from buildings, whether in city or in country,is to use cement in construction. As the advantages of this material arecomingto be generally understood, its use is rapidly extending to allkinds of buildings. The processes of mixing and laying this materialrequire little skill or special knowledge, and workmen of ordinaryintelligence cansuccessfully follow the plain directions contained inhandbooks of cement construction.[5]Many modern public buildings are so constructed that rats can find nolodgment in the walls or foundations, and yet in a fewyears, throughnegligence, such buildings often become infested with the pests.Sometimes drain pipes are left uncovered for hours at a time. Oftenouter doors, especially those opening on alleys, are left ajar. Acommonmistake is failure to screen basement windows which must be opened forventilation. However the intruders are admitted, when once inside theyintrench themselves behind furniture or stores, and are difficulttodislodge. The addition of inner doors to vestibules is an importantprecaution against rats. The lower edge of outer doors to publicbuildings, especially markets, should be reinforced with light metalplates to prevent theanimals from gnawing through. Any opening leftaround water, steam, or gas pipes, where they go through walls, shouldbe closed carefully with concrete to the full depth of the wall.=Dwellings.=--In constructingdwelling houses the additional cost ofmaking the foundations rat-proof is slight compared with the advantages.The cellar walls should have concrete footings, and the walls themselvesshould be laid in cement mortar.The cellar floor should be of mediumrather than lean concrete. Even old cellars may be made rat-proof atcomparatively small expense. Rat holes may be permanently closed with amixture of cement, sand, and brokenglass, or sharp bits of crockery orstone.On a foundation like the one described above, the walls of a woodendwelling also may be made rat-proof. The space between the sheathing andlath, to the height of about a foot,should be filled with concrete.Rats can not then gain access to the walls, and can enter the dwellingonly through doors or windows. Screening all basement and cellar windowswith wire netting is a most necessaryprecaution.=Old buildings in cities.=--Aside from old dwellings, the chief refugesfor rats in cities are sewers, wharves, stables, and outbuildings.Modern sewers are used by the animals merely as highways and notasabodes, but old-fashioned brick sewers often afford nesting crannies.[Illustration: FIG. 2.--Rat-proofing a frame dwelling by concrete sidewall (United States Public Health Service, New Orleans, La., 1914).]Wharves,stables, and outbuildings in cities should be so built as toexclude rats. Cement is the chief means to this end. Old tumble-downbuildings and wharves should not be tolerated in any city. (See fig. 2.)In both city andcountry, wooden floors of sidewalks, areas, and porchesare commonly laid upon timbers resting on the ground. Under such floorsrats have a safe retreat from nearly all enemies. The conditions can beremedied in townsby municipal action requiring that these floors bereplaced by others made of cement. Areas or walks made of brick areoften undermined by rats and may become as objectionable as those ofwood. Wooden floors ofporches should always be well above the ground.=Farm buildings.=--Granaries, corncribs, and poultry houses may be maderat-proof by a liberal use of cement in the foundations and floors; orthe floors may be of woodresting upon concrete. Objection has beenurged against concrete floors for horses, cattle, and poultry, becausethe material is too good a conductor of heat, and the health of theanimals suffers from contact with thesefloors. In poultry houses, drysoil or sand may be used as a covering for the cement floor, and instables a wooden floor resting on concrete is just as satisfactory sofar as the exclusion of rats is concerned.The commonpractice of setting corncribs on posts with inverted pans atthe top often fails to exclude rats, because the posts are not highenough to place the lower cracks of the structure beyond reach of theanimals. As rats areexcellent jumpers, the posts should be tall enoughto prevent the animals from obtaining a foothold at any place within 3feet of the ground. A crib built in this way, however, is not verysatisfactory.For a rat-proof crib awell-drained site should be chosen. The outerwalls, laid in cement, should be sunk about 20 inches into the ground.The space within the walls should be grouted thoroughly with cement andbroken stone and finishedwith rich concrete for a floor. Upon this thestructure may be built. Even the walls of the crib may be of concrete.Corn will not mold in contact with them, provided there is goodventilation and the roof iswater-tight.However, there are cheaper ways of excluding rats from either new or oldcorncribs. Rats, mice, and sparrows may be kept out effectually by theuse of either an inner or an outer covering of galvanized-wirenettingof half-inch mesh and heavy enough to resist the teeth of the rats. Thenetting in common use in screening cellar windows is suitable forcovering or lining cribs. As rats can climb the netting, the entirestructuremust be screened, or, if sparrows are not to be excluded, thewire netting may be carried up about 3 feet from the ground, and abovethis a belt of sheet metal about a foot in width may be tacked to theoutside of thebuilding.Complete working drawings for the practical rat-proof corncrib shown infigures 3 and 4 may be obtained from the Office of Public Roads andRural Engineering of the department.=Buildings for storingfoodstuffs.=--Whenever possible, stores of foodfor man or beast should be placed only in buildings of rat-proofconstruction, guarded against rodents by having all windows near theground and all other possible meansof entrance screened with nettingmade of No. 18 or No. 20 wire and of 1/4-inch mesh. Entrance doorsshould fit closely, should have the lower edges protected by wide stripsof metal, and should have springs attached,to insure that they shallnot be left open. Before being used for housing stores, the buildingshould be inspected as to the manner in which water, steam, or gaspipes go through the walls, and any openings found aroundsuch pipesshould be closed with concrete.[Illustration: FIG. 3.--Perspective of rat-proof corncrib, showingconcrete foundation by dotted lines; also belt of metal.]If rat-proof buildings are not available, it is possible, bythe use ofconcrete in basements and the other precautions just mentioned, to makean ordinary building practically safe for food storage.When it is necessary to erect temporary wooden structures to holdforage, grain,or food supplies for army camps, the floors of suchbuildings should not be in contact with the ground, but elevated, thesills having a foot or more of clear space below them. Smooth postsrising 2 or 3 feet above theground may be used for foundations, and thefloor itself may be protected below by wire netting or sheet metal atall places where rats could gain a foothold. Care should be taken tohave the floors as tight as possible,for it is chiefly scattered grainand fragments of food about a camp that attract rats.=Rat-proofing by elevation.=--The United States Public Health Servicereports that in its campaigns against bubonic plague in SanFrancisco(1907) and New Orleans (1914) many plague rats were found under thefloors of wooden houses resting on the ground. These buildings were maderat-proof by elevation, and no case of either human or rodentplagueoccurred in any house after the change. Placing them on smooth posts 18inches above the ground, with the space beneath the floor entirely open,left no hiding place for rats.This plan is adapted to small dwellingsthroughout the South, and tosmall summer homes, temporary structures, and small farm buildingseverywhere. Wherever rats might obtain a foothold on the top of the postthey may be prevented from gnawing theadjacent wood by tacking metalplates or pieces of wire netting to floor or sill.KEEPING FOOD FROM RATS AND MICE.The effect of an abundance of food on the breeding of rodents should bekept in mind. Well-fed ratsmature quickly, breed often, and have largelitters. Poorly fed rats, on the contrary, reproduce less frequently andhave smaller litters. In addition, scarcity of food makes measures fordestroying the animals far moreeffective.=Merchandise in stores.=--In all parts of the country there is a seriouseconomic drain in the destruction by rats and mice of merchandise heldfor sale by dealers. Not only foodstuffs and forage, buttextiles,clothing, and leather goods are often ruined. This loss is due mainly tothe faulty buildings in which the stores are kept. Often it would be ameasure of economy to tear down the old structures and replace thembynew ones. However, even the old buildings may often be repaired so as tomake them practically rat-proof; and foodstuffs, as flour, seeds, andmeats, may always be protected in wire cages at slight expense.Thepublic should be protected from insanitary stores by a system of rigidinspection.[Illustration: FIG. 4.--Floor plan of rat-proof corncrib shown in figure3.]=Household supplies.=--Similar care should be exercised in thehome toprotect household supplies from mice and rats. Little progress inridding the premises of these animals can be made so long as they haveaccess to supplies of food. Cellars, kitchens, and pantries oftenfurnishsubsistence not only to rats that inhabit the dwelling, but tomany that come from outside. Food supplies may always be kept from ratsand mice if placed in inexpensive rat-proof containers covered with wirenetting.Sometimes all that is needed to prevent serious waste is theapplication of concrete to holes in the basement wall or the slightrepair of a defective part of the building.=Produce in transit.=--Much loss of fruits,vegetables, and otherproduce occurs in transit by rail and on ships. Most of the damage isdone at wharves and in railway stations, but there is also considerablein ships' holds, especially to perishable produce broughtfrom warmlatitudes. Much of this may be prevented by the use of rat-proof cagesat the docks, by the careful fumigation of seagoing vessels at the endof each voyage, and by the frequent fumigation of vessels incoastwisetrade; but still more by replacing old and decrepit wharves and stationplatforms with modern ones built of concrete.Where cargoes are being loaded or unloaded at wharves or depots, foodliable to attack byrats may be temporarily safeguarded by being placedin rat-proof cages, or pounds, constructed of wire netting. Wooden boxescontaining reserve food held in depots for a considerable time orintended for shipment bysea may be made rat-proof by light coverings ofmetal along the angles. This plan has long been in use to protect navalstores on ships and in warehouses. It is based on the fact that rats donot gnaw the plane surfacesof hard materials, but attack doors,furniture, and boxes at the angles only.=Packing houses.=--Packing houses and abattoirs are often sources fromwhich rats secure subsistence, especially where meats are preparedformarket in old buildings. In old-style cooling rooms with double walls ofwood and sawdust insulation, always a source of annoyance because of ratinfestation, the utmost vigilance is required to prevent serious lossofmeat products. On the other hand, packing houses with modernconstruction and sanitary devices have no trouble from rats or mice.=Garbage and waste.=--Since much of the food of rats consists of garbageand otherwaste materials, it is not enough to bar the animals frommarkets, granaries, warehouses, and private food stores. Garbage andoffal of all kinds must be so disposed of that rats can not obtain them.In cities and townsan efficient system of garbage collection anddisposal should be established by ordinances. Waste from markets,hotels, cafés and households should be collected in covered metalreceptacles and frequently emptied.Garbage should never be dumped in ornear towns, but should be utilized or promptly destroyed by fire.Rats find abundant food in country slaughterhouses; reform in themanagement of these is badly needed. Suchplaces are centers of ratpropagation. It is a common practice to leave offal of slaughteredanimals to be eaten by rats and swine, and this is the chief means ofperpetuating trichinæ in pork. The law should require thatoffal bepromptly cremated or otherwise disposed of. Country slaughterhousesshould be as cleanly and as constantly inspected as abattoirs.Another important source of rat food is found in remnants of lunchesleft byemployees in factories, stores, and public buildings. This food,which alone is sufficient to attract and sustain a small army of rats,is commonly left in waste baskets or other open receptacles. Strictlyenforced rulesrequiring all remnants of food to be deposited in coveredmetal vessels would make trapping far more effective.[Illustration: FIG. 5.--Guillotine trap made entirely of metal.]Military training camps, unless subjected torigid discipline in thematter of disposal of garbage and waste, soon become centers of ratinfestation. Waste from camps, deposited in covered metal cans andcollected daily, should be removed far from the camp itself"}
+{"doc_id":"doc_253","qid":"","text":"<html><head><title>Glengarry Glen Gross Script at IMSDb.</title><meta name=\"description\" content=\"Glengarry Glen Gross script at the Internet Movie Script Database.\"><meta name=\"keywords\"content=\"Glengarry Glen Gross script, Glengarry Glen Gross movie script, Glengarry Glen Gross film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\"content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ?'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie ScriptDatabase\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <scripttype=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><html><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>Glengarry GlenRoss</title><pre><b>                     GLENGARRY GLEN ROSS</b>                             by                         David Mamet<b></b><b>SCENE ONE</b>A booth at a Chinese restaurant, Williamson and Leveneareseated at the booth.<b>                         LEVENE</b>            John...John...John.  Okay.  John.            John.  Look:                   (pause)            The Glengarry Highland's leads,            you're sending Romaout.  Fine.            He's a good man.  We know what he            is.  He's fine.  All I'm saying,            you look at the board, he's            throwing...wait, wait, wait, he's            throwing them away, he'sthrowing            the leads away.  All that I'm            saying, that you're wasting leads.            I don't want to tell you your job.            All that I'm saying, things get            set, I know they do, you geta            certain mindset... A guy gets a            reputation.  We know how this...all            I'm saying, put a closer on the job.            There's more than one man for the...            Put a...wait a second, put aproven            man out...and you watch, now wait a            second--and you watch your dollar            volumes...You start closing them            for fifty 'stead of twenty-            five...you put a closer onthe...<b>                         WILLIAMSON</b>            Shelly, you blew the last...<b>                         LEVENE</b>            No.  John.  No.  Let's wait, let's            back up here, I did...will you            please?  Wait asecond.  Please.  I            didn't \"blow\" them.  No.  I didn't            \"blow\" them.  No.  One kicked out,            one I closed...<b>                         WILLIAMSON</b>            ...you didn'tclose...<b>                         LEVENE</b>            ...I, if you'd listen to me.            Please.  I closed the cocksucker.            His ex, John, his ex, I didn't know            he was married...he, the judge            invalidatedthe...<b></b><b>                                                            2.</b><b>                         WILLIAMSON</b>            Shelly...<b>                         LEVENE</b>            ...and what is that, John?  What?            Badluck.  That's all it is.  I            pray in your life you will never            find it runs in streaks.  That's            what it does, that's all it's doing.            Streaks.  I pray it misses you.            That's all I want tosay.<b>                         WILLIAMSON</b>                   (pause)            What about the other two?<b>                         LEVENE</b>            What two?<b>                         WILLIAMSON</b>            Four.  You hadfour leads.  One            kicked out, one the judge, you say...<b>                         LEVENE</b>            ...you want to see the court            records?  John?  Eh?  You want to            godown...<b>                         WILLIAMSON</b>            ...no...<b>                         LEVENE</b>            ...do you want to godowntown...?<b>                         WILLIAMSON</b>            ...no...<b>                         LEVENE</b>            ...then...<b>                         WILLIAMSON</b>            ...Ionly...<b>                         LEVENE</b>            ...then what is this \"you say\"            shit, what is that?                   (pause)            What is that...?<b>                         WILLIAMSON</b>            All that I'msaying...<b></b><b>                                                            3.</b><b>                         LEVENE</b>            What is this \"you say\"?  A deal            kicks out...I got to eat.  Shit,            Williamson,shit.  You...Moss...            Roma...look at the sheets...look at            the sheets.  Nineteen eighty,            eighty-one...eighty-two...six            months of eighty-two...who's there?            Who's upthere?<b>                         WILLIAMSON</b>            Roma.<b>                         LEVENE</b>            Underhim?<b>                         WILLIAMSON</b>            Moss.<b>                         LEVENE</b>            Bullshit.  John.  Bullshit.  April,            September 1981.  It's me.  It isn't            fucking Moss.  Due respect, he'san            order taker, John.  He talks, he            talks a good game, look at the            board, and it's me, John, it's me...<b>                         WILLIAMSON</b>            Not lately itisn't.<b>                         LEVENE</b>            Lately kiss my ass lately.  That            isn't how you build an org...talk,            talk to Murray.  Talk to Mitch.            When we were on Peterson, who paid            for hisfucking car?  You talk to            him.  The Seville...?  He came in,            \"You bought that for me Shelly.\"            Out of what?  Cold calling.  Nothing.            Sixty-five, when we were there,            with Glen RossFarms?  You call 'em            downtown.  What was that?  Luck?            That was \"luck\"?  Bullshit, John.            You're burning my ass, I can't get            a fucking lead...you think that was            luck.  My stats forthose years?            Bullshit...over that period of            time...?  Bullshit.  It wasn't luck.            It was skill.  You want to throw            that away, John...?  You want to            throw thataway?<b>                         WILLIAMSON</b>            It isn't me...<b></b><b>                                                            4.</b><b>                         LEVENE</b>            ...it isn't you...?  Who is it?            Who isthis I'm talking to?  I need            the leads...<b>                         WILLIAMSON</b>            ...after the thirtieth...<b>                         LEVENE</b>            Bullshit the thirtieth, I don't get            on the board thethirtieth, they're            going to can my ass.  I need the            leads.  I need them now.  Or I'm            gone, and you're going to miss me,            John, I swear toyou.<b>                         WILLIAMSON</b>            Murray...<b>                         LEVENE</b>            ...you talk to Murray...<b>                         WILLIAMSON</b>            I have.  And my job is tomarshal            those leads...<b>                         LEVENE</b>            Marshal the leads...marshal the            leads?  What the fuck, what bus did            you get off of, we're here to            fucking sell.  Fuckmarshaling the            leads.  What the fuck talk is that?            What the fuck talk is that?  Where            did you learn that?  In school?                   (pause)            That's \"talk,\" my friend, that's            \"talk.\" Ourjob is to sell.  I'm            the man to sell.  I'm getting            garbage.                   (pause)            You're giving it to me, and what            I'm saying is it'sfucked.<b>                         WILLIAMSON</b>            You're saying that I'm fucked.<b>                         LEVENE</b>            Yes.                   (pause)            I am.  I'm sorry to antagonizeyou.<b>                         WILLIAMSON</b>            Let me...<b></b><b>                                                            5.</b><b>                         LEVENE</b>            ...and I'm going to get bouncedand            you're...<b>                         WILLIAMSON</b>            ...let me...are you listening to            me...?<b>                         LEVENE</b>            Yes.<b>                         WILLIAMSON</b>            Let metell you something, Shelly.            I do what I'm hired to do.            I'm...wait a second.  I'm hired to            watch the leads.  I'm given...hold            on, I'm given a policy.  My job is            to do that.  What I'mtold.  That's            it.  You, wait a second, anybody            falls below a certain mark I'm not            permitted to give them the premium            leads.<b>                         LEVENE</b>            Then how do theycome up above that            mark?  With dreck...?  That's            nonsense.  Explain this to me.            'Cause it's a waste, and it's a            stupid waste.  I want to tellyou            something...<b>                         WILLIAMSON</b>            You know what those leads cost?<b>                         LEVENE</b>            The premium leads.  Yes.  I know            what theycost.  John.  Because I,            I generated the dollar revenue            sufficient to buy them.  Nineteen            senny-nine, you know what I made?            Senny-nine?  Ninety-six thousand            dollars.  John?  ForMurray... For            Mitch...look at the sheets...<b>                         WILLIAMSON</b>            Murray said...<b>                         LEVENE</b>            Fuck him.  Fuck Murray.  John?  You            know?  You tellhim I said so.            What does he fucking know?  He's            going to have a \"sales\"            contest...you know what our sales            contest used tobe?<b>                         (MORE)</b><b></b><b>                                                            6.</b><b>                         LEVENE (CONT'D)</b>            Money.  A fortune.  Money lying on            theground.  Murray?  When was the            last time he went out on a sit?            Sales contest?  It's laughable.            It's cold out there now, John.            It's tight.  Money is tight.  This            ain't sixty-five.  Itain't.  It            just ain't.  See?  See?  Now, I'm a            good man--but I need a...<b>                         WILLIAMSON</b>            Murraysaid...<b>                         LEVENE</b>            John.  John...<b>                         WILLIAMSON</b>            Will you please wait a second.            Shelly.  Please.  Murray told me:            the hotleads...<b>                         LEVENE</b>            ...ah, fuck this...<b>                         WILLIAMSON</b>            The...Shelly?                   (pause)            The hot leads are assigned according            to theboard.  During the contest.            Period.  Anyone who beats fifty            per...<b>                         LEVENE</b>            That's fucked.  That's fucked.  You            don't look at the fucking percentage.            Youlook at the gross.<b>                         WILLIAMSON</b>            Either way.  You're out.<b>                         LEVENE</b>            I'mout.<b>                         WILLIAMSON</b>            Yes.<b>                         LEVENE</b>            I'll tell you why I'm out.  I'm            out, you're giving me toiletpaper.            John.<b>                         (MORE)</b><b></b><b>                                                            7.</b><b>                         LEVENE (CONT'D)</b>            I've seen those leads.  I sawthem            when I was at Homestead, we pitched            those cocksuckers Rio Rancho            nineteen sixty-nine they wouldn't            buy.  They couldn't buy a fucking            toaster.  They're broke,John.            They're cold.  They're deadbeats,            you can't judge on that.  Even so.            Even so.  Alright.  Fine.  Fine.            Even so.  I go in, FOUR FUCKING            LEADS they got their money in"}
+{"doc_id":"doc_254","qid":"","text":"Project Gutenberg's Venus in Furs, by Ritter von Leopold Sacher-MasochThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: Venus in FursAuthor: Ritter von Leopold Sacher-MasochTranslator: Fernanda SavagePosting Date: October20, 2011 [EBook #6852]Release Date: November, 2004[This file was first posted on February 2, 2003]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK VENUS IN FURS ***Produced by AvinashKothare, Tom Allen, Tiffany Vergon,Charles Aldarondo, Charles Franks and the Online DistributedProofreading Team.VENUS IN FURSOf this book, intended forprivate circulation, only1225 copies have beenprinted, andtype afterwarddistributed.VENUS IN FURSByLEOPOLD VON SACHER-MASOCHTranslated from the GermanByFERNANDA SAVAGEINTRODUCTIONLeopold von Sacher-Masoch was born in Lemberg, Austrian Galicia,onJanuary 27, 1836. He studied jurisprudence at Prague and Graz, and in1857 became a teacher at the latter university. He published severalhistorical works, but soon gave up his academic career to devotehimselfwholly to literature. For a number of years he edited theinternational review, _Auf der Hohe_, at Leipzig, but later removed toParis, for he was always strongly Francophile. His last years he spentat Lindheim in Hesse,Germany, where he died on March 9, 1895. In 1873he married Aurora von Rumelin, who wrote a number of novels under thepseudonym of Wanda von Dunajew, which it is interesting to note is thename of the heroineof _Venus in Furs_. Her sensational memoirs whichhave been the cause of considerable controversy were published in 1906.During his career as writer an endless number of works poured fromSacher-Masoch's pen.Many of these were works of ephemeral journalism,and some of them unfortunately pure sensationalism, for economicnecessity forced him to turn his pen to unworthy ends.There is, however, a residue among hisworks which has a distinctliterary and even greater psychological value. His principal literaryambition was never completely fulfilled. It was a somewhatprogrammatic plan to give a picture of contemporary life in allitsvarious aspects and interrelations under the general title of the_Heritage of Cain_. This idea was probably derived from Balzac's_Comedie Humaine_. The whole was to be divided into six subdivisionswith the generaltitles _Love, Property, Money, The State, War,_ and_Death_. Each of these divisions in its turn consisted of six novels,of which the last was intended to summarize the author's conclusionsand to present his solution forthe problems set in the others.This extensive plan remained unachieved, and only the first two parts,_Love_ and _Property_, were completed. Of the other sections onlyfragments remain. The present novel, _Venus inFurs_, forms the fifthin the series, _Love_.The best of Sacher-Masoch's work is characterized by a swiftnarration and a graphic representation of character and scene and arich humor. The latter has made many of hisshorter stories dealingwith his native Galicia little masterpieces of local color.There is, however, another element in his work which has caused hisname to become as eponym for an entire series of phenomena at oneendof the psycho-sexual scale. This gives his productions a peculiarpsychological value, though it cannot be denied also a morbid tingethat makes them often repellent. However, it is well to remember thatnature isneither good nor bad, neither altruistic nor egoistic, andthat it operates through the human psyche as well as through crystalsand plants and animals with the same inexorable laws.Sacher-Masoch was the poet of theanomaly now generally known as_masochism_. By this is meant the desire on the part of the individualaffected of desiring himself completely and unconditionally subject tothe will of a person of the opposite sex, andbeing treated by thisperson as by a master, to be humiliated, abused, and tormented, evento the verge of death. This motive is treated in all its innumerablevariations. As a creative artist Sacher-Masoch was, of course,on thequest for the absolute, and sometimes, when impulses in the humanbeing assume an abnormal or exaggerated form, there is just for amoment a flash that gives a glimpse of the thing in itself.If any defense wereneeded for the publication of work likeSacher-Masoch's it is well to remember that artists are the historiansof the human soul and one might recall the wise and tolerant Montaigne'sessay _On the Duty of Historians_where he says, \"One may cover oversecret actions, but to be silent on what all the world knows, and thingswhich have had effects which are public and of so much consequence is aninexcusable defect.\"And the curiousinterrelation between cruelty and sex, again andagain, creeps into literature. Sacher-Masoch has not created anythingnew in this. He has simply taken an ancient motive and developed itfrankly and consciously, until, itseems, there is nothing further tosay on the subject. To the violent attacks which his books met hereplied in a polemical work, _Ã\u0000ber den Wert der Kritik_.It would be interesting to trace the masochistic tendency as itoccursthroughout literature, but no more can be done than just to allude toa few instances. The theme recurs continually in the _Confessions_ ofJean Jacques Rousseau; it explains the character of the chevalierinPrévost's _Manon l'Escault_. Scenes of this nature are found in Zola's_Nana_, in Thomas Otway's _Venice Preserved_, in Albert Juhelle's _LesPecheurs d'Hommes_, in Dostojevski. In disguised and unrecognizedformit constitutes the undercurrent of much of the sentimental literatureof the present day, though in most cases the authors as well as thereaders are unaware of the pathological elements out of which theircharactersare built.In all these strange and troubled waters of the human spirit one mightwish for something of the serene and simple attitude of the ancientworld. Laurent Tailhade has an admirable passage in his _PlatresetMarbres_, which is well worth reproducing in this connection:\"Toutefois, les Hellènes, dans, leurs cités de lumière, de douceuret d'harmonie, avaient une indulgence qu'on peut nommer scientifiquepour lestroubles amoureux de l'esprit. S'ils ne regardaient pasl'aliéné comme en proie a la visitation d'un dieu (idée orientale etfataliste), du moins ils savaient que l'amour est une sorted'envoûtement, une folie où semanifeste l'animosité des puissancescosmiques. Plus tard, le christianisme enveloppa les âmes deténèbres. Ce fut la grande nuit. L'Ã\u0000glise condamna tout ce qui luiparût neuf ou menaçant pour les dogmesimplaçable qui reduisaient lemonde en esclavage.\"Among Sacher-Masoch's works, _Venus in Furs_ is one of the mosttypical and outstanding. In spite of melodramatic elements and otherliterary faults, it isunquestionably a sincere work, written withoutany idea of titillating morbid fancies. One feels that in the heromany subjective elements have been incorporated, which are adisadvantage to the work from the point ofview of literature, but onthe other hand raise the book beyond the sphere of art, pure andsimple, and make it one of those appalling human documents whichbelong, part to science and part to psychology. It is theconfessionof a deeply unhappy man who could not master his personal tragedy ofexistence, and so sought to unburden his soul in writing down thethings he felt and experienced. The reader who will approach thebookfrom this angle and who will honestly put aside moral prejudices andprepossessions will come away from the perusal of this book with adeeper understanding of this poor miserable soul of ours and a lightwill becast into dark places that lie latent in all of us.Sacher-Masoch's works have held an established position in Europeanletters for something like half a century, and the author himself wasmade a chevalier of the Legion ofHonor by the French Government in1883, on the occasion of his literary jubilee. When several years agocheap reprints were brought out on the Continent and attempts weremade by various guardians of morality--theyexist in all countries--to have them suppressed, the judicial decisions were invariablyagainst the plaintiff and in favor of the publisher. Are Americanschildren that they must be protected from books which anyEuropeanschool-boy can purchase whenever he wishes? However, such seems to bethe case, and this translation, which has long been in preparation,consequently appears in a limited edition printed forsubscribersonly. In another connection Herbert Spencer once used these words:\"The ultimate result of shielding men from the effects of folly, is tofill the world with fools.\" They have a very pointed application inthecase of a work like _Venus in Furs_.F. S.Atlantic CityApril, 1921VENUS IN FURS  _\"But the Almighty Lord hath struck him,  and hath delivered him into the hands of  a woman.\"_--The Vulgate, Judith, xvi. 7.My companywas charming.Opposite me by the massive Renaissance fireplace sat Venus; she wasnot a casual woman of the half-world, who under this pseudonym wageswar against the enemy sex, like Mademoiselle Cleopatra, butthe real,true goddess of love.She sat in an armchair and had kindled a crackling fire, whosereflection ran in red flames over her pale face with its white eyes,and from time to time over her feet when she sought to warmthem.Her head was wonderful in spite of the dead stony eyes; it was allI could see of her. She had wrapped her marble-like body in a hugefur, and rolled herself up trembling like a cat.\"I don't understand it,\" Iexclaimed, \"It isn't really cold anylonger. For two weeks past we have had perfect spring weather. Youmust be nervous.\"\"Much obliged for your spring,\" she replied with a low stony voice,and immediately afterwardssneezed divinely, twice in succession. \"Ireally can't stand it here much longer, and I am beginning tounderstand--\"\"What, dear lady?\"\"I am beginning to believe the unbelievable and to understandtheun-understandable. All of a sudden I understand the Germanic virtue ofwoman, and German philosophy, and I am no longer surprised that you ofthe North do not know how to love, haven't even an idea of whatloveis.\"\"But, madame,\" I replied flaring up, \"I surely haven't given you anyreason.\"\"Oh, you--\" The divinity sneezed for the third time, and shruggedher shoulders with inimitable grace. \"That's why I have alwaysbeennice to you, and even come to see you now and then, although I catcha cold every time, in spite of all my furs. Do you remember the firsttime we met?\"\"How could I forget it,\" I said. \"You wore your abundant hairinbrown curls, and you had brown eyes and a red mouth, but I recognizedyou immediately by the outline of your face and its marble-likepallor--you always wore a violet-blue velvet jacket edged withsquirrel-skin.\"\"Youwere really in love with the costume, and awfully docile.\"\"You have taught me what love is. Your serene form of worship let meforget two thousand years.\"\"And my faithfulness to you was without equal!\"\"Well, as far asfaithfulness goes--\"\"Ungrateful!\"\"I will not reproach you with anything. You are a divine woman, butnevertheless a woman, and like every woman cruel in love.\"\"What you call cruel,\" the goddess of love replied eagerly,\"issimply the element of passion and of natural love, which is woman'snature and makes her give herself where she loves, and makes her loveeverything, that pleases her.\"\"Can there be any greater cruelty for a loverthan theunfaithfulness of the woman he loves?\"\"Indeed!\" she replied. \"We are faithful as long as we love, but youdemand faithfulness of a woman without love, and the giving ofherself without enjoyment. Who is cruelthere--woman or man? You ofthe North in general take love too soberly and seriously. You talkof duties where there should be only a question of pleasure.\"\"That is why our emotions are honorable and virtuous, andourrelations permanent.\"\"And yet a restless, always unsatisfied craving for the nudity ofpaganism,\" she interrupted, \"but that love, which is the highest joy,which is divine simplicity itself, is not for you moderns,youchildren of reflection. It works only evil in you. _As soon as youwish to be natural, you become common._ To you nature seems somethinghostile; you have made devils out of the smiling gods of Greece, andout ofme a demon. You can only exorcise and curse me, or slayyourselves in bacchantic madness before my altar. And if ever one ofyou has had the courage to kiss my red mouth, he makes a barefootpilgrimage to Rome inpenitential robes and expects flowers to growfrom his withered staff, while under my feet roses, violets, andmyrtles spring up every hour, but their fragrance does not agree withyou. Stay among your northern fogs andChristian incense; let uspagans remain under the debris, beneath the lava; do not disinter us.Pompeii was not built for you, nor our villas, our baths, our temples.You do not require gods. We are chilled in yourworld.\"The beautiful marble woman coughed, and drew the dark sables stillcloser about her shoulders.\"Much obliged for the classical lesson,\" I replied, \"but you cannotdeny, that man and woman are mortal enemies, inyour serene sunlitworld as well as in our foggy one. In love there is union into asingle being for a short time only, capable of only one thought, onesensation, one will, in order to be then further disunited. And youknowthis better than I; whichever of the two fails to subjugate willsoon feel the feet of the other on his neck--\"\"And as a rule the man that of the woman,\" cried Madame Venus withproud mockery, \"which you know betterthan I.\"\"Of course, and that is why I don't have any illusions.\"\"You mean you are now my slave without illusions, and for thatreason you shall feel the weight of my foot without mercy.\"\"Madame!\"\"Don't you know meyet? Yes, I am _cruel_--since you take so muchdelight in that word-and am I not entitled to be so? Man is the onewho desires, woman the one who is desired. This is woman's entire butdecisive advantage. Through hispassion nature has given man intowoman's hands, and the woman who does not know how to make him hersubject, her slave, her toy, and how to betray him with a smile in theend is not wise.\"\"Exactly yourprinciples,\" I interrupted angrily.\"They are based on the experience of thousands of years,\" shereplied ironically, while her white fingers played over the dark fur.\"The more devoted a woman shows herself, the soonerthe man sobersdown and becomes domineering. The more cruelly she treats him and themore faithless she is, the worse she uses him, the more wantonly sheplays with him, the less pity she shows him, by so much themore willshe increase his desire, be loved, worshipped by him. So it hasalways been, since the time of Helen and Delilah, down to Catherinethe Second and Lola Montez.\"\"I cannot deny,\" I said, \"that nothing will attracta man more thanthe picture of a beautiful, passionate, cruel, and despotic woman whowantonly changes her favorites without scruple in accordance with herwhim--\"\"And in addition wears furs,\" exclaimed thedivinity.\"What do you mean by that?\"\"I know your predilection.\"\"Do you know,\" I interrupted, \"that, since we last saw each other,you have grown very coquettish.\"\"In what way, may I ask?\"\"In that there is no way ofaccentuating your white body to greateradvantage than by these dark furs, and that--\"The divinity laughed.\"You are dreaming,\" she cried, \"wake up!\" and she clasped my armwith her marble-white hand. \"Do wake up,\"she repeated raucously withthe low register of her voice. I opened my eyes with difficulty.I saw the hand which shook me, and suddenly it was brown as bronze;the voice was the thick alcoholic voice of my cossackservant whostood before me at his full height of nearly six feet.\"Do get up,\" continued the good fellow, \"it is really disgraceful.\"\"What is disgraceful?\"\"To fall asleep in your clothes and with a book besides.\" Hesnuffedthe candles which had burned down, and picked up the volume which hadfallen from my hand, \"with a book by\"--he looked at the title page--\"by Hegel. Besides it is high time you were starting for Mr.Severin'swho is expecting us for tea.\"\"A curious dream,\" said Severin when I had finished. He supportedhis arms on his knees, resting his face in his delicate, finelyveined hands, and fell to pondering.I knew that he wouldn'tmove for a long time, hardly even breathe. Thisactually happened, but I didn't consider his behavior as in any wayremarkable. I had been on terms of close friendship with him for nearlythree years, and gotten used tohis peculiarities. For it cannot bedenied that he was peculiar, although he wasn't quite the dangerousmadman that the neighborhood, or indeed the entire district of Kolomea,considered him to be. I found his personalitynot only interesting--andthat is why many also regarded me a bit mad--but to a degreesympathetic. For a Galician nobleman and land-owner, and considering hisage--he was hardly over thirty--he displayed surprisingsobriety, acertain seriousness, even pedantry. He lived according to a minutelyelaborated, half-philosophical, half-practical system, like clock-work;not this alone, but also by the thermometer, barometer,aerometer,hydrometer, Hippocrates, Hufeland, Plato, Kant, Knigge, and LordChesterfield. But at times he had violent attacks of sudden passion, andgave the impression of being about to run with his head right throughawall. At such times every one preferred to get out of his way.While he remained silent, the fire sang in the chimney and the largevenerable samovar sang; and the ancient chair in which I sat rockingto and fro smokingmy cigar, and the cricket in the old walls sangtoo. I let my eyes glide over the curious apparatus, skeletons ofanimals, stuffed birds, globes, plaster-casts, with which his roomwas heaped full, until by chance my glanceremained fixed on apicture which I had seen often enough before. But to-day, under thereflected red glow of the fire, it made an indescribable impressionon me.It was a large oil painting, done in the robust full-bodiedmannerof the Belgian school. Its subject was strange enough.A beautiful woman with a radiant smile upon her face, with abundanthair tied into a classical knot, on which white powder lay like asoft hoarfrost, wasresting on an ottoman, supported on her left arm.She was nude in her dark furs. Her right hand played with a lash,while her bare foot rested carelessly on a man, lying before her likea slave, like a dog. In the sharplyoutlined, but well-formedlinaments of this man lay brooding melancholy and passionatedevotion; he looked up to her with the ecstatic burning eye of amartyr. This man, the footstool for her feet, was Severin,butbeardless, and, it seemed, some ten years younger.\"_Venus in Furs_,\" I cried, pointing to the picture. \"That is the wayI saw her in my dream.\"\"I, too,\" said Severin, \"only I dreamed my dream with openeyes.\"\"Indeed?\"\"It is a tiresome story.\"\"Your picture apparently suggested my dream,\" I continued. \"But dotell me what it means. I can imagine that it played a role in yourlife, and perhaps a very decisive one. But thedetails I can only getfrom you.\"\"Look at its counterpart,\" replied my strange friend, withoutheeding my question.The counterpart was an excellent copy of Titian's well-known \"Venuswith the Mirror\" in the DresdenGallery.\"And what is the significance?\"Severin rose and pointed with his finger at the fur with whichTitian garbed his goddess of love.\"It, too, is a 'Venus in Furs,'\" he said with a slight smile. \"Idon't believe that the oldVenetian had any secondary intention. Hesimply painted the portrait of some aristocratic Mesalina, and wastactful enough to let Cupid hold the mirror in which she tests hermajestic allure with cold satisfaction. He looksas though his taskwere becoming burdensome enough. The picture is painted flattery.Later an 'expert' in the Rococo period baptized the lady with thename of Venus. The furs of the despot in which Titian's fairmodelwrapped herself, probably more for fear of a cold than out ofmodesty, have become a symbol of the tyranny and cruelty thatconstitute woman's essence and her beauty.\"But enough of that. The picture, as it nowexists, is a bittersatire on our love. Venus in this abstract North, in this icyChristian world, has to creep into huge black furs so as not to catchcold--\"Severin laughed, and lighted a fresh cigarette.Just then the dooropened and an attractive, stoutish, blonde girlentered. She had wise, kindly eyes, was dressed in black silk, andbrought us cold meat and eggs with our tea. Severin took one of thelatter, and decapitated it with hisknife.\"Didn't I tell you that I want them soft-boiled?\" he cried with aviolence that made the young woman tremble.\"But my dear Sevtchu--\" she said timidly.\"Sevtchu, nothing,\" he yelled, \"you are to obey, obey, do"}
+{"doc_id":"doc_255","qid":"","text":"<html><head><title>Arcade Script at IMSDb.</title><meta name=\"description\" content=\"Arcade script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Arcade script, Arcade movie script,Arcade film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=SubjectCONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0];s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>    <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\"title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center></td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>                                   Arcade                                     by                                David S. Goyer                       Last revised November 6,1990<b>INT. ARCADE WORLD -- ELECTRONIC DARKNESS</b>We don't know if it's night or day.  It's just black.And maybe...maybe intermittent SPARKS racing by.  So quick we barelyperceive them.  Like the sparksyou imagine when your eyes are closed.<b>BREATHING,</b>slow and hollow, filling up the entire world.  It's eerie as hell.  Afeeling of utter loneliness.And now the breathing recedes, fading into thedarkness.  Whatever itwas...it's gone now.<b>MAIN CREDITS ROLL.</b>We hear CELLOS.  Four of them.  Weaving an intricate melody.And now the visuals.  BRIGHTLY COLORED SHAPES spinning in.  Equallyintricate,matching the music.  They grow and flourish, like flowersopening up in time lapse photography.<b>FRACTALS...</b>is what they're called.  The visual manifestation of geometric formulas.The Mandelbrot Set.  TheJulia Set.  Each mathematic form made up ofprogressively smaller forms and on into infinity.Glorious and beautiful.  Forms folding in upon themselves andregenerating.This is creation we're witnessing.This is life in themaking.<b> DISSOLVE TO:</b><b>INT. COUNSELOR'S OFFICE -- DAY</b><b>AN EYE</b>For a brief moment we still hear the CELLOS.  And in the eye, the last ofthe fractals are spinning away, leaving us with theiris.  A nice blueone.  This is ALEX MANNING'S eye.<b> ALEX (V.O.)</b> Time.  That's all I ever think about anymore.  It's like there's never enough of it, you know?<b> CUT TO:</b><b>INT.  MANNING HOUSE,HALLWAY -- DAY</b>This is a flashback, in case you're wondering.  We'll continue to hearAlex's VOICE as we move through the house in slow motion.  Everything isvery bright and dreamlike.Right now we're movingwith the camera, slowly moving down a long hallway.At the end of the hallway is an open door.We stop at the doorway.  We're afraid to go in.<b> ALEX (V.O.)</b> It's strange.  When the future's in front of you, itseems to go on forever.  I mean, you never really get there.  It's always one step ahead of you.  It's like there's no present. There's no \"now\".  As soon as you think, \"I'm here\", the moment's already gone.  Eithereverything's in the future, or it's in the past. (beat) There's no \"now\".<b> MAN (V.O.)</b> So where are you then?<b> ALEX (V.O.)</b> I'm in the past.We move through the doorway.<b>INT.  MANNING HOUSE,BEDROOM -- DAY</b>Everything looks normal at first.  A typical bedroom with sunlightstreaming in through the windows.  A bed, made-up. Flowers in vases.Everything looks perfect.Then we move further in, and overto the right.  There's something on thefloor, curled up in the entranceway to the bathroom.  Halfway in, halfwayout.It's a woman's body.  She's wearing a dress, her legs awkwardly bent.  Wecan't see her face from thisangle. But in her limp hand is a gun.  Andall around that hand, speckling the pristine white tile of the bathroomand the carpeting beyond, is BLOOD.A shrill BELL shatters the moment.<b> CUTTO:</b><b>INT.  COUNSELOR'S OFFICE -- DAY</b>The bell continues.  It's a school bell signaling the end of the period.<b>ON ALEX</b>as we see her for the first time, startled.  She's seventeen and pretty,thoughin a simple way.  Her eyes are the most striking.  Deep.  Intense.If Alex has a problem, it's the fact that she thinks too much, and it'sreflected in her eyes.Across from her is MR. WEAVER, a high-school guidancecounselor and thatwas his voice we heard with Alex's. He's unexceptional, middle-aged,incapable of really hearing what Alex has to say.  This is his officewe're in. Typical \"SAY NO TO DRUGS\" teen propaganda decoratethe room.Fun.As the BELL dies we hear the army of FOOTSTEPS outside, students millingin the halls.Alex glances at the door and starts to rise from her chair.<b> MR. WEAVER</b> We don't have to stop now...<b>ALEX</b> (cutting him off) That's okay.  I've got a test coming up anyway.  Gotta study.<b> MR. WEAVER</b> (sighs) I have to tell you, I'm a little concerned about you, Alex.  It's been three months now since yourmother, uh...<b> ALEX</b> (offering, fixing him with a stare) Killed herself?Mr. Weaver stops, more than a little uncomfortable.<b> MR. WEAVER</b> (reluctant) Yes.  Now your father...<b> ALEX</b> He's a basketcase.  You've talked to him. You know that.  He might as well be dead too.Alex glances down at the floor, anything to avoid looking at thecounselor.  She heaves a backpack onto to shoulder.<b> ALEX</b> (continuing)Look Mr. Weaver, I don't even know why I came here.  I fine.  Really. (looking up) It's like I said.  It's just part of the past now.  It doesn't matter anymore.She turns, and before Mr. Weaver can respond, she's out thedoor.<b>INT.  HIGH-SCHOOL HALLWAY - DAY</b>Alex moves quickly through the mass of STUDENTS, wiping the remnants ofhalf-tears on her coat sleeve.<b> CUT TO:</b><b>INT.  HIGH-SCHOOL CAFETERIA -DAY</b>Fun-time.  Total chaos.  If you've been to high-school you know the riff.Bad food, teen-age melodrama, and a squadron of SUPERVISORS trying to keepa lid on things.<b>ALEX</b>makes her way to the farcorner of the cafeteria where a cluster of kidslounge around a table.  These are Alex's FRIENDS.  And while none of themare your garden variety pocket-protector-type nerds, these kids aren'texactly part of the\"in-crowd\".  They're a little off.  Quirky.  All ofthem come from screwed up families, and that's what bonds them.  They are:GREG HOLLISTON -- Alex's boyfriend.  Hopeful artist (not bad, either) andkind of punklooking.  Greg and the others are big fans of thrift-shopclothing.  Because they don't have the money, they improvise.NICK DRAKE -- Greg's best friend and future computer pioneer.  He'sattractive and he's got anedge.  A bit of a hot-shot.  Genius in themaking.BENZ AND STILTS -- Inseparable.  Benz is flunking out of school and wouldlike nothing better than to spend the rest of his life reading comicbooks.  He's tall, perpetuallyunkempt, awkward, and nervous.  Stilts,contrary to his nickname, is quite short and never without his skateboard.Stilts is constantly hitting on...LAURIE -- The sixth member of the group.  A teen Theda Bara and ascynicalas you can get.  She's what's affectionately known as an \"art chick\".The boys in the group, particularly Nick and Stilts, are avidskateboarders and are frequently seen with their boards.  Stilts is alwaysleafingthrough an issue of THRASHER magazine.Right now the group is in the midst of an argument.  Nick has a pocketvideo game in his hands which he casually plays.  He can get through thesegames in his sleep.  It BEEPSand WHIRS.<b> NICK</b> (to Benz) You're an idiot, you know that? What're you going to do when you get out of here?<b> BENZ</b> I was thinking about writing for one of those Filipino mail order brides...Stilts andGreg burst into laughter.<b> STILTS</b> I think I saw that on the Home Shopping Network.  The Girlfriend Hour, right after Auto Accessories.<b> BENZ</b> (giggling) Exactly.<b> LAURIE</b> You guys aresick.Alex flops down in a chair and everyone turns.<b> GREG</b> So how'd it go?Alex shrugs, trying to make light of it.<b> ALEX</b> He thinks I'm \"sublimating\".<b> STILTS</b> What the hell does that mean?<b>LAURIE</b> It means she's screwed up.<b> STILTS</b> Fucked up.  That's what they said I was.<b> BENZ</b> You are fucked up.<b> STILTS</b> Yeah, but only because I want to be.<b> GREG</b> Would youguys knock it off?Greg turns back to Alex and looks her in the eye.<b> GREG</b> (continuing) Listen to me, Alex.  These counselor's don't know anything.  They're full of shit. If you don't fit the pattern of the perfectkid, they freak.<b> ALEX</b> (nodding) I know.<b> GREG</b> So tell me you're okay, then.<b> ALEX</b> I'm okay.<b> GREG</b> (smiles) Good.   Cause I'd freak if you weren't.Greg leans over and kissesAlex.  The rest of the group launches intoexaggerated GROANS, with Benz and Stilts fluttering their eyes and making\"smooching faces\" at each other.  The kiss is over and everyone LAUGHS.Things are okay now.<b>GREG</b> (to Alex) Hey...watch this...Greg pulls an old Polaroid camera from his backpack.  He leans in close toher and holds the camera at arm's length, aiming it back at them.  FLASH!And the moment's capturedforever.Greg pulls the Polaroid out and peels off the backing. Before the pictureeven develops, he begins rubbing his fingers over it, manipulating theemulsion.<b> NICK</b> (engrossed in his game again) You makinganother one, Greg?<b> GREG</b> Sure.  Practice.<b> BENZ</b> Lemme see...Greg pulls some papers from his backpack and slides them over to Benz.The papers are color xeroxes of Polaroid blow-ups.  Greg hasmessed withthem, creating swirling, psychedelic patterns with the images.  Stilts andLaurie lean in.<b> STILTS</b> Cool.<b> GREG</b> (still working) See, when the emulsion's still warm you can move it around...(stops) There.Greg holds up the Polaroid for Alex to see.<b>POLAROID</b>Greg and Alex are side by side, grinning...all around them the world hasspun into strange colors.  It's an odd effect.Greg drops the photo inhis shirt pocket and pats it.<b> GREG</b> Safe keeping.Meanwhile, Nick's pocket video game emits an EXPLOSION NOISE.<b> NICK</b> Shit.  I'm out.He sets the game down, dejected.<b> BENZ</b> You guysgoing to Dante's after school?<b> GREG</b> I don't know.<b> BENZ</b> Check it out...Benz pulls a flyer from inside his coat.  It's an ad for a new game called\"ARCADE\", featuring a pair of evil eyes and glowinghands coming out of acircuit board.  The tag at the bottom reads, \"COMING THIS FALL.  REALITY<b>WILL NEVER BE THE SAME\".</b><b> NICK</b> (excited) That's the new Slip-Stream game. Those guys aregood.  It's supposed to be interactive. Graphics are unbelievable.<b> BENZ</b> Yeah?  They were handing these out at Dante's.  Test marketing it or something. Gonna have a demonstration today.<b> STILTS</b>Cool.<b> LAURIE</b> Can you say anything but \"cool\"?<b> STILTS</b> Of course I can.  I can say all sorts of things...<b> GREG</b> (annoyed) Guys...Benz pulls back the flyer and looks at it again.<b> BENZ</b>So how 'bout it?<b> NICK</b> I'm game... (to Greg) Greg?Greg turns to Alex.<b> GREG</b> Come on.  We'll hit Dante's after school, try the game out, maybe get some dinner.<b> ALEX</b> And then keep ondriving?<b> GREG</b> Sure.  Never come back.  Disappear forever.<b> LAURIE</b> (nodding) I could go for that.Alex laughs.  Laurie took the words right out of her mouth.<b> CUT TO:</b><b>EXT.  DANTE'SINFERNO -- DAY</b>The Inferno is a run-down video arcade near the beach, notable because thegames it sports are generally defective and out of date.  Nevertheless,it's become our group's hang-out.  It has itscharms.A huge mural, chipped and faded with age, adorns the front of thearcade...something straight out of Hieronymus Bosch. Demons in day-glo.The yawning mouth of an enormous devil surrounds theentrance.<b>ALEX AND THE OTHERS</b>pull up across the street, caravan style.  Greg and Alex are in onecar...an ancient Buick Skylark.  No Honda Accords or VW Rabbits for thisgroup.At the moment, there's quite abit of activity at the Inferno's entrance.KIDS are clustered around and Slip-Stream employees are passing out Arcadepromo sheets.<b>THE GROUP</b>heads for the entrance, plowing their way through the"}
+{"doc_id":"doc_256","qid":"","text":"Project Gutenberg's The Time Machine, by H. G. (Herbert George) WellsThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: The Time MachineAuthor: H. G. (Herbert George) WellsRelease Date: October 2, 2004 [EBook #35][Lastupdated: October 3, 2014]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE TIME MACHINE ***The Time Machine, by H. G. Wells [1898]IThe Time Traveller (for so it will be convenient to speakof him)was expounding a recondite matter to us. His grey eyes shone andtwinkled, and his usually pale face was flushed and animated. Thefire burned brightly, and the soft radiance of the incandescentlights in the liliesof silver caught the bubbles that flashed andpassed in our glasses. Our chairs, being his patents, embraced andcaressed us rather than submitted to be sat upon, and there was thatluxurious after-dinner atmospherewhen thought roams gracefullyfree of the trammels of precision. And he put it to us in thisway--marking the points with a lean forefinger--as we sat and lazilyadmired his earnestness over this new paradox (as wethought it)and his fecundity.'You must follow me carefully. I shall have to controvert one or twoideas that are almost universally accepted. The geometry, forinstance, they taught you at school is founded on amisconception.''Is not that rather a large thing to expect us to begin upon?'said Filby, an argumentative person with red hair.'I do not mean to ask you to accept anything without reasonableground for it. You will soonadmit as much as I need from you. Youknow of course that a mathematical line, a line of thickness _nil_,has no real existence. They taught you that? Neither has amathematical plane. These things are mereabstractions.''That is all right,' said the Psychologist.'Nor, having only length, breadth, and thickness, can a cube have areal existence.''There I object,' said Filby. 'Of course a solid body may exist. Allreal things--''Somost people think. But wait a moment. Can an _instantaneous_cube exist?''Don't follow you,' said Filby.'Can a cube that does not last for any time at all, have a realexistence?'Filby became pensive. 'Clearly,' the TimeTraveller proceeded, 'anyreal body must have extension in _four_ directions: it must haveLength, Breadth, Thickness, and--Duration. But through a naturalinfirmity of the flesh, which I will explain to you in a moment,weincline to overlook this fact. There are really four dimensions,three which we call the three planes of Space, and a fourth, Time.There is, however, a tendency to draw an unreal distinction betweenthe former threedimensions and the latter, because it happens thatour consciousness moves intermittently in one direction along thelatter from the beginning to the end of our lives.''That,' said a very young man, making spasmodicefforts to relighthis cigar over the lamp; 'that ... very clear indeed.''Now, it is very remarkable that this is so extensively overlooked,'continued the Time Traveller, with a slight accession ofcheerfulness. 'Really this iswhat is meant by the Fourth Dimension,though some people who talk about the Fourth Dimension do not knowthey mean it. It is only another way of looking at Time. _There isno difference between Time and any of thethree dimensions of Spaceexcept that our consciousness moves along it_. But some foolishpeople have got hold of the wrong side of that idea. You have allheard what they have to say about this Fourth Dimension?''_I_have not,' said the Provincial Mayor.'It is simply this. That Space, as our mathematicians have it, isspoken of as having three dimensions, which one may call Length,Breadth, and Thickness, and is always definable byreference tothree planes, each at right angles to the others. But somephilosophical people have been asking why _three_ dimensionsparticularly--why not another direction at right angles to the otherthree?--and haveeven tried to construct a Four-Dimension geometry.Professor Simon Newcomb was expounding this to the New YorkMathematical Society only a month or so ago. You know how on a flatsurface, which has only twodimensions, we can represent a figure ofa three-dimensional solid, and similarly they think that by modelsof three dimensions they could represent one of four--if they couldmaster the perspective of the thing. See?''Ithink so,' murmured the Provincial Mayor; and, knitting hisbrows, he lapsed into an introspective state, his lips moving as onewho repeats mystic words. 'Yes, I think I see it now,' he said aftersome time, brightening ina quite transitory manner.'Well, I do not mind telling you I have been at work upon thisgeometry of Four Dimensions for some time. Some of my resultsare curious. For instance, here is a portrait of a man at eightyearsold, another at fifteen, another at seventeen, another attwenty-three, and so on. All these are evidently sections, as itwere, Three-Dimensional representations of his Four-Dimensionedbeing, which is a fixed andunalterable thing.'Scientific people,' proceeded the Time Traveller, after the pauserequired for the proper assimilation of this, 'know very well thatTime is only a kind of Space. Here is a popular scientific diagram,aweather record. This line I trace with my finger shows themovement of the barometer. Yesterday it was so high, yesterday nightit fell, then this morning it rose again, and so gently upward tohere. Surely the mercurydid not trace this line in any of thedimensions of Space generally recognized? But certainly it tracedsuch a line, and that line, therefore, we must conclude was alongthe Time-Dimension.''But,' said the Medical Man,staring hard at a coal in the fire, 'ifTime is really only a fourth dimension of Space, why is it, and whyhas it always been, regarded as something different? And why cannotwe move in Time as we move about in the otherdimensions of Space?'The Time Traveller smiled. 'Are you sure we can move freely inSpace? Right and left we can go, backward and forward freely enough,and men always have done so. I admit we move freely intwodimensions. But how about up and down? Gravitation limits us there.''Not exactly,' said the Medical Man. 'There are balloons.''But before the balloons, save for spasmodic jumping and theinequalities of the surface,man had no freedom of verticalmovement.''Still they could move a little up and down,' said the Medical Man.'Easier, far easier down than up.''And you cannot move at all in Time, you cannot get away from thepresentmoment.''My dear sir, that is just where you are wrong. That is just wherethe whole world has gone wrong. We are always getting away from thepresent moment. Our mental existences, which are immaterial andhaveno dimensions, are passing along the Time-Dimension with a uniformvelocity from the cradle to the grave. Just as we should travel _down_if we began our existence fifty miles above the earth's surface.''But thegreat difficulty is this,' interrupted the Psychologist.'You _can_ move about in all directions of Space, but you cannotmove about in Time.''That is the germ of my great discovery. But you are wrong to saythat we cannotmove about in Time. For instance, if I am recallingan incident very vividly I go back to the instant of its occurrence:I become absent-minded, as you say. I jump back for a moment. Ofcourse we have no means ofstaying back for any length of Time, anymore than a savage or an animal has of staying six feet above theground. But a civilized man is better off than the savage in thisrespect. He can go up against gravitation in aballoon, and whyshould he not hope that ultimately he may be able to stop oraccelerate his drift along the Time-Dimension, or even turn aboutand travel the other way?''Oh, _this_,' began Filby, 'is all--''Why not?' saidthe Time Traveller.'It's against reason,' said Filby.'What reason?' said the Time Traveller.'You can show black is white by argument,' said Filby, 'but you willnever convince me.''Possibly not,' said the Time Traveller. 'Butnow you begin to seethe object of my investigations into the geometry of FourDimensions. Long ago I had a vague inkling of a machine--''To travel through Time!' exclaimed the Very Young Man.'That shall travelindifferently in any direction of Space and Time,as the driver determines.'Filby contented himself with laughter.'But I have experimental verification,' said the Time Traveller.'It would be remarkably convenient for thehistorian,' thePsychologist suggested. 'One might travel back and verify theaccepted account of the Battle of Hastings, for instance!''Don't you think you would attract attention?' said the Medical Man.'Our ancestors hadno great tolerance for anachronisms.''One might get one's Greek from the very lips of Homer and Plato,'the Very Young Man thought.'In which case they would certainly plough you for the Little-go.The German scholarshave improved Greek so much.''Then there is the future,' said the Very Young Man. 'Just think!One might invest all one's money, leave it to accumulate atinterest, and hurry on ahead!''To discover a society,' said I,'erected on a strictly communisticbasis.''Of all the wild extravagant theories!' began the Psychologist.'Yes, so it seemed to me, and so I never talked of it until--''Experimental verification!' cried I. 'You are going toverify_that_?''The experiment!' cried Filby, who was getting brain-weary.'Let's see your experiment anyhow,' said the Psychologist, 'thoughit's all humbug, you know.'The Time Traveller smiled round at us. Then, stillsmiling faintly,and with his hands deep in his trousers pockets, he walked slowlyout of the room, and we heard his slippers shuffling down the longpassage to his laboratory.The Psychologist looked at us. 'I wonder whathe's got?''Some sleight-of-hand trick or other,' said the Medical Man, andFilby tried to tell us about a conjurer he had seen at Burslem; butbefore he had finished his preface the Time Traveller came back, andFilby'sanecdote collapsed.The thing the Time Traveller held in his hand was a glitteringmetallic framework, scarcely larger than a small clock, and verydelicately made. There was ivory in it, and some transparentcrystallinesubstance. And now I must be explicit, for this thatfollows--unless his explanation is to be accepted--is an absolutelyunaccountable thing. He took one of the small octagonal tables thatwere scattered about the room,and set it in front of the fire, withtwo legs on the hearthrug. On this table he placed the mechanism.Then he drew up a chair, and sat down. The only other object on thetable was a small shaded lamp, the bright light ofwhich fell uponthe model. There were also perhaps a dozen candles about, two inbrass candlesticks upon the mantel and several in sconces, so thatthe room was brilliantly illuminated. I sat in a low arm-chairnearestthe fire, and I drew this forward so as to be almost betweenthe Time Traveller and the fireplace. Filby sat behind him, lookingover his shoulder. The Medical Man and the Provincial Mayor watchedhim in profile from theright, the Psychologist from the left. TheVery Young Man stood behind the Psychologist. We were all on thealert. It appears incredible to me that any kind of trick, howeversubtly conceived and however adroitly done,could have been playedupon us under these conditions.The Time Traveller looked at us, and then at the mechanism. 'Well?'said the Psychologist.'This little affair,' said the Time Traveller, resting his elbowsupon thetable and pressing his hands together above the apparatus,'is only a model. It is my plan for a machine to travel throughtime. You will notice that it looks singularly askew, and that thereis an odd twinkling appearanceabout this bar, as though it was insome way unreal.' He pointed to the part with his finger. 'Also,here is one little white lever, and here is another.'The Medical Man got up out of his chair and peered into the thing.'It'sbeautifully made,' he said.'It took two years to make,' retorted the Time Traveller. Then, whenwe had all imitated the action of the Medical Man, he said: 'Now Iwant you clearly to understand that this lever, beingpressed over,sends the machine gliding into the future, and this other reversesthe motion. This saddle represents the seat of a time traveller.Presently I am going to press the lever, and off the machine willgo. It willvanish, pass into future Time, and disappear. Have agood look at the thing. Look at the table too, and satisfyyourselves there is no trickery. I don't want to waste this model,and then be told I'm a quack.'There was aminute's pause perhaps. The Psychologist seemed about tospeak to me, but changed his mind. Then the Time Traveller put forthhis finger towards the lever. 'No,' he said suddenly. 'Lend me yourhand.' And turning tothe Psychologist, he took that individual'shand in his own and told him to put out his forefinger. So that itwas the Psychologist himself who sent forth the model Time Machineon its interminable voyage. We all saw thelever turn. I amabsolutely certain there was no trickery. There was a breath ofwind, and the lamp flame jumped. One of the candles on the mantelwas blown out, and the little machine suddenly swung round,becameindistinct, was seen as a ghost for a second perhaps, as an eddy offaintly glittering brass and ivory; and it was gone--vanished! Savefor the lamp the table was bare.Everyone was silent for a minute. Then Filbysaid he was damned.The Psychologist recovered from his stupor, and suddenly lookedunder the table. At that the Time Traveller laughed cheerfully.'Well?' he said, with a reminiscence of the Psychologist. Then,gettingup, he went to the tobacco jar on the mantel, and with hisback to us began to fill his pipe.We stared at each other. 'Look here,' said the Medical Man, 'are youin earnest about this? Do you seriously believe that thatmachinehas travelled into time?''Certainly,' said the Time Traveller, stooping to light a spill atthe fire. Then he turned, lighting his pipe, to look at thePsychologist's face. (The Psychologist, to show that he wasnotunhinged, helped himself to a cigar and tried to light it uncut.)'What is more, I have a big machine nearly finished in there'--heindicated the laboratory--'and when that is put together I mean tohave a journey on myown account.''You mean to say that that machine has travelled into the future?'said Filby.'Into the future or the past--I don't, for certain, know which.'After an interval the Psychologist had an inspiration. 'It musthavegone into the past if it has gone anywhere,' he said.'Why?' said the Time Traveller.'Because I presume that it has not moved in space, and if ittravelled into the future it would still be here all this time,since it musthave travelled through this time.''But,' I said, 'If it travelled into the past it would have beenvisible when we came first into this room; and last Thursday when wewere here; and the Thursday before that; and soforth!''Serious objections,' remarked the Provincial Mayor, with an air ofimpartiality, turning towards the Time Traveller.'Not a bit,' said the Time Traveller, and, to the Psychologist: 'Youthink. You can explain that. It'spresentation below the threshold,you know, diluted presentation.''Of course,' said the Psychologist, and reassured us. 'That's asimple point of psychology. I should have thought of it. It's plainenough, and helps theparadox delightfully. We cannot see it, norcan we appreciate this machine, any more than we can the spoke ofa wheel spinning, or a bullet flying through the air. If it istravelling through time fifty times or a hundredtimes faster thanwe are, if it gets through a minute while we get through a second,the impression it creates will of course be only one-fiftieth orone-hundredth of what it would make if it were not travelling intime.That's plain enough.' He passed his hand through the space inwhich the machine had been. 'You see?' he said, laughing.We sat and stared at the vacant table for a minute or so. Then theTime Traveller asked us whatwe thought of it all.'It sounds plausible enough to-night,' said the Medical Man; 'butwait until to-morrow. Wait for the common sense of the morning.''Would you like to see the Time Machine itself?' asked theTimeTraveller. And therewith, taking the lamp in his hand, he led theway down the long, draughty corridor to his laboratory. I remembervividly the flickering light, his queer, broad head in silhouette,the dance of theshadows, how we all followed him, puzzled butincredulous, and how there in the laboratory we beheld a largeredition of the little mechanism which we had seen vanish from beforeour eyes. Parts were of nickel, parts ofivory, parts had certainlybeen filed or sawn out of rock crystal. The thing was generallycomplete, but the twisted crystalline bars lay unfinished upon thebench beside some sheets of drawings, and I took one up for abetterlook at it. Quartz it seemed to be.'Look here,' said the Medical Man, 'are you perfectly serious?Or is this a trick--like that ghost you showed us last Christmas?''Upon that machine,' said the Time Traveller, holdingthe lampaloft, 'I intend to explore time. Is that plain? I was never moreserious in my life.'None of us quite knew how to take it.I caught Filby's eye over the shoulder of the Medical Man, and hewinked at me solemnly.IIIthink that at that time none of us quite believed in the TimeMachine. The fact is, the Time Traveller was one of those men whoare too clever to be believed: you never felt that you saw all roundhim; you alwayssuspected some subtle reserve, some ingenuity inambush, behind his lucid frankness. Had Filby shown the model andexplained the matter in the Time Traveller's words, we should haveshown _him_ far less scepticism.For we should have perceived hismotives; a pork butcher could understand Filby. But the TimeTraveller had more than a touch of whim among his elements, and wedistrusted him. Things that would have made theframe of a lessclever man seemed tricks in his hands. It is a mistake to do thingstoo easily. The serious people who took him seriously never feltquite sure of his deportment; they were somehow aware that trustingtheirreputations for judgment with him was like furnishing anursery with egg-shell china. So I don't think any of us said verymuch about time travelling in the interval between that Thursday andthe next, though its oddpotentialities ran, no doubt, in most ofour minds: its plausibility, that is, its practical incredibleness,the curious possibilities of anachronism and of utter confusion itsuggested. For my own part, I was particularlypreoccupied with thetrick of the model. That I remember discussing with the Medical Man,whom I met on Friday at the Linnaean. He said he had seen a similarthing at Tubingen, and laid considerable stress on theblowing outof the candle. But how the trick was done he could not explain.The next Thursday I went again to Richmond--I suppose I was one ofthe Time Traveller's most constant guests--and, arriving late, foundfour orfive men already assembled in his drawing-room. The MedicalMan was standing before the fire with a sheet of paper in one handand his watch in the other. I looked round for the Time Traveller,and--'It's half-past sevennow,' said the Medical Man. 'I supposewe'd better have dinner?''Where's----?' said I, naming our host.'You've just come? It's rather odd. He's unavoidably detained. Heasks me in this note to lead off with dinner atseven if he's notback. Says he'll explain when he comes.''It seems a pity to let the dinner spoil,' said the Editor of awell-known daily paper; and thereupon the Doctor rang the bell.The Psychologist was the only personbesides the Doctor and myselfwho had attended the previous dinner. The other men were Blank, theEditor aforementioned, a certain journalist, and another--a quiet,shy man with a beard--whom I didn't know, andwho, as far as myobservation went, never opened his mouth all the evening. There wassome speculation at the dinner-table about the Time Traveller'sabsence, and I suggested time travelling, in a half-jocular spirit.TheEditor wanted that explained to him, and the Psychologistvolunteered a wooden account of the 'ingenious paradox and trick' wehad witnessed that day week. He was in the midst of his expositionwhen the door from thecorridor opened slowly and without noise. Iwas facing the door, and saw it first. 'Hallo!' I said. 'At last!'And the door opened wider, and the Time Traveller stood before us.I gave a cry of surprise. 'Good heavens! man,what's the matter?'cried the Medical Man, who saw him next. And the whole tablefulturned towards the door.He was in an amazing plight. His coat was dusty and dirty, andsmeared with green down the sleeves; his hairdisordered, and as itseemed to me greyer--either with dust and dirt or because its colourhad actually faded. His face was ghastly pale; his chin had a browncut on it--a cut half healed; his expression was haggard anddrawn,as by intense suffering. For a moment he hesitated in the doorway,as if he had been dazzled by the light. Then he came into the room.He walked with just such a limp as I have seen in footsore tramps.We stared"}
+{"doc_id":"doc_257","qid":"","text":"<html><head><title>Cellular Script at IMSDb.</title><meta name=\"description\" content=\"Cellular script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Cellular script, Cellular moviescript, Cellular film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=SubjectCONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0];s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>    <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\"title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center></td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>       CELLULAR</b>              by         Larry Cohen         Revised by        Chris Morgan     Current Revisions byJ. Mackye Gruber & EricBress                                July 16, 2003<b></b><b>TITLES OVER YELLOW BACKGROUND.</b>We PULL BACK to reveal we're looking at THE SUN. In thedistance lie the gorgeous San Gabriel Mountains andtheDowntown Los Angeles skyline.In ONE LONG TRACKING SHOT, we CRANE PAST some trees to revealthe vast expansive homes scattered in the hills of Brentwood.HOMEOWNERS walk dogs, a PAPERBOY chuckspapers fr9m agleaming mountain bike... It's early in the morning, and thelandscapers haven't come with their leaf blowers yet.CONTINUE BOOMING DOWN to road level to face    the resplendentMartin residence. WeSTEADICAM down the fr    ont walk, able toadmire the manicured hedges and the black E   scalade in thedriveway, to the front door decorated with    a whimsicalplacard that reads, \"The Martins\" -- and we    passTHROUGH THEKEYHOLE into the foyer.<b>INT. JESSICA'S HOUSE - MORNING</b>We TRACK through the living room, passing framed photos of anathletic eleven year old boy, and we hear a WOMAN'S VOICE asshecomes down the stairs with a GOLDEN RETRIEVER at herside.<b>                     WOMAN</b>               (into phone)          Yes Donna, I'm out the door.We TRACK over the Woman's shoulder and follow her intothekitchen, unable to see her face.<b>                     WOMAN (CONT'D)</b>          Just inform Kayleigh that          anesthesia is on the way to prep          the epidural and I'll be there as          soon as I can.Stilllooking over her shoulder, we watch her absentlystraighten a PHOTOGRAPH of her son on the fridge as shetalks.<b>                    WOMAN (CONT'D)</b>          And promise her she's about to have          awoooonnderful labor.As the woman pours herself a fresh cup of coffee, herHOUSEKEEPER enters the kitchen with a full laundry basket.They give each other a silent wave.<b>                    WOMAN(CONT'D)</b>          Right, I'll see you in twenty.She hangs up her cordless and takes a breath as we COMEAROUND to finally REVEAL JESSICA MARTIN; slightly weary, butready for the dayahead.<b>                     JESSICA</b>          Buenas dias, Rosario.<b></b><b>                      ROSARIO</b>           Good morning Miss Jessica.Jessica sees her answering machine blinking, hits PLAY.In thebackground, a cheerful Rosario enters frame and headsfor the back door carrying the basket of laundry.<b>                 MALE VOICE</b>           (on machine)           Honey? Honey, wake up.   Pick up the-And as shebrings the coffee cup to her lips--SLAMM!! The door EXPLODES open and a squad of FIVE GUNMENstorm in, wearing SKI-MASKS. Everything is a whirlwind ofquick cuts, noise and confusion.Jessica's DOG starts to lungeat the men and -- thup! -- isstilled by a silenced pistol before its second bark.Rosario runs for the ALARM SYSTEM --<b>                     LEAD GUNMAN</b>          Get away from there! Don't touch          that -- !!-- butas she reaches out for the PANIC BUTTON -- BLAM!!     Heblows her away, too. The Gunman curses, then turns onJessica.<b>                 LEAD GUNMAN (CONT'D)</b>          (dire)          Where is he?Jessicacringes.<b>                     JESSICA</b>          Where is who?<b>                     LEAD GUNMAN</b>          Wrong answer.The bastard hauls back and -- WHAM I -- punches her in theface, knocking Jessica cold.Thenhe turns to his men.<b>                     LEAD GUNMAN (CONT'D)</b>          Search the house.And as the answering machine fills the silence:<b>                CRAIG VO</b>          (on machine)          -I'll call backlater.The LEAD GUNMAN spins around, and we PUSH INTO the blacknessof his masked face.<b>                                            MATCH CUT TO:</b><b></b><b>EXT. KIDNAPPERS' SAFEHOUSE - DAY</b>TheBLACKNESS of a BLACK VAN and ESCALADE passing below us.We quickly CRANE DOWN to see the vehicles traveling through:An IRON GATE at the edge of an aband9ned property. Theybounce down a long lonelydriveway lined with barren trees--ANGLE ON: THE KIDNAPPERS' VAN as it arrives at itsdestination; an isolated HOUSE in the Hills. The grass isdead. The trees are dead. It's the kind of place you couldscream for a weekand no one would hear a thing.As the van stops--<b>                                     WE PUSH INTO ITS DOORS:</b><b>INT. DARKENED ATTIC - KIDNAPPERS' SAFEHOUSE</b>A door CRASHES open. Light slices throughthe dark revealingthe dusty, skeletal interior. Jessica is hurled into theroom and falls to the floor. With bound hands, shefrantically pulls her blindfold off to see--<b>THE LEAD SKI-MASKED KIDNAPPER</b>Standing infront of her.    Sturdier than the rest.   Solid.Imposing.<b>                     JESSICA</b>          Wh... what do you want?Unsettlingly, the Kidnapper says nothing, staring at her.Jessica tries to remain calm under hisangry gaze...Then suddenly, the Kidnapper turns and exits the room.Jessica breathes a sigh of relief...but it catches in herthroat as he returns ten seconds later -- with a BASEBALL BAT.Grim as death, he stalks towardher --<b>                       JESSICA (CONT'D)</b>          No, wait..And reaching.her, he hauls back and SWINGS --<b>                     JESSICA (CONT'D)</b><b>          NO!   PLEASE--//</b>SMASH! The bat connectswith a wooden beam an inch aboveJessica's head, OBLITERATING the ROTARY DIAL TELEPHONE thathung there.As phone guts shower down on her, the Lead Kidnapper turnsand stomps away, slamming the attic doorshut and lockingJessica in the darkness.Only now that they're gone does Jessica allow her fear toshow through. Trembling, tears running down her face,Jessica finally breaks down, pleading to the emptyattic--<b></b><b>                       JESSICA (CONT'D)</b>            Wha... what the hell is happening?!The attic's suffocating silence is the only answer she gets.<b>                                            DISSOLVETO:</b><b>THE OCEAN</b>Skimming along the water.And we TILT UP to reveal the majestic beaches of SouthernCalifornia, and at the center of it all, the SANTA MONICA<b>PIER.</b><b>EXT. SANTA MONICAPIER - MORNING - ESTABLISHING</b>It would be a typical day, except for that some PEOPLE arepreparing for a \"HEAL THE BAY\" rally at the end of the pier.VENDORS set up, preparing for the daily grindahead.BIKERS gather around a bad-ass HELLCAT G2 CONFEDERATEMOTORCYCLE and admire its cutting-edge design.HOT CHICKS in bikinis try on sunglasses at a stand.FISHERMEN crack beers while awaiting the nextbite.<b>INT. SANTA MONICA PIER - ARCADE - MORNING</b><b>ANGLE ON - ARCADE GAME SCREEN.</b>The screen displays a car-race arcade game. A computergenerated hot-rod passes other racers at breakneckspeed.Playing the sit-down game, DAYTONA USA, is:RYAN ACKERMAN, early twenties, looks like he grew up on thebeach without so much as a pot to piss in. His lethalreflexes and bold recklessness, however, havemade him a JediMaster of the game.Ryan's score approaches the HIGH SCORE at the top of thescreen.<b>                       RYAN</b>            You recording this?<b>                       CHAD (OS)</b>            Yeah,sure...CHAD, his best bud, aims a BLUE TOOTH VIDEOSTREAMINGCELLPHONE at some CUTE GIRLS instead. We can see their faceson the tiny SCREEN of the cellphone.Ryan's car gets caught behind a blue speedster,then passeson the shoulder.<b></b><b>                       RYAN</b>            Move, bitch.He gets an EXTENDED PLAY and the screen flashes \"NEW RECORD.\"Nearby, a KID watching the gamenods.<b>                        KID</b>            Nice.The HIGH SCORE starts rising to match Ryan's score.<b>                        RYAN</b>            Get that?Ryan turns around to see Chad has shoved the cellphone downthefront of his tattered shorts. And he's freeballing it.<b>                       CHAD</b>            Check it; Attack of the Bubblegum            Monster in Hi-Def videostream-<b>                      RYAN</b>            C'mon Chad, Igotta put my mouth on            that.Holding a cup of soda between his teeth, Chad pulls thecellphone out of his pants and hits \"SEND\".<b>                        CHAD</b>                 (throughcup-holding                  teeth)            Sweet. It's going to my email            right now.S9me soda inadvertently SPILLS onto the cellphone and Chadwipes it dry on hispants.<b>                       RYAN</b>            Watch it dude, I gotta return that            thing in seven days.<b>                       CHAD</b>            They aren't giving you shityet?<b>                       RYAN</b>            Nah, whenever I return it, I just            list off why the phone sucks and            they give me a new model. Figure            by the tenth time I'll have to go            somewhereelse.Ryan's car finally CRASHES in a wall of flames.       Game Over.<b>                                            CUT TO:</b><b>THE OCEAN</b>As seen looking over the rail of the pier.      The tide is in,but it's still a fortyfoot drop.<b></b>RYAN stares over the railing like a death row inmatecontemplating his last meal.<b>                      CHAD</b>           Go already. No one's looking.His left hand holds hisWALLET.<b>                 CHAD (CONT'D)</b>           (re: wallet)           Need me to hold that?Ryan sticks it in the pocket of his surfer shorts -- he zipsa zipper, tucks a Velcro flap. Pats his pocketproudly.<b>                     RYAN</b>          Waterproof.But as soon as Ryan covertly CLIMBS ONTO THE RAIL, his leftleg starts trembling like crazy.<b>                     RYAN (CONT'D)</b>          This is stupid. I couldget          killed. Pick another dare.Chad lowers the phone, irritated.<b>                     CHAD</b>          My ass. Not after you made me          march in the Gay Pride Parade          wearing athong.<b>                     RYAN</b>          Screw it then. In one... Two...          Two and a half--<b>                     CHAD</b>          Whole numbers only, Rabbitfoot.Ryan stares at the waves crashing below. His legstartssnaking like crazy... And he chickens out, hopping back tothe deck.<b>                    CHAD (CONT'D)</b>          Just so you know, I'm emailing this          to every chick you ever met.But suddenly Ryan'soblivious to the dare.   His eyes areglued to something else--<b>                CHAD (CONT'D)</b>          (speaking like HAL 900)          Transmitting pussy file now.CHLOE, early 20s, a head turner, confident, funny;she canpull you in like a tractor beam. She and some CUTE FRIENDScarry heavy cardboard boxes toward a table set up for the\"Heal The Bay\" rally.Ryan walks over like he owns theplace.<b></b><b>                      RYAN</b>           Got any more? I'm here to help.<b>                      CHLOE</b>           Thanks, but no, we got 'em all.<b>                      RYAN</b>           What's in 'em?Chloeopens the box.    Hands him a \"Heal The Bay\" pamphlet.<b>                      RYAN (CONT'D)</b>           Cool, you're handing these out           during the concert?<b>                     CHLOE</b>          Yeah, wannahelp?Ryan tries to ignore his thundering heart.<b>                       RYAN</b>          Hell yeah.     I'm all about \"Heal the          Bay. \"His eyes ricochet off the pamphlet in his hand.<b>                     RYAN"}
+{"doc_id":"doc_258","qid":"","text":"<html><head><title>Go Script at IMSDb.</title><meta name=\"description\" content=\"Go script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Go script, Go movie script, Go filmscript\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><metahttp-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Filmscripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><scripttype=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript';ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0];s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>    <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\"title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center></td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>                                                   GO                                                  written by                                                 JohnAugust<b>                1/14/98       -   PRODUCTION DRAFT</b><b>                3/18/98       -   BLUE REVISIONS</b><b>                3/25/98       -   PINK REVISIONS</b><b>                4/20/98       -   YELLOWREVISIONS</b><b>                4/27/98       -   GREEN REVISIONS</b><b>                5/05/98       -   GOLDENROD REVISIONS</b><b>                8/20/98       -   BUFFREVISIONS</b><b>                8/26/98       -   SALMON REVISIONS</b>This script is copyright © 1998 John August<b></b><b>             EXT. A DITCH - NIGHT</b>             A light rain and crickets CHIRPING.Somewhere in the night,             DANCE MUSIC is blaring, but here it's only a whisper with a             beat.             Water trickles out of a jagged pipe. Splashing up mud, the             riverlet weaves throughhamburger wrappers and sunbleached             beer cans, spent condoms and an old Spin magazine.             The tiny stream ripples past glass and trash and the body of a             woman. Face up, breathing. Deadgrass caught in her braids.             Her name is RONNA MARTIN. She's eighteen and bleeding.             Bleeding a lot.             She tries to         push herself up, but the dirt around her crumbles.             Her legsare         useless. Despite it all, there's a smile of             perverse joy         to her face, like she's just remembered the             punchline to         a favorite joke.<b>                                          CLAIRE(V.O.)</b>                               You know what I like best about Christmas?                               The surprises.<b>                                                                             CUT TO:</b><b>    2        INT. A DARK PLACE- DAY? NIGHT?                                           2</b>             Pitch black. We hear an ENGINE and ROAD NOISE.<b>                                          CLAIRE (V.O., CONT'D)</b>                               It's like, you get thisbox, and you're                               sure you know what's in it.             SPARKS. A cigarette lighter flares.             We're in the trunk of a car with SIMON BAINES (22), a skinny             Brit with surfer hair. He looksaround, realizes where he is.             Panicked, he starts POUNDING and KICKING.<b>                                          CLAIRE (V.O., CONT'D)</b>                               You shake it, you weigh it, andyou're                               totally convinced you have it pegged. No                               doubt in your mind.             The lighter goes out. It's black again.<b>                                                                             CUTTO:</b>This script is copyright © 1998 John August<b></b><b>                                                                           2.</b>                                         \"GO\" 8/26/98 Revisions (SALMON)<b>3   INT.UNIDENTIFIABLE ROOM - DAY                                               3</b>    We keep tight on CLAIRE MONTGOMERY (19) as she talks to an    unseen guest. Christmas lights blink behind her.                          CLAIRE(CONT'd)               But then you open it up, and it's               something completely different. Bing!               Wow! Bang! Surprise! I mean, it's like               you and me here.    She takes a sip of coffee, smiles. Shehas a bewitching smile.<b>                          CLAIRE</b>               I'm not saying this is anything it's not.               But c'mon. This time yesterday, who'dda               thunkit?<b>                                                                       CUT TO:</b><b>    TITLE OVER BLACK:</b>                                 Part One:<b>                                    `X'</b>    Christmas MUZAK plays. A babyCRIES.<b>    FADE IN:</b><b>4   INT. SUPERMARKET - DAY                                                       4</b>    A cash drawer slides shut.    On the far side of the checkout stand, a STRINGY HAIRED WOMAN    countsfood stamps. Her eyes are sunken, black. She's got a    screaming BABY on her arm and two rambunctious BOYS in the    cart. They're wearing pajamas and raincoats.    It's five a.m. and the store is almostempty.    Containers of frozen orange juice spin endlessly on the    conveyor belt. Ronna Martin -- the girl in the ditch -- is    bagging groceries.<b>                          RONNA</b>               Paper or plastic?    She wearsa green apron with a red \"Yule Save More\"button.<b>                                                                (CONTINUED)</b><b></b><b>                                                                              3.</b>                                            \"GO\" 8/26/98 Revisions(SALMON)<b>4   CONTINUED:                                                                     4</b><b>                            RONNA</b>                 Paper or plastic?    She's been working for fourteen hours, and it shows.Her    intonation doesn't change at all.<b>                            RONNA</b>                 Paper or plastic?<b>                           STRINGY HAIRED WOMAN</b>                 Both.    Finally satisfied she has all her stamps,the Woman starts    looking through the receipt. In the cart, the boys knock gum    from the stand.<b>                            STRINGY HAIRED WOMAN</b>                 You didn't double mycoupons.<b>                           RONNA</b>                 They're at the bottom. In red. Where it                 says, double coupons.    She finishes one bag and starts another. The Woman is watching    hercarefully.<b>                            STRINGY HAIRED WOMAN</b>                 You can't do that. You can't put bleach                 in the same bag as food. It's poison.    Ronna fishes out the bleach and makes a big showof wrapping it    in a plastic bag.<b>                            STRINGY HAIRED WOMAN</b>                 Don't think you're something you're not.                 I used to have your job.    Ronna puts the bag in the cart. Looksher dead in the eye.<b>                            RONNA</b>                 Look how far it got you.<b>5   INT. SUPERMARKET AISLE - DAY                                                   5</b>    Ronna pulls off her apron as she headsfor the back. In the    BACKGROUND, the Stringy Haired Woman is bitching to an    overweight STOREMANAGER.<b></b><b>                                                                            4.</b>                                          \"GO\" 8/26/98 Revisions(SALMON)<b>6    OMIT                                                                        6</b><b>6A   INT. SUPERMARKET STOCKROOM - DAY                                        6A</b>     Dark and dusty, packed floor to ceiling withcrates and     palettes. Offscreen, a SOAP OPERA plays on TV.     Ronna comes around the corner, a thundercloud of anger and     frustration. She passes by CLAIRE (19) and the British SIMON     (21) at the phone,sorting through a crumpled list.     Simon's eyes track Ronna as she passes.<b>                           CLAIRE</b>                   (low)               Don't.<b>                           SIMON</b>               Whynot?<b>                          CLAIRE</b>               She's been on for fourteen hours.     At her locker, Ronna misdials the combination. Frustrated,     she POUNDS the locker, then re-dials.     Simon approaches Ronnagingerly. Claire gives up on him,     setting to work opening a box of expired cookies.<b>                           SIMON</b>               Ronna?<b>                           RONNA</b>               No.     She trades her apron forher coat.<b>                          SIMON</b>               I haven't asked you yet.<b>                         RONNA</b>               Answer's still no.     She slams her locker. She crosses to the timeclock.<b>                          SIMON</b>               Are you menstrual? Pre-menstrual,post-               menstrual?<b>                                                                 (CONTINUED)</b><b></b><b>                                                                            4A.</b>                                          \"GO\" 8/26/98Revisions (SALMON)<b>6A   CONTINUED:                                                               6A</b><b>                             RONNA</b>                  One of the three.                      (punches out)                  Okay, Simon.In case you haven't heard                  the buzz, the scoop, the word on the                  street, I'm getting evicted. Tomorrow.                  So pardon me if I'm not in a holly-jolly                  mood right now.     Clairelooks over, looks away. Ronna heads for the door     leading outside.<b>                            SIMON</b>                  Ronna, they wouldn't evict you at                  Christmas. You'd be ho-ho-homeless.     He follows herout the door.<b>6B   EXT. BEHIND THE STORE - CONTINUOUS                                       6B</b>     Ronna forges ahead, ignoring him.<b>                             SIMON</b>                  Is that why all the overtime?How much do                  you owe?<b>                            RONNA</b>                  Three eighty.<b>                            SIMON</b>                  That's nothing.<b>                             RONNA</b>                  Morethan I got.<b>                             SIMON</b>                  I'll give you twenty right now for a                  blowjob.     She stops, turns on him. Her look could freezelava.<b>                             SIMON</b>                  Handjob?     A beat. The start of a smile. Simon's just pushing her     buttons.<b>                             SIMON</b>                  Ronna, do you want my shift?<b>                             RONNA</b>                  Serious?                                                         *<b>                                                                   (CONTINUED)</b><b></b><b>                                                                            4B.</b>                                          \"GO\" 8/26/98 Revisions (SALMON)<b>6B   CONTINUED:                                                               6B</b><b>                             SIMON</b>                  I haven'tpunched in yet.                                          *     She only half-believes him. Simon's not prone to benevolence.<b>                             SIMON [CONT'D]</b>                  Look, my best mates are going to LasVegas                         *                  this weekend. I've never been -- I'm told                  it's incredible. If you took my shift, I                  could go with them. Everybody wins.                      (beat; she's notsold)                  Cash up front.     He peels off three twenties from his clip. She looks at the     money, thinking. Finally, she takes it.<b>                            RONNA</b>                  Deal.     Beyond exhausted, shestarts walking back to the store. After     a beat...<b>                            SIMON</b>                  Ronna? Are you certain I couldn't have a                  blowjob?     Without turning back, she flips him off.<b>7    OMIT                                                                        7</b><b>                                                                   (CONTINUED)</b><b></b><b>                                                                           5-6.</b>                                         \"GO\" 8/26/98 Revisions (SALMON)<b>7    CONTINUED:                                                                   7</b><b>8    OMIT                                                                         8</b><b>8A   INT."}
+{"doc_id":"doc_259","qid":"","text":"Project Gutenberg's The Passionate Friends, by Herbert George WellsThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: The Passionate FriendsAuthor: Herbert George WellsRelease Date: October 26, 2009 [EBook#30340]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE PASSIONATE FRIENDS ***Produced by Carl Hudkins, Martin Pettit and the OnlineDistributed Proofreading Team athttp://www.pgdp.netThe Passionate FriendsBy H. G. WELLSAuthor of \"Marriage.\"[Illustration]WITH FRONTISPIECEA. L. BURT COMPANY, PUBLISHERS114-120 East Twenty-third Street - - New YorkPUBLISHED BYARRANGEMENT WITH HARPER & BROTHERSCOPYRIGHT, 1913, BY HARPER & BROTHERSPRINTED IN THE UNITED STATES OF AMERICAPUBLISHED OCTOBER, 1913TOL. E. N. S.[Illustration: \"OUR KISSES WERE KISSESOF MOONLIGHT\" See p. 85]CONTENTSCHAP.                                            PAGE   I. MR. STRATTON TO HIS SON                       1  II. BOYHOOD                                      14 III. INTENTIONS AND THE LADY MARYCHRISTIAN       40  IV. THE MARRIAGE OF THE LADY MARY CHRISTIAN      73   V. THE WAR IN SOUTH AFRICA                     102  VI. LADY MARY JUSTIN                            132 VII. BEGINNINGAGAIN                             197VIII. THIS SWARMING BUSINESS OF MANKIND           220  IX. THE SPIRIT OF THE NEW WORLD                 246   X. MARY WRITES                                 280  XI. THE LASTMEETING                            318 XII. THE ARRAIGNMENT OF JEALOUSY                 358THE PASSIONATE FRIENDSCHAPTER THE FIRSTMR. STRATTON TO HIS SON§ 1I want very much to set down my thoughts andmy experiences of life. Iwant to do so now that I have come to middle age and now that myattitudes are all defined and my personal drama worked out I feel thatthe toil of writing and reconsideration may help to clearand fix manythings that remain a little uncertain in my thoughts because they havenever been fully stated, and I want to discover any lurkinginconsistencies and unsuspected gaps. And I have a story. I havelivedthrough things that have searched me. I want to tell that story as wellas I can while I am still a clear-headed and active man, and while manydetails that may presently become blurred and altered are stillrawlyfresh in my mind. And to one person in particular do I wish to think Iam writing, and that is to you, my only son. I want to write my storynot indeed to the child you are now, but to the man you are going to be.Youare half my blood and temperamentally altogether mine. A day willcome when you will realize this, and want to know how life has gone withme, and then it may be altogether too late for me to answer yourenquiries. Imay have become inaccessible as old people are sometimesinaccessible. And so I think of leaving this book for you--at any rate,I shall write it as if I meant to leave it for you. Afterwards I canconsider whether I willindeed leave it....The idea of writing such a book as this came to me first as I sat by thedead body of your grandfather--my father. It was because I wanted sogreatly such a book from him that I am now writing this. Hedied, youmust know, only a few months ago, and I went to his house to bury himand settle all his affairs.At one time he had been my greatest friend. He had never indeed talkedto me about himself or his youth, but hehad always showed anextraordinary sympathy and helpfulness for me in all the confusion andperplexities into which I fell. This did not last to the end of hislife. I was the child of his middle years, and suddenly, in a yearorless, the curtains of age and infirmity fell between us. There came anillness, an operation, and he rose from it ailing, suffering, dwarfedand altogether changed. Of all the dark shadows upon life I think thatchangethrough illness and organic decay in the thoughts and spirits ofthose who are dear and close to us is the most evil and distressing andinexplicable. Suddenly he was a changeling, a being querulous andpitiful, needingindulgence and sacrifices.In a little while a new state of affairs was established. I ceased toconsider him as a man to whom one told things, of whom one could expecthelp or advice. We all ceased to consider him at all inthat way. Wehumored him, put pleasant things before him, concealed whatever wasdisagreeable. A poor old man he was indeed in those concluding years,weakly rebellious against the firm kindliness of my cousin,hishousekeeper and nurse. He who had once been so alert was now at timesastonishingly apathetic. At times an impish malice I had never known inhim before gleamed in little acts and speeches. His talk rambled,andfor the most part was concerned with small, long-forgotten contentions.It was indistinct and difficult to follow because of a recent loss ofteeth, and he craved for brandy, to restore even for a moment the senseofstrength and well-being that ebbed and ebbed away from him. So thatwhen I came to look at his dead face at last, it was with something likeamazement I perceived him grave and beautiful--more grave andbeautifulthan he had been even in the fullness of life.All the estrangement of the final years was wiped in an instant from mymind as I looked upon his face. There came back a rush of memories, ofkind, strong, patient,human aspects of his fatherhood. And I rememberedas every son must remember--even you, my dear, will some day rememberbecause it is in the very nature of sonship--insubordinations,struggles, ingratitudes, greatbenefits taken unthankfully, slights anddisregards. It was not remorse I felt, nor repentance, but a tremendousregret that so things had happened and that life should be so. Why isit, I thought, that when a son hascome to manhood he cannot take hisfather for a friend? I had a curious sense of unprecedented communionas I stood beside him now. I felt that he understood my thoughts; hisface seemed to answer with anexpression of still and sympatheticpatience.I was sensible of amazing gaps. We had never talked together of love,never of religion.All sorts of things that a man of twenty-eight would not dream of hidingfrom a coevalhe had hidden from me. For some days I had to remain inhis house, I had to go through his papers, handle all those intimatepersonal things that accumulate around a human being year byyear--letters, yellowing scrapsof newspaper, tokens, relics kept,accidental vestiges, significant litter. I learnt many things I hadnever dreamt of. At times I doubted whether I was not prying, whether Iought not to risk the loss of those necessarylegal facts I sought, andburn these papers unread. There were love letters, and many suchtouching things.My memories of him did not change because of these new lights, but theybecame wonderfully illuminated. Irealized him as a young man, I beganto see him as a boy. I found a little half-bound botanical book withstencil-tinted illustrations, a good-conduct prize my father had won athis preparatory school; a rolled-up sheet ofpaper, carbonized and dryand brittle, revealed itself as a piece of specimen writing, stiff withboyish effort, decorated in ambitious and faltering flourishes and stillbetraying the pencil rulings his rubber should haveerased. Already yourwriting is better than that. And I found a daguerreotype portrait of himin knickerbockers against a photographer's stile. His face then was notunlike yours. I stood with that in my hand at the littlebureau in hisbedroom, and looked at his dead face.The flatly painted portrait of his father, my grandfather, hangingthere in the stillness above the coffin, looking out on the world he hadleft with steady, humorous blueeyes that followed one about theroom,--that, too, was revivified, touched into reality and participationby this and that, became a living presence at a conference of lives.Things of his were there also in that life'saccumulation....There we were, three Strattons together, and down in the dining-roomwere steel engravings to take us back two generations further, and wehad all lived full lives, suffered, attempted, signified. I hadaglimpse of the long successions of mankind. What a huge inaccessiblelumber-room of thought and experience we amounted to, I thought; howmuch we are, how little we transmit. Each one of us was but a variation,anexperiment upon the Stratton theme. All that I had now under my handswas but the merest hints and vestiges, moving and surprising indeed, butcasual and fragmentary, of those obliterated repetitions. Man isacreature becoming articulate, and why should those men have left so muchof the tale untold--to be lost and forgotten? Why must we all repeatthings done, and come again very bitterly to wisdom our fathershaveachieved before us? My grandfather there should have left me somethingbetter than the still enigma of his watching face. All my life so farhas gone in learning very painfully what many men have learnt before me;Ihave spent the greater part of forty years in finding a sort ofpurpose for the uncertain and declining decades that remain. Is it nottime the generations drew together and helped one another? Cannot webegin now tomake a better use of the experiences of life so that oursons may not waste themselves so much, cannot we gather into books thatmen may read in an hour or so the gist of these confused andmultitudinous realities ofthe individual career? Surely the time iscoming for that, when a new private literature will exist, and fathersand mothers behind their rôles of rulers, protectors, and supporters,will prepare frank and intimate recordsof their thought and theirfeeling, told as one tells things to equals, without authority orreserves or discretions, so that, they being dead, their children mayrediscover them as contemporaries and friends.That desire forself-expression is indeed already almost an instinctwith many of us. Man is disposed to create a traditional wisdom. For methis book I contemplate is a need. I am just a year and a half from abitter tragedy and the lossof a friend as dear as life to me. It isvery constantly in my mind. She opened her mind to me as few people opentheir minds to anyone. In a way, little Stephen, she died for you. And Iam so placed that I have no one totalk to quite freely about her. Theone other person to whom I talk, I cannot talk to about her; it isstrange, seeing how we love and trust one another, but so it is; youwill understand that the better as this story unfolds.For eight longyears before the crisis that culminated in her tragic death I never sawher; yet, quite apart from the shock and distresses of that time, it hasleft me extraordinarily lonely and desolate.And there was a kindof dreadful splendor in that last act of hers,which has taken a great hold upon my imagination; it has interwoven witheverything else in my mind, it bears now upon every question. I cannotget away from it, while it isthus pent from utterance.... Perhapshaving written this to you I may never show it you or leave it for youto see. But yet I must write it. Of all conceivable persons you, whenyou have grown to manhood, are the mostlikely to understand.§ 2You did not come to see your dead grandfather, nor did you know verymuch about the funeral. Nowadays we do not bring the sweet egotisms, thevivid beautiful personal intensities ofchildhood, into the cold, vastpresence of death. I would as soon, my dear, have sent your busy littlelimbs toiling up the Matterhorn. I have put by a photograph of my fatherfor you as he lay in that last stillness of his,that you will see at aproperer time.Your mother and I wore black only at his funeral and came back coloredagain into your colored world, and in a very little while your interestin this event that had taken us away for atime turned to other, moreassimilable things. But there happened a little incident that laid holdupon me; you forgot it, perhaps, in a week or less, but I shall neverforget it; and this incident it was that gathered up thefruits of thosemoments beside my father's body and set me to write this book. It hadthe effect of a little bright light held up against the vague darkimmensities of thought and feeling that filled my mind because ofmyfather's death.Now that I come to set it down I see that it is altogether trivial, andI cannot explain how it is that it is to me so piercingly significant. Ihad to whip you. Your respect for the admirable andpatientMademoiselle Potin, the protectress and companion of your publicexpeditions, did in some slight crisis suddenly fail you. In the extremepublicity of Kensington Gardens, in the presence of your two littlesisters,before a startled world, you expressed an opinion of her, intwo languages and a loud voice, that was not only very unjust, butextremely offensive and improper. It reflected upon her intelligence andgoodness; itimpeached her personal appearance; it was the kind ofoutcry no little gentleman should ever permit himself, however deeply hemay be aggrieved. You then, so far as I was able to disentangle theevidence, assaultedher violently, hurled a stone at her, and fled hercompany. You came home alone by a route chosen by yourself, flushed andwrathful, braving the dangers of Kensington High Street. This, after mystern and deliberateedict that, upon pain of corporal punishment,respect and obedience must be paid to Mademoiselle Potin. The logic ofthe position was relentless.But where your behavior was remarkable, where the affair begins totouchmy imagination, was that you yourself presently put the whole businessbefore me. Alone in the schoolroom, you seem to have come to somerealization of the extraordinary dreadfulness of your behavior.Suchmoments happen in the lives of all small boys; they happened to me timesenough, to my dead father, to that grandfather of the portrait which isnow in my study, to his father and his, and so on through long seriesofStrattons, back to inarticulate, shock-haired little sinners slinkingfearfully away from the awful wrath, the bellowings and limitlessviolence of the hairy Old Man of the herd. The bottom goes out of yourheart then, youare full of a conviction of sin. So far you did butcarry on the experience of the race. But to ask audience of me, to comeand look me in the eye, to say you wanted my advice on a pressingmatter, that I think marksalmost a new phase in the long developinghistory of father and son. And your account of the fracas struck me asquite reasonably frank and honest. \"I didn't seem able,\" you observed,\"not to go on being badder andbadder.\"We discussed the difficulties of our situation, and you passed sentenceupon yourself. I saw to it that the outraged dignity of MademoisellePotin was mocked by no mere formality of infliction. You did your besttobe stoical, I remember, but at last you yelped and wept. Then,justice being done, you rearranged your costume. The situation was alittle difficult until you, still sobbing and buttoning--you are reallya shocking bad handat buttons--and looking a very small, tender,ruffled, rueful thing indeed, strolled towards my study window. \"Thepear tree is out next door,\" you remarked, without a trace of animosity,and sobbing as one mighthiccough.I suppose there are moments in the lives of all grown men when they comenear to weeping aloud. In some secret place within myself I must havebeen a wild river of tears. I answered, however, with the sameadmirabledetachment from the smarting past that you had achieved, that my studywindow was particularly adapted to the appreciation of our neighbor'spear tree, because of its height from the ground. We fell intoaconversation about blossom and the setting of fruit, kneeling togetherupon my window-seat and looking up into the pear tree against the sky,and then down through its black branches into the gardens allquickeningwith spring. We were on so friendly a footing when presentlyMademoiselle Potin returned and placed her dignity or her resignation inmy hands, that I doubt if she believed a word of all my assurances untiltheunmistakable confirmation of your evening bath. Then, as Iunderstood it, she was extremely remorseful to you and indignant againstmy violence....But when I knelt with you, little urchin, upon my window-seat, itcameto me as a thing almost intolerably desirable that some day you shouldbecome my real and understanding friend. I loved you profoundly. Iwanted to stretch forward into time and speak to you, man myself totheman you are yet to be. It seemed to me that between us there must needsbe peculiar subtleties of sympathy. And I remembered that by the timeyou were a man fully grown and emerging from the passionatelytumultuousopenings of manhood, capable of forgiving me all my blunderingparentage, capable of perceiving all the justifying fine intention of myill-conceived disciplines and misdirections, I might be either an oldman,shriveling again to an inexplicable egotism, or dead. I saw myselfas I had seen my father--first enfeebled and then inaccessibly tranquil.When presently you had gone from my study, I went to my writing-desk anddrewa paper pad towards me, and sat thinking and making idle marks uponit with my pen. I wanted to exceed the limits of those frozen silencesthat must come at last between us, write a book that should lie in yourworldlike a seed, and at last, as your own being ripened, flower intoliving understanding by your side.This book, which before had been only an idea for a book, competingagainst many other ideas and the demands of thattoilsome work forpeace and understanding to which I have devoted the daily energies of mylife, had become, I felt, an imperative necessity between us.§ 3And then there happened one of those crises of dread andapprehensionand pain that are like a ploughing of the heart. It was brought home tome that you might die even before the first pages of this book of yourswere written. You became feverish, complained of that queerpain you hadfelt twice before, and for the third time you were ill withappendicitis. Your mother and I came and regarded your touzled head andflushed little face on the pillow as you slept uneasily, and decidedthat wemust take no more risks with you. So soon as your temperaturehad fallen again we set about the business of an operation.We told each other that nowadays these operations were as safe as goingto sleep in your bed,but we knew better. Our own doctor had lost hisson. \"That,\" we said, \"was different.\" But we knew well enough in ourhearts that you were going very near to the edge of death, nearer thanyou had ever been since firstyou came clucking into the world.The operation was done at home. A capable, fair-complexioned nurse tookpossession of us; and my study, because it has the best light, wastransfigured into an admirableoperating-room. All its furnishings weresent away, every cloth and curtain, and the walls and floor were coveredwith white sterilized sheets. The high little mechanical table theyerected before the window seemed to melike an altar on which I had tooffer up my son. There were basins of disinfectants and towelsconveniently about, the operator came, took out his array of scalpelsand forceps and little sponges from the black bag hecarried, put themready for his hand, and then covered them from your sight with a whitecloth, and I brought you down in my arms, wrapped in a blanket, fromyour bedroom to the anæsthetist. You were beautifullytrustful andsubmissive and unafraid. I stood by you until the chloroform had doneits work, and then left you there, lest my presence should in theslightest degree embarrass the surgeon. The anæsthetic had taken allthecolor out of your face, and you looked pinched and shrunken and greenishand very small and pitiful. I went into the drawing-room and stood therewith your mother and made conversation. I cannot recall what wesaid, Ithink it was about the moorland to which we were going for yourconvalescence. Indeed, we were but the ghosts of ourselves; all oursubstance seemed listening, listening to the little sounds that came tous fromthe study.Then after long ages there was a going to and fro of feet, a bump, theopening of a door, and our own doctor came into the room rubbing hishands together and doing nothing to conceal his profoundrelief.\"Admirable,\" he said, \"altogether successful.\" I went up to you and sawa tumbled little person in the bed, still heavily insensible and moaningslightly. By the table were bloody towels, and in a shallow glasstraywas a small object like a damaged piece of earthworm. \"Not a bit toosoon,\" said the surgeon, holding this up in his forceps for myinspection. \"It's on the very verge of perforation.\" I affected adetached and scientificinterest, but the prevailing impression in mymind was that this was a fragment from very nearly the centre of yourbeing.He took it away with him, I know not whither. Perhaps it is now inspirits in a specimen jar, an"}
+{"doc_id":"doc_260","qid":"","text":"<html><head><title>Basquiat Script at IMSDb.</title><meta name=\"description\" content=\"Basquiat script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Basquiat script, Basquiatmovie script, Basquiat film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=SubjectCONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0];s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>    <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\"title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center></td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>BLACKWe HEAR \"Waltzing Matilde,\" by Tom Waits.<b>INT. MUSEUM OF MODERN ART - DAY (DREAM SEQUENCE IN GRAINYBLACK</b><b>AND WHITE)</b>Fade out music.Silence.A well-dressed black BOY and his MOTHER walk through severalgalleries.They stand before Picasso's \"Guernica,\" holding hands.The mother is disturbed.Crying.The boy looks up, confused and frightened, concerned to see hismother crying in public. She looks at him tenderly.Her brow furrows. She stops crying. She stares just above hiseyes.Something's happening: shelooks with wonder at the top of hishead... his eyes roll upward, trying to see - it's a crown!He raises his hands. He touches it.A beam of light illuminates the crown, casting its glow on hismother's face.The beam getswhiter, the rest of the screen gets black.<b>INT. CARDBOARD BOX</b>Silence. In darkness, we hear a VOICE - imbued with a sense ofits own history:<b>                      VOICE (O.S.)</b>           Everybody wants toget on the Van Gogh           boat. There's no trip so horrible that           someone won't take it. The idea of the           unrecognized genius slaving away in a           garret is a deliciously foolish one. We           mustcredit the life of Vincent Van Gogh           for really sending this myth into orbit.           How many pictures did he sell? One? He           couldn't give them away. We are so ashamed           of his life that the rest of arthistory           will be retribution for Van Gogh's neglect.           No one wants to be part of a generation           that ignores another Van Gogh.The beam of light shines through a small hole. It falls upon asleeping,dreaming, delighted face. It belongs to JEAN MICHEL<b>BASQUIAT.</b>OUTDOOR, DAYTIME SOUNDS filter in.<b></b>Hearing the voice, Jean frowns at being woken up.<b>EXT. TOMPKINS SQUARE PARK -DAY</b>A long, rectangular cardboard box.<b>SUPER: \"NEW YORK CITY\"</b><b>ANGLE ON:</b>RENE RICARD (early 30's), seated at a park bench, hunched over anotebook. He's a raggedy dandy: A poet in ahooded sweatshirt andwhite hightops.As he writes, he reads aloud, as if addressing Posterity.<b>                        RENE (CONT'D)</b>                   (sighing theatrically)            In this town one is at the mercy ofthe            recognition factor. One's public            appearance is absolute.Beyond him, a HAND gropes its way out of the box. It tosses a canof YOOHOO chocolate drink.<b>                       RENE(CONT'D)</b>            I consider myself a metaphor of the public.            I am a public eye. I am a witness.A HEAD appears from the box. It's Jean's.Jean sees the start of a crisp, colorful autumn day. The urbanparkaround him is alive with a typically full range of the goodand bad in life. He eases himself out of the oversize box inwhich he has spent the night. There's something about the waythat he stands while waking up thatsuggests he's almostsurprised at his own body, the adultness of his limbs - just asubtle hint of him coming out of a dream.He squints in the sunlight. He has a soft, gentle, Haitian face.His hair is pulled tight to his head.He wears two pairs of bluejeans (one cut like chaps over the other) a paint-coveredWesleyan University T-shirt, and the inside lining of anovercoat. His appearance is unruly, but it's deliberate. He'sstylish.He shakeshimself off and collects his stuff, which includes: asmall book of Pontormo drawings, a can of black spray paint. anda cigar box made into a loudspeaker with pencil holes and maskingtape.Jean walks out of the park andlooks up past the buildings at thesky:<b>SUPERIMPOSED IN THE SKY - STOCK FOOTAGE OF A HAWAIIAN SURFER</b>Jean sees the surfer, 'riding the nose' in glistening,shimmering<b></b>sunlight.<b>                                                  DISSOLVE TO:</b><b>EXT. TOMPKINS SQUARE PARK - DAY</b>Rene grabs the box for use as a desk and continues to speak outloud as hewrites.<b>                       RENE (CONT'D, O.S.)</b>            Part of the artist's job is to get the work            where I will see it.<b>EXT. LOWER EAST SIDE ST. - DAY</b>As he speaks, we see Jean pass the wall of afuneral parlor. Hespraypaints: \"SAMO AS AN ALTERNATIVE TO GOD\"<b>                        RENE (CONT'D, O.S.)</b>            When you first see a new picture, you don't            want to miss the boat. You have to bevery            careful because you may be staring at Van            Gogh's ear.Jean signs his words with his 'logo', a triple pointed crown.As he presses the spray can, we HEAR the roar of abreaker.<b>                                                  CUT TO:</b><b>INSERT: CLOSEUP OF SIDEWALK</b>Pressed into the concrete is a pair of EYEGLASSES. A light-colored piece of rock completes the picture to make aface.<b>EXT. LESHKO'S RESTAURANT - DAY</b>JEAN'S POV: His shoes pause next to the face in the concrete.<b>                                                  CUT TO:</b><b>IN FRONT OF THE RESTAURANT</b>Is a METALBILLBOARD with red plastic magnetized LETTERS thatreads: \"TODAY'S SPECIAL: CLAM CHOWDER $1.50. TRY IT!!!\"<b>                                                  CUT TO:</b><b>INT. LESHKO'S - DAY</b>Jeanenters.<b>                                                  CUT TO:</b><b></b><b>EXT. LESHKO'S RESTAURANT - DAY</b>The sign. It now reads: \"SAMO'S DAY OLD TEETH $5.00\"<b>                                                     CUTTO:</b><b>INT. LESHKO'S RESTAURANT - DAY</b>Bending over a countertop, we see GINA CARDINALE, 22. He fixateson her.She looks up and notices his stare. She continues to work.Still staring at her, he sitsdown at a table. He pours maplesyrup onto the table. He draws in the syrup with his fingers.<b>CLOSE ON SYRUP ON TABLE</b>ANOTHER WAITRESS arrives at his table. She's put off bythesyrup.<b>                      WAITRESS</b>           What'll it be?Jean thinks about it, eyes still following Gina.<b>                       BASQUIAT</b>           Ummm. It'll be great. We'll live together           in peace.What's her name?                  (indicates Gina)He looks up at the waitress.<b>                      WAITRESS</b>           Gina. What'll it be?<b>                       BASQUIAT</b>           Pancakes.She leaves and whisperssomething to Gina. Gina turns and glancesover at Jean.Jean pours more syrup and starts writing his name.At the grill, LESHKO, the burly Owner/Cook, has his watchful eyeon Jean. He doesn't like what he sees.Jeansmears the syrup thinly, so it doesn't erase itself. Hedraws a picture of Gina, using his fingers and the silverware,rendering her last expression strikingly with a few quick lines.A GAUNT YOUNG MAN saunters up toJean's table. He's sort of atall Puerto Rican Alain Delon with sleepy eyes. He is BENNY.<b>                      BENNY</b>           Hey - Willie Mays.<b>                      BASQUIAT</b>           Willie Mays.<b></b>Suddenly,Rene Ricard enters - a one-man parade. He beckons toGina, snapping his fingers.<b>                      RENE</b>           Nurse!!! Oh!!! Nurse!!! Carrot juice. Tofu           burger.Rapido!<b>                      GINA</b>           We don't serve that - amigo.<b>                      RENE</b>           Fine... A greasy cheeseburger. Fries - and           avodka.<b>                       BASQUIAT</b>                  (under his breath)           Who's that?<b>                      BENNY</b>           The Devil, man. Rene Ricard. Art critic -           writes for Artforum. People read him.Tell           him who you are..<b>                         BASQUIAT</b>           Who am I?<b>                         BENNY</b><b>           SAMO.</b><b>                         BASQUIAT</b>           Oh yeah..Rene lands at thecounter.Jean's gaze is still on Gina.She waits on a MAN at a nearby table.<b>                      CUSTOMER</b>           How's the special today?<b>                      GINA</b>           It's your stomach.She hurries pastJean.<b>                         BASQUIAT</b>           Hey.She slows down, not wanting to.<b>                      BASQUIAT (CONT'D)</b>           What do you think?She looks at her portrait in the syrup... She can'tresistsmiling.<b>                      GINA</b>           It's me. I've never been done in maple           syrup. Here's a rag.<b></b>Gina smiles. She offers him one. As she holds it out, their eyeslock. She tries to resist hissmile.<b>                        BASQUIAT</b>                   (gently)           Gina?She puts her finger in the syrup and licks it off.Benny takes it all in.Leshko is upon them.<b>                      LESHKO</b>           Alright.Look at you, staring at this girl,           making a mess.He waves Jean toward the door.Jean takes Gina's rag and begins cleaning his mess, seeminglycompliant.<b>                      BASQUIAT</b>           How aboutthose pancakes?He brings out a roll of dimes to the tabletop and splits it open.Dimes roll all over the table and stick in the syrupy parts. Themanager explodes.<b>                      LESHKO</b>           OK!Goodbye!<b>                      GINA</b>           Pipe down, Lech. Let him order.<b>                      LESHKO</b>           You nuts? Let him order? You on his side?           You're not such a good waitress. Youget           out, too.<b>                      GINA</b>           I just don't think you're being fair.<b>                      LESHKO</b>           I need this?<b>                      GINA</b>           I need this?Gina quietly removesher apron in disbelief.Benny gets up to leave very casually.<b>                       BENNY</b>                  (waving g'bye to Jean)           Willie Mays.<b>                       LESHKO</b>                  (to Gina)           That'sright. You go with them. Make babies<b></b>           the government has to pay for.<b>                                                     CUT TO:</b><b>GINA AND JEAN</b>Leave the restaurant.Behind them, we see Rene,absorbed in his writing.<b>EXT. AVE. A - DAY</b>They stand outside, not knowing quite what comes next.Jean gives Benny a look (i.e. 'scram').<b>                      BENNY</b>           Catch you later.Benny leaves.ACHILLY WIND picks up.Jean's mood is suddenly downcast.They button up their overcoats, about to leave.<b>                       GINA</b>           What's a job, anyway?                  (pause)           What's wrong withyou?The truth is, he feels awful for causing Gina's trouble, butshows it by moping like a child.<b>                      GINA (CONT'D)</b>           No, don't tell me - you just got fired by           your crazyboss.<b>                      BASQUIAT</b>           I guess you did.<b>                      GINA</b>           Guess I just got sick of him.<b>                      BASQUIAT</b>           Can I walk youhome?<b>                      GINA</b>           I think I could do that alone.Gina walks away.He runs after her.<b>                      BASQUIAT</b>           Wait, I'm in a band....We're at the Mudd           Club onHalloween. I'll put you on the           list.<b></b>Gina turns and looks back at Jean.<b>                      GINA</b>           I hate the Mudd Club.He catches up to her.Gina notices a dead leaf in his hair and picks itout.<b>                      GINA (CONT'D)</b>           Have you been camping? You could use a           scrub.<b>                      BASQUIAT</b>           I'm clean. Smell me. I always smell good. I           don't know why,I just do!He leans forward, offering his neck.<b>                       GINA</b>                  (smelling)           You do! You definitely do.<b>                      BASQUIAT</b>           Just come to the Mudd Club on"}
+{"doc_id":"doc_261","qid":"","text":"<html><head><title>Deep Cover Script at IMSDb.</title><meta name=\"description\" content=\"Deep Cover script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Deep Cover script, DeepCover movie script, Deep Cover film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\"rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                                        DEEP COVER</b>                                        Written by                              Michael Tolkin and HenryBean                                         Story by                                      Michael Tolkin<b>                                      SHOOTING DRAFT</b><b>                </b><b>               EXT. CLEVELAND STREET - NIGHT(1970)</b>               Rain. Christmas lights. A rusted out '56 Lincoln rattles                down the bleak boulevard. In it: JOE STEVENS, an angry, black                man in his late 20's, beside him his 10-year-old son,JOE <b>               JR.</b>               Joe Jr. stares out the window at passing: boarded buildings,                whores with raincoats over their heads trying to flag down a                john, a black Santa, a knot ofdrinkers. Breaking the silence:<b>                                     JOE STEVENS</b>                         Your mother okay?<b>                                     JOE JR.</b>                         Yes, sir.               They stop at a light.Joe Stevens tries to furtively snort a                little something. He spots Joe Jr. watching.<b>                                     JOE STEVENS</b>                              (firm, without irony)                         Don't you do thisshit, boy. Don't                          you ever fuckin' touch it, you hear                          me?               Joe Jr. stares, silent; Joe Jr.'s about to hit him.<b>                                     JOESTEVENS</b>                              (continuing)                         You hear me, goddam it?               The boy nods. Satisfied, Joe Sr. draws in the stuff. It makes                him feel good, strong, worried and determinedall at once.<b>                                     JOE STEVENS</b>                              (continuing; charged                               up)                         What do you want for Christmas?<b>                                     JOEJR.</b>                         I don't know.<b>                                     JOE STEVENS</b>                              (light changes; he                               accelerates)                         You don't know?? You gotta knowwhat                          you want, boy, if you ever expect to                          get it.               A sudden charm to his bravado. Joe Jr. smiles uncertainly.                Joe Sr. grins back, pulls up in front of a liquorstore.<b>                                     JOE STEVENS</b>                              (continuing)                         Wait here. This won't take a minute.               Joe Jr. doesn't notice or doesn't remark that hisfather,                just before entering the store, draws a handgun from beneath                his coat.               The boy gazes dreamily at the street. The lunatic Black Santa                marches by, ranting to himself(\"Then the white man say...\").                The RAIN HAMMERS on the roof and windshield. Joe Jr. breathes                on the glass, fogging the scene.               From the store: MUFFLED GUNFIRE.               Joe Jr. looksthat way. Another GUNSHOT, then:               His father comes out the door clutching money in one hand.                He strides toward the car with a reckless pride. He doesn't                notice:               The liquorstore door opens behind him.               A SHOTGUN BLAST. Joe Stevens' guts splatter onto the car                windshield. A look of terrible amazement; he sinks to his                knees.<b>                                     JOEJR.</b>                         Daddy!!               He jumps from the car, kneels by his father.               The STORE OWNER (47, Slavic) drags the gun toward them,                bleedingprofusely.<b>                                     STORE OWNER</b>                              (enraged, almost to                               tears)                         Fuckin' niggers... fuckin' niggers...<b>               JOESTEVENS</b>               looks at the money in his hand: two 20's, two 5's.<b>                                     JOE STEVENS</b>                         Fifty bucks... fifty goddam bucks.                              (looks up at hisson)                         I'm sorry...               He stuffs the blood-soaked bills in the boy's shirt pocket                and dies. Joe Jr. looks up at...<b>               THE STORE OWNER</b>               Bloody, nearlyunconscious, he aims the shotgun at the boy                who is too frightened to move.<b>                                     JOE JR.</b>                         Please, Mister...               The man dies on his feet. As he fallsbackward, he pulls the                trigger, the BLAST shattering the car windows.               Cop cars SQUEAL up. Uniformed cops leap out, guns drawn,                survey the scene. Then one notices Joe Jr., staringmotionless                at his father and the store owner, dead together. ON HIS <b>               EYES:</b><b>                                                               DISSOLVE TO:</b><b>               THOSE SAMEEYES</b>               -- but older, harder, colder. They're concentrating on a                paper before him.<b>               TITLE: 17 YEARS LATER</b><b>               CLOSEUP - THE MINNESOTA MULTIPHASICPERSONALITY INVENTORY</b>               Hundreds of TRUE/FALSE questions...               1.) I have never indulged in any unusual sexual practices. <b>               (T/F)</b>               2.) I have often felt thatstrangers were looking at me                critically. (T/F)               3.) When I was young I occasionally stole things. (T/F)               Joe Stevens marks these TRUE, FALSE, FALSE then comes to:               4.) A person'sstation in life is at least partially                determined by his race. (T/F) We are:<b>               INT. A ROOM - DAY</b>               Thirty-seven Black Cleveland police officers (many in uniform,                including Joe)are taking the MMPI. Some roll their eyes at                the questions. Some try to copy answers. Others, like Joe,                work with rapid concentration.               But he gets stuck on #4. Marks it false. Erases it.Marks it                true. Erases that. Ponders. Goes on to: #5. At times I hear                so well it bothers me. (T/F) He marks that true.<b>               INT. INTERVIEW ROOM - DAY</b>               GERALD CARVER, 36,an ambitious government lawyer with a                relaxed, vaguely hip manner, looks over the file of the                ingratiating BLACK OFFICER sitting across the desk fromhim.<b>                                     CARVER</b>                         Officer Leland? You know the                          difference between a black man and                          nigger?               Leland is startled, insulted, butdoesn't want to blow the                interview. He smiles weakly, shakes his head no.<b>                                     CARVER</b>                              (continuing;pleasant                               smile)                         Yeah, most niggers don't.               Stung, Leland tries to laugh. Carver puts his file aside,                picks upanother.<b>                                     CARVER</b>                              (continuing)                         Nice to meet you.<b>               INT. SAME - ANOTHER INTERVIEW</b>               A SECOND BLACK OFFICER ispowerfully built, politically                conscious, takes no shit. Carver's leafing through his file.<b>                                     CARVER</b>                         So, Winston, what's the difference                          between ablack man and a nigger?               Winston is out of his chair before the question is finished,                drags Carver by the shirt front halfway across the desk and                hisses into hisface:<b>                                     WINSTON</b>                         Who the fuck do you think you're                          talking to?               Carver smiles cheerfully past Winston's cockedfist.<b>                                     CARVER</b>                         Thanks for coming in.               Nonplussed by this cool dismissal, Winston stalks out. Carver                picks up the next file,unfazed.<b>               INT. SAME - ANOTHER INTERVIEW</b>               Joe Stevens watches Carver reading his file and waiting for                an answer. When none is forthcoming, Carver glances up,finds                Stevens looking right back at him.<b>                                     STEVENS</b>                         The nigger's the one who falls for                          your bullshit.               He says it pleasantly, withoutbelligerence. Carver smiles:                he's found his man. He offers his hand.<b>                                     CARVER</b>                         Gerald Carver, United States District                          Attorney. Call meGerry.<b>               INT. A DARKENED ROOM - DAY/NIGHT</b>               ON A TV SCREEN: a grainy black-and-white tape, date and time                stamped at the bottom. A grungy street, palm trees. Thelight                from the monitor dimly illuminates Carver and Stevens.               On SCREEN the CAMERA finds: A MAN in jeans, sneakers and                sweatshirt on a streetcorner.<b>                                     STEVENS</b>                         He ought to be wearing a sign.<b>                                     CARVER</b>                         You can tell he's a cop?               Stevens laughs: it'sobvious.               A real DRUG DEALER joins the cop. UNDERCOVER COP: \"You got                it?\" DEALER: \"In the motel, right over here...\" The Cop's                uneasy, keeps glancing back toward the CAMERA asthey go.<b>                                     STEVENS</b>                         He keeps looking for his back-up.                          Now, the other guy knows it,too.<b>                                     CARVER</b>                         Then why's he taking him to the room?<b>                                     STEVENS</b>                              (why else?)                         To rip himoff.               Carver studies Stevens in the darkness, impressed.               ON SCREEN: The figures disappear into the motel. We hear                their voices. DEALER: \"Here, try some of it.\"UNDERCOVER                COP: \"Uhh... No, I don't...\" DEALER: \"Why not, you                sonofabitch?\" Two bursts of SOUND DISTORTION.               A plainclothes cop, TAFT, (black, stocky, powerful)bolts                from behind the CAMERA, sprints toward the motel. The CAMERA                wobbles after him.<b>                                     STEVENS</b>                              (continuing)                         Toolate.               ON SCREEN: The CAMERA (jerky, hand-held) nears the open motel                door. Taft is bent over the Undercover Cop's body.<b>                                     TAFT</b>                         Oh, Bobby...Jesus, Jesus...                              (to the CAMERA)                         Get an ambulance -- and back up.                          Now!               He slams the wall, starts past the CAMERA. Carver pushes the                pausebutton; the tape freezes on a jerky image of Taft's                face.<b>                                     STEVENS</b>                              (focussed on Taft)                         Who ishe?<b>                                     CARVER</b>                         Charles Taft. LAPD Narcotics.<b>                                     STEVENS</b>                         He's a goodcop.<b>                                     CARVER</b>                         He's a great cop. Two [names citation]                          and a [another citation]. As tough                          as they come and twice as"}
+{"doc_id":"doc_262","qid":"","text":"<html><head><title>Youth in Revolt Script at IMSDb.</title><meta name=\"description\" content=\"Youth in Revolt script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Youth in Revoltscript, Youth in Revolt movie script, Youth in Revolt film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX,FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre> <b>          </b><b>                                YOUTH IN REVOLT</b><b>          </b>                                  Writtenby<b>          </b>                                  Gustin Nash<b>          </b><b>          </b>                                                       July 13, 2007<b>          </b><b>          </b>          OVER BLACK comes the sound ofdeep HEAVING BREATHS. Moist          FLESH FLAPPING accompaniment. Someone is beating off.          A pause as the someone turns the page of a magazine.          The beating off resumes at a quickened pace. TheSQUEAKING of          bed springs joins in.          Another page is turned. Feverish THUMPING until a MALE VOICE          lets out a quiet MOAN.          The breathing gradually slows to normal and lets out a          relievedsigh of finality.<b>                              NICK (V.O.)</b>                    My name... is Nick.          NICK TWISP, 16, stares up at the ceiling. He's glassy eyed          from the exertion...<b>          INT. NICK'S ROOM -DAY</b>          ...sprawled on the bed, trousers around his ankles, a well          thumbed issue of Penthouse covers his privates.<b>                              NICK (V.O.)</b>                    My last name, which I loath,is                    Twisp.          Nick pulls up his trousers and leaps off the bed. He pulls          the drawer under his mattress out.<b>                              NICK (V.O.)</b>                    The next thing you shouldknow                    about me is that I am obsessed with                    sex.          A view of the drawer reveals it to be filled with neatly          filed issues of Penthouse and Hustler. He puts the most          recently utilizedmagazine in its place.<b>                              NICK (V.O.)</b>                    Lately, I have become morbidly                    aware of my penis.          Nick posing in front of the mirror, pants around hisankles          again. He looks at himself from various angles.<b>                              NICK (V.O.)</b>                    Once a remote region accessed                    indifferently for micturition, it                    hasdeveloped overnight into a                    gaudy Las Vegas of the body.          We PAN DOWN, and where Nick's crotch is supposed to be, there          is a hole in the screen leading usto...<b>          </b><b>                                                                     2.</b><b>          </b><b>          LAS VEGAS OF THE BODY</b>          The pulsing neon sign outside the club reads: NICK'S PENIS.          Wefly inside where we find a star-studded floor show.          Drunken CONVENTIONEERS make out with STRIPPERS. A LEOPARD          leaps through a burning HOOP on stage.<b>          INT. NICK'S ROOM - MOMENTSLATER</b>          Nick typing on an obsolete PC.<b>                              NICK (V.O.)</b>                    I am entering the tenth grade at                    St. Vitus Academy, which, I am                    told, is the mostrigorous prep                    school in the East Bay. Hopefully I                    will be invited to join Miss                    Satron's English Literature class.          A view of the books and CDs on hisshelf.<b>                              NICK (V.O.)</b>                    I am a voracious reader and listen                    to Frank Sinatra. So needless to                    say, I am still a virgin.          Follow the curser on the monitoras he types the words -<b>          STILL A VIRGIN.</b>          He pauses in thought, then continues.<b>                              NICK (V.O.)</b>                    I have yet to hold hands with a                    girl, let alonehave my winkie up                    her wendell.<b>          INT. AIRPLANE (35,000 FT) - DAY</b>          WE MOVE down an airplane aisle, past PASSENGERS sleeping and          chatting.<b>                              NICK(V.O.)</b>                    I am an only child except for my                    big sister Joanie, who has left the                    bosom of her family to sling hash                    at 35,000 feet.          We reach the end of the aisle,where a buxom twenty-          something, JOANIE TWISP serves a beverage.<b>          INT. ESTELLE'S KITCHEN - DAY</b>          Liver frying in a pan. ESTELLE TWISP, 43, cooks and puffs on          a cigarette at thesame time.<b>          </b><b>                                                                      3.</b><b>          </b><b>                              NICK (V.O.)</b>                    Mom gives driver's tests atthe                    Department of Motor Vehicles.          Nick sits at the kitchen table reading the paper. He watches          with nausea as Estelle piles liver onto his plate.<b>                              NICK(V.O.)</b>                    She used to keep Dad up to date on                    all the motor statutes he was                    violating. This is one of the                    reasons they got divorced.          JERRY, early 40's,saunters in wearing a TRUCKERS DO IT IN          OVERDRIVE shirt and boxers. His gut hangs over the elastic,          but he is completely devoid of an ass.<b>                              NICK (V.O.)</b>                    Mom'sboyfriend, Jerry is a long                    distance trucker, though his                    ultimate ambition is to be on state                    disability.          Jerry absently smacks Estelle's butt. Waddles over to the          breakfasttable. He snatches the Funnies from the paper in          Nick's hands.<b>                              NICK (V.O.)</b>                    I've been struggling to think of a                    commendable thing to sayabout                    Jerry.          Jerry gives an asinine chuckle at the cartoon. Nick glares.<b>                              NICK (V.O.)</b>                    No luck. His grey matter registers                    at cretin and the needledoesn't                    budge.<b>          EXT. GEORGE TWISP'S HOME - DAY</b>          GEORGE TWISP, 41, scruffy and greying, waters the foliage          outside the house with a high poweredhose.<b>                              NICK (V.O.)</b>                    Dad is a copywriter for                    agricultural magazines.          In the drive, Nick slaves over the duty of washing the rims          of his dad's BMW325i.<b>                              NICK (V.O.)</b>                    He'd like to own a more prestigious                    model of BMW, but, as he often                    reminds me, he is burdened with                    crippling childsupport payments.<b>          </b><b>                                                                     4.</b><b>          </b>          Nick glances up and spots LACEY, 20, coming up the drive          toward him in a weensy bikini.Her body has more outcroppings          than the coastline of Albania.          She continues past him and embraces George.<b>                                 NICK (V.O.)</b>                       Lacey is Dad's latest bimbette.She                       is twenty and a recently minted                       alumna of Stanfort.          Super:          (Stanfort Institute of Cosmetology)          George and Lacey exchange saliva shamelessly. Nick turnshis          attention back to the Beamer.          As the making out becomes heated groping, George's grip on          the hose slackens.          Nick gets blindsided by the jet of water.<b>          INT. NICK'S ROOM -DAY</b>          We're back with Nick as he types on his computer. He looks          down at the tent in his boxers.<b>                                                      CUT TO:</b>          He pulls open the drawer again - thepornography collection.<b>          NICK'S POV</b>          of the room shaking, accompanied by his heavy breathing. His          eyes float from the Hustler to the pink walls of his room.<b>                                 NICK(V.O.)</b>                       My mother is the one who painted my                       room to look like Dolly Parton's                       boudoir. She read this color was                       used in hospitals to calmmental                       patients.          Nick closes his eyes, his right arm moving rhythmically.<b>                                 NICK (V.O.)</b>                       I'll tell you what I told her. I am                       not mentallyill.          BLACKNESS. The masturbation reaches its feverous climax. Then          the long moan and sigh of relief.<b>                                 NICK (V.O.)</b>                       I'm just a teenager.          And as FrankSinatra's UNTIL THE REAL THING COMES ALONG          begins, we go to OPENINGCREDITS.<b>          </b><b>                                                                   5.</b><b>          </b><b>          </b><b>          </b><b>                             YOUTH IN REVOLT</b><b>          INT. ESTELLE'SKITCHEN - DAY</b>          Nick regards Jerry from across the dining room table. There          is the off-screen sound of a cretin slurping Cheerios.          Reveal Jerry reading Sports Illustrated, scratching hisballs          with one hand and shoveling in cereal with the other. Estelle          is washing dishes when she spies something out the window.<b>                              ESTELLE</b>                    Jerry? Where did that carcome                    from?          Jerry looks over his shoulder and they all take a moment to          appreciate the slab-sided Lincoln in the drive.<b>                              JERRY</b>                    It's a '62 Lincolnconvertible.                    Like the one Kennedy was shot in.<b>                              NICK</b>                    Except his was black and yours is                    white. Anddirty.<b>                              JERRY</b>                    See that. I was going to take you                    and your mom for a spin after                    breakfast. But now I guess it'll                    just be her and me. Youhave your                    smart mouth to thank for that.<b>                              NICK</b>                    Damn it. I guess I'll just have to                    hang out all alone at thebook                    depository.<b>                                JERRY</b>                    The what?<b>                              ESTELLE</b>                    Jerry, I don't understand. What                    happened to theChevy-Nova?<b>                              JERRY</b>                    Sold it to a sailor on the Alameda                    Naval Air Base. A man should never                    own a car for more than three                    months,Estelle. That way he always                    gets the thrill of owning a new                    automobile!          Jerry smiles with cretin pride. Nick looks to his mother and          disturbingly enough, she seems turned on by hiscar-owner          savvy.<b>          </b><b>                                                                     6.</b><b>          </b><b>          EXT. ESTELLE'S HOME - DAY</b>          Nick stands in the doorway watching as hismother waits for          Jerry to open the passenger door for her.<b>                              NICK (V.O.)</b>                    After spending twelve years with                    Dad, Mom has had a string of                    lovers,none of whom she has asked                    me to approve.          Jerry fails to notice Estelle waiting and instead just climbs          in and chugs his beer. Estelle appears mildly disappointed          before opening the doorherself.<b>                              NICK (V.O.)</b>                    I'm starting to think her                    boyfriends are like U.S.                    Presidents.          As Jerry pulls out, he tosses his beer bottle inthe          direction of the trash can at the end of the drive.<b>                              NICK (V.O.)</b>                    Just when you think they can't get                    any worse...          He misses and the bottle shatters"}
+{"doc_id":"doc_263","qid":"","text":"<html><head><title>S. Darko Script at IMSDb.</title><meta name=\"description\" content=\"S. Darko script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"S. Darko script, S. Darkomovie script, S. Darko film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=SubjectCONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0];s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>    <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\"title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center></td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>           </b><b>          </b><b>          </b><b>                                     S.DARKO</b><b>          </b><b>          </b>                                     Written by<b>          </b>                                   NathanAtkins<b>          </b><b>          </b><b>          </b><b>          </b>                                                         Second draft<b>          </b><b>          </b><b>          </b><b>          EXT. WHEAT FIELD -MORNING</b><b>          </b>          SAMANTHA DARKO (18) opens her eyes. She squints as the summer          sun shrinks her pupils to pinhole size. She sits up slowly,          looks around... and finds herself inmidst of an endless          wheat field.<b>          </b>          Sam is pretty and demure. Her coppery hair flows past her          shoulders. Disoriented, she stands and gazes at the infinite          golden shimmer. Amberwaves of grain. Patches of forest in          the distance. It's quiet. Serene. Beautiful...<b>          </b>          She smiles, and starts walking.<b>          </b><b>          </b><b>          EXT. ARKANSAS HIGHWAY 40 -MORNING</b><b>          </b>          She emerges at the shoulder of a rural stretch of highway in          Arkansas. Adjacent to her position, on the other side of the          deserted lanes, is a TRUCKSTOP.<b>          </b><b>          </b><b>          EXT. TRUCK STOP - MORNING</b><b>          </b>          Amongst the TRACTOR-TRAILERS parked in the back lot is a          white, late-80s model CHEVROLETCELEBRITY. Sam makes her way          across the asphalt toward the vehicle...<b>          </b><b>          </b><b>          INT. COREY'S CHEVROLET - MORNING</b><b>          </b>          COREY RICHARDSON (18)is asleep, curled up in the reclined          driver's seat of the car. She awakens when Sam gets in on the          passenger side and slams the door shut.<b>          </b>          Corey has the look of a typical rebelliousteen: dyed hair,          piercings, a little grungy. She rubs the sleep from her eyes,          greeting the new day with something less than enthusiasm. She          finds a soft pack of CIGARETTES and lightsone.<b>          </b><b>                              COREY</b>                    What time is it?<b>          </b><b>                               SAM</b>                    Early...<b>          </b>          Corey adjusts her seat. Shetakes a long drag and chokes,          then spits out the window. She starts the car...<b>          </b><b>                                                                      2.</b><b>          </b><b>          </b><b>          I/E.COREY'S CHEVROLET/HIGHWAY 40, VARIOUS - DAY</b><b>          </b>          Corey's car cruises along the flat, open road. She cranks up          the VOLUME on the car's CASSETTE DECK, nodding her headto          early-90s ALT. ROCK (suggestion: Into Dust, by Mazzy Star)...<b>          </b>          Sam looks out the window at the passing scenery: FARMERS at          work in the fields; a BILLBOARD advertising alocal          restaurant; ROADSIDE DITCHES filled with trash...<b>          </b>          She fixates on a MINIVAN travelling in the slow lane. It          contains the all-American NUCLEAR FAMILY: MOTHER, FATHERand          three SIBLINGS, one of them being a YOUNGSTER. The Youngster          makes a face at Sam as they pass by...<b>          </b><b>          </b><b>          INT. COREY'S CHEVROLET - LATER -DAY</b><b>          </b>          Corey glances at the CONTROL PANEL when she HEARS the engine          start to RATTLE. She sees that the TEMPERATURE GAUGE has hit          the red and her CHECK ENGINE LIGHTis on.<b>          </b><b>                              COREY</b>                    Shit...<b>          </b><b>          </b><b>          EXT. OKLAHOMA HIGHWAY 40/COREY'S CHEVROLET - DAY</b><b>          </b>          Bythe time they pull over on the side of the empty highway,          steam billows out from under the hood. Sam gets out of the          car to check on it while Corey remains behind the wheel.<b>          </b>          Sampeeks under the hood, trying to clear the air of the          steam. It sounds like someone is rhythmically TAPPING the          inside of the engine with ahammer.<b>          </b><b>                              SAM</b>                    Turn it off.<b>          </b><b>                               COREY</b>                        (poking her head outthe<b>                          WINDOW)</b>                    What?<b>          </b><b>                              SAM</b>                    Turn off the car.<b>          </b>          Corey doesso.<b>          </b><b>                              SAM (CONT'D)</b>                    Doesn't look too good...<b>          </b><b>                              COREY</b>                    How do youknow?<b>          </b><b>                                                                      3.</b><b>          </b><b>          </b><b>                              SAM</b>                    It smells funny.<b>          </b>          Sam looksup when she HEARS a PICK-UP TRUCK coming toward          them. Corey watches as she steps out to wave it down...<b>          </b>          The pick-up pulls over ahead of them. CHRIS HOLT (24), a          brawny,attractive young man, gets out. When Corey sees him          she gets out too.<b>          </b><b>                               SAM (CONT'D)</b>                    Thanks for stopping. Our car's                    messedup.<b>          </b><b>                              CHRIS</b>                    What happened?<b>          </b><b>                              COREY</b>                    My check engine light came on, then                    it juststarted smoking, and                    ticking and shit.<b>          </b>          As Chris pokes around under the hood, Sam and Corey exchange          looks. Chris pops opens the COOLANT CAP and burns his handon          the steam explosion.<b>          </b><b>                              CHRIS</b>                        (shaking it off)                    Blew your water pump. Can'tdrive                    it.<b>          </b><b>                                 COREY</b>                    Fuck me...<b>          </b><b>                              CHRIS</b>                    El Reno's just a couple milesup                    ahead. Can call for a tow there.                    C'mon, I'll give you a lift.<b>          </b><b>          </b><b>          I/E. CHRIS' TRUCK/EL RENO, VARIOUS - DAY</b><b>          </b>          All threecrammed into the cab of the pick-up, they drive          through the center of El Reno, Oklahoma (population 16,000)          and see some of the locals out and about [MUSIC MONTAGE          fueled by early- to mid-90sera GRUNGE ROCK (suggestion: Come          As You Are, by Nirvana) -- reminiscent of the `Middlesex          Middle School Montage' in DONNIE DARKO]:<b>          </b>          AGATHA DOWDY (54), an employee ofthe local DINER, sits on a          bench in front of the establishment smoking a cigarette. The          manager, TED MONCTON (50), calls her backinside...<b>          </b><b>                                                                   4.</b><b>          </b><b>          </b>          RANDY EVANS (21), RUTH GIBBENS (18) and JEFF (21) and MIKE          JIMENEZ (20) loiterin the parking lot of a LIQUOR STORE...<b>          </b>          TRUDY POTTER (39) flirts with FATHER HOMEIJER (54), a          Catholic priest, outside the BANK. A BANK SIGN shows the TIME          -- 12:00 PM -- thenflashes to the DATE -- JUNE 18, 1995...<b>          </b>          OFFICER RYAN O'DELL (31) has pulled over a PRETTY LADY and          uses his uniform to impress more than intimidate...<b>          </b>          Theycome up on VIETNAM TOM (48), who ambles along the side          of the road against traffic, and he waves to them as they          pass. He wears old, weather beaten clothes and a multi-          colored SKI MASK overhis head and face...<b>          </b><b>          [END MONTAGE]</b><b>          </b>          Sam swivels her head to watch Tom. ANOTHER CAR passes and he          waves to it as well. Chris picks up on hercuriosity.<b>          </b><b>                              CHRIS</b>                    He waves to everybody... Just kinda                    walks up anddown.<b>          </b><b>                              COREY</b>                    Resident nutcase?<b>          </b><b>                              CHRIS</b>                    People call him VietnamTom.<b>          </b><b>                              SAM</b>                    He was in the war?<b>          </b><b>                              CHRIS</b>                    He thinks he was... kind of a joke,                    yaknow?<b>          </b>          Sam continues to stare until he disappears out of sight...          PAN DOWN to a PUDDLE by the side of the road. As a CAR TIRE          splashes through it, PAN UP TOFIND:<b>          </b><b>          </b><b>          I/E. DUSTY'S GARAGE/HOUSE - AFTERNOON</b><b>          </b>          Dusty's auto repair shop, which is nothing more than a big          garage attached to his oldtwo-story house. Corey's car has          been towed there, and DUSTY GIBBENS (37; father of Ruth          Gibbens), the lone mechanic, tinkers around under the hood.<b>          </b>          Sam and Corey sit on thefront steps of the house waiting,          bored as hell. A PIT BULL laps at a nameless treat wedged          into a crack in the walkway. The girls are forced to get up          when Ruth (from outside the liquor store) comesto the door.<b>          </b><b>                                                                   5.</b><b>          </b><b>          </b><b>                              RUTH</b>                    Can I get out?<b>          </b>          Sam andCorey move so that she can exit the house. Ruth's          look is hardened, rough around the edges -- she appears older          than her 18 years.<b>          </b>          The girls watch as she enters the garage to seeher father.          She whispers something in his ear, and Dusty hands her some          CASH, which she pockets then kisses him on the cheek. After          this, Dusty wipes his hands on his greasy jeans andcomes          outside to address Corey and Sam.<b>          </b><b>                              DUSTY</b>                    Yeah... it's the water pump.<b>          </b><b>                              COREY</b>                    Sowhat do we do?<b>          </b><b>                              DUSTY</b>                    I can order you up a new one.                    Probably be a coupledays.<b>          </b><b>                              COREY</b>                    Great. This the only show in town?<b>          </b><b>                              DUSTY</b>                    Cheapest and the best. But youwant                    me to call the tow guy back here,                    no problem. Probably charge you                    another hundred bucks, but he'll                    get ya wherever you wannago.<b>          </b><b>                              COREY</b>                    Just go ahead and fix it.<b>          </b><b>          </b><b>          INT. MOTEL LOBBY - AFTERNOON</b><b>          </b>          Phil Coulter"}
+{"doc_id":"doc_264","qid":"","text":"The Project Gutenberg EBook of The Rivals, by Richard Brinsley SheridanThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: The Rivals       A ComedyAuthor: Richard Brinsley SheridanRelease Date: March 6, 2008 [EBook#24761]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE RIVALS ***Produced by Kent CooperThe RIVALSA ComedyBy Richard Brinsley Sheridan* * * * * * *PREFACEA preface to a play seemsgenerally to be considered as a kind ofcloset-prologue, in which--if his piece has been successful--the authorsolicits that indulgence from the reader which he had beforeexperienced from the audience: but as the scopeand immediate object ofa play is to please a mixed assembly in _representation_ (whosejudgment in the theatre at least is decisive,) its degree of reputationis usually as determined as public, before it can be preparedfor thecooler tribunal of the study. Thus any farther solicitude on the partof the writer becomes unnecessary at least, if not an intrusion: and ifthe piece has been condemned in the performance, I fear an address tothecloset, like an appeal to posterity, is constantly regarded as theprocrastination of a suit, from a consciousness of the weakness of thecause. From these considerations, the following comedy would certainlyhave beensubmitted to the reader, without any farther introductionthan what it had in the representation, but that its success hasprobably been founded on a circumstance which the author is informedhas not before attended atheatrical trial, and which consequentlyought not to pass unnoticed.I need scarcely add, that the circumstance alluded to was thewithdrawing of the piece, to remove those imperfections in the firstrepresentation whichwere too obvious to escape reprehension, and toonumerous to admit of a hasty correction. There are few writers, Ibelieve, who, even in the fullest consciousness of error, do not wishto palliate the faults which theyacknowledge; and, however triflingthe performance, to second their confession of its deficiencies, bywhatever plea seems least disgraceful to their ability. In the presentinstance, it cannot be said to amount either tocandour or modesty inme, to acknowledge an extreme inexperience and want of judgment onmatters, in which, without guidance from practice, or spur fromsuccess, a young man should scarcely boast of being anadept. If it besaid, that under such disadvantages no one should attempt to write aplay, I must beg leave to dissent from the position, while the firstpoint of experience that I have gained on the subject is, aknowledgeof the candour and judgment with which an impartial publicdistinguishes between the errors of inexperience and incapacity, andthe indulgence which it shows even to a disposition to remedy thedefects ofeither.It were unnecessary to enter into any further extenuation of what wasthought exceptionable in this play, but that it has been said, that themanagers should have prevented some of the defects beforeitsappearance to the public--and in particular the uncommon length of thepiece as represented the first night. It were an ill return for themost liberal and gentlemanly conduct on their side, to suffer anycensure to restwhere none was deserved. Hurry in writing has long beenexploded as an excuse for an author;--however, in the dramatic line,it may happen, that both an author and a manager may wish to fill achasm in theentertainment of the public with a hastiness notaltogether culpable. The season was advanced when I first put the playinto Mr. Harris's hands: it was at that time at least double the lengthof any acting comedy. Iprofited by his judgment and experience in thecurtailing of it--till, I believe, his feeling for the vanity of ayoung author got the better of his desire for correctness, and he leftmany excrescences remaining, because hehad assisted in pruning so manymore. Hence, though I was not uninformed that the acts were still toolong, I flattered myself that, after the first trial, I might withsafer judgment proceed to remove what should appearto have been mostdissatisfactory. Many other errors there were, which might in part havearisen from my being by no means conversant with plays in general,either in reading or at the theatre. Yet I own that, in onerespect, Idid not regret my ignorance: for as my first wish in attempting a playwas to avoid every appearance of plagiary, I thought I should stand abetter chance of effecting this from being in a walk which I hadnotfrequented, and where, consequently, the progress of invention was lesslikely to be interrupted by starts of recollection: for on subjects onwhich the mind has been much informed, invention is slow of exertingitself.Faded ideas float in the fancy like half-forgotten dreams; andthe imagination in its fullest enjoyments becomes suspicious of itsoffspring, and doubts whether it has created or adopted.With regard to some particularpassages which on the first night'srepresentation seemed generally disliked, I confess, that if I felt anyemotion of surprise at the disapprobation, it was not that they weredisapproved of, but that I had not beforeperceived that they deservedit. As some part of the attack on the piece was begun too early to passfor the sentence of _judgment_, which is ever tardy in condemning, ithas been suggested to me, that much of thedisapprobation must havearisen from virulence of malice, rather than severity of criticism: butas I was more apprehensive of there being just grounds to excite thelatter than conscious of having deserved the former, Icontinue not tobelieve that probable, which I am sure must have been unprovoked.However, if it was so, and I could even mark the quarter from whence itcame, it would be ungenerous to retort: for no passion suffersmorethan malice from disappointment. For my own part, I see no reason whythe author of a play should not regard a first night's audience as acandid and judicious friend attending, in behalf of the public, at hislastrehearsal. If he can dispense with flattery, he is sure at leastof sincerity, and even though the annotation be rude, he may rely uponthe justness of the comment. Considered in this light, that audience,whose _fiat_ isessential to the poet's claim, whether his object befame or profit, has surely a right to expect some deference to itsopinion, from principles of politeness at least, if not from gratitude.As for the little puny critics, whoscatter their peevish strictures inprivate circles, and scribble at every author who has the eminence ofbeing unconnected with them, as they are usually spleen-swoln from avain idea of increasing their consequence,there will always be founda petulance and illiberality in their remarks, which should place themas far beneath the notice of a gentleman, as their original dulness hadsunk them from the level of the most unsuccessfulauthor.It is not without pleasure that I catch at an opportunity of justifyingmyself from the charge of intending any national reflection in thecharacter of Sir Lucius O'Trigger. If any gentlemen opposed the piecefrom thatidea, I thank them sincerely for their opposition; and if thecondemnation of this comedy (however misconceived the provocation)could have added one spark to the decaying flame of national attachmentto the countrysupposed to be reflected on, I should have been happy inits fate, and might with truth have boasted, that it had done more realservice in its failure, than the successful morality of a thousandstage-novels will evereffect.It is usual, I believe, to thank the performers in a new play, for theexertion of their several abilities. But where (as in this instance)their merit has been so striking and uncontroverted, as to call for thewarmestand truest applause from a number of judicious audiences, thepoet's after-praise comes like the feeble acclamation of a child toclose the shouts of a multitude. The conduct, however, of theprincipals in a theatre cannotbe so apparent to the public. I thinkit therefore but justice to declare, that from this theatre (the onlyone I can speak of from experience) those writers who wish to try thedramatic line will meet with that candour andliberal attention, whichare generally allowed to be better calculated to lead genius intoexcellence, than either the precepts of judgment, or the guidance ofexperience.The AUTHOR* * * * * * *DRAMATIS PERSONAE  Asoriginally acted at COVENT GARDEN THEATRE in 1775  Sir ANTHONY ABSOLUTE  CAPTAIN ABSOLUTE  FAULKLAND  ACRES  Sir LUCIUS O'TRIGGER  FAG  DAVID  THOMAS  Mrs. MALAPROP  LYDIALANGUISH  JULIA  LUCY  Maid, Boy, Servants, &c.SCENE--Bath.Time of action--Five hours.* * * * * * *PROLOGUEBy the AUTHOR[Enter SERJEANT-AT-LAW, and ATTORNEY following, and giving apaper.]SERJEANT  What's here!--a vile cramp hand! I cannot see  Without my spectacles.ATTORNEY                        He means his fee.  Nay, Mr. Serjeant, good sir, try again.  [Gives money.]SERJEANT  The scrawlimproves! [more] O come, 'tis pretty plain.  Hey! how's this? Dibble!--sure it cannot be!  A poet's brief! a poet and a fee!ATTORNEY  Yes, sir! though you without reward, I know,  Would gladly plead the Muse'scause.SERJEANT                                      So!--so!ATTORNEY  And if the fee offends, your wrath should fall  On me.SERJEANT        Dear Dibble, no offence at all.ATTORNEY  Some sons of Phoebus in the courts wemeet,SERJEANT  And fifty sons of Phoebus in the Fleet!ATTORNEY  Nor pleads he worse, who with a decent sprig  Of bays adorns his legal waste of wig.SERJEANT  Full-bottom'd heroes thus, on signs, unfurl  A leaf oflaurel in a grove of curl!  Yet tell your client, that, in adverse days,  This wig is warmer than a bush of bays.ATTORNEY  Do you, then, sir, my client's place supply,  Profuse of robe, and prodigal of tie--  Do you, with allthose blushing powers of face,  And wonted bashful hesitating grace,  Rise in the court, and flourish on the case.  [Exit.]SERJEANT  For practice then suppose--this brief will show it,--  Me, Serjeant Woodward,--counselfor the poet.  Used to the ground, I know 'tis hard to deal  With this dread court, from whence there's no appeal;  No tricking here, to blunt the edge of law,  Or, damn'd in equity, escape by flaw:  But judgment given,your sentence must remain;  No writ of error lies--to Drury Lane:    Yet when so kind you seem, 'tis past dispute  We gain some favour, if not costs of suit.  No spleen is here! I see no hoarded fury;--  I think I neverfaced a milder jury!  Sad else our plight! where frowns are transportation.  A hiss the gallows, and a groan damnation!  But such the public candour, without fear  My client waives all right of challenge here.  Nonewsman from our session is dismiss'd,  Nor wit nor critic we scratch off the list;  His faults can never hurt another's ease,  His crime, at worst, a bad attempt to please:  Thus, all respecting, he appeals to all,  And bythe general voice will stand or fall.* * * * * * *PrologueBy the AUTHORSPOKEN ON THE TENTH NIGHT, BY MRS. BULKLEY.  Granted our cause, our suit and trial o'er,  The worthy serjeant need appear no more:  Inpleasing I a different client choose,  He served the Poet--I would serve the Muse.  Like him, I'll try to merit your applause,  A female counsel in a female's cause.    Look on this form--where humour, quaint andsly,  Dimples the cheek, and points the beaming eye;  Where gay invention seems to boast its wiles  In amorous hint, and half-triumphant smiles;  While her light mask or covers satire's strokes,  Or hides the consciousblush her wit provokes.  Look on her well--does she seem form'd to teach?  Should you expect to hear this lady preach?  Is grey experience suited to her youth?  Do solemn sentiments become that mouth?  Bid her begrave, those lips should rebel prove  To every theme that slanders mirth or love.    Yet, thus adorn'd with every graceful art  To charm the fancy and yet reach the heart--  Must we displace her? And insteadadvance  The goddess of the woful countenance--  The sentimental Muse!--Her emblems view,  The Pilgrim's Progress, and a sprig of rue!  View her--too chaste to look like flesh and blood--  Primly portray'd onemblematic wood!  There, fix'd in usurpation, should she stand,  She'll snatch the dagger from her sister's hand:  And having made her votaries weep a flood,  Good heaven! she'll end her comedies in blood--  Bid HarryWoodward break poor Dunstal's crown!  Imprison Quick, and knock Ned Shuter down;  While sad Barsanti, weeping o'er the scene,  Shall stab herself--or poison Mrs. Green.    Such dire encroachments to prevent intime,  Demands the critic's voice--the poet's rhyme.  Can our light scenes add strength to holy laws!  Such puny patronage but hurts the cause:  Fair virtue scorns our feeble aid to ask;  And moral truth disdains thetrickster's mask  For here their favourite stands, whose brow severe  And sad, claims youth's respect, and pity's tear;  Who, when oppress'd by foes her worth creates,  Can point a poniard at the guilt she hates.* * * ** * * * * * *THE RIVALS* * * * * * * * * * *ACT I* * * * * * *Scene I.--A street.[Enter THOMAS; he crosses the stage; FAG follows, looking after him.]FAGWhat! Thomas! sure 'tis he?--What! Thomas!Thomas!THOMASHey!--Odd's life! Mr. Fag!--give us your hand, my old fellow-servant.FAGExcuse my glove, Thomas:--I'm devilish glad to see you, my lad. Why, myprince of charioteers, you look as hearty!--but whothe deuce thoughtof seeing you in Bath?THOMASSure, master, Madam Julia, Harry, Mrs. Kate, and the postillion, be allcome.FAGIndeed!THOMASAy, master thought another fit of the gout was coming to make himavisit;--so he'd a mind to gi't the slip, and whip! we were all off atan hour's warning.FAGAy, ay, hasty in every thing, or it would not be Sir Anthony Absolute!THOMASBut tell us, Mr. Fag, how does young master? Odd!Sir Anthony willstare to see the Captain here!FAGI do not serve Captain Absolute now.THOMASWhy sure!FAGAt present I am employed by Ensign Beverley.THOMASI doubt, Mr. Fag, you ha'n't changed for thebetter.FAGI have not changed, Thomas.THOMASNo! Why didn't you say you had left young master?FAGNo.--Well, honest Thomas, I must puzzle you no farther:--brieflythen--Captain Absolute and Ensign Beverley areone and the same person.THOMASThe devil they are!FAGSo it is indeed, Thomas; and the ensign half of my master being onguard at present--the captain has nothing to do with me.THOMASSo, so!--What, this is somefreak, I warrant!--Do tell us, Mr. Fag, themeaning o't--you know I ha' trusted you.FAGYou'll be secret, Thomas?THOMASAs a coach-horse.FAGWhy then the cause of all this is--Love,--Love, Thomas, who (as you maygetread to you) has been a masquerader ever since the days of Jupiter.THOMASAy, ay;--I guessed there was a lady in the case:--but pray, why doesyour master pass only for ensign?--Now if he had shammedgeneralindeed----FAGAh! Thomas, there lies the mystery o' the matter. Hark'ee, Thomas, mymaster is in love with a lady of a very singular taste: a lady wholikes him better as a half pay ensign than if she knew he wasson andheir to Sir Anthony Absolute, a baronet of three thousand a year.THOMASThat is an odd taste indeed!--But has she got the stuff, Mr. Fag? Isshe rich, hey?FAGRich!--Why, I believe she owns half the stocks!Zounds! Thomas, shecould pay the national debt as easily as I could my washerwoman! Shehas a lapdog that eats out of gold,--she feeds her parrot with smallpearls,--and all her thread-papers are made ofbank-notes!THOMASBravo, faith!--Odd! I warrant she has a set of thousands at least:--butdoes she draw kindly with the captain?FAGAs fond as pigeons.THOMASMay one hear her name?FAGMiss Lydia Languish.--Butthere is an old tough aunt in the way;though, by-the-by, she has never seen my master--for we got acquaintedwith miss while on a visit in Gloucestershire.THOMASWell--I wish they were once harnessed together inmatrimony.--But pray,Mr. Fag, what kind of a place is this Bath?--I ha' heard a deal ofit--here's a mort o' merrymaking, hey?FAGPretty well, Thomas, pretty well--'tis a good lounge; in the morning wego to thepump-room (though neither my master nor I drink the waters);after breakfast we saunter on the parades, or play a game at billiards;at night we dance; but damn the place, I'm tired of it: their regularhours stupifyme--not a fiddle nor a card after eleven!--However, Mr.Faulkland's gentleman and I keep it up a little in privateparties;--I'll introduce you there, Thomas--you'll like him much.THOMASSure I know Mr. Du-Peigne--youknow his master is to marry Madam Julia.FAGI had forgot.--But, Thomas, you must polish a little--indeed youmust.--Here now--this wig!--What the devil do you do with a wig,Thomas?--None of the London whips of anydegree of _ton_ wear wigs now.THOMASMore's the pity! more's the pity! I say.--Odd's life! when I heard howthe lawyers and doctors had took to their own hair, I thought how'twould go next:--odd rabbit it! when thefashion had got foot on thebar, I guessed 'twould mount to the box!--but 'tis all out ofcharacter, believe me, Mr. Fag: and look'ee, I'll never gi' upmine--the lawyers and doctors may do as they will.FAGWell, Thomas,we'll not quarrel about that.THOMASWhy, bless you, the gentlemen of the professions ben't all of amind--for in our village now, thoff Jack Gauge, the exciseman, hasta'en to his carrots, there's little Dick the farrierswears he'llnever forsake his bob, though all the college should appear with theirown heads!FAGIndeed! well said, Dick!--But hold--mark! mark! Thomas.THOMASZooks! 'tis the captain.--Is that the Lady withhim?FAGNo, no, that is Madam Lucy, my master's mistress's maid. They lodge atthat house--but I must after him to tell him the news.THOMASOdd! he's giving her money!--Well, Mr. Fag----FAGGood-bye, Thomas. Ihave an appointment in Gyde's porch this evening ateight; meet me there, and we'll make a little party.[Exeunt severally.]* * * * * * *Scene II.--A Dressing-room in Mrs. MALAPROP's Lodgings.[LYDIA sitting on a sofa,with a book in her hand. Lucy, as justreturned from a message.]LUCYIndeed, ma'am, I traversed half the town in search of it: I don'tbelieve there's a circulating library in Bath I ha'n't been at.LYDIAAnd could not youget _The Reward of Constancy_?LUCYNo, indeed, ma'am.LYDIANor _The Fatal Connexion_?LUCYNo, indeed, ma'am.LYDIANor _The Mistakes of the Heart_?LUCYMa'am, as ill luck would have it, Mr. Bull said Miss SukeySaunter hadjust fetched it away.LYDIAHeigh-ho!--Did you inquire for _The Delicate Distress_?LUCYOr, _The Memoirs of Lady Woodford_? Yes, indeed, ma'am. I asked everywhere for it; and I might have brought it fromMr. Frederick's, butLady Slattern Lounger, who had just sent it home, had so soiled anddog's-eared it, it wa'n't fit for a Christian to read.LYDIAHeigh-ho!--Yes, I always know when Lady Slattern has been before me.Shehas a most observing thumb; and, I believe, cherishes her nails forthe convenience of making marginal notes.--Well, child, what have youbrought me?LUCYOh! here, ma'am.--[Taking books from under her cloak, andfrom herpockets.] This is _The Gordian Knot_,--and this _Peregrine Pickle_.Here are _The Tears of Sensibility_, and _Humphrey Clinker_. This is_The Memoirs of a Lady of Quality, written by herself_, and herethesecond volume of _The Sentimental Journey_.LYDIAHeigh-ho!--What are those books by the glass?LUCYThe great one is only _The Whole Duty of Man_, where I press a fewblonds, ma'am.LYDIAVery well--give methe sal volatile.LUCYIs it in a blue cover, ma'am?LYDIAMy smelling-bottle, you simpleton!LUCYOh, the drops!--here, ma'am.LYDIAHold!--here's some one coming--quick, see who it is.----[Exit LUCY.]Surely I heard mycousin Julia's voice.[Re-enter LUCY.]LUCYLud! ma'am, here is Miss Melville.LYDIAIs it possible!----[Exit LUCY.][Enter JULIA.]LYDIAMy dearest Julia, how delighted am I!--[Embrace.] How unexpected wasthishappiness!JULIATrue, Lydia--and our pleasure is the greater.--But what has been thematter?--you were denied to me at first!LYDIAAh, Julia, I have a thousand things to tell you!--But first inform mewhat has conjuredyou to Bath?--Is Sir Anthony here?JULIAHe is--we are arrived within this hour--and I suppose he will be hereto wait on Mrs. Malaprop as soon as he is dressed.LYDIAThen before we are interrupted, let me impart to yousome of mydistress!--I know your gentle nature will sympathize with me, thoughyour prudence may condemn me! My letters have informed you of my wholeconnection with Beverley; but I have lost him, Julia! My aunthasdiscovered our intercourse by a note she intercepted, and has confinedme ever since! Yet, would you believe it? she has absolutely fallen inlove with a tall Irish baronet she met one night since we have beenhere, at"}
+{"doc_id":"doc_265","qid":"","text":"<html><head><title>Proposal, The Script at IMSDb.</title><meta name=\"description\" content=\"Proposal, The script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Proposal, The script,Proposal, The movie script, Proposal, The film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\"rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre> <b>          </b><b>                                   THE PROPOSAL</b><b>          </b><b>          </b>                                    Writtenby<b>          </b>                                  Pete Chiarelli<b>          </b><b>          </b>                                                            June 16, 2006<b>          </b><b>          FADE IN:</b><b>          INT. MARGARET'SAPARTMENT - EARLY MORNING</b>          The sun peeks over the horizon.   There's a stunning view of          Central Park from this apartment, but whoever lives here isn't          watching.          As we wander throughexpensive furniture, a steady THUMP, THUMP,          THUMP echoes through the apartment.   Eventually, we see MARGARET          MILLS (37) running on a treadmill, watching \"The O.C.\" on Tivo,          and reading amanuscript.          She sprints as the clock on her treadmill goes to zero.   As she          hits a button to stop the treadmill...<b>          INT. WOMAN'S APARTMENT - EARLY MORNING</b>          A hand knocks an alarmclock off a table to shut it up.   RICHARD          PAXTON (26) wakes up on pink sheets and looks around to figure          out where he is. There are multiple framed pictures of the same          model on thewalls.          Richard looks at the clock and gets up quickly when he sees it is          6:16 AM.   Unfortunately for him, he is very hung over.<b>          RICHARD</b>          Where are my clothes?          A blob beneaththe sheets next to him answers.   SIMONE is the          model on the walls and is really, really hot.<b>          SIMONE</b>          In the kitchen.   I think.   Can I make you          somecoffee?<b>          RICHARD</b>          Sorry, I gotta go.   I'm late.          Richard hurries to the kitchen.   Socks are on the butcher block          next to an empty champagne bottle.   Shoes in the sink.   Hefinds          his pants on the floor and puts them on.          RICHARD (cont'd)          Have you seen my belt?          Simone looks around and sees it tied to her headboard.<b>          SIMONE</b>          Inhere.          She unties the complicated knot.   Richard comes back half          dressed.   He swallows a little throwup.<b>          RICHARD</b>          Baby, I just can't do thisanymore.<b>          </b><b>          </b><b>          </b><b>          </b><b>          2.</b><b>          INT. MARGARET'S APARTMENT - EARLY MORNING</b>          Margaret puts on a black suit jacket.   Definitelynot off the          rack.   She makes sure she looks perfect in the mirror, and moves          off.<b>          INT. WOMAN'S APARTMENT - EARLY MORNING</b>          Reflected in the mirror above Simone's bed, Richardhurriedly          gets dressed as he talks.<b>          RICHARD</b>          You're just too much for me.   And I'm just          another guy too wrapped up in his job.<b>          SIMONE</b>          Fine.   Whatever.   Justgo.          Richard sits down on the bed and locks eyes with Simone.<b>          RICHARD</b>          Let's not end it like that. It's been an          amazing three and a half weeks.   Thank you.          And you shouldknow that you have the nicest          ass I've ever been with.<b>          SIMONE</b><b>          (TOUCHED)</b>          You mean it?<b>          RICHARD</b>          I do.   It'smagnificent.<b>          SIMONE</b>          I work really hard on it.<b>          RICHARD</b>          I know you do.          Simone smiles and begins to seductively pull the sheets off her          naked body.   Richardshakes his head \"no\" and smiles.          RICHARD (cont'd)          I really gotta go.<b>          INT. MARGARET'S KITCHEN - EARLY MORNING</b>          CRUNCH.   Margaret eats a bowl of Kashi and soy milkwhile          standing and reading a manuscript.   Her eyes remain glued to her          reading as she rinses out her bowl and puts it in the dishwasher.          Her apartment is very quiet.<b>          EXT. NEW YORKSTREET - MORNING</b>          HONK!   A cab blares its horn at Richard as he runs across the          street.   His suit is rumpled and he checks hiswatch.<b>          </b><b>          </b><b>          </b><b>          </b><b>          3.</b><b>          INT. MARGARET'S LOBBY - MORNING</b>          DING!   The elevator opens and Margaret strides towards theexit          and the DOORMAN (60).   Before Margaret gets to the door, her CELL          PHONE RINGS.   She checks the caller ID and excitedly points at          her phone as she lets itring.<b>          MARGARET</b>          (to phone)          I knew you would call!   Now come on, tell me          what I want to hear.   Give it to me.<b>          DOORMAN</b>          You have to put it by your mouth sopeople          can hear you.<b>          MARGARET</b>          You should get paid extra for being so darn          funny.          Margaret straightens her jacket, answers the phone, and walks out          thedoor.          MARGARET (cont'd)          This is Margaret.<b>          INT. SKYSCRAPER LOBBY - MORNING</b>          Richard bursts into the skyscraper and runs into a Starbucks.<b>          INT. STARBUCKS -MORNING - CONTINUOUS</b>          Two coffees lie in wait for Richard.   JILLIAN, a lovely Barista,          smiles as he hurries to the counter.<b>          JILLIAN</b>          You're running latetoday.<b>          RICHARD</b>          Jillian, you are the best.<b>          JILLIAN</b>          If you think I'm good at this, you should          use that coffee cup sometime.          As he runs out the door, Richardglances at his cup and smiles at          Jillian's name and phone number written in Sharpie.<b>          RICHARD</b>          See ya tomorrow.<b>          INT. SKYSCRAPER LOBBY - MORNING -CONTINUOUS</b>          The elevator doors ahead of Richard begin to close.<b>          RICHARD</b><b>          </b><b>          </b><b>          </b><b>          </b><b>          4.</b>          Mercifully, a handreaches out and stops the doors.   Inside the          packed elevator, Richard's CO-WORKERS look sleepy.   One          particularly frustrated co-worker confronts Richard.<b>          CO-WORKER #1</b>          Howlong is she gonna make us come in by          seven?<b>          RICHARD</b>          She doesn't exactly consult with me on these          things.<b>          CO-WORKER #1</b>          Well this sucksass.<b>          RICHARD</b>          Welcome to my nightmare.          The doors close as...<b>          EXT. NEW YORK STREET - MORNING</b>          Margaret crosses the street and talks on thephone.<b>          MARGARET</b>          You've been thinking about our talk because          I'm right.   Everyone does publicity.   Roth,          McCourt, Russo.   Hell, Chabon practically          whores himself.   Knowwhat they have in          common?   A Pulitzer.          (off answer)          Yes, I know you haven't done it in twenty          years, but that's how long it's been since          you've written a book this good.<b>          INT.ROYCE PUBLISHING - MORNING</b>          Richard bursts out of the elevator and passes a clock reading          6:56 and a sign that announces \"Royce Publishing.\"   He hauls ass          through a sea ofcubicles.   Along the way, grumpy employees          begrudgingly nod their good mornings.          At his desk, he pulls a tie out of a drawer and puts it on          without looking in the mirror.   Noticing his wrinkled suit,he          pulls out a SPRAY BOTTLE out of the same drawer, sprays it all          over his body, and then on his head to help mat down a tricky          cowlick.   Satisfied, he hurries into a nearby corneroffice.<b>          INT. SKYSCRAPER LOBBY - MORNING</b>          Margaret walks into the lobby and continues talking.   Employees          avoid her and pile into theelevator.<b>          </b><b>          </b><b>          </b><b>          </b><b>          5.</b><b>          MARGARET</b>          I'm not pushing so you'll sell more books,          I'm pushing because it'll be a crime ifthe          world doesn't hear that you wrote a genius          piece of literature.   Do the publicity.          Margaret waits for an answer and smiles when she hears \"yes.\"          MARGARET (cont'd)          You're making theright decision!   Great          news.   Going into an elevator, think I'm          going to lose you...          Margaret hangs up.   Never give them a chance to change their          mind.<b>          INT. MARGARET'S OFFICE -MORNING</b>          Richard races to Margaret's computer and turns it on.   He picks          up papers strewn about the room.   He goes back to the computer,          and opens computer programs.<b>          INT.ROYCE PUBLISHING - RECEPTION - MORNING</b>          Margaret exits the elevator and receives an enthusiastic...<b>          RECEPTIONIST</b>          Good morning!          Margaret quickly walks by and gives onlythe slightest nod.<b>          INT. ROYCE PUBLISHING - MORNING</b>          Margaret walks through the cubicles and nods hello to her staff,          who all look busy on the phone.   When she turns the corner,they          stop their \"conversations\" in mid sentence and hang up.<b>          INT. MARGARET'S OFFICE - MORNING</b>          Richard stares at the printer as a sheet of paper comes out.   A          clock above thedoor reads 7:00 AM.   The paper clears the printer          and Richard grabs it quickly.<b>          INT. ROYCE PUBLISHING - MORNING</b>          Margaret opens the door to her office, and finds Richardstanding          at attention with papers in one hand and coffee in the other.          Her office looks perfect.<b>          RICHARD</b>          You've got a conference call in thirty, a          staff meeting at nine, and yourimmigration          lawyer sent some papers for you to sign.<b>          MARGARET</b>          Cancel the call, move the meeting toeight,<b>          (MORE)</b><b>          </b><b>          </b><b>          </b><b>          </b><b>          6.</b>          MARGARET (cont'd)          (big news)          I got Frank to dopublicity.<b>          RICHARD</b>          Nice job.<b>          MARGARET</b>          When I want your praise, I'll ask for it.          Is Bob here?<b>          RICHARD</b>          I'm sure.   You want him on thephone?<b>          MARGARET</b>          We're going to his office.   Grab your pad.          Richard calmly backs out of the office...<b>          INT. RICHARD'S DESK - CONTINUOUS</b>          ... but once he's out ofMargaret's sight he runs to his computer          and sends an instant message to the office \"The Banshee is headed          to Bob's office.\"<b>          INT. ROYCE PUBLISHING - MORNING</b>          As the messagepops up on computers, the quiet office jumps to          life as everyone in a cubicle picks up their phone and resumes          their imaginary conversations.<b>          INT. RICHARD'S DESK -MORNING</b>          Margaret comes out to Richard's desk.   She notices his coffee cup          with Jillian's number on it.   She takes special notice of the          hearts that dot the \"I's\" inJillian.<b>          MARGARET</b>          That's cute.   You gonna call her today?<b>          RICHARD</b>          What?          Richard doesn't know what Margaret is talking about, until she          nods at the"}
+{"doc_id":"doc_266","qid":"","text":"<html><head><title>Ugly Truth, The Script at IMSDb.</title><meta name=\"description\" content=\"Ugly Truth, The script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Ugly Truth, Thescript, Ugly Truth, The movie script, Ugly Truth, The film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX,FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                           THE UGLY TRUTH</b>                      Screenplay/Revisions by                           NicoleEastman                           Tracey Jackson                             Peter Hume                   David Diamond & David Weissman                            Roger Kumble                       Current Revisions by                KarenMcCullah Lutz & Kirsten Smith                                                    February 14, 2008<b>1   INT. KPHX TV - LOBBY - DAY                                      1</b>    ABBY RICHTER, 30's, pretty, driven and absolutely incontrol,    walks through the lobby, greeting the SECURITY GUARD.<b>                        ABBY</b>              Morning, Freddy.<b>                        SECURITY GUARD</b>              Morning, Abby. Anotherpeaceful              day?<b>                        ABBY</b>              If you say so...<b>2   INT. KPHX - CORRIDOR - MORNING - MOMENTS LATER                  2</b>    JOY, 40's, the associate producer, falls in step withAbby.<b>                        JOY</b>                  (panicked)              We've got problems.<b>                         ABBY</b>              There are no problems,Joy.   Only              solutions.<b>                        JOY</b>              The sky-cam on the traffic copter              has a cracked lens and they can't              fix it.<b>                         ABBY</b>              Okay, that's aproblem.                (thinking, then...)              Call Matt Hardwick down at Media              Services. He's got a few Sky Cams              and he owes me. Now, where are my              weathermen?    Joy opens a door toa waiting area.<b>3   INT. KPHX - WAITING AREA - MORNING - CONTINUOUS                 3</b>    Several portly LATINO MEN look up and wave at Abby.<b>                           LATINO MEN</b>              Heythere!<b>                           ABBY</b>              Hi, guys!    Abby waves back and closes thedoor.<b>                                                      (CONTINUED)</b><b>                                                                  2.</b>           'THE UGLY TRUTH' - Numbered Script -2/14/2008<b>3   CONTINUED:                                                         3</b><b>                           ABBY</b>                 What's with the pot bellies?<b>                           JOY</b>                 Research shows peoplelike fat                 weathermen. It makes them feel                 safe.<b>                           ABBY</b>                 I like the one in the green and the                 one in the brown, but I want to see                 the one inthe green with less                 sideburns and the one in the brown                 with more, then I'll make my                 decision.<b>                           LARRY (O.S.)</b>                 Abby!    LARRY, 50's, the pompous,uptight anchor man, catches up to    them. He wears a makeup bib.<b>                           ABBY</b>                 Morning, Larry.<b>                           LARRY</b>                 I'm sorry to do this to you,Abby,                 but I don't think I can work with                 her anymore. It's bad enough I                 have to take her criticism at home.                 I can't do it on air, too. A man                 can only take somuch.    Abby nods, taking him seriously, but you can tell she's done    this before.<b>                           ABBY</b>                 You're not a man, Larry...                     (off his look)                 You're a newsman. Anewsman isn't                 defined by the easy times, Larry,                 he's defined by the difficult ones.                 Can you imagine Ted Koppel or Chris                 Hansen or Anderson Cooper having                 theirwives as co-anchor? Hell, no,                 because they couldn't handle it.                 But you can. You've got balls the                 size of Volkswagens. Don't think I                 haven'tnoticed.<b>                                                            (CONTINUED)</b><b>                                                                  3.</b>           'THE UGLY TRUTH' - Numbered Script - 2/14/2008<b>3   CONTINUED:(2)                                                     3</b><b>                        LARRY</b>                  (re his balls)              I've only thought of them as blue              as of late, but you're right. They              are quite sizeable.But not              disproportionately so.                  (with pride)              I like to think of them as              aesthetically pleasing --    Abby steps away, not wanting to ponder Larry's balls anymore    than she hasto.<b>                        ABBY</b>              I think I've made my point.    Larry nods, appeased, as she reaches the door marked ABBY    RICHTER, PRODUCER, \"ALBUQUERQUE A.M.\" She enters and...<b>4   INT.KPHX - ABBY'S OFFICE - CONTINUOUS                                4</b>    ...walks in on a shouting match between JOSH, a leftist angry    news writer, and DORI, the entertainment-leaningco-writer.<b>                        DORI</b>              Josh, nobody in Sacramento gives a                              *              crap about trees in Alaska! It's              notnewsworthy.<b>                        JOSH</b>              Oh, but full coverage on David              Beckham's new tattoo is vital?!    Larry's wife and co-anchor, GEORGIA, 40 and coiffed to the    gills, storms in, followed bythe show's GUEST CHEF.<b>                        GEORGIA</b>              He's trying to kill me! He knows I              can't eat crab, I'm allergic to it!                  (to the room)              Does anyone see this? Is thisa              hive?<b>                        JOSH</b>              It looks like syphilis to me.<b>                        DORI</b>                  (to Josh)              See that? You wouldn't even know              what syphilis looks like ifit              weren't for my story on Paris              Hilton.<b>                                                            (CONTINUED)</b><b>                                                                  4.</b>           'THE UGLY TRUTH' - NumberedScript - 2/14/2008<b>4   CONTINUED:                                                         4</b><b>                            GUEST CHEF</b>                     (to Abby)                 She doesn't eat crab or beef or                 fish. Shedoesn't eat anything but                 chicken. You don't need a chef on                 this show. You need a box of                 McNuggets.    Everyone shouts at each other. Abby calmly pulls out a    whistle, puts it to hermouth and BLOWS.<b>5   INT. KPHX - \"SACRAMENTO AM\" SET - MORNING                             5*</b>    Cameras roll as the chef happily cooks away on the set.    Georgia and Larry taste samples of what he'sprepared.<b>                           GEORGIA</b>                 I have to tell you, Bruce. This is                 the best Chicken Kiev I've ever                 tasted.<b>                           GUEST CHEF</b>                 Actually it'sDuck Kiev. Duck makes                 an excellent alternative for                 chicken, Georgia.    JAVIER, the new fat weatherman, takes a huge bite.<b>                           JAVIER</b>                 Can I take home theleftovers?    They all laugh.<b>                           LARRY</b>                 When we return, our live Skycam                 traffic update and more on David                 Beckham's hundred thousanddollar                 tattoo.<b>                           GEORGIA</b>                 And what you can do to help                 preserve the ancient forests of                 Alaska -- and how it might help                 your Albuquerqueelectric bill.<b>6   INT. KPHX - CONTROL ROOM - MORNING                                    6*</b>    Abby and Joy stand next to CLIFF, the show's director.<b>                           CLIFF</b>                 Go tocommercial.                     (to Abby)                 I don't know how you do it.<b>                                                            (CONTINUED)</b><b>                                                                  5.</b>           'THE UGLYTRUTH' - Numbered Script - 2/14/2008<b>6                                                                      6</b><b>    CONTINUED:</b><b>                           ABBY</b>                 It's just a matter of staringthe                 chaos in the eye and showing it                 who's boss. Nice work, guys.    She pats him on the back and heads out of the control room.<b>                           JOY</b>                     (toAbby)                 Stuart wants to see you. He's                 freaking out.<b>                           ABBY</b>                     (worried)                 That means he got the numbers.<b>7   INT. KPHX - STUART'S OFFICE -DAY                                     7</b>    Abby talks to STUART WARDLOW, 60's, KPHX's curmudgeonly    general manager.<b>                           STUART</b>                 Have you seen the ratingsfor                 yesterday? We got beat by all the                 network shows, plus a rerun of                 \"Who's the Boss\". The one where                 the vacuum breaks.<b>                           ABBY</b>                 It's atemporary setback. This week                 we'll do better.<b>                            STUART</b>                 The guy with the cable access show                 on Channel 83 does better. If we                 programed JerrySpringer re-runs,                 we'd do a nine share at a quarter                 the price.    Abby looks worried.<b>                           ABBY</b>                 Please tell me you're not thinking                 of killing theshow.<b>                           STUART</b>                 I'm not, but I can guarantee you                 that's what the new management's                 thinking.<b>                           ABBY</b>                 Stuart,\"Sacramento AM\" is an award-                         *                 winning newsprogram.<b>                                                            (CONTINUED)</b><b>                                                                  6.</b>           'THE UGLY TRUTH' - Numbered Script -2/14/2008<b>7   CONTINUED:                                                         7</b><b>                           STUART</b>                 Management doesn't listen to                 awards. It listens to numbers.                 We'renot a family-run station                 anymore, Abby. You're good at what                 you do, but you've got to get me                 some numbers. I've got two                 daughters in college and a sonin                 beauty school. I don't know how                 much you know about Vidal Sassoon                 but that shit ain't cheap.    Abby nods.<b>                           ABBY</b>                 You can count on me,Stuart.<b>8   INT. KPHX - WOMEN'S BATHROOM - DAY                                    8*</b>    Abby and Joy stand at the sinks.     Abby compulsively flosses         *    in front of themirror.                                                *<b>                           ABBY</b>                 I can't be letting corporate                 management dictate the content of                 this show. This is my show.I                 control it.    She rips out an extra two feet of floss.                               *                           ABBY (cont'd)                                   *                 I should cancel my date tonightand                       *                 make a list of ideas for sweeps.<b>                           JOY</b>                 Absolutely not. You should be out,                 observing humanity. Humanity's who                 watches our"}
+{"doc_id":"doc_267","qid":"","text":"<html><title>Point Break script</title><pre>                        POINT BREAK                             by                       James Cameron                             &                      Kathryn Bigelow                   From theScreenplay by                       W. Peter IliffFADE IN:We are in the belly of a wave.Light refracts in a constant collision of water.SLOW MOTION, the hallucinatory prisms, like liquiddiamonds taking flight,dreamlike...EXT.  OCEAN - DUSKBacklit against a flaming sun a solitary SURFER glidesacross the green glassy peak.  TIME IS STRETCHED until hismovements gain a grace and fluidity not of this world.Total Zenconcentration.  Body weight centered, eyesforward and on the next section.EXT.  URBAN STREET - DUSKSLOW MOTION ON a black sedan.Creeping along store fronts.  Past a Winchell's.PEOPLE splash steps downrain-washed sidewalks in DREAMMOTION.  The sedan turns past the FIRST VIRGINIA BANK andinto an alley.INT.  BLACK SEDANTWO MEN and ONE WOMAN in SUSPENDED TIME put on overcoatsand hats.  Under theirhats strips of Scotch tape stretchtaut from the base of their nose to their forehead,hideously distorting their features.  Makes them look likehuman PIGS.EXT.  OCEANSILVERY in this light, almost metallic, as if fromsomefuture-scape.  The lone surfer SHREDS a long, endlessright wall.ACCELERATING INTO REAL TIME -- as he stares into the pit,digs in, drops into the sweet spot on the wave, hunkersdown.His moves becomingaggressive, frenzied--INT.  BLACK SEDANAn M-16 clip is SMACKED into place and cocked with aCACHACK!  Ammo clips are SNICK-SNICKED into handgun buttsand a long clip is SSSNICKED into an UZI.Watches arechecked.  The PIG NOSE people nod to eachother.EXT.  BANKPig Nose #1, steals into position near the glass doors,slams his back to the wall, weapon to cheek, breath fast.EXT.  OCEANFAST NOW -- the surfboard rips abrutal gash in the faceof the wave.  The surfer TRIMS down the line, pivoting theboard and going straight down, CARVING the bottom.  Heslashes viciously back toward the lip and--In a radical INVERTED AIR ATTACKsails SIX feet above thewave in an explosion of water--INT.  BANK--BAAAAAAMMM!Glass doors explode OPEN and Pig Nose #1 SPINS inside.  Hefires a burst into the ceiling.  BRRAAMM!!                         PIG NOSE#1          EVERYBODY on the floor!PEOPLE drop.VERY FAST HERE--Two bandits handle BANK EMPLOYEES and customers--Another PIG NOSE watches the door--Pig Nose #1 moves behind counter, Uzi and canvas sackinhand.INT.  SURVEILLANCE VANDark. Monitors SHOW SLOW SCANS of the bank INTERIOR.Two MEN wear headphones and black windbreakers with FBIstenciled on the back.  One watches withbinoculars.                         BINOCULARS          Bingo.  We're on.  Let's go.          Where's the big college          quarterback?!  Are you with us,          Utah?EXT.  BANK WALLA MAN in his twenties.  His head spinsrevealing rain-slicked hair and face, eyes wide, bright.  An edgyhandsomeness to him.He pops a stick of Wrigley's in his mouth, rests a shotgunon one leg and leans against the wall.  He wears aheadset... through whichwe hear the FBI guy yelling forhim.This is JOHNNY UTAH.                         BINOCULARS (FILTERED)          Utah, where the hell are ya!?Utah takes his headset off...INT.  BANKPig Nose #1 LEAPS over the counter, holdsa canvas sackfilled with booty from tellers' drawers.                         PIG NOSE #1          Fuckin' shake it!Pig Nose #2 nods with his snubby nose, hurries toward theexit.EXT.  FIRST VIRGINIA BANKThe bandits burstthrough the doors and sprint to thealley where they jump into the SEDAN.  THE DRIVER, theWOMAN PIG NOSE, punches it and the TIRES WHIRRR on theslick pavement.The sedan launches down the alley.Utahrunning.  Like a freight train.  Splashing through across-alley.  He doesn't break stride as he slams hisshoulder into a large, steel GARBAGE DUMPSTER.DRIVING it like a football training sled into the ALLEYwhere--THESEDAN LOCKS 'EM UP seconds too late as it SKIDS andSLAMS into it, CRUNCHING into the brick wall and--Still alive -- GRINDS into reverse back down the alley,HEADLIGHTS SMASHED, it guns it backward as--UTAHleaps over the dumpster and sprints after the car.He has a brick in his right hand.  He cocks it back.Johnny HEAVES the brick thirty yards and--SMASH!  The brick EXPLODES into the windshield,SPIDERWEBBING theglass.Lady Pignose flinches from the glass fragments thrown intoher face.                         LADY PIGNOSE          Son of a bitch!The car slews backward onto the street, slamming a parkedcar.  Lady Pignose slams thething into DRIVE, cuts thewheel hard, and punches it, skidding on wet pavement.UTAH hurtles from the alley.  He leaps, somehow TACKLESthe DRIVER'S door handle and is dragged along the street.He pulls himself up,reaches inside the window, and whipsthe steering wheel hard right.The SEDAN fishtails into a parked Toyota.  Utah bouncesforward, slamming into the asphalt.  Glass shards andcrushed steel are strewn everywhere, asradiator steamwhistles hot.Pig Nose #2, riding shotgun, is trapped.  Can't get hiscrushed door open.  The DRIVER pushes open her door.Gropes for her pistol.  Utah springs -- no respect for alady.  He slams the door,pins her arm and slams again andagain until the gun drops.  Utah kicks it away as thewoman collapses in pain.Pig Nose #1 bails out and runs across parking lot.  Utahleaps up onto the crushed hood and draws downwith theshotgun.                         UTAH          Halt.  FBI!Pig Nose #1 spins.  We sense reckless anger.  He raisesthe UZI.  Utah squeezes the trigger.No death.  No blood.Just buzzers and flashing bulbs.Pig Nose's flakvest lights up like a pinball machine.Utah's laser weapon hit the \"kill zone\".  Pig Nose ripsthe tape off his face and the FBI CADET shakes his head indisgust.OBSERVERS step forward.  Bank customers.  Bank tellers.AllFBI personnel.  MEDICAL STAFF offer the woman driverassistance.  Pig Nose #1 heads for Johnny, but is subduedby other agents.                         PIG NOSE #1 (FBI CADET)          I wanna say just two words toyou,          asshole, SIMU-LATION!!!  Johnny-          fuckin' Utah.  Guys like you will do          anything to win!Utah stares back in defiance.The SURVEILLANCE van pulls up nearby.BINOCULARS runs out and pinchestwo fingers together,right in Johnny's face.                         BINOCULARS          This far, Utah!  You're this far          from being the most overqualified          guy Burger King ever had.  Getme?!                         UTAH          Yes sir.  Sir?                         BINOCULARS          What?Johnny gestures to the car.                         UTAH          I did stop the perpetrators.Utah turns to go.  As he passes he casuallyraises hislaser-shotgun and re-triggers Pig Nose's flak vest.LIGHTS AND BUZZERS.Pig Nose explodes.  More agents restrain him.Screams and shoving matches and pissed off guys.Utah walks off, down the simulatedstreet, past a signwhich bears the FBI SEAL and reads \"Combat Village,Quantico, Virginia.\"                                            DISSOLVE TO:EXT.  PACIFIC OCEAN - DAYRed sky.  A luminous Pacific.  Five footfaces.  Nicecurl.  A lineup of SURFERS wait outside the break.Silhouetted, bobbing like a pack of sea mammals.INT./ EXT.  TAXIA flood of orange through the windshield as the cab crawlsdown Ocean Park to thesea.  CAMERA HANDHELD from the backseat.The driver turns to us.                         DRIVER          Anywhere?  You don't care?                         UTAH (V.O.)          Anywhere.  I've just never seen the          oceanbefore.                                            CUT TO:EXT.  VENICE BEACHJOHNNY UTAH trudging across the sand, holding his shoes.Garment bag and a big duffel over his shoulder.He looks silly in his dark suit, tie loosened,wearing aturned around baseball cap.He wiggles his toes in the sand, looks around like a kid.A pack of BOUNCING BEAUTIES jog through frame.Utah grins, reaches up and turns his cap around.It reads \"I LoveL.A.\"                                            CUT TO:EXT.  FEDERAL BUILDINGLooking down the face of the concrete monolith at Wilshireand Veteran.  Ant-like, Johnny Utah's tiny figure movestoward theentrance.                         VOICE (OVER)          Day One in LA, special agent Utah.          You may have been top two percent of          your class at Quantico but you have          exactly zero hours in thefield          here.  You know nothing...INT.  FEDERAL BUILDING - FBI BULLPENSupervising Agent BEN HARP leads Utah across the bullpen.Rows of desks.  Agents sitting at computer terminals.Data hell.  Looks like hegot a job at Xerox.                         HARP          You know less than nothing.  If you          even knew that you knew nothing, at          least that would be something, but          youdon't.                         UTAH          Yes, sir.Utah is wearing a suit, carrying a briefcase.  Harp ismid-thirties, confident of stride, tanned of skin, perfectof hair.  GQ.  Aggressive.                         HARP          Eating solidbreakfasts, Utah?                         UTAH          Sir?                         HARP          All the food groups?  Avoiding          sugar?  Caffeine?  I see to it that          my people maintain cardiovascular          fitness.  We stayoff hard liquor,          cigarettes...                         UTAH                  (poker face)          I take the skin off chicken.Harp glances at him, eyes narrowing.  They reach aglassed-in compound of small offices.  Harp swingsthedoor open and the other agents look up as Utah enters.                         HARP          This is us.  Bank Robbery.  And          you're in the bank-robbery capital          of the world--                         UTAH          1322last year in LA county.  Up 26          percent from the year before.                         HARP          That's right.  And we nailed over a          thousand of them.  We did it by          crunching data.  Goodcrime-scene          work, good lab work, good data-base          analysis.  Nobody had to tackle a          car once.  You getting the signal,          special agent?                         UTAH          Zero distortion, sir.He picks upa donut from someone's desk, a succulentglazed jelly.                         UTAH          I love these things.He looks right at Harp.  Takes a big fuck-you bite.                         HARP          You're a real blue-flamespecial,          aren't you, Utah?  I don't know why          they sent you to LA.  Must be an          asshole shortage.                         UTAH          Not so far.                                            CUT TO:UNDERWATERA bluefield with a pulsing network of rippling lines.VOOM!  A figure rockets down INTO FRAME in a curtain ofbubbles.  A gawky AGENT, in less than stylish FBI trunks,flails around blindfolded looking for bricks at the bottomofa pool.INT.  GYMNASIUM POOL - DAYThe pool casts wavy distortions upon TWO DOZEN MEN, allgrumbling as they stand in line, wearing T-shirts with FBIlogos, sweats and sneakers.  We hear a splash, and themenshuffle forward.                         PAPPAS (V.O.)          The dolls love this baby.  It brings          them luck when they rub it -- right          between their buttons.CLOSE ON tape measure wrapped around a generousbelly.PULL BACK to reveal VETERAN AGENT COREY measuring theample waist of ANGELO PAPPAS.  This 54 year old silverhaired Greek stands rubbing his belly like a Zulu chief.                         COREY          Angelo, weneed a bigger tape.                         PAPPAS          Just read the goddamn number.                         COREY          Still a 46.  Maybe we can cinch it          down, wear a girdle--                         PAPPAS          Screw youand this holistic fitness          crap!  At least my arms don't flap          in the wind.Corey secretly squeezes his bicep as...A whistle blows.  A broad shouldered MAN wearing an FBIcap barks at theGreek.                         BIG SHOULDERS          Okay, Pappas, let's put on the          blindfold.  Wanna see you retrieve          at least two bricks from the bottom.JOHNNY UTAH enters the pool area in thedistance.  Sayssomething to one of the agents.  Is pointed toward us as--Corey ties the blindfold and guides Pappas to the edge ofthe pool.                         PAPPAS          I've been in the field 33 years,          fired mypiece 23 times in the line          of duty, and I got no idea what a          blind man fetching bricks has gotta          do with being a Special Agent!Johnny has walked up.  Pappas, blindfolded, turns directlyto Utah as hecontinues, thinking it's Corey.                         PAPPAS          Added to which indignity, I got          three months left to retirement and          they saddle me with some blue-flamer          fresh out of Quantico for apartner.          Some quarterback punk, Johnny Unitas          or something.                         UTAH          The shit they pull, huh?Pappas snorts agreement and cannonballs into the pool.Huge backblast of water.  Theother agents hoot andholler.Corey swears and wipes off his clipboard.Johnny steps to the edge, looks down.We see the blindfolded Pappas groveling along the bottom.The other agents cheer as Pappas heads for thesurface.                         COREY          Here he comes.  Hold up a fish,          he'll take it right outta your hand.Pappas surfaces in an explosion of spray as he sputtersfor breath.  He grabs the edge and angrily slapstwobricks on the tiles.  He rips off the blindfold looks upand frowns.A HAND ENTERS FRAME to help him up.  Pappas takes it andJohnny hauls him on deck.                         COREY          Hey Shamu, this is yourguy.Pappas eyes the new agent warily.  Extends his hand.                         PAPPAS          Pappas.  Angelo Pappas.                         UTAH          Punk.  QuarterbackPunk.                         PAPPAS                  (grinning)          Welcome to Sea World, kid.INT.  SEDAN - DAYSERIES OF TIGHT SHOTSECU sweep hand of a dive watch clicks through theseconds.Magnum shells are fed intoa pump shotgun.Velcro straps of Second Chance body armor are fastened.White gloves are pulled snug over strong hands.A silk tie is straightened.  A shotgun slide is cocked.The sweep hand approaches the twelve.ALATEX MASK is pulled over the back of a man's head.                         VOICE          The little hand says...The mask turns into FULL CLOSE-UP.  It is RONALD REAGAN.                         REAGAN          ... let's rock androll.INT.  BANK OF AMERICABusiness as usual.  The scene so normal you know somethingis about to happen.  An exiting MAN stuffs bucks into hiswallet, reaching for the door which--SLAMS INWARD.  He is hit by a wallof EX-PRESIDENTS.REAGAN charges in with his buddies RICHARD M. NIXON,LYNDON BAINES JOHNSON and JOHN F. KENNEDY.Reagan throws the poor guy skidding across the floor.Nixon buttstrokes a guard, hard inthe nuts, with his 12gauge.The other guard goes for his holster -- finds himselffacing three shotguns and one very large handgun.Reagan sights down the pistol.                         REAGAN          Use a gun, go toheaven.The guard freezes.  White and sweaty.Tricky Dick slips up to him and collects the pistol.Kennedy covers the stunned customers.Johnson backs up against the door jam, watching thestreet, and the sedan idlingat the curb.                         REAGAN          EVERYBODY FREEZE!!  That's right.          ALL TELLERS step back from the          counter!  Hands on heads!  MOVE!!Nixon and Reagan move quickly to the counter asthetellers comply.                         REAGAN          Everybody else on the floor!  Do it!          On the floor, let's go.                         NIXON          SUCK LINOLEUM, BITCH!!  You got          earwax?!Nixon grabs a stunnedwoman by the arm and hurls her tothe floor.She lands hard.  Everyone is on the deck by now.The Presidents move fast.Reagan leaps onto the counter.  Stands up where he can seeall.Nixon hurdles to tellers' side andthey start moving downthe line together.  Reagan controlling the room as Nixonquickly empties the tellers' cash drawers into the sack.His hands move like lightning.                         REAGAN          Just staycool.  Everybody stay          cool.  Heads down.  Eyes down.  The          money's insured--TIGHT ON -- MONEY flying into the sack.                         REAGAN          -- it's not worth dying for.          Another 45 secondsof your time.          That's all.  Then -- Whoa, Tricky          Dick!Nixon pulls a pack of twenties back out of the bag andtosses it to the BANK MANAGER.  Who reflexively catchesit.Then drops it like a hot-potato justbefore--It EXPLODES into a cloud of blue ink.  The manager is dyedblue.Burnt money showers on the terrified customers.LBJ looks at his watch and WHISTLES.The bandits sprint for the front doors.Kennedy exits first,followed by Reagan.LBJ pauses under the surveillance camera, drops histrousers and MOONS.  Thank you is written across his whitebutt.BLACK AND WHITE VIDEO MONITOR--High angle, distorted wide shot.  LBJ hoistshis pants andsplits, followed out by Nixon, who exits backward with thefamous double peace-sign held high overhead.IMAGE FREEZES.  Victorious Nixon, grainy... something froma time warp.  The image SUDDENLYGOES INTO HIGH-SPEEDREVERSE.  The bank robbery sequence zips backward.                         PAPPAS (V.O.)          Twenty-seven banks in three years.          In and out in 90 seconds.  Nobody          ever getsshot.  We're talking solid          professionals.WE ARE IN--INT.  BANK CRIME SCENE - LATERUTAH & PAPPAS are watching a monitor in the glassed-inoffice.  The robbery REPLAYS on grainy BLACK &WHITEvideotape.The bandits barge in, raise shotguns and order everybodyto the floor.                         UTAH          Good move.                         PAPPAS          Yeah, they control the room well.          Stick strictly tothe cash drawers.VIDEO TAPE -- Utah is reverse-scanning.  The bandits walkBACKWARD into the bank.  The explosion of blue ink issucked back into the pack of money, then leaps back intoPresident Nixon'shand.                         UTAH          They don't go for the vault?                         PAPPAS          Never go for the vault.  They never          get greedy.                         UTAH          Smart.  You burn time in thevault.                         PAPPAS          Reagan usually drives.  Stolen          switch car, they leave it running at          the curb, looks parked from a          distance.  When they run, they dump          the vehicle andvanish.  And I mean          vanish.Utah stops the video, now FAST-FORWARDING it, stoppingwhere President Nixon separates the exploding \"dye pack\"planted with the money, before he tosses itaside.                         UTAH          Surgical.  Look at them separate the          dye packs.  Dick and Ronny know          their jobs.                         PAPPAS          The Ex-Presidents are the best I've          seen,kid.Outside the windowed partition POLICE OFFICERS interviewfrightened customers.Hotshot agents MUNOZ and COLE enter from the main floor ofthe bank.  Think they're veryslick.                         MUNOZ          Anytime you two are finished jerking          off watching MTV I need to get a          look at that tape.                         COLE                  (sloppy grin)          Hey, Pappas, you tell thekid your          theory on the Presidents?                         PAPPAS          Just take the tape, Cole.Now Munoz starts to smile.                         MUNOZ          Hang ten, Pappas, like totally          rad...                  (toUtah)          I gotta tell ya, the department          loves it.                         UTAH          What's he talking about, Angelo?Harp raps glass.  Cole and Munoz look sharp.Harp enters addressing Pappas andUtah.                         HARP          They found the drop car up on          Mulholland.  I want you two to go          work it.                         PAPPAS          What?  Now I'm working the drop car?          Who's handling thescene here?                         HARP          Cole and Munoz.  I'm uh... letting          them run with the ball for a while.Cole and Munoz gloat.                         PAPPAS          Cole and Munoz?  I been on this case          fortwo years.                         HARP                  (zeroing in on                   Pappas)          That's the point, isn't it?                         PAPPAS          Yeah, I get it.  Time to play let's          dick the old guys, huh,Harp?                         HARP          Supervising Special Agent, Harp.          Now I want you to go work the drop          car, okay, Angelo?  Okay?The Greek rises like a proudbull.                         PAPPAS          Sure.  No problem.  How about your          office?  Your office need vacuuming?          We could do that too.Pappas and Utah move toward the door.  It's a tightsqueeze as they passCole and Munoz.  Especially Pappas.                         PAPPAS          Excuse me.Read as fuck you.EXT.  MULHOLLAND SCENIC TURNOUT - NIGHTThe diamond field of LA glitters below.  The small parkingarea off"}
+{"doc_id":"doc_268","qid":"","text":"The Project Gutenberg EBook of Palamon and Arcite, by John DrydenThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: Palamon and ArciteAuthor: John DrydenEditor: George E. EliotRelease Date: February, 2005 [EBook#7490]This file was first posted on May 10, 2003Last Updated: May 10, 2013Language: English*** START OF THIS PROJECT GUTENBERG EBOOK PALAMON AND ARCITE ***Produced by Ted Garvin, Charles Franks andthe DistributedProofreaders TeamDRYDEN'S PALAMON AND ARCITEEdited With Introduction And Notes By George E. Eliot, A.M.English Master In The Morgan SchoolToHenry A. BeersProfessor Of English Literature InYale UniversityWho First Aroused My Interest In DrydenAnd Directed My Study Of His WorksThis Volume Is Respectfully InscribedPREFACE.To edit an English classic for study in secondary schools is difficult.The lack ofanything like uniformity in the type of examination requiredby the colleges and universities complicates treatment. Not only do twodistinct institutions differ in the scope and character of theirquestions, but the sameuniversity varies its demands from year to year.The only safe course to pursue is, therefore, a generally comprehensiveone. But here, again, we are hampered by limited space, and are forcedto content ourselves with abare outline, which the individualinstructor can fill in as much or as little as he pleases.The ignorance of most of our classical students in regard to the historyof English literature is appalling; and yet it is impossibleproperly tostudy a given work of a given author without some knowledge of thebackground against which that particular writer stands. I have,therefore, sketched the politics, society, and literature of the age inwhichDryden lived, and during which he gave to the world his _Palamonand Arcite_. In the critical comments of the introduction I havecontented myself with little more than hints. That particular line ofstudy, whether itconcerns the poet's style, his verse forms, or thepossession of the divine instinct itself, can be much moresatisfactorily developed by the instructor, as the student's knowledgeof the poem grows.It is certainly a subjectfor congratulation that so many youth will beintroduced, through the medium of Dryden's crisp and vigorous verse, toone of the tales of Chaucer. May it now, as in his own century,accomplish the poet's desire, andawaken in them appreciative admirationfor the old bard, the best story-teller in the English language.G. E. E. CLINTON, CONN., July 26, 1897.INTRODUCTION.THE BACKGROUND.The fifty years of Dryden's literaryproduction just fill the last halfof the seventeenth century. It was a period bristling with violentpolitical and religious prejudices, provocative of strife that amountedto revolution. Its social life ran the gamut from theseverity of theCommonwealth Puritan to the unbridled debauchery of the RestorationCourtier. In literature it experienced a remarkable transformation inpoetry, and developed modern prose, watched the production ofthegreatest English epics, smarted under the lash of the greatest Englishsatires, blushed at the brilliant wit of unspeakable comedies, andapplauded the beginnings of English criticism.When the period began, Englandwas a Commonwealth. Charles I., byobstinate insistence upon absolutism, by fickleness and faithlessness,had increased and strengthened his enemies. Parliament had seized thereins of government in 1642, hadcompletely established its authority atNaseby in 1645, and had beheaded the king in front of his own palace in1649. The army had accomplished these results, and the army proposed toenjoy the reward. Cromwell, theidolized commander of the Ironsides, wasplaced at the head of the new-formed state with the title of LordProtector; and for five years he ruled England, as she had been ruled byno sovereign since Elizabeth. Hesuppressed Parliamentary dissensionsand royalist uprisings, humbled the Dutch, took vengeance on theSpaniard, and made England indisputably mistress of the ocean. He wassucceeded, at his death in 1658, by hisson Richard; but the father'sstrong instinct for government had not been inherited by the son. Thenation, homesick for monarchy, was tiring of dissension and bickering,and by the Restoration of 1660 the son of CharlesI became Charles II ofEngland.Scarcely had the demonstrations of joy at the Restoration subsided whenLondon was visited by the devouring plague of 1665. All who could fledfrom the stricken city where thousands diedin a day. In 1666 came thegreat fire which swept from the Tower to the Temple; but, while itdestroyed a vast deal of property, it prevented by its violentpurification a recurrence of the plague, and made possibletherebuilding of the city with great sanitary and architecturalimprovements.Charles possessed some of the virtues of the Stuarts and most of theirfaults. His arbitrary irresponsibility shook the confidence of thenation inhis sincerity. Two parties, the Whigs and the Tories, cameinto being, and party spirit and party strife ran high. The question atissue was chiefly one of religion. The rank and file of ProtestantEngland was determinedagainst the revival of Romanism, which acontinuation of the Stuart line seemed to threaten. Charles was aProtestant only from expediency, and on his deathbed accepted the RomanCatholic faith; his brother James,Duke of York, the heir apparent, wasa professed Romanist.Such an outlook incited the Whigs, under the leadership of Shaftesbury,to support the claims of Charles' eldest illegitimate son, the Duke ofMonmouth, who, onthe death of his father in 1685, landed in England;but the promised uprising was scarcely more than a rabble of peasantry,and was easily suppressed. Then came the vengeance of James, as foolishas it was tyrannical.Judge Jeffries and his bloody assizes sent scoresof Protestants to the block or to the gallows, till England would endureno more. William, Prince of Orange, who had married Mary, the eldestdaughter of James, wasinvited to accept the English crown. He landed atTorbay, was joined by Churchill, the commander of the king's forces,and, on the precipitate flight of James, mounted the throne of England.This event stands in historyas the Protestant Revolution of 1688.During William's reign, which terminated in 1702, Stuart uprisings weresuccessfully suppressed, English liberties were guaranteed by the famousBill of Rights, Protestant successionwas assured, and liberaltoleration was extended to the various dissenting sects.Society had passed through quite as great variations as had politicsduring this half-century. The roistering Cavalier of the first Charles,withhis flowing locks and plumed hat, with his maypoles and morricedances, with his stage plays and bear-baitings, with his carousals andgallantries, had given way to the Puritan Roundhead. It was a serious,sober-mindedEngland in which the youth Dryden found himself. If thePuritan differed from the Cavalier in political principles, they wereeven more diametrically opposed in mode of life. An Act of Parliamentclosed the theaters in1642. Amusements of all kinds were frowned uponas frivolous, and many were suppressed by law. The old English feasts atMichaelmas, Christmas, Twelfth Night, and Candlemas were regarded asrelics of popery andwere condemned. The Puritan took his religionseriously, so seriously that it overpowered him. The energy and fervorof his religious life were illustrated in the work performed byCromwell's chaplain, John Howe, on anyone of the countless fast days.\"He began with his flock at nine in the morning, prayed during a quarterof an hour for blessing upon the day's work, then read and explained achapter for three-quarters of an hour, thenprayed for an hour, preachedfor an hour, and prayed again for a half an hour, then retired for aquarter of an hour's refreshment--the people singing all thewhile--returned to his pulpit, prayed for another hour, preachedforanother hour, and finished at four P.M.\"At the Restoration the pendulum swung back again. From the strainedmorality of the Puritans there was a sudden leap to the most extravagantlicense and the grossestimmorality, with the king and the court in thevan. The theaters were thrown wide open, women for the first time wentupon the stage, and they acted in plays whose moral tone is so low thatthey cannot now bepresented on the stage or read in the drawing-room.Of course they voiced the social conditions of the time. Marriage tieswere lightly regarded; no gallant but boasted his amours. Revelry ranriot; drunkenness became ahabit and gambling a craze. The courtscintillated with brilliant wits, conscienceless libertines, andscoffing atheists. It was an age of debauchery and disbelief.The splendor of this life sometimes dazzles, the lack ofconveniencesappalls. The post left London once a week. A journey to the country mustbe made in your own lumbering carriage, or on the snail-slow stagecoachover miserable roads, beset with highwaymen. Thenarrow, ill-lightedstreets, even of London, could not be traversed safely at night; andladies, borne to routs and levees in their sedan chairs, were lighted bylink-boys, and were carried by stalwart, broad-shoulderedbearers whocould wield well the staves in a street fight. Such were the conditionsof life and society which Dryden found in the last fifty years of theseventeenth century.Strong as were the contrasts in politics andmanners during Dryden'slifetime, they were paralleled by contrasts in literature no lessmarked. Dryden was born in 1631; he died in 1700. In the year of hisbirth died John Donne, the father of the Metaphysical bards,orMarinists; in the year of his death was born James Thomson, who was togive the first real start to the Romantic movement; while between thesetwo dates lies the period devoted to the development ofFrenchClassicism in English literature.At Dryden's birth Ben Jonson was the only one of the great Elizabethandramatists still living, and of the lesser stars in the same galaxy,Chapman, Massinger, Ford, Webster, andHeywood all died during hisboyhood and youth, while Shirley, the last of his line, lingered till1667. Of the older writers in prose, Selden alone remained; but asDryden grew to manhood, he had at hand, fresh from theprinters, thewhole wealth of Commonwealth prose, still somewhat clumsy with Latinismor tainted with Euphuism, but working steadily toward that simplestrength and graceful fluency with which he was himself to markthebeginning of modern English prose.Clarendon, with his magnificently involved style, began his famous_History of the Great Rebellion_ in 1641. Ten years later Hobbespublished the _Leviathan_, a sketch of an idealcommonwealth. Baxter,with his _Saints' Everlasting Rest_ sent a book of religious consolationinto every household. In 1642 Dr. Thomas Browne, with the simplicity ofa child and a quaintness that fascinates, publishedhis _ReligioMedici_; and in 1653 dear old simple-hearted Isaak Walton told us in his_Compleat Angler_ how to catch, dress, and cook fish. Thomas Fuller,born a score or more of years before Dryden, in the sametown,Aldwinkle, published in 1642 his _Holy and Profane State_, a collectionof brief and brisk character sketches, which come nearer modern prosethan anything of that time; while for inspired thought and purityofdiction the _Holy Living_, 1650, and the _Holy Dying_, 1651, of JeremyTaylor, a gifted young divine, rank preëminent in the prose of theCommonwealth.But without question the ablest prose of the period came fromthe pen ofCromwell's Latin Secretary of State, John Milton. Milton stands in hisown time a peculiarly isolated figure. We never in thought associate himwith his contemporaries. Dryden had become the leading literaryfigurein London before Milton wrote his great epic; yet, were it not fordefinite chronology, we should scarcely realize that they worked in thesame century. While, therefore, no sketch of seventeenth-centuryliteraturecan exclude Milton, he must be taken by himself, withoutrelation to the development, forms, and spirit of his age, and must beregarded, rather, as a late-born Elizabethan.When Dryden was born, Milton at twenty-threewas just completing hisseven years at Cambridge, and as the younger poet grew through boyhood,the elder was enriching English verse with his _Juvenilia_. Then camethe twenty years of strife. As Secretary of theCommonwealth, he threwhimself into controversial prose. His _Iconoclast_, the _Divorce_pamphlets, the _Smectymnuus_ tracts, and the _Areopagitica_ date fromthis period. A strong partisan of the Commonwealth,he was in emphaticdisfavor at the Restoration. Blind and in hiding, deserted by one-timefriends, out of sympathy with his age, he fulfilled the promise of hisyouth: he turned again to poetry; and in _Paradise Lost_,_ParadiseRegained_, and _Samson Agonistes_ he has left us \"something so writtenthat the world shall not willingly let it die.\"I have said that Milton's poetry differed distinctly from the poetry ofhis age. The verse thatDryden was reading as a schoolboy was quiteother than _L'Allegro_ and _Lycidas_. In the closing years of thepreceding century, John Donne had traveled in Italy. There the poetMarino was developing fantasticeccentricities in verse. Donne undersimilar influences adopted similar methods.To seize upon the quaintest possible thought and then to express it inas quaint a manner as possible became the chief aim of Englishpoetsduring the first three-quarters of the seventeenth century. Donne hadencountered trouble in obtaining his wife from her father. Finding onemorning a flea that had feasted during the night on his wife andhimself,he was overcome by its poetic possibilities, and wrote:  \"This flea is you and I, and this  Our marriage bed and temple is;  Tho' parents frown, and you, we're met  And cloister'd in these living walls of jet.\"To strain afterconceits, to strive for quaintness of thought andexpression, was the striking characteristic of all the poets of thegeneration, to whom Dr. Johnson gave the title Metaphysical, and who arenow known as the Marinists.There were Quarles, with his Dutch_Emblems_; Vaughan, Sandys, Crashaw, and pure-souled George Herbert,with his _Temple_. There were Carew, with the _Rapture_; Wither and his\"Shall I wasting in despair\"; thetwo dashing Cavaliers Suckling andLovelace, the latter the only man who ever received an M.A. for hispersonal beauty. There was Herrick, the dispossessed Devonshire rector,with _Hesperides_ and _Noble Numbers_,freer than were the others fromthe beauty-marring conceits of the time. There, too, were to be foundthe gallant love-maker Waller, Cowley, the queen's secretary during herexile, and Marvell, Milton's assistantSecretary of State. But thesethree men were to pledge allegiance to a new sovereignty in Englishverse.In the civil strife, Waller had at first sided with Parliament, hadlater engaged in a plot against it, and after a year'simprisonment wasexiled to France. At this time the Academy, organized to introduce formand method in the French language and literature, held full sway.Malherbe was inculcating its principles, Corneille and Molièrewerepracticing its tenets in their plays, and Boileau was following itsrules in his satires, when Waller and his associates came in contactwith this influence. The tendency was distinctly toward formalityandconventionality. Surfeited with the eccentricities and far-fetchedconceits of the Marinists, the exiled Englishmen welcomed the change;they espoused the French principles; and when at the Restoration theyreturnedto England with their king, whose taste had been trained in thesame school, they began at once to formalize and conventionalize Englishpoetry. The writers of the past, even the greatest writers of the past,wereregarded as men of genius, but without art; and English poetry wasthenceforth, in Dryden's own words, to start with Waller.Under the newly adopted canons of French taste, narrative and didacticverse, or satire, tookfirst place. Blank verse was tabooed as tooprose-like; so, too, were the enjambed rhymes. A succession of rhymedpentameter couplets, with the sense complete in each couplet, was setforth as the proper vehicle forpoetry; and this unenjambed distichfettered English verse for three-quarters of a century. In the drama thecharacters must be noble, the language dignified; the metrical form mustbe the rhymed couplet, and theunities of time, place, and action mustbe observed.Such, in brief, were the principles of French Classicism as applied toEnglish poetry, principles of which Dryden was the first great exponent,and which Pope in the nextgeneration carried to absolute perfection.Waller, Marvell, and Cowley all tried their pens in the new method,Cowley with least success; and they were the poets in vogue when Drydenhimself first attracted attention.Denham quite caught the favor of thecritics with his mild conventionalities; the Earl of Roscommon delightedthem with his rhymed _Essay on Translated Verse_; the brilliant courtwits, Rochester, Dorset, and Sedley,who were writing for pleasure andnot for publication, still clung to the frivolous lyric; but the most-readand worst-treated poet of the Restoration was Butler. He publishedhis _Hudibras_, a sharp satire on the extremePuritans, in 1663. Everyone read the book, laughed uproariously, and left the author to starvein a garret. Of Dryden's contemporaries in prose, there were Sir WilliamTemple, later the patron of Swift, John Locke whocontributed tophilosophy his _Essay Concerning the Human Understanding_, the twodiarists Evelyn and Pepys, and the critics Rymer and Langbaine; therewas Isaac Newton, who expounded in his _Principia_, 1687, thelaws ofgravitation; and there was the preaching tinker, who, confined inBedford jail, gave to the world in 1678 one of its greatest allegories,_Pilgrim's Progress_.Dryden was nearly thirty before the production of thedrama was resumedin England. Parliament had closed the theaters in 1642, and that was anextinguisher of dramatic genius. Davenant had vainly tried to elude thelaw, and finally succeeded in evading it by setting his_Siege ofRhodes_ to music, and producing the first English opera. At theRestoration, when the theaters were reopened, the dramas then producedreflected most vividly the looseness and immorality of the times.Theirworst feature was that \"they possessed not wit enough to keep the massof moral putrefaction sweet.\"Davenant was prolific, Crowne wallowed in tragedy, Tate remodeledShakspere; so did Shadwell, who was laterto measure swords with Dryden,and receive for his rashness an unmerciful castigation. But by all oddsthe strongest name in tragedy was Thomas Otway, who smacks of trueElizabethan genius in the _Orphan_ and_Venice Preserved_. In comedy wereceive the brilliant work of Etheridge, the vigor of Wycherley, and, asthe century drew near its close, the dashing wit of Congreve, Vanbrugh,and Farquhar. This burst of brilliancy, inwhich the Restoration dramacloses, was the prelude to the Augustan Age of Queen Anne and the firstGeorges, the period wherein flourished that group of self-satisfied,exceptionally clever, ultra-classical wits who addeda peculiar zest andcharm to our literature. As Dryden grew to old age, these younger menwere already beginning to make themselves heard, though none had donegreat work. In poetry there were Prior, Gay, and Pope,while in prose wefind names that stand high in the roll of fame,--the story-teller Defoe,the bitter Swift, the rollicking Dick Steele, and delightful Addison.This is the background in politics, society, and letters on whichthelife of Dryden was laid during the last half of the seventeenth century.There were conditions in his environment which materially modified hislife and affected his literary form, and without a knowledge oftheseconditions no study of the man or his works can be effective orsatisfactory. Dryden was preëminently a man of his times.LIFE OF DRYDEN.John Dryden was born at the vicarage of Aldwinkle, All Saints,inNorthamptonshire, August 9, 1631. His father, Erasmus Dryden, was thethird son of Sir Erasmus Dryden of Cannons Ashby. The estate descendedto Dryden's uncle, John, and is still in the family. His mother wasMaryPickering. Both the Drydens and Pickerings were Puritans, and wereranged on the side of Parliament in its struggle with Charles I. As aboy Dryden received his elementary education at Tichmarsh, and wentthenceto Westminster School, where he studied under the famous Dr.Busby. Here he first appeared in print with an elegiac poem on the deathof a schoolfellow, Lord Hastings. It possesses the peculiarities of theextremeMarinists. The boy had died from smallpox, and Dryden writes:\"Each little pimple had a tear in it To wail the fault its rising didcommit.\"He entered Trinity College, Cambridge, May 18, 1650, took his B.A. in1654, and"}
+{"doc_id":"doc_269","qid":"","text":"<html><head><title>Friday the 13th Script at IMSDb.</title><meta name=\"description\" content=\"Friday the 13th script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Friday the 13thscript, Friday the 13th movie script, Friday the 13th film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX,FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><html><head><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>\"FRIDAY THE13th\"</title></head><pre><b>              FADE IN:</b><b> </b><b> </b><b>         1    EXT.  ROAD - DAY</b><b> </b>              The TRACK is SILENT.<b> </b>              The CAMERA looks at a sign.  Itreads:<b> </b><b>                                    CAMP CRYSTAL LAKE</b>                                     Established 1935<b> </b>              Gradually we can begin to hear, in the BG, the SOUNDS of              CHILDRENplaying.<b> </b><b>                                                       CUT TO:</b><b> </b><b> </b><b>         2    EXT. SOFTBALL FIELD - DAY</b><b> </b>              In the BG a few dozen CHILDREN, in camp uniforms,are enjoying              a game of softball.<b> </b>              In the FG CLAUDETTE is looking for someone.  CLAUDETTE is 17              years old.  She is pretty.  She wears a t-shirt with \"Assistant              Counsellor\"written on it.  She fills out the shirt very well.<b> </b>              Failing to find whomever she is looking for, CLAUDETTE walks              quickly in the opposite direction.<b> </b>              The CAMERA holds on thegame for a few seconds and we<b>              SUPERIMPOSE:</b><b> </b><b>                                       JULY 4, 1958</b><b> </b>              The CHILDREN'S VOICES FADE slowly.<b></b><b>                                                       CUT TO:</b><b> </b><b> </b><b>         3    EXT. RIFLE RANGE - DAY</b><b> </b>              ECU as a COUNSELLOR squeezes off a shot.<b> </b>              Thepaper target is ripped in the black.<b> </b>              The COUNSELLOR hands the weapon to a CAMPER who snaps in at the              line.<b> </b>              CLAUDETTE shouts up to the COUNSELLOR from theBG.<b> </b><b>                                  CLAUDETTE</b>                      Have you seen Barry?<b> </b>              The COUNSELLOR smiles.  Shrugs.<b>                                  COUNSELLOR</b>                      Heand Chloe were at the Lodge last time                      I saw him.<b> </b>              CLAUDETTE leaves.  The COUNSELLOR smiles.<b> </b><b>                                                       CUT TO:</b><b> </b><b></b><b>         4    EXT. MAIN LODGE - DAY</b><b> </b>              Two CHILDREN run by carrying Indian headdresses.  CLAUDETTE              passes them impatiently as she sees BARRY and CHLOE.<b></b>              BARRY is leaning against the front rail of the porch, his arms              behind his head--the better to show off his physique to CHLOE,              and Assistant Counsellor, who is currently looking at himwith              cow eyes.  In the BG we can hear a portable radio blaring out              an Everly Brothers hit.<b> </b>              BARRY is 17, handsome and out for all he can get.  He is not              ashamed for beingcaught with this other good-looking girl.<b> </b><b>                                  CLAUDETTE</b>                      We've got to talk.<b> </b>              BARRY looks at CHLOE, then eases off the rail.  Nods.<b></b><b>                                  BARRY</b>                      Okay.<b> </b>         5    BARRY puts an arms around CLAUDETTE, looks over his              shoulder at CHLOE, and saunters off with the former.<b></b>              The Everly Brothers continue as we:<b> </b><b>                                                       CUT TO:</b><b> </b><b> </b><b>         6    EXT. LAKE - DAY</b><b> </b>              From over the tops ofa rack of canoes we see BARRY and              CLAUDETTE walking along the shore.<b> </b><b>                                  CLAUDETTE</b>                      You said we were special.<b></b><b>                                  BARRY</b>                      I meant everything.<b> </b>              In the BG, CHILDREN leap into thewater.<b>                                  BARRY</b>                            (continuing)                      You know what I said, though.<b> </b><b>                                  CLAUDETTE</b>                      I can't, Barry...<b></b><b>                                                       CUT TO:</b><b> </b><b> </b><b>         7    EXT. FOREST - DAY</b><b> </b>              The TRACK goes SILENT.<b> </b>              BARRY & CLAUDETTE walkalong a path.  This is not an aimless              walk, for BARRY knows exactly where he wants to go.  He leaves              the path and goes to sit on a log in a small clearing.              CLAUDETTE hesitates, then goes tosit next to him.<b> </b><b>                                  BARRY</b>                      I care very much.<b> </b>              He puts an arm around her and draws her close.  They kiss.              They separate.<b></b><b>                                  CLAUDETTE</b>                      Does Chloe kiss as good as I do?<b> </b>              BARRY decides to be politic.<b> </b><b>                                  BARRY</b>                      Iwouldn't know.<b> </b><b>                                  CLAUDETTE</b>                      Oh, you...<b> </b>              She kisses him and they are locked.<b> </b>              A bird calls, wheels across the patch of skyabove.<b> </b>              The CAMERA shifts to ANOTHER ANGLE:  Just beyond the thicket of              lacy vines.  It is a slow tracking shot which gives the              impression that we are watching the action from thePOV of              another person, an unseen visitor...watching the two teen-aged              Assistant Counsellors making their first sexual encounters.<b> </b>              This unseen observer will be called thePROWLER.<b> </b>              BARRY reaches up outside CLAUDETTE'S t-shirt to hold her              breast.  She reaches up to take his hand away.<b></b><b>                                  BARRY</b>                      Claudette...<b>                                  CLAUDETTE</b>                      Somebody'll see.<b></b><b>                                  BARRY</b>                      No, they won't...<b> </b>              He ends the argument by snaking his hand inside her t-shirt so              that part of her bra is exposed.  He seals herprotesting lips              by kissing her.<b> </b>              From the PROWLER's POV, the CAMERA MOVES to get a better angle.              A hand moves into FRAME and pulls back some branches to clear              thefield of vision.  A branch pops.<b> </b><b>                                  CLAUDETTE</b>                            (in a thick whisper)                      Somebody's there, Barry.<b></b><b>                                  BARRY</b>                      Come on, Claudette.  A man's not made of                      stone.<b> </b><b>                                  CLAUDETTE</b>                      Let's go back,Barry...<b> </b><b>                                  BARRY</b>                      I need you so much, Claudette.<b> </b>              BARRY leans in and unhooks her bra.  They kiss again,              passionately.<b></b>              The PROWLER pauses, then moves, never seen--except for a bit of              foot or hand--from the POV of the CAMERA, closer and closer as              the two TEENAGERS become more and moreoblivious.<b> </b>              Closer.  The THEME has snuck in.  It becomes discordant.  It              swells.  Closer.<b> </b>              QUICK CUT to BARRY & CLAUDETTE'S faces, their eyes closed,the              perspiration streaking their flushed skin.<b> </b>              Suddenly CLAUDETTE looks up into the CAMERA with terror.<b> </b>              A hatchet flashes into FRAME and CLAUDETTE goes down underthe              blow.<b> </b>              The CAMERA TURNS TO BARRY.  The PROWLER's powerful hand has him              by the throat.  He backpeddles, trying to get away.<b> </b>              ANOTHER ANGLE: asBARRY is stopped against a tree.<b> </b>              A hunting knife soars against the leafy sky.              BARRY grabs the knife-hand at the wrist.  The knife falls to              the mossy floor of the clearing.<b></b>              Two hands go for the free blade.  BARRY's hand has it.<b> </b>              There is a confused jumble of struggle.<b> </b>              Onto the bed of moss falls the little finger of the PROWLER.<b></b>              REACTION SHOT:  BARRY, horrified by the sight.<b> </b>              The PROWLER's hand has the knife.  It moves quickly forward.              We can hear the blade strike.<b> </b>              BARRYstares up at the sky in a soundless shriek.<b> </b>              MCU the moss where the finger fell.  The PROWLER reaches into              FRAME, picks up the finger, and exits FRAME.<b> </b>              QUICK CUTTO:  CHLOE, out searching for the missing Counsellors.              She stands at the edge of the clearing, her hands pressed on her              temples, her throat filled with a scream of terror.  The MUSIC              hasstopped abruptly.<b> </b><b>              THE SCREEN BLEEDS TO WHITE.</b><b> </b>              It is completely SILENT.<b> </b><b>                                                       CUT TO:</b><b></b><b>         8    TITLE SEQUENCE</b><b> </b>              The screen is completely black.  A small white shape starts to              ZOOMS towards the FG.  The shape becomes athree-dimensional              rendering of FRIDAY THE 13TH.  Just as it gets to its final              position, the FRIDAY 13 logo shatters a previously unseen pane              of glass.  There is a loud crash.  The logo shifts tothe upper              left corner of the FRAME as we ROLLS TITLES, white on black.<b> </b>              The THEME MUSIC is a reprise of the THEME we heard during the              Forest sequence, now done in a childlikearrangement.<b> </b>              TITLES END and the MUSIC fades out.<b> </b><b>                                                       DISSOLVE TO:</b><b> </b><b> </b><b>         9    EXT. RURAL TOWN - EARLYMORNING</b><b> </b>              The TRACK is SILENT.<b> </b>              In a LONG SHOT we see the one main street.  A newspaper              delivery truck drives away from the CAMERA.  A GIRL walksdown              the street.              Superimposed title:<b> </b><b>                                       THE PRESENT</b><b> </b>              A MEDIUM SHOT in front of the bank reveals a day/date/time/temp              signwhich blinks:<b> </b><b>                                       FRIDAY, 13</b><b> </b><b>                                       7:01</b><b> </b>                                       60 Degrees<b></b><b>                                       FRIDAY, 13</b><b> </b><b>                                       7:01</b><b> </b>                                       60 Degrees<b> </b>              We can begin to hear a small-town DJOVER as a pick-up truck              moves down the street past the GIRL in her late teens.  She has              a knapsack, a freshly scrubbed face, jeans, and a plaid shirt.              She wears her hair in a long braid.  Shewears Nike jogging              shoes.  This is ANNIE.<b> </b><b>                                  DJ (V.O.)</b>                      It's 7:01 on Friday the 13th of June.                      This is Big Dave and it's time foryou                      lazy bones to GET OUT OF BED!  It's                      black cat day in Crystal Lake.  Don't                      forget the big drawing today to see who                      gets our FRIDAY THE 13TH"}
+{"doc_id":"doc_270","qid":"","text":"The Project Gutenberg EBook of The Outlaw of Torn, by Edgar Rice BurroughsThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it awayorre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: The Outlaw of TornAuthor: Edgar Rice BurroughsRelease Date: July 8, 2008 [EBook #369]Lastupdated: February 12, 2012Last updated: August 31, 2012Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE OUTLAW OF TORN ***Produced by Judith BossTHE OUTLAW OF TORNBy Edgar RiceBurroughsTo My FriendJOSEPH E. BRAYCHAPTER IHere is a story that has lain dormant for seven hundred years. At firstit was suppressed by one of the Plantagenet kings of England. Later itwas forgotten. I happened todig it up by accident. The accident beingthe relationship of my wife's cousin to a certain Father Superior in avery ancient monastery in Europe.He let me pry about among a quantity of mildewed and mustymanuscriptsand I came across this. It is very interesting--partially since it is abit of hitherto unrecorded history, but principally from the fact thatit records the story of a most remarkable revenge and the adventurouslifeof its innocent victim--Richard, the lost prince of England.In the retelling of it, I have left out most of the history. Whatinterested me was the unique character about whom the tale revolves--thevisored horsemanwho--but let us wait until we get to him.It all happened in the thirteenth century, and while it was happening,it shook England from north to south and from east to west; and reachedacross the channel and shookFrance. It started, directly, in the Londonpalace of Henry III, and was the result of a quarrel between the Kingand his powerful brother-in-law, Simon de Montfort, Earl of Leicester.Never mind the quarrel, that's history,and you can read all about it atyour leisure. But on this June day in the year of our Lord 1243, Henryso forgot himself as to very unjustly accuse De Montfort of treason inthe presence of a number of the King'sgentlemen.De Montfort paled. He was a tall, handsome man, and when he drew himselfto his full height and turned those gray eyes on the victim of hiswrath, as he did that day, he was very imposing. A power inEngland,second only to the King himself, and with the heart of a lion in him, heanswered the King as no other man in all England would have dared answerhim.\"My Lord King,\" he cried, \"that you be my Lord King aloneprevents Simonde Montfort from demanding satisfaction for such a gross insult. Thatyou take advantage of your kingship to say what you would never dare saywere you not king, brands me not a traitor, though it doesbrand you acoward.\"Tense silence fell upon the little company of lords and courtiers asthese awful words fell from the lips of a subject, addressed to hisking. They were horrified, for De Montfort's bold challenge was tothembut little short of sacrilege.Henry, flushing in mortification and anger, rose to advance upon DeMontfort, but suddenly recollecting the power which he represented, hethought better of whatever action hecontemplated and, with a haughtysneer, turned to his courtiers.\"Come, my gentlemen,\" he said, \"methought that we were to have a turnwith the foils this morning. Already it waxeth late. Come, De Fulm!Come,Leybourn!\" and the King left the apartment followed by his gentlemen,all of whom had drawn away from the Earl of Leicester when it becameapparent that the royal displeasure was strong against him. Asthearras fell behind the departing King, De Montfort shrugged his broadshoulders, and turning, left the apartment by another door.When the King, with his gentlemen, entered the armory he was stillsmarting from thehumiliation of De Montfort's reproaches, and as helaid aside his surcoat and plumed hat to take the foils with De Fulm,his eyes alighted on the master of fence, Sir Jules de Vac, who wasadvancing with the King's foiland helmet. Henry felt in no mood forfencing with De Fulm, who, like the other sycophants that surroundedhim, always allowed the King easily to best him in every encounter.De Vac he knew to be too jealous of hisfame as a swordsman to permithimself to be overcome by aught but superior skill, and this day Henryfelt that he could best the devil himself.The armory was a great room on the main floor of the palace, off theguardroom. It was built in a small wing of the building so that ithad light from three sides. In charge of it was the lean, grizzled,leather-skinned Sir Jules de Vac, and it was he whom Henry commanded toface him in mimiccombat with the foils, for the King wished to go withhammer and tongs at someone to vent his suppressed rage.So he let De Vac assume to his mind's eye the person of the hated DeMontfort, and it followed that De Vacwas nearly surprised into an earlyand mortifying defeat by the King's sudden and clever attack.Henry III had always been accounted a good swordsman, but that dayhe quite outdid himself and, in his imagination, wasabout to runthe pseudo De Montfort through the heart, to the wild acclaim of hisaudience. For this fell purpose he had backed the astounded De Vac twicearound the hall when, with a clever feint, and backward step,the masterof fence drew the King into the position he wanted him, and with thesuddenness of lightning, a little twist of his foil sent Henry's weaponclanging across the floor of the armory.For an instant, the King stoodas tense and white as though the hand ofdeath had reached out and touched his heart with its icy fingers.The episode meant more to him than being bested in play by the bestswordsman in England--for that surely wasno disgrace--to Henry itseemed prophetic of the outcome of a future struggle when he shouldstand face to face with the real De Montfort; and then, seeing in DeVac only the creature of his imagination with which hehad vested thelikeness of his powerful brother-in-law, Henry did what he should liketo have done to the real Leicester. Drawing off his gauntlet he advancedclose to De Vac.\"Dog!\" he hissed, and struck the master offence a stinging blow acrossthe face, and spat upon him. Then he turned on his heel and strode fromthe armory.De Vac had grown old in the service of the kings of England, but hehated all things English and allEnglishmen. The dead King John, thoughhated by all others, he had loved, but with the dead King's bones DeVac's loyalty to the house he served had been buried in the Cathedral ofWorcester.During the years he hadserved as master of fence at the English Court,the sons of royalty had learned to thrust and parry and cut as onlyDe Vac could teach the art, and he had been as conscientious in thedischarge of his duties as he hadbeen in his unswerving hatred andcontempt for his pupils.And now the English King had put upon him such an insult as might onlybe wiped out by blood.As the blow fell, the wiry Frenchman clicked his heels together,andthrowing down his foil, he stood erect and rigid as a marble statuebefore his master. White and livid was his tense drawn face, but hespoke no word.He might have struck the King, but then there would have beenleft tohim no alternative save death by his own hand; for a king may not fightwith a lesser mortal, and he who strikes a king may not live--the king'shonor must be satisfied.Had a French king struck him, De Vac wouldhave struck back, and gloriedin the fate which permitted him to die for the honor of France; but anEnglish King--pooh! a dog; and who would die for a dog? No, De Vac wouldfind other means of satisfying his woundedpride. He would revel inrevenge against this man for whom he felt no loyalty. If possible, hewould harm the whole of England if he could, but he would bide his time.He could afford to wait for his opportunity if, bywaiting, he couldencompass a more terrible revenge.De Vac had been born in Paris, the son of a French officer reputed thebest swordsman in France. The son had followed closely in the footstepsof his father until, onthe latter's death, he could easily claim thetitle of his sire. How he had left France and entered the service ofJohn of England is not of this story. All the bearing that the life ofJules de Vac has upon the history of Englandhinges upon but two of hismany attributes--his wonderful swordsmanship and his fearful hatred forhis adopted country.CHAPTER IISouth of the armory of Westminster Palace lay the gardens, and here, onthe third dayfollowing the King's affront to De Vac, might have been aseen a black-haired woman gowned in a violet cyclas, richly embroideredwith gold about the yoke and at the bottom of the loose-pointed sleeves,which reachedalmost to the similar bordering on the lower hem of thegarment. A richly wrought leathern girdle, studded with precious stones,and held in place by a huge carved buckle of gold, clasped the garmentabout her waist sothat the upper portion fell outward over the girdleafter the manner of a blouse. In the girdle was a long dagger ofbeautiful workmanship. Dainty sandals encased her feet, while a wimpleof violet silk bordered in goldfringe, lay becomingly over her head andshoulders.By her side walked a handsome boy of about three, clad, like hiscompanion, in gay colors. His tiny surcoat of scarlet velvet was richwith embroidery, while beneathwas a close-fitting tunic of whitesilk. His doublet was of scarlet, while his long hose of white werecross-gartered with scarlet from his tiny sandals to his knees. On theback of his brown curls sat a flat-brimmed,round-crowned hat in which asingle plume of white waved and nodded bravely at each move of the proudlittle head.The child's features were well molded, and his frank, bright eyes gavean expression of boyishgenerosity to a face which otherwise would havebeen too arrogant and haughty for such a mere baby. As he talked withhis companion, little flashes of peremptory authority and dignity, whichsat strangely upon one sotiny, caused the young woman at times toturn her head from him that he might not see the smiles which she couldscarce repress.Presently the boy took a ball from his tunic, and, pointing at a littlebush near them, said,\"Stand you there, Lady Maud, by yonder bush. Iwould play at toss.\"The young woman did as she was bid, and when she had taken her placeand turned to face him the boy threw the ball to her. Thus theyplayedbeneath the windows of the armory, the boy running blithely after theball when he missed it, and laughing and shouting in happy glee when hemade a particularly good catch.In one of the windows of the armoryoverlooking the garden stood a grim,gray, old man, leaning upon his folded arms, his brows drawn together ina malignant scowl, the corners of his mouth set in a stern, cold line.He looked upon the garden and theplaying child, and upon the lovelyyoung woman beneath him, but with eyes which did not see, for De Vac wasworking out a great problem, the greatest of all his life.For three days, the old man had brooded over hisgrievance, seeking forsome means to be revenged upon the King for the insult which Henry hadput upon him. Many schemes had presented themselves to his shrewdand cunning mind, but so far all had been rejectedas unworthy of theterrible satisfaction which his wounded pride demanded.His fancies had, for the most part, revolved about the unsettledpolitical conditions of Henry's reign, for from these he felt he mightwrest thatopportunity which could be turned to his own personal usesand to the harm, and possibly the undoing, of the King.For years an inmate of the palace, and often a listener in the armorywhen the King played at sword withhis friends and favorites, De Vac hadheard much which passed between Henry III and his intimates that couldwell be turned to the King's harm by a shrewd and resourceful enemy.With all England, he knew the uttercontempt in which Henry held theterms of the Magna Charta which he so often violated along with hiskingly oath to maintain it. But what all England did not know, De Vachad gleaned from scraps of conversationdropped in the armory: thatHenry was even now negotiating with the leaders of foreign mercenaries,and with Louis IX of France, for a sufficient force of knights andmen-at-arms to wage a relentless war upon his ownbarons that he mighteffectively put a stop to all future interference by them with the royalprerogative of the Plantagenets to misrule England.If he could but learn the details of this plan, thought De Vac: thepoint oflanding of the foreign troops; their numbers; the first pointof attack. Ah, would it not be sweet revenge indeed to balk the King inthis venture so dear to his heart!A word to De Clare, or De Montfort would bring thebarons and theirretainers forty thousand strong to overwhelm the King's forces.And he would let the King know to whom, and for what cause, he wasbeholden for his defeat and discomfiture. Possibly the baronswoulddepose Henry, and place a new king upon England's throne, and then DeVac would mock the Plantagenet to his face. Sweet, kind, delectablevengeance, indeed! And the old man licked his thin lips as thoughtotaste the last sweet vestige of some dainty morsel.And then Chance carried a little leather ball beneath the window wherethe old man stood; and as the child ran, laughing, to recover it, DeVac's eyes fell upon him,and his former plan for revenge melted as thefog before the noonday sun; and in its stead there opened to him thewhole hideous plot of fearsome vengeance as clearly as it were writ uponthe leaves of a great book thathad been thrown wide before him. And,in so far as he could direct, he varied not one jot from the detailsof that vividly conceived masterpiece of hellishness during the twentyyears which followed.The little boy who soinnocently played in the garden of his royalfather was Prince Richard, the three-year-old son of Henry III ofEngland. No published history mentions this little lost prince; only thesecret archives of the kings of Englandtell the story of his strangeand adventurous life. His name has been blotted from the records of men;and the revenge of De Vac has passed from the eyes of the world; thoughin his time it was a real and terrible thing inthe hearts of theEnglish.CHAPTER IIIFor nearly a month, the old man haunted the palace, and watched in thegardens for the little Prince until he knew the daily routine of histiny life with his nurses and governesses.Hesaw that when the Lady Maud accompanied him, they were wont to repairto the farthermost extremities of the palace grounds where, by a littlepostern gate, she admitted a certain officer of the Guards to whomtheQueen had forbidden the privilege of the court.There, in a secluded bower, the two lovers whispered their hopes andplans, unmindful of the royal charge playing neglected among the flowersand shrubbery of thegarden.Toward the middle of July De Vac had his plans well laid. He had managedto coax old Brus, the gardener, into letting him have the key to thelittle postern gate on the plea that he wished to indulge in amidnightescapade, hinting broadly of a fair lady who was to be the partner ofhis adventure, and, what was more to the point with Brus, at the sametime slipping a couple of golden zecchins into the gardener'spalm.Brus, like the other palace servants, considered De Vac a loyal retainerof the house of Plantagenet. Whatever else of mischief De Vac might beup to, Brus was quite sure that in so far as the King was concerned,thekey to the postern gate was as safe in De Vac's hands as though Henryhimself had it.The old fellow wondered a little that the morose old master of fenceshould, at his time in life, indulge in frivolous escapadesmorebefitting the younger sprigs of gentility, but, then, what concern wasit of his? Did he not have enough to think about to keep the gardensso that his royal master and mistress might find pleasure in theshadedwalks, the well-kept sward, and the gorgeous beds of foliage plants andblooming flowers which he set with such wondrous precision in the formalgarden?Further, two gold zecchins were not often come by soeasily as this;and if the dear Lord Jesus saw fit, in his infinite wisdom, to take thismeans of rewarding his poor servant, it ill became such a worm as he toignore the divine favor. So Brus took the gold zecchins and DeVac thekey, and the little prince played happily among the flowers of his royalfather's garden, and all were satisfied; which was as it should havebeen.That night, De Vac took the key to a locksmith on the far sideofLondon; one who could not possibly know him or recognize the keyas belonging to the palace. Here he had a duplicate made, waitingimpatiently while the old man fashioned it with the crude instruments ofhistime.From this little shop, De Vac threaded his way through the dirty lanesand alleys of ancient London, lighted at far intervals by an occasionalsmoky lantern, until he came to a squalid tenement but a shortdistancefrom the palace.A narrow alley ran past the building, ending abruptly at the bank of theThames in a moldering wooden dock, beneath which the inky waters of theriver rose and fell, lapping the decaying pilesand surging far beneaththe dock to the remote fastnesses inhabited by the great fierce dockrats and their fiercer human antitypes.Several times De Vac paced the length of this black alley in search ofthe little doorwayof the building he sought. At length he came upon it,and, after repeated pounding with the pommel of his sword, it was openedby a slatternly old hag.\"What would ye of a decent woman at such an ungodly hour?\" shegrumbled.\"Ah, 'tis ye, my lord?\" she added, hastily, as the flickering rays ofthe candle she bore lighted up De Vac's face. \"Welcome, my Lord, thricewelcome. The daughter of the devil welcomes her brother.\"\"Silence,old hag,\" cried De Vac. \"Is it not enough that you leech meof good marks of such a quantity that you may ever after wear mantlesof villosa and feast on simnel bread and malmsey, that you must needsburden me stillfurther with the affliction of thy vile tongue?\"Hast thou the clothes ready bundled and the key, also, to this gateto perdition? And the room: didst set to rights the furnishings I haddelivered here, and sweep thecentury-old accumulation of filth andcobwebs from the floor and rafters? Why, the very air reeked of the deadRomans who builded London twelve hundred years ago. Methinks, too, fromthe stink, they must have beenRoman swineherd who habited this sty withtheir herds, an' I venture that thou, old sow, hast never touched broomto the place for fear of disturbing the ancient relics of thy kin.\"\"Cease thy babbling, Lord Satan,\" criedthe woman. \"I would rather hearthy money talk than thou, for though it come accursed and tainted fromthy rogue hand, yet it speaks with the same sweet and commanding voiceas it were fresh from the coffers of theholy church.\"The bundle is ready,\" she continued, closing the door after De Vac, whohad now entered, \"and here be the key; but first let us have a payment.I know not what thy foul work may be, but foul it is I knowfrom thesecrecy which you have demanded, an' I dare say there will be some whowould pay well to learn the whereabouts of the old woman and the child,thy sister and her son you tell me they be, who you are soanxious tohide away in old Til's garret. So it be well for you, my Lord, to payold Til well and add a few guilders for the peace of her tongue if youwould that your prisoner find peace in old Til's house.\"\"Fetch me thebundle, hag,\" replied De Vac, \"and you shall have goldagainst a final settlement; more even than we bargained for if all goeswell and thou holdest thy vile tongue.\"But the old woman's threats had already caused DeVac a feeling ofuneasiness, which would have been reflected to an exaggerated degree inthe old woman had she known the determination her words had caused inthe mind of the old master of fence.His venture was fartoo serious, and the results of exposure toofraught with danger, to permit of his taking any chances with a disloyalfellow-conspirator. True, he had not even hinted at the enormity of theplot in which he was involvingthe old woman, but, as she had said, hisstern commands for secrecy had told enough to arouse her suspicions, andwith them her curiosity and cupidity. So it was that old Til might wellhave quailed in her tatteredsandals had she but even vaguely guessedthe thoughts which passed in De Vac's mind; but the extra gold pieceshe dropped into her withered palm as she delivered the bundle to him,together with the promise of more,quite effectually won her loyalty andher silence for the time being.Slipping the key into the pocket of his tunic and covering the bundlewith his long surcoat, De Vac stepped out into the darkness of the alleyandhastened toward the dock.Beneath the planks he found a skiff which he had moored there earlierin the evening, and underneath one of the thwarts he hid the bundle.Then, casting off, he rowed slowly up the Thames"}
+{"doc_id":"doc_271","qid":"","text":"<html><head><title>Sweeney Todd: The Demon Barber of Fleet Street Script at IMSDb.</title><meta name=\"description\" content=\"Sweeney Todd: The Demon Barber of Fleet Street script at the Internet MovieScript Database.\"><meta name=\"keywords\" content=\"Sweeney Todd: The Demon Barber of Fleet Street script, Sweeney Todd: The Demon Barber of Fleet Street movie script, Sweeney Todd: The Demon Barber ofFleet Street film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=SubjectCONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0];s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>    <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\"title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center></td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>            SWEENEY TODD: THE DEMON BARBER OF FLEET STREET</b>                            Written by                            JohnLogan                       Music and Lyrics by                         Stephen Sondheim                  Adapted from the Stage Musical         \"Sweeney Todd: The Demon Barber of Fleet Street\"               Music and Lyrics by StephenSondheim                       Book by Hugh Wheeler              Based on a version of \"Sweeney Todd\"                       by Christopher Bond                                               18th DECEMBER,2006<b>                                                                   PAGE 1.</b><b>1   INT. DARK CHAMBER -- NIGHT                                     1</b>    Foreboding organ music is heard...    We are looking down at a rough brickfloor ... is it an    alley? ... a cobblestone street? ... a warehouse? a factory?    ... we're not sure...    The flickering glow of flame is the only illumination...    The ominous organ music continues as...    From the bottomof the frame...    A dark pool of blood slowly begins to spread ... moving up    the frame, defying gravity ... the flickering flame reflected    in the blood...    Finally, the pool of blood fills the entireframe.<b>    SUDDENLY--</b>    A shrill factory whistle blows--    ENORMOUSLY LOUD -- blood-chilling and spine-shattering --    the whistle is a bizarre combination of sound: a factory    whistle; a hog beingslaughtered; a dog snarling; a roaring    inferno; a human scream--    And a man's face appears, upside down, reflected in the pool    of blood.    He is THE GENTLEMAN, a slender dandy in pearl grey glovesand    matching waistcoat. A cold and superior aristocrat.    The camera slowly revolves -- the Gentleman becoming right    side up as--<b>                           GENTLEMAN</b>                 Attend the tale of SweeneyTodd.                 His skin was pale and his eye was odd.                 He shaved the faces of gentlemen                 Who never thereafter were heard of again.                 He trod a path that few have trod,                 DidSweeney Todd,                 The Demon Barber of Fleet Street.    We cut from the blood to see the Gentleman standing before    us. Strangely impassive.    We are in an eerie dark chamber, unclear, a low ceiling,a    world of silhouettes and shadows.<b>                                                         (CONTINUED)</b><b>                                                                   PAGE2.</b><b>1   CONTINUED:                                                     1</b>    Another figure emerges from the miasma of shadows, into the    hellish flickering of flame: THE BANKER. He is large, rotund    and sleek.Impressive muttonchops.<b>                           BANKER</b>                 He kept a shop in London town,                 Of fancy clients and good renown,                 And what if none of their souls weresaved?                 They went to their maker impeccably shaved...    More FIGURES begin to emerge from the shadows, joining the    Gentleman and the Banker as...<b>                           BANKER</b>                 BySweeney,                 By Sweeney Todd,                 The Demon Barber of Fleet Street.    Although prosaic in appearance these figures are, infact,<b>    GHOSTS.</b><b>                           GHOSTS</b>                 Swing your razor wide, Sweeney!                 Hold it to the skies!                 Freely flows the blood of those                 Who moralize!    Asthey continue, the new figures become more distinct...    THE GENERAL, a tough, leather-skinned military man in a    crimson imperial uniform...<b>                           GENERAL</b>                 His needs were few, hisroom was bare:    THE PRIEST, a lean, severe man with pale skin in clerical    attire...<b>                           PRIEST</b>                 A lavabo and a fancy chair...    THE TOURIST, a small, meek man with glasses in anill-fitting    suit...<b>                           TOURIST</b>                 A mug of suds and a leather strop,                 An apron, a towel, a pail and a mop...    THE STUDENT, a dashing young man from Oxford withluxurious    long hair...<b>                                                          (CONTINUED)</b><b>                                                                 PAGE 3.</b><b>1   CONTINUED:(2)                                               1</b><b>                        STUDENT</b>              For neatness he deserves a nod,              Does Sweeney Todd...<b>                        GENTLEMAN</b>              The DemonBarber of Fleet Street.    The ghosts are a bit more insinuating now as they move around    this mysterious world...<b>                        GHOSTS</b>                  (variously)              Inconspicuous Sweeneywas,              Quick and quiet and clean `e was.              Back of his smile, under his word,              Sweeney heard music that nobody heard.              Sweeney pondered and Sweeney planned,              Like a perfectmachine 'e planned,              Sweeney was smooth, Sweeney was subtle,              Sweeney would blink and rats would scuttle...    The specters are becoming more insistent, their strange    impassivity giving way toaccusation as the flickering red    flame becomes an inferno--<b>                        GHOSTS</b>                  (variously)              Sweeney was smooth, Sweeney was subtle,              Sweeney would blink and ratswould scuttle.              Inconspicuous Sweeney was,              Quick and quiet and clean 'e was,              Like a perfect machine 'e was,              WasSweeney!              Sweeney!              Sweeney!              Sweeeeeneeeeey!    On this explosive note we revolve -- away from the ghostly    Furies--    To discover--    SWEENEY TODD. Standing before us. An unclearfigure,    silhouetted in blazing red flames.    We slowly push in on him as:<b>                        GHOSTS</b>              Attend the tale of Sweeney Todd.              He served a dark and a vengeful god.              Whathappened then--<b>                                                      (CONTINUED)</b><b>                                                                   PAGE 4.</b><b>1   CONTINUED:(3)                                                1</b><b>                        GENTLEMAN</b>              Well, who's to say?<b>                        BANKER</b>              And he wouldn't want us to give itaway,<b>                        GHOSTS</b>                  (variously)              Not Sweeney,              Not Sweeney Todd,              The Demon Barber of Fleet Street.    On this note, we push in tight on the figure ofTodd...    Music and the clanging of a clock tower bell are heard as we    slowly begin pulling back and are imperceptibly transported    to...<b>2   EXT. SHIP -- THAMES -- ALMOSTDAWN                             2</b>    ANTHONY, a young sailor of about 20, is standing at the rail    of a ship. We see the obscure shape of rigging and sails    behind him. The cries of sailors echo.    Behind him stand theGENTLEMAN and the BANKER. They are    looking past Anthony, looking at something. They move away as    Anthony peers through the fog, straining to see...    London.    Gradually, as the ship approaches, thetowering spires and    mountainous rooftops of the city begin to stand out in    relief, to emerge through the fog like a tiger creeping    toward its prey.    Music continues as Anthony takes in the dreadfuland    magnificent spectacle of the 19th Century metropolis. The    gnarl of rooftops. The labyrinth of streets and alleys. The    black trails of smoke reaching up like skeletal fingers from    a thousandchimneys.    London. Sulfurous London.    Anthony is awestruck.<b>                        ANTHONY</b>              I have sailed the world, beheld its wonders              From the Dardanelles              To the mountains ofPeru,              But there's no place like London--!    Then--<b>                                                         (CONTINUED)</b><b>                                                                  PAGE5.</b><b>2   CONTINUED:                                                    2</b>    Sweeney Todd steps to Anthony's side, grimly interrupting--<b>                           TODD</b>                 No, there's no place likeLondon.<b>                           ANTHONY</b>                 Mr. Todd...?<b>                           TODD</b>                 You are young.                 Life has been kind to you.                 You will learn.    Todd's glaresforward, his haunted gaze never leaving the    approaching city.<b>3   EXT. DOCKS -- DAWN                                             3</b>    Music continues as Todd stands very still and takes in the    shadowy figures on thedocks.    Anthony seems almost lost at his side, overwhelmed by the    scale and aura of the city.<b>                           ANTHONY</b>                 Lord ... takes your breath away,                 doesn't it?    Toddshudders violently, almost snarling.<b>                            TODD</b>                 There's a hole in the world                 Like a great black pit                 And the vermin of the world                 Inhabit it                 Andits morals aren't worth                 What a pig could spit                 And it goes by the name Of London.                 At the top of the hole                 Sit the privileged few                 Making mock of thevermin                 In the lower zoo,                 Turning beauty into filth and greed.                 I too                 Have sailed the world, and seen its wonders                 For the cruelty of men                 Is as wondrousas Peru,                 But there's no place like London!    Anthony looks at his friend, mystified by his grim reaction    to thecity.<b>                                                         (CONTINUED)</b><b>                                                                   PAGE6.</b><b>3   CONTINUED:                                                    3</b><b>                           TODD</b>                 I beg your indulgence, Anthony ... My                 mind is far from easy. In theseonce                 familiar streets I feel shadows                 everywhere...<b>                           ANTHONY</b>                 Shadows...?<b>                           TODD</b>                 Ghosts.    Anthony looking at him,questioning. Todd continues quietly:<b>                           TODD</b>                 There was a barber and his wife,                 And she was beautiful,                 A foolish barber and his wife,                 She was hisreason and his life,                 And she was beautiful,                 And she was virtuous.                 And he was...                     (a breath)                 Naive.    Anthony watches, rapt, as Todd remembers...<b>4   EXT.FLOWER MARKET -- FLASHBACK -- DAY                         4</b>    ...Fifteen years before.    Todd walks with his beautiful wife LUCY through a crowded    flower market, a colorful explosion of blossoms. Lucycarries    their one-year-old baby, JOHANNA.    Todd is almost unrecognizable to us, content and smiling.    Chatting with his wife. Happy.<b>                           TODD (V.O.)</b>                 There was another man"}
+{"doc_id":"doc_272","qid":"","text":"The Project Gutenberg EBook of The Tale of Tom Kitten, by Beatrix PotterThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: The Tale of Tom KittenAuthor: Beatrix PotterRelease Date: January 29, 2005 [EBook #14837]Language:English*** START OF THIS PROJECT GUTENBERG EBOOK THE TALE OF TOM KITTEN ***Produced by Robert Cicconetti, Melissa Er-Raqabi and the PG OnlineDistributed Proofreading Team(http://www.pgdp.net).[Illustration]THE TALE OFTOM KITTENBYBEATRIX POTTER_Author of__\"The Tale of Peter Rabbit\", &c._[Illustration]FREDERICK WARNEFirst published 19071907 by Frederick Warne & Co.Printedand bound in Great Britain byWilliam Clowes Limited, Beccles and LondonDEDICATEDTO ALLPICKLES,--ESPECIALLY TO THOSE THATGET UPON MY GARDEN WALL[Illustration]Once upon a time there were three littlekittens, and their names wereMittens, Tom Kitten, and Moppet.They had dear little fur coats of their own; and they tumbled about thedoorstep and played in the dust.But one day their mother--Mrs. TabithaTwitchit--expected friends to tea;so she fetched the kittens indoors, to wash and dress them, before thefine company arrived.[Illustration][Illustration]First she scrubbed their faces (this one is Moppet).Then shebrushed their fur, (this one is Mittens).[Illustration][Illustration]Then she combed their tails and whiskers (this is Tom Kitten).Tom was very naughty, and he scratched.Mrs. Tabitha dressed Moppet and Mittens in cleanpinafores and tuckers;and then she took all sorts of elegant uncomfortable clothes out of achest of drawers, in order to dress up her son Thomas.[Illustration][Illustration]Tom Kitten was very fat, and he had grown;several buttons burst off. Hismother sewed them on again.When the three kittens were ready, Mrs. Tabitha unwisely turned them outinto the garden, to be out of the way while she made hot buttered toast.\"Now keepyour frocks clean, children! You must walk on your hind legs.Keep away from the dirty ash-pit, and from Sally Henny Penny, and from thepig-stye and the Puddle-Ducks.\"[Illustration][Illustration]Moppet and Mittenswalked down the garden path unsteadily. Presently theytrod upon their pinafores and fell on their noses.When they stood up there were several green smears!\"Let us climb up the rockery, and sit on the garden wall,\"said Moppet.They turned their pinafores back to front, and went up with a skip and ajump; Moppet's white tucker fell down into the road.[Illustration][Illustration]Tom Kitten was quite unable to jump when walkingupon his hind legs introusers. He came up the rockery by degrees, breaking the ferns, andshedding buttons right and left.He was all in pieces when he reached the top of the wall.Moppet and Mittens tried to pull himtogether; his hat fell off, and therest of his buttons burst.[Illustration][Illustration]While they were in difficulties, there was a pit pat paddle pat! and thethree Puddle-Ducks came along the hard high road, marching onebehind theother and doing the goose step--pit pat paddle pat! pit pat waddle pat!They stopped and stood in a row, and stared up at the kittens. They hadvery small eyes and lookedsurprised.[Illustration][Illustration]Then the two duck-birds, Rebeccah and Jemima Puddle-Duck, picked up thehat and tucker and put them on.Mittens laughed so that she fell off the wall. Moppet and Tomdescendedafter her; the pinafores and all the rest of Tom's clothes came off on theway down.\"Come! Mr. Drake Puddle-Duck,\" said Moppet--\"Come and help us to dresshim! Come and button upTom!\"[Illustration][Illustration]Mr. Drake Puddle-Duck advanced in a slow sideways manner, and picked upthe various articles.But he put them on _himself!_ They fitted him even worse than Tom Kitten.\"It's a very finemorning!\" said Mr. Drake Puddle-Duck.[Illustration][Illustration]And he and Jemima and Rebeccah Puddle-Duck set off up the road, keepingstep--pit pat, paddle pat! pit pat, waddle pat!Then Tabitha Twitchit came downthe garden and found her kittens on thewall with no clothes on.[Illustration][Illustration]She pulled them off the wall, smacked them, and took them back to thehouse.\"My friends will arrive in a minute, and you are notfit to be seen; I amaffronted,\" said Mrs. Tabitha Twitchit.She sent them upstairs; and I am sorry to say she told her friends thatthey were in bed with the measles; which was not true.[Illustration][Illustration]Quite thecontrary; they were not in bed: _not_ in the least.Somehow there were very extraordinary noises over-head, which disturbedthe dignity and repose of the tea party.And I think that some day I shall have to makeanother, larger, book, totell you more about Tom Kitten![Illustration]As for the Puddle-Ducks--they went into a pond.The clothes all came off directly, because there were no buttons.[Illustration][Illustration]And Mr.Drake Puddle-Duck, and Jemima and Rebeccah, have been looking forthem ever since.End of Project Gutenberg's The Tale of Tom Kitten, by Beatrix Potter*** END OF THIS PROJECT GUTENBERG EBOOK THE TALE OFTOM KITTEN ******** This file should be named 14837.txt or 14837.zip *****This and all associated files of various formats will be found in:        http://www.gutenberg.net/1/4/8/3/14837/Produced by RobertCicconetti, Melissa Er-Raqabi and the PG OnlineDistributed Proofreading Team (http://www.pgdp.net).Updated editions will replace the previous one--the old editionswill be renamed.Creating the works from publicdomain print editions means that noone owns a United States copyright in these works, so the Foundation(and you!) can copy and distribute it in the United States withoutpermission and without paying copyrightroyalties.  Special rules,set forth in the General Terms of Use part of this license, apply tocopying and distributing Project Gutenberg-tm electronic works toprotect the PROJECT GUTENBERG-tm concept andtrademark.  ProjectGutenberg is a registered trademark, and may not be used if youcharge for the eBooks, unless you receive specific permission.  If youdo not charge anything for copies of this eBook, complying withtherules is very easy.  You may use this eBook for nearly any purposesuch as creation of derivative works, reports, performances andresearch.  They may be modified and printed and given away--you may dopracticallyANYTHING with public domain eBooks.  Redistribution issubject to the trademark license, especially commercialredistribution.*** START: FULL LICENSE ***THE FULL PROJECT GUTENBERG LICENSEPLEASE READ THISBEFORE YOU DISTRIBUTE OR USE THIS WORKTo protect the Project Gutenberg-tm mission of promoting the freedistribution of electronic works, by using or distributing this work(or any other work associated in anyway with the phrase \"ProjectGutenberg\"), you agree to comply with all the terms of the Full ProjectGutenberg-tm License (available with this file or online athttp://gutenberg.net/license).Section 1.  General Terms ofUse and Redistributing Project Gutenberg-tmelectronic works1.A.  By reading or using any part of this Project Gutenberg-tmelectronic work, you indicate that you have read, understand, agree toand accept all the termsof this license and intellectual property(trademark/copyright) agreement.  If you do not agree to abide by allthe terms of this agreement, you must cease using and return or destroyall copies of Project Gutenberg-tmelectronic works in your possession.If you paid a fee for obtaining a copy of or access to a ProjectGutenberg-tm electronic work and you do not agree to be bound by theterms of this agreement, you may obtain a refundfrom the person orentity to whom you paid the fee as set forth in paragraph 1.E.8.1.B.  \"Project Gutenberg\" is a registered trademark.  It may only beused on or associated in any way with an electronic work by peoplewhoagree to be bound by the terms of this agreement.  There are a fewthings that you can do with most Project Gutenberg-tm electronic workseven without complying with the full terms of thisagreement.  Seeparagraph 1.C below.  There are a lot of things you can do with ProjectGutenberg-tm electronic works if you follow the terms of this agreementand help preserve free future access to ProjectGutenberg-tm electronicworks.  See paragraph 1.E below.1.C.  The Project Gutenberg Literary Archive Foundation (\"the Foundation\"or PGLAF), owns a compilation copyright in the collection of ProjectGutenberg-tmelectronic works.  Nearly all the individual works in thecollection are in the public domain in the United States.  If anindividual work is in the public domain in the United States and you arelocated in the United States,we do not claim a right to prevent you fromcopying, distributing, performing, displaying or creating derivativeworks based on the work as long as all references to Project Gutenbergare removed.  Of course, we hopethat you will support the ProjectGutenberg-tm mission of promoting free access to electronic works byfreely sharing Project Gutenberg-tm works in compliance with the terms ofthis agreement for keeping the ProjectGutenberg-tm name associated withthe work.  You can easily comply with the terms of this agreement bykeeping this work in the same format with its attached full ProjectGutenberg-tm License when you share itwithout charge with others.1.D.  The copyright laws of the place where you are located also governwhat you can do with this work.  Copyright laws in most countries are ina constant state of change.  If you are outsidethe United States, checkthe laws of your country in addition to the terms of this agreementbefore downloading, copying, displaying, performing, distributing orcreating derivative works based on this work or any otherProjectGutenberg-tm work.  The Foundation makes no representations concerningthe copyright status of any work in any country outside the UnitedStates.1.E.  Unless you have removed all references to ProjectGutenberg:1.E.1.  The following sentence, with active links to, or other immediateaccess to, the full Project Gutenberg-tm License must appear prominentlywhenever any copy of a Project Gutenberg-tm work (any workon which thephrase \"Project Gutenberg\" appears, or with which the phrase \"ProjectGutenberg\" is associated) is accessed, displayed, performed, viewed,copied or distributed:This eBook is for the use of anyoneanywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.net1.E.2.  If an individual Project Gutenberg-tm electronic work is derivedfrom the public domain (does not contain a notice indicating that it isposted with permission of the copyright holder), the workcan be copiedand distributed to anyone in the United States without paying any feesor charges.  If you are redistributing or providing access to a workwith the phrase \"Project Gutenberg\" associated with or appearingon thework, you must comply either with the requirements of paragraphs 1.E.1through 1.E.7 or obtain permission for the use of the work and theProject Gutenberg-tm trademark as set forth in paragraphs 1.E.8or1.E.9.1.E.3.  If an individual Project Gutenberg-tm electronic work is postedwith the permission of the copyright holder, your use and distributionmust comply with both paragraphs 1.E.1 through 1.E.7 and anyadditionalterms imposed by the copyright holder.  Additional terms will be linkedto the Project Gutenberg-tm License for all works posted with thepermission of the copyright holder found at the beginning of thiswork.1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tmLicense terms from this work, or any files containing a part of thiswork or any other work associated with Project Gutenberg-tm.1.E.5.  Donot copy, display, perform, distribute or redistribute thiselectronic work, or any part of this electronic work, withoutprominently displaying the sentence set forth in paragraph 1.E.1 withactive links or immediate accessto the full terms of the ProjectGutenberg-tm License.1.E.6.  You may convert to and distribute this work in any binary,compressed, marked up, nonproprietary or proprietary form, including anyword processing orhypertext form.  However, if you provide access to ordistribute copies of a Project Gutenberg-tm work in a format other than\"Plain Vanilla ASCII\" or other format used in the official versionposted on the official ProjectGutenberg-tm web site (www.gutenberg.net),you must, at no additional cost, fee or expense to the user, provide acopy, a means of exporting a copy, or a means of obtaining a copy uponrequest, of the work in itsoriginal \"Plain Vanilla ASCII\" or otherform.  Any alternate format must include the full Project Gutenberg-tmLicense as specified in paragraph 1.E.1.1.E.7.  Do not charge a fee for access to, viewing,displaying,performing, copying or distributing any Project Gutenberg-tm worksunless you comply with paragraph 1.E.8 or 1.E.9.1.E.8.  You may charge a reasonable fee for copies of or providingaccess to or distributingProject Gutenberg-tm electronic works providedthat- You pay a royalty fee of 20% of the gross profits you derive from     the use of Project Gutenberg-tm works calculated using the method     you already use tocalculate your applicable taxes.  The fee is     owed to the owner of the Project Gutenberg-tm trademark, but he     has agreed to donate royalties under this paragraph to the     Project Gutenberg Literary ArchiveFoundation.  Royalty payments     must be paid within 60 days following each date on which you     prepare (or are legally required to prepare) your periodic tax     returns.  Royalty payments should be clearly markedas such and     sent to the Project Gutenberg Literary Archive Foundation at the     address specified in Section 4, \"Information about donations to     the Project Gutenberg Literary Archive Foundation.\"- You provide afull refund of any money paid by a user who notifies     you in writing (or by e-mail) within 30 days of receipt that s/he     does not agree to the terms of the full Project Gutenberg-tm     License.  You must require sucha user to return or     destroy all copies of the works possessed in a physical medium     and discontinue all use of and all access to other copies of     Project Gutenberg-tm works.- You provide, in accordance withparagraph 1.F.3, a full refund of any     money paid for a work or a replacement copy, if a defect in the     electronic work is discovered and reported to you within 90 days     of receipt of the work.- You comply with allother terms of this agreement for free     distribution of Project Gutenberg-tm works.1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tmelectronic work or group of works on different terms than aresetforth in this agreement, you must obtain permission in writing fromboth the Project Gutenberg Literary Archive Foundation and MichaelHart, the owner of the Project Gutenberg-tm trademark.  Contact theFoundationas set forth in Section 3 below.1.F.1.F.1.  Project Gutenberg volunteers and employees expend considerableeffort to identify, do copyright research on, transcribe and proofreadpublic domain works in creating theProject Gutenberg-tmcollection.  Despite these efforts, Project Gutenberg-tm electronicworks, and the medium on which they may be stored, may contain\"Defects,\" such as, but not limited to, incomplete, inaccurateorcorrupt data, transcription errors, a copyright or other intellectualproperty infringement, a defective or damaged disk or other medium, acomputer virus, or computer codes that damage or cannot be read byyourequipment.1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the \"Rightof Replacement or Refund\" described in paragraph 1.F.3, the ProjectGutenberg Literary Archive Foundation, the owner of theProjectGutenberg-tm trademark, and any other party distributing a ProjectGutenberg-tm electronic work under this agreement, disclaim allliability to you for damages, costs and expenses, including legalfees.  YOUAGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICTLIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSEPROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION,THETRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BELIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE ORINCIDENTAL DAMAGES EVEN IF YOU GIVENOTICE OF THE POSSIBILITY OF SUCHDAMAGE.1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover adefect in this electronic work within 90 days of receiving it, you canreceive a refund of the money(if any) you paid for it by sending awritten explanation to the person you received the work from.  If youreceived the work on a physical medium, you must return the medium withyour written explanation.  The personor entity that provided you withthe defective work may elect to provide a replacement copy in lieu of arefund.  If you received the work electronically, the person or entityproviding it to you may choose to give you asecond opportunity toreceive the work electronically in lieu of a refund.  If the second copyis also defective, you may demand a refund in writing without furtheropportunities to fix the problem.1.F.4.  Except for thelimited right of replacement or refund set forthin paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHERWARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITEDTOWARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.1.F.5.  Some states do not allow disclaimers of certain impliedwarranties or the exclusion or limitation of certain types of damages.If anydisclaimer or limitation set forth in this agreement violates thelaw of the state applicable to this agreement, the agreement shall beinterpreted to make the maximum disclaimer or limitation permitted bythe applicablestate law.  The invalidity or unenforceability of anyprovision of this agreement shall not void the remaining provisions.1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, thetrademark owner, anyagent or employee of the Foundation, anyoneproviding copies of Project Gutenberg-tm electronic works in accordancewith this agreement, and any volunteers associated with the production,promotion and distributionof Project Gutenberg-tm electronic works,harmless from all liability, costs and expenses, including legal fees,that arise directly or indirectly from any of the following which you door cause to occur: (a) distribution of thisor any Project Gutenberg-tmwork, (b) alteration, modification, or additions or deletions to anyProject Gutenberg-tm work, and (c) any Defect you cause.Section  2.  Information about the Mission of ProjectGutenberg-tmProject Gutenberg-tm is synonymous with the free distribution ofelectronic works in formats readable by the widest variety of computersincluding obsolete, old, middle-aged and new computers.  Itexistsbecause of the efforts of hundreds of volunteers and donations frompeople in all walks of life.Volunteers and financial support to provide volunteers with theassistance they need, is critical to reaching ProjectGutenberg-tm'sgoals and ensuring that the Project Gutenberg-tm collection willremain freely available for generations to come.  In 2001, the ProjectGutenberg Literary Archive Foundation was created to provide asecureand permanent future for Project Gutenberg-tm and future generations.To learn more about the Project Gutenberg Literary Archive Foundationand how your efforts and donations can help, see Sections 3 and4and the Foundation web page at http://www.pglaf.org.Section 3.  Information about the Project Gutenberg Literary ArchiveFoundationThe Project Gutenberg Literary Archive Foundation is a non profit501(c)(3)educational corporation organized under the laws of thestate of Mississippi and granted tax exempt status by the InternalRevenue Service.  The Foundation's EIN or federal tax identificationnumber is 64-6221541.  Its501(c)(3) letter is posted athttp://pglaf.org/fundraising.  Contributions to the Project GutenbergLiterary Archive Foundation are tax deductible to the full extentpermitted by U.S. federal laws and your state's laws.TheFoundation's principal office is located at 4557 Melan Dr. S.Fairbanks, AK, 99712., but its volunteers and employees are scatteredthroughout numerous locations.  Its business office is located at809 North 1500 West,Salt Lake City, UT 84116, (801) 596-1887, emailbusiness@pglaf.org.  Email contact links and up to date contactinformation can be found at the Foundation's web site and officialpage at http://pglaf.orgFor additional"}
+{"doc_id":"doc_273","qid":"","text":"<html><head><title>Mulholland Drive Script at IMSDb.</title><meta name=\"description\" content=\"Mulholland Drive script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"MulhollandDrive script, Mulholland Drive movie script, Mulholland Drive film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX,FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><html><head><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>Mulholland DriveScreenplay</title><body><pre><b> M  U  L  H  O  L  L  A  N  D</b><b> D  R  I  V  E    </b><b> 1/5/1999</b><b>    </b><b> M U L H 0 L L A N D             D R I V E</b><b>    </b><b>EXT.  NIGHT -HOLLYWOOD HILLS, LOS ANGELES</b><b>    </b>Darkness. Distant sounds of freeway traffic. Then the closersound of a car - its headlights illumine an oleander bush andthe limbs of an Eucalyptus tree. Then theheadlights turn - astreet sign is suddenly brightly lit. The words on the signread... \"Mulholland Drive.\" The car moves under the sign asit turns and the words fall once again into darkness.<b>    </b><b> CUTTO:</b><b>    </b><b>EXT. NIGHT - MULHOLLAND DRIVE</b><b>    </b>Gliding we follow the car - an older black Cadillac limousine- as it winds its way up Mulholland Drive through thedarkness of the HollywoodHills. There is no one else on theroad. As we drift closer to the car...<b>    </b><b> CUT TO:</b><b>    </b><b>INT. BLACK CADILLAC LIMOUSINE - NIGHT</b><b>    </b>Two men in dark suits are sitting in thefront seat. Abeautiful, younger, dark-haired woman sits in back. She sitsclose up against the door and stares out into the darkness.She seems to be thinking about something. Suddenly she turnsand looks ahead. Thecar is slowing and moving off to theside of the road.<b>    </b><b> DARK-HAIRED WOMAN</b> What are you doing? You don't stop here ...<b>    </b>The car stops - half on, half off the road at a dark, blindcurve.Both men turn to the woman.<b>    </b><b> DRIVER</b> Get out of the car.<b>    </b><b> CUT TO:</b><b>    </b><b>EXT.  FURTHER UP MULHOLLAND DRIVE - NIGHT</b><b>    </b>Two cars - aconvertible and a late model sedan are dragracing toward the blind curve blocking the view of theCadillac limousine. The cars are filled with crazedteenagers. Two girls are standing up through the sunroof ofthe sedanscreaming as their hair is whipped straight back.<b>    </b><b>    </b>The cars are travelling so fast that they seem to almostfloat as they fly with psychotic speed down both lanes ofMulhollandDrive.<b>    </b><b> CUT TO:</b><b>    </b><b>INT. EXT. - CADILLAC LIMOUSINE</b><b>    </b>The driver, still in his seat, has a pistol with a silencerattached pointing at the woman. The other man is gettingoutof the car. The woman is clutching the seat and the doorhandle as if trying to anchor herself. She is visibly afraid.The man who got out of the car tries the woman's door, but itis locked. He smiles as he reaches inthrough the front doorand unlocks her door. He opens her door. As he reaches forher, the woman's face becomes flooded with light. Her eyesdart to the front windshield. The driver, flooded with light,turns just as thelate model sedan slams into the Cadillaclimousine. There is an explosion of metal and glass amidstthunderous tearing sounds as the two cars become one indeath. The convertible screams past with hardly a notice.Thedriver of the limousine dies instantly as his body isjettisoned through the windshield. The other man is torn asthe cars screech over him. The woman is brutally thrown intothe back of the front seats as a cloud of dustand flyingrocks engulfs her. The disastrous moving sculpture of the twocars wants to climb up the hill, then stops and slides backtoward the road The Cadillac tips onto its side. Then all issilent. A fire erupts in the sedanand as the dust clears wesee the woman appear, then crawl out of the Cadillac to theroad. Her face is vacant. There is a bleeding cut just aboveher forehead. She stands for a moment clutching her purse -lost , thenbegins to walk as if in a trance acrossMulholland down through the bushes and into darkness.<b> DISSOLVE TO:</b><b>    </b><b>EXT. HOLLYWOOD HILLS - LATER - NIGHT</b><b>    </b>The woman slidesdown a hill through tangles of hostiledesert plants. Sirens can be heard in the distance. Shecrosses through some trees and is suddenly confronted by acoyote which snarls and leaps at her. She screams and strikesoutwith her purse in self defense. The coyote backs away -snarling. The woman then loses control and runs at the coyoteand it races off. She falls to the ground. We can hear thethunder of her heartbeat as the sirens growlouder. She getsup and stumbles through the trees. When she clears them sheis standing overlooking all of Los Angeles glowing downbelow. She clumsily starts down toward it.<b>   </b><b> DISSOLVETO:</b><b>    </b><b>HOLLYWOOD STREETS - LATER - NIGHT</b><b>    </b>The woman slides down a dusty hill and finds herself atFranklin Avenue. A car races by and its headlights flare onher face. Herexpression shows fear and panic. She doesn'tknow where she is or where to go. She runs frantically acrossthe street. She moves quickly to a sidewalk which takes herinto a residential area.<b>    </b><b> DISSOLVETO:</b><b>    </b><b>EXT. HOLLYWOOD STREETS - LATER - NIGHT</b><b>    </b>The woman crosses Sunset Boulevard. Coming up Sunset in thedistance is a police car with its sirens and lights going.Shehurries into the darkness of another residential area. Acar turns onto the street and comes toward her. Sheinstinctively moves behind a tree until it passes.<b>  </b><b> DISSOLVE TO:</b><b>    </b><b>EXT.HOLLYWOOD STREETS - LATER - NIGHT</b><b>    </b>As if being hunted in a foreign land the woman movesdesperately down another residential street. A drunken coupleround the corner up ahead and start up thesidewalk towardher. She runs off the sidewalk and into the bushes in frontof an apartment building. The couple passes by withoutnoticing her. Feeling safe in these bushes her exhaustionovertakes her and she lays herhead down to sleep.<b>   </b><b> DISSOLVE TO:</b><b>    </b><b>EXT.  MULHOLLAND DRIVE   - NIGHT</b><b>    </b>Police, paramedics surround the wreckage. Two detectives,HARRY MCKNIGHT and NEALDOMGAARD (both mid 40's to 50), stareat the remains of the two cars glowing white hot under thecrime scene lights. A coroner's van pulls out just after anambulance. The ambulance's siren begins to wail as itspeedsoff. The coroner's van cruises slowly. Detective HarryMcKnight and Detective Neal Domgaard continue staring. Theydo not look at each other. They are each motionless for along moment.<b>  </b><b>DETECTIVE HARRY MCKNIGHT</b> You feel it?<b>    </b><b> DETECTIVE NEAL DOMGAARD</b> Yeah.<b>    </b>They continue to stare.<b>    </b><b> </b><b> DETECTIVE NEAL DOMGAARD</b> Sammythinks the Caddy had stopped along the shoulder ... man up the road said he saw two cars drag racin'...then you got that blind corner.<b>    </b><b> DETECTIVE HARRY MCKNIGHT</b> Two men... two guns in theCaddy.<b>    </b><b> DETECTIVE NEAL DOMGAARD</b> The boys found this on the floor in back of the Caddy.<b>    </b>Neal holds up a plastic bag holding a pearl earring.<b>    </b><b> DETECTIVE HARRYMCKNIGHT</b> Yeah, they showed me<b>    </b><b> DETECTIVE NEAL DOMGAARD</b> Could be unrelated.<b>    </b><b> DETECTIVE HARRY MCKNIGHT</b> Could be...any of those dead kids wearin' pearlearrings?<b>    </b><b> DETECTIVE NEAL DOMGAARD</b> No. Could be someone's missin' maybe.<b>    </b><b> DETECTIVE HARRY MCKNIGHT</b> That's what I'm thinkin'.<b>    </b>Detective HarryMcKnight turns and crosses Mulholland. Hiseyes move over each blade of grass at the shoulder - eachdesert bush just beyond. He slowly raises his gaze to theshining lights of Hollywood laying far below like a galaxy.Helooks out and wonders.<b>    </b><b> CUT TO:</b><b>    </b><b>EXT. HOLLYWOOD STREETS - EARLY DAWN</b><b>    </b>The clang of a metal gate wakes the woman. It is just gettinglight and she sees anolder red-headed woman carrying asuitcase to the curb where a cab stands waiting with itstrunk open. The cab driver appears with two suitcases whichhe sets down next to the car. The red-headed woman and thecabdriver both go back through the iron gate. The woman inthe bushes pulls herself to the gate where she can peer intothe courtyard of this apartment building. She sees the red-headed woman and the cab driver go intoan apartment and comeback out with more luggage.<b>    </b>They leave the apartment door open. When the red-headed womanand the cab driver reach the cab they both begin loading thebags into the trunk andbackseat. Their backs are to thewoman in the bushes who takes this opportunity to go quicklyinto the courtyard and through the open apartment door.<b>    </b><b> CUT TO:</b><b>    </b><b>INT. APARTMENT -EARLY DAWN</b><b>    </b>The woman comes into a living room where a single trunkremains. She goes further into the apartment and crouchesdown in a back corner of the kitchen. She listens asfootsteps comeacross the courtyard. She hears the red-headedwoman and the cab driver get the trunk. She hears them set itdown once they have it in the courtyard. She hears the stepsof the red-headed woman come back insidethe apartment. Shehears the footsteps go all around the apartment and then shehears the footsteps come toward the kitchen. Remainingfrozen, the dark-haired woman's eyes look up as the red-headed woman walksright past her, grabs a set of keys offthe kitchen counter, then leaves the apartment. The woman canhear the door being locked. She lets go, slides to thekitchen floor, and passes out.<b>    </b><b> CUTTO:</b><b>    </b><b>INT. DENNY'S RESTAURANT , HOLLYWOOD - MORNING</b><b>    </b>Two well-dressed men HERB and DAN (mid 30's) are sitting at atable drinking coffee. Herb has finished eatinghisbreakfast, but Dan hasn't touched his bacon and eggs - heappears too nervous to eat. A blonde waitress with anameplate saying \"DIANE\" lays the check on their tablesmiles, then walks off.<b>    </b><b>HERB</b> Why did you want to go to breakfast if you're not hungry?<b> DAN</b> I just wanted to come here.<b> HERB</b> To Denny's? I wasn't going to say anything, but why Denny's?<b>    </b><b>DAN</b> This Denny's.<b>    </b><b> HERB</b> Okay. Why this Denny's?<b>    </b><b>    </b><b> DAN</b> It's kind of embarrassing but,<b>    </b><b> HERB</b> Go ahead.<b>    </b><b> DAN</b> Ihad a dream about this place.<b>    </b><b> HERB</b> Oh boy.<b>    </b><b> DAN</b> You see what I mean...<b>    </b><b> HERB</b> Okay, so you had a dream about this place. Tell me.<b>    </b><b>DAN</b> Well ... it's the second one I've had, but they were both the same......they start out that I'm in here but it's not day or night. It's kinda half night, but it looks just like this except for the light, but I'm scaredlike I can't tell ya. Of all people you're standing right over there by that counter. You're in both dreams and you're scared. I get even more frightened when I see how afraid you are and then I realize what it is - there'sa man...in back of this place. He's the one ... he's the one that's doing it. I can see him through the wall. I can see his face and I hope I never see that face ever outside a dream.<b>    </b>Herb stares at Dan to see ifhe will continue. Dan looksaround nervously, then stares at his uneaten food.<b>    </b> DAN (cont'd) That's it.<b>    </b><b> HERB</b> So, you came to see if he's out there?<b> DAN</b> To get rid of this"}
+{"doc_id":"doc_274","qid":"","text":"The Project Gutenberg EBook of On the Fourfold Root of the Principle ofSufficient Reason and On the Will in Nat, by Arthur SchopenhauerThis eBook is for the use of anyone anywhere in the United States andmostother parts of the world at no cost and with almost no restrictionswhatsoever.  You may copy it, give it away or re-use it under the terms ofthe Project Gutenberg License included with this eBook or onlineatwww.gutenberg.org.  If you are not located in the United States, you'll haveto check the laws of the country where you are located before using this ebook.Title: On the Fourfold Root of the Principle of SufficientReason and On the Will in Nature: Two Essays (revised edition)Author: Arthur SchopenhauerTranslator: Karl HillebrandRelease Date: January 19, 2016 [EBook #50966]Language: EnglishCharacter set encoding:UTF-8*** START OF THIS PROJECT GUTENBERG EBOOK PRINCIPLE OF SUFFICIENT REASON ***Produced by Charlene Taylor, Sharon Joiner, Bryan Ness andthe Online Distributed Proofreading Teamathttp://www.pgdp.net (This book was produced from scannedimages of public domain material from the Google Booksproject.)TRANSCRIBER'S NOTE:Italics have been transcribed using _underscores_, bold with=equalsigns=, spaced text with +plus signs+, small capitals as ALL CAPITALS,and text in superscript is preceded by a ^carat. Inconsistencies inhyphenation, punctuation, spelling and abbreviations have notbeencorrected. A list of other corrections can be found at the end of thedocument.  _BOHN'S PHILOSOPHICAL LIBRARY._  TWO ESSAYS  BY  ARTHUR SCHOPENHAUER.  LONDON: GEORGE BELL AND SONS  PORTUGALST. LINCOLN'S INN, W.C.  CAMBRIDGE: DEIGHTON, BELL & CO.  NEW YORK: THE MACMILLAN CO.  BOMBAY: A. H. WHEELER & CO.  ON  THE FOURFOLD ROOT OF THE PRINCIPLE OF SUFFICIENT REASON  AND  ONTHE WILL IN NATURE.  TWO ESSAYS BY  ARTHUR SCHOPENHAUER.  TRANSLATED BY MME. KARL HILLEBRAND.  _REVISED EDITION._  LONDON  GEORGE BELL AND SONS  1907  CHISWICK PRESS: CHARLESWHITTINGHAM AND CO.  TOOKS COURT, CHANCERY LANE, LONDON.TRANSLATOR'S PREFACE.In venturing to lay the present translation[1] before the public, Iam aware of the great difficulties of my task, and indeedcan hardlyhope to do justice to the Author. In fact, had it not been for theconsiderations I am about to state, I might probably never havepublished what had originally been undertaken in order to acquire aclearercomprehension of these essays, rather than with a view topublicity.  [1] From the fourth edition by Julius Frauenstädt. \"Fourfold Root,\"  Leipzig, 1875; \"Will in Nature,\" Leipzig, 1878.The two treatises which form thecontents of the present volume have somuch importance for a profound and correct knowledge of Schopenhauer'sphilosophy, that it may even be doubted whether the translation ofhis chief work, \"Die Welt als Wille undVorstellung,\" can contributemuch towards the appreciation of his system without the help atleast of the \"Vierfache Wurzel des Satzes vom zureichenden Grunde.\"Schopenhauer himself repeatedly and urgently insistsupon a previousthorough knowledge of Kant's philosophy, as the basis, and of hisown \"Fourfold Root,\" as the key, to his own system, asserting thatknowledge to be the indispensable condition for a rightcomprehensionof his meaning. So far as I am aware, neither the \"Fourfold Root\"nor the \"Will in Nature\" have as yet found a translator; therefore,considering the dawning interest which has begun to make itself feltforSchopenhauer's philosophy in England and in America, and the factthat no more competent scholar has come forward to do the work, it maynot seem presumptuous to suppose that this version may be acceptabletothose who wish to acquire a more than superficial knowledge of thisremarkable thinker, yet whose acquaintance with German does not permitthem to read his works in the original.Now although some portions of boththe Essays published in the presentvolume have of course become antiquated, owing to the subsequentdevelopment of the empirical sciences, while others--such as, forinstance, Schopenhauer's denunciation ofplagiarism in the cases ofBrandis and Rosas in the beginning of Physiology and Pathology[2]--canhave no interest for the reader of the present day, I have neverthelessgiven them just as he left them and refrained fromall suppression oralteration. And if, on the whole, the \"Will in Nature\" may be lessindispensable for a right understanding of our philosopher's viewsthan the \"Fourfold Root,\" being merely a record of theconfirmationswhich had been contributed during his lifetime by the various branchesof Natural Science to his doctrine, that _the thing in itself is thewill_, the Second Essay has nevertheless in its own way quite asmuchimportance as the First, and is, in a sense, its complement. For theyboth throw light on Schopenhauer's view of the Universe in its doubleaspect as Will and as Representation, each being as it were _arésumé_of the exposition of one of those aspects. My plea for uniting them inone volume, in spite of the difference of their contents and the widelapse of time (seventeen years) which lies between them, must be,thatthey complete each other, and that their great weight and intrinsicvalue seem to point them out as peculiarly fitted to be introduced tothe English thinker.  [2] See \"Will in Nature,\" pp. 9-18 of the original; pp.224-234 of  the present translation.In endeavouring to convey the Author's thoughts as he expressesthem, I have necessarily encountered many and great difficulties. Hismeaning, though always clearly expressed, isnot always easy to seize,even for his countrymen; as a foreigner, therefore, I may often havefailed to grasp, let alone adequately to render, that meaning. In thiscase besides, the responsibility for any want ofperspicuity cannotbe shifted by the translator on to the Author; since the consummateperfection of Schopenhauer's prose is universally recognised, even bythose who reject, or at least who do not share, his views. AneminentGerman writer of our time has not hesitated to rank him immediatelyafter Lessing and Göthe as the third greatest German prose-writer, andonly quite recently a German professor, in a speech deliveredwiththe intent of demolishing Schopenhauer's philosophy, was reluctantlyobliged to admit that his works would remain on account of theirliterary value. Göthe himself expressed admiration for the clearnessofexposition in Schopenhauer's chief work and for the beauty of his style.The chief obstacle I have encountered in translating these Essays, didnot therefore consist in the obscurity of the Author's style, nor evenin thedifficulty of finding appropriate terms wherewith to convey hismeaning; although at times certainly the want of complete precision inour philosophical terminology made itself keenly felt and the selectionwas often farfrom easy: it lay rather in the great difference in theway of thinking and of expressing their thoughts which lies betweenthe two nations. The regions of German and English thought are indeedseparated by a gulf, whichat first seems impassable, yet which mustbe bridged over by some means or other, if a right comprehension is tobe achieved. The German writer loves to develop synthetically a singlethought in a long period consistingof various members; he proceedssteadily to unravel the seemingly tangled skein, while he keeps thereader ever on the alert, making him assist actively in the processand never letting him lose sight of the main thread.The Englishauthor, on the contrary, anxious before all things to avoid confusionand misunderstanding, and ready for this end not only to sacrificeharmony of proportion in construction, but to submit to the necessityofoccasional artificial joining, usually adopts the analyticalmethod. He prefers to divide the thread of his discourse into severalsmaller skeins, easier certainly to handle and thus better suiting theconvenience of the Englishthinker, to whom long periods are trying andbewildering, and who is not always willing to wait half a page or morefor the point of a sentence or the gist of a thought. Wherever it couldbe done without interferingseriously with the spirit of the original,I have broken up the longer periods in these essays into smallersentences, in order to facilitate their comprehension. At times howeverSchopenhauer recapitulates a whole side ofhis view of the Universein a single period of what seems intolerable length to the Englishreader: as, for instance, the _résumé_ contained in the Introductionto his \"Will in Nature,\"[3] which could not be dividedwithout damageto his meaning. Here therefore it did not seem advisable to sacrificethe unity and harmony of his design and to disturb both his form andhis meaning, in order to minister to the reader's dislike formentalexertion; in keeping the period intact I have however endeavoured tomake it as easy to comprehend as possible by the way in which thesingle parts are presented to the eye.  [3] Pp. 2 and 3 of the original, andpp. 216 to 218 of the present  translation.As regards the terms chosen to convey the German meaning, I can hardlyhope to have succeeded in every case in adequately rendering it, stillless can I expect to havesatisfied my English readers. Several wordsof frequent occurrence and of considerable importance for the rightunderstanding of the original, have been used at different times bydifferent English philosophers in sensesso various, that, until ourphilosophical terminology has by universal consent attained far greaterprecision than at present, it must always be difficult for the writeror translator to convey to the reader's mind precisely thesame thoughtthat was in his own. To prevent unnecessary confusion however, byleaving too much to chance, I will here briefly state those terms whichgive most latitude for misapprehension, explaining the sense inwhichI employ them and also the special meaning attached to some of them bySchopenhauer, who often differs in this from other writers. They are asfollows.(_a._) _Anschauung_ (_anschauen_, literally 'to behold') Ihaverendered differently, according to its double meaning in German. Whenused to designate the mental act by which an object is perceived, asthe cause of a sensation received, it is rendered by _perception_.Whenused to lay stress upon _immediate_, as opposed to _abstract_representation, it is rendered by _intuition_. This last occurs howevermore often in the adjective form.(_b._) _Vorstellung_ (_vorstellen_, literally 'to placebefore') Irender by _representation_ in spite of its foreign, unwelcome sound tothe English ear, as being the term which nearest approaches the Germanmeaning. The faculty of representation is defined bySchopenhauerhimself as \"an exceedingly complicated physiological process in thebrain of an animal, the result of which is the consciousness of a_picture_ there.\"(_c._) _Auffassung_ (_auffassen_, literally 'to catch up')has somany shades of meaning in German that it has to be translated in manydifferent ways according to the relation in which it stands in thecontext. It signifies _apprehension_, _comprehension_,_perception_,_viewing_ and _grasping_.(_d._) _Wahrnehmung_ (_wahrnehmen_, from _wahr_, true, and _nehmen_, totake), is translated by _apprehension_ or _perception_, according tothe degree of consciousnesswhich accompanies it.But the two words which have proved most difficult to translate, havebeen _Vernehmen_ and _Willkühr_.(_e._) _Vernehmen_ means, to distinguish by the sense of hearing. Thisword conveys ashade of thought which it is almost impossible to renderin English, because we have no word by which to distinguish, from meresensuous hearing, a sort of hearing which implies more than hearing andless thancomprehension. The French _entendre_ comes nearer to it thanour _hearing_, but implies more comprehension than _vernehmen_.(_f._) As to _Willkühr_ (_arbitrium_, literally '_will-choice_'), aftera great deal ofconsideration I have chosen (_relative_) _free-will_ asthe nearest approach to the German sense, or at any rate, to that inwhich Schopenhauer uses it. _Willkühr_ means in fact what is commonlyunderstood asfree-will; _i.e._ will with power of choice, willdetermined by motives and unimpeded by outward obstacles: _arbitrium_as opposed to _voluntas_: conscious will as opposed to blind impulse.This relative free-willhowever is quite distinct from _absolutefree-will_ (_liberum arbitrium indifferentiæ_) in a metaphysical sense,_i.e._ will in its self-dependency. When its arbitrary character isspecially emphasized, we call _Willkühr_,_caprice_, but this is notthe usual meaning given to it by Schopenhauer.Besides the meaning of these German words, I have still to definethe sense in which I have used the term _idea_ in this translation;for this wordhas greatly changed its meaning at different times andwith different authors, and is even now apt to confuse and mislead.Schopenhauer has himself contributed in one way to render itssignification less clear; since, inspite of his declaration in the\"Fourfold Root\"[4] to the effect, that he never uses the word _idea_in any other than its original (Platonic) sense, he has himselfemployed it to translate _Vorstellung_, in a specimen hegives of arendering of a passage in Kant's \"Prolegomena\" in a letter addressedto Haywood, published in Gwinner's \"Biography of Schopenhauer.\" Thishe probably did because some eminent English and Frenchphilosophershad taken the word in this sense, thinking perhaps that Kant's meaningwould thus be more readily understood. As however he uses the word'_idea_' everywhere else exclusively in its original (Platonic)sense,I have preferred to avoid needless confusion by adhering to his owndeclaration and definition. Besides, many English writers of note haveprotested against any other sense being given to it, and modernGermanphilosophers have more and more returned to the original meaning of theterm.  [4] See p. 113, § 34 of the original, and p. 133 of the present  translation.Some readers may take exception at such expressionsas _à  priority_,_motivation_, _aseity_; for they are not, strictly speaking, Englishwords. These terms however belong to Schopenhauer's own characteristicterminology, and have a distinct and clearly defined meaning;thereforethey had to be retained in all cases in which they could not be evaded,in order not to interfere with the Author's intention: a necessitywhich the scholar will not fail to recognise, especially when I pleadin mydefence that fidelity and accuracy have been my sole aim in thiswork.If moreover Carlyle's words, \"He who imports into his own countryany true delineation, any rationally spoken word on any subject, hasdone well,\"are true, I may also be absolved from censure, if I laybefore the public this version of some important utterances of a greatthinker, in the hope that it may be an assistance in, and an incitementto, a deeper study of allSchopenhauer's works.                    THE TRANSLATOR._May, 1888._CONTENTS.  ON THE FOURFOLD ROOT OF THE PRINCIPLE OF SUFFICIENTREASON.  CHAP.                                                             PAGE        Translator's Preface                                           v        Author's Preface to the Second Edition                      xvii        Editor's Preface to the ThirdEdition                         xx        Editor's Preface to the Fourth Edition                    xxviii     I. Introduction                                                   1    II. General Survey of the most important views hithertoheld          concerning the Principle of Sufficient Reason                6   III. Insufficiency of the Old and outlines of a New          Demonstration                                               28    IV. On the First Class of Objects for theSubject, and that          form of the Principle of Sufficient Reason which          predominates in it                                          31     V. On the Second Class of Objects for the Subject and that          form of the Principleof Sufficient Reason which          predominates in it                                         114    VI. On the Third Class of Objects for the Subject and that          form of the Principle of Sufficient Reason which          predominatesin it                                         153   VII. On the Fourth Class of Objects for the Subject, and that          form of the Principle of Sufficient Reason which          predominates in it                                         165  VIII.General observations and results                             177  ON THE WILL IN NATURE.  Preface to the Second Edition                                      193  Editor's Preface to the Third Edition                              213  Editor'sPreface to the Fourth Edition                             214  Introduction                                                       215  Physiology and Pathology                                           224  ComparativeAnatomy                                                252  Physiology of Plants                                               281  PhysicalAstronomy                                                 305  Linguistic                                                         322  Animal Magnetism andMagic                                         326  Sinology                                                           359  Reference to Ethics                                                372  Conclusion                                                         378ON THEFOURFOLD ROOTOF THEPRINCIPLE OF SUFFICIENT REASON.A PHILOSOPHICAL TREATISE.  Î\u0000αὶ μὰ Ï\u0000ὸν á¼\u0000μεÏ\u0000á½³Ï\u0000á¾³ Ï\u0000Ï Ï\u0000á¾· Ï\u0000αÏ\u0000αδόνÏ\u0000α+Ï\u0000εÏ\u0000Ï\u0000ακÏ\u0000ύν+,  Παγὰν á¼\u0000ÎµÎ½á½±Î¿Ï Ï\u0000á½»Ï\u0000εÏ\u0000Ï\u0000 +ῥιζώμαÏ\u0000'+ á¼\u0000Ï\u0000Î¿Ï Ï\u0000αν.THE AUTHOR'S PREFACE TO THE SECOND EDITION.This treatise on Elementary Philosophy,which first appeared in theyear 1813, when it procured for me the degree of doctor, afterwardsbecame the substructure for the whole of my system. It cannot,therefore, be allowed to remain out of print, as has beenthe case,without my knowledge, for the last four years.On the other hand, to send a juvenile work like this once more into theworld with all its faults and blemishes, seemed to me unjustifiable.For I am aware that thetime cannot be very far off when all correctionwill be impossible; but with that time the period of my real influencewill commence, and this period, I trust, will be a long one, for Ifirmly rely upon Seneca's promise:\"_Etiamsi omnibus tecum viventibussilentium livor indixerit; venient qui sine offensa, sine gratiajudicent._\"[5] I have done what I could, therefore, to improve thiswork of my youth, and, considering the brevity anduncertainty of life,I must even regard it as an especially fortunate circumstance, to havebeen thus permitted to correct in my sixtieth year what I had writtenin my twenty-sixth.  [5] Seneca, Ep. 79.Nevertheless, whiledoing this, I meant to deal leniently with myyounger self, and to let him discourse, nay, even speak his mindfreely, wherever it was possible. But wherever he had advanced whatwas incorrect or superfluous, or hadeven left out the best part,I have been obliged to interrupt the thread of his discourse. Andthis has happened often enough; so often, indeed, that some of myreaders may perhaps think they hear an old man reading ayoung man'sbook aloud, while he frequently lets it drop, in order to indulge indigressions of his own on the same subject.It is easy to see that a work thus corrected after so long an interval,could never acquire the unityand rounded completeness which onlybelong to such as are written in one breath. So great a differencewill be found even in style and expression, that no reader of anytact can ever be in doubt whether it be the older oryounger man whois speaking. For the contrast is indeed striking between the mild,unassuming tone in which the youth--who is still simple enough tobelieve quite seriously that for all whose pursuit is philosophy,truth,and truth alone, can have importance, and therefore that whoeverpromotes truth is sure of a welcome from them--propounds his argumentswith confidence, and the firm, but also at times somewhat harsh voiceof theold man, who in course of time has necessarily discoveredthe true character and real aims of the noble company of mercenarytime-servers into which he has fallen. Nay, the just reader willhardly find fault with himshould he occasionally give free vent tohis indignation; since we see what comes of it when people who professto have truth for their sole aim, are always occupied in studying thepurposes of their powerful superiors,and when the _e quovis ligno fitMercurius_ is extended even to the greatest philosophers, and a clumsy_charlatan_, like Hegel, is calmly classed among them? Verily GermanPhilosophy stands before us loaded with"}
+{"doc_id":"doc_275","qid":"","text":"The Project Gutenberg EBook of Indiscretions of Archie, by P. G. WodehouseThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-useit under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: Indiscretions of ArchieAuthor: P. G. WodehouseRelease Date: June 25, 2008 [EBook #3756]Language:English*** START OF THIS PROJECT GUTENBERG EBOOK INDISCRETIONS OF ARCHIE ***Produced by Charles Franks, Chuck Greif and the OnlineDistributed Proofreading TeamINDISCRETIONS OF ARCHIEBy P. G.WodehouseIt wasn't Archie's fault really. Its true he went to America and fell inlove with Lucille, the daughter of a millionaire hotel proprietor and ifhe did marry her--well, what else was there to do?From his point ofview, the whole thing was a thoroughly good egg; butMr. Brewster, his father-in-law, thought differently, Archie hadneither money nor occupation, which was distasteful in the eyes of theindustrious Mr. Brewster; butthe real bar was the fact that he had onceadversely criticised one of his hotels.Archie does his best to heal the breach; but, being something of an ass,genus priceless, he finds it almost beyond his powers to placate\"theman-eating fish\" whom Providence has given him as a father-in-lawP. G. WodehouseAUTHOR OF \"THE LITTLE WARRIOR,\" \"A DAMSEL IN DISTRESS,\" \"UNEASY MONEY,\"ETC.NEW YORKGEORGE H. DORANCOMPANYCOPYRIGHT,1921, BY GEORGE H, DORAN COMPANYCOPYRIGHT, 1920, BY INTERNATIONAL MAGAZINE COMPANY (COSMOPOLITANMAGAZINE)PRINTED IN THE UNITED STATES OF AMERICADEDICATION TOB. W. KING-HALL My dear Buddy,-- We have been friends for eighteen years. A considerable proportion of my books were written under your hospitable roof. And yet I have never dedicated one to you. What will be theverdict of Posterity on this? The fact is, I have become rather superstitious about dedications. No sooner do you label a book with the legend--                          TO MY                        BEST FRIEND                            Xthan X cuts you in Piccadilly, or you bring a lawsuit against him. There is a fatality about it. However, I can't imagine anyone quarrelling with you, and I am getting more attractive all the time, so let's take a chance.Yours ever, P. G. WODEHOUSE.CONTENTS         I   DISTRESSING SCENE IN A HOTEL        II   A SHOCK FOR MR. BREWSTER       III   MR. BREWSTER DELIVERS SENTENCE        IV   WORK WANTED         V   STRANGEEXPERIENCE OF AN ARTIST'S MODEL        VI   THE BOMB       VII   MR. ROSCOE SHERRIFF HAS AN IDEA      VIII   A DISTURBED NIGHT FOR DEAR OLD SQUIFFY        IX   A LETTER FROM PARKER         X   DOINGFATHER A BIT OF GOOD        XI   SALVATORE CHOOSES THE WRONG MOMENT       XII   BRIGHT EYES-AND A FLY      XIII   RALLYING ROUND PERCY       XIV   THE SAD CASE OF LOONEY BIDDLE        XV   SUMMERSTORMS       XVI   ARCHIE ACCEPTS A SITUATION      XVII   BROTHER BILL'S ROMANCE     XVIII   THE SAUSAGE CHAPPIE       XIX   REGGIE COMES TO LIFE        XX   THE SAUSAGE CHAPPIECLICKS       XXI   THE-GROWING BOY      XXII   WASHY STEPS INTO THE HALL OF FAME     XXIII   MOTHER'S-KNEE      XXIV   THE MELTING OF MR. CONNOLLY       XXV   THE WIGMORE VENUS      XXVI   A TALE OF AGRANDFATHERCHAPTER I. DISTRESSING SCENE\"I say, laddie!\" said Archie.\"Sir?\" replied the desk-clerk alertly. All the employes of the HotelCosmopolis were alert. It was one of the things on which Mr. DanielBrewster,the proprietor, insisted. And as he was always wandering aboutthe lobby of the hotel keeping a personal eye on affairs, it was neversafe to relax.\"I want to see the manager.\"\"Is there anything I could do, sir?\"Archielooked at him doubtfully.\"Well, as a matter of fact, my dear old desk-clerk,\" he said, \"I want tokick up a fearful row, and it hardly seems fair to lug you into it. Whyyou, I mean to say? The blighter whose head I want ona charger is thebally manager.\"At this point a massive, grey-haired man, who had been standing closeby, gazing on the lobby with an air of restrained severity, as if daringit to start anything, joined in theconversation.\"I am the manager,\" he said.His eye was cold and hostile. Others, it seemed to say, might likeArchie Moffam, but not he. Daniel Brewster was bristling for combat.What he had overheard had shocked himto the core of his being. TheHotel Cosmopolis was his own private, personal property, and the thingdearest to him in the world, after his daughter Lucille. He pridedhimself on the fact that his hotel was not like otherNew York hotels,which were run by impersonal companies and shareholders and boards ofdirectors, and consequently lacked the paternal touch which made theCosmopolis what it was. At other hotels things wentwrong, and clientscomplained. At the Cosmopolis things never went wrong, because he wason the spot to see that they didn't, and as a result clients nevercomplained. Yet here was this long, thin, string-bean of anEnglishmanactually registering annoyance and dissatisfaction before his very eyes.\"What is your complaint?\" he enquired frigidly.Archie attached himself to the top button of Mr. Brewster's coat,and was immediatelydislodged by an irritable jerk of the other'ssubstantial body.\"Listen, old thing! I came over to this country to nose about in searchof a job, because there doesn't seem what you might call a generaldemand for myservices in England. Directly I was demobbed, the familystarted talking about the Land of Opportunity and shot me on to a liner.The idea was that I might get hold of something in America--\"He got hold of Mr.Brewster's coat-button, and was again shaken off.\"Between ourselves, I've never done anything much in England, and Ifancy the family were getting a bit fed. At any rate, they sent me overhere--\"Mr. Brewsterdisentangled himself for the third time.\"I would prefer to postpone the story of your life,\" he said coldly,\"and be informed what is your specific complaint against the HotelCosmopolis.\"\"Of course, yes. The jolly old hotel.I'm coming to that. Well, it waslike this. A chappie on the boat told me that this was the best place tostop at in New York--\"\"He was quite right,\" said Mr. Brewster.\"Was he, by Jove! Well, all I can say, then, is that theother New Yorkhotels must be pretty mouldy, if this is the best of the lot! I took aroom here last night,\" said Archie quivering with self-pity, \"and therewas a beastly tap outside somewhere which went drip-drip-drip allnightand kept me awake.\"Mr. Brewster's annoyance deepened. He felt that a chink had been foundin his armour. Not even the most paternal hotel-proprietor can keep aneye on every tap in hisestablishment.\"Drip-drip-drip!\" repeated Archie firmly. \"And I put my boots outsidethe door when I went to bed, and this morning they hadn't been touched.I give you my solemn word! Not touched.\"\"Naturally,\" saidMr. Brewster. \"My employes are honest\"\"But I wanted them cleaned, dash it!\"\"There is a shoe-shining parlour in the basement. At the Cosmopolisshoes left outside bedroom doors are not cleaned.\"\"Then I think theCosmopolis is a bally rotten hotel!\"Mr. Brewster's compact frame quivered. The unforgivable insult had beenoffered. Question the legitimacy of Mr. Brewster's parentage, knock Mr.Brewster down and walk on his facewith spiked shoes, and you did notirremediably close all avenues to a peaceful settlement. But make aremark like that about his hotel, and war was definitely declared.\"In that case,\" he said, stiffening, \"I must ask youto give up yourroom.\"\"I'm going to give it up! I wouldn't stay in the bally place anotherminute.\"Mr. Brewster walked away, and Archie charged round to the cashier'sdesk to get his bill. It had been his intention in anycase, though fordramatic purposes he concealed it from his adversary, to leave the hotelthat morning. One of the letters of introduction which he had broughtover from England had resulted in an invitation from a Mrs.van Tuyl toher house-party at Miami, and he had decided to go there at once.\"Well,\" mused Archie, on his way to the station, \"one thing's certain.I'll never set foot in THAT bally place again!\"But nothing in this world iscertain.CHAPTER II. A SHOCK FOR MR. BREWSTERMr. Daniel Brewster sat in his luxurious suite at the Cosmopolis,smoking one of his admirable cigars and chatting with his old friend,Professor Binstead. A stranger whohad only encountered Mr. Brewster inthe lobby of the hotel would have been surprised at the appearance ofhis sitting-room, for it had none of the rugged simplicity which was thekeynote of its owner's personalappearance. Daniel Brewster was a manwith a hobby. He was what Parker, his valet, termed a connoozer. Hiseducated taste in Art was one of the things which went to make theCosmopolis different from and superior toother New York hotels. He hadpersonally selected the tapestries in the dining-room and the variouspaintings throughout the building. And in his private capacity he was anenthusiastic collector of things which ProfessorBinstead, whosetastes lay in the same direction, would have stolen without a twinge ofconscience if he could have got the chance.The professor, a small man of middle age who wore tortoiseshell-rimmedspectacles,flitted covetously about the room, inspecting its treasureswith a glistening eye. In a corner, Parker, a grave, lean individual,bent over the chafing-dish, in which he was preparing for his employerand his guest theirsimple lunch.\"Brewster,\" said Professor Binstead, pausing at the mantelpiece.Mr. Brewster looked up amiably. He was in placid mood to-day. Twoweeks and more had passed since the meeting with Archie recorded intheprevious chapter, and he had been able to dismiss that disturbing affairfrom his mind. Since then, everything had gone splendidly with DanielBrewster, for he had just accomplished his ambition of the momentbycompleting the negotiations for the purchase of a site furtherdown-town, on which he proposed to erect a new hotel. He liked buildinghotels. He had the Cosmopolis, his first-born, a summer hotel in themountains,purchased in the previous year, and he was toying with theidea of running over to England and putting up another in London, That,however, would have to wait. Meanwhile, he would concentrate on this newonedown-town. It had kept him busy and worried, arranging for securingthe site; but his troubles were over now.\"Yes?\" he said.Professor Binstead had picked up a small china figure of delicateworkmanship. It representeda warrior of pre-khaki days advancing with aspear upon some adversary who, judging from the contented expression onthe warrior's face, was smaller than himself.\"Where did you get this?\"\"That? Mawson, my agent,found it in a little shop on the east side.\"\"Where's the other? There ought to be another. These things go in pairs.They're valueless alone.\"Mr. Brewster's brow clouded.\"I know that,\" he said shortly. \"Mawson's lookingfor the other oneeverywhere. If you happen across it, I give you carte blanche to buy itfor me.\"\"It must be somewhere.\"\"Yes. If you find it, don't worry about the expense. I'll settle up, nomatter what it is.\"\"I'll bear it inmind,\" said Professor Binstead. \"It may cost you a lotof money. I suppose you know that.\"\"I told you I don't care what it costs.\"\"It's nice to be a millionaire,\" sighed Professor Binstead.\"Luncheon is served, sir,\" saidParker.He had stationed himself in a statutesque pose behind Mr. Brewster'schair, when there was a knock at the door. He went to the door, andreturned with a telegram.\"Telegram for you, sir.\"Mr. Brewster noddedcarelessly. The contents of the chafing-dish hadjustified the advance advertising of their odour, and he was too busy tobe interrupted.\"Put it down. And you needn't wait, Parker.\"\"Very good, sir.\"The valet withdrew, andMr. Brewster resumed his lunch.\"Aren't you going to open it?\" asked Professor Binstead, to whom atelegram was a telegram.\"It can wait. I get them all day long. I expect it's from Lucille,saying what train she'smaking.\"\"She returns to-day?\"\"Yes, Been at Miami.\" Mr. Brewster, having dwelt at adequate length onthe contents of the chafing-dish, adjusted his glasses and took up theenvelope. \"I shall be glad--Great Godfrey!\"Hesat staring at the telegram, his mouth open. His friend eyed himsolicitously.\"No bad news, I hope?\"Mr. Brewster gurgled in a strangled way.\"Bad news? Bad--? Here, read it for yourself.\"Professor Binstead, one of thethree most inquisitive men in New York,took the slip of paper with gratitude.\"'Returning New York to-day with darling Archie,'\" he read. \"'Lots oflove from us both. Lucille.'\" He gaped at his host. \"Who is Archie?\"heenquired.\"Who is Archie?\" echoed Mr. Brewster helplessly. \"Who is--? That's justwhat I would like to know.\"\"'Darling Archie,'\" murmured the professor, musing over the telegram.\"'Returning to-day with darlingArchie.' Strange!\"Mr. Brewster continued to stare before him. When you send your onlydaughter on a visit to Miami minus any entanglements and she mentionsin a telegram that she has acquired a darling Archie, youare naturallystartled. He rose from the table with a bound. It had occurred to himthat by neglecting a careful study of his mail during the past week,as was his bad habit when busy, he had lost an opportunity ofkeepingabreast with current happenings. He recollected now that a letter hadarrived from Lucille some time ago, and that he had put it away unopenedtill he should have leisure to read it. Lucille was a dear girl, hehadfelt, but her letters when on a vacation seldom contained anything thatcouldn't wait a few days for a reading. He sprang for his desk, rummagedamong his papers, and found what he was seeking.It was a longletter, and there was silence in the room for somemoments while he mastered its contents. Then he turned to the professor,breathing heavily.\"Good heavens!\"\"Yes?\" said Professor Binstead eagerly. \"Yes?\"\"GoodLord!\"\"Well?\"\"Good gracious!\"\"What is it?\" demanded the professor in an agony.Mr. Brewster sat down again with a thud.\"She's married!\"\"Married!\"\"Married! To an Englishman!\"\"Bless my soul!\"\"She says,\" proceededMr. Brewster, referring to the letter again, \"thatthey were both so much in love that they simply had to slip off and getmarried, and she hopes I won't be cross. Cross!\" gasped Mr. Brewster,gazing wildly at hisfriend.\"Very disturbing!\"\"Disturbing! You bet it's disturbing! I don't know anything aboutthe fellow. Never heard of him in my life. She says he wanted a quietwedding because he thought a fellow looked such a chumpgetting married!And I must love him, because he's all set to love me very much!\"\"Extraordinary!\"Mr. Brewster put the letter down.\"An Englishman!\"\"I have met some very agreeable Englishmen,\" said ProfessorBinstead.\"I don't like Englishmen,\" growled Mr. Brewster. \"Parker's anEnglishman.\"\"Your valet?\"\"Yes. I believe he wears my shirts on the sly,'\" said Mr. Brewsterbroodingly, \"If I catch him--! What would you do aboutthis, Binstead?\"\"Do?\" The professor considered the point judiciary. \"Well, really,Brewster, I do not see that there is anything you can do. You mustsimply wait and meet the man. Perhaps he will turn out anadmirableson-in-law.\"\"H'm!\" Mr. Brewster declined to take an optimistic view. \"But anEnglishman, Binstead!\" he said with pathos. \"Why,\" he went on, memorysuddenly stirring, \"there was an Englishman at this hotelonly a week ortwo ago who went about knocking it in a way that would have amazed you!Said it was a rotten place! MY hotel!\"Professor Binstead clicked his tongue sympathetically. He understood hisfriend'swarmth.CHAPTER III. MR. BREWSTER DELIVERS SENTENCEAt about the same moment that Professor Binstead was clicking his tonguein Mr. Brewster's sitting-room, Archie Moffam sat contemplating hisbride in adrawing-room on the express from Miami. He was thinking thatthis was too good to be true. His brain had been in something of awhirl these last few days, but this was one thought that never failed toemerge clearlyfrom the welter.Mrs. Archie Moffam, nee Lucille Brewster, was small and slender. Shehad a little animated face, set in a cloud of dark hair. She was soaltogether perfect that Archie had frequently found himselfcompelledto take the marriage-certificate out of his inside pocket and study itfurtively, to make himself realise that this miracle of good fortune hadactually happened to him.\"Honestly, old bean--I mean, dear oldthing,--I mean, darling,\" saidArchie, \"I can't believe it!\"\"What?\"\"What I mean is, I can't understand why you should have married ablighter like me.\"Lucille's eyes opened. She squeezed his hand.\"Why, you're the mostwonderful thing in the world, precious!--Surelyyou know that?\"\"Absolutely escaped my notice. Are you sure?\"\"Of course I'm sure! You wonder-child! Nobody could see you withoutloving you!\"Archie heaved an ecstaticsigh. Then a thought crossed his mind. It wasa thought which frequently came to mar his bliss.\"I say, I wonder if your father will think that!\"\"Of course he will!\"\"We rather sprung this, as it were, on the old lad,\" saidArchiedubiously. \"What sort of a man IS your father?\"\"Father's a darling, too.\"\"Rummy thing he should own that hotel,\" said Archie. \"I had a frightfulrow with a blighter of a manager there just before I left forMiami.Your father ought to sack that chap. He was a blot on the landscape!\"It had been settled by Lucille during the journey that Archie should bebroken gently to his father-in-law. That is to say, instead ofboundingblithely into Mr. Brewster's presence hand in hand, the happy pairshould separate for half an hour or so, Archie hanging around in theoffing while Lucille saw her father and told him the whole story, orthosechapters of it which she had omitted from her letter for want ofspace. Then, having impressed Mr. Brewster sufficiently with his luck inhaving acquired Archie for a son-in-law, she would lead him to where hisbit of goodfortune awaited him.The programme worked out admirably in its earlier stages. When the twoemerged from Mr. Brewster's room to meet Archie, Mr. Brewster's generalidea was that fortune had smiled upon him in analmost unbelievablefashion and had presented him with a son-in-law who combined in almostequal parts the more admirable characteristics of Apollo, Sir Galahad,and Marcus Aurelius. True, he had gathered in thecourse of theconversation that dear Archie had no occupation and no private means;but Mr. Brewster felt that a great-souled man like Archie didn't needthem. You can't have everything, and Archie, according toLucille'saccount, was practically a hundred per cent man in soul, looks, manners,amiability, and breeding. These are the things that count. Mr. Brewsterproceeded to the lobby in a glow of optimism andgeniality.Consequently, when he perceived Archie, he got a bit of a shock.\"Hullo--ullo--ullo!\" said Archie, advancing happily.\"Archie, darling, this is father,\" said Lucille.\"Good Lord!\" said Archie.There was one of thosesilences. Mr. Brewster looked at Archie. Archiegazed at Mr. Brewster. Lucille, perceiving without understanding whythat the big introduction scene had stubbed its toe on some unlooked-forobstacle, waited anxiously forenlightenment. Meanwhile, Archiecontinued to inspect Mr. Brewster, and Mr. Brewster continued to drinkin Archie.After an awkward pause of about three and a quarter minutes, Mr.Brewster swallowed once or twice,and finally spoke.\"Lu!\"\"Yes, father?\"\"Is this true?\"Lucille's grey eyes clouded over with perplexity and apprehension.\"True?\"\"Have you really inflicted this--THIS on me for a son-in-law?\" Mr.Brewster swallowed a fewmore times, Archie the while watching witha frozen fascination the rapid shimmying of his new relative'sAdam's-apple. \"Go away! I want to have a few words alone withthis--This--WASSYOURDAMNAME?\" he demanded,in an overwrought manner,addressing Archie for the first time.\"I told you, father. It's Moom.\"\"Moom?\"\"It's spelt M-o-f-f-a-m, but pronounced Moom.\"\"To rhyme,\" said Archie, helpfully, \"with Bluffinghame.\"\"Lu,\" said Mr.Brewster, \"run away! I want to speak to-to-to--\"\"You called me THIS before,\" said Archie.\"You aren't angry, father, dear?\" said Lucilla.\"Oh no! Oh no! I'm tickled to death!\"When his daughter had withdrawn, Mr.Brewster drew a long breath.\"Now then!\" he said.\"Bit embarrassing, all this, what!\" said Archie, chattily. \"I meanto say, having met before in less happy circs. and what not. Rumcoincidence and so forth! How would itbe to bury the jolly oldhatchet--start a new life--forgive and forget--learn to love eachother--and all that sort of rot? I'm game if you are. How do we go? Isit a bet?\"Mr. Brewster remained entirely unsoftened by thismanly appeal to hisbetter feelings.\"What the devil do you mean by marrying my daughter?\"Archie reflected.\"Well, it sort of happened, don't you know! You know how these thingsARE! Young yourself once, and all that."}
+{"doc_id":"doc_276","qid":"","text":"<html><head><title>Chasing Amy Script at IMSDb.</title><meta name=\"description\" content=\"Chasing Amy script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Chasing Amy script,Chasing Amy movie script, Chasing Amy film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\"rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><html><head><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>ChasingAmy</title></head><pre> Chasing Amy Written by Kevin Smith<b> INT. COMIC BOOK STORE - DAY</b> A pile of COMIC BOOKS are on a shelf next to myriad others. The most prominent one is called \u0000BLUNTMANAND CHRONIC'.  A hand reaches in and pulls one out of frame. HOLDEN opens the comic and flips through it He shakes his head.  BANKY looks over his shoulder.<b> BANKY</b> Felt Like this fucking day would nevercome.  Issue two - on the shelf.<b> HOLDEN</b> Yippee.<b> BANKY</b> Don't start, alright!  This is a cool moment, and I'd appreciate you not trying to ruin it.  How often does a guy get the opportunity to purchasesomething with his name on it! (points to name on cover) Banky Edwards- right! (points to the other) Holden McNeil.<b> HOLDEN</b> I know my name.<b> BANKY</b> C'mon, sour puss.  We got the rest of our livesto be artists.  But it's supply and demand.  And right now, the unwashed masses demand this.<b> HOLDEN</b> (off comic) This is easy, alright!  And right now it pays the bills.  Just don't forget that we're better thanthis.<b> BANKY</b> I'll tell you who we're better than: these two fags right here. They approach the counter, where STEVE-DAVE, the store manager, and WALT the Fan-boy, play a card game.<b> BANKY</b> (laysbooks on the counter) Alright Old-Maid's - take a break from the Crazy-8's marathon and ring us up.<b> STEVE-DAVE</b> (not looking up) Well, well,well, Walt Did you see who it is!  The local celebrities.  Quick - getthem to autograph one of their books so we can sell it for triple it's value.<b> WALT</b> I'm not that in need of fifteen cents right now. They snicker and high-five one another.  Holden rolls his eyes.<b> BANKY</b>You guys operate the smallest, ladies' bridge circle I've ever seen.<b> WALT</b> For your information, we're playing \u0000Crimson Mystical Mages' - an overpower card game. Not that either of you would give a shit aboutsomething as advanced as this - there are no dick or poopie jokes involved.<b> BANKY</b> (to Holden) I don't think they're fans.<b> WALT</b> No, we're not.  You're both a couple of fucking no talents that gotlucky.<b> STEVE-DAVE</b> And obviously your handlers or hangers- on convinced you that your first comic was good which it was not it was thoroughly mediocre with a few spiky bits of dialogue.  And when you getyour foot in the door of the business, what do you do!  You turn out a piece of shit like \u0000Bluntman and Chronic'.<b> WALT</b> Tell him, Steve-Dave.<b> STEVE-DAVE</b> (off comic) \u0000Bluntman and Chronic'.  Pah.  What was that thing the little stoner pulled on the villain in the last issue!<b> WALT</b> The Stinky-palm.<b> STEVE-DAVE</b> Stinky-palm.  You give comics a bad name I tell all my customers not to buy it, tospend their money on a real comic book.<b> WALT</b> Fucking one hit wonder, dime-store Frank Miller's.<b> STEVE-DAVE</b> This is the reality at Comic-Toast - you're not going to get your ass kissed here,because both me and Walt think you suck.<b> WALT</b> And me.<b> STEVE-DAVE</b> I said that. Steve-Dave offers the boys his two middle fingers, then goes back to playing his game with Walt.  Holden andBanky stare, shocked.  Banky nudges Holden and they both exit Steve-Dave and the Fan-boy slap hands and go back to playing.<b> WALT</b> I've got a dragon card - forty power- ups and twelve life points!  Ha!  Iget your elf card!<b> STEVE-DAVE</b> You're such a bitch!  But thankfully, I've saved a dark forces Shaman card for just such an occasion.<b> WALT</b> You suck!  Eighty six life-power points to my twentytwo!<b> STEVE-DAVE</b> I schooled their asses, now I'm schooling your's. Suddenly.  A trash can crashes through the front window. Steve-Dave and Walt hit the deck like bitches, covering one another.  They look upslowly. Steve-Dave leaps to his feet and looks at the shattered mess.  He pulls something off the garbage can and reads it.<b> WALT</b> You know it was those two fucks!   Let's call the cops and have them busted!  Iknow where their studio is!   Or better yet, let's sue!  You can sue them, Steve-Dave!<b> STEVE-DAVE</b> (still reading note) That won't be necessary.<b> WALT</b> What?!  Why the hell not!<b>STEVE-DAVE</b> (holds up check) Because this is a check for three times what that window cost. (reading note) \u0000Dear critics - thanks for the insight. But like my grandmother always said - \u0000Fuck 'em if they can'ttake a joke.. and break their window.'   Kiss it, Banky the Hack. P.S. - Your card game blows.\u0000<b> WALT</b> He said \u0000Kiss it\u0000!<b> CREDITS</b><b> INT. COMIC BOOK: CONVENTION SIGNING BOOTH - DAY</b>A physically large FAN - sweaty brow, tote bag bursting with comics - leans forward, smiling.<b> FAN</b> Could you sign it \u0000To a really big fan\u0000! Holden sits at a table.  Across from the barely-managing- to-standFan.  He offers him a patronizingly kind, half- smile in return,<b> HOLDEN</b> You bet. We're at a Comic Book show, specifically at a book- signing. Behind Holden hangs a large banner, heralding HOLDEN McNEILAND BANKY EDWARDS - CREATORS OF \u0000BLUNTMAN AND CHRONIC'. Beside it is a large mock-up of the comic book cover which features two stoner super-heroes who bear a striking resemblance to a pair of veryfamiliar friendly neighborhood drug dealers, Holden hands the book back to the Fan.<b> FAN</b> I love this book man!  This shit's awesome.  I wish I was like these guys - getting stoned, talking all raw about chicksand fighting supervillains!  I love these guys!   They're like \u0000Cheech and Chong' meet \u0000Bill and fed'!<b> HOLDEN</b> I like to chink of them as \u0000Rosencrantz and Guildenstern' meet \u0000Vladimir and Estragon'.<b>FAN</b> Yeah! (beat) Who! BANKY signs the book of another COLLECTOR.<b> COLLECTOR</b> So you draw this!<b> BANKY</b> (signing the comic) I ink it and I'm also the colorist.   The guy next to me drawsit.  But we both came up with the characters,<b> COLLECTOR</b> What's that mean - you \u0000ink it'!<b> BANKY</b> Well.  It means that Holden draws the pictures in pencil, and then he gives it to me to go over inink<b> COLLECTOR</b> So you just trace! Banky freezes up.  He composes himself and continues signing.<b> BANKY</b> It's not tracing.  I add depth and shading to give the image mere definition. Only then doesthe drawing really take shape.<b> COLLECTOR</b> You go over what he draws with a pen - that's tracing.<b> BANKY</b> (hands book back to Collector) Not really. (calling out) Next! A LITTLE KID steps up but theCollector lingers.<b> COLLECTOR</b> Hey man.  If somebody draws something and then you draw the same thing right on top of it, not going out-side the designated original art what do call that!<b> LITTLEKID</b> (shrugs) I don't know.  Tracing?<b> COLLECTOR</b> (to Banky) See?<b> BANKY</b> It's not tracing.<b> COLLECTOR</b> Oh, but it is.<b> BANKY</b> (to Little Kid) Do you want Lour book signed orwhat?<b> COLLECTOR</b> Hey - don't get all testy with him just because you have a problem with your station in life.<b> BANKY</b> I'm secure with what I do.<b> COLLECTOR</b> Then say it - you're atracer.<b> BANKY</b> (grabbing Little Kid's book) How should I sign this?<b> LITTLE KID</b> (grabs book back) I don't want you to sign it, I want the guy that draws Bluntman and Chronic to sign it.  You're just atracer.<b> COLLECTOR</b> Tell him, Little Shaver. Holden accepts a comic from another Fan.<b> HOLDEN</b> (off comic) Who do I sign it to! Before Holden can finish, a loud crash is heard.  He looks to his left andfreaks. Banky is throttling the Collector from across the table. The Collector attempts to fight him off.  SECURITY GUARDS pull them apart. Holden grabs Banky.<b> COLLECTOR</b> Jesus!  All I did was call him atracer!<b> BANKY</b> (to Collector)<b> I'LL TRACE A CHALK LINE AROUND YOUR </b><b> DEAD FUCKING BODY, YOU FUCK?!</b><b> HOLDEN</b> (to Security Guard) Could you get him out of here! TheSecurity Guards drag the collector away.<b> COLLECTOR</b> Hey, wait a sec!  He jumped me!  And you're dragging me away!! (exiting) Fucking tracer!<b> BANKY</b> (calling OC)<b> YOUR MOTHER'S ATRACER!!</b><b> </b><b> HOLDEN</b> Can I explain the audience principle to you!  If you insult and accost them, then we have no audience.<b> BANKY</b> He started it!  Fucking cock-knocker! He's lucky Ididn't put my pen through his thorax!<b> HOLDEN</b> Need I remind you... (holds up watch) Curtain's in ten minutes.<b> INT. COMIC BOOK CONVENTION LECTURE HALL - DAY</b> HOOPER fills the frame.  Hecomes off like a typical, pro- black/anti-white homeboy.<b> HOOPER</b> For years in this industry whenever an African-American character - hero or villain - was introduced usually by white artists and writers - theygot slapped with racist names that singled them out as negroes: Black Panther, Black Lightning, Black Goliath, Black Mantra, Black Talon, Black Spider, Black Hand, Black Falcon, Black Cat..<b> VOICE FROMCROWD</b> She's white.<b> HOOPER</b> She is? (beat) Well bust this - regardless. We're at a panel discussion.  The room is full.  Five creators sit at a long table, their names on placards in front of them.   (One ofthem is a very striking Girl.)  The banner behind them reads \u0000WORDS UP - MINORITY VOICES IN COMICS'.<b> HOOPER</b> (holds up comic) Now my book, \u0000White-Hating Coon', doesn't have any of that bullshit.The hero's name is Maleekwa, and he's a descendant of the black tribe that established the first society on the planet, while all you European mother fuckers were still hiding in caves and shit, all terrified of the sun.He's a strong role model that a young black reader can look up to, \u0000Cause I'm here to tell you - the chickens are comin' home to roost, ya'll: the black man's no longer gonna play the minstrel in the medium of comicsand Sci- Fi/Fantasy!  We're keeping it real, and we're gonna get respect - by any means necessary! During the speech, Holden and Banky enter and sit up front.<b> HOLDEN</b> (calling out) Bullshit!  Lando Calrissianwas a black man, and he got to fly the Millennium Falcon! Hooper whips his head around, looking for the source of the comment<b> HOOPER</b> Who said that?!?<b> HOLDEN</b> (standing) I did!  Lando Calrissianis a positive black role model in the realm of Science Fiction/Fantasy.<b> HOOPER</b> Fuck Lando Calrissian!  Uncle Tom nigger!  Always some white boy gotta invoke \u0000the holy trilogy'! Bust this - those movies areabout how the white man keeps the brother man down - even in a galaxy far, far away.  Check this shit.  You got cracker farm-boy Luke Skywalker, Nazi poster boy - blond hair, blue eyes.   And then you've got DarthVader: the blackest brother in the galaxy.  Nubian God.<b> BANKY</b> What's a Nubian?<b> HOOPER</b> Shut the fuck up!  Now Vader, he's a spiritual brother, with the force and all that shit.  Then this crackerSkywalker gets his hands on a light- saber, and the boy decides he's gonna run the fucking universe - gets a whole Klan of whites together, and they're gonna bust up Vader's \u0000hood the Death Star.  Now what the fuckdo you call that!<b> BANKY</b> Intergalactic Civil War!<b> HOOPER</b> Gentrification.  They're gonna drive our the black element, to make the galaxy quote, unquote \u0000safe' for white folks.<b> HOLDEN</b> But"}
+{"doc_id":"doc_277","qid":"","text":"Project Gutenberg's Rise and Fall of Cesar Birotteau, by Honore de BalzacThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: Rise and Fall of Cesar BirotteauAuthor: Honore de BalzacTranslator: Katharine Prescott WormeleyReleaseDate: October, 1999  [Etext #1942]Posting Date: March 6, 2010Language: English*** START OF THIS PROJECT GUTENBERG EBOOK RISE AND FALL OF CESAR BIROTTEAU ***Produced by John Bickers, andDagnyRISE AND FALL OF CESAR BIROTTEAUBy Honore De BalzacTranslated by Katharine Prescott WormeleyPART I. CESAR AT HIS APOGEEIDuring winter nights noise never ceases in the Rue Saint-Honore exceptfor ashort interval. Kitchen-gardeners carrying their produce to marketcontinue the stir of carriages returning from theatres and balls. Nearthe middle of this sustained pause in the grand symphony of Parisianuproar, whichoccurs about one o'clock in the morning, the wife ofMonsieur Cesar Birotteau, a perfumer established near the Place Vendome,was startled from her sleep by a frightful dream. She had seen herdouble. She hadappeared to herself clothed in rags, turning with ashrivelled, withered hand the latch of her own shop-door, seeming to beat the threshold, yet at the same time seated in her armchair behind thecounter. She wasasking alms of herself, and heard herself speaking fromthe doorway and also from her seat at the desk.She tried to grasp her husband, but her hand fell on a cold place.Her terror became so intense that she could notmove her neck, whichstiffened as if petrified; the membranes of her throat became gluedtogether, her voice failed her. She remained sitting erect in the sameposture in the middle of the alcove, both panels of whichwere wideopen, her eyes staring and fixed, her hair quivering, her ears filledwith strange noises, her heart tightened yet palpitating, and her personbathed in perspiration though chilled to the bone.Fear is ahalf-diseased sentiment, which presses so violently upon thehuman mechanism that the faculties are suddenly excited to the highestdegree of their power or driven to utter disorganization. Physiologistshave longwondered at this phenomenon, which overturns their systemsand upsets all theories; it is in fact a thunderbolt working within thebeing, and, like all electric accidents, capricious and whimsical in itscourse. Thisexplanation will become a mere commonplace in the daywhen scientific men are brought to recognize the immense part whichelectricity plays in human thought.Madame Birotteau now passed through several of theshocks, in some sortelectrical, which are produced by terrible explosions of the will forcedout, or held under, by some mysterious mechanism. Thus during aperiod of time, very short if judged by a watch, butimmeasurable whencalculated by the rapidity of her impressions, the poor woman had thesupernatural power of emitting more ideas and bringing to the surfacemore recollections than, under any ordinary use of herfaculties, shecould put forth in the course of a whole day. The poignant tale of hermonologue may be abridged into a few absurd sentences, as contradictoryand bare of meaning as the monologue itself.\"There is noreason why Birotteau should leave my bed! He has eaten somuch veal that he may be ill. But if he were ill he would have wakedme. For nineteen years that we have slept together in this bed, in thishouse, it has neverhappened that he left his place without tellingme,--poor sheep! He never slept away except to pass the night in theguard-room. Did he come to bed to-night? Why, of course; goodness! howstupid I am.\"She cast hereyes upon the bed and saw her husband's night-cap, whichstill retained the almost conical shape of his head.\"Can he be dead? Has he killed himself? Why?\" she went on. \"For thelast two years, since they made himdeputy-mayor, he is_all-I-don't-know-how_. To put him into public life! On the word of anhonest woman, isn't it pitiable? His business is doing well, for he gaveme a shawl. But perhaps it isn't doing well? Bah! I shouldknow ofit. Does one ever know what a man has got in his head; or a womaneither?--there is no harm in that. Didn't we sell five thousand francs'worth to-day? Besides, a deputy mayor couldn't kill himself; he knowsthelaws too well. Where is he then?\"She could neither turn her neck, nor stretch out her hand to pullthe bell, which would have put in motion a cook, three clerks, and ashop-boy. A prey to the nightmare, which still lastedthough hermind was wide awake, she forgot her daughter peacefully asleep in anadjoining room, the door of which opened at the foot of her bed. At lastshe cried \"Birotteau!\" but got no answer. She thought she hadcalled thename aloud, though in fact she had only uttered it mentally.\"Has he a mistress? He is too stupid,\" she added. \"Besides, he loves metoo well for that. Didn't he tell Madame Roguin that he had neverbeenunfaithful to me, even in thought? He is virtue upon earth, that man. Ifany one ever deserved paradise he does. What does he accuse himself ofto his confessor, I wonder? He must tell him a lot offiddle-faddle.Royalist as he is, though he doesn't know why, he can't froth up hisreligion. Poor dear cat! he creeps to Mass at eight o'clock as slyly asif he were going to a bad house. He fears God for God's sake; hellisnothing to him. How could he have a mistress? He is so tied to mypetticoat that he bores me. He loves me better than his own eyes; hewould put them out for my sake. For nineteen years he has never said tome oneword louder than another. His daughter is never considered beforeme. But Cesarine is here--Cesarine! Cesarine!--Birotteau has never hada thought which he did not tell me. He was right enough when he declaredto meat the Petit-Matelot that I should never know him till I triedhim. And _not here_! It is extraordinary!\"She turned her head with difficulty and glanced furtively about theroom, then filled with those picturesque effectswhich are the despairof language and seem to belong exclusively to the painters of genre.What words can picture the alarming zig-zags produced by fallingshadows, the fantastic appearance of curtains bulged out bythe wind,the flicker of uncertain light thrown by a night-lamp upon the folds ofred calico, the rays shed from a curtain-holder whose lurid centrewas like the eye of a burglar, the apparition of a kneeling dress,--inshort,all the grotesque effects which terrify the imagination at amoment when it has no power except to foresee misfortunes and exaggeratethem? Madame Birotteau suddenly saw a strong light in the room beyondherchamber, and thought of fire; but perceiving a red foulard whichlooked like a pool of blood, her mind turned exclusively to burglars,especially when she thought she saw traces of a struggle in the way thefurniture stoodabout the room. Recollecting the sum of money whichwas in the desk, a generous fear put an end to the chill ferment of hernightmare. She sprang terrified, and in her night-gown, into the verycentre of the room tohelp her husband, whom she supposed to be in thegrasp of assassins.\"Birotteau! Birotteau!\" she cried at last in a voice full of anguish.She then saw the perfumer in the middle of the next room, a yard-stickin his handmeasuring the air, and so ill wrapped up in his green cottondressing-gown with chocolate-colored spots that the cold had reddenedhis legs without his feeling it, preoccupied as he was. When Cesarturned about to say tohis wife, \"Well, what do you want, Constance?\"his air and manner, like those of a man absorbed in calculations, wereso prodigiously silly that Madame Birotteau began to laugh.\"Goodness! Cesar, if you are not an odditylike that!\" she said. \"Whydid you leave me alone without telling me? I have nearly died of terror;I did not know what to imagine. What are you doing there, flying opento all the winds? You'll get as hoarse as a wolf. Doyou hear me,Birotteau?\"\"Yes, wife, here I am,\" answered the perfumer, coming into the bedroom.\"Come and warm yourself, and tell me what maggot you've got in yourhead,\" replied Madame Birotteau opening theashes of the fire, which shehastened to relight. \"I am frozen. What a goose I was to get up in mynight-gown! But I really thought they were assassinating you.\"The shopkeeper put his candlestick on the chimney-piece,wrapped hisdressing-gown closer about him, and went mechanically to find a flannelpetticoat for his wife.\"Here, Mimi, cover yourself up,\" he said. \"Twenty-two by eighteen,\" heresumed, going on with his monologue;\"we can get a superb salon.\"\"Ah, ca! Birotteau, are you on the high road to insanity? Are youdreaming?\"\"No, wife, I am calculating.\"\"You had better wait till daylight for your nonsense,\" she cried,fastening the petticoatbeneath her short night-gown and going to thedoor of the room where her daughter was in bed.\"Cesarine is asleep,\" she said, \"she won't hear us. Come, Birotteau,speak up. What is it?\"\"We can give a ball.\"\"Give a ball!we? On the word of an honest woman, you are dreaming, myfriend.\"\"I am not dreaming, my beautiful white doe. Listen. People shouldalways do what their position in life demands. Government has broughtme forwardinto prominence. I belong to the government; it is my duty tostudy its mind, and further its intentions by developing them. The Ducde Richelieu has just put an end to the occupation of France bythe foreign armies.According to Monsieur de la Billardiere, thefunctionaries who represent the city of Paris should make it their duty,each in his own sphere of influence, to celebrate the liberation of ourterritory. Let us show a truepatriotism which shall put these liberals,these damned intriguers, to the blush; hein? Do you think I don't lovemy country? I wish to show the liberals, my enemies, that to love theking is to love France.\"\"Do you thinkyou have got any enemies, my poor Birotteau?\"\"Why, yes, wife, we have enemies. Half our friends in the quarter areour enemies. They all say, 'Birotteau has had luck; Birotteau is a manwho came from nothing: yethere he is deputy-mayor; everything succeedswith him.' Well, they are going to be finely surprised. You are thefirst to be told that I am made a chevalier of the Legion of honor. Theking signed the order yesterday.\"\"Oh!then,\" said Madame Birotteau, much moved, \"of course we must givethe ball, my good friend. But what have you done to merit the cross?\"\"Yesterday, when Monsieur de la Billardiere told me the news,\" saidBirotteau,modestly, \"I asked myself, as you do, what claims I had toit; but I ended by seeing what they were, and in approving the actionof the government. In the first place, I am a royalist; I was woundedat Saint-Roch inVendemiaire: isn't it something to have borne armsin those days for the good cause? Then, according to the merchants, Iexercised my judicial functions in a way to give general satisfaction. Iam now deputy-mayor. Theking grants four crosses to the municipality ofParis; the prefect, selecting among the deputies suitable persons to bethus decorated, has placed my name first on the list. The king moreoverknows me: thanks to oldRagon. I furnish him with the only powder he iswilling to use; we alone possess the receipt of the late queen,--poor,dear, august victim! The mayor vehemently supported me. So there it is.If the king gives me the crosswithout my asking for it, it seems to methat I cannot refuse it without failing in my duty to him. Did I seek tobe deputy-mayor? So, wife, since we are sailing before the wind, asyour uncle Pillerault says when he isjovial, I have decided to put thehousehold on a footing in conformity with our high position. If I canbecome anything, I'll risk being whatever the good God wills that Ishall be,--sub-prefect, if such be my destiny. Mywife, you are muchmistaken if you think a citizen has paid his debt to his country bymerely selling perfumery for twenty years to those who came to buy it.If the State demands the help of our intelligence, we are asmuch boundto give it as we are to pay the tax on personal property, on windows anddoors, _et caetera_. Do you want to stay forever behind your counter?You have been there, thank God, a long time. This ball shall beourfete,--yours and mine. Good-by to economy,--for your sake, be itunderstood. I burn our sign, 'The Queen of Roses'; I efface the name,'Cesar Birotteau, Perfumer, Successor to Ragon,' and put simply,'Perfumery' inbig letters of gold. On the _entresol_ I place theoffice, the counting-room, and a pretty little sanctum for you. I makethe shop out of the back-shop, the present dining-room, and kitchen. Ihire the first floor of the nexthouse, and open a door into it throughthe wall. I turn the staircase so as to pass from house to house on onefloor; and we shall thus get a grand appartement, furnished like a nest.Yes, I shall refurnish your bedroom,and contrive a boudoir for you anda pretty chamber for Cesarine. The shop-girl whom you will hire, ourhead clerk, and your lady's-maid (yes, Madame, you are to have one!)will sleep on the second floor. On the thirdwill be the kitchen androoms of the cook and the man-of-all-work. The fourth shall be a generalstore-house for bottle, crystals, and porcelains. The workshop for ourpeople, in the attic! Passers-by shall no longer seethem gumming onthe labels, making the bags, sorting the flasks, and corking the phials.Very well for the Rue Saint-Denis, but for the Rue Saint-Honore--fy! badstyle! Our shop must be as comfortable as adrawing-room. Tell me, arewe the only perfumers who have reached public honors? Are there notvinegar merchants and mustard men who command in the National Guard andare very well received at the Palace? Letus imitate them; let us extendour business, and at the same time press forward into higher society.\"\"Goodness! Birotteau, do you know what I am thinking of as I listen toyou? You are like the man who looks for knotsin a bulrush. Recollectwhat I said when it was a question of making you deputy-mayor: 'yourpeace of mind before everything!' You are as fit, I told you, 'to be putforward in public life as my arm is to turn a windmill.Honors will beyour ruin!' You would not listen to me, and now the ruin has come. Toplay a part in politics you must have money: have we any? What! wouldyou burn your sign, which cost six hundred francs, andrenounce 'TheQueen of Roses,' your true glory? Leave ambition to others. He who putshis hand in the fire gets burned,--isn't that true? Politics burn inthese days. We have one hundred good thousand francs investedoutside ofour business, our productions, our merchandise. If you want to increaseyour fortune, do as they did in 1793. The Funds are at sixty-two:buy into the Funds. You will get ten thousand francs' income, andtheinvestment won't hamper our property. Take advantage of the occasion tomarry our daughter; sell the business, and let us go and live in yournative place. Why! for fifteen years you have talked of nothing butbuyingLes Tresorieres, that pretty little property near Chinon, wherethere are woods and fields, and ponds and vineyards, and two dairies,which bring in a thousand crowns a year, with a house which we bothlike,--all of whichwe can have for sixty thousand francs; and, lo!Monsieur now wants to become something under government! Recollect whatwe are,--perfumers. If sixteen years before you invented the DOUBLEPASTE OF SULTANS andthe CARMINATIVE BALM some one had said, 'You aregoing to make enough money to buy Les Tresorieres,' wouldn't you havebeen half sick with joy? Well, you can acquire that property which youwanted so much thatyou hardly opened your mouth about anything else,and now you talk of spending on nonsense money earned by the sweat ofour brow: I can say ours, for I've sat behind the desk through all thattime, like a poor dog inhis kennel. Isn't it much better to come andvisit our daughter after she is married to a notary of Paris, and liveeight months of the year at Chinon, than to begin here to make five soussix blanks, and of six blanksnothing? Wait for a rise in the Funds, andyou can give eight thousand francs a year to your daughter and we cankeep two thousand for ourselves, and the proceeds of the business willallow us to buy Les Tresorieres.There in your native place, my goodlittle cat, with our furniture, which is worth a great deal, we shalllive like princes; whereas here we want at least a million to make anyfigure at all.\"\"I expected you to say all this,wife,\" said Cesar Birotteau. \"I am notquite such a fool (though you think me a great fool, you do) as not tohave thought of all that. Now, listen to me. Alexandre Crottat will fitus like a glove for a son-in-law, and he willsucceed Roguin; but doyou suppose he will be satisfied with a hundred thousand francs_dot_?--supposing that we gave our whole property outside of thebusiness to establish our daughter, and I am willing; I wouldgladlylive on dry bread the rest of my days to see her happy as a queen, thewife of a notary of Paris, as you say. Well, then, a hundred thousandfrancs, or even eight thousand francs a year, is nothing at alltowardsbuying Roguin's practice. Little Xandrot, as we call him, thinks,like all the rest of the world, that we are richer than we are. If hisfather, that big farmer who is as close as a snail, won't sell a hundredthousandfrancs worth of land Xandrot can't be a notary, for Roguin'spractice is worth four or five hundred thousand. If Crottat does notpay half down, how could he negotiate the affair? Cesarine must have twohundred thousandfrancs _dot_; and I mean that you and I shall retiresolid bourgeois of Paris, with fifteen thousand francs a year. Hein! IfI could make you see that as plain as day, wouldn't it shut your mouth?\"\"Oh, if you've got themines of Peru--\"\"Yes, I have, my lamb. Yes,\" he said, taking his wife by the waist andstriking her with little taps, under an emotion of joy which lighted uphis features, \"I did not wish to tell you of this matter till it wasallcooked; but to-morrow it will be done,--that is, perhaps it will. Hereit is then: Roguin has proposed a speculation to me, so safe that he hasgone into it with Ragon, with your uncle Pillerault, and two other ofhisclients. We are to buy property near the Madeleine, which, accordingto Roguin's calculations, we shall get for a quarter of the value whichit will bring three years from now, at which time, the present leaseshavingexpired, we shall manage it for ourselves. We have all six takencertain shares. I furnish three hundred thousand francs,--that is,three-eighths of the whole. If any one of us wants money, Roguin willget it for him byhypothecating his share. To hold the gridiron and knowhow the fish are fried, I have chosen to be nominally proprietor of onehalf, which is, however, to be the common property of Pillerault andthe worthy Ragon andmyself. Roguin will be, under the name of MonsieurCharles Claparon, co-proprietor with me, and will give a reversionarydeed to his associates, as I shall to mine. The deeds of purchase aremade by promises of saleunder private seal, until we are masters ofthe whole property. Roguin will investigate as to which of the contractsshould be paid in money, for he is not sure that we can dispense withregistering and yet turn over thetitles to those to whom we sell insmall parcels. But it takes too long to explain all this to you. Theground once paid for, we have only to cross our arms and in threeyears we shall be rich by a million. Cesarine will thenbe twenty, ourbusiness will be sold, and we shall step, by the grace of God, modestlyto eminence.\"\"Where will you get your three hundred thousand francs?\" said MadameBirotteau.\"You don't understand business, mybeloved little cat. I shall take thehundred thousand francs which are now with Roguin; I shall borrow fortythousand on the buildings and gardens where we now have our manufactoryin the Faubourg du Temple; wehave twenty thousand francs here inhand,--in all, one hundred and sixty thousand. There remain one hundredand forty thousand more, for which I shall sign notes to the orderof Monsieur Charles Claparon, banker. Hewill pay the value, less thediscount. So there are the three hundred thousand francs provided for.He who owns rents owes nothing. When the notes fall due we can pay themoff with our profits. If we cannot pay them incash, Roguin will givethe money at five per cent, hypothecated on my share of the property.But such loans will be unnecessary. I have discovered an essence whichwill make the hair grow--an Oil Comagene, from Syria!Livingston hasjust set up for me a hydraulic press to manufacture the oil from nuts,which yield it readily under strong pressure. In a year, according tomy calculations, I shall have made a hundred thousand francs atleast.I meditate an advertisement which shall begin, 'Down with wigs!'--theeffect will be prodigious. You have never found out my wakefulness,Madame! For three months the success of Macassar Oil has kept me"}
+{"doc_id":"doc_278","qid":"","text":"The Project Gutenberg EBook of Letters of Two Brides, by Honore de BalzacThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-useit under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: Letters of Two BridesAuthor: Honore de BalzacTranslator: R. S. ScottRelease Date: October,1999  [Etext #1941]Posting Date: November 23, 2009Language: English*** START OF THIS PROJECT GUTENBERG EBOOK LETTERS OF TWO BRIDES ***Produced by John Bickers and DagnyLETTERS OF TWOBRIDESBy Honore de BalzacTranslated by R. S. ScottDEDICATION  To George Sand  Your name, dear George, while casting a reflected radiance on my  book, can gain no new glory from this page. And yet it isneither  self-interest nor diffidence which has led me to place it there,  but only the wish that it should bear witness to the solid  friendship between us, which has survived our wanderings and  separations, andtriumphed over the busy malice of the world. This  feeling is hardly likely now to change. The goodly company of  friendly names, which will remain attached to my works, forms an  element of pleasure in the midst ofthe vexation caused by their  increasing number. Each fresh book, in fact, gives rise to fresh  annoyance, were it only in the reproaches aimed at my too prolific  pen, as though it could rival in fertility the world fromwhich I  draw my models! Would it not be a fine thing, George, if the  future antiquarian of dead literatures were to find in this  company none but great names and generous hearts, friends bound by  pure and holy ties,the illustrious figures of the century? May I  not justly pride myself on this assured possession, rather than on  a popularity necessarily unstable? For him who knows you well, it  is happiness to be able to sign himself,as I do here,  Your friend,  DE BALZAC.  PARIS, June 1840.LETTERS OF TWO BRIDESFIRST PARTI. LOUISE DE CHAULIEU TO RENEE DE MAUCOMBE. PARIS, September.Sweetheart, I too am free! And I am the first too,unless you havewritten to Blois, at our sweet tryst of letter-writing.Raise those great black eyes of yours, fixed on my opening sentence,and keep this excitement for the letter which shall tell you of my firstlove. By theway, why always \"first?\" Is there, I wonder, a second love?Don't go running on like this, you will say, but tell me rather howyou made your escape from the convent where you were to take your vows.Well, dear, I don'tknow about the Carmelites, but the miracle of my owndeliverance was, I can assure you, most humdrum. The cries of an alarmedconscience triumphed over the dictates of a stern policy--there's thewhole mystery. Thesombre melancholy which seized me after you lefthastened the happy climax, my aunt did not want to see me die of adecline, and my mother, whose one unfailing cure for my malady was anovitiate, gave way beforeher.So I am in Paris, thanks to you, my love! Dear Renee, could you haveseen me the day I found myself parted from you, well might you havegloried in the deep impression you had made on so youthful a bosom.Wehad lived so constantly together, sharing our dreams and letting ourfancy roam together, that I verily believe our souls had become weldedtogether, like those two Hungarian girls, whose death we heard aboutfromM. Beauvisage--poor misnamed being! Never surely was man better cutout by nature for the post of convent physician!Tell me, did you not droop and sicken with your darling?In my gloomy depression, I could donothing but count over the tieswhich bind us. But it seemed as though distance had loosened them; Iwearied of life, like a turtle-dove widowed of her mate. Death smiledsweetly on me, and I was proceeding quietly todie. To be at Blois, atthe Carmelites, consumed by dread of having to take my vows there, aMlle. de la Valliere, but without her prelude, and without my Renee! Howcould I not be sick--sick unto death?How different itused to be! That monotonous existence, where every hourbrings its duty, its prayer, its task, with such desperate regularitythat you can tell what a Carmelite sister is doing in any place, at anyhour of the night or day;that deadly dull routine, which crushes outall interest in one's surroundings, had become for us two a world oflife and movement. Imagination had thrown open her fairy realms, and inthese our spirits ranged at will,each in turn serving as magic steedto the other, the more alert quickening the drowsy; the world fromwhich our bodies were shut out became the playground of our fancy, whichreveled there in frolicsome adventure.The very _Lives of the Saints_helped us to understand what was so carefully left unsaid! But the daywhen I was reft of your sweet company, I became a true Carmelite, suchas they appeared to us, a modern Danaid,who, instead of trying to filla bottomless barrel, draws every day, from Heaven knows what deep, anempty pitcher, thinking to find it full.My aunt knew nothing of this inner life. How could she, who has made aparadisefor herself within the two acres of her convent, understand myrevolt against life? A religious life, if embraced by girls of our age,demands either an extreme simplicity of soul, such as we, sweetheart, donot possess, orelse an ardor for self-sacrifice like that which makesmy aunt so noble a character. But she sacrificed herself for a brotherto whom she was devoted; to do the same for an unknown person or an ideais surely more thancan be asked of mortals.For the last fortnight I have been gulping down so many reckless words,burying so many reflections in my bosom, and accumulating such a storeof things to tell, fit for your ear alone, that Ishould certainlyhave been suffocated but for the resource of letter-writing as a sorrysubstitute for our beloved talks. How hungry one's heart gets! I ambeginning my journal this morning, and I picture to myself thatyoursis already started, and that, in a few days, I shall be at home in yourbeautiful Gemenos valley, which I know only through your descriptions,just as you will live that Paris life, revealed to you hitherto only inourdreams.Well, then, sweet child, know that on a certain morning--a red-letterday in my life--there arrived from Paris a lady companion and Philippe,the last remaining of my grandmother's valets, charged to carry meoff.When my aunt summoned me to her room and told me the news, I could notspeak for joy, and only gazed at her stupidly.\"My child,\" she said, in her guttural voice, \"I can see that you leaveme without regret, butthis farewell is not the last; we shall meetagain. God has placed on your forehead the sign of the elect. You havethe pride which leads to heaven or to hell, but your nature is too nobleto choose the downward path. Iknow you better than you know yourself;with you, passion, I can see, will be very different from what it iswith most women.\"She drew me gently to her and kissed my forehead. The kiss made my fleshcreep, for itburned with that consuming fire which eats away her life,which has turned to black the azure of her eyes, and softened the linesabout them, has furrowed the warm ivory of her temples, and cast asallow tinge over thebeautiful face.Before replying, I kissed her hands.\"Dear aunt,\" I said, \"I shall never forget your kindness; and if it hasnot made your nunnery all that it ought to be for my health of body andsoul, you may be surenothing short of a broken heart will bring meback again--and that you would not wish for me. You will not see mehere again till my royal lover has deserted me, and I warn you that if Icatch him, death alone shall tearhim from me. I fear no Montespan.\"She smiled and said:\"Go, madcap, and take your idle fancies with you. There is certainlymore of the bold Montespan in you than of the gentle la Valliere.\"I threw my arms round her.The poor lady could not refrain fromescorting me to the carriage. There her tender gaze was divided betweenme and the armorial bearings.At Beaugency night overtook me, still sunk in a stupor of the mindproduced bythese strange parting words. What can be awaiting me in thisworld for which I have so hungered?To begin with, I found no one to receive me; my heart had been schooledin vain. My mother was at the Bois deBoulogne, my father at theCouncil; my brother, the Duc de Rhetore, never comes in, I am told,till it is time to dress for dinner. Miss Griffith (she is not unlike agriffin) and Philippe took me to my rooms.The suite is theone which belonged to my beloved grandmother, thePrincess de Vauremont, to whom I owe some sort of a fortune which noone has ever told me about. As you read this, you will understandthe sadness which cameover me as I entered a place sacred to so manymemories, and found the rooms just as she had left them! I was to sleepin the bed where she died.Sitting down on the edge of the sofa, I burst into tears, forgetting Iwasnot alone, and remembering only how often I had stood there by herknees, the better to hear her words. There I had gazed upon her face,buried in its brown laces, and worn as much by age as by the pangsofapproaching death. The room seemed to me still warm with the heat whichshe kept up there. How comes it that Armande-Louise-Marie de Chaulieumust be like some peasant girl, who sleeps in her mother's bed theverymorrow of her death? For to me it was as though the Princess, who diedin 1817, had passed away but yesterday.I saw many things in the room which ought to have been removed. Theirpresence showed thecarelessness with which people, busy with theaffairs of state, may treat their own, and also the little thought whichhad been given since her death to this grand old lady, who will alwaysremain one of the striking figuresof the eighteenth century. Philippeseemed to divine something of the cause of my tears. He told me that thefurniture of the Princess had been left to me in her will and that myfather had allowed all the larger suites toremain dismantled, as theRevolution had left them. On hearing this I rose, and Philippe openedthe door of the small drawing-room which leads into the reception-rooms.In these I found all the well-rememberedwreckage; the panels abovethe doors, which had contained valuable pictures, bare of all but emptyframes; broken marbles, mirrors carried off. In old days I was afraidto go up the state staircase and cross these vast,deserted rooms; so Iused to get to the Princess' rooms by a small staircase which runsunder the arch of the larger one and leads to the secret door of herdressing-room.My suite, consisting of a drawing-room, bedroom,and the prettymorning-room in scarlet and gold, of which I have told you, lies in thewing on the side of the Invalides. The house is only separated from theboulevard by a wall, covered with creepers, and by a splendidavenueof trees, which mingle their foliage with that of the young elms onthe sidewalk of the boulevard. But for the blue-and-gold dome of theInvalides and its gray stone mass, you might be in a wood.The style ofdecoration in these rooms, together with their situation,indicates that they were the old show suite of the duchesses, whilethe dukes must have had theirs in the wing opposite. The two suites aredecorously separatedby the two main blocks, as well as by the centralone, which contained those vast, gloomy, resounding halls shown meby Philippe, all despoiled of their splendor, as in the days of mychildhood.Philippe grew quiteconfidential when he saw the surprise depicted on mycountenance. For you must know that in this home of diplomacy the veryservants have a reserved and mysterious air. He went on to tell me thatit was expected alaw would soon be passed restoring to the fugitivesof the Revolution the value of their property, and that my father iswaiting to do up his house till this restitution is made, the king'sarchitect having estimated thedamage at three hundred thousand livres.This piece of news flung me back despairing on my drawing-room sofa.Could it be that my father, instead of spending this money in arranginga marriage for me, would have leftme to die in the convent? This wasthe first thought to greet me on the threshold of my home.Ah! Renee, what would I have given then to rest my head upon yourshoulder, or to transport myself to the days when mygrandmother madethe life of these rooms? You two in all the world have been alone inloving me--you away at Maucombe, and she who survives only in my heart,the dear old lady, whose still youthful eyes used to openfrom sleep atmy call. How well we understood each other!These memories suddenly changed my mood. What at first had seemedprofanation, now breathed of holy association. It was sweet to inhalethe faint odor of thepowder she loved still lingering in the room;sweet to sleep beneath the shelter of those yellow damask curtains withtheir white pattern, which must have retained something of the spiritemanating from her eyes andbreath. I told Philippe to rub up the oldfurniture and make the rooms look as if they were lived in; I explainedto him myself how I wanted everything arranged, and where to put eachpiece of furniture. In this way Ientered into possession, and showedhow an air of youth might be given to the dear old things.The bedroom is white in color, a little dulled with time, just as thegilding of the fanciful arabesques shows here and there apatch of red;but this effect harmonizes well with the faded colors of the Savonnerietapestry, which was presented to my grandmother by Louis XV. along withhis portrait. The timepiece was a gift from the Marechal deSaxe,and the china ornaments on the mantelpiece came from the Marechal deRichelieu. My grandmother's portrait, painted at the age of twenty-five,hangs in an oval frame opposite that of the King. The Prince,herhusband, is conspicuous by his absence. I like this frank negligence,untinged by hypocrisy--a characteristic touch which sums up her charmingpersonality. Once when my grandmother was seriously ill, herconfessorwas urgent that the Prince, who was waiting in the drawing-room, shouldbe admitted.\"He can come in with the doctor and his drugs,\" was the reply.The bed has a canopy and well-stuffed back, and thecurtains are loopedup with fine wide bands. The furniture is of gilded wood, upholstered inthe same yellow damask with white flowers which drapes the windows,and which is lined there with a white silk that looks asthough it werewatered. The panels over the doors have been painted, by what artistI can't say, but they represent one a sunrise, the other a moonlightscene.The fireplace is a very interesting feature in the room. It iseasy tosee that life in the last century centered largely round the hearth,where great events were enacted. The copper gilt grate is a marvelof workmanship, and the mantelpiece is most delicately finished; thefire-ironsare beautifully chased; the bellows are a perfect gem.The tapestry of the screen comes from the Gobelins and is exquisitelymounted; charming fantastic figures run all over the frame, on the feet,the supporting bar, andthe wings; the whole thing is wrought like afan.Dearly should I like to know who was the giver of this dainty work ofart, which was such a favorite with her. How often have I seen the oldlady, her feet upon the bar,reclining in the easy-chair, with her dresshalf raised in front, toying with the snuff-box, which lay upon theledge between her box of pastilles and her silk mits. What a coquetteshe was! to the day of her death she tookas much pains with herappearance as though the beautiful portrait had been painted onlyyesterday, and she were waiting to receive the throng of exquisites fromthe Court! How the armchair recalls to me the inimitablesweep of herskirts as she sank back in it!These women of a past generation have carried off with them secretswhich are very typical of their age. The Princess had a certain turnof the head, a way of dropping her glanceand her remarks, a choice ofwords, which I look for in vain, even in my mother. There was subtletyin it all, and there was good-nature; the points were made without anyaffectation. Her talk was at once lengthy andconcise; she told a goodstory, and could put her meaning in three words. Above all, she wasextremely free-thinking, and this has undoubtedly had its effect on myway of looking at things.From seven years old till I wasten, I never left her side; it pleasedher to attract me as much as it pleased me to go. This preference wasthe cause of more than one passage at arms between her and my mother,and nothing intensifies feeling like theicy breath of persecution. Howcharming was her greeting, \"Here you are, little rogue!\" when curiosityhad taught me how to glide with stealthy snake-like movements to herroom. She felt that I loved her, and thischildish affection was welcomeas a ray of sunshine in the winter of her life.I don't know what went on in her rooms at night, but she had manyvisitors; and when I came on tiptoe in the morning to see if shewere awake,I would find the drawing-room furniture disarranged, thecard-tables set out, and patches of snuff scattered about.This drawing-room is furnished in the same style as the bedroom. Thechairs and tables are oddlyshaped, with claw feet and hollow mouldings.Rich garlands of flowers, beautifully designed and carved, wind over themirrors and hang down in festoons. On the consoles are fine chinavases. The ground colors arescarlet and white. My grandmother was ahigh-spirited, striking brunette, as might be inferred from her choiceof colors. I have found in the drawing-room a writing-table I rememberwell; the figures on it used tofascinate me; it is plaited in gravensilver, and was a present from one of the Genoese Lomellini. Each sideof the table represents the occupations of a different season; there arehundreds of figures in each picture, andall in relief.I remained alone for two hours, while old memories rose before me,one after another, on this spot, hallowed by the death of a woman mostremarkable even among the witty and beautiful Court ladies ofLouisXV.'s day.You know how abruptly I was parted from her, at a day's notice, in 1816.\"Go and bid good-bye to your grandmother,\" said my mother.The Princess received me as usual, without any display of feeling,andexpressed no surprise at my departure.\"You are going to the convent, dear,\" she said, \"and will see your auntthere, who is an excellent woman. I shall take care, though, that theydon't make a victim of you; youshall be independent, and able to marrywhom you please.\"Six months later she died. Her will had been given into the keeping ofthe Prince de Talleyrand, the most devoted of all her old friends. Hecontrived, whilepaying a visit to Mlle. de Chargeboeuf, to intimateto me, through her, that my grandmother forbade me to take the vows. Ihope, sooner or later, to meet the Prince, and then I shall doubtlesslearn more from him.Thus,sweetheart, if I have found no one in flesh and blood to meet me,I have comforted myself with the shade of the dear Princess, and haveprepared myself for carrying out one of our pledges, which was, as youknow, tokeep each other informed of the smallest details in our homesand occupations. It makes such a difference to know where and how thelife of one we love is passed. Send me a faithful picture of the veriesttrifles aroundyou, omitting nothing, not even the sunset lights amongthe tall trees.October 19th.It was three in the afternoon when I arrived. About half-past five, Rosecame and told me that my mother had returned, so I wentdownstairs topay my respects to her.My mother lives in a suite on the ground floor, exactly correspondingto mine, and in the same block. I am just over her head, and the samesecret staircase serves for both. Myfather's rooms are in the blockopposite, but are larger by the whole of the space occupied by the grandstaircase on our side of the building. These ancestral mansions are sospacious, that my father and mother continueto occupy the ground-floorrooms, in spite of the social duties which have once more devolved onthem with the return of the Bourbons, and are even able to receive inthem.I found my mother, dressed for the evening, inher drawing-room, wherenothing is changed. I came slowly down the stairs, speculating withevery step how I should be met by this mother who had shown herself solittle of a mother to me, and from whom, duringeight years, I had heardnothing beyond the two letters of which you know. Judging it unworthy tosimulate an affection I could not possibly feel, I put on the air ofa pious imbecile, and entered the room with manyinward qualms, whichhowever soon disappeared. My mother's tack was equal to the occasion.She made no pretence of emotion; she neither held me at arm's-length norhugged me to her bosom like a beloveddaughter, but greeted me as thoughwe had parted the evening before. Her manner was that of the kindliestand most sincere friend, as she addressed me like a grown person, firstkissing me on the forehead.\"My dear"}
+{"doc_id":"doc_279","qid":"","text":"The Project Gutenberg EBook of Out of Time's Abyss, by Edgar Rice BurroughsThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it awayorre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: Out of Time's AbyssAuthor: Edgar Rice BurroughsPosting Date: July 30, 2008 [EBook#553]Release Date: June, 1996[Last updated: November 24, 2012]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK OUT OF TIME'S ABYSS ***Produced by Judith Boss.Out of Time's AbyssByEdgarRice BurroughsChapter IThis is the tale of Bradley after he left Fort Dinosaur upon the westcoast of the great lake that is in the center of the island.Upon the fourth day of September, 1916, he set out withfourcompanions, Sinclair, Brady, James, and Tippet, to search along thebase of the barrier cliffs for a point at which they might be scaled.Through the heavy Caspakian air, beneath the swollen sun, the fivemenmarched northwest from Fort Dinosaur, now waist-deep in lush, junglegrasses starred with myriad gorgeous blooms, now across openmeadow-land and parklike expanses and again plunging into dense forestsofeucalyptus and acacia and giant arboreous ferns with featheredfronds waving gently a hundred feet above their heads.About them upon the ground, among the trees and in the air over themmoved and swung andsoared the countless forms of Caspak's teeminglife.  Always were they menaced by some frightful thing and seldom weretheir rifles cool, yet even in the brief time they had dwelt uponCaprona they had become callousto danger, so that they swung alonglaughing and chatting like soldiers on a summer hike.\"This reminds me of South Clark Street,\" remarked Brady, who had onceserved on the traffic squad in Chicago; and as no oneasked him why, hevolunteered that it was \"because it's no place for an Irishman.\"\"South Clark Street and heaven have something in common, then,\"suggested Sinclair.  James and Tippet laughed, and then a hideousgrowlbroke from a dense thicket ahead and diverted their attention to othermatters.\"One of them behemoths of 'Oly Writ,\" muttered Tippet as they came to ahalt and with guns ready awaited the almost inevitablecharge.\"Hungry lot o' beggars, these,\" said Bradley; \"always trying to eateverything they see.\"For a moment no further sound came from the thicket.  \"He may befeeding now,\" suggested Bradley.  \"We'll try to goaround him.  Can'twaste ammunition.  Won't last forever.  Follow me.\"  And he set off atright angles to their former course, hoping to avert a charge.  Theyhad taken a dozen steps, perhaps, when the thicket moved tothe advanceof the thing within it, the leafy branches parted, and the hideous headof a gigantic bear emerged.\"Pick your trees,\" whispered Bradley.  \"Can't waste ammunition.\"The men looked about them.  The beartook a couple of steps forward,still growling menacingly.  He was exposed to the shoulders now.Tippet took one look at the monster and bolted for the nearest tree;and then the bear charged.  He charged straight forTippet.  The othermen scattered for the various trees they had selected--all exceptBradley.  He stood watching Tippet and the bear.  The man had a goodstart and the tree was not far away; but the speed of theenormouscreature behind him was something to marvel at, yet Tippet was in afair way to make his sanctuary when his foot caught in a tangle ofroots and down he went, his rifle flying from his hand and fallingseveralyards away.  Instantly Bradley's piece was at his shoulder,there was a sharp report answered by a roar of mingled rage and painfrom the carnivore.  Tippet attempted to scramble to his feet.\"Lie still!\" shoutedBradley.  \"Can't waste ammunition.\"The bear halted in its tracks, wheeled toward Bradley and then backagain toward Tippet.  Again the former's rifle spit angrily, and thebear turned again in his direction.  Bradleyshouted loudly.  \"Come on,you behemoth of Holy Writ!\" he cried.  \"Come on, you duffer!  Can'twaste ammunition.\"  And as he saw the bear apparently upon the verge ofdeciding to charge him, he encouraged the ideaby backing rapidly away,knowing that an angry beast will more often charge one who moves thanone who lies still.And the bear did charge.  Like a bolt of lightning he flashed down uponthe Englishman.  \"Nowrun!\"  Bradley called to Tippet and himselfturned in flight toward a nearby tree.  The other men, now safelyensconced upon various branches, watched the race with breathlessinterest.  Would Bradley make it?  Itseemed scarce possible.  And ifhe didn't!  James gasped at the thought.  Six feet at the shoulderstood the frightful mountain of blood-mad flesh and bone and sinew thatwas bearing down with the speed of an expresstrain upon the seeminglyslow-moving man.It all happened in a few seconds; but they were seconds that seemedlike hours to the men who watched.  They saw Tippet leap to his feet atBradley's shouted warning.  Theysaw him run, stooping to recover hisrifle as he passed the spot where it had fallen.  They saw him glanceback toward Bradley, and then they saw him stop short of the tree thatmight have given him safety and turn backin the direction of the bear.Firing as he ran, Tippet raced after the great cave bear--the monstrousthing that should have been extinct ages before--ran for it and firedeven as the beast was almost upon Bradley.  Themen in the treesscarcely breathed.  It seemed to them such a futile thing for Tippet todo, and Tippet of all men!  They had never looked upon Tippet as acoward--there seemed to be no cowards among that strangelyassortedcompany that Fate had gathered together from the four corners of theearth--but Tippet was considered a cautious man.  Overcautious, somethought him.  How futile he and his little pop-gun appeared ashedashed after that living engine of destruction!  But, oh, how glorious!It was some such thought as this that ran through Brady's mind, thougharticulated it might have been expressed otherwise, albeitmoreforcefully.Just then it occurred to Brady to fire and he, too, opened upon thebear, but at the same instant the animal stumbled and fell forward,though still growling most fearsomely.  Tippet never stopped runningorfiring until he stood within a foot of the brute, which lay almosttouching Bradley and was already struggling to regain its feet.Placing the muzzle of his gun against the bear's ear, Tippet pulled thetrigger.  The creaturesank limply to the ground and Bradley scrambledto his feet.\"Good work, Tippet,\" he said.  \"Mightily obliged to you--awful waste ofammunition, really.\"And then they resumed the march and in fifteen minutes theencounterhad ceased even to be a topic of conversation.For two days they continued upon their perilous way.  Already thecliffs loomed high and forbidding close ahead without sign of break toencourage hope thatsomewhere they might be scaled.  Late in theafternoon the party crossed a small stream of warm water upon thesluggishly moving surface of which floated countless millions of tinygreen eggs surrounded by a lightscum of the same color, though of adarker shade.  Their past experience of Caspak had taught them thatthey might expect to come upon a stagnant pool of warm water if theyfollowed the stream to its source; butthere they were almost certainto find some of Caspak's grotesque, manlike creatures.  Already sincethey had disembarked from the U-33 after its perilous trip through thesubterranean channel beneath the barrier cliffshad brought them intothe inland sea of Caspak, had they encountered what had appeared to bethree distinct types of these creatures.  There had been the pureapes--huge, gorillalike beasts--and those who walked, atrifle moreerect and had features with just a shade more of the human cast aboutthem.  Then there were men like Ahm, whom they had captured andconfined at the fort--Ahm, the club-man.  \"Well-known club-man,\"Tylerhad called him.  Ahm and his people had knowledge of a speech.  Theyhad a language, in which they were unlike the race just inferior tothem, and they walked much more erect and were less hairy: but itwasprincipally the fact that they possessed a spoken language and carrieda weapon that differentiated them from the others.All of these peoples had proven belligerent in the extreme.  In commonwith the rest of thefauna of Caprona the first law of nature as theyseemed to understand it was to kill--kill--kill.  And so it was thatBradley had no desire to follow up the little stream toward the poolnear which were sure to be the caves ofsome savage tribe, but fortuneplayed him an unkind trick, for the pool was much closer than heimagined, its southern end reaching fully a mile south of the point atwhich they crossed the stream, and so it was thatafter forcing theirway through a tangle of jungle vegetation they came out upon the edgeof the pool which they had wished to avoid.Almost simultaneously there appeared south of them a party of naked menarmedwith clubs and hatchets.  Both parties halted as they caughtsight of one another.  The men from the fort saw before them a huntingparty evidently returning to its caves or village laden with meat.They were large menwith features closely resembling those of theAfrican Negro though their skins were white.  Short hair grew upon alarge portion of their limbs and bodies, which still retained aconsiderable trace of apishprogenitors.  They were, however, adistinctly higher type than the Bo-lu, or club-men.Bradley would have been glad to have averted a meeting; but as hedesired to lead his party south around the end of the pool, andas itwas hemmed in by the jungle on one side and the water on the other,there seemed no escape from an encounter.On the chance that he might avoid a clash, Bradley stepped forward withupraised hand.  \"We arefriends,\" he called in the tongue of Ahm, theBo-lu, who had been held a prisoner at the fort; \"permit us to pass inpeace.  We will not harm you.\"At this the hatchet-men set up a great jabbering with much laughter,loudand boisterous.  \"No,\" shouted one, \"you will not harm us, for weshall kill you.  Come!  We kill!  We kill!\" And with hideous shoutsthey charged down upon the Europeans.\"Sinclair, you may fire,\" said Bradleyquietly.  \"Pick off the leader.Can't waste ammunition.\"The Englishman raised his piece to his shoulder and took quick aim atthe breast of the yelling savage leaping toward them.  Directly behindthe leader came anotherhatchet-man, and with the report of Sinclair'srifle both warriors lunged forward in the tall grass, pierced by thesame bullet.  The effect upon the rest of the band was electrical.  Asone man they came to a sudden halt,wheeled to the east and dashed intothe jungle, where the men could hear them forcing their way in aneffort to put as much distance as possible between themselves and theauthors of this new and frightful noise thatkilled warriors at a greatdistance.Both the savages were dead when Bradley approached to examine them, andas the Europeans gathered around, other eyes were bent upon them withgreater curiosity than theydisplayed for the victim of Sinclair'sbullet.  When the party again took up the march around the southern endof the pool the owner of the eyes followed them--large, round eyes,almost expressionless except for a certaincold cruelty which glintedmalignly from under their pale gray irises.All unconscious of the stalker, the men came, late in the afternoon, toa spot which seemed favorable as a campsite.  A cold spring bubbledfrom thebase of a rocky formation which overhung and partiallyencircled a small inclosure.  At Bradley's command, the men took up theduties assigned them--gathering wood, building a cook-fire andpreparing the eveningmeal.  It was while they were thus engaged thatBrady's attention was attracted by the dismal flapping of huge wings.He glanced up, expecting to see one of the great flying reptiles of abygone age, his rifle ready in hishand.  Brady was a brave man.  Hehad groped his way up narrow tenement stairs and taken an armed maniacfrom a dark room without turning a hair; but now as he looked up, hewent white and staggeredback.\"Gawd!\" he almost screamed.  \"What is it?\"Attracted by Brady's cry the others seized their rifles as theyfollowed his wide-eyed, frozen gaze, nor was there one of them that wasnot moved by some species of terroror awe.  Then Brady spoke again inan almost inaudible voice.  \"Holy Mother protect us--it's a banshee!\"Bradley, always cool almost to indifference in the face of danger, felta strange, creeping sensation run over hisflesh, as slowly, not ahundred feet above them, the thing flapped itself across the sky, itshuge, round eyes glaring down upon them.  And until it disappeared overthe tops of the trees of a near-by wood the five menstood as thoughparalyzed, their eyes never leaving the weird shape; nor never one ofthem appearing to recall that he grasped a loaded rifle in his hands.With the passing of the thing, came the reaction.  Tippet sank totheground and buried his face in his hands.  \"Oh, Gord,\" he moaned.  \"Tykeme awy from this orful plice.\"  Brady, recovered from the first shock,swore loud and luridly.  He called upon all the saints to witness thathewas unafraid and that anybody with half an eye could have seen thatthe creature was nothing more than \"one av thim flyin' alligators\" thatthey all were familiar with.\"Yes,\" said Sinclair with fine sarcasm, \"we've saw somany of them withwhite shrouds on 'em.\"\"Shut up, you fool!\" growled Brady.  \"If you know so much, tell us whatit was after bein' then.\"Then he turned toward Bradley.  \"What was it, sir, do you think?\"heasked.Bradley shook his head.  \"I don't know,\" he said.  \"It looked like awinged human being clothed in a flowing white robe.  Its face was morehuman than otherwise.  That is the way it looked to me; but whatitreally was I can't even guess, for such a creature is as far beyond myexperience or knowledge as it is beyond yours.  All that I am sure ofis that whatever else it may have been, it was quite material--it wasno ghost;rather just another of the strange forms of life which wehave met here and with which we should be accustomed by this time.\"Tippet looked up.  His face was still ashy.  \"Yer cawn't tell me,\" hecried.  \"Hi seenhit.  Blime, Hi seen hit.  Hit was ha dead man flyin'through the hair.  Didn't Hi see 'is heyes?  Oh, Gord! Didn't Hi see'em?\"\"It didn't look like any beast or reptile to me,\" spoke up Sinclair.\"It was lookin' right down at mewhen I looked up and I saw its faceplain as I see yours.  It had big round eyes that looked all cold anddead, and its cheeks were sunken in deep, and I could see its yellowteeth behind thin, tight-drawn lips--like a manwho had been dead along while, sir,\" he added, turning toward Bradley.\"Yes!\" James had not spoken since the apparition had passed over them,and now it was scarce speech which he uttered--rather a seriesofarticulate gasps.  \"Yes--dead--a--long--while.  It--means something.It--come--for some--one.  For one--of us.  One--of us is goin'--to die.I'm goin' to die!\" he ended in a wail.\"Come!  Come!\" snapped Bradley.  \"Won'tdo.  Won't do at all.  Get towork, all of you.  Waste of time.  Can't waste time.\"His authoritative tones brought them all up standing, and presentlyeach was occupied with his own duties; but each worked in silenceandthere was no singing and no bantering such as had marked the making ofprevious camps.  Not until they had eaten and to each had been issuedthe little ration of smoking tobacco allowed after each eveningmealdid any sign of a relaxation of taut nerves appear.  It was Brady whoshowed the first signs of returning good spirits.  He commenced humming\"It's a Long Way to Tipperary\" and presently to voice the words, buthewas well into his third song before anyone joined him, and even thenthere seemed a dismal note in even the gayest of tunes.A huge fire blazed in the opening of their rocky shelter that theprowling carnivora might bekept at bay; and always one man stood onguard, watchfully alert against a sudden rush by some maddened beast ofthe jungle.  Beyond the fire, yellow-green spots of flame appeared,moved restlessly about,disappeared and reappeared, accompanied by ahideous chorus of screams and growls and roars as the hungrymeat-eaters hunting through the night were attracted by the light orthe scent of possible prey.But to suchsights and sounds as these the five men had become callous.They sang or talked as unconcernedly as they might have done in thebar-room of some publichouse at home.Sinclair was standing guard.  The others werelistening to Brady'sdescription of traffic congestion at the Rush Street bridge during therush hour at night.  The fire crackled cheerily.  The owners of theyellow-green eyes raised their frightful chorus to theheavens.Conditions seemed again to have returned to normal.  And then, asthough the hand of Death had reached out and touched them all, the fivemen tensed into sudden rigidity.Above the nocturnal diapason of theteeming jungle sounded a dismalflapping of wings and over head, through the thick night, a shadowyform passed across the diffused light of the flaring camp-fire.Sinclair raised his rifle and fired.  An eerie wail floateddown fromabove and the apparition, whatever it might have been, was swallowed bythe darkness.  For several seconds the listening men heard the sound ofthose dismally flapping wings lessening in the distance untiltheycould no longer be heard.Bradley was the first to speak.  \"Shouldn't have fired, Sinclair,\" hesaid; \"can't waste ammunition.\"  But there was no note of censure inhis tone.  It was as though he understood thenervous reaction that hadcompelled the other's act.\"I couldn't help it, sir,\" said Sinclair.  \"Lord, it would take an ironman to keep from shootin' at that awful thing.  Do you believe inghosts, sir?\"\"No,\" repliedBradley.  \"No such things.\"\"I don't know about that,\" said Brady.  \"There was a woman murderedover on the prairie near Brighton--her throat was cut from ear to ear,and--\"\"Shut up,\" snapped Bradley.\"My grandaddyused to live down Coppington wy,\" said Tippet.  \"Theywere a hold ruined castle on a 'ill near by, hand at midnight they usedto see pale blue lights through the windows an 'ear--\"\"Will you close your hatch!\" demandedBradley.  \"You fools will haveyourselves scared to death in a minute.  Now go to sleep.\"But there was little sleep in camp that night until utter exhaustionovertook the harassed men toward morning; nor was there anyreturn ofthe weird creature that had set the nerves of each of them on edge.The following forenoon the party reached the base of the barrier cliffsand for two days marched northward in an effort to discover a breakinthe frowning abutment that raised its rocky face almost perpendicularlyabove them, yet nowhere was there the slightest indication that thecliffs were scalable.Disheartened, Bradley determined to turn back toward thefort, as healready had exceeded the time decided upon by Bowen Tyler and himselffor the expedition.  The cliffs for many miles had been trending in anortheasterly direction, indicating to Bradley that theywereapproaching the northern extremity of the island.  According to thebest of his calculations they had made sufficient easting during thepast two days to have brought them to a point almost directly north ofFortDinosaur and as nothing could be gained by retracing their stepsalong the base of the cliffs he decided to strike due south through theunexplored country between them and the fort.That night (September 9, 1916),they made camp a short distance fromthe cliffs beside one of the numerous cool springs that are to be foundwithin Caspak, oftentimes close beside the still more numerous warm andhot springs which feed the manypools.  After supper the men laysmoking and chatting among themselves.  Tippet was on guard.  Fewernight prowlers threatened them, and the men were commenting upon thefact that the farther north they hadtraveled the smaller the number ofall species of animals became, though it was still present in whatwould have seemed appalling plenitude in any other part of the world.The diminution in reptilian life was the mostnoticeable change in thefauna of northern Caspak.  Here, however, were forms they had not metelsewhere, several of which were of gigantic proportions.According to their custom all, with the exception of the man onguard,sought sleep early, nor, once disposed upon the ground for slumber,were they long in finding it.  It seemed to Bradley that he hadscarcely closed his eyes when he was brought to his feet, wide awake,by apiercing scream which was punctuated by the sharp report of arifle from the direction of the fire where Tippet stood guard.  As heran toward the man, Bradley heard above him the same uncanny wail thathad set every"}
+{"doc_id":"doc_280","qid":"","text":"<html><head><title>Wild At Heart Script at IMSDb.</title><meta name=\"description\" content=\"Wild At Heart script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Wild At Heart script,Wild At Heart movie script, Wild At Heart film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\"rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><html><head><script><b><!--</b><b>/*</b>Break-out-of-frames scriptBy Website Abstraction (http://wsabstract.com)Over 400+ freescripts here!Above notice MUST stay entact for use<b>*/</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>WILD AT HEART</title></head><pre>                <b>W I L D  A T  H E AR T</b>      a love story      written by      David Lynch based on the book by      Barry GiffordAnd now the story of Sailor and Lula.....<b>1. EXT. CITY STREET - DAY</b>A MAN rides a screaming massive Japanesemotorcycle - wound out to maximum R.P.M. up the street.<b> CUT TO:</b><b>2. SIGN BY ROADSIDE</b>The sign reads \u0000KIDS PLAYING - SPEED BUMPS\u0000.<b> CUT TO:</b><b>3. EXT. CITY STREET -DAY</b>With a whine from hell, the front tire of the motorcycle hits a speed bump.The motorcycle becomes airborne and on the way up slices itself in half as it scrapes along the full length of a Datsun Kingcab.In theair, the rider and motorcycle twist violently as they fly by.The motorcycle bounces off a black \u000066 Chevrolet and makes a sound like the end of the world.The rider hits the same Chevy a moment later.  Like a brokenragdoll shot from a canon, the man punches through the back window blowing glass for a block.  He stops somewhere under the front seat and a bubble of blood forms out his nose.The motorcycle continues on slidingand spinning with an ear-piercing howl for one entire city block.<b> CUT TO:</b><b>4. EXT. NEIGHBORHOOD STREETS - VACANT LOT - DAY</b>Two rabid dogs fight ferociously in a vacant lot - ripping each other\u0000sflesh.  An OLD COUPLE, both with walkers, inch painfully along nearby.<b> OLD WOMAN</b> Oh my God! ... Why they doin\u0000 that?<b> OLD MAN</b> Who the hell knows.  What you have in your mouth?The oldwoman begins to turn away, covering her mouth with her hand.<b> OLD MAN </b> Spit it out!!! ... Pull your teeth out ... doctor said.  What you tryin\u0000 to do?  SPIT IT OUT!!!The Old Man grabs the Old Woman by theneck and squeezes.  Out comes a tangled and sticky ball of hard fruit candies.<b> CUT TO:</b><b>5. WASP NEST</b>A thousand wasps hover threateningly in the air around the nest.  A SMALL GROUP OFHARDENED CRIMINAL NINE-YEAR OLDS sporting hideous grins, bat the nest violently to and fro with sticks.  One kid busies himself shooting a large can of Black Flag garden spray into a crack in the nest.  Anotherstomps half-dead wasps up and down the sidewalk.  All the kids are making animal noises of one sort or the other.<b> CUT TO:</b><b>6. INT. FORTUNE HOUSE - DAY</b>The telephone rings.  MARIETTA PACEFORTUNE, a rich Southern woman around fifty, carries her Martini and Rossi sweet vermouth drink across the livingroom and answers the phone.<b> MARIETTA</b> Hello...  Who is this?...<b> CUT TO:</b><b>7.INT. PEE DEE COUNTY WORK FARM - DAY</b>A GUARD stands by as SAILOR RIPLEY, twenty-three years old - lost somewhere between the cool long-gone generation and a used-car salesman - speaks on a prisonerphone in a green cement cubicle with one bench.<b> SAILOR</b> (into phone) ...Sailor Ripley...  Can I talk to Lula?<b> CUT TO:</b><b>6A. INT. FORTUNE HOUSE - DAY</b><b> MARIETTA</b> There\u0000s no wayin hell you can speak to her and...<b> CUT TO:</b><b>7A. INT. PEE DEE COUNTY WORK FARM - DAY</b><b> SAILOR</b> (feeling a smile coming on) What?...<b> CUT TO:</b><b>6B. INT. FORTUNE HOUSE -DAY</b><b> MARIETTA</b> ...Yes you heard me...  Don\u0000t ever call back here again.Marietta hangs up the phone as LULA PACE FORTUNE, Marietta\u0000s twenty-year old daughter, comes quickly down the stairs.<b>LULA</b> Mama???<b> MARIETTA</b> You know who it was and you know you aren\u0000t, and I mean ARE NOT gonna see him EVER...  End of story.<b> LULA</b> (quietly) Like hell.Marietta, her hand still on thetelephone, grips the receiver so hard her knuckles turn white.<b> CUT TO:</b><b>8. INT. FORTUNE HOUSE - LULA\u0000S ROOM UPSTAIRS - DAY</b>Lula enters her room and cranks up her stereo.  Speed metal musicjumps up to around one hundred twenty decibels.<b> CUT TO:</b><b>9. INT. PEE DEE COUNTY WORK FARM - DAY</b>The guard escorts Sailor away from the telephone and back to his cell.  The iron bars of thedoor slide across Sailor\u0000s face and close with a bang.<b> CUT TO:</b><b>10. EXT. THE MUSIC BAR - NIGHT</b>A beat-up, red \u000064 Ford Falcon station wagon filled with insane TEENAGERS on speed and PCP raceout of control down the street past the club - leaning out the car in every direction.  They scream out to the desolate-looking passerby.<b> TEENAGERS</b><b> EAT SHIT MOTHERFUCKERS!!!!!!</b>The cameracranes up to the neon club sign and gets lost among the hot pink neon, the frantic moths and the intense electric buzz.<b> CUT TO:</b><b>11. INT. THE MUSIC BAR - NIGHT</b>Lula and her friend, BEANY THORN,sit at a table drinking rum Coca-Colas while watching and listening to a white blues band called THE BLEACH BOYS.  The group segues smoothly from Elmore James\u0000s \u0000Dust my Broom\u0000 into Robert Johnson\u0000s \u0000Meand the Devil\u0000 and Beany lets out a snort.<b> BEANY</b> I can dig this music...  But not that singer.<b> LULA</b> Why?...  He\u0000s right in the groove.<b> BEANY</b> He\u0000s so ugly.  Guys with beards and beerguts ain\u0000t quite my type.<b> LULA</b>           (giggles) Seein\u0000s how you\u0000re about as thick as a used string of unwaxed dental floss, don\u0000t know how you can criticize.<b> BEANY</b> Yeah, well, if he says that allthat flab turns into dick at midnight, he\u0000s a liar.Lula and Beany laugh and swallow some of their drinks.<b> BEANY</b> So, Sailor\u0000s gettin\u0000 out soon, and you\u0000re gonna see him?Lula nods and crushes an ice cubewith her back teeth and chews it.<b> LULA</b> Meetin\u0000 him at the gate.  That phone call this afternoon was the signal. My deranged mama\u0000s hid the keys to my car.  But of course, I know exactly where theyare.<b> BEANY</b> I didn\u0000t hate me so much, I\u0000d feel better wishin\u0000 you luck.<b> LULA</b> Can\u0000t all husbands be perfect, and your Elmo prob\u0000ly wouldn\u0000ta ever got that second one pregnant, you hadn\u0000tkicked his ass out.<b> BEANY</b> So you\u0000re gonna be needin\u0000 the \u0000blue-bird\u0000 pretty soon?<b> LULA</b> Real soon ... I\u0000ll be makin\u0000 the swap tomorrow, and thanks again, Beany.The Bleach Boys kick intosome kind of Professor Longhair swamp mambo.<b> CUT TO:</b><b>12. EXT. BAY ST. CLEMENT - DAY</b>Plumes of smoke from fires rise in the distance.<b>DISSOLVE TO:</b><b>13. INT. FORTUNE HOUSE -DAY</b>An empty livingroom.  The smoke from the city fire appears during the course of the DISSOLVE to be in the livingroom - then it disappears.An empty hallway.An empty stairway.<b>13A. INT. FORTUNE HOUSE- MARIETTA\u0000S BEDROOM - DAY</b>Feet (Lula\u0000s) was across carpet.A closet door opens.A hand (Lula\u0000s) reaches into the pocket of a coat in her mother\u0000s closet.  The hand comes out clutching car keys.<b>13B.INT. FORTUNE HOUSE - STAIRWAY - DAY</b>Lula races down the stairs and through a door into the garage.<b> CUT TO:</b><b>14. EXT. FORTUNE HOUSE - DAY</b>The electronic garage door opens and Luladrives her \u000080 Black Camaro out and away.  The garage door closes automatically.<b> CUT TO:</b><b>15. EXT. CITY STREETS - DAY</b>Lula drives fast up a neighborhood street.  She turns a corner anddisappears.<b> CUT TO:</b><b>16. INT. BEANY THORN\u0000S GARAGE - DAY</b>Lula throws her car keys under the front seat and goes around to Beany\u0000s \u000067 dark blue Thunderbird convertible - fishes aroundunder the T-Bird\u0000s front seat for the keys - finds them - jumps in and takes off.<b>DISSOLVE TO:</b><b>17. EXT. FORTUNE HOUSE - DAY</b>Marietta leaves her Cadillac Seville in her driveway and enters thehouse.  We can hear her calling out for Lula in the distance.  The calling changes - it becomes angry.  The garage door opens and Marietta comes storming out.  She leaps in her Caddy and peels out.<b> CUTTO:</b><b>18. INT. \u0000SOUTHERN TIME\u0000 BAR - DAY</b>Marietta enters the bar on the run.  She calls out to the BARTENDER...<b> MARIETTA</b> Where\u0000s Johnnie?  He\u0000s not in his office.<b> BARTENDER</b>Haven\u0000t seen \u0000im yet today, Marietta.<b> MARIETTA</b> (slightly hysterical) Well I gotta find him - right this minute!<b> CUT TO:</b><b>19. EXT. PEE DEE COUNTY WORK FARM - DAY</b>Sailor is waiting outfront as Lula pulls up in her T-Bird - throwing out a cloud of dust.  They\u0000re both smiling.<b> LULA</b> Hey baby...<b> SAILOR</b> Peanut...They kiss tenderly and then Sailor walks around the car to get in whileLula opens up a suitcase and gets out his snakeskin jacket.<b> SAILOR</b> Hey, my snakeskin jacket...  Thanks,     baby...  Did I ever tell you that this here jacket for me is a symbol of my individuality and my beliefin personal freedom?<b> LULA</b> \u0000Bout fifty thousand times.  I got us a room at the Cape Fear, and guess what?...  I hear Powermad\u0000s at \u0000The Hurricane.\u0000<b> SAILOR</b> (smiling) Stab it and steer.Lulatromps it and throws out an even larger cloud of dust.<b> CUT TO:</b><b>20. INT. CAPE FEAR HOTEL - DAY</b>Sailor and Lula lay on the bed in the Cape Fear Hotel listening to the fan creak.<b> LULA</b> Didyou ever think somethin\u0000 like about the wicked witch of the east comin\u0000 flyin\u0000 in?...  Did you ever think somethin\u0000 and then later think you\u0000ve said it out loud to someone?<b> SAILOR</b> I really did miss yourmind while I was out at Pee Dee, honey.  The rest of you, too, of course.  But the way your head works is God\u0000s own private mystery.  What was it you was thinkin\u0000?<b> LULA</b> Well, I was thinkin\u0000 aboutsmokin\u0000 actually...  My mama smokes Marlboros now, used to be she smoked Kools? I stole \u0000em from her beginnin\u0000 in about sixth grade.  When I got old enough to buy my own, I bought those. Now I\u0000ve just aboutsettled on Mores, as you probably noticed?  They\u0000re longer.<b> SAILOR</b> I guess I started smokin\u0000 when I was about six...  My mama was already dead from lung cancer...<b> LULA</b> What brand\u0000d shesmoke?<b> SAILOR</b> Camels, same as me...  Guess both my mama and my daddy died of smoke or alcohol related illness.<b> LULA</b> Gee, Sailor.  I\u0000m sorry, honey.  I never would have guessed it.<b>SAILOR</b> It\u0000s okay.  I hardly used to see them anyway.  I didn\u0000t have much parental guiding.  The public defender kept sayin\u0000 that at my parole hearin\u0000. He was a good ol\u0000 boy, stood by me... Even brought mesome cartons of cigarettes from time to time.<b> LULA</b> I\u0000d stand by you, Sailor ... through anything.<b> SAILOR</b> Hell, peanut, you stuck with me after I planted Bob Ray Lemon.  A man can\u0000t ask for morethan that.Lula pulls Sailor over to her and kisses him soft on the mouth.<b> LULA</b> You move me, Sailor, you really do. You mark me the deepest.Sailor pulls down the sheet, exposing Lula\u0000s breasts.<b>SAILOR</b> You\u0000re perfect for me, too.<b> LULA</b> You remind me of my daddy, you know? Mama told me he liked skinny women whose breasts were just a bit too big for their bodies.  He had a long nose, too,like theirs.  Did I ever tell you how he died?<b> SAILOR</b> In a fire, as I recall.<b> LULA</b> Started he couldn\u0000t remember things? Got real violent?  Mama kept tellin\u0000 me it was on account of lead poisoning"}
+{"doc_id":"doc_281","qid":"","text":"Project Gutenberg's Tom Swift and his Electric Rifle, by Victor AppletonThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: Tom Swift and his Electric RifleAuthor: Victor AppletonPosting Date: January 16, 2009 [EBook#3777]Release Date: February, 2003Last updated November 10, 2010Last updated: April 22, 2012Language: English*** START OF THIS PROJECT GUTENBERG EBOOK TOM SWIFT AND HIS ELECTRIC RIFLE***Produced by This etext was produced by Charles Franks,Greg Weeks, and the Online Distributed Proofreading Team.TOM SWIFT AND HIS ELECTRIC RIFLEORDaring Adventures in Elephant Landby VICTORAPPLETONCONTENTS     I   TOM WANTS EXCITEMENT    II   TRYING THE NEW GUN   III   A DIFFICULT TEST    IV   BIG TUSKS WANTED     V   RUSH WORK    VI   NEWS FROM ANDY   VII   THE BLACK HAWKFLIES  VIII   OFF FOR AFRICA    IX   ATTACKED BY A WHALE     X   OFF IN THE AIRSHIP    XI   ANCHORED TO EARTH   XII   AMONG THE NATIVES  XIII   ON THE ELEPHANT TRAIL   XIV   A STAMPEDE    XV   LIONS INTHE NIGHT   XVI   SEEKING THE MISSIONARIES  XVII   SHOTS FROM ABOVE XVIII   NEWS OF THE RED PYGMIES   XIX   AN APPEAL FOR HELP    XX   THE FIGHT   XXI   DRIVEN BACK  XXII   A NIGHT ATTACKXXIII   THE RESCUE  XXIV   TWO OTHER CAPTIVES   XXV   THE ROGUE ELEPHANT--CONCLUSIONCHAPTER ITOM WANTS EXCITEMENT\"Have you anything special to do to-night, Ned?\" asked Tom Swift,the well-knowninventor, as he paused in front of his chum's window,in the Shopton National Bank.\"No, nothing in particular,\" replied the bank clerk, as he stackedup some bundles of bills. \"Why do you ask?\"\"I wanted you to comeover to the house for a while.\"\"Going to have a surprise party, or something like that?\"\"No, only I've got something I'd like to show you.\"\"A new invention?\"\"Well, not exactly new. You've seen it before, but not sinceI'veimproved it. I'm speaking of my new electric rifle. I've got itready to try, now, and I'd like to see what you think of it. There'sa rifle range over at the house, and we can practice some shooting,if you haven'tanything else to do.\"\"I haven't, and I'll be glad to come. What are you doing in thebank, anyhow; putting away more of your wealth, Tom?\"\"Yes, I just made a little deposit. It's some money I got from thegovernmentfor the patents on my sky racer, and I'm salting it downhere until Dad and I can think of a better investment.\"\"Good idea. Bring us all the money you can,\" and the bank clerk, whoheld a small amount of stock in thefinancial institution, laughed,his chum joining in with him.\"Well, then. I'll expect you over this evening,\" went on theyouthful inventor, as he turned to leave the bank.\"Yes, I'll be there. Say, Tom, have you heard thelatest about AndyFoger?\"\"No, I haven't heard much since he left town right after I beat himin the aeroplane race at Eagle Park.\"\"Well, he's out of town all right, and I guess for a long time thistrip. He's gone toEurope.\"\"To Europe, eh? Well, he threatened to go there after he failed tobeat me in the race, but I thought he was only bluffing.\"\"No, he's really gone this time.\"\"Well, I, for one, am glad of it. Did he take his aeroplanealong?\"\"Yes, that's what he went for. It seems that this Mr. Landbacher,the German who really invented it, and built it with money which Mr.Foger supplied, has an idea he can interest the German or someotherEuropean government in the machine. Andy wanted to go along withhim, and as Mr. Foger financed the scheme, I guess he thought itwould be a good thing to have some one represent him. So Andy'sgone.\"\"Thenhe won't bother me. Well, I must get along. I'll expect youover to-night,\" and with a wave of his hand Tom Swift hurried fromthe bank.The young inventor jumped into his electric runabout which stoodoutside theinstitution, and was about to start off when he saw anewsboy selling papers which had just come in from New York, on themorning train.\"Here, Jack, give me a TIMES,\" called Tom to the lad, and he tossedthe newsboya nickel. Then, after glancing at the front page, andnoting the headings, Tom started off his speedy car, in which, onone occasion, he had made a great run, against time. He was soon athome.\"Well, Dad, I've got themoney safely put away,\" he remarked to anaged gentleman who sat in the library reading a book. \"Now we won'thave to worry about thieves until we get some more cash in.\"\"Well, I'm glad it's coming in so plentifully,\"said Mr. Swift witha smile. \"Since my illness I haven't been able to do much, Tom, andit all depends on you, now.\"\"Don't let that worry you, Dad. You'll soon be as busy as ever,\"for, following a serious operation for anailment of the heart, Mr.Swift, who was a veteran inventor, had not been able to do much. Butthe devices of his son, especially a speedy monoplane, which Tominvented, and sold to the United States Government, werenowbringing them in a large income. In fact with royalties from hisinventions and some gold and diamonds which he had secured on twoperilous trips, Tom Swift was quite wealthy.\"I'll never be as busy as I once was,\"went on Mr. Swift, a littleregretfully, \"but I don't know that I care as long as you continueto turn out new machines, Tom. By the way, how is the electric riflecoming on? I haven't heard you speak of it lately.\"\"It'spractically finished, Dad. It worked pretty well the time Itook it when we went on the trip to the caves of ice, but I'veimproved it very much since then. In fact I'm going to give it asevere test to-night. Ned Newton iscoming over, and it may be thatthen we'll find out something about it that could be bettered. But Ithink not. It suits me as it is.\"\"So Ned is coming over to see it; eh? You ought to have Mr. Damonhere to bless it a fewtimes.\"\"Yes, I wish I did. And he may come along at any moment, as it is.You never can tell when he is going to turn up. Mrs. Baggert saysyou were out walking while I was at the bank, Dad. Do you feelbetter afterit?\"\"Yes, I think I do, Tom. Oh, I'm growing stronger every day, but itwill take time. But now tell me something about the electric gun.\"Thereupon the young inventor related to his father some facts abouttheimprovements he had recently made to the weapon. It was dinnertime when he had finished, and, after the meal Tom went out to theshed where he built his aeroplanes and his airships, and in whichbuilding he hadfitted up a shooting gallery.\"I'll get ready for the trial to-night,\" he said \"I want to see whatit will do to a dummy figure. Guess I'll make a sort of scarecrowand stuff it with straw. I'll get Eradicate to help me. Rad! Isay,Rad! Where are you?\"\"Heah I is, Massa Tom! Heah I is,\" called a colored man as he camearound the corner of a small stable where he kept his muleBoomerang. \"Was yo'-all callin' me?\"\"Yes, Rad, I want you to helpmake a scarecrow.\"\"A scarecrow, Massa Tom! Good land a' massy! What fo' yo' want ob ascarecrow? Yo'-all ain't raisin' no corn, am yo'?\"\"No, but I want something to shoot at when Ned Newton comesoverto-night.\"\"Suffin t' shoot at? Why Massa Tom! Good land a' massy! Yo'-allain't gwine t' hab no duel, am yo'?\"\"No, Rad, but I want a life-size figure on which to try my newelectric gun. Here are some old clothes, andif you will stuff themwith rags and straw and fix them so they'll stand up, they'll dofirst-rate. Have it ready by night, and set it up at the far end ofthe shooting gallery.\"\"All right, Massa Tom. I'll jest do dat, fo' yo',\" andleaving thecolored man to stuff the figure, after he had showed him how, Tomwent back into the house to read the paper which he had purchasedthat morning.He skimmed over the news, thinking perhaps he might seesomething ofthe going abroad of Andy Foger with the German aeroplane, but therewas nothing.\"I almost wish I was going to Europe,\" sighed Tom. \"I will certainlyhave to get busy at something, soon. I haven't had anyadventuresince I won the prize at the Eagle Park aviation meet in my skyracer. Jove! That was some excitement! I'd like to do that overagain, only I shouldn't want to have Dad so sick,\" for just beforethe race, Tom hadsaved his father's life by making a quick run inthe aeroplane, to bring a celebrated surgeon to the invalid's aid.\"I certainly wish I could have some new adventures,\" mused Tom, ashe turned the pages of the paper. \"Icould afford to take a triparound the earth after them, too, with the way money is coming innow. Yes, I do wish I could have some excitement. Hello, what'sthis! A big elephant hunt in Africa. Hundreds of the hugecreaturescaptured in a trap--driven in by tame beasts. Some are shot fortheir tusks. Others will be sent to museums.\"He was reading the headlines of the article that had attracted hisattention, and, as he read, hebecame more and more absorbed in it.He read the story through twice, and then, with sparkling eyes, heexclaimed:\"That's just what I want. Elephant shooting in Africa! My! With mynew electric rifle, and an airship,what couldn't a fellow do overin the dark continent! I've a good notion to go there! I wonder ifNed would go with me? Mr. Damon certainly would. Elephant shootingin Africa! In an airship! I could finish my new sky craftin shortorder if I wanted to. I've a good notion to do it!\"CHAPTER IITRYING THE NEW GUNWhile Tom Swift is thus absorbed in thinking about a chance to huntelephants, we will take the opportunity to tell you a littlemoreabout him, and then go on with the story.Many of you already know the young inventor, but those who do notmay be interested in hearing that he is a young American lad, fullof grit and ginger, who lives with hisaged father in the town ofShopton, in New York State. Our hero was first introduced to thepublic in the book, \"Tom Swift and His Motorcycle.\"In that volume it was related how Tom bought a motor-cycle from aMr.Wakefield Damon, of Waterford. Mr. Damon was an eccentricindividual, who was continually blessing himself, some one else, orsomething belonging to him. His motor-cycle tried to climb a treewith him, and that waswhy he sold it to Tom. The two thus becameacquainted, and their friendship grew from year to year.After many adventures on his motor-cycle Tom got a motor-boat, andhad some exciting times in that. One of thethings he and his fatherand his chum, Ned Newton, did, was to rescue, from a burning balloonthat had fallen into Lake Carlopa, an aeronaut named John Sharp.Later Tom and Mr. Sharp built an airship called the RedCloud, andwith Mr. Damon and some others had a series of remarkable fights.In the Red Cloud they got on the track of some bank robbers, andcaptured them, thus foiling the plans of Andy Foger, a town bully,and oneof Tom's enemies, and putting to confusion the plot of Mr.Foger, Andy's father.After many adventures in the air Tom and his friends, in a submarineboat, invented by Mr. Swift, went under the ocean for sunkentreasureand secured a large part of it.It was not long after this that Tom conceived the idea of a powerfulelectric car, which proved, to be the speediest of the road, and init he won a great race, and saved from ruin a bank inwhich hisfather and Mr. Damon were interested.The sixth book of the series, entitled \"Tom Swift and His WirelessMessage,\" tells how, in testing a new electric airship, which afriend of Mr. Damon's had invented, Tom,the inventor and Mr. Damonwere lost on an island in the middle of the ocean. There they foundsome castaways, among whom were Mr. and Mrs. Nestor, parents of MaryNestor of Shopton, a girl of whom Tom was quitefond.Tom Swift, after his arrival home, went on an expedition among agang of men known as the \"Diamond Makers\" who were hidden in theRocky Mountains. He was accompanied by Mr. Barcoe Jenks, one ofthecastaways of Earthquake Island. They found the diamond makers, andhad some surprising adventures, barely escaping with their lives.This did not daunt Tom, however, and he once more started off on anexpeditionin his airship the Red Cloud to Alaska, amid the caves ofice. He was searching for a valley of gold, and though he and hisfriends found it, they came to grief. The Fogers, father and son,tried to steal the gold from them,and, failing in that, incited theEskimos against our friends. There was a battle, but the forces ofnature were even more to be dreaded than the terrible savages.The ice cave, in which the Red Cloud was stored, collapsed,crushingthe gallant craft, and burying it out of sight forever underthousand of tons of the frozen bergs.After a desperate journey Tom and his friends reached civilization,with a large supply of gold. Tom regretted verymuch the destructionof the airship, but he at once set to work on another--a monoplanethis time, instead of a combined aeroplane and dirigible balloon.This new craft he called the Humming-Bird and it was a \"skyracer\"of terrific speed. In it, as we have said, Tom brought a specialistto operate on his father, when, because of a broken railroad bridge,the physician could not otherwise have gotten to Shopton. He and Tomtraveledthrough the air at the rate of over one hundred miles anhour. Later, Tom took part in a big race for a ten-thousand-dollarprize, and won, defeating Andy Foger, and a number of well-known\"bird-men\" who used biplanesand monoplanes of a more or lessfamiliar type.The government became interested in Tom's craft, the Humming-Bird,and, as told in the ninth book of this series, Tom Swift and His SkyRacer, they secured some rights inthe invention.And now Tom, who had done nothing for several months following thegreat race--that is, nothing save to work on his new rifle--Tom, wesay, sighed for new adventures.\"Well, Tom, what is on your mind?\"asked his father at the suppertable that evening. \"What is worrying you?\"\"Nothing is worrying me, Dad.\"\"You are thinking of something. I can see that. Are you afraid yourelectric rifle won't work as well as you hope,when Ned comes overto try it?\"\"No, it isn't that, Dad. But I may as well tell you, I guess. I'vebeen reading in the paper about a big elephant hunt in Africa, andI--\"\"That's enough, Tom! You needn't say any more,\"interrupted Mr.Swift. \"I can see which way the wind is blowing. You want to go toAfrica with your new rifle.\"\"Well, Dad, not exactly--that is--\"\"Now, Tom, you needn't deny it,\" and Mr. Swift laughed. \"Well, Idon't blameyou a bit. You have been rather idle of late.\"\"I would like to go, Dad,\" admitted the young inventor, \"only I'dnever think of it while you weren't well.\"\"Don't worry about me, Tom. Of course I will be lonesome whileyouare gone, but don't let that stand in the way. If you want to go toAfrica, you may start to-morrow, and take your new rifle with you.\"\"The rifle part would be all right, Dad, but if I went I'd want totake an airshipalong, and it will take me some little time tofinish the Black Hawk, as I have named my new craft.\"\"Well, there's no special hurry, is there?\" asked Mr. Swift. \"Theelephants in Africa are likely to stay there for some time.If youwant to go, why don't you get right to work on the Black Hawk andmake the trip? I'd like to go myself.\"\"I wish you would, Dad,\" exclaimed Tom eagerly.\"No, son, I couldn't think of it. I want to stay here and getwell.Then I am going to resume work on my wireless motor. Perhaps I'llhave it finished when you come back from Africa with an airship loadof elephants' tusks.\"\"Perhaps,\" admitted the young inventor. \"Well, Dad, I'llthink ofit. But now I'm going after my rifle, and--\"Tom was interrupted by a ring of the front-door bell, and Mrs.Baggert, the housekeeper, who was almost like a mother to the youth,went to answer it.\"It's Ned Newton,I guess,\" murmured Tom, and, a little later, hischum entered the room.\"Oh, I guess I'm early,\" said Ned. \"Haven't you had supper yet,Tom?\"\"Yes, we're just finished. Come on out and we'll try the gun.\"\"And practiceshooting elephants,\" added Mr. Swift with a laugh, ashe mentioned to Ned the latest idea of Tom.\"Say! That would be great!\" cried the bank clerk. \"I wish I couldgo!\"\"Come along!\" invited Tom cordially. \"We'll havemore fun than wedid in the caves of ice,\" for Ned had gone on the voyage to Alaska.The two youths went out to the shed where the rifle gallery had beenbuilt. The new electric weapon was out there, and EradicateSampson,the colored man, who was a sort of servant and man-of-all-work aboutthe Swift household, had set up the scarecrow figure at the end ofthe gallery.\"Now we'll try some shots,\" said Tom, as he took the gunout of thecase. \"Just turn on a few more lights, will you, Mr. Jackson,\" andthe engineer, who was employed by Tom and his father to aid them intheir inventive work, did as requested.The gallery was now brilliantlyilluminated, with the reflectorsthrowing the beams on the big stuffed figure, which, save for aface, looked very much like a human being, standing at the end ofthe gallery.\"I don't suppose you want to go down thereand hold it, while Ishoot at it; do you, Rad?\" asked Tom jokingly, as he prepared theelectric rifle for use.\"No indeedy, I don't!\" cried Eradicate. \"Yo'-all will hab t' scuseme, Massa Tom. I think I'll be goin' now.\"\"What'syour hurry?\" asked Ned, as he saw the colored man hastilypreparing to leave the improvised gallery.\"I spects I'd better fro' down some mo' straw fo' a bed fo' my muleBoomerang!\" exclaimed Eradicate, as he hastilyslid out of the door,and shut it after him.\"Rad is nervous,\" remarked Tom. \"He doesn't like this gun. Well, itcertainly does great execution.\"\"How does it work'\" asked Ned, as he looked at the curious gun. Theelectricweapon was not unlike an ordinary heavy rifle in appearancesave that the barrel was a little longer, and the stock larger inevery way. There were also a number of wheels, levers, gears andgages on the stock.\"It worksby electricity,\" explained Tom.\"That is, the force comes from a powerful current of storedelectricity.\"\"Oh, then you have storage batteries in the stock?\"\"Not exactly. There are no batteries, but the current is a sortofwireless kind. It is stored in a cylinder, just as compressed air orgases are stored, and can be released as I need it.\"\"And when it's all gone, what do you do?\"\"Make more power by means of a small dynamo.\"\"Anddoes it shoot lead bullets?\"\"Not at all. There are no bullets used.\"\"Then how does it kill?\"\"By means of a concentrated charge of electricity which is shot fromthe barrel with great force. You can't see it, yet it is there.It'sjust as if you concentrated a charge of electricity of five thousandvolts into a small globule the size of a bullet. That flies throughspace, strikes the object aimed at and--well, we'll see what it doesin a minute. Mr.Jackson, just put that steel plate up in front ofthe scarecrow; will you?\"The engineer proceeded to put into place a section of steel armor-platebefore the stuffed figure.\"You don't mean to say you're going to shootthrough that, do you?\"asked Ned in surprise.\"Surely. The electric bullets will pierce anything. They'll gothrough a brick wall as easily as the x-rays do. That's one valuablefeature of my rifle. You don't have to see theobject you aim at. Infact you can fire through a house, and kill something on the otherside.\"\"I should think that would be dangerous.\"\"It would be, only I can calculate exactly, by means of an automaticarrangement,just how far the charge of electricity will go. Itstops short just at the limit of the range, and is not effectivebeyond that. Otherwise, if I did not limit it and if I fired at thescarecrow, through the piece of steel, and thebullet hit thefigure, it would go on, passing through whatever else was in theway, until its power was lost. I use the term 'bullet,' though as Isaid, it isn't properly one.\"\"By Jove, Tom, it certainly is a dangerousweapon!\"\"Yes, the range-limit idea is a new one. That's what I've beenworking on lately. There are other features of the gun which I'llexplain later, particularly the power it has to shoot out luminousbars of light. Butnow we'll see what it will do to the image.\"Tom took his place at the end of the range, and began to adjust somevalves and levers. In spite of the fact that the gun was larger thanan ordinary rifle, it was not as heavy asthe United States Armyweapon.Tom aimed at the armor-plate, and, by means of an arrangement on therifle, he could tell exactly when he was pointing at the scarecrow,even though he could not see it.\"Here she goes!\"he suddenly exclaimed.Ned watched his chum. The young inventor pressed a small button atthe side of the rifle barrel, about where the trigger should havebeen. There was no sound, no smoke, no flame and not theslightestjar.Yet as Ned watched he saw the steel plate move slightly. The nextinstant the scarecrow figure seemed to fly all to pieces. There wasa shower of straw, rags and old clothes, which fell in a shapelessheap atthe end of the range.\"Say. I guess you did for that fellow, all right!\" exclaimed Ned.\"It looks so,\" admitted Tom, with a note of pride in his voice. \"Nowwe'll try another test.\"As he laid aside his rifle in order to help Mr."}
+{"doc_id":"doc_282","qid":"","text":"The Project Gutenberg EBook of The Ball at Sceaux, by Honore de BalzacThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: The Ball at SceauxAuthor: Honore de BalzacTranslator: Clara BellRelease Date: May, 1998  [Etext#1305]Posting Date: February 22, 2010Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE BALL AT SCEAUX ***Produced by DagnyTHE BALL AT SCEAUXBY HONORE DE BALZACTranslated ByClara Bell              To Henri de Balzac, his brother Honore.THE BALL AT SCEAUXThe Comte de Fontaine, head of one of the oldest families in Poitou, hadserved the Bourbon cause with intelligence and bravery during thewarin La Vendee against the Republic. After having escaped all the dangerswhich threatened the royalist leaders during this stormy period ofmodern history, he was wont to say in jest, \"I am one of the men whogavethemselves to be killed on the steps of the throne.\" And thepleasantry had some truth in it, as spoken by a man left for dead at thebloody battle of Les Quatre Chemins. Though ruined by confiscation, thestaunchVendeen steadily refused the lucrative posts offered to himby the Emperor Napoleon. Immovable in his aristocratic faith, he hadblindly obeyed its precepts when he thought it fitting to choosea companion for life. Inspite of the blandishments of a rich butrevolutionary parvenu, who valued the alliance at a high figure, hemarried Mademoiselle de Kergarouet, without a fortune, but belonging toone of the oldest families inBrittany.When the second revolution burst on Monsieur de Fontaine he wasencumbered with a large family. Though it was no part of the noblegentlemen's views to solicit favors, he yielded to his wife's wish, lefthiscountry estate, of which the income barely sufficed to maintain hischildren, and came to Paris. Saddened by seeing the greediness of hisformer comrades in the rush for places and dignities under the newConstitution,he was about to return to his property when he received aministerial despatch, in which a well-known magnate announced to him hisnomination as marechal de camp, or brigadier-general, under a rulewhich allowed theofficers of the Catholic armies to count the twentysubmerged years of Louis XVIII.'s reign as years of service. Some dayslater he further received, without any solicitation, ex officio, thecrosses of the Legion of Honorand of Saint-Louis.Shaken in his determination by these successive favors, due, as hesupposed, to the monarch's remembrance, he was no longer satisfied withtaking his family, as he had piously done every Sunday, tocry \"Vive leRoi\" in the hall of the Tuileries when the royal family passed throughon their way to chapel; he craved the favor of a private audience.The audience, at once granted, was in no sense private. Theroyaldrawing-room was full of old adherents, whose powdered heads, seen fromabove, suggested a carpet of snow. There the Count met some old friends,who received him somewhat coldly; but the princes he thoughtADORABLE,an enthusiastic expression which escaped him when the most gracious ofhis masters, to whom the Count had supposed himself to be known onlyby name, came to shake hands with him, and spoke of him asthe mostthorough Vendeen of them all. Notwithstanding this ovation, none ofthese august persons thought of inquiring as to the sum of his losses,or of the money he had poured so generously into the chests oftheCatholic regiments. He discovered, a little late, that he had made warat his own cost. Towards the end of the evening he thought he mightventure on a witty allusion to the state of his affairs, similar, asit was, to thatof many other gentlemen. His Majesty laughed heartilyenough; any speech that bore the hall-mark of wit was certain to pleasehim; but he nevertheless replied with one of those royal pleasantrieswhose sweetness ismore formidable than the anger of a rebuke. One ofthe King's most intimate advisers took an opportunity of going up to thefortune-seeking Vendeen, and made him understand by a keen and politehint that the timehad not yet come for settling accounts with thesovereign; that there were bills of much longer standing than his on thebooks, and there, no doubt, they would remain, as part of the history ofthe Revolution. The Countprudently withdrew from the venerable group,which formed a respectful semi-circle before the august family; then,having extricated his sword, not without some difficulty, from among thelean legs which had got mixedup with it, he crossed the courtyard ofthe Tuileries and got into the hackney cab he had left on the quay. Withthe restive spirit, which is peculiar to the nobility of the old school,in whom still survives the memory of theLeague and the day of theBarricades (in 1588), he bewailed himself in his cab, loudly enoughto compromise him, over the change that had come over the Court.\"Formerly,\" he said to himself, \"every one could speakfreely to theKing of his own little affairs; the nobles could ask him a favor, or formoney, when it suited them, and nowadays one cannot recover the moneyadvanced for his service without raising a scandal! By Heaven!the crossof Saint-Louis and the rank of brigadier-general will not make good thethree hundred thousand livres I have spent, out and out, on the royalcause. I must speak to the King, face to face, in his own room.\"Thisscene cooled Monsieur de Fontaine's ardor all the more effectuallybecause his requests for an interview were never answered. And,indeed, he saw the upstarts of the Empire obtaining some of the officesreserved, underthe old monarchy, for the highest families.\"All is lost!\" he exclaimed one morning. \"The King has certainly neverbeen other than a revolutionary. But for Monsieur, who never derogates,and is some comfort to his faithfuladherents, I do not know what handsthe crown of France might not fall into if things are to go onlike this. Their cursed constitutional system is the worst possiblegovernment, and can never suit France. Louis XVIII. andMonsieur Beugnotspoiled everything at Saint Ouen.\"The Count, in despair, was preparing to retire to his estate,abandoning, with dignity, all claims to repayment. At this momentthe events of the 20th March (1815)gave warning of a fresh storm,threatening to overwhelm the legitimate monarch and his defenders.Monsieur de Fontaine, like one of those generous souls who do notdismiss a servant in a torrent of rain; borrowed onhis lands tofollow the routed monarchy, without knowing whether this complicity inemigration would prove more propitious to him than his past devotion.But when he perceived that the companions of the King's exilewerein higher favor than the brave men who had protested, sword in hand,against the establishment of the republic, he may perhaps have hoped toderive greater profit from this journey into a foreign land thanfromactive and dangerous service in the heart of his own country. Nor washis courtier-like calculation one of these rash speculations whichpromise splendid results on paper, and are ruinous in effect. He was--toquotethe wittiest and most successful of our diplomates--one of thefaithful five hundred who shared the exile of the Court at Ghent,and one of the fifty thousand who returned with it. During the shortbanishment of royalty,Monsieur de Fontaine was so happy as to beemployed by Louis XVIII., and found more than one opportunity of givinghim proofs of great political honesty and sincere attachment. Oneevening, when the King hadnothing better to do, he recalled Monsieur deFontaine's witticism at the Tuileries. The old Vendeen did not let sucha happy chance slip; he told his history with so much vivacity thata king, who never forgot anything,might remember it at a convenientseason. The royal amateur of literature also observed the elegant stylegiven to some notes which the discreet gentleman had been invited torecast. This little success stampedMonsieur de Fontaine on the King'smemory as one of the loyal servants of the Crown.At the second restoration the Count was one of those special envoys whowere sent throughout the departments charged withabsolute jurisdictionover the leaders of revolt; but he used his terrible powers withmoderation. As soon as the temporary commission was ended, the HighProvost found a seat in the Privy Council, became a deputy,spokelittle, listened much, and changed his opinions very considerably.Certain circumstances, unknown to historians, brought him into suchintimate relations with the Sovereign, that one day, as he came in, theshrewdmonarch addressed him thus: \"My friend Fontaine, I shall takecare never to appoint you to be director-general, or minister. Neitheryou nor I, as employees, could keep our place on account of ouropinions.Representative government has this advantage; it saves Us the trouble Weused to have, of dismissing Our Secretaries of State. Our Council isa perfect inn-parlor, whither public opinion sometimes sendsstrangetravelers; however, We can always find a place for Our faithfuladherents.\"This ironical speech was introductory to a rescript giving Monsieur deFontaine an appointment as administrator in the office of Crownlands.As a consequence of the intelligent attention with which he listened tohis royal Friend's sarcasms, his name always rose to His Majesty'slips when a commission was to be appointed of which the members weretoreceive a handsome salary. He had the good sense to hold his tongueabout the favor with which he was honored, and knew how to entertain themonarch in those familiar chats in which Louis XVIII. delighted asmuch asin a well-written note, by his brilliant manner ofrepeating political anecdotes, and the political or parliamentarytittle-tattle--if the expression may pass--which at that time was rife.It is well known that he was immenselyamused by every detail of hisGouvernementabilite--a word adopted by his facetious Majesty.Thanks to the Comte de Fontaine's good sense, wit, and tact, everymember of his numerous family, however young, ended,as he jestinglytold his Sovereign, in attaching himself like a silkworm to the leavesof the Pay-List. Thus, by the King's intervention, his eldest sonfound a high and fixed position as a lawyer. The second, beforetherestoration a mere captain, was appointed to the command of a legion onthe return from Ghent; then, thanks to the confusion of 1815, when theregulations were evaded, he passed into the bodyguard, returned toaline regiment, and found himself after the affair of the Trocaderoa lieutenant-general with a commission in the Guards. The youngest,appointed sous-prefet, ere long became a legal official and director ofa municipalboard of the city of Paris, where he was safe from changesin Legislature. These bounties, bestowed without parade, and as secretas the favor enjoyed by the Count, fell unperceived. Though the fatherand his three sonseach had sinecures enough to enjoy an income insalaries almost equal to that of a chief of department, their politicalgood fortune excited no envy. In those early days of the constitutionalsystem, few persons had veryprecise ideas of the peaceful domain of thecivil service, where astute favorites managed to find an equivalent forthe demolished abbeys. Monsieur le Comte de Fontaine, who till latelyboasted that he had not read theCharter, and displayed such indignationat the greed of courtiers, had, before long, proved to his augustmaster that he understood, as well as the King himself, the spiritand resources of the representative system. At thesame time,notwithstanding the established careers open to his three sons, and thepecuniary advantages derived from four official appointments,Monsieur de Fontaine was the head of too large a family to be abletore-establish his fortune easily and rapidly.His three sons were rich in prospects, in favor, and in talent; buthe had three daughters, and was afraid of wearying the monarch'sbenevolence. It occurred to him to mentiononly one by one, thesevirgins eager to light their torches. The King had too much goodtaste to leave his work incomplete. The marriage of the eldest with aReceiver-General, Planat de Baudry, was arranged by one ofthose royalspeeches which cost nothing and are worth millions. One evening, whenthe Sovereign was out of spirits, he smiled on hearing of the existenceof another Demoiselle de Fontaine, for whom he found a husbandin theperson of a young magistrate, of inferior birth, no doubt, but wealthy,and whom he created Baron. When, the year after, the Vendeen spoke ofMademoiselle Emilie de Fontaine, the King replied in his thinsharptones, \"Amicus Plato sed magis amica Natio.\" Then, a few days later, hetreated his \"friend Fontaine\" to a quatrain, harmless enough, whichhe styled an epigram, in which he made fun of these three daughterssoskilfully introduced, under the form of a trinity. Nay, if report is tobe believed, the monarch had found the point of the jest in the Unity ofthe three Divine Persons.\"If your Majesty would only condescend to turn theepigram into anepithalamium?\" said the Count, trying to turn the sally to good account.\"Though I see the rhyme of it, I fail to see the reason,\" retorted theKing, who did not relish any pleasantry, however mild, on thesubject ofhis poetry.From that day his intercourse with Monsieur de Fontaine showed lessamenity. Kings enjoy contradicting more than people think. Like mostyoungest children, Emilie de Fontaine was a Benjamin spoiltby almosteverybody. The King's coolness, therefore, caused the Count all the moreregret, because no marriage was ever so difficult to arrange as that ofthis darling daughter. To understand all the obstacles we mustmake ourway into the fine residence where the official was housed at the expenseof the nation. Emilie had spent her childhood on the family estate,enjoying the abundance which suffices for the joys of early youth;herlightest wishes had been law to her sisters, her brothers, her mother,and even her father. All her relations doted on her. Having come toyears of discretion just when her family was loaded with the favors offortune,the enchantment of life continued. The luxury of Paris seemedto her just as natural as a wealth of flowers or fruit, or as therural plenty which had been the joy of her first years. Just as in herchildhood she had neverbeen thwarted in the satisfaction of her playfuldesires, so now, at fourteen, she was still obeyed when she rushed intothe whirl of fashion.Thus, accustomed by degrees to the enjoyment of money, elegance ofdress, ofgilded drawing-rooms and fine carriages, became as necessaryto her as the compliments of flattery, sincere or false, and thefestivities and vanities of court life. Like most spoiled children,she tyrannized over those wholoved her, and kept her blandishments forthose who were indifferent. Her faults grew with her growth, and herparents were to gather the bitter fruits of this disastrous education.At the age of nineteen Emilie deFontaine had not yet been pleased tomake a choice from among the many young men whom her father's politicsbrought to his entertainments. Though so young, she asserted in societyall the freedom of mind that amarried woman can enjoy. Her beauty wasso remarkable that, for her, to appear in a room was to be its queen;but, like sovereigns, she had no friends, though she was everywhere theobject of attentions to which afiner nature than hers might perhapshave succumbed. Not a man, not even an old man, had it in him tocontradict the opinions of a young girl whose lightest look couldrekindle love in the coldest heart.She had beeneducated with a care which her sisters had not enjoyed;painted pretty well, spoke Italian and English, and played the pianobrilliantly; her voice, trained by the best masters, had a ring in itwhich made her singingirresistibly charming. Clever, and intimate withevery branch of literature, she might have made folks believe that,as Mascarille says, people of quality come into the world knowingeverything. She could argue fluently onItalian or Flemish painting, onthe Middle Ages or the Renaissance; pronounced at haphazard on books newor old, and could expose the defects of a work with a cruelly gracefulwit. The simplest thing she said wasaccepted by an admiring crowd as afetfah of the Sultan by the Turks. She thus dazzled shallow persons; asto deeper minds, her natural tact enabled her to discern them, and forthem she put forth so much fascinationthat, under cover of her charms,she escaped their scrutiny. This enchanting veneer covered a carelessheart; the opinion--common to many young girls--that no one else dweltin a sphere so lofty as to be able tounderstand the merits of hersoul; and a pride based no less on her birth than on her beauty. Inthe absence of the overwhelming sentiment which, sooner or later, workshavoc in a woman's heart, she spent her youngardor in an immoderatelove of distinctions, and expressed the deepest contempt for persons ofinferior birth. Supremely impertinent to all newly-created nobility, shemade every effort to get her parents recognized asequals by the mostillustrious families of the Saint-Germain quarter.These sentiments had not escaped the observing eye of Monsieur deFontaine, who more than once, when his two elder girls were married, hadsmartedunder Emilie's sarcasm. Logical readers will be surprised to seethe old Royalist bestowing his eldest daughter on a Receiver-General,possessed, indeed, of some old hereditary estates, but whose namewas not precededby the little word to which the throne owed so manypartisans, and his second to a magistrate too lately Baronified toobscure the fact that his father had sold firewood. This noteworthychange in the ideas of a noble onthe verge of his sixtieth year--an agewhen men rarely renounce their convictions--was due not merely to hisunfortunate residence in the modern Babylon, where, sooner or later,country folks all get their corners rubbeddown; the Comte de Fontaine'snew political conscience was also a result of the King's advice andfriendship. The philosophical prince had taken pleasure in convertingthe Vendeen to the ideas required by the advance ofthe nineteenthcentury, and the new aspect of the Monarchy. Louis XVIII. aimed atfusing parties as Napoleon had fused things and men. The legitimateKing, who was not less clever perhaps than his rival, acted inacontrary direction. The last head of the House of Bourbon was just aseager to satisfy the third estate and the creations of the Empire, bycurbing the clergy, as the first of the Napoleons had been to attractthe grand oldnobility, or to endow the Church. The Privy Councillor,being in the secret of these royal projects, had insensibly become oneof the most prudent and influential leaders of that moderate party whichmost desired a fusionof opinion in the interests of the nation. Hepreached the expensive doctrines of constitutional government, and lentall his weight to encourage the political see-saw which enabled hismaster to rule France in the midst ofstorms. Perhaps Monsieur deFontaine hoped that one of the sudden gusts of legislation, whoseunexpected efforts then startled the oldest politicians, might carryhim up to the rank of peer. One of his most rigidprinciples was torecognize no nobility in France but that of the peerage--the onlyfamilies that might enjoy any privileges.\"A nobility bereft of privileges,\" he would say, \"is a tool without ahandle.\"As far from Lafayette'sparty as he was from La Bourdonnaye's, heardently engaged in the task of general reconciliation, which was toresult in a new era and splendid fortunes for France. He strove toconvince the families who frequented hisdrawing-room, or those whomhe visited, how few favorable openings would henceforth be offered by acivil or military career. He urged mothers to give their boys a start inindependent and industrial professions,explaining that military postsand high Government appointments must at last pertain, in a quiteconstitutional order, to the younger sons of members of the peerage.According to him, the people had conquered asufficiently large sharein practical government by its elective assembly, its appointments tolaw-offices, and those of the exchequer, which, said he, would always,as heretofore, be the natural right of the distinguishedmen of thethird estate.These new notions of the head of the Fontaines, and the prudent matchesfor his eldest girls to which they had led, met with strong resistancein the bosom of his family. The Comtesse de Fontaineremained faithfulto the ancient beliefs which no woman could disown, who, through hermother, belonged to the Rohans. Although she had for a while opposedthe happiness and fortune awaiting her two eldest girls, sheyieldedto those private considerations which husband and wife confide to eachother when their heads are resting on the same pillow. Monsieur deFontaine calmly pointed out to his wife, by exact arithmetic that"}
+{"doc_id":"doc_283","qid":"","text":"The Project Gutenberg EBook of Cicero's Brutus or History of FamousOrators; also His Orator, or Accomplished Speaker., by CiceroThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: Cicero's Brutus or History of FamousOrators; also His Orator, or Accomplished Speaker.Author: CiceroPosting Date: November 15, 2011 [EBook #9776]Release Date: January, 2006First Posted: October 15, 2003Language: English*** START OF THISPROJECT GUTENBERG EBOOK CICERO'S BRUTUS ***Produced by Anne Soulard, Ted Garvin, and the ProjectGutenberg Online Distributed Proofreading TeamCICERO'S BRUTUS,ORHISTORY OF FAMOUSORATORS:ALSO,HIS ORATOR,ORACCOMPLISHED SPEAKER.Now first translated into English by E. JonesPREFACE.As the following Rhetorical Pieces have never appeared before in theEnglish language, I thought aTranslation of them would be no unacceptableoffering to the Public. The character of the Author (Marcus TulliusCicero) is so universally celebrated, that it would be needless, andindeed impertinent, to say any thing torecommend them.The first of them was the fruit of his retirement, during the remains ofthe _Civil War_ in Africa; and was composed in the form of a Dialogue. Itcontains a few short, but very masterly sketches of allthe Speakerswho had flourished either in Greece or Rome, with any reputation ofEloquence, down to his own time; and as he generally touches the principalincidents of their lives, it will be considered, by an attentivereader,as a _concealed epitome of the Roman history_. The conference is supposedto have been held with Atticus, and their common friend Brutus, inCicero's garden at Rome, under the statue of Plato, whom healwaysadmired, and usually imitated in his dialogues: and he seems in this tohave copied even his _double titles_, calling it _Brutus, or the Historyof famous Orators_. It was intended as a _supplement_, or _fourthbook_,to three former ones, on the qualifications of an Orator.The second, which is intitled _The Orator_, was composed a very short timeafterwards (both of them in the 61st year of his age) and at the requestofBrutus. It contains a plan, or critical delineation, of what he himselfesteemed the most finished Eloquence, or style of Speaking. He calls it_The Fifth Part, or Book_, designed to complete his _Brutus_, and _theformerthree_ on the same subject. It was received with great approbation;and in a letter to Lepta, who had complimented him upon it, he declares,that whatever judgment he had in Speaking, he had thrown it all intothatwork, and was content to risk his reputation on the merit of it. But it isparticularly recommended to our curiosity, by a more exact account of therhetorical _composition_, or _prosaic harmony_ of the ancients, thanis tobe met with in any other part of his works.As to the present Translation, I must leave the merit of it to be decidedby the Public; and have only to observe, that though I have not, to myknowledge, omitted a singlesentence of the original, I was obliged, insome places, to paraphrase my author, to render his meaning intelligibleto a modern reader. My chief aim was to be clear and perspicuous: if Ihave succeeded in _that_, it is allI pretend to. I must leave it to ablerpens to copy the _Eloquence_ of Cicero. _Mine_ is unequal to the task.BRUTUS, OR THE HISTORY OF ELOQUENCE.When I had left Cilicia, and arrived at Rhodes, word was broughtme of thedeath of Hortensius. I was more affected with it than, I believe, wasgenerally expected. For, by the loss of my friend, I saw myself for everdeprived of the pleasure of his acquaintance, and of ourmutualintercourse of good offices. I likewise reflected, with Concern, that thedignity of our College must suffer greatly by the decease of such aneminent augur. This reminded me, that _he_ was the person whofirstintroduced me to the College, where he attested my qualification uponoath; and that it was _he_ also who installed me as a member; so that Iwas bound by the constitution of the Order to respect and honour himas aparent. My affliction was increased, that, in such a deplorable dearth ofwife and virtuous citizens, this excellent man, my faithful associate inthe service of the Public, expired at the very time when theCommonwealthcould least spare him, and when we had the greatest reason to regret thewant of his prudence and authority. I can add, very sincerely, that in_him_ I lamented the loss, not (as most people imagined) ofa dangerousrival and competitor, but of a generous partner and companion in thepursuit of same. For if we have instances in history, though in studies ofless public consequence, that some of the poets have beengreatlyafflicted at the death of their contemporary bards; with what tenderconcern should I honour the memory of a man, with whom it is more gloriousto have disputed the prize of eloquence, than never to have metwith anantagonist! especially, as he was always so far from obstructing _my_endeavours, or I _his_, that, on the contrary, we mutually assisted eachother, with our credit and advice.But as _he_, who had a perpetualrun of felicity, left the world at ahappy moment for himself, though a most unfortunate one for his fellow-citizens; and died when it would have been much easier for him to lamentthe miseries of his country, than toassist it, after living in it as longas he _could_ have lived with honour and reputation;--we may, indeed,deplore his death as a heavy loss to _us_ who survive him. If, however, weconsider it merely as a personal event,we ought rather to congratulatehis fate, than to pity it; that, as often as we revive the memory of thisillustrious and truly happy man, we may appear at least to have as muchaffection for him as for ourselves. For if weonly lament that we are nolonger permitted to enjoy him, it must, indeed, be acknowledged that thisis a heavy misfortune to _us_; which it, however, becomes us to supportwith moderation, less our sorrow should besuspected to arise from motivesof interest, and not from friendship. But if we afflict ourselves, on thesupposition that _he_ was the sufferer;--we misconstrue an event, which to_him_ was certainly a very happy one.IfHortensius was now living, he would probably regret many otheradvantages in common with his worthy fellow-citizens. But when he beheldthe Forum, the great theatre in which he used to exercise his genius, nolongeraccessible to that accomplished eloquence, which could charm theears of a Roman, or a Grecian audience; he must have felt a pang of whichnone, or at least but few, besides himself, could be susceptible. Even _I_amunable to restrain my tears, when I behold my country no longerdefensible by the genius, the prudence, and the authority of a legalmagistrate,--the only weapons which I have learned to weild, and to whichI have longbeen accustomed, and which are most suitable to the characterof an illustrious citizen, and of a virtuous and well-regulated state.But if there ever was a time, when the authority and eloquence of anhonest individualcould have wrested their arms from the hands of hisdistracted fellow-citizens; it was then when the proposal of a compromiseof our mutual differences was rejected, by the hasty imprudence of some,and the timorousmistrust of others. Thus it happened, among othermisfortunes of a more deplorable nature, that when my declining age, aftera life spent in the service of the Public, should have reposed in thepeaceful harbour, not ofan indolent, and a total inactivity, but of amoderate and becoming retirement; and when my eloquence was properlymellowed, and had acquired its full maturity;--thus it happened, I say,that recourse was then had tothose fatal arms, which the persons who hadlearned the use of them in honourable conquest, could no longer employ toany salutary purpose. Those, therefore, appear to me to have enjoyed afortunate and a happy life,(of whatever State they were members, butespecially in _our's_) who held their authority and reputation, either fortheir military or political services, without interruption: and the soleremembrance of them, in ourpresent melancholy situation, was a pleasingrelief to me, when we lately happened to mention them in the course ofconversation.For, not long ago, when I was walking for my amusement, in a privateavenue at home, Iwas agreeably interrupted by my friend Brutus, and T.Pomponius, who came, as indeed they frequently did, to visit me;--twoworthy citizens who were united to each other in the closest friendship,and were so dear andso agreeable to me, that, on the first sight of them,all my anxiety for the Commonwealth subsided. After the usualsalutations,--\"Well, gentlemen,\" said I, \"how go the times? What news haveyou brought?\" \"None,\"replied Brutus, \"that you would wish to hear, orthat I can venture to tell you for truth.\"--\"No,\" said Atticus; \"we arecome with an intention that all matters of state should be dropped; andrather to hear something fromyou, than to say any thing which might serveto distress you.\" \"Indeed,\" said I, \"your company is a present remedy formy sorrow; and your letters, when absent, were so encouraging, that theyfirst revived my attentionto my studies.\"--\"I remember,\" repliedAtticus, \"that Brutus sent you a letter from Asia, which I read withinfinite pleasure: for he advised you in it like a man of sense, and gaveyou every consolation which the warmestfriendship could suggest.\"--\"True,\" said I, \"for it was the receipt of that letter which recovered mefrom a growing indisposition, to behold once more the cheerful face ofday; and as the Roman State, after the dreadfuldefeat near Cannae, firstraised its drooping head by the victory of Marcellus at Nola, which wassucceeded by many other victories; so, after the dismal wreck of ouraffairs, both public and private, nothing occurred tome before the letterof my friend Brutus, which I thought to be worth my attention, or whichcontributed, in any degree, to the anxiety of my heart.\"--\"That wascertainly my intention,\" answered Brutus; \"and if I had thehappiness tosucceed, I was sufficiently rewarded for my trouble. But I could wish tobe informed, what you received from Atticus which gave you such uncommonpleasure.\"--\"That,\" said I, \"which not only entertainedme; but, I hope,has restored me entirely to myself.\"--\"Indeed!\" replied he; \"and whatmiraculous composition could that be?\"--\"Nothing,\" answered I; \"could havebeen a more acceptable, or a more seasonable present,than that excellentTreatise of his which roused me from a state of languor and despondency.\"--\"You mean,\" said he, \"his short, and, I think, very accurate abridgmentof Universal History.\"--\"The very same,\" said I; \"forthat little Treatisehas absolutely saved me.\"--\"I am heartily glad of it,\" said Atticus; \"butwhat could you discover in it which was either new to you, or sowonderfully beneficial as you pretend?\"--\"It certainly furnishedmanyhints,\" said I, \"which were entirely new to me: and the exact order oftime which you observed through the whole, gave me the opportunity I hadlong wished for, of beholding the history of all nations in oneregularand comprehensive view. The attentive perusal of it proved an excellentremedy for my sorrows, and led me to think of attempting something on yourown plan, partly to amuse myself, and partly to return yourfavour, by agrateful, though not an equal acknowledgment. We are commanded, it istrue, in that precept of Hesiod, so much admired by the learned, to returnwith the same measure we have received; or, if possible,with a larger. Asto a friendly inclination, I shall certainly return you a full proportionof it; but as to a recompence in kind, I confess it to be out of my power,and therefore hope you will excuse me: for I have nofirst-fruits (like aprosperous husbandman) to acknowledge the obligation I have received; mywhole harvest having sickened and died, for want of the usual manure: andas little am I able to present you with any thingfrom those hidden storeswhich are now consigned to perpetual darkness, and to which I am deniedall access; though, formerly, I was almost the only person who was able tocommand them at pleasure. I musttherefore, try my skill in a long-neglected and uncultivated soil; which I will endeavour to improve with somuch care, that I may be able to repay your liberality with interest;provided my genius should be so happy as toresemble a fertile field,which, after being suffered to lie fallow a considerable time, produces aheavier crop than usual.\"--\"Very well,\" replied Atticus, \"I shall expectthe fulfilment of your promise; but I shall not insistupon it till itsuits your convenience; though, after all, I shall certainly be betterpleased if you discharge the obligation.\"--\"And I also,\" said Brutus,\"shall expect that you perform your promise to my friend Atticus:nay,though I am only his voluntary solicitor, I shall, perhaps, be verypressing for the discharge of a debt, which the creditor himself iswilling to submit to your own choice.\"--\"But I shall refuse to pay you,\"said I, \"unlessthe original creditor takes no farther part in the suit.\"--\"This is more than I can promise,\" replied he, \"for I can easilyforesee, that this easy man, who disclaims all severity, will urge hisdemand upon you, not indeed todistress you, but yet very closely andseriously.\"--\"To speak ingenuously,\" said Atticus, \"my friend Brutus, Ibelieve, is not much mistaken: for as I now find you in good spirits, forthe first time, after a tedious interval ofdespondency, I shall soon makebold to apply to you; and as this gentleman has promised his assistance,to recover what you owe me, the least I can do is to solicit, in my turn,for what is due to him.\"\"Explain yourmeaning,\" said I.--\"I mean,\" replied he, \"that you mustwrite something to amuse us; for your pen has been totally silent thislong time; and since your Treatise on Politics, we have had nothing fromyou of any kind;though it was the perusal of that which fired me with theambition to write an Abridgment of Universal History. But we shall,however, leave you to answer this demand, when, and in what manner youshall think mostconvenient. At present, if you are not otherwise engaged,you must give us your sentiments on a subject on which we both desire tobe better informed.\"--\"And what is that?\" said I.--\"What you gave me ahasty sketchof,\" replied he, \"when I saw you last at Tusculanum,--theHistory of Famous Orators;--_when_ they made their appearance, and _who_and _what_ they were; which, furnished such an agreeable train ofconversation,that when I related the substance of it to _your_, or Iought rather to have said our _common_ friend, Brutus, he expressed aviolent desire to hear the whole of it from your own mouth. Knowing you,therefore, to be atleisure, we have taken the present opportunity to waitupon you; so that, if it is really convenient, you will oblige us both byresuming the subject.\"--\"Well, gentlemen,\" said I, \"as you are sopressing, I will endeavour tosatisfy you in the best manner I am able.\"--\"You are _able_ enough,\" replied he; \"only unbend yourself a little, or,if you can set your mind at full liberty.\"--\"If I remember right,\" said I,\"Atticus, what gave rise to theconversation, was my observing, that thecause of Deiotarus, a most excellent Sovereign, and a faithful ally, waspleaded by our friend Brutus, in my hearing, with the greatest eleganceand dignity.\"--\"True,\" replied he,\"and you took occasion from the illsuccess of Brutus, to lament the loss of a fair administration of justicein the Forum.\"--\"I did so,\" answered I, \"as indeed I frequently do: andwhenever I see you, my Brutus, I amconcerned to think where yourwonderful genius, your finished erudition, and unparalleled industry willfind a theatre to display themselves. For after you had thoroughlyimproved your abilities, by pleading a variety ofimportant causes; andwhen my declining vigour was just giving way, and lowering the ensigns ofdignity to your more active talents; the liberty of the State received afatal overthrow, and that Eloquence, of which weare now to give theHistory, was condemned to perpetual silence.\"--\"Our other misfortunes,\"replied Brutus, \"I lament sincerely; and I think I ought to lament them:--but as to Eloquence, I am not so fond of the influenceand the glory itbestows, as of the study and the practice of it, which nothing can depriveme of, while you are so well disposed to assist me: for no man can be aneloquent speaker, who has not a clear and readyconception. Whoever,therefore, applies himself to the study of Eloquence, is at the same timeimproving his judgment, which is a talent equally necessary in allmilitary operations.\"\"Your remark,\" said I, \"is very just;and I have a higher opinion of themerit of eloquence, because, though there is scarcely any person sodiffident as not to persuade himself, that he either has, or may acquireevery other accomplishment which, formerly,could have given himconsequence in the State; I can find no person who has been made an oratorby the success of his military prowess.--But that we may carry on theconversation with greater ease, let us seatourselves.\"--As my visitorshad no objection to this, we accordingly took our seats in a private lawn,near a statue of Plato.Then resuming the conversation,--\"to recommend the study of eloquence,\"said I, \"and describeits force, and the great dignity it confers uponthose who have acquired it, is neither our present design, nor has anynecessary connection with it. But I will not hesitate to affirm, thatwhether it is acquired by art orpractice, or the mere powers of nature,it is the most difficult of all attainments; for each of the five branchesof which it is said to consist, is of itself a very important art; fromwhence it may easily be conjectured, howgreat and arduous must be theprofession which unites and comprehends them all.\"Greece alone is a sufficient witness of this:--for though she was firedwith a wonderful love of Eloquence, and has long since excelledeveryother nation in the practice of it, yet she had all the rest of the artsmuch earlier; and had not only invented, but even compleated them, aconsiderable time before she was mistress of the full powers ofelocution.But when I direct my eyes to Greece, your beloved Athens, my Atticus,first strikes my sight, and is the brightest object in my view: for inthat illustrious city the _orator_ first made his appearance, and itisthere we shall find the earliest records of eloquence, and the firstspecimens of a discourse conducted by rules of art. But even in Athensthere is not a single production now extant which discovers any tasteforornament, or seems to have been the effort of a real orator, before thetime of Pericles (whose name is prefixed to some orations which stillremain) and his cotemporary Thucydides; who flourished,--not in theinfancyof the State, but when it was arrived at its full maturity ofpower.\"It is, however, supposed, that Pisistratus (who lived many years before)together with Solon, who was something older, and Clisthenes, whosurvivedthem both, were very able speakers for the age they lived in. But someyears after these, as may be collected from the Attic Annals, came theabove-mentioned Themistocles, who is said to have been asmuchdistinguished by his eloquence as by his political abilities;--and afterhim the celebrated Pericles, who, though adorned with every kind ofexcellence, was most admired for his talent of speaking. Cleon also(theircotemporary) though a turbulent citizen, was allowed to be a tolerableorator.\"These were immediately succeeded by Alcibiades, Critias, and Theramenes,whose manner of speaking may be easily inferred from thewritings ofThucydides, who lived at the same time: their discourses were nervous andstately, full of sententious remarks, and so excessively concise as to besometimes obscure. But as soon as the force of a regular anda well-adjusted speech was understood, a sudden crowd of rhetoricians appeared,--such as Gorgias the Leontine, Thrasymachus the Chalcedonian, Protagorasthe Abderite, and Hippias the Elean, who were all held ingreat esteem,--with many others of the same age, who professed (it must be owned, rathertoo arrogantly) to teach their scholars,--_how the worse might be made, bythe force of eloquence, to appear the bettercause_. But these were openlyopposed by the famous Socrates, who, by an adroit method of arguing whichwas peculiar to himself, took every opportunity to refute the principlesof their art. His instructive conferencesproduced a number of intelligentmen, and _Philosophy_ is said to have derived her birth from him;--not thedoctrine of _Physics_, which was of an earlier date, but that Philosophywhich treats of men, and manners, andof the nature of good and evil. Butas this is foreign to our present subject, we must defer the Philosophersto another opportunity, and return to the Orators, from whom I haveventured to make a sort digression.\"When"}
+{"doc_id":"doc_284","qid":"","text":"Project Gutenberg's Bliss, and Other Stories, by Katherine MansfieldThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it underthe terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: Bliss, and Other StoriesAuthor: Katherine MansfieldRelease Date: December 8, 2013 [EBook #44385]Language:English*** START OF THIS PROJECT GUTENBERG EBOOK BLISS, AND OTHER STORIES ***Produced by Paul Haxo from page images generously madeavailable by the Internet Archive and the University ofMichiganLibrary.BLISSAND OTHER STORIES\". . . _but I tell you, my lord fool, out of this nettle danger, wepluck this flower, safety._\"BLISSAND OTHER STORIESBYKATHERINE MANSFIELDLONDON: CONSTABLE& COMPANYLIMITED_Published_ 1920_Reprinted_ 1920_Reprinted_ 1921_Reprinted_ 1921_Reprinted_ 1921_Reprinted_ 1922_Reprinted_ 1922_Reprinted_ 1923_Reprinted_ 1924_Reprinted_ 1925Printed in Great Britain at_TheMayflower Press, Plymouth._ William Brendon & Son, Ltd.TOJOHN MIDDLETON MURRYCONTENTS                                       PAGEPRELUDE  .   .   .   .   .   .   .   .    1JE NE PARLE PAS FRANÃ\u0000AIS.   .   .   .   71BLISS    .   .   .   .   .   .   .   .  116THE WIND BLOWS   .   .   .   .   .   .  137PSYCHOLOGY   .   .   .   .   .   .   .  145PICTURES     .   .   .   .   .   .   .  157THE MAN WITHOUT A TEMPERAMENT    .   .  172MR.REGINALD PEACOCK'S DAY   .   .   .  194SUN AND MOON     .   .   .   .   .   .  208FEUILLE D'ALBUM  .   .   .   .   .   .  218A DILL PICKLE    .   .   .   .   .   .  228THE LITTLE GOVERNESS.   .   .   .   .  239REVELATIONS  .   .   .   .   .   .   .  262THE ESCAPE   .   .   .   .   .   .   .  272PRELUDE1THERE was not an inch of room for Lottie and Kezia in the buggy. WhenPat swung them on top of the luggage theywobbled; the grandmother'slap was full and Linda Burnell could not possibly have held a lump ofa child on hers for any distance. Isabel, very superior, was perchedbeside the new handy-man on the driver's seat.Hold-alls, bags andboxes were piled upon the floor. \"These are absolute necessities thatI will not let out of my sight for one instant,\" said Linda Burnell,her voice trembling with fatigue and excitement.Lottie and Keziastood on the patch of lawn just inside the gate allready for the fray in their coats with brass anchor buttons and littleround caps with battleship ribbons. Hand in hand, they stared withround solemn eyes first at theabsolute necessities and then at theirmother.\"We shall simply have to leave them. That is all. We shall simply haveto cast them off,\" said Linda Burnell. A strange little laugh flewfrom her lips; she leaned back againstthe buttoned leather cushionsand shut her eyes, her lips trembling with laughter. Happily at thatmoment Mrs. Samuel Josephs, who had been watching the scene frombehind her drawing-room blind, waddled down thegarden path.\"Why nod leave the chudren with be for the afterdoon, Brs. Burnell?They could go on the dray with the storeban when he comes in theeveding. Those thigs on the path have to go, dod't they?\"\"Yes,everything outside the house is supposed to go,\" said LindaBurnell, and she waved a white hand at the tables and chairs standingon their heads on the front lawn. How absurd they looked! Either theyought to be theother way up, or Lottie and Kezia ought to stand ontheir heads, too. And she longed to say: \"Stand on your heads,children, and wait for the store-man.\" It seemed to her that would beso exquisitely funny that she couldnot attend to Mrs. Samuel Josephs.The fat creaking body leaned across the gate, and the big jelly of aface smiled. \"Dod't you worry, Brs. Burnell. Loddie and Kezia can havetea with by chudren in the dursery, and I'llsee theb on the drayafterwards.\"The grandmother considered. \"Yes, it really is quite the best plan. Weare very obliged to you, Mrs. Samuel Josephs. Children, say 'thankyou' to Mrs. Samuel Josephs.\"Two subduedchirrups: \"Thank you, Mrs. Samuel Josephs.\"\"And be good little girls, and--come closer--\" they advanced, \"don'tforget to tell Mrs. Samuel Josephs when you want to. . . .\"\"No, granma.\"\"Dod't worry, Brs. Burnell.\"At thelast moment Kezia let go Lottie's hand and darted towards thebuggy.\"I want to kiss my granma good-bye again.\"But she was too late. The buggy rolled off up the road, Isabelbursting with pride, her nose turned up atall the world, LindaBurnell prostrated, and the grandmother rummaging among the verycurious oddments she had had put in her black silk reticule at thelast moment, for something to give her daughter. The buggytwinkledaway in the sunlight and fine golden dust up the hill and over. Keziabit her lip, but Lottie, carefully finding her handkerchief first, setup a wail.\"Mother! Granma!\"Mrs. Samuel Josephs, like a huge warm black silktea cosy, envelopedher.\"It's all right, by dear. Be a brave child. You come and blay in thedursery!\"She put her arm round weeping Lottie and led her away. Kezia followed,making a face at Mrs. Samuel Josephs' placket,which was undone asusual, with two long pink corset laces hanging out of it. . . .Lottie's weeping died down as she mounted the stairs, but the sight ofher at the nursery door with swollen eyes and a blob of a nosegavegreat satisfaction to the S. J.'s, who sat on two benches before along table covered with American cloth and set out with immense platesof bread and dripping and two brown jugs that faintly steamed.\"Hullo! You'vebeen crying!\"\"Ooh! Your eyes have gone right in.\"\"Doesn't her nose look funny.\"\"You're all red-and-patchy.\"Lottie was quite a success. She felt it and swelled, smiling timidly.\"Go and sit by Zaidee, ducky,\" said Mrs.Samuel Josephs, \"and Kezia,you sid ad the end by Boses.\"Moses grinned and gave her a nip as she sat down; but she pretendednot to notice. She did hate boys.\"Which will you have?\" asked Stanley, leaning across thetable verypolitely, and smiling at her. \"Which will you have to beginwith--strawberries and cream or bread and dripping?\"\"Strawberries and cream, please,\" said she.\"Ah-h-h-h.\" How they all laughed and beat the tablewith theirteaspoons. Wasn't that a take in! Wasn't it now! Didn't he fox her!Good old Stan!\"Ma! She thought it was real.\"Even Mrs. Samuel Josephs, pouring out the milk and water, could nothelp smiling. \"You bustn'ttease theb on their last day,\" she wheezed.But Kezia bit a big piece out of her bread and dripping, and thenstood the piece up on her plate. With the bite out it made a dearlittle sort of a gate. Pooh! She didn't care! Atear rolled down hercheek, but she wasn't crying. She couldn't have cried in front ofthose awful Samuel Josephs. She sat with her head bent, and as thetear dripped slowly down, she caught it with a neat little whiskofher tongue and ate it before any of them had seen.2After tea Kezia wandered back to their own house. Slowly she walked upthe back steps, and through the scullery into the kitchen. Nothing wasleft in it but a lump ofgritty yellow soap in one corner of thekitchen window sill and a piece of flannel stained with a blue bag inanother. The fireplace was choked up with rubbish. She poked among itbut found nothing except a hair-tidy witha heart painted on it thathad belonged to the servant girl. Even that she left lying, and shetrailed through the narrow passage into the drawing-room. The Venetianblind was pulled down but not drawn close. Long pencilrays ofsunlight shone through and the wavy shadow of a bush outside danced onthe gold lines. Now it was still, now it began to flutter again, andnow it came almost as far as her feet. Zoom! Zoom! ablue-bottleknocked against the ceiling; the carpet-tacks had little bits of redfluff sticking to them.The dining-room window had a square of coloured glass at each corner.One was blue and one was yellow. Kezia bentdown to have one more lookat a blue lawn with blue arum lilies growing at the gate, and then ata yellow lawn with yellow lilies and a yellow fence. As she looked alittle Chinese Lottie came out on to the lawn and beganto dust thetables and chairs with a corner of her pinafore. Was that reallyLottie? Kezia was not quite sure until she had looked through theordinary window.Upstairs in her father's and mother's room she found a pill boxblackand shiny outside and red in, holding a blob of cotton wool.\"I could keep a bird's egg in that,\" she decided.In the servant girl's room there was a stay-button stuck in a crack ofthe floor, and in another crack somebeads and a long needle. She knewthere was nothing in her grandmother's room; she had watched her pack.She went over to the window and leaned against it, pressing her handsagainst the pane.Kezia liked to standso before the window. She liked the feeling ofthe cold shining glass against her hot palms, and she liked to watchthe funny white tops that came on her fingers when she pressed themhard against the pane. As shestood there, the day flickered out anddark came. With the dark crept the wind snuffling and howling. Thewindows of the empty house shook, a creaking came from the walls andfloors, a piece of loose iron on the roofbanged forlornly. Kezia wassuddenly quite, quite still, with wide open eyes and knees pressedtogether. She was frightened. She wanted to call Lottie and to go oncalling all the while she ran downstairs and out of thehouse. But ITwas just behind her, waiting at the door, at the head of the stairs,at the bottom of the stairs, hiding in the passage, ready to dart outat the back door. But Lottie was at the back door, too.\"Kezia!\" shecalled cheerfully. \"The storeman's here. Everything is onthe dray and three horses, Kezia. Mrs. Samuel Josephs has given us abig shawl to wear round us, and she says to button up your coat. Shewon't come outbecause of asthma.\"Lottie was very important.\"Now then, you kids,\" called the storeman. He hooked his big thumbsunder their arms and up they swung. Lottie arranged the shawl \"mostbeautifully\" and the storemantucked up their feet in a piece of oldblanket.\"Lift up. Easy does it.\"They might have been a couple of young ponies. The storeman felt overthe cords holding his load, unhooked the brakechain from the wheel,andwhistling, he swung up beside them.\"Keep close to me,\" said Lottie, \"because otherwise you pull the shawlaway from my side, Kezia.\"But Kezia edged up to the storeman. He towered beside her big as agiant and hesmelled of nuts and new wooden boxes.3It was the first time that Lottie and Kezia had ever been out so late.Everything looked different--the painted wooden houses far smallerthan they did by day, the gardens farbigger and wilder. Bright starsspeckled the sky and the moon hung over the harbour dabbling the waveswith gold. They could see the lighthouse shining on Quarantine Island,and the green lights on the old coalhulks.\"There comes the Picton boat,\" said the storeman, pointing to a littlesteamer all hung with bright beads.But when they reached the top of the hill and began to go down theother side the harbour disappeared, andalthough they were still inthe town they were quite lost. Other carts rattled past. Everybodyknew the storeman.\"Night, Fred.\"\"Night O,\" he shouted.Kezia liked very much to hear him. Whenever a cart appeared inthedistance she looked up and waited for his voice. He was an old friend;and she and her grandmother had often been to his place to buy grapes.The storeman lived alone in a cottage that had a glasshouse againstonewall built by himself. All the glasshouse was spanned and archedover with one beautiful vine. He took her brown basket from her, linedit with three large leaves, and then he felt in his belt for a littlehorn knife, reachedup and snapped off a big blue cluster and laid iton the leaves so tenderly that Kezia held her breath to watch. He wasa very big man. He wore brown velvet trousers, and he had a long brownbeard. But he never wore acollar, not even on Sunday. The back of hisneck was burnt bright red.\"Where are we now?\" Every few minutes one of the children asked himthe question.\"Why, this is Hawk Street, or Charlotte Crescent.\"\"Of course itis,\" Lottie pricked up her ears at the last name; shealways felt that Charlotte Crescent belonged specially to her. Veryfew people had streets with the same name as theirs.\"Look, Kezia, there is Charlotte Crescent.Doesn't it look different?\"Now everything familiar was left behind. Now the big dray rattled intounknown country, along new roads with high clay banks on either side,up steep, steep hills, down into bushy valleys,through wide shallowrivers. Further and further. Lottie's head wagged; she drooped, sheslipped half into Kezia's lap and lay there. But Kezia could not openher eyes wide enough. The wind blew and she shivered; buther cheeksand ears burned.\"Do stars ever blow about?\" she asked.\"Not to notice,\" said the storeman.\"We've got a nuncle and a naunt living near our new house,\" saidKezia. \"They have got two children, Pip, the eldestis called, and theyoungest's name is Rags. He's got a ram. He has to feed it with anenamuel teapot and a glove top over the spout. He's going to show us.What is the difference between a ram and a sheep?\"\"Well, a ramhas horns and runs for you.\"Kezia considered. \"I don't want to see it frightfully,\" she said. \"Ihate rushing animals like dogs and parrots. I often dream that animalsrush at me--even camels--and while they are rushing,their heads swelle-enormous.\"The storeman said nothing. Kezia peered up at him, screwing up hereyes. Then she put her finger out and stroked his sleeve; it felthairy. \"Are we near?\" she asked.\"Not far off, now,\"answered the storeman. \"Getting tired?\"\"Well, I'm not an atom bit sleepy,\" said Kezia. \"But my eyes keepcurling up in such a funny sort of way.\" She gave a long sigh, and tostop her eyes from curling she shut them. . .. When she opened themagain they were clanking through a drive that cut through the gardenlike a whip lash, looping suddenly an island of green, and behind theisland, but out of sight until you came upon it, was thehouse. It waslong and low built, with a pillared verandah and balcony all the wayround. The soft white bulk of it lay stretched upon the green gardenlike a sleeping beast. And now one and now another of thewindowsleaped into light. Someone was walking through the empty roomscarrying a lamp. From a window downstairs the light of a fireflickered. A strange beautiful excitement seemed to stream from thehouse inquivering ripples.\"Where are we?\" said Lottie, sitting up. Her reefer cap was all on oneside and on her cheek there was the print of an anchor button she hadpressed against while sleeping. Tenderly the storeman liftedher, sether cap straight, and pulled down her crumpled clothes. She stoodblinking on the lowest verandah step watching Kezia who seemed to comeflying through the air to her feet.\"Ooh!\" cried Kezia, flinging up herarms. The grandmother came out ofthe dark hall carrying a little lamp. She was smiling.\"You found your way in the dark?\" said she.\"Perfectly well.\"But Lottie staggered on the lowest verandah step like a bird fallenoutof the nest. If she stood still for a moment she fell asleep, ifshe leaned against anything her eyes closed. She could not walkanother step.\"Kezia,\" said the grandmother, \"can I trust you to carry the lamp?\"\"Yes, mygranma.\"The old woman bent down and gave the bright breathing thing into herhands and then she caught up drunken Lottie. \"This way.\"Through a square hall filled with bales and hundreds of parrots (butthe parrotswere only on the wall-paper) down a narrow passage wherethe parrots persisted in flying past Kezia with her lamp.\"Be very quiet,\" warned the grandmother, putting down Lottie andopening the dining-room door. \"Poorlittle mother has got such aheadache.\"Linda Burnell, in a long cane chair, with her feet on a hassock, and aplaid over her knees, lay before a crackling fire. Burnell and Berylsat at the table in the middle of the roomeating a dish of friedchops and drinking tea out of a brown china teapot. Over the back ofher mother's chair leaned Isabel. She had a comb in her fingers and ina gentle absorbed fashion she was combing the curls fromher mother'sforehead. Outside the pool of lamp and firelight the room stretcheddark and bare to the hollow windows.\"Are those the children?\" But Linda did not really care; she did noteven open her eyes to see.\"Putdown the lamp, Kezia,\" said Aunt Beryl, \"or we shall have thehouse on fire before we are out of the packing cases. More tea,Stanley?\"\"Well, you might just give me five-eighths of a cup,\" said Burnell,leaning across thetable. \"Have another chop, Beryl. Tip-top meat,isn't it? Not too lean and not too fat.\" He turned to his wife.\"You're sure you won't change your mind, Linda darling?\"\"The very thought of it is enough.\" She raised oneeyebrow in the wayshe had. The grandmother brought the children bread and milk and theysat up to table, flushed and sleepy behind the wavy steam.\"I had meat for my supper,\" said Isabel, still combing gently.\"I hada whole chop for my supper, the bone and all and Worcestersauce. Didn't I, father?\"\"Oh, don't boast, Isabel,\" said Aunt Beryl.Isabel looked astounded. \"I wasn't boasting, was I, Mummy? I neverthought of boasting. Ithought they would like to know. I only meantto tell them.\"\"Very well. That's enough,\" said Burnell. He pushed back his plate,took a tooth-pick out of his pocket and began picking his strong whiteteeth.\"You might seethat Fred has a bite of something in the kitchen beforehe goes, will you, mother?\"\"Yes, Stanley.\" The old woman turned to go.\"Oh, hold on half a jiffy. I suppose nobody knows where my slipperswere put? I suppose Ishall not be able to get at them for a month ortwo--what?\"\"Yes,\" came from Linda. \"In the top of the canvas hold-all marked'urgent necessities.'\"\"Well you might get them for me will you, mother?\"\"Yes, Stanley.\"Burnellgot up, stretched himself, and going over to the fire heturned his back to it and lifted up his coat tails.\"By Jove, this is a pretty pickle. Eh, Beryl?\"Beryl, sipping tea, her elbows on the table, smiled over the cup athim.She wore an unfamiliar pink pinafore; the sleeves of her blousewere rolled up to her shoulders showing her lovely freckled arms, andshe had let her hair fall down her back in a long pig-tail.\"How long do you think it willtake to get straight--couple ofweeks--eh?\" he chaffed.\"Good heavens, no,\" said Beryl airily. \"The worst is over already. Theservant girl and I have simply slaved all day, and ever since mothercame she has worked like ahorse, too. We have never sat down for amoment. We have had a day.\"Stanley scented a rebuke.\"Well, I suppose you did not expect me to rush away from the officeand nail carpets--did you?\"\"Certainly not,\" laughedBeryl. She put down her cup and ran out ofthe dining-room.\"What the hell does she expect us to do?\" asked Stanley. \"Sit down andfan herself with a palm leaf fan while I have a gang of professionalsto do the job? ByJove, if she can't do a hand's turn occasionallywithout shouting about it in return for . . .\"And he gloomed as the chops began to fight the tea in his sensitivestomach. But Linda put up a hand and dragged him down tothe side ofher long chair.\"This is a wretched time for you, old boy,\" she said. Her cheeks werevery white but she smiled and curled her fingers into the big red handshe held. Burnell became quiet. Suddenly he began towhistle \"Pure asa lily, joyous and free\"--a good sign.\"Think you're going to like it?\" he asked.\"I don't want to tell you, but I think I ought to, mother,\" saidIsabel. \"Kezia is drinking tea out of Aunt Beryl's cup.\"4They weretaken off to bed by the grandmother. She went first with acandle; the stairs rang to their climbing feet. Isabel and Lottie layin a room to themselves, Kezia curled in her grandmother's soft bed.\"Aren't there going to beany sheets, my granma?\"\"No, not to-night.\"\"It's tickly,\" said Kezia, \"but it's like Indians.\" She dragged hergrandmother down to her and kissed her under the chin. \"Come to bedsoon and be my Indian brave.\"\"What asilly you are,\" said the old woman, tucking her in as sheloved to be tucked.\"Aren't you going to leave me a candle?\"\"No. Sh--h. Go to sleep.\"\"Well, can I have the door left open?\"She rolled herself up into a round butshe did not go to sleep. Fromall over the house came the sound of steps. The house itself creakedand popped. Loud whispering voices came from downstairs. Once sheheard Aunt Beryl's rush of high laughter, and onceshe heard a loudtrumpeting from Burnell blowing his nose. Outside the window hundredsof black cats with yellow eyes sat in the sky watching her--but shewas not frightened. Lottie was saying to Isabel:\"I'm going tosay my prayers in bed to-night.\"\"No you can't, Lottie.\" Isabel was very firm. \"God only excuses yousaying your prayers in bed if you've got a temperature.\" So Lottieyielded:  Gentle Jesus meek anmile,  Look pon a littlechile.  Pity me, simple Lizzie  Suffer me to come to thee.And then they lay down back to back, their little behinds justtouching, and fell asleep.Standing in a pool of moonlight Beryl Fairfield undressed herself. Shewas"}
+{"doc_id":"doc_285","qid":"","text":"The Project Gutenberg EBook of Father Goriot, by Honore de BalzacThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it underthe terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: Father GoriotAuthor: Honore de BalzacTranslator: Ellen MarriageRelease Date: March, 1998  [Etext#1237]Posting Date: February 22, 2010Language: English*** START OF THIS PROJECT GUTENBERG EBOOK FATHER GORIOT ***Produced by DagnyFATHER GORIOTBy Honore De BalzacTranslated by EllenMarriage     To the great and illustrious Geoffroy Saint-Hilaire, a token     of admiration for his works and genius.                                                      DE BALZAC.FATHER GORIOTMme. Vauquer (_nee_ de Conflans) isan elderly person, who for the pastforty years has kept a lodging-house in the Rue Nueve-Sainte-Genevieve,in the district that lies between the Latin Quarter and the FaubourgSaint-Marcel. Her house (known in theneighborhood as the _MaisonVauquer_) receives men and women, old and young, and no word has everbeen breathed against her respectable establishment; but, at the sametime, it must be said that as a matter offact no young woman has beenunder her roof for thirty years, and that if a young man stays there forany length of time it is a sure sign that his allowance must be of theslenderest. In 1819, however, the time when thisdrama opens, there wasan almost penniless young girl among Mme. Vauquer's boarders.That word drama has been somewhat discredited of late; it has beenoverworked and twisted to strange uses in these days ofdolorousliterature; but it must do service again here, not because this story isdramatic in the restricted sense of the word, but because some tears mayperhaps be shed _intra et extra muros_ before it is over.Will anyone without the walls of Paris understand it? It is open todoubt. The only audience who could appreciate the results of closeobservation, the careful reproduction of minute detail and local color,are dwellers between theheights of Montrouge and Montmartre, in a valeof crumbling stucco watered by streams of black mud, a vale of sorrowswhich are real and joys too often hollow; but this audience is soaccustomed to terrible sensations,that only some unimaginable andwell-neigh impossible woe could produce any lasting impression there.Now and again there are tragedies so awful and so grand by reason of thecomplication of virtues and vices thatbring them about, that egotismand selfishness are forced to pause and are moved to pity; but theimpression that they receive is like a luscious fruit, soon consumed.Civilization, like the car of Juggernaut, is scarcelystayed perceptiblyin its progress by a heart less easy to break than the others that liein its course; this also is broken, and Civilization continues on hercourse triumphant. And you, too, will do the like; you who withthisbook in your white hand will sink back among the cushions of yourarmchair, and say to yourself, \"Perhaps this may amuse me.\" You willread the story of Father Goriot's secret woes, and, dining thereafterwith anunspoiled appetite, will lay the blame of your insensibilityupon the writer, and accuse him of exaggeration, of writing romances.Ah! once for all, this drama is neither a fiction nor a romance! _All istrue_,--so true, thatevery one can discern the elements of the tragedyin his own house, perhaps in his own heart.The lodging-house is Mme. Vauquer's own property. It is still standingin the lower end of the Rue Nueve-Sainte-Genevieve,just where the roadslopes so sharply down to the Rue de l'Arbalete, that wheeled trafficseldom passes that way, because it is so stony and steep. This positionis sufficient to account for the silence prevalent in thestreets shutin between the dome of the Pantheon and the dome of the Val-de-Grace,two conspicuous public buildings which give a yellowish tone to thelandscape and darken the whole district that lies beneath theshadow oftheir leaden-hued cupolas.In that district the pavements are clean and dry, there is neither mudnor water in the gutters, grass grows in the chinks of the walls. Themost heedless passer-by feels thedepressing influences of a place wherethe sound of wheels creates a sensation; there is a grim look about thehouses, a suggestion of a jail about those high garden walls. A Parisianstraying into a suburb apparentlycomposed of lodging-houses and publicinstitutions would see poverty and dullness, old age lying down to die,and joyous youth condemned to drudgery. It is the ugliest quarter ofParis, and, it may be added, the leastknown. But, before all things,the Rue Nueve-Sainte-Genevieve is like a bronze frame for a picture forwhich the mind cannot be too well prepared by the contemplation of sadhues and sober images. Even so, step bystep the daylight decreases,and the cicerone's droning voice grows hollower as the traveler descendsinto the Catacombs. The comparison holds good! Who shall say which ismore ghastly, the sight of the bleached skullsor of dried-up humanhearts?The front of the lodging-house is at right angles to the road, andlooks out upon a little garden, so that you see the side of the housein section, as it were, from the RueNueve-Sainte-Genevieve. Beneath thewall of the house front there lies a channel, a fathom wide, paved withcobble-stones, and beside it runs a graveled walk bordered by geraniumsand oleanders and pomegranatesset in great blue and white glazedearthenware pots. Access into the graveled walk is afforded by a door,above which the words MAISON VAUQUER may be read, and beneath, in rathersmaller letters, \"_Lodgings for bothsexes, etc._\"During the day a glimpse into the garden is easily obtained through awicket to which a bell is attached. On the opposite wall, at the furtherend of the graveled walk, a green marble arch was painted onceupona time by a local artist, and in this semblance of a shrine a statuerepresenting Cupid is installed; a Parisian Cupid, so blistered anddisfigured that he looks like a candidate for one of the adjacenthospitals, and mightsuggest an allegory to lovers of symbolism. Thehalf-obliterated inscription on the pedestal beneath determines the dateof this work of art, for it bears witness to the widespread enthusiasmfelt for Voltaire on his returnto Paris in 1777:              \"Whoe'er thou art, thy master see;               He is, or was, or ought to be.\"At night the wicket gate is replaced by a solid door. The little gardenis no wider than the front of the house; it is shutin between the wallof the street and the partition wall of the neighboring house. A mantleof ivy conceals the bricks and attracts the eyes of passers-by to aneffect which is picturesque in Paris, for each of the walls iscoveredwith trellised vines that yield a scanty dusty crop of fruit, andfurnish besides a subject of conversation for Mme. Vauquer and herlodgers; every year the widow trembles for her vintage.A straight path beneaththe walls on either side of the garden leads toa clump of lime-trees at the further end of it; _line_-trees, as Mme.Vauquer persists in calling them, in spite of the fact that she was a deConflans, and regardless ofrepeated corrections from her lodgers.The central space between the walls is filled with artichokes androws of pyramid fruit-trees, and surrounded by a border of lettuce,pot-herbs, and parsley. Under the lime-treesthere are a fewgreen-painted garden seats and a wooden table, and hither, during thedog-days, such of the lodgers as are rich enough to indulge in a cupof coffee come to take their pleasure, though it is hot enough toroasteggs even in the shade.The house itself is three stories high, without counting the atticsunder the roof. It is built of rough stone, and covered with theyellowish stucco that gives a mean appearance to almost everyhouse inParis. There are five windows in each story in the front of the house;all the blinds visible through the small square panes are drawn up awry,so that the lines are all at cross purposes. At the side of thehousethere are but two windows on each floor, and the lowest of all areadorned with a heavy iron grating.Behind the house a yard extends for some twenty feet, a space inhabitedby a happy family of pigs, poultry, andrabbits; the wood-shed issituated on the further side, and on the wall between the wood-shed andthe kitchen window hangs the meat-safe, just above the place where thesink discharges its greasy streams. The cooksweeps all the refuseout through a little door into the Rue Nueve-Sainte-Genevieve, andfrequently cleanses the yard with copious supplies of water, under painof pestilence.The house might have been built on purposefor its present uses. Accessis given by a French window to the first room on the ground floor, asitting-room which looks out upon the street through the two barredwindows already mentioned. Another door opens out ofit into thedining-room, which is separated from the kitchen by the well of thestaircase, the steps being constructed partly of wood, partly of tiles,which are colored and beeswaxed. Nothing can be more depressingthanthe sight of that sitting-room. The furniture is covered with horse hairwoven in alternate dull and glossy stripes. There is a round table inthe middle, with a purplish-red marble top, on which there stands, byway ofornament, the inevitable white china tea-service, covered witha half-effaced gilt network. The floor is sufficiently uneven, thewainscot rises to elbow height, and the rest of the wall space isdecorated with a varnishedpaper, on which the principal scenes from_Telemaque_ are depicted, the various classical personages beingcolored. The subject between the two windows is the banquet given byCalypso to the son of Ulysses, displayedthereon for the admiration ofthe boarders, and has furnished jokes these forty years to the youngmen who show themselves superior to their position by making fun of thedinners to which poverty condemns them. Thehearth is always so cleanand neat that it is evident that a fire is only kindled there on greatoccasions; the stone chimney-piece is adorned by a couple of vasesfilled with faded artificial flowers imprisoned under glassshades, oneither side of a bluish marble clock in the very worst taste.The first room exhales an odor for which there is no name in thelanguage, and which should be called the _odeur de pension_. The dampatmospheresends a chill through you as you breathe it; it has a stuffy,musty, and rancid quality; it permeates your clothing; after-dinnerscents seem to be mingled in it with smells from the kitchen andscullery and the reek of ahospital. It might be possible to describeit if some one should discover a process by which to distil from theatmosphere all the nauseating elements with which it is charged by thecatarrhal exhalations of every individuallodger, young or old. Yet,in spite of these stale horrors, the sitting-room is as charming andas delicately perfumed as a boudoir, when compared with the adjoiningdining-room.The paneled walls of that apartment wereonce painted some color, nowa matter of conjecture, for the surface is incrusted with accumulatedlayers of grimy deposit, which cover it with fantastic outlines. Acollection of dim-ribbed glass decanters, metal discs witha satin sheenon them, and piles of blue-edged earthenware plates of Touraine warecover the sticky surfaces of the sideboards that line the room. In acorner stands a box containing a set of numbered pigeon-holes, inwhichthe lodgers' table napkins, more or less soiled and stained with wine,are kept. Here you see that indestructible furniture never met withelsewhere, which finds its way into lodging-houses much as the wrecks ofourcivilization drift into hospitals for incurables. You expect in suchplaces as these to find the weather-house whence a Capuchin issues onwet days; you look to find the execrable engravings which spoil yourappetite,framed every one in a black varnished frame, with a giltbeading round it; you know the sort of tortoise-shell clock-case, inlaidwith brass; the green stove, the Argand lamps, covered with oil anddust, have met youreyes before. The oilcloth which covers the longtable is so greasy that a waggish _externe_ will write his name on thesurface, using his thumb-nail as a style. The chairs are broken-downinvalids; the wretched littlehempen mats slip away from under yourfeet without slipping away for good; and finally, the foot-warmers aremiserable wrecks, hingeless, charred, broken away about the holes. Itwould be impossible to give an idea ofthe old, rotten, shaky, cranky,worm-eaten, halt, maimed, one-eyed, rickety, and ramshackle condition ofthe furniture without an exhaustive description, which would delaythe progress of the story to an extent thatimpatient people would notpardon. The red tiles of the floor are full of depressions brought aboutby scouring and periodical renewings of color. In short, there isno illusory grace left to the poverty that reigns here; it isdire,parsimonious, concentrated, threadbare poverty; as yet it has not sunkinto the mire, it is only splashed by it, and though not in rags as yet,its clothing is ready to drop to pieces.This apartment is in all its glory atseven o'clock in the morning,when Mme. Vauquer's cat appears, announcing the near approach of hismistress, and jumps upon the sideboards to sniff at the milk in thebowls, each protected by a plate, while he purrshis morning greeting tothe world. A moment later the widow shows her face; she is tricked outin a net cap attached to a false front set on awry, and shuffles intothe room in her slipshod fashion. She is an oldish woman,with a bloatedcountenance, and a nose like a parrot's beak set in the middle ofit; her fat little hands (she is as sleek as a church rat) and hershapeless, slouching figure are in keeping with the room that reeksofmisfortune, where hope is reduced to speculate for the meaneststakes. Mme. Vauquer alone can breathe that tainted air without beingdisheartened by it. Her face is as fresh as a frosty morning in autumn;there arewrinkles about the eyes that vary in their expression fromthe set smile of a ballet-dancer to the dark, suspicious scowl ofa discounter of bills; in short, she is at once the embodiment andinterpretation of herlodging-house, as surely as her lodging-houseimplies the existence of its mistress. You can no more imagine the onewithout the other, than you can think of a jail without a turnkey. Theunwholesome corpulence of thelittle woman is produced by the life sheleads, just as typhus fever is bred in the tainted air of a hospital.The very knitted woolen petticoat that she wears beneath a skirt madeof an old gown, with the wadding protrudingthrough the rents in thematerial, is a sort of epitome of the sitting-room, the dining-room,and the little garden; it discovers the cook, it foreshadows thelodgers--the picture of the house is completed by the portrait ofitsmistress.Mme. Vauquer at the age of fifty is like all women who \"have seen a dealof trouble.\" She has the glassy eyes and innocent air of a traffickerin flesh and blood, who will wax virtuously indignant to obtain ahigherprice for her services, but who is quite ready to betray a Georges ora Pichegru, if a Georges or a Pichegru were in hiding and still to bebetrayed, or for any other expedient that may alleviate her lot. Still,\"she is agood woman at bottom,\" said the lodgers who believed thatthe widow was wholly dependent upon the money that they paid her, andsympathized when they heard her cough and groan like one of themselves.What hadM. Vauquer been? The lady was never very explicit on this head.How had she lost her money? \"Through trouble,\" was her answer. He hadtreated her badly, had left her nothing but her eyes to cry over hiscruelty, thehouse she lived in, and the privilege of pitying nobody,because, so she was wont to say, she herself had been through everypossible misfortune.Sylvie, the stout cook, hearing her mistress' shuffling footsteps,hastenedto serve the lodgers' breakfasts. Beside those who lived in thehouse, Mme. Vauquer took boarders who came for their meals; but these_externes_ usually only came to dinner, for which they paid thirtyfrancs amonth.At the time when this story begins, the lodging-house contained seveninmates. The best rooms in the house were on the first story, Mme.Vauquer herself occupying the least important, while the rest were letto aMme. Couture, the widow of a commissary-general in the service ofthe Republic. With her lived Victorine Taillefer, a schoolgirl, to whomshe filled the place of mother. These two ladies paid eighteen hundredfrancs ayear.The two sets of rooms on the second floor were respectively occupied byan old man named Poiret and a man of forty or thereabouts, the wearerof a black wig and dyed whiskers, who gave out that he was aretiredmerchant, and was addressed as M. Vautrin. Two of the four rooms onthe third floor were also let--one to an elderly spinster, a Mlle.Michonneau, and the other to a retired manufacturer of vermicelli,Italian pasteand starch, who allowed the others to address him as\"Father Goriot.\" The remaining rooms were allotted to various birds ofpassage, to impecunious students, who like \"Father Goriot\" and Mlle.Michonneau, could onlymuster forty-five francs a month to pay for theirboard and lodging. Mme. Vauquer had little desire for lodgers of thissort; they ate too much bread, and she only took them in default ofbetter.At that time one of therooms was tenanted by a law student, a young manfrom the neighborhood of Angouleme, one of a large family who pinchedand starved themselves to spare twelve hundred francs a year for him.Misfortune hadaccustomed Eugene de Rastignac, for that was his name, towork. He belonged to the number of young men who know as children thattheir parents' hopes are centered on them, and deliberately preparethemselves fora great career, subordinating their studies from thefirst to this end, carefully watching the indications of the course ofevents, calculating the probable turn that affairs will take, that theymay be the first to profit bythem. But for his observant curiosity, andthe skill with which he managed to introduce himself into the salonsof Paris, this story would not have been colored by the tones oftruth which it certainly owes to him, for theyare entirely due to hispenetrating sagacity and desire to fathom the mysteries of an appallingcondition of things, which was concealed as carefully by the victim asby those who had brought it to pass.Above the thirdstory there was a garret where the linen was hung todry, and a couple of attics. Christophe, the man-of-all-work, slept inone, and Sylvie, the stout cook, in the other. Beside the seven inmatesthus enumerated, takingone year with another, some eight law or medicalstudents dined in the house, as well as two or three regular comers wholived in the neighborhood. There were usually eighteen people at dinner,and there was room, ifneed be, for twenty at Mme. Vauquer's table; atbreakfast, however, only the seven lodgers appeared. It was almost likea family party. Every one came down in dressing-gown and slippers,and the conversation usuallyturned on anything that had happenedthe evening before; comments on the dress or appearance of the dinnercontingent were exchanged in friendly confidence.These seven lodgers were Mme. Vauquer's spoiledchildren. Among themshe distributed, with astronomical precision, the exact proportion ofrespect and attention due to the varying amounts they paid for theirboard. One single consideration influenced all these humanbeings throwntogether by chance. The two second-floor lodgers only paid seventy-twofrancs a month. Such prices as these are confined to the FaubourgSaint-Marcel and the district between La Bourbe and theSalpetriere;and, as might be expected, poverty, more or less apparent, weighed uponthem all, Mme. Couture being the sole exception to the rule.The dreary surroundings were reflected in the costumes of the inmatesofthe house; all were alike threadbare. The color of the men's coats wereproblematical; such shoes, in more fashionable quarters, are only to beseen lying in the gutter; the cuffs and collars were worn and frayed attheedges; every limp article of clothing looked like the ghost of itsformer self. The women's dresses were faded, old-fashioned, dyed andre-dyed; they wore gloves that were glazed with hard wear, much-mendedlace,dingy ruffles, crumpled muslin fichus. So much for theirclothing; but, for the most part, their frames were solid enough; theirconstitutions had weathered the storms of life; their cold, hard faceswere worn like coins thathave been withdrawn from circulation, butthere were greedy teeth behind the withered lips. Dramas brought to aclose or still in progress are foreshadowed by the sight of such actorsas these, not the dramas that areplayed before the footlights andagainst a background of painted canvas, but dumb dramas of life,frost-bound dramas that sere hearts like fire, dramas that do not endwith the actors' lives.Mlle. Michonneau, that elderly"}
+{"doc_id":"doc_286","qid":"","text":"<html><head><title>Two For The Money Script at IMSDb.</title><meta name=\"description\" content=\"Two For The Money script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Two ForThe Money script, Two For The Money movie script, Two For The Money film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX,FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                                    TWO FOR THE MONEY</b>                                       Written by                                       DanGilroy                                                        Final Draft: 10-29-04<b>               EXT. HOME MOVIE - 1982 - DAY</b>               A DAD tosses a baseball to his SON.  The boy swings, connects,                sends the ballflying.  DAD smiles. <b> </b><b>                                     BRANDON LANG'S VOICE</b>               That's me.  Five years old.  I remember that day.  Believe it                or not, I remember that hit.  I remember itbecause of the smile                that spread over my dad's face...<b> </b><b>               EXT. HOME MOVIE - 1983 - DAY</b>               BRANDON shooting hoops.  DAD drinks a Bud, frowns as he misses.<b>                </b><b> </b><b>                                     BRANDON VOICEOVER</b>               I would've stood there all day to sink one.  Just to see that                smile...  <b> </b><b>               EXT. HOMEMOVIE - 1984 - DAY</b>               BRANDON runs, wears a too-big helmet and pads.  A DOG chases                him as DAD throws a football -- long pass -- TIME SLOWS and --<b></b><b>               </b><b>                                     BRANDON VOICEOVER</b>               To pop, sports were a religion.  To me, it was about purity,                a place where all wrongs could be made right, or atleast temporarily                forgotten.  I was going to fill the whole house with trophies                for him.  There was no doubt in my mind, I was going to make                him happy...<b> </b>               BRANDONcatches the ball.  Blinding light, loud CHEERING and <b>               --  </b><b> </b><b>               EXT. STADIUM - 1999 - NIGHT</b>               Our eyes adjust to see we're in a STADIUM.  It's a nightgame.                 Stands packed.  A PLAY CLOCK fills the SCREEN.  It's the fourth                quarter.  Seven seconds left.  Score:  CAL WEST 31 / SOUTH WEST                NEVADA UNIVERSITY 27.  A bruised andbattered UNLV QUARTERBACK                gets a play from the COACH, straps on his helmet as he runs back                to the huddle.  The name on the QUARTERBACK'S jersey -- B. LANG.                 10 exhausted,desperate faces come close, hang on BRANDON'S                every word -- <b> </b><b>                                     BRANDON</b>               Last play.  Slant red, right back on two.  On two, Scottie.                 It's alock.  A guaranteed TD.  I've already seen it.  So relax.                 There's nothing to worry about 'cept one thing -- after we win                and they're shoving cameras in your faces, I don't want to hear                any\"Hi moms.\"  Guys, it's overdone, the fans are tired of it                and if you have to thank some one you can just thank me.  See                you in the end zone.<b> </b>               The teams breaks, approaches theline.  Loud CROWD roar.<b>                                     BRANDON VOICEOVER</b>               I'd been a quarterback since pee-wee football.  Set high school                records.  Won state championships.  I wasn'tdriven by joy, it                wasn't winning as much as terror, pure and simple -- fear of                losing.<b> </b><b>                                     TV ANNOUNCERS</b>               South West Nevada needs ascore.  Seven seconds on the clock.                 22 yard line.  Win or lose, this has been a spectacular season                for Lang.  The big question, should he turn pro now or wait until                -- Lang's got thesnap--<b> </b>               BRANDON drops back.  A GIANT gets a hand on BRANDON'S jersey.                 BRANDON pulls free, runs.  OPPONENTS charge his way, BRANDON                vaults, sails in the end zone,SCORES.  BRANDON rolls on his                back as an OPPOSING PLAYER hurtles in -- mid-air -- unable to                stop as -- 300-plus pounds come crashing onto BRANDON'S leg.                 Sickeningsound.  BRANDON clutches his strangely angled limb.<b> </b><b>               </b><b>                                     BRANDON VOICEOVER</b>               ... My first thought was I can tape it and play nextweek.  Then                I puked.<b> </b>               TEAMMATES surround BRANDON, many turning from the sight and --<b> </b><b>               </b><b>               INT. EMERGENCY ROOM ENTRANCE -NIGHT</b>               BRANDON'S wheeled in.<b>               INT. OPERATING ROOM - NIGHT</b>               SURGEONS regard the leg.  IVs are hookedup.<b>                                     BRANDON</b>               What's the rehab time?                 The SURGEONS talk between themselves, impressed by the break. <b>                </b><b></b><b>                                     BRANDON</b>               When do I play again?               One DOCTOR examines his x-rays.  BRANDON grabs his smock. <b>                                     BRANDON</b>               Thepatient's got a question!               Anesthetic haze.  A wavy world is melting far, far away.<b>                                     SURGEON VOICEOVER</b>               Football's done, son...<b>               INT. HOSPITAL ROOM- DAY</b>               BRANDON'S in a hospital bed.  Big leg cast.  IV's in each arm. <b>               </b><b> </b><b>                                     MAN'S VOICE</b>               Brandon... Brandon, it'sme.               BRANDON opens his eyes, focuses on his FATHER (older, cheap suit,                beard stubble, clutching a $2 bouquet of flowers).  <b> </b><b>                                     BRANDON'SDAD</b>               You okay?  I saw what happened on the tv.  Helluva thing that                happening like that.<b> </b><b>                                     BRANDON</b>               (edge)               What are you doinghere?<b>                                     BRANDON'S DAD</b>               I brought some flowers.  From downstairs in the shop.  <b>                                     BRANDON</b>               (pressing the nurse's callbutton)                No, you gotta go -- where's the nurse? <b>                                     BRANDON'S DAD</b>               I'm thinking of getting into a new program, Brandon.               A NURSE comes fast through thedoor, watches unsure --<b>                                     BRANDON</b>               Could you get him out, please?  <b>                                     BRANDON'S DAD</b>               It's okay, we're fine, I'm hisfather.<b>                                     BRANDON</b>               Just get out!               BRANDON tries to rise, IV'S coming loose.  The NURSE takes his                DAD'S arm, leads him out to the hall. <b></b><b>                                     BRANDON'S DAD</b>               (pulling away, straightening)               He didn't recognize me.  Must be all the drugs and all.  Boy's                been through a lot.<b></b>               (handing the NURSE the flowers)                If you could put these in some water and leave 'em in his room.                 Before they die.<b> </b>               BRANDON'S DAD nods thanks, departs downthe corridor and --<b> </b><b>               </b><b>               EXT. TRACT HOME - DAY</b>               Vegas desert.  It's raining.  A SWNU car pulls up.  The COACH                helps BRANDON out, on crutchesnow.  A middle-aged WOMAN and                a TEENAGE BOY stand under a rusty awning, waiting to greet him.<b> </b><b>               </b><b>                                     BRANDON VOICEOVER</b>               Itdoesn't rain much in the desert.  Maybe it was that, or maybe                the look on my mother's face, or how fast coach left after getting                me up the steps, but I swore then and there -- no matterwhat,                I'd get back -- I would play again...<b> </b><b>               INT. UNLV WEIGHT ROOM - 1997 - DAY</b>               Off-season.  The room's packed.  Loud hip hop plays.  BRANDON                limps inon a cane.  Back slaps.  (\"B's back!\" \"The man!\")   <b>                </b><b> </b><b>                                     OMIT</b><b>               EXT. SOUTH WEST NEVADA UNIVERSITY TRACK - DAY </b>               Sprintersdart by.  Here comes BRANDON.  Several months have                passed.  Big ass brace on his leg.  A GIRL'S TRACK TEAM bounds                past like a herd of gazelles.  BRANDON presses on, possessed.<b></b><b>               </b><b>               EXT. PRACTICE FIELD - DAY</b>               The TEAM'S practicing for a new season.  BRANDON'S on the sideline,                flanked by the COACH and TEAM DOCTOR.<b></b><b>                                     BRANDON VOICEOVER</b>               Doc told me it would take years to heal.  One bad hit and it'd                be over.  But the team needed me and I had to play to getdrafted.                 I figured I'd take a chance...<b> </b>               BRANDON looks at the field, the PLAYERS, the empty stands and-- <b>                </b><b> </b><b>               EXT. SOUTH WEST NEVADAUNIVERSITY STADIUM - 1997 - DAY</b>               CROWDED arena.  Electrifying scene.  BRANDON'S suited on the                sidelines.  Kick-off.  A SWNU PLAYER returns the ball.  <b></b><b>                                     BRANDON VOICEOVER</b>               Every minute of recovery I'd dreamt about this moment.  There                were NFL scouts in the stands.  I knew what happened next.<b></b><b>               </b>               BRANDON leads his team onto the field.  Into the huddle --<b>                                     BRANDON</b>               Let's ease back into it with our bread                and butter -- TDfirst play.  We're going                deep.  Split right.  Deep two on three!               (coming up to the line)               Red 38!  Red 28!  Set!  Set--               BRANDON drops back.  Blitz.  Brandon about to throw whenone                of his own LINEMEN is knocked into him and -- BRANDON'S off balance.                 Too much pressure on that leg and in one horrible moment...                it buckles.  BRANDON falls.  The play whistleddead.  <b> </b><b>                                     BRANDON VOICEOVER</b>               ...It was over.  I could've gone out with class, a gritty smile                and a little wave to the crowd from a stretcher, instead Iopted                to go psycho on national tv.<b> </b>               The PLAYER who hit him leans down to help.  BRANDON grabs his                face mask, starts punching.  Pure rage.  A REFEREE steps inand                BRANDON slugs him, slams his face in the turf.  LINEMEN yank                BRANDON off as the bloody REF struggles to get free and --<b> </b><b>               </b>               TV SCREEN -- jim romesports show               A highlight reel plays a tape of the incident -- BRANDON seen                struggling with PLAYERS as the roughed-up REF crawls away --<b></b><b>               </b><b>                                     JIM ROME</b>               Welcome to the jungle!  Hey clones, do you believe this idiot?!                 That cannot happen!  This is college football, not theultimate                fighting championship!  What we have here is too much muscle                and not  enough brain mass -- this is why we need a life-time                ban!  Make an example out of him!  Because thesport deserves                better than this!  Talk to me! <b> </b>               CAMERA PUSHES IN -- ECU on the TV as we hear --<b>                                     BRANDON VOICEOVER</b>               It made all the"}
+{"doc_id":"doc_287","qid":"","text":"<html><head><title>Never Been Kissed Script at IMSDb.</title><meta name=\"description\" content=\"Never Been Kissed script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"NeverBeen Kissed script, Never Been Kissed movie script, Never Been Kissed film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX,FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><HTML> <HEAD>       <TITLE>\"Never Been Kissed\" </TITLE><LINK rel=\"stylesheet\" type=\"text/css\" href=\"style.css\"title=\"style1\"><METAhttp-equiv=\"Content-Type\" content=\"text/html; charset=iso-8859-1\"><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script> </HEAD><divid=\"Layer1\"><b></HEAD></b><body></p><p><p ID=\"act\">NEVER BEEN KISSED</p><p><p ID=\"act\">Revised Draft by Jenny Bicks</p><p><p ID=\"act\">Based on the Original Screenplay by</p><p><pID=\"act\">Abby Kohn & Marc Silverstein</p><p><p ID=\"act\">6/26/98 revision</p><p><p ID=\"act\">CLOSE UP ON A GIRL'S FACE</p><p><p ID=\"act\">It's Josie Geller, 25, cute, blonde and scared out of her wits.We hear the chanting of a crowd.</p><p><P ID=\"speaker\">CROWD<P ID=\"dia\">Josie! Josie! Josie!</p><p><P ID=\"speaker\">JOSIE (V.O.)<P ID=\"dia\">You know in some movies how they have a dream sequenceonly they don't tell you it's a dream?</p><p><p ID=\"act\">Pull out to reveal Josie on pitcher's mound of a--</p><p><p ID=\"slug\">EXTERIOR. A BASEBALL STADIUM -- NIGHT</p><p><p ID=\"act\">It's packed.Reporters line the field. All eyes are on Josie.</p><p><P ID=\"speaker\">JOSIE<b> (V.O.)</b><P ID=\"dia\">This is so not a dream.</p><p><p ID=\"act\">The stadium clock sets at 5:00. The crowd goes crazy. Josietakes a deep, nervous breath and smiles, \"Oh God.\"</p><p><p ID=\"slug\">INTERIOR. ELECTRONICS STORE -- CONTINUOUS</p><p><p ID=\"act\">Multiple images of Josie play across rows of TV sets. A crowd hasgathered.</p><p><P ID=\"speaker\">JOSIE<b> (V.O.)</b><P ID=\"dia\">It wasn't supposed to be like this. I was just trying to do my job. And then things happened. Well, life happened. And now I'mhere.</p><p><p ID=\"slug\">EXTERIOR. BASEBALL STADIUM -- CONTINUOUS</p><p><p ID=\"act\">The clock starts to tick down. The crowd yells again.</p><p><P ID=\"speaker\">JOSIE<b> (V.O.)</b><PID=\"dia\">Trust me. I am not the kind of girl who does things like this. I mean, two months ago you couldn't have picked me out of a crowd...</p><p><p ID=\"slug\">INTERIOR. CHICAGO SUN TIMES BULLPEN --DAY</p><p><p ID=\"act\">Packed with office workers. Bustling with activity. The camera searches the crowd.</p><p><P ID=\"speaker\">JOSIE (V.O.)<P ID=\"dia\">Told you. I'm over there.</p><p><p ID=\"act\">Thecamera swings to Josie entering. Rhoda, a young copy assistant, tails her, pen and paper in hand.</p><p><P ID=\"speaker\">RHODA<P ID=\"dia\">Theater--</p><p><P ID=\"speaker\">JOSIE<P ID=\"dia\">StandardAmerican calls for \"er\". Standard British is \"re\". So go for \"er\", unless you're a pompous American, then go for British.</p><p><p ID=\"act\">Josie keeps negotiating the maze, leaving Rhoda in her wake.</p><p><PID=\"speaker\">RHODA<P ID=\"dia\">No. Theater. Last night. We were supposed to go, remember?</p><p><p ID=\"act\">Josie stops at a desk where Merkin Burns, officious office assistant, is talking on the phone. Hepicks his nose with abandon as he talks, ignoring Josie.</p><p><P ID=\"speaker\">MERKIN<P ID=\"spkdir\">(into phone)<P ID=\"dia\">No way. No way. No way. Ech, hold on.<P ID=\"spkdir\">(to Josie)<PID=\"dia\">What.</p><p><P ID=\"speaker\">JOSIE<P ID=\"dia\">Messages?</p><p><p ID=\"act\">Merkin removes his finger from his nose and uses it to pick up a pink message. He holds it out to Josie. Disgusted, shetakes it by one corner.</p><p><P ID=\"speaker\">MERKIN<P ID=\"spkdir\">(into phone)<P ID=\"dia\">Seriously? No way. No way--</p><p><p ID=\"act\">Josie's still standing there.</p><p><PID=\"speaker\">MERKIN<P ID=\"dia\">What</p><p><P ID=\"speaker\">JOSIE<P ID=\"dia\">Merkin, do you think we could get some more yellow highlighters? I checked the box and we're--</p><p><p ID=\"act\">Merkinswivels his chair 180 degrees so his back is to Josie and continues with his phone call.</p><p><P ID=\"speaker\">MERKIN<P ID=\"spkdir\">(back into phone)<P ID=\"dia\">Okay, I'm back, so--</p><p><pID=\"act\">Josie sighs, walks to her door. It's marked with a lopsided nameplate: Josie Geller, Copy Editor. She adjusts the plate so it's perfectly straight.</p><p><p ID=\"slug\">INTERIOR. JOSIE'S OFFICE --CONTINUOUS</p><p><p ID=\"act\">Josie enters, reads the messsage still gingerly held in two fingers, and drops it into the trash can. She hangs her coat squarely on the back of her door, takes five pencils from herpencil pot, one by one sharpens them in her pencil sharpener, and then lays them out neatly in a row. She smiles, satisfied, ready for another day.</p><p><p ID=\"act\">Anita Brandt, late 20's, pretty in asemi-unprofessional way, bursts in, smiling.</p><p><P ID=\"speaker\">ANITA<P ID=\"dia\">Guess who I did it with last night...</p><p><P ID=\"speaker\">JOSIE <P ID=\"spkdir\">(duh)<P ID=\"dia\">Roger inOp/Ed.</p><p><P ID=\"speaker\">ANITA<P ID=\"dia\">Who told!</p><p><P ID=\"speaker\">JOSIE<P ID=\"dia\">You did. Yesterday you said, and I quote, \"I have a date with Roger from Op/Ed tonight and I'm going todo it with him.\"</p><p><P ID=\"speaker\">ANITA<P ID=\"dia\">Well, that doesn't mean it was going to happen for sure.</p><p><p ID=\"act\">Josie just stares at her.</p><p><P ID=\"speaker\">ANITA<PID=\"dia\">Once it didn't happen for sure.</p><p><p ID=\"act\">Gus Strauss, late 30's, would probably clean up well, enters. He tosses some copy onto Josie's desk.</p><p><P ID=\"speaker\">GUS<PID=\"dia\">Computer's down. Septuplets story. I need it back by five. Hopefully the copy's not a mess.</p><p><P ID=\"speaker\">JOSIE<P ID=\"spkdir\">(emphasizing)<P ID=\"dia\">It is hoped that it's not a mess.\"Hopefully\" is an adverb. It means \"with hope\". You have it defining the copy, and I'm pretty sure the copy doesn't have feelings.</p><p><p ID=\"act\">Gus and Anita just stare at Josie.</p><p><PID=\"speaker\">JOSIE<P ID=\"dia\">Well, excuse me for caring about words.</p><p><P ID=\"speaker\">GUS <P ID=\"spkdir\">(to Anita)<P ID=\"dia\">So. You and Roger in Op/Ed.</p><p><P ID=\"speaker\">ANITA<PID=\"dia\">Oh, man! Who told?</p><p><P ID=\"speaker\">GUS<P ID=\"dia\">Roger in Op/Ed. Don't make me send you another memo about my policy on inter-office dating.</p><p><P ID=\"speaker\">JOSIE<PID=\"dia\">Intra office. And they're not dating. They're having sex.</p><p><P ID=\"speaker\">ANITA<P ID=\"dia\">And what is your policy? That if you're not getting any, no one can?</p><p><p ID=\"act\">Anitaflounces off.</p><p><P ID=\"speaker\">GUS<P ID=\"dia\">How many times have I fired her?</p><p><P ID=\"speaker\">JOSIE<P ID=\"dia\">Five-- Six--</p><p><P ID=\"speaker\">GUS<P ID=\"spkdir\">(shrugging,giving up)<P ID=\"dia\">Eh.</p><p><p ID=\"act\">Gus turns to exit.</p><p><P ID=\"speaker\">JOSIE<P ID=\"dia\">Hey Gus--did you see the story idea I left on your desk?</p><p><P ID=\"speaker\">GUS<PID=\"dia\">Yeah--the blind foster home mother. It was good. I got Cahoon on it.</p><p><P ID=\"speaker\">JOSIE<P ID=\"spkdir\">(disappointed)<P ID=\"dia\">Oh. Cahoon. Yeah, he's--good.</p><p><PID=\"speaker\">GUS<P ID=\"dia\">Geller, we've been over this. You're a great copy editor. Maybe my best copy editor. You're not a reporter.</p><p><P ID=\"speaker\">JOSIE<P ID=\"dia\">You've done five of myideas.</p><p><P ID=\"speaker\">GUS<P ID=\"dia\">You know what separates us office flunkies from the reporters?</p><p><P ID=\"speaker\">JOSIE<P ID=\"dia\">They don't have to be in the office Christmasshow?</p><p><P ID=\"speaker\">GUS<P ID=\"dia\">A flack jacket.</p><p><P ID=\"speaker\">JOSIE<P ID=\"spkdir\">(not getting it)<P ID=\"dia\">A--flack jacket.</p><p><P ID=\"speaker\">GUS<P ID=\"dia\">EveryTom, Dick, and Harry thinks he can write. But a journalist gets in there, right where the bombs are. He's aggressive. Grabs the bull by the balls.</p><p><P ID=\"speaker\">JOSIE<P ID=\"dia\">You don't think I can grabbulls' balls?</p><p><P ID=\"speaker\">GUS<P ID=\"dia\">Geller, you don't want a reporter's life. They're very--messy. You're all about order. Control. And getting me my copy by five.</p><p><PID=\"speaker\">JOSIE<P ID=\"dia\">Hey--I can be out of control.</p><p><p ID=\"act\">Gus smiles. On his way out he re-adjusts Josie's nameplate so it hangs at an angle. Tormented, Josie waits a beat. She can't takeit, and runs to the door and straightens it.</p><p><P ID=\"speaker\">GUS<P ID=\"spkdir\">(over his shoulder)<P ID=\"dia\">Copy by five.</p><p><p ID=\"slug\">INTERIOR. SUN TIMES LUNCHROOM --DAY</p><p><p ID=\"act\">Actually, a pretty depressing kitchenette area. Anita and Josie eat lunch--Anita eats Chinese out of a container, Josie has three baggies of perfectly cut food in front of her.</p><p><PID=\"speaker\">JOSIE<P ID=\"dia\">Be honest. Do you think I'm aggressive?</p><p><p ID=\"act\">Anita ponders a moment.</p><p><P ID=\"speaker\">ANITA<P ID=\"dia\">Okay. Remember when they took your officechair in for repairs and forgot to return it?</p><p><P ID=\"speaker\">JOSIE<P ID=\"dia\">Yeah.</p><p><P ID=\"speaker\">ANITA<P ID=\"dia\">You stood for like a month.</p><p><p ID=\"act\">Cynthia, an affableAfrican-American woman in her 40's, enters and puts three microwave meals in the microwave.</p><p><P ID=\"speaker\">JOSIE<P ID=\"dia\">Just because I'm not out of control doesn't mean I can't write.</p><p><PID=\"speaker\">CYNTHIA<P ID=\"dia\">Josie, you listen to me. If you feel you're a writer--(touching her chest)</p><p><p ID=\"act\">Here, deep inside, don't let anyone tell you you're not. Look at me. Every day I cometo this paper and I pour my heart and soul into what I do. I feel it, passionately, to the core of my being.</p><p><P ID=\"speaker\">JOSIE<P ID=\"dia\">You write obituaries.</p><p><P ID=\"speaker\">CYNTHIA<PID=\"dia\">Hey, if you can make a busted aorta sound good--honey, that's art.</p><p><p ID=\"act\">The microwave dings off. Cynthia fishes the three Lean Cuisines out. Anita and Josie share a look.</p><p><PID=\"speaker\">ANITA<P ID=\"dia\">Cynthia, aren't they only diatetic if you eat them one at a time?</p><p><P ID=\"speaker\">CYNTHIA<P ID=\"dia\">I eat 'em one at a time.</p><p><P ID=\"speaker\">ANITA<PID=\"spkdir\">(to Josie)<P ID=\"dia\">Y'know, maybe Gus has a point. It wouldn't kill you to relax and have some fun. Roger's got a friend, Marshall in editing? The one with the lazy eye? Maybe we could doubledate.</p><p><P ID=\"speaker\">JOSIE<P ID=\"dia\">Forget it.</p><p><P ID=\"speaker\">ANITA<P ID=\"dia\">I swear to God, Jos. When is the last time you went on a real live date?</p><p><PID=\"speaker\">JOSIE<P ID=\"dia\">I'm concentrating on my career right now.</p><p><P ID=\"speaker\">ANITA<P ID=\"dia\">Do you own any colored underwear? Stripes? Anything?!</p><p><PID=\"speaker\">JOSIE<P ID=\"spkdir\">(embarrassed)<P ID=\"dia\">Anita!</p><p><P ID=\"speaker\">ANITA<P ID=\"dia\">Look. You're way under 30, you're cute, some guys find white Carter's underwear sexy\u0000<PID=\"spkdir\">(beat)<P ID=\"dia\">If you talk to his nose, you don't even notice the eye.</p><p><p ID=\"act\">Josie laughs in spite of herself.</p><p><P ID=\"speaker\">JOSIE<P ID=\"dia\">The right guy is out there."}
+{"doc_id":"doc_288","qid":"","text":"<html><head><title>Star Wars: A New Hope Script at IMSDb.</title><meta name=\"description\" content=\"Star Wars: A New Hope script at the Internet Movie Script Database.\"><meta name=\"keywords\"content=\"Star Wars: A New Hope script, Star Wars: A New Hope movie script, Star Wars: A New Hope film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><metaname=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttypeCONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ?'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie ScriptDatabase\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <scripttype=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                                        STAR WARS</b>                                        Episode IV<b>                                        A NEWHOPE</b>                                         From the<b>                                  JOURNAL OF THE WHILLS</b>                                            by                                       George Lucas                                   RevisedFourth Draft                                     January 15, 1976<b>                                      LUCASFILM LTD.</b><b>                </b>               A long time ago, in a galaxy far, far, away...               A vast sea of starsserves as the backdrop for the main title.                War drums echo through the heavens as a rollup slowly crawls                into infinity.                    It is a period of civil war. Rebel spaceships,                     strikingfrom a hidden base, have won their first                     victory against the evil Galactic Empire.                    During the battle, Rebel spies managed to steal                     secret plans to the Empire's ultimate weapon,the                     Death Star, an armored space station with enough                     power to destroy an entire planet.                    Pursued by the Empire's sinister agents, Princess                     Leia races home aboardher starship, custodian of                     the stolen plans that can save her people and                     restore freedom to the galaxy...               The awesome yellow planet of Tatooine emerges from atotal                eclipse, her two moons glowing against the darkness. A tiny                silver spacecraft, a Rebel Blockade Runner firing lasers                from the back of the ship, races through space. It ispursed                by a giant Imperial Stardestroyer. Hundreds of deadly                laserbolts streak from the Imperial Stardestroyer, causing                the main solar fin of the Rebel craft todisintegrate.<b>               INT. REBEL BLOCKADE RUNNER - MAIN PASSAGEWAY</b>               An explosion rocks the ship as two robots, Artoo-Detoo (R2-               D2) and See-Threepio (C-3PO) struggle to maketheir way                through the shaking, bouncing passageway. Both robots are                old and battered. Artoo is a short, claw-armed tripod. His                face is a mass of computer lights surrounding a radareye.                Threepio, on the other hand, is a tall, slender robot of                human proportions. He has a gleaming bronze-like metallic                surface of an Art Deco design.               Another blast shakes themas they struggle along their way.<b>                                     THREEPIO</b>                         Did you hear that? They've shut down                          the main reactor. We'll be destroyed                          for sure.This is madness!               Rebel troopers rush past the robots and take up positions in                the main passageway. They aim their weapons toward thedoor.<b>                                     THREEPIO</b>                         We're doomed!               The little R2 unit makes a series of electronic sounds that                only another robot couldunderstand.<b>                                     THREEPIO</b>                         There'll be no escape for the Princess                          this time.               Artoo continues making beeping sounds. Tension mountsas                loud metallic latches clank and the scream of heavy equipment                are heard moving around the outside hull of the ship.<b>                                     THREEPIO</b>                         What'sthat?<b>               EXT. SPACECRAFT IN SPACE</b>               The Imperial craft has easily overtaken the Rebel Blockade                Runner. The smaller Rebel ship is being drawn into the                underside dock ofthe giant Imperial starship.<b>               INT. REBEL BLOCKADE RUNNER</b>               The nervous Rebel troopers aim their weapons. Suddenly a                tremendous blast opens up a hole in the main passagewayand                a score of fearsome armored spacesuited stormtroopers make                their way into the smoke-filled corridor.               In a few minutes the entire passageway is ablaze with                laserfire. Thedeadly bolts ricochet in wild random patterns                creating huge explosions. Stormtroopers scatter and duck                behind storage lockers. Laserbolts hit several Rebel soldiers                who scream andstagger through the smoke, holding shattered                arms and faces.               An explosion hits near the robots.<b>                                     THREEPIO</b>                         I should have known better thanto                          trust the logic of a half-sized                          thermocapsulary dehousing assister...               Artoo counters with an angry rebuttal as the battle rages                around the two haplessrobots.<b>               EXT. TATOOINE - DESERT WASTELAND - DAY</b>               A death-white wasteland stretches from horizon to horizon.                The tremendous heat of two huge twin suns settle on alone                figure, Luke Skywalker, a farm boy with heroic aspirations                who looks much younger than his eighteen years. His shaggy                hair and baggy tunic give him the air of a simple butlovable                lad with a prize-winning smile.               A light wind whips at him as he adjusts several valves on a                large battered moisture vaporator which sticks out of the                desert floor muchlike an oil pipe with valves. He is aided                by a beatup tread-robot with six claw arms. The little robot                appears to be barely functioning and moves with jerky motions.                 A bright sparkle in themorning sky catches Luke's eye and                he instinctively grabs a pair of electrobinoculars from his                utility belt. He stands transfixed for a few moments studying                the heavens, then dashedtoward his dented, crudely repaired                Landspeeder (an auto-like transport that travels a few feet                above the ground on a magnetic-field). He motions for the                tiny robot to followhim.<b>                                     LUKE</b>                         Hurry up! Come with me! What are you                          waiting for?! Get in gear!               The robot scoots around in a tight circle, stops short,and                smoke begins to pour out of every joint. Luke throws his                arms up in disgust. Exasperated, the young farm boy jumps                into his Landspeeder leaving the smoldering robot tohum                madly.<b>               INT. REBEL BLOCKADE RUNNER - MAIN HALLWAY</b>               The awesome, seven-foot-tall Dark Lord of the Sith makes his                way into the blinding light of the mainpassageway. This is                Darth Vader, right hand of the Emperor. His face is obscured                by his flowing black robes and grotesque breath mask, which                stands out next to the fascist whitearmored suits of the                Imperial stormtroopers. Everyone instinctively backs away                from the imposing warrior and a deathly quiet sweeps through                the Rebel troops. Several of the Rebeltroops break and run                in a frenzied panic.<b>               INT. REBEL BLOCKADE RUNNER</b>               A woman's hand puts a card into an opening in Artoo's dome.                 Artoo makes beepingsounds.<b>               INT. REBEL BLOCKADE RUNNER</b>               Threepio stands in a hallway, somewhat bewildered. Artoo is                nowhere in sight. The pitiful screams of the doomedRebel                soldiers can be heard in the distance.<b>                                     THREEPIO</b>                         Artoo! Artoo-Detoo, where are you?               A familiar clanking sound attacks Threepio's attentionand                he spots little Artoo at the end of the hallway in a smoke-               filled alcove. A beautiful young girl (about sixteen years                old) stands in front of Artoo. Surreal and out ofplace,                dreamlike and half hidden in the smoke, she finishes adjusting                something on Artoo's computer face, then watches as the little                robot joins hiscompanion.<b>                                     THREEPIO</b>                         At last! Where have you been?               Stormtroopers can be heard battling in thedistance.<b>                                     THREEPIO</b>                         They're heading in this direction.                          What are we going to do? We'll be                          sent to the spice mine of Kesselor                          smashed into who knows what!               Artoo scoots past his bronze friend and races down the                subhallway. Threepio chases afterhim.<b>                                     THREEPIO</b>                         Wait a minute, where are you going?               Artoo responds with electronic beeps.<b>               INT. REBEL BLOCKADE RUNNER -CORRIDOR</b>               The evil Darth Vader stands amid the broken and twisted bodies                of his foes. He grabs a wounded Rebel Officer by the neck as                an Imperial Officer rushes up to the DarkLord.<b>                                     IMPERIAL OFFICER</b>                         The Death Star plans are not in the                          main computer.               Vader squeezes the neck of the Rebel Officer, whostruggles                in vain.<b>                                     VADER</b>                         Where are those transmissions you                          intercepted?               Vader lifts the Rebel off his feet by histhroat.<b>                                     VADER</b>                         What have you done with those plans?<b>                                     REBEL OFFICER</b>                         We intercepted notransmissions.                          Aaah... This is a consular ship.                          Were on a diplomatic mission.<b>                                     VADER</b>                         If this is a consular ship...were                          is the Ambassador?               The Rebel refuses to speak but eventually cries out as the                Dark Lord begins to squeeze the officer's throat, creating a                gruesome snapping andchoking, until the soldier goes limp.                Vader tosses the dead soldier against the wall and turns to                his troops.<b>                                     VADER</b>                         Commander, tear this shipapart until                          you've found those plans and bring                          me the Ambassador. I want her alive!               The stormtroopers scurry into the subhallways.<b>               INT. REBEL BLOCKADERUNNER - SUBHALLWAY</b>               The lovely young girl huddles in a small alcove as the                stormtroopers search through the ship. She is Princess Leia                Organa, a member of the Alderaan Senate.The fear in her                eyes slowly gives way to anger as the muted crushing sounds                of the approaching stormtroopers grow louder. One of the                troopers spotsher.<b>                                     TROOPER</b>                         There she is! Set for stun!               Leia steps from her hiding place and blasts a trooper with                her laser pistol. She starts to run but is felled"}
+{"doc_id":"doc_289","qid":"","text":"<html><head><title>Descendants, The Script at IMSDb.</title><meta name=\"description\" content=\"Descendants, The script at the Internet Movie Script Database.\"><meta name=\"keywords\"content=\"Descendants, The script, Descendants, The movie script, Descendants, The film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\"content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ?'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie ScriptDatabase\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <scripttype=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                           THE DESCENDANTS</b>                              Written by                Alexander Payne, Nat Faxon & JimRash<b>1   EXT. THE OCEAN - DAY                                              1</b>    CLOSE ON a beautiful 40-YEAR-OLD WOMAN at the helm of a    powerful SPEEDBOAT -- her hair tossed back by the wind, her    mouth in aeuphoric grin.<b>                                                        FADE OUT.</b><b>2   CREDITS -- ARCHIVAL FOOTAGE                                       2</b><b>                         MATT (V.O.)</b>               My missionaryancestors came to the               islands and told the Hawaiians to put               on clothes, work hard, believe in               Christ, and stop surfing and hula               dancing. They made business deals               alongthe way -- buying an island, or               marrying a princess and inheriting her               land. Now their descendants wear               bikinis and running shorts, play beach               volleyball and surf, and take uphula               dancing. Hawai'i has always been a               place of contradiction.<b>3   EXT. HONOLULU - DAY                                               3</b>    VARIOUS SHOTS of Honolulu begin a pattern of montages tobe    interspersed throughout the film.<b>                         MATT (V.O.)</b>               My friends on the mainland think just               because I live in Hawai'i, I live in               paradise. Like a permanent vacation--               we're all just out here drinking mai-               tais, shaking our hips, and catching               waves. Are they nuts? How can they               possibly think our families are less               screwed up, our heartattacks and               cancers less fatal, our grief less               devastating? Hell, I haven't been on a               surfboard in fifteen years.<b>4   INT. HOSPITAL ROOM - DAY                                          4</b>    WeZOOM BACK from a panorama of Honolulu to find 50-year-old    MATT KING seated amid DOCUMENTS atop a makeshift desk -- he    has brought his work withhim.<b>                                                          (CONTINUED)</b><b>                                                                   2.</b>       The Descendants       PINK Shooting Draft   4/11/10Draft<b>4   CONTINUED:                                                          4</b><b>                           MATT (V.O.)</b>                 For the last 23 days, I've been living                 in a \"paradise\" of IVs and urinebags                 and endotracheal tubes and six-month-                 old US magazines. Paradise. Paradise                 can go fuck itself.    Matt looks up at the WOMAN we saw in the speedboat, now lying    stiffly on anupright HOSPITAL BED, her head cocked to one    side, a feeding tube in her nose, a ventilator in her    trachea, IVs in her arm.<b>                           MATT (V.O.) (CONT'D)</b>                 This is Elizabeth King, mywife.                 Twenty-three days ago she was launched                 from a powerboat during a race and hit                 her head, almost drowned. Now she's in                 a coma that scores 5 on theGlasgow                 scale and 3 on the Rancho Los Amigos                 scale, scores showing an extremely                 severe coma. Liz is very competitive.                 Whatever she does, she does tothe                 fullest.<b>5   INT. NEUROLOGIST'S OFFICE - DAY                                     5</b>    Matt is getting the current DIAGNOSIS.<b>                           NEUROLOGIST</b>                 She reactsnon-purposefully to stimuli                 in a non-specific manner, but                 occasionally her responses are                 specific, though inconsistent. Her                 reflexes are primitive and oftenthe                 same, regardless of stimuli                 presented...<b>                           MATT (V.O.)</b>                 It was exactly what Elizabeth used to                 accuse me of.<b>6   INT. HOSPITAL ROOM -DAY                                            6</b>    Matt continues to observe her.<b>                           MATT (V.O.)</b>                 Twenty-three days in a coma, and any                 day now the doctors will give metheir                 final verdict if she's going to come                 out of it or not. Then I have a                 decision to make. Wait, that's wrong.                 Liz has a livingwill.<b>                           (MORE)</b><b>                                                            (CONTINUED)</b><b>                                                                   3.</b>       The Descendants       PINK ShootingDraft   4/11/10 Draft<b>6   CONTINUED:                                                          6</b><b>                           MATT (V.O.) (CONT'D)</b>                 Like always, she makes her own                 decisions. But I knowshe's going to                 pull through.    His CELLPHONE RINGS.<b>                           MATT (CONT'D)</b>                 Hi, Noe, what's up?<b>                           NOE (ON PHONE)</b>                 Matt, you have acall from Scottie's                 teacher. She says it's urgent.<b>                           MATT</b>                 Yeah, sure. Put her on.<b>7   INT. ELEMENTARY SCHOOL CLASSROOM -DAY                              7</b><b>    A SCRAPBOOK</b>    shows PHOTOS OF ELIZABETH lying in her hospital bed. The    compositions are odd, the ANGLES uncomfortably CLOSE.<b>    WIDE --</b>    Matt conferswith fifth-grade teacher MS. Hayashi and school    counselor MRS. THULL.<b>                           MS. HAYASHI</b>                 We just don't think these photographs                 are appropriate for Scottie tobe                 sharing with her classmates. Some of                 them went home quite disturbed, and we                 got some angry calls from parents.<b>                           MATT</b>                 Yeah, she's sort ofbeen going to town                 with the whole picture-taking thing,                 but I had no idea --<b>                           MS. HAYASHI</b>                 I can't tell you how my heart goes out                 to you and yourfamily, but Scottie                 just hasn't been herself. Principal                 Cruz agrees with us that it maybe would                 be better for Scottie to remain at home                 with you during this difficulttime.<b>                           MATT</b>                 Home. See, I would think that sticking                 to her normal routine would be the best                 thing for her -- you know, keep her                 occupied. Iwouldn't really know how                 to...<b>                           (MORE)</b><b>                                                            (CONTINUED)</b><b>                                                                     4.</b>      TheDescendants          PINK Shooting Draft   4/11/10 Draft<b>7   CONTINUED:                                                            7</b><b>                           MATT (CONT'D)</b>                 I mean, I've kind of got my handsfull.                 And her sister's away at school on the                 Big Island. I don't think Scottie                 would really want to hang out with me                 when she could be with her friends and                 peoplelike you who specialize in                 children.<b>                           MRS. THULL</b>                 Mr. King, we see this every day --                 children acting out at school when                 something's wrong at home.And your                 family is facing a devastating crisis.                 Have you been engaging Scottie in                 really talking about what's going on?                 Encouraging her to express her                 feelings?That's crucial.<b>                             MATT</b>                     (No)                 Oh, yeah.   Yeah.   Absolutely.<b>                           SCOTTIE (O.S.)</b>                     (singing)                 This shit is bananas.B-a-n-a-n-a-s.                 This shit is bananas.    They look over to see --<b>    TEN-YEAR-OLD SCOTTIE KING --</b>    EARBUDS in place and in her own world, DANCING just outside    the classroom door. AJANITOR down the hall eyes her    suspiciously.<b>                           SCOTTIE (CONT'D)</b>                 This shit is bananas. B-a-n-a-n-a-s!    Matt stares aghast at this specimen called his daughter. The    ladiesglance between Scottie and Matt, wondering when, or    whether, he'll intervene. Finally --<b>                           MS. HAYASHI</b>                 Scottie, that is not a good choice!                 Are you making a goodchoice?    Scottie remains oblivious.       Ms. Hayashi rises to her feet.<b>                           MATT</b>                     (realizing)                 Yeah, Scottie, come on.     Knock itoff.<b>                                                                 5.</b>       The Descendants     PINK Shooting Draft   4/11/10 Draft<b>8   EXT. ELEMENTARY SCHOOL - DAY                                      8</b>    Matt leads Scottieto the car.<b>                         MATT</b>               What's the matter with you? Showing               those pictures of Mom for your art               project?<b>                         SCOTTIE</b>               I'm aphotographer, Dad, a real               photographer.<b>                         MATT</b>               No, you're not. You're overdoing it is               what you're doing.<b>                         SCOTTIE</b>               I saw it in abook. Some famous               photographer lady took pictures of her               mom in the hospital while she was               dying, and they're considered art.               That's what I'mdoing.<b>                         MATT</b>               First of all, your mother's very sick,               but she's not dying. Second, you don't               share personal stuff like that with               strangers. What's going onwith Mom is               private.<b>                         SCOTTIE</b>               I'm hungry. Can we get burgers?<b>                         MATT</b>               No.<b>                         SCOTTIE</b>               Can we getsmoothies?<b>                         MATT</b>               No.    As Scottie continues --<b>                         MATT (V.O.) (CONT'D)</b>               The last time I took care of Scottie by               myself was when she wasone. Now she's               ten, and I have no idea what goes on               inside her head. She's insane. And               with Elizabeth in the hospital, I think               she's testing me. I'm the backup               parent.The understudy.<b>                                                                  6.</b>       The Descendants      PINK Shooting Draft   4/11/10 Draft<b>9   INT. HOSPITAL ROOM -DAY                                           9</b>    FLASH!   Scottie takes Elizabeth's picture again.<b>                         MATT</b>               I wish you'd stop doing that. And               rather than taking her picture allthe               time, you should talk to her. I'm               tired of asking you. You heard Dr.               Johnston -- people in a coma can hear               you -- you know, well, some of them               can. It lets themknow they're still               loved, might even help them wake up               sooner. And it'll help you express               whatever feelings and emotions you're               supposed to be going through --you               know, make you feel better.<b>                         SCOTTIE</b>               I don't know what to say.<b>                         MATT</b>               Tell her a"}
+{"doc_id":"doc_290","qid":"","text":"<html><head><title>Cliffhanger Script at IMSDb.</title><meta name=\"description\" content=\"Cliffhanger script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Cliffhanger script,Cliffhanger movie script, Cliffhanger film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\"rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                           CLIFFHANGER</b>                            Written by                          Michael France<b>        EXT. MOUNTAIN RANGE -HELICOPTER SHOT - DAY</b>        An unparalleled set of sheer mountains -- part of the Colorado        Rockies. The peaks rise a challenging half mile and more out        of the valley -- wind-whipped snow mists overthe mountains        like a low fog. The tranquility is broken as a helicopter        BLASTS into view, fighting the wind as it heads for the center        of it all.        Our CREDITS fly us past and through this magnificentrange.        There are sky-piercing peaks that slope up to a narrow, high        pinnacle -- and others that are steel, straight-up approaches        to large plateaus. One of the mountains has a crystal lake on        top --with a waterfall that drains from it and exits from the        middle of a mountain wall. Nearby, an abandoned cable ladder        is bolted into the same wall, leading to the top.<b>        BACK IN THEHELICOPTER</b>        We can see a man sitting in its doorway, looking out --<b>        INT/EXT HELICOPTER - BINOCULAR POV</b>        The glasses scan systematically, slowly -- to us, it looks        like nothing morethan a field of gray and white.<b>                                        FRANK (O.S.)</b>                      Nothing yet.<b>        EXT. THE MOUNTAINS - LONG SHOT</b>        The helicopter now circles this tallest mountain --\"The        Tower\", separated from a lower but equally formidable peak by        a chasm of two hundred feet -- that drops 3,500 feet below.<b>        INSIDE HELICOPTER - FRANK AND MAGGIE</b>        Spotter FRANKNEWELL (50s) scans the mountain wall.  MAGGIE        DEIGHAN (30s) expertly pilots the helicopter through the storm        winds. Both wear orange jackets identifying themselves as        members of the RockyMountain Park Rescue Team.<b>                                        FRANK</b>                      Wait a minute -- there's Hal.                            (beat)                      And his date.<b>        BINOCULAR POV - ALEDGE</b>        that's part of the smaller peak. HAL TUCKER (30s) and his         \"date\", SUSAN COLLINS (20s), are decked out in climbing gear.          Hal's aplomb suggests he's a veteran climber --Susan's        worried look shows she isn't. Hal and Susan huddle together,        both cold, but okay. Hal has a makeshift splint wrapped        around his lower leg, and a slow burning flare in one hand.<b>        INSIDEHELICOPTER</b>        Frank lowers his glasses -- Maggie struggles with the wind.<b>                                        MAGGIE</b>                      How do they look?<b>        BINOCULAR POV - HAL ANDSUSAN</b>        Hal, now aware of the copter, looks towards it, smiling -- and        starts jerking off the flare.<b>                                        FRANK (O.S.)</b>                      He's signalling\"okay.\"<b>                                        MAGGIE (O.S.)</b>                      Where's Gabe?        The POV dips down -- there's somebody climbing below, in an        orange rescuejacket.<b>                                        FRANK (O.S.)</b>                      Right where he's supposed to be.<b>        CLOSER ON THE CLIMBER</b>        This is GABE WALKER (30s). In spite of the cold and thesnow,        he's fearlessly, swiftly scaling the tower without safety        lines, as if he's done it a hundred times. That's because he        has done it a hundred times. This is what Gabe lives for.<b>        ON THELEDGE</b>        Gabe, almost there, finds a fingertip-width handhold at arm's        length -- grabbing it, he pulls himself up on the ledge with a        move that's just a little tougher than chinning yourself ona        doorjamb. Winded, Gabe slumps down next to the couple, and        tries to light a cigarette. The lighter only sparks.<b>                                        HAL</b>                      Excuse me -- I know you'remy                      salvation, and all -- do you think you                      could rescue us before your smoke                      break?        Hal pulls out a box of wooden matches and lights one Bogart        style, one-handedwith a thumbnail, cupping a hand to shield        it against the wind. Gabe bends down for it -- a familiar        routine. We know in a glance they've been friends foryears.<b>                                        GABE</b>                      Maybe you could tell me why I am                      rescuing you.<b>                                        HAL</b>                      Basically -- I've fallen down, andI                      can't get up...<b>                                        GABE</b>                            (into radio)                      Rescue One -- have located helpless                      climber, please prepare idiotline                      for transport, over --        THE HELICOPTER dips down towards the ledge -- no way can it        land there. Frank lowers a rescue wire to<b>        GABE</b>        who precariously swings out from theledge to grab it -- the        wire is just out of reach. Hal grabs the radio.<b>                                        HAL</b>                      Rescue One -- please remind me to tell                      you about the time I hauled yourhero                      here down Mt. Huntington on my back,                      over --<b>                                        MAGGIE (O.S.)</b>                            (through radio)                      Hal, if I hear that story onemore                      time, I'm making you limp down the                      entire three thousand feet, over --        Gabe finally grabs the line, secures it to a heavy piton, and        hammers it into thewall.<b>                                        GABE</b>                            (to Susan)                      This guy showing you a good time?<b>        THE HELICOPTER</b>        swings over across to the facing mountain --Maggie lands the        copter, in spite of the winds, on a small plateau. Frank gets        out to secure the wire -- there's now a lifeline spanning the        chasm.<b>        ON THE LEDGE</b>        Gabe finishesanchoring the line in the rock -- he        extinguishes his cigarette in the snow, and naturally, pockets        the butt. Hal, propped up against the wall, expertly rigs a        seat harness around his legs -- Susan helps himget part of it        around his splint, and Gabe clips it to the line.<b>                                        GABE</b>                      Now, remember -- keep your arms and                      legs within the vehicle atall                      times --<b>                                        HAL</b>                            (laughing)                      Fuck you --        With that, Hal pulls himself hand-over-hand across the sloping        line -- Hal makes apoint of looking down --<b>        HAL'S POV -- THE DROP</b>        is vertigo defined. Thirty five hundred feet straight down.        You could stack the World Trade Center towers on top of each        other and they'dstill be shorter than this mountain is high.        However --<b>        HAL</b>        lets go of the overhead line and claps his hands to his face        in mock horror -- he quickly whizzes down the last thirty feet        ofthe line, where Frank catches him and pulls him out. Hal        gets out of the harness, checks every stitch of it, signals        thumbs-up, and sends it back.<b>        THE LEDGE</b>        Gabe, retrieves the harness ona small attachment line, and        gives Susan a reassuring smile, but she's still, sensibly,        very scared. Gabe recovers the harness, rigs Susan into it,        and meticulously re-checksit.<b>                                        GABE</b>                      Ready?                            (sees she's afraid)                      Did he tell you about the time he                      almost made it upEverest?<b>                                        SUSAN</b>                      He said you gave him a bad oxygen mask<b>                      --</b><b>                                        GABE</b>                      Well, if he's bored youwith that                      bullshit, then this has to be the best                      part of a bad date. Right?        Susan nervouslylaughs.<b>                                        GABE</b>                      Ready?<b>                                        SUSAN</b>                            (scared but tough)                      Okay --        Gabe starts to push her out onthe line, but she grabs his arm        in a panic.<b>                                        SUSAN</b>                      I can't --        Susan starts to tilt her head down -- Gabe gently takes hold        of her chin, turning her view upto face him.<b>                                        GABE</b>                      Yes you can.                            (reassuring)                      You can do it. Don't look down.  The                      whole way across, don't lookdown.                      Look at me. Just keep looking at me --                      and you'll be okay.        Susan looks at Gabe -- trying to be confident --nods.<b>                                        GABE</b>                      Sure?<b>                                        SUSAN</b>                      Yeah.                            (beat)                      I have always depended on thekindness                      of Rangers.        Gabe grins and gently pushes her out. Susan tentatively pulls        herself across -- then develops a rhythm, building speed --<b>        GABE'S POV - SUSAN</b>        inchingaway in the harness, looking more confident now --<b>        SUSAN'S POV - GABE</b>        signalling \"OK\" -- \"you're doing fine\" --<b>        SUSAN - ANOTHER ANGLE</b>        thirty feet out, going fine--<b>        INSERT -- A HARNESS CLIP</b>        holding the strap under Susan's left leg breaks --<b>        GABE'S POV - SUSAN</b>        The harness completely unravels all at once, its strands        shoot throughthe clips -- what was a seat has become a trap        door in half a second -- as the harness shoots out from under        her, Susan falls but grabs the harness strand --<b>        HAL</b>        is helpless, and can onlywatch as<b>        SUSAN</b>        too scared to breathe, dangles on the remaining strand of what        used to be the harness -- she sways from the wind and the jerk        of her own weight, her grip loosens--<b>        INSERT - THE TOP CLIP</b>        that is supporting all of Susan's weight is being seriously        tested -- a single knot in the harness has caught there, but        it clearly won't last long--<b>        GABE</b>        moves back from the ledge.<b>                                        GABE</b>                            (loud, in control)                      Hold on. I'm coming out to get you.        Gabe gently pulls himselfup on the line, crosses his ankles        on it, and clips himself on with a three foot safety line.        Gabe starts smoothly, quickly pulling himself out, but --<b>        SUSAN</b>        is in trouble -- the bobbing of theline from Gabe's weight        and the winds are making her lose her grip even more --<b>        GABE</b>        urgently pulls himself along the line faster, trying not to        shake the line. As he gets closer and closerto a terrified        Susan, his eyes lock on hers --<b>                                        GABE</b>                      Keep looking at me. Hold on --<b>        WIDER ANGLE</b>        Gabe is only ten feet away from--<b>        SUSAN</b>        who stares at Gabe, petrified -- this focus is helping, but        her strength is just about gone --<b>        INSERT - THE CLIP</b>        The knot has worked itself halfway through -- it"}
+{"doc_id":"doc_291","qid":"","text":"The Project Gutenberg EBook of When We Dead Awaken, by Henrik IbsenThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: When We Dead AwakenAuthor: Henrik IbsenCommentator: William ArcherTranslator: WilliamArcherRelease Date: December, 2003 [EBook #4782]Posting Date: February 17, 2010Language: English*** START OF THIS PROJECT GUTENBERG EBOOK WHEN WE DEAD AWAKEN ***Produced by Sonia KWHEN WEDEAD AWAKENBy Henrik Ibsen.Introduction and translation by William Archer.INTRODUCTION.From _Pillars of Society_ to _John Gabriel Borkman_, Ibsen's plays hadfollowed each other at regular intervals of twoyears, save when hisindignation over the abuse heaped upon _Ghosts_ reduced to a singleyear the interval between that play and _An Enemy of the People_. _JohnGabriel Borkman_ having appeared in 1896, itssuccessor was expected in1898; but Christmas came and brought no rumour of a new play. In aman now over seventy, this breach of a long-established habit seemedominous. The new National Theatre in Christianiawas opened in Septemberof the following year; and when I then met Ibsen (for the last time) hetold me that he was actually at work on a new play, which he thought ofcalling a \"Dramatic Epilogue.\" \"He wrote _WhenWe Dead Awaken_,\"says Dr. Elias, \"with such labour and such passionate agitation, sospasmodically and so feverishly, that those around him were almostalarmed. He must get on with it, he must get on! He seemed tohearthe beating of dark pinions over his head. He seemed to feel the grimVisitant, who had accompanied Alfred Allmers on the mountain paths,already standing behind him with uplifted hand. His relatives arefirmlyconvinced that he knew quite clearly that this would be his last play,that he was to write no more. And soon the blow fell.\"_When We Dead Awaken_ was published very shortly before Christmas 1899.He had still ayear of comparative health before him. We find him inMarch 1900, writing to Count Prozor: \"I cannot say yet whether or notI shall write another drama; but if I continue to retain the vigour ofbody and mind which I atpresent enjoy, I do not imagine that I shall beable to keep permanently away from the old battlefields. However, if Iwere to make my appearance again, it would be with new weapons andin new armour.\" Was hehinting at the desire, which he had long agoconfessed to Professor Herford, that his last work should be a drama inverse? Whatever his dream, it was not to be realised. His last letter(defending his attitude ofphilosophic impartiality with regard to theSouth African war) is dated December 9, 1900. With the dawn of the newcentury, the curtain descended upon the mind of the great dramatic poetof the age which had passedaway._When We Dead Awaken_ was acted during 1900 at most of the leadingtheatres in Scandinavia and Germany. In some German cities (notablyin Frankfort on Main) it even attained a considerable numberofrepresentatives. I cannot learn, however, that it has anywhere held thestage. It was produced in London, by the State Society, at the ImperialTheatre, on January 25 and 26, 1903. Mr. G. S. Titheradge playedRubek,Miss Henrietta Watson Irene, Miss Mabel Hackney Maia, and Mr. LaurenceIrving Ulfheim. I find no record of any American performance.In the above-mentioned letter to Count Prozor, Ibsen confirmed thatcritic'sconjecture that \"the series which ends with the Epilogue reallybegan with _The Master Builder_.\" As the last confession, so to speak,of a great artist, the Epilogue will always be read with interest. Itcontains, moreover,many flashes of the old genius, many strokes of theold incommunicable magic. One may say with perfect sincerity that thereis more fascination in the dregs of Ibsen's mind than in the \"firstsprightly running\" of morecommon-place talents. But to his saneadmirers the interest of the play must always be melancholy, because itis purely pathological. To deny this is, in my opinion, to cast a slurover all the poet's previous work, and ingreat measure to justify thecriticisms of his most violent detractors. For _When We Dead Awaken_ isvery like the sort of play that haunted the \"anti-Ibsenite\" imaginationin the year 1893 or thereabouts. It is a piece ofself-caricature, aseries of echoes from all the earlier plays, an exaggeration of mannerto the pitch of mannerism. Moreover, in his treatment of his symbolicmotives, Ibsen did exactly what he had hitherto, with perfectjustice,plumed himself upon never doing: he sacrificed the surface realityto the underlying meaning. Take, for instance, the history of Rubek'sstatue and its development into a group. In actual sculpturethisdevelopment is a grotesque impossibility. In conceiving it we aredeserting the domain of reality, and plunging into some fourth dimensionwhere the properties of matter are other than those we know. This isanabandonment of the fundamental principle which Ibsen over and over againemphatically expressed--namely, that any symbolism his work might befound to contain was entirely incidental, and subordinate to thetruthand consistency of his picture of life. Even when he dallied with thesupernatural, as in _The Master Builder_ and _Little Eyolf_, he wasalways careful, as I have tried to show, not to overstep decisivelytheboundaries of the natural. Here, on the other hand, without anysuggestion of the supernatural, we are confronted with the whollyimpossible, the inconceivable. How remote is this alike from hisprinciples of art and fromthe consistent, unvarying practice of hisbetter years! So great is the chasm between _John Gabriel Borkman_ and_When We Dead Awaken_ that one could almost suppose his mental breakdownto have precededinstead of followed the writing of the latter play.Certainly it is one of the premonitions of the coming end. It is Ibsen's_Count Robert of Paris_. To pretend to rank it with his masterpieces isto show a very imperfect senseof the nature of their mastery.WHEN WE DEAD AWAKEN.A DRAMATIC EPILOGUE.CHARACTERS.      PROFESSOR ARNOLD RUBEK, a sculptor.      MRS. MAIA RUBEK, his wife.      THE INSPECTOR at theBaths.      ULFHEIM, a landed proprietor.      A STRANGER LADY.      A SISTER OF MERCY.      Servants, Visitors to the Baths, and Children.The First Act passes at a bathing establishment on the coast; the SecondandThird Acts in the neighbourhood of a health resort, high in themountains.ACT FIRST.   [Outside the Bath Hotel. A portion of the main building can be seen   to the right.   An open, park-like place with a fountain,groups   of fine old trees, and shrubbery.  To the left, a little pavilion   almost covered with ivy and Virginia creeper.  A table and chair   outside it.  At the back a view over the fjord, right out to sea,   with headlandsand small islands in the distance.  It is a calm,   warm and sunny summer morning.   [PROFESSOR RUBEK and MRS. MAIA RUBEK are sitting in basket chairs   beside a covered table on the lawn outside the hotel,having just   breakfasted.  They have champagne and seltzer water on the table,   and each has a newspaper.  PROFESSOR RUBEK is an elderly man of   distinguished appearance, wearing a black velvet jacket,and   otherwise in light summer attire.  MAIA is quite young, with   a vivacious expression and lively, mocking eyes, yet with a   suggestion of fatigue.  She wears an elegant travelling dress.MAIA.[Sits for some time asthough waiting for the PROFESSOR to saysomething, then lets her paper drop with a deep sigh.] Oh dear, dear,dear--!PROFESSOR RUBEK.[Looks up from his paper.] Well, Maia? What is the matter with you?MAIA.Justlisten how silent it is here.PROFESSOR RUBEK.[Smiles indulgently.] And you can hear that?MAIA.What?PROFESSOR RUBEK.The silence?MAIA.Yes, indeed I can.PROFESSOR RUBEK.Well, perhaps you are right, _meinKind_. One can really hear thesilence.MAIA.Heaven knows you can--when it's so absolutely overpowering as it ishere--PROFESSOR RUBEK.Here at the Baths, you mean?MAIA.Wherever you go at home here, it seems tome. Of course there was noiseand bustle enough in the town. But I don't know how it is--even thenoise and bustle seemed to have something dead about it.PROFESSOR RUBEK.[With a searching glance.] You don'tseem particularly glad to be athome again, Maia?MAIA.[Looks at him.] Are you glad?PROFESSOR RUBEK.[Evasively.] I--?MAIA.Yes, you, who have been so much, much further away than I. Are youentirely happy, nowthat you are at home again?PROFESSOR RUBEK.No--to be quite candid--perhaps not entirely happy--MAIA.[With animation.] There, you see! Didn't I know it!PROFESSOR RUBEK.I have been too long abroad. I havedrifted quite away from allthis--this home life.MAIA.[Eagerly, drawing her chair nearer him.] There, you see, Rubek! We hadmuch better get away again! As quickly as ever we can.PROFESSOR RUBEK.[Somewhatimpatiently.] Well, well, that is what we intend to do, mydear Maia. You know that.MAIA.But why not now--at once? Only think how cozy and comfortable we couldbe down there, in our lovely new house--PROFESSORRUBEK.[Smiles indulgently.] We ought by rights to say: our lovely new home.MAIA.[Shortly.] I prefer to say house--let us keep to that.PROFESSOR RUBEK.[His eyes dwelling on her.] You are really a strange littleperson.MAIA.Am I so strange?PROFESSOR RUBEK.Yes, I think so.MAIA.But why, pray? Perhaps because I'm not desperately in love with mooningabout up here--?PROFESSOR RUBEK.Which of us was it that wasabsolutely bent on our coming north thissummer?MAIA.I admit, it was I.PROFESSOR RUBEK.It was certainly not I, at any rate.MAIA.But good heavens, who could have dreamt that everything would havealtered soterribly at home here? And in so short a time, too! Why, itis only just four years since I went away--PROFESSOR RUBEK.Since you were married, yes.MAIA.Married? What has that to do with the matter?PROFESSORRUBEK.[Continuing.] --since you became the Frau Professor, and found yourselfmistress of a charming home--I beg your pardon--a very handsome house, Iought to say. And a villa on the Lake of Taunitz, just at thepoint thathas become most fashionable, too--. In fact it is all very handsome anddistinguished, Maia, there's no denying that. And spacious too. We neednot always be getting in each other's way--MAIA.[Lightly.] No,no, no--there's certainly no lack of house-room, and thatsort of thing--PROFESSOR RUBEK.Remember, too, that you have been living in altogether more spaciousand distinguished surroundings--in more polishedsociety than you wereaccustomed to at home.MAIA.[Looking at him.] Ah, so you think it is _I_ that have changed?PROFESSOR RUBEK.Indeed I do, Maia.MAIA.I alone? Not the people here?PROFESSOR RUBEK.Oh yes,they too--a little, perhaps. And not at all in the direction ofamiability. That I readily admit.MAIA.I should think you must admit it, indeed.PROFESSOR RUBEK.[Changing the subject.] Do you know how it affects me whenI look at thelife of the people around us here?MAIA.No. Tell me.PROFESSOR RUBEK.It makes me think of that night we spent in the train, when we werecoming up here--MAIA.Why, you were sound asleep all thetime.PROFESSOR RUBEK.Not quite. I noticed how silent it became at all the little roadsidestations. I heard the silence--like you, Maia--MAIA.H'm,--like me, yes.PROFESSOR RUBEK. --and that assured me that we hadcrossed thefrontier--that we were really at home. For the train stopped at all thelittle stations--although there was nothing doing at all.MAIA.Then why did it stop--though there was nothing to be done?PROFESSORRUBEK.Can't say. No one got out or in; but all the same the train stopped along, endless time. And at every station I could make out that therewere two railway men walking up and down the platform--one withalantern in his hand--and they said things to each other in the night,low, and toneless, and meaningless.MAIA.Yes, that is quite true. There are always two men walking up and down,and talking--PROFESSOR RUBEK.--of nothing. [Changing to a livelier tone.] But justwait till to-morrow. Then we shall have the great luxurious steamerlying in the harbour. We'll go on board her, and sail all round thecoast--northward ho!--right to thepolar sea.MAIA.Yes, but then you will see nothing of the country--and of the people.And that was what you particularly wanted.PROFESSOR RUBEK.[Shortly and snappishly.] I have seen more than enough.MAIA.Do youthink a sea voyage will be better for you?PROFESSOR RUBEK.It is always a change.MAIA.Well, well, if only it is the right thing for you--PROFESSOR RUBEK.For me? The right thing? There is nothing in the world thematter withme.MAIA.[Rises and goes to him.] Yes, there is, Rubek. I am sure you must feelit yourself.PROFESSOR RUBEK.Why my dearest Maia--what should be amiss with me?MAIA.[Behind him, bending over theback of his chair.] That you must tell me.You have begun to wander about without a moment's peace. You cannot restanywhere--neither at home nor abroad. You have become quite misanthropicof late.PROFESSORRUBEK.[With a touch of sarcasm.] Dear me--have you noticed that?MAIA.No one that knows you can help noticing it. And then it seems to me sosad that you have lost all pleasure in your work.PROFESSOR RUBEK.Thattoo, eh?MAIA.You that used to be so indefatigable--working from morning to night!PROFESSOR RUBEK.[Gloomily.] Used to be, yes--MAIA.But ever since you got your great masterpiece out of hand--PROFESSORRUBEK.[Nods thoughtfully.] \"The Resurrection Day\"--MAIA. --the masterpiece that has gone round the whole world, and madeyou so famous--PROFESSOR RUBEK.Perhaps that is just the misfortune, Maia.MAIA.Howso?PROFESSOR RUBEK.When I had finished this masterpiece of mine--[Makes a passionatemovement with his hand]--for \"The Resurrection Day\" is a masterpiece! Orwas one in the beginning. No, it is one still. It must,must, must be amasterpiece!MAIA.[Looks at him in astonishment.] Why, Rubek--all the world knows that.PROFESSOR RUBEK.[Short, repellently.] All the world knows nothing! Understands nothing!MAIA.Well, at anyrate it can divine something--PROFESSOR RUBEK.Something that isn't there at all, yes. Something that never was in mymind. Ah yes, that they can all go into ecstasies over! [Growling tohimself.] What is the good ofworking oneself to death for the mob andthe masses--for \"all the world\"!MAIA.Do you think it is better, then--do you think it is worthy of you, to donothing at all but portrait-bust now and then?PROFESSORRUBEK.[With a sly smile.] They are not exactly portrait-busts that I turn out,Maia.MAIA.Yes, indeed they are--for the last two or three years--ever since youfinished your great group and got it out of thehouse--PROFESSOR RUBEK.All the same, they are no mere portrait-busts, I assure you.MAIA.What are they, then?PROFESSOR RUBEK.There is something equivocal, something cryptic, lurking in and behindthesebusts--a secret something, that the people themselves cannot see--MAIA.Indeed?PROFESSOR RUBEK.[Decisively.] I alone can see it. And it amuses me unspeakably.--On thesurface I give them the \"striking likeness,\"as they call it, that theyall stand and gape at in astonishment--[Lowers his voice]--but at bottomthey are all respectable, pompous horse-faces, and self-opinionateddonkey-muzzles, and lop-eared, low-broweddog-skulls, and fattedswine-snouts--and sometimes dull, brutal bull-fronts as well--MAIA.[Indifferently.] All the dear domestic animals, in fact.PROFESSOR RUBEK.Simply the dear domestic animals, Maia. All theanimals which men havebedevilled in their own image--and which have bedevilled men in return.[Empties his champagne-glass and laughs.] And it is these double-facedworks of art that our excellent plutocrats comeand order of me. Andpay for in all good faith--and in good round figures too--almost theirweight in gold, as the saying goes.MAIA.[Fills his glass.] Come, Rubek! Drink and be happy.PROFESSOR RUBEK.[Passes his handseveral times across his forehead and leans back in hischair.] I am happy, Maia. Really happy--in a way. [Short silence.]For after all there is a certain happiness in feeling oneself free andindependent on every hand--inhaving at ones command everything one canpossibly wish for--all outward things, that is to say. Do you not agreewith me, Maia?MAIA.Oh yes, I agree. All that is well enough in its way. [Looking athim.] But do youremember what you promised me the day we came to anunderstanding on--on that troublesome point--PROFESSOR RUBEK.[Nods.] --on the subject of our marriage, yes. It was no easy matter foryou,Maia.MAIA.[Continuing unruffled.] --and agreed that I was to go abroad with you,and live there for good and all--and enjoy myself.--Do you remember whatyou promised me that day?PROFESSOR RUBEK.[Shaking hishead.] No, I can't say that I do. Well, what did I promise?MAIA.You said you would take me up to a high mountain and show me all theglory of the world.PROFESSOR RUBEK.[With a slight start.] Did I promise you that,too?MAIA.Me too? Who else, pray?PROFESSOR RUBEK.[Indifferently.] No, no, I only meant did I promise to show you--?MAIA. --all the glory of the world? Yes, you did. And all that gloryshould be mine, yousaid.PROFESSOR RUBEK.That is sort of figure of speech that I was in the habit of using onceupon a time.MAIA.Only a figure of speech?PROFESSOR RUBEK.Yes, a schoolboy phrase--the sort of thing I used to say when Iwantedto lure the neighbours' children out to play with me, in the woods andon the mountains.MAIA.[Looking hard at him.] Perhaps you only wanted to lure me out to play,as well?PROFESSOR RUBEK.[Passing it off asa jest.] Well, has it not been a tolerable amusinggame, Maia?MAIA.[Coldly.] I did not go with you only to play.PROFESSOR RUBEK.No, no, I daresay not.MAIA.And you never took me up with you to any high mountain,or showed me--PROFESSOR RUBEK.[With irritation.] --all the glory of the world? No, I did not. For, letme tell you something: you are not really born to be a mountain-climber,little Maia.MAIA.[Trying to control herself.]Yet at one time you seemed to think I was.PROFESSOR RUBEK.Four or five years ago, yes. [Stretching himself in his chair.] Four orfive years--it's a long, long time, Maia.MAIA.[Looking at him with a bitter expression.]Has the time seemed so verylong to you, Rubek?PROFESSOR RUBEK.I am beginning now to find it a trifle long. [Yawning.] Now and then,you know.MAIA.[Returning to her place.] I shall not bore you anylonger.      [She resumes her seat, takes up the newspaper, and begins turning       over the leaves.  Silence on both sides.PROFESSOR RUBEK.[Leaning on his elbows across the table, and looking at her teasingly.]Isthe Frau Professor offended?MAIA.[Coldly, without looking up.] No, not at all.    [Visitors to the baths, most of them ladies, begin to pass,       singly and in groups, through the park from the right, and       out to theleft.    [Waiters bring refreshments from the hotel, and go off behind       the pavilion.    [The INSPECTOR, wearing gloves and carrying a stick, comes from       his rounds in the park, meets visitors, bows politely,and       exchanges a few words with some of them.THE INSPECTOR.[Advancing to PROFESSOR RUBEK's table and politely taking off his hat.]I have the honour to wish you good morning, Mrs. Rubek.--Goodmorning,Professor Rubek.PROFESSOR RUBEK.Good morning, good morning Inspector.THE INSPECTOR.[Addressing himself to MRS. RUBEK.] May I venture to ask if you haveslept well?MAIA.Yes, thank you;excellently--for my part. I always sleep like a stone.THE INSPECTOR.I am delighted to hear it. The first night in a strange place is oftenrather trying.--And the Professor--?PROFESSOR RUBEK.Oh, my night's rest is nevermuch to boast of--especially of late.THE INSPECTOR.[With a show of sympathy.] Oh--that is a pity. But after a few weeks'stay at the Baths--you will quite get over that.PROFESSOR RUBEK.[Looking up at him.] Tell me,Inspector--are any of your patients in thehabit of taking baths during the night?THE INSPECTOR.[Astonished.] During the night? No, I have never heard of such a thing.PROFESSOR RUBEK.Have you not?THEINSPECTOR.No, I don't know of any one so ill as to require such treatment.PROFESSOR RUBEK.Well, at any rate there is some one who is in the habit of walking aboutthe park by night?THE INSPECTOR.[Smiling andshaking his head.] No, Professor--that would be against therules.MAIA.[Impatiently.] Good Heavens, Rubek, I told you so this morning--you musthave dreamt it.PROFESSOR RUBEK.[Drily.] Indeed? Must I? Thank you!"}
+{"doc_id":"doc_292","qid":"","text":"The Project Gutenberg EBook of Lone Star Planetby Henry Beam Piper and John Joseph McGuireThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it,give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: Lone Star PlanetAuthor: Henry Beam Piper and John Joseph McGuireRelease Date:January 3, 2007 [EBook #20121][This file was first posted on December 16, 2006]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK LONE STAR PLANET ***Produced by Greg Weeks, MalcolmFarmer, and the Online DistributedProofreading Team at http://www.pgdp.net                     LONE STAR PLANET                           by             H. Beam Piper and John J. McGuireTranscriber's Note:This etext wasprepared from a 1979 reprint of the 1958 original. There isno evidence that the copyright on this publication was renewed.Obvious typesetting errors in the source text have been correctedLone Star PlanetSFace booksADivision of Charter Communications Inc.A GROSSET & DUNLAP COMPANY360 Park Avenue SouthNew York, New York 10010LONE STAR PLANETCopyright © 1958 by Ace Books, Inc.Originally published as A PLANETFOR TEXANSAll rights reserved. No part of this book may be reproduced in any formor by any means, except for the inclusion of brief quotations in areview, without permission in writing from the publisher.All charactersin this book are fictitious. Any resemblance to actualpersons, living or dead, is purely coincidental.This Ace Printing: April 1979Printed in U.S.A.CHAPTER IThey started giving me the business as soon as I came throughthe doorinto the Secretary's outer office.There was Ethel K'wang-Li, the Secretary's receptionist, at her desk.There was Courtlant Staynes, the assistant secretary to theUndersecretary for Economic Penetration, andNorman Gazarin, fromProtocol, and Toby Lawder, from Humanoid Peoples' Affairs, and RaoulChavier, and Hans Mannteufel, and Olga Reznik.It was a wonder there weren't more of them watching the condemnedman'smarch to the gibbet: the word that the Secretary had called me in musthave gotten all over the Department since the offices had opened.\"Ah, Mr. Machiavelli, I presume,\" Ethel kicked off.\"Machiavelli, Junior.\"Olga picked up the ball. \"At least, that's theway he signs it.\"\"God's gift to the Consular Service, and the Consular Service's gift toPolicy Planning,\" Gazarin added.\"Take it easy, folks. These Hooligan Diplomats would assoon shoot youas look at you,\" Mannteufel warned.\"Be sure and tell the Secretary that your friends all want importantposts in the Galactic Empire.\" Olga again.\"Well, I'm glad some of you could read it,\" I fired back.\"Maybe even afew of you understood what it was all about.\"\"Don't worry, Silk,\" Gazarin told me. \"Secretary Ghopal understands whatit was all about. All too well, you'll find.\"A buzzer sounded gently on EthelK'wang-Li's desk. She snatched up thehandphone and whispered into it. A deathly silence filled the room whileshe listened, whispered some more, then hung it up.They were all staring at me.\"Secretary Ghopal is readyto see Mr. Stephen Silk,\" she said. \"Thisway, please.\"As I started across the room, Staynes began drumming on the top of thedesk with his fingers, the slow reiterated rhythm to which a man marchesto a militaryexecution.\"A cigarette?\" Lawder inquired tonelessly. \"A glass of rum?\"There were three men in the Secretary of State's private office. GhopalSingh, the Secretary, dark-faced, gray-haired, slender and elegant,meetingme halfway to his desk. Another slender man, in black, with asilver-threaded, black neck-scarf: Rudolf Klüng, the Secretary of theDepartment of Aggression.And a huge, gross-bodied man with a fat baby-face andopaque black eyes.When I saw him, I really began to get frightened.The fat man was Natalenko, the Security Coördinator.\"Good morning, Mister Silk,\" Secretary Ghopal greeted me, his handextended. \"Gentlemen,Mr. Stephen Silk, about whom we were speaking.This way, Mr. Silk, if you please.\"There was a low coffee-table at the rear of the office, and four easychairs around it. On the round brass table-top were cups andsaucers, acoffee urn, cigarettes--and a copy of the current issue of the _GalacticStatesmen's Journal_, open at an article entitled _Probable FutureCourses of Solar League Diplomacy_, by somebody who had signedhimselfMachiavelli, Jr.I was beginning to wish that the pseudonymous Machiavelli, Jr. had neverbeen born, or, at least, had stayed on Theta Virgo IV and been awineberry planter as his father had wanted him to be.As Isat down and accepted a cup of coffee, I avoided looking at theperiodical. They were probably going to hang it around my neck beforethey shoved me out of the airlock.\"Mr. Silk is, as you know, in our ConsularService,\" Ghopal was sayingto the others. \"Back on Luna on rotation, doing something in Mr.Halvord's section. He is the gentleman who did such a splendid job forus on Assha--Gamma Norma III.\"And, as he has justdemonstrated,\" he added, gesturing toward the_Statesman's Journal_ on the Benares-work table, \"he is a student bothof the diplomacy of the past and the implications of our presentpolicies.\"\"A bit frank,\" Klüngcommented dubiously.\"But judicious,\" Natalenko squeaked, in the high eunuchoid voice thatcame so incongruously from his bulk. \"He aired his singularly accuratepredictions in a periodical that doesn't have a circulationof more thana thousand copies outside his own department. And I don't think thepublic's semantic reactions to the terminology of imperialism is as badas you imagine. They seem quite satisfied, now, with the change inthetitle of your department, from Defense to Aggression.\"\"Well, we've gone into that, gentlemen,\" Ghopal said. \"If the articlereally makes trouble for us, we can always disavow it. There's nocensorship of the _Journal_.And Mr. Silk won't be around to draw fireon us.\"_Here it comes_, I thought.\"That sounds pretty ominous, doesn't it, Mr. Silk?\" Natalenko titteredhappily, like a ten-year-old who has just found a new beetle to pullthelegs out of.\"It's really not as bad as it sounds, Mr. Silk,\" Ghopal hastened toreassure me. \"We are going to have to banish you for a while, but Idaresay that won't be so bad. The social life here on Luna hasprobablybegun to pall, anyhow. So we're sending you to Capella IV.\"\"Capella IV,\" I repeated, trying to remember something about it. Capellawas a GO-type, like Sol; that wouldn't be so bad.\"New Texas,\" Klünghelped me out._Oh, God, no!_ I thought.\"It happens that we need somebody of your sort on that planet, Mr.Silk,\" Ghopal said. \"Some of the trouble is in my department and some ofit is in Mr. Klüng's; for thatreason, perhaps it would be better ifCoördinator Natalenko explained it to you.\"\"You know, I assume, our chief interest in New Texas?\" Natalenko asked.\"I had some of it for breakfast, sir,\" I replied.\"Supercow.\"Natalenko tittered again. \"Yes, New Texas is the butcher shop of thegalaxy. In more ways than one, I'm afraid you'll find. They justbutchered one of our people there a short while ago. Our Ambassador,infact.\"That would be Silas Cumshaw, and this was the first I'd heard about it.I asked when it had happened.\"A couple of months ago. We just heard about it last evening, when thenews came in on a freighter fromthere. Which serves to point upsomething you stressed in your article--the difficulties of trying torun a centralized democratic government on a galactic scale. But we haveanother interest, which may be even moreurgent than our need for NewTexan meat. You've heard, of course, of the z'Srauff.\"That was a statement, not a question; Natalenko wasn't trying to insultme. I knew who the z'Srauff were; I'd run into them, here andthere. Oneof the extra-solar intelligent humanoid races, who seemed to have beenevolved from canine or canine-like ancestors, instead of primates. Mostof them could speak Basic English, but I never saw one whowould admitto understanding more of our language than the 850-word Basicvocabulary. They occupied a half-dozen planets in a small star-clusterabout forty light-years beyond the Capella system. They haddevelopednormal-space reaction-drive ships before we came into contact withthem, and they had quickly picked up the hyperspace-drive from us backin those days when the Solar League was still playing MissionariesofProgress and trying to run a galaxy-wide Point-Four program.In the past century, it had become almost impossible for anybody to getinto their star-group, although z'Srauff ships were orbiting in on everyplanet thatthe League had settled or controlled. There were z'Sraufftraders and small merchants all over the galaxy, and you almost neversaw one of them without a camera. Their little meteor-mining boats wereeverywhere, andall of them carried more of the most modern radar andastrogational equipment than a meteor-miner's lifetime earnings wouldpay for.I also knew that they were one of the chief causes of ulcers andpremature gray hairat the League capital on Luna. I'd done a littlereading on pre-spaceflight Terran history; I had been impressed by theparallel between the present situation and one which had culminated, twoand a half centuries before,on the morning of 7 December, 1941.\"What,\" Natalenko inquired, \"do you think Machiavelli, Junior would doabout the z'Srauff?\"\"We have a Department of Aggression,\" I replied. \"Its mottoes are, 'Stoptrouble before itstarts,' and, 'If we have to fight, let's do it on theother fellow's real estate.' But this situation is just a little toodelicate for literal application of those principles. An unprovokedattack on the z'Srauff would set every othernon-human race in thegalaxy against us.... Would an attack by the z'Srauff on New Texasconstitute just provocation?\"\"It might. New Texas is an independent planet. Its people aredescendants of emigrants from Terrawho wanted to get away from the ruleof the Solar League. We've been trying for half a century to persuadethe New Texan government to join the League. We need their planet, forboth strategic and commercialreasons. With the z'Srauff for neighbors,they need us as much at least as we need them. The problem is to makethem understand that.\"I nodded again. \"And an attack by the z'Srauff would do that, too, sir,\"Isaid.Natalenko tittered again. \"You see, gentlemen! Our Mr. Silk picks thingsup very handily, doesn't he?\" He turned to Secretary of State Ghopal.\"You take it from there,\" he invited.Ghopal Singh smiled benignly. \"Well,that's it, Stephen,\" he said. \"Weneed a man on New Texas who can get things done. Three things, to beexact.\"First, find out why poor Mr. Cumshaw was murdered, and what can be doneabout it to maintain ourprestige without alienating the New Texans.\"Second, bring the government and people of New Texas to a realizationthat they need the Solar League as much as we need them.\"And, third, forestall or expose the plansfor the z'Srauff invasion ofNew Texas.\"_Is that all, now?_ I thought. _He doesn't want a diplomat; he wants amagician._\"And what,\" I asked, \"will my official position be on New Texas, sir? Orwill I have one, of anysort?\"\"Oh, yes, indeed, Mr. Silk. Your official position will be that ofAmbassador Plenipotentiary and Envoy Extraordinary. That, I believe, isthe only vacancy which exists in the Diplomatic Service on that planet.\"AtDumbarton Oaks Diplomatic Academy, they haze the freshmen by makingthem sit on a one-legged stool and balance a teacup and saucer on oneknee while the upper classmen pelt them with ping-pong balls.Whoeverinvented that and the other similar forms of hazing was one of the greatgeniuses of the Service. So I sipped my coffee, set down the cup, took apuff from my cigarette, then said:\"I am indeed deeply honored,Mr. Secretary. I trust I needn't go intoany assurances that I will do everything possible to justify your trustin me.\"\"I believe he will, Mr. Secretary,\" Natalenko piped, in a manner thatchilled my blood.\"Yes, I believe so,\"Ghopal Singh said. \"Now, Mr. Ambassador, there's aliner in orbit two thousand miles off Luna, which has been held fromblasting off for the last eight hours, waiting for you. Don't botherpacking more than a few things;you can get everything you'll needaboard, or at New Austin, the planetary capital. We have a man whomCoördinator Natalenko has secured for us, a native New Texan, HoddyRingo by name. He'll act as your personalsecretary. He's aboard theship now. You'll have to hurry, I'm afraid.... Well, _bon voyage_, Mr.Ambassador.\"CHAPTER IIThe death-watch outside had grown to about fifteen or twenty. They wereall waiting in happyanticipation as I came out of the Secretary'soffice.\"What did he do to you, Silk?\" Courtlant Staynes asked, amusedly.\"Demoted me. Kicked me off the Hooligan Diplomats,\" I said glumly.\"Demoted you from the ConsularService?\" Staynes asked scornfully.\"Impossible!\"\"Yes. He demoted me to the Cookie Pushers. Clear down to Ambassador.\"They got a terrific laugh. I went out, wondering what sort of noisesthey'd make, the nextmorning, when the appointments sheet was posted.I gathered a few things together, mostly small personal items, and allthe microfilms that I could find on New Texas, then got aboard the SpaceNavy cutter that waswaiting to take me to the ship. It was a four-hourtrip and I put in the time going over my hastily-assembled microfilmlibrary and using a stenophone to dictate a reading list for thespacetrip.As I rolled up thestenophone-tape, I wondered what sort of secretarythey had given me; and, in passing, why Natalenko's department hadfurnished him.Hoddy Ringo....Queer name, but in a galactic civilization, you find all sorts ofnamesand all sorts of people bearing them, so I was prepared for anything.And I found it.I found him standing with the ship's captain, inside the airlock, when Iboarded the big, spherical space-liner. A tubby little man,withshoulders and arms he had never developed doing secretarial work, and agood-natured, not particularly intelligent face._See the happy moron, he doesn't give a damn_, I thought.Then I took a second look at him.He might be happy, but he wasn't amoron. He just looked like one. Natalenko's people often did, as one oftheir professional assets.I also noticed that he had a bulge under his left armpit the size of aneleven-mm armyautomatic.He was, I'd been told, a native of New Texas. I gathered, after talkingwith him for a while, that he had been away from his home planet forover five years, was glad to be going back, and especially glad thathewas going back under the protection of Solar League diplomatic immunity.In fact, I rather got the impression that, without such protection, hewouldn't have been going back at all.I made another discovery. Mypersonal secretary, it seemed, couldn'tread stenotype. I found that out when I gave him the tape I'd dictatedaboard the cutter, to transcribe for me.\"Gosh, boss. I can't make anything out of this stuff,\" heconfessed,looking at the combination shorthand-Braille that my voice had put ontothe tape.\"Well, then, put it in a player and transcribe it by ear,\" I told him.He didn't seem to realize that that could be done.\"How didyou come to be sent as my secretary, if you can't dosecretarial work?\" I wanted to know.He got out a bag of tobacco and a book of papers and began rolling acigarette, with one hand.\"Why, shucks, boss, nobodyseemed to think I'd have to do this kindawork,\" he said. \"I was just sent along to show you the way around NewTexas, and see you don't get inta no trouble.\"He got his handmade cigarette drawing, and hitched thestrap that wentacross his back and looped under his right arm. \"A guy that don't knowthe way around can get inta a lotta trouble on New Texas. If you callgettin' killed trouble.\"So he was a bodyguard ... and I wonderedwhat else he was. One thing, itwould take him forty-two years to send a radio message back to Luna, andI could keep track of any other messages he sent, in letters or on tape,by ships. In the end, I transcribed myown tape, and settled down tolaying out my three weeks' study-course on my new post.I found, however, that the whole thing could be learned in a few hours.The rest of what I had was duplication, some of itcontradictory, and itall boiled down to this:Capella IV had been settled during the first wave of extrasolarcolonization, after the Fourth World--or First Interplanetary--War.Some time around 2100. The settlers had comefrom a place in NorthAmerica called Texas, one of the old United States. They had a lengthyhistory--independent republic, admission to the United States, secessionfrom the United States, reconquest by the UnitedStates, and generalintransigence under the United States, the United Nations and the SolarLeague. When the laws of non-Einsteinian physics were discovered and thehyperspace-drive was developed, practically theentire population ofTexas had taken to space to find a new home and independence fromeverybody.They had found Capella IV, a Terra-type planet, with a slightly highermean temperature, a lower mass and lowergravitational field, aboutone-quarter water and three-quarters land-surface, at a stage ofevolutionary development approximately that of Terra during the latePliocene. They also found supercow, a big mammal lookinglike theunsuccessful attempt of a hippopotamus to impersonate a dachshund andabout the size of a nuclear-steam locomotive. On New Texas' plains,there were billions of them; their meat was fit for the gods ofOlympus.So New Texas had become the meat-supplier to the galaxy.There was very little in any of the microfilm-books about the politicsof New Texas and such as it was, it was very scornful. There weresuchexpressions as 'anarchy tempered by assassination,' and 'grotesqueparody of democracy.'There would, I assumed, be more exact information in the material whichhad been shoved into my hand just beforeboarding the cutter from Luna,in a package labeled _TOP SECRET: TO BE OPENED ONLY IN SPACE, AFTER THEFIRST HYPERJUMP._ There was also a big trunk that had been placed in mysuite, sealed and bearing thesame instructions.I got Hoddy out of the suite as soon as the ship had passed out of thenormal space-time continuum, locked the door of my cabin and opened theparcel.It contained only two loose-leaf notebooks, bothlabeled with the SolarLeague and Department seals, both adorned with the customarybloodthirsty threats against the unauthorized and the indiscreet. Theywere numbered _ONE_ and _TWO_._ONE_ contained fourpages. On the first, I read:_FINAL MESSAGEOF THE FIRST SOLAR LEAGUE AMBASSADORTONEW TEXASANDREW JACKSON HICKOCK__I agree with none of the so-called information about this planet onfile with theState Department on Luna. The people of New Texas arecertainly not uncouth barbarians. Their manners and customs, whilelively and unconventional, are most charming. Their dress is gracefuland practical, notgrotesque; their soft speech is pleasing to the ear.Their flag is the original flag of the Republic of Texas; it isdefinitely not a barbaric travesty of our own emblem. And the underlyingpremises of their political systemshould, as far as possible, beincorporated into the organization of the Solar League. Here politics isan exciting and exacting game, in which only the true representative ofall the people can survive.__DEPARTMENTADDENDUM__After five years on New Texas, Andrew Jackson Hickock resigned, marrieda daughter of a local rancher and became a naturalized citizen of thatplanet. He is still active in politics there, often in oppositiontoSolar League policies._That didn't sound like too bad an advertisement for the planet. I waseven feeling cheerful when I turned to the next page, and:_FINAL MESSAGEOF THE SECOND SOLAR LEAGUEAMBASSADORTONEW TEXASCYRIL GODWINSON__Yes and no; perhaps and perhaps not; pardon me; I agree with everythingyou say. Yes and no; perhaps and perhaps not; pardon me; I agree...__DEPARTMENT ADDENDUM__Afterseven years on New Texas, Ambassador Godwinson was recalled;adjudged hopelessly insane._And then:_FINAL MESSAGEOF THE THIRD SOLAR LEAGUEAMBASSADOR TO NEW TEXASR. F. GULLIS__I find it verypleasant to inform you that when you are reading this, Iwill be dead.__DEPARTMENT ADDENDUM__Committed suicide after six months on New Texas._I turned to the last page cautiously, found:_FINAL MESSAGEOFTHE FOURTH SOLAR LEAGUEAMBASSADOR TO NEW TEXASSILAS CUMSHAW__I came to this planet ten years ago as a man of pronounced andoutspoken convictions. I have managed to keep myself alive herebybecoming an inoffensive nonentity. If I continue in this course, it willbe only at the cost of my self-respect. Beginning tonight, I am going tostate and maintain positive opinions on the relation between this planetand"}
+{"doc_id":"doc_293","qid":"","text":"<html><head><title>Titanic Script at IMSDb.</title><meta name=\"description\" content=\"Titanic script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Titanic script, Titanic movie script,Titanic film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=SubjectCONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0];s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>    <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\"title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center></td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                               T I T A N I C</b>                              a screenplay by                               James Cameron<b>1BLACKNESS</b>Then two faint lights appear, close together... growing brighter. Theyresolve into two DEEP SUBMERSIBLES, free-falling toward us like expresselevators.One is ahead of the other, and passes closeenough to FILL FRAME, lookinglike a spacecraft blazing with lights, bristling with insectilemanipulators.TILTING DOWN to follow it as it descends away into the limitless blacknessbelow. Soon they are fireflies, then stars.Then gone.<b>                                                                   CUT TO:</b><b>2 EXT./ INT. MIR ONE / NORTH ATLANTIC DEEP</b>PUSHING IN on one of the falling submersibles, called MIR ONE, right up toitscircular viewport to see the occupants.INSIDE, it is a cramped seven foot sphere, crammed with equipment. ANATOLYMIKAILAVICH, the sub's pilot, sits hunched over his controls... singingsoftly in Russian.Next to himon one side is BROCK LOVETT. He's in his late forties, deeplytanned, and likes to wear his Nomex suit unzipped to show the gold fromfamous shipwrecks covering his gray chest hair. He is a wiley, fast-talkingtreasurehunter, a salvage superstar who is part historian, part adventurerand part vacuum cleaner salesman. Right now, he is propped against the CO2scrubber, fast asleep and snoring.On the other side, crammed into theremaining space is a bearded wide-bodynamed LEWIS BODINE, sho is also asleep. Lewis is an R.O.V. (REMOTELYOPERATED VEHICLE) pilot and is the resident Titanic expert.Anatoly glances at the bottom sonar andmakes a ballast adjustment.<b>                                                                   CUT TO:</b><b>3 EXT. THE BOTTOM OF THE SEA</b>A pale, dead-flat lunar landscape. It gets brighter, lit from above, as MIRONEenters FRAME and drops to the seafloor in a downblast from itsthrusters. It hits bottom after its two hour free-fall with a loud BONK.<b>                                                                   CUT TO:</b><b>4 INT. MIRONE</b>Lovett and Bodine jerk awake at the landing.<b>                                  ANATOLY</b>                          (heavy Russian accent)We are here.<b>EXT. / INT. MIR ONE AND TWO</b>5 MINUTES LATER: THETWO SUBS skim over the seafloor to the sound ofsidescan sonar and the THRUM of big thrusters.6 The featureless gray clay of the bottom unrols in the lights of the subs.Bodine is watching the sidescan sonar display,where the outline of a hugepointed object is visible. Anatoly lies prone, driving the sub, his facepressed to the center port.<b>                                  BODINE</b>Come left a little. She's right in front of us, eighteenmeters. Fifteen.Thirteen... you should see it.<b>                                  ANATOLY</b>Do you see it? I don't see it... there!Out of the darkness, like a ghostly apparition, the bow of the shipappears. Its knife-edge prowis coming straight at us, seeming to plow thebottom sediment like ocean waves. It towers above the seafloor, standingjust as it landed 84 years ago.THE TITANIC. Or what is left of her. Mir One goes up and over thebowrailing, intact except for an overgrowth of \"rusticles\" draping it likemutated Spanish moss.TIGHT ON THE EYEPIECE MONITOR of a video camcorder. Brock Lovett's facefills the BLACK AND WHITEFRAME.<b>                                  LOVETT</b>It still gets me every time.The image pans to the front viewport, looking over Anatoly's shoulder, tothe bow railing visible in the lights beyond. Anatolyturns.<b>                                  ANATOLY</b>Is just your guilt because of estealing from the dead.CUT WIDER, to show that Brock is operating the camera himself, turning itin his hand so it points at his ownface.<b>                                  LOVETT</b>Thanks, Tolya. Work with me, here.Brock resumes his serious, pensive gaze out the front port, with the cameraaimed at himself at arm'slength.<b>                                  LOVETT</b>It still gets me every time... to see the sad ruin of the great shipsitting here, where she landed at 2:30 in the morning, April 15, 1912,after her long fall from the worldabove.Anatoly rolls his eyes and mutters in Russian. Bodine chuckles and watchesthe sonar.<b>                                  BODINE</b>You are so full of shit, boss.7 Mir Two drives aft down the starboard side, past thehuge anchor whileMir One passes over the seemingly endless forecastle deck, with its massiveanchor chains still laid out in two neat rows, its bronze windlass capsgleaming. The 22 foot long subs are like white bugsnext to the enormouswreck.<b>                               LOVETT (V.O.)</b>Dive nine. Here we are again on the deck of Titanic... two and a half milesdown. The pressure is three tons per square inch, enough to crush uslike afreight train going over an ant if our hull fails. These windows are nineinches thick and if they go, it's sayonara in two microseconds.8 Mir Two lands on the boat deck, next to the ruins of the Officer'sQuarters. MirOne lands on the roof of the deck hous nearby.<b>                                  LOVETT</b>Right. Let's go to work.Bodine slips on a pair of 3-D electronic goggles, and grabs the joystickcontrols of the ROV.9 OUTSIDE THESUB, the ROV, a small orange and black robot called SNOOPDOG, lifts from its cradle and flies forward.<b>                               BODINE (V.O.)</b>Walkin' the dog.SNOOP DOG drives itself away from the sub, payingout its umbilical behindit like a robot yo-yo. Its twin stereo-video cameras swivel like insecteyes. The ROV descends through an open shaft that once was the beautifulFirst Class Grand Staircase.Snoop Dog goes downseveral decks, then moves laterally into the FirstClass Reception Room.SNOOP'S VIDEO POV, moving through the cavernous interior. The remains ofthe ornate handcarved woodwork which gave the ship its elegancemovethrough the floodlights, the lines blurred by slow dissolution anddescending rusticle formations. Stalactites of rust hang down so that attimes it looks like a natural grotto, then the scene shifts and the linesof aghostly undersea mansion can be seen again.MONTAGE STYLE, as Snoop passes the ghostly images of Titanic's opulence:10 A grand piano in amazingly good shape, crashed on its side against awall. The keys gleamblack and white in the lights.11 A chandelier, still hanging from the ceiling by its wire... glinting asSnoop moves around it.12 Its lights play across the floor, revealing a champagne bottle, thensome WHITE STAR LINEchina... a woman's high-top \"granny shoe\". Thensomething eerie: what looks like a child's skull resolves into theporcelain head of a doll.Snoop enters a corridor which is much better preserved. Here and there adoor stillhangs on its rusted hinges. An ornate piece of molding, a wallsconce... hint at the grandeur of the past.13 THE ROV turns and goes through a black doorway, entering room B-52, thesitting room of a \"promenade suite\",one of the most luxurious stateroomson Titanic.<b>                                  BODINE</b>I'm in the sitting room. Heading for bedroom B-54.<b>                                  LOVETT</b>Stay off the floor. Don't stir it up likeyou did yesterday.<b>                                  BODINE</b>I'm tryin' boss.Glinting in the lights are the brass fixtures of the near-perfectlypreserved fireplace. An albino Galathea crab crawls over it. Nearby aretheremains of a divan and a writing desk. The Dog crosses the ruins of theonce elegant room toward another DOOR. It squeezes through the doorframe,scraping rust and wood chunks loose on both sides. It moves outof a cloudof rust and keeps on going.<b>                                  BODINE</b>I'm crossing the bedroom.The remains of a pillared canopy bed. Broken chairs, a dresser. Through thecollapsed wall of the bathroom, theporcelain commode and bathtub tookalmost new, gleaming in the dark.<b>                                  LOVETT</b>Okay, I want to see what's under that wardrobe door.SEVERAL ANGLES as the ROV deploys itsMANIPULATOR ARMS and starts movingdebris aside. A lamp is lifted, its ceramic colors as bright as they werein 1912.<b>                                  LOVETT</b>Easy, Lewis. Take it slow.Lewis grips a wardrobe door, lyingat an angle in a corner, and pulls itwith Snoop's gripper. It moves reluctantly in a cloud of silt. Under it isa dark object. The silt clears and Snoop's cameras show them what was underthedoor...<b>                                  BODINE</b>Ooohh daddy-oh, are you seein' what I'm seein'?CLOSE ON LOVETT, watching his moniteors. By his expression it is like he isseeing the HolyGrail.<b>                                  LOVETT</b>Oh baby baby baby.                             (grabs the mike)It's payday, boys.ON THE SCREEN, in the glare of the lights, is the object of their quest: asmall STEELCOMBINATION SAFE.<b>                                                                   CUT TO:</b><b>14 EXT. STERN OF DECK OF KEDYSH - DAY</b>THE SAFE, dripping wet in the afternoon sun, is lowered onto the deck of ashipby a winch cable.We are on the Russian research vessel AKADEMIK MISTISLAV KELDYSH. A crowdhas gathered, including most of the crew of KELDYSH, the sub crews, and ahand-wringing money guy named BOBBYBUELL who represents the limitedpartners. There is also a documentary video crew, hired by Lovett to coverhis moment of glory.Everyone crowds around the safe. In the background Mir Two is being loweredinto itscradle on deck by a massive hydraulic arm. Mir One is alreadyrecovered with Lewis Bodine following Brock Lovett as he bounds over to thesafe like a kid on Christmanmorning.<b>                                  BODINE</b>Who's the best? Say it.<b>                                  LOVETT</b>You are, Lewis.                            (to the video crew)Yourolling?<b>                                 CAMERAMAN</b>Rolling.Brock nods to his technicians, and they set about drilling the safe'shinges. During this operation, Brock amps the suspense, working the lens tofill thetime.<b>                                  LOVETT</b>Well, here it is, the moment of truth. Here's where we find out if thetime, the sweat, the money spent to charter this ship and these subs, tocome out here to the middle ofthe North Atlantic... were worth it. If whatwe think is in that same... is in that safe... it will be.Lovett grins wolfishly in anticipation of his greatest find yet. The dooris pried loose. It clangs onto the deck. Lovett movescloser, peering intothe safe's wet interior. A long moment then... his face says it all.<b>                                  LOVETT</b>Shit.<b>                                  BODINE</b>You know, boss, this happened to Geraldo andhis career never recovered.<b>                                  LOVETT</b>                         (to the video cameraman)Get that outta my face.<b>                                                                   CUT TO:</b><b>15 INT. LABDECK, PRESERVATION ROOM - DAY</b>Technicians are carefully removing some papers from the safe and placingthem in a tray of water to separate them safely. Nearby, other artifactsfrom the stateroom are beingwashed and preserved.Buell is on the satellite phone with the INVESTORS. Lovett is yelling atthe video crew.<b>                                  LOVETT</b>You send out what I tell you when I tell you. I'm signing yourpaychecks,not 60 minutes. Now get set up for the uplink.Buell covers the phone and turns to Lovett.<b>                                   BUELL</b>The partners want to know how it's"}
+{"doc_id":"doc_294","qid":"","text":"The Project Gutenberg eBook, A Man's Woman, by Frank NorrisThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it under theterms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: A Man's WomanAuthor: Frank NorrisRelease Date: June 20, 2005  [eBook #16096]Language: English***START OFTHE PROJECT GUTENBERG EBOOK A MAN'S WOMAN***E-text prepared by Suzanne Shell, Mary Meehan, Project Gutenberg BeginnersProjects, and the Project Gutenberg Online Distributed ProofreadingTeam(http://www.pgdp.net)A MAN'S WOMANbyFRANK NORRIS1904The following novel was completed March 22, 1899, and sent to theprinter in October of the same year. After the plates had been madenotice wasreceived that a play called \"A Man's Woman\" had been writtenby Anne Crawford Flexner, and that this title had been copyrighted.As it was impossible to change the name of the novel at the time thisnotice was received,it has been published under its original title.F.N.New York.A MAN'S WOMANI.At four o'clock in the morning everybody in the tent was still asleep,exhausted by the terrible march of the previous day. The hummockyiceand pressure-ridges that Bennett had foreseen had at last been met with,and, though camp had been broken at six o'clock and though men and dogshad hauled and tugged and wrestled with the heavy sledges untilfiveo'clock in the afternoon, only a mile and a half had been covered. Butthough the progress was slow, it was yet progress. It was not theharrowing, heart-breaking immobility of those long months aboard theFreja.Every yard to the southward, though won at the expense of abattle with the ice, brought them nearer to Wrangel Island and ultimatesafety.Then, too, at supper-time the unexpected had happened. Bennett, movednodoubt by their weakened condition, had dealt out extra rations to eachman: one and two-thirds ounces of butter and six and two-thirds ouncesof aleuronate bread--a veritable luxury after the unvarying dietofpemmican, lime juice, and dried potatoes of the past fortnight. The menhad got into their sleeping-bags early, and until four o'clock in themorning had slept profoundly, inert, stupefied, almost without movement.Buta few minutes after four o'clock Bennett awoke. He was usually upabout half an hour before the others. On the day before he had been ableto get a meridian altitude of the sun, and was anxious to completehiscalculations as to the expedition's position on the chart that he hadbegun in the evening.He pushed back the flap of the sleeping-bag and rose to his full height,passing his hands over his face, rubbing the sleep fromhis eyes. He wasan enormous man, standing six feet two inches in his reindeer footnipsand having the look more of a prize-fighter than of a scientist. Evenmaking allowances for its coating of dirt and its harsh, blackstubbleof half a week's growth, the face was not pleasant. Bennett was an uglyman. His lower jaw was huge almost to deformity, like that of thebulldog, the chin salient, the mouth close-gripped, with greatlips,indomitable, brutal. The forehead was contracted and small, the foreheadof men of single ideas, and the eyes, too, were small and twinkling, oneof them marred by a sharply defined cast.But as Bennett wasfumbling in the tin box that was lashed upon thenumber four sledge, looking for his notebook wherein he had begun hiscalculations for latitude, he was surprised to find a copy of the recordhe had left in the instrumentbox under the cairn at Cape Kammeni at thebeginning of this southerly march. He had supposed that this copy hadbeen mislaid, and was not a little relieved to come across it now. Heread it through hastily, his mindreviewing again the incidents of thelast few months. Certain extracts of this record ran as follows:\"Arctic steamer Freja, on ice off Cape Kammeni, New SiberianIslands, 76 deg. 10 min. north latitude, 150 deg. 40 min.eastlongitude, July 12, 1891.... We accordingly froze the ship in onthe last day of September, 1890, and during the following winterdrifted with the pack in a northwesterly direction.... On Friday,July 10, 1891, being inlatitude 76 deg. 10 min. north; longitude150 deg. 10 min. east, the Freja was caught in a severe nip betweentwo floes and was crushed, sinking in about two hours. We abandonedher, saving 200 days' provisions andall necessary clothing,instruments, etc....\"I shall now attempt a southerly march over the ice to Kolyuchin Bayby way of Wrangel Island, where provisions have been cached, hopingto fall in with the relief ships or steamwhalers on the way. Ourparty consists of the following twelve persons: ... All well withthe exception of Mr. Ferriss, the chief engineer, whose left handhas been badly frostbitten. No scurvy in the party as yet. Wehaveeighteen Ostiak dogs with us in prime condition, and expect to dragour ship's boat upon sledges.\"WARD BENNETT, Commanding Freja Arctic Exploring Expedition.\"Bennett returned this copy of the record to itsplace in the box, andstood for a moment in the centre of the tent, his head bent to avoid theridge-pole, looking thoughtfully upon the ground.Well, so far all had gone right--no scurvy, provisions in plenty. Thedogs werein good condition, his men cheerful, trusting in him as in agod, and surely no leader could wish for a better lieutenant and comradethan Richard Ferriss--but this hummocky ice--these pressure-ridges whichtheexpedition had met the day before. Instead of turning at once to hisciphering Bennett drew the hood of the wolfskin coat over his head,buttoned a red flannel mask across his face, and, raising the flap ofthe tent,stepped outside.Under the lee of the tent the dogs were sleeping, moveless bundles offur, black and white, perceptibly steaming. The three great McClintocksledges, weighted down with the Freja's boats and with theexpedition'simpedimenta, lay where they had been halted the evening before.In the sky directly in front of Bennett as he issued from the tent threemoons, hooped in a vast circle of nebulous light, shone roseatethrougha fine mist, while in the western heavens streamers of green, orange,and vermilion light, immeasurably vast, were shooting noiselessly fromhorizon to zenith.But Bennett had more on his mind that morningthan mock-moons andauroras. To the south and east, about a quarter of a mile from the tent,the pressure of the floes had thrown up an enormous ridge of shatteredice-cakes, a mound, a long hill of blue-green slabsand blocks huddlingtogether at every conceivable angle. It was nearly twenty feet inheight, quite the highest point that Bennett could discover. Scramblingand climbing over countless other ridges that intervened, hemade hisway to it, ascended it almost on hands and knees, and, standing upon itshighest point, looked long and carefully to the southward.A wilderness beyond all thought, words, or imagination desolatestretched outbefore him there forever and forever--ice, ice, ice,fields and floes of ice, laying themselves out under that gloomy sky,league after league, endless, sombre, infinitely vast, infinitelyformidable. But now it was no longerthe smooth ice over which theexpedition had for so long been travelling. In every direction,intersecting one another at ten thousand points, crossing andrecrossing, weaving a gigantic, bewildering network of gashed,jagged,splintered ice-blocks, ran the pressure-ridges and hummocks. In places ascore or more of these ridges had been wedged together to form one hugefield of broken slabs of ice miles in width, miles in length.Fromhorizon to horizon there was no level place, no open water, no pathway.The view to the southward resembled a tempest-tossed ocean suddenlyfrozen.One of these ridges Bennett had just climbed, and upon it henow stood.Even for him, unencumbered, carrying no weight, the climb had beendifficult; more than once he had slipped and fallen. At times he hadbeen obliged to go forward almost on his hands and knees. And yet itwasacross that jungle of ice, that unspeakable tangle of blue-green slabsand cakes and blocks, that the expedition must now advance, dragging itsboats, its sledges, its provisions, instruments, and baggage.Bennettstood looking. Before him lay his task. There under his eyes wasthe Enemy. Face to face with him was the titanic primal strength of achaotic world, the stupendous still force of a merciless nature, waitingcalmly, waitingsilently to close upon and crush him. For a long time hestood watching. Then the great brutal jaw grew more salient than ever,the teeth set and clenched behind the close-gripped lips, the cast inthe small twinkling eyesgrew suddenly more pronounced. One huge fistraised, and the arm slowly extended forward like the resistless movingof a piston. Then when his arm was at its full reach Bennett spoke asthough in answer to thevoiceless, terrible challenge of the Ice.Through his clenched teeth his words came slow and measured.\"But I'll break you, by God! believe me, I will.\"After a while he returned to the tent, awoke the cook, andwhilebreakfast was being prepared completed his calculations for latitude,wrote up his ice-journal, and noted down the temperature and thedirection and velocity of the wind. As he was finishing, RichardFerriss, whowas the chief engineer and second in command, awoke andimmediately asked the latitude.\"Seventy-four-fifteen,\" answered Bennett without looking up.\"Seventy-four-fifteen,\" repeated Ferriss, nodding his head; \"wedidn'tmake much distance yesterday.\"\"I hope we can make as much to-day,\" returned Bennett grimly as he putaway his observation-journal and note-books.\"How's the ice to the south'ard?\"\"Bad; wake the men.\"Afterbreakfast and while the McClintocks were being loaded Bennett sentFerriss on ahead to choose a road through and over the ridges. It wasdreadful work. For two hours Ferriss wandered about amid the broken iceall buthopelessly bewildered. But at length, to his great satisfaction,he beheld a fairly open stretch about a quarter of a mile in lengthlying out to the southwest and not too far out of the expedition's lineof march. Some dozenridges would have to be crossed before this levelwas reached; but there was no help for it, so Ferriss planted his flagswhere the heaps of ice-blocks seemed least impracticable and returnedtoward the camp. It hadalready been broken, and on his way he met theentire expedition involved in the intricacies of the first rough ice.All of the eighteen dogs had been harnessed to the number two sledge,that carried the whaleboat and themajor part of the provisions, andevery man of the party, Bennett included, was straining at thehaul-ropes with the dogs. Foot by foot the sledge came over the ridge,grinding and lurching among the ice-blocks; then,partly by guiding,partly by lifting, it was piloted down the slope, only in the end toescape from all control and come crashing downward among the dogs,jolting one of the medicine chests from its lashings and buttingitsnose heavily against the foot of the next hummock immediately beyond.But the men scrambled to their places again, the medicine chest wasreplaced, and Muck Tu, the Esquimau dog-master, whipped forwardhisdogs. Ferriss, too, laid hold. The next hummock was surmounted, the dogspanting, and the men, even in that icy air, reeking with perspiration.Then suddenly and without the least warning Bennett and McPherson,whowere in the lead, broke through some young ice into water up to theirbreasts, Muck Tu and one of the dogs breaking through immediatelyafterward. The men were pulled out, or, of their own efforts, climbeduponthe ice again. But in an instant their clothes were frozen torattling armor.\"Bear off to the east'ard, here!\" commanded Bennett, shaking the icy,stinging water from his sleeves. \"Everybody on the ropes now!\"Anotherpressure-ridge was surmounted, then a third, and by an hourafter the start they had arrived at the first one of Ferriss's flags.Here the number two sledge was left, and the entire expedition, dogs andmen, returned tocamp to bring up the number one McClintock loaded withthe Freja's cutter and with the sleeping-bags, instruments, and tent.This sledge was successfully dragged over the first two hummocks, but asit was being hauledup the third its left-hand runner suddenly buckledand turned under it with a loud snap. There was nothing for it now butto remove the entire load and to set Hawes, the carpenter, to work uponits repair.\"Up your othersledge!\" ordered Bennett.Once more the expedition returned to the morning's camping-place, and,harnessing itself to the third McClintock, struggled forward with it foran hour and a half until it was up with the firstsledge and Ferriss'sflag. Fortunately the two dog-sleds, four and five, were light, andBennett, dividing his forces, brought them up in a single haul. ButHawes called out that the broken sledge was now repaired. Themen turnedto at once, reloaded it, and hauled it onward, so that by noon everysledge had been moved forward quite a quarter of a mile.But now, for the moment, the men, after going over the same groundseventimes, were used up, and Muck Tu could no longer whip the dogs to theirwork. Bennett called a halt. Hot tea was made, and pemmican and hardtackserved out.\"We'll have easier hauling this afternoon, men,\" saidBennett; \"thisnext ridge is the worst of the lot; beyond that Mr. Ferriss says we'vegot nearly a quarter of a mile of level floes.\"On again at one o'clock; but the hummock of which Bennett had spokenproved absolutelyimpassable for the loaded sledges. It was all one thatthe men lay to the ropes like draught-horses, and that Muck Tu floggedthe dogs till the goad broke in his hands. The men lost their footingupon the slippery ice andfell to their knees; the dogs laid down in thetraces groaning and whining. The sledge would not move.\"Unload!\" commanded Bennett.The lashings were taken off, and the loads, including the great,cumbersomewhaleboat itself, carried over the hummock by hand. Then thesledge itself was hauled over and reloaded upon the other side. Thus thewhole five sledges.The work was bitter hard; the knots of the lashings were frozentightand coated with ice; the cases of provisions, the medicine chests, thecanvas bundle of sails, boat-covers, and tents unwieldy and of enormousweight; the footing on the slippery, uneven ice precarious, andmorethan once a man, staggering under his load, broke through the crust intowater so cold that the sensation was like that of burning.But at last everything was over, the sledges reloaded, and the forwardmovementresumed. Only one low hummock now intervened between them andthe longed-for level floe.However, as they were about to start forward again a lamentable giganticsound began vibrating in their ears, a rumbling,groaning note rising byquick degrees to a strident shriek. Other sounds, hollow andshrill--treble mingling with diapason--joined in the first. The noisecame from just beyond the pressure-mound at the foot of which thepartyhad halted.\"Forward!\" shouted Bennett; \"hurry there, men!\"Desperately eager, the men bent panting to their work. The sledgebearing the whaleboat topped the hummock.\"Now, then, over with her!\" criedFerriss.But it was too late. As they stood looking down upon it for an instant,the level floe, their one sustaining hope during all the day, suddenlycracked from side to side with the noise of ordnance. Then thegroaningand shrieking recommenced. The crack immediately closed up, the pressureon the sides of the floe began again, and on the smooth surface of theice, domes and mounds abruptly reared themselves. As thepressureincreased these domes and mounds cracked and burst into countless blocksand slabs. Ridge after ridge was formed in the twinkling of an eye.Thundering like a cannonade of siege guns, the whole floe burstup,jagged, splintered, hummocky. In less than three minutes, and while theFreja's men stood watching, the level stretch toward which since morningthey had struggled with incalculable toil was ground up into a vastmassof confused and pathless rubble.\"Oh, this will never do,\" muttered Ferriss, disheartened.\"Come on, men!\" exclaimed Bennett. \"Mr. Ferriss, go forward, and choosea road for us.\"The labour of the morning wasrecommenced. With infinite patience,infinite hardship, the sledges one by one were advanced. So heavy werethe three larger McClintocks that only one could be handled at a time,and that one taxed the combinedefforts of men and dogs to theuttermost. The same ground had to be covered seven times. For every yardgained seven had to be travelled. It was not a march, it was a battle; abattle without rest and without end andwithout mercy; a battle with anEnemy whose power was beyond all estimate and whose movements were notreducible to any known law. A certain course would be mapped, certainplans formed, a certain objectivedetermined, and before the coursecould be finished, the plans executed, or the objective point attainedthe perverse, inexplicable movement of the ice baffled theirdetermination and set at naught their best ingenuity.Atfour o'clock it began to snow. Since the middle of the forenoon thehorizon had been obscured by clouds and mist so that no observation forposition could be taken. Steadily the clouds had advanced, and by fouro'clockthe expedition found itself enveloped by wind and driving snow.The flags could no longer be distinguished; thin and treacherous ice wasconcealed under drifts; the dogs floundered helplessly; the men couldscarcelyopen their eyes against the wind and fine, powder-like snow,and at times when they came to drag forward the last sledge they foundit so nearly buried in the snow that it must be dug out before it couldbemoved.Toward half past five the odometer on one of the dog-sleds registered adistance of three-quarters of a mile made since morning. Bennett calleda halt, and camp was pitched in the lee of one of the largerhummocks.The alcohol cooker was set going, and supper was had under the tent, themen eating as they lay in their sleeping-bags. But even while eatingthey fell asleep, drooping lower and lower, finally collapsing uponthecanvas floor of the tent, the food still in their mouths.Yet, for all that, the night was miserable. Even after that day ofsuperhuman struggle they were not to be allowed a few hours of unbrokenrest. By midnight thewind had veered to the east and was blowing agale. An hour later the tent came down. Exhausted as they were, theymust turn out and wrestle with that slatting, ice-sheathed canvas, andit was not until half an hourlater that everything was fast again.Once more they crawled into the sleeping-bags, but soon the heat fromtheir bodies melted the ice upon their clothes, and pools of waterformed under each man, wetting him to theskin. Sleep was impossible. Itgrew colder and colder as the night advanced, and the gale increased. Atthree o'clock in the morning the centigrade thermometer was at eighteendegrees below. The cooker was lightedagain, and until six o'clock theparty huddled wretchedly about it, dozing and waking, shiveringcontinually.Breakfast at half past six o'clock; under way again an hour later. Therewas no change in the nature of the ice.Ridge succeeded ridge, hummockfollowed upon hummock. The wind was going down, but the snow still fellas fine and bewildering as ever. The cold was intense. Dennison, thedoctor and naturalist of the expedition,having slipped his mitten, hadhis hand frostbitten before he could recover it. Two of the dogs, BigJoe and Stryelka, were noticeably giving out.But Bennett, his huge jaws clenched, his small, distorted eyestwinklingviciously through the apertures of the wind-mask, his harsh, blackeyebrows lowering under the narrow, contracted forehead, drove theexpedition to its work relentlessly. Not Muck Tu, the dog-master, hadhisOstiaks more completely under his control than he his men. Hehimself did the work of three. On that vast frame of bone and muscle,fatigue seemed to leave no trace. Upon that inexorable bestialdeterminationdifficulties beyond belief left no mark. Not one of thetwelve men under his command fighting the stubborn ice with tooth andnail who was not galvanised with his tremendous energy. It was as thougha spur was in theirflanks, a lash upon their backs. Their minds, theirwills, their efforts, their physical strength to the last ounce andpennyweight belonged indissolubly to him. For the time being they werehis slaves, his serfs, his beasts ofburden, his draught animals, nobetter than the dogs straining in the traces beside them. Forward theymust and would go until they dropped in the harness or he gave the wordto pause.At four o'clock in the afternoonBennett halted. Two miles had been madesince the last camp, and now human endurance could go no farther.Sometimes when the men fell they were unable to get up. It was evidentthere was no more in them that"}
+{"doc_id":"doc_295","qid":"","text":"<html><head><title>Klute Script at IMSDb.</title><meta name=\"description\" content=\"Klute script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Klute script, Klute movie script, Klutefilm script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=SubjectCONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0];s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>    <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\"title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center></td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><html><head><script><b><!--</b>if (window!= top)top.location.href=location.href<b>//--></b></script><title>Klute</title></head><pre><b>INT. DINING ROOM - TOM GRUNEMANN HOUSE - DAY</b>CLOSE SHOT of TOM GRUNEMANN, attractive youngexecutive, sitting at the head of the diningroomtable carving a turkey for Thanksgiving Day dinner.There are joyous sounds of celebration. The CAMERAPANS around the table revealing the happy familyand guests. Among them are KLUTE and CABLE.Camerastops at Mrs. Grunemann who sits at the footof the table opposite her husband. She smilesacross at him with pleasure. We cut to TomGrunemann smiling back at her. We cut back to acloseup of Mrs.Grunemann  looking back at herhusband with love. We cut back to Tom Grunemann'schair - only now it is empty. The joyous soundsdisappear on this cut. It appears that TomGrunemann has disappeared before oureyes. Onemoment he is there, and the next moment he is gone.The camera pans back down the table, only now it isempty except for Grunemann's children and Mrs.Grunemann. She is now dressed in somethingdark.She and the three children sit eating another mealin emptiness. She has changed from a joyous womanto a woman bereaved.<b>INT. RESEARCH PLANT: ON ROSS - DAY</b>The industrial frontier. SPECIALAGENT ROSS stepsinto frame, glancing (perhaps idly, a littleimpatiently) in this direction at some loudindustrial goings-on just beyond camera, thenreturns toward GROUP.The group includes CABLE and a YOUNGER FBIAGENTwith clipboard, to whom KLUTE is supplyingpreliminary data. KLUTE's manner is somewhatrumpled, awkward.<b> KLUTE</b> Klute. With a K. K - L - U -<b> ROSS</b> Are you with plant security,Sergeant?<b> KLUTE</b> (shakes head) Town Police.<b> ROSS</b> Then how are you involved?<b> KLUTE</b> (slowly) I know Tom Grunemann.<b> ROSS</b> (shortcutting again) You knew the subject ThomasGrunemann. How well?<b> KLUTE</b> We grew up together. Kids.<b> ROSS</b> Can you account for his disappearance in any way?<b> KLUTE</b> No.<b> ROSS</b> Did he recently appear to you agitated ordepressed? (aside to younger Agent, recording) -- indicates no -- Did he voice to you grievance or discontent with his research work here? Indicates no. Moral or sexual problems or peculiarities? --<b> KLUTE</b>No.<b> ROSS</b> Marital problems in general? Indicates possibly -- am I right Sergeant?<b> KLUTE</b> Everybody's got some, I guess.<b> ROSS</b> Did he ever mention specifically a girl or woman in NewYork?<b> KLUTE</b> No.<b> ROSS</b> Examine this letter please. (continues) We recovered that from the shredder -- the plant disposal and incinerator system. Grunemann apparently typed it Friday, before heleft, decided not to send it, tossed it away. We've already contacted the New York Police; they think they know the girl in question.<b>C.U. KLUTE</b>Klute reads. We see a controlled incredulity andrevulsion.<b>ROSS (CONT'D)</b> He never mentioned this type thing to you? You didn't know he had these interests?<b>INT. GRUNEMANN HOUSE: C.U. HOLLY - DAY</b>HOLLY thrusts the letter back toward camera,towardKLUTE crying out -<b> HOLLY</b> My husband was not like that! My God, Klute.<b> KLUTE</b> It looks like he sent her quite a few of those Holly -- the girl -- she recalls six or seven letters like --<b>HOLLY</b> (calmly) -- No. I mean sure a little rough stuff, but just what people usually -- No, I would've said we were pretty good. (pause) Johnnie I don't understand. I just don't understand.Klute nods. She is talkingfor both of them. Klutelooks out the window to the children playingoutside. CAMERA PANS out window to Klute's POV ofchildren playing on a cold winter day. The treesare stripped bare.<b>EXT. RESEARCHPLANT</b>Tree lined area, lush and green - Summer.<b>INT. RESEARCH PLANT: DIRECTOR'S OFFICE - DAY</b>CAMERA pulls back inside window to Klute staringoutside, as if still pondering the fate ofTomGrunemann. The group in the office includes ROSS(holding a report), TRASK, a New York detective,Cable, and the plant director, STREIGER.<b> ROSS</b> -- has disclosed no evidence of crime or criminal intentwithin the jurisdiction of this bureau, and since subject Thom --<b> CABLE</b> (turns sharply, interrupts) It's been almost a year! Tom Grunemann's been missing for a year. And all the FBI has to offer is a report thatmust bore even you.<b> ROSS</b> (restraint) Well sir.<b> STREIGER</b> Are you closing the case?<b> ROSS</b> No sir, we don't state that. We're countin --<b> CABLE</b> But you don't find it worth mucheffort.<b> ROSS</b> (injured dignity) Well Mr. Cable, you've got me here from the Bureau. You got Lieutenant Trask here from New York representing his department and I don't frankly consider --<b>STREIGER</b> (moderating, suggesting) Why couldn't you ever find out anything from the girl?<b> ROSS</b> (refers the question) Trask --<b> TRASK</b> (summarizes from notes) We first hold her undersurveillance expectin your boy Grunemann to show up there. Didn't. Then we bagged -- we arrested her on a CP charge, convicted, two month's women's city prison, offer to reduce sentence, she cooperated. (counts)Four interrogations. She thought she remembered Grunemann -- from those letters from before, she made that connection -- but she hadn't seen him since and couldn't identify his photograph and she --<b>STREIGER</b> Why not?<b> TRASK</b> Oh a good call girl, she'll turn six-seven hundred tricks a year. The faces get blurred. (resumes) And since then, recent months, she's reported several, you know, incidents:like breather calls, anonymous phone calls, also somebody maybe following her, watching her, things like that. So it's I guess you could say, conceivable Grunemann's still around there, just hangin around her, spookingher. But you know, that --He shakes his head, gestures doubtingly. Ross capsit.<b> ROSS</b> The subject got emotionallv disturbed; he just dropped out. There's thousands.<b> STREIGER</b> Inspector weunderstand your position; ours is a little different. We have an investment in Tom Grunemann. The Company has an investment, and we feel entitled to investigate for ourselves.<b> ROSS</b> Private investigation,you mean. Yes sir, of course you're entitled, and there's some very competent --<b> STREIGER</b> Klute offered us his services; we've accepted.Pause. Ross and Trask look at Klute - more than abit startled - then ateach other. Klute just looksuneasy.<b> STREIGER (CONT'D)</b> Klute knew Tom. He has a great many ideas about the case --<b> ROSS</b> (sourly) Yes sir, we know he --<b> STREIGER</b> We'd expect him towork in cooperation with you. He'd report to each of you and to our Company's New York office, to Pete -- Pete goes there on a regular schedule back and forth, and --<b> ROSS</b> (tactfully) Mr. Streiger, speakingfrankly -- we've appreciated the Sergeant's interest you know, all along. Here, locally. But New York, that's - well --<b> TRASK</b> (to Klute, leniently) Ever done any missing person's work?<b> ROSS</b> Spentmuch time in the city? (to others) You see, I have to wonder -- speaking frankly; the Sergeant knows I'm only speaking frankly -<b> CABLE</b> You wonder why we thought of Klute? Frankly? He'sinterested.<b>INT/EXT. WIDE SHOT: PENNSYLVANIA COUNTRYSIDE - DAY</b>Verdant Pennsylvania farmland. Early morning. Nearat hand an open field set about with bee hutchesand patched with mist.A FIGURE, ashadow (Klute's actually) moves acrossframe from the left, blanking in. We reorient to -<b>INT. BEDROOM - KLUTES HOUSE - DAY</b>We see that we've been looking out from the bedroomwindow of this house. Kluteturns to rolltop deskin bedroom and picture of Tom Grunemann, picture ofBree Daniel, and other material he has collected onthe case. He puts them in his suitcase and closesthe suitcase. He shuts rolltop desk.<b>INT.KLUTE'S HOUSE - DAY</b>We follow Klute through the house with suitcase. Heputs away a last dish, shutting off water, gas, andelectricity, and so on -- takes a last look around - reaches for the door handle. WE CUTTO --<b>INT. COMMERCIAL AUDITION - SOUND STAGE - DAY</b>A section of wall, a door coming open -- and theFIGURE of BREE entering and standing. We have gonefrom the warm sunlight of the country tomustvdarkness.She appears chic, poised, and perfect as a magazinepicture.But as she gets used to the darkness and her eyesfocus on a line of equally beautiful girls sittingand waiting in folding chairs along a wall, weseethat she is a great deal less certain of demeanor.Assailable. WE CUT TO -<b>EXT. KLUTE'S HOUSEYARD, HOUSE, BARN - DAY</b>Klute, stepping out, closes, locks and checks thehouse door, then moves on to hiscar -- a vintagePlymouth -- and tosses in his suitcase; and thentakes a last turn around the yard itself; propsopen the cover of a beehutch, and lets down therail gate of a sidefield. He approaches to rollshut his barndoor -- and on this action we CUTagain TO --<b>INT. COMMERCIAL AUDITION - SOUNDSTAGE - DAY</b><b> DIRECTOR (O.S.)</b> (hastily) Honey, no, we don't have too many.She slaps the cup down, hurls herselfforward --SWISH PAN -- onto a MALE ACTOR, thrusting him downto the floor, her hands at his throat. As we WIDENTO INCLUDE DIRECTOR AND MORE OF SCENE, and as theDirector reads from script, supplying anarratorvoice -<b> DIRECTOR (CONT'D)</b> Now before it comes to that, let's have a look, et cetera, et cetera --<b> OK -</b>Bree and the Male Actor relax slightly, as -<b>ANGLE TO REVEAL ROOM,OTHERS</b>We reestablish the scene -- a few pieces of filmequipment -- and the congery of other ACTORS and ACTRESSES preparing to read for parts. As theDirector approaches, counsels Bree -- all of thisquick andconsecutive --<b> DIRECTOR (CONT'D)</b> -- Honey you make it look a little real. It should have, you know, that fun to it. (beat)<b> BREE</b> Strangle him to death funny?<b> DIRECTOR</b> Well we go fromthis into stomach diagrams. It can't be too -- look let's try it again from --- but then he glances at his watch, and at theothers waiting their turn.<b> DIRECTOR (CONT'D)</b> No -- just give us the faces at the end,would you?Bree and the Male Actor set their cheeks together,beaming half-moon smiles to camera, hold it for amoment, as the Director reads again -<b> DIRECTOR (CONT'D)</b> (reads) -- And another family savedby Elso tablets. OK -- (brightly) Thank you very much.-- and holds out his hands for their scripts, atthe same time as he summons from a list in hisother hand --<b> DIRECTOR (CONT'D)</b> Pierce -- Danner -BREEpasses a new group of beautiful girls sittingin line waiting their turn as she exits as brightlyas possible.<b>EXT. NEW YORK SIDEWALK: PEDESTRIANS - DAY</b>They trudge along the sidewalk -- the herd,thelate-afternoon crush. A LONG-LENS shot, the crowdcompacted. We see BREE milling along with the rest.She maneuvers to a sidewalk PHONE BOOTH, enters. Wesee her deposit, dial.<b>INT. PHONE BOOTH, BREE -DAY</b>She is connected (to her registry).<b> BREE</b> Bree Daniel, any messages? (waits -- none) OK, thanks.She waits for a moment. Then makes a curious, smallgesture of her hand -- deposits another dime,"}
+{"doc_id":"doc_296","qid":"","text":"<html><head><title>Wonder Boys Script at IMSDb.</title><meta name=\"description\" content=\"Wonder Boys script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Wonder Boys script,Wonder Boys movie script, Wonder Boys film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\"rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><html><head><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>THE WONDERBOYS</title></head><pre><b>                            WONDER BOYS</b><b>                BASED ON THE NOVEL BY MICHAEL CHABON</b>                       Screenplay/Steve Kloves January 21, 1999 (Pink Revision)January 15, 1999 (Blue Revision) December 18,1998 All IS A BLUR. . . ...then WORDS appear, twisting and vaguely transparent, reflected on the window GRADY TRIPP stands before as he reads from a sheaf ofNEATLY-TYPED PAGES.<b> GRADY</b> 'The young girl sat perfectly still in the confessional...<b>1 INT. CLASSROOM - UNIVERSITY - AFTERNOON</b> Grady--45-year-old novelist, professor, and insomniac--is in themidst of reading a story to the dozen college STUDENTS who make up his Advanced Writing Workshop.<b> GRADY</b> ...listening to her father's boots scrape like chalk on the ancient steps of the church, then growfaint, then disappear altogether.' As he finishes, GRADY ponders a PAIR of MAINTENANCE MEN, perched on ladders in the quad below, stringing a LARGE BANNER between two bare trees. The BANNER reads:<b>WELCOME TO WORDFEST</b> GRADY turns, peers at his students. They look as if they've been on a field trip to the DMV. GRADY (cont'd) (a wave of the pages) So. .Anyone? A GIRL with jet-black hair turns to a PALEYOUNG MAN sitting at a desk in the back of the classroom. He is JAMES LEER, 19. Like GRADY a moment before, he is staring out the window.<b> CARRIE MCWHIRTY </b> Let me get this straight. The girl with the biglips is depressed because, each night, when her father goes off to work at the bakery, her mother sneaks some mysterious lover into the house. Not only does this girl have to listen to her mother working this guy in thenext room, she has to wash the sheets each morning before Daddy gets home. After a few weeks of this, she starts to go a little nutty/ so Daddy takes her to confession--only, once she gets in the box, she gets a whiffof the priest and realizes he's the mother's secret lover. Is that it? James Leer says nothing, huddling lower in the PATTY OVERCOAT he wears.<b> CARRIE MCWHIRTY</b> I mean, Jesus. What is it with youCatholics?<b> GRADY</b> All right. Let's try to keep it constructive, shall we? Howard, what about you?<b> HOWARD </b> I hated it.<b> GRADY</b> That's not exactly what I meant by constructive, Howard.<b>HOWARD </b> I think James should try to be more constructive. This is my second semester with him. His stories are brutal, man. They make me want to kill myself. GRADY glances at James, but his face remainsimpassive. Then--with a visible sense of relief--GRADY notices the raised hand of the achingly beautiful HANNAH GREEN. <b> GRADY</b> Yes, Hannah?<b> HANNAH GREEN</b> I think maybe we're missing thepoint. It seems to me James' strength as a writer is that he doesn't take us by the hand. He treats us like adults. He respects us enough to forget us. That takes . . . courage . GRADY nods, smiles subtly.Appreciative.<b> GRADY</b> Well put, Hannah. And a good note to end on, I think. (as the students rise) Don't forget about WordFest this weekend. And remember: those of you driving V.I.P.s to tonight's cocktailparty need to have them at the Chancellor's house no later than 5:30. Hannah Green gathers her things, pauses by Grady.<b> GRADY</b> Thanks for that. He all right?<b> HANNAH GREEN</b> I think so. ..Whatabout you?<b> GRADY</b> Me? Sure. Why?<b> HANNAH GREEN</b> Just checking. GRADY watches her glide away in her CRACKED RED COWBOY BOOTS, then starts to exit himself. <b> JAMES LEER </b> Turn outthe light, please. GRADY pauses, studying the wan figure sitting at the back of the classroom, then--reluctantly-hits the switch on the wail, leaving James Leer alone in the DARK.<b>2 INT. STAIRWELL/CORRIDOR -AFTERNOON (MOMENTS LATER) </b> GRADY hurries down the steps, then spies SARA GASKSLL, 45, standing below. She is talking to a BOY with an armful of SLICK PROGRAMS.<b> SARA </b> (calm but firm) No,Elliot, I said five hundred programs for today. This means we have no programs for the weekend. This means that tomorrow morning, at 9AM, several hundred people will walk into Thaw Hall and have absolutely no ideawhere they are going. (shaking her head) It's all right, Elliot. I'll take care of it. GRADY watches Sara take the programs, turn, and spot him. There is the slightest of hesitations, then....<b> SARA </b> ProfessorTripp.<b> GRADY</b> Chancellor.<b> SARA </b> I got the message you called.<b> GRADY</b> I got the message you called too. This hangs in the air, awkward somehow, then both nod and continue on, without somuch as a backward glance. <b>3 INT. GRADY'S CAR - MOVING</b> The RADIO BLASTS as GRADY pops the glove box, removes a JOINT as big as his pinky, and wheels his DARK MAROON '66 GALAXIE RAGTOP awayfrom campus, cruising under another <b> BANNER:</b><b> WELCOME TO WORDFEST FEBRUARY 26-28</b><b>4 EXT. GALAXIE - MOVING.. - PITTSBURGH </b> GRADY cruises past the three rivers and modestskyscrapers of downtown, sipping at the weed. <b>5 INT. PITTSBURGH AIRPORT</b> GRADY rides the long, automated treadmill that runs half the length of the terminal, until...<b>6 INT. ARRIVAL GATE -PITTSBURGH AIRPORT</b> ...TERRY CRABTREE--Grady's editor and friend-exits the tunnel with a STUNNING YOUNG WOMAN in a skin-tight black dress, bright red topcoat, and three-inch spike heels.   Grinningdevilishly, Crabtree whispers something in the woman's ear, then spots Grady.<b> CRABTREE </b> Tripp!<b> GRADY</b> How are you, Crabtree?<b> CRABTREE </b> Brimming. Say hello to my new friend, MissAntonia. . .uh. . . .<b> WOMAN </b> Sloviak.<b> CRABTREE </b> I took the liberty of inviting Antonia to tonight's festivities. You don't mind, do you. Trip? ?<b> GRADY</b> (a slight beat) The more the merrier.<b>MISS SLOVIAK </b> Terry was telling me about you on the plane. It was ail so interesting.<b> CRABTREE </b> I was explaining to Antonia how a book comes to be published. What you do as a writer, what I do as aneditor...<b> GRADY</b> I sweat blood for five years and he checks for spelling.<b> MISS SLOVIAK </b> (indicating Crabtree) That's exactly what he said.<b> CRABTREE </b> We know each other pretty well. (toGrady) So where's Emily?<b> GRADY</b> Emily?<b> CRABTREE </b> Your wife.<b> GRADY</b> Oh. We're picking her up. Downtown.<b> CRABTREE </b> Perfect. Well then, shall we? GRADY nods, but lingersbriefly--studying the architecture of Miss Sloviak's ankles as she CLICKS off in her spike heels, arm in arm with Crabtree.<b>7 INT. BAGGAGE CAROUSEL - AIRPORT - MOMENTS LATER</b> GRADY and Crabtree watchsuitcases tumble as Miss Sloviak sits across the way, inspecting her face in a compact.<b> CRABTREE </b> Do you know how many times I've boarded an airplane praying someone like her would sit down beside me?Particularly while I'm on my way to Pittsburgh.<b> GRADY</b> Lay off Pittsburgh. It's one of the great cities.<b> CRABTREE </b> If it can produce a Miss Sloviak you'll get no argument from me.<b> GRADY</b>She's a transvestite.<b> CRABTREE </b> You're stoned.<b> GRADY</b> She's still a transvestite.<b> CRABTREE </b> Mm.<b> GRADY</b> Isn't she? Crabtree ignores Grady's question, smiling placidly as hewatches the carousel spin.<b> CRABTREE </b> So how's the book? GRADY stiffens. He had been expecting this, but not so soon. He tries to act casual.<b> GRADY</b> It's fine. It's done. Basically. I'm just sort of...tinkering with it.<b> CRABTREE </b> Great. I was hoping I could get a look at it sometime this weekend. Think that might be possible?<b> GRADY</b> I don't know. I'm sort of at a critical. . . juncture .<b>CRABTREE</b> I thought you were tinkering.<b> GRADY</b> I just mean. . .<b> CRABTREE</b> Forget I asked. I don't want to pressure you, Tripp. But... (pointedly) ...I get pressure. Know what I mean? GRADYponders this, troubled by it. Suddenly, Crabtree's face brightens again.<b> CRABTREE</b> Ah. ..well now. What do you suppose that would be? GRADY turns, watches an immense PONY HIDE CASE drop onto thecarousel.<b> GRADY</b> That would be a tuba.<b>8 INT. GRADY'S CAR - MOVING - LATE AFTERNOON                8</b> As the Galaxie emerges from a TUNNEL, GRADY watches the great city of Pittsburgh revealitself in the distance, then glances in the rearview mirror.<b> GRADY</b> That perfume you're wearing, Antonia. It wouldn't happen to be Cristaile, would it?<b> MISS SLOVIAK</b> Why yes. How did you know?<b>GRADY</b> Lucky guess.<b> CRABTREE</b> You didn't actually purchase this car, did you. Trip??<b> GRADY</b> It was Jerry Nathan's. He owed me money.<b> CRABTREE </b> He owes God money. You know,he queered himself for good with Esquire. GRADY takes a joint from the ashtray, snaps a Scripto butane.<b> GRADY</b> He said something about being between things.<b> CRABTREE</b> Yeah, between a bookieand a pair of broken legs.<b>9 EXT. OFFICE BUILDING - MOMENTS LATER  </b> A YOUNG WOMAN with a crumpled PITTSBURGH STEEIERS UMBRELLA exits the building and-seeing GRADY parked in front of a firehydrant--stops, a puzzled expression on her face. As she approaches, GRADY roils down the passenger window.<b> GRADY</b> Hi, Tanya. (to the others) This is Tanya. My wife's secretary. CRABTREE and MISSSLOVIAK smile and nod. Tanya smiles and nods back, her eyes passing uneasily over Grady's joint.<b> TANYA </b> Grady.. ..Emily's not here. GRADY just smiles, nods. TANYA (cont'd) Is there anything I can do foryou? GRADY watches a tiny stream of water trickle through Tanya's sad umbrella.<b> GRADY</b> You're leaking, Tanya. Tanya nods--at a loss-then turns away into the rain.<b> CRABTREE</b> Trip? ?<b>GRADY</b> She left me. Crabs.<b> CRABTREE</b> Left you...?  Who? Emily?<b> GRADY</b> This morning. I found a note in the kitchen.<b> CRABTREE</b> But. ..why didn't you say something, Tripp? I mean,what are we doing here? GRADY gazes at the glittering scene beyond his windshield, turns on the ignition.<b> GRADY</b> I thought maybe I made it all up.<b>10 EXT. GASKELL HOUSE - EVENING </b> Through thewindows, a rabble of writers, faculty and select students can be SEEN, mingling under a haze of cigarette smoke. GRADY brings the Galaxie to a lurching halt across the street, parks in front of another fire hydrant. Asthe trio steps out. MISS SLOVIAK notices a GREENHOUSE, shimmering quietly in the chill night air.<b> MISS SLOVIAK</b> That's a nice greenhouse.<b> GRADY</b> It's Mrs. Gaskell's. Her hobby.<b>CRABTREE</b> I thought you were Mrs. Gaskell's hobby, Tripp.<b> GRADY</b> Piss off, Crabs. I lost a wife today.<b> CRABTREE</b> Oh, I'm sure you'll find another. You always do.<b>11 EXT. FRONT PORCH -GASKELL HOUSE  </b> As the front door swings open, Sara Gaskell appears, riding a wave of jagged party CHATTER onto the porch.<b> SARA </b> Well, hello, everyone. Terry, good to see you again. <b>CRABTREE</b> Chancellor. Don't you look ravishing.<b> SARA</b> Aren't you sweet to say so. I was beginning to wonder if you were ever going to--oh! As Sara steps forward, her heel-catches and she pitches"}
+{"doc_id":"doc_297","qid":"","text":"<html><head><title>Chinatown Script at IMSDb.</title><meta name=\"description\" content=\"Chinatown script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Chinatown script,Chinatown movie script, Chinatown film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\"rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                                        CHINATOWN</b>                                        Written by                                       RobertTowne<b>                </b>               FULL SCREEN PHOTOGRAPH Grainy but unmistakably a man and                woman making love. Photograph shakes. SOUND of a man MOANING                in anguish. Thephotograph is dropped, REVEALING ANOTHER,                MORE compromising one. Then another, and another. More moans.<b>                                     CURLY'S VOICE</b>                              (cryingout)                         Oh, no.<b>               INT. GITTES' OFFICE</b>               CURLY drops the photos on Gittes' desk. Curly towers over                GITTES and sweats heavily through his workman's clothes,his                breathing progressively more labored. A drop plunks on Gittes'                shiny desk top.               Gittes notes it. A fan whiffs overhead. Gittes glances up at                it. He looks cool and brisk in awhite linen suit despite                the heat. Never taking his eyes off Curly, he lights a                cigarette using a lighter with a \"nail\" on his desk.               Curly, with another anguished sob, turns and rams hisfist                into the wall, kicking the wastebasket as he does. He starts                to sob again, slides along the wall where his fist has left                a noticeable dent and its impact has sent the signedphotos                of several movie stars askew.               Curly slides on into the blinds and sinks to his knees. He                is weeping heavily now, and is in such pain that he actually                bites into theblinds.               Gittes doesn't move from his chair.<b>                                     GITTES</b>                         All right, enough is enough. You                          can't eat the Venetian blinds, Curly.                          Ijust had 'em installed on Wednesday.               Curly responds slowly, rising to his feet, crying. Gittes                reaches into his desk and pulls out a shot glass, quickly                selects a cheaper bottle of bourbonfrom several fifths of                more expensive whiskeys.               Gittes pours a large shot. He shoves the glass across his                desk towardCurly.<b>                                     GITTES</b>                         Down the hatch.               Curly stares dumbly at it. Then picks it up, and drains it.                He sinks back into the chair opposite Gittes, begins tocry                quietly.<b>                                     CURLY</b>                              (drinking, relaxing a                               little)                         She's just nogood.<b>                                     GITTES</b>                         What can I tell you, Kid? You're                          right. When you're right, you're                          right, and you'reright.<b>                                     CURLY</b>                         Ain't worth thinking about.               Gittes leaves the bottle with Curly.<b>                                     GITTES</b>                         You're absolutelyright, I wouldn't                          give her another thought.<b>                                     CURLY</b>                              (pouring himself)                         You know, you're okay, Mr. Gittes. I                          knowit's your job, but you're okay.<b>                                     GITTES</b>                              (settling back,                               breathing a little                               easier)                         Thanks, Curly. Call meJake.<b>                                     CURLY</b>                         Thanks. You know something, Jake?<b>                                     GITTES</b>                         What's that,Curly?<b>                                     CURLY</b>                         I think I'll kill her.<b>               INT. DUFFY & WALSH'S OFFICE</b>               Noticeably less plush than Gitte's. A well-groomed,dark-               haired WOMAN sits nervously between their two desks, fiddling                with the veil on her pillbox hat.<b>                                     WOMAN</b>                         I was hoping Mr. Gittes could seeto                          this personally.<b>                                     WALSH</b>                              (almost the manner of                               someone comforting                               the bereaved)                         Ifyou'll allow us to complete our                          preliminary questioning, by then                          he'll be free.               There is the SOUND of ANOTHER MOAN coming from Gittes' Office.               Something madeof glass shatters. The Woman grows more edgy.<b>               INT. GITTES' OFFICE \u0000 GITTES & CURLY</b>               Gittes and Curly stand in front of the desk, Gittes staring                contemptuously at the heavybreathing hulk towering over                him. Gittes takes a handkerchief and wipes away the plunk of                perspiration on hisdesk.<b>                                     CURLY</b>                              (crying)                         They don't kill a guy for that.<b>                                     GITTES</b>                         Oh theydon't?<b>                                     CURLY</b>                         Not for your wife. That's the                          unwritten law.               Gittes pounds the photos on the desk,shouting;<b>                                     GITTES</b>                         I'll tell you the unwritten law, you                          dumb son of a bitch, you gotta be                          rich to kill somebody, anybodyand                          get away with it. You think you got                          that kind of dough, you think you                          got that kind of class?               Curly shrinks back alittle.<b>                                     CURLY</b>                         ...No...<b>                                     GITTES</b>                         You bet your ass you don't. You can't                          even pay meoff.               This seems to upset Curly even more.<b>                                     CURLY</b>                         I'll pay the rest next trip. We only                          caught sixty ton of skipjackaround                          San Benedict. We hit a chubasco,                          they don't pay you for skipjack the                          way they do for tuna oralbacore.<b>                                     GITTES</b>                              (easing him out of                               his office)                         Forget it. I only mention it to                          illustrate apoint...<b>               INT. OFFICE RECEPTION</b>               He's now walking him past SOPHIE who pointedly averts her                gaze. He opens the door where on the pebbled glass can be                read: \"J. J.GITTES and Associates. DISCREET INVESTIGATION\"<b>                                     GITTES</b>                         I don't want your last dime.               He throws an arm around Curly and flashes a dazzlingsmile.<b>                                     GITTES</b>                              (continuing)                         What kind of guy do you think I am?<b>                                     CURLY</b>                         Thanks, Mr.Gittes.<b>                                     GITTES</b>                         Call me Jake. Careful driving home,                          Curly.               He shuts the door on him and the smile disappears.               He shakes hishead, starting to swear under his breath.<b>                                     SOPHIE</b>                         A Mrs. Mulwray is waiting for you,                          with Mr. Walsh and Mr. Duffy.               Gittes nods, walks onin.<b>               INT. DUFFY AND WALSH'S OFFICE</b>               Walsh rises when Gittes enters.<b>                                     WALSH</b>                         Mrs. Mulwray, may I presentMr.                          Gittes?               Gittes walks over to her and again flashes a warm, sympathetic                smile.<b>                                     GITTES</b>                         How do you do, Mrs.Mulwray?<b>                                     MRS. MULWRAY</b>                         Mr. Gittes...<b>                                     GITTES</b>                         Now, Mrs. Mulwray, what seems to be                          theproblem?               She holds her breath. The revelation isn't easy for her.<b>                                     MRS. MULWRAY</b>                         My husband, I believe, is seeing                          anotherwoman.               Gittes looks mildly shocked. He turns for confirmation to                his two partners.<b>                                     GITTES</b>                              (gravely)                         No,really?<b>                                     MRS. MULWRAY</b>                         I'm afraid so.<b>                                     GITTES</b>                         I am sorry.               Gittes pulls up a chair sitting next to Mrs.Mulwray between                Duffy and Walsh. Duffy cracks his gum.               Gittes gives him an irritated glance. Duffy stops chewing.<b>                                     MRS. MULWRAY</b>                         Can't we talkabout this alone, Mr.                          Gittes?<b>                                     GITTES</b>                         I'm afraid not, Mrs. Mulwray. These                          men are my operatives and atsome                          point they're going to assist me. I                          can't do everything myself.<b>                                     MRS. MULWRAY</b>                         Of coursenot.<b>                                     GITTES</b>                         Now, what makes you certain he is                          involved with someone?               Mrs. Mulwray hesitates. She seems uncommonly nervous atthe                question.<b>                                     MRS. MULWRAY</b>                         A wife can tell.               Gittes sighs.<b>                                     GITTES</b>                         Mrs. Mulwray, do you loveyour                          husband?<b>                                     MRS. MULWRAY</b>                              (shocked)                         ...Yes ofcourse.<b>                                     GITTES</b>                              (deliberately)                         Then go home and forget about it.<b>                                     MRS.MULWRAY</b>                         But...<b>                                     GITTES</b>                              (staring intently at                               her)                         I'm sure he loves you, too. Youknow                          the expression, let sleeping dogs                          lie? You're better off not knowing.<b>                                     MRS. MULWRAY</b>                              (with some realanxiety)                         But I have to know.               Her intensity is genuine. Gittes looks to his two partners.<b>                                     GITTES</b>                         All right, what's yourhusband's                          first name?<b>                                     MRS. MULWRAY</b>                         Hollis. Hollis Mulwray.<b>                                     GITTES</b>                              (visiblysurprised)                         Water and Power?               Mrs. Mulwray nods, almost shyly. Gittes is now casually but                carefully checking out the detailing of Mrs. Mulwray's dress                \u0000 her handbag,"}
+{"doc_id":"doc_298","qid":"","text":"<html><head><title>All the King's Men Script at IMSDb.</title><meta name=\"description\" content=\"All the King's Men script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"All the King'sMen script, All the King's Men movie script, All the King's Men film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX,FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                                    ALL THE KING'S MEN</b>                                        Written by                                      RobertRossen                                  Based on the novel by                                    Robert Penn Warren<b>                                      SHOOTINGDRAFT</b><b>                                           1949</b><b>                </b>               Interior: Jack Burden's Desk, The Chronicle, Day               Jack Burden is looking over the morning edition of\"The                Chronicle.\" He reads the society page. A man enters and leans                across his desk.<b>                                     MAN</b>                         Burden! Jack Burden! The bosswants                          to see you.               He folds his paper, rises, and walks by the presses into                Madison's office.               Interior: Madison's Office, Day               Madison, the city editor, is correctingcopy at his desk.<b>                                     MADISON</b>                         Hey, Jack, ever hear of a fellow                          called Willie Stark?<b>                                     JACK</b>                         No. Who'dhe shoot?<b>                                     MADISON</b>                         Oh, county... uh... treasurer, or                          something like that.<b>                                     JACK</b>                         What's so specialabout him?<b>                                     MADISON</b>                         They say he's an honest man. What I                          want you to do is to hop intoyour                          car...<b>                                     JACK</b>                         Why, you promised me a vacation.<b>                                     MADISON</b>                         Well, that canwait.<b>                                     JACK</b>                         Yeah... but there's a... a girl I                          know.               He opens his newspaper to the society page and shows Madison                a photograph ofAnne Stanton.<b>                                     MADISON</b>                         Oh... Well, she can wait too.               Jack takes the paper back and looks atit.<b>                                     JACK</b>                         The question is... can I?<b>                                     MADISON</b>                         The answer is... get upthere.<b>                                     JACK</b>                         Right.                              (starts to go)                         Oh... uh... what did you say his                          namewas?<b>                                     MADISON</b>                         Who?<b>                                     JACK</b>                         The fellow's name.<b>                                     MADISON</b>                         Oh,the... uh... Stark... Willie                          Stark.               Madison goes on with his work.<b>                                     JACK</b>                              (as he leaves)                         WillieStark...<b>                                                               DISSOLVE TO:</b>               Exterior: Kanoma City, Day               As Jack Burden's jalopy pulls up before the Kanoma County                Courthouse of thisback-country, one-street small town.<b>                                     JACK</b>                              (voice over)                         I found him in Kanoma City. A typical,                          hot, dusty, backwoods countyseat.               He gets out of the car, and notices a crowd of people gathered                around a platform in the town square. As he walks over the                begins to hear the words that Willie Stark isspeaking.<b>                                     WILLIE</b>                         ...to lie to them in order to line                          their own dirty pockets with the                          taxpayers' money. When havethe                          citizens of Kanoma County ever                          witnessed a campaign like this? Why                          is the opposition so anxious to defeat                          me? Why have they used everydirty                          method known to make sure I'm not                          elected county treasurer? Well, I'll                          tell you why...               A man in shirt sleeves and suspenders, Tiny Duffy, comesout                of the local poolroom, listens for a moment to Willie's                speech, and signals to two uniformed men to go over and break                up the gathering.               Jack Burden stands close to theplatform, next to Willie's                son, Tom, who waits patiently to distribute handbills.<b>                                     WILLIE</b>                         ...Because they're afraid of the                          truth... and the truthis this.                          They're trying to steal your money.                          Yeah, I said steal. The county                          commissioners rejected the bid on                          the schoolhouse. Why? Well,they'll                          tell you their reason is the job                          will be done better. The county                          commissioners would have you believe                          that they're interested inpublic                          welfare. They're interested in                          welfare, sure. But it's their own.                          Let's look at the reason in the light                          of the facts and the figures.That                          brick factory is owned by one of the                          commissioners. That same brick factory                          uses convict labor.               The sheriff and his deputy push through thecrowd.<b>                                     SHERIFF</b>                         Sorry, Willie, you'll have tomove                          on.<b>                                     WILLIE</b>                         Why?<b>                                     SHERIFF</b>                         City Ordinance Number One-Oh-Five:                          morethan five people congregating                          is disturbing the peace.<b>                                     WILLIE</b>                              (ignores him)                         If you folks'll be so kind as to                          readthese handbills, my boy will                          pass them out among you.<b>                                     SHERIFF</b>                         There's an ordinance againstthat                          too.<b>                                     WILLIE</b>                              (his face grim)                         Pass 'em out, Tom.               The sheriff pushes Tom back, grabbing the handbills outof                his hand. Willie jumps down off the platform.<b>                                     WILLIE</b>                         Let him alone!               The sheriff collars Willie, then notices Jack on theplatform                snapping a picture.<b>                                     SHERIFF</b>                              (to deputy)                         Get that camera! Willie, you're under                          arrest.               He takesWillie by the arm and leads him away. The crowd                follows them to the courthouse. Tiny Duffy wipes the sweat                off his neck and goes back into thepoolroom.<b>                                                               DISSOLVE TO:</b>               Interior: Kanoma City Poolroom, Day               Two of Duffy's men, Pillsbury and a local commissioner, are                playingpool as Jack enters.<b>                                     JACK</b>                         Where can I find Tiny Duffy?<b>                                     PILLSBURY</b>                         Right over there, mister.               He walksover to Duffy. Some townspeople, who followed him                there, gather around him to listen.<b>                                     JACK</b>                         Uh, they told me I could get my camera                          backhere.<b>                                     DUFFY</b>                         Who told you that?<b>                                     JACK</b>                         People. CanI?<b>                                     DUFFY</b>                         You the reporter that's been snoopin'                          around town?<b>                                     JACK</b>                         Are you TinyDuffy?<b>                                     DUFFY</b>                         What paper?<b>                                     JACK</b>                         Chronicle.<b>                                     DUFFY</b>                         You surecome a long way to stick                          your nose into other people's                          business.<b>                                     JACK</b>                         That's true... Only my boss on the                          papercan't see it that way.<b>                                     DUFFY</b>                         It ain't any of his business either.<b>                                     JACK</b>                         Whose business isit?<b>                                     PILLSBURY</b>                         Them as is tendin' to it. County                          commissioners that the voters of                          Kanoma County elected to tendto                          their business and not take no buttin'                          in from nobody.<b>                                     JACK</b>                         You acommissioner?<b>                                     PILLSBURY</b>                         Yeah. Name's Pillsbury. Dolph                          Pillsbury.<b>                                     2ND COMMISSIONER</b>                         Me too.I'm a commissioner too.<b>                                     JACK</b>                         Who isn't a commissioner?<b>                                     DUFFY</b>                         He's the headman.<b>                                     JACK</b>                              (to Pillsbury)                         Then you're in a position to know                          where--<b>                                     DUFFY</b>                         He's in a position to know nothin'.                          And to say nothin'.<b>                                     JACK</b>                         I thought you said he washead man?<b>                                     DUFFY</b>                              (smiling)                         He uses my head.<b>                                     PILLSBURY</b>                              (laughingloudly)                         Oh, Tiny, you're a card... Ain't he                          a card? Yeah, he's a card... Now,                          who thought up those city ordinances                          about arresting someone for makinga                          speech?<b>                                     DUFFY</b>                         Who's arrested? Nobody's been                          arrested.                              (looks towardthe                               door)                         Hi, Willie.               Willie enters, accompanied by the sheriff and his deputy.                The others in the room, including Sugar Boy in his bartender's                apron,step aside to let him pass through.<b>                                     PILLSBURY</b>                         Hi, Willie.<b>                                     DUFFY</b>                              (to Sheriff)                         Did you apologizeto Willie?<b>                                     SHERIFF</b>                              (mumbles)                         Yeah, I apologized to Willie.<b>                                     DUFFY</b>                         Did you give him his"}
+{"doc_id":"doc_299","qid":"","text":"<html><head><title>Time Machine, The Script at IMSDb.</title><meta name=\"description\" content=\"Time Machine, The script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"TimeMachine, The script, Time Machine, The movie script, Time Machine, The film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX,FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><html><head><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>THE TIME MACHINE -by David Duncan</title></head><pre>                              H. G. Wells'<b>                    T H E   T I M E   M A C H I N E</b>                        A George PalProduction                               Screenplay                                   by<b>                              DAVID DUNCAN</b>     Draft revised thru 6-25-59<b>     FADE IN:</b><b>     M.G.M.TRADEMARK                                       A.1</b>     Leo the Lion ROARS over the FANFARE, then<b>                                                 FADE OUT:</b><b>     GLIDING OBJECTS IN A WIDE DARK VOID -(ANIMATION)</b>             Out of the SILENT darkness a short white       A             fluted column surmounted by a SUNDIAL             appears.  It floats in, waveringly, until             it becomes clearly visible, thendrifts             off as though moving in some huge orbit.             Next an HOURGLASS floats in from the left      B             of the screen.  The faint HISSING OF             RUNNING SAND breaks the stillness ofspace.             As the hourglass glides across the screen,     C             it is met by a GREEK WATER CLOCK accompanied             by the sound OF DRIPPING WATER.             A MEDIEVAL CLOCK with weights arises asits    D             horizontal escapement TICKS LOUDLY.  Mean-             while the sundial, hourglass and water clock             return, drifting at diverse angles across             the screen.     THE SOUND of the variousdevices continues to MOUNT.             A FIGURE wheels past, with the face of a       E             clock and the body carved like a drummer             of the 14th century, BEATING the hour.             A SMALL CLOCK bears agolden angel with        F             hammer in hands as it STRIKES A BELL.             ANOTHER TIMEPIECE, with CHIMES, floats in      G             to mingle with all the drifting objects.             The BIG BEN isTOLLING                         H             Then a GREAT BELL.                             J     DEAFENING SOUNDS NOW COME FROM ALL DIRECTIONS, as the time K     devices weave across the screen and, reachingCRESCENDO,     STOP abruptly.  A mellow VOICE begins to SING THE THEME of L     the picture, \"The Land Of The Leal\".  Simultaneously, the     screen reveals the MAINTITLE:                             M                             H. G. Wells'<b>                           THE TIME MACHINE</b><b>                        \"THE LAND OF THE LEAL\"</b>                      Words & Music by Peggy Lee         When Iwas a wee lad                               L         And dark was the night         Afraid I would be         Til the bright morning light         And sometimes...for comfort         Away I would steal Away         I would go to the Landof the Leal.         And soon I would be there         It took me no time         My heart would be soaring         As I made the climb         And there was the green grass         So cool and so sweet         So good to be runthrough         With happy bare feet!         And who was my teacher         And how did I know?         Just when to be going         And which way to go?         But always when wishing         Away I would steal         AwayI would go to the Land of the Leal.         And now that I'm older         I try to be wise         But when I am troubled         I still close my eyes         And just like the wee lad         Away I will steal         Away I will go tothe Land of the Leal.         For there are no questions         And there are no lies         And never a storm there         To darken the skies         The birds who are flying         No freer they feel         Than I         When Ilive in the land of the Leal.     After the CREDIT TITLES, the MUSIC SUBSIDES and we slowly<b>                                                 FADE OUT:</b><b>     FADE IN:                                               1</b><b>     EXT.COTTAGE - LONG SHOT - (NIGHT) - (MATTE)</b>     Warm lights pour through the windows, spreading     over the snow-patched countryside.  Only the     laboratory, a converted greenhouse, is dark, shaded     fromthe moonlight by a majestic, leafless oak.     A two-horse carriage, in the style of the turn of     the century, lingers in the driveway.  Beyond all     this, the River Thames takes a sharp curve.     A lonely figure hurriesup to the front door and     KNOCKS on it impatiently.<b>     AT THE DOOR                                            2</b>     The knock is answered by MRS. WATCHETT, the house-     keeper, a thin, tense woman with iron grayhair.     The CAMERA ENTERS the HALL with DAVID FILBY, an     amiable red-haired young man of science, who hastily     hands her his rumpled cloak and hat, then rushes     toward:<b>     INT.LIBRARY                                           3</b>     A pleasant Edwardian room, the shelves are stacked     tightly with volumes of books, many of ancient     Vintage.     Three men are seated in a rough circle,motionless,     obviously awaiting the arrival of occupants for the     two empty chairs.  The silence is accentuated by the     merry CRACKLING of logs in the fireplace and the     capricious TICKING of innumerabletimepieces about     the room.     Filby enters, pauses to glance down, then embarrassedly     takes his chair.<b>     SERIES OF CLOSE SHOTS                                  4</b>               DR. PHILIP HILLYER is animposing            (a)               businessman, wearing full sideburns.               He stares stonily at the last empty               chair, then at Filby with annoyance.               ANTHONY BRIDEWELL, a man of theworld,       (b)               impeccably attired in the latest fashion,               welcomes Filby the only way he knows, by               lifting his glass of whiskey.               WALTER KEMP, a middle aged man withkeen     (c)               black piercing eyes, angrily chews on               his Havana.               Filby fidgets uncomfortably in his chair     (d)               as               Hillyer glances impatiently athis           (e)               watch, comparing time with a GRAND-               FATHER CLOCK behind him, then snaps               it shut and glares at:<b>     EMPTY CHAIR - MED.SHOT                                5</b>     Conspicuously unoccupied.<b>     GRANDFATHER CLOCK - CLOSE SHOT                         6</b>     Reaching the hour of eight, it begins to STRIKE ITS     YELLOW CHIMES.  Othertimepieces JOIN IN the announce-     ment.<b>     GROUPSHOT                                              7</b>     The men look at each other until the CHIMES, BELLS     ETC. FADE away.  Dr. Hillyer angrily slaps on the     armof his leather chair.<b>                         DR. HILLYER</b>               I say, this is outright rude of the man!<b>                         FILBEY</b>               He's undoubtedly beendetained.  That's               all.     Bridewell, filling his glass, is trying to say some-     thing but is interrupted by                         KEMP (unscrews the cigar from                    his tight lips)               This is such aconfounded waste of               time!  If he's not coming, I've any               number of more important things to do.     All heads turn as Mrs. Watchett enters, closing the     door quietly behind her.  With an envelope inher     hand she stands there, hesitating.<b>                         DR. HILLYER</b>               Speak up -- what is it, woman?     She is taken aback for a moment, then walks over     to Filby and hands him the openenvelope.  He     takes his time in extracting the note.<b>                         BRIDEWELL</b>               Well...are we or are we not invited               to dinner?                         FILBY (reading)               Apparently weare.                    (to Mrs. Watchett)               How long has he been gone?                         MRS. WATCHETT (nervously)               I can't rightly say, sir. - Several               days...I hardly catch a glimpseof               him lately.  He never leaves the               laboratory and comes out only to               nibble at his meals...but he did tell               me days ago about dinner tonight and               left theseinstructions.                    (pointing to note)<b>                         FILBY</b>               Thank you, Mrs. Watchett.     A faint, nervous smile is her acknowledgement and     with that she retreats toward thedoor.                         DR. HILLYER (indicating the                    note)               What does it say, Filby?  What's               wrong?<b>                         FILBY</b>               Nothing really. - George merelysays               that if he is not here by eight we're               to begin without him.     Kemp tears the note out of Filby's hand and reads it     hurriedly.  Meanwhile, Mrs. Watchett swings the door     open and turnsaround.<b>                         MRS. WATCHETT</b>               Dinner is served, gentlemen!                         BRIDEWELL (puts his glass                    down)               First sensible thing I've heardall               evening.     He rises and starts for the dining room.  The others     follow.<b>     FILBY, HILLYER & KEMP - MOVING SHOT                    8</b>     As they walk toward the DININGROOM.<b>                         FILBY</b>               This is peculiar.  He is usually very               prompt, precise and punctual.<b>                         DR. HILLYER</b>               He's making fools of us byinviting               us here and then not showing up.               It's not the behavior of a gentleman.<b>                         KEMP</b>               To say nothing of the waste of               time.                         DR. HILLYER(agreeing)               To say nothing of the waste of               time.     Bridewell, already seated at the heavily laden dining     table, pours a glass of wine for himself while the     others settle down.  This time the chairat the head     of the table is conspicuously unoccupied.                         BRIDWELL (arises, lifting                    his glass)               One thing I will say for George, he               keeps the best cellar in the southof               England...and Mrs. Watchett is the               finest cook in the world. - I think               I'll drink to that!     The glass barely touches his lips as he freezes at     the SOUND OF DROPPING TRAYS and aPIERCING SCREAM.     All look in the direction of another door across     the room.<b>     THE DOOR - FULL SHOT                                   9</b>     It bursts inward and Mrs. Watchett, her hair flying,     dashes downthe steps panic-stricken into the room.     The CAMERA RUSHES with her to the table where the     men have come to their feet.  Clutching Filby's arm,     she points toward the long corridor now revealed by     the opendoor.                         MRS. WATCHETT (frightened)               There!...there...     All stare o.s., Hillyer with the carving knife     clasped in his hand.<b>     CORRIDOR THROUGH DOORWAY - FULLSHOT                   10</b>     We see the figure of a man approaching, a black     silhouette against the pale glow at the end of     the passage.  He is bent with exhaustion and     sways as he moves forward,limping.  The man comes     closer, his features still blacked out by shadows,     but as he nears the doorway, the light from the     room strikes first his legs, then his body and     finally his face.  Here he stops.     Thisis our first meeting with the TIME TRAVELLER     (for so it will be convenient to speak of him).  At     this instant he is in a sorry state.  His clothing     is tattered and dirty, his face pale, bruised and     scratched and his"}
+{"doc_id":"doc_300","qid":"","text":"The Project Gutenberg eBook, The American Senator, by Anthony TrollopeThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: The American SenatorAuthor: Anthony TrollopeRelease Date: May 4, 2002  [eBook #5118]Most recentlyupdated: April 8, 2011Language: English***START OF THE PROJECT GUTENBERG EBOOK THE AMERICAN SENATOR***E-text prepared by Tapio Riikonenand revised by Joseph E. Loewenstein, M.D.THE AMERICANSENATORbyAnthony TrollopeFirst published in serial form in _Temple Bar Magazine_ May, 1876,through July, 1877, and in book form in 1877 by Chapman and Hall.CONTENTS   VOLUME I.          I.DILLSBOROUGH.         II. THE MORTON FAMILY.        III. THE MASTERS FAMILY.         IV. THE DILLSBOROUGH CLUB.          V. REGINALD MORTON.         VI. NOT IN LOVE.        VII. THE WALK HOME.       VIII. THEPARAGON'S PARTY AT BRAGTON.         IX. THE OLD KENNELS.          X. GOARLY'S REVENGE.         XI. FROM IMPINGTON GORSE.        XII. ARABELLA TREFOIL.       XIII. AT BRAGTON.        XIV. THE DILLSBOROUGHFEUD.         XV. A FIT COMPANION,--FOR ME AND MY SISTERS.        XVI. MR. GOTOBED'S PHILANTHROPY.       XVII. LORD RUFFORD'S INVITATION.      XVIII. THE ATTORNEY'S FAMILY IS DISTURBED.        XIX. \"WHOVALUED THE GEESE?\"         XX. THERE ARE CONVENANCES.        XXI. THE FIRST EVENING AT RUFFORD HALL.       XXII. JEMIMA.      XXIII. POOR CANEBACK.       XXIV. THE BALL.        XXV. THE LAST MORNING ATRUFFORD HALL.       XXVI. GIVE ME SIX MONTHS.      XXVII. \"WONDERFUL BIRD!\"   VOLUME II.          I. MOUNSER GREEN.         II. THE SENATOR'S LETTER.        III. AT CHELTENHAM.         IV. THE RUFFORDCORRESPONDENCE.          V. \"IT IS A LONG WAY.\"         VI. THE BEGINNING OF PERSECUTION.        VII. MARY'S LETTER.       VIII. CHOWTON FARM FOR SALE.         IX. MISTLETOE.          X. HOW THINGS WEREARRANGED.         XI. \"YOU ARE SO SEVERE.\"        XII. THE DAY AT PELTRY.       XIII. LORD RUFFORD WANTS TO SEE A HORSE.        XIV. THE SENATOR IS BADLY TREATED.         XV. MR. MAINWARING'S LITTLEDINNER.        XVI. PERSECUTION.       XVII. \"PARTICULARLY PROUD OF YOU.\"      XVIII. LORD RUFFORD MAKES UP HIS MIND.        XIX. IT CANNOT BE ARRANGED.         XX. \"BUT THERE IS SOME ONE.\"        XXI. THEDINNER AT THE BUSH.       XXII. MISS TREFOIL'S DECISION.      XXIII. \"IN THESE DAYS ONE CAN'T MAKE A MAN MARRY.\"       XXIV. THE SENATOR'S SECOND LETTER.        XXV. PROVIDENCE INTERFERES.       XXVI.LADY USHANT AT BRAGTON.      XXVII. ARABELLA AGAIN AT BRAGTON.   VOLUME III.          I. \"I HAVE TOLD HIM EVERYTHING.\"         II. \"NOW WHAT HAVE YOU GOT TO SAY?\"        III. MRS. MORTONRETURNS.         IV. THE TWO OLD LADIES.          V. THE LAST EFFORT.         VI. AGAIN AT MISTLETOE.        VII. THE SUCCESS OF LADY AUGUSTUS.       VIII. \"WE SHALL KILL EACH OTHER.\"         IX. CHANGES ATBRAGTON.          X. THE WILL.         XI. THE NEW MINISTER.        XII. \"I MUST GO.\"       XIII. IN THE PARK.        XIV. LORD RUFFORD'S MODEL FARM.         XV. SCROBBY'S TRIAL.        XVI. AT LAST.       XVII. \"MYOWN, OWN HUSBAND.\"      XVIII. \"BID HIM BE A MAN.\"        XIX. \"IS IT TANTI?\"         XX. BENEDICT.        XXI. ARABELLA'S SUCCESS.       XXII. THE WEDDING.      XXIII. THE SENATOR'S LECTURE.--NO. I.       XXIV.THE SENATOR'S LECTURE.--NO. II.        XXV. THE LAST DAYS OF MARY MASTERS.       XXVI. CONCLUSION.VOLUME I.CHAPTER I.DILLSBOROUGH.I never could understand why anybody should ever have begun toliveat Dillsborough, or why the population there should have been at anytime recruited by new comers. That a man with a family should clingto a house in which he has once established himself is intelligible.The butcherwho supplied Dillsborough, or the baker, or theironmonger, though he might not drive what is called a roaring trade,nevertheless found himself probably able to live, and might wellhesitate before he would encounterthe dangers of a more energeticlocality. But how it came to pass that he first got himself toDillsborough, or his father, or his grandfather before him, hasalways been a mystery to me. The town has no attractions, andneverhad any. It does not stand on a bed of coal and has no connectionwith iron. It has no water peculiarly adapted for beer, or fordyeing, or for the cure of maladies. It is not surrounded by beautyof scenery strongenough to bring tourists and holiday travellers.There is no cathedral there to form, with its bishops, prebendaries,and minor canons, the nucleus of a clerical circle. It manufacturesnothing specially. It has no great horsefair, or cattle fair, oreven pig market of special notoriety. Every Saturday farmers andgraziers and buyers of corn and sheep do congregate in a sleepyfashion about the streets, but Dillsborough has no character ofitsown, even as a market town. Its chief glory is its parish church,which is ancient and inconvenient, having not as yet received any ofthose modern improvements which have of late become commonthroughoutEngland; but its parish church, though remarkable, is hardlycelebrated. The town consists chiefly of one street which is over amile long, with a square or market-place in the middle, round whicha few laneswith queer old names are congregated, and a second smallopen space among these lanes, in which the church stands. As youpass along the street north-west, away from the railway station andfrom London, there is asteep hill, beginning to rise just beyondthe market-place. Up to that point it is the High Street, thenceit is called Bullock's Hill. Beyond that you come to NorringtonRoad,--Norrington being the next town, distant fromDillsboroughabout twelve miles. Dillsborough, however, stands in the county ofRufford, whereas at the top of Bullock's Hill you enter the countyof Ufford, of which Norrington is the assize town. The Dillsboroughpeopleare therefore divided, some two thousand five hundred ofthem belonging to Rufford, and the remaining five hundred to theneighbouring county. This accident has given rise to not a fewfeuds, Ufford being a largecounty, with pottery, and ribbons,and watches going on in the farther confines; whereas Rufford issmall and thoroughly agricultural. The men at the top of Bullock'sHill are therefore disposed to think themselves betterthan theirfellow-townsfolks, though they are small in number and not speciallythriving in their circumstances.At every interval of ten years, when the census is taken, thepopulation of Dillsborough is always found tohave fallen off in someslight degree. For a few months after the publication of the figuresa slight tinge of melancholy comes upon the town. The landlord of theBush Inn, who is really an enterprising man in his way andwho haslooked about in every direction for new sources of business, becomestaciturn for a while and forgets to smile upon comers; Mr. Ribbs,the butcher, tells his wife that it is out of the question that sheand thechildren should take that long-talked-of journey to thesea-coast; and Mr. Gregory Masters, the well-known old-establishedattorney of Dillsborough, whispers to some confidential friend thathe might as well take downhis plate and shut up his house. But in amonth or two all that is forgotten, and new hopes spring up even inDillsborough; Mr. Runciman at the Bush is putting up new stables forhunting-horses, that being the specialtrade for which he now findsthat there is an opening; Mrs. Ribbs is again allowed to suggestMare-Slocumb; and Mr. Masters goes on as he has done for the lastforty years, making the best he can of a decreasingbusiness.Dillsborough is built chiefly of brick, and is, in its own way,solid enough. The Bush, which in the time of the present landlord'sfather was one of the best posting inns on the road, is not onlysubstantial, butalmost handsome. A broad coach way, cut through themiddle of the house, leads into a spacious, well-kept, clean yard,and on each side of the coach way there are bay windows looking intothe street,--the onebelonging to the commercial parlour, and theother to the so-called coffee-room. But the coffee-room has in truthfallen away from its former purposes, and is now used for a farmer'sordinary on market days, and othersimilar purposes. Travellers whorequire the use of a public sitting-room must all congregate in thecommercial parlour at the Bush. So far the interior of the house hasfallen from its past greatness. But the exterior ismaintained withmuch care. The brickwork up to the eaves is well pointed, fresh, andcomfortable to look at. In front of the carriage-way swings on twomassive supports the old sign of the Bush, as to which it maybedoubted whether even Mr. Runciman himself knows that it has swungthere, or been displayed in some fashion, since it was the custom forthe landlord to beat up wine to freshen it before it was given to thecustomersto drink. The church, too, is of brick--though the towerand chancel are of stone. The attorney's house is of brick, whichshall not be more particularly described now as many of the sceneswhich these pages will have todescribe were acted there; and almostthe entire High Street in the centre of the town was brick also.But the most remarkable house in Dillsborough was one standing in ashort thoroughfare called Hobbs Gate, leadingdown by the side of theBush Inn from the market-place to Church Square, as it is called. Asyou pass down towards the church this house is on the right hand, andit occupies with its garden the whole space between themarket-placeand Church Square. But though the house enjoys the privilege of alarge garden,--so large that the land being in the middle of a townwould be of great value were it not that Dillsborough is initsdecadence,--still it stands flush up to the street upon which thefront door opens. It has an imposing flight of stone steps guardedby iron rails leading up to it, and on each side of the door thereis a row of threewindows, and on the two upper stories rows ofseven windows. Over the door there is a covering, on which there aregrotesquely-formed, carved wooden faces; and over the centre of eachwindow, let into the brickwork,is a carved stone. There are alsonumerous underground windows, sunk below the earth and protectedby iron railings. Altogether the house is one which cannot fail toattract attention; and in the brickwork is clearlymarked the date,1701,--not the very best period for English architecture as regardsbeauty, but one in which walls and roofs, ceilings and buttresses,were built more substantially than they are to-day. This was theonlyhouse in Dillsborough which had a name of its own, and it was calledHoppet Hall, the Dillsborough chronicles telling that it had beenoriginally built for and inhabited by the Hoppet family. The onlyHoppet now left inDillsborough is old Joe Hoppet, the ostler at theBush; and the house, as was well known, had belonged to some memberof the Morton family for the last hundred years at least. The gardenand ground it stands uponcomprise three acres, all of which aresurrounded by a high brick wall, which is supposed to be coevalwith the house. The best Ribston pippins,--some people say the onlyreal Ribston pippins,--in all Rufford are to befound here, and itsBurgundy pears and walnuts are almost equally celebrated. There arerumours also that its roses beat everything in the way of roses forten miles round. But in these days very few strangers areadmittedto see the Hoppet Hall roses. The pears and apples do make their wayout, and are distributed either by Mrs. Masters, the attorney's wife,or Mr. Runciman, the innkeeper. The present occupier of the houseis acertain Mr. Reginald Morton, with whom we shall also be muchconcerned in these pages, but whose introduction to the reader shallbe postponed for awhile.The land around Dillsborough is chiefly owned by twolandlords, ofwhom the greatest and richest is Lord Rufford. He, however, does notlive near the town, but away at the other side of the county, and isnot much seen in these parts unless when the hounds bring himhere,or when, with two or three friends, he will sometimes stay for a fewdays at the Bush Inn for the sake of shooting the coverts. He is muchliked by all sporting men, but is not otherwise very popular withthe peopleround Dillsborough. A landlord if he wishes to be popularshould be seen frequently. If he lives among his farmers they willswear by him, even though he raises his rental every ten or twelveyears and never puts a newroof to a barn for them. Lord Rufford isa rich man who thinks of nothing but sport in all its various shapes,from pigeon-shooting at Hurlingham to the slaughter of elephants inAfrica; and though he is lenient in all hisdealings, is not muchthought of in the Dillsborough side of the county, except by thosewho go out with the hounds. At Rufford, where he generally has a fullhouse for three months in the year and spends a vast amountof money,he is more highly considered.The other extensive landlord is Mr. John Morton, a young man, who, inspite of his position as squire of Bragton, owner of Bragton Park,and landlord of the entire parishes ofBragton and Mallingham,--thelatter of which comes close up to the confines of Dillsborough,--wasat the time at which our story begins, Secretary of Legation atWashington. As he had been an absentee since he came ofage,--soonafter which time he inherited the property,--he had been almostless liked in the neighbourhood than the lord. Indeed, no one inDillsborough knew much about him, although Bragton Hall was but fourmilesfrom the town, and the Mortons had possessed the propertyand lived on it for the last three centuries. But there had beenextravagance, as will hereafter have to be told, and there had beenno continuous residence atBragton since the death of old ReginaldMorton, who had been the best known and the best loved of all thesquires in Rufford, and had for many years been master of theRufford hounds. He had lived to a very great age,and, though thegreat-grandfather of the present man, had not been dead above twentyyears. He was the man of whom the older inhabitants of Dillsboroughand the neighbourhood still thought and still spoke when theygavevent to their feelings in favour of gentlemen. And yet the oldsquire in his latter days had been able to do little or nothingfor them,--being sometimes backward as to the payment of money heowed among them. Buthe had lived all his days at Bragton Park,and his figure had been familiar to all eyes in the High Street ofDillsborough and at the front entrance of the Bush. People stillspoke of old Mr. Reginald Morton as though hisdeath had been a soreloss to the neighbourhood.And there were in the country round sundry yeomen, as they oughtto be called,--gentlemen-farmers as they now like to stylethemselves,--men who owned some acresof land, and farmed these acresthemselves. Of these we may specially mention Mr. Lawrence Twentyman,who was quite the gentleman-farmer. He possessed over three hundredacres of land, on which his father hadbuilt an excellent house. Thepresent Mr. Twentyman,--Lawrence Twentyman, Esquire, as he was calledby everybody,--was by no means unpopular in the neighbourhood. He notonly rode well to hounds but paidtwenty-five pounds annually to thehunt, which entitled him to feel quite at home in his red coat. Hegenerally owned a racing colt or two, and attended meetings; but wassupposed to know what he was about, and tohave kept safely the fiveor six thousand pounds which his father had left him. And his farmingwas well done; for though he was, out-and-out, a gentleman-farmer,he knew how to get the full worth in work done for thefourteenshillings a week which he paid to his labourers,--a deficiency inwhich knowledge is the cause why gentlemen in general find farming soexpensive an amusement. He was a handsome, good-looking man ofaboutthirty, and would have been a happy man had he not been too ambitiousin his aspirations after gentry. He had been at school for threeyears at Cheltenham College, which, together with his money andappearanceand undoubted freehold property, should, he thought, havemade his position quite secure to him; but, though he sometimescalled young Hampton of Hampton Wick \"Hampton,\" and the son of therector of Dillsborough\"Mainwaring,\" and always called the rich youngbrewers from Norrington \"Botsey,\"--partners in the well-known firm ofBillbrook & Botsey; and though they in return called him \"Larry\" andadmitted the intimacy, still hedid not get into their houses. AndLord Rufford, when he came into the neighbourhood, never asked him todine at the Bush. And--worst of all,--some of the sporting men andothers in the neighbourhood, who decidedlywere not gentlemen, alsocalled him \"Larry.\" Mr. Runciman always did so. Twenty or twenty-fiveyears ago Runciman had been his father's special friend,--beforethe house had been built and before the days atCheltenham College.Remembering this Lawrence was too good a fellow to rebuke Runciman;but to younger men of that class he would sometimes make himselfobjectionable. There was another keeper of huntingstables, a youngerman, named Stubbings, living at Stanton Corner, a great huntingrendezvous about four miles from Dillsborough; and not long sinceTwentyman had threatened to lay his whip across Stubbings'shouldersif Stubbings ever called him \"Larry\" again. Stubbings, who was alittle man and rode races, only laughed at Mr. Twentyman who was sixfeet high, and told the story round to all the hunt. Mr. Twentymanwasmore laughed at than perhaps he deserved. A man should not havehis Christian name used by every Tom and Dick without his sanction.But the difficulty is one to which men in the position of Mr.Lawrence Twentymanare often subject.Those whom I have named, together with Mr. Mainwaring the rector,and Mr. Surtees his curate, made up the very sparse aristocracy ofDillsborough. The Hamptons of Hampton Wick were Ufford men,andbelonged rather to Norrington than Dillsborough. The Botseys, alsofrom Norrington, were members of the U. R. U., or Ufford and RuffordUnited Hunt Club; but they did not much affect Dillsborough as atown. Mr.Mainwaring, who has been mentioned, lived in another brickhouse behind the church,--the old parsonage of St. John's. Therewas also a Mrs. Mainwaring, but she was an invalid. Their familyconsisted of one son, whowas at Brasenose at this time. He alwayshad a horse during the Christmas vacation, and if rumour did notbelie him, kept two or three up at Oxford. Mr. Surtees, the curate,lived in lodgings in the town. He was apainstaking, eager, cleveryoung man, with aspirations in church matters, which were alwaysbeing checked by his rector. Quieta non movere was the motto by whichthe rector governed his life, and he certainly was notat all the manto allow his curate to drive him into activity.Such, at the time of our story, was the little town of Dillsborough.CHAPTER II.THE MORTON FAMILY.I can hardly describe accurately the exact position of theMastersfamily without first telling all that I know about the Morton family;and it is absolutely essential that the reader should know all theMasters family intimately. Mr. Masters, as I have said in the lastchapter, was theattorney in Dillsborough, and the Mortons had beenfor centuries past the squires of Bragton.I need not take the reader back farther than old Reginald Morton.He had come to the throne of his family as a young man,and had satupon it for more than half a century. He had been a squire of the oldtimes, having no inclination for London seasons, never wishing tokeep up a second house, quite content with his position as squireofBragton, but with considerable pride about him as to that position.He had always liked to have his house full, and had hated pettyoeconomies. He had for many years hunted the county at his ownexpense,--theamusement at first not having been so expensive as itafterwards became. When he began the work, it had been consideredsufficient to hunt twice a week. Now the Rufford and Uffordhounds have four days, andsometimes a bye. It went much againstMr. Reginald Morton's pride when he was first driven to take asubscription.But the temporary distress into which the family fell was caused notso much by his own extravagance asby that of two sons, and by hisindulgence in regard to them. He had three children, none of whomwere very fortunate in life. The eldest, John, married the daughterof a peer, stood for Parliament, had one son, and diedbefore he wasforty, owing something over £20,000. The estate was then worth £7,000a year. Certain lands not lying either in Bragton or Mallingham weresold, and that difficulty was surmounted, not without a"}
+{"doc_id":"doc_301","qid":"","text":"<html><head><title>Lincoln Script at IMSDb.</title><meta name=\"description\" content=\"Lincoln script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Lincoln script, Lincoln moviescript, Lincoln film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=SubjectCONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0];s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>    <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\"title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center></td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                           LINCOLN</b>                          Written by                         TonyKushner                                                                                                               Based in Part on           Team of Rivals: The Political Genius of Abraham Lincoln           By Doris KearnsGoodwin                                                                                                                                                     Final Shooting Script                                                     December 20, 2011<b>          EXT.BATTLEFIELD, JENKINS' FERRY, ARKANSAS - DAY</b>                                   Heavy grey skies hang over a flooded field, the water two          feet deep. Cannons and carts, half-submerged and tilted,          theirwheels trapped in the mud below the surface, are still          yoked to dead and dying horses and oxen.                                   A terrible battle is taking place; two infantry companies,          Negro Union soldiers andwhite Confederate soldiers, knee-          deep in the water, staggering because of the mud beneath,          fight each other hand-to-hand, with rifles, bayonets,          pistols, knives and fists. There's no discipline orstrategy,          nothing depersonalized: it's mayhem and each side intensely          hates the other. Both have resolved to take no prisoners.                         <b>           HAROLD GREEN (V.O.)</b>           Some of uswas in the Second Kansas           Colored. We fought the rebs at           Jenkins' Ferry last April, just           after they'd killed every Negro           soldier they captured atPoison           Springs.                                                  <b>          EXT. PARADE GROUNDS ADJACENT TO THE WASHINGTON NAVY YARD,</b><b>          ANACOSTIA RIVER - NIGHT</b>                                   Rainand fog. Union Army companies are camped out across the          grounds. Preparations are being made for the impending          assault on the Confederate port of Wilmington,North          Carolina.                                   Two black soldiers stand before a bivouacked Negro unit:          HAROLD GREEN, an infantryman in his late thirties, and IRA          CLARK, a cavalryman in his earlytwenties. ABRAHAM LINCOLN          sits on a bench facing Harold and Ira; his stovepipe hat is          at his side.                         <b>                          HAROLD GREEN</b>           So at Jenkins' Ferry, wedecided           warn't taking no reb prisoners.           And we didn't leave a one of `em           alive. The ones of us that didn't           die that day, we joined up with the           116th U.S. Colored, sir. FromCamp           Nelson Kentucky.                         <b>                          LINCOLN</b>           What's your name, soldier?                         <b>                          HAROLD GREEN</b>           Private Harold Green,sir.<b>           2.</b>                                                  <b>                          IRA CLARK</b>           I'm Corporal Ira Clark, sir. Fifth           Massachusetts Cavalry. We're           waiting overthere.                                   He nods in the direction of his cavalry.                         <b>           IRA CLARK (CONT'D)</b>           We're leaving our horses behind,           and shipping out with the24th           Infantry for the assault next week           on Wilmington.                         <b>                          LINCOLN</b>           (to Harold Green:)           How long've you been asoldier?                         <b>                          HAROLD GREEN</b>           Two year, sir.                         <b>                          LINCOLN</b>           Second Kansas Colored Infantry,           they fought bravely atJenkins'           Ferry.                         <b>           HAROLD GREEN IRA CLARK</b>          That's right, sir. They killed a thousand rebel           soldiers, sir. They were very           brave.           (hesitating,then)           And making three dollars less           each month than white           soldiers.                                   Harold Green is a little startled at Clark's bluntness.                         <b>                          HAROLDGREEN</b>           Us 2nd Kansas boys, whenever we           fight now we -                         <b>                          IRA CLARK</b>           Another three dollars subtracted           from our pay for ouruniforms.                         <b>                          HAROLD GREEN</b>           That was true, yessir, but that<b>                          CHANGED -</b>                         <b>                          IRA CLARK</b>           Equalpay now. Still no           commissioned Negro officers.                         <b>                          LINCOLN</b>           I am aware of it, CorporalClark.<b>           3.</b>                                                  <b>                          IRA CLARK</b>           Yes, sir, that's good you're aware,           sir. It's only that -                         <b>                          HAROLDGREEN</b>           (to Lincoln, trying to           change the subject:)           You think the Wilmington attack is           gonna be -                         <b>                          IRA CLARK</b>           Now that white peoplehave           accustomed themselves to seeing           Negro men with guns, fighting on           their behalf, and now that they can           tolerate Negro soldiers getting the           same pay - in a few yearsperhaps           they can abide the idea of Negro           lieutenants and captains. In fifty           years, maybe a Negro colonel. In a           hundred years - the vote.                                   Green's offended at the wayClark is talking to Lincoln.                         <b>                          LINCOLN</b>           What'll you do after the war,           Corporal Clark?                         <b>                          IRA CLARK</b>           Work, sir.Perhaps you'll hire me.                         <b>                          LINCOLN</b>           Perhaps I will.                         <b>                          IRA CLARK</b>           But you should know, sir, that I           get sick at thesmell of bootblack           and I can't cut hair.                                   Lincoln smiles.                         <b>                          LINCOLN</b>           I've yet to find a man could cut           mine so it'd make anydifference.                         <b>                          HAROLD GREEN</b>           You got springy hair for a white           man.                                   Lincolnlaughs.<b>           4.</b>                                                  <b>                          LINCOLN</b>           Yes, I do. My last barber hanged           himself. And the one before that.           Left me his scissors in hiswill.                                   Green laughs.                                   TWO WHITE SOLDIERS have come up, two young kids, nervous and          excited.                                                  <b>           FIRST WHITESOLDIER LINCOLN</b>          President Lincoln, sir? Evening, boys.                         <b>           SECOND WHITE SOLDIER</b>           Damn! Damn!           We, we saw you, um. We were at, at-                         <b>           FIRST WHITE SOLDIER</b>           We was at Gettysburg!                         <b>           HAROLD GREEN SECOND WHITE SOLDIER</b>          You boys fight at Gettysburg? DAMN I can'tbelieve it's -                         <b>           FIRST WHITE SOLDIER (CONT'D)</b>           (to Green, with mild<b>                          CONTEMPT)</b>           Naw, we didn't fight there.           We just signed up lastmonth.           We saw him two years ago at the           cemetery dedication.                         <b>           SECOND WHITE SOLDIER</b>           Yeah, we heard you speak! We...           DAMN DAMN DAMN! Uh, hey,how tall           are you anyway?!                         <b>           FIRST WHITE SOLDIER</b>           Jeez, SHUT up!                         <b>                          LINCOLN</b>           Could you hear what Isaid?                         <b>           FIRST WHITE SOLDIER</b>           No, sir, not much, it was-                         <b>           SECOND WHITE SOLDIER</b>           (he recites, fastand<b>                          MECHANICALLY:)</b>           \"Four score and seven years ago,           our fathers brought forth on this           continent a new nation, conceived           in liberty and dedicated tothe<b>           5.</b>                                                             proposition that all men are           created equal.\"                         <b>                          LINCOLN</b>           That's good, thank you for-                         <b>           FIRST WHITE SOLDIER</b>           \"Now we are engaged in a great           civil war, testing whether that           nation or any nation so conceived           and so dedicated can longendure.           We are, we are, we are met on a           great battlefield of that war.\"                         <b>                          LINCOLN</b>           Thank you, that's -                         <b>           SECOND WHITESOLDIER</b>           \"We have come to dedicate a portion           of that field as a final resting           place for those who here gave their           lives that that nation might live.           It is...\"           (He chokes up alittle.)                         <b>           FIRST WHITE SOLDIER</b>           His uncles, they died on the second           day of fighting.                                                  <b>           SECOND WHITE SOLDIER A VOICE(O.C.)</b>          I know the last part. \"It is, Company up! Move it out!          uh, it is rather -\"                                   Soldiers all over the field rise up at the mustering of the          troops. Names of regiments,brigades, divisions are called:          all across the field, the men put out fires, put on          knapsacks.                         <b>                          LINCOLN</b>           (to the twowhite<b>                          SOLDIERS:)</b>           You fellas best find your company.                         <b>           FIRST WHITE SOLDIER</b><b>                          (SALUTING LINCOLN:)</b>           Thank you,sir. God bless you!                         <b>                          LINCOLN</b>           God bless you.                                   The second white soldier salutes, and the two moveout.<b>           6.</b>                                                            Green salutes Lincoln as well and glances at Clark, who          remains, looking down. Green leaves. Clark looks up, salutes          Lincoln and, turningsmartly, walks toward his unit.                                   Then he stops, turns back, faces Lincoln, who watches him. A          beat, and then, in a tone of admiration and cautious          admonishment, reminding Lincolnof his promise:                         <b>                          IRA CLARK</b>           \"That we here highly resolve that           these dead shall not have died in<b>                          VAIN --\"</b>                                   Clark salutes Lincoln again, turns again and walks away.          Lincoln watches him go. As he walks into the fog, Clark          continues reciting in a powerfulvoice:                         <b>           IRA CLARK (CONT'D)</b>           \" - That this nation, under God,           shall have a new birth of freedom --           and that government of the people,           by the people, for thepeople,           shall not perish from the earth.\"                                   Lincoln watches Clark until the fog's swallowed him up.                         <b>                         TITLE:</b>                         <b>           JANUARY,"}
+{"doc_id":"doc_302","qid":"","text":"The Project Gutenberg EBook of All the Way to Fairyland, by Evelyn SharpThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: All the Way to Fairyland       Fairy StoriesAuthor: Evelyn SharpIllustrator: Mrs. Percy DearmerReleaseDate: November 3, 2009 [EBook #30400]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK ALL THE WAY TO FAIRYLAND ***Produced by Al Haines[Illustration: Cover art]All the Way toFairylandFairy StoriesBYEVELYN SHARPAUTHOR OF \"WYMPS\"WITH EIGHT COLOURED ILLUSTRATIONSAND A COVER BY MRS. PERCY DEARMERJOHN LANETHE BODLEY HEADLONDON AND NEW YORK1898COPYRIGHT,1897, BYJOHN LANE.FIRST EDITIONUniversity Press:JOHN WILSON AND SON, CAMBRIDGE, U.S.A._By the Same author:_WYMPS: FAIRY TALES.  With eight coloured illustrations by Mrs. PercyDearmer.THE MAKING OFA SCHOOLGIRL.AT THE RELTON ARMS.THE MAKING OF A PRIG.[Illustration: A PRINCESS FLOATING ABOUT ON A SOFT WHITE CLOUD]THESE STORIESARE FORGEOFFREY AND CHRISTOPHERTRISTAN ANDISEULTMARGARET AND BOYANDEVERARDAND ALL THE OTHER CHILDRENWHO WOULD LIKE TO GOALL THE WAY TO FAIRYLANDContentsCHAPTER    I.  THE COUNTRY CALLED NONAMIA   II.  WHY THE WYMPSCRIED  III.  THE STORY OF HONEY AND SUNNY   IV.  THE LITTLE PRINCESS AND THE POET    V.  THE WONDERFUL TOYMAKER   VI.  THE PROFESSOR OF PRACTICAL JOKES  VII.  THE DOLL THAT CAME STRAIGHTFROM FAIRYLAND VIII.  THOSE WYMPS AGAIN!List of IllustrationsBY MRS. PERCY DEARMER    I.  A PRINCESS FLOATING ABOUT ON A SOFT WHITE CLOUD . _Frontispiece_   II.  THE WYMPS SAY THAT QUEER BEGANIT  III.  SUNNY WAS SO ASTONISHED THAT SHE STOPPED CRYING AT ONCE   IV.  \"COME WITH ME, POET,\" SAID THE LITTLE PRINCESS    V.  THE ROCKING-HORSES RUSHED OVER THE GROUND   VI.  HE CURLEDHIMSELF UP IN THE SUN AND CLOSED HIS EYES  VII.  THE LADY EMMELINA IS ALWAYS KEPT IN HER PROPER PLACE NOW VIII.  \"WILL YOU COME AND PLAY WITH ME, LITTLE WISDOM?\"The Country CalledNonamiaEver so long ago, in the wonderful country of Nonamia, there lived anabsent-minded magician.  It is not usual, of course, for a magician tobe absent-minded; but then, if it were usual it would not havehappenedin Nonamia.  Nobody knew very much about this particular magician, forhe lived in his castle in the air, and it is not easy to visit any onewho lives in the air.  He did not want to be visited, however;visitorsalways meant conversation, and he could not endure conversation.  This,by the way, was not surprising, for he was so absent-minded that healways forgot the end of his sentence before he was half-waythroughthe beginning of it; and as for his visitors' remarks--well, if he hadhad any visitors, he would never have heard their remarks at all.  So,when some one did call on him, one day,--and that was when he hadbeenliving in his castle in the air for seven hundred and seventy-sevenyears and had almost forgotten who he was and why he was there,--themagician was so astonished that he could not think of anything to say.\"Howdid you get here?\" he asked at last; for even an absent-mindedmagician cannot remain altogether silent, when he looks out of hiscastle in the air and sees a Princess in a gold and silver frock, witha bright little crown onher head, floating about on a soft white cloud.\"Well, I just came, that's all,\" answered the Princess, with aparticularly friendly smile.  \"You see, I have never been able to findmy own castle in the air, so when the WestWind told me about yours Iasked him to blow me here.  May I come in and see what it is like?\"\"Certainly not,\" said the magician, hastily.  \"It is not like anything;and even if it were, I should not let you come in.  Don'tyou knowthat, if you were to enter another person's castle in the air, it wouldvanish away like a puff of smoke?\"\"Oh, dear!\" sighed the Princess.  \"I did so want to know what a realcastle in the air was like.  I wonder ifyours is at all like mine!\"\"Tell me about yours,\" said the magician.  \"I may be able to help youto find it.\"  Of course, he only said this in order to prevent her fromcoming inside his own castle.  At the same time, a littleconversationwith a friendly Princess in a gold and silver gown is not at allunpleasant, when one has lived in a castle in the air for seven hundredand seventy-seven years.\"My castle in the air is much bigger than yours,\"she explained.  \"Ithas ever so many rooms in it,--a large room to laugh in and a smallroom to cry in--\"\"To cry in?\" interrupted the magician.  \"Why, no one ever thinks ofcrying in a castle in the air!\"\"One never knows,\"answered the Princess, gravely.  \"Supposing I wereto prick my finger, what should I do if there was n't a room to cry in?Then, there is a middling-sized room to be serious in; for there isjust a chance that I might wantto be serious sometimes, and it wouldbe as well to have a room, in case.\"\"Perhaps it would,\" observed the magician, who had never listened soattentively to a conversation in the whole of his long life.  \"Whatelse willyou have in your castle?\"\"I shall have lots of nice books that end happily,\" answered thePrincess; \"and they shall be talking books, so that I need not readthem to find out what they are about.  I shall have plenty ofhappythoughts in my castle, too, and lots of nice dreams piled up in heaps,and--well, there is just one thing more.\"\"What is that?\" asked the magician.\"Well, I think I should like to have a Prince in my castle, anicePrince, who would not want to be just dull and princely like all theprinces I have ever danced with, but a Prince who would like my castleexactly as I have built it and would play with me all day long.  Thatwould besomething like a Prince, wouldn't it?\"\"You could not possibly have a Prince,\" said the magician.  \"If youallowed some one else even to look into your castle in the air, itwould vanish away like a puff of smoke.  I havelived in my castle forseven hundred and seventy-seven years, and I have never allowed any oneto put a foot in it.\"\"Is it so beautiful, then, your castle in the air?\" asked the Princess,wonderingly.\"I'm sure I don't know,\"said the absent-minded magician; \"I don'tthink I ever noticed.  I came to live in it, because it was the onlyplace in which I could be left alone.  That reminds me, that if you donot go away at once I shall be obliged tobecome exceedingly angry withyou.\"\"By all means,\" said the Princess, who had the most charming manners inthe world; \"but I should like to have my castle first.\"\"I have n't got it here,\" said the magician, lookingabout him vaguely.\"I know I saw it somewhere not long ago, but I can't remember what Idid with it.  However, if you ask the people of Nonamia, they will beable to tell you where it has gone.  You will find that they areveryobliging.\"\"Will they not be surprised?\" asked the Princess.\"Dear me, no!  The Nonamiacs are never surprised at anything,\" said themagician; and he drew in his head from the window.  The Princess in thegold andsilver frock sailed away on her cloud, and landed presently inthe flat, green country of Nonamia.\"Have you seen my castle in the air?\" she asked, very politely, of thefirst Nonamiac she met.\"What is it like?\" asked theNonamiac, without showing the leastsurprise.\"It is ever so large and ever so beautiful, and it is packed full ofhappiness, and there is a nice Prince inside,\" answered the Princess.\"Ah,\" said the Nonamiac; \"then it mustbe the one I saw being blownalong by the South Wind.  But there was no Prince inside.\"The Princess thanked him and hastened away in the direction of theSouth Wind until she met another Nonamiac, to whom sheexplained aspolitely as before what she wanted to know.\"Ah,\" said the Nonamiac, \"that must be the castle I met just now as itwas being carried off by the North Wind.  But I saw no Prince inside.\"The Princess turnedround and hurried after the North Wind as fast asshe could go.  As soon as she met another Nonamiac, however, she had toturn round once more, for he told her that her castle had just beenstolen by the East Wind;and when she had been walking quite a longtime in the direction of the East Wind, she met yet another Nonamiac,who told her that it was the West Wind who had taken away her castle inthe air.\"It is too bad!\" said thelittle Princess, sitting down exhausted on alarge stone by the side of the road.  \"Why should all the winds beplaying with my castle in the air?\"\"Castles in the air generally go to the winds,\" observed a traveller ina dustybrown cloak, who was sitting on another large stone, not veryfar off.  She was quite sure he had not been there the moment before,but, in Nonamia, there was nothing remarkable about that.  The Princesswiped thetears out of her eyes with a small lace handkerchief, andlooked at the stranger.\"Mine is a very particular castle in the air, you see,\" she said.  \"Itis ever so large and ever so beautiful, and it is packed with happinessanddreams, and _perhaps_ there is a Prince in it, too.\"\"A Prince?\" said the stranger.  \"What sort of Prince?\"\"A nice Prince,\" explained the Princess, \"who can play games and tellstories and be amusing.  All the Princes Iknow can do nothing butdance, and they are not at all amusing.  I am afraid, though,\" sheadded, sighing, \"that I am going to have my castle without a Prince,after all.\"\"Would it do,\" asked the traveller in the dustybrown cloak, \"if youwere to have a Prince without a castle?\"\"Oh, no!\" answered the Princess, decidedly.  \"If you knew how beautifulmy castle in the air is, you would not even ask such a stupid question!\"Then she againtook up her small lace handkerchief, and she brushed thedust from her gold and silver gown, and polished up her bright littlegold crown, and made herself as neat and dainty as a Princess shouldbe; for, in Nonamia, onenever knows what may happen next, and it isjust as well to be prepared.  And, in fact, no sooner was she quitetidy than the West Wind came hurrying along with her castle in the air;and the Princess gave a shout of joyand sprang inside it; and the WestWind blew, and blew, and blew, until the castle that was packed full ofhappiness, and the little Princess in the gold and silver gown, wereboth completely out of sight.  The travellerlooked after them and felta little forlorn; then he picked up his stick and walked on until hecame to the magician's castle.  This may seem a little surprising, ashe had no wings of any kind and the magician's castle wasin the air;but it must be remembered that it all happened in Nonamia.\"Dear, dear!  Here 's another of them!\" grumbled the magician, when helooked out of his window and saw the stranger standing below.  Afterbeingalone for seven hundred and seventy-seven years, it was a littleexhausting to have two visitors on the same day.  Besides, a travellerin a dusty brown cloak is not at all the same thing as a daintyPrincess in a gold andsilver gown.\"Good-day,\" said the stranger.  \"Are you the magician who has given acastle in the air to a Princess in a gold and silver frock with abright little crown on her head?\"\"Very likely; but I cannot say for certain,\"said the absent-mindedmagician.  \"I believe there was something of the kind, now you come tomention it; but I could n't tell you what it was.  However, I don'tmean to give away any more castles in the air, so thesooner you leaveme alone, the better.\"\"I don't want a castle in the air,\" laughed the stranger.  \"People whospend their lives in building real houses never have time to buildcastles in the air!  _I_ want to find thePrincess, not the castle.\"\"That you will never do as long as she is happy in it,\" said themagician.  \"People who live in castles in the air are never to befound, unless they have grown tired of living in them.\"\"Oho!\"chuckled the stranger.  \"Are _you_ tired of living in yours,then?\"The absent-minded magician tried to determine whether he should beangry or not, when the stranger said this; but, by the time he had madeup his mindto be angry, he had forgotten what there was to be angryabout, and while he was thinking about it, the man in the dusty browncloak walked away and left him.Evidently, it was not very long before the Princess grewtired ofliving in her castle in the air, for the very next day, as thetraveller was once more resting on the large stone by the side of theroad, down she came, castle and all, and stopped just in front of him.Truly, there isno end to the wonderful things that happen in Nonamia!\"Hullo!\"  said  the  traveller,  smiling.  \"What is it like inside yourcastle?\"\"It is not half so nice as I expected to find it,\" said the Princess,popping her head out ofthe top window.  \"You see, there is no one toplay with; and even if your castle is the most beautiful castle in theworld, it is always dull when there is no one to play with, isn't it?\"\"I don't know,\" answered the stranger;\"I have never had any one toplay with.  What else is wrong with your castle?\"\"Well,\" continued the Princess, \"it is all very well to have a castlethat is packed with happiness; but, when it is packed so tight thatyoucannot get it out without some one to help you, it is not much good, isit?\"\"I don't know,\" answered the stranger; \"my happiness has never beenpacked so tight as all that.  Have you anything else to complain of?\"\"Agreat many things,\" said the Princess.  \"It is all that stupidmagician's fault.  When I said, 'a small room to cry in,' I did n'treally mean a room to _cry_ in, did I?  But every way I turn, there isalways the room to cry in,staring me in the face!  I am sure there issomething seriously wrong with my castle in the air.\"\"No doubt about it,\" said the traveller; \"and it is clearly themagician's fault.\"\"When you came to live in your castle in theair,\" continued thePrincess, plaintively, \"did you find that it was very different fromthe one you had built?\"The traveller in the dusty brown cloak burst out laughing.\"I have no time to build castles in the air,\" he said.  \"Ibuild realhouses for other people to live in, people who would, perhaps, have nohouses at all if I did not build them.  That is more important thanbuilding castles in the air for one's self.\"\"What are your real houses like?\"asked the Princess.\"They are strong,\" answered the stranger, proudly.  \"All the four windsjoined together could not blow them down.  No one has ever built suchstrong houses as mine.\"\"Are they beautiful, too?\" askedthe Princess.\"I have no time to look after that,\" answered the stranger.  \"I buildmore houses than any one else in the world; and still, there are peoplewho are waiting for houses to live in.  I must build as fast as Ican,day after day, year after year.\"\"Then why are you not building houses now?\" asked the Princess.  Thegreat builder looked sorrowful.\"There is something wrong about my real houses, too,\" he confessed.\"The peoplewho live in them are never quite contented; and I have comeaway to think out a new plan by myself, so that the next houses I buildshall be the most wonderful houses in the world.\"The Princess leaned her chin on herhand, and looked quite thoughtfulfor a moment or two.\"May I come and help you to build real houses, for a change?\" she saidpresently.  \"I am dreadfully tired of building castles in the air thatdo not turn outproperly--though, of course, that was principally themagician's fault!  Still, if you were to show me the way, I might beable to build something real that would turn out properly; and thatwould be ever so much moreamusing.\"\"It is not at all amusing,\" said the traveller, shaking his head.  \"Youwould soon grow tired of it; besides, you would have no Prince to playwith.\"\"I don't think I want a Prince to play with,\" said thecharmingPrincess in the gold and silver frock.  \"He might turn out to be asdull as my castle in the air, especially if the magician had anythingto do with it!  I would much sooner come and help you to buildrealhouses.\"The traveller in the dusty brown cloak still shook his head.\"Little ladies in gold and silver gowns can only build castles in theair,\" he said.\"Do the people who live in your houses never build castles in theair?\"asked the Princess.\"I never thought of asking them,\" answered the great builder.  \"I havebeen too much occupied in building their real houses.\"\"Then let us go and ask them now,\" said the Princess; and she camedownfrom her castle in the air, and stepped once more on to the dusty road,and held out her little white hand to the traveller.  Her castle in theair vanished like a puff of smoke the moment she stepped out of it.\"Whatwould be the use of that?\" asked the traveller, smiling.  He tookthe little white hand, however, for no one could have refused that muchto such a very charming Princess.\"Why,\" said the Princess in the gold and silverfrock, \"then we couldmake their real houses just like their castles in the air; and onlythink how packed with happiness they would be!\"The traveller looked at her in amazement.  It was certainly astonishingthat so greata builder as he should find out what was wrong with hishouses, from a Princess with a bright little crown on her head who hadnever done anything but build castles in the air.  Still, we mustremember that it allhappened in Nonamia; and that accounts for a greatdeal.\"You are quite right,\" said the traveller; \"you know far more about itthan I do.  You shall come and help me to build real houses, and theyshall be the mostwonderful houses that have ever been built.\"\"All beautiful to look at, and packed with happiness inside!\" cried thedainty little Princess, clapping her hands for joy.  \"And we won't letthat stupid magician spoil our realhouses, will we?\"The magician was looking out of his window at nothing at all, when theycame past his castle, hand in hand.\"We are going to build the most wonderful houses in the world,\" criedthe Princess,--\"ever somuch more wonderful than the stupid castle inthe air you gave _me_!\"This was not very gracious of her, for, after all, the magician hadgiven her exactly what she had built for herself.  However, as he hadalreadyforgotten both of them and could not think of anything to say,and as they were in too great a hurry to stay and help him, there isnothing more to be said about the magician, except that he is stillliving in his castle inthe air and looking out of his window atnothing at all, which is a right and proper occupation for a magicianwho is absent-minded.  As for the traveller and the charming Princess,they spent the rest of their days inbuilding the most wonderful housesin the world for the people who had nowhere to live.  And as for thepeople who had nowhere to live, it was only natural that they shouldall find their way to the country calledNonamia, where a little ladyin a gold and silver gown taught them to build a castle in the air, anda great builder in a dusty brown cloak made it into a real house thatwas packed with happiness.It is a little difficult tobelieve that this is all true; but then, itmust be remembered that it all happened in Nonamia, ever so long ago![Illustration: THE WYMPS SAY THAT QUEER BEGAN IT]Why the Wymps CriedThe wymps and the fairieshave never been able to agree.  Nobody quiteknows why, though the Fairy Queen, who is the wisest person in thewhole world, was once heard to say that jealousy had something to dowith it.  The fairies say, however,that they would never dream ofbeing jealous of people who live at the back of the sun and do not knowmanners; while the wymps say it would be absurd to be jealous of anyone who lives at the front of the sun andcannot take a joke.  All thesame, the Fairy Queen is always right, so somebody must certainly bejealous of somebody; and it is well known that if the wymps and thefairies are invited to the same party, it is sure to endin a quarrel.It is really a wonder that the Fairy Queen has not lost patience withthe wymps long ago; but people say that she has more affection for hernaughty little subjects at the back of the sun than any onewouldimagine; and the Fairy Queen is so wonderful that it is quite possibleto believe this.Once, matters became so serious that there would have been a real war,if the Queen had not called an assembly of her subjectson thespot--which happened to be on the roof of a blacksmith's forge--andasked them what the fuss was all about.\"Please, your Majesty,\" said one fairy, half crying, \"the wymps shut meup at the back of the sun forfifteen days, and they gave me nothing toeat, your Majesty; they said that if I couldn't take a joke I couldn'ttake anything.  And I should never _wish_ to take one of their jokes,please your Majesty.\"\"Do not troubleabout that,\" said the Fairy Queen, gravely.  \"For mypart, I shall never expect you to take a joke from any one.  Now,Capricious, what have they done to you?\" she added, as another fairywith a round dimpled face cameforward in a great hurry.\"Please, your Majesty,\" began Capricious, trying to make a verycheerful voice sound extremely doleful, \"I found a wymp in the nursery,after the children had gone to bed; and he was quite"}
+{"doc_id":"doc_303","qid":"","text":"<html><head><title>Frozen River Script at IMSDb.</title><meta name=\"description\" content=\"Frozen River script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Frozen River script,Frozen River movie script, Frozen River film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\"rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                             FROZEN RIVER</b>                              Written by                             Courtney Hunt<b>    FADEIN:</b><b>1   EXT. INTERNATIONAL SEAWAY BRIDGE - DAY                      1</b>    A sign reads \"Bridge to Canada.\"    A steep 1940's era customs bridge arches over the St.    Lawrence River.    Cars and trucks lineup in different lanes. Customs    officials inspect and question impatient drivers.    Beyond them a smaller sign: \"THANK YOU FOR VISITING    MASSENA NEW YORK, IT WORKS, for business, for family,for    you\".<b>2   EXT. BELOW THE BRIDGE - DAY                                 2</b>    The river stretches for miles in either direction,    frozen, and still with trees on either side.<b>3   EXT. RAY'S TRAILER YARD,MASSENA NEW YORK - DAY             3</b>    RAY EDDY, 38, a bit worn for her years, with a long red    ponytail, wearing an old bathrobe, sits in the passenger    seat of her RED PLYMOUTH HORIZON with the dooropen,    smoking a cigarette, thinking. Her breath is visible in    the cold morning air.    Her bare feet rest on the cold ground.    Her 1970's rusted out TRAILER HOME SITS in front of her    on CINDER BLOCKS AT ASLIGHT TILT. Beside it, a small    SHED and behind it the CONCRETE FOUNDATION FOR A HOUSE.    Around her, the yard is littered with junk: a rusted ski    lift chair, the front end of a Plymouth Duster anda    SMILING DUCK Kiddie Ride.    Beyond the yard, flat, winterbare land.    After a moment, a lanky boy of 15, her son, TROY, JR.,    leans out the trailer door.<b>                            T.J.</b>               We're out ofCapt'n Crunch.    His breath is visible in the cold.<b>                             RAY</b>               Just give him toast.<b></b><b>                                                         2.</b><b>                       T.J.</b>          We gotno butter, we got no jelly.Ray is out of ideas. He expects her to move, but shestays still. He looks around the yard.<b>                       T.J. (CONT'D)</b>          What are youdoing?<b>                       RAY</b>          Listening for the trucks.<b>                       T.J.</b>          Are they really coming?<b>                         RAY</b>          Yeah.<b>                         T.J.</b>          Where'sdad?She is silent.<b>                       T.J. (CONT'D)</b>                 (says it slow)          Where's dad?She looks at him.<b>                       RAY</b>          I don't know how he found it,T.J.<b>                         T.J.</b>          Found what?Ray takes a drag off her cigarette. T.J. walks over tothe car.<b>                         T.J. (CONT'D)</b>          The money?<b>                       RAY</b>          Ilocked it in my glove compartment.T.J. looks in at the OPEN AND EMPTY GLOVE COMPARTMENT.<b>                       T.J.</b>          That was stupid.<b>                       RAY</b>          Yeah, I see that now, but thetrucks were          coming before the bank opened.<b></b><b>                                                      3.</b><b>                       T.J.</b>          Did you tell him you had it?<b>                       RAY</b>          Duh?No, I guess he just sniffed it out.<b>                       T.J.</b>          Jesus Christ! The glove compartment!?          That's the stupidest place you could have          put it.<b>                       RAY</b>          He hasn'tbought a scratch card in almost          thirty two months. I thought it would be          okay!<b>                       T.J.</b>          Did he leave anything?She shakes her head.<b>                       T.J.(CONT'D)</b>          What are you gonna do?<b>                       RAY</b>          Nothing.<b>                       T.J.</b>          You could look for him?<b>                       RAY</b>          He could beanywhere.<b>                       T.J.</b>          We should look for him.<b>                       RAY</b>          Where?<b>                       T.J.</b>          The Rez,<b>                       RAY</b>          With more than fourthousand dollars,          he's probably in Atlantic City by now.<b>                       T.J.</b>          So let's go, let's find him before he          blows itall.<b>                       (CONT'D)</b><b></b><b>                                                             4.</b><b>                           RAY</b>              I can't.<b>                           T.J.</b>              What do youmean?<b>                           RAY</b>              I just can't do it anymore.<b>                           T.J.</b>              But he'll lose it all.<b>                           RAY</b>              T.J., we can't make himstop.<b>                           T.J.</b>              He stole our money. Call the Troopers.<b>                           RAY</b>              It's not stealing if you take it from              your family. Anyway, he made some ofit,              too.<b>                           T.J.</b>              So you're just gonna sit there?<b>                           RAY</b>              I'm sorry.    In the distance the RUMBLE OF TRUCKS. Ray hears it. It    getslouder.<b>                           T.J.</b>              Another Christmas in the tin crapper.    T.J. goes into the shed and slams the door.    Ray throws down her cigarette and goes into the trailer.<b>4   INT. RAY'S TRAILER- DAY                                      4</b>    She looks around the cramped trailer at the oversized    RENTAWORLD furniture including a big screen TV.    An enlarged wall photograph of the family catches her    eye. In it,her husband, TROY, SR., 40, wearing a forced    smile, his long, shaggy hair combed flat for the picture.    Ray hurries down the hall to her bedroom and takes off    her bathrobe -- she has several tatoos -- and slidesinto    a pair or jeans and a t-shirt.<b></b><b>                                                              5.</b>    A sleepy-eyed, toe-headed boy, RICKY, 5, walks in,    shirtless in pajama bottoms, eyesshining.<b>                            RICKY</b>              Is it here?    Ray stops what she's doing when she sees him and kneels    down.<b>                           RAY</b>              Hey, little sleepyhead.<b>                           RICKY</b>              Is it here yet? `Cause I'm ready.    He drags a suitcase full of plastic dinosaurs around the    corner.    The RUMBLE OUTSIDE GROWS LOUDER. Ricky BOLTS out ofthe    bedroom and down the hall to the trailer door.<b>                            RAY</b>              Wait a sec-    He bursts into the yard where:<b>5   EXT. RAY'S TRAILER - DAY                                       5</b>    APICK-UP TRUCK DRAPED WITH A \"WIDE LOAD\" banner leads    TWO SEMIS hauling halves of a DOUBLE WIDE MOBILE HOME    wrapped in plastic, rippling in the wind.    Ricky stops at the massive sight, twisting at hisfly,    trying not to pee himself.    T.J. comes out of the shed.    The Doubles come to a stop and idle in the yard.    GUY VERSAILLES, pot-bellied, in a green velour running    suit, squeezes out of his truck. On the door:\"MASSENA<b>    MODULAR AND MOBILE HOMES, NEW AND RECONDITIONED.\"</b>    Ricky grabs a rope hanging off one of the doubles and    tries to climb the side of it. The TRUCK DRIVER looks    down from hiscab.<b>                           T.J.</b>                     (to Ricky)              Get down.    Ray peeks out the kitchen curtain.<b></b><b>                                                       6.</b>After a moment she comes out of thetrailer, with apasted-on smile.<b>                       RAY</b>          We're all ready for ya'.She points to the new concrete foundation. He consults aclipboard.<b>                       VERSAILLES</b>          We'll need theballoon payment to unload.T.J. looks at Ray.<b>                       RAY</b>          We have it, it's just that they called          Troy from Titus last night. That's where          Troy works. The ski place? Andanyway-<b>                       VERSAILLES</b>          Have you got the $4,372 dollars or not?<b>                       RAY</b>          It was some emergency with the lifts. So          he took off without thinking withthe          money. Completely forgot you were coming.          So as soon as he gets back-<b>                       VERSAILLES</b>          When's he gonna be back?<b>                       RAY</b>          As soon as he canget here, I'll just run          it down to you.T.J. could crawl out of his skin.<b>                       VERSAILLES</b>                 (ironic smile)          This is the second time you've dragged me          out here. If you don'tcome up with it by          Christmas, you've lost your fifteen          hundred dollar deposit.He walks toward his car. She follows him.<b>                       RAY</b>          Look, Mr. Versales, I have a good job at          ALLFOR A DOLLAR. They're probably gonna          make me a manager after Christmas so I          can handle the payments if you just leave          the house-<b></b><b>                                                         7.</b>Hegets in the car.<b>                       VERSAILLES</b>          Call me when you have the balloon          payment.He makes a circle in the air with his hand and the semi'srev their engines and grind intoreverse.<b>                       RAY</b>          I'll call you...Her voice is DROWNED OUT by REVVING engines.Ricky rushes to her.<b>                       RICKY</b>          Wait, where are they going?She takes his face inher hands.<b>                       RAY</b>          Listen to me. We'll get them back.<b>                       RICKY</b>          But why are they leaving?<b>                       RAY</b>          Ricky, I'll get them back. Ipromise,          honey.<b>                       RICKY</b>          That's our house!He BREAKS AWAY from her and RUNS down the road chasingafter the semis. Ray chases after Ricky until he runs outof steam and stops,panting.She catches up to him and tries to hug him. He pushes heraway. She gets down on her knees and takes his face inher hands.<b>                       RAY</b>          We're gonna get it back.She picks him up andwalks back to the trailer. Rickylooks out mournfully at the trailers disappearing downthe road.<b>                       RAY (CONT'D)</b>                 (to T.J.)          You better hurry or you're going to miss          the bus.Let's get your clothes on,          Ricky.<b></b><b>                                                           8.</b>    T.J. just stares at her.<b>                           T.J.</b>              I can get a job youknow.<b>                           RAY</b>              You're 15, T.J.<b>                           T.J.</b>              They won't ask any questions.<b>                           RAY</b>              You're finishingschool.<b>                           T.J.</b>              Come on, you don't think we can live on              what you make at All for a Dollar do you?<b>                           RAY</b>              You're going to school.    She goesinside.   T.J. follows.<b>                           T.J.</b>              I bet I could make more than you do.    She ignores him.<b>6   INT. RAY'S TRAILER - DAY                                    6</b>    Ray helps Ricky into hisclothes and puts his backpack on    his back.<b>                           RICKY</b>              Where's daddy?    Ray and T.J. look at each other.<b>                           RAY</b>              He'll beback.<b>                           T.J.</b>              Aren't we even gonna look for him?<b>                           RAY</b>              No! I'm going to work and you're goingto              school.<b>                            T.J.</b>              That's it?<b></b><b>                                                       9.</b><b>                       RAY</b>          The only thing that changed is that your          dad"}
+{"doc_id":"doc_304","qid":"","text":"The Project Gutenberg EBook of Felix Holt, The Radical, by George EliotThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.org/licenseTitle: Felix Holt, The RadicalAuthor: George EliotRelease Date: September 28, 2012 [EBook#40882]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK FELIX HOLT, THE RADICAL ***Produced by Juliet Sutherland, Jane Robins and the OnlineDistributed Proofreading Team athttp://www.pgdp.net    [Illustration: ESTHER LYON.]    FELIX HOLT, THE RADICAL    BY GEORGE ELIOT    Upon the midlands now the industrious muse doth fall,    The shires which we the heart of England well maycall.        *       *       *       *       *    My native country thou, which so brave spirits hast bred,    If there be virtues yet remaining in the earth,    Or any good of thine thou bred'st into my birth,    Accept it as thineown, whilst now I sing of thee,    Of all thy later brood the unworthiest though I be.                                           --DRAYTON; _Polyolbion_.    _WITH ILLUSTRATIONS_    BOSTON    DE WOLFE, FISKE & COMPANY    361AND 365 WASHINGTON STREETFELIX HOLT, THE RADICAL.INTRODUCTION.Five-and-thirty years ago the glory had not yet departed from the oldcoach roads: the great roadside inns were still brilliant withwell-polishedtankards, the smiling glances of pretty barmaids, and therepartees of jocose hostlers; the mail still announced itself by themerry notes of the horn; the hedge-cutter or the rick-thatcher mightstill know the exact hourby the unfailing yet otherwise meteoricapparition of the pea-green Tally-ho or the yellow Independent; andelderly gentlemen in pony-chaises, quartering nervously to make way forthe rolling, swinging swiftness, hadnot ceased to remark that timeswere finely changed since they used to see the pack-horses and hear thetinkling of their bells on this very highway.In those days there were pocket boroughs, a Birminghamunrepresented inParliament and compelled to make strong representations out of it,unrepealed corn-laws, three-and-sixpenny letters, a brawny andmany-breeding pauperism, and other departed evils; but there weresomepleasant things, too, which have also departed. _Non omnia grandior ætasquæ fugiamus habet_, says the wise goddess: you have not the best of itin all things, O youngsters! the elderly man has his enviablememories,and not the least of them is the memory of a long journey in mid-springor autumn on the outside of a stage coach. Posterity may be shot, like abullet through a tube, by atmospheric pressure, fromWinchester toNewcastle: that is a fine result to have among our hopes; but the slow,old fashioned way of getting from one end of our country to the other isthe better thing to have in the memory. The tube-journey cannever lendmuch to picture and narrative; it is as barren as an exclamatory O!Whereas, the happy outside passenger, seated on the box from the dawn tothe gloaming, gathered enough stories of English life, enough ofEnglishlabors in town and country, enough aspects of earth and sky, to makeepisodes for a modern Odyssey. Suppose only that his journey took himthrough that central plain, watered at one extremity by the Avon, attheother by the Trent. As the morning silvered the meadows with their longlines of bushy willows marking the water-courses, or burnished thegolden corn-ricks clustered near the long roofs of some midlandhomestead,he saw the full-uddered cows driven from their pasture to theearly milking. Perhaps it was the shepherd, head-servant of the farm,who drove them, his sheep-dog following with a heedless, unofficial air,as of a beadlein undress. The shepherd, with a slow and slouching walk,timed by the walk of grazing beasts, moved aside, as if unwillingly,throwing out a monosyllabic hint to his cattle; his glance, accustomedto rest on things verynear the earth, seemed to lift itself withdifficulty to the coachman. Mail or stage coach for him belonged to themysterious distant system of things called \"Gover'ment,\" which, whateverit might be, was no business ofhis, any more than the most outlyingnebula or the coal-sacks of the southern hemisphere: his solar systemwas the parish; the master's temper and the casualties of lambing-timewere his region of storms. He cut hisbread and bacon with hispocket-knife, and felt no bitterness except in the matter of pauperlaborers and the bad-luck that sent contrarious seasons and thesheep-rot. He and his cows were soon left behind, and thehomestead,too, with its pond overhung by elder-trees, its untidy kitchen-gardenand cone-shaped yew-tree arbor. But everywhere the bushy hedgerowswasted the land with their straggling beauty, shrouded thegrassyborders of the pastures with catkined hazels, and tossed their longblackberry branches on the corn-fields. Perhaps they were white withMay, or starred with pale pink dog-roses; perhaps the urchins werealreadynutting among them, or gathering the plenteous crabs. It wasworth the journey only to see those hedgerows, the liberal homes ofunmarketable beauty--of the purple blossomed, ruby-berried nightshade,of the wildconvolvulus climbing and spreading in tendriled strengthtill it made a great curtain of pale-green hearts and white trumpets, ofthe many-tubed honey-suckle which, in its most delicate fragrance, hid acharm more subtleand penetrating than beauty. Even if it were winter,the hedgerows showed their coral, the scarlet haws, the deep-crimsonhips, with lingering brown leaves to make a resting-place for the jewelsof the hoar-frost. Suchhedgerows were often as tall as the laborers'cottages dotted along the lanes, or clustered into a small hamlet, theirlittle dingy windows telling, like thick-filmed eyes, of nothing but thedarkness within. The passenger onthe coach-box, bowled along abovesuch a hamlet, saw chiefly the roofs of it: probably it turned its backon the road, and seemed to lie away from everything but its own patch ofearth and sky, away from the parishchurch by long fields and greenlanes, away from all intercourse except that of tramps. If its facecould be seen, it was most likely dirty; but the dirt was Protestantdirt, and the big, bold, gin-breathing tramps wereProtestant tramps.There was no sign of superstition near, no crucifix or image to indicatea misguided reverence: the inhabitants were probably so free fromsuperstition that they were in much less awe of the parsonthan of theoverseer. Yet they were saved from the excess of Protestantism by notknowing how to read, and by the absence of handlooms and mines to be thepioneers of Dissent: they were kept safely in the _viamedia_ ofindifference, and could have registered themselves in the census by abig black mark as members of the Church of England.But there were trim cheerful villages too, with a neat or handsomeparsonage andgray church set in the midst; there was the pleasanttinkle of the blacksmith's anvil, the patient cart horses waiting at hisdoor; the basket-maker peeling his willow wands in the sunshine; thewheelwright putting his lasttouch to a blue cart with red wheels; hereand there a cottage with bright transparent windows showing pots full ofblooming balsams or geraniums, and little gardens in front all doubledaisies or dark wallflowers; at thewell, clean and comely womencarrying yoked buckets, and toward the free school small Britonsdawdling on, and handling their marbles in the pockets of unpatchedcorduroys adorned with brass buttons. The landaround was rich andmarly, great corn-stacks stood in the rick-yards--for the rick-burnershad not found their way hither; the homesteads were those of richfarmers who paid no rent, or had the rare advantage of alease, andcould afford to keep the corn till prices had risen. The coach would besure to overtake some of them on their way to their outlying fields orto the market-town, sitting heavily on their well-groomed horses,orweighing down one side of an olive-green gig. They probably thought ofthe coach with some contempt, as an accommodation for people who had nottheir own gigs, or who, wanting to travel to London and suchdistantplaces, belonged to the trading and less solid part of the nation. Thepassenger on the box could see that this was the district of protuberantoptimists, sure that old England was the best of all possiblecountries,and that if there were any facts which had not fallen under their ownobservation, they were facts not worth observing: the district of cleanlittle market-towns without manufactures, of fat livings, anaristocraticclergy, and low poor-rates. But as the day wore on thescene would change: the land would begin to be blackened with coal-pits,the rattle of handlooms to be heard in hamlets and villages. Here werepowerful menwalking queerly with knees bent outward from squatting inthe mine, going home to throw themselves down in their blackened flanneland sleep through the daylight, then rise and spend much of their highwages at theale-house with their fellows of the Benefit Club; here thepale eager faces of the handloom-weavers, men and women, haggard fromsitting up late at night to finish the week's work, hardly begun tillthe Wednesday.Everywhere the cottages and the small children weredirty, for the languid mothers gave their strength to the loom; piousDissenting women, perhaps, who took life patiently, and thought thatsalvation depended chieflyon predestination, and not at all oncleanliness. The gables of Dissenting chapels now made a visible sign ofreligion, and of a meeting-place to counterbalance the ale-house, evenin the hamlets; but if a couple of oldtermagants were seen tearing eachother's caps, it was a safe conclusion that, if they had not receivedthe sacraments of the Church, they had not at least given in toschismatic rites, and were free from the errors ofVoluntaryism. Thebreath of the manufacturing town, which made a cloudy day and a redgloom by night on the horizon, diffused itself over all the surroundingcountry, filling the air with eager unrest. Here was apopulation notconvinced that old England was as good as possible; here weremultitudinous men and women aware that their religion was not exactlythe religion of their rulers, who might therefore be better thantheywere, and who, if better, might alter many things which now made theworld perhaps more painful than it need be, and certainly more sinful.Yet there were the gray steeples too, and the churchyards, withtheirgrassy mounds and venerable headstones, sleeping in the sunlight; therewere broad fields and homesteads, and fine old woods covering a risingground, or stretching far by the roadside, allowing only peeps atthepark and mansion which they shut in from the working-day world. In thesemidland districts the traveller passed rapidly from one phase of Englishlife to another: after looking down on a village dingy withcoal-dust,noisy with the shaking of looms, he might skirt a parish all of fields,high hedges, and deep rutted lanes; after the coach had rattled over thepavement of a manufacturing town, the scenes of riots andtrades-unionmeetings, it would take him in another ten minutes into a rural region,where the neighborhood of the town was only felt in the advantages of anear market for corn, cheese, and hay, and where men with aconsiderablebanking account were accustomed to say that \"they never meddled withpolitics themselves.\" The busy scenes of the shuttle and the wheel, ofthe roaring furnace, of the shaft and the pulley, seemed tomake butcrowded nests in the midst of the large-spaced, slow-moving life ofhomesteads and far-away cottages and oak-sheltered parks. Looking at thedwellings scattered amongst the woody flats and the ploweduplands,under the low gray sky which overhung them with an unchanging stillnessas if Time itself were pausing, it was easy for the traveller toconceive that town and country had no pulse in common, except wherethehandlooms made a far-reaching straggling fringe about the great centresof manufacture; that till the agitation about the Catholics in '29,rural Englishmen had hardly known more of Catholics than of thefossilmammals; and that their notion of Reform was a confused combination ofrick-burners, trades-unions, Nottingham riots, and in general whateverrequired the calling out of the yeomanry. It was still easier toseethat, for the most part, they resisted the rotation of crops and stoodby their fallows: and the coachman would perhaps tell how in one parishan innovating farmer, who talked of Sir Humphrey Davy, had beenfairlydriven out by popular dislike, as if he had been a confounded Radical;and how, the parson having one Sunday preached from the words, \"Break upyour fallow-ground,\" the people thought he had made the text outof hisown head, otherwise it would never have come \"so pat\" on a matter ofbusiness; but when they found it in the Bible at home, some said it wasan argument for fallows (else why should the Bible mentionfallows?),but a few of the weaker sort were shaken, and thought it was an argumentthat fallows should be done away with, else the Bible would have said,\"Let your fallows lie\"; and the next morning the parson had astroke ofapoplexy, which, as coincident with a dispute about fallows, so set theparish against the innovating farmer and the rotation of crops, that hecould stand his ground no longer, and transferred his lease.Thecoachman was an excellent travelling companion and commentator onthe landscape: he could tell the names of sites and persons, and explainthe meaning of groups, as well as the shade of Virgil in a morememorablejourney; he had as many stories about parishes, and the menand women in them, as the Wanderer in the \"Excursion,\" only his stylewas different. His view of life had originally been genial, such asbecame a man whowas well warmed within and without, and held a positionof easy, undisputed authority; but the recent initiation of railways hadembittered him: he now, as in a perpetual vision, saw the ruined countrystrewn withshattered limbs, and regarded Mr. Huskisson's death as aproof of God's anger against Stephenson. \"Why, every inn on the roadwould be shut up!\" and at that word the coachman looked before him withthe blank gazeof one who had driven his coach to the outermost edge ofthe universe, and saw his leaders plunging into the abyss. Still hewould soon relapse from the high prophetic strain to the familiar one ofnarrative. He knewwhose the land was wherever he drove; what noblemenhad half-ruined themselves by gambling; who made handsome returns ofrent; and who was at daggers-drawn with his eldest son. He perhapsremembered thefathers of actual baronets, and knew stories of theirextravagant or stingy housekeeping; whom they had married, whom they hadhorsewhipped, whether they were particular about preserving their game,and whetherthey had had much to do with canal companies. About anyactual landed proprietor he could also tell whether he was a Reformer oran Anti-Reformer. That was a distinction which had \"turned up\" in lattertimes, andalong with it the paradox, very puzzling to the coachman'smind, that there were men of old family and large estate who voted forthe Bill. He did not grapple with the paradox; he let it pass, with allthe discreetness of anexperienced theologian or learned scholiast,preferring to point his whip at some object which could raise noquestions.No such paradox troubled our coachman when, leaving the town of TrebyMagna behind him, hedrove between the hedges for a mile or so, crossedthe queer long bridge over the river Lapp, and then put his horses to aswift gallop up the hill by the low-nestled village of Little Treby,till they were on the fine levelroad, skirted on one side by grandlarches, oaks, and wych elms, which sometimes opened so far as to letthe traveller see that there was a park behind them.How many times in the year, as the coach rolled pasttheneglected-looking lodges which interrupted the screen of trees, andshowed the river winding through a finely-timbered park, had thecoachman answered the same questions, or told the same things withoutbeingquestioned! That?--oh, that was Transome Court, a place there hadbeen a fine sight of lawsuits about. Generations back, the heir of theTransome name had somehow bargained away the estate, and it fell totheDurfeys, very distant connections, who only called themselves Transomesbecause they had got the estate. But the Durfeys' claim had beendisputed over and over again; and the coachman, if he had beenasked,would have said, though he might have to fall down dead the next minute,that property didn't always get into the right hands. However, thelawyers had found their luck in it; and people who inherited estatesthatwere lawed about often lived in them as poorly as a mouse in ahollow cheese; and, by what he could make out, that had been the waywith these present Durfeys, or Transomes, as they called themselves. Asfor Mr.Transome, he was as poor, half-witted a fellow as you'd wish tosee; but _she_ was master, had come of a high family, and had aspirit--you might see it in her eye and the way she sat her horse. Fortyyears ago, whenshe came into this country, they said she was a pictur';but her family was poor, and so she took up with a hatchet-faced fellowlike this Transome. And the eldest son had been just such another as hisfather, onlyworse--a wild sort of half-natural, who got into badcompany. They said his mother hated him and wished him dead; for she'dgot another son, quite of a different cut, who had gone to foreign partswhen he was ayoungster, and she wanted her favorite to be heir. Butheir or no heir, Lawyer Jermyn had had _his_ picking out of the estate.Not a door in his big house but what was the finest polished oak, allgot off the Transomeestate. If anybody liked to believe he paid for it,they were welcome. However, Lawyer Jermyn had sat on that box-seat manyand many a time. He had made the wills of most people thereabout. Thecoachman would notsay that Lawyer Jermyn was not the man he wouldchoose to make his own will some day. It was not so well for a lawyer tobe over-honest, else he might not be up to other people's tricks. And asfor the Transomebusiness, there had been ins and outs in time gone by,so that you couldn't look into it straight backward. At this Mr. Sampson(everybody in North Loamshire knew Sampson's coach) would screw hisfeatures into agrimace expressive of entire neutrality, and appear toaim his whip at a particular spot on the horse's flank. If the passengerwas curious for further knowledge concerning the Transome affairs,Sampson would shake hishead and say there had been fine stories in histime; but he never condescended to state what the stories were. Someattributed this reticence to a wise incredulity, others to a want ofmemory, others to simpleignorance. But at least Sampson was right insaying that there had been fine stories--meaning, ironically, storiesnot altogether creditable to the parties concerned.And such stories often come to be fine in a sense that isnot ironical.For there is seldom any wrong-doing which does not carry along with itsome downfall of blindly-climbing hopes, some hard entail of suffering,some quickly-satiated desire that survives, with the life in deathofold paralytic vice, to see itself cursed by its woeful progeny--sometragic mark of kinship in the one brief life to the far-stretching lifethat went before, and to the life that is to come after, such as hasraised the pity andterror of men ever since they began to discernbetween will and destiny. But these things are often unknown to theworld; for there is much pain that is quite noiseless; and vibrationsthat make human agonies are oftena mere whisper in the roar of hurryingexistence. There are glances of hatred that stab and raise no cry ofmurder; robberies that leave man or woman forever beggared of peace andjoy, yet kept secret by thesufferer--committed to no sound except thatof low moans in the night, seen in no writing except that made on theface by the slow months of suppressed anguish and early morning tears.Many an inherited sorrow thathas marred a life has been breathed intono human ear.The poets have told us of a dolorous enchanted forest in the underworld. The thorn-bushes there, and the thick-barked stems, have humanhistories hidden inthem; the power of unuttered cries dwells in thepassionless-seeming branches, and the red warm blood is darkly feedingthe quivering nerves of a sleepless memory that watches through alldreams. These things are aparable.CHAPTER I.    He left me when the down upon his lip    Lay like the shadow of a hovering kiss.    \"Beautiful mother, do not grieve,\" he said;    \"I will be great, and build our fortunes high.    And you shall wear"}
+{"doc_id":"doc_305","qid":"","text":"Project Gutenberg's The Lady With The Dog and Other Stories, by Anton ChekhovThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it awayorre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.org/licenseTitle: The Lady With The Dog and Other StoriesAuthor: Anton ChekhovRelease Date:September 9, 2004 [EBook #13415][Last updated: July 29, 2017]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE LADY WITH THE DOG ***Produced by James RuskTHE TALES OFCHEKHOVVOLUME 3THE LADY WITH THE DOG AND OTHER STORIESBYANTON TCHEKHOVTranslated by CONSTANCE GARNETTCONTENTSTHE LADY WITH THE DOGA DOCTOR'S VISITAN UPHEAVALIONITCHTHE HEADOF THE FAMILYTHE BLACK MONKVOLODYAAN ANONYMOUS STORYTHE HUSBANDTHE LADY WITH THE DOGIIT was said that a new person had appeared on the sea-front: a lady witha little dog. Dmitri Dmitritch Gurov,who had by then been a fortnightat Yalta, and so was fairly at home there, had begun to take an interestin new arrivals. Sitting in Verney's pavilion, he saw, walking on thesea-front, a fair-haired young lady of mediumheight, wearing a _béret_;a white Pomeranian dog was running behind her.And afterwards he met her in the public gardens and in the squareseveral times a day. She was walking alone, always wearing thesame_béret_, and always with the same white dog; no one knew who she was,and every one called her simply \"the lady with the dog.\"\"If she is here alone without a husband or friends, it wouldn't be amissto makeher acquaintance,\" Gurov reflected.He was under forty, but he had a daughter already twelve years old, andtwo sons at school. He had been married young, when he was a student inhis second year, and by now hiswife seemed half as old again as he. Shewas a tall, erect woman with dark eyebrows, staid and dignified, and, asshe said of herself, intellectual. She read a great deal, used phoneticspelling, called her husband, notDmitri, but Dimitri, and he secretlyconsidered her unintelligent, narrow, inelegant, was afraid of her, anddid not like to be at home. He had begun being unfaithful to her longago--had been unfaithful to her often, and,probably on that account,almost always spoke ill of women, and when they were talked about in hispresence, used to call them \"the lower race.\"It seemed to him that he had been so schooled by bitter experiencethathe might call them what he liked, and yet he could not get on for twodays together without \"the lower race.\" In the society of men he wasbored and not himself, with them he was cold and uncommunicative;butwhen he was in the company of women he felt free, and knew what to sayto them and how to behave; and he was at ease with them even when he wassilent. In his appearance, in his character, in his whole nature,therewas something attractive and elusive which allured women and disposedthem in his favour; he knew that, and some force seemed to draw him,too, to them.Experience often repeated, truly bitter experience, hadtaught him longago that with decent people, especially Moscow people--always slow tomove and irresolute--every intimacy, which at first so agreeablydiversifies life and appears a light and charming adventure,inevitablygrows into a regular problem of extreme intricacy, and in the long runthe situation becomes unbearable. But at every fresh meeting with aninteresting woman this experience seemed to slip out of his memory,andhe was eager for life, and everything seemed simple and amusing.One evening he was dining in the gardens, and the lady in the _béret_came up slowly to take the next table. Her expression, her gait, herdress,and the way she did her hair told him that she was a lady, thatshe was married, that she was in Yalta for the first time and alone, andthat she was dull there.... The stories told of the immorality in suchplaces as Yaltaare to a great extent untrue; he despised them, and knewthat such stories were for the most part made up by persons who wouldthemselves have been glad to sin if they had been able; but when thelady sat down atthe next table three paces from him, he rememberedthese tales of easy conquests, of trips to the mountains, and thetempting thought of a swift, fleeting love affair, a romance with anunknown woman, whose name hedid not know, suddenly took possession ofhim.He beckoned coaxingly to the Pomeranian, and when the dog came up to himhe shook his finger at it. The Pomeranian growled: Gurov shook hisfinger at it again.The ladylooked at him and at once dropped her eyes.\"He doesn't bite,\" she said, and blushed.\"May I give him a bone?\" he asked; and when she nodded he askedcourteously, \"Have you been long in Yalta?\"\"Five days.\"\"And Ihave already dragged out a fortnight here.\"There was a brief silence.\"Time goes fast, and yet it is so dull here!\" she said, not looking athim.\"That's only the fashion to say it is dull here. A provincial will livein Belyov orZhidra and not be dull, and when he comes here it's 'Oh,the dulness! Oh, the dust!' One would think he came from Grenada.\"She laughed. Then both continued eating in silence, like strangers, butafter dinner theywalked side by side; and there sprang up between themthe light jesting conversation of people who are free and satisfied, towhom it does not matter where they go or what they talk about. Theywalked and talked ofthe strange light on the sea: the water was of asoft warm lilac hue, and there was a golden streak from the moon uponit. They talked of how sultry it was after a hot day. Gurov told herthat he came from Moscow, thathe had taken his degree in Arts, but hada post in a bank; that he had trained as an opera-singer, but had givenit up, that he owned two houses in Moscow.... And from her he learntthat she had grown up in Petersburg,but had lived in S---- since hermarriage two years before, that she was staying another month in Yalta,and that her husband, who needed a holiday too, might perhaps come andfetch her. She was not sure whether herhusband had a post in a CrownDepartment or under the Provincial Council--and was amused by her ownignorance. And Gurov learnt, too, that she was called Anna Sergeyevna.Afterwards he thought about her in hisroom at the hotel--thought shewould certainly meet him next day; it would be sure to happen. As he gotinto bed he thought how lately she had been a girl at school, doinglessons like his own daughter; he recalled thediffidence, theangularity, that was still manifest in her laugh and her manner oftalking with a stranger. This must have been the first time in her lifeshe had been alone in surroundings in which she was followed, lookedat,and spoken to merely from a secret motive which she could hardly fail toguess. He recalled her slender, delicate neck, her lovely grey eyes.\"There's something pathetic about her, anyway,\" he thought, andfellasleep.IIA week had passed since they had made acquaintance. It was a holiday. Itwas sultry indoors, while in the street the wind whirled the dust roundand round, and blew people's hats off. It was a thirsty day,and Gurovoften went into the pavilion, and pressed Anna Sergeyevna to have syrupand water or an ice. One did not know what to do with oneself.In the evening when the wind had dropped a little, they went out onthegroyne to see the steamer come in. There were a great many peoplewalking about the harbour; they had gathered to welcome some one,bringing bouquets. And two peculiarities of a well-dressed Yalta crowdwerevery conspicuous: the elderly ladies were dressed like young ones,and there were great numbers of generals.Owing to the roughness of the sea, the steamer arrived late, after thesun had set, and it was a long timeturning about before it reached thegroyne. Anna Sergeyevna looked through her lorgnette at the steamer andthe passengers as though looking for acquaintances, and when she turnedto Gurov her eyes were shining.She talked a great deal and askeddisconnected questions, forgetting next moment what she had asked; thenshe dropped her lorgnette in the crush.The festive crowd began to disperse; it was too dark to seepeople'sfaces. The wind had completely dropped, but Gurov and Anna Sergeyevnastill stood as though waiting to see some one else come from thesteamer. Anna Sergeyevna was silent now, and sniffed the flowerswithoutlooking at Gurov.\"The weather is better this evening,\" he said. \"Where shall we go now?Shall we drive somewhere?\"She made no answer.Then he looked at her intently, and all at once put his arm round herandkissed her on the lips, and breathed in the moisture and thefragrance of the flowers; and he immediately looked round him, anxiouslywondering whether any one had seen them.\"Let us go to your hotel,\" he said softly.And both walked quickly.The room was close and smelt of the scent she had bought at the Japaneseshop. Gurov looked at her and thought: \"What different people one meetsin the world!\" From the past he preservedmemories of careless,good-natured women, who loved cheerfully and were grateful to him forthe happiness he gave them, however brief it might be; and of women likehis wife who loved without any genuine feeling,with superfluousphrases, affectedly, hysterically, with an expression that suggestedthat it was not love nor passion, but something more significant; and oftwo or three others, very beautiful, cold women, on whosefaces he hadcaught a glimpse of a rapacious expression--an obstinate desire tosnatch from life more than it could give, and these were capricious,unreflecting, domineering, unintelligent women not in their firstyouth,and when Gurov grew cold to them their beauty excited his hatred, andthe lace on their linen seemed to him like scales.But in this case there was still the diffidence, the angularity ofinexperienced youth, anawkward feeling; and there was a sense ofconsternation as though some one had suddenly knocked at the door. Theattitude of Anna Sergeyevna--\"the lady with the dog\"--to what hadhappened was somehow peculiar,very grave, as though it were herfall--so it seemed, and it was strange and inappropriate. Her facedropped and faded, and on both sides of it her long hair hung downmournfully; she mused in a dejected attitude like\"the woman who was asinner\" in an old-fashioned picture.\"It's wrong,\" she said. \"You will be the first to despise me now.\"There was a water-melon on the table. Gurov cut himself a slice andbegan eating it withouthaste. There followed at least half an hour ofsilence.Anna Sergeyevna was touching; there was about her the purity of a good,simple woman who had seen little of life. The solitary candle burning onthe table threw afaint light on her face, yet it was clear that she wasvery unhappy.\"How could I despise you?\" asked Gurov. \"You don't know what you aresaying.\"\"God forgive me,\" she said, and her eyes filled with tears.\"It'sawful.\"\"You seem to feel you need to be forgiven.\"\"Forgiven? No. I am a bad, low woman; I despise myself and don't attemptto justify myself. It's not my husband but myself I have deceived. Andnot only just now;I have been deceiving myself for a long time. Myhusband may be a good, honest man, but he is a flunkey! I don't knowwhat he does there, what his work is, but I know he is a flunkey! I wastwenty when I was marriedto him. I have been tormented by curiosity; Iwanted something better. 'There must be a different sort of life,' Isaid to myself. I wanted to live! To live, to live!... I was fired bycuriosity ... you don't understand it, but, Iswear to God, I could notcontrol myself; something happened to me: I could not be restrained. Itold my husband I was ill, and came here.... And here I have beenwalking about as though I were dazed, like a madcreature; ... and now Ihave become a vulgar, contemptible woman whom any one may despise.\"Gurov felt bored already, listening to her. He was irritated by thenaïve tone, by this remorse, so unexpected andinopportune; but for thetears in her eyes, he might have thought she was jesting or playing apart.\"I don't understand,\" he said softly. \"What is it you want?\"She hid her face on his breast and pressed close tohim.\"Believe me, believe me, I beseech you ...\" she said. \"I love a pure,honest life, and sin is loathsome to me. I don't know what I am doing.Simple people say: 'The Evil One has beguiled me.' And I may say ofmyselfnow that the Evil One has beguiled me.\"\"Hush, hush!...\" he muttered.He looked at her fixed, scared eyes, kissed her, talked softly andaffectionately, and by degrees she was comforted, and her gaietyreturned; theyboth began laughing.Afterwards when they went out there was not a soul on the sea-front. Thetown with its cypresses had quite a deathlike air, but the sea stillbroke noisily on the shore; a single barge was rocking onthe waves, anda lantern was blinking sleepily on it.They found a cab and drove to Oreanda.\"I found out your surname in the hall just now: it was written on theboard--Von Diderits,\" said Gurov. \"Is your husband aGerman?\"\"No; I believe his grandfather was a German, but he is an OrthodoxRussian himself.\"At Oreanda they sat on a seat not far from the church, looked down atthe sea, and were silent. Yalta was hardly visiblethrough the morningmist; white clouds stood motionless on the mountain-tops. The leaves didnot stir on the trees, grasshoppers chirruped, and the monotonous hollowsound of the sea rising up from below, spoke ofthe peace, of theeternal sleep awaiting us. So it must have sounded when there was noYalta, no Oreanda here; so it sounds now, and it will sound asindifferently and monotonously when we are all no more. And inthisconstancy, in this complete indifference to the life and death of eachof us, there lies hid, perhaps, a pledge of our eternal salvation, ofthe unceasing movement of life upon earth, of unceasing progresstowardsperfection. Sitting beside a young woman who in the dawn seemed solovely, soothed and spellbound in these magical surroundings--the sea,mountains, clouds, the open sky--Gurov thought how in realityeverythingis beautiful in this world when one reflects: everything except what wethink or do ourselves when we forget our human dignity and the higheraims of our existence.A man walked up to them--probably akeeper--looked at them and walkedaway. And this detail seemed mysterious and beautiful, too. They saw asteamer come from Theodosia, with its lights out in the glow of dawn.\"There is dew on the grass,\" said AnnaSergeyevna, after a silence.\"Yes. It's time to go home.\"They went back to the town.Then they met every day at twelve o'clock on the sea-front, lunched anddined together, went for walks, admired the sea. Shecomplained that sheslept badly, that her heart throbbed violently; asked the samequestions, troubled now by jealousy and now by the fear that he did notrespect her sufficiently. And often in the square or gardens,when therewas no one near them, he suddenly drew her to him and kissed herpassionately. Complete idleness, these kisses in broad daylight while helooked round in dread of some one's seeing them, the heat, thesmell ofthe sea, and the continual passing to and fro before him of idle,well-dressed, well-fed people, made a new man of him; he told AnnaSergeyevna how beautiful she was, how fascinating. He wasimpatientlypassionate, he would not move a step away from her, while she was oftenpensive and continually urged him to confess that he did not respecther, did not love her in the least, and thought of her as nothingbut acommon woman. Rather late almost every evening they drove somewhere outof town, to Oreanda or to the waterfall; and the expedition was always asuccess, the scenery invariably impressed them as grand andbeautiful.They were expecting her husband to come, but a letter came from him,saying that there was something wrong with his eyes, and he entreatedhis wife to come home as quickly as possible. Anna Sergeyevnamade hasteto go.\"It's a good thing I am going away,\" she said to Gurov. \"It's the fingerof destiny!\"She went by coach and he went with her. They were driving the whole day.When she had got into a compartment ofthe express, and when the secondbell had rung, she said:\"Let me look at you once more ... look at you once again. That's right.\"She did not shed tears, but was so sad that she seemed ill, and her facewas quivering.\"Ishall remember you ... think of you,\" she said. \"God be with you; behappy. Don't remember evil against me. We are parting forever--it mustbe so, for we ought never to have met. Well, God be with you.\"The trainmoved off rapidly, its lights soon vanished from sight, and aminute later there was no sound of it, as though everything hadconspired together to end as quickly as possible that sweet delirium,that madness. Left aloneon the platform, and gazing into the darkdistance, Gurov listened to the chirrup of the grasshoppers and the humof the telegraph wires, feeling as though he had only just waked up. Andhe thought, musing, that therehad been another episode or adventure inhis life, and it, too, was at an end, and nothing was left of it but amemory.... He was moved, sad, and conscious of a slight remorse. Thisyoung woman whom he would nevermeet again had not been happy with him;he was genuinely warm and affectionate with her, but yet in his manner,his tone, and his caresses there had been a shade of light irony, thecoarse condescension of a happyman who was, besides, almost twice herage. All the time she had called him kind, exceptional, lofty; obviouslyhe had seemed to her different from what he really was, so he hadunintentionally deceived her....Here atthe station was already a scent of autumn; it was a coldevening.\"It's time for me to go north,\" thought Gurov as he left the platform.\"High time!\"IIIAt home in Moscow everything was in its winter routine; the stoveswereheated, and in the morning it was still dark when the children werehaving breakfast and getting ready for school, and the nurse would lightthe lamp for a short time. The frosts had begun already. When thefirstsnow has fallen, on the first day of sledge-driving it is pleasant tosee the white earth, the white roofs, to draw soft, delicious breath,and the season brings back the days of one's youth. The old limes andbirches,white with hoar-frost, have a good-natured expression; they arenearer to one's heart than cypresses and palms, and near them onedoesn't want to be thinking of the sea and the mountains.Gurov was Moscow born; hearrived in Moscow on a fine frosty day, andwhen he put on his fur coat and warm gloves, and walked along Petrovka,and when on Saturday evening he heard the ringing of the bells, hisrecent trip and the places he hadseen lost all charm for him. Little bylittle he became absorbed in Moscow life, greedily read three newspapersa day, and declared he did not read the Moscow papers on principle! Healready felt a longing to go torestaurants, clubs, dinner-parties,anniversary celebrations, and he felt flattered at entertainingdistinguished lawyers and artists, and at playing cards with a professorat the doctors' club. He could already eat a wholeplateful of salt fishand cabbage.In another month, he fancied, the image of Anna Sergeyevna would beshrouded in a mist in his memory, and only from time to time would visithim in his dreams with a touching smile asothers did. But more than amonth passed, real winter had come, and everything was still clear inhis memory as though he had parted with Anna Sergeyevna only the daybefore. And his memories glowed more andmore vividly. When in theevening stillness he heard from his study the voices of his children,preparing their lessons, or when he listened to a song or the organ atthe restaurant, or the storm howled in the chimney,suddenly everythingwould rise up in his memory: what had happened on the groyne, and theearly morning with the mist on the mountains, and the steamer comingfrom Theodosia, and the kisses. He would pace a longtime about hisroom, remembering it all and smiling; then his memories passed intodreams, and in his fancy the past was mingled with what was to come.Anna Sergeyevna did not visit him in dreams, but followed himabouteverywhere like a shadow and haunted him. When he shut his eyes he sawher as though she were living before him, and she seemed to himlovelier, younger, tenderer than she was; and he imagined himselffinerthan he had been in Yalta. In the evenings she peeped out at him fromthe bookcase, from the fireplace, from the corner--he heard herbreathing, the caressing rustle of her dress. In the street he watchedthewomen, looking for some one like her.He was tormented by an intense desire to confide his memories to someone. But in his home it was impossible to talk of his love, and he hadno one outside; he could not talk to his"}
+{"doc_id":"doc_306","qid":"","text":"<html><head><title>Grudge, The Script at IMSDb.</title><meta name=\"description\" content=\"Grudge, The script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Grudge, The script,Grudge, The movie script, Grudge, The film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\"rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                                      THE GRUDGE</b><b>          </b>                                      Written by                                     StephenSusco<b>          </b><b>          </b><b>          </b><b>          </b>                                  Based on the films                         Ju-on, Ju-on 2 and Ju-on: TheGrudge                                          By                                   Takashi Shimizu<b>          </b>                                               Production Draft - BLUE                                               Revised, January 26,2004<b>          </b><b>          </b><b>          1   INT. PETER & MARIA'S BEDROOM - DAY                               1</b><b>          </b>              FADE IN on MARIA (late 20s), asleep in bed.She's              breathtakingly beautiful. Morning light fills the room.      The              sound of wind, and rippling cloth.<b>          </b>              Maria stirs, and opens her eyes.     She stretchescontentedly.<b>          </b>              Then she frowns.    Rolls over.    She's alone in the bed?<b>          </b>              No, she's not: PETER (20s) sits on the edge, his back to her.              Two fresh, steaming mugsof coffee sit on a tray near him.<b>          </b><b>                                     MARIA</b>                        Hey.     Are you okay?<b>          </b>              Peter doesn't turn. He slowly stands and walksforward              towards an OPEN WINDOW.<b>          </b>              There's something strange about the way he moves -- stiffly,              almost jerkily, straining his joints andmuscles.<b>          </b>              Maria gets out of bed, concerned.<b>          </b><b>                                    MARIA</b>                        Peter?    What's the matter?<b>          </b>              He pauses at thewindow.    Turns his head to look back at her.<b>          </b>              His eyes are vacant.    His face is a blank.<b>          </b>              Then Peter slowly leans forward.     And falls from thewindow.<b>          </b>              Maria stands in shock as the sound of SCREECHING TIRES from              outside reaches her ears. Then SCREAMS OF TERROR from below.<b>          </b>              Aghast, shefinally manages to numbly walk forward, towards              the window. We MOVE PAST her and TILT DOWN TO REVEAL --<b>          </b>              -- PETER'S BODY lies in the middle of the street.     Hishead              has burst open, his body broken and twisted.<b>          </b>              ON THE PAVEMENT: a line of blood appears, moving down the              center of the screen. As if hitting grooves we cannot see--<b>          </b>              -- the blood slowly forms the shape of two KANJI CHARACTERS.              A translation appears over them: \"The Grudge.\"<b>          </b><b>          </b><b>          2   EXT. STREETCORNER - DAY                                         2</b><b>          </b>              A blur of movement as hundreds of people stream up from a              subway tunnel. Most are Japanese. We're not inKansas.<b>          </b>                                         Revisions (Blue) -- 1/26/04     2.<b>          </b><b>          </b><b>          </b>               Standing in the middle of the rush-hour pedestrian trafficis<b>          </b>               KAREN (20s, American). She faces upstream, looking for               someone. The flow threatens to carry her away in a               heartbeat. She looks fragile, intimidated by themadness.<b>          </b><b>                                   DOUG (O.S.)</b>                         Karen!<b>          </b>               She turns to see her boyfriend DOUG (20s, American)               approaching. With areassuring smile he takes her hand --<b>          </b>               -- and together, they force their way through the throng,               trying to escape the flow. They're jostled and crushed by               the crowd, andDoug protectively pulls Karen closer.<b>          </b><b>                                   KAREN</b>                         I'll never get used tothis.<b>          </b><b>                                   DOUG</b>                         Maybe we should find a different                         train station.<b>          </b>               He abruptly stops, right in the middle of traffic,still               holding Karen's hand. She turns, wondering what's going on.               She sees the smile on his lips a moment before --<b>          </b>               -- he sweeps Karen into his arms and kisses her. As ifthe               crowd of businessmen surging around them isn't there at all.<b>          </b>               It's tender and loving, and she responds... at first.   But               then she pulls away,shy.<b>          </b><b>                                   KAREN</b>                         A public display of affection is                         considered rude in Japan.<b>          </b>               There's an opening ahead into a SIDESTREET.   Doug and Karen               deftly slip out of the traffic--<b>          </b><b>          </b>          2a                                                                 2a<b>               OMITTED</b><b>          </b>          2b   EXT. TOKYO STREET -DAY                                       2b<b>          </b>               -- and walk hand-in-hand down the much quieter street, away               from the crowded thoroughfare.<b>          </b>               Doug smiles as they passby two JAPANESE HIGH SCHOOL COUPLES,               making out on the street corner. He turns to give Karen a               sarcastic look --<b>          </b>                                  Revisions (Blue) --1/26/04      2A.<b>          </b><b>          </b><b>          </b>          -- but she didn't notice the school kids. She's looking in          the other direction, at a trickle of SMOKE wafting up over a          nearbyfence.<b>          </b><b>                              KAREN</b>                    What's that?<b>          </b>          Doug follows as she walks toward an OLD TEMPLE, nestled          beneath a skyscraper. A collision of theancient and modern.          The fence surrounds a GRAVEYARD adjacent to the temple.<b>          </b><b>                              DOUG</b>                    We walk past this temple every day,                    Karen--<b>          </b><b>                              KAREN</b>                    Yeah, but I've never seen this                    before.<b>          </b>          A JAPANESE MAN stands before an ornate headstone, lightinga          bundle of incense and bowing before the grave.<b>          </b><b>                              KAREN</b>                    It's a Buddhist ritual. The                    incense smoke carries the prayers                    to thespirits of his ancestors, to                    help them remain at peace.<b>          </b>          CLINK. She turns as Doug, grinning, lights a cigarette with          his Zippo, flicking it shut and pocketingit.<b>          </b><b>                              DOUG</b>                    It's amazing. You're like this                    infinite storehouse of wisdom. Or                    trivia. I'm not surewhich.<b>          </b><b>                              KAREN</b>                    It's not trivia. It's what they                    believe. And it's far better, by                    the way, than your littlepollution                    ritual.<b>          </b>          Doug's grin softens to a smile. He doesn't respond... but          the way he's looking at Karen makes hercurious:<b>          </b><b>                              KAREN</b>                    What?<b>          </b>          He turns away for a moment, almost shyly, dropping his          cigarette and crushing it.Finally:<b>          </b>                                   Revisions (Blue) -- 1/26/04      2B.<b>          </b><b>          </b><b>          </b><b>                               DOUG</b>                    Nothing. I just -- I likethat                    about you. You seem to be able to                    remember everything that's really                    important.<b>          </b>          She smiles.   A tender moment.   Then... he checks hiswatch.<b>          </b><b>                              DOUG</b>                    Except the time.<b>          </b>          Karen checks her own watch, realizing--<b>          </b><b>                              KAREN</b>                    Oh, crap --<b>          </b>          She grabs his hand and starts to walkquickly.<b>          </b><b>                              KAREN</b>                    C'mon, you're gonna be late.<b>          </b>                                        Revisions (Blue) --1/26/04      3-4.<b>          </b><b>          </b><b>          </b><b>          </b>          2c    EXT. CAMPUS - DAY                                           2c<b>          </b>                An international college in Tokyo. Theautumn chill doesn't                deter the students from enjoying the beautiful day.<b>          </b>                Karen and Doug, still holding hands, enter the campus.<b>          </b><b>          </b>          2cc   EXT.NURSING CARE CENTER - DAY                             2cc<b>          </b>                Karen and Doug approach the doors of a NURSING CARE CENTER.                She pulls him to the side just as he's stepping undera                WORKMAN'S LADDER by the doors.<b>          </b><b>                                    KAREN</b>                          Uh-uh. Seven years of bad luck.                              (before Doug canrespond:)                          And I might have a vested interest                          in those years.<b>          </b><b>                                    DOUG</b>                          Is thatright?<b>          </b><b>                                      KAREN</b>                          Maybe.<b>          </b>                Doug smiles, kissing herromantically.   Then:<b>          </b><b>                                    DOUG</b>                          Will I see you tonight?<b>          </b><b>                                    KAREN</b>                          I'll call you when I gethome.<b>          </b>                With a flourish, Doug SWINGS HIMSELF back under the ladder.<b>          </b><b>                                      DOUG</b>                          Fourteen.    I hate oddnumbers.<b>          </b>          2d                                                                2d<b>                INT. NURSING CARE CENTER - DAY</b>                Through the front doors, we see Doug kiss Karenagain.   They                finally separate, and Doug walks off.<b>          </b>                                  Revisions (Blue) -- 1/26/04     4A.<b>          </b><b>          </b><b>          </b>          Then Karen walksthrough the doors into a bright, atrium-like          lobby area. She waves \"hello\" to the RECEPTIONIST.<b>          </b>                                     Revisions (Blue) --1/26/04     5.<b>          </b><b>          </b><b>          </b>          Leaning against a desk behind Reception is Karen's boss ALEX          (40s, American). He's got a phone to his ear -- it's          ringing. An"}
+{"doc_id":"doc_307","qid":"","text":"<html><head><title>Departed, The Script at IMSDb.</title><meta name=\"description\" content=\"Departed, The script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Departed, Thescript, Departed, The movie script, Departed, The film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX,FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                             THE DEPARTED</b><b>                           </b>                              Writtenby<b>          </b>                           William Monahan         <b>          </b><b>          </b><b>          </b>           Based on Infernal Affairs<b>          </b><b>          </b><b>          SCRIPT AS SHOT COMPILEDSEPTEMBER 2006</b><b>                              </b><b>          FADE UP ON</b><b>          </b><b>          THE SOUTH BOSTON HOUSING PROJECTS. A MAZE OF BUILDINGS</b><b>          AGAINST THEHARBOR.</b><b>          </b><b>                                 COSTELLO (V.O.)</b>                       I don't want to be a product of my                       environment. I want my environment                       to be aproduct...of me.<b>          </b><b>          YELLOW RIPPLES PAST THE CAMERA AND WHEN IT CLEARS WE SEE</b><b>          THROUGH DIESEL SMOKE: A BUSING PROTEST IN PROGRESS.THE</b><b>          SCHOOL-BUS, FULL OF BLACK KIDS, IS HIT WITH BRICKS, ROCKS.</b><b>          N.B.: (THIS IS NOT SETTING THE LIVE ACTION IN 1974; IT IS A</b><b>          HISTORICAL MONTAGE, THEBACKGROUND FOR COSTELLO'S V.O.).</b><b>          </b><b>          INT. THE AUTOBODY SHOP. DAY.</b><b>          </b>          COSTELLO's profile passes in a darkroom.<b>          </b><b>                                 COSTELLO (V.O.)</b>                       Years ago, we had the Church. That                       was only a way of saying we had                       each other. The Knights ofColumbus                       were head-breakers. They took over                       their piece of the city.<b>          </b><b>          EXT. SOUTHIE. VARIOUS</b><b>          </b>          The neighborhood. 1980's. Wewon't be here long. This isn't          where Costello ends up. It's where he began. Liquor stores          with shamrocked signs. MEN FISHING near Castle Island.          Catholic SCHOOLKIDS playing in an asphaltedschoolyard.<b>          </b><b>                                 COSTELLO (V.O.)</b>                       Twenty years after an Irishman                       couldn't get a job, we had the                       presidency. That's what theniggers                       don't realize. If I got one thing                       against the black chaps it's this.                       No one gives it to you. You have to                       take it.<b>          </b><b>          INT. LUNCHCOUNTER. DAY</b><b>          </b>          COSTELLO comes in. The shop is one that sells papers,          sundries, fountain drinks...and fronts a bookie operation.<b>          </b><b>                                 YOUNGCOSTELLO</b>                           (leaning over cluttered                            counter)                       Don't make me have to come down                       here again.<b>          </b><b>          </b><b>                                                             (CONTINUED)</b><b>          </b><b>                                                                        2.</b><b>          CONTINUED:</b><b>          </b><b>          </b><b>                                 PROPRIETOR</b>                       Won't happen again, Mr. C.<b>          </b>          The frightened proprietor hands over money. Fifty bucks, a          hundred, doesn't matter. COSTELLO is never thethreatener.          His demeanor is gentle, philosophical. Almost a shrink's          probing bedside manner. He has great interest in the world          as he moves through it. As if he originally came from a          differentworld and his survival in this one depends on close          continual observation and analysis.<b>          </b>          YOUNG COLIN looks up. CLOSE ON his eyes. He is fourteen or          fifteen, but small for his age.Bookish.<b>          </b>          COSTELLO eyes the proprietor's TEENAGE DAUGHTER, working          behind the counter. He takes a propane lighter, and,          strangely, pays for it (the proprietor startled) andwaits          for change. He lights a MORE cigarette with the lighter.<b>          </b><b>                                 YOUNG COSTELLO</b>                       Carmen's developing into a fine                       young lady. Youshould be proud.                       You get your period yet, Carmen?<b>          </b>          The PROPRIETOR is uneasy. COSTELLO turns to YOUNG COLIN          (about 14) staring at the local hero. Costello reachesup          above and behind the counter and takes down some cigarettes.<b>          </b><b>                                 YOUNG COSTELLO (CONT'D)</b>                       You Johnny Sullivan'skid?<b>          </b>          COLIN nods.<b>          </b><b>                                 YOUNG COSTELLO (CONT'D)</b>                       You live with your grandmother?<b>          </b>          COLINnods.<b>          </b><b>                                 YOUNG COLIN</b>                       Yeah.<b>          </b>          COSTELLO tells the Proprietor to takes three loaves of bread          and some soup off the shelves andputs them in Colin's bag.<b>          </b><b>                                 COSTELLO</b>                       Get him three loaves of bread. And                       a couple of half gallons of milk.                       And somesoup.<b>          </b>          He goes over to the fridge and puts two half gallons of milk          in the bag. Some soup. Costello turns to Colin.<b>          </b><b>          </b><b>          </b><b>                                                                 (CONTINUED)</b><b>          </b><b>                                                                     3.</b><b>          CONTINUED:(2)</b><b>          </b><b>          </b><b>                              COSTELLO (CONT'D)</b>                    Do you like comic books?<b>          </b>          Colin nods.   He adds a couple of comicbooks.<b>          </b>          When the PROPRIETOR looks at him, he takes out the money he          put in his pocket and gives back half.<b>          </b><b>                              YOUNGCOSTELLO</b>                    You do good in school?<b>          </b>          YOUNG COLIN nods, holding the big bag ofloot.<b>          </b><b>                                 COLIN</b>                    Yes.<b>          </b><b>                              YOUNG COSTELLO</b>                    That's good. I did good in school.                    They callthat a paradox.<b>          </b>          He gives some money to Carmen.<b>          </b><b>                              YOUNG COSTELLO (CONT'D)</b>                    Buy yourself some makeup. Keepthe                    change.<b>          </b>          Looks intently at COLIN to see if he gets it.    Colin does.<b>          </b><b>                              YOUNG COSTELLO (CONT'D)</b>                    You ever want to earna little                    extra money, you come by L street.                    You know where I am on L street.<b>          </b>          COLIN nods: everybody does.<b>          </b><b>                                 YOUNGCOLIN</b>                    Thank you.<b>          </b>          He pushes out with the bags of groceries.<b>          </b>          The PROPRIETOR can do shit about it.<b>          </b>          YOUNG COSTELLO watchesYOUNG COLIN go off down a slummy          street.<b>          </b><b>          INT. A CHURCH. MORNING. 1985-ISH</b><b>          </b>          YOUNG COLIN, the good boy, the very good boy, is serving ata          funeral Mass. Various views of the church. Stained-glass          light. The altar is still wreathed in the smoke of incense.<b>          </b><b>          </b><b>          </b><b>          </b><b>                                                              (CONTINUED)</b><b>          </b><b>                                                                      4.</b><b>          CONTINUED:</b><b>          </b><b>          </b><b>                                 PRIEST (V.O.)</b>                       To you, O Lord we commend the soul                       of Alphonsus, your Servant; in the                       sight of this world he is now dead;                       in your sight may he liveforever.                       Forgive whatever sins he committed                       through human weakness and in your                       goodness grant himeverlasting                       peace.<b>          </b><b>                                 ALL</b>                       Amen.<b>          </b>          CLOSE on COLIN'S face.<b>          </b><b>                                  PRIEST(VO)</b>                       May the angels lead you into                       paradise; May the martyrs come to                       welcome you and take you to the                       holy city, The new andeternal                       Jerusalem.<b>          </b>          A liturgical bell tings.<b>          </b><b>          INT. THE AUTOBODY SHOP. DAY</b><b>          </b>          COSTELLO is talking informally (we realize thatthis is a          continuation of the philosophical talk, the shadowy pacing).          YOUNG KIDS. Useful young men. YOUNG COLIN, three years older,          is amongthem.<b>          </b><b>                                 YOUNG COSTELLO</b>                       Church wants you in your place.                       What sort of man wants to be kept                       in his place? Do this don'tdo                       that, kneel, stand, kneel,                       stand...I mean if you go for that                       sort of thing...<b>          </b>          YOUNG COLIN, the recent altar boy, visibly doesn't go for          thatsort of thing.<b>          </b><b>                                 YOUNG COSTELLO (CONT'D)</b>                       I don't know what to do for you. A                       man makes his own way. No one gives                       it toyou. You have to take it.                           (a beat)                       Non serviam.<b>          </b><b>                                 YOUNG COLIN</b>                       James Joyce.<b>          </b><b>          </b><b>          </b><b>                                                             (CONTINUED)</b><b>          </b><b>                                                                      5.</b><b>          CONTINUED:</b><b>          </b><b>          </b><b>                                 YOUNG COSTELLO</b>                       Him and Lucifer. And me.                           (to the room)                       Guineas from the North End and down                       Providence, tried to tell mewhat                       to do...And something maybe                       happened to them.<b>          </b><b>          EXT. A REMOTE BEACH. DAWN</b><b>          </b>          Rose-colored dawn. YOUNG COSTELLO, witha pistol, executes a          MAN kneeling in the surf. She falls on the body of a man who          has just been executed.<b>          </b><b>                                 COSTELLO</b>                       Jeez, she fellfunny.<b>          </b>          FRENCH moves forward with an axe in his hand.<b>          </b><b>                                 FRENCH</b>                       Frank, you gotta see somebody.<b>          </b>          They goabout their business.<b>          </b><b>          INT. THE AUTOBODY SHOP. DAY</b><b>          </b>          YOUNG COSTELLO walking, talking...Not continuous with the          above. We see that only YOUNG COLINis present.<b>          </b><b>                                 YOUNG COSTELLO</b>                       You decide to be something, you can                       be it. That's what they don't tell                       you, the"}
+{"doc_id":"doc_308","qid":"","text":"Project Gutenberg's Peter Pan in Kensington Gardens, by J. M. BarrieThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: Peter Pan in Kensington GardensAuthor: J. M. BarriePosting Date: August 27, 2008 [EBook #1332]ReleaseDate: May, 1998Language: English*** START OF THIS PROJECT GUTENBERG EBOOK PETER PAN IN KENSINGTON GARDENS ***Produced by Ron BurkeyPETER PAN IN KENSINGTON GARDENSBy J. M.BarrieCONTENTS     Peter Pan     The Thrush's Nest     The Little House     Lock-Out TimePeter PanIf you ask your mother whether she knew about Peter Pan when she was alittle girl she will say, \"Why, of course, I did,child,\" and if youask her whether he rode on a goat in those days she will say, \"Whata foolish question to ask, certainly he did.\" Then if you ask yourgrandmother whether she knew about Peter Pan when she was a girl,shealso says, \"Why, of course, I did, child,\" but if you ask her whether herode on a goat in those days, she says she never heard of his having agoat. Perhaps she has forgotten, just as she sometimes forgets yournameand calls you Mildred, which is your mother's name. Still, she couldhardly forget such an important thing as the goat. Therefore there wasno goat when your grandmother was a little girl. This shows that, intellingthe story of Peter Pan, to begin with the goat (as most peopledo) is as silly as to put on your jacket before your vest.Of course, it also shows that Peter is ever so old, but he is reallyalways the same age, so that doesnot matter in the least. His ageis one week, and though he was born so long ago he has never had abirthday, nor is there the slightest chance of his ever having one. Thereason is that he escaped from being a humanwhen he was seven days'old; he escaped by the window and flew back to the Kensington Gardens.If you think he was the only baby who ever wanted to escape, it showshow completely you have forgotten your ownyoung days. When David heardthis story first he was quite certain that he had never tried to escape,but I told him to think back hard, pressing his hands to his temples,and when he had done this hard, and evenharder, he distinctlyremembered a youthful desire to return to the tree-tops, and with thatmemory came others, as that he had lain in bed planning to escape assoon as his mother was asleep, and how she had oncecaught him half-wayup the chimney. All children could have such recollections if they wouldpress their hands hard to their temples, for, having been birds beforethey were human, they are naturally a little wild duringthe first fewweeks, and very itchy at the shoulders, where their wings used to be. SoDavid tells me.I ought to mention here that the following is our way with a story:First, I tell it to him, and then he tells it to me, theunderstandingbeing that it is quite a different story; and then I retell it with hisadditions, and so we go on until no one could say whether it is morehis story or mine. In this story of Peter Pan, for instance, thebaldnarrative and most of the moral reflections are mine, though not all,for this boy can be a stern moralist, but the interesting bits about theways and customs of babies in the bird-stage are mostly reminiscencesofDavid's, recalled by pressing his hands to his temples and thinkinghard.Well, Peter Pan got out by the window, which had no bars. Standingon the ledge he could see trees far away, which were doubtless theKensingtonGardens, and the moment he saw them he entirely forgot thathe was now a little boy in a nightgown, and away he flew, right over thehouses to the Gardens. It is wonderful that he could fly without wings,but the placeitched tremendously, and, perhaps we could all fly if wewere as dead-confident-sure of our capacity to do it as was bold PeterPan that evening.He alighted gaily on the open sward, between the Baby's Palace andtheSerpentine, and the first thing he did was to lie on his back and kick.He was quite unaware already that he had ever been human, and thought hewas a bird, even in appearance, just the same as in his early days,andwhen he tried to catch a fly he did not understand that the reason hemissed it was because he had attempted to seize it with his hand, which,of course, a bird never does. He saw, however, that it must bepastLock-out Time, for there were a good many fairies about, all too busyto notice him; they were getting breakfast ready, milking their cows,drawing water, and so on, and the sight of the water-pails made himthirsty,so he flew over to the Round Pond to have a drink. He stooped,and dipped his beak in the pond; he thought it was his beak, but, ofcourse, it was only his nose, and, therefore, very little water came up,and that not sorefreshing as usual, so next he tried a puddle, and hefell flop into it. When a real bird falls in flop, he spreads out hisfeathers and pecks them dry, but Peter could not remember what wasthe thing to do, and he decided,rather sulkily, to go to sleep on theweeping beech in the Baby Walk.At first he found some difficulty in balancing himself on a branch, butpresently he remembered the way, and fell asleep. He awoke longbeforemorning, shivering, and saying to himself, \"I never was out in such acold night;\" he had really been out in colder nights when he was a bird,but, of course, as everybody knows, what seems a warm night to abirdis a cold night to a boy in a nightgown. Peter also felt strangelyuncomfortable, as if his head was stuffy, he heard loud noises that madehim look round sharply, though they were really himself sneezing. Therewassomething he wanted very much, but, though he knew he wanted it, hecould not think what it was. What he wanted so much was his mother toblow his nose, but that never struck him, so he decided to appeal tothefairies for enlightenment. They are reputed to know a good deal.There were two of them strolling along the Baby Walk, with their armsround each other's waists, and he hopped down to address them. Thefairieshave their tiffs with the birds, but they usually give a civilanswer to a civil question, and he was quite angry when these two ranaway the moment they saw him. Another was lolling on a garden-chair,reading apostage-stamp which some human had let fall, and when he heardPeter's voice he popped in alarm behind a tulip.To Peter's bewilderment he discovered that every fairy he met fled fromhim. A band of workmen, whowere sawing down a toadstool, rushed away,leaving their tools behind them. A milkmaid turned her pail upside downand hid in it. Soon the Gardens were in an uproar. Crowds of fairieswere running this way and that,asking each other stoutly, who wasafraid, lights were extinguished, doors barricaded, and from the groundsof Queen Mab's palace came the rubadub of drums, showing that the royalguard had been called out.Aregiment of Lancers came charging down the Broad Walk, armed withholly-leaves, with which they jog the enemy horribly in passing. Peterheard the little people crying everywhere that there was a human intheGardens after Lock-out Time, but he never thought for a moment that hewas the human. He was feeling stuffier and stuffier, and more and morewistful to learn what he wanted done to his nose, but he pursuedthemwith the vital question in vain; the timid creatures ran from him, andeven the Lancers, when he approached them up the Hump, turned swiftlyinto a side-walk, on the pretence that they saw him there.Despairing ofthe fairies, he resolved to consult the birds, but now heremembered, as an odd thing, that all the birds on the weeping beech hadflown away when he alighted on it, and though that had not troubled himat the time, hesaw its meaning now. Every living thing was shunninghim. Poor little Peter Pan, he sat down and cried, and even then he didnot know that, for a bird, he was sitting on his wrong part. It is ablessing that he did notknow, for otherwise he would have lost faithin his power to fly, and the moment you doubt whether you can fly, youcease forever to be able to do it. The reason birds can fly and we can'tis simply that they have perfectfaith, for to have faith is to havewings.Now, except by flying, no one can reach the island in the Serpentine,for the boats of humans are forbidden to land there, and thereare stakes round it, standing up in the water, oneach of which abird-sentinel sits by day and night. It was to the island that Peter nowflew to put his strange case before old Solomon Caw, and he alighted onit with relief, much heartened to find himself at last at home,as thebirds call the island. All of them were asleep, including the sentinels,except Solomon, who was wide awake on one side, and he listened quietlyto Peter's adventures, and then told him their true meaning.\"Look atyour night-gown, if you don't believe me,\" Solomon said,and with staring eyes Peter looked at his nightgown, and then at thesleeping birds. Not one of them wore anything.\"How many of your toes are thumbs?\" saidSolomon a little cruelly, andPeter saw to his consternation, that all his toes were fingers. Theshock was so great that it drove away his cold.\"Ruffle your feathers,\" said that grim old Solomon, and Peter triedmostdesperately hard to ruffle his feathers, but he had none. Then he roseup, quaking, and for the first time since he stood on the window-ledge,he remembered a lady who had been very fond of him.\"I think I shall goback to mother,\" he said timidly.\"Good-bye,\" replied Solomon Caw with a queer look.But Peter hesitated. \"Why don't you go?\" the old one asked politely.\"I suppose,\" said Peter huskily, \"I suppose I can still fly?\"You see,he had lost faith.\"Poor little half-and-half,\" said Solomon, who was not reallyhard-hearted, \"you will never be able to fly again, not even on windydays. You must live here on the island always.\"\"And never even go to theKensington Gardens?\" Peter asked tragically.\"How could you get across?\" said Solomon. He promised very kindly,however, to teach Peter as many of the bird ways as could be learned byone of such an awkwardshape.\"Then I sha'n't be exactly a human?\" Peter asked.\"No.\"\"Nor exactly a bird?\"\"No.\"\"What shall I be?\"\"You will be a Betwixt-and-Between,\" Solomon said, and certainly he wasa wise old fellow, for that is exactly howit turned out.The birds on the island never got used to him. His oddities tickled themevery day, as if they were quite new, though it was really the birdsthat were new. They came out of the eggs daily, and laughed athim atonce, then off they soon flew to be humans, and other birds came outof other eggs, and so it went on forever. The crafty mother-birds, whenthey tired of sitting on their eggs, used to get the young one tobreaktheir shells a day before the right time by whispering to them that nowwas their chance to see Peter washing or drinking or eating. Thousandsgathered round him daily to watch him do these things, just as youwatchthe peacocks, and they screamed with delight when he lifted the cruststhey flung him with his hands instead of in the usual way with themouth. All his food was brought to him from the Gardens atSolomon'sorders by the birds. He would not eat worms or insects (which theythought very silly of him), so they brought him bread in their beaks.Thus, when you cry out, \"Greedy! Greedy!\" to the bird that fliesawaywith the big crust, you know now that you ought not to do this, for heis very likely taking it to Peter Pan.Peter wore no night-gown now. You see, the birds were always begging himfor bits of it to line their nestswith, and, being very good-natured,he could not refuse, so by Solomon's advice he had hidden what was leftof it. But, though he was now quite naked, you must not think that hewas cold or unhappy. He was usuallyvery happy and gay, and the reasonwas that Solomon had kept his promise and taught him many of the birdways. To be easily pleased, for instance, and always to be really doingsomething, and to think that whateverhe was doing was a thing of vastimportance. Peter became very clever at helping the birds to build theirnests; soon he could build better than a wood-pigeon, and nearly as wellas a blackbird, though never did hesatisfy the finches, and he madenice little water-troughs near the nests and dug up worms for the youngones with his fingers. He also became very learned in bird-lore, andknew an east-wind from a west-wind by itssmell, and he could see thegrass growing and hear the insects walking about inside the tree-trunks.But the best thing Solomon had done was to teach him to have a gladheart. All birds have glad hearts unless you robtheir nests, and so asthey were the only kind of heart Solomon knew about, it was easy to himto teach Peter how to have one.Peter's heart was so glad that he felt he must sing all day long,just as the birds sing for joy,but, being partly human, he needed ininstrument, so he made a pipe of reeds, and he used to sit by the shoreof the island of an evening, practising the sough of the wind and theripple of the water, and catchinghandfuls of the shine of the moon, andhe put them all in his pipe and played them so beautifully that even thebirds were deceived, and they would say to each other, \"Was that a fishleaping in the water or was it Peterplaying leaping fish on his pipe?\"and sometimes he played the birth of birds, and then the mothers wouldturn round in their nests to see whether they had laid an egg. If youare a child of the Gardens you must know thechestnut-tree near thebridge, which comes out in flower first of all the chestnuts, butperhaps you have not heard why this tree leads the way. It is becausePeter wearies for summer and plays that it has come, and thechestnutbeing so near, hears him and is cheated.But as Peter sat by the shore tootling divinely on his pipe he sometimesfell into sad thoughts and then the music became sad also, and thereason of all this sadness wasthat he could not reach the Gardens,though he could see them through the arch of the bridge. He knew hecould never be a real human again, and scarcely wanted to be one, butoh, how he longed to play as otherchildren play, and of course thereis no such lovely place to play in as the Gardens. The birds brought himnews of how boys and girls play, and wistful tears started in Peter'seyes.Perhaps you wonder why he did notswim across. The reason was that hecould not swim. He wanted to know how to swim, but no one on the islandknew the way except the ducks, and they are so stupid. They were quitewilling to teach him, but all theycould say about it was, \"You sit downon the top of the water in this way, and then you kick out like that.\"Peter tried it often, but always before he could kick out he sank. Whathe really needed to know was how you siton the water without sinking,and they said it was quite impossible to explain such an easy thing asthat. Occasionally swans touched on the island, and he would give themall his day's food and then ask them how theysat on the water, but assoon as he had no more to give them the hateful things hissed at him andsailed away.Once he really thought he had discovered a way of reaching the Gardens.A wonderful white thing, like arunaway newspaper, floated high overthe island and then tumbled, rolling over and over after the manner of abird that has broken its wing. Peter was so frightened that he hid, butthe birds told him it was only a kite,and what a kite is, and that itmust have tugged its string out of a boy's hand, and soared away. Afterthat they laughed at Peter for being so fond of the kite, he loved itso much that he even slept with one hand on it,and I think this waspathetic and pretty, for the reason he loved it was because it hadbelonged to a real boy.To the birds this was a very poor reason, but the older ones feltgrateful to him at this time because he hadnursed a number offledglings through the German measles, and they offered to show him howbirds fly a kite. So six of them took the end of the string in theirbeaks and flew away with it; and to his amazement it flewafter them andwent even higher than they.Peter screamed out, \"Do it again!\" and with great good nature they didit several times, and always instead of thanking them he cried, \"Do itagain!\" which shows that even nowhe had not quite forgotten what it wasto be a boy.At last, with a grand design burning within his brave heart, he beggedthem to do it once more with him clinging to the tail, and now a hundredflew off with the string,and Peter clung to the tail, meaning to dropoff when he was over the Gardens. But the kite broke to pieces in theair, and he would have drowned in the Serpentine had he not caught holdof two indignant swans andmade them carry him to the island. After thisthe birds said that they would help him no more in his mad enterprise.Nevertheless, Peter did reach the Gardens at last by the help ofShelley's boat, as I am now to tellyou.The Thrush's NestShelley was a young gentleman and as grown-up as he need ever expect tobe. He was a poet; and they are never exactly grown-up. They are peoplewho despise money except what you need forto-day, and he had all thatand five pounds over. So, when he was walking in the Kensington Gardens,he made a paper boat of his bank-note, and sent it sailing on theSerpentine.It reached the island at night: and thelook-out brought it to SolomonCaw, who thought at first that it was the usual thing, a message from alady, saying she would be obliged if he could let her have a good one.They always ask for the best one he has, and ifhe likes the letter hesends one from Class A, but if it ruffles him he sends very funny onesindeed. Sometimes he sends none at all, and at another time he sends anestful; it all depends on the mood you catch him in. Helikes you toleave it all to him, and if you mention particularly that you hope hewill see his way to making it a boy this time, he is almost sure to sendanother girl. And whether you are a lady or only a little boy whowantsa baby-sister, always take pains to write your address clearly. Youcan't think what a lot of babies Solomon has sent to the wrong house.Shelley's boat, when opened, completely puzzled Solomon, and hetookcounsel of his assistants, who having walked over it twice, first withtheir toes pointed out, and then with their toes pointed in, decidedthat it came from some greedy person who wanted five. They thoughtthisbecause there was a large five printed on it. \"Preposterous!\" criedSolomon in a rage, and he presented it to Peter; anything useless whichdrifted upon the island was usually given to Peter as a play-thing.But he didnot play with his precious bank-note, for he knew what itwas at once, having been very observant during the week when he was anordinary boy. With so much money, he reflected, he could surely at lastcontrive toreach the Gardens, and he considered all the possible ways,and decided (wisely, I think) to choose the best way. But, first, he hadto tell the birds of the value of Shelley's boat; and though they weretoo honest todemand it back, he saw that they were galled, and theycast such black looks at Solomon, who was rather vain of his cleverness,that he flew away to the end of the island, and sat there very depressedwith his headburied in his wings. Now Peter knew that unless Solomonwas on your side, you never got anything done for you in the island, sohe followed him and tried to hearten him.Nor was this all that Peter did to pin the powerfulold fellow's goodwill. You must know that Solomon had no intention of remaining in officeall his life. He looked forward to retiring by-and-by, and devoting hisgreen old age to a life of pleasure on a certain yew-stump inthe Figswhich had taken his fancy, and for years he had been quietly filling hisstocking. It was a stocking belonging to some bathing person which hadbeen cast upon the island, and at the time I speak of it containedahundred and eighty crumbs, thirty-four nuts, sixteen crusts, a pen-wiperand a bootlace. When his stocking was full, Solomon calculated that hewould be able to retire on a competency. Peter now gave him a pound.Hecut it off his bank-note with a sharp stick.This made Solomon his friend for ever, and after the two had consultedtogether they called a meeting of the thrushes. You will see presentlywhy thrushes only wereinvited.The scheme to be put before them was really Peter's, but Solomon didmost of the talking, because he soon became irritable if other peopletalked. He began by saying that he had been much impressed bythesuperior ingenuity shown by the thrushes in nest-building, and thisput them into good-humour at once, as it was meant to do; for all thequarrels between birds are about the best way of building nests. Otherbirds,said Solomon, omitted to line their nests with mud, and as aresult they did not hold water. Here he cocked his head as if he hadused an unanswerable argument; but, unfortunately, a Mrs. Finch had cometo the meeting"}
+{"doc_id":"doc_309","qid":"","text":"<html><head><title>Saint, The Script at IMSDb.</title><meta name=\"description\" content=\"Saint, The script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Saint, The script, Saint, Themovie script, Saint, The film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=SubjectCONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0];s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>    <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\"title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center></td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b><HTML> <HEAD>       <TITLE>THE SAINT</TITLE></b><LINK rel=\"stylesheet\" type=\"text/css\"><META http-equiv=\"Content-Type\"content=\"text/html; charset=iso-8859-1\"><style type=\"text/css\">BODY { background-color: \"#FFFFFF\"; font-family: Courier New, Helvetica, sans-serif; font-size:10.0pt }DIV { position:absolute; left:5px; top:20px;width:734px; height:500px;  }#loc { font-family:Courier New; font-weight: normal;margin-top:0in; margin-right:1.2in; margin-bottom:0in;margin-left:0.8in;text-transform:uppercase } #slug { font-family:CourierNew; font-weight: normal; margin-top:0in; margin-right:1.2in; margin-bottom:0in; margin-left:0.8in; text-transform:uppercase;<b> </b><b>} </b>#act { font-family:Courier New; font-weight:normal;margin-top:0in; margin-right:1.8in; margin-bottom:0in;margin-left:0.8in } #speaker { font-family:Courier New; font-weight: normal;margin-top:0in; margin-right:1.in;margin-bottom:0in;margin-left:2.8in;text-transform:uppercase }#spkdir { font-family:Courier New; font-weight: normal;margin-top:0in; margin-right:2.7in; margin-bottom:0in;margin-left:2.2in }#dia {font-family:Courier New; font-weight: normal;margin-top:0in; margin-right:2.6in; margin-bottom:0in;margin-left:1.6in }#pg { font-family:Courier New; font-weight: normal;margin-top:0in; margin-right:1.75in;margin-bottom:0in;margin-left:6.5in }#right { font-family:Courier New; font-weight: normal;margin-top:0in; margin-right:0.75in; margin-bottom:0in;margin-left:5.0in }</style><divid=\"Layer1\"><b></HEAD></b><b><BODY></b></p><p><p ID=\"slug\">THE S A I N T </p><p><p ID=\"slug\">by Jonathan Hensleigh </p><p><p ID=\"slug\">Director: Phillip Noyce </p><p><pID=\"slug\">February 8, 1995</p><p><p ID=\"slug\">New York City </p><p><p ID=\"act\">The only difference between the saint and the sinner is that every saint has a past and every sinner has a future.  - O. Wilde -</p><p><p ID=\"slug\">FADE IN: </p><p><p ID=\"act\">The majestic city and bay, as seen from the elevation of the surrounding Shan Ho hills as we SUPER \u0000 </p><p><p ID=\"act\">HONG KONG \u0000 1965</p><p><p ID=\"act\">PANNING away from the city, we come before the bleak facade of the SAINT <b>IGNATIUS ORPHANAGE.  </b></p><p><P ID=\"speaker\">BOY'S VOICE (o.s.) <P ID=\"dia\">Simon Magus was amagician and sorcerer in uhhm... Sumatra.  </p><p><p ID=\"slug\">INT. HONG KONG - SAINT IGNATIUS ORPHANAGE - DAY </p><p><p ID=\"act\">Twenty boys, aged 7 to 12, sit at spartan desks, bibles raised.FATHER O'NEAL walks amongst them. A career Jesuit with razor eyes and thin lips. An awful man.  </p><p><P ID=\"speaker\">FATHER 0'NEAL <P ID=\"spkdir\">(sternly) <P ID=\"dia\">Sumeria.  And what happened tohim Francis? </p><p><p ID=\"act\">FRANCIS, 12, is the eldest and largest boy.  </p><p><P ID=\"speaker\">FRANCIS <P ID=\"dia\">Jesus' disciples came and performed miracles. When Simon Magus saw the miracleshe offered disciple Peter gold for the powers of God.  </p><p><P ID=\"speaker\">FATHER 0'NEAL <P ID=\"dia\">What did disciple Peter say to that? Michael Quinn? </p><p><p ID=\"act\">Father O'Neal stands beforethe youngest, littlest boy, who, unlike the others, exhibits no fear in his huge, intelligent eyes. Father O'Neal hates this boy.  </p><p><p ID=\"act\">The boy, MICHAEL QUINN, doesn't respond.  Father O'Neal snatcheshis bible, revealing a SECOND BOOK hidden behind it.  </p><p><p ID=\"act\">It's a dime store pulp adventure with a gaudy cover entitled \"THE KNIGHTS <b>TEMPLAR.\" </b></p><p><P ID=\"speaker\">FATHER0'NEAL <P ID=\"dia\">Answer the question Michael.  </p><p><p ID=\"act\">The little boy stares up at him.  </p><p><P ID=\"speaker\">MICHAEL QUINN <P ID=\"dia\">That's not my name.  </p><p><pID=\"act\">Father O'Neal yanks the boy from the chair. Drags him by the arm across the room and out into the corridor.  </p><p><p ID=\"act\">THE OTHER BOYS wait two seconds, then they spring up and run, enmasse, to the door. Grouped in the threshold, straining for a good view, they watch as -- </p><p><p ID=\"act\">FATHER O'NEIL pulls Michael Quinn into an office down the corridor. The door has a stained-glasswindow.  </p><p><p ID=\"act\">It begins. We see it in SILHOUETTE: Father O'Neal with a CANE SWITCH in his hand, the boy beneath him. Down the switch comes. Again. And again.  The boy YELPS. And again andagain and again... and now he SCREAMS...</p><p><p ID=\"act\">THE BOYS HUDDLED IN THE DOORWAY begin to wince. With every repeated, merciless descent of the switch...  </p><p><p ID=\"slug\">INT. SAINTIGNATIUS ORPHANAGE - EATING HALL - NIGHT </p><p><p ID=\"act\">THE BOYS sit at benches. Michael Quinn stares stoically ahead. The back of his shirt is striped with blood.  </p><p><p ID=\"act\">FATHER YIN,50's, a Chinese Jesuit, grim in black frock and white collar, paces amongst the benches. Father O'Neal watches from the side.  </p><p><P ID=\"speaker\">FATHER YIN <P ID=\"dia\">Why one child is born into a goodhome and another into poverty - that is but part of God's design. All of you are unwanted, put here because of the sins of your unwedded mothers. The church has fed you and educated you. Given you a home. A name.An identity.  </p><p><p ID=\"act\">Stopping before Michael Quinn, he points to a PORTRAIT ON THE WALL of a stern-faced Jesuit.  </p><p><P ID=\"speaker\">FATHER YIN <P ID=\"dia\">Who is that, boy? </p><p><PID=\"speaker\">MICHAEL QUINN <P ID=\"dia\">Father Michael Quinn.  </p><p><P ID=\"speaker\">FATHER YIN <P ID=\"dia\">Yes. A great man. You ungrateful little cur, you will sit here without food until you appreciateyour namesake.  <P ID=\"spkdir\">(to the other boys) <P ID=\"dia\">All of you will sit with him. Put lunch away, Mr. Fong.  </p><p><p ID=\"act\">MR. FONG, the orphanage cook, wheels a FOOD CART into the kitchenand locks the door. Father Yin exits, followed by Father O'Neal and Mr. Fong, leaving -- </p><p><p ID=\"act\">A HUNDRED BOYS staring at Michael Quinn.  </p><p><p ID=\"right\">DISSOLVE TO: </p><p><pID=\"slug\">INT. ORPHANAGE - NIGHT </p><p><p ID=\"act\">Again, Father Yin stands before Michael Quinn. The boys are seated for their evening meal.  </p><p><P ID=\"speaker\">FATHER YIN <P ID=\"dia\">What isyour name, boy? </p><p><p ID=\"act\">Silence. Michael Quinn stares straight ahead.  </p><p><P ID=\"speaker\">FATHER YIN <P ID=\"dia\">Put supper away, Mr. Fong.  </p><p><p ID=\"act\">MR. FONG wheels theFOOD CART into the kitchen and locks the door. Again, a hundred boys stare at Michael Quinn.  </p><p><p ID=\"slug\">INT . ORPHANAGE BUNKROOM - NIGHT </p><p><p ID=\"act\">A long, narrow room withbunkbeds. The boys aren't sleeping. They're grouped around Michael Quinn's bunk. One boy has his hand clamped to Michael's, mouth, the others are wailing on him... and outside -- </p><p><p ID=\"slug\">INT.ORPHANAGE - CORRIDOR OUTSIDE BUNKROOM - NIGHT </p><p><p ID=\"act\">Fathers O'Neal and Yin watch through the door.  </p><p><P ID=\"speaker\">FATHER YIN <P ID=\"dia\">Spareth the rod, spoileth thechild.  </p><p><p ID=\"slug\">INT. ORPHANAGE - MORNING </p><p><p ID=\"act\">Father Yin grits his teeth, staring down at Michael Quinn, whose face is welted. Nothing has changed.  </p><p><PID=\"speaker\">FATHER YIN <P ID=\"dia\">Put breakfast away, Mr. Fong. </p><p><p ID=\"act\"> Again, the FOOD CART goes into the kitchen. The Fathers and Mr. Fong exit.  The boys rise, moving toward MichaelQuinn. They're going to kick the living shit out of him.  </p><p><P ID=\"speaker\">MICHAEL QUINN <P ID=\"dia\">Stop. You'll have your breakfast.  </p><p><p ID=\"act\">Michael Quinn walks to the locked kitchendoor.  The other boys, curious, follow.  </p><p><p ID=\"act\">Michael Quinn kneels before the door, examining the lock. He looks around.  On a counter next to the door are EATING UTENSILS. Michael Quinn picks upA FORK. He bends the fork's tines. Inserts it in the lock.  He fishes around for a second. Nothing happens. He pulls the fork out, rebends it, and inserts it in the lock again. And CLICK.. ..the lock pops.  </p><p><pID=\"act\">Michael Quinn turns and smiles. The boys flood inside.  The hungry boys go for the food cart, scooping up eggs and sausage. They're ravenous. Francis, mouth full of sausage, beams at MichaelQuinn.  </p><p><P ID=\"speaker\">FRANCIS <P ID=\"dia\">They should've named you Simon, like Simon Magus the sorcerer.  </p><p><P ID=\"speaker\">MICHAEL QUINN <P ID=\"dia\">No. Simon. . . .  <PID=\"spkdir\">(pulls the \"KNIGHTS TEMPLAR\" paperback from his back pocket) <P ID=\"dia\">...Templar.  </p><p><p ID=\"act\">Suddenly a SHARP WHISTLE. The boys, startled, whip their necks around.  MR. FONGstands in the doorway.  Father O'Neal and Father Yin enter quickly.  The boys back away from the food cart.  </p><p><P ID=\"speaker\">FATHER YIN <P ID=\"dia\">Who.. . who did this...? </p><p><p ID=\"act\">Theboys look at Michael Quinn. Then Francis speaks: </p><p><P ID=\"speaker\">FRANCIS <P ID=\"dia\">I did father.  </p><p><p ID=\"act\">And another boy, James: </p><p><P ID=\"speaker\">JAMES <P ID=\"dia\">Idid father. .  </p><p><p ID=\"act\">And another and another: \"I did father.\" They all say it. And the littlest youngest boy, surrounded by his new confederates, smiles slightly. His eyes glint.  </p><p><pID=\"right\">CUT TO: </p><p><p ID=\"act\">Begin MAIN TITLE SEQUENCE </p><p><p ID=\"slug\">EXT. ST. PETERSBURG, RUSSIA - NIGHT </p><p><p ID=\"act\">A chilly September night. A rally is underway in theDvortsovaya Ploshchad, the vast square at the foot of Nevsky Prospect Boulevard. The Winter Palace and Hermitage loom in the b.g.  500,000 ST. PETERS BURGERS' stand shoulder-to-shoulder, listening to a SPEECH.INTERNATIONAL T.V. CREWS (the BBC, CNN, etc.) are transmitting the event.  </p><p><P ID=\"speaker\">SPEAKER (o.s.) <P ID=\"dia\">In I917 Lenin stood here and promised a new age. The result? Tyranny. Poverty.The darkest years in our history.  </p><p><p ID=\"act\">THE SPEAKER stands on a platform behind a cluster of microphones, his image projected on a huge screen (like the Sony screen in Times Square) above andbehind him.  </p><p><p ID=\"act\">He is MICHAEL ROMANOV, coal-haired, fierce, ardent, eyes glinting like onyx, voice cutting the night air.  </p><p><P ID=\"speaker\">ROMANOV <P ID=\"dia\">In 1987 Gorbachevstood here and promised a new age. The result? An end to communism. Democracy. A free economy. And what else? Chaos.  <P ID=\"spkdir\">(crowd CHEERS) <P ID=\"dia\">The economy run by criminals, thegovernment run by charlatans. And they are in league together! Thieves! Traitors! <P ID=\"spkdir\">(louder CHEERS) <P ID=\"dia\">Men and women of St. Petersburg, citizens of Russia, the salt of this country, this mustend! <P ID=\"spkdir\">(deafening CHEERS) <P ID=\"dia\">Join me then in the song of our forefathers.  </p><p><p ID=\"act\">Romanov begins to sing, ably, the first verse of \"Mother Russia\" (the Russian anthem beforethe Bolsheviks).  </p><p><p ID=\"act\">THE CROWD joins him. The Ploshchad rings with the voices of half a million Russians...  </p><p><p ID=\"right\">CUT TO: </p><p><p ID=\"slug\">EXT. ST. PETERSBURG -"}
+{"doc_id":"doc_310","qid":"","text":"<html><head><title>Fright Night Script at IMSDb.</title><meta name=\"description\" content=\"Fright Night script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Fright Night script,Fright Night movie script, Fright Night film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\"rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre> <b>                                  FRIGHT NIGHT</b>                                   Written by                                   Marti Noxon<b>          EXT.SUBURBAN NEIGHBORHOOD -- NIGHT</b><b>                         FADE UP:</b>          Moving through a tract development. The houses are like          Mexican food -- the basic elements are all the same,just          mixed differently.          A gloomy night, no moon. And a slightly ominous pattern          emerges...          Green, thriving lawns and meticulously tended homes abut          brown yards and porches litteredwith old newspapers and          pizza joint flyers.          Each third or fourth house is FOR SALE or, worse, seemingly          abandoned. This area is in danger of becoming a ghost town.          A deep, commanding voicepierces the silence:<b>          VOICE (O.S.)</b>          Defy reason. Defy everything you          know.          Now we move in on one of the homes. Not the nicest on the          block, but inhabited. Lights on in thewindows.<b>          INT. SUBURBAN HOME/VARIOUS -- NIGHT</b>          Inside the house. A middle-class family lives here. The          living room is empty, but the TV's on.<b>          ON THETELEVISION</b>          A commercial for PETER VINCENT. A Las Vegas institution,          he's a magician whose show is all Gothic, horror-movie          imagery.          Peter's wiry, hot -- a rock and roll bad boy. He'scutting a          girl up with a chain saw. And grinning like a mad man.<b>                         TELEVISION ANNOUNCER</b>          Peter Vincent's \"FRIGHT NIGHT.\"          The family DOG is up on the coffee table eatingwhat's left          of a fast food burger and fries, still in the box.<b>          TELEVISION ANNOUNCER (CONT'D)</b>          Something's moving in thedark.                                                                                                    <b>          2.</b>          Also on the table -- a role-playing game in progress.          \"Magic, the Gathering\"... Elves andWizards.<b>          TELEVISION ANNOUNCER (CONT'D)</b>          Only at The Hard Rock. Nightly          Wednesday Through Sunday.          Now we hear what at first sounds like a MUFFLED ARGUMENT          comingfrom another room.<b>                         DISTANT VOICE</b>          Get off her!!          More voices yelling, something being thrown. An ugly          domestic scene.          We creep down a dark hall toward a crackeddoor, light seeps          through the opening -- it SLAMS OPEN and ADAM, 17, crashes          toward us.          He's nice-looking, a little nerdy -- and he's in a blind          terror.          We get a glimpse of the horriblescene behind the door. A          teen girl's room -- the sound of flesh ripping.          We see a pale arm on the ground, shaking violently, as if          something is tearing and tugging at the body attached to it.          Webolt away with ADAM, who we now see is blood splattered,          as he races UPSTAIRS. A PHONE CRADLE is ripped out of the          wall, which Adam nearly falls over.<b>          INT. SUBURBAN HOME -- UPPERLANDING/BEDROOM -- NIGHT</b>          ADAM RACES INTO HIS PARENTS' ROOM. Another horrible glimpse -          - his mother's body splayed across her frilly bed.          Blood on pale pink sheets.          ADAM goesto his FATHER'S SIDE OF THE BED and now we see          Adam's father's body. His father was reaching for A GUN he'd          hidden under the bed.          ADAM gets down under the bed, desperately reaches forthe          gun. It's just beyond his grasp.<b>                         ADAM</b>          Come on, come on, come on...          He gets it. But the GUN HAS A GUN LOCK. Adam has to dig in          his dead father's pockets forhis keys. Adam starts to cry.                                                                                                    <b>          3.</b><b>                         ADAM (CONT'D)</b>          Come on, come on!          He finds them, strugglesto unlock the gun with shaking          hands.          THE BED IS TURNED OVER in one violent throw. Adam is          exposed. We see only a hint of the creature that looms over<b>                         HIM--</b>          Brutally strong, veins dark and visible under the skin...          Human but not quite.          Adam reacts in horror. He knows he's dead.          HE's RIPPED OUT OF FRAME as we hear:<b>           DISCJOCKEY (O.S.)</b>           .we're looking at a nice day here           in Clark County, hitting a season          low of only 89 degrees...<b>          EXT. SHADOW HILLS - DAY</b>          MUSIC starts under the DISCJOCKEY as we LOOK DOWN FROM HIGH          ABOVE at the SAME suburban neighborhood as before.          In the daylight it seems nice. Charming, even.          Pocket parks decorate almost every corner and kids ridebikes          in the street. Mothers unload groceries. Neighbors chat.<b>          DISC JOCKEY (O.S.)</b>          .so get out there and enjoy this          beautiful Wednesday, people.          We SWOOP CLOSER and findthat RADIO comes from a passing          MINIVAN with those cutesy stick figure family decals on the          rear window.          The FOR SALE SIGNS and brown lawns don't seem nearly so          forebodingnow.          We SWOOP UP AGAIN and see beyond Shadow Hills, past the WALL          that encompasses it -- and become aware for the first time          that the community is SURROUNDED BY FLAT, ARIDDESERT.          In the distance, we can just make out the glow of Las Vegas          proper. It looks like a distant fantasy, a land-locked          PleasureIsland.                                                                                                    <b>          4.</b><b>          EXT. STREET - DAY</b><b>                         CLOSE ON:</b>          The wheels of a DIRT BIKE as it zoomsdown the street.          WIDEN to see CHARLIE BREWSTER, who is PUSHING the bike as          fast as he can. It STARTS, sputters -- then craps out.<b>                         CHARLIE</b>          (to thebike/pissed)          You want me to take you apart, huh?          Charlie's 17 and has the slightly awkward feel of someone who           just recently came into his body and good looks.          He's a wry, thoughtful kidwho's enjoying -- but not quite          trusting -- a sudden surge in popularity.<b>                         CHARLIE (CONT'D)</b>          (still talking to bike)          I will. I'll sell you for parts.          Don't think Iwon't--          Charlie stops, embarrassed. DORIS -- a neighbor -- watches           him talk to his bike. Paused as she hauls her trash cans to          the curb.          She's super pretty in a wholesome way -- except forher          ridiculous body. Stripper city. She nods to the bike,          amused.<b>                         DORIS</b>          Nothing doing, huh?<b>                         CHARLIE</b>          The thing's got noambition.          (re: trash cans)          Can I -- uh, give you a hand?<b>                         DORIS</b>          I got it. Thanks.          She walks away -- her sweatpants have the word \"LUCKY\" across          the butt. Hewatches her go appreciatively. Doesn't notice          his mom, JANE, struggling to pull their own cans to the curb.<b>                         JANE</b>          Don't leer at the neighbors, kid.          Jane, 40's, attractive andfrazzled, wears a REAL ESTATE          brokers blazer. Charlie wheels his bike back to the curb.                                                                                                    <b>          5.</b>          He and his mom have had anaffectionate, teasing relationship          which has only recently started to have more edge.<b>                         CHARLIE</b>          She's the one who put a word on her          butt. I'm just reading it.          Jane eyesa LARGE DUMPSTER FULL OF CONCRETE that sits in          front of their NEXT DOOR NEIGHBOR'S YARD.<b>                         JANE</b>          Is he ever going to movethat          thing?<b>                         CHARLIE</b>          You need to get over it, Mom.<b>                         JANE</b><b>                         (WATCH IT)</b>          Attitude.          (observes him/then)          You'vebeen tense or something.          School?<b>                         CHARLIE</b>          School's great, actually.<b>                         JANE</b>          Amy?<b>                         CHARLIE</b>          Good. Hasn't dumpedme yet.          He says this like he's surprised. Jane nods. Getting it.<b>                         JANE</b>          That'll teach you to get so tall          and handsome.<b>                         (THEN)</b>          Getting what youwant is stressful.          Especially when you're not used to          it. More to lose.<b>                         CHARLIE</b>          Are you reading those books again?          The Power of Whatever the Hell?          She laughs.He glances at the DUMPSTER.<b>                         CHARLIE (CONT'D)</b>          They're not working. You're still          flipping out about a bigbox.                                                                                                    <b>          6.</b>          Now Jane moves to the open garage and starts loading OPEN          HOUSE SIGNS into her trunk. Charlie standsthere. She          shoots him a look -- then he helps her load.<b>                         JANE</b>          It's an eyesore. I'm trying to          convince people to move in, not          join the legions leavingtown--<b>                         CHARLIE</b>          If you say \"mortgage crisis\" again          I'm getting a new mom.<b>                         JANE</b>          The guy moves in and puts a giant          trash can in his yard!When the          Perry's lived there--          Charlie has heard this before. It's a common refrain.<b>                         CHARLIE</b>          The Perry's were the greatest          neighbors ever. But they moved.I          thought you were happy their place          finally sold.<b>                         JANE</b>          (back on the neighbor)          He's not digging a pool. Where do          you think all that concrete's          comingfrom?<b>                         CHARLIE</b>          You're spying on the guy now?<b>                         JANE</b>          He's thirteen feet from our house.          That's not spying, that's          observing.          A BEETLECONVERTIBLE pulls up. AMY drives and her two hot          friends, CARA and BEE, sit in the back.<b>                         AMY</b>          Hi, Mrs. Brewster.<b>                         JANE</b>          Hi honey. Higirls.          ANY, 16, is a stunner. And she's as cool as she is beautiful          -- the girl every other guy in school would die to bewith.                                                                                                    <b>          7.</b>          But Charlie is. And he can't believe his luck. Which puts          him off his game. She makes him feel like he'salways          playing catch up.          Charlie moves toward the VW. Jane calls after him.<b>                         JANE (CONT'D)</b>          Oh hey -- Ed called.Again.<b>                         CHARLIE</b>          Okay.<b>                         JANE</b>          I'm tired of making excuses,          Charlie. If you don't want to talk          to him, would you please tellhim?<b>                         CHARLIE</b>          Kinda defeats the purpose.          He gets to AMY and the girls. Amy glances at the dirt bike.<b>                         AMY</b>          Still can't get the bike"}
+{"doc_id":"doc_311","qid":"","text":"<html><head><title>Last Chance Harvey Script at IMSDb.</title><meta name=\"description\" content=\"Last Chance Harvey script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"LastChance Harvey script, Last Chance Harvey movie script, Last Chance Harvey film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\"content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ?'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie ScriptDatabase\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <scripttype=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                          LAST CHANCE HARVEY</b><b>          </b><b>          </b><b>          </b>                              Writtenby<b>          </b>                             Joel Hopkins<b>          </b><b>          </b><b>          </b>          Sound of a piano being played. Sparse butbeautiful.<b>          </b><b>                                                           FADE IN:</b><b>          </b><b>          </b><b>          INT. RECORDING ROOM - DAY</b><b>          </b>          HARVEY SHINE, mid-60's,sits at a piano in a scruffy          recording room, tinkering. We hold on his slightly sad,          intense gaze. Just then a shaft of crude light illuminates          him, accompanied by a knocking sound. From behind astudio          window, JOHNNIE, a young rocker type in his 20's beckons.          Harvey closes the piano lid.<b>          </b><b>          </b><b>          INT. STUDIO - DAY</b><b>          </b>          Johnnie,unpacking his lunch and turning on various buttons,          sits at a mixing desk. In front of him are 2 large TV          monitors. Harvey joins him.<b>          </b><b>                              HARVEY</b>                    Putmy score up first.<b>          </b><b>                              JOHNNIE</b>                    They don't want to hear it, Harvey.<b>          </b><b>                              HARVEY</b>                    I know, but I want tohear it. Put                    it up.<b>          </b><b>                              JOHNNIE</b>                    I'm backed up already,Harvey.<b>          </b><b>                              HARVEY</b>                        (interrupting)                    Johnnie, you were the one that was                    late. Just put it up.<b>          </b>          Johnniereluctantly presses various buttons.<b>          </b>          A `cheesy' commercial for a washing detergent plays. It is          accompanied by a jolly classical score. Harvey looks on          forlornly at his work. As itcomes to an end with a flourish,          Harvey lowers his head. Beat. Johnnie glances at him.<b>          </b><b>                              JOHNNIE</b>                    Listen, Harvey. Marvin wants meto                    present my ideas while your away.<b>          </b>          Harvey looks up, confused.<b>          </b><b>                              HARVEY</b>                    Huh?<b>          </b><b>                                                                      2.</b><b>          </b><b>          </b><b>          </b><b>                              JOHNNIE</b>                    Look, I'm not doing myself any                    favours here, Harvey. But,I'd                    watch your back.<b>          </b>          We hold on Harvey's tired, pensive face.<b>          </b><b>          </b><b>          INT. STUDIO CAR PARK / QUEENS -DAY</b><b>          </b>          Harvey hurriedly exits the studio, catching up with a man          walking to his car.<b>          </b><b>                              HARVEY</b>                    Marvin? Hey,Marvin?<b>          </b><b>                              MARVIN</b>                    Hey, Harvey. Shouldn't you be in                    London?<b>          </b><b>                              HARVEY</b>                    Yeah, I'mheading there now. What's                    going on?<b>          </b><b>                              MARVIN</b>                    Huh?<b>          </b><b>                              HARVEY</b>                    Johnnie said somethingabout you                    wanting him to present on Monday.<b>          </b><b>                              MARVIN</b>                    Oh yeah, No, I was just thinking                    that, what with you being inLondon                    - you should stay a while.<b>          </b><b>                              HARVEY</b>                    What?<b>          </b><b>                              MARVIN</b>                    There's no need to rushback. Enjoy                    your daughter's wedding.<b>          </b><b>                              HARVEY</b>                    What?<b>          </b><b>                              MARVIN</b>                    Well, Johnnie can doit. I mean, he                    can pitch the Samuelsonaccount.<b>          </b><b>                                                          3.</b><b>          </b><b>          </b><b>          </b><b>                              HARVEY</b>                    No, I'm coming back. Those aremy                    connections. They have been for                    years.<b>          </b><b>                               MARVIN</b>                    I know but... they've got new                    people running things over there.I                    think they're after something...                        (beat)                    ...different.<b>          </b><b>                              HARVEY</b>                    I want to come back. I should be                    there inperson.<b>          </b><b>                              MARVIN</b>                    `There in person'? Harvey, nobody                    cares.<b>          </b><b>                              HARVEY</b>                    I have to standbehind my music!<b>          </b><b>                              MARVIN</b>                    They're demos! - They're already                    pressed. No one needs to be there.                    They're not looking foryou,                    they're not looking for me. They                    just need a fucking track.                        (beat/sighs)                    Harvey, you haven't booked a top                    line in 8months.<b>          </b><b>                              HARVEY</b>                    You got me doing triangle chimes                    for Christ's sake - give me                    something tocompose!<b>          </b><b>                              MARVIN</b>                    That's what I'm trying to tell you!                    It's not about composition! It's                    different now!<b>          </b>          Silence.Harvey looks at Marvin.<b>          </b><b>                              MARVIN (CONT'D)</b>                    What?<b>          </b>          Beat.<b>          </b><b>                              HARVEY</b>                    I'm backon Monday, Marvin. I'm                    coming back.<b>          </b><b>                                                                     4.</b><b>          </b><b>          </b><b>          </b>          Beat.<b>          </b><b>                              MARVIN</b>                        (sighs)                    You got to land this one, Harvey.<b>          </b><b>                               HARVEY</b>                    What are yousaying?                        (beat)                    Say it!<b>          </b><b>                               MARVIN</b>                    I'm saying there are no more                    chances,Harvey.                        (beat)                    Enjoy London.<b>          </b>          And with that Marvin gets in and drives   off, leaving Harvey          standing alone in the car park. We hold   on his face -he's          tired. He looks about him, then down at   his raincoat draped          over his arm. He lifts it and drapes it   over the other arm.<b>          </b><b>                                                        CUT TOBLACK.</b><b>          </b><b>                               LAST CHANCE HARVEY</b><b>          </b>          Sound of interior airborne plane. The seat-belt`ping'          chimes.<b>          </b><b>                                                              CUT TO:</b><b>          </b><b>          </b><b>          INT. PLANE - NIGHT</b><b>          </b>          Harvey, seated in acrowded economy cabin, looks down from          the now extinguished seat-belt light. He looks a little hot.          Reaching up to turn on the air, he knocks his tray - knocking          his drink into hislap.<b>          </b><b>                                HARVEY</b>                    Shit!<b>          </b>          An attractive middle-aged woman, seated next to him,looks          over.<b>          </b><b>                              HARVEY (CONT'D)</b>                        (to a passing Stewardess)                    Miss? I'm sorry. I've spiltmy                    drink.<b>          </b><b>                              STEWARDESS</b>                    I'll get you somenapkins.<b>          </b><b>                                                                   5.</b><b>          </b><b>          </b><b>          </b><b>                              HARVEY</b>                        (to hisneighbour)                    Why's it always me?<b>          </b>          The woman, perhaps wary of the length of the flight, smiles          noncommittally. The Stewardessreturns.<b>          </b><b>                              STEWARDESS</b>                    Shall I take that?<b>          </b><b>                              HARVEY</b>                    Thanks... And could I getanother?<b>          </b><b>                              STEWARDESS</b>                    A whiskey, wasn't it?<b>          </b><b>                              HARVEY</b>                    Yes. `Jamesons', noice.<b>          </b>          The Stewardess heads off. Harvey mops himself up. He places          the small mass of wet towels on his tray and sighs. Glancing          out the window, he then turns to thewoman.<b>          </b><b>                                 HARVEY (CONT'D)</b>                    A holiday?<b>          </b>          The woman looksover.<b>          </b><b>                              WOMAN</b>                    No. Business.<b>          </b>          Harvey nods.<b>          </b><b>                              WOMAN (CONT'D)</b>                        (feelingobliged)                    Yourself?<b>          </b><b>                              HARVEY</b>                    My daughter's gettingmarried.<b>          </b><b>                              WOMAN</b>                    Congratulations.<b>          </b><b>                               HARVEY</b>                        (smiles)                    Thankyou.                        (beat)                    She's marrying an American. But for                    some reason we've all got to go                    over to London.                        (smiling)                    I told her we had aperfectly good                    wedding system here.<b>                               (MORE)</b><b>          </b><b>                                                                     6.</b><b>          </b><b>                              HARVEY(CONT'D)</b>                        (beat/expecting more of a                         response)                    They both work there, you see.<b>          </b>          The woman smiles again, then looks up as theStewardess          returns with Harvey's drink.<b>          </b><b>                                 HARVEY (CONT'D)</b>                    Thank you.<b>          </b>          Harvey is about to continue speaking when the"}
+{"doc_id":"doc_312","qid":"","text":"<html><head><title>Fletch Script at IMSDb.</title><meta name=\"description\" content=\"Fletch script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Fletch script, Fletch movie script,Fletch film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=SubjectCONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0];s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>    <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\"title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center></td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><html><head><title>Fletch - by Phil Alden Robinson from a draft by Andrew Bergman.  May 4, 1986 draft</title><styletype=\"text/css\">  <b> </b>body{ font-family: \"Courier New\", Courier, monospace; font-size: 10pt;<b> </b><b>}</b></style></head><body><table border=\"0\" width=\"650\">  <tr>    <td><p align=\"left\">May4, 1986</p><p align=\"right\">PRODUCERS:PETER<b>DOUGLAS</b><b>ALAN GREISMAN</b>DIRECTOR:MICHAEL RITCHIE</p><p align=\"center\">&nbsp;</p><p align=\"center\"><u>FLETCH</u></p><palign=\"center\">Final DraftScreenplay</p><p align=\"center\">by</p><p align=\"center\">PHIL ALDEN ROBINSON</p><p align=\"center\">From a Draft</p><p align=\"center\">by</p><p align=\"center\">ANDREWBERGMAN</p><p align=\"center\">Based on the novel</p><p align=\"center\">by</p><p align=\"center\">GREGORY MC DONALD</p><p align=\"center\">&nbsp;</p><palign=\"center\"><u>FLETCH</u></p><p>FADE IN</p><ol>    <li>EXT.CALIFORNIA BEACH &#150;        DAY 1<p>Seagulls        squawk, and the waves pound, but we&#146;re not talking        about Malibu Colony,here. This is a fairly rundown beach        area, catering to lower-echelon surfers, vagrants, and        strung out druggies of all ages, several of whom stand or        sit on their haunches by a dilapidated oldhamburger        stand. Over the stand is a faded sign: &quot;FAT        SAM&#146;S HAMBURGERS&quot;.</p>        <p>A simple but haunting        electronic melody plays in the b.g.</p>    </li>    <li>INT.&quot;FAT        SAM&#146;S&quot; &#150; DAY 2<p>Seated just inside the stand on a        folding aluminum chair is a chubby man in his late        thirties. He&#146;s wearing a stained valor sweat suit        and acap. This is Fat Sam. He&#146;s a dealer. Seated on        the sand next to him is Fletch, a rangy man, early        thirties, in jeans and a Magic Johnson T-shirt, nodding        idly on a battered Casio music machinewhich he treats        lovingly. This is the source of the title music.</p>        <p align=\"center\">FLETCH</p>        <p align=\"center\">So what do        you figure?</p>        <p align=\"center\">FAT SAM</p>        <palign=\"center\">No idea.</p>        <p align=\"center\">FLETCH</p>        <p align=\"center\">No idea at        all?</p>        <p align=\"center\">FAT SAM</p>        <p align=\"center\">Okay. Some        idea.</p>        <palign=\"center\">FLETCH</p>        <p align=\"center\">Like when?</p>        <p align=\"center\">FAT SAM</p>        <p align=\"center\">Like        tonight.</p>        <p align=\"center\">FLETCH</p>        <palign=\"center\">For sure?</p>        <p align=\"center\">FAT SAM</p>        <p align=\"center\">No, not for        sure. When it comes, it comes.         You gonna want some $hit?</p>        <palign=\"center\">FLETCH</p>        <p align=\"center\">I think        I&#146;d rather have drugs.</p>    </li>    <li>CONTINUED</li></ol><p align=\"center\">FAT SAM</p><p align=\"center\">(shakes headandsmiles)</p><p align=\"center\">Fletch&#133;</p><p align=\"center\">FLETCH</p><p align=\"center\">Sorry. I find alittle humor really brightens</p><p align=\"center\">things up aroundhere, don&#146;tyou?</p><p>A young junkie with a black eye&#150; Gummy &#150; passes.</p><p align=\"center\">GUMMY</p><p align=\"center\">Hi Sam. Hi Fletch.</p><p align=\"center\">FLETCH</p><p align=\"center\">HiGummy.How&#146;s the eye?</p><p align=\"center\">GUMMY</p><p align=\"center\">It&#146;s okay. Thecops did it.</p><p align=\"center\">FLETCH</p><p align=\"center\">I know.</p><palign=\"center\">GUMMY</p><p align=\"center\">They busted me lastweek.</p><p align=\"center\">FLETCH</p><p align=\"center\">They bust you everyweek.</p><p align=\"center\">GUMMY</p><p align=\"center\">Iknow. I got badluck or something.</p><p>Gummy exits. Fletch and Fat Samwatch him go.</p><p align=\"center\">FLETCH</p><p align=\"center\">That kid spends anymore time in jail</p><palign=\"center\">He&#146;ll have tostart paying rent.</p><p align=\"left\">WIDER ANGLE THROUGH BINOCULARS</p><p align=\"left\">Fat Sam and Fletch conclude theirconversation. Fletch walks back among thedrifters, the nervous,&nbsp;expectant junkies. He stops to talk to a young man propped up on his elbows on a towel.&nbsp;&nbsp;&nbsp; Creasy.</p><p align=\"left\"><fontsize=\"3\">4&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;CREASYAND FLETCH</font><font size=\"4\" face=\"Prestige Elite\"> &nbsp; </font></p><p align=\"center\"><font size=\"3\">FLETCHMaybe tonight?</font><fontsize=\"4\" face=\"Prestige Elite\"> &nbsp;</font></p><p align=\"center\"><font size=\"3\">CREASYWhaddyamean 'maybe'?</font></p><p align=\"center\"><font size=\"4\">&nbsp; </font><fontsize=\"3\" face=\"PrestigeElite\">FLETCHThat's what he said.</font></p><p align=\"center\"><font size=\"4\">&nbsp; </font><fontsize=\"3\" face=\"Prestige Elite\">CREASY(getting desperate)He doesn't know? How come he doesn'tknow?</font><font size=\"4\"face=\"Prestige Elite\"> &nbsp; </font></p><p align=\"center\"><font size=\"3\">FLETCHI don't know how he doesn't know.&nbsp;He doesn't know.</font></p><p align=\"center\"><fontsize=\"4\">&nbsp; </font><fontsize=\"3\" face=\"Prestige Elite\">CREASYSonofabitch.</font></p><p align=\"center\"><font size=\"4\">&nbsp; </font><fontsize=\"3\" face=\"Prestige Elite\">FLETCHWonder who his supplieris.</font></p><p align=\"center\"><font size=\"4\">&nbsp; </font><fontsize=\"3\" face=\"Prestige Elite\">CREASYI have no idea.</font></p><p align=\"center\"><font size=\"4\">&nbsp; </font><fontsize=\"3\"face=\"Prestige Elite\">FLETCHI wasn't asking.</font></p><p align=\"center\"><font size=\"4\">&nbsp; </font><fontsize=\"3\" face=\"Prestige Elite\">CREASYHe never leaves the beach, Fat Sam.&nbsp;&nbsp;&nbsp;Neverleaves.Sits in that chair, he's outta junk.&nbsp;&nbsp;&nbsp; Then hesuddenlygets up, he's got junk.&nbsp;&nbsp;&nbsp; So where does it comefrom?Through the sand?</font></p><p align=\"center\"><fontsize=\"4\">&nbsp; </font><fontsize=\"3\" face=\"Prestige Elite\">FLETCHI think that's highly unlikely, Creasy.</font></p><p align=\"center\"><font size=\"4\">&nbsp; </font><fontsize=\"3\" face=\"PrestigeElite\">CREASY(rolls over)I ought to get some sleep.</font></p><p align=\"center\"><font size=\"4\">&nbsp; </font><fontsize=\"3\" face=\"Prestige Elite\">FLETCHCreasy, how old are you?</font></p><palign=\"center\"><font size=\"4\">&nbsp; </font><fontsize=\"3\" face=\"Prestige Elite\">CREASYNineteen.</font></p><p align=\"center\"><font size=\"4\">&nbsp; </font><fontsize=\"3\" face=\"Prestige Elite\">FLETCH(atouch of sadness)You're not taking real good care of yourself.</font></p><p align=\"left\"><font size=\"3\">5&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; WIDER - BINOCULARS AGAIN</font><fontsize=\"4\"face=\"Prestige Elite\"> &nbsp; </font><font size=\"3\"face=\"Prestige Elite\">&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</font></p><p align=\"left\"><fontcolor=\"#FFFFFF\">---</font><fontsize=\"3\" face=\"Prestige Elite\">Fletch takes his Casio and startsoff the beach.&nbsp;&nbsp;&nbsp; The binocular angle follows </font><font color=\"#FFFFFF\" face=\"PrestigeElite\">---</font><fontsize=\"3\" face=\"Prestige Elite\">him.&nbsp;&nbsp;&nbsp; A pelicancrosses the water.&nbsp;&nbsp;&nbsp; The binoculars move offFletch and </font><font color=\"#FFFFFF\" face=\"PrestigeElite\">---</font><fontsize=\"3\" face=\"Prestige Elite\">follow the flight of the pelicanas it swoops low over the ocean.</font><font size=\"4\"face=\"Prestige Elite\"> &nbsp; </font></p><p align=\"left\"><fontsize=\"3\">6&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; BEACH PARKING LOT - DAY</font><font size=\"4\"face=\"Prestige Elite\"> &nbsp; </font><font size=\"3\"face=\"PrestigeElite\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</font></p><p align=\"left\"><font color=\"#FFFFFF\">---</font><fontsize=\"3\" face=\"Prestige Elite\">Fletch emerges into view,walkingtowards camera, when a Man steps into the </font><font color=\"#FFFFFF\" face=\"Prestige Elite\">---</font><fontsize=\"3\" face=\"Prestige Elite\">immediate f.g., the binoculars athis side large inframe.&nbsp;&nbsp;&nbsp; Fletch Stops.</font><fontsize=\"4\" face=\"Prestige Elite\"> &nbsp; </font></p><p align=\"center\"><font size=\"3\">MANExcuse me.&nbsp;I have something I'd like to discuss withyou.</font></p><p align=\"center\"><font size=\"4\">&nbsp; </font><fontsize=\"3\" face=\"Prestige Elite\">FLETCHWhat?</font></p><p align=\"left\"><font size=\"3\">7&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;REVERSE</font></p><p><font color=\"#FFFFFF\">---</font><fontsize=\"3\" face=\"Prestige Elite\">A trim man of approximatelyFletch's age, wearing a perfectly tailored grey </font><font color=\"#FFFFFF\"face=\"Prestige Elite\">---</font><fontsize=\"3\" face=\"Prestige Elite\">suit, is standing across fromFletch.&nbsp;&nbsp;&nbsp; This is Alan Stanwyk. </font><fontsize=\"4\" face=\"Prestige Elite\">&nbsp; </font></p><palign=\"center\"><font size=\"3\">STANWYKWe can't talk about it here.</font></p><p align=\"left\"><font size=\"3\">8&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; MASTER</font><font size=\"4\"face=\"Prestige Elite\">&nbsp; </font></p><p align=\"center\"><font size=\"3\">FLETCH</font><fontsize=\"4\" face=\"Prestige Elite\"></font><font size=\"3\" face=\"Prestige Elite\">Why not?</font></p><p align=\"center\"><fontsize=\"4\">&nbsp; </font><fontsize=\"3\" face=\"Prestige Elite\">STANWYKBecause we can't.</font></p><p align=\"center\"><font size=\"3\">FLETCH</font><font size=\"3\" face=\"Prestige Elite\">Are you on ascavengerhunt of some kind?</font></p><p align=\"center\"><font size=\"4\">&nbsp; </font><fontsize=\"3\" face=\"Prestige Elite\">STANWYKI want you to come to my house.&nbsp;&nbsp;&nbsp; Then we'lltalk.</font></p><palign=\"center\"><font size=\"3\"></font><font size=\"4\" face=\"Prestige Elite\">&nbsp; </font><fontsize=\"3\" face=\"Prestige Elite\">FLETCHI think you've got the wrong gal, fella.</font><font size=\"4\"face=\"PrestigeElite\"> &nbsp; </font></p><p align=\"center\"><font size=\"3\">STANWYKI'll give you a thousand dollars cash just to come to my house and listen to the proposition.&nbsp;&nbsp;&nbsp; If you reject the proposition,you keep the thousand, and your mouth shut.</font></p><p align=\"center\"><font size=\"4\">&nbsp; </font><fontsize=\"3\" face=\"Prestige Elite\">FLETCHWill this proposition entail my dressing up as TinaTurner?</font></p><p align=\"center\"><font size=\"4\">&nbsp; </font><fontsize=\"3\" face=\"Prestige Elite\">STANWYK(unsmiling, all business)It is nothing of a sexual nature I assure you.(Takes a thousand in cashfrom his pocket)One thousand, just to listen.I don't see how you could turn that down Mr...</font></p><p align=\"center\"><font size=\"4\">&nbsp; </font><fontsize=\"3\" face=\"PrestigeElite\">FLETCHNugent.&nbsp;&nbsp;&nbsp; Ted Nugent.</font></p><p align=\"center\"><font size=\"4\">&nbsp; </font><fontsize=\"3\" face=\"Prestige Elite\">STANWYK(shakes his hand)Alan Stanwyk.</font></p><p"}
+{"doc_id":"doc_313","qid":"","text":"The Project Gutenberg EBook of The Good Shepherd, by AnonymousThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: The Good Shepherd       A Life of Christ for ChildrenAuthor: AnonymousRelease Date: June 11, 2006[EBook #18558]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE GOOD SHEPHERD ***Produced by Al Haines[Frontispiece: \"I am the good shepherd. . .\"]THE GOOD SHEPHERDA LIFE OFCHRIST FOR CHILDRENFLEMING H. REVELL COMPANYNEW YORK : : CHICAGO : : TORONTOPublishers of Evangelical LiteratureTABLE OF CONTENTSCHAPTER    I.  WHY JESUS CAME TO THIS WORLD   II.  JESUS ISBORN IN BETHLEHEM  III.  THE BOYHOOD OF JESUS   IV.  JOHN THE BAPTIST    V.  JESUS BEGINS HIS WORK   VI.  SOME WORDS AND WORKS OF JESUS  VII.  A FRIEND FOR THE SORROWFUL VIII.  MOREWONDERFUL WORKS AND WORDS   IX.  THE MAN BORN BLIND, AND LAZARUS    X.  THE PRODIGAL SON, AND OTHER STORIES   XI.  THE LAST DAYS IN JERUSALEM  XII.  THE CRUCIFIXION AND THERESURRECTION   XX   SELECTED SONGS, PSALMS, AND PRAYERSLIST OF ILLUSTRATIONS\"I am the good shepherd . . .\" . . . . . . _Frontispiece_Map of Palestine at the time of ChristThe shepherd'scareBethlehemNazareth, from hill aboveJewish women grinding cornThe River JordanJericho, from plains aboveA modern Jew's wedding party in GalileeJacob's wellRuins of CapernaumThe good SamaritanBethanyChildat prayerThe shepherd's care (2nd version)The shepherd's care (3rd version)The Jordan near BethabaraMount of Olives and JerusalemGethsemaneCalvaryThe empty tombThe Sea of GalileeThe Mount of OlivesCHAPTERIWHY JESUS CAME TO THIS WORLDIn the beginning, before the world was made, the Lord Jesus lived inheaven.  He lived in that happy place with God.  Then God made theworld.  He told the hills to come up out of theearth, and the seas torun down into the deep places which He had made for them.  He made thegrass, the trees, and all the pretty flowers.  He put the sun, themoon, and the stars in the sky.  He filled the water withswimmingfish, the air with flying birds, and the dry land with walking andcreeping animals.  And then He said, 'Let _Us_ make man.'  Who weremeant by 'Us'?  Who was with God when He made the world?  It wasJesus.The Bible says:'THE WORD (that means Jesus) WAS WITH GOD, AND THE WORD WAS GOD.  THESAME WAS IN THE BEGINNING WITH GOD.  ALL THINGS WERE MADE BY HIM.'So after He had made everythingelse, God made a man, and named himAdam.  God put Adam into the beautiful Garden of Eden, and at first hewas good and very happy.  God also made a woman, named Eve, to be hiswife, and to help him to takecare of the garden.  All the fruit in thegarden, except what grew on one tree, was given to Adam and Eve to eat;all the animals were their servants; and God was their Friend.A wicked angel, who had been turned out ofheaven, saw how happy Adamand Eve were, and he was angry, and thought, 'I will make them as badand unhappy as I am; I will make them do what God has told them not todo.  Then he will turn them out of Eden,and they and their childrenwill be my servants for ever, and I shall be king of the world.'So the wicked angel, whose name was Satan, came into Eden.  He got Adamand Eve to take the fruit which God had told them notto eat, and Godhad to send them out of the beautiful garden; for God had said He wouldpunish Adam and Eve if they took that fruit, and God always keeps Hisword.But God went on loving Adam and Eve even when Heknew that He mustpunish them, and He tried to make them good in this way.  He thought,'I will send My dear Son down to the earth.  He shall become a littlechild, and grow up to be a man, and shall die for the sins oftheworld.'Hundreds and hundreds of years passed away before Jesus came.  But agreat many of the people who lived in Palestine were expecting Him.God had said that when Jesus came, He would be a Jew.  The Jewswerevery proud about that.  They often talked about the coming of Jesus.When they talked about Him, they called Him the Messiah.Just before Jesus was born, the Jews were very unhappy.  Roman soldiershad beenfighting with them, and had conquered them, and made themservants of the great Roman king.  He was called Augustus Caesar, andhe gave the Jews another king called Herod.  He was very wicked.[Illustration: Mapof Palestine at the time of Christ.]The Jews longed to get rid of Herod, and many of them thought, 'It willbe all right when the Messiah comes.  The Messiah will fight againstthe Romans; He will drive them away fromour land; and then He will beour King instead of that wicked Herod.'  But only a few Jews rememberedthat Jesus was coming to fight against Satan and against sin.The place where the Jews lived had four or fivenames.  It was calledthe Land of Canaan at the first, then the Land of Promise, and then theLand of Israel.  But we call it the Holy Land, or Palestine.If you look at the map of Palestine, you will see a river runningfromthe north of Palestine to the south.  That river is called the Jordan.And Palestine is divided into four parts,--one at the top (we call thatthe north), one at the bottom (we call that the south), one in themiddle, andone on the other or eastward side of the Jordan.The part in the North is called Galilee.  The part in the south iscalled Judaea.  The part in the middle is called Samaria.  The part onthe other side of the Jordan is calledPerea.Palestine is full of hills, with great holes, called caves, in theirsides.  Palestine is not very big; England is about six times, and NewYork State about five times larger.  Washington is called the capitalof the UnitedStates.  The capital of Palestine was Jerusalem.Jerusalem was a very beautiful city.  It was built on four or fivehills which were very close together.  One of these hills was calledMount Moriah.  On the top of MountMoriah there was a great Templewhere the Jews went to pray.  Part of the Temple was called the HolyPlace, the part at the very top of the mountain.  It was splendid withits shining gold and white marble, but it was notvery large, for thepeople were not allowed to go into it.  When it was time for the Jewsto go to the Temple, silver trumpets were blown once, twice, threetimes, and then the gates were thrown open, and the peoplecrowded intothe courts.CHAPTER IIJESUS IS BORN IN BETHLEHEMMary, the mother of Jesus, lived in the little town of Nazareth, amongthe hills of Galilee.  She was going to be married to a carpentercalled Joseph, who,like herself, lived in Nazareth.  One day God sentthe angel Gabriel to Mary with a message.  Mary, when she saw and heardthe angel, was a little frightened.  But the angel told her he had someglad news for her.  Jesus,the Son of God, the Messiah, was coming intothe world very soon, and He was to come in the form of a baby, asMary's little child.  And Gabriel said that when He was born, Mary mustcall Him JESUS.Mary had a cousinnamed Elizabeth, who lived more than a hundred milesaway from Nazareth, and Mary longed to talk with her about all thesewonderful things.  So she got ready for a long journey, and went offinto the hill country ofJudaea to see Elizabeth.And God had also promised to send Elizabeth a son.  And soon afterMary's visit the baby was born, and all Elizabeth's friends were glad,and came to see her, and to thank God with her for Hisgreat kindness.The little Jew babies have a name given to them when they are eightdays old.  And Elizabeth's son was named John.One night, soon after Mary got back from her cousin Elizabeth's house,the angel of theLord spoke to Joseph in a dream.  The angel toldJoseph to marry Mary, and he told him Mary's secret about the Son ofGod coming to earth as her little child, and he said to Joseph, 'THOUSHALT CALL HIS NAME JESUS,FOB HE SHALL SAVE HIS PEOPLE FROM THEIRSINS.'  When Joseph woke up, his first thought was to do what the angelhad told him, and he at once took Mary to his own home as his wife.About this time CaesarAugustus, the great Emperor at Rome, sent wordto Herod that he was to take a census of the Jews.  Everybody's namehad to be written down and his age, and many other things about him.Every twenty yearsAugustus had a census taken, so that he might knowhow much money the Jews ought to pay him, and how many Jew soldiers heought to have.In Palestine, at census time, people had to go to the towns wheretheirfathers' fathers lived a long time ago, and had to have their names putdown there instead of having them put down in their own homes.  Now,both Joseph and Mary belonged to the family of the great kingDavid,who was born in Bethlehem.  So Mary had to prepare for a long journey,and go with her husband to Bethlehem.  Bethlehem is six miles fromJerusalem.  It is on the top of a hill, and people have to climb upasteep road to get into the town.An inn is a large house that people stay at when they are on a journey.The inns in Palestine have four walls, with a door in front, and with agreat empty space for camels and horsesinside.  In the middle of theempty space is a fountain; and all round the walls, a little bit higherthan the part where the animals are, there are a number of places likeempty stone arbors.  These empty places are called_leewans_, and theyare open in front, so that everybody can see into them.  Yet Mary andJoseph, after all their long journey from Nazareth, could not find evenan empty _leewan_ to lie down in.[Illustration: Theshepherd's care.]Near that inn there was a place in which asses and camels were kept.It was perhaps a cave in the side of the hill.  And because there wasno room for them in the inn, Mary and Joseph had to go intothat stableto sleep, and in that stable Jesus Christ was born.  Mary wrapped Himin swaddling clothes, and laid Him in the manger in the place where theanimals' food was kept.On the hill where Bethlehem stands thereare green places whereshepherds feed their flocks.  There are wild animals in Palestine; andall night long the shepherds of Bethlehem watched to see that no harmhappened to their sheep.  One night an angel of theLord stood by themand a bright light shown round about them.  The shepherds were afraid;but the angel said, 'FEAR NOT; FOR BEHOLD, I BRING YOU GOOD TIDINGS (ORNEWS) OF GREAT JOY, WHICH SHALL BE TOALL PEOPLE.  FOR UNTO YOU IS BORNTHIS DAY IN THE CITY OF DAVID A SAVIOUR, WHICH is CHRIST THE LORD.'And suddenly there was seen with the angel a number of the angels ofheaven.  And they praised God,and said, 'GLORY TO GOD IN THE HIGHEST,AND ON EARTH PEACE, GOOD WILL TOWARD MEN.'When the light faded, and the song ended, and the angels had gone backinto heaven, the shepherds climbed quickly overthe hillside toBethlehem.  And there, in the stable near the inn, they found Mary andJoseph, and the Babe lying in the manger, as the angels had said.Jesus was the eldest son of His mother.  And the eldest sons inJewishhouses, when they were forty days old, were taken to the Temple, andgiven to God.So now, when Jesus was nearly six weeks old, He was brought fromBethlehem by Mary and Joseph to the Temple atJerusalem.  The mothersused to take a lamb with them, or two pigeons, as a sacrifice to God.Mary took two pigeons.  She was not rich enough to buy a lamb.A long way on the eastern side of the Jordan, there werecountrieswhere the people used to watch the sun and the moon and the stars verycarefully.  If they saw anything new and strange in the heavens, theythought it meant that something wonderful was going tohappen.  Butsome of them knew and had heard from the Jews about God, and about theMessiah who was coming; and they, like the Jews, were longing for Jesus.One day these wise men saw a bright star which theyhad never seenbefore.  And as they looked at it they felt sure that a great King ofthe Jews had been born in Judaea.  So they took camels and richpresents of gold and sweet-smelling stuff--such as people gave tokingsin those days--and they loaded their camels, and left their homes, androde for many weeks till they came to Jerusalem.  And when they gotthere they said, 'Where is He that is born King of the Jews? for wehaveseen His star in the east, and are come to worship Him.'[Illustration: Bethlehem.]When Herod heard about these wise men he was troubled.  He sent for thebest priests, and other clever men, and asked them whereChrist wouldbe born.  And they said to him, 'In Bethlehem of Judaea.'  They hadread that in the Bible.  Then Herod said to the wise men, 'Go andsearch out carefully about the young Child; and when ye have foundHim,bring me word, that I also may come and worship Him.'When the wise men had heard the king, they went away to Bethlehem, andlo, the star went before them, till it came and stood over where theyoung Childwas.  And they rejoiced with great joy.  And when they werecome into the house (there was room in the inn now) they saw the youngChild with Mary, His mother, and they fell down and worshipped Him, andthey gaveHim their presents--gold, and frankincense, and myrrh.  Butthe wise men did not go back to Herod.  God told them in a dream not togo.  So they went home by another way instead.After the wise men were gone, theangel of the Lord came to Joseph inhis sleep, and said to him, 'Arise, and take the young Child and Hismother, and flee into Egypt, and be thou there until I bring thee word:for Herod will seek the young Child to destroyHim.'  That meant tokill Him.  So Joseph at once got up, and took the young Child and Hismother by night, and went away to Egypt.When Herod found that the wise men did not come back, he was veryangry, and hesent his soldiers to Bethlehem, and had all the baby boyskilled--all the children who were less than two years of age.  And theykilled all the baby boys in the places near Bethlehem as well.  And thepoor mothers cried,and nobody could comfort them.Joseph and Mary stayed in Egypt, waiting for the angel to bring themword that it was time to go back again to Palestine.  And one night,when Jesus was about three years old, themessage came.  The angel ofthe Lord said to Joseph in a dream, 'Arise, and take the young Childand His mother, and go into the land of Israel: for they are dead whichsought the young Child's life.'  Joseph got up, andtook the youngChild and His mother, and went into the land of Israel.  But when hecame there, people said to him, 'Herod is dead, but his son Archelausis king.'  And when Joseph knew that Archelaus was king, he wasafraidto stay in Judaea.  And God spoke to him again in a dream, and told himto go back to Galilee.  So Joseph and Mary went back to Galilee, andlived in Nazareth again.CHAPTER IIITHE BOYHOOD OF JESUSThe Bibletells us only a few stories about the time when Jesus was alittle boy.Nazareth is built up the side of a hill, and there are plenty ofgardens and fields down below.  Amongst these fields there is afountain, where thewomen of Nazareth go to fetch water.  Jesus mustoften have gone with His mother to that fountain; and sometimes, whenshe was tired, He may have fetched the water for her Himself.[Illustration: Nazareth, from hillabove.]Mary wore a long blue dress, tied round the waist, and a cap withpieces of money sewn round it, and a white cloth over her head andshoulders, just as the women of Nazareth do now; and Jesus was verylikelydressed in a red cap, a bright tunic, a sash of many colours,and a little jacket of white or blue, just as the boys of Nazareth aredressed now.The houses of Nazareth are white.  Grape vines grow over their walls,anddoves sit and coo on the flat roofs.  There is not much inside thehouses: sometimes they have only one room.  There is a lamp in themiddle of the room, and round the walls there are waterpots.  Therearebright-coloured quilts on a shelf.  People unroll these quilts at nightand lie down upon them.  There are mats and carpets in the house, and abright-coloured box with treasures in it, and a painted wooden stool;andthat is nearly all.[Illustration: Jewish women grinding corn.]When the people of the house want to eat, they put a tray of food onthe wooden stool, and they sit round the tray on the floor, and eatwith theirhands.  People in Palestine would not know what to do withtables and chairs, and knives and forks, like ours.The streets of Nazareth are long and narrow, and they are full ofchickens and dogs, of donkeys and camels,of blind beggars andchildren.  There are little shops by the side of the streets, somethinglike the _leewans_ in the inn which I told you about.  But the tailors,the shoemakers, the carpenters, and the coffee-grinders donot alwayssit in their shops.  They like to sit on the ground outside, and dotheir work in the street; and the sellers of dates and of figs, beans,barley, oranges, and other things, sit down in the street to selltheirgoods.Joseph, Mary's husband, was a carpenter, and Jesus became a carpenter,and often came out of the little shop and sat on the ground with plane,hammer, glue, and saw, and worked away in the narrowstreet, just asthe carpenters of Nazareth do now.When the Jewish boys were twelve years old, they were called 'Sons ofthe Law,' and they were taken to Jerusalem for the Passover.  WhenJesus was twelve years old,Joseph and His mother took Him up with themto the Passover.  When the week was over, Mary and Joseph started forthe journey back to Nazareth.  But Jesus stayed behind in Jerusalem.Thousands of people musthave been leaving Jerusalem just at the verytime that Mary and Joseph went away.  So when Mary and Joseph did notsee Jesus in the crush, they did not at first feel frightened.  Theythought, 'We shall find Him soonwith some of our friends.'  All daylong they kept on looking for Him in the crowd, but they did not seeHim.  And at last they went back again to Jerusalem looking for Him.Next day they found Him in one of the courts ofthe Temple.  SeveralRabbis were there, and everyone who saw and heard Him was astonished.They asked Him questions too, and He answered them wisely and well.Nobody could understand how a young boy could beso wise.When Mary and Joseph saw Jesus sitting here, with Rabbis coming allaround Him, they were greatly surprised.  But His mother asked Him whyHe had stayed behind, and said, 'Thy father and I have soughtTheesorrowing.'  Jesus said to His mother, 'HOW IS IT THAT YE HAVE SOUGHTME?  WIST YE NOT (DID YOU NOT KNOW) THAT I MUST BE ABOUT MY FATHER'SBUSINESS?'And now He went back with her and withJoseph to Nazareth, and obeyedthem, exactly as He always had done.  We do not know much more aboutJesus when He was a boy.  But we do know that as He grew taller, He'increased in wisdom and stature, and infavour with God and man.'CHAPTER IVJOHN THE BAPTISTYou remember about the child that was called John.  Zacharias, hisfather, and Elisabeth gave John to God directly he was born.  Theynever cut his hair, andthey never let him drink wine, or eat grapes,or eat raisins.  That was the way they did in those days to show thathe belonged to God.When John was old enough to understand, he gave himself to God.  And ashe grewolder, he made up his mind that he would leave his home andfriends, and go and live in the wilderness; and his food there waslocusts and wild honey.  Locusts are like large grasshoppers, and poorpeople in the Eastoften eat them.  They taste like shrimps, but arenot so nice.God had said that John should go before the Messiah to prepare the wayfor Him--to get people's hearts ready for the Saviour.  And when Johnwas in thewilderness, God told him to begin his work.  So John wentdown from the wild hills of Judaea to the River Jordan, and he began topreach to everyone who passed by.  There were many people passing by,for he went tothe place where people crossed the Jordan.[Illustration: The River Jordan.]John said, REPENT!' (that means, 'Be really sorry for your sins'), 'FORTHE KINGDOM OF HEAVEN is AT HAND.'  A very great many people wentfromJerusalem, and out of all the land of Judaea, on purpose to hear Johnpreaching.  And when they had heard him, some of them said to him,'What shall we do then?'  And John told them that they were to be kindtoone another; that they were to give food to the hungry and clothingto the naked.Some even of the proud Rabbis came down to the Jordan to John, and Johntold these Rabbis that they must not be proud because theywere Jews,but must try to be good really and truly.A great many of the people who heard John preach felt sorry for thethings they had done, and they told John how sorry they were, and Johnbaptized them in the River"}
+{"doc_id":"doc_314","qid":"","text":"The Project Gutenberg EBook of Self-control, by Mary BruntonThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it under theterms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: Self-controlAuthor: Mary BruntonRelease Date: October 27, 2012 [EBook #41196]Language: English*** START OFTHIS PROJECT GUTENBERG EBOOK SELF-CONTROL ***Produced by Delphine Lettau, fh and the Online DistributedProofreading Team at http://www.pgdp.net    SELF-CONTROL    _A Novel by_    MARY BRUNTON    Hiswarfare is within.--There unfatigued    His fervent spirit labours.--There he fights,    And there obtains fresh triumphs o'er himself,    And never-withering wreaths, compared with which    The laurels that a Caesar reapsare weeds                                                   Cowper                           TO                   MISS JOANNA BAILLIEMADAM,You would smile to hear the insect of a day pay the tribute of itspraise to the lasting oak whichaided its first feeble soaring--Smilethen;--for a person whom nature, fortune, and inclination, alike, havemarked for obscurity, one whose very name may never reach your ear,offers this tribute of respect to the authorof PLAYS on the PASSIONS.The pleasure of expressing heart-felt admiration is not, however, myonly motive for inscribing this tale to you. Unknown to the world bothas an individual and as an author, I own myselfdesirous of giving apledge of spotless intention in my work, by adorning it with the name ofone whose writings force every unvitiated heart to glow with a warmerlove of virtue. On one solitary point I claim equality withyou:--Inpurity of intention I yield not even to JOANNA BAILLIE.May I venture to avow another feeling which has prompted this intrusion?What point so small that vanity cannot build on it a resting-place! Willyou believethat this trifle claims affinity with the Plays on thePassions?--Your portraitures of the progress and of the consequences ofpassion,--portraitures whose exquisite truth gives them the force ofliving examples,--arepowerful warnings to watch the first risings ofthe insidious rebel. No guard but one is equal to the task. Theregulation of the passions is the province, it is the triumph ofRELIGION. In the character of Laura Montrevillethe religious principleis exhibited as rejecting the bribes of ambition; bestowing fortitude inwant and sorrow; as restraining just displeasure; overcomingconstitutional timidity; conquering misplaced affection; andtriumphingover the fear of death and of disgrace.This little tale was begun at first merely for my own amusement. It ispublished that I may reconcile my conscience to the time which it hasemployed, by making it insome degree useful. Let not the term soimplied provoke a smile! If my book is read, its uses to the author areobvious. Nor is a work of fiction necessarily unprofitable to thereaders. When the vitiated appetite refuses itsproper food, thealternative may be administered in a sweetmeat. It may be imprudent toconfess the presence of the medicine, lest the sickly palate, thuswarned, turn from it in loathing. But I rely in this instance ontheworld of the philosopher, who avers that 'young ladies never readprefaces'; and I am not without hope, that with you, and with all whoform exceptions to this rule, the avowal of a useful purpose may beaninducement to tolerate what otherwise might be thought unworthy ofregard.Perhaps in an age whose lax morality, declining the glorious toils ofvirtue, is poorly 'content to dwell in decencies for ever', emulationmaybe repressed by the eminence which the character of Laura claimsover the ordinary standard of the times. A virtue which, thoughessentially Christian, is certainly not very popular in this Christiancountry, may bestigmatized as romantic; a chilling term of reproach,which has blighted many a fair blossom of goodness ere it ripened intofruit. Perhaps some of my fair countrywomen, finding it difficult totrace in the delineation ofSelf-Control any striking feature of theirown minds, may pronounce my picture unnatural. It might be enough toreply, that I do not ascribe any of the virtues of Laura to nature, and,least of all, the one whose office is toregulate and control nature.But if my principal figure want the air, and vivacity of life, the blamelies in the painter, not in the subject. Laura is indebted to fancy forher drapery and attitudes alone. I have had thehappiness of witnessing,in real life, a self-command operating with as much force, permanence,and uniformity, as that which is depicted in the following volumes. Toyou, Madam, I should perhaps further apologize forhaving left in mymodel some traces of human imperfection; while, for the generality of myreaders, I breathe a fervent wish, that these pages may assist inenabling their own hearts to furnish proof that the character ofLaura,however unnatural, is yet not unattainable.  I have the honour to be,    with great respect,      Madam,        Your obedient Servant,          The AUTHOR                                          January1811.CONTENTS  Chapter I               1  Chapter II             10  Chapter III            18  Chapter IV             23  Chapter V              33  Chapter VI             39  Chapter VII            45  Chapter VIII           56  ChapterIX             62  Chapter X              73  Chapter XI             82  Chapter XII            90  Chapter XIII          102  Chapter XIV           116  Chapter XV            132  Chapter XVI           147  Chapter XVII          161  ChapterXVIII         185  Chapter XIX           201  Chapter XX            215  Chapter XXI           229  Chapter XXII          242  Chapter XXIII         260  Chapter XXIV          270  Chapter XXV           283  ChapterXXVI          298  Chapter XXVII         312  Chapter XXVIII        329  Chapter XXIX          346  Chapter XXX           367  Chapter XXXI          387  Chapter XXXII         402  Chapter XXXIII        413  ChapterXXXIV         426CHAPTER IIt was on a still evening in June, that Laura Montreville left herfather's cottage, in the little village of Glenalbert, to begin asolitary ramble. Her countenance was mournful, and her steplanguid; forher health had suffered from long confinement, and her spirits wereexhausted by long attendance on the deathbed of her mother. That labourof duty had been lessened by no extrinsic circumstance; for LadyHarrietMontreville was a peevish and refractory patient; her disorder had beentedious as well as hopeless; and the humble establishment of a half-payofficer furnished no one who could lighten to Laura the burdenofconstant attendance. But Laura had in herself that which softens alldifficulty, and beguiles all fatigue--an active mind, a strong sense ofduty, and the habit of meeting and of overcoming adverse circumstances.CaptainMontreville was of a family ancient and respectable, but so farfrom affluent, that, at the death of his father, he found his wealth, asa younger son, to consist only of £500, besides the emoluments arisingfrom alieutenancy in a regiment of foot. Nature had given him a fineperson and a pleasing address; and to the national opinions of a Scotishmother, he was indebted for an education, of which the liberality suitedbetter withhis birth than with his fortunes. He was in Londonnegotiating for the purchase of a company, when he accidentally met withLady Harriet Bircham. Her person was shewy, and her manners had theglare, even more thanthe polish of high life. She had a livelyimagination, and some wit; had read a little, and knew how to shew thatlittle to advantage. The fine person of Montreville soon awakened theonly sort of sensibility of which LadyHarriet was possessed; and herpreference was sufficiently visible in every step of its progress. To bedistinguished by a lady of such rank and attractions, raised inMontreville all the vanity of three-and-twenty; and, seenthrough thatmedium, Lady Harriet's charms were magnified to perfections. Montrevillesoon was, or fancied himself, desperately in love. He sued, and wasaccepted with a frankness, to which some stiff advocates forfemaledecorum might give the harsh name of forwardness. Montreville was inlove, and he was pleased to call it the candour of a noble mind.As his regiment was at this time under orders for the West Indies,LadyHarriet prevailed on him to exchange to half-pay; and her fortune beingno more than £5000, economy, no less than the fondness for solitudenatural in young men in love, induced him to retire to the countrywithhis bride, who had reasons of her own for wishing to quit London. He hadbeen educated in Scotland, and he remembered its wild scenery with theenthusiasm of a man of taste, and a painter. He settled therefore inthevillage of Glenalbert, near Perth; and to relieve his conscience fromthe load of utter idleness at twenty-three, began the superintendence ofa little farm. Here the ease and vivacity of Lady Harriet made her for awhilethe delight of her new acquaintance. She understood all the artsof courtesy; and, happy herself, was for a while content to practisethem. The store of anecdote, which she had accumulated in herintercourse with thegreat, passed with her country neighbours forknowledge of the world. To Scotish ears, the accent of the higher ranksof English conveys an idea of smartness, as well as of gentility; andLady Harriet became an universalfavourite.Those who succeed best in amusing strangers, are not, it has beenremarked, the most pleasing in domestic life: they are not even alwaysthe most entertaining. Lady Harriet's spirits had ebbs, whichcommonlytook place during her tête-à -têtes with Captain Montreville. Outwardattractions, real or imaginary, are the natural food of passion: butsound principles must win confidence, and kindness of heartengageaffection. Poor Montreville soon gave a mournful assent to these truths;for Lady Harriet had no principles, and her heart was a mere 'pulsationon the left side.' Her passion for her husband soon declined; andhermore permanent appetite for admiration finding but scanty food in asolitary village, her days passed in secret discontent or openmurmurings. The narrowness of their finances made her feel the necessityof economy,though it could not immediately instruct her in the art ofit; and Montreville, driven from domestic habits by the turmoil of ahousehold, bustling without usefulness, and parsimonious withoutfrugality, was on the point ofreturning to his profession, or ofseeking relief in such dissipation as he had the means of obtaining,when the birth of a daughter gave a new turn to all his hopes andwishes.'I should not wish the girl to be a beauty,' saidhe to his friend, thevillage pastor. 'A pretty face is of no use, but to blind a lover';--andhe sighed, as he recollected his own blindness. Yet he was delighted tosee that Laura grew every day more lovely. 'Wit only makeswomentroublesome,' said he;--but before Laura was old enough to shew theuncommon acuteness of her understanding, he had quite forgotten that heever applied the remark to her. To amuse her infancy became hischosenrecreation; to instruct her youth was afterwards his favouriteemployment. Lady Harriet, too, early began to seek food for her vanityin the superior endowments of her child, and she forthwith determinedthatLaura should be a paragon. To perfect her on Nature's plan, neverentered the head of this judicious matron; she preferred a plan of herown, and scorned to be indebted to the assistance of nature, even forany part ofthe perfect structure which she resolved to rear. The temperof Laura, uniformly calm and placid, was by nature slightly inclined toobstinacy. Lady Harriet had predetermined that her daughter should be amodel ofyielding softness. Laura's spirits were inexhaustible; LadyHarriet thought nothing so interesting as a pensive beauty. Laura wasboth a reasonable and a reasoning creature: her mother chose that sheshould use thelatter faculty in every instance, except where maternalauthority or opinion was concerned. Innumerable difficulties, therefore,opposed Lady Harriet's system; and as violent measures ever occur firstto those who aredestitute of other resources, she had recourse to somany blows, disgraces, and deprivations, as must have effectually ruinedthe temper and dispositions of her pupil, if Laura had not soon learntto look upon theungoverned anger of her mother as a disease, to whichshe owed pity and concealment. This lesson was taught her partly by theexample of her father, partly by the admonitions of Mrs Douglas, wife tothe clergyman ofthe parish.This lady was in every respect Lady Harriet's opposite. Of sound sense,rather than of brilliant abilities; reserved in her manners, gentle inher temper, pious, humble, and upright; she spent her life inthediligent and unostentatious discharge of Christian and feminine duty;beloved without effort to engage the love, respected without care tosecure the praise of man. She had always treated the little Laura withmorethan common tenderness; and the child, unused to the fascinationsof feminine kindness, repaid her attention with the utmost enthusiasm oflove and veneration. With her she passed every moment allowed herforrecreation; to her she applied in every little difficulty; from her shesolicited every childish indulgence. The influence of this excellentwoman increased with Laura's age, till her approbation became essentialto thepeace of her young friend, who instinctively sought to read, inthe expressive countenance of Mrs Douglas, an opinion of all her wordsand actions. Mrs Douglas, ever watchful for the good of all whoapproached her, usedevery effort to render this attachment as useful asit was delightful, and gradually laid the foundation of the mostvaluable qualities in the mind of Laura. By degrees she taught her toknow and to love the Author of herbeing, to adore him as the bestowerof all her innocent pleasures, to seek his favour, or to tremble at hisdisapprobation in every hour of her life. Lady Harriet had been educatedamong those who despised or neglectedthe peculiar tenets of theChristian faith; she never thought of them, therefore, but as an affairthat gave scope to lively argument. On Mrs Douglas's own mind they hadtheir proper effect; and she convinced Laura thatthey were not subjectsfor cavil, but for humble and thankful acceptation.In as far as the religious character can be traced to causes merelynatural, it may be formed by those who obtain over a mind of sensibilityandreflection the influence which affection bestows, provided that theyare themselves duly impressed with the importance, the harmony, theexcellence of what they teach. Laura early saw the Christian doctrines,preceptsand promises, warm the heart, and guide the conduct, andanimate the hopes of her whom she loved best. Sympathy and imitation,the strongest tendencies of infancy, first formed the disposition whichreasonafterwards strengthened into principle, and Laura grew up a piousChristian.It is the fashion of the age to account for every striking feature of acharacter from education or external circumstance. Those who are fondofsuch speculations may trace, if they can, the self-denying habits ofLaura, to the eagerness with which her enthusiastic mind imbibed thestories of self-devoting patriots and martyrs, and may find, in onelesson of herpreceptress, the tint which coloured her future days. Thechild had been reading a narrative of the triumphant death of one of thefirst reformers, and, full of the emulation which the tale of heroicvirtue inspires,exclaimed, her eyes flashing through their tears, herlittle form erect with noble daring,--'Let them persecute me and I willbe a martyr.' 'You may be so now, to-day, every day,' returned MrsDouglas. 'It was not at thestake that these holy men began theirself-denial. They had before taken up their cross daily; and whenever,from a regard to duty, you resign any thing that is pleasing or valuableto you, you are for the time a littlemartyr.'In a solitary village, remote from her equals in age and rank, Lauranecessarily lived much alone, and in solitude she acquired a grave andcontemplative turn of mind. Far from the scenes of dissipationandfrivolity, conversant with the grand and the sublime in nature, hersentiments assumed a corresponding elevation. She had heard that therewas vice in the world: she knew that there was virtue in it; and,littleacquainted with other minds, deeply studious of her own, she concludedthat all mankind were, like herself, engaged in a constant endeavourafter excellence; that success in this struggle was at once virtueandhappiness, while failure included misery as well as guilt. The habit ofself-examination, early formed, and steadily maintained, made evenvenial trespass appear the worst of evils;--while, in the labours ofduty and thepleasures of devotion, she found joys which sometimes roseto rapture.The capricious unkindness of her mother gave constant exercise to herfortitude and forbearance, while the principle of charity, no less thanthefeelings of benevolence, led to frequent efforts of self-denial. Thelatter virtue became daily more necessary, for mismanagement had nowbrought her mother's fortune almost to a close; and Captain Montreville,while hefelt that she was injuring his child, could not prevail onhimself to withhold from Lady Harriet the control of what he consideredher own, especially as her health was such as to afford a plea forindulgence.Laura hadreached her sixteenth year, when Mr Douglas was induced, by alarger benefice, to remove to a parish almost twenty miles distant fromGlenalbert; and parting with her early friend, was the severest sorrowthat Laurahad ever yet known. Captain Montreville promised, however,that his daughter should often visit the new parsonage; but LadyHarriet's increasing illness long prevented the performance of hispromise. After aconfinement of many months she died, and was lamentedby her husband, with that sort of sorrow which it usually costs a man topart with an object which he is accustomed to see, when he knows that heshall see it nomore.It was on the third evening after her mother's funeral, that CaptainMontreville prevailed on his daughter to take a solitary walk. Slowlyshe ascended the hill that overlooked the village, and, stopping nearits brow,looked back towards the churchyard, to observe a brown hillockthat marked the spot where her mother slept. Tears filled her eyes, as,passing over long intervals of unkindness, she recollected some casualproof ofmaternal love; and they fell fast as she remembered, that forthat love she could now make no return. She turned to proceed;--and themoist eye sparkled with pleasure, the faded cheek glowed with more thanthe flushof health, when, springing towards her, she beheld theelegant, the accomplished, Colonel Hargrave. Forgotten was languor;forgotten was sorrow; for Laura was just seventeen, and Colonel Hargravewas the mostardent, the most favoured of lovers. His person wassymmetry itself; his manners had all the fascination that vivacity andintelligence, joined to the highest polish, can bestow. His love forLaura suited with theimpetuosity of his character, and for more than ayear he had laboured with assiduity and success to inspire a passioncorresponding to his own. Yet it was not Hargrave whom Laura loved; forthe being on whom shedoated had no resemblance to him, but inexternals. It was a creature of her own imagination, pure as her ownheart, yet impassioned as the wildest dreams of fiction,--intenselysusceptible of pleasure, and keenly aliveto pain, yet ever ready tosacrifice the one and to despise the other. This ideal being, clothedwith the fine form, and adorned with the insinuating manners, andanimated with the infectious love of Hargrave, what heart ofwoman couldresist? Laura's was completely captivated.Hargrave, charmed with her consummate loveliness, pleased with hercheerful good sense, and fascinated with her matchless simplicity, atfirst sought her societywithout thought but of present gratification,till he was no longer master of himself. He possessed an ample fortune,besides the near prospect of a title; and nothing was farther from histhoughts, than to make the poorunknown Laura a sharer in theseadvantages. But Hargrave was not yet a villain, and he shuddered at thethought of seduction. 'I will see her only _once_ more', said he, 'andthen tear myself from her for ever.'--'Onlythis once,' said he, whileday after day he continued to visit her,--to watch with delight, and tocherish with eager solicitude, the tenderness which, amidst her dailyincreasing reserve, his practised eye could distinguish.The passionwhich we do not conquer, will in time reconcile us to any means thatcan aid its gratification. 'To leave her now would be dishonourable, itwould be barbarous,' was his answer to his remonstrating conscience,ashe marked the glow of her complexion at his approach, the tremor of herhand at his pressure. 'I cannot, indeed, make her my wife. The womanwhom I marry, must assist in supporting the rank which she is to fill.But"}
+{"doc_id":"doc_315","qid":"","text":"The Project Gutenberg eBook, The Condition of the Working-Class in Englandin 1844, by Frederick Engels, Translated by Florence Kelley WischnewetzkyThis eBook is for the use of anyone anywhere at no cost andwithalmost no restrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: The Condition of theWorking-Class in England in 1844       with a Preface written in 1892Author: Frederick EngelsRelease Date: December 13, 2005  [eBook #17306]Language: EnglishCharacter set encoding: ISO-646-US(US-ASCII)***START OF THE PROJECT GUTENBERG EBOOK THE CONDITION OF THE WORKING-CLASSIN ENGLAND IN 1844***Transcribed from the January 1943 George Allen & Unwin reprint of theMarch 1892edition by David Price, email ccx074@coventry.ac.ukThe Condition of the Working-Class in England in 1844With a Preface written in 1892byFREDERICK ENGELS_Translated by Florence KelleyWischnewetzky__London_GEORGE ALLEN & UNWIN LTD_Museum Street_PREFACEThe book, an English translation of which is here republished, was firstissued in Germany in 1845.  The author, at that time, wasyoung, twenty-four years of age, and his production bears the stamp of his youth withits good and its faulty features, of neither of which he feels ashamed.It was translated into English, in 1885, by an American lady,Mrs. F.Kelley Wischnewetzky, and published in the following year in New York.The American edition being as good as exhausted, and having never beenextensively circulated on this side of the Atlantic, the presentEnglishcopyright edition is brought out with the full consent of all partiesinterested.For the American edition, a new Preface and an Appendix were written inEnglish by the author.  The first had little to do with the bookitself;it discussed the American Working-Class Movement of the day, and is,therefore, here omitted as irrelevant, the second--the originalpreface--is largely made use of in the present introductory remarks.The state ofthings described in this book belongs to-day, in manyrespects, to the past, as far as England is concerned.  Though notexpressly stated in our recognised treatises, it is still a law of modernPolitical Economy that thelarger the scale on which CapitalisticProduction is carried on, the less can it support the petty devices ofswindling and pilfering which characterise its early stages.  Thepettifogging business tricks of the Polish Jew, therepresentative inEurope of commerce in its lowest stage, those tricks that serve him sowell in his own country, and are generally practised there, he finds tobe out of date and out of place when he comes to Hamburg orBerlin; and,again, the commission agent, who hails from Berlin or Hamburg, Jew orChristian, after frequenting the Manchester Exchange for a few months,finds out that, in order to buy cotton yarn or cloth cheap, he,too, hadbetter drop those slightly more refined but still miserable wiles andsubterfuges which are considered the acme of cleverness in his nativecountry.  The fact is, those tricks do not pay any longer in a largemarket,where time is money, and where a certain standard of commercialmorality is unavoidably developed, purely as a means of saving time andtrouble.  And it is the same with the relation between the manufacturerand his\"hands.\"The revival of trade, after the crisis of 1847, was the dawn of a newindustrial epoch.  The repeal of the Corn Laws and the financial reformssubsequent thereon gave to English industry and commerce all theelbow-room they had asked for.  The discovery of the Californian and Australiangold-fields followed in rapid succession.  The Colonial markets developedat an increasing rate their capacity for absorbing Englishmanufacturedgoods.  In India millions of hand-weavers were finally crushed out by theLancashire power-loom.  China was more and more being opened up.  Aboveall, the United States--then, commercially speaking, amere colonialmarket, but by far the biggest of them all--underwent an economicdevelopment astounding even for that rapidly progressive country.  And,finally, the new means of communication introduced at the closeof thepreceding period--railways and ocean steamers--were now worked out on aninternational scale; they realised actually, what had hitherto existedonly potentially, a world-market.  This world-market, at first,wascomposed of a number of chiefly or entirely agricultural countriesgrouped around one manufacturing centre--England--which consumed thegreater part of their surplus raw produce, and supplied them in returnwiththe greater part of their requirements in manufactured articles.  Nowonder England's industrial progress was colossal and unparalleled, andsuch that the status of 1844 now appears to us as comparatively primitiveandinsignificant.  And in proportion as this increase took place, in thesame proportion did manufacturing industry become apparently moralised.The competition of manufacturer against manufacturer by means ofpettythefts upon the workpeople did no longer pay.  Trade had outgrown suchlow means of making money; they were not worth while practising for themanufacturing millionaire, and served merely to keep alivethecompetition of smaller traders, thankful to pick up a penny wherever theycould.  Thus the truck system was suppressed, the Ten Hours' Bill wasenacted, and a number of other secondary reforms introduced--muchagainstthe spirit of Free Trade and unbridled competition, but quite as much infavour of the giant-capitalist in his competition with his less favouredbrother.  Moreover, the larger the concern, and with it the numberofhands, the greater the loss and inconvenience caused by every conflictbetween master and men; and thus a new spirit came over the masters,especially the large ones, which taught them to avoidunnecessarysquabbles, to acquiesce in the existence and power of Trades' Unions, andfinally even to discover in strikes--at opportune times--a powerful meansto serve their own ends.  The largest manufacturers,formerly the leadersof the war against the working-class, were now the foremost to preachpeace and harmony.  And for a very good reason.  The fact is, that allthese concessions to justice and philanthropy werenothing else but meansto accelerate the concentration of capital in the hands of the few, forwhom the niggardly extra extortions of former years had lost allimportance and had become actual nuisances; and to crush allthe quickerand all the safer their smaller competitors, who could not make both endsmeet without such perquisites.  Thus the development of production on thebasis of the capitalistic system has of itself sufficed--atleast in theleading industries, for in the more unimportant branches this is far frombeing the case--to do away with all those minor grievances whichaggravated the workman's fate during its earlier stages.  And thusitrenders more and more evident the great central fact, that the cause ofthe miserable condition of the working-class is to be sought, not inthese minor grievances, but _in the Capitalistic Systemitself_.  Thewage-worker sells to the capitalist his labour-force for a certain dailysum.  After a few hours' work he has reproduced the value of that sum;but the substance of his contract is, that he has to work anotherseriesof hours to complete his working-day; and the value he produces duringthese additional hours of surplus labour is surplus value, which cost thecapitalist nothing, but yet goes into his pocket.  That is the basisofthe system which tends more and more to split up civilised society into afew Rothschilds and Vanderbilts, the owners of all the means ofproduction and subsistence, on the one hand, and an immense numberofwage-workers, the owners of nothing but their labour-force, on the other.And that this result is caused, not by this or that secondary grievance,but by the system itself--this fact has been brought out in bold reliefbythe development of Capitalism in England since 1847.Again, the repeated visitations of cholera, typhus, smallpox, and otherepidemics have shown the British bourgeois the urgent necessity ofsanitation in his towns andcities, if he wishes to save himself andfamily from falling victims to such diseases.  Accordingly, the mostcrying abuses described in this book have either disappeared or have beenmade less conspicuous.  Drainage hasbeen introduced or improved, wideavenues have been opened out athwart many of the worst \"slums\" I had todescribe.  \"Little Ireland\" has disappeared, and the \"Seven Dials\" arenext on the list for sweeping away.  Butwhat of that?  Whole districtswhich in 1844 I could describe as almost idyllic, have now, with thegrowth of the towns, fallen into the same state of dilapidation,discomfort, and misery.  Only the pigs and the heaps ofrefuse are nolonger tolerated.  The bourgeoisie have made further progress in the artof hiding the distress of the working-class.  But that, in regard totheir dwellings, no substantial improvement has taken place, isamplyproved by the Report of the Royal Commission \"on the Housing of thePoor,\" 1885.  And this is the case, too, in other respects.  Policeregulations have been plentiful as blackberries; but they can only hedgein thedistress of the workers, they cannot remove it.But while England has thus outgrown the juvenile state of capitalistexploitation described by me, other countries have only just attained it.France, Germany, and especiallyAmerica, are the formidable competitorswho, at this moment--as foreseen by me in 1844--are more and morebreaking up England's industrial monopoly.  Their manufactures are youngas compared with those ofEngland, but increasing at a far more rapidrate than the latter; and, curious enough, they have at this momentarrived at about the same phase of development as English manufacture in1844.  With regard to America,the parallel is indeed most striking.True, the external surroundings in which the working-class is placed inAmerica are very different, but the same economical laws are at work, andthe results, if not identical in everyrespect, must still be of the sameorder.  Hence we find in America the same struggles for a shorter working-day, for a legal limitation of the working-time, especially of women andchildren in factories; we find thetruck-system in full blossom, and thecottage-system, in rural districts, made use of by the \"bosses\" as ameans of domination over the workers.  When I received, in 1886, theAmerican papers with accounts of the greatstrike of 12,000 Pennsylvaniancoal-miners in the Connellsville district, I seemed but to read my owndescription of the North of England colliers' strike of 1844.  The samecheating of the workpeople by false measure;the same truck-system; thesame attempt to break the miners' resistance by the capitalists' last,but crushing, resource,--the eviction of the men out of their dwellings,the cottages owned by the companies.I have notattempted, in this translation, to bring the book up to date,or to point out in detail all the changes that have taken place since1844.  And for two reasons: Firstly, to do this properly, the size of thebook must be aboutdoubled; and, secondly, the first volume of \"DasKapital,\" by Karl Marx, an English translation of which is before thepublic, contains a very ample description of the state of the Britishworking-class, as it was about 1865,that is to say, at the time whenBritish industrial prosperity reached its culminating point.  I should,then, have been obliged again to go over the ground already covered byMarx's celebrated work.It will be hardlynecessary to point out that the general theoreticalstandpoint of this book--philosophical, economical, political--does notexactly coincide with my standpoint of to-day.  Modern internationalSocialism, since fullydeveloped as a science, chiefly and almostexclusively through the efforts of Marx, did not as yet exist in 1844.  Mybook represents one of the phases of its embryonic development; and asthe human embryo, in its earlystages, still reproduces the gill-archesof our fish-ancestors, so this book exhibits everywhere the traces of thedescent of modern Socialism from one of its ancestors,--Germanphilosophy.  Thus great stress is laid on thedictum that Communism isnot a mere party doctrine of the working-class, but a theory compassingthe emancipation of society at large, including the capitalist class,from its present narrow conditions.  This is trueenough in the abstract,but absolutely useless, and sometimes worse, in practice.  So long as thewealthy classes not only do not feel the want of any emancipation, butstrenuously oppose the self-emancipation of theworking-class, so longthe social revolution will have to be prepared and fought out by theworking-class alone.  The French bourgeois of 1789, too, declared theemancipation of the bourgeoisie to be the emancipation ofthe whole humanrace; but the nobility and clergy would not see it; theproposition--though for the time being, with respect to feudalism, anabstract historical truth--soon became a mere sentimentalism, anddisappearedfrom view altogether in the fire of the revolutionarystruggle.  And to-day, the very people who, from the \"impartiality\" oftheir superior standpoint, preach to the workers a Socialism soaring highabove their classinterests and class struggles, and tending to reconcilein a higher humanity the interests of both the contending classes--thesepeople are either neophytes, who have still to learn a great deal, orthey are the worstenemies of the workers,--wolves in sheeps' clothing.The recurring period of the great industrial crisis is stated in the textas five years.  This was the period apparently indicated by the course ofevents from 1825 to1842.  But the industrial history from 1842 to 1868has shown that the real period is one of ten years; that the intermediaterevulsions were secondary, and tended more and more to disappear.  Since1868 the state ofthings has changed again, of which more anon.I have taken care not to strike out of the text the many prophecies,amongst others that of an imminent social revolution in England, which myyouthful ardour induced meto venture upon.  The wonder is, not that agood many of them proved wrong, but that so many of them have provedright, and that the critical state of English trade, to be brought on byContinental and especiallyAmerican competition, which I thenforesaw--though in too short a period--has now actually come to pass.  Inthis respect I can, and am bound to, bring the book up to date, byplacing here an article which I published inthe _London Commonweal_ ofMarch 1, 1885, under the heading: \"England in 1845 and in 1885.\"  Itgives at the same time a short outline of the history of the Englishworking-class during these forty years, and is asfollows:   \"Forty years ago England stood face to face with a crisis, solvable to   all appearances by force only.  The immense and rapid development of   manufactures had outstripped the extension of foreign marketsand the   increase of demand.  Every ten years the march of industry was   violently interrupted by a general commercial crash, followed, after a   long period of chronic depression, by a few short years ofprosperity,   and always ending in feverish over-production and consequent renewed   collapse.  The capitalist class clamoured for Free Trade in corn, and   threatened to enforce it by sending the starving population ofthe   towns back to the country districts whence they came, to invade them,   as John Bright said, not as paupers begging for bread, but as an army   quartered upon the enemy.  The working masses of the townsdemanded   their share of political power--the People's Charter; they were   supported by the majority of the small trading class, and the only   difference between the two was whether the Charter should be carried   byphysical or by moral force.  Then came the commercial crash of 1847   and the Irish famine, and with both the prospect of revolution   \"The French Revolution of 1848 saved the English middle-class.  The   Socialisticpronunciamentos of the victorious French workmen   frightened the small middle-class of England and disorganised the   narrower, but more matter-of-fact movement of the English   working-class.  At the verymoment when Chartism was bound to assert   itself in its full strength, it collapsed internally, before even it   collapsed externally on the 10th of April, 1848.  The action of the   working-class was thrust into thebackground.  The capitalist class   triumphed along the whole line.   \"The Reform Bill of 1831 had been the victory of the whole capitalist   class over the landed aristocracy.  The repeal of the Corn Laws was   the victoryof the manufacturing capitalist not only over the landed   aristocracy, but over those sections of capitalists, too, whose   interests were more or less bound up with the landed   interest,--bankers, stock-jobbers,fund-holders, etc.  Free Trade   meant the re-adjustment of the whole home and foreign, commercial and   financial policy of England in accordance with the interests of the   manufacturing capitalists--the class whichnow represented the nation.   And they set about this task with a will.  Every obstacle to   industrial production was mercilessly removed.  The tariff and the   whole system of taxation were revolutionised.  Everythingwas made   subordinate to one end, but that end of the utmost importance to the   manufacturing capitalist: the cheapening of all raw produce, and   especially of the means of living of the working-class; thereduction   of the cost of raw material, and the keeping down--if not as yet the   _bringing down_--of wages.  England was to become the 'workshop of the   world;' all other countries were to become for England whatIreland   already was,--markets for her manufactured goods, supplying her in   return with raw materials and food.  England the great manufacturing   centre of an agricultural world, with an ever-increasing numberof   corn and cotton-growing Irelands revolving around her, the industrial   sun.  What a glorious prospect!   \"The manufacturing capitalists set about the realisation of this their   great object with that strong commonsense and that contempt for   traditional principles which has ever distinguished them from their   more narrow-minded compeers on the Continent.  Chartism was dying out.   The revival of commercial prosperity,natural after the revulsion of   1847 had spent itself, was put down altogether to the credit of Free   Trade.  Both these circumstances had turned the English working-class,   politically, into the tail of the 'great Liberalparty,' the party led   by the manufacturers.  This advantage, once gained, had to be   perpetuated.  And the manufacturing capitalists, from the Chartist   opposition, not to Free Trade, but to the transformation of FreeTrade   into the one vital national question, had learnt, and were learning   more and more, that the middle-class can never obtain full social and   political power over the nation except by the help ofthe   working-class.  Thus a gradual change came over the relations between   both classes.  The Factory Acts, once the bugbear of all   manufacturers, were not only willingly submitted to, but their   expansion intoacts regulating almost all trades, was tolerated.   Trades' Unions, hitherto considered inventions of the devil himself,   were now petted and patronised as perfectly legitimate institutions,   and as useful means ofspreading sound economical doctrines amongst   the workers.  Even strikes, than which nothing had been more nefarious   up to 1848, were now gradually found out to be occasionally very   useful, especially whenprovoked by the masters themselves, at their   own time.  Of the legal enactments, placing the workman at a lower   level or at a disadvantage with regard to the master, at least the   most revolting wererepealed.  And, practically, that horrid 'People's   Charter' actually became the political programme of the very   manufacturers who had opposed it to the last.  'The Abolition of the   Property Qualification' and 'Vote byBallot' are now the law of the   land.  The Reform Acts of 1867 and 1884 make a near approach to   'universal suffrage,' at least such as it now exists in Germany; the   Redistribution Bill now before Parliament creates'equal electoral   districts'--on the whole not more unequal than those of Germany;   'payment of members,' and shorter, if not actually 'annual   Parliaments,' are visibly looming in the distance--and yet thereare   people who say that Chartism is dead.   \"The Revolution of 1848, not less than many of its predecessors, has   had strange bedfellows and successors.  The very people who put it   down have become, as KarlMarx used to say, its testamentary   executors.  Louis Napoleon had to create an independent and united   Italy, Bismarck had to revolutionise Germany and to restore Hungarian   independence, and the English"}
+{"doc_id":"doc_316","qid":"","text":"The Project Gutenberg EBook of The Old Wives' Tale, by Arnold BennettThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: The Old Wives' TaleAuthor: Arnold BennettPosting Date: November 28, 2011 [EBook #5247]Release Date:March, 2004First Posted: June 10, 2002[Last Updated: December 8, 2011]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE OLD WIVES' TALE ***Produced by Charles Franks and the OnlineDistributed Proofreading TeamThe Old Wives' TaleArnold BennettTo W. W. K.PREFACE TO THIS EDITIONIn the autumn of 1903 I used to dine frequently in a restaurant in theRue de Clichy, Paris. Here were, amongothers, two waitresses thatattracted my attention. One was a beautiful, pale young girl, to whom Inever spoke, for she was employed far away from the table which Iaffected. The other, a stout, middle-aged managingBreton woman, hadsole command over my table and me, and gradually she began to assumesuch a maternal tone towards me that I saw I should be compelled toleave that restaurant. If I was absent for a couple ofnights runningshe would reproach me sharply: \"What! you are unfaithful to me?\" Once,when I complained about some French beans, she informed me roundly thatFrench beans were a subject which I did notunderstand. I then decidedto be eternally unfaithful to her, and I abandoned the restaurant. Afew nights before the final parting an old woman came into therestaurant to dine. She was fat, shapeless, ugly, andgrotesque. Shehad a ridiculous voice, and ridiculous gestures. It was easy to seethat she lived alone, and that in the long lapse of years she haddeveloped the kind of peculiarity which induces guffaws amongthethoughtless. She was burdened with a lot of small parcels, which shekept dropping. She chose one seat; and then, not liking it, choseanother; and then another. In a few moments she had the wholerestaurantlaughing at her. That my middle-aged Breton should laugh wasindifferent to me, but I was pained to see a coarse grimace of gigglingon the pale face of the beautiful young waitress to whom I had neverspoken.Ireflected, concerning the grotesque diner: \"This woman was onceyoung, slim, perhaps beautiful; certainly free from these ridiculousmannerisms. Very probably she is unconscious of her singularities. Hercase is atragedy. One ought to be able to make a heartrending novelout of the history of a woman such as she.\" Every stout, ageing womanis not grotesque--far from it!--but there is an extreme pathos in themere fact thatevery stout ageing woman was once a young girl with theunique charm of youth in her form and movements and in her mind. Andthe fact that the change from the young girl to the stout ageing womanis made up of aninfinite number of infinitesimal changes, eachunperceived by her, only intensifies the pathos.It was at this instant that I was visited by the idea of writing thebook which ultimately became \"The Old Wives' Tale.\" Ofcourse I feltthat the woman who caused the ignoble mirth in the restaurant would notserve me as a type of heroine. For she was much too old and obviouslyunsympathetic. It is an absolute rule that the principalcharacter of anovel must not be unsympathetic, and the whole modern tendency ofrealistic fiction is against oddness in a prominent figure. I knew thatI must choose the sort of woman who would pass unnoticed in acrowd.I put the idea aside for a long time, but it was never very distantfrom me. For several reasons it made a special appeal to me. I hadalways been a convinced admirer of Mrs. W. K. Clifford's most preciousnovel,\"Aunt Anne,\" but I wanted to see in the story of an old womanmany things that Mrs. W. K. Clifford had omitted from \"Aunt Anne.\"Moreover, I had always revolted against the absurd youthfulness, theunfadingyouthfulness of the average heroine. And as a protest againstthis fashion, I was already, in 1903, planning a novel (\"Leonora\") ofwhich the heroine was aged forty, and had daughters old enough to be inlove. Thereviewers, by the way, were staggered by my hardihood inoffering a woman of forty as a subject of serious interest to thepublic. But I meant to go much farther than forty! Finally as a supremereason, I had theexample and the challenge of Guy de Maupassant's \"UneVie.\" In the nineties we used to regard \"Une Vie\" with mute awe, asbeing the summit of achievement in fiction. And I remember being verycross with Mr. BernardShaw because, having read \"Une Vie\" at thesuggestion (I think) of Mr. William Archer, he failed to see in itanything very remarkable. Here I must confess that, in 1908, I read\"Une Vie\" again, and in spite of a naturalanxiety to differ from Mr.Bernard Shaw, I was gravely disappointed with it. It is a fine novel,but decidedly inferior to \"Pierre et Jean\" or even \"Fort Comme laMort.\" To return to the year 1903. \"Une Vie\" relates the entirelifehistory of a woman. I settled in the privacy of my own head that mybook about the development of a young girl into a stout old lady mustbe the English \"Une Vie.\" I have been accused of every fault except alack ofself-confidence, and in a few weeks I settled a further point,namely, that my book must \"go one better\" than \"Une Vie,\" and that tothis end it must be the life-history of two women instead of only one.Hence, \"The OldWives' Tale\" has two heroines. Constance was theoriginal; Sophia was created out of bravado, just to indicate that Ideclined to consider Guy de Maupassant as the last forerunner of thedeluge. I was intimidated by theaudacity of my project, but I hadsworn to carry it out. For several years I looked it squarely in theface at intervals, and then walked away to write novels of smallerscope, of which I produced five or six. But I could notdally forever,and in the autumn of 1907 I actually began to write it, in a villagenear Fontainebleau, where I rented half a house from a retired railwayservant. I calculated that it would be 200,000 words long (whichitexactly proved to be), and I had a vague notion that no novel of suchdimensions (except Richardson's) had ever been written before. So Icounted the words in several famous Victorian novels, and discovered tomyrelief that the famous Victorian novels average 400,000 wordsapiece. I wrote the first part of the novel in six weeks. It was fairlyeasy to me, because, in the seventies, in the first decade of my life,I had lived in theactual draper's shop of the Baines's, and knew it asonly a child could know it. Then I went to London on a visit. I triedto continue the book in a London hotel, but London was too distracting,and I put the thing away, andduring January and February of 1908, Iwrote \"Buried Alive,\" which was published immediately, and was receivedwith majestic indifference by the English public, an indifference whichhas persisted to this day.I thenreturned to the Fontainebleau region and gave \"The Old Wives'Tale\" no rest till I finished it at the end of July, 1908. It waspublished in the autumn of the same year, and for six weeks afterwardthe English publicsteadily confirmed an opinion expressed by a certainperson in whose judgment I had confidence, to the effect that the workwas honest but dull, and that when it was not dull it had a regrettabletendency tofacetiousness. My publishers, though brave fellows, weresomewhat disheartened; however, the reception of the book graduallybecame less and less frigid.With regard to the French portion of the story, it was not until Ihadwritten the first part that I saw from a study of my chronologicalbasis that the Siege of Paris might be brought into the tale. The ideawas seductive; but I hated, and still hate, the awful business ofresearch; and Ionly knew the Paris of the Twentieth Century. Now I wasaware that my railway servant and his wife had been living in Paris atthe time of the war. I said to the old man, \"By the way, you wentthrough the Siege of Paris,didn't you?\" He turned to his old wife andsaid, uncertainly, \"The Siege of Paris? Yes, we did, didn't we?\" TheSiege of Paris had been only one incident among many in their lives. Ofcourse, they remembered it well,though not vividly, and I gained muchinformation from them. But the most useful thing which I gained fromthem was the perception, startling at first, that ordinary people wenton living very ordinary lives in Parisduring the siege, and that tothe vast mass of the population the siege was not the dramatic,spectacular, thrilling, ecstatic affair that is described in history.Encouraged by this perception, I decided to include the siege inmyscheme. I read Sarcey's diary of the siege aloud to my wife, and Ilooked at the pictures in Jules Claretie's popular work on the siegeand the commune, and I glanced at the printed collection of officialdocuments, andthere my research ended.It has been asserted that unless I had actually been present at apublic execution, I could not have written the chapter in which Sophiawas at the Auxerre solemnity. I have not been present ata publicexecution, as the whole of my information about public executions wasderived from a series of articles on them which I read in the ParisMatin. Mr. Frank Harris, discussing my book in \"Vanity Fair,\" said itwasclear that I had not seen an execution, (or words to that effect),and he proceeded to give his own description of an execution. It was abrief but terribly convincing bit of writing, quite characteristic andquite worthy ofthe author of \"Montes the Matador\" and of a man who hasbeen almost everywhere and seen almost everything. I comprehended howfar short I had fallen of the truth! I wrote to Mr. Frank Harris,regretting that hisdescription had not been printed before I wrotemine, as I should assuredly have utilized it, and, of course, Iadmitted that I had never witnessed an execution. He simply replied:\"Neither have I.\" This detail is worthpreserving, for it is a reproofto that large body of readers, who, when a novelist has really carriedconviction to them, assert off hand: \"O, that must be autobiography!\"ARNOLD BENNETT.CONTENTSBOOK I.MRS.BAINES   I. THE SQUARE  II. THE TOOTH III. A BATTLE  IV. ELEPHANT   V. THE TRAVELLER  VI. ESCAPADE VII. A DEFEATBOOK II.CONSTANCE   I. REVOLUTION  II. CHRISTMAS AND THE FUTURE III. CYRIL  IV.CRIME   V. ANOTHER CRIME  VI. THE WIDOW VII. BRICKS AND MORTARVIII. THE PROUDEST MOTHERBOOK III.SOPHIA   I. THE ELOPEMENT  II. SUPPER III. AN AMBITION SATISFIED  IV. A CRISIS FOR GERALD   V.FEVER  VI. THE SIEGE VII. SUCCESSBOOK IV.WHAT LIFE IS   I. FRENSHAM'S  II. THE MEETING III. TOWARDS HOTEL LIFE  IV. END OF SOPHIA   V. END OF CONSTANCEBOOK IMRS. BAINESCHAPTER ITHESQUAREIThose two girls, Constance and Sophia Baines, paid no heed to themanifold interest of their situation, of which, indeed, they had neverbeen conscious. They were, for example, established almost preciselyonthe fifty-third parallel of latitude. A little way to the north ofthem, in the creases of a hill famous for its religious orgies, rosethe river Trent, the calm and characteristic stream of middle England.Somewhat furthernorthwards, in the near neighbourhood of the highestpublic-house in the realm, rose two lesser rivers, the Dane and theDove, which, quarrelling in early infancy, turned their backs on eachother, and, the one by favourof the Weaver and the other by favour ofthe Trent, watered between them the whole width of England, and pouredthemselves respectively into the Irish Sea and the German Ocean. What acounty of modest, unnoticedrivers! What a natural, simple county,content to fix its boundaries by these tortuous island brooks, withtheir comfortable names--Trent, Mease, Dove, Tern, Dane, Mees, Stour,Tame, and even hasty Severn! Not that theSevern is suitable to thecounty! In the county excess is deprecated. The county is happy in notexciting remark. It is content that Shropshire should possess thatswollen bump, the Wrekin, and that the exaggeratedwildness of the Peakshould lie over its border. It does not desire to be a pancake likeCheshire. It has everything that England has, including thirty miles ofWatling Street; and England can show nothing more beautifuland nothinguglier than the works of nature and the works of man to be seen withinthe limits of the county. It is England in little, lost in the midst ofEngland, unsung by searchers after the extreme; perhapsoccasionallysomewhat sore at this neglect, but how proud in the instinctivecognizance of its representative features and traits!Constance and Sophia, busy with the intense preoccupations of youth,recked not of suchmatters. They were surrounded by the county. Onevery side the fields and moors of Staffordshire, intersected by roadsand lanes, railways, watercourses and telegraph-lines, patterned byhedges, ornamented and maderespectable by halls and genteel parks,enlivened by villages at the intersections, and warmly surveyed by thesun, spread out undulating. And trains were rushing round curves indeep cuttings, and carts and waggonstrotting and jingling on theyellow roads, and long, narrow boats passing in a leisure majestic andinfinite over the surface of the stolid canals; the rivers had onlythemselves to support, for Staffordshire rivers haveremained virgin ofkeels to this day. One could imagine the messages concerning prices,sudden death, and horses, in their flight through the wires under thefeet of birds. In the inns Utopians were shouting the universeintoorder over beer, and in the halls and parks the dignity of England wasbeing preserved in a fitting manner. The villages were full of womenwho did nothing but fight against dirt and hunger, and repair theeffects offriction on clothes. Thousands of labourers were in thefields, but the fields were so broad and numerous that this scatteredmultitude was totally lost therein. The cuckoo was much moreperceptible than man, dominatingwhole square miles with his resoundingcall. And on the airy moors heath-larks played in the ineffaceablemule-tracks that had served centuries before even the Romans thought ofWatling Street. In short, the usual dailylife of the county wasproceeding with all its immense variety and importance; but thoughConstance and Sophia were in it they were not of it.The fact is, that while in the county they were also in the district;and noperson who lives in the district, even if he should be old andhave nothing to do but reflect upon things in general, ever thinksabout the county. So far as the county goes, the district might almostas well be in the middleof the Sahara. It ignores the county, savethat it uses it nonchalantly sometimes as leg-stretcher on holidayafternoons, as a man may use his back garden. It has nothing in commonwith the county; it is richly sufficientto itself. Nevertheless, itsself-sufficiency and the true salt savour of its life can only beappreciated by picturing it hemmed in by county. It lies on the face ofthe county like an insignificant stain, like a dark Pleiades in agreenand empty sky. And Hanbridge has the shape of a horse and its rider,Bursley of half a donkey, Knype of a pair of trousers, Longshaw of anoctopus, and little Turnhill of a beetle. The Five Towns seem toclingtogether for safety. Yet the idea of clinging together for safety wouldmake them laugh. They are unique and indispensable. From the north ofthe county right down to the south they alone stand forcivilization,applied science, organized manufacture, and the century--until you cometo Wolverhampton. They are unique and indispensable because you cannotdrink tea out of a teacup without the aid of the Five Towns;becauseyou cannot eat a meal in decency without the aid of the Five Towns. Forthis the architecture of the Five Towns is an architecture of ovens andchimneys; for this its atmosphere is as black as its mud; for thisitburns and smokes all night, so that Longshaw has been compared to hell;for this it is unlearned in the ways of agriculture, never having seencorn except as packing straw and in quartern loaves; for this, on theotherhand, it comprehends the mysterious habits of fire and pure,sterile earth; for this it lives crammed together in slippery streetswhere the housewife must change white window-curtains at least once afortnight if shewishes to remain respectable; for this it gets up inthe mass at six a.m., winter and summer, and goes to bed when thepublic-houses close; for this it exists--that you may drink tea out ofa teacup and toy with a chop ona plate. All the everyday crockery usedin the kingdom is made in the Five Towns--all, and much besides. Adistrict capable of such gigantic manufacture, of such a perfectmonopoly--and which finds energy also toproduce coal and iron andgreat men--may be an insignificant stain on a county, consideredgeographically, but it is surely well justified in treating the countyas its back garden once a week, and in blindly ignoring it therest ofthe time.Even the majestic thought that whenever and wherever in all England awoman washes up, she washes up the product of the district; thatwhenever and wherever in all England a plate is broken thefracturemeans new business for the district--even this majestic thought hadprobably never occurred to either of the girls. The fact is, that whilein the Five Towns they were also in the Square, Bursley and theSquareignored the staple manufacture as perfectly as the district ignored thecounty. Bursley has the honours of antiquity in the Five Towns. Noindustrial development can ever rob it of its superiority in age, whichmakesit absolutely sure in its conceit. And the time will never comewhen the other towns--let them swell and bluster as they may--will notpronounce the name of Bursley as one pronounces the name of one'smother. Add tothis that the Square was the centre of Bursley's retailtrade (which scorned the staple as something wholesale, vulgar, andassuredly filthy), and you will comprehend the importance and theself-isolation of the Square inthe scheme of the created universe.There you have it, embedded in the district, and the district embeddedin the county, and the county lost and dreaming in the heart of England!The Square was named after St. Luke.The Evangelist might have beenstartled by certain phenomena in his square, but, except in Wakes Week,when the shocking always happened, St. Luke's Square lived in a mannerpassably saintly--though it containedfive public-houses. It containedfive public-houses, a bank, a barber's, a confectioner's, threegrocers', two chemists', an ironmonger's, a clothier's, and fivedrapers'. These were all the catalogue. St. Luke's Square hadno roomfor minor establishments. The aristocracy of the Square undoubtedlyconsisted of the drapers (for the bank was impersonal); and among thefive the shop of Baines stood supreme. No business establishmentcouldpossibly be more respected than that of Mr. Baines was respected. Andthough John Baines had been bedridden for a dozen years, he still livedon the lips of admiring, ceremonious burgesses as 'ourhonouredfellow-townsman.' He deserved his reputation.The Baines's shop, to make which three dwellings had at intervals beenthrown into one, lay at the bottom of the Square. It formed aboutone-third of the southside of the Square, the remainder being made upof Critchlow's (chemist), the clothier's, and the Hanover SpiritVaults. (\"Vaults\" was a favourite synonym of the public-house in theSquare. Only two of the public-houseswere crude public-houses: therest were \"vaults.\") It was a composite building of three storeys, inblackish-crimson brick, with a projecting shop-front and, above andbehind that, two rows of little windows. On the sashof each window wasa red cloth roll stuffed with sawdust, to prevent draughts; plain whiteblinds descended about six inches from the top of each window. Therewere no curtains to any of the windows save one; this wasthe window ofthe drawing-room, on the first floor at the corner of the Square andKing Street. Another window, on the second storey, was peculiar, inthat it had neither blind nor pad, and was very dirty; this wasthewindow of an unused room that had a separate staircase to itself, thestaircase being barred by a door always locked. Constance and Sophiahad lived in continual expectation of the abnormal issuing fromthatmysterious room, which was next to their own. But they weredisappointed. The room had no shameful secret except the incompetenceof the architect who had made one house out of three; it was just anempty,unemployable room. The building had also a considerable frontageon King Street, where, behind the shop, was sheltered the parlour, witha large window and a door that led directly by two steps into thestreet. Astrange peculiarity of the shop was that it bore nosignboard. Once it had had a large signboard which a memorable gale hadblown into the Square. Mr. Baines had decided not to replace it. He hadalways objected to"}
+{"doc_id":"doc_317","qid":"","text":"<html><head><title>Woodsman, The Script at IMSDb.</title><meta name=\"description\" content=\"Woodsman, The script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Woodsman, Thescript, Woodsman, The movie script, Woodsman, The film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX,FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>           <b>          </b><b>          </b><b>          </b><b>                                 THEWOODSMAN</b><b>          </b>                             Based on the play by          <b>       </b>                                Steven Fechter<b>          </b>                                  Writtenby<b>          </b>                       Steven Fechter & Nicole Kassell<b>          </b><b>          </b><b>          </b>            Winner 1st Prize 2001 Slamdance ScreenplayCompetition<b>          </b><b>          </b><b>          </b>                                                      July 30, 2002<b>          </b><b>          </b><b>          </b><b>          BEGIN TITLES - OPENING SEQUENCEMONTAGE</b><b>          </b>            Over black we HEAR the rhythmic sound of machinery. This          sound will continue throughout the title sequence as other          sounds fade in and out. We move forward andback in time.<b>          </b><b>          EXT. APARTMENT - DAY</b><b>          </b>          A sparrow flutters in birdseed on a window sill. More birds          crowd a bird feeder that hangsabove.<b>          </b><b>          EXT. SCHOOL PLAYGROUND - DAY</b><b>          </b>          A lone child swings lazily on a swing. Other children tear          about in a wild game ofchase.<b>          </b><b>          INT. LUMBERYARD WAREHOUSE - DAY</b><b>          </b>          CLOSE on a piece of wood as it is fed through a wood chipper.<b>          </b>          A man finishes feeding the loginto the chipper. He pauses to          wipe the sweat and grime from his face. He is WALTER, early          forties, features handsome but hardened by time.<b>          </b><b>          INT. BUS - EARLYMORNING</b><b>          </b>          Walter is silhouetted by the early morning light. He holds a          duffel bag in his lap and watches out the bus window.<b>          </b>          The sun is just rising over thehorizon, streaks of pink and          purple graze the frosted ground. Wilderness gives way to          frozen farmland.<b>          </b><b>          INT. POLICE DEPARTMENT - DAY</b><b>          </b>          Walterstands at a counter, a female officer fingerprints          each finger.<b>          </b><b>          EXT. LUMBERYARD - DAY</b><b>          </b>          Walter and some other men drop the side of the flatbedtruck          and trees crash to theground.<b>          </b><b>          </b><b>          </b><b>          </b><b>                                                                    2.</b><b>          </b><b>          </b><b>          </b><b>          EXT. BUS STOP -DAY</b><b>          </b>          The bus pulls away, revealing Walter standing alone on the          sidewalk of a dilapidated neighborhood. He holds his duffle          bag.<b>          </b><b>          INT. WAREHOUSE -DUSK</b><b>          </b>          The 5 o'clock whistle BLOWS. Workers hustle to get their          coats and punch out. Walter stands in line, keeping to          himself. As his turn arrives to punch out he receives arough          knock by two guys play-fighting behind him. Walter doesn't          react, punches out, and exits the door.<b>          </b>          Vicki, a tough-looking but striking woman, stands in line a          little furtherback watching.<b>          </b><b>          </b><b>          EXT./INT. APARTMENT - DAY</b><b>          </b>          A superintendent opens the door to an apartment, then hands          Walter the keys. Her gaze iscold.<b>          </b>          Walter closes the door and turns around. He stands in the          middle of a prefab/pre-furnished kitchen, living room area.          Light works its way through the dilapidatedblinds.<b>          </b><b>          INT. LUMBERYARD OFFICE - DAY</b><b>          </b>          Walter shakes the boss's hand -- BOB, early thirties,          strapping and trim, is the manager of thebusiness.<b>          </b>          MARY-KAY, the secretary, looks up from her typing and takes          Walter in. Bob introduces them. She is in her early forties.          Walter follows Bob from the office, Mary-Kaywatches as they          leave.<b>          </b><b>          INT. POLICE DEPARTMENT</b><b>          </b>          There is a flash as a camera snaps a photo.<b>          </b>          Walter is captured in a photograph,standing against a baby-          blue background.<b>          </b><b>          </b><b>                                                                    3.</b><b>          </b><b>          </b><b>          </b><b>          INT.WALTER'S APARTMENT - DAY</b><b>          </b>          Walter lifts the blinds. The birds flutter away.<b>          </b><b>                                                               CUT TO:</b><b>          </b>          Walterstands under the shower.<b>          </b><b>                                                               CUT TO:</b><b>          </b>          Walter, hair wet and clean shaven, tosses back somepills.<b>          </b><b>          EXT. WAREHOUSE - DUSK</b><b>          </b>          Tires SCREECH as cars tear out of the driveway. Walter stands          at a bus stop across the street.<b>          </b>          AsVicki walks across the lot, a car pulls up next to her and          men catcall and whistle out the window.<b>          </b>          Vicki flicks them off. The men burst into hysterics and peal          out of the lot. She gets inher Jeep and leaves, tearing by          the bus stop.<b>          </b>           Walter looks after her then turns his collar up against the          chill. It is late winter. The trees are bare -- black          silhouettes against thedarkening sky.<b>          </b>          Walter turns towards the shelter for protection from the          wind. Filling the kiosk, a clothing advertisement displays a          young girl striking a seductivepose.<b>          </b><b>          INT. POLICE DEPARTMENT - DAY</b><b>          </b>          CLOSE on a police file. A mug shot reveals Walter, many years          younger. Pages are flipped through giving glimpsesof newspaper          clippings as well as typed documents. Words stand out --          \"Convicted, 1st degree --,\" \"3 counts --,\" \"served --.\"<b>          </b>          A plain clothes officer closes the folder and looks outhis          office window where Walter stands being fingerprinted. This          is Sergeant LUCAS, mid-fifties, face creased andgreying          hair.<b>          </b><b>          </b><b>                                                                    4.</b><b>          </b><b>          </b><b>          </b><b>          INT. BUS -DAY</b><b>          </b>          Walter watches out the window as farmland gives way to city.          Traffic builds, billboards line the highway.<b>          </b><b>          INT. LUMBERYARD WAREHOUSE -DAY</b><b>          </b>          Details of machines cutting the wood.<b>          </b><b>          INT. WALTER'S APARTMENT - DAY</b><b>          </b>          Walter fills the bird feeder withbirdseed.<b>          </b>          There is the SOUND of children playing, and Walter looks up.<b>          </b>          Walter's POV: Across the way, children play outside ofthe          school.<b>          </b>          Walter watches then closes his window.<b>          </b><b>          EXT. POLICE DEPARTMENT - DAY</b><b>          </b>          Walter exits the police station and crosses thestreet.<b>          </b><b>          INT. POLICE DEPARTMENT</b><b>          </b>          CLOSE on fingers typing on a keyboard.<b>          </b>          A computer screen shows Walter's image -- the photojust          taken of him against the blue background. Words appear across          the screen as they are typed, creating an Internet          notification page:<b>          </b>          Released: 02/25/02 QualifyingOffense(s):____________<b>          </b>          We MOVE in on the photo of Walter till it fills the frame.<b>          </b>          FREEZE FRAME. All sound fades out.<b>          </b>          The title \"THE WOODSMAN\"fades in.<b>          </b><b>          END TITLES</b><b>          </b><b>          </b><b>          </b><b>          </b><b>          </b><b>                                                                   5.</b><b>          </b><b>          </b><b>          </b><b>          INT. OFFICE - NIGHT</b><b>          </b>          Walter sits in a small windowless office with his coat still          on. He looks at someone offscreen.<b>          </b><b>                                   MAN (0.S.)</b>                         So. How are you adjusting?<b>          </b><b>                                   WALTER</b>                         I'm adjustingokay.<b>          </b><b>                                   MAN (O.S.)</b>                         And your new apartment?<b>          </b><b>                                   WALTER</b>                         Apartment'sokay.<b>          </b><b>                                   MAN (O.S.)</b>                         Are you taking your medication?<b>          </b><b>                                   WALTER</b>                         It gives meheadaches.<b>          </b><b>                                   MAN (O.S.)</b>                         But you are takingit?<b>          </b><b>                                   WALTER</b>                         Yeah.<b>          </b>          Across from Walter, sits ROSEN, young, awkward and clearly          new to the profession, jotting somethingdown in a notepad.<b>          </b><b>                                    ROSEN</b>                         Good. I'll talk to your physician                         about the headaches. Maybe he can                         change theprescription.<b>          </b>          Walter doesn't say anything.<b>          </b>                                   ROSEN (cont'd)                         And how's yourjob?<b>          </b><b>                                   WALTER</b>                         The job's okay.<b>          </b><b>          </b><b>          </b><b>                                                             (CONTINUED)</b><b>          </b><b>                       </b><b>          </b><b>          </b><b>          </b><b>          </b><b>          </b><b>                                                                   6.</b><b>          CONTINUED:</b><b>          </b><b>          </b><b>                                   ROSEN</b>                         Do I take \"okay\" to mean you feel                         good about workingthere?<b>          </b><b>                                   WALTER</b>                         I said the job is okay.<b>          </b><b>                                   ROSEN</b>                             (smiling)                         That'sright, you did.                              pause)                         Have you made any friends there?<b>          </b><b>                                   WALTER</b>                         I'm not running for Mr.Popularity.<b>          </b><b>                                   ROSEN</b>                             (pause)                         You seem a little hostile"}
+{"doc_id":"doc_318","qid":"","text":"The Project Gutenberg EBook of Louis Lambert, by Honore de BalzacThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: Louis LambertAuthor: Honore de BalzacTranslator: Clara Bell and James WaringRelease Date: October,1999  [Etext #1943]Posting Date: March 6, 2010Language: English*** START OF THIS PROJECT GUTENBERG EBOOK LOUIS LAMBERT ***Produced by John Bickers, and DagnyLOUIS LAMBERTBy Honore DeBalzacTranslated by Clara Bell and James Waring                              DEDICATION                \"Et nunc et semper dilectoe dicatum.\"LOUIS LAMBERTLouis Lambert was born at Montoire, a little town in theVendomois,where his father owned a tannery of no great magnitude, and intendedthat his son should succeed him; but his precocious bent for studymodified the paternal decision. For, indeed, the tanner and hiswifeadored Louis, their only child, and never contradicted him in anything.At the age of five Louis had begun by reading the Old and NewTestaments; and these two Books, including so many books, had sealed hisfate.Could that childish imagination understand the mystical depths ofthe Scriptures? Could it so early follow the flight of the Holy Spiritacross the worlds? Or was it merely attracted by the romantic toucheswhich abound inthose Oriental poems! Our narrative will answer thesequestions to some readers.One thing resulted from this first reading of the Bible: Louis went allover Montoire begging for books, and he obtained them by thosewinningways peculiar to children, which no one can resist. While devotinghimself to these studies under no sort of guidance, he reached the ageof ten.At that period substitutes for the army were scarce; richfamiliessecured them long beforehand to have them ready when the lots weredrawn. The poor tanner's modest fortune did not allow of theirpurchasing a substitute for their son, and they saw no means allowed bylawfor evading the conscription but that of making him a priest; so,in 1807, they sent him to his maternal uncle, the parish priest of Mer,another small town on the Loire, not far from Blois. This arrangement atoncesatisfied Louis' passion for knowledge, and his parents' wish notto expose him to the dreadful chances of war; and, indeed, his taste forstudy and precocious intelligence gave grounds for hoping that he mightrise to highfortunes in the Church.After remaining for about three years with his uncle, an old and notuncultured Oratorian, Louis left him early in 1811 to enter the collegeat Vendome, where he was maintained at the cost ofMadame de Stael.Lambert owed the favor and patronage of this celebrated lady to chance,or shall we not say to Providence, who can smooth the path of forlorngenius? To us, indeed, who do not see below the surfaceof human things,such vicissitudes, of which we find many examples in the lives of greatmen, appear to be merely the result of physical phenomena; to mostbiographers the head of a man of genius rises above the herdassome noble plant in the fields attracts the eye of a botanist inits splendor. This comparison may well be applied to Louis Lambert'sadventure; he was accustomed to spend the time allowed him by his unclefor holidaysat his father's house; but instead of indulging, after themanner of schoolboys, in the sweets of the delightful _far niente_ thattempts us at every age, he set out every morning with part of a loafand his books, and wentto read and meditate in the woods, to escapehis mother's remonstrances, for she believed such persistent study to beinjurious. How admirable is a mother's instinct! From that time readingwas in Louis a sort of appetitewhich nothing could satisfy; he devouredbooks of every kind, feeding indiscriminately on religious works,history, philosophy, and physics. He has told me that he foundindescribable delight in reading dictionaries for lackof other books,and I readily believed him. What scholar has not many a time foundpleasure in seeking the probable meaning of some unknown word? Theanalysis of a word, its physiognomy and history, would be toLambertmatter for long dreaming. But these were not the instinctive dreams bywhich a boy accustoms himself to the phenomena of life, steels himselfto every moral or physical perception--an involuntary educationwhichsubsequently brings forth fruit both in the understanding and characterof a man; no, Louis mastered the facts, and he accounted for them afterseeking out both the principle and the end with the mother wit ofasavage. Indeed, from the age of fourteen, by one of those startlingfreaks in which nature sometimes indulges, and which proved howanomalous was his temperament, he would utter quite simply ideas ofwhich thedepth was not revealed to me till a long time after.\"Often,\" he has said to me when speaking of his studies, \"often have Imade the most delightful voyage, floating on a word down the abyss ofthe past, like an insectembarked on a blade of grass tossing on theripples of a stream. Starting from Greece, I would get to Rome, andtraverse the whole extent of modern ages. What a fine book mightbe written of the life and adventures ofa word! It has, of course,received various stamps from the occasions on which it has served itspurpose; it has conveyed different ideas in different places; but is itnot still grander to think of it under the three aspects ofsoul,body, and motion? Merely to regard it in the abstract, apart from itsfunctions, its effects, and its influence, is enough to cast one intoan ocean of meditations? Are not most words colored by the idea theyrepresent?Then, to whose genius are they due? If it takes greatintelligence to create a word, how old may human speech be? Thecombination of letters, their shapes, and the look they give to theword, are the exact reflection, inaccordance with the character of eachnation, of the unknown beings whose traces survive in us.\"Who can philosophically explain the transition from sensation tothought, from thought to word, from the word to itshieroglyphicpresentment, from hieroglyphics to the alphabet, from the alphabet towritten language, of which the eloquent beauty resides in a seriesof images, classified by rhetoric, and forming, in a sense,thehieroglyphics of thought? Was it not the ancient mode of representinghuman ideas as embodied in the forms of animals that gave rise to theshapes of the first signs used in the East for writing down language?Thenhas it not left its traces by tradition on our modern languages,which have all seized some remnant of the primitive speech of nations,a majestic and solemn tongue whose grandeur and solemnity decreaseascommunities grow old; whose sonorous tones ring in the Hebrew Bible,and still are noble in Greece, but grow weaker under the progress ofsuccessive phases of civilization?\"Is it to this time-honored spirit that we owethe mysteries lyingburied in every human word? In the word _True_ do we not discern acertain imaginary rectitude? Does not the compact brevity of its soundsuggest a vague image of chaste nudity and the simplicityof Truth inall things? The syllable seems to me singularly crisp and fresh.\"I chose the formula of an abstract idea on purpose, not wishing toillustrate the case by a word which should make it too obvious totheapprehension, as the word _Flight_ for instance, which is a directappeal to the senses.\"But is it not so with every root word? They are all stamped with aliving power that comes from the soul, and which they restoreto thesoul through the mysterious and wonderful action and reaction betweenthought and speech. Might we not speak of it as a lover who finds onhis mistress' lips as much love as he gives? Thus, by theirmerephysiognomy, words call to life in our brain the beings which theyserve to clothe. Like all beings, there is but one place where theirproperties are at full liberty to act and develop. But the subjectdemands a scienceto itself perhaps!\"And he would shrug his shoulders as much as to say, \"But we are too highand too low!\"Louis' passion for reading had on the whole been very well satisfied.The cure of Mer had two or three thousandvolumes. This treasure hadbeen derived from the plunder committed during the Revolution in theneighboring chateaux and abbeys. As a priest who had taken the oath,the worthy man had been able to choose the bestbooks from among theseprecious libraries, which were sold by the pound. In three years LouisLambert had assimilated the contents of all the books in his uncle'slibrary that were worth reading. The process of absorbingideas by meansof reading had become in him a very strange phenomenon. His eye tookin six or seven lines at once, and his mind grasped the sense with aswiftness as remarkable as that of his eye; sometimes evenone word in asentence was enough to enable him to seize the gist of the matter.His memory was prodigious. He remembered with equal exactitude the ideashe had derived from reading, and those which had occurredto him inthe course of meditation or conversation. Indeed, he had every form ofmemory--for places, for names, for words, things, and faces. He notonly recalled any object at will, but he saw them in his mind,situated,lighted, and colored as he had originally seen them. And this power hecould exert with equal effect with regard to the most abstract effortsof the intellect. He could remember, as he said, not merely thepositionof a sentence in the book where he had met with it, but the frame ofmind he had been in at remote dates. Thus his was the singular privilegeof being able to retrace in memory the whole life and progress ofhismind, from the ideas he had first acquired to the last thought evolvedin it, from the most obscure to the clearest. His brain, accustomed inearly youth to the mysterious mechanism by which human facultiesareconcentrated, drew from this rich treasury endless images full of lifeand freshness, on which he fed his spirit during those lucid spells ofcontemplation.\"Whenever I wish it,\" said he to me in his own language, towhich a fundof remembrance gave precocious originality, \"I can draw a veil overmy eyes. Then I suddenly see within me a camera obscura, where naturalobjects are reproduced in purer forms than those under whichthey firstappeared to my external sense.\"At the age of twelve his imagination, stimulated by the perpetualexercise of his faculties, had developed to a point which permitted himto have such precise concepts of thingswhich he knew only from readingabout them, that the image stamped on his mind could not have beenclearer if he had actually seen them, whether this was by a process ofanalogy or that he was gifted with a sort ofsecond sight by which hecould command all nature.\"When I read the story of the battle of Austerlitz,\" said he to me oneday, \"I saw every incident. The roar of the cannon, the cries of thefighting men rang in my ears,and made my inmost self quiver; I couldsmell the powder; I heard the clatter of horses and the voices of men; Ilooked down on the plain where armed nations were in collision, just asif I had been on the heights ofSanton. The scene was as terrifying asa passage from the Apocalypse.\" On the occasions when he brought all hispowers into play, and in some degree lost consciousness of his physicalexistence, and lived on only by theremarkable energy of his mentalpowers, whose sphere was enormously expanded, he left space behind him,to use his own words.But I will not here anticipate the intellectual phases of his life.Already, in spite of myself,I have reversed the order in which I oughtto tell the history of this man, who transferred all his activities tothinking, as others throw all their life into action.A strong bias drew his mind into mystical studies.\"_Abyssusabyssum_,\" he would say. \"Our spirit is abysmal and lovesthe abyss. In childhood, manhood, and old age we are always eager formysteries in whatever form they present themselves.\"This predilection was disastrous; ifindeed his life can be measured byordinary standards, or if we may gauge another's happiness by our own orby social notions. This taste for the \"things of heaven,\" another phrasehe was fond of using, this _mensdivinior_, was due perhaps to theinfluence produced on his mind by the first books he read at hisuncle's. Saint Theresa and Madame Guyon were a sequel to the Bible; theyhad the first-fruits of his manly intelligence,and accustomed him tothose swift reactions of the soul of which ecstasy is at once the resultand the means. This line of study, this peculiar taste, elevated hisheart, purified, ennobled it, gave him an appetite for thedivinenature, and suggested to him the almost womanly refinement of feelingwhich is instinctive in great men; perhaps their sublime superiority isno more than the desire to devote themselves which characterizeswoman,only transferred to the greatest things.As a result of these early impressions, Louis passed immaculate throughhis school life; this beautiful virginity of the senses naturallyresulted in the richer fervor of hisblood, and in increased facultiesof mind.The Baroness de Stael, forbidden to come within forty leagues of Paris,spent several months of her banishment on an estate near Vendome. Oneday, when out walking, she meton the skirts of the park the tanner'sson, almost in rags, and absorbed in reading. The book was a translationof _Heaven and Hell_. At that time Monsieur Saint-Martin, Monsieur deGence, and a few other French or halfGerman writers were almost theonly persons in the French Empire to whom the name of Swedenborg wasknown. Madame de Stael, greatly surprised, took the book from him withthe roughness she affected in herquestions, looks, and manners, andwith a keen glance at Lambert,--\"Do you understand all this?\" she asked.\"Do you pray to God?\" said the child.\"Why? yes!\"\"And do you understand Him?\"The Baroness was silent for amoment; then she sat down by Lambert, andbegan to talk to him. Unfortunately, my memory, though retentive, is farfrom being so trustworthy as my friend's, and I have forgotten the wholeof the dialogue exceptingthose first words.Such a meeting was of a kind to strike Madame de Stael very greatly;on her return home she said but little about it, notwithstanding aneffusiveness which in her became mere loquacity; but itevidentlyoccupied her thoughts.The only person now living who preserves any recollection of theincident, and whom I catechised to be informed of what few words Madamede Stael had let drop, could with difficultyrecall these words spokenby the Baroness as describing Lambert, \"He is a real seer.\"Louis failed to justify in the eyes of the world the high hopes he hadinspired in his protectress. The transient favor she showed himwasregarded as a feminine caprice, one of the fancies characteristic ofartist souls. Madame de Stael determined to save Louis Lambert alikefrom serving the Emperor or the Church, and to preserve him for thegloriousdestiny which, she thought, awaited him; for she made him outto be a second Moses snatched from the waters. Before her departure sheinstructed a friend of hers, Monsieur de Corbigny, to send her Moses induecourse to the High School at Vendome; then she probably forgot him.Having entered this college at the age of fourteen, early in 1811,Lambert would leave it at the end of 1814, when he had finished thecourse ofPhilosophy. I doubt whether during the whole time he everheard a word of his benefactress--if indeed it was the act of abenefactress to pay for a lad's schooling for three years without athought of his future prospects,after diverting him from a career inwhich he might have found happiness. The circumstances of the time, andLouis Lambert's character, may to a great extent absolve Madame de Staelfor her thoughtlessness and hergenerosity. The gentleman who was tohave kept up communications between her and the boy left Blois just atthe time when Louis passed out of the college. The political events thatensued were then a sufficient excusefor this gentleman's neglect ofthe Baroness' protege. The authoress of _Corinne_ heard no more of herlittle Moses.A hundred louis, which she placed in the hands of Monsieur de Corbigny,who died, I believe, in 1812,was not a sufficiently large sum to leavelasting memories in Madame de Stael, whose excitable nature found amplepasture during the vicissitudes of 1814 and 1815, which absorbed all herinterest.At this time LouisLambert was at once too proud and too poor to go insearch of a patroness who was traveling all over Europe. However, hewent on foot from Blois to Paris in the hope of seeing her, and arrived,unluckily, on the very dayof her death. Two letters from Lambert tothe Baroness remained unanswered. The memory of Madame de Stael's goodintentions with regard to Louis remains, therefore, only in some fewyoung minds, struck, as minewas, by the strangeness of the story.No one who had not gone through the training at our college couldunderstand the effect usually made on our minds by the announcement thata \"new boy\" had arrived, or theimpression that such an adventure asLouis Lambert's was calculated to produce.And here a little information must be given as to the primitiveadministration of this institution, originally half-military andhalf-monastic, toexplain the new life which there awaited Lambert.Before the Revolution, the Oratorians, devoted, like the Society ofJesus, to the education of youth--succeeding the Jesuits, in fact, incertain of their establishments--thecolleges of Vendome, of Tournon,of la Fleche, Pont-Levoy, Sorreze, and Juilly. That at Vendome, like theothers, I believe, turned out a certain number of cadets for the army.The abolition of educational bodies, decreedby the convention, had butlittle effect on the college at Vendome. When the first crisis had blownover, the authorities recovered possession of their buildings; certainOratorians, scattered about the country, came backto the collegeand re-opened it under the old rules, with the habits, practices,and customs which gave this school a character with which I have seennothing at all comparable in any that I have visited since I leftthatestablishment.Standing in the heart of the town, on the little river Loire which flowsunder its walls, the college possesses extensive precincts, carefullyenclosed by walls, and including all the buildings necessaryforan institution on that scale: a chapel, a theatre, an infirmary,a bakehouse, gardens, and water supply. This college is the mostcelebrated home of learning in all the central provinces, and receivespupils from themand from the colonies. Distance prohibits any frequentvisits from parents to their children.The rule of the House forbids holidays away from it. Once entered there,a pupil never leaves till his studies are finished. Withthe exceptionof walks taken under the guidance of the Fathers, everything iscalculated to give the School the benefit of conventual discipline; inmy day the tawse was still a living memory, and the classical leatherstrapplayed its terrible part with all the honors. The punishmentoriginally invented by the Society of Jesus, as alarming to the moralas to the physical man, was still in force in all the integrity of theoriginal code.Letters toparents were obligatory on certain days, so was confession.Thus our sins and our sentiments were all according to pattern.Everything bore the stamp of monastic rule. I well remember, amongother relics of the ancientorder, the inspection we went through everySunday. We were all in our best, placed in file like soldiers to awaitthe arrival of the two inspectors who, attended by the tutors and thetradesmen, examined us from thethree points of view of dress, health,and morals.The two or three hundred pupils lodged in the establishment weredivided, according to ancient custom, into the _minimes_ (the smallest),the little boys, the middle boys,and the big boys. The division ofthe _minimes_ included the eighth and seventh classes; the little boysformed the sixth, fifth, and fourth; the middle boys were classed asthird and second; and the first class comprisedthe senior students--ofphilosophy, rhetoric, the higher mathematics, and chemistry. Each ofthese divisions had its own building, classrooms, and play-ground, inthe large common precincts on to which the classroomsopened, and beyondwhich was the refectory.This dining-hall, worthy of an ancient religious Order, accommodated allthe school. Contrary to the usual practice in educational institutions,we were allowed to talk at ourmeals, a tolerant Oratorian rule whichenabled us to exchange plates according to our taste. This gastronomicalbarter was always one of the chief pleasures of our college life. If oneof the \"middle\" boys at the head of histable wished for a helping oflentils instead of dessert--for we had dessert--the offer was passeddown from one to another: \"Dessert for lentils!\" till some other epicurehad accepted; then the plate of lentils was passed"}
+{"doc_id":"doc_319","qid":"","text":"<html><head><title>Alien 3 Script at IMSDb.</title><meta name=\"description\" content=\"Alien 3 script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Alien 3 script, Alien 3 movie script,Alien 3 film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=SubjectCONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0];s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>    <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\"title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center></td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre> Alien III Screenplay by John Fasano     Story by Vincent Ward & John Fasano<b> </b><b> FIRST DRAFT</b> March 29, 1990\"But how willyou die when your timecomes, Narcissus, since you have nomother?  Without a mother, one cannotlove.  Without a mother, one cannot die.\" - Hesse<b>ALIEN III</b><b>THE SCREEN IS BLACK</b>A pinpoint of lightappears.Red.  An ember. Unseen BELLOWS blow.<b>GLASS FURNACE</b>The embers glow.  Flame.The fire GROWS.<b>A RIVER OF MOLTEN GLASS</b>Heated by the furnace to over 1,300 degrees fahrenheit.White Hot.<b>GLASS FACTORY</b>Flickering flame casts dancing shadows on wooden walls.  Coarsely grained wood.  Moisture blasted out by years ofintense heat.  Timbers split.  Patched with new wood,it too nowold and dry.<b>SMOKE</b>Billows up the walls.Hangs as an angry, black cloud amongst the rafters and beams ofthe vaulted ceiling.  Almost obscures --<b>A MAN</b>On a narrow LEDGE, twenty feet about theGlassworks' floor. His clothing is Medieval.  A rough textured cassock. He is a MONK.LOUVERS are set into the wall.  He angles them open.The smoke begins to escape.The Monk turns, raises arms and LEAPS from hislofty perch --Gently gliding down to the floor with the aid of a FLOWING FOX --a primitive hand-held pulley that runs down a rope.He lands next to the glass furnace, surrounded by --<b>MORE MONKS</b>By theirdress.  With Blowing Iron and Pontil.They blow and shape the molten glass.  Crack off the finishedpieces.  The old way.<b>ONE PARTICULAR MONK</b>Black skinned, early fifties.Stirs his five foot long blowing iron inthe molten glass, buthe is watching something else.  It moves him to song.Lilting tenor lifts high into the air.This is BROTHER KYLE.<b> BROTHER KYLE</b> Well would he guess the ascending of the star, Wherein hispatient's fortunes settled were. He knew the course of every malady, Were it of cold or heat or moist or dry. Brother John, would-be Doctour of Physick.We see the object of his song:<b>BROTHER JOHN</b>Not yetforty.  Strong features, but fear behind the eyes.The fear that comes from a lack of inner confidence.A good face, nonetheless.He stirs a thick mixture in a mortar.Next to him another MONK sits holding his arm out infront ofhim, cassock sleeve rolled up, revealing a vicious BURN.<b>        BROTHER KYLE</b> Tend you quickly he will, with bottles from a shelf. But heals not, so easily, The ills which plague himself.Brother John stopsstirring.<b>       BROTHER JOHN</b>    (to Kyle) Enough.He scoops the salve out with his fingers and applies it to theBurned Monk's arm.  The Burned Monk INHALES sharpley as the coolmixture contacts the injuredarea.  <b>      BROTHER JOHN</b>   (to the burned Monk) Relax.   (to Kyle) Put those lungs of yours to better use.<b>      BROTHER KYLE</b> Yes, Doc Tor.Kyle laughs, removes the blowing iron from the moltenglass --a BLOB of white hot glass hanging on the end.He rolls the blob on the Marver, a flat, polished piece of iron, then begins to blow a bottle shaped container. John wraps a fray-edged cloth bandage around theburn.<b>      JOHN</b> Keep this from getting wet.  Go home at late afternoon mealtime and don't come back to work today --<b>      BURNED MONK</b> But John --<b>      JOHN</b> I'll tell the Abbot.  Just resttoday. You're lucky you only burned yourself on the side of the furnace.  If some of that glass had gotten on your arm --He points to the top of his forearm.<b>                 JOHN</b> -- it would've burned clean throughto the other side.He mimes a drop down from the bottom of his arm.The Burned Monk shudders at the thought.  BELLS toll.<b> </b><b>             JOHN</b> That's late afternoon.  Now get on.<b> BURNEDMONK</b> Thank you, John.  I --<b>    JOHN</b> You're welcome.  Go!The Burned Monk trundles off, injured arm against his chest.John gathers his mortar, pestle, and extra bandages into aburlap sack.  Kyle comesover.<b>   KYLE</b> Good work.<b>   JOHN</b> All right, but I'm no Father Anselm.<b>     KYLE</b> You're yourself, that's better...Kyle pushes him through the door...<b>INTO THE HALLWAY</b>The Hallway isalive with cassocked monks.Their LOW CHANTING reverberates throughout the building.The wooden floorboards creak beneath their combined weights.This is obviously a MEDIEVAL MONASTERY...<b> KYLE</b> TheAbbot will be pleased.<b> JOHN</b> Don't.<b> KYLE</b> Don't what?<b> JOHN</b> Please don't tell him.  At least until I know if there's an infection.<b> KYLE</b> You want to be the Abbey's Physician, and youhaven't learned the first rule: Don't worry about the patient.John's face drops.<b> KYLE</b> I shouldn't have. Sorry.  Look, I know how you must --<b> JOHN</b> You don't, but thanks anyway.<b>AT THE END OFTHE HALLWAY</b>A wide stairwell.  A constant stream of monks all moving downthe stairs.  Coming from floors above.  Headed for lunch.Kyle starts down.  John starts up --<b> KYLE</b> Not coming down?<b>JOHN</b> I have someone waiting for me.Kyle disappears into the crowd.John moves up...<b>THE STAIRWAY</b>A river of brown cassocks running downstream.John is the only one moving against the flow.He exitsthe stairwell --<b>ONE FLOOR UP</b>A narrow corridor lined with doorways.John moves to one in particular.He doesn't even look as he grabs the door knob.This is his room.He opens the door --<b>IN BROTHERJOHN'S ROOM</b>An old, worn out DOG lays in wait on an old, worn out cassockwhich is now serving as its bed.At the sight of John it stands.<b> JOHN</b> Come on, Mattias.The dog, MATTIAS, joins him in thehall.Monk and pet disappear up a flight of stairs. Past another dozen or so Monks who are on their way down.<b>INT. LIBRARY</b>A vast room filled with rows of wooden tables with low benchesbetween aisle afteraisle of floor-to-ceiling wooden shelvesjammed to capacity with BOOKS of all shapes and sizes.  Millionsof books, from the looks of it.From each book hangs a long CHAIN, long enough to allow the book to be carriedonly as far as the nearest table.<b>A CORPULENT MONK - BROTHER PHILIP</b>In his fifties, and the Librarian by his stern affect, hisposition behind a broad, but also old oak desk, and the largeKEY hanging from hisbelt.  He watches the few stragglers returntheir chain bound volumes to the shelves and head for the door,then rises and joins them...<b>IN THE CORRIDOR JUST OUTSIDE THE LIBRARY</b>John leans against thewall as Philip exits.Mattias is nowhere to be seen. <b> PHILIP</b> Brother John.<b> JOHN</b> Brother Philip.<b> PHILIP</b> Feeding the mind instead of the body again?<b> JOHN</b> My training has taught meto feed what's hungry.Philip pats his broad stomach and heads down the hallway.<b> PHILIP</b> As did mine.  As long as you're alone. Enjoy yourself -- and remember, no book leaves the library.<b> JOHN</b> Howcould I forget?  Have a good meal...John watches the corpulent librarian head down the stairs.When he's gone from sight John lifts the bottom of his cassockto reveal Mattias.<b> JOHN</b> Perfect.They move into thelibrary...<b>THE MEDIEVAL SECTION</b>The oldest books.John moves to the stacks.Mattias trots over to a particular bench and sits.This is his regular place.<b>AT THE SHELVES</b>John stands on toe tips toretrieve an ancient Tome.He runs his fingers over the familiar leather binding.A smile plays across his lips.He carries the book, places it on the edge of the table sothere is slack in the chain.Sits on the bench next to thedog.Clears his throat, opens the book, begins to read... John          (reading) In the year of our Lord 1348 I, Brother Gerhado of the Minorite Abbey helped bury the Abbot and my sixty fellow monks --<b> VOICEO/S</b> Sometimes, I think you'd like that.John turns to find --<b>THE ABBOT</b>Leader of the monastery.  In his seventies but looks younger.His Cassock is adorned with a large, ornately carved, woodenCHAIN inplace of a rope belt.  He crosses to the table.John closes the book and stands, head bowed in respect. John Abbot, I -- I didn't think anyone would --<b> ABBOT</b> Mind?  Just Philip, if he knew.  I passed him on theway up.  He said you'd come in alone.  I knew better.He scratches the back of Mattias' neck.<b> ABBOT</b> Hello, Mattias.  How are you, boy?The dog snuffles in response.<b> ABBOT</b> You know what Philip saysabout Mattias' hair and his breathing.  You'll have to take him out of here.<b> JOHN</b> He likes when I read to him and -- I can't --John looks down sheepishly.  Though nearly forty, he feelsalmost adolescent in thepresence of the Abbot.  The Abbot pulls a large key from his pocket.<b> ABBOT</b>     (smiles) Someone must have left this one unlocked. Take the book with you.He hands the key to John, who is shocked --this is agreat honor.<b> JOHN</b> Father, I --?<b> ABBOT</b> Kyle tells me you did a good job at the glassworks today.<b> JOHN</b> I'll reserve judgement until the patient lives.John crosses to the shelf and unlocks hisbook.He returns the key.<b> ABBOT</b> It will get easier.  Father Anselm was... an unexpected loss.  You'll do fine.The Abbot walks towards the door...<b> ABBOT</b> Just have it back before the end of lunch. Oh-- And I didn't see you in here.<b> JOHN</b> Thank you.       (to Mattias) Let's go upstairs, boy.John takes his book -- Moves to a spiral wooden staircase.Mattias at his heels.Goes UP --<b>INTO THE BELLTOWER</b>The mechanics of the bell tower -- all ropes and wooden cogscast scary shadows.A doorway leads to --<b>THE ROOF OF THE ABBEY</b>Thick with sandy dust.  The wood shows through thin patches.  WePULL BACK TO REVEAL what we think is the roof of the Abbeyis actually --<b>THE SURFACE OF ARCEON - NIGHT</b>The door has opened onto the SURFACE OF A PLANTOID!The curving horizon broken only by thevery top of theAbbey bell tower poking through from the levels below.  SMOKE curls from vents set into the surface.Sunken areas of the planet's sirface are SEAS.This is ARCEON.An manmade orbiter.A shell oflightweight foamed steel, five miles in diameter.Constructed by The Company on Special Order with habitablelevel within finished in whatever material suits its end user.This orbiter, for reasons to be discovered later,has beensheathed in wood.<b>JOHN</b>Walks to the shore of an inland SEA.Sits on a bare patch of wood.  Looks up.His eyes grow accustomed to --<b>THE NIGHT SKY - JOHN POV</b>Freckled with tiny dots oflight.Stars.  Spread across the inky void.Bathe Arceon's surface with their celestial glow.John smiles at Mattias, breathes deep. The atmosphere up here is thinner, but fresher. He opens the book.Reads aloud --<b>JOHN</b> In the year of our Lord 1348 I, Brother Gerhado of the Minorite Abbey helped bury the Abbot and my sixty fellow monks, day by day, one by one, until I am the only one left.  I stayed as long as I could bearit, then with my dog -- Mattias lifts his ears at this part.  His favorite part.<b> JOHN</b> - fled.  I have put this to parchment lest this pestilence - this Black Death - stay my hand. (beat) This was finished by anotherhand...John closes the book.  Something catches his eye --Something among the myriad points of light in the sky.Millions of miles away:<b>ONE OF THE STARS</b>Brighter than the rest.  MOVING.Fast enough toleave a faint trail.Across the stars.  And down...A comet.John stands.  Watches --<b>THE STAR</b>Growing brighter.Drawing nearer.<b>JOHN</b>Joined by three other MONKS.They are older than he.The Four men"}
+{"doc_id":"doc_320","qid":"","text":"<html><head><title>12 Years a Slave Script at IMSDb.</title><meta name=\"description\" content=\"12 Years a Slave script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"12 Years aSlave script, 12 Years a Slave movie script, 12 Years a Slave film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX,FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                             12 YEARS A SLAVE</b>                               Written by                              JohnRidley<b>                              CARD: 1841</b><b>                               FADE IN:</b>                         <b>          1 INT. TOWNHOUSE/STUDY - DAY 1</b><b>           -EARLY APRIL, 1841-</b>           We areclose on a PAIR OF BLACK HANDS as they open A<b>           FINELY WRAPPED PACKET OF VIOLIN STRINGS.</b>           WE CUT TO the hands stringing a VIOLIN. It's not a high           end piece, but it is quitenice.           WE CUT TO a wide shot of the study. Sitting in a chair           with violin in hand is SOLOMON NORTHUP; a man in his late           twenties. Everything about Solomon, his mien and manner,           isdistinguished. But he, too, seems a hardy individual.           Someone who has known manual labor in his time.           Solomon begins to lightly play his violin, as if testing           the strings, their tuning. Satisfied,Solomon begins to           play vigorously. As he does, we make a HARD CUT TO:                         <b>           INT. HOUSE/LIVING ROOM - EVENING</b>           We come in on a lively affair. A dinner party isbeing           thrown within the confines of a fairly stately house. In           attendance are EIGHT COUPLES. All are WHITE and all are           FAIRLY YOUNG, in their early twenties. The men and women           aredressed in very fine attire. We should get the sense           that for the most part they are people of means.           The furniture has been set aside in the living room. At           the moment the couples are engaged inthe dancing of a<b>           REEL.</b>           The music they are dancing to is being played by Solomon,           having cut directly from the tune he was previously           playing. He plays with a light determination,and in no           way seems possessed with empty servitude.           Solomon concludes the reel, and the dancers break into           enthusiastic applause, which is followed by personal           thanks andcongratulations from all. It should be clear           that despite their respective races there is much           admiration and appreciation for Solomon's abilities.                         <b>           INT. NORTHUPHOUSE/BEDROOM - MORNING</b>           It is a Saturday morning. Clad in her finest attire is           ANNE; Solomon's wife, a few years younger than he. We           see also the Northup children: MARGARET who iseight, and           ALONZO who is five. They are handsome, and well groomed           kids. Anne straightens up the children. Shefinishes,                         <b>                          (CONTINUED)</b><b>          2.</b><b>                         3 CONTINUED: 3</b>           she rises up and stands behind them, almost as if           preparing to pose for aportrait.           They all wait a moment, then Solomon enters the foyer.           He stands and looks admiringly at his family. ADMIRINGLY           stressed. It isn't that he doesn't have love for them,           he does aswell. But in the moment, he truly admires his           greatest accomplishment: a family that is healthy and           well and provided for. He goes to his children, and           hands each a coin, then goes to Anne. Givesher a kiss           on the cheek. The children giggle at the sight.                         <b>           EXT. STREET - DAY</b>           Solomon and his family are out walking along the streets           and groves ofSaratoga.           The streets are well populated this morning with many           people out strolling. Most are WHITE, but there are           BLACKS as well. They are FREED BLACKS who mingle fairly           easily -though not always completely - with the whites.           We see, too, a few BLACK SLAVES who travel with their           WHITE MASTERS. These pairings are largely from the south           and - despite the fact the blacksare slaves - they are           not physically downtrodden, not field hands. They are           well dressed and \"leading apparently an easy life\" -           comparatively speaking - as they trail their masters.           As theywalk, Solomon and his family arrive to an           intersection well-worn and muddied from horse and cart           traffic. Solomon and his children easily jump across the           muck. Anne stands at the lip of thepuddle, calls for           Solomon to help her across.<b>                          ANNE</b>           Solomon...           Solomon, turning back to his wife with a broad smile           waving herforward:<b>                          SOLOMON</b>           Come, Anne. Jump.           The children, now smiling as well, egg their mother on.<b>                          ALONZO MARGARET</b>           Jump. You can make it.I've done it. You can make           it.                         <b>                          ANNE</b>           I will not ruin my dress. Catch           me!           Solomon moves close, holds out his arms. Yet, there's           still just abit of mischievousness in his eyes. Anne           gives her husband a lightly stern look to whichSolomon           replies.                         <b>                          (CONTINUED)</b><b>          3.</b><b>                          SOLOMON</b>           I will catch you, Anne.<b>                          (BEAT)</b>           Iwill.           Again, lightly stern:<b>                          ANNE</b>           You will.           And with that Anne takes the leap. Solomon catches her,           swings her around grandly and sets her down lightlyto           the delighted applause of the children. That done,           Solomon takes Anne's hand and leads her on.           As Solomon and his family make their way, among the           slaves on the street, we see one inparticular; JASPER.           As he trails his MASTER he can't help but note Solomon           and his family as they enter A STORE. His intrigue of           this most handsome and harmonious group shouldbe           obvious.           With his Master occupied, Jasper moves slyly toward the           STORE. Frozen on the spot, Jasper looks on admiringly.           Suddenly a voice barks out-<b>           A VOICE(O.S.)</b>           Jasper! Come on!                         <b>           INT. STORE - LATER</b>           We are inside the store of MR. CEPHAS PARKER; a white man           and a supplier of general goods. Solomon greetshim<b>                          WITH:</b><b>                          SOLOMON</b>           Mr. Parker.<b>                          PARKER</b>           Mr. Northup. Mrs. Northup.           With money in hand the Northup childrenmove quickly           about the store looking for items to purchase.                         <b>                          CONTINUED:</b>           Anne looks over some silks and fabrics. Parker suggests<b>                          TOSOLOMON:</b><b>                          PARKER (CONT'D)</b>           A new cravat, Solomon? Pure silk           by way of the French.<b>                          SOLOMON</b>           We are in need of a freshcarry           all for the Mrs's travels.<b>                          PARKER</b>           A year's passed? Off to Sandy           Hill?<b>                          ANNE</b>           I am.           Using a long pole, Mr. Parker fetches downa CARRY ALL           from an upper shelf.<b>                          PARKER</b>           Something to suit your style, but           sturdy enough for the forty miles           round trip.           Handing the Bag to Anne, she isimmediately taken by it.<b>                          ANNE</b>           It's beautiful.<b>                          SOLOMON</b><b>                          (CAUTIOUSLY)</b>           At whatprice?<b>                          ANNE</b>           We will take it. Children, come           see what your father has just           purchased for me.           As the children run over - chattering excitedly about the           newgift - they RUN PAST JASPER who has quietly entered           the store.           At the checkout counter sits a portrait of WILLIAM HENRY           HARRISON, the edges draped in black crepe. Before the           book sits aLEDGER. Mr. Parker asks of Solomon:<b>                          PARKER</b>           If you would sign our condolence           book. My hope is to find a way to           forward it to the Widow Harrison.           Sad days forthe nation.<b>                          SOLOMON</b>           Yes, certainly. Poor Mrs. Harris           and her children. I hope brighter           timesahead.                         <b>                          (CONTINUED)</b><b>          4A.</b><b>                         5 CONTINUED: (2) 5</b>           Jasper looks scared, timid. It's as though he'd like to           engage, but isunsure of as to how. Noting Jasper, Parker<b>                          SAYS:</b><b>                          PARKER</b>           A moment, sir, and you will be           assisted.<b>                          SOLOMON</b>           If wecould discuss the price...                                                                                                    <b>                          (CONTINUED)</b><b>          5.</b><b>                         5 CONTINUED: (3)5</b><b>                          PARKER</b>           Forgive me, Mrs. Northup. A           customer waits. Welcome, sir.           To Jasper, with good nature:<b>                          SOLOMON</b>           Shop well, but mindyour wallet.<b>                          PARKER</b>           Ignore the gentleman's nonsense.           Now, may I interest you in a new           cravat? Pure silk by way of the--           Before Parker can finish, the door opens.It's Jasper's           Master, FITZGERALD. He's stern, clearly displeased.<b>                          FITZGERALD</b>           Jasper!<b>                          (TO PARKER)</b>           My regrets for theintrusion.<b>                          SOLOMON</b>           No intrusion.           Fitzgerald looks to Solomon. It is a cold glare as           though he wasn't speaking to, and has no interest in a           response from a blackman. Looking back to Parker:<b>                          FITZGERALD</b>           Good day, sir.                         <b>                         6 6</b><b>           INT. NORTHUP HOUSE/DINING ROOM -EVENING</b>           Anne, busy in the kitchen, puts the final touches to the           meal, which is just about to begin. Solomon, in the           meanwhile, sits at the head of the table reading froma           NEWSPAPER. He reads to his children solemn news of the           funeral arrangements for the recently deceased President           Harrison.<b>                          SOLOMON</b>           \"Thus has passed awayfrom earth           our late President.\"           Solomon starts from the top of the article.<b>                          SOLOMON (CONT'D)</b>           \"During the morning, from sunrise,           the heavy bells had beenpealing           forth their slow and solemn toll           while the minute guns announced           that soon the grave would receive           its trust. Our city as well as           our entire nation has been called           toweep over the fall of a great           and good man. One who was by the           wishes of a large majority of our<b>                          (MORE) (CONTINUED)</b><b>          5A.</b><b>                         6CONTINUED: 6</b><b>                          SOLOMON (CONT'D)</b>           people raised to fill the highest           place of trust within their gift.           William Henry Harrison.\"           A long moment of quiet, the"}
+{"doc_id":"doc_321","qid":"","text":"<html><head><title>Meet John Doe Script at IMSDb.</title><meta name=\"description\" content=\"Meet John Doe script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Meet John Doescript, Meet John Doe movie script, Meet John Doe film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX,FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>                                  <b>   </b><b>                                  MEET JOHNDOE</b><b>                                     </b>                             Written by Robert Riskin<b>                                     </b>               based on a story by Richard Connell and RobertPresnell<b>                                      </b>                         Ext. Bulletin Office - Sidewalk.<b>                                     </b>                         Close-up: Of a time-worn plaque against                          the side of abuilding. It reads:<b> </b><b>                                                              </b><b>                         THE BULLETIN</b><b>                                     </b>                         \"A free press for a freepeople.\"<b>                                     </b>                         While we read this, a pair of hands                          come in holding pneumatic chisel which                          immediately attacks the sign. Asthe                          lettering is being obliterated,<b>                                      </b>                         Dissolve to: Close-up: A new plaque                          on which the lettering has beenchanged                          to:<b>                                      </b><b>                         THE NEW BULLETIN</b><b>                                     </b>                         \"A streamlined newspaper for astreamlined                          era.\"<b>                                      </b>                         Cut to: Int. Bulletin outer office.                          Full shot: Of a mid-westernnewspaper                          office.<b>                                      </b>                         Med. shot: At a door at which a sign-painter                          works. He is painting HENRY CONNELL's                          name onthe door. It opens and a flip                          office boy emerges. The painter has                          to wait until the door closes in order                          to resume hiswork.<b>                                      </b>                         Full shot: Of the outer office. The                          activity of the office seems to suddenly                          cease, as all eyes are centered onthe                          office boy.<b>                                      </b>                         Med. shot\u0000panning: With the office boy\u0000who                          has a small sheet of paper in his hand.                          He walksjauntily to a desk, refers                          to his paper, points his finger to a                          woman, emits a short whistle through                          his teeth, runs a finger across his                          throat and jerkshis thumb toward managing                          editor's office. The woman stares starkly                          at him while her immediate neighbors                          look on with sympathy. The officeboy                          now goes through the same procedure                          with several other people. All watch                          him, terror written in their eyes.<b></b><b>                                                              </b>                         Med. shot: Toward CONNELL's office door                          where painter works. It opens and three                          people emerge. Twomen and a girl. The                          girl is young and pretty. All three                          look dourful. The painter again has                          to wait for the door to shut before                          resuming his work. Thetwo men exit.                          The girl suddenly stops.<b>                                      </b>                         Close shot: Of the girl. Her name is                          ANN MITCHELL. She stands,thinking,                          and then suddenly, impulsively, wheels                          around. Camera pans with her as she                          returns to CONNELL's office door, flings                          it open anddisappears. The painter                          remains poised with his brush, waiting                          for the door to swing back. There is                          a slight flash of resentment inhis                          eyes.<b>                                      </b>                         Int. CONNELL's office. Full shot: CONNELL                          is behind his desk on which is a tray                          of sandwiches and aglass of milk, half                          gone. Near him sits POP DWYER, another                          veteran newspaperman. ANN crosses to                          CONNELL'sdesk.<b>                                      </b><b>                         CONNELL</b><b>                                     </b>                         (on phone)<b>                                     </b>                         Yeh, D. B. Oh, justcleaning out the                          dead-wood. Okay.<b>                                      </b><b>                         ? 580?</b><b>                                     </b><b>                         ANN</b><b>                                     </b>                         (supplicatingly)<b>                                     </b>                         Look, Mr. Connell . . . Ijust can't                          afford to be without work right now,                          not even for a day. I've got a mother                          and two kid sisters to . ..<b>                                      </b>                         Secretary enters. (Her name is Mattie.)<b></b><b>                                                              </b><b>                         SECRETARY</b><b>                                     </b>                         More good lucktelegrams.<b>                                     </b><b>                         ANN</b><b>                                     </b>                         Well, you know how it is, I, I've just                          got to keep working.See?<b>                                      </b><b>                         CONNELL</b><b>                                     </b>                         Sorry, sister. I was sent down here                          to clean house. I told yuh I can'tuse                          your column any more. It's lavender                          and old lace![1]<b>                                      </b>                         (flicks dictographbutton)<b>                                     </b><b>                         MATTIE</b><b>                                     </b>                         (overdictograph)<b>                                     </b>                         Yeah?<b>                                     </b><b>                         CONNELL</b><b>                                     </b>                         Send those otherpeople in.<b>                                     </b><b>                         MATTIE</b><b>                                     </b>                         (overdictograph)<b>                                     </b>                         Okay.<b>                                     </b><b>                         ANN</b><b>                                     </b>                         I'll tell you what I'll do. Iget thirty                          dollars a week. I'll take twenty-five,                          twenty if necessary. I'll do anything                          yousay.<b>                                      </b><b>                         CONNELL</b><b>                                     </b>                         It isn't the money. We're after circulation.                          What we need is fireworks.People who                          can hit with sledge hammers\u0000start arguments.<b></b><b>                                                              </b><b>                         ANN</b><b>                                     </b>                         Oh, I can do that. I know this town                          inside out. Oh, giveme a chance, please.<b> </b><b>                                                              </b>                         She can get no further, for several                          people enter. They are cowed andfrightened.                          ANN hesitates a moment, then, there                          being nothing for her to do, she starts                          to exit. She is stopped byCONNELL's                          voice.<b>                                      </b><b>                         CONNELL</b><b>                                     </b>                         All right, come in, come in! Come in!<b></b><b>                                                              </b>                         (to Ann)<b>                                     </b>                         Cashier's got yourcheck.<b>                                     </b>                         (back to others)<b>                                     </b>                         Who are these people? Gibbs, Frowley,                          Cunningham,Jiles\u0000<b>                                      </b>                         (to Ann at door)<b>                                     </b>                         Hey, you, sister!<b>                                     </b>                         Annturns.<b>                                     </b><b>                         ? 581 ?</b><b>                                     </b><b>                         CONNELL</b><b>                                     </b>                         Don't forget toget out your last column                          before you pick up your check!<b>                                      </b>                         ANN's eyes flash angrily as she exits.<b></b><b>                                                              </b>                         Int. Outer Office. Med. shot: ANN storms                          out. The painter again has to wait for                          the door to swing back tohim.<b>                                      </b>                         Int. ANN's office. Full shot: ANN enters                          her office and paces around, furious.                          A man in alpaca sleeve-bandsenters.                          His name is JOE.<b>                                      </b><b>                         JOE</b><b>                                     </b>                         You're a couple o' sticks[2] shy in                          yourcolumn, Ann.<b>                                      </b><b>                         ANN</b><b>                                     </b>                         (ignores him, muttering . . .)<b>                                     </b>                         Abig, rich slob like D. B. Norton buys                          a paper\u0000and forty heads arechopped                          off!<b>                                      </b><b>                         JOE</b><b>                                     </b>                         Did you get it,too?<b>                                     </b><b>                         ANN</b><b>                                     </b>                         Yeah. You, too? Oh, Joe . . . oh, I'm                          sorry darling . . . why don't wetear                          the building down!<b>                                      </b><b>                         JOE</b><b>                                     </b>                         Before you do, Ann, perhaps you'd"}
+{"doc_id":"doc_322","qid":"","text":"<html><head><title>L.A. Confidential Script at IMSDb.</title><meta name=\"description\" content=\"L.A. Confidential script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"L.A.Confidential script, L.A. Confidential movie script, L.A. Confidential film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX,FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><html><head>   <title>\"L.A. Confidential\", by Brian Helgeland</title></head><bodybgcolor=\"#FFFFFF\">   <pre>                             <u>L.A. CONFIDENTIAL</u>                                    by                              Brian Helgeland                     Based on the novel by JamesEllroy                                                 November 16, 1995                                                 Minor Revisions<b>        FADE IN:</b>        OVER the opening strains of \"I LOVE YOU, CALIFORNIA,\" a        MONTAGE:  amixture of headlines, newsreel footage and        live action.  <u>Economy Booming</u>!  <u>Postwar Optimism</u>!  <u>L.A.:</u>        <u>City of the Future</u>!  But most prominent amongthem:        <u>GANGLAND</u>!  Police photographers document crime scenes.        The meat wagon hauls ex-button men to the morgue.  Where        will it end?<b>        EXT. L.A. SKYLINE -SUNSET</b>        Palm trees in silhouette against a cherry sky.  City        lights twinkle.  Los Angeles.  A place where anything is        possible.  A place where dreams come true.  As the sky        darkens, triple-kleiglights begin to sweep back and        forth.<b>        EXT. MANSION (HANCOCK PARK) - NIGHT</b>        The KLEIG LIGHTS are out front.  Valets hurry to park a        line of elegantcars.<b>                                MAYOR (V.O.)</b>                  Ladies and gentlemen, I give you                  the future of Los Angeles!<b>        INT. HANCOCK PARK MANSION - BALLROOM - NIGHT</b>        TheMAYOR yanks a cloth to reveal a MODEL of L.A. criss-        crossed by an elaborate FREEWAY SYSTEM.  The CROWD oohs.        A COUNCILMAN claps.  A SOCIETY MATRON nods her approval.        PIERCE PATCHETT,50, tuxedoed, watches off to one side.        A behind-the-scenes power broker, Patchett exudes        authority much more so than the Mayor does.<b>                                MAYOR</b>                  The Arroyo Secofreeway is just                  the beginning.  We're planning                  freeways from Downtown to Santa                  Monica, from the South Bay to the                  San Fernando Valley.  Twenty                  minutes towork or play is the                  longest you'll have to travel.        More applause.  One REPORTER asks a little too loudly...<b>                                REPORTER</b>                  How many bodies you thinkMickey                  Cohen'll be able to hide in all                  that cement?        The Mayor wears a plastic smile, ignores it.<b>        INT. THE MOCAMBO - NIGHT</b>        A CLUB PHOTOGRAPHER pops snapshots, butthe real action        is on the floor where MICKEY COHEN does a wicked \"Lindy        Hop\" with THREE different GIRLS at once.  A fireplug of a        man, he hardly seems a public menace.  Nearby is his        bodyguardJOHNNY STOMPANATO.  Over it all:<b>                                HUDGEONS (V.O.)</b>                  Meyer Harris Cohen, Mickey C to                  his fans.  He's the big moocher,                  local L.A. color to thenth                  degree.  You know Mickey.  He runs                  dope, rackets and prostitution.                  He kills a dozen people a year.                  But who you may not know is                  bodyguard JohnnyStompanato.        His hair in a slick pompadour, Stompanato keeps an eye on        Cohen and comes onto a CIGARETTE GIRL at the same time.<b>                                HUDGEONS (V.O.)</b>                  Johnny'shandsome, ladies, but the                  real attraction is below the belt.                  Second only to Steve Cochran, he's                  sometimes known as 'Oscar' because                  of his AcademyAward-size                  appendage.        Mickey works a sweat on the dance floor.  A bottle of        champagne pops; Stompanato reacts, nearly draws a pistol        from his shoulder holster.  As he laughs athimself...        INT. <u>HUSH-HUSH</u> MAGAZINE OFFICE - DAY        Lurid page one headlines cover the wall where SID        HUDGEONS types.  The essence of sleaze, Sid is the        publisher-photographer-writerof <u>Hush-Hush</u> magazine and        keeper of inside dirt supreme.  As he continues...<b>                                HUDGEONS (V.O.)</b>                  Remember, dear readers, you heard                  it here first,off the record, on                  the Q.T. and very <u>Hush-Hush</u>.<b>        INT. HANCOCK PARK MANSION - BALLROOM - NIGHT</b>        The party continues.  The Mayor has moved off to the side        with thepower brokers.  Patchett is a presence.<b>                                MAYOR</b>                  We're selling an image, gentlemen.                  Beautifulweather.  Affordable                  housing.                         (re:  model)                  Trouble-free transportation.  And                  the best police department in the                  world to keep it allrunning                  smoothly.<b>        EXT. STOREFRONT - NIGHT</b>        A dozen people watch a display windoe TELEVISION as it        rolls the opening of the hit show \"Badge of Honor.\"  Over        familiar THEMEMUSIC, \"Sgt. Joe Reno\" (actor BRETT CHASE)        walks the streets of Los Angeles.<b>                                CHASE (V.O.)</b>                  My name?  Joe Reno.  The city?                  Los Angeles.  A big town.  Fullof                  all sorts of people.  It's my job                  to help them.  I like what I do.                  I'm a cop.<b>        INT. HANCOCK PARK MANSION - BALLROOM - NIGHT</b>        The Mayorcontinues.<b>                                MAYOR</b>                  But with a second rate Al Capone                  out there, L.A. looks like Chicago                  in the '30s.  Something has to be                  done.        AsPierce Patchett nods sagely.<b>        INT. OLYMPIC AUDITORIUM - NIGHT</b>        Wrestler GORGEOUS GEORGE primps and poses before flatten-        ing an opponent with a drop kick.<b>        INT. MOVIETHEATER - NIGHT</b>        An enthusiastic crowd adjusts their 3-D glasses.<b>        EXT. COHEN MANSION (BEVERLY HILLS) - DAY</b>        In monogrammed silk pajamas, Mickey Cohen answers the        door, hispet BULLDOG Mickey Jr. at his feet.  The police        are waiting.  REPORTERS' flashbulbs pop.<b>                                POLICE OFFICER</b>                  Mr. Cohen, you're underarrest.<b>                                COHEN</b>                  Bullshit.  What's the charge?<b>                                POLICE OFFICER</b>                  Non-payment of federal incometax.<b>                                COHEN</b>                  <u>Bullshit</u>.<b>        EXT. GRAUMAN'S CHINESE - DAY</b>        JOHN WAYNE gets his hand prints in the sidewalk.<b>        EXT. WESTCHESTER BEANFIELD - DAY</b>        MIGRANT WORKERS hurry to finish the harvest.  We PAN        TO CONSTRUCTION WORKERS who wait impatiently with bull-        dozers under a \"Spirit of the Future\" BANNER.  As the        lastpicker leaves the field, the bulldozers move in,        leveling the bean rows to make way for a housing tract.<b>        EXT. FEDERAL COURTHOUSE - STEPS - DAY</b>        Flashbulbs pop as Mickey Cohen exits andstarts down        the steps.  Accompanied by his LAWYERS, bodyguard        Stompanato and mob lieutenants DEUCE PERKINS and NATE        JANKLOW, Cohen ignores REPORTERS'shouts.<b>                                REPORTER</b>                  How's your bullshit now, Mickey?!        As Cohen gets into a waiting car, the media turn their        attention to District Attorney ELLIS LOEW.  Asingularly        ambitious man, Loew loves the spotlight.<b>                                LOEW</b>                  Today is an auspicious one for the                  city of Los Angeles.  Mickey Cohen                  has just beensentenced to ten                  years in federal prison for                  failure to pay income tax.                  As the District Attorney for Los                  Angeles County, it is my pleasure                  to declare our greatcity                  organized crime free.  It is truly                  the dawning of a new day.        The SONG ENDS and so does the MONTAGE.<b>        INT. PACKARD (ACROSS FROM BULLOCKS WILSHIRE) -NIGHT</b>        December 24th.  Wendell \"BUD\" WHITE, 30, stares at the        enormous Christmas tree on the deco platform over        Bullocks' entrance.  An LAPD cop, Bud's rep as the        toughest man on theforce has been well earned.  In the        back seat, with cases of Walker Black and Cutty Sark, is        Bud's partner -- DICK STENSLAND.  Older, but also a tough        hump, \"Stens\" sucks on a pint of OldCrow.        The passenger door opens and Mickey Cohen bodyguard        Johnny Stompanato slides in.  Guinea handsome, Johnny        wears his curls in a tight pompadour.  With his boss        behind bars, he's out ofwork.  Bud just stares at him.<b>                                STOMPANATO</b>                  Officer White.  I heard you got a                  hard-on for wife beaters.<b>                                BUD</b>                  And youfuck people up for a                  living.  That don't make me you.                  <u>Capisce</u>, shitbird?        Stompanato smiles.  Nervous.  Through the window, Bud        watches a Salvation Army Santa palm coinsfrom a kettle.<b>                                STENSLAND</b>                  Bud ain't in the mood for small                  talk, Stompanato.<b>                                STOMPANATO</b>                  Look, Mickey C's doing timeand                  half the other guys who'd hire me                  are dead or left town.  I need                  money.  If your snitch-fund's                  green, I'll get you some fucking-A                  collars.        Impatient,Bud tugs at a finger, CRACKS a KNUCKLE.<b>                                STOMPANATO</b>                  There's this guy.  He's blond and                  fat, about forty.  Likes the                  ponies.  Been pimping his wifeto                  cover his losses.  Knocks her                  around to keep her in line.        Bud's eyes narrow at this last bit of info.  Stompanato        holds up a slip ofpaper.<b>                                STOMPANATO</b>                  I figure the address is worth                  twenty.        Bud digs into his wallet, pulls out twenty bucks,        exchanges it with Stompanato.  Stompanatosmiles smugly,        grabs a bottle of Scotch from the back.<b>                                STOMPANATO</b>                  Yuletide cheer, fellas.        Without warning, Bud grabs Stompanato's tie and yanks,        slamminghis forehead into the dash.<b>                                BUD</b>                  Happy New Year, greaseball.<b>        EXT. 1486 EVERGREEN - NIGHT</b>        A stucco job in a row of vet prefabs.  A neonSanta        sleigh has landed on the roof.  Through the front window,        we see a fat guy browbeating a woman.  Puff-faced, 35-        ish, she backs away as he rages at her.        The Packard pulls up outfront.  Stensland could care        less.<b>                                STENSLAND</b>                  Leave it for later, Bud.  We got                  to pick up the rest of the booze                  and get back to theprecinct.        Bud KILLS the IGNITION, picks up the radio.<b>                                BUD</b>                  Central, this is 4A-31.  Send a                  prowler to 1486 Evergreen.  White                  male in"}
+{"doc_id":"doc_323","qid":"","text":"The Project Gutenberg EBook of Rose in Bloom, by Louisa May AlcottThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: Rose in Bloom       A Sequel to \"Eight Cousins\"Author: Louisa May AlcottPosting Date: December 31, 2008[EBook #2804]Release Date: September, 2001Language: English*** START OF THIS PROJECT GUTENBERG EBOOK ROSE IN BLOOM ***Produced by David ReedROSE IN BLOOMA Sequel to \"Eight Cousins\"By LouisaMay AlcottPrefaceAs authors may be supposed to know better than anyone else what theyintended to do when writing a book, I beg leave to say that there isno moral to this story. Rose is not designed for a model girl,and theSequel was simply written in fulfillment of a promise, hoping to affordsome amusement, and perhaps here and there a helpful hint, to otherroses getting ready to bloom.L. M. AlcottSeptember1876Contents     Chapter  1. Coming Home     Chapter  2.  Old Friends with New Faces     Chapter  3.  Miss Campbell     Chapter  4.  Thorns Among the Roses     Chapter  5.  Prince Charming     Chapter  6.  PolishingMac     Chapter  7.  Phebe     Chapter  8.  Breakers Ahead     Chapter  9.  New Year's Calls     Chapter  10.  The Sad and Sober Part     Chapter  11.  Small Temptations     Chapter  12.  At Kitty'sBall     Chapter  13.  Both Sides     Chapter  14.  Aunt Clara's Plan     Chapter  15.  Alas for Charlie!     Chapter  16.  Good Works     Chapter  17.  Among the Haycocks     Chapter  18.  Which WasIt?     Chapter  19.  Behind the Fountain     Chapter  20.  What Mac Did     Chapter  21.  How Phebe Earned Her Welcome     Chapter  22.  Short and SweetChapter 1 COMING HOMEThree young men stood together on awharf one bright October dayawaiting the arrival of an ocean steamer with an impatience which founda vent in lively skirmishes with a small lad, who pervaded the premiseslike a will-o'-the-wisp and afforded muchamusement to the other groupsassembled there.\"They are the Campbells, waiting for their cousin, who has been abroadseveral years with her uncle, the doctor,\" whispered one lady to anotheras the handsomest of theyoung men touched his hat to her as he passed,lugging the boy, whom he had just rescued from a little expedition downamong the piles.\"Which is that?\" asked the stranger.\"Prince Charlie, as he's called a fine fellow,the most promising of theseven, but a little fast, people say,\" answered the first speaker with ashake of the head.\"Are the others his brothers?\"\"No, cousins. The elder is Archie, a most exemplary young man. He hasjustgone into business with the merchant uncle and bids fair to be anhonor to his family. The other, with the eyeglasses and no gloves, isMac, the odd one, just out of college.\"\"And the boy?\"\"Oh, he is Jamie, the youngestbrother of Archibald, and the pet of thewhole family. Mercy on us he'll be in if they don't hold on to him!\"The ladies' chat came to a sudden end just there, for by the timeJamie had been fished out of a hogshead, thesteamer hove in sight andeverything else was forgotten. As it swung slowly around to enter thedock, a boyish voice shouted, \"There she is! I see her and Uncle andPhebe! Hooray for Cousin Rose!\" And three smallcheers were given witha will by Jamie as he stood on a post waving his arms like a windmillwhile his brother held onto the tail of his jacket.Yes, there they were Uncle Alec swinging his hat like a boy, with Phebesmilingand nodding on one side and Rose kissing both hands delightedlyon the other as she recognized familiar faces and heard familiar voiceswelcoming her home.\"Bless her dear heart, she's bonnier than ever! Looks like aMadonnadoesn't she? with that blue cloak round her, and her bright hair flyingin the wind!\" said Charlie excitedly as they watched the group upon thedeck with eager eyes.\"Madonnas don't wear hats like that. Rosehasn't changed much, but Phebehas. Why, she's a regular beauty!\" answered Archie, staring with all hismight at the dark-eyed young woman with the brilliant color and glossyblack braids shining in the sun.\"Dear oldUncle! Doesn't it seem good to have him back?\" was all Macsaid, but he was not looking at \"dear old uncle\" as he made the ferventremark, for he saw only the slender blond girl nearby and stretched outhis hands tomeet hers, forgetful of the green water tumbling betweenthem.During the confusion that reigned for a moment as the steamer settled toher moorings, Rose looked down into the four faces upturned to hers andseemedto read in them something that both pleased and pained her. Itwas only a glance, and her own eyes were full, but through the mist ofhappy tears she received the impression that Archie was about the same,that Machad decidedly improved, and that something was amiss withCharlie. There was no time for observation, however, for in a momentthe shoreward rush began, and before she could grasp her traveling bag,Jamie wasclinging to her like an ecstatic young bear. She was withdifficulty released from his embrace to fall into the gentler onesof the elder cousins, who took advantage of the general excitement towelcome both blooming girlswith affectionate impartiality. Then thewanderers were borne ashore in a triumphal procession, while Jamiedanced rapturous jigs before them even on the gangway.Archie remained to help his uncle get the luggagethrough the CustomHouse, and the others escorted the damsels home. No sooner were theyshut up in a carriage, however, than a new and curious constraint seemedto fall upon the young people, for they realized, allat once, thattheir former playmates were men and women now. Fortunately, Jamiewas quite free from this feeling of restraint and, sitting bodkinwisebetween the ladies, took all sorts of liberties with them andtheirbelongings.\"Well, my mannikin, what do you think of us?\" asked Rose, to break anawkward pause.\"You've both grown so pretty, I can't decide which I like best. Phebe isthe biggest and brightest-looking, and I wasalways fond of Phebe, butsomehow you are so kind of sweet and precious, I really think I must hugyou again,\" and the small youth did it tempestuously.\"If you love me best, I shall not mind a bit about your thinkingPhebethe handsomest, because she is. Isn't she, boys?\" asked Rose, with amischievous look at the gentlemen opposite, whose faces expressed arespectful admiration which much amused her.\"I'm so dazzled by thebrilliancy and beauty that has suddenly burstupon me, I have no words to express my emotions,\" answered Charlie,gallantly dodging the dangerous question.\"I can't say yet, for I have not had time to look at anyone. Iwill now,if you don't mind.\" And, to the great amusement of the rest, Mac gravelyadjusted his eyeglasses and took an observation.\"Well?\" said Phebe, smiling and blushing under his honest stare, yetseeming not toresent it as she did the lordly sort of approval whichmade her answer the glance of Charlie's audacious blue eyes with a flashof her black ones.\"I think if you were my sister, I should be very proud of you, becauseyourface shows what I admire more than its beauty truth and courage,Phebe,\" answered Mac with a little bow full of such genuine respect thatsurprise and pleasure brought a sudden dew to quench the fire of thegirl's eyesand soothe the sensitive pride of the girl's heart.Rose clapped her hands just as she used to do when anything delightedher, and beamed at Mac approvingly as she said: \"Now that's a criticismworth having, and we aremuch obliged. I was sure you'd admire my Phebewhen you knew her, but I didn't believe you would be wise enough to seeit at once, and you have gone up many pegs in my estimation, I assureyou.\"\"I was always fondof mineralogy you remember, and I've been tappinground a good deal lately, so I've learned to know precious metals when Isee them,\" Mac said with his shrewd smile.\"That is the latest hobby, then? Your letters haveamused us immensely,for each one had a new theory or experiment, and the latest wasalways the best. I thought Uncle would have died of laughter over thevegetarian mania it was so funny to imagine you living onbread andmilk, baked apples, and potatoes roasted in your own fire,\" continuedRose, changing the subject again.\"This old chap was the laughingstock of his class. They called him DonQuixote, and the way he went atwindmills of all sorts was a sight tosee,\" put in Charlie, evidently feeling that Mac had been patted on thehead quite as much as was good for him.\"But in spite of that the Don got through college with all the honors.Oh,wasn't I proud when Aunt Jane wrote to us about it and didn't sherejoice that her boy kept at the head of his class and won the medal!\"cried Rose, shaking Mac by both hands in a way that caused Charlie towish \"the oldchap\" had been left behind with Dr. Alec.\"Oh, come, that's all Mother's nonsense. I began earlier than the otherfellows and liked it better, so I don't deserve any praise. Prince isright, though. I did make a regular jack ofmyself, but on the wholeI'm not sure that my wild oats weren't better than some I've seen sowed.Anyway, they didn't cost much, and I'm none the worse for them,\" saidMac placidly.\"I know what 'wild oats' means. Iheard Uncle Mac say Charlie was sowing'em too fast, and I asked Mama, so she told me. And I know that he wassuspelled or expended, I don't remember which, but it was something bad,and Aunt Clara cried,\" addedJamie all in one breath, for he possessed afatal gift of making malapropos remarks, which caused him to be a terrorto his family.\"Do you want to go on the box again?\" demanded Prince with a warningfrown.\"No, Idon't.\"\"Then hold your tongue.\"\"Well, Mac needn't kick me, for I was only...\" began the culprit,innocently trying to make a bad matter worse.\"That will do,\" interrupted Charlie sternly, and James subsided, acrushedboy, consoling himself with Rose's new watch for the indignitieshe suffered at the hands of the \"old fellows\" as he vengefully calledhis elders.Mac and Charlie immediately began to talk as hard as their tonguescouldwag, bringing up all sorts of pleasant subjects so successfullythat peals of laughter made passersby look after the merry load withsympathetic smiles.An avalanche of aunts fell upon Rose as soon as she reachedhome, andfor the rest of the day the old house buzzed like a beehive. Eveningfound the whole tribe collected in the drawing rooms, with the exceptionof Aunt Peace, whose place was empty now.Naturally enough, theelders settled into one group after a while, andthe young fellows clustered about the girls like butterflies around twoattractive flowers. Dr. Alec was the central figure in one room and Rosein the other, for the little girl,whom they had all loved and petted,had bloomed into a woman, and two years of absence had wrought a curiouschange in the relative positions of the cousins, especially the threeelder ones, who eyed her with amixture of boyish affection and manlyadmiration that was both new and pleasant.Something sweet yet spirited about her charmed them and piqued theircuriosity, for she was not quite like other girls, and ratherstartledthem now and then by some independent little speech or act which madethem look at one another with a sly smile, as if reminded that Rose was\"Uncle's girl.\"Let us listen, as in duty bound, to what the eldersare saying first,for they are already building castles in air for the boys and girls toinhabit.\"Dear child how nice it is to see her safely back, so well and happy andlike her sweet little self!\" said Aunt Plenty, folding herhands as ifgiving thanks for a great happiness.\"I shouldn't wonder if you found that you'd brought a firebrand into thefamily, Alec. Two, in fact, for Phebe is a fine girl, and the lads havefound it out already if I'm notmistaken,\" added Uncle Mac, with a nodtoward the other room.All eyes followed his, and a highly suggestive tableau presented itselfto the paternal and maternal audience in the back parlor.Rose and Phebe, sitting sideby side on the sofa, had evidently assumedat once the places which they were destined to fill by right of youth,sex, and beauty, for Phebe had long since ceased to be the maid andbecome the friend, and Rose meant tohave that fact established at once.Jamie occupied the rug, on which Will and Geordie stood at ease, showingtheir uniforms to the best advantage, for they were now in a greatschool, where military drill was the delightof their souls. Steve posedgracefully in an armchair, with Mac lounging over the back of it, whileArchie leaned on one corner of the low chimneypiece, looking down atPhebe as she listened to his chat with smiling lipsand cheeks almost asrich in color as the carnations in her belt.But Charlie was particularly effective, although he sat upon a musicstool, that most trying position for any man not gifted with grace inthe management ofhis legs. Fortunately Prince was, and had fallen intoan easy attitude, with one arm over the back of the sofa, his handsomehead bent a little, as he monopolized Rose, with a devoted air and avery becoming expressionof contentment on his face.Aunt Clara smiled as if well pleased; Aunt Jessie looked thoughtful;Aunt Jane's keen eyes went from dapper Steve to broad-shouldered Macwith an anxious glance; Mrs. Myra murmuredsomething about her \"blessedCaroline\"; and Aunt Plenty said warmly, \"Bless the dears! Anyone mightbe proud of such a bonny flock of bairns as that.\"\"I am all ready to play chaperon as soon as you please, Alec, forIsuppose the dear girl will come out at once, as she did not before youwent away. My services won't be wanted long, I fancy, for with hermany advantages she will be carried off in her first season or I'mmuchmistaken,\" said Mrs. Clara, with significant nods and smiles.\"You must settle all those matters with Rose. I am no longer captain,only first mate now, you know,\" answered Dr. Alec, adding soberly, halfto himself,half to his brother, \"I wonder people are in such haste to'bring out' their daughters, as it's called. To me there is somethingalmost pathetic in the sight of a young girl standing on the thresholdof the world, so innocentand hopeful, so ignorant of all that liesbefore her, and usually so ill prepared to meet the ups and downs oflife. We do our duty better by the boys, but the poor little women areseldom provided with any armor worthhaving, and sooner or later theyare sure to need it, for every one must fight her own battle, and onlythe brave and strong can win.\"\"You can't reproach yourself with neglect of that sort, Alec, for youhave done yourduty faithfully by George's girl, and I envy you thepride and happiness of having such a daughter, for she is that to you,\"answered old Mac, unexpectedly betraying the paternal sort of tendernessmen seldom feel fortheir sons.\"I've tried, Mac, and I am both proud and happy, but with every year myanxiety seems to increase. I've done my best to fit Rose for what maycome, as far as I can foresee it, but now she must stand alone,and allmy care is powerless to keep her heart from aching, her life from beingsaddened by mistakes, or thwarted by the acts of others. I can onlystand ready to share her joy and sorrow and watch her shape herlife.\"\"Why, Alec, what is the child going to do that you need look so solemn?\"exclaimed Mrs. Clara, who seemed to have assumed a sort of right to Rosealready.\"Hark! And let her tell you herself,\" answered Dr. Alec, asRose's voicewas heard saying very earnestly, \"Now, you have all told your plans forthe future, why don't you ask us ours?\"\"Because we know that there is only one thing for a pretty girl to dobreak a dozen or so heartsbefore she finds one to suit, then marry andsettle,\" answered Charlie, as if no other reply was possible.\"That may be the case with many, but not with us, for Phebe and Ibelieve that it is as much a right and a duty forwomen to do somethingwith their lives as for men, and we are not going to be satisfied withsuch frivolous parts as you give us,\" cried Rose with kindling eyes. \"Imean what I say, and you cannot laugh me down. Wouldyou be contented tobe told to enjoy yourself for a little while, then marry and do nothingmore till you die?\" she added, turning to Archie.\"Of course not that is only a part of a man's life,\" he answereddecidedly.\"A veryprecious and lovely part, but not all,\" continued Rose. \"Neithershould it be for a woman, for we've got minds and souls as well ashearts; ambition and talents as well as beauty and accomplishments;and we want to liveand learn as well as love and be loved. I'm sick ofbeing told that is all a woman is fit for! I won't have anything to dowith love till I prove that I am something besides a housekeeper andbaby-tender!\"\"Heaven preserveus! Here's woman's rights with a vengeance!\" criedCharlie, starting up with mock horror, while the others regarded Rosewith mingled surprise and amusement, evidently fancying it all a girlishoutbreak.\"Ah, you needn'tpretend to be shocked you will be in earnest presently,for this is only the beginning of my strong-mindedness,\" continued Rose,nothing daunted by the smiles of good-natured incredulity or derision onthe faces of hercousins. \"I have made up my mind not to be cheated outof the real things that make one good and happy and, just because I'm arich girl, fold my hands and drift as so many do. I haven't lived withPhebe all these yearsin vain. I know what courage and self-reliance cando for one, and I sometimes wish I hadn't a penny in the world so that Icould go and earn my bread with her, and be as brave and independent asshe will be prettysoon.\"It was evident that Rose was in earnest now, for as she spoke she turnedto her friend with such respect as well as love in her face that thelook told better than any words how heartily the rich girl appreciatedthevirtues hard experience had given the poor girl, and how eagerly shedesired to earn what all her fortune could not buy for her.Something in the glance exchanged between the friends impressed theyoung men in spiteof their prejudices, and it was in a perfectlyserious tone that Archie said, \"I fancy you'll find your hands full,Cousin, if you want work, for I've heard people say that wealth has itstroubles and trials as well as poverty.\"\"Iknow it, and I'm going to try and fill my place well. I've got somecapital little plans all made, and have begun to study my professionalready,\" answered Rose with an energetic nod.\"Could I ask what it is to be?\" inquiredCharlie in a tone of awe.\"Guess!\" and Rose looked up at him with an expression half-earnest,half-merry.\"Well, I should say that you were fitted for a beauty and a belle, butas that is evidently not to your taste, I amafraid you are going tostudy medicine and be a doctor. Won't your patients have a heavenly timethough? It will be easy dying with an angel to poison them.\"\"Now, Charlie, that's base of you, when you know how wellwomen havesucceeded in this profession and what a comfort Dr. Mary Kirk was todear Aunt Peace. I did want to study medicine, but Uncle thought itwouldn't do to have so many M.D.'s in one family, since Mac thinksoftrying it. Besides, I seem to have other work put into my hands that Iam better fitted for.\"\"You are fitted for anything that is generous and good, and I'll standby you, no matter what you've chosen,\" cried Macheartily, for this wasa new style of talk from a girl's lips, and he liked it immensely.\"Philanthropy is a generous, good, and beautiful profession, and I'vechosen it for mine because I have much to give. I'm only thestewardof the fortune Papa left me, and I think, if I use it wisely for thehappiness of others, it will be more blest than if I keep it all formyself.\"Very sweetly and simply was this said, but it was curious to seehowdifferently the various hearers received it.Charlie shot a quick look at his mother, who exclaimed, as if in spiteof herself, \"Now, Alec, are you going to let that girl squander a finefortune on all sorts of charitablenonsense and wild schemes for theprevention of pauperism and crime?\"\"'They who give to the poor lend to the Lord,' and practicalChristianity is the kind He loves the best,\" was all Dr. Alec answered,but it silenced theaunts and caused even prudent Uncle Mac to thinkwith sudden satisfaction of certain secret investments he had made whichpaid him no interest but the thanks of the poor.Archie and Mac looked well pleased andpromised their advice andassistance with the enthusiasm of generous young hearts. Steve shookhis head, but said nothing, and the lads on the rug at once proposedfounding a hospital for invalid dogs and horses, whitemice, and woundedheroes.\"Don't you think that will be a better way for a woman to spend her lifethan in dancing, dressing, and husband-hunting, Charlie?\" asked Rose,observing his silence and anxious for hisapproval.\"Very pretty for a little while, and very effective too, for I don'tknow anything more captivating than a sweet girl in a meek little bonnetgoing on charitable errands and glorifying poor people's houses witha"}
+{"doc_id":"doc_324","qid":"","text":"The Project Gutenberg EBook of West Indian Fables by James Anthony FroudeExplained by J. J. Thomas, by J. J. (John Jacob) ThomasThis eBook is for the use of anyone anywhere at no cost and withalmost norestrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: West Indian Fables by James AnthonyFroude Explained by J. J. ThomasAuthor: J. J. (John Jacob) ThomasPosting Date: June 13, 2009 [EBook #4068]Release Date: May, 2003First Posted: November 1, 2001Language: English*** START OF THIS PROJECTGUTENBERG EBOOK WEST INDIAN FABLES ***Produced by Alfred J. Drake.  HTML version by Al Haines.FROUDACITY (1889)J.J. ThomasWEST INDIAN FABLES BY JAMES ANTHONY FROUDEEXPLAINED BY J. J.THOMASContentsPreface by J.J. ThomasBOOK I.  Introduction: 27-33  Voyage out: 34-41  Barbados: 41-44  St. Vincent: 44-48  Grenada: 48-50BOOK II.  Trinidad: 53-55  Reform in Trinidad: 55-80  Negro Felicity inthe West Indies: 81-110BOOK III.  Social Revolution: 113-174  West Indian Confederation: 175-200  The Negro as a Worker: 201-206  Religion for Negroes: 207-230BOOK IV.  Historical Summary or Résumé:233-261, endFROUDACITYPREFACE[5] Last year had well advanced towards its middle--in fact it wasalready April, 1888--before Mr. Froude's book of travels in the WestIndies became known and generally accessible toreaders in thoseColonies.My perusal of it in Grenada about the period above mentioned disclosed,thinly draped with rhetorical flowers, the dark outlines of a scheme tothwart political aspiration in the Antilles.  Thatproject is sought tobe realized by deterring the home authorities from granting an electivelocal legislature, however restricted in character, to any of theColonies not yet enjoying such an advantage. An argument basedon thecomposition of the inhabitants of those Colonies is confidently reliedupon to confirm the inexorable mood of Downing Street.[6] Over-large and ever-increasing,--so runs the argument,--the Africanelement in thepopulation of the West Indies is, from its past historyand its actual tendencies, a standing menace to the continuance ofcivilization and religion.  An immediate catastrophe, social,political, and moral, would mostassuredly be brought about by thegranting of full elective rights to dependencies thus inhabited.Enlightened statesmanship should at once perceive the immense benefitthat would ultimately result from such refusal ofthe franchise.  Thecardinal recommendation of that refusal is that it would avertdefinitively the political domination of the Blacks, which mustinevitably be the outcome of any concession of the modicum of rightsoearnestly desired.  The exclusion of the Negro vote being inexpedient,if not impossible, the exercise of electoral powers by the Blacks mustlead to their returning candidates of their own race to the locallegislatures,and that, too, in numbers preponderating according to themajority of the Negro electors.  The Negro legislators thus supreme inthe councils of the Colonies would straightway proceed to passvindictive and retaliatorylaws against their white fellow- [7]colonists.  For it is only fifty years since the White man and theBlack man stood in the reciprocal relations of master and slave.Whilst those relations subsisted, the white mastersinflicted, and theblack slaves had to endure, the hideous atrocities that are inseparablefrom the system of slavery.  Since Emancipation, the enormous stridesmade in self-advancement by the ex-slaves have only hadthe effect ofprovoking a resentful uneasiness in the bosoms of the ex-masters.  Theformer bondsmen, on their side, and like their brethren of Hayti, areeaten up with implacable, blood-thirsty rancour against theirformerlords and owners.  The annals of Hayti form quite a cabinet ofpolitical and social object lessons which, in the eyes of Britishstatesmen, should be invaluable in showing the true method of dealingwith Ethiopicsubjects of the Crown.  The Negro race in Hayti, in orderto obtain and to guard what it calls its freedom, has outraged everyhumane instinct and falsified every benevolent hope.  The slave-ownersthere had not been awhit more cruel than slave-owners in the otherislands.  But, in spite of this, how ferocious, how sanguinary, [8] howrelentless against them has the vengeance of the Blacks been in theirhour of mastery!  A century haspassed away since then, and,notwithstanding that, the hatred of Whites still rankles in theirsouls, and is cherished and yielded to as a national creed and guide ofconduct.  Colonial administrators of the mighty BritishEmpire, thelesson which History has taught and yet continues to teach you in Haytias to the best mode of dealing with your Ethiopic colonists liespatent, blood-stained and terrible before you, and should betakendefinitively to heart.  But if you are willing that Civilization andReligion--in short, all the highest developments of individual andsocial life--should at once be swept away by a desolating vandalism ofAfrican birth; ifyou do not recoil from the blood-guiltiness thatwould stain your consciences through the massacre of ourfellow-countrymen in the West Indies, on account of their race,complexion and enlightenment; finally, if youdesire those modernHesperides to revert into primeval jungle, horrent lairs wherein theBlacks, who, but a short while before, had been ostensibly civilized,shall be revellers, as high-priests and [9] devotees, in orgiesofdevil-worship, cannibalism, and obeah--dare to give the franchise tothose West Indian Colonies, and then rue the consequences of yourinfatuation!...Alas, if the foregoing summary of the ghastly imaginings of Mr.Froudewere true, in what a fool's paradise had the wisest and best amongst usbeen living, moving, and having our being!  Up to the date of thesuggestion by him as above of the alleged facts and possibilities ofWestIndian life, we had believed (even granting the correctness of hisgloomy account of the past and present positions of the two races) thatto no well-thinking West Indian White, whose ancestors may have,innocently orculpably, participated in the gains as well as the guiltof slavery, would the remembrance of its palmy days be otherwise thanone of regret.  We Negroes, on the other hand, after a lapse of timeextending over nearly twogenerations, could be indebted only toprecarious tradition or scarcely accessible documents for any knowledgewe might chance upon of the sufferings endured in these Islands of theWest by those of our race who havegone before us.  Death, withundiscriminating hand, had gathered [10] in the human harvest ofmasters and slaves alike, according to or out of the normal laws ofnature; while Time had been letting down on the stage ofour existencedrop-scene after drop-scene of years, to the number of something likefifty, which had been curtaining off the tragic incidents of the pastfrom the peaceful activities of the present.  Being thuscircumstanced,thought we, what rational elements of mutual hatred should now continueto exist in the bosoms of the two races?With regard to the perpetual reference to Hayti, because of our onenesswith itsinhabitants in origin and complexion, as a criterion for theexact forecast of our future conduct under given circumstances, thisappeared to us, looking at actual facts, perversity gone wild in themanufacture ofanalogies.  The founders of the Black Republic, we hadall along understood, were not in any sense whatever equipped, as Mr.Froude assures us they were, when starting on their self-governingcareer, with the civil andintellectual advantages that had beentransplanted from Europe.  On the contrary, we had been taught toregard them as most unfortunate in the circumstances under which [11]they so gloriously conquered theirmerited freedom.  We saw them free,but perfectly illiterate barbarians, impotent to use the intellectualresources of which their valour had made them possessors, in the shapeof books on the spirit and technical detailsof a highly developednational existence.  We had learnt also, until this new interpreter ofhistory had contradicted the accepted record, that the continuedfailure of Hayti to realize the dreams of Toussaint was due tothefatal want of confidence subsisting between the fairer and darkersections of the inhabitants, which had its sinister and disastrousorigin in the action of the Mulattoes in attempting to secure freedomfor themselves, inconjunction with the Whites, at the sacrifice oftheir darker-hued kinsmen.  Finally, it had been explained to us thatthe remembrance of this abnormal treason had been underlying andperniciously influencing the wholecourse of Haytian national history.All this established knowledge we are called upon to throw overboard,and accept the baseless assertions of this conjuror-up of inconceivablefables!  He calls upon us to believe that, inspite of being free,educated, progressive, and at peace with [12] all men, we West IndianBlacks, were we ever to become constitutionally dominant in our nativeislands, would emulate in savagery our Haytianfellow-Blacks who, atthe time of retaliating upon their actual masters, were torturedslaves, bleeding and rendered desperate under the oppressors' lash--andall this simply and merely because of the sameness of ourancestry andthe colour of our skin!  One would have thought that Liberia would havebeen a fitter standard of comparison in respect of a colouredpopulation starting a national life, really and truly equipped withtherequisites and essentials of civilized existence.  But such a referencewould have been fatal to Mr. Froude's object: the annals of Liberiabeing a persistent refutation of the old pro-slavery prophecies whichour authorso feelingly rehearses.Let us revert, however, to Grenada and the newly-published \"Bow ofUlysses,\" which had come into my hands in April, 1888.It seemed to me, on reading that book, and deducing therefromtheforegoing essential summary, that a critic would have little more todo, in order to effectually exorcise this negrophobic politicalhobgoblin, than to appeal to [13] impartial history, as well as tocommon sense, in itsapplication to human nature in general, and to theactual facts of West Indian life in particular.History, as against the hard and fast White-master and Black-slavetheory so recklessly invented and confidently built uponby Mr. Froude,would show incontestably--(a) that for upwards of two hundred yearsbefore the Negro Emancipation, in 1838, there had never existed in oneof those then British Colonies, which had been originallydiscoveredand settled for Spain by the great Columbus or by his successors, theConquistadores, any prohibition whatsoever, on the ground of race orcolour, against the owning of slaves by any free person possessingthenecessary means, and desirous of doing so; (b) that, as a consequenceof this non-restriction, and from causes notoriously historical,numbers of blacks, half-breeds, and other non-Europeans, besides suchof them ashad become possessed of their \"property\" by inheritance,availed themselves of this virtual license, and in course of timeconstituted a very considerable proportion of the slave-holding sectionof those communities; (c)that these [14] dusky plantation-ownersenjoyed and used in every possible sense the identical rights andprivileges which were enjoyed and used by their pure-blooded Caucasianbrother-slaveowners.  The abovestatements are attested by writtendocuments, oral tradition, and, better still perhaps, by the livingpresence in those islands of numerous lineal representatives of thoseonce opulent and flourishing non-Europeanplanter-families.Common sense, here stepping in, must, from the above data, deduce somesuch conclusions as the following.  First that, on the hypothesis thatthe slaves who were freed in 1838--full fifty yearsago--were all on anaverage fifteen years old, those vengeful ex-slaves of to-day will beall men of sixty-five years of age; and, allowing for the delay ingetting the franchise, somewhat further advanced towards thehumanlife-term of threescore and ten years. Again, in order to organize andcarry out any scheme of legislative and social retaliation of the kindset forth in the \"Bow of Ulysses,\" there must be (whichunquestionablythere is not) a considerable, well-educated, and very influentialnumber surviving of those who had actually [15] been in bondage.Moreover, the vengeance of these people (also assuming theforegoingnonexistent condition) would have, in case of opportunity, to wreakitself far more largely and vigorously upon members of their own racethan upon Whites, seeing that the increase of the Blacks, ascorrectlyrepresented in the \"Bow of Ulysses,\" is just as rapid as the diminutionof the White population.  And therefore, Mr. Froude's\"Danger-to-the-Whites\" cry in support of his anti-reform manifestowould not appear,after all, to be quite so justifiable as he possiblythinks.Feeling keenly that something in the shape of the foregoing programmemight be successfully worked up for a public defence of the malignedpeople, I disregardedthe bodily and mental obstacles that have besetand clouded my career during the last twelve years, and cheerfullyundertook the task, stimulated thereto by what I thought weightyconsiderations.  I saw that norepresentative of Her Majesty's EthiopicWest Indian subjects cared to come forward to perform this work in themore permanent shape that I felt to be not only desirable but essentialfor our self-vindication.  [16] I alsorealized the fact that the \"Bowof Ulysses\" was not likely to have the same ephemeral existence andeffect as the newspaper and other periodical discussions of itscontents, which had poured from the press in GreatBritain, the UnitedStates, and very notably, of course, in all the English Colonies of theWestern Hemisphere.  In the West Indian papers the best writers of ourrace had written masterly refutations, but it was clear howdifficultthe task would be in future to procure and refer to them wheneveroccasion should require.  Such productions, however, fully satisfiedthose qualified men of our people, because they were legitimatelyconvinced(even as I myself am convinced) that the political destiniesof the people of colour could not run one tittle of risk from anythingthat it pleased Mr. Froude to write or say on the subject.  But,meditating further on thequestion, the reflection forced itself uponme that, beyond the mere political personages in the circle moredirectly addressed by Mr. Froude's volume, there were individuals whoseinfluence or possible sympathy we couldnot afford to disregard, or toesteem lightly.  So I deemed it right and a patriotic duty to attempt[17] the enterprise myself, in obedience to the above stated motives.At this point I must pause to express on behalf of theentire colouredpopulation of the West Indies our most heartfelt acknowledgments to Mr.C. Salmon for the luminous and effective vindication of us, in hisvolume on \"West Indian Confederation,\" against Mr. Froude'slibels.The service thus rendered by Mr. Salmon possesses a double significanceand value in my estimation.  In the first place, as being the work of aEuropean of high position, quite independent of us (whotestifiesconcerning Negroes, not through having gazed at them from balconies,decks of steamers, or the seats of moving carriages, but from actualand long personal intercourse with them, which the internal evidenceofhis book plainly proves to have been as sympathetic as it wasfamiliar), and, secondly, as the work of an individual entirely outsideof our race, it has been gratefully accepted by myself as an incentiveto self-help, onthe same more formal and permanent lines, in a matterso important to the status which we can justly claim as a progressive,law-abiding, and self-respecting section of Her Majesty's liegesubjects.[18] It behoves menow to say a few words respecting this book as amere literary production.Alexander Pope, who, next to Shakespeare and perhaps Butler, was themost copious contributor to the current stock of English maxims,says:     \"True ease in writing comes from Art, not Chance,     As those move easiest who have learnt to dance.\"A whole dozen years of bodily sickness and mental tribulation have notbeen conducive to that regularity ofpractice in composition whichalone can ensure the \"true ease\" spoken of by the poet; and thereforeis it that my style leaves so much to be desired, and exhibits,perhaps, still, more to be pardoned.  Happily, a quarrelsuch as ourswith the author of \"The English in the West Indies\" cannot be finallyor even approximately settled on the score of superior literarycompetency, whether of aggressor or defender.  I feel free toignorewhatever verdict might be grounded on a consideration so purelyartificial.  There ought to be enough, if not in these pages, at anyrate in whatever else I have heretofore published, that should prove menot sohopelessly stupid and wanting in [19] self-respect, as would beimplied by my undertaking a contest in artistic phrase-weaving with onewho, even among the foremost of his literary countrymen, is confessedlya masterin that craft.  The judges to whom I do submit our case arethose Englishmen and others whose conscience blends with theirjudgment, and who determine such questions as this on their essentialrightness which hasclaim to the first and decisive consideration.  Formuch that is irregular in the arrangement and sequence of thesubject-matter, some blame fairly attaches to our assailant.  Theerratic manner in which lie launches hisinjurious statements againstthe hapless Blacks, even in the course of passages which no more led upto them than to any other section of mankind, is a very notable featureof his anti-Negro production.  As he frequentlyrepeats, very oftenwith cynical aggravations, his charges and sinister prophecies againstthe sable objects of his aversion, I could see no other course open tome than to take him up on the points whereto I demurred,exactly how,when, and where I found them.My purpose could not be attained up without direct mention of, orreference to, certain public [20] employés in the Colonies whoseofficial conduct has often been the subjectof criticism in the publicpress of the West Indies.  Though fully aware that such criticism hason many occasions been much more severe than my own strictures, yet, itbeing possible that some special responsibility mayattach to what Ihere reproduce in a more permanent shape, I most cheerfully accept, inthe interests of public justice, any consequence which may result.A remark or two concerning the publication of this rejoinder.  Ithasbeen hinted to me that the issue of it has been too long delayed tosecure for it any attention in England, owing to the fact that the WestIndies are but little known, and of less interest, to the generality ofEnglishreaders.  Whilst admitting, as in duty bound, the possiblecorrectness of this forecast, and regretting the oft-recurringhindrances which occasioned such frequent and, sometimes, longsuspension of my labour; andnoting, too, the additional delay causedthrough my unacquaintance with English publishing usages, I must,notwithstanding, plead guilty to a lurking hope that some smallfraction of Mr. Froude's readers will yet befound, [21] whose interestin the West Indies will be temporarily revived on behalf of this essay,owing to its direct bearing on Mr. Froude and his statements relativeto these Islands, contained in his recent book oftravels in them.This I am led to hope will be more particularly the case when it isborne in mind that the rejoinder has been attempted by a member of thatvery same race which he has, with such eloquent recklessnessof allmoral considerations, held up to public contempt and disfavour.  Inshort, I can scarcely permit myself to believe it possible that concernregarding a popular author, on his being questioned by an adversecritic ofhowever restricted powers, can be so utterly dead within atwelvemonth as to be incapable of rekindling.  Mr. Froude's \"Oceana,\"which had been published long before its author voyaged to the WestIndies, in order totreat the Queen's subjects there in the same morethan questionable fashion as that in which he had treated those of theSouthern Hemisphere, had what was in the main a formal rejoinder to itsmisrepresentationspublished only three months ago in this city.  Iventure to believe that no serious work in defence of an [22] importantcause or community can lose much, if anything, of its intrinsic valuethrough some delay in its issue;especially when written in thevindication of Truth, whose eternal principles are beyond and above theinfluence of time and its changes.At any rate, this attempt to answer some of Mr. Froude's mainallegations againstthe people of the West Indies cannot fail to be ofgrave importance and lively interest to the inhabitants of thoseColonies.  In this opinion I am happy in being able to record the fullconcurrence of a numerous and"}
+{"doc_id":"doc_325","qid":"","text":"The Project Gutenberg EBook of Degeneration, by Max NordauThis eBook is for the use of anyone anywhere in the United States and mostother parts of the world at no cost and with almost norestrictionswhatsoever.  You may copy it, give it away or re-use it under the terms ofthe Project Gutenberg License included with this eBook or online atwww.gutenberg.org.  If you are not located in the United States,you'll haveto check the laws of the country where you are located before using this ebook.Title: DegenerationAuthor: Max NordauRelease Date: February 9, 2016 [EBook #51161]Language: EnglishCharacter setencoding: UTF-8*** START OF THIS PROJECT GUTENBERG EBOOK DEGENERATION ***Produced by Giovanni Fini, David Edwards and the OnlineDistributed Proofreading Team athttp://www.pgdp.netTRANSCRIBERâ\u0000\u0000S NOTES:--Obvious print and punctuation errors were corrected.--Whereas adequate characters are not available, superscript has beenrendered as a^b anda^{bc}.                             DEGENERATION                          BY THE SAME AUTHOR.                      _Uniform with this Volume._                         CONVENTIONAL LIES OF                           OURCIVILIZATION.                   PARADOXES.                      LONDON: WILLIAM HEINEMANN.                             DEGENERATION                                  BY                              MAX NORDAU                               AUTHOROF      â\u0000\u0000CONVENTIONAL LIES OF OUR CIVILIZATION,â\u0000\u0000 â\u0000\u0000PARADOXES,â\u0000\u0000 ETC.                  Translated from the Second Edition                          of the German Work                            PopularEdition                                LONDON                           WILLIAM HEINEMANN                                 1898                        [_All rights reserved_]                _First Edition_      _February, 1895._                 _NewImpressions, March 4, 1895;                     March 22, 1895; April, 1895; May,                     1895; June, 1895; August, 1895;                     November, 1895; (Popular Edition),                     September,1898._                               Dedicated                                  TO                            CÃ\u0000SAR LOMBROSO,           PROFESSOR OF PSYCHIATRY AND FORENSIC MEDICINE AT                    THE ROYAL UNIVERSITY OFTURIN,                                  BY                              THE AUTHOR.                                  TO                       PROFESSOR CÃ\u0000SAR LOMBROSO,                               _TURIN_.      _DEAR AND HONOURED MASTER_ ,_Idedicate this book to you, in open and joyful recognition of thefact that without your labours it could never have been written.__The notion of degeneracy, first introduced into science by Morel, anddeveloped with somuch genius by yourself, has in your hands alreadyshown itself extremely fertile in the most diverse directions. Onnumerous obscure points of psychiatry, criminal law, politics, andsociology, you have poured a veritableflood of light, which thosealone have not perceived who obdurately close their eyes, or who aretoo short-sighted to derive benefit from any enlightenment whatsoever.__But there is a vast and important domain intowhich neither you noryour disciples have hitherto borne the torch of your method--the domainof art and literature.__Degenerates are not always criminals, prostitutes, anarchists, andpronounced lunatics; they areoften authors and artists. These,however, manifest the same mental characteristics, and for the mostpart the same somatic features, as the members of the above-mentionedanthropological family, who satisfy theirunhealthy impulses with theknife of the assassin or the bomb of the dynamiter, instead of with penand pencil.__Some among these degenerates in literature, music, and painting havein recent years come intoextraordinary prominence, and are revered bynumerous admirers as creators of a new art, and heralds of the comingcenturies.__This phenomenon is not to be disregarded. Books and works of artexercise a powerfulsuggestion on the masses. It is from theseproductions that an age derives its ideals of morality and beauty. Ifthey are absurd and anti-social, they exert a disturbing and corruptinginfluence on the views of a wholegeneration. Hence the latter,especially the impressionable youth, easily excited to enthusiasm forall that is strange and seemingly new, must be warned and enlightenedas to the real nature of the creations so blindlyadmired. This warningthe ordinary critic does not give. Exclusively literary and æstheticculture is, moreover, the worst preparation conceivable for a trueknowledge of the pathological character of the works ofdegenerates.The verbose rhetorician exposes with more or less grace, or cleverness,the subjective impressions received from the works he criticises,but is incapable of judging if these works are the productions ofashattered brain, and also the nature of the mental disturbanceexpressing itself by them.__Now I have undertaken the work of investigating (as much as possibleafter your method), the tendencies of the fashions in artandliterature; of proving that they have their source in the degeneracyof their authors, and that the enthusiasm of their admirers is formanifestations of more or less pronounced moral insanity, imbecility,anddementia.__Thus, this book is an attempt at a really scientific criticism, whichdoes not base its judgment of a book upon the purely accidental,capricious and variable emotions it awakens--emotions depending onthetemperament and mood of the individual reader--but upon thepsycho-physiological elements from which it sprang. At the same time itventures to fill a void still existing in your powerful system.__I have no doubt as tothe consequences to myself of my initiative.There is at the present day no danger in attacking the Church, forit no longer has the stake at its disposal. To write against rulersand governments is likewise nothingventuresome, for at the worstnothing more than imprisonment could follow, with compensating gloryof martyrdom. But grievous is the fate of him who has the audacity tocharacterize æsthetic fashions as forms ofmental decay. The author orartist attacked never pardons a man for recognising in him a lunaticor a charlatan; the subjectively garrulous critics are furious when itis pointed out how shallow and incompetent they are,or how cowardlyin swimming with the stream; and even the public is angered whenforced to see that it has been running after fools, quack dentists,and mountebanks, as so many prophets. Now, the graphomaniacs andtheircritical bodyguard dominate nearly the entire press, and in the latterpossess an instrument of torture by which, in Indian fashion, they canrack the troublesome spoiler of sport, to his lifeâ\u0000\u0000s end.__The danger,however, to which he exposes himself cannot deter a manfrom doing that which he regards as his duty. When a scientific truthhas been discovered, he owes it to humanity, and has no right towithhold it. Moreover, it isas little possible to do this as for awoman voluntarily to prevent the birth of the mature fruit of her womb.__Without aspiring to the most distant comparison of myself with you,one of the loftiest mental phenomena ofthe century, I may yet take formy example the smiling serenity with which you pursue your own way,indifferent to ingratitude, insult, and misunderstanding.__Pray remain, dear and honoured master, ever favourablydisposedtowards your gratefully devoted_      _MAX NORDAU_.CONTENTS  BOOK I.  _FIN-DE-SIÃ\u0000CLE._  CHAPTER I.                                                        PAGE  THE DUSK OF THENATIONS                                  1  CHAPTER II.  THE SYMPTOMS                                             7  CHAPTER III.  DIAGNOSIS                                               15  CHAPTERIV.  ETIOLOGY                                                34  BOOK II.  _MYSTICISM._  CHAPTER I.  THE PSYCHOLOGY OF MYSTICISM                             45  CHAPTER II.  THEPRE-RAPHAELITES                                     67  CHAPTER III.  SYMBOLISM      100  CHAPTER IV.  TOLSTOISM                                              144  CHAPTER V.  THE RICHARD WAGNERCULT                                171  CHAPTER VI.  PARODIES OF MYSTICISM                                  214  BOOK III.  _EGO-MANIA._  CHAPTER I.  THE PSYCHOLOGY OF EGO-MANIA                            241  CHAPTERII.  PARNASSIANS AND DIABOLISTS                             266  CHAPTER III.  DECADENTS AND Ã\u0000STHETES                                 296  CHAPTER IV.  IBSENISM                                               338  CHAPTERV.  FRIEDRICH NIETZSCHE                                    415  BOOK IV.  _REALISM._  CHAPTER I.  ZOLA AND HIS SCHOOL                                    473  CHAPTER II.  THE â\u0000\u0000YOUNG GERMANâ\u0000\u0000PLAGIARISTS                         506  BOOK V.  _THE TWENTIETH CENTURY._  CHAPTER I.  PROGNOSIS                                              536  CHAPTERII.  THERAPEUTICS                                           550                       DEGENERATIONBOOK I._FIN-DE-SIÃ\u0000CLE_.CHAPTER I.THE DUSK OF THE NATIONS.FIN-DE-SIÃ\u0000CLE is a name covering both what is characteristicof manymodern phenomena, and also the underlying mood which in them findsexpression. Experience has long shown that an idea usually derivesits designation from the language of the nation which first formedit.This, indeed, is a law of constant application when historians ofmanners and customs inquire into language, for the purpose of obtainingsome notion, through the origins of some verbal root, respecting thehome of theearliest inventions and the line of evolution in differenthuman races. _Fin-de-siècle_ is French, for it was in France that themental state so entitled was first consciously realized. The word hasflown from onehemisphere to the other, and found its way into allcivilized languages. A proof this that the need of it existed. The_fin-de-siècle_ state of mind is to-day everywhere to be met with;nevertheless, it is in many cases amere imitation of a foreign fashiongaining vogue, and not an organic evolution. It is in the land of itsbirth that it appears in its most genuine form, and Paris is the rightplace in which to observe its manifoldexpressions.No proof is needed of the extreme silliness of the term. Only thebrain of a child or of a savage could form the clumsy idea that thecentury is a kind of living being, born like a beast or a man, passingthroughall the stages of existence, gradually ageing and decliningafter blooming childhood, joyous youth, and vigorous maturity, to diewith the expiration of the hundredth year, after being afflicted inits last decade with all theinfirmities of mournful senility. Sucha childish anthropomorphism or zoomorphism never stops to considerthat the arbitrary division of time, rolling ever continuously along,is not identical amongst all civilized beings,and that while thisnineteenth century of Christendom is held to be a creature reeling toits death presumptively in dire exhaustion, the fourteenth century ofthe Mahommedan world is tripping along in the baby-shoes ofits firstdecade, and the fifteenth century of the Jews strides gallantly by inthe full maturity of its fifty-second year. Every day on our globe130,000 human beings are born, for whom the world begins with this sameday,and the young citizen of the world is neither feebler nor fresherfor leaping into life in the midst of the death-throes of 1900, nor onthe birthday of the twentieth century. But it is a habit of the humanmind to projectexternally its own subjective states. And it is inaccordance with this naïvely egoistic tendency that the French ascribetheir own senility to the century, and speak of _fin-de-siècle_ whenthey ought correctly to say_fin-de-race_.[1]But however silly a term _fin-de-siècle_ may be, the mentalconstitution which it indicates is actually present in influentialcircles. The disposition of the times is curiously confused, a compoundoffeverish restlessness and blunted discouragement, of fearful presageand hang-dog renunciation. The prevalent feeling is that of imminentperdition and extinction. _Fin-de-siècle_ is at once a confession andacomplaint. The old Northern faith contained the fearsome doctrineof the Dusk of the Gods. In our days there have arisen in morehighly-developed minds vague qualms of a Dusk of the Nations, in whichall suns and allstars are gradually waning, and mankind with all itsinstitutions and creations is perishing in the midst of a dying world.It is not for the first time in the course of history that the horrorof world-annihilation has laid hold ofmenâ\u0000\u0000s minds. A similar sentimenttook possession of the Christian peoples at the approach of the year1000. But there is an essential difference between chiliastic panicand _fin-de-siècle_ excitement. The despairat the turn of the firstmillennium of Christian chronology proceeded from a feeling of fulnessof life and joy of life. Men were aware of throbbing pulses, theywere conscious of unweakened capacity for enjoyment, andfound itunmitigatedly appalling to perish together with the world, when therewere yet so many flagons to drain and so many lips to kiss, and whenthey could yet rejoice so vigorously in both love and wine. Of allthis inthe _fin-de-siècle_ feeling there is nothing. Neither has itanything in common with the impressive twilight-melancholy of an agedFaust, surveying the work of a lifetime, and who, proud of what hasbeen achieved, andcontemplating what is begun but not completed, isseized with vehement desire to finish his work, and, awakened fromsleep by haunting unrest, leaps up with the cry: â\u0000\u0000Was ich gedacht, icheilâ\u0000\u0000 es zuvollbringen.â\u0000\u0000[2]Quite otherwise is the _fin-de-siècle_ mood. It is the impotent despairof a sick man, who feels himself dying by inches in the midst of aneternally living nature blooming insolently for ever. It is theenvy ofa rich, hoary voluptuary, who sees a pair of young lovers making fora sequestered forest nook; it is the mortification of the exhaustedand impotent refugee from a Florentine plague, seeking in anenchantedgarden the experiences of a Decamerone, but striving in vain to snatchone more pleasure of sense from the uncertain hour. The reader ofTurgenieffâ\u0000\u0000s _A Nest of Nobles_ will remember the end of thatbeautifulwork. The hero, Lavretzky, comes as a man advanced in years to visit atthe house where, in his young days, he had lived his romance of love.All is unchanged. The garden is fragrant with flowers. In thegreattrees the happy birds are chirping; on the fresh turf the children rompand shout. Lavretzky alone has grown old, and contemplates, in mournfulexclusion, a scene where nature holds on its joyous way, caringnoughtthat Lisa the beloved is vanished, and Lavretzky, a broken-down man,weary of life. Lavretzkyâ\u0000\u0000s admission that, amidst all this ever-young,ever-blooming nature, for him alone there comes no morrow;Alvingâ\u0000\u0000sdying cry for â\u0000\u0000The sun--the sun!â\u0000\u0000 in Ibsenâ\u0000\u0000s _Ghosts_--these expressrightly the _fin-de-siècle_ attitude of to-day.This fashionable term has the necessary vagueness which fits it toconvey allthe half-conscious and indistinct drift of current ideas.Just as the words â\u0000\u0000freedom,â\u0000\u0000 â\u0000\u0000ideal,â\u0000\u0000 â\u0000\u0000progressâ\u0000\u0000 seem to expressnotions, but actually are only sounds, so in itself _fin-de-siècle_meansnothing, and receives a varying signification according to thediverse mental horizons of those who use it.The surest way of knowing what _fin-de-siècle_ implies, is to considera series of particular instances where theword has been applied. Thosewhich I shall adduce are drawn from French books and periodicals of thelast two years.[3]A king abdicates, leaves his country, and takes up his residence inParis, having reserved certainpolitical rights. One day he loses muchmoney at play, and is in a dilemma. He therefore makes an agreementwith the Government of his country, by which, on receipt of a millionfrancs, he renounces for ever every title,official position andprivilege remaining to him. _Fin-de-siècle_ king.A bishop is prosecuted for insulting the minister of public worship.The proceedings terminated, his attendant canons distribute amongstthe reportersin court a defence, copies of which he has preparedbeforehand. When condemned to pay a fine, he gets up a publiccollection, which brings in tenfold the amount of the penalty. Hepublishes a justificatory volumecontaining all the expressions ofsupport which have reached him. He makes a tour through the country,exhibits himself in every cathedral to the mob curious to see thecelebrity of the hour, and takes the opportunity ofsending round theplate. _Fin-de-siècle_ bishop.The corpse of the murderer Pranzini after execution underwent autopsy.The head of the secret police cuts off a large piece of skin, hasit tanned, and the leather madeinto cigar-cases and card-cases forhimself and some of his friends. _Fin-de-siècle_ official.An American weds his bride in a gas-factory, then gets with her intoa balloon held in readiness, and enters on a honeymoon inthe clouds._Fin-de-siècle_ wedding.An _attaché_ of the Chinese Embassy publishes high-class works inFrench under his own name. He negotiates with banks respecting alarge loan for his Government, and drawslarge advances for himselfon the unfinished contract. Later it comes out that the books werecomposed by his French secretary, and that he has swindled the banks._Fin-de-siècle_ diplomatist.A public schoolboywalking with a chum passes the gaol where hisfather, a rich banker, has repeatedly been imprisoned for fraudulentbankruptcy, embezzlement and similar lucrative misdemeanours. Pointingto the building, he tells hisfriend with a smile: â\u0000\u0000Look, thatâ\u0000\u0000s thegovernorâ\u0000\u0000s school.â\u0000\u0000 _Fin-de-siècle_ son.Two young ladies of good family, and school friends, are chattingtogether. One heaves a sigh. â\u0000\u0000Whatâ\u0000\u0000s thematter?â\u0000\u0000 asks the other. â\u0000\u0000Iâ\u0000\u0000min love with Raoul, and he with me.â\u0000\u0000 â\u0000\u0000Oh, thatâ\u0000\u0000s lovely! Heâ\u0000\u0000s handsome,young, elegant; and yet youâ\u0000\u0000re sad?â\u0000\u0000 â\u0000\u0000Yes, but he has nothing, andisnothing, and my parents want me to marry the baron, who is fat,bald, and ugly, but has a huge lot of money.â\u0000\u0000 â\u0000\u0000Well, marry the baronwithout any fuss, and make Raoul acquainted with him, yougoose.â\u0000\u0000_Fin-de-siècle_ girls.Such test-cases show how the word is understood in the land of itsbirth. Germans who ape Paris fashions, and apply _fin-de-siècle_almost exclusively to mean what is indecent andimproper, misuse theword in their coarse ignorance as much as, in a previous generation,they vulgarized the expression _demi-monde_, misunderstanding itsproper meaning, and giving it the sense of _fille de joie_,whereasits creator Dumas intended it to denote persons whose lives containedsome dark period, for which they were excluded from the circle to whichthey belong by birth, education, or profession, but who do not bytheirmanner betray, at least to the inexperienced, that they are no longeracknowledged as members of their own caste._Prima facie_, a king who sells his sovereign rights for a big chequeseems to have little in commonwith a newly-wedded pair who make theirwedding-trip in a balloon, nor is the connection at once obviousbetween an episcopal Barnum and a well-brought-up young lady whoadvises her friend to a wealthy marriagemitigated by a _cicisbeo_. Allthese _fin-de-siècle_ cases have, nevertheless, a common feature, towit, a contempt for traditional views of custom and morality.Such is the notion underlying the word _fin-de-siècle_.It means apractical emancipation from traditional discipline, which theoreticallyis still in force. To the voluptuary this means unbridled lewdness, theunchaining of the beast in man; to the withered heart of theegoist,disdain of all consideration for his fellow-men, the trampling underfoot of all barriers which enclose brutal greed of lucre and lustof pleasure; to the contemner of the world it means the shamelessascendency ofbase impulses and motives, which were, if not virtuouslysuppressed, at least hypocritically hidden; to the believer it meansthe repudiation of dogma, the negation of a supersensuous world, thedescent into flatphenomenalism; to the sensitive nature yearning foræsthetic thrills, it means the vanishing of ideals in art, and no morepower in its accepted forms to arouse emotion. And to all, it means theend of an establishedorder, which for thousands of years has satisfiedlogic, fettered depravity, and in every art matured something of beauty.One epoch of history is unmistakably in its decline, and anotheris announcing its approach. Thereis a sound of rending in everytradition, and it is as though the morrow would not link itself withto-day. Things as they are totter and plunge, and they are suffered toreel and fall, because man is weary, and there is no"}
+{"doc_id":"doc_326","qid":"","text":"The Project Gutenberg EBook of Coming Attraction, by Fritz LeiberThis eBook is for the use of anyone anywhere in the United States and mostother parts of the world at no cost and with almost norestrictionswhatsoever.  You may copy it, give it away or re-use it under the terms ofthe Project Gutenberg License included with this eBook or online atwww.gutenberg.org.  If you are not located in the United States,you'll haveto check the laws of the country where you are located before using this ebook.Title: Coming AttractionAuthor: Fritz LeiberRelease Date: January 30, 2016 [EBook #51082]Language: English*** START OFTHIS PROJECT GUTENBERG EBOOK COMING ATTRACTION ***Produced by Greg Weeks, Mary Meehan and the OnlineDistributed Proofreading Team at http://www.pgdp.net                           ComingAttraction                            BY FRITZ LEIBER                       Illustrated by Paul Calle           [Transcriber's Note: This etext was produced from                 Galaxy Science Fiction November 1950.         Extensiveresearch did not uncover any evidence that         the U.S. copyright on this publication was renewed.]           Women will always go on trying to attract men ...             even when the future seems to have no future!Thecoupe with the fishhooks welded to the fender shouldered up overthe curb like the nose of a nightmare. The girl in its path stoodfrozen, her face probably stiff with fright under her mask. For once myreflexes weren'tshy. I took a fast step toward her, grabbed her elbow,yanked her back. Her black skirt swirled out.The big coupe shot by, its turbine humming. I glimpsed three faces.Something ripped. I felt the hot exhaust on myankles as the bigcoupe swerved back into the street. A thick cloud like a black flowerblossomed from its jouncing rear end, while from the fishhooks flew ablack shimmering rag.\"Did they get you?\" I asked the girl.Shehad twisted around to look where the side of her skirt was tornaway. She was wearing nylon tights.\"The hooks didn't touch me,\" she said shakily. \"I guess I'm lucky.\"I heard voices around us:\"Those kids! What'll theythink up next?\"\"They're a menace. They ought to be arrested.\"Sirens screamed at a rising pitch as two motor-police, theirrocket-assist jets full on, came whizzing toward us after the coupe.But the black flower hadbecome a thick fog obscuring the whole street.The motor-police switched from rocket assists to rocket brakes andswerved to a stop near the smoke cloud.\"Are you English?\" the girl asked me. \"You have an Englishaccent.\"Her voice came shudderingly from behind the sleek black satin mask.I fancied her teeth must be chattering. Eyes that were perhaps bluesearched my face from behind the black gauze covering the eyeholesofthe mask. I told her she'd guessed right. She stood close to me. \"Willyou come to my place tonight?\" she asked rapidly. \"I can't thank younow. And there's something you can help me about.\"My arm, still lightlycircling her waist, felt her body trembling. Iwas answering the plea in that as much as in her voice when I said,\"Certainly.\" She gave me an address south of Inferno, an apartmentnumber and a time. She asked me myname and I told her.\"Hey, you!\"I turned obediently to the policeman's shout. He shooed away the smallclucking crowd of masked women and barefaced men. Coughing from thesmoke that the black coupe had thrownout, he asked for my papers. Ihanded him the essential ones.       *       *       *       *       *He looked at them and then at me. \"British Barter? How long will you bein New York?\"Suppressing the urge to say, \"For asshort a time as possible,\" I toldhim I'd be here for a week or so.\"May need you as a witness,\" he explained. \"Those kids can't use smokeon us. When they do that, we pull them in.\"He seemed to think the smoke was thebad thing. \"They tried to kill thelady,\" I pointed out.He shook his head wisely. \"They always pretend they're going to, butactually they just want to snag skirts. I've picked up rippers withas many as fifty skirt-snagstacked up in their rooms. Of course,sometimes they come a little too close.\"I explained that if I hadn't yanked her out of the way, she'd have beenhit by more than hooks. But he interrupted, \"If she'd thought it wasareal murder attempt, she'd have stayed here.\"I looked around. It was true. She was gone.\"She was fearfully frightened,\" I told him.\"Who wouldn't be? Those kids would have scared old Stalin himself.\"\"I meanfrightened of more than 'kids.' They didn't look like 'kids.'\"\"What did they look like?\"I tried without much success to describe the three faces. A vagueimpression of viciousness and effeminacy doesn't mean much.\"Well,I could be wrong,\" he said finally. \"Do you know the girl? Whereshe lives?\"\"No,\" I half lied.The other policeman hung up his radiophone and ambled toward us,kicking at the tendrils of dissipating smoke. The black cloudno longerhid the dingy facades with their five-year-old radiation flash-burns,and I could begin to make out the distant stump of the Empire StateBuilding, thrusting up out of Inferno like a mangled finger.\"They haven'tbeen picked up so far,\" the approaching policemangrumbled. \"Left smoke for five blocks, from what Ryan says.\"The first policeman shook his head. \"That's bad,\" he observed solemnly.I was feeling a bit uneasy andashamed. An Englishman shouldn't lie, atleast not on impulse.\"They sound like nasty customers,\" the first policeman continued in thesame grim tone. \"We'll need witnesses. Looks as if you may have to stayin New Yorklonger than you expect.\"I got the point. I said, \"I forgot to show you all my papers,\" andhanded him a few others, making sure there was a five dollar bill inamong them.       *       *       *       *       *When he handedthem back a bit later, his voice was no longer ominous.My feelings of guilt vanished. To cement our relationship, I chattedwith the two of them about their job.\"I suppose the masks give you some trouble,\" I observed.\"Over inEngland we've been reading about your new crop of masked femalebandits.\"\"Those things get exaggerated,\" the first policeman assured me. \"It'sthe men masking as women that really mix us up. But, brother,when wenab them, we jump on them with both feet.\"\"And you get so you can spot women almost as well as if they had nakedfaces,\" the second policeman volunteered. \"You know, hands and allthat.\"\"Especially allthat,\" the first agreed with a chuckle. \"Say, is ittrue that some girls don't mask over in England?\"\"A number of them have picked up the fashion,\" I told him. \"Only a few,though--the ones who always adopt the lateststyle, however extreme.\"\"They're usually masked in the British newscasts.\"\"I imagine it's arranged that way out of deference to American taste,\"I confessed. \"Actually, not very many do mask.\"The second policemanconsidered that. \"Girls going down the street barefrom the neck up.\" It was not clear whether he viewed the prospect withrelish or moral distaste. Likely both.\"A few members keep trying to persuade Parliament toenact a lawforbidding all masking,\" I continued, talking perhaps a bit too much.The second policeman shook his head. \"What an idea. You know, masks area pretty good thing, brother. Couple of years more and I'mgoing tomake my wife wear hers around the house.\"The first policeman shrugged. \"If women were to stop wearing masks, insix weeks you wouldn't know the difference. You get used to anything,if enough people do ordon't do it.\"I agreed, rather regretfully, and left them. I turned north on Broadway(old Tenth Avenue, I believe) and walked rapidly until I was beyondInferno. Passing such an area of undecontaminated radioactivityalwaysmakes a person queasy. I thanked God there weren't any such in England,as yet.The street was almost empty, though I was accosted by a couple ofbeggars with faces tunneled by H-bomb scars, whether real orof makeupputty, I couldn't tell. A fat woman held out a baby with webbed fingersand toes. I told myself it would have been deformed anyway and that shewas only capitalizing on our fear of bomb-induced mutations.Still,I gave her a seven-and-a-half-cent piece. Her mask made me feel I waspaying tribute to an African fetish.\"May all your children be blessed with one head and two eyes, sir.\"\"Thanks,\" I said, shuddering, and hurriedpast her.\"... There's only trash behind the mask, so turn your head, stick toyour task: Stay away, stay away--from--the--girls!\"       *       *       *       *       *This last was the end of an anti-sex song being sung bysomereligionists half a block from the circle-and-cross insignia of afemalist temple. They reminded me only faintly of our small tribeof British monastics. Above their heads was a jumble of billboardsadvertisingpredigested foods, wrestling instruction, radio handies andthe like.I stared at the hysterical slogans with disagreeable fascination. Sincethe female face and form have been banned on American signs, the veryletters ofthe advertiser's alphabet have begun to crawl with sex--thefat-bellied, big-breasted capital B, the lascivious double O. However,I reminded myself, it is chiefly the mask that so strangely accents sexin America.A Britishanthropologist has pointed out, that, while it took morethan 5,000 years to shift the chief point of sexual interest from thehips to the breasts, the next transition to the face has taken lessthan 50 years. Comparing theAmerican style with Moslem tradition isnot valid; Moslem women are compelled to wear veils, the purpose ofwhich is concealment, while American women have only the compulsion offashion and use masks to createmystery.Theory aside, the actual origins of the trend are to be found inthe anti-radiation clothing of World War III, which led to maskedwrestling, now a fantastically popular sport, and that in turn led tothe currentfemale fashion. Only a wild style at first, masks quicklybecame as necessary as brassieres and lipsticks had been earlier in thecentury.I finally realized that I was not speculating about masks in general,but about whatlay behind one in particular. That's the devil of thethings; you're never sure whether a girl is heightening lovelinessor hiding ugliness. I pictured a cool, pretty face in which fearshowed only in widened eyes. Then Iremembered her blonde hair, richagainst the blackness of the satin mask. She'd told me to come at thetwenty-second hour--ten p.m.I climbed to my apartment near the British Consulate; the elevatorshaft had beenshoved out of plumb by an old blast, a nuisance in thesetall New York buildings. Before it occurred to me that I would begoing out again, I automatically tore a tab from the film strip undermy shirt. I developed it just tobe sure. It showed that the totalradiation I'd taken that day was still within the safety limit. I'mnot phobic about it, as so many people are these days, but there's nopoint in taking chances.I flopped down on the day bedand stared at the silent speaker and thedark screen of the video set. As always, they made me think, somewhatbitterly, of the two great nations of the world. Mutilated by eachother, yet still strong, they were crippledgiants poisoning the planetwith their dreams of an impossible equality and an impossible success.I fretfully switched on the speaker. By luck, the newscaster wastalking excitedly of the prospects of a bumper wheatcrop, sown byplanes across a dust bowl moistened by seeded rains. I listenedcarefully to the rest of the program (it was remarkably clear ofRussian telejamming) but there was no further news of interest tome. And, ofcourse, no mention of the Moon, though everyone knowsthat America and Russia are racing to develop their primary basesinto fortresses capable of mutual assault and the launching ofalphabet-bombs toward Earth. Imyself knew perfectly well that theBritish electronic equipment I was helping trade for American wheat wasdestined for use in spaceships.       *       *       *       *       *I switched off the newscast. It was growing darkand once again Ipictured a tender, frightened face behind a mask. I hadn't had a datesince England. It's exceedingly difficult to become acquainted with agirl in America, where as little as a smile, often, can set one ofthemyelping for the police--to say nothing of the increasing puritanicalmorality and the roving gangs that keep most women indoors after dark.And naturally, the masks which are definitely not, as the Sovietsclaim, alast invention of capitalist degeneracy, but a sign of greatpsychological insecurity. The Russians have no masks, but they havetheir own signs of stress.I went to the window and impatiently watched the darknessgather. I wasgetting very restless. After a while a ghostly violet cloud appeared tothe south. My hair rose. Then I laughed. I had momentarily fancied it aradiation from the crater of the Hell-bomb, though I shouldinstantlyhave known it was only the radio-induced glow in the sky over theamusement and residential area south of Inferno.Promptly at twenty-two hours I stood before the door of my unknown girlfriend's apartment.The electronic say-who-please said just that. Ianswered clearly, \"Wysten Turner,\" wondering if she'd given my name tothe mechanism. She evidently had, for the door opened. I walked into asmall empty living room,my heart pounding a bit.The room was expensively furnished with the latest pneumatic hassocksand sprawlers. There were some midgie books on the table. The one Ipicked up was the standard hard-boiled detectivestory in which twofemale murderers go gunning for each other.The television was on. A masked girl in green was crooning a love song.Her right hand held something that blurred off into the foreground.I saw the sethad a handie, which we haven't in England as yet, andcuriously thrust my hand into the handie orifice beside the screen.Contrary to my expectations, it was not like slipping into a pulsingrubber glove, but rather as ifthe girl on the screen actually held myhand.A door opened behind me. I jerked out my hand with as guilty a reactionas if I'd been caught peering through a keyhole.She stood in the bedroom doorway. I think she wastrembling. She waswearing a gray fur coat, white-speckled, and a gray velvet eveningmask with shirred gray lace around the eyes and mouth. Her fingernailstwinkled like silver.It hadn't occurred to me that she'dexpect us to go out.\"I should have told you,\" she said softly. Her mask veered nervouslytoward the books and the screen and the room's dark corners. \"But Ican't possibly talk to you here.\"I said doubtfully, \"There's aplace near the Consulate....\"\"I know where we can be together and talk,\" she said rapidly. \"If youdon't mind.\"As we entered the elevator I said, \"I'm afraid I dismissed the cab.\"       *       *       *       *       *But the cabdriver hadn't gone for some reason of his own. He jumpedout and smirkingly held the front door open for us. I told him wepreferred to sit in back. He sulkily opened the rear door, slammed itafter us, jumped in frontand slammed the door behind him.My companion leaned forward. \"Heaven,\" she said.The driver switched on the turbine and televisor.\"Why did you ask if I were a British subject?\" I said, to start theconversation.Sheleaned away from me, tilting her mask close to the window. \"See theMoon,\" she said in a quick, dreamy voice.\"But why, really?\" I pressed, conscious of an irritation that hadnothing to do with her.\"It's edging up intothe purple of the sky.\"\"And what's your name?\"\"The purple makes it look yellower.\"       *       *       *       *       *Just then I became aware of the source of my irritation. It lay in thesquare of writhing light in the frontof the cab beside the driver.I don't object to ordinary wrestling matches, though they bore me, butI simply detest watching a man wrestle a woman. The fact that the boutsare generally \"on the level,\" with the mangreatly outclassed in weightand reach and the masked females young and personable, only makes themseem worse to me.\"Please turn off the screen,\" I requested the driver.He shook his head without looking around.\"Uh-uh, man,\" he said.\"They've been grooming that babe for weeks for this bout with LittleZirk.\"Infuriated, I reached forward, but my companion caught my arm.\"Please,\" she whispered frightenedly, shaking her head.Isettled back, frustrated. She was closer to me now, but silent andfor a few moments I watched the heaves and contortions of the powerfulmasked girl and her wiry masked opponent on the screen. His franticscramblingat her reminded me of a male spider.I jerked around, facing my companion. \"Why did those three men want tokill you?\" I asked sharply.The eyeholes of her mask faced the screen. \"Because they're jealous ofme,\" shewhispered.\"Why are they jealous?\"She still didn't look at me. \"Because of him.\"\"Who?\"She didn't answer.I put my arm around her shoulders. \"Are you afraid to tell me?\" Iasked. \"What _is_ the matter?\"She still didn'tlook my way. She smelled nice.\"See here,\" I said laughingly, changing my tactics, \"you really shouldtell me something about yourself. I don't even know what you look like.\"I half playfully lifted my hand to the band ofher neck. She gave it anastonishingly swift slap. I pulled it away in sudden pain. There werefour tiny indentations on the back. From one of them a tiny bead ofblood welled out as I watched. I looked at her silverfingernails andsaw they were actually delicate and pointed metal caps.\"I'm dreadfully sorry,\" I heard her say, \"but you frightened me. Ithought for a moment you were going to....\"At last she turned to me. Her coat hadfallen open. Her evening dresswas Cretan Revival, a bodice of lace beneath and supporting the breastswithout covering them.\"Don't be angry,\" she said, putting her arms around my neck. \"You werewonderful thisafternoon.\"The soft gray velvet of her mask, molding itself to her cheek, pressedmine. Through the mask's lace the wet warm tip of her tongue touched mychin.\"I'm not angry,\" I said. \"Just puzzled and anxious tohelp.\"The cab stopped. To either side were black windows bordered by spearsof broken glass. The sickly purple light showed a few ragged figuresslowly moving toward us.The driver muttered, \"It's the turbine, man.We're grounded.\" He satthere hunched and motionless. \"Wish it had happened somewhere else.\"My companion whispered, \"Five dollars is the usual amount.\"She looked out so shudderingly at the congregating figuresthat Isuppressed my indignation and did as she suggested. The driver took thebill without a word. As he started up, he put his hand out the windowand I heard a few coins clink on the pavement.My companion cameback into my arms, but her mask faced the televisionscreen, where the tall girl had just pinned the convulsively kickingLittle Zirk.\"I'm so frightened,\" she breathed.       *       *       *       *       *Heaven turned out to bean equally ruinous neighborhood, but it had aclub with an awning and a huge doorman uniformed like a spaceman, butin gaudy colors. In my sensuous daze I rather liked it all. We steppedout of the cab just as adrunken old woman came down the sidewalk,her mask awry. A couple ahead of us turned their heads from the halfrevealed face, as if from an ugly body at the beach. As we followedthem in I heard the doorman say,\"Get along, grandma, and watchyourself.\"Inside, everything was dimness and blue glows. She had said we couldtalk here, but I didn't see how. Besides the inevitable chorus ofsneezes and coughs (they say America isfifty per cent allergicthese days), there was a band going full blast in the latest robopstyle, in which an electronic composing machine selects an arbitrarysequence of tones into which the musicians weave their raucouslittleindividualities.Most of the people were in booths. The band was behind the bar. On asmall platform beside them, a girl was dancing, stripped to her mask.The little cluster of men at the shadowy far end of the barweren'tlooking at her.We inspected the menu in gold script on the wall and pushed the buttonsfor breast of chicken, fried shrimps and two scotches. Moments later,the serving bell tinkled. I opened the gleaming paneland took out ourdrinks.       *       *       *       *       *The cluster of men at the bar filed off toward the door, but first theystared around the room. My companion had just thrown back her coat.Their look lingered on ourbooth. I noticed that there were three ofthem.The band chased off the dancing girl with growls. I handed my companiona straw and we sipped our drinks.\"You wanted me to help you about something,\" I said.\"Incidentally, Ithink you're lovely.\"She nodded quick thanks, looked around, leaned forward. \"Would it behard for me to get to England?\"\"No,\" I replied, a bit taken aback. \"Provided you have an Americanpassport.\"\"Arethey difficult to get?\"\"Rather,\" I said, surprised at her lack of information. \"Your countrydoesn't like its nationals to travel, though it isn't quite asstringent as Russia.\"\"Could the British Consulate help me get apassport?\"\"It's hardly their....\"\"Could you?\"I realized we were being inspected. A man and two girls had pausedopposite our table. The girls were tall and wolfish-looking, withspangled masks. The man stood jauntily"}
+{"doc_id":"doc_327","qid":"","text":"The Project Gutenberg EBook of Heartbreak House, by George Bernard ShawThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it awayorre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: Heartbreak HouseAuthor: George Bernard ShawPosting Date: January 13, 2009 [EBook#3543]Release Date: November, 2002Language: English*** START OF THIS PROJECT GUTENBERG EBOOK HEARTBREAK HOUSE ***Produced by Eve SobolHEARTBREAK HOUSEA FANTASIA IN THE RUSSIAN MANNERON ENGLISH THEMESBy Bernard Shaw1913-1916HEARTBREAK HOUSE AND HORSEBACK HALLWhere Heartbreak House StandsHeartbreak House is not merely the name of the play which follows thispreface. It iscultured, leisured Europe before the war. When theplay was begun not a shot had been fired; and only the professionaldiplomatists and the very few amateurs whose hobby is foreign policyeven knew that the gunswere loaded. A Russian playwright, Tchekov, hadproduced four fascinating dramatic studies of Heartbreak House, ofwhich three, The Cherry Orchard, Uncle Vanya, and The Seagull, had beenperformed in England.Tolstoy, in his Fruits of Enlightenment, had shownus through it in his most ferociously contemptuous manner. Tolstoy didnot waste any sympathy on it: it was to him the house in which Europewas stifling its soul; andhe knew that our utter enervation andfutilization in that overheated drawingroom atmosphere was deliveringthe world over to the control of ignorant and soulless cunning andenergy, with the frightful consequenceswhich have now overtakenit. Tolstoy was no pessimist: he was not disposed to leave the housestanding if he could bring it down about the ears of its pretty andamiable voluptuaries; and he wielded the pickaxe with awill. He treatedthe case of the inmates as one of opium poisoning, to be dealt with byseizing the patients roughly and exercising them violently until theywere broad awake. Tchekov, more of a fatalist, had no faith inthesecharming people extricating themselves. They would, he thought, be soldup and sent adrift by the bailiffs; and he therefore had no scruple inexploiting and even flattering their charm.The InhabitantsTchekov'splays, being less lucrative than swings and roundabouts,got no further in England, where theatres are only ordinary commercialaffairs, than a couple of performances by the Stage Society. We staredand said, \"HowRussian!\" They did not strike me in that way. Justas Ibsen's intensely Norwegian plays exactly fitted every middle andprofessional class suburb in Europe, these intensely Russian playsfitted all the country houses inEurope in which the pleasures of music,art, literature, and the theatre had supplanted hunting, shooting,fishing, flirting, eating, and drinking. The same nice people, the sameutter futility. The nice people could read;some of them couldwrite; and they were the sole repositories of culture who had socialopportunities of contact with our politicians, administrators, andnewspaper proprietors, or any chance of sharing or influencingtheiractivities. But they shrank from that contact. They hated politics. Theydid not wish to realize Utopia for the common people: they wished torealize their favorite fictions and poems in their own lives; and, whentheycould, they lived without scruple on incomes which they did nothingto earn. The women in their girlhood made themselves look like varietytheatre stars, and settled down later into the types of beauty imaginedby theprevious generation of painters. They took the only part of oursociety in which there was leisure for high culture, and made it aneconomic, political and; as far as practicable, a moral vacuum; and asNature, abhorringthe vacuum, immediately filled it up with sex and withall sorts of refined pleasures, it was a very delightful place at itsbest for moments of relaxation. In other moments it was disastrous. Forprime ministers and theirlike, it was a veritable Capua.Horseback HallBut where were our front benchers to nest if not here? The alternativeto Heartbreak House was Horseback Hall, consisting of a prison forhorses with an annex for the ladiesand gentlemen who rode them, huntedthem, talked about them, bought them and sold them, and gave nine-tenthsof their lives to them, dividing the other tenth between charity,churchgoing (as a substitute forreligion), and conservativeelectioneering (as a substitute for politics). It is true that the twoestablishments got mixed at the edges. Exiles from the library, themusic room, and the picture gallery would be foundlanguishing among thestables, miserably discontented; and hardy horsewomen who slept at thefirst chord of Schumann were born, horribly misplaced, into the gardenof Klingsor; but sometimes one came uponhorsebreakers and heartbreakerswho could make the best of both worlds. As a rule, however, the two wereapart and knew little of one another; so the prime minister folk hadto choose between barbarism and Capua.And of the two atmospheres it ishard to say which was the more fatal to statesmanship.Revolution on the ShelfHeartbreak House was quite familiar with revolutionary ideas on paper.It aimed at being advanced andfreethinking, and hardly ever went tochurch or kept the Sabbath except by a little extra fun at weekends.When you spent a Friday to Tuesday in it you found on the shelf in yourbedroom not only the books of poets andnovelists, but of revolutionarybiologists and even economists. Without at least a few plays by myselfand Mr Granville Barker, and a few stories by Mr H. G. Wells, Mr ArnoldBennett, and Mr John Galsworthy, the housewould have been out of themovement. You would find Blake among the poets, and beside him Bergson,Butler, Scott Haldane, the poems of Meredith and Thomas Hardy, and,generally speaking, all the literaryimplements for forming the mind ofthe perfect modern Socialist and Creative Evolutionist. It was a curiousexperience to spend Sunday in dipping into these books, and the Mondaymorning to read in the daily paper thatthe country had just beenbrought to the verge of anarchy because a new Home Secretary or chief ofpolice without an idea in his head that his great-grandmother mightnot have had to apologize for, had refused to\"recognize\" some powerfulTrade Union, just as a gondola might refuse to recognize a 20,000-tonliner.In short, power and culture were in separate compartments. Thebarbarians were not only literally in the saddle, buton the frontbench in the House of commons, with nobody to correct their incredibleignorance of modern thought and political science but upstarts fromthe counting-house, who had spent their lives furnishing theirpocketsinstead of their minds. Both, however, were practised in dealing withmoney and with men, as far as acquiring the one and exploiting the otherwent; and although this is as undesirable an expertness as that ofthemedieval robber baron, it qualifies men to keep an estate or a businessgoing in its old routine without necessarily understanding it, just asBond Street tradesmen and domestic servants keep fashionable societygoingwithout any instruction in sociology.The Cherry OrchardThe Heartbreak people neither could nor would do anything of the sort.With their heads as full of the Anticipations of Mr H. G. Wells asthe heads of our actualrulers were empty even of the anticipations ofErasmus or Sir Thomas More, they refused the drudgery of politics, andwould have made a very poor job of it if they had changed their minds.Not that they would havebeen allowed to meddle anyhow, as only throughthe accident of being a hereditary peer can anyone in these days ofVotes for Everybody get into parliament if handicapped by a seriousmodern cultural equipment; but ifthey had, their habit of living in avacuum would have left them helpless end ineffective in publicaffairs. Even in private life they were often helpless wasters of theirinheritance, like the people in Tchekov's CherryOrchard. Even those wholived within their incomes were really kept going by their solicitorsand agents, being unable to manage an estate or run a business withoutcontinual prompting from those who have to learn howto do such thingsor starve.From what is called Democracy no corrective to this state of thingscould be hoped. It is said that every people has the Governmentit deserves. It is more to the point that every Governmenthas theelectorate it deserves; for the orators of the front bench can edify ordebauch an ignorant electorate at will. Thus our democracy moves in avicious circle of reciprocal worthiness and unworthiness.Nature's LongCreditsNature's way of dealing with unhealthy conditions is unfortunately notone that compels us to conduct a solvent hygiene on a cash basis. Shedemoralizes us with long credits and reckless overdrafts, and thenpullsus up cruelly with catastrophic bankruptcies. Take, for example, commondomestic sanitation. A whole city generation may neglect it utterlyand scandalously, if not with absolute impunity, yet without anyevilconsequences that anyone thinks of tracing to it. In a hospital twogenerations of medical students way tolerate dirt and carelessness, andthen go out into general practice to spread the doctrine that freshair is a fad,and sanitation an imposture set up to make profits forplumbers. Then suddenly Nature takes her revenge. She strikes at thecity with a pestilence and at the hospital with an epidemic of hospitalgangrene, slaughteringright and left until the innocent young have paidfor the guilty old, and the account is balanced. And then she goes tosleep again and gives another period of credit, with the same result.This is what has just happened inour political hygiene. Politicalscience has been as recklessly neglected by Governments and electoratesduring my lifetime as sanitary science was in the days of Charles theSecond. In international relations diplomacyhas been a boyishly lawlessaffair of family intrigues, commercial and territorial brigandage,torpors of pseudo-goodnature produced by laziness and spasms offerocious activity produced by terror. But in these islands wemuddledthrough. Nature gave us a longer credit than she gave to France orGermany or Russia. To British centenarians who died in their beds in1914, any dread of having to hide underground in London from theshellsof an enemy seemed more remote and fantastic than a dread of theappearance of a colony of cobras and rattlesnakes in Kensington Gardens.In the prophetic works of Charles Dickens we were warned againstmanyevils which have since come to pass; but of the evil of beingslaughtered by a foreign foe on our own doorsteps there was no shadow.Nature gave us a very long credit; and we abused it to the utmost. Butwhen shestruck at last she struck with a vengeance. For four yearsshe smote our firstborn and heaped on us plagues of which Egypt neverdreamed. They were all as preventable as the great Plague of London, andcame solelybecause they had not been prevented. They were not undone bywinning the war. The earth is still bursting with the dead bodies of thevictors.The Wicked Half CenturyIt is difficult to say whether indifference and neglectare worse thanfalse doctrine; but Heartbreak House and Horseback Hall unfortunatelysuffered from both. For half a century before the war civilization hadbeen going to the devil very precipitately under the influence ofapseudo-science as disastrous as the blackest Calvinism. Calvinism taughtthat as we are predestinately saved or damned, nothing that we can docan alter our destiny. Still, as Calvinism gave the individual no clueas towhether he had drawn a lucky number or an unlucky one, it lefthim a fairly strong interest in encouraging his hopes of salvation andallaying his fear of damnation by behaving as one of the elect mightbe expected tobehave rather than as one of the reprobate. But in themiddle of the nineteenth century naturalists and physicists assuredthe world, in the name of Science, that salvation and damnation areall nonsense, and thatpredestination is the central truth of religion,inasmuch as human beings are produced by their environment, their sinsand good deeds being only a series of chemical and mechanical reactionsover which they have nocontrol. Such figments as mind, choice, purpose,conscience, will, and so forth, are, they taught, mere illusions,produced because they are useful in the continual struggle of the humanmachine to maintain itsenvironment in a favorable condition, a processincidentally involving the ruthless destruction or subjection of itscompetitors for the supply (assumed to be limited) of subsistenceavailable. We taught Prussia thisreligion; and Prussia bettered ourinstruction so effectively that we presently found ourselves confrontedwith the necessity of destroying Prussia to prevent Prussia destroyingus. And that has just ended in eachdestroying the other to an extentdoubtfully reparable in our time.It may be asked how so imbecile and dangerous a creed ever came to beaccepted by intelligent beings. I will answer that question more fullyin my nextvolume of plays, which will be entirely devoted to thesubject. For the present I will only say that there were better reasonsthan the obvious one that such sham science as this opened a scientificcareer to very stupidmen, and all the other careers to shamelessrascals, provided they were industrious enough. It is true thatthis motive operated very powerfully; but when the new departure inscientific doctrine which is associated withthe name of the greatnaturalist Charles Darwin began, it was not only a reaction against abarbarous pseudo-evangelical teleology intolerably obstructive to allscientific progress, but was accompanied, as it happened,by discoveriesof extraordinary interest in physics, chemistry, and that lifelessmethod of evolution which its investigators called Natural Selection.Howbeit, there was only one result possible in the ethical sphere, andthatwas the banishment of conscience from human affairs, or, as SamuelButler vehemently put it, \"of mind from the universe.\"HypochondriaNow Heartbreak House, with Butler and Bergson and Scott HaldanealongsideBlake and the other major poets on its shelves (to say nothingof Wagner and the tone poets), was not so completely blinded by thedoltish materialism of the laboratories as the uncultured world outside.But being an idlehouse it was a hypochondriacal house, always runningafter cures. It would stop eating meat, not on valid Shelleyan grounds,but in order to get rid of a bogey called Uric Acid; and it wouldactually let you pull all its teethout to exorcise another demonnamed Pyorrhea. It was superstitious, and addicted to table-rapping,materialization seances, clairvoyance, palmistry, crystal-gazing and thelike to such an extent that it may be doubtedwhether ever before inthe history of the world did soothsayers, astrologers, and unregisteredtherapeutic specialists of all sorts flourish as they did during thishalf century of the drift to the abyss. The registered doctorsandsurgeons were hard put to it to compete with the unregistered. They werenot clever enough to appeal to the imagination and sociability ofthe Heartbreakers by the arts of the actor, the orator, the poet, thewinningconversationalist. They had to fall back coarsely on the terrorof infection and death. They prescribed inoculations and operations.Whatever part of a human being could be cut out without necessarilykilling him they cutout; and he often died (unnecessarily of course)in consequence. From such trifles as uvulas and tonsils they went onto ovaries and appendices until at last no one's inside was safe. Theyexplained that the humanintestine was too long, and that nothing couldmake a child of Adam healthy except short circuiting the pylorus bycutting a length out of the lower intestine and fastening it directly tothe stomach. As their mechanisttheory taught them that medicine wasthe business of the chemist's laboratory, and surgery of the carpenter'sshop, and also that Science (by which they meant their practices) wasso important that no consideration forthe interests of any individualcreature, whether frog or philosopher, much less the vulgar commonplacesof sentimental ethics, could weigh for a moment against the remotestoff-chance of an addition to the body ofscientific knowledge, theyoperated and vivisected and inoculated and lied on a stupendous scale,clamoring for and actually acquiring such legal powers over the bodiesof their fellow-citizens as neither king, pope, norparliament dare everhave claimed. The Inquisition itself was a Liberal institution comparedto the General Medical Council.Those who do not know how to live must make a Merit of DyingHeartbreak House was far toolazy and shallow to extricate itself fromthis palace of evil enchantment. It rhapsodized about love; but itbelieved in cruelty. It was afraid of the cruel people; and it saw thatcruelty was at least effective. Cruelty didthings that made money,whereas Love did nothing but prove the soundness of Larochefoucauld'ssaying that very few people would fall in love if they had never readabout it. Heartbreak House, in short, did not knowhow to live, at whichpoint all that was left to it was the boast that at least it knew howto die: a melancholy accomplishment which the outbreak of war presentlygave it practically unlimited opportunities of displaying.Thus were thefirstborn of Heartbreak House smitten; and the young, the innocent, thehopeful, expiated the folly and worthlessness of their elders.War DeliriumOnly those who have lived through a first-rate war, not inthefield, but at home, and kept their heads, can possibly understandthe bitterness of Shakespeare and Swift, who both went through thisexperience. The horror of Peer Gynt in the madhouse, when the lunatics,exaltedby illusions of splendid talent and visions of a dawningmillennium, crowned him as their emperor, was tame in comparison. I donot know whether anyone really kept his head completely except thosewho had to keep itbecause they had to conduct the war at first hand.I should not have kept my own (as far as I did keep it) if I had not atonce understood that as a scribe and speaker I too was under the mostserious public obligation tokeep my grip on realities; but this didnot save me from a considerable degree of hyperaesthesia. There were ofcourse some happy people to whom the war meant nothing: all politicaland general matters lying outsidetheir little circle of interest. Butthe ordinary war-conscious civilian went mad, the main symptom being aconviction that the whole order of nature had been reversed. Allfoods, he felt, must now be adulterated. Allschools must be closed.No advertisements must be sent to the newspapers, of which new editionsmust appear and be bought up every ten minutes. Travelling must bestopped, or, that being impossible, greatlyhindered. All pretencesabout fine art and culture and the like must be flung off as anintolerable affectation; and the picture galleries and museums andschools at once occupied by war workers. The British Museum itselfwassaved only by a hair's breadth. The sincerity of all this, and of muchmore which would not be believed if I chronicled it, may be establishedby one conclusive instance of the general craziness. Men were seizedwiththe illusion that they could win the war by giving away money.And they not only subscribed millions to Funds of all sorts with nodiscoverable object, and to ridiculous voluntary organizations for doingwhat was plainlythe business of the civil and military authorities,but actually handed out money to any thief in the street who had thepresence of mind to pretend that he (or she) was \"collecting\" it for theannihilation of the enemy.Swindlers were emboldened to take offices;label themselves Anti-Enemy Leagues; and simply pocket the money thatwas heaped on them. Attractively dressed young women found that they hadnothing to do butparade the streets, collecting-box in hand, and livegloriously on the profits. Many months elapsed before, as a first signof returning sanity, the police swept an Anti-Enemy secretary intoprison pour encourages lesautres, and the passionate penny collectingof the Flag Days was brought under some sort of regulation.Madness in CourtThe demoralization did not spare the Law Courts. Soldiers wereacquitted, even on fully provedindictments for wilful murder, until atlast the judges and magistrates had to announce that what was called theUnwritten Law, which meant simply that a soldier could do what he likedwith impunity in civil life, was notthe law of the land, and that aVictoria Cross did not carry with it a perpetual plenary indulgence.Unfortunately the insanity of the juries and magistrates did not alwaysmanifest itself in indulgence. No person unluckyenough to be chargedwith any sort of conduct, however reasonable and salutary, that did notsmack of war delirium, had the slightest chance of acquittal. There werein the country, too, a certain number of people who"}
+{"doc_id":"doc_328","qid":"","text":"<html><head><title>Monkeybone Script at IMSDb.</title><meta name=\"description\" content=\"Monkeybone script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Monkeybone script,Monkeybone movie script, Monkeybone film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\"rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                               MONKEYBONE</b>                               Written by                                Sam Hamm                based on the comicbook \"Dark Town\" by                    Kaja Blackley and Vanessa Chong<b>                                                           SEVENTH DRAFT</b><b>                                                         3 FEBRUARY 1999</b><b>FADEIN:</b><b>MAIN CREDITS ROLL</b>over BLACK SCREEN, with PORTENTOUS SPOOKY MUSIC underneath. Just as themusic reaches its crescendo, we hear a simian SCREECH.A BUCK-TOOTHED CARTOON MONKEYswings past on a vine. TITLE WIPES IN withhim:                             MONKEYBONE(tm)                                   in<b>                            \"FREUD CHICKEN!\"</b><b>TIGHT CLOSEUP - STANLEY (ANIMATED)</b>APOCKETWATCH swings back and forth in F.G. Gaping at it is a goofy,bespectacled CARTOON CHARACTER, sucking his thumb as his EYES move backand forth. After a moment, the LEFT EYE freezes in place - but therighteye keeps going back and forth with the watch.                           SHRINK'S VOICE (o.s.)            Back, Stanley...you're going back...back to when            it all began. Are you going back yet? Come on,            getback, ve haven't got all day.Now BOTH EYES are locked in place. The patient is hypnotized.<b>INT. SCHOOLROOM - DAY (ANIMATED)</b>A squat, lumpy TEACHER, MISS HUDLAPP, is straining to erase theGettysburgAddress, which is written along the very top of theblackboard. There's an obtrusive, rhythmic BANGING noice in B.G.<b>                           STANLEY (V.O.)</b>            It was third grade. The teacher wasMiss            Hudlapp. She was kinda squat and lumpy - she            smelled funny - but she was kind.<b>                           MISS HUDLAPP</b><b>            CLASS!</b>                 (turning aroundsuddenly)            How many times have I told you? In this class we            do not pound tenpenny nails into Stanley's head!<b>REVERSE ANGLE - ON STANLEY</b>Hapless ten-year-old STANLEY, still goofy andbespectacled, in hisfront-row desk. NAILS stick out of his head. The FOUR MEAN KIDS poisedaround him lower their hammers and return to their seats, grumbling.A dreamy SMILE crosses STANLEY's face as he gazes atMISS HUDLAPP.<b>                           STANLEY (V.O.)</b>            You know how some teachers have those, kind of,            flaps on their arms - those big sacks of limp            flab that like, dangle?As MISSHUDLAPP pulls her sweater off, TWO MASSIVE ARM-FLAPS - fiftygallons of flab apiece - SPILL OUT and SMACK INTO THE FLOOR.MISS HUDDLAPP claps two erasers together, kicking up a cloud of dust.Young STANLEYwatches, transfixed by her massive ARM FLAPS. We TRACK INon the gigantic ARM FLAPS as they swing hypnotically back and forth,with a loud SLAP each time they collide.<b>                           STANLEY(V.O.)</b>            It sounds weird...but for some reason, as I            watched those big old flaps of hers, I began to            feel...well...oddly...Now we TRACK IN on the mesmerized STANLEY. A SONG comes upunderneath:Donna Summer, \"I FEEL LOVE.\"<b>                           STANLEY (V.O.)</b>            ...aroused.                 (beat)            And then the horror began.DOINK! STANLEY looks down at his LAP in horror. Theboys and girlsaround him are pointing and tittering.Grimacing in embarrassment, he discreetly places a heavy TEXTBOOK ontohis lap, suppressing the bulge in his pants. But SPROING!! - the BOOKgoes flying across theroom. The BULGE is fighting back!The kids DUCK AND COVER beneath their desks as STANLEY slams a STACK oftextbooks onto his lap. It's no use - the WHOLE STACK goes flying, andBOOKS come raining down on theentire class! Now MISS HUDLAPP is staringdirectly at him...<b>                           MISS HUDLAPP</b>            Young man. What's that in your lap?She marches toward him. STANLEY pulls his BACKPACK over hislap.<b>                           STANLEY (V.O.)</b>            It was useless. Like putting a baseball cap on            the Washington Monument. And then...all at once            ...there he was.The BACKPACK bucks andwriggles, as if something inside is trying to GETOUT. And then - with a flourish of rousing disco strings - IT DOES!<b>                           STANLEY (V.O.)</b>            Monkeybone!!The libidinous cartoon monkeyBURSTS OUT of the backpack, POINTS at MISSHUDLAPP - and announces, in his Barry White baritone:<b>                           MONKEYBONE</b>            Oooo-oo-ooh, baby. I love your way.KC and the SUNSHINEBAND comes up underneath as MONKEYBONE DANCES to thefront of the class. He grabs MISS HUDLAPP by the hands and beginsdancing The Bump with her ARM FLAPS. Butt left, WHAP. Butt right, WHAP.The KIDS arebug-eyed - agog. With each WHAP their little heads turnback and forth as if they're watching a nude tennis match.<b>INT. SCREENING ROOM - ON AUDIENCE (LIVE-ACTION)</b>A roomful of LIVE HUMANS watchingthe cartoon, heads turning in syncwith the kids onscreen. TV-INDUSTRY HIPSTERS, AD EXECS, MANUFACTURER'SREPS...they're all guests at this sneak preview of the Monkeybone show,and they're LAUGHINGUPROARIOUSLY.In the midst of the crowd is a handsome young couple: JULIE McELROY andSTU MILEY. JULIE's a research scientist, brainy, professional,abnormally well-adjusted - and pretty enough that she'd beintimidatingif it weren't for a prominent goofy streak.STU is the one guy in the auditorium who isn't laughing at the cartoonon the screen. In fact, he's solemn as a judge - peering nervouslyaround to see how the rest ofthe audience is responding.Why? Because he's the cartoonist who created the characters on screen.In his looks (gangly, disheveled) and manner (sardonic, self-deprecating), he's the obvious model for the character ofSTANLEY.<b>INT. CLASSROOM (ANIMATED)</b>As the monkey dance continues, we ZOOM IN on the mortified face ofLITTLE STANLEY. His eyes begin doing the familiar HYPNO-SWIRL...<b>INT. SHRINK'S OFFICE(ANIMATED)</b>A CUCKOO pops out of a wall clock. ADULT STANLEY'S THUMB pops out of hismouth. He awakens from his trance in a cold sweat.<b>                           STANLEY</b>            How about it, Doc? Canyou help me?<b>                           SHRINK</b>            Not overnight. These imaginary monkey cases take            time. I vould estimate...roughly...On the desk is a CATALOGUE, open to a two-page spread depictinga 40-foot CABIN CRUISER. \"NEW FOR SUMMER! ONLY $229,999.95!\" With his freehand, the SHRINK is working a CALCULATOR...<b>                           SHRINK</b>            Twelve years and three months ought to doit.The SHRINK hustles STANLEY to the door and shakes his hand.<b>                           STANLEY</b>            One question, doc - what did you mean when you            said\"imaginary\"?<b>                           SHRINK</b>            All in good time, my boy. All in good time.The SHRINK shoves STANLEY out and slams the door behind him. Two beats.Then he doubles over, WEEPING withLAUGHTER.<b>                           SHRINK</b>            Vot a crackpot! Monkey on ze back - HAH!! ROLL<b>            OUT ZE WACKY WAGON!!</b>Now he notices a BACKPACK, which STANLEY has left on the couch.ItTWITCHES slightly - of its own free will.<b>                           VOICE IN BACKPACK</b>            Imaginary, huh? You quack.<b>EXT. SHRINK'S BUILDING (ANIMATED)</b>A WINDOW shatters. The SHRINK comeshurtling out. MONKEYBONE STRADDLESHIM like Slim Pickens riding an H-bomb, hootin' and hollerin' all theway down to the street.SPLAT! A gob of gore hits STANLEY in the face as he exits the building.He kneels on thesidewalk - finding a PIPE and a GOATEE.<b>                           STANLEY</b>            Aw, Monkeybone! At this rate I'll never find a            good shrink.<b>                           MONKEYBONE</b>            Those guys area waste of money! I'll show you            how to stop sucking your thumb...MONKEYBONE sticks his thumb in his butt as he and STANLEY toddle offinto the sunset.<b>INT. SCREENING ROOM - THATMOMENT</b>STANDING O from the crowd as the cartoon ends and the lights come up.HERB, an all-purpose sidekick type, appears at the podium:<b>                           HERB</b>            Thank you...that's ourpilot...the good news is,            Comedy Channel has just picked us up with an            order for six new episodes!HERB leads a round of APPLAUSE. JULIE nudges STU - the only guy in theroom who's still in hisseat.<b>                           HERB</b>            Now, let's give it up for the guy who started it            all. Creator of America's most disturbed comic            strip...the man behind the monkey...Mister Stu            Miley!ASPOTLIGHT hits him, and he STANDS to tumultuous applause. He looksgenuinely stunned. He can't believe it's happening.JULIE surreptitiously PINCHES him on the bottom, giving him a start. SheWINKS at him. Heshoots her a small private smile - then turns to WAVEat the adoring crowd.<b>INT. LOBBY - HALF-HOUR LATER - NIGHT</b>STU working his way through a crowd of well-wishers andFANS.<b>                           STU</b>            I don't actually draw all the animation, no. We            have sweatshop workers who couldn't get jobs at            Nike doing that.A beautiful, heavily-pierced FEMALE FANhands STU a marker.<b>                           BEAUTIFUL FAN</b>            Mr. Miley, would you draw Monkeybone on my            belly? As aguide?<b>                           STU</b>            Guide...?<b>                           BEAUTIFUL FAN</b>            For my tattoo artist?She exposes her taut midriff. STU thinks for a moment, then goes towork. When he'sdone, Monkeybone appears to be climbing out of thegirl's pants and WAVING to her. Nearby FANS APPLAUD.<b>                           BEAUTIFUL FAN</b>            Wait! You have to draw the rest of him -She beginsunbuckling her belt so STU will have enough room to drawMonkeybone's bottom half. STU demurs...<b>                           STU</b>            I - I have to, uh, check in with my doctor. DO-<b>            OCCCC!!</b>Hewanders across the room, finds JULIE deep in conversation with abunch of other GUESTS, and pulls her aside.<b>                           STU</b>            Hey, Doc. Come here. There's something really            cool I wantto show you.He grabs her by the sleeve, pulls her across the floor to -<b>INT. ALCOVE - OFF LOBBY - CONTINUOUS</b>There's nothing \"cool\" about it - it's a stairway landing, with metalfire doors that open onto theparking lot outside.<b>                           STU</b>            See these doors? The cool thing is, you go out            ...they close...you can't get back in!He opens one door and holds it forJULIE.<b>                           JULIE</b>            You want to leave? But Stu - you're a big hit!            Everyone loves you!<b>                           STU</b>            They don't love me. They loveMonkeybone.<b>                           JULIE</b>            It was you who got the standing O. It was you            drawing on the belly over there...<b>                           STU</b>            That was especially Monkeybone.Come on, Doc, I            don't want to be stuck here with this bunch of            media creeps. I just want to be us. Home. Alone!                 (conspiratorially)            I have something I have to give"}
+{"doc_id":"doc_329","qid":"","text":"The Project Gutenberg EBook of Marianela, by Benito Pérez GaldósThis eBook is for the use of anyone anywhere in the United States and mostother parts of the world at no cost and with almost norestrictionswhatsoever.  You may copy it, give it away or re-use it under the terms ofthe Project Gutenberg License included with this eBook or online atwww.gutenberg.org.  If you are not located in the United States,you'll haveto check the laws of the country where you are located before using this ebook.Title: MarianelaAuthor: Benito Pérez GaldósTranslator: Clara BellRelease Date: April 28, 2015 [EBook #48818]Language:English*** START OF THIS PROJECT GUTENBERG EBOOK MARIANELA ***Produced by Josep Cols Canals, Roberto Marabini and theOnline Distributed Proofreading Team at http://www.pgdp.net(This file was producedfrom images generously madeavailable by The Internet Archive/American Libraries.)Transcriber's Notes: Format Conventions  Italic text is denoted by _underscores_  Bold text is denoted by =equal signs=  Superscriptsare denoted by '^{XX}'. For example: 1^{st}  MARIANELA  BY  B. PEREZ GALDÃ\u0000S  Author of \"Gloria,\" etc.  From the Spanish by CLARA BELL  REVISED AND CORRECTED IN THE UNITED STATES  NEWYORK  WILLIAM S. GOTTSBERGER, PUBLISHER  11 MURRAY STREET  1883  Entered according to Act of Congress, in the year 1883  By William S. Gottsberger  In the Office of the Librarian of Congress, atWashington  THIS TRANSLATION WAS MADE EXPRESSLY FOR THE PUBLISHER  Press of  William S. Gottsberger  New YorkTRANSLATOR'S PREFACE.Those who have read \"Gloria\" will, it is hoped, hail withpleasureanother work by the same writer, Perez Galdós--different it is true,but in its way not less delightful.The strongly-marked humor and darkly-painted tragedy of \"Gloria\" arenot to be found in \"Marianela;\" thecharacters are distinct and crisplysketched, but with a tender hand, the catastrophe is pitiable, rathershocking; the whole tone is idyllic.I have not hesitated to translate literally the Spanish words ofendearment; forthough they are foreign to the calmer spirit of ournorthern tongue they are too characteristic to be lost, and they arestrangely pathetic as the only outlet found for the imprisoned spiritof the hapless littleheroine.  CLARA BELL.CONTENTS.  CHAP.                                     PAGE.  I.--Gone Astray.                              1  II.--Guided Right.                           10  III.--A Dialogue which explains much.        24  IV.--StonyHearts.                           35  V.--Labor, and a Landscape with Figures.     52  VI.--Absurdities.                            62  VII.--More Absurdities.                      73  VIII.--And yet more.                         84  IX.--TheBrothers Golfin.                    98  X.--Nobody's Children.                      117  XI.--The Patriarch of Aldeacorba.           124  XII.--Doctor Celipin.                       136  XIII.--Between twoBaskets.                 144  XIV.--How the Virgin Mary appeared to Nela. 151  XV.--The Three Children.                    164  XVI.--The Vow.                              172  XVII.--A Fugitive.                          179  XVIII.--Neladecides that she must go.      192  XIX.--Nela is Tamed.                        201  XX.--A New World.                           220  XXI.--Eyes thatKill.                       234  XXII.--Farewell.                            260MARIANELA.CHAPTER I.GONE ASTRAY.The sun had set. After the brief interval of twilight the night fellcalm and dark, and in its gloomy bosom the lastsounds of a sleepyworld died gently away. The traveller went forward on his way,hastening his step as night came on; the path he followed was narrowand worn by the constant tread of men and beasts, and led gentlyup ahill on whose verdant slopes grew picturesque clumps of wild cherrytrees, beeches and oaks.--The reader perceives that we are in the northof Spain.Our traveller was a man of middle age, strongly built, tallandbroad-shouldered; his movements were brisk and resolute, his stepfirm, his manner somewhat rugged, his eye bold and bright; his pacewas nimble, considering that he was decidedly stout, and he was--thereadermay at once be told, though somewhat prematurely--as good asoul as you may meet with anywhere. He was dressed, as a man in easycircumstances should be dressed for a journey in spring weather, withone of thoseround shady hats, which, from their ugly shape, have beennicknamed mushrooms (_hongo_), a pair of field-glasses hanging to astrap, and a knotted stick which, when he did not use it to support hissteps, served topush aside the brambles when they flung their thornybranches across so as to catch his dress.He presently stopped, and gazing round the dim horizon, he seemed vexedand puzzled. He evidently was not sure of hisway and was lookinground for some passing native of the district who might give him suchtopographical information as might enable him to reach his destination.\"I cannot be mistaken,\" he said to himself. \"They toldme to cross theriver by the stepping-stones--and I did so--then to walk on, straighton. And there, to my right, I do in fact, see that detestable townwhich I should call _Villafangosa_ by reason of the enormous amountofmud that chokes the streets.--Well then, I can but go 'on, straighton'--I rather like the phrase, and if I bore arms, I would adopt itfor my motto--in order to find myself at last at the famous mines ofSocartes.\"Butbefore he had gone much farther, he added: \"I have lost my way,beyond a doubt I have lost my way.--This, Teodoro Golfin, is theresult of your 'on, straight on.' Bah! these blockheads do not knowthe meaning ofwords; either they meant to laugh at you or elsethey did not know the way to the mines of Socartes. A huge miningestablishment must be evident to the senses, with its buildings andchimneys, its noise of hammersand snorting of furnaces, neighing ofhorses and clattering of machinery--and I neither see, nor hear, norsmell anything. I might be in a desert! How absolutely solitary! If Ibelieved in witches, I could fancy that Fateintended me this night tohave the honor of making acquaintance with some. Deuce take it! why isthere no one to be seen in these parts? And it will be half an houryet before the moon rises. Ah! treacherous Luna, it isyou who are toblame for my misadventure.--If only I could see what sort of place Iam in.--However, what could I expect?\" and he shrugged his shoulderswith the air of a vigorous man who scorns danger. \"What, Golfin,afterhaving wandered all round the world are you going to give in now? Thepeasants were right after all: 'on, straight on.' The universal law oflocomotion cannot fail me here.\"And he bravely set out to test the law, andwent on about a kilometrefarther, following the paths which seemed to start from under his feet,crossing each other and breaking off at a short distance, in a thousandangles which puzzled and tired him. Stout as hisresolution was, atlast he grew weary of his vain efforts. The paths, which had at firstall led upwards, began to slope downwards as they crossed each other,and at last he came to so steep a slope that he could only hopeto getto the bottom by rolling down it.\"A pretty state of things!\" he exclaimed, trying to console himself forthis provoking situation by his sense of the ridiculous. \"Where haveyou got to now my friend? This is a perfectabyss. Is anything to beseen at the bottom. No, nothing, absolutely nothing--the hill-side hasdisappeared, the earth has been dug away. There is nothing to be seenbut stones and barren soil tinged red with iron. I havereached themines, no doubt of that--and yet there is not a living soul to be seen,no smoky chimneys; no noise, not a train in the distance, not even adog barking. What am I to do? Out there the path seems to slopeupagain.--Shall I follow that? Shall I leave the beaten track? Shall I goback again? Oh! this is absurd! Either I am not myself or I will reachSocartes to-night, and be welcomed by my worthy brother! 'On, straighton.'\"Hetook a step, and his foot sank in the soft and crumbling soil.\"What next, ye ruling stars? Am I to be swallowed up alive? If onlythat lazy moon would favor us with a little light we might see eachother's faces--and, uponmy soul, I can hardly expect to find Paradiseat the bottom of this hole. It seems to be the crater of some extinctvolcano.... Nothing could be easier than a slide down this beautifulprecipice. What have we here?... Astone; capital--a good seat while Ismoke a cigar and wait for the moon to rise.\"The philosophical Golfin seated himself as calmly as if it were abench by a promenade, and was preparing for his smoke, when he heardavoice--yes, beyond a doubt, a human voice, at some little distance--aplaintive air, or to speak more accurately, a melancholy chant of asingle phrase, of which the last cadence was prolonged into a \"dyingfall,\" andwhich at last sank into the silence of the night, so softlythat the ear could not detect when it ceased.\"Come,\" said the listener, well pleased, \"there are some human beingsabout. That was a girl's voice; yes, certainly agirl's, and a lovelyvoice too. I like the popular airs of this country-side. Now it hasstopped.... Hark! it will soon begin again.... Yes, I hear it oncemore. What a beautiful voice, and what a pathetic air! You mightbelievethat it rose from the bowels of the earth, and that SeñorGolfin, the most matter-of-fact and least superstitious man in thisworld, was going to make acquaintance with sylphs, nymphs, gnomes,dryads, and all therabble rout that obey the mysterious spirit of theplace.--But, if I am not mistaken, the voice is going farther away--thefair singer is departing.... Hi, girl, child, stop--wait a minute!...\"The voice which had for a fewminutes so charmed the lost wanderer withits enchanting strains was dying away in the dark void, and at theshouts of Golfin it was suddenly silent. Beyond a doubt the mysteriousgnome, who was solacing itsunderground loneliness by singing itsplaintive loves, had taken fright at this rough interruption by a humanbeing, and fled to the deepest caverns of the earth, where preciousgems lay hidden, jealous of their ownsplendor.\"This is a pleasant state of things--\" muttered Golfin, thinking thatafter all he could do no better than light his cigar.--\"There seems noreason why it should not go on for a hundred years. I can smoke andwait.It was a clever idea of mine that I could walk up alone to themines of Socartes. My luggage will have got there before me--a signalproof of the advantages of 'on, straight on.'\"A light breeze at this instant sprang up,and Golfin fancied heheard the sound of footsteps at the bottom of the unknown--orimaginary--abyss before him; he listened sharply, and in a minute feltquite certain that some one was walking below. He stood up andshouted:\"Girl, man, or whoever you are, can I get to the mines of Socartes bythis road?\"He had not done speaking when he heard a dog barking wildly, and then amanly voice saying: \"Choto, Choto! come here!\"\"Hithere!\" cried the traveller. \"My good friend--man, boy, demon, orwhatever you are, call back your dog, for I am a man of peace.\"\"Choto, Choto!...\"Golfin could make out the form of a large, black dog comingtowardshim, but after sniffing round him it retired at its master's call;and at that moment the traveller could distinguish a figure, a man,standing as immovable as a stone image, at about ten paces below him,on aslanting pathway which seemed to cut across the steep incline.This path, and the human form standing there, became quite clear now toGolfin, who, looking up to the sky, exclaimed:\"Thank God! here is the mad moonat last; now we can see where we are.I had not the faintest notion that a path existed so close to me, why,it is quite a road. Tell me, my friend, do you know whether the minesof Socartes are hereabout?\"\"Yes, Señor,these are the mines of Socartes; but we are at somedistance from the works.\"The voice which spoke thus was youthful and pleasant, with theattractive inflection that indicates a polite readiness to be ofservice. Thedoctor was well pleased at detecting this, and stillbetter pleased at observing the soft light, which was spreading throughthe darkness and bringing resurrection to earth and sky, as thoughcalling them forth fromnothingness.\"_Fiat lux!_\" he said, going forward down the slope. \"I feel as if Ihad just emerged into existence from primeval chaos.... Indeed, my goodfriend, I am truly grateful to you for the information you havegivenme, and for the farther information you no doubt will give me. I leftVillamojada as the sun was setting.--They told me to go on, straighton....\"\"Are you going to the works?\" asked the strange youth, withoutstirringfrom the spot or looking up towards the doctor, who was now quite nearhim.\"Yes, Señor; but I have certainly lost my way.\"\"Well, this is not the entrance to the mines. The entrance is by thesteps atRabagones, from which the road runs and the tram-way thatthey are making. If you had gone that way you would have reached theworks in ten minutes. From here it is a long way, and a very bad road.We are at theouter circle of the mining galleries, and shall have togo through passages and tunnels, down ladders, through cuttings, upslopes, and then down the inclined plane; in short, cross the minesfrom this side to the other,where the workshops are and the furnaces,the machines and the smelting-house.\"\"Well, I seem to have been uncommonly stupid,\" said Golfin, laughing.\"I will guide you with much pleasure, for I know every inch oftheplace.\"Golfin, whose feet sank in the loose earth, slipping here and totteringthere, had at last reached the solid ground of the path, and his firstidea was to look closely at the good-natured lad who addressed him.Fora minute or two he was speechless with surprise.\"You!\" he said, in a low voice.\"I am blind, it is true, Señor,\" said the boy. \"But I can run withoutseeing from one end to the other of the mines of Socartes. This stickIcarry prevents my stumbling, and Choto is always with me, when I havenot got Nela with me, who is my guide. So, follow me, Señor, and allowme to guide you.\"CHAPTER II.GUIDED RIGHT.\"And were you bornblind?\" asked Golfin, with eager interest, arisingnot only from compassion.\"Yes, Señor, born blind,\" replied the lad, with perfect simplicity.\"I only know the world by fancy, feeling and hearing. I have learnedtounderstand that the most wonderful portion of the universe is thatwhich is unknown to me. I know that the eyes of other people are notlike mine, since they are able to distinguish things by them--but thepower seemsto me so extraordinary, that I cannot even imagine thepossibility of its existence.\"\"Who knows ...\" Golfin began. \"But what strange scene is this, myfriend? What a wonderful place we are in!\"The traveller, who had beenwalking by the side of his companion,stood still in astonishment at the weird view which lay before him.They were in a deep basin resembling the crater of a volcano; theground at the bottom was broken and rough, andthe sloping sides stillmore so. Round the margin and in the middle of the vast caldron,which looked even larger than it was in the deceptive chiaroscuro ofthe moonlit night, stood colossal figures, deformed caricaturesofhumanity, monsters lying prone with their feet in the air, with armsspread in despair, stunted growths, distorted faces such as we see inthe whimsical wreathing of floating clouds--but all still, silent, andturned tostone. In color they were mummy-like, a reddish bistre; theiraction suggested the delirium of fever arrested by sudden death. It wasas though giant forms had petrified in the midst of some demoniacalorgy, and theirgestures and the burlesque grimaces of the monstrousheads had been stricken into fixity, like the motionless attitudes ofsculpture. The silence which prevailed in this volcanic-looking hollowwas itself terrifying. Onemight fancy that the cries and shrieks of athousand voices had been petrified too, and had been held there lockedin stone for ages.\"Where are we, my young friend?\" asked Golfin. \"This place is like anightmare.\"\"Thispart of the mine is called La Terrible,\" replied the blind boy,not appreciating his companion's frame of mind. \"It was worked tillabout two years ago when the ore was exhausted, and now the miningis carried on in otherparts which are more profitable. The strangeobjects that surprise you so much are the blocks of stone which we call_cretácea_, and which consist of hardened ferruginous clay, after theore has been extracted. I havebeen told that the effect is sublime,particularly in the moonlight; but I do not understand such things.\"\"A wonderful effect,--yes--\" said the stranger, who still stood gazingat the scene, \"but which to me is more terriblethan pleasing, for itreminds me of the horrors of neuralgia.--Shall I tell you what it islike? It is as if I were standing inside a monstrous brain sufferingfrom a fearful headache. Those figures are like the imageswhichpresent themselves to the tortured brain, and become confounded withthe hideous fancies and visions created by a fevered mind.\"\"Choto, Choto, here!\" called the blind lad. \"Take care now, Señor, howyou walk;we are going into a gallery.\" And, in fact, Golfin saw thathis guide, feeling with his stick, was making his way towards a narrowentrance distinguished by three stout posts.The dog went in first, snuffing at the blackcavern; the blind boyfollowed him with the calm indifference of a man who dwells inperpetual darkness. Golfin followed, not without some instinctivetrepidation and repugnance at an underground expedition.\"It is reallywonderful,\" he said, \"that you should go in and out ofsuch a place without stumbling.\"\"I have lived all my life in these places, and know them as well as myown home. Here it is very cold; wrap yourself up if have you acloakwith you. We shall soon be out at the other end.\" He walked on, feelinghis way with his hand along the wall, which was formed of uprightbeams, and saying:\"Mind you do not stumble over the ruts in the path; theybring themineral along here from the diggings above. Are you cold?\"\"Tell me,\" said the doctor, gaily. \"Are you quite certain that theearth has not swallowed us up? This passage is the gullet of somemonstrousinsectivorous brute into whose stomach we miserable wormshave inadvertently crept.--Do you often take a walk in this delectablespot?\"\"Yes, often, and at all hours, and I think the place delightful. Now weare in themost arid part--the ground here is pure sand--now we are onthe stones again. Here there is a constant drip of sulphurous water,and down there we have a block of rock in which there are petrifiedshells. There arelayers of slate over there. Do you hear that toadcroaking? we are near the opening now; the rascal sits there everynight; I know him quite well. He has a hoarse, slow voice.\"\"Who--the toad?\"\"Yes, Señor; we are nearthe end now.\"\"So I see; it looks like an eye staring at us--that is the mouth of thecorridor.\"No sooner were they out in the air again, than the first thing thatstruck the doctor's ear was the same melancholy song as hehad heardbefore. The blind boy heard it too; he turned round to his companionand said, smiling with pride and pleasure:\"Do you hear her?\"\"I heard that voice before and it charmed me wonderfully. Who isthesinger?\"Instead of answering, the blind boy stopped and shouted with allthe force of his lungs: \"Nela! Nela!\" and the name was repeated bya hundred echoes, some quite close, others faint and distant. Then,puttinghis hands to his mouth for a speaking-trumpet, he called out:\"Do not come to me, I am going that way. Wait for me at the forge--atthe forge!\"He turned to the doctor again and explained:\"Nela is a girl who goes aboutwith me; she is my guide--my_Lazarillo_. When it was dusk we were coming home together from thegreat meadow--it was rather cool, so, as my father forbids my walkingout at night without a cloak, I waited inRomolinos' cabin, and Nelaran home to fetch it for me. After staying some little time in the hut,I remembered that I had a friend coming to see me at home and I had notpatience to wait for Nela, so I set out with Choto.I was just goingdown La Terrible when I met you. We shall soon be at the forge now andthere we must part, for my father is not pleased when I go home late,and Nela will show you the way to the works.\"\"Many thanks,my little friend.\"The tunnel had brought them out at a spot even more wonderful than thatthey had left. It was an enormous gulf or chasm in the earth, lookinglike the result of an earthquake; but it had not been rentby thefierce throbs of planetary fires, but slowly wrought by the laboriouspick of the miner. It looked like the interior of a huge shipwreckedvessel, stranded on the shore, and broken across the waist by thebreakers, soas to bend it at an obtuse angle. You could fancy you sawits ribs laid bare, and their ends standing up in an irregular file onone side. Within the hollow hull lay huge stones, like the relics of acargo tossed about by the"}
+{"doc_id":"doc_330","qid":"","text":"Project Gutenberg's The Tale of the Flopsy Bunnies, by Beatrix PotterThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: The Tale of the Flopsy BunniesAuthor: Beatrix PotterRelease Date: November 30, 2004 [EBook#14220]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE TALE OF THE FLOPSY BUNNIES ***Produced by Michael Ciesielski and the Online DistributedProofreadingTeam.[Illustration][Illustration]    THE TALE OF    THE FLOPSY BUNNIES    BY    BEATRIX POTTER    _Author of    \"The Tale of Peter Rabbit,\" &c._[Illustration]    FREDERICK WARNE & CO., INC.    NEWYORK    1909    FOR ALL LITTLE FRIENDS    OF    MR. MCGREGOR & PETER & BENJAMIN[Illustration]It is said that the effect of eating too much lettuce is \"soporific.\"_I_ have never felt sleepy after eating lettuces; butthen _I_ am not arabbit.They certainly had a very soporific effect upon the Flopsy Bunnies!When Benjamin Bunny grew up, he married his Cousin Flopsy. They had alarge family, and they were very improvident andcheerful.I do not remember the separate names of their children; they weregenerally called the \"Flopsy Bunnies.\"[Illustration][Illustration]As there was not always quite enough to eat,--Benjamin used toborrowcabbages from Flopsy's brother, Peter Rabbit, who kept a nursery garden.Sometimes Peter Rabbit had no cabbages to spare.[Illustration][Illustration]When this happened, the Flopsy Bunnies went across thefield to a rubbishheap, in the ditch outside Mr. McGregor's garden.Mr. McGregor's rubbish heap was a mixture. There were jam pots and paperbags, and mountains of chopped grass from the mowing machine (whichalwaystasted oily), and some rotten vegetable marrows and an old boot or two.One day--oh joy!--there were a quantity of overgrown lettuces, which had\"shot\" into flower.[Illustration]The Flopsy Bunnies simply stuffedlettuces. By degrees, one after another,they were overcome with slumber, and lay down in the mown grass.Benjamin was not so much overcome as his children. Before going to sleephe was sufficiently wide awake toput a paper bag over his head to keepoff the flies.The little Flopsy Bunnies slept delightfully in the warm sun. From thelawn beyond the garden came the distant clacketty sound of the mowingmachine. The bluebottlesbuzzed about the wall, and a little old mousepicked over the rubbish among the jam pots.(I can tell you her name, she was called Thomasina Tittlemouse, awoodmouse with a long tail.)[Illustration][Illustration]Sherustled across the paper bag, and awakened Benjamin Bunny.The mouse apologized profusely, and said that she knew Peter Rabbit.While she and Benjamin were talking, close under the wall, they heard aheavy treadabove their heads; and suddenly Mr. McGregor emptied out asackful of lawn mowings right upon the top of the sleeping Flopsy Bunnies!Benjamin shrank down under his paper bag. The mouse hid in a jampot.[Illustration][Illustration]The little rabbits smiled sweetly in their sleep under the shower ofgrass; they did not awake because the lettuces had been so soporific.They dreamt that their mother Flopsy was tuckingthem up in a hay bed.Mr. McGregor looked down after emptying his sack. He saw some funny littlebrown tips of ears sticking up through the lawn mowings. He stared at themfor some time.Presently a fly settled on oneof them and it moved.Mr. McGregor climbed down on to the rubbish heap--\"One, two, three, four! five! six leetle rabbits!\" said he as he droppedthem into his sack. The Flopsy Bunnies dreamt that their motherwasturning them over in bed. They stirred a little in their sleep, but stillthey did not wake up.[Illustration][Illustration]Mr. McGregor tied up the sack and left it on the wall.He went to put away the mowingmachine.While he was gone, Mrs. Flopsy Bunny (who had remained at home) cameacross the field.She looked suspiciously at the sack and wondered where everybody was?[Illustration]Then the mouse came out of herjam pot, and Benjamin took the paper bagoff his head, and they told the doleful tale.Benjamin and Flopsy were in despair, they could not undo the string.But Mrs. Tittlemouse was a resourceful person. She nibbled ahole in thebottom corner of the sack.[Illustration]The little rabbits were pulled out and pinched to wake them.Their parents stuffed the empty sack with three rotten vegetable marrows,an old blacking-brush and twodecayed turnips.[Illustration]Then they all hid under a bush and watched for Mr. McGregor.[Illustration]Mr. McGregor came back and picked up the sack, and carried it off.He carried it hanging down, as if it were ratherheavy.The Flopsy Bunnies followed at a safe distance.[Illustration]The watched him go into his house.And then they crept up to the window to listen.[Illustration]Mr. McGregor threw down the sack on the stone floor ina way that wouldhave been extremely painful to the Flopsy Bunnies, if they had happened tohave been inside it.They could hear him drag his chair on the flags, and chuckle--\"One, two, three, four, five, six leetlerabbits!\" said Mr. McGregor.[Illustration][Illustration]\"Eh? What's that? What have they been spoiling now?\" enquired Mrs.McGregor.\"One, two, three, four, five, six leetle fat rabbits!\" repeated Mr.McGregor, counting onhis fingers--\"one, two, three--\"\"Don't you be silly; what do you mean, you silly old man?\"\"In the sack! one, two, three, four, five, six!\" replied Mr. McGregor.(The youngest Flopsy Bunny got upon the window-sill.)Mrs.McGregor took hold of the sack and felt it. She said she could feelsix, but they must be _old_ rabbits, because they were so hard and alldifferent shapes.\"Not fit to eat; but the skins will do fine to line my old cloak.\"\"Lineyour old cloak?\" shouted Mr. McGregor--\"I shall sell them and buymyself baccy!\"\"Rabbit tobacco! I shall skin them and cut off their heads.\"[Illustration]Mrs. McGregor untied the sack and put her hand inside.When shefelt the vegetables she became very very angry. She said that Mr.McGregor had \"done it a purpose.\"[Illustration]And Mr. McGregor was very angry too. One of the rotten marrows came flyingthrough the kitchenwindow, and hit the youngest Flopsy Bunny.It was rather hurt.[Illustration]Then Benjamin and Flopsy thought that it was time to go home.[Illustration]So Mr. McGregor did not get his tobacco, and Mrs. McGregor didnot get herrabbit skins.[Illustration]But next Christmas Thomasina Tittlemouse got a present of enoughrabbit-wool to make herself a cloak and a hood, and a handsome muff and apair of warmmittens.[Illustration][Illustration]THE TALE OF THE FLOPSY BUNNIESBY BEATRIX POTTERF. WARNE & CoEnd of Project Gutenberg's The Tale of the Flopsy Bunnies, by Beatrix Potter*** END OF THIS PROJECTGUTENBERG EBOOK THE TALE OF THE FLOPSY BUNNIES ******** This file should be named 14220.txt or 14220.zip *****This and all associated files of various formats will be foundin:        http://www.gutenberg.net/1/4/2/2/14220/Produced by Michael Ciesielski and the Online Distributed ProofreadingTeam.Updated editions will replace the previous one--the old editionswill be renamed.Creatingthe works from public domain print editions means that noone owns a United States copyright in these works, so the Foundation(and you!) can copy and distribute it in the United States withoutpermission and withoutpaying copyright royalties.  Special rules,set forth in the General Terms of Use part of this license, apply tocopying and distributing Project Gutenberg-tm electronic works toprotect the PROJECT GUTENBERG-tm conceptand trademark.  ProjectGutenberg is a registered trademark, and may not be used if youcharge for the eBooks, unless you receive specific permission.  If youdo not charge anything for copies of this eBook, complyingwith therules is very easy.  You may use this eBook for nearly any purposesuch as creation of derivative works, reports, performances andresearch.  They may be modified and printed and given away--you maydopractically ANYTHING with public domain eBooks.  Redistribution issubject to the trademark license, especially commercialredistribution.*** START: FULL LICENSE ***THE FULL PROJECT GUTENBERGLICENSEPLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORKTo protect the Project Gutenberg-tm mission of promoting the freedistribution of electronic works, by using or distributing this work(or anyother work associated in any way with the phrase \"ProjectGutenberg\"), you agree to comply with all the terms of the Full ProjectGutenberg-tm License (available with this file or onlineathttp://gutenberg.net/license).Section 1.  General Terms of Use and Redistributing Project Gutenberg-tmelectronic works1.A.  By reading or using any part of this Project Gutenberg-tmelectronic work, you indicatethat you have read, understand, agree toand accept all the terms of this license and intellectual property(trademark/copyright) agreement.  If you do not agree to abide by allthe terms of this agreement, you mustcease using and return or destroyall copies of Project Gutenberg-tm electronic works in your possession.If you paid a fee for obtaining a copy of or access to a ProjectGutenberg-tm electronic work and you do not agreeto be bound by theterms of this agreement, you may obtain a refund from the person orentity to whom you paid the fee as set forth in paragraph 1.E.8.1.B.  \"Project Gutenberg\" is a registered trademark.  It may onlybeused on or associated in any way with an electronic work by people whoagree to be bound by the terms of this agreement.  There are a fewthings that you can do with most Project Gutenberg-tm electronic worksevenwithout complying with the full terms of this agreement.  Seeparagraph 1.C below.  There are a lot of things you can do with ProjectGutenberg-tm electronic works if you follow the terms of this agreementand helppreserve free future access to Project Gutenberg-tm electronicworks.  See paragraph 1.E below.1.C.  The Project Gutenberg Literary Archive Foundation (\"the Foundation\"or PGLAF), owns a compilation copyright in thecollection of ProjectGutenberg-tm electronic works.  Nearly all the individual works in thecollection are in the public domain in the United States.  If anindividual work is in the public domain in the United States and youarelocated in the United States, we do not claim a right to prevent you fromcopying, distributing, performing, displaying or creating derivativeworks based on the work as long as all references to Project Gutenbergareremoved.  Of course, we hope that you will support the ProjectGutenberg-tm mission of promoting free access to electronic works byfreely sharing Project Gutenberg-tm works in compliance with the terms ofthisagreement for keeping the Project Gutenberg-tm name associated withthe work.  You can easily comply with the terms of this agreement bykeeping this work in the same format with its attached fullProjectGutenberg-tm License when you share it without charge with others.1.D.  The copyright laws of the place where you are located also governwhat you can do with this work.  Copyright laws in most countries areina constant state of change.  If you are outside the United States, checkthe laws of your country in addition to the terms of this agreementbefore downloading, copying, displaying, performing, distributing orcreatingderivative works based on this work or any other ProjectGutenberg-tm work.  The Foundation makes no representations concerningthe copyright status of any work in any country outside the UnitedStates.1.E.  Unlessyou have removed all references to Project Gutenberg:1.E.1.  The following sentence, with active links to, or other immediateaccess to, the full Project Gutenberg-tm License must appear prominentlywhenever any copyof a Project Gutenberg-tm work (any work on which thephrase \"Project Gutenberg\" appears, or with which the phrase \"ProjectGutenberg\" is associated) is accessed, displayed, performed, viewed,copied ordistributed:This eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwiththis eBook or online at www.gutenberg.net1.E.2.  If an individual Project Gutenberg-tm electronic work is derivedfrom the public domain (does not contain a notice indicating that it isposted with permission of thecopyright holder), the work can be copiedand distributed to anyone in the United States without paying any feesor charges.  If you are redistributing or providing access to a workwith the phrase \"Project Gutenberg\"associated with or appearing on thework, you must comply either with the requirements of paragraphs 1.E.1through 1.E.7 or obtain permission for the use of the work and theProject Gutenberg-tm trademark as setforth in paragraphs 1.E.8 or1.E.9.1.E.3.  If an individual Project Gutenberg-tm electronic work is postedwith the permission of the copyright holder, your use and distributionmust comply with both paragraphs 1.E.1through 1.E.7 and any additionalterms imposed by the copyright holder.  Additional terms will be linkedto the Project Gutenberg-tm License for all works posted with thepermission of the copyright holder found at thebeginning of this work.1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tmLicense terms from this work, or any files containing a part of thiswork or any other work associated with ProjectGutenberg-tm.1.E.5.  Do not copy, display, perform, distribute or redistribute thiselectronic work, or any part of this electronic work, withoutprominently displaying the sentence set forth in paragraph 1.E.1 withactivelinks or immediate access to the full terms of the ProjectGutenberg-tm License.1.E.6.  You may convert to and distribute this work in any binary,compressed, marked up, nonproprietary or proprietary form, includinganyword processing or hypertext form.  However, if you provide access to ordistribute copies of a Project Gutenberg-tm work in a format other than\"Plain Vanilla ASCII\" or other format used in the official versionpostedon the official Project Gutenberg-tm web site (www.gutenberg.net),you must, at no additional cost, fee or expense to the user, provide acopy, a means of exporting a copy, or a means of obtaining a copy uponrequest,of the work in its original \"Plain Vanilla ASCII\" or otherform.  Any alternate format must include the full Project Gutenberg-tmLicense as specified in paragraph 1.E.1.1.E.7.  Do not charge a fee for access to, viewing,displaying,performing, copying or distributing any Project Gutenberg-tm worksunless you comply with paragraph 1.E.8 or 1.E.9.1.E.8.  You may charge a reasonable fee for copies of or providingaccess to or distributingProject Gutenberg-tm electronic works providedthat- You pay a royalty fee of 20% of the gross profits you derive from     the use of Project Gutenberg-tm works calculated using the method     you already use tocalculate your applicable taxes.  The fee is     owed to the owner of the Project Gutenberg-tm trademark, but he     has agreed to donate royalties under this paragraph to the     Project Gutenberg Literary ArchiveFoundation.  Royalty payments     must be paid within 60 days following each date on which you     prepare (or are legally required to prepare) your periodic tax     returns.  Royalty payments should be clearly markedas such and     sent to the Project Gutenberg Literary Archive Foundation at the     address specified in Section 4, \"Information about donations to     the Project Gutenberg Literary Archive Foundation.\"- You provide afull refund of any money paid by a user who notifies     you in writing (or by e-mail) within 30 days of receipt that s/he     does not agree to the terms of the full Project Gutenberg-tm     License.  You must require sucha user to return or     destroy all copies of the works possessed in a physical medium     and discontinue all use of and all access to other copies of     Project Gutenberg-tm works.- You provide, in accordance withparagraph 1.F.3, a full refund of any     money paid for a work or a replacement copy, if a defect in the     electronic work is discovered and reported to you within 90 days     of receipt of the work.- You comply with allother terms of this agreement for free     distribution of Project Gutenberg-tm works.1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tmelectronic work or group of works on different terms than aresetforth in this agreement, you must obtain permission in writing fromboth the Project Gutenberg Literary Archive Foundation and MichaelHart, the owner of the Project Gutenberg-tm trademark.  Contact theFoundationas set forth in Section 3 below.1.F.1.F.1.  Project Gutenberg volunteers and employees expend considerableeffort to identify, do copyright research on, transcribe and proofreadpublic domain works in creating theProject Gutenberg-tmcollection.  Despite these efforts, Project Gutenberg-tm electronicworks, and the medium on which they may be stored, may contain\"Defects,\" such as, but not limited to, incomplete, inaccurateorcorrupt data, transcription errors, a copyright or other intellectualproperty infringement, a defective or damaged disk or other medium, acomputer virus, or computer codes that damage or cannot be read byyourequipment.1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the \"Rightof Replacement or Refund\" described in paragraph 1.F.3, the ProjectGutenberg Literary Archive Foundation, the owner of theProjectGutenberg-tm trademark, and any other party distributing a ProjectGutenberg-tm electronic work under this agreement, disclaim allliability to you for damages, costs and expenses, including legalfees.  YOUAGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICTLIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSEPROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION,THETRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BELIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE ORINCIDENTAL DAMAGES EVEN IF YOU GIVENOTICE OF THE POSSIBILITY OF SUCHDAMAGE.1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover adefect in this electronic work within 90 days of receiving it, you canreceive a refund of the money(if any) you paid for it by sending awritten explanation to the person you received the work from.  If youreceived the work on a physical medium, you must return the medium withyour written explanation.  The personor entity that provided you withthe defective work may elect to provide a replacement copy in lieu of arefund.  If you received the work electronically, the person or entityproviding it to you may choose to give you asecond opportunity toreceive the work electronically in lieu of a refund.  If the second copyis also defective, you may demand a refund in writing without furtheropportunities to fix the problem.1.F.4.  Except for thelimited right of replacement or refund set forthin paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHERWARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITEDTOWARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.1.F.5.  Some states do not allow disclaimers of certain impliedwarranties or the exclusion or limitation of certain types of damages.If anydisclaimer or limitation set forth in this agreement violates thelaw of the state applicable to this agreement, the agreement shall beinterpreted to make the maximum disclaimer or limitation permitted bythe applicablestate law.  The invalidity or unenforceability of anyprovision of this agreement shall not void the remaining provisions.1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, thetrademark owner, anyagent or employee of the Foundation, anyoneproviding copies of Project Gutenberg-tm electronic works in accordancewith this agreement, and any volunteers associated with the production,promotion and distributionof Project Gutenberg-tm electronic works,harmless from all liability, costs and expenses, including legal fees,that arise directly or indirectly from any of the following which you door cause to occur: (a) distribution of thisor any Project Gutenberg-tmwork, (b) alteration, modification, or additions or deletions to anyProject Gutenberg-tm work, and (c) any Defect you cause.Section  2.  Information about the Mission of ProjectGutenberg-tmProject Gutenberg-tm is synonymous with the free distribution ofelectronic works in formats readable by the widest variety of computersincluding obsolete, old, middle-aged and new computers.  It"}
+{"doc_id":"doc_331","qid":"","text":"The Project Gutenberg EBook of Immensee, by Theodore W. StormThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it underthe terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: ImmenseeAuthor: Theodore W. StormPosting Date: July 28, 2010 [EBook #6650]Release Date: October,2004Language: English*** START OF THIS PROJECT GUTENBERG EBOOK IMMENSEE ***Produced by Delphine Lettau, Charles Franks, and the OnlineDistributed Proofreading Team.IMMENSEEBY THEODOR W.STORMTRANSLATED BY C. W. BELL M. A.PREFACEWe are at the beginning of a new era which will, it is to be hoped, bemarked by a general _rapprochement_ between the nations. The need toknow and understand oneanother is being felt more and more. It followsthat the study of foreign languages will assume an ever-increasingimportance; indeed, so far as language, literature, and music areconcerned, one may safely assert that_fas est et ab hoste doceri_.All those who wish to make acquaintance with the speech of theirneighbours, or who have allowed their former knowledge to grow rusty,will welcome this edition, which will enable them,independently ofbulky dictionaries, to devote to language study the moments of leisurewhich offer themselves in the course of the day.The texts have been selected from the double point of view of theirliterary worthand of the usefulness of their vocabulary; in thetranslations, also, the endeavour has been to unite qualities of stylewith strict fidelity to the original.INTRODUCTIONTheodor W. Storm, poet and short-story writer(1817-1888), was born inSchleswig. He was called to the Bar in his native town, Husum, in1842, but had his licence to practise cancelled in 1853 for'Germanophilism,' and had to remove to Germany. It was only in1864that he was able to return to Husum, where in 1874 he became a judgeof the Court of Appeals.As early as 1843 he had made himself known as a lyrical poet of theRomantic School, but it was as a short-storywriter that he first tooka prominent place in literature, making a most happy _début_ withthe story entitled _Immensee_.There followed a long series of tales, rich in fancy and in humour,although their inspiration isgenerally derived from the humble townand country life which formed his immediate environment; but he wrotenothing that excels, in depth and tenderness of feeling, the charmingstory of _Immensee_; and taking hiswork all in all, Storm stillranks to-day as a master of the short story in German literature, richthough it is in this form of prose-fiction.IMMENSEETHE OLD MANOne afternoon in the late autumn a well-dressed old manwas walkingslowly down the street. He appeared to be returning home from a walk,for his buckle-shoes, which followed a fashion long since out of date,were covered with dust.Under his arm he carried a long,gold-headed cane; his dark eyes, inwhich the whole of his long-lost youth seemed to have centred, andwhich contrasted strangely with his snow-white hair, gazed calmly onthe sights around him or peered into the townbelow as it lay beforehim, bathed in the haze of sunset. He appeared to be almost astranger, for of the passers-by only a few greeted him, although manya one involuntarily was compelled to gaze into those graveeyes.At last he halted before a high, gabled house, cast one more glanceout toward the town, and then passed into the hall. At the sound ofthe door-bell some one in the room within drew aside the green curtainfrom asmall window that looked out on to the hall, and the face of anold woman was seen behind it. The man made a sign to her with hiscane.\"No light yet!\" he said in a slightly southern accent, and thehousekeeper let thecurtain fall again.The old man now passed through the broad hall, through an inner hall,wherein against the walls stood huge oaken chests bearing porcelainvases; then through the door opposite he entered a smalllobby, fromwhich a narrow staircase led to the upper rooms at the back of thehouse. He climbed the stairs slowly, unlocked a door at the top, andlanded in a room of medium size.It was a comfortable, quiet retreat.One of the walls was lined withcupboards and bookcases; on the other hung pictures of men and places;on a table with a green cover lay a number of open books, and beforethe table stood a massive arm-chair with ared velvet cushion.After the old man had placed his hat and stick in a corner, he sat downin the arm-chair and, folding his hands, seemed to be taking his restafter his walk. While he sat thus, it was growing graduallydarker; andbefore long a moonbeam came streaming through the window-panes and uponthe pictures on the wall; and as the bright band of light passed slowlyonward the old man followed it involuntarily with hiseyes.Now it reached a little picture in a simple black frame. \"Elisabeth!\"said the old man softly; and as he uttered the word, time had changed:_he was young again_.       *       *       *       *       *THE CHILDRENBeforevery long the dainty form of a little maiden advanced towardhim. Her name was Elisabeth, and she might have been five years old.He himself was twice that age. Round her neck she wore a red silkkerchief which wasvery becoming to her brown eyes.\"Reinhard!\" she cried, \"we have a holiday, a holiday! No school thewhole day and none to-morrow either!\"Reinhard was carrying his slate under his arm, but he flung it behindthe frontdoor, and then both the children ran through the house intothe garden and through the garden gate out into the meadow. Theunexpected holiday came to them at a most happily opportune moment.It was in themeadow that Reinhard, with Elisabeth's help, had built ahouse out of sods of grass. They meant to live in it during the summerevenings; but it still wanted a bench. He set to work at once; nails,hammer, and thenecessary boards were already to hand.While he was thus engaged, Elisabeth went along the dyke, gatheringthe ring-shaped seeds of the wild mallow in her apron, with the objectof making herself chains and necklacesout of them; so that whenReinhard had at last finished his bench in spite of many a crookedlyhammered nail, and came out into the sunlight again, she was alreadywandering far away at the other end of themeadow.\"Elisabeth!\" he called, \"Elisabeth!\" and then she came, her hairstreaming behind her.\"Come here,\" he said; \"our house is finished now. Why, you have gotquite hot! Come in, and let us sit on the new bench. Iwill tell you astory.\"So they both went in and sat down on the new bench. Elisabeth took thelittle seed-rings out of her apron and strung them on long threads.Reinhard began his tale: \"There were once upon a timethreespinning-women...\"[1][1] The beginning of one of the best known of Grimm's fairy tales.\"Oh!\" said Elisabeth, \"I know that off by heart; you really must notalways tell me the same story.\"Accordingly Reinhard hadto give up the story of the threespinning-women and tell instead the story of the poor man who was castinto the den of lions.\"It was now night,\" he said, \"black night, you know, and the lionswere asleep. But every nowand then they would yawn in their sleep andshoot out their red tongues. And then the man would shudder and thinkit was morning. All at once a bright light fell all about him, andwhen he looked up an angel wasstanding before him. The angel beckonedto him with his hand and then went straight into the rocks.\"Elisabeth had been listening attentively. \"An angel?\" she said. \"Hadhe wings then?\"\"It is only a story,\" answeredReinhard; \"there are no angels, youknow.\"\"Oh, fie! Reinhard!\" she said, staring him straight in the face.He looked at her with a frown, and she asked him hesitatingly: \"Well,why do they always say there are? mother,and aunt, and at school aswell?\"\"I don't know,\" he answered.\"But tell me,\" said Elisabeth, \"are there no lions either?\"\"Lions? Are there lions? In India, yes. The heathen priests harnessthem to their carriages, and driveabout the desert with them. WhenI'm big, I mean to go out there myself. It is thousands of times morebeautiful in that country than it is here at home; there's no winterat all there. And you must come with me. Willyou?\"\"Yes,\" said Elisabeth; \"but mother must come with us, and your motheras well.\"\"No,\" said Reinhard, \"they will be too old then, and cannot come withus.\"\"But I mayn't go by myself.\"\"Oh, but you may rightenough; you will then really be my wife, andthe others will have no say in the matter.\"\"But mother will cry!\"\"We shall come back again of course,\" said Reinhard impetuously. \"Nowjust tell me straight out, will you gowith me? If not, I will go allalone, and then I shall never come back again.\"The little girl came very near to crying. \"Please don't look soangry,\" said she; \"I will go to India with you.\"Reinhard seized both her hands withfrantic glee, and rushed out withher into the meadow.\"To India, to India!\" he sang, and swung her round and round, so thather little red kerchief was whirled from off her neck. Then hesuddenly let her go and saidsolemnly:\"Nothing will come of it, I'm sure; you haven't the pluck.\"\"Elisabeth! Reinhard!\" some one was now calling from the garden gate.\"Here we are!\" the children answered, and raced home hand inhand.       *       *       *       *       *IN THE WOODSSo the children lived together. She was often too quiet for him, andhe was often too head-strong for her, but for all that they stuck toone another. They spent nearlyall their leisure hours together: inwinter in their mothers' tiny rooms, during the summer in wood andfield.Once when Elisabeth was scolded by the teacher in Reinhard's hearing,he angrily banged his slate upon thetable in order to turn uponhimself the master's wrath. This failed to attract attention.But Reinhard paid no further attention to the geography lessons, andinstead he composed a long poem, in which he comparedhimself to ayoung eagle, the schoolmaster to a grey crow, and Elisabeth to a whitedove; the eagle vowed vengeance on the grey crow, as soon as his wingshad grown.Tears stood in the young poet's eyes: he felt veryproud of himself.When he reached home he contrived to get hold of a littleparchment-bound volume with a lot of blank pages in it; and on the firstpages he elaborately wrote out his first poem.Soon after this he went toanother school. Here he made many newfriendships among boys of his own age, but this did not interrupt hiscomings and goings with Elisabeth. Of the stories which he hadformerly told her over and over again he nowbegan to write down theones which she had liked best, and in doing so the fancy often tookhim to weave in something of his own thoughts; yet, for some reason hecould not understand, he could never manage it.So hewrote them down exactly as he had heard them himself. Then hehanded them over to Elisabeth, who kept them carefully in a drawer ofher writing-desk, and now and again of an evening when he was presentit affordedhim agreeable satisfaction to hear her reading aloud toher mother these little tales out of the notebooks in which he hadwritten them.Seven years had gone by. Reinhard was to leave the town in order toproceed to hishigher education. Elisabeth could not bring herself tothink that there would now be a time to be passed entirely withoutReinhard. She was delighted when he told her one day that he wouldcontinue to write out storiesfor her as before; he would send them toher in the letters to his mother, and then she would have to writeback to him and tell him how she liked them.The day of departure was approaching, but ere it came a good dealmorepoetry found its way into the parchment-bound volume. This was the onesecret he kept from Elisabeth, although she herself had inspired thewhole book and most of the songs, which gradually had filled upalmosthalf of the blank pages.It was the month of June, and Reinhard was to start on the followingday. It was proposed to spend one more festive day together andtherefore a picnic was arranged for a rather largeparty of friends inan adjacent forest.It was an hour's drive along the road to the edge of the wood, andthere the company took down the provision baskets from the carriagesand walked the rest of the way. The road layfirst of all through apine grove, where it was cool and darksome, and the ground was allstrewed with pine needles.After half an hour's walk they passed out of the gloom of the pinetrees into a bright fresh beech wood.Here everything was light andgreen; every here and there a sunbeam burst through the leafybranches, and high above their heads a squirrel was leaping frombranch to branch.The party came to a halt at a certain spot,over which the topmostbranches of ancient beech trees interwove a transparent canopy ofleaves. Elisabeth's mother opened one of the baskets, and an oldgentleman constituted himself quartermaster.\"Round me, all ofyou young people,\" he cried, \"and attend carefullyto what I have to say to you. For lunch each one of you will now gettwo dry rolls; the butter has been left behind at home. The extrasevery one must find for himself.There are plenty of strawberries inthe wood--that is, for anyone who knows where to find them. Unless youare sharp, you'll have to eat dry bread; that's the way of the worldall over. Do you understand what Isay?\"\"Yes, yes,\" cried the young folks.\"Yes, but look here,\" said the old gentleman, \"I have not done yet. Weold folks have done enough roaming about in our time, and therefore wewill stay at home now, here, I mean,under these wide-spreading trees,and we'll peel the potatoes and make a fire and lay the table, and bytwelve o'clock the eggs shall be boiled.\"In return for all this you will be owing us half of yourstrawberries, so thatwe may also be able to serve some dessert. Sooff you go now, east and west, and mind be honest.\"The young folks cast many a roguish glance at one another.\"Wait,\" cried the old gentleman once again. \"I suppose Ineed not tellyou this, that whoever finds none need not produce any; but takeparticular note of this, that he will get nothing out of us old folkseither. Now you have had enough good advice for to-day; and if yougatherstrawberries to match you will get on very well for the presentat any rate.\"The young people were of the same opinion, and pairing off in couplesset out on their quest.\"Come along, Elisabeth,\" said Reinhard, \"I knowwhere there is a clumpof strawberry bushes; you shan't eat dry bread.\"Elisabeth tied the green ribbons of her straw hat together and hung iton her arm. \"Come on, then,\" she said, \"the basket is ready.\"Off into thewood they went, on and on; on through moist shady glens,where everything was so peaceful, except for the cry of the falconflying unseen in the heavens far above their heads; on again throughthe thick brushwood, sothick that Reinhard must needs go on ahead tomake a track, here snapping off a branch, there bending aside atrailing vine. But ere long he heard Elisabeth behind him calling outhis name. He turned round.\"Reinhard!\"she called, \"do wait for me! Reinhard!\"He could not see her, but at length he caught sight of her some wayoff struggling with the undergrowth, her dainty head just peeping outover the tops of the ferns. So back hewent once more and brought herout from the tangled mass of briar and brake into an open space whereblue butterflies fluttered among the solitary wood blossoms.Reinhard brushed the damp hair away from herheated face, and wouldhave tied the straw hat upon her head, but she refused; yet at hisearnest request she consented after all.\"But where are your strawberries?\" she asked at length, standing stilland drawing a deepbreath.\"They were here,\" he said, \"but the toads have got here before us, orthe martens, or perhaps the fairies.\"\"Yes,\" said Elisabeth, \"the leaves are still here; but not a wordabout fairies in this place. Come along, I'mnot a bit tired yet; letus look farther on.\"In front of them ran a little brook, and on the far side the woodbegan again. Reinhard raised Elisabeth in his arms and carried herover. After a while they emerged from theshady foliage and stood in awide clearing.\"There must be strawberries here,\" said the girl, \"it all smells sosweet.\"They searched about the sunny spot, but they found none. \"No,\" saidReinhard, \"it is only the smell of theheather.\"Everywhere was a confusion of raspberry-bushes and holly, and the airwas filled with a strong smell of heather, patches of which alternatedwith the short grass over these open spaces.\"How lonely it is here!\"said Elisabeth \"I wonder where the othersare?\"Reinhard had never thought of getting back.\"Wait a bit,\" he said, holding his hand aloft; \"where is the windcoming from?\" But wind there was none.\"Listen!\" said Elisabeth,\"I think I heard them talking. Just give acall in that direction.\"Reinhard hollowed his hand and shouted: \"Come here!\"\"Here!\" was echoed back.\"They answered,\" cried Elisabeth clapping her hands.\"No, that was nothing;it was only the echo.\"Elisabeth seized Reinhard's hand. \"I'm frightened!\" she said.\"Oh! no, you must not be frightened. It is lovely here. Sit down therein the shade among the long grass. Let us rest awhile: we'll findtheothers soon enough.\"Elisabeth sat down under the overhanging branch of a beech andlistened intently in every direction. Reinhard sat a few paces off ona tree stump, and gazed over at her in silence.The sun wasjust above their heads, shining with the full glare ofmidday heat. Tiny, gold-flecked, steel-blue flies poised in the airwith vibrating wings. Their ears caught a gentle humming and buzzingall round them, and far away inthe wood were heard now and again thetap-tap of the woodpecker and the screech of other birds.\"Listen,\" said Elisabeth, \"I hear a bell.\"\"Where?\" asked Reinhard.\"Behind us. Do you hear it? It is striking twelveo'clock.\"\"Then the town lies behind us, and if we go straight through in thisdirection we are bound to fall in with the others.\"So they started on their homeward way; they had given up looking forstrawberries, forElisabeth had become tired. And at last there rangout from among the trees the laughing voices of the picnic party; thenthey saw too a white cloth spread gleaming on the ground; it was theluncheon-table and on itwere strawberries enough and to spare.The old gentleman had a table-napkin tucked in his button-hole and wascontinuing his moral sermon to the young folks and vigorously carvinga joint of roast meat.\"Here comethe stragglers,\" cried the young people when they sawReinhard and Elisabeth advancing among the trees.\"This way,\" shouted the old gentleman. \"Empty your handkerchiefs,upside down, with your hats! Now show uswhat you have found.\"\"Only hunger and thirst,\" said Reinhard.\"If that's all,\" replied the old man, lifting up and showing them thebowl full of fruit, \"you must keep what you've got. You remember theagreement: nothinghere for lazybones to eat.\"But in the end he was prevailed on to relent; the banquet proceeded,and a thrush in a juniper bush provided the music.So the day passed. But Reinhard had, after all, found something,andthough it was not strawberries yet it was something that had grown inthe wood. When he got home this is what he wrote in his oldparchment-bound volume:    Out on the hill-side yonder       The wind to rest islaid;     Under the drooping branches       There sits the little maid.    She sits among the wild thyme,       She sits in the fragrant air;    The blue flies hum around her,       Bright wings flash everywhere.    And throughthe silent woodland       She peers with watchful eyen,    While on her hazel ringlets       Sparkles the glad sunshine.    And far, far off the cuckoo       Laughs out his song.    I ween Hers are the bright, thegolden       Eyes of the woodland queen.So she was not only his little sweetheart, but was also the expressionof all that was lovely and wonderful in his opening life.       *       *       *       *       *BY THE ROADSIDE THECHILD STOODThe time is Christmas Eve. Before the close of the afternoon Reinhardand some other students were sitting together at an old oak table in theRatskeller.[2][2] The basement of the Rathaus or Town Hall.This, in almost everyGerman town of importance, has become a restaurant and place ofrefreshment.The lamps on the wall were lighted, for down here in the basement it wasalready growing dark; but there was only athin sprinkling of customerspresent, and the waiters were leaning idly up against the pillars letinto the walls.In a corner of the vaulted room sat a fiddler and a fine-featuredgipsy-girl with a zither; their instruments layin their laps, andthey seemed to be looking about them with an air of indifference.A champagne cork popped off at the table occupied by the students.\"Drink, my gipsy darling!\" cried a young man ofaristocraticappearance, holding out to the girl a glass full of wine.\"I don't care about it,\" she said, without altering her position.\"Well, then, give us a song,\" cried the young nobleman, and threw asilver coin into her lap."}
+{"doc_id":"doc_332","qid":"","text":"<html><head><title>Toy Story Script at IMSDb.</title><meta name=\"description\" content=\"Toy Story script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Toy Story script, Toy Storymovie script, Toy Story film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=SubjectCONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0];s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>    <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\"title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center></td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b><HTML></b><b><HEAD></b><b><TITLE>TOY STORY</TITLE></b><script><b><!--</b><b>/*</b>Break-out-of-frames scriptByWebsite Abstraction (http://wsabstract.com)Over 400+ free scripts here!Above notice MUST stay entact for use<b>*/</b>if (window!= top)top.location.href=location.href<b>//--></b></script><b></HEAD></b><b><PRE></b><b>                      \"TOY STORY\"</b>                   Original Story by                     John Lasseter                      Pete Docter                     AndrewStanton                       Joe Ranft                     Screenplay by                      Joss Whedon                     Andrew Stanton              Joel Cohen and AlecSokolow<b>                       </b><b>                                                 FINAL DRAFT</b>                                                 November 1995<b>                         \"TOY STORY\"</b><b>FADE IN:</b><b>INT. ANDY'SBEDROOM</b>A row of moving boxes lie on the floor of the room.  Theyare drawn up in crayon to look like a miniature Western town.The bedroom is lined with cloud wallpaper giving theimpression of sky.One of theboxes has a children's illustrated \"WANTED\"poster of a Mr. Potato Head taped to it.A MR. POTATO HEAD DOLL is set in front of the poster.  TheVOICE OVER of ANDY, a 6-year-old boy, can be heard actingout all thevoices of the scene.<b>                         ANDY (AS POTATO HEAD)</b>            Alright everyone, this is a stick-            up!  Don't anybody move!  Now empty            that safe!A GROUP OF TOYS have been crowdedtogether in front of the\"BANK\" box.Andy's hand lowers a CERAMIC PIGGY BANK in front of Mr.Potato Head and shakes out a pile of coins to the floor.  Mr.Potato Head kisses the coins.<b>                         ANDY (ASPOTATO HEAD)</b>            Ooh!  Money.  Money.  Money.                   (kissing noises)A porcelain figurine of the shepherdess, BO PEEP, is broughtinto the scene.<b>                         ANDY (AS BOPEEP)</b>            Stop it!  Stop it, you mean old            potato!<b>                         ANDY (AS POTATO HEAD)</b>            Quiet Bo Peep, or your sheep get            run over!The companion porcelain sheep areplaced in the center of aHot Wheels track loop.<b>                         ANDY (AS SHEEP)</b>            Heeeeelp!  BAAAAA!  Heeeelp us!<b>                         ANDY (AS BO PEEP)</b>            Oh, no!  Not mysheep!  Somebody do            something!WOODY, a pull-string doll cowboy, enters into the sceneopposite the inanimate spud.Andy's hand pulls on the ring in the center of Woody's back.<b>                         WOODY(VOICE BOX)</b>            Reach for the sky.<b>                         ANDY (AS POTATO HEAD)</b>            Oh, no!  Sheriff Woody!!<b>                         ANDY (AS WOODY)</b>            I'm here to stop you, One-EyedBart.Andy's hand pulls out one of Mr. Potato Head's eyes.<b>                         ANDY (AS POTATO HEAD)</b>            Doooooh!  How'd you know it was me!<b>                         ANDY (AS WOODY)</b>            Areyou gonna come quietly?<b>                         ANDY (AS POTATO HEAD)</b>            You can't touch me Sheriff!  I            brought my attack dog with a built-            in force field!Andy places a TOY DOG, with aSLINKY for a mid-section, infront of Mr. Potato Head and stretches him out.<b>                         ANDY (AS WOODY)</b>            Well I brought my DINOSAUR, who            eats force field dogs!!Andy reveals aPLASTIC TYRANNOSAURUS REX, who stomps on theSlinky Dog.<b>                         ANDY (AS DINOSAUR)</b><b>            AAAAR!  ROAR-ROAR-ROAR!</b><b>                         ANDY (AS SLINKYDOG)</b><b>            YIPE!  YIPE-YIPE-YIPE!</b><b>                         ANDY (AS WOODY)</b>            You're goin' to jail, Bart.Andy picks up Mr. Potato Head and places him in a baby cribin the room.A cardboardsign is taped to the bars with the word \"JAIL\"written in crayon.<b>                         ANDY (AS WOODY)</b>            Say good-bye to the wife and            tatertots.Andy's 1-year-old sister, MOLLY, crawls over andpicks up Mr.Potato Head.  She sucks on him for a beat then proceeds topound the toy repeatedly against the rail of her crib,forcing some of his parts loose.Andy, wearing a cowboy hat himself, picks up Woody offthefloor.<b>                         ANDY</b>                   (pulling Woody's string)            You saved the day again, Woody.<b>                         WOODY (VOICE BOX)</b>            You're my favorite deputy.<b>BEGINTITLES</b>SONG \"YOU'VE GOT A FRIEND IN ME\" plays while Andy doesvarious activities with Woody:-- Andy turns the Western town boxes around to reveal cowsdrawn on the other side.  He grabs a jump rope andpretendsWoody is lassoing the cattle.<b>                         ANDY</b>            C'mon, let's wrangle up the cattle.-- Andy then rides Woody around on an RC (remote control)car, and herds the remaining \"cow\" boxesunder Molly's crib.<b>INT. STAIRWELL</b>-- Andy places Woody on the top of the stairwell banisterallowing the doll to slide downstairs.  Andy races ahead andcatches him at the bottom.<b>INT. DOWNSTAIRSLIVING ROOM</b>-- Andy & Woody fall into the La-Z-Boy chair and spin aroundand around.Next, Andy uses the La-Z-Boy foot rest as a catapult.Andy flings Woody across the room to thesofa.<b>                         ANDY</b>                   (raising his arms)            Score!<b>SONG ENDS</b>Woody lies limp on the sofa while Andy is heard talking tohis mother.<b>                         ANDY(O.S.)</b>            Wow!  Cool!<b>                         MRS. DAVIS (O.S.)</b>            Whadda ya think?<b>                         ANDY (O.S.)</b>            Oh, this looks GREAT, Mom!<b>ANGLE: THE ADJOINING DININGROOM</b>MRS. DAVIS, Andy's thirty eight-year-old mom, has justfinished decorating the area with streamers and balloons.  Abanner is draped across the archway.  It reads: \"HappyBirthday Andy.\"Woody's frozenface stares in the direction of the birthdaydecorations.<b>                         ANDY</b>            Can we leave this up 'til we move?<b>                         MRS. DAVIS</b>            Well, sure, we can leave itup.<b>                         ANDY</b>            Yeah!<b>                         MRS. DAVIS</b>            Now go get Molly.  Your friends are            going to be here anyminute.<b>                         ANDY</b>            Okay.Andy picks up Woody from the couch and runs upstairs.<b>                         ANDY</b>            It's party time, Woody!<b>INT. ANDY'S BEDROOM -CONTINUOUS</b>Andy and Woody enter the room.  Molly is still bangingPotato Head against her crib railing.  Andy tips Woody's hatat her.<b>                         ANDY</b>            Howdy, Little Lady!He depositsWoody on the bed and pulls his string one lasttime.<b>                         WOODY (VOICE BOX)</b>            Somebody's poisoned the waterhole.<b>                         ANDY</b>                   (picking upMolly)            C'mon, Molly.  Oh, you're getting            heavy!                   (to Woody)            See ya later, Woody.Andy exits.<b>END TITLES</b>Woody's eyes come to life.  The cowboy doll sits up, hisexpressionchanging from a smile to worry.<b>                         WOODY</b>                   (to himself)            Pull my string!  The birthday            party's today?!Woody thinks.<b>                         WOODY</b>                   (tothe room)            Okay, everybody.  Coast is clear.The bedroom comes alive.  TOYS emerge from the toy box, thecloset, the shelves, etc... in a flurry of activity.POTATO HEAD, his body parts strewn across the floor,sitshimself upright and begins to re-assemble himself.<b>                         MR. POTATO HEAD</b>            Ages three and up.  It's on my box.            Ages three and up!  I'm not            supposed to be babysittingPrincess            Drool.HAMM, the piggy bank, flips one last penny into his coinslot.  Potato Head walks up to him.  All his facial piecesare in the wrong slots.<b>                         MR. POTATO HEAD</b>            Hey,Hamm!  Look!  I'm Picasso!<b>                         HAMM</b>            I don't get it.Hamm walks away.<b>                         MR. POTATO HEAD</b>            You uncultured swine!                   (to someoneO.S.)            What are you looking at, ya hockey            puck?!Potato Head walks past, revealing a hockey puck figurine.Woody sits on the edge of the bed observing all the activity.He turns to a plastic green armyman, SARGENT, standing onthe night stand.<b>                         WOODY</b>            Uh, hey Sarge, have you seen Slinky?<b>                         SARGENT</b>                   (saluting)            Sir!  NoSir!<b>                         WOODY</b>            Okay, thank you.  At ease.Woody hops off the bed.<b>                         WOODY</b>            Hey, Slinky?<b>                         SLINKY (O.S.)</b>            Right here,Woody!A toy Slinky dog, SLINKY, appears from under the bed pushingout a checker board set.  He begins to place the checkers onthe board.<b>                         SLINKY</b>            I'm red thistime.<b>                         WOODY</b>            No, Slink --<b>                         SLINKY</b>            Oh...well alright, you can be red            if you want.<b>                         WOODY</b>            Not now,Slink.  I've got some bad            news.<b>                         SLINKY</b>            Bad news?!<b>                         WOODY</b>            Sh-h-h-h-h!!Woody covers up Slinky's mouth, aware that the other toys intheroom are watching.  He leans in close to Slinky.<b>                         WOODY</b>                   (whispering)            Just gather everyone up for a staff            meeting and behappy!!<b>                         SLINKY</b>            Got it.Slinky shuffles off.<b>                         WOODY</b>            Be HAPPY!Slinky perks up his gait and LAUGHS HARD.Woody proceeds in the other direction.  Hepasses a toyROBOT and SNAKE partially hidden under the bedspread.<b>                         WOODY</b>                   (to the room)            Staff meeting, everybody.                   (aside)            Snake, Robot -- podiumduty.Robot and Snake come out from under the bed and reluctantlyfollow Woody.Woody walks past an Etch-A-Sketch, ETCH, going the otherdirection.<b>                         WOODY</b>            Hey Etch!  Draw!BothEtch and Woody whip around like gunfighters.Before Woody can fully extend his arm out, the Etch-A-Sketchetches a gun on its screen.<b>                         WOODY</b>                   (pretending to beshot)            Oh!! You got me again, Etch! You've            been working on that draw.  Fastest            knobs in the west.Slinky passes a group of toys on the floor.<b>                         SLINKY</b>            Got a staffmeeting, you guys, come            on, let's go!Robot and Snake begin constructing a podium made out ofLegos and a Tinker Toy tub while Woody searches the floor.<b>                         WOODY</b>            Now whereis that -- ?  Aw, hey,            who moved my doodle pad way over here?Woody spots the doodle pad on the floor by the desk andwalks over to it.  As he reaches down to pick it up...REX, the plastic dinosaur, jumps outto scare Woody.<b>                         REX</b><b>            ROOAAAARR!!!</b><b>                         WOODY</b>                   (unaffected)            Oh, how ya doin', Rex?Rex suddenly turns"}
+{"doc_id":"doc_333","qid":"","text":"<html><head><title>Thelma & Louise Script at IMSDb.</title><meta name=\"description\" content=\"Thelma & Louise script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Thelma &Louise script, Thelma & Louise movie script, Thelma & Louise film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX,FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><html><head><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>THELMA &LOUISE</title></head><pre><b>                                    \"THELMA & LOUISE\"</b>                                            by                                      Callie Khouri                                  Final shootingscript<b>                                       JUNE 5, 1990</b><b>                </b><b>               FADE IN:</b><b>               INT.  RESTAURANT - MORNING (PRESENT DAY)</b>               LOUISE is a waitress in a coffeeshop.  She is in her early-               thirties, but too old to be doing this.  She is very pretty                and meticulously groomed, even at the end of her shift.  She                is slamming dirty coffee cups from thecounter into a bus                tray underneath the counter.  It is making a lot of RACKET,                which she is oblivious to.  There is COUNTRY MUZAK in the                b.g., which she hums alongwith.<b>               INT.  THELMA'S KITCHEN - MORNING</b>               THELMA is a housewife.  It's morning and she is slamming                coffee cups from the breakfast table into the kitchen sink,                whichis full of dirty breakfast dishes and some stuff left                from last night's dinner which had to \"soak\".  She is still                in her nightgown.  The TV is ON in the b.g.               From the kitchen, we can see anincomplete wallpapering                project going on in the dining room, an obvious \"do-it-               yourself\" attempt by Thelma.<b>               INT.  RESTAURANT - MORNING</b>               Louise goes to the payphone and dials a number.<b>               INT.  THELMA'S KITCHEN - MORNING</b>               Phone RINGS.  Thelma goes over to answerit.<b>                                     THELMA</b>                              (hollering)                         I got it!   Hello.<b>               INT.  RESTAURANT -MORNING</b><b>                                     LOUISE</b>                              (at pay phone)                         I hope you're packed, little                          housewife, 'cause we are outtaher                          tonight.<b>               INT.  THELMA'S KITCHEN - MORNING</b><b>                                     THELMA</b>                         Well, wait now.  I still have to ask                          Darryl if I cango.<b>                                     LOUISE (V.O.)</b>                         You mean you haven't asked him yet?                           For Christ sake, Thelma, is he your                          husband or your father?  It'sjust                          two days.  For God's sake, Thelma.                           Don't be a child.  Just tell him                          you're goin' with me, for cryin' out                          loud.  Tell him I'm havin' anervous                          breakdown.               Thelma has the phone tucked under her chin, as she cuts out                coupons from the newspaper and pins them on a bulletin board                already covered withthem.  We see various recipes torn out                from women's magazines along the lines of \"101 Ways to Cook                Pork.\"<b>                                     THELMA</b>                         He already thinks you'reout of your                          mind, Louise, that don't carry much                          weight with Darryl.  Are you at work?<b>                                     LOUISE (V.O.)</b>                         No, I'm callin' from thePlayboy                          Mansion.<b>                                     THELMA</b>                         I'll call you right back.               Thelma goes through the living room to the bottom of the                stairs and leans onthe banister.<b>                                     THELMA</b>                         Darryl!  Honey, you'd better hurry                          up.               DARRYL comes trotting down the stairs.  Polyester was made                forthis man, and he's dripping in \"men's\" jewelry.  He                manages a Carpeteria.<b>                                     DARRYL</b>                         Damnit, Thelma, don't holler like                          that!  Haven't I toldyou I can't                          stand it when you holler in the                          morning.<b>                                     THELMA</b>                         I'm sorry, Doll, I just didn't want                          you to belate.               Darryl is checking himself out in the hall mirror, and               it's obvious he likes what he sees.  He exudes over-confidence                for reasons that never become apparent.  He likes tothink                of himself as a real lady killer.               He is making imperceptible adjustments to his over-moussed                hair.  Thelma watchesapprovingly.<b>                                     THELMA</b>                         Hon.<b>                                     DARRYL</b>                         What.<b>                                     THELMA</b>                              (shedecides not to                               tell him)                         Have a good day at work today.<b>                                     DARRYL</b>                         Uh-huh.<b>                                     THELMA</b>                         Hon?<b>                                     DARRYL</b>                         What?!<b>                                     THELMA</b>                         You want anything special fordinner?<b>                                     DARRYL</b>                         No, Thelma, I don't give a shit what                          we have for dinner.  I may not even                          make it home for dinner.  Youknow                          how Fridays are.<b>                                     THELMA</b>                         Funny how so many people wanna buy                          carpet on a Friday night.  You'd                          almostthink they's want to forget                          about it for the weekend.<b>                                     DARRYL</b>                         Well then, it's a good thing you're                          not regional manager and Iam.               He's finally ready.  He walks to the door and gives Thelma                the most perfunctory kiss on the cheek.<b>                                     THELMA</b>                         'Bye, honey.  I won't waitup.<b>                                     DARRYL</b>                         See ya.               Darryl leaves.  We see his Corvette parked out front.  As he                closes the front door, Thelma leans againstit.<b>                                     THELMA</b>                         He's gonna shit.               Thelma laughs to herself.  She goes back into the kitchen                and picks up the phone and dialsit.<b>               INT.  RESTAURANT - MORNING</b>               The pay phone on the wall RINGS.  ALBERT, a busboy in his                50's, answers.<b>                                     ALBERT</b>                         Goodmorning.  Why, yes, she is.  Is                          this Thelma?  Oh, Thelma, when you                          gonna run away with me?               Louise comes over and takes the phone out of hishand.<b>                                     LOUISE</b>                              (to Albert)                         Not this weekend, sweetie, she's                          runnin' away with me.                              (intophone)                         Hi.  What'd he say?<b>                                     THELMA (V.O.)</b>                         What time are you gonna pick me up?<b>                                     LOUISE</b>                         You'rekiddin'!  Alright!  I'll be                          there around two or three.<b>                                     THELMA (V.O.)</b>                         What kind of stuff do Ibring?<b>                                     LOUISE</b>                         I don't know.  Warm stuff, I guess.                           It's the mountains.  I guess it gets                          cold at night.  I'm just gonnabring                          everything.<b>                                     THELMA (V.O.)</b>                         Okay.  I will, too.<b>                                     LOUISE</b>                         And steal Darryl's fishin'stuff.<b>                                     THELMA (V.O.)</b>                         I don't know how to fish, Louise.<b>                                     LOUISE</b>                         Neither do I, Thelma, butDarryl                          does it, how hard can it be?  I'll                          see you later.  Be ready.               They both hang up.<b>               EXT.  RESTAURANT - DAY</b>               Louise pulls out in a green '66T-Bird in mint condition.<b>               INT.  THELMA'S BEDROOM - CLOSEUP - SUITCASE ON BED - DAY</b>               Going into the suitcase is bathing suits, wool socks, flannel                pajamas, jeans, sweaters,T-shirts, a couple of dresses, way                too much stuff for a two-day trip.  REVEAL Thelma, standing                in front of a closet, trying to decide what else to bring,                as if she's forgotten something.  Theroom looks like it was                decorated entirely from a Sears catalog.  It's really frilly.<b>               INT.  LOUISE'S BEDROOM - CLOSEUP - SUITCASE ON BED - DAY</b>               A perfectly ordered suitcase,everything neatly folded and                orderly.  Three pairs of underwear, one pair of long                underwear, two pairs of pants, two sweaters, one furry robe,                one nightgown.  She could be packing forcamp.               REVEAL Louise.  Her room is as orderly as the suitcase.               Everything matches.  It's not quite as frilly as Thelma's,                but it is of the same ilk.  She is debating whether totake                an extra pair of socks.  She decides not to and closes the                suitcase.  She goes to the phone, picks it up and dials.  We                hear:<b>                                     ANSWERING MACHINE(V.O.)</b>                         Hi.  This is Jimmy.  I'm not here                          right now, but I'll probably be back                          'cause... all my stuff's here.  Leave                          a message.               Louiseslams down the phone.  A framed picture of Louise and                Jimmy sits on the table next to the phone.  She matter-of-               factly slams that face down, too.<b>               INT.  THELMA'S BEDROOM -DAY</b>               Thelma is still throwing stuff in, randomly now.  She talks                to herself quietly the whole time.               She is taking stuff off of her nightstand, a small clock,                fingernail scissors,etc.               She opens the drawer of her nightstand.  Her attitude is                purposeful; she looks as if she knows exactly what she's                doing; although, frankly, she has no idea, and eachdecision                is completely arbitrary.  As she rifles through it, plucking                various items from among the jumbled contents, we see there                is a gun in there, one Darryl bought her forprotection.  It                is unloaded, but there is a box of bullets.  She picks up                the gun like it's a rat by the tail and puts it in herpurse.<b>                                     THELMA</b>                              (muttering to herself)                         Psycho killers...               She grabs the box of bullets and throws them in, too.  She                tries to closeher suitcase, but there is stuff hanging out                all over the place.  She stuffs things back in the sides and                heaves all her weight against the top.<b>               EXT.  THELMA'S HOUSE -"}
+{"doc_id":"doc_334","qid":"","text":"The Project Gutenberg EBook of Pellucidar, by Edgar Rice BurroughsThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it underthe terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: PellucidarAuthor: Edgar Rice BurroughsPosting Date: July 26, 2008 [EBook #605]Release Date: July, 1996[Lastupdate: July 8, 2012]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK PELLUCIDAR ***Produced by Judith BossPELLUCIDARByEdgar Rice BurroughsCONTENTSCHAPTER       PROLOGUE    I  LOSTON PELLUCIDAR   II  TRAVELING WITH TERROR  III  SHOOTING THE CHUTES--AND AFTER   IV  FRIENDSHIP AND TREACHERY    V  SURPRISES   VI  A PENDENT WORLD  VII  FROM PLIGHT TO PLIGHTVIII  CAPTIVE   IX  HOOJA'S CUTTHROATS APPEAR    X  THE RAID ON THE CAVE-PRISON   XI  ESCAPE  XII  KIDNAPED! XIII  RACING FOR LIFE  XIV  GORE AND DREAMS   XV  CONQUEST AND PEACEPROLOGUESeveralyears had elapsed since I had found the opportunity to do anybig-game hunting; for at last I had my plans almost perfected for areturn to my old stamping-grounds in northern Africa, where in otherdays I had hadexcellent sport in pursuit of the king of beasts.The date of my departure had been set; I was to leave in two weeks.  Noschoolboy counting the lagging hours that must pass before thebeginning of \"long vacation\"released him to the delirious joys of thesummer camp could have been filled with greater impatience or keeneranticipation.And then came a letter that started me for Africa twelve days ahead ofmy schedule.Often am Iin receipt of letters from strangers who have foundsomething in a story of mine to commend or to condemn.  My interest inthis department of my correspondence is ever fresh.  I opened thisparticular letter with all thezest of pleasurable anticipation withwhich I had opened so many others.  The post-mark (Algiers) had arousedmy interest and curiosity, especially at this time, since it wasAlgiers that was presently to witness thetermination of my coming seavoyage in search of sport and adventure.Before the reading of that letter was completed lions and lion-huntinghad fled my thoughts, and I was in a state of excitement borderinguponfrenzy.It--well, read it yourself, and see if you, too, do not find food forfrantic conjecture, for tantalizing doubts, and for a great hope.Here it is:DEAR SIR: I think that I have run across one of the mostremarkablecoincidences in modern literature.  But let me start at the beginning:I am, by profession, a wanderer upon the face of the earth.  I have notrade--nor any other occupation.My father bequeathed me acompetency; some remoter ancestors lust toroam.  I have combined the two and invested them carefully and withoutextravagance.I became interested in your story, At the Earth's Core, not so muchbecause of theprobability of the tale as of a great and abiding wonderthat people should be paid real money for writing such impossibletrash.  You will pardon my candor, but it is necessary that youunderstand my mental attitudetoward this particular story--that youmay credit that which follows.Shortly thereafter I started for the Sahara in search of a rather rarespecies of antelope that is to be found only occasionally within alimited area at acertain season of the year.  My chase led me far fromthe haunts of man.It was a fruitless search, however, in so far as antelope is concerned;but one night as I lay courting sleep at the edge of a little clusterofdate-palms that surround an ancient well in the midst of the arid,shifting sands, I suddenly became conscious of a strange sound comingapparently from the earth beneath my head.It was an intermittent ticking!Noreptile or insect with which I am familiar reproduces any suchnotes.  I lay for an hour--listening intently.At last my curiosity got the better of me.  I arose, lighted my lampand commenced to investigate.My bedding layupon a rug stretched directly upon the warm sand.  Thenoise appeared to be coming from beneath the rug.  I raised it, butfound nothing--yet, at intervals, the sound continued.I dug into the sand with the point of myhunting-knife.  A few inchesbelow the surface of the sand I encountered a solid substance that hadthe feel of wood beneath the sharp steel.Excavating about it, I unearthed a small wooden box.  From thisreceptacleissued the strange sound that I had heard.How had it come here?What did it contain?In attempting to lift it from its burying place I discovered that itseemed to be held fast by means of a very small insulated cablerunningfarther into the sand beneath it.My first impulse was to drag the thing loose by main strength; butfortunately I thought better of this and fell to examining the box.  Isoon saw that it was covered by a hinged lid,which was held closed bya simple screwhook and eye.It took but a moment to loosen this and raise the cover, when, to myutter astonishment, I discovered an ordinary telegraph instrumentclicking away within.\"What inthe world,\" thought I, \"is this thing doing here?\"That it was a French military instrument was my first guess; but reallythere didn't seem much likelihood that this was the correctexplanation, when one took into accountthe loneliness and remotenessof the spot.As I sat gazing at my remarkable find, which was ticking and clickingaway there in the silence of the desert night, trying to convey somemessage which I was unable tointerpret, my eyes fell upon a bit ofpaper lying in the bottom of the box beside the instrument.  I pickedit up and examined it.  Upon it were written but two letters:D. I.They meant nothing to me then.  I wasbaffled.Once, in an interval of silence upon the part of the receivinginstrument, I moved the sending-key up and down a few times.  Instantlythe receiving mechanism commenced to work frantically.I tried to recallsomething of the Morse Code, with which I had playedas a little boy--but time had obliterated it from my memory.  I becamealmost frantic as I let my imagination run riot among the possibilitiesfor which this clickinginstrument might stand.Some poor devil at the unknown other end might be in dire need ofsuccor.  The very franticness of the instrument's wild clashingbetokened something of the kind.And there sat I, powerless tointerpret, and so powerless to help!It was then that the inspiration came to me.  In a flash there leapedto my mind the closing paragraphs of the story I had read in the clubat Algiers:Does the answer lie somewhereupon the bosom of the broad Sahara, atthe ends of two tiny wires, hidden beneath a lost cairn?The idea seemed preposterous.  Experience and intelligence combined toassure me that there could be no slightest grain oftruth orpossibility in your wild tale--it was fiction pure and simple.And yet where WERE the other ends of those wires?What was this instrument--ticking away here in the great Sahara--but atravesty upon thepossible!Would I have believed in it had I not seen it with my own eyes?And the initials--D. I.--upon the slip of paper!David's initials were these--David Innes.I smiled at my imaginings.  I ridiculed the assumption thatthere wasan inner world and that these wires led downward through the earth'scrust to the surface of Pellucidar.  And yet--Well, I sat there all night, listening to that tantalizing clicking,now and then moving thesending-key just to let the other end know thatthe instrument had been discovered.  In the morning, after carefullyreturning the box to its hole and covering it over with sand, I calledmy servants about me, snatched ahurried breakfast, mounted my horse,and started upon a forced march for Algiers.I arrived here today.  In writing you this letter I feel that I ammaking a fool of myself.There is no David Innes.There is no Dian theBeautiful.There is no world within a world.Pellucidar is but a realm of your imagination--nothing more.BUT--The incident of the finding of that buried telegraph instrument uponthe lonely Sahara is little short of uncanny,in view of your story ofthe adventures of David Innes.I have called it one of the most remarkable coincidences in modernfiction.  I called it literature before, but--again pardon mycandor--your story is not.And now--whyam I writing you?Heaven knows, unless it is that the persistent clicking of thatunfathomable enigma out there in the vast silences of the Sahara has sowrought upon my nerves that reason refuses longer to functionsanely.I cannot hear it now, yet I know that far away to the south, all alonebeneath the sands, it is still pounding out its vain, frantic appeal.It is maddening.It is your fault--I want you to release me from it.Cable me atonce, at my expense, that there was no basis of fact foryour story, At the Earth's Core.Very respectfully yours,COGDON NESTOR,  ---- and ---- Club,    Algiers.      June 1st, --.Ten minutes after reading this letter I hadcabled Mr. Nestor asfollows:Story true.  Await me Algiers.As fast as train and boat would carry me, I sped toward my destination.For all those dragging days my mind was a whirl of mad conjecture, offrantic hope, ofnumbing fear.The finding of the telegraph-instrument practically assured me thatDavid Innes had driven Perry's iron mole back through the earth's crustto the buried world of Pellucidar; but what adventures hadbefallen himsince his return?Had he found Dian the Beautiful, his half-savage mate, safe among hisfriends, or had Hooja the Sly One succeeded in his nefarious schemes toabduct her?Did Abner Perry, the lovable oldinventor and paleontologist, stilllive?Had the federated tribes of Pellucidar succeeded in overthrowing themighty Mahars, the dominant race of reptilian monsters, and theirfierce, gorilla-like soldiery, the savageSagoths?I must admit that I was in a state bordering upon nervous prostrationwhen I entered the ---- and ---- Club, in Algiers, and inquired for Mr.Nestor.  A moment later I was ushered into his presence, to findmyselfclasping hands with the sort of chap that the world holds only too fewof.He was a tall, smooth-faced man of about thirty, clean-cut, straight,and strong, and weather-tanned to the hue of a desert Arab.  I likedhimimmensely from the first, and I hope that after our three monthstogether in the desert country--three months not entirely lacking inadventure--he found that a man may be a writer of \"impossible trash\"and yet havesome redeeming qualities.The day following my arrival at Algiers we left for the south, Nestorhaving made all arrangements in advance, guessing, as he naturally did,that I could be coming to Africa for but a singlepurpose--to hasten atonce to the buried telegraph-instrument and wrest its secret from it.In addition to our native servants, we took along an Englishtelegraph-operator named Frank Downes.  Nothing of interestenlivenedour journey by rail and caravan till we came to the cluster ofdate-palms about the ancient well upon the rim of the Sahara.It was the very spot at which I first had seen David Innes.  If he hadever raised acairn above the telegraph instrument no sign of itremained now.  Had it not been for the chance that caused Cogdon Nestorto throw down his sleeping rug directly over the hidden instrument, itmight still be clickingthere unheard--and this story still unwritten.When we reached the spot and unearthed the little box the instrumentwas quiet, nor did repeated attempts upon the part of our telegraphersucceed in winning a responsefrom the other end of the line.  Afterseveral days of futile endeavor to raise Pellucidar, we had begun todespair.  I was as positive that the other end of that little cableprotruded through the surface of the inner world asI am that I sithere today in my study--when about midnight of the fourth day I wasawakened by the sound of the instrument.Leaping to my feet I grasped Downes roughly by the neck and dragged himout of hisblankets.  He didn't need to be told what caused myexcitement, for the instant he was awake he, too, heard the long-hopedfor click, and with a whoop of delight pounced upon the instrument.Nestor was on his feetalmost as soon as I. The three of us huddledabout that little box as if our lives depended upon the message it hadfor us.Downes interrupted the clicking with his sending-key.  The noise of thereceiver stoppedinstantly.\"Ask who it is, Downes,\" I directed.He did so, and while we awaited the Englishman's translation of thereply, I doubt if either Nestor or I breathed.\"He says he's David Innes,\" said Downes.  \"He wants to knowwho we are.\"\"Tell him,\" said I; \"and that we want to know how he is--and all thathas befallen him since I last saw him.\"For two months I talked with David Innes almost every day, and asDownes translated, eitherNestor or I took notes.  From these, arrangedin chronological order, I have set down the following account of thefurther adventures of David Innes at the earth's core, practically inhis own words.CHAPTER ILOST ONPELLUCIDARThe Arabs, of whom I wrote you at the end of my last letter (Innesbegan), and whom I thought to be enemies intent only upon murdering me,proved to be exceedingly friendly--they were searching for theveryband of marauders that had threatened my existence.  The hugerhamphorhynchus-like reptile that I had brought back with me from theinner world--the ugly Mahar that Hooja the Sly One had substituted formydear Dian at the moment of my departure--filled them with wonder andwith awe.Nor less so did the mighty subterranean prospector which had carried meto Pellucidar and back again, and which lay out in the desertabout twomiles from my camp.With their help I managed to get the unwieldy tons of its great bulkinto a vertical position--the nose deep in a hole we had dug in thesand and the rest of it supported by the trunks ofdate-palms cut forthe purpose.It was a mighty engineering job with only wild Arabs and their wildermounts to do the work of an electric crane--but finally it wascompleted, and I was ready for departure.For some time Ihesitated to take the Mahar back with me.  She had beendocile and quiet ever since she had discovered herself virtually aprisoner aboard the \"iron mole.\" It had been, of course, impossible forme to communicate withher since she had no auditory organs and I noknowledge of her fourth-dimension, sixth-sense method of communication.Naturally I am kind-hearted, and so I found it beyond me to leave eventhis hateful and repulsivething alone in a strange and hostile world.The result was that when I entered the iron mole I took her with me.That she knew that we were about to return to Pellucidar was evident,for immediately her manner changedfrom that of habitual gloom that hadpervaded her, to an almost human expression of contentment and delight.Our trip through the earth's crust was but a repetition of my twoformer journeys between the inner and theouter worlds.  This time,however, I imagine that we must have maintained a more nearlyperpendicular course, for we accomplished the journey in a few minutes'less time than upon the occasion of my first journeythrough thefive-hundred-mile crust.  Just a trifle less than seventy-two hoursafter our departure into the sands of the Sahara, we broke through thesurface of Pellucidar.Fortune once again favored me by the slightest ofmargins, for when Iopened the door in the prospector's outer jacket I saw that we hadmissed coming up through the bottom of an ocean by but a few hundredyards.The aspect of the surrounding country was entirelyunfamiliar to me--Ihad no conception of precisely where I was upon the one hundred andtwenty-four million square miles of Pellucidar's vast land surface.The perpetual midday sun poured down its torrid rays fromzenith, as ithad done since the beginning of Pellucidarian time--as it wouldcontinue to do to the end of it.  Before me, across the wide sea, theweird, horizonless seascape folded gently upward to meet the sky untilit lostitself to view in the azure depths of distance far above thelevel of my eyes.How strange it looked! How vastly different from the flat and puny areaof the circumscribed vision of the dweller upon the outer crust!I waslost.  Though I wandered ceaselessly throughout a lifetime, Imight never discover the whereabouts of my former friends of thisstrange and savage world.  Never again might I see dear old Perry, norGhak the Hairy One,nor Dacor the Strong One, nor that other infinitelyprecious one--my sweet and noble mate, Dian the Beautiful!But even so I was glad to tread once more the surface of Pellucidar.Mysterious and terrible, grotesque andsavage though she is in many ofher aspects, I can not but love her.  Her very savagery appealed to me,for it is the savagery of unspoiled Nature.The magnificence of her tropic beauties enthralled me. Her mightylandareas breathed unfettered freedom.Her untracked oceans, whispering of virgin wonders unsullied by the eyeof man, beckoned me out upon their restless bosoms.Not for an instant did I regret the world of mynativity.  I was inPellucidar.  I was home.  And I was content.As I stood dreaming beside the giant thing that had brought me safelythrough the earth's crust, my traveling companion, the hideous Mahar,emerged fromthe interior of the prospector and stood beside me.  For along time she remained motionless.What thoughts were passing through the convolutions of her reptilianbrain?I do not know.She was a member of the dominantrace of Pellucidar.  By a strangefreak of evolution her kind had first developed the power of reason inthat world of anomalies.To her, creatures such as I were of a lower order.  As Perry haddiscovered among thewritings of her kind in the buried city of Phutra,it was still an open question among the Mahars as to whether manpossessed means of intelligent communication or the power of reason.Her kind believed that in thecenter of all-pervading solidity therewas a single, vast, spherical cavity, which was Pellucidar.  Thiscavity had been left there for the sole purpose of providing a placefor the creation and propagation of the Maharrace.  Everything withinit had been put there for the uses of the Mahar.I wondered what this particular Mahar might think now.  I foundpleasure in speculating upon just what the effect had been upon her ofpassingthrough the earth's crust, and coming out into a world that oneof even less intelligence than the great Mahars could easily see was adifferent world from her own Pellucidar.What had she thought of the outer world's tinysun?What had been the effect upon her of the moon and myriad stars of theclear African nights?How had she explained them?With what sensations of awe must she first have watched the sun movingslowly across theheavens to disappear at last beneath the westernhorizon, leaving in his wake that which the Mahar had never beforewitnessed--the darkness of night? For upon Pellucidar there is nonight.  The stationary sun hangsforever in the center of thePellucidarian sky--directly overhead.Then, too, she must have been impressed by the wondrous mechanism ofthe prospector which had bored its way from world to world and backagain.  Andthat it had been driven by a rational being must also haveoccurred to her.Too, she had seen me conversing with other men upon the earth'ssurface.  She had seen the arrival of the caravan of books and arms,andammunition, and the balance of the heterogeneous collection which Ihad crammed into the cabin of the iron mole for transportation toPellucidar.She had seen all these evidences of a civilization andbrain-powertranscending in scientific achievement anything that her race hadproduced; nor once had she seen a creature of her own kind.There could have been but a single deduction in the mind of theMahar--therewere other worlds than Pellucidar, and the gilak was arational being.Now the creature at my side was creeping slowly toward the near-by sea.At my hip hung a long-barreled six-shooter--somehow I had been unabletofind the same sensation of security in the newfangled automaticsthat had been perfected since my first departure from the outerworld--and in my hand was a heavy express rifle.I could have shot the Mahar with ease,for I knew intuitively that shewas escaping--but I did not.I felt that if she could return to her own kind with the story of heradventures, the position of the human race within Pellucidar would beadvanced immensely at asingle stride, for at once man would take hisproper place in the considerations of the reptilia.At the edge of the sea the creature paused and looked back at me.  Thenshe slid sinuously into the surf.For several minutes Isaw no more of her as she luxuriated in the cooldepths.Then a hundred yards from shore she rose and there for another shortwhile she floated upon the surface.Finally she spread her giant wings, flapped themvigorously a score oftimes and rose above the blue sea.  A single time she circled faraloft--and then straight as an arrow she sped away.I watched her until the distant haze enveloped her and she haddisappeared.  I"}
+{"doc_id":"doc_335","qid":"","text":"<html><head><title>Adaptation Script at IMSDb.</title><meta name=\"description\" content=\"Adaptation script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Adaptation script,Adaptation movie script, Adaptation film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\"rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>     ADAPTATION                byCharlie Kaufman and Donald Kaufman       adapted from the book<b>      THE ORCHIDTHIEF</b>                by           Susan Orlean                                     September 24, 1999                                          Second Draft<b></b><b>EXT. ROCKY TERRAIN - DAY</b>Endless barren landscape. No signof life. The atmosphereis hazy, toxic-looking. Volcanoes erupt. Meteors bombard.Lightning strikes, concussing murky pools of water. Silence.<b>INT. LARGE EMPTY LIVING ROOM - MORNING</b><b>SUBTITLE:HOLLYWOOD, CA, FOUR BILLION AND FORTY YEARS LATER</b>Beamed ceilings and ostentatious fireplace. A few birthdaycards on the mantel, two of them identical: \"To Our Dear Sonon His Fortieth Birthday.\" CharlieKaufman, a fat, baldingman in a purple sweater with tags still attached, paces theroom. His incantational voice-over carpets the scene.<b>                    KAUFMAN (V.O.)</b>          I am old. I am fat. I am bald.My          toenails have turned strange. I am          repulsive. How repulsive? I don't know          for I suffer from a condition called Body          Dysmorphic Disorder. I am fat, but am I          as fat as I think? Mytherapist says no,          but people lie. I believe others call me          Fatty behind my back. Or Fatso. Or,          facetiously, Slim. But I also believe          this is simply my own perverted formof          self-aggrandizement, that no one really          talks about me at all. What possible          interest is an old, bald, fat man to          anyone? I am repulsive. I have never          lived. I blame myself. I --<b>EXT.STATE ROAD 29 - DAWN</b>A lonely two-lane highway cutting through swampland.<b>                    BRITISH NARRATOR</b>          As natural selection works solely by and          for the good of each being, allcorporeal          and mental endowments will tend to          progress towards perfection.Suddenly, a beat-up white van barrels around a curve.   It'sfollowed closely by an old green Ford.<b>SUBTITLE: STATE ROAD 29,FLORIDA, FIVE YEARS EARLIER</b><b>INT. WHITE VAN - CONTINUOUS</b>John Laroche drives. He's a skinny man with no front teeth.The van is piled with bags of potting soil, gardening junk.A Writings of CharlesDarwin audio cassette case is on theseat next toLaroche.<b>                                                  (CONTINUED)</b><b></b><b>                                                              2.</b><b>CONTINUED:</b><b>                    BRITISH NARRATOR</b>          It isinteresting to contemplate an          entangled bank, clothed with many plants          of many kinds, with birds singing...Laroche tries to contemplate the plants and birds whizzingby. Almost too late, he spots theFakahatchee Strand StatePreserve sign and makes a squealing right onto the dirt roadturn-off. The cassette case flies from the seat and half-buries itself in an open bag of peat.<b>INT. GREEN FORD -CONTINUOUS</b>Nirvana blasts. Russell, Vinson, and Randy, three youngIndian men, pass a joint and watch the erratic van ahead.<b>                    RUSSELL</b>          Laroche is asleep at thewheel.<b>                    RANDY</b>          Crazy White Man is now Drowsy White Man.They share a stoned laugh.<b>EXT. NEW YORK APARTMENT BUILDING - NIGHT</b><b>SUBTITLE: NEW YORK, TWO YEARSLATER</b>Late night street. The click-click of typing. We moveslowly up the building to the only glowing window.<b>                    ORLEAN (O.S.)</b>              (wistful)          John Laroche is a tall guy, skinny asa          stick, pale-eyed, slouch-shouldered and          sharply handsome despite the fact that he          is missing all his front teeth.In the window, lit by a single desk lamp, a woman types.<b>INT. APARTMENT -CONTINUOUS</b>We glide over the desk piled with books about orchids, past aphoto of Laroche tacked to an overwhelmed bulletin board, andcome to rest on a woman typing. It's Susan Orlean: pale,delicate andblond. We lose ourselves in her melancholybeauty. She turns to the camera and talks tous.<b>                                                     (CONTINUED)</b><b></b><b>                                                              3.</b><b>CONTINUED:</b><b>                    ORLEAN</b>          Two years ago I went toFlorida to meet          Laroche after reading a small article          about a white man and three Seminole men          arrested with rare orchids they'd stolen          out of a place called the...<b>INT. RANGER'S TRUCK -MID-MORNING</b>Tony, a ranger, drives along a dirt road past the FakahatcheeStrand State Preserve sign and enters the swamp. He sees thewhite van and Ford parked ahead, spots a Seminole licenseplate on theFord. He pulls over down the road, and whispersinto his C.B.<b>                    TONY</b>          We got a Seminole, or Seminoles, in the          swamp. I'm on Janes Scenic Drive just          east of Logging Road Twelve.I repeat,          Indians in the swamp.Tony waits for a response.   Nothing.                    TONY (cont'd)          Indians in the swamp.Nothing still.   Tony clears his throat into the radio.<b>                    RADIOVOICE</b>          I don't know what you want me to say.<b>                    TONY</b>          Barry, Indians do not go on swamp walks.          If there are Indians in the swamp, they          are in there for a reason.Noresponse. Tony glowers, gets out of the truck, watchesthe vehicles through binoculars. Nothing. He straightenshis cap. Mosquitoes land on his neck, his nose, his lips.<b>INT. L.A. BUSINESS LUNCH RESTAURANT -MIDDAY</b>Kaufman, wearing his purple sweater sans tags, sits withValerie, an attractive woman in wire-rim glasses. They pickat salads. Kaufman steals glances at her lips, her hair, herbreasts. She looks up at him.He blanches, looks away.<b>                     KAUFMAN (V.O.)</b>          I'm old.   I'm bald. I'm repulsive.<b>                    VALERIE</b>          We think you're justgreat.<b>                                                     (CONTINUED)</b><b></b><b>                                                                 4.</b><b>CONTINUED:</b><b>                    KAUFMAN</b>              (with studiedmodesty)          Oh, thank you.Valerie absently rubs her nose.      Kaufman self-consciouslyrubs his nose in response.<b>                       VALERIE</b>             And we're thrilled you're interested.Valerie rubs her noseagain. Kaufman pulls at his nostril.A rivulet of sweat slides down his forehead. Valerie watchesit. Kaufman sees her watching it. She sees him seeing herwatching it. She looks at her salad. He quicklyswabs.<b>                       KAUFMAN</b>             Oh, thanks, wow. That's nice to hear.<b>                       VALERIE</b>             You have a really unique voice.<b>                       KAUFMAN</b>             Well,thanks. That's... I appreciate             that.<b>                       VALERIE</b>             Very talented. Really.<b>                        KAUFMAN</b>             Thanks.   Thankyou.   Thanks.<b>                       VALERIE</b>                 (looking up)             So --Kaufman's brow is dripping again.      He smiles, embarrassed.<b>                       KAUFMAN</b>             Sort of hot inhere.<b>                       VALERIE</b>                 (kindly)             Yeah, it is a bit. So, why don't you             tell me your thoughts on this crazy             little project of ours.In one motion, Kaufman swabs hisforehead and pulls a bookentitled The Orchid Thief from his bag.<b>                    KAUFMAN</b>          First, I think it's a greatbook.<b>                                                      (CONTINUED)</b><b></b><b>                                                                   5.</b><b>CONTINUED: (2)</b><b>                    VALERIE</b>          Laroche is a funcharacter, isn't he?Kaufman nods, flips through the book, stalling. There's asmiling author photo of Susan Orlean on the inside backcover.<b>                    KAUFMAN</b>          And Orlean makes orchids sofascinating.          Plus her musings on Florida, orchid          poaching. Indians. Great, sprawling New          Yorker stuff. I'd want to remain true to          that, let the movie exist rather than be          artificially plotdriven.<b>                    VALERIE</b>          Okay, great, great. I guess I'm not          exactly sure what that means.<b>                   KAUFMAN</b>          Oh. Well... I'm not sure exactly yet          either. So...y'know, it's...<b>                         VALERIE</b>          Oh.    Okay.     Great.   So, um, what --<b>                    KAUFMAN</b>          It's just, I don't want to compromise by          making it a Hollywood product. Anorchid          heist movie. Or changing the orchids          into poppies and turning it into a movie          about drug running. Y'know?<b>                    VALERIE</b>          Oh, of course. Weagree.        Definitely.<b>                    KAUFMAN</b>          Or cramming in sex, or car chases, or          guns. Or characters learning profound          life lessons. Or characters growing or          characters changingor characters          learning to like each other or characters          overcoming obstacles to succeed in the          end. Y'know? Movie shit.Kaufman is sweating like crazy now.       Valerie is quiet foramoment.<b>                    VALERIE</b>          See, we thought maybe Susan Orlean and          Laroche could fall in love during the          course of--<b>                                                        (CONTINUED)</b><b></b><b>                                                               6.</b><b>CONTINUED: (3)</b><b>                    KAUFMAN</b>          Alienated journalistwrites about          passionate backwoods guy and he teaches          her to love. I mean, it didn't happen,          it wouldn't happen. It's Hollywood.<b>INT. OFFICE - DAY</b><b>SUBTITLE: HOLLYWOOD,CALIFORNIA, THREE WEEKS EARLIER</b>The office is decorated with potted flowers, Audobon posters,lots of books. Kaufman, nervous and sweaty, watchesMargaret, a soulful development executive, unpackboxes.<b>                    KAUFMAN</b>          So anyway I just wanted to stop by to          congratulate you on your promotion.<b>                    MARGARET</b>          Well, thanks again.   It's all sostupid.<b>                    KAUFMAN</b>          I think it's great. Your photo in the          trades and everything. Pretty cool.<b>                      MARGARET</b>          Anyway.    Yeah. So what's up withyou?<b>                    KAUFMAN</b>          I'm considering jobs. Mostly crap.          There's one you might like, about          flowers.<b>                     MARGARET</b>          Flowers?   Really? What isit?<b>                    KAUFMAN</b>          They want me to do an adaptation of a          book called The Orchid Thief.<b>                    MARGARET</b>          Oh my God! You're kidding?    I read that!          I lovedthat book!Kaufman is thrilled; he's scored. Margaret pulls a copy ofThe Orchid Thief from her bookshelf.                    MARGARET (cont'd)          See, see, see! I'm not lying to"}
+{"doc_id":"doc_336","qid":"","text":"The Project Gutenberg EBook of The Great Shadow and Other Napoleonic Talesby Arthur Conan DoyleThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You maycopy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: The Great Shadow and Other Napoleonic TalesAuthor: Arthur ConanDoyleRelease Date: March 22, 2004 [EBook #11656]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE GREAT SHADOW ***Produced by Lionel G. SearTHE GREAT SHADOW AND OTHERNAPOLEONIC TALESA. CONAN DOYLECONTENTSTHE GREAT SHADOW  I.    THE NIGHT OF THE BEACONS  II.   COUSIN EDIE OF EYEMOUTH  III.  THE SHADOW ON THE WATERS  IV.   THE CHOOSING OF JIM  V.    THEMAN FROM THE SEA  VI.   A WANDERING EAGLE  VII.  THE SHADOW ON THE LAND  VIII. THE COMING OF THE CUTTER  IX.   THE DOINGS AT WEST INCH  X.    THE RETURN OF THE SHADOW  XI.   THE GATHERING OFTHE NATIONS  XII.  THE SHADOW ON THE LAND  XIII. THE END OF THE STORM  XIV.  THE TALLY OF DEATH  XV.   THE END OF ITTHE CRIME OF THE BRIGADIERTHE \"SLAPPING SAL\"THE GREAT SHADOW.CHAPTERI.THE NIGHT OF THE BEACONS.It is strange to me, Jock Calder of West Inch, to feel that though now,in the very centre of the nineteenth century, I am but five-and-fiftyyears of age, and though it is only once in a weekperhaps that my wifecan pluck out a little grey bristle from over my ear, yet I have livedin a time when the thoughts and the ways of men were as different asthough it were another planet from this.  For when I walk inmy fields Ican see, down Berwick way, the little fluffs of white smoke which tellme of this strange new hundred-legged beast, with coals for food and athousand men in its belly, for ever crawling over the border.On ashiny day I can see the glint of the brass work as it takes thecurve near Corriemuir; and then, as I look out to sea, there is the samebeast again, or a dozen of them maybe, leaving a trail of black in theair and of whitein the water, and swimming in the face of the wind aseasily as a salmon up the Tweed.  Such a sight as that would have struckmy good old father speechless with wrath as well as surprise; for he wasso stricken with thefear of offending the Creator that he was chary ofcontradicting Nature, and always held the new thing to be nearly akin tothe blasphemous.  As long as God made the horse, and a man downBirmingham way the engine,my good old dad would have stuck by thesaddle and the spurs.But he would have been still more surprised had he seen the peace andkindliness which reigns now in the hearts of men, and the talk in thepapers and atthe meetings that there is to be no more war--save, ofcourse, with blacks and such like.  For when he died we had beenfighting with scarce a break, save only during two short years, for verynearly a quarter of acentury.  Think of it, you who live so quietly andpeacefully now!  Babies who were born in the war grew to be bearded menwith babies of their own, and still the war continued.  Those who hadserved and fought in theirstalwart prime grew stiff and bent, and yetthe ships and the armies were struggling.  It was no wonder that folkcame at last to look upon it as the natural state, and thought how queerit must seem to be atpeace.  During that long time we fought the Dutch,we fought the Danes, we fought the Spanish, we fought the Turks, wefought the Americans, we fought the Monte-Videans, until it seemed thatin this universal struggleno race was too near of kin, or too far away,to be drawn into the quarrel.  But most of all it was the French whom wefought, and the man whom of all others we loathed and feared and admiredwas the great Captainwho ruled them.It was very well to draw pictures of him, and sing songs about him, andmake as though he were an impostor; but I can tell you that the fear ofthat man hung like a black shadow over all Europe, andthat there was atime when the glint of a fire at night upon the coast would set everywoman upon her knees and every man gripping for his musket.  He hadalways won: that was the terror of it.  The Fates seemed to bebehindhim.  And now we knew that he lay upon the northern coast with a hundredand fifty thousand veterans, and the boats for their passage.  But it isan old story, how a third of the grown folk of our country took uparms,and how our little one-eyed, one-armed man crushed their fleet.There was still to be a land of free thinking and free speaking inEurope.There was a great beacon ready on the hill by Tweedmouth, built up oflogsand tar-barrels; and I can well remember how, night after night, Istrained my eyes to see if it were ablaze.  I was only eight at thetime, but it is an age when one takes a grief to heart, and I felt asthough the fate of thecountry hung in some fashion upon me and myvigilance.  And then one night as I looked I suddenly saw a littleflicker on the beacon hill--a single red tongue of flame in thedarkness.  I remember how I rubbed my eyes,and pinched myself, andrapped my knuckles against the stone window-sill, to make sure that Iwas indeed awake.  And then the flame shot higher, and I saw the redquivering line upon the water between; and I dashedinto the kitchen,screeching to my father that the French had crossed and the Tweedmouthlight was aflame.  He had been talking to Mr. Mitchell, the law studentfrom Edinburgh; and I can see him now as he knocked hispipe out at theside of the fire, and looked at me from over the top of his hornspectacles.\"Are you sure, Jock?\" says he.\"Sure as death!\" I gasped.He reached out his hand for the Bible upon the table, and opened ituponhis knee as though he meant to read to us; but he shut it again insilence, and hurried out.  We went too, the law student and I, andfollowed him down to the gate which opens out upon the highway.  Fromthere wecould see the red light of the big beacon, and the glimmer of asmaller one to the north of us at Ayton.  My mother came down with twoplaids to keep the chill from us, and we all stood there until morning,speaking littleto each other, and that little in a whisper.  The roadhad more folk on it than ever passed along it at night before; for manyof the yeomen up our way had enrolled themselves in the Berwickvolunteer regiments, andwere riding now as fast as hoof could carrythem for the muster.  Some had a stirrup cup or two before parting, andI cannot forget one who tore past on a huge white horse, brandishing agreat rusty sword in themoonlight.  They shouted to us as they passedthat the North Berwick Law fire was blazing, and that it was thoughtthat the alarm had come from Edinburgh Castle.  There were a few whogalloped the other way, couriersfor Edinburgh, and the laird's son, andMaster Clayton, the deputy sheriff, and such like.  And among othersthere was one a fine built, heavy man on a roan horse, who pulled up atour gate and asked some questionabout the road.  He took off his hat toease himself, and I saw that he had a kindly long-drawn face, and agreat high brow that shot away up into tufts of sandy hair.\"I doubt it's a false alarm,\" said he.  \"Maybe I'd ha'done well to bidewhere I was; but now I've come so far, I'll break my fast with theregiment.\"He clapped spurs to his horse, and away he went down the brae.\"I ken him weel,\" said our student, nodding after him.  \"He'sa lawyerin Edinburgh, and a braw hand at the stringin' of verses.  Wattie Scottis his name.\"None of us had heard of it then; but it was not long before it was thebest known name in Scotland, and many a time wethought of how hespeered his way of us on the night of the terror.But early in the morning we had our minds set at ease.  It was grey andcold, and my mother had gone up to the house to make a pot of tea forus, whenthere came a gig down the road with Dr. Horscroft of Ayton init and his son Jim.  The collar of the doctor's brown coat came over hisears, and he looked in a deadly black humour; for Jim, who was butfifteen years ofage, had trooped off to Berwick at the first alarm withhis father's new fowling piece.  All night his dad had chased him, andnow there he was, a prisoner, with the barrel of the stolen gun stickingout from behind theseat.  He looked as sulky as his father, with hishands thrust into his side-pockets, his brows drawn down, and his lowerlip thrusting out.\"It's all a lie!\" shouted the doctor as he passed.  \"There has been nolanding, andall the fools in Scotland have been gadding about the roadsfor nothing.\"His son Jim snarled something up at him on this, and his father struckhim a blow with his clenched fist on the side of his head, which sentthe boy'schin forward upon his breast as though he had been stunned.My father shook his head, for he had a liking for Jim; but we all walkedup to the house again, nodding and blinking, and hardly able to keep oureyes opennow that we knew that all was safe, but with a thrill of joyat our hearts such as I have only matched once or twice in mylifetime.Now all this has little enough to do with what I took my pen up to tellabout; but when aman has a good memory and little skill, he cannot drawone thought from his mind without a dozen others trailing out behind it.And yet, now that I come to think of it, this had something to do withit after all; for JimHorscroft had so deadly a quarrel with his father,that he was packed off to the Berwick Academy, and as my father had longwished me to go there, he took advantage of this chance to send me also.But before I say aword about this school, I shall go back to where Ishould have begun, and give you a hint as to who I am; for it may bethat these words of mine may be read by some folk beyond the bordercountry who never heard ofthe Calders of  West Inch.It has a brave sound, West Inch, but it is not a fine estate with abraw house upon it, but only a great hard-bitten, wind-swept sheep run,fringing off into links along the sea-shore, where afrugal man mightwith hard work just pay his rent and have butter instead of treacle onSundays.  In the centre there is a grey-stoned slate-roofed house with abyre behind it, and \"1703\" scrawled in stonework over thelintel of thedoor.  There for more than a hundred years our folk have lived, until,for all their poverty, they came to take a good place among the people;for in the country parts the old yeoman is often better thought ofthanthe new laird.There was one queer thing about the house of West Inch.  It has beenreckoned by engineers and other knowing folk that the boundary linebetween the two countries ran right through the middle of it,splittingour second-best bedroom into an English half and a Scotch half.  Now thecot in which I always slept was so placed that my head was to the northof the line and my feet to the south of it.  My friends say that ifIhad chanced to lie the other way my hair might not have been so sandy,nor my mind of so solemn a cast.  This I know, that more than once in mylife, when my Scotch head could see no way out of a danger, mygoodthick English legs have come to my help, and carried me clear away.But at school I never heard the end of this, for they would call me\"Half-and-half\" and \"The Great Britain,\" and sometimes \"Union Jack.\"Whenthere was a battle between the Scotch and English boys, one sidewould kick my shins and the other cuff my ears, and then they would bothstop and laugh as though it were something funny.At first I was very miserableat the Berwick Academy.  Birtwhistle wasthe first master, and Adams the second, and I had no love for either ofthem.  I was shy and backward by nature, and slow at making a friendeither among masters or boys.  Itwas nine miles as the crow flies, andeleven and a half by road, from Berwick to West Inch, and my heart grewheavy at the weary distance that separated me from my mother; for, markyou, a lad of that age pretendsthat he has no need of his mother'scaresses, but ah, how sad he is when he is taken at his word!  At last Icould stand it no longer, and I determined to run away from the schooland make my way home as fast as Imight.  At the very last moment,however, I had the good fortune to win the praise and admiration ofevery one, from the headmaster downwards, and to find my school lifemade very pleasant and easy to me.  And allthis came of my falling byaccident out of a second-floor window.This was how it happened.  One evening I had been kicked by Ned Barton,who was the bully of the school; and this injury coming on the top ofall myother grievances, caused my little cup to overflow.  I vowed thatnight, as I buried my tear-stained face beneath the blankets, that thenext morning would either find me at West Inch or well on the way to it.Ourdormitory was on the second floor, but I was a famous climber, andhad a fine head for heights. I used to think little, young as I was, ofswinging myself with a rope round my thigh off the West Inch gable, andthat stoodthree-and-fifty feet above the ground.  There was not muchfear then but that I could make my way out of Birtwhistle's dormitory.I waited a weary while until the coughing and tossing had died away, andthere was nosound of wakefulness from the long line of wooden cots;then I very softly rose, slipped on my clothes, took my shoes in myhand, and walked tiptoe to the window.  I opened the casement and lookedout.  Underneathme lay the garden, and close by my hand was the stoutbranch of a pear tree. An active lad could ask no better ladder.Once in the garden I had but a five-foot wall to get over, and thenthere was nothing but distancebetween me and home.  I took a firm gripof a branch with one hand, placed my knee upon another one, and wasabout to swing myself out of the window, when in a moment I was assilent and as still as though I hadbeen turned to stone.There was a face looking at me from over the coping of the wall.  Achill of fear struck to my heart at its whiteness and its stillness.The moon shimmered upon it, and the eyeballs moved slowly fromside toside, though I was hid from them behind the screen of the pear tree.Then in a jerky fashion this white face ascended, until the neck,shoulders, waist, and knees of a man became visible.  He sat himselfdown onthe top of the wall, and with a great heave he pulled up afterhim a boy about my own size, who caught his breath from time to time asthough to choke down a sob.  The man gave him a shake, with a fewroughwhispered words, and then the two dropped together down into the garden.I was still standing balanced with one foot upon the bough and one uponthe casement, not daring to budge for fear of attractingtheirattention, for I could hear them moving stealthily about in the longshadow of the house.  Suddenly, from immediately beneath my feet, Iheard a low grating noise and the sharp tinkle of falling glass.\"That's doneit,\" said the man's eager whisper.  \"There is room foryou.\"\"But the edge is all jagged!\" cried the other in a weak quaver.The fellow burst out into an oath that made my skin pringle.\"In with you, you cub,\" he snarled,\"or--\"I could not see what he did, but there was a short, quick gasp of pain.\"I'll go!  I'll go!\" cried the little lad.But I heard no more, for my head suddenly swam, my heel shot off thebranch, I gave a dreadful yell, andcame down, with my ninety-fivepounds of weight, right upon the bent back of the burglar.  If you askme, I can only say that to this day I am not quite certain whether itwas an accident or whether I designed it.  It maybe that while I wasthinking of doing it Chance settled the matter for me.  The fellow wasstooping with his head forward thrusting the boy through a tiny window,when I came down upon him just where the neck joinsthe spine.  He gavea kind of whistling cry, dropped upon his face, and rolled three timesover, drumming on the grass with his heels.  His little companionflashed off in the moonlight, and was over the wall in a trice.  Asforme, I sat yelling at the pitch of my lungs and nursing one of my legs,which felt as if a red-hot ring were welded round it.It was not long, as may be imagined, before the whole household, fromthe headmaster to thestable boy, were out in the garden with lamps andlanterns.  The matter was soon cleared: the man carried off upon ashutter, and I borne in much state and solemnity to a special bedroom,where the small bone of myleg was set by Surgeon Purdie, the younger ofthe two brothers of that name.  As to the robber, it was found that hislegs were palsied, and the doctors were of two minds as to whether hewould recover the use of themor no; but the Law never gave them achance of settling the matter, for he was hanged after Carlisle assizes,some six weeks later.  It was proved that he was the most desperaterogue in the North of England, for he haddone three murders at theleast, and there were charges enough against him upon the sheet to havehanged him ten times over.Well now, I could not pass over my boyhood without telling you aboutthis, which was themost important thing that happened to me.  But Iwill go off upon no more side tracks; for when I think of all that iscoming, I can see very well that I shall have more than enough to dobefore I have finished.  For whena man has only his own little privatetale to tell, it often takes him all his time; but when he gets mixed upin such great matters as I shall have to speak about, then it is hard onhim, if he has not been brought up to it, toget it all set down to hisliking.  But my memory is as good as ever, thank God, and I shall try toget it all straight before I finish.It was this business of the burglar that first made a friendship betweenJim Horscroft, thedoctor's son, and me.  He was cock boy of the schoolfrom the day he came; for within the hour he had thrown Barton, who hadbeen cock before him, right through the big blackboard in theclass-room.  Jim always ranto muscle and bone, and even then he wassquare and tall, short of speech and long in the arm, much given tolounging with his broad back against walls, and his hands deep in hisbreeches pockets.  I can even recallthat he had a trick of keeping astraw in the corner of his mouth, just where he used afterwards to holdhis pipe.  Jim was always the same for good and for bad since first Iknew him.Heavens, how we all looked up tohim!  We were but young savages, andhad a savage's respect for power.  There was Tom Carndale of Appleby,who could write alcaics as well as mere pentameters and hexameters, yetnobody would give a snap forTom; and there was Willie Earnshaw, whohad every date, from the killing of Abel, on the tip of his tongue, sothat the masters themselves would turn to him if they were in doubt, yethe was but a narrow-chested lad,over long for his breadth; and what didhis dates help him when Jack Simons of the lower third chivied him downthe passage with the buckle end of a strap?  But you didn't do thingslike that with Jim Horscroft.  Whattales we used to whisper about hisstrength!  How he put his fist through the oak-panel of thegame-room door; how, when Long Merridew was carrying the ball, he caughtup Merridew, ball and all, and ran swiftly pastevery opponent to thegoal.  It did not seem fit to us that such a one as he should troublehis head about spondees and dactyls, or care to know who signed theMagna Charta.  When he said in open class that King Alfredwas the man,we little boys all felt that very likely it was so, and that perhaps Jimknew more about it than the man who wrote the book.Well, it was this business of the burglar that drew his attention to me;for he pattedme on my head, and said that I was a spunky little devil,which blew me out with pride for a week on end.  For two years we wereclose  friends, for all the gap that the years had made between us, andthough in passionor in want of thought he did many a thing that galledme, yet I loved him like a brother, and wept as much as would havefilled an ink bottle when at last he went off to Edinburgh to study hisfather's profession.  Fiveyears after that did I tide at Birtwhistle's,and when I left had become cock myself, for I was wiry and as tough aswhalebone, though I never ran to weight and sinew like my greatpredecessor.  It was in Jubilee Year thatI left Birtwhistle's, and thenfor three years I stayed at home learning the ways of the cattle; butstill the ships and the armies were wrestling, and still the greatshadow of Bonaparte lay across the country.  How could Iguess that Itoo should have a hand in lifting that shadow for ever from our people?CHAPTER II.COUSIN EDIE OF EYEMOUTH.Some years before, when I was still but a lad, there had come over to usupon a five weeks'visit the only daughter of my father's brother.Willie Calder had settled at Eyemouth as a maker of fishing nets, and hehad made more out of twine than ever we were like to do out of thewhin-bushes and sand-links ofWest Inch.  So his daughter, Edie Calder,came over with a braw red frock and a five shilling bonnet, and a kistfull of things that brought my dear mother's eyes out like a partan's.It was wonderful to see her so free with"}
+{"doc_id":"doc_337","qid":"","text":"<html><head><title>Pineapple Express Script at IMSDb.</title><meta name=\"description\" content=\"Pineapple Express script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"PineappleExpress script, Pineapple Express movie script, Pineapple Express film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX,FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                         PINEAPPLE EXPRESS</b>                             Written by<b>          </b>              Judd Apatow, Seth Rogen & EvanGoldberg<b>          </b><b>          </b><b>          </b>                                               November 28, 2006<b>          </b><b>          </b><b>          EXT. FARMLAND - DAWN</b><b>          </b>          INBLACK AND WHITE, A black 1930s Cadillac speeds down                 the only visible road amidst endless plains of farmland.          The road curves sharply ahead - the car accelerates.          Ignoring the turn, the Caddydrives directly off the road          and through a massive field of emptiness.<b>          </b>          The car abruptly stops in the middle of the vacant field.          GENERAL BRAT (58, a patch covers one of his eyes)and          AGENT BLACK SUIT (an agent in a black suit) step out of          the car.<b>          </b>          Although there is clearly nothing in sight for miles, the          General scans his surroundings withconcern.<b>          </b><b>          TITLE CARD UP: THE PAST                                      </b><b>          </b>          Agent Black Suit crouches down and pulls open a METAL          HATCH in the ground. Both menwalk down the hatch and          into the earth.<b>          </b><b>          </b><b>          INT. UNDERGROUND FACILITY - MOMENTS LATER</b><b>          </b>          They descend a metal staircase and walk withgreat          urgency down a narrow corridor. The hallway spills into a          hauntingly huge metal room with a lone SCIENTIST standing          in the middle. The Scientist immediately begins leading          them acrossthe room.<b>          </b><b>                                 GENERAL BRAT</b>                    When did it start?<b>          </b><b>                                 SCIENTIST</b>                    At 05:00. We're seven minutesin.<b>          </b><b>          </b><b>          INT. OBSERVATION LAB - CONTINUOUS</b><b>          </b>          The three men enter a large room divided by a one-way          mirror.<b>          </b>          On theirside, numerous SCIENTISTS, utilizing several          archaic devices, are busy at work monitoring the subject          on the other side of the mirror.<b>          </b>          The subject: PRIVATE MILLER (22, naive anddutiful) sits          at a small table with a microphone on it. Miller raises          his hand, REVEALING a smolderingJOINT.<b>          </b><b>                                                                    2</b><b>          </b><b>          </b>          He takes a long and awkward hit from the joint and bursts          into a coughingfit.<b>          </b>          The scientists begin to scribble profusely as their          devices blink manically. General Brat and Agent Black          Suit exchange a concerned look. The General lights a          cigarette as theScientist steps up to a small microphone          in the corner.<b>          </b><b>                                 SCIENTIST</b>                           (into microphone)                    Private Miller, we are now going toask                    you several questions. How do you feel?<b>          </b>          His voice booms through large speakers on Miller's side          of the room. Miller leans towards themicrophone.<b>          </b><b>                                  PRIVATE MILLER</b>                    Uh, I feel a little queer sir. But...                    It's good. Good queer.                           (beat)                    Sir. Good queer,Sir.<b>          </b>          The scientists scribble madly. One of them mumbles into          General Brat's ear.<b>          </b><b>                                 PRIVATE MILLER (CONT'D)</b>                    But...uh...eventhough I feel queer, Sir,                    I should mention that I'm also feeling                    quite gay...so, a little queer, but                    mostlygay.<b>          </b><b>                                 SCIENTIST</b>                    Private Miller. When you think of your                    superiors, what emotions do youfeel?<b>          </b><b>                                 PRIVATE MILLER</b>                           (holding out the joint)                    This wentout...Sir.<b>          </b><b>                                 SCIENTIST</b>                    We will send someone in. Now answer the                    question.<b>          </b>          A door opens beside Private Miller and anAGENT steps out          wearing an intricate uniform that resembles an old          fashioned diving suit, an air hose leading out the door          that he came from. He slowly walks toward the Private,          who looks athim in shock.<b>          </b><b>                                 SCIENTIST (CONT'D) (O.S)</b>                           (through speakers)                    Private Miller? Answer thequestion.<b>          </b><b>                                                                     3</b><b>          </b><b>          </b><b>          </b><b>                                 PRIVATE MILLER</b>                    Oh...um...whatwas the question again?<b>          </b>          The Agent in the strange suit reaches the private and          holds a lighter up to the joint.<b>          </b><b>                                 SCIENTIST(O.S.)</b>                           (through speakers)                    What are your emotions towards your                    superiors?<b>          </b>          Miller pulls at the joint until it is lit again. The          Agent exits theroom.<b>          </b><b>                                  PRIVATE MILLER</b>                     COUGH   COUGH  Fucking shit.                           (beat)                    Well, now that I think of it, it's                    strange thatthey are called my                    `superiors'. Does that make me their                    `inferior'? I mean, that's pretty fucked                    up.<b>          </b>          General Bratscowls.<b>          </b><b>                                 GENERAL BRAT</b>                           (curtly to the scientists)                    I've seen enough. Shut it down. Bury the                    hatch, sell the land, and dispose ofhim.                    This never happened.<b>          </b>          Instantly, the scientists start packing up their          equipment. Staring at Miller, General Brat grabs a RED          PHONE and dials. Two Agents in thescuba-like suits          emerge from behind Miller and start aggressively dragging          him away.<b>          </b><b>                                 PRIVATE MILLER</b>                           (freaking out)                    Hey!What the...what are you guys doing!                                  Let go of me!                           (desperately looking at the                            mirror)                    Sir!!! Sir!!! Helpme!!!<b>          </b><b>                                  GENERAL</b>                           (into phone)                    This is General Brat. We've reached a                    final conclusion on Item9.                           (beat)                    Illegal.<b>          </b>          He hangs up thephone.<b>          </b><b>                                                                     4</b><b>          </b><b>          </b><b>          </b><b>          CUT TO BLACK.</b><b>          </b><b>          TITLE CARD UP: THEPRESENT                                      </b><b>          </b><b>          </b><b>          INT. DALE'S CAR - CONTINUOUS                                    </b><b>          </b>          DALE DENTON (late 20s, out of shape,slightly unkempt)          looks out of place in his black suit as he drives he sits                 in his cluttered and worn old lady car. He smokes a joint                 while listening to talkradio.                                  <b>          </b><b>                                 TALK RADIO DJ                            </b>                    Well, let's look at the facts.                                            Financially, coins are betterbecause                                     they're cheaper, and environmentally,                                     forget-about-it, coins win hands down.                                    For those just joining us, we'rewith                                     caller Dale Denton discussing if America                                  should lose the paper dollar bill.                    <b>          </b>          We see that Dale has a wireless ear piecein.                   <b>          </b><b>                                 DALE                                     </b>                    Of course not! Who wants a pocket full of                                 coins? Seriously. Weighs down yourpants,                                 clangs around. With all this unnecessary                                  new security everywhere, we'll be setting                                 off alarms left andright!                            <b>          </b><b>                                 TALK RADIO DJ                            </b>                    We certainly do, Mr. Denton. Crude, but                                   to the point. Nextcaller!                            <b>          </b>          Dale puts away his phone and pulls up in front of a nice                  house.                                                          <b>          </b><b>          </b><b>          EXT.FRONT DOOR - MOMENTS LATER                                 </b><b>          </b>          Dale, wearing a name tag that reads \"Garth\", holding a                    clip board and wearing a greenpeace hat,knocks                           repeatedly on the door. A woman cautiously answersthe                    door.                                                           <b>          </b><b>                                 WOMAN                                    </b>                    Um, I didn't order apizza.                           <b>          </b><b>          </b><b>                                 DALE                                     </b>                    Excuse me, miss? Are you Sandra Danby                 <b>          </b><b>                                                                     5</b><b>          </b><b>          </b><b>          </b><b>                                  WOMAN                                   </b>                    Uh...yea-                                             <b>          </b>          Dale shoves an envelope into her hand.                          <b>          </b><b>                                 DALE                                     </b>                    Sorry, miss, but you've failed to showup                                 to your divorce proceedings 4 times under                                 court order. You've beenserved.                      <b>          </b><b>                                 WOMAN                                    </b>                    Oh great! Thanks a lot asshole! Real                                      clever! Go fuckyourself!                             <b>          </b>          Dale dashes back to his car as the upset woman starts to                  open theenvelope.                                              <b>          </b><b>          </b><b>          INT. DALE'S CAR - SOON AFTER                                    </b><b>          </b>          Dale is driving and smoking a joint. He looks"}
+{"doc_id":"doc_338","qid":"","text":"The Project Gutenberg EBook of The Gods are Athirst, by Anatole FranceThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: The Gods are AthirstAuthor: Anatole FranceTranslator: Mrs. Wilfrid JacksonRelease Date: December 24,2007 [EBook #24010]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE GODS ARE ATHIRST ***Produced by R. Cedron, Camille François, Henry Craig andthe Online Distributed ProofreadingTeam athttp://www.pgdp.net (This file was produced from imagesgenerously made available by The Internet Archive)THE WORKS OF ANATOLE FRANCEIN AN ENGLISH TRANSLATIONEDITED BY FREDERICCHAPMANTHE GODS ARE ATHIRST[Illustration]THE GODS AREATHIRSTBY ANATOLE FRANCEA TRANSLATION BYMRS. WILFRID JACKSON[Illustration]NEW YORK: JOHN LANE COMPANYLONDON: JOHN LANE, THEBODLEY HEADTORONTO: BELL & COCKBURN MCMXIVCopyright, 1913 byJOHN LANE COMPANYTHE GODS ARE ATHIRSTIÃ\u0000variste Gamelin, painter, pupil of David, member of the Section duPont-Neuf, formerly SectionHenri IV, had betaken himself at an earlyhour in the morning to the old church of the Barnabites, which for threeyears, since 21st May 1790, had served as meeting-place for the GeneralAssembly of the Section. Thechurch stood in a narrow, gloomy square,not far from the gates of the Palais de Justice. On the façade, whichconsisted of two of the Classical orders superimposed and was decoratedwith inverted brackets and flamingurns, blackened by the weather anddisfigured by the hand of man, the religious emblems had been batteredto pieces, while above the doorway had been inscribed in black lettersthe Republican catchword of \"Liberty,Equality, Fraternity or Death.\"Ã\u0000variste Gamelin made his way into the nave; the same vaults which hadheard the surpliced clerks of the Congregation of St. Paul sing thedivine offices, now looked down on red-cappedpatriots assembled toelect the Municipal magistrates and deliberate on the affairs of theSection. The Saints had been dragged from their niches and replaced bythe busts of Brutus, Jean-Jacques and Le Peltier. The altarhad beenstripped bare and was surmounted by the Table of the Rights of Man.It was here in the nave that twice a week, from five in the evening toeleven, were held the public assemblies. The pulpit, decorated withthecolours of the Nation, served as tribune for the speakers who haranguedthe meeting. Opposite, on the Epistle side, rose a platform of roughplanks, for the accommodation of the women and children, whoattendedthese gatherings in considerable numbers.On this particular morning, facing a desk planted underneath the pulpit,sat in red cap and _carmagnole_ complete the joiner from the PlaceThionville, the _citoyen_Dupont senior, one of the twelve forming theCommittee of Surveillance. On the desk stood a bottle and glasses, anink-horn, and a folio containing the text of the petition urging theConvention to expel from its bosomthe twenty-two members deemedunworthy.Ã\u0000variste Gamelin took the pen and signed.\"I was sure,\" said the carpenter and magistrate, \"I was sure you wouldcome and give in your name, _citoyen_ Gamelin. You arethe real thing.But the Section is lukewarm; it is lacking in virtue. I have proposed tothe Committee of Surveillance to deliver no certificate of citizenshipto any one who has failed to sign the petition.\"\"I am ready to signwith my blood,\" said Gamelin, \"for the proscriptionof these federalists, these traitors. They have desired the death ofMarat: let them perish.\"\"What ruins us,\" replied Dupont senior, \"is indifferentism. In a Sectionwhichcontains nine hundred citizens with the right to vote there arenot fifty attend the assembly. Yesterday we were eight and twenty.\"\"Well then,\" said Gamelin, \"citizens must be obliged to come underpenalty of afine.\"\"Oh, ho!\" exclaimed the joiner frowning, \"but if they all came, thepatriots would be in a minority.... _Citoyen_ Gamelin, will you drink aglass of wine to the health of all good sansculottes?...\"On the wall of thechurch, on the Gospel side, could be read the words,accompanied by a black hand, the forefinger pointing to the passageleading to the cloisters: \"_Comité civil, Comité de surveillance, Comitéde bienfaisance._\" Afew yards further on, you came to the door of theerstwhile sacristy, over which was inscribed: _Comité militaire_.Gamelin pushed this door open and found the Secretary of the Committeewithin; he was writing at alarge table loaded with books, papers, steelingots, cartridges and samples of saltpetre-bearing soils.\"Greeting, _citoyen_ Trubert. How are you?\"\"I?... I am perfectly well.\"The Secretary of the Military Committee,Fortuné Trubert, invariablymade this same reply to all who troubled about his health, less by wayof informing them of his welfare than to cut short any discussion on thesubject. At twenty-eight, he had a parchedskin, thin hair, hecticcheeks and bent shoulders. He was an optician on the Quai des Orfèvres,and owned a very old house which he had given up in '91 to asuperannuated clerk in order to devote his energies to thedischarge ofhis municipal duties. His mother, a charming woman, whose memory a fewold men of the neighbourhood still cherished fondly, had died at twenty;she had left him her fine eyes, full of gentleness andpassion, herpallor and timidity. From his father, optician and mathematicalinstrument maker to the King, carried off by the same complaint beforehis thirtieth year, he inherited an upright character and anindustrioustemperament.Without stopping his writing:\"And you, _citoyen_,\" he asked, \"how are you?\"\"Very well. Anything new?\"\"Nothing, nothing. You can see,--we are all quiet here.\"\"And the situation?\"\"The situationis just the same.\"The situation was appalling. The finest army of the Republic blockadedin Mayence; Valenciennes besieged; Fontenay taken by the Vendéens; Lyonsrebellious; the Cévennes in insurrection, thefrontier open to theSpaniards; two-thirds of the Departments invaded or revolted; Parishelpless before the Austrian cannon, without money, without bread!Fortuné Trubert wrote on calmly. The Sections beinginstructed byresolution of the Commune to carry out the levy of twelve thousand menfor La Vendée, he was drawing up directions relating to the enrolmentand arming of the contingent which the \"Pont-Neuf,\"erstwhile \"HenriIV,\" was to supply. All the muskets in store were to be handed over tothe men requisitioned for the front; the National Guard of the Sectionwould be armed with fowling-pieces and pikes.\"I have broughtyou here,\" said Gamelin, \"the schedule of thechurch-bells to be sent to the Luxembourg to be converted into cannon.\"Ã\u0000variste Gamelin, albeit he had not a penny, was inscribed among theactive members of theSection; the law accorded this privilege only tosuch citizens as were rich enough to pay a contribution equivalent inamount to three days' work, and demanded a ten days' contribution toqualify an elector for office. Butthe Section du Pont-Neuf, enamouredof equality and jealous of its independence, regarded as qualified bothfor the vote and for office every citizen who had paid out of his ownpocket for his National Guard's uniform.This was Gamelin's case, whowas an _active_ citizen of his Section and member of the MilitaryCommittee.Fortuné Trubert laid down his pen:\"_Citoyen_ Ã\u0000variste,\" he said, \"I beg you to go to the Convention andaskthem to send us orders to dig up the floor of cellars, to wash thesoil and flag-stones and collect the saltpetre. It is not everything tohave guns, we must have gunpowder too.\"A little hunchback, a pen behind his ear anda bundle of papers in hishand, entered the erstwhile sacristy. It was the _citoyen_ Beauvisage,of the Committee of Surveillance.\"_Citoyens_,\" he announced, \"we have bad news: Custine has evacuatedLandau.\"\"Custineis a traitor!\" cried Gamelin.\"He shall be guillotined,\" said Beauvisage.Trubert, in his rather breathless voice, expressed himself with hishabitual calmness:\"The Convention has not instituted a Committee of Public Safetyfor fun.It will enquire into Custine's conduct. Incompetent or traitor, he willbe superseded by a General resolved to win the victory,--and _ça ira!_\"He turned over a heap of papers, scrutinizing them with his tiredeyes:\"That our soldiers may do their duty with a quiet mind and stout heart,they must be assured that the lot of those they leave behind at home issafeguarded. If you are of the same opinion, _citoyen_ Gamelin, youwilljoin me in demanding, at the next assembly, that the Committee ofBenevolence concert measures with the Military Committee to succour thefamilies that are in indigence and have a relative at the front.\"He smiledand hummed to himself: \"_Ã\u0000a ira! ça ira!..._\"Working twelve and fourteen hours a day at his table of unpainted dealfor the defence of the fatherland in peril, this humble Secretary of theSectional Committee couldsee no disproportion between the immensity ofthe task and the meagreness of his means for performing it, so filledwas he with a sense of the unity in a common effort between himself andall other patriots, sointimately did he feel himself one with theNation at large, so merged was his individual life in the life of agreat People. He was of the sort who combine enthusiasm withlong-suffering, who, after each check, set aboutorganizing the victorythat is impossible, but is bound to come. And verily they _must_ win theday. These men of no account, who had destroyed Royalty and upset theold order of things, this Trubert, a pennilessoptician, this Ã\u0000varisteGamelin, an unknown dauber, could expect no mercy from their enemies.They had no choice save between victory and death. Hence both theirfervour and their serenity.IIQuitting the Barnabites,Ã\u0000variste Gamelin set off in the direction ofthe Place Dauphine, now renamed the Place de Thionville in honour of acity that had shown itself impregnable.Situated in the busiest quarter of Paris, the _Place_ had longlost thefine stateliness it had worn a hundred years ago; the mansions formingits three sides, built in the days of Henri IV in one uniform style, ofred brick with white stone dressings, to lodgesplendour-lovingmagistrates, had had their imposing roofs of slate removed to make wayfor two or three wretched storeys of lath and plaster or had even beendemolished altogether and replaced by shabbywhitewashed houses, and nowdisplayed only a series of irregular, poverty-stricken, squalid fronts,pierced with countless narrow, unevenly spaced windows enlivened withflowers in pots, birdcages, and rags hanging outto dry. These wereoccupied by a swarm of artisans, jewellers, metal-workers, clockmakers,opticians, printers, laundresses, sempstresses, milliners, and a fewgrey-beard lawyers who had not been swept away in thestorm ofrevolution along with the King's courts.It was morning and springtime. Golden sunbeams, intoxicating as newwine, played on the walls and flashed gaily in at garret casements.Every sash of every window wasthrown open, showing the housewives'frowsy heads peeping out. The Clerk of the Revolutionary Tribunal, whohad just left his house on his way to Court, distributed amicable tapson the cheeks of the children playingunder the trees. From thePont-Neuf came the crier's voice denouncing the treason of the infamousDumouriez.Ã\u0000variste Gamelin lived in a house on the side towards the Quai del'Horloge, a house that dated from HenriIV and would still havepreserved a not unhandsome appearance but for a mean tiled attic thathad been added on to heighten the building under the last but one of the_tyrants_. To adapt the lodging of some erstwhiledignitary of the_Parlement_ to the exigencies of the bourgeois and artisan householdsthat formed its present denizens, endless partitions and false floorshad been run up. This was why the _citoyen_ Remacle, conciergeandjobbing tailor, perched in a sort of 'tween-decks, as low ceilinged asit was confined in area. Here he could be seen through the glass doorsitting cross-legged on his work-bench, his bowed back within an inch ofthefloor above, stitching away at a National Guard's uniform, while the_citoyenne_ Remacle, whose cooking stove boasted no chimney but the wellof the staircase, poisoned the other tenants with the fumes ofherstew-pots and frying-pans, and their little girl Joséphine, her facesmudged with treacle and looking as pretty as an angel, played on thethreshold with Mouton, the joiner's dog. The _citoyenne_, whose heartwas ascapacious as her ample bosom and broad back, was reputed tobestow her favours on her neighbour the _citoyen_ Dupont senior, who wasone of the twelve constituting the Committee of Surveillance. At anyrate herhusband had his strong suspicions, and from morning to nightthe house resounded with the racket of the alternate squabbles andreconciliations of the pair. The upper floors were occupied by the_citoyen_ Chaperon,gold and silver-smith, who had his shop on the Quaide l'Horloge, by a health officer, an attorney, a goldbeater, andseveral employés at the Palais de Justice.Ã\u0000variste Gamelin climbed the old-fashioned staircase asfar as thefourth and last storey, where he had his studio together with a bedroomfor his mother. At this point ended the wooden stairs laid with tilesthat took the place of the grand stairway of the more importantfloors.A ladder clamped to the wall led to a cock-loft, from which at thatmoment emerged a stout man with a handsome, florid, rosy-cheeked face,climbing painfully down with an enormous package clasped in hisarms,yet humming gaily to himself: _J'ai perdu mon serviteur_.Breaking off his song, he wished a polite good-day to Gamelin, whoreturned him a fraternal greeting and helped him down with his parcel,for which the oldman thanked him.\"There,\" said he, shouldering his burden again, \"you have a batch ofdancing-dolls which I am going to deliver straight away to atoy-merchant in the Rue de la Loi. There is a whole tribe of theminside;I am their creator; they have received of me a perishable body,exempt from joys and sufferings. I have not given them the gift ofthought, for I am a benevolent God.\"It was the _citoyen_ Brotteaux, once farmer oftaxes and _ci-devant_noble; his father, having made a fortune in these transactions, hadbought himself an office conferring a title on the possessor. In thegood old times Maurice Brotteaux had called himself Monsieurdes Ilettesand used to give elegant suppers which the fair Madame de Rochemaure,wife of a King's _procureur_, enlivened with her bright glances,--afinished gentlewoman whose loyal fidelity was never impugned solong asthe Revolution left Maurice Brotteaux in possession of his offices andemoluments, his hôtel, his estates and his noble name. The Revolutionswept them all away. He made his living by painting portraits underthearchways of doors, making pancakes and fritters on the Quai de laMégisserie, composing speeches for the representatives of the people andgiving dancing lessons to the young _citoyennes_. At the present time,inhis garret into which you climbed by a ladder and where a man couldnot stand upright, Maurice Brotteaux, the proud owner of a glue-pot, aball of twine, a box of water-colours and sundry clippings ofpaper,manufactured dancing-dolls which he sold to wholesale toy-dealers, whoresold them to the pedlars who hawked them up and down theChamps-Ã\u0000lysées at the end of a pole,--glittering magnets to drawthelittle ones' eyes. Amidst the calamities of the State and the disasterthat overwhelmed himself, he preserved an unruffled spirit, reading forthe refreshment of his mind in his Lucretius, which he carried withhimwherever he went in the gaping pocket of his plum-coloured surtout.Ã\u0000variste Gamelin pushed open the door of his lodging. It offered noresistance, for his poverty spared him any trouble about lock and key;whenhis mother from force of habit shot the bolt, he would tell her:\"Why, what's the good? Folks don't steal spiders'-webs,--nor mypictures, neither.\" In his workroom were piled, under a thick layer ofdust or with facesturned to the wall, the canvases of his studentyears,--when, as the fashion of the day was, he limned scenes ofgallantry, depicting with a sleek, timorous brush emptied quivers andbirds put to flight, risky pastimes andreveries of bliss, high-kiltedgoose-girls and shepherdesses with rose-wreathed bosoms.But it was not a genre that suited his temperament. His cold treatmentof such like scenes proved the painter's incurable purity ofheart.Amateurs were right: Gamelin had no gifts as an erotic artist. Nowadays,though he was still short of thirty, these subjects struck him as datingfrom an immemorial antiquity. He saw in them the degradationwrought byMonarchy, the shameful effects of the corruption of Courts. He blamedhimself for having practised so contemptible a style and prostituted hisgenius to the vile arts of slavery. Now, citizen of a free people,heoccupied his hand with bold charcoal sketches of Liberties, Rights ofMan, French Constitutions, Republican Virtues, the People as Herculesfelling the Hydra of Tyranny, throwing into each and all hiscompositions all thefire of his patriotism. Alas! he could not make aliving by it. The times were hard for artists. No doubt the fault didnot lie with the Convention, which was hurling its armies against thekings gathered on every frontier,which, proud, unmoved, determined inthe face of the coalesced powers of Europe, false and ruthless toitself, was rending its own bosom with its own hands, which was settingup terror as the order of the day,establishing for the punishment ofplotters a pitiless tribunal to whose devouring maw it was soon todeliver up its own members; but which through it all, with calm andthoughtful brow, the patroness of science andfriend of all thingsbeautiful, was reforming the calendar, instituting technical schools,decreeing competitions in painting and sculpture, founding prizes toencourage artists, organizing annual exhibitions, opening theMuseum ofthe Louvre, and, on the model of Athens and Rome, endowing with astately sublimity the celebration of National festivals and publicobsequies. But French Art, once so widely appreciated in England,andGermany, in Russia, in Poland, now found every outlet to foreign landsclosed. Amateurs of painting, dilettanti of the fine arts, greatnoblemen and financiers, were ruined, had emigrated or were in hiding.The menthe Revolution had enriched, peasants who had bought up Nationalproperties, speculators, army-contractors, gamesters of thePalais-Royal, durst not at present show their wealth, and did not care afig for pictures,either. It needed Regnault's fame or the youthfulGérard's cleverness to sell a canvas. Greuze, Fragonard, Houin werereduced to indigence. Prud'hon could barely earn bread for his wife andchildren by drawingsubjects which Copia reproduced in stippledengravings. The patriot painters Hennequin, Wicar, Topino-Lebrun werestarving. Gamelin, without means to meet the expenses of a picture, tohire a model or buy colours,abandoned his vast canvas of _The Tyrantpursued in the Infernal Regions by the Furies_, after barely sketchingin the main outlines. It blocked up half the studio with itshalf-finished, threatening shapes, greater thanlife-size, and its vastbrood of green snakes, each darting forth two sharp, forked tongues. Inthe foreground, to the left, could be discerned Charon in his boat, ahaggard, wild-looking figure,--a powerful and wellconceived design, butof the schools, schooly. There was far more of genius and less ofartificiality in a canvas of smaller dimensions, also unfinished, thathung in the best lighted corner of the studio. It was an Oresteswhomhis sister Electra was raising in her arms on his bed of pain. Themaiden was putting back with a moving tenderness the matted hair thathung over her brother's eyes. The head of the hero was tragic and fine,andyou could see a likeness in it to the painter's own countenance.Gamelin cast many a mournful look at this composition; sometimes hisfingers itched with the craving to be at work on it, and his arms wouldbe stretchedlongingly towards the boldly sketched figure of Electra, tofall back again helpless to his sides. The artist was burning withenthusiasm, his soul aspired to great achievements. But he had toexhaust his energy onpot-boilers which he executed indifferently,because he was bound to please the taste of the vulgar and also becausehe had no skill to impress trivial things with the seal of genius. Hedrew little allegorical compositionswhich his comrade Desmahis engravedcleverly enough in black or in colours and which were bought at a lowfigure by a print-dealer in the Rue Honoré, the _citoyen_ Blaise. Butthe trade was going from bad to worse,"}
+{"doc_id":"doc_339","qid":"","text":"<html><head><title>We Own the Night Script at IMSDb.</title><meta name=\"description\" content=\"We Own the Night script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"We Own theNight script, We Own the Night movie script, We Own the Night film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX,FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                                 WE OWN THE NIGHT</b>                                    Written by                                    JamesGray<b>          </b><b>          </b><b>          </b><b>          FADE IN:</b><b>          </b><b>          A PAIR OF SMOKESTACKS AGAINST AN ORANGE AUTUMN SUN SKY...</b>          THE CAMERA ZOOMS OUTto REVEAL: A CEMETERY in the          foreground. TOMBSTONES blend into a NEVER-ENDING SEA OF          MIDDLE-CLASS ROW HOUSES in the distance, and nothing seems          to separate the two. A NEWLY DUGGRAVE is in the LOWER          LEFT-HAND CORNER of our FRAME.<b>          </b>          MILITARY DRUMS. HUNDREDS of POLICEMEN, in their DRESS          BLUES, ENTER from FRAME RIGHT. A FEW COPS CARRY aCOFFIN.<b>          </b><b>          SUPERIMPOSE ON THE SCREEN'S LEFT SIDE: THE FOLLOWING WORDS</b><b>          FADE IN--PARAGRAPH BY PARAGRAPH:</b><b>          </b>          New York, NewYork.   1988.<b>          </b>          A new breed of narcotics has swept the great city, bringing          with it a ferocious crime wave more terrifying than any in          recent memory.<b>          </b>          The oldcriminal order is gone. In its place, new ethnic          groups rise up to seize control without respect for          traditional rules of engagement.<b>          </b>          Outmanned and outgunned, demoralized bycutbacks and          scandal, the Police find themselves burying one of their          own at the rate of twice a month...<b>          </b>          The WORDS TURN BLOOD RED, then DISAPPEAR. The POLICELOWER          THE COFFIN when they arrive at the SITE. As we begin to          ZOOM INTO a CLOSE ANGLE ON THEM, we HEAR MUSIC. A THUMPING<b>          POP BEAT. THE CLASH'S \"ROCK THECASBAH\"...</b><b>                                                       SMASH CUT TO:</b><b>          </b>          CLOSE ON: BOBBY GREEN, thirty. He is passionate and vital          and handsome, a real physical presence. HisCLOTHES are          stylish, expensive. A sly SMILE. He steps forward, into:<b>          </b><b>          INT. STOREROOM</b><b>          </b>          The camera MOVES with him to SEE: ROSARIO DIAZ,twenties,          dark-skinned, impossibly gorgeous. Leaning up against the          wall, biting her lower lip, eyeing Bobby with true desire.<b>          </b><b>                                    BOBBYGREEN</b>                     ...you're so fuckin' beautiful, you                     know that...?<b>          </b><b>          </b><b>                                                           (CONTINUED)</b><b>          </b><b>                                                                      2.</b><b>          CONTINUED:</b><b>          </b><b>          </b>          She beams. They kiss, PASSIONATELY. SUPERIMPOSE:          \"BROOKLYN\". They really GO AT IT.They are ferocious; as          they DEVOUR each other:<b>          </b><b>                                      ROSARIO DIAZ</b>                       I love you, baby...<b>          </b>          Then we HEAR a fist BANGING ON ADOOR, a MUFFLED VOICE:<b>          </b><b>                                       MUFFLED VOICE</b>                       Bobby!   You in there?<b>          </b>          No ANSWER--they're too busy making out. Then,MORE          BANGING. They both START LAUGHING. The voice continues:<b>          </b><b>                                      MUFFLED VOICE (CONT'D)</b>                       Bobby! [If] you two couldjust                       keep your hands off each other for                       a second--I, I think we got a                       situation brewin' out front!<b>          </b><b>                                      ROSARIODIAZ</b>                       It's Jumbo... We gotta go anyway...<b>          </b><b>                                       BOBBY GREEN</b>                              (beat; to the door)                       I'll be out in a second,Louis!<b>          </b>          She grabs him; he moves back in, starts MAULING her again.          She SLIDES DOWN his body, perhaps to performfellatio...<b>          </b><b>                                                         CUT TO:</b><b>          </b><b>          INT. EL CARIBE NIGHTCLUB - MAIN ROOM</b><b>          </b>          A huge, bustling, vibrantnightclub, very `80's. Decadent,          pure New York. BOBBY emerges from the back room area,          straightening out his outfit. ROSARIO is behind him,          fixing herself and walking toward the front of theclub.          Bobby enters the PULSING, VITAL HEART of the place. As he          appears, everyone approaches, happily shouting out his          name. He is having a blast.<b>          </b>          Bobby is the master ofthis domain. An `80's version of          Tony Manero from SATURDAY NIGHT FEVER, but without kitsch.          He is genuine cool. MUSIC: BLONDIE'S \"HEART OF GLASS.\"          Bobby waves hello to people, greets them(\"Hey, baby!\"), a          pretty girl kisses him (the women love him). Moves with a          swagger, a DANCE. As he sways, he re-buttons his shirt,          claps his hands. He is the CLUB MANAGER, and HELOVES          every minute of it. He's GIDDY, ALIVE, a PERMANENT GRIN.<b>          WE WANT HIS LIFE. SENSUOUS, SEDUCTIVE, INCREDIBLE FUN.</b><b>          </b><b>                                                               (CONTINUED)</b><b>          </b><b>                                                                  3.</b><b>          CONTINUED:</b><b>          </b><b>          </b>          A MAN waves to BOBBY. Bobby SEES: seated at atable,          surrounded by his gang: VADIM NEZHINSKI. Thirty-five, acne-          scarred, huge black pompadour, big gut. One of his men,          PAVEL LUBYARSKY, is next to him. Bobby nods back tothem.<b>          </b><b>          NEAR THE COAT CHECK</b><b>          </b>          Rosario meets up with several of her girlfriends, and we          SEE an OPERATION at work: people come get theircoats,          slide the coat check girls a HUNDRED BUCKS, and with their          coats the patrons get JUNK put in their jacket pockets.          Rosario looks to one of her girls--ALINA, a young Russian          with toomuch makeup--and counts the cash. Pockets some of          it. From Rosario's BEHAVIOR, we SEE she's INVOLVED in the<b>          DRUG TRADE.</b><b>          </b><b>          INT. THE FRONT OF THEESTABLISHMENT - LOBBY</b><b>          </b>          A HUGE FIGHT that's breaking out. Violent. Club patrons          and SECURITY GUYS are in the melee. Girls SCREAM. ROSARIO          moves past all this, to thefront door. LOUIS FALSETTI,          forty, backs off from the multiple struggles all around          him. Louis is wearing a jacket that says \"SECURITY\" on it.          He is the jocular type, very overweight, redfaced.Bobby          arrives at the fight scene. With cheery braggadocio:<b>          </b><b>                                      BOBBY GREEN</b>                       What the fuck's goin' on in here?<b>          </b>          Bobby movesRIGHT IN. Grabs a struggling and drunk PATRON,          puts him in a headlock. He gives the Patron a SHOT TO THE          TEMPLE, just to keep him docile. Lou, Bobby's best friend,          watches the imbroglio with anamused and cowardly          detachment, CHORTLING with every punch and scream. He          balances a drink in his hand with marvelous care, avoiding          spillage. But the BATTLE GETS CLOSER AND CLOSER.Seeing          his friend Bobby, who's hardly got everything in control:<b>          </b><b>                                      LOUIS FALSETTI</b>                       Okay, Bobkes! Looks like you got                       everythingunder control here--so                       uh, so I'm gonna go outside, take                       my break!<b>          </b><b>                                      BOBBY GREEN</b>                       Yeah--just keep that wide loadof                       yours outta trouble, arright?<b>          </b><b>                                      LOUIS FALSETTI</b>                       Yes, your fuckin' majesty!<b>          </b>          The Patron is acting up again, tryingto free himself from          Bobby's grip. Bobby looks down at him. With humor:<b>          </b><b>                                                           (CONTINUED)</b><b>          </b><b>                                                                     4.</b><b>          CONTINUED:</b><b>          </b><b>          </b><b>                                      BOBBY GREEN</b>                       What're you doing?!? You gotta                       behave yourselfhere!<b>          </b>          Gives the guy a shot in the head. Meanwhile: LOUIS          saunters past the melee, jumping gracefully over a fallen          drunk. He BOWS in triumph when others applaud hisleap.          Everyone laughs as he goes out the door. Bouncer FREDDIE          helps clean up the mess. A GIRL SCREAMS as a GUY is          flipped on his back by bouncers. A PATRON with BLOOD ON          HIS FACE,acting like an eight year-old, to Bobby (who          hurls his guy out of frame):<b>          </b><b>                                      BLOODIED PATRON</b>                       C'mon, Mr. Green! I didn'tdo                       nothing!<b>          </b><b>                                       BOBBY GREEN</b>                       Well now you're gonna do nothing                       someplace else!                              (louder, toall                               fighters; pointing:)                       Now listen--one of these days I'm                       gonna run this whole block, and I                       see any you in here again--any you--                       I'llbust your fuckin' hole!                              (to Freddie)                       Throw `em out on their ass. I                       gotta go upstairs, drop off my keys                       with the old man.<b>          </b><b>          INT.STAIRWELL</b><b>          </b>          Wood-panelled walls. Bobby walks upstairs, fixing his hair.<b>          </b><b>          INT. MARAT BUZHAYEV'S APARTMENT - FOYER/LIVINGROOM</b><b>          </b>          An ornate, gaudy place. The walls are covered by mirrors          with that cheesy brown marble pattern print all over them.          Plush couches, clutter. Bobby walksin.<b>          </b>          We HEAR RADIO MUSIC up here, nothing like the stuff played          downstairs. A RUSSIAN CROONER. In an EASY CHAIR sits          MARAT BUZHAYEV (pronounced BOO-SHY'-EV). He isold,          kindly, weakened by age; sits next to his babushka wife,          KALINA. Buzhayev watches a Russian musical program with          the sound off, listening to his small transistorradio.<b>          </b><b>                                       MARAT BUZHAYEV</b>                       Bobby!   Come here!<b>          </b><b>                                      BOBBY GREEN</b>                       Mr. Buzhayev, howare you!<b>          </b><b>                                                              (CONTINUED)</b><b>          </b><b>                                                                    5.</b><b>          CONTINUED:</b><b>          </b><b>          </b>          Bobby leans over, hugs the seated old man. The two EMBRACE          WARMLY--they are close. Before separating, Buzhayev          touches his face. KALINA yells happily in RUSSIAN,grabs          BOBBY, embraces him too. She couldn't be more motherly,          amd Bobby BEAMS at the treatment.<b>          </b><b>                                       KALINA BUZHAYEV"}
+{"doc_id":"doc_340","qid":"","text":"The Project Gutenberg EBook of A Crystal Age, by W. H. HudsonThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it under theterms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: A Crystal AgeAuthor: W. H. HudsonPosting Date: March 24, 2014 [EBook #7401]Release Date: February, 2005FirstPosted: April 24, 2003Language: English*** START OF THIS PROJECT GUTENBERG EBOOK A CRYSTAL AGE ***Produced by Eric Eldred, David Garcia and the OnlineDistributed Proofreading Team.A CRYSTAL AGEBY W.H. HUDSONPREFACE_Romances of the future, however fantastic they may be, have for mostof us a perennial if mild interest, since they are born of a very commonfeeling--a sense of dissatisfaction with the existingorder of things,combined with a vague faith in or hope of a better one to come. Thepicture put before us is false; we knew it would be false before lookingat it, since we cannot imagine what is unknown any more thanwe canbuild without materials. Our mental atmosphere surrounds and shuts us inlike our own skins; no one can boast that he has broken out of thatprison. The vast, unbounded prospect lies before us, but, as thepoetmournfully adds, \"clouds and darkness rest upon it.\" Nevertheless wecannot suppress all curiosity, or help asking one another, What is yourdream--your ideal? What is your News from Nowhere, or, rather, whatisthe result of the little shake your hand has given to the old pasteboardtoy with a dozen bits of colored glass for contents? And, most importantof all, can you present it in a narrative or romance which will enableme topass an idle hour not disagreeably? How, for instance, does itcompare in this respect with other prophetic books on the shelf?__I am not referring to living authors; least of all to that flamingo ofletters who for the lastdecade or so has been a wonder to our islandbirds. For what could I say of him that is not known to every one--thathe is the tallest of fowls, land or water, of a most singular shape, andhas black-tipped crimson wingsfolded under his delicate rose-coloredplumage? These other books referred to, written, let us say, from thirtyor forty years to a century or two ago, amuse us in a way their poordead authors never intended. Mostamusing are the dead ones who takethemselves seriously, whose books are pulpits quaintly carved anddecorated with precious stones and silken canopies in which they standand preach to or at theircontemporaries.__In like manner, in going through this book of mine after so many years Iam amused at the way it is colored by the little cults and crazes, andmodes of thought of the 'eighties of the last century. Theywere soimportant then, and now, if remembered at all, they appear so trivial!It pleases me to be diverted in this way at \"A Crystal Age\"--to find, infact, that I have not stood still while the world has been moving.__Thiscriticism refers to the case, the habit, of the book rather thanto its spirit, since when we write we do, as the red man thought, impartsomething of our souls to the paper, and it is probable that if I wereto write a newdream of the future it would, though in some respectsvery different from this, still be a dream and picture of the human racein its forest period.__Alas that in this case the wish cannot induce belief! For now Irememberanother thing which Nature said--that earthly excellence can come in noway but one, and the ending of passion and strife is the beginning ofdecay. It is indeed a hard saying, and the hardest lesson we canlearnof her without losing love and bidding good-by forever to hope._W. H. H.A CRYSTAL AGEChapter 1I do not quite know how it happened, my recollection of the whole matterebbing in a somewhat clouded condition.I fancy I had gone somewhere ona botanizing expedition, but whether at home or abroad I don't know. Atall events, I remember that I had taken up the study of plants with agood deal of enthusiasm, and that whilehunting for some variety in themountains I sat down to rest on the edge of a ravine. Perhaps it was onthe ledge of an overhanging rock; anyhow, if I remember rightly, theground gave way all about me, precipitatingme below. The fall was avery considerable one--probably thirty or forty feet, or more, and I wasrendered unconscious. How long I lay there under the heap of earth andstones carried down in my fall it is impossible tosay: perhaps a longtime; but at last I came to myself and struggled up from the_debris_, like a mole coming to the surface of the earth to feelthe genial sunshine on his dim eyeballs. I found myself standing(oddlyenough, on all fours) in an immense pit created by the overthrow of agigantic dead tree with a girth of about thirty or forty feet. The treeitself had rolled down to the bottom of the ravine; but the pit in whichit hadleft the huge stumps of severed roots was, I found, situated in agentle slope at the top of the bank! How, then, I could have fallenseemingly so far from no height at all, puzzled me greatly: it looked asif the solid earthhad been indulging in some curious transformationpranks during those moments or minutes of insensibility. Anothersingular circumstance was that I had a great mass of small fibrousrootlets tightly woven about mywhole person, so that I was like acolossal basket-worm in its case, or a big man-shaped bottle coveredwith wicker-work. It appeared as if the roots had _grown_ round me!Luckily they were quite sapless and brittle, andwithout bothering mybrains too much about the matter, I set to work to rid myself of them.After stripping the woody covering off, I found that my tourist suit ofrough Scotch homespun had not suffered much harm,although the clothexuded a damp, moldy smell; also that my thick-soled climbing boots hadassumed a cracked rusty appearance as if I had been engaged in somebrick-field operations; while my felt hat was in such adiscolored andbattered condition that I felt almost ashamed to put it on my head. Mywatch was gone; perhaps I had not been wearing it, but my pocket-book inwhich I had my money was safe in my breast pocket.Gladand grateful at having escaped with unbroken bones from such adangerous accident, I set out walking along the edge of the ravine,which soon broadened to a valley running between two steep hills; andthen, seeingwater at the bottom and feeling very dry, I ran down theslope to get a drink. Lying flat on my chest to slake my thirst animalfashion, I was amazed at the reflection the water gave back of my face:it was, skin and hair,thickly encrusted with clay and rootlets! Havingtaken a long drink, I threw off my clothes to have a bath; and aftersplashing about for half an hour managed to rid my skin of itsaccumulations of dirt. While drying in thewind I shook the loose sandand clay from my garments, then dressed, and, feeling greatly refreshed,proceeded on my walk.For an hour or so I followed the valley in its many windings, but,failing to see anydwelling-place, I ascended a hill to get a view ofthe surrounding country. The prospect which disclosed itself when I hadgot a couple of hundred feet above the surrounding level, appearedunfamiliar. The hills amongwhich I had been wandering were now behindme; before me spread a wide rolling country, beyond which rose amountain range resembling in the distance blue banked-up clouds withsummits and peaks of pearlywhiteness. Looking on this scene I couldhardly refrain from shouting with joy, so glad did the sunlit expanse ofearth, and the pure exhilarating mountain breeze, make me feel. Theseason was late summer--that wasplain to see; the ground was moist, asif from recent showers, and the earth everywhere had that intense livinggreenness with which it reclothes itself when the greater heats areover; but the foliage of the woods wasalready beginning to be touchedhere and there with the yellow and russet hues of decay. A more tranquiland soul-satisfying scene could not be imagined: the dear old motherearth was looking her very best; while theshifting golden sunlight, themysterious haze in the distance, and the glint of a wide stream not veryfar off, seemed to spiritualize her \"happy autumn fields,\" and bringthem into a closer kinship with the blueover-arching sky. There was onelarge house or mansion in sight, but no town, nor even a hamlet, and notone solitary spire. In vain I scanned the horizon, waiting impatientlyto see the distant puff of white steam fromsome passing engine. Thistroubled me not a little, for I had no idea that I had drifted so farfrom civilization in my search for specimens, or whatever it was thatbrought me to this pretty, primitive wilderness. Not quite awilderness,however, for there, within a short hour's walk of the hill, stood theone great stone mansion, close to the river I had mentioned. There werealso horses and cows in sight, and a number of scattered sheepweregrazing on the hillside beneath me.Strange to relate, I met with a little misadventure on account of thesheep--an animal which one is accustomed to regard as of a timid andinoffensive nature. When I set out at abrisk pace to walk to the houseI have spoken of, in order to make some inquiries there, a few of thesheep that happened to be near began to bleat loudly, as if alarmed, andby and by they came hurrying after me,apparently in a great state ofexcitement. I did not mind them much, but presently a pair of horses,attracted by their bleatings, also seemed struck at my appearance, andcame at a swift gallop to within twenty yards ofme. They weremagnificent-looking brutes, evidently a pair of well-groomed carriagehorses, for their coats, which were of a fine bronze color, sparkledwonderfully in the sunshine. In other respects they were veryunlikecarriage animals, for they had tails reaching to the ground, likefuneral horses, and immense black leonine manes, which gave them astrikingly bold and somewhat formidable appearance. For some momentstheystood with heads erect, gazing fixedly at me, and thensimultaneously delivered a snort of defiance or astonishment, so loudand sudden that it startled me like the report of a gun. This tremendousequine blast broughtyet another enemy on the field in the shape of ahuge milk-white bull with long horns: a very noble kind of animal, butone which I always prefer to admire from behind a hedge, or at adistance through a field-glass.Fortunately his wrathful mutterings gaveme timely notice of his approach, and without waiting to discover hisintentions, I incontinently fled down the slope to the refuge of a groveor belt of trees clothing the lowerportion of the hillside. Spent andpanting from my run, I embraced a big tree, and turning to face the foe,found that I had not been followed: sheep, horses, and bull were allgrouped together just where I had left them,apparently holding aconsultation, or comparing notes.The trees where I had sought shelter were old, and grew here and there,singly or in scattered groups: it was a pretty wilderness of mingledtree, shrub and flower. Iwas surprised to find here some very large andancient-looking fig-trees, and numbers of wasps and flies were busyfeeding on a few over-ripe figs on the higher branches. Honey-bees alsoroamed about everywhere,extracting sweets from the autumn bloom, andfilling the sunny glades with a soft, monotonous murmur of sound.Walking on full of happy thoughts and a keen sense of the sweetness oflife pervading me, I presentlynoticed that a multitude of small birdswere gathering about me, flitting through the trees overhead and thebushes on either hand, but always keeping near me, apparently as muchexcited at my presence as if I hadbeen a gigantic owl, or some suchunnatural monster. Their increasing numbers and incessant excitedchirping and chattering at first served to amuse, but in the end beganto irritate me. I observed, too, that the alarmwas spreading, and thatlarger birds, usually shy of men--pigeons, jays, and magpies, I fanciedthey were--now began to make their appearance. Could it be, thought Iwith some concern, that I had wandered into someuninhabited wilderness,to cause so great a commotion among the little feathered people? I verysoon dismissed this as an idle thought, for one does not find houses,domestic animals, and fruit-trees in desert places. No,it was simplythe inherent cantankerousness of little birds which caused them to annoyme. Looking about on the ground for something to throw at them, I foundin the grass a freshly-fallen walnut, and, breaking theshell, I quicklyate the contents. Never had anything tasted so pleasant to me before!But it had a curious effect on me, for, whereas before eating it I hadnot felt hungry, I now seemed to be famishing, and beganexcitedlysearching about for more nuts. They were lying everywhere in thegreatest abundance; for, without knowing it, I had been walking througha grove composed in large part of old walnut-trees. Nut after nutwaspicked up and eagerly devoured, and I must have eaten four or five dozenbefore my ravenous appetite was thoroughly appeased. During this feast Ihad paid no attention to the birds, but when my hunger was overI beganagain to feel annoyed at their trivial persecutions, and so continued togather the fallen nuts to throw at them. It amused and piqued me at thesame time to see how wide of the mark my missiles went. I couldhardlyhave hit a haystack at a distance of ten yards. After half an hour'svigorous practice my right hand began to recover its lost cunning, and Iwas at last greatly delighted when of my nuts went hissing like abulletthrough the leaves, not further than a yard from the wren, or whateverthe little beggar was, I had aimed at. Their Impertinences did not likethis at all; they began to find out that I was a rather dangerouspersonto meddle with: their ranks were broken, they became demoralized andscattered, in all directions, and I was finally left master of thefield.\"Dolt that I am,\" I suddenly exclaimed, \"to be fooling away my timewhenthe nearest railway station or hotel is perhaps twenty miles away.\"I hurried on, but when I got to the end of the grove, on the green swardnear some laurel and juniper bushes, I came on an excavationapparentlyjust made, the loose earth which had been dug out looking quite freshand moist. The hole or foss was narrow, about five feet deep and sevenfeet long, and looked, I imagined, curiously like a grave. A fewyardsaway was a pile of dry brushwood, and some faggots bound together withropes of straw, all apparently freshly cut from the neighboring bushes.As I stood there, wondering what these things meant, I happenedtoglance away in the direction of the house where I intended to call,which was not now visible owing to an intervening grove of tall trees,and was surprised to discover a troop of about fifteen persons advancingalongthe valley in my direction. Before them marched a tallwhite-bearded old man; next came eight men, bearing a platform on theirshoulders with some heavy burden resting upon it; and behind thesefollowed the others. Ibegan to think that they were actually carrying acorpse, with the intention of giving it burial in that very pit besidewhich I was standing; and, although it looked most unlike a funeral, forno person in the procession woreblack, the thought strengthened to aconviction when I became able to distinguish a recumbent, human-likeform in a shroud-like covering on the platform. It seemed altogether avery unusual proceeding, and made mefeel extremely uncomfortable; somuch so that I considered it prudent to step back behind the bushes,where I could watch the doings of the processionists without beingobserved.Led by the old man--who carried,suspended by thin chains, a largebronze censer, or brazier rather, which sent out a thin continuouswreath of smoke--they came straight on to the pit; and after depositingtheir burden on the grass, remained standingfor some minutes,apparently to rest after their walk, all conversing together, but insubdued tones, so that I could not catch their words, although standingwithin fifteen yards of the grave. The uncoffined corpse, whichseemedthat of a full-grown man, was covered with a white cloth, and rested ona thick straw mat, provided with handles along the sides. On thesethings, however, I bestowed but a hasty glance, so profoundlyabsorbedhad I become in watching the group of living human beings before me; forthey were certainly utterly unlike any fellow-creatures I had everencountered before. The old man was tall and spare, and fromhissnowy-white majestic beard I took him to be about seventy years old; buthe was straight as an arrow, and his free movements and elastic treadwere those of a much younger man. His head was adorned with a darkredskull-cap, and he wore a robe covering the whole body and reaching tothe ankles, of a deep yellow or rhubarb color; but his long wide sleevesunder his robe were dark red, embroidered with yellow flowers. Theothermen had no covering on their heads, and their luxuriant hair, worn tothe shoulders, was, in most cases, very dark. Their garments were alsomade in a different fashion, and consisted of a kilt-like dress, whichcamehalf-way to the knees, a pale yellow shirt fitting tight to theskin, and over it a loose sleeveless vest. The entire legs were cased instockings, curious in pattern and color. The women wore garmentsresembling those ofthe men, but the tight-fitting sleeves reached onlyhalf-way to the elbow, the rest of the arm being bare; and theoutergarment was all in one piece, resembling a long sleeveless jacket,reaching below the hips. The colorof their dresses varied, but in mostcases different shades of blue and subdued yellow predominated. In all,the stockings showed deeper and richer shades of color than the othergarments; and in their curiouslysegmented appearance, and in theharmonious arrangement of the tints, they seemed to represent the skinsof pythons and other beautifully variegated serpents. All wore low shoesof an orange-brown color, fittingclosely so as to display the shape ofthe foot.From the moment of first seeing them I had had no doubt about the sex ofthe tall old leader of the procession, his shining white beard being asconspicuous at a distance as ashield or a banner; but looking at theothers I was at first puzzled to know whether the party was composed ofmen or women, or of both, so much did they resemble each other inheight, in their smooth faces, and in thelength of their hair. On acloser inspection I noticed the difference of dress of the sexes; alsothat the men, if not sterner, had faces at all events less mild and softin expression than the women, and also a slightperceptible down on thecheeks and upper lip.After a first hasty survey of the group in general, I had eyes for onlyone person in it--a fine graceful girl about fourteen years old, and theyoungest by far of the party. Adescription of this girl will give someidea, albeit a very poor one, of the faces and general appearance ofthis strange people I had stumbled on. Her dress, if a garment so briefcan be called a dress, showed a slaty-bluepattern on a straw-coloredground, while her stockings were darker shades of the same colors. Hereyes, at the distance I stood from her, appeared black, or nearly black,but when seen closely they proved to begreen--a wonderfully pure,tender sea-green; and the others, I found, had eyes of the same hue. Herhair fell to her shoulders; but it was very wavy or curly, and strayedin small tendril-like tresses over her neck,forehead and cheeks; incolor it was golden black--that is, black in shade, but when touchedwith sunlight every hair became a thread of shining red-gold; and insome lights it looked like raven-black hair powdered withgold-dust. Asto her features, the forehead was broader and lower, the nose larger,and the lips more slender, than in our most beautiful female types. Thecolor was also different, the delicately molded mouth beingpurple-redinstead of the approved cherry or coral hue; while the complexion was aclear dark, and the color, which mantled the cheeks in moments ofexcitement, was a dim or dusky rather than a rosy red.The exquisiteform and face of this young girl, from the first moment ofseeing her, produced a very deep impression; and I continued watchingher every movement and gesture with an intense, even a passionateinterest. She had aquantity of flowers in her hand; but these sweetemblems, I observed, were all gayly colored, which seemed strange, forin most places white flowers are used in funeral ceremonies. Some of themen who had followedthe body carried in their hands broad,three-cornered bronze shovels, with short black handles, and these theyhad dropped upon the grass on arriving at the grave. Presently the oldman stooped and drew the coveringback from the dead one's face--arigid, marble-white face set in a loose mass of black hair. The othersgathered round, and some standing, others kneeling, bent on the stillcountenance before them a long earnest gaze,"}
+{"doc_id":"doc_341","qid":"","text":"The Project Gutenberg EBook of The Time Traders, by Andre NortonThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it underthe terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: The Time TradersAuthor: Andre NortonRelease Date: August 29, 2006 [EBook #19145]Language: English***START OF THIS PROJECT GUTENBERG EBOOK THE TIME TRADERS ***Produced by Greg Weeks, Irma Spehar and the OnlineDistributed Proofreading Team at http://www.pgdp.netTHE TIME TRADERSBY ANDRENORTON_Science Fiction_THE STARS ARE OURS!STAR BORNTHE TIME TRADERS_Historical Fiction_YANKEE PRIVATEER_Edited by Andre Norton_BULLARD OF THE SPACE PATROLSPACE SERVICESPACE PIONEERSSPACEPOLICE_Andre Norton_THE TIMETRADERSCLEVELAND AND NEW YORKTHE WORLD PUBLISHING COMPANY_Published by_ The World Publishing Company 2231 West 110th Street,Cleveland 2, Ohio_Publishedsimultaneously in Canada by_ Nelson, Foster & Scott Ltd._Library of Congress Catalog Card Number: 58-11154_SECOND PRINTING2WP759Copyright (c) 1958 by The World Publishing Company All rights reserved.Nopart of this book may be reproduced in any form without writtenpermission from the publisher, except for brief passages included in areview appearing in a newspaper or magazine. Printed in the UnitedStates ofAmerica.Transcriber's note:Extensive research did not uncover any evidence that the copyright onthis publication was renewed.THE TIME TRADERSCHAPTER 1To anyone who glanced casually inside the detention roomthe young mansitting there did not seem very formidable. In height he might have beena little above average, but not enough to make him noticeable. His brownhair was cropped conservatively; his unlined boy's facewas not one tobe remembered--unless one was observant enough to note those light-grayeyes and catch a chilling, measuring expression showing now and then foran instant in their depths.Neatly and inconspicuouslydressed, in this last quarter of thetwentieth century his like was to be found on any street of the city tenfloors below--to all outward appearances. But that other person underthe protective coloring so assiduouslycultivated could touch heights ofencased and controlled fury which Murdock himself did not understand andwas only just learning to use as a weapon against a world he had alwaysfound hostile.He was aware, though hegave no sign of it, that a guard was watchinghim. The cop on duty was an old hand--he probably expected some reactionother than passive acceptance from the prisoner. But he was not goingto get it. The law had Rosssewed up tight this time. Why didn't theyget about the business of shipping him off? Why had he had thatafternoon session with the skull thumper? Ross had been on the defensivethen, and he had not liked it. He hadgiven to the other's questions allthe attention his shrewd mind could muster, but a faint, very faint,apprehension still clung to the memory of that meeting.The door of the detention room opened. Ross did not turn hishead, butthe guard cleared his throat as if their hour of mutual silence haddried his vocal cords. \"On your feet, Murdock! The judge wants to seeyou.\"Ross rose smoothly, with every muscle under fluid control. It neverpaidto talk back, to allow any sign of defiance to show. He would go throughthe motions as if he were a bad little boy who had realized his errors.It was a meek-and-mild act that had paid off more than once inRoss'scheckered past. So he faced the man seated behind the desk in the otherroom with an uncertain, diffident smile, standing with boyishawkwardness, respectfully waiting for the other to speak first.Judge OrdRawle. It was his rotten luck to pull old Eagle Beak on hiscase. Well, he would simply have to take it when the old boy dished itout. Not that he had to remain stuck with it later....\"You have a bad record, youngman.\"Ross allowed his smile to fade; his shoulders slumped. But underconcealing lids his eyes showed an instant of cold defiance.\"Yes, sir,\" he agreed in a voice carefully cultivated to shakeconvincingly about theedges. Then suddenly all Ross's pleasure in theskill of his act was wiped away. Judge Rawle was not alone; that blastedskull thumper was sitting there, watching the prisoner with the samekeenness he had shown theother day.\"A very bad record for the few years you have had to make it.\" EagleBeak was staring at him, too, but without the same look of penetration,luckily for Ross. \"By rights, you should be turned over to thenewRehabilitation Service....\"Ross froze inside. That was the \"treatment,\" icy rumors of which hadspread throughout his particular world. For the second time since he hadentered the room his self-confidence wasjarred. Then he clung with adegree of hope to the phrasing of that last sentence.\"Instead, I have been authorized to offer you a choice, Murdock. Onewhich I shall state--and on record--I do not in the leastapprove.\"Ross's twinge of fear faded. If the judge didn't like it, there must besomething in it to the advantage of Ross Murdock. He'd grab it for sure!\"There is a government project in need of volunteers. It seems thatyouhave tested out as possible material for this assignment. If you signfor it, the law will consider the time spent on it as part of yoursentence. Thus you may aid the country which you haveheretoforedisgraced----\"\"And if I refuse, I go to this rehabilitation. Is that right, sir?\"\"I certainly consider you a fit candidate for rehabilitation. Yourrecord--\" He shuffled through the papers on his desk.\"I choose tovolunteer for the project, sir.\"The judge snorted and pushed all the papers into a folder. He spoke to aman waiting in the shadows. \"Here then is your volunteer, Major.\"Ross bottled in his relief. He was over the firsthump. And since hisluck had held so far, he might be about to win all the way....The man Judge Rawle called \"Major\" moved into the light. At the firstglance Ross, to his hidden annoyance, found himself uneasy. To faceupto Eagle Beak was all part of the game. But somehow he sensed one didnot play such games with this man.\"Thank you, your honor. We will be on our way at once. This weather isnot very promising.\"Before herealized what was happening, Ross found himself walking meeklyto the door. He considered trying to give the major the slip when theyleft the building, losing himself in a storm-darkened city. But they didnot take theelevator downstairs. Instead, they climbed two or threeflights up the emergency stairs. And to his humiliation Ross foundhimself panting and slowing, while the other man, who must have been agood dozen years hissenior, showed no signs of discomfort.They came out into the snow on the roof, and the major flashed a torchskyward, guiding in a dark shadow which touched down before them. Ahelicopter! For the first time Rossbegan to doubt the wisdom of hischoice.\"On your way, Murdock!\" The voice was impersonal enough, but that veryimpersonality got under one's skin.Bundled into the machine between the silent major and an equallyquietpilot in uniform, Ross was lifted over the city, whose ways he knew aswell as he knew the lines on his own palm, into the unknown he wasalready beginning to regard dubiously. The lighted streets andbuildings,their outlines softened by the soft wet snow, fell out ofsight. Now they could mark the outer highways. Ross refused to ask anyquestions. He could take this silent treatment; he _had_ taken a lot oftougher things in thepast.The patches of light disappeared, and the country opened out. The planebanked. Ross, with all the familiar landmarks of his world gone, couldnot have said if they were headed north or south. But moments laternoteven the thick curtain of snowflakes could blot out the pattern of redlights on the ground, and the helicopter settled down.\"Come on!\"For the second time Ross obeyed. He stood shivering, engulfed in aminiatureblizzard. His clothing, protection enough in the city, didlittle good against the push of the wind. A hand gripped his upper arm,and he was drawn forward to a low building. A door banged and Ross andhis companioncame into a region of light and very welcome heat.\"Sit down--over there!\"Too bewildered to resent orders, Ross sat. There were other men in theroom. One, wearing a queer suit of padded clothing, a bulbousheadgearhooked over his arm, was reading a paper. The major crossed to speak tohim and after they conferred for a moment, the major beckoned Ross witha crooked finger. Ross trailed the officer into an inner roomlined withlockers.From one of the lockers the major pulled a suit like the pilot's, andbegan to measure it against Ross. \"All right,\" he snapped. \"Climb intothis! We haven't all night.\"Ross climbed into the suit. As soon ashe fastened the last zipper hiscompanion jammed one of the domed helmets on his head. The pilot lookedin the door. \"We'd better scramble, Kelgarries, or we may be groundedfor the duration!\"They hurried back to theflying field. If the helicopter had been asurprising mode of travel, this new machine was something straight outof the future--a needle-slim ship poised on fins, its sharp nose liftingvertically into the heavens. There wasa scaffolding along one side,which the pilot scaled to enter the ship.Unwillingly, Ross climbed the same ladder and found that he must wedgehimself in on his back, his knees hunched up almost under his chin. Tomake itworse, cramped as those quarters were, he had to share them withthe major. A transparent hood snapped down and was secured, sealing themin.During his short lifetime Ross had often been afraid, bitterly afraid.Hehad fought to toughen his mind and body against such fears. But whathe experienced now was no ordinary fear; it was panic so strong that itmade him feel sick. To be shut in this small place with the knowledgethat hehad no control over his immediate future brought him face toface with every terror he had ever known, all of them combined into onehorrible whole.How long does a nightmare last? A moment? An hour? Ross could nottimehis. But at last the weight of a giant hand clamped down on his chest,and he fought for breath until the world exploded about him.He came back to consciousness slowly. For a second he thought he wasblind. Thenhe began to sort out one shade of grayish light fromanother. Finally, Ross became aware that he no longer rested on hisback, but was slumped in a seat. The world about him was wrung with avibration that beat in turnthrough his body.Ross Murdock had remained at liberty as long as he had because he wasable to analyze a situation quickly. Seldom in the past five years hadhe been at a loss to deal with any challenging person oraction. Now hewas aware that he was on the defensive and was being kept there. Hestared into the dark and thought hard and furiously. He was convincedthat everything that was happening to him this day wasdesigned withonly one end in view--to shake his self-confidence and make him pliable.Why?Ross had an enduring belief in his own abilities and he also possesseda kind of shrewd understanding seldom granted to oneso young. He knewthat while Murdock was important to Murdock, he was none too importantin the scheme of things as a whole. He had a record--a record so badthat Rawle might easily have thrown the book at him.But it differed inone important way from that of many of his fellows; until now he hadbeen able to beat most of the raps. Ross believed this was largelybecause he had always worked alone and taken pains to plan a jobinadvance.Why now had Ross Murdock become so important to someone that they woulddo all this to shake him? He was a volunteer--for what? To be a guineapig for some bug they wanted to learn how to kill cheaplyand easily?They'd been in a big hurry to push him off base. Using the silenttreatment, this rushing around in planes, they were really working tokeep him groggy. So, all right, he'd give them a groggy boy all set upfortheir job, whatever it was. Only, was his act good enough to foolthe major? Ross had a hunch that it might not be, and that really hurt.It was deep night now. Either they had flown out of the path of thestorm or wereabove it. There were stars shining through the cover ofthe cockpit, but no moon.Ross's formal education was sketchy, but in his own fashion he hadacquired a range of knowledge which would have surprised many oftheauthorities who had had to deal with him. All the wealth of a big citylibrary had been his to explore, and he had spent much time there,soaking up facts in many odd branches of learning. Facts were veryusefulthings. On at least three occasions assorted scraps of knowledgehad preserved Ross's freedom, once, perhaps his life.Now he tried to fit together the scattered facts he knew about hispresent situation into some properpattern. He was inside some new typeof super-super atomjet, a machine so advanced in design that it wouldnot have been used for anything that was not an important mission. Whichmeant that Ross Murdock hadbecome necessary to someone, somewhere.Knowing that fact should give him a slight edge in the future, and hemight well need such an edge. He'd just have to wait, play dumb, and usehis eyes and ears.At the ratethey were shooting along they ought to be out of the countryin a couple of hours. Didn't the Government have bases half over theworld to keep the \"cold peace\"? Well, there was nothing for it. To beplanted abroadsomeplace might interfere with plans for escape, but he'dhandle that detail when he was forced to face it.Then suddenly Ross was on his back once more, the giant hand digginginto his chest and middle. This time therewere no lights on the groundto guide them in. Ross had no intimation that they had reached theirdestination until they set down with a jar which snapped his teethtogether.The major wriggled out, and Ross was able tostretch his cramped body.But the other's hand was already on his shoulder, urging him along. Rosscrawled free and clung dizzily to a ladderlike disembarking structure.Below there were no lights, only an expanse ofopen snow. Men weremoving across that blank area, gathering at the foot of the ladder. Rosswas hungry and very tired. If the major wanted to play games, he hopedthat such action could wait until the next morning.Inthe meantime he must learn where \"here\" was. If he had a chance torun, he wanted to know the surrounding territory. But that hand was onhis arm, drawing him along toward a door that stood half-open. As far asRosscould see, it led to the interior of a hillock of snow. Either thestorm or men had done a very good cover-up job, and somehow Ross knewthe camouflage was intentional.That was Ross's introduction to the base, andafter his arrival his viewof the installation was extremely limited. One day was spent inundergoing the most searching physical he had ever experienced. Andafter the doctors had poked and pried he was faced by aseries of othertests no one bothered to explain. Thereafter he was introduced tosolitary, that is, confined to his own company in a cell-like room witha bunk that was more comfortable than it looked and an announcer inacorner of the ceiling. So far he had been told exactly nothing. And sofar he had asked no questions, stubbornly keeping up his end of what hebelieved to be a tug of wills. At the moment, safely alone and lyingflat onhis bunk he eyed the announcer, a very dangerous young man andone who refused to yield an inch.\"Now hear this....\" The voice transmitted through that grill wasmetallic, but its rasp held overtones of Kelgarries'voice. Ross's lipstightened. He had explored every inch of the walls and knew that therewas no trace of the door which had admitted him. With only his barehands to work with he could not break out, and his onlyclothes were theshirt, sturdy slacks, and a pair of soft-soled moccasins that they hadgiven him.\"... to identify ...\" droned the voice. Ross realized that he must havemissed something, not that it mattered. He was almostdetermined not toplay along any more.There was a click, signifying that Kelgarries was through braying. Butthe customary silence did not close in again. Instead, Ross heard aclear, sweet trilling which he vaguelyassociated with a bird. Hisacquaintance with all feathered life was limited to city sparrows andplump park pigeons, neither of which raised their voices in song, butsurely those sounds were bird notes. Ross glanced fromthe mike in theceiling to the opposite wall and what he saw there made him sit up, withthe instant response of an alerted fighter.For the wall was no longer there! Instead, there was a sharp slope ofground cutting downfrom peaks where the dark green of fir trees ranclose to the snow line. Patches of snow clung to the earth in shelteredplaces, and the scent of those pines was in Ross's nostrils, real as thewind touching him with itschill.He shivered as a howl sounded loudly and echoed, bearing the age-oldwarning of a wolf pack, hungry and a-hunt. Ross had never heard thatsound before, but his human heritage subconsciously recognized itforwhat it was--death on four feet. Similarly, he was able to identify thegray shadows slinking about the nearest trees, and his hands balled intofists as he looked wildly about him for some weapon.The bunk was underhim and three of the four walls of the room enclosedhim like a cave. But one of those gray skulkers had raised its head andwas looking directly at him, its reddish eyes alight. Ross ripped thetop blanket off the bunk witha half-formed idea of snapping it at theanimal when it sprang.Stiff-legged, the beast advanced, a guttural growl sounding deep in itsthroat. To Ross the animal, larger than any dog he had even seen andtwice as vicious,was a monster. He had the blanket ready before herealized that the wolf was not watching him after all, and that itsattention was focused on a point out of his line of vision.The wolfs muzzle wrinkled in a snarl,revealing long yellow-white teeth.There was a singing twang, and the animal leaped into the air, fellback, and rolled on the ground, biting despairingly at a shaftprotruding from just behind its ribs. It howled again, andblood brokefrom its mouth.Ross was beyond surprise now. He pulled himself together and got up, towalk steadily toward the dying wolf. And he wasn't in the least amazedwhen his outstretched hands flattened againstan unseen barrier. Slowly,he swept his hands right and left, sure that he was touching the wall ofhis cell. Yet his eyes told him he was on a mountain side, and everysight, sound, and smell was making it real tohim.Puzzled, he thought a moment and then, finding an explanation thatsatisfied him, he nodded once and went back to sit at ease on his bunk.This must be some superior form of TV that included odors, the illusionofwind, and other fancy touches to make it more vivid. The total effectwas so convincing that Ross had to keep reminding himself that it wasall just a picture.The wolf was dead. Its pack mates had fled into the brush, butsince thepicture remained, Ross decided that the show was not yet over. He couldstill hear a click of sound, and he waited for the next bit of action.But the reason for his viewing it still eluded him.A man came into view,crossing before Ross. He stooped to examine thedead wolf, catching it by the tail and hoisting its hindquarters off theground. Comparing the beast's size with the hunter's, Ross saw that hehad not been wrong in hisestimation of the animal's unusually largedimensions. The man shouted over his shoulder, his words distinctenough, but unintelligible to Ross.The stranger was oddly dressed--too lightly dressed if one judged theclimateby the frequent snow patches and the biting cold. A strip ofcoarse cloth, extending from his armpit to about four inches above theknee, was wound about his body and pulled in at the waist by a belt. Thebelt, far moreornate than the cumbersome wrapping, was made of manysmall chains linking metal plates and supported a long dagger whichhung straight in front. The man also wore a round blue cloak, now sweptback on hisshoulders to free his bare arms, which was fastened by alarge pin under his chin. His footgear, which extended above his calves,was made of animal hide, still bearing patches of shaggy hair. His facewas beardless,though a shadowy line along his chin suggested that hehad not shaved that particular day. A fur cap concealed most of hisdark-brown hair.Was he an Indian? No, for although his skin was tanned, it was as fairas Ross'sunder that weathering. And his clothing did not resemble anyIndian apparel Ross had ever seen. Yet, in spite of his primitivetrappings, the man had such an aura of authority, of self-confidence,and competence that itwas clear he was top dog in his own section ofthe world.Soon another man, dressed much like the first, but with a rust-browncloak, came along, pulling behind him two very reluctant donkeys, whoseeyes rolled fearfully"}
+{"doc_id":"doc_342","qid":"","text":"<html><head><title>Chronicle Script at IMSDb.</title><meta name=\"description\" content=\"Chronicle script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Chronicle script, Chroniclemovie script, Chronicle film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=SubjectCONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0];s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>    <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\"title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center></td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                          CHRONICLE</b>                          Written by                          Max Landis                      Based on a storyby                   Josh Trank and Max Landis<b>   FROM ANDREW'S FIRST CAMERA.</b>   CUT - to indicate time lapses within a scene<b>   INT. DETMER RESIDENCE - ANDREW'S ROOM</b>   The room is dingy.Unkempt. The camera sits on the bed, on   its side, facing the door. We can hear someone moving around   off screen.   The door handle clicks; someone's trying it.    Then nothing.   Then, suddenly, loud pounding onthe door.   Andrew's voice is scratchy and prone to cracking.   He speaks   with a rushed mix of fear and anxiety.<b>                    ANDREW (O.S.)</b>          What do you want, I'm getting ready          forschool-<b>                    MR. DETMER (O.S.)</b>          Why is the door locked, unlock this          fucking door right now.   The bed stirs as Andrew sits down.<b>                    MR. DETMER (O.S.)(CONT'D)</b>          I said unlock this door. UNLOCK<b>          THE DOOR. OPEN THE DOOR, NOW.</b><b>                    ANDREW (O.S.)</b>          You're drunk-<b>                     MR. DETMER(O.S.)</b>          Listen, you don't tell me- IF I'M<b>          DRUNK, OR-</b><b>                    ANDREW (O.S.)</b>          It's seven thirty. In the AM.          You're drunk, dad, that's crazy-<b>                    MR.DETMER (O.S.)</b>          What're you doing in there.<b>                    ANDREW (O.S.)</b>          I'm filming this.<b>                    MR. DETMER (O.S.)</b>          What?<b>                    ANDREW(O.S.)</b>          I bought a camera. I'm filming all          your shit from now on.<b>                                                         2.</b>   There's a beat, and then we can hear Mr. Detmer moving away   from thedoor.<b>   INT. DETMER RESIDENCE - SANDRA DETMER'S ROOM</b>   Equally dingy. SANDRA DETMER, gaunt and sickly, is sat up in   bed. Andrew's filming her. She's clearly very ill, speaking   in a weak rasp.Andrew now holds the camera.<b>                   ANDREW (O.S.)</b>          Mom? Will you say hi to the          camera?<b>                    SANDRA DETMER</b>          Who's the audience?<b>                    ANDREW(O.S.)</b>          The millions of people watching at          home.<b>                    SANDRA DETMER</b>          Hello world. Do I look awful?<b>                    ANDREW (O.S.)</b>          No, you lookgreat.<b>                    SANDRA DETMER</b>          I've been looking a little better,          yeah?<b>                    ANDREW (O.S.)</b>          Oh yeah, definitely.<b>                    SANDRA DETMER</b>          It's anice camera.<b>   EXT. CLARK STREET - MORNING</b>   Clark Street is a slummy mess; dead lawns, potholes in the   street in a downtrodden suburb of Portland Oregon. Andrew   carries the camera loosely at hisside before getting into   the passenger side of a car.   In the driver's seat is MATT Garrety, 17, with messy hair.   He's disaffected, and more than a little cynical; the   reasoned demeanor of an unpretentioushigh-school   intellectual.<b>                    MATT</b>          I got you egg salad.<b>                                                    3.</b><b>                    ANDREW (O.S.)</b>          Oh, yeah,thanks.<b>                                                 CUT.</b>  They're driving.<b>                    MATT</b>          So...Should I ask about the camera,          or-<b>                    ANDREW (O.S.)</b>          I'm filmingthings now. I'm          filming everything.<b>                    MATT</b>          You're filming everything.<b>                    ANDREW (O.S.)</b>          For my mom. I'm trying to get          custody of her from my dad.She's          getting worse, and he's          not...helping, and this way, in          case something goes down-<b>                    MATT</b>          He gets violent or whatever-<b>                    ANDREW(O.S.)</b>          Right, it'd be evidence.<b>                    MATT</b>          Evidence. But you're not with him          right now, but you're filming this.<b>                    ANDREW (O.S.)</b>          Well, yeah, to addcontext.<b>                     MATT</b>          Context.   Andrew, you are...a weird          dude.<b>                                                 CUT.</b><b>                    MATT (CONT'D)</b>          Did you ever read anyAuguste          Comte?<b>                    ANDREW (O.S.)</b>          What is that?<b>                    MATT</b>          He's this philosopher I'mreading.<b>                                                            4.</b><b>                    ANDREW (O.S.)</b>          For school?<b>                    MATT</b>          He's just like- his whole thing is          about being positiveand like,          taking up for yourself. You should          read him, maybe, it might make you          feel- you know, improve your          outlook.<b>                    ANDREW (O.S.)</b>          Yeah, right.<b>EXT.BENJAMIN FRANKLIN HIGH - PARKING LOT</b>Andrew's getting out of the car, but then ducks back in tosee Matt lighting a pipe.<b>                    ANDREW (O.S.)</b>          Are you not comingin?<b>                    MATT</b>          I'm gonna blaze a little first,          yeah?<b>                    ANDREW (O.S.)</b>          You're going to miss first period-Matt turns on the radio, loud.<b>                    ANDREW(O.S.) (CONT'D)</b>          Okay, okay.<b>INT. BENJAMIN FRANKLIN HIGH - HALLWAY</b>Andrew's filming himself putting stuff in his locker, anddoes a quick sweep of the crowded schoolhallway.<b>                    ANDREW (O.S.)</b>          This is my school, I guess.   This          is the hallway-<b>                    GIRL</b>          Vote \"Kaz!\"A girl suddenly approaches, awkwardly handing Andrew aflyer.<b>                    GIRL (CONT'D)</b>          Vote Steve Kazinsky for Senior          class president!<b>                                                            5.</b><b>                     ANDREW(O.S.)</b>          ...yeah-<b>                    GIRL</b>          Every vote counts.Andrew films the flyer for a moment, brightly colored andfeaturing a picture of a smiling Steve Kazinsky, beforesomething yanks thecamera away.For the first time we see ANDREW Detmer, 17, pale, awkwardand gangly, with long, stringy hair and thin, scraggly beard.He looks anxious, if not afraid.<b>                    BRYCE (O.S.)</b>          Yo thiscamera is a piece of shit.          It's like from 2004 or some shit.WAYNE, 17, big and hateable in his Ed Hardy T-shirt, appearswrapping his arm roughly around Andrew.<b>                    WAYNE</b>          Hey, how doI look?              (starts muscle posing)          Like this? Ooh, that's good.   Like          this? That's sexy, right?<b>                    ANDREW</b>          Bryce, gimme my camera back-<b>                    BRYCE(O.S.)</b>          Fuck you Andrew, shut up.   This          camera's a piece of shit.<b>                    WAYNE</b>          You got me, let's go.Wayne turns and knocks everything out of Andrew's locker.Bryce starts towalk away with the camera.<b>                    ANDREW (O.S.)</b>          Hey, Bryce, come on, give it back-The camera is set down on the ground, and then abruptlykicked back to Andrew. He picks it up, checking onit.<b>                    ANDREW (CONT'D)</b>              (quietly, sad)          Oh come on...<b>                                                            6.</b><b>EXT. BENJAMIN FRANKLIN HIGH - FOOTBALL FIELD</b>A view fromthe bleachers as the soccer team practices. Thecheerleaders are practicing too. We cut: a different view,lower.<b>                    ANDREW (O.S.)</b>          This is where I eat lunch, out here          on thebleachers.<b>                                                CUT.   LATER.</b>The camera's next to Andrew as he's eating, down on thebench. A CHEERLEADERapproaches.<b>                     CHEERLEADER</b>          Hi.<b>                     ANDREW</b>          Hey-<b>                    CHEERLEADER</b>          Could you not videotape us, please?          It's really fuckingcreepy.<b>                    ANDREW</b>          I wasn't, videotaping you, so much          as I was just-<b>         CHEERLEADER                           ANDREW</b>Just don't videotape-              -you know, filming what Ido                                   during the-<b>                    CHEERLEADER</b>          Don't videotape us, okay, or we'll          call security. We see you watching          us, we're not stupid, and it's          sketchy, so backoff.<b>                     ANDREW</b>          ...okay.<b>                    CHEERLEADER</b>          Is it on right now?<b>                     ANDREW</b>          Yes.<b>                    CHEERLEADER</b>          Turn itoff.Andrew turns off the camera.<b>                                                          7.</b><b>INT. MATT'S CAR</b>Matt's driving.   Andrew's filming from the passenger seat.<b>                    MATT</b>          There's aparty tonight.    A barn          party at Haven Hills.<b>                    ANDREW (O.S.)</b>          I thought Haven Hills was closed.<b>                    MATT</b>          It's abandoned, yeah. That's why          it's a goodplace for a party. Two          kegs.<b>                    ANDREW (O.S.)</b>          Why are you telling me?<b>                    MATT</b>          You wanna go? I don't wanna go          alone.<b>                      ANDREW(O.S.)</b>          ...Nah...<b>                    MATT</b>          When was the last time you went to          a party?<b>                    ANDREW (O.S.)</b>          I don't likeparties.<b>                    MATT</b>          You're a senior.     Just come, you'll          have fun.<b>                    ANDREW (O.S.)</b>          I'll think about it.<b>                    MATT</b>          Okay, right. Andrew,can I give          you like, a pro tip?<b>                      ANDREW</b>          Yeah?<b>                    MATT</b>          Keep the camera at home.    It's          weird.<b>                    ANDREW</b>          It has apurpose-<b>                                                           8.</b><b>                    MATT</b>          I'm trying to be a good cousin,          here. This is me being your          friend, yeah? Okay?<b>EXT. DETMERRESIDENCE</b>Andrew is filming as he walks along towards his house.<b>                    HOWARD (O.S.)</b>          Hey, what you doing?<b>                    COSTLY (O.S.)</b>          Hey nice camera bitch, gimmeyour          fuckin camera!The camera pans up to reveal HOWARD and COSTLY, moronhoodlums, along with several friends, over by a car on theother side of the road, drinkingforties.<b>                    HOWARD</b>          Hey don't film me nigga, don't film          me.<b>                    COSTLY</b>          Hey fuck off, you better run to          your house, bitch. Run to your          house andlock the door.Andrew just stands there filming them. Howard hurls hisforty at Andrew, who doesn't move; it shatters very near tohim.<b>                    HOWARD</b>          The fuck, fuck you faggot-Howard quicklystarts crossing the street, and Andrew turnsand runs back towards his house.<b>INT. DETMER RESIDENCE - ANDREW'S ROOM</b>The camera lays on Andrew's bed again, filming the room.Andrew is on his laptop at adesk, working.<b>                    ANDREW</b>          I'm uploading what I shot          today...you have to keep a back-up,          you know.The door suddenly opens, revealing MR. Adrian DETMER, 40s,Andrew's father."}
+{"doc_id":"doc_343","qid":"","text":"The Project Gutenberg eBook, Mary Barton, by Elizabeth Cleghorn GaskellThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: Mary Barton       A Tale of Manchester LifeAuthor: Elizabeth Cleghorn GaskellRelease Date: August 10,1999  [eBook #2153]This revision released December 9, 2013Language: English***START OF THE PROJECT GUTENBERG EBOOK MARY BARTON***E-text prepared by Les Bowler, St. Ives, Dorset,and revised byJoseph E. Loewenstein, M.D.Editorial note:      _Mary Barton_, Elizabeth Cleghorn Gaskell's first novel,      was published (anonymously) in 1848 by Chapman and Hall.MARY BARTONA Tale of ManchesterLifebyELIZABETH GASKELL   \"'How knowest thou,' may the distressed Novel-wright exclaim,   'that I, here where I sit, am the Foolishest of existing   mortals; that this my Long-ear of a fictitious Biography shall   notfind one and the other, into whose still longer ears it   may be the means, under Providence, of instilling somewhat?'   We answer, 'None knows, none can certainly know: therefore,   write on, worthy Brother, even asthou canst, even as it is   given thee.'\"      CARLYLE.CONTENTS            PREFACE.         I. A MYSTERIOUS DISAPPEARANCE.        II. A MANCHESTER TEA-PARTY.       III. JOHN BARTON'S GREAT TROUBLE.        IV. OLDALICE'S HISTORY.         V. THE MILL ON FIRE--JEM WILSON TO THE RESCUE.        VI. POVERTY AND DEATH.       VII. JEM WILSON'S REPULSE.      VIII. MARGARET'S DEBUT AS A PUBLIC SINGER.        IX. BARTON'SLONDON EXPERIENCES.         X. RETURN OF THE PRODIGAL.    XI. MR. CARSON'S INTENTIONS REVEALED.       XII. OLD ALICE'S BAIRN.      XIII. A TRAVELLER'S TALES.       XIV. JEM'S INTERVIEW WITH POORESTHER.        XV. A VIOLENT MEETING BETWEEN THE RIVALS.       XVI. MEETING BETWEEN MASTERS AND WORKMEN.      XVII. BARTON'S NIGHT-ERRAND.     XVIII. MURDER.       XIX. JEM WILSON ARRESTED ONSUSPICION.        XX. MARY'S DREAM--AND THE AWAKENING.       XXI. ESTHER'S MOTIVE IN SEEKING MARY.      XXII. MARY'S EFFORTS TO PROVE AN ALIBI.     XXIII. THE SUB-POENA.      XXIV. WITH THEDYING.       XXV. MRS. WILSON'S DETERMINATION.      XXVI. THE JOURNEY TO LIVERPOOL.     XXVII. IN THE LIVERPOOL DOCKS.    XXVIII. \"JOHN CROPPER, AHOY!\"      XXIX. A TRUE BILL AGAINST JEM.       XXX.JOB LEGH'S DECEPTION.      XXXI. HOW MARY PASSED THE NIGHT.     XXXII. THE TRIAL AND VERDICT--\"NOT GUILTY.\"    XXXIII. REQUIESCAT IN PACE.     XXXIV. THE RETURN HOME.      XXXV. \"FORGIVE US OURTRESPASSES.\"     XXXVI. JEM'S INTERVIEW WITH MR. DUNCOMBE.    XXXVII. DETAILS CONNECTED WITH THE MURDER.   XXXVIII. CONCLUSION.PREFACE.Three years ago I became anxious (from circumstances thatneed not bemore fully alluded to) to employ myself in writing a work of fiction.Living in Manchester, but with a deep relish and fond admiration forthe country, my first thought was to find a frame-work for my storyinsome rural scene; and I had already made a little progress in atale, the period of which was more than a century ago, and the placeon the borders of Yorkshire, when I bethought me how deep might bethe romance inthe lives of some of those who elbowed me daily in thebusy streets of the town in which I resided. I had always felt a deepsympathy with the care-worn men, who looked as if doomed to strugglethrough their lives instrange alternations between work and want;tossed to and fro by circumstances, apparently in even a greaterdegree than other men. A little manifestation of this sympathy, anda little attention to the expression offeelings on the part of someof the work-people with whom I was acquainted, had laid open to methe hearts of one or two of the more thoughtful among them; I sawthat they were sore and irritable against the rich, theeven tenorof whose seemingly happy lives appeared to increase the anguishcaused by the lottery-like nature of their own. Whether the bittercomplaints made by them, of the neglect which they experienced fromtheprosperous--especially from the masters whose fortunes they hadhelped to build up--were well-founded or no, it is not for me tojudge. It is enough to say, that this belief of the injustice andunkindness which theyendure from their fellow-creatures, taints whatmight be resignation to God's will, and turns it to revenge in toomany of the poor uneducated factory-workers of Manchester.The more I reflected on this unhappy state ofthings between thoseso bound to each other by common interests, as the employers andthe employed must ever be, the more anxious I became to give someutterance to the agony which, from time to time, convulsesthis dumbpeople; the agony of suffering without the sympathy of the happy, orof erroneously believing that such is the case. If it be an error,that the woes, which come with ever-returning tide-like flood tooverwhelmthe workmen in our manufacturing towns, pass unregardedby all but the sufferers, it is at any rate an error so bitter inits consequences to all parties, that whatever public effort can doin the way of legislation, or privateeffort in the way of mercifuldeeds, or helpless love in the way of \"widow's mites,\" should bedone, and that speedily, to disabuse the work-people of so miserablea misapprehension. At present they seem to me to be leftin a state,wherein lamentations and tears are thrown aside as useless, but inwhich the lips are compressed for curses, and the hands clenched andready to smite.I know nothing of Political Economy, or the theories oftrade. I havetried to write truthfully; and if my accounts agree or clash with anysystem, the agreement or disagreement is unintentional.To myself the idea which I have formed of the state of feeling amongtoo many ofthe factory-people in Manchester, and which I endeavouredto represent in this tale (completed above a year ago), has receivedsome confirmation from the events which have so recently occurredamong a similar classon the Continent.OCTOBER, 1848.CHAPTER I.A MYSTERIOUS DISAPPEARANCE.   Oh! 'tis hard, 'tis hard to be working     The whole of the live-long day,   When all the neighbours about one     Are off to their jaunts andplay.   There's Richard he carries his baby,     And Mary takes little Jane,   And lovingly they'll be wandering     Through field and briery lane.   MANCHESTER SONG.There are some fields near Manchester, well known tothe inhabitantsas \"Green Heys Fields,\" through which runs a public footpath to alittle village about two miles distant. In spite of these fieldsbeing flat and low, nay, in spite of the want of wood (the great andusualrecommendation of level tracts of land), there is a charm aboutthem which strikes even the inhabitant of a mountainous district,who sees and feels the effect of contrast in these common-place butthoroughly ruralfields, with the busy, bustling manufacturing townhe left but half-an-hour ago. Here and there an old black and whitefarm-house, with its rambling outbuildings, speaks of other times andother occupations than thosewhich now absorb the population of theneighbourhood. Here in their seasons may be seen the country businessof hay-making, ploughing, &c., which are such pleasant mysteriesfor townspeople to watch; and here theartisan, deafened with noiseof tongues and engines, may come to listen awhile to the delicioussounds of rural life: the lowing of cattle, the milk-maids' call,the clatter and cackle of poultry in the old farm-yards. Youcannotwonder, then, that these fields are popular places of resort atevery holiday time; and you would not wonder, if you could see, or Iproperly describe, the charm of one particular stile, that it shouldbe, on suchoccasions, a crowded halting-place. Close by it is adeep, clear pond, reflecting in its dark green depths the shadowytrees that bend over it to exclude the sun. The only place whereits banks are shelving is on the sidenext to a rambling farm-yard,belonging to one of those old-world, gabled, black and white housesI named above, overlooking the field through which the publicfootpath leads. The porch of this farm-house is covered byarose-tree; and the little garden surrounding it is crowded with amedley of old-fashioned herbs and flowers, planted long ago, when thegarden was the only druggist's shop within reach, and allowed to growinscrambling and wild luxuriance--roses, lavender, sage, balm (fortea), rosemary, pinks and wallflowers, onions and jessamine, in mostrepublican and indiscriminate order. This farm-house and garden arewithin ahundred yards of the stile of which I spoke, leading fromthe large pasture field into a smaller one, divided by a hedge ofhawthorn and black-thorn; and near this stile, on the further side,there runs a tale that primrosesmay often be found, and occasionallythe blue sweet violet on the grassy hedge bank.I do not know whether it was on a holiday granted by the masters, ora holiday seized in right of Nature and her beautiful spring timebythe workmen, but one afternoon (now ten or a dozen years ago) thesefields were much thronged. It was an early May evening--the Aprilof the poets; for heavy showers had fallen all the morning, andthe round, soft,white clouds which were blown by a west wind overthe dark blue sky, were sometimes varied by one blacker and morethreatening. The softness of the day tempted forth the young greenleaves, which almost visiblyfluttered into life; and the willows,which that morning had had only a brown reflection in the waterbelow, were now of that tender gray-green which blends so delicatelywith the spring harmony of colours.Groups ofmerry and somewhat loud-talking girls, whose ages mightrange from twelve to twenty, came by with a buoyant step. They weremost of them factory girls, and wore the usual out-of-doors dress ofthat particular class ofmaidens; namely, a shawl, which at mid-dayor in fine weather was allowed to be merely a shawl, but towardsevening, or if the day were chilly, became a sort of Spanish mantillaor Scotch plaid, and was brought overthe head and hung loosely down,or was pinned under the chin in no unpicturesque fashion.Their faces were not remarkable for beauty; indeed, they were belowthe average, with one or two exceptions; they had darkhair, neatlyand classically arranged, dark eyes, but sallow complexions andirregular features. The only thing to strike a passer-by was anacuteness and intelligence of countenance, which has often beennoticed in amanufacturing population.There were also numbers of boys, or rather young men, rambling amongthese fields, ready to bandy jokes with any one, and particularlyready to enter into conversation with the girls, who,however, heldthemselves aloof, not in a shy, but rather in an independent way,assuming an indifferent manner to the noisy wit or obstreperouscompliments of the lads. Here and there came a sober quiet couple,eitherwhispering lovers, or husband and wife, as the case mightbe; and if the latter, they were seldom unencumbered by an infant,carried for the most part by the father, while occasionally eventhree or four little toddlershad been carried or dragged thusfar, in order that the whole family might enjoy the delicious Mayafternoon together.Sometime in the course of that afternoon, two working men met withfriendly greeting at the stile sooften named. One was a thoroughspecimen of a Manchester man; born of factory workers, and himselfbred up in youth, and living in manhood, among the mills. He wasbelow the middle size and slightly made; therewas almost a stuntedlook about him; and his wan, colourless face gave you the idea, thatin his childhood he had suffered from the scanty living consequentupon bad times and improvident habits. His features werestronglymarked, though not irregular, and their expression was extremeearnestness; resolute either for good or evil; a sort of latent,stern enthusiasm. At the time of which I write, the good predominatedover the bad inthe countenance, and he was one from whom a strangerwould have asked a favour with tolerable faith that it wouldbe granted. He was accompanied by his wife, who might, withoutexaggeration, have been called alovely woman, although now her facewas swollen with crying, and often hidden behind her apron. Shehad the fresh beauty of the agricultural districts; and somewhatof the deficiency of sense in her countenance, whichis likewisecharacteristic of the rural inhabitants in comparison with thenatives of the manufacturing towns. She was far advanced inpregnancy, which perhaps occasioned the overpowering and hystericalnature of hergrief. The friend whom they met was more handsome andless sensible-looking than the man I have just described; he seemedhearty and hopeful, and although his age was greater, yet there wasfar more of youth'sbuoyancy in his appearance. He was tenderlycarrying a baby in arms, while his wife, a delicate, fragile-lookingwoman, limping in her gait, bore another of the same age; little,feeble twins, inheriting the frail appearanceof their mother.The last-mentioned man was the first to speak, while a sudden lookof sympathy dimmed his gladsome face. \"Well, John, how goes it withyou?\" and, in a lower voice, he added, \"Any news of Esther,yet?\"Meanwhile the wives greeted each other like old friends, the soft andplaintive voice of the mother of the twins seeming to call forth onlyfresh sobs from Mrs. Barton.\"Come, women,\" said John Barton, \"you've bothwalked far enough. MyMary expects to have her bed in three weeks; and as for you, Mrs.Wilson, you know you're but a cranky sort of a body at the best oftimes.\" This was said so kindly, that no offence could be taken.\"Sityou down here; the grass is well nigh dry by this time; and you'reneither of you nesh [1] folk about taking cold. Stay,\" he added, withsome tenderness, \"here's my pocket-handkerchief to spread underyou, to savethe gowns women always think so much of; and now, Mrs.Wilson, give me the baby, I may as well carry him, while you talk andcomfort my wife; poor thing, she takes on sadly about Esther.\"   [Footnote 1: \"Nesh;\"Anglo-Saxon, nesc, tender.]These arrangements were soon completed: the two women sat down on theblue cotton handkerchiefs of their husbands, and the latter, eachcarrying a baby, set off for a further walk; but assoon as Bartonhad turned his back upon his wife, his countenance fell back into anexpression of gloom.\"Then you've heard nothing of Esther, poor lass?\" asked Wilson.\"No, nor shan't, as I take it. My mind is, she's goneoff withsomebody. My wife frets, and thinks she's drowned herself, butI tell her, folks don't care to put on their best clothes to drownthemselves; and Mrs. Bradshaw (where she lodged, you know) says thelast time sheset eyes on her was last Tuesday, when she came downstairs, dressed in her Sunday gown, and with a new ribbon in herbonnet, and gloves on her hands, like the lady she was so fond ofthinking herself.\"\"She was aspretty a creature as ever the sun shone on.\"\"Ay, she was a farrantly [2] lass; more's the pity now,\" added Barton,with a sigh. \"You see them Buckinghamshire people as comes to workin Manchester, has quite adifferent look with them to us Manchesterfolk. You'll not see among the Manchester wenches such fresh rosycheeks, or such black lashes to gray eyes (making them look likeblack), as my wife and Esther had. I neverseed two such pretty womenfor sisters; never. Not but what beauty is a sad snare. Here wasEsther so puffed up, that there was no holding her in. Her spirit wasalways up, if I spoke ever so little in the way of advice toher; mywife spoiled her, it is true, for you see she was so much older thanEsther she was more like a mother to her, doing every thing for her.\"   [Footnote 2: \"Farrantly,\" comely, pleasant-looking.]\"I wonder she everleft you,\" observed his friend.\"That's the worst of factory work, for girls. They can earn so muchwhen work is plenty, that they can maintain themselves any how. MyMary shall never work in a factory, that I'mdetermined on. You seeEsther spent her money in dress, thinking to set off her pretty face;and got to come home so late at night, that at last I told her mymind: my missis thinks I spoke crossly, but I meant right, forIloved Esther, if it was only for Mary's sake. Says I, 'Esther, I seewhat you'll end at with your artificials, and your fly-away veils,and stopping out when honest women are in their beds; you'll be astreet-walker, Esther,and then, don't you go to think I'll have youdarken my door, though my wife is your sister.' So says she, 'Don'ttrouble yourself, John. I'll pack up and be off now, for I'll neverstay to hear myself called as you call me.'She flushed up like aturkey-cock, and I thought fire would come out of her eyes; but whenshe saw Mary cry (for Mary can't abide words in a house), she wentand kissed her, and said she was not so bad as I thoughther. So wetalked more friendly, for, as I said, I liked the lass well enough,and her pretty looks, and her cheery ways. But she said (and at thetime I thought there was sense in what she said) we should be muchbetterfriends if she went into lodgings, and only came to see us nowand then.\"\"Then you still were friendly. Folks said you'd cast her off, andsaid you'd never speak to her again.\"\"Folks always make one a deal worse than oneis,\" said John Barton,testily. \"She came many a time to our house after she left off livingwith us. Last Sunday se'nnight--no! it was this very last Sunday, shecame to drink a cup of tea with Mary; and that was the lasttime weset eyes on her.\"\"Was she any ways different in her manner?\" asked Wilson.\"Well, I don't know. I have thought several times since, that she wasa bit quieter, and more womanly-like; more gentle, and moreblushing,and not so riotous and noisy. She comes in, toward four o'clock,when afternoon church was loosing, and she goes and hangs her bonnetup on the old nail we used to call hers, while she lived with us.Iremember thinking what a pretty lass she was, as she sat on a lowstool by Mary, who was rocking herself, and in rather a poor way.She laughed and cried by turns, but all so softly and gently, likea child, that I couldn'tfind in my heart to scold her, especiallyas Mary was fretting already. One thing I do remember I did say, andpretty sharply too. She took our little Mary by the waist, and--\"\"Thou must leave off calling her 'little' Mary,she's growing up intoas fine a lass as one can see on a summer's day; more of her mother'sstock than thine,\" interrupted Wilson.\"Well, well, I call her 'little,' because her mother's name is Mary.But, as I was saying, shetakes Mary in a coaxing sort of way, and,'Mary,' says she, 'what should you think if I sent for you some dayand made a lady of you?' So I could not stand such talk as that to mygirl, and I said, 'Thou'd best not put thatnonsense i' the girl'shead I can tell thee; I'd rather see her earning her bread by thesweat of her brow, as the Bible tells her she should do, ay, thoughshe never got butter to her bread, than be like a do-nothinglady,worrying shopmen all morning, and screeching at her pianny allafternoon, and going to bed without having done a good turn to anyone of God's creatures but herself.'\"\"Thou never could abide the gentlefolk,\" saidWilson, half amused athis friend's vehemence.\"And what good have they ever done me that I should like them?\" askedBarton, the latent fire lighting up his eye: and bursting forth, hecontinued, \"If I am sick, do theycome and nurse me? If my child liesdying (as poor Tom lay, with his white wan lips quivering, for wantof better food than I could give him), does the rich man bring thewine or broth that might save his life? If I am outof work for weeksin the bad times, and winter comes, with black frost, and keen eastwind, and there is no coal for the grate, and no clothes for the bed,and the thin bones are seen through the ragged clothes, does therichman share his plenty with me, as he ought to do, if his religionwasn't a humbug? When I lie on my death-bed, and Mary (bless her)stands fretting, as I know she will fret,\" and here his voicefaltered a little, \"will arich lady come and take her to her ownhome if need be, till she can look round, and see what best to do?No, I tell you, it's the poor, and the poor only, as does such thingsfor the poor. Don't think to come over me withth' old tale, that therich know nothing of the trials of the poor. I say, if they don'tknow, they ought to know. We're their slaves as long as we can work;we pile up their fortunes with the sweat of our brows; and yet weareto live as separate as if we were in two worlds; ay, as separate asDives and Lazarus, with a great gulf betwixt us: but I know who wasbest off then,\" and he wound up his speech with a low chuckle thathad no mirthin it.\"Well, neighbour,\" said Wilson, \"all that may be very true, but whatI want to know now is about Esther--when did you last hear of her?\"\"Why, she took leave of us that Sunday night in a very loving way,kissing both"}
+{"doc_id":"doc_344","qid":"","text":"The Project Gutenberg EBook of Savrola, by Winston Spencer ChurchillThis eBook is for the use of anyone anywhere in the United States and mostother parts of the world at no cost and with almost norestrictionswhatsoever.  You may copy it, give it away or re-use it under the terms ofthe Project Gutenberg License included with this eBook or online atwww.gutenberg.org.  If you are not located in the United States,you'll haveto check the laws of the country where you are located before using this ebook.Title: Savrola       A Tale of the Revolution in LauraniaAuthor: Winston Spencer ChurchillRelease Date: January 24, 2016 [EBook#50906]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK SAVROLA ***Produced by Al Haines  SAVROLA  A TALE OF THE REVOLUTION IN LAURANIA  BY  WINSTON SPENCER CHURCHILL  AUTHOROF \"THE RIVER WAR: AN ACCOUNT OF THE RECOVERY  OF THE SOUDAN\" AND \"THE STORY OF THE MALAKAND  FIELD FORCE\"  LONGMANS, GREEN, AND CO.  91 AND 93 FIFTH AVENUE, NEW YORK  LONDON ANDBOMBAY  1900  COPYRIGHT, 1899, BY  LONGMANS, GREEN, AND CO.  ALL RIGHTS RESERVED  TYPOGRAPHY BY J. B. CUSHING & CO., NORWOOD, MASS.  THIS BOOK IS INSCRIBED  TO  THE OFFICERS  OF THE  IVTH(QUEEN'S OWN) HUSSARS  IN WHOSE COMPANY THE AUTHOR LIVED  FOR FOUR HAPPY YEARSPREFATORY NOTEThis story was written in 1897, and has already appeared in serial formin _Macmillan'sMagazine_.  Since its first reception was notunfriendly, I resolved to publish it as a book, and I now submit itwith considerable trepidation to the judgment or clemency of the public.WINSTON S.CHURCHILL.  CONTENTS  I.  An Event of Political Importance  II.  The Head of the State  III.  The Man of the Multitude  IV.  The Deputation  V.  A Private Conversation  VI.  On Constitutional Grounds  VII.  The StateBall  VIII.  \"In the Starlight\"  IX.  The Admiral  X.  The Wand of the Magician  XI.  In the Watches of the Night  XII.  A Council of War  XIII.  The Action of the Executive  XIV.  The Loyalty of theArmy  XV.  Surprises  XVI.  The Progress of the Revolt  XVII.  The Defence of the Palace  XVIII.  From a Window  XIX.  An Educational Experience  XX.  The End of the Quarrel  XXI.  The Return of the Fleet  XXII.  Life'sCompensationsCHAPTER I.AN EVENT OF POLITICAL IMPORTANCE.There had been a heavy shower of rain, but the sun was already shiningthrough the breaks in the clouds and throwing swiftly changing shadowson thestreets, the houses, and the gardens of the city of Laurania.Everything shone wetly in the sunlight: the dust had been laid; the airwas cool; the trees looked green and grateful.  It was the first rainafter the summerheats, and it marked the beginning of that delightfulautumn climate which has made the Lauranian capital the home of theartist, the invalid, and the sybarite.The shower had been heavy, but it had not dispersed thecrowds thatwere gathered in the great square in front of the Parliament House.  Itwas welcome, but it had not altered their anxious and angry looks; ithad drenched them without cooling their excitement.  Evidently aneventof consequence was taking place.  The fine building, where therepresentatives of the people were wont to meet, wore an aspect ofsombre importance that the trophies and statues, with which an ancientand anart-loving people had decorated its façade, did not dispel.  Asquadron of Lancers of the Republican Guard was drawn up at the foot ofthe great steps, and a considerable body of infantry kept a broad spaceclear infront of the entrance.  Behind the soldiers the people filledin the rest of the picture.  They swarmed in the square and the streetsleading to it; they had scrambled on to the numerous monuments, whichthe taste andpride of the Republic had raised to the memory of herancient heroes, covering them so completely that they looked likemounds of human beings; even the trees contained their occupants, whilethe windows and oftenthe roofs, of the houses and offices whichoverlooked the scene were crowded with spectators.  It was a greatmultitude and it vibrated with excitement.  Wild passions surged acrossthe throng, as squalls sweep across astormy sea.  Here and there aman, mounting above his fellows, would harangue those whom his voicecould reach, and a cheer or a shout was caught up by thousands who hadnever heard the words but were searchingfor something to giveexpression to their feelings.It was a great day in the history of Laurania.  For five long yearssince the Civil War the people had endured the insult of autocraticrule.  The fact that the Governmentwas strong, and the memory of thedisorders of the past, had operated powerfully on the minds of the moresober citizens.  But from the first there had been murmurs.  There weremany who had borne arms on thelosing side in the long struggle thathad ended in the victory of President Antonio Molara.  Some hadsuffered wounds or confiscation; others had undergone imprisonment;many had lost friends and relations, who withtheir latest breath hadenjoined the uncompromising prosecution of the war.  The Government hadstarted with implacable enemies, and their rule had been harsh andtyrannical.  The ancient constitution to which thecitizens were sostrongly attached and of which they were so proud, had been subverted.The President, alleging the prevalence of sedition, had declined toinvite the people to send their representatives to that chamberwhichhad for many centuries been regarded as the surest bulwark of popularliberties.  Thus the discontents increased day by day and year by year:the National party, which had at first consisted only of a fewsurvivorsof the beaten side, had swelled into the most numerous andpowerful faction in the State; and at last they had found a leader.The agitation proceeded on all sides.  The large and turbulentpopulation of the capital werethoroughly devoted to the rising cause.Demonstration had followed demonstration; riot had succeeded riot; eventhe army showed signs of unrest.  At length the President had decidedto make concessions.  It wasannounced that on the first of Septemberthe electoral writs should be issued and the people should be accordedan opportunity of expressing their wishes and opinions.This pledge had contented the more peaceablecitizens.  The extremists,finding themselves in a minority, had altered their tone.  TheGovernment, taking advantage of the favourable moment, had arrestedseveral of the more violent leaders.  Others, who had foughtin the warand had returned from exile to take part in the revolt, fled for theirlives across the border.  A rigorous search for arms had resulted inimportant captures.  European nations, watching with interestedandanxious eyes the political barometer, were convinced that theGovernment cause was in the ascendant.  But meanwhile the peoplewaited, silent and expectant, for the fulfilment of the promise.At length the day hadcome.  The necessary preparations for summoningthe seventy thousand male electors to record their votes had beencarried out by the public officials.  The President, as the customprescribed, was in person to sign thenecessary writ of summons to thefaithful citizens.  Warrants for election would be forwarded to thevarious electoral divisions in the city and the provinces, and thosewho were by the ancient law entitled to the franchisewould give theirverdict on the conduct of him whom the Populists in bitter hatred hadcalled the Dictator.It was for this moment that the crowd was waiting.  Though cheers fromtime to time arose, they waited for themost part in silence.  Evenwhen the President had passed on his way to the Senate, they hadforeborne to hoot; in their eyes he was virtually abdicating, and thatmade amends for all.  The time-honoured observances,the long-lovedrights would be restored, and once more democratic government would betriumphant in Laurania.Suddenly, at the top of the steps in the full view of the people, ayoung man appeared, his dressdisordered and his face crimson withexcitement.  It was Moret, one of the Civic Council.  He wasimmediately recognised by the populace, and a great cheer arose.  Manywho could not see him took up the shout, whichre-echoed through thesquare, the expression of a nation's satisfaction.  He gesticulatedvehemently, but his words, if he spoke at all, were lost in the tumult.Another man, an usher, followed him out hurriedly, put hishand on hisshoulder, appeared to speak with earnestness, and drew him back intothe shadow of the entrance.  The crowd still cheered.A third figure issued from the door, an old man in the robes ofmunicipal office.  Hewalked, or rather tottered feebly down the stepsto a carriage, which had drawn up to meet him.  Again there werecheers.  \"Godoy!  Godoy!  Bravo, Godoy!  Champion of the People!Hurrah, hurrah!\"It was the Mayor,one of the strongest and most reputable members ofthe party of Reform.  He entered his carriage and drove through theopen space, maintained by the soldiery, into the crowd, which, stillcheering, gave way withrespect.The carriage was open and it was evident that the old man was painfullymoved.  His face was pale, his mouth puckered into an expression ofgrief and anger, his whole frame shaken with suppressedemotion.  Thecrowd had greeted him with applause, but, quick to notice, were struckby his altered appearance and woeful looks.  They crowded round thecarriage crying: \"What has happened?  Is all well?  Speak,Godoy,speak!\"  But he would have none of them, and quivering with agitationbade his coachman drive the faster.  The people gave way slowly,sullenly, thoughtfully, as men who make momentousresolutions.Something had happened, untoward, unforeseen, unwelcome; what this was,they were anxious to know.And then began a period of wild rumour.  The President had refused tosign the writs; he hadcommitted suicide; the troops had been orderedto fire; the elections would not take place, after all; Savrola hadbeen arrested,--seized in the very Senate, said one, murdered addedanother.  The noise of the multitudechanged into a dull dissonant humof rising anger.At last the answer came.  There was a house, overlooking the square,which was separated from the Chamber of Representatives only by anarrow street, and this streethad been kept clear for traffic by thetroops.  On the balcony of this house the young man, Moret, the CivicCouncillor, now reappeared, and his coming was the signal for a stormof wild, anxious cries from the vastconcourse.  He held up his handfor silence and after some moments his words became audible to thosenearest.  \"You are betrayed--a cruel fraud--the hopes we had cherishedare dashed to the ground--all has beendone in vain--  Cheated!cheated! cheated!\"  The broken fragments of his oratory reached farinto the mass of excited humanity, and then he shouted a sentence,which was heard by thousands and repeated bythousands more.  \"Theregister of citizenship has been mutilated, and the names of more thanhalf the electors have been erased.  To your tents, oh people ofLaurania!\"For an instant there was silence, and then a greatsob of fury, ofdisappointment, and of resolve arose from the multitude.At this moment the presidential carriage, with its four horses, itspostilions in the Republican livery, and an escort of Lancers, movedforward to thefoot of the steps, as there emerged from the ParliamentHouse a remarkable figure.  He wore the splendid blue and white uniformof a general of the Lauranian Army; his breast glittered with medalsand orders; his keenstrong features were composed.  He paused for amoment before descending to his carriage, as if to give the mob anopportunity to hiss and hoot to their content, and appeared to talkunconcernedly with his companion,Señor Louvet, the Minister of theInterior.  He pointed once or twice towards the surging masses, andthen walked slowly down the steps.  Louvet had intended to accompanyhim, but he heard the roar of the crowd andremembered that he had somebusiness to attend to in the Senate that could not be delayed; theother went on alone.  The soldiers presented arms.  A howl of furyarose from the people.  A mounted officer, who sat hishorse unmoved,an inexorable machine, turned to a subordinate with an order.  Severalcompanies of foot-soldiers began defiling from the side street on theright of the Chamber, and drawing up in line in the open spacewhichwas now partly invaded by the mob.The President entered his carriage which, preceded by an entire troopof Lancers, immediately started at a trot.  So soon as the carriagereached the edge of the open space, arush was made by the crowd.  Theescort closed up; \"Fall back there!\" shouted an officer, but he wasunheeded.  \"Will you move, or must we move you?\" said a gruffer voice.Yet the mob gave not an inch.  The dangerwas imminent.  \"Cheat!Traitor!  Liar!  Tyrant!\" they shouted, with many other expressions toocoarse to be recorded.  \"Give us back our rights--you, who have stolenthem!\"And then some one at the back of the crowdfired a revolver into theair.  The effect was electrical.  The Lancers dropped their points andsprang forward.  Shouts of terror and fury arose on all sides.  Thepopulace fled before the cavalry; some fell on the ground andweretrampled to death; some were knocked down and injured by the horses; afew were speared by the soldiers.  It was a horrible scene.  Thosebehind threw stones, and some fired random pistol shots.  ThePresidentremained unmoved.  Erect and unflinching he gazed on the tumult as mengaze at a race about which they have not betted.  His hat was knockedoff, and a trickle of blood down his cheek showed where a stonehadstruck.  For some moments the issue seemed doubtful.  The crowd mightstorm the carriage and then,--to be torn to pieces by a rabble!  Therewere other and more pleasant deaths.  But the discipline of thetroopsovercame all obstacles, the bearing of the man appeared to cow hisenemies, and the crowd fell back, still hooting and shouting.Meanwhile the officer commanding the infantry by the Parliament Househad beenalarmed by the rushes of the mob, which he could see weredirected at the President's carriage.  He determined to create adiversion.  \"We shall have to fire on them,\" he said to the Major whowas beside him.\"Excellent,\"replied that officer; \"it will enable us to conclude thoseexperiments in penetration, which we have been trying with thesoft-nosed bullet.  A very valuable experiment, Sir,\" and then turningto the soldiers he issuedseveral orders.  \"A very valuableexperiment,\" he repeated.\"Somewhat expensive,\" said the Colonel dryly; \"and half a company willbe enough, Major.\"There was a rattle of breech-blocks as the rifles wereloaded.  Thepeople immediately in front of the troops struggled madly to escape theimpending volley.  One man, a man in a straw hat, kept his head.  Herushed forward.  \"For God's sake don't fire!\" he cried.  \"Havemercy!We will disperse.\"There was a moment's pause, a sharp order and a loud explosion,followed by screams.  The man in the straw hat bent backwards and fellon the ground; other figures also subsided and lay stillin curiouslytwisted postures.  Every one else except the soldiers fled; fortunatelythere were many exits to the square, and in a few minutes it was almostdeserted.  The President's carriage made its way through theflyingcrowd to the gates of the palace, which were guarded by more soldiers,and passed through in safety.All was now over.  The spirit of the mob was broken and the wideexpanse of Constitution Square was soonnearly empty.  Forty bodies andsome expended cartridges lay on the ground.  Both had played their partin the history of human developement and passed out of theconsiderations of living men.  Nevertheless thesoldiers picked up theempty cases, and presently some police came with carts and took theother things away, and all was quiet again in Laurania.CHAPTER II.THE HEAD OF THE STATE.The carriage and its escort passedthe ancient gateway and drivingthrough a wide courtyard drew up at the entrance of the palace.  ThePresident alighted.  He fully appreciated the importance of retainingthe good will and support of the army, andimmediately walked up to theofficer who commanded the Lancers.  \"None of your men hurt, I trust,\"he said.\"Nothing serious, General,\" replied the subaltern.\"You handled your troop with great judgment andcourage.  It shall beremembered.  But it is easy to lead brave men; they shall not beforgotten.  Ah, Colonel, you are quite right to come to me.  Ianticipated some trouble with the disaffected classes, so soon asitbecame known that we were still determined to maintain law and order inthe State.\"  These last words were spoken to a dark, bronzed man whohad hurriedly entered the courtyard by a side gate.  Colonel Sorrento,forsuch was the newcomer's name, was the military chief of the Police.Besides filling this important office, he discharged the duties ofWar-Minister to the Republic.  The combination enabled the civil powerto besupplemented by the military with great and convenientpromptitude, whenever it was necessary or desirable to take strongmeasures.  The arrangement was well suited to the times.  UsuallySorrento was calm andserene.  He had seen many engagements and muchwar of the type which knows no quarter, had been several times wounded,and was regarded as a brave and callous man.  But there is somethingappalling in theconcentrated fury of a mob, and the Colonel's mannerbetrayed the fact that he was not quite proof against it.\"Are you wounded, Sir?\" he asked, catching sight of the President'sface.\"It is nothing,--a stone; but theywere very violent.  Some one hadroused them; I had hoped to get away before the news was known.  Whowas it spoke to them?\"\"Moret, the Civic Councillor, from the balcony of the hotel.  A verydangerous man!  Hetold them they were betrayed.\"\"Betrayed?  What audacity!  Surely such language would come within the20th Section of the Constitution: _Inciting to violence against theperson of the Head of the State bymisrepresentation or otherwise_.\"The President was well versed in those clauses of the public law whichwere intended to strengthen the hands of the Executive.  \"Have himarrested, Sorrento.  We cannot allow themajesty of Government to beinsulted with impunity,--or stay, perhaps it would be wiser to bemagnanimous now that the matter is settled.  I do not want a Stateprosecution just at present.\"  Then he added in a loudervoice: \"Thisyoung officer, Colonel, discharged his duty with greatdetermination,--a most excellent soldier.  Please see that a note ismade of it.  Promotion should always go by merit, not by age, forservices and not forservice.  We will not forget your behaviour, youngman.\"He ascended the steps and entered the hall of the palace, leaving thesubaltern, a boy of twenty-two, flushed with pleasure and excitement,to build high hopes offuture command and success.The hall was spacious and well-proportioned.  It was decorated in thepurest style of the Lauranian Republic, the arms of which wereeverywhere displayed.  The pillars were of ancientmarble and by theirsize and colour attested the wealth and magnificence of former days.The tessellated pavement presented a pleasing pattern.  Elaboratemosaics on the walls depicted scenes from the national history:thefoundation of the city; the peace of 1370; the reception of the envoysof the Great Mogul: the victory of Brota; the death of Saldanho, thataustere patriot, who died rather than submit to a technical violationof theConstitution.  And then coming down to later years, the wallsshowed the building of the Parliament House: the naval victory of CapeCheronta, and finally the conclusion of the Civil War in 1883.  Oneither side of thehall, in a deep alcove, a bronze fountain, playingamid surrounding palms and ferns, imparted a feeling of refreshingcoolness to the eye and ear.  Facing the entrance was a broadstaircase, leading to the state roomswhose doors were concealed bycrimson curtains.A woman stood at the top of the stairs.  Her hands rested on the marblebalustrade; her white dress contrasted with the bright-colouredcurtains behind her.  She wasvery beautiful, but her face wore anexpression of alarm and anxiety.  Woman-like she asked three questionsat once.  \"What has happened, Antonio?  Have the people risen?  Whyhave they been firing?\"  She pausedtimidly at the head of the stairs,as if fearing to descend.\"All is well,\" replied the President in his official manner.  \"Some ofthe disaffected have rioted, but the Colonel here has taken everyprecaution and order reignsonce more, dearest.\"  Then turning toSorrento, he went on: \"It is possible that the disturbances may berenewed.  The troops should be confined to barracks and you may givethem an extra day's pay to drink the health"}
+{"doc_id":"doc_345","qid":"","text":"<html><head><title>Megamind Script at IMSDb.</title><meta name=\"description\" content=\"Megamind script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"Megamind script, Megamindmovie script, Megamind film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html;charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=SubjectCONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\"type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script');ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0];s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <tdvalign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>    <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\"title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"TheInternet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center></td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                               MEGAMIND</b>                                    Written by                    Alan Schoolcraft & Brent Simons<b>      CREDITSSEQUENCE</b>      <b>      NEWSPAPER HEADLINE MONTAGE:</b>            HEADLINES flash before us, displaying their accompanying      photographs.      <b>      \"UBERMAN - METRO CITY'S HERO AFTERDEFEATING MASTER MIND!</b>            PHOTO: A chiseled, statuesque man wearing the COOLEST SUPER      HERO SUIT IMAGINABLE, COMPLETE WITH FLOWING CAPE, shines a      confident smile at the lens. This isUBERMAN, champion of<b>      METRO CITY.</b>      <b>      \"UBERMAN DEFEATS MASTER MIND'S GIANT ROBOT!\"</b>            PHOTO: Wide-shot of Uberman in mid-flight lifting the GIANT      ROBOT in the skyabove the city buildings.      <b>      \"MASTER MIND ALL WET AFTER UBERMAN FOILS AQUARIUM HEIST!\"</b>            PHOTO: Uberman stands knee-deep in water. He has his enemy by      the collar. The villainblocks his face from the shot with a<b>      METALLIC GAUNTLET.</b>            The images start to flash by even quicker, each showing the      MYSTERIOUS VILLAIN in various stages of humiliation. Ineach      photograph he successfully blocks his face with his armored      glove.            We ZOOM IN to the last headline.      <b>      \"MASTER MIND BEHIND BARS ONCE AGAIN - THANKS TOUBERMAN!\"</b>            PHOTO: Uberman stands in a gallant pose with his fists on his      hips, obviously trying to accentuate the \"U\" insignia on his      chest.      <b>      END OF CREDITSSEQUENCE</b>      <b>      EXT. BUILDING - DAY</b>            We DISSOLVE from the photograph to Uberman standing in the      exact same position.            WE PULL BACK showing him atop a BUILDINGoverlooking the city      below. A perfect view for our guardian hero.            He watches the thriving metropolis, bristling with life as      people happily go about their day.            Yet, we can't help but detect a hint ofsadness in Uberman's      expression.<b>                                                               2.</b>                  <b>                          UBERMAN</b>                You look so peaceful from up here.            His serenity issuddenly interrupted by a loud BEEPING SOUND      coming from his wrist.            He looks down at a BRACELET (a manly one) on his right arm.      It's a silver band with a FLASHING red letter\"U\".      <b>                          UBERMAN (CONT'D)</b>                Looks like Roxanne's in trouble                again.            Uberman leaps off the building and into the air. His cape      gracefully flows in the breezebehind him as he shoots off      into the distance like a speeding bullet.      <b>      EXT. OBSERVATORY HIDEOUT - ESTABLISHING SHOT</b>            Grime and moss decorate the outside of this longabandoned      building overlooking the COAST. Once a place of knowledge and      wonder - now home to a great evil.      <b>      INT. OBSERVATORY HIDEOUT - DAY</b>            The inside is in complete contrast tothe exterior. The huge      hall with a GIANT TELESCOPE teems with advanced ELECTRONIC      EQUIPMENT. Computers, monitors and machines which do not have      an obvious function FLASH and HUM.            ASTEEL DOOR slides open, revealing the subject of our story      MASTER MIND - a villainous sight to behold. His FACE IS      INEXPLICABLY LIGHT BLUE, topped by an OVERSIZED, MUSHROOM-      SHAPED HEAD with aCIRCULAR PATCH OF WHITE HAIR ON TOP.            He's dressed in the kind of costume only a super villain      could pull off: a PURPLE JUMPSUIT AND BLACK BOOT ENSEMBLE      WITH A GIANT GREEN \"M\" ON THECHEST. His right hand, hanging      at his side, is a METAL GAUNTLET WITH THREE SHORT SPIKES<b>      PROTRUDING BETWEEN HIS KNUCKLES.</b>            Master Mind begins to survey the room with hisTWO<b>      PERMANENTLY ARCHED EYEBROWS.</b>            A man dressed as ALBERT EINSTEIN is busy ranting to two other      men. One, a hulking brute, is dressed as LEONARDO DA VINCI.      The other, a smallintellectual-type carrying a clip-board,      is dressed as the philosopher PLATO.      <b>                          EINSTEIN</b>                I hate the outfits. I mean, I get                it: we're all supposed tobe                \"masterminds\" - very clever.<b>                          (MORE)</b><b>                                                                3.</b>                          EINSTEIN(cont'd)                I just feel stupid. I mean,what                the hell did Einstein really do                anyway?      <b>                          PLATO</b>                Theory of relativity.            Einstein starts feverishly scratching hisside.      <b>                          EINSTEIN</b>                Well, you'd think he'd invent a                wool sweater that didn't itch so                much.            Da Vinci and Plato's eyes suddenly grow with concern asthey      see Master Mind walk up behind Einstein.            Einstein notices his colleague's staring over his right      shoulder and turns around.            He turns around and Master Mind SEIZES HIM BY HIS THROATwith      his metal gauntlet.      <b>                          MASTER MIND</b>                The real Einstein once said, \"God                does not play dice with the world.\"                He was right, because the worldis                MY dice. Is that understood?      <b>                          DA VINCI & PLATO</b>                Sir! Yes, sir!      <b>                          EINSTEIN</b>                    (gasping for air)                Yes,sir.            Master Mind undoes his grip on Einstein's throat.      <b>                          MASTER MIND</b>                Alright, then - clean slate. Do we                have the girl?      <b>                          DAVINCI</b>                Yes, sir. She fell into our trap                just like you knew she would.      <b>                          MASTER MIND</b>                Reporters are a curious lot, and                easilymanipulated.            He quickly checks his physique in a GIANT MIRROR, adjusts his      posture and sucks in hisgut.<b>                                                                  4.</b>                  <b>                          MASTER MIND</b>                Alright, let's not keep the lady                waiting.      <b>      MOMENTSLATER</b>            Da Vinci escorts a BLINDFOLDED and bound woman, ROXANNE      RITCHI, to the back of the room where Plato and Einstein are      standing guard over a large BLACK SWIVEL-CHAIR facingaway      from us.            She pulls free of Da Vinci's grasp and waits for him to undo      the blindfold.            Her face uncovered, we finally see Roxanne's striking      features - all of which seem overshadowed bypiercing eyes      that seem more put off by the situation than afraid of it.      <b>                          MASTER MIND (O.S.)</b>                Miss Ritchi, we meet again.            The chair turns menacingly slow, finallyrevealing Master      Mind.      <b>                          ROXANNE</b>                You didn't need to turn around like                that. I can recognize the stench of                failure.            Master Mind unleashes a wickedlaugh.      <b>                          MASTER MIND</b>                I trust you gentlemen know the very                sassy Roxanne Ritchi, highly                regarded investigative journalist                who some say has amore than                friendly relationship with our                super powered foe Uberman. And Miss                Ritchi, I trust you've already met                my new crew: The Mad Geniuses!            Roxanne givesEinstein a once over.      <b>                          ROXANNE</b>                Looks like a real group of winners.                At the risk of sounding cliche',                you'll never get away withthis.      <b>                          MASTER MIND</b>                In a way, I already have.            Roxanne unleashes an exhaustedSIGH.<b>                                                               5.</b>                  <b>                          ROXANNE</b>                We go through this every time. You                kidnap me to get to Uberman,he                immediately finds your hideout,                escapes whatever lame trap you've                come up with, and takes you and                your cronies to jail. I propose we                just save everybody someheartache                this time by YOU letting me go, and                ME forgetting this whole thing ever                happened?      <b>                          MASTER MIND</b>                What about myrevenge?      <b>                          ROXANNE</b>                We can say it was wasting                everyone's time.      <b>                          MASTER MIND</b>                You have a wicked tongue. Ihope                you rid yourself of that when                you're my queen.            Roxanne unleashes a snort-filled laugh.      <b>                          ROXANNE</b>                I'm sorry. What makes you thinkI                would want to be your queen?      <b>                          MASTER MIND</b>                Power corrupts absolutely, Miss                Ritchi. And when I have ultimate                power over this city, Ihave                absolutely every intention of                corrupting you with it.      <b>                          PLATO</b>                Sir!            Master Mind turns to Plato who's now standing at acomputer      terminal.      <b>                          MASTER MIND</b>                    (annoyed)                What is it!?      <b>      EXT. OBSERVATORY HIDEOUT - DAY</b>            Uberman flies toward the Observatorylike a rocket.<b>                                                                  6.</b>                        <b>      INT. OBSERVATORY HIDEOUT - DAY</b>            Uberman crashes through the wall to the room we were just in.      Helooks around, but there's suddenly NOT A SOUL IN SIGHT.      <b>                                                       CUT TO:</b>      <b>      EXT. MASTER MIND'S HYDROFOIL - DAY</b>            The boat is shooting throughthe ocean, away from the      observatory.      <b>      INT. HYDROFOIL CONTROL ROOM - DAY</b>            Machines, cables and terminals criss-cross the craft's main      bridge. Through the enormous surroundingwindows we can see      the observatory shrinking in the distance.            Master Mind watches Uberman on a small TV monitor as the hero      intently searches hishideout.      <b>                          UBERMAN</b>                    (on monitor)                Master Mind!      <b>      INT. OBSERVATORY HIDEOUT - DAY</b>            Uberman throws up his arms in frustration whensuddenly -      <b>                          MASTER MIND (O.S.)</b>                Over here, old friend.            He turns to see a FAMILIAR BLUE FACE OF EVIL ON AGIANT<b>      SCREEN.</b>      <b>                           UBERMAN</b>                What's the matter, miss your old                jail cell?            Uberman starts walking toward themonitor.      <b>                          MASTER MIND (ON MONITOR)</b>                Actually, I wanted to share the                experience with my oldest friend.            A MECHANIZED CAGE shoots out of the floor,"}
+{"doc_id":"doc_346","qid":"","text":"The Project Gutenberg Etext of Barchester Towers by Anthony Trollope*******************************************************************THIS EBOOK WAS ONE OF PROJECT GUTENBERG'S EARLYFILES PRODUCED AT ATIME WHEN PROOFING METHODS AND TOOLS WERE NOT WELL DEVELOPED. THEREIS AN IMPROVED EDITION OF THIS TITLE WHICH MAY BE VIEWED AS EBOOK(#3409) athttps://www.gutenberg.org/ebooks/3409*******************************************************************Copyright laws are changing all over the world, be sure to checkthe copyright laws for yourcountry before posting these files!!Please take a look at the important information in this header.We encourage you to keep this file on your own disk, keeping anelectronic path open for the next readers.  Do notremove this.**Welcome To The World of Free Plain Vanilla Electronic Texts****Etexts Readable By Both Humans and By Computers, Since 1971***These Etexts Prepared By Hundreds of Volunteers andDonations*Information on contacting Project Gutenberg to get Etexts, andfurther information is included below.  We need your donations.Barchester Towersby Anthony TrollopeDecember, 2000  [Etext #2432]TheProject Gutenberg Etext of Barchester Towers, by Anthony Trollope******This file should be named 2432.txt or 2432.zip*****Etext typed by KENNETH DAVID COOPER <cooper.kd@bigpond.com>Project GutenbergEtexts are usually created from multiple editions,all of which are in the Public Domain in the United States, unless acopyright notice is included.  Therefore, we usually do NOT keep anyof these books in compliance withany particular paper edition.We are now trying to release all our books one month in advanceof the official release dates, leaving time for better editing.Please note:  neither this list nor its contents are final tillmidnightof the last day of the month of any such announcement.The official release date of all Project Gutenberg Etexts is atMidnight, Central Time, of the last day of the stated month.  Apreliminary version may often be postedfor suggestion, commentand editing by those who wish to do so.  To be sure you have anup to date first edition [xxxxx10x.xxx] please check file sizesin the first week of the next month.  Since our ftp program hasa bugin it that scrambles the date [tried to fix and failed] alook at the file size will have to do, but we will try to see anew copy has at least one byte more or less.Information about Project Gutenberg (one page)We produceabout two million dollars for each hour we work.  Thetime it takes us, a rather conservative estimate, is fifty hoursto get any etext selected, entered, proofread, edited, copyrightsearched and analyzed, the copyrightletters written, etc.  Thisprojected audience is one hundred million readers.  If our valueper text is nominally estimated at one dollar then we produce $2million dollars per hour this year as we release thirty-six textfilesper month, or 432 more Etexts in 1999 for a total of 2000+If these reach just 10% of the computerized population, then thetotal should reach over 200 billion Etexts given away this year.The Goal of Project Gutenbergis to Give Away One Trillion EtextFiles by December 31, 2001.  [10,000 x 100,000,000 = 1 Trillion]This is ten thousand titles each to one hundred million readers,which is only ~5% of the present number of computerusers.At our revised rates of production, we will reach only one-thirdof that goal by the end of 2001, or about 3,333 Etexts unless wemanage to get some real funding; currently our funding is mostlyfrom Michael Hart'ssalary at Carnegie-Mellon University, and anassortment of sporadic gifts; this salary is only good for a fewmore years, so we are looking for something to replace it, as wedon't want Project Gutenberg to be sodependent on one person.We need your donations more than ever!All donations should be made to \"Project Gutenberg/CMU\": and aretax deductible to the extent allowable by law.  (CMU = Carnegie-MellonUniversity).For these and other matters, please mail to:Project GutenbergP. O. Box  2782Champaign, IL 61825When all other email fails. . .try our Executive Director:Michael S. Hart<hart@pobox.com>hart@pobox.com forwards to hart@prairienet.org and archive.orgif your mail bounces from archive.org, I will still see it, ifit bounces from prairienet.org, better resend later on. . . .We would preferto send you this information by email.******To access Project Gutenberg etexts, use any Web browserto view http://promo.net/pg.  This site lists Etexts byauthor and by title, and includes information about howto getinvolved with Project Gutenberg.  You could alsodownload our past Newsletters, or subscribe here.  Thisis one of our major sites, please email hart@pobox.com,for a more complete list of our various sites.To go directlyto the etext collections, use FTP or anyWeb browser to visit a Project Gutenberg mirror (mirrorsites are available on 7 continents; mirrors are listedat http://promo.net/pg).Mac users, do NOT point and click, typingworks better.Example FTP session:ftp sunsite.unc.edulogin: anonymouspassword: your@logincd pub/docs/books/gutenbergcd etext90 through etext99dir [to see files]get or mget [to get files. . .set bin for zip files]GETGUTINDEX.??  [to get a year's listing of books, e.g., GUTINDEX.99]GET GUTINDEX.ALL [to get a listing of ALL books]*****Information prepared by the Project Gutenberg legal advisor**(Three Pages)***START**THESMALL PRINT!**FOR PUBLIC DOMAIN ETEXTS**START***Why is this \"Small Print!\" statement here?  You know: lawyers.They tell us you might sue us if there is something wrong withyour copy of this etext, even ifyou got it for free fromsomeone other than us, and even if what's wrong is not ourfault.  So, among other things, this \"Small Print!\" statementdisclaims most of our liability to you.  It also tells you howyou can distributecopies of this etext if you want to.*BEFORE!* YOU USE OR READ THIS ETEXTBy using or reading any part of this PROJECT GUTENBERG-tmetext, you indicate that you understand, agree to and acceptthis \"Small Print!\"statement.  If you do not, you can receivea refund of the money (if any) you paid for this etext bysending a request within 30 days of receiving it to the personyou got it from.  If you received this etext on aphysicalmedium (such as a disk), you must return it with your request.ABOUT PROJECT GUTENBERG-TM ETEXTSThis PROJECT GUTENBERG-tm etext, like most PROJECT GUTENBERG-tm etexts, is a \"public domain\"work distributed by ProfessorMichael S. Hart through the Project Gutenberg Association atCarnegie-Mellon University (the \"Project\").  Among otherthings, this means that no one owns a United States copyrighton or forthis work, so the Project (and you!) can copy anddistribute it in the United States without permission andwithout paying copyright royalties.  Special rules, set forthbelow, apply if you wish to copy and distribute thisetextunder the Project's \"PROJECT GUTENBERG\" trademark.To create these etexts, the Project expends considerableefforts to identify, transcribe and proofread public domainworks.  Despite these efforts, the Project'setexts and anymedium they may be on may contain \"Defects\".  Among otherthings, Defects may take the form of incomplete, inaccurate orcorrupt data, transcription errors, a copyright or otherintellectual propertyinfringement, a defective or damageddisk or other etext medium, a computer virus, or computercodes that damage or cannot be read by your equipment.LIMITED WARRANTY; DISCLAIMER OF DAMAGESBut for the\"Right of Replacement or Refund\" described below,[1] the Project (and any other party you may receive thisetext from as a PROJECT GUTENBERG-tm etext) disclaims allliability to you for damages, costs and expenses,includinglegal fees, and [2] YOU HAVE NO REMEDIES FOR NEGLIGENCE ORUNDER STRICT LIABILITY, OR FOR BREACH OF WARRANTY OR CONTRACT,INCLUDING BUT NOT LIMITED TO INDIRECT, CONSEQUENTIAL,PUNITIVEOR INCIDENTAL DAMAGES, EVEN IF YOU GIVE NOTICE OF THEPOSSIBILITY OF SUCH DAMAGES.If you discover a Defect in this etext within 90 days ofreceiving it, you can receive a refund of the money (ifany)you paid for it by sending an explanatory note within thattime to the person you received it from.  If you received iton a physical medium, you must return it with your note, andsuch person may choose toalternatively give you a replacementcopy.  If you received it electronically, such person maychoose to alternatively give you a second opportunity toreceive it electronically.THIS ETEXT IS OTHERWISE PROVIDED TOYOU \"AS-IS\".  NO OTHERWARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, ARE MADE TO YOU ASTO THE ETEXT OR ANY MEDIUM IT MAY BE ON, INCLUDING BUT NOTLIMITED TO WARRANTIES OF MERCHANTABILITYOR FITNESS FOR APARTICULAR PURPOSE.Some states do not allow disclaimers of implied warranties orthe exclusion or limitation of consequential damages, so theabove disclaimers and exclusions may not apply toyou, and youmay have other legal rights.INDEMNITYYou will indemnify and hold the Project, its directors,officers, members and agents harmless from all liability, costand expense, including legal fees, that arise directlyorindirectly from any of the following that you do or cause:[1] distribution of this etext, [2] alteration, modification,or addition to the etext, or [3] any Defect.DISTRIBUTION UNDER \"PROJECT GUTENBERG-tm\"You maydistribute copies of this etext electronically, or bydisk, book or any other medium if you either delete this\"Small Print!\" and all other references to Project Gutenberg,or:[1]  Only give exact copies of it.  Among otherthings, this     requires that you do not remove, alter or modify the     etext or this \"small print!\" statement.  You may however,     if you wish, distribute this etext in machine readable     binary, compressed, mark-up,or proprietary form,     including any form resulting from conversion by word pro-     cessing or hypertext software, but only so long as     *EITHER*:     [*]  The etext, when displayed, is clearly readable,and          does *not* contain characters other than those          intended by the author of the work, although tilde          (~), asterisk (*) and underline (_) characters may          be used to convey punctuationintended by the          author, and additional characters may be used to          indicate hypertext links; OR     [*]  The etext may be readily converted by the reader at          no expense into plain ASCII, EBCDIC orequivalent          form by the program that displays the etext (as is          the case, for instance, with most word processors);          OR     [*]  You provide, or agree to also provide on request at          no additionalcost, fee or expense, a copy of the          etext in its original plain ASCII form (or in EBCDIC          or other equivalent proprietary form).[2]  Honor the etext refund and replacement provisions of this     \"Small Print!\"statement.[3]  Pay a trademark license fee to the Project of 20% of the     net profits you derive calculated using the method you     already use to calculate your applicable taxes.  If you     don't derive profits, noroyalty is due.  Royalties are     payable to \"Project Gutenberg Association/Carnegie-Mellon     University\" within the 60 days following each     date you prepare (or were legally required to prepare)     your annual (orequivalent periodic) tax return.WHAT IF YOU *WANT* TO SEND MONEY EVEN IF YOU DON'T HAVE TO?The Project gratefully accepts contributions in money, time,scanning machines, OCR software, public domainetexts, royaltyfree copyright licenses, and every other sort of contributionyou can think of.  Money should be paid to \"Project GutenbergAssociation / Carnegie-Mellon University\".*END*THE SMALL PRINT! FOR PUBLICDOMAIN ETEXTS*Ver.04.29.93*END*BARCHESTER TOWERSTABLE OF CONTENTSI       Who will be the new Bishop?II      Hiram's Hospital, according to Act of ParliamentIII     Dr and Mrs ProudieIV      The Bishop'sChaplainV       A Morning VisitVI      WarVII     The Dean and Chapter take CounselVIII    The Ex-Warden rejoices at his probable Return to the HospitalIX      The Stanhope FamilyX       Mrs Proudie'sReception--CommencedXI      Mrs Proudie's Reception--ConcludedXII     Slope versus HardingXIII    The Rubbish CartXIV     The New ChampionXV      The Widow's SuitorsXVI     Baby WorshipXVII    Who shall be Cockof the Walk?XVIII   The Widow's PersecutionXIX     Barchester by MoonlightXX      Mr ArabinXXI     St Ewold's ParsonageXXII    The Thornes of UllathorneXXIII   Mr Arabin reads himself in at St Ewold'sXXIV    Mr Slopemanages matters very well at PuddingdaleXXV     Fourteen Arguments in favour of Mr Quiverful's ClaimsXXVI    Mrs Proudie wrestles and gets a FallXXVII   A Love SceneXXVIII  Mrs Bold is entertained by Dr and MrsGrantly at PlumsteadXXIX    A serious InterviewXXX     Another Love SceneXXXI    The Bishop's LibraryXXXII   A New Candidate for Ecclesiastical HonoursXXXIII  Mrs Proudie VictrixXXXIV   Oxford--The Master andTutor of LazarusXXXV    Miss Thorne's Fete ChampetreXXXVI   Ullathorne Sports--Act IXXXVII  The Signora Neroni, the Countess De Courcy, and        Mrs Proudie meet each other at UllathorneXXXVIII The Bishop sitsdown to Breakfast and the Dean diesXXXIX   The Lookalofts and the GreenacresXL      Ullathorne Sports--Act IIXLI     Mrs Bold confides her Sorrow to her Friend Miss StanhopeXLII    Ullathorne Sports--Act IIIXLIII   Mrsand Mrs Quiverful are made happy.        Mr Slope is encouraged by the PressXLIV    Mrs Bold at HomeXLV     The Stanhopes at HomeXLVI    Mr Slope's parting Interview with the SignoraXLVII   The DeanElectXLVIII  Miss Thorne shows her Talent at Match-makingXLIX    The Belzebub ColtL       The Archdeacon is satisfied with the State of AffairsLI      Mr Slope's Farewell to the Palace and its InhabitantsLII     The newDean takes Possession of the Deanery,        and the New Warden of the HospitalLIII    ConclusionCHAPTER IWHO WILL BE THE NEW BISHOP?In the latter days of July in the year 185-, a most importantquestion was forten days hourly asked in the cathedral city ofBarchester, and answered every hour in various ways--Who was to bethe new Bishop?The death of old Dr Grantly, who had for many years filled thechair with meekauthority, took place exactly as the ministry ofLord - was going to give place to that Lord -. The illness of thegood old man was long and lingering, and it became at last a matterof intense interest to those concernedwhether the new appointmentshould be made by a conservative or liberal government.Bishop Grantly died as he had lived, peaceably, slowly, withoutpain and without excitement. The breath ebbed from himalmostimperceptibly, and for a month before his death, it was a questionwhether he was alive or dead.A trying time was this for the archdeacon, for whom was designedthe reversion of his father's see by those whothen had the givingaway of episcopal thrones. I would not be understood to say thatthe prime minister had in so many words promised the bishopric toDr Grantly. He was too discreet a man for that. There is aproverbwith reference to the killing of cats, and those who know anythingeither of high or low government places, will be well aware that apromise may be made without positive words, and that an expectantmay be putinto the highest state of encouragement, though thegreat man on whose breath he hangs may have done no more thanwhisper that 'Mr So-and-so is certainly a rising man.'Such a whisper had been made, and wasknown by those who heard itto signify that the cures of the diocese of Barchester should notbe taken out of the hands of the archdeacon. The then primeminister was all in all at Oxford, and had lately passed a nightatthe house of the master of Lazarus. Now the master ofLazarus--which is, by the bye, in many respects the mostcomfortable, as well as the richest college at Oxford,--was thearchdeacon's most intimate friend andmost trusted counsellor. Onthe occasion of the prime minister's visit, Dr Grantly was ofcourse present, and the meeting was very gracious. On the followingmorning Dr Gwynne, the master, told the archdeacon that inhisopinion the matter was settled.At this time the bishop was quite on his last legs; but theministry was also tottering. Dr Grantly returned from Oxford happyand elated, to resume his place in the palace, and tocontinue toperform for the father the last duties of a son; which, to give himhis due, he performed with more tender care than was to be expectedfrom his usual somewhat worldly manners.A month since the physicianshad named four weeks as the outsideperiod during which breath could be supported within the body ofthe dying man. At the end of the month the physicians wondered, andnamed another fortnight. The old man livedon wine alone, but atthe end of the fortnight he still lived; and the tidings of thefall of the ministry became more frequent. Sir Lamda Mewnew and SirOmicron Pie, the two great London doctors, now came down forthefifth time, and declared, shaking their learned heads, that anotherweek of life was impossible; and as they sat down to lunch in theepiscopal dining-room, whispered to the archdeacon their ownprivate knowledgethat the ministry must fall within five days. Theson returned to his father's room, and after administering with hisown hands the sustaining modicum of madeira, sat down by thebedside to calculate his chances.Theministry were to be out within five days: his father was to bedead within--No, he rejected that view of the subject. The ministrywere to be out, and the diocese might probably be vacant at thesame period. There wasmuch doubt as to the names of the men whowere to succeed to power, and a week must elapse before a Cabinetwas formed. Would not vacancies be filled by the out-going menduring that week? Dr Grantly had a kindof idea that such would bethe case, but did not know; and then he wondered at his ownignorance of such a question.He tried to keep his mind away from the subject, but he could not.The race was so very close, andthe stakes were so very high. Hethen looked at the dying man's impassive, placid face. There was nosign there of death or disease; it was something thinner than ofyore, somewhat grayer, and the deep lines of agemore marked; but,as far as he could judge, life might yet hang there for weeks tocome. Sir Lamda Mewnew and Sir Omicron Pie had thrice been wrong,and might yet be wrong thrice again. The old bishop sleptduringtwenty of the twenty-four hours, but during the short periods ofhis waking moments, he knew both his son and his dear friend MrHarding, the archdeacon's father-in-law, and would thank themtenderly for theircare and love. Now he lay sleeping like a baby,resting easily on his back, his mouth just open, and his few grayhairs straggling from beneath his cap; his breath was perfectlynoiseless, and his thin, wan hand, which layabove the coverlid,never moved. Nothing could be easier than the old man's passagefrom this world to the next.But by no means easy were the emotions of him who sat therewatching. He knew it must be now ornever. He was already overfifty, and there was little chance that his friends who were nowleaving office would soon return to it. No probable British primeminister but he who was now in, he who was so soon to be out,wouldthink of making a bishop of Dr Grantly. Thus he thought long andsadly, in deep silence, and then gazed at that still living face,and then at last dared to ask himself whether he really longed forhis father'sdeath.The effort was a salutary one, and the question was answered in amoment. The proud, wishful, worldly man, sank on his knees by thebedside, and taking the bishop's hand within his own, prayedeagerly that hissins might be forgiven him.His face was still buried in the clothes when the door of thebed-room opened noiselessly, and Mr Harding entered with a velvetstep. Mr Harding's attendance at that bedside had been nearlyasconstant as that of the archdeacon, and his ingress and egress wasas much a matter of course as that of his son-in-law. He wasstanding close beside the archdeacon before he was perceived, andwould have alsoknelt in prayer had he not feared that his doing somight have caused some sudden start, and have disturbed the dyingman. Dr Grantly, however, instantly perceived him, and rose fromhis knees. As he did so MrHarding took both his hands, and pressedthem warmly. There was more fellowship between them at that momentthan there had ever been before, and it so happened that aftercircumstances greatly preserved thefeeling. As they stood therepressing each other's hands, the tears rolled freely down theircheeks.'God bless you, my dears,'--said the bishop with feeble voice as hewoke--'God bless you--may God bless you both, my"}
+{"doc_id":"doc_347","qid":"","text":"<html><head><title>Hebrew Hammer, The Script at IMSDb.</title><meta name=\"description\" content=\"Hebrew Hammer, The script at the Internet Movie Script Database.\"><meta name=\"keywords\"content=\"Hebrew Hammer, The script, Hebrew Hammer, The movie script, Hebrew Hammer, The film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><metaname=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttypeCONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distributioncontent=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ?'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie ScriptDatabase\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <scripttype=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><b>                                  THE HEBREW HAMMER</b>                                     Written by                                  JonathanKesselman            Over BLACK, we hear the first few bars of Jingle Bells. The            music morphs into an OMINOUS SCORE.             With a thunderous BOOM, comes a TITLE CARD reading\"HANUKKAH<b>            PAST.\"</b><b>            EXT. PUBLIC ELEMENTARY SCHOOL - DAY</b>            We start on JESUS ON A CRUCIFIX, and then violently CRANE            down to reveal MORDECHAI (10), a timidlittle Hasidic boy            standing nervously at the foot of the statue.            Behind Morty is a wall with the graffiti phrase \"HANUKKAH IS            4 HOMOS\" scrawled across it. He clutches his SandyKoufax            lunchbox tightly as he looks off into the distance. He's got            quite a large bulge in his pants for a child his age.            We see a menacing, EXTREMELY WIDE ANGLE shot of theschool.            Superimposed over the picture are the words, \"ST. PETER,<b>            PAUL, AND MARY PUBLIC ELEMENTARY SCHOOL.\" </b>            Mordechai takes a deep breath, and walks towards theschool.<b>            EXT. SCHOOLYARD - MOMENTS LATER</b>            Mordechai walks past a row of bleachers occupied by FOUR<b>            GENTILE CHILDREN.</b><b>                                GENTILE BOY1</b>                      Hey Mordechai, look. I dropped a penny.            He drops a penny. The other children cackle.            The Gentile Girl next to him holds up a bag of bagels.<b>                                GENTILE GIRL1</b>                      Hey Mordechai. Want a bagel?            Gentile Boy 1 feigns choking.<b>                                GENTILE BOY 2</b>                      Hey Jew nose, save some oxygen for us.            More laughter.Morty attempts to take it all in stride. We            PUSH into GENTILE GIRL 2, a severe looking puritanically             dressed child as she turns to face the camera.<b>                                GENTILE GIRL2</b>                      Hey Morty, my mom says that unless your                      people wise up and accept Jesus Christ as                      your lord and savior you're all going to                      burn in hell.            Deadsilence. The other children exchange \"Now that went a            little over the line\" looks.            The silence is broken by the sound of the SCHOOLBELL. Morty            gathers himself, and walks off.<b>            INT.CLASSROOM - LATER</b>            As Morty holds a small gift wrapped box in his hands we hear            a tinny version of the song Dreidel, dreidel, dreidel.             He tears open the wrapping paper to reveal aDREIDEL. He            looks at his gift, and then looks off-screen. We PAN with his            look to reveal...            A group of Christian children congregating around a large,            garishly decorated Christmas tree. Avery Vegas Merry            Christmas sign flashes as a larger-than-life HI-FI version of            the Christmas song Jingle Bells blares. The children            festively slap high fives as they open their presents.            Wecut to a SLOW-MOTION CU of Gentile Boy 1 enamored with his            brand new ATC motorbike.            We cut to a SLOW-MOTION CU of Gentile Girl 1. She wears an \"I            Love Jesus\" T-shirt and holds anadorable dog with a bow            affixed to its head in her arms. It licks her on the face.            We cut back to Mordechai. He looks down at his pathetic            excuse for a present. He's on the verge oftears.             Gentile Boy 1 calls to Mordechai as he drives his ATC.  <b>                                GENTILE BOY 1</b>                      Hey everybody! Look what Mordechai got.                      Nice spinning topMorty.             The other children take notice of Mordechai's gift and begin            to laugh.             Mordechai is crushed. MRS. HIGHSMITH (40's), an incredibly            Waspy teacher puts down her copy of 'ModernW.A.S.P.,' and            appears genuinely concerned by the teasing Mordechai has            weathered. She walks over to comfort him.<b>                                MRS. HIGHSMITH</b>                      Now, now class let'snot make fun of                      Mordechai's spinning top. We need to all                      learn the importance of tolerance and                      understanding. Isn't thatright                      Mordechai?<b>                                MORDECHAI</b>                      Yes Mrs. Highsmith.<b>                                MRS. HIGHSMITH</b>                      So class, in honor of Mordechai'sspecial                      day, I'd like for all of us to wish Morty                      a heartfelt Merry...             She looks to Mordechai for confirmation on the word.<b>                                MRS. HIGHSMITH(CONT'D)</b>                          (Stumbling)                       Cha-noo-kuh Day 7.            In unison, the class attempts to repeat the words, but all            suffer various degrees of pronunciationproblems.<b>                                MRS. HIGHSMITH (CONT'D)</b>                      Very good class. I hope you've all                      learned an important lesson today. Just                      because Mordechai's peopleare different                      from us...just because they might appear                      strange to us with their furry hats,                      their beady eyes, and their long                      sideburns...not to mention theirbizarre                      customs and unnecessarily guttural, funny                      sounding names...just because they                      control all of the worlds' money, yet are                      too cheap to buy their childrenanything                      better than spinning tops for presents,                      does not mean that we can't learn to                      respect and love them as our equals.            She squeezes hischeek.<b>                                MRS. HIGHSMITH (CONT'D)</b>                      Happy Chanoo-juah-kah Day 7 Morty.            A reaction shot of the mortifiedMorty.<b>                                                                 CUT TO:</b><b>            EXT. GHETTO STREET - NIGHT</b>            A sullen Mordechai wanders the streets. Absurd XMAS            DECORATIONS, horrific intheir appearance blanket the street.             Morty glances a GROTESQUE FAUX REINDEER with fangs. We hear a            growling noise as it lights up. He walks quickly away in fear            past... <b>            ASTOREFRONT</b>            We track with Morty as he passes a storefront window. Inside,            the CLERK turns a sign outwards reading, \"JEWS NOT WELCOME.\"            We continue with Morty as he passes by asecond storefront. A            similar sign reading, \"KYKES GO HOME\" is turned outwards by            ANOTHER CLERK. He continues past yet another building as a            sign reading, \"MONOTHEISTS NEED NOT APPLY\"is displayed by a            THIRD CLERK for Morty's benefit.            Morty looks across the street.            A sign hangs from a storefront reading \"JEWS OK FOR ABOUT 5            MINUTES.\" The FOURTH CLERK gives himthe thumbs up.            Morty finds a spot on the sidewalk outside the building and            pulls out his dreidel.             He spins it, and we hold on the spinning top for a few beats            as Morty stares at inwonderment.             Suddenly, a huge black boot comes crashing down into frame            and smashes the little dreidel. Mordechai slowly looks up.             A menacing SANTA CLAUS gives him the finger, and exitsframe            as we hear him sadistically laugh O.S. the words \"Ho, ho, ho\"            at Morty.            We start CLOSE on Mordechai. Rage fills every inch of his            face. As we SLOWLY CRANE AWAY, the openingCREDITS begin as            the HEBREW HAMMER THEME SONG kicks into full gear.<b>                                                                 CUT TO:</b><b>            TITLE SEQUENCE</b>            As the Jewxploitation musicpumps, metallic slashes rip            through the screen line by line, spinning into place to form            a Star Of David. The title, \"The Hebrew Hammer\" SLAMS into            frame.<b>            TITLE CARD: HANUKKAHPRESENT</b><b>            EXT. THE CHOOD - DAY</b>            We start CLOSE on a gift wrapped Hanukkah present. We pull            back a bit as MORDECHAI JEFFERSON CARVER (29), AKA THEHEBREW            HAMMER, a baaad Jewish brother spins the package in his hands            as he saunters down the street past a latke stand. He's a            Semitic super stud straight out of a 70'sBlaxploitation            flick. He tosses the gift to MACCABEE, a young Hasidic boy. <b>                                HAMMER</b>                      Happy Hanukkah Maccabee.            Macabee tears open the wrapping paperand holds up the gift -            a Hebrew Hammer action figure. He beams.            We cut back to the Hammer as he smiles back. From O.C., we            hear Maccabee say...<b>                                MACCABEE(O.C.)</b>                      Thanks Hammer!            The Hammer smiles back and walks off frame.<b>            ANOTHER PART OF THE CHOOD</b>            We begin on the Hammer's black boots and slowly TILT up aswe            DOLLY back with him.            The Hammer passes a line of THREE JEWISH PRINCESSES who swoon            as he passes.             He stops below the sign of a butcher shop that reads,\"100%            KOSHER MEAT.\" We PUSH into his CLOSE UP as he blows them all            a kiss.            The pubic area of their dresses moisten in synchrony.            The Hammer winks back.            An OLD WOMANcalls to the Hammer from the window of a second            story flat. <b>                                OLD WOMAN</b>                      Hammer, why don't you come eat by us for                      Shabat. My Miriam is all grownup now.                      God willing, you should settle down and                      marry.            We punch in to a CLOSE UP of a demure Miriam as the Hammer            takes stock of the goods. She is an atrociously uglygirl            wearing orthodontic headgear, and bespectacled with a pair            oversized librarian's glasses.            The Hammer shakes off his wave ofnausea.<b>                                HAMMER</b>                      Thanks for the invite Mrs. Kleinman, but                      right now G dash d's the only one for me. <b>                                OLDWOMAN</b>                      I can dig it.            The Hammer continues on down the street. The old woman and            Miriam are framed in the BG.<b>                                OLD WOMAN(CONT'D)</b>                      Hammer, you're the baaddest Hebe this                      side of Tel Aviv.            The Hammer stops for a second and smiles at thecompliment.<b>                                HAMMER</b>                          (To himself)                      Shabat Shalom!             He walks off frame.<b>            EXT. GHETTO ALLEY - MOMENTS LATER</b>            SomeTEENAGE GENTILE BOYS play keep away with a yarmulke            belonging to SHLOMO, another young Hasidic kid.<b>                                SHLOMO</b>                      Give it back! Give me back my"}
+{"doc_id":"doc_348","qid":"","text":"<html><head><title>Inglourious Basterds Script at IMSDb.</title><meta name=\"description\" content=\"Inglourious Basterds script at the Internet Movie Script Database.\"><meta name=\"keywords\"content=\"Inglourious Basterds script, Inglourious Basterds movie script, Inglourious Basterds film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\"content=\"true\"><meta http-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT=\"INDEX, FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount','UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ?'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\"id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie ScriptDatabase\"><img src=\"/images/logo_top.gif\" border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database(IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\" height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\" class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><imgsrc=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">The web's largest <br>movie script resource!</span></center> </td>    <td>     <scripttype=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre> <b>          </b><b>                                 INGLOURIOUSBASTERDS</b><b>          </b><b>          </b>                                      Written by<b>          </b>                                   Quentin Tarantino<b>          </b><b>          </b><b>          1.</b><b>          EXT -DAIRY FARM- DAY</b>          The modest dairy farm in the countryside of Nancy, France (what the          French call cow country).          We Read a SUBTITLE in the sky above the farm house;<b>          CHAPTERONE</b><b>          \"ONCE UPON A TIME IN...</b><b>          NAZI OCCUPIED FRANCE\"</b>          This SUBTITLE disappears, and is replaced by another one;<b>          \"1941</b>          One year into theGerman          occupation of France\".          The farm consists of a house, small barn, and twelve cows spread          about.          The owner of the property, a bull of a man FRENCH FARMER, brings a axe          up anddown on A tree stump blemishing his property. However simply by          sight, you'd never know if he's been beating at this stump for the last          year, or just started today.<b>          JULIE</b>          One of histhree pretty teenage daughters, is hanging up laundry on          the clothes line. As she hangs up a white bed sheet, she hears a          noise, moving the sheet aside she see's;<b>          JULIE'S POV:</b>          ANazi town car convertible, with two little nazi flags attached to          the hood, a NAZI SOLDIER behind the wheel, a NAZI OFFICER alone in the          back seat, following TWO OTHER NAZI SOLDIERS on motorcycles,coming up          over the hill on the country road leading to their farm.<b>          JULIE</b>          Pappa.          The French Farmer sinks his axe in the stump, looks over his shoulder,          and see's the Germansapproaching.          The FARMERS WIFE, CHARLOTTE comes to the doorway of their home,          followed by her TWO OTHER TEENAGE DAUGHTERS, and see the Germans          approaching.          The Farmer yells tohis family in FRENCH, SUBTITLED IN ENGLISH;<b>          FARMER</b>          Go back inside and shut thedoor.<b>          </b><b>          </b><b>          </b><b>          </b><b>          IL</b><b>          FARMER</b>          (to Julie)          Julie, get me some water from the pump          to wash up with, then getinside with          your mother.          The young lady runs to the water pump by the house. She picks up a          basin, and begins pumping, after a few pumps, water comes out          splashing into thebasin.          The French Farmer sits down on the stump he was previously chopping          away at, pulls a handkerchief from his pocket, wipes sweat from off          his face, and waits for the Nazi convoy to arrive.After living for          a year with the sword of Damocles suspended over his head, this may          very well be the end.          Julie finishes filling the water basin, and places it on thewindow          sill.<b>          JULIE</b>          Ready Pappa.<b>          FARMER</b>          Thank you darling, now go inside and          take care of your mother. Don't run.          Julie walks inside the farm house andcloses the door behind her.          As her father stands up from his stump, and moves over to the window          sill with the water basin...          .The SOUND of the ENGINES of the two motorcycles and car getLOUDER.          The Farmer SPLASHES water from the basin on his face and down his          front. He takes a towel off a nail, and wipes the excess water from          his face and chest, as he watches the twomotorcycles, the one          automobile, and the four representatives of the National Socialist          Party come to a halt on his property.          We don't move into them, but keep observing them from a distance,like          the Farmer.          The TWO NAZI MOTORCYCLIST are off their bikes, and standing at          attention next to them.          The NAZI DRIVER has walked around the automobile, and opened the door          forhis superior.          The NAZI OFFICER says to The Driver in UNSUBTITLED GERMAN;<b>          NAZI OFFICER</b>          This is the property of PerrierLaPadite?<b>          </b><b>          </b><b>          </b><b>          </b><b>          3</b><b>          NAZI DRIVER</b>          Yes heer Colonel.          The Nazi officer climbs out of the back the vehicle,carrying          in his left hand           n d<b>          OFFICER</b>          Herman, until I summon you, I am to be          left alone.<b>          NAZI DRIVER</b>          As you wish Heer Col.          The S.S. COLONELyells to The Farmer in FRENCH, SUBTITLED IN ENGLISH;<b>          NAZI OFFICER</b>          Is this the property of Perrier LaPadite?<b>          FARMER</b>          I am Perrier LaPadite.          The S.S. Colonelcrosses the distance between them with long strides,          and says in French with a smile on his face;<b>          NAZI OFFICER</b>          It is a pleasure to meet you Monsieur          LaPadite, I am Colonel HansLanda of          the S.S.          COLONEL.HANS LANDA offers the French Farmer PERRIER LAPADITE his hand.          The Frenchman takes the German hand in his and shakes it.<b>          PERRIER</b>          How mayI help you?<b>          COL LANDA</b>          I was hoping you could invite me inside          your home and we may have a discussion.<b>          INT - LAPADITE FARM HOUSE - DAY</b>          The door to the farmhouse swings open, andtheaFarmer gesturestfor          the S.S. COL to enter. Removing his grey S.S. cap,          inside the Frenchman's home.          Col Landa is immediately greeted with the sight of the Farmerswife,          and three pretty daughters standing together in the kitchen, smiling          in his direction.          The Farmer enters behind him, closing thedoor.<b>          </b><b>          </b><b>          </b><b>          </b><b>          VA</b><b>          PERRIER</b>          Colonel Landa, this is my family.          The S.S. COL clicks his heels together, and takes thehand of the          French Farmers Wife...<b>          COL LANDA</b>          Col Hans Landa of the S.S. madame,          at your service.          He kisses her hand, then continues without letting go of hishostess          hand...<b>          COL LANDA</b>          please excuse my rude intrusion on your          routine.<b>          FARMERS WIFE</b>          Don't be ridiculous, heer Col.          While still holding the FrenchWoman's hand, and looking into her          eyes, The S.S. Colonel says;<b>          COL LANDA</b>          Monsieur LaPadite, the rumors I have          heard in the village about your family          are all true. Your wifeis a beautiful          woman.          His eyes leave the mother, and move to the three daughters.<b>          COL.LANDA</b><b>          (CON' T )</b>          And each of your daughters is more lovely          then thelast.<b>          PERRIER</b>          Merci. Please have a seat.          The Farmer offers The S.S. Colonel a seat at the families wooden          dinner table. The Nazi officer excepts the French Farmers offer,          andlowers himself into the chair. Placing his grey S.S. cap on          the table, and keeping his black attache case on the floor by his          feet.          The Farmer (perfect host) turns to his Wife andsays;<b>           PERRIER</b>          Charlotte, would you be so good as to get          The Colonel some wine?<b>          </b><b>          </b><b>          </b><b>          </b><b>          COLLANDA</b>          Merci be coupe Monsieur LaPadite, but no          wine. This being a dairy farm one would          be safe in assuming you have milk?<b>          CHARLOTTE</b>          Oui.<b>          COLLANDA</b>          Then milk is what I prefer.<b>          CHARLOTTE</b>          Very Well.          The mother of three, takes a craft of milk out of the ice box,          and pours a tall glass of the fresh white liquid for TheColonel.          The S.S. Colonel takes a long drink from the glass, then puts it down          LOUDLY on the wooden table.<b>          COL LANDA</b>          Monsieur, to both your family, and your          cows, I say;Bravo.<b>          PERRIER</b>          Merci.<b>          COL LANDA</b>          Please, join me at your          table.<b>          PERRIER</b>          Very well.          The French Farmer sit's at his wooden dinner tableacross from          The Nazi.          The Women remain standing.          Col Landa leans forward, and says to the Farmer in a low tone of<b>          CONFIDENTIALLY;</b><b>          COL LANDA</b>          MonsieurLaPadite, what we have to          discuss,' would be better discussed in          private. You'll notice, I left my men          outdoors- if it wouldn't offend them,          could you ask your lovely ladies tostep          outside.<b>          PERRIER</b>          You are right.<b>          </b><b>          </b><b>          </b><b>          </b><b>          G.</b><b>          PERRIER</b>          (to his women)          Charlotte,would you take the girls          outside. The Colonel and I need to have          a few words.          The Farmers wife follows her husbands orders, and gathers her          daughter's taking them outside, closing the doorbehind them.          The Two Men are alone, at the farmers dinner table, in the Farmers          humble home.<b>          COL LANDA</b>          Monsieur LaPadite, I regret to inform          you I've exhausted the extentof my          French. To continue to speak it so          inadequately, would only serve to          embarrass me. However, I've been lead          to believe you speak English quitewell?<b>          PERRIER</b>          Oui.<b>          COL LANDA</b>          Well, it just so happens, I do as well.          This being your house, I ask your          permission to switch to English, for the          remainderof the conversation?<b>          PERRIER</b>          By all means.          They now speak ENGLISH;<b>          COL LANDA</b>          Monsieur LaPadite, while I'm very          familiar with you, and your family.          Ihave no way of knowing if you are          familiar with who I am. Are you aware          of my existence?          The Farmer answers;<b>          PERRIER</b>          Yes.<b>          COL LANDA</b>          This is good.Are you aware of the job          I've been ordered to carry out in France?<b>          </b><b>          </b><b>          </b><b>          </b><b>          I</b><b>          PERRIER</b>          Yes.          The Coloneldrinks more milk.<b>          COL LANDA</b>          Please tell me what you've heard?<b>          PERRIER</b>          I've heard, the fuhrer has put you in          charge of rounding up the Jews left in          France whoare ether hiding, or passing          for Gentile.          The S.S.Colonel smiles.<b>          COL LANDA</b>          The Fuhrer couldn't of said it better          himself.<b>          PERRIER</b>          But the meaning of yourvisit, pleasant          though it is, is mysterious to me.          The Germans looked through my house nine          months ago for hiding Jews, and found          nothing.<b>          COL LANDA</b>          I'm aware of"}
+{"doc_id":"doc_349","qid":"","text":"The Project Gutenberg EBook of Rilla of Ingleside, by Lucy Maud MontgomeryThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it awayorre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: Rilla of InglesideAuthor: Lucy Maud MontgomeryPosting Date: May 19, 2009 [EBook#3796]Release Date: February, 2003First Posted: September 12, 2001[Last updated: June 17, 2012]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK RILLA OF INGLESIDE ***Produced by SheilaPerkins.  HTML version by Al HainesRilla of InglesidebyLucy Maud MontgomeryCONTENTS       I  GLEN \"NOTES\" AND OTHER MATTERS      II  DEW OF MORNING     III  MOONLIT MIRTH      IV  THE PIPERPIPES       V  \"THE SOUND OF A GOING\"      VI  SUSAN, RILLA, AND DOG MONDAY MAKE A RESOLUTION     VII  A WAR-BABY AND A SOUP TUREEN    VIII  RILLA DECIDES      IX  DOC HAS AMISADVENTURE       X  THE TROUBLES OF RILLA      XI  DARK AND BRIGHT     XII  IN THE DAYS OF LANGEMARCK    XIII  A SLICE OF HUMBLE PIE     XIV  THE VALLEY OF DECISION      XV  UNTIL THE DAYBREAK     XVI  REALISM AND ROMANCE    XVII  THE WEEKS WEAR BY   XVIII  A WAR-WEDDING     XIX  \"THEY SHALL NOT PASS\"      XX  NORMAN DOUGLAS SPEAKS OUT IN MEETING     XXI  \"LOVE AFFAIRS AREHORRIBLE\"    XXII  LITTLE DOG MONDAY KNOWS   XXIII  \"AND SO, GOODNIGHT\"    XXIV  MARY IS JUST IN TIME     XXV  SHIRLEY GOES    XXVI  SUSAN HAS A PROPOSAL OFMARRIAGE   XXVII  WAITING  XXVIII  BLACK SUNDAY    XXIX  \"WOUNDED AND MISSING\"     XXX  THE TURNING OF THE TIDE    XXXI  MRS. MATILDA PITTMAN   XXXII  WORD FROMJEM  XXXIII  VICTORY!   XXXIV  MR. HYDE GOES TO HIS OWN PLACE AND SUSAN TAKES A HONEYMOON    XXXV  \"RILLA-MY-RILLA!\"CHAPTER IGLEN \"NOTES\" AND OTHER MATTERSIt was a warm, golden-cloudy,lovable afternoon. In the big living-roomat Ingleside Susan Baker sat down with a certain grim satisfactionhovering about her like an aura; it was four o'clock and Susan, who hadbeen working incessantly since six thatmorning, felt that she hadfairly earned an hour of repose and gossip. Susan just then wasperfectly happy; everything had gone almost uncannily well in thekitchen that day. Dr. Jekyll had not been Mr. Hyde and so hadnotgrated on her nerves; from where she sat she could see the pride of herheart--the bed of peonies of her own planting and culture, blooming asno other peony plot in Glen St. Mary ever did or could bloom,withpeonies crimson, peonies silvery pink, peonies white as drifts ofwinter snow.Susan had on a new black silk blouse, quite as elaborate as anythingMrs. Marshall Elliott ever wore, and a white starched apron,trimmedwith complicated crocheted lace fully five inches wide, not to mentioninsertion to match. Therefore Susan had all the comfortableconsciousness of a well-dressed woman as she opened her copy of theDailyEnterprise and prepared to read the Glen \"Notes\" which, as MissCornelia had just informed her, filled half a column of it andmentioned almost everybody at Ingleside. There was a big, blackheadline on the front page ofthe Enterprise, stating that someArchduke Ferdinand or other had been assassinated at a place bearingthe weird name of Sarajevo, but Susan tarried not over uninteresting,immaterial stuff like that; she was in quest ofsomething really vital.Oh, here it was--\"Jottings from Glen St. Mary.\" Susan settled downkeenly, reading each one over aloud to extract all possiblegratification from it.Mrs. Blythe and her visitor, Miss Cornelia--aliasMrs. MarshallElliott--were chatting together near the open door that led to theveranda, through which a cool, delicious breeze was blowing, bringingwhiffs of phantom perfume from the garden, and charming gay echoesfromthe vine-hung corner where Rilla and Miss Oliver and Walter werelaughing and talking. Wherever Rilla Blythe was, there was laughter.There was another occupant of the living-room, curled up on a couch,who mustnot be overlooked, since he was a creature of markedindividuality, and, moreover, had the distinction of being the onlyliving thing whom Susan really hated.All cats are mysterious but Dr. Jekyll-and-Mr. Hyde--\"Doc\"forshort--was trebly so. He was a cat of double personality--or else, asSusan vowed, he was possessed by the devil. To begin with, there hadbeen something uncanny about the very dawn of his existence. Fouryearspreviously Rilla Blythe had had a treasured darling of a kitten, whiteas snow, with a saucy black tip to its tail, which she called JackFrost. Susan disliked Jack Frost, though she could not or would notgive any validreason therefor.\"Take my word for it, Mrs. Dr. dear,\" she was wont to say ominously,\"that cat will come to no good.\"\"But why do you think so?\" Mrs. Blythe would ask.\"I do not think--I know,\" was all the answer Susanwould vouchsafe.With the rest of the Ingleside folk Jack Frost was a favourite; he wasso very clean and well groomed, and never allowed a spot or stain to beseen on his beautiful white suit; he had endearing ways ofpurring andsnuggling; he was scrupulously honest.And then a domestic tragedy took place at Ingleside. Jack Frost hadkittens!It would be vain to try to picture Susan's triumph. Had she not alwaysinsisted that that catwould turn out to be a delusion and a snare? Nowthey could see for themselves!Rilla kept one of the kittens, a very pretty one, with peculiarly sleekglossy fur of a dark yellow crossed by orange stripes, and large,satiny,golden ears. She called it Goldie and the name seemedappropriate enough to the little frolicsome creature which, during itskittenhood, gave no indication of the sinister nature it reallypossessed. Susan, of course,warned the family that no good could beexpected from any offspring of that diabolical Jack Frost; but Susan'sCassandra-like croakings were unheeded.The Blythes had been so accustomed to regard Jack Frost as amember ofthe male sex that they could not get out of the habit. So theycontinually used the masculine pronoun, although the result wasludicrous. Visitors used to be quite electrified when Rilla referredcasually to \"Jackand his kitten,\" or told Goldie sternly, \"Go to yourmother and get him to wash your fur.\"\"It is not decent, Mrs. Dr. dear,\" poor Susan would say bitterly. Sheherself compromised by always referring to Jack as \"it\" or \"thewhitebeast,\" and one heart at least did not ache when \"it\" was accidentallypoisoned the following winter.In a year's time \"Goldie\" became so manifestly an inadequate name forthe orange kitten that Walter, who wasjust then reading Stevenson'sstory, changed it to Dr. Jekyll-and-Mr. Hyde. In his Dr. Jekyll moodthe cat was a drowsy, affectionate, domestic, cushion-loving puss, wholiked petting and gloried in being nursed andpatted. Especially did helove to lie on his back and have his sleek, cream-coloured throatstroked gently while he purred in somnolent satisfaction. He was anotable purrer; never had there been an Ingleside cat whopurred soconstantly and so ecstatically.\"The only thing I envy a cat is its purr,\" remarked Dr. Blythe once,listening to Doc's resonant melody. \"It is the most contented sound inthe world.\"Doc was very handsome; hisevery movement was grace; his posesmagnificent. When he folded his long, dusky-ringed tail about his feetand sat him down on the veranda to gaze steadily into space for longintervals the Blythes felt that an Egyptiansphinx could not have madea more fitting Deity of the Portal.When the Mr. Hyde mood came upon him--which it invariably did beforerain, or wind--he was a wild thing with changed eyes. Thetransformation alwayscame suddenly. He would spring fiercely from areverie with a savage snarl and bite at any restraining or caressinghand. His fur seemed to grow darker and his eyes gleamed with adiabolical light. There was really anunearthly beauty about him. Ifthe change happened in the twilight all the Ingleside folk felt acertain terror of him. At such times he was a fearsome beast and onlyRilla defended him, asserting that he was \"such a niceprowly cat.\"Certainly he prowled.Dr. Jekyll loved new milk; Mr. Hyde would not touch milk and growledover his meat. Dr. Jekyll came down the stairs so silently that no onecould hear him. Mr. Hyde made his tread asheavy as a man's. Severalevenings, when Susan was alone in the house, he \"scared her stiff,\" asshe declared, by doing this. He would sit in the middle of the kitchenfloor, with his terrible eyes fixed unwinkingly uponhers for an hourat a time. This played havoc with her nerves, but poor Susan reallyheld him in too much awe to try to drive him out. Once she had dared tothrow a stick at him and he had promptly made a savage leaptowardsher. Susan rushed out of doors and never attempted to meddle with Mr.Hyde again--though she visited his misdeeds upon the innocent Dr.Jekyll, chasing him ignominiously out of her domain whenever hedaredto poke his nose in and denying him certain savoury tidbits for whichhe yearned.\"'The many friends of Miss Faith Meredith, Gerald Meredith and JamesBlythe,'\" read Susan, rolling the names like sweet morselsunder hertongue, \"'were very much pleased to welcome them home a few weeks agofrom Redmond College. James Blythe, who was graduated in Arts in 1913,had just completed his first year in medicine.'\"\"FaithMeredith has really got to be the most handsomest creature Iever saw,\" commented Miss Cornelia above her filet crochet. \"It'samazing how those children came on after Rosemary West went to themanse. People havealmost forgotten what imps of mischief they wereonce. Anne, dearie, will you ever forget the way they used to carry on?It's really surprising how well Rosemary got on with them. She's morelike a chum than astep-mother. They all love her and Una adores her.As for that little Bruce, Una just makes a perfect slave of herself tohim. Of course, he is a darling. But did you ever see any child look asmuch like an aunt as he lookslike his Aunt Ellen? He's just as darkand just as emphatic. I can't see a feature of Rosemary in him. NormanDouglas always vows at the top of his voice that the stork meant Brucefor him and Ellen and took him to themanse by mistake.\"\"Bruce adores Jem,\" said Mrs Blythe. \"When he comes over here hefollows Jem about silently like a faithful little dog, looking up athim from under his black brows. He would do anything for Jem, Iverilybelieve.\"\"Are Jem and Faith going to make a match of it?\"Mrs. Blythe smiled. It was well known that Miss Cornelia, who had beensuch a virulent man-hater at one time, had actually taken tomatch-making in herdeclining years.\"They are only good friends yet, Miss Cornelia.\"\"Very good friends, believe me,\" said Miss Cornelia emphatically. \"Ihear all about the doings of the young fry.\"\"I have no doubt that Mary Vance sees thatyou do, Mrs. MarshallElliott,\" said Susan significantly, \"but I think it is a shame to talkabout children making matches.\"\"Children! Jem is twenty-one and Faith is nineteen,\" retorted MissCornelia. \"You must not forget,Susan, that we old folks are not theonly grown-up people in the world.\"Outraged Susan, who detested any reference to her age--not from vanitybut from a haunting dread that people might come to think her too oldtowork--returned to her \"Notes.\"\"'Carl Meredith and Shirley Blythe came home last Friday evening fromQueen's Academy. We understand that Carl will be in charge of theschool at Harbour Head next year and we are surehe will be a popularand successful teacher.'\"\"He will teach the children all there is to know about bugs, anyhow,\"said Miss Cornelia. \"He is through with Queen's now and Mr. Meredithand Rosemary wanted him to goright on to Redmond in the fall, but Carlhas a very independent streak in him and means to earn part of his ownway through college. He'll be all the better for it.\"\"'Walter Blythe, who has been teaching for the past twoyears atLowbridge, has resigned,'\" read Susan. \"'He intends going to Redmondthis fall.'\"\"Is Walter quite strong enough for Redmond yet?\" queried Miss Corneliaanxiously.\"We hope that he will be by the fall,\" said Mrs.Blythe. \"An idlesummer in the open air and sunshine will do a great deal for him.\"\"Typhoid is a hard thing to get over,\" said Miss Cornelia emphatically,\"especially when one has had such a close shave as Walter had. Ithinkhe'd do well to stay out of college another year. But then he's soambitious. Are Di and Nan going too?\"\"Yes. They both wanted to teach another year but Gilbert thinks theyhad better go to Redmond this fall.\"\"I'mglad of that. They'll keep an eye on Walter and see that hedoesn't study too hard. I suppose,\" continued Miss Cornelia, with aside glance at Susan, \"that after the snub I got a few minutes ago itwill not be safe for me tosuggest that Jerry Meredith is makingsheep's eyes at Nan.\"Susan ignored this and Mrs. Blythe laughed again.\"Dear Miss Cornelia, I have my hands full, haven't I?--with all theseboys and girls sweethearting around me?If I took it seriously it wouldquite crush me. But I don't--it is too hard yet to realize that they'regrown up. When I look at those two tall sons of mine I wonder if theycan possibly be the fat, sweet, dimpled babies Ikissed and cuddled andsang to slumber the other day--only the other day, Miss Cornelia.Wasn't Jem the dearest baby in the old House of Dreams? and now he's aB.A. and accused of courting.\"\"We're all growing older,\"sighed Miss Cornelia.\"The only part of me that feels old,\" said Mrs. Blythe, \"is the ankle Ibroke when Josie Pye dared me to walk the Barry ridge-pole in the GreenGables days. I have an ache in it when the wind is east.I won't admitthat it is rheumatism, but it does ache. As for the children, they andthe Merediths are planning a gay summer before they have to go back tostudies in the fall. They are such a fun-loving little crowd. Theykeepthis house in a perpetual whirl of merriment.\"\"Is Rilla going to Queen's when Shirley goes back?\"\"It isn't decided yet. I rather fancy not. Her father thinks she is notquite strong enough--she has rather outgrown herstrength--she's reallyabsurdly tall for a girl not yet fifteen. I am not anxious to have hergo--why, it would be terrible not to have a single one of my babieshome with me next winter. Susan and I would fall to fightingwith eachother to break the monotony.\"Susan smiled at this pleasantry. The idea of her fighting with \"Mrs.Dr. dear!\"\"Does Rilla herself want to go?\" asked Miss Cornelia.\"No. The truth is, Rilla is the only one of my flockwho isn'tambitious. I really wish she had a little more ambition. She has noserious ideals at all--her sole aspiration seems to be to have a goodtime.\"\"And why should she not have it, Mrs. Dr. dear?\" cried Susan, whocouldnot bear to hear a single word against anyone of the Ingleside folk,even from one of themselves. \"A young girl should have a good time, andthat I will maintain. There will be time enough for her to think ofLatinand Greek.\"\"I should like to see a little sense of responsibility in her, Susan.And you know yourself that she is abominably vain.\"\"She has something to be vain about,\" retorted Susan. \"She is theprettiest girl in Glen St.Mary. Do you think that all thoseover-harbour MacAllisters and Crawfords and Elliotts could scare up askin like Rilla's in four generations? They could not. No, Mrs. Dr.dear, I know my place but I cannot allow you to rundown Rilla. Listento this, Mrs. Marshall Elliott.\"Susan had found a chance to get square with Miss Cornelia for her digsat the children's love affairs. She read the item with gusto.\"'Miller Douglas has decided not to goWest. He says old P.E.I. is goodenough for him and he will continue to farm for his aunt, Mrs. AlecDavis.'\"Susan looked keenly at Miss Cornelia.\"I have heard, Mrs. Marshall Elliott, that Miller is courting MaryVance.\"Thisshot pierced Miss Cornelia's armour. Her sonsy face flushed.\"I won't have Miller Douglas hanging round Mary,\" she said crisply. \"Hecomes of a low family. His father was a sort of outcast from theDouglases--they neverreally counted him in--and his mother was one ofthose terrible Dillons from the Harbour Head.\"\"I think I have heard, Mrs. Marshall Elliott, that Mary Vance's ownparents were not what you could call aristocratic.\"\"MaryVance has had a good bringing up and she is a smart, clever,capable girl,\" retorted Miss Cornelia. \"She is not going to throwherself away on Miller Douglas, believe me! She knows my opinion on thematter and Mary hasnever disobeyed me yet.\"\"Well, I do not think you need worry, Mrs. Marshall Elliott, for Mrs.Alec Davis is as much against it as you could be, and says no nephew ofhers is ever going to marry a nameless nobody likeMary Vance.\"Susan returned to her mutton, feeling that she had got the best of itin this passage of arms, and read another \"note.\"\"'We are pleased to hear that Miss Oliver has been engaged as teacherfor another year.Miss Oliver will spend her well-earned vacation ather home in Lowbridge.'\"\"I'm so glad Gertrude is going to stay,\" said Mrs. Blythe. \"We wouldmiss her horribly. And she has an excellent influence over Rilla whoworshipsher. They are chums, in spite of the difference in their ages.\"\"I thought I heard she was going to be married?\"\"I believe it was talked of but I understand it is postponed for ayear.\"\"Who is the young man?\"\"RobertGrant. He is a young lawyer in Charlottetown. I hope Gertrudewill be happy. She has had a sad life, with much bitterness in it, andshe feels things with a terrible keenness. Her first youth is gone andshe is practicallyalone in the world. This new love that has come intoher life seems such a wonderful thing to her that I think she hardlydares believe in its permanence. When her marriage had to be put offshe was quite indespair--though it certainly wasn't Mr. Grant's fault.There were complications in the settlement of his father's estate--hisfather died last winter--and he could not marry till the tangles wereunravelled. But I thinkGertrude felt it was a bad omen and that herhappiness would somehow elude her yet.\"\"It does not do, Mrs. Dr. dear, to set your affections too much on aman,\" remarked Susan solemnly.\"Mr. Grant is quite as much inlove with Gertrude as she is with him,Susan. It is not he whom she distrusts--it is fate. She has a littlemystic streak in her--I suppose some people would call hersuperstitious. She has an odd belief in dreams and wehave not beenable to laugh it out of her. I must own, too, that some of herdreams--but there, it would not do to let Gilbert hear me hinting suchheresy. What have you found of much interest, Susan?\"Susan had givenan exclamation.\"Listen to this, Mrs. Dr. dear. 'Mrs. Sophia Crawford has given up herhouse at Lowbridge and will make her home in future with her niece,Mrs. Albert Crawford.' Why that is my own cousin Sophia, Mrs.Dr. dear.We quarrelled when we were children over who should get a Sunday-schoolcard with the words 'God is Love,' wreathed in rosebuds, on it, andhave never spoken to each other since. And now she is coming toliveright across the road from us.\"\"You will have to make up the old quarrel, Susan. It will never do tobe at outs with your neighbours.\"\"Cousin Sophia began the quarrel, so she can begin the making up also,Mrs. Dr.dear,\" said Susan loftily. \"If she does I hope I am a goodenough Christian to meet her half-way. She is not a cheerful person andhas been a wet blanket all her life. The last time I saw her, her facehad a thousandwrinkles--maybe more, maybe less--from worrying andforeboding. She howled dreadful at her first husband's funeral but shemarried again in less than a year. The next note, I see, describes thespecial service in ourchurch last Sunday night and says thedecorations were very beautiful.\"\"Speaking of that reminds me that Mr. Pryor strongly disapproves offlowers in church,\" said Miss Cornelia. \"I always said there would betroublewhen that man moved here from Lowbridge. He should never havebeen put in as elder--it was a mistake and we shall live to rue it,believe me! I have heard that he has said that if the girls continue to'mess up thepulpit with weeds' that he will not go to church.\"\"The church got on very well before old Whiskers-on-the-moon came tothe Glen and it is my opinion it will get on without him after he isgone,\" said Susan.\"Who in theworld ever gave him that ridiculous nickname?\" asked Mrs.Blythe.\"Why, the Lowbridge boys have called him that ever since I canremember, Mrs. Dr. dear--I suppose because his face is so round andred, with that fringeof sandy whisker about it. It does not do foranyone to call him that in his hearing, though, and that you may tieto. But worse than his whiskers, Mrs. Dr. dear, he is a veryunreasonable man and has a great many queerideas. He is an elder nowand they say he is very religious; but I can well remember the time,Mrs. Dr. dear, twenty years ago, when he was caught pasturing his cowin the Lowbridge graveyard. Yes, indeed, I have not"}
+{"doc_id":"doc_350","qid":"","text":"The Project Gutenberg EBook of The Fortunes and Misfortunes of the FamousMoll Flanders &c., by Daniel DefoeThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  Youmay copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: The Fortunes and Misfortunes of the Famous Moll Flanders &c.Author:Daniel DefoeRelease Date: March 19, 2008 [EBook #370]Last Updated: October 18, 2016Language: English*** START OF THIS PROJECT GUTENBERG EBOOK MOLL FLANDERS ***The Fortunes & Misfortunes of theFamous Moll Flanders &c.Who was Born in Newgate, and during a Life of continu'd Variety forThreescore Years, besides her Childhood, was Twelve Year a Whore, fivetimes a Wife (whereof once to her own Brother),Twelve Year a Thief,Eight Year a Transported Felon in Virginia, at last grew Rich, liv'dHonest, and dies a Penitent.  Written from her own Memorandums . . .by Daniel DefoeTHE AUTHOR'S PREFACEThe world is so takenup of late with novels and romances, that it willbe hard for a private history to be taken for genuine, where the namesand other circumstances of the person are concealed, and on thisaccount we must be content toleave the reader to pass his own opinionupon the ensuing sheet, and take it just as he pleases.The author is here supposed to be writing her own history, and in thevery beginning of her account she gives the reasonswhy she thinks fitto conceal her true name, after which there is no occasion to say anymore about that.It is true that the original of this story is put into new words, andthe style of the famous lady we here speak of is alittle altered;particularly she is made to tell her own tale in modester words thatshe told it at first, the copy which came first to hand having beenwritten in language more like one still in Newgate than onegrownpenitent and humble, as she afterwards pretends to be.The pen employed in finishing her story, and making it what you now seeit to be, has had no little difficulty to put it into a dress fit to beseen, and to make itspeak language fit to be read.  When a womandebauched from her youth, nay, even being the offspring of debaucheryand vice, comes to give an account of all her vicious practices, andeven to descend to the particularoccasions and circumstances by whichshe ran through in threescore years, an author must be hard put to itwrap it up so clean as not to give room, especially for viciousreaders, to turn it to his disadvantage.All possiblecare, however, has been taken to give no lewd ideas, noimmodest turns in the new dressing up of this story; no, not to theworst parts of  her expressions.  To this purpose some of the viciouspart of her life, which couldnot be modestly told, is quite left out,and several other parts are very much shortened.  What is left 'tishoped will not offend the chastest reader or the modest hearer; and asthe best use is made even of the worststory, the moral 'tis hoped willkeep the reader serious, even where the story might incline him to beotherwise.  To give the history of a wicked life repented of,necessarily requires that the wicked part should be make aswicked asthe real history of it will bear, to illustrate and give a beauty tothe penitent part, which is certainly the best and brightest, ifrelated with equal spirit and life.It is suggested there cannot be the same life, thesame brightness andbeauty, in relating the penitent part as is in the criminal part.  Ifthere is any truth in that suggestion, I must be allowed to say 'tisbecause there is not the same taste and relish in the reading,andindeed it is too true that the difference lies not in the real worth ofthe subject so much as in the gust and palate of the reader.But as this work is chiefly recommended to those who know how to readit, and how tomake the good uses of it which the story all alongrecommends to them, so it is to be hoped that such readers will be morepleased with the moral than the fable, with the application than withthe relation, and with theend of the writer than with the life of theperson written of.There is in this story abundance of delightful incidents, and all ofthem usefully applied.  There is an agreeable turn artfully given themin the relating, thatnaturally instructs the reader, either one way orother.  The first part of her lewd life with the young gentleman atColchester has so many happy turns given it to expose the crime, andwarn all whose circumstances areadapted to it, of the ruinous end ofsuch things, and the foolish, thoughtless, and abhorred conduct of boththe parties, that it abundantly atones for all the lively descriptionshe gives of her folly and wickedness.Therepentance of her lover at the Bath, and how brought by the justalarm of his fit of sickness to abandon her; the just caution giventhere against even the lawful intimacies of the dearest friends, andhow unable they areto preserve the most solemn resolutions of virtuewithout divine assistance; these are parts which, to a justdiscernment, will appear to have more real beauty in them all theamorous chain of story which introduces it.Ina word, as the whole relation is carefully garbled of all the levityand looseness that was in it, so it all applied, and with the utmostcare, to virtuous and religious uses.  None can, without being guiltyof manifest injustice,cast any reproach upon it, or upon our design inpublishing it.The advocates for the stage have, in all ages, made this the greatargument to persuade people that their plays are useful, and that theyought to be allowedin the most civilised and in the most religiousgovernment; namely, that they are applied to virtuous purposes, andthat by the most lively representations, they fail not to recommendvirtue and generous principles, andto discourage and expose all sortsof vice and corruption of manners; and were it true that they did so,and that they constantly adhered to that rule, as the test of theiracting on the theatre, much might be said in theirfavour.Throughout the infinite variety of this book, this fundamental is moststrictly adhered to; there is not a wicked action in any part of it,but is first and last rendered unhappy and unfortunate; there is notasuperlative villain brought upon the stage, but either he is brought toan unhappy end, or brought to be a penitent; there is not an ill thingmentioned but it is condemned, even in the relation, nor a virtuous,just thingbut it carries its praise along with it.  What can moreexactly answer the rule laid down, to recommend even thoserepresentations of things which have so many other just objectionsleaving against them?  namely, ofexample, of bad company, obscenelanguage, and the like.Upon this foundation this book is recommended to the reader as a workfrom every part of which something may be learned, and some just andreligiousinference is drawn, by which the reader will have somethingof instruction, if he pleases to make use of it.All the exploits of this lady of fame, in her depredations uponmankind, stand as so many warnings to honestpeople to beware of them,intimating to them by what methods innocent people are drawn in,plundered and robbed, and by consequence how to avoid them.  Herrobbing a little innocent child, dressed fine by the vanityof themother, to go to the dancing-school, is a good memento to such peoplehereafter, as is likewise her picking the gold watch from the younglady's side in the Park.Her getting a parcel from a hare-brained wench atthe coaches in St.John Street; her booty made at the fire, and again at Harwich, all giveus excellent warnings in such cases to be more present to ourselves insudden surprises of every sort.Her application to a sober lifeand industrious management at last inVirginia, with her transported spouse, is a story fruitful ofinstruction to all the unfortunate creatures who are obliged to seektheir re-establishment abroad, whether by the misery oftransportationor other disaster; letting them know that diligence and applicationhave their due encouragement, even in the remotest parts of the world,and that no case can be so low, so despicable, or so empty ofprospect,but that an unwearied industry will go a great way to deliver us fromit, will in time raise the meanest creature to appear again in the world,and give him a new case for his life.There are a few of the seriousinferences which we are led by the handto in this book, and these are fully sufficient to justify any man inrecommending it to the world, and much more to justify the publicationof it.There are two of the most beautifulparts still behind, which thisstory gives some idea of, and lets us into the parts of them, but theyare either of them too long to be brought into the same volume, andindeed are, as I may call them, whole volumes ofthemselves, viz.: 1.The life of her governess, as she calls her, who had run through, itseems, in a few years, all the eminent degrees of a gentlewoman, awhore, and a bawd; a midwife and a midwife-keeper, as theyare called;a pawnbroker, a childtaker, a receiver of thieves, and of thieves'purchase, that is to say, of stolen goods; and in a word, herself athief, a breeder up of thieves and the like, and yet at last a penitent.Thesecond is the life of her transported husband, a highwayman, who itseems, lived a twelve years' life of successful villainy upon the road,and even at last came off so well as to be a volunteer transport, not aconvict; andin whose life there is an incredible variety.But, as I have said, these are things too long to bring in here, soneither can I make a promise of the coming out by themselves.We cannot say, indeed, that this history iscarried on quite to the endof the life of this famous Moll Flanders, as she calls herself, fornobody can write their own life to the full end of it, unless they canwrite it after they are dead.  But her husband's life, beingwritten bya third hand, gives a full account of them both, how long they livedtogether in that country, and how they both came to England again,after about eight years, in which time they were grown very rich,andwhere she lived, it seems, to be very old, but was not so extraordinarya penitent as she was at first; it seems only that indeed she alwaysspoke with abhorrence of her former life, and of every part of it.In her lastscene, at Maryland and Virginia, many pleasant thingshappened, which makes that part of her life very agreeable, but theyare not told with the same elegancy as those accounted for by herself;so it is still to the moreadvantage that we break off here.MOLL FLANDERSMy true name is so well known in the records or registers at Newgate,and in the Old Bailey, and there are some things of such consequencestill depending there,relating to my particular conduct, that it isnot be expected I should set my name or the account of my family tothis work; perhaps, after my death, it may be better known; at presentit would not be proper, nor notthough a general pardon should beissued, even without exceptions and reserve of persons or crimes.It is enough to tell you, that as some of my worst comrades, who areout of the way of doing me harm (having goneout of the world by thesteps and the string, as I often expected to go), knew me by the nameof Moll Flanders, so you may give me leave to speak of myself underthat name till I dare own who I have been, as well aswho I am.I have been told that in one of neighbour nations, whether it be inFrance or where else I know not, they have an order from the king, thatwhen any criminal is condemned, either to die, or to the galleys, ortobe transported, if they leave any children, as such are generallyunprovided for, by the poverty or forfeiture of their parents, so theyare immediately taken into the care of the Government, and put into ahospital calledthe House of Orphans, where they are bred up, clothed,fed, taught, and when fit to go out, are placed out to trades or toservices, so as to be well able to provide for themselves by an honest,industrious behaviour.Hadthis been the custom in our country, I had not been left a poordesolate girl without friends, without clothes, without help or helperin the world, as was my fate; and by which I was not only exposed tovery greatdistresses, even before I was capable either ofunderstanding my case or how to amend it, but brought into a course oflife which was not only scandalous in itself, but which in its ordinarycourse tended to the swiftdestruction both of soul and body.But the case was otherwise here.  My mother was convicted of felony fora certain petty theft scarce worth naming, viz.  having an opportunityof borrowing three pieces of fine hollandof a certain draper inCheapside.  The circumstances are too long to repeat, and I have heardthem related so many ways, that I can scarce be certain which is theright account.However it was, this they all agree in, thatmy mother pleaded herbelly, and being found quick with child, she was respited for aboutseven months; in which time having brought me into the world, and beingabout again, she was called down, as they term it, toher formerjudgment, but obtained the favour of being transported to theplantations, and left me about half a year old; and in bad hands, youmay be sure.This is too near the first hours of my life for me to relateanythingof myself but by hearsay; it is enough to mention, that as I was bornin such an unhappy place, I had no parish to have recourse to for mynourishment in my infancy; nor can I give the least account how Iwaskept alive, other than that, as I have been told, some relation of mymother's took me away for a while as a nurse, but at whose expense, orby whose direction, I know nothing at all of it.The first account that I canrecollect, or could ever learn of myself,was that I had wandered among a crew of those people they call gypsies,or Egyptians; but I believe it was but a very little while that I hadbeen among them, for I had not had myskin discoloured or blackened, asthey do very young to all the children they carry about with them; norcan I tell how I came among them, or how I got from them.It was at Colchester, in Essex, that those people leftme; and I have anotion in my head that I left them there (that is, that I hid myselfand would not go any farther with them), but I am not able to beparticular in that account; only this I remember, that being taken upbysome of the parish officers of Colchester, I gave an account that Icame into the town with the gypsies, but that I would not go anyfarther with them, and that so they had left me, but whither they weregone that I knewnot, nor could they expect it of me; for though theysend round the country to inquire after them, it seems they could notbe found.I was now in a way to be provided for; for though I was not a parishcharge upon this orthat part of the town by law, yet as my case cameto be known, and that I was too young to do any work, being not abovethree years old, compassion moved the magistrates of the town to ordersome care to be takenof me, and I became one of their own as much asif I had been born in the place.In the provision they made for me, it was my good hap to be put tonurse, as they call it, to a woman who was indeed poor but had beeninbetter circumstances, and who got a little livelihood by taking such asI was supposed to be, and keeping them with all necessaries, till theywere at a certain age, in which it might be supposed they might go toserviceor get their own bread.This woman had also had a little school, which she kept to teachchildren to read and to work; and having, as I have said, lived beforethat in good fashion, she bred up the children she took with agreatdeal of art, as well as with a great deal of care.But that which was worth all the rest, she bred them up veryreligiously, being herself a very sober, pious woman, very house-wifelyand clean, and very mannerly, andwith good behaviour.  So that in aword, expecting a plain diet, coarse lodging, and mean clothes, we werebrought up as mannerly and as genteelly as if we had been at thedancing-school.I was continued here till I waseight years old, when I was terrifiedwith news that the magistrates (as I think they called them) hadordered that I should go to service.  I was able to do but very littleservice wherever I was to go, except it was to runof errands and be adrudge to some cookmaid, and this they told me of often, which put meinto a great fright; for I had a thorough aversion to going to service,as they called it (that is, to be a servant), though I was soyoung;and I told my nurse, as we called her, that I believed I could get myliving without going to service, if she pleased to let me; for she hadtaught me to work with my needle, and spin worsted, which is thechieftrade of that city, and I told her that if she would keep me, I wouldwork for her, and I would work very hard.I talked to her almost every day of working hard; and, in short, I didnothing but work and cry all day,which grieved the good, kind woman somuch, that at last she began to be concerned for me, for she loved mevery well.One day after this, as she came into the room where all we poorchildren were at work, she satdown just over against me, not in herusual place as mistress, but as if she set herself on purpose toobserve me and see me work.  I was doing something she had set me to;as I remember, it was marking some shirtswhich she had taken to make,and after a while she began to talk to me.  'Thou foolish child,' saysshe, 'thou art always crying (for I was crying then); 'prithee, whatdost cry for?' 'Because they will take me away,' says I,'and put me toservice, and I can't work housework.'  'Well, child,' says she, 'butthough you can't work housework, as you call it, you will learn it intime, and they won't put you to hard things at first.'  'Yes, theywill,'says I, 'and if I can't do it they will beat me, and the maidswill beat me to make me do great work, and I am but a little girl and Ican't do it'; and then I cried again, till I could not speak any moreto her.This moved mygood motherly nurse, so that she from that time resolvedI should not go to service yet; so she bid me not cry, and she wouldspeak to Mr. Mayor, and I should not go to service till I was bigger.Well, this did not satisfyme, for to think of going to service wassuch a frightful thing to me, that if she had assured me I should nothave gone till I was twenty years old, it would have been the same tome; I should have cried, I believe, all thetime, with the veryapprehension of its being to be so at last.When she saw that I was not pacified yet, she began to be angry withme.  'And what would you have?' says she; 'don't I tell you that youshall not go toservice till your are bigger?' 'Ay,' said I, 'but thenI must go at last.'  'Why, what?' said she; 'is the girl mad?  Whatwould you be--a gentlewoman?' 'Yes,' says I, and cried heartily till Iroared out again.This set the oldgentlewoman a-laughing at me, as you may be sure itwould.  'Well, madam, forsooth,' says she, gibing at me, 'you would bea gentlewoman; and pray how will you come to be a gentlewoman?  What!will you do it byyour fingers' end?''Yes,' says I again, very innocently.'Why, what can you earn?' says she; 'what can you get at your work?''Threepence,' said I, 'when I spin, and fourpence when I work plainwork.''Alas! poorgentlewoman,' said she again, laughing, 'what will that dofor thee?''It will keep me,' says I, 'if you will let me live with you.'  Andthis I said in such a poor petitioning tone, that it made the poorwoman's heart yearn tome, as she told me afterwards.'But,' says she, 'that will not keep you and buy you clothes too; andwho must buy the little gentlewoman clothes?' says she, and smiled allthe while at me.'I will work harder, then,' says I,'and you shall have it all.''Poor child! it won't keep you,' says she; 'it will hardly keep you invictuals.''Then I will have no victuals,' says I, again very innocently; 'let mebut live with you.''Why, can you live withoutvictuals?' says she.'Yes,' again says I, very much like a child, you may be sure, and stillI cried heartily.I had no policy in all this; you may easily see it was all nature; butit was joined with so much innocence and somuch passion that, inshort, it set the good motherly creature a-weeping too, and she criedat last as fast as I did, and then took me and led me out of theteaching-room.  'Come,' says she, 'you shan't go to service; youshalllive with me'; and this pacified me for the present.Some time after this, she going to wait on the Mayor, and talking ofsuch things as belonged to her business, at last my story came up, andmy good nurse told Mr.Mayor the whole tale.  He was so pleased withit, that he would call his lady and his two daughters to hear it, andit made mirth enough among them, you may be sure.However, not a week had passed over, but on asudden comes Mrs.Mayoress and her two daughters to the house to see my old nurse, and tosee her school and the children.  When they had looked about them alittle, 'Well, Mrs. ----,' says the Mayoress to my nurse,'and praywhich is the little lass that intends to be a gentlewoman?'  I heardher, and I was terribly frighted at first, though I did not know whyneither; but Mrs. Mayoress comes up to me.  'Well, miss,' says she,'and what"}
+{"doc_id":"doc_351","qid":"","text":"<html><head><title>12 Monkeys Script at IMSDb.</title><meta name=\"description\" content=\"12 Monkeys script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"12 Monkeys script, 12Monkeys movie script, 12 Monkeys film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><meta http-equiv=\"content-type\"content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX, FOLLOW\"><metaname=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><link href=\"/style.css\"rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre><html><head><script><b><!--</b>if (window!= top)top.location.href=location.href<b>// --></b></script><title>TwelveMonkeys</title></head><pre><b> TWELVE MONKEYS</b><b>     </b>           An original screenplay by David Peoples<b>        &</b> Janet Peoples Inspired by<b>     </b> LA JETEE, a Chris Marker FilmProduction Draft June 27, 1994<b> FADE IN:</b><b> INT.  CONCOURSE/AIRPORT TERMINAL - BAY</b> CLOSE ON A FACE.  A nine year old boy, YOUNG COLE, his eyes wide with wonder. watching somethingintently.  We HEAR the sounds of the P.A. SYSTEM droning Flight Information mingled with the sounds of urgent SHOUTS, running FEET, EXCLAMATIONS. YOUNG COLE'S POV:  twenty yards away, a BLONDE MAN issprawled on the floor, blood oozing from his gaudy Hawaiian shirt. A BRUNETTE in a tight dress, her face obscured from YOUNG COLE'S view, rushes to the injured man, kneels beside him, ministering to his wound.ANGLE ON YOUNG COLE, flanked by his PARENTS, their faces out of view, as they steer him away. FATHER'S VOICE (o.s.) Come on, Son --this is no place for us. YOUNG COLE resists momentarily, mesmerized by thedrama. YOUNG COLE'S POV:  intermittently visible through a confusion of FIGURES rushing through the foreground, the BLONDE MAN reaching up and touching the cheek of the kneeling BRUNETTE in a gesture ofenormous tenderness, a gesture of farewell, while the P.A. SYSTEM continues its monotonous monotone...<b> P.A. SYSTEM</b> Flight 784 for San Francisco is now ready for boarding at inmate number 66578,Greely.<b> INT.  PRISON DORMITORY/FUTURE - ETERNAL NIGHT</b><b> PRISON P.A. SYSTEM</b> --number 5429, Garcia -- number 87645, Cole... COLE, late thirties, dark hair, comes awake in a bunk cage, oneof many stacked four high along both sides of a long dim corridor.  He blinks in the near dark, shaken, disoriented. Then, as he \"recovers\" from his very vivid dream, WE GET OUR<b> FIRST LOOK AT HISENVIRONMENT...A WINDOWLESS UNDERGROUND WORLD OF</b><b> ETERNAL NIGHT SOMETIME IN THE FUTURE...AN ALMOST COLORLESS</b><b> \"REALITY\" OF BLURRED EDGES AND ECHOEY SOUNDS, MUCHMORE</b><b> \"DREAMLIKE\" THAN HIS DREAM.</b> Flashlights glare. In the half-light, COLE sees spooky figures, GUARDS, moving among the locked bunk/cages. COLE turns and whispers to the occupant of the nextcage, JOSE...<b> COLE</b> Ssssst!  Jose, what's going on? JOSE's face is almost lost in shadow.  What there is of it is youthful.  He's just a scared Puerto Rican kid!<b> JOSE</b> \"Volunteers\" again. JOSEimmediately rolls over and feigns sleep as SCARFACE, a menacing guard with a jagged scar running down his cheek, looms close to COLE's cage and unlocks it.<b> SCARFACE</b> \"Volunteer duty\".    The PRISONERSin the other cages watch silently with narrowed eyes.<b> COLE</b> I didn't volunteer.<b> SCARFACE</b> You causing trouble again?<b> COLE</b> (controls his temper) No trouble.<b> INT.  EQUIPMENT ROOM -ETERNAL NIGHT</b> COLE's alone, struggling to get into what looks like a space suit in a room where suits hang like ghosts with blank eyes.<b> TITLES BEGIN SUPERED OVER THE SCENE</b> COLE has the torso ofthe suit on now and is trying to close it. OFFSCREEN VOICE (o.s.) All openings must be closed. COLE looks for the source of the voice, a tiny grate in the wall. OFFSCREEN VOICE (o.s.) If the integrity of the suit iscompromised in any way, if the fabric is torn or a zipper not closed, readmittance will be denied.<b> INT.  SEALED CHAMBER - MINUTES LATER (ETERNAL NIGHT)</b> COLE, wearing the \"space suit\" and a helmet witha plastic visor, steps into a tiny chamber, a kind of air lock.  The heavy door clangs shut behind him.  He's alone.  COLE'S breath comes quicker now as he sucks oxygen from the air tanks on his back. On the oppositewall is another door with a huge wheel lock. COLE turns the heavy wheel, opens the door, steps through It<b> INT.  ELEVATOR - SECONDS LATER (ETERNAL NIGHT)</b> COLE'S in an ascending elevator that groansand creaks.  He looks down at a crudely drawn map he holds in his gloved hand. The map shows a series of tunnels and ladders.<b> INT.  SEWER PIPE - MINUTES LATER (NIGHT)</b> COLE pans a flashlight, probingthe filthy sewer he's wading through RATS flee the blade of light, scurry across islands of rusting junk. The flashlight beam settles on a ladder mounted in the wall. Reaching the rusted ladder, COLE starts to climbawkwardly.<b> EXT.  CITY STREET/FUTURE - MOMENTS LATER (NIGHT)</b> A SCRAPING NOISE as a heavy man-hole cover is pushed up and moved aside.  COLE'S helmeted head emerges from below. COLE'S POVTHROUGH HIS PLASTIC-VISORED HELMET:  a city in moonlight!  A surreal image of abandoned buildings.  No people anywhere.  The only sounds are the WIND and COLE'S BREATHING.<b> EXT.  ANOTHER CITYSTREET - MINUTES LATER (NIGHT)</b> COLE'S light reveals abandoned vine-covered automobiles.<b> </b> Moving to the nearest car, COLE searches in the vines for something.  Finds it.  An insect. COLE takes thebug in his gloved hand.  As he clumsily inserts it into a collection tube, something makes him turn. There's something across the street in the dark.  Something alive. COLE points his flashlight and reveals...aBEAR!  Startled by the light, the animal blinks, then stands on its rear legs and ROARS. ANGLE ON COLE, staring wide-eyed.<b> </b> Then, the BEAR sinks down onto all fours and, trying to avoid the flashlight, it padsquickly down the street.<b> INT.  SUBTERRANEAN PARKING GARAGE - NIGHT</b> Using the flashlight to see, COLE reaches down to the cracked floor and gets another specimen.  DOGSHIT! The only sound is COLE'Slabored BREATHING. Then, a different SOUND.  GRRRR!  A dog.  More GRRRRS.  More dogs.  Then, a YIP.  Then, VICIOUS GROWLS.  It's a DOGFIGHT!<b> EXT.  STREET - NIGHT (FIRST LIGHT)</b> A giant OWL,perched on an overhead traffic light, raises its wings and lifts off...rising higher and higher into the brightening sky. Below, on the street, COLE trudges along, passing deserted buildings, windows broken, rusted signsdangling.<b> INT.  DEPARTMENT STORE - NIGHT (FIRST LIGHT)</b> COLE'S light reveals a spider web just inside the store.  A large SPIDER tries to hide from the light. COLE reaches carefully into the web and plucksthe spider and puts it into one of his specimen tubes. Then, he shines his light all around the once elegant store.  There's nothing but aisle after aisle of moldering consumer goods.<b> EXT.  DEPARTMENT STORE -DAWN</b> As COLE comes out of the store, the first rays of the sun hit the building.  COLE stops, squints into the light through his visor. COLE'S POV:  spray-painted on the wall a long time ago is a stenciled logo oftwelve monkeys holding hands in a circle.  Over it is written, \"WE DID IT!\" COLE looks up. COLE'S POV:  high up on a building across the street, a LION patrols a ledge, pauses, looks out majestically over his world.<b>TTTLES END</b><b> INT.  FIRST UNDERGROUND DECONTAMINATION CHAMBER - ETERNAL NIGHT</b> ROARING WATER, powerful torrents gushing from nozzles in the wall, pummel the still-suited COLE.<b>INT.  SECOND UNDERGROUND DECONTAMINATION CHAMBER - ETERNAL NIGHT</b> Stark naked and shivering, COLE is being scrubbed with brushes on long poles (like the ones used to wash cars) wielded by twoHULKING FIGURES in bulky decontamination suits, their personas lost in their windowed masks.  It's a grim scene in a grim cement room with damp, dripping walls.  From an unseen source comes an AMPLIFIED VOICE,AMPLIFIED VOICE (o.s.) Raise your arms above your head. COLE lifts his arms and the FIGURES start scrubbing his armpits.<b> INT.  TINY CHAMBER - SHORTLY (ETERNAL NIGHT)</b> Still naked, COLE is seated on astool while a MASKED TECHNICIAN in a less elaborate, less bulky decontamination outfit draws blood from COLE'S arm with an old-fashioned hypodermic needle. COLE glances toward a single, nearly opaque \"window\"of thick plastic in the rusty iron wall.  VAGUE FIGURES seem to lurk behind the translucent aperture, studying him. The TECHNICIAN slips the blood sample through a slot in the wall.<b> INT.  ENGINEERINGOFFICE/FUTURE WORLD - ETERNAL NIGHT</b> Ushered in by two guards, TINY and SCARFACE, COLE looks around. COLE'S POV:  wails hidden by old headlines, articles, maps, charts... a blackboard covered withelaborate, sophisticated formulae...surfaces heaped with cracked monitors, gerry-rigged computers held together with string, lasers lost in tangles of cable, ancient tube amplifiers, a dilapidated cardboardreconstruction of a city, stacks of moldering books and tattered computer printouts...and, seated at a long conference table, staring at COLE, six SCIENTISTS:  an ASTROPHYSICIST, ENGINEER, BOTANIST,MICROBIOLOGIST, ZOOLOGIST, and a GEOLOGIST.  They represent a \"modern\" science where brilliant new ideas interface with crude, outdated, patched-together technologies.<b> TINY</b> James Cole.  Clearedfrom quarantine.<b> MICROBIOLOGIST</b> Thank you.  You two wait outside.<b> SCARFACE</b> He's got a history, Doctor.  Violence. COLE'S eyes return to the walls. Headlines:  \"CLOCK TICKING!  NO CUREYET!\"<b> SCARFACE</b> Anti-social six -- doing 25 to life.<b> ENGINEER</b> I don't think he's going to hurt us.  You're not going to hurt us, are you Mr. Cole? COLE'S head turns quickly to the ENGINEER.<b>COLE</b> No, sir. The GUARDS exchange a look, shrug, exit, closing the door.<b> MICROBIOLOGIST</b> Why don't you sit down, Mr. Cole. COLE goes to the empty chair at the conference table, sits down.<b>ASTROPHYSICIST</b> We want you to tell us about last night.<b> COLE</b> I went to the surface and I collected specimens like I was told. The SCIENTISTS don't say anything.  They just study him carefully.<b>COLE</b> (worried) I mashed the spider, didn't I?<b> MICROBIOLOGIST</b> We'll get to the spider later, Mr. Cole.  Right now, we want to know everything that you saw.<b> INT.  ENGINEERING OFFICE - AN HOURLATER (ETERNAL NIGHT)</b> COLE, starting to look very tired now, stands at the blackboard sketching a detailed map of exactly where he was last night.<b> ASTPOPHYSICIST</b> Where you collected sample #4,what street was that?<b> COLE</b> Uh...<b> BOTANIST</b> It's important to observe everything.<b> COLE</b> I think it was...I'm sure it was 2nd Street. As the SCIENTISTS start to whisper animatedly amongthemselves, COLE'S eyes drift across the newspaper clippings taped to the wall.  One headline screams, \"VIRUS MUTATING!\"  Another features a photo of an OLD MAN (DR. MASON, who we'll see again later on) and thewords, SCIENTIST SAYS, \"IT'S TOO LATE FOR CURE\". ASTROPHYSICIST'S VOICE (o.s.) Close your eyes, Cole. Startled, COLE closes his eyes obediently. BLACKNESS.  Like COLE, WE SEE NOTHING.  But we HEAR theirVOICES. ENGINEER'S VOICE (o.s.) Tell us in detail what you've seen in this room. COLE'S VOICE (o.s.) Uh, in this room?  Uh... MICROBIOLOGIST'S VOICE (o.s.) How many of us are there? COLE'S VOICE (o.s.)Six...seven, if you count me. ASTROPHYSICIST'S VOICE (o.s.) Tell us about the pictures on the wall... COLE'S VOICE (o.s.) Uh, you mean the newspapers? A MONTAGE OF OVERLAPPING VOICES (o.s.) Tell us about the"}
+{"doc_id":"doc_352","qid":"","text":"<html><head><title>12 and Holding Script at IMSDb.</title><meta name=\"description\" content=\"12 and Holding script at the Internet Movie Script Database.\"><meta name=\"keywords\" content=\"12 and Holdingscript, 12 and Holding movie script, 12 and Holding film script\"><meta name=\"viewport\" content=\"width=device-width, initial-scale=1\" /><meta name=\"HandheldFriendly\" content=\"true\"><metahttp-equiv=\"content-type\" content=\"text/html; charset=iso-8859-1\"><meta http-equiv=\"Content-Language\" content=\"EN\"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT=\"INDEX,FOLLOW\"><meta name=Subject CONTENT=\"Movie scripts, Film scripts\"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT=\"2 days\"><linkhref=\"/style.css\" rel=\"stylesheet\" type=\"text/css\"><script type=\"text/javascript\">  var _gaq = _gaq || [];  _gaq.push(['_setAccount', 'UA-3785444-3']);  _gaq.push(['_trackPageview']);  (function() {    var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';    var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);  })();</script></head><body topmargin=\"0\" bottommargin=\"0\" id=\"mainbody\"><table width=\"99%\" border=\"0\" cellspacing=\"0\"cellpadding=\"0\" class=\"body\">  <tr>     <td valign=\"bottom\" bgcolor=\"#FF0000\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_top.gif\"border=\"0\"></a></td>    <td bgcolor=\"#FF0000\"> <center>     <font color=\"#FFFFFF\"><h1>The Internet Movie Script Database (IMSDb)</h1></font></center>  <tr>     <td background=\"/images/reel.gif\"height=\"13\" colspan=\"2\"><a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_middle.gif\" border=\"0\"></a></td>  <tr>     <td width=\"170\" valign=\"top\"class=\"smalltxt\"> <a href=\"https://www.imsdb.com\" title=\"The Internet Movie Script Database\"><img src=\"/images/logo_bottom.gif\" width=\"170\" border=\"0\"></a>       <br> <center><span class=\"smalltxt\">Theweb's largest <br>movie script resource!</span></center> </td>    <td>     <script type=\"text/javascript\"><!-- e9 = new Object();     e9.size = \"728x90\";     //--></script>    <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script>   </td>  </tr></table><br><table width=\"99%\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\" class=\"body\">  <tr>        <td width=\"180\"valign=\"top\"><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>           <td colspan=\"2\" class=heading>Search IMSDb<tr><form method=\"post\" action=\"/search.php\">            <tdwidth=\"180\"> <div align=\"center\">                <input type=\"text\" name=\"search_query\" maxlength=\"255\" size=\"15\">                <input type=\"submit\" value=\"Go!\"name=\"submit\">              </div></td></form></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=9 class=heading>Alphabetical<tralign=\"center\">        <td><a href=\"/alphabetical/0\">#</a>         <td><a href=\"/alphabetical/A\">A</a>        <td><a href=\"/alphabetical/B\">B</a>        <td><a href=\"/alphabetical/C\">C</a>        <td><ahref=\"/alphabetical/D\">D</a>        <td><a href=\"/alphabetical/E\">E</a>        <td><a href=\"/alphabetical/F\">F</a>        <td><a href=\"/alphabetical/G\">G</a>        <td><a href=\"/alphabetical/H\">H</a><tralign=\"center\">         <td><a href=\"/alphabetical/I\">I</a>        <td><a href=\"/alphabetical/J\">J</a>        <td><a href=\"/alphabetical/K\">K</a>        <td><a href=\"/alphabetical/L\">L</a>        <td><ahref=\"/alphabetical/M\">M</a>        <td><a href=\"/alphabetical/N\">N</a>        <td><a href=\"/alphabetical/O\">O</a>        <td><a href=\"/alphabetical/P\">P</a>        <td><a href=\"/alphabetical/Q\">Q</a><tralign=\"center\">         <td><a href=\"/alphabetical/R\">R</a>        <td><a href=\"/alphabetical/S\">S</a>        <td><a href=\"/alphabetical/T\">T</a>        <td><a href=\"/alphabetical/U\">U</a>        <td><ahref=\"/alphabetical/V\">V</a>        <td><a href=\"/alphabetical/W\">W</a>        <td><a href=\"/alphabetical/X\">X</a>        <td><a href=\"/alphabetical/Y\">Y</a>        <td><ahref=\"/alphabetical/Z\">Z</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Genre<tr> <td><a href=\"/genre/Action\">Action</a><td><a href=\"/genre/Adventure\">Adventure</a> <td><a href=\"/genre/Animation\">Animation</a><tr> <td><a href=\"/genre/Comedy\">Comedy</a> <td><a href=\"/genre/Crime\">Crime</a> <td><ahref=\"/genre/Drama\">Drama</a><tr> <td><a href=\"/genre/Family\">Family</a> <td><a href=\"/genre/Fantasy\">Fantasy</a> <td><a href=\"/genre/Film-Noir\">Film-Noir</a><tr> <td><ahref=\"/genre/Horror\">Horror</a> <td><a href=\"/genre/Musical\">Musical</a> <td><a href=\"/genre/Mystery\">Mystery</a><tr> <td><a href=\"/genre/Romance\">Romance</a> <td><ahref=\"/genre/Sci-Fi\">Sci-Fi</a> <td><a href=\"/genre/Short\">Short</a><tr> <td><a href=\"/genre/Thriller\">Thriller</a> <td><a href=\"/genre/War\">War</a> <td><ahref=\"/genre/Western\">Western</a></table><br><table class=body border=0 cellspacing=0 cellpadding=2 width=\"100%\"><tr>  <td colspan=\"2\" class=heading>Sponsor<tr> <td width=\"300\"bgcolor=\"#FFFFFF\"> <script type=\"text/javascript\"><!-- e9 = new Object();    e9.size = \"300x250\"; //--></script> <script type=\"text/javascript\"src=\"//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js\"></script> </td></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>TV Transcripts<tr><td><a href=\"/TV/Futurama.html\">Futurama</a><tr> <td><a href=\"/TV/Seinfeld.html\">Seinfeld</a><tr> <td><a href=\"/TV/South Park.html\">South Park</a><tr> <td><a href=\"/TV/StargateSG1.html\">Stargate SG-1</a><tr> <td><a href=\"/TV/Lost.html\">Lost</a><tr> <td><a href=\"/TV/The 4400.html\">The 4400</a></table><br><table width=\"100%\" class=\"body\"><tr><td colspan=3class=heading>International<tr> <td><a href=\"/language/French\">French scripts</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>MovieSoftware<tr>    <td><a href=\"/out/dvd-ripper\"><img src=\"/images/a/dvd-ripper.jpg\" alt=\"DVD ripper software offer\"></a><tr> <td><a href=\"/software/rip-from-dvd\">Rip from DVD</a><tr> <td><ahref=\"/software/rip-blu-ray\">Rip Blu-Ray</a></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td colspan=3 class=heading>Latest Comments<tr><td><a href=\"/MovieScripts/Star Wars: Revenge of the Sith Script.html\">Star Wars: Revenge of the Sith<td>10/10<tr><td><a href=\"/Movie Scripts/Star Wars: The Force Awakens Script.html\">Star Wars: The ForceAwakens<td>10/10<tr><td><a href=\"/Movie Scripts/Batman Begins Script.html\">Batman Begins<td>9/10<tr><td><a href=\"/Movie Scripts/Collateral Script.html\">Collateral<td>10/10<tr><td><a href=\"/MovieScripts/Jackie Brown Script.html\">Jackie Brown<td>8/10<tr></table><br><table width=\"100%\" border=0 cellpadding=2 cellspacing=0 class=body><tr><td class=heading>Movie Chat<tr> <tdalign=\"center\"><SCRIPT LANGUAGE=\"Javascript\" TYPE=\"text/javascript\" SRC=\"https://www.yellbox.com/ybscript_enhanced.js\"></SCRIPT><iframe class=\"yellbox\" frameborder=0 name=\"ybframe\" height=170marginwidth=0 marginheight=0 src=\"https://www.yellbox.com/yellbox.php?name=imsdb\"></iframe><form class=\"yellbox\" action=\"https://www.yellbox.com/addmessage.php\" method=\"post\" target=\"ybframe\"name=\"yellform\">  <input type=\"hidden\" name=\"sub_username\" value=\"imsdb\"> <input class=\"yellbox\" name=\"sub_name\" value=\"Name\" size=21 maxlength=10 onFocus=\"if(this.value == 'Name')this.value = '';return;\"><br> <textarea class=\"yellbox\" cols=15 rows=4 name=\"sub_message\" wrap onFocus=\"if(this.value == 'Message')this.value = ''; return;\">Message</textarea> <table><tr><td> <buttononClick=\"javascript:makeNewWindow(); return false;\"><img src=\"https://www.yellbox.com/images/smiley.gif\" width=16 height=16></button> <td><button type=\"submit\" value=\"Post\" onClick=\"returnclearMessageBox();\">Yell !</button></table></form> </table><div align=\"center\"><br><br>      <a href=\"https://www.imsdb.com/all%20scripts\">ALL SCRIPTS</a><br><br></div><td width=\"10\"></td><tdvalign=\"top\"><br> <table width=\"100%\"><tr><td class=\"scrtext\"><pre>           <b>          </b><b>          </b><b>          </b><b>                             12 ANDHOLDING</b><b>          </b><b>          </b>                               Written by<b>          </b>                           Anthony SCipriano<b>          </b><b>          </b><b>          </b><b>          </b><b>                                                          04.06.04</b><b>          </b><b>          </b><b>          </b><b>          FADEIN:</b><b>          </b><b>          EXT. NEIGHBORHOOD STREET - MORNING</b><b>          </b>          TWIN BOYS, RUDY AND JACOB CARGES (12), ride their bikes          through a suburbanneighborhood.<b>          </b>          Rudy, the more athletic of the two, rides at a breakneck          pace. Jacob rides slowly due to a HOCKEY MASK that he wears          over his face. It's making it difficult for him tosee. The          boys turn down a DIRT PATH and ride deep into some WOODS.<b>          </b><b>          INT. WOODS - CONTINUOUS</b><b>          </b>          Rudy and Jacob ride to the edge of a CLEARING andstop.          Across from the clearing is a large OAK TREE, which has a          TREE HOUSE perched high up in it's branches. The boys          cautiously look around andwhisper.<b>          </b><b>                               JACOB</b>                     You see `em?<b>          </b><b>                               RUDY</b>                     No. But that doesn't mean they're                     nothere.<b>          </b>          After a beat, Rudy gets off his bike and starts walking          towards the tree house.   Jacob stays behind, eyeing their          safety.<b>          </b>                               RUDY (CONT'D)(cont'd)                     Jacob, come on. It's cool.<b>          </b>          Suddenly, a ROCK comes careening from off screen.   It hits          Jacob in the head and knocks him to the ground.<b>          </b>          Rudydarts for the oak tree as a hail storm of rock and          debris come flying at him.<b>          </b>          As Jacob rises, a stream of blood pours down the front of his          mask. He quickly runs for thetree.<b>          </b>          TWO BOYS, JEFF AND KENNY (14), trailer park, punks come          running out of the woods, rocks in hand.<b>          </b>          Rudy and Jacob climb the tree, using makeshift RUNGSthat are          nailed into the trunk. In the floor of the tree house is a          DOOR. Rudy removes a KEY from a chain around his neck and          unlocks it. He climbs inside and pulls Jacob in afterhim.<b>          </b><b>                                                                    2.</b><b>          </b><b>          </b><b>          </b><b>          INT. TREE HOUSE - CONTINUOUS</b><b>          </b>          Jacob looksback and sees Jeff and Kenny, running over. Rudy          crosses to the door with a BUCKET of liquid.<b>          </b><b>                              JACOB</b>                    What the hell isthat?<b>          </b><b>                              RUDY</b>                    Piss.<b>          </b>          Rudy dumps the piss onto Jeff and Kenny.<b>          </b><b>          EXT. TREE HOUSE - SAMETIME</b><b>          </b>          Now drenched with piss, Jeff and Kenny jump from the tree,          screaming. They try to shake the urine off.<b>          </b>          Kenny spits the taste out of his mouth and angrilycalls up          to the boys.<b>          </b><b>                              KENNY</b>                    You and your deformed brother are                    dead!<b>          </b><b>          INT. TREE HOUSE - SAMETIME</b><b>          </b>          Jacob rips the hockey mask off. (A large STRAWBERRY          BIRTHMARK covers the right side of his face.) He'sinsulted.<b>          </b><b>                              RUDY</b>                        (calling to Kenny)                    Anytime you're ready, dickhead.<b>          </b><b>          EXT. TREE HOUSE - SAMETIME</b><b>          </b>          Jeff and Kenny walk off.<b>          </b><b>                              KENNY</b>                    They're fucking dead!<b>          </b>          Jeff runs off screen and throwsup.<b>          </b><b>          INT. FISHER HOME - KITCHEN - MORNING</b><b>          </b>          LEONARD FISHER (12), severely obese, sits at the dinner          table, eating pancakes.<b>          </b>          HisFATHER, PATRICK (35) and TWO YOUNGER SISTERS, HALEY (8)          and SARA (6) are seated with him. They are all overweight.<b>          </b><b>          </b><b>          </b><b>          </b><b>                                                            (CONTINUED)</b><b>          </b><b>                                                                       3.</b><b>          CONTINUED:</b><b>          </b>          LEONARD'S MOTHER, GRACE (35), thelargest of them all,          crosses to the table, sits and starts eating.<b>          </b>          JUMP CUTS show the progression of their meal. From globs of          syrup being placed over pancakes to the massconsumption of          omelets and sausage. Caught up with eating, nobody speaks.<b>          </b><b>          EST. EXT. CHUNG RESIDENCE - MORNING</b><b>          </b>          A modern, upper-class home witha large, well tended yard.<b>          </b><b>                                 YACCO (O.S.)</b>                       The check is supposed to be here on                       the first of the month... She's                       your daughter,you asshole!<b>          </b><b>          INT. CHUNG HOME - UPSTAIRS HALLWAY - CONTINUOUS</b><b>          </b>          YACCO CHUANG (35), Asian-American, sexy, uptight,          psychiatrist, paces the hallwayon the phone.<b>          </b>          HER DAUGHTER, MALEE (12) with long, black, braided hair and          thick rimmed glasses, peeks her head out of thebathroom.<b>          </b><b>                                 MALEE</b>                       Mom, I need help.<b>          </b><b>                                 YACCO (INTO PHONE)</b>                           (ignoringher)                       Any parent is \"parent of the year\"                       next to you, you selfish prick.<b>          </b>          Yacco walks off.    Deflated, Malee reenters the bathroom.<b>          </b><b>          INT.CHUNG HOME - BATHROOM - CONTINUOUS</b><b>          </b>          Malee is wrapped in a towel and holding a TAMPON. Confused,          she grabs the TAMPON BOX and reads the directions.Malee's          confusion quickly turns to disgust.<b>          </b><b>          EXT. NEIGHBORHOOD ENTRANCE - LATER</b><b>          </b>          Leonard sits upon a large rock with the words, LINDSAYACRES          inscribed on the center of it. He eats POPCORN. Hanging off          the top right hand corner of the rock is a banner, which          reads, 5th ANNUAL 4TH OF JULY PICNIC. ALLINVITED.<b>          </b>          Malee rides her bike up to Leonard. She HONKS her BIKE HORN          at every pedestrian in her path.<b>          </b><b>                                 MALEE</b>                       Move it,people.    Outta my way!<b>          </b><b>          </b><b>                                                              (CONTINUED)</b><b>          </b><b>                                                                   4.</b><b>          CONTINUED:</b><b>          </b>          She comes to a screeching halt an inch in front of Leonard.<b>          </b><b>                                 LEONARD</b>                           (mouthful)                       You'relate.<b>          </b><b>                                 MALEE</b>                       Yeah well, I began menstruating                       this morning, and I had some                       difficulty inserting thetampon.                           (off his disgusted look)                       What? It's a natural process. You                       know, I could conceive, carry and                       birth a child rightnow.<b>          </b><b>                                   LEONARD</b>                       Big deal.    You won't.<b>          </b><b>                                 MALEE</b>                       But I could. That's whatmatters.<b>          </b><b>                                 LEONARD</b>                       The twins said, they'd meet us at                       the spot.<b>          </b>          Leonard gets on hisbike.<b>          </b><b>                                 MALEE</b>                       Wanna race?<b>          </b><b>                                 LEONARD</b>                       Nah, I'm good.<b>          </b><b>          INT.TREE HOUSE - LATER</b><b>          </b>          Jacob wipes at his head wound, frightened.<b>          </b><b>                                 JACOB</b>                       Maybe I should have mom look atit.<b>          </b><b>                                  RUDY</b>                       If you didn't have that damn mask                       on, you'd have seen it coming. Our                       birthday comes once a year, andyou                       ask for a hockey mask. You don't                       even play.<b>          </b><b>                                 JACOB</b>                       Jason from \"Friday the 13th\" wears                       one. He's bad ass.<b>          </b><b>          </b><b>          </b><b>          </b><b>                                                             (CONTINUED)</b><b>          </b><b>                                                                     5.</b><b>          CONTINUED:</b><b>          </b><b>                                 RUDY</b>                       Exactly. Jason wouldn't run home                       `cause of a little blood. He'd get                       back up, decapitate hisvictim and                       move on.<b>          </b>          Jacob looks out the makeshift window in the wall.<b>          </b><b>                                 JACOB</b>                       You think Jeff and Kenny willcome                       back?<b>          </b><b>                                 RUDY</b>                       I dropped piss on their heads.    I'd                       say the odds are prettygood.<b>          </b><b>                                 MALEE (O.S.)</b>                       You did what?<b>          </b>          Rudy and Jacob turn to find Malee and Leonard, entering the          treehouse.<b>          </b><b>                                 RUDY</b>                       Jeff and Kenny were here. I dumped                       the piss I've been saving ontheir                       heads.<b>          </b><b>                                 LEONARD</b>                       Why were you saving piss?<b>          </b><b>                                 RUDY</b>                       Just incase.Pretty smart, huh?<b>          </b><b>                                  JACOB</b>                       No, it's stupid cause now they're                       gonna come back here and kick all                       ourasses.<b>          </b><b>                                 RUDY</b>                       Don't be such a pussy.<b>          </b><b>                                 LEONARD</b>                       Yeah, I could probably takethem                       both myself.<b>          </b><b>                                 RUDY</b>                       What are you gonna do, Leonard,"}
+{"doc_id":"doc_353","qid":"","text":"The Project Gutenberg EBook of The Vampyre; A Tale, by John William PolidoriThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it awayorre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: The Vampyre; A TaleAuthor: John William PolidoriPosting Date: October 21, 2009 [EBook#6087]Release Date: July, 2004First Posted: November 3, 2002[Last updated: May 26, 2012]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE VAMPYRE; A TALE ***Produced by an anonymousProject Gutenberg volunteer.                                 THE                               VAMPYRE;                               A Tale.                       By John William Polidori                               LONDON                 PRINTED FORSHERWOOD, NEELY, AND JONES                           PATERNOSTER ROW                                1819              [Entered at Stationers' Hall, March 27, 1819]           Gillet, Printer, Crown Court, Fleet Street,London.                         EXTRACT OF A LETTER                             FROM GENEVA.                            ______________\"I breathe freely in the neighbourhood of this lake; the ground uponwhich I tread has beensubdued from the earliest ages; the principalobjects which immediately strike my eye, bring to my recollectionscenes, in which man acted the hero and was the chief object ofinterest. Not to look back to earlier times ofbattles and sieges,here is the bust of Rousseau--here is a house with an inscriptiondenoting that the Genevan philosopher first drew breath under itsroof. A little out of the town is Ferney, the residence of Voltaire;wherethat wonderful, though certainly in many respects contemptible,character, received, like the hermits of old, the visits of pilgrims,not only from his own nation, but from the farthest boundaries ofEurope. Here too isBonnet's abode, and, a few steps beyond, the houseof that astonishing woman Madame de Stael: perhaps the first of hersex, who has really proved its often claimed equality with, the noblerman. We have before hadwomen who have written interesting novels andpoems, in which their tact at observing drawing-room characters hasavailed them; but never since the days of Heloise have those facultieswhich are peculiar to man, beendeveloped as the possible inheritanceof woman. Though even here, as in the case of Heloise, our sex havenot been backward in alledging the existence of an Abeilard in theperson of M. Schlegel as the inspirer of herworks. But to proceed:upon the same side of the lake, Gibbon, Bonnivard, Bradshaw, andothers mark, as it were, the stages for our progress; whilst upon theother side there is one house, built by Diodati, the friend ofMilton,which has contained within its walls, for several months, that poetwhom we have so often read together, and who--if human passions remainthe same, and human feelings, like chords, on being swept bynature'simpulses shall vibrate as before--will be placed by posterity in thefirst rank of our English Poets. You must have heard, or the ThirdCanto of Childe Harold will have informed you, that Lord Byron residedmanymonths in this neighbourhood. I went with some friends a few daysago, after having seen Ferney, to view this mansion. I trod the floorswith the same feelings of awe and respect as we did, together, thoseofShakespeare's dwelling at Stratford. I sat down in a chair of thesaloon, and satisfied myself that I was resting on what he had madehis constant seat. I found a servant there who had lived with him;she, however, gaveme but little information. She pointed out hisbed-chamber upon the same level as the saloon and dining-room, andinformed me that he retired to rest at three, got up at two, andemployed himself a long time over histoilette; that he never went tosleep without a pair of pistols and a dagger by his side, and that henever ate animal food. He apparently spent some part of every day uponthe lake in an English boat. There is a balconyfrom the saloon whichlooks upon the lake and the mountain Jura; and I imagine, that it musthave been hence, he contemplated the storm so magnificently describedin the Third Canto; for you have from here a mostextensive view ofall the points he has therein depicted. I can fancy him like thescathed pine, whilst all around was sunk to repose, still waking toobserve, what gave but a weak image of the storms which haddesolatedhis own breast.  The sky is changed!--and such a change; Oh, night!  And storm and darkness, ye are wond'rous strong,  Yet lovely in your strength, as is the light  Of a dark eye in woman! Far along  Frompeak to peak, the rattling crags among,  Leaps the lire thunder! Not from one lone cloud,  But every mountain now hath found a tongue,  And Jura answers thro' her misty shroud,  Back to the joyous Alps who call toher aloud!  And this is in the night:--Most glorious night!  Thou wer't not sent for slumber! let me be  A sharer in thy far and fierce delight,--  A portion of the tempest and of me!  How the lit lake shines a phosphoricsea,  And the big rain comet dancing to the earth!  And now again 'tis black,--and now the glee  Of the loud hills shakes with its mountain mirth,  As if they did rejoice o'er a young; earthquake's birth,  Now where theswift Rhine cleaves his way between  Heights which appear, as lovers who have parted  In haste, whose mining depths so intervene,  That they can meet no more, tho' broken hearted;  Tho' in their souls which thuseach other thwarted,  Love was the very root of the fond rage  Which blighted their life's bloom, and then departed--  Itself expired, but leaving; them an age  Of years all winter--war within themselves to wage.I wentdown to the little port, if I may use the expression, whereinhis vessel used to lay, and conversed with the cottager, who had thecare of it. You may smile, but I have my pleasure in thus helping mypersonification of theindividual I admire, by attaining to theknowledge of those circumstances which were daily around him. I havemade numerous enquiries in the town concerning him, but can learnnothing. He only went into society thereonce, when M. Pictet took himto the house of a lady to spend the evening. They say he is a verysingular man, and seem to think him very uncivil. Amongst other thingsthey relate, that having invited M. Pictet andBonstetten to dinner,he went on the lake to Chillon, leaving a gentleman who travelled withhim to receive them and make his apologies. Another evening, beinginvited to the house of Lady D---- H----, he promised toattend,but upon approaching the windows of her ladyship's villa, andperceiving the room to be full of company, he set down his friend,desiring him to plead his excuse, and immediately returned home. Thiswill serve asa contradiction to the report which you tell me iscurrent in England, of his having been avoided by his countrymen onthe continent. The case happens to be directly the reverse, as he hasbeen generally sought by them,though on most occasions, apparentlywithout success. It is said, indeed, that upon paying his first visitat Coppet, following the servant who had announced his name, he wassurprised to meet a lady carried out fainting;but before he had beenseated many minutes, the same lady, who had been so affected at thesound of his name, returned and conversed with him a considerabletime--such is female curiosity and affectation! He visitedCoppetfrequently, and of course associated there with several of hiscountrymen, who evinced no reluctance to meet him whom his enemiesalone would represent as an outcast.Though I have been so unsuccessful inthis town, I have been morefortunate in my enquiries elsewhere. There is a society three or fourmiles from Geneva, the centre of which is the Countess of Breuss, aRussian lady, well acquainted with the agrémens dela Société, and whohas collected them round herself at her mansion. It was chiefly here,I find, that the gentleman who travelled with Lord Byron, asphysician, sought for society. He used almost every day to crossthelake by himself, in one of their flat-bottomed boats, and return afterpassing the evening with his friends, about eleven or twelve at night,often whilst the storms were raging in the circling summits of themountainsaround. As he became intimate, from long acquaintance, withseveral of the families in this neighbourhood, I have gathered fromtheir accounts some excellent traits of his lordship's character,which I will relate to you atsome future opportunity. I must,however, free him from one imputation attached to him--of having inhis house two sisters as the partakers of his revels. This is, likemany other charges which have been brought againsthis lordship,entirely destitute of truth. His only companion was the physician Ihave already mentioned. The report originated from the followingcircumstance: Mr. Percy Bysshe Shelly, a gentleman well knownforextravagance of doctrine, and for his daring, in their profession,even to sign himself with the title of ATHeos in the Album atChamouny, having taken a house below, in which he resided with Miss M.W. Godwin andMiss Clermont, (the daughters of the celebrated Mr.Godwin) they were frequently visitors at Diodati, and were often seenupon the lake with his Lordship, which gave rise to the report, thetruth of which is here positivelydenied.Among other things which the lady, from whom I procured theseanecdotes, related to me, she mentioned the outline of a ghost storyby Lord Byron. It appears that one evening Lord B., Mr. P. B. Shelly,the twoladies and the gentleman before alluded to, after havingperused a German work, which was entitled Phantasmagoriana, beganrelating ghost stories; when his lordship having recited the beginningof Christabel, thenunpublished, the whole took so strong a hold ofMr. Shelly's mind, that he suddenly started up and ran out of theroom. The physician and Lord Byron followed, and discovered himleaning against a mantle-piece, withcold drops of perspirationtrickling down his face. After having given him something to refreshhim, upon enquiring into the cause of his alarm, they found that hiswild imagination having pictured to him the bosom of oneof the ladieswith eyes (which was reported of a lady in the neighbourhood where helived) he was obliged to leave the room in order to destroy theimpression. It was afterwards proposed, in the course ofconversation,that each of the company present should write a tale depending uponsome supernatural agency, which was undertaken by Lord B., thephysician, and Miss M. W. Godwin.[1] My friend, the ladyabovereferred to, had in her possession the outline of each of thesestories; I obtained them as a great favour, and herewith forward themto you, as I was assured you would feel as much curiosity as myself,to perusethe ebauches of so great a genius, and those immediatelyunder his influence.\"[1] Since published under the title of \"Frankenstein; or, The ModernPrometheus.\"                             THEVAMPYRE.  ________________________________________________________________                            INTRODUCTION.                              __________THE superstition upon which this tale is founded is verygeneral inthe East. Among the Arabians it appears to be common: it did not,however, extend itself to the Greeks until after the establishment ofChristianity; and it has only assumed its present form since thedivision ofthe Latin and Greek churches; at which time, the ideabecoming prevalent, that a Latin body could not corrupt if buried intheir territory, it gradually increased, and formed the subject ofmany wonderful stories, stillextant, of the dead rising from theirgraves, and feeding upon the blood of the young and beautiful. In theWest it spread, with some slight variation, all over Hungary, Poland,Austria, and Lorraine, where the beliefexisted, that vampyres nightlyimbibed a certain portion of the blood of their victims, who becameemaciated, lost their strength, and speedily died of consumptions;whilst these human blood-suckers fattened--and theirveins becamedistended to such a state of repletion, as to cause the blood to flowfrom all the passages of their bodies, and even from the very pores oftheir skins.In the London Journal, of March, 1732, is a curious, and,of course,credible account of a particular case of vampyrism, which is stated tohave occurred at Madreyga, in Hungary. It appears, that upon anexamination of the commander-in-chief and magistrates of the place,theypositively and unanimously affirmed, that, about five yearsbefore, a certain Heyduke, named Arnold Paul, had been heard to say,that, at Cassovia, on the frontiers of the Turkish Servia, he had beentormented by avampyre, but had found a way to rid himself of theevil, by eating some of the earth out of the vampyre's grave, andrubbing himself with his blood. This precaution, however, did notprevent him from becoming avampyre[2] himself; for, about twenty orthirty days after his death and burial, many persons complained ofhaving been tormented by him, and a deposition was made, that fourpersons had been deprived of life by hisattacks. To prevent furthermischief, the inhabitants having consulted their Hadagni,[3] took upthe body, and found it (as is supposed to be usual in cases ofvampyrism) fresh, and entirely free from corruption, andemitting atthe mouth, nose, and ears, pure and florid blood. Proof having beenthus obtained, they resorted to the accustomed remedy. A stake wasdriven entirely through the heart and body of Arnold Paul, at whichheis reported to have cried out as dreadfully as if he had been alive.This done, they cut off his head, burned his body, and threw the ashesinto his grave. The same measures were adopted with the corses ofthosepersons who had previously died from vampyrism, lest theyshould, in their turn, become agents upon others who survived them.[2] The universal belief is, that a person sucked by a vampyre becomes avampyrehimself, and sucks in his turn.[3] Chief bailiff.This monstrous rodomontade is here related, because it seems betteradapted to illustrate the subject of the present observations than anyother instance which could beadduced. In many parts of Greece it isconsidered as a sort of punishment after death, for some heinous crimecommitted whilst in existence, that the deceased is not only doomed tovampyrise, but compelled to confinehis infernal visitations solely tothose beings he loved most while upon earth--those to whom he was boundby ties of kindred and affection.--A supposition alluded to in the\"Giaour.\"  But first on earth, as Vampyresent,  Thy corse shall from its tomb be rent;  Then ghastly haunt the native place,  And suck the blood of all thy race;  There from thy daughter, sister, wife,  At midnight drain the stream of life;  Yet loathe the banquetwhich perforce  Must feed thy livid living corse,  Thy victims, ere they yet expire,  Shall know the demon for their sire;  As cursing thee, thou cursing them,  Thy flowers are withered on the stem.  But one that for thycrime must fall,  The youngest, best beloved of all,  Shall bless thee with a father's name--  That word shall wrap thy heart in flame!  Yet thou must end thy task and mark  Her cheek's last tinge--her eye's lastspark,  And the last glassy glance must view  Which freezes o'er its lifeless blue;  Then with unhallowed hand shall tear  The tresses of her yellow hair,  Of which, in life a lock when shorn  Affection's fondest pledge wasworn--  But now is borne away by thee  Memorial of thine agony!  Yet with thine own best blood shall drip;  Thy gnashing tooth, and haggard lip;  Then stalking to thy sullen grave,  Go--and with Gouls and Afritsrave,  Till these in horror shrink away  From spectre more accursed than they.Mr. Southey has also introduced in his wild but beautiful poem of\"Thalaba,\" the vampyre corse of the Arabian maid Oneiza, whoisrepresented as having returned from the grave for the purpose oftormenting him she best loved whilst in existence. But this cannot besupposed to have resulted from the sinfulness of her life, she beingpourtrayedthroughout the whole of the tale as a complete type ofpurity and innocence. The veracious Tournefort gives a long account inhis travels of several astonishing cases of vampyrism, to which hepretends to have been aneyewitness; and Calmet, in his great workupon this subject, besides a variety of anecdotes, and traditionarynarratives illustrative of its effects, has put forth some learneddissertations, tending to prove it to be aclassical, as well asbarbarian error.Many curious and interesting notices on this singularly horriblesuperstition might be added; though the present may suffice for thelimits of a note, necessarily devoted to explanation,and which maynow be concluded by merely remarking, that though the term Vampyre isthe one in most general acceptation, there are several otherssynonymous with it, made use of in various parts of the world:asVroucolocha, Vardoulacha, Goul, Broucoloka, &c.  ________________________________________________________________                             THE VAMPYRE.                              __________IT happenedthat in the midst of the dissipations attendant upon aLondon winter, there appeared at the various parties of the leaders ofthe ton a nobleman, more remarkable for his singularities, than hisrank. He gazed upon themirth around him, as if he could notparticipate therein. Apparently, the light laughter of the fair onlyattracted his attention, that he might by a look quell it, and throwfear into those breasts where thoughtlessnessreigned. Those who feltthis sensation of awe, could not explain whence it arose: someattributed it to the dead grey eye, which, fixing upon the object'sface, did not seem to penetrate, and at one glance to piercethroughto the inward workings of the heart; but fell upon the cheek with aleaden ray that weighed upon the skin it could not pass. Hispeculiarities caused him to be invited to every house; all wished tosee him, andthose who had been accustomed to violent excitement, andnow felt the weight of ennui, were pleased at having something intheir presence capable of engaging their attention. In spite of thedeadly hue of his face,which never gained a warmer tint, either fromthe blush of modesty, or from the strong emotion of passion, thoughits form and outline were beautiful, many of the female hunters afternotoriety attempted to win hisattentions, and gain, at least, somemarks of what they might term affection: Lady Mercer, who had been themockery of every monster shewn in drawing-rooms since her marriage,threw herself in his way, and did allbut put on the dress of amountebank, to attract his notice:--though in vain:--when shestood before him, though his eyes were apparently fixed upon her's,still it seemed as if they were unperceived;--even herunappalledimpudence was baffled, and she left the field. But though the commonadultress could not influence even the guidance of his eyes, it wasnot that the female sex was indifferent to him: yet such wastheapparent caution with which he spoke to the virtuous wife and innocentdaughter, that few knew he ever addressed himself to females. He had,however, the reputation of a winning tongue; and whether it was thatiteven overcame the dread of his singular character, or that theywere moved by his apparent hatred of vice, he was as often among thosefemales who form the boast of their sex from their domestic virtues,as amongthose who sully it by their vices.About the same time, there came to London a young gentleman of thename of Aubrey: he was an orphan left with an only sister in thepossession of great wealth, by parents who diedwhile he was yet inchildhood. Left also to himself by guardians, who thought it theirduty merely to take care of his fortune, while they relinquished themore important charge of his mind to the care of mercenarysubalterns,he cultivated more his imagination than his judgment. He had, hence,that high romantic feeling of honour and candour, which daily ruins somany milliners' apprentices. He believed all to sympathisewithvirtue, and thought that vice was thrown in by Providence merely forthe picturesque effect of the scene, as we see in romances: he thoughtthat the misery of a cottage merely consisted in the vesting ofclothes,which were as warm, but which were better adapted to thepainter's eye by their irregular folds and various coloured patches.He thought, in fine, that the dreams of poets were the realities oflife. He was handsome,frank, and rich: for these reasons, upon hisentering into the gay circles, many mothers surrounded him, strivingwhich should describe with least truth their languishing or rompingfavourites: the daughters at the sametime, by their brighteningcountenances when he approached, and by their sparkling eyes, when heopened his lips, soon led him into false notions of his talents andhis merit. Attached as he was to the romance of his"}
+{"doc_id":"doc_354","qid":"","text":"The Project Gutenberg EBook of The Defenders, by Philip K. DickThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it underthe terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: The DefendersAuthor: Philip K. DickIllustrator: Ed EmshwillerRelease Date: May 12, 2009 [EBook#28767]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE DEFENDERS ***Produced by Greg Weeks, Stephen Blundell and the OnlineDistributed Proofreading Team at http://www.pgdp.netTheDefendersBy PHILIP K. DICKIllustrated by EMSH    _No weapon has ever been frightful enough to put a stop to    war--perhaps because we never before had any that thought for    themselves!_[Illustration]Taylor satback in his chair reading the morning newspaper. The warmkitchen and the smell of coffee blended with the comfort of not havingto go to work. This was his Rest Period, the first for a long time, andhe was glad of it. Hefolded the second section back, sighing withcontentment.\"What is it?\" Mary said, from the stove.\"They pasted Moscow again last night.\" Taylor nodded his head inapproval. \"Gave it a real pounding. One of those R-Hbombs. It's abouttime.\"He nodded again, feeling the full comfort of the kitchen, the presenceof his plump, attractive wife, the breakfast dishes and coffee. This wasrelaxation. And the war news was good, good andsatisfying. He couldfeel a justifiable glow at the news, a sense of pride and personalaccomplishment. After all, he was an integral part of the war program,not just another factory worker lugging a cart of scrap, butatechnician, one of those who designed and planned the nerve-trunk of thewar.\"It says they have the new subs almost perfected. Wait until they get_those_ going.\" He smacked his lips with anticipation. \"When theystartshelling from underwater, the Soviets are sure going to be surprised.\"\"They're doing a wonderful job,\" Mary agreed vaguely. \"Do you know whatwe saw today? Our team is getting a leady to show to theschoolchildren. I saw the leady, but only for a moment. It's good for thechildren to see what their contributions are going for, don't youthink?\"She looked around at him.\"A leady,\" Taylor murmured. He put thenewspaper slowly down. \"Well,make sure it's decontaminated properly. We don't want to take anychances.\"\"Oh, they always bathe them when they're brought down from the surface,\"Mary said. \"They wouldn't think ofletting them down without the bath.Would they?\" She hesitated, thinking back. \"Don, you know, it makes meremember--\"He nodded. \"I know.\"       *       *       *       *       *He knew what she was thinking. Once in thevery first weeks of the war,before everyone had been evacuated from the surface, they had seen ahospital train discharging the wounded, people who had been showeredwith sleet. He remembered the way they hadlooked, the expression ontheir faces, or as much of their faces as was left. It had not been apleasant sight.There had been a lot of that at first, in the early days before thetransfer to undersurface was complete. Therehad been a lot, and ithadn't been very difficult to come across it.Taylor looked up at his wife. She was thinking too much about it, thelast few months. They all were.\"Forget it,\" he said. \"It's all in the past. There isn'tanybody upthere now but the leadys, and they don't mind.\"\"But just the same, I hope they're careful when they let one of themdown here. If one were still hot--\"He laughed, pushing himself away from the table.\"Forget it. This is awonderful moment; I'll be home for the next two shifts. Nothing to dobut sit around and take things easy. Maybe we can take in a show. Okay?\"\"A show? Do we have to? I don't like to look at all thedestruction, theruins. Sometimes I see some place I remember, like San Francisco. Theyshowed a shot of San Francisco, the bridge broken and fallen in thewater, and I got upset. I don't like to watch.\"\"But don't youwant to know what's going on? No human beings are gettinghurt, you know.\"\"But it's so awful!\" Her face was set and strained. \"Please, no, Don.\"Don Taylor picked up his newspaper sullenly. \"All right, but thereisn't ahell of a lot else to do. And don't forget, _their_ cities aregetting it even worse.\"She nodded. Taylor turned the rough, thin sheets of newspaper. His goodmood had soured on him. Why did she have to fret all the time?They werepretty well off, as things went. You couldn't expect to have everythingperfect, living undersurface, with an artificial sun and artificialfood. Naturally it was a strain, not seeing the sky or being able to goanyplace or see anything other than metal walls, great roaringfactories, the plant-yards, barracks. But it was better than being onsurface. And some day it would end and they could return. Nobody_wanted_ to live thisway, but it was necessary.He turned the page angrily and the poor paper ripped. Damn it, the paperwas getting worse quality all the time, bad print, yellow tint--Well, they needed everything for the war program. Heought to know that.Wasn't he one of the planners?He excused himself and went into the other room. The bed was stillunmade. They had better get it in shape before the seventh hourinspection. There was a one unitfine--The vidphone rang. He halted. Who would it be? He went over and clickedit on.\"Taylor?\" the face said, forming into place. It was an old face, grayand grim. \"This is Moss. I'm sorry to bother you during Rest Period,butthis thing has come up.\" He rattled papers. \"I want you to hurry overhere.\"Taylor stiffened. \"What is it? There's no chance it could wait?\" Thecalm gray eyes were studying him, expressionless, unjudging. \"If youwantme to come down to the lab,\" Taylor grumbled, \"I suppose I can.I'll get my uniform--\"\"No. Come as you are. And not to the lab. Meet me at second stage assoon as possible. It'll take you about a half hour, using thefast carup. I'll see you there.\"The picture broke and Moss disappeared.       *       *       *       *       *\"What was it?\" Mary said, at the door.\"Moss. He wants me for something.\"\"I knew this would happen.\"\"Well, youdidn't want to do anything, anyhow. What does it matter?\" Hisvoice was bitter. \"It's all the same, every day. I'll bring you backsomething. I'm going up to second stage. Maybe I'll be close enough tothe surfaceto--\"\"Don't! Don't bring me anything! Not from the surface!\"\"All right, I won't. But of all the irrational nonsense--\"She watched him put on his boots without answering.       *       *       *       *       *Moss nodded andTaylor fell in step with him, as the older man strodealong. A series of loads were going up to the surface, blind carsclanking like ore-trucks up the ramp, disappearing through the stagetrap above them. Taylor watchedthe cars, heavy with tubular machineryof some sort, weapons new to him. Workers were everywhere, in the darkgray uniforms of the labor corps, loading, lifting, shouting back andforth. The stage was deafening withnoise.\"We'll go up a way,\" Moss said, \"where we can talk. This is no place togive you details.\"They took an escalator up. The commercial lift fell behind them, andwith it most of the crashing and booming. Soon theyemerged on anobservation platform, suspended on the side of the Tube, the vast tunnelleading to the surface, not more than half a mile above them now.\"My God!\" Taylor said, looking down the Tube involuntarily. \"It'sa longway down.\"Moss laughed. \"Don't look.\"They opened a door and entered an office. Behind the desk, an officerwas sitting, an officer of Internal Security. He looked up.\"I'll be right with you, Moss.\" He gazed atTaylor studying him. \"You'rea little ahead of time.\"\"This is Commander Franks,\" Moss said to Taylor. \"He was the first tomake the discovery. I was notified last night.\" He tapped a parcel hecarried. \"I was let in becauseof this.\"Franks frowned at him and stood up. \"We're going up to first stage. Wecan discuss it there.\"\"First stage?\" Taylor repeated nervously. The three of them went down aside passage to a small lift. \"I've never beenup there. Is it allright? It's not radioactive, is it?\"\"You're like everyone else,\" Franks said. \"Old women afraid of burglars.No radiation leaks down to first stage. There's lead and rock, and whatcomes down the Tube isbathed.\"\"What's the nature of the problem?\" Taylor asked. \"I'd like to knowsomething about it.\"\"In a moment.\"They entered the lift and ascended. When they stepped out, they were ina hall of soldiers, weapons anduniforms everywhere. Taylor blinked insurprise. So this was first stage, the closest undersurface level to thetop! After this stage there was only rock, lead and rock, and the greattubes leading up like the burrows ofearthworms. Lead and rock, andabove that, where the tubes opened, the great expanse that no livingbeing had seen for eight years, the vast, endless ruin that had oncebeen Man's home, the place where he had lived,eight years ago.Now the surface was a lethal desert of slag and rolling clouds. Endlessclouds drifted back and forth, blotting out the red Sun. Occasionallysomething metallic stirred, moving through the remains of acity,threading its way across the tortured terrain of the countryside. Aleady, a surface robot, immune to radiation, constructed with feverishhaste in the last months before the cold war became literally hot.Leadys,crawling along the ground, moving over the oceans or through theskies in slender, blackened craft, creatures that could exist where no_life_ could remain, metal and plastic figures that waged a war Man hadconceived,but which he could not fight himself. Human beings hadinvented war, invented and manufactured the weapons, even invented theplayers, the fighters, the actors of the war. But they themselves couldnot venture forth,could not wage it themselves. In all the world--inRussia, in Europe, America, Africa--no living human being remained. Theywere under the surface, in the deep shelters that had been carefullyplanned and built, even asthe first bombs began to fall.It was a brilliant idea and the only idea that could have worked. Upabove, on the ruined, blasted surface of what had once been a livingplanet, the leady crawled and scurried, and foughtMan's war. Andundersurface, in the depths of the planet, human beings toiled endlesslyto produce the weapons to continue the fight, month by month, year byyear.       *       *       *       *       *\"First stage,\" Taylorsaid. A strange ache went through him. \"Almost tothe surface.\"\"But not quite,\" Moss said.Franks led them through the soldiers, over to one side, near the lip ofthe Tube.\"In a few minutes, a lift will bring somethingdown to us from thesurface,\" he explained. \"You see, Taylor, every once in a while Securityexamines and interrogates a surface leady, one that has been above for atime, to find out certain things. A vidcall is sent upand contact ismade with a field headquarters. We need this direct interview; we can'tdepend on vidscreen contact alone. The leadys are doing a good job, butwe want to make certain that everything is going the way wewant it.\"Franks faced Taylor and Moss and continued: \"The lift will bring down aleady from the surface, one of the A-class leadys. There's anexamination chamber in the next room, with a lead wall in the center, sotheinterviewing officers won't be exposed to radiation. We find thiseasier than bathing the leady. It is going right back up; it has a jobto get back to.\"Two days ago, an A-class leady was brought down and interrogated.Iconducted the session myself. We were interested in a new weapon theSoviets have been using, an automatic mine that pursues anything thatmoves. Military had sent instructions up that the mine be observedandreported in detail.\"This A-class leady was brought down with information. We learned a fewfacts from it, obtained the usual roll of film and reports, and thensent it back up. It was going out of the chamber, back tothe lift, whena curious thing happened. At the time, I thought--\"Franks broke off. A red light was flashing.\"That down lift is coming.\" He nodded to some soldiers. \"Let's enter thechamber. The leady will be along in amoment.\"\"An A-class leady,\" Taylor said. \"I've seen them on the showscreens,making their reports.\"\"It's quite an experience,\" Moss said. \"They're almost human.\"       *       *       *       *       *They entered thechamber and seated themselves behind the lead wall.After a time, a signal was flashed, and Franks made a motion with hishands.The door beyond the wall opened. Taylor peered through his view slot. Hesaw somethingadvancing slowly, a slender metallic figure moving on atread, its arm grips at rest by its sides. The figure halted and scannedthe lead wall. It stood, waiting.\"We are interested in learning something,\" Franks said.\"Before Iquestion you, do you have anything to report on surface conditions?\"\"No. The war continues.\" The leady's voice was automatic and toneless.\"We are a little short of fast pursuit craft, the single-seat type.Wecould use also some--\"\"That has all been noted. What I want to ask you is this. Our contactwith you has been through vidscreen only. We must rely on indirectevidence, since none of us goes above. We can onlyinfer what is goingon. We never see anything ourselves. We have to take it all secondhand.Some top leaders are beginning to think there's too much room forerror.\"\"Error?\" the leady asked. \"In what way? Our reportsare checkedcarefully before they're sent down. We maintain constant contact withyou; everything of value is reported. Any new weapons which the enemy isseen to employ--\"\"I realize that,\" Franks grunted behind hispeep slot. \"But perhaps weshould see it all for ourselves. Is it possible that there might be alarge enough radiation-free area for a human party to ascend to thesurface? If a few of us were to come up in lead-lined suits,would we beable to survive long enough to observe conditions and watch things?\"The machine hesitated before answering. \"I doubt it. You can check airsamples, of course, and decide for yourselves. But in the eightyearssince you left, things have continually worsened. You cannot have anyreal idea of conditions up there. It has become difficult for any movingobject to survive for long. There are many kinds of projectilessensitive tomovement. The new mine not only reacts to motion, butcontinues to pursue the object indefinitely, until it finally reachesit. And the radiation is everywhere.\"\"I see.\" Franks turned to Moss, his eyes narrowed oddly.\"Well, that waswhat I wanted to know. You may go.\"The machine moved back toward its exit. It paused. \"Each month theamount of lethal particles in the atmosphere increases. The tempo of thewar is gradually--\"\"Iunderstand.\" Franks rose. He held out his hand and Moss passed himthe package. \"One thing before you leave. I want you to examine a newtype of metal shield material. I'll pass you a sample with the tong.\"Franks putthe package in the toothed grip and revolved the tong so thathe held the other end. The package swung down to the leady, which tookit. They watched it unwrap the package and take the metal plate in itshands. Theleady turned the metal over and over.Suddenly it became rigid.\"All right,\" Franks said.He put his shoulder against the wall and a section slid aside. Taylorgasped--Franks and Moss were hurrying up to the leady!\"GoodGod!\" Taylor said. \"But it's radioactive!\"       *       *       *       *       *The leady stood unmoving, still holding the metal. Soldiers appeared inthe chamber. They surrounded the leady and ran a counter acrossitcarefully.\"Okay, sir,\" one of them said to Franks. \"It's as cold as a long winterevening.\"\"Good. I was sure, but I didn't want to take any chances.\"\"You see,\" Moss said to Taylor, \"this leady isn't hot at all. Yet itcamedirectly from the surface, without even being bathed.\"\"But what does it mean?\" Taylor asked blankly.\"It may be an accident,\" Franks said. \"There's always the possibilitythat a given object might escape being exposedabove. But this is thesecond time it's happened that we know of. There may be others.\"\"The second time?\"\"The previous interview was when we noticed it. The leady was not hot.It was cold, too, like this one.\"Moss tookback the metal plate from the leady's hands. He pressed thesurface carefully and returned it to the stiff, unprotesting fingers.\"We shorted it out with this, so we could get close enough for athorough check. It'll comeback on in a second now. We had better getbehind the wall again.\"They walked back and the lead wall swung closed behind them. Thesoldiers left the chamber.\"Two periods from now,\" Franks said softly, \"an initialinvestigatingparty will be ready to go surface-side. We're going up the Tube insuits, up to the top--the first human party to leave undersurface ineight years.\"\"It may mean nothing,\" Moss said, \"but I doubt it.Something's going on,something strange. The leady told us no life could exist above withoutbeing roasted. The story doesn't fit.\"Taylor nodded. He stared through the peep slot at the immobile metalfigure. Already theleady was beginning to stir. It was bent in severalplaces, dented and twisted, and its finish was blackened and charred. Itwas a leady that had been up there a long time; it had seen war anddestruction, ruin so vast thatno human being could imagine the extent.It had crawled and slunk in a world of radiation and death, a worldwhere no life could exist.And Taylor had touched it!\"You're going with us,\" Franks said suddenly. \"I want youalong. I thinkthe three of us will go.\"       *       *       *       *       *Mary faced him with a sick and frightened expression. \"I know it. You'regoing to the surface. Aren't you?\"She followed him into the kitchen. Taylor satdown, looking away fromher.\"It's a classified project,\" he evaded. \"I can't tell you anything aboutit.\"\"You don't have to tell me. I know. I knew it the moment you came in.There was something on your face, something Ihaven't seen there for along, long time. It was an old look.\"She came toward him. \"But how can they send you to the surface?\" Shetook his face in her shaking hands, making him look at her. There was astrange hungerin her eyes. \"Nobody can live up there. Look, look atthis!\"She grabbed up a newspaper and held it in front of him.\"Look at this photograph. America, Europe, Asia, Africa--nothing butruins. We've seen it every day onthe showscreens. All destroyed,poisoned. And they're sending you up. Why? No living thing can get by upthere, not even a weed, or grass. They've wrecked the surface, haven'tthey? _Haven't they?_\"Taylor stood up.\"It's an order. I know nothing about it. I was told toreport to join a scout party. That's all I know.\"He stood for a long time, staring ahead. Slowly, he reached for thenewspaper and held it up to the light.\"It looks real,\"he murmured. \"Ruins, deadness, slag. It's convincing.All the reports, photographs, films, even air samples. Yet we haven'tseen it for ourselves, not after the first months ...\"\"What are you talking about?\"\"Nothing.\" Heput the paper down. \"I'm leaving early after the nextSleep Period. Let's turn in.\"Mary turned away, her face hard and harsh. \"Do what you want. We mightjust as well all go up and get killed at once, instead of dyingslowlydown here, like vermin in the ground.\"He had not realized how resentful she was. Were they all like that? Howabout the workers toiling in the factories, day and night, endlessly?The pale, stooped men andwomen, plodding back and forth to work,blinking in the colorless light, eating synthetics--\"You shouldn't be so bitter,\" he said.Mary smiled a little. \"I'm bitter because I know you'll never comeback.\" She turned away.\"I'll never see you again, once you go upthere.\"He was shocked. \"What? How can you say a thing like that?\"She did not answer.       *       *       *       *       *He awakened with the public newscaster screeching in hisears, shoutingoutside the building.\"Special news bulletin! Surface forces report enormous Soviet attackwith new weapons! Retreat of key groups! All work units report tofactories at once!\"Taylor blinked, rubbing hiseyes. He jumped out of bed and hurried tothe vidphone. A moment later he was put through to Moss.\"Listen,\" he said. \"What about this new attack? Is the project off?\" Hecould see Moss's desk, covered with reportsand papers.\"No,\" Moss said. \"We're going right ahead. Get over here at once.\"\"But--\"\"Don't argue with me.\" Moss held up a handful of surface bulletins,crumpling them savagely. \"This is a fake. Come on!\" He brokeoff.Taylor dressed furiously, his mind in a daze.Half an hour later, he leaped from a fast car and hurried up the stairsinto the Synthetics Building. The corridors were full of men and womenrushing in every direction. Heentered Moss's office.\"There you are,\" Moss said, getting up immediately. \"Franks is waitingfor us at the outgoing station.\"They went in a Security Car, the siren screaming. Workers scattered outof their way.\"Whatabout the attack?\" Taylor asked.Moss braced his shoulders. \"We're certain that we've forced their hand.We've brought the issue to a head.\"They pulled up at the station link of the Tube and leaped out. A momentlater"}
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_100.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_100.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..8071e20ca4632e5dee4b76facf4117f1a69aecc1
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_100.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_102.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_102.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..f5fb1999bb8a5a9dbc14f3e7b331116116f70a1d
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_102.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_103.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_103.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..edaf5107f1792623fb035c2ee3f03a08e4e89f38
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_103.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_104.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_104.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..e7e750a46477abff4f884239c5e650b45629f0b1
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_104.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_105.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_105.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..e07095ba155d0d0ad379f3d9f574da655269df27
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_105.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_108.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_108.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..29fd59b8bf9f7214ce9a8c6d3718a165f512ede7
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_108.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_110.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_110.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..d8c80169fea3429a75be6806411eea058d951d6b
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_110.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_111.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_111.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..a538698cde4bade6e60e0dacd695e6d4ad45d678
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_111.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_112.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_112.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..635ff3690630e9e368c5bbf403e892f20dbaa5a0
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_112.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_113.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_113.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..c819dc3eadd15e9de485a4acfde9927ce24f46c8
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_113.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_114.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_114.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..5f0df9f492cb01b5b2e6e9ca556c610dbd0cf83f
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_114.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_115.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_115.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..23bee43a284a6a77368a8ec60377a5eba9b09ce6
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_115.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_116.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_116.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..c4ee256ba208e05cf6f91f25a64e2a99e2133d0c
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_116.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_117.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_117.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..32ac032671b1d09bf7ebee079c735161a87d32e4
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_117.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_120.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_120.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..2ef88f20b9200d1dc8381e74e962db56193b87f4
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_120.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_121.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_121.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..e8e98fa84b7065134c07887584a62f2c2976458f
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_121.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_122.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_122.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..a94156c38d52ade2183ce8dd59b669a8e21c8880
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_122.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_123.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_123.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..74afc94918ba740dcea08ef25959b770de631364
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_123.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_124.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_124.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..7e66ea346a4054ab8292b44bc574924a28742e17
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_124.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_127.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_127.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..db4a0eef686338f269e5b44ce8ae6c4d92457e8c
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_127.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_13.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_13.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..efb99091a9a949177612bdedd472b9a5e244b6eb
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_13.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_131.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_131.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..484e19e244493e8fdd1fefb540c30462abad16d2
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_131.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_132.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_132.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..1a24e7853ae6442e3258b57b9dc92ec4e4c4195e
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_132.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_133.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_133.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..9b6e8491ec0d6b03a02c68a67bbf500a9170e6b1
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_133.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_134.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_134.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..159e4e651b0944ab75a43a661eafcdf8279dccc7
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_134.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_136.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_136.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..60769c29cd814610d3878b7b4175687c42e3fcd3
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_136.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_138.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_138.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..a37e82fc04d2e34dfb6bfb6bd35d539feab307e7
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_138.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_14.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_14.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..7c96217c4df7801459a30dd5d21147b8e41a2c0b
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_14.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_142.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_142.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..cf420a56cdf757e3bb31b39453e00cb6d1e1d5f3
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_142.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_143.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_143.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..26797bb8e73f2a9d2a871b2db52d392d30490966
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_143.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_144.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_144.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..705332624ffc82bff909b56551021790bf4a94a9
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_144.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_145.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_145.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..2a10939a9ed51be37f50eb9fdf6107acfc4a3afb
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_145.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_146.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_146.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..ab69e1c5ef5c03bcb24567fddcae4ef101f67fda
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_146.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_147.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_147.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..7c7e680204f35baf5120a1575b5a6f5509a8ec9e
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_147.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_148.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_148.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..4ee771b3400a8c61877763d5abec7a82a8113380
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_148.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_149.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_149.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..2fb587d2b3998330f931eb77e132745e694f51ed
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_149.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_15.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_15.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..76f1a9fcb2dab771e1ca5720afe6f635664f0acb
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_15.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_150.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_150.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..5e6764268447eac299f7a5d9ffd421aa9bac2cb2
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_150.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_152.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_152.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..f766bf1722e8e29e6bdd1ac3d48b48deaf553e12
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_152.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_153.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_153.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..06076d1ce91c36dccba46873a83c508560717c50
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_153.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_154.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_154.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..7b61545288df11d0a8eb8a9e60a4253d6edf6523
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_154.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_157.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_157.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..e638a80754c1e1379d9ed1677bbe60c9feab4b23
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_157.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_158.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_158.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..9b989a4572be69544d2d93a2bbec844b1a302677
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_158.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_159.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_159.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..c7b1140a5fe51eaf1c7555af76534214dad6b75e
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_159.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_161.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_161.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..6c2aeb443c766f589e70b1c1a50c392b0ebfd60d
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_161.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_164.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_164.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..50f1dfb5d9c6dbe242182fbc2cd45317dd62d7f3
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_164.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_167.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_167.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..1e066b2fd3080f2f06078387e474b21f37ead7c0
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_167.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_169.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_169.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..7fa010887945f9316be79b80755a112b331dbdd2
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_169.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_170.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_170.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..a9156074e4b1dfb178f2d781c962b193a172da13
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_170.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_171.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_171.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..80bcfd24a1ce6ee77614dc09c019337b7e3c7aac
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_171.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_173.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_173.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..0c45cd09c82efa5dabd3aa994e65752620a89b8d
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_173.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_176.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_176.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..8b0b49c04eb589e41bfbda55383b3809090ce6a7
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_176.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_177.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_177.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..ae38ebdaab08b95ffc45df8a0510ad433f65ca8a
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_177.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_179.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_179.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..cbc15c1e0dfc2b57cdd25c1c21a4140dcf70df17
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_179.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_18.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_18.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..db28a8ca652fae7a893f3a8b000dcbe06e328145
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_18.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_180.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_180.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..0cbfc0cb800179b7b794df94c1f3056df4b212b6
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_180.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_181.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_181.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..21616e82c0a0e888365511339fa5ac79d90b167a
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_181.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_183.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_183.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..53958b0a56caf2dbbda085b7d01c80fd1586c742
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_183.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_185.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_185.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..6d31520cb81867dffc38d8afb96fb609cfee5e68
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_185.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_187.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_187.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..e0afa5c1fcdfae7e69bfc16fd1092b6e1d18809a
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_187.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_188.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_188.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..5e4ed53cbfae7edfdaf926563c4b596206680510
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_188.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_189.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_189.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..09fb91882d04b5963656ebcc174828751da79954
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_189.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_19.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_19.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..66be4f444f9894125566241cf3de0740684b6908
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_19.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_191.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_191.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..998198e21cef0cc32f5b29178cbe3d28bfe32b00
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_191.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_192.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_192.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..2b207d92ad4c0a35059062519ba0b06373caf32a
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_192.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_194.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_194.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..ca51459077079c64dcbfa60f6dcbf92cf319c766
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_194.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_195.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_195.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..227722b2c69d875bfbe1112f8a8aedae258e050d
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_195.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_196.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_196.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..210f3bba97a4742f5a62978893a93c48201c2f8b
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_196.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_197.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_197.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..e15ec1691b71d80a5692d02bb87d233c85665819
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_197.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_198.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_198.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..144922cf4b7a8e25c9b0295f93f07f7257cd464a
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_198.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_199.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_199.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..c6499ac768564b1d5fb24ba3570a36720d4db255
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_199.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_2.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_2.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..984617c60f614598642a0af2aacf77e80923c2f9
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_2.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_20.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_20.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..6a3f5989e67eeff7367bd656a8ac9630644c3570
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_20.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_200.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_200.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..5119176f9f97298ff435c5758338c737c361e75d
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_200.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_201.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_201.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..34b4c8feeb441d980f04d9783bc9a405ae8c6cb5
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_201.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_202.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_202.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..0a8399197f48c8e20d372da1bbfbdc58e27ded1f
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_202.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_203.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_203.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..3305cfedd162cf6f37d829a03a2c87fa2ded6afc
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_203.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_204.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_204.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..c452af48f17c34e8f8fdcb50e91f8d22d49500e6
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_204.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_206.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_206.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..d18cdae5405a9c062924c2d802112af2834ca0b1
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_206.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_207.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_207.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..9bcc67ca4420e7b89b62f2ff783a30257457bc66
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_207.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_208.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_208.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..128801e832c26c80043e3fa3e9efd401177a5027
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_208.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_209.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_209.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..608787841480c9ffb3ed6af5837e5b0425f5f0ad
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_209.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_21.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_21.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..74df0fd999b7f967f424442f723933173dd42630
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_21.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_210.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_210.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..3ef1835be527c5ef0b7d5248b6002e2be30d5059
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_210.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_212.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_212.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..d3568e0bb407e3edb44c72410f0c2b5f187936b2
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_212.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_214.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_214.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..5387247530bc24dd7a3bd780894a9fb664bc9de5
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_214.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_215.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_215.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..cd9e85512dab0d13d8c4ee70b8a6934aefc118c6
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_215.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_216.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_216.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..098723f736c019f5159aa571440bae97ec5ca905
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_216.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_217.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_217.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..0adf0ffb170186b769ebe63a5738b17c261fee65
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_217.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_22.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_22.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..7a0168de601705733ccb433354bf54ad9ebb97d8
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_22.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_220.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_220.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..5a2e36c9708784ac6efba2071327f19e0daf3c58
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_220.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_221.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_221.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..36acf95ba2c599fce0dd0627c432ac8acb3a57ac
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_221.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_222.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_222.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..56e7e39eb47b7cc1d893a39903efbb8f1858889a
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_222.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_223.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_223.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..96c2a421b26555f7289029931e9da9760ffe5533
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_223.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_224.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_224.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..0e94e0d068fe48fd65cb9db7b159c932f904f266
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_224.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_225.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_225.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..eadbd73bd3011341759d821540c3fb43cbc35d0b
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_225.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_226.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_226.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..03bb223ab0b20df3ae8dd842711f34b0ea944b9c
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_226.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_229.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_229.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..fb2adb7d9792b2652e75ebc0471215b0a344a54c
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_229.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_231.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_231.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..5954973aed2f528bbc2374b189f57969bcc89a8a
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_231.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_234.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_234.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..4e5ab583d10f623e811902abde16938cdd9fb125
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_234.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_235.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_235.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..860000041cb404667f70a519dc32fcd7f356f7a5
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_235.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_238.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_238.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..a8a1bdd9f6a5d194c3f6a552c45d6484d72a5dda
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_238.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_239.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_239.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..22f3e43fef165f94b88437e75417a4b1b46635b0
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_239.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_240.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_240.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..02f3c55f510a072afd4f32a7d0f98517b61dc4f1
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_240.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_241.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_241.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..8b20ad8b23fd147ee136fb62e8a81d9b79fe8c17
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_241.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_242.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_242.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..ceb3a56fbcfd277cffe794c5d9792d12da00cfdc
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_242.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_243.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_243.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..df27cb764caf310e25a38a4bc24798cf178155ee
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_243.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_244.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_244.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..99775f4ccd78dc9db415df345bab38b40aa110d7
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_244.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_245.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_245.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..f687f7a6db732e4831c7e48c3b8506ca30ce8606
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_245.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_247.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_247.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..81fa60ce5dd4131c0aa0a75333947f8b17c5e97a
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_247.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_248.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_248.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..58348a8fda3597c66d9f25038b49906348d52841
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_248.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_25.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_25.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..3a37b7794608c65e83b0c6d58b73fb3fc6c2c831
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_25.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_252.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_252.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..38ef84b5a613f737c0cd01f3d58e546f7aaeb3c1
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_252.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_255.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_255.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..2736e725ec7f8a447d7402365f53615ece964273
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_255.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_259.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_259.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..94fce077d81078accc7f86d07b35d0f621306143
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_259.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_26.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_26.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..192d5c771e2a3a47e808395e5c8e3b206d5c354b
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_26.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_260.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_260.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..008e9c11d57fad194f1d52475e34df4e189fbc47
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_260.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_261.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_261.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..b13a5026f836320ad80f49a05214c2b31d2983a9
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_261.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_263.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_263.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..fecec0fee77da754f1af86a5058c461525e7be45
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_263.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_264.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_264.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..edcb2f37bc03fcd2b4f69f7d471ed604e593537e
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_264.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_265.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_265.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..01f3b21b4b4f7518111d052bf7b98bdd9fffe365
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_265.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_266.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_266.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..ddd8379f0012425a60f27f3fd100390c7cf72685
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_266.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_267.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_267.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..4bf862d6f97910b6337af24ac4ec2c32befd7361
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_267.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_268.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_268.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..afeafdc438b222f5e296bb98bde68c01c5c0f0a1
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_268.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_269.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_269.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..adca662088a2f07285df0401f5c5bd2dfb745dfa
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_269.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_270.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_270.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..cfa1bff8052d311bdd58ef786faab543e0e20c19
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_270.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_271.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_271.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..5970eee94a10f282419143331af4b2b613e30b46
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_271.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_273.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_273.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..9d35791b011bb32fcee2115673e1966a9c203ef1
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_273.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_274.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_274.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..6bb28cd427bcc8551b6000635447ff07795b223a
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_274.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_275.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_275.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..efd71c0fdd26c5392956d9ad0ab325a72df36e69
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_275.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_277.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_277.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..2bba793bf9830462240602ca4ad5a5b5c0237399
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_277.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_278.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_278.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..01886eb34892dd914cc9a32fc765390ac938c654
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_278.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_28.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_28.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..8f2081ab8986e7f929b105af6290e5153c688c17
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_28.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_281.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_281.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..0eeb823a9a4380c85a606ecddac1bda2c1e3185d
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_281.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_285.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_285.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..de48e852b9a14e5080ae0bf2af30d8e596c97fa2
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_285.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_287.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_287.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..dd0213668a3da0771e32566430e6211ac536efc4
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_287.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_288.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_288.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..f83b13a7ea432eff2626304039236592ec822e0a
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_288.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_289.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_289.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..8be1f1ac71bbd5a15d0500e1315749a8d739c5bc
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_289.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_29.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_29.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..a6d5ed1076a850ef12119f964d87189bb8d41c19
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_29.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_291.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_291.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..d6ce141a252ea0178770d70255df182e19028e01
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_291.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_292.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_292.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..17dd81b7efe77ad24ca5db44b54fdb2e490ec7e9
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_292.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_294.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_294.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..42d4b62b30976a104564321ec79bb1ad289b0cd8
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_294.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_296.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_296.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..ee148cc98a008b76feb92a3ea4d8171b7b56553c
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_296.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_297.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_297.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..711ab87329ab4b467f55b0fa1b62f9b4a1a920f3
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_297.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_298.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_298.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..e82556f8a1043d7e77c271697776d784c9402b94
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_298.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_3.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_3.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..c271eddab17aa768e238f59d771d33e556bc01df
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_3.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_30.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_30.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..c67a8770f34bfa0ba95feef9593a64f1618861b1
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_30.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_300.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_300.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..f23abc6f4654373c11a4d022a40e2388bf496a92
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_300.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_301.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_301.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..074e6231f8d388a6642a99cf7446da179e671d91
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_301.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_303.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_303.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..680bf7db5ebef0c3c52b5d8c6f6fffb39a763569
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_303.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_304.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_304.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..0d167b8a500ae0e05db00426d3287d98e5f5529e
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_304.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_305.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_305.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..128d8a40a5969a9d5697c685ac764630d3445047
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_305.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_307.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_307.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..791bc01a925ee9290ced98cfda83ab4ecd2feea3
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_307.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_308.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_308.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..a69f06aa0659b17b80a7c578441435b9082a9c31
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_308.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_310.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_310.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..c5049061385078b39d33f69e9b49a369b8ab4a83
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_310.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_311.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_311.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..77f4a6db1a28e925007b2d39e6529f0aadfbf73b
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_311.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_312.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_312.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..e276df7f9ef56dd90a155e54e342201f375ef972
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_312.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_315.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_315.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..2bafad36726aa0c6e5bcc0ed05e1c40e125bcf41
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_315.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_316.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_316.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..4a6a17d301f970f7c737c169c34e95286ecba473
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_316.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_317.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_317.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..1688497c71208f0286022bb8ba9f6ce15008154b
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_317.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_318.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_318.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..5288386ee4acd49dccdf0a8c570bdb8d1c675afe
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_318.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_319.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_319.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..a1f8f44846fbbd5d110e099f28a239b6088b99af
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_319.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_320.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_320.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..3ff54c2621d51d6bac935672eeed1344cb4df574
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_320.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_322.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_322.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..7a5a617bcd0c52a36d282c66dc0d17ca1f0bd4f6
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_322.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_323.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_323.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..0ad7a5f97f44022fcaa5567a6ba4772171b8cc49
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_323.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_324.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_324.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..2ae40f0199b120c900f1a5bdb48aa51939adc3db
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_324.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_326.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_326.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..bbb7e3b7a725e70e5a5039f282cded2e0868349a
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_326.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_328.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_328.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..5b96c53155f855849ea42c3de84a3efacdd56a4f
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_328.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_33.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_33.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..840aa7047865caabe991c32a241ff71282f50b14
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_33.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_331.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_331.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..e22d3f255597f341da3db4af6ac75f3789e3a273
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_331.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_332.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_332.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..3d073ce9aa63ccf63fe5a647271d1c026b3590f4
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_332.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_333.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_333.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..7e09f4303cd275b5a676bc343f2d771d5b671e93
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_333.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_334.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_334.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..7c42beeffd69c12bc198191476cb03694d7e28d5
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_334.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_335.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_335.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..a0ecdbf7fed2044620c490b40a592ee283b7fded
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_335.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_336.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_336.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..72900bff539e1537c7f3dfec6a63d106d0cc70e8
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_336.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_337.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_337.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..a7a473e61dfe865086f43bc8b81d3ea39f62c2d1
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_337.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_338.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_338.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..5de6bbdad66b8249d25b06b37adcdbf94a91e1ae
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_338.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_339.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_339.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..e938b0bc6bddbb003632a735f22ee51d99d4b837
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_339.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_340.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_340.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..2299477316d39ecc5c826c249fc5c898a36e5390
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_340.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_342.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_342.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..5732db9f989ffeb83bb38a9c16e79f37058bcfdc
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_342.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_343.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_343.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..64b047ee6543308f3eb0bac3a1dd3a3d63459e0c
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_343.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_344.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_344.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..2c56332aba78cd150ec0d3688d87838458172536
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_344.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_345.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_345.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..088fc0749f70f15011442517674048ef115723e1
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_345.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_346.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_346.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..3a04bb8607333ad0f6a1f1aec38dcefd9f38ff10
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_346.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_353.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_353.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..9a19ddcd822c9de7c82b9d0c056a80eae64a05ea
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_353.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_39.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_39.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..3b78dddc495684a904aa1eba10259941ce4c1e4e
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_39.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_44.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_44.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..0557f15cea5fd42111c347e245ad75861a578488
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_44.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_45.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_45.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..0da223aa8c8bb33668c5cfac5b11b15f78707f39
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_45.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_46.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_46.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..f124c54a6ed7b6dfac37086ebbdbf77e521adcb2
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_46.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_48.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_48.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..aa894e045f0484a8c0c9b393d161633a8890023b
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_48.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_49.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_49.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..5a49858c632a02b0412158170bd5791d0b8a63d3
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_49.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_5.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_5.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..7a0be59ac90d2b43d2a5e08e5339dc3f31aba8a1
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_5.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_50.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_50.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..5ea8fd86915908cb1d840039e2806c85b230c455
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_50.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_52.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_52.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..ceea3a5e676421bcc0443cc18ba28febf7efb56c
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_52.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_53.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_53.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..d63b5e121ce46cd4a9312f0d79e0cd2d201cfe12
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_53.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_54.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_54.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..1d0a7461f11a898bb89b39b5cfaca030561de868
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_54.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_55.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_55.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..5fa17554297c02d9d206bbacff72d2d0537976ae
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_55.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_56.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_56.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..84a5960ce0c26a3bd7a93c1783315b788f686004
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_56.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_57.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_57.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..c549d4a1cf0801f6e8aa5e2512709bfdec911b47
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_57.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_58.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_58.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..7f59b1f20cae135b95f669d29de5fa1078e3b827
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_58.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_6.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_6.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..7a760c6e93e8b2eb3d3a5cd2f11409c35b4b6f38
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_6.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_60.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_60.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..795ef2dd28b8b230b5dd2938f1bd9134abfaedf8
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_60.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_61.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_61.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..562bc0de424a3f55484d0fbb937c802067d19d7c
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_61.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_62.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_62.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..b0f95067f247267303ed93fb848106c6a249f10e
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_62.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_63.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_63.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..f8d798a2c836cad89ff43e79c027cef8ed66d09c
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_63.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_64.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_64.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..454750958a019e3a481913f2384a90b2a3bfb714
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_64.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_66.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_66.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..1a4be3a5ac95b80449ed5b25c0b7d1fe93d7ad72
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_66.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_67.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_67.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..c84ee87dc2965184a4fd17da0ef7eef601e014fe
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_67.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_68.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_68.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..892055c7336c04d9e161ec546a3942ffe8e425bb
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_68.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_69.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_69.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..7f06b472611f0eb373f431acce1279e78c12c648
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_69.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_7.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_7.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..375fd678d702ffda2a592fdc8474ec5b03557690
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_7.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_70.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_70.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..67c0c806ec7e1e3fae954a534516b50ae8ca229d
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_70.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_71.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_71.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..2d05a0f732786bc71da73b37d999d17ef0269ca0
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_71.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_73.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_73.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..60bb2248d059a1ea6e55b9b7a180141f11404346
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_73.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_74.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_74.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..35464819396b9cc4c69745f1a425e1ddddc6eb6f
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_74.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_75.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_75.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..ccbbf7f3bd5a92422112df7647dfa8a2c53a485b
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_75.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_78.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_78.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..03b7340086f5a0502c9f80e6d1f69457d4c895ed
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_78.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_79.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_79.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..eadf4601491abc2c2ab2905f65d157eb950e3249
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_79.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_80.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_80.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..52605e6402d2601347b2c42915eeeaa7b4d66dd2
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_80.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_82.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_82.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..862d10e8b51858c788e6206c3a76963c256f6fe0
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_82.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_84.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_84.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..c27e172a4a94a961ad3181e026138efcf05022ea
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_84.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_85.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_85.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..de0b9d34ea571e128452990d07d352d4dba14ddd
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_85.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_86.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_86.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..a5c32ed737655dca22d45e8a3ed3ea13f057c989
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_86.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_87.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_87.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..1fd46251c9d77f1fb11a017e4f4558b3f72165c8
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_87.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_9.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_9.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..158b6181c3a127a7383f643d1942682b3a5e882a
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_9.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_90.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_90.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..27c8f7742d03fd0f3c957995ee28f8adac085dba
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_90.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_91.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_91.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..b2e51c6f4455cf2635985b0727bba9233b7d545b
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_91.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_92.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_92.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..234f8071dafa9d34d983e4c96800bdd34c87ffb0
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_92.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_93.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_93.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..c0c8503ab0020a66a46f47cf55e260e6fcf5b7e5
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_93.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_95.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_95.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..85aa29f8025f93335ca0a18e80431ea79df46870
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_95.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_96.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_96.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..695ed4e1722cc3328ea7f14de57bf916c116af9a
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_96.pdf differ
diff --git a/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_98.pdf b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_98.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..a2aed054cb35a7c7b62a7cf1302eb314bce90c95
Binary files /dev/null and b/layout_cache/ps1024x1024/narrativeqa/pdf_first_pages/doc_98.pdf differ
diff --git a/layout_cache/ps1024x1024/qmsum/corpus.jsonl b/layout_cache/ps1024x1024/qmsum/corpus.jsonl
new file mode 100644
index 0000000000000000000000000000000000000000..b638dae42fa97f435472f959399d4b924102ffbd
--- /dev/null
+++ b/layout_cache/ps1024x1024/qmsum/corpus.jsonl
@@ -0,0 +1,197 @@
+{"doc_id":"doc_0","qid":"","text":"Project Manager: Can I close this ?User Interface: Uh we don't have any changes , do we ?Project Manager: Oh , okay .User Interface: So no . {vocalsound}Project Manager: {vocalsound} There we go . Okay , here weare again . Detailed design {disfmarker} oh , come on . Well {disfmarker} Ah {gap} s Forgot to insert the minutes , but it's about the same thing we discussed before . Uh {disfmarker} Could open that anyway , think .Other design {disfmarker} anyway , we took as {disfmarker} we took w we took rubber as as the material last time . We also {gap} that you're just busy with it . Took the advanced chip to t uh implement theadvanced features . Well , we discussed the design , no sharp corners , we rounded it off , like you see on the {gap} other screen , which is fine . Um {gap} we agreed that the colour should be b uh yellow and black .Yellow in the back because it's m trendy , more trendy than black anyway . So {vocalsound} then we ca yeah . We agreed that we would implement both the L_C_D_ and speech recognition , but I'll get to that in amoment . 'Cause some changes in the finances have left us implications anyway . So so , like I said , we had no insight in finances , no prices ,Marketing: Hmm .Project Manager: but we have 'em now , and it's bad .Anyway . We are Oh . Prototype presentation , well first you guys built the prototype . So {vocalsound} you could {gap} {disfmarker} could present that . But um let's see what be handy to do . Nee {disfmarker} no ,you just go ahead and present the {disfmarker} w we'll scrap it later because {disfmarker} {gap} What ?Industrial Designer: I think it's more or less the same as we had .User Interface: It's basically what we agreedupon ,Marketing: Hmm ?Project Manager: Oh that'sUser Interface: but just a little bit more specified .Industrial Designer: No much sProject Manager: hasn't changed that much , huh ?Industrial Designer: No no no ,not at all .Project Manager: I didn't expect anyway {gap} . You just coloured it . {vocalsound}User Interface: Uh s Final design . {vocalsound} Basically in {gap} {disfmarker} what we discussed , cover and buttons willbe made of rubber , yellow colour , black components , as you can see right over here .Project Manager: Mm-hmm . I like the menu .User Interface: We chose a different type of colour for the menu . A bit darker yellowso that it com really shows in this keypad .Project Manager: Mm-hmm .User Interface: If you put them all black , it's not really that good a contrast .Project Manager: And I suppose the the the yellow is not printed onthe on the rubber . It's it's part of the rubber , I suppose .User Interface: So {disfmarker} ProbabProject Manager: I think that's more I think that's more durable anyway than printed on to {disfmarker}User Interface:Yeah . That's the beIndustrial Designer: Hmm .User Interface: And it {disfmarker} I guess it's more easier to just paint it on the rubberIndustrial Designer: Yeah , of course .User Interface: than to uh{disfmarker}Industrial Designer: That's uh the integration story again .Marketing: Mm yeah . Okay .User Interface: So we have it's a bit round shaped ,Project Manager: {vocalsound} Oh yeah .User Interface: that'swhat we had uh {disfmarker} We chose the buttons to be uh teletext , okay button , favourite channel and the mute .Project Manager: Mm-hmm .User Interface: So that's basically what we chose there .ProjectManager: Okay .User Interface: If you have anything to add , please interrupt me .Industrial Designer: No , uh this is just a description of what we see there .Project Manager: Yeah .Industrial Designer: So{disfmarker}User Interface: {vocalsound} Oh .Industrial Designer: Speaks for itself .Marketing: Yeah .User Interface: That's pretty much it .Project Manager: {vocalsound} Okay . Now it's my time to ruin everything .Well , not ruin everything , but {disfmarker} no , nah .User Interface: Oh sorry . {vocalsound}Project Manager: Finances , that's what we have here , what you drew . We have battery power , we have advanced chipsand the sam the sensor . The sample sensor and uh {disfmarker} for speak recognition anyway . So which {disfmarker} you see the {disfmarker} which is de o one of the most expensive parts . So {disfmarker} well ,we have sin one curve , {vocalsound} a design . Rubber design . And we had a special colour . Suppose yellow is a special colour . So just half a Euro for {gap} {disfmarker} You have pushbuttons and an L_C_D_display . You have the total of seventeen Euros in production cost ,Industrial Designer: Hmm .Project Manager: which is higher than the twelve and a half that we are permitted to use . So ,Marketing: Hmm .ProjectManager: easy . What do we scrap . Well think I had the best solution that I came up with is just to s take out the speech recognition .Industrial Designer: I dUser Interface: I'd say that too .Industrial Designer: Yeah.Project Manager: Because the L_C_D_ has more support on customer side .Industrial Designer: Hmm .Project Manager: There are ninety one percent of uh the people , or something like that . But ninety percent whofavour an L_C_D_ display , and only sixty percent that favour speech recognition . I think it's also harder to {disfmarker}User Interface: Uh we don't really have a extra function with the speech sample ,Marketing: Yeah.User Interface: which you can't do with a normal remote control ,Industrial Designer: Hmm .Project Manager: {gap} . So I juUser Interface: which people already do . So {disfmarker}Project Manager: I took that out .So {disfmarker} and so it's still stuck with thirteen , so I had to take out the special colour I suppose . And , yeah , I didn't see anything else I could take out . Yeah , I could take out the push-buttons ,Marketing:PushbutProject Manager: but we need those . So , generally what I came up with , in order to be cou to to have production cost of twelve and a half Euros , spe scrap speech recognitionIndustrial Designer: Huh .{vocalsound} {vocalsound}Marketing: Special colour , yeah .Project Manager: and the separate covers can account for the {disfmarker} if people want it , we'll just {disfmarker} then we'll do it in black . We'll justdeliver it in black , have the {disfmarker} it has all the function that it's supposed to have , and if you want it {disfmarker} if you want the custom design , then you can buy the separate covers .User Interface: Well,Project Manager: You make it d orange or whatever you want .User Interface: I'd {disfmarker} I tend to disagree with you on that , because the trend issue was a big issue when we started designing this .ProjectManager: It was a big issue , but {disfmarker}User Interface: So can't we just basically extend it to thirteen ?Project Manager: I'll just go back . Uh let's just {disfmarker} let's see what {disfmarker} okay , let's justsee what we {disfmarker} no , we we have to be under twelve and a half .Marketing: Yeah , it {disfmarker}Project Manager: It {disfmarker} it's not {disfmarker}Marketing: The pProject Manager: uh the project is ano-go if we go over twelve and a half ,Industrial Designer: Okay , but there's another problem .Marketing: And the pProject Manager: so .User Interface: Okay .Industrial Designer: But there's another problem.Marketing: What {disfmarker}Industrial Designer: If we take another cover , for instance black , then we also need another button frame , 'cause black and black doesn't work obviously .Project Manager: I think you{disfmarker} that's what you were ass assigned to do really , to to see how b th both those work together .Industrial Designer: Huh . Huh . Yeah .Project Manager: So I think {disfmarker} yeah , it's {disfmarker} Ithink it's y one of the {disfmarker} it's a good way to um to help people uh to make {disfmarker} to keep the product trendy too .Industrial Designer: Hmm .Project Manager: Just keep {disfmarker} you just make newcovers for the {disfmarker} for it ,Industrial Designer: Hmm .Project Manager: like we agreed before .Industrial Designer: Right . I agree .Project Manager: And everything that's left is is the basic function that uh thatwe want our product to have . Because the expensive parts are in either the advanced chip . But we need that for the L_C_D_ display .User Interface: Yeah . We do .Industrial Designer: Mm-hmm .Project Manager:Then again , we have the L_C_D_ display , which is also expensive . B yeah , but those go together . And yeah , we could take out the curve .Industrial Designer: Or say let's lose rubber , take plastic .User Interface:We could take out a curve indeed .Project Manager: Could {disfmarker} we could take out the curve . Is that an option ?Industrial Designer: Yes .Marketing: {gap} .Project Manager: For you ?Industrial Designer:Although we are demolishing a little bit the style .Marketing: But uh the {disfmarker} and {disfmarker}User Interface: I think the colour is more important than the really the curve ,Project Manager: Yeah .IndustrialDesigner: But {disfmarker}Project Manager: {vocalsound}User Interface: because if you just end up with an entirely black remote control {disfmarker}Project Manager: I think it's {disfmarker} it it does ruin it,Marketing: Yeah . The people {disfmarker}Project Manager: but the fact that I t took that decision or tIndustrial Designer: Yeah .Project Manager: Took this example actually , not really decision , but the example isbecause we do offer the um {vocalsound} the possibility of adding your own custom covers . So you can change {gap} any colour you want . So it's just you deliver a basic remote control with a possibility to changeyou into whatever you want .Industrial Designer: Can we then not also uh change the material ? We take plastic for the basic coverProject Manager: You can take plastic ,Industrial Designer: and {disfmarker}ProjectManager: but I d it's something that's stuck into my mind is that {disfmarker} something that really came forward from the marketing research is that people like the the the the squishy feeling of {disfmarker} thespongy feeling of the {disfmarker}Marketing: Spongy , yeah .Industrial Designer: We can put those to the to the other covers .Project Manager: and it really makes it {disfmarker} also makes it different from theexisting remote controls ,Marketing: Yeah .Project Manager: because they're all plastic .Marketing: And {disfmarker}Project Manager: So which in in turn {disfmarker} {vocalsound}Industrial Designer: That's true.Project Manager: Rubber would increase durabilityIndustrial Designer: But {disfmarker}Project Manager: because it doesn't break .Industrial Designer: okay . But what do you then suggest we'd lose ? Because wehave to lose two things and {disfmarker} I guess .Project Manager: I al like I said , I lost the speech recognition and I lost the special colour ,Marketing: But {disfmarker} {vocalsound}Industrial Designer: Yes .ProjectManager: which would make this black a black and grey .Industrial Designer: Okay , and that's enough ?Project Manager: Yeah , that's that that that's enough , becauseUser Interface: So black and grey is okay .ProjectManager: I guess those are the basic colours .Marketing: But {disfmarker}Project Manager: So {disfmarker} Oh .User Interface: {vocalsound} Which we can fabricate ,Industrial Designer: Hmm .Project Manager: Ithink those are basic col They want to {disfmarker}User Interface: okay .Marketing: The people want to pay for for it , so why why uh {vocalsound} do we have to keep us uh uh um on the twelve and a half ?ProjectManager: To ensure the profit . That {disfmarker} that's th that's the order . We're just uh {disfmarker} we're the project team and we got our our orders from the pro from the boss of our companyMarketing: Yeah.Project Manager: which say we don't wanna spend more than twelve fifty for this .Marketing: But we can take a risk .Project Manager: But that's not for our {disfmarker} that's not our decision to take . We have abudget of twelve fifty per product .User Interface: No , we basically {disfmarker}Marketing: Okay , yeah .Industrial Designer: Hmm .Project Manager: So {disfmarker}User Interface: We need to stick to that .ProjectManager: Stick that . I don't think it's really bad either . I mean if we we have the the backup of {disfmarker} or the backup design thingMarketing: I hope the people will like it ,Project Manager: to have{disfmarker}Marketing: but {disfmarker}Project Manager: I think they would do . Th I think they do like because yo we {disfmarker} you {disfmarker} we agree upon that the that the the the cover thing was a niceidea ,Marketing: {gap} {disfmarker}Project Manager: because p you could have all sort of designs while at the same time just manufacturing one product , one basic product which you could turn into any any taste youwant .Marketing: Yeah .Project Manager: So I think it's the best solution to make those cu custom covers for the design aspectIndustrial Designer: Perhaps we should make mMarketing: Yeah . {vocalsound}ProjectManager: and keep the functionality between {disfmarker} of {disfmarker} within the th the boundaries of the your f uh your budget .Industrial Designer: Huh .Marketing: The first sheet .Project Manager: So{disfmarker}Industrial Designer: Perhaps we should make clear to our customer that we had to do this to stay under the cost . And that's {disfmarker} uh they know that this is an option and that we had to drop theoption to stay under the cost , that they know that .Project Manager: {vocalsound} Well I don't think {disfmarker} Yeah . Is it worth {disfmarker} is it is it {disfmarker}Industrial Designer: Perhaps they decide thaUserInterface: But they don't {disfmarker}Project Manager: does it mean anything to the customer ? Like , it {disfmarker} like , we don't care {disfmarker} we don't care that you had to {disfmarker}Industrial Designer:Of course . Perhaps {gap} they uh {disfmarker} no , but perhaps they think uh okay , the cover is such a nice idea , uh let's {disfmarker} that that then they uh that allow us to make some more costs .ProjectManager: True ,Industrial Designer: We ca we uh we can at least tell them that {disfmarker}Project Manager: but we did we didn't get that . So I think it's {disfmarker}Industrial Designer: You don't know that .ProjectManager: it should either be a pack , maybe we sh that should be sold in in the s in stores with with a standard cover or something .User Interface: Well {disfmarker}Industrial Designer: Huh .Project Manager: But{disfmarker}Industrial Designer: No , I'm not uh talking about that cost {gap} but the one that g has given us the order to design this . We could at least m uh make it like this , like you said ,Project Manager: Theycould , but uh {disfmarker}Industrial Designer: and then tell them okay , we had to drop this and that , just that you know . It is an {disfmarker} still an option , but {vocalsound} not for this price .Project Manager:It's an option , but {disfmarker} yeah , it's true . So actually uh it's not that much of an increase , but yeah . We cannot contact them .User Interface: And if we {disfmarker}Project Manager: It's just the order that wegot .Industrial Designer: Exactly ,Project Manager: So that's what we gotta go with .Industrial Designer: but {disfmarker}Marketing: Yeah .Project Manager: So it's either one fi just just to get it f just to get it throughfinal , it's either {vocalsound} turned into plastic , drop the squishy feel , make it make it more breakable ,Marketing: Yeah .Industrial Designer: Hmm .Project Manager: um or turn it yellow . So {disfmarker}{vocalsound} It's uh something we have to decide on .Industrial Designer: I'd say lose the curve and the colourProject Manager: I say lose the curve . Oh that's true ,Industrial Designer: and {disfmarker}ProjectManager: we could lose the c I forgot that , yeah , sorry . Uh the curve . So {disfmarker} {vocalsound}User Interface: So which curve is that baProject Manager: That's just this one just d this is the banana curve .UserInterface: that's basically that curve .Industrial Designer: Hmm .Project Manager: So this would this would be straight .User Interface: So we could u still have the comfort .Marketing: Yeah , that's better .ProjectManager: No , uh {disfmarker} no , that would be a curve inside the thing , I guess . No , would ju then it would just be a straight remote . Just like {vocalsound} like that .Industrial Designer: Hmm .Project Manager:Which would , yeah , turn it into something far more ordinary . {gap} we could make it yellow then ,User Interface: I second that .Project Manager: but {disfmarker} You second that , you second that we lose the curve.User Interface: {vocalsound} No , that it would turn out to be a pretty straight-forward remote control .Project Manager: Okay , yeah .User Interface: So that's not really that {gap} {disfmarker}Marketing: Yeah .Yeah .Project Manager: So I think it would be a good idea to keep the curve {vocalsound} to separate it from the rest of the remote control world , so to speak .Industrial Designer: Hmm .Project Manager: So we keepthe curve . So the only only solution is either to use the l y lose the yellow or lose the rubber .User Interface: I would {disfmarker}Project Manager: And I'm in favour of keeping the rubber , because it has more moreadvantages than the colour yellow has .Industrial Designer: {vocalsound} Oh . I agree .User Interface: Yeah . I would say {disfmarker} I would agree with you on the colour ,Industrial Designer: No .Marketing: Yep.User Interface: because that's an extra option , an extra service we can deliver for a little bit of more money .Project Manager: Mm-hmm . Yeah , umUser Interface: So we can always do that .Project Manager: I guesspeople are willing to pay for that . So I think we can take that option and just {disfmarker} with uh with the idea in the back of our head that you can customise your remote control .Industrial Designer: Hmm?Marketing: Yeah . {vocalsound}Project Manager: So I think that would still make it a nice product .Industrial Designer: Yes .Project Manager: Okay , we're final on that . So {vocalsound} it's too bad we can't make thewhole super thing . But anyways we're here . Um yeah .User Interface: Which is basically what we discussed .Project Manager: This we discussed just now . That's just now {disfmarker} just {disfmarker} we could justdiscuss how the project went . I mean , was kind of {disfmarker}Marketing: And I want to do that .Project Manager: I sort of expected that everything would turn out this way , but because you {disfmarker} yeah ,everything cannot be for free . We didn't {disfmarker} I think it was too bad we didn't have the financial info the last time . Because that was {disfmarker} I thUser Interface: Yes ,Industrial Designer: Huh .ProjectManager: it was really essential reallyUser Interface: we could have {disfmarker}Project Manager: to ma because we spent uh uh entire stage designing a product of which we had no idea what it would cost .IndustrialDesigner: Hmm .Project Manager: So we just put something {disfmarker}Marketing: Yeah .Project Manager: I think it's really nor not in stroke with reality actually .Marketing: {vocalsound}Project Manager: So{disfmarker}Industrial Designer: Me too , I felt a bit blind throughout the project ,Project Manager: {vocalsound} Yeah .Industrial Designer: because in the beginning I had no list of available materials ,ProjectManager: Yeah , I think {gap} {disfmarker} would have been .Marketing: Yeah .Project Manager: Materials would be okIndustrial Designer: and then I d had not list of available c finances .Marketing: But{disfmarker}Project Manager: at least the last meeting I would have expected had to have that .Industrial Designer: So {disfmarker}Project Manager: So I suppose {disfmarker}Marketing: Let's um {vocalsound} see{gap} um {disfmarker}Project Manager: Yeah , let's see if it sells . I mean I suppose this sells , because it's very {disfmarker} {vocalsound} very extended .Marketing: Um {disfmarker}Project Manager: But{disfmarker}User Interface: Well I hope it sells . {vocalsound}Marketing: Let's {disfmarker} Uh {disfmarker}Project Manager: I suppose it sells ,Industrial Designer: Hmm .Project Manager: because it's good.Marketing: Oh .Project Manager: I mean it's got everything for the for the reasonable price , because we didn't know what it's gonna cost anyway .Industrial Designer: Hmm .Project Manager: {vocalsound}Marketing:Hmm . Okay , let's eval evaluate uh the product of us , our design . Um I have some {disfmarker} {vocalsound} uh a method , a requirements and scale of . I uh will pre present uh some statements and we will decidedtogether wha what {disfmarker} if it's true or falseProject Manager: Okay .Marketing: and uh then we see uh if the requirements of the user are fulfilled or not .Project Manager: {vocalsound} Have been met , okay.Marketing: And I will uh make a new blank sheetProject Manager: {vocalsound} Yeah .Marketing: So so the buttons , the look and feel . I thought it was okay , but the advanced uh settings , um screen , audio and"}
+{"doc_id":"doc_1","qid":"","text":"Project Manager: Is that alright now ? {vocalsound} Okay . Sorry ? Okay , everybody all set to start the meeting ? Okay , we've got half an hour for this one um to uh discuss the um functional design .Marketing: Couldyou plug me in ?User Interface: {vocalsound}Marketing: {vocalsound} Okay . Thanks .Project Manager: All ready to go ? Okay .Marketing: Okay . {vocalsound}Project Manager: Um so hopefully you've all beenworking away , and I've put the minutes of the last meeting in the project folder . Um so I guess just to to recap on uh what we did last time . Um kind of uh got to know each other a little bit and uh got familiar with allthe equipment and started to discuss um a bit about the project , you know , cost-wise how much how much money we had to s Um just want to tell you that you have three new requirements , which is the{disfmarker} The first one {vocalsound} is that um uh the company's decided that teletext is outdated uh because of how popular the internet is . Nobody uses teletext very much anymore , so we don't really need toconsider that in the functionality of the {disfmarker} of the remote control .Marketing: 'Kay .Project Manager: Um they've also suggested that we um we only use the remote control to control the television , not theV_C_R_ , D_V_D_ or anything else . I think the worry is that if the project becomes too complex then it'll affect um how long it takes us to get it into into production , the time to market . So um , we're just gonna keepit simple and it'll just control the T_V_ .Marketing: Okay .Project Manager: And the other thing was that the company want the corporate colour and slogan to be implemented in the new design . Um I'm not entirelysure what the corporate colour is . It might be yellow , because there seems to be a lot of yellow everywhere .Marketing: And the slogan , like the actual written slogan , or just to embody the idea of the slogan ?ProjectManager: Well that's the thing , I'm I'm not sure um {vocalsound} uh th because on the the company website , uh what does it say {disfmarker} Uh something {disfmarker}Marketing: 'Bout putting the fashion inelectronics .Industrial Designer: Mm yeah .Project Manager: Yeah , I mean do they {disfmarker} {vocalsound} Is that something they want actually written on it , 'cause it's quite long . Um or yeah , just the idea , butI'm not sure . So that's something we can discuss as well . So those are the three things , just not to worry about teletext , uh only control the T_V_ , and um and uh incorporate the uh colour and slogan of the company. Um so is everybody okay with any of that , or do you want me to recap at all ?Industrial Designer: Nope , we're all set .Project Manager: Right um , time for presentations then . Who would like to go first ?UserInterface: {vocalsound} I'll go first .Project Manager: Okay , cool .Marketing: Sure .User Interface: Alright um , can I st steal this from the back of your laptop ? Uh {disfmarker}Project Manager: Oh yeah , of course ,yeah . G go on ahead .Marketing: {vocalsound}User Interface: {gap} so this is the technical functions design . Um {vocalsound} {disfmarker} Right {gap} to do the um {vocalsound} the design I have I've had a lookonline , I've had a look at the homepage , which has given us um some insp inspiration from previous products .Project Manager: Mm-hmm .User Interface: Um I've had a look at the previous products to see what theyoffer and um I would like to ask you guys for um {vocalsound} your ideas about the design at the end of the meeting . Um unfortunately we're not allowed to talk outside the meeting room , so {disfmarker}ProjectManager: {vocalsound} Okay .Marketing: Right .User Interface: Um , having a look at the existing products , I found out that um it tends to come in sort of two extremes , there's either um a very complicated onethat's got lots of buttons , lots of colours , very confusing , you don't know what you're doing . {vocalsound} Um in that case the the labelling tends to be very bad . Um there's an example I'll show you at the end , um{gap} sh show you now . Uh {disfmarker} {vocalsound}Project Manager: {vocalsound} Alright {gap} .User Interface: {gap} here um the button there and there . This one's prog . Sorry . That one's perg and thatone's prog , and it doesn't really tell you what it does . Um , not sure if you had a a look at the other um control in that example . Um it's a very simple one . It's got only the basic functions mm but um {vocalsound} it'sthe same size as the the hard to use one .Project Manager: Oop .User Interface: {vocalsound} Uh it looked a bit clunky . They're very big and not very much use for {gap} buttons . {vocalsound} Um , {vocalsound}and it's just very hard to access the advanced functions . There's there's nothing for instance for a slow motion button . Um , my own preferences , I prefer the the clunky one . Um it's very easy to use . Um butunfortunately it does lack the advanced functions which I I quite like having on the controls . {vocalsound} Um so I believe the the advanced functions should maybe be hidden in a drawer , or something like tha {gap}from the bottom of it . So , {vocalsound} now I'd like to ask for your preferences . Um not sure of how long we've got , uh {disfmarker}Project Manager: Um . Well we can chat away for uh for five minutes or so I thinkat at most .Marketing: Mm-hmm .Project Manager: Just a couple of minutes anyway .Marketing: M yeah , like a lot of a lot of what I've um read and prepared for this meeting fits in really closely with what with whatCraig's just gone over . So in part I could I could give you some of my personal preferences but I could also th add some to this which is just about sort of um sort of market research .Project Manager: Mm-hmm.Marketing: But anyway ,Project Manager: Shall we sh well we'll stick to kind of your area for now .Marketing: um we might come to that later .Industrial Designer: Which which is the clunky one , the one on left or onthe right?. .User Interface: {vocalsound} Um , the clunky one is the one on the right .Industrial Designer: Okay .Project Manager: Yeah .Marketing: Um clunky in what sense , like um h heavier ? Larger ?User Interface:Um I think it's supposed to be the same size , but um it's got much fewer buttons . It's , you know , it's very spread outMarketing: I see , so it's more just basic .Project Manager: Looks kind of {disfmarker} Yeah .UserInterface: and kind of {disfmarker} you knowMarketing: Right , okay .User Interface: , I get the idea it'd be sort of about this size . {vocalsound} {gap} got very few buttons on it and {disfmarker}Marketing: Yeah.Industrial Designer: {vocalsound}Marketing: Yeah . Sure .Project Manager: Well I think it's a valid point . I mean like the one on the left looks quite um quite complicated , and that P_R_T_ p P_R_O_T_ thing isincredibly confusing . Um so I see I see why yo you know you might prefer the simpler design , but yeah you don't want to lose out on , you know , what it does , so maybe you knowMarketing: Mm-hmm .ProjectManager: you know you get a lot of remote controls where you kind of flip the thing open ,Industrial Designer: {vocalsound}Project Manager: I think that's a good idea .Marketing: Mm-hmm .Project Manager: I thinkit's a good idea . {vocalsound}Marketing: Mm-hmm .User Interface: Um , {vocalsound} do we have any functions that um we'd want on it ?Marketing: Mm-hmm .User Interface: I mean so far I've got um on and off ,um switch the channel up and down , and put the volume up and down .Project Manager: Mm-hmm . Uh-huh .User Interface: Um they're just the the very basics you could use for a T_V_ .Project Manager: Uh-huh ,and then actual numbers for channels as well , yeah .User Interface: Okay . Um , you say that's a h a required one or a requested one ? Would you likeMarketing: Which was that ?User Interface: um the channels likethe the numbers on thing , um {disfmarker}Marketing: Up {disfmarker} the numbers , or the up down ?Project Manager: God , I wou I would say that's required ,Marketing: {vocalsound}Project Manager: I meanthere's no way anybody's gonna buy a remote control these days when if you can't actually individually select channels ,Marketing: Yeah .Project Manager: I mean would anybody disagree with that ?Marketing: Yeah.Project Manager: Um , what else , uh {disfmarker} {vocalsound} So don't need to worry about teletext ,Marketing: {vocalsound}Project Manager: don't need to worry about V_C_R_ , uh any kind of like displaycontrols at all do you think we need to worry about ,Marketing: We don't ? No ?Project Manager: you know like brightness and contrast ?Marketing: Yeah . Well I think I think es essentially what we're doing right now iswe're categorising . We're saying well we want this to be a product that offers all the sort of more tricky features but we want them to be in another area ?Project Manager: Mm .Marketing: Is that right ?ProjectManager: Yeah .Marketing: Is that what we're we're doing ?User Interface: Um , yeah .Marketing: We're kind of like sorting them an Or are we actually eliminating things we just don't want the product to have ?UserInterface: Um {disfmarker}Project Manager: I think {disfmarker} are you are you maybe kind of thinking what we absolutely have to have and what would be nice ?User Interface: Uh , to start with um sort of a bitboth , um we need to find out exactly what we have to haveProject Manager: Mm-hmm .User Interface: um and after that we can add things if they're possible .Project Manager: Okay , right . Well , do you wannamaybe just , at this point decide on what we absolutely must have as a p as a function of this .Marketing: Yeah .Project Manager: Um , so so far , just to recap you've got volume and channel control and{disfmarker}Marketing: Yep .User Interface: There's um on and off , um volume and channel , and skip to certain channels with the numbers .Project Manager: Right okay . Um {disfmarker}Marketing: Well , one oneway I would look at this um would be that we a approach the different controls in terms of um like control types , so that for the user it's very clear what they want to do where they go .Project Manager: Mm-hmm yeah.Marketing: Uh and also think maybe a little bit about sorta w w what would just wanna be acc easily accessible .Project Manager: OkaMarketing: For example if we had audio controls , those could be something peopleset up very rarely . Maybe they're un they're they're they're in a little area but covered up um ,Project Manager: Mm-hmm .Marketing: things like channel and volume um are used all the time , so we just have themright out on top , um very just very sort of self-explanatory . Um so maybe we need to think about having three or more groupings of controls , you know like one which are just the the habitual ones that should be rightwithin your natural grip . And others that are uh also availableIndustrial Designer: {vocalsound}Marketing: and then others that are concealed .Project Manager: Okay .Marketing: Something like that .Project Manager:Uh well , just to to wrap up quickly on this this little section {disfmarker} Have I just lost {disfmarker} Oh no . Um , uh do you think maybe that's the only kind of uh essential requirements , and then maybe just thingsthat would be nice if it could do would be things like audio set up and display set up and things like that , maybe like a mute button , that sort of thing . Any of {disfmarker} you anything to add to that at all ?Marketing:Yeah .Industrial Designer: No .Project Manager: No .Industrial Designer: I'll add it later , I guess {gap} the presentation .Project Manager: Okay , right .Marketing: Mm-hmm . Yeah .Project Manager: Um okay,Industrial Designer: {vocalsound}Project Manager: if we can move on to next presentation then please . UmMarketing: Sure .Project Manager: Do you wanna {disfmarker}User Interface: {vocalsound} Do you want toswitch places ?Marketing: Can this can this pl reach ? Can this plug come across ?Industrial Designer: No . No .Project Manager: Probably not , actually .Marketing: No .Project Manager: {gap}Marketing: So why don't Ijust pick up and move then .Project Manager: Yeah .Marketing: Here , I'll just {vocalsound} Why don't I just {disfmarker} {vocalsound}User Interface: Just just switch them .Marketing: Mm er , can you go up behindme ? Kinda {disfmarker} This is so {disfmarker} This {disfmarker}Project Manager: {vocalsound} {gap} bit complicated . It'd be nice if everything was wireless , wouldn't it ?Marketing: I'm all in a knot now .IndustrialDesigner: {vocalsound}Marketing: Okay .Project Manager: Right .Industrial Designer: {vocalsound}Marketing: Um . So I can I can say already , I dunno whether this is for good or for bad but there'll be a lot of kind ofuh redundancy in the in the the issues and the the uh {vocalsound} the things .Project Manager: Oh , like overlap between what you said ?Marketing: Yeah , yeah .Project Manager: Oh well , for all you know that{disfmarker} that'll happen .Marketing: Which is ma not necessarily a bad thing , but may what I've already started doing is cr I created a slide in in my presentation here so um so that we kind of think well what's thecumulative effect of what we've taken from your ideas and and mine , because certainly I I have a hard time separating separating things completely .Project Manager: Mm hard to know what {disfmarker} where yourrole ends , yeah .Marketing: Obviously obviously what you've just told me what you've just told me impacts a lot on what um like market research mm that that I've been {disfmarker}Project Manager: Okay.Marketing: So how do I how do I get this up ?Industrial Designer: Um function F_ eight .Project Manager: Uh pr yeah , press function and F_ eight , yeah .Marketing: Okay . Okay . Alright . So {disfmarker} F_ eight?Industrial Designer: Function , the blue button . Next to the control on the left . Yeah .Marketing: Oh , and F_ eight . Okay .Industrial Designer: You have to push it together .Project Manager: Mm .Marketing: Mm-hmm.Industrial Designer: Yep .Marketing: Okay , I think that that's doing it now .Industrial Designer: Nope . Try that again .Marketing: Uh , again ?Industrial Designer: Wait .User Interface: Think maybe the the wire in theback might be loose .Marketing: Okay .Project Manager: Yeah , you wanna {disfmarker} Oh oh here we go .Marketing: Um ,Industrial Designer: Yep , there we go .Project Manager: There you go .Marketing:{vocalsound} okay great . Okay . Just um {disfmarker} Before I bring this up what I'll just say is um what I've what I've done is tried to collect some information so that I can then relay this to to you guys so that it's{disfmarker} now becomes a collective thing . And then kind of lead us in the direction of deciding , 'kay what what are our options , what should we decide and do you know what I mean , so .Industrial Designer:{gap} Increase that 'cause we can't see the {disfmarker}Project Manager: Um {disfmarker}Marketing: Okay .Project Manager: Okay .Industrial Designer: That's much better .Project Manager: Right . Can you um{disfmarker}Industrial Designer: There you go .Project Manager: Right , okay .Marketing: Okay . Alright . That would be {disfmarker} Okay . So um does that make sense ? So what I basically got is I just looked intosome information and sort of th tried to think about how how we could review it and how we could {disfmarker} and what kind of decisions we could take away from it and then maybe by the end of just looking at someof these things we can think about what are our priorities . 'Cause certainly there's lots of different information to go through . So um I'm thinking here about uh primarily about customer needs , that we start with thecustomer , and w you know , what they want and what are issues with with um existing products . Uh to think about trends and also about {disfmarker} try and connect that as you see with the company vision which isabout fashion in electronics . Um and then , as I say uh w we'd like to prioritise our design features from this and um {disfmarker}Project Manager: {vocalsound}Industrial Designer: Bouncing on top .{vocalsound}Marketing: Dunno . Okay . Um .Project Manager: Yeah .Marketing: So this is what I've found here , um a lot of this is new to me , so we'll just read through together . Um , users dislike the look and feel ofcurrent remote controls . So they find them ugly . Most people find them ugly . Um {vocalsound} the vast majority would spend more money for it to look fancy as well , we'll see later , the vast majority would spendmore money for um slightly more intuitive control , such as voice recognition .Project Manager: Mm-hmm .Marketing: Okay I'm gonna {disfmarker} we'll look at that in a second . Um most people use only a f a veryslim portion of all the controls . So I guess what we're looking at here is people want this h technology , they tend to use the most simple controls and overall they find remote controls to be something they don't{disfmarker} doesn't really appeal to them .Project Manager: Mm-hmm .Marketing: So I think what we're doing is we're trying to take like {disfmarker} if for me this is sorta like three different different um inspirations, you know , one is that we want uh something that's high-tech but we want it to seem easy . And in spite of the primitive side of it and the very high-tech side , we want it to just be an appealing piece of equipment inpeople's hands . Um , {vocalsound} frustrations . They get lost a lot , s as it came up in our last meeting . Um , takes time to learn how to use them . This is uh why I mention when Craig was uh showing us some ideasthat we actually try and group controls , so d it doesn't just look like a big panel , kinda like when you you look at , you know , a new computer keyboard , or something that is quite explanatory . If you want audio , ifyou want visual , then you have those . Um and I will admit I don't know what R_S_I_ stands for .Project Manager: Repetitive strain injury .Industrial Designer: Is installing a new remote control something that people{disfmarker}Marketing: Uh , no , that did not come up at all . Um so here here is another um sort of a a review here of the main things . I also found that most people would uh adults at least would pay more for voicerecognition . Now apparently we do have access to all the tech cutting edge technology in remote control . So I dunno if that's possible we might consider getting into it . Um . {vocalsound} And and again here as wesort of move m sort of thin start thinking about how we wanna sell and market this , I think a recurring theme here is the company wants it to be {disfmarker} wants us to make something that's fashionable and sleekand trendy .Project Manager: Mm-hmm .Marketing: Um people {vocalsound} uh additionally aren't aren't liking the appearance of their products , so we wanna think about as we take all the sort of the techie featureshow we can um put that into a unit which is which people like .Project Manager: Okay .Marketing: You know , they like the aesthetics and the ergonomics .Project Manager: So want something that looks good and iseasy to use , big priorities .Marketing: Yeah .Project Manager: Okay .Marketing: Yeah , so you know just c looking at what what Craig um Craig's i uh ideas are s sorta tell me that maybe what we wanna do is try andum separate the different things that we wanna include in this . So if we do say well we want there to be all the technology will we try and make that almost be like optional technology . You know , it's like like I find alot of T_V_s these days , something really like about 'em is if you wanna just turn 'em on and off you can , but they have little panels where you click and there's just like tons of features you go through .ProjectManager: Mm . So it {disfmarker} you wanna group all the different kind of types of functions together , you know .Marketing: {vocalsound} Yeah .Project Manager: That's {disfmarker} I think it's a good idea.Marketing: Yeah . That's s that's sort of the um {disfmarker} But I {disfmarker} I'm {disfmarker} my hope here is that I'm putting out this information so that we can then say okay , well how do we collectively moveon with it .Project Manager: Mm-hmm . Okay .Marketing: Um I I haven't brought out one specific marketing idea , although my sense is that what we should try and think about is what are the current trends inmaterials and shapes and styles , and then use that .Project Manager: Mm-hmm .Marketing: But not let that confine us technologically .Project Manager: Okay . Right .Marketing: So Alright ? Any um comments on all ofthat ? {vocalsound}Project Manager: {vocalsound} Well , um one of the things that we have to decide on by the end of the meeting is who we're gonna be um {disfmarker} who's our our target audience , our targetmarket .Marketing: That's uh {disfmarker}Project Manager: Um , so if we want something that that looks good and is easy to use , but has y is fairly powerful product , whatever , who do we really want to aim that at"}
+{"doc_id":"doc_2","qid":"","text":"Marketing: Hello .Project Manager: {gap} . {gap} .Marketing: Yes , I made it . English from now on {vocalsound} . {vocalsound}Industrial Designer: {vocalsound} {gap} . {vocalsound}Marketing: Drawing or{disfmarker}Project Manager: Yeah just testing .Marketing: Yeah .Project Manager: Mm ? English .Industrial Designer: Just kidding .Project Manager: {gap} .Industrial Designer: So annoying .Project Manager: Break isover .Marketing: Ooh it works .Project Manager: Whoo .Marketing: {vocalsound} Spicy .Project Manager: {vocalsound} Spicy .Marketing: Where are are all the other presentations ?Industrial Designer: I just put it inthe in the shared folder so it should be {disfmarker}Marketing: The conceptual or {disfmarker}Industrial Designer: yeah I think so . Yeah , conceptual design . What or whatever does it {disfmarker}Marketing: Ah .Because I see only my own presentation {vocalsound} {gap}User Interface: {vocalsound}Industrial Designer: No no no , can you go back one ?Marketing: yeah .Industrial Designer: Uh 'cause it has to be PowerPointpre yeah components design , that's it .Marketing: This ? {gap} I'll just put it in there .Project Manager: So , he's coming .Industrial Designer: {gap} . {vocalsound} I did get a bit more done than the last time,Marketing: Or not .User Interface: Okay .Project Manager: Oh okay .Industrial Designer: 'cause I knew that I didn't have time so I just copy and paste everything into the {disfmarker}User Interface:{vocalsound}Marketing: Ah ,Project Manager: Ah . She {gap} .Marketing: I can't cut and paste it into the other folder but {disfmarker}Project Manager: You can look at the final report , 'cause I have to recordeverything we are deciding and such , so I'm trying to write it down between everything else .Marketing: Move to meeting room .Industrial Designer: {vocalsound} Sometimes I have these pop-ups or these sounds andthere's nothing there ,Marketing: Yeah .Project Manager: Oh .Industrial Designer: and also with {disfmarker} I don't know how to use PowerPoint , so it takes me forever to get something done with it .Marketing: Yeahme too , {gap} .User Interface: {vocalsound} I I've got the same problem as well . {vocalsound}Marketing: {vocalsound} {vocalsound}Project Manager: {vocalsound}Industrial Designer: Yeah .Project Manager: Yeah.Marketing: Yeah .Project Manager: Here we go again . Welcome . Uh we have again three presentations and then we have to decide on what concepts the mobile phone has to uh {disfmarker} f the remote control hasto support .Industrial Designer: ThiProject Manager: So who wants go .Industrial Designer: Mm-hmm .Marketing: Yes .Project Manager: Yes ?Industrial Designer: Who wants to start ?Marketing: Me first again or{disfmarker}Project Manager: Yeah sure . Doesn't matter .User Interface: Oh . No . Yeah . No problemMarketing: yeah . Alright . Did you open it already or {disfmarker}Project Manager: No .Marketing: no . Ah . Ah .Yes . So welcome to the marketing presentation once again . Um this time about trendwatching . {vocalsound} Uh well there has been inv investigation again , in the in the remote control market . Uh it shows a numberof developments . Uh I will address them uh in a moment . Um fashion watch watchers uh have detected the trends for young public , because that's our public . Um well fruit and vegetables will be will be the mostimportant theme for clothing , uh shoes and furniture . And the feel of the material is expected to be spongey . So um the developments I will address them {disfmarker}Project Manager: {vocalsound}Marketing: ohyeah well this is the fruit and vegetables looks of fresh bright colours . So to give you an idea . Um well the developments ? Uh development one . {vocalsound} Uh well most important aspect for remote controlhappens to be a fancy look-and-feel . Instead of the current uh functional look-and-feel . Um well fancy stands for an original look-and-feel of the case and the interface . And the second most important aspect is that aremote control should be technological uh innovative . Um well it stands for the use of technical features that do not exist in current remote controls . I think we pretty much covered that with our screen and um andspeech recognition ,Industrial Designer: Sound . Yeah yeah uh uh .Marketing: so I don't expect that to be a problem . And the third development um is that the remote control should be easy to use . Um {disfmarker}Well the first aspect uh was twice as important as the second aspect,w which was twice as important as the third aspect .Project Manager: Mm-hmm .Marketing: So um that kind of gets you this ratios . So fancylook-and-feel uh is the most important uh point of attention .Project Manager: {gap} .Marketing: Uh so the fruits and vegetables in combination with the spongey material . Um well technolog technological innovation ,we've covered that pretty much I guess . Um and easy to use , I don't think that will be problem . So my point of attention is especially this part .Industrial Designer: Yeah .Marketing: That this will be a crux . So thatwas the marketing uh presentation . I had only one document left .Industrial Designer: And shall I go first ?User Interface: Yeah . No . I I don't mi I don't mind .Industrial Designer: So I {disfmarker}User Interface:That's {disfmarker}Project Manager: {vocalsound} Yeah yeah sure . No .Marketing: So kind of this {disfmarker}User Interface: Do you want to go first ? Okay .Industrial Designer: Yeah ?Marketing: {vocalsound} So ak a small example .User Interface: {vocalsound} Yeah .Marketing: Kind of this this look .User Interface: {vocalsound}Marketing: Uh nothing about the buttons but just sponge kind of thing , and and some fruit andcoloursUser Interface: Yeah .Marketing: I dunno . {vocalsound} Just made a quick design .User Interface: {vocalsound}Project Manager: Cool . {vocalsound} Yeah you're just the user interface hmm ?User Interface:It's better than than my uh drawing . {vocalsound}Industrial Designer: Alright .Marketing: Alright . {vocalsound}User Interface: Yeah okay but I have to design the {disfmarker}Industrial Designer: Uh components.Project Manager: Yeah layout .User Interface: Yeah .Project Manager: Yeah okay .Industrial Designer: Oh no .Marketing: Yeah . It's okay .Project Manager: You probably opened it .Industrial Designer: Yeah true . Um{disfmarker}Project Manager: F_ five .Marketing: F_ five .Industrial Designer: Alright . So {vocalsound}Marketing: {vocalsound}Industrial Designer: I'm dealing with the components design . Um let's see . I uh usedsome design examples we had uh from similar products . And I used uh possibilities from our manufacturing department about current components which will have to be implemented in the design . That's why I had to ,wanted to go first . Well they gave me um an idea about what people want . We're f mainly focusing on this group , but I want to make the distinction clear . Uh I could not drag the pictures into the the slides so s so Idon't have examples of how it looks like . But it comes down to what you uh what you think we should do with the spongey and the fruity looking uh type . If you , the young dynamic people want soft primary colours uh, which looks like fruits you know , you can {disfmarker} and shapes that are curved and not uh solid straight lines anymore . So this basically um yeah goes on to what you were mentioning earlier . There is a lot of um{vocalsound} factors involved in choosing the components .User Interface: {vocalsound}Project Manager: {vocalsound}Industrial Designer: There's a lot of options that we have to discuss . Uh for example the energysource . we have four types . The basic battery . Uh we have a hand dynamo , which we yeah we Dutch refer to it as the kneipgatt .Project Manager: Yeah .Industrial Designer: Uh the kinetic provision of energy whichmeans if you move the thing , if you shake it .Project Manager: {vocalsound}Industrial Designer: Which will be fun for toddlers right , if they wanna use the {disfmarker}Project Manager: {vocalsound}Marketing: Yeah.Industrial Designer: And uh of course solar cells . But I dunno how we would use that into the design of the actual product .Marketing: Wi an indoors .Industrial Designer: So uh my {disfmarker}Project Manager: Yeahokay .Marketing: Oh .Project Manager: Calculator's can do it .Industrial Designer: yeah also also in you know countries where there's n isn't much light like in Scandinavia , they wouldn't be y able to use it half of theyear you know .User Interface: {vocalsound} Yeah .Marketing: {vocalsound} Yeah .Project Manager: Mm-hmm .Industrial Designer: So that's not cool either . So um {vocalsound} for the uh a case , there's uh thetraditional uncurved flat hard case . Single curved , which means that it has uh curves in one dimension . Or the double curved . Um {vocalsound} I wasn't able to finish my uh personal preferences sheet , but well youknow that we will have to go for the double curved 'cause it's daring and different from what we have now . Uh the case materials .Marketing: Yeah .Industrial Designer: Well we have all kinds of hard uh materials likethe the hard plastic , the wood and the titanium . I would definitely go for rubber 'cause it fits most in what people wanna see nowadays .Marketing: Yeah .Industrial Designer: Um poo , this is a lot of text . I wasn't ableto organise this yet . We have yeah several uh interface designs . Uh we can use a scroll buttons for the menus , but we already kind of decided to go for the f for the pushbuttons , for the the arrow buttons .UserInterface: Yeah . Pushbuttons . Yeah .Industrial Designer: So that's not really interesting .Marketing: Yeah .Industrial Designer: Electronics ? Yeah , {vocalsound} maybe we wanna decide on what electronics to use{gap} the advanced chip I think is easiest to implement uh for the production , 'cause they they can print it better . Um {disfmarker} Yeah . I think this is about it . Yeah I was working on some per personal preferences. I first uh chose for the battery , 'cause yeah I'm traditional and that's the most obvious , easiest choice to go to . But I really think that we should maybe uh think about the kinetic energy ,User Interface: Yeah.Industrial Designer: where you have to move the thing to be able to use it .User Interface: Yeah .Project Manager: Yeah .User Interface: As an optional uh feature .Marketing: Yeah .User Interface: Or combine uh bothwith a with one uhProject Manager: Uh I think you can only fit one uh source of energy on the {disfmarker}Industrial Designer: Yeah maybe we {disfmarker}Marketing: I guess we can only choose one .User Interface:Okay .Industrial Designer: I can imagine that the kinetic uh type energy source would be more expensive to make . But it is more longlasting , that the people don't have to ever buy batteries again .Project Manager:YeahMarketing: Yeah . And it's more fun .Project Manager: I didn't receive any info uh .Industrial Designer: And it's also more fun yeah . I always chuck my uh remote control around , so {disfmarker}Marketing: Yeah ,just playing with itProject Manager: Yeah .Marketing: and {disfmarker} especially when the material's rubber . It can be done , I mean , you can't harm it ,Project Manager: S yeah it's safe .User Interface:{vocalsound} And throw it {gap} .Industrial Designer: Yeah y exactly .Marketing: so it's a perfect combination I guess .Industrial Designer: You don't have to be scared about bouncing it off the g floor and breaking itor whatever .User Interface: {vocalsound}Marketing: Yeah .User Interface: Okay .Industrial Designer: So that's the end of it .User Interface: Yeah .Marketing: So {disfmarker}Project Manager: 'Kay next .IndustrialDesigner: Uh go ahead .Marketing: So double curved is like this , this , this , or {disfmarker}Industrial Designer: No it means curved in two dimensions . So uh w single curved ? Uh let's say would be a b square box ,but then with curves on one dimension .Marketing: Mm .Industrial Designer: And double curved would means that it would have curves curves in every direction . Like three D_ . Yeah .Marketing: Yeah . Also in in height?Project Manager: Uh {disfmarker}Marketing: Yeah okay .Project Manager: Okay . Can we uh {disfmarker}User Interface: Yeah . One one uh very important thing I was uh yeah thinking about is the speech uh option .We were going to use that .Project Manager: Yeah .User Interface: Yeah . So um {disfmarker} {vocalsound} Yeah um yeah that's one thing uh which I'm not sure uh of how to implement it uh into the remote control.Project Manager: Well the visual representation is not there with speechIndustrial Designer: Design ?User Interface: No okay but it has to be combined with with the menu uh for functions and {disfmarker}ProjectManager: but you can {disfmarker} Yeah . Just {disfmarker} yeah .User Interface: So okay .Project Manager: I think you can just uh match the speech commands with the functions that are already present .UserInterface: Yeah .Project Manager: So I don't think you have to design anything else for that .User Interface: Okay .Marketing: Yeah with the programme .User Interface: But do uh j do we uh do the speech just for thebasic options , for the simple buttons ?Project Manager: Both .User Interface: For for everything ,Project Manager: Yeah .User Interface: also for the advanced options ? Okay . Uh we have this {gap} very uh basic uhtrendy design . Everybody says it so that's what's uh {disfmarker} yeah um {disfmarker} Yeah in the in the last uh meeting we uh we were yeah putting the the simple and the advanced options separated . That's yeahobvious . Um yeah . Pressing the the menu option uh will disable uh all other options on your uh remote control . And only the the L_C_D_ panel will uh light up and then you can only uh change the yeah the options.Marketing: And and the and the buttons that you need to control it , I guess .Project Manager: Yeah .User Interface: Yeah . Um yeah design has to be very attractive but that's your your op your {disfmarker} yeah.Project Manager: {vocalsound}User Interface: {gap} {vocalsound} you have to uh delete this but this is the the the simple uh layout .Project Manager: Yeah .User Interface: Uh display on the upper side with the themenu button and maybe a some sort of cancel button or save button .Project Manager: That would be the back .User Interface: I'm {disfmarker} The back .Project Manager: Back and okay .Marketing: Yeah .UserInterface: Back and okay yeah .Marketing: {vocalsound} Back and okay .Project Manager: You did read the minutes I wrote ?User Interface: Uh {disfmarker}Project Manager: You did read the minutes I wrote ?UserInterface: What ? A little bit I think but not not everything wIndustrial Designer: I {disfmarker}Project Manager: Oh okay 'cause I pretty much summed up all the buttons there were . So {disfmarker}User Interface:Okay . Oh {vocalsound} I uh didn't read that .Project Manager: I hate doing work for nothing . {vocalsound}User Interface: But {disfmarker} {vocalsound} But this is the the basic uh design uh for the for the m yeahfor the buttons .Marketing: {vocalsound}User Interface: Um {disfmarker} I wanted to to categorise everything . Uh with a speech display uh yeah , sound , everything you you noted in your uh minutes . Um everypushbutton has uh has its own uh LED light .Project Manager: Mm-hmm .User Interface: So you can uh yeah change uh m make it more trendy for for younger people . And uh if there are older people they wantedmore uh yeah more uh luxurous {disfmarker} so that's an a also an option . Um that was it .Project Manager: {vocalsound} That was it ?User Interface: {vocalsound} Yeah .Project Manager: Okay . Uh {disfmarker}{gap} again . Ugh . {vocalsound} Okay so what we have to decide is what kind of components do we use ? Uh energy source , chip type , case type . And user interface . But I didn't see a clear distinction betweenthese so I think what we have is okay . So we only , we already decided that kinetic would be the choice for energy .Marketing: No .Project Manager: Uh the case would be doubly curved . So {disfmarker}IndustrialDesigner: And rubber . Rubber material .Marketing: Rubber material .Project Manager: Rubber material . And that's the only thing we have left .Industrial Designer: Yeah we need the the chip on print to be able tosupport the the screen and uh and f audio function .Project Manager: Oh okay . No it's easy . {vocalsound}Marketing: So that's uh {disfmarker} is that is that the advanced chip ? {vocalsound}Industrial Designer: Yeah. Yeah .Project Manager: Advanced chip . Okay .Industrial Designer: Otherwise you would have a simple chip , just for pressing buttons . But we need more .Marketing: Wow . Yeah . Alright .Industrial Designer: I'm justthinking , this is not my department , but I I'm not sure what this is gonna cost ,Marketing: Kinetic . Double curved .Project Manager: Too {gap} .Industrial Designer: to be able to mProject Manager: Uh I didn't get anyinfo on this . So {disfmarker}Marketing: {gap} .Industrial Designer: So 'cause we need to sell it for twenty five Euro a piece .Project Manager: Yeah .User Interface: {vocalsound} Yeah .Industrial Designer: That'sgonna be difficult huh ?Marketing: The cost of making it should be twelve and a half ?Project Manager: I have total here .Industrial Designer: Yeah .Marketing: {vocalsound}Project Manager: Yeah I don't know.Industrial Designer: Yeah yeah yeah .Project Manager: I didn't get any information about that so {disfmarker}User Interface: {gap} . We're going to produce it in uh China so it's no problem .Project Manager: Yeah.Industrial Designer: {vocalsound} Child labour man , we love it .User Interface: {vocalsound}Marketing: {vocalsound} Yeah , so it's cheap .Project Manager: Who doesn't . Uh let's see . Is there a new thing?Marketing: Um well the interface type supplements .Project Manager: Yeah the interface , maybe can {disfmarker}User Interface: Uh it's it's quite difficult because we we haven't got all the options uh {disfmarker}yeah .Project Manager: Ooh . No . Uh do you have a picture of doubly curved case ? And could you put that in the group folder ? Of the project folder .Industrial Designer: Um let me see . Wait a sec .Marketing: If yougo to your homepage or something , you shouldIndustrial Designer: Yeah I'm going there now .Marketing: get your own information .Industrial Designer: Inspiration .Marketing: I got my fresh and fyoo fruity uh pictureuh also uh over there , so {disfmarker}Project Manager: {vocalsound} Ah you didn't draw it yourself .User Interface: {vocalsound}Industrial Designer: Well {disfmarker}Marketing: No .Project Manager: {vocalsound}Ah .Marketing: {vocalsound} Too less time .Industrial Designer: Um {disfmarker} yeah maybe it's {disfmarker}Marketing: Yeah , also the menu .User Interface: Yeah .Marketing: Yeah that that wUser Interface: This isthe the menu I was uh looking uh at .Marketing: Yeah . Yeah I was thinking of that also , with with a with a uh arrow .Industrial Designer: Maybe it's easier {disfmarker}User Interface: Yeah .Project Manager: Arrow.User Interface: Arrow yeah .Project Manager: Yeah .Marketing: So that indicates that there's an menu under that menu .Industrial Designer: Yeah . Yeah perfect .User Interface: Yeah .Marketing: So{disfmarker}Project Manager: {gap} . 'S the target group .Industrial Designer: Maybe it's easier if you guys come over here .User Interface: S yeah .Project Manager: Yeah sure . {vocalsound}Industrial Designer: Ssee this is the the the standard traditional type , where the form uh yeah serves the function , you know .Marketing: Oh yeah .Industrial Designer: It's like really basic . But this m is more appealing to old people and wedon't want that .Marketing: Yeah .Project Manager: Yeah . {vocalsound}Industrial Designer: This is what we're looking for . And th that means curved in both dire dire uh dimensions .Project Manager: Oh okay . I see.Industrial Designer: Not only like this but it has to be {disfmarker}Project Manager: Yeah also like this . So you can hold it .Industrial Designer: exactly . It has to be kind of instead of the PlayStation , the module . Ithas to be like the the Game Cube , you know ,User Interface: Yeah .Industrial Designer: where your thumbs would be laying in the instrument and it has to be nice to hold . And {disfmarker}User Interface: But it hasalso to {disfmarker} it it has also to be uh luxurous uh for for yeah rich people .Project Manager: {gap} .User Interface: Th this looks a little bit like like for only for children . So {disfmarker}Industrial Designer: IthaProject Manager: The children's story . Yeah I've got it .Industrial Designer: Yeah but that's that's the the problem uh yeah the dilemma actually ,Project Manager: Distinction . Yeah .Industrial Designer: 'cause wewanna appeal to the to the young public with fancy with flashy colours , and with a lot of shape . And {disfmarker}User Interface: Yeah .Industrial Designer: Yeah , and the and the rubber , it it will look cheap always"}
+{"doc_id":"doc_3","qid":"","text":"Grad H: stGrad F: So we 're on .Grad H: Yeah . That 's better .Grad F: And , {comment} somewhere is my agenda . I think the most important thing is Morgan wanted to talk about , uh , the ARPA {pause} demo.Professor D: Well , so , here 's the thing . Um , why don't we s again start off with {disfmarker} with , uh , Yeah , I 'll get it . I 'll get the door . Um , I think we want to start off with the agenda . And then , given that ,uh , Liz and Andreas are gonna be {pause} ten , fifteen minutes late , we can try to figure out what we can do most effectively without them here . So {disfmarker} {vocalsound} So {disfmarker} so , one thing is ,yeah , talk about demo ,Grad F: OK . So , uh {disfmarker} uh , IBM transcription status ,Professor D: IBM transcription . Uh , what else ?Grad F: Professor D:  What 's SmartKom ? SmartKom ?Grad F: Uh , we wannatalk about if w if we wanna add the data to the mar Meeting Recorder corpus .PhD E: The data . The data which we are collecting here .Professor D: What {disfmarker} what {disfmarker} what are we collecting here?PhD E: Data ?Grad F: So why don't we have that on the agenda and we 'll {disfmarker} we 'll get to it and talk about it ?PhD E: The SmartKom data ?Professor D: Yeah , right .PhD E: Yeah .Professor D: Uh , right . Uh.Grad F: Uh , reorganization status .Professor D: Reorganization status .Postdoc A: Oh . Files and directories ?Professor D: Files and directories .Grad F: Yep . Uh - huh . Absinthe , which is the multiprocessor UNIX{disfmarker} Linux . I think it was {pause} Andreas wanted to talk about segmentation and recognition , and update on SRI recognition experiments .Professor D: Um {disfmarker}Grad F: And then if ti if there 's time Iwanted to talk about digits , but it looked like we were pretty full , so I can wait till next week .Professor D: Right . OK . Well , let 's see . I think the a certainly the segmentation and recognition we wanna maybe focuson when An - Andreas is here since that was particularly his thing .PhD E: And also the SmartKom thing should bProfessor D: SmartKom also , Andreas . Absinthe , I think also he has sort of been involved in a lot ofthose things .Grad F: At least ,Professor D: Yeah .Grad F: yeah , he 'll t he 'll probably be interested .Professor D: Yeah .Grad F: But .Professor D: Um So , I mean , I think they 'll be inter I 'll be interested in all this ,but {disfmarker} but , uh , probably , if we had to pick something {pause} that we would talk on for ten minutes or so while they 're coming here . Or I guess it would be , you think , reorganization status , or{disfmarker} ?Grad F: Yeah . I mean , I think , Chuck was the one who added out the agenda item . I don't really have anything to say other than that we still haven't done it .PhD B: Well , I mean , I uh {disfmarker}{vocalsound} just basically that {disfmarker}Grad F: So .PhD B: maybe I said {disfmarker} maybe we said this before {disfmarker} just that we met and we talked about it and we sort of have a plan for getting thingsorganized and {disfmarker}Postdoc A: And I {disfmarker} and I think a crucial part of that is the idea of {disfmarker} of not wanting to do it until right before the next level zero back - up so that there won't be hugenumber of {disfmarker} of added ,PhD B: Right .Postdoc A: uh {disfmarker}Grad F: Right .PhD B: That {disfmarker} that was basically it . Not {disfmarker} not much @ @ {disfmarker}Grad F: Although Dave basicallysaid that if we wanna do it , just tell him and he 'll do a d level zero then .Postdoc A: Yeah . Uh - huh . Oh , excellent .Grad F: So .Postdoc A: Oh , good .PhD B: Oh , so maybe we should just go ahead and get everythingready , and {disfmarker}Grad F: Yep . So , I think we do need to talk a little bit about {disfmarker} Well , we don't need to do it during this meeting .PhD B: Yeah .Grad F: We have a little more to discuss . But , uh , we're {disfmarker} we 're basically ready to do it . And , uh , I have some web pages on ts {comment} more of the background . So , naming conventions and things like that , that I 've been trying to keep actually up todate . So . And I 've been sharing them with U - d UW folks also .Postdoc A: I 'm sorry , you 've been what ? Showing them ?Professor D: OK .Postdoc A: Sharing them .Grad F: Sharing them with the UW folks .PostdocA: OK . OK .Professor D: OK . Well , maybe uh , since that {disfmarker} that was a pretty short one , maybe we should talk about the IBM transcription status . Someone can {vocalsound} fill in Liz and Andreas later .UhGrad F: OK . So , we , uh {disfmarker} we did another version of the beeps , where we separated each beeps with a spoken digit . Chuck came up here and recorded some di himself speaking some digits , and so itjust goes \" beep one beep \" and then the phrase , and then \" beep two beep \" and then the phrase . And that seems pretty good . Um , I think they 'll have a b easier time keeping track of where they are in the file .PhDE: And we have done that on the {pause} automatic segmentations .Grad F: And we did it with the automatic segmentation , and I don't think {disfmarker} We ne we didn't look at it in detail . We just sent it to IBM .We {disfmarker} we sorta spot - checked it .PhD B: I listened to {pause} probably , uh , five or ten minutes of it from the beginning .PhD E: Yeah .Grad F: Oh , really ?PhD B: Yeah .Grad F: OK .PhD B: And{disfmarker}Grad F: I sorta spot - checked here and there and it sounded pretty good . So . I think it 'll work .Professor D: OK .Grad F: And , uh , we 'll just hafta see what we get back from them . Uh {disfmarker}PhDB: And the main thing will be if we can align what they give us with what we sent them . I mean , that 's the crucial part .Grad F: Right .PhD B: And I think we 'll be able to do that at {disfmarker} with this new beepformat .Grad F: Yep . Well , I think it 's also they are much less likely to d have errors .PhD B: Mm - hmm .Grad F: I mean , so the problem wi last time is that there were errors in the transcripts where they put beepswhere there weren't any , or {disfmarker} and they put in extraneous beeps .PhD B: Right . Yeah .Grad F: And with the numbers there , it 's much less likely .PhD B: Yeah , one interesting note is {disfmarker} uh , orproblem {disfmarker} I dunno if this was just because of how I play it back , I say , uh , SND - play and then the file , every once in a while , @ @ {comment} uh , like a beep sounds like it 's cut into two beeps .PhD E:Yeah . Into two pieces .PhD B: Yeah , and I {disfmarker} I dunno if that 's an , uh , artifact of playback {disfmarker}PhD E: Yeah . Yep .PhD B: bu uh , I don't think it 's probably in the original file . Um , but , uh{disfmarker}PhD E: I recognize that , too . Yeah .Grad F: Ha . That 's interesting . I didn't hear that .PhD B: Yeah . But with this new format , um , that hopefully they 're not hearing that , and if they are , it shouldn'tthrow them .PhD E: Yep .PhD B: So .Grad F: Well , maybe we better listen to it again , make sure , but , I mean , certainly the software shouldn't do that ,PhD B: Yeah . That 's what I thought .Grad F: so .Postdoc A:Mm - hmm .PhD B: I it 's probably just , you know , mmm , somehow the audio {pause} device gets hung for a second ,PhD E: Yeah . Some latency or something .Grad F: Hiccups .PhD E: Yeah ?Postdoc A: As long asthey have one number , and they know that there 's only one beep maximum {vocalsound} that goes with that number .PhD B: or {disfmarker}PhD E: Yeah .PhD B: Yeah . Right .Grad F: Yeah . The only {disfmarker}the only part that might be confusing is when Chuck is reading digits .PhD B: Right .PhD E: Yep .Postdoc A: Well , you know , actually , are we having them {disfmarker}PhD B: So {vocalsound} thGrad F: \" Seven foureight beep seven beep {vocalsound} eight three two \" .Postdoc A: Yeah , but are we having them do digits ?Grad F: Yes . Because , uh , we don't {disfmarker} we didn't {disfmarker} In order to cut them out we 'dhave to listen to it .PhD B: We {disfmarker} we didn't cut those out .PhD E: Yeah . They are not transcribed yet . So . Yeah .Postdoc A: OK .PhD E: Yeah .Grad F: And we wanted to avoid doing that ,Postdoc A: OK .GradF: so we {disfmarker} they are transcribing the digits .Postdoc A: OK .PhD B: We can {disfmarker} we can ignore it when we get it back ,Grad F: Although we could tell them {disfmarker} {comment} {vocalsound} wecould tell them , if you hear someone reading a digits string just say \" bracket digit bracket \"PhD B: huh .Grad F: and don't bother actually computing the di writing down the digits .PhD B: Yeah .Postdoc A: That 'd begreat . That 'd be what I 'm having the transcribers here do , cuz it can be extracted later .Grad F: Yep . And then I wanted to talk about {disfmarker} but as I said I {disfmarker} we may not have time {disfmarker}what we should do about digits . We have a whole pile of digits that haven't been transcribed .Professor D: Le - let 's talk about it , because that 's {disfmarker} that 's something that I {disfmarker} I know Andreas isless interested in than Liz is ,Grad F: OK .Professor D: so , you know . It 's good {disfmarker}Grad F: Do we have anything else to say about transcription ? About IBM stuff ?PhD B: Uh , Brian {disfmarker} I{disfmarker} I {vocalsound} sent bresset {disfmarker} {vocalsound} {vocalsound} sent Brian a message about {pause} {vocalsound} the meeting and I haven't heard back yet . So . I g hope he got it and hopefullyhe 's {disfmarker}Grad F: OK .Postdoc A: Hmm .PhD B: maybe he 's gone , I dunno . He didn't even reply to my message . So . I should probably ping him just to make sure that he got it . Grad F: Alright . So , wehave a whole bunch of digits , if we wanna move on to digits .Professor D: Actually , maybe I {disfmarker} One {disfmarker} one relate more related thing in transcription . So that 's the IBM stuff . We 've got thatsorted out . Um , how 're we doing on the {disfmarker} on the rest of it ?Postdoc A: We 're doing well . I {disfmarker} I hire {disfmarker} I 've hired two extra people already , expect to hire two more .Grad F: Hmm.Postdoc A: And , um , {vocalsound} I 've prepared , um , uh , a set of five which I 'm {disfmarker} which I 'm calling set two , which are now being edited by my head transcriber , {vocalsound} in terms of spellingerrors and all that . She 's also checking through and mar and {disfmarker} {vocalsound} and monitoring , um , the transcription of another transcriber . You know , I mean , she 's going through and doing these kindsof checks .Professor D: Uh - huh .Postdoc A: And , I 've moved on now to what I 'm calling set three . I sort of thought if I do it in sets {disfmarker} groups of five , then I can have , like , sort of a {disfmarker} aparallel processing through {disfmarker} through the {disfmarker} the current .Professor D: Uh - huh .Postdoc A: And {disfmarker} and you indicated to me that we have a g a goal now , {vocalsound} for the{disfmarker} for the , um , {nonvocalsound} {vocalsound} the , uh , DARPA demo , of twenty hours . So , I 'm gonna go up to twenty hours , be sure that everything gets processed , and released , and {disfmarker}{pause} {comment} and that 's {disfmarker} that 's what my goal is . Package of twenty hours right now , {vocalsound} and then once that 's done , move on to the next .Professor D: Yeah , uh , so twenty hours . ButI guess the other thing is that , um , that {disfmarker} that 's kinda twenty hours ASAP because the longer before the demo we actually have the twenty hours , the more time it 'll be for people to actually do coolthings with it .Postdoc A: Mm - hmm . Good . I 'm {disfmarker} I 'm hiring people who , {vocalsound} uh , really are {disfmarker}Professor D: So . OK .Postdoc A: They would like to do it full - time , several of thesepeople . And {disfmarker} and I don't think it 's {vocalsound} possible , really , to do this full - time , but , that {disfmarker} what it shows is motivation to do as many hours as possible .Professor D: Mm - hmm .GradF: It 'll keep your accuracy up . Yep .Professor D: Yeah .Postdoc A: And they 're really excellent .Professor D: Yeah . Well , that 's good .Postdoc A: Yeah . Got a good core group now .Professor D: Yeah , I mean , Iguess the {disfmarker} So the difference if {disfmarker} if , um , if the IBM stuff works out , the difference in the job would be that they p primarily would be checking through things that were already done bysomeone else ?Postdoc A: Again . Mm - hmm .Professor D: Is that most of what it {disfmarker} ?Grad F: And correcting .Professor D: I mean {disfmarker} Correcting .Grad F: Correcting . We 'll {disfmarker} we 'llexpect that they 'll have to move some time bins and do some corrections .Postdoc A: And I {disfmarker} you know , I 've also d uh , discovered {disfmarker} So with the new transcriber I 'm {disfmarker} um{disfmarker} So {disfmarker} Uh , lemme say that my , uh {disfmarker} So , um {disfmarker} At present , um , the people have been doing these transcriptions a channel at a time . And , that sort of , um ,{vocalsound} is useful , and t you know , and then once in a while they 'll have to refer to the other channels to clear something up . OK . Well , {vocalsound} I realize that , um , w i we we 're using the pre -segmented version , and , um , the pre - segmented version is extremely useful , and wouldn't it be , useful also to have the visual representation of those segments ? And so I 've {disfmarker} {pause} uh , {pause} I ,uh , uh , I 've {comment} trained the new one {disfmarker} uh , the new the newest one , {vocalsound} to , um , {vocalsound} use the visual from the channel that is gonna be transcribed at any given time . And that's just amazingly helpful . Because what happens then , is you scan across the signal and once in a while you 'll find a blip that didn't show up in the pre - segmentation .Grad F: Oh , right .Postdoc A: And that 'll besomething like {disfmarker} {vocalsound} I it 's ver {disfmarker} it 's interesting .Grad F: I see what you mean . A backchannel , or {disfmarker}Postdoc A: Once in a while it 's a backchannel .PhD E: Yep .Postdoc A:Sometimes it seems to be , um , similar to the ones that are being picked up .Grad F: Mm - hmm .Postdoc A: And they 're rare events , but you can really go through a meeting very quickly . You just {disfmarker} youjust , you know , yo you s you scroll from screen to screen , looking for blips . And , I think that we 're gonna end up with , uh {pause} better coverage of the backchannels ,Professor D: Yeah .Postdoc A: but at thesame time we 're benefitting tremendously from the pre - segmentation because {vocalsound} there are huge places where there is just absolutely no activity at all . And , uh , the audio quality is so good{disfmarker}Professor D: Mm - hmm .PhD B: So they can {disfmarker} they can , um , scroll through that pretty quick ?Postdoc A: Yeah . Mm - hmm .PhD B: That 's great .Postdoc A: Yeah . So I think that that 'sgonna , also {pause} eh , {comment} you know , speed the efficiency of this part of the process .Professor D: Hmm . OK . Uh , yeah . So , uh {disfmarker} Yeah . So let 's talk about the digits , since they 're not hereyet .Grad F: Uh , so , we have a whole bunch of digits that we 've read and we have the forms and so on , um , but only a small number of that ha well , not a small number {disfmarker} only a subset of that has beentranscribed . And so we need to decide what we wanna do . And , uh , Liz and Andreas {disfmarker} actually they 're not here , but , they did say at one point that they thought they could do a pretty good job of justdoing a forced alignment . And , again , I don't think we 'll be able to do with that alone , because , um , sometimes people correct themselves and things like that . But {disfmarker} so , I was just wondering whatpeople thought about how automated can we make the process of finding where the people read the digits , doing a forced alignment , and doing the timing .Professor D: Well , forced alignment would be one thing .What about just actually doing recognition ?Grad F: Well , we {disfmarker} we know what they read , because we have the forms .Professor D: No , they make mistakes .Grad F: Right . But , the point is that we wannaget a set of clean digits .PhD B: You 're talking about as a pre - processing step .Professor D: Right .PhD B: Right , Morgan ?Professor D: Um {disfmarker}PhD B: Is that what you 're {disfmarker} ?Professor D: Yeah , I'm {disfmarker} I 'm not quite sure what I 'm talking about . I mean {disfmarker} I {disfmarker} I mean , uh , we 're talking about digits now . And {disfmarker} and so , um , there 's a bunch of stuff that hasn't beenmarked yet . Uh . And , um , {vocalsound} there 's the issue that {disfmarker} that they {disfmarker} we know what {disfmarker} what was said , but do we ?Grad F: I mean , so one option iProfessor D: Becausepeople make mistakes and stuff . I was just asking , just out of curiosity , if {disfmarker} if with , uh {disfmarker} uh , the SRI recognizer getting one percent word error , uh , would we {disfmarker} would we do{pause} better {disfmarker} ? So , if you do a forced alignment but the force but the {disfmarker} but the transcription you have is wrong because they actually made mistakes , uh , or {vocalsound} false starts , it 's{disfmarker} it 's much less c {vocalsound} it 's {pause} much less common than one percent ?Grad F: But that 's pretty uncommon . Um , if we could really get one percent on {disfmarker}Professor D: We should beable to .Grad F: Well , I guess {disfmarker} yeah , I guess if we segmented it , we could get one percent on digits .Professor D: Right ?PhD B: Yeah .Professor D: Yeah . So that 's just my question . I 'm not saying itshould be one way or the other , but it 's {disfmarker} If {disfmarker}Grad F: But , Well , there {disfmarker} there 're a couple different of doing it . We could use the tools I 've already developed and transcribe it .Hire some people , or use the transcribers to do it . We could let IBM transcribe it . You know , they 're doing it anyway , and unless we tell them different , they 're gonna transcribe it . Um , or we could try someautomated methods .Professor D: Well {disfmarker}Grad F: And my {disfmarker} my tendency right now is , well , if IBM comes back with this meeting and the transcript is good , just let them do it .Professor D: Yeah, it 's {disfmarker} Y you raised a point , kind of , uh , euphemistically {disfmarker} but , I mean , m maybe it is a serious problem . Ho - what will they do when they go {disfmarker} hear \" beep {pause} seven{pause} beep {pause} seven three five two \" {disfmarker} I mean , {vocalsound} you think they 'll {disfmarker} we 'll get {disfmarker} ?Grad F: It 's pretty distinct .Professor D: Yeah ?Grad F: The beeps are {pause}pre - recorded .PhD B: It 'll {comment} only be a problem for m for mine .PhD E: Yeah .Postdoc A: Well it {disfmarker} it {disfmarker} well , it 'd be preceded by \" I 'm reading transcript so - and - so \" ?PhD B: Yeah.Grad F: Yes .Postdoc A: So , I think if they 're processing it at {disfmarker}Grad F: I mean , it 'll be {disfmarker} it will be in the midst of a digit string .Professor D: Yeah .Grad F: So {disfmarker} I mean it{disfmarker} sure , there {disfmarker} there might be a place where it 's \" beep seven {pause} beep eight {pause} beep {pause} eight {pause} beep \" . But , you know , they {disfmarker} they 're {disfmarker} they're gonna macros for inserting the beep marks . And so , I {disfmarker} I don't think it 'll be a problem . We 'll have to see , but I don't think it 's gonna be a problem .Professor D: OK . Well , I {disfmarker} I{disfmarker} I dunno , I {disfmarker} I think that that 's {disfmarker} if they are in fact going to transcribe these things , uh , certainly any process that we 'd have to correct them , or whatever is {disfmarker} needsto be much less elaborate for digits than for other stuff .Grad F: Right .Professor D: So , why not ? Sure . That was it ?Grad F: That was it . Just , what do we do with digits ?Professor D: OK .Grad F: We have so many ofthem , {vocalsound} and it 'd be nice to {pause} actually do something with them .Professor D: Well , we {disfmarker} we {disfmarker} we wanna have them . Yeah , I {disfmarker}PhD I: You mean there 're morethan ten ?Grad F: Anything else ? Your mike is a little low there .Professor D: I in Berkeley , yeah . So , {vocalsound} uh {pause} You {disfmarker} you have to go a little early , right ? At twenty {disfmarker}PhD I:Well , I can stay till about , uh , three forty .Professor D: Alright . So le let 's make sure we do the ones that {disfmarker} that , uh , saved you .PhD I: Yeah . Mm - hmm .Professor D: So there was some {disfmarker}Uh {pause} {vocalsound} In {disfmarker} in {disfmarker} Adam 's agenda list , he had something from you about segmentation this last recognition ?PhD I: Well , yeah . So this is just partly to inform everybody , um, and {disfmarker} and of course to get , um , input .Grad F: Oops .PhD I: Um , so , {nonvocalsound} uh , we had a discussion {disfmarker} Don and Liz and I had discussion last week about how to proceed with , uh ,"}
+{"doc_id":"doc_4","qid":"","text":"Project Manager: Mm .Marketing: So ,Project Manager: So , uh now {vocalsound}Marketing: Hi Christa . {vocalsound}Project Manager: it's the {disfmarker} {vocalsound} Hi Sammy . {vocalsound} It's the detaildesign meeting , so we're going {disfmarker} last meeting . So um , first uh Mark and Rama are going to present uh the prototype . Uh then uh Sammy will propose some uh crite cr criteria to evaluate this prototype .Then , w we {disfmarker} {vocalsound}User Interface: {vocalsound} {vocalsound} Yes . {vocalsound}Marketing: {vocalsound} Yes . {vocalsound}Project Manager: {vocalsound} And then we going to do somefinance to see if uh it is uh feasibleUser Interface: And chocolate ? {vocalsound}Project Manager: {vocalsound} and uh at the end we will we will um evaluate ourself as a team . {vocalsound} And that's all . Okay . Sofirst , {vocalsound} let's uh see the prototype .Marketing: Mm .Industrial Designer: Yeah .Project Manager: {vocalsound}Industrial Designer: Uh , here we have our prototype model .Project Manager: Okay . And youhave some slides then ?User Interface: Mm-hmm .Industrial Designer: Yeah . Yeah , we have also some slides .Project Manager: {gap} Yeah . Mm .User Interface: Yes , and place some slides .Project Manager: Okay .Uh so in which uh {disfmarker}User Interface: Uh , participant three . {vocalsound} Prototype .Industrial Designer: In {disfmarker} Yeah .Project Manager: Mm okay . Mm .Industrial Designer: Five .Project Manager:{vocalsound}User Interface: {vocalsound} Uh , so this is our remote control .Industrial Designer: Him .Project Manager: {vocalsound}User Interface: It's a r working prototype . You can use it now by switching allthese buttons . So first , I present as we came to this perfect model ,Project Manager: {vocalsound}User Interface: and then we'll give some technical specifications .Marketing: Yeah .Project Manager: Mm-hmm .UserInterface: That's {vocalsound} well {vocalsound} {vocalsound} , so that's that . Please , next slide . We analysed all the fruitsProject Manager: {vocalsound}User Interface: and contacted NASA , and uh made some{vocalsound} real good {disfmarker}Project Manager: MASA ? {vocalsound} {vocalsound} {vocalsound} {vocalsound} {vocalsound} {vocalsound}User Interface: Yeah . If you can see this , and the stars are showingthat {gap} . And um , {vocalsound} s society will accept that . For sure .Marketing: Mm-hmm .User Interface: {vocalsound} And making some analysis of different fruits , we choose the ultimate form , ultimate colours, and uh ultimate smell of it . S please , next slide . But we still didn't want to go far from our titanium idea , 'cause it's the most of the moder the m the {gap} modern material we can p select . And it's practical . Andit's still say it's for our needs , so please press something . And as I said , {vocalsound} it's perfect . {vocalsound}Project Manager: {vocalsound} Okay . {vocalsound} {vocalsound} {vocalsound}User Interface:{vocalsound} Please press it .Industrial Designer: Experience . ExplanatUser Interface: Everyone is {gap} f really uh really glad to obtain an {disfmarker} {vocalsound} s such a r such a device .Marketing: Such a nicething . {vocalsound}Industrial Designer: See this {gap} . {vocalsound}User Interface: So you can touch it with your hands .Marketing: Can I ?User Interface: Sure . Yes . {vocalsound}Industrial Designer: You can{disfmarker}Marketing: Ho-ho . {vocalsound} {vocalsound} {vocalsound} imitating flatulence] {vocalsound}Project Manager: What do you say ? {vocalsound}User Interface: NMarketing: It says {vocalsound}{vocalsound}Project Manager: {vocalsound}User Interface: {vocalsound} You must say it .Industrial Designer: {vocalsound} Spongy .Marketing: I will uh {disfmarker}Project Manager: {vocalsound} One day.Marketing: I'll buy it . {vocalsound}User Interface: Yeah . {vocalsound}Marketing: If I if I need so . {vocalsound}Project Manager: He {vocalsound} {vocalsound} {vocalsound} {vocalsound} {vocalsound}Marketing:Hopefully my daughter will like it . {vocalsound}User Interface: Okay . Y and we got the answer . Uh , it is , yes , of course .Marketing: Yes , of course . Of c course . {vocalsound}User Interface: {gap} , please nextslide . Um , this is a prototype . You can have a look at it , and {disfmarker} That's all I wanted to say .Marketing: Ah .User Interface: Now it's technical specification by our colleague .Industrial Designer: Hmm .ProjectManager: Hmm .Industrial Designer: So {disfmarker}Marketing: Oh , there is {vocalsound} a button missing .Project Manager: {vocalsound}Industrial Designer: Yeah .Marketing: {vocalsound} Okay .{vocalsound}Industrial Designer: This this is really flexible . You can add your buttons .Marketing: It's in option . {vocalsound}Industrial Designer: {vocalsound} Yeah . So function , mm {disfmarker}Project Manager:Mm-hmm .Industrial Designer: {vocalsound} So , as we discussed , we have to switch on switch off whenever we want . And so , we have buttons and using L_C_D_ , or like you can use this {vocalsound} jog wheeland select which ever option on the L_C_D_ , and then do on and off . {vocalsound} Then you ha you'll have volume control . So , you you can press these buttons to increase or decrease the volume .Project Manager:{vocalsound}Industrial Designer: And we have some L_C_D_ controls . Like , m switching the L_C_D_ display if you want to use L_C_D_ , or you don't want you can just use normal button .Project Manager: Mm-hmm.Industrial Designer: And we have speech recognition . Here you have microphone , and then it date records your voice , and then it try to recognise .Marketing: Hmm .Project Manager: {vocalsound}IndustrialDesigner: And it can also do the action .Project Manager: {vocalsound}Industrial Designer: And location finder . And we want to do the location basically using speech recogniser . You can just say , where is my remotecontrol .Marketing: Mm-hmm .Industrial Designer: Or uh , you can just give some nickname to your remote control , like Bobby {gap} .Project Manager: {vocalsound} Bobby . {vocalsound} Mm-hmm .Marketing:{vocalsound} Hey , babe .Industrial Designer: {vocalsound} And then , {vocalsound} it will say hi . {vocalsound}Marketing: {vocalsound} Bob . {vocalsound} Hey Bob . {vocalsound}Industrial Designer: {vocalsound}Yeah , hi , and then you can use it . {vocalsound}Marketing: Okay ,Project Manager: Hmm . {vocalsound} 'Kay . {vocalsound} {vocalsound} {vocalsound} {vocalsound}Marketing: that's good .Industrial Designer: So ,{vocalsound} um our team is now fruits . Mainly strawberry . So , you can {vocalsound} have {disfmarker} {vocalsound}Marketing: {vocalsound} Oh , these are strawberries . {vocalsound}Industrial Designer: Andthen you can see the look L_C_D_ and all the switches .Project Manager: {vocalsound} Are colourful . Yeah . {vocalsound} {vocalsound} {vocalsound}Industrial Designer: {vocalsound} Material , we want to stick totitanium . {vocalsound} We will send , we want to {disfmarker} {vocalsound}Marketing: {vocalsound} Fruit smelling spongy titanium . {vocalsound} I didn't know it exist , but that's great .Industrial Designer: Yeah ,or s {vocalsound} So , we want to have {vocalsound} simple and perfect shapes , like I shown in these phones . You can have your own designs and and you can feel simple designs . {vocalsound} {vocalsound} Andyou can choose colours on your day for each day , or even many colours .Marketing: Ha .Project Manager: Ho-ho . That's for the L_C_D_ or for the titanium ?Marketing: You mean we can change the colour uh ofthIndustrial Designer: For the L_C_D_ .Marketing: Yeah . Yeah okay , for the L_C_D_ .Industrial Designer: With titanium it's {disfmarker} it is silver .Marketing: Tit titanium is {disfmarker}User Interface: We are stillworking on titanium .Project Manager: Mm-mm .Industrial Designer: Yeah .User Interface: So , r we'll start with L_C_D_ .Marketing: Uh , okay .Project Manager: {vocalsound}Industrial Designer: Mm , yeah .{vocalsound}User Interface: You can ask Bob . It's Tuesday . {vocalsound}Industrial Designer: Yeah .Project Manager: {vocalsound} Hey , you know you're theme today . {vocalsound}Marketing: {vocalsound} Yeah ,Bob , please . {vocalsound} {gap} Tuesday colour . {vocalsound}Industrial Designer: Yeah . Even you can configure your colours for its {disfmarker} the {disfmarker} depending on your mood , or sMarketing: Okay.Project Manager: Hmm .Marketing: Mm-hmm .Project Manager: {vocalsound}Marketing: {vocalsound} Black for Sunday . {vocalsound}Industrial Designer: {vocalsound} And you can have many colours on weekends. Or {disfmarker} {vocalsound}Project Manager: And w wait , wh what are the strawberries for ? {vocalsound} {vocalsound} Wh whIndustrial Designer: Huh ?Marketing: On the L_C_D_ ?Industrial Designer: Ah , theseare like sensors .Marketing: Oh .Project Manager: Mm-hmm . {vocalsound}User Interface: {vocalsound}Marketing: {vocalsound} Of course .User Interface: That's location sensors .Marketing: {vocalsound} What doyou think ? {vocalsound} Strawberry sensors . {vocalsound} Very useful .Project Manager: Okay . {vocalsound} Strawberries .Industrial Designer: So , {vocalsound}Marketing: {vocalsound} {vocalsound}IndustrialDesigner: after this meeting we'll propose a party for our success for {disfmarker}Project Manager: {vocalsound} Ah . {vocalsound}Marketing: Lounge meeting . {vocalsound}Industrial Designer: {vocalsound} So , ifyou are vegetarian or you have any options , please let us know .Marketing: {vocalsound}User Interface: Yeah , and we can just {gap} some strawberry first . Um {disfmarker}Industrial Designer: Yeah .ProjectManager: {vocalsound} Okay . {vocalsound} Mm-hmm . {vocalsound}Marketing: Alright . Good . {vocalsound}User Interface: Oops .Industrial Designer: SMarketing: So , huh . Interesting . In interesting . Mm mm.Project Manager: {vocalsound} {vocalsound} Uh {disfmarker} {vocalsound}Industrial Designer: So , any specific questions for {disfmarker}Project Manager: we'll see in the financial part if uh {vocalsound} all{vocalsound} {gap} {vocalsound} gets into {disfmarker}User Interface: {vocalsound}Marketing: {vocalsound} It makes sense .Industrial Designer: Yeah . {vocalsound}User Interface: Let's make a party first maybe .{vocalsound} {vocalsound}Project Manager: {vocalsound} {vocalsound} W Who is the five uh {disfmarker} fifty millions we {vocalsound} first make a party in ?Industrial Designer: Yeah . Then we can discuss{disfmarker} We can {disfmarker} {vocalsound} {vocalsound} Yeah , then we can have how much for how money is left . {vocalsound}Marketing: So uh , this is {disfmarker}Project Manager: Mm-hmm .Marketing:What a design .Project Manager: Okay . {vocalsound} Uh , so {disfmarker} Let's uh ,Marketing: {vocalsound} It's my turn .Project Manager: yeah , let's see if uh th it's meet the evaluation criterium .{vocalsound}Marketing: Mm-hmm . Let's see if this {disfmarker} Yeah , if you meet {vocalsound} the evaluation criterion .Industrial Designer: {vocalsound} Yeah . {vocalsound}Project Manager: Oops .Marketing:{vocalsound}Industrial Designer: Fudge .Marketing: Yeah . So , evaluation please . So . You made a very nice prototype , and um , I think , we now need altogether to try to evaluate it to see if it makes sense to do it ,if it fulfils our {disfmarker} what we want to do , and things like that . So mm {disfmarker} {vocalsound} Uh , next slide , please . {vocalsound} As you know , before going and uh creating and producing thesestrawberry {vocalsound} uh {vocalsound} remote control , it's very important to first verify if it makes sense , if we have a chance to sell it .Industrial Designer: {vocalsound} Yeah .Marketing: Uh , so we need toevaluate it um , try to do it in a constative way , and as much as we can . To {disfmarker} so what I propose is that we are going to to have this scale from one to seven . One meaning that , ye yes uh it fulfils uh thethe criterion , whatever it is . And seven meaning , no it doesn't fulfil at all . And we're all l going to list all the criterion . I'm going to go to that next slide ,Project Manager: Okay .Marketing: and together try to evaluatethis according to this criterion and from one to seven . And then we are just going to have an average , which will give us the value of our uh remote control . So , maybe we can have a look at the criteria ?IndustrialDesigner: Fancy .Marketing: So these are the criterion uh I'm {disfmarker} I thought were important . Of course , this can be discussed , but let's let's see , so let's vote . So we have fancy here and we have the scalefrom one to seven with four in the middle .Project Manager: Mm-hmm .Industrial Designer: Huh .Marketing: So ,Industrial Designer: Yeah , what's is really {disfmarker}Marketing: what do you think , is it fancy ?{vocalsound}Industrial Designer: Uh , it's really {disfmarker} {vocalsound}Project Manager: Uh , I think that fancy , we can say it is fancy . {vocalsound} {vocalsound}Marketing: {vocalsound} It is very very fancy .Or have you ever seen something like that ? {vocalsound}Project Manager: {vocalsound} Oh . I am not the d the only one choosing , yeah .Marketing: Yeah , of course .Project Manager: Uh what do you think?Marketing: What do you think ?User Interface: Feel the weight .Marketing: Is it {disfmarker} The weight is later .Industrial Designer: Yeah . Oh .User Interface: Really . {vocalsound}Project Manager: Uh-huh .{vocalsound}Marketing: {vocalsound} Now {vocalsound} we're {disfmarker} {vocalsound}User Interface: Okay .Marketing: We're on the fanciness now . I think it's quite fancy .Industrial Designer: Yeah , yeah.Project Manager: Yeah . Yeah .Industrial Designer: We can give at least five or six , seven .Marketing: It's uh {disfmarker} Yeah , so {disfmarker} No it's it's one .Project Manager: It's in the other {gap} .IndustrialDesigner: Oh , {gap} Oh . So {disfmarker} Oh , okay . Yeah , okay . Oh , okay . So {disfmarker}Marketing: Yeah , o one means it's , yes , a very fancy and seven mean no at all .Project Manager: Mm .{vocalsound}Marketing: So it's one or two .Project Manager: Two . Let's say two , yeah .Industrial Designer: M maybe two .Marketing: What do you think ? Two ?User Interface: Two . Two .Marketing: Okay . So here ,two . Up .Industrial Designer: Technology .Marketing: Then we have uh technology .Industrial Designer: Yeah . Um {disfmarker}Marketing: So , what about technology ? We have uh we have speech recognition , wehave location based {gap} ,Industrial Designer: And we have L_C_D_ .Marketing: we have L_C_D_ .Project Manager: Change colour of tIndustrial Designer: So you change colours .Marketing: Change colour , I meanthat's very {disfmarker}Industrial Designer: Useful .Project Manager: Yeah , I think it's a {disfmarker}Marketing: QuiteUser Interface: Yeah , yeah , yeah .Marketing: d I think it's a one for that , at least .ProjectManager: Yeah . Yeah .User Interface: Yeah . Uh {disfmarker}Industrial Designer: Yeah , yeah . It's silly .Marketing: At least a one , yeah .Project Manager: Mm-mm . {vocalsound} {vocalsound}{vocalsound}Marketing: Robustness , uh-huh .Industrial Designer: Uh , still we need to cha {vocalsound}Marketing: {vocalsound} So {vocalsound} let's suppose my daughter take it and um {vocalsound}{disfmarker} and through it away .Project Manager: {vocalsound} Um {disfmarker}Marketing: Do you think it makes sense that it's going to live again ? Uh , maybe not the prototype .Project Manager: Thestrawberries {vocalsound}Industrial Designer: Yeah , it {disfmarker} {vocalsound}Project Manager: Oh . {vocalsound}Marketing: {vocalsound} Let's try . {vocalsound} {vocalsound} Oh my god .{vocalsound}Industrial Designer: Maybe strawberry .Marketing: Okay , we just lost one strawberry .User Interface: No .Industrial Designer: Oh .Marketing: So {disfmarker} {vocalsound}User Interface: No . How can Isay this .Marketing: Not at all ?Industrial Designer: Yeah , we can easily plug it .User Interface: It's still it's still working , and your daughter got a bonus .Marketing: It is {disfmarker} Yeah . {vocalsound} Yeah .UserInterface: {vocalsound} A strawberry .Marketing: So it's not so bad .Project Manager: Mm-mm .Industrial Designer: Yeah , yeah .Marketing: I um uh I would say three .Project Manager: Yeah . But it's too {gap}.Industrial Designer: Yeah .Project Manager: It's um robust , yeah .Marketing: Yeah , that does make sense , yeah ?Industrial Designer: Useful ?Marketing: Useful . {vocalsound} Well , so the question is does it have uhthe minimum requirement of re remote control ?Industrial Designer: Yeah , {gap} {disfmarker}Marketing: So I don't know . These buttons are uh {disfmarker} It not clear .Project Manager: Oh , yeah , lets me try.Marketing: But you have at least uh next produce .Project Manager: Yeah .Industrial Designer: Yeah .Project Manager: What is uh next , please ?Industrial Designer: Yeah , channel . I this is volume control andchannel changes . These are the main {disfmarker}Marketing: Uh , it depends on the {disfmarker}Project Manager: And you can uh do di two sites ?Marketing: Okay .Industrial Designer: You {disfmarker}ProjectManager: Yeah .Industrial Designer: Yeah . Yeah , and you can do on L_C_D_ using these going to scrolling all the option .Project Manager: Okay , also .Industrial Designer: So if you don't want {disfmarker}Marketing:So but , for instance , because the L_C_D_ is not uh touch control , touch screen , you cannot go to channel twenty five directly .Industrial Designer: Yeah , um {disfmarker} yeah .Project Manager: You can , by usingthe {disfmarker}User Interface: You can .Industrial Designer: Yeah .Marketing: Directly .User Interface: You go {disfmarker} you {disfmarker}Project Manager: You c push here the the {disfmarker}User Interface: So, the basic mode {disfmarker}Project Manager: yeah . {vocalsound}User Interface: Yeah . So that's simple . The basic mode is uh you got just two buttons and a jog dial .Marketing: Yeah .User Interface: With twobuttons , you do this like uh volume up , volume down .Marketing: Oh , it's a jog dial , okay .User Interface: Or if you go to the site , it's channel up channel down .Industrial Designer: And channel .Marketing: Uh-huh .Okay .User Interface: And if you want to make to s twenty-five , you push on this .Marketing: Yeah .User Interface: You select twenty , you select five .Industrial Designer: You can select .Marketing: {vocalsound} Okay.User Interface: That's it .Industrial Designer: Yeah mm .Marketing: It's much longer than that that being two two five , no ?User Interface: No .Marketing: Don't you think so ? May {disfmarker} not {disfmarker} okay, we can go . That's uh {disfmarker} You're right .Industrial Designer: Yeah , yeah , yeah . Y you need to like press two and five and {disfmarker} Yeah .Marketing: That's {disfmarker} it's less uh {disfmarker} Yeah .But it's it's nice , because people anyway don't go there .Industrial Designer: Yeah , yeah . Yeah mm .Marketing: But {disfmarker} {vocalsound} So what do you think for it , usefulness ?Industrial Designer: So , d Yeah, we need to address {disfmarker} we want {disfmarker}Marketing: Seems to be useful . {vocalsound}Industrial Designer: we only address two main functions here and the other functions will be on L_C_D_ .SoProject Manager: {vocalsound} Let me understand well ,Industrial Designer: so {disfmarker}Project Manager: because I'm not sure {disfmarker} that's for {disfmarker} that this one are b d uh two dir directionalbutton .Marketing: Both . Yeah . Yeah .User Interface: Yeah . Yeah .Industrial Designer: Yeah .Project Manager: Yeah .Industrial Designer: Yeah . Up .Marketing: Up down or left right . Yeah .Project Manager: Yeah .And which {disfmarker} what is that ?User Interface: It's a jog dial for controlling the cursor on the L_C_D_ screen .Industrial Designer: This is jog wheel .Marketing: That {disfmarker}Project Manager: Okay , okay .It's a kind {disfmarker} Oh , okay okay . {vocalsound}User Interface: Like , selecting the menus .Industrial Designer: Yeah . Um , {vocalsound} see in L_C_D_ , like you will have blocks and you select which one.Marketing: Cool .Project Manager: Oh oh okay , great .Marketing: I would say then uh {disfmarker} {gap}Project Manager: Now it's looks us useful .Industrial Designer: Yeah . Yeah .Marketing: Two or three ?ProjectManager: Yeah .Marketing: Two or three ?Industrial Designer: Two , maybe . {vocalsound}Marketing: Two .Project Manager: {vocalsound} Yeah .Marketing: Okay , two . {vocalsound} {vocalsound} So size and weight.Industrial Designer: Yeah , yeah . {gap}Marketing: Is it the the the effective size and weight that the {disfmarker} Is it uh real size , real weight ? Or {disfmarker} Because it {disfmarker}Industrial Designer: Yeah ,"}
+{"doc_id":"doc_5","qid":"","text":"Industrial Designer: {vocalsound}Marketing: Are you sure I got it all {disfmarker} head's kinda small .User Interface: How're we placed in terms of the {disfmarker}Marketing: Okay . {gap}User Interface: alright.Marketing: We're okay ?Industrial Designer: {vocalsound} Guess I should probably try to sit up straight .User Interface: {vocalsound}Project Manager: Like that ? Okay , cool .Marketing: We're good ?IndustrialDesigner: Oh , I think mine's fallen off .User Interface: It fell {disfmarker} That's why .Marketing: I guess it's gonna be hard to drink coffee .Industrial Designer: {vocalsound}Marketing: Mm .User Interface:{vocalsound}Marketing: Uh okay .User Interface: Ah .Project Manager: Okay ? {vocalsound} Right , so I'm just gonna start this PowerPoint real quick . Yeah , PowerPoint .Industrial Designer: Wow .User Interface:{vocalsound}Marketing: Very official .Project Manager: Yeah , well , you know , {vocalsound} {vocalsound} {vocalsound} {vocalsound} .Industrial Designer: {vocalsound}User Interface: {vocalsound}ProjectManager: Yeah I kinda like this I'm kinda getting into it . Right . Um . So just to kick off the meeting basically um so we're working now for a real reaction , this is uh so it {vocalsound} right . Just got an agenda to setout what we're gonna try to accomplish in this particular first meeting . Um {vocalsound} We're gonna just do a quick opening and we can hopefully all get acquainted with one another um then we're gonna start{disfmarker} talk a little bit about tool training . Essentially that means getting used to the only thing that we haven't tried out yet , the whiteboard . {vocalsound} Um {vocalsound} we've got a general plan for theproject how we're gonna go about accomplishing this and then just a bit of discussion close up . Um I {gap} guess you know game or something um {vocalsound} in real life um so yeah basically I want to {disfmarker}I'm just gonna {disfmarker} you got {disfmarker} of course you can discuss that , I'm thinking about um {vocalsound} uh proposing that since we've got this weird blend of ourselves and our roles that we just don'task , don't tell . {vocalsound} Um so um if you say something about marketing , right , sorted , um {vocalsound} y isMarketing: {vocalsound} You're just gonna believe me ,Industrial Designer:{vocalsound}Marketing: we'll go from there .Project Manager: Exactly . Um I meanMarketing: Fair enough .Project Manager: obvi if if you guys {disfmarker} if if at the same time if you {disfmarker} like logically ifsomething doesn't {disfmarker} like if I'm like we're gonna sell a remote control that's the size of this paper book you know um you say like well that doesn't seem like such a good idea because of X_ obviously go withit . I mean we'll discuss it but I'm not gonna ask do you know that or uh yeah it seems likeMarketing: Prove itProject Manager: {vocalsound} yeah yeah exactlyMarketing: yeah , okay .Project Manager: so , 'cause we're{disfmarker} what we're sort of role playing is y g yeah you're gonna tap into your own knowledge as well {vocalsound} um . And that's the same for your when we do introductions I mean um and you talk about yourbackground you know have fun , you know maybe you went to um {vocalsound} uh you know maybe i you're like in Maine you went to U_C_S_B_ but you wanna say you went to Harvard or something like that , whynot , you knowIndustrial Designer: {vocalsound}Marketing: {vocalsound}Project Manager: you can {disfmarker} this is you know I guess we can have a little bit of fun with it . So are you guys okay with that does thatseem logical ?Industrial Designer: Oh yeah , that's fine .User Interface: Sure .Marketing: Works for me .Project Manager: Sweet . Cool . So I guess that that {vocalsound} we're totally {disfmarker} we're making aremote control which is thrillingIndustrial Designer: Right .Project Manager: um uh but the idea is that we can make something based on the whole corporate model I dunno if you guys had time to check the{disfmarker} in real life I dunno if you guys uh {vocalsound} checked the um {vocalsound} uh the corporate website . Um we've got to make something as fashionable as possible , that's kind of the corporate strategyis we're gonna try to take ordinary stuff that nobody really thinks about and try to make it nice you know like John Lewis nice or you know if you go to Debenham's or something . So um basically we are reinventing thewheel but we wanna try to do it in a user friendly um slick sleek kind of way . {vocalsound} Um way we're gonna go about doing that is basically at first we're gonna start on the basics . And that's where I'm gonnaneed you guys the User Interface Designers and the um {vocalsound} um the other designer that I can't remember ,Marketing: {vocalsound}Project Manager: the the I_D_ and the U_I_D_ right um {vocalsound} theIndustrial DesignerIndustrial Designer: {vocalsound}User Interface: {vocalsound}Marketing: {vocalsound}Project Manager: hey right on alright ,User Interface: Mm .Project Manager: getting into it umMarketing:There you go .Project Manager: to guide me and guide us on this project 'cause you're gonna be {disfmarker} you're g you guys are the bottom you know you're like no you can't do that you can't have you know X_and Y_ um at the same time . And then um we'll work up from what is necessary to more like what would be good , you know like um {vocalsound} I I think you guys probably got the same emails I did but the idea ofum , yes a coffee pot needs to be able to hold coffee but it's also better if it's not like really cheap glass so that it if you touch it you hurt your hand , or something like that . Um and so we'll work up from there and umthen we'll meet on and talk about it and then finally we'll incorporate as kind of the last stage you know where you guys build or tell me {vocalsound} tell us what's possible and then you tell us what we can um hope forand what way to go take the the the take the basics and make it nicer and then ov obviously uh the U_I_D_ and the I_D_ you know you you can keep on the you know sort of at the cutting edge of how to get aboutmaximising what is possible um to try t of sync it all up . So that's the detailed design . So it's a three stage kind of thing . Um right so for now just for th the white board um basically uh just to get used to it , I haven'ttried it yet either um I'm just gonna start and um mm carry like five remotes around um and just write down {disfmarker} I'm just gonna write down one of the names of my um desert discs you know if you{disfmarker} if you were trapped on a desert island and you could only bring five C_D_s along with you name one of them that you could , not all five , if you wanna write all five go for it but name one of them that youcould um . Oh , we skipped introductions . Nice . I'm a excellent Project Manager . Um .Marketing: {vocalsound}Project Manager: I'm Marty ,Industrial Designer: {vocalsound}User Interface: {vocalsound}ProjectManager: um I went to uni at uh U_C_ Santa Barbara and I'm here working on a P_H_D_ in psychology . Um yeah . So {disfmarker}Marketing: I'm Sarah , I went to Michigan , and I'm here doing cultural studies andI'm the Marketing Manager or something . Marketing ,Project Manager: Expert {vocalsound}Marketing: yeah Expert . Expert .Project Manager: Don't play yourself down . Expert {vocalsound}User Interface:{vocalsound}Marketing: Fine . That's me .User Interface: I'm Ron . I uh once upon a time studied in Victoria and I am the User Interface Designer .Industrial Designer: I'm Nathan , I'm from California , and I'm heredoing a Masters degree in social anthropology .Project Manager: Where did you go to uni Nathan ?Industrial Designer: {vocalsound} U_C_L_A_ .Project Manager: Oh brilliant . Cool . My little brother goes there.Industrial Designer: Yeah . Okay .Project Manager: Right so desert island discs .Marketing: So .Project Manager: Yeah .Marketing: So do we have to wait for you to write it down or are you gonna tell us ?ProjectManager: Well I'll t iMarketing: I'm waiting to know .Project Manager: no no yeah I'm just gonna write a couple of 'em down . See I'm a big music fan I don't know if you guys are , I'm assuming everybody likes musicto some lesser or greater extentMarketing: Uh {disfmarker}Project Manager: but there's some other options , if you're a T_V_ slutMarketing: Fair enough .Project Manager: like I am like Smallville terrible televisionshowIndustrial Designer: {vocalsound}User Interface: {vocalsound}Project Manager: but I happen to love it ,Marketing: Oh , Smallville .User Interface: {vocalsound} {vocalsound}Project Manager: it's rubbish but Ilove it .Marketing: I went to high school with Tom Willing actually .Project Manager: T the the main c the main character ?Marketing: The guy . Yeah .Project Manager: Wow . Is he a wanker ?User Interface:{vocalsound}Marketing: Yeah . {vocalsound} Very much so . Hell of a soccer player but a total bastard nonetheless .Project Manager: He looks really tall , like he's gotta be like six six .Marketing: Yeah . He is a big guy. Yeah .Project Manager: Yeah . Um okay so {vocalsound} I really like Jeff Buckley . You guys heard of Jeff Buckley ?Industrial Designer: Mm-hmm .Marketing: Mm-hmm .Project Manager: Um that's cool 'cause like notvery many people have . Um {vocalsound} and um oh well I might as well throw a British person in there um you can't go wrong with Radiohead .User Interface: {vocalsound}Project Manager: It's a rMarketing: Goodcall .Project Manager: {vocalsound} Okay so it really works just like a pen only makes noises I think . It's kinda weird . AnywayMarketing: Interesting .Project Manager: yeah . Yeah , you're like press and it's{vocalsound} .Marketing: {vocalsound}Project Manager: Kinda cool .Industrial Designer: {vocalsound}Project Manager: You'll see . Alright so umUser Interface: {vocalsound}Project Manager: whoever wants to get upnext , you can write down some telly that you watch or whatever you want .Marketing: I guess I'll go next then .Project Manager: Right on .User Interface: Go for it .Marketing: Okay . Don't wanna lose all my mikes ,plugged in here . Okay . This is basically just pen practice huh ?Project Manager: WMarketing: Okay . Oh you're much taller than me so I'm gonna write down here . Um . Right now I'm listening to a lot of somebodynobody's ever heard of , Chris Bathgate ,Project Manager: Mm .Marketing: local Michigan folk singer ,Project Manager: Nice .Industrial Designer: Wow .Marketing: really lameUser Interface: {vocalsound}Marketing: anduh uh what else did I bring with me ? Probably classical , to totally geek it out ,Project Manager: Okay yeah yeah .Marketing: yeah I think . And my family guy D_V_D_sProject Manager: Well yeah .Marketing: but wedon't need to write that one down .Project Manager: Oh , family guy . Isn't h has hIndustrial Designer: {vocalsound}Project Manager: do you watch the new season ?Marketing: No . Are you getting it online ,ProjectManager: {vocalsound} I think I'm gonna start downloading itMarketing: or is it on sky ?Project Manager: yeah .Marketing: Yeah , that'd be nice .User Interface: Alright . Think I'm just gonna put down one uh oneC_D_ . Anybody ?Project Manager: Mm-mm .Industrial Designer: No .User Interface: No ? {gap} no ?Marketing: 'Fraid not .User Interface: Afro beat orchestra , very cool .Project Manager: Afro beat orchestra ? Verycool . Mm .User Interface: Yeah .Industrial Designer: Sounds nice .User Interface: Fift SMarketing: Mm .User Interface: they like fifteen members from Brooklyn . Um and I'm hoping to go to the concert in Belgium , inBrussels in April first .Project Manager: Wow .Marketing: Exciting .User Interface: Yeah . It's supposed to be in Brussels anyways .Marketing: That'd be {gap} .User Interface: Um thing I love about Edinburgh{disfmarker}Marketing: Oh . I didn't even read those . Oops . I shouldn't admit that . {vocalsound}Project Manager: That's what a PowerPoint presentation is for . It's they're designed specifically to ignore . I{disfmarker} it's {disfmarker} th brilliant .Industrial Designer: Oh , wow . {vocalsound}Marketing: Yeah .User Interface: {vocalsound}Marketing: It's the five by five , I can't read that much .Project Manager: Ah yesyes yes okay I see that .Marketing: {vocalsound} {vocalsound} YeahProject Manager: Vomit . Yes . {vocalsound}Marketing: oh it's so horrible .Project Manager: Street pizza .User Interface: {vocalsound} Love um{disfmarker}Project Manager: It's so brilliant . {vocalsound} I've seen more urine in this city than ever before ,Marketing: Oh my God .User Interface: {vocalsound} I just came from GlasgowProject Manager: I mean{disfmarker}Marketing: Seriously ?User Interface: and I'm um happy to say that there's the {disfmarker} there's the same quantity approximately .Industrial Designer: There's more vomit there .User Interface: Um.Project Manager: It's so minging .User Interface: I wMarketing: It really is {vocalsound}Project Manager: Uh .User Interface: Does uh yeah .Industrial Designer: Alright . Yep .User Interface: Ready ? Minging ? Nice.Marketing: Yeah .Project Manager: I'm going local . Going local .Marketing: Slide it in there . Yeah .Project Manager: I have to be here for three years so I might as well get the terminology right .Marketing: Yeah fairenough . I've already got more than I can keep track of . And I'm gonna go home next week and everyone's gonna be like oh my God you're turning into one of those people ,Project Manager: Oh , have you been homeyet ?User Interface: {vocalsound}Project Manager: They'll be like , say something British ,Marketing: no .Project Manager: and you're like oh shut up family . {vocalsound}Marketing: I know . I know .User Interface:Uh-huh .Industrial Designer: Um {disfmarker}Marketing: Oh it should be interesting .Industrial Designer: Let's see .Marketing: Wait until I tell them I'm not coming back .Project Manager: {vocalsound} RightUserInterface: {vocalsound}Marketing: They're gonna love that one .Project Manager: you s you're gonna stay here ?Marketing: Probably .Project Manager: Wow .Marketing: Or at least get a work visa for a while and thendecide .User Interface: {vocalsound} Nice .Project Manager: Bad religion ?Marketing: 'Cause {disfmarker}Industrial Designer: Yeah , that's the music I grew up listening to .Marketing: nice .Project Manager: Yeah yeah, yeah .Marketing: Of course .User Interface: {vocalsound}Industrial Designer: And so there {disfmarker}Marketing: Oh , now I can think of so many other ones .Project Manager: Well yeah that's why{disfmarker}Marketing: That's how it works .Project Manager: yeah .Industrial Designer: Something I miss about my hometown .Project Manager: I miss coffee .Industrial Designer: BurritosMarketing: Mm .{vocalsound}Project Manager: {vocalsound} Burritos .User Interface: Nice .Industrial Designer: that cost less than eight Pounds . {vocalsound}Marketing: Oh {disfmarker}Project Manager: Oh yeah two two bucks.Marketing: {vocalsound} Any thing that are like free .Project Manager: Where are you from in California by the way ?User Interface: {vocalsound}Industrial Designer: I grew up in San Diego ,Project Manager: Did youreally ? What part ?Industrial Designer: but yeah um La Jolla , P_B_ {gap} .Project Manager: Yeah I'm from San Diego as well . Yeah oh man .Marketing: Nice . {vocalsound}Industrial Designer: But really uh I last livedin San Francisco , I haven't lived in Cali well I haven't lived in southern California since I was eighteen .Project Manager: Going to s like North Carol I'm sorry you you just can't get a better burrito than what's availablein the s in San Diego .Industrial Designer: It's different . 'Cause in San Diego th the tortillas are cooked on the grill and in northern California they steam them .Marketing: It must make all the difference .{vocalsound}Industrial Designer: Yeah , it really does .Project Manager: Well it's it's {vocalsound} i there's other things too there's {disfmarker} you just can't place itMarketing: Ah .Project Manager: like I{disfmarker} when I went to school in the U_ {disfmarker} in Santa Barbara which is central California the Mexican food is okay , it's just not good like and yeah it's like two bucks ,Industrial Designer: Mm .ProjectManager: like literally two bucks for this massive {disfmarker} I missMarketing: Right .Project Manager: yeah good call on that .Industrial Designer: Yeah . Where you from in San Diego ?Marketing: Mm .ProjectManager: Um just literally just metropolitan San Diego , I live like five minutes from the zoo . SoIndustrial Designer: Okay .Project Manager: North Park actually if you want to get real specific .Industrial Designer: Yeah, my grandparents lived on um thirty second .Project Manager: Yep .Industrial Designer: Close t uh do you know where Clare de Lune coffee shop is ,Project Manager: Yes . On university ,Industrial Designer: andProjectManager: yeah .Industrial Designer: Cafe Forte {disfmarker}Project Manager: Yeah it's actually like literally half a mile from my house .Industrial Designer: Cool .Project Manager: Yeah , pretty cool . Small world as wewere discussing before .Industrial Designer: Yeah .Project Manager: Especially when we're all from the same general region . Right so okay , success on the whiteboard . You can harness the awesome powerMarketing:There you go .Project Manager: a little bit introductions we talked about some of our C_D_sIndustrial Designer: Wow .User Interface: {vocalsound}Project Manager: and things we like about the city you know , I thinkwe'll {disfmarker}User Interface: {vocalsound}Project Manager: Um right so {vocalsound}Marketing: {vocalsound}Project Manager: moving on to not fun stuff {vocalsound} uh project finance .User Interface:{vocalsound}Project Manager: Um basically what we're trying to do is sell this remote for twenty five Euros . Um . {vocalsound} This is what the finance department has told me , the C_F_O_ but I don't know , I'm notsold on this , it's pretty dear , I mean twenty f that's like you know forty bucks for a remote . It would have to pretty much like do my laundry for me . Um soMarketing: Mm .Project Manager: what we can maybe workon that a later but we're gonna make a lot on it , the profit aims to make fifty million Euros on it . Eur internationally . So {vocalsound} um one of the things I I was gonna mention to you um you guys the designers isthat um it m we probably need a rever it needs to be a universal remote control probably . Um soIndustrial Designer: Okay .Project Manager: something that could do N_T_S_C_ as well as PAL as well as various otherformats like if it's gonna control D_V_D_sMarketing: Makes sense .Project Manager: but um you knowMarketing: Uh .Project Manager: I'll leave that to you guys but that's something that i i it is gonna be aninternational sold thing . {vocalsound} Um but we wanna try to make it for twelve fifty . So we wanna try to make a hundred percent profit on it if we can . {vocalsound} Um s right so um just to close up , I'm not surehow much time I've used mm next time right Project Manager , sorted . Um . {vocalsound} Is uh we'll meet in another half an hour or so um {vocalsound} and I'd like the um Industrial Designer to get ge think aboutwhat needs to be done , like what the basic function of it . Um {vocalsound} U_I_D_ well yeah you right g your assignments are up there and you'll also get s assignments from {disfmarker} in your email as well morespec specifics on what do do . Um mm basic and um so I need you to tell us what um {vocalsound} we {disfmarker} what the user's gonna want .Marketing: What they're looking for .Project Manager: So actually in away you guys c maybe in our next meeting chat a bit about what the user's gonna want and what the user can have , you know like uh so {disfmarker}Marketing: And negotiate that . Uh .Project Manager: yeah well itis {vocalsound} and we'll discuss the trade-offs in between um so yeah specific instructions will be sent in your email . But I think that that is more or less a good place to start for now um and as more things come upwe'll have meetings and you'll get emails and so forth . Um any questions , before we get started ?User Interface: I assume that we're building a stand alone uh remote control , we can't kind of build it into other uhproducts .Project Manager: {vocalsound} You mean to like {disfmarker}User Interface: For instance like a mobile phone or something like that .Industrial Designer: Mm . Sounds interesting .Project Manager: Hmm .{vocalsound} Yeah .Marketing: I don't think there's any rules about it yet . So {disfmarker}Industrial Designer: Maybe our personal coach will have something to say about that .Project Manager:{vocalsound}Marketing: Yeah .User Interface: Or or you know can we produ can we sell a remote control phone for twenty five pounds or less ?Project Manager: Well , have a think about it .Marketing: Mm .Project"}
+{"doc_id":"doc_6","qid":"","text":"The Chair (Hon. Anthony Rota (NipissingTimiskaming, Lib.)): We'll call this meeting to order. Welcome to the fifth meeting of the House of Commons Special Committee on the COVID-19 Pandemic.  Pursuant to theorder passed on Monday, April20, the committee is meeting today to consider ministerial announcements, to allow members of the committee to present petitions, and to question ministers, including the Prime Minister,about the COVID-19 pandemic. Tomorrow, May8, Dr.AndreaMcCrady, Dominion Carillonneur, will give a special recital to mark the 75th anniversary of Victory in Europe Day. Victory in Europe Day, VE Day,commemorates the formal acceptance of Germany's surrender by allied forces at the end of the Second World War. While the pandemic prevents us from gathering to celebrate in person, tomorrow at noon the voice ofour nation will ring out in remembrance of this milestone in our history. Today's meeting is taking place by video conference. The proceedings will be made available via the House of Commons website. Just so you areaware, the webcast will always show the person speaking rather than the entire committee. I would like to remind members that, as in the House of Commons or committee, they should not take photos of theircolleagues or film the proceedings. In order to facilitate the work of the interpreters and to allow the meeting to proceed smoothly, I would ask you to follow some instructions. The video conference will be interpreted asin normal meetings of committees and in the House. In the lower part of your screen, you can choose the language: floor, English or French. Please wait until I call on you by name before you begin to speak. When youare ready to speak, click on the microphone icon to activate your microphone, or hold the space bar down while you are speaking. If you release the bar, your microphone will revert to mute, just like a walkie-talkie.Honourable members, I would like to remind you that if you want to speak English, you should be on the English channel. If you want to speak French, you should be on the French channel. Should you wish to alternatebetween the two languages, you should change the channel to the language that you are speaking each time you switch languages. Please direct your remarks through the chair. Should you need to request the flooroutside of your designated speaking time, you should activate your mike and state that you have a point of order. If a member of the committee wishes to intervene on a point of order raised by another person, youshould use the raised hand function to indicate to the chair that you wish to speak. To do this, click on the participant button at the bottom of your screen. When the list appears, you will see the raised hand optionbeside your name. Speak slowly and clearly at all times. When you are not speaking, leave your microphone on mute. It is highly recommended that you use a headset with a microphone. You have to remember toswitch languages. Should any technical challenges arise, for example, in relation to interpretation, please advise the chair immediately by raising a point of order, and the technical team will work on resolving them.Please note that we may need to suspend during these times in order to correct a problem. I want to remind the honourable members to mute their microphones when they are not speaking. If you get accidentallydisconnected, please try to rejoin the meeting with the information you used to join initially. If you are unable to rejoin, please contact our technical support team. Before we get started, please note that in the topright-hand corner of your screen is a button that you can use to change views. Speaker view allows you to focus on the person currently speaking; gallery view allows you to see a larger number of participants. You canclick through the multiple pages in the gallery view to see who is on and how many more participants there are. I understand there are no ministerial announcements today. We will now proceed to presenting petitionsfor a period not exceeding 15 minutes. I would like to remind members that any petition presented during the meeting of the special committee must have already been certified by the clerk of petitions. In addition, toensure a petition is considered properly presented, the certificate of the petition and each page of the petition for a petition certified in a previous Parliament should be mailed to the committee no later than 6 p.m. theday before. Now we'll go to presenting petitions. Mr. Genuis.Mr. Garnett Genuis (Sherwood ParkFort Saskatchewan, CPC): Mr. Chair, five years ago when Parliament passed Bill C-14, then justice minister JodyWilson-Raybould said that it represented a finely tuned balance between access and safeguards. It also included a five-year review. Petitioners on the first petition I'm presenting are very concerned to see Bill C-7before Parliament, which removes safeguards ahead of that five-year review. Petitioners specifically mention their concerns about the removal of the mandatory 10-day reflection period, which can already be waived incertain circumstances. They are concerned about reducing the number of witnesses required to oversee it and ensure that a request has been properly made. I commend that petition to the consideration of the House.The second and final petition that I will be presenting today is with respect to Senate Bill S-204. This would make it a criminal offence for a person to go abroad and receive an organ from a person who did not consent.This responds specifically to concerns about organ harvesting in the People's Republic of China involving Falun Gong practitioners and increasing concerns that this is being or about to be applied to Uighurs as well.Canada can and should take action on this. Petitioners are noting that in the previous Parliament there were bills on this, Bill C-350 and Bill S-240. Now, in this Parliament there is a bill, Bill S-204, and the petitionershope that this 43rd Parliament will be the one that gets it passed.The Chair: We will go to Ms. May.Ms. Elizabeth May (SaanichGulf Islands, GP): Thank you, Mr. Chair. It's an honour. This is my first occasion to present apetition in our virtual format of the COVID-19 committee. Thank you to you and your staff, Mr. Chair, for developing a system that allows us to present petitions electronically. The petition I am presenting today, whichwas previously approved, is from a number of constituents who are concerned that we pursue the Paris Agreement to hold the global average temperature increase to no more than 1.5C. The Paris Agreement itselfembeds in it the concept of Just Transition with a capital J and a capital T, the concept of just transition ensuring fairness and support for all workers in the fossil fuel sector. The petitioners call upon the Government ofCanada to move forward with an act to ensure just transition and to ensure adequate funding so that workers and communities dependent on the fossil fuel sector receive meaningful support to ensure security in theirlives in the transition to more sustainable energy use. Thank you, Mr. Speaker.The Chair: Those are all the petitions for today. I want to thank the honourable members for their usual collaboration and now we'll go ontoMr. James Bezan (SelkirkInterlakeEastman, CPC): On a point of order, Mr. Chair, on Tuesday, at our COVID-19 committee of the whole meeting, I was asking a question which started at 12:56:06 and was cut off at1:00:32, so I still have 34 seconds of time remaining in my question time of five minutes. You said it could be no more than five minutes but that I had up to five minutes. Thirty-four seconds leaves a lot of time to havea quick question and a quick response. If you believe that my time was unjustly cut off and that it was unfair treatment of the official opposition when we were raising our points of order, I would ask that the 34 secondsbe tacked on to the opening round for the opposition and credited to Rosemarie Falk, who will be leading off for the Conservatives.The Chair: Normally what happens is the chair uses judgment, and with 35 seconds,there isn't enough time obviously for a full question or answer, most of the time. I'll take it under advisement. I can't allot it. I want everyone to know that I do have a timer next to me and I am timing the questions,and I will be treating the answers the same way. If it's a 25-second question, it will be a 25-second answer. Thank you for bringing that up. I believe that issue has been remedied. We've taken a little bit of the chair'sability to give judgment on it, but it will be from now on. Thank you.Mr. James Bezan: Mr. Chair, 34 seconds is a considerable amount of time to do a short question and a short answer.The Chair: I appreciate theadvice. Thank you, Mr. Bezan. We'll now proceed to the questioning of ministers. I would like to remind the honourable members that no member will be recognized for more than five minutes at a time and thatmembers may split their time with one or more members by so indicating to the chair. Ministers responding to the questions should do so by simply turning on their microphone and speaking. Our first questioner is Ms.Falk.Mrs. Rosemarie Falk (BattlefordsLloydminster, CPC): Mr. Chair, yesterday, Elizabeth May and the leader of the separatists declared oil to be dead. It's certainly not dead, but it's dying under the Trudeaugovernment. Will the Prime Minister stand up for Canada's energy workers, or does he agree with the fringe left and those who want to destroy our country?Ms. Elizabeth May: I have a point of order.The Chair: Goahead, Ms. May.Ms. Elizabeth May: Mr. Chair, I believe that the language that the honourable member just used is unparliamentaryMr. Garnett Genuis: That's not a point of order.Ms. Elizabeth May: We can havedifferences of opinion, but it is absolutely  Some hon. members: Debate.  Ms. Elizabeth May: unacceptable and violates my privileges to  An hon member: Debate.  Ms. Elizabeth May: No, it's not debate. I would ask thechair to rule on that, not the member from the Conservative Party. It is unacceptable to assert that anyone who wants to make a point about our economy is trying to destroy the country. This allegation is a violation ofmy privilege.   An hon. member: She was also named by theThe Chair: Order. I didn't recognize anyone. I don't know who is speaking, so I'll just start talking myself. I want to remind honourable members to haverespect in their questions and in their answers. When you refer to someone, please refer to them respectfully. This is a committee of the House, and I would expect no less of the honourable members. We'll go to theright honourable Prime Minister. You have 16 seconds.Right Hon. Justin Trudeau (Prime Minister): Thank you very much, Mr. Chair. As I pointed out this morning in my press conference, we cannot move forward on atransformation of our energy sector without supporting the workers in that energy sector. We need their innovation and we need their hard work if we are going to lower our emissions, if we are going to reach ourTheChair: We'll go to Ms. Falk again.Mrs. Rosemarie Falk: Mr. Chair, it has been 43 days since the finance minister promised Canada's energy sector liquidity through the Business Development Bank of Canada. For 43 daysthe finance minister has failed to deliver on that promise. These delays cost jobs and they are costing us Canadian businesses. If the government doesn't step up to support our energy sector, they are in effect doublingdown on their support for foreign, unethically sourced oil. Mr. Chair, when will the credit options be available to Canada's small and medium energy firms?The Chair: I want to remind honourable members that we dohave interpreters who are listening and translating. In consideration to them, please speak at a reasonable pace so that they can understand and then translate. The right honourable Prime Minister.Right Hon. JustinTrudeau: Mr. Chair, from the very beginning, our priority through this pandemic and this crisis has been to support workers across the country. We have sent billions of dollars to workers right across the country,including Alberta, Saskatchewan, B.C., and Newfoundland and Labrador in the energy sector for them to be able to support their families through this difficult time. We are also working on sectoral supports right acrossthe country. Those will be announced in due course. Our focus from the get-go has beenThe Chair: We'll move to Ms. Falk.Mrs. Rosemarie Falk: Mr. Chair, another group that has been ignored by the Liberals is ourfarmers. The announcements to date fall well short of what is needed to maintain a steady supply of affordable and healthy food. The Canadian Federation of Agriculture has asked the government for a $2.6-billionemergency fund. Instead of responding to specific COVID-19 challenges, our farmers are facing the Liberals' reannounced $125 million that was already budgeted in the AgriRecovery program. Will the Prime Ministerfinally step up and take our food supply chain seriously, or is agriculture just an afterthought for him?Right Hon. Justin Trudeau: On the contrary, Mr. Chair, we take agriculture and our agricultural sector extremelyseriously, which is why we announced hundreds of millions of dollars a couple of days ago to respond to pressing needs. We will continue to make investments to ensure both the safety of workers in our agriculturalsector and the safety of our communities, as well as the continued flow of high-quality Canadian food onto our tables right across the country. Supporting the people who produce our food is a priority for thisgovernment and will continue to be.Mrs. Rosemarie Falk: Well, Mr. Chair, recycled program announcements do not respond to the immediate needs facing our farmers. This is absolutely unacceptable. Our farmers arefaced with rising operational costs, a disrupted service industry, labour shortages and a reduced capacity at processing plants. The government has a responsibility to take domestic food security seriously. When will thePrime Minister deliver adequate support to address the critical changes facing our ag industry?Right Hon. Justin Trudeau: Mr. Chair, I would suggest respectfully that the honourable member take a look once again atthe announcement we made, which actually highlights significant new investments to support our agricultural industry. I certainly agree that there is more to do. Every step of the way in this unprecedented situation,we've been moving forward on doing more, on adjusting and on investing more. We need to support our agricultural sector and the people who work so hard to put food on Canadians' tables right across the country andwe will continue to.Mrs. Rosemarie Falk: Mr. Chair, Canadians expect to find healthy and affordable food at their grocery stores, but if the government does not take action now, that's not a given. Our farmers are tryingto keep Canadians fed while keeping their heads above water. The Liberal government's own failed federal carbon tax is weighing them down. It is an enormous hit to their bottom line, and the recent carbon tax hike istaking even more money out of the pockets of farmers at a time when they can afford it the least. Will the Prime Minister exempt all farm operations from the carbon tax and reimburse the money that they have alreadytaken from them?Right Hon. Justin Trudeau: Mr. Chair, it's a shame to hear the member opposite accidentallyunintentionally, I'm certainmislead the House and Canadians. The price on pollution actually puts moremoney into Canadians' pockets, and that includes farm families. People who pay the cost of the price on pollution on average receive more money back. This is the way of creating a better future for our kids andgrandkids, which I know people in communities right across the country, including our farm communities, want to see happen. We are moving forward in a responsible way to put a price on pollution and put moremoney in average Canadians' pockets.The Chair: We now continue with Mrs.Gill. Mrs.Gill, you have the floor.Mrs. Marilne Gill (Manicouagan, BQ): Thank you, Mr.Chair. As you know, all sectors of the economy are fragileat the moment, specifically the fisheries. I am thinking about the lobster fishery in the Magdalen Islands, the crab fishery on the Cte-Nord or those fishing for herring in the south of the Gasp. Because imports haveceased, because the domestic market is weak and in decline because of the interruption of the tourism and restaurant industries, the fishing industry and its fishers must be supported. I would like to know what thegovernment has done to support our fishers since the crisis began.Right Hon. Justin Trudeau: Our fishers do exceptional work that is extremely important in feeding Canadians and in contributing to our economicsuccess through their exports around the world. This crisis has struck them very hard. That is why we have established measures in the tens of millions of dollars to support our processors. We have also announced helpfor the fishers. We know that these are difficult and unprecedented times, and we are going toMrs. Marilne Gill: My thanks to the Prime Minister. I am actually talking about help for the fishers. I know about theprocessing industry and the $62.5million to be used essentially for freezing products, but I am talking about the fishers themselves. Given the economic situation, most of our fishers are getting ready to leave. First,there are health risks. We know very well that it is impossible for them to observe all the social distancing measures. They have to incur additional expenses in order to conduct their normal fishing activities. In addition,they feel that they will be losing money, because of the drop in the price of their resource. They are just as essential as farmers, but they are going to have to work at a loss and they are not going to have workers toassist them. Workers in the seasonal industry do not know what tomorrow will bring. They do not even know whether they will be able to put food on the table next year. Are you going to do anything else, in addition tothe assistance of $62.5million? Time is of the essence. Our fishers have lacked certainty for weeks and they are very concerned.Right Hon. Justin Trudeau: Yes, indeed, we are going to do other things. Otherinvestments will be made in various sectors in order to support Canadians. We recognize the challenges that fishers must face in terms of social distancing and of work that is often seasonal. We are going to continueworking with the industry, with the fishers, and with the coastal communities in order to ensure that people have confidence in their abilities and in their future. In times of crisis, it is important for the government to bethere to support people, and that is exactly what we are going to continue to do. This is an unprecedented crisis, but we can see once more that Canadians are there for each other. Our government will continue to bethere for the fishers and the fishing industry.Mrs. Marilne Gill: I would have preferred us to be there from the start. Clearly, this is a difficult crisis. But, given the cyclical nature of the industry, some sectors have had topostpone for several weeks the preparations they need for fishing activities. The current program could be modified in a number of ways, to accommodate the cycle, the dates, and the size of the companies. They wouldreally like to take advantage of the $40,000loan, but they cannot because of their payroll. Given the dates, they are also ineligible for the 75%salary subsidy. I can already suggest a number of solutions to thegovernment and to the Minister of Fisheries, Oceans and the Canadian Coast Guard, that would bring help to those businesses very quickly. The fishers carry on, because it is a duty for them, because they want to helpus and to be part of the effort at this time of crisis. At the same time, they have no guarantee that they will be supported. I would really like to hear a guarantee that they will be supported, that they will be able to putfood on the table this year, and that they will be able to support the communities that often depend on the fishing industry, a major industry in those communities.Right Hon. Justin Trudeau: Minister Jordan has beenworking with the fishers, the fishing industry and the communities affected by the crisis since the crisis began. We are assessing a number of solutions. We have proposed various solutions to support the communities,the workers and the families. This is an unprecedented situation. From the outset, our priority has been to support the millions of Canadians from coast to coast who have lost their jobs. We have been able to do so, butwe are going to continue to work for those who must now face difficulties. We are going to be there for each other. That is what people are expecting from our government and from other Canadians.The Chair: Beforewe move to the next question, I would like to remind members of the committee to speak slowly, and to address their remarks to the chair and not directly to each other. Thank you very much.  We will now go to Mr."}
+{"doc_id":"doc_7","qid":"","text":"Project Manager: Right w welcome to the the first meeting of uh Real Reaction's uh um development meetings for our our new television remote control . Uh this follows our very successful entry into the the consumermarket over the last year or so um which we want to to build on , taking advantage of the uh the the latest developments in in technology and the uh the latest uh {vocalsound} uh feelings in in consumer design andand demand and uh we want to make this the the very best product th that's possible for everybody , uh one that everybody wants , uh at a good price for the consumer and at a good price for the company . Uh and tothat end we need all to work together uh to do that . Um and uh b in no particular order because ev everybody is uh {vocalsound} just as vital to this projectMarketing: Mm .Project Manager: um {vocalsound} I'll justgo round th the table , Andrew , marketing , um m Kendra with the uh um {disfmarker} designing the the the User Interface uh uh and Kate with the the industrial design . Um . {vocalsound} What's uh {disfmarker}the the th th project is is here to do , is is to to get this this project up and moving , ev everybody is is free to uh say wh whatever they want , uh everybody has a contribution to make and uh {vocalsound} everybodyfeel free to interrupt me at any time to to say what you want to say . Um in in terms of the immediate meeting the uh um {gap} everybody knows everybody else , everybody's worked for the the company for a while ,if if an anybody feels that they need to say more about themselves please do , if if if anybody wants to b briefly give their their background so that everybody's quite clear what everybody uh {disfmarker} uheverybody's experience is please do so . Uh in fact I'd I'd I'd welcome anybody to uh say something briefly about themselves , in fact we will do that by by going round the table quickly and and saying what whatcontribution you {disfmarker} you're looking to make . So we'll start with Andrew .Marketing: Oh my name's Andrew I'm a {disfmarker} I'm the Market Research person for this uh for this meeting and this uh projectfor creating this new remote control and uh yeah I'll be uh presenting information statistics on what people want to want to uh get from this new design , what people want to {gap} like {disfmarker} and from a fashionpoint of view and the practicality point of view .Project Manager: Right {vocalsound} Kendra .User Interface: {vocalsound} I'm Kendra and I'm the Us User Interface Designer and um {vocalsound} I haven't had awhole lot of experience in this kind of thing before but I'm m so I'll be {vocalsound} working on the design .Project Manager: Right at least means you haven't got any preconceived ideas so .User Interface: Right . Yep ,I'm just open to being creative .Industrial Designer: {vocalsound} Uh I'm Katie ,Project Manager: Yep , good .Industrial Designer: I'm the Industrial Designer and I'll just be I guess presenting about the the interworkings of our little remote control and uh {disfmarker} yeah .Project Manager: Okay , very very quickly , um {vocalsound} this {disfmarker} I don't want to make this meeting too structured because the the wholeidea is that it's a um you know a think tank . Everybody says what they {gap} what they want to say , uh and we don't want to be constrained by uh kind of convention or uh uh slides on screens or or anything else umbut um briefly um th th this is what we want to do . The the remote control needs to be original , there has to be something about it that uh other remote controls don't have so that as soon as people see it they thinkum yes that's different , uh I want one , um and that goes along with being trendy , uh uh you know the I want it uh scenario . User-friendly as as we all know , remote controls can be uh uh very user-unfriendly so wewant to make ours one that people can pick upMarketing: {vocalsound}Project Manager: and think oh yes that's {disfmarker} it's obvious how that works , uh and they also want to look at the price and think oh yeahthat's something that {disfmarker} I may not need another remote control but uh it's such a nice one I'm gonna have one . And last but not least , or indeed first of all , it it must make the company money , and wemake the company money by producing what the consumer wants . The uh the further work to be done is i the um the functional design , uh what it uh what it must actually do , the uh conceptual design , uh how weactually present that to the consumer and th the the detailed design i is uh how we get that into production . Uh now th the main design tool that we have available to us at the moment is is the white board and uh uh{vocalsound} let us very quickly do what i what it says in the in the in the prompt slide here , um {disfmarker} In fact I suggest to avoid everybody untangling themselves from the uh the the wires , that we don't dothat , um So I I {disfmarker} everybody knows what whiteboard is so we'll um uh we'll do a virtual drawing on the on on the whiteboard of of your your own uh uh favourite animal , but le let's go round the table , yourfavourite animal .Marketing: Um , badger . {vocalsound}Project Manager: Mm and why ?Marketing: Uh it's it's got nice contrast with black {vocalsound} and white and uh {vocalsound}Project Manager: Uh-huh.Marketing: I feel they're {gap} underdog kind of statusProject Manager: Oh rightMarketing: and they're , theProject Manager: uh my my wife says my beard looks like a badger's arse 'cause of the the white streaks init . {vocalsound}Industrial Designer: {vocalsound}User Interface: {vocalsound} Um probably a duckMarketing: {vocalsound}Project Manager: Kendra .User Interface: I just {disfmarker} I li I like the way they lookand they're just nice animals and I like how they can fly or swim or walk around or whatever .Project Manager: Uh-huh . Right , okay .Industrial Designer: Uh 's horses , no particular reason why {vocalsound} .ProjectManager: Uh-huh , {gap} fair enough yeah .User Interface: {vocalsound}Project Manager: I'm not sure that I've got any favourite animal to be quite honest , I think homo sapienIndustrial Designer: {vocalsound}{vocalsound}Project Manager: because of their {disfmarker} their uh overall ability to uh uh {disfmarker}User Interface: {vocalsound}Marketing: Make mobile phones and T_V_ remotes {vocalsound}{disfmarker}Project Manager: Sorry ?Industrial Designer: {vocalsound}Marketing: to make T_V_ remotes {vocalsound} .Project Manager: Indeed absolutely yes ,Industrial Designer: {vocalsound}Project Manager: thathat's um {disfmarker} Okay and uh w we need to keep in mind here that the uh {disfmarker} we want to sell this for for twenty five Euro um , we want to m make an overall profit for the the company of fifty millionEuros so we're we're looking at selling a lot of these um ag across the the entire planet and and we're looking at a gross profit of fifty percent . {vocalsound} It needs to cost twelve Euros fifty to make . Um so we're notonly looking at a a very trendy original product , we're looking at making it at a very good price . Um , okay , um {vocalsound} would anybody like t like to to start by giving their o um sort of quick views of of currentremote controls .User Interface: Well I think {disfmarker} I find a lot of them really complicated to use with all the different buttons and uh it's handiest when you have one that works both the D_V_D_ player orwhatever and the T_V_ as well . Um , but that {disfmarker} it's easy to {gap} if you can switch back and forth instead of having to {vocalsound} press a bunch of different buttonsProject Manager: No .User Interface:and {disfmarker} so I think it's is best when they're clearly labelled and you can see which buttons you're supposed to use , you know .Project Manager: Any any thoughts about buttons or any oth other way ofapproaching the p the uh the problem ? Or anybody else , strong feelings about remote controls ? Are there you know , bad ones they've used or good ones they've used or ones that they've lost and never found again?Industrial Designer: Um {disfmarker} {vocalsound} I think it's important that you should be able to {disfmarker} when you when you press the buttons it'll actually pick up the signals from kind of anywhere and youshouldn't have to like contort yourself and twist your remote control to get it {disfmarker} the T_V_ to actually pick up the signal .Marketing: Yeah .User Interface: Yeah .Marketing: Think a lot of the time , remotes thatcome with T_V_ players and {gap} T_V_s and D_V_ players , like they aren'tIndustrial Designer: Mm .Marketing: like an area that's put a lot of effort into , they're very boring , very plain .Industrial Designer: Mm.Marketing: Like it's very {disfmarker} a very {disfmarker} like um making a a stylish remote control would be a very like {disfmarker} Easily put us one step ahead of the current competition .Project Manager: Umwhat so wh what's in in {disfmarker} what particular style features are you thinking about ?Marketing: {vocalsound} Um . Something that looks looks {disfmarker} doesn't look like remote control .Industrial Designer:{vocalsound}Marketing: So if you want , {vocalsound} something that looks like uh {disfmarker} something that makes you think oh what's this ? Like this pen doesn't really look like a pen ,Project Manager: Uh-huh.Marketing: but it makes you think oh .Project Manager: {gap} . YeahMarketing: So , sorry that's a bit vague {vocalsound} .Project Manager: d no I mean do you think there's a risk if it doesn't look like remote control ,{vocalsound} people won't see it as a remote control um and uh {disfmarker}Marketing: Uh I suppose suppose that's up to the marketing to to make make people aware of the product .Project Manager: Uh-huh . Anyother thoughts about um th the physical appearance of a {disfmarker} of remote controls ?User Interface: I think something that's comfortable to hold because sometimes you get the remote controls that are justthose big , rectangular thingsIndustrial Designer: Mm .Marketing: Mm .User Interface: and uh they're kind of awkward to hold onto ,Marketing: {vocalsound}User Interface: so something that's more comfortable thatfits in a person's hand better .Project Manager: I mean th the thing that i immediately comes to mind is computer mouses which um I mean y you get all sorts of shapes in the shopsIndustrial Designer: Mm .UserInterface: Yeah .Marketing: Yeah .Industrial Designer: Mm .Project Manager: and s you know some quite fancy ones um than the {vocalsound} {disfmarker}User Interface: Yeah .Project Manager: some from personalexperience which look niceIndustrial Designer: {vocalsound}Project Manager: but {vocalsound} aren't particularly comfortable . Um {vocalsound} any thoughts about buttons or flat screens or uh uh {disfmarker}UserInterface: Yeah .Marketing: Well from the mouse idea you could , {gap} remote is a piece of plastic with the big rubber buttons sticking out of it which you press , whereas if you want {gap} {disfmarker} could all beflat and the buttons are very kind of almost subtle that instead of being raised out of the device uh you push into device you see , like a mouse button .Project Manager: Yes , I mean {vocalsound} the only thing is if ifyou're watching television in a in a a darkened room um you need to be able to uhIndustrial Designer: Mm .Marketing: I suppose .Project Manager: fi find the button buttons easily .Marketing: Easily , yeah yeah .UserInterface: But maybe they could be concave instead of sticking up to have them {disfmarker} be kind of down so you could feel themIndustrial Designer: Mm .Marketing: Mm .User Interface: better .Project Manager:Yeah , that's uh {disfmarker} must admit I don't think I've ever seen one with concave buttons , that's uh {disfmarker} certainly be different . Um do we need it to uh {disfmarker} I can't think of any re remotecontrols that I know of that actually light up at all .User Interface: {vocalsound} Oh yeah .Project Manager: Do we do we want uh {disfmarker}Industrial Designer: Mm that would be good .User Interface: Like a like amobile phone ?Project Manager: Yeah .Industrial Designer: Mm .User Interface: Yeah .Industrial Designer: Mm .Marketing: Mm , yeah that would be good .Project Manager: Okay . So , Andrew have you had anythoughts yet about how we might market something which there are already millions out there and that we want to uh uh uh t take over the entire um {disfmarker} the planet with ?Industrial Designer:{vocalsound}User Interface: {vocalsound}Marketing: Mm-hmm , um {vocalsound} especially if we try to sell , what two million of them . Oh sorry , four million of 'em , but uh {disfmarker} I think if w if we market itas as not as not {disfmarker} well this {disfmarker} you c you could either market it as the point of view {disfmarker} we could have the two {disfmarker} we could have parallel marketing s schemes where you've gotone where it appeals to people that want to have the new device that looks cool , is fashionableIndustrial Designer: Mm .Marketing: and like you just {disfmarker} it's it's like uh it's one that rather than ra I wan I wantrather than a kind of a need relationship with the device ,Project Manager: Mm-hmm .Marketing: but that might {disfmarker} considering the act what the device is for and the nature of some people might not likerespond to having a device that they just looks nice , therefore they want it so {disfmarker} make it practical at the same time . I think it's {disfmarker} this is gonna have to appeal to people that want device that canenhance their living roomProject Manager: Mm-hmm .Marketing: uh but also a device that uh is practically sound .Project Manager: Mm-hmm . Okay , yeah , yeah , wellMarketing: So um , I dunno we'll have to decidewhich which angle we're gonna go to or both . If you {gap} .Project Manager: I d I think an any uh any facets that we identify w we aim {disfmarker} need to aim for for all of . Um okay wellMarketing: Mm .{vocalsound}Project Manager: first thoughts on um the the industrial design side .Industrial Designer: {vocalsound} Oh I think it's it's {disfmarker} remote controls are kind of a unique object 'cause it's {disfmarker}you depend on them so much , but you don't {disfmarker} i i it's {disfmarker} you sort of just assume they're always gonna work , you don't think of them as a comp like a computer can break down and you're kindalike oh well fair enough there's all these complex things going on , it's gonna {disfmarker} something's gonna get messed up eventually . They they just need to be very very dependable because people sort of takethem for granted and then if your remote control breaks it's {gap} {disfmarker} God forbid you actually get up and manually change the channel {vocalsound}Project Manager: {vocalsound} Indeed .User Interface:{vocalsound}Marketing: {vocalsound}Industrial Designer: it just {disfmarker} it needs to be very effective , very {disfmarker} always dependable . Uh I don't think we should make it too small I {disfmarker} 'cause Ithink it needs to {gap} it can't be too big like you were saying big an and huge and um awkward , but also if you make it too small kinda like you know how mobile phones are getting smaller and smaller um , it's justgonna end up under a couch cushion somewhere and um yeah .Project Manager: Yeah .Industrial Designer: But {disfmarker} so yes dependable , and have a {gap} good medium range size .Project Manager: Okay ,and um colours , materials ? Kendra , anyone ?User Interface: {vocalsound} Well , most {disfmarker} I think most of the remote controls now are either just black or grey ,Project Manager: {vocalsound} {gap} .UserInterface: so maybe we should go with something different or be able to {disfmarker} I was just thinking of um {vocalsound} what they're doing with mobile phones now how you can get the different um {disfmarker}what are they called ? Like the face-platesProject Manager: Yeah .Industrial Designer: Mm , mm-hmm .User Interface: that you change so we could have maybe {disfmarker} I don't know if it would be feasible to dosomething with that , where you can change the face-plates or have kind of a varietyProject Manager: Uh-huh .User Interface: so people can get different different things . Have it kind of look how they want to ,different colours , things like that ,Project Manager: Right .User Interface: probably just plastic because that's always the lightest .Project Manager: Yeah . Okay that's uh {disfmarker} Again I don't think that's everbeen done before ,User Interface: {vocalsound}Project Manager: it's uh the sort of {gap} the sort of thing that would get people uh thinking yes that's something that I haven't got and uh might need so . Uh Andrew ,any thoughts about uh how we might market interchangeable fronts on on the remote control ?Marketing: Um , well we could either market it together by getting control in a set colour or with {disfmarker} like you buyit with several uh like you ge you get the f uh the face-plates with it when you buy or as a separate thing , but uh {vocalsound} maybe thinking of that , it's {disfmarker} considering the nature of the device , maybe asecond thing {disfmarker} like a second campaign to market new facials for your {disfmarker} to your {disfmarker} might go a bit astrayIndustrial Designer: Mm .Project Manager: Yeah .Marketing: since it is the kindof thing where y you generally get one and then forget about it .Project Manager: Yeah .Marketing: Unless you were trying to {disfmarker}Project Manager: I think {disfmarker}Industrial Designer: Well you could comeup with like novelty ones , like they've done with the the mobile phones , you can get like different you know scenes from different movies and stuff on the remote controlMarketing: Mm .User Interface: Yeah.Marketing: {vocalsound} OhIndustrial Designer: and sorta stagger the release of themMarketing: it's {disfmarker} that's a that's a good idea .Industrial Designer: and get people like oh I want that cover on it now andthat'll keep them spending money .User Interface: Yeah .Project Manager: Mm-mm .Marketing: Mm .Project Manager: Right , okayMarketing: Yeah true .Project Manager: I think we've got um a good idea now . We uh{disfmarker} meeting is uh {disfmarker} Needs to be k uh wrapped up fairly quickly . So uh um we've got thirty minutes to start looking at the um at the design in more detail . Um then we'll we will reconvene in inthirty minutes and try to get some of these ideas uh uh more formalised . Uh thank you very much indeed .Industrial Designer: Thank you .User Interface: Okay .Marketing: {vocalsound} {gap} ."}
+{"doc_id":"doc_8","qid":"","text":"Project Manager: Okay , well I think we're ready to begin . Right , my name's Adam Duguid , we're here because of real reaction , um , we have in the groupMarketing: Oh , Ebenezer Ademesoye . Would you like me tospell that ?Project Manager: Um , yeah ,Marketing: SProject Manager: go for it mate .Marketing: Um , N_E_Z_Project Manager: N_ E_ Z_ .Marketing: E_R_ .Project Manager: Ebenezer . And your role is ?Marketing: I'mthe Marketing Expert .Project Manager: You're the Marketing Expert , okay . Next we have ?Industrial Designer: Tarik Rahman . T_A_R_I_K_ .Project Manager: T_ R_ I_ K_ . And your role in this is ?Industrial Designer:Industrial Designer .Project Manager: Industrial Designer . And , lastly we have ?User Interface: Uh , Dave Cochrane .Project Manager: And you're going to be the User Interface ,User Interface: User Interface DefinDesigner , yes .Project Manager: is it ? Designer . Okay . Right . This is the agenda for today's meeting . As you can see , w opening , acquaintance , tool training , project plan discussion , and closing . Um , we alreadygot n through opening , and partially through acquaintance . So , the reason we're here , we're gonna design a new remote control , as you probably all know . The very broad overview is original , trendy , anduser-friendly . Course , we'll have to go into a bit more um detail than that , but uh {vocalsound} personally I think that the original is gonna be a very key aspect to this design . Um , there's a lot of remote controls outthere anyway , so we're gonna need something that's really gonna set it apart . This is how today seems to be going to work . We're gonna have the three kay phases , as you've probably already been told , thefunctional , architectural , and the detailed design . Um {disfmarker} First one's gonna be covering the user requirement spec , technical functions , working design . Second seems to be conceptual components ,properties , materials , and the last one is a detailed analysis of our design so far . Of course , you've all got the similar emails , I believe , right . {vocalsound} What can I say ? Ebenezer , you wanna have a{disfmarker} you wanna draw your favourite animal {vocalsound} ?Industrial Designer: {vocalsound}Marketing: Sure . {vocalsound} Whiteboard . 'Kay . S okay . I will make this quick , since we don't have much time. {vocalsound} Um . {vocalsound} 'Kay , so it's not the best picture in the world .Project Manager: {vocalsound}Marketing: {vocalsound} Here we have an elephant . First point , begins with an E_ , same like Ebenezer. Also , elephants have a very good memory , much like myself ,Industrial Designer: {vocalsound}Marketing: and I can't remember back when I used to live back in Nigeria , but I think I used to have a pet elephant .So elephants are big , strong and gentle , and they have great memories , and they begin with the letter E_ , just like Ebenezer .Project Manager: Brilliantly done . Thank you . {vocalsound}Marketing: Thank you.Project Manager: Tarik , would you like to have a shot at a bit of artistry ?Industrial Designer: {gap} .Project Manager: Oh , um ,Marketing: Oh . Oh {vocalsound} ohProject Manager: you can clip them to your belt.Industrial Designer: Do we take them off ?Marketing: I think you gaIndustrial Designer: Oh right ,Project Manager: You should also l um have your {disfmarker} the lapel mic on as well .Industrial Designer: okay.Marketing: The little {disfmarker} The the {disfmarker}Industrial Designer: Ah-ha .Marketing: Oh that's good , we can clip them on . Okay . Yeah ,Industrial Designer: {vocalsound} Now where do I put the{disfmarker}Marketing: Just um somewhere {disfmarker}Project Manager: Yep , the {gap} , it's just across there , that's it . Yep .Industrial Designer: Is this supposed to be clipped as well ?Project Manager: Yeah.Marketing: I think so .Project Manager: It'll follow you if you {disfmarker}Marketing: Yeah . There you go .Project Manager: You can probably just stick it in your pocket for now , I wouldn't worry too much . Shouldhave good range .Industrial Designer: {vocalsound} Uh , destroying your elephant here .Marketing: {vocalsound}Project Manager: {vocalsound}Industrial Designer: {vocalsound} {vocalsound} {vocalsound} Uh , herewe have a tiger . Uh {disfmarker} I've always loved tigers . They're just {disfmarker} they're big , they're biggest cats , uh I did a project on cats in the wild when I was a kid and uh it was my favourite cat , just 'causeit was {disfmarker} looks the best , the stripes , orange . My dad used to talk about {disfmarker} he's from Bangladesh so he used to tell me all about them when he was {disfmarker} when I was a kid . And uh they'rejust the most feared of of uh animals in the wild . So uh that's why I like them . Didn't say an anything about me really but {vocalsound}Project Manager: {vocalsound} Excellent , thank you very much . Dave , if you'dlike to uh have a dash .User Interface: Um {disfmarker} {vocalsound} Um , the monkey , um . The one f uh {disfmarker} in fact this is a {gap} somewhat oblique reference in fact to uh {disfmarker} well my{disfmarker} I have a three uh three y year old daughter who h who who who is affectionately known as Miss Monkey . Um , monkeys have attitude . Which I think is a good thing . And I mean fr {vocalsound} and fromuh from the point of view of sort of the study of human evolution they and other primates are terribly interesting . Um , so I like monkeys . And and th th th th thi thi this one seems to have perhaps more attitude thanmost .Industrial Designer: {vocalsound}Project Manager: Cheers . Hardly what I'd call the best drawing in the world but it'll do for now . Also not quite as feared as your average tiger , but uh cats are one of myfavourite animals , they're very independent , they're snotty as hell at the best of times , and uh , what can you say , you got to love those qualities in an animal . Right . I think we've all managed to master thewhiteboard there by looks of it , so , on to it . Project finance . As you can see , twelve point five Euros per unit . That's not a terrible lot as far as I'm aware , and we're hoping to sell them for twenty five . If we'reaiming for fifty million Euros we're gonna have to be selling an awful lot of them .Marketing: Oh , that was profiting , that was an amount , so that's the amount made ,Project Manager: Yep .Marketing: okay .ProjectManager: Well , fifty million , and if you're making twelve point five Euros on each one , then , awful lot need to be sold .Marketing: Yeah .Project Manager: Okay . Now we better actually just get on with the uh themeat of the project . So I'm gonna guess that we've all used remote controls . Any ideas of where you think a new remote control could go into this market ?User Interface: Well , one thing I'm aware of is , th there uhum at the sort of v very high price end of the market there's there's a em emerging market for sort of touch screen L_C_D_ remotes that can be uh programmed in m much more sophisticated ways than sort ofconventional models , so you get the sort of you get um you {vocalsound} you can redesign the interface to your own needs , you can programme in macros , and you get a much greater degree um um I mean you getin these sort of {vocalsound} three in one , five in one , whatevers , but you can get integration between the different uh the the the diff the different things that it's designed to control , to a much greater extent , andyou can have one uh you know one macro to turn the uh you know turn the T_V_ to the right channel , get the uh re uh rewind the tape in the V_C_R_ and get it to play once it's rewound , for instance .ProjectManager: Okay .User Interface: Um b it occurs to me there might be a niche for uh for a remote that aimed towards some of that sort of functionality but using a just conventional push button design . And thereforeputting it into a um well much lower price bracket .Project Manager: Okay , yeah , tha that's true , with the price range we're looking at , going for a touch screen would probably be possibly out of our {disfmarker}UserInterface: Absolutely prohibitive ,Project Manager: yeah .User Interface: yeah .Marketing: Oh .Project Manager: But you think uh again something to control multiple units in uh a simple fashion .User Interface: Yeah , Imean I wouldn't like to say you g {vocalsound} I mean you get ones that you can switch between multiple units , but something that could um operate between multiple units in a more integrated fashion . Some {gap}and ideally something into which it would have some at least limited facility for {vocalsound} um running macros .Project Manager: Would the the idea something along the lines of , one on button would turn on say thevideo recorder , the T_V_ , maybe the sound system as well , all in one go , is that kind of {disfmarker}User Interface: For instance , um let's say oh oh um , or um you know you pr uh you press uh say the play buttonfor the D_V_D_ player and it turns the T_V_ on and onto the right channel as well , umProject Manager: Okay , that sounds like a a good strong idea . Um {disfmarker}Marketing: 'KayProject Manager: {vocalsound}Any takes on this ?Marketing: Well um I've noticed that uh gaming c is becoming quite popular with television , um when I was younger we used to e play games using our cable , using the cable subscribed the cableproviders ,User Interface: Mm-hmm .Marketing: but our remote controls would get worn out really easily , and {vocalsound} the remote control was not a great kind of keyboar , um keypad , for playing games .ProjectManager: Okay .Marketing: So perhaps one that was more um specialised for game playing or interactive television . They they've recently brought out this new remote control , for people to set their favourite channels, or um to record things . Instead of people entering in what time things start , you simply stri slide a bar to say what time it begins ,Project Manager: Okay .Marketing: and slide another bar to say what time it ends ,you know that's {disfmarker}Project Manager: Yeah I've heard {disfmarker} I've seen the bar-code design before ,Industrial Designer: Mm .User Interface: Mm-hmm .Project Manager: yeah .Marketing: Yeah , it's it'staken out the {disfmarker} Y you don't have to be uh really clever to use a remote control . I think for gaming , you know you want you want some big buttons for up , down , left and right , shoot .Project Manager:{vocalsound}Marketing: {vocalsound} Uh , you wanna be able to change angles in interactive television , so you need buttons to change the television angle , the camera angles and stuff like that .Project Manager:Okay , wellIndustrial Designer: 'Kay .Project Manager: we're beginning to run out of time now , so , we've got a couple of ideas ,Marketing: Yeah .Project Manager: we can {disfmarker} we'll have to work fast , um ,alright as you can see we've got thirty minutes until the next meeting , so {vocalsound} we'll have to try and decide on some of the basic functionality , um , how the user interface might work , that'll be a key aspectespecially if the idea of um some kind of macros facility because you have to program it , you have to have a lot of response back , or at least some kind . Um {disfmarker}User Interface: Mm-hmm .Project Manager:And we're gonna maybe n try and have to figure outMarketing: What the user wants uh .Project Manager: what the user wants , yes .Marketing: Okay .Project Manager: Um , right . Has anybody got anything they'd liketo add at this stage , anything they think that might have been missed so far ?Industrial Designer: Well when you're talking about gaming and stuff , do you think they should have some sort of stick on it , rather thanbuttons ?Marketing: Oh . Okay , {gap} .Industrial Designer: Like uh control pads , you know of games , but {disfmarker}Marketing: Mm-hmm .Industrial Designer: or is that a bit ridiculous ? {vocalsound}ProjectManager: I I don't see why not , almost everybody is probably used to a console by now , and all of them incorporate small keypads on them , in fact even the mobile phones these days are beginning to use them aswell , so it's probably an interface that most people are used to . UmIndustrial Designer: Yeah .Project Manager: and that could allow n easy navigation , used as a joystick as well .User Interface: Mm-hmm . The otherkey feature that uh that would be a good idea built into it is t is is to make something you know fairly sort of ergonomic , something that just fits {vocalsound} fits as comfortably as possible into the hand . But of course, uh al al also allows for {gap} the possibility of a more sort of slightly unconventional or attractive uh sha shape for it overall , {vocalsound} .Project Manager: Okay . So ,User Interface: A curve ,Project Manager:small , stylish , and something that's just a little different .User Interface: mm-hmm . Something sort of sort of sl slightly sort of biomorphic in form , {vocalsound} uh which it would need to be to sort of conform to theshape of the hand more efficiently anyway .Project Manager: Okay . That's definitely something that we should be able to do quite easily . I would I would have hoped so anyway . Um , right . I'd say we finish this oneup , we get started , I'll get in , I'll write up what we've um kind of quickly done , and I'll get that out to everybody . Yeah ?Marketing: 'Kay . So .Project Manager: Okay . {vocalsound}Marketing: {gap} .IndustrialDesigner: {gap} .Project Manager: Um , as far as I'm aware we leave the microphones here , um unless we get told otherwise , and just take the laptops with us ."}
+{"doc_id":"doc_9","qid":"","text":"Project Manager: All set ? Okay . Cool . Right . So um basically I'm just gonna go over real quickly um some news I've just got from the board on how we're supposed to do with this um {vocalsound} remote control .And then I'm gonna turn over to you guys to make brief presentations um on what you've found and then we'll have a bit of discussion . So basically uh what I've just found out from the board I dunno if you guys gotthis email as well but it needs to be television only . So no {disfmarker} we're not doing D_V_D_ , we're not doing anything else ,Marketing: Okay .Project Manager: it's just gonna be a television remote . {vocalsound}Um it also needs to have the company colours included in it .Industrial Designer: {vocalsound}Project Manager: {vocalsound} Um so that's red and black . And it has to have the slogan , case you guys forget the sloganit's , we put fashion in electronics . Um and no teletext . I'm not sure what teletext is but I'm assuming you guys do , so we don't wanna include that um in this particular design . {vocalsound} For reasons that I don'treally know . There's {disfmarker} but it's the board so there you go . So basically um given those guidelines which will have some effect on how we design we'll discuss it later I mean 'cause it's television only we'll beable to change our uh {vocalsound} um well we can s sacrifice more function for a better television remote . {vocalsound} Anyway . So I'm gonna turn over to the Industrial Designer uh to go ahead and make apresentation on {disfmarker}Industrial Designer: Okay . So do I unplug this bit here ?Project Manager: Oh , right yeah .Marketing: Gotta plug you in .Project Manager: Yep . Might have to hit function F_ eight but itlooks like it's gonna come up . Yep . Cool .Industrial Designer: Okay . Right . That's page one of my presentation .Project Manager: Brilliant .Marketing: Very nice . For your first PowerPoint it's lovely .IndustrialDesigner: So the uh method . We're gonna have to understand how remote controls work and res uh successfully complete this project . Um remote control works as follows . This is all pretty basic stuff you guys . Umsends message to another system , so there's an energy source involved in that like a battery or solar power , something along those lines , there's an integrated circuit , which is the microchip , um and that actuallycompose the messages and usually the way a a remote control works is it sends infrared bits to another system . A user interface controls the chip , basically that's the casing and the buttons and um accordingly themessages as well . So my findings , um I just did a preliminary study here and uh I found that too much metal in remote design could potentially cause interference with the ability of the remote to send commands .And too much metal can cause remotes to behave unexpectedly by receiving false signals . Um too much metal is used sometimes and people pick up radio signals and the like , and there's also the possibility of theremote catching on fire and injuring the customer , just think of those lawsuits , that'd be really bad .Marketing: {vocalsound}Project Manager: {vocalsound} 'Kay .Industrial Designer: Therefore I suggest primarilyplastic construction . Um , components . Just some ideas that I had , um , energy source , it's kinda hip to be eco friendly so I thought maybe we could do something with solar power with an alkaline battery backup .Um the user interface , I was {disfmarker} since we can't use metal I was thinking maybe a high grade recycled plastic .Project Manager: Mm .Industrial Designer: The chip , um , silicon based chip I don't really see anyway around that , we can't really be different in that respect . Um , the sender well I'm thinking infrared 'cause it is the industry standard , multi channel , that's a word I made up , I don't really know what it means.Project Manager: 'Kay . Fair enough .Marketing: {vocalsound}Industrial Designer: Uh PAL and N_T_S_C_ compatible and uh probably a two hundred foot range .Project Manager: 'Kay .Industrial Designer: Uh and thereceiver of course is any number of electronic devices . Um but in this case it'll only be T_V_s . Um personal preferences , I really think that we should use plastic as opposed to metal , um , the company simply can'tafford this kinds of lawsuitsMarketing: Fine .Industrial Designer: which adm admittedly is gonna come at the cost of a certain aesthetic value ,Project Manager: {vocalsound} Is is there a way that we can use ummodern types of polymers , or mo modern types of plasticsIndustrial Designer: 'cause we were thinking {disfmarker}Project Manager: that maybe do have some kind of aesthetic value um like if a white {disfmarker}like if we talk about like well like on the lapt on these laptops and other ones they use a a pretty nice ,Industrial Designer: Right .Marketing: It needs , yeah .Project Manager: you can do i is there some kind of nice coloder quality plastic that we can work with ?Industrial Designer: Yeah that shouldn't be a problem . Um for example the plastic they have on your laptop there is something that's perfectly possible for us to do .ProjectManager: Okay , okay .Industrial Designer: {vocalsound} That's the end of my presentation .Marketing: Cool .Project Manager: Great . Thank you very much Nathan . {vocalsound} Um if next we can have the um UserInterface Developer go ahead and make a brief presentation that'd be great as well .User Interface: {vocalsound}Project Manager: S plug yourself in here . Mm . {vocalsound} Um hit function F_ eight real quickly , holddown {disfmarker} Mm .Industrial Designer: {vocalsound}Marketing: Looks like you're in okay .Industrial Designer: Is it plugged in well ? There it goes . Computer adjusting .User Interface: ThProject Manager: Thereyou go . Sweet .Marketing: There you go .User Interface: Well so . Here we have a uh my technical functions design presentation . Um so a few of the requirements we need here . Uh we n basically need to operate anelectronic device , it needs to be universal um and possibly uh operate several different types of devices although we now uh find that uh that that's no problem .Project Manager: Yeah sorry I couldn't get that g to usebefore .User Interface: Um so some of my findings . Um basically wanna send messages uh to a television set . Um that would be any number of different things uh such as switch on the television , uh switch to thenext channel , that sort of thing , I think we're all quite uh quite uh intelligent and know know what a normal remote control does . Um {vocalsound} now some of the other things I found is a a complicated remotecontrol sorry that we can't quite see my red there very wellProject Manager: Oh yeah look at that .Industrial Designer: Mm . {vocalsound}User Interface: but uh this remote control has many functions um so it can do alot of things but it uh it is quite complicatedProject Manager: Mm-hmm .User Interface: and most users will find it uh find that they won't use most of the functions because they don't know how to use them and don'twanna take the time to learn how to do it . As you also notice it's quite a boring design . Um . Another remote control , slightly different , it's a simpler remote control uh many less buttons but uh has many fewerfunctions , um m much easier for the user to manipulate and use . Um it also has a bit of a cheap look and it's also quite boring . SoProject Manager: {vocalsound} Nice .Industrial Designer: {vocalsound}User Interface:my personal preferences .Marketing: {vocalsound}User Interface: {vocalsound} Revolutionise the idea of uh a remote control . Um so attain the functionality of a complicated device but use a simple formatted displayuh for the user to to work with . And I was gonna add another uh slide here but I didn't quite have time there .Project Manager: {vocalsound} Okay .User Interface: Um . Just incorporating some of the ideas that wehad previously like uh having multiple face but it's uh {gap} .Project Manager: Great . Thanks for that Ron .Marketing: Right .Project Manager: {vocalsound} 'KayMarketing: Does that mean I'm up ?Project Manager:yep that's you .Marketing: I think so . Okay .User Interface: I can plug you in .Marketing: Oh that would be perfect . Thank you . Slide show up and running .Project Manager: Give it a little bit .Marketing: Or not . Uh .Oh there we go . Perfect . Okay . So this is me . Um basically I was looking through some marketing reports that we've got and we had a usability test where we were actually sort {disfmarker} like watching a hundredpeople {vocalsound} use T_V_ remotes and see what it is that they're using and then they filled out a questionnaire about what they like and what they don't about their general T_V_ remote control practices . Umpretty much through testing we were finding out that most of the time , everybody's used to using changing the channel , turning it on , using the volume , m the majority of the time that's all that's going on , the otherfunctions happen , for some people they're important , but the primary uses are really really basic . Um and so big complicated remotes like one we saw in the last presentation are really not the general public's use ,they're not using a lot of it , they don't need it , they even find it frustrating when there are all those buttons that they don't know what to do with . {vocalsound} And um we also found out that uh fifty percent of ourpeople , their {disfmarker} the worst thing about a remote is how often they lose it . And then they can't find it in the room . So I think what we were talking about with a pager or something , will really come into playwith a lot of these people . {vocalsound} Um there's also a survey about what they liked about remotes ,Industrial Designer: {vocalsound}Marketing: and pretty much they all think they're hideous and not very useful ,and the younger demographics are all really interested in voice recognition options . I don't know if that's something we're ready to look into technically , that's up to the design people , but it is s something worththinking about , especially since the younger demographic's obviously the one that's gonna keep growing , so if that's the direction we're headed in it's something to think about . Um but basically it really is the primaryfunctions and getting it to look nice , which are the standards . {vocalsound} So it's a good start for us .Project Manager: {vocalsound} That's great . Thank you Sarah . Right . So umMarketing: Need to unplug this?Project Manager: yep I'll just uh switch that back here .Marketing: Need it back .Project Manager: I'll finish up with just a bit of discussion plan on for the next phase .Marketing: There you go .Project Manager:{vocalsound} Right so I think we've covered most of these important questions through this um {vocalsound} through you guys's presentations um {vocalsound} we've got uh y the Industrial Designer suggests uh orpretty much emphatically suggested that we need to go with plastic . {vocalsound} Um Sarah , she's recommended that we go for simpler functions , so fewer functions um but we need to decide who are we selling thisto , you s your stats suggested that seventy five percent of people under thirty five wanted , thought about voice control ,Marketing: Oh right .Project Manager: {vocalsound} um so do we wanna go for that , or do wewant to go for an older demographic , and my thought is {vocalsound} um {vocalsound} we've got w if we're gonna go for a sleek look I mean we are putting the fashion in electronics {vocalsound} um .{vocalsound}Marketing: {vocalsound} We're not catering to the pensioners of the world I don't think so .User Interface: {vocalsound}Project Manager: Yes . So maybe this {disfmarker} we should look into thisyounger demographic . Um . SoMarketing: Right .Project Manager: {vocalsound} uh we need to wonder ah h about how we make it better and smaller and faster um think we're constrained to plastics very well , we'vegot this idea , Ron was saying we need to think about uh revolutionising the way it's looking um ,Marketing: Right .Project Manager: which might be easier given that we're going for simpler function and that we're onlygoing for a telly .Marketing: Uh .Project Manager: Um so um . How {disfmarker} th this voice operation thing is {disfmarker} I think is a good idea um assuming that it's doable , um at least for the basic controls ,maybe we can balance it that way , you know we can see .Marketing: Right .Industrial Designer: Mm .Project Manager: Okay you can't say record alias tonight at seven P_M_Industrial Designer: {vocalsound}ProjectManager: but we might be able to say um {vocalsound} volume up .Marketing: Yeah .Industrial Designer: Right . I think it would be possible to uh combine the locator device and the voice recognition technology.Project Manager: Mm .Marketing: {vocalsound} Oh . That could work . I like that .Industrial Designer: With a simple command like locate . And then it could start to beepMarketing: Yeah . Something very basic.Industrial Designer: andMarketing: Right .Project Manager: {vocalsound} Right .Industrial Designer: therefore be found .User Interface: Sounds good .Marketing: Is that only gonna be within our two hundred footrange then ?Industrial Designer: Oh yeah I think that's very doable .Marketing: Okay .Project Manager: The difficulty wh would be in um I think like i you couldn't speak into the remote that you're trying to find . 'Kayyou have something that picks up a voice from far away {disfmarker}Marketing: Yeah .Industrial Designer: It's a good point .Project Manager: If it's hidden under the couch {disfmarker} but then again you have thiswee {disfmarker} this wee thing you know that's just a little chip or whatever that has the page button , maybe that could be voice activated too .User Interface: A little sticky pad to stick on top of your uh television.Marketing: Mm .User Interface: And you just say something to {disfmarker} into thatMarketing: Yeah .User Interface: and itProject Manager: Yeah .Industrial Designer: Yeah .User Interface: finds your{disfmarker}Marketing: K {vocalsound}Project Manager: Or an isolated magnet or something like , or you know something that wouldn't interfere I don't know that'd be the technical thingMarketing: Yeah .ProjectManager: but {disfmarker} yeah I like that , I like that , the voice recognition for the paging system .User Interface: {vocalsound} The other thing is we might be able to handle the simplicity of a remote control andkind of put the more complicated things into a voice control . So it could be sold to both the younger market and the older market .Marketing: True .User Interface: And the younger market could use kind of the voivoice control method and the older market might might kMarketing: Making it just an option ?Industrial Designer: Mm .User Interface: exactly and might consider the older market could use the simpler design with thetraditional buttons and what not .Marketing: Yeah . Right .Project Manager: {vocalsound} Yeah .Industrial Designer: I was thinking uh {disfmarker}Marketing: Are we still thinking about this screen {disfmarker} sorry.Industrial Designer: Oh go ahead .Marketing: Go ahead . The uh if we're gonna do this touch pad screen thing , it would be still , do we know if that's an option technically right now to that ?Project Manager: Mm-hmm.User Interface: 'S definitely an option technically . I've looked into uh costs of uh touch screen methods and what not ,Marketing: Okay . Okay .User Interface: they seem to be uh you know almost as cheap as a buttonmethod at this point .Marketing: We're doing okay .Project Manager: Okay .Marketing: 'Cause it seems like an interesting option especially because then you could have like your primary screen just be these you knowfour or five basic functions , you can haveProject Manager: Mm . {vocalsound}Industrial Designer: Yeah .Marketing: menu options or something to have all these other complicated voice recognition , settings , thingsthat you're not gonna use every day and that a lot of people aren't gonna use but it is an option there for this hi-tech market that sort of re is the sleek thing we're going for .Industrial Designer: Gotta wonder though ,if we're adding so much technology to this one remote , are we still gonna be able to meet out twelve pou our twelve fifty Euro you know goal for selling these things .Project Manager: Mm-hmm .Marketing: True .Worth looking into .Project Manager: Mm-hmm . Mm-hmm .User Interface: {vocalsound}Industrial Designer: It seems like , we're not gonna be able to handle all these functions with just one microchip .Marketing:Yeah .Industrial Designer: The microchip is probably the most expensive part of the the whole mechanism .Project Manager: Okay .Marketing: True . Yeah .Project Manager: Okay .Industrial Designer: So it's justsomething to consider .Project Manager: Absolutely . Mm 'kay um well yeah I guess we'll cross that bridge um in a la slightly later stages of development um but yeah I know , that's perfectly viable question . Mm 'kayum so I'm seeing that we're gonna just basically focus on this young demographic group , aim it at them , but then in a sense that its bells and whistles are available for anybody who wants them but basically we'llmake a sleek simple functioned um uh remote control .Marketing: Mm-hmm .Project Manager: Um I think this voice recognition thing is a we've got a market for it uh I don't think there's too many ,Marketing: Mm.Project Manager: we'd more or less be cornering the market on it as well , we don't have many um .Marketing: Yeah .Project Manager: {vocalsound} I appear to have lost my microphone . Mm . {vocalsound} Right umwe don't have many people {vocalsound} or there's not very many competitors out there that do that so cool . Um right . I guess we've c we've touched on most of this . The idea of a paging function , a touch screen ,and face plates . Um . The thing with {disfmarker} I see {vocalsound} would there not be a {vocalsound} we'd have to maybe sacrifice the face plates for a touch screen ?User Interface: {vocalsound} Um I'm not surethat's sincerely correct ,Project Manager: Okay .User Interface: I think if you kind of take the example of a mobile phone that uh trying to pass a portion of the device is not interchangeable whereas the surroundingportions are interchangeable .Marketing: Mm . Just the casing .Project Manager: Okay .User Interface: We could have the casing , the the face plates .Project Manager: Okay .Industrial Designer: Back to the uh the cost{disfmarker} the material . {vocalsound} We have to ask whether we're going to include a certain number of face plates with the package ? That's something I w for {disfmarker} say we're including three or four faceplates , it's gonna drive the cost up .Marketing: Mm .Project Manager: Mm .Industrial Designer: And the other question is , if we do include them are we really in a position to evaluate that market ?Marketing: Yeah.Industrial Designer: We haven't done any tests on face plates and whether {disfmarker}Marketing: Right .Project Manager: Okay .Industrial Designer: See if there {disfmarker} if there's even interest out there.Project Manager: Okay . Right .Industrial Designer: Off the top of my head it sounds kind of like a gimmick that wouldn't really go anywhere .Project Manager: Yeah 'cause then ha you would have to {disfmarker} whoallMarketing: Mm . Right .Project Manager: it's not like with cell phones like where you have a {disfmarker} you know Nokia model X_ and then ten people make face plates for it , we'd be just our model of pho of tremote control . {vocalsound}Industrial Designer: Yeah .Marketing: Well in the publicity of a face plate on a phone is you have it out and around , it is sort of emblematic whereas you're just sit at home ,ProjectManager: Mm-hmm .Marketing: so unless somebody comes over to watch T_V_ {disfmarker}Project Manager: Mm . Mm-hmm . {vocalsound} Yeah .User Interface: Well hopefully some people have people coming tover to w to hang out at your houseProject Manager: {vocalsound}Industrial Designer: {vocalsound}Marketing: True . True . True .User Interface: and most people have their televisions in the living room . Uh .{vocalsound}Project Manager: Alright well we can {disfmarker} we can discuss that one further when we think about um whether th when we do costs and so forth , um .Marketing: Yeah . Oh yeah .User Interface:Sure .Project Manager: {vocalsound} True , if plastic is dead cheap and if we're making the whole thing out of plastic anyway um {vocalsound} yeah we'll cross that bridge later um but yeah we will have to evaluatewhat's most important . Um I think we've had a bit of discussion already on this thing , n s there any other questions comments that came up in these presentations ?User Interface: Well have we confirmed that we'regonna go ahead with a uh touch screen um {disfmarker}Project Manager: Yeah yeah okay . Um {disfmarker}User Interface: Interface ?Project Manager: Yeah I think that would be best . Let's based on what sh on what"}
+{"doc_id":"doc_10","qid":"","text":"Project Manager: Welcome back .Industrial Designer: I'm sorry to be late .Project Manager: Welcome back everybody .User Interface: Yeah . Thanks .Project Manager: So this meeting agenda will be the detailed designmeeting . And uh opening and uh P_M_s {gap} of the meet minutes , uh prototype presentation from uh Christine and uh Agnes .Industrial Designer: Agnes , yes .Project Manager: Yes and uh evaluation criteria . Thefinance , it's uh from my side , from the management , and uh production evaluation . Then uh closing . So we have forty minutes to discuss and uh finalise and close the product and project and to move further , okay ,so {disfmarker} Okay , let's talk about uh maybe first uh for the prototype .User Interface: Mm , okay .Project Manager: So I handle to {disfmarker}User Interface: I've done a presentation , but it pretty much coverswork that we've both done , so if I'm missing anything , Christine can just correct me .Project Manager: So shall I go to {disfmarker} sorry .Industrial Designer: Uh thank you , so you did a PowerPoint presentation ,good for you . {vocalsound}Project Manager: Yep . S Okay , let's go to A_M_I_ .User Interface: {vocalsound} It's not the biggest PowerPoint presentation in the world , but {disfmarker}Industrial Designer:{vocalsound}Marketing: {vocalsound}Project Manager: {vocalsound} So in two or three or {disfmarker}Industrial Designer: {vocalsound}User Interface: Three . Um . {vocalsound} No it's {disfmarker}Marketing:Probably . Technical pa I would think .User Interface: think it's the last one . No , then this is {vocalsound} the la yeah , that one , final design .Marketing: Ha .Project Manager: Yeah .User Interface: It is namedappropriately , you just couldn't see the name .Industrial Designer: {vocalsound}Marketing: {vocalsound}User Interface: {vocalsound} Um okay , can I have the mouse ?Project Manager: Yes .User Interface: Thanks .Alright , so from {disfmarker} when we were discussing specifying the case in the last meeting , we decided that we wanted an ergonomic shape , the material that we chose was wood , and uh the colour would becustomisable , 'cause you can stain the wood whatever colour . Um , so in terms of function , you have to be able to turn the T_V_ on and off , volume and channel control , menu control , voice recognition control , andwe've incorporated the L_C_D_ screen on the flip panel as part of the design , if we figure out it's too expensive , well then you just take it off . {vocalsound} Um , so {vocalsound} to unveil our lovely product . This isour remote control , with the flip panel as you can see .Marketing: {vocalsound}User Interface: So if you lift up the panel , you can see the lovely yellow L_C_D_ display . {vocalsound} Um , this is actually hard to do .The yellow button you have is the on off button , so it's really big , hard to miss . You have the the red um triangles are the toggles for changing the volume . So up {disfmarker} volume up , down {disfmarker} volumedown . The green are the channel changing . {vocalsound} S And it's one of those very light , very touchable displays . And then you have the numeric pad in the dark blue at the bottom , and on the right-hand sideyou have the access to the menu on the T_V_ , and on the left-hand side you have the the the ability to turn off the voice recognition . So this is pretty much what we had on the white board the last time .ProjectManager: Mm-hmm .User Interface: So .Industrial Designer: Um and uh I could {disfmarker}User Interface: {vocalsound} Oh yes .Industrial Designer: Yeah the dUser Interface: Additional feature on the back is thatyou can have your own customised backing and I suppose you could do the same thing on the flip case on the front . So that you can really make this a highly highly customisable remote control .Industrial Designer:We haven't um uh specified where the speaker or the microphone will be placed . That depends on the uh s design of the circuit board inside and uh what room is left um {disfmarker}User Interface: Yeah .ProjectManager: I think the microphone is on on the top , uh on the middle , the {disfmarker} under the flip .Industrial Designer: Yes , okay . Uh-huh .Project Manager: So that will be the safe , so p any {disfmarker} the chip{disfmarker} it's not on the chip because you need to have microphone {gap} to {disfmarker}Industrial Designer: No , I mean it depends on the design of the circuit board .Project Manager: Yes .User Interface: But itshouldn't be under the flip either , because you can have the remote control closed , but you still might want to activate it by voice .Project Manager: {vocalsound} Uh it's it's {disfmarker} Yeah , but uh uh my opinion Ithink it's better under the flip because whenever you want to uh the talk , okay , so then you can speak then you can close it . But if you put it on the on the flip , okay , then uh technical I don't think it's uh feasible ,'cause most of the time you speak then it will be recognised .User Interface: But if you've already got the remote control in your hand you need to open the flip to use the voice , why use the voice , why not just useyour hand ? I mean the whole point of the voice is that if the remote control is sitting there and I'm too lazy to reach over and pick it up , I can just use my voice .Industrial Designer: Maybe I've got my hand in thepopcorn bowl and I'm holding my cup of Coca-Cola in the other hand .User Interface: Yeah . And you don't wanna let go of either one . {vocalsound}Marketing: I don't wanna say . Louder . {vocalsound} Yeah .UserInterface: {vocalsound} I mean it doesn't have to be on the flip , it can be on the side somewhere .Marketing: Can also be on the side .Project Manager: Yeah , the sides maybe is good .User Interface: Yeah .IndustrialDesigner: Mm-hmm .User Interface: So , I mean I can pass this around if anyone wants to {disfmarker}Project Manager: Yes . So it's maybe good idea .Industrial Designer: Yeah , y better you pass it around with anapkin . {vocalsound}User Interface: {vocalsound}Marketing: {vocalsound} No , because y you can easily put a microphone on the side that would have no problem would haven't been {disfmarker} not be damagedor anything , and it'd be accessible all the time to voice .User Interface: {vocalsound} {vocalsound} Yeah .Project Manager: Yes . Yeah {vocalsound} .User Interface: Yeah , exactly .Marketing: Yeah .Project Manager:So it's maybe good idea . S sIndustrial Designer: It's um {disfmarker} It's um {disfmarker}Marketing: Compliments to the artist .Industrial Designer: You need to work on the weight a little bit . {vocalsound}UserInterface: Yes .Marketing: Uh {vocalsound} .Project Manager: Okay . S {vocalsound} I'm fine , I'm satisfiUser Interface: And maybe the shape of the buttons ,Project Manager: I'm satisfied .User Interface: the littleegg shapes aren't the most economical , but {disfmarker}Industrial Designer: {vocalsound} We're glad you're satisfied .Project Manager: Of course it's it's it's looks more heo heavy , but I think when it's completely{gap} maybe it's a less weight .User Interface: Yeah . I mean this is plasticene .Project Manager: Yes .User Interface: There's only so much you can do . We could have possibly made it a lot thinner as well .{vocalsound} But {disfmarker} And part of the thing is m a lot of people say that they don't like something that's too light , because they don't feel like they have enough control over it .Industrial Designer: Mm-hmm.User Interface: So I mean maybe this is excessively heavy , but I think it needs to have some weight ,Project Manager: Yep .User Interface: it needs to feel like you're still holding something . {vocalsound} So that'spretty much it for our presentation actually .Project Manager: That's your uh prototype model ?User Interface: Yeah .Project Manager: Okay , that's good , thank you very much .Marketing: {vocalsound}ProjectManager: So any comments or uh {disfmarker}Marketing: Well , the prototype is is very well within the design and ideas that we've we've talked about on the previous meetings .Project Manager: Okay .Marketing:Now it goes into this next phase as the financial uh marketing uh {disfmarker}Project Manager: {vocalsound} Yes , that uh {disfmarker} So I'll come back to the {disfmarker} {gap} So evaluation criteria , I think uhthat will be good , so then let's come to the finance uh , I have some uh calculations which I made uh as for uh the budget . So here you can uh look like uh the energy {gap} and uh {gap} dynamo and uh kinetic andsolar cells . Uh it's optional , somewhat optional and Ed wants the chip on print , that's what uh we were talking about that .Industrial Designer: {vocalsound}Project Manager: So then we have sample sensor andsample speaker , then uh we have the wood material , then special colour and push button . So it's uh {disfmarker} actually , our budget was uh twelve point five Euro , but uh it's coming to nine point nine five Euro ,so we are under uh {disfmarker} below the budget , okay , so still we are saving some money . I think it's a good figure . {vocalsound}Industrial Designer: Yes , great I {disfmarker} I'm surprised .Marketing:{vocalsound}Industrial Designer: {vocalsound} Congratulations . {vocalsound}Project Manager: {vocalsound} Than thank you . {vocalsound}Marketing: Well we haven't come to mine yet , so {vocalsound}IndustrialDesigner: Oh , okayUser Interface: {vocalsound}Industrial Designer: . It's gonna cost a long way to c you know , cost a lot of money to market it , is it ?Marketing: we're gonna have a bit of difference of opinion , yes .{vocalsound} {vocalsound}Project Manager: So maybe it's {disfmarker} for some money we can utilise for our uh marketing , for the sales , okay , and uh {disfmarker}Marketing: {vocalsound} Well , it just dependson if we're gonna add a {vocalsound} o on this pr provisionary cost analysis , we do not have a L_C_ display . L_C_ display is gonna be very expensive ,User Interface: No we do , but it's not filled in .Marketing: it'sgonna be {disfmarker}Project Manager: It's not .Industrial Designer: Thirty .Marketing: It's not {disfmarker} it doesn't say .User Interface: It's number thirty .Project Manager: Yeah . Yeah .Marketing: We don't havethe price up there ,User Interface: Oh , yeah , yeah ,Project Manager: Yeah . Yeah .User Interface: you're right , sorry , yes .Industrial Designer: Yeah .Marketing: okay , so if we add approximately two to three Europer remote , now we're up around about twelve , twelve and a half as to what uh the company had initially uh requested . Um {disfmarker}Industrial Designer: So that means we can put the uh {disfmarker} theL_C_D_ in , yeah .Marketing: Display in . But as far as production um I'm putting up a question because we're talking about profit also , and in mine you'll see uh {vocalsound} the problem with uh our survey , the pthe possibility that how many units can be sold , what percentage of the market , etcetera etcetera because that {gap} has to be taken in into consideration .Project Manager: {vocalsound}Marketing: Uh this is justproduction cost , it is not uh advertising cost , it's not transportation cost uh {disfmarker}Project Manager: Yes , so still uh we have twelve point five Euro .Marketing: {vocalsound} And that will inflate quite a bit thecost of the uh {disfmarker} the cost of the unit for the company .Project Manager: Yes . {gap} Yeah , but {disfmarker} Yes . Yep .User Interface: Um-hmm .Marketing: So to come up with what the company wants is afifty million Pound profit , we're gonna have to go a long ways .Project Manager: Yes . This we are talking about one unit , okay , so when it go into the quantity , okay , and the cost will come down .Marketing:{vocalsound} Yes .Industrial Designer: {vocalsound} Although customisation , because this is being done , you know , the on {disfmarker} on-order basis , it might be uh the the quantity won't m won't uhMarketing:Slightly .Project Manager: Yeah .Marketing: It's gonna be very hard to reduce .User Interface: Yes .Industrial Designer: the circuit board will b you're right , would be in producing quantity , but the cost of the casewould uh {vocalsound} be fixed at the {disfmarker} Uh you got some pretty cheap labour that can do this case for one Euro .Marketing: That's not bad . {vocalsound}Industrial Designer: {vocalsound} That's really{disfmarker} that's the cost of the material and lab wow , that's really outstanding .Project Manager: Yep . Yeah . {vocalsound} {vocalsound} But anyhow , still we are under control , okay , so what uh I will do is I willtry to negotiate with the vendors , okay , to get uh the production cost less , okay , so then we can save some money , okay , to put into th our marketing or uh you know the promotions , whatever , okay , so that uh Iwill look after . I will speak to the management and how to get uh you know some more uh cost down .Marketing: If we can go to to my display . And we'll come back to yoursProject Manager: Yes .Marketing: just togive everybody an idea of the market . So now I'm gonna scare everybody out of this project . {vocalsound}Industrial Designer: {vocalsound}User Interface: {vocalsound}Marketing: If I'm still here .Project Manager:You're in four ?Marketing: {gap} Yep The four gives me {disfmarker} it's gotta be uh TrendWatch .Project Manager: TrendWatch .Industrial Designer: Is this the same one you did before ?Marketing: No .IndustrialDesigner: Okay .Marketing: It shouldn't beUser Interface: That's {disfmarker} no , I think it's the same one .Marketing: if it's not {disfmarker} it's not the right one . No , no we g no , that's the same one . You have togo back and find another one . Whatever name it popped up under .Project Manager: {vocalsound}User Interface: Functional .Marketing: Uh functional , try functional , it might not be it either , but we'll see .IndustrialDesigner: {vocalsound}User Interface: It looks like it , there's {disfmarker} {vocalsound} S Yeah .Marketing: Yep , that's it . So we'll go screen by screen .Project Manager: Okay .Marketing: Although {vocalsound}since uh we need to have some type of idea on a market uh we had independent study that says it {disfmarker} this this market has an availability to absorb eight mi eight million units per year . Okay ? Our internalcompany evaluation puts it between eight to nine million which is approximately the same as the independent study .Project Manager: Yep . {vocalsound}Marketing: So if we continue , we'll look at the findings . Nextscreen . {vocalsound} Which means that uh if we have a target of two million would the company has to take twenty five percent of the market in the first year ,Project Manager: Mm-hmm .Marketing: which is actuallya tremendous amount .Industrial Designer: {vocalsound} Yeah , no kidding . {vocalsound}Marketing: No kidding , yeah .Industrial Designer: Mayb maybe they already expected something .Marketing: So , if we put aninflated price of fifty Euro at a production cost that cannot exceed twenty-five Euro , okay , we're already in that that price , okay ,Project Manager: Yes .Marketing: with transport , promotion , labour , because we hav{gap} gi included the promotion in the cost , transport for the material to the stores or whatever how however we're gonna break this down between our our retailers .User Interface: Um-hmm .Marketing: Twenty-fivepercent of the market to get to two million units . At two million units , we have to have a profit of twenty-five Euro per unit to get to the fifty million unit Eu Euro profit .Project Manager: Mm-hmm . Yep .Marketing:Okay ? So , obviously we w w I just did a run down the evaluation of the form , the fan uh the fancy stylishness of the {disfmarker} of the unit , the ease of use , speech recognition , cost , we've gone through these .Now , the company must evaluate the feasibility of being able to take enough of the market to justify in production . Or we project this over two years , but being that the market changes very very quickly , maybethere's no more interest in buying this thing in eighteen months from now .Project Manager: Yes . Yep . Of course .Marketing: So , now we have to come up with a decision .User Interface: Mm .Marketing: Can thecompany sell two million units ?Project Manager: Yep .Marketing: Can it sell it for fifty Euros ?Industrial Designer: Could could I go to findings ?Project Manager: Yep .Industrial Designer: Uh uh um I would uh like toexplore the possibility of using um alternative um delivery and sales channel which would be um to use the internet for promotion and orderingProject Manager: Yes .User Interface: {vocalsound} I was thinking thesame thing , yeah .Industrial Designer: and then to drop-ship the p product to the customer's residence .User Interface: Directly .Industrial Designer: That way you have no storage , you have no um {disfmarker} youdo have transportation , still have the labour cost ,User Interface: Um-hmm .Industrial Designer: but you don't have the transport to the uh point of sale .Project Manager: Yes .Industrial Designer: The point of sale isonline .User Interface: Yeah .Project Manager: To the agents .User Interface: Yeah . You can do a shipping centre somewhere , or strategically place shipping centres to minimise distance costs .Industrial Designer:Right , like Amazon . In fact , we should sell through Amazon ,Project Manager: Yes . Or eBay , or {disfmarker}Industrial Designer: don't you think ? Or eBay , yeah .Project Manager: Yes .User Interface: Yeah.Industrial Designer: There's an idea .Marketing: {gap}Project Manager: Yeah , that's a good idea .Industrial Designer: Going with um {disfmarker}Project Manager: To impro more profit and uh{disfmarker}Marketing: S Upscale technology .Project Manager: Yeah , yes .Industrial Designer: Ah , we we're do you know , selling a unique product uh . {vocalsound}Marketing: {vocalsound} Well .User Interface:That actually makes more sense if we're gonna make it so highly customisable , 'cause on the web people can look at the different options they have , see maybe what other people have done , what the range ofpossibility as ,Industrial Designer: Mm .Marketing: There are several companies that have gone that way .User Interface: whereas if you're in a store , you can't {disfmarker} unless you're a highly imaginative person ,you may not really know what it is you want ,Industrial Designer: Mm .User Interface: whereas on the web , if you have a bunch of pictures , it can sort of trigger ideas and {disfmarker}Industrial Designer: Mm-hmm .And you can even have an {disfmarker} a movie that you can rotate the object and look at the di the only thing that you're missing really is the weight .User Interface: Yeah . The weight and feel .Marketing: Weight ,the feel of the product , but {disfmarker}Industrial Designer: Mm .User Interface: Yeah .Industrial Designer: We're getting used to that . It's not quite like trying on a shoe , but people are getting used to buying thingsonline that they can't touch before buying .User Interface: Yeah . Yeah .Marketing: There are several that have gone through with the watches , too . You can customise a watch , you can see how it is at the f at the endof the production ,Industrial Designer: {vocalsound} Uh-huh .User Interface: Mm-hmm .Marketing: you can change it uh {disfmarker} There's a lot of online that's {disfmarker} that is doing this now .User Interface:Yes .Marketing: And when you're rotating , you'll look behind and look this way uh {disfmarker} it's possible to do with this , maybe there's a possibility of selling more than two million units in one year , which could{vocalsound} you know , feasibili feasibility uh lower the price of the unit .Project Manager: Yeah .User Interface: Mm-hmm .Project Manager: We can .Industrial Designer: Great .Project Manager: I don't think that's uhnot possible , it's uh {disfmarker} okay then , l uh let's wait for the production , okay , then uh you can evaluate the product , so how it looks like technically and uh how it look like uh the real .User Interface: Whatturnaround time do we have ?Project Manager: TUser Interface: 'Cause I mean production evaluation can be very very quick or very very long .Project Manager: Oh but {disfmarker} Yes it's it's very quick , of course .It will uh come back in two weeks , okay , it will be ready in two weeks .Industrial Designer: Works for me .Project Manager: For evaluation , okay .Industrial Designer: {vocalsound} Prototypes , you mean .ProjectManager: Yes , the prototype uh {disfmarker} prototype product evaluation .Industrial Designer: In um {disfmarker} We probably should do some market tests uh once we have the prototypes and do some orders andthings like that and test-market it .Project Manager: Yes . Yes . Yes .Marketing: Well , obviously .User Interface: Yeah .Project Manager: Yeah .Marketing: Mm that'd have to be thrown out on the market for people toget an idea ,Project Manager: So you can take a minimum two weeks to a maximum four weeks .Marketing: to see {disfmarker} get get their {disfmarker}User Interface: Mm-hmm . Think minimum two weeks if we're"}
+{"doc_id":"doc_11","qid":"","text":"Project Manager: Well hi everyone again .User Interface: Hello .Industrial Designer: Hello .Marketing: HelloProject Manager: Um {vocalsound} like before we uh {disfmarker} I have to redo the meetings from{vocalsound} {disfmarker} n th the minutes from the last meetingMarketing: Mm-hmm .Project Manager: and so here we go . Uh it was discussed in the last meeting uh which was opened by the presentation from theinterface um designer {vocalsound} that uh looks would be very important on this new remoteUser Interface: Designer . {vocalsound}Marketing: {vocalsound}Project Manager: and um it is to send messages of courseto the T_V_ . It should have nine channel buttons , a next button , volume buttons , subtitle buttons , switch to control features , colour contrast , sharpness etcetera . It should have a memory switch , a mute button incase the telephone rings or something . Uh speech recognition is one of her very f favourite personal uh features she would like see d d to be integrated in this um in this new remote . Um . {vocalsound} Should be childfriendly design with few buttons , colourful maybe with s star shaped or other shaped buttons . Um she uh presented also an oversized remote which she guarantees nobody will ever be able to lose .User Interface:{vocalsound}Project Manager: Um {disfmarker}Marketing: And she was challenged on that point {vocalsound}Project Manager: {vocalsound} that's right . {vocalsound}User Interface: {vocalsound} Yes .{vocalsound}Industrial Designer: {vocalsound}Project Manager: But uh her very f personal favourite really she , she would very much like to see a speech recogniser integrated in this remote . The industrial designerum presented her uh {vocalsound} thoughts on the issue . She would like a special case made out of plastic that is very strong , not using any harmful materials , should be recyclable and should be colourful . Shouldhave an integrated circuit board that's highly sophisticated and temperature resistant . She would like to see a timer and or alarm facility integrated . Uh technically this thing would also have a resistor and a capacitor ,diode transistor , resonator , and if possible a rechargeable battery . Uh and of course a circuit board . And how it would works , you press the button , the chip is morse {disfmarker} morse code related relays the{disfmarker} uh to the generat to the generator amplification and uh the circuit board is very inexpensive to build and so she thinks this is a great feature uh to to to consider .Marketing: Okay .Project Manager: Shewould like uh {disfmarker} this whole thing should be push buttons with a simple chip uh scrolling method is more expensive and not that practical anymore . Should be battery operated and of course she would havethe special cases . The marketing expert uh who has to finally come up with {disfmarker} to to to market this product has been watching the competition , has done some research on the internet and also has used hher personal observations to come up with the fact that such a remote sh should be small , easy to use and it should be eye catching . From her point of view of course one of the most important facts is that we shouldget to market before our competition does . To do that uh maybe one or two features should be developed on which we could dwell on or in other words on which our campaign could be built on . Too many new featuresor too many points would only confuse matter . So we prefer to have one or two features that can be really uh driven home . Um it should have a fruit and vegetable design and should have a soft feel . She feels that'sreally what people want today . And the decision that we took last time was that uh the special feature we would like to see is a speech recogniser , the energy should be battery uh should be on a chip , should betrendy design , compact and strong , and should have buttons . And that concludes the presentation from the last minutes {disfmarker} from the last meeting . Now uh we are ready for the presentation of the prototype.User Interface: Yeah .Industrial Designer: Yeah .User Interface: Just the look like , the button part I'll explain .Industrial Designer: Yeah . Uh so this is our {disfmarker} what uh we have made . This is a model of theremote control which we are going to build .Project Manager: Mm-hmm .Industrial Designer: Uh this is us in a snail shape so uh it it is attractiveMarketing: Mm-hmm .Industrial Designer: um and it's {disfmarker} it'sblue in colour uh bright and uh it has yellow buttons and all the different colour buttonsMarketing: Mm-hmm .Industrial Designer: so it is a {disfmarker} uh uh a {disfmarker} looks-wise it is beautiful .Marketing:Mm-hmm .Industrial Designer: Uh and also compact in shape .Marketing: Mm-hmm .Industrial Designer: Uh um and also i it it will be easily fit into {disfmarker} into the hands and you can access all the buttons easily.Marketing: Mm-hmm . Mm-hmm . Mm-hmm . Good .Industrial Designer: Yeah ,Project Manager: {vocalsound}Industrial Designer: oops , sorry . {vocalsound}Marketing: {vocalsound} You used to have all the buttons{vocalsound}User Interface: {vocalsound}Industrial Designer: {vocalsound} Um yeah and um uh the material which we are going to use for the case is uh plastic and uh w which which is s strong um uh and also uh forthe {disfmarker} Um the material is plastic and uh for the buttons it is uh s soft rubber um and alsMarketing: Oh that's good ,Industrial Designer: yeah .Marketing: no , that's nice and friendly .Industrial Designer: Yeahbecause uh uh you'll be touching the buttons more so it is soft when you touch it .Marketing: Mm-hmm . Mm .Project Manager: Mm-hmm ,Marketing: Mm-hmm .Project Manager: mm-hmm .Industrial Designer: Andthen um uh for the {disfmarker} for the led , for the light emitting diode it is a fluorescent greenMarketing: Mm-hmm .Industrial Designer: and it's a {disfmarker} a {disfmarker} it is a bulb like an ordinary infrared.Marketing: Mm-hmm .Industrial Designer: And {disfmarker} and the button {disfmarker} button's part uh will be explained by F Francina .User Interface: Okay .Marketing: Okay .User Interface: Now the um{disfmarker} we decided upon including certain features on our remote . Now these features includes the s um signal emitting uh signal {disfmarker} it's the led or L_E_D_ the infrared .Project Manager: Mm-hmm,Marketing: Yeah , okay , mm-hmm .Project Manager: mm-hmm .User Interface: Now uh we have included the switch on and off button .Marketing: Mm-hmm .User Interface: Now we have included another feature thatis the mute buttonMarketing: Mm-hmm .User Interface: on the side of the model . Then we have included one to nine buttonsMarketing: Mm-hmm .User Interface: for controlling the programmes {disfmarker} thedifferent channels .Marketing: Mm-hmm .User Interface: We have also included two buttons for increasing or decreasing the volume .Marketing: Mm-hmm .User Interface: And we have also included two buttons forscrolling up and scrolling down the programme channels . Now our {disfmarker} our model also contains a button which is called as the menu button .Marketing: Mm .Project Manager: What kind of button ?UserInterface: Menu button .Project Manager: Menu ? Uh menu th menu , uh one one .User Interface: Yes , menu {disfmarker}Marketing: Menu button . {vocalsound}User Interface: At the centreMarketing: Mm-hmm .UserInterface: we have included a button which is fluorescent green colour and this is the menu button which will control the colour , sharpness , brightnessMarketing: Mm-hmm . Of the screen . Mm , mm-hmm .UserInterface: of this uh picture . We have also included a button which is called as the swapping button . Now this is uh a special , special feature which we have included . Now this button is an elongated shaped buttonand this is slightly flexible so if it is turned towards the right it will take to the previous channel , if it is turned towards the right it will take to the next channel . It will take the user to the previous and the next channelso this is a swapping button .Marketing: The next channel in the numeric pattern , or {disfmarker}User Interface: No , swapping is if if example you're {disfmarker} you're watching the second channel and then you goto the tenth channel and if you want to go back to the second channel you can swap , this button .Marketing: Yeah , mm-hmm . Mm .User Interface: Yes .Marketing: Okay , okay .User Interface: And at the end , it{disfmarker} this remote has inbuilt voice recogniser which c which will recognise the user's voice and then it'll act accordingly .Project Manager: Okay . Mm-hmm . Mm-hmm .User Interface: So this is our proposedmodel .Marketing: Okay .User Interface: Now the marketing expert has toMarketing: Mm-hmm .Industrial Designer: Tell , yeah .User Interface: give her suggestion whether it'll be sellable {vocalsound} or it'll be costeffective .Industrial Designer: {vocalsound}Marketing: {vocalsound} Okay , well um what {disfmarker} what I really like a lot about it is that you can reach the whole thing with one thumb ,User Interface: Yes , yes.Marketing: that you can really hold it in one h you don't need two handsIndustrial Designer: Mm-hmm .Marketing: and it's easily reachable even for somebody with a small hand , yeah ?Project Manager: Yes thebuttons are all raised , right ?Marketing: The buttons are all raisedProject Manager: Are raised , mm-hmm .User Interface: Yes .Marketing: and if you hold it in the centre of your hand you can even reach it over here soyou don't have to turn it around , turn it upside down , move it up , up and down ,Project Manager: Right . Or have two hands to operate it , yeah .Marketing: I really like that .User Interface: Mm .Industrial Designer:Mm-hmm .Marketing: You really did a good job on that , my little designers .User Interface: {vocalsound}Industrial Designer: {vocalsound}Marketing: {vocalsound} Um and um I like the idea that the on-off button isin a really prominent place . That's that's a really good good thing .Project Manager: Yes , and it sort of sticks up so that you really {disfmarker}Marketing: Yeah , that's great .Project Manager: you don't have to g firstgo like oh yeah here it's on and yeah , mm-hmm .Industrial Designer: Hmm . Mm-hmm .Marketing: Mm-hmm .User Interface: Abs okay .Marketing: The colour's very attractive . Um the um these buttons uh aroundhere are the muteUser Interface: No , these {disfmarker} the front buttons which are here , are the mute buttons .Marketing: and {disfmarker} these {disfmarker} mm-hmm On both sides they're mute ?UserInterface: Yes , yes .Marketing: So you can push either one ?User Interface: Yes .Marketing: Okay .Project Manager: So if you're left-handed or right-handed it doesn't matter .Marketing: And this brings the menu up onthe screen ?User Interface: {vocalsound} Pardon me ? This is the menu {disfmarker} yes , yes .Marketing: This brings the menu up on the screen and the orange ones are {disfmarker}User Interface: A the{disfmarker} the {disfmarker} these {disfmarker} these two are th to increase or decrease the volumes ,Marketing: Okay .User Interface: and these two are to uh scroll the programme channels .Marketing: F f okay.User Interface: Scroll up or scroll down the channels .Marketing: Right , very good . Uh it looks mm looks like something I can sell .User Interface: {vocalsound}Industrial Designer: {vocalsound}Marketing: Okay andnow I'm supposed to {disfmarker}Project Manager: Well , I have one questionMarketing: yeah .Project Manager: uh will there be anything written on the buttons , like that people know , or they have to learn that froma piece of paper which button does what ?User Interface: Yes , it will have uh {disfmarker} these buttons will have the numbers and all the rest of the buttons will have symbols .Industrial Designer: Ah . Yeah ,definitely .Project Manager: Will have symbols so that that {disfmarker} that the user really knows you know and doesn't have to first learn it {disfmarker}User Interface: Yes , which can be easily recognised .IndustrialDesigner: Yeah .Marketing: Yeah .Industrial Designer: Yeah .User Interface: Yes .Industrial Designer: Yeah . Yeah .Marketing: Good point because we need the symbols 'cause we're going into an international marketwe can't have anything that's language dependent .User Interface: Yes .Industrial Designer: Yeah of course , and also {disfmarker}User Interface: Yes .Industrial Designer: Hmm .Project Manager: Yeah . But anyway itwould ha i i i it has to have some kind of of symbols , text or something so that people knIndustrial Designer: Yeah .User Interface: Yes .Industrial Designer: Yeah we can {disfmarker} Text .Marketing: Symbols on it .Mm-hmm , mm-hmm .User Interface: Yes .Industrial Designer: Text that we can have on the case itself ,Project Manager: That's right .User Interface: Yes .Industrial Designer: we can {disfmarker} it will be printed onthe case and symbols as well as the buttons . Yeah .Marketing: Mm-hmm .Project Manager: Okay , yeah just wanted make sure of that mm-hmm .User Interface: And {disfmarker} and one more feature is we we havea holder for this remote which is an oyster shape .Marketing: Mm , 'kay , mm . Mm-hmm .User Interface: A shell shape .Marketing: For the snail , yeah , mm-hmm ,Project Manager: Right , mm-hmm .User Interface:Yes , yes .Industrial Designer: Yeah . So it is {disfmarker}Marketing: {vocalsound} we have the snail shell .Project Manager: Mm-hmm .User Interface: Yes , snail shell .Industrial Designer: yeah ,Marketing: He goesright back into his shell .Industrial Designer: yeah {disfmarker} shell .Project Manager: Right .User Interface: Yes .Marketing: Well you know I think we could do something really funny with this too because the snail isknown to be slowIndustrial Designer: Mm-hmm .Marketing: and we could have some sort of little comic effect on our marketing about how this is a rapid snail or something like thatUser Interface: Mm-hmm .IndustrialDesigner: Mm .User Interface: {vocalsound} Y Yes {vocalsound}Industrial Designer: {vocalsound} Yeah , of course , yeah .Marketing: you know that would , that would really work .Project Manager: Now what , whatare our special features for the marketing ?Marketing: So {disfmarker}Project Manager: That's really the voice recognition that's really unusual {disfmarker}Marketing: I think voice recognition is our big sellingpointIndustrial Designer: Mm . Mm-hmm .Marketing: 'cause nobody else seems to have that in in this price range .Industrial Designer: Mm .Project Manager: And then , and then the other thing would basically be shshape or practicality of use .Marketing: YepProject Manager: You know .Marketing: uh well I think that everybody's gonna say their remote control is practical . I think we have to , we have to dwell on on on theappearance .Project Manager: Colours . Mm-hmm .Marketing: We're really gonna have the be theProject Manager: Cutest .Marketing: cutest remote control on the block .Project Manager: Yeah .Industrial Designer: Mm.Marketing: So I think we have to play with the image , play with the snail image um play with the visual and then the voice recognition .Industrial Designer: Mm-hmm .Marketing: I think those are the two things topush . The look and the voice recognition . They're gonna be our two selling points .Project Manager: Okay , now uh having said that {disfmarker}Marketing: I'm supposed to make a little presentation , aren't I ?ProjectManager: No , now this was our evaluation criteria which we uh just have done .Marketing: Okay .Project Manager: Now we're gonna talk about financing . {vocalsound}Marketing: Ah , but in my instructions I think itsaid I was supposed to go to the board and do something .Project Manager: {vocalsound} Well , there is a production evaluation .Marketing: No ?Project Manager: Is that you ?Marketing: Yeah , that's me .ProjectManager: But that's after the financing .Marketing: Oh , okay .Project Manager: See ? Fi see ?Marketing: Sorry , sorry . Mm-mm .Project Manager: {vocalsound}User Interface: {vocalsound}Industrial Designer:{vocalsound}Project Manager: Um . {vocalsound} Okay , we had looks and voice recognition . Okay now on the financing we bring up the mm there it is . Okay uh energy source we say that's battery , right ?IndustrialDesigner: Mm .Marketing: That's right .Project Manager: Okay , now . So we {disfmarker} I guess we use one .User Interface: Yes .Industrial Designer: Yeah .Project Manager: What ? T cell or chart you are trying tochange is protected . Well , that's nice . She told me I could just ch change it here and then it would {disfmarker} It doesn't work . Hmm .Marketing: Can you just fill it in in the yellow boxes ? Or {disfmarker}ProjectManager: Oh , okay yeah , okay ,Industrial Designer: Yeah .Project Manager: let's see . Okay , one , okay .User Interface: Yes .Project Manager: Oh go away . Um kinetic source so that's {disfmarker} in the energysource that's all we need .Industrial Designer: Mm-hmm .Project Manager: Uh electronics , simple chip on print ? Is that's what we're using ?User Interface: Yes .Industrial Designer: Yeah ,Project Manager: One of those?Industrial Designer: yeah .Project Manager: Come on . Okay , one . Uh regular chip on print . No . That's all we need , the oneIndustrial Designer: No . Yeah .Project Manager: {disfmarker} case , uncurved flat , singlecurved , double curved .Marketing: Well . {vocalsound}Industrial Designer: This is a {disfmarker}User Interface: Single curve ? Mm .Marketing: I guess it's double curved .Project Manager: Double curved ? One ofthose ?Marketing: Mm-hmm .Project Manager: Case materi s supplements . Plastic we said , right ?User Interface: Plastic .Industrial Designer: Yeah .Project Manager: Uh wood , rubber ?Industrial Designer: Yeah.Marketing: Rubber , because we're gonna have the soft buttons .Project Manager: Uh but , yes but {disfmarker}Industrial Designer: I think uh that is uh f for rubbers that is uh {disfmarker} yeah case material .ProjectManager: That's just for the case material ,User Interface: Is this for the case ? Yes .Project Manager: so special colours though , we having that ,Marketing: Oh okay , the mm-hmm , mm' kay .Project Manager: right?User Interface: Yes .Industrial Designer: Mm-hmm .Marketing: Mm-hmm .Project Manager: And then we have to interface push buttons .User Interface: Yes .Marketing: Mm-hmm .Project Manager: Scroll wheel , no .Integrated scroll wheel , L_C_ display ?User Interface: No .Marketing: No ,Project Manager: Button .Marketing: 'cause we didn't put the clock in it after all , right ?Project Manager: No .Industrial Designer: Yeah.Marketing: Mm-hmm .Project Manager: Uh , button supplement special colour ?User Interface: Speci YesProject Manager: Special form ?User Interface: Yes d we do have special form .Marketing: Yes .Project Manager:And special material , rubber , wood , yes .Industrial Designer: Yeah .Project Manager: Okay . {vocalsound} Total seven point six whatever that means .Industrial Designer: Uh , I think that's the price .Project Manager:That's the price .User Interface: One two three four five six seven eight nineProject Manager: Mm ?Industrial Designer: Maybe it {disfmarker} is it just {disfmarker} nProject Manager: Eight , eight point two . That's{disfmarker}User Interface: Nine points ,Project Manager: hmm ?User Interface: okay , yes .Project Manager: Eight point two , right ? So , we {disfmarker} looks like we are well within budget .User Interface: Okay.Industrial Designer: Yeah .Marketing: Mm-hmm .Project Manager: Okay . I guess I should save this I suppose , huh ?Marketing: Yeah .Project Manager: Oops . Uh-huh huh huh .User Interface: On the desktop .ProjectManager: I just tried that . My documents , computer .Industrial Designer: AMI .Project Manager: My compu Ah oh here it is , yes .Industrial Designer: AMI should forProject Manager: Okay , fine . Save . Okay good , sothat's the good news . We gonna be popular .Industrial Designer: Yeah .Marketing: Mm-hmm .User Interface: {vocalsound}Project Manager: {vocalsound} Um . So that uh {disfmarker} I think financing was prettysimple .Marketing: Mm-hmm .Project Manager: Now we would like to have a presentation by the marketing expert on production evaluation .Marketing: Okay , I'll take my file down so you can bring it up . 'Kay shouldbe able to get it now . 'Kay , why don't you move just to the next slide right away .Project Manager: You wanna go to the next slide ?Marketing: Yeah right away .Project Manager: Okay .Marketing: Okay , well uhobviously my method for uh s m the marketing of this thing is first to ask the big question , will it sell ? And I think we should show this prototype to people from various age and socio-economic groups and see aboutany fine tuning that {disfmarker} maybe little things we haven't thought of .User Interface: Okay .Industrial Designer: Mm-hmm .Marketing: We can't accept every suggestion of course , but maybe we just need to get"}
+{"doc_id":"doc_12","qid":"","text":"Industrial Designer: Now what .Project Manager: 'Kay , hello everybody . Uh , I guess you all know what is it about , you all received the email , I guess . Uh , we are actually doing this meeting to start a new projectwhich is about designing a remote control . So I'm going to be the project manager of this uh project . And uh so I'm {disfmarker} present myself . I'm Fabien Cardinaux and uh I I guess you can present yourself . So Idunno , you can starts .User Interface: {vocalsound}Industrial Designer: Okay , so my name is Petre {gap} . You can call me Petre {gap} , or Peter if you like . I don't care {gap} .Project Manager: Okay .Marketing: Uhmy name's Bob Mor .Project Manager: And you are ? In the project ?Industrial Designer: Uh , in the project I'm supposed to be the technic .Marketing: Oh , sorry .Project Manager: {gap}Marketing: 'Kay . So my name'sBob Morris . I'm the Marketing Expert for this project .Industrial Designer: Bob ,Marketing: Bob yeah .Industrial Designer: okay .User Interface: My name is Hamed Getabdar , and uh I'm going to be Interface Designerin this project .Industrial Designer: Okay .Project Manager: So , uh , so today we are doing a short meeting to present the project , so um We are gooding we are going to present the tool we are {vocalsound} we aregoing to use during all this project . We are talking about the project plan , and we are going to to discuss about st our first ideas and so on , and , yeah . So we have around twenty five minutes to do this meeting . Um. So what is the goal of this project ? Is to design a new remote control . So it should be , of course , new and original , and um it should be trendy , and user friendly . That mean it's a very challenging project , and uhuh . So w it's {disfmarker} we will try to do our best , and hopefully come with something very new and that people want to buy . So , um {disfmarker} So what's uh what are we going to do during this all this project ?So it's more like we are going to do inv individual work all in o in o our specialities and we are going to meet each other quite often to discuss and to find a good way . Um . Yeah and everything is {disfmarker} will belike this . Um so now we are going to to get used t to to the tools we are going to use all {disfmarker} during all this project . So we can try to use uh the whiteboard here . So {gap} uh .Industrial Designer: Okay.Project Manager: For example we can try to write what is our our favourite animal and write the f our favourite characteristics about it . Mm . Uh {vocalsound} . So uh {disfmarker} {gap} So I will ask you all to do thesame .Industrial Designer: Okay .Project Manager: Just to get used to the whiteboard .Industrial Designer: So probably I would try to try to draw the animal . Well sh should I draw the picture of the animal ?ProjectManager: Yeah , yeah , you can draw the picture , of course {vocalsound} .Industrial Designer: I I th I think I should .Marketing: Yeah go ahead .Industrial Designer: Okay , so . Um {vocalsound} . Okay , American ,um . Um . I would use the bird . So I tried to sketch it out . I had to first uh write it down because I am not absolutely sure if I can draw it , but ah . Can you recognise it {vocalsound} as a bird ?Project Manager:{vocalsound}Marketing: {vocalsound}Industrial Designer: Okay {vocalsound} it's your turn to {disfmarker}Marketing: Okay , okay . {vocalsound} So I think my favourite animal would be a c a cat .Project Manager:Oh .Marketing: That's its head .Project Manager: {vocalsound}User Interface: {vocalsound}Marketing: Um I probably like cats the most because they're cuddly and furry and uh playful .Project Manager:{vocalsound}Industrial Designer: {gap}User Interface: {vocalsound}Marketing: Okay .User Interface: I dunno if I should go with this {gap} {vocalsound} .Industrial Designer: Oh it's okay .Project Manager:{vocalsound}Marketing: Thanks . {vocalsound}User Interface: If it is enough line .Industrial Designer: {vocalsound}Marketing: {vocalsound} {vocalsound} Maybe put it upUser Interface: {vocalsound} I'm sorry .{vocalsound}Marketing: {disfmarker} Put it a Maybe put it on the desk or something .Industrial Designer: Yeah .User Interface: {vocalsound}Industrial Designer: I should get used to the tool , so .Marketing:{vocalsound}User Interface: {vocalsound} Okay .Industrial Designer: {vocalsound} Oh just wait {gap} a little bit . C could we put it here , to make it as straight as possible ?User Interface: {vocalsound}{vocalsound}Project Manager: {vocalsound}Industrial Designer: {vocalsound} Ah probably not .User Interface: {vocalsound} They should be remote .Marketing: {vocalsound}Industrial Designer: Okay , it{disfmarker} it works like this .Marketing: Uh , that's better .User Interface: Okay , thanks .Marketing: Your lapel microphone's fallen off .User Interface: {vocalsound}Industrial Designer: Are you left-handed ?UserInterface: No .Industrial Designer: Oh , pity {vocalsound} .User Interface: Okay . Should I clean ? {vocalsound} {vocalsound}Marketing: {vocalsound}User Interface: Okay , I think like horses uh because they arestrong and beautiful , so if I want to write it here , I think I can . {vocalsound} Oh {vocalsound} .Marketing: {vocalsound}Project Manager: Never mind . {vocalsound}Industrial Designer: Ah , it's maybe better if youleave it .Marketing: {vocalsound} Yeah . Yeah . Maybe we should just continue .Project Manager: Yeah .Marketing: Yeah , don't worry about it . {vocalsound}User Interface: {gap}Project Manager: {gap} , no worry.Marketing: No .Industrial Designer: {gap}User Interface: Okay .Industrial Designer: You won't draw them , or ?Project Manager: You can draw it , if you want . {vocalsound}Industrial Designer: {vocalsound}UserInterface: I dunno if I can .Marketing: {vocalsound}Industrial Designer: Just try . I would like to see how it looks like .User Interface: {vocalsound} Okay .Industrial Designer: {vocalsound}User Interface:{vocalsound} It may be like a cow or I dunno , whatever .Project Manager: {vocalsound}Marketing: {vocalsound}User Interface: {vocalsound} I'm not good very good in drawing . Okay , so this is very {vocalsound}{disfmarker} It's a bird , I think . I dunno what is it . {vocalsound}Industrial Designer: No , I think it's clear .User Interface: {vocalsound} Four . Okay . Mm-hmm . Mm . Yeah . I'm shameful {vocalsound}ProjectManager: {vocalsound}Marketing: {vocalsound} Oh that's good , it's good .Industrial Designer: It's okay . It's in it's indeed beautiful .Project Manager: Good .Marketing: Yeah , and strong . {vocalsound}ProjectManager: {vocalsound}Industrial Designer: {vocalsound}User Interface: Yeah . {vocalsound} Okay .Industrial Designer: Okay .Marketing: {vocalsound}User Interface: {vocalsound}Marketing: {vocalsound}IndustrialDesigner: Bob . Have to remember it . Bob .Project Manager: So good um {disfmarker} So , let's talk about money . Uh we are going to to sell {disfmarker} we want to sell uh this remote control for twenty five EuroEuro . And uh our expected profit will be around fifty million Euro . And uh we are trying to to have a market all around the world . So {gap} n not only for Switzerland , but for the world . Uh . So , um . The{disfmarker} We expect a production cost of maximum uh twelve point fifty Euro .Industrial Designer: Per unit , I guess .Project Manager: {vocalsound} Yeah , of course .Industrial Designer: Y oh okay .ProjectManager: Um , so we can start today to have a first idea of what we want to do what are our experiments with remote control , and any idea ? So , if you have some experience , good or bad , with remote controls youcan share it and say what you f what is your idea . Anything .Industrial Designer: Okay .Marketing: Well , from experience , um I've had remote controls in the past that have had very {disfmarker} they've had lots andlots of buttons and they've been very small , and it's been very hard to to to use , because there's so many buttons , and you know it's very hard to see which buttons do what , and the buttons are very small and veryhard to press . Um and and normally you only every use , you know , on a T_V_ remote you only ever use , mostly , you know , f four or f six buttons . Um .Project Manager: Mm .Industrial Designer: Oh .Marketing: Soit's frustrated me in the past , th that .Industrial Designer: Okay , I have also some points uh . Maybe two points . Uh first would be that in current remote controls there is no back light {vocalsound} , so if you are ifyou are uh playing with this in the dark room it's it's probably worth to to have something like uh back light .Project Manager: Yeah .Industrial Designer: And maybe it could be also dependant on the the amount of oflight in the room , so that if if it's in the day it doesn't need to be back lighted because it works on the battery , so . So something like this . And the second thing , f second point from me would be that in a normalremote control there is uh {disfmarker} there are two buttons for volume control .Project Manager: Yeah .Industrial Designer: But I prefer like a potential-meter or something like .Marketing: Ah , okay . Okay.Industrial Designer: You know , some slider or {disfmarker}Project Manager: Okay .Industrial Designer: Not just two discrete buttons for volume ,User Interface: Mm-hmm .Marketing: Okay , n {vocalsound}IndustrialDesigner: but something which {disfmarker}Project Manager: Mm-hmm . Yeah .Marketing: Is that because the {disfmarker} of the discrete volume levels , or is thatIndustrial Designer: Yeah , but I can reach{disfmarker} In uh one second I can mute it down , or or make a high volume .Project Manager: {gap} Are you not afraid that if you take your remote control you can move the slide and it could {gap} {disfmarker}the the volume can go up very quicklyMarketing: Yeah .Industrial Designer: Ah , n .Project Manager: and it can {disfmarker}Industrial Designer: If it drops to the floor then it starts to scream {gap} .Project Manager:Yeah , also if y when you take the the remote control , for example on the table , you take it and you push the button and everything is very loud , andIndustrial Designer: {vocalsound} Yeah , f It depends what whatyou feel about that .Project Manager: you have a heart attack {vocalsound} . Okay .Marketing: Yeah .Industrial Designer: Yeah but we can we can think of these things afterwards , but if {gap} you have some morenotes on that .Project Manager: Yeah so you can {disfmarker}User Interface: Uh I {disfmarker} Yeah ,Project Manager: Do you have something ?User Interface: just a simple experience . I uh I prefer um remotecontrol working with radio waves , because remote control working with infra-red rays you should you should you should keep it in a specific direction and then try it hard to tune {gap} .Project Manager: Yeah , that'strue . Yeah without obstacles and {gap} .Industrial Designer: Okay .Project Manager: Okay . Let's continue .Industrial Designer: Um .Project Manager: I have a meeting in five minutes , so maybe we should hurry.Marketing: Okay .Project Manager: Um . So we will close uh this meeting .Industrial Designer: Okay , just a second . {gap}Project Manager: So we will have a next meeting in uh thirty minutes .Industrial Designer:{vocalsound}Project Manager: Um . Uh . The {disfmarker} So I will ask you to do some work . Uh the the interface interface developer will work on the on the design of the remote control , start to to have new ideaandIndustrial Designer: Which i which is Hamed , {gap} ?Project Manager: read about {disfmarker}Industrial Designer: Okay .User Interface: Mm .Marketing: He's the Industrial Designer ? No , you're the IndustrialDesigner .Industrial Designer: Uh I am the Technical Designer ,User Interface: Yeah .Project Manager: Oh .Industrial Designer: I dunno which one , uh v .Marketing: Yeah ,Project Manager: Industry and {disfmarker}Oh .Marketing: I think that's the first . I_D_ . Industrial Designer .User Interface: Uh-huh .Marketing: And the second one is the User Interface Designer .User Interface: Mm-hmm .Marketing: {vocalsound}IndustrialDesigner: User Interf Okay .Marketing: And then last one's marketing , which is me .Project Manager: Yeah .Industrial Designer: Okay , so I'm the first one .Project Manager: So , um {disfmarker}Marketing:{gap}Project Manager: For the User Interface Designer , which is Hamed um ,User Interface: Mm-hmm .Project Manager: uh , you are going to work on the technical functions of the remote control .Industrial Designer:I see .User Interface: Okay .Project Manager: And for the Marketing uh Manager , I dunno , okay , which is Bob , uh you are going to try to to find the user requirements f uh for the remote control . Um , you willreceive by email uh the specific instructions and uh by your personal coach .Industrial Designer: {gap} {vocalsound} {vocalsound} {gap} Sign .Project Manager: Yep finished . So I see you in thirty minutes .Marketing:Great , okay .Project Manager: {gap}Industrial Designer: Okay .User Interface: Okay , thanks .Marketing: Thanks guys . Bye .User Interface: Bye .Project Manager: Thank you .Industrial Designer: {gap} Uh . {gap}"}
+{"doc_id":"doc_13","qid":"","text":"PhD E: Yeah .Professor B: Um , so . If we can't , we can't . But uh we 're gonna try to make this an abbreviated meeting cuz the {disfmarker} the next {disfmarker} next occupants were pushing for it , so . Um . So .Agenda is {disfmarker} according to this , is transcription status , DARPA demos XML tools , disks , backups , et cetera andGrad H: Does anyone have anything to {pause} add to the agenda ?Professor B: OK . Shouldwe just go in order ? Transcription status ? Who 's {disfmarker} that 's probably you .Postdoc A: I can do that quickly . Um I hired several more transcribers , They 're making great progress .Professor B: Seven?Postdoc A: Seve - several , several .Professor B: Oh .Postdoc A: And uh {disfmarker} and uh , uh I 've been uh finishing up the uh double checking . I hoped to have had that done by today but it 's gonna take onemore week .Grad H: UmPhD D: I gGrad H: as a somewhat segue into the next topic , um could I get a hold of uh the data even if it 's not really corrected yet just so I can get the data formats and make sure theinformation retrieval stuff is working ?Postdoc A: Certainly . Yeah I mean , it 's in the same place it 's been .Grad H: So can you just {disfmarker} Oh , it is .Postdoc A: Uh - huh . No change .Grad H: OK . Just{disfmarker} So , \" transcripts \" is the sub - directory ?Postdoc A: Uh {disfmarker} Yes . Uh - huh .Grad H: OK . So I 'll {disfmarker} I 'll probably just make some copies of those rather than use the ones that are there.Postdoc A: OK .Grad H: Um and then just {disfmarker} we 'll have to remember to delete them once the corrections are made .Postdoc A: OK .Professor B: OK , whPhD D: I also got anot a short remark to thetranscription . I 've uh just processed the first five EDU meetings and they are chunked up so they would {disfmarker} they probably can be sent to IBM whenever they want them .Grad C: Cool .PhD F: Well the secondone of thosePhD D: Yep . It 's already at IBM ,PhD F: is already at IBM .PhD D: but the other ones {disfmarker}PhD F: That 's the one that {pause} we 're waiting to hear from them on .PhD D: Yeah . Yeah .Postdoc A:OK .PhD F: Yeah .Postdoc A: These are separate from the ones that {disfmarker}PhD F: As soon as {disfmarker}Postdoc A: I mean , these are {disfmarker}PhD F: They 're the IBM set .PhD D: Yep .Grad H: It 's thisone .Postdoc A: Excellent . Good .PhD F: Yeah . And so as soon as we hear from Brian that this one is OKGrad H: Is my mike on ? Yeah .PhD F: and we get the transcript back and we find out that hopefully there are noproblems matching up the transcript with what we gave them , then uh we 'll be ready to go and we 'll just send them the next four as a big batch ,Postdoc A: Excellent .PhD F: and let them work on that .Grad H: Andso we 're doing those as disjoint from the ones we 're transcribing here ?PhD F: Yes , exactly .Grad H: OK , good .PhD F: We 're sort of doing things in parallel , that way we can get as much done a at once .Grad H:Yeah , I think that 's the right way to do it ,PhD F: Yeah .Grad H: especially for the information retrieval stuff . Anything else on transcription status ?Postdoc A: Hm - mmm .Grad H: OK .Professor B: DARPA demos , wehad the submeeting the other day .Grad H: Right , which uh {disfmarker} So I 've been working on using the THISL tools to do information retrieval on meeting data and the THISL tools are {disfmarker} there 're twosets , there 's a back - end and a front - end , so the front - end is the user interface and the back - end is the indexing tool and the querying tool . And so I 've written some tools to convert everything into the right forfile formats . And the command line version of the indexing and the querying is now working . So at least on the one meeting that I had the transcript for uh conveniently you can now do information retrieval on it , do{disfmarker} type in a {disfmarker} a string and get back a list of start - end times for the meeting ,PhD F: What {disfmarker} what kind of uh {disfmarker} what does that look like ? The string that you type in .GradH: uh of hits .PhD F: What are you {disfmarker} are you {disfmarker} are they keywords , or are they {disfmarker} ?Grad H: Keywords .PhD F: OK . I see .Grad H: Right ? And so {disfmarker} and then it munges it topass it to the THISL IR which uses an SGML - like format for everything .PhD F: I see .Professor B: And then does it play something back or that 's something you 're having to program ?Grad H: Um , right now , I havea tool that will do that on a command line using our standard tools ,Professor B: Yeah .Grad H: but my intention is to do a prettier user interface based either {disfmarker} So {disfmarker} so that 's the other thing Iwanted to discuss , is well what should we do for the user interface ? We have two tools that have already been written . Um the SoftSound guys did a web - based one ,Professor B: Mm - hmm .Grad H: um , which Ihaven't used , haven't looked at . Dan says it 's pretty goodProfessor B: Mm - hmm .Grad H: but it does mean you need to be running a web server .Professor B: Mm - hmm .Grad H: And so it {disfmarker} it 's prettybig and complex . Uh and it would be difficult to port to Windows because it means porting the web server to Windows .Professor B: Mm - hmm .Grad H: Uh the other option is Dan did the Tcl - TK THISL GUI front - endfor Broadcast NewsProfessor B: Yeah .Grad H: which I think looks great . I think that 's a nice demo . Um and that would be much easier to port to Windows . And so I think that 's the way we should go .Postdoc A: I{disfmarker} Can I ask a question ? So um as it stands within the {disfmarker} the Channeltrans interface , it 's possible to do a find and a play .Grad H: Mm - hmm .Postdoc A: You can find a searched string and play .So e Are you {disfmarker} So you 're adding like um , I don't know , uh are they fuzzy matches or are they {pause} uh {disfmarker} ?Grad H: It 's a sort of standard , text - retrieval - based {disfmarker} So it 's uhterm frequency , inverse document frequency scoring .Postdoc A: OK .Grad H: Um and then there are all sorts of metrics for spacing how far apart they have to be and things like that . So it {disfmarker} it 'sPostdoc A:It 's a lot more sophisticated than the uh the basically Windows - based {disfmarker}Grad H: i it 's like doing a Google query or anyth anything else like that .Postdoc A: OK .Grad H: So i it uses {disfmarker} So it prproduces an index ahead of time so you don't {disfmarker} you 're not doing a linear search through all the documents . Cuz you can imagine if {disfmarker} with {disfmarker} if we have the sixty hours ' worth you do{disfmarker} wouldn't wanna do a search .Postdoc A: Hm - mmm . Good .Grad H: Um you have to do preindexing and so that {disfmarker} these tools do all that . And so the work to get the front - end to work wouldbe porting it {disfmarker} well {disfmarker} uh to get it to work on the UNIX systems , our side is just rewriting them and modifying them to work for meetings .Professor B: Mm - hmm .Grad H: So that it understandsthat they 're different speakers and that it 's one big audio file instead of a bunch of little ones and just sorta things like that .Professor B: Mm - hmm .PhD G: Mm - hmm .PhD F: So what does the user see as the resultof the query ?Grad H: On which tool ?PhD F: THISL .Grad H: The THISL GUI tool which is the one that Dan wrote , Tcl - TKPhD F: Yeah .Grad H: um you type in a query and then you get back a list of hits and you cantype on them and listen to them . Click on them rather {comment} with a mouse .PhD F: Ah .Professor B: MmmPhD F: So if you typed in \" small heads \" or something you couldGrad H: Right , you 'd get{disfmarker}PhD F: get back a uh uh {comment} something that would let you click and listen to some audio where that phrase had occurredGrad H: something {disfmarker} You {disfmarker} you 'd get to listen to \"beep \" .PhD F: or someProfessor B: That was a really good look . It 's too bad that that couldn't {vocalsound} come into the {disfmarker}Grad H: You couldn't get a video .PhD G: Guess who I practice on ?Postdoc A: Atsome point we 're gonna have to say what that private joke is , that keeps coming up .Professor B: Yeah . And then again , maybe not . So , {vocalsound} uh {disfmarker} Yeah , that soun that sounds reasonable .Yeah , it loo it {disfmarker} my {disfmarker} my recollection of it is it 's {disfmarker} it 's a pretty reasonable uh demo sort of format .Grad H: Right .PhD F: Yeah that sounds good .Grad H: And so I think there 'd beminimal effort to get it to work , minimallyPhD F: That sounds really neat .Grad H: and then we 'd wanna add things like query by speaker and by meeting and all that sort of stuff . Um Dave Gelbart expressed someinterest in working on that so I 'll work with him on it . And it {disfmarker} it 's looking pretty good , you know , the fact that I got the query system working . So if we wanna just do a video - based one I think that 'llbe easy .Professor B: Mm - hmm .Grad H: If we wanna get it to Windows it 's gonna be a little more work because the THISL IR , the information retrieval tool 's {disfmarker} um , I had difficulty just compiling them onSolaris .Professor B: Mm - hmm .Grad H: So getting them to compile on Windows might be challenging .Professor B: Mm - hmm .PhD F: But you were saying that {disfmarker} that the uh {disfmarker} that there 'sthat set of tools , uh , Cygnus tools , that {disfmarker}Grad H: So . It certainly helps .PhD F: Uh - huh .Grad H: Um , I mean without those I wouldn't even attempt it .Professor B: Mm - hmm .PhD F: Yeah .Grad H: Butwhat those {disfmarker} they {disfmarker} what those do is provide sort of a BSD compatibility layer ,Professor B: Mm - hmm .Grad H: so that the normal UNIX function calls all work .Professor B: Mm - hmm .PhD F:And you have to have all the oGrad H: Um , But the problem is that {disfmarker} that the THISL tools didn't use anything like Autoconf and so you have the normal porting problems of different header files and th somethings are defined and some things aren't and uh different compiler work - arounds and so on . So the fact that um it took me a day to get it c to compile under Solaris means it 's probably gonna take me s significantlymore than that to get it to compile under Windows .Professor B: How about having it run under free BSD ?PhD E: Well what you need {disfmarker}Grad H: Free BSD would probably be easier .PhD E: All you need to dois say to Dan \" gee it would be nice if this worked under Autoconf \" and it 'll be done in a day .Grad H: That 's true .PhD D: Uh {disfmarker}PhD E: Right ?Grad H: Actually you know I should check because he did port itto SPRACHcorePhD E: Right .Grad H: so he might have done that already .PhD E: I {disfmarker} I {disfmarker} I wouldn't be surprised .Professor B: So {disfmarker}Grad H: I 'll check at that {disfmarker}Professor B:But it would {disfmarker} what would serve {disfmarker} would serve both purposes , is if you contact him and ask him if he 's already done it .PhD E: What I {disfmarker}PhD F: How does it play ?Grad H: Yeah , right.Professor B: If he has then you learn , if he hasn't then he 'll do it .Grad H: Right .Postdoc A: Wow .PhD F: I hope he never listens to these meetings .Grad H: That 's right . So , and I 've been corresponding with Danand also with uh uh , SoftSound guy , uh {disfmarker}Postdoc A: It 's amazing .Professor B: Yeah .Grad H: Blanking on his name .Professor B: Tony Robinson ?PhD F: Tony Robinson ?Grad H: Do I mean Tony ? I guessI do .Professor B: Yeah .PhD E: James Christie .Grad H: Or S or Steve Renals .Professor B: Steve Renal - Steve Renals .Grad H: Which one do I mean ?PhD E: Steve Renals is not SoftSound , is he ?Professor B: No.Grad H: My brain is not working ,Professor B: OK .Grad H: I don't remember who I 've been corresponding with .PhD E: Steve wro i it 's Ste - Steve Renals wrote THISL IR .Grad H: Then it 's Steve Renals .Professor B:Oh , OK .PhD E: OK .Grad H: So uh just getting documentation and uh and f and formats ,Professor B: Yeah .Grad H: so that 's all going pretty well ,Professor B: Assuming we 're {disfmarker}PhD E: Right .PhD F: Whatabout issues of playing sound files @ @ between the two platforms ?Grad H: I think we 'll be OK with that . Um we have {disfmarker} Well , that 's a good point too .PhD E: Here 's a {disfmarker} here 's a crazy idea{pause} actually .Grad H: I don't know .PhD E: Why don't you try and merge {pause} Transcriber {pause} and THISL IR ? They 're both Tcl interfaces .Grad H: Well this is one of the reasons {disfmarker} This is the{disfmarker} one of the reasons that I 'm gonna have uh Dave Gelbart {disfmarker} Gelbart {disfmarker} Having him volunteer to work on it is a really good thing because he 's worked on the Transcriber stuffPhD E:Right .Grad H: and he 's more familiar with Tcl - TK than I am .PhD E: And then you get {disfmarker} they {disfmarker} then you get the Windows media playing for free .Grad H: Well that 's Snack , not {disfmarker}not Transcriber .PhD E: Right . But the point is that the Transcriber uses Snack and then you can {disfmarker} but you can use a {disfmarker} a lot of the same functionality and it 's {disfmarker}Grad H: Yeah , yeah ,I mean , I {disfmarker} I think THISL {disfmarker} THISL GUI probably uses Snack . And so my intention was just to base it on that .PhD E: Yeah . Well my thought was is that it would be nice {disfmarker} it would benice to have the running transcripts um eh you know , from speaker to speaker .Grad H: And if it doesn't {disfmarker}PhD E: Right ? Do you have {disfmarker} you have , you know , a speaker mark here and aspeaker mark here ?Grad H: Right , we 'll have to figure out a user interface for that , so .PhD E: Right . Well that {disfmarker} eh my thought was if you had like Multitrans or whatever do it . Or whatever .Grad H:Yeah . It might be fairly difficult to get that to work in {comment} the little short segments we 'd be talking about and having the search tools and so on . We {disfmarker} we can look into it ,PhD E: Yeah .Grad H: but{disfmarker}Professor B: The thing I was asking about with , um , free BSD is that it might be easier to get PowerPoint shows running in free BSD than to get this other package running in {disfmarker}Grad H: Yeah , Imean we have to {disfmarker} I have to sit down and try it before I make too many judgments ,Professor B: Yeah .Grad H: so uh Um My experience with the Gnu compatibility library is really it 's just as hard and justas easy to port to any system . Right ? The Windows system isn't any harder because it {disfmarker} it looks like a BSD system .Professor B: Mm - hmm .Grad H: It 's just , you know , just like all of them , the \" include\" files are a little different and the function calls are a little different .Professor B: Right .Grad H: So I {disfmarker} it might be a little easier but it 's not gonna be a lot easier .Professor B: OK . So there was that demo ,which was one of the main ones , then we talked about um some other stuff which would basically be um showing off the {disfmarker} the Transcriber interface itself and as you say , maybe we could even merge thosein some sense , but {disfmarker} but um , uh {disfmarker} and part of that was showing off what the speech - non uh nonspeech {comment} stuff that Thilo has done {pause} s {pause} looks like .PhD D: Yeah.Postdoc A: Can I ask one more thing about THISL ? So with the IR stuff then you end up with a somewhat prioritized um {disfmarker} ?Grad H: Mm - hmm . Mm - hmm ,Postdoc A: Excellent .Grad H: ranked .PostdocA: Excellent . Yeah .PhD G: So another idea I w t had just now actually for the demo was whether it might be of interest to sh to show some of the prosody uh {vocalsound} work that Don 's been doing .Professor B:Mm - hmm .PhD G: Um actually show some of the features and then show for instance a task like finding sentence boundaries or finding turn boundaries . Um , you know , you can show that graphically , sort of whatthe features are doing . It , you know , it doesn't work great but it 's definitely giving us something .Professor B: Well I think at {disfmarker} at the very least we 're gonna want something illustrative with thatPhD G: Idon't know if that would be of interest or not .Professor B: cuz I 'm gonna want to talk about it and so i if there 's something that shows it graphically it 's much better than me just having a bullet pointPhD G: Yeah.Professor B: pointing at something I don't know much about ,PhD G: I mean , you 're looking at this now {disfmarker}Professor B: so .PhD G: Are you looking at Waves or Matlab ?Grad C: Um yeah I 'm starting to andum {disfmarker} Yeah we can probably find some examples of different type of prosodic events going on .PhD G: Yeah defProfessor B: S so when we here were having this demo meeting , what we 're sort of coming upwith is that we wanna have all these pieces together , to first order , by the end of the monthPhD G: IProfessor B: and then that 'll give us a week or so .Grad C: Ooo . The end of {disfmarker}PhD G: Oh , the end of thismonth or next month ? Oh , you mean like today ?Grad H: This month .Professor B: JuPhD G: Oh .Professor B: June . June . June .PhD G: Next month .Grad H: Oh sorry , next month .Grad C: Yeah .PhD G: Sorry .GradH: Today isn't June first ,PhD F: There 's another one .Grad H: is it .Professor B: Uh {disfmarker} that 'll {disfmarker} that 'll give us {disfmarker} that 'll give us a week or so to uh {disfmarker} to port things over tomy laptop and make sure that works ,PhD E: Exactly .PhD G: Sorry .Professor B: yeah .PhD G: I think , I mean eh where {disfmarker}Grad C: Yeah , I mean I 'll be here .PhD G: Yeah if d if Don can sort of talk towhoever 's {disfmarker}Professor B: Yeah .PhD G: cuz we 're doing this anyway as part of our {disfmarker} you know , the research , visualizing what these features are doingProfessor B: Yeah .PhD G: and so either{disfmarker} it might not be integrated but it {disfmarker} it could potentially be in it .Professor B: Yeah . Well , this is to an audience of researchersPhD G: Could find some .Professor B: so I mean , you know , to let sthe goal is to let them know what it is we 're doing .PhD G: I mean it 's different .Professor B: So that 's {disfmarker}PhD G: I don't think anyone has done this on meeting data so it might be neat , you know .ProfessorB: Yeah . Good . Done with that . XML tools ?Grad H: Um . So I 've been doing a bunch of XML tools where you {disfmarker} we 're sort of moving to XML as the general format for everything and I think that 'sdefinitely the right way to go because there are a lot of tools that let you do extraction and reformatting of XML tools . Um . So yet again we should probably meet to talk about transcription formats in XML because I 'mnot particularly happy with what we have now . I mean it works with Transcriber but it {disfmarker} it 's a pain to use it in other tools uh because it doesn't mark start and end .PhD F: Start and end of each{disfmarker} ?PhD D: Yeah .Grad H: Uh {disfmarker} Utterance .PhD F: Utterance . Just marks {disfmarker} ?Grad H: So it 's implicit in {disfmarker} in therePhD F: Yeah .Grad H: but you have to do a lot ofprocessing to get it .PhD F: Right . Right .Grad H: And so {disfmarker} and also I 'd like to do the indirect time line business . Um but regardless , I mean , w that 's something that you , me , and Jane can talk aboutlater . Um , but I 've installed XML tools of various sorts in various languages and so if people are interested in doing {disfmarker} extracting any information from any of these files , either uh information on usersbecause the user database is that way {disfmarker} I 'm converting the Key files to XML so that you can extract m uh various inf uh sorted information on individual meetingsGrad C: Cool .PhD D: Yeah .Grad H: andthen also the transcripts . And so l just let me know there {disfmarker} it 's mostly Java and Perl but we can get other languages too if {disfmarker} if that 's desirable .PhD G: Oh , quick question on that . Is{disfmarker} do we have the {disfmarker} {vocalsound} the seat information ? In {disfmarker} in the Key files now ?Postdoc A: Mm - hmm .Grad H: The seat information is on the Key files for the ones whichPostdocA: Ah .PhD G: Oh in {disfmarker} For the new oneGrad H: it 's been recorded ,PhD G: OK .Grad H: yeah .Professor B: Seat ?PhD G: Great . Sea - yeah .Grad H: Where {disfmarker} where you 're sitting .Professor B:Oh ! Not {disfmarker} not the quality or anything . No .PhD D: nGrad H: Right .Professor B: OK . I see .Grad H: \" It 's pretty soft and squishy . \"Professor B: Yeah . Yeah .PhD G: Alright .Professor B: OK .PhD G: OK.Grad H: Oh , but that might just be me . Um .PhD G: Alright .Professor B: That 's more seat information than we wanted .PhD G: Never mind .PhD E: Hmm .PhD G: I 'm just trying to figure out , you know , whenMorgan 's voice appears on someone 's microphone are they next to him or are they across from him ?Professor B: Yeah .Grad H: Maybe we should bleep that out .Professor B: Mmm , yeah .PhD F: Wait a minute"}
+{"doc_id":"doc_14","qid":"","text":"Lynne Neagle AM: Good morning, everyone. Welcome to the Children, Young People and Education Committee this morning. We've received no apologies for absence. Can I ask if there are any declarations of interestfrom Members, please? No. Okay, thank you. Item 2 this morning is the Children (Abolition of Defence of Reasonable Punishment) (Wales) Bill: Stage 2 proceedings. I'm pleased to welcome Julie Morgan AM, DeputyMinister for Health and Social Services; Karen Cornish, deputy director, children and families division at Welsh Government; and Emma Gammon, lawyer for Welsh Government. Thank you for attending this morningand welcome to the committee. I'm just going to run through the procedures that we're going to follow now. As I said, the purpose of the meeting is to undertake Stage 2 proceedings on the Children (Abolition ofDefence of Reasonable Punishment) (Wales) Bill. For these proceedings, Members should have copies of the marshalled list of amendments, the groupings of the amendments for debate and the voting order for theamendments. The marshalled list of amendments is the list of all amendments tabled, marshalled into the order in which the sections appear in the Bill. The order in which we consider amendments will be the defaultorder—that is, sections 1 to 3 and the long title. You will see from the groupings list that amendments have been grouped to facilitate debate. However, the order in which they're called and moved for decision isdictated by the marshalled list. Members will, therefore, need to follow the two papers, although I will advise Members when I call them whether they're being called to speak in the debate or to move their amendmentsfor a decision. There will be one debate on each group of amendments. Members who wish to speak in a particular group should indicate to me in the usual way. I will call the Deputy Minister to speak on each group. Forthe record, in accordance with the convention agreed by the Business Committee, as Chair I will move amendments in the name of the Deputy Minister. For expediency, I will assume that the Deputy Minister wishes meto move all of her amendments, and I will do so at the appropriate place in the marshalled list. Deputy Minister, if you do not want a particular amendment to be moved, please indicate to me at the relevant point inproceedings. In line with our usual practice, legal advisers to the committee and the Deputy Minister are not expected to provide advice on the record. If Members wish to seek legal advice during proceedings, please doso by passing a note to the legal adviser and, if necessary, we can adjourn. My intention is to try to dispose of all amendments during today's meeting. I will call a short break in proceedings at an appropriate time, ifnecessary. Okay, thank you. So, we will proceed, then, to group 1, which is the duty to promote public awareness. The lead amendment in the group is amendment 1 in the name of the Deputy Minister. I moveamendment 1 in the Deputy Minister's name and call on the Deputy Minister to speak to her amendment and the other amendments in this group.Julie Morgan AM: Thank you very much, Chair. My amendments 1 and 4will place a duty on Welsh Ministers to provide information and increase awareness about the change in the law to ensure that the public are made aware of how the law will change as a result of the defence ofreasonable punishment being abolished and that physical punishment would be prohibited once the Act commences. I tabled these amendments in response to this committee's recommendation—this was arecommendation from this committee in the Stage 1 report, so I have responded to that. I've already made a commitment to a high-intensity awareness-raising campaign over approximately six years from RoyalAssent, should the Bill be passed. I've considered amendments 1A to 1E, which have been tabled by Janet Finch-Saunders, and which relate to the duty to raise awareness. Amendment 1A introduces a reference topublic understanding. We don't think, actually, that this adds anything to the Government amendment, which already mentions awareness. It makes the awareness-raising duty open-ended with no time limit, which isnot necessary. By commencement, messaging around the change in the law will be embedded. The awareness-raising campaign will continue for a number of years. Therefore, an ongoing duty referring specifically tothe law change would not be required. I understand, of course, that the awareness-raising campaign needs to be comprehensive, well planned and to reach out to all those people and all those communities who need tobe aware of the law change, and understand how to respond to it. But I don't think it's helpful or necessary to highlight specific groups, such as visitors to Wales, on the face of the Bill—that's the approach taken inamendment 1E—as it risks placing too much emphasis on certain groups at the expense of others. In relation to children, the committee will know that I'm fully committed to children’s rights, and that Welsh Ministersare already under a duty to have due regard to the rights of children whenever they exercise their functions. An additional due regard requirement, such as the one set out in amendment 1D, relating specifically to theneed to promote awareness among children is not needed. This would be part and parcel of the Welsh Government approach to putting children’s rights at the heart of our policy making. Similarly, I don't think it'snecessary for the Bill to set out specifically the topics that need to be covered in the awareness-raising campaign, as is suggested in amendments 1B and 1C. That level of detail, I don't think, is for the face of the Bill.Information required about parenting support will be considered by the parenting expert group, under the auspices of the Bill’s strategic implementation group, working with my officials and the expert stakeholder groupon the awareness-raising campaign. And, really, their thinking should not be constrained in any way by specifications on the face of the Bill. I think we always need to bear in mind that what the Bill does is remove adefence to an existing criminal offence; it does not create a new offence. And in this context, it doesn't make sense for this Bill to contain a provision requiring the provision of information about how a person may raiseconcerns if it appears to them that a child is being physically punished. As I set out in my letter to this committee responding to recommendation 15 on this point, safeguarding is everyone’s business, and, as now, thepublic have a role in highlighting to relevant services if they are concerned about a child. I'm asking for the support of Members for amendments 1 and 4, and I ask Members to reject amendments 1A to 1E because thiswould place unnecessary provisions on the face of the Bill.Lynne Neagle AM: Thank you, Deputy Minister. Are there other Members who wish to speak? Janet Finch-Saunders.Janet Finch-Saunders AM: Thank you, Chair.I wish to speak to amendments 1A to 1E, which relate to the Deputy Minister's amendment on the duty to promote public awareness. While we believe it is absolutely imperative that the public are made aware of thiscontroversial change in the law, the Deputy Minister's amendment lacks a number of key points that the committee were actually keen to address at Stage 1. An important thread runs throughout each and everyamendment that I've tabled within this group—that of a sustained awareness campaign, which not only stretches beyond the implementation of the Bill, but serves as a duty for future administrations. Amendment 1A:primarily, amendment 1A changes amendment 1 to include the promotion of understanding changes to the law. I don't think it's enough for the Welsh Government to say that the public should be made aware of thecoming into force of section 1 and that a public awareness campaign needs to be sustained until the Welsh Government's objectives have been achieved. Despite the fact that it is intended to change behaviour, theconsequences of this law are far greater than that of organ donation or prohibiting smoking indoors. Instead of an opt-out system or a civil offence, this law will remove a defence for parents, information on which couldbe there on their records for the rest of their lives, potentially separate parents, and could affect employment chances. As such, whilst we agree with the necessity of the awareness campaign, it is important too that theWelsh Government take stock and ensures that parents are not penalised due to a weak awareness campaign. The witnesses we heard before this committee also noted the necessity of ensuring that the publicunderstands—Lynne Neagle AM: Janet, Dawn is asking if you'll take an intervention.Janet Finch-Saunders AM: Yes.Dawn Bowden AM: I just wanted to know—could you give us examples of any other piece of legislationwhere there's been indefinite public awareness campaigns once it's been passed?Janet Finch-Saunders AM: There's a lot of legislation. The first Assembly term when I was here—Dawn Bowden AM: Yes, what I'masking—Janet Finch-Saunders AM: I'm trying to respond—Dawn Bowden AM: What I'm asking for is: can you give us specific examples of where there have been indefinite public awareness campaigns runningindefinitely past the enactment of a piece of legislation?Janet Finch-Saunders AM: The very first term that I was an Assembly Member, we passed 25 pieces of separate legislation. Even today, as I sit here, the publicare not aware of many of those pieces of legislation. This particular piece of legislation will have a profound effect on the parenting of children in Wales. So, therefore, I think there is a necessity for both children andparents to become involved, and I shall speak now—Dawn Bowden AM: With respect, Chair, that's not the question I asked.Janet Finch-Saunders AM: —to my amendments.Lynne Neagle AM: I can call you in thedebate, if you'd like to make a more substantive contribution on this. Yes.Janet Finch-Saunders AM: The witnesses who we heard from before this committee also noted the necessity of ensuring that the publicunderstands the implications. And that's what we're talking about here, Members—the implications of removing this defence. Strikingly, the Office of Police and Crime Commissioner for Gwent stated the following: 'thepotential for public resistance to the Bill through misunderstanding or confusion over it implications may pose the largest barrier to its implementation.' If you are intent on removing the defence of reasonablepunishment, it is therefore not unreasonable to ensure that law-abiding parents fully understand the ramifications of this Bill. Additionally, the committee found that while the current Welsh Government's intention todeliver a public awareness campaign was beyond doubt, future Governments may have less of a commitment. This places further weight on the fact that the Welsh Government should be under a duty to promoteawareness and understanding of the Bill beyond its commencement. Furthermore, the Children (Equal Protection from Assault) (Scotland) Bill quite clearly notes that, under section 2, the Scottish Ministers must takesuch steps as they consider appropriate to promote public awareness and understanding about the effect of section 1 on the abolition for the defence of reasonable punishment. Therefore, I would be grateful if theDeputy Minister can respond as to the reasons why the Welsh Government has deviated from this course of action in their amendment. [Interruption.] Should our amendment be agreed—Lynne Neagle AM: Are youtaking an intervention?Janet Finch-Saunders AM: No. I'd rather crack on, to be honest.Lynne Neagle AM: Okay. I can call you in the debate, Hefin.Janet Finch-Saunders AM: Should our amendment to be agreed, we alsorequest that a printing change be made to ensure that the new heading reflects promoting awareness of the changes to the law made by section 1. Amendment 1B: amendment 1B is in line with the committee'srecommendation 9, which stated that, as part of a public awareness campaign, there should be details about the support available to parents to use alternatives to physical punishment when disciplining their children.During evidence at Stage 1, the witnesses we saw before the committee raised serious concerns about harder-to-reach groups who needed to be made aware of removing the defence. For example, Children in Wales,Action for Children and Play Wales stated that some families and communities may be harder to reach with information and support. Welsh Government needs to make sure that they receive the information they need.Now, while the Deputy Minister states that she would work hard to ensure that harder-to-reach groups receive this information, a duty to provide information on alternatives to physical punishment would ensure thatfuture Welsh Governments would maintain a successful awareness-raising campaign. I note the Deputy Minister accepted the recommendation, through our amendment, but this does not explicitly include a duty toprovide details about support for parents. As will be expanded upon later, the Deputy Minister has relied upon the 'Parenting: Give it Time' campaign to be delivered alongside awareness raising. However, this is only anonline resource and she must be clear about what other avenues will be available to parents who do not have access to the internet or are part of harder-to-reach groups. Amendment 1C: amendment 1C supports thecommittee's recommendation 15 that explains that the Welsh Government should ensure clear advice is provided on what people can do if they have seen or learned of a child being physically assaulted. We urged, atStage 1, that although many professionals were already under a duty to report concerns about physical punishment, regardless of the Bill, other witnesses raised concerns that it could create the potential for claims ofabuse that are unfounded. In particular, some were worried that children, who may not realise the implications of reporting, could make allegations that are actually untrue. While we would expect the awareness-raisingcampaign to include the consequences of false accusations, this could also be reflected among adults, if the public are not sufficiently made aware of how they can report and in what situations they can report a case ofassault.Lynne Neagle AM: Thank you. I've got several speakers. I've got Suzy Davies first, then Dawn Bowden.Suzy Davies AM: Thank you very much, Chair. Thank you Minister, and thank you, Janet, for that. I thinkit's worth just pointing out at this stage that the majority of the amendments that are being made and articulated by Janet there are based on committee recommendations, and those recommendations were made aftertaking evidence from the public at large, but also you as well. So, that suggests that, at that stage, we weren't reassured by the offer that you were making because we felt the need to put these recommendations intoour report. Now, I recognise that you've moved some way on some of these amendments, and we'll been talking about that through the course of the debates on other groups. But the one thing to bear in mind here isthis is legislation, now—that means that this is the instrument of the Assembly, not of Government, and if this Assembly feels that the face of the Bill is unclear on the minimum requirements of a public awarenesscampaign, then we have the right to suggest the things that we would like to see in that public awareness-raising campaign. The list that Janet has given is a minimum. The reason these have been tabled individuallyand independently is that some may be acceptable where others may not be, so it will be disappointing to hear that you're rejecting them all, and the reason they need to go on the face of the Bill is that, if you aregoing to introduce specifics via regulation, at the moment we have no reassurance about how you're going to do that—about what input the Assembly, on behalf of our constituents, could have in designing that publicawareness-raising campaign. Unless you accept some amendments in other groups, that is the position with this Bill: the influence of the Assembly will be zero over the content of an awareness-raising campaign. Interms of it being non-time limited, I think the amendment has been tabled in the way it has not to oblige you to an everlasting, never-ending campaign of awareness raising. But if you bear in mind that, seven yearsafter the introduction of this Bill, there's going to be some reporting on the effectiveness of the Bill, what is the point of doing that if you don't then have an obligation, should the reports require it to be necessary, tocontinue promoting the changes in the law? I accept that that can't go on for centuries, but to actually limit it to two years on an issue that is so sensitive, and which has a reach beyond our boundaries, I think isgenuinely a mistake. Finally, you mention that safeguarding is everyone's business. I think that's true, but I think Janet Finch-Saunders was right to say that members of the public, ordinary individuals, notprofessionals, will need assurance that they're doing the right thing. The amendment as listed is not even there to encourage people to do that, although that can be read in that way, but it is to help them be certainthat they are doing the right thing. If this is going to be up to the individual, as you've said, and the committee itself wasn't reassured that individuals would know what to do, perhaps I can ask you to consider at Stage3, if you're going to reject this amendment, how you can reassure members of the public that, if they are going to intervene on the back of this law, they're making things better, not worse.Lynne Neagle AM: Thank you,Suzy. Dawn.Dawn Bowden AM: My comments, really, relate to ongoing awareness-raising campaigns, which I think all of us would want to see, and would appreciate in any changes in legislation. My point, really, is thatwe have a plethora of legislation that this Assembly has passed in the last 20 years, and I'm not aware of any legislation where, on the face of the Bill we have ongoing awareness-raising campaigns on an indefinitebasis. It seems to me that, for some reason, you seem to be wanting to take a completely different approach to this piece of legislation. From what the Deputy Minister is saying—and perhaps I will get some clarity onthis—there will be an amendment to the legislation that will say that we have an awareness campaign. That awareness campaign can be the subject of consultation with interested parties in terms of what needs to beincluded in it. It could also, I assume, Deputy Minister, be an awareness campaign that can be written into a set of guidance for future use. But the point I'm trying to make is that I don't believe that any piece oflegislation requires ongoing and indefinite awareness-raising campaigns, and particularly in relation to visitors to Wales. Again, we have other pieces of legislation in Wales that are not applicable in the other parts of theUK. I am not aware that there is a necessity for awareness-raising campaigns with visitors coming into Wales on the raft of the other pieces of legislation that we have that they don't. And similarly, when we go to visitcountries that have different legislation, we don't necessarily know what legislation we're going into when we visit that country—you just go there and you accept that you go to a different country and you abide by theirlaws. So, my key point, Chair, is just the necessity of an ongoing, endless awareness campaign being written onto the face of the Bill.Lynne Neagle AM: Thank you, Dawn. Hefin.Hefin David AM: My comments followlogically from Dawn Bowden's comments, particularly in relation to amendments 1D and 1E. What you would be doing is that this Senedd, if this was on the face of the Bill, the duty on Ministers, would be putting theduty on Ministers in law beyond the life of the fifth Senedd, into the next Senedd term, and putting that duty on those newly elected Ministers after that, which, in principle, would be against the principles ofbinding—Lynne Neagle AM: Hefin, are you taking an intervention from Suzy?Hefin David AM: Yes, happy to.Suzy Davies AM: When you've finished your point.Hefin David AM: I'm happy to take it now, because I wasgoing to sum up by agreeing with the point you made, actually.Suzy Davies AM: I'd love that. You referred to this potentially binding Ministers in future Assemblies; at the moment, we've got an implementation periodand a five-year reporting period that takes any reporting on this Act into the Assembly after next. I'm wondering if you're going to have any comments on that when we come to the amendment to change that lateron.Hefin David AM: Well, when we get to that amendment, I'll make comments if I feel it necessary. But at this point in time, we're talking about amendments 1D and 1E, and particularly in relation to 1D and 1E it just"}
+{"doc_id":"doc_15","qid":"","text":"Marketing: {vocalsound} Okay . Oh I totally {disfmarker} Yeah 'cause I moved it . {vocalsound} 'S put it over here . Then we don't have to worry about it .User Interface: {vocalsound} Ready for this ?Project Manager:All set ? Cool . Alright , it is PowerPoint time . I've done more PowerPoints in this particular experiment than I've ever done in my life before this experiment {vocalsound}Industrial Designer: {vocalsound} Yeah{vocalsound} .Project Manager: which is kind of fun .User Interface: {vocalsound} Oh man . {vocalsound}Project Manager: So uh here we have our detailed design meeting where we will um look at the prototype andum {vocalsound} {disfmarker} right so um , I finally figured out what this whole second bullet point is about in my {disfmarker} that my coach was sending to me . It means I'm supposed to read the minutes from theprevious meeting .Industrial Designer: Oh really ?Project Manager: I think . {vocalsound}Industrial Designer: Okay .Marketing: Huh .Project Manager: I don't know . Otherwise it's just saying I'm thesecretaryMarketing: {vocalsound} {vocalsound}Project Manager: and I'm {disfmarker} therefore I'm taking the minutes , s so just to go um {vocalsound} just real briefly to go over minutes from last meeting , uh , Iwill open them slowly , no ? Wait for it , wait for it . {vocalsound}Marketing: Yeah that's not you . {vocalsound}Project Manager: No . That's how the {disfmarker}Industrial Designer: {vocalsound}Project Manager:{vocalsound} Wait .User Interface: {vocalsound}Project Manager: This is , this is very high-powered stuff here , double-clicking , there we go . So um basically the moral of the story from our last minute uh{disfmarker} last meeting was that {vocalsound} um we that we had meetings from {disfmarker} uh we had presentations done by the Industrial Designer , uh or from Nathan , and Ron and from Sarah about what wecan do here um and what sort of limitations we're operating with um {disfmarker} uh excuse me what limitations we're operating under , what kind of risk we'd be looking at with some of the various approaches wewere discussing and we essentially came to the conclusion that we should develop a remote with uh voice recognition , I_E_ that had a vaguely non-remote like shape um because you didn't really need to use it as aremote since you could just use your voice . That would include some {disfmarker} mostly just the simple design features for a television operation but with a slide or a fold-out bay for more advanced functions forusers . Um , and uh the uh uh the U_I_D_ and the I_D_ were asked to go ahead and start developing a prototype for us to look at . {vocalsound} So . That's sorted , back to the main {vocalsound} meet here , um , goahead and take it away guys .Industrial Designer: Well . Uh , we have assembled our prototype , um . What's to be said about it ? Um , we took into account a lot of the things that we went over in the last meeting , um. Some of the most important things to consider are that we decided not to go for the touch screen which you can seeProject Manager: Mm-hmm .Industrial Designer: and opted for some very large buttons for theprimary functions , um . This is going to be the on off buttonProject Manager: {vocalsound} {vocalsound}Industrial Designer: and we have these buttons to go through the channels um and then two volume buttonsdown here , d uh we decided those were the most important uh buttons . And then , for the more advanced uh functions there is a slide out panel here um and you can see that there are lots of other things going on .But this actually can slide back in and provides a very nice aesthetic when it's all put away , um . As far as the uh whole visible light thing , we decided to go with the multiple colours coming out ,User Interface:{vocalsound}Marketing: Ah .Project Manager: {vocalsound} Nice . {vocalsound}User Interface: {vocalsound}Industrial Designer: why not ?Marketing: {vocalsound} Fair enough .User Interface: {vocalsound}IndustrialDesigner: Of course , if that's annoying for some people that function can be turned off . Um .Project Manager: {vocalsound} Perfect .Industrial Designer: Go ahead .User Interface: No it's important to {vocalsound} wetalked a quite a bit about uh you know the the interchangeable uh faces and what we've done here is come up with a bit of a natural look hereMarketing: Mm .User Interface: um f we call it fruityMarketing: Right.Industrial Designer: {vocalsound}User Interface: if you will . Um . Right , um ,Marketing: Appropriate , okay .User Interface: of course that's uh interchangeableIndustrial Designer: {vocalsound}User Interface: and uhI think it would be desirable for the uh for the regular product in the in the in the in the first packaging to be something a little bit more subduedMarketing: Mm 'kay .User Interface: but this is kind of something that canbe doneMarketing: It is an option .User Interface: um and as you can see on the television there uh we have the uh voice detector device um on the top there .Project Manager: {vocalsound} Oh , right .IndustrialDesigner: That's this here .Project Manager: {vocalsound}Marketing: Ah . I see .User Interface: Um . So that that will work quite well with with regard to finding this uh contraption . Um , what other things do we seehere , well , um if you give it a touch it does have actually a bit of a spongy feel ,Project Manager: {vocalsound}User Interface: um , so I think that will work well with regards to our market . Um and uh let's see , wellclearly there's gonna be some more colours and what not available . {vocalsound} Um uh do you have anything else to add to that ?Industrial Designer: Um I worried about the materials , it is uh {disfmarker} theentire thing is covered in a rubber coating so it's very durable uh , it's not gonna break like some types of plastic that's dropped . Um , and of course as you can see and if you touch it it does have that nice squishy feel.User Interface: It's actually important to note that the television , uh you know if there's an earthquake or anything like that , that i it actually is edible inside .Project Manager: {vocalsound}Industrial Designer:{vocalsound}User Interface: {vocalsound}Marketing: {vocalsound}Industrial Designer: Fact , I dunno if you noticed , but I wrote the uh the company's name on the telephone screen ,Project Manager: Oh well doneyeah , yeah oh okIndustrial Designer: I thought that was kinda nice .Marketing: Nice .Industrial Designer: This was actually an apple on the inside .Marketing: {vocalsound}Project Manager: {vocalsound}IndustrialDesigner: This {disfmarker}User Interface: {vocalsound}Marketing: Do we need to worry about um rot factors ? {vocalsound}Project Manager: {vocalsound}User Interface: Um {vocalsound} it's encased in a new uhtype of uhMarketing: Oh okay , there's preservatives involved ,Project Manager: {vocalsound}Industrial Designer: Yeah .User Interface: polymer yeah .Marketing: we don't need to worry ,Industrial Designer: We got abit ahead of ourselves ,User Interface: It's fine .Marketing: okay .Industrial Designer: I know we're not talking about making televisions at this point or anything like that , but {disfmarker}User Interface: Hmm.Marketing: Fair enough .Project Manager: {vocalsound} Edible televisions , it's a wave of the future . {vocalsound}Marketing: No but {disfmarker}User Interface: It's pos a possible new product .Marketing:{vocalsound} It's a couple years off at least . Okay .User Interface: Um , but I think that's {disfmarker} I think that sums up the main features of our {disfmarker} of the remote ,Project Manager: Brilliant .IndustrialDesigner: Right .User Interface: um I dunno if you guys have any questions or f whether that uh {disfmarker} whether we need to worry about any uh other marketing areas or anything of that nature . Um , did wecome in under budget ?Industrial Designer: Uh we did , yeah . This cost {disfmarker} well to put this into um production , we're looking at about {disfmarker} what was our goal ? It was twelve fifty Euro um and thisactually came in at about eleven ninety nine .Project Manager: {vocalsound}Industrial Designer: Um , so I was quite pleased with that .User Interface: Mm-hmm .Industrial Designer: One thing that we didn't do um{disfmarker} obviously we had a choice with the buttons whether to use scroll buttons or standard rubber buttons , but we just went for a classic rubber button and um since we did thatMarketing: Mm .IndustrialDesigner: we didn't have to use as many microchips which was quite nice and that's what helped keep the cost down .Project Manager: Brilliant .Industrial Designer: So even though it has a lot of modern technology ,um for example the voice recognition ,Marketing: Mm .Industrial Designer: in a lot of ways it's just a simple remote and um I think if we shopped around for other manufacturers um we might be able to get evencheaper .Marketing: Okay .User Interface: Mm . {vocalsound} Did we talk about the voice recognition uh option ?Industrial Designer: And {disfmarker} Oh no , we haven't talked about that yet have we ?UserInterface: So uh so uh yeah on the back here you all noticed this area here which is actually the voice recognition uh uh consoleProject Manager: {vocalsound}Marketing: Okay .User Interface: and uh I think it's nicelydesigned into the into the overall look .Marketing: Yeah .User Interface: Um , but basically the voice recognition uh incorporates um the latest designs that our research team has been able to cufw uh come up with .Basically uh quite similar to the coffee maker um design that we were talking about earlierMarketing: Mm 'kay .User Interface: and um , I think that uh has given a proven um {vocalsound} ease of use and what not.Industrial Designer: Hmm . Yeah .User Interface: And uh allows features like the remote actually talking back to the user um , so .Marketing: Right .Project Manager: Cool .Industrial Designer: Any questions ?ProjectManager: No , noMarketing: {vocalsound} Do we have um other , for lack of a better word , skins ? Covers ?Project Manager: I think that's {disfmarker} {vocalsound}User Interface: {vocalsound}Marketing: In playnow or are those ones gonna be developed later once we see how the couple we have g go or ?Industrial Designer: Um , do you wanna answer this oneMarketing: Do we know where we stand on that yet ?IndustrialDesigner: or do you want me to answer it ?User Interface: Well we didn't quite have enough material uh {vocalsound} .Marketing: Oh I wasn't expecting a prototypeIndustrial Designer: Yeah , yeah .User Interface: OhI see ,Marketing: I just didn't know {disfmarker} if you guys had any in mind yet . {vocalsound}User Interface: right , um .Industrial Designer: Um , well {vocalsound} as you can see this is just a most superficial layerand um it'd be very easy to put another layer of something else like {disfmarker}Marketing: Okay . Just veneer really ,User Interface: Right .Marketing: yeah . Okay .User Interface: Actually this bottom red ring herejust unclipsMarketing: Mm-hmm .User Interface: and then you put a a new a new uh a new plate on top of that .Marketing: And the whole thing {disfmarker}Project Manager: {vocalsound}Marketing: OkayUserInterface: So I mean there are {disfmarker} I {disfmarker}Marketing: RightUser Interface: we definitely priced out a spongy {disfmarker} even spongier non-natural look um materialsMarketing: Yeah . There's{disfmarker} Okay .User Interface: which I think worked out fine . We also continued on with the ideas that f following uh Apple's colour schemes with the kind of the uh light orange and the green .Marketing: Mm 'kay .Okay , very cool .Industrial Designer: It's not it's not quite a a face plate , it's more like a pseudo-face plate because it's simple enoughMarketing: Okay .Industrial Designer: that in the factory it could {disfmarker} wecould very easily put a different one on it , it locks into place such that , you know , it's pretty permanent but at the same time , if we wanna go the other way it's just a matter of a couple of adjustments and we couldgo the face plate wayMarketing: Okay .Industrial Designer: if you know what I mean .Marketing: Yep . It's still an option if we need it .Industrial Designer: Yeah .Marketing: Very cool , nice job .Project Manager: Right ,yeah thanks guys that's very , very good work . I like it , brilliant . {vocalsound} Um , {vocalsound} what we need to discuss now is the finance of it , um I got me {disfmarker} you've got {disfmarker} you provided anumber that actually sounds quite nice . Um the trouble is I was just given this by finance . Um , it's a spreadsheet of the parts {vocalsound}Industrial Designer: Oh .Project Manager: and I've just tentatively put inwhat it's going to look like um .Industrial Designer: Ooh .Project Manager: I'm just gonna clear this out real quickly , but it looks like {disfmarker} So we'll just {disfmarker} if we can just itemize what's in here , we'vegot this {disfmarker} it's a solar cell thing right ?Industrial Designer: RightProject Manager: With a back-up battery ?Industrial Designer: uh we didn't really touch on that but it it's in there ,Project Manager: With the baokay . UmIndustrial Designer: yep .Project Manager: and {disfmarker}User Interface: The voice recognition area actually doubles as uh as the solar cell area . Yeah .Project Manager: Clever , clever , well done . Um soI guess that would mean we've got a bit of a um {disfmarker} {vocalsound} It's a s a speaker and a sensor at the same time isn't it ?Industrial Designer: Yeah , yeah . It's just making use of the same space and thesame materials ,Marketing: Mm-hmm .Project Manager: Okay . Um and the case , it's more of a single-curved case , I guess would be that {disfmarker} be the general {disfmarker}Industrial Designer: Yeah , one bigcurve I guess you could say .Marketing: Mm-hmm .Project Manager: {vocalsound} Um and we've got a rubber skin material basically throughout . Um . Push button interface um with this other drop-down so maybewe've got two push button interfaces don't we ?Industrial Designer: Yeah , mm-hmm .Project Manager: Um . And um a special {disfmarker} I guess it's uh {disfmarker} we've got a sort of a wood materi a rubbery typematerial that {disfmarker} throughout ,Industrial Designer: Yeah , special .Project Manager: yeah .Industrial Designer: And s I guess you have to mark special colour and special form as well , don't you ? 'Cause it i it isvery unconventional ,Project Manager: {vocalsound} Yeah , it's it's quite unique .Industrial Designer: I like to think of it as unconventional .Project Manager: I like it , yeah it's {disfmarker} So it looks likeMarketing: Mcome in at sixteen ?Project Manager: a bit over budget , um .Industrial Designer: Oh . Huh , doesn't match up does it ?User Interface: {vocalsound}Marketing: {vocalsound}Project Manager: So what we could doperhaps , a simple fix would maybe to switch away from the solar cells {vocalsound} um or take out the back-up battery . Uh {disfmarker}Industrial Designer: How do you feel about that ?User Interface: I mean I thinkthat uh if we're talking about it being one of our main selling features , being environmental and without the batteries and what not , although it does still have a battery so I'm not sure that {disfmarker} you know whatthe sell is on that .Marketing: Yeah .Industrial Designer: I mean we could take we could take the battery out of it you see and it'd probably work ninety nine per cent of the time but you're gonna have to set up a callcentre for that one per cent of the time when people are calling and saying oh look my remote isn't workingUser Interface: {vocalsound}Project Manager: Mm-hmm . Mm-hmm .Industrial Designer: what am I gonna do?Marketing: Mm k .Industrial Designer: People'd be real upset . I think in the long-run it's better to keep the battery ,Marketing: True .Industrial Designer: it's hard to scrap the whole cell battery idea 'cause that's sointegral to the theme that we have .Project Manager: Hmm . {vocalsound} What's difficult , we have all these things integral to the um to the design of it that we just can't back out of now ,Marketing: Nah .ProjectManager: it would have to be {disfmarker} seems like we'd have to go back to square one in a way . Um if we were gonna try to undo one bit we'd probably have to undo most of it , um {disfmarker}User Interface:{vocalsound}Industrial Designer: Yeah .Marketing: {vocalsound} Although we don't wanna get rid of the whole environmental {disfmarker} I mean obviously the solar cell is a big piece of the way we're marketing thisas like a natural , new thing , but honestly if we cut that one piece out we're actually coming in under budget if I've done my math correctly .Industrial Designer: Hmm .User Interface: I mean you might be able to swayme on the idea that {disfmarker} we {disfmarker} our main selling point could be already this voice recognition thingMarketing: I mean {disfmarker}User Interface: I mean that's what sets us apartMarketing: Which ,it's {disfmarker}User Interface: right ?Marketing: yeah that's what setting us into this young market , I mean that's where we started from , so {disfmarker} {vocalsound} I don't know , and I mean you know perhapswhen the cell technology comes down in price we can bring that back into the game but it looks like at this point that may be out of our league .Industrial Designer: Right .User Interface: And the reality is you know , forme from an ideological stand point , I'd like to stick with the uh the solar cell , but I h kind of have to throw myself in the in the business structure model hereMarketing: Right . Yeah .Industrial Designer: Right .UserInterface: and uh you know I think I think that I think that we need to come to a compromise hereProject Manager: It's either or .Marketing: Yeah .User Interface: and maybe move ahead with the project , without thesolar cell .Industrial Designer: Yeah . I guess we might have to do that .Marketing: I think unfortunately that's our best option .Industrial Designer: It's the only way we're gonna get below our uh goal isn't it ? Of twelvefifty .Marketing: Mm .Project Manager: 'Cause we can't remove the push buttons 'cause they're {vocalsound}Industrial Designer: Yeah , {vocalsound} .Marketing: {vocalsound} It {disfmarker} kind of{disfmarker}Project Manager: um and we can't get rid of the uh {disfmarker} I mean removing the {disfmarker}User Interface: {vocalsound} Savings .Marketing: yeah .Project Manager: changing the case wouldn't beso much of a {vocalsound} mm-mm , um , nor would changing the case materials .Marketing: Mm-mm .Project Manager: Um . So yeah that looks like to be the only thing . So that would be the {disfmarker}Marketing:Yeah .Project Manager: it's a major change but {disfmarker} Yeah . Alright , soIndustrial Designer: Gotta do what you gotta do .Project Manager: we're in agreement on that .Marketing: Unfortunately I think we are.User Interface: No , I think that was a good compromise you brought forward Sarah .Project Manager: {vocalsound} Right . Moving along swiftly . Um , so I guess now we just go to the project evaluation which I willallow Sarah to take over .Marketing: That would be me . Um cord ?Project Manager: Ah of course , sorry .Marketing: No problem .Project Manager: Whoosh .Marketing: Can you reach ,User Interface: Yep .Marketing:that would be great , thank you .Project Manager: {vocalsound} That'd be great {vocalsound}Industrial Designer: {vocalsound}User Interface: {vocalsound}Marketing: {vocalsound} I didn't even do that one onpurpose either ,User Interface: {vocalsound}Marketing: damn . Okay , um , basically I was just evaluating um {vocalsound} from what we know of how our product's working right now with the criteria that we set atthe beginning of {disfmarker} these are the things we needed to do , these are the things that look like we feel they're important . Um so I was looking at basic design things , does it fulfil its functions as a remote ? Isthe design what we wanted it to do ? I are technologies up to where we hoped they would be and does it fulfil the aesthetic qualities that our original market research was looking for ? Um . Basic questions like , youknow , does it turn on ? Does it respond to voice recognition ? And overall , in general , it looks like it's coming up to par .Industrial Designer: Mm .Marketing: Um , the only thing is with with the pull-out panel , that is ,can it take some adjusting because it's a new sort of interface , um that looked like it was coming up rough , but then , once you get used to it , it does make a lot of sense .Industrial Designer: {vocalsound} Reallygood .Marketing: So I think overall we're headed in the right direction . {vocalsound} So .User Interface: They like that spongy feel .Project Manager: {vocalsound}Industrial Designer: {vocalsound}Marketing: Yeah . Itlooks like it's going over well , soUser Interface: And the paging function works well ,Industrial Designer: Six ?User Interface: that's good to hear ,Marketing: we're we're good yeah .User Interface: we worked hard on"}
+{"doc_id":"doc_16","qid":"","text":"Grad A: OK , we 're recording .Professor F: We can say the word \" zero \" all we want ,PhD G: I 'm doing someProfessor F: but just {disfmarker}PhD G: square brackets , coffee sipping , square brackets .PhD B: That 'snot allowed , I think .Postdoc C: Cur - curly brackets .Grad E: Is that voiced or unvoiced ?Grad A: Curly brackets .PhD B: Curly brackets .Professor F: Curly brackets .Grad A: Right .PhD B: Oops .Professor F: Well ,correction for transcribers .PhD G: Mmm ! {comment} {vocalsound} Gar - darn !Professor F: Yeah .Postdoc C: Channel two .Grad A: Do we use square brackets for anything ?Postdoc C: Yeah . Uh {disfmarker}Grad E:These poor transcribers .Professor F: uPostdoc C: Not ri not right now . I mean {disfmarker} No .PhD D: There 's gonna be some zeros from this morning 's meeting because I noticed thatProfessor F: uPhD D: Barry , Ithink maybe you turned your mike off before the digits were {disfmarker} Oh , was it during digits ? Oh , so it doesn't matter .Professor F: Yeah .Grad A: It 's still not a good idea .PhD B: So it 's not {disfmarker} it 'snot that bad if it 's at the end , but it 's {disfmarker} in the beginning , it 's {pause} bad .PhD D: Yeah . Yeah .Grad A: Yeah , you wanna {disfmarker} you wanna keep them on so you get {pause} good noise{disfmarker} noise floors , through the whole meeting .Postdoc C: That 's interesting . Hmm .Professor F: Uh , I probably just should have left it on . Yeah I did have to run , but {disfmarker}Grad E: Is there any way tochange that in the software ?Grad A: Change what in the software ?Grad E: Where like you just don't {disfmarker} like if you {disfmarker} if it starts catching zeros , like in the driver or something {disfmarker} in thecard , or somewhere in the hardware {disfmarker} Where if you start seeing zeros on w across one channel , you just add some {vocalsound} random , @ @ {comment} noise floor {disfmarker} like a small noise floor.Grad A: I mean certainly we could do that , but I don't think that 's a good idea . We can do that in post - processing if {disfmarker} if the application needs it .Grad E: Yeah .PhD B: Manual post - processing .ProfessorF: Well , I {disfmarker} u I actually don't know what the default {comment} is anymore as to how we 're using the {disfmarker} the front - end stuff but {disfmarker} for {disfmarker} for {disfmarker} when we usethe ICSI front - end ,Grad A: As an argument .Professor F: but um , there is an {disfmarker} there is an o an option in {disfmarker} in RASTA , which , um , {vocalsound} in when I first put it in , uh , back in the dayswhen I actually wrote things , uh , {vocalsound} I {pause} did actually put in a random bit or so that was in it ,Grad E: OK .Professor F: but {vocalsound} then I realized that putting in a random bit was equivalent toadding uh {disfmarker} adding flat spectrum ,Grad E: Right .Professor F: and it was a lot faster to just add a constant to the {disfmarker} {vocalsound} to the spectrum . So then I just started doing thatGrad E: Mmm .OK .Professor F: instead of calling \" rand \" {comment} or something ,Grad E: Right .Professor F: so . So it d it does that . Gee ! Here we all are !Grad A: Uh , so the only agenda items were Jane {disfmarker} was Janewanted to talk about some of the IBM transcription process .Professor F: There 's an agenda ?Grad A: I sort of {vocalsound} condensed the three things you said into that . And then just {disfmarker} I only have like ,this afternoon and maybe tomorrow morning to get anything done before I go to Japan for ten days . So if there 's anything that n absolutely , desperately needs to be done , you should let me know now .Professor F:Uh , and you just sent off a Eurospeech paper , so .PhD G: Right . I hope they accept it .Professor F: Right .PhD G: I mean , I {disfmarker} both actu as {disfmarker} as a submission and {disfmarker} {vocalsound}you know , as a paper . Um {disfmarker} but {disfmarker}Grad A: Well yeah , you sent it in {pause} late .Professor F: Yeah , I guess you {disfmarker} first you have to do the first one ,Grad A: Yeah .Professor F: andthen {disfmarker} Yeah .PhD G: We actually exceeded the delayed deadline by o another day , so .PhD B: Oops .Professor F: Oh they {disfmarker} they had some extension that they announced or something ?PhD G:Well yeah . Liz had sent them a note saying \" could we please {pause} have another \" {comment} {pause} I don't know , \" three days \" or something , and they said yes .PhD D: And then she said \" Did I say three?Grad A: Oh ,PhD D: I meant four . \"Grad A: that was the other thing uh ,PhD G: But uGrad A: uh , Dave Gelbart sent me email , I think he sent it to you too , {comment} that um , there 's a special topic , section in siin Eurospeech on new , corp corpors corpora . And it 's not due until like May fifteenth .Professor F: Oh this isn't the Aurora one ?Grad A: No .Professor F: It 's another one ?Grad A: It 's a different one .PhD B: No it 's{disfmarker} Yeah . Yeah .Grad E: Huh !Grad A: And uh ,Professor F: Oh !PhD B: I got this mail from {disfmarker}Grad A: I s forwarded it to Jane as I thought being the most relevant person . Um {disfmarker} So , Ithought it was highly relevant {disfmarker}Postdoc C: Yeah I 'm {disfmarker}Professor F: That 's {disfmarker}Grad A: have you {disfmarker} did you look at the URL ?Postdoc C: Yeah . I think so too . Um , I haven'tgotten over to there yet ,Grad A: Mm - hmm .Postdoc C: but what {disfmarker} our discussion yesterday , I really {disfmarker} I {disfmarker} I wanna submit one .PhD B: Was this {pause} SmartKom message ? Ithink {pause} Christoph Draxler sent this ,Postdoc C: Yeah . And , you offered to {disfmarker} to join me , if you want me to .Grad A: I 'll help ,PhD B: yeah .Grad A: but obviously I can't , really do , most of it ,PostdocC: Yeah . Yeah , that 's right .PhD G: I think several people {disfmarker} sent this ,Grad A: so .PhD B: Yeah .Postdoc C: Uh - huh .PhD G: yeah .Grad A: But any {disfmarker} any help you need I can certainly provide.Professor F: Well ,PhD G: Yeah .Professor F: that 's {disfmarker} that 's a great idea .PhD G: Well {disfmarker} there {disfmarker} there were some interesting results in this paper , though . For instance that Morgan{disfmarker} uh , accounted for fifty - six percent of the Robustness meetings in terms of number of words .Grad A: Wow .Postdoc C: In {disfmarker} in terms of what ? In termPhD G: Number of words .Postdoc C: One? Wow ! OK .Grad A: That 's just cuz he talks really fast .Postdoc C: Do you mean ,Professor F: n No .Grad A: I knowPhD B: Oh . Short words .Postdoc C: because {disfmarker} is it partly , eh , c correctly identifiedwords ? Or is it {disfmarker} or just overall volume ?PhD G: No . Well , according to the transcripts .Grad A: But re well regardless . I think it 's {disfmarker} he 's {disfmarker} he 's in all of them ,Postdoc C: Oh . OK.Professor F: Yeah .PhD G: I mean , we didn't mention Morgan by nameGrad A: and he talks a lot .PhD G: we just {disfmarker}Grad A: One participant .Professor F: Well {disfmarker} we have now , but{disfmarker}PhD G: We {disfmarker} we {disfmarker} we {disfmarker} something about {disfmarker}Grad A: Did you identify him as a senior {pause} member ?PhD G: No , we as identify him as the persondominating the conversation .Professor F: Well .Grad A: Yeah .Postdoc C: OK .Professor F: I mean I get these AARP things , but I 'm not se really senior yet , but {disfmarker}PhD G: RightProfessor F: Um ,PhD G: Hmm.Professor F: but uh , other than that delightful result , what was the rest of the paper about ?PhD G: Um , well it was about {disfmarker} it had three sectionsProfessor F: You sent it to me but I haven't seen it yet .PhDG: uh {disfmarker} three kinds of uh results , if you will . Uh , the one was that the {disfmarker} just the {disfmarker} the amount of overlapGrad A: The good , the bad , and the ugly .PhD G: um , s in terms of{disfmarker} in terms of number of words and also we computed something called a \" spurt \" , which is essentially a stretch of speech with uh , no pauses exceeding five hundred milliseconds . Um , and we computedhow many overlapped i uh spurts there were and how many overlapped words there were . {vocalsound} Um , for four different {pause} corpora , the Meeting Recorder meetings , the Robustness meetings Switchboardand CallHome , and , found {disfmarker} and sort of compared the numbers . Um , and found that the , uh , you know , as you might expect the Meeting Recorder {pause} meetings had the most overlap uh , but nextwere Switchboard and CallHome , which both had roughly the same , almost identical in fact , and the Robustness meetings were {disfmarker} had the least , so {disfmarker} One sort of unexpected result there is thatuh two - party telephone conversations have {vocalsound} about the same amount of overlap ,Grad A: I 'm surprised .PhD G: sort of in gen you know {disfmarker} order of magnitude - wise as , uh {disfmarker} asface - to - face meetings with multiple {disfmarker}Grad A: I have {disfmarker} I had better start changing all my slides !PhD G: Yeah . Also , I {disfmarker} in the Levinson , the pragmatics book , {comment} in youknow , uh , textbook , {vocalsound} there 's {disfmarker} I found this great quote where he says {vocalsound} you know {disfmarker} you know , how people {disfmarker} it talks about how uh {disfmarker} how{disfmarker} how people are so good at turn taking ,Postdoc C: Mm - hmm . Yeah . Yeah .PhD G: and {vocalsound} so {disfmarker} they 're so good that {vocalsound} generally , u the overlapped speech does not{disfmarker} is less than five percent .Postdoc C: Oh , that 's interesting . Yeah .PhD G: So , this is way more than five percent .Grad E: Did he mean face {disfmarker} like face - to - face ? Or {disfmarker} ?PhD G:Well , in real conversations ,Grad E: Hmm .PhD G: everyday conversations .Postdoc C: Mm - hmm .PhD G: It 's s what these conversation analysts have been studying for years and years there .Postdoc C: Mm - hmm.PhD B: But {disfmarker}Postdoc C: Well , of course , no , it doesn't necessarily go against what he said , cuz he said \" generally speaking \" . In order to {disfmarker} to go against that kind of a claim you 'd have to bigcanvassing .Grad A: Hmm .PhD B: And in fPhD G: Well , he {disfmarker} he made a claim {disfmarker}Grad A: Well {disfmarker}PhD G: Well {disfmarker}Grad A: PhD B: But {disfmarker}Professor F: Yeah , we{disfmarker} we have pretty limited sample here .PhD B: Five percent of time or five percent of what ?Grad A: Yeah , I was gonna ask that too .Postdoc C: Yeah .PhD B: Yeah .Postdoc C: Exactly .PhD G: Well it 's time.PhD B: Yeah , so {disfmarker}Postdoc C: It 's {disfmarker} i it 's not against his conclusion ,PhD G: So {disfmarker} {vocalsound} but still {disfmarker} but still {disfmarker} uPostdoc C: it just says that it 's a bi bellcurve , and that , {vocalsound} you have something that has a nice range , in your sampling .PhD G: Yeah . So there are slight {disfmarker} There are differences in how you measure it , but still it 's {disfmarker}{vocalsound} You know , the difference between um {disfmarker} between that number and what we have in meetings , which is more like , {vocalsound} you know , close to {disfmarker} in meetings like these , uh{disfmarker} you know , close to twenty percent .Postdoc C: Mm - hmm . Mm - hmm .Professor F: But what was it like , say , in the Robustness meeting , for instance ?PhD G: That {disfmarker}Grad A: But{disfmarker}PhD G: Robustness meeting ? It was {vocalsound} about half of the r So , {vocalsound} in terms of number of words , it 's like seventeen or eigh eighteen percent for the Meeting Recorder meetings and{vocalsound} about half that for , {vocalsound} uh , the Robustness .Professor F: Maybe ten percent ?Grad A: But I don't know if that 's really a fair way of comparing between , multi - party , conversations and two -party conversations . Yeah . I {disfmarker} I {disfmarker} I don't know .PhD B: Then {disfmarker} then {disfmarker} then you have to {disfmarker}Grad A: I mean that 's just something {disfmarker}PhD D: Yeah , Ijust wonder if you have to normalize by the numbers of speakers or something .Postdoc C: Yeah .PhD B: Then {disfmarker} Yeah , then normalize by {disfmarker} by something like that ,Postdoc C: Yeah , that 's agood point .PhD G: Well , we didn't get to look at that ,PhD B: yeah .Postdoc C: Yeah .PhD G: but this obvious thing to see if {disfmarker} if there 's a dependence on the number of uh {disfmarker} participants.Postdoc C: Good idea .Grad A: I mean {disfmarker} I bet there 's a weak dependence . I 'm sure it 's {disfmarker} it 's not a real strong one .PhD B: Yeah .PhD G: Right .Grad A: Right ? Because youPhD D: Cuz noteverybody talks .Grad A: Right .PhD G: Right .PhD D: Yeah .Grad A: You have a lot of {disfmarker} a lot of two - party , subsets within the meeting .PhD G: Right .Postdoc C: Uh - huh .Grad A: Well regardless{disfmarker} it 's an interesting result regardless .PhD G: So {disfmarker} Right .Postdoc C: Yes , that 's right .PhD G: And {disfmarker} and {disfmarker} and then {disfmarker} and we also d computed this both withand without backchannels ,Postdoc C: Mm - hmm .PhD G: so you might think that backchannels have a special status because they 're essentially just {disfmarker}Grad A: Uh - huh . So , did {disfmarker} we all said \"uh - huh \" and nodded at the same time ,PhD G: R right .Grad A: so .PhD G: But , even if you take out all the backchannels {disfmarker} so basically you treat backchannels l as nonspeech , as pauses ,Grad A: Mm -hmm .Professor F: Mm - hmm .PhD G: you still have significant overlap . You know , it goes down from maybe {disfmarker} For Switchboard it goes down from {disfmarker} I don't know {disfmarker} f um{disfmarker} {comment} I don't know {disfmarker} f fourteen percent of the words to maybe {vocalsound} uh I don't know , eleven percent or something {disfmarker} it 's {disfmarker} it 's not a dramatic change,Grad A: Mm - hmm .PhD G: so it 's {disfmarker} Anyway , so it 's uh {disfmarker} That was {disfmarker} that was one set of {pause} results , and then the second one was just basically the {disfmarker}{vocalsound} the stuff we had in the {disfmarker} in the HLT paper on how overlaps effect the {pause} recognition performance .Postdoc C: Hmm .Grad A: Nope . Right .Professor F: Mm - hmm .PhD G: And werescored things um , a little bit more carefully . We also fixed the transcripts in {disfmarker} in numerous ways . Uh , but mostly we added one {disfmarker} one number , which was what if you {pause} uh , basicallyscore ignoring all {disfmarker} So {disfmarker} so the {disfmarker} the conjecture from the HLT results was that {vocalsound} most of the added recognition error is from insertions {vocalsound} due to backgroundspeech . So , we scored {vocalsound} all the recognition results , {vocalsound} uh , in such a way that the uh {disfmarker}Grad A: Oh by the way , who 's on channel four ? You 're getting a lot of breath .PhD B: Yeah .I j was just wondering .Grad E: That 's {disfmarker}PhD B: Yeah .Grad E: That 's me .PhD G: uh , well Don 's been working hard .Grad E: That 's right .PhD G: OK , so {disfmarker} {vocalsound} so if you have theforeground speaker speaking here , and then there 's some background speech , may be overlapping it somehow , um , and this is the time bin that we used , then of course you 're gonna get insertion errors here andhere .Grad A: Right .PhD G: Right ? So we scored everything , and I must say the NIST scoring tools are pretty nice for this , where you just basically ignore everything outside of the , {vocalsound} uh , region that wasdeemed to be foreground speech . And where that was we had to use the t forced alignment , uh , results from s for {disfmarker} so {disfmarker} That 's somewhat {disfmarker} that 's somewhat subject to error , butstill we {disfmarker} we {disfmarker} {vocalsound} Uh , Don did some ha hand - checking and {disfmarker} and we think that {disfmarker} based on that , we think that the results are you know , valid , although ofcourse , some error is gonna be in there . But basically what we found is after we take out these regions {disfmarker} so we only score the regions that were certified as foreground speech , {comment} {vocalsound}the recognition error went down to almost {vocalsound} uh , the {pause} level of the non - overlapped {pause} speech . So that means that {vocalsound} even if you do have background speech , if you can somehowseparate out or find where it is , {vocalsound} uh , the recognizer does a good job ,Grad A: That 's great .PhD B: Yeah .PhD G: even though there is this backGrad A: Yeah , I guess that doesn't surprise me , because ,with the close - talking mikes , the {disfmarker} the signal will be so much stronger .PhD G: Right . Right .Professor F: Mm - hmm .PhD G: Mm - hmm . Um ,Grad A: What {disfmarker} what sort of normalization doyou do ?PhD G: so {disfmarker} Uh , well , we just {disfmarker} @ @ {comment} we do {disfmarker} u you know , vitGrad A: I mean in you recognizer , in the SRI recognizer .PhD G: Well , we do uh , VTL{disfmarker} {vocalsound} vocal tract length normalization , w and we uh {disfmarker} you know , we {disfmarker} we uh , {vocalsound} make all the features have zero mean and unit variance .Grad A: Over anentire utterance ?Professor F: And {disfmarker}Grad A: Or windowed ?PhD G: Over {disfmarker} over the entire c over the entire channel .PhD B: Don't {pause} train {disfmarker}PhD G: Over the {disfmarker}GradA: Hmm .PhD G: but you know . Um , now we didn't re - align the recognizer for this . We just took the old {disfmarker} So this is actually a sub - optimal way of doing it ,Grad A: Right .Professor F: Right .PhD G: right? So we took the old recognition output and we just scored it differently . So the recognizer didn't have the benefit of knowing where the foreground speech {disfmarker} a startProfessor F: Were you including the{disfmarker} the lapel {pause} in this ?PhD G: Yes .Professor F: And did the {disfmarker} did {disfmarker} did the la did the {disfmarker} the problems with the lapel go away also ? Or {disfmarker}PhD G: Um , it{disfmarker} Yeah .Professor F: fray for {disfmarker} for insertions ?PhD G: It u not per {disfmarker} I mean , not completely , but yes ,Professor F: Less so .PhD G: dramatically . So we have to um{disfmarker}Professor F: I mean , you still {disfmarker}PhD G: Well I should bring the {disfmarker} should bring the table with results . Maybe we can look at it {pause} Monday .Professor F: I would presume that youstill would have somewhat higher error with the lapel for insertions than {disfmarker}PhD G: Yes . It 's {disfmarker} It 's {disfmarker}Professor F: Yeah .PhD G: Yes . Yeah .Professor F: Cuz again , looking forward tothe non - close miked case , I think that we s still {disfmarker}PhD G: Mm - hmm .Grad A: I 'm not looking forward to it .Professor F: i it 's the high signal - to - noise ratioPhD G: Right .Professor F: here that{disfmarker} that helps you .PhD G: u s Right . So {disfmarker} so that was number {disfmarker} that was the second set of {disfmarker} uh , the second section . And then , {vocalsound} the third thing was , welooked at , {vocalsound} {vocalsound} uh , what we call \" interrupts \" , although that 's {disfmarker} that may be {vocalsound} a misnomer , but basically {vocalsound} we looked at cases where {disfmarker} Uh , sowe {disfmarker} we used the punctuation from the original transcripts and we inferred the beginnings and ends of sentences . So , you know {disfmarker}Postdoc C: Di - did you use upper - lower case also , or not?PhD G: Um {disfmarker}Postdoc C: U upper lower case or no ?PhD G: Hmm ?Postdoc C: OK .PhD G: No , we only used , you know , uh periods , uh , question marks and {pause} exclamation . And we know that there's th that 's not a very g I mean , we miss a lot of them ,Postdoc C: Yeah . That 's OK but {disfmarker}PhD G: but {disfmarker} but it 's f i iPostdoc C: Comma also or not ?PhD G: No commas . No . And then{vocalsound} we looked at locations where , uh , if you have overlapping speech and someone else starts a sentence , you know , where do these {disfmarker} where do other people start their {vocalsound} turns{disfmarker} not turns really , but you know , sentences ,PhD B: Ah .PhD G: um {disfmarker} So we only looked at cases where there was a foreground speaker and then at the to at the {disfmarker} so the{disfmarker} the foreground speaker started into their sentence and then someone else started later .PhD B: Somewhere in between the start and the end ?PhD G: OK ? And so what {disfmarker}PhD B: OK .PhD G:Sorry ?PhD B: Somewhere in between the start and the end of the foreground ?PhD G: Yes . Uh , so that such that there was overlap between the two sentences .PhD B: Yeah .PhD G: So , the {disfmarker} the question"}
+{"doc_id":"doc_17","qid":"","text":"The Acting Chair (Mr. Bruce Stanton (Simcoe North, CPC)): Honourable members, I call this meeting to order. Welcome to the 15thmeeting of the House of Commons Special Committee on the COVID-19 Pandemic. Thiswill be a hybrid meeting. Members will be participating via video conference or in person.  I will remind you that in order to avoid issues with sound, members participating in person should not also be connecting byvideo conference. In order to ensure that those joining the meeting via video conference can be seen and heard by those in the chamber, two screens have been set up here on either side of the Speaker's chair, andmembers in the chamber can listen to the floor audio or to interpretation using the earpieces on their desks. Before speaking, please wait until I recognize you by name and please direct your remarks through the chair.For those joining by video conference, I'd like to remind you to leave your microphones on mute when you are not speaking. Also, please note that if you want to speak in English, you need to be on the English channelfor interpretation, and if you want to speak French, you should do so on the French channel. Should you wish to alternate between the two languages, please change to the channel for the language that you happen tobe using at the time. Should members participating by video conference need to request the floor outside their designated speaking times, they should activate their mic and state that they have a point of order. Thosein the Chamber can rise in the usual way. Please note that today's proceedings will be televised in the same way as a typical sitting of the House. We will now proceed to ministerial announcements. I invite the RightHon. Prime Minister to take the floor.Right Hon. Justin Trudeau (Papineau, Lib.): Thank you, Mr.Chair. I rise today to address what so many people of colour live with every day. Over the past few days, we've seenhorrific reports of police violence against black men and women south of the border, but these are not isolated incidents or elsewhere problems. Prejudice, discrimination and violence are a lived reality for far too manypeople. They are a result of systems that far too often condone, normalize, perpetrate and perpetuate inequality and injustice against people of colour. As a country, we are not concerned bystanders simply watchingwhat is happening next door. We are part of it. The calls for justice, for equality and for peace are found echoed in our communities, because anti-black racism is happening here, everywhere in Canada, every singleday. This is something that our own staff, cabinet ministers and colleagues face even in these halls. Over the past few days, I've heard many of these personal stories directly from them. I'm not just talking about actsof violence. I'm also talking about microaggressions, which many of us may not even see. That is the daily reality of far too many racialized Canadians, and it needs to stop. When it comes to being an ally, I have madeserious mistakes in the past, mistakes that I deeply regret and continue to learn from. I want to thank my colleagues, community leaders and fellow Canadians for opening my eyes to what is really going on in ourcommunities and for helping me better understand both privilege and power. I'm not perfect, but not being perfect is not a free pass to not do the right thing. It's not an excuse to not step up, stand up for each other,be an ally. I know that for so many people listening right now, the last thing you want to hear is another speech on racism from a white politician. I'm not here today to describe a reality I do not know or to speak to apain I have not felt. I'm here because I want you to know that our government is listening. We hear your calls for justice, equality and accountability. We acknowledge your frustration, your anger, your heartbreak. Wesee you.  Since coming to office, our government has taken many concrete steps to fight anti-black racism, systemic discrimination and injustice across the country. We are working directly with the communities andtheir leaders to close the gaps that persist in Canada. For example, we have provided $9million to support programs for black Canadian youth. We have made significant investments to enable the Public Health Agencyof Canada to provide more mental health services to people who have experienced racism or intergenerational trauma. We are helping community organizations to obtain funding to purchase equipment or lease space.We have also created the anti-racism secretariat, which has an envelope of $4.6million, to address systemic barriers, such as employment, justice and social participation, that perpetuate injustice. We have madeprogress, but we know the work is far from being done.  Over the past five years, our government has worked with communities to recognize and address injustices. We've taken action to support communityorganizations, invest in better data and fight racism. While we've made some progress, there is still so much more to do, because here are the facts in Canada: Anti-black racism is real. Unconscious bias is real.Systemic discrimination is real. For millions of Canadians, it is their daily, lived reality. The pain and damage it causes are real too. Mr. Chair, every Canadian who has felt the weight of oppression, every student whohas the courage to demand a better future, every person who marches and posts and reads and fights, from Vancouver to Montreal to Halifax, expects more than the status quo. They expect more and deservebetter.  The Government of Canada has a lot of work to do, but we're ready. We're ready to work with our opposition colleagues, community leaders and Canadians to make our country a more just and fair place.Racism never has a place in this country, and we will do everything we can to eradicate it from coast to coast to coast. Thank you, Mr.Chair.The Acting Chair (Mr. Bruce Stanton): The honourable Leader of theOpposition.Hon. Andrew Scheer (Leader of the Opposition): Thank you very much, Mr. Chair. Over the past week, we have all been affected by the heartbreaking killing of George Floyd in the United States. The video ispainful to watch. No one should ever have to plead for help while a crime is being committed, ignored by other members of law enforcement. The tragedy triggered marches, occupations, protests and, unfortunately,riots. However, I hope it has mostly sparked conversations. Racism is real, painful and unacceptable.  No one should ever feel unsafe because of the colour of their skin, especially around police officers who have a dutyand a responsibility to uphold the law for all. Here in Canada, we are fortunate to live in a country that is welcoming, tolerant and inclusive. Canada was a beacon of freedom to so many escaping slavery during the U.S.Civil War. Our nation has benefited immensely from great Canadians who overcame prejudices and discrimination to serve their communities and make Canada a better country: Lincoln Alexander, elected as aConservative in 1968, was the first black member of Parliament and went on to become the first black cabinet minister; John Ware was born into slavery in South Carolina but, following the American Civil War, was aleading figure in bringing the first cattle to Alberta and spearheading the ranching industry that would become the backbone of the province; Josiah Henson escaped slavery to become a thriving businessman in Ontario;and of course, Viola Desmond challenged segregation in Nova Scotia. Black Canadians throughout history have not just built this nation with their contributions; they have also represented Canada with excellence andpride on the world stage, like Harry Jerome, who represented Canada in three Olympic Games and won a bronze medal in 1964. He would go on to become a teacher in British Columbia, once again serving withexcellence to try to make a better world for the next generation. Throughout our history, black Canadians have put their lives on the line for their fellow Canadians, bravely serving around the world in our armed forces.While there are many things we can point to in our history with pride, that is not to say that we have a perfect record, nor that we are immune to the threat of racism or that anti-black racism is just an Americanproblem. Canada has had its own dark episodes of racism that cannot be ignoredsadly, not just in our past. Every day, there are people who experience discrimination or racism in some form. Throughout this pandemic,we have seen a troubling spike in anti-Asian racism. No one should be attacked in their community or targeted on the bus because of the colour of their skin. Nor should places of worship be broken into and desecrated,like the synagogue in Montreal. The Conservatives condemn all acts of anti-semitism, racism and discrimination. In a peaceful and free country like Canada, there is absolutely no room for intolerance, racism orextremism of any kind.  But the violence and destruction we have seen in response are not the answer. Millions of people are protesting peacefully across the United States and in Canada, and we must always protectthe rights of people who are protesting peacefully and within the law for a just cause and separate them from those who exploit tragedies to commit acts of violence. Mr. Floyd's brother, Terrence, said that violence willnot bring his brother back. Instead, he has called for peace and justice and urged the crowds to educate themselves and to vote. Out of such tragedy, Mr. Chair, that is a powerful message about how each one of us canuse our democratic rights to effect change. In a peaceful and free country like Canada, there is absolutely no room for intolerance, racism and extremism of any kind. We are not born believing we are better than oneanother. We are all created in the image and likeness of God, and because of that, we are all equal. An infinite value exists in each one of us.  Canada is an incredibly diverse country. Canada is a nation of immigrantsthat stands on the traditional territories of first nations, Inuit and Mtis people. Waves of newcomers have come to Canada for a better life because our country is built on a rock-solid foundation of enduring values,democratic institutions, the rule of law and fundamental and universal human rights. Everyone comes here because Canada is built on solid values, democratic institutions, and respect for the rule of law, as well as forfundamental, universal human rights. We must absolutely protect these values, because they are what sets us apart. They allow Canada to offer what so many other countries simply cannot. There are those who saythat diversity is our strength, and that is true, but it doesn't quite capture the full picture. Diversity is the result of our strength, and our strength is and always has been our freedom. It is the freedom for people topreserve and pass on their cultural traditions and the opportunity to live in peace with those around them; the freedom to live your life with equality under the law, regardless of your race or ethnic background; and theeconomic freedom that so many governments around the world deny their people. It is that economic freedom that ensures that hard work pays off. It gives people the ability to work towards their dreams and choosetheir own path in life. Together, generations of Canadians who trace their roots back to countries around the world have built Canada to truly the greatest country on earth, the true north strong and free. To ensure thatour people remain free, we must continue to fight attacks on our freedoms, including racism and all forms of brutality and injustice in Canada and around the world. Minority rights must be protected. Freedom of religionmust be protected. Freedom of expression and the right to peaceful protest must be protected. As John Diefenbaker said, I am a Canadian...free to speak without fear, free to worship...in my own way, free to stand forwhat I think right, free to oppose what I believe wrong, free to choose those who shall govern my country. This heritage of freedom I pledge to uphold for myself and all mankind. Thank you very much, Mr. Chair.TheActing Chair (Mr. Bruce Stanton): The hon. member for BeloeilChambly.Mr. Yves-Franois Blanchet (BeloeilChambly, BQ): Thank you, Mr.Chair. George Floyd is not a victim of racism; he is another victim of racism. At atime of crisis when outrage is overwhelming the caution and fear of disease among thousands of people who, despite everything, take to the streets to express that outrage, we here in politics will have to be careful,once again, about the words we use. Indeed we are particularly inclined to give other people's words a meaning other than the one they would have liked to give them. Today, our dutyand I would say almost our onlydutyis to express our solidarity, our sadness, our indignation and our anger, but above alland in saying this, I'm thinking of all my friends and acquaintances in the wonderful black community in Quebec and theUnitedStatesour friendship. We must try to be heard by all humans. Every time we talk about this, a small part of me surfaces, that of the non-practising but unrepentant anthropologist who wants to remind us thatraces do not exist. It is the frequency of manifestations of certain genetic traits favoured by geography and history, which in turn shape cultures. Racism expresses itself first and foremost through aggression againstwhat is presumed to be the culture of others, difference. Each time difference instills fear, it is, of course, one time too many. We must learn to live equality in diversity, in itself an extraordinary thing. Governments inthe U.S. have all been racist. Their racism has necessarily been expressed, at some point in their history, in their institutions. It has left its mark. It is the only thing that we have the right to call systemic racism orsystemic discrimination. I am concerned when anyone suggests that we are all and collectively inclined to engage in systemic discrimination or when anyone claims to be a bulwark of virtue between us and the victims.I believe that the Canadian government is not racist, that the Quebec government is not racist, and that the governments of our municipalities are not racist either. I believe, however, that there may be traces ofhorrible things left in our institutions that colour our relationships with people of different origins or with people who were here long before us. So systemic racism probably exists. It should not denounce individuals, butit should encourage us to reread our rules to get rid of what might still be discriminatory in them. This day belongs to GeorgeFloyd. This day belongs to the black people of the UnitedStates. This day belongs to the blackpeople of Quebec and Canada. We don't play politics at the funeral doors: we gather our thoughts, and let indignation and sadness be expressed. We leave the streets to those who need to speak with one voice, inpeace. All that is peaceful is legitimate. Nothing that is violent is legitimate. The Prime Minister expressed the desire to implement concrete measures to fight racism. The first must be to show our solidarity andfriendship. I'm proposing a very concrete measure, which is to give priority and expedited processing to the files of refugee claimantsespecially Haitian, especially black, but also of other originswho have expressed theirdesire to be part of the Quebec nation by putting themselves on the front line. He has the power and the duty to do so, and if he needs Parliament, let's do it tomorrow or right now. That way, words will become actions,and the next step will be all the more credible. In the meantime, our duty is to stand up for those who are afraid and against those who frighten them. Thank you, Mr.Chair.The Acting Chair (Mr. Bruce Stanton): Thehonourable member for Burnaby South.Mr. Jagmeet Singh (Burnaby South, NDP): Thank you, Mr.Chair. Many, many Canadians were shocked to see the violence surrounding the murder of GeorgeFloyd. GeorgeFloyd'smurder is a grim reminder that anti-black racism still exists and that it hits hard. Anti-black racism isn't only in the UnitedStates; it's here in Canada, too. Systemic racism against blacks, indigenous people and manyother visible minorities is alive and well: racial profiling, economic inequality, social inequality, discriminatory hiring, trivialization of violence, excess incarceration, and so on. Things aren't moving forward because onegovernment after another prefers pretty words to concrete action. When the time comes to act, they don't have the courage, they don't have the will to act. People are feeling a lot of grief and frustration, but we canturn that into action and justice. We must not just call for peace. I believe that we have to call for justice. Justice is the only way to create a better world.  When people around the world saw the killing of George Floyd,it left all of us shaken to our core. It was chilling, the casual violence of anti-black racism, the callous taking of another human being's life. It hurt to the core. There was pain. There was sadness. There is anger, andrightly so. There is frustration. This isn't just an American problem. This is just as much a Canadian problem as well, and something that continues to exist across our country. Anti-black racism and anti-indigenousracism are real. People have suffered violence. Indigenous people and black people have suffered violence and have been killed at the hands of police here in Canada. I think about Regis Korchinski-Paquet in Torontoand the calls for justice for Regis. A black trans woman was killed in suspicious circumstances in an interaction with the police. I think about Stewart Kevin Andrews, a young indigenous man killed in an interaction withthe police in Winnipeg. The anger and frustration are about this: How many more people need to die before there's action? How many more speeches will be made? How many more protests need to happen beforesomething is done? How many more times will people plead to breathe? How many more times will they plead to live? What we're talking about is basic human dignity. How many more voices have to ask, demand,plead, beg for basic human dignity? People are angry. They're feeling like enough is enough. Why do they need to keep on asking? Why do black people, why do indigenous people need to keep on asking to be treatedlike humans? Why? You know, people are done with pretty speeches, particularly pretty speeches from people in power who could do something about it right now if they wanted to. I'm standing in a hall of power, thechamber of the Commons, with a Prime Minister who has the power not just to say pretty words but to actually do something about this. The Prime Minister of this country has the power to go beyond pretty words andpretty speeches and do something. I don't have all the answers. I don't think any one person does. We're going to have to come up with those solutions together, but there are certainly some things we do know. MartinLuther King said, True peace is not merely the absence of tension; it is the presence of justice. That's what we need. We need justice.  Killer Mike extolled that people should plan, plot, strategize, organize and thenmobilize. Cardi B put it this way: Another way for the people to take powerI don't want to make everything political but it is what it isis by voting. So what do we vote for? We vote for a government to take action. I callon the Prime Minister, in this hall of power: If the Prime Minister believes that black lives matter, will the Prime Minister commit to ending racial profiling in our country? If the Prime Minister believes that black livesmatter, will the Prime Minister commit to ending the over-policing of black bodies? If the Prime Minister believes, truly believes, that black lives matter, will the Prime Minister commit to ending the over-incarceration ofblack people in this country? If the Prime Minister truly believes that black lives matter, will he commit to ensuring that there are race-based data to make better decisions? Will he commit to ensuring that there's accessto education and to health resources? The Prime Minister has the power to do all these things right now. The Prime Minister simply needs to get it done. If the Prime Minister truly believes that indigenous lives matter,then similarly the Prime Minister must commit today to ending the racial profiling of indigenous people, the over-policing of indigenous people and the over-incarceration of indigenous people. If the Prime Minister trulybelieves that indigenous lives matter, the Prime Minister could stop taking indigenous kids to court; the Prime Minister could stop delaying the action on the calls for justice for the murdered and missing indigenouswomen and girls. If the Prime Minister believes that indigenous lives matter, he could ensure that there's clean drinking water and access to justice and to education and housing right now. People are angry becausethey are frustrated and done with pretty words. People are angry because they're done with pretty speeches from people in power who could do something about it right now. People don't want peace. They don't want"}
+{"doc_id":"doc_18","qid":"","text":"Project Manager: So we come to the third meetings . I have {gap} good .Industrial Designer: {vocalsound}Project Manager: Um so in the last meeting we have discussed the functional design and now we will talkabout the conceptual design . So we will talk about some specific details .Industrial Designer: Okay so I think I will do my presentation on the components concept so can you please uh open uh {disfmarker} I'mparticipant two .Project Manager: This {disfmarker}Industrial Designer: Components design .Project Manager: {gap}Industrial Designer: Okay so uh the first thing uh I have done is to to made a review together withthe uh manufactural uh department and have which components was uh available to build a remote control . So for energy sources we have we have to choose between the solar energy , hand dynamo and uh kineticum well uh kinetic uh technique {vocalsound} to to store the energy .User Interface: {vocalsound}Marketing: {vocalsound}Industrial Designer: We also um {vocalsound} we also can put a regular battery in the in theremote control . Now {disfmarker}Project Manager: Uh this is what we have decided in the last meeting . But if we use battery {disfmarker}Industrial Designer: Yeah b uh f well uh I meant uh by by battery I meant uhI will not have a uh a wire between the remote control and the energy source but uh I didn't fou we didn't decide yet which kind of battery we will put inside the the remote . So uh it's a point to discuss . Then uh thecase material we have uh uh also several choices , like wood , rubber , titanium or latex . {vocalsound} But uh well it's not a a re uh well a real issue for the {vocalsound} {disfmarker} from the technical uh point ofview . Concerning the interface uh we can we can put mm just simple buttons or scrolls or buttons uh much more complicated , but it also requires that the chip to process the button is more complicated so .UserInterface: Mm .Industrial Designer: {vocalsound} And uh this is the last point , the choice of chips . So what I have f found is that I think basic battery or kinetic uh energy uh collection is the is the better way toprovide energy because I think solar energy wi won't work {vocalsound} in a cluttered uh {vocalsound} uh environment .User Interface: Mm .Industrial Designer: So um so I think we can start with these two mainthings . For the case uh well uh I think that uh titanium is um is a good choice because it's trendy and it's uh it's uh well it's modern and uh user are are are {disfmarker} mm will be uh very happy to have a{vocalsound} a a nice remote . For the interface uh I think that we can ach achieve uh all the desired functionalities by s just uh using uh rubber buttons , simple buttons and th thus this allow to use a regular chip{vocalsound} that are uh well cheaper . {vocalsound}User Interface: Mm .Industrial Designer: And s so uh we can move to the next slide .User Interface: Sorry .Industrial Designer: Yeah .User Interface: What is thissingle curved {disfmarker} what does it mean ?Industrial Designer: Well uh uh i i it's uh it's the the shape of the um of the remote .User Interface: So it's it's not {disfmarker}Industrial Designer: You you will have the{disfmarker} well um the the curve will fit into your hand when you grab the {disfmarker}User Interface: Yo l yeah . When you hold on it , it is comfortable to hold .Industrial Designer: Yeah . It's more confog fcomfortable that if these uh it's completely flat .User Interface: Okay . Yeah . And the battery , is it kind of a rechargeable or it doesn't matter ?Industrial Designer: Yeah the um that's the point . The kinetic one is uh yyou can recharge uh by the um {disfmarker}User Interface: That that's what it means by kinetic .Industrial Designer: {vocalsound} Yeah and by {disfmarker} well by just by moving the ar uh your arm the mm well theremote will uh accumulate energy .User Interface: Okay . Mm-hmm . Okay .Industrial Designer: But I d I don't know it's {disfmarker} if it is feasible because I don't know if yet if if the user will move enough to providethe remote um all the necessary energy .User Interface: Mm . {vocalsound} Mm . Okay . Yeah . Yeah . We we might check with our R_ and D_ department to see if they have this product {vocalsound} ready for market. {vocalsound}Industrial Designer: Yeah . {vocalsound} And {disfmarker} yeah and so can you go to the next slide please . So and uh that's uh that summarize well what I have said .User Interface: Mm mm .{vocalsound} {vocalsound} WhaIndustrial Designer: So uh you're right we can uh see in our uh R_ and D_ uh {vocalsound} if the kinetic metal is sufficient to provide enough energy .User Interface: Ah the department. Mm .Industrial Designer: {vocalsound} That's it .User Interface: Uh {disfmarker} So I um keep in touch with the R_ and D_ department .Industrial Designer: Oh yeahUser Interface: {vocalsound}Industrial Designer:I take care , it's all right .User Interface: {vocalsound} So the titanium case is the normal case that {disfmarker} I'll show you some pictures that I have and you tell me whether they are titanium case or not .IndustrialDesigner: {vocalsound} All right . Yeah .User Interface: 'Cause I am not very sure , plastic , titanium or whatever . There's another point I want to make , is that the uh {disfmarker} well you've seen them I le na mypresentation that um I point out some {disfmarker} why buttons are not the mm not the only ways you can {vocalsound} use {disfmarker} Yeah . Yeah , maybe nIndustrial Designer: {vocalsound}Project Manager: Wewill , okay .User Interface: {vocalsound}Project Manager: Three .User Interface: Yeah . {vocalsound} So the user interface is uh i it uses the aspect uh of a computer system , a programme which can be seen or heardor otherwise perceived by the human userProject Manager: {gap}User Interface: and the commands and mechanism the user uses to control its operation and input data . So you s this gives you the ways to input dataand we have uh {disfmarker} we are more {disfmarker} we emphasise more on the graphical user interface here . The idea is to represent buttons as figures , diagrams , symbols and on so you you can easily whenyou look at the symbols you understand what it is doing .Project Manager: What's the function of this button .User Interface: Yeah . Yeah . So .Project Manager: I think it makes the the interface really {disfmarker}UserInterface: Ea easy to use . So next one .Project Manager: Graphical user interface {gap} .User Interface: {gap} function five . So I can use the button , the mouse maybe .Project Manager: A graphical user interfaceemphasise the use of pictures .User Interface: Yeah . So next line . So the {disfmarker} here are some examples . So they cluster the buttons together . They group them into col they colour them and uh they havedifferent forms as well . Mm but this interface are kind of confusing . Uh basically there are too many buttons . Right . Next one .Industrial Designer: Yeah .User Interface: So some people are propose voice recognitionand so {disfmarker} ah by the way I receive an email from the from one our departments saying that the voice recognition has been used in the coffee machine {vocalsound} for this by a companyIndustrial Designer:{vocalsound}User Interface: when you tell the {disfmarker} you say good morning coffee machine and the machine are reply to you . So I just got an email saying that .Industrial Designer: Mm-hmm mm mm .UserInterface: And it seems like this voice recognition technology is ready to be used so we might consider that , supposedly .Industrial Designer: Yeah fine .User Interface: {vocalsound} The next one . Mm so somebody{disfmarker} some people use uh some people use a spinning wheel th with the L_C_ display so instead of using the mm buttons you have a L_C_D_ screen and then there you can u you can use that as buttons , youcan use that as real {disfmarker} so so that could be an option as well . Touch screen , I mean .Project Manager: Yeah .User Interface: Next one . And some people propose a scroll button . Integrated with push buttonsor you may have scroll button instead of p just the push button . Like the one we have here . Uh , next one . So mmProject Manager: Mm-hmm .User Interface: so there are a few aspects that I collected here . So sbasically this deals with special users , children , handicapped people , old people , and uh mm and prog basically they are programmable , specially for children . And uh mm {disfmarker} yeah yeah . And then theyalso secure uh covers , to protect uh secure and hidden programming and battery covers that will protect your settings . So {disfmarker} But we don't have to integrate all these complicated features . I'm just sayingthat the {disfmarker} currently in the market there are there are control there are remote controllers f {gap} customisable for different people . Yeah , so that's the point . The next one . And uh you see this is the onewhere you have the protection cover . Mm maybe useful for children , they migh you you they only see the buttons outside . And for adults wh where you have more control you can see the one inside . So the adultsmight wanna have a key to lock that to pr so children will not touch the button inside .Industrial Designer: Yeah .User Interface: Yeah .Industrial Designer: S a good idea .User Interface: The next one .IndustrialDesigner: {vocalsound}User Interface: So this guy {disfmarker} this is another company that provides big buttons . At {disfmarker} I see that that is useful for old people and then you don't get it lost . But for ourproduct we don't need a big one because you have voice recognition e eventually with use .Industrial Designer: Yeah .User Interface: And you can call your remote controller if you don't know where it is .IndustrialDesigner: {vocalsound}User Interface: {vocalsound} T_V_ remote controller where are you ?Project Manager: {vocalsound}User Interface: And then , he will beeps and to say that I am here , {vocalsound} forexample .Industrial Designer: {vocalsound}Project Manager: {gap} We should include speech synthesis in this case , no ?User Interface: Is it possible ?Industrial Designer: Yeah .Marketing: Yeah .User Interface: Uh ?{vocalsound}Industrial Designer: Yeah but uh as Norman say if uh there is uh already a commercial product available who t who do this we we can check uh to integrate it i into our uh new remote control .Marketing:Yeah .User Interface: Yeah . Yeah . Yeah . Yeah . And uh , this is another one where you can uh {disfmarker} the the the part that's a V_ standing for the volume . So there's a up arrow and a down arrow . But you thesee that in the V_ , the V_ appears to be the down arrow on the top {disfmarker} on the top up arrow {disfmarker} {vocalsound} if you {disfmarker}Project Manager: Mm-hmm .User Interface: up arrow there's a V_like as as if it's turning down so it's confusing interface , so I wanna avoid this kind of thing in the design .Industrial Designer: Yeah yeah .User Interface: And here are {disfmarker} is uh here is a s short summary thatI summary that I compiled after the findings I found . Big buttons are convenient , voice recognition helps , push buttons , scroll buttons , spinning wheels can be used as navigation tools . And uh user customisable isimportant and finally simplicity simplicity is the key . Yeah . So {vocalsound} we have many concepts thereIndustrial Designer: Hmm . {vocalsound}User Interface: but we have to choose later on which ones areimportant to be used .Industrial Designer: Yeah .User Interface: And basically uh {disfmarker}Industrial Designer: Well I {vocalsound} I think you it's it's it's fine you have uh reviewed all all the possibilitiesUserInterface: Yeah .Industrial Designer: but uh uh well uh i if we consider that uh the user interface is displayed on the T_V_ screen I don't think we nee uh we need much buttons in the remoteProject Manager: {gap}UserInterface: Mm-hmm .Industrial Designer: since we we just have to navigate and to have a okay or enter key or things like that ,User Interface: Yeah . Mm .Industrial Designer: because uh adding wheels or scrolls uhmakes the thing more complicated and more expensive also , so .User Interface: Mm . Okay .Project Manager: Or maybe we can include the user manual in the in the remote control {gap} and we should have just abutton like help and you say uh and you ik you press the button help and maybe you see the the user m might in the in the T_V_ .Industrial Designer: Yeah . That's a good idea .Marketing: {vocalsound}IndustrialDesigner: To have a help button .User Interface: A help button .Project Manager: Yeah .User Interface: So you are display on the screen .Industrial Designer: Yeah .Project Manager: On T_V_ T_V_ screen .UserInterface: So {disfmarker} on the T_V_ screen .Industrial Designer: On the T_V_ screen . On the T_V_ screen the uh how to use your remote .Project Manager: So just you push the buttonUser Interface: Okay . Okay .Okay .Project Manager: and we will {disfmarker}Marketing: Oh .User Interface: So that eliminates all the complicated documentation {gap} ,Project Manager: Yeah .User Interface: okay . So wiMarketing: But peopleare often enough looking at the help ,Project Manager: If the if {disfmarker}Marketing: once they see the help button they say oh this is a complicated stuff .Project Manager: {vocalsound} No {vocalsound} In the casewhere they need help , in the case where they need help .Industrial Designer: Uh yeah . {vocalsound}Marketing: {vocalsound} It's a psychology .Industrial Designer: {vocalsound} In a marketing point of view.Marketing: {vocalsound} Okay .User Interface: Yeah .Marketing: And let us see what the market demands .Project Manager: Yeah .Marketing: We could just go to my presentation .Industrial Designer: But{disfmarker} uh wel well I think {disfmarker}Project Manager: It's just for user customizable , for kids or old people .Marketing: Yeah that's right .User Interface: Mm .Project Manager: So {disfmarker}Marketing: Imean it just showed us the remote with an cap which could be used for kids and if you remove the {disfmarker}Project Manager: So it's the same {disfmarker}Marketing: Same remote with some {disfmarker}ProjectManager: Can be used by both kids and old people .Marketing: Both yeah .User Interface: Mm . {vocalsound} Well uh what I s propose is that uh you know a remote controller , i {vocalsound} it could be a cube,Industrial Designer: {vocalsound}User Interface: is uh a small device that uh looks like a cube and maybe you can just change the {vocalsound} um the buttons , if you ch turn one side you get one one buttons , youturn the other side you get the other buttons , so for maybe new generation people who get used to the computer they want lots of controls . {vocalsound}Project Manager: Maybe for kids , kids they like uh t no l theylike to {disfmarker}User Interface: Small {disfmarker}Industrial Designer: Uh well .User Interface: Yeah .Industrial Designer: So le le let's see what uh what {vocalsound} people want .User Interface: Let's see themarket demand .Project Manager: {vocalsound}Marketing: And then we can decide what what we can {disfmarker} yeah .User Interface: What what {gap} market {disfmarker} yes yes .Project Manager:{gap}Marketing: So we just made an marketing survey of what people need from our remotes and how it could be special from the other remotes . And we got the best on the responses from the questionnaires . Uh wealso have some prizes for the most creative solutions . And we found the following solutions which we could {disfmarker} which would be helpful for our design . So seventy percent of the users , they find their remotecontrols very ugly , they don't find it pleasant to use in the size or usage or anything . And eighty percent of the people they are always l I mean they are willing to spend more money if the remote control would lookfancy . And the current remote controls do not match well the operating behaviour of the user . And seventy five percent of the users said they zap a lot .Project Manager: Yeah . {vocalsound}Marketing: And fiftypercent say they use only ten percent of the buttons ,Project Manager: Mm-hmm .Industrial Designer: Yeah .Marketing: so the rest of the ninety percent of the buttons they're not used most of the times .UserInterface: Yeah . Yes .Marketing: So this were the findings which we found . And also they cited frustrations with the present remote controls . Most of {disfmarker} fifty percent of the time the remote controls are lostsomewhere in the room and people are always searching for them {vocalsound} rather than watching the T_V_ .User Interface: Yeah .Marketing: And by the time they found the remote control the program is finished.Industrial Designer: Yeah .Marketing: So {vocalsound} they're frustrated a lot {vocalsound}User Interface: {vocalsound}Marketing: And um if the remote control is too complicated it takes much time to learn thefunctionality of it .User Interface: Mm .Industrial Designer: Mm , the functionalities yeah .Marketing: So you can just see the percentage , fifty percent people they responded that they always lose their remotes andthirty four percent they say that it's quite difficult to learn if it's too complex .Industrial Designer: {vocalsound} Yeah .Marketing: So keeping in view all these findings and the frustrations I think this should be thesolution for them . We should have an L_C_D_ on the rem remote control .User Interface: Oh .Industrial Designer: Well mm w well I I I don't really see the advantage of having uh L_C_D_ on the on the remote controlif we have a a a big screen and uh display on the screen .User Interface: Big screen .Industrial Designer: It's {disfmarker}Marketing: Mm-hmm ?Industrial Designer: yeah of course it's fancy trendy and so on but it's it'sexpensive to produce {vocalsound} and it's not really {disfmarker}Marketing: I mean as our survey says that people are willing to pay more if their remotes are fancy .Industrial Designer: Yeah .Marketing: So if wehave a L_C_D_ on the remote , rather than looking onto the T_V_ you just look into a remote and navigate it . It's the same menu as we have saw that iPod remote control .User Interface: Mm yeah .IndustrialDesigner: {vocalsound} Yeah yeah .User Interface: Mm . The thing {vocalsound} {disfmarker}Marketing: We just {vocalsound} play aroundIndustrial Designer: Yeah but when you play with the iPod you don't have{vocalsound} a big screen in front of you , sProject Manager: You can use this screen instead of the big se screen ,User Interface: Yeah . Yeah .Marketing: Yeah .User Interface: Yeah .Project Manager: instead of usethe {disfmarker} yeah .User Interface: If you re-use the existing screen , we element {disfmarker} eliminate the L_C_D_ , after all the L_C_D_ just to displayProject Manager: Hmm .User Interface: and if you have thecolourful screen you can make the display colourful , fancy , as fancy as the one on the L_C_D_ ,Marketing: Yeah .User Interface: maybe even better .Industrial Designer: Yeah .User Interface: So{disfmarker}Marketing: I mean this were the points which we got from the market demands .User Interface: Yeah .Industrial Designer: Yeah . Yeah yeah .User Interface: Yeah .Marketing: SoIndustrial Designer: So I thI I {vocalsound} well I think we we can focus on the uh on the fancy look on the uhUser Interface: Yeah . More on a fancy design .Marketing: {vocalsound} Yeah that's fine .Industrial Designer: on the speechrecognition if the technology is availableMarketing: Yeah . I mean that's {disfmarker}User Interface: {vocalsound} Yeah .Industrial Designer: but well I think L_C_D_ will uh will uh make us spend a lot of money for notso big results .User Interface: Mm . Remember we have a s budget for the cost of producing the remote controller .Marketing: Mm-hmm .Project Manager: But {disfmarker} Yeah .User Interface: Yeah . So i is{disfmarker}Marketing: Uh yeah we have uh {disfmarker}Project Manager: {gap}User Interface: so the thing is you can find out how much an L_C_D_ will cost and then we'll decide again . {vocalsound}Marketing:{vocalsound} I mean that should be found out by the Industrial Designers . {vocalsound}Project Manager: {vocalsound}Industrial Designer: {vocalsound}User Interface: Uh maybe you can find out the price and tell usnext time {gap} . Is i if iIndustrial Designer: So price of uh L_C_D_ display .User Interface: Yeah .Industrial Designer: And {disfmarker}Marketing: And it's always good to have an voice recognition for the remotecontrols .User Interface: Yeah . And also the cost for the speech recognition .Project Manager: Mm . It's for {disfmarker}User Interface: Ask our R_ and D_ department .Industrial Designer: Yeah .Project Manager: it'sjust for small vocabulary . We {disfmarker} it's not {disfmarker}User Interface: Yeah .Marketing: Yeah it's o only for a limited vocabulary ,Project Manager: yeah .User Interface: Yeah . And hoMarketing: say eighty"}
+{"doc_id":"doc_19","qid":"","text":"Project Manager: Okay , welcome to the detailed design meeting . Again , I'm gonna take minutes . Oh , we're gonna have a prototype presentation first .User Interface: {gap}Project Manager: Uh , who's gonna givethe prototype presentation ? You two guys ? Okay . Go ahead .Industrial Designer: Yes . {vocalsound} {gap}User Interface: {gap} .Marketing: {vocalsound} {vocalsound} {gap} . {vocalsound}User Interface: {gap}coffee .Marketing: {vocalsound}Industrial Designer: 'Kay , we've made a prototype . Um , we've got uh {vocalsound} uh our aspects from the last meeting . Uh , especially we looked at the form , material and thecolour . Um , we've uh drawn here the p prototype . The logo is uh is uh {vocalsound} is pretty uh {vocalsound} obvious to see on the on the remote control ,User Interface: {vocalsound} {vocalsound}IndustrialDesigner: but it is necessary when you want to build your uh company f to a level higher . Um , {vocalsound} our interface elements , there are shown in the in the drawing . Maybe you can uh point them uh{disfmarker} The functions .User Interface: Uh , well the uh {disfmarker} all the functions are discussed uh {disfmarker} I think the most of the functions are uh uh obvious . Uh , it's a little bit . Uh , power button . Uhthen the the the nine uh channels .Project Manager: {vocalsound}User Interface: Uh the volume uh uh at the side , and the other side is the programmes . And then we had uh just uh two buttons , we place them inthe middle , uh the menu , and for the teletextProject Manager: Oh no , the the the mute button misses now .User Interface: {vocalsound} {disfmarker} I thought that was thMarketing: Alright , I {disfmarker}ProjectManager: Do y do you {disfmarker}User Interface: Oh , the mute button .Project Manager: did we want to have a m mute button ?Industrial Designer: But uh that {disfmarker}Marketing: Yeah .Industrial Designer: It'suh here then , in the middle .User Interface: Yeah .Project Manager: Huh .Marketing: Alright , and uh you gotta point out which is the volume um uh button and which is the programme button .Industrial Designer: Yes ,umUser Interface: {vocalsound} Well , yeah mo uh moIndustrial Designer: we've discUser Interface: Yeah , well most of them are right-handed .Industrial Designer: Most of the usersMarketing: Yeah , but you yougotta make it clear on the {disfmarker} on {disfmarker}User Interface: Yeah well , I don't have time in uh anymore on the {disfmarker}Industrial Designer: Yes , y there there will be a p a little a little P_ on that and alittle uh {disfmarker} yeah .Marketing: Yeah , and a and a triangle on that .User Interface: Oh yeah , just progr programme above , I think .Marketing: Yes . Next to that I kinda miss a zero actually .User Interface:{vocalsound}Project Manager: {vocalsound} Wait , there's {disfmarker} was one thing I wanted to ask .Marketing: {vocalsound}Industrial Designer: {vocalsound}User Interface: {vocalsound}Marketing:{vocalsound}Industrial Designer: {vocalsound}Project Manager: Uh , there are different ways for remote controls to uh {vocalsound} do uh likeMarketing: {vocalsound}Project Manager: uh d I call it teens andtwenties . Uh , y th th th the two numbers .Industrial Designer: Yes .Marketing: All n no , that's um {vocalsound} kinda dependent on the television .User Interface: Yeah , true , yeah .Industrial Designer: It's atelevision . Yes .Project Manager: Yeah , but do we have {disfmarker} do we need extra buttons ,User Interface: Uh {disfmarker}Project Manager: {vocalsound} for example some uh some have to {disfmarker}UserInterface: Uh I think so .Marketing: I think {disfmarker}Industrial Designer: Yes , yes , you have you have a lot of standard buttons that has to be uh on it , uh th with the one and a double uh uh{disfmarker}Marketing: Yeah , I think you should add {disfmarker} {vocalsound}User Interface: Zero ?Marketing: A cross , or whatever . Yeah , line .Project Manager: Yeah , but you don't you don't actually need them,User Interface: May maybe here ?Industrial Designer: yes .Project Manager: becau b l a lot of remote controls work that y when y that you when you fir you push the one first , then you have a couple of seconds{disfmarker}User Interface: Yeah . And then a second .Marketing: No , that's dependent on the television .Project Manager: No , I don't think so .Industrial Designer: Yes , you have televisions , then you have to , youknow , you have to uh press {disfmarker}Marketing: I do know so .User Interface: Is it depending on television ?Project Manager: Nah , I don't think so really ,Marketing: Yeah .Project Manager: because you have a{disfmarker} I know some remote controls that don't have these buttons , but you still can , know , obviously you can still select the twenty {disfmarker} uh a number in the twenty or in the ten .Industrial Designer:Yes , but but a lot {disfmarker} uh {disfmarker}Marketing: Yes , but uh uh no uh remote control nowadays are um {disfmarker} {vocalsound} they come with the television . Or actually , the other way around .ProjectManager: No , I think {disfmarker} uh I really think it's nMarketing: But {disfmarker} {vocalsound}Project Manager: because you can {disfmarker} when when you put a button on it with like one and uh then a dash ,it's the same thing as when you just push the one ,Marketing: Yeah .Project Manager: because it i it first gives you the functionality of that that uh separate button you also had to uh apply .Industrial Designer: Yes ,butMarketing: Yeah , well {disfmarker} but su {vocalsound} If {disfmarker}Industrial Designer: some televisions don't accept uh that that {disfmarker}Project Manager: Yeah , because that's i it's for television . It'sexact the same thing .Industrial Designer: No , no , but sMarketing: No no no . So some television respond differently . Look , if uh i iProject Manager: No , listen listen . When you push the button , the remote controlgives a signal . I in th in the first place it gives a signal which it would also send when you put a separate button on it .Marketing: Yes . Yes , that's true .Project Manager: The one with dash , that signal gi and when ywhe when you don't push another button on the remote control within five seconds , then the remote control gives a signal for channel one .User Interface: Yeah . True .Marketing: No {disfmarker}Project Manager: Ithink it works that way , really .Marketing: No , it it it works uh if you haven't got uh a special button for it , uh if you push a one , then on your television there will appear a one and a a line , which is an empty space.Project Manager: {vocalsound} Yeah , but it's exact the same {gap} that w would appear when you put a separate button {disfmarker} push a separate button .Industrial Designer: Yes , but some some old televisionsuh you have to uh click on uh a special button , uh then you go to a a next level , you can push two buttons .Project Manager: Yeah , but you don't underst uh you don't understand my point .Marketing: Yep .{vocalsound} True .Project Manager: I think it's exact the same thing when yIndustrial Designer: You want {disfmarker} Yes , but some television don't support it .Project Manager: No , but then they would a wouldalso support that button , because it's the same thing .User Interface: But the exProject Manager: Listen , with {disfmarker} that that's that special but button {gap} you're talking about , eh ? That's just a signal torecei ju they send a t signal to the v tv T_V_ that they have to put a one in {disfmarker} on your screen and a dash , which you can pu so you can uh still put another number on it . When you don't have that separatebutton , and you push y one , it's exactly the same thing . Do y you {disfmarker} the remote control gives that same signal as it would give when you only had {disfmarker}Industrial Designer: No ,Marketing: No , ssome some televisions need the input first uh and and you cIndustrial Designer: a remote can {disfmarker}Project Manager: Yeah .Industrial Designer: Yes ,Project Manager: But you give the input .Industrial Designer:so they need {disfmarker} no , they need {disfmarker}Project Manager: You push the one . That's the same thing as the button with the one and it {disfmarker}Marketing: No , that's not true .Project Manager: yes it itis .Marketing: It's simply not true . It's simply not true .Project Manager: Think about it .User Interface: Yeah .Industrial Designer: No ,User Interface: You uh you can wai when you push the one you can show on thetelly a one and just a dash , and then wait uh two uh seconds or something {disfmarker}Industrial Designer: but uh {disfmarker}Marketing: Uh {disfmarker}Project Manager: And it's the same thing what happens anda g remote control gives another signal after five seconds that is just one .Marketing: No , remote control doesn't give signal after five seconds . Remote control is a stupid thing . If you push a button , it sends itimmediately to to the television .Project Manager: Yeah , that's true . Yeah , but I m uh but it's {disfmarker} I I know for sure that some televisions that w th th the remote control supplied , only ha has the c thesebuttons with a one and a dash and a two and a dash , but when you use a bu a n remote control that doesn't sport these buttons , it still works .Industrial Designer: Yeah , it {disfmarker}Project Manager: But okay , wewe'll implMarketing: No , definitely not . Definitely not .User Interface: We'll discuss them in the usability lab .Project Manager: No , we'll apply them then for now .User Interface: Uh eva evaluation .Marketing:{vocalsound}User Interface: I don't know uh I don't know if if it's it's necessary .Project Manager: Yeah , app just apply them next to the zero , the one and the two .User Interface: Yeah ?Project Manager: Yeah , Ithink so . Yeah , for now , if we don't know for sure whether {disfmarker} {vocalsound}User Interface: {vocalsound} Okay .Industrial Designer: And the button for the SCART uh audio video uh external input.Marketing: Yes .User Interface: Ach .Project Manager: Yeah but {disfmarker}Marketing: Uh , you can access that uh via zero , and then minus , I guess .Project Manager: okay . {vocalsound} What I said about uh theremote control sending another signal , that that might not be true ,Marketing: Yeah .User Interface: Yeah .Project Manager: but I still think i it it {disfmarker} all T_V_s in some ways support it , I don't know . I thinkit's more c is m maybe we don't {disfmarker} uh we both don't really understand how it i how it really works ,Industrial Designer: No , no .Project Manager: but I think there's more to in than wha than what you justsaid .Industrial Designer: Uh , remote control sends one signal at one button uh press .Project Manager: I do think that uh m T_V_s support mur multiple kind of remote controls . MIndustrial Designer: Uh , some{disfmarker} N some televisions when when you want to go further than uh ten {disfmarker}Project Manager: Th won't work wi with uh {disfmarker}Industrial Designer: No , you have to you have to uh give thetelevision uh two or more signals .Project Manager: to have that special button .Industrial Designer: When you uh press one button , you give one signal . And the older televisions need more signals to go a level higher. But {disfmarker}Project Manager: Okay , well we'll see .Marketing: Yep .Industrial Designer: When you make the technology that that it will uh give more signals , it could work , but {disfmarker} Just a basic idea ofof of the most uh {disfmarker} most y most common uh and simple uh operations on the remote .Marketing: Okay . I kinda miss the docking station .User Interface: Yeah . {vocalsound}Industrial Designer: Yes . It'shere on the {disfmarker} {vocalsound}User Interface: {vocalsound}Marketing: {vocalsound}User Interface: {vocalsound} Well it {disfmarker}Industrial Designer: {vocalsound}User Interface: yeah , uh there'snothing {disfmarker} I think it's pretty basic ,Industrial Designer: We came uh {disfmarker}User Interface: the the {disfmarker} there's no fuIndustrial Designer: Yes .User Interface: there's one there's one button,Marketing: No nothing really trendy about it .User Interface: that's wha there's there's there's one function and that's n the one button when you want to find it .Industrial Designer: But maybe we can maybe we canmake the docking station uh uh a bit standard for for uh the other products we sell ,Marketing: The button .Industrial Designer: because Real {vocalsound} Real Reaction sells more products than only remote controls .So maybe we can uh use the docking station , for example , uh M_P_ three players or or uhMarketing: Yep .Industrial Designer: uh hearing devices .Marketing: I think that's very difficult , because of different shapes ofuh uh devices .Industrial Designer: Yes , but when you put that same volt voltages on it , you can put uh {disfmarker} when the when the when uh o the the the lowest part of it , when it's o the same as the otherproducts , you can put it all on the same uh {disfmarker}Marketing: {vocalsound} Yeah , of course . Mm-hmm . Well it it got it {disfmarker} it has got to fit into the shape , of course .Industrial Designer: Yes , but wecan make {disfmarker}Marketing: The technology and the voltage can be the same . That's uh that's true . But uh i if you all make the m having a bottom like this , then they all fit .Industrial Designer: No , we canmake uh make the most lowest part all the same .Marketing: Yeah , that's true , but uh {disfmarker}Industrial Designer: When when the the recharger has a has a bit what points out , we can place all on top of it . Justhave to be big enough for the biggest {disfmarker}Marketing: Yes , but uh I I g Shouldn't it fall then ? It {disfmarker} isn't going to fall down ? {vocalsound} That's a bit uh {disfmarker}Industrial Designer: No , whenyou make it large enough no it it will not .Marketing: yeah , I think {disfmarker}Industrial Designer: But then it's a little bit {disfmarker}Marketing: No , but if if {disfmarker} like this , I'll I'll point it out , if you got uh aa a base a base like this ,Industrial Designer: But it's just an idea .Marketing: I won't draw it really . If you got a base which is uh as big as this {disfmarker}Industrial Designer: But it's flat it's flat as as this , so we canp make all the products as flat as this .User Interface: You can . But i i i it's backwards .Marketing: Yeah sure , but if you got if you got a tiny player , it can {disfmarker} {vocalsound}Industrial Designer: Yes , but whenyou make uh uh a bit of big {gap} {disfmarker}User Interface: But it's it's backwards . It's leaning . It's leaning backwards , I think , in the in the docking station .Marketing: Yeah . Uh , wha what you could do if you uh{disfmarker} from the bottom {disfmarker}User Interface: That's text . {vocalsound}Marketing: oh , right , help .Project Manager: But {disfmarker}User Interface: {vocalsound}Marketing: Uh , you could make like ahole in it , you know , of uh {disfmarker} in in the {disfmarker}Industrial Designer: Yes , little holer {disfmarker} littler {disfmarker} Uh , little products go deeper in it .Marketing: Yeah . That i that is possible , yep.Project Manager: Well let's ha let's talk about the docking station later , because uh maybe we have we have to uh consider the docking station anyway , because we have some uh cost issues {vocalsound} still tocome .Marketing: Yeah , sure , you're right .Industrial Designer: Yes . And uh uhMarketing: Oh .Project Manager: But we have to look n I don't know .Industrial Designer: the f the look and feel would be great on this uhremote control , because uh you always uh will uh pick up the remote control in the in the smallest uh area .Marketing: I don't like the colours . Mm-hmm .Project Manager: Yeah .Industrial Designer: Then your uh leftthumb of uh {disfmarker} your right thumb is uh near the programme uh button , which is the most common used uh function , and all the other buttons are available for your uh thumb .Project Manager: Okay.Industrial Designer: So it's it's it's really good design .Marketing: Yeah . Alright .Project Manager: Yes . That's it ?Industrial Designer: Yes , uh on the side uh there will be a strip of rubber , and in the middle uh there isuh a hard uh a hard material , a bit hard plastic with a light uh behind it .Marketing: The light . Okay . And other lights ?Project Manager: I think added lights are gonna be a problem too .Industrial Designer: Yes , wecan make also n neon lights on it , or or the buttons that can make uh light on it .Marketing: No , o on the on the front . Yeah , okay . Maybe the uh the logo .Industrial Designer: Yes .User Interface: {gap} lights?Industrial Designer: But , it will also uh uh use batteries ,Marketing: Yeah , why not ?Industrial Designer: and do we want to {disfmarker}Marketing: Of course .Project Manager: Okay . For now , uh this is uh is goodenough .User Interface: Mm .Project Manager: Yeah , what was uh on the {disfmarker}Marketing: Okay .Industrial Designer: The {disfmarker} all the aspects of the interface buttons were uh {disfmarker}ProjectManager: Okay , but in the {disfmarker} oh yeah , the colour , because we're gonna use uh one colour for the the plastic enclosure and one colour for the rubber , isn't it ? Then we're gonna do the buttons in the i arewe're gonna have rubber buttons .Industrial Designer: Yes .Project Manager: And they're be a {disfmarker} {gap} they'll be in the same colour as the rubber on the side .User Interface: Yeah .Industrial Designer: Yes.Marketing: Uh , in the same colour as the side .User Interface: Yeah . Yeah . Yeah .Marketing: Yeah , I think I think that'll be good .Project Manager: Okay . And I think we should use a a darker colour for the umplastic , and maybe some more m brighter and flashy stuff {disfmarker}Industrial Designer: Yes , maybe we can use on the on the lights on the side we can use uh uh multiple uh lights ,Marketing: Yes .IndustrialDesigner: so it will uh {disfmarker}Project Manager: Yeah , we'll talk about the lights later . 'Cause I also don yeah ,Industrial Designer: Yes .Marketing: Yep .Project Manager: it's depends on the costs and such . Butuh , and we have to agree uh upon the exact colours ,Marketing: Yeah .Project Manager: but may I dunno if that's important , but we'll talk about that later . Okay , for now this is this is okay .Marketing: We will.Project Manager: Um , the next p y you gonna give a presentation too ? Uh , I have to see the agenda .Industrial Designer: No .Marketing: Well , uh yeah , I I'm gonna do something right there , yeah .IndustrialDesigner: {gap}User Interface: {vocalsound}Project Manager: Detail design .Marketing: We gotta do that on the right {vocalsound} {disfmarker} the most {disfmarker} right-most screen , because the leftmost{disfmarker}Project Manager: Evaluation criteria .Marketing: Yep , that's me .Project Manager: Okay .User Interface: Okay .Marketing: Alright . I will be needing that image , so leave it please . Um {disfmarker} Goaway . Right , we're gonna evaluate that design according to a few points . {vocalsound} Um , we g the four of us are going to do that um together .Project Manager: {vocalsound}Marketing: I wanna have a colour overhere , come on . Right , the remote {vocalsound} is not ugly , a bit weird sentence , but the positive things has to be on the left , so I {vocalsound} said not ugly instead of ugly .User Interface: {vocalsound}Marketing:Uh , what would you say , we we gotta give points to uh to all of these to evaluate uh that design , and please forget the drawing skills of these guys .User Interface: {vocalsound}Project Manager: Okay .IndustrialDesigner: {vocalsound}Marketing: {vocalsound} The remote control is not ugly . How do you feel ?Project Manager: Yeah , I think four maybe would be appropriate , because it's {disfmarker} Yeah , maybe it reallydepends on taste . Uh , I mean it's kind of {gap} , our design . It's {disfmarker}Marketing: Yes .Project Manager: so if maybe a lot of people find it really ugly , you know , o other people find it really cool .IndustrialDesigner: Yeah .Marketing: Background colour .Project Manager: I don't know or uh I don't know how you {disfmarker} Casting . Yeah .Industrial Designer: I think I think the the fronts will give it a more uh uh uh lessuglier uh side , because you can uh make it in your own {disfmarker}Marketing: How do you guys feel ? The different designs .Industrial Designer: yes , you can make it in your own uh {disfmarker}Marketing: Yes.User Interface: Yeah .Industrial Designer: more to your own personality or or house style .Marketing: Okay .Project Manager: Yeah , but we d we didn't {disfmarker} we're we're not planning to use fronts , I believe.Marketing: No , not not fronts , but different designs .Project Manager: With a colour a co a colours . Oh , okay .User Interface: No , not fronts . Different designs . Different colours maybe , yeah .Industrial Designer:Yes .Marketing: And that's still uh uh , yeah , is is uh is a little personal touch , I guess .Project Manager: Okay , but {disfmarker} Oh , maybe we should do three or something that w you know , our"}
+{"doc_id":"doc_20","qid":"","text":"Industrial Designer: {vocalsound}Project Manager: So in last meeting we have discussed the conceptual design and we asked you to prepare a prototype for the for the remote control .User Interface: {vocalsound}Okay .Industrial Designer: {vocalsound}Marketing: {vocalsound}Project Manager: {vocalsound} So {gap} . {vocalsound} So let's see the {disfmarker} what did you prepare .User Interface: Yeah , so can you go outto the shared folder ? Mm the shared folder .Project Manager: Sh share folder for th your presentation ?User Interface: Yes . We have a presentation .Project Manager: Because I have here {disfmarker}IndustrialDesigner: {vocalsound}User Interface: {vocalsound} Uh {disfmarker} {gap} So I got the participant uh three . W uh {vocalsound} . Three . It's the final design , yeah .Project Manager: Okay just one {gap} .IndustrialDesigner: {vocalsound}User Interface: {vocalsound} S so so I discussed with Guillaume .Industrial Designer: Mm . {vocalsound} Yeah .User Interface: Right . {vocalsound} And uh {vocalsound} so we have{vocalsound} {disfmarker} and we we are both agreed on some two versions of the prototypes , because we were no not decided whether we wanted to have an L_C_D_ or not because it's too expensive . So we comeup with two versions . One with and one without L_C_D_s . Um but both comes with a charger and then detachable and uh or {gap} control module . And detachable big buttons for all people um . So {vocalsound}.Industrial Designer: {vocalsound} S okay so I'll show you the the two prototypes {vocalsound} . Here we have the first one with the beautiful uh L_C_D_ um display . You you can s here . And you can uh just umbrowse into the the navigation menu by uh joystick joystick-like uh button .User Interface: Mm .Industrial Designer: You can uh choose the direction and if you just push on it it's considered like a enter function .UserInterface: Mm . Mm-hmm .Industrial Designer: You have on the mm on the side here the microphone for the {vocalsound} for the speech recognition system here .User Interface: {vocalsound}Industrial Designer: Andhere the the switch that control if you want {disfmarker}Project Manager: Why you why you you put it in the the side ?Industrial Designer: Well I I I think uh it's the {disfmarker}Project Manager: It's not a good placemaybe {gap} .Industrial Designer: Yeah but {disfmarker}User Interface: No i i it's the all around camer uh microphone isn't it . The the microphone picks up the speeches from anywhere .Industrial Designer: Yeah.Marketing: Is it an only a single mic or a microphone array ?Industrial Designer: Well so it's a microphone array .User Interface: {vocalsound}Project Manager: Oh it's very costly , microphone array {vocalsound}.Marketing: Mm-hmm .Industrial Designer: {vocalsound} NoUser Interface: Yeah {vocalsound}Industrial Designer: it's just a single microphone , and you {disfmarker} I I think uh we we put it here because I thinkwhen you when you are browsing your L_C_D_ you will be close to {disfmarker}User Interface: Mm .Marketing: Yeah .Industrial Designer: well it's better to to to place it here th than here , for instance .User Interface:Yeah {vocalsound} yeah .Marketing: Okay .Industrial Designer: And here is a little switch that control if you want the the speaker uh recognition system to um to be on or off . And uh so this remote control comes upwith its charger .Project Manager: How much does it cost this one ?Industrial Designer: Well this this prototype is um made for about uh well fi fi fifteen fifteen dollarsUser Interface: For the {disfmarker}ProjectManager: Fifteen dollars ?User Interface: Yeah .Industrial Designer: {vocalsound} fifteen dollars ,Project Manager: Ah it's above it's above the budget .Industrial Designer: but uh well it's not it's not uh {disfmarker}yeah , but uh it's just a prototype and if we uh if we optimises the um the uh {disfmarker} voila .Marketing: The cost would be le reduced .Industrial Designer: Yeah the {gap} and the the production costs we we canachieve uh about ten dollars . {gap}User Interface: Mm . Hmm .Project Manager: How many b battery is there ?Industrial Designer: How many , excuse me ?Project Manager: Battery .Industrial Designer: Well uh fbattery , we use uh about uh {disfmarker}User Interface: Is it n the two A_A_s batteries in it .Industrial Designer: Yeah .User Interface: A_A_ rechargeable batteries .Industrial Designer: Rechargeable of course ,UserInterface: Yeah rechargeable batteries .Industrial Designer: because we have the charger .User Interface: We have the charger so it's no problem .Industrial Designer: Yeah and you just {disfmarker}Project Manager:So one one battery ?Industrial Designer: On uh yeah one battery .Marketing: Is that two or one ?User Interface: {vocalsound}Project Manager: It's kinetic reserve .User Interface: {vocalsound} Actually uh it's a flexiblething .Industrial Designer: {vocalsound}Marketing: {vocalsound}User Interface: You just n uh {disfmarker}Marketing: Now what is the whole day rating for that ?Industrial Designer: The {disfmarker} excuse me?Marketing: Whole day's rating .User Interface: {vocalsound}Marketing: What type of battery ?Industrial Designer: Oh yeah it's just a r uh simple battery a rechargeable uh {disfmarker}User Interface: Yeah yeah.Industrial Designer: if you uh like it's exist .Marketing: Something like a two A_ , A_ three size batteries ?Industrial Designer: Yeah .User Interface: Yeah {vocalsound} .Marketing: Mm-hmm .Industrial Designer: Soand if you want to charge the battery you just put the remote control like that to plug in the the chargerUser Interface: Yeah . Yeah .Industrial Designer: and uh leave it uh alone , it's alright .User Interface: Mm .{vocalsound} At uh {vocalsound} yeah .Industrial Designer: Then the next time you pick it , ohProject Manager: {vocalsound}Industrial Designer: it works {vocalsound} .User Interface: I forgot to tell you there is onlya single button there , b this button {disfmarker}Industrial Designer: Yeah just explain the button uh Norman .User Interface: yeah alright . This button is like the mouse {disfmarker} is like a joystick ,IndustrialDesigner: {vocalsound}User Interface: you can move in three hundred and sixty degrees of direction so you can make a turn and it {disfmarker} the additi functions associated to all the actions you ma you have a clickyou have a double click all in a single button {vocalsound} .Project Manager: Mm .Industrial Designer: {vocalsound}User Interface: You can move up , down , left , right , or you can do a swing . So a swing to the left ,a swing to the right defines other functions . So even though it's a single button , but it is pretty s flexible because of the three hundred and sixty degree movement {vocalsound} .Marketing: And the L_C_D_ is this one, on the remote ?User Interface: Yeah . This is the version y that comes with L_C_D_ .Industrial Designer: Yep .Marketing: Yeah .User Interface: Here I present another version without the L_C_D_ .Industrial Designer:{vocalsound}Project Manager: I think it's not a good idea because after maybe one or two months of function is {gap} getting destroyed .User Interface: Mm .Project Manager: If youUser Interface: Uh okay this is newprototype uh {vocalsound} .Project Manager: {gap} {disfmarker}Industrial Designer: Yeah it's {disfmarker}Project Manager: {vocalsound}Industrial Designer: So we have the the second version also with the differentuh button configuration . The second version is also simpler , we d uh we had just uh I have to put the microphone also {vocalsound} .User Interface: {vocalsound} Yeah yeah .Marketing: {vocalsound}IndustrialDesigner: So basically th it's the same uh {disfmarker}Marketing: Uh-huh and also the switch .Project Manager: {vocalsound}Industrial Designer: yeah {vocalsound} .Marketing: {vocalsound} Okay .IndustrialDesigner: Basically it's the same uh things uh uh as uh I presented before . But here we have uh we have uh four buttons for navigation . Press one button uh acting as a a enter button .User Interface: Mm .{vocalsound}Industrial Designer: So um yeah according to what you said it's more robust to the user .Project Manager: Mm-hmm .User Interface: {vocalsound}Marketing: Mm-hmm .Industrial Designer: And uh it'salso cheaper to produce . We can produce uh such remote control for about uh four dollars . {vocalsound}Project Manager: No four dollars , it's {vocalsound} {gap} good . {gap}User Interface: {vocalsound}Marketing:And I think you forgot a point here to have an button to find the charger ,User Interface: Oh noMarketing: because that's a major that's a {disfmarker}User Interface: th actually th we'll come to that point in our{disfmarker}Industrial Designer: Yeah it's it's it's embed in the uh speech recognition system .User Interface: Yeah .Marketing: OkayIndustrial Designer: So {disfmarker}Marketing: and if you disable speech recognitionsystem then ?User Interface: W w I'll I'll come to that point later on .Industrial Designer: {vocalsound} so Norman will explain to you {vocalsound} .Marketing: Mm hmm hmm hmm hmm hmm .Project Manager: Andwe will we will serve the charger with this ?User Interface: Yeah .Marketing: Okay .Industrial Designer: Yeah yeah of course mm {gap} .User Interface: Th they {vocalsound} either these with the {disfmarker} uh thethe charger anyProject Manager: With the remote control .User Interface: in either versions you they they ha they use the same charger yeah .Project Manager: Okay so the price of the charger included in the{disfmarker}User Interface: Uh it's a standard module so you should get it for a cheap price uh {vocalsound} .Project Manager: {vocalsound}Industrial Designer: {vocalsound} {vocalsound} Thank thank you{vocalsound} .Project Manager: Mm-hmm . {vocalsound}Industrial Designer: And so mm-hmm .User Interface: It's that same charger that you can use for the hand-phone but uh again depends on the types . I thinkwe have to investigate more on that , but {vocalsound} {disfmarker}Project Manager: The price should be below twelve and a half Euro .User Interface: {vocalsound} Yeah . YeahProject Manager: Well that's{disfmarker} so {disfmarker}User Interface: but as the Marketing Manager says , people is willing to {disfmarker} people are willing to pay more for good design .Project Manager: We have we have just {vocalsound}{disfmarker}Marketing: Yeah people are willing to pay more ,User Interface: {vocalsound}Industrial Designer: {vocalsound}Marketing: but the company is not willing to invest more at the moment .Project Manager:The price of selling is twenty five Euros .User Interface: Yeah . Yeah . Mm-hmm .Project Manager: And the price of production {disfmarker}User Interface: {vocalsound}Industrial Designer: Alright please uh go onNorman with the special features {vocalsound} .Marketing: Or uh {disfmarker}User Interface: Yeah we'll we'll come up to that , the the the thing that makes this the controller cheap is that it is modular so you wantmore function you pay more . If you want less function i i if you want a reasonable price you pay for the functions that you add on to the system ,Marketing: {vocalsound}User Interface: so is uh modular .ProjectManager: That's for this basis function and if you want more you pay more .User Interface: Yeah yeah ,Project Manager: {gap}User Interface: for example the L_C_D_ , you can take it you can put it {disfmarker} put itback in , or you can use the other one ,Marketing: Something like customised . YeahProject Manager: Yeah .User Interface: or {vocalsound} the speech recogniser with the microphone yeah yeah .Industrial Designer:{vocalsound}User Interface: You want a microphone to put in the {vocalsound} speech recogniser you don't wan you pay less for the system you see {vocalsound} .Industrial Designer: {vocalsound}Project Manager:Okay .Marketing: Mm hmm hmm hmm .Project Manager: {gap}User Interface: So {disfmarker}Marketing: Hmm okay .User Interface: It's pretty flexible in the yeah price {vocalsound} .Industrial Designer: {gap} Youalso have the the the two other modules for the parental controlProject Manager: But {disfmarker}User Interface: Uh yeah yeah you should present that .Industrial Designer: that that you ca you can add up{vocalsound} to the {disfmarker} to your remote controlMarketing: And this is other one ?User Interface: {vocalsound}Industrial Designer: i i if you uh if you want to to have more more power on what you do , and uhwhich channel you want to choose and so on .User Interface: {vocalsound} Yeah .Industrial Designer: H here is just the the the module for the kids and th if the parents want to watch T_V_ , up {disfmarker} they comeup with their modules ,Marketing: Mm hmm hmm hmm .Industrial Designer: they just plug in itUser Interface: Yeah {vocalsound}Industrial Designer: and they can have all the control they want here .User Interface:Mm .Industrial Designer: We also have this module for uh old people with big buttons , clearly labelled ,User Interface: Hmm . {vocalsound}Industrial Designer: and it acts like the previous one ,User Interface: Yeah.Industrial Designer: you just plug in and it works .User Interface: {vocalsound} Yeah {vocalsound}Marketing: Mm-hmm .User Interface: the i the idea the the conceptual idea is that simplicity and powerful . Simplicitymeaning that we have few buttons , powerful is that all the controls with {vocalsound} the one you saw we saw earlier in the meetings with lots of buttons n but here you only have few buttons but you retain the mmthe same powerful functionalities . But in addition with simplicity . So that's the best idea , the cond that that's our uh an innovation um uh i in this uh design here {vocalsound} .Project Manager: Mm-hmm .UserInterface: Okay now we come to other important features that I did not tell you . The first one is the speech recogniser , again it's detachable or add-on . And then we also have security feature for example this here{disfmarker} oop {vocalsound}Industrial Designer: {vocalsound}User Interface: it's very robust {gap} , it doesn't break and the material , what's the material again ?Industrial Designer: The titaniumProject Manager:Titanium .Industrial Designer: and so it's very uh {disfmarker}User Interface: Again uh and the battery life is uh is an is an endurable one , again because this is A_A_ batteries you can choose the types of battery youwant .Marketing: Yeah that's fine .User Interface: Lithium-ion may be a good one , but you can replace it with cheaper one , again you pay for what you get , and then um y the other p points are robust andmisplacement reminder . So when you finish watching your T_V_ {vocalsound} and you the you t you turn off the T_V_ , uh and then there's this message coming out that uh please put that back to the charger , so sothat's the {disfmarker} or is it {disfmarker}Marketing: Okay .User Interface: that's the reminder part . Yeah and um {disfmarker} And it also use a programmable channel and vocabulary , so we didn't define thevocabulary so it's up to the user to defineMarketing: Mm hmm hmm hmm .User Interface: so {disfmarker} sorry ? {vocalsound}Project Manager: {vocalsound}Industrial Designer: {vocalsound}Marketing:{vocalsound}User Interface: And then uh because of the chil because children are using the device so we have also a a {gap} of T_V_ programmes by genre , and this can be used by the adult or by the children . Soinstead of choosing the channel you are choosing the T_V_ contents of the night . So it's pretty powerful , and that's that's why the num buttons are reduced , because of this feature . Yeah . And {vocalsound} and forthe materials that is cheap to produce I think uh it's quite clear from {disfmarker} yeah {vocalsound} .Project Manager: {gap}User Interface: And also like the {gap} and the fancy designs yeah .Project Manager: Whatwhat's {disfmarker}User Interface: Maybe we can improve more on the design but {vocalsound}Project Manager: Maybe yeah .Industrial Designer: {vocalsound}Project Manager: What's the price to p to produce ?UserInterface: {disfmarker} uh this is the {vocalsound} {disfmarker}Industrial Designer: Well so the price to produce {disfmarker} For uh the simplest one , say we start from four dollars to produce such a device .ProjectManager: With with with the charge ?Industrial Designer: Uh it's about it {disfmarker} The {disfmarker} without without the chargerMarketing: With the charger ?Project Manager: Okay .User Interface: Yeah{vocalsound}Industrial Designer: it's about uh well two dollars to produce uh the microphone and speech recognition systems .User Interface: {vocalsound}Industrial Designer: Two dollars for the uh for the add-onmodules , and finally three dollars for the charger . So if you uh sum up uh everything wi with the L_C_D_ {vocalsound} , which costs two dollar , you have two plus four plus four plus two plus two .User Interface:{vocalsound} Yeah .Project Manager: We don't have charger . {vocalsound} {vocalsound}Marketing: {vocalsound} I think we can use Excel {vocalsound} .Industrial Designer: {vocalsound} It's about {vocalsound}{disfmarker}Project Manager: We don't have all the options {vocalsound} .Industrial Designer: so the total cost if you if you want all the fuct functionalities will be about uh fifteen dollars .Project Manager: Charger wedon't have charger here either .User Interface: {vocalsound} Yeah .Project Manager: No it'sIndustrial Designer: But it's just if you want all functionalities .Project Manager: it's below the the the budget .User Interface:Yeah {vocalsound} .Industrial Designer: Excuse me ?Project Manager: It's below the bu the budget .User Interface: {vocalsound}Marketing: Yeah it's a nice inputProject Manager: We {disfmarker}Marketing: but wehave an other inputs from the l public demands .Project Manager: {gap}Marketing: I think we will just have a rough look and then we can make our statements , and we can finalise the product based on this discuUserInterface: Yeah .Industrial Designer: Yeah .Marketing: I think we can just go to my presentation then . We can wind up . Or we could uh come to some f uh final conclusions .User Interface: {vocalsound}Marketing: Sothe marketing made an evaluation criteria and these were some of the findings , and uh in the market the people are not really interested with L_C_D_ , without L_C_D_ , with speech recognition interface , or withoutspeech recognition interface , but most of the people what they are interested is {disfmarker} first thing is , they want to have an fancy look and feel , it should be very fancy with colourful and uh very handy to hold.User Interface: {vocalsound} Mm .Marketing: And the second thing is it should be much more technologically innovative .User Interface: {vocalsound}Marketing: Of course in that we could put L_C_D_ or recognitionto be more technologically innovative . And the third one is easy to use .User Interface: Mm .Industrial Designer: Well I think that the technical in innovation is is in the product itself since we haven't yet a remote whoare allowing to to choose interactively with the T_V_ screen uh uh with just four buttons .Marketing: Okay and if we go to the next slide , here you can find {disfmarker} these are the latest fashion updates , and so this{disfmarker} in Paris and Milan {gap} they have detected this trends that the this year it's going to be an year of fruit and vegetable , so people are really interested to see if they have an remote in the shape of thefruit or a vegetable , or whatever they like .User Interface: Spongy spongy . Mm mm .Marketing: So I think it should be much more customised to make a different uh shapes .User Interface: Mm {vocalsound} mm.Marketing: And the second thing is , and if the material , they really do not want it to be very hard , as in the case of very pl plastic or titanium , it should be somewhat spongy .User Interface: But the the problem isthat uh {vocalsound} {disfmarker} is it robust to mishandling ?Industrial Designer: Okay .User Interface: We have {disfmarker} you should find a material that is robust at the same time spongy {vocalsound}.Industrial Designer: A sponge . {vocalsound}Marketing: Yeah so uh {vocalsound} so finally we have these three criterias .User Interface: Spongy {vocalsound} .Marketing: One is fancy look , second is innovative , andthird is easy to use .User Interface: {vocalsound}Marketing: {vocalsound} So these are the f uh three criteria on which we are going to build our remote .User Interface: Mm-hmm .Marketing: So {disfmarker} and wehave an evaluation criteria for each one of these ,Industrial Designer: Hmm .Marketing: say that we have a seven point scale , from one to seven ,User Interface: Mm-hmm .Marketing: and for each of the product youcould just give me the scale according to this .User Interface: Mm .Industrial Designer: {vocalsound}Marketing: So now you have with L_C_D_ and without L_C_D_ ,User Interface: Mm .Marketing: so on this scale , if it"}
+{"doc_id":"doc_21","qid":"","text":"Project Manager: So welcome . The first kick-off meeting . What shall we do ? First the opening , then the rest . What are we going to do . We m have to make a new remote control .Industrial Designer:{vocalsound}Project Manager: It has to be original , trendy and user-friendly . So we will get back th on that . First we have to make a functional design . After that we have to make a conceptual design , and then afterthat a detailed design . So we'll discuss that later . First we have a look at {gap} . So first to {disfmarker} we have to make a small painting . What have {disfmarker} do we have to do . First you can save thedocuments . We have to do that every time we make something . You can print it . No . And we have to use {vocalsound} the pen and the eraser . So {disfmarker} Now . We all have to use this one .IndustrialDesigner: {vocalsound}Project Manager: You have to make your own favourite animal .Marketing: {vocalsound}Project Manager: So I'll make an example .Marketing: Yep .Project Manager: First don't touch that things.Industrial Designer: {vocalsound}Project Manager: {vocalsound} You can use the pen . And then you can make {vocalsound} um something .Industrial Designer: {vocalsound} Nice .Marketing: {vocalsound}{vocalsound}Project Manager: {vocalsound} Um you can change some things .Industrial Designer: {vocalsound}Project Manager: Um format , line , and change it . {gap} {disfmarker} {vocalsound} {vocalsound} Andyou can change the colour .User Interface: {vocalsound}Marketing: {vocalsound}Industrial Designer: An elephant . {vocalsound}Project Manager: {vocalsound} So that's it . {vocalsound}User Interface:{vocalsound}Marketing: {vocalsound}Project Manager: So {disfmarker} So and after it you have to save it .Marketing: {vocalsound}Project Manager: Now we can make a new one .Marketing: Okay .Project Manager:You have to paint now . {vocalsound} So you're next .Marketing: Oh . {vocalsound}User Interface: {vocalsound}Industrial Designer: 'Kay .Marketing: Well we will try . Where it going ?Industrial Designer: {gap} .UserInterface: Hmm . That's uh strange . {vocalsound}Industrial Designer: {gap} .Project Manager: What is going on ?Industrial Designer: {gap} pop-ups .Project Manager: What are you {disfmarker} What ?Marketing:Hmm .Project Manager: {vocalsound}Industrial Designer: {vocalsound}Marketing: {vocalsound}Project Manager: {gap} .Marketing: {vocalsound}Industrial Designer: What is this , Pictionary .Marketing:{vocalsound}Industrial Designer: {vocalsound}Marketing: Uh {disfmarker}Project Manager: Um {disfmarker}Industrial Designer: Uh a bird .Project Manager: Is a {disfmarker} It is a {disfmarker} It is a{disfmarker}Industrial Designer: Bird .Project Manager: A duck .Marketing: {vocalsound}Industrial Designer: {vocalsound}Marketing: Mm .Project Manager: {vocalsound}Marketing: So {disfmarker} Now save?Project Manager: Yes .Industrial Designer: Yeah .Project Manager: Hmm .Marketing: Now uh blank ?Project Manager: Blank , yes .User Interface: Yeah .Marketing: Yeah .Project Manager: Okay next one .{vocalsound}Marketing: {vocalsound}User Interface: Okay . Let's try this . Uh {disfmarker}Industrial Designer: {vocalsound} Whoo .Marketing: Yeah , yeah .User Interface: {vocalsound} Um . Mm-hmm . Mm .ProjectManager: {vocalsound} Oh . {vocalsound}Industrial Designer: Oh not . Oh . {vocalsound}User Interface: {vocalsound}Marketing: {vocalsound}Industrial Designer: Okay . Okay . Yeah . No problem .Marketing:{vocalsound}Industrial Designer: Shit happens . {vocalsound}Marketing: {vocalsound} {vocalsound} I'm not getting anything uh on my screen now . Okay .Industrial Designer: A parrot . Ish .Marketing: Wow . Oh.Project Manager: {vocalsound}Marketing: {vocalsound}Industrial Designer: He did it before .Marketing: {vocalsound}User Interface: {vocalsound}Industrial Designer: {vocalsound}Marketing: {vocalsound}IndustrialDesigner: {vocalsound}Project Manager: {vocalsound}User Interface: Uh {disfmarker}Project Manager: {vocalsound} {vocalsound}Industrial Designer: {vocalsound}User Interface: No , no . Yeah . Okay .Marketing:{vocalsound} Nice .Project Manager: Very good .Industrial Designer: Oh .User Interface: Uh blank .Industrial Designer: Thank you .Project Manager: {vocalsound} {vocalsound}User Interface: {vocalsound}Marketing:{vocalsound}Project Manager: Okay . Very good . So um you can always go back . {gap} So {disfmarker}Marketing: {vocalsound}Project Manager: {vocalsound} That's it . So that was two . Now next . The budget .The b Uh we will sell the t at twenty five Euros . And we have only twenty of twelve and a half Euro to make it . So {vocalsound} now we have to think about what we will make . First I wanna hear from you . Uh whatare your experiences with remote controls . So {disfmarker}Industrial Designer: Uh I will start .Project Manager: F first {gap} .Industrial Designer: Uh {disfmarker} {gap}Marketing: {vocalsound}Industrial Designer:Big one , they are uh not easy to use . Um I have one set and uh a remote control , when I dropped it , uh it broke . So that won't be uh our goal , I think .User Interface: No .Industrial Designer: And uh g big buttons ,{vocalsound} m uh that's easier to use than uh {disfmarker} I think . Not all the small buttons , you don't know {disfmarker}Project Manager: Is this positive or negative , that uh big buttons ?Industrial Designer: Bigbuttons , positive .Project Manager: Positive .Industrial Designer: All all small buttons like when you have uh like a hundred buttons on your remote control , you won't know what they're working for .Project Manager:Okay . What are your experiences ?User Interface: Uh well I think the the the goal of a remote control is that it's it it has an influence on the T_V_ set .Project Manager: Mm .User Interface: And that it controls thechannels and the the volume . And uh I I I think it's positive if there's a a LED uh uh a LED on the corner of the of the remote . So that you know it s it still has batteries on it {disfmarker} in it . And that if you push thebutton the LED uh gives a light , and uh and you see that it's working . And uh yeah . Uh {disfmarker}Project Manager: So and do they always have that ?User Interface: Yeah , but {disfmarker} No no no . But I{disfmarker} my my experience is that it it it's convenient to have that .Project Manager: It's easy to you .User Interface: Yeah . Yeah .Project Manager: Okay . 'Kay .Marketing: Uh at home we have a T_V_ , a video uhrecorder , a D_V_D_ player , and a satellite receiver . We have uh four distinctive remote controls for that .Industrial Designer: {vocalsound} Thank you .Marketing: That's not really ea easy .Industrial Designer: Helpalso . {vocalsound} Thank you .Marketing: So it would be nice if we have one for all . And we also had a remote control for our radio set . But um i it it had a lot of buttons on it , and you didn't know which one waswhat . And it was uh uh v {vocalsound} not easy to use . So we n barely used it .Project Manager: Okay so they have too much . So next .User Interface: Hmm .Project Manager: For our own remote control we have tothink how do we make it . So what ideas do you have for it , for the new remote control ? What what does it have to have ? {vocalsound}Industrial Designer: The weight . Not not too heavy .Project Manager: Not tooheavy . Yes .Industrial Designer: Not much buttons .Project Manager: Yeah .Industrial Designer: Bust-free . That when you drop it , it won't break . Like uh some kind of rubber on it . Or hard uh hard plastic . Uhbuttons not too small . Uh something like when you uh lose your uh remote control , sometimes it happen . Uh it between the couch and you can't find it .Project Manager: Yes .Industrial Designer: When you push a buta button on the T_V_ , then you hear some {gap} {disfmarker} uh some sort of bleep .User Interface: {vocalsound}Project Manager: Like a phone .Industrial Designer: And then you uh , hey there there's remotecontrol .Project Manager: Okay .Marketing: Yeah .Industrial Designer: {vocalsound}User Interface: {vocalsound} Yeah .Industrial Designer: {vocalsound}Project Manager: So ,Industrial Designer: Next .ProjectManager: that's {gap} .User Interface: Yeah well that's {disfmarker} that are good ideas . Uh {disfmarker} Yeah well the LED on the corner , that that indicates that it's working . If you push a button . Um{disfmarker} Yeah . And looking on the budget , not too expensive uh material . So probably plastic or something . Uh {disfmarker}Project Manager: Okay .Industrial Designer: {vocalsound}Marketing: Yeah I think ituh {disfmarker} from a marketing point of view , it also has to look nice . Or you won't sell it .Project Manager: Yes .Marketing: And um yeah uh on our website we can see what products we already have . And it shouldwork with as many uh as possible of them .Project Manager: Okay . This is {disfmarker} It has to be compatible with other things .Marketing: Yes .Project Manager: Okay .Industrial Designer: I have one more idea .Just popped up .Project Manager: Yes ?Industrial Designer: Uh it it won't take a lot of batteries . So you don't {disfmarker} won't have to change the batteries uh once a week or uh once every two weeks .ProjectManager: No battery use . So more ideas ?User Interface: Mm no .Project Manager: No okay . It's only the first ideas . So {vocalsound} uh what are we going to do now is {disfmarker} Next meeting is in half an h hour. Uh {disfmarker} {vocalsound} Okay . Next meeting , half an hour . Um , what you have to do . Well look on your {gap} . And {disfmarker} Next instructions you'll get in your email . So {disfmarker} This is the firstmeeting . See you later in half an hour .User Interface: Yes .Industrial Designer: Okay . Thank you .Marketing: Okay ."}
+{"doc_id":"doc_22","qid":"","text":"Lynne Neagle AM: Good morning, everyone. Welcome to the Children, Young People and Education Committee. We've received apologies for absence from Suzy Davies, and I'm very pleased to welcome Angela Burns,who is substituting for Suzy this morning. We've also received apologies from Dawn Bowden. Can I also welcome Siân Gwenllian to the meeting? Siân is joining us from her constituency office via video-conference. CanI ask Members if they've got any declarations of interest, please? Hefin.Hefin David AM: Apologies. I'm currently registered as an associate lecturer at Cardiff Metropolitan University, although I haven't done any workfor them for some time.Lynne Neagle AM: Okay. Thank you very much. We'll move on, then, to item 2 this morning, which is our evidence session on the higher education new academic year allocations. I'm verypleased to welcome David Blaney, who is chief executive of the Higher Education Funding Council for Wales, and Bethan Owen, who is deputy chief executive of HEFCW. Thank you, both, for attending this morning.We're looking forward to hearing what you've got to say. If you're happy, we'll go straight into questions from Members, and the first questions are from Angela Burns.Angela Burns AM: Good morning. Thank you verymuch, indeed. I just wanted to talk about, really, the financial sustainability of the higher education sector because, as we know, there's been all sorts of things going on in the press. So, can I just start with, actually,quite a technical question and ask you what the financial indicators look like for the universities here in Wales, and are there particular indicators that are really flashing warning signals to you?Dr David Blaney: Well,shall I just start with a couple of contextualising comments and Bethan can come in then with some detail? It's undeniably the case there are financial challenges facing our universities. They result from three maincauses: one is the impact of the demographic dip of 18-year-olds, which is deeper and longer in Wales than it is elsewhere in the UK. There are increased pension costs and, actually, increased costs generally. And, ofcourse, we also have current uncertainty as a result of the Augar review in England, and whether that might play into Wales, and also Brexit. These challenges are not unique to Wales; the majority of the UK universitiesare actually taking out cost one way or another. So, this is not a Welsh issue. Before the Diamond review of fees and funding in Wales, there was a pre-existing funding gap in resource between England and Wales, andeven now, that's still the case. So, Welsh higher education institutions are approximately £40 million worse off than they would be in the English system. That's a challenge, and that is a result from a political decision toinvest in students, and that's fine. The money's gone into the system but it hasn't gone into universities, necessarily. So, these are serious challenges for institutions to manage, but I think it is a managed situation.We're not seeing a crisis; we are seeing some real challenges, and there is a distinction, I think, between—. We have to understand, though, that taking out cost to balance the books has a detrimental effect on thecapacity. Obviously it impacts on the people who lose their jobs immediately, but there's a medium to longer term impact on the capacity of the system to deliver for Wales. They are taking out capacity; they're notcutting at fat now, they're cutting out core capacity. And so, the range of the curriculum, the range of research and innovation, the range of the contribution that universities can make will be diminished by that. Andagainst that backdrop, the introduction of the Diamond reforms is hugely important—delivery of that is going to be really important—and we are really pleased to see the Minister able to meet her commitments inrespect of that. The Diamond money is coming in. This forthcoming year will be the first year we see an increase in the resource, through us, to higher education. And the projections in future years are better still, andthat will be extremely important. The performance of the sector is very good; we had the national student survey results out yesterday. Wales is still the best in the UK, which is excellent. We have the best impact fromresearch in Wales across the UK. So, all of that is very positive, but that is also being done at some cost. There are some very tired staff in universities, and we've seen some stuff in the press recently about some of theimpact of stress there as well.Angela Burns AM: Can I bring you back to the financial element of that? Can I just ask a question: what are the university reserves looking like at present?Dr David Blaney: Here, I refer tomy learned friend.Bethan Owen: The reserves are a measure. There's a difference between the distributable reserves—I don't have those numbers before me, but looking at reserves, what is more important are thosereserves that are available as cash or liquid cash. So, universities have reserves, but a large amount of that is tied up in their estates, so they're not immediately realisable. So, one of the key measures that we'relooking at, which is even more important than surpluses and deficit, is the operating cash that our universities are generating at the moment. When we look at operating cash in 2017-18, they were generating, as apercentage of income, about 7.6 per cent, which contrasts with nearly 10 per cent for the same year for English institutions. And that represents their capacity to generate surplus cash to meet their costs, which now,increasingly, include the costs of servicing their borrowings. So, again, because capital funding has not been as available to universities as it was, they've invested in their estates and that's largely been funded byborrowings. The costs of those borrowings have to be met on an annual basis, so that's becoming an increasing proportion of the operating cash that universities have.Angela Burns AM: I just asked that questionbecause I know that about four years ago, the universities were sitting on substantial reserves and were less than keen to deploy them back into actually using them for the students—it was more about building up thewar chest, if you like, of the universities. And I just really wanted to have an understanding of how that picture might have changed over the last four years and are they actually skinnier cats now, rather thanbefore.Bethan Owen: We can get you that analysis, but even four years ago, I think the definition of exactly what's meant by reserves, it's really important to look at what are distributable reserves as opposed to theassets that universities have.Angela Burns AM: Yes, I do understand the difference.Bethan Owen: And, there are also differences in the way that universities have secured funding for investing in their estates. So, forexample, Cardiff University have had a bond rather than borrowing, which you draw down as you're spending. So, in the short term, the reserves of Cardiff will appear as though they have significant cash balances, butall of those are restricted for investment in the estate and, over the next two or three years, will be utilised for that.Angela Burns AM: So, overall, you're painting a picture of a sector that's under a significant degree offinancial stress, and this is obviously using your key financial indicators. Do you monitor each and every university, or do you wait for them to come back and tell you what their situation is?Bethan Owen: We monitor,we receive forecasts, five-year forecasts, and we meet frequently with all our universities now. It varies, depending on the risks of the universities, as to how frequently we meet, but we're actually meeting with everyuniversity because even the forecast that we received last July, the changes, even in the 12-month period, are significant enough for us to need a better understanding of what the latest position is. The forecasts, if Ijust run through—. We had a sector that, in 2017-18, had a deficit. Although it had a turnover and income of £1.5 billion, which had increased, nonetheless it had a small deficit of 0.4 per cent of income in 2017-18,which was an improvement on the deficit the year before of 1.7 per cent, but notably, again, the sector in England were looking at surpluses of 3 per cent to 4 per cent in the same period. The forecasts that we had thistime last year were indicating that, for 2018-19, we should have a sector that's roughly in a break-even position, but that has to be caveated with waiting for new forecasts in July, where there will have to be areflection of the pension costs, and there have been significant changes in pension costs, both for the teachers' pension scheme and the universities' superannuation scheme as well, and those will be significantcosts that universities have to build into their forecasts at a time when their income, certainly their fee income, is not increasing, and that is the challenge.Angela Burns AM: Are we going to lose any universities in thenext couple of years?Dr David Blaney: I don't think so. As I said earlier on, we're not seeing a crisis, we're seeing really challenging circumstances for institutions to manage. At the moment, our sense is they aremanaging them, so one of the things we try to do is to make sure that, insofar as we can see it, we are making sure that the institutions are alert to the challenges they're facing, and are actually engaging thosechallenges properly, and we are seeing that at the moment. So I think what we will see if the pressure continues unabated is more costs being taken out, so more jobs being lost, more capacity being lost, but that's notthe same as falling over. I don't see people falling over. There is always the possibility of structural change within the sector, and that might be one of the solutions that institutions think about, but it's not a policyposition, and it's not always a good short-term response to crisis anyway, actually. But I think, as I say, we're in a managed situation, but the challenges are quite acute. But I don't see an institution falling over in theforeseeable future.Angela Burns AM: When you talk about structural change, are you referring to the fact that certain offshoots or divisions might close? I bring this up because I'm the Assembly Member for CarmarthenWest and South Pembrokeshire, and I have had multiple representations from students, and their parents, who are about to go to Lampeter and who've been told that courses are being restructured, there's a massivestaff loss, and they have concerns about whether the three-year commitment they're about to make to a course is going to be able to be sustained. So I am trying to drill down a little bit, because I think it's only fair forthe students to know what they're up against, and also it's a bit like in the great depression—you can start a run on something, can't you? Because if enough people believe it, then suddenly enough people will stopgoing to what is an excellent little university, really top-quality in medieval literature, in archaeology. And I'm just talking about one, but I know there are problems in other universities around Wales, so I just wonderedif you could comment on that and also what processes you as HEFCW might have in place to protect any student who does find themselves in a situation where their course appears to be disappearing before theireyes.Dr David Blaney: So, there's quite a lot in that question, actually. Let me try not to forget any of the elements. First of all, your comment about causing a run is a serious consideration. So, if we look at the debatethat happened in the Senedd last week, from my reading of the transcript, it was actually quite a balanced debate where pretty much every contributor made reference to the contribution that higher education ismaking. There was reference to the national student survey scores, and in many ways Wales is the best place in the UK to come and be a student, because you are looked after properly in Wales. But there was also aperfectly legitimate exploration of whether or not there's a crisis, and if you look at the way in which that was represented in the media, the crisis bit stuck and the rest of it didn't. At the point where the sector is tryingvery hard to recruit students, it's really quite unhelpful that you get that sort of representation. So we do need to make sure, I think, all of us, that we try to avoid a situation where there can be media amplification of aproblem that's not actually as acute as the media are portraying it, and that is very harsh. I'm not being critical of the political process here, but it has ripples and we do need to be careful that we don't start a run onthis. In terms of the specifics at Lampeter, we understand that there are no plans to close any of the departments, and there certainly will not be plans to pull the rug out from under continuing students. That is just notwhat institutions do. So there's an absolute obligation on them to meet their commitments, and that's a contractual obligation anyway, so it's a legal obligation. But we also have a quality machinery that we operatewhere we would expect institutions to be able to demonstrate that they've put in place appropriate arrangements to ensure that students can finish their programmes of study. So they're not going to be recruitingstudents to programmes that they're not planning to continue—they just are not going to do that. And if you think about it in a market context, it would be suicidal for a university to treat their students like that.AngelaBurns AM: But I have to ask these questions because the auditor was very clear that there was a material uncertainty in Trinity Saint David's financial plans.Dr David Blaney: Yes, I understand that, so let’s come back tothe material uncertainty. [Interruption.] No, I understand, and that's fine. What I'm hoping to try and express is that we have absolute confidence that the institutions will not do the dirty on their students. They willlook after their students and if they're recruiting to programmes, they are recruiting to programmes that they are planning to run, and run through to completion. And the expectations that we place on them in terms ofour quality assurance machinery is precisely that—when they are engaged in portfolio change, they have to look after the interest of the students that they currently have. In terms of our oversight and monitoring, ourprimary consideration, again, is the interest of the students. They are the people who have, in many ways, least influence over what happens in terms of the way an institution is managed. Although, they do have avoice and, actually, the arrangements for the student voice in Wales are, again, better than elsewhere in the UK. But, nonetheless, we do not wish to see students becoming innocent victims of difficulties ofmanagement and financing. And so that is our primary consideration when we're looking at these institutions. Our institutional risk review process is fundamentally designed to make sure that institutions are grapplingwith their problems before they become a crisis. So, we have machinery, which has 70/80 different factors and hundreds of questions that we ask twice a year, to interrogate the performance of the institutions and tomake sure that we are seeing them managing the issues that they're facing. So, it's not the challenges you face, it's the way you face your challenges—it's a cliché—and, at the moment, they are managing them, but ifwe were in any way concerned that they weren't, the people who are most at risk in that context are the students and we will be intervening to make sure that they were cited, and we do intervene when we haveto.Angela Burns AM: Well, following on from what you said, I've just got two really specific technical questions, then, to ask, because you said that you look across the whole scope to make sure that they are meeting allof their correct liquidity ratios and so on. So, considering how much is invested in their estates, are you happy that each university's estates strategy and its financing is prudent and has appropriate governing-bodyoversight in place?Dr David Blaney: Yes, so the estates strategies that institutions operate are overseen by either the full governing body or relevant sub-committees in respect of every institution, so there is propergovernance oversight. And in all of those instances, there is staff and student engagement as well in the strategic approach on estates. So, the machinery is in place—Angela Burns AM: Because it's the big thing thatdrives most of university borrowing, isn't it?Dr David Blaney: Indeed, it is.Angela Burns AM: So, if our universities are on a sticky wicket, we just need to know that the borrowing that they're undertaking is absolutelyprudently assessed and is appropriate. So, as long as you're content, if I can hear you say that—[Laughter.]Dr David Blaney: Okay. We're content on two fronts: one is that the governance machinery within theinstitutions is structured appropriately to look at that, but also that if the institutions are wanting to engage in anything other than relatively trivial borrowing, they have to get our consent as well. And what we don't dois second-guess everything, but what we do do is make sure that the governing body, or its relevant committees, have been asking the right questions. So, there are two bits to this.Angela Burns AM: Andthen—sorry.Bethan Owen: Can I just add to that, then?Angela Burns AM: Yes, of course.Bethan Owen: In asking for the forecasts, we have reinforced this year the importance of universities looking at differentscenarios. So, to be looking at the demographic and maybe in the past, where there's potentially been growth in the system and universities have built that into their forecast, we have explicitly asked this year that weare provided—not just the governing body—with the scenario where there is no growth in the income. That's not the core forecast, but a scenario, so that it's quite clear how reliant the forecasts are on that growth, andif that growth doesn't come through, what the contingency plans are for ensuring that all the cost commitments can be met. And we should probably just differentiate between—we have a role before borrowings areentered into, but all the best forecasts in the world can never quite predict, certainly what's happened in the last two years, probably, in universities. So, there are significant borrowings that are now committed to andthe key measures we are looking at are universities' capacity to meet their covenants and their repayments under those borrowings, because that's essential for maintaining their liquidity.Angela Burns AM: Whichactually, neatly, thank you, brings me to my last question, which is: have any universities broken those loan covenants or been close to breaking them, unable to pay their borrowings as and when they fall due?BethanOwen: There was a significant change in accounting standards in 2015, financial reporting standard 102, so most universities had to renegotiate their covenants, but it was because the accounts were looking verydifferent. The accounting standards brought about changes in how income was recognised and how some service concession arrangements, largely student accommodation arrangements, and pension costs,significantly, were recognised in the accounts. So, most universities have had to renegotiate covenants, but we're not aware of any who've had to renegotiate due to covenant breaches, other than one which theUniversity of Wales Trinity Saint David disclosed in their financial statements—that they did need to renegotiate their financing arrangements, which they have done earlier this year, and they have now negotiated newcovenants. It's a core part of financial management in universities now that you manage your relationship with your lender as well as with us. Breaching covenants in themselves is different to doing that with yourlender being unaware and the factors being within your control. So, again, from that perspective, we have the covenants built into our forecasts, we require the forecasts to show how the university are planning to bewithin their covenants. The nature of those covenants vary, but most of them require a measure of cash flow, a ratio between the cash generated and the cost of debt, so there is close monitoring that is requiredbecause of the borrowing in the system, as well as our ongoing monitoring as well.Angela Burns AM: Thank you, Bethan.Lynne Neagle AM: Thank you. Just before we move on to Hefin David, can I just ask you whatyour view, then, is on the statement included by auditors in the accounts of Trinity Saint David that there is material uncertainty?Bethan Owen: Yes, I'll pick up on that. The material uncertainty largely relates—there isa note in the accounts that explains the factors that are being taken into account, but it largely relates to some significant cash receipts that have been subject to timing delays and the fact that the timing of these isessentially outside the control of the institution. The main delay relates to the receipt of funding for the Egin project, which was due to be received from the Swansea city deal. That funding has been delayed, but the"}
+{"doc_id":"doc_23","qid":"","text":"Marketing: {vocalsound}Project Manager: Okay .Marketing: {gap} .Project Manager: Right . Okay . Alright . Is everyone here ? {vocalsound}Marketing: {vocalsound} Yep . {vocalsound}User Interface: Yep .ProjectManager: Okay . This is our conceptual design meeting . And {disfmarker} {vocalsound} I'll just take a few minutes and uh go through the previous minutes . Um then each of you will have your presentation , um andthen we will need to make a decision on the concept for the remote control . And then we'll have uh forty minutes for finishing up . Um {disfmarker} {vocalsound} I'll go through the mee through the minutes first . Um ,we just refreshed our our uh goal of making the finest remote control available .Industrial Designer: {vocalsound}Project Manager: {vocalsound} Um we decided that , or we know that we need to use company colours, company logo . Um {vocalsound} and our Marketing Expert uh gave us some i uh information from interviews with a hundred different remote users . Um with some statistics that backed basically what we werethinking before . People thought their remotes were ugly , um um that remotes zap a lot . Um they only use uh a finite amount of buttons .Industrial Designer: {vocalsound}Project Manager: Um and that they oftenlose the {disfmarker} it's easy to lose a remote . Um which were all things we were thinking we would {disfmarker} wanna make it simple . Um {disfmarker} {vocalsound} And uh some sort of locator . Either a buttonor tracking device . Um {disfmarker} And that it should look different than what's out there . Um {disfmarker} Kind of mixed mixed response on the speech recognition . The younger people said they wanted it , olderpeople did not . Um uh I think we decided that um the expense was not necessarily worth it , and that it was probably a gimmick , that um would increasingly wear on the consumers' nerves . Um {vocalsound}{disfmarker} Then the User Interface Designer um explored some of the technical functions of the remote . Um the simple versus the um the complex . The simple one being better for a user , the complex better for anengineer . Um {disfmarker} Um and some personal preferences that were found in that would be that it should be a user-oriented remote , something simple . Um and that we didn't wanna go with a universal remote ,because uh increasing cost and increasing complexity . Um we would just have a T_V_ remote . Um and that we should also focus on the appearance of the remote . Have it s be something that looks different . Andfinally our um Industrial Designer uh gave us a rundown of how the remote will work . Um from energy source , um uh what we would use . Batteries because we don't wanna have a a cable . Um {disfmarker}{vocalsound} How that would power the remote and the lamp . If we were to to have one . Uh um the user interface then would connect to a chip , {vocalsound} which would work with the infrared controls uh to sendthe signal to the T_V_ . Um {disfmarker} I believe then we came up with a couple of ideas for what we think the design of the remote will be . Um {disfmarker} {vocalsound} Um something that will fit into uh easilyinto someone's hand . {vocalsound} And with a , just a few buttons . Just the basics . And with a scrolling um function also . Okay and I will leave that , leave it at that . So {disfmarker} Marketing ?Marketing: Okay.Project Manager: We're watching trends .Marketing: Yep . Can I have your cable please ?Project Manager: I suppose that you can have this .Industrial Designer: {vocalsound}Marketing: Thanks . Okay so I was lookingat trend-watching . Um unfortunately I wasn't given too much information . I was given a brief executive summary , and then an update on some recent fashion trends that we might like to look at . And then I'll just tellyou some personal preferences that I got from that . Um okay the most important finding was that the fancy look-and-feel seems to be twice as important to the users as the current functional look-and-feel design ,which I think we've kind of already discussed before . Um the second most important finding was that the remote should be technologically innovative . And again these are all things we've kind of already come up withon our own , but this just backs it up . And thirdly the remote would be easy to use . As far as fashion update , we've learned that fruits and vegetables will be the most important theme for cloths , shoes and furniture.Industrial Designer: {vocalsound}Marketing: So that might be a bit of a challenge to incorporate this into our remote , but we can try . Um and also , as opposed to last year , this year the material is expected to bespongy in feel . {vocalsound} Okay so from that um , as we've already said , we need to focus on a fancy look-and-feel . Um I think we've already discovered that it's kind of hard to go away from the traditionalrectangular design . But I think that , even if it's very subtle , we need to kind of trick our consumers , so they at least get the idea that they're getting something that's new and modern and sleek and {disfmarker}Whether it's through the shape or the colours or all of that . Um for technologically innovative , we've talked about the tracking device . We brought up the idea of having two pieces , which we could discuss further .And Manuel had suggested um the energy source and the user interface , discussing some of those , um that we could change a little bit . We need to keep it simple , have limited buttons , which I think the two pieceidea might be really beneficial for . {vocalsound} Um {vocalsound} we need to incorporate this fashion trend of fruits and vegetables . I don't know , I mean I guess the two options are if we had our remote in theshape of a fruit or vegetable .Project Manager: {vocalsound} A banana shape ?User Interface: Oh it was sort of banana shaped . {gap}Marketing: {vocalsound} Yeah . Yeah . Right . Or with exterior designs . But myquestion is , I mean the stereotypically speaking , you kind of picture males with their remote controls , and I'm not sure how they'd feel about having fruity logos on the outside .Project Manager:{vocalsound}Marketing: So maybe we could have something that's somewhat removable , or I don't know , different options for female , male target groups . And then the spongy feel . I guess we could look at mobilephones and other technology that's out there . C and look at different types of material that {vocalsound} might please our users who want spongy-feeling remote controls . So that's that .Project Manager: So possiblylike a uh ,Industrial Designer: Alright .Marketing: {vocalsound}Project Manager: sorry , just to butt in for a second . Possibly uh like a cover like they have for mobile phones ?Marketing: That's what I was thinking yeah.User Interface: Those like , yeah , sort of spongy ones .Project Manager: You have one with a flag , and one with a banana and one that's a spongyUser Interface: {vocalsound}Marketing: {vocalsound} {vocalsound}Yeah . So when you buy your remote you can buyProject Manager: feel to it . {vocalsound} You can {disfmarker}Marketing: various coverings .Project Manager: Mm various covers .User Interface: What's it called ?Cust you {disfmarker} {vocalsound} personalised , yeah .Marketing: Personalise your remote . {vocalsound}Project Manager: We could leave that to the cover department . {vocalsound}User Interface: Yeah .{vocalsound}Marketing: {vocalsound} Mm-hmm .Industrial Designer: {vocalsound}Project Manager: {vocalsound} {vocalsound} We all know they've got nothing to do all day .Industrial Designer:{vocalsound}Marketing: {vocalsound}Industrial Designer: {vocalsound}User Interface: Okay . Why can't I see the {disfmarker} crazy . Um yeah I {disfmarker} talking about the interface concept and how thecustomer relates to , will use the , consumer will use the actual device . Um so I've looked at some of the stuff I was sent , um , try and get some inspiration . But keep in mind that our own ideas that we had . Um I wassent some information from the company saying that they , the technology department have devised a new speech recognition technology , where you can program questions into such devices . They gave an exampleof a coffee machine where you program a question , you program the answer , and the machine responds accordingly . Um okay . There's different ways of a user can use products l like a remote . Um there's agraphical use , where you you look at pictures and well on a screen . A command line where you obviously type things in , and you get a response . Um and then it ju that's just to point out the sort of inconsistent u sortof use of interface in remotes . You can't really see that picture well , but there's various different remotes , once again with lots of different buttons on , making it more complicated .Industrial Designer:{vocalsound}User Interface: So , then I had a look at new products that are on the market . Not necessarily remote controls but ones that you'll recognise . Um this is the voice , there is a voice recognition remotecontrol , which can control mus multiple devices . I have a {disfmarker} there is a picture {gap} . You surf your favourite channels uh with your voice . Store up to eighty speech samples , controls four devices , T_V_ ,cable , satellite , V_C_R_ , D_V_D_ and audio . And you can record your own v verbal labels , that are connected to remote control functions . So the technology is there . Um the one on the left is very similar to whatwe drew up on the board in the previous meeting , where there {disfmarker} has scroll down functions on the side . You can sort of just make those out . And then on the right is obviously an iPod , which is you knowpossibly one of the simplest things to use out there , and really is , and all that is is just a a nice big scroll menu that y you sort of go through . That is a {vocalsound} possibility . And nothing's simpler really . Um thenthere's things like this , which is a a a kid's remote , where the the parents have the facility to control and program what children can watch before . So the remote control it o only allows them to access the channelsthat their parents want them to watch . And um it means that th children have a novelty of having their own remote control . So I don't know {gap} if there's a possibility of having one remote contr you know like wejust had two components , maybe it can have more components you know , different remotes . Um the point made at the end there here is that you have to be sort of be {disfmarker} need to be clear on your umdevices , as to what , you know , things you use . Sometimes an arrow pointing down , which may suggest volume down , could become confused just as a V_ for volume . Just little things like that , which would need tobe made clear in the design . Um I think , d carrying on from what I've already said , a user friendly remote with minimum buttons . Maybe we've so suggested this two-part thing , where if it was to have a speechrecognition thing , you could maybe control that on the {disfmarker} do it {disfmarker} or program all that on the control bit . And then just have the simple sort of hand-held thing that we sort of devised earlier , asthe actual remote . Um I don't {disfmarker} it could be a graphical display , the actual remote contr the actual control port maybe could have like an iPod where you just sort of control through the menus . Stuff like{gap} gets more and more compli complicated . And then the the hand-held bit should be ergonomically designed . And that is it . Why am I {disfmarker} Oh yeah . Just {gap} . {gap} Where are we ? Uh . Just to sortof show you . M {gap} they've even got things like that .Project Manager: {vocalsound}User Interface: Huge things . Which is just {gap} for your gr ninety year old grandma yeah ?Project Manager:{vocalsound}Marketing: {vocalsound}Industrial Designer: That's industrial design for cranes , stuff like that .User Interface: Yeah . Yeah .Project Manager: {vocalsound} Notice the giant dog bone shape ?Marketing:{vocalsound} Dunno .Industrial Designer: Makes sense , makes sense .User Interface: And that {disfmarker} yeah .Industrial Designer: {vocalsound}Project Manager: Also good for animals .User Interface: Yeah . See. {gap} things {gap} . {gap} . Why's my screen crazy ?Industrial Designer: Uh {disfmarker} Well let's see . I'm going to bore you with a couple of descriptions of the interior .Project Manager: {vocalsound}Marketing:{vocalsound}Industrial Designer: Just to to make it more obvious what we have to fit in there , and that we do have to fit the stuff in there . I've more information on possible materials um as well . What we can andcannot do . Um but let's just wait for this to load up and I'll show you what we're talking about here . Okay . The details of the components' design , as you can see there , what we have is the board , main board of theremote control . {vocalsound} The underside , that's pretty cheap piece of of technology really {gap} top left side you can see the chip , which is the , what we were talking about , this was is the device to recognise thesignals the input , and it passes it on to a row of um further transistors and stuff like that on the right side that actually amplify the signal , which later on is being , is being transferred to a infrared lamp which then umof course shines infrared light onto the television which then will recognise what signal um it's getting and will do what you tell it . Um {disfmarker} So much for the the workings of the of the uh remote control itself .{vocalsound} Its job is to wait for you to press a key , then to translate that key press into infrared light signals , um that are received by the television . When you press a key um you complete a specific connection .The chip senses the connection and knows what button you pressed . It produces a morse code line signal specific to that button . Right . Pretty clear . Transistor amplifies the signal and then sends the m sends thesignal to the L_E_D_ which translates the signal into infrared light . The sensor in the T_V_ can see the infrared light , and seeing the signal reacts appropriately . This is the circuit board from the other side . Um thelower part of it , I don't know if you can see that properly , with the green greenish board is is what we what we saw in the first the first slide just flipped over . Um you can see the circuit board itself . That's thecheapest uh way to make electronic connections basically on the market . Um what you do is you have , don't have cables , but you have the connections actually in these in these lines on the on the board . These arethe actual keys that are being pressed . They close the electric circuit . That then sends the signal to the chip on the other side . That would be behind here . Um which uh sends it over to the transistors and all that stuffthatMarketing: {vocalsound}Industrial Designer: amplify the signal and all that is being sent to the infrared lamp up there . Now as you can see this is the the rubber button version of it . {vocalsound} Um the way itworks is that you have the keys here . The rubber button has a little metal uh plate on the other side , which closes the circuit here . And thus gives on the signal . Now this is the simple version . {vocalsound} Um weare talking um this this the simple and cheapest version at the same time . We are talking something more complicated of course , it's going to be more expensive as well . And not only that . Um we are also restrictedin the use of our outer shell , or in the material that we could use for our outer shell . Um {vocalsound} I've gotten some information that we could use for the case material plastic , rubber , as well . Um rubber that isused in these anti-stress balls . So it's pretty squishy . That would that would serve that purpose .Marketing: {vocalsound} Spongy ?Industrial Designer: Um {vocalsound} we could also use wood , or titanium .ProjectManager: {vocalsound} What's the approximate per hundred thousand for the titanium ? {vocalsound}User Interface: {vocalsound}Marketing: {vocalsound}User Interface: {vocalsound}Industrial Designer: OhfyaMarketing: {vocalsound}Industrial Designer: I don't have an information on that . However our company {vocalsound} obviously can provide us with uh with the titanium , so I assume , I'm , I was given an okay touse it .Project Manager: {vocalsound}Industrial Designer: {vocalsound} It certainly is an expensive material ,Project Manager: {vocalsound}Industrial Designer: I'm aware of that , but I was given an okay .Marketing:{vocalsound}Industrial Designer: But there are certain restrictions to certain materials . Now let's first go through the list with the materials . So we what we can use is plastic , rubber , wood and titanium . Can alsomix these . Um as for the energy source , um we were talking about that shortly in the other meeting . Um what we could use is , or what I was offered , or what we could use , is a basic bateer battery . Right ? Uh adynamo . Interestingly enough .Marketing: {vocalsound}Industrial Designer: Um we could use solar cells . Or a device that was not n not further specified that provides kinetic energy . Such as like watches you know .Where you just move them m move the the actual device and this pr uh provides it with with uh some energy . So um obviously I personally have to say that dynamo is out of the question really .Project Manager:{vocalsound}User Interface: Mm .Marketing: {vocalsound}Industrial Designer: You don't wanna wind up your remote control before you can use it right ? Um solar cell is interesting . {vocalsound} May fail though ,every here and there .User Interface: Would you have to leave it by the window ?Industrial Designer: Mm . YeahUser Interface: {gap} yeah . {vocalsound}Industrial Designer: . Or you know you lose it , it lies behindthe couch for a weekUser Interface: Yeah .Industrial Designer: and {disfmarker} yeah mm .Project Manager: Works well in Arizona but in Edinburgh not so {disfmarker}Industrial Designer: Always the {disfmarker} you{disfmarker} But {disfmarker}Marketing: Y probably not yeah .Industrial Designer: exactly .User Interface: Yeah .Industrial Designer: Um the kinetic energy thing um might work , um but the same problem . You leaveit lying around and you first have to shake it before it it starts to work .Marketing: {vocalsound}Industrial Designer: So I'd say what we're stuck with really is um the basic battery . Which also makes a base stationbasically obsolete . We don't need that then . Um {disfmarker} However our interface options are push-buttons . In which uh in the production of which or in manufacture of which um our company is expert . Um{disfmarker} However we've discussed that scroll wheels are a better option . And they are possible . We have an okay for scroll wheels . Okay . Um however {vocalsound} when it comes to the scroll wheel of the iPodI've one big objection and that is that we have to fit an L_C_D_ into the remote control as well . This however may exclude certain um materials . If you have a squishy uh kind of remote control , then an L_C_D_screen may be affected by the movement . Hence we might not be able to put it in there . So um {disfmarker} There's also restrictions {vocalsound} to , when it comes to the chip . If we have a more sophistic uhsophisticated scroll wheel rather than this very basic uh set-up that we that I've just presented , um the chip has to be more s more sophisticated and thus more expensive as well . I don't have any details to , when itcomes to the cost but um it will be a significant difference . I'd rather say drop the titanium and therefore let's have a more sophisticated chip , but that's not up to me to decide really . {vocalsound} So that's for the forthe scroll wheel . Um it limits our choice and squishy is hip , so I'd say rather not go for for that . Let's see now . Um um solar cells cannot be used on a curved or latex um surface or um remote control . But obviouslythat's not our problem um since we have decided or against solar cells , I assume right ? Or is anybody still {disfmarker}Marketing: Mm .User Interface: Yeah .Project Manager: {vocalsound} No I think I think batteriesare probably the way to go .Industrial Designer: alright .Marketing: No . Hmm .Industrial Designer: {vocalsound} Alright .User Interface: Yeah .Industrial Designer: Uh which makes it very conventional but thereforetraditional I assume . Um {disfmarker} Um {disfmarker} With the titanium um we cannot make it a curved design . We would just be able to make it flat and and um yeah a straight design pretty much . Which Iassume would exclude uh some of the more sophisticated versions . {vocalsound} {vocalsound}User Interface: Would the sort of {vocalsound} spongy and the the plasticky thing {disfmarker} y you can get thosemobile phones that initially have a {disfmarker} it is plastic but then they have sort of a a s a cover on it which is just sort of soft and stuff .Marketing: Mm . Like a covering . Yeah .User Interface: So I don't know if that"}
+{"doc_id":"doc_24","qid":"","text":"User Interface: Hmm .Industrial Designer: {vocalsound}Project Manager: Good morning everybody .Industrial Designer: {vocalsound} Good morning . {vocalsound}Project Manager: {vocalsound}User Interface:{vocalsound} Good morning .Marketing: Good morning .Project Manager: So , we are asked to to make uh uh a new remote control for television . And the characteristics of this new remote control should be originaland trendy and of course user user friendly . So people can {gap} can use it without any any problem .User Interface: {vocalsound}Project Manager: {gap} .Industrial Designer: {vocalsound}Project Manager: I don'tknow .Industrial Designer: {vocalsound}Project Manager: {vocalsound}User Interface: {vocalsound} {vocalsound}Industrial Designer: Well , I think we should set the the points to to drive the project and uhUserInterface: Mm . B did you send us an email about this ?Project Manager: Uh , not yet ,User Interface: {vocalsound}Industrial Designer: {vocalsound}Project Manager: but if you want {disfmarker}User Interface: Yeah ,we we received an email about this uh d designs . {vocalsound}Project Manager: Do you want do you want me to send you a mail ?Industrial Designer: {vocalsound}User Interface: {vocalsound} Ah it's Okay .{vocalsound}Project Manager: {vocalsound} Or {disfmarker}Industrial Designer: {vocalsound}Marketing: Or you can put it in the shared folder .User Interface: Yeah , you see the email ? You {gap} email . The v very{disfmarker} no , no the first one .Marketing: No , I didn't get it .User Interface: It's inside .Project Manager: Uh {disfmarker}Marketing: This one .User Interface: No , no .Marketing: No .User Interface: The third one .Oh , you didn't get anything .Marketing: No , {gap} .User Interface: It's strange . {vocalsound} {vocalsound} Mm . {vocalsound}Project Manager: {gap} .User Interface: I got an email about the dis about thediscussion . Yeah .Project Manager: You get email , {gap} . {vocalsound}User Interface: I dunno from who .Industrial Designer: Yeah , from the account manager .Marketing: {vocalsound}User Interface: {vocalsound}From the account manager . You have received the same email , right ?Industrial Designer: Yeah .User Interface: Yeah .Marketing: I think it's for your guys to {vocalsound} how to design it all the aspects so you needthat information .User Interface: Yeah .Industrial Designer: Yeah , I think so .User Interface: Yeah , so each of us has a role to do .Marketing: YeahProject Manager: SMarketing: {vocalsound} I think {gap} assign youruh roles .User Interface: In each {disfmarker}Project Manager: For each for each one .User Interface: We already have our role .Marketing: For each person , yeah .User Interface: {vocalsound} 'Kay , we can{disfmarker}Project Manager: So there are {disfmarker} so we have three {disfmarker}User Interface: So there are three kinds of designs , that's all .Project Manager: f yeah . We have functional design , conceptualdesign , and detail design .User Interface: Okay , alright . {vocalsound}Project Manager: So , who will be the the responsible for the functional design ? Any any volunteer ?Industrial Designer: {vocalsound} I think ouruh responsibilities will be assigned when we {disfmarker} in our mail we received from the account manager .User Interface: {vocalsound} Yeah , yeah .Industrial Designer: UhUser Interface: I'm doing the interface.Project Manager: You are doing thIndustrial Designer: No , I'm doing the interface . {vocalsound}Project Manager: {gap} .User Interface: Are you using the {disfmarker} you are doing the in {disfmarker}IndustrialDesigner: Yeah I I'm I'm {disfmarker} Well , maybe we have {disfmarker} okay so I {gap} industrial design . It was a little confusion about my uh {disfmarker}Project Manager: {vocalsound}User Interface: Ah{vocalsound} {disfmarker}Industrial Designer: but it's alright .Project Manager: Okay , I'll for industrial design .User Interface: Okay .Industrial Designer: Yeah .Project Manager: Okay . And and you {disfmarker}Norman ?User Interface: Mm ? Um working on i . {vocalsound} User interface . {vocalsound}Industrial Designer: User .Project Manager: And {disfmarker} And {disfmarker}Marketing: Uh , I'm into marketing .ProjectManager: {gap} doing the marketing .Marketing: {gap} yeah nothing much in the project .Project Manager: Nothing related here to the {disfmarker}Marketing: Marketing in this design .User Interface: Yes .Marketing:A design is basically for industrial design and the user interface .Project Manager: {vocalsound}User Interface: You see the second mail ? Yeah , it's inside . Go down . Appendix .Marketing: Yeah , this is {gap} .UserInterface: See there's a role for everybody .Marketing: Yeah , that's right ,User Interface: Even for the marketing .Marketing: first {gap} . {gap} us user define .Project Manager: Next {gap} .User Interface: But look atyour role , your marketing role .Marketing: There's a trend watching .Project Manager: I don't know .User Interface: Yeah , that's your role .Project Manager: I {gap} .Industrial Designer: Well , I think we can have alittle discussion about what has to be doneProject Manager: {vocalsound}Industrial Designer: and what are your ideas about the {disfmarker}Project Manager: About the design or {disfmarker} Maybe we'll discuss thislater , no ?Industrial Designer: Well , w we want to have a new re remote control for for T_V_ distribution I guess .Project Manager: Mm-hmm .Industrial Designer: So we have to {vocalsound} plan how how it would bedeveloped and uhUser Interface: Mm .Marketing: Yeah .Industrial Designer: how we can make it work {vocalsound} .User Interface: Yes .Marketing: I mean working remotes we already have . This will be somethingdifferent from the other remotes {disfmarker} remote controls .Industrial Designer: {vocalsound}Project Manager: What we we have to keep in mind the {disfmarker} these characteristics .Industrial Designer: Yeah , Idunno I {disfmarker}Project Manager: And of course it should not be very costly .Marketing: Yeah , that's right .Project Manager: So {disfmarker} {vocalsound}Industrial Designer: {vocalsound} Yeah .User Interface:Mm-hmm .Industrial Designer: {vocalsound} Well I I think that Norman and I would think about um the technical points and um we should discuss it in the next meeting , orUser Interface: Need to collect information .{vocalsound}Industrial Designer: Yeah . {vocalsound}Project Manager: About the {disfmarker} about what ?User Interface: Um . {vocalsound} I I'm part of design , perhaps . Uh , what is most important in a{disfmarker} in a remote control ? What is the most important function aspect ? Uh .Project Manager: You mean the external {gap} or {disfmarker}Industrial Designer: Well , you have to make it work .ProjectManager: {vocalsound} Yeah of g of course .User Interface: {vocalsound} That's alright .Industrial Designer: {vocalsound} That's the {vocalsound} that's the big thing .Project Manager: {vocalsound}User Interface:Yeah , it should be easy to work with .Project Manager: Yeah {gap} .Industrial Designer: Yeah .User Interface: Yeah .Industrial Designer: We can think about an interface with uh well {disfmarker}User Interface: Uh .We {disfmarker} maybe you can have a speech uh recognition interface . You just tell the television I want {disfmarker} which channel .Project Manager: You won't {disfmarker}User Interface: Or or you can say forexample , um {disfmarker} {vocalsound} I want uh to list all the programme tonight . Y you know {gap} , instead of {gap} uh remote control it's doing the {disfmarker} some searching for you , so you don't have tolook for the channel you want . Just say maybe I just want to press {disfmarker} I wanna have a button for all the movies tonight . Or a button for all the magazines , all the information {disfmarker} documentarytonight . And then you list a few , and I will choose from the list . So instead of pressing the channel number , I am choosing the programmes directly . Yeah , that's one way of uh making it useful .Industrial Designer:Yeah , yeah .Project Manager: I I think if we include a lot of technology on the remote control it will be very costly .User Interface: No , because {disfmarker} no ,Project Manager: S {vocalsound}User Interface: it's notvery {disfmarker} a lot . Th this information exists . For example you can get um {vocalsound} {disfmarker}Project Manager: Like s uh you you you say we can use speech .User Interface: You can use uh {disfmarker}well for example {disfmarker} anything . {vocalsound} The {vocalsound} the idea of using speech to reduce the button , but uh and it's more natural . Yeah .Industrial Designer: I {disfmarker} I think if you want t tochoose uh from a list of programme or or something like that you you may have to to use uh w uh I dunnoMarketing: I'm a {disfmarker} okay .User Interface: Yeah . Yeah .Marketing: I mean the main uh function ofremote control is to have something in the handProject Manager: In the hand .Marketing: and we should be very careful about the size of the remote control .Project Manager: Yeah .User Interface: Yeah .IndustrialDesigner: Yeah .Marketing: If we are going to add a speech interface , I'm not sure with {gap} trendy slim size of the remote control it would be able to put a speech recogUser Interface: Yeah . Yes , possible.Marketing: if you want to put a speech recognition system f interface for that I think the T_V_ itself could have it .User Interface: Yeah . But {disfmarker}Industrial Designer: Yeah .Marketing: And I could talk to theT_V_ {disfmarker} television itself .Project Manager: Except if if you are far from the T_V_ .Marketing: I need not have an {disfmarker}User Interface: Yeah . {vocalsound}Industrial Designer: {vocalsound}Marketing:I mean we have some {gap} or something , different technology but {disfmarker}Project Manager: This is {vocalsound} it's {disfmarker}User Interface: Yeah , yeah . But th the main idea I wanted to s I wanted to sayis that um {vocalsound} there should be a function , instead of choosing the ch T_V_ channel , there's a option you can choose , either T_V_ channels or or pr or the or the contain or the contents of the programme.Industrial Designer: On the content .Marketing: Mm-hmm , yeah .Industrial Designer: Yeah , yeah it's it's a good idea it's a good ideaProject Manager: Mm-hmm .User Interface: So it's more powerful . Yeah .IndustrialDesigner: but I I think that technically it would be um a little bit uh uh more tricky to to achieve this than just to {disfmarker}User Interface: No . No , because you see now all the T_V_ programmes are available onthe webs . They they are {disfmarker} they are {disfmarker} they are available in X_M_L_ format or whatever the format . We don't care . We just say that this are some content . We just want to retrieve the contentand then classi sort them by the types of programmes . Some of the websites they already provide this service ,Industrial Designer: Yeah yeah .User Interface: so we can just use the service available . Download it uhto the {disfmarker} to this remote control .Project Manager: Mm .User Interface: And then there's {disfmarker} there are only six buttons for six categories , or sev seven . The most there are only seven buttons . So Ijust choose the category one and you reuse the same button , for example to to choose among the the sorted list the programme you want , so {vocalsound} you don't have to choose among hundred channels , if youhave hundred channels , you just have six buttons , seven buttons .Project Manager: Yeah we should also optimise the the number of buttons .User Interface: Yeah , yeah .Industrial Designer: Well I I I I think that jjust by using navigation buttons and the user interface on the screen we are able to uh navigate uh through the {disfmarker} Well channel programme or contents or {disfmarker} in an easy way , so{disfmarker}Project Manager: This is {gap} good idea .User Interface: Yeah . Ah , yes . So {gap} . Yeah . Yeah , so you don't have to display here , just display on the T_V_ screen , right ?Industrial Designer: Yeah inthe dis display on the T_V_ screenUser Interface: Good idea {vocalsound} . Okay .Industrial Designer: and just uh with the with your remote control would just navigate through the fUser Interface: I think I think thatwill be revol revolutionary {vocalsound} .Project Manager: {vocalsound}Industrial Designer: {vocalsound}User Interface: Because all the T_V_ uh the the remote control have all numbers , lots of buttons and then youdunno what to choose in the end . Yeah . {vocalsound} Alright . {vocalsound}Industrial Designer: Yeah , yeah . So {vocalsound} {disfmarker} I think for for the technical points we have to to to check how to gatherthe data from programme or contents and all this stuffUser Interface: Okay .Project Manager: So we have five minutes to {disfmarker}User Interface: Ah w w we have sometimes to use the white-board .ProjectManager: Ah you can y you can you can use it if you {disfmarker} so , can weIndustrial Designer: {vocalsound}User Interface: {vocalsound} Five minutes .Marketing: And another interesting idea for this would be tohave an light adaptation system depending upon the picture of {disfmarker}User Interface: Okay . Okay .Marketing: So , I mean , if you're watching a movie and suddenly there is a dark uh {vocalsound} some darkscene , the lights adapt themself .User Interface: Yeah .Project Manager: SUser Interface: Yeah .Marketing: The lighting in the room changes .Industrial Designer: {vocalsound}User Interface: Yeah , but we aredesigning just remote control .Project Manager: You {disfmarker} it {gap} .Marketing: I mean , we have a option in the remote control . If we want to have that option , you press that button in the remote .UserInterface: Okay .Industrial Designer: Oh right so {disfmarker}User Interface: Okay , do you want to have a conceptual remote control there , or you just want to put the function in ?Project Manager: Yeah . If if you youyou can if you want you can use th the {gap} .Industrial Designer: {vocalsound} Please , Norman , draw uh {disfmarker}User Interface: {vocalsound} Go on , draw something {gap} . {vocalsound} Mm .Marketing: Oh, I'm afraid you forgot to put your lapel .User Interface: Where is it ?Marketing: The lapel .Project Manager: Or before the before the the design that says {gap} .User Interface: Ah , okay .Industrial Designer:{vocalsound}User Interface: Where where is it ? Here .Marketing: Yeah , that one .Project Manager: Norman .Marketing: Just plug it .User Interface: Mm .Marketing: Yeah , that's right .Project Manager: Be beforebefore writing you can uh sit and that says {gap} what we what we saidUser Interface: Mm .Project Manager: then after that you can you can use the {gap} . Yeah .User Interface: Okay , alright . So so the mostfunctional des mm the most important function is to ch choo buttons to choose the content . Right ? We agree on that , right ?Industrial Designer: Okay .Project Manager: Okay .User Interface: Uh , uh first one is to uh{vocalsound} buttons i or it could be anything with {gap} buttons . Uh to choose uh content s or channels .Project Manager: Yeah .User Interface: So we have both . The user can choose w which one they want , right?Industrial Designer: Yeah , by content or by channel ,User Interface: By content or by channel .Industrial Designer: it's a good idea .User Interface: Choose by contents or by channels . And then what did we say justnow ? Other than this .Project Manager: Mm .Industrial Designer: And uh we we have to find a way how to gather information about the contents .User Interface: Okay , so technically how {disfmarker} the problemsthat {disfmarker} how to do it is to {disfmarker} how to get the content .Industrial Designer: {vocalsound} Yeah .User Interface: Challenge .Industrial Designer: I think i it's not very difficult to to browse by channelbut it's a little bit tricky to browse by contents so {disfmarker}User Interface: Okay . Content . Okay , so these we have to work it out . So this one of the problem . And uh {vocalsound} {disfmarker}IndustrialDesigner: I think that's the {gap} the things to doUser Interface: The main thing .Industrial Designer: and uh to uh reflect about itUser Interface: Okay . Alright . Alright , okay .Industrial Designer: and uh discuss it inthe next meeting .User Interface: So we are {disfmarker} we'll discuss it {disfmarker} we will get some information in the next meeting , so for now we get uh the funct this is the functional designer {gap} ? That's thefirst aspect . Right . We will {gap} get information and then we'll come back in . {gap} .Industrial Designer: Okay . Thank you everybody . {vocalsound}Project Manager: Okay . {vocalsound}User Interface: Yeah , we'llcome .Project Manager: So maybe we'll meet in maybe five minutes ? And we'll discuss the other other aspects .User Interface: Alright . Alright , okay .Industrial Designer: Okay . {vocalsound}Project Manager: Okay .Well thank you all {gap} . {vocalsound}User Interface: Thank you , mis {vocalsound}"}
+{"doc_id":"doc_25","qid":"","text":"Postdoc A: OK .Grad G: How about channelProfessor C: Yeah , go ahead .Grad E: We 're recording .Grad G: Alright .Professor C: Alright , and no crash .Postdoc A: Hmm .Grad E: I pre - crashed it .Professor C: Yeah.PhD F: Pre - crashed !PhD D: It never crashes on me .Grad E: I think it 's actually {disfmarker}PhD D: What is {disfmarker} what is that ?Grad E: it depends on if the temp files are there or not , that {disfmarker} atleast that 's my current working hypothesis ,PhD D: Ah .Grad E: that I think what happens is it tries to clear the temp files and if they 're too big , it crashes .PhD D: Ah .PhD B: When the power went out the other dayand I restarted it , it crashed the first time .Grad E: Oh , that 's right .PhD B: After the power outPhD D: So then there would be no temp files .Professor C: Yeah .PhD D: OK . {comment} Hmm .Grad E: Uh , no , itdoesn't {disfmarker} it doesn't clear those necessarily ,PhD D: Oh wait {disfmarker} It {disfmarker} it doesn't clear them , OK .Grad E: so .Professor C: Hmm , no connection .Grad E: It 's {disfmarker} i they 're calledtemp files , but they 're not actually in the temp directory they 're in the scratch , so . They 're not backed up , but they 're not erased either on power failure .PhD D: But that 's usually the meeting that I recorded , andit neve it doesn't crash on me .PhD B: Well this wasn't {disfmarker} Actually , this wasn't a before your meeting , this was , um , Tuesday afternoon when , um , uh , Robert just wanted to do a little recording ,Grad E:Oh well .PhD D: Oh {disfmarker} Oh , right .PhD B: and the power had gone out earlier in the day .PhD D: OK . Huh , OK .Professor C: I don't know when would be a good excuse for it , but I just can't wait to be givinga talk t and {disfmarker} and {disfmarker} and use the example from last week with everybody t doing the digits at once .Grad E: Yeah .Postdoc A: That was fun .Professor C: I 'd love to play somebody that .PostdocA: That was fun .PhD D: It was quick .Professor C: It was . It was really efficient .PhD B: Talk about a good noise shield . You know ? You wanted to pe keep people from listening in , you could like have that playingoutside the room . Nobody could listen in .Professor C: Yeah .PhD D: Well , I had this idea we could make our whole meeting faster that way .Professor C: Yeah . Everybody give the reports about what they were doingat exactly the same time ,PhD D: And we 'll just all leave ,PhD B: And then we 'll {disfmarker} we 'll go back later and review the individual channels ,Professor C: yeah .PhD D: and {disfmarker}Grad E: Yep , and theneveryone can listen to it later .PhD B: right ?Grad E: Yes . Absolutely .PhD B: If you wanna know what {disfmarker}Professor C: Actually isn't that what we have been doing ?PhD D: Yeah .Grad E: It 's what it soundslike .PhD B: Practically , huh . With all the overlaps .Postdoc A: Yeah .Professor C: What are we doing ?Grad E: I {disfmarker} Since I 've been gone all week , I didn't send out a reminder for an agenda , so .ProfessorC: Yeah , and I 'm just {disfmarker}Grad E: Do we have anything to talk about or should we just read digits and go ?PhD B: I wouldn't mind hearing how the conference was .Professor C: What conference ?PhD D: Uh ,I had one question about {disfmarker}Grad E: Yeah , really . It 's all a blur .PhD D: Aren't the UW folks coming this weekend ?Grad E: Yep .PhD F: No . The next ,PhD D: Next weekend ?Grad E: Next weekend , weekfrom {disfmarker}PhD F: right ?Professor C: That is right . The next weekend .PhD D: Sorry , not {disfmarker} not {disfmarker} not the days coming up , but {disfmarker}PhD F: It 's like the {disfmarker}Grad E: Aweek from Saturday .PhD D: Yeah ,Professor C: That 's when they 're coming .PhD D: within ten days .Professor C: That 's correct .PhD D: So , are we {disfmarker} do we have like an agenda or anything that weshould be {disfmarker}Professor C: No , but that would be a good idea .PhD D: OK .Professor C: Why don't we wPhD F: So {disfmarker} so the deal is that I can , um , {vocalsound} uh , I can be available after , uh ,like ten thirty or something . I don't know how s how early you wanted to {disfmarker}Professor C: They 're not even gonna be here until eleven or so .Grad E: That 's good .PhD F: Oh , OK . So {disfmarker}ProfessorC: Cuz they 're flying up that day .PhD D: Wait , this is on {disfmarker} on Sunday ?Professor C: Saturday .PhD D: Or Saturday ?Professor C: Saturday .PhD F: Saturday .Professor C: S Saturday .PhD D: OK .Grad E:Well , yProfessor C: Yeah .PhD F: Mm - hmm .Grad E: Eurospeech is due on Friday and then I 'm going down to San {disfmarker} uh , San Jose Friday night , so , if {disfmarker} you know , if we start nice and lateSaturday that 's a good thing .Professor C: No , I mean , they 're flying up from {disfmarker} from {disfmarker}Grad E: Seattle .Professor C: down from Seattle .Grad E: They 're flying from somewhere to somewhere,Professor C: Yeah , and they 'll end up here . So b and also Brian Kingsbury is actually flying from , uh , the east coast on that {disfmarker} that morning .Postdoc A: Excellent .Professor C: So , i I {disfmarker} I willbe {disfmarker} I mean , he 's taking a very early flightPhD F: Oh .Professor C: and we do have the time work difference running the right way , but I still think that there 's no way we could start before eleven . Itmight end up really being twelve . So when we get closer we 'll find people 's plane schedules , and let everybody know . Uh , So . That 's good .Grad E: But , uh , yeah maybe an agenda , or at least some things to talkabout would be a good idea .Professor C: Well we can start gathering those {disfmarker} those ideas , but then we {disfmarker} we should firm it up by next {disfmarker} next Thursday 's meeting .Postdoc A: Will wehave time to , um , to prepare something that we {disfmarker} in the format we were planning for the IBM transcribers by then , or {disfmarker} ?Grad E: Oh yeah . Absolutely .Postdoc A: OK .Grad E: So have youheard back from Brian about that , Chuck ?PhD B: Yes , um , he 's {disfmarker} I {disfmarker} I 'm sorry , I should have forwarded that along . Uh , {vocalsound} oh I {disfmarker} I think I mentioned at the lastmeeting , he said that , um , he talked to them and it was fine {disfmarker} with the beeps they would be {disfmarker} That 's easy for them to do .Grad E: Great . OK . So , uh , oh , though Thi - Thilo isn't here , um ,but , uh , I {disfmarker} I have the program to insert the beeps . What I don't have is something to parse the output of the channelized transcripts to find out where to put the beeps , but that should be really easy todo . So do we have a meeting that that 's been done with ,Postdoc A: He 's {disfmarker} he 's {disfmarker}Grad E: that we 've tightened it up to the point where we can actually give it to IBM and have them try it out?Postdoc A: He generated , um , a channel - wise presegmented version of a meeting , but it was Robustness rather than EDU so I guess depends on whether we 're willing to use Robustness ?PhD B: Well for thisexperiment I think we can use pre pretty much anything .Grad E: Mm - hmm .Postdoc A: OK .PhD B: This experiment of just {disfmarker}Grad E: Well we had {disfmarker} we had talked about doing maybe EDU as agood choice , though . Well , {vocalsound} whatever we have .PhD B: Well we 've talked about that as being the next ones we wanted to transcribe .Grad E: Right .Postdoc A: OK .PhD B: But for the purpose of sendinghim a sample one to {disfmarker} fGrad E: Yeah , maybe it doesn't matter .Postdoc A: Great .PhD B: I {disfmarker} I don't think it mattePostdoc A: I 'll {disfmarker} I 'll {disfmarker} I 'll , um , get {disfmarker} makethat available .Grad E: OK , and has it been corrected ?Postdoc A: Oh , well , wait . Um {disfmarker}Grad E: Hand - checked ? Cuz that was one of the {vocalsound} processes we were talking about as well .PhD B:Right , so we need to run Thilo 's thing on it ,Postdoc A: That 's right .PhD B: and then we go in and adjust the boundaries .Postdoc A: Yeah that 's right . Yeah , we haven't done that . I {disfmarker} I could setsomeone on that tomorrow .PhD B: Right .Grad E: And time how long it takes .PhD B: OK .Postdoc A: I think they 're coming {disfmarker}PhD B: And we probably don't have to do necessarily a whole meeting for that ifwe just wanna send them a sample to try .Postdoc A: OK . What would be a good number of minutes ?PhD B: I don't know , maybe we can figure out how long it 'll take @ @ to {disfmarker} to do .Grad E: Um , I don'tknow , it seems to me w we probably should go ahead and do a whole meeting because we 'll have to transcribe the whole meeting anyway sometime .Professor C: Yes except that if they had {disfmarker} if there wasa choice between having fifteen minutes that was fully the way you wanted it , and having a whole meeting that didn't get at what you wanted for them {disfmarker} It 's just dependent of how much {disfmarker}GradE: Like I {disfmarker} I mean I guess if we have to do it again anyway , but , uhProfessor C: Yeah .PhD B: I guess , the only thing I 'm not sure about is , um , how quickly can the transcribers scan over and fix theboundaries ,Postdoc A: Mm - hmm .PhD B: and {disfmarker} I mean , is it pretty easy ?Grad E: I think it 's gonna be one or two times real time at {disfmarker} Wow , excuse me , two or more times real time , right ?Cuz they have to at least listen to it .Professor C: Can we pipeline it so that say there 's , uh , the transcriber gets done with a quarter of the meeting and then we {disfmarker} you run it through this other {disfmarker}other stuff ? Uh ,Grad E: Well the other stuff is I B I 'm just thinking that from a data {disfmarker} keeping - track - of - the - data point of view , it may be best to send them whole meetings at a time and not try tosend them bits and pieces .Professor C: OK , so . Oh , that 's right . So the first thing is the automatic thing , and then it 's {disfmarker} then it 's {disfmarker} then it 's the transcribers tightening stuff up ,Grad E:Right .Postdoc A: Mm - hmm .Professor C: and then it 's IBM .Postdoc A: Mm - hmm , mm - hmm .Grad E: Right .Professor C: OK , so you might as well ha run the automatic thing over the entire meeting , and then{disfmarker} and then , uh , you would give IBM whatever was fixed .Postdoc A: And have them fix it over the entire meeting too ?Grad E: Right .Professor C: Well , yeah , but start from the beginning and go to theend , right ? So if they were only half way through then that 's what you 'd give IBM .Postdoc A: OK .Professor C: Right ?PhD B: As of what point ? I mean . The {disfmarker} I guess the question on my mind is do wewait for the transcribers to adjust the marks for the whole meeting before we give anything to IBM , or do we go ahead and send them a sample ? Let their {disfmarker}Professor C: Why wouldn't we s @ @ w i if theywere going sequentially through it , why wouldn't we give them {disfmarker} I mean i are we trying to get something done by the time Brian comes ?PhD B: Well I {disfmarker} I {disfmarker} I mean , I don't know.Grad E: That was the question . Though .Professor C: So if we {disfmarker} if we were , then it seems like giving them something , whatever they had gotten up to , would be better than nothing .PhD B: Yeah . Uh .That {disfmarker} I agree . I agree .Grad E: Well , I don't think {disfmarker} I mean , h they {disfmarker} they typically work for what , four hours , something like that ?Postdoc A: Hmm , I gue hmm .Grad E: I thinkthe they should be able to get through a whole meeting in one sitting . I would think , unless it 's a lot harder than we think it is , which it could be , certainly .Postdoc A: If it 's got like for speakers then I guess{disfmarker} I mean if {disfmarker}PhD B: We 're just doing the individual channels ,Grad E: Or seven or eight .PhD B: right ?Postdoc A: Individual channels . Yeah .PhD B: So it 's gonna be , depending on the numberof people in the meeting , um ,Postdoc A: I guess there is this issue of , you know , if {disfmarker} if the segmenter thought there was no speech on {disfmarker} on a particular stretch , on a particular channel ,GradE: Well {disfmarker}Postdoc A: and there really was , then , if it didn't show up in a mixed signal to verify , then it might be overlooked , so , I mean , the question is \" should {disfmarker} should a transcriber listen tothe entire thing or can it g can it be based on the mixed signal ? \" And I th eh so far as I 'm concerned it 's fine to base it on the mixed signal at this point , and {disfmarker}Grad E: That 's what it seems to me too , inthat if they need to , just like in the other cases , they can listen to the individual , if they need to .Postdoc A: And that cuts down the time . Yeah .Grad E: But they don't have to for most of it .Postdoc A: Yeah , that 'sgood . So . Yeah . Good , good , good .PhD B: I don't see how that will work , though .Postdoc A: What {disfmarker} what aspect ?Professor C: So you 're talking about tightening up time boundaries ?PhD B: Yeah.Professor C: So how do you {disfmarker}Grad E: So , they have the normal channeltrans interface where they have each individual speaker has their own line ,PhD B: Yeah .Grad E: but you 're listening to the mixedsignal and you 're tightening the boundaries , correcting the boundaries . You shouldn't have to tighten them too much because Thilo 's program does that .Postdoc A: Should be pretty good , yeah .PhD D: Except for{vocalsound} it doesn't do well on short things , remember .Grad E: Right , so {disfmarker} so you 'll have to I {disfmarker}PhD D: It will miss them . It will miss most of the really short things .Grad E: Uh - huh .PhDD: Like that .Postdoc A: But those would be {disfmarker} those would be {disfmarker}PhD D: Uh - huh . It will {disfmarker} it will miss {disfmarker}Grad E: Uh - huh !PhD D: Yeah , you have to say \" uh - huh \" moreslowly to {disfmarker} to get cGrad E: Sorry .PhD D: No , I 'm s I 'm actually serious .Grad E: I 'll work on that .PhD D: So it will miss stuff like that which {disfmarker}PhD B: I {disfmarker}Grad E: Well , so{disfmarker} so that 's something that the transcribers will have to {disfmarker} have to do .Postdoc A: Yeah , but presumably , most of those they should be able to hear from the mixed signal unless they 'reembedded in the heavil heavy overlap section when {disfmarker} in which case they 'd be listening to the channels anyway .PhD B: That 's {disfmarker} that 's what I 'm {disfmarker} I 'm concerned about the part.PhD D: Right , and that 's what I 'm not sure about .Postdoc A: Yeah , I am too . And I think it 's an empirical question .PhD B: Can't we {disfmarker} uh couldn't we just have , um , I don't know , maybe this justdoesn't fit with the software , but I guess if I didn't know anything about Transcriber and I was gonna make something to let them adjust boundaries , I would just show them one channel at a time , with the marks ,and let them adjuPostdoc A: Oh they can {disfmarker}Grad E: Well , but then they have to do {disfmarker} but then they {disfmarker} for this meeting they would have to do seven times real time , and it wouldprobably be more than that .Postdoc A: Yeah , that 's it . Yeah .Grad E: Right ? Because they 'd have to at least listen to each channel all the way through .Postdoc A: And if {disfmarker}PhD B: But i but it 's very quick,Postdoc A: Uh - huh .PhD B: right ? I mean , you scan {disfmarker} I mean , if you have a display of the waveform .Postdoc A: Yeah .Grad E: Oh , you 're talking about visually .Postdoc A: w Well , the other problem isthe breathsGrad E: I just don't think {disfmarker}Postdoc A: cuz you also see the breaths on the waveform . I 've {disfmarker} I 've looked at the int uh , s I 've tried to do that with a single channel , and {disfmarker}and you do see all sorts of other stuff besides just the voice .PhD B: Uh - huh .Grad E: Yeah , and I {disfmarker} I think that they 're going much more on acoustics than they are on visuals .Postdoc A: Well that{disfmarker} that I 'm not sure .Grad E: So .Postdoc A: What you {disfmarker} the digital {disfmarker} what the digital task that you had your interface ? Um , I know for a fact that one of those {disfmarker} sh shecould really well {disfmarker} she could judge what th what the number was based on the {disfmarker} on the waveform .Grad E: Yeah , that 's actually true . Yeah , you 're right . You 're absolutely right . Yeah , Ifound the same thing that when I was scanning through the wave form {vocalsound} I could see when someone started to read digits just by the shapes .Postdoc A: Yeah , she could tell which one was seven .Grad E:Um , maybe .Postdoc A: Yeah .Professor C: So I don't {disfmarker} I 'm {disfmarker} I 'm now entirely confused about what they do .Grad E: But {disfmarker}Professor C: So , they 're {disfmarker} they 're looking ata mixed signal , or they 're looking {disfmarker} what {disfmarker} what are they looking at visually ?Postdoc A: Well , they have a choice . They could choose any signal to look at . I 've tried lookin but usually theylook at the mixed . But I 've {disfmarker} I 've tried looking at the single signal and {disfmarker} and in order to judge when it {disfmarker} when it was speech and when it wasn't ,Grad E: Oh .Postdoc A: but theproblem is then you have breaths which {disfmarker} which show up on the signal .Professor C: But the procedure that you 're imagining , I mean , people vary from this , is that they have the mixed signal wave formin front of them ,Postdoc A: Yes .PhD F: Postdoc A: Yes .Professor C: and they have multiple , uh , well , let 's see , there isn't {disfmarker} we don't have transcription yet . So {disfmarker} but there 's markers ofsome sort that have been happening automatically ,Postdoc A: Yes .Grad E: Right .Professor C: and those show up on the mixed signal ?Postdoc A: Oh ,Professor C: There 's a @ @ clicks ?Grad E: N the tPostdoc A: theyshow up on the separate ribbons . So you have a separate ribbon for each channel ,Professor C: There 're separate ribbons .Grad E: Right .Postdoc A: and {disfmarker} and i i it 'll be {disfmarker} because it 's beingsegmented as channel at a time with his {disfmarker} with Thilo 's new procedure , then you don't have the correspondence of the times across the bins {disfmarker} uh across the ribbons uh you could have{disfmarker}Professor C: And is there a line moving across the waveform as it goes ?Grad E: Yes .Postdoc A: Yes .Professor C: OK , so The way you 're imaging is they kind of play it , and they see oh this happened ,then this happened , then {disfmarker} and if it 's about right , they just sort of let it slide ,Postdoc A: Yeah .Grad E: Right . Right .Professor C: and if it {disfmarker} if it {disfmarker} there 's a question on something ,they stop and maybe look at the individual wave form .Postdoc A: Oh , well not {disfmarker} not \" look \" .Grad E: Right . Well , they wouldn't look at it {pause} at this point . They would just listen .Professor C: They{disfmarker} they might look at it , right ?Grad E: Well , the problem is that the {disfmarker} the interface doesn't really allow you to switch visuals .Postdoc A: Not very quickly .Grad E: The problem is that{disfmarker} that {disfmarker} the Tcl - TK interface with the visuals , it 's very slow to load waveforms .Postdoc A: You can but it takes time . That 's it .Professor C: Uh - huh .Grad E: And so when I tried {disfmarker}that {disfmarker} that was the first thing I tried when I first started it ,Postdoc A: Oh , oh . Visually . You can {disfmarker} you can switch quickly between the audio ,Grad E: right ?Postdoc A: but you just can't get thevisual display to show quickly . So you have to {disfmarker} It takes , I don't know , three , four minutes to {disfmarker} Well , I mean , it takes {disfmarker} it takes long enough {disfmarker}PhD D: Yeah , it 's veryslow to do that .Postdoc A: It takes long enough cuz it has to reload the I {disfmarker} I don't know exactly what it 's doing frankly cuz {disfmarker} but it t it takes long enough that it 's just not a practical alternative.PhD D: That wGrad E: Well it {disfmarker} it does some sort of shape pre - computation so that it can then scroll it quickly ,Grad G: But you can cancel that .PhD D: Yeah .Grad E: yeah . But then you can't change theresolution or scroll quickly .Grad G: Oh , really ?Postdoc A: Now you could set up multiple windows , each one with a different signal showing , and then look between the windows .Grad E: So .Grad G: Huh !Postdoc A:Maybe that 's the solution .Grad E: I mean , we {disfmarker} we could do different interfaces ,Grad G: What if you preload them all ?Grad E: right ? I mean , so {disfmarker} so we could use like X Waves instead ofTranscriber ,Postdoc A: Yeah .Grad E: and it loads faster , certainly .Grad G: What if you were to preload all the channels or {disfmarker} or initially {disfmarker}Grad E: Well that 's what I tried originally .Grad G: likedoesn't {disfmarker}Grad E: So I {disfmarker} I actually before , uh , Dave Gelbart did this , I did an interface which showed each waveform and ea a ribbon for each waveform ,Grad G: Mm - hmm .Grad E: but the"}
+{"doc_id":"doc_26","qid":"","text":"Professor C: OK . So uh , he 's not here ,PhD D: So .Professor C: so you get to {disfmarker}PhD D: Yeah , I will try to explain the thing that I did this {disfmarker} this week {disfmarker} during this week .Professor C:Yeah .PhD D: Well eh you know that I work {disfmarker} I begin to work with a new feature to detect voice - unvoice .PhD E: Mm - hmm .PhD D: What I trying two MLP to {disfmarker} to the {disfmarker} with thisnew feature and the fifteen feature uh from the eh bus base systemPhD E: The {disfmarker} the mel cepstrum ?PhD D: No , satly the mes the Mel Cepstrum , the new base system {disfmarker} the new base system.PhD E: Oh the {disfmarker}PhD D: Yeah , we {disfmarker}PhD E: OK , the Aurora system .PhD D: yeah the Aurora system with the new filter , VAD or something like that .PhD E: OK .PhD D: And I 'm trying two MLP ,one one that only have t three output , voice , unvoice , and silence ,Professor C: Mm - hmm .PhD D: and other one that have fifty - six output . The probabilities of the allophone . And I tried to do some experiment ofrecognition with that and only have result with {disfmarker} with the MLP with the three output . And I put together the fifteen features and the three MLP output . And , well , the result are li a little bit better , but moreor less similar .Professor C: Uh , I {disfmarker} I 'm {disfmarker} I 'm slightly confused .PhD E: Hmm .Professor C: What {disfmarker} what feeds the uh {disfmarker} the three - output net ?PhD D: Voice , unvoice ,and siProfessor C: No no , what feeds it ? What features does it see ?PhD D: The feature {disfmarker} the input ? The inputs are the fifteen {disfmarker} the fifteen uh bases feature .Professor C: Uh - huh .PhD D: the{disfmarker} with the new code . And the other three features are R , the variance of the difference between the two spectrum ,Professor C: Uh - huh .PhD D: the variance of the auto - correlation function , except the{disfmarker} the first point , because half the height value is R - zeroProfessor C: Mm - hmm . Mm - hmm . Mm - hmm . Mm - hmm .PhD D: and also R - zero , the first coefficient of the auto - correlation function . Thatis like the energy with these three feature ,Professor C: Right .PhD D: also these three feature .Professor C: You wouldn't do like R - one over R - zero or something like that ? I mean usually for voiced - unvoiced you 'ddo {disfmarker} yeah , you 'd do something {disfmarker} you 'd do energyPhD D: Yeah .Professor C: but then you have something like spectral slope , which is you get like R - one ov over R - zero or something likethat .PhD D: Uh yeah .PhD E: What are the R 's ?Professor C: R correlations .PhD E: I 'm sorry I missed it .PhD D: No , R c No .PhD E: Oh .PhD D: Auto - correlation ? Yes , yes , the variance of the auto - correlationfunction that uses thatProfessor C: Ye - Well that 's the variance , but if you just say \" what is {disfmarker} \" I mean , to first order , um yeah one of the differences between voiced , unvoiced and silence is energy .Another one is {disfmarker} but the other one is the spectral shape .PhD D: Yeah , I I 'll {disfmarker} The spectral shape ,Professor C: Yeah , and so R - one over R - zero is what you typically use for that .PhD D: yeah. No , I don't use that {disfmarker} I can't use {disfmarker}Professor C: No , I 'm saying that 's what people us typically use .PhD D: Mmm .Professor C: See , because it {disfmarker} because this is {disfmarker} thisis just like a single number to tell you um \" does the spectrum look like that or does it look like that \" .PhD D: Mm - hmm .Grad A: Oh . R {disfmarker} R {disfmarker} R - zero .Professor C: Right ?PhD D: Mm - hmm.Professor C: So if it 's {disfmarker} if it 's um {disfmarker} if it 's low energy uh but the {disfmarker} but the spectrum looks like that or like that , it 's probably silence .PhD D: Mm - hmm .Professor C: Uh but if it 'slow energy and the spectrum looks like that , it 's probably unvoiced .PhD D: Yeah .Professor C: So if you just {disfmarker} if you just had to pick two features to determine voiced - unvoiced , you 'd pick somethingabout the spectrum like uh R - one over R - zero , um and R - zeroPhD D: Mm - hmm , OK .Professor C: or i i you know you 'd have some other energy measure and like in the old days people did like uh zero crossingcounts .PhD D: Yeah , yeah .Professor C: Right . S SPhD D: Well , I can also th use this .Professor C: Yeah . Um ,PhD D: Bec - because the result are a little bit better but we have in a point that everything is more orless the similar {disfmarker} more or less similar .Professor C: Yeah . But umPhD D: It 's not quite better .Professor C: Right , but it seemed to me that what you were what you were getting at before was that there issomething about the difference between the original signal or the original FFT and with the filter which is what {disfmarker} and the variance was one take uh on it .PhD D: Yeah , I used this too .Professor C: Right . Butit {disfmarker} it could be something else . Suppose you didn't have anything like that . Then in that case , if you have two nets , Alright , and this one has three outputs , and this one has fPhD D: Mm - hmm .ProfessorC: whatever , fifty - six , or something ,PhD D: Mm - hmm .Professor C: if you were to sum up the probabilities for the voiced and for the unvoiced and for the silence here , we 've found in the past you 'll do better atvoiced - unvoiced - silence than you do with this one . So just having the three output thing doesn't {disfmarker} doesn't really buy you anything . The issue is what you feed it .PhD D: Yeah . Yeah , I have{disfmarker} yeah .Professor C: So uhPhD D: No {disfmarker}PhD E: So you 're saying take the features that go into the voiced - unvoiced - silence net and feed those into the other one , as additional inputs , ratherthan having a separate {disfmarker}Professor C: w W well that 's another way .PhD D: Yeah .Professor C: That wasn't what I was saying but yeah that 's certainly another thing to do . No I was just trying to say if you bif you bring this into the picture over this , what more does it buy you ?PhD E: Mmm .Professor C: And what I was saying is that the only thing I think that it buys you is um based on whether you feed it somethingdifferent . And something different in some fundamental way . And so the kind of thing that {disfmarker} that she was talking about before , was looking at something uh ab um {disfmarker} something uh about thedifference between the {disfmarker} the uh um log FFT uh log power uh and the log magnitude uh F F - spectrum uh and the um uh filter bank .PhD D: Yeah .Professor C: And so the filter bank is chosen in fact to sortof integrate out the effects of pitch and she 's saying you know trying {disfmarker} So the particular measure that she chose was the variance of this m of this difference , but that might not be the right number .PhD D:Mm - hmm . Maybe .Professor C: Right ? I mean maybe there 's something about the variance that 's {disfmarker} that 's not enough or maybe there 's something else that {disfmarker} that one could use , but I thinkthat , for me , the thing that {disfmarker} that struck me was that uh you wanna get something back here , so here 's {disfmarker} here 's an idea . uh What about it you skip all the {disfmarker} all the really cleverthings , and just fed the log magnitude spectrum into this ?PhD D: Ah {disfmarker} I 'm sorry .Professor C: This is f You have the log magnitude spectrum , and you were looking at that and the difference between thefilter bank and {disfmarker} and c c computing the variance .PhD D: Yeah . Mm - hmm .Professor C: That 's a clever thing to do .PhD D: Mm - hmm .Professor C: What if you stopped being clever ? And you just tookthis thing in here because it 's a neural net and neural nets are wonderfulPhD D: Mm - hmm .Professor C: and figure out what they can {disfmarker} what they most need from things , and I mean that 's what they 'regood at .PhD D: Yeah .Professor C: So I mean you 're {disfmarker} you 're {disfmarker} you 're trying to be clever and say what 's the statistic that should {disfmarker} we should get about this difference but uh infact , you know maybe just feeding this in or {disfmarker} or feeding both of them inPhD E: Hmm .Professor C: you know , another way , saying let it figure out what 's the {disfmarker} what is the interaction ,especially if you do this over multiple frames ?PhD D: Mm - hmm .Professor C: Then you have this over time , and {disfmarker} and both kinds of measures and uh you might get uh something better .PhD D: Mm -hmm .Professor C: Um .PhD E: So {disfmarker} so don't uh {disfmarker} don't do the division , but let the net have everything .Professor C: That 's another thing you could do yeah . Yeah .PhD D: Yeah .Professor C:Um . I mean , it seems to me , if you have exactly the right thing then it 's better to do it without the net because otherwise you 're asking the net to learn this {disfmarker} you know , say if you wanted to learn how todo multiplication .PhD E: Mm - hmm .Professor C: I mean you could feed it a bunch of s you could feed two numbers that you wanted to multiply into a net and have a bunch of nonlinearities in the middle and train it toget the product of the output and it would work . But , it 's kind of crazy , cuz we know how to multiply and you {disfmarker} you 'd be you know much lower error usually {vocalsound} if you just multiplied it out . Butsuppose you don't really know what the right thing is . And that 's what these sort of dumb machine learning methods are good at . So . Um . Anyway . It 's just a thought .PhD E: How long does it take , Carmen , totrain up one of these nets ?PhD D: Oh , not too much .PhD E: Yeah .PhD D: Mmm , one day or less .PhD E: Hmm .Professor C: Yeah , it 's probably worth it .Grad A: What are {disfmarker} what are your f uh frameerror rates for {disfmarker} for this ?PhD D: Eh fifty - f six uh no , the frame error rate ?Grad A: OPhD D: Fifty - six I think .Professor C: Is that {disfmarker} maybe that 's accuracy ?PhD D: Percent .Grad A: Fif - fifty -six percent accurate for v voice - unvoicePhD D: The accuracy . Mm - hmm . No for , yes f I don't remember for voice - unvoice ,Grad A: Oh , OK .PhD D: maybe for the other one .Grad A: OK .Professor C: Yeah , voiced- unvoiced hopefully would be a lot better .PhD D: for voiced . I don't remeGrad A: Should be in nineties somewhere .PhD D: Better . Maybe for voice - unvoice .Grad A: Right .PhD D: This is for the other one . I should{disfmarker} I can't show that .Grad A: OK .PhD D: But I think that fifty - five was for the {disfmarker} when the output are the fifty - six phone .Grad A: Mm - hmm .PhD D: That I look in the {disfmarker} with theother {disfmarker} nnn the other MLP that we have are more or less the same number . Silence will be better but more or less the same .Professor C: I think at the frame level for fifty - six that was the kind of numberwe were getting for {disfmarker} for uh um reduced band width uh stuff .PhD D: I think that {disfmarker} I {disfmarker} I {disfmarker} I think that for the other one , for the three output , is sixty sixty - two , sixtythree more or less .Grad A: Mm - hmm .Professor C: That 's all ?PhD D: It 's {disfmarker} Yeah .Professor C: That 's pretty bad .PhD D: Yeah , because it 's noise also .Grad A: Oh yeah .Professor C: Aha !PhD D: Andwe haveProfessor C: Aha ! Yeah . Yeah . OK .PhD D: I know .Professor C: But even i in {disfmarker} Oh yeah , in training . Still , Uh . Well actually , so this is a test that you should do then . Um , if you 're getting fifty -six percent over here , uh that 's in noise also , right ?PhD D: Yeah , yeah , yeah .Professor C: Oh OK . If you 're getting fifty - six here , try adding together the probabilities of all of the voiced phones here and all of theunvoiced phonesPhD D: will be {disfmarker}Professor C: and see what you get then .PhD D: Yeah .Professor C: I bet you get better than sixty - three .PhD D: Well I don't know , but {disfmarker} I th I {disfmarker} Ithink that we {disfmarker} I have the result more or less . Maybe . I don't know . I don't {disfmarker} I 'm not sure but I remember @ @ that I can't show that .Professor C: OK , but that 's a {disfmarker} That is a{disfmarker} a good check point , you should do that anyway ,PhD D: Yeah .Professor C: OK ? Given this {disfmarker} this uh regular old net that 's just for choosing for other purposes , uh add up the probabilities ofthe different subclasses and see {disfmarker} see how well you do . Uh and that {disfmarker} you know anything that you do over here should be at least as good as that .PhD D: Mm - hmm .Professor C: OK .PhD D: Iwill do that . But {disfmarker}PhD E: The targets for the neural net , uh , they come from forced alignments ?PhD D: Uh , {comment} no .Grad A: TIMIT canonical ma mappings .PhD D: TIMIT .Professor C: Oh . So ,this is trained on TIMIT .PhD E: Ah ! OK .Grad A: Yeah , noisy TIMIT .PhD D: Yeah .Professor C: OK .PhD D: Yeah this for TIMIT .Professor C: But noisy TIMIT ?Grad A: Right .PhD D: Noisy TIMIT . We have noisy TIMITwith the noise of the {disfmarker} the TI - digits . And now we have another noisy TIMIT also with the noise of uh Italian database .Professor C: I see . Yeah . Well there 's gonna be {disfmarker} it looks like there 'sgonna be a noisy uh {disfmarker} some large vocabulary noisy stuff too . Somebody 's preparing .PhD E: Really ?Professor C: Yeah . I forget what it 'll be , resource management , Wall Street Journal , something .Some {disfmarker} some read task actually , that they 're {disfmarker} preparing .Grad A: Hmm !PhD E: For what {disfmarker} For Aurora ?Professor C: Yeah .PhD E: Oh !Professor C: Yeah , so the uh {disfmarker}Uh , the issue is whether people make a decision now based on what they 've already seen , or they make it later . And one of the arguments for making it later is let 's make sure that whatever techniques that we 'reusing work for something more than {disfmarker} than connected digits .PhD E: Hmm .Professor C: So .PhD E: When are they planning {disfmarker} When would they do that ?Professor C: Mmm , I think late{disfmarker} uh I think in the summer sometime .PhD E: Hmm .Professor C: So . OK , thanks .PhD D: This is the work that I did during this dateProfessor C: Uh - huh .PhD D: and also mmm I {disfmarker} H Hyneklast week say that if I have time I can to begin to {disfmarker} to study well seriously the France Telecom proposalProfessor C: Mm - hmm .PhD D: to look at the code and something like that to know exactly what theyare doing because maybe that we can have some ideasProfessor C: Mm - hmm .PhD D: but not only to read the proposal . Look insi look i carefully what they are doing with the program @ @ and I begin to{disfmarker} to work also in that . But the first thing that I don't understand is that they are using R - the uh log energy that this quite {disfmarker} I don't know why they have some constant in the expression of thelower energy . I don't know what that means .PhD E: They have a constant in there , you said ?PhD D: Yeah .Professor C: Oh , at the front it says uh \" log energy is equal to the rounded version of sixteen over the logof two \"PhD D: This {disfmarker} Yeah .Professor C: Uh . uh times the {disfmarker}PhD D: Then maybe I can understand .Professor C: Well , this is natural log , and maybe it has something to do with the fact that thisis {disfmarker} I {disfmarker} I have no idea .PhD E: Is that some kind of base conversion , or {disfmarker} ?Professor C: Yeah , that 's what I was thinking , but {disfmarker} but um , then there 's the sixty - four ,Uh , {vocalsound} I don't know .PhD D: Because maybe they 're {disfmarker} the threshold that they are using on the basis of this value {disfmarker}PhD E: Experimental results .Grad A: Mc - McDonald 's constant.PhD D: I don't know exactly , because well th I thought maybe they have a meaning . But I don't know what is the meaning of take exactly this value .Professor C: Yeah , it 's pretty funny looking .PhD E: So they 'retaking the number inside the log and raising it to sixteen over log base two .Professor C: I don't know . Yeah , I {disfmarker} um Right . Sixteen over {comment} two .PhD E: Does it have to do with those sixty - fours ,or {disfmarker} ?Professor C: Um . If we ignore the sixteen , the natural log of t one over the natural log of two times the natu I don't know . Well , maybe somebody 'll think of something ,PhD E: Professor C: but thisis uh {disfmarker} It may just be that they {disfmarker} they want to have {disfmarker} for very small energies , they want to have some kind of a {disfmarker}PhD D: Yeah , the e The effect I don't {disfmarker} @@ I can understand the effect of this , no ? because it 's to {disfmarker} to do something like that .Professor C: Well , it says , since you 're taking a natural log , it says that when {disfmarker} when you get down toessentially zero energy , this is gonna be the natural log of one , which is zero .PhD D: No ? Mm - hmm .Professor C: So it 'll go down to uh to {nonvocalsound} the natural log being {disfmarker} So the lowest value forthis would be zero . So y you 're restricted to being positive . And this sort of smooths it for very small energies . Uh , why they chose sixty - four and something else , that was probably just experimental . And the{disfmarker} the {disfmarker} the constant in front of it , I have no idea .PhD D: Yeah .Professor C: umPhD D: Well . I {disfmarker} I will look to try if I move this parameter in their code what happens , maybeeverything is {disfmarker} Maybe they tres hole are on basis of this .Professor C: uh {disfmarker} I mean {disfmarker} it {disfmarker} {vocalsound} they {disfmarker} they probably have some fi particular s fixedpoint arithmetic that they 're using ,PhD D: I don't know .Professor C: and then it just {disfmarker}PhD E: Yeah , I was just gonna say maybe it has something to do with hardware ,Professor C: Yeah .PhD E: somethingthey were doing .Professor C: Yeah , I mean that {disfmarker} they 're s probably working with fixed point or integer or something . I think you 're supposed to on this stuff anyway , and {disfmarker} and so maybethat puts it in the right realm somewhere .PhD E: Well it just , yeah , puts it in the right range , or {disfmarker}Professor C: Yeah . I think , given at the level you 're doing things in floating point on the computer , Idon't think it matters , would be my guess ,PhD D: Mm - hmm .Professor C: but .PhD D: I {disfmarker} this more or less anythingProfessor C: Yeah . OK , and wh when did Stephane take off ? He took off{disfmarker}PhD D: I think that Stephane will arrive today or tomorrow .Professor C: Oh , he was gone these first few days , and then he 's here for a couple days before he goes to Salt Lake City .PhD D: Mm - hmm.Professor C: OK .PhD D: He 's {disfmarker} I think that he is in Las Vegas or something like that .Professor C: Yeah . Yeah . So he 's {disfmarker} he 's going to ICASSP which is good . I {disfmarker} I don't know ifthere are many people who are going to ICASSPPhD D: Yeah .Professor C: so {disfmarker} so I thought , make sure somebody go .PhD D: Yeah .PhD E: Do {disfmarker} have {disfmarker} Have people sort of stoppedgoing to ICASSP in recent years ?Professor C: Um , people are less consistent about going to ICASSP and I think it 's still {disfmarker} it 's still a reasonable forum for students to {disfmarker} to present things . Uh , it's {disfmarker} I think for engineering students of any kind , I think it 's {disfmarker} it 's if you haven't been there much , it 's good to go to , uh to get a feel for things , a range of things , not just speech . Uh . But Ithink for {disfmarker} for sort of dyed - in - the - wool speech people , um I think that ICSLP and Eurospeech are much more targeted .PhD E: Mm - hmm .Professor C: Uh . And then there 's these other meetings , likeHLT and {disfmarker} and uh ASRU {disfmarker}PhD E: Professor C: so there 's {disfmarker} there 's actually plenty of meetings that are really relevant to {disfmarker} to uh computational uh speech processing ofone sort or another .PhD E: Mm - hmm . Professor C: Um . So . I mean , I mostly just ignored it because I was too busy and {vocalsound} didn't get to it . So uh Wanna talk a little bit about what we were talking aboutthis morning ?Grad A: Oh ! um {pause} uh {pause} Yeah .Professor C: Just briefly , or {pause} Or anything else ?Grad A: So . I {disfmarker} I guess some of the progress , I {disfmarker} I 've been getting a{disfmarker} getting my committee members for the quals . And um so far I have Morgan and Hynek , {vocalsound} Mike Jordan , and I asked John Ohala and he agreed . Yeah . Yeah .PhD E: Cool .Grad A: So I 'm{disfmarker} I {disfmarker} I just need to ask um Malek . One more . Um . Tsk . Then uh I talked a little bit about {vocalsound} um continuing with these dynamic ev um acoustic events , and um {vocalsound}{vocalsound} we 're {disfmarker} we 're {disfmarker} we 're {vocalsound} thinking about a way to test the completeness of a {disfmarker} a set of um dynamic uh events . Uh , completeness in the {disfmarker} in"}
+{"doc_id":"doc_27","qid":"","text":"Project Manager: Okay . Hi Team . Hope you had a good lunch .Marketing: {gap}Project Manager: {vocalsound} Okay we're back for the conceptual design meeting . Um let's get started . 'Kay , here is the agenda fortoday's meeting . Um we're gonna open it and I'm gonna keep the minutes as Project Manager . We're gonna have three presentations , one from each of you again . And then we are going to come to decision on theremote control concepts and then we're gonna close it up . And we have forty minutes again . 'Kay , and just to reiterate um after this meeting the team will reach a decision on the concepts of the remote control . Okay. Let's go ahead and start off with your presentations . Who would like to go first ?Industrial Designer: Just trying to move mine right now .Project Manager: Okay . Um Courtney would you mind starting us off?Marketing: Yeah {gap} .Project Manager: Okay . Trend watching ? 'Kay .Marketing: Yeah . Okay , so trend watching . Uh since we do put the fashion in electronics , it is kind of important how our product looks . So Iguess we can go ahead and go to the next . So what they want . Right now customers want fancy versus functional . Um basically about fifty eight percent of what they {disfmarker} like of the product that they want ,describing like the {disfmarker} in order of how much they want , fifty eight per cent of the decision of what it should look like , fancy versus functional , and then it has to also be technologically innovative , and yeteasy to use . So the customer basically is confused . They don't know exactly what they want . They want us to tell them . {gap}Industrial Designer: They want everything , but simply .Marketing: Yes . Exactly.Industrial Designer: {vocalsound} Okay .Marketing: So we can go to next .Project Manager: Mm 'kay .Marketing: Okay . So in Milan and Paris recently the trends have been showing that clothing , shoes and furnitureare basically just covered with fruits and vegetable patterns .Project Manager: {vocalsound}Industrial Designer: {vocalsound}Marketing: So I don't know if we want to go with that um and also the spongy feel is in incontrast to last year . I don't know really , I mean I guess the spongy could relate to the buttons if we want toProject Manager: Mm . Mm .Marketing: rather than like a hard clicky button that you find on like somemobiles and stuff , you'd want like a softer touch . I mean do you guys know what I mean .Project Manager: Right . Yes .Industrial Designer: {vocalsound} Yeah thMarketing: Yeah . Um . But as for the fruits andvegetable patterns , I don't know if we really want to go with that , because it is just a trend ,Project Manager: Right .Marketing: and our product we want to stay around for much longer than just a few months ,ProjectManager: Right . People don't buy a new remote every so often .Industrial Designer: {vocalsound} I I can {disfmarker}Marketing: because {disfmarker} Yeah . I mean that could just be a Spring thing right now.Industrial Designer: I can address some of that issue , I think , with uh my presentation .Marketing: Okay . Awesome .Project Manager: Okay .Marketing: Um so design preferences , um we need easy to read like largebuttons , clearly labelled so that , I mean 'cause we talked about that being a problem . Um and then also buttons illuminating upon touch , you said that in your design , with the bulb . Um and that could also tie in withthe colour scheme . Uh we need the Real Reaction logo and colour scheme obviously . That's one of our key goals , we wanna promote our product .User Interface: {gap}Marketing: And I was thinking about differenttypes of designs and I came up with something . Actually right here . So what we could do is something like an old-fashioned telephone like this , where we put the buttons around , like we'd put a big on-off button orsomething else in the middle , I mean it could be the arrows or whatever for channel up and down , and then put the numbers around in like an old-fashioned dial shape . 'Cause then it'll appeal to older generation andlike said retro's cool . So it's classically retro .Project Manager: Hmm .Marketing: So I mean that's just an idea if you guys like it .Project Manager: Very good . I like it . {vocalsound} Okay , ready for the next slide?Marketing: {vocalsound} And , yep . And that's it . {vocalsound}Project Manager: Op mm 'kay .Industrial Designer: {vocalsound} Okay .Project Manager: Great . Great presentation . Ready ?User Interface: Okayhang on .Project Manager: 'Kay .User Interface: See if it's there . {vocalsound}Project Manager: Which one is it ?User Interface: {vocalsound} I don't know . Hang on .Project Manager: {gap}User Interface: Interfaceconcepts , no ?Project Manager: Interface concepts new .User Interface: Either refresh it , or it sh {disfmarker}Project Manager: YUser Interface: Oh wait , maybe I didn't put it there . Hang on .Project Manager: 'Kay.Industrial Designer: Mine will always read copy of something or other .Project Manager: Sorry ?Industrial Designer: {vocalsound} I I copied mine before I sent it over .Project Manager: Oh okay .User Interface: Sorry ,hang on . Don't know {gap} .Project Manager: Oh there we go .User Interface: Okay .Project Manager: {gap}User Interface: Okay , um {vocalsound} looking at the interface concept , it's gonna be mostly examples ofpossibilities of where we can go with this . Uh if you wanna start the next slide .Project Manager: Sure .User Interface: Um uh can't really see , but there's two possible ways , on the r left , if you see on th on the sidesof of the remote , you have the sort of scroll down , so you have that option right there . And then also there's the idea of the base . That's sort of like an idea there . And then on the right , we have what's really bigtrend right now , it's the iPod . It's becoming really {gap} and so you have this sort of very very simplistic menu section uh with the round buttons , and it's sort of like you have the both {gap} kind of trendy and hip ,but also very sleek and um and very simple , but technologically advanced . So if you wanted to do that th if we could find a way of sort of like {vocalsound} using that idea in a remote control then sort of look into it ,but {disfmarker} Anyway , next .Project Manager: Mm 'kay .User Interface: Um there's the idea of like being able to do it by feel as well as by um by sight . You'd you know you're in the dark , you don't wanna belooking at the remote control . And the picture particularly is pointing out if you look at the top volume button it's a V_ , and so yo you're kind of feeling a V_ like volume up . What it really is is a V_ and what it you thinkit is is down , because the down arrow .Project Manager: Mm .User Interface: And so it's like a sort of a criticism you'd probably turn that o the other way up . Um but then you have {disfmarker} you could either do itby raised type , which could be you know , iffy , um sort of old-fashioned in a way .Project Manager: Mm .User Interface: Either that or just have it by shape , for example you have a specific triangular shape that youknow you're looking at the up and down arrow . And then the round ones you sort of feel by , you know , that's the second one down , that sort of thing . So it's sort of looking into how we wanted t to do it by feel.Project Manager: Okay .User Interface: Okay . Um this is sort of an example of going for a s certain demographic . Um this is particularly geared towards children .Marketing: That's cute .Project Manager: {gap}UserInterface: Um it's very cute , and we could probably change it to yellow , bright yellow for like a the for the company logo . Um and you have the shapes and it's very simplistic and friendly looking . Um and then theother thing that it would be able to do is just to pro be ab you program certain {disfmarker} {vocalsound} channels that only these children would watch , so it's like they ch watch , you know , the C_ Beebies orsomething like that ,Project Manager: {vocalsound}User Interface: uh keep them away from other channels . So that's like another ar Um ,Project Manager: Okay .User Interface: I mean , these are three examples sortof looking at it . You have the wider section for the main controls there . Uh you could see how many buttons there are . And then on the left you have an example of the round buttons , and a simpler design . On thebottom we probably wouldn't need that , because it's more for like a D_V_D_ {vocalsound} function which we are not gonna be using . Um . So again it's sort of like just give you ideas and then down at the bottom youhave the logos and that's where you could put the R_R_ , Real Reaction .Project Manager: 'Kay .User Interface: And then finally these are like the sort of same examples , but also some more , just possibilities that wecould go with . None of them I'm particularly keen on by the way . {vocalsound}Industrial Designer: Hmm .Marketing: Yeah .Project Manager: No .User Interface: {vocalsound} {vocalsound} But it's sort of like justtaking aspects out of that and saying , well out of this one we like , you know the round section of um , b or we'd like the the button size on this .Project Manager: Mm . Or I like , you know , the black finish or the silverfinish or whatever .Marketing: {vocalsound}User Interface: Right .Marketing: I have four of those remotes .Project Manager: {vocalsound} Good lord .User Interface: {vocalsound}Marketing: {vocalsound}ProjectManager: {vocalsound} Okay . Ready ? Oh , yeah . Okay .User Interface: That's it .Project Manager: Great job .Industrial Designer: Okay , my turn .Project Manager: Okay .Marketing: {vocalsound} Okay .IndustrialDesigner: Whoo .Project Manager: What's the title ?Industrial Designer: It'll be copy of component design .Project Manager: Got it .Industrial Designer: Yeah . Th that looks like it . 'Kay . So basic remote operation runsas follows , press button makes connection with the power source and the rest of the circuit , chip senses the connection , chip produces a morse code infra-red signal , specific to that button . So you press the button ,it produces uh a signal that's encoded specifically for that button . Transistors amplify that signal and it goes to the T_V_'s centre , which interprets the signal response accordingly , changes channel etcetera . So thatbeing said {disfmarker} Next slide , please . Findings oh which were the required materials for the basic internal construction , so all the really simplistic functions that we just discussed , we need rubber for buttons ,aluminium for battery y contacts , integrated circuit which consists of a diode , transistor , resonator , resistors , and a capacitator , all those basic things that make a circuit function . Um fibreglass and thin copper wireto create the actual circuit board itself . An L_E_D_ , which is a light emitting diode , um contact discs for the buttons , plastic for the casing , and a power-source , whatever power-source we've actually determined wewant . Next slide , please . Thank you . Uh personal preferences , uh to save money for the components , the remote should be mass-produced and basic materials should be bought en masse . Um if we find anothercompany who can produce the required chips , casing , L_E_D_ , any additional materials we decide we require at a less expensive rate than we ourselves are producing , we should go for it . {vocalsound} Next slide ,please . Um just talking to the um manufacturing division . They suggested power options , solar cells , hand dynamo , and kinetic power , so you shake it and it increases the power . Um I'm not sure how the handdynamo works , they have yet to get back to me on that .Project Manager: Hmm .Industrial Designer: So next slide , please .Project Manager: Interesting .Industrial Designer: Suggested casing options . Okay . We canoffer options for casing such as straight , curved , double-curved , you know , very specific to the customer . Options for materials , plastic , rubber , titanium , wood .Project Manager: {gap}Industrial Designer: I don'tthink anyone's gonna go for a wood one , because splinters {disfmarker}Marketing: That would be amazing , though , yeah .Project Manager: {vocalsound}Industrial Designer: Yeah .User Interface: {gap}Marketing:No , splinters would {disfmarker}Industrial Designer: {vocalsound} Um certain restrictions do apply here though . Uh latex , you can't do solar power with a latex one . So , if they want some a soft squishy rubber ,they can't have the solar powered option . Double-curved , you can't do titanium .Marketing: What is that ?Industrial Designer: Um that would be two curvatures , so it would actually , if you {disfmarker} the shape ofyour hand , you curve here and you curve here , so you could have two curves that match the shape of your hand to make it more comfortable to hold .Project Manager: Mm .Marketing: Mm .Industrial Designer: Now ifyou wanted that , you can't do titanium . And uh so you {gap} functions what {disfmarker} for the buttons , scrolling function could be very beneficial to us instead of actual buttons themselves .User Interface: Right.Project Manager: 'Kay .Industrial Designer: I think I have one more slide .Project Manager: No , okay .Industrial Designer: No , I didn't . Um the manufacturing division also has said that um {vocalsound} they haveseveral types of chips and they've just developed a sample sensor or sample speaker chip , which we could utilise . Um push button requires a simple chip and scroll requires more complicated chip . So depends on whatwe decide we wanna do . In addition to that if we're offering all those different options to the customer for producing their remote , we're going to have to have multiples of each type , like a double-curved in rubber ,um you know , each option should have a certain select number produced with all those options . So we'll have to mix it up , make sure we produce enough of everyone . But that could also drive up the price of theactual remote itself if they know that we only produced five thousand , you know , double-curved wooden remotes .Project Manager: Mm .Marketing: Right .Project Manager: Hmm .Marketing: Okay .Project Manager:Okay . Alright ,Industrial Designer: And that's all I got .Project Manager: well thank you for those informative presentations . Let's go back to um {disfmarker} Now we have to make some decisions . Where were we?User Interface: Let me just add one more thing that I couldn't say before ,Project Manager: Sure .User Interface: and that's just that there's the new technology that they've developed on the voice recognition . Um.Marketing: Oh this {disfmarker} the thing we were talking about earlier .User Interface: Right except that it's sort of odd , and I'm no not exactly sure why they are explaining it in the way they are , um there's asample sensor and there's a sample speaker unit for {disfmarker} So , you would say like , good morning , coffeemaker , and it would respond , good morning , Jill ,Project Manager: {vocalsound}User Interface: butI'm not sure exactly how it's gonna work , 'cause do you programme {disfmarker} do we program the responses and the questions . So does that mean that the user then has to ask the specific question , and can'tchange it in order for it to be recognised ,Project Manager: Mm .User Interface: or can it be altered in a certain way , or does the actually user program it , to say a channel means this .Project Manager: Right . Right.Marketing: Yeah , like using the menu to be like , enter your name into the screen like on the menu options .User Interface: Right ,Marketing: So that way the remote reads it .User Interface: so it's got like a limitedmemory and {gap} programme it . So it's sort of iffy ,Project Manager: Mm .User Interface: but that's kind of what you'd say .Marketing: I feel like voice recognition would be , I don't know , w it would be too hard toreally {disfmarker}Project Manager: Hmm . Programme .Marketing: I mean we could do it , but {disfmarker}Project Manager: If it's within our price to get that kind of chip that would , you know , technology{disfmarker}Industrial Designer: {vocalsound} Well , we are making the chip .Marketing: Technology .Project Manager: Hmm .Industrial Designer: So , I mean {disfmarker} But , I guess , we have to look at w what{vocalsound} our production cost is for the chip itself anyway .Marketing: And it is a growing trend , the higher technological , likeProject Manager: Mm .Industrial Designer: Yeah .Marketing: the , I mean just like themore advanced it is ,Industrial Designer: Yeah .Marketing: the better it'll sell .Industrial Designer: I I thought {vocalsound} offering some of those options for different materials that it could be made of different , youknow {disfmarker} I think we'd have to decide on the power options , maybe .Project Manager: Hmm .Industrial Designer: So that we could reduce cost .Marketing: Yeah , 'cause we need to know how big it's gonna beand how heavy . {gap}Industrial Designer: Yeah .Project Manager: Okay , that kind of brings us to this , let's let's see if we can decide what kind of energy source we want to have first and foremost . Um .IndustrialDesigner: Okay .Project Manager: Do we wanna go for batteries or a stand like the one that we saw illustrated earlier ?Marketing: Oh the base , yeah .Project Manager: The base , the charging base with rechargeablebatteries ?Industrial Designer: I think the pUser Interface: I always feel like first I wanna know what it looks like , before {disfmarker}Project Manager: Hmm .User Interface: 'Cause if it's something really really small ,then it's sort of harder to imagine a base for it , that was p quite a s substantial size sort of standing up {disfmarker}Project Manager: Yeah , and we don't have multiple things that it has to control , it just has to controlthe T_V_ .Marketing: WProject Manager: It's not gonna be a huge universal remote .User Interface: Right .Marketing: We need to decide , well so we can figure how big it's gonna be , like exactly what buttons wewantProject Manager: What size battery and {disfmarker}User Interface: Well , the other thing is like even if it's got a few buttons , so we want it to be bigger than this ,Marketing: and exactly {disfmarker} It could belike this . Yes .User Interface: 'cause it still fits in your hand , so you still wanted something that's comfortable and substantial , but not necessarily full of buttons .Marketing: I'd , well uh {disfmarker} This one is reallycomfortable , like I like the sides whatever ,User Interface: Are you gonna lose it easier ?Marketing: because {disfmarker} But if we have the um , the locator , then we don't have to worry about that .IndustrialDesigner: That's true .Marketing: So we can make it small if we have a l locating device .User Interface: Yeah .Industrial Designer: If we do a voice-activated locator , though , we're gonna be looking at a moresubstantial chip . So {disfmarker}User Interface: So i That's the other thing ,Marketing: Hmm .User Interface: it's like {disfmarker} You know {gap} Are we gonna have certain chips that are gonna require bigger size{vocalsound} period ?Marketing: Two double A_s , for this size .User Interface: But like , you know , if we get more complicated then it's gonna v be {disfmarker} have to be bigger to just accommodate the chip size.Marketing: Right .Industrial Designer: Honestly , I think the customer would be kind of irritated by the fact that it has a base if we did do a nice small , compact {disfmarker}Project Manager: Right . I agree , it's eithergonna be bigger with a base or smaller with just {disfmarker}Marketing: Yeah .User Interface: So we shMarketing: Smaller , without {disfmarker}Project Manager: A battery like this guy .Marketing: Yeah .IndustrialDesigner: Mm yeah .User Interface: Yeah .Project Manager: Alright , so what direction do you want to go in ? You wanna vote ?Marketing: I think if we had a a locating device with the small one , I think that seems waymore advanced .Project Manager: I'm kind of I'm kind of leaning in the direction of this kind ofIndustrial Designer: Yeah .User Interface: I'm a away from the base .Project Manager: bigger and the base .User Interface:Yeah .Marketing: Yeah .Project Manager: That just seems so clunky and {disfmarker}Industrial Designer: 'Kay so {disfmarker}Marketing: Yeah , because I mean if even looking at cellphones right now , those trendsthe smaller the hotter it is ,User Interface: Smaller and smaller , yeah , yeah , yeah . {vocalsound}Project Manager: Okay .Marketing: yeah {disfmarker}Industrial Designer: The only problem with that is if you forgetto take it out of your pocket and it goes in wash .User Interface: {vocalsound} You're kidding .Marketing: {vocalsound} Oh .Project Manager: {vocalsound}Industrial Designer: {vocalsound} You know it happens.Project Manager: Hmm .User Interface: {vocalsound}Industrial Designer: I've had three watches go that way too .Marketing: Yeah .Project Manager: {vocalsound}User Interface: Oh watches I've {disfmarker} but I'venever washed a cell phone . {vocalsound}Marketing: Ouch . A phone , whoa , that would {disfmarker} wow , that would hurt .Project Manager: Okay , so what kind of material do we want to be made out of ?Industrial"}
+{"doc_id":"doc_28","qid":"","text":"Marketing: {vocalsound} Hello . {vocalsound}Project Manager: {gap}Marketing: {vocalsound} Dang it .Project Manager: {vocalsound} And then you have to place your laptop exactly on the marked spot .Marketing:Alright .User Interface: {gap}Project Manager: It's important to place your laptop exactly on the marked spot over here .User Interface: Okay . No , that's okay . Joost , your mouse .Marketing: What ?User Interface:No mouse needed ?Marketing: I've got a touch-pad .User Interface: Mm .Marketing: Do you know how how I can wake it up ?User Interface: A touch-pad ?Marketing: No , my laptop .User Interface: Slap it .Marketing:{vocalsound} You with your brilliant ideas . I don't know if I can touch the power button . Do you know how how I can wake it up ?User Interface: Is {disfmarker}Project Manager: No . Yeah . Try the power button.Marketing: Oh .User Interface: {vocalsound}Marketing: Come on , move it .User Interface: Um {disfmarker}Marketing: Now , wake up , bitch .Project Manager: Huh .User Interface: F_ five . F_ five {gap} .IndustrialDesigner: I've lost my screen . Uh {disfmarker} {vocalsound}Marketing: Yeah , so did I .User Interface: I don't .Marketing: I closed it . That wasn that wasn't very smart , I guess .User Interface:{vocalsound}Industrial Designer: {vocalsound}Marketing: Come on . Get back to me . Yes .Industrial Designer: Yes .User Interface: {vocalsound}Industrial Designer: I closed the {disfmarker}Marketing: I closed it.User Interface: You've got your name . {vocalsound}Project Manager: Yeah , my name is name .Marketing: No , I didn't restart it , I just closed it . Yes .User Interface: Hope it working .Marketing: Alright .IndustrialDesigner: No .User Interface: Never close your laptop .Project Manager: Yeah ? Everybody's ready ?User Interface: Yeah .Marketing: Great . Thanks .Project Manager: Great . Well , welcome to the kick-off meeting . Iuh forgot to put my name over here , it's uh {vocalsound} it's Martin . Uh , so you all know .Marketing: {vocalsound}Project Manager: Well , this is the agenda for today . Well , the opening is what I'm doing right now.User Interface: {vocalsound}Project Manager: Uh , we gonna do some acquaintance acquaintance things . Uh give some um examples of the tool training , project plan discussion and the closing . We have twenty fiveminutes . Okay , the project aim is to design a new remote control .Marketing: Mm-hmm .Project Manager: Uh , some of the {vocalsound} oje objectives are that is has to be original , trendy , and user-friendly . Sonow we all know what ourUser Interface: Okay .Project Manager: goal is . Um , I {disfmarker} oh forget {disfmarker} I forget the whole acquaintance part , but we we all know each other . We all know each other'snames . Joost , Guido , Antek .User Interface: What is your name ?Marketing: Yes .Industrial Designer: Yes . Antek .User Interface: Antek Ahmet . And Joost . {gap}Project Manager: Okay . I think we uh al already uhbeen through that part .User Interface: Okay . Yeah .Project Manager: Okay , it consists of uh three levels of design . Uh we begin with the functional design , then we go to the conceptual design and the detailed design. Every uh level of design consists of some individual work , and we uh close it with a meeting . You all received an email with a example of our explanation of what uh the particular level of design uh means to thedifferent uh functions , and uh you p you probably read that already , so I don't have to tell you about that .User Interface: Yes .Marketing: Yes .Project Manager: Okay , first we're gonna um uh gonna try somedifferent things with the tools we have over here , so you get acquainted with these uh um uh meeting tools . We have the smart-boards , uh the thes those two boards . This is the presentation boards , wh which oneI'm using right now . You can uh um {disfmarker} there's a document folder called um the sh {vocalsound} shared document folder . You can upload your uh documents to that folder and then you can open them overhere , so you can do your PowerPoint presentations on this screen . We also have the white-board . Uh , we're gonna skip through thUser Interface: Can we see the white-board on our laptops ?Project Manager: No , no. Just on the on the screen over there .User Interface: No , I saw I saw the file , the smart-board that X_B_K_ but {disfmarker}Project Manager: Oh , no . Probably is , but I don't know if the software is on the laptop{gap} . Is is {disfmarker} if it's mainly a thing for in the meeting , so I don't think it's {disfmarker} I don't know if it's important .User Interface: Okay .Project Manager: This an explanation of the smart-boards . Thereis a tool-bar over here . It's quite simple . You have the the pen function , eraser function . It's like a very simple uh paint application . Uh , we {disfmarker} well , we use the same file during uh the whole day , and uhyou can make new sheets by uh by pu puttin pressing on the blank button . It works like this . Oh . {vocalsound} If pen is selected , yes .User Interface: {vocalsound}Marketing: {vocalsound}Project Manager: Oh , nono .User Interface: With that pen ?Project Manager: It's not {disfmarker} But it is pen . It's not working like a pen yet .User Interface: Mm .Project Manager: Huh . Huh .User Interface: Mm .Project Manager: It's doingsome stuff now . So you can use a pen .User Interface: Little bit slower .Project Manager: You can use an eraser . And you can make new uh fi uh new blanks , and you can change uh the line width and the colour of thepen by pressing on forward , which y you have to select pen format . And then select current colour or line width . So , it's quite easy . Uh well , now you're all uh acquainted with the different tools . Right , we're gonnatry out the electronic white-boards . Uh , every participant should draw his favourite animal and some of its favourite characteristics ,User Interface: {vocalsound}Industrial Designer: {vocalsound}Project Manager: onblank sheets with different colours , with different pen widths . Uh , I'll start off then . {vocalsound}Marketing: {vocalsound}Project Manager: I'll use this uh same sheet . Alright . Oh , let me think . Different colours .Oh .Marketing: {vocalsound}Project Manager: Well , I'm gonna draw um a p piranha . Uh , a fish .User Interface: {vocalsound} piranha . Okay .Industrial Designer: {vocalsound}Marketing: {vocalsound}ProjectManager: Uh . {vocalsound}User Interface: {vocalsound} {vocalsound}Project Manager: Mm-hmm . I'm gonna use some different colour {gap} now .User Interface: Oh .Marketing: {vocalsound}Project Manager:Some {disfmarker} a little white . Looks like a fish . Think it is . Oh .User Interface: {vocalsound}Project Manager: Oh . {vocalsound} Uh , colour . This is black ? I think so .User Interface: Yellow {gap}{disfmarker}Project Manager: Oh . Oh , this is just uh {vocalsound} useless uh drawings but {disfmarker}Marketing: {vocalsound}Project Manager: Oh teeth . I need teeth . {vocalsound} Well , they're not supposedto be green , or whatever colour this is .Marketing: {vocalsound}User Interface: Hmm .Project Manager: Okay . What was uh {disfmarker} I have su to sum up its favourite characterisUser Interface: Different .ProjectManager: Well , I like its uh sharp {disfmarker} razor sharp teeth . {vocalsound} Plus , uh the the big uh forehead and uh a small uh , well a small actual face . And I like its overall uh aggressive look and {disfmarker}Well , that's what I like about uh piranha . I think that's kind of what uh the intention should be .User Interface: Okay .Project Manager: Well , who wants to be next ?Marketing: Nobody , I guess . {vocalsound}UserInterface: {vocalsound} I will try . Yeah . I will try . Uh {disfmarker}Project Manager: You go , Guido ? Okay . Uh , make a new sheet . Uh , it's by pressing on blank .User Interface: Blank ?Project Manager: Yep .UserInterface: Okay . Then pen again ?Marketing: {vocalsound}Project Manager: Yep .User Interface: Okay .Project Manager: And uh {disfmarker} so in the format menu you can choose the different uh colours and uh penwidths .User Interface: Okay , um {disfmarker}Marketing: Format .User Interface: {gap} control . Uh {disfmarker} Ah , purple . Um , I don't know what my uh favourite uh animal is ,Marketing: {vocalsound}UserInterface: but the easiest animal I can think is is a bird .Project Manager: {vocalsound}Marketing: {vocalsound}User Interface: Uh I will {disfmarker}Marketing: {vocalsound}Project Manager: {vocalsound}Marketing:{vocalsound} You know , I thought of that actually .User Interface: That's my bird . {vocalsound} {vocalsound} Yeah ?Marketing: Yeah .User Interface: Isn't it quite {disfmarker} it's a little bit light .Marketing:{vocalsound}Project Manager: {vocalsound}User Interface: {vocalsound}Marketing: {vocalsound}User Interface: Uh , another colour maybe . A red one .Marketing: {vocalsound}User Interface: A small one . Uh , linewidth . Two ? Three . Oh that's okay . That's another one .Marketing: {vocalsound}Project Manager: {vocalsound} Well , tell us something about uh your favourite characteristics of these uh particular birds .UserInterface: {vocalsound} Ano {vocalsound} Uh {vocalsound} uh {vocalsound} it's a {disfmarker} {vocalsound}Marketing: Its simplicity . {vocalsound}Project Manager: {vocalsound}User Interface: Yeah , it's uh themost simple uh animal I know , I think .Marketing: {vocalsound}Project Manager: {vocalsound}Industrial Designer: {vocalsound}User Interface: {vocalsound} Um , I don't know . Maybe because uh there's there'ssome s uh free uh maybe in the sky or something like that .Project Manager: Oh , okay . Okay .User Interface: Maybe a little bit . Yeah . I don't know .Project Manager: Okay . No , uh it's clear .User Interface: So {gap}more uh birds ?Project Manager: N no {vocalsound} no .Industrial Designer: {vocalsound}Marketing: {vocalsound}Project Manager: We get your point . Okay . Who wants to be next ?User Interface: {vocalsound}{gap} Okay , {vocalsound} okay , {vocalsound} okay .Marketing: {vocalsound} Yeah , whatever . I'll go next .User Interface: {vocalsound}Marketing: Thanks .User Interface: MMarketing: I haven't got a favouriteanimal too , so {disfmarker}User Interface: Pictionary . {vocalsound}Project Manager: {vocalsound}Marketing: Oh . {vocalsound} What should I draw ?Industrial Designer: {vocalsound}Project Manager: Oh .UserInterface: A cow .Project Manager: {vocalsound}User Interface: {vocalsound}Industrial Designer: {vocalsound}User Interface: {vocalsound} Okay .Marketing: Thank you ,Project Manager: {vocalsound}Marketing: I'lldraw a penguin . {vocalsound} Yeah . {vocalsound} I'll draw a penguin . Whatever . I can't draw , so you can start to laugh already .Project Manager: {vocalsound} I'll do so . {vocalsound}Industrial Designer:{vocalsound}Marketing: Whatever . Something like that .Project Manager: {vocalsound}Industrial Designer: {vocalsound} {vocalsound}Marketing: Come on .User Interface: Yeah , it's little bit hard .Marketing: Mmhmm hmm , orange .User Interface: Orange , of course .Marketing: Whatever .User Interface: {vocalsound}Marketing: {vocalsound} Oh , {vocalsound} it's better than your bird .User Interface: {gap} Uh yeah.Industrial Designer: {vocalsound}Marketing: Everything's better than your bird .User Interface: {vocalsound} Yeah . {vocalsound} True .Marketing: Whatever .User Interface: {vocalsound}Marketing: Hey , it's blue .No . Whatever . Um , I like its ugliness {vocalsound}Project Manager: {vocalsound}User Interface: {vocalsound}Marketing: and uh {disfmarker} Yeah , whatever . The way it walks or whatever .Project Manager: Okay.Marketing: Your turn .User Interface: {vocalsound}Industrial Designer: 'Kay . {vocalsound}Marketing: Drawing . {vocalsound}Industrial Designer: I'm going to draw a cat . I don't know why , but a cat is a very uhsmart animal .Marketing: {vocalsound}Industrial Designer: And you can have them at home .User Interface: {gap}Industrial Designer: Which is not as the case with uh with bingwings and {disfmarker}ProjectManager: {vocalsound} Well , you can have a piranha at home .User Interface: {vocalsound}Marketing: {vocalsound}User Interface: {vocalsound}Industrial Designer: {vocalsound} Ye yes , {vocalsound} yeah .{vocalsound}Project Manager: Huh .Marketing: Or a line .Project Manager: {vocalsound}User Interface: A little bit . {vocalsound}Marketing: I mean a bird . {vocalsound}Project Manager: {vocalsound}User Interface:Yeah . {vocalsound} Don't mess with my birds , yeah .Industrial Designer: It's not very uh {disfmarker} {vocalsound} very good drawn , but you can see a cat from it . {vocalsound}Marketing: Hmm . It's ahandicapped cat .User Interface: {vocalsound} {gap} cat .Project Manager: I don't think uh I don't think uh Darwin would agree with that . {vocalsound}Marketing: {vocalsound}Industrial Designer: {vocalsound}UserInterface: {vocalsound}Industrial Designer: {vocalsound}Marketing: {vocalsound}Industrial Designer: {vocalsound} It's {gap} {disfmarker} {vocalsound}Marketing: {vocalsound}User Interface:{vocalsound}Industrial Designer: {vocalsound} Ah , it's not scared . He's crying but {disfmarker}Project Manager: {gap} . Okay .User Interface: {vocalsound}Marketing: {vocalsound} He's crying because it's uglbecause of his ugliness .Industrial Designer: {vocalsound}Project Manager: {vocalsound} What do you like about it then ?Marketing: {vocalsound}Industrial Designer: {vocalsound} Uh it's i most cats are small .ProjectManager: Oh , okay .Industrial Designer: You can handle them . {vocalsound}Project Manager: {vocalsound} Okay . Okay . Okay ,User Interface: {vocalsound}Marketing: {vocalsound}Project Manager: and then weare uh through the tool training , I guess .User Interface: Okay .Industrial Designer: {vocalsound}Marketing: {vocalsound} I wouldn't call it training , but {disfmarker}Project Manager: Okay , this is uh somethingabout the project finance . The selling price of our remote control is gonna be twenty five Euros . And our profit aim is fifteen million Euros . We're very ambitious on this one . {vocalsound}User Interface:{vocalsound}Project Manager: The market range is international , so it's gonna be sold world-wide , and the production cost should be a maximum of twelve Euro fifty per remote control . So that's clear . {gap}{disfmarker} Yeah ?User Interface: Okay .Marketing: {vocalsound} Alright .Project Manager: Okay , we're now gonna discuss some stuff when {disfmarker} well , we're gonna brainstorm about uh what kind of kemororomo remote control it's gonna be . Uh , well tell me about your experiences with the remote controls . Do you have uh {disfmarker} know what good experiences with remote controls ? Or do they annoy yousometimes ?Industrial Designer: Yes .Project Manager: Are they difficult to understand , or maybe they don't interact with different kind of uh equipment very well ?User Interface: Hmm .Marketing: I don't th I don'tthink the four of us got problems with remote controls ,Project Manager: Yeah , okay .Marketing: but if you see elderly people , all these buttons , and then they buy new T_V_ because their previous one was stolen orwhatever .User Interface: Different .Project Manager: Okay .Marketing: And then a totally different remote control with with different functions on different places , and half of the functions a are removed , or whatever. Uh , so I think what we need is is a clear uh remote control with uh grouped buttons , you know . All th all the buttons which apply to the text functions in in one uh {disfmarker}Project Manager: Different functions ofof uh {disfmarker}Marketing: Well , one area or whatever , not like the button to enter text on top of the remote control and the button to um , yeah , to minimise it to this this {vocalsound} {disfmarker} or whatever oo other functions {vocalsound} totally somewhere else .Project Manager: Okay . Yeah .Marketing: I think we should group them .Project Manager: Okay .Marketing: And same for the for the volume buttons and the thetProject Manager: And uh , is it gonna be a remote control that's um {disfmarker} what it can be used for different kind of equipment , like your T_V_ and your home stereo ?Marketing: Well I was I was thinking uhsince a T_V_ is uh mostly used together with a V_C_R_ or D_V_D_ player or recorder , and not with a stereo , I think it should be good to include functions for V_C_R_s and D_V_D_ players , recorders .ProjectManager: Uh {disfmarker}User Interface: Yeah .Project Manager: Mm-hmm . Mm-hmm . But uh , the D_V_D_ players and home cinema sets often double as stereo hi-fi sets probably .Marketing: Yeah .ProjectManager: It's what , from my experience .User Interface: But isn't it {disfmarker} {vocalsound}Marketing: I don't know . Hi-fi set is uh not often used uh as I know of in combination with television .Project Manager:Okay . But we gonna {disfmarker}User Interface: It's only for television , I thought . Not {disfmarker}Marketing: {vocalsound} Yes .Project Manager: Oh , it is only for televisUser Interface: {gap} I thought it was onlyfor television . So so we probably don't have to have to uh have the functions for D_V_D_ player or V_C_R_ .Marketing: Yes , it is only for television , but uh {disfmarker}Project Manager: So wha what {disfmarker}What wha {vocalsound} what uh what document {disfmarker}Marketing: Well {disfmarker} well we we're gonna brainstorm about that . If we think it's useful , we do it .Project Manager: But , where where did it uh{disfmarker} Where did you find that ?User Interface: Uh , in the email .Project Manager: Oh , okay .User Interface: I thought it said uh {disfmarker}Marketing: That's right . It's a television remote control .UserInterface: Yeah , television remote control .Industrial Designer: Yes , {gap} {disfmarker}Marketing: But I was thinking since it is useful with D_V_D_ {disfmarker}Project Manager: Yeah , but most television remotecontrols support other functions as well . So we can {disfmarker}Industrial Designer: Yes , that's uh something extras .Project Manager: No , we have to think about that .User Interface: True . Yeah .Project Manager:Okay , uh but uh we've gonna put some a uh is is it so user-friendliness , is a is a pri priority in this case , or {disfmarker}User Interface: True .Marketing: Yep .User Interface: Yeah , yeah .Industrial Designer: Yeah.Marketing: Yeah , also no one's gonna buy it .Project Manager: Okay .User Interface: Yeah . True .Industrial Designer: Only the experts . {vocalsound}Marketing: I guess .Project Manager: Well , this the maybe is uhsome aspect of the {disfmarker} uh , or or some point at at which we can excel by making it very useful .Industrial Designer: {gap}Marketing: Yeah .Project Manager: That w Well , then you're you're the usability uhman , so this uh gonna be a very important task for you then .User Interface: {vocalsound} Oh my God . Okay .Marketing: {vocalsound} Yeah .Project Manager: Okay . Well , other ideas ? How can we make it trendyor something ? Do uh by just sh shape and the look of it ?Industrial Designer: Uh , to go with to go with fashion and {disfmarker}Project Manager: Maybe a can opener underneath it ?User Interface: {vocalsound} Forthe bear . Uh {disfmarker}Industrial Designer: {vocalsound}Marketing: {vocalsound}Project Manager: {vocalsound} I don't know . Or someth something special , like uh M_P_ three player inside of it , or uh{disfmarker}User Interface: I I uh , no I think it {disfmarker}Project Manager: Oh , well then the production costs are gonna be too high probably .User Interface: Uh , I th I think yo we have to keep it simple , to get awhole market .Marketing: Yeah , way too high . Yep .Project Manager: Okay . Maybe with different type of fronts or uh {disfmarker}User Interface: It's international , so we have to use a standard .Project Manager:Well , m has to be something {vocalsound} spectacular or uh one which makes it {disfmarker}Marketing: Well that's an idea of course , yeah .Project Manager: We gonna skip back to the goals probably . Uh,Marketing: Mm-hmm .Project Manager: original , trendly , and user-friendly {disfmarker} Well , we al also already talked about user-friendliness .User Interface: Hmm .Project Manager: No , well something trendy andoriginal , well that that goes hand in hand I guess . When something is original , it tends to be trendy , probably ,Marketing: {vocalsound} Yeah .Project Manager: or we should make it combination of that . 'Kay , so you{vocalsound} {disfmarker} the um technical part of the process is something you're gonna look after for , so you have to think about what kind of uh equipment you want to uh , you know , you want to manage with it. Well , and that's an important part for you then , with gogors regards to the user-friendly part of it .User Interface: Use friendly . Yep .Project Manager: Well , and you uh should look out for what makes it trendy ."}
+{"doc_id":"doc_29","qid":"","text":"User Interface: Oops .Project Manager: So , hello everyone . {vocalsound} We're here to have a kick-off meeting for the design of a {disfmarker} f for the beginning of new project um {vocalsound} uh remote controlfor the design for a new remote control {vocalsound} . I'm the Project Manager Christa Pavlov and {vocalsound} okay let's begin . {vocalsound}Marketing: {vocalsound}Project Manager: {vocalsound} So I'm firstgoing to do an opening then we get used to one anothers and we speak about this tool we're going to design and try to make a project plan , some discussion and then we talk of uh the next meeting . So um we want toto do a new remote control . It has to be original , trendy and user friendly .Marketing: {vocalsound}Project Manager: Um I think the important points we have to t talk about are uh it's functional design , it's conceptualdesign , and desail detailed design . {gap} and for that we're going um all to work individually and then have meeting during the whole day . Um , so {vocalsound} let's try the whiteboard {vocalsound} .Marketing:{vocalsound} {vocalsound} Wow . {vocalsound}Project Manager: {vocalsound} Um so any of you who want to go .User Interface: Yeah , for favourite animals .Project Manager: {vocalsound}User Interface: It's gonnabe not my favourite one but the one I can draw .Project Manager: {vocalsound}Industrial Designer: {vocalsound}User Interface: {vocalsound} And it's gonna be {disfmarker} you'll try to guess .Marketing: Wow .{vocalsound} {vocalsound} Complex .Project Manager: Wow . {vocalsound}Industrial Designer: {vocalsound}Marketing: Huh ? A cat .Project Manager: {vocalsound}Industrial Designer: No . {vocalsound}ProjectManager: {vocalsound}User Interface: No . {vocalsound}Industrial Designer: {vocalsound}Marketing: No . Darn . {vocalsound} Uh .Project Manager: A rabbit .User Interface: Yes , that's a rabbit .Project Manager:{vocalsound} A rabbit .User Interface: That's my favourite one .Marketing: A what ?Industrial Designer: Rabbit .Marketing: A r a rabbit , oh oh yeah , where is the carrot ? {vocalsound}Project Manager:{vocalsound}User Interface: {vocalsound} That's it .Marketing: Okay {vocalsound} mm-hmm .Project Manager: You want to go ?Industrial Designer: {vocalsound}Marketing: I am not very good at uh {vocalsound}this kind of stuff .User Interface: Hmm . {vocalsound}Industrial Designer: {vocalsound}Marketing: My favourite animal is {disfmarker} {vocalsound}Project Manager: {vocalsound}Industrial Designer: {vocalsound}You waMarketing: {vocalsound}User Interface: Wow . {vocalsound}Project Manager: A humanIndustrial Designer: {vocalsound}Marketing: Guess .Project Manager: {vocalsound} ah .Marketing: {vocalsound} Ahuman , yay . It's a very complex animal {vocalsound}Project Manager: {vocalsound}Industrial Designer: {vocalsound}User Interface: No .Marketing: and um {disfmarker} yeah . Characteristics of this this animal is{vocalsound} dangerous . {vocalsound}Project Manager: {vocalsound}Industrial Designer: {vocalsound}Project Manager: Mm I think you're supposed to , yeah .Industrial Designer: Is the white {disfmarker} okay.Project Manager: Hmm .Industrial Designer: I guess you can {disfmarker} {vocalsound} {gap} . {vocalsound}Project Manager: {vocalsound}User Interface: Wow . That's cobra .Marketing: Ah , a kind of uh snake ?Cobra ?Industrial Designer: Yeah uh not really .Marketing: Exactly {vocalsound} . {vocalsound}Industrial Designer: {vocalsound} Small cobra . {vocalsound}Project Manager: {vocalsound}User Interface: No , it just{disfmarker} small cobra , yeah .Project Manager: {vocalsound} Is that a worm ? Or {vocalsound} {disfmarker} {vocalsound}Marketing: Uh-huh . {vocalsound}User Interface: It's co c quite recognisable .{vocalsound}Industrial Designer: {vocalsound}Project Manager: {vocalsound}Marketing: {vocalsound} What about you uh {vocalsound}Project Manager: {vocalsound} Uh yeah Christa Pavlov {vocalsound} Mm.Marketing: Christa ? {vocalsound}User Interface: Christa {vocalsound} Christa .Industrial Designer: Chris . {vocalsound}Marketing: A fish . {vocalsound}Industrial Designer: Mm .User Interface: Hmm .ProjectManager: Smiling fish {vocalsound} .Industrial Designer: Smile fish . {vocalsound}User Interface: {vocalsound} Okay .Marketing: A smiling fish . {vocalsound} Mm-hmm .Project Manager: Mm-hmm .Marketing: So , wwhiteboard is working ? {vocalsound}Project Manager: Yeah . {vocalsound}User Interface: {vocalsound}Industrial Designer: Yeah . {vocalsound}Marketing: Good . {vocalsound} Next . {vocalsound}Project Manager:Next . Let's talk about money .User Interface: Just tr try to guess who is a User Interface Designer .Marketing: {vocalsound} Yeah , well . {vocalsound}Industrial Designer: {vocalsound}Project Manager:{vocalsound}User Interface: {vocalsound} According to the drawings .Industrial Designer: {vocalsound} Yeah , you're {disfmarker}Project Manager: {vocalsound}Marketing: Not me . {vocalsound}User Interface:{vocalsound} Okay .Project Manager: {vocalsound} So .Marketing: So . Twenty five Euro for a remote control .Project Manager: Yeah , mm that's the price we want to {disfmarker}Industrial Designer: Hmm .ProjectManager: that's the aim for the price for the remote control .Marketing: Okay .Project Manager: We aim to do {vocalsound} this profit . {vocalsound}Industrial Designer: {vocalsound}User Interface: {vocalsound} Onthe international market .Marketing: {vocalsound} 'tis big number .Project Manager: {vocalsound} Yeah . Mm-hmm .Industrial Designer: Yeah , we're to sell two million then .Project Manager: {vocalsound}UserInterface: Wow .Marketing: Mm-hmm .Project Manager: Mm {vocalsound} for a production cost of mm twelve fifty Euros maximum . {vocalsound} 'Kay {vocalsound} . So any of you have experience in remote controls? {vocalsound}Industrial Designer: Mm yeah .Marketing: Uh yes , we have plenty at home .Project Manager: {vocalsound}Industrial Designer: {vocalsound}Marketing: {vocalsound} In fact , my daughter likes l{vocalsound} {gap} {vocalsound} remote controls .Industrial Designer: {vocalsound}Project Manager: {vocalsound} That {disfmarker}User Interface: Mm . To eat ? {vocalsound}Industrial Designer:{vocalsound}Marketing: To eat ? Yeah , mainly , and to break . {vocalsound}Project Manager: {vocalsound} {vocalsound} So that could be a great um {vocalsound} application .Industrial Designer:{vocalsound}Project Manager: Remote controls children proof . Mm mm-hmm .Marketing: Mm-hmm . Yeah .User Interface: Children proof .Marketing: {vocalsound} Ye ye yeah .User Interface: Hmm .Marketing: Soshe likes uh buttons {vocalsound} which make click ,Project Manager: {vocalsound} Okay .Industrial Designer: Yeah , pretProject Manager: {vocalsound}Marketing: so {vocalsound} it has to click .Project Manager: Sothey have to be waterproof maybe ?Marketing: It has to be uh wha {vocalsound} baby proof {vocalsound}Project Manager: {vocalsound} 'Cause they eat {disfmarker} she ate it . {vocalsound}Industrial Designer:{vocalsound}Marketing: yeah {vocalsound} but mainly it has to be very robustProject Manager: Mm-hmm .Marketing: because even if she's not very tall she's uh {vocalsound} high enough so that uh when she throwit away it's uh {disfmarker}Industrial Designer: Yeah .Project Manager: {vocalsound}Industrial Designer: {vocalsound} Ah .Marketing: So it has to be very robust .User Interface: Okay , unbreakable .Marketing:Unbreakable , yeah .User Interface: Uh-huh .Industrial Designer: Yeah , we have some child lock or something , yeah .Marketing: Mm-hmm .Project Manager: Mm-hmm .Marketing: And uh {vocalsound} it has to benice looking ,Industrial Designer: Yeah .Marketing: colourful , maybe {disfmarker}Project Manager: Colourful , yeah mm .User Interface: Colourful ? That's not practical .Marketing: colourful , because uh nobody hascolourful remote controlIndustrial Designer: Yeah .Project Manager: No , that's a good idea .Industrial Designer: Yeah , it's always black or {disfmarker} yeah .Marketing: , they're always black , yeah ,Project Manager:Mm mm-mm .User Interface: No .Marketing: but this one could be I dunno , purple or bProject Manager: Yeah . {vocalsound}User Interface: But how gonna {disfmarker} okay , just uh but it's uh monochrome it's n it'snot like {disfmarker}Industrial Designer: Yeah .Marketing: Yeah , yeah .Project Manager: No ,Industrial Designer: Yeah .Project Manager: because you think , why not .User Interface: Otherwise you will never find it.Marketing: One colour .Industrial Designer: Yeah .Marketing: Yeah , yeah .Industrial Designer: Yeah even we can change colours , no ? Like the uhMarketing: Oh like the phones ,Industrial Designer: like the phonesand these things we c yeah .Marketing: yeah , it could change colours , yeah .User Interface: Cool .Project Manager: Mm-hmm .Industrial Designer: At least for children like one colour and {gap} . {vocalsound}UserInterface: ChMarketing: Yeah . {vocalsound}Project Manager: Good idea .Marketing: Good .Industrial Designer: And it should be really {gap} small and {gap} .Project Manager: Small also ? Don't you think{disfmarker}Industrial Designer: Huh not so big like {disfmarker} yeah .Project Manager: No uh , not too much buttons or {disfmarker} mm .Industrial Designer: Yeah , not too much buttons and{disfmarker}Marketing: {vocalsound} Should it be , y you know these uh remote controls where um they are what they call a universal ret remote controlProject Manager: Mm-hmm .Marketing: so y you can decidethat now it's the remote control for the television , then it's the remote control for the the sound system , or for your refrigeratorIndustrial Designer: Uh . Yeah .Project Manager: {vocalsound} {vocalsound} Yeah,Industrial Designer: {vocalsound}Marketing: {vocalsound} whatever {vocalsound}Project Manager: that's {disfmarker}Marketing: I dunno if it's {disfmarker}Project Manager: {vocalsound}Marketing: Or if we shouldhave a targeted re remote control .Project Manager: Okay .Marketing: {vocalsound} So colour , robustness , easy to use , size ,Project Manager: So , I think there's {disfmarker}Marketing: yeah , size matters , yeah .{vocalsound}Industrial Designer: Yeah . Colour , {vocalsound} size , shProject Manager: So you you think it's better if small than bigger .Industrial Designer: Yeah , maybe at least n not bigger than this I guess .{vocalsound}Marketing: Mm .User Interface: Yeah , but without any extremes like n not of this size , not too large . Okay .Marketing: {vocalsound}Project Manager: No , not too small , yeah .Industrial Designer: Yeahyeah , at least it should hold in your hand n properly , like {gap} .Marketing: Yeah .Project Manager: Hmm .User Interface: Yeah , like a palm sized .Industrial Designer: Yeah . {vocalsound}User Interface: Just to holdit .Marketing: Mm .Project Manager: Okay .Marketing: But uh what would be different from this , from the others ? I dunno if {vocalsound} {disfmarker}Industrial Designer: Uh maybe we can change the colours that{disfmarker} at least the frame . Mm . S so then it depends {disfmarker}Marketing: Yeah , at least the colour would be different .Industrial Designer: you are to {disfmarker}Project Manager: Mm .Industrial Designer:Mm I mean you c you can easily remove the frame {gap} .Marketing: I think one thing important for instance in this remote control if you remember when people use it they're {disfmarker} they never find a goodbutton in the right place .Project Manager: Mm-hmm .Industrial Designer: Yeah , yeah .Marketing: For some reason they they they click the off button when they want to use the {disfmarker}Industrial Designer: Yeah .Yeah .Marketing: So there's a problem in the design of that kind of remote control somehow ,Project Manager: Mm . So , some kind of idea uh with um um {vocalsound} cellular phone with a a screen that will tell youwhat {disfmarker}Marketing: I dunno {gap} .User Interface: No ,Project Manager: no .User Interface: no screens , it's too complex .Project Manager: Okay .Industrial Designer: Mm . {vocalsound} Too expensive ,yeah .Marketing: {vocalsound} Too expensive for twelve Euro ?User Interface: And n maybe not too expensive ,Project Manager: And too expensive .User Interface: well it's not my problem , but well okay .Marketing:Ah .User Interface: But no screens on remote controls .Project Manager: Mm .Marketing: Mm-hmm . I thought it could be only a screen {vocalsound} which would change depending on uh uh the use or even the user.User Interface: Mm-hmm .Marketing: So ma I prefer to have the off button at the top right ,Industrial Designer: Ye yeah .Marketing: so I would have my own design of the remote control because it's in fact just a a fulltouch screen remote control ,Industrial Designer: Hmm .Marketing: if you {disfmarker} if you like .Industrial Designer: I mean it it's likeMarketing: I don't know if it makes sense , but {disfmarker}Project Manager:Mm-mm .Industrial Designer: {disfmarker} it's like two types no ? {vocalsound} people are right handed or left handed so y because I am left handed I use like this , say if you're right handed you use likethisMarketing: Yeah , for instance , mm .User Interface: Mm-hmm , mm-hmm .Project Manager: Mm-hmm . Mm mm mm .Industrial Designer: or {disfmarker} so tha your switch on and off should be onMarketing: Mm.Project Manager: So adaptable {vocalsound} {disfmarker} yeah something {disfmarker}User Interface: Adaptable . Alright , good ,Industrial Designer: {disfmarker} yeah .Marketing: Maybe , if if it's possible , yeah.Project Manager: yeah .Industrial Designer: Mm {vocalsound}User Interface: so how many actions do we need to implement in it ?Industrial Designer: huh .User Interface: On off ?Industrial Designer: Maybe I thinkeven we can keep two switches and then we can uh only make one working .Marketing: {vocalsound} Yeah .Industrial Designer: We can adapt only one switch , suppose here like we can make two switches and if I'mleft-hander I use this switch to follow the main operations .User Interface: I mean if it's less than three uh then we can make it uh like aIndustrial Designer: Two .Marketing: Three buttons you mean ?User Interface:{vocalsound} like three mental states ,Project Manager: Three option .User Interface: yeah you know what I mean ,Marketing: Ah . {vocalsound}Project Manager: {vocalsound}User Interface: we can just make ituhIndustrial Designer: {vocalsound} {vocalsound} Yeah . Yeah .Project Manager: Um .User Interface: controlled by a brain , huh ? {vocalsound}Project Manager: Mm-hmm .Industrial Designer:{vocalsound}Marketing: {vocalsound} Mm-hmm , yeah , sure . {vocalsound}Project Manager: {vocalsound} Maybe if it's more , if there is a software insideIndustrial Designer: {vocalsound}Project Manager: that askyou three {disfmarker}User Interface: Mm-hmm .Project Manager: Hmm .Industrial Designer: {vocalsound}Marketing: {vocalsound} {vocalsound} {disfmarker}Project Manager: {vocalsound} If it {disfmarker} if wewant a r universal remote control that we sa like we say before it may may need more than three mm three button , three mm possibilities , ye yeah .User Interface: Sh sure , sure .Marketing: Yeah , more than threeactions that you may want to do at a given time .Industrial Designer: Mm yeah . Yeah . {vocalsound}User Interface: But for standard actions you usually what do you do , you change channels , you adjust volume , andnothing else .Marketing: Yeah but for instance when you change channels you can have {disfmarker} you can just go to the next one or go to channel twenty five .Industrial Designer: Mm . Yeah .Project Manager: Mm .{vocalsound}Marketing: And that's already more complex to go to channel twenty five . {vocalsound}User Interface: Mm-hmm .Project Manager: {vocalsound}User Interface: You do this ?Industrial Designer: Yeah{vocalsound} .Marketing: Uh no .User Interface: I usually just change channels .Industrial Designer: {vocalsound}Marketing: {vocalsound} Because I'm only using three or four channels but {disfmarker}{vocalsound}Industrial Designer: {vocalsound} Yeah . But they keep generally their t slash slash uh this thing and then the dash dash and then you can put {disfmarker} yeah , you can only have one bit .ProjectManager: Yeah . I change channel like this , m uh I want to go to twenty five , and then to ten , uh-huh mm yeah .Industrial Designer: Dash .Marketing: And then back to the one I was before ,Project Manager: Also wecan be here {disfmarker}Marketing: so there's {disfmarker} whichever it was .User Interface: Uh-huh .Industrial Designer: Yeah you canProject Manager: yeah , that would be cool .Industrial Designer: {disfmarker}yeah .User Interface: Go back button is good .Industrial Designer: Yeah .Marketing: Yeah . Uh uh we had that in in other countries .User Interface: I once had it .Industrial Designer: Yeah yeah , the previous button is{gap} .Project Manager: Mm {vocalsound} yeah .Marketing: {vocalsound} Yeah e even the history so you could like uh undo {vocalsound} previous of the previous . {vocalsound}User Interface: Mm-hmm .IndustrialDesigner: Uh , okay . {vocalsound}User Interface: History . {vocalsound}Industrial Designer: Oh {vocalsound} uh {vocalsound} .Project Manager: {vocalsound}Marketing: Then you can watch what your {disfmarker}ah you could also record your {disfmarker} record your {vocalsound} sequence of actions ,Industrial Designer: Uh .Project Manager: {vocalsound}Industrial Designer: Yeah . {vocalsound} {vocalsound}Marketing:{vocalsound} that becomes more complex ,Project Manager: {vocalsound}Industrial Designer: {vocalsound}Marketing: but you could look at what uh the other people have used there or {disfmarker} {vocalsound}remote controls .Industrial Designer: Yeah yeah , what the {disfmarker} which channels the viewer {disfmarker} {vocalsound}Project Manager: Mm-mm .Marketing: {vocalsound} Yeah {vocalsound}Project Manager:{vocalsound} Okay .Marketing: maybe it's a {disfmarker}Project Manager: So I think we have full of idea .Marketing: Okay .Project Manager: Um we're going to meet again in thirty minutes and uh I want you to mm{vocalsound} work on these ideas and try to make a uh {vocalsound} the ones , {vocalsound} make um {disfmarker} to decide what what are the ones important and what are the one that we don't want .{vocalsound} And um m maybe more in the technical parts what uh do we want to do . Um . {vocalsound} So um your personal coach will send you some instruction for for this thirty minutes .Marketing: So what doesM_E_ means ? M_E_ the user requirements ? Or that's uh that's for us ?User Interface: Market Expert .Project Manager: Mm . {vocalsound}Industrial Designer: Marketing {disfmarker} yeah {vocalsound} {gap}.Marketing: Uh that's me .User Interface: {vocalsound}Marketing: {vocalsound} Oh , of course {vocalsound} yeah , the user requirement specifications , uh-huh , yeah .Project Manager: Mm-hmm .Marketing: Okay .{vocalsound} I'll think of that .Project Manager: Mm okay . So .Marketing: So ?Project Manager: I think that's all .Marketing: Meeting's over ?Project Manager: Yeah .User Interface: Okay .Marketing: Great .IndustrialDesigner: Thank you .Marketing: Thank you .Project Manager: See you in thirty minutes .User Interface: Thank you everybody ."}
+{"doc_id":"doc_30","qid":"","text":"User Interface: Okay .Industrial Designer: Okay , almost there .Project Manager: Okay . We'll sta I'll use the PowerPoint , I guess . How was that , was that fun ?User Interface: Mm . Very fun .Industrial Designer: Yeah, yeah .Project Manager: {vocalsound} Okay . Uh oh I've forgotten to mail you the minutes , but I will do .Industrial Designer: Okay .Marketing: Hmm .Project Manager: {vocalsound} Upsidaisy . {vocalsound} Um{vocalsound} {vocalsound} Um we {disfmarker}Marketing: E excuse me I forgot myProject Manager: Yeah .Marketing: copy . {gap}Project Manager: Alright , okay , yeah .Industrial Designer: {vocalsound}ProjectManager: He's gonna get his pen .User Interface: Oh right . Okay .Project Manager: Um {vocalsound} Will you guys first with your prototype um before we get to the good news ?Industrial Designer: Yeah , there's goodnews ?Project Manager: Uh {vocalsound} {vocalsound}Industrial Designer: Oh .User Interface: Mm .Project Manager: we have budget problems .Industrial Designer: Oh . Cutbacks .Project Manager: I'm afraid you'reall sacked . Oops .Industrial Designer: {vocalsound}Project Manager: I don't even have this on . {vocalsound}Industrial Designer: Hmm .Project Manager: {vocalsound} {vocalsound} Okay , have you got apresentation to make ?Industrial Designer: Okay .Marketing: No , not mine yet .Project Manager: No . OkayIndustrial Designer: Oh .Project Manager: so it's just your your show .Industrial Designer: Um maybe weshould bring {gap} so that the camera can see {gap} . Yeah .Project Manager: {vocalsound}User Interface: Okay . Sure .Industrial Designer: Okay .Project Manager: {vocalsound}User Interface: We made three foryou .Project Manager: Three ? Oh .User Interface: Um one's based on the banana , one's based on the tomatoProject Manager: Tomato ? What tomato ? {vocalsound}User Interface: and the other one is stMarketing:{vocalsound}Industrial Designer: {vocalsound}Project Manager: I don't recall a tomato . {vocalsound}User Interface: Look . Oh yeah , well yeah , we had v some red left over .Project Manager: Ah I see , okay .{vocalsound}User Interface: So . Okay , so this is the um non to non uh no buttons one , or as mm few buttons as possible ,Project Manager: Mm-hmm .User Interface: mainly speak recognition . The yellow there isthe umProject Manager: Logo .User Interface: the slogan , yeah ,Project Manager: Okay , brilliant .User Interface: that we need to incorporate , it's very simple . If you do need buttons , you can flip it over , and there'ssome there ,Project Manager: Okay .User Interface: um but mainly it's speech recognition .Project Manager: Okay , so the buttons would be like , you know individual users , or {disfmarker}User Interface: Yeah.Project Manager: Yeah .User Interface: Yeah and {vocalsound} yeah they might project things onto the screen which you can do on there .Project Manager: Alright , okay .User Interface: Mm I'm not sure about that .Um and this one is the one w more like the one w that we looked at earlier .Project Manager: Right .User Interface: {vocalsound} Yeah , you guys can have a look at that if you want .Project Manager: That's groovy .{vocalsound}Industrial Designer: {gap}Marketing: Yeah . {vocalsound} Uh can I have {gap}Project Manager: {vocalsound} Well I like the feel of it , I like the feel of it .User Interface: Yeah , sure . Um that one is{disfmarker}Marketing: Oh sorry s {vocalsound}User Interface: Oh no , it's delicate .Project Manager: At Oh dear .Industrial Designer: {vocalsound}Marketing: {vocalsound}User Interface: That's that's already got itsstand that one . That's it stand .Project Manager: Alright , okay .User Interface: It does also lie flat , but that's the that yellow stand there represents the the charging stand .Project Manager: Okay , brilliant mm .UserInterface: Um the black on the back is the slogan .Project Manager: Okay , nice and obvious there {vocalsound} ,User Interface: Uh yeah , that {gap} {disfmarker}Marketing: {vocalsound}User Interface: Well , we didthink of that .Project Manager: if it's standing up , I guess , yeah .User Interface: Yeah , if it's standing up it's it's on there , but also we're gonna have the company name on the front , which is the little black kind ofline in the middle .Project Manager: Oh right , okay , brilliant . Like that from its centre .User Interface: So um and that's the um transmit the L_E_D_ thing . These are the s two scroll ones which we thought could bechannel up and down and volume up and down . We n were weren't sure about putting them there , because um i it's it kind of could get bashed .Project Manager: Where you're , yeah , uh were you're holding it kind of{disfmarker}User Interface: Yeah . Well , if you hold it , you can {disfmarker} you all can hold it , is {disfmarker} it does actually feel quite ergonomic ,Project Manager: Mm-hmm .User Interface: if you've got smallhands .Project Manager: Yeah . {vocalsound}Industrial Designer: Mm .Marketing: {vocalsound}Project Manager: Okay .User Interface: {vocalsound} Um , obviously I don't think that's real sized {gap} .ProjectManager: Yeah , okay .User Interface: It would have to be a bit bigger .Project Manager: Yeah , scale model , yeah .User Interface: Okay . Um that's a speaker at the top , so you can speak into it like a littlewalkie-talkie as well for speak recognition .Project Manager: Mm-hmm .User Interface: Um and {vocalsound} um then the buttons . Yeah kind of self-explanatory , just buttons whenever you need them . Tried to keepit simple . Oh that's the charging base prongs at the bottom .Project Manager: {vocalsound} Alright , excellent .User Interface: {vocalsound} We used those {gap} . And um then the big red button in the middle is theon and off one .Project Manager: Okay .User Interface: It's not in the traditional place ,Project Manager: No .User Interface: but um it's quite an obvious place .Project Manager: It's out of the way as well , I suppose ,so . Excellent .User Interface: So {vocalsound} there we go and and um we have the banana-based one too .Industrial Designer: Oh yeah , yeah .Project Manager: Yep . {vocalsound}Industrial Designer: This one is uh, I suppose for the younger audiences .User Interface: {vocalsound}Industrial Designer: A a more friendly type of {disfmarker}Project Manager: Okay , {vocalsound} so so Barney the banana {gap} .IndustrialDesigner: Right , right . It's to uh induce more television watching I suppose or {disfmarker}Project Manager: Ah excellent , just what we need .Industrial Designer: Yeah .User Interface: Yeah .Industrial Designer: Sayit for the camera .Project Manager: {vocalsound} Lo Sort of Loch Ness banana . {vocalsound}User Interface: {vocalsound}Marketing: Mm-hmm .User Interface: Mm-hmm .Industrial Designer: Right , right .ProjectManager: Cool {gap} yeah . Well , nice to have uh options at least .Industrial Designer: Yep . {vocalsound}User Interface: Yeah .Project Manager: 'Kay and {disfmarker}User Interface: {vocalsound} So are there anyum improvements or issues or {disfmarker} {vocalsound}Industrial Designer: It won't stand .Project Manager: Oh there are issues , oh there are issues .Industrial Designer: {vocalsound} Just let it lie down , it wontstand . {vocalsound}User Interface: {vocalsound}Project Manager: Um main problem that we have unfortunately being finance .Industrial Designer: {vocalsound}User Interface: Oh .Project Manager: Uh , let's justenter in the um evaluation criteria .Industrial Designer: {vocalsound}Project Manager: Um {vocalsound} unfortunately the unit we are currently going to produce minus the extra scroll buttons , uh it's gonna cost usfourteen point six Euros .Marketing: Mm .User Interface: Oh .Project Manager: So we have toIndustrial Designer: What's on the uh on the left ? {gap}Project Manager: rea Sorry , I've accidentally highlighted somehow{disfmarker} Um . {vocalsound} There we go .Industrial Designer: Okay .Project Manager: Oh god , why is it doing that ?User Interface: Ooh .Project Manager: There we go . {vocalsound} So basically , um in order tosave our two Euros um I was thinking that we could have essentially the same shape , but just have it flattened .User Interface: Mm-hmm .Project Manager: Um .User Interface: More like a traditional remote control.Project Manager: Yeah , I mean it's already got a kind of cool shape , so but it wouldn't have to be curved sort of in and out .User Interface: Mm-hmm . Mm-hmm .Project Manager: And by doing so {disfmarker} Oh no, hold on . Doesn't save us quite as much . I don't know what's going on with this again .Industrial Designer: W why is the uh double curved two of them ?Project Manager: Oh , good point .Marketing: And double curveon both sides ?Project Manager: Um .Marketing: Curve {vocalsound} . Yeah , this is double-curve ,Project Manager: That's {vocalsound} sort of curve in and out .Marketing: no ?Industrial Designer: Is iMarketing: Thisis double-curve . It {disfmarker} This one is single curve .Industrial Designer: Mm .Marketing: 'Cause this is single curve , this is curved on both sides . So double-curve .Project Manager: No , I think it means doublecurved as in umUser Interface: Like an S_ shape .Project Manager: like uh {gap} a single curve on that bottom half , and the double curved would be if it was that similar curve upward .User Interface: Okay .ProjectManager: Okay , I might be wrong though .Marketing: Like this , one curve on this side , one curve on that side .Project Manager: I don't think that counts as a curve , I think that's just a shape .Marketing: Hmm .Hmm .Industrial Designer: {vocalsound}Project Manager: A curvature is like the {disfmarker} this case .User Interface: Okay .Marketing: Maybe .Industrial Designer: {vocalsound} 'Cause that's the uh the biggestexpense there , right .User Interface: Okay .Industrial Designer: {gap} got two of them {disfmarker}Project Manager: Yeah , and why why I've got it two , I don't know , I can't seem to select any more however.Industrial Designer: Okay . Well we can work around that um {disfmarker} {vocalsound}Project Manager: {vocalsound}User Interface: Mm-hmm .Project Manager: Right . No .Industrial Designer: {vocalsound} Cutthings out . But you think it should be one .Project Manager: It's meant to be one , yeah , I don't know why I put two in there ,Industrial Designer: Okay .Project Manager: but um {disfmarker} Hold on till I find it , Ithink this shift button might be stuck again . No maybe the shift button's stuck in .Industrial Designer: Yeah .Marketing: Mm .Project Manager: {vocalsound} Um okay , so that would take away three , which would giveus {disfmarker}Marketing: Should {disfmarker}Industrial Designer: {vocalsound}Project Manager: Oh that's fine .Industrial Designer: Yeah , so we're {disfmarker} {vocalsound}Project Manager: Eleven uh elevenEuros sixty .User Interface: Cool . Cool .Project Manager: Um {vocalsound}User Interface: So we could even add something .Project Manager: We cou Oh not quite , have the scroll-wheel , unfortunately .IndustrialDesigner: We should fire the accountants .Project Manager: What ?Industrial Designer: Fire the accountants . {vocalsound}Project Manager: {vocalsound} {vocalsound}User Interface: {vocalsound}IndustrialDesigner: Ah yeah , we could add things .Project Manager: {vocalsound}Industrial Designer: Maybe if you click back in that bottom right cell , where you're starting from , and then use the arrow keys .Project Manager:Yeah .Industrial Designer: Does that work ?Project Manager: Yeah , I know , that just extends it as well .Industrial Designer: No mm {vocalsound} .Marketing: Uh you can do one thing {gap} .Project Manager: I don'tknow .Marketing: You just select one box outsi yeah , this box . Then move it with the help of this {disfmarker} Okay .Project Manager: It {disfmarker} One of the buttons is sticking , I don't know {gap} .Marketing:{vocalsound} Just uh just uh {disfmarker} Okay , just a minute . Okay . No input , like this . {vocalsound} Shift . No it's not .Project Manager: No , it's 'cause the uh the shift button's stuck , or something .Marketing:Yeah , it's not working .Industrial Designer: Is it the other shift button maybe ?Marketing: Should we ask MeliProject Manager: {vocalsound}Marketing: Should we ask our technical expert Melissa ?Project Manager:{vocalsound} No that's fine . Um we've worked out what it would be anyway .Industrial Designer: {vocalsound} Did you try both shift buttons ? It could be the other side .Project Manager: Yeah .Industrial Designer:{vocalsound}Project Manager: Cancel . Piss off .Industrial Designer: That's too bad .Project Manager: Oh well , never mind . Um {vocalsound} . Right , so that's finances and I dunno what we {disfmarker} what couldwe reckon we could add ? UmUser Interface: Well maybe we could add something , but maybe if {disfmarker}Project Manager: Well I suppose that's our that's that's our design that we've got . So {disfmarker}UserInterface: What do you th We're trying to save money , so . Yeah , if we're happy with the design there's no point in spending money , if we don't have to .Project Manager: Yeah .User Interface: But if there is anythingyou think we've missed out there , then , you know , feel free to add it . Maybe {disfmarker} I mean obviously it would be bigger so there might be more space for the the slogan on the front ,Project Manager: Yeahyeah .User Interface: because it's not in an ideal place right now .Project Manager: Well that's that's uh {disfmarker} Okay , so project evaluation . We have under twelve {vocalsound} Euros fifty . Project process , howdo we think that went ? Are we happy ?Industrial Designer: Oh .User Interface: Mm .Industrial Designer: Yeah I think we have a a winning product .Project Manager: {vocalsound} {vocalsound} Okay . {vocalsound}Evaluation . Oh we've been writing this up for m months .User Interface: I think it went quite smoothly .Project Manager: Uh room for creativity , were we happy with that ?User Interface: W I think we were verycreative .Industrial Designer: {vocalsound}Project Manager: No , I mea I think it means sort of individually .User Interface: Oh right , okay .Project Manager: Yes , no , maybe ?User Interface: Mm-hmm .ProjectManager: Okay . Groovy . So uh we're just gonna . Uh yeah , okay . Teamwork ? Leadership , sorry .Industrial Designer: Great leadership . {vocalsound}User Interface: Excellent leadership . {vocalsound}Marketing:{vocalsound}Project Manager: Thank you very much . You're all get you're all getting a raise . Uh teamwork . I thought went well .Industrial Designer: Yeah , yeah .Marketing: Yeah .Project Manager: Yeah .UserInterface: Yeah , everyone got enough input , I think .Project Manager: Uh and well means , yeah .Industrial Designer: {vocalsound} {vocalsound}Marketing: Yeah , we {gap} {disfmarker}Project Manager: Thetechnical stuff was brilliant .Marketing: {vocalsound}Project Manager: {vocalsound} Let's buy more .User Interface: Yeah .Marketing: Yeah .Project Manager: {vocalsound} Uh Right . UmIndustrial Designer:{vocalsound} These pens are are neat though .Project Manager: I don't know what , new ideas found , means , to be honest .Marketing: {vocalsound} Yeah , these are new ideas , like glow-in-the-dark or somethinglike that . We discussed all the new ideas , but of course we couldn't reach any proper goals , we couldn't use these {gap} , but we h we are using these scroll buttons like this . These are new ideas we And new shapes, everythingProject Manager: Mm-hmm .User Interface: Mm-hmm .Marketing: . At le {vocalsound}Project Manager: Mm 'kay . Groovy .User Interface: Yeah .Marketing: Yeah .Project Manager: So just general thumbsup for all of us then .Industrial Designer: {vocalsound}Marketing: Hmm .Project Manager: That kind of unfortunately is too quick .Marketing: Hmm .User Interface: Okay .Industrial Designer: Okay .User Interface: Wellum .Industrial Designer: {vocalsound}Project Manager: {vocalsound} Uh {vocalsound} . I suppose yeah . Um .Industrial Designer: Uh so let's talk about our bonuses and the raises we're getting for this , right .{vocalsound}Project Manager: {vocalsound} That's it , um I think another couple of days holiday pay might be well in order for all of you .User Interface: {vocalsound}Marketing: {vocalsound} {vocalsound}UserInterface: Mm .Industrial Designer: Right , right .Project Manager: Uh {disfmarker} {vocalsound} Let's see if I can get this bloody thing to work .Industrial Designer: Uh maybe we should start cleaning up the clay.Project Manager: Whoops . {vocalsound}User Interface: {vocalsound} Yeah , maybe .Industrial Designer: {vocalsound}Marketing: So {disfmarker}Project Manager: Does it go back in , does it ? Reusable .IndustrialDesigner: {gap}User Interface: {gap}Industrial Designer: Something we should get {gap} .Project Manager: I don't know what this is but it's really really annoying .Marketing: So {vocalsound} {disfmarker} Uh Brian ,have you have you finished ?Project Manager: Uh-huh .Marketing: Uh mine needs also this .Project Manager: Um I have , yes .Marketing: At last mine is also the presentation .Project Manager: Huh ? Oh right , okay ,you've got more , okay .Marketing: {vocalsound} Yeah , yeah .User Interface: Oh , you got a presentation ,Project Manager: Sorry uh .User Interface: sorry .Industrial Designer: Oh okProject Manager: It didn't botherto tell me that on thisMarketing: SIndustrial Designer: {vocalsound}Marketing: {vocalsound}Project Manager: thing . Is it ? Okay .Marketing: Uh {vocalsound} is the project evaluated , that is mine .Project Manager:{vocalsound} Doesn't tell me . {vocalsound} Oh you're doing that . {vocalsound}Marketing: Yeah .Project Manager: We evaluated ourselves , we thought we were great . {vocalsound}Marketing: {vocalsound}UserInterface: Yeah .Industrial Designer: {vocalsound}Project Manager: {vocalsound}Industrial Designer: Uh .User Interface: Mm , love to eat that now .Industrial Designer: Anybody {vocalsound}User Interface: Kind of agreen banana now .Project Manager: Mm .Industrial Designer: Clay covered banana .User Interface: It's {disfmarker} this as well , sorry , we forgot to mention it'll be made out of kind of a rubbery latex , new materialthat we've got .Project Manager: O okay , hold on .User Interface: {vocalsound} I've got .Industrial Designer: {gap} blue .User Interface: {gap}Project Manager: {vocalsound} I wonder w which cell do I want .{gap}Industrial Designer: It's fun to touch .User Interface: Yeah .Marketing: {vocalsound} So . Yeah .Project Manager: Okay , I didn't realise you had that bit . {vocalsound}Marketing: {vocalsound} So .UserInterface: Oh could you pass the tomato please .Project Manager: {vocalsound}User Interface: Sorry . Thank you .Marketing: So now is the final evaluation , final evaluation of the uh uh of our product . How we aregoing to {disfmarker} {vocalsound}User Interface: Mm-hmm .Marketing: means uh at what standard what standard {disfmarker} whether it meets our standards or not . How mu What rating we will give to theseproducts . So of course this is {disfmarker} will be a team work , w we together have to decide wha what rating we will give to this product and everything . So what methodology I will tell you on what basis we aregoing to discuss all this .Project Manager: Okay .Marketing: We will give the rating to this product based on the user requirements , whether it meets the user requirements or not , this product . Then trends , whether itis as {gap} fashion trends or not ? Means {vocalsound} because we have already stated that people do prefer fashionable things nowadays .User Interface: Mm-hmm .Marketing: So this is also an important factor forour evaluation also . Then marketing strategy of the company . As we have already discussed that our company is quite {gap} in the market , not only in terms of providing quality products , not only in pro providinglatest technologies , but also in terms of providing environmental sUser Interface: Sorry {gap} . Sorry ,Marketing: Yeah .User Interface: carry on . {vocalsound}Marketing: So {vocalsound} but also in terms ofproviding environmental safe products , uh yeah like uh keeping uh keeping in mind all the safety issues . So {disfmarker} Now comes the criteria rating with seven point scale . I'm having this scale this scale ,ProjectManager: Okay .Marketing: so we have to do it on a board .User Interface: Mm-hmm .Project Manager: {gap}Marketing: {gap} the user requirem I think .Project Manager: Alright , okay .User Interface: Okay .ProjectManager: The board working again , is it ?Industrial Designer: {vocalsound} Do we have the uh the marker for the board ?Project Manager: {vocalsound}Marketing: {gap}Project Manager: {vocalsound} Uh .UserInterface: Um .Industrial Designer: There it is .Marketing: {vocalsound} Thank you .Project Manager: {vocalsound} {gap}Marketing: So .User Interface: {vocalsound}Marketing: {vocalsound} So these are the three"}
+{"doc_id":"doc_31","qid":"","text":"Professor A: We 're going ? OK . Sh - Close your door on {disfmarker} door on the way out ?Grad B: OK . Thanks .Professor A: Thanks .Grad B: Oh .Professor A: Yeah . Probably wanna get this other door , too . OK . So. Um . {vocalsound} {vocalsound} What are we talking about today ?PhD E: Uh , well , first there are perhaps these uh Meeting Recorder digits that we tested .Professor A: Oh , yeah . That was kind of uh interesting.PhD E: So .Professor A: The {disfmarker} both the uh {disfmarker} {vocalsound} the SRI System and the othPhD E: Um .Professor A: And for one thing that {disfmarker} that sure shows the {vocalsound} differencebetween having a lot of uh training data {vocalsound} or not ,PhD E: Of data ? Yeah .Professor A: uh , the uh {disfmarker} {vocalsound} The best kind of number we have on the English uh {disfmarker} on nearmicrophone only is {disfmarker} is uh three or four percent .PhD E: Mm - hmm .Professor A: And uh it 's significantly better than that , using fairly simple front - ends {vocalsound} on {disfmarker} {vocalsound} onthe uh {disfmarker} {vocalsound} uh , with the SRI system .PhD E: Mm - hmm .Professor A: So I th I think that the uh {disfmarker} But that 's {disfmarker} that 's using uh a {disfmarker} a pretty huge amount ofdata , mostly not digits , of course , but {disfmarker} but then again {disfmarker} Well , yeah . In fact , mostly not digits for the actual training the H M Ms whereas uh in this case we 're just using digits for training theH MPhD E: Yeah . Right .Professor A: Did anybody mention about whether the {disfmarker} the SRI system is a {disfmarker} {vocalsound} is {disfmarker} is doing the digits um the wor as a word model or as uh a subs sub - phone states ?PhD E: I guess it 's {disfmarker} it 's uh allophone models ,Professor A: Yeah . Probably .PhD E: so , well {disfmarker}Professor A: Huh ?PhD E: Yeah . I think so , because it 's their very d huge ,their huge system .Professor A: Yeah .PhD E: And . But . So . There is one difference {disfmarker} Well , the SRI system {disfmarker} the result for the SRI system that are represented here are with adaptation . Sothere is {disfmarker} It 's their complete system and {disfmarker} including on - line uh unsupervised adaptation .Professor A: That 's true .PhD E: And if you don't use adaptation , the error rate is around fifty percentworse , I think , if I remember .Professor A: OK .PhD E: Yeah .Professor A: It 's tha it 's that much , huh ?PhD E: Nnn . It 's {disfmarker} Yeah . It 's quite significant .Professor A: Oh . OK .PhD E: Yeah .Professor A: Still.PhD E: Mm - hmm .Professor A: But {disfmarker} but uh what {disfmarker} what I think I 'd be interested to do given that , is that we {disfmarker} we should uh {vocalsound} take {disfmarker} I guess thatsomebody 's gonna do this , right ? {disfmarker} is to take some of these tandem things and feed it into the SRI system , right ?PhD E: Yeah .Professor A: Yeah .PhD E: We can do something like that .Professor A: Yeah. Because {disfmarker}PhD E: Yeah . But {disfmarker} But I guess the main point is the data because uh {vocalsound} I am not sure . Our back - end is {disfmarker} is fairly simple but until now , well , the attemptsto improve it or {disfmarker} have fail Ah , well , I mean uh what Chuck tried to {disfmarker} to {disfmarker} to doProfessor A: Yeah , but he 's doing it with the same data , right ? I mean so to {disfmarker}{vocalsound} So there 's {disfmarker} there 's {disfmarker} there 's two things being affected .PhD E: Yeah . So it 's {disfmarker} Yeah .Professor A: I mean . One is that {disfmarker} that , you know , there 'ssomething simple that 's wrong with the back - end . We 've been playing a number of statesPhD E: Mm - hmm .Professor A: uh I {disfmarker} I don't know if he got to the point of playing with the uh number ofGaussians yetPhD E: Mm - hmm .Professor A: but {disfmarker} but uh , uh , you know . But , yeah , so far he hadn't gotten any big improvement ,PhD E: Mm - hmm .Professor A: but that 's all with the same amount ofdata which is pretty small .PhD E: Yeah .Professor A: And um .PhD E: Mmm . So , yeah , we could retrain some of these tandem on {disfmarker} on huge {disfmarker}Professor A: Well , you could do that , but I 'msaying even with it not {disfmarker} with that part not retrained , just {disfmarker} just using {disfmarker} having the H M Ms {disfmarker} much better H MPhD E: Ah , yeah . Just {disfmarker} f for the HMM models.Professor A: Yeah .PhD E: Yeah . Mm - hmm . Mm - hmm .Professor A: Um . {vocalsound} But just train those H M Ms using different features , the features coming from our Aurora stuff .PhD E: Yeah .Professor A: So.PhD E: Yeah . But {vocalsound} what would be interesting to see also is what {disfmarker} what {disfmarker} perhaps it 's not related , the amount of data but the um recording conditions . I don't know . Because{vocalsound} it 's probably not a problem of noise , because our features are supposed to be robust to noise .Professor A: Well , yeah .PhD E: It 's not a problem of channel , because there is um {vocalsound}{vocalsound} normalization with respect to the channel . So {disfmarker}Professor A: I {disfmarker} I {disfmarker} I 'm sorry . What {disfmarker} what is the problem that you 're trying to explain ?PhD E: The{disfmarker} the fact that {disfmarker} the result with the tandem and Aurora system are {vocalsound} uh so much worse .Professor A: That the {disfmarker} Oh . So much worse ? Oh .PhD E: Yeah .Professor A: I uhbut I 'm {disfmarker} I 'm almost certain that it {disfmarker} it {disfmarker} {vocalsound} I mean , that it has to do with the um amount of training data .PhD E: It {disfmarker}Professor A: It {disfmarker} it 's{disfmarker} it 's orders of magnitude off .PhD E: Yeah but {disfmarker} Yeah . Yeah but we train only on digits and it 's {disfmarker} it 's a digit task , so . Well .Professor A: But {disfmarker} but having a huge{disfmarker} If {disfmarker} {vocalsound} if you look at what commercial places do , they use a huge amount of data .PhD E: It {disfmarker} Mm - hmm .Professor A: This is a modest amount of data .PhD E: Alright .Yeah .Professor A: So . {vocalsound} I mean , ordinarily you would say \" well , given that you have enough occurrences of the digits , you can just train with digits rather than with , you know \" {disfmarker}PhD E: Mm- hmm . Mm - hmm .Professor A: But the thing is , if you have a huge {disfmarker} in other words , do word models {disfmarker} But if you have a huge amount of data then you 're going to have many occurrences ofsimilar uh allophones .PhD E: Right . Mmm .Professor A: And that 's just a huge amount of training for it .PhD E: Yeah .Professor A: So it 's {vocalsound} um {disfmarker} {vocalsound} I {disfmarker} I think it has tobe that , because , as you say , this is , you know , this is near - microphone ,PhD E: Mm - hmm .Professor A: it 's really pretty clean data .PhD E: Mm - hmm .Professor A: Um . Now , some of it could be the fact that uh{disfmarker} let 's see , in the {disfmarker} in these multi - train things did we include noisy data in the training ?PhD E: Yeah .Professor A: I mean , that could be hurting us actually , for the clean case .PhD E: Yeah .Well , actually we see that the clean train for the Aurora proposals are {disfmarker} are better than the multi - train ,Professor A: It is if {disfmarker} Yeah .PhD E: yeah .Professor A: Yeah . Cuz this is clean data , andso that 's not too surprising .PhD E: Mm - hmm .Professor A: But um . Uh . So .PhD E: Well , o I guess what I meant is that well , let 's say if we {disfmarker} if we add enough data to train on the um on the MeetingRecorder digits , I guess we could have better results than this .Professor A: Uh - huh . Mm - hmm .PhD E: And . What I meant is that perhaps we can learn something uh from this , what 's {disfmarker} what 's wronguh what {disfmarker} what is different between TI - digits and these digits and {disfmarker}Professor A: What kind of numbers are we getting on TI - digits ?PhD E: It 's point eight percent , so .Professor A: Oh . I see.PhD E: Four - Fourier .Professor A: So in the actual TI - digits database we 're getting point eight percent ,PhD E: Yeah . Yeah .Professor A: and here we 're getting three or four {disfmarker} three , let 's see , three forthis ?PhD E: Mm - hmm .Professor A: Yeah . Sure , but I mean , um point eight percent is something like double uh or triple what people have gotten who 've worked very hard at doing that .PhD E: Mm - hmm.Professor A: And {disfmarker} and also , as you point out , there 's adaptation in these numbers also . So if you , you know , put the ad adap take the adaptation off , then it {disfmarker} for the English - Near you getsomething like two percent .PhD E: Mmm .Professor A: And here you had , you know , something like three point four . And I could easily see that difference coming from this huge amount of data that it was trained on.PhD E: Mm - hmm .Professor A: So it 's {disfmarker}PhD E: Mm - hmm .Professor A: You know , I don't think there 's anything magical here .PhD E: Yeah .Professor A: It 's , you know , we used a simple HTK systemwith a modest amount of data . And this is a {disfmarker} a , you know , modern {vocalsound} uh system uh has {disfmarker} has a lot of nice points to it .PhD E: Yeah . Mm - hmm .Professor A: Um . So . I mean ,the HTK is an older HTK , even . So . Yeah it {disfmarker} it 's not that surprising .PhD E: Mm - hmm .Professor A: But to me it just {disfmarker} it just meant a practical {vocalsound} point that um if we want to{vocalsound} publish results on digits that {disfmarker} that people pay {vocalsound} attention to we probably should uh {disfmarker} Cuz we 've had the problem before that you get {disfmarker} show some{vocalsound} nice improvement on something that 's {disfmarker} that 's uh , uh {disfmarker} it seems like too large a number , and uh {vocalsound} uh people don't necessarily take it so seriously .PhD E: Mm -hmm .Professor A: Um . Yeah . Yeah . So the three point four percent for this uh is {disfmarker} is uh {disfmarker} So why is it {disfmarker} It 's an interesting question though , still . Why is {disfmarker} why is itthree point four percent for the d the digits recorded in this environment as opposed to {vocalsound} the uh point eight percent for {disfmarker} for {disfmarker} for the original TI - digits database ? Um .PhD E: Yeah .th that 's {disfmarker} th that 's my pointProfessor A: Given {disfmarker} given the same {disfmarker} Yeah . So ignore {disfmarker} ignoring the {disfmarker} the {disfmarker} the SRI system for a moment ,PhD E:I {disfmarker} I {disfmarker} I don't I {disfmarker} Mm - hmm .Professor A: just looking at {vocalsound} the TI - di the uh tandem system , if we 're getting point eight percent , which , yes , it 's high . It 's , youknow , it {disfmarker} it 's not awfully high ,PhD E: Mm - hmm .Professor A: but it 's , you know {disfmarker} it 's {disfmarker} it 's high . Um . {vocalsound} Why is it {vocalsound} uh four times as high , or more?PhD E: Yeah , I guess .Professor A: Right ? I mean , there 's {disfmarker} {vocalsound} even though it 's close - miked there 's still {disfmarker} there really is background noise .PhD E: Mm - hmm .Professor A: Um .And {vocalsound} uh I suspect when the TI - digits were recorded if somebody fumbled or said something wrong or something that they probably made them take it over .PhD E: Mm - hmm .Professor A: It was not{disfmarker} I mean there was no attempt to have it be realistic in any {disfmarker} in any sense at all .PhD E: Well . Yeah . And acoustically , it 's q it 's {disfmarker} I listened . It 's quite different . TI - digit is{disfmarker} it 's very , very clean and it 's like studio recordingProfessor A: Mm - hmm .PhD E: whereas these Meeting Recorder digits sometimes you have breath noise and Mmm .Professor A: Right . Yeah . So I thinkthey were {disfmarker}PhD E: It 's {nonvocalsound} not controlled at all , I mean .Professor A: Bless you .Grad B: Thanks .Professor A: I {disfmarker} Yeah . I think it 's {disfmarker} it 's {disfmarker} So . Yes .PhDE: Mm - hmm . ButProfessor A: It 's {disfmarker} I think it 's {disfmarker} it 's the indication it 's harder .PhD E: Yeah .Professor A: Uh . {vocalsound} Yeah and again , you know , i that 's true either way . I mean sotake a look at the uh {disfmarker} {vocalsound} um , the SRI results . I mean , they 're much much better , but still you 're getting something like one point three percent for uh things that are same data as in T{disfmarker} TI - digits the same {disfmarker} same text .PhD E: Mm - hmm .Professor A: Uh . And uh , I 'm sure the same {disfmarker} same system would {disfmarker} would get , you know , point {disfmarker}point three or point four or something {vocalsound} on the actual TI - digits . So this {disfmarker} I think , on both systems the {vocalsound} these digits are showing up as harder .PhD E: Mmm .Professor A: Um .PhDE: Mm - hmm .Professor A: Which I find sort of interesting cause I think this is closer to {disfmarker} uh I mean it 's still read . But I still think it 's much closer to {disfmarker} to what {disfmarker} what peopleactually face , {vocalsound} um when they 're {disfmarker} they 're dealing with people saying digits over the telephone . I mean . {vocalsound} I don't think uh {disfmarker} I mean , I 'm sure they wouldn't releasethe numbers , but I don't think that uh {vocalsound} the uh {disfmarker} the {disfmarker} the companies that {disfmarker} that do telephone {vocalsound} speech get anything like point four percent on their{vocalsound} digits . I 'm {disfmarker} I 'm {disfmarker} I 'm sure they get {disfmarker} Uh , I mean , for one thing people do phone up who don't have uh uh Middle America accents and it 's a we we it 's{disfmarker} it 's {disfmarker} it 's US .PhD E: Mm - hmm .Professor A: it has {disfmarker} has many people {vocalsound} {vocalsound} who sound in many different ways . So . Um . I mean . OK . That was that topic. What else we got ?PhD E: Um .Professor A: Did we end up giving up on {disfmarker} on , any Eurospeech submissions ,PhD E: But {disfmarker}Professor A: or {disfmarker} ? I know Thilo and Dan Ellis are{disfmarker} are submitting something , but uh .PhD E: Yeah . I {disfmarker} {vocalsound} I guess e the only thing with these {disfmarker} the Meeting Recorder and , well , {disfmarker} So , I think , yeah{disfmarker} I think we basically gave up .Professor A: Um . {vocalsound} Now , actually for the {disfmarker} for the Aur - uhPhD E: But {disfmarker}Professor A: we do have stuff for Aurora , right ? Because{disfmarker} because we have ano an extra month or something .PhD E: Yeah . Yeah . Yeah . So . Yeah , for sure we will do something for the special session .Professor A: Yeah . Well , that 's fine . So th so{disfmarker} so we have a couple {disfmarker} a couple little things on Meeting RecorderPhD E: Yeah . Mm - hmm .Professor A: and we have {disfmarker} {vocalsound} We don't {disfmarker} we don't have to flood itwith papers . We 're not trying to prove anything to anybody . so . That 's fine . Um . Anything else ?PhD E: Yeah . Well . So . Perhaps the point is that we 've been working on {vocalsound} is , yeah , we have put theum the good VAD in the system and {vocalsound} it really makes a huge difference . Um . So , yeah . I think , yeah , this is perhaps one of the reason why our system was not {disfmarker} {vocalsound} not the best ,because with the new VAD , it 's very {disfmarker} the results are similar to the France Telecom results and perhaps even better sometimes .Professor A: Hmm .Grad B: Huh .PhD E: Um . So there is this point . Uh .The problem is that it 's very big and {vocalsound} {vocalsound} we still have to think how to {disfmarker} where to put it and {disfmarker} {vocalsound} um ,Professor A: Mm - hmm .PhD E: because it {disfmarker}it {disfmarker} well , this VAD uh either some delay and we {disfmarker} if we put it on the server side , it doesn't work , because on the server side features you already have LDA applied {vocalsound} from the f fromthe terminal side and {vocalsound} so you accumulate the delay so the VAD should be before the LDA which means perhaps on the terminal side and then smaller {vocalsound} andProfessor A: So wha where did thisgood VAD come from ?PhD E: So . It 's um from OGI . So it 's the network trained {disfmarker} it 's the network with the huge amounts on hidden {disfmarker} of hidden units , and um nine input frames compared tothe VAD that was in the proposal which has a very small amount of hidden units and fewer inputs .Professor A: This is the one they had originally ?PhD E: Yeah .Professor A: Oh . Yeah , but they had to {pause} get ridof it because of the space , didn't they ?PhD E: Yeah . So . Yeah . But the abso assumption is that we will be able to make a VAD that 's small and that works fine . And . So we can {disfmarker}Professor A: Well . Sothat 's a problem . Yeah .PhD E: Yeah but {disfmarker} nnn .Professor A: But the other thing is uh to use a different VAD entirely . I mean , uh i if {disfmarker} if there 's a {vocalsound} if {disfmarker} if {disfmarker}I {disfmarker} I don't know what the thinking was amongst the {disfmarker} the {disfmarker} the {vocalsound} the ETSI folk but um if everybody agreed sure let 's use this VAD and take that out of there{disfmarker}PhD E: Mm - hmm . Mm - hmm . They just want , apparently {disfmarker} they don't want to fix the VAD because they think there is some interaction between feature extraction and {disfmarker} andVAD or frame dropping But they still {vocalsound} want to {disfmarker} just to give some um {vocalsound} requirement for this VAD because it 's {disfmarker} it will not be part of {disfmarker} they don't want it tobe part of the standard .Professor A: OK .PhD E: So . So it must be at least uh somewhat fixed but not completely . So there just will be some requirements that are still not {disfmarker} uh not yet uh ready I think.Professor A: Determined . I see . But I was thinking that {disfmarker} that uh {vocalsound} s \" Sure , there may be some interaction ,PhD E: Nnn .Professor A: but I don't think we need to be stuck on using our or OGI's {pause} VAD . We could use somebody else 's if it 's smaller or {disfmarker}PhD E: Yeah .Professor A: You know , as long as it did the job .PhD E: Mm - hmm .Professor A: So that 's good .PhD E: Uh . So there is thisthing . There is um {disfmarker} Yeah . Uh I designed a new {disfmarker} a new filter because when I designed other filters with shorter delay from the LDA filters , {vocalsound} there was one filter with fif sixtymillisecond delay and the other with ten millisecondsProfessor A: Right .PhD E: and {vocalsound} uh Hynek suggested that both could have sixty - five sixty - s I think it 's sixty - five .Professor A: Yeah .PhD E: Yeah .Both should have sixty - five because {disfmarker}Professor A: You didn't gain anything , right ?PhD E: Yeah . And . So I did that and uh it 's running . So , {vocalsound} let 's see what will happen . Uh but the filter isof course closer to the reference filter .Professor A: Mm - hmm .PhD E: Mmm . Um . Yeah . I think {disfmarker}Professor A: So that means logically , in principle , it should be better . So probably it 'll be worse .PhD E:YeahProfessor A: Or in the basic perverse nature uh of reality . Yeah . OK .PhD E: Yeah . Sure .Grad C: Yeah .Professor A: OK .PhD E: Yeah , and then we 've started to work with this of um voiced - unvoiced stuff.Professor A: Mm - hmm .PhD E: And next week I think we will {vocalsound} perhaps try to have um a new system with uh uh MSG stream also see what {disfmarker} what happens . So , something that 's similar tothe proposal too , but with MSG stream .Professor A: Mm - hmm . Mm - hmm .PhD E: Mmm .Professor A: OK .PhD D: No , I w {vocalsound} I begin to play {vocalsound} with Matlab and to found some parameterrobust for voiced - unvoiced decision . But only to play . And we {disfmarker} {vocalsound} they {disfmarker} we found that maybe w is a classical parameter , the {vocalsound} sq the variance {vocalsound} betweenthe um FFT of the signal and the small spectrum of time {vocalsound} we {disfmarker} after the um mel filter bank .Professor A: Uh - huh .PhD D: And , well , is more or less robust . Is good for clean speech . Is quitegood {vocalsound} for noisy speech .Professor A: Huh ? Mm - hmm .PhD D: but um we must to have bigger statistic with TIMIT ,Professor A: Mm - hmm .PhD D: and is not ready yet to use on ,Professor A: Yeah .PhDD: well , I don't know .Professor A: Yeah .PhD E: Yeah . So , basically we wa want to look at something like the ex the ex excitation signal and {disfmarker}Professor A: Right .PhD D: Mm - hmm .PhD E: which are thevariance of it and {disfmarker}PhD D: I have here . I have here for one signal , for one frame .PhD E: Mmm .Professor A: Yeah . Uh - huh .PhD D: The {disfmarker} the mix of the two , noise and unnoise , and the"}
+{"doc_id":"doc_32","qid":"","text":"User Interface: {vocalsound} {vocalsound}Marketing: {vocalsound}User Interface: Mm uh .Marketing: {vocalsound} {gap} We're the first .User Interface: Mm . We're the first ones . {vocalsound}Marketing:Marketing Expert , yes .Project Manager: Mm .Marketing: {vocalsound}Project Manager: So you found your spots .Marketing: Yes .User Interface: {vocalsound} Move to the meeting room . {vocalsound}Marketing:Bling bling . {vocalsound} Yeah .User Interface: Okay .Marketing: Right . {vocalsound}Project Manager: Okay .Marketing: Uh {vocalsound} where has my screen gone ?Industrial Designer: Hi .User Interface: Hello ,good day . {vocalsound}Marketing: {vocalsound}Industrial Designer: Oh yeah , we have to talk in English ,Marketing: Hmm .Industrial Designer: huh .User Interface: Yep .Marketing: Yeah . My screen is gone .ProjectManager: It's called black . {vocalsound}Marketing: {vocalsound} Oh .User Interface: Kick-off meeting , wow . It's uh looks uh nice .Industrial Designer: I'm afraid I'm a bit slow for this stuff uh .Project Manager:{vocalsound} Okay .User Interface: Hmm ?Marketing: {vocalsound}Industrial Designer: I'm afraid I'm a bit too slow . {vocalsound} I don't know how much preparation you guys did ,User Interface: Yeah .IndustrialDesigner: but not a lot .Marketing: Yeah .User Interface: No , it's {disfmarker} it was uh not enough .Project Manager: You see this beautiful presentation .Marketing: Yeah . Very nice .Project Manager: Okay let's getstarted .Marketing: Yeah .Project Manager: Uh I sort of prepared this .User Interface: {vocalsound}Project Manager: Uh opening acquaintance , tool training , uh how to use the things here . Uh project plan discussion ,and yeah then the rest of the meeting .Marketing: Mm .Industrial Designer: Mm-hmm .Project Manager: Um we're supposed to develop a new remote control , that's both original , trendy and user-friendly . So,Marketing: {vocalsound} {vocalsound}Project Manager: hope you have good ideas . I don't . {vocalsound}User Interface: {vocalsound} I did my best .Project Manager: Um we're work we're working uh from top tobottom . Uh functional design ,Industrial Designer: Not yet .Project Manager: then we do some in individual work , then we have a meeting to discuss the results , etcetera etcetera . And at the end of the day we shouldhave a prototype drawn up . Uh we have available the smart board and the whiteboard . Um uh we should take some practice . I have some instructions now to do that .Marketing: Yeah .Project Manager: Uh well youknow how to {disfmarker} the documents work . So {disfmarker} Uh this for toolbar . You see it next . Um we have a pen . And we can use this pen to perform . {vocalsound}User Interface: {vocalsound}Marketing:{vocalsound}Project Manager: Yes .Industrial Designer: Operations .Project Manager: So {disfmarker}User Interface: {vocalsound}Project Manager: It doesn't always work . Yes .Marketing: Yeah .Project Manager:Okay so you can draw .Marketing: Draw . Alright .Project Manager: Okay and in the format menu you can select colour and line width , etcetera etcetera . Okay ?Marketing: 'Kay .Project Manager: Uh {disfmarker} Okay. Each of you can uh take some practice and you should draw an animal . Uh you should explain {disfmarker} Uh with different colours and with different pen widths .User Interface: {vocalsound}Industrial Designer:{vocalsound}Project Manager: And you should explain why you draw that particular animal .User Interface: {vocalsound} Okay .Marketing: {vocalsound} Don't take up too much space . {vocalsound}Project Manager:So , Julian .User Interface: Um yeah .Industrial Designer: Different pen widths , how do you do that ?User Interface: {vocalsound}Project Manager: Uh with the format menu .Industrial Designer: Oh okay .ProjectManager: And use different colours etcetera .User Interface: {vocalsound} It's a giraffe . Yeah .Project Manager: And {vocalsound} what's that supposed to be ? {vocalsound}Industrial Designer: Are you serious?Marketing: {vocalsound} Should it be one {disfmarker}Project Manager: Oh yeah . {vocalsound} Oh yeahUser Interface: {vocalsound} Okay .Project Manager: four legs . Uh-huh . {vocalsound}Marketing: Giraffe'syellow . {vocalsound}User Interface: Uh it needs some uh some yellow uh {disfmarker} Oh format .Marketing: Can you use one blank sheet per drawing ? OrProject Manager: Yeah .Marketing: so y you must save it atthe endProject Manager: YeahMarketing: and then {disfmarker}Project Manager: you can press the next button , which is uh {disfmarker} yeah . I'll show you .User Interface: That's some spots .Industrial Designer: Iin the file option menu .Project Manager: Yeah . In file menu .Marketing: Okay ,User Interface: No .Marketing: then m make a new one .User Interface: {vocalsound}Industrial Designer: How much time do we have todraw anyway ? {vocalsound}Project Manager: {vocalsound} Yeah .User Interface: {vocalsound}Industrial Designer: 'Cause I can take forever on this .Project Manager: {gap}User Interface: Okay . Do I have to explainuh why I chose this uh this animal ?Project Manager: Yeah . {vocalsound}User Interface: I think it's a it's a great animal .Project Manager: What is it ? {vocalsound}Industrial Designer: {vocalsound}Marketing:{vocalsound}User Interface: {vocalsound} It's a it's a giraffe .Project Manager: A giraffe okay . Yeah I see a long neckUser Interface: Yeah , that's a {disfmarker}Project Manager: but {disfmarker}{vocalsound}Marketing: It's more like a dinosaur . {vocalsound}User Interface: {vocalsound} Um {disfmarker} Okay I'll will give it an uh an eye .Project Manager: Okay . That's nice of you .Marketing: {vocalsound}Uh .User Interface: Hey . Come on .Marketing: Some leaf to eat . {vocalsound}User Interface: {gap} {vocalsound}Project Manager: Okay . Yeah pretty good . Uh could you press the next uh {disfmarker}UserInterface: The next ? Yes .Project Manager: Okay . Then uh {disfmarker} {gap} .User Interface: Here you go . {vocalsound}Marketing: Yeah . Thanks .User Interface: Hmm .Marketing: Yeah .User Interface:{vocalsound}Industrial Designer: Is this part of our a acquai or introduction to each other ?Project Manager: Yeah sorry , introduction and get acquaintedMarketing: {vocalsound} Uh {disfmarker}Project Manager: and{disfmarker}Industrial Designer: Alright .Project Manager: That's the idea , so {disfmarker}Industrial Designer: Uh . Your line broke .Marketing: {vocalsound} Yeah . Alright .User Interface: {vocalsound}ProjectManager: Yeah it's a bit slow ,Marketing: It's not that fast .Project Manager: so {disfmarker}Marketing: Yeah .Project Manager: Yeah . {vocalsound}Marketing: {vocalsound} I see . It misses the spot .Project Manager:{gap} pressure .Industrial Designer: I'm guessing a turtle . No . {vocalsound} I'm kidding .Marketing: {vocalsound} I say good guess . Uh {disfmarker}Project Manager: Why a turtle ?Industrial Designer: Because ofits shell .Marketing: Because it's slow . {vocalsound}Project Manager: {vocalsound} It's slow .User Interface: 'Cause it's soProject Manager: You were slow tooUser Interface: 'cause it's green . {vocalsound}ProjectManager: so {disfmarker}Marketing: Yeah I was a bit slow too .Industrial Designer: Dude you're a good drawer .Marketing: So {disfmarker} {vocalsound} Uh some other line uh width uh {disfmarker}IndustrialDesigner: Do you have a turtle pet ?Project Manager: {vocalsound}User Interface: {vocalsound}Marketing: {vocalsound} No . {vocalsound}Industrial Designer: Uh okay .Marketing: I dunno . {vocalsound} Does ithave legs ? {vocalsound}Industrial Designer: Yeah yeah yeah .Project Manager: Yeah sure .Marketing: Yeah ?Project Manager: Yeah not exactly legs but {disfmarker} More like finsMarketing: {vocalsound}IndustrialDesigner: Stumpy stuff .Project Manager: or {disfmarker}Marketing: It's more like a tank . Yeah that's finsIndustrial Designer: They kind of l look like mole legs . With sharp nails on .Marketing: but I don't know where. {vocalsound}Project Manager: Yeah .Marketing: Some spots . Ah some eye .Project Manager: {vocalsound} YeahMarketing: {vocalsound}Project Manager: it's l looks very friendly . {vocalsound}Marketing: Yeahthat's a fr {vocalsound} friendly turtle I guess .Industrial Designer: {vocalsound}Marketing: Yeah well I think it's uh fair enough .Project Manager: Yeah okay .Industrial Designer: A little tail maybe .Project Manager:{vocalsound} {gap} {vocalsound}User Interface: {vocalsound}Industrial Designer: {vocalsound}Marketing: Right . {vocalsound} I don't know what the position is . {vocalsound} Does it have ears ?IndustrialDesigner: Uh no .Project Manager: No .User Interface: No .Marketing: No . Oh okay .Industrial Designer: The little holes maybe .Marketing: Can you erase earsProject Manager: Yeah yeah yeah .User Interface:{vocalsound}Marketing: or {disfmarker}Project Manager: There's a a gum ,Marketing: Yeah ? Alright .Project Manager: gum to {gap} .Marketing: Eraser .Industrial Designer: And why did you choose this animal?Marketing: So {disfmarker}Project Manager: He said it was slow .Marketing: I dunno . I it just came into my mind . So there's no particular reasonIndustrial Designer: Alright .Marketing: I {gap} pen .Project Manager:{vocalsound} I like it . {vocalsound}Marketing: Yeah . Well I'm {disfmarker} guess I'm done .Project Manager: Okay . {gap}Marketing: That's my turtle .Project Manager: Your turn Niels .Industrial Designer: Alright.Marketing: How to select the next or {disfmarker}Project Manager: The nextMarketing: here .Project Manager: yeah .Industrial Designer: {gap} Colours were under formatMarketing: {vocalsound} Yeah .ProjectManager: Makes new paper .Marketing: Here you go .Project Manager: Yeah .Industrial Designer: right ? Let's see .Project Manager: Orange .Industrial Designer: How am I gonna do this ? Um {disfmarker} Mm uh.User Interface: A rabbit I think .Project Manager: Kangaroo .User Interface: Kangaroo . {vocalsound}Industrial Designer: {vocalsound} Not quite actually .User Interface: Fox .Marketing: A fox yeah .Project Manager:Dog .Marketing: Firefox .User Interface: {vocalsound}Industrial Designer: No .Project Manager: Cat .Industrial Designer: Aye . {vocalsound} It's a cat .Project Manager: It's a cat .User Interface: Mm .IndustrialDesigner: Not quite yet through .Marketing: A cat who had an accident or {disfmarker} {vocalsound}Project Manager: Why a cat ?Industrial Designer: Uh yeah I dunno . They're my favourite pets .Project Manager: Youhave some uh ?Industrial Designer: Uh I have colour already . Yeah I'm not so good at drawing with this kind ofProject Manager: {vocalsound} The pen ,Industrial Designer: st Oh shit . Um {disfmarker}ProjectManager: yeah .Industrial Designer: Excuse my language .User Interface: {vocalsound}Marketing: {vocalsound}Project Manager: Sure . {vocalsound}Industrial Designer: I don't know how to draw its face . But you getthe idea .Project Manager: Yeah . {vocalsound} Alright .Industrial Designer: It's a cat . It's my favourite uh pet animal , 'cause they're cute , they're independent and cuddly , I dunno . {vocalsound}Project Manager:Okay .Industrial Designer: That's it .Project Manager: Yeah .Industrial Designer: Or do I need to use more colours and {disfmarker}Project Manager: {gap} I think it's okay . You get ideaIndustrial Designer: Alright.Project Manager: right ?Industrial Designer: Yeah .Project Manager: Okay umIndustrial Designer: {vocalsound}Project Manager: we have a financial aspect to this project . {vocalsound} Um we can sell them at twentyfive Euros . Uh the aim is to reach {disfmarker} uh uh to sell as much as fifty million Euros . Uh that's quite a big amount of money . And the production cost should be the half of the selling price . OkayIndustrialDesigner: So we have to sProject Manager: now it's time for some discussion . {vocalsound} {vocalsound} {gap}User Interface: Okay .Project Manager: Uh {disfmarker}User Interface: What uh what uh do you wantto discuss ? {vocalsound}Project Manager: {vocalsound} Yeah .Industrial Designer: Yeah . {vocalsound}Project Manager: We should get started .User Interface: Yep .Marketing: Yeah .Project Manager: Uh I'm takingnotes . UmMarketing: Okay . Great .Project Manager: we each have a specific task , as I saw in my mail . I didn't know if you received the same mail .Industrial Designer: Mm-hmm .Marketing: Yeah .Project Manager:Yeah ?Industrial Designer: I guess so . Yeah .Marketing: Yeah .Project Manager: Okay so the um {vocalsound} uh {gap} this industrati Industrial Designer should produce a working design . Am I correct ?IndustrialDesigner: True .Project Manager: Okay . Uh the User Interface Designer should specify the technical functions . Right ? Yeah ?User Interface: Yep .Project Manager: {vocalsound} And the Marketing uh Expert shouldcome up with user requirements .Marketing: Yeah .Project Manager: Uh did any of you already do some work on this part or {disfmarker}Industrial Designer: {vocalsound} Well I started making an overview for myself, um what I had to do , 'cause we have three design steps and in every step I have a s specific task to perform or whatever .Project Manager: Mm-hmm . Mm-hmm .Industrial Designer: So I had to uh , {vocalsound} Idunno , make an overview for myself about what I have to do ,Project Manager: Mm-hmm .Industrial Designer: and kind of let it work in to get ideas about well how I have to fill it .Project Manager: Mm-hmm . And doyou have any ideas about the product uh so far ?Industrial Designer: Well I started I started with the first phase , I think was the functional .Project Manager: Mm-hmm .Industrial Designer: And uh let's see I had tofocus on the working design , which you said .Project Manager: Mm-hmm .Industrial Designer: How does the apparatus work ? And well I basically had two points . Uh {vocalsound} according to the coffee uh machineexample , I have batteries to supply energy ,Project Manager: {vocalsound} Yeah .Marketing: Yeah .Industrial Designer: and we ye use button presses to activate or deactivate certain functions on the T_V_ .ProjectManager: Mm-hmm . {vocalsound} Okay .Industrial Designer: And that's basically all I have so far .Project Manager: Yeah I got another point . It uses infrared light to communicate the signal to the T_V_ apparatus orstereo .User Interface: Yeah . Wireless uh {disfmarker} huh .Marketing: Yeah .Industrial Designer: Alright .Marketing: Yeah .Industrial Designer: Yeah .Marketing: So that's very common .User Interface: Uh it's uhsome buttons for for the on off function . You d you already told that . And for the changing up to the {disfmarker} to all the channels and changing the volume . That are the the basic options for a remote control.Industrial Designer: Yeah . Yeah I kept it global 'cause {vocalsound} {disfmarker} that it activates or deactivates specific functions ,User Interface: Okay , yeah .Industrial Designer: 'cause I wasn't thinking yet aboutthat . I mean , you wanna ch ch flip the channelUser Interface: Yeah .Industrial Designer: but you might wanna use teletext also .User Interface: Yep .Marketing: Yeah .Industrial Designer: I dunno what the word is inEnglish . Uh {gap} {disfmarker}Project Manager: Same I believe {gap} .Marketing: Yeah . {vocalsound}Project Manager: Uh and what did the Marketing Expert do ?Marketing: Uh well from a marketing uh{vocalsound} perspective , um well the function des design phase uh consists out of the user requirements .Project Manager: Mm-hmm .Marketing: Um what needs and desires are to be fulfilled ? So there are a fewmeans to reach that um by by doing research {vocalsound} uh to see what existing products are there out in the market .Project Manager: Mm-hmm .Marketing: I mean , what functions do they have .Project Manager:Mm .Marketing: Um especially what are their shortcomings ? Are there any new functions uh which can be added to our product ?Project Manager: Mm-hmm . Mm-hmm .Marketing: Um therefore we have to to do someinternet search . For example for um well what kind of applications do current remote controls support , and what are f featur features of uh current and future televisions ?Project Manager: Yep . Yes .Marketing: So wecan see uh what needs to be supported . Um {vocalsound} and we can interview current users and future users . What w what would they like to see uh on a new remote control ? Um especially for future users ,ProjectManager: Okay . Okay .Marketing: uh I'm thinking of early adopters , because they they use new technology first ,Project Manager: Mm-hmm .Marketing: and they play with a lot of tools and stuff so maybe they havesome good ideas to uh to add .Project Manager: Okay . And you can get that information ?Marketing: I think I can get that information , yeah .Project Manager: Okay . That would be very handy .Marketing: So{disfmarker} yeah .Project Manager: Um but have you any idea so far as what uh the user requirements are ?Marketing: No n not specifically .Project Manager: No ?Marketing: More to how to get themProject Manager:No okay .User Interface: {vocalsound} I got some uh requirementsMarketing: and {disfmarker}Project Manager: Yeah ?User Interface: it has uh {gap} it has to be user-friendly .Marketing: Yeah ?Project Manager:{vocalsound} Of course .Industrial Designer: Yeah . Obviously .Marketing: Yeah .User Interface: {vocalsound} {vocalsound} Uh really easy to use buttons , not not uh very small buttons , but not the the also the bigbig buttons , but just normal buttons . It has to be a small unit . It has to be uh {disfmarker} yeah , you can take it with you uh everywhere in in your house . So it has n has not to be l yeah , gigantic uh machine.Project Manager: Big , mm-hmm .Marketing: Yeah .User Interface: Uh and a and a good uh zapping range . {vocalsound}Project Manager: {vocalsound} Uh what do you mean by that ?User Interface: Uh the distanceuh from your television to your uh remote control has to be , uh yeah um yeah , quite a big distance .Marketing: Yeah .User Interface: It has to be capable for zapping uh {disfmarker}Marketing: Yeah . From the otherend of the room or something ?User Interface: Yeah .Marketing: Yeah .Project Manager: Okay um {disfmarker} Well I don't think I have anything more to add at the moment . Um I think the best is to go to work.Industrial Designer: Whoa . Is that youProject Manager: Yeah .Industrial Designer: or {disfmarker} alright .Project Manager: Okay .Marketing: Any more points to discuss ?Project Manager: Yeah . I think we can goahead with what we have . I will summarise the things we discussed and put it in the project folder . Uh the use of the Industrial Designer can work on the working design , etcetera etcetera . And it seems you get moreinformation by email . So {vocalsound}Marketing: Alright .Industrial Designer: Alright .Project Manager: that was it for me .User Interface: Okay .Marketing: 'Kay . Thanks .Project Manager: Uh {disfmarker}UserInterface: Are you going to put the the notes on the {disfmarker}Project Manager: Yeah , in the project folder . Yeah .Marketing: Yeah . The pro okay .User Interface: Okay . {vocalsound}Project Manager: I'm writingvery fast . {vocalsound}Industrial Designer: Alright .User Interface: Yeah . {vocalsound}Marketing: Yeah . Okay .Project Manager: Hope it's readable .User Interface: Yep .Marketing: Uh .Project Manager: Okay{vocalsound} um anything more you want to add to the discussion ?Marketing: I guess so .Industrial Designer: Well no I'm just a bit wondering what we're gonna do the next uh session ?User Interface: Yeah . Do weonly have to to do uh phase one , the functional design uh ?Project Manager: Yeah . Because then we have a {disfmarker}User Interface: After that we are going to the conceptual uh {disfmarker}Project Manager:Yeah . {vocalsound}Marketing: Yeah .Project Manager: Y you do some individual work ,Marketing: We're just working the three phases .Project Manager: we have meeting , individual work , meeting . And at the end ofthe day we have a final meeting . And then I have to prepare {disfmarker} uh I have to defend our design ,User Interface: {vocalsound}Project Manager: so make it good . {vocalsound}Industrial Designer: Yeah okay .We'll do our best .Marketing: Okay .Project Manager: I depend on you .User Interface: Okay .Marketing: {vocalsound} Better make it {disfmarker} {vocalsound}Industrial Designer: I am gonna work on the conceptualdesign already 'cause yeah it's fairly important to know what kind of components we want to put in .Project Manager: Yeah ? If you can mix it it's okay . Mm-hmm . Yeah .Industrial Designer: Do we {disfmarker} Imean , is it gonna be a multimedia control centre ? Do we want to be able to use the video recorder with it ? {vocalsound}Marketing: Yeah . {vocalsound} That is my question alsoProject Manager: Yeah .Marketing:"}
+{"doc_id":"doc_33","qid":"","text":"Lynne Neagle AM: Good morning, everyone. Welcome to the Children, Young People and Education Committee. We've received no apologies, although Dawn Bowden is running late. I'll take this opportunity to welcomeDawn formally to the committee but also to place on record our thanks to John Griffiths for his service to the committee. Are there any declarations of interest, please? No. Okay. Item 2, then, this morning is a scrutinysession with a focus on higher and further education. I'm very pleased to welcome Kirsty Williams, Cabinet Secretary for Education, Eluned Morgan, Minister for Welsh Language and Lifelong Learning, and Huw Morris,who is the group director of skills, higher education and lifelong learning. Thank you all for your attendance this morning. If you're okay with it, we'll go straight into questions. The first questions are from SuzyDavies.Suzy Davies AM: Thank you, Chair. If we can just start with teacher training and teacher training for secondary school teachers in particular, obviously there's been what looks like a trend in recent years in fillingthe places for secondary school training. Obviously, this is at Welsh teacher training centres. Do you think there's still a problem recruiting teachers into the 300 priority places, or is there a trend where things aregetting better?Kirsty Williams AM: Thank you, Suzy. I think, for this year's intake, although we're in touch with our providers, we're not in a position to be able to give figures for this year's intake for a couple of months.But what we have seen over recent years is that we are only recruiting to about 65 per cent of those targets. So, there is still a job of work to do to understand and to respond to those needs. So, what we're doing isfirst of all making sure that our ITE provision is world class, so that, actually, Welsh centres are the place to go to train to be a teacher. You'll be aware that we've recently been through an accreditation process for newITE provision that will start in the next academic year. We have looked at financial incentives. It's not the whole answer, I think, to these issues, but it's part of a mixture of things that we need to do. You'll be awarethat, for priority subjects, with graduates with the very highest levels of qualifications, those financial incentives are now £20,000 a year. We're also embarking on our first ever national ITE recruitment marketingexercise. We have initially done some work in the last year specifically targeting Welsh students in studying for priority subject degrees, e-mailing them, sending them materials to ask them to consider (1) becoming ateacher, and (2) crucially coming to do that training here in Wales. We are now part of a full national programme of ITE recruitment, giving people that idea that you can serve your nation and your community bytraining to be a teacher. So, there's a whole package of things we need to do. In January of this year I set up an advisory board on the recruitment and retention of teaching staff, and we are awaiting some reports fromthat advisory group on what they feel that we should do next.Suzy Davies AM: Thank you for that answer. I can see there's a lot of activity, but what exactly is it responding to? Presumably, some research has beendone about why people don't want to become teachers so that the answers you come up with are appropriate answers. I can't believe it's just about ITE, although this is very valuable, what you're talking about. Is theresomething that's running through our younger learners at the moment that makes them think that teaching isn't a profession they want to go into? Is that something that's happening just in Wales or is it happeningelsewhere as well?Kirsty Williams AM: No. I think what you will find is that this isn't a uniquely Welsh issue. I think they are suffering quite acute problems across the border, which proves to me that money isn'tnecessarily the entire answer, because, despite higher financial incentives to join ITE courses, they're not able to do that in England either. So, that proves to me—what the research does show—that it's not moneyalone that will get people onto these courses. Interestingly, I don't even think it's a UK problem. Recently, as you'll be aware via my written statement, I attended the Atlantic Rim Collaboratory, which is asystem-to-system conference. If you talk to education systems in different parts of the world, the one common factor that we are all grappling with is teacher recruitment and retention. In the USA, they have seen a 40per cent drop in the number of students training to be teachers. So, in the Californian system, significant teacher shortages, and in Oregon, Washington. I met with New York state—significant teacher recruitment andretention problems in New York state, and in Finland, Australia. So, this is a common issue across the globe, really. That's why we set up the advisory group under the chairmanship of Professor John Gardner—it's tounderstand what the issues are exactly that are preventing people or putting people off. One of the things that we have got strong performance in, and I think this is perhaps something that we're trying to follow up on,are employment-based routes into qualified teacher status—so, those are people who are training on the job. Those remain strong. There's high demand for those places, so much so that we've increased those places to90 last year and 90 again this year, which says to me that—there's definitely a place for the traditional, 'Take a year off, do a postgraduate certificate in education in a university for a year'—actually, that type of coursesuits some students but it might be preventing other people from pursuing a qualification in teaching, which is why, of course, from next year, we will have our unique part-time PGCE route into qualification. So, thatallows people to perhaps combine some of their employment opportunities, so they can earn while they learn, or maybe they've got caring responsibilities that prevent them from going to do a full-time course. I thinkthat will give us an alternative route that people can take to gain qualified teacher status and work in our schools. So, there's no one thing, I think, that we can do that will solve this issue. But it is an international issue,I agree with that.Suzy Davies AM: Okay. Well, that's what I was after finding out, and, actually, what you've just said about the part-time PGCE is pretty interesting as well, because if you can bring your outside worldexperience into teaching, that's got to help, hasn't it?Kirsty Williams AM: Can I just agree with you? I think that is really, really important—that we have a diversity in our teaching workforce. I think the differentdynamic that brings to a school and the experience that brings to children is really, really valuable. I was up in the Deeside Sixth just last week, talking to the A-level chemistry teacher. She had been a teacher for awhile, she'd gone into industry, worked in industry, and now had come back into teaching. She said that she felt that that made her a better educator and she could talk with knowledge and experience about theopportunities outside of teaching that the students in front of her could pursue. I'm very keen to increase the diversity in our teaching workforce and I'm very keen in looking at career changers, who perhaps havedifferent life experience and work experience, coming into our teaching profession.Suzy Davies AM: Thank you for that. Part of that diversity, of course—it would be great if you had more people interested in qualifyingto teach through the medium of Welsh. Great aspirations; the trend's going the other way. No-one can solve this in 280 characters, I get that, but can you give us some indication about why you think this is proving stillsuch an unattractive option when it's clear that there's a policy for this country to improve the number of Welsh speakers? You'd have thought there'd be a pretty good carrot for this.Kirsty Williams AM: Sure. Again,data for recruitment for the 2018-19 cohort is not yet available and we are, as I said, keeping in touch with our ITE centres to keep a close eye on them. I think an important thing to recognise is that there is adifference between the number of people who are on courses where there is a specific designation that enables them to teach through the medium of Welsh and those people who have linguistic ability and Welsh abilitybut don't necessarily do a course that allows them. So, there is a difference. We do think that, for the 2016-17 cohort, there were an additional 130 qualifiers that, actually, were fluent in Welsh and who could havegone on to teach in Welsh-medium schools, didn't necessarily do a course that gave them that designation. But, clearly, we've got three academic years now to get to the targets that we've set ourselves. The evaluationof Welsh-medium provision in ITE reported at the end of last month, and the Minister and officials are busy working now to implement the recommendations of the report that was published, I think, on 28 September,to be able to move this agenda forward. Again, we've got new incentives, this year, both for people starting their course and then for teachers who complete their QTS after a year. So, we've added in new financialincentives this year to try and address some of those issues. But, clearly, these are ambitious targets and we will need to have a step change over the next three years if we're to meet them.Suzy Davies AM: Thank youfor that, Cabinet Secretary. Thank you for that answer. We're now talking about cohorts of students coming into PGCE and teaching degrees. If they're from Wales, they will have had Welsh as part of their educationfrom day one, and we'll accept there are varying qualities in different parts of Wales, different attitudes towards it as well. But there isn't a single a person now who's been through Welsh education who can say theyhave no Welsh at all, unless they've moved into the system from, say, England very, very recently. What is being done within the teaching qualifications, including the degrees, to ensure that, at least in Welshuniversities, those nascent Welsh language skills are at least kept alive, even though we're not talking necessarily about being at a level where people can teach through the medium? It's the age-old question: once theschool gate closes, is that the end of their Welsh use? So, is there something—it won't be Donaldson, but in the teacher training qualifications—that is keeping this going and, hopefully, increasing the usability of theWelsh skills they have?Kirsty Williams AM: Well, in terms of how we can encourage children who have got Welsh skills as a result of their education up to 16, how they can continue to use those skills and, potentially,use them in the workplace, I'm sure Eluned will want to talk about some of the work, for instance, in other, non-teaching sectors. But, with regard to ITE, you'll be aware that, in the evaluation report, as I said, that waspublished, the report comes forward with two options in how we could develop an intervention programme to support Welsh language skills amongst all primary and secondary ITE entrants. So, what we'll be doing nowas a result of that report is that we'll be working very closely with our ITE centres to develop and agree upon minimum provision that constitutes those skill levels within ITE provision for all teachers.Suzy Davies AM:Thank you.Lynne Neagle AM: Llyr.Llyr Gruffydd AM: You have your targets for 2021, in terms of numbers of teachers coming through the system, which is positive, although, clearly, the report or the review itself saidthat, actually, we need to double the numbers, really. But it's not just the trends that are going down; it's a cataclysmic drop, really. We've lost 24 per cent in the number of people over the last four or five years whoare going into teacher training to study subjects that they could teach through the medium of Welsh. So, it's a huge turnaround that we're looking for, and I'm not getting the feeling that the level of ambition and theanswers that you're giving here this morning reflect the level of action that's needed, really.Kirsty Williams AM: Well, first of all, as I tried to illustrate to Suzy, the figures on their own tell one story, but there areadditional people in the system with an ability to speak Welsh and to be able to use—Llyr Gruffydd AM: I think it's 40 per cent of those who are currently in the system who don't—Kirsty Williams AM: —the language andskills. And if we look at qualifiers of ITE courses in Wales by degree type, actually, we see a different trend—we see numbers going up. So, there are statistics and there are statistics. Depending on which ones you lookat, it's quite a complex picture. And that's why we had the evaluation report. We understand and we know and acknowledge that there is more work to be done. That's why we have got the evaluation of provision inITE and that's why we'll be taking that ambition forward. We know what we need to do. As I said, we're not sitting back and hoping that something miraculous will change things. We are pulling levers and putting inplace plans to improve that situation.Llyr Gruffydd AM: Thank you for that. Clearly, there are statistics and there are statistics, so could you just explain to us which statistics you've used for your targets for growth overthe next three years?Kirsty Williams AM: Well, that comes as a result of the work done for the 2050—Llyr Gruffydd AM: Upon which baseline are you basing the increases that you're projecting?Kirsty Williams AM: We'reusing the baseline of 2012-13. There has been a decline since then.Llyr Gruffydd AM: That's the one I was using when I said '24 per cent reduction'.Kirsty Williams AM: There has been a decline in those numbers. That'swhy, as I said, we're doing the work that we need to do to reverse that decline. In using those numbers, we also know that there are additional people in the system who are not captured in those figures and who dohave the linguistic ability to use their language positively in school settings. So, what I'm saying is that that doesn't tell us the whole story, but I will be the first to admit that there is a significant job of work with ourITE providers to ensure that we will have the skilled professionals that we need to deliver on our ambitions, and I'm not hiding from that.Eluned Morgan AM: Also, I just think it's worth saying that a lot of this is aboutbuilding the confidence of those people who actually can speak Welsh, who are not teaching through the medium of Welsh, and to give them that support. First of all, we need to identify who these people are, so thereis a job of work being undertaken now in terms of registration in particular—when people register, let's just make sure that we collect that kind of data.Kirsty Williams AM: We don't even do that consistently at themoment. One of the recommendations of the report is that there is no consistent approach to understanding this baseline data and there's no consistent competency test that people start at the beginning of theircourse, so we need a national approach rather than leaving it to individual institutions.Llyr Gruffydd AM: Have we missed any tricks, potentially, in terms of the reforms to accrediting ITE, for example, in terms of,maybe, strengthening aspects around the Welsh language and provision in that respect?Kirsty Williams AM: No, I don't believe so. The accreditation process, which is independent of the Government—the accreditationprocess demands of our ITE providers that their provision will be able to meet the goals of our curriculum. Our curriculum is very clear about the equality of the language and the ability of our children, through all stagesof their education journey, to be able to be bilingual children.Llyr Gruffydd AM: So, that requirement, as far you're concerned, is there.Kirsty Williams AM: Yes.Llyr Gruffydd AM: Yes, okay. Diolch—thank you.LynneNeagle AM: Before I turn to Hefin, can I just clarify—? In answer to Suzy Davies, you said that 65 per cent of the places in Welsh training centres had been filled. Is that 65 per cent of the priority places?Kirsty WilliamsAM: Priority places.Lynne Neagle AM: Okay, thank you very much.Kirsty Williams AM: Sixty-five per cent of the priority courses are being met.Lynne Neagle AM: Lovely, thank you for clarifying that. Hefin.Hefin DavidAM: The decision by the Education Workforce Council not to accredit the University of South Wales with the ability to deliver teacher training—what are your views and concerns about that?Kirsty Williams AM: Theprocess is independent of Government, and it would not be appropriate for me to comment on that, especially as I understand that there is an appeals process that may be being undertaken. What I would say is thatfrom the very outset of our ITE reforms we have made it very clear that I expect very high standards in our ITE system, but the process is independent of this Government. I have confidence in the people who havebeen appointed by the EWC to undertake that process, but it is independent of me, and it's not appropriate for me to comment on that further.Hefin David AM: I fully understand that and the need for distance for theEWC, but there'll be an impact on students and staff. Students, first of all: are you concerned that the reduction in providers might have an impact on students, and those students going through the second year atUSW? Would you have concerns about that issue?Kirsty Williams AM: In terms of the overall numbers, we will be looking to commission from those institutions that have been accredited the number of training placesthat our planning tool says that we need. So, in terms of an overall number of places, we will commission from those accredited units. Clearly, there will be a responsibility upon the University of South Wales to ensurethat those students already in the system are able to complete their studies and their course, with the appropriate level of support and tuition to enable them to achieve their career aspirations and to graduate from thatprogramme.Hefin David AM: And what about the uncertainty for staff, or would you say that's an issue for the university itself?Kirsty Williams AM: These are autonomous bodies. They have to act accordingly, incompliance with any employment law or any statutory responsibilities that they would have as an employer. That's not a matter for me; that is a matter for the institution that is an autonomous body.Hefin David AM:But I would be surprised if you weren't keeping an eye on this, given that it has been a key provider. Are you aware of when the appeal decision will be known?Kirsty Williams AM: My understanding is that the appealsprocess is ongoing, and next month, perhaps. But as I said, this is a process that is independent of Government—Hefin David AM: But it will have an impact for what you do.Kirsty Williams AM: It will potentially changethe nature of the people from whom we commission places, but as I said, I do not have any concerns that we will not be in a position to commission the appropriate number of training places that we will need as aresult of our planning.Lynne Neagle AM: Okay, thank you. Suzy on this—mindful of what the Minister said about it being an independent decision.Suzy Davies AM: It's not directly about USW; it's about the geographicspread of provision. I wonder if you could just give us a snapshot of what that looks like, and whether you think—certainly for PGCE or postgrad courses, anyway—that if they're not accessible geographically and we'vegot students who already have three years' worth of debt, they're not going to be looking to, necessarily, live away from home for a fourth year, and may want to study nearer home. Has there been any research doneon the access to these postgrad courses, about where people are coming from and whether that's had an impact on the fact that some of these places haven't been filled?Kirsty Williams AM: Currently, with our currentproviders, there is a significant geographical spread. There are centres here in the south-east, there are centres in the south-west, in mid Wales, and in north Wales. Obviously, accessibility is an issue for us. We dothink that, for some students, accessibility is an issue, and of course that's why we are responding with our part-time PGCE route, which actually will be location neutral, because you will be able to study that as adistance learner, and so you will be able to remain in your community and undertake that course. So, that's part of the attractiveness, I believe, of offering that to people. So, if geographical disadvantage is stoppingsomebody from pursuing a career aspiration to qualify as a teacher, our new part-time PGCE, as I said, will allow them to do that.Suzy Davies AM: Okay. Thanks, Chair.Lynne Neagle AM: Okay, thank you. We're goingto move on now to talk about reform and reconfiguration of the post-16 education sector. Janet Finch-Saunders.Janet Finch-Saunders AM: Thank you. Good morning. There are some encouraging provisional signsregarding the demand for part-time undergraduate study for the first year of Diamond, but the £12.5 million reduction Higher Education Funding Council for Wales is having to make this academic year has potentially"}
+{"doc_id":"doc_34","qid":"","text":"Project Manager: {vocalsound} Good to see you all again . Let's see if that comes up . This is our functional design meeting . Um . Just a sec while my PowerPoint comes up . Et voila . Okay . Mm um we put the fashionin electronics . Let's start . Okay , our agenda today um {disfmarker} just check the time , it's twelve thirteen . Um . I'm gonna do an opening , talk about um {disfmarker} did you all get the minutes ? I e-mailed themto you . I'm also putting 'em {disfmarker} them in the shared folder .User Interface: Yep .Project Manager: So um then I {disfmarker} we'll talk about our general objectivesIndustrial Designer: Right .Project Manager:and have your three presentations . Um I'll talk about the new project requirements I've just received , and then we have to make a decision on our remote control functions . Finally we'll just close . We're starting thismeeting at approximately twelve thirteen and we have forty minutes . So {disfmarker} First of all the functional design objectives . Uh we need to keep in mind the user requirement specification , what needs anddesires are to be fulfilled , the {gap} functions design , what effects the apparatus should have , and the working design , how the apparatus actually works to fulfil its function . Okay , three presentations , um you cango in any order you choose um .Marketing: {gap} Mm shall we go in the order that you just did it ?Project Manager: Sure , please do .Marketing: I dunno . How do I hook my screen up ?Industrial Designer: I think , youmight have to disconnect Rose .Project Manager: Yes I do . Yeah .User Interface: Well there's a wee a wee plug just just that one thereMarketing: Where does it go ? Mm-hmm . Hmm , I'm not supposed to move this,User Interface: {vocalsound}Marketing: but {disfmarker}User Interface: Ah that's it , yep .Marketing: {gap}User Interface: And then you have to press function F_ eightProject Manager: Function , F_ eight , yeah.User Interface: I think it is on your laptop .Project Manager: The blue one , F_N_ .Marketing: Where's function ? No signal .Project Manager: Is it plugged in all the way and you screwed it in and {disfmarker}IndustrialDesigner: Yeah .Marketing: Ah , wait , 's screw in .Industrial Designer: I I think you just have to push it in really hard .Marketing: Push the screw .User Interface: That's it .Industrial Designer: Oh , got it .ProjectManager: Mm 'kay .Marketing: Mm alrightProject Manager: It's taking it a little bit {disfmarker}Marketing: I've never attached to anything .Industrial Designer: Mm , neither have I .Project Manager: 'Kay there you go.Marketing: Alright , so ,Industrial Designer: Alright .Marketing: I don't know if you guys are able to get access to um the report that was online or if I'm the only one who is . But , I don't even know how to play this .No .Project Manager: Press the little presentation . It's the um {disfmarker} it looks like a Y_ kind of {disfmarker} over there above Draw . There , that one , there you go .Marketing: Alright . So we're just gonna talk alittle bit about the functional requirements that people specified when they were asked . Um I guess Real Reaction did some market research . They had a hundred subjects and their usability lab and they watched themwatch T_V_ and recorded the frequency that they used particular buttons and the relevance that those buttons had . What they found was they analysed people's desires and needs . Focusing on their desires , umpeople specifically said that they thought remotes were ugly {vocalsound} , seventy five per cent of the a hundred subjects noted that and that they {disfmarker} more importantly though , eighty per cent said thatthey would be willing to pay more for a fancier looking remote . I don't know anything beyond what fancy means ,Industrial Designer: Hmm .Marketing: but that's particularly of use to us , I think . Um also they didsome questions on voice recognition and found that the desire for voice recognition was inversely related to age , so younger people were more inclined to want something with voice recognition , whereas the olderpeople in the like sixty and above segment or so did not really think that they would pay more money for voice recognitions .Industrial Designer: 'Kay .Marketing: Um people also had certain frustrations , that I thinkthat we could try to take into consideration with our design . That being people k um frustrated with losing their remotes . I think , over fifty percent of the people mentioned that that was their biggest frustration .People are also frustrated with the difficulty it is to learn how to use a remote and I think that ties back to what you were saying beforeIndustrial Designer: Hmm .Marketing: just that there's too many buttons , it justneeds to be easy to use . It also mentioned something called R_S_I_ and I was hoping someone might be able to inform me as to what R_S_I_ is ,User Interface: Repetitive strain injury .Marketing: because I don'tknow .Project Manager: {gap}User Interface: Repetitive strain injury .Marketing: What ? Ah . There we go .User Interface: So if you {disfmarker}Marketing: Wow . People do not like that . So I guess sort of the carpaltunnel type thing , people do not like that , um the repetitive use , I guess , caused a strain . Um looking at the needs people specified , the problem right now is that people's remotes are not matching their operatingbehaviour . People are only using ten per cent of the buttons that they have offered to them on their remote . And what people do most often is changing the channel and changing the volume . People also zap like tochange the channel , about um sixty five per cent during an hour of use . So we really just need to focus in on those volumes and channel changers rather than things like the audio settings , the screen settings and thechannel settings , because they're used much more infrequently and probably just complicate what's going on . So I think that some things that we might wanna think about , the idea of an L_C_D_ screen was broughtup although they didn't have any details on what people's preferences on that were , so I dunno know if that's coming to me later , or something like that . But something for us to consider also just the phenomenonthat less is more when it comes to the buttons on the remote or what we wanna make easiest to use , make sure that , you know , something like an audio setting isn't given as much importance and visibility on theremote as something like channel changing that's used a lot more often . And basically in order for us to win over to the consumer we just need to focus on what it looks like , that it has a fancy appeal and that it's notugly {vocalsound} and that it feels like the way they're gonna use it , so it doesn't give them any hand injuries or things like that .Industrial Designer: Hmm .Project Manager: Thank you very much . That was that wasgreat .Industrial Designer: Mm 'kay .Project Manager: Um {vocalsound} 's move on to the next presentation um on effects . Was that you ?Marketing: Hmm .Project Manager: Great .Marketing: Yeah , have I unscrewedit ?Project Manager: Push . User interface , right . Interface .Marketing: Here we go .User Interface: Cheers .Marketing: Mm-hmm . And I think that's in the shared , if I did it right , if anyone wants to look at it .ProjectManager: Mm 'kay , thank you .Industrial Designer: Okay , great .Marketing: {vocalsound}Project Manager: Okay .User Interface: Here we go . Right so I'm gonna talk about the technical technical functions design ofthe remote control um . We need to start by considering what a remote control actually is . It's a device that allows us to produce certain effects on our television , so i it's basically a communication device . We we tellthe remote control what we want to do , it sends a message to the television saying change the channel , change the volume , uh yeah , adjust these settings , adjust the brightness . Um how do we actually go aboutdesigning a new television remote control ? First thing to do is to come up with the design specifications . We need to know what our final product is gonna be like , so we need a a clear idea of exactly what this productdoes , uh how it works , and what the end-user is gonna want from this product . Um . Oh , a way I'd suggest that we could go about this is by designing uh several different prototypes of user interfaces for this product, um and then uh trying to get some feedback uh aboutMarketing: {vocalsound}User Interface: h how well these particular prototypes work , uh sorta find out what people think of 'em . Um using a remote control is isquite a subjective experience . Um ,Project Manager: Hmm .User Interface: and different different people sort of prefer different things . Um we should remember that remote controls are a a fairly standard piece ofequipment . When a users using a remote control , he or she expects the buttons to be in certain places . So in some sense we're gonna we're gonna have to aim for a device which is fairly conventional in design uh sothat we're not completely shocking people . But I think within that there is also room for us to introduce novel ideas uh and to make something that's that's perhaps a little bit different , something that stands out . Umalso in in designing the user interface we need to consider practicalities . Uh the first of these is is technological ye uh what can we do with the current state of technology as it is . The second is is economic , uh we needto find a balance between features and price . So as you mentioned things like voice recognition would would add to the price uh but it would also im improve the design of the product .Project Manager: Hmm .UserInterface: So I had a look on the {disfmarker} on the web uh to see if I could find a few examples of existing television remote controls . In analysing these we can consider what what things {disfmarker} what's goodabout them , uh what things do they get right , what's bad about them , what's wrong with 'em , um how we can improve on the designs that that that I found and what can we do to make our product stand out fromfrom the large majority of remote controls . Here's two examples uh probably at the extreme ends of the spectrum .Project Manager: {vocalsound}User Interface: Um on the left here we've got uh an engineering-baseddesign for a remote control ,Industrial Designer: {vocalsound}User Interface: so it's one that's got lots of buttons , it's it's fully featured , everything you might possibly want to do is there , you know , it's got forward ,backwards , up , down , channel numbers , volume , uh freeze frame . Yeah , it's it's fully featured and it might take a while to get to learn to use it , but once you've learned it you can {disfmarker} you can dowhatever you want with your T_V_ . The one on the right is a lot more basic . It's just got the essential functions of the T_V_ changing the channel , play , stop , volume . It would be a lot quicker to learn to use it , butagain th it's it's swings and roundabouts . There are disadvantages , you can't use it say to to freeze the television picture . Uh there's a lot of features that are missing from that remote control . So we've got to to findour {disfmarker} find a way of striking a balance between the two . Um as I said before , remote controls are subjective , different people want want different things . Um personally wa what I want from a remotecontrol is a device that's simple , it it's easy to use , uh it's got big buttons for doing the things I do most often , changing the volume , changing the channel . It it does everything that I need it to uh , as I said before ,I'm quite lazy , I don't wanna walk across the room just to adjust my television . I also want something that that looks cool , um and that that feels good , that's ergonomically designed .Project Manager: Mm 'kay .Thank you very much . That was very useful . {vocalsound} It's funny to see the {vocalsound} drastic difference between those two remotes . {vocalsound} Um .Industrial Designer: Hmm .Project Manager: Andneither of them were very pretty , you know ?Industrial Designer: Yeah .User Interface: {vocalsound}Marketing: No .Industrial Designer: I think that could be our selling point .Project Manager: Mm .Marketing: Afashion fashion remote .Industrial Designer: Right .User Interface: I think there's there's certainly a market for technology that looks cool .Project Manager: Mm .User Interface: And I think that's that's why companieslike Apple've 've 've made a lot of progress .Marketing: Mm-hmm .Industrial Designer: Hmm .Marketing: Yeah .Industrial Designer: Right , I really can't see what I'm doing , so does anyone have a {disfmarker}ProjectManager: You {disfmarker} there it is .Industrial Designer: Ah-ha , look at that , showing up already .Project Manager: Lovely .Marketing: So wait , did it let you go on the Internet or was that just what it let you see?User Interface: Uh that was just on the d on the company web site , yeah .Marketing: Okay . 'Cause I was like googlingProject Manager: Hmm .Industrial Designer: Yeah .Marketing: and then I'm like wait{vocalsound} it won't let me google . {vocalsound}User Interface: {vocalsound}Industrial Designer: Alright um {disfmarker} No , how do I play again ?Project Manager: Um the {disfmarker} it's right above Draw .There are three thingy if {disfmarker} it's way at the bottom . Under three iconsIndustrial Designer: Ah .Project Manager: and it's the one that looks like a desk . Yeah , that one . There are Y_s {gap} .IndustrialDesigner: Okay . So this is our working design presentation . Um I had a bit of {disfmarker} some issues with this , because I wasn't able to find everything I needed , but I guess that's {disfmarker} we're still in earlystages . Um so , yeah , this is this . Though th the thing about working design is the {disfmarker} what we're trying to do as a working design is figure out how the aparata apparatus can fulfil its function . Um one ofthe examples that kept coming up for me is that a coffee grinder . It works because it converts electrical energy to grinding the beans and then you put the bean through a filter and that filters out , and then you getcoffee at the end that's nice and hot because of the combination of electrical energy and then the other things that are brought in to make it work . Don't know if I'm explaining that very well , but {disfmarker} how do Iget to the next s ah . So h the method as um working designers figure out what you need to make it fulfil this practical function , what what needs to be done and how do we convert all the elements to make that done.Marketing: {vocalsound}Industrial Designer: So wha the easiest thing to do is to break down all the points at which you need something to happen . So you make a schematic of the way that the the energy isconverted tsh towards this practical function . And then I think the easiest thing to do is gonna be work on each task separately . So um {disfmarker}Project Manager: You just press {disfmarker}Industrial Designer: Uh. Uh .Project Manager: yeah , just click . That'll be fine .Industrial Designer: So the findings that I got uh very {disfmarker} just very briefly is that you have a choice of the way that the information is projected to thereceiver and in my opinion infra-red is the best way to do that 'cause you don't need a sight line . So that's one thing we're gonna work on . Um the user interface is critical here , because a lot of the things that happenin a remote control happen through the chip that controls {disfmarker} that converts the electrical energy into data , which then goes through the infra-red , so the the chip that uh I think Ian is designing , is gonna becrucial . And really it all comes down to the to the user , because they're the one that's controlling most of the working design . So the components that we find here are the energy source , you know the battery orwhatever that's gonna m make it work , then the chip , which converts the data , the user that's controlling the chip , and the infra-red bulb that's gonna let us move the data to the receiver . So you have four maincomponents and they are designed sort of like this . You have your energy source right there which then um brings uh energy or information to the chip , which is also controlled by the users . You have energy going tothe user who's controlling the chip {disfmarker} ooh 's not what I wanted to do uh uh .Project Manager: Um yeah use that thing {gap} you can go back , previous .Industrial Designer: Previous . Sorry about that , guys.Project Manager: {vocalsound} Pardon .Industrial Designer: Oh .Project Manager: Oh , well .Industrial Designer: No , no , no , no , no .Project Manager: Okay .Industrial Designer: Okay , let's just get back to myschematic here .Project Manager: Ye Double click on it . With the right {disfmarker} with the left hand one .Industrial Designer: W yeah , yeah . I think it's frozen . Here . Don't show me that tip again .Project Manager:{vocalsound} There we are .Industrial Designer: There we are . Sorry about this , guys .Marketing: {vocalsound}Industrial Designer: I'm kind of pathetic with things like this . Um alright . So you have your energysource , your user interface who's controlling the chip , the chip also uses the energy , and the chip through the use of the user interface is gonna control the switch which will work your infra-red bulb , which will thenbring the data to the receiver . So hopefully that makes sense for everyone in my kind of garbled way .Project Manager: Mm-hmm .Industrial Designer: This is the the parts of the working design that need to be figuredout . And {vocalsound} personal preferences , besides the fact that I can't spell , we need a long-lasting energy source , people don't wanna be changing it a lot . We need a chip that works well with the user interface ,that isn't too complicated . We need a straightforward interface , like Ian was saying , simple , not overwhelming it with information and we need a reliable and clear infra-red signal , so that you're not waving yourremote aroundProject Manager: Mm-hmm .Industrial Designer: and having to get frustrated and go do it by hands . So that's pretty much it for the working design .Project Manager: Excellent . {gap} So , um .IndustrialDesigner: Rose , do you think you can give me a hand with this ?Project Manager: Yes , absolutely . Ah I can never tell which way to turn these things .Industrial Designer: Yeah .Project Manager: Lefty loosey , rightytighty , right ?Industrial Designer: Yeah .Marketing: {vocalsound}User Interface: What's up ?Industrial Designer: {vocalsound}Project Manager: {vocalsound} Lefty loosey , righty tighty .User Interface: Lefty loosey .Uh .Industrial Designer: {vocalsound}User Interface: {vocalsound} Never heard that before ,Project Manager: {vocalsound} Oh yes .User Interface: that's good . {vocalsound}Marketing: {vocalsound}User Interface:I'll think of that every time now .Project Manager: {vocalsound}Industrial Designer: It's gonna stick in your head .User Interface: {vocalsound}Marketing: Yeah , that's a good one it'll stick with you .Project Manager:Mm 'kay . Um I have nothing on my screen . Just a sec . Here we are .Industrial Designer: Mm . Ooh ,Project Manager: Okay , yeah , it's fine .Industrial Designer: no signal .Project Manager: Okay , requirements . Wehave a couple new requirements that I was just e-mailed right before the meeting and that we have to keep in in um in mind as we're creating this .Industrial Designer: Okay .Project Manager: We didn't bring it up yet ,or at all in the meetings so far , but we're not gonna work with teletext because um {disfmarker} well it {disfmarker} that's been taken over by the internet , so we're not gonna worry about um {disfmarker} we're notgonna worry about that .Marketing: What's teletext ?Project Manager: Um .Industrial Designer: Uh , it's a British thing .Marketing: Oh . Oh ,User Interface: You don't have it in the States ?Marketing: so{disfmarker}Project Manager: It {disfmarker}Industrial Designer: No . {vocalsound}Project Manager: no . W d could {disfmarker} would you care to explain it ?User Interface: Oh , I didn't realise . Um yeah , it's like a{disfmarker} I suppose it's kind of similar to a very very basic web browser . Um you have like you have uh numbers on your remote control , uh y and you type in the page number you want ,Marketing: Mm-hmm.User Interface: so like you type a hundred on your remote control and this this kind of index appears on the television screen with just some some text and some very blocky looking graphics on it . And you just typenumbers to go to different pages and it gives you information , mostly rather boring stuff like what's on T_V_ next and share prices and that kind of thing .Marketing: {gap}Industrial Designer: S {vocalsound} Lotterynumbers and sport scores .User Interface: Yep , news headlines .Industrial Designer: But if you ever see the T_V_ saying like go to page one sixty on Ceefax now , that's what they're talking about .Project Manager:How ?User Interface: It's earl it's pretty old technology .Marketing: Oh .User Interface: It's like nineteen eighties .Project Manager: Okay .Marketing: That explains a lot .Industrial Designer: I have no idea why we don't"}
+{"doc_id":"doc_35","qid":"","text":"Professor B: Are we on ? We 're on . OK .PhD E: Is it on ?PhD D: Yeah .Professor B: Yeah . OK ,PhD D: One , two {disfmarker} u OK .PhD A: Why is it so cold in here ?Professor B: so , uh , we haven't sent around theagenda . So , i uh , any agenda items anybody has , wants to talk about , what 's going on ?Postdoc G: I c I could talk about the meeting .Grad H: Does everyone {disfmarker} has everyone met Don ?Postdoc G: Yeah.Professor B: It 's on ?PhD C: Now , yeah .PhD D: Yeah .Grad H: Yeah ? OK .PhD D: Yeah .Grad F: Hello .Professor B: OK , agenda item one ,PhD D: We went {disfmarker}Grad F: Yeah .Professor B: introduce Don . OK, we did that . Uh {disfmarker}PhD A: Well , I had a {disfmarker} just a quick question but I know there was discussion of it at a previous meeting that I missed , but just about the {disfmarker} the wish list item ofgetting good quality close - talking mikes on every speaker .Professor B: OK , so let 's {disfmarker} let 's {disfmarker} So let 's just do agenda {pause} building right now . OK , so let 's talk about that a bit .PhD A: Imean , that was {disfmarker}Professor B: Uh , @ @ tuss close talking mikes , better quality . OK , {vocalsound} uh , we can talk about that . You were gonna {disfmarker} starting to say something ?Postdoc G: Well ,you {disfmarker} you , um , already know about the meeting {comment} that 's coming up and I don't know if {disfmarker} if this is appropriate for this . I don't know . I mean , maybe {disfmarker} maybe it 'ssomething we should handle outside of the meeting .Professor B: No , no , that 's OK .PhD E: What meeting ?Professor B: We can {disfmarker} so {disfmarker} we can ta so n NIST is {disfmarker} NIST folks arecoming by next weekPostdoc G: OK .Professor B: and so we can talk about that .Postdoc G: Yeah .Professor B: I thinkPhD E: Who 's coming ?Professor B: Uh , uh , John FiscusPostdoc G: Mm - hmm .Professor B: and ,uh , I think George Doddington will be around as well . Uh , OK , so we can talk about that . Uh , I guess just hear about how things are going with , uh , uh , the transcriptions . That 's right .Postdoc G: Sure . Mm -hmm .Professor B: That would sorta be an obvious thing to discuss . Um , An - anything else , uh , strike anybody ?PhD A: Uh , we started {pause} running recognition on {pause} one conversation but it 's the r{pause} isn't working yet . So , But if anyone has {disfmarker}Professor B: OK .PhD E: WhaPhD A: uh , the main thing would be if anyone has , um , knowledge about ways to , uh , post - process the wave forms thatwould give us better recognition , that would be helpful to know about .Professor B: Um ,Grad H: Dome yeah , it sounds like a topic of conversation .Professor B: Yeah , so , uh {disfmarker}PhD E: What about , uh , isthere anything new with the speech , nonspeech stuff ?PhD C: Yeah , we 're working more on it but , {vocalsound} it 's not finished .Professor B: OK . Alright , that seems like a {disfmarker} a good collection of things .And we 'll undoubtedly think of {pause} other things .Postdoc G: I had thought under my topic that I would mention the , uh , four items that I {disfmarker} I , uh , put out for being on the agenda f on that meeting ,which includes like the pre - segmentation and the {disfmarker} and the developments in multitrans .Professor B: Oh , under the NIST meeting .Postdoc G: Yeah , under the NIST thing .Professor B: OK .Postdoc G:Yeah .Professor B: Alright , why don't we start off with this , u u I guess the order we brought them up seems fine .Postdoc G: Yeah .Professor B: Um , so , better quality close talking mikes . So the one issue was thatthe {disfmarker} the , uh , lapel mike , uh , isn't as good as you would like . And so , uh , it {disfmarker} it 'd be better if we had close talking mikes for everybody . Right ?PhD A: Ri - um ,Professor B: Is that{disfmarker} is that basically the point ?PhD A: yeah , the {disfmarker} And actually in addition to that , that the {disfmarker} the close talking mikes are worn in such a way as to best capture the signal . And thereason here is just that for the people doing work not on microphones but on sort of like dialogue and so forth , uh {disfmarker} or and even on prosody , which Don is gonna be working on soon , it adds this extra , youknow , vari variable for each speaker to {disfmarker} to deal with when the microphones aren't similar .Professor B: Mm - hmm .Grad H: Right .PhD A: So {disfmarker} And I also talked to Mari this morning and shealso had a strong preference for doing that . And in fact she said that that 's useful for them to know in starting to collect their data too .Professor B: Mm - hmm . Right , so one thGrad H: Well , so{disfmarker}Professor B: uh , well one thing I was gonna say was that , um , i we could get more , uh , of the head mounted microphones even beyond the number of radio channels we have because I think whether it's radio or wire is probably second - order . And the main thing is having the microphone close to you ,PhD A: Mm - hmm .Professor B: u although , not too close .Grad H: Right , so , uh , actually the way Jose is wearinghis is {disfmarker} is c {pause} correct .PhD D: Yeah . Is {disfmarker}Grad H: The good way . So you want to {disfmarker}Professor B: Yeah .PhD D: I it 's not cor it 's correct ?Professor B: Is .Grad H: Yeah , th that 'sgood .Professor B: Yes .PhD D: Yeah .Grad H: So it 's towards the corner of your mouth so that breath sounds don't get on it .PhD D: Yeah . Yeah .Grad H: And then just sort of about , uh , a thumb or {disfmarker} athumb and a half away from your {disfmarker} from your mouth .PhD D: Yeah . Yeah . Uh , yeah .Professor B: Right .PhD A: But we have more than one type of {disfmarker}Professor B: How am I dPhD A: I mean , forinstance , you 're {disfmarker}PhD C: Yeah .Grad H: And this one isn't very adjustable ,PhD D: Yeah .Grad H: so this about as good as I can getPhD A: Right .PhD D: Yeah .Grad H: cuz it 's a fixed boom .PhD D: Is fixed. Yeah .PhD A: But if we could actually standardize , you know , the {disfmarker} the microphones , uh , as much as possible that would be really helpful .Professor B: Yeah .PhD E: Mm - hmm .PhD D: Yeah .Grad H:Mm - hmm .Professor B: Well , I mean it doesn't hurt to have a few extra microphones around ,PhD D: Yeah .Professor B: so why don't we just go out and {disfmarker} and get an order of {disfmarker} of if thismicrophone seems OK to people , uh , I 'd just get a half dozen of these things .Grad H: Well the onl the only problem with that is right now , um , some of the Jimlets aren't working . The little {disfmarker} the boxesunder the table .Professor B: Yeah .Grad H: And so , w Uh , I 've only been able to find three jacks that are working .Professor B: Yeah .PhD E: Can we get these , wireless ?Grad H: So {disfmarker}Professor B: No , butmy point is {disfmarker}PhD A: But y we could just record these signals separately and time align them with the start of the meeting .Professor B: R r right {disfmarker}Grad H: I {disfmarker} I 'm not sure I 'm follow .Say that again ?Professor B: Right now , we 've got , uh , two microphones in the room , that are not quote - unquote standard . So why don't we replace those {disfmarker}Grad H: OK , just two .Professor B: Well ,however many we can plug in . You know , if we can plug in three , let 's plug in three .Grad H: OK .PhD D: Mm - yeah .Professor B: Also what we 've talked before about getting another , uh , radio ,Grad H: Right.Professor B: and so then that would be , you know , three {pause} more .Grad H: Right . OK .PhD D: Mm - hmm .Professor B: So , uh {disfmarker} so we should go out to our full complement of whatever we can do ,but have them all be the same mike . I think the original reason that it was done the other way was because , it w it was sort of an experimental thing and I don't think anybody knew whether people would rather havemore variety or {disfmarker} {vocalsound} or , uh , more uniformity ,PhD A: Right .Professor B: but {disfmarker} @ @ {comment} but uh , sounds {disfmarker} sounds fine .Grad H: Sounds like uniformity wins .PhDD: Right .PhD A: Well , for short term research it 's just {disfmarker} there 's just so much effort that would have to be done up front n uh ,Professor B: Yeah .Grad H: Well {disfmarker}PhD A: so {disfmarker} yeah ,uniformity would be great .Grad H: Yeah .PhD E: Is it because {disfmarker} You {disfmarker} you 're saying the {disfmarker} for dialogue purposes , so that means that the transcribers are having trouble with thosemikes ? Is that what you mean ?PhD A: Well Jane would know more about the transcribers .PhD E: Or {disfmarker} ?Postdoc G: And that 's true . I mean , I {disfmarker} we did discuss this . Uh , and {disfmarker} and{disfmarker}Grad H: Yep . Couple times .Postdoc G: a couple times , so , um , yeah , the transcribers notice {disfmarker} And in fact there 're some where , um {disfmarker} ugh well , I mean there 's {disfmarker} it's the double thing . It 's the equipment and also how it 's worn .PhD A: Right .Postdoc G: And he 's always {disfmarker} they always {disfmarker} they just rave about how wonderful Adam 's {disfmarker} Adam 'schannel is .Grad H: What can I say .Postdoc G: And then ,PhD A: So does the recognizer .Professor B: Yeah .Postdoc G: Yeah .Grad H: Oh , really ? Yeah , I 'm not surprised . I mean , \" Baaah ! \"PhD A: Even if{disfmarker} if you 're talking on someone else 's mike it 's still {pause} you wPostdoc G: Yeah , but I mean it 's not just that , it 's also you know youProfessor B: Yeah .PhD C: Yeah .Postdoc G: It 's also like n nobreathing , no {disfmarker} You know , it 's like it 's {disfmarker} it 's um ,Professor B: Yeah .Postdoc G: it 's really {disfmarker} {nonvocalsound} it makes a big difference from the transcribers ' point of viewGrad H:Yeah , it 's an advantage when you don't breath .Postdoc G: and also from the research s point of view .PhD A: Right .Professor B: When we 're doing {disfmarker}Grad H: Yeah , I think that the point of doing the closetalking mike is to get a good quality signal . We 're not doing research on close talking mikes .Postdoc G: Yeah .Professor B: Yeah .Grad H: So we might as well get it as uniform as we can .PhD A: Right .Professor B:Now , this is locking the barn door after the horse was stolen . We do have thirty hours , of {disfmarker} of speech , which is done this way .Grad H: Yeah .PhD A: That 's OK .Professor B: But {disfmarker} but , uh ,yeah , for future ones we can get it a bit more uniform .PhD A: Great , great .Grad H: So I think just do a field trip at some point .Professor B: Yeah , probably {disfmarker} yeah , to the store we talked about and that{disfmarker}Grad H: Yep .Postdoc G: And there was some talk about , uh , maybe the h headphones that are uncomfortable for people , to {disfmarker}Grad H: Yep . So , as {disfmarker} as I said , we 'll do a field tripand see if we can get all of the same mike that 's more comfortable than {disfmarker} than these things , which I think are horrible .Postdoc G: OK . Good .Grad H: So .PhD A: Great , thank you very much .PhD E:Especially for people with big heads .PhD A: It 's makes our job a lot easier .Professor B: OK . OK .Grad H: And , you know , we 're researchers , so we all have big heads .Professor B: OK .PhD E: Yeah .Professor B:Yeah . Uh , OK , second item was the , uh , NIST visit , and what 's going on there .Postdoc G: Yeah . OK , so , um , uh , Jonathan Fiscus is coming on the second of February and I 've spoken with , uh , {pause} u u alot of people here , not everyone . Um , and , um , he expressed an interest in seeing the room and in , um , seeing a demonstration of the modified multitrans , which I 'll mention in a second , and also , um , he wasinterested in the pre - segmentation and then he 's also interested in the transcription conventions .Grad H: Mm - hmm .Postdoc G: And , um {disfmarker} So , um , it seems to me in terms of like , um , i i it wou Youknow , OK . So the room , it 's things like the audio and c and audi audio and acoustic {disfmarker} acoustic properties of the room and how it {disfmarker} how the recordings are done , and that kind of thing . And ,um . OK , in terms of the multi - trans , well that {disfmarker} that 's being modified by Dave Gelbart to , uh , handle multi - channel recording .Grad H: Oh , I should 've {disfmarker} I was just thinking I should haveinvited him to this meeting . I forgot to do it .Postdoc G: Yeah , OK .Grad H: So .PhD C: Yeah .Postdoc G: Yeah . Well that 's OK , I mean we 'll {disfmarker}Grad H: Sorry .Postdoc G: Yeah , and it 's t and it looks reallygreat . He {disfmarker} he has a prototype . I {disfmarker} I , uh , @ @ {comment} didn't {disfmarker} didn't see it , uh , yesterday but I 'm going to see it today . And , uh , that 's {disfmarker} that will enable us todo {pause} nice um , tight time marking of the beginning and ending of overlapping segments . At present it 's not possible with limitations of {disfmarker} of the , uh , original {pause} design of the software . And um. So , I don't know . In terms of , like , pre - segmentation , that {disfmarker} that continues to be , um , a terrific asset to the {disfmarker} to the transcribers . Do you {disfmarker} I know that you 're al alsosupplementing it further . Do you want to mention something about that c Thilo , or {disfmarker} ?PhD C: Um , yeah . What {disfmarker} what I 'm doing right now is I 'm trying to include some information aboutwhich channel , uh , there 's some speech in . But that 's not working at the moment . I 'm just trying to do this by comparing energies , uh {disfmarker} normalizing energies and comparing energies of the differentchannels .Postdoc G: OK .PhD C: And so to {disfmarker} to give the transcribers some information in which channel there 's {disfmarker} there 's speech in addition to {disfmarker} to the thing we {disfmarker} we didnow which is just , uh , speech - nonspeech detection on the mixed file . So I 'm {disfmarker} I 'm relying on {disfmarker} on the segmentation of the mixed filePostdoc G: This is good . Mm - hmm .PhD C: but I 'm{disfmarker} I 'm trying to subdivide the speech portions into different portions if there is some activity in {disfmarker} in different channels .Postdoc G: Excellent , so this 'd be like w e providing also speaker ID{pause} potentially .PhD C: But {disfmarker} Yeah . Yeah .Postdoc G: Wonderful . Wonderful .Professor B: Um , something I guess I didn't put in the list but , uh , on that , uh , same day later on in {disfmarker} ormaybe it 's {disfmarker} No , actually {pause} it 's this week , uh , Dave Gelbart and I will be , uh , visiting with John Canny who i you know , is a CS professor ,Postdoc G: Oh .Professor B: who 's interested in ar inarray microphones .Grad H: HCC . Oh , he 's doing array mikes .Professor B: Yeah . And so we wanna see what commonality there is here . You know , maybe they 'd wanna stick an array mike here when we 're doingthingsPhD E: That would be cool .Grad H: Yeah , that would be neat .Professor B: or {disfmarker} or maybe it 's {disfmarker} it 's not a specific array microphone they wantPhD D: Yeah .PhD E: That would be reallyneat .Professor B: but they might wanna just , {disfmarker} uh , you know , you could imagine them taking the four signals from these {disfmarker} these table mikes and trying to do something with them{disfmarker} Um , I also had a discussion {disfmarker} So , w uh , we 'll be over {disfmarker} over there talking with him , um , after class on Friday . Um , we 'll let you know what {disfmarker} what goes with that .Also had a completely unrelated thing . I had a , uh , discussion today with , uh , Birger Kollmeier who 's a , uh , a German , uh , scientist who 's got a fair sized group {vocalsound} doing a range of things . It 's sort ofauditory related , largely for hearing aids and so on . But {disfmarker} but , uh , he does stuff with auditory models and he 's very interested in directionality , and location , and {disfmarker} and , uh , head models and{pause} microphone things . And so , uh , he 's {disfmarker} he and possibly a student , there w there 's , uh , a student of his who gave a talk here last year , uh , may come here , uh , in the fall for , uh , sort of afive month , uh , sabbatical . So he might be around . Get him to give some talks and so on . But anyway , he might be interested in {pause} this stuff .PhD D: Mm - hmm .PhD E: That {disfmarker} that reminds me , Ihad a {disfmarker} a thought of an interesting project that somebody could try to do with {pause} the data from here , either using , you know , the {disfmarker} the mikes on the table or using signal energies fromthe head worn mikes ,PhD D: Mm - hmm .PhD E: and that is to try to construct a map of where people were sitting ,Professor B: Right .PhD D: Uh - huh .PhD E: uh , based on {disfmarker}Grad H: Well Dan{disfmarker} Dan had worked on that . Dan Ellis ,PhD D: Uh - huh .PhD E: Oh , did he ? Oh , that 's interesting .Grad H: yeah . So that {disfmarker} that 's the cross - correlation stuff , was {disfmarker} was doing bbeam - forming .PhD D: Yeah .PhD E: And so you could plot out who was sitting next to whoProfessor B: A little bit ,PhD E: and {disfmarker}Professor B: I mean , he didn't do a very extreme thing but just {disfmarker}it was just sort ofPhD D: Yeah , yeah .Grad H: No , he did start on it .Professor B: e e given that , the {disfmarker} the {disfmarker} the block of wood with the {disfmarker} the {disfmarker} the two mikes {comment}on either side ,Grad H: Mm - hmm .Professor B: if I 'm speaking , or if you 're speaking , or someone over there is speaking , it {disfmarker} if you look at cross - correlation functions , you end up with a{disfmarker}PhD D: Yeah .Professor B: if {disfmarker} if someone who was on the axis between the two is talking , then you {disfmarker} you get a big peak there . And if {disfmarker} if someone 's talking on{disfmarker} on {disfmarker} on , uh , one side or the other , it goes the other way .PhD E: Mm - hmm .Professor B: And then , uh , it {disfmarker} it {disfmarker} it even looks different if th t if the two {disfmarker}two people on either side are talking than if one in the middle . It {disfmarker} it actually looks somewhat different , so .PhD E: Hmm . Well I was just thinking , you know , as I was sitting here next to Thilo that um ,when he 's talking , my mike probably picks it up better than {pause} your guys 's mikes .PhD C: Yeah .PhD D: Yeah .PhD E: So if you just looked at {disfmarker}Grad H: Oh , that 's another cl cue ,PhD D: Yeah .PhDE: yeah , {comment} looked at {comment} the energy on my mike and you could get an idea about who 's closest to who .Grad H: that 's true .PhD D: Yeah .Professor B: Mm - hmm .PhD D: Yeah .Professor B: Right.PhD D: Yeah .PhD E: And {disfmarker}Grad H: Or who talks the loudest .PhD C: Yeah .PhD D: Yeah .Professor B: Yeah , well you have to {disfmarker} the appropriate normalizations are tricky , and {disfmarker} and{disfmarker} and are probably the key .Grad H: Yeah .PhD C: Yeah .PhD A: You just search for Adam 's voice on each individual microphone , you pretty much know where everybody 's sitting .PhD C: Yeah .ProfessorB: Yeah . We 've switched positions recently so you can't {disfmarker} Anyway . OK . So those are just a little couple of news items .Postdoc G: Can I ask one thing ? Uh , so , um , Jonathan Fiscus expressed an interestin , uh , microphone arrays .Professor B: Yes .Postdoc G: Um , is there {disfmarker} I mean {disfmarker} b And I also want to say , his {disfmarker} he can't stay all day . He needs to uh , leave for {disfmarker} uh ,from here to make a two forty - five flightGrad H: Oh , so just morning .Postdoc G: from {disfmarker} from Oakland .Professor B: Right .Postdoc G: So it makes the scheduling a little bit tight but do you think that , um{disfmarker} that , uh , i John Canny should be involved in this somehow or not . I have no idea .Professor B: Probably not but I {disfmarker} I 'll {disfmarker} I 'll {disfmarker} I 'll know better after I see him thisFriday what {disfmarker} what kind of level he wants to get involved .Postdoc G: It 's premature . Fine . Good .Professor B: Uh , he might be excited to and it might be very appropriate for him to , uh , or he might haveno interest whatsoever . I {disfmarker} I just really don't know .Postdoc G: OK .Grad H: Is he involved in {disfmarker} Ach ! {comment} I 'm blanking on the name of the project . NIST has {disfmarker} has done a bigmeeting room {disfmarker} instrumented meeting room with video and microphone arrays , and very elaborate software . Is {disfmarker} is he the one working on that ?Professor B: Well that 's what they 're startingup .Grad H: OK .Professor B: Yeah . No , I mean , that 's what all this is about . They {disfmarker} they haven't done it yet . They wanted to do it {disfmarker}Grad H: OK . I had read some papers that looked like theyhad already done some work .Professor B: Uh , well I think they 've instrumented a room but I don't {pause} think they {disfmarker} they haven't started recordings yet . They don't have the t the transcription"}
+{"doc_id":"doc_36","qid":"","text":"PhD A: OK , we 're on .Professor C: OK , what are we talking about today ?PhD B: I don't know . Do you have news from the conference talk ? Uh , that was programmed for yesterday {disfmarker} I guess .Professor C:Uh {disfmarker}PhD D: YesterdayProfessor C: Uh {disfmarker}PhD D: Yesterday morning on video conference .Professor C: Uh ,PhD B: WellProfessor C: oh , I 'm sorry .Grad E: Oh . Conference call .Professor C: Iknow {disfmarker} now I know what you 're talking about . No , nobody 's told me anything .PhD B: Alright .PhD A: Oh , this was the , uh , talk where they were supposed to try to decide {disfmarker}PhD B: To{disfmarker} to decide what to do ,PhD A: Ah , right .PhD B: yeah .PhD D: Yeah .Professor C: Yeah . No , that would have been a good thing to find out before this meeting , that 's . No , I have no {disfmarker} I haveno idea . Um , Uh , so I mean , let 's {disfmarker} let 's assume for right now that we 're just kind of plugging on ahead ,PhD B: Yeah .Professor C: because even if they tell us that , uh , the rules are different , uh , we're still interested in doing what we 're doing . So what are you doing ?PhD B: Mm - hmm . Uh , well , we 've {disfmarker} a little bit worked on trying to see , uh , what were the bugs and the problem with the latencies.PhD D: To improve {disfmarker}PhD B: So , We took {disfmarker} first we took the LDA filters and , {vocalsound} uh , we designed new filters , using uh recursive filters actually .Professor C: So when you say \" we \" ,is that something Sunil is doing or is that {disfmarker} ?PhD B: I 'm sorry ?Professor C: Who is doing that ?PhD B: Uh , us . Yeah .Professor C: Oh , oh . Oh , OK .PhD B: So we took the filters {disfmarker} the FIRfilters {vocalsound} and we {comment} designed , uh , IIR filters that have the same frequency response .PhD D: But {disfmarker}Professor C: Mm - hmm .PhD B: Well , similar , but that have shorter delays.Professor C: Mm - hmm .PhD B: So they had two filters , one for the low frequency bands and another for the high frequency bands . And so we redesigned two filters . And the low frequency band has sixty - fourmilliseconds of delay , and the high frequency band filter has something like eleven milliseconds compared to the two hundred milliseconds of the IIR filters . But it 's not yet test . So we have the filters but we still haveto implement a routine that does recursive filteringProfessor C: OK .PhD B: and {disfmarker}Professor C: You {disfmarker} you had a discussion with Sunil about this though ?PhD B: No . No .Professor C: Uh - huh .Yeah , you should talk with him .PhD B: Yeah , yeah .Professor C: Yeah . No , I mean , because the {disfmarker} the {disfmarker} the {disfmarker} the whole problem that happened before was coordination ,PhD B:Mm - hmm .Professor C: right ? So {disfmarker} so you need to discuss with him what we 're doing ,PhD B: Yeah .Professor C: uh , cuz they could be doing the same thing and {disfmarker} or something .PhD B: Mm -hmm . Uh , I {disfmarker} yeah , I don't know if th that 's what they were trying to {disfmarker} They were trying to do something different like taking , uh {disfmarker} well , using filter that takes only a pastProfessorC: Right .PhD B: and this is just a little bit different . But I will I will send him an email and tell him exactly what we are doing , so .Professor C: Yeah , yeah . Um ,PhD B: Um ,Professor C: I mean {disfmarker} We just{disfmarker} we just have to be in contact more . I think that {disfmarker} the {disfmarker} the fact that we {disfmarker} we did that with {disfmarker} had that thing with the latencies was indicative of the fact thatthere wasn't enough communication .PhD B: Mm - hmm .Professor C: So .PhD B: Alright .Professor C: OK .PhD B: Um , Yeah . Well , there is w one , um , remark about these filters , that they don't have a linear phase. So ,Professor C: Right .PhD B: Well , I don't know , perhaps it {disfmarker} perhaps it doesn't hurt because the phase is almost linear but . Um , and so , yeah , for the delay I gave you here , it 's {disfmarker} it 's ,uh , computed on the five hertz modulation frequency , which is the {disfmarker} mmm , well , the most important for speech so . Uh , this is the first thing .Professor C: So that would be , uh , a reduction of a hundredand thirty - six milliseconds ,PhD D: The low f fPhD B: Yeah .Professor C: which , uh {disfmarker} What was the total we ended up with through the whole system ?PhD B: Three hundred and thirty .Professor C: So thatwould be within {disfmarker} ?PhD B: Yeah , but there are other points actually , uh , which will perhaps add some more delay . Is that some other {disfmarker} other stuff in the process were perhaps not very{disfmarker} um perf well , not very correct , like the downsampling which w was simply dropping frames .Professor C: Yeah .PhD B: Um , so we will try also to add a nice downsampling having a filter that {disfmarker}that {disfmarker}Professor C: Uh - huh .PhD B: well , a low - pass filter at {disfmarker} at twenty - five hertz . Uh , because wh when {disfmarker} when we look at the LDA filters , well , they are basically low - passbut they leave a lot of what 's above twenty - five hertz .Professor C: Yeah .PhD B: Um , and so , yeah , this will be another filter which would add ten milliseconds again .Professor C: Yeah .PhD B: Um , yeah , and thenthere 's a third thing , is that , um , basically the way on - line normalization was done uh , is just using this recursion on {disfmarker} on the um , um , on the feature stream ,Professor C: Yeah .PhD B: and{disfmarker} but this is a filter , so it has also a delay . Uh , and when we look at this filter actually it has a delay of eighty - five milliseconds . So if we {disfmarker}Professor C: Eighty - five .PhD B: Yeah . If we want tobe very correct , so if we want to {disfmarker} the estimation of the mean t t to {disfmarker} to be {disfmarker} well , the right estimation of the mean , we have to t to take eighty - five milliseconds in the future .Mmm .Professor C: Hmm ! That 's a little bit of a problem .PhD B: Yeah . Um , But , well , when we add up everything it 's {disfmarker} it will be alright . We would be at six so , sixty - five , plus ten , plus {disfmarker}for the downsampling , plus eighty - five for the on - line normalization . So it 'sProfessor C: Uh ,PhD B: plus {disfmarker} plus eighty for the neural net and PCA .Professor C: yeah , but then there 's {disfmarker} Oh.PhD B: So it would be around two hundred and forty {disfmarker} so , well ,Professor C: Just {disfmarker} just barely in there .PhD B: plus {disfmarker} plus the frames , but it 's OK .PhD A: What 's the allowable?Professor C: Two - fifty , unless they changed the rules .PhD B: Hmm .Professor C: Which there is {disfmarker} there 's some discussion of .PhD A: What were they thinking of changing it to ?Professor C: But{disfmarker}PhD B: Yeah .Professor C: Uh , well the people who had very low latency want it to be low {disfmarker} uh , very {disfmarker} {vocalsound} very very narrow , uh , latency bound . And the people whohave longer latency don't . So .PhD A: Huh .PhD B: So , yeah .Professor C: Unfortunately we 're the main ones with long latency , butPhD A: Ah !Professor C: But , uh ,PhD B: Yeah , and basically the best proposal hadsomething like thirty or forty milliseconds of latency .Professor C: you know , it 's {disfmarker} Yeah .PhD B: So . Well .Professor C: Yeah , so they were basically {disfmarker} I mean , they were more or less tradingcomputation for performance and we were , uh , trading latency for performance . And they were dealing with noise explicitly and we weren't , and so I think of it as complementary , that if we can put the{disfmarker}PhD A: Think of it as what ?Professor C: Complementary .PhD A: Hmm .Professor C: I think the best systems {disfmarker} so , uh , everything that we did in in a way it was {disfmarker} it was justadamantly insisting on going in with a brain damaged system , which is something {disfmarker} actually , we 've done a lot over the last thirteen years . Uh , {vocalsound} which is we say , well this is the way weshould do it . And then we do it . And then someone else does something that 's straight forward . So , w th w this was a test that largely had additive noise and we did {disfmarker} we adde did absolutely nothingexplicitly to handle ad additive noise .PhD A: Right .Professor C: We just , uh , you know , trained up systems to be more discriminant . And , uh , we did this , uh , RASTA - like filtering which was done in the logdomain and was tending to handle convolutional noise . We did {disfmarker} we actually did nothing about additive noise . So , um , the , uh , spectral sub subtraction schemes a couple places did seem to seem to do anice job . And so , uh , we 're talking about putting {disfmarker} putting some of that in while still keeping some of our stuff . I think you should be able to end up with a system that 's better than both but clearly theway that we 're operating for this other stuff does involved some latency to {disfmarker} to get rid of most of that latency . To get down to forty or fifty milliseconds we 'd have to throw out most of what we 're doing .And {disfmarker} and , uh , I don't think there 's any good reason for it in the application actually . I mean , you 're {disfmarker} you 're {disfmarker} you 're speaking to a recognizer on a remote server and , uh ,having a {disfmarker} a {disfmarker} a quarter second for some processing to clean it up . It doesn't seem like it 's that big a deal .PhD A: Mm - hmm .Professor C: These aren't large vocabulary things so the decodershouldn't take a really long time , and .PhD A: And I don't think anybody 's gonna notice the difference between a quarter of a second of latency and thirty milliseconds of latency .Professor C: So . No . What{disfmarker} what does {disfmarker} wa was your experience when you were doing this stuff with , uh , the {disfmarker} the {disfmarker} the surgical , uh , uh , microscopes and so forth . Um , how long was it fromwhen somebody , uh , finished an utterance to when , uh , something started happening ?PhD A: Um , we had a silence detector , so we would look for the end of an utterance based on the silence detector .Professor C:Mm - hmm .PhD A: And I {disfmarker} I can't remember now off the top of my head how many frames of silence we had to detect before we would declare it to be the end of an utterance .Professor C: Mm - hmm . Mm- hmm .PhD A: Um , but it was , uh , I would say it was probably around the order of two hundred and fifty milliseconds .Professor C: Yeah , and that 's when you 'd start doing things .PhD A: Yeah , we did the backtrace at that point to get the answer .Professor C: Yeah . Of course that didn't take too long at that point .PhD A: No , no it was pretty quick .Professor C: Yeah .PhD A: So {disfmarker}Professor C: Yeah , so you{disfmarker} you {disfmarker} so you had aPhD A: this wProfessor C: so you had a {disfmarker} a quarter second delay before , uh , plus some little processing time ,PhD A: Right .Professor C: and then the{disfmarker} the microscope would start moving or something .PhD A: Right .Professor C: Yeah .PhD A: Right .Professor C: And there 's physical inertia there , so probably the {disfmarker} the motion itself was all{disfmarker}PhD A: And it felt to , uh , the users that it was instantaneous . I mean , as fast as talking to a person . It {disfmarker} th I don't think anybody ever complained about the delay .Professor C: Yeah , so youwould think as long as it 's under half a second or something .PhD A: Yeah .Professor C: Uh , I 'm not an expert on thatPhD A: Yeah .Professor C: but .PhD A: I don't remember the exact numbers but it was somethinglike that .Professor C: Yeah .PhD A: I don't think you can really tell . A person {disfmarker} I don't think a person can tell the difference between , uh , you know , a quarter of a second and a hundred milliseconds , and{disfmarker} I 'm not even sure if we can tell the difference between a quarter of a second and half a second .Professor C: Yeah .PhD A: I mean it just {disfmarker} it feels so quick .Professor C: Yeah . I mean ,basically if you {disfmarker} yeah , if you said , uh , um , \" what 's the , uh , uh {disfmarker} what 's the shortest route to the opera ? \" and it took half a second to get back to you ,PhD A: Yeah .Professor C: I mean ,{vocalsound} it would be f I mean , it might even be too abrupt . You might have to put in a s a s {vocalsound} a delay .PhD A: Yeah . I mean , it may feel different than talking to a personProfessor C: Yeah .PhD A:because when we talk to each other we tend to step on each other 's utterances . So like if I 'm asking you a question , you may start answering before I 'm even done .Professor C: Yeah .PhD A: So it {disfmarker} itwould probably feel differentProfessor C: Right .PhD A: but I don't think it would feel slow .Professor C: Right . Well , anyway , I mean , I think {disfmarker} we could cut {disfmarker} we know what else , we could cutdown on the neural net time by {disfmarker} by , uh , playing around a little bit , going more into the past , or something like that . We t we talked about that .PhD A: So is the latency from the neural net caused byhow far ahead you 're looking ?Professor C: Mm - hmm .PhD B: Mm - hmm .Professor C: And there 's also {disfmarker} well , there 's the neural net and there 's also this , uh , uh , multi - frame , uh , uh , KLT .PhD A:Wasn't there {disfmarker} Was it in the , uh , recurrent neural nets where they weren't looking ahead at all ?Professor C: They weren't looking ahead much . They p they looked ahead a little bit .PhD A: A little bit . OK.Professor C: Yeah . Yeah , I mean , you could do this with a recurrent net . And {disfmarker} and then {disfmarker} But you also could just , um , I mean , we haven't experimented with this but I imagine you could ,um , uh , predict a , uh {disfmarker} um , a label , uh , from more in the past than in {disfmarker} than {disfmarker} than in the future . I mean , we 've d we 've done some stuff with that before . I think it{disfmarker} it works OK .PhD B: Mm - hmm .PhD A: We 've always had {disfmarker} usually we used the symmetric windowsProfessor C: So .PhD A: but I don't think {disfmarker}Professor C: Yeah , but we 've{disfmarker} but we played a little bit with {disfmarker} with asymmetric , guys .PhD A: Yeah .Professor C: You can do it . So . So , that 's what {disfmarker} that 's what you 're busy with , s messing around with this,PhD B: Uh , yeah .Professor C: yeah . And , uh ,PhD D: Also we were thinking to {disfmarker} to , uh , apply the eh , spectral subtraction from EricssonPhD B: Yeah .Professor C: Uh - huh .PhD D: and to {disfmarker}to change the contextual KLT for LDA .PhD A: Change the what ?PhD D: The contextual KLT .PhD A: I 'm missing that last word . ContextProfessor C: K {disfmarker} KLT .PhD A: KLT .PhD D: KLT {disfmarker}Grad E:Oh . KLT .PhD A: Oh , KLT .Professor C: Mm - hmm .PhD A: Uh - huh .PhD D: KLT , I 'm sorry . Uh , to change and use LDA discriminative .PhD B: Yeah .Professor C: Uh - huh .PhD D: But {disfmarker} I don't know.Professor C: Uh ,PhD A: What is the advantage of that ?PhD D: Uh {disfmarker}PhD B: Well , it 's that by the for the moment we have , uh , something that 's discriminant and nonlinear . And the other is linear but it 'snot discriminant at all . Well , it 's it 's a linear transformation , that {disfmarker} Uh {disfmarker}Professor C: So at least just to understand maybe what the difference was between how much you were getting fromjust putting the frames together and how much you 're getting from the discriminative , what the nonlinearity does for you or doesn't do for you . Just to understand it a little better I guess .PhD B: Mmm . Well{disfmarker} uh {disfmarker} yeah . Actually what we want to do , perhaps it 's to replace {disfmarker} to {disfmarker} to have something that 's discriminant but linear , also . And to see if it {disfmarker} if itimproves ov over {disfmarker} over the non - discriminant linear transformation .PhD A: Hmm .PhD B: And if the neural net is better than this or , well . So .Professor C: Yeah , well , that 's what I meant , is to seewhether {disfmarker} whether it {disfmarker} having the neural net really buys you anything .PhD B: Ye Mmm .Professor C: Uh , I mean , it doe did look like it buys you something over just the KLT .PhD B: Yeah.Professor C: But maybe it 's just the discrimination and {disfmarker} and maybe {disfmarker} yeah , maybe the nonlinear discrimination isn't necessary .PhD D: S maybe .PhD B: Yeah . Mm - hmm .Professor C: Couldbe .PhD D: Maybe .Professor C: Good {disfmarker} good to know . But the other part you were saying was the spectral subtraction , so you just kind of , uh {disfmarker}PhD B: Yeah .Professor C: At what stage do youdo that ? Do you {disfmarker} you 're doing that , um {disfmarker} ?PhD B: So it would be on the um {disfmarker} on {disfmarker} on the mel frequency bands ,PhD D: We was thinkPhD B: so . Yeah , be beforeeverything .Professor C: OK ,PhD D: Yeah ,Professor C: so just do that on the mel fPhD D: we {disfmarker} no {disfmarker} nnn We {disfmarker} we was thinking to do before after VAD orPhD B: Yeah ,PhD D: Oh ,{comment} we don't know exactly when it 's better .PhD B: um {disfmarker}PhD D: Before after VAD or {disfmarker}Professor C: So {disfmarker} so you know that {disfmarker} that {disfmarker} that the way thatthey 're {disfmarker}PhD D: and thenPhD B: Um .Professor C: uh , one thing that would be no {disfmarker} good to find out about from this conference call is that what they were talking about , what they 'reproposing doing , was having a third party , um , run a good VAD , and {disfmarker} and determine boundaries .PhD D: Yeah .Professor C: And then given those boundaries , then have everybody do the recognition.PhD D: Begin to work .Professor C: The reason for that was that , um , uh {disfmarker} if some one p one group put in the VAD and another didn't , uh , or one had a better VAD than the other since that {disfmarker}they 're not viewing that as being part of the {disfmarker} the task , and that any {disfmarker} any manufacturer would put a bunch of effort into having some s kind of good speech - silence detection . It still wouldn'tbe perfect but I mean , e the argument was \" let 's not have that be part of this test . \" \" Let 's {disfmarker} let 's separate that out . \" And so , uh , I guess they argued about that yesterday and , yeah , I 'm sorry , Idon't {disfmarker} don't know the answer but we should find out . I 'm sure we 'll find out soon what they , uh {disfmarker} what they decided . So , uh {disfmarker} Yeah , so there 's the question of the VAD butotherwise it 's {disfmarker} it 's on the {disfmarker} the , uh {disfmarker} the mel fil filter bank , uh , energies I guess ?PhD D: Mm - hmm .PhD B: Mmm , yeah .Professor C: You do {disfmarker} doing the{disfmarker} ?PhD D: Mm - hmm .Professor C: And you 're {disfmarker} you 're subtracting in the {disfmarker} in the {disfmarker} in the {disfmarker} I guess it 's power {disfmarker} power domain , uh , or{disfmarker} or magnitude domain . Probably power domain , right ?PhD B: I guess it 's power domain , yeah .Professor C: whyPhD B: I don't remember exactly .Professor C: Yeah ,PhD D: I don't remember .PhD B:But {disfmarker} yeah , so it 's before everything else ,Professor C: yep .PhD B: and {disfmarker}Professor C: I mean , if you look at the theory , it 's {disfmarker} it should be in the power domain but {disfmarker}but , uh , I 've seen implementations where people do it in the magnitude domainPhD B: Yeah .Professor C: and {disfmarker}PhD B: Mmm .Professor C: I have asked people why and they shrug their shoulders and say, \" oh , it works . \" So .PhD B: Yeah .Professor C: Uh , and there 's this {disfmarker} I guess there 's this mysterious {disfmarker} I mean people who do this a lot I guess have developed little tricks of the trade . Imean , there 's {disfmarker} there 's this , um {disfmarker} you don't just subtract the {disfmarker} the estimate of the noise spectrum . You subtract th that times {disfmarker}PhD B: A little bit more and{disfmarker} Yeah .Professor C: Or {disfmarker} or less , or {disfmarker}PhD A: Really ?PhD B: Yeah .PhD A: Huh !Professor C: Yeah .PhD B: And generated this {disfmarker} this ,Professor C: Uh .PhD B: um , so youhave the estimation of the power spectra of the noise , and you multiply this by a factor which is depend dependent on the SNR . So . Well .PhD D: Hmm , maybe .PhD A: Hmm !PhD B: When the speech lev when thesignal level is more important , compared to this noise level , the coefficient is small , and around one . But when the power le the s signal level is uh small compared to the noise level , the coefficient is more important. And this reduce actually the music musical noise ,PhD A: Oh !PhD B: uh which is more important during silence portions ,PhD A: Uh - huh .PhD B: when the s the energy 's small .PhD A: Hmm !PhD B: So there are"}
+{"doc_id":"doc_37","qid":"","text":"Project Manager: Think we can first {disfmarker}Industrial Designer: Mm .User Interface: Right it was function F_ eight or something .Industrial Designer: ThaUser Interface: This one right there .Industrial Designer:Okay .User Interface: Okay .Industrial Designer: Who is gonna do a PowerPoint presentation ?User Interface: Think we all {gap} {disfmarker}Industrial Designer: You will as well ?User Interface: Huh . Oh I thought weall were .Industrial Designer: Okay .User Interface: Yeah , I have one too , okay .Project Manager: {gap} .User Interface: SIndustrial Designer: Yep .Marketing: {gap} .User Interface: Whoops I forgot to put the thingon {vocalsound} {disfmarker}Project Manager: Right . I just wanna {disfmarker} 'cause basically I can't re I've {disfmarker} really crap at remembering everyone's name so I just wanna {disfmarker} rather thangoing uh Miss Marketing and Miss this and Miss that {vocalsound} wanted to know your names again .User Interface: Okay .Industrial Designer: Okay I'm {disfmarker}Project Manager: {gap} just gonna leave this uphere 'cause I'll {vocalsound} you know . So {disfmarker}Industrial Designer: Okay .User Interface: Yeah . Sure , that's a good idea .Industrial Designer: I'm Catherine with a C_ . C_A_T_H_ E_R_ I_N_E_ .ProjectManager: Okay , andUser Interface: Uh Gabriel .Project Manager: Gabriel . E_L_ is it ?User Interface: E_L_ .Project Manager: 'Kay . And you're s r R_E_I_S_S_ {vocalsound} {gap}Marketing: I am Reissa .R_E_I_S_S_A_ . Double S_ A_ , yeah {vocalsound} yeah . Sorry .Project Manager: Okay .Marketing: {vocalsound}Project Manager: 'S just a bit nicer calling people by their names I think .Industrial Designer: Right.User Interface: {vocalsound}Industrial Designer: True .Project Manager: {vocalsound} Uh , right .Marketing: Mm 'kay .Project Manager: Okay , right , welcome to meeting B_ . Um this is gonna go a lot better than thelast meeting , basically ,Industrial Designer: {vocalsound}User Interface: {vocalsound}Project Manager: uh 'cause I know what I'm supposed to be doing now .Industrial Designer: {vocalsound}Marketing:{vocalsound}Project Manager: {vocalsound} I am your Project Manager , and , uh yeah , I'm just here toIndustrial Designer: {vocalsound}Project Manager: {gap} sort of liaise between the three of you and get thingsgoing , get people talking and and I'm gonna be making notes and sending them off to the powers that be and stuff basically . Um right , this {disfmarker} for the purposes of this meeting {disfmarker} what thismeeting is all about is um I'm gonna have some presentations from all three of you , what you've been working on for the last wee while , when you haven't been getting hit with spam on your computers and and , youknow , filling out silly questionnaires and things .Industrial Designer: {vocalsound}Marketing: {vocalsound}Project Manager: But hopefully you've been {disfmarker} actually been doing something productive . So we'regonna {disfmarker} each of you gonna give us a litt a little presentation . {vocalsound} Um .Marketing: Mm .Project Manager: Then we're gonna {vocalsound} work , you know , from each of your presentations . We'llwe'll uh talk about what we actually need as a final coming together of it all . Um and then we'll , yeah , we'll {gap} sort of conclude {gap} anything else comes up at the end of it .Industrial Designer: How long is themeeting ?Project Manager: This meeting it's not very long . It's uh probably down to about thirty five minutes now . So I want each of your presentations to not be too long , five five minutes , something like that.Industrial Designer: Okay . {vocalsound} No problem . {vocalsound}Project Manager: Um if you haven't done a PowerPoint thingy , it doesn't matter , it it just it just says that you {disfmarker} it's {disfmarker} that'sjust one particular medium . If you haven't had time to prepare one , you can draw stuff on the noteboard , you can talk to us , you can {disfmarker} you know however you want to do your little presentation , basically, you can . Don't feel pressurised into using this thing . 'Cause I don't .Industrial Designer: {vocalsound}Project Manager: {vocalsound} Uh okay . So um . You okay over there ? Reissa ,Marketing: I'm fine . Yeah.Project Manager: are you uh b are you joining in with this meeting hereMarketing: I uh yeah , yeah .Project Manager: or are y or are y or are you are you just are you just uh doing some Internet shopping there ?{vocalsound}User Interface: Think she's finishing up her presentation .Marketing: D I mean , I I'm finishing off my presentation .Industrial Designer: {vocalsound}Marketing: No no . {vocalsound} Uh I'm done . Okay.Project Manager: Okay , jolly good . Alright , let's have um {disfmarker} well , we all know that it's it's a remote control that we're gonna be dealing with .Marketing: Mm .Project Manager: I think the first thing weshould look at is um {vocalsound} probably the um what it is that it is actually supposed to be . So that's gonna be you Catherine ,Industrial Designer: Okay .Project Manager: if we wanna hear from you first .IndustrialDesigner: Okay . Um just connecting this .Project Manager: You don't have to worry about screwing it in just {disfmarker}Industrial Designer: Are we getting i Really ?Project Manager: there you go .IndustrialDesigner: Okay . Cool . Okay . So I've got a very quick uh {disfmarker} Uh . Okay .Marketing: {vocalsound}Industrial Designer: So the working design , I've got a very quick presentation on this , so um I've{disfmarker} oh no , you can't see a thing . {vocalsound} Oh well , I'm gonna draw it on the board then . It's in blue uh , and I couldn't change it .User Interface: Oh . {vocalsound}Project Manager: Ah .IndustrialDesigner: We it's fine on my screen , but never mind . So um {vocalsound} the idea is that we've got the energy source um , which in our case will pr , oh well {disfmarker} okay , never mind . So um I think maybe uhtwo batteries , I dunno what they're called {gap} six , or something like that .Project Manager: Mm-hmm .Industrial Designer: Uh and then {vocalsound} um then on the uh remote control itself will have um the senderfor the signal , which could be uh an infra-red signal , um which will be sent by an electronic chip . And uh the chip will be controlled by the user interface . So we'll hear about that later from Gabriel .Project Manager:Mm-hmm .Industrial Designer: And uh the sender will send to the telly itself an infra-red signal to tell it to switch on or switch channels . Um and that's it really for the working design .Project Manager: Great . Okay.Industrial Designer: Sorry the presentation wasn't very uh clear but {disfmarker}Project Manager: I prefer the pe I prefer the human touch personally .Industrial Designer: Really ? Cool .Project Manager: Yeah.Industrial Designer: Um , should I erase this or {disfmarker}Project Manager: Do you wanna just give us a moment , I just wanna copy this down .Industrial Designer: Okay .Project Manager: Um I dunno if you guyshave got any questions for Catherine on any of this ?Industrial Designer: Fine . {vocalsound} Or suggestions ?Marketing: Is a battery like the only way of {disfmarker}Industrial Designer: Well , it's just , you don't wantit plugged in really , sUser Interface: Yeah , alternate energy source , like win wind power or {disfmarker}Project Manager: {vocalsound} Yeah , you blow on it and i {vocalsound}Industrial Designer: In indoors .{vocalsound}Marketing: No , no {disfmarker}User Interface: {vocalsound} Bicycle power .Marketing: No I meant like {disfmarker}Industrial Designer: {vocalsound}Marketing: No 'cause like cha 'cause {disfmarker}always changing um um batteries can get like annoying .Industrial Designer: {vocalsound}Marketing: The battery's down and {disfmarker} maybe {vocalsound} , I dunno , solar charged ? {vocalsound}IndustrialDesigner: I dunno , swi I th I th I think changing your batteries once every six months is not really a pain , but {disfmarker}Project Manager: Yeah , it's worked for the last fifty years you know .Marketing: Mm . Yeah.User Interface: One question I have , and I don't know how much control we have over this is um , as far as the infra-red signal , do we have control over , you know , how far away you can be from the receiving unit ,the the T_V_ , and still have it be operational ? I mean , maybe we want one with a strong signal stream .Project Manager: How far away is your television ?Industrial Designer: Yeah .Project Manager: It's never gonnabe more than it's never gonna be , you kno unless you've got a T_V_ the size of a football pitch , it's not {disfmarker} doesn't have to go that far ,User Interface: Uh {disfmarker}Industrial Designer: Well , the thing isuh you you don't {disfmarker}Project Manager: does it ? Doesn't have to go through a wall , because you're not gonna be looking through a wall .User Interface: That's true .Marketing: Yeah , but if like you're on thephone in the other room and you need turn television off or something and you don't really want to go into the {disfmarker} put the telephone down , and go into the other room . {vocalsound}Industrial Designer: Well, we can make the the signal strong enough to go through walls if if you fancy it . I didn't think about that but {disfmarker}Marketing: How about Bluetooth ? {gap} Instead of using infra-red , use Bluetooth .IndustrialDesigner: Why not ? I just think that it's it's gonna cost moreMarketing: Isn't that a better signal ?Project Manager: Yeah , yeah I d it sounds like you {gap} you w don't wanna overcomplicate things .IndustrialDesigner: and I'm I'm not sure it's {disfmarker} you're gonna use it .Marketing: Mm {vocalsound} .Project Manager: You know we don't need it .Industrial Designer: It's a fancy idea uh it's quite nice , but then I don'tth I dunno , either you {disfmarker} if you wanna watch the telly you're in the room ,Project Manager: Yeah , exactly .Industrial Designer: you are gonna {disfmarker}Project Manager: Basically , we're we're desi we'redesigning and marketing a television remote control unit .Industrial Designer: But {disfmarker}Project Manager: We're not w w w w designing something that you can plug in a headset to and and you know connect toyour laptop computer and stuff . It's uh {disfmarker}Marketing: Mm .Industrial Designer: Oh , we can we can keep the idea if you i We can see at a later stage , maybe , I don't {disfmarker}Marketing: 'S just an idea.Project Manager: Okay . Right , well done , Catherine . Um Gab Gabriel let's uh let's hear from you on on on such things .User Interface: Okay .Industrial Designer: Do you need the border ?User Interface: Uh I'm justgonna use the PowerPoint uh .Industrial Designer: Okay . {vocalsound} Sorry .User Interface: Technical {gap} . Okay .Marketing: {vocalsound} {vocalsound}User Interface: Okay , so , while this is warming up,Marketing: Adjusting .User Interface: there it is uh .Marketing: Yeah .User Interface: So I'm doing the user interface design .Project Manager: Mm-hmm .User Interface: Yeah , and basically uh , as far as methods , Iwas I was looking looking at looking at uh already existing remotes , trying to find some inspiration from designs that are already out there . Thinking of what we can retain , what we can do away with , uh what wewhat we can perfect a little bit as far as design um . {gap} we don't want to do something that's too radical of a change , I guess , I mean people want a remote that's familiar , that has their favourite functionalities umand and does the basics , but {disfmarker}Project Manager: Mm yeah .User Interface: Um so we can improve what's out there and maintain that , the basic functionality that people want . Um so things that{vocalsound} seem like absolute must-haves uh would be a volume control , um so up-down keys for that , uh channel keys up-down , but then also a numerical key pad so that they can just key directly to the channelthat they want , rather than doing up-down , and uh a mute button . Uh one thing that I didn't include here , that I forgot that we talked about last time , was doing um some sort of lock uh function .Project Manager:Okay .User Interface: Uh , I don't I dunno , uh that's one possibility . And so in the research that I was doing there's basically two types of remotes , ones that are engineering centred and ones that are more usercentred , which I don't know if I can access the web page from here , but I can show you {disfmarker} uh . Yeah . So this is a engineer centred one , so you see it's rather busy , but it also lets you play your movie ,stop your movie , fast-forward , all this , um {vocalsound} freeze frame .Project Manager: Mm-hmm .User Interface: Uh and this is a user centred one . Uh it's it's easier to g just glance at this and see {vocalsound}what's possible to do ,Project Manager: Yeah .User Interface: you're not gonna be staring at it for five minutes .Project Manager: Great .User Interface: And I {disfmarker} judging from what what we all talked aboutduring our last meeting I kind of gathered that that's what we were going after , uh or the direction we were going in at least . Um . So , the engineering centred ones uh provide a lot of functionality , but it can be alittle bit overwhelming , so the user centred ones just focus on ease of use . Uh and this sort of overlaps with what the marketing person uh , Reissa ,Marketing: {vocalsound}User Interface: because uh we we need tofind out what what people want before we make firm decisions on this .Marketing: Mm .Project Manager: Yeah .Marketing: {gap} . {vocalsound}User Interface: So uh , yeah , that's me .Project Manager: Great . Okay .Now that's I just have a q a q question for you . This w um research that you've been doing looki looking at other , you know , existing units {gap} stuff . Um have you found that anyone else has do has looked into thelocking function or {disfmarker}User Interface: No that that that seemed like a novel idea as f as far as I know . I mean obviously another {disfmarker} {gap} exists {gap} like you like you said in in mobile phones.Project Manager: Yeah .User Interface: That was sort of the inspiration for it . Um I've never seen that with {disfmarker} in in all my years in in the remote business .Project Manager: Yeah . {vocalsound}{vocalsound}User Interface: I've , haven't I've never seen a locking functionality . I dunno , what uh do you guys have a a yea or nay on that {gap} a feeling about whether that's really necessary ?Project Manager:Um {disfmarker} I would say it's {disfmarker} If it's simple to do , which I think it probably should be ,User Interface: Yeah .Project Manager: even if it's a physical , you know , a f a like a f a physical switch or aphysical cover for the remote , even something like that , um then yes ,User Interface: Mm-hmm . 'Kay .Project Manager: it's {gap} like , you know , like s you said earlier on ab ab ab a flip thing , something like that,User Interface: Right .Project Manager: but you know being physical . Look into . Um I've had word down from head office that something that we should be centred {vocalsound} well , something we should take intoaccount is um we've gotta keep the corporate image within this remote control unit . It's gotta d look like it's in the R_ and R_ .User Interface: Mm {vocalsound} .Project Manager: You know , the the company it's it's ,from what I can see from our other products , are yellow with blue writing on them . Um .Marketing: {vocalsound} {vocalsound} Mm .User Interface: Right . And our motto is is we put the fashion in electronics .ProjectManager: We put the fashion in electronics . There you go .User Interface: I think I think we have to carry that mental .Marketing: Mm .Project Manager: So it's kinda gotta look it's gotta look new and s you knowsomething fashionable . If if remote control {disfmarker} well , if telephones can be fashionable , then maybe remote control units can be .User Interface: Mm .Marketing: Mm .User Interface: Well yeah these , I think ,we can {disfmarker} so we talked about the layout in my presentation and what I didn't mention yet really is is the sort of like the ergonomic design .Project Manager: Yeah . Because we need {disfmarker}UserInterface: I t I think we can make big improvements over these two that you see here , I mean .Project Manager: {vocalsound} Yeah . Great .Industrial Designer: {vocalsound}User Interface: Uh , everything is going tergonomic , you know , there's you know mice for your computers that are very ergonomic and keyboards and that could be one of our niches p sort of uh uh in the market , I guess . Um .Project Manager: Okay ,fantastic .Marketing: Okay .Project Manager: Right , well done , Gabriel .Marketing: {gap} .Project Manager: Um Reissa . Let's plug you in , baby .Marketing: Where does it go into ?User Interface: {gap} .Marketing:Here ?User Interface: Yeah .Marketing: The blue thing .User Interface: Uh , yeah , this is getting all {gap} .Marketing: {vocalsound}User Interface: Mm . {vocalsound}Marketing: {gap} .User Interface: Yeah , then youjust have to do function F_ eight and it should come up .Marketing: Well , function F_ eight . No {disfmarker}Project Manager: Yeah , w it it just takes a wee while .User Interface: Yeah , it just takes a second uh.Marketing: oh . {vocalsound} Come on . Right . Okay . {gap} . Okay . Well , for our marketing report uh we observed remote control users in a usability lab , and also gave {disfmarker} so this is research{disfmarker} and we also gave participants um questionnaires to fill out . Um total number of people tested were a hundred just so you know , so that hundred people were tested and these were the findings . Soseventy five per cent of users find the remote control ugly . Okay , so they don't like the look of the remote control . Um eighty f eighty per cent of them would spend more money if the rem remote control looked reallycool and fancy . So I think we all agree with that . Um {vocalsound} current remote controls do not match well with the operating behaviour of the user . So , they don't like {disfmarker} like the way they operate itdoesn't like match how people behave . Um {gap} per cent of the users say that they only use ten per cent of the buttons on a remote , so probably if you have like one , two , three , four , five , the whole up to z ten ,they probably don't use those , they only use the up and down channel .Project Manager: 'Cause we've only got five channels . {vocalsound}Marketing: {gap} {vocalsound} exactly .Industrial Designer:{vocalsound}Marketing: {vocalsound} That's another thing . {vocalsound} Um seventy five per cent of users say they zap . Not quite sure what they mean , zap , goes like {vocalsound} .Project Manager: I think that'sk flicking quickly between channels .User Interface: Yeah , you wanna navigate the channels quickly I guess .Marketing: Yeah .Project Manager: Yeah .Marketing: Mm . Um takes too much time to learn how to use anew remote . I think especially for uh the older generation . I know my grandmother doesn't like mobile phones , takes ages to work how to use . Anyway um and they also {disfmarker} remotes often get lost in theroom , so nobody can find them .User Interface: Mm .Marketing: {vocalsound} So maybe tracking devices is a good idea .Project Manager: {vocalsound} Wow .Marketing: Um personal preferences .{vocalsound}Project Manager: You are a child of technology , aren't you ? {vocalsound}Marketing: {vocalsound} {vocalsound} Um so yeah um {vocalsound} I was thinking something easy to use , especially for olderpeople . Um {vocalsound} has to look really cool , flashy groovy for people to buy it . And it's easy to find {vocalsound} , so I don't know whether maybe {disfmarker} and also we asked them whether they wanted{vocalsound} {disfmarker} whether they'd be interested in um {vocalsound} voice activating .Industrial Designer: {vocalsound}Marketing: So voice activation . So and this was what we came up with . Then if you lookfifteen to twenty five {disfmarker} this is age , sorry , {gap} age groups . So fifteen to twenty five said like ninety two {disfmarker} ninety one per cent of them said yes .Project Manager: So there you go , yeah.Marketing: {vocalsound} Um {vocalsound} so basically the majority except for the forty five to fifty five year olds for some reason didn't want a voice activated one . And neither did the older generation , but theyounger generation who we are catering for , like who have most of the money nowadays , do want a voice act speech recognition in a remote .Industrial Designer: {vocalsound}Project Manager: Uh but do the youngergeneration have the money ? They they don't .User Interface: No I would I would say the older the older people , yeah .Project Manager: It's older generation , they're the ones that have gone out and{disfmarker}Marketing: Well the twenty five to thirty five year old , and thirty five , and the thirty five to forty five , forty five point seven per cent {gap} say no , so {disfmarker}Project Manager: People people from"}
+{"doc_id":"doc_38","qid":"","text":"Grad B: Sorry . Mental {disfmarker} mental Palm Pilot . Right . Hence {pause} no problem .Grad F: Let 's see . So . What ? I 'm supposed to be on channel five ? Her . Nope . Doesn't seem to be ,Grad B: Hello {pause}I 'm channel one .Grad F: yeah .Grad D: Grad E: What does your thing say on the back ?Grad D: Testing .Grad F: Nnn , five . Alright , I 'm five .Grad D: Sibilance . Sibilance . {comment} {pause} Three , three . I amthree .Grad B: Eh .Grad D: See , that matches the seat up there . So .Grad F: Yeah , well , I g guess {pause} it 's coming up then , or {disfmarker}Grad D: Cuz it 's {disfmarker} That starts counting from zero andthese start counting from one . Ergo , the classic off - by - one error .Grad B: But mine is correct .Grad D: Is it ?Grad E: No .Grad B: It 's one . Channel one .Grad D: Your mike {pause} number {pause} is what we 'retGrad E: Look at the back .Grad B: Oh , oh , oh ! Oh .Grad D: Ho !Grad B: So {disfmarker}Grad D: I 've bested you again , Nancy .Grad B: But your p No , but the paper 's correct .Grad D: The paper is correct .Grad B:Look at the paper .Grad D: I didn't det I was saying the microphone , not the paper .Professor C: Nnn ,Grad B: Oh .Professor C: it 's nGrad B: OK .Professor C: It 's always offset . Yeah .Grad B: Yes , you 've bested meagain . That 's how I think of our continuing interaction . Damn ! Foiled again !Grad D: So is Keith showing up ? He 's talking with George right now . Uh , is he gonna get a rip {disfmarker} uh {disfmarker} rip himselfaway from {disfmarker} from that ?Grad B: He 'll probably come later .Professor C: What {disfmarker} He - he he 's probably not , is my guess .Grad D: Oh , then it 's just gonna be the five of us ?Professor C: Yeah.Grad E: Well , he {disfmarker} he was very affirmative in his way of saying he will be here at four . But {pause} you know , that was before he knew about that George lecture probably .Professor C: Right . This{disfmarker} this is not {disfmarker} It 's not bad for the project if Keith is talking to George . OK . So my suggestion is we justGrad B: Forge ahead .Professor C: Forge ahead , yeah .Grad E: Cool .Grad B: Are you incharge ?Grad E: Sure . Um . Well , I sort of had informal talks with most of you . So , Eva just reported she 's really happy about the {pause} CBT 's being in the same order in the XML as in the um {disfmarker} beJava declaration formatGrad F: Yeah . The eGrad E: so you don't have to do too much in the style sheet transversion .Grad F: Uh , yeah . Yeah , so .Grad E: The {disfmarker} uh , Java {disfmarker} the embeddedBayes {pause} wants to take input {disfmarker} uh , uh , a Bayes - net {disfmarker} in {disfmarker} in some Java notation and Eva is using the Xalan style sheet processor to convert the XML that 's output by theJava Bayes for the {disfmarker} into the , uh , E Bayes input .Grad D: Mmm .Grad F: Actually , maybe I could try , like , emailing the guy and see if he has any something already .Professor C: Sure .Grad E: Hmm .GradF: That 'd be weird , that he has both the Java Bayes and the embedded Bayes in {disfmarker}Grad D: But that 's some sort of conversion program ?Grad F: Yeah . Yeah . And put them into different {pause} formats .Oh {disfmarker}Grad D: I think you should demand things from him .Grad F: Yep , he could do that , too .Professor C: He charges so much . Right .Grad D: Yeah .Professor C: No , I think it 's a good idea that you mayas well ask . Sure .Grad F: Yeah .Grad E: And , um , well {pause} pretty mu pretty much on t on the top of my list , I would have asked Keith how the \" where is X ? \" {pause} hand parse is standing . Um . {pause} Butwe 'll skip that . Uh , there 's good news from Johno . The generation templates are done .Grad D: So the trees {pause} for {disfmarker} the XML trees for the {disfmarker} for the gene for the synthesizer are written .So I just need to {pause} do the , uh {disfmarker} write a new set of {pause} tree combining rules . But I think those 'll be pretty similar to the old ones . So . Just gonna be {disfmarker} you know{disfmarker}Professor C: Oh ! You were gonna send me a note about hiring {disfmarker}Grad E: Yes .Professor C: I didn't finish the sentence but he understood it .Grad D: I know what he 's talking about .Professor C:OK . But Nancy doesn't .Grad B: Hiring somebody .Grad E: We {disfmarker} w um {disfmarker}Grad D: The guy .Grad E: OK , so {pause} natural language generation {pause} produces not a {disfmarker} just asurface string that is fed into a text - to - speech but , a {pause} surface string with a syntax tree that 's fed into a concept - to - speech .Professor C: No .Grad B: Yeah . Mm - hmm . Better .Grad E: Now and thisconcept - to - speech module has {pause} certain rules on how {pause} if you get the following syntactic structure , how to map this onto prosodic rules .Grad B: Mm - hmm . Sure . Mm - hmm .Grad E: And Fey hasfoolheartedly agreed to rewrite uh , the German concept uh syntax - to - prosody rules {disfmarker}Grad B: I didn't know she spoke German .Grad E: No , she doesn't .Grad B: Oh , OK .Grad E: But she speaks English.Grad B: Oh . Rewrite the German ones into English . OK , got it .Grad E: Into English . And um therefore {pause} the , uh {disfmarker} if it 's OK that we give her a couple of more hours per week , then {pause} she 'lldo that .Grad B: OK , got it .Grad D: What {pause} language is that {pause} written i Is that that Scheme thing that you showed me ?Grad E: Yeah . That 's the LISP - type scheme .Grad D: She knows how to programin Scheme ? I hope ?Grad E: No , I {disfmarker} My guess is {disfmarker} I {disfmarker} I asked for a commented version of that file ? If we get that , then it 's {pause} doable , even without getting into it , eventhough the Scheme li uh , stuff is really well documented in the {pause} Festival .Grad D: Well , I guess if you 're not used to functional programming , Scheme can be completely incomprehensible . Cuz , there 's no{disfmarker} Like {pause} there 's lots of unnamed functionsProfessor C: Syntax . Yeah .Grad D: and {disfmarker}Grad B: Mm - hmm .Grad D: You know ?Professor C: Anyway , it {disfmarker} We 'll sort this out . Um. But anyway , send me the note and then I 'll - I 'll check with , uh , Morgan on the money . I {disfmarker} I don't anticipate any problem but we have to {pause} ask . Oh , so this was {disfmarker} {nonvocalsound}You know , on the generation thing , um if {comment} sh y she 's really going to do that , then we should be able to get prosody as well . So it 'll say it 's nonsense with perfect intonation .Grad D: Are we gonna{disfmarker} Can we change the voice of the {disfmarker} of the thing , because right now the voice sounds like a murderer .Grad E: Yep . We ha we have to change the voice .Grad B: Wh - Which one ?Grad D: The{disfmarker} the little Smarticus {disfmarker} Smarticus sounds like a murderer .Grad B: Oh .Grad A: That 's good to know .Grad D: \" I have your reservations . \"Grad A: But I will not give them to you unless youcome into my lair .Grad E: It is {disfmarker} Uh , we have the choice between the , uh , usual Festival voices , which I already told the SmartKom people we aren't gonna use because they 're really bad .Grad B:Festival ?Professor C: It 's the name of some program ,Grad B: Oh , oh . Got it . OK .Professor C: the {disfmarker} the synthesizer .Grad A: You know , the usual party voices .Grad E: But , umGrad B: Yeah , I know .That doesn't sound , {vocalsound} exactly right either .Grad E: OGI has , uh , crafted a couple of diphone type voices that are really nice and we 're going to use {pause} that . We can still , um , d agree on a gender ,if we want . So we still have male or female .Grad B: I think {disfmarker} Well , let 's just pick whatever sounds best .Grad E: Hmm ?Grad B: Whatever sounds best .Grad E: Uh .Grad B: Unfortunately , probably malevoices , a bit more research on .Grad D: Does OGI stand for {disfmarker} ? {comment} Original German Institute ?Professor C: OregoGrad B: So .Professor C: OrGrad E: Oregon .Grad B: Oregon GraduateInstiProfessor C: Oregon @ @ {comment} Graduate InstituteGrad D: Oh .Grad E: Try Oregon .Grad D: Ah .Professor C: It turns out there 's the long - standing links with these guys in the speech group .Grad B: Hmm!Professor C: Very long .Grad D: Hmm !Grad E: Hmm .Professor C: In fact , there 's this guy who 's basically got a joint appointment , Hynek {pause} Hermansky . He 's - spends a fair amount of time here . Anyway .Leave it . Won't be a problem .Grad E: OK . And it 's probably also absolutely uninteresting for all of you to , um learn that as of twenty minutes ago , David and I , per accident , uh managed to get the whole SmartKomsystem running on the {disfmarker} uh , ICSI Linux machines with the ICSI NT machines thereby increasing the number of running SmartKom systems in this house from {pause} one on my laptop to three .Grad B:Mmm , that 's good .Grad D: How was this by accident ?Grad B: Yeah , I know . Tha - that 's the part I didn't understand .Grad E: Um , I suggested to try something that was really kind of {disfmarker} even thoughagainst better knowledge shouldn't have worked , but it worked .Grad B: Hmm !Grad E: Intuition .Grad A: Yeah .Grad B: Will it work again ,Grad E: Maybe {disfmarker} maybe {disfmarker} maybe a bit for the AI iintuition thing .Grad B: or {disfmarker} ?Grad D: Yeah .Grad E: OK . And , um , we 'll never found out why . It - it 's just like why {disfmarker} why the generation ma the presentation manager is now working ?GradA: Hmm ! This is something you ha you get used to as a programmer , right ?Grad E: WhichGrad A: You know , {comment} and it 's cool , it works out that way .Grad E: Hmm . So , {vocalsound} the {disfmarker} thepeople at Saarbruecken and I decided not to touch it ever again . Yeah , that would work . OK . Um {disfmarker} I was gonna ask you where something is and what we know about that .Grad A: Where {disfmarker} OK.Grad B: Where the \" where is \" construction is .Grad A: What {disfmarker} what thing is this ?Grad E: Where is X ?Grad A: OK .Grad E: Oh , but by {disfmarker} Uh , we can ask , uh , did you get to read all fourhundred words ?Professor C: I did .Grad E: Was it OK ? Was it ?Professor C: Yeah .Grad D: I {disfmarker} I wa I was looking at it . It doesn't follow logically . It doesn't {disfmarker} The first paragraph doesn't seem tohave any link to the second paragraph .Grad A: And so on .Professor C: Yeah .Grad D: Yeah .Grad E: Hmm . That {disfmarker}Professor C: You know , i Yeah , it {disfmarker}Grad D: Each paragraph is good , though .I liProfessor C: I i Yeah . Well , it it 's fine .Grad A: It was written by committee .Professor C: Anyway . Um . But c the meeting looks like it 's , it 's gonna be good . So . I think it 's uh {disfmarker}Grad E: Yeah .Grad B:Yeah , I didn't know about it until {pause} Robert told me , like , Professor C: Yeah , I {disfmarker} I ra I ran across it in {disfmarker} I don't even know where , you know {disfmarker} some just {disfmarker} someweird place . And , uh , yeah , I I 'm surprised I didn't know about itGrad B: Y yeah . Well , yeah . I was like , why didn't Dan tell me ?Professor C: since we know all the invited speakers , anGrad A: Right .Professor C:Right , or some Anyway . So {disfmarker} But anyway , yeah . I so I {disfmarker} I did see that . Oh wha Yeah . Before we get started on this st so I also had a nice email correspondence with Daphne Kohler , who saidyes indeed she would love to work with us on the , um , {disfmarker} you know , using these structured belief - nets and stuff but {pause} starting in August , that she 's also got a new student working on this and thatwe should get in touch with them again in August and then we 'll figure out a way for you {disfmarker} uh {disfmarker} you to get seriously connected with , um their group . So that 's , uh {disfmarker} looks prettygood . And um {disfmarker} Yeah , I 'll say it now . So , um {disfmarker} And it looks to me like {comment} we 're now at a good point to do something {disfmarker} start working on something really hard . We 'vebeen so far working on things that are easy .Grad A: Oh !Professor C: Uh , w Which is {comment} mental spaces and uh {disfmarker} and - or {disfmarker}Grad A: Hmm !Grad B: It 's hard . Yeah , it 's hard .ProfessorC: Huh ?Grad A: Yeah .Grad B: Yeah .Professor C: It 's a hard puzzle . But the other part of it is the way they connect to these , uh , probabilistic relational models . So {pause} there 's all the problems that the linguistsknow about , about mental spaces , and the cognitive linguists know about , but then there 's this problem of the belief - net people have only done a moderately good job of dealing with temporal belief - nets . Uh ,which they call dynamic {disfmarker} they incorrectly call dynamic belief - nets .Grad B: Mmm .Professor C: So there 's a term \" dynamic belief - net \" , doesn't mean that . It means time slices . And Srini used thoseand people use them . Uh . But one of the things I w would like to do over the next , uh , month , it may take more , {comment} is to st understand to what extent we can not only figure out the constructions for themfor multiple worlds and uh sort of what the formalism will look like and where the slots and fillers will be , but also what that would translate into in terms of belief - net and the inferences . So the story is that if youhave these probabilistic relational models , they 're set up , in principle , so that you can make new instances and instances connect to each other , and all that sort of stuff , so it should be feasible to set them up insuch a way that if you 've got the past tense and the present tense and each of those is a separate {pause} uh , belief structure that they do their inferences with just the couplings that are appropriate . But that 's gthat 's , as far as I can tell , it 's {disfmarker} it 's putting together two real hard problems . One is the linguistic part of what are the couplings and {disfmarker} and when you have a certain , uh , construction , thatimplies certain couplings and other couplings , you know , between let 's say between the past and the present , or any other one of these things and then we have this inference problem of exactly technically how doesthe belief - net work if it 's got um , let 's say one in {disfmarker} in , you know , different tenses or my beliefs and your beliefs , or any of these other ones of {disfmarker} of multiple models . So um you know , in thelong run we need to solve both of those and my suggestion is that we start digging into them both , uh , in a way we that , you know , th hopefully turns out to be consistent , so that the {disfmarker} Um . Andsometimes it 's actually easier to solve two hard problems than oneGrad A: Yeah .Professor C: because they constrain each other . I mean if you 've got huge ra huge range of possible choices um {disfmarker} We 'llsee . But anyway , so that 's , um {disfmarker}Grad A: Oh yeah , like uh , I solved the {disfmarker} the problem of um {disfmarker} we were talking about how do you {disfmarker} various issues of how come a pluralnoun gets to quote \" count as a noun phrase \" , you know , occur as an argument of a higher construction , but a bare singular stem doesn't get to act that way .Professor C: Right .Grad A: Um , and it would take areally long time to explain it now , but I 'm about to write it up this evening . I solved that at the same time as \" how do we keep adjectives from floating to the left of determiners and how do we keep all of that fromfloating outside the noun phrase \" to get something like \" I the kicked dog \" . Um . Did it {disfmarker} did it at once .Professor C: That 's great .Grad A: So maybe {disfmarker} maybe it 'll be a similar thing .Grad B:Cool .Professor C: Yeah . No , I know , I th I I think that is gonna be sort of the key to this wh to th the big project of the summer of {disfmarker} of getting the constructions right is that people do manage to do this sothere probably are some , uh , relatively clean rules , they 're just not context - free trees .Grad A: Right .Professor C: And if we {disfmarker} if the formalism is {disfmarker} is good , then we should be able to have ,you know , sort of moderate scale thing . And that by the way is {disfmarker} is , Keith , what I encouraged George to be talking with you about . Not the formalism yetGrad A: Mm - hmm .Professor C: but thephenomena .Grad A: Yeah .Professor C: The p And {disfmarker} Oh , another thing , um there was this , uh thing that Nancy agreed to in a {disfmarker} in a weak moment this morning thatGrad A: Hmm !Grad B: Iwas really strong .Grad A: Hmm !Grad F: Hmm .Professor C: Uh , sorry . In a {disfmarker} in a friendly moment .Grad A: Same thing .Professor C: Anyway , uh , that we were {disfmarker} that we 're gonna try to geta uh , first cut at the revised formalism by the end of next week .Grad A: Alright .Professor C: OK ? Probably skipping the mental spaces part .Grad B: Seems {disfmarker}Grad A: Right . I do .Professor C: Uh , justtrying to write up essentially what {disfmarker} what you guys have worked out so that everybody has something to look at . We 've talked about it , but only the innermost inner group currently , uh ,Grad A: Mm -hmm . Knows .Professor C: knows , uhGrad A: OK .Grad B: Yeah , and {disfmarker} and not even all of them really do .Grad A: Yeah .Grad B: But like {disfmarker}Professor C: Right .Grad A: There 's {disfmarker} Thegroup as a whole knows but no individual member knoProfessor C: Well that that {disfmarker} yeah th there 's one of the advantages of a document , right ? ,Grad A: Yeah .Professor C: is {disfmarker} is that itactually transfers from head to head .Grad B: Right .Grad A: OK .Professor C: So anyway . So um {disfmarker}Grad B: Ah , communication !Professor C: Huh ?Grad B: Communication .Grad A: Hunh !Professor C:Communication , documentation and stuff . Anyway , so , uh , with a little luck {disfmarker} Uh {disfmarker} l let 's , let 's have that as a goal anyway .Grad A: So , uh , what was the date there ?Professor C: And{disfmarker}Grad A: Monday or {disfmarker} ? It 's a Friday .Professor C: No , no , no . No , w uh {disfmarker} we 're talking about a week fr e end of next week .Grad A: End of next week .Grad B: But , uh , but{disfmarker} but the two of us will probably talk to you at well before thGrad A: I thought you said beginning of n Yeah .Grad B: I mean . Anyway , w let 's talk separately about how tGrad A: Yeah , I have a busyweekend but after that {disfmarker} {comment} {vocalsound} Yeah , gung - ho .Professor C: OK . Yeah , so {disfmarker} so someti sometime next week .Grad A: Great ,Professor C: Now if it turns out that that effortleads us into some big hole that 's fine .Grad A: Mm - hmm . OK .Professor C: You know , if you say we 're {disfmarker} we 're dump {disfmarker} dump {disfmarker} dump . There 's a really hard problem we haven'tsolved yet {disfmarker} that , that 's just fine .Grad A: OK .Grad B: Mm - hmm .Grad A: But at {disfmarker} at least sort of try and work out what the state of the art is right now .Professor C: Right , t t if {disfmarker}to the extent that we have it , let 's write itGrad A: OK .Professor C: and to the extent we don't , let 's find out what we need to do .Grad A: OK .Professor C: So , uhGrad E: Can we {disfmarker} ? {vocalsound} Is itworth {pause} thinking of an example out of our tourism thing domain , that involves a {disfmarker} a {disfmarker} a decent mental {pause} space shift {pause} or setting up {disfmarker}Professor C: I think it is ,but {disfmarker} uh {disfmarker} but I interrupted before Keith got to tell us what happened with \" where is the Powder - Tower ? \" or whateverGrad B: Right .Grad A: Well . Uh , what was supposed to happen ? I 'vesort of been actually caught up in some other ones , so , um , you know , I don't have a write - up of {disfmarker} or I haven't elaborated on the ideas that we were already talking about which were {disfmarker}GradE: Hmm , yeah . I think {disfmarker} I think we already came to the conclusion that we have two alternative {pause} paths that we {disfmarker} two alternative ways of representing it . One is sort of a {disfmarker}has a umGrad A: It 's gone .Grad E: umGrad A: The question of whether the polysemy is sort of like in the construction or pragmatic .Grad B: One of them was th Right .Grad E: or comes {disfmarker}Grad B: Right.Grad E: is resolved later . Yeah .Grad A: I think it has to be the {disfmarker} the second case .Grad E: Yeah .Grad A: Um , so d ' you {disfmarker} Is it clear what we 're talking about here ?Grad B: I agree .Grad A:The question is whether the construction is semantic or like ambiguous between asking for location and asking for path .Professor C: Uh {disfmarker}Grad B: So you might be {disfmarker} yeah , y And asking fordirections .Grad E: It 's {disfmarker}Grad A: Um or {disfmarker} or whether the construction semantically , uh , is clearly only asking for locationGrad E: Should we have a {disfmarker} a {disfmarker} a"}
+{"doc_id":"doc_39","qid":"","text":"Project Manager: {vocalsound} Okay ? Good afternoon . Hope you have good lunch .User Interface: Hi .Industrial Designer: Afternoon . Yeah , we had falafel .Project Manager: Oh . Nice . And you ?User Interface: Uh ,yes , I had something similar but non-vegetarian .Project Manager: {vocalsound} Okay . So today is um our third meeting . It will be about the conceptual design {vocalsound} uh . If I come back to uh the minutes ofthe last meetings um . We decided not to go for speech recognition technologies because of some reasons and we are not decided about u the use of L_C_D_ screen on on the remote control because of costs . Somaybe we cou wi will be able to clarify this this question to today . Uh at the end of the meeting we should take decision on that point . So I hope uh that your respective pr presentations uh will help us . So each of youhave some presentatio presentation to perform um who starts ?Marketing: Okay , {gap} .Project Manager: So marketing .Marketing: {vocalsound} {vocalsound}Industrial Designer: {vocalsound}Project Manager:{vocalsound} So you are {disfmarker} you saved your y your presentation somewhere ?Marketing: Yep .Project Manager: So you're four ?Marketing: Four , yeah .Project Manager: Which is trend watch . {vocalsound}Okay . Mr Marketing Experts .Marketing: Yeah that's me .Project Manager: So {gap} {vocalsound}Marketing: {vocalsound} Uh . Well I investigate the preference more d I investigate deeper the preference of the users. Uh so the the current investigation th uh th uh sorry the current the n current trends ?User Interface: Yeah .Project Manager: Mm-hmm .Marketing: Yeah ? Okay . {vocalsound} {gap} Okay . {vocalsound} Well wha{vocalsound} what I found {disfmarker} um can you {disfmarker}Project Manager: Next slide ? Yeah .Marketing: Yeah . Thank you . What I found in order of importance from less to more important is that people wantan easy to use device . After they they want something new technologic technologically speaking , but the most {disfmarker} what they what they find more more interesting , more {disfmarker} or more important it'suh a fancy look and feel instead of uh instead of the current the current trend which was f the functional look and feel .Industrial Designer: {vocalsound}Marketing: So now more more cool aspect , ma more{disfmarker} a cooler aspect uh rather than a device with many functions and many buttons with {disfmarker} instead of i instead of ha of a device which can do many things , a device which is pleasant to to watch , tosee .Project Manager: Okay .Marketing: Uh also {disfmarker} Well {vocalsound} in in Euro in in Paris and and {vocalsound} Milan the {disfmarker} {vocalsound}User Interface: {vocalsound}Industrial Designer:{vocalsound}Marketing: in Paris and in Paris and Milan the the current trend of {gap} uh of clothes , furniture and all this all this fashion it's {vocalsound} it's fruit and the the the theme is fruit and vegetables .UserInterface: {vocalsound}Project Manager: Mm .Marketing: And also {vocalsound} in the in the U_S_A_ the the current {disfmarker} the mor the most popular feeling it's it's a spongy . Spongy means eponge ?IndustrialDesigner: Mm-hmm .Marketing: So maybe we should we should think in in this direction , so {disfmarker}User Interface: What what do you mean by {vocalsound} fruit and vegetables and spongy ?Marketing:{vocalsound}User Interface: What {disfmarker} you mean clotheIndustrial Designer: Spongy means it it's like spMarketing: Fruit vegetables is the the new {disfmarker} have you seen the last exposition of clothes inMilan ?User Interface: No , I missed that one .Marketing: Yeah , I I didn't miss an {vocalsound}Project Manager: {vocalsound}User Interface: {vocalsound}Industrial Designer: {vocalsound}Marketing: I didn't missand I saw that the fruit , there are many fr pictures of fruits and vegetables in the clothes .User Interface: Oh , they're {disfmarker} okay so they're not like dressed as a carrot they just have like pictures of fruit on ,okay .Marketing: No no , not not yet , not yet .Project Manager: {vocalsound}Marketing: Yeah , yeah .User Interface: So we're not gonna have a remote control in the shape of of a banana ,Marketing: So te textutextures , yeah .User Interface: just maybe {disfmarker}Marketing: Yeah .User Interface: {vocalsound}Marketing: Vegetable textures and all this kind .Project Manager: Drawings of bananas .User Interface:{vocalsound}Industrial Designer: {vocalsound}Marketing: Uh {vocalsound}User Interface: Okay and {vocalsound} {disfmarker}Project Manager: Uh-huh .Marketing: yeah , yeah .Industrial Designer: But what's yoursuggestion how we can have some shape like that on the remote ?Project Manager: Well so this is in the next slide certainly .Marketing: Uh no no , it's not .Project Manager: It's not ? {vocalsound}User Interface:{vocalsound}Marketing: {vocalsound} It's {disfmarker} {vocalsound}User Interface: So which fruit are you thinking of ?Marketing: And {disfmarker} Um .Project Manager: {vocalsound}Industrial Designer:{vocalsound}Marketing: {gap} I ha I haven't thought of any particular fruit , but the general aspect of the of the remote control may may {disfmarker} could remind some kind of vegetable , some kind of instead ofvegetable , some natur mm uh natural object or something .Industrial Designer: Mm-hmm .Marketing: But yeah it it depends on the {disfmarker}Project Manager: So maybe you maybe you can display a banana on theL_C_D_ . {vocalsound}User Interface: {vocalsound} Oh , so you want the remote control to be the shape of a fruit ,Project Manager: {vocalsound} {vocalsound}User Interface: or you want just some kind of like fruitlogo on the {disfmarker} {gap}Industrial Designer: Means buttons are in the shape of fruits ,Marketing: Yeah maybe the shape the shape {disfmarker}Industrial Designer: buttons are in the frape {disfmarker} shapeof fruits or something , apple , banana , something like that .Marketing: No , not n not not too much focus , not too much focu not n not too s not too similar to a fruit because next year the ten the trend the trend willbe different .Project Manager: Apple for channel one . {vocalsound}Industrial Designer: {vocalsound} Mm-hmm . Mm-hmm .Marketing: So we shouldn't be at re really attached to to the trendUser Interface: Sosomething that looks half like a fruit and half like an elephant . {vocalsound}Marketing: but {disfmarker} For instance , yeah . African or as an elephant ?Industrial Designer: That we can discuss afterwards{vocalsound} .Project Manager: {vocalsound} Okay .User Interface: But {disfmarker} okay ,Marketing: {vocalsound}User Interface: I'm not , I'm not really sure if uh that would really appeal to everyone though ,maybe just to fashion gurus , like maybe just like a little bit n a little fruit picture somewhere in the corner , but I don't know about uh I dunno how ergonomic a , an orange is .Marketing: Well ma maybe we we shouldfurther specify what target are we focusing . I think in my opinion we should focus on on young people because they are more open to new devi new devicesUser Interface: To fruit ?Marketing: and also yeah accordingto the marketing report ninety p ninety five percent of young people was {vocalsound} was was able to to buy a a n a cooler remote control .User Interface: But is it uh is fruit cool ?Marketing: What ?Project Manager:That's a question .Marketing: What ?User Interface: Is fruit cool ?Marketing: Yeah ? Uh {disfmarker} Is the new trend of the {disfmarker}User Interface: Well I guess , you know , Apple has the iPod so , {vocalsound}imagi {vocalsound}Marketing: {vocalsound}User Interface: just 'cause they have an apple on their on their product , doesn't mean fruit is cool . {vocalsound}Marketing: No I think we we should think about a a shapewith it {disfmarker} a device with a shape of some {disfmarker}User Interface: Okay , but it has to be easy to uh to use though and to hold you know , you don't wanna pear or a watermelon . {vocalsound}Marketing:Yeah . Don don't you think we can find uh the shape of a fruit which is handy to use ?User Interface: Well , probably the only thing is a banana that I can think of ,Industrial Designer: Banana .User Interface: acucumber .Industrial Designer: Mm-hmm .Project Manager: Maybe too long .User Interface: I dunno .Marketing: Or mUser Interface: Maybe . Too green .Marketing: Maybe . {vocalsound}Project Manager:{vocalsound}User Interface: So , but I mean you also have to {disfmarker} you have to also have , fit r all the buttons and {disfmarker} you know .Project Manager: A banana .Marketing: Um {disfmarker}UserInterface: It's , it {disfmarker}Marketing: Yeah .User Interface: The thing is you have t normally with um with buttons , they have to be at some point attached to a circuit board so if you're gonna have things like{gap} on a cylindrical kind of device it may be difficult to kind of to build .Project Manager: {vocalsound} {vocalsound}Industrial Designer: I don't th it will be rolling a lot .Marketing: Yeah but I li I like your idea thatwe shouldn't have a lot of buttons b buttons soProject Manager: Okay . Yeah and you you you will not have pla enough {disfmarker} a lot of place to put a L_C_D_ on a banana also .User Interface: Yeah .Marketing: Uhdo you want a an L_C_D_ with twenty five Euros ? {vocalsound}Project Manager: {vocalsound} Well , you're the Marketing Expert you should tell us if it is too much or not .User Interface: Well , this is{disfmarker}Marketing: I think {disfmarker} Well , according to the to the report people are more interested in in a fa fancy look and feel and in a technological inno in innovation ,Project Manager:{vocalsound}Marketing: so , I will give more importance to the look and feel than {disfmarker} rather than theProject Manager: {vocalsound} So {disfmarker} So you you you suggest to go fMarketing: new inputs andalso it's {disfmarker} I'm not convinced about this L_C_D_ because you need uh internet connection , you need more things , it's not just buying a new control re remote , you need {disfmarker} buying control remote, buying uhProject Manager: Okay . {vocalsound} S so you're simplyMarketing: more things . It's not so simple .Project Manager: you're simply looking s to a remote control that looks like a banana with few buttons{disfmarker} with only a few buttons .Marketing: For instance , yeah . Yeah for for for {disfmarker} given an an example yeah . {vocalsound}Project Manager: Okay good . So maybe you can go ahead ?Marketing:Yeah no , it's what I already said .Project Manager: Okay . {vocalsound} Thanks . Um . Okay , I'll give the floor . So you are User Interface guy . So you're three ?User Interface: Okay . Yeah .Project Manager: And it'sthis one .User Interface: Yep .Project Manager: Go for it .User Interface: {vocalsound} Yep . Okay . So . S next uh slide . Okay . So I received an email um around lunchtime letting me know that the brilliant minds atour technology division had developed an integrated programmable sample sensor sample speaker unit , um which is a way for you to have a conversation with your coffee machine and or remote control {vocalsound}.Industrial Designer: But it's just a speaker right ?User Interface: It's {disfmarker} no , what it is , it's it's very {disfmarker}Industrial Designer: It's not a microphone .User Interface: It has a has a microphone , has aspeaker , it's got a little chip and it allows you tIndustrial Designer: Mm-hmm . Actually I'm not reading microphone there , so that's why you can all have conversation , it {gap} just to speak to you .User Interface:Well , it's a sample sensor sample speaker . Sample sensor sample speaker . It means that it can recognize , it can do like a match on a on a certain phrase that you speak and then can play back a phrase in responseto that .Industrial Designer: Mm-hmm . Mm-hmm . Mm-hmm . Mm-hmm , mm-hmm .User Interface: But uh there's no kind of um understanding of the phrase . So , I mean , you know ,Industrial Designer: Okay .UserInterface: I guess you could build that in , you could you could link the the recognition of a certain phrase to some function on on the remote control .Industrial Designer: Mm-hmm , mm-hmm , mm-hmm .UserInterface: But basically the thing is , we have this technology availableIndustrial Designer: In-house .User Interface: in-house . So , umIndustrial Designer: Mm-hmm .User Interface: but the thing is obviously there'sstill gonna be a cost if you decided to integrate that because you still have to pay for the c production of the components ,Industrial Designer: Mm-hmm , mm-hmm .User Interface: so um it it {disfmarker} but itbasically means we c we can kind of consider this from uh you know uh a theoretical or usability kind of viewpoint without worrying too much about you know how to develop it because we have this already done.Industrial Designer: Mm-hmm , mm-hmm .User Interface: Whilst you know , some people might get annoyed if we uh if we just dump it , {gap} {disfmarker}Project Manager: I {disfmarker} there's something that I{disfmarker} unclear really understanding . Is this a technology that recognize keywords {disfmarker} speech keywords ?User Interface: It's it it's no , well , it's it'll recognize uh I guess keywords , but you knowkeywords in a certain order like a phrase . You train it for a certain uh , for a certain phrase , you say {disfmarker} the the example they said that they have uh up and running with their prototype is um {disfmarker}well they've actually integrated into the into the the coffee machine that uh that we're producing is , you can say good morning to the coffee machine and it can recognize that phrase and it'll playback good morning ,how would you like your coffee ?Project Manager: And it's just to , it's just to playback something ?User Interface: Yeah . So actually that was a bad example , 'cause it doesn't actually ask how do you want your coffeebecause it can't really understand the response , so .Project Manager: Yeah yeah . So this is not s really to do to to do control .User Interface: Only , like , only in the sense that it it can recognize a set a set target kindof word anProject Manager: Yeah . This is just more like a poi pois yeah .User Interface: It's designed it's designed as a fun kind of thing ,Project Manager: Yeah yeah .User Interface: but I guess you could use it as uhas a way to implement uh {disfmarker}Project Manager: So it it's c uh it itMarketing: Yeah but you can uProject Manager: it is a uh uh easy uh a fancy thing that you you can bring to {disfmarker} we can bring to theremote control that will not have any uhUser Interface: Completely pointless yeah .Project Manager: {disfmarker} yeah comp {vocalsound} completely pointless {vocalsound} for the inter for {disfmarker} from theinteraction point of v point of view {gap} .User Interface: {vocalsound} Yeah . Yeah , unless you know , you like having conversation with your remote control .Project Manager: Okay .User Interface:{vocalsound}Marketing: Yeah but the {disfmarker} can we use it for saying okay , channel fifty , channel twenty ?User Interface: Well yeah , that's the thing , if {disfmarker} you can but {vocalsound} you have to prothough I think it's a fairly simple design so you would have to record into the device every possible combination , you have to s tr train it to l to learn channel fifteen , that whole thing , not just the word channel and theword fifteen , it doesn't have that kind of logic in it .Project Manager: Yeah yeah . So this is so this is this is much more than tak taking this technology , bringing it to the remote control and using it .User Interface: So{disfmarker}Industrial Designer: Mm-hmm .User Interface: Yeah , that would be some development work .Project Manager: So this is out of discussion . So if if if it is something that you can {disfmarker} we can bringeasily and to put it into the banana remote control {disfmarker}User Interface: Yeah .Marketing: M Mando .User Interface: {vocalsound} Banana-mando .Project Manager: No this is mm banana-bando , yeah .UserInterface: {vocalsound} Banana-man {vocalsound}Marketing: Banana-mando yeah .Project Manager: Uh then it could be cool yeah .Marketing: {vocalsound}Project Manager: {vocalsound}User Interface:{vocalsound}Industrial Designer: Yeah okay , let's go ahead .Project Manager: Okay .User Interface: I uh I I I don't think it's worth it though , I think it doesn't really add much to the functional design and it's it's it'snot mature enough to use as a speech recognition engine , so {disfmarker}Project Manager: Okay .User Interface: Um , yeah . So if we can just move on to the next slide , I've just done a quick mock-up of uh uh someof the features of our {vocalsound} potential funky-looking uh remote control {disfmarker}Marketing: {vocalsound}Project Manager: It doesn't look like a banana at all .User Interface: Well , you see , I was I wasunaware at this point of th of the fruit focus ,Project Manager: Yeah .User Interface: um , so at the moment it's more of a box focus .Project Manager: But you you can fit i you're saying now you can fit it to{disfmarker}Marketing: {vocalsound} Looks like a tr look likes a a tro a tropical fruit .Project Manager: Yeah .User Interface: {vocalsound} Yeah , well , this is actu this could be a genetically engineered fruit that'sdesigned to be you know square so that it packs tighter in the boxes .Marketing: Yeah . {vocalsound}User Interface: But um , I've just indicated here , we could have actually two scroll wheels , 'cause I think the scrollwheel is a fairly um key part of , you know ,Industrial Designer: Stable thing , that's right . To have {gap} ,User Interface: I think everyone has has agreed that it's {disfmarker} that it could be quite a useful um thing ,so .Industrial Designer: mm-hmm , mm-hmm .User Interface: {vocalsound} But I think it's important , you know , to have two scroll wheels because , you know , you want one for for the channel , but you also wantone for for the volume ,Project Manager: Mm .User Interface: because it's it's {disfmarker} the volume i it's , you know it's very handy for it to have uh instant kind of uh feedback uh and response , so .IndustrialDesigner: Mm-hmm , mm-hmm .User Interface: {vocalsound} But um , I've also included this turbo button because I think , you know , every design should have a turbo button , and {disfmarker} well{vocalsound}Marketing: What's a turbo button ?User Interface: so this is you know , a unique problem with with televisions is that if you have this scro this scroll wheel for the television , the uh the tuner on the T_V_ isnot gonna be able to to switch between stations as fast as you can scroll , so you know , the th the person might want to have a uh {disfmarker} Might want to be able to scroll past television stations without seeingwhat's on them , in which case it just waits until you stop scrolling and then , you know , displays that station . Or they might want to scroll and and have a quick glimpse of it , even if it lags behind what they're doing{gap} .Marketing: It con it controls the speed ?User Interface: Yeah , so with this turbo button you can , say , skip over t channels if uh , you know , if I'm if I'm going {disfmarker} if I'm scrolling past them and youknow , it's um , you could have a little red light that comes up when they press it so they feel you know it's really going fast or whatever .Project Manager: {vocalsound} {vocalsound}User Interface: So yeah , that's um, those are the two important uh features I think we need on the remote ,Industrial Designer: Mm-hmm .User Interface: but I mean we can discuss about what other kind of buttons we need , um . You know , i it couldbe , you know , if we if we wanna have like a very cheap kind of device , I mean , we could either consider that maybe we want to sell this as a very , if it's gonna be a banana , you know that's a pretty gimmicky kind ofthing that doesn't have that much functionality , it's just you know a couple of scroll wheels and a button cause it's hard to get so many buttons on a bananaProject Manager: It's enough .User Interface: and it's stillvery {disfmarker} it may even be for most {disfmarker} for some people more functional than their current remote , but if they have these scroll wheels , so , um {vocalsound} you know , what other buttons do wewant ?Industrial Designer: Mm-hmm .User Interface: I mean we could have {disfmarker} well , I guess you need an on and off switch ,Project Manager: Switch on . Yeah .User Interface: but you could you could o youcould turn it turn it on by taking the top off the banana maybe , you know , it's kind of like a spy kind of flick thing .Marketing: Yeah . So sounds crazy . I like crazy ideas .User Interface: {vocalsound} That's why you'rea marketing guru . {vocalsound}Industrial Designer: {vocalsound}Project Manager: Okay .Marketing: Yeah , of course . {vocalsound}Project Manager: So i it looks like we're going completely to forget about the"}
+{"doc_id":"doc_40","qid":"","text":"Project Manager: So we are here to talk about functional design . Now hopefully we've all got a better idea from {vocalsound} {disfmarker} than we did f leaving the last meeting as to what it is we are up to now . Sohere's an agenda . Uh I'll open . Um you should know that I'll be taking minutes during all the meetings , as I was struggling to our last time uh and that'll be easier for me now because I'm not actually giving the wholepresentation . Uh the additional points are just the stuff that we sent and that I forwarded on from upper management having a few bright ideas to make our lives painful .Industrial Designer: {vocalsound}{vocalsound}Project Manager: Um {vocalsound} now {vocalsound} you can all give your presentations . We can talk about the requirements and hopefully come to some decisions . {vocalsound} Right , forty minutesfor this meeting , so a bit more time than the last one . Here's the additional points I just wanted to put those in there to see if you guys had any comments on them . Uh did you all receive that email ?User Interface:Yep .Marketing: Yeah .Project Manager: So does anyone have any overall {gap}Marketing: Well {vocalsound} uh what comes up for me is that if we're gonna if we're gonna be marketing a product that is going to be uhhaving {vocalsound} no teletext , people are very comfortable {vocalsound} with {vocalsound} the idea of having teletext and using teletext , and so we're not {disfmarker} we're gonna be a new product withoutsomething that people are very comfortable having right now .Project Manager: Mm . Mm . Yep .Marketing: So that's , from a marketing perspective I I see I see a lack .Project Manager: Mm .Marketing: And so we haveto go , I think , in the other direction . What are we gonna have that makes this thing better than {disfmarker}Project Manager: Well tha that first point could uh also be an op opportunity because in seeing that teletextis becoming outdated , some sort remote control that can work with the Internet {disfmarker} {vocalsound} there is the opportunity that's presented , I guess .Marketing: {vocalsound} Right . Yeah . No , I I agree withyou .Project Manager: Okay .Marketing: So what I'm talking about is I see that one side we're eliminating something so we have to come up with another side which is , what are we gonna be targeting our market uhthat {vocalsound} identifies our product as better than {disfmarker} because it doesn't have teletext it has ta-ta-ta-ta-ta .Project Manager: Okay .Marketing: So that's that's that was my reactions .Project Manager:Yeah . but but we are sort of being dictated that this should only be for the television .Marketing: Yeah yeah .Project Manager: So we're quite fixed . So we're really probably , in terms of marketing , are looking forthat's uh that's a cost winner rather than a fantastic new feature product .Marketing: Yep .Industrial Designer: {vocalsound} Yeah bu but we we're designing only the remote ,Project Manager: Yeah .Marketing: Okay.Industrial Designer: we not design the T_V_ .Project Manager: Hmm .Industrial Designer: So uh we're gonna be removing the teletext out of any T_V_ that we {disfmarker} people use our remote with .Marketing:Yeah . 'Kay .Project Manager: Hmm .Marketing: That's right .Industrial Designer: So it's kind of a stupid decision .Marketing: I think we take with you .Project Manager: But there's also the potential for mark there's amarket here for our lost teletext .User Interface: Right .Project Manager: For example someone that just goes to the shop that wants a replacement {disfmarker} wants it as {vocalsound} cheap as possible .Twenty-five Euros is the selling price , we really have to innovate here I guess .Marketing: That's what I'm that's what I'm talking about is is that we have to find something that is gonna be very attractive about thisproduct 'cause somebody , some people are gonna be hap unhappy 'cause it took {disfmarker} they can't ac access their teletext .Project Manager: Mm .Marketing: Okay . 'Cause we're talking about {vocalsound}eighty percent or ninety percent or ninety-five percent of the televisions out there are are teletext .Project Manager: K yeah .Marketing: So so it's it's not that I'm criticizing the product at all . It's just when we eliminatethat then what do we bring ? What are we bringing in to take the place of this ,Project Manager: Mm 'kay .Marketing: and we have to d {disfmarker} in my opinion we have to double up .Industrial Designer:{vocalsound}Marketing: If we lose one we need to bring two or three .Project Manager: Okay . Okay I think that the {vocalsound} last point is probably quite uh straightforward . Obviously the the {disfmarker} w ithas to be branded . 'Kay .Industrial Designer: So then the double R_ will be our our {disfmarker}Project Manager: On the product yeah . Can you handle that black and yellow ?User Interface: I think one of{disfmarker}Industrial Designer: I tho I tho I thou I think Rol Ro Rolls-Royce might mind , but don't worry .User Interface: I think w , yeah , one of the things that we should also keep in mind um when we're doing this{disfmarker} I mean our company's slogan is we put the fashion in electronics , right . So I think our kind of {disfmarker} our target here is to {vocalsound} have some kind of very like sleek {vocalsound} nice lookremote and we want it to be functional as well , but I think one of the main selling points is that we don't want it to be clunky like like this thing here .Project Manager: Mm .User Interface: You know we don't wanna abig clunker . We want something that looks nice and it's fashionable and so {disfmarker}Marketing: So you have this ?Project Manager: Nah . So we have three presentations , and I think we'll go in order of participantnumber here . So we can have a look at the working design first from participant two . That's {disfmarker} {gap} Okay .Industrial Designer: Yes .User Interface: That's fine . Okay soProject Manager: Mm it's enough .But uh click it on off ?User Interface: so you all know me , I'm the Industrial Designer . And we've some basic components that um our remote is gonna need , just basically every remote'll need 'em .IndustrialDesigner: {vocalsound}User Interface: We need some kinda of power d power source . Um we have to decide on our our user interface , which is his department , but the in user interface is also a major component .Um we need a programmable digital signal processor to um to take the input from the user and translate that into uh into electronic signal , which we pass to the infra-red L_E_D_ , which you aim at the television uhwhich {disfmarker} and it receives that signal . You need a on-off switch um I don't know how that got in there . And uh we also need to um have the {vocalsound} {disfmarker} if we want a universal remote we needto have encryption codes for the different makes of T_V_s . So we need to know all the different you know all the different signals and so that'll require some memory as well . Um so here's just a basic layout of howhow the remote would work . You ha the v the power source is in the upper right-hand corner there , and you can see that uh we have the user interface here which is connected to the chip which does all our signalprocessing , and then passes that signal on to the infra-red L_E_D_ and that signal is then emitted and received by the television at the photo-transistor . So {vocalsound} those are the basic components that need togo into this and everything else is pretty much uh open to move around .Marketing: Now is {disfmarker} would this be {vocalsound} considered just a standard uh um {disfmarker}User Interface: I think anydesMarketing: This is not this is not cutting edge technology we're talking here .User Interface: No .Marketing: We're talking about existing technology .User Interface: Right I think {disfmarker}Marketing: Nothing isbeing modified or upgraded or new discoveries .User Interface: Yeah this is just {disfmarker} this is just a basic layout of ev {vocalsound} of all the components that w w are gonna be absolutely necessary f to have aworking remote . We can add things in like if we wanted some voice recognition , I mean that {vocalsound} I mean {vocalsound} that you can kinda say would {vocalsound} would fall under the user interface and thedigital signal processing chip .Marketing: Okay . Okay .Project Manager: Do we have an idea of costs of different components ?User Interface: Um well the most the most costly components are gonna be the chip andthe uh th it could als basically the user interface and the casing are gonna be expensive as well .Project Manager: 'Kay .User Interface: Um the L_E_D_ and the the transistors and everything else are you know they'rethey're pretty cheap . So depending on what we want our functionality to be , um the chip could be expensive or it could be cheap .Project Manager: Mm 'kay .User Interface: Um depending on the n amount of memorywe need in there and stuff like that and h and h {vocalsound} you know how much power .Project Manager: Do we have any ballpark figures for that yet ? No .User Interface: Uh I don't have any figures right now.Project Manager: 'Kay .User Interface: We uh we have to wait until we get to a more specific design phase for that .Project Manager: Yeah .User Interface: Um but {disfmarker} and I think a significant part of the costcould be the actual the actual casing itself and and you know the the b the buttons and things like that , I think .Marketing: N okay . Mm . Mm the shell ?User Interface: Yeah . Basically yeah .Marketing: Okay .ProjectManager: Okay .User Interface: So yeah . That's all I have really .Project Manager: Okay . Thanks . And we have participant three , which I believe is Pedro .Industrial Designer: {vocalsound} I {disfmarker}ProjectManager: I can give you that to click on .Industrial Designer: Hey mouse .Marketing: {vocalsound}Industrial Designer: Open . {vocalsound}Project Manager: And you wanna get {disfmarker}Industrial Designer: Whenwe're fighting over it's also more {disfmarker} lot more fun . {vocalsound}Project Manager: View a slide show , that's what you wanna do , yeah ? Just go up to view .User Interface: Click , don't {disfmarker} Yeah.Industrial Designer: Uh .Project Manager: Mm 'kayIndustrial Designer: This doesn't work . {vocalsound} So yeah function design . Um you guys know me , Pedro , and um what I found is we want to do fashion and Ithink , honestly , we should keep technology low and just simple basically and try to aim for design . If basically a case will will cost the same if it looks good or bad so we ma we have to make it look good . Umsomething cute and small . The big chunky remotes are died in the eighties . So we should just go for something that people will like to actually look at .Project Manager: {vocalsound}Industrial Designer: And umalthough mo most people will buy s televisions and everything for uh {disfmarker} that have loads of loads of little functions and everything and they mostly end up using simple functions and little things and most thepeople won't won't get too mad of actually having to go the {disfmarker} to the s to the television to , for instance , tune in their {disfmarker} the stations . There's no need to have that in the remote . So um um as forwhat I would recommend for uh the the interface design , and uh I will change the colours on the on the logo , but {vocalsound} um we should go for the user-oriented device , so simple controls and good ergonomics .Um and uh although I th I th I'm still here recommending the teletext so I'll remove that , I guess , but um we should go for the {disfmarker}Project Manager: But I t I think what the {vocalsound} the managementrecommendation was less that there's a worry that teletext will become outdated rather than we shouldn't have it . So I I still think if it's cheap enough functionality-wise to include , it really should be in there .UserInterface: Mm-hmm .Project Manager: Because otherwise we're just going to {disfmarker} I mean {vocalsound} even if it's necessary or not , if you {disfmarker} if you're given the choice between a t a remote withteletext or without uh when it really {disfmarker} if it i {vocalsound} if it isn't more expensive for us to k make {disfmarker} because as far as I understand it , {vocalsound} it can be operated with the same set ofbuttons , yeah ? So it should be in there .User Interface: Right as far as {disfmarker}Industrial Designer: {vocalsound} Yeah .User Interface: i it's just uh {vocalsound} the cost of an extra button . I meansoftware-wise there's really no difference .Project Manager: Yeah . Okay . Isn't {disfmarker}User Interface: I think .Marketing: {vocalsound} I have maybe a silly question . I {disfmarker} in the very beginning it saidwith the with the advent of computers there's gonna be the {disfmarker} it's gonna be out-moded teletext . I I don't understand how those two things are connected . How does how does computers and teletext{disfmarker} h how {disfmarker} why is one eliminating the need of the other ? I don't understand that .Project Manager: Well maybe what we're getting into here is the the idea of uh Internet through the T_V_ forexample . So that might play on what we can do .Industrial Designer: Yeah the they're basically aiming at saying that {vocalsound} you would use {disfmarker} you know a couple of years ago teletext to be the easiestway to check like for uh uh the scheduling and the next programme and stuff like thatUser Interface: Scheduling . Um to find out what what you're watching even if there's commercials you know .Industrial Designer:and now {disfmarker} YeahMarketing: Okay .Industrial Designer: and now you can c look it over Internet . But I still think teletext is way more convenient until until we have the same commodities .User Interface: Ithink I ha I agree .Marketing: Yeah 'cause , yeah , I just {disfmarker} I don't see the cross-over between computers and television . I mean I do see the cross-over in some sense ,Industrial Designer: Yeah , but it's nothappen yet . Yeah .Marketing: but but but but with the {disfmarker} the remote is is used for television , okay .User Interface: Well for me {disfmarker}Project Manager: Well you have digital T_V_ still already .UserInterface: Yeah .Marketing: So so if we make the cross-over and we're gonna view television on computers then we're then we're losing the the necessity of the remote . SUser Interface: Unless you have a{disfmarker}Project Manager: Well there there is a {disfmarker} for example on digital T_V_ systems you have {disfmarker} you can press a button and you can buy things in adverts ,User Interface: Yeah .ProjectManager: and you can uh you can view through a catalogue for example .User Interface: Mm-hmm .Project Manager: A a family member of mine has got a system where you just um you can {disfmarker} Yeah , andthere's other features for example on other systems where you can pause live T_V_ and things like that . They're just features from the Internet uh from computers are are coming into the T_V_ sort of under the covers, but you still use it through a teletext .Marketing: Okay .Project Manager: So now the things to think here are that that there's gonna be more functionality , potentially that we can handle .Marketing: Okay .IndustrialDesigner: Yeah but we we don't we're not aiming a command for that . That's the thing . And all of those require the other commands with more complexity and more software and {disfmarker}User Interface: {gap} Ithink a lot of that's proprietary anyways . You're not gonna be able to , you , like command a TiVo with our remote . I don't think .Project Manager: Mm . But still there there's an opportunity . If if it's {vocalsound} , forexample , a trainable one then we're {vocalsound} just simply having like an up , down , left , right , an okay button or something like that might might do as well in future proofing it . {gap}Industrial Designer: Yeahbut we would increase the price to try to make it a trainable one , so {disfmarker}Project Manager: Mm . Okay .Industrial Designer: Well I dunno . One way the other teletext was there but I guess we can remove it or ,you know , make two separate interface designs .User Interface: I think if it's possible you should try to you know have a talk with management about that . Just you know {disfmarker}Industrial Designer: Yeah.Marketing: Yeah I don't I don't see the logic .Industrial Designer: Yeah .Marketing: I I don't see the logic in elimination of teletext , I just I I {disfmarker}Project Manager: Yeah , and neither do I in fact .Marketing: butI'm not a tech-mind either . I just don't see the cross-over between computers and and andProject Manager: Bu uh .Marketing: {disfmarker} 'Cause we are designing something for a television , okay .IndustrialDesigner: {vocalsound}Project Manager: I'll communicate that back to those guys there a a and th the message really we wanna be sending to them is that , although teletext may become outdated w there's no l logicin not having it in there anyway i if it doesn't affect the price .User Interface: Right it's just notIndustrial Designer: Yeah .Project Manager: Um but I I think what they're pushing us towards here is in terms of thinking ofways to future-proof our system for future systems that have something else other than teletext maybe .User Interface: {disfmarker} Yeah .Industrial Designer: Yeah .Marketing: We are selling it to an existing market.Project Manager: I dunno I'm {disfmarker}Industrial Designer: Yeah but we're not putting some {disfmarker} there's no no putting anything in in the place of teletext .Marketing: That's {disfmarker}Project Manager:Mm 'kay .Marketing: Yeah ,Industrial Designer: That's the problem .Marketing: and and , yeah , and and we're also {vocalsound} marketing a product . It's {disfmarker} what I'm seeing is a is a mid-range cost product.Project Manager: Mm .Marketing: So so w we can't go and pump a whole bunch of technology into this thingProject Manager: Yeah .Marketing: because all of a sudden we are gonna have cost overruns . So if we drop{disfmarker} if we are gonna choose to drop teletext , again what are we adding to the product that makes it marketable ?Project Manager: Hmm . So if we're keeping it basic we're loo loo what we're looking to sell itbasically is it's uh just being very easy to use , looking exceptionally good , that sort of thing . 'Cause we really don't have anything else there , do we ?Industrial Designer: Yeah .Marketing: I don't I don't see it , and tome if I'm gonna market a product for b for beauty for for design I'm gonna I'm gonna try to market it at a much higher price . I need to make it special with a high price tag . I don't want to make it economically uh g uhcompetitive .Project Manager: Mm-hmm .Marketing: I want I want to market it as exclusive . So I would market this product it {disfmarker} at eighty-nine Euros and come up with some really {vocalsound} beautifulexterior design or something th but but I don't think we have that flexibility .Project Manager: But i if design if design is cheap and functionality is basic , then twenty-five Euros is probably a high price for a commonergarden {disfmarker} stan standard T_V_ so the place {disfmarker} uh remote the then the place we're going to justify that cost is through through design through making it a a sleek elegant {vocalsound} high-pricedbasic remote . Does that make sense , huh ?Marketing: No I no I I understand what you say ,Project Manager: Mm .Marketing: but what I'm what I'm , okay {disfmarker} we probably need to move along ,ProjectManager: Yeah we probably should .Marketing: but my my concern is trying to find a marketing niche for this product ,Project Manager: We we're doing alright for time .Marketing: and if I'm coming in with a with withtwenty-five Euros , which is mid-market price , um then what am I going to give these people for this ?Project Manager: Yeah .Marketing: So that's just my question , but we can keep talking .Project Manager: Okay .Sorry that kinda cut into you there .Industrial Designer: No just I I would I would advocate for continuing teletext and those would be the basic commands . Um as for , you know , the the case design uh maybe I'llcome up with more concrete ideas . Right now it's just the idea of simplicity and slickness , cute and small um {disfmarker}User Interface: Right . I'm just thinking you know with all these universal remotes that are outthere , how many people {vocalsound} how many people actually use every feature that ar you know i like these trainable remotes and things like that , where , you know , it's just so confusing to do {vocalsound} touse all these functions . Where I think the largest portion of the market is just gonna {disfmarker} you know they lost their T_V_ remote , they need another one that'll work with their T_V_ . They want something thatlooks nice , that that that isn't gonna break when they drop it , that you know that maybe it's it's ergonomic , it feels good in your hand , something like that .Project Manager: Mm .User Interface: I think that's gonna"}
+{"doc_id":"doc_41","qid":"","text":"Grad E: As usual .Grad B: Yes . Whew ! I almost forgot {pause} about the meeting . I woke up twenty minutes ago , thinking , what did I forget ?Grad D: It 's great how the br brain sort of does that .Grad E: Something's not right here .Grad B: Internal alarms .Grad D: OK . So the news for me is A , my forthcoming travel plansGrad B: Yes .Grad D: in two weeks from today ? Yeah ? More or less ? I 'll be off to Sicily and Germany for acouple , three days .Grad B: Now what are y what are you doing there ? I forgot ?Grad D: OK , I 'm flying to Sicily basically to drop off Simon there with his grandparents . And then I 'm flying to Germany t to go to aMOKU - Treffen which is the meeting of all the module - responsible people in SmartKom ,Grad B: Mmm .Grad D: and , represent ICI and myself I guess there . And um . That 's the mmm actual reason . And then I 'malso going up to EML for a day , and then I 'm going to {vocalsound} meet the very big boss , Wolfgang Walster , in Saarbruecken and the System system integration people in Kaiserslautern and then I 'm flying backvia Sicily pick up my son come back here on the fourth of July . And uh .Grad E: What a great time to be coming back to theGrad B: God bless America .Grad E: You 'll see maybe {disfmarker} see the fireworks fromyour plane coming in .Grad D: And I 'm sure all the {disfmarker} the people at the airport will be happy to work on that day .Grad E: Yeah . You 'll get even better service than usual .Grad B: Wait , aren't you flying onLufthansa though ?Grad D: Mm - hmm . Alitalia .Grad B: Oh . Well then the {disfmarker} you know , it 's not a big deal . Once you get to the United States it 'll be a problem , butGrad D: Yeah . And um , that 's that bitof news , and the other bit of news is we had {disfmarker} you know , uh , I was visited by my German project manager who A , did like what we did {disfmarker} what we 're doing here , and B , is planning to comehere either three weeks in July or three weeks in August , to actually work .Grad B: On {disfmarker} ?Grad D: With us .Grad B: Oh .Grad D: And we sat around and we talked and he came up {disfmarker} we came up{disfmarker} with a pretty strange idea . And that 's what I 'm gonna lay on you now . And um , maybe it might be ultimately the most interesting thing for Eva because she has been known to complain about the factthat the stuff we do here is not weird enough .Grad C: OK .Grad D: So this is so weird it should even make you happy .Grad C: Uh . {comment} OK .Grad E: Oh great .Grad D: Imagine if you will , {vocalsound} that wehave a system that does all that understanding that we want it to do based on utterances .Grad B: Mm - hmm .Grad D: It should be possible to make that system produce questions . So if you have the knowledge ofhow to interpret \" where is X ? \" under given conditions , situational , user , discourse and ontological {vocalsound} conditions , you should also be able to make that same system ask \" where is X ? \"Grad E: Mm - hmm.Grad D: in a sper certain way , based on certain intentions . So in instead of just being able to observe phenomenon , um , and , guess the intention we might be able just to sort of give it an intention , and make itproduce an utterance .Grad E: Hmm .Grad B: Well , like in AI they generally do the take in , and then they also do the generation phase , like Nancy 's thing . Or uh , you remember , in the {disfmarker} the hand thingin one - eighty - two , like not only was it able to recognize but it was also to generate based upon situations . You mean that sort of thing ?Grad D: Absolutely .Grad B: OK .Grad D: And once you 've done that what wecan do is have the system ask itself . And answer , understand the answer , ask something else , and enter a dialogue with itself . So the {disfmarker} the ba basic {disfmarker} the same idea as having two chesscomputers play against each other .Grad E: Except this smacks a little bit more of a schizophrenic computer than AI .Grad D: Yeah you c if you want , you can have two parallel {vocalsound} machines um , asking eachother . What would that give us ? Would A be something completely weird and strange , and B , i if you look at all the factors , we will never observe people let 's say , in wheelchairs under {disfmarker} you know , in{disfmarker} under all conditions ,Grad E: That 's good .Grad D: you know , when they say \" X \" , and there is a ride at the goal , and the parking is good , we can never collect enough data . It 's {disfmarker} it 's{disfmarker} it 's not possible .Grad E: Mm - hmm . Right , right .Grad D: But maybe one could do some learning . If you get the system to speak to itself , you may find n break downs and errors and you may be ableto learn . And make it more robust , maybe learn new things . And um , so there 's no {disfmarker} no end of potential things one could get out of it , if that works . And he would like to actually work on that with us.Grad B: Well then , he probably should be coming back a year {pause} from now .Grad D: So Yeah , I w See the {disfmarker} the generation bit , making the system generate {disfmarker} generate something ,{comment} is {disfmarker} shouldn't be too hard .Grad B: Well , once the system understands things .Grad E: Yeah . No problem .Grad B: I just don't think {disfmarker} I think we 're probably a year away fromgetting the system to understand things .Grad D: Yeah . Well , if we can get it to understand one thing , like our \" where is \" run through we can also , maybe , e make it say , or ask \" where is X ? \" Or not .Grad E:Mmm , I don't know . e I 'm sort of {disfmarker} have the impression that getting it to say the right thing in the right circumstances is much more difficult than getting it to understand something given thecircumstances and so on , you know , I mean just cuz it 's sort of harder to learn to speak correctly in a foreign language , rather than learning to understand it . Right ? I meanGrad D: Grad E: just the fact that we 'llget {disfmarker} The point is that getting it to understand one construction doesn't mean that it will n always know exactly when it 's correct to use that construction . Right ?Grad D: It 's {disfmarker} it 's uh{disfmarker} Well , I 've {disfmarker} I 've done generation and language production research for fo four {disfmarker} four and a half years . And so it 's {disfmarker} it 's {disfmarker} you 're right , it 's not the sameas the understanding . It 's in some ways easier and some ways harder . nuh ?Grad E: Yeah .Grad D: But , um , I think it 'd be fun to look at it , or into that question .Grad E: Nnn , yeah .Grad D: It 's a pretty strangeidea . And so that 's {disfmarker} that 's {disfmarker} But {disfmarker}Grad B: The basic idea I guess would be to give {disfmarker} allow the system to have intentions , basically ? Cuz that 's basically what needs tobe added to the system for it .Grad D: Well , look at th eee , I think even {disfmarker} think even {disfmarker} What it {disfmarker} would be the {disfmarker} the prior intention . So let 's uh {disfmarker} uh , let 'ssay we have this {disfmarker}Grad B: Well we 'd have to seed that , I mean .Grad D: No . Let 's {disfmarker} we have to {disfmarker} we have some {disfmarker} some top - down processing , given certain setting .OK , now we change nothing , and just say ask something . Right ?Grad B: Grad D: What would it ask ?Grad B: It wouldn't know what to ask . I mean .Grad D: It shurGrad B: Unless it was in a situation . We 'd have toset up a situation where , it didn't know where something was and it wanted to go there .Grad D: Yeah !Grad C: Mm - hmm .Grad D: Yeah .Grad B: Which means that we 'd need to set up an intention inside of thesystem . Right ? Which is basically , \" I don't know where something is and I need to go there \" .Grad D: Eh , nGrad E: Yeah .Grad D: Ooh , do we really need to do that ? Because ,Grad B: Well , no I guess not .ExcelGrad D: s It 's {disfmarker} i I know it 's {disfmarker} it 's strange , but look at it {disfmarker} look at our Bayes - net . If we don't have {disfmarker} Let 's assume we don't have any input from the language .Right ? So there 's also nothing we could query the ontology , but we have a certain user setting . If you just ask , what is the likelihood of that person wanting to enter some {disfmarker} something , it 'll give you ananswer .Grad B: Sure .Grad D: Right ? That 's just how they are . And so , @ @ whatever that is , it 's the generic default intention . That it would find out . Which is , wanting to know where something is , maybe nnn{disfmarker} and wanting {disfmarker} I don't know what it 's gonna be , but there 's gonna be something thatGrad E: Well you 're not gonna {disfmarker} are you gonna get a variety of intentions out of that then ? Imean , you 're just talking about like given this user , what 's the th what is it {disfmarker} what is that user most likely to want to do ?Grad D: Well you can observe some user and context stuff and ask , what 's theposterior probabilities of all of our decision nodes .Grad E: And , have it talk about {disfmarker} OK .Grad D: You could even say , \" let 's take all the priors , let 's observe nothing \" , and query all the posteriorprobabilities . It - it 's gonna tell us something . Right ?Grad B: Well , it will d r assign values to all the nodes . Yes .Grad D: And {disfmarker} Yes . And come up with posterior probabilities for all the values of thedecision nodes . Which , if we have an algorithm that filters out whatever the {disfmarker} the best or the most consistent answer out of that , will give us the intention ex nihilo . And that is exactly what would happenif we ask it to produce an utterance , it would be b based on that extension , ex nihilo , which we don't know what it is , but it 's there . So we wouldn't even have to {disfmarker} t to kick start it by giving it a certainintention or observing anything on the decision node . And whatever that {disfmarker} maybe that would lead to \" what is the castle ? \" ,Grad B: I 'm just {disfmarker}Grad D: or \" what is that whatever \" .Grad B: Iguess what I 'm afraid of is if we don't , you know , set up a {pause} situation , {comment} we 'll just get a bunch of garbage out , like you know , everything 's exactly thirty percent .Grad D: No {disfmarker}Grad C:Mmm .Grad D: Yeah . So what we actually then need to do is {disfmarker} is write a little script that changes all the settings , you know , go goes through all the permutations , which is {disfmarker} we did a{disfmarker} didn't we calculate that once ?Grad B: Well that was {disfmarker} that was absurdly low , in the last meeting ,Grad D: It 's a {disfmarker}Grad C: Uh ,Grad B: cuz I went and looked at it cuz I was thinking, that could not be right , and it would {disfmarker} it was on the order of twenty output nodes and something like twenty {disfmarker}Grad C: And like thirty input nodesGrad B: thirty input nodes .Grad C: or some{disfmarker}Grad B: So to test every output node , uh , would at least {disfmarker} Let 's see , so it would be two to the thirty for every output node ? Which is very th very large .Grad D: Oh ! That 's nGrad E: Oh.Grad D: that 's {disfmarker} that 's nothing for those neural guys . I mean , they train for millions and millions of epochs .Grad B: Well , I 'm talking aboutGrad D: So .Grad B: Oh , I was gonna take a drink of my water. I 'm talking about billions and billions and billions and a number {disfmarker} two to the thirty is like a Bhaskara said , we had calculated out and Bhaskara believes that it 's larger than the number of particles in theuniverse . And if iGrad E: I don't know if that 's right or not . Th - that 's big . That 's just {disfmarker} That 's uh {disfmarker} It 's a billion , right ?Grad B: Two to the thirty ? Well , two to the thirty is a billion , but ifwe have to do it two to the twenty times , then that 's a very very large number .Grad E: Right . Argh . Oh , OK . Yeah . Yeah , that 's big .Grad B: Cuz you have to query the node , for every a uh , or query the net twoto the twenty times .Grad E: Sure . Alright .Grad B: Or not two to th excuse me , twenty times .Grad E: OK . So , is it t comes to twenty billion or something ?Grad B: Yes . As far as {disfmarker}Grad E: That 's prettybig , though .Grad B: That 's @ @ {disfmarker} That 's big . Actually {disfmarker} Oh ! We calculated a different number before . How did we do that ?Grad C: Hmm .Grad E: I remember there being some other onefloating around . But anyway , uh .Grad C: I don't really know .Grad E: Yeah , it 's g Anyway , the point is that given all of these different factors , it 's uh e it 's {disfmarker} it 's still going to be impossible to runthrough all of the possible situations or whatever .Grad C: Ooo , it 's just big .Grad E: But I mean , this 'll get us a bit closer at least , right ? I mean .Grad B: If it takes us a second to do , for each one , and let 's say it's twenty billion , {comment} then that 's twenty billion seconds , which is {disfmarker}Grad E: Yeah .Grad B: Eva , do the math .Grad C: Can't .Grad E: Long !Grad C: Grad B: Hours and hours and hours and hours .But we can do randomized testing .Grad E: Tah - dah !Grad B: Which probabilistically will be good enough .Grad D: Mm - hmm . Yeah . So , it be it it 's an idea that one could n for {disfmarker} for example run{disfmarker} run past , um , what 's that guy 's name ? You know ? He - he 's usually here . Tsk . J J Jer - JerjGrad E: Here in the group ? Jerry Feldman .Grad D: Oh , yeah . That 's the guy . We {disfmarker} we{disfmarker} we {disfmarker} we gGrad B: Wait , who ?Grad E: Yeah , i that would the g the bald guy .Grad B: Oh ! My advisor !Grad D: And um . so this is just an idea that 's floating around and we 'll see whathappens . And um , hmm , what other news do I have ? Well we fixed some more things from the SmartKom system , but that 's not really of general interest , Um , Oh ! Questions , yeah . I 'll ask Eva about the EBayes and she 's working on that . How is the generation XML thing ?Grad B: I 'm gonna work on that today and tomorrow .Grad D: OK . No need to do it today or tomorrow even . Do it next week or {disfmarker}GradB: I 'm gonna finish it today , uh hopefully .Grad D: OK .Grad B: I wanna do one of those things where I stay here . Cuz uh , if I go home , I can't finish it . I 've tried about five times so far , where I work for a while andthen I 'm like , I 'm hungry . So I go home , and then I think {disfmarker}Grad E: I 'm not going back .Grad B: Yeah . Either that or I think to myself , I can work at home . And then I try to work at home , but I failmiserably .Grad E: Yeah .Grad B: Like I ended up at Blakes last night .Grad E: Non - conducive .Grad B: No . I almost got into a brawl . But I did not finish the uh , But I 've been looking into it . I th @ @ It 's not like it's a blank slate . I found everything that I need and stu and uh ,Grad D: But stGrad B: At the b uh furthermore , I told Jerry that I was gonna finish it before he got back . So .Grad D: OK .Grad E: That 's approaching .He 's coming back when ? Uh next {disfmarker}Grad B: Well , I think {disfmarker} we think we 'll see him definitely on Tuesday for the next {disfmarker} Or , no , wait . The meetings are on Thursday .Grad D: Maybe.Grad B: Maybe .Grad D: Who knows .Grad E: OK .Grad B: Well , we 'll see him next week .Grad E: Alright .Grad D: That 's good . Yeah . The paper .Grad E: Hmm .Grad B: I was thinking about that .Grad D: Hmm.Grad B: I think I will try to work on the SmartKom stuff and I 'll {disfmarker} if I can finish it today , I 'll help you with that tomorrow , if you work on it ? I don't have a problem with us working on it though ? So .GradD: OK .Grad B: And it {disfmarker}Grad D: So you would say it 's funky cool .Grad B: I mean we just {disfmarker} I mean it wouldn't hurt to write up a paper , cuz then , I mean , yeah {disfmarker} I was talking withNancy and Nancy said , you don't know whether you have a paper to {pause} write up until you write it up . So .Grad E: Yeah .Grad D: WellGrad B: And since Jerry 's coming back , we can run it by him too . So .GradD: Yep . Um , what 's your input ?Grad E: Well , um , I don't have much experience with uh , conference papers for compu in the computer science realm , and so when I looked at what you had , which was apparentlya complete submission , I just sort of said what {disfmarker} just {disfmarker} I {disfmarker} I didn't really know what to do with it , like , this is the sort of the basic outline of the system or whatever , or{disfmarker} or \" here 's an idea \" , right ? That 's what that paper was , \" here 's {disfmarker} here 's one possible thing you could do \" ,Grad D: Mm - hmm .Grad E: short , eight pages , and I just don't know whatyou have in mind for expanding . Like I 'd {disfmarker} I {disfmarker} what I didn't do is go to the web site of the conference and look at what they 're looking for or whatever .Grad D: Mm - hmm . Well , it seems tome that um {disfmarker}Grad B: Wait , is this a computer science conference or is it a {disfmarker}Grad D: Um , well it 's more {disfmarker} It 's both , right ? It 's {disfmarker} it 's sort of t cognitive , neural , psycho, linguistic , but all for the sake of doing computer science . So it 's sort of cognitive , psycho , neural , plausibly motivated , architectures of natural language processing . So it seems pretty interdisciplinary , and I mean, w w the keynote speaker is Tomasello and blah - blah - blah ,Grad E: Right . Oh , yeah .Grad D: so , W the {disfmarker} the question is what could we actually do and {disfmarker} and {disfmarker} and keep astraight face while doing it .Grad B: Well , I really can't keep a straight face doing anything .Grad D: And i My idea is ,Grad E: Setting that aside .Grad D: well , you can say we have done a little bit and that 's this , anduh sort of the rest is position paper , \" we wanna also do that \" . Which is not too good . Might be more interesting to do something like let 's assume um , we 're right , we have as Jerry calls it , a delusion of adequacy ,and take a \" where is X \" sentence ,Grad E: Mm - hmm .Grad D: and say , \" we will just talk about this , and how we cognitively , neurally , psycho - linguistically , construction grammar - ally , motivated , envision uh ,understanding that \" .Grad E: Mmm .Grad D: So we can actually show how we parse it . That should be able to {disfmarker} we should be able to come up with , you know , a sort of a {disfmarker} a parse .Grad E:Right .Grad D: It 's on , just {disfmarker} just put it on .Grad A: I 'm OK .Grad B: Did Ben harass you ?Grad A: Yes .Grad B: Good .Grad A: Was he supposed to harass me ?Grad B: Yes .Grad A: Well , he just told methat you came looking for me .Grad D: You donGrad B: Oh .Grad D: Grad A: figure this out .Grad D: You will suffer in hell , you know that .Grad E: Backwards . There 's a s diagram somewhere which tells you how toput that {disfmarker}Grad A: I know , I didn't understand that either !Grad B: No wait . You have to put it on exactly like that ,Grad D: This is it . Yeah .Grad B: so put that {disfmarker} those things over your ears likethat .Grad A: OK .Grad B: See the p how the plastic things ar arch out like that ? There we go .Grad A: OK . It hurts .Grad B: It hurts . It hurts real bad .Grad A: It does ! I 'm sorry I didn't mean to {disfmarker}Grad E:But that 's what you get for coming late to the meeting .Grad A: I 'm sorry . I 'm sorry , oh these are all the same . OK ! th this is not very {pause} on target .Grad B: Is your mike on ?Grad C: AnGrad A: Shoot .Grad D:Yeah , it is .Grad B: OK .Grad A: Alright , you guys can continue talking about whatever you were talking about before .Grad E: Um ,Grad D: We 're talking about this um , alleged paper that we may , just , sort ofwGrad A: Oh ! Which Johno mentioned to me . Uh - huh .Grad D: Yeah . And I just sort of brought forth the idea that we take a sentence , \" Where is the Powder - Tower \" ,Grad A: Mm - hmm .Grad D: and we{disfmarker} we p pretend to parse it , we pretend to understand it , and we write about it .Grad E: Hmm . About how {vocalsound} all of these things {disfmarker}Grad A: What 's the part that 's not pretend ? Thewriting ?Grad D: OK , then we pretend to write about .Grad E: The submitting to a major international conference . {comment} {comment} Yeah .Grad A: Tha - {vocalsound} Which conference is it for ?Grad D: It 's thewhatever , architectures , eh you know , where {disfmarker} There is this conference , it 's the seventh already international conference , on neu neurally , cognitively , motivated , architectures of natural languageprocessing .Grad A: Oh . Wow . Interesting .Grad D: And the keynote speakers are Tomasello , MacWhinney ?Grad A: Whinney . {comment} MacWhinney. Uh - huh .Grad D: We - MacWhinney , I think .Grad E: Grad A:So , interesting , both , like , child language people .Grad D: Yeah . Yep .Grad A: OK .Grad D: So maybe you wanna write something too .Grad A: Yeah , maybe I wanna go . Um , why are they speaking at it if it{disfmarker}Grad E: Mmm . {vocalsound} Mmm .Grad A: is {disfmarker} is it normally like {disfmarker} like , dialogue systems , or , you know , other NLP - ish things ?Grad D: No no no no no no no no . It 's"}
+{"doc_id":"doc_42","qid":"","text":"Project Manager: Wait for the marketing director actually , so . Anyways . Uh . See , shall we wait ? I'm not sure if he's late or delayed or whatever , so I'm gonna start soon , we have now {disfmarker} don't havemuch time anyway .User Interface: Oh , there he is .Industrial Designer: Okay ,Marketing: Yes .Project Manager: There you are ,Industrial Designer: we {disfmarker}Marketing: Sorry ,Project Manager: okay.Marketing: a little bit of pl little problem with computer .Project Manager: Uh no problem . We're about to start , so have a seat . Okay , welcome again .Marketing: {vocalsound} {gap} .Project Manager: Today ,functional design phase . I'll take you over the minutes of last last meeting . Okay , that was just to get to know each other ,Marketing: Uh .Project Manager: have a little thoughts on what your vision is and{disfmarker} on this project , so {disfmarker} I put the minutes on the {disfmarker} I made on the on the p the the project share , so if you wanna review them , they're there . I will do so after every meeting , so ifyou have some information you wanna take back you can find it there . Anyways , um today three presentations , from every one of you . Um after that I got some new project requirements from project board , sowe're gonna go af go after {disfmarker} over this later . But I wanna start with uh stuff you did first , so we can see what everybody came up with . And after that we can have the new requirements and share somethoughts , so . Who would like {disfmarker} wanna go first ?Marketing: Yeah , sure , no problem .Project Manager: Take it .User Interface: Go ahead .Marketing: Um there was a little problem with my computer so notuh the whole uh presentation uh {disfmarker}Project Manager: {vocalsound} Anyway , let's see what you have .Marketing: Yeah . Um {disfmarker} Okay ,Project Manager: Uh it's still a bit open .Marketing: I want toopen the my s oh no .Project Manager: You should close it on your own notebook , I guess . Yeah . So there ?Marketing: Oh no ,Project Manager: Okay .Marketing: that's okay . Uh slide show . Yes . The functionalrequirements , it's uh {vocalsound} uh very important for uh the user , he he wants to {disfmarker} yeah . The the method we used uh it it's not m not a slide , because it went wrong , but the method we use uh , um{vocalsound} we tested it w uh with uh a hundred uh men , and we asked them to w uh what the remote uh f feel uh like and uh what what's uh important . Uh {disfmarker}Project Manager: If I can cut in , is it peopleor men ? {vocalsound}Marketing: People ,Project Manager: Is it people , okay .Marketing: sorry .Project Manager: 'Cause I thought it was only men ,Marketing: Both women and men ,Project Manager: so{disfmarker}Marketing: yeah .Project Manager: 'Kay .Marketing: Okay . Uh the findings um uh {vocalsound} seventy five percent of the users find most remote controls ugly . Um {disfmarker}User Interface: That'spretty shocking uh . {vocalsound}Project Manager: So we have to s we have to do something about that .Marketing: Yeah , and {disfmarker} yeah , most th th they want to spend money for a better system , for betterremote control , so we can do uh a l a little uh nice things with it , and um they use {disfmarker} yeah , they use zap a lot , um uh fifty percent say they only {disfmarker} So that's the most important things .ProjectManager: Okay .Marketing: Um {disfmarker} oh yeah , not all of it is it on mine on my PowerPoint presentation ,Project Manager: Okay , just talk ahead .Marketing: but um uh the relevant buttons are the power , thechannel selection and the volume selection .Project Manager: Mm-hmm .Marketing: It's uh the most basic buttons that a user wants uh {vocalsound} to use . Uh less important is tel teletext ,Project Manager: Mm-hmm. {vocalsound}Marketing: uh um they use it , but it's not uh very uh important uh on the scale of zero to ten they six and a half uhProject Manager: Okay , that's okay .User Interface: {vocalsound}Marketing: and{disfmarker} but not important is the channel selection , the the {vocalsound} {disfmarker} hmm ?Project Manager: That's a little weird .Marketing: Oh , {vocalsound}User Interface: {vocalsound} Which channelselection ?Marketing: the the {disfmarker} no no no no no , that's very important , but uh w and not important in the audio settings , display settingsProject Manager: Okay ,Marketing: and uh {disfmarker}ProjectManager: we can we can hide those under a menu or something ,User Interface: Oh , okay .Marketing: Yeah .Project Manager: okay .Marketing: {vocalsound} Um new preferences preferences . Uh um um beep to findyour control , was {disfmarker}Project Manager: That's like a button on your T_V_ ?Marketing: that was {gap} in the test , the the most people uh f find it uh irritating uh when they cannot find a rem their remotecontrol ,Project Manager: Remote , okay .Industrial Designer: Mm .Marketing: so uh I think it's a bee beep to sound it and uh you can find it . And another thing uh they want was uh speech recognition um so they cansay uh what they want to {disfmarker} let's go to channel one and uh that's uh kind of things .Project Manager: Okay .Marketing: And they want maybe an uh L_C_D_ screen um to to look it um wh what's on everychannel uh and uh what do I want with it ?User Interface: {vocalsound}Project Manager: We wanna have a little preview on the remote control . Preview what's on the channel .Marketing: {vocalsound} Yeah .ProjectManager: Okay .User Interface: Is that manageable ? 'Cause it sounds pretty expensive too .Project Manager: That sounds too {disfmarker}Marketing: Yeah .Project Manager: It's possible , but uh I think it's expensive, but do continue .User Interface: Okay .Marketing: Yeah . Um {disfmarker} Uh my personal preferences is uh a button for my favourite channel , so I can uh I dunno , so I can zap to my uh f uh quick uh to myfavourite channel wh what I uh {disfmarker} so , the remote mu must see or um must um {vocalsound} see wha what mine preferences are for which channel ,Project Manager: Okay , you don't set it yourself,Marketing: so I can zap t to {disfmarker}Project Manager: it just remembers the channel that you are on most , for example .Marketing: What ?Project Manager: You want the {disfmarker} you want it to beprogrammed , for example y programmed fMarketing: Yeah .Project Manager: or you want it to recognise your favourite channel ?Marketing: Yeah .Project Manager: Let's see , you you spend twenty minutes each dayon that channel ,Marketing: Recognise {disfmarker}Project Manager: so it recognises your favourite channel .Marketing: Yeah . Yeah , that's uh what my personal preference like .Project Manager: Okay , so it's it itdoes {disfmarker} it recognise itself , you don't have to set it {disfmarker}Marketing: No ,Project Manager: Okay .Marketing: itself . Maybe it's easier to {vocalsound} to sell it , but {disfmarker}Project Manager: Okay.Marketing: I don't know it's manageable , but we will uh we will see .Project Manager: I see .Marketing: Yeah , it's a little bit uh it's the end of it .Project Manager: Okay .Marketing: It's a little bit uh I lost it ,UserInterface: Okay .Marketing: the computer uh crashed ,Project Manager: {vocalsound} No problem , it's it's okay ,Marketing: so .Project Manager: that's {disfmarker} Yeah , go ahead .User Interface: Shall I go ? Okay.Marketing: Yeah .User Interface: So , some technical functions .Marketing: Darn computer .User Interface: Basically I have some issues which you discussed earlier . Uh let's just start with the method .Marketing: Yeah.User Interface: {vocalsound} It sounds really easy , what does the user do , what does the th remote control do , but there are quite some issues . So the things I'm going to concentrate on are the user aspect ,because the technical aspect , that's pretty much covered . We can do that . What goes wrong {vocalsound} at the user . Gets the remote control . Where is the remote control ? We've all had it once , I want to watchsome television ,Marketing: Yeah .User Interface: where's the remote control ? That was one of your ideas which you posted in the network folder ,Marketing: Yeah .Project Manager: That seems very good .UserInterface: a really good idea . Uh these are just the issues . I come to some uh personal experience , findings , possible solutions later . Searches for the button . There are many buttons on a remote control which arenot clear . Uh so either we lose those or we try to make it a little bit more clear .Project Manager: Mm-hmm .User Interface: Uh also symbols tend to fade after a while .Marketing: Mm uh .User Interface: There'snothing more annoying than faded symbols , because you don't know which channel is this button , so possibly we could find uh something for that ,Project Manager: Okay , so have it more {disfmarker} make it moredurable actually . Okay .User Interface: yes . Uh covered that . Oh yes , user presses the button . Um usually when you have a lot of buttons , buttons are small . So you press more once remote control goes kabloueyor something like that ,Project Manager: Okay , so the buttons should be {disfmarker}User Interface: so we have to pay attention not to put too mun too many buttons on uh the remote control . {vocalsound}ProjectManager: Mm-hmm . Yeah .User Interface: And possibly also the size , so more important buttons , biggerProject Manager: Wow . The s Yeah . Make it {disfmarker} make them bigger .User Interface: siProjectManager: Even more durable uh .User Interface: So this is basically what I h had in mind in the {disfmarker} fade-proof symbols , locator , a sound , uh so clear we should stick to existing symbols , but maybe we coulddo a little uh investigation to see whether some symbols are uh {disfmarker} need to be replaced by others . Uh {disfmarker}Project Manager: Okay .User Interface: This I pretty much covered . {vocalsound} So whatwe want to go to is not this one ,Project Manager: Yeah , it's true .User Interface: but more {disfmarker} less buttons , easy , some bigger buttons .Marketing: Yeah .User Interface: that's basically uh what I had inmind . SoProject Manager: Yeah , that's clear .User Interface: This is not the final design ,Project Manager: No , of course uh {disfmarker}User Interface: this is just a general idea of how I'd like to see uh basically thegeneral idea .Project Manager: Yeah . I must say that it {disfmarker} Hmm .User Interface: {vocalsound} So that was it .Project Manager: That was it . Okay , that was good . So we agree on the the part that we needto get something on the on the remote to find it somewhere and increase it {disfmarker} the durability of of the thing ,User Interface: Yeah , I think it's a really good idea .Project Manager: so {disfmarker}UserInterface: Yeah .Project Manager: The other aspects , we'll just see how {disfmarker} what you came up with and what's possible for that budget .User Interface: Yeah .Project Manager: Okay .Industrial Designer:Okay , that's fine . Um . Okay , now work a little with me . Okay . Well ,Project Manager: {vocalsound}Industrial Designer: let's start it as it is . Okay , uh the method . There are a few questions that need to beanswered , uh you already uh talked about it a little bit . Which buttons are wanted , uh is our remote control universal or should it be programmable . Uh if it should be programmeab grammeale then we need umsomething like a mode that you can switch it . Because then the buttons have to send out a different signal then they would normally do .Project Manager: Mm-hmm .Industrial Designer: And uh how big is the remotecontrol uh going to be ? I'll tell you why that's important to me . Um there are a lot of technical parts in the remote control , so uh uh that's {vocalsound} why I also would like to say uh go a little bit easy on the designs, uh I heard ab uh you talking about beeps and about uh video screens , but uh the material inside and the technical aspects are quite complex already .Project Manager: Mm-hmm .Industrial Designer: So keep in mindthat everything that you keep uh {disfmarker} think of , it has to b to be built .Project Manager: Yeah . {vocalsound} Of course , hmm .Industrial Designer: So it's {disfmarker} that's not as easy as it s might look like.User Interface: Okay .Industrial Designer: Uh material study , I'm working on that um for the the costs . I have to check out how far I can go with that . Normally , a circuit board is made of fibreglass uh and the wiresare made of copper . Uh that is how it is done and all the remote controls work that way , I think we can just go on with that . Um then I've read more integration of materials means less cost for the production . Themore we can make uh at once uh in one piece , uh that is cheaper .Project Manager: You mean integrate them all into the circuit board . Okay .Industrial Designer: Exactly , so if we make a circuit board with the theconnections already on it , then that's cheaper .Project Manager: {vocalsound} Yeah , okay .Industrial Designer: So we have to {vocalsound} make something that's not too difficult in design again .Project Manager: Soyou have {disfmarker}Industrial Designer: This is what look like uh looks like if you press one button , so this is not the entire thing . You have the the power coming in , then you have like a switch . The switch uh uh{vocalsound} uh if you p press it then some electrical charge goes into the processor , that thinks over a Morse code , that's how you should see it . The Morse code goes to the amplifier , then uh the signal is sent totwo uh light bulbs . You have infrared and an interv um {vocalsound} uh how to say it ? Uh a light in indication , light that you know that it's functioning .Project Manager: Mm-hmm .Industrial Designer: Uh here again ,that's my story about the different modes , if you do want to make remote uh universal , then the processor has to uh make up a different Morse code when some button is pressed . That makes it much more complex ,so we really need to have a look , do we want that or not . Uh I don't have any personal p uh preferences uh so far , except for uh the materials to be used uh light , that they are light .Project Manager: Okay . Okay .That was it ?Industrial Designer: {vocalsound} That was it .Project Manager: I'll get back to my thing then . Uh {disfmarker} Okay , back this up {disfmarker} to the screen . So I got some new information on theproject specifications are changing a little . Like you said uh teletext is not not very popular anymore because the uh the internet , nowadays people don't use the teletext anymore or hardly , so it can either{disfmarker} Well , I don't think we should remove the button , because there are always people who are using it .User Interface: Yeah .Project Manager: But I don't think it should be {vocalsound} very {disfmarker} itshould be one of the big buttons for example . Just put it somewhere or under second option or whatever . It's not important anymore . Um we're targeting young people now , because our um {disfmarker}{vocalsound} This is a new product and with this new product we want to appeal to younger people ,Marketing: Uh .Project Manager: which are {disfmarker} um the younger people were defined under forty.Marketing: Yeah .Project Manager: I so I think it's {disfmarker}Industrial Designer: Hmm .Project Manager: that's also good with the fashion and everything ,Marketing: BProject Manager: so yeah .Marketing: Yeah ,and they want to pay for itProject Manager: They want to pay for it , people are willing to spend money actually to buy a um remote that they like .Marketing: and uh {disfmarker}Project Manager: If they like the way itlooks , the way it functions , so they're actually gonna spend uh spend money on it .Marketing: With more {disfmarker} Where {disfmarker} with more technical specificationsProject Manager: Yeah .Marketing: in the{disfmarker}Project Manager: {gap} {vocalsound} see how far we can go with it anyway , soMarketing: Yeah .Project Manager: {disfmarker} And one thing that should be important is that the corporate l colour andslogan are recognisable , which is apparently {vocalsound} black and yellow , but {disfmarker} I'm not sure if we {disfmarker} I think we should keep the the logo in mind , because with colours you can uh have a lotof uh fashionable colours and everything on it , which suits everybody's taste . So {disfmarker} With that concept I started thinking , so why not just steal Nokia's idea and just make changeable covers for your{disfmarker}User Interface: Oh .Project Manager: I mean those cost hardly anything I think , and people could even spend extra money on buying a coverIndustrial Designer: Yeah .Project Manager: and so have anentire new remote control that they like to see . Or we can sh for example we can make a different {vocalsound} {disfmarker} a basic design . And sell the covers separately , for example . That's just a little marketingidea that could be applied , so you can p it appeals to really everyone . So you don't have to {disfmarker} I think you don't have to make entire remote controls . We make a basic one and manufacture this coverseparately .Industrial Designer: Mm-hmm .Project Manager: So that was that was my idea on what we could do to appeal this product to everyone . SoIndustrial Designer: Hmm .Project Manager: just {disfmarker} I'mnot sure if you came up with anything in the meantime , after making a presentation . Would you like to share ?Marketing: Yeah .Industrial Designer: No , I think this is a good idea .Project Manager: Okay .IndustrialDesigner: But {disfmarker}Marketing: But {disfmarker} oh ?User Interface: Is it manageable ? Is it easy ?Industrial Designer: Go ahead .Marketing: Yeah , with with an L_C_D_ screen you can {disfmarker}ProjectManager: Oh yeah . I think we should lose the L_C_D_ screen ,Industrial Designer: Y Yes , I think so too .Project Manager: like you said . I think for example it's it's huge {disfmarker} I think the L_C_D_ is huge ,UserInterface: Yeah .Marketing: Why ? Nokia wProject Manager: it consumes batteries like hell .Marketing: Uh .Project Manager: I think it takes up a lot of a lot of power .User Interface: And it costs too much to fabricate,Project Manager: It costs a lot , I think .User Interface: so we're on a tight budget here .Industrial Designer: Okay , uh {disfmarker}Project Manager: What we could do , what could be possible , is maybe not anL_C_D_ screen but with a preview ,Marketing: Okay .Project Manager: but y I'm not sure if it's even possible {vocalsound} . For example , a little T_V_ guide .Industrial Designer: Mm .Project Manager: Like you have alittle {disfmarker}Industrial Designer: Hmm .Project Manager: just just a text only , not colour , just a little text thingIndustrial Designer: Mm-hmm .Marketing: Yeah .Project Manager: so you can use your remote as aT_V_ guide . I'm not sure it's even possible ,Industrial Designer: Hmm . I have to check that out ,Project Manager: but maybe okay , make it {disfmarker}Industrial Designer: I'm not sure .Project Manager: Yeah , finda little compromise in that , but {disfmarker} What did I write down ?Marketing: Yeah .Project Manager: I think the p yeah , the beep is a very simple thing to imple implement , just make a button on yourT_V_Industrial Designer: That must be possible .Project Manager: and just hit the button , it beeps somewhere . I think it's easy to implement ,Industrial Designer: Ja .Project Manager: we should go for that .IndustrialDesigner: I'm sorry ,Project Manager: Uh speech recognition .User Interface: And it's {disfmarker}Industrial Designer: whe where do you wanna hit the T_ {disfmarker} you wanna {vocalsound} {disfmarker} we wanta button on the television . {gap}Project Manager: I thin {vocalsound} Yeah , I mean where else should you put it ?Industrial Designer: In th okay , but that rules out a universal remote control .Project Manager: Yeah,Industrial Designer: Because that's not possible uh .Project Manager: but {vocalsound} how are you gonna use that if your {disfmarker} I mean if your remote control is lost , how are you gonna press {disfmarker}where are you gonna press the button ?Industrial Designer: Uh . Yeah . Exactly .User Interface: Maybe just a slap-on sticker with a button which sends out a small signal .Project Manager: A slap-on sticker . Oh , youmean as like a separate thing you can attach to your T_V_ .Marketing: Mm uh .Project Manager: Yeah , that could be possible .User Interface: Yeah , exactly .Project Manager: A little little box you can attach to yourT_V_ is fine then , okay .Industrial Designer: Okay , then uh I'd I'd like to know now if we want the uh universal remote control or not , because that's uh determines everything I'm gonna do .Project Manager: I thinkit's universal . I think we should go for universal ,Industrial Designer: If not {disfmarker}Project Manager: because apparently we're a separate company making separate c remote controls to sell to a lot of diverse"}
+{"doc_id":"doc_43","qid":"","text":"Marketing: Did you get my email with the slides ? Ah . Tricky .Industrial Designer: I guess I have to change the pen otherwise . Will be completely different .Marketing: Dunno . Maybe they're supposed {disfmarker} thepen's supposed to go over the seats . Might be seat floor rather than person . Yeah , put it back .Industrial Designer: Yeah . And do you think {vocalsound} it's {gap} .Marketing: Yep {vocalsound} . Yeah .ProjectManager: {vocalsound} Okay .Marketing: Jo's making faces at me . {vocalsound}Industrial Designer: Yeah .Project Manager: So . Matthew is uh late again .Marketing: Mm-hmm .Project Manager: {vocalsound}Probably an important man . Um . So well it is important for him to be here uh .Industrial Designer: {vocalsound} Yeah .Project Manager: He he he {disfmarker}Industrial Designer: So what can you {disfmarker}{gap} ?Project Manager: You did work together didn't you ?Industrial Designer: Yeah we will {disfmarker} yeah , so I will be able to to summarize uh our meeting ,Project Manager: Yes .Industrial Designer: but still Ithink uh it would be in very important if the uh as um main designer . I think we can put on the {gap} here .Project Manager: Yes . Yes .Industrial Designer: Uh basically w yeah we we designed the two uh items.Project Manager: Mm . Um yesIndustrial Designer: Um , can we have a phone ,Project Manager: but w we {disfmarker} {vocalsound} {vocalsound}Industrial Designer: can someone {disfmarker}Project Manager: Yes, maybe we should phone him . Um well {disfmarker} Um ,Industrial Designer: it's really w well designed {vocalsound} .Marketing: Mm . Mm , object tracking . {vocalsound}Project Manager: when he is not here wewill just we just have to continue . Um so just for record I I will take uh notes again .Industrial Designer: Yeah .Marketing: Okay .Project Manager: And um well {vocalsound} first thing uh I was uh uh I got an emailfrom uh from my superior again that we really should stay within the budget of the uh twelve Euro and fifty cents .Industrial Designer: 'Kay .Project Manager: when you stay in it's good , when you don't stay in youhave to redesign . There is no {vocalsound} uh no negotiation uh {vocalsound} possible in this matter . So we have to consider that . {vocalsound} Good .Industrial Designer: Yep .Project Manager: Um so maybe Anna, you can have your presentation .Marketing: Well we can't {disfmarker} no {disfmarker} we can't do evaluation 'til we have a design .Project Manager: Okay Matthew . Nice uh you are here .Industrial Designer: Great.Project Manager: Great . Great . Oh ma maybe then you can start now with mm presenting your uh your designs .Industrial Designer: Yep . So I will start by the the basic one that uh fits into uh eight Euros actually ,right , seven eight Euros ,Marketing: Mm-hmm .Industrial Designer: and uh well first for both they have um a special shape , maybe the designer can uh explain better than me , but uh it's like a surf board .Marketing:Mm 'kay .Industrial Designer: And you you are supposed to surf to browse to surf T_V_ , maybe the web , and uh it's kind of interesting shape because um unconsciously people want to s to surf {vocalsound} whenthey see this stuff .Marketing: {vocalsound}Project Manager: {vocalsound}User Interface: {vocalsound}Project Manager: {vocalsound}User Interface: Or browse .Industrial Designer: And also it's not too far from um amobile .Marketing: Mm-hmm .Project Manager: Mm .Industrial Designer: So people are used to that kind of shape ,User Interface: Mm .Marketing: Mm-hmm .Industrial Designer: right . Don't take care too much aboutthe colour because w yeah we don't take {disfmarker}User Interface: Now we are supposed to give some oper offers right now .Industrial Designer: yeah . So here would be basically the the the infrared uh uhledMarketing: {vocalsound} Mm-hmm .Project Manager: Eye .User Interface: {vocalsound} I {disfmarker} yeah .Industrial Designer: yeah L_A_ L_A_ L_E_D_ ,User Interface: L_E_D_ .Industrial Designer: the on-offbutton , in red .Marketing: Mm-hmm .Industrial Designer: Here would be the volume . On the on the left ,Marketing: Oh yeah .Project Manager: Uh-huh .Industrial Designer: okay , so {gap}User Interface: Mm-hmm ,hmm .Project Manager: Yes .Industrial Designer: easy to turn on t and off . And um so this is a very cheap version so there are {disfmarker} maybe you can carry on uh Matthew .User Interface: Also {vocalsound} soyou have uh uh browsing the channels , actuallyMarketing: Mm-hmm .User Interface: so you can go up and down the channels ,Marketing: Yeah .User Interface: uh , if you have a video or something you can forward ,back .Industrial Designer: How can you change from V_C_R_ to uh T_V_ , by the way ?User Interface: Oh {gap} no no no , this is a single {disfmarker} this this is a model with just the T_V_ one .Industrial Designer:Okay yeah . Yeah yeah .Project Manager: Ah , okay .User Interface: No no just sorry , this is a standard T_V_ one , we are not talking about that . So and then we have usually there twelve keys but we know that we relthat we have only ten digits .Marketing: Mm-hmm .User Interface: The extra two are for uh having or giving an option for uh having more than one channel . And the other one is for the teletext or something you wantto browse through from that . Actually .Industrial Designer: Yeah .Marketing: Okay soProject Manager: Mm-hmm .Marketing: it's it's t a very basic remote then , it's only {disfmarker}User Interface: It's a very basicminimal thingMarketing: Mm .Project Manager: Yeah . Yeah . Yeah .User Interface: which you can {disfmarker} which is which is also available in the market , actually that's what it {gap} {disfmarker} that it{disfmarker} {vocalsound} iIndustrial Designer: {vocalsound}User Interface: and would cost us to build it about eight Euros .Project Manager: Mm .Marketing: Mm .Industrial Designer: Seven , eight , ei eight Euros.Project Manager: Exce except for the for the special shape , the surfing board , it has a quite a a conventional layout of buttons uh .User Interface: Yeah . Yeah .Industrial Designer: Yeah .User Interface: So this onemodelMarketing: Can I see ?User Interface: and uh {disfmarker} yeah . Sure .Marketing: Thanks . Okay I like the volume control , that's good .Industrial Designer: {gap} {vocalsound}User Interface: {vocalsound} Th{vocalsound} this is a magic one but I know we don't want to talk about that ,Marketing: {vocalsound}User Interface: you know like {vocalsound}Industrial Designer: {vocalsound}User Interface: uh i i i it is a veryfuturistic , it's like uh it's like a brain machine interface and all this stuff we are thinking about in the future , it can come .Project Manager: {vocalsound}Marketing: Uh-huh .Industrial Designer: Yeah .Project Manager:{vocalsound}Marketing: So it doesn't actually have buttons .User Interface: {vocalsound} So that uh {vocalsound} {disfmarker} then what we look tMarketing: Did you wanna see ?User Interface: yeah .ProjectManager: Mm-hmm . Yeah no you can carry on ,User Interface: This is a model ,Project Manager: I just look how it feels all .User Interface: yeah .Project Manager: Yes it really feels like like like a mobile phone.Marketing: Mm .Industrial Designer: Yeah .User Interface: Yep .Project Manager: Just I'm {disfmarker}Industrial Designer: Yeah actually , yeah .Project Manager: I really want to talk to it .Marketing: {vocalsound} Itwon't talk back . {vocalsound}Project Manager: But {gap} .Industrial Designer: {vocalsound}Project Manager: {vocalsound} So but but continue with your uhUser Interface: Uh so wellProject Manager: mm-hmm .UserInterface: then the this is the {vocalsound} a more a little uh smoothIndustrial Designer: {gap}User Interface: and it gives a lot of functionality , uh in this way , so all we have uh th you see there are only six keys ,but don't worry they are ma they are doing the job of twelve keys actually here .Marketing: Right .Project Manager: Mm .User Interface: And so they have more space actuallyMarketing: Mm-hmm .User Interface: anduh it's easy to uh use this and uh you have um so this is a standard uh {gap} uh infrared eye , and then you have a power button , which l volume , what you have ,Project Manager: Mm-hmm .User Interface: and thenother than that you have uh channel up and down and uh f slow pause or s slow loIndustrial Designer: Play , pause .User Interface: yeah s pause or stop , and uh then uh you can uh you have a L_C_D_ display ,hereProject Manager: Mm-hmm .User Interface: and uh y this is a functional thing which can change like it's a toggle switch which could change the function say , y you press it {disfmarker}Project Manager: FromD_V_D_ player to television or something .Industrial Designer: Exactly yeah . To audio and to video on demand .User Interface: Yeah . I really can change it ,Project Manager: Yes .User Interface: so{disfmarker}Project Manager: Mm .User Interface: Instead of having many switches , y {vocalsound}Marketing: Mm-hmm .Project Manager: Yes and and and then you get feedback via the L_C_D_ yeah .UserInterface: The L_C_D_ can display what is that on that ,Industrial Designer: Yes .Project Manager: Mm-hmm .User Interface: and uh well you can have a integrated microphone over here ,Industrial Designer: This is theorange button , the {vocalsound} microphone .User Interface: or in the button th here ,Project Manager: Mm-hmm .User Interface: so which can uh basically you want to do a speech recognition and uh that channel alot of information can be di displayed here directly on the um on your on your display .Industrial Designer: An yeah .User Interface: And here is a small L_E_D_ which is like blinking one ,Project Manager: Mm-hmm.User Interface: which tells you like uh are you running out of the battery , and which is can be useful for the locating as I was talking earlierProject Manager: Mm-hmm {vocalsound} .Industrial Designer: Yeah .UserInterface: okay . And uh well then we have a cover basically , basically you don't need much of the time this ,Industrial Designer: Yeah .User Interface: {vocalsound} when you need you can use it , and this givesadditional functionality that tomorrow you want you can add a tactile thing to this coverProject Manager: Mm . YeahIndustrial Designer: {vocalsound} Crazy dis designer ,User Interface: you know .Industrial Designer:okay . {vocalsound}User Interface: Design enter {vocalsound} .Project Manager: but but but but uh i in there uh when this is closed , will it also uh cover up the L_C_D_ screen ?User Interface: Yeah .IndustrialDesigner: Yeah yeah yeah yeah .User Interface: Yeah . It's basically to do that .Project Manager: But but the L_C_D_ screen I mean is a very uh well an eye-attracting featureIndustrial Designer: Yeah .User Interface:{vocalsound}Project Manager: which shouldn't be shouldn't be {disfmarker}User Interface: Actually when you are watching the T_V_ , {vocalsound} when you are watching anything or listening to them , you hardlycare about what is getting displayed here ,Industrial Designer: Oh actually {disfmarker} well .Project Manager: {vocalsound} That th that's true .User Interface: you know , uh you want to uh {disfmarker} and thisgives a protection to the L_C_D_ actually , giving a cover to that actually . Gives a protectionProject Manager: Mm .User Interface: because when it falls down or something it it is it is is is it gives a protecProjectManager: Mm-hmm . Mm-hmm . Yes . Yes , more robust .User Interface: it's more robust that way . Uh yeah .Marketing: Mm .Project Manager: Yes okay .User Interface: And you have very good chances{disfmarker}Industrial Designer: It's low weight . You have to see yeah yeah the the components we put inside is very low weight .User Interface: Yeah .Project Manager: Mm-hmm .User Interface: Yeah .IndustrialDesigner: So the the cost is actually a bit more , it's uh {vocalsound} it's it's sixteen Francs .User Interface: It {disfmarker} Sixteen Euros .Project Manager: {gap} Okay .Industrial Designer: Sixteen Euros sorry.Marketing: So it's well outside the budget then .User Interface: {vocalsound}Industrial Designer: Then it's out of budget .Project Manager: But wIndustrial Designer: But the the main point we we talk about that withour uh manufacturer . And they say basically that the S_R_ system would be uh something like three Francs per item {disfmarker}User Interface: Yeah .Industrial Designer: soUser Interface: Three Euros .IndustrialDesigner: three Euros sorry . And um {disfmarker}Marketing: That's on top of the sixteen , or is it part of that ?Industrial Designer: No no no , part of that , yeah .User Interface: Part of that {gap} .Marketing: So thattakes it down to thirteen Euros without the speech recognition .Industrial Designer: Yeah , yeah .Project Manager: {vocalsound} Mm 'kay . Hmm . {gap}User Interface: {vocalsound} Yeah .Marketing: Mm-hmm .UserInterface: Well uh if you {disfmarker} we can have {disfmarker} if you have new more ideas we can add new more uh some more keys if you want to you know {vocalsound} {disfmarker}Project Manager: Mm-hmm.Industrial Designer: Well I think th th yeah we should {vocalsound} stick with uh a number of keysMarketing: Mm .Industrial Designer: because if we add too much thenUser Interface: YeahProject Manager: Mm-hmm{gap} .Industrial Designer: it's too {disfmarker}User Interface: it it should not be cluttering up everything .Marketing: What's this one on the side ?User Interface: Ah that's for the {disfmarker} it's kind of a L_E_D_ forindicating your batteryIndustrial Designer: Locati . Location .Marketing: Ah okay .User Interface: and as well as it's like a blinking oneMarketing: Mm-hmm . Mm 'kay .User Interface: you knowIndustrial Designer: Yeah.User Interface: you can keep it aside .Marketing: I like the shape of them , I do like the the size and the the shape .Project Manager: Well well {disfmarker} Mm .User Interface: Yeah .Project Manager: Be before tatalking about the money and what's possible and what is not possible , maybe Anna you can uh give our uh give us your um {disfmarker}Marketing: Mm-hmm . Okay . And maybe we run the evaluation on both of theproducts , both of these two .Project Manager: Yes . Evalua evaluation and also the evaluation criteria , so what what is important to look at .Marketing: Okay . {vocalsound} Basically this is what we've talked aboutalready , um , from the marketing point of view .Project Manager: Mm-hmm .Marketing: We just wanna make sure that we've taken into account {disfmarker}Project Manager: WellMarketing: Yep .Project Manager:just do it quickly if if we al already {gap} .Marketing: So it's just a shortlist of criteria on um the things that we've identified as being important to selling the product .Project Manager: Mm-hmm .Marketing: Um we justgo through these and rate them as a group and then at the end we'll make an evaluation based on that , so just average the score of those items , so {disfmarker} {vocalsound} These are the things we identified asbeing important . Um {gap} the three things were look and feel , innovation and ease of use , were the three important componentsProject Manager: Mm-hmm .Marketing: um appealing to the correct demographic sousing those things in the right way to appeal to our demographic . And then goin following the company motto , following the fashion trends and putting that into the product as well . So well do you wanna go throughand put through those on the the two products now or do we wanna discuss them further and then evaluate them ?Project Manager: Um , n no why not why not discuss uh discuss it now , {gap} {disfmarker}Marketing:Okay . So f just go through onto the whiteboard I guess . Not sure how this is gonna come out . So the first one was really {vocalsound} very far below budget , would you want to take the price down of the endproduct according to that or just have the high profit on it ? 'Cause if we're only going to make it for eight Euros then we have a {disfmarker}Project Manager: Mm , well my my personal view is uh w when when thisone is eight Euros we must think how can we improve it .Marketing: Mm-hmm .Project Manager: And then {disfmarker} I mean w w w you must just see it {vocalsound} {disfmarker} we can still spend this four and ahalf EuroMarketing: Mm-hmm . Yep .Project Manager: and to r because th th th the the selling price is already prite fik uh uh quite fixed on twenty five EurosIndustrial Designer: Mm-hmm .Marketing: Mm-hmm .ProjectManager: so we just have to offer as much as as {disfmarker} well value for the for the customer uh he can have for twenty five Euro .Industrial Designer: Functionality .Marketing: Okay so look and feel , innovation{disfmarker} {gap}User Interface: And now it {gap} easy to use .Marketing: {vocalsound}Industrial Designer: Easy to use .Project Manager: Mm .Industrial Designer: {gap} target .Marketing: Mm-hmm . And trends .Oh , you following the idea of using the um removable covers on these ? Is that part of both of them or ?Project Manager: Um well w w we can still discuss that .Marketing: Okay .Project Manager: So um , and togetherwith evaluating this uh we we might come with new ideasMarketing: Mm-hmm .Project Manager: I mean adding things or uh removing uh of options because they are too expensive ,Marketing: Mm-hmm .ProjectManager: but um I've received uh a framework which we can do this . I mean did you have this this Excel sheet ?Marketing: Mm-hmm .Industrial Designer: No .User Interface: No .Marketing: No .Project Manager: Nookay , this is these are the the the latest prices of our production uh uh production unit for several components ,Industrial Designer: {vocalsound}Project Manager: so we can uh see whether the the price is is within thetwelve Euro uh fifty cents uh .Marketing: Mm-hmm . Okay .Project Manager: So maybe we can start with this , uh , calling this one . {vocalsound}Marketing: Okay . Yep . So it's the pink .Project Manager: Th th this isthe first design .Marketing: And the other one's green . Okay , soProject Manager: Yes .Marketing: look and feel ? Where um one is {vocalsound} I've broken the pen again . SProject Manager: Uh there is another pen.Marketing: yeah . Get that one . Um w {vocalsound} one's bad and seven's the best . Sorry , one's true and seven's false . One's the best .Project Manager: Okay .Marketing: So on a scale of one to seven ?ProjectManager: 'Kay . Okay . So . Look and feel . Well you already feel that uh pretty much I think {vocalsound} .User Interface: {vocalsound} {gap}Project Manager: In i in my opinion purely feel is is is very good , is verygood in your hand ,Marketing: Mm-hmm . Mm-hmm , yeah . Mm-hmm .Project Manager: so I I I would consider two or or may maybe even one for feel .Marketing: Mm-hmm .Project Manager: But that's just half , weshould also consider look ,Marketing: Mm-hmm .Project Manager: and then i it looks quite conventional .Marketing: Mm .Project Manager: Don't you agree ?User Interface: Mm yeah .Marketing: On the scale u it'sbetween functional and fancy basically we're looking at ,Project Manager: So maybe two . Hmm . Hmm . Ma ma ma ma maybe say say fiveMarketing: so {disfmarker}Project Manager: I {disfmarker} It's my opinion ,but I don't know what whatUser Interface: Well I will give it maybe {disfmarker} we have anyways {disfmarker} the way we have designed it's like the surf as you say {vocalsound}Marketing: Mm-hmm .IndustrialDesigner: Yeah .User Interface: you know . It {disfmarker} though the look is fine but uh still I will give four in that caseIndustrial Designer: Yeah . Four maybe .User Interface: you know .Marketing: Four ? Okay.Project Manager: Four , four .User Interface: Four yeahProject Manager: Now we th thUser Interface: that {disfmarker}Marketing: Mm-hmm .Project Manager: then we settle on four .User Interface: Yeah . I will giyeah .Marketing: {gap}Project Manager: 'Kay . Can you maybe fix the other {disfmarker}Industrial Designer: Uh . Yeah .Marketing: Mm .Industrial Designer: If you press like this not like this {gap} then you{disfmarker}Marketing: No that's the {disfmarker}Industrial Designer: {gap}User Interface: No .Marketing: ink's dried .User Interface: C can you get the batteries ? No no the battery has fallen down ,Marketing:Battery's low , isn't it the ink ?User Interface: that's iMarketing: The b that's the that that one ?User Interface: Yeah .Marketing: {gap} battery there .Industrial Designer: But {disfmarker}User Interface: No no it's notthat , it's how to close a battery .Industrial Designer: Okay .User Interface: Okay ? Now it should be {gap} .Marketing: Mm . No I think it's lost a battery .Project Manager: Mm , try it , just try it .Marketing: No it's{disfmarker} It would still writeProject Manager: Oh it will notMarketing: but it wouldn't pick it up with the sensors .Project Manager: ri mm , mm .User Interface: Is there another battery there ? Oh yeah .Marketing:"}
+{"doc_id":"doc_44","qid":"","text":"The Chair (Hon. Anthony Rota (NipissingTimiskaming, Lib.)): I call the meeting to order. Welcome to the seventh meeting of the Special Committee on the COVID-19 Pandemic. Please note that today's proceedings willbe televised in the same way as a typical sitting of the House. We will proceed to ministerial announcements. I understand that there are no ministerial announcements. That's confirmed. We will now proceed topresenting petitions for a period not exceeding 15minutes. I would like to remind members that any petition presented during a meeting of the special committee must have already been certified by the clerk ofpetitions. Once the petition is presented, the member is asked to bring it here to the Table. Mr.Manly is the first one to be allowed to present a petition.Mr. Paul Manly (NanaimoLadysmith, GP): Thank you, Mr. Chair. Irise today to present a petition that has many signatures from constituents in NanaimoLadysmith. They're calling for a ban on cosmetic testing using animals. They want us to follow the European Union model, underwhich the use of animals in cosmetic testing has been banned. Moving forward, they're calling for a ban on the sale and manufacture of animal-tested cosmetics and their ingredients in Canada.The Chair: Mr. Poilievre isnext.Hon. Pierre Poilievre (Carleton, CPC): Thank you very much, Mr. Chair. I rise today to table e-petition 2466, initiated by a constituent of mine in Stittsville, a beautiful west Ottawa community. The petition hascollected 827 signatures from every province and territory. It was collected by Cara, a mother from my riding who suffered an unthinkable tragedy. Her 11-year-old son Joshua drowned in a boating accident on the St.Lawrence River at Rockport, Ontario. Joshua was not wearing a life jacket. Worse, Cara's family had to wait 48 days to recover Joshua's body. Cara is now working tirelessly to amend the small vessel regulations tomake it mandatory for children under the age of 14 to wear a life jacket or PFD while they are passengers in or drivers of small vessels covered under parts 2, 3, and 4 of the regulations. I support Cara's efforts, and I'mhonoured to table this petition on her behalf.The Chair: Seeing no further petitions to be presented, we'll continue, and we will now proceed to the questioning of ministers. Please note that we will suspend theproceedings every 45minutes to allow employees who provide support for the sitting to replace each other safely. Go ahead, Mr. Scheer.Hon. Andrew Scheer (Leader of the Opposition): It was revealed yesterday thatthis government's policy was to ignore fraud. The Prime Minister's reaction was to act as if everything was normal. In fact, we've learned that over 200,000cases of suspected fraud have been identified in the benefitapplications. The Prime Minister is failing our future generations. Our children and grandchildren are going to pay back billions of dollars that he's borrowing to pay tax cheats. Will the Prime Minister protect taxpayersand immediately begin a review of these 200,000cases of suspected fraud?Right Hon. Justin Trudeau (Prime Minister): Our priority was to get money out quickly to all Canadians who needed it, and that's exactly whatwe've done. Millions of Canadians have received the money they so desperately needed. Having said that, I want to make it very clear, Mr.Chair: Fraud is unacceptable. We have measures in place to detect fraud. Allfraudsters will be required to pay back the money they fraudulently received from the government. We're going to make sure that this is done in the coming months.Hon. Andrew Scheer: Mr. Chair, Conservatives agreethat those who need help should get it, and no one is arguing that they shouldn't, but reports indicate that the Liberals have ordered public servants to turn a blind eye to 200,000 cases of suspected fraud. It's a simplequestion: Yes or no, did the government instruct any government department to ignore red flags or warnings of fraudulent cases?Right Hon. Justin Trudeau: Mr. Chair, the priority in this situation was getting money outto the millions of Canadians who needed it as quickly as possible, but of course fraud is unacceptable. That's why we have put safeguards in place to ensure that anyone who received that money fraudulently will haveto repay it.Hon. Andrew Scheer: It's a yes-or-no question, Mr. Chair. Did the government give any kind of instruction to public servants in any department to ignore red flags or warnings of fraudulent cases, yes orno?Right Hon. Justin Trudeau: The instruction to government officials was to get money out to those who needed it as quickly as possible. We have put measures in place to detect fraud. People who got this moneyfraudulently will have to repay.Hon. Andrew Scheer: Mr. Chair, it is clear that he can't answer a yes-or-no question, so we can all assume what the answer must be. In other situations, the government is saying no topeople. It's letting so many Canadians down. Small business owners who don't happen to have a CRA payroll number or a business account are ineligible for the government supports. Individuals, owner-operators, andthose who are earning $1 more than $1,000 are being told that they don't qualify for the emergency response benefits. Meanwhile, fraudsters are getting them. Does the Prime Minister think it's fair to tell people whoare following all the rules no, while telling government officials to allow fraudulent cases to be processed?Right Hon. Justin Trudeau: Mr. Chair, Canadians well know that this is an unprecedented situation, one in whichwe had to get help to as many Canadians as possible as quickly as possible. That is exactly what we did. We continue to work very hard to fill gaps for people who should get money but haven't been able to, and, as Isaid, we have strong measures to counter fraud. Anyone who got this money fraudulently will have to repay it.Hon. Andrew Scheer: Mr. Chair, when these programs were first designed, the Prime Minister said that heacknowledged that there were problems and that they would be fixed later. Well, here we are in May, and hundreds of thousands of Canadians are being told no for purely technical and bureaucratic reasons. Will thePrime Minister make the simple changes to allow business owners who don't happen to have a business bank account, who don't happen to have a CRA payroll number and individuals who are ineligible for theemergency response benefit because they've been paid by family members through dividends to qualify, or is he going to continue to let hundreds of thousands of Canadians down during this pandemic?Right Hon.Justin Trudeau: Mr. Chair, from the beginning of this pandemic, we moved extremely rapidly to get help and support to millions of Canadians. That was the priority, and that's what we've been doing for the past twomonths. As we've said, we will continue to tweak and improve the programs to make sure that more people who need help will get it. We are working the best we can, as fast as we can, to help those millions ofCanadians who need support.The Chair: You have time for about a 15-second question, Mr. Scheer.Hon. Andrew Scheer: Mr. Chair, the Prime Minister indicated that he would support Taiwan's inclusion in the WHO onlyas a non-state observer. Of course, that designation does not exist. Participants of the WHO are either states or NGOs. Will the Prime Minister support Taiwan's participation as a state observer?The Chair: The RightHonourable Prime Minister has 15 seconds or less, please.Right Hon. Justin Trudeau: Mr. Chair, we will continue with our one China policy, but we have always advocated Taiwan's meaningful inclusion in internationalbodies where it makes sense to do so, and that includes at the WHO.The Chair: Mr.Blanchet now has the floor.Mr. Yves-Franois Blanchet (BeloeilChambly, BQ): Thank you very much, Mr.Chair. On Friday, students inQuebec and Canada will be able to apply for the Canada emergency student benefit, which is a good thing. This program was necessary, particularly because the number of students who won't be able to get back theirjobs from last year is much higher than the number of jobs that might be available to these young people. There are also issues of duration. We don't know how long these jobs will remain unavailable. People talkedabout a risk to being in the labour market and meeting the needs of the labour market. On April29, the Deputy Prime Minister made a formal commitment to ensure that these programs are accompanied by workincentives for youth and all CESB recipients. So that everyone knows what they're getting into, I'd like to know whether the employment incentives that will accompany the Canada emergency response benefit will beknown by Friday.Right Hon. Justin Trudeau: I thank the hon. member for understanding the importance of supporting students who, for the most part, won't be able to get the summer jobs they were counting on.Young people don't just want to earn money; they also want to gain work experience. That's why we're setting up programs, including Canada summer jobs, but also another program with 76,000new jobs for youngpeople in important sectors, so that young people can also get jobs. We will continue to work with youth and employers to ensure that gaps in the labour market are addressed, while ensuring that youth arewell-supported.Mr. Yves-Franois Blanchet: That's very interesting, but it doesn't answer my question at all. People in the fishing, tourism and agricultural sectors, as well as municipalities and, from the very beginning,of course, the Government of Quebec, more generally, have expressed fears that job gains will cause people to lose their benefits and discourage them from going to work. The only way to avoid that is to ensure thatpeople keep more money as they work more. That is the principle. In fact, we propose that over the $1,000no-penalty limit, half of the earnings be exempt from penalty. Is this something that could be considered?Since it's been two weeks since the commitment was made and it's urgent, can we act now? The emergency shouldn't last eight months.Right Hon. Justin Trudeau: Mr.Chair, young people need money, but they alsoneed work experience. This is an unprecedented situation, which is why we're working with seasonal industries and the different regions to make sure they have a sufficient workforce in their situation. Students can bepart of it, but at the same time we must provide the necessary support for those who can't find a job. That's why we continue to work with the industries involved to ensure that they have a sufficient workforce while wesupport students.Mr. Yves-Franois Blanchet: Unfortunately, the spirit of it doesn't seem to have been understood. I doubt that, even in the best-case scenario, the government will be able to get all the jobs needed in atimely manner for all these young people to decide to go ahead. So, first of all, there will be a shortage of jobs. Second, people aren't crazy. If they earn less by working than they earn by not working, all the good faithin the world won't solve the problem. Can we make sure that people keep more money in their pockets as they work more? I think we can have a clear answer, given the timeframe. People are going to start registeringfor the program on Friday. The principles are good, but a clear answer would be good too.Right Hon. Justin Trudeau: Beginning Friday, students will be able to apply for the Canada emergency student benefit. Whenthey apply, they'll all be directed to a job bank that we've set up to make sure they know what jobs are available to get not only the money they need, but also the experience they need for their future, while helpingour society in this crisis. I know we're going to be able to count on young people.The Chair: We'll now go to Mr. Singh.Mr. Jagmeet Singh (Burnaby South, NDP): Thank you very much, Mr. Chair. Mr. Chair, one of themost devastating outcomes of this COVID-19 crisis has been the impact on seniors. Eighty per cent or more of the deaths during COVID-19 have been seniors living in long-term care homes. The military had to becalled in. Out of 14 countries, Canada has been deemed the worst in its care of seniors. Despite all this, the Prime Minister has said recently that he doesn't feel it's the federal government's responsibility to find asolution. How can he say to families reeling with loss that it's not the federal government's responsibility to play a role in solving this problem?Right Hon. Justin Trudeau: Mr. Chair, perhaps the fact that the NDP nolonger has many seats in Quebec has caused it to forget the importance of respecting the Constitution and the areas of jurisdiction of provincial versus federal governments. We will be there to work with the provincesas they deal with challenges in their long-term care facilities. We are there as a partner, but we, on this side of the House, will always respect the jurisdiction of the provinces and be there to support them in fulfillingthose responsibilities.Mr. Jagmeet Singh: Everyone across Canada has just heard this Prime Minister double down on the idea that he doesn't feel it's his responsibility, despite the fact that the Canadian military had togo into long-term care homes. There is a role that the federal government can play. Both Liberal and Conservative federal governments have been consistently, for decades, cutting transfers to health care. They canincrease those transfers to ensure long-term care is adequately funded. We could also ensure that there's a national care guarantee, working with provinces to ensure that we are meeting the best standards. We couldincrease workers' pay. We could ensure that there's no more profiting off the backs of seniors when it comes to long-term care. Will the Prime Minister commit to some of these care guarantees?Right Hon. JustinTrudeau: It will come as exactly no surprise to the vast majority of Canadians that the Liberal Party will always stand up for the Constitution of Canada. We respect the Constitution. We respect areas of provincialjurisdiction. As I have said from the very beginning of this crisis, we will be there to help the provinces as they manage the challenges they're facing. The federal government does have a role to play, and it is a role tosupport the provinces in doing the things they need to do during this unprecedented time. We will continue to be there.Mr. Jagmeet Singh: I am glad to hear the Prime Minister is no longer trying to hide behindjurisdiction. We know that in long-term care homes, the for-profit long-term care homes have been the site of the worst conditions, where the greatest number of seniors have died. Will the Prime Minister join us incommitting to remove profit from the long-term care system? Vulnerable seniors should not be subject to the profits of a company willing to cut services, staffing and quality of care instead of ensuring that seniors getthe best care possible.Right Hon. Justin Trudeau: I think it has become clear for all Canadians that we need to improve the care offered to our seniors right across the country. We cannot look at these numbers we areseeing and these tragedies hitting so many families and not want to see us as a country do better. That is why we of course recognize that we will work with other orders of government, particularly the provinces inwhose jurisdiction this area rests primarily, to support answering these questions for the long term on how we improve the way Canada supports our elders. This is something really important that we will be therefor.Mr. Jagmeet Singh: At the CHSLD Herron in Dorval, 31seniors died in one month. The residents were left without food, dehydrated and without care, and those with COVID-19 symptoms were not isolated from theothers. Families pay between $3,000 and $10,000 a month for their loved ones to be at the centre. How can the Prime Minister think that he doesn't have a role to play in finding a solution to this devastatingproblem?Right Hon. Justin Trudeau: Mr.Chair, all Quebeckers and even all Canadians were stunned to learn of the tragedy at the Dorval CHSLD. We were very happy, as citizens, when the Government of Quebecreacted firmly and asked many questions in connection with this situation. We will support the Government of Quebec in its efforts to find answers and, most importantly, to ensure that, in the long term, the country willbetter support seniors in all regions.The Chair: We'll continue with Mr.Poilievre.Hon. Pierre Poilievre: Mr. Chair, how many emergency response benefit cheques have been sent to people whose applications have beenflagged as fraudulent?Hon. Jean-Yves Duclos (President of the Treasury Board): Thank you, Mr.Chair. I'd like to start by quickly saying that a total of 7.7million Canadians have received the Canada emergency responsebenefit, which is absolutely essential forHon. Pierre Poilievre: How many emergency response benefits have been sent out to people whose applications have been flagged as fraudulent?Hon. Jean-Yves Duclos: Mr.Chair,I see that the pace will allow me to give a little bit of information for each question. As we said at the outset, there will be mechanismsThe Chair: Mr.Poilievre has the floor.Hon. Pierre Poilievre: How many?Hon.Jean-Yves Duclos: We're working very hard.Hon. Pierre Poilievre: How many?Hon. Jean-Yves Duclos: We're working very hard to ensure the integrity of the mechanism while at the same time taking important steps tohelp Canadians.Hon. Pierre Poilievre: How many emergency response benefit cheques have been sent to people whose applications have been flagged as fraudulent?Hon. Jean-Yves Duclos: A total of 7.7millionCanadians have received the Canada emergency response benefit, and the agency is ensuring the integrity of the system.Hon. Pierre Poilievre: He's now claiming that it's all 7.7 million? That's crazy. The department isreported to have given out 200,000. Is 200,000 the correct number of cheques that have been sent out to people whose applications have been red-flagged as fraudulent, yes or no?Hon. Jean-Yves Duclos: Mr.Chair,I'm pleased to use the opportunity given to me by the hon. member to make the following clarifications. I thank him for it. First, approximately 7.7million Canadians have received at least one payment. Second, almost11million payments have been made.Hon. Pierre Poilievre: How many prisoners have received a Canada emergency response benefit cheque?Hon. Jean-Yves Duclos: This allows me to go even further and thank thehon. member again. Some 7.7million Canadians have received emergency assistance in an emergency situationThe Chair: Mr.Poilievre has the floor.Hon. Pierre Poilievre: So now he's claiming that 7 million Canadiansare in jail? The question was this: How many prisoners have received a benefit cheque?Hon. Jean-Yves Duclos: Mr.Chair, jokes can be made about the plight of Canadians who are suffering tremendously in this crisis,but I'm not here to makeThe Chair: Mr.Poilievre has the floor.Hon. Pierre Poilievre: Even the CBC is saying that prisoners are receiving the cheque. They can't have lost their jobs. They were already in prison. It's asimple question: How many prisoners have received the cheques?Hon. Jean-Yves Duclos: I'd like to remind hon. members that we're talking about an extremely serious situation, a situation that has called into questionpeople's ability to make ends meet, a situation that required emergency measures. We're going to continue to do the job that Canadians expect.Hon. Pierre Poilievre: The question was, how many prisoners havereceived the cheques?Hon. Jean-Yves Duclos: I've already explained to the hon. memberand I'm pleased to remind himthat this benefit is an emergency measure.Hon. Pierre Poilievre: The Auditor General says that he'sdropping half of his audits because the government refuses to provide him with funding. If the government has enough money to send 200,000 fraudulent applicants emergency cheques, why won't the government givethe Auditor General the funding he requested?Hon. Jean-Yves Duclos: I thank the hon. member. It gives me the opportunity, in this emergency situation, to talk about the role of institutions, including that of the AuditorGeneral, which we will continue to support because it helps us do things right.Hon. Pierre Poilievre: Then what does the Auditor General have to do to get the money to do his audits? Does he have to file a bunch offraudulent applications for an emergency response benefit?Hon. Jean-Yves Duclos: Mr.Chair, because I know the hon. member well enough, I'm sure that he isn't givingand doesn't want to givethe impression that theAuditor General wants to commit fraud to do his job properly.Hon. Pierre Poilievre: I agree, and that's why he should get the money he needs to do his job. He did twice as many audits under the previous governmentas he is doing now, but he doesn't have the money to do the audits he needs to do to keep an eye on this government's extraordinary spending. Yes or no, will the government give the Auditor General the funding he"}
+{"doc_id":"doc_45","qid":"","text":"Grad E: I guess .Grad A: OK , we 're on . So just make sure that th your wireless mike is on , if you 're wearing a wireless .Grad E: Check one . Check one .Grad A: And you should be able to see which one {disfmarker}which one you 're on by , uh , watching the little bars change .Grad B: So , which is my bar ? Mah ! Number one .Grad A: Yep .Grad E: Sibilance . Sibilance .Grad A: So , actually , if you guys wanna go ahead and readdigits now , as long as you 've signed the consent form , that 's alright .Grad E: Are we supposed to read digits at the same time ?Grad A: No . No .Grad E: Oh , OK .Grad A: Each individually . We 're talking about doingall at the same time but I think cognitively that would be really difficult . {vocalsound} To try to read them while everyone else is .Grad E: Everyone would need extreme focus .Grad A: So , when you 're reading thedigit strings , the first thing to do is just say which transcript you 're on .Professor C: Other way . We m We may wind up with ver We {disfmarker} we may need versions of all this garbage .Grad B: For our stuff . Yeah.Professor C: Yeah .Grad A: Um . So the first thing you 'd wanna do is just say which transcript you 're on .Professor C: Yeah .Grad A: So . You can see the transcript ? There 's two large number strings on the digits ?So you would just read that one . And then you read each line with a small pause between the lines . And the pause is just so the person transcribing it can tell where one line ends and the other begins . And I 'll give{disfmarker} I 'll read the digit strings first , so can see how that goes . Um . Again , I 'm not sure how much I should talk about {pause} stuff before everyone 's here .Professor C: Mmm . Well , we have one morecoming .Grad A: OK . Well , why don't I go ahead and read digit strings and then we can go on from there .Professor C: OK . Well , we can start doing it .Grad A: Thanks . So , uh , just also a note on wearing themicrophones . All of you look like you 're doing it reasonably correctly , but you want it about two thumb widths away from your mouth , and then , at the corner . And that 's so that you minimize breath sounds , sothat when you 're breathing , you don't breathe into the mike . Um . Yeah , that 's good . And uh {disfmarker} So , everyone needs to fill out , only once , the speaker form and the consent form . And the short form{disfmarker} I mean , you should read the consent form , but uh , the thing to notice is that we will give you an opportunity to edit a all the transcripts . So , if you say things and you don't want them to be released tothe general public , which , these will be available at some point to anyone who wants them , uh , you 'll be given an opportunity by email , uh , to bleep out any portions you don't like . Um . On the speaker form justfill out as much of the information as you can . If you 're not exactly sure about the region , we 're not exactly sure either . So , don't worry too much about it . The {disfmarker} It 's just self rating . Um . And I thinkthat 's about it . I mean , should I {disfmarker} Do you want me to talk at all about why we 're doing this and what this project is ?Professor C: Um , yeah .Grad A: or {disfmarker} ?Professor C: No . There was{disfmarker} there was {disfmarker} Let 's see . Oh {disfmarker}Grad E: Does Nancy know that we 're meeting in here ?Grad B: I sent an email .Professor C: She got an emai she was notified .Grad E: Oh yeah , shegot an e Yeah , yeah .Professor C: Whether she knows {vocalsound} is another question . Um . So are the people going to be identified by name ?Grad A: Well , what we 're gonna {disfmarker} we 'll anonymize it in thetranscript . Um , but not in the audio .Professor C: Right .Grad A: So theProfessor C: OK . So , then in terms of people worrying about , uh , excising things from the transcript , it 's unlikely . Since it {disfmarker} itdoes isn't attributed . Oh , I see , but the a but the {disfmarker} but the {disfmarker}Grad A: Right , so if I said , \" Oh , hi Jerry , how are you ? \" , we 're not gonna go through and cancel out the \" Jerry \"s .Professor C:Yeah . Sure .Grad A: Um , so we will go through and , in the speaker ID tags there 'll be , you know , M - one O seven , M - one O eight .Professor C: Right .Grad A: Um , but uh ,Professor C: Right .Grad A: um , it w uh, I don't know a good way of doing it on the audio , and still have people who are doing discourse research be able to use the data .Professor C: OK . Mm - hmm . No , I {disfmarker} I wasn't complaining ,Grad A: Yep.Professor C: I just wanted to understand .Grad A: Right .Professor C: OK .Grad B: Well , we can make up aliases for each of us .Grad A: Yeah , I mean , whatever you wanna do is fine ,Professor C: Right .Grad F: OK.Grad A: but we find that {disfmarker} We want the meeting to be as natural as possible . So , we 're trying to do real meetings .Professor C: OK .Grad A: And so we don't wanna have to do aliasesProfessor C: Right.Grad A: and we don't want people to be editing what they say .Grad B: Right .Grad A: So I think that it 's better just as a pro post - process to edit out every time you bash Microsoft .Professor C: Right .Grad B: Mm -hmm .Grad A: You know ?Professor C: Right . Um , OK . So why don't you tell us brieflyGrad A: OK . So thProfessor C: your {disfmarker} give {disfmarker} give your e normal schpiel .Grad A: Um . So this is{disfmarker} The project is called Meeting Recorder and there are lots of different aspects of the project . Um . So my particular interest is in the PDA of the future . This is a mock - up of one . Yes , we do believe thePDA of the future will be made of wood . Um . {comment} The idea is that you 'd be able to put a PDA at the table at an impromptu meeting , and record it , and then be able to do querying and retrieval later on , onthe meeting . So that 's my particular interest , is a portable device to do m uh , information retrieval on meetings . Other people are interested in other aspects of meetings . Um . So the first step on that , in any ofthese , is to collect some data . And so what we wanted is a room that 's instrumented with both the table top microphones , and these are very high quality pressure zone mikes , as well as the close talking mikes .What the close talk ng talking mikes gives us is some ground truth , gives us , um , high quality audio , um , especially for people who aren't interested in the acoustic parts of this corpus . So , for people who are moreinterested in language , we didn't want to penalize them by having only the far field mikes available . And then also , um , it 's a very , very hard task in terms of speech recognition . Um . And so , uh , on the far fieldmikes we can expect very low recognition results . So we wanted the near field mikes to at least isolate the difference between the two . So that 's why we 're recording in parallel with the close talking and the far fieldat the same time . And then , all these channels are recorded simultaneously and framed synchronously so that you can also do things like , um , beam - forming on all the microphones and do research like that . Ourintention is to release this data to the public , um , probably through f through a body like the LDC . And , uh , just make it as a generally available corpus . Um . {vocalsound} There 's other work going on in meetingrecording . So , we 're {disfmarker} we 're working with SRI , with UW , Um . NIST has started an effort which will include video . We 're not including video , obviously . And uh {disfmarker} and then also , um , asmall amount of assistance from IBM . Is also involved . Um . Oh , and the digit strings , this is just a more constrained task . Um . So because the general environment is so challenging , we decided to {disfmarker} todo at least one set of digit strings to give ourselves something easier . And it 's exactly the same digit strings as in TI - digits , which is a common connected digits corpus . So we 'll have some , um , comparison to beable to be made .Professor C: OK .Grad A: Anything else ?Professor C: No .Grad A: OK , so when the l last person comes in , just have them wear a wireless . It should be on already . Um . Either one of those . And uh ,read the digit strings and {disfmarker} and fill out the forms . So , the most important form is the consent form , so just be s be sure everyone signs that , if they consent .Grad B: I 'm sure it 's pretty usual formeetings that people come late ,Grad A: Yeah .Grad B: so you will have to leave what you set .Grad A: Right . And uh , just give me a call , which , my number 's up there when your meeting is over .Professor C: Yep.Grad A: And {disfmarker} I 'm going to leave the mike here but it 's n {nonvocalsound} Uh , but I 'm not gonna be on so don't have them use this one . It 'll just be sitting here .Grad B: Input ? Yeah . There we go.Professor C: By the way , Adam , we will be using the , uh , screen as well .Grad B: Yep .Professor C: So , you know . Wow ! Organization . So you guys who got email about this {pause} oh f uh , Friday or somethingabout what we 're up to .Grad E: No .Grad F: No .Grad B: I got it .Grad E: What was the nature of the email ?Professor C: Oh , this was about {pause} um , inferring intentions from features in context , and the words ,like \" s go to see \" , or \" visit \" , or someGrad B: Wel - we I {disfmarker} uh {disfmarker} I {disfmarker} I {disfmarker}Professor C: You didn't get it ?Grad E: I don't think I did .Professor C: I guess these g have gotbetter filters . Cuz I sent it to everybody . You just blew it off .Grad E: Ah .Professor C: OK .Grad B: It 's really simple though . So this is the idea . Um . We could pursue , um , if we thought it 's {disfmarker} it 's worthit but , uh , I think we {disfmarker} we will agree on that , um , to come up with a {disfmarker} with a sort of very , very first crude prototype , and do some implementation work , and do some {disfmarker} someresearch , and some modeling . So the idea is if you want to go somewhere , um , and focus on that object down {disfmarker} Oh , I can actually walk with this . This is nice . down here . That 's the Powder - Tower .Now , um , {vocalsound} we found in our , uh , data and from experiments , that there 's three things you can do . Um , you can walk this way , and come really , really close to it . And touch it . But you cannot enter ordo anything else . Unless you 're interested in rock climbing , it won't do you no good standing there . It 's just a dark alley . But you can touch it . If you want to actually go up or into the tower , you have to go this way, and then through some buildings and up some stairs and so forth . If you actually want to see the tower , and that 's what actually most people want to do , is just have a good look of it , take a picture for the family ,{comment} you have to go this way , and go up here . And there you have a vre really view {disfmarker} It exploded , the {disfmarker} during the Thirty years - war . Really uh , interesting sight . And um , these uh{disfmarker} these lines are , um , paths ,Grad E: Mmm .Grad B: or so That 's ab er , i the street network of our geographic information system . And you can tell that we deliberately cut out this part . Becauseotherwise we couldn't get our GIS system to take {disfmarker} to lead people this way . It would always use the closest point to the object , and then the tourists would be faced , you know , in front of a wall , but itwould do them absolutely no good . So , {vocalsound} what we found interesting is , first of all , intentions differ . Maybe you want to enter a building . Maybe you want to see it , take a picture of it . Or maybe youactually want to come as close as possible to the building . For whatever reason that may be .Grad E: What 's it {disfmarker} what 's it made out of ?Grad B: Um , r red limestone .Grad E: So maybe you would wannatouch it .Grad B: Yeah , maybe you would want to touch it . Um . Okay , I {disfmarker} This , um {disfmarker} These intentions , we {disfmarker} w w we could , if we want to , call it the {disfmarker} the Vista mode ,where we just want to {disfmarker} eh {disfmarker} s get the overview or look at it , the Enter mode , and the , well , Tango mode . I always come up with {disfmarker} with silly names . So this \" Tango \" means ,literally translated , \" to touch \" . So {disfmarker} But sometimes the {disfmarker} the Tango mode is really relevant in the {disfmarker} in the sense that , um , if you want to , uh {disfmarker} If you don't have theintention of entering your building , but you know that something is really close to it , and you just want to approach it , or get to that building . Consider , for example , the Post Office in Chicago , a building so largethat it has its own zip code . So the entrance could be miles away from the closest point . So sometimes it m m m makes sense maybe to d to distinguish there . So , um , I 've looked , uh , through twenty some{disfmarker} Uh , I didn't look through all the data . um , and there {disfmarker} there 's uh , a lot more different ways in people {disfmarker} uh , the ways people phrase how to g get {disfmarker} if they want to getto a certain place . And sometimes here it 's b it 's a little bit more obvious {disfmarker} Um . {vocalsound} Maybe I should go back a couple of steps and go through the {disfmarker}Professor C: No , OK come in , sitdown . If you grab yourself a microphone .Grad B: You need to sign some stuff and read some digits .Professor C: Well , you can sign afterwards .Grad B: O or later .Grad E: You have to al also have to read some digits.Professor C: Afterwards .Grad D: OK . {comment} OK . Afterwards is fine .Grad B: They are uncomfortable . Mm - hmm .Grad D: Really small ? OK . I see . OK .Grad B: Yep .Grad D: Thank you .Grad B: OK , but thatwas our idea .Professor C: And it {disfmarker} it {disfmarker} it {disfmarker} it it also has to be switched on , Nance .Grad B: Is {disfmarker} I {disfmarker} I think {disfmarker}Grad E: No , that one 's already on , Ithought he said .Professor C: It 's on ? OK , good .Grad D: OK . It 's on .Grad E: Yeah .Grad B: OK . That was the idea . Um , people , when they w when they want to go to a building , sometimes they just want to lookat it . Sometimes they want to enter it . And sometimes they want to get really close to it . That 's something we found . It 's just a truism . And the places where you will lead them for these intentions are sometimes exin incredibly different . I {disfmarker} I gave an example where the point where you end up if you want to look at it is completely different from where {disfmarker} if you want to enter it . So , this is sort of how peoplemay , uh {disfmarker} may phrase those requests to a {disfmarker} a {disfmarker} a mock - up system at least that 's the way they did it . And we get tons of {disfmarker} of these \" how do I get to \" , \" I want to goto \" , but also , \" give me directions to \" , and \" I would like to see \" . And um , what we can sort of do , if we look closer a closer at the {disfmarker} the data {disfmarker} That was the wrong one . um , we can look atsome factors that may make a difference . First of all , very important , and um , that {disfmarker} I 've completely forgot that when we talked . This is of course a crucial factor , \" what type of object is it ? \" So , somebuildings you just don't want to take pictures of . Or very rarely . But you usually want to enter them . Some objects are more picturesque , and you {disfmarker} more f more highly photographed . Then of course the{disfmarker} the actual phrases may give us some idea of what the person wants . Um . Sometimes I found in the {disfmarker} Uh , looking at the data , in a superficial way , I found some s sort of modifiers that{disfmarker} that m may also give us a hint , um , \" I 'm trying to get to \" Nuh ? \" I need to get to \" . Sort of hints to the fact that you 're not really sightseeing and {disfmarker} and just f there for pleasure and soforth and so on . And this leads us straight to the context which also should be considered . That whatever it is you 're doing at the moment may also inter influence the interpretation of {disfmarker} of a phrase . So ,this is , uh , really uh , uh , uh {disfmarker} My suggestion is really simple . We start with , um {disfmarker} Now , Let me , uh , say one more thing . What we do know , is that the parser we use in the SmartKomsystem will never differentiate between any of these . So , basically all of these things will result in the same XML M - three - L structure . Sort of action \" go \" , and then an object .Grad D: Mm - hmm .Grad B: Yeah ?and a source . So it 's {disfmarker} it 's {disfmarker} it 's way too crude to d capture those differences in intentions . So , I thought , \" Mmm ! Maybe for a deep understanding task , that 's a nice sort of playground orfirst little thing . \" Where we can start it and n sort of look {disfmarker} \" OK , we need , we gonna get those M - three - L structures . The crude , undifferentiated parse . Interpreted input . We may need additional partof speech , or maybe just some information on the verb , and modifiers , auxiliaries . We 'll see . And I will try to {disfmarker} to sort of come up with a list of factors that we need to get out of there , and maybe wewant to get a g switch for the context . So this is not something which we can actually monitor , {vocalsound} now , but just is something we can set . And then you can all imagine sort of a {disfmarker} a constrainedsatisfaction program , depending on {disfmarker} on what , um , comes out . We want to have an {disfmarker} a structure resulting if we feed it through a belief - net or {disfmarker} or something along those lines .We 'd get an inferred intention , we {disfmarker} we produce a structure that differentiates between the Vista , the Enter , and the , um , Tango mode . Which I think we maybe want to ignore . But . That 's my idea . It's up for discussion . We can change all of it , any bit of it . Throw it all away .Grad F: Now @ @ this email that you sent , actually .Professor C: What ?Grad F: Now I remember the email .Professor C: OK .Grad E: Huh .Still , I have no recollection whatsoever of the email . I 'll have to go back and check .Professor C: Not important . So , what is important is that we understand what the proposed task is . And , the {disfmarker} the i uh, Robert and I talked about this some on Friday . And we think it 's well - formed . So we think it 's a well - formed , uh , starter task for this , uh , deeper understanding in the tourist domain .Grad F: So , where exactlyis the , uh , deeper understanding being done ? Like I mean , s is it before the Bayes - net ? Is it , uh {disfmarker}Professor C: Well , it 's the {disfmarker} it 's {disfmarker} it 's always all of it . So , in general it 'salways going to be , the answer is , everywhere . Uh , so the notion is that , uh , this isn't real deep . But it 's deep enough that you can distinguish between these th three quite different kinds of , uh , going to seesome tourist thing . And , so that 's {disfmarker} that 's the quote \" deep \" that we 're trying to get at . And , Robert 's point is that the current front - end doesn't give you any way to {disfmarker} Not only doesn't itdo it , but it also doesn't give you enough information to do it . It isn't like , if you just took what the front - end gives you , and used some clever inference algorithm on it , you would be able to figure out which ofthese is going on . So , uh , and this is {disfmarker} Bu - I in general it 's gonna be true of any kind of deep understanding , there 's gonna be contextual things , there 're gonna be linguistic things , there 're gonna bediscourse things , and they gotta be combined . And , my idea on how to combine them is with a belief - net , although it may turn out that t some totally different thing is gonna work better . Um , the idea would bethat {vocalsound} you , uh , take your {disfmarker} You 're editing your slide ?Grad B: Yeah . As i a sort of , as I get ideas , uh w uh .Professor C: Oh .Grad B: So , discourse {disfmarker} I {disfmarker} I {disfmarker}I thought about that . Of course that needs to sort of go in there .Professor C: Oh . I 'm sorry . OK . So . This is minutes {disfmarker} taking minutes as we go , in his {disfmarker} in his own way .Grad B: Yep.Professor C: Um , but the p the {disfmarker} Anyway . So the thing is , {vocalsound} i uh , d naively speaking , you 've {disfmarker} you 've got a {disfmarker} for this little task , a belief - net , which is going to haveas output , the conditional pr probability of one of three things , that the person wants to {disfmarker} uh , to View it , to Enter it , or to Tango with it . Um . So that {disfmarker} the {disfmarker} the output of thebelief - net is pretty well formed . And , then the inputs are going to be these kinds of things . And , then the question is {disfmarker} there are two questions {disfmarker} is , uh , one , where do you get this i{comment} information from , and two , what 's the structure of the belief - net ? So what are the conditional probabilities of this , that , and the other , given these things ? And you probably need intermediate nodes .I {disfmarker} we don't know what they are yet . So it may well be that , uh , for example , that , uh , knowing whether {disfmarker} Oh , another thing you want is some information abou I think , about the time of"}
+{"doc_id":"doc_46","qid":"","text":"Industrial Designer: Oops That's as far as it goes {vocalsound} .Project Manager: Hi guys uh good morning everybody here . And uh I want to introduce myself , uh my name is uh Shrida Daseri and uh I'm a projectmanager for this new project which we are going to discuss now . So I want to introduce first of all uh the names and the colleagues here . And what you're uh drawing ?User Interface: {vocalsound} Uh sure my nameis Agnes and I'm an user {disfmarker} usability user interface designer .Marketing: {vocalsound} My name is Ed and I do accounting .Project Manager: Uh how you spell your name uh ?Marketing: E_D_ .ProjectManager: E_D_ okay .Marketing: Mm .Project Manager: And ?Industrial Designer: Do you also do marketing ?Marketing: {vocalsound} No {vocalsound} .Project Manager: So only accounting ? Okay .Marketing:Accounting , yes .Project Manager: And ?Industrial Designer: And I'm Christine ,Project Manager: Mm-hmm .Industrial Designer: and my role in this uh scenario is to be the industrial designer .Project Manager:Industrial designer .Industrial Designer: But I'm not really one .Project Manager: So who is uh marketing , nobody in the marketMarketing: Marketing is uh , is me {vocalsound} .Project Manager: It's you , okay . Sothanks for coming for the meeting first of all , and uh we have a long time , just twenty-five minutes to discuss about uh this project and the the project initiation . First of all I want to ask uh Mister Ed about your uhmarketing plan and your product plan and uh {disfmarker}Marketing: {vocalsound} Well I think that we'll see that throughout the day in how we're going to put this together as a marketing to to market the product .We'll have to see on a through discussion on where we're gonna go from here and from {disfmarker} with this .Project Manager: Mm-hmm but uh do you already have like a functional design or a technical design or{disfmarker}Marketing: {vocalsound} Uh for the moment not yet .Project Manager: Oh for the moment not yet , okay , but uh what's what's your uh {disfmarker} do you have some project plan , something with youor {disfmarker}Marketing: {vocalsound} Good question {vocalsound} . No , this is like I said that we have to be discussed between all of us and we'll go from there . We'll have to {disfmarker} simply we'll have towork on it together .Project Manager: Mm-hmm . Okay , so uh by when you think you can uh give me some kind of uh project plan , okay , a discussion with uh {disfmarker}Marketing: Certainly by the next meeting.Project Manager: By next meeting , okay that will be great . Uh Okay , so there's any questions or uh first of all about uh this project ?Industrial Designer: What is the goal of the project ?Project Manager: Uh the goalof the project I think maybe I'll uh hand out to the Ed , okay , so to explain uh what is the project because he's in the sales and the accounting .Marketing: {vocalsound}Industrial Designer: {vocalsound}Marketing: I'min the sales I'm supposed to explain them what to do {vocalsound} . We have to define exactly what our product is , from uh {disfmarker}Project Manager: Yes , so can you explain uh what exactly the product is?Marketing: From what I had in mind we're supposed to be marketing coffee , is that right ?Project Manager: Oh I think uh , if I'm not wrong , we're making the remote control .User Interface: Um I was wondering{disfmarker}Marketing: Remote controls , 'cause I had two different things . I had a first part of mine was to make a remote control for a new f remote control for television , and afterward I had a discussion aboutcoffee so {vocalsound}Project Manager: {vocalsound} Yes .Marketing: we'll start with the remote control for television then . So we're have to design something that is very user friendly .Project Manager: Mm-hmm.User Interface: Mm-hmm .Marketing: Something uh visual that has something that will will draw people to buy the product ,Project Manager: Mm-hmm .Marketing: because I think everybody's experienced with uhremote controls , and some remote controls are are worth uh throwing out the window . Uh th most of them ar I don't know we're have to come up with a new idea on how to make it a lot easier to use ,ProjectManager: Mm-hmm .Marketing: 'cause a lot of times uh spend uh half a day through the instruction book trying to figure out how to use it .Project Manager: Mm-hmm .User Interface: Mm .Project Manager: And uhwhat abo uh Christine , what about your uh the industrial design plan ? Are you have a design already on this product or uh you're still working on the design ?Industrial Designer: Um no , I I have not begun working onthe design ,Project Manager: Mm-hmm .Industrial Designer: and um I uh I actually didn't know we were designing a remote control , I thought we were designing a new monitor . Um the website I went to look at hadsome announcements about an introduction of a um uh some sort of a seven inch um monitor , and um I understood that that was the project goal . So um I'm glad I didn't d do any work um ahead of time because uh Iclearly didn't understand the project goal .Project Manager: Okay .Industrial Designer: Um I just did s see that we were starting a new project together and there was going to be a four member team composed of thesepeople , and um that's about uh that's {disfmarker}Project Manager: Mm-hmm .Industrial Designer: and I I read through the different steps , and what my responsibilities were relative to the steps .Project Manager: Souh you'll be leading the team for your design team or how many members is working in the team , for the design ?Industrial Designer: {vocalsound} Uh for the industrial design ?Project Manager: Yes .IndustrialDesigner: Um well , I would th think that depends on how much money you give us .Project Manager: Okay .Marketing: {vocalsound}Project Manager: That's {gap}Industrial Designer: Um because uh , you know , youcan uh you can make it uh {disfmarker} {vocalsound} you have different choices with different financial models .Project Manager: Yeah , but uh before we talk about uh the finance , okay , uh do you have some ideahow we can uh sell this product or project in the market and how much is going to benefit to the company and uh of course it's to the individual also .Industrial Designer: {vocalsound} Well , you know um , I kind ofthink that in general you have to do uh um y you have to have something that's very fashionable , that's uh very attractive {disfmarker} that um people see and recognize uh its goal , and uh they immediately wannahave it uh have one of their own . So it would {disfmarker} really would need to um {disfmarker} {vocalsound} something like the iPod would be good , seems to have caught on fairly well ,Project Manager: Mm-hmm.Industrial Designer: so um d uh you know , I don't care what it does , just so it looks cool .Project Manager: Okay , but uh uh when you think you can give me like a kind of design on the functional design or thetechnical design ?Industrial Designer: {vocalsound} Well , uh I've got a lot of other projects I'm doing right now um and so I'll have to wait and see how those uh how those go . If they uh go quickly then uh it could bea month . If um if I run into any problems in my other projects it might be six months .Project Manager: Yeah , but uh I need something in the writing , so like uh what's your functional design , what's your technicaldesign , and uh how many people you need for this project , and what's the time frame you're looking , okay , and what is the budget , maybe uh initial budget you're looking , okay , and uh how is going to the market ,okay ,Industrial Designer: Mm-hmm . Mm-hmm .Project Manager: so you've you've had to meet with the marketing team and how they're going to market and what are the marketing strategic plan , okay , when areyou going to introduce , okay , and by the time you introduce the product and uh you know there there would be a competition , okay , so I need some kind of uh uh the plan in the writing from you . Okay , and it'spoIndustrial Designer: {vocalsound} And when would you like that ?Project Manager: B as soon as possible .Industrial Designer: {vocalsound} Uh well if uh if we have enough time uh then d do you think um two weeksis a {disfmarker} is close enough ?Project Manager: Yes I think uh that would be good , because I need to go to the management and uh tell them what we are going to do , and uh what cost is , okay , and what's thetime frame and what's the project plan , because uh without any uh documentations , I cannot go to the management and say , so we are going to do this and we need this much money , okay , so then it's it's difficultfor me to say , okay , that's the reason I need uh some kind of plan from you , initially , okay , then we can have the further discussion again .Industrial Designer: Uh {vocalsound} are there other people who will becontributing to the plan ?Project Manager: Yes , of course , if you need some help , uh so let me know . So , who are the people you need uh from the marketing or uh the technical side or uh the administration point ofview , okay , to add in any documentation , or some technical point of view ,Industrial Designer: {vocalsound}Project Manager: so just let me know so I can uh coordinate all the teams .Industrial Designer: Okay , I'llget back to you on that .Project Manager: Yes . Thank you . Okay . And uh Ed uh so what's {disfmarker} what do you think about uh this uh project for the remote control and d do you have some already plannedsomething for your marketing strategy or uh the sales strategy ?Marketing: Well not yet other than uh doing research and taking remote controls and looking what other companies have to do uh , what they're building, their designs , their ideas ,Project Manager: {vocalsound} Hmm . {vocalsound}Marketing: uh also have to pinpoint which market we're gonna go into .Project Manager: Mm-hmm .Marketing: It should be a fairly largemarket because uh the number of people that uh {disfmarker} the competition ,Project Manager: Mm-hmm .Marketing: uh th I agree it has to be something {disfmarker} it has to be something new , it has to besomething that that draws people saying eh , I like this . Whether it works or not , they have to first say I like this , I like the design , and then it's gotta be simple to use .Project Manager: Yes , so what I uh prefermaybe uh you need to interact uh more with the Christine , okay , because you know what she is going to do it , okay , and you know how to sell it . Okay , because uh she is doing the design , but you are the corebecause you are in the marketing , okay ,Marketing: Yeah .Project Manager: so because you need to sell {disfmarker} and you're the responsible for the all the money , the finance , okay , tomorrow .Marketing:Mm-hmm .Project Manager: So , what I prefer , okay , so you need to interact with the Christine more and uh within her team , okay , who is using the functional design or technical design , okay ,Marketing: Mm-hmm.Project Manager: and uh you need to come up with some kind of plan , okay , how we are going to do the {disfmarker} your sales plan , okay , thMarketing: Do we already have a cost limit on this , th an idea of howmuch uh we want to market this for , how much it's gonna sell for ,Project Manager: Th That {disfmarker} that'sMarketing: that's up that's up to us to decide , eh ? {vocalsound}Project Manager: Yes , that's{disfmarker} you have to decide , okay , so the best thing is you {disfmarker} uh both of uh the Christine and you discuss with yourself , okay , and come up with the cost , and how we are going to compete in themarket , okay , in the the technically , or in the sales wise , okay , the commercial wise , okay . Then uh we have to design , okay , how long it will take the whole project , okay , how much is going to cost us , and howmuch we are going to benefit for the company . Okay , of course it's it's uh of benefit for everybody individually . Okay , so I think it's uh maybe if we can uh give me some kind of your uh the sales plan , okay ,including the technical what uh she's going to talk to you within the team , okay , then it will help me to discuss with the management for further , okay , and put it in the the proper project plan . Okay , and if you needuh any coordination in between uh compared to the maybe the some technical vendors or commercial vendors , okay , depends if you want to have some uh uh marketing plan or technical plan , okay , so you let meknow .Marketing: {vocalsound} Very good .Project Manager: Okay , I can coordinate ,Marketing: Very good .Project Manager: or maybe uh , you are my coordinator , am I right ?User Interface: Mm .Project Manager:Between uh all the coorUser Interface: Well , no , not exactly . I mean my job from what I understood was to look at the usability requirements and make sure that the product is usable , it's acceptable to the peoplewho are gonna use it and look at the best ways to do that .Project Manager: Yeah .User Interface: So I think I'll have to interact with Christine and discuss with her , so that she's not designing something that mystudies will show right off the bat that it's not going to work ,Project Manager: Th Christine , yeah {vocalsound} . Which is {disfmarker}User Interface: and so it's sort of {disfmarker} it's a loop that feeds in , but Idon't think necessarily that I'm in a coordinating position for it .Project Manager: Yes . Yeah , so basically you need to interact with Christine more , okay , for the user acceptability , okay , and the testing , okay ,UserInterface: Yeah . Mm-hmm .Project Manager: then you will {disfmarker}User Interface: Which will also feed into the marketing ,Project Manager: Yes .User Interface: because depending on what users want , dependson how you sell it , what tag lines you attach to it , how you try to make it more attractive to users .Project Manager: Yes . Yeah . Yeah . Yeah .User Interface: So I think all three groups will need to interact quite a bit .Um , and then I guess build the plan based on all of that , because I think you need to take all the factors into account .Project Manager: Yep . But what I request , okay , {gap} keep Ed in the loop , okay , in betweenyour uh meeting and Christine meeting , because uh he should know what's happening .User Interface: Yeah , of course {vocalsound} . Yeah , we can C_C_ him on any discussions or documents that are passed around.Project Manager: Yes . Okay and please please copy all the mails , okay , all the discussions to me , okay , so I need to submit to the management .User Interface: Sure . No problem .Project Manager: So anyquestions for uh time being ?Industrial Designer: {vocalsound}Marketing: No .User Interface: So , the immediate next step is to start determining the functional design , orProject Manager: Yes .User Interface:{disfmarker} okay .Project Manager: Okay . To come up with the functional design and uh to discuss with Ed , okay , and how it's going to be work , and uh first of all with your user acceptance , okay , how it looks likeand how it's going to be work in the market , okay ,User Interface: Mm-hmm .Project Manager: so then we can discuss about uh further things . So , we'll meet when the {disfmarker} we'll discuss on the furthermeeting .User Interface: Okay .Project Manager: It's okay ? Thanks for coming .User Interface: Mm-hmm .Industrial Designer: Would you mind um at the conclusion of our meeting could could you send us a copy ofyour slides ?Project Manager: Yes , I will . Yes .User Interface: Mm-hmm , yeah , that would be useful .Project Manager: I'll copy , uh le let us keep all the emails and all the copies , okay , share each other , okay , soyou know everybody what's happening , okay ?User Interface: Sure .Project Manager: And if anything you need anytime so please either you can call me , or just send me email , or uh just come and uh knock my door, okay , so I'm available here . It's good ? Okay , thanks for coming and uh I wish you a nice time then .User Interface: Okay .Industrial Designer: Thank you .User Interface: Thanks .Project Manager: Okay , see youlater . Bye .User Interface: Thank you ."}
+{"doc_id":"doc_47","qid":"","text":"PhD A: It 's not very significant .Professor B: Uh , channel one . Yes .Grad D: Channel three .Professor B: OK .PhD F: Mm - hmm .Grad D: Channel three .PhD A: TaGrad D: Channel three . Alright .Professor B: OK , didyou solve speech recognition last week ?Grad E: Almost .Professor B: Alright ! Let 's do image processing .PhD C: Yes , again .PhD A: Great .PhD C: We did it again , Morgan .Professor B: Alright !Grad E: Doo - doop ,doo - doo .PhD A: What 's wrong with {disfmarker} ?Professor B: OK . It 's April fifth . Actually , Hynek should be getting back in town shortly if he isn't already .PhD C: Is he gonna come here ?Professor B: Uh . Well ,we 'll drag him here . I know where he is .PhD C: So when you said \" in town \" , you mean {pause} Oregon .Professor B: U u u u uh , I meant , you know , this end of the world , yeah , {vocalsound} is really what Imeant ,PhD C: Oh .Grad E: Doo , doo - doo .Professor B: uh , cuz he 's been in Europe .Grad E: Doo - doo .Professor B: So .PhD C: I have something just fairly brief to report on .Professor B: Mmm .PhD C: Um , I didsome {pause} experim uh , uh , just a few more experiments before I had to , {vocalsound} uh , go away for the w well , that week .Professor B: Great !PhD C: Was it last week or whenever ? Um , so what I wasstarted playing with was the {disfmarker} th again , this is the HTK back - end . And , um , I was curious because the way that they train up the models , {vocalsound} they go through about four sort of rounds of{disfmarker} of training . And in the first round they do {disfmarker} uh , I think it 's three iterations , and for the last three rounds e e they do seven iterations of re - estimation in each of those three . And so , youknow , that 's part of what takes so long to train the {disfmarker} the {disfmarker} the back - end for this .Professor B: I 'm sorry , I didn't quite get that . There 's {disfmarker} there 's four and there 's seven and{disfmarker} I {disfmarker} I 'm sorry .PhD C: Yeah . Uh , maybe I should write it on the board . So , {vocalsound} there 's four rounds of training . Um , I g I g I guess you could say iterations . The first one is three ,then seven , seven , and seven . And what these numbers refer to is the number of times that the , uh , HMM re - estimation is run . It 's this program called H EProfessor B: But in HTK , what 's the difference between ,uh , a {disfmarker} an inner loop and an outer loop in these iterations ?PhD C: OK . So what happens is , um , at each one of these points , you increase the number of Gaussians in the model .Professor B: Yeah . Oh ,right ! This was the mix up stuff .PhD C: Yeah . The mix up .Professor B: That 's right .PhD C: Right .Professor B: I remember now .PhD C: And so , in the final one here , you end up with , uh {disfmarker} for all of the{disfmarker} the digit words , you end up with , uh , three {pause} mixtures per state ,Professor B: Yeah .PhD C: eh , in the final {pause} thing . So I had done some experiments where I was {disfmarker} I{disfmarker} I want to play with the number of mixtures .Professor B: Mm - hmm .PhD C: But , um , uh , I wanted to first test to see if we actually need to do {pause} this many iterations early on .Grad E: Uh , one ,two ,Professor B: Mm - hmm .PhD C: And so , um , I {disfmarker} I ran a couple of experiments where I {vocalsound} reduced that to l to be three , two , two , {vocalsound} uh , five , I think , and I got almost theexact same results .Professor B: Mm - hmm .PhD C: And {disfmarker} but it runs much much faster . So , um , I {disfmarker} I think m {pause} it only took something like , uh , three or four hours to do the fulltraining ,Professor B: As opposed to {disfmarker} ?PhD F: Good .PhD C: as opposed to wh what , sixteen hours or something like that ? I mean , it takes {disfmarker} you have to do an overnight basically , the way itis set up now .PhD F: Yeah . It depends .PhD A: Mm - hmm .Professor B: Mm - hmm .PhD C: So , uh , even we don't do anything else , doing something like this could allow us to turn experiments around a lot faster.Professor B: And then when you have your final thing , do a full one , so it 's {disfmarker}PhD C: And when you have your final thing , we go back to this .PhD F: Yeah .PhD C: So , um , and it 's a real simple change tomake . I mean , it 's like one little text file you edit and change those numbers , and you don't do anything else .PhD F: Oh , this is a {disfmarker}PhD A: Mm - hmm .PhD C: And then you just run .PhD F: OK .PhD C: Soit 's a very simple change to make and it doesn't seem to hurt all that much .PhD A: So you {disfmarker} you run with three , two , two , five ? That 's aPhD C: So I {disfmarker} Uh , I {disfmarker} I have to look tosee what the exact numbers were .PhD A: Yeah .PhD C: I {disfmarker} I thought was , like , three , two , two , five ,PhD A: Mm - hmm .PhD C: but I I 'll {disfmarker} I 'll double check . It was {vocalsound} over aweek ago that I did it ,PhD A: OK . Mm - hmm .PhD C: so I can't remember exactly .Grad E: Oh .PhD C: But , uh {disfmarker}Professor B: Mm - hmm .PhD C: um , but it 's so much faster . I it makes a big difference.Grad E: Hmm .PhD C: So we could do a lot more experiments and throw a lot more stuff in there .PhD F: Yeah .Professor B: That 's great .PhD C: Um . Oh , the other thing that I did was , um , {vocalsound} I compiled{pause} the HTK stuff for the Linux boxes . So we have this big thing that we got from IBM , which is a five - processor machine . Really fast , but it 's running Linux . So , you can now run your experiments on thatmachine and you can run five at a time and it runs , {vocalsound} uh , as fast as , you know , uh , five different machines .PhD A: Mm - hmm .PhD F: Mm - hmm .PhD C: So , um , I 've forgotten now what the name ofthat machine is but I can {disfmarker} I can send email around about it .PhD A: Yeah .PhD C: And so we 've got it {disfmarker} now HTK 's compiled for both the Linux and for , um , the Sparcs . Um , you have tomake {disfmarker} you have to make sure that in your dot CSHRC , {vocalsound} um , it detects whether you 're running on the Linux or a {disfmarker} a Sparc and points to the right executables . Uh , and you maynot have had that in your dot CSHRC before , if you were always just running the Sparc . So , um ,PhD A: Mm - hmm .PhD C: uh , I can {disfmarker} I can tell you exactly what you need to do to get all of that to work .But it 'll {disfmarker} it really increases what we can run on .Grad E: Hmm . Cool .PhD C: So , {vocalsound} together with the fact that we 've got these {pause} faster Linux boxes and that it takes less time to do{pause} these , um , we should be able to crank through a lot more experiments .PhD A: Mm - hmm .PhD C: So .Grad E: Hmm .PhD C: So after I did that , then what I wanted to do {comment} was try {pause}increasing the number of mixtures , just to see , um {disfmarker} see how {disfmarker} how that affects performance .PhD A: Yeah .PhD C: So .Professor B: Yeah . In fact , you could do something like {pause} keepexactly the same procedure and then add a fifth thing onto itPhD C: Mm - hmm .Professor B: that had more .PhD C: Exactly .Professor B: Yeah .PhD C: Right . Right .Grad E: So at {disfmarker} at the middle o wherethe arrows are showing , that 's {disfmarker} you 're adding one more mixture per state ,PhD C: Uh - huh . Uh ,Grad E: or {disfmarker} ?PhD C: let 's see , uh . It goes from this {disfmarker} uh , try to go it backwards{disfmarker} this {disfmarker} at this point it 's two mixtures {pause} per state . So this just adds one . Except that , uh , actually for the silence model , it 's six mixtures per state .Professor B: Mm - hmm .PhD C: Uh, so it goes to two .Grad E: OK .PhD C: Um . And I think what happens here is {disfmarker}Professor B: Might be between , uh , shared , uh {disfmarker} shared variances or something ,PhD C: Yeah . I think that 'swhat it is .Professor B: or {disfmarker}PhD C: Uh , yeah . It 's , uh {disfmarker} Shoot . I {disfmarker} I {disfmarker} I can't remember now what happens at that first one . Uh , I have to look it up and see .Grad E:Oh , OK .PhD C: Um , there {disfmarker} because they start off with , uh , an initial model which is just this global model , and then they split it to the individuals . And so , {vocalsound} it may be that that 's what 'shappening here . I {disfmarker} I {disfmarker} {vocalsound} I have to look it up and see . I {disfmarker} I don't exactly remember .Grad E: OK .Professor B: OK .PhD C: So . That 's it .Professor B: Alright . So whatelse ?PhD A: Um . Yeah . There was a conference call this Tuesday . Um . I don't know yet the {disfmarker} {vocalsound} what happened {vocalsound} Tuesday , but {vocalsound} the points that they were supposedto discuss is still , {vocalsound} uh , things like {vocalsound} the weights , uh {disfmarker}Professor B: Oh , this is a conference call for , uh , uh , Aurora participant sort of thing .Grad E: For {disfmarker}PhD A: Yeah. Yeah .Professor B: I see .PhD A: Mmm .Professor B: Do you know who was {disfmarker} who was {disfmarker} since we weren't in on it , uh , do you know who was in from OGI ? Was {disfmarker} {vocalsound} was{disfmarker} was Hynek involved or was it SunilPhD A: I have no idea .Professor B: or {disfmarker} ?PhD A: Mmm , I just {disfmarker}Professor B: Oh , you don't know . OK .PhD A: Yeah .Professor B: Alright .PhD A:Um , yeah . So the points were the {disfmarker} the weights {disfmarker} how to weight the different error rates {vocalsound} that are obtained from different language and {disfmarker} and conditions . Um , it 's notclear that they will keep the same kind of weighting . Right now it 's a weighting on {disfmarker} on improvement .Professor B: Mm - hmm .PhD A: Some people are arguing that it would be better to have weights onuh {disfmarker} well , to {disfmarker} to combine error rates {pause} before computing improvement . Uh , and the fact is that for {disfmarker} right now for {pause} the English , they have weights {disfmarker}they {disfmarker} they combine error rates , but for the other languages they combine improvement . So it 's not very consistent . Um {disfmarker}Professor B: Mm - hmm .PhD A: Yeah . The , um {disfmarker} Yeah .And so {disfmarker} Well , {vocalsound} this is a point . And right now actually there is a thing also , {vocalsound} uh , that happens with the current weight is that a very non - significant improvement {pause} on thewell - matched case result in {pause} huge differences in {disfmarker} {vocalsound} in the final number .Professor B: Mm - hmm .PhD A: And so , perhaps they will change the weights to {disfmarker}PhD C: Hmm.PhD A: Yeah .PhD C: How should that be done ? I mean , it {disfmarker} it seems like there 's a simple way {disfmarker}PhD A: Mm - hmm .PhD C: Uh , this seems like an obvious mistake or something .Professor B:Well , I mean , the fact that it 's inconsistent is an obvious mistake .PhD C: Th - they 're {disfmarker}Professor B: But the {disfmarker} but , um , the other thing {disfmarker}PhD A: InProfessor B: I don't know Ihaven't thought it through , but one {disfmarker} one would think that {vocalsound} each {disfmarker} It {disfmarker} it 's like if you say what 's the {disfmarker} what 's the best way to do an average , an arithmeticaverage or a geometric average ?PhD C: Mm - hmm .Professor B: It depends what you wanna show .PhD A: Mm - hmm .Professor B: Each {disfmarker} each one is gonna have a different characteristic .PhD A: Yeah.Professor B: So {disfmarker}PhD C: Well , it seems like they should do , like , the percentage improvement or something , rather than the {pause} absolute improvement .PhD A: Tha - that 's what they do .ProfessorB: Well , they are doing that .PhD A: Yeah .Professor B: No , that is relative . But the question is , do you average the relative improvements {pause} or do you average the error rates and take the relativeimprovement maybe of that ?PhD A: Yeah . Yeah .Professor B: And the thing is it 's not just a pure average because there are these weightings .PhD C: Oh .Professor B: It 's a weighted average . Um .PhD A: Yeah . Andso when you average the {disfmarker} the relative improvement it tends to {disfmarker} {vocalsound} to give a lot of {disfmarker} of , um , {vocalsound} importance to the well - matched case because {pause} thebaseline is already very good and , um , i it 's {disfmarker}PhD C: Why don't they not look at improvements but just look at your av your scores ? You know , figure out how to combine the scoresPhD A: Mm - hmm.PhD C: with a weight or whatever , and then give you a score {disfmarker} here 's your score . And then they can do the same thing for the baseline system {disfmarker} and here 's its score . And then you can lookat {disfmarker}PhD A: Mm - hmm .Professor B: Well , that 's what he 's seeing as one of the things they could do .PhD A: Yeah .Professor B: It 's just when you {disfmarker} when you get all done , I think that theypro I m I {disfmarker} I wasn't there but I think they started off this process with the notion that {vocalsound} you should be {pause} significantly better than the previous standard .PhD C: Mm - hmm .Professor B:And , um , so they said \" how much is significantly better ? what do you {disfmarker} ? \" And {disfmarker} and so they said \" well , {vocalsound} you know , you should have half the errors , \" or something , \" that youhad before \" .PhD A: Mm - hmm . Hmm .PhD C: Mm - hmm .PhD A: Yeah .Professor B: So it 's , uh , But it does seem likePhD C: Hmm .Professor B: i i it does seem like it 's more logical to combine them first and thendo the {disfmarker}PhD A: Combine error rates and then {disfmarker}Professor B: Yeah .PhD A: Yeah . Well {disfmarker}Professor B: Yeah .PhD A: But there is this {disfmarker} this {disfmarker} is this still thisproblem of weights . When {disfmarker} when you combine error rate it tends to {pause} give more importance to the difficult cases , and some people think that {disfmarker}Professor B: Oh , yeah ?PhD A: well , theyhave different , {vocalsound} um , opinions about this . Some people think that {vocalsound} it 's more important to look at {disfmarker} {vocalsound} to have ten percent imp relative improvement on {pause} well -matched case than to have fifty percent on the m mismatched , and other people think that it 's more important to improve a lot on the mismatch and {disfmarker} So , buPhD C: It sounds like they don't really have agood idea about what the final application is gonna be .PhD A: l de fff ! Mmm .Professor B: Well , you know , the {disfmarker} the thing is {vocalsound} that if you look at the numbers on the {disfmarker} on the moredifficult cases , {vocalsound} um , if you really believe that was gonna be the predominant use , {vocalsound} none of this would be good enough .PhD A: Yeah . Mmm . Yeah .Professor B: Nothing anybody 's{disfmarker}PhD C: Mm - hmm .Professor B: whereas {vocalsound} you sort of with some reasonable error recovery could imagine in the better cases that these {disfmarker} these systems working . So , um , I thinkthe hope would be that it would {disfmarker} {vocalsound} uh , it would work well {pause} for the good cases and , uh , it would have reasonable {disfmarker} reas {vocalsound} soft degradation as you got to worseand worse conditions . Um .PhD C: Yeah . I {disfmarker} I guess what I 'm {disfmarker} I mean , I {disfmarker} I was thinking about it in terms of , if I were building the final product and I was gonna test to see whichfront - end I 'd {disfmarker} {vocalsound} I wanted to use , I would {vocalsound} try to {pause} weight things depending on the exact environment that I was gonna be using the system in .Professor B: But{disfmarker} but {disfmarker} No .PhD C: If I {disfmarker}Professor B: Well , no {disfmarker} well , no . I mean , {vocalsound} it isn't the operating theater . I mean , they don they {disfmarker} they don't{disfmarker} they don't really {pause} know , I think .PhD C: Yeah .Professor B: I mean , I thPhD C: So if {disfmarker} if they don't know , doesn't that suggest the way for them to go ? Uh , you assume everything 'sequal . I mean , y y I mean , you {disfmarker}Professor B: Well , I mean , I {disfmarker} I think one thing to do is to just not rely on a single number {disfmarker} to maybe have two or three numbers ,PhD C: Yeah.Professor B: you know ,PhD C: Right .Professor B: and {disfmarker} and {disfmarker} and say {vocalsound} here 's how much you , uh {disfmarker} you improve {vocalsound} the , uh {disfmarker} the {disfmarker}the relatively clean case and here 's {disfmarker} or {disfmarker} or well - matched case , and here 's how {disfmarker} here 's how much you ,PhD C: Mm - hmm .Professor B: uh {disfmarker}PhD C: So not{disfmarker}Professor B: So .PhD C: So not try to combine them .Professor B: Yeah . Uh , actually it 's true .PhD C: Yeah .Professor B: Uh , I had forgotten this , uh , but , uh , well - matched is not actually clean . Whatit is is just that , u uh , the training and testing are similar .PhD C: The training and testing .PhD A: Mmm .Professor B: So , I guess what you would do in practice is you 'd try to get as many , {vocalsound} uh ,examples of similar sort of stuff as you could , and then ,PhD C: Yeah .Professor B: uh {disfmarker} So the argument for that being the {disfmarker} the {disfmarker} the more important thing , {vocalsound} is thatyou 're gonna try and do that , {vocalsound} but you wanna see how badly it deviates from that when {disfmarker} when {disfmarker} when the , uh {disfmarker} it 's a little different .PhD C: So{disfmarker}Professor B: Um ,PhD C: so you should weight those other conditions v very {disfmarker} you know , really small .Professor B: But {disfmarker} No . That 's a {disfmarker} that 's a {disfmarker} that 's anargPhD C: I mean , that 's more of an information kind of thing .Professor B: that 's an ar Well , that 's an argument for it , but let me give you the opposite argument . The opposite argument is you 're never reallygonna have a good sample of all these different things .PhD C: Uh - huh .Professor B: I mean , are you gonna have w uh , uh , examples with the windows open , half open , full open ? Going seventy , sixty , fifty , fortymiles an hour ? On what kind of roads ?PhD C: Mm - hmm .Professor B: With what passing you ? With {disfmarker} uh , I mean ,PhD C: Mm - hmm .Professor B: I {disfmarker} I {disfmarker} I think that you couldmake the opposite argument that the well - matched case is a fantasy .PhD C: Mm - hmm .Professor B: You know , so ,Grad E: Uh - huh .Professor B: I think the thing is is that if you look at the well - matched caseversus the po you know , the {disfmarker} the medium and the {disfmarker} and the fo and then the mismatched case , {vocalsound} um , we 're seeing really , really big differences in performance . Right ? And{disfmarker} and y you wouldn't like that to be the case . You wouldn't like that as soon as you step outside {disfmarker} You know , a lot of the {disfmarker} the cases it 's {disfmarker} is {disfmarker}PhD C: Well ,that 'll teach them to roll their window up .Professor B: I mean , in these cases , if you go from the {disfmarker} the , uh {disfmarker} I mean , I don't remember the numbers right off , but if you {disfmarker} if you gofrom the well - matched case to the medium , {vocalsound} it 's not an enormous difference in the {disfmarker} in the {disfmarker} the training - testing situation , and {disfmarker} and {disfmarker} and it 's a reallybig {vocalsound} performance drop .PhD C: Mm - hmm .Professor B: You know , so , um {disfmarker} Yeah , I mean the reference one , for instance {disfmarker} this is back old on , uh {disfmarker} on Italian{disfmarker} uh , was like {pause} six percent error for the well - matched and eighteen for the medium - matched and sixty for the {disfmarker} {vocalsound} for highly - mismatched . Uh , and , you know , withthese other systems we {disfmarker} we {vocalsound} helped it out quite a bit , but still there 's {disfmarker} there 's something like a factor of two or something between well - matched and medium - matched . And{vocalsound} so I think that {vocalsound} if what you 're {disfmarker} {vocalsound} if the goal of this is to come up with robust features , it does mean {disfmarker} So you could argue , in fact , that the well -matched is something you shouldn't be looking at at all , that {disfmarker} that the goal is to come up with features {vocalsound} that will still give you reasonable performance , you know , with again gentle degregradegradation , um , even though the {disfmarker} the testing condition is not the same as the training .PhD C: Hmm .Professor B: So , you know , I {disfmarker} I could argue strongly that something like the mediummismatch , which is you know not compl pathological but {disfmarker} I mean , what was the {disfmarker} the medium - mismatch condition again ?PhD A: Um , {vocalsound} it 's {disfmarker} Yeah . Medium"}
+{"doc_id":"doc_48","qid":"","text":"Lynne Neagle AM: Good afternoon. Can I welcome Members to the virtual meeting of the Children, Young People and Education Committee this afternoon? In accordance with Standing Order 34.19, I've determined thatthe public are excluded from the committee's meeting, in order to protect public health. In accordance with Standing Order 34.21, notice of this decision was included in the agenda for this meeting, which was publishedlast Thursday. This meeting is, however, being broadcast live on Senedd.tv, with all participants joining via video-conference. A record of proceedings will be published as usual. Aside from the procedural adaptationrelated to conducting proceedings remotely, all other Standing Order requirements for committees remain in place. The meeting is bilingual, and simultaneous translation from Welsh to English is available. Can I remindeveryone that the microphones will be controlled centrally, so there's no need to turn them on and off individually? We've received apologies for absence from Hefin David AM, and there is no substitution. Can I askMembers if there are any declarations of interest, please? No. Okay, thank you. Can I just note for the record that if for any reason I drop out of the meeting, the committee has agreed that Dawn Bowden AM willtemporarily chair while I try to rejoin? Moving on, then, to item 2 this afternoon, which is an evidence session with the Welsh Government in relation to the impact of the coronavirus pandemic on health and socialservices as they relate to children and young people in Wales. I'm very pleased to welcome Vaughan Gething AM, the Minister for Health and Social Services; Julie Morgan AM, Deputy Minister for Health and SocialServices; Albert Heaney, deputy director general of the health and social services group; Nicola Edwards, deputy director, childcare, play and early years; Jean White, chief nursing officer; and Tracey Breheny, who isdeputy director of mental health, substance misuse and vulnerable groups. Thank you all very much for your attendance today—we appreciate your time. We've got lots of questions that we'd like to cover, which we'llgo straight into, with questions from Siân Gwenllian.Sian Gwenllian AM: Good afternoon. How much do we understand about how this virus impacts children and young people, and their role in transmitting the virus?And how important is it that this is considered in the Welsh Government's exit strategy, especially in the context of reopening schools?Vaughan Gething AM: Okay. I think it's fair to say that our understanding isdeveloping across all age ranges about the virus and its impact. It's still the case that children and young people are less likely to be affected significantly by COVID-19 than people with a range of healthcare conditions,and in particular the age grade that we've seen, and that's underpinned the advice we've given to the whole population about self-isolation by people in age categories, as well as the extremely vulnerable group weadvise to shield. We still don't understand everything about the role that children have to play in the transmitting of the virus, and this is one of the difficulties we face. Because in cold and flu, children transmit the virusand they're also susceptible, in particular to the flu, as well; that's why we have a childhood immunisation programme for the flu as well. We do know that there's some developing evidence about what's called aKawasaki-like syndrome, but that's affecting very small numbers of children. We have one possible case in Wales—a child who's in critical care—but that isn't confirmed. That's still a developing knowledge base. So, therest of the world is still trying to understand that too. But the generals still apply—that children are less likely to be affected than older people, but can nevertheless still become unwell, and that's, if you like, one of thefew positives in this condition. But as I say, we're still learning, so I won't try and present a fully accurate or finalised picture of knowledge in this area.Sian Gwenllian AM: And in terms—[Inaudible.]Vaughan GethingAM: Chair. Sorry. Excuse me, Chair. Sorry—with apologies to the Member, my translation stopped after a while, so I heard the first part translated, and then it just fell off. I'm really sorry, but I didn't want to try toanswer a different question to the one that may be being asked, and don't think that's fair to the Member or other members of the committee.Lynne Neagle AM: Can we check that translation is back on, please, andmaybe Siân could repeat her question?Vaughan Gething AM: I can hear it, yes.Lynne Neagle AM: Okay, Siân, would you mind repeating that, please?Sian Gwenllian AM: Not at all. I was discussing NHS services,including critical care services, and I was asking whether there is sufficient capacity in place to manage any increase. We, of course, hope that there won't be any increase, but should there be an increase, particularly inpaediatric cases of coronavirus—let's say such a thing were to happen and this rare syndrome that you mentioned did emerge here in Wales—do we have the capacity in place to deal with these, and with the impact ofcoronavirus more generally on children?Vaughan Gething AM: At this point in time, the answer is 'yes', and there is always a significant caveat, though, and the 'but' that comes in there is that despite the fact thatwe've got a plan for surge capacity in paediatric care—. So, when we increased critical care right across the national health service, we of course looked at paediatric care as part of that as well. So, we can flex up ourcapacity. But the challenge in all of that this is—it's part of my caution and the Government's caution about moves out of lockdown. So, it's much easier to go into lockdown than to come out of it, and I know you heardevidence from the Minister for Education last week about the approach that she wants to take and the principles behind doing that. So, actually, we'll need to think carefully about if we are reopening schools, even on alimited basis, what that then does to the circulation of coronavirus within that group of children as well as within the wider community, and then to try to understand whether the current capacity we have planned for insurge capacity is still going to be enough, because, actually, one of the real success stories of the first stage of the fight with coronavirus is that we haven't had our critical care capacity filled up. It's been extended, andthe extension has meant that we haven't been overtopped. If we hadn't done that, we definitely would have been. And we'll need to carry on testing ourselves and seeing what's happening and looking at the evidenceand making sure that the plan we already have got that we published for paediatric critical care is still fit for purpose, and again to reconsider if we need to do things differently. But that's part of the difficulty of being aMinister at the moment—you don't know everything that's coming, and on this disease in particular, we do know that we're still learning with each passing day.Lynne Neagle AM: [Inaudible.]—Siân?Sian Gwenllian AM:Hello. Yes, those are the questions I had on that section.Lynne Neagle AM: Okay. Lovely. Thank you very much. Right, we'll move on now then to some question on access to health services from Dawn Bowden.DawnBowden AM: Thank you, Chair. Minister, just some concern that you will have heard about in terms of parents and carers maybe not taking their children into the healthcare system for other conditions while thecoronavirus pandemic is with us. How are you monitoring that situation at the moment and have you had to look at your own commutation strategy in relation to that?Vaughan Gething AM: We've had to look at somespecifics around communication, so challenges about not just different languages, but about how we get messages to people in a very different environment, and it's really challenging. So, for example, our health visitorservice has absolutely not stopped. We've had to think about the way it works, and I had this conversation earlier this week with the chief nurse. But the bigger challenge are parents refusing to engage with the service.I understand people's fear and anxiety, but that then means that their family, and in particular their child, isn't getting the sort of proactive care that we would want them to have. So, there's a real concern both at theprofessional leadership end and for the chief nurse and for Ministers as well about how we can get through. That's actually about rebuilding people's confidence in the service, and that isn't straightforward becausethere's a broader concern about coronavirus still circulating. But I think for us it's really important to reiterate that we have thought again about how to provide the service. We've thought about how to protect staff andfamilies and the very clear message to parents is to please make sure that when health and care professionals are calling to help and support your family, please discuss your concerns with them. We're doing even moreremotely, via telephone and online as well. There are times you need to be physically in the same place, for example on routine vaccinations, because we certainly haven't stopped that programme either, and I reallywouldn't want to see that one of the unintended consequences of what we've done is that if parents don't engage with that service, we could potentially see a rise in other diseases. We're all, I think—not just you inyour constituency, but others who are on this call and others as well—seeing an occasional reappearance of measles, and that's because people didn't engage with the vaccination programme. I don't want, either myselfor a different health Minister in the future, to be sat here talking about how in years to come the failure to engage in a vaccination programme has led to clearly avoidable but significant harm to children and youngpeople and the communities they live in.Lynne Neagle AM: Thank you. Jean, you wanted to come in.Vaughan Gething AM: You need to unmute yourself. Oh, no—Professor Jean White: Thank you. I just want to add towhat the Minister said. So, I approached the immunisation lead in Public Health Wales to see exactly what has been happening recently and they said at the very beginning of the outbreak parents were very reluctantabout coming forward for their routine immunisations, but recently, through lots of energy from the immunisation clinics and the leads within it reaching out to families, that trend seems to have turned and there's nowa much better attendance. One of the most important things we can do to protect our children is to make sure they have their vaccinations. So, yes, there was a bit of a downturn, but it does seem to be improving atthe moment. Thank you.Dawn Bowden AM: Okay, thank you. And that answered my second question, Chair, so I'm happy to leave it there. Thank you.Lynne Neagle AM: Okay, thank you very much. We're going to goon now to some questions about mental health from Siân Gwenllian. Siân.Sian Gwenllian AM: It's a cause of great concern to us all, of course, in terms of the impact of this crisis on mental health and well-being amongour children and young people. So, what assessment has the Government undertaken of the impact on these aspects in young people and what work is being done to understand the impact of the pandemic? Whatlonger term measures will be put in place and what support services will be put in place?Vaughan Gething AM: Again, I think it's helpful that you've already heard from the education Minister last week, because I thinkthe first of her key principles for returning to school is the impact on the emotional health and well-being of children. So, children's mental health was a central concern and remains so for both myself and the educationMinister. Part of the honest challenge, again, is that we don't fully understand the impact on the mental health and well-being of children but we do expect there will have been an impact. So, we're working togetherwith both health boards and our own knowledge and analytical services across the Government to both try to further understand what that is and the difference. Until we have more contact with families, we may notfully understand that, and that's a real point of concern for me. In all of the unknowns within this, the impact on mental health and well-being is absolutely one of them, because we're looking at how we then developnot just a recovery plan for the economy but a recovery plan around mental health, how we support people, and that will have to be informed by the understanding of what's happening when we get more engagementwith families about the level of need, and then how we need to think about that. Obviously, it's a key factor for their return to school, but, actually, for the life children and young people lead outside the schoolenvironment, and that will be difficult because we're going to phase out of lockdown—it's not going to be a one-hit measure. That absolutely isn't going to happen. We're going to be looking at, at each point, whatdifference has been made, what more we can do. And, again, there are the efforts we're making to make sure that our online support services and our telephone support services—that we keep on reminding people thatthey're there and are available, and we want people to make use of them, because I know, as this committee said, we'd much rather be able to support people and intervene earlier rather than wait until there's a muchbigger problem in a period of months in the future.Sian Gwenllian AM: So, in reality, there's been no assessment undertaken because it's difficult to do that. So, the full picture in terms of the outcomes of the crisis—youdon't know what they are at the moment as things stand.Vaughan Gething AM: We can't know, because we don't have that level of contact. There is a development—. I wouldn't say that no work's being done, but Icouldn't tell you honestly that that work is finalised and we have a definitive understanding of the picture. If I tried to say that, then I'm sure you'd ask me, 'How on earth can you say that? If you're not having regularcontact with people, you can't possibly understand the picture.' And it's much better to say, 'We don't understand the full picture. We know there'll have been an impact. We're working alongside health boards andothers, but we'll know more as we carry on having more contact with families.' I'll look at a variety of different areas, again, both to reform the recovery plan, but also then to understand what we need to do at variouspoints in the future, and the picture that we're seeing isn't straightforward and we need to make sure that we don't try to pretend to ourselves or to the public that there is a one-off measure that will allow us to besuccessful in all the areas that we'd want to be.Sian Gwenllian AM: But can you give the committee an assurance today that this area of mental health and well-being is going to be a priority for you as healthMinister?Vaughan Gething AM: Of course. Not just on the work we've done in the past; not just because it's one of the key principles for the education Minister about the reopening of schools, but it is a real worry list forme about how we understand the impact on the mental health and well-being of children and young people, and to move forwards, that we don't end up with an entire generation of children and young people who growup with a range of damage because we haven't thought about what that will look like. So, the mental health recovery plan will of course be of very real importance to me. In amongst all the other priorities I have, I'mcertainly not going to allow the mental health and well-being of children and young people to be forgotten.Sian Gwenllian AM: And how does the current capacity in terms of child and adolescent mental health servicescompare to service capacity prior to the coronavirus outbreak in Wales? Have you had to shift some resources over from CAMHS, for example, in order to deal with more general aspects of coronavirus?Vaughan GethingAM: No, we've actually got—. Maybe perhaps it might be helpful, Chair, if Tracey Breheny could say something about the way that we're monitoring the impact we have, in terms of we've got a reporting tool, but alsoweekly contact with leads in CAMHS services.Lynne Neagle AM: Tracey.Tracey Breheny: Of course. Thanks, Minister. Yes, on that question, we moved pretty quickly at the beginning of the pandemic phase to put inplace, as the Minister said, a weekly monitoring tool of all local health boards, so through that tool, we look at that every week in terms of collecting information. Whilst national reporting's been stood down, we arepicking up assurance through that tool on things like staff sickness in CAMHS services, referral numbers and so on, so we do have that tool in place, and at the moment, that's telling us that the system can meet thecapacity; has the capacity to meet need.Sian Gwenllian AM: Have CAMHS staff been shifted over to do other work during this virus outbreak?Tracey Breheny: There has been some movement, as I'm saying, aroundhealth boards, particularly where in the first phase of the epidemic the concentration was on in-patient provision, providing critical care, but my understanding is from the latest tool that we looked at last week, thosestaff are gradually not just returning to work from self-isolation or whatever, or from different parts of the system.Sian Gwenllian AM: And then, what about the capacity for CAMHS primary mental health services? Hasthere been a reduction in that capacity since the beginning of the pandemic in terms of in-patients? Because that's what I'm hearing, that there has been such a reduction, but how are those patients then treated andserved?Tracey Breheny: In terms of in-patient capacity, that is in the system in both the north Wales and in the south Wales unit at the moment. There were some discharges of young people, but we've had theassurance that that was only undertaken where it was clinically safe to do so and where the community support was in place.Sian Gwenllian AM: And finally in this section from me, given that schools are of courseclosed and that schools are so very important in terms of signposting young people towards services, how can young people access appropriate services—online services, for example? How are they signposted towardsthose services at the moment?Vaughan Gething AM: Well, we've not closed off general practice and, as you know, we've expanded the ability for people to access services in an online manner. We've expanded a rangeof telephone advice services, so the telephone advice service we already provide, we've made sure that's maintained, and both myself and the deputy Minister have referred to that on a number of occasions. I think thereal struggle and the real difficulty is actually how you punch through different messages when the broader news agenda is so overwhelmingly focused on headline messages in other areas. That is, again, a worry forme, but the communications we have within the health and care system, people should know where to refer people to and how to provide access to both telephone and online support that continues to be available, andactually, as I say, we've expanded that right across our healthcare system. That's what I’m keen to see continue into the future. Whatever the post-COVID-19 world is, I don't want to miss out on the progress we havemade in the online provision of services. Of course, most children and young people expect to be able to access services in an online manner already.Sian Gwenllian AM: But, of course, there will be some who aremissed; they may fall between two stools because they won’t know where to turn.Vaughan Gething AM: Yes, and that, again, comes back to our challenge of how we help children and young people in their context, withtheir families, to know where support and advice and guidance is. Many people are defaulting to their general practitioner if they can't find advice somewhere else, so that's why there's the information we're providingthrough general practice to signpost people, so those pathways haven’t been closed off. It's about making sure that people have alternative means that they’re prepared to use at this point in time. If we go back towhere we started this evidence session, we were talking about the difficulty of families who don't want to engage in a traditional person-to-person contact or being in the same room as someone else or allowing peopleinto their home. So, there's a real challenge about how we make the service available, but then encourage people to take it up, so that we don’t see much greater harm that we have to try and resolve at a laterpoint.Lynne Neagle AM: Okay, thank you. I've got a supplementary from Suzy Davies, and can I remind Ministers about concise answers, please? Suzy.Suzy Davies AM: Yes, thank you. Just as we're speaking aboutchildren and young people's mental health, I wonder if you can confirm whether you've seen the United Nations Convention on the Rights of the Child's reports about what they call the grave physical and psychological"}
+{"doc_id":"doc_49","qid":"","text":"Project Manager: So {disfmarker} Hello . {vocalsound}Marketing: Good afternoon . Sorry I'm a little late .Project Manager: No problem .Marketing: Got stuck in the traffic .Project Manager: Okay . {vocalsound}UserInterface: {vocalsound}Industrial Designer: {vocalsound}Project Manager: That's possible on uh this time of day . Starts at three o'clock . Uh {disfmarker} {vocalsound}Marketing: Yeah .Project Manager: Uh , let mesee . Our fourth and last meeting . There he is . Yes . Okay this our last meeting . In this meeting we will discuss our final design . And we will do some evaluation about the , not only the product , but also the project .And then we're going to close the project today as well . So after this you will be uh free to go and uh spend all your money . {vocalsound}User Interface: {vocalsound}Industrial Designer: {vocalsound}Marketing:{vocalsound} {vocalsound}Project Manager: And this uh design , detailed design meeting uh we will discuss uh the look-and-feel of the design , the usability interface design , and we will do the product evaluation . Um, in order to do that we have this agenda . We'll have the prototype presentation first . Then we will set up some evaluation cri um criteria . {vocalsound} Then we will look at the finance . Uh we will have to see ifeverything we wanna do is also possible within our budget . Because everything costs money , and the more functions you wanna have the more money it will cost . So we have to see if it fits within the twelve and ahalf Euro per remote . But we will see that later . Then we will do the project uh evaluation , and the closing after that .Industrial Designer: {vocalsound}Project Manager: We've got forty minutes . So we will be finishedat half past three . But first um we will do the {disfmarker} this is prototype presentation . So , if some yeah if somebody wants step forward .Industrial Designer: Okay . Well this is what me and Richard came up with .The default spot for the on-off button . The mute button just below that . Then there's the volume and channel selectors . Simple plus-minus button . Uh we thought of a help button . If you hold it and you press anotherbutton , uh the help goes to the L_C_D_ screen . Then there's the zero to {disfmarker} one to zero buttons . A button for teletext . A button for the subtitles . And the company logo . So it's rather simple prototype .And uh we'll have to see from testing uh how the users take it .Project Manager: Okay .Marketing: Um , {vocalsound} is this the moment where we ask or can ask questions about the functionality ?User Interface: So{disfmarker} Yeah . Yeah .Industrial Designer: Sure uh just pop in at any time .Marketing: Um , when you're in teletext there usually are buttons where you just you just press it and you g go to the next teletext page.User Interface: Uh , that's just uh the normal uh as th as the normal uh remote controls uh {disfmarker} So um {disfmarker} You put it uh {disfmarker} you um came in uh page uh one hundred . Now you can use thenormal uh one to zero buttons .Marketing: Mm-hmm .User Interface: And you {disfmarker} But you can also uh use the um button th for uh changing the the channel . S so uh the shifting uh button . Uh for uh yeahshif shifting up in uh on t on t uh teletext , and shifting uh down . So {disfmarker}Marketing: Okay . Okay . Um {disfmarker} Yeah .Project Manager: Okay . Uh but um I thought in a few meetings earlier we uh uh triedto keep it uh simple . Uh just a few buttons and large buttons .User Interface: Oh yeah ?Project Manager: But uh I think these are altogether quite a quite a few buttons . So I'm wondering if we if we neely {disfmarker}really need all of those buttons .User Interface: {vocalsound} {vocalsound}Industrial Designer: I think if you look at most controls , they've got more buttons than this .Project Manager: That's right .User Interface:Yeah .Industrial Designer: And well the on-off button , it's it's a necessity .Project Manager: Yeah .User Interface: Yeah .Industrial Designer: You can't drop that one . The volume and channel buttons , you need youobviously need those those .Project Manager: Yeah .Industrial Designer: The mute button could be replaced uh by pressing the volume-down button twice . So we could cancel that one . I think the help button really isnecessaryUser Interface: Yeah yeah .Industrial Designer: because there's no other way to know when someone wants to know what a button does .Project Manager: Mm .User Interface: Uh , or you can build in uh whenyou press uh one button uh uh {disfmarker}Project Manager: Long time . Yeah .User Interface: Yeah .Project Manager: If you put {disfmarker}User Interface: But m Yeah . We disc discuss that already . But uh wethink uh old people uh don't know that uh option . So uh they just put in uh put {vocalsound} press uh the button and uh {disfmarker}Project Manager: Yeah . Okay .Industrial Designer: Well , {vocalsound} you can'tleave out the number buttons I guess .Project Manager: Yeah .User Interface: And uh {disfmarker}Project Manager: Uh teletext and subtitles are yeah necessary .Industrial Designer: And {disfmarker}{vocalsound}User Interface: Oh .Industrial Designer: Yeah .Marketing: Yeah .Project Manager: Okay .Industrial Designer: So it's rather basic already .Marketing: Yeah . Think so . That's what I pointed out earlier . Ifyou just make a control for just the T_V_ there's just not much to gain here .Project Manager: Yep .User Interface: Yeah .Project Manager: Okay . So we had somebody about th interfa Something about the design ofthe buttons there ?Industrial Designer: Yeah , they're {disfmarker}Project Manager: Just n normal plain buttons .User Interface: Yeah . Yeah ,Industrial Designer: It's rather hard to draw on the white-board .UserInterface: it {disfmarker}Industrial Designer: But they're supposed to be equal sized , round , with a with a little logo on it for the for the volume , the the triangle and stuff .Project Manager: Yeah . 'Kay .UserInterface: Yeah yeah . Just to recognise it , so uh {disfmarker}Industrial Designer: Just for recognition .User Interface: Uh yeah and now we don't need uh LEDs or um {disfmarker} Y uhProject Manager: No .UserInterface: s some uh remote controls uh do it also ,Project Manager: No .User Interface: but um uh because we use the little display we don't uh have to use it . Uh so {disfmarker}Project Manager: Yeah . Okay.Industrial Designer: So and for the materials we've just chosen for rubber buttons . With a a different colour than the case .User Interface: Nay .Project Manager: Yep .Industrial Designer: So they jump out .ProjectManager: Okay .Industrial Designer: And uh that's about it .Project Manager: That's nice . Then because we only have thirty minutes left , I will move on to the finance part , which is pretty exciting , to see if it's allpossible what we wanna do . And I can tell you that we're going to have a pretty hard time producing this for twelve and a half Euros .Marketing: {vocalsound}User Interface: Mm .Project Manager: If we see{disfmarker} I don't know if I've filled in correctly , so just correct me if you see uh something wrong . I counted two batteries . But maybe we can also use one . I don't know if it's possible .Marketing: Since itrechargeable .Project Manager: It's rechargeable . That's right .User Interface: Yeah we can u just uh {gap} {disfmarker}Project Manager: Okay . That's two Euros off . {vocalsound}User Interface: 'Kay .{vocalsound}Project Manager: We need the advanced chip . So there's not much to uh {vocalsound} to save there .Industrial Designer: Yep .Project Manager: {vocalsound} Here we have the single curves . Uh we cansee that the difference between uncurved and the single curved is one Euro . Um ,User Interface: Mm .Project Manager: I don't know , but I think the single curved is good for design , and also for the display to have aprominent place on the remote control .User Interface: Yeah .Project Manager: I think we have to keep that .Industrial Designer: Yes .User Interface: Yeah .Project Manager: Then we have the case materialsupplements . It's plastic . It's the cheapest one we need . So that's uh not much to save either . But then the biggest costs are the buttons . So maybe we really should try to discard some buttons to uh keep our costslow .User Interface: Okay .Project Manager: Because you have to {disfmarker} we will have to get the twelve and a half Euros at the end . Um ,User Interface: Yeah .Project Manager: so if we {disfmarker} Let's fir firstcount the buttons we have now .User Interface: Uh {disfmarker} Sixteen , I believe so .Project Manager: Because I {disfmarker} {vocalsound} Sixteen . Nah , that will be even more then . Eighteen Euros . So ,UserInterface: Uh seventeen . Uh with the help button .Project Manager: seventeen .Industrial Designer: {vocalsound}Marketing: Um {disfmarker}Project Manager: Okay , including the help ?Industrial Designer: Yep.Marketing: Damn .Project Manager: Yeah . Uh seventeen .User Interface: Yeah .Project Manager: I think we can uh discard the help and the mute button uh by pressing down volume long , or pressing down a anumber long .Marketing: {vocalsound}User Interface: {gap} .Industrial Designer: Yep .Project Manager: That saves us uh one Euro already . 'Cause then we have got fifteen I think ?Industrial Designer: Yeah.Marketing: Wouldn't {disfmarker}Project Manager: Fifteen buttons .Marketing: Yeah . No . That wouldn't be an option .Project Manager: And this is {disfmarker}Marketing: Uh , d I assume you'd count the volume andchannel thingies for two buttons each , right ?Project Manager: No those are one , I think .User Interface: Yeah . Where did uh {disfmarker} {vocalsound}Marketing: Well , think actually there're two buttons ,UserInterface: Uh , it's just one button .Marketing: aren't they ?User Interface: But , um {disfmarker} Yeah . There were uh two uh for one big button . But they are uh more expensive than the small ones . Uh , yeah . So{disfmarker}Project Manager: Yeah but th it's not stated in this files .User Interface: It's just a {gap} .Project Manager: So maybe we can we can even make one button with the volume and the channel in one , bypressingMarketing: Well I was thinking , maybe you could just integrate three of those numbers to one button .Project Manager: That's possibility as well .Marketing: That would cut the cost .Project Manager: So{disfmarker} And it's good for the design as well . So you can make {disfmarker} Uh let's see . If you make this {disfmarker} {vocalsound} Looks a bit like uh a cross . {vocalsound} Plus . Min .User Interface: But Idon't don't know if if it's cheaper .Project Manager: Uh s yeah channel .User Interface: So uh ,Project Manager: Yeah wUser Interface: we've still got four buttons , but just um {disfmarker} So {disfmarker}ProjectManager: Yeah th I think they count uh the materials .User Interface: You got uh not not a butt button itself , but uh on the um {disfmarker}Project Manager: Yeah on the chip there . Yeah .User Interface: Yeah . Onthe chip you've got still uh four uh four buttons .Industrial Designer: Yeah .Marketing: Mm-hmm .Project Manager: That's right . That's right .User Interface: So {disfmarker}Project Manager: But I think because wehave the advanced chipMarketing: Yeah .Project Manager: {vocalsound} we can just count this as one button .User Interface: Yeah , but {disfmarker}Marketing: {vocalsound} But , I think this really is four buttonsanyhow .Project Manager: But {disfmarker} No but I think {disfmarker}Industrial Designer: Yes .Project Manager: {vocalsound} Yeah . Maybe it is , but then it seems to me that it's impossible to get the twelve and ahalf Euros . Also the L_C_ display , I think it's , I think it's too expensive for the display we use .Marketing: Yes .Industrial Designer: Uh that's that's a big cost .Project Manager: I think they uh try tIndustrial Designer:If we leave out the display we can also save money on the chip .Project Manager: That's right , but what's the big advantage of our remote then ? {vocalsound}Marketing: Only the docking station , I guess .ProjectManager: Yeah .Industrial Designer: Which isn't the {disfmarker} the docking station isn't even in this c s schematic .Project Manager: No .Industrial Designer: So it's not even taken into the price .Project Manager:That's extra . {vocalsound} That's extra . That's right .Marketing: Maybe we should to a different supplier .Project Manager: {vocalsound} That's an option .Marketing: {vocalsound} {vocalsound} Yeah .ProjectManager: Poland . Something . {vocalsound} Polish supplier . Don't you think we can , if we can count this as v as one button , and integrate th uh these buttons in three , then we save a lot of money as well .IndustrialDesigner: {vocalsound} We we could save money on it . But would it make the remote more usable for elderly people ?User Interface: {gap} .Marketing: Yeah , that's what I'm wondering . {vocalsound}IndustrialDesigner: My mother can't even send send an S_M_S_ message .Project Manager: Yeah . That's a point .Industrial Designer: So {disfmarker}User Interface: {vocalsound} Are we gonna buy a um a remote control uhwhen you can uh use it ?Marketing: Um {disfmarker}User Interface: So um {disfmarker} Yeah . We m uh we must um stay below the um below um twelve uh fifty or {disfmarker} Can't uh go um {disfmarker}ProjectManager: Yep .Industrial Designer: Yeah .Project Manager: No .Marketing: Well , since the market research indicated that older people spend their money easier , more easy , maybe it's feasible to just put the price ofthe remote up a little . Especially since we have those nice features .User Interface: Nay .Project Manager: Yeah but uh we have to stick to the twelve and a half Euros . We don't have any more budget to develop it.User Interface: Is it impossible to {disfmarker}Industrial Designer: The margin will get too small . Yeah .Project Manager: Yeah . So {disfmarker}User Interface: But it is possible to make one uh for uh twelve fifty.Project Manager: It is . If you leave out the L_C_ display . And if you use less buttons . Say {disfmarker} Or you can take the single chip .User Interface: I don't think so .Marketing: It would be a be a pretty rigid one.User Interface: S Yeah . {vocalsound}Marketing: {vocalsound}User Interface: But , you can't use uh {disfmarker}Industrial Designer: Ten .Project Manager: There it is . {vocalsound}User Interface: Yeah .IndustrialDesigner: {vocalsound}Project Manager: But then w Good looking .User Interface: Uh , wi with n Oh , with uh attractive uh o options .Project Manager: Yeah .User Interface: So uh , you can stay uh below uh twelvefifty . So {disfmarker}Project Manager: I think it's uh difficult as well ,Marketing: Or bProject Manager: but {disfmarker}Marketing: Basically becoming a choice between like either a good remote and a higherproduction cost , or just any other remote control .Industrial Designer: No remote . {vocalsound}Project Manager: Or we can leave out the ten buttons and take one scroll wheel for the programme numbers . ThenwUser Interface: Scroll-wheel's one .Industrial Designer: {vocalsound} That's {disfmarker}Project Manager: Because then we save ten buttons .User Interface: No , it {disfmarker}Project Manager: Then we have fiveand one .User Interface: Yeah .Project Manager: And and see . If we have this one and we've got the advanced {disfmarker} W uh , we're getting close . {vocalsound}Industrial Designer: We're getting closer .UserInterface: Yeah . {vocalsound}Marketing: But how does scroll-wheel work here ?Project Manager: Then you will {disfmarker} Or maybe you can um scroll . If you scroll you will see the numbers on the L_C_D_ display .Until you've got the right number , then you push it .Industrial Designer: Yeah .Marketing: That would bring up the price of the scroll-wheel also . Integrated scroll-wheel push-button .Project Manager: Alright . It'sgotta scroll and push .User Interface: Mm .Project Manager: Okay but then you you can push uh some other button as well .Marketing: But {disfmarker} Yeah .Industrial Designer: You could just not scroll for a half asecond .Project Manager: Yeah . That's right . So if you scroll to a number and then you wait a half second , then it g turns to that channel .Industrial Designer: So you won't need a button .Marketing: I think that wouldbe like the end of our usability .Project Manager: {vocalsound} But it would definitely crop cost , a lot .User Interface: D yeah . {vocalsound}Industrial Designer: {vocalsound}Marketing: {vocalsound} Yeah , but{disfmarker} {vocalsound}Project Manager: And we need the battery . {vocalsound} And the regular chip is not possible ? It has to be advanced ?Industrial Designer: If you want to use an L_C_D_ screen you you needan advanced chip , yes .Project Manager: It has to be advanced . Yeah . Okay .User Interface: Hmm .Project Manager: And we can save a Euro by a flat design . That's an option we can {disfmarker}User Interface: Jaja .Industrial Designer: Yep .Project Manager: Then we're almost there .Industrial Designer: Yeah if you v could just leave out one more button .Project Manager: Yeah . So if we {disfmarker}User Interface: Yeah , orwe have to uh skip the subtitle uh button .Industrial Designer: Yeah .Project Manager: Yeah but I think that's {disfmarker} That is a big advantage ,User Interface: So {disfmarker} Yeah {disfmarker}Project Manager:if we're {disfmarker}User Interface: Yeah it's a big advantage .Project Manager: But {disfmarker}User Interface: But um , it's {disfmarker}Project Manager: Can we use {disfmarker} can't we integrate the teletext andthe subtitles in one button ?User Interface: Uh , yeah .Industrial Designer: I think so . Yeah .Project Manager: If you push it three times ?Marketing: Well , think it's pretty much the teletext subtitles areUser Interface:Yeah .Marketing: right now you just push the teletext button , go to page eight eight eight ,Project Manager: Yeah .User Interface: Yeah .Marketing: and teletext disappears . But the subtitles stay there .User Interface:{gap} {disfmarker} But if you push the teletext button twice {disfmarker}Industrial Designer: {vocalsound} What if you have to scroll to page eighty eight ? Eight hundred eighty eight . {vocalsound}Marketing: I thinkthat's the case on most {disfmarker}User Interface: It's uh {disfmarker} One m uh one b uh , a few buttons .Project Manager: Ah that's not really that {disfmarker}Marketing: Well , that could be just uh like the scrollto eight , click , scroll to eight , click , scroll to eight , click .Industrial Designer: Yeah . Okay .Marketing: But then again that would be d j just pretty much not an option for older people ,Industrial Designer: No.Marketing: who don't even know what a scroll-wheel is .User Interface: Yeah .Project Manager: No .Marketing: Holding a remote with {vocalsound} which they expect to have like ten buttons for the numbers one tozero .Industrial Designer: {vocalsound}Marketing: With only five buttons on it . And a scroll-wheel .Project Manager: I think if you make a good advertisement uh on television and in the in the guide , you can explainto the people how to use the scroll wheel . If you just make it real simple . Because it saves it saves a lot of money . And we can keep our L_C_D_ screen , which can provide extra information . How to use the scrollwheel . How to use the other bu buttons as subtitles .Marketing: True . True .User Interface: Hmm .Project Manager: And it's good for the innovative design as well . If you would erase these . Mm eraser ? And we putuh {disfmarker} Looks a bit odd maybe . {vocalsound}Marketing: That's a pretty big scroll wheel .Project Manager: That is {disfmarker} {vocalsound} Something like that .Marketing: {vocalsound}Project Manager:Then , yeah . We've got the scroll-wheel . One , two , three , four , five buttons , if we erase this one . And these are two buttons then .Industrial Designer: We could make two buttons out of that . And just um{disfmarker} If you press the volume button you can control the volume with the scroll-wheel .Project Manager: Yeah .Industrial Designer: So that would save two buttons . If you do the same for the channel .ProjectManager: Yeah . That's really a good good idea , I think . And it will make the use of the scroll wheel uh more obvious indeed .Industrial Designer: More obvious .Project Manager: So we make one for the volume , onefor the channel . Plus scroll . That's right .Industrial Designer: So if we {disfmarker}Project Manager: So we've got one , two , three . Yeah , we can leave the teletext in if we want . That's m that's better .UserInterface: Yeah .Industrial Designer: Yeah . So {disfmarker}Marketing: So this is five buttons .Industrial Designer: If we leave out all those buttons , perhaps you can go with the flat flat case . And make it smalleroverall .Project Manager: Y yeah .Industrial Designer: So if you put the the volume and channel buttons on the same height as the on-off button , the screen right behi under that , than the scroll buttonProject Manager:"}
+{"doc_id":"doc_50","qid":"","text":"Grad A: OK , we 're on .Professor B: Yeah .Grad A: So , I think this is gonna be a pretty short meeting because I have four agenda items , three of them were requested by Jane who is not gonna be at the meetingtoday .  So . {vocalsound} The uh first was transcription status . Does anyone besides Jane know what the transcription status is ?PhD F: Um , sort of , I do , peripherally .PhD C: Is that English ?PhD F: Um{disfmarker} Well first of all with IBM I got a note from Brian yesterday saying that they finally made the tape for the thing that we sent them a {pause} week or week and a half agoPhD D: That 's our system .Grad A:Ugh !PhD F: and that it 's gone out to the transcribers and hopefully next week we 'll have the transcription back from that .Grad A: C can I have a pen ?PhD F: Um {disfmarker} Jane seems to be um moving right alongon the transcriptions from the ICSI side . She 's assigned , I think probably five or six m more meetings .PhD C: Yeah , I think we 're up to MR thirteen or something .PhD D: Mmm .PhD F: Yeah , so um , I guess she 'shired some new transcribersPhD D: Speaking {disfmarker}Grad E: Which meetings is she transcribing ?PhD F: and {disfmarker} Um well we 've {disfmarker} we 've run out of E D Us because a certain number of themare um , sort of awaiting to go to IBM .Grad E: OK .PhD C: For IBM , yeah .PhD D: Hmm .Grad E: OK .PhD F: and the rest are in process being transcribed uh here .PhD D: So does she have transcribers right now whoare basically sitting idle because there 's no data back from IBMGrad E: So we 're doing some in parallel .Grad A: Yep .PhD F: No .Grad A: No , no .PhD F: Oh no no .Grad A: We haven't done that process .PhD D: no?PhD F: No . We 're not waiting on them .Grad A: So . They ' r they 're doing the full transcription process .PhD D: Oh . Oh , OK .Grad E: So they 're just doing their own thing until {disfmarker}PhD F: Yeah .PhD D:Because I {disfmarker} I need to ask Jane whether it 's {disfmarker} it would be OK for her {disfmarker} um , s some of her people to transcribe uh some of the initial data we got from the SmartKom data collection ,which is these short like five or seven minute sessions .PhD F: We 're doing it in parallel , yeah .Grad E: OK .PhD C: Yep .PhD D: Um and we want it {disfmarker} You know , we need {disfmarker} The {disfmarker}Again , we {disfmarker} we have a similar uh logistic set - up where we are supposed to send the data to MunichGrad A: Right .PhD D: and get it transcribed and get it back . But to get going we would like some of thedata transcribed right away so we can get started .Grad A: Yep , sounds familiar .PhD D: And so um I wanted to ask Jane if {disfmarker} if uh , you know , maybe one of their transcribers could {disfmarker} could do{disfmarker} I mean since these are very short , that should really be uh ,Professor B: Mm - hmm .PhD D: um {disfmarker} It 's {disfmarker}PhD C: There 's only two channels . So it 's only {disfmarker} Yeah .PhD D:Yeah .PhD C: As the synthesis doesn't have to be transcribed I think .PhD D: It 's only two {disfmarker} Right , sPhD C: So .PhD D: Yeah . So {disfmarker} So it 's basically one channel to transcribe . And it 's{disfmarker} One session is only uh like seven {disfmarker}Professor B: So that should have ma many fewer {disfmarker} And it 's also not uh a bunch of interruptions with people and all that ,PhD D: Right . And someof it is read speech , so we could give them the {disfmarker} the thing that they 're readingProfessor B: right ? So . Yeah .PhD D: and they just may {disfmarker}Grad A: Make sure it 's right .PhD C: Yep .PhD D: Andso um , um , I guess since she 's {disfmarker} I was gonna ask her but since she 's not around I {disfmarker} maybe I 'll {disfmarker}Professor B: Yeah , well it certainly seems {disfmarker}PhD D: Uh if {disfmarker}if that 's OK with you to {disfmarker} to , you know , get that stuff uh {disfmarker} to ask her for that , then I 'll do that .Professor B: Yeah . Yeah , if we 're held up on this other stuff a little bit in order to encompassthat , that 's OK because I I um , I mean I still have high hopes that the that the IBM pipeline 'll work out for us , so it 's {disfmarker}PhD D: Yeah . OK , yeah .Professor B: Yeah .PhD D: Alrighty .PhD F: Oh , yeah , andalso related to the transcription stuff , so I 've been trying to keep a web page uh up to date f showing what the current status is of the trans of all the things we 've collected and what stage each meeting is in , in termsof whether it 's {disfmarker}Grad A: Can you mail that out to the list ?PhD F: Mm - hmm , yeah I will . I {disfmarker} That 's the thing that I sent out just to foo people saying can you update these pagesGrad A: Oh ,OK , OK .PhD F: and so that 's where I 'm putting it but I 'll {disfmarker} I 'll send it out to the list telling people to look at it .Grad A: Yeah , I haven't done that . So . I have lots of stuff to add that 's just in my owndirectory .PhD F: Yeah .Grad A: I 'll try to get to that . OK . So Jane also wanted to talk about participant approval , but I don't really think there 's much to talk about . I 'm just gonna do it . And uh , if anyone objectstoo much then they can do it instead .Professor B: You are going to {disfmarker}Grad A: I 'm gonna send out to the participants , uh , with links to web pages which contain the transcripts and allow them to {pause}suggest edits . And then bleep them out .Professor B: OK .Grad A: For the ones that we have . Um {disfmarker}PhD C: So but it 's just transcripts , not the {disfmarker} not the audio ?Grad A: Nope , they 'll haveaccess to the audio also .PhD C: OK , yeah , yep . Ah .Grad A: I mean that 's my intention . Because the transcripts might not be right .PhD C: Yeah .PhD F: So {disfmarker}Grad A: So you want people to be able tolisten to them .PhD C: Yeah .PhD F: So , um the audio that they 're gonna have access to , will that be the uncompressed version ? Or will you have scripts that like uncompress the various pieces and {disfmarker}GradA: Oh , that 's a good point . That 's a good point . Yeah , it 's {disfmarker} it 's probably going to have to be the uncompressed versions because , uh , uh , it takes too long to do random access decompression .PhD F:Hmm . Yeah , I was just wondering because we 're uh running out of the un - backed - up disk space onGrad A: Well , that was the other point .PhD F: Oh , was that another one ?Grad A: Yep , that 's another agendaitem .PhD F: OK . I 'll wait .Grad A: So , uh {disfmarker} But that is a good point so we 'll get to that , too . Um , DARPA demo status , not much to say . The back - end stuff is working out fine . It 's more or less readyto go . I 've added some stuff that uh indes indexes by the meeting type MR , EDU , et cetera and also by the user ID . So that the front - end can then do filtering based on that as well . Uh {disfmarker} The back - endis uh , going more slowly as I s I think I said before just cuz I 'm not much of a Tcl - TK programmer . And uh Dave Gelbart says he 's a little too busy . So I think Don and I are gonna work on that and {disfmarker} andyou and I can just talk about it off - line more .Grad E: Right .Grad A: But uh {pause} the back - end was pretty smooth .Professor B: OhGrad A: So I think , we 'll have something . It may not be as {disfmarker} Aspretty as we might like , but we 'll have something .Professor B: I wondered whe when we would reach Dave 's saturation point . He 's sort of been {disfmarker} been volunteering for everythingGrad A: Yeah .ProfessorB: and {pause} and uh {disfmarker}PhD D: Mm - hmm .Professor B: O K . Finally said he was too busy . I guess we reached it .Grad A: Yeah , he {disfmarker} he actually {disfmarker} he volunteered but then he sthen he retracted it . So . Oh well . Um {disfmarker}Grad E: And , also um , I was just showing Andreas , I got um an X Waves kind of display , and I don't know how much more we can do with it {disfmarker} with likethe prosodic stuff where we have like stylized pitches and signals and the transcripts on the bottomGrad A: Oh , cool .Grad E: so , right now it 's just an X Waves and then you have three windows but I don't know , itlooked pretty nice and I 'm sure it {disfmarker} think it has potential for a little something ,Grad A: For a demo ?Grad E: yeah , for a demo .Grad A: Yeah , sounds good .Grad E: So {disfmarker}Professor B: OK , soagain , the issue is {disfmarker} For July , the issue 's gonna be what can we fit into a Windows machine , uh , and so on , but {disfmarker}Grad E: Oh . OK .Grad A: So it might just be slides .Grad E: Yeah , OK .PhD C:Well {disfmarker} {pause} Yeah .Grad E: Well , we 'll see , um {disfmarker}PhD C: I 've been putting together uh Transcriber things for Windows so i And I installed it on Dave Gelbart 's PC and it worked just fine . Sohopefully that will work .PhD D: Really ? So is that {disfmarker} Because there 's some people um {disfmarker} It would be cool if we could uh get that to work uh at {disfmarker} at SRIPhD C: Yeah . Yep .PhD D:because the um {disfmarker}Grad A: Well Transcriber is Tcl - TK , very generic with Snack ,PhD D: we have m m We have more Windows machines to run the {disfmarker}PhD C: Yeah .Grad A: so basically anythingyou can get Snack to run on , it will work .PhD D: Right .PhD C: Yeah . Yeah but {disfmarker} But the problem is the version Transcriber works with , the Snack version , is one point six whatever and that 's notanymore supported . It 's not on {disfmarker} on the web page anymore . But I just wrote an email to {disfmarker} to the author of {disfmarker} to the Snack author and he sent me to one point six whateverlibraryGrad A: Well I thought it was packaged with Transcriber ?PhD C: and so it works . Yeah , but then you can't add our patches and then the {disfmarker} the new version is {disfmarker} is totally differentGrad A:Oh .PhD C: a and in {disfmarker} yeah , in terms of {disfmarker} of the source code .Grad A: Ah .PhD C: You {disfmarker} you can't find the Tcl files anymore . It 's some whatever wrapped thingPhD D: Mmm .PhD C:and you can't {disfmarker} you can't access that so you have to install {disfmarker} First install Tcl then install Snack and then install the Transcriber thing and then do the patches .Grad A: Patch . Ugh !PhD D: I{disfmarker} I wonder if {disfmarker} if we should contribute our changes back to the authors so that they maintain those changes along {disfmarker}PhD C: Yeah . Yeah .Grad A: We have {disfmarker} Yeah b it 'sjust hasn't made it into the release yet .PhD D: We have ? Oh . Oh , OK .PhD F: So did you um put the uh {disfmarker} {vocalsound} the NT version out on the uh Meeting Recorder page ? Or {disfmarker}PhD C: No , Ihaven't done that yet . I 'm {disfmarker} oh Nope . But I definitely will do that .Professor B: So , can some of the stuff that Don 's talking about somehow fit into this Uh , mean you just have a set of numbers that areassociated with the {disfmarker}Grad E: Yeah .PhD C: So {disfmarker}Grad E: Yeah , it 's basically ASCII files or binary files , whatever representation . Just three different {disfmarker} It 's a waveform and just astylized pitch vector basically so it 's {disfmarker}PhD D: So {disfmarker} So {disfmarker} Well {disfmarker}Grad E: I mean we could do it in Matl - {comment} I mean you could do it in a number of different places I'm sure .PhD D: But {disfmarker} But it would be cool if the Transcriber interface had like another window for the {disfmarker} you know , maybe above the waveform where it would show some arbitrary valuedfunction that is {disfmarker} that is you know time synchron ti ti time synchronous with the wavform .PhD C: Yep .Grad E: Yeah .Professor B: Yes .Grad E: Yeah , that 'd be very cool .Grad A: It 'd be easy enough toadd that . Again it 's {disfmarker} it 's {pause} It 's more Tcl - TGrad E: Yeah .Grad A: So someone who 's familiar with Tcl - TK has to do it ,PhD D: Right .Grad A: but uh , it wouldn't be hard to do .PhD D: Right . Butit would almost be like having another waveform displayed .Grad A: Yep .PhD C: Yep .PhD D: SGrad E: Mm - hmm .PhD D: Right .PhD C: Yeah . Yeah , maybe we could l look into that .Grad E: Yeah .Grad A: But it{disfmarker} it seems to me that I cPhD C: And {disfmarker}Grad A: It doesn't seem like having that real time is that necessary . So yo It seems to me you could do images .Grad E: Um {pause} What do you mean byreal time ? Do you mean like {disfmarker}PhD F: Like being able to scroll through it and stuff for the demo .Grad E: OK .Grad A: Yeah , jus Yeah .PhD F: Is that what you mean ?Grad A: It just seems to me jusGrad E:It would be cool to see it {disfmarker}PhD F: Yeah .Grad E: It would be cool like to see {disfmarker} to hear it and see it ,PhD C: And to hear it . Yeah . Yeah .Grad E: and see the pitch contours also .Grad A: Sure , butI don't think {disfmarker} I {disfmarker} You can do all that just statically inPhD C: Yeah .Grad E: I think it would lose {disfmarker} Yeah , I mean yGrad A: Just record the audio clip and show an image and I think that's {disfmarker}Grad E: Right , right . I just thought if you meant slides I thought you meant like just {pause} like {pause} um view graphs or something .Professor B: You know , wh Yeah . So . Uh , no , we 're talkingabout on the computer and {disfmarker} and um , I think when we were talking about this before we had littl this little demo meeting ,Grad E: Right .Professor B: we sort of set up a range of different degrees ofliveness that you could have and , {vocalsound} the more live , the better , but uh , given the crunch of time , we may have to retreat from it to some extent . So I think {disfmarker} {pause} For a lot of reasons , Ithink it would be very nice to have this Transcriber interface be able to show some other interesting signal along with itPhD D: Mm - hmm .Professor B: so it 'd be a good thing to get in there . But , um {disfmarker}Anyway , jus just looking for ways that we could actually show what you 're doing , uh , in {disfmarker} {pause} to people .Grad E: Mm - hmm .Professor B: Cuz a lot of this stuff , particularly for Communicator , uhcertainly a significant chunk of the things that we waved our arms about th originally had t had to do with prosodics It 'd be nice to show that we can actually get them and see them .PhD D: Mmm .Grad E: Mm - hmm.Grad A: And the last i item on the agenda is disk issues yet again . So , we 're doing OK on backed up . We 're {disfmarker} We 're only about thirty percent on the second disk . So , uh , we have a little bit of timebefore that becomes critical , but we are like ninety five percent , ninety eight percent on the scratch disks for the expanded meetings .PhD C: Yeah .Grad A: And , my original intention was like we would just deletethem as we needed more space , but unfortunately we 're in the position where we have to deal with all the meeting data {pause} all at once , in a lot of different ways .PhD C: Yeah .PhD F: Oh there 's a lot oftranscribers , too .Grad A: Yeah , there 're a lot of transcribers ,PhD C: Yeah .Grad A: so all of those need to be expanded , and then people are doing chunking and I want to do uh , uh , uh , the permission forms ,PhDF: Mm - hmm .PhD C: AnPhD F: Right .Grad A: so I want those to be live , so there 's a lot of data that has to be around . Um {disfmarker} And Jane was gonna talk to , uh , Dave Johnson about it . One of the things Iwas thinking is we {disfmarker} we just got these hundred {disfmarker} alright , excuse me {disfmarker} ten , uh SPARC - Blade SUN - Blades .Professor B: Did they come in ?PhD F: SUN - Blades .PhD D: Yeah .PhDF: Yeah . They came in the other day .Grad A: They came in but they 're not set up yet .Professor B: Oh .Grad A: And so it seems to me we could hang scratch disk on those {pause} because they 'll be in the machineroom , they 'll be on the fast connection to the rest of the machines . And if we just need un - backed - up space , we could just hang disks off them .PhD F: Well , is there {disfmarker} Why not just hang them off ofAbbott , is there a {disfmarker}Grad A: Because there 's no more room in the disk racks on Abbott .Professor B: Yeah .PhD F: Ah .Professor B: Weren't we gonna get {disfmarker}PhD F: Ah , I see .Professor B: Well ,maybe it should get another rack .PhD D: But you still need to store the disks somehow .Grad A: Well , but the SUN - Blades have spare drive bays .PhD D: So {disfmarker}Grad A: Just put them in .PhD F: You can puttwo {disfmarker}PhD D: Oh you mean you put them inside the pizza boxes for the {disfmarker}Grad A: Sure .PhD C: Internal . Yeah .Grad A: Yeah . Cuz the SUN {disfmarker} uh , these SUN - Blades take commodityhard drives .PhD D: Oh .Grad A: So you can just go out and buy a PC hard drive and stick it in .PhD D: Mmm .Professor B: But if Abbott is going to be our disk server it {disfmarker} it {disfmarker} file server{comment} it seems like we would want to get it , uh , a second disk rack or something .PhD D: Plus we 're talking about buying a second dis uh , file server .Grad A: Well , I mean there are lots of long term solutions .What I 'm looking for is where do we s expand the next meeting ?PhD C: Yep .PhD D: I see {vocalsound} {pause} Oh , I see .Professor B: Well , for the next meeting you might be out of luck with those ten , mightn'tyou ? Uh , you know Dave Johnson is gone for , like , ten days ,Grad A: Oh , I didn't know he had left already .Professor B: Uh , well , tonight .Grad A: Oh , oh well .PhD D: You mean he won't set up the {disfmarker}mmm .Professor B: I don't know .Grad E: How much space do you need for these ?Professor B: I don't know what his schedule is .Grad A: You {disfmarker} we need about a gig per meeting .Professor B: I 'm justsaying he 's gone .PhD C: Yep .PhD F: I {disfmarker} I thiGrad E: I have um {disfmarker} I have an eighteen gig drive hanging off of my computer .Grad A: Alright ! What 's your computer 's name ?Grad E: So{disfmarker} Uh , Samosa .Professor B: You had an eighteen gigabyte drive .Grad E: Yeah , I had . Well it 's about {disfmarker} I think there 's about twelve gig left .Grad A: So it {disfmarker} And you have an Xdrives installed ? OK .Grad E: Yeah . So , I didn't realize it was so critical .Grad A: And you 're o you 're offering ?Grad E: I mean I 'm not doing anything on it right now until I get new meetings to transcri or that are{disfmarker} new transcriptions coming in I really can't do anything .Grad A: OK .Grad E: Um not that I can't do anything , I jusPhD F: I {disfmarker} I jus I just gave Thilo some {disfmarker} about ten gigs , the lastten gigs of space that there was on {disfmarker} on uh Abbott . Uh {disfmarker} And uh {disfmarker} So but that {disfmarker} But {disfmarker}Grad A: Which one was that , X {pause} G ? X {pause} G ?PhD C: XG.PhD F: XG .Grad A: OK .PhD D: XG ?PhD F: Yeah .PhD D: That 's also where we store the {disfmarker} The uh Hub - five training set waveforms ,PhD C: Oops .Grad A: But that won't be getting any bigger ,PhD D:right ?PhD F: No .Grad A: will it ?PhD F: I don't think that 's on XG .PhD D: Right .PhD F: On XG is only Carmen and Du - and Stephane 's disk .PhD C: It 's {disfmarker} Yeah .PhD D: But I 've also been storing{disfmarker} I 've been storing the feature files there and I guess I can s start deleting some because we now know what the best features areGrad E: Well {disfmarker}PhD D: and we won't be using the old onesanymore .Grad E: I have a lot of space , though .PhD F: Yeah , I do I don't think it was on XG .PhD D: Uh {disfmarker} Oh thats XA {disfmarker} Oh that 's X {disfmarker}PhD C: Isn't that XH ?PhD F: I thGrad A: Not{disfmarker} not for long .Grad E: I have a lot of space and it 's not {disfmarker} it 's n There 's very little uh {disfmarker} Yeah not for long .PhD D: Maybe I 'm confuGrad E: But I mean it 's not going fPhD D: Oh no I'm sorry .Grad E: It 's not being used often at all .PhD C: But I 'm using XH {disfmarker} H , too .Grad A: Yeah , it 's probably {disfmarker} Probably only about four gig is on X {disfmarker} on your X drive ,PhD C: So.PhD D: Oh OK .Grad A: but we 'll definitely take it up if you {disfmarker}Grad E: I thPhD D: I think you 're right . It 's XH and D {disfmarker}Grad E: I think it 's about four or five gig cuz I have four meetings on there,PhD D: The b I 'm also using DG I got that confused .Grad E: three or four meetings .PhD D: OK .Grad A: Great .Grad E: So .Grad A: OK , so that will get us through the next couple days .Professor B: We need{disfmarker} We need another gigaquad .Grad A: Yep . At least .Professor B: There should {disfmarker} I d There should just be a b I should have a button .Grad A: The \" more disk space \" button ?Professor B: Justpress {disfmarker} Press each meeting saying \" we need more disk space \" {vocalsound} \" this week \" .Grad A: Yep .Professor B: Skip the rest of the conversation .PhD F: Well we 've collected so far something like uhsixty - five meetings .Professor B: And {disfmarker} And how much does each meeting take ?PhD F: And it 's about a gig uncompressed .PhD C: It 's {disfmarker} It 's a little bit more as I usually don't {disfmarker} do"}
+{"doc_id":"doc_51","qid":"","text":"Project Manager: Okay um , welcome to our detailed design meeting . I'm pretty excited . Let's start it's approximately fifteen forty or something like that . Okay um the agenda {disfmarker} we're gonna do an openingand then um I'll talk about the minutes from the last meeting , what we d discussed um , then we'll have the prototype presentation and a look at the evaluation criteria . We'll look at the finances and finally a{disfmarker} do a production evaluation and close . So , starting off with the um last {disfmarker} the last one , oh I don't have it here um , but we talked about energy , we're gonna use a kinetic battery um , we wantto use a simple chip , because we're not gonna need a a shuffle um , we're gonna need a scroll um , we're choosing a latex case w in fruity colours that's curved and um we're using push buttons uh with a supplement ofan on-screen menu . And it sounded like we had set um like eight or nine buttons , including five pre-set channels . Okay ? Let's do the look and feel design presentation first .User Interface: Right , do you wanna start?Industrial Designer: Right , well we made three different prototypes and I guess we'll start with with this one . Um we have our colours not {disfmarker} are not fixed , but this is the general shape . Um it's{disfmarker} you hold it sort of either like like this in your left hand or you switch it over and uh it's easily adaptable to either hand . You can push the buttons with your thumb like a mobile phone , or you can pushthem with your index finger of your other hand , or even {disfmarker} I mean there's a whole variety , you can hold it like this and press it with your same index finger . Uh we have the on off button at the tip , veryvisible , very big . We have our up and down buttons , which are also gonna be our channel selectors , and we have our little menu button here . If you push {disfmarker} if you're just pushing these normally , they'rethe menu buttons , if {disfmarker} uh the volume buttons rather . If you press select once , they become channel changing buttons . If we press select three times , the menu with the other features and pro possiblyalso with your T_V_ channel choices shows up , and you have your five presets down here . Um if people wanna grab hold of that , see how it feels in your hand . That's our number one prototype . Um do you wannapresent the potato ,Project Manager: {gap} like a little lightning in it .Industrial Designer: or shall I present the Martian ?User Interface: Okay ,Project Manager: The little lightning bolt in it , very cute .User Interface:um {disfmarker} What {disfmarker} We call that one the rhombus ,Marketing: I could {disfmarker}Project Manager: The v the rhombus rhombus ?User Interface: uh the rhombus .Industrial Designer: That's therhombus , yep .User Interface: Um this one is known as the potato , uh it'sIndustrial Designer: {vocalsound}User Interface: it's a {vocalsound}Marketing: {vocalsound}User Interface: how can I present it ? It's anergonomic shape , so it it fits in your hand nicely . Um it's designed to be used either in your left hand or or in your right hand . Um I've gone here just for just for four buttons on this one . Um the two blue buttons hereare for adjusting the volume . So you've got volume up and volume down on the other side here . Um the red ones are for uh changing channels , channel up and channel down and that's um moves between yourfavourite channels that you've selected . Uh this middle button here brings up the on-screen menu and when you're working in the on-screen menu you use the other four buttons to navigate around the menu systemand the middle button uh to select and that's basically it , that's the potato .Project Manager: Um on , off ?User Interface: Uh that would be one of your channels , basically ,Project Manager: Okay .User Interface: solike channel zero would be t to switch switch the machine off ,Project Manager: Yeah we turn it off .User Interface: yeah .Marketing: Could the middle button of the on-screen menu function as a power button ?UserInterface: Um not really ,Industrial Designer: {gap}User Interface: it would make it hard to turn the machine off , to turn your T_V_ off .Project Manager: Mm-hmm .Industrial Designer: If you pressed and held itmaybe .User Interface: Yeah yeah , that that'd be one way of doing it , yeah . That'd work , yeah .Marketing: If you like held it down , that would be on off .Industrial Designer: Yeah . On off , that's a possibility , yeah.Project Manager: Okay .Industrial Designer: And then finally we have um the Martian or the pear , either way . Um it's a bit different , just a little bit more of a creative feel . Uh you have the on off toggle stem on thetop . {vocalsound} We have the five preset seeds {vocalsound} .Project Manager: {vocalsound}Industrial Designer: {vocalsound} And then you have on the sides to make it a little bit more three-dimensional , youhave your channel changing , volume changing buttons and your menu button right here in the middle . So , that's for your consideration as well , plus it's an interesting talking point to have standing up .User Interface:Let's pass .Industrial Designer: We figured it could stand up like this on your table , if you wanted it to , if I made the bot the bottom flat . {vocalsound}Project Manager: Uh-huh . {vocalsound}Marketing: Sorry , what'sthe yellow one in the middle ,Industrial Designer: {vocalsound} Uh the menu select button . {vocalsound}Marketing: I forgot .Project Manager: {gap} Very interesting . {vocalsound} I think that one's my favourite.Industrial Designer: {vocalsound}User Interface: So that's {disfmarker} So that's our three prototypes . Um basically , in terms of making decisions , what we'd need to do is first of all decide on a form uh which of thethree different shapes we want , then decide what kind of button layout we want , how many buttons , and then to choose what colours we want to make the buttons and if we wanna put any text on the device , likelabel on the buttons or put a brand name or or a logo on it or whatever .Marketing: {vocalsound}Project Manager: Mm-hmm .Industrial Designer: We were we were thinking that normally we'd go for fruity colours , butmaybe we're also thinking that your sort of middle aged man , for an example customer , might not want a fruity coloured remote , so m maybe we'd have one version that's a bit toned down ,Project Manager: Mm 'kay.Industrial Designer: maybe with with less contrasts on it . Yeah , something still a little bright to make it hard to lose , but {disfmarker}User Interface: Would {disfmarker} Yeah , but we don't want it to look like a kids'toy {gap} .Industrial Designer: {gap} yeah .Project Manager: Now that was one thing that we brought up over email . I don't know if you picked up your email , but um the f the um feature that we considered for it notgetting lost .User Interface: Yeah .Industrial Designer: Right . Well we were we were talking about that a little bit when we got that email and we think that each of these are so distinctive , that it {disfmarker} it's notjust like another piece of technology around your house . It's gonna be somewhere that it can be seen .Project Manager: Mm-hmm .Industrial Designer: So we're we're not thinking that it's gonna be as critical to havethe loss {disfmarker}Marketing: But if it's like under covers or like in a couch you still can't see it .Project Manager: It's really {disfmarker} Would it be very difficult to um just have an external device that like I dunno ,you tape to your to your T_V_ um that when you press it you ha a little light beep goes off ? Do you think that would be conceptually possible ?Industrial Designer: I think {disfmarker}User Interface: I think it would bedifficult technologically ,Project Manager: Mm-hmm .User Interface: because if your if your remote's lost it's probably under the settee and in that case you can't you can't send an infrared sing signal to it to find it,Project Manager: Mm .User Interface: s so it's {disfmarker} I'm not quite sure how it would workProject Manager: That's true , mm 'kay .Industrial Designer: Yeah .User Interface: and then I wonder if it's if it's morejust a gimmick then anything else . Uh I mean ho how many times do you really , seriously lose your remote control and would would a device like that actually help you to find it ?Industrial Designer: There might besomething that you can do in the circuit board and the chip to make it make a noise or something , but it would take a lot more development than we have this afternoon .Project Manager: Mm-hmm . Okay , that's afair evaluation . Getting lost . Um we {disfmarker} so we do we've decided not to worry about that for now . Okay 'cause {disfmarker} well , the designs are very bright , so you're right , they're gonna stick out , butum {disfmarker}Industrial Designer: So d do people have a preference as far as feel and functionality ? Um .Marketing: I feel like this is simil {vocalsound} or it's sort of what already exists so if we're trying to think ofsomething sort of like new and fun , even though this is like what you're init I'm initially drawn to , just 'cause it's like comfortable and like not different . I sort of like this one , like I I don't know why , it just it's likesmall but still sort of like cute looking , I dunno . But I also like the b the side buttons on that one , like I think that's kind of neat .Project Manager: Mm-hmm .Marketing: But I dunno how much any of this has to dowith the fashionable , sort of cool looking thing that we also need to focus on {vocalsound} .Project Manager: Could we maybe have like an extra button on the top for on off ? So then w we wouldn't have to have like adual function ?Industrial Designer: Mm yeah ,User Interface: Yeah , it's possible , yeah , yeah .Marketing: Ah ,Industrial Designer: that's good , that's good .Marketing: there we go .Industrial Designer: Here , stick it on.User Interface: {vocalsound} Put an extra the button on {gap} {vocalsound} .Marketing: {vocalsound}Project Manager: Sure .Industrial Designer: {vocalsound}Project Manager: Um uh why don't we do a productevaluation using your criteria , if you've developed some ?Marketing: Well do we w {vocalsound} like I think we're supposed to have one that we do it for .Project Manager: Oh okay . Okay .Marketing: That was{vocalsound} {disfmarker}Industrial Designer: So where {disfmarker}Marketing: I was a little vague on what exactly I'm supposed to do , but let me {disfmarker} I have to like write something on the whiteboard , so.Project Manager: Okay . Do you need thisIndustrial Designer: {vocalsound}Project Manager: or just write on the white board ?Marketing: No , I actually don't have like a PowerPointy thing ,Project Manager: Okay.Industrial Designer: Right .Marketing: 'cause I think it would be redundant .Industrial Designer: Okay .Marketing: I dunno .Project Manager: It's kind of like uh like a joystick kind of thing ,Industrial Designer:{vocalsound} Ooh .Project Manager: you know ,User Interface: {vocalsound} Cool .Project Manager: kinda push it {vocalsound} .Industrial Designer: {vocalsound} Hey .Project Manager: 'Kay .Industrial Designer:{vocalsound}Project Manager: Maybe a little smaller than that {gap} .Industrial Designer: No , I kinda like it .User Interface: {vocalsound}Industrial Designer: That's hard to miss .User Interface: It makes look morefruity as well .Project Manager: Oh it does ,Industrial Designer: {vocalsound}Project Manager: it's kind of like {disfmarker}Industrial Designer: {vocalsound} {vocalsound} {gap} {vocalsound}User Interface: It's like adeformed foot , I dunno . {vocalsound}Project Manager: There it could have a stem like that , 'cause I do l kind of like the stem .Industrial Designer: {vocalsound} Like {disfmarker} {vocalsound}User Interface: Yeah.Industrial Designer: {vocalsound}Project Manager: Yeah . It almost helps you ge keep a grip too , 'cause it goes in between fingers {gap} .Industrial Designer: Yeah .User Interface: Yeah .Industrial Designer:Interesting .Project Manager: I like this one .Industrial Designer: Okay ,Project Manager: Variety of colours are nice .Industrial Designer: is that where people are leaning then , the potato ? I like the idea of the{disfmarker}Project Manager: I think I'm leaning towards the potato .Industrial Designer: I mean that's really gotten the simplicity of the buttons down , that one .Project Manager: Mm-hmm . I am worried about likeum using a menu . Um in that {disfmarker} like i withing menus there are submenus , and so how do you get back to the main menu ?Industrial Designer: Hmm .User Interface: Yeah .Industrial Designer: Well that{disfmarker} on the iPod , for example , you just {disfmarker} every time you wanna go back you hit the menu button again and it brings you back one level .Project Manager: But that has a menu button separatefrom a select button , whereas if this one's both the menu and the select button ?User Interface: Yeah .Industrial Designer: Good point .User Interface: This is , it's {disfmarker} the up and down buttons are used forscrolling up and down for a list of choices .Project Manager: Okay .User Interface: You find the choice that you want and you press uh you press the right button uh .Project Manager: {vocalsound} Could these be usedfor going to submenusMarketing: {gap}User Interface: Yeah . Yeah , so they're used for going into and out of your submenus , yeah .Project Manager: or {disfmarker}Industrial Designer: {vocalsound} Maybe{disfmarker} yeah ,Project Manager: Okay .Industrial Designer: maybe it can be one of those , if you press down and hold for two seconds , then it brings you back one level or something .Project Manager: Mm-hmm .Okay . Well , as long as we have that in mind as we're designing it still , mm 'kay .Marketing: Okay , so which one are we sort of roughly looking at to address whether or not it meets our s um necessities , the yellowyone is that {disfmarker}Industrial Designer: The potato ? Are we leaning towards the potato ?User Interface: Potato .Project Manager: {vocalsound} I think so .Marketing: Okay , well we can obviously change it afterwe go through each different one .Industrial Designer: Okay .Marketing: So basically what we need to do is some of the things that we've talked about before we need to make sure that that remote actually doesconform to the things that we said it was going to .Industrial Designer: Okay .Marketing: So what we sort of wanna do is that we each need to separately rank each of the following things and then I'll tabulate anaverage just to make sure that it does meet that .Industrial Designer: Okay .Marketing: So we'll just go through them one at a time and we'll just go around and each of you can tell me on a scale of one to seven withone being really extremely true and seven being not true at all , or false , if the remote that we've created conforms to the following criteria . So we can do this one first . First we wanna know if it meets the fancy lookand feel um objective . So like in my opinion the {vocalsound} {disfmarker} for now at least , the yellow one is probably somewhere in the middle so I'm gonna say it's like a three . That's just my opinion .IndustrialDesigner: Yeah .Marketing: What does {vocalsound} each of you {disfmarker}Project Manager: I I kind of think it's it's unique enough that I'd give it a one or a two .Marketing: Okay , well give it a number ,ProjectManager: Okay .Marketing: sorry {vocalsound} .Project Manager: I will give it a one .Industrial Designer: Um I dunno if it's it's creative . I dunno if fancy is the word I would use . I dunno if any of them are fancy in{disfmarker} I'd say two , because c unique .Marketing: Okay .User Interface: I'll go for two .Marketing: And two , awesome . Alright , and same sort of scale for functionality , is it functional ? I think it's extremelyfunctional , I'm gonna give it a one .Industrial Designer: Yeah , one .Marketing: One ?User Interface: I think it's it's functional , it's also pretty basic , so I'll give it a two .Marketing: Okay .Project Manager: Umfunctional . I think it'll get everything done , I think it might be a little confusing at first , um , I don't know if that's gonna be a later one .Marketing: Okay . Well there's some other ones , I will address that ,ProjectManager: Okay , then I'm gonna give it a two .Marketing: yeah . Awesome , okay . Um we wanna know next if it's technologically innovative .Project Manager: Did you give a functional {gap} ?Marketing: Yeah , shesaid it was one .Project Manager: Okay .Marketing: Um is it technologically innovative ? Mm . Not really , I mean not so much , 'cause we we don't have the L_C_D_ screen , we don't have fancy chip . Other than what itlooks like , I dunno if it's really {disfmarker}Project Manager: Well , the kinetic battery .Industrial Designer: {vocalsound} In the battery , that's it .Marketing: I kinetic battery is a big one , so .Industrial Designer: Howmany people would notice that , though ?Marketing: Mm . But it {disfmarker}Project Manager: But they'll notice it after like a year ,Marketing: but we know it's there .Project Manager: they'll be like hey , I have neverchanged the battery .Marketing: And if it's made of like latex , that whole idea , that's pretty cool .Project Manager: Mm . Just the material .Marketing: I'll give it a three . 'Cause it {disfmarker} we could've picked a lotof features that would've made it really {disfmarker}Industrial Designer: Yeah . I I would say that it's {disfmarker} Yeah , like fancy versus creative it's it's different . But does that equal innovative ? I dunno . I'll give ita three .Marketing: Alright . Everyone else ?User Interface: I'd say it's technologically it's not it's not unique , I mean it's it's just {disfmarker} it is just pushbuttons um , so I I'd give it a four .Project Manager: ThinkI'm gonna go with the four as well .Marketing: Mm 'kay .Project Manager: I really like that kinetic battery though .Marketing: Next , is it easy to use ? Just so you know , easy to learn will be separate ,Project Manager:Mm 'kay .Marketing: so don't overlap them .Industrial Designer: Okay .Marketing: I think it's really easy to use . I'll give it a two .Industrial Designer: Um I'll give it a one . Pretty hard to mess up .User Interface: I'll sayone .Project Manager: {vocalsound} Uh let's say two .Marketing: Alright . Um we next wanna see if it has a spongy qualityIndustrial Designer: {vocalsound}User Interface: {vocalsound}Marketing: and {vocalsound} ifindeed it's made of latex or rubber I {disfmarker} it's spongy all the way . {vocalsound}Industrial Designer: {vocalsound}Project Manager: Give it a one .Industrial Designer: Yeah .Marketing: Yeah .User Interface: Iwonder if it bounces when you drop it .Industrial Designer: Ooh , that you couldn't {disfmarker}Marketing: Mm-hmm .User Interface: {vocalsound}Industrial Designer: it'd be harder to break ,Project Manager: Mm.Industrial Designer: harder to lose . {vocalsound}User Interface: Yeah .Project Manager: 'Cause there would be less impact maybe , {vocalsound} .Industrial Designer: Mm .User Interface: YeahMarketing: Iain , whatdo you give it ?User Interface: I'd I'd give it a one .Marketing: Alright and the next is , does it integrate some notion of fruits and vegetables {vocalsound} ?Industrial Designer: {vocalsound}User Interface: Uh um{vocalsound} .Marketing: Well , is it gonna be yellow ?Industrial Designer: It it might be , 'cause that's our corporate colour , isn't it ?Project Manager: That's right , yeah , corporate colour , we didn't keep that in{disfmarker}User Interface: Yeah .Project Manager: um wellIndustrial Designer: We might wanna keep it yellow .Project Manager: if we {disfmarker} I know it would make it a little less c a little more confusing , but ifwe had all the buttons in black , and a design in {disfmarker} and the outside in yellow , that'd be our corporate one and we could also have alternative colours , one a more conservative one , one that's more fruity.User Interface: {gap}Marketing: Yeah , but if you had like a silvery kind of white or something .Industrial Designer: Yeah .User Interface: Yeah , {gap} {disfmarker}Project Manager: Um and can we have like an R_R_inscribed on the bottom or something ?Industrial Designer: If we had a yellow {disfmarker} Sure .Project Manager: Okay .User Interface: Yeah .Marketing: Oh , yeah .Project Manager: Fruity , so fruity .IndustrialDesigner: So {vocalsound}Marketing: Alright , so I think it it's {disfmarker}Industrial Designer: it was inspired by the potato , so I think it's pretty fruity .Marketing: Yeah .Project Manager: I think i it's kind of mangoeytoo .Marketing: {vocalsound}Industrial Designer: Oh , mangoUser Interface: Mangoey is better , yeah .Marketing: Yeah .Project Manager: Yes .Marketing: I {disfmarker}Industrial Designer: that that {vocalsound}{disfmarker}User Interface: I like mangoes {vocalsound} .Marketing: okay , I'm giving it a one {vocalsound} the mango {gap} put me over .Project Manager: Mm .Industrial Designer: That's a much more trendy thana potato {vocalsound}Marketing: {vocalsound} What are {disfmarker} what's everyone's numbers ?Industrial Designer: one .User Interface: Uh two .Project Manager: One .Industrial Designer:"}
+{"doc_id":"doc_52","qid":"","text":"Grad B: So I guess this is more or less now just to get you up to date , Johno . This is what , uh ,Grad C: This is a meeting for me .Grad B: um , Eva , Bhaskara , and I did .Grad D: Did you add more stuff to it ? {pause}later ?Grad B: Um . Why ?Grad D: Um . I don't know . There were , like , the {disfmarker} you know , @ @ and all that stuff . But . I thought you {disfmarker} you said you were adding stuffGrad B: Uh , no .Grad D:but {pause} I don't know .Grad B: This is {disfmarker} Um , Ha ! Very nice . Um , so we thought that , {vocalsound} We can write up uh , an element , and {disfmarker} for each of the situation nodes that weobserved in the Bayes - net ? So . What 's the situation like at the entity that is mentioned ? if we know anything about it ? Is it under construction ? Or is it on fire or something {pause} happening to it ? Or is it stable ?and so forth , going all the way um , f through Parking , Location , Hotel , Car , Restroom , @ @ {comment} Riots , Fairs , Strikes , or Disasters .Grad C: So is {disfmarker} This is {disfmarker} A situation are{disfmarker} is all the things which can be happening right now ? Or , what is the situation type ?Grad B: That 's basically {pause} just specifying the {disfmarker} the input for the {disfmarker} w what 'sGrad C: Oh , Isee y Why are you specifying it in XML ?Grad B: Um . Just because it forces us to be specific about the values {pause} here ?Grad C: OK .Grad B: And , also , I mean , this is a {disfmarker} what the input is going to be. Right ? So , we will , uh {disfmarker} This is a schema . This is {disfmarker}Grad C: Well , yeah . I just don't know if this is th l what the {disfmarker} Does {disfmarker} This is what Java Bayes takes ? as a Bayes -net spec ?Grad B: No , because I mean if we {disfmarker} I mean we 're sure gonna interface to {disfmarker} We 're gonna get an XML document from somewhere . Right ? And that XML document will say \" We areable to {disfmarker} We were able to observe that w the element , um , @ @ {comment} of the Location that the car is near . \" So that 's gonna be {disfmarker} {vocalsound} {comment} Um .Grad C: So this is thesituational context , everything in it . Is that what Situation is short for , shi situational context ?Grad B: Yep .Grad C: OK .Grad B: So this is just , again , a an XML schemata which defines a set of possible , uh ,permissible XML structures , which we view as input into the Bayes - net . Right ?Grad C: And then we can r {pause} uh possibly run one of them uh transformations ? That put it into the format that the Bayes n or JavaBayes or whatever wants ?Grad B: Yea - Are you talking {disfmarker} are you talking about the {disfmarker} the structure ?Grad C: Well it {disfmarker}Grad B: I mean when you observe a node .Grad C: When you{disfmarker} when you say {pause} the input to the {pause} v Java Bayes , {comment} it takes a certain format ,Grad B: Um - hmm .Grad C: right ? Which I don't think is this . Although I don't know .Grad B: No , it's certainly not this . Nuh .Grad C: So you could just {disfmarker} Couldn't you just run a {disfmarker}Grad B: XSL . {comment} Yeah .Grad C: Yeah . To convert it into the Java Bayes for format ?Grad B: Yep .Grad C:OK .Grad B: That 's {disfmarker} That 's no problem , but I even think that , um {disfmarker} I mean , once {disfmarker} Once you have this sort of as {disfmarker} running as a module {disfmarker} Right ? Whatyou want is {disfmarker} You wanna say , \" OK , give me the posterior probabilities of the Go - there {pause} node , when this is happening . \" Right ? When the person said this , the car is there , it 's raining , and thisis happening . And with this you can specify the {disfmarker} what 's happening in the situation , and what 's happening with the user . So we get {disfmarker} After we are done , through the Situation we get the UserVector . So , this is a {disfmarker}Grad C: So this is just a specification of all the possible inputs ?Grad B: Yep . And , all the possible outputs , too . So , we have , um , for example , the , uh , Go - there decisionnodeGrad C: OK .Grad B: which has two elements , going - there and its posterior probability , and not - going - there and its posterior probability , because the output is always gonna be all the decision nodes and allthe {disfmarker} the {disfmarker} a all the posterior probabilities for all the values .Grad C: And then we would just look at the , eh , Struct that we wanna look at in terms of if {disfmarker} if we 're only asking aboutone of the {disfmarker} So like , if I 'm just interested in the going - there node , I would just pull that information out of the Struct that gets return that would {disfmarker} that Java Bayes would output ?Grad B: Um ,pretty much , yes , but I think it 's a little bit more complex . As , if I understand it correctly , it always gives you all the posterior probabilities for all the values of all decision nodes . So , when we input something , wealways get the , uh , posterior probabilities for all of these . Right ?Grad C: OK .Grad B: So there is no way of telling it t not to tell us about the EVA {pause} values .Grad C: Yeah , wait I agree , that 's {disfmarker}yeah , use {disfmarker} oh , uh {pause} Yeah , OK .Grad B: So {disfmarker} so we get this whole list of {disfmarker} of , um , things , and the question is what to do with it , what to hand on , how to interpret it , in asense . So y you said if you {disfmarker} \" I 'm only interested in whether he wants to go there or not \" , then I just look at that node , look which one {disfmarker}Grad C: Look at that Struct in the output ,Grad B: Yep.Grad C: right ?Grad B: Look at that Struct in the {disfmarker} the output , even though I wouldn't call it a \" Struct \" . But .Grad C: Well i well , it 's an XML Structure that 's being res returned ,Grad B: Oh . Mm - hmm.Grad C: right ?Grad B: So every part of a structure is a \" Struct \" . Yeah .Grad C: Yeah , I just uh {disfmarker} I just was {disfmarker} abbreviated it to Struct in my head , and started going with that .Grad B: Thatelement or object , I would say .Grad C: Not a C Struct . That 's not what I was trying to kGrad B: Yeah .Grad C: though yeah .Grad B: OK . And , um , the reason is {disfmarker} why I think it 's a little bit morecomplex or why {disfmarker} why we can even think about it as an interesting problem in and of itself is {disfmarker} Um . So . The , uh {disfmarker} Let 's look at an example .Grad C: Well , w wouldn't we just takethe structure that 's outputted and then run another transformation on it , that would just dump the one that we wanted out ?Grad B: Yeah . w We 'd need to prune . Right ? Throw things away .Grad C: Well , actually ,you don't even need to do that with XML .Grad B: NoGrad C: D Can't you just look at one specific {disfmarker}Grad B: Yeah , exactly . The {disfmarker} @ @ {comment} Xerxes allows you to say , u \" Just give me thevalue of that , and that , and that . \" But , we don't really know what we 're interested in {pause} before we look at the complete {disfmarker} at {disfmarker} at the overall result . So the person said , um , \" Where isX ? \" and so , we want to know , um , is {disfmarker} Does he want info ? o on this ? or know the location ? Or does he want to go there ? Let 's assume this is our {disfmarker} our question .Grad C: Sure .Grad B: Nuh? So . Um . Do this in Perl . So we get {disfmarker} OK . Let 's assume this is the output . So . We should con be able to conclude from that that {disfmarker} I mean . It 's always gonna give us a value of how likely wethink i it is that he wants to go there and doesn't want to go there , or how likely it is that he wants to get information . But , maybe w we should just reverse this to make it a little bit more delicate . So , does he wannaknow where it is ? or does he wanna go there ?Grad C: He wants to know where it is .Grad B: Right . I {disfmarker} I {disfmarker} I tend to agree . And if it 's {disfmarker} If {disfmarker}Grad C: Well now , y I mean ,you could {disfmarker}Grad B: And i if there 's sort of a clear winner here , and , um {disfmarker} and this is pretty , uh {disfmarker} indifferent , then we {disfmarker} then we might conclude that he actually wantsto just know where , uh t uh , he does want to go there .Grad C: Uh , out of curiosity , is there a reason why we wouldn't combine these three nodes ? into one smaller subnet ? that would just basically be {pause} thequestion for {disfmarker} We have \" where is X ? \" is the question , right ? That would just be Info - on or Location ? Based upon {disfmarker}Grad B: Or Go - there . A lot of people ask that , if they actually just wannago there . People come up to you on campus and say , \" Where 's the library ? \" You 're gonna say {disfmarker} y you 're gonna say , g \" Go down that way . \" You 're not gonna say \" It 's {disfmarker} It 's five hundredyards away from you \" or \" It 's north of you \" , or {disfmarker} \" it 's located {disfmarker} \"Grad C: Well , I mean {disfmarker} But the {disfmarker} there 's {disfmarker} So you just have three decisions for the finalnode , that would link thes these three nodes in the net together .Grad B: Um . I don't know whether I understand what you mean . But . Again , in this {disfmarker} Given this input , we , also in some situations , maywanna postulate an opinion whether that person wants to go there now the nicest way , use a cab , or so s wants to know it {disfmarker} wants to know where it is because he wants something fixed there , because hewants to visit t it or whatever . So , it {disfmarker} n I mean {disfmarker} a All I 'm saying is , whatever our input is , we 're always gonna get the full output . And some {disfmarker} some things will always be sort oftoo {disfmarker} not significant enough .Grad C: Wha Or i or i it 'll be tight . You won't {disfmarker} it 'll be hard to decide .Grad B: Yep .Grad C: But I mean , I guess {disfmarker} I guess the thing is , uh , this isanother , smaller , case of reasoning in the case of an uncertainty , which makes me think Bayes - net should be the way to solve these things . So if you had {disfmarker} If for every construction ,Grad B: Oh !Grad C:right ? you could say , \" Well , there {disfmarker} Here 's the Where - Is construction . \" And for the Where - Is construction , we know we need to l look at this node , that merges these three things togetherGrad B:Mm - hmm .Grad C: as for th to decide the response . And since we have a finite number of constructions that we can deal with , we could have a finite number of nodes .Grad B: OK . Mm - hmm .Grad C: Say , if wehad to y deal with arbitrary language , it wouldn't make any sense to do that , because there 'd be no way to generate the nodes for every possible sentence .Grad B: Mm - hmm .Grad C: But since we can only deal witha finite amount of stuff {disfmarker}Grad B: So , basically , the idea is to f to feed the output of that belief - net into another belief - net .Grad C: Yeah , so basically take these three things and then put them intoanother belief - net .Grad B: But , why {disfmarker} why {disfmarker} why only those three ? Why not the wholGrad C: Well , I mean , d For the Where - Is question . So we 'd have a node for the Where - Is question.Grad B: Yeah . But we believe that all the decision nodes are {disfmarker} can be relevant for the Where - Is , and the Where {disfmarker} How - do - I - get - to or the Tell - me - something - about .Grad C: You cancome in if you want .Grad B: Yes , it is allowed .Grad C: As long as y you 're not wearing your h your h headphones . Well , I do I {disfmarker} See , I don't know if this is a {pause} good idea or not . I 'm just throwingit out . But uh , it seems like we could have {disfmarker} I mea or uh we could put all of the all of the r information that could also be relevant {pause} into the Where - Is node answerGrad B: Mm - hmm . Yep .Grad C:node thing stuff . And uh {disfmarker}Grad D: OK .Grad B: I mean {disfmarker} Let 's not forget we 're gonna get some very strong {pause} input from {pause} these sub dis from these discourse things , right ? So . \"Tell me the location of X . \" Nuh ? Or \" Where is X located at ? \"Grad C: We uGrad B: Nuh ?Grad C: Yeah , I know , but the Bayes - net would be able to {disfmarker} The weights on the {disfmarker} on the nodes in theBayes - net would be able to do all that ,Grad B: Mm - hmm .Grad C: wouldn't it ? Here 's a k Oh ! Oh , I 'll wait until you 're {pause} plugged in . Oh , don't sit there . Sit here . You know how you don't like that one . It's OK . That 's the weird one . That 's the one that 's painful . That hurts . It hurts so bad . I 'm h I 'm happy that they 're recording that . That headphone . The headphone {pause} that you have to put on backwards ,with the little {disfmarker} little thing {disfmarker} and the little {disfmarker} little foam block on it ? It 's a painful , painful microphone .Grad B: I think it 's th called \" the Crown \" .Grad C: The crown ?Grad D: What?Grad B: Yeah , versus \" the Sony \" .Grad A: The Crown ? Is that the actual name ? OK .Grad B: Mm - hmm . The manufacturer .Grad C: I don't see a manufacturer on it .Grad B: You wGrad C: Oh , wait , here it is . hThis thingy . Yeah , it 's \" The Crown \" . The crown of pain !Grad A: Yes .Grad B: You 're on - line ?Grad C: Are you {disfmarker} are your mike o Is your mike on ?Grad A: Indeed .Grad C: OK . So you 've been workingwith these guys ? You know what 's going on ?Grad A: Yes , I have . And , I do . Yeah , alright . s So where are we ?Grad C: Excellent !Grad B: We 're discussing this .Grad A: I don't think it can handle French , butanyway .Grad B: So . Assume we have something coming in . A person says , \" Where is X ? \" , and we get a certain {disfmarker} We have a Situation vector and a User vector and everything is fine ? An - an and{disfmarker} and our {disfmarker} and our {disfmarker}Grad C: Did you just sti Did you just stick the m the {disfmarker} the {disfmarker} the microphone actually in the tea ?Grad A: No .Grad B: And , um ,Grad A: I'm not drinking tea . What are you talking about ?Grad C: Oh , yeah . Sorry .Grad B: let 's just assume our Bayes - net just has three decision nodes for the time being . These three , he wants to know something aboutit , he wants to know where it is , he wants to go there .Grad C: In terms of , these would be wha how we would answer the question Where - Is , right ? We u This is {disfmarker} i That 's what you s it seemed like ,explained it to me earlierGrad B: Yeah , but , mmm .Grad C: w We {disfmarker} we 're {disfmarker} we wanna know how to answer the question \" Where is X ? \"Grad B: Yeah . No , I can {disfmarker} I can do theTiming node in here , too , and say \" OK . \"Grad C: Well , yeah , but in the s uh , let 's just deal with the s the simple case of we 're not worrying about timing or anything . We just want to know how we should answer \"Where is X ? \"Grad B: OK . And , um , OK , and , Go - there has two values , right ? , Go - there and not - Go - there . Let 's assume those are the posterior probabilities of that .Grad A: Mm - hmm .Grad B: Info - onhas True or False and Location . So , he wants to know something about it , and he wants to know something {disfmarker} he wants to know Where - it - is ,Grad A: Excuse me .Grad B: has these values . And , um,Grad C: Oh , I see why we can't do that .Grad B: And , um , in this case we would probably all agree that he wants to go there . Our belief - net thinks he wants to go there ,Grad A: Yeah .Grad B: right ?Grad A: Mm -hmm .Grad B: In the , uh , whatever , if we have something like this here , and this like that and maybe here also some {disfmarker}Grad A: You should probably {comment} make them out of {disfmarker} Yeah.Grad B: something like that ,Grad C: Well , itGrad B: then we would guess , \" Aha ! He , our belief - net , {comment} has s stronger beliefs that he wants to know where it is , than actually wants to go {pause} there .\" Right ?Grad C: That it {disfmarker} Doesn't this assume , though , that they 're evenly weighted ?Grad D: True .Grad C: Like {disfmarker} I guess they are evenly weighted .Grad A: The different decision nodes , youmean ?Grad C: Yeah , the Go - there , the Info - on , and the Location ?Grad A: Well , d yeah , this is making the assumption . Yes .Grad C: Like {disfmarker}Grad B: What do you mean by \" differently weighted \" ?They don't feed into anything really anymore .Grad A: But I mean , why do we {disfmarker}Grad C: Or I jusGrad A: If we trusted the Go - there node more th much more than we trusted the other ones , then we wouldconclude , even in this situation , that he wanted to go there .Grad C: LeGrad A: So , in that sense , we weight them equally right now .Grad B: OK . Makes sense . Yeah . But {disfmarker}Grad C: So the But I guess thek the question {disfmarker} that I was as er wondering or maybe Robert was proposing to me is {disfmarker} How do we d make the decision on {disfmarker} as to {disfmarker} which one to listen to ?Grad A: Yeah ,so , the final d decision is the combination of these three . So again , it 's {disfmarker} it 's some kind of , uh {disfmarker}Grad C: Bayes - net .Grad A: Yeah , sure .Grad C: OK so , then , the question i So then myquestion is t to you then , would be {disfmarker} So is the only r reason we can make all these smaller Bayes - nets , because we know we can only deal with a finite set of constructions ? Cuz oth If we 're just takingarbitrary language in , we couldn't have a node for every possible question , you know ?Grad A: A decision node for every possible question , you mean ?Grad C: Well , I {disfmarker} like , in the case of {disfmarker}Yeah . In the ca Any piece of language , we wouldn't be able to answer it with this system , b if we just h Cuz we wouldn't have the correct node . Basically , w what you 're s proposing is a n Where - Is node , right?Grad A: Yeah .Grad C: And {disfmarker} and if we {disfmarker} And if someone {disfmarker} says , you know , uh , something in Mandarin to the system , we 'd - wouldn't know which node to look at to answer thatquestion ,Grad A: So is {disfmarker} Yeah . Yeah .Grad C: right ?Grad B: Mmm ?Grad C: So , but {disfmarker} but if we have a finite {disfmarker} What ?Grad B: I don't see your point . What {disfmarker} what{disfmarker} what I am thinking , or what we 're about to propose here is we 're always gonna get the whole list of values and their posterior probabilities . And now we need an expert system or belief - net orsomething that interprets that , that looks at all the values and says , \" The winner is Timing . Now , go there . \" \" Uh , go there , Timing , now . \" Or , \" The winner is Info - on , Function - Off . \" So , he wants to know{pause} something about it , and what it does . Nuh ? Uh , regardless of {disfmarker} of {disfmarker} of the input . Wh - RegardleGrad C: Yeah , but But how does the expert {disfmarker} but how does the expertsystem know {disfmarker} how who which one to declare the winner , if it doesn't know the question it is , and how that question should be answered ?Grad B: Based on the k what the question was , so what thediscourse , the ontology , the situation and the user model gave us , we came up with these values for these decisions .Grad C: Yeah I know . But how do we weight what we get out ? As , which one i Which ones areimportant ? So my i So , if we were to it with a Bayes - net , we 'd have to have a node {disfmarker} for every question that we knew how to deal with , that would take all of the inputs and weight them appropriatelyfor that question .Grad B: Mm - hmm .Grad C: Does that make sense ? Yay , nay ?Grad A: Um , I mean , are you saying that , what happens if you try to scale this up to the situation , or are we just dealing witharbitrary language ?Grad C: We {disfmarker}Grad A: Is that your point ?Grad C: Well , no . I {disfmarker} I guess my question is , Is the reason that we can make a node f or {disfmarker} OK . So , lemme see if I 'mconfused . Are we going to make a node for every question ? Does that make sense ? {disfmarker}Grad A: For every question ?Grad C: Or not .Grad A: Like {disfmarker}Grad C: Every construction .Grad A: Hmm . Idon't {disfmarker} Not necessarily , I would think . I mean , it 's not based on constructions , it 's based on things like , uh , there 's gonna be a node for Go - there or not , and there 's gonna be a node for Enter , View, Approach .Grad C: Wel W OK . So , someone asked a question .Grad A: Yeah .Grad C: How do we decide how to answer it ?Grad B: Well , look at {disfmarker} look {disfmarker} Face yourself with this pr question .You get this {disfmarker} You 'll have {disfmarker} y This is what you get . And now you have to make a decision . What do we think ? What does this tell us ? And not knowing what was asked , and what happened ,and whether the person was a tourist or a local , because all of these factors have presumably already gone into making these posterior probabilities . What {disfmarker} what we need is a {disfmarker} just amechanism that says , \" Aha ! There is {disfmarker} \"Grad C: Yeah . I just don't think a \" winner - take - all \" type of thing is the {disfmarker}Grad A: I mean , in general , like , we won't just have those three , right ?"}
+{"doc_id":"doc_53","qid":"","text":"The Chair (Hon. Anthony Rota (NipissingTimiskaming, Lib.)): I call this meeting to order. Welcome to meeting number 22 of the House of Commons Special Committee on the COVID-19 Pandemic. A reminder to allmembers that in order to avoid issues with sound, members participating in person should not also be connected to the video conference. For those joining via video conference, I would like to remind you that, whenspeaking, you should be on the same channel as the language you are speaking. As usual, please direct your remarks through the chair. I understand we don't have any ministerial announcements today, so we'llproceed to presenting petitions. I would like to remind members that any petition presented during a meeting of the special committee must have already been certified by the clerk of petitions. For membersparticipating in person, we ask that they please come and drop the signed certificate off at the table once the petition is presented. The first petition will be presented by Ms.May.Ms. Elizabeth May (SaanichGulf Islands,GP): Mr. Chair, it's an honour to rise in meeting number 22 of the COVID-19 committee, otherwise known as something like the House of Commons. I'm here to present two petitions containing hundreds of signatureson the issue of the treatment of Falun Gong practitioners by the People's Republic of China, particularly the practice that's alleged of involuntary organ harvesting. The petitioners ask the Government of Canada tocondemn this practice and to publicly call for an end to the persecution of Falun Gong in the People's Republic of China. The second petition is from residents throughout SaanichGulf Islands concerned about what was,at the time this petition was submitted, a future problem. It remains an issue, and I present it on behalf of petitioners who wish the Government of Canada not to put public funds into purchasing or maintaining theTrans Mountain pipeline or towards any expansion of the pipeline.The Chair: Next we'll go to Ms. Kwan.Ms. Jenny Kwan (Vancouver East, NDP): Mr. Chair, I rise to table two petitions. The first petition deals with theCOVID-19 situation. The petitioners note the pandemic is having a devastating impact on many Canadians nationwide, especially those who have low to modest income, small business gig workers, freelancers, artists,film industry workers, non-salaried workers and individuals on fixed incomes such as seniors and those on disability. It further notes that rent, mortgage and utility payments are due at the end of each month, puttingcountless Canadians at risk of losing their housing. It is paramount there be safe self-isolation opportunities for all individuals in this country. To that end, the petitioners are calling for the government to immediatelyenact a nationwide rent freeze, eviction freeze, mortgage freeze and utility freeze, enforce mortgage deferrals for homeowners without penalty or interest charges from financial institutions and provide direct assistancein the form of a monthly, universal, direct payment of $2,000 per month for all, with an additional $250 per child immediately. The second petition deals with the Trans Mountain pipeline expansion. These petitionersjoin the hundreds of thousands of people who are opposed to the expansion. Trans Mountain, in building the pipeline, brings massive environmental and economic risk with no substantial benefit to British Columbia or tolocal residents. Approximately 40,000 barrels of oil have already leaked from existing Kinder Morgan pipelines, including two major spills in Burnaby since 2007. I might note, Mr. Chair, that just this past weekend therewas yet another spill to the tune of 1,195 barrels here in British Columbia. There is no known scientific technology to clean up the bitumen when there is a spill, and the number of tankers would go from eight to 34 permonth into the Burrard Inlet. It puts at risk many residential neighbourhoods and the traditional territories of at least 15 first nations.The Chair: May I interrupt for a moment, Ms. Kwan. I want to remind all members inthe House that when presenting a petition, the idea is to be as concise as possible. Ms. Kwan, I'll let you wrap up, please.Ms. Jenny Kwan: Thank you, Mr. Chair. The petitioners are calling for the government toimmediately act to prevent this new oil pipeline from proceeding through British Columbia.The Chair: Thank you. We'll now go to Mr. Genuis.Mr. Garnett Genuis (Sherwood ParkFort Saskatchewan, CPC): Mr. Chair, Ihave four petitions to present today. The first petition reflects the outrage of my constituents at the ever-expanding order in council from the government banning more and more firearms. In particular, the petitionershighlight the failure of the government to act on the issue of illegal guns. The petitioners note that virtually all violent crimes committed in Canada, including the recent shooting in Nova Scotia, involve illegal firearms inthe hands of those who are already not permitted to possess them. The petition has two asks. First of all, it asks that we reverse the order in council banning certain firearms, but also that we propose measures that willeffectively address the illegal use of firearms by criminals while respecting the rights of law-abiding citizens. It also asks that we ensure that substantial changes to firearms laws in future actually be made byParliament, not by the government acting in an unaccountable manner. The second petition deals with Bill C-8, which is the government's bill around conversion therapy. The petitioners support efforts to ban conversiontherapy. They express concern about problems in the wording of the definition used in the legislation. They're asking the government to support amendments to fix the definition to address the issue of conversiontherapy and ensure that the definition is correct and doesn't criminalize certain forms of counselling that individuals may voluntarily enter into. The third petition is regarding Bill S-204, a bill in the Senate that seeks tomake it a criminal offence for a person to go abroad to receive an organ without consent, dealing especially with the horrific practice of forced organ harvesting and trafficking in China. The petitioners are supportive ofBill S-204 and want to see it move forward. The final petition is with respect to Bill C-7. There's been much discussion in this House about the need to do better in terms of long-term care. Rather than working to dobetter in long-term care, unfortunately we've seen the government removing vital safeguards in the area of euthanasia. I think our focus should be on assisting life rather than removing safeguards that are required inassociation with the euthanasia regime. The petitioners are particularly concerned about the government's plan to remove a 10-day reflection period that normally takes place. That period can already be waived undercertain circumstances, but Bill C-7 proposes to remove it entirely as well as reduce the number of witnesses involved. The petitioners are quite concerned about what's going on in Bill C-7 and call for it to be stopped oramended.The Chair: Presenting petitions. We'll proceed to statements by members. We'll start off with Mr. Manly.Mr. Paul Manly (NanaimoLadysmith, GP): Mr. Chair, we are in the midst of a global pandemic and aneconomic shock. Recent events have ripped open the wound of systemic racism in our country. Racialized and marginalized communities have been disproportionally affected by the pandemic. Thousands of seniors inlong-term care facilities have died. It is clear that we need system change. In the past, governments have bailed out banks and corporations because they were too big to fail. It is time to bail out humanity and theplanet. No one will be immune from the threat of climate change and mass extinction. Both are the result of the exploitation of the natural world in the name of the economy. Humans created the economy. We canchoose to change it. We must protect our environment or perish. COVID-19 has demonstrated that together we can take courageous action for the common good. We need to do the same for the climate crisis, becausehumanity and our planet are too big to fail.The Chair: We'll now go to Mr. Spengemann.Mr. Sven Spengemann (MississaugaLakeshore, Lib.): Mr. Speaker, today marks World Elder Abuse Awareness Day.Underestimated and under-reported, elder abuse exists across the world. At risk of neglect and assault, many of the most vulnerable older persons reside in our long-term care facilities. They are the seniors who havebuilt our country and shaped our communities, who have shown us resilience, courage and selflessness, who have made us stronger, and whose work and teachings continue to inspire us. They are parents andgrandparents, brothers and sisters, friends and mentors. We have not been there for them in the same way they've been there for us throughout their lives. The Canadian Forces report, alongside the climbingdisproportionate death toll in our long-term care facilities, has reconfirmed the ugly, indefensible reality of elder abuse and neglect in Canada. In my community, we mourn the deaths of 68 seniors from one long-termcare facility alone, Camilla Care. We must make the same unwavering commitment to older persons as they have shown to us. We must protect and uphold their human rights. We must do better.The Chair: Beforeproceeding, I just want to bring up to the members in the background that we want to keep it as simple and as parliamentary as possible in keeping it neutral. We'll now move to Mr. Barrett.Mr. Michael Barrett(LeedsGrenvilleThousand Islands and Rideau Lakes, CPC): During these trying times, the residents of LeedsGrenvilleThousand Islands and Rideau Lakes have risen to the challenge. They've made sacrifices and goneabove and beyond to make the lives of their neighbours better and to keep our communities safe. It would be impossible to list everyone who has emerged as a community hero, but I'd like to highlight a few, like Lily,an eight-year-old from Elgin who raised funds for her local food bank by building and selling squirrel picnic tables, and Louise Boardman from Spencerville who's making masks for long-term care facilities and sellingothers in support of the Breast Cancer Action centre. The Knights of Columbus in Prescott raised funds and are distributing some $27,000 in support of charitable groups throughout the region. The Knights of Columbusin Kemptville are working overtime operating the local food bank. Who can forget our top-notch health care workers like Hannah and Mary at the Brockville COVID-19 testing centre? It is the people ofLeedsGrenvilleThousand Islands and Rideau Lakes that make it so great. To everyone working to make a difference and to all of our essential workers, thank you.The Chair: Next is Mr. Anandasangaree.Mr. GaryAnandasangaree (ScarboroughRouge Park, Lib.): Mr. Chair, the Indian Act enshrined racism into Canadian law in 1876, and, through residential schools, the child welfare system, our legal system and our police, wecriminalized and tore apart indigenous peoples. The deaths of Chantel Moore and Rodney Levi and the assault on Chief Allan Adam are recent examples of systemic racism within the RCMP. Sadly, the RCMP leadershiphas failed to acknowledge this reality and its root causes. These same systems negatively impact black Canadians. Anti-black racism has resulted in more young black men being jailed, children being streamed orexcluded from schools and negative police interaction due to profiling. Black lives matter. No single Canadian is responsible for the prevalence of systemic racism; we all are. Collectively we build institutions thatdiscriminate based on race. It is now time to reimagine and rework our institutions, starting with our police, to ensure that all Canadians can achieve their truest potential.The Chair: Ms.Larouche, you have the floor.Ms.Andranne Larouche (Shefford, BQ): Thank you, Mr.Chair. June15 is World Elder Abuse Awareness Day. I want to remind members of the link between abuse and the problems of economic dependency among seniors.Improving their purchasing power means reducing the risk of them falling victim to abusive people. That's why the increase in the old age security benefit and the guaranteed income supplement must be extendedbeyond the pandemic. In three weeks, our seniors will receive their first cheque, when they should be receiving their second. A date must also be announced for the new horizons for seniors program, which helpsseveral groups develop projects to break the isolation of seniors. In closing, I would like to mention the organization Justice alternative et mdiation that during the pandemic, along with other organizations in Shefford,has set up the project Une histoire pour la tienne, which also serves to mark this day. It's a virtual meeting between young people and seniors, allowing them to exchange some inspiring life experiences. Since ageprejudice is very much present, I applaud this project, which aims to make us understand each other better and judge each other less.The Chair: We'll now continue with Mr. Sangha.Mr. Ramesh Sangha (BramptonCentre, Lib.): Mr. Chair, in the time of this terrible crisis affecting all Canadians, when we are all thinking about how best to deal with it, let's all think about the people around us. Let's show our representation not onlyto those in the sector of sanctioned workers, but also to all those Canadians who day by day stand up and make a difference. Every day I am proud of the reactions of Canadians to this crisis. I want to acknowledge andcelebrate all the contributions made by the people of Brampton Centre, all religious institutions, civil society and community organizations like Knights Table in my riding. We are all standing together to fight COVID-19.Let's continue working hard with that same spirit to get positive results out. Thank you very much.The Chair: I will proceed to Mr. Ruff.Mr. Alex Ruff (BruceGreyOwen Sound, CPC): Mr. Chair, whether graduating fromelementary school, high school, Georgian College or graduating from colleges or universities across the country, I am proud of the accomplishments of all the graduates across BruceGreyOwen Sound. I would also liketo congratulate and thank all the teachers and parents who have adapted to teaching online or from home and who have supported these graduates over the course of their academic careers. I'd like to extend specialcongratulations to Cameron Lovell, who just graduated from grade eight, as well as to Neebeesh and Neebin Elliott, originally from the Nawash unceded first nation on the Bruce Peninsula, who will be headed toMichigan State University, and to Jared Lumley from Owen Sound, who just graduated from my alma mater, the Royal Military College of Canada. The college motto of Truth, Duty, Valour is something all Canadiansshould aspire to live by. I wish all the best to these graduates on their next adventures. I and Canada cannot wait to see how their dreams and goals impact and change the world. I congratulate BruceGreyOwen Soundgraduates.The Chair: We'll now go to Mr.Cormier.Mr. Serge Cormier (AcadieBathurst, Lib.): Today I pay tribute to RichardLosier, an entrepreneur, visionary and builder who died on June9, 2020, surrounded by hisfamily. Mr.Losier is a giant in the Acadian Peninsula business community. In1968, he co-founded St.Isidore Asphalte, a company that now has more than 200employees. He also launched many other businesses overthe years. He was unifying and generous, a philanthropist who cared about young people and never missed an opportunity to improve their lives. I met Mr.Losier when I was 14years old, and I can say that he has beena positive influence in my life. Every time I met him, he gave me a lot of advice and encouragement, which I've never forgotten. Mr.Losier's legacy to his community is invaluable. His commitment remains an examplefor all of us to follow. Mr.Losier now joins his wife, Nolla. I offer my most sincere condolences to his children, Richard Jr., Ronald, Nathalie, Caroline and Stphane, and to his family and friends. Rest in peace, Mr.Losier.You will be greatly missed. Thank you for everything you've done for our region.The Chair: We will now go to Ms. Dabrusin.Ms. Julie Dabrusin (TorontoDanforth, Lib.): Hello from my community in east end Toronto.People talk about how a city the size of Toronto can be cold, but that's far from the truth in my community. I want to give a shout-out to our teachers, like Mr. Wong of Earl Grey Senior Public School, who deliveredhome-baked cookies and handwritten notes to all of his students, or Monsieur Steve, who's offering online French classes, or the teachers of Riverdale Collegiate, who paraded through our streets to celebrate ourgraduates. Our local Michael Garron Hospital put out a call for community members to sew masks and received over 60,000 masks, including those made by Lisa Tancre of Chartwell Avondale Retirement Residence.Michelle Beaton organized a front window scavenger hunt to entertain children and their families. Restaurants, even while facing adversity, have been generously donating food, like the members of the Leslieville BIA orMezes. There are so many more stories of generosity that I could share, but I'm out of time. I thank everyone who has stepped up. We all appreciate all of their hard work.The Chair: We will now go to Ms. Sahota.Ms.Jag Sahota (Calgary Skyview, CPC): Mr. Chair, on Saturday night, Calgarians, particularly those in the northeast, in my riding of Calgary Skyview, witnessed a devastating storm, the likes of which I have not seen in mylifetime. Homes, vehicles, community buildings and structures suffered significant damage due to large hail, floods and high winds. People acted quickly to seek shelter. I'm so grateful that there have been no reports ofpersonal injury or loss of life. I went around the community yesterday to survey the damage. It is extensive. My heart aches for those who have been impacted by the storm in an already incredibly difficult time, but weare resilient. We know that in the coming weeks there will be a lot of cleanup required, both to personal property and in the community. I know my constituents, and we will help one another get through this together. Iwill work hard to do everything I can to help rebuild this community.The Chair: Mr.Serr, you have the floor.Mr. Marc Serr (Nickel Belt, Lib.): Thank you, Mr.Chair. I'd like to express my sincere gratitude to the people ofWest Nippissing who organized Pride activities to celebrate the LGBTQ community in June. This week, we are also celebrating National Public Service Week. I thank the public servants for their dedication to the NickelBelt community and the Valley East and Rayside-Balfour areas.The Chair: Next is Mr. Saroya.Mr. Bob Saroya (MarkhamUnionville, CPC): Mr. Chair, when COVID-19 began spreading across Ontario, Markham, like manyother communities, was unprepared. Our front-line health care workers did not have enough personal protective equipment to do their jobs safely. When Markham residents heard about these shortages, my office wasflooded with calls from people who had PPE and wanted to donate. Since then my office has been able to deliver tens of thousands of PPE supplies to front-line health care workers and five masks to each family in need.This pandemic has shown that no matter what the challenge is, the Markham community will overcome it. Today, I would like to thank the front-line health care workers who are doing incredible work. I would also liketo thank all those who have helped in Markham's hour of need.The Chair: I understand we had a bit of a glitch there. I'm sorry. With the pause, we thought that was the end of it.  Mr.Serr, I would ask you to continue. Iunderstand you started to switch languages. Please continue. You have 30seconds.Mr. Marc Serr: Thank you. I'm switching to English now. Thank you to our nurses, doctors, pharmacists, cashiers, janitors. Thank youto various retail workers and first responders dealing with COVID-19. You keep our communities safe and healthy, and you feed us. Your dedication and sacrifice are greatly appreciated. As we start to see localbusinesses reopen, it is important for all of us to remember to follow best practices outlined by local public health. Our front-line workers deserve our respect. It is important for all of us to respect social distancing, toprotect all workers and their families. Together we can remain strong and united as we continue to face this challenge together.The Chair: Again, my apologies for skipping over there, but now we'll to to Ms.McLeod.Mrs. Cathy McLeod (KamloopsThompsonCariboo, CPC): Mr. Chair, in commemoration of Italian Heritage Month, I would like to pay tribute to the Colombo Lodge and Italian Cultural Centre in Kamloops, BritishColumbia. The Colombo Lodge was founded in 1914 and is an integral part of our community. Recently they began Colombo Cares take-home dinners with proceeds distributed to different non-profit organizations"}
+{"doc_id":"doc_54","qid":"","text":"Project Manager: Afternoon guys . It's gonna be {gap} .Marketing: Rock and roll .Project Manager: Oh . {vocalsound} {gap} 'Kay .Marketing: So do we need to re-train Mike on how to put his mic on ?Project Manager:We may do .Industrial Designer: Think sMarketing: Okay , can he get it all by himself this time ?Project Manager: I dunno , I'm feeling like a big boy .Industrial Designer: Mm . ProMarketing: {gap}Industrial Designer:Probably not , 'cause he's 'S been listening to {gap} too much .Marketing: So {disfmarker}Industrial Designer: He's getting retarded . Yay .Marketing: I believe I can fly .User Interface: Alright well we got someexciting stuff for you guys .Industrial Designer: Or not .User Interface: Or not . {vocalsound}Industrial Designer: Yeah .Marketing: Just what I needed was something exciting . Remember , I'm an old man .IndustrialDesigner: {vocalsound}Project Manager: 'Kay , ready to go ?User Interface: All ready .Project Manager: 'Kay so we've got our conceptual design meeting .Industrial Designer: Apparently I'm old as well .ProjectManager: Hopefully we've all got exciting ideas now .Marketing: Thirty's really young , eh ?User Interface: {vocalsound} We do .Project Manager: Uh k exciting ideas . 'Kay so here's our agenda our agenda .UmIndustrial Designer: {vocalsound}Project Manager: I'm gonna open . I'm gonna talk for a bit about what we're gonna do . I'm gonna take some notes . We're gonna all do a presentation , and then hopefully we'regonna make some decisions now . {vocalsound} Yep . {vocalsound} Well when I say hopefully , we have to . SoUser Interface: Alright .Project Manager: I'm gonna let you guys talk before we make decisions . And doesanyone really want to go first ?User Interface: I guess I'll go first .Industrial Designer: {vocalsound}Project Manager: You p two ?User Interface: Yeah .Project Manager: What's {disfmarker}User Interface: Component ,I think . Yeah .Project Manager: Components design .User Interface: Yep that's it .Industrial Designer: Presented by name . {vocalsound}User Interface: My name is {vocalsound} .Project Manager: {vocalsound} Yourname is name ?Marketing: Jose he man is .User Interface: My name is name .Project Manager: Huh hi name .Industrial Designer: My name is Inigo Montoya .Project Manager: {vocalsound}Industrial Designer: Youkilled my father .User Interface: {vocalsound} Sorry I did this in a bit of a rush .Industrial Designer: Prepare to die . {vocalsound}Marketing: N name .Project Manager: Right . {vocalsound}User Interface: So so here'sa look inside your really old-looking remote control . Um you've got {vocalsound} a printed {vocalsound} a printed uh circuit board here , and you've got all these buttons which kinda press down little rubber{vocalsound} nubbies into these little holes that activate {disfmarker}Marketing: {vocalsound}Project Manager: We've all broke a remote control ri um s yeah . {vocalsound}User Interface: Yeah we've all broken aremote control .Industrial Designer: {vocalsound}Marketing: {vocalsound} I've {disfmarker}User Interface: So you've also got um {disfmarker} you've got your chip here , your batteries here , and some sortaelectronics . Um {disfmarker}Marketing: I just love you tech guys , huh .Industrial Designer: Yeah there's a thingy and a dingy and {disfmarker}Project Manager: {vocalsound} You press this and it does thUserInterface: Well {vocalsound} {disfmarker}Marketing: {vocalsound} Yeah y do jabber {vocalsound}User Interface: so you've got {disfmarker} here's here's a transistor , and this amplifies your signal ,IndustrialDesigner: {vocalsound}User Interface: um you've got the L_E_D_ here on the end of the uh uh on the end of the printed circuit board . Um you've got a couple diodes here for I don't know who and whatnot{vocalsound} .Project Manager: {vocalsound} I dunno who and whatnot .User Interface: So {disfmarker} {vocalsound} exactly .Industrial Designer: Nah .User Interface: So um we've got a {disfmarker} i in this in thisuh drawing he uh in this example here , this is a eighteen pin um uh chip {vocalsound} I dunno .Marketing: P Yeah .User Interface: Uh it's two double A_ batteries .Industrial Designer: {vocalsound}User Interface: Thisis pretty standard remote . So here are options for our power sources . You can use a basic battery , which we've already discussed , um {vocalsound} th our tech department also said we have the option of doing somekind of hand dynamo where maybe you crank it or something like that .Project Manager: {vocalsound} 'Kay . {vocalsound}Industrial Designer: {vocalsound} I wanna change that {vocalsound} .User Interface: I don'tknow if that's really {vocalsound}Marketing: {vocalsound} I I gotta I gotta flashlight , and uh {disfmarker}User Interface: I don't know we got some qu crazy guys down there in that department so {vocalsound}{disfmarker}Industrial Designer: {vocalsound}Project Manager: Okay .User Interface: You shake it .Marketing: yeah but it's interesting 'cause you shake it like this {vocalsound} .User Interface: {vocalsound} Yeah.Industrial Designer: {vocalsound}Marketing: Like this {vocalsound} .User Interface: So that's the next bullet is the um the kinetic provision of energy ,Marketing: And that's on the camera {vocalsound} .IndustrialDesigner: {vocalsound}User Interface: so it's like that flashlight where you have to shake it {vocalsound} .Marketing: Yeah .Project Manager: 'Kay .User Interface: Uh we've got solar cells , which I don't think is a verygood idea because um you could not use your remote at night {vocalsound} which doesn't make a lot of sense .Project Manager: Mm 'kay .User Interface: And finally we've got our cradle o our power cradle idea.Project Manager: Okay so we basically have battery versus cradle here ?User Interface: M battery versus cradle I think is {disfmarker} yeah .Project Manager: Okay .Industrial Designer: I like the kinetic .ProjectManager: So we have battery versus cradle {vocalsound} {disfmarker}Marketing: I g I I figured you would . Yes . {vocalsound} Yeah .User Interface: It could be fun {vocalsound} .Project Manager: It's actually a novelthing because you could sell it a as a novelty , just to be actually serious for a minute here ,User Interface: Yeah .Project Manager: you could {disfmarker}User Interface: Well it is it is more uh {disfmarker} I mean it ismore eco-friendly than the than the cradle 'cause you're still using power off the grid with the cradle . So umProject Manager: Mm . Hmm .User Interface: our case design . We have uh choices in materials and choicesin the general shapes that we can do . Our material choices are a plastic latex um ty or plastic , a rubber latex type thing , uh wood , or titanium . If we go with titanium we're gonna be uh limited in the amount ofshapes we can do because it's tough to shape the titanium , and uh {disfmarker} Yeah persProject Manager: Wood wood would ge would give us a little bit of a marketing niche , wouldn't it .User Interface: I think woodi {vocalsound}Marketing: {vocalsound} It it it {disfmarker}Project Manager: Nah .User Interface: I I can't see anybody wanting to use a wooden remote , it's just anti-technology really , you know .Marketing: Uh.Project Manager: Okay . Hmm .Marketing: Uh uh to me in a marketing sense it's not it's not relative . We can we can o we can uh accentuate whatever {disfmarker} whatever product you put in there we can find away to accentuate it .User Interface: Right .Project Manager: Okay .User Interface: And what we may be able to do , and I think this might be the best option is to combine some {disfmarker} a couple of these . Um myrecommendation personally would be to do some kind of a plastic inner shell with a like a rubber outer shell , to make it um to mak uh like a thick plastic inner shell and a t um kind of a {disfmarker} to have that rubberouter shell to make it more durable , and also maybe i I think it feels a little better than the plastic .Project Manager: 'Kay . Do you get a good grip on the rubber ? Yeah okay . {vocalsound}User Interface: Yeah um{disfmarker}Marketing: And if you make it from that super rubber , when you drop it on the floor it can bounce right back up in your hand .User Interface: Yeah .Marketing: You don't even need to lean down to get it.User Interface: The advantages of working with plastic and rubber is {disfmarker} w we we'll have a lot more um options just in terms of shapeIndustrial Designer: {vocalsound}Marketing: {vocalsound}UserInterface: because you can extrude plastic in basically any shape you want . So um {disfmarker} and then we can cover you know the breakable bits with rubber yeah so um {disfmarker}Project Manager: Okay .UserInterface: But basically these are {vocalsound} curved and double-curved I I believe that the tech department , in their um {vocalsound} in their {vocalsound} message to me , that they were referring to the numberof th curves in the bottom . I have no idea exactly what they're talking about ,Project Manager: Okay .User Interface: but that's what they told me , {vocalsound} uncurved , flat , curved , or double-curved .IndustrialDesigner: {vocalsound}User Interface: I would guess this like this pen would be kinda like a double-curved , where it's curved on m m multiple axes , right ? I think curved means just curved in one axis anddouble-curved is curved in two axesProject Manager: Okay .User Interface: or surfaces . I have no idea .Project Manager: I think it might mean something like that sorta shape because a double curve rather than a{disfmarker}Marketing: Mm-hmm yeah that's {disfmarker} yeah that's what I see .Project Manager: yeah that's what {gap} .User Interface: Oh okay oh like a wave , okay .Marketing: Yeah that's what I see also .UserInterface: Alright that makes sense okay . Um okay , with the interface we have the following options , we can u we can use push buttons , we can use a scroll wheel with an integrated push button , and L_C_D_ display,Marketing: Ooh .User Interface: or multiple scrolling wheels . Um so these are all options that the user interface guy can uh {disfmarker} has at his disposal to put together a user interface .Project Manager: Okay.User Interface: For electronics , we have these very technical um {vocalsound} descriptions here . A simple chip , which is the least expensive , but I have no numbers to give you ,Project Manager: {vocalsound}UserInterface: a regular chip , which is {vocalsound} like the medium porridge {disfmarker} the {vocalsound} medium expense uh {disfmarker}Project Manager: {vocalsound} D do we have actually any concept of whatthe difference is between a simple chip and an advanced chip ?User Interface: Yes the difference is , with a simple chip {disfmarker} a simple chip will operate {disfmarker} oh why doesn't this scroll up ? Previousprevious , okay . A simple chip is required to operate push buttons .Project Manager: Okay .User Interface: Um {vocalsound} an advanced chip is required to to operate um the L_C_D_ display , and it didn't sayspecifically , but I I have a hunch that a regular chip is gonna be the scroll wheel and the multiple scroll wheels .Project Manager: Okay .User Interface: So but yeah .Project Manager: Yeah that makes sense . Sopresentation from {disfmarker} I guess design would go best . Next .User Interface: That's the end of my presentation .Project Manager: Technical functions or interface concept ?User Interface: I think{disfmarker}Industrial Designer: Oh interface concept .Project Manager: Yeah that's it .Industrial Designer: {vocalsound} Very long presentation . {vocalsound}Project Manager: Yes , but it has your name on it .UserInterface: {vocalsound}Project Manager: {vocalsound}User Interface: {vocalsound}Industrial Designer: {vocalsound} Well that doesn't bo bode well for it for it tats as well . Um so , somehow that thing's too big , butum {disfmarker} okay um our uh manufacturing division wanted the speech recognition . They say they could put it to work but um we don't think so .User Interface: No . {vocalsound}Industrial Designer: No . It it it{disfmarker} you'll be you know be affected by the by the other speech and {disfmarker}User Interface: If the T_V_ is working , yeah .Project Manager: {vocalsound}User Interface: That's just {disfmarker} I mean it'll{disfmarker} if somebody says up in the middle of a television show , it's gonna change the channel .Industrial Designer: Yeah and and fighting for the remote would not be fun anymore ,User Interface: So{disfmarker}Industrial Designer: and I think that's one of the things we wanna keep .Project Manager: But what if you actually had to press a button to make it recognize ? So if you pressed it and went , up ?IndustrialDesigner: {vocalsound} That kinda would r dUser Interface: Well then why don't you just press the up button ?Project Manager: Man yeah .Industrial Designer: yeah . That would kind of lose it .Project Manager: But ifit's just one thing with a button that you can just go {disfmarker} Up .User Interface: Even still there's gonna be interf th there's there still will be interference from the T_V_ .Marketing: That's right .Project Manager:{vocalsound} Yeah , okay .User Interface: It might not be it might not be completely confusing , but I think you'll still y it's still {disfmarker}Marketing: {vocalsound}User Interface: I don't think it's practical at all . Ithink it's a bad idea frankly .Project Manager: Okay .Industrial Designer: Yeah so um taking that away , our uh {disfmarker} the the the rubber but rubber buttons are the more reliable {disfmarker}Project Manager:You guys know your stuff .Industrial Designer: it's the the ones that would al would allow us to to market our product as being you know less prone to damage and more resistant to things like spillage of liquids over itor you know mistreat misuses as it happens to remote controls . Um as for the point that we making about losing it . Well , we wanna small r remote control one side because uh we want it to be cool and uh designed ,but um apparently um market shows that bigger s bigger um remotes get less lost ,User Interface: That I would believe .Industrial Designer: about {disfmarker}Marketing: Mm-hmm .Project Manager: Mm .UserInterface: {vocalsound}Industrial Designer: But um yeah I think we we need to compromise between those two and somehow we'll do that . Somehow . Um so {vocalsound} the the {disfmarker} what I would proposeis something more or less in the uh direction of what is to yo the right of that slide uh but without {disfmarker} with a l a less complicated um design , so the numbers , the volume control , and channel control , andteletext access . Uh the volume and channel control can just become those the the four button array as in if it was a round dial .User Interface: Mm-hmm .Industrial Designer: And um if you just think about it as the oneto the right but with the numbers and the four buttons plus maybe a centre one with teletext .Project Manager: So we're suggesting doing a sorta scroll wheel thing for the volume ?Industrial Designer: Ye no it'snotUser Interface: That's not a scroll wheel .Industrial Designer: i i it's just four buttons that are on a cross ,Project Manager: Nah . Oh okay okay . I see .Industrial Designer: so that you ba basically can control all ofthe important tasks from that {gap} alone .User Interface: Right .Project Manager: Uh , okay .User Interface: Instead of play , stop , rewind , and fast forward there , that's up , down , louder , and quieter .ProjectManager: Okay .Industrial Designer: Yeah um yeah so I think we w we go for something mid-sized , so something looks goodMarketing: {vocalsound}Industrial Designer: and uh is not too prone to get lost . That be it.Project Manager: 'Kay . So on to {disfmarker} Y functional requirements or trend watching ?Marketing: I dunno .User Interface: Trend watching has a later date there .Marketing: Trend watching I guess . Trendwatching I believe .Project Manager: {gap} forty six nineteen fifty seven . Yep .Marketing: See what it looks like . It's been so long .Project Manager: {vocalsound}Industrial Designer: {vocalsound} {gap} .Marketing:Well {vocalsound} I don't know what to say . When I s when I see the {disfmarker} when I see the product I I I I don't wanna buy it . I see so many of 'em out there . There's nothing about that product that makes mewanna choose that product over other products that are out there .User Interface: Are you talking about the picture ? That's not our that's not our b design ,Marketing: Yeah yeah .User Interface: that's just a{disfmarker} that's just something he a a graphic he used to show you the layout of what the layout of the buttons might be like .Marketing: Okay . Okay . Okay 'cause 'cause right now I don't have too much to sayabout how to market this product because we don't have a product to market yet .Project Manager: Mm .Marketing: And uh from from talking to Mike is that we have we have uh we can market a more expensiveproduct now . That's what I understand so ,Project Manager: Upper management said yes .Marketing: hello .Project Manager: Uh e excuse that , that's a bit of spam .Marketing: And and so {disfmarker} yeah I'm a I'ma little bit stuck right now in that what uh w what is it that I'm gonna market ? Uh without special or increased marketable features I don't believe the product has a consumer demand . Uh I like the idea of of the scrollmakin {vocalsound} there are so many people making these products at this price right now . What are we gonna do to make this one special and unique ?User Interface: What's special and unique about a scroll?Marketing: Uh {vocalsound} well I don't {disfmarker}Project Manager: It's cool .Marketing: yeah it's {disfmarker} I I just see it as different . I don't say it's specially mm {disfmarker} I don't say it's special . Uh I saythat it's different I {disfmarker} what I'm looking for as marketing is m give me something different . I give me a lower price , give me a higher price , give me some new technology , don't give me the same thing thateverybody else is putting out there on the shelf it's f at the same price . I need something to market about this thing . We're we're a new firm .Project Manager: I'd I'd say though that we {disfmarker} if we did makethe decision to go with the cradle though , the then we have that as well ,Marketing: What i {vocalsound} if when when we have {disfmarker}Project Manager: but wi with a similar {disfmarker}Marketing: yeah whenwe when we have something like the cradle or or something give that's {disfmarker} as as a marketing standard {disfmarker} I need something to market , to make this product unique .User Interface: Well right Ithink the two big th points that we have so far are the {disfmarker} having the cradle and also having uh the um the actual design of the uh case itself having like this like rubber shell maybe with a plastic interior,Marketing: Yep .User Interface: having it look really nice um and also be really durable .Marketing: Mm 'kay . Just remember when I made up this report I didn't have the information that we're discussing here .ProjectManager: Mm . Course .User Interface: Right yeah . Yeah .Marketing: And and so so uh yeah when we have a cradle , when we have some kind of design , so what I'm saying is , from my perspective , I don't have aproduct to market right now . Um uh my personal preference is that we make some adjustment in the cost , either lower or develop an integrated new technol technology . That's that is the next step , there'stechnology and then there is technology , which we're moving into the next phase .Project Manager: Yeah 'cause that's {gap} .Industrial Designer: {vocalsound}Marketing: And so uh we're gonna have some newtechnology to enhance the marketability . Yeah uh again I'm not sold on the product because we don't have a product in my opinion yet .Project Manager: Mm .Marketing: So I need a product .Project Manager: Mm 'kay.User Interface: Well let's get a product then .Marketing: I need a product to market . And I just {disfmarker} whatever product you guys put together , we'll find a way to market it . Tha that I'm not concerned with.Project Manager: So now {disfmarker}Marketing: If you if you give me {disfmarker} if you give me a cut-out of what everybody else has then I need to I need to find a lower cost .Project Manager: So our big{vocalsound} questions here really are cradle or not cradle ? Do we go basic or do we go for features ? Uh d does anyone really wanna do anything with the scroll wheel or should we ditch that off-hand first ?UserInterface: Well my question is what would the scroll wheel do ? Function-wise , what does that do that {disfmarker}Project Manager: Oh but that was in your presentation {vocalsound} so wh what would you imagine itdoing ?Marketing: Yeah wh wh what's the {vocalsound} whUser Interface: {vocalsound} Yeah . Well it's it's just another way to do the exact same thing that the buttons do .Project Manager: {vocalsound} Mm"}
+{"doc_id":"doc_55","qid":"","text":"Marketing: Just put it on the deskt {gap} desktop .Project Manager: No on the desktop you'll find you should find that there's a project documents link . A well actually just there .Marketing: Project documents ,ProjectManager: Yeah . That's it .Marketing: yeah .Project Manager: If you dump it in there .Marketing: What's your username ?Project Manager: Your username .Marketing: What's your username and password ? Mm-hmm .Sorry .Project Manager: Okay .Marketing: Okay . There we go .Project Manager: Excellent . Right . Hopefully that's us ready to uh to go . So . Functional design meeting . We'll have to flesh out some of the uh stuff .Um we'll start with the minutes of the last meeting . Not a lot thankfully to say . We introduced ourselves , discussed the possibility of a macro facility , interac interacting the T_V_ a bit more , um mentioning ofbar-code , joystick for user manipulation , um and ergonomics of the remote control as well . Um it's come to my attention the following . Teletext has become outdated due to the populat popularity of the internet .Remote control should only be used for the T_V_ . Um due for uh time to market and possibly also cost issues . Um also key is the corporate image should stay recognisable , um f uh your colour and slogan of course isdown at the bottom there . Um . Now . Just to say quickly uh I would have thought that only being used for a television the macro facility may now not be required .User Interface: Mm .Project Manager: Um or at l itsfunctionality would have been of limited use . So to the point in my opinion anyway that it might not be worth pursuing . Um if anybody disagrees we can uh definitely say so . Um and hopefully we'll just crack on andwe'll get everything going . Um I'd like to if possible hear from our Marketing Expert first , to help us gain an idea of where we're going to go .Marketing: 'Kay .Project Manager: So um I'll just load up your presentationfrom here if you want .Marketing: Sure . Um , sh would you like to {vocalsound} I'll just do it from here .Project Manager: Yep . Sorry . Uh . Is yours the {disfmarker}Marketing: Um , try second one maybe . Try it ,yeah maybe .Project Manager: Oh sorry . Okay , right .Marketing: Yeah . Okay . Oh , I thought I put in my last name , I guess not , but {gap} .Project Manager: Uh if you {disfmarker} that's all right . If you{disfmarker} do you want me to just cycle through it for you or ?Marketing: Okay . {vocalsound} Oh yeah , that'd be fine , that'd be great .Project Manager: Yeah ?Marketing: Okay . Functional requirement by meEbenezer . {vocalsound}Project Manager: Okay .Marketing: Okay , so um we did some research , we asked one hundred people their opinions on remote controls . We asked some uh open ended questions , just , whatare your opinions on the remote control , got a lot of re responses , and we asked some very specific questions , and we got a lot of good feedback . Please bear in mind this is only a hundred people , so even when thegroups are divided into fifteen to twenty five , twenty five to thirty five , there's only maybe ten people {vocalsound} fifteen people in each group .Project Manager: Okay .Marketing: Okay . {vocalsound} So we got{disfmarker} some the bad stuff we got , remotes are often lost . I often lose my remote control , the back of the couch , some place , and even if it's not lost permanently , it takes me a few minutes to find it .{vocalsound} Most buttons are not used any more , like you said , teletext is outdated now . I remember trying to load a D_V_D_ player recently , and there were so many buttons , it took me I don't know maybe tenminutes to to go through each button , 'cause you have to press the shift button to access the yellow buttons , you know there's just a lot of stuff that no one really uses . And if they do , not very often . Takes too longto master the remote control . I've seen some remote controls that are big , they have a lot of buttons , you have to hold down more than one key at one time to do something , they're just not great to use . We justgot a lot of bad complaints about remote controls , people do not like remote controls . Some of the good stuff we got . Between the age of uh fifteen and twenty five , most people would be willing to pay extra for voicerecognition software . Now don't get excited yet , I've got more to say on that . Most people'd be willing to pay for that um most people want remote controls to be pretty , they want it to be fancy , th they they want itto be different , everybody has a white remote control with black buttons , and a red button and a green button , not everybody wants that . {vocalsound} {vocalsound} Finally , my opinion .Project Manager: Yep.Marketing: The voice recognition thing is cool . And uh voice recognition , the software , open source software exist already . It's a bit sketchy at some times , uh , you're not gonna get good always accurate results ,but for a very fixed number of words , you know you have , how many different words can you have for a remote control , up , down , left , right , channel five , channel seven , you know , how many , you can't havethat many words . For a fixed vocabulary it works quite well . I'm pretty sure people would buy it . But after a while people may wanna return it , because {vocalsound} if you have to to say som I mean most people usea remote control for switching to channels , and they say they do that about ninety eight percent of the time . Using the remote control , ninety eight percent of the time for changing channels , and that's for flickeringthrough channels . So if you have to say up , up , up , up , if you have to do that all the time , then people might get a bit fed up with that and they may return it . {vocalsound} However , {vocalsound} oh , becausethe voice recognition software exists already , there's no need to spend money on research and development , but this does mean the need for microphones in the in the remote control , which is an unusual feature inmy opinion . But if we do have the voice recognition thing , there's a lot of stuff that you can uh get rid of . See , you could {disfmarker} there're two options . Either you have voice recognition by itself , which I think isa bit impractical for like night time if you wanna be watching television and you wanna be quiet , or I don't know you have a visitor coming round and the remote's only trained for you , it's a bit impractical to have justvoice recognition by itself . So you can have voice recognition and a regular remote . But imagine you got rid of the regular remote part , then you can design the remote to look any way you want it to look , becausethere are no restrictions on physical size , or shape , it it could be as fancy as you want it to be , you know , it could be like a lollipop or something like that , something weird like that . As long as the voice recognitionstuff works , that's that's fine .Project Manager: Okay , yep .Marketing: So we have the three birds , we have the design , that {vocalsound} we have the the fancy bit , right , the voice recognition's fancy , it's cool , it'sdifferent , it's radical , so , and then we have an extra bit I don't remember {vocalsound} so I'm pretty sure people will buy the remote , but is it practical to have a voice recognition system in a remote control , I thinkis a big question . Um , will people will people be willing to wait for the the period that it'll take to train the remote , 'cause I think it will the remote will uh get better over time with the same user user , but for the firstweek or for the first two weeks are you willing to wait , are you willing to have a bad remote control . {vocalsound} And uh what if you have visitors come round , they stay the night , they wanna use the T_V_ , theycan't use the remote because they speak differently to you . Um , how do you account for regional accents and stuff like that . Uh , will people return the remote control , {vocalsound} I think a lot of young people willbuy the remote control , if they have the money , you know , so ,Project Manager: Mm-hmm . If you could uhMarketing: do our audience have the money , but would they return it after a while because it's not as fastas pressing a button , it's not a practical . So . These are things I think we should consider .Project Manager: sorMarketing: I think it's cool ,Project Manager: if you could speed it up a bit , yeah . If you could uh speed itup a bit please , yeah .Marketing: I'm sorry ? Sure .Project Manager: Sorry .Marketing: I'm about to end , yeah .Project Manager: Cool .Marketing: I think it's cool but there are definitely some considerations .ProjectManager: Okay . Excellent .Marketing: So , yeah .Project Manager: Right . Um . Hear from the {vocalsound} User Interface Designer now I think might be an idea .User Interface: Okay .Project Manager: Um , you'vegot your presentation now ,Industrial Designer: {vocalsound} How did {disfmarker} where did {disfmarker}User Interface: Yeah , it's in the it's in the folderProject Manager: is it on the {disfmarker}IndustrialDesigner: where did you get all your in information {gap} ?User Interface: yeah .Project Manager: is it ? Okay .Marketing: There was uh a website , uh ,Industrial Designer: Oh .Project Manager: {vocalsound} Technicalfunctions ?Marketing: right here .Industrial Designer: Ah , okay .User Interface: Mm .Project Manager: No . Yeah . Okay .User Interface: Okay , this is a {vocalsound} brief run through of the um of the technicalfunctions of the remote . As um is uh the the the presentation is uh already slightly obsolete because I {vocalsound} had in mind something that would uh be i be aimed at controlling multiple devices but uh there's stillstuff of relevance , soProject Manager: Okay .User Interface: press on . I've looked at {vocalsound} looked at a num {vocalsound} uh couple of other uh remote control models just for an idea of basic design principles. Um and wasn't really satisfied by what I saw I have to say so this is more sort of springboard for uh how these could be improved on . {vocalsound} Um um basically the job of the device is to send commands to anappliance , in this case the television set . Um to save you getting off your backside . Um and there's two main trends in th in the sort of design practice . On the one hand {disfmarker} and this uh this particularlyrelates to its sort of earliest models where with you know i so so many buttons on it so about the size of the television set . Um giving you every possible function that the that the device has , the remote controlcontrols . And most of these functions are not going to be used , it creates a rather user unfriendly interface . And on the other hand there's a user focused approach that pares things down to just what {vocalsound}what is most likely to get used . Um {vocalsound} With uh {disfmarker} a and a and of course there is a certain amount of sort of loss of function here obviously , but mostly that's relatively peripheral functions . Andso you go for something that's fairly intuitive to use , and um well f the for the most part for T_V_ remote it's uh tha that would be channel control and volume . Um and if you {vocalsound} if you if you are wanting toincorporate uh control of a D_V_ {vocalsound} D_V_D_ or uh {vocalsound} V_C_R_ presumably into that then there's a play , pause , stop , rewind , fast-forward , record , so forth . Um . My own view is that we shoulddefinitely be going for a user focused design . Um but uh the pro {vocalsound} I think the problem with a lot of the sort of user focused designs that are about is that they sort of make assumptions in advance aboutwhat uh what a given user's going to uh want mo want to do from {vocalsound} want it to do most . So , something that's uh {vocalsound} something that is more programmable , that uh perh perhaps has the fullrange of functions available to it but you can then specify yourself what you're most likely to want . Um so that those are then immediately {vocalsound} accessible through fairly minimal number of controls , um I likedEbenezer's idea of including a joystick in that and uh possibly a sort of fairly minimal number of sort of function buttons , and have a disp {vocalsound} you then have some sort of basic display on it so that if you're umsort of cha changing from different modes for the device it'll tell you just exactly what uh you know each direction of the uh of the um joystick's {vocalsound} going to do or wha or what each function button's going todo . Um , this is actually {gap} a again slightly taking inspiration off of uh games controllers , you know the Playstation control where you have four basic function buttonsMarketing: Mm .User Interface: that are justmarked with um distinctive uh geometrical shapes but the {vocalsound} and then dependent on what you're doing with it what game and so on um those uh those functions are then sort of further specified . And so it'staking taking the lead from that . Um .Project Manager: Okay . Yeah .User Interface: {vocalsound} That's it .Project Manager: Right . Um , if we could hear from our Industrial engineer , or Designer .IndustrialDesigner: Yeah . Uh , I was still working on stuff , I hadn't got it finished . Um , {vocalsound} alright . Click to save in {disfmarker} where do I have to save it ?Project Manager: If you look on the desktop you'll findthat there's a link to the project folder , or project documents . If you save it in there we can open it up from here .Industrial Designer: {vocalsound} Um , what I've done with it , I'm sorry . Shit . Um {vocalsound}{disfmarker}Project Manager: Are you finding it okay or ?Industrial Designer: I'm just {gap} closing it now . {gap} where I've saved it .Marketing: Well like if you go to one , uh whichever one you were working{disfmarker}Industrial Designer: {gap} that's it there ,Marketing: yeah ,Industrial Designer: yeah .Marketing: and you just click file save as .Industrial Designer: Oh right . {vocalsound}Project Manager: Okay.Industrial Designer: Uh , right I'm responsible for working design , uh , this is basically the inside going on of the the uh remote control . So we have the energy source , we have the user interface , this this is what I'veseen . Uh the sender will push the button , the chip will respond , uh and then the dig digital signal is sent to the T_V_ . So uh uh , if you go to next slide , you'll see you'll see uh what do we need on the user interface .Do we need uh many buttons , or do we need l many light bulbs that could be easier to uh to realise which appliances are on or not . Um , {vocalsound} , or would that take too much power , would we need more umcomponents in there to supply the power ? Um , the joystick is another thing , if we were gonna add that , um , there'd be more components to deal with that .Project Manager: Mm-hmm .Industrial Designer: Um{vocalsound} , so uh we need to {disfmarker} I dunno exactly what {disfmarker} That's the design of the the the layout of the uh electronic design , um obviously there'll be more details once we've decided what we'reputting on the user interface .Project Manager: Okay .Industrial Designer: So , that'll be decided , I guess . {vocalsound} Uh , and the next slide . Oh , yeah {disfmarker} Um , if you go to the next slide then .ProjectManager: Oh . Yeah .Marketing: {vocalsound}Industrial Designer: I just used the {vocalsound} it was a mess , uh I was just putting adding it together at the end there . Uh {disfmarker}Project Manager: Ah , don'tworry about it at all mate . {vocalsound}Industrial Designer: Uh so you have the energy source obviously connected to the chip , and the user interface obviously contains everything . You have the switch turn it on ,infrared bulb , uh will contact the T_V_ and will have whatever device or D_V_D_ player , the bulb will turn on to say it's on . Uh , so do we need on the control uh different buttons to decide , or different light bulbs ,would it be easier ? Um , I dunno what we should decide on that .Project Manager: Okay . Well . Oh sorry , I'm I'm interrupting you . Are you {disfmarker} is it {disfmarker}Industrial Designer: No , it's finished , yeah.Project Manager: yeah ? Okay . Right . Um , {vocalsound} right we can probably skip that for now . So , we've had some stuff put forward , um along with the new user requirements , um we've had a lot of kind ofinput I'd say so far . Um I hear what the Marketing Expert's saying about {vocalsound} um voice activated control . However I've got a couple of worries about that . {vocalsound} The power required , um and theability to the cost , it seems like for uh an embedded system , this could cause us issues .Industrial Designer: Cost . Mm .Project Manager: Um for example you see that there's fairly robust services on uh computers viauh via voice , I_B_M_ do um drag and dictate , but these require a lot of memoryMarketing: Mm-hmm .Project Manager: and usually um state quite advanced processor requirements . Um voice activation could be aninteresting idea but I think that our Ind Industrial Designer would probably upon some research say that it's maybe not feasible .Marketing: 'Kay .Project Manager: Um that's just my view right now ,User Interface: Mm. {vocalsound}Project Manager: however the idea of a joystick and then maybe an L_C_D_ which has been kind of put forward so far , it's almost like having a small T_ not T_V_ to say , but if you can control almost allof the functionality from the display , I don't know how much power an L_C_D_ would take , but it might be quite low ?Marketing: Mm . I uh {disfmarker}Industrial Designer: L_C_D_ on the remote just telling youwhat's on , or {vocalsound} uh , interactive L_C_D_ or {disfmarker}Project Manager: Well literally um if you can imagine the display maybe slightly larger than um those on a {vocalsound} a mobile phone ,UserInterface: Mm .Project Manager: something where you can read an an um fair amount of information , traverse maybe quite a few menus , if we maybe used mobile phones as a good example , they usually incorporatethey have the keypad , and then evr all the other functionality is usually associated inside by traversing around .Marketing: Mm-hmm .Project Manager: That could be one possibility . Um and then we could have likesay the common buttons as you say , volume control , changing channels {disfmarker}User Interface: Mm . {gap} I I was thinking that the remote {vocalsound} the um {vocalsound} sort of default functions for thejoystick would be up and down for uh volume , left and right for channels .Project Manager: We {disfmarker}Industrial Designer: Do you think that people will get mixed up , like , they'll be looking at this screen andthat screen and then , you know , trying to get everything working , would it be a bit confusing ?User Interface: Um I think probably for the first couple of hours of using itIndustrial Designer: Yeah .User Interface: umbut you know muscle memory's a wonderful thing , um . And I think {vocalsound} and I think that size of uh display was about what I had in mind .Marketing: Mm .User Interface: Um though I mean I w I would saythat uh we could probably probably be required to um mo most of the mobile phone displays you see these days are colour but we should probably try to stick to black and white .Project Manager: {vocalsound} I wouldagree with you .User Interface: Si si simply to keep m keep the unit cost down . Um I mean colour could be a sort of subsequent development but uh you know cost a bit of extra money f w w w w w once everyone's gotthe first , you know , oh colour's out , we'll have to replace it won't we .Project Manager: Mm-hmm . {vocalsound}User Interface: It does nothing extra .Project Manager: That would be my feeling as well , I think wecould possibly create quite a useful user interface . Um now I mean I don't {disfmarker}Marketing: Sure but the idea of a remote with a menu or {disfmarker} and a joystick I think like I h if I was in the habit of buyingremote controls then I would want one ,Project Manager: sorry , go for it .Marketing: but I think we don't have a specific audience , you know , like what is our target audience , what niche are {disfmarker} niche arewe trying to market and corner . You know , you know what I'm saying , like , for whom is this intended ? Everybody ?Project Manager: {vocalsound} I think it could probably be aimed at most people who've used amobile . And that might be just another way of saying try to target most people .Marketing: Most people , yeah .User Interface: Mm .Project Manager: Um , if we are if we were to follow that avenue , we might be s youknow um we're kind of almost relying on their experience with a mobile phone I suppose . But that does cover a very large section of the people out there .Marketing: Mm-hmm . Sure . I think that's fair {vocalsound}yeah .User Interface: Mm .Project Manager: Um , I mean I imagine as well that the actual L_C_D_ and maybe to a certain extent the joystick as well would be for the additional functionality . Which maybe doesn't getused as often , maybe it makes it easy for them to figure out how to um change the channels as in the frequencies and such for reprogramming it .Marketing: Mm-hmm .Project Manager: Um and you can still have the"}
+{"doc_id":"doc_56","qid":"","text":"Professor D: OK .PhD A: Mike . Mike - one ?PhD B: Ah .Professor D: We 're on ? Yes , please . I mean , we 're testing noise robustness but let 's not get silly . OK , so , uh , you 've got some , uh , Xerox things to passout ?PhD A: Yeah ,Professor D: That are {disfmarker}PhD A: um .Professor D: Yeah .PhD A: Yeah . Yeah , I 'm sorry for the table , but as it grows in size , uh , it .Professor D: Uh , so for th the last column we use ourimagination . OK .PhD B: Ah , yeah .Professor D: Ah .PhD A: Uh , yeah .PhD B: Uh , do you want @ @ .Professor D: This one 's nice , though . This has nice big font .PhD A: Yeah .Grad C: Let 's see . Yeah . Chop!Professor D: Yeah .PhD A: SoProfessor D: When you get older you have these different perspectives . I mean , lowering the word hour rate is fine , but having big font !PhD A: Next time we will put colors or something.Professor D: That 's what 's {disfmarker}PhD A: Uh .Professor D: Yeah . It 's mostly big font . OK .PhD A: OK , s so there is kind of summary of what has been done {disfmarker}Professor D: Uh {disfmarker} Go ahead.PhD A: It 's this . Summary of experiments since , well , since last weekProfessor D: Oh . OK .PhD A: and also since the {disfmarker} we 've started to run {disfmarker} work on this . Um . {pause} So since last weekwe 've started to fill the column with um {vocalsound} uh features w with nets trained on PLP with on - line normalization but with delta also , because the column was not completely {disfmarker}Professor D: Mm -hmm . Mm - hmm . PhD A: well , it 's still not completely filled ,Professor D: PhD A: but {pause} we have more results to compare with network using without PLP and {pause} finally , hhh , {comment} um {pause}ehhh {comment} PL - uh delta seems very important . Uh {pause} I don't know . If you take um , let 's say , anyway Aurora - two - B , so , the next {disfmarker} t the second , uh , part of the table ,Professor D: Mm -hmm .PhD A: uh {pause} when we use the large training set using French , Spanish , and English , you have one hundred and six without delta and eighty - nine with the delta .Professor D: a And again all of thesenumbers are with a hundred percent being , uh , the baseline performance ,PhD A: Yeah , on the baseline , yeah . So {disfmarker}Professor D: but with a mel cepstra system going straight into the HTK ?PhD A: Yeah .Yeah . So now we see that the gap between the different training set is much {pause} uh uh much smallerProfessor D: Yes .PhD A: um {disfmarker}Grad C: It 's out of the way .PhD A: But , actually , um , for Englishtraining on TIMIT is still better than the other languages . And  Mmm , {pause} Yeah . And f also for Italian , actually . If you take the second set of experiment for Italian , so , the mismatched condition ,Professor D:Mm - hmm .PhD A: um {pause} when we use the training on TIMIT so , it 's multi - English , we have a ninety - one number ,Professor D: Mm - hmm .PhD A: and training with other languages is a little bit worse.Professor D: Um {disfmarker} Oh , I see . Down near the bottom of this sheet .PhD A: So ,Professor D: Uh , {comment} {pause} yes .PhD A: yeah .Professor D: OK .PhD A: And , yeah , and here the gap is still moreimportant between using delta and not using delta . If y if I take the training s the large training set , it 's {disfmarker} we have one hundred and seventy - two ,Professor D: Yes .PhD A: and one hundred and four whenwe use delta .Professor D: Yeah .PhD A: Uh . {pause} Even if the contexts used is quite the same ,Professor D: Mm - hmm .PhD A: because without delta we use seventeenths {disfmarker} seventeen frames . Uh .Yeah , um , so the second point is that we have no single cross - language experiments , uh , that we did not have last week . Uh , so this is training the net on French only , or on English only , and testing on Italian.Professor D: Mm - hmm .PhD A: And training the net on French only and Spanish only and testing on , uh TI - digits .Professor D: Mm - hmm .PhD A: And , fff {comment} um , yeah . What we see is that these nets arenot as good , except for the multi - English , which is always one of the best . Yeah , then we started to work on a large dat database containing , uh , sentences from the French , from the Spanish , from the TIMIT ,from SPINE , uh from {comment} uh English digits , and from Italian digits . So this is the {disfmarker} another line {disfmarker} another set of lines in the table . Uh , @ @ with SPINEProfessor D: Ah , yes . Mm -hmm .PhD A: and {pause} uh , actually we did this before knowing the result of all the data , uh , so we have to to redo the uh {disfmarker} the experiment training the net with , uh PLP , but with delta . ButProfessorD: Mm - hmm .PhD A: um this {disfmarker} this net performed quite well . Well , it 's {disfmarker} it 's better than the net using French , Spanish , and English only . Uh . So , uh , yeah . We have also started featurecombination experiments . Uh many experiments using features and net outputs together . And this is {disfmarker} The results are on the other document . Uh , we can discuss this after , perhaps {disfmarker} well ,just , @ @ . Yeah , so basically there are four {disfmarker} four kind of systems . The first one , yeah , is combining , um , two feature streams , uh using {disfmarker} and each feature stream has its own MPL . So it 'sthe {disfmarker} kind of similar to the tandem that was proposed for the first . The multi - stream tandem for the first proposal . The second is using features and KLT transformed MLP outputs . And the third one is to uuse a single KLT trans transform features as well as MLP outputs . Um , yeah . Mmm . You know you can {disfmarker} you can comment these results ,PhD B: Yes , I can s I would like to say that , for example , um ,mmm , if we doesn't use the delta - delta , uh we have an improve when we use s some combination . But whenPhD A: Yeah , we ju just to be clear , the numbers here are uh recognition accuracy .PhD B: w Yeah , this{disfmarker} Yeah , this number recognition accPhD A: So it 's not the {disfmarker} {vocalsound} Again we switch to another {disfmarker}PhD B: Yes , and the baseline {disfmarker} the baseline have {disfmarker} iis eighty - two .Professor D: Baseline is eighty - two .PhD B: YeahPhD A: So it 's experiment only on the Italian mismatched for the moment for this .Professor D: Uh , this is Italian mismatched .PhD A: Um .PhD B: Yeah, by the moment .PhD A: Mm - hmm .Professor D: OK .PhD B: And first in the experiment - one I {disfmarker} I do {disfmarker} I {disfmarker} I use different MLP ,Professor D: Mm - hmm .PhD B: and is obviouslythat the multi - English MLP is the better . Um . for the ne {disfmarker} rest of experiment I use multi - English , only multi - English . And I try to combine different type of feature , but the result is that the MSG - threefeature doesn't work for the Italian database because never help to increase the accuracy .PhD A: Yeah , eh , actually , if w we look at the table , the huge table , um , we see that for TI - digits MSG perform as well asthe PLP ,Professor D: Mm - hmm .PhD A: but this is not the case for Italian what {disfmarker} where the error rate is c is almost uh twice the error rate of PLP .Professor D: Mm - hmm .PhD A: So , um {vocalsound} uh, well , I don't think this is a bug but this {disfmarker} this is something in {disfmarker} probably in the MSG um process that uh I don't know what exactly . Perhaps the fact that the {disfmarker} the {disfmarker}there 's no low - pass filter , well , or no pre - emp pre - emphasis filter and that there is some DC offset in the Italian , or , well , something simple like that . But {disfmarker} that we need to sort out if want to uh getimprovement by combining PLP and MSGProfessor D: Mm - hmm .PhD A: because for the moment MSG do doesn't bring much information .Professor D: Mm - hmm .PhD A: And as Carmen said , if we combine the two ,we have the result , basically , of PLP .Professor D: I Um , the uh , baseline system {disfmarker} when you said the baseline system was uh , uh eighty - two percent , that was trained on what and tested on what ?That was , uh Italian mismatched d uh , uh , digits , uh , is the testing ,PhD B: Yeah .Professor D: and the training is Italian digits ?PhD B: Yeah .Professor D: So the \" mismatch \" just refers to the noise and{disfmarker} and , uh microphone and so forth ,PhD A: Yeah .PhD B: Yeah .Professor D: right ? So , um did we have {disfmarker} So would that then correspond to the first line here of where the training is{disfmarker} is the uh Italian digits ?PhD B: The train the training of the HTK ?Professor D: The {disfmarker}PhD B: Yes . Ah yes !Professor D: Yes .PhD B: This h Yes . Th - Yes .Professor D: Yes . Training of the net,PhD B: Yeah .Professor D: yeah . So , um {disfmarker} So what that says is that in a matched condition , {vocalsound} we end up with a fair amount worse putting in the uh PLP . Now w would {disfmarker} do wehave a number , I suppose for the matched {disfmarker} I {disfmarker} I don't mean matched , but uh use of Italian {disfmarker} training in Italian digits for PLP only ?PhD B: Uh {pause} yes ?PhD A: Uh {pause}yeah , so this is {disfmarker} basically this is in the table . Uh {pause} so the number is fifty - two ,PhD B: Another table .PhD A: uh {disfmarker}Professor D: Fifty - two percent .PhD A: Fift - So {disfmarker} No , it 's{disfmarker} it 's the {disfmarker}PhD B: No .Professor D: No , fifty - two percent of eighty - two ?PhD A: Of {disfmarker} of {disfmarker} of uh {pause} eighteen {disfmarker}PhD B: Eighty .PhD A: of eighteen .PhDB: Eighty .PhD A: So it 's {disfmarker} it 's error rate , basically .PhD B: It 's plus six .PhD A: It 's er error rate ratio . So {disfmarker} Professor D: Oh this is accuracy ! PhD A: Uh , so we have nine {disfmarker} nine{disfmarker} let 's say ninety percent .PhD B: Yeah .Professor D: Oy ! {comment} OK . Ninety .PhD A: Yeah . Um {comment} which is uh {comment} what we have also if use PLP and MSG together ,Professor D: Yeah.PhD A: eighty - nine point seven .Professor D: OK , so even just PLP , uh , it is not , in the matched condition {disfmarker} Um I wonder if it 's a difference between PLP and mel cepstra , or whether it 's that the nethalf , for some reason , is not helping .PhD A: Uh . P - PLP and Mel cepstra give the same {disfmarker} same results .Professor D: Same result pretty much ?PhD A: Well , we have these results . I don't know . It 's not{disfmarker} Do you have this result with PLP alone , {comment} j fee feeding HTK ?Professor D: So , sPhD A: That {disfmarker} That 's what you mean ?PhD B: Yeah ,PhD A: Just PLP at the input of HTK .PhD B: yeahyeah yeah yeah , at the first {disfmarker} and the {disfmarker} Yeah .PhD A: Yeah . So , PLP {disfmarker}Professor D: Eighty - eight point six .PhD A: Yeah .Professor D: Um , so adding MSGPhD A: Um{disfmarker}Professor D: um {disfmarker} Well , but that 's {disfmarker} yeah , that 's without the neural net ,PhD A: Yeah , that 's without the neural netProfessor D: right ?PhD A: and that 's the result basically thatOGI has also with the MFCC with on - line normalization .Professor D: But she had said eighty - two .PhD A: This is the {disfmarker} w well , but this is without on - line normalization .Professor D: Right ? Oh , this{disfmarker} the eighty - two .PhD A: Yeah .PhD B: PhD A: Eighty - two is the {disfmarker} it 's the Aurora baseline , so MFCC . Then we can use {disfmarker} well , OGI , they use MFCC {disfmarker} th the baselineMFCC plus on - line normalizationProfessor D: Oh , I 'm sorry , I k I keep getting confused because this is accuracy .PhD A: Yeah , sorry . Yeah .PhD B: Yeah .Professor D: OK . Alright .PhD A: Yeah .Professor D: Alright .So this is {disfmarker} I was thinking all this was worse . OK so this is all betterPhD B: Yes , better .Professor D: because eighty - nine is bigger than eighty - two .PhD A: Mm - hmm .PhD B: Yeah .Professor D: OK . I'm {disfmarker} I 'm all better now . OK , go ahead .PhD A: So what happ what happens is that when we apply on - line normalization we jump to almost ninety percent .Professor D: Yeah . Mm - hmm .PhD A: Uh ,when we apply a neural network , is the same . We j jump to ninety percent .PhD B: Nnn , we don't know exactly .Professor D: Yeah .PhD A: And {disfmarker} And um {disfmarker} whatever the normalization ,actually . If we use n neural network , even if the features are not correctly normalized , we jump to ninety percent . So {disfmarker}Professor D: So we go from eighty - si eighty - eight point six to {disfmarker} toninety , or something .PhD A: Well , ninety {disfmarker} No , I {disfmarker} I mean ninety It 's around eighty - nine , ninety , eighty - eight .Professor D: Eighty - nine .PhD A: Well , there are minor {disfmarker} minordifferences .PhD B: Yeah .Professor D: And then adding the MSG does nothing , basically .PhD A: No .Professor D: Yeah . OK .PhD A: Uh For Italian , yeah .Professor D: For this case , right ?PhD A: Um .Professor D:Alright . So , um {disfmarker} So actually , the answer for experiments with one is that adding MSG , if you {disfmarker} uh does not help in that case .PhD A: Mm - hmm .Professor D: Um {disfmarker}PhD A:  But wYeah .Professor D: The other ones , we 'd have to look at it , but {disfmarker} And the multi - English , does uh {disfmarker} So if we think of this in error rates , we start off with , uh eighteen percent error rate ,roughly .PhD A: Mm - hmm .Professor D: Um {pause} and {pause} we uh almost , uh cut that in half by um putting in the on - line normalization and the neural net .PhD A: YeahProfessor D: And the MSG doesn'thowever particularly affect things .PhD A: No .Professor D: And we cut off , I guess about twenty - five percent of the error . Uh {pause} no , not quite that , is it . Uh , two point six out of eighteen . About , um {pause}sixteen percent or something of the error , um , if we use multi - English instead of the matching condition .PhD A: Mm - hmm . Yeah .Professor D: Not matching condition , but uh , the uh , Italian training .PhD A: Mm -hmm .PhD B: Yeah .Professor D: OK .PhD A: Mmm .PhD B: We select these {disfmarker} these {disfmarker} these tasks because it 's the more difficult .Professor D: Yes , good . OK ? So then you 're assuming multi -English is closer to the kind of thing that you could use since you 're not gonna have matching , uh , data for the {disfmarker} uh for the new {disfmarker} for the other languages and so forth . Um , one qu thing isthat , uh {disfmarker} I think I asked you this before , but I wanna double check . When you say \" ME \" in these other tests , that 's the multi - English ,PhD A: That 's {disfmarker} it 's a part {disfmarker} it 's{disfmarker}Professor D: but it is not all of the multi - English , right ? It is some piece of {disfmarker} part of it .PhD A: Or , one million frames .Professor D: And the multi - English is how much ?PhD B: You have herethe information .PhD A: It 's one million and a half . Yeah .Professor D: Oh , so you used almost all You used two thirds of it ,PhD A: Yeah .Professor D: you think . So , it it 's still {disfmarker} it hurts you {disfmarker}seems to hurt you a fair amount to add in this French and Spanish .PhD A: Mmm .PhD B: Yeah .Professor D: I wonder why Yeah . Uh .Grad C: Well Stephane was saying that they weren't hand - labeled ,PhD A: Yeah , it's {disfmarker}PhD B: Yeah .PhD A: Yeah .Grad C: the French and the Spanish .PhD B: The Spanish . Maybe for that .Professor D: Hmm .PhD A: Mmm .Professor D: It 's still {disfmarker} OK . Alright , go ahead . Andthen {disfmarker} then {disfmarker}PhD B: Um . Mmm , with the experiment type - two , I {disfmarker} first I tried to to combine , nnn , some feature from the MLP and other feature {disfmarker} another feature.Professor D: Mm - hmm .PhD B: And we s we can {disfmarker} first the feature are without delta and delta - delta , and we can see that in the situation , uh , the MSG - three , the same help nothing .Professor D: Mm- hmm .PhD B: And then I do the same but with the delta and delta - delta {disfmarker} PLP delta and delta - delta . And they all p but they all put off the MLP is it without delta and delta - delta . And we have a l littlebit less result than the {disfmarker} the {disfmarker} the baseline PLP with delta and delta - delta .Professor D: Mm - hmm .PhD B: Maybe if {disfmarker} when we have the new {disfmarker} the new {pause} neuralnetwork trained with PLP delta and delta - delta , maybe the final result must be better . I don't know .PhD A: Actually , just to be some more {disfmarker}PhD B: Uh {disfmarker}PhD A: Do This number , this eighty -seven point one number , has to be compared with theProfessor D: Yes , yeah , I mean it can't be compared with the otherPhD A: Which number ?Professor D: cuz this is , uh {disfmarker} with multi - English , uh ,training .PhD B: Mm - hmm .Professor D: So you have to compare it with the one over that you 've got in a box , which is that , uh the eighty - four point six .PhD B: Mm - hmm .Professor D: Right ?PhD A: Uh.Professor D: So {disfmarker}PhD A: Yeah , but I mean in this case for the eighty - seven point one we used MLP outputs for the PLP netProfessor D: Yeah .PhD A: and straight features with delta - delta . And straightfeatures with delta - delta gives you what 's on the first sheet .PhD B: Mm - hmm .Professor D: Yeah . Not t notPhD A: It 's eight eighty - eight point six .Professor D: tr No . No . No .PhD B: Yes .Professor D: Not trainedwith multi - English .PhD A: Uh , yeah , but th this is the second configuration .PhD B: No , but they {disfmarker} they feature @ @ without {disfmarker}PhD A: So we use feature out uh , net outputs together withfeatures . So yeah , this is not {disfmarker} perhaps not clear here but in this table , the first column is for MLP and the second for the features .Professor D: Eh . {comment} Oh , I see . Ah . So you 're saying w soasking the question , \" What {disfmarker} what has adding the MLP done to improve over the ,PhD A: So , just {disfmarker} Yeah so , actually it {disfmarker} it {disfmarker} it decreased the {disfmarker} the accuracy.Professor D: uh {disfmarker}PhD B: Yeah .Professor D: Yes .PhD A: Because we have eighty - eight point six .Professor D: Uh - huh .PhD A: And even the MLP alone {disfmarker} What gives the MLP alone ? Multi -English PLP . Oh no , it gives eighty - three point six . So we have our eighty - three point six and now eighty - eighty point six ,PhD B: But {disfmarker}PhD A: that gives eighty - seven point one .Professor D: Mm -hmm . Eighty - s I thought it was eighty Oh , OK , eighty - three point six and eighty {disfmarker} eighty - eight point six .PhD A: Eighty - three point six . Eighty {disfmarker}Professor D: OK .PhD A: Is th is that right? Yeah ?PhD B: Yeah . But {disfmarker} I don't know {disfmarker} but maybe if we have the neural network trained with the PLP {pause} delta and delta - delta , maybe tha this can help .PhD A: Perhaps , yeah.Professor D: Well , that 's {disfmarker} that 's one thing , but see the other thing is that , um , I mean it 's good to take the difficult case , but let 's {disfmarker} let 's consider what that means . What {disfmarker}what we 're saying is that one o one of the things that {disfmarker} I mean my interpretation of your {disfmarker} your s original suggestion is something like this , as motivation . When we train on data that is in onesense or another , similar to the testing data , then we get a win by having discriminant training .PhD A: Mm - hmm .Professor D: When we train on something that 's quite different , we have a potential to have someproblems .PhD A: Mm - hmm .Professor D: And , um , if we get something that helps us when it 's somewhat similar , and doesn't hurt us too much when it {disfmarker} when it 's quite different , that 's maybe not sobad .PhD A: Yeah . Mmm .Professor D: So the question is , if you took the same combination , and you tried it out on , uh {disfmarker} on say digits ,PhD A: On TI - digits ? OK .Professor D: you know , d Was thatexperiment done ?PhD A: No , not yet .Professor D: Yeah , OK . Uh , then does that , eh {disfmarker} you know maybe with similar noise conditions and so forth , {comment} does it {disfmarker} does it then lookmuch better ?PhD A: Mm - hmm .Professor D: And so what is the range over these different kinds of uh {disfmarker} of tests ? So , an anyway . OK , go ahead .PhD A: Yeah .PhD B: And , with this type of configurationwhich I do on experiment using the new neural net with name broad klatt s twenty - seven , uh , d I have found more or less the same result .Professor D: Mm - hmm .PhD A: So , it 's slightly better ,PhD B: Little bitbetter ?PhD A: yeah .Professor D: Slightly better .PhD A: Yeah .PhD B: Slightly bet better . Yes , is better .Professor D: And {disfmarker} and you know again maybe if you use the , uh , delta {pause} there , uh , youwould bring it up to where it was , uh you know at least about the same for a difficult case .PhD B: Yeah , maybe . Maybe . Maybe .PhD A: Yeah .PhD B: Oh , yeah .PhD A: Yeah . Well , so perhaps let 's {disfmarker} let"}
+{"doc_id":"doc_57","qid":"","text":"Professor B: I think for two years we were two months , uh , away from being done .PhD A: And what was that , Morgan ? What project ?Professor B: Uh , the , uh , TORRENT chip .PhD A: Oh .Professor B: Yeah . Wewere two {disfmarker} we were {disfmarker}PhD C: Yeah .Professor B: Uh , uh , we went through it {disfmarker} Jim and I went through old emails at one point and {disfmarker} and for two years there was this thingsaying , yeah , we 're {disfmarker} we 're two months away from being done . It was very {disfmarker} very believable schedules , too . I mean , we went through and {disfmarker} with the schedules {disfmarker}and we {disfmarker}PhD A: It was true for two years .Professor B: Yeah . Oh , yeah . It was very true .PhD A: So , should we just do the same kind of deal where we {pause} go around and do , uh , status report{pause} kind of things ? OK . And I guess when Sunil gets here he can do his last or something . So .Professor B: Yeah . So we {pause} probably should wait for him to come before we do his .PhD C: Mm - hmm .PhDA: OK . That 's a good idea .Professor B: Yeah .Grad F: OK .Professor B: Yeah .PhD A: Any objection ? Do y OK , MProfessor B: All in favorPhD A: Do you want to start , Morgan ? Do you have anything , or {disfmarker}?Professor B: Uh , I don't do anything . I {disfmarker} No , I mean , I {disfmarker} I 'm involved in discussions with {disfmarker} with people about what they 're doing , but I think they 're {disfmarker} since they 'rehere , they can talk about it themselves .Grad F: OK . So should I go so that , uh ,PhD A: Yeah . Why don't you go ahead , Barry ?Grad F: you 're gonna talk about Aurora stuff , per se ?PhD A: OK .Grad F: OK . Um .Well , this past week I 've just been , uh , getting down and dirty into writing my {disfmarker} my proposal . So , um {disfmarker} Mmm . I just finished a section on , uh {disfmarker} on talking about theseintermediate categories that I want to classify , um , as a {disfmarker} as a middle step . And , um , I hope to {disfmarker} hope to get this , um {disfmarker} a full rough draft done by , uh , Monday so I can give it toMorgan .PhD A: When is your , uh , meeting ?Grad F: Um , my meetingPhD A: Yeah .Grad F: with , uh {disfmarker} ? Oh , oh , you mean the {disfmarker} the quals .PhD A: The quals . Yeah .Grad F: Uh , the quals arehappening in July twenty - fifth .PhD A: Oh . Soon .Grad F: Yeah .PhD A: Uh - huh .Grad F: D - Day .PhD A: Yeah .Grad F: Uh - huh .PhD A: So , is the idea you 're going to do this paper and then you pass it out toeverybody ahead of time and {disfmarker} ?Grad F: Right , right . So , y you write up a proposal , and give it to people ahead of time , and you have a short presentation . And , um , and then , um {disfmarker} theneverybody asks you questions .PhD A: Hmm .Grad F: Yeah .PhD A: I remember now .Grad F: Yep . So , um .PhD A: Have you d ? I was just gonna ask , do you want to say any {disfmarker} a little bit about it ,Grad F:Y sPhD A: or {disfmarker} ? Mmm .Grad F: Oh . Uh , a little bit about {disfmarker} ?PhD A: Wh - what you 're {disfmarker} what you 're gonna {disfmarker} You said {disfmarker} you were talking about the , uh ,particular features that you were looking at ,Grad F: Oh , the {disfmarker} the {disfmarker}PhD A: or {disfmarker}Grad F: Right . Well , I was , um , I think one of the perplexing problems is , um , for a while I wasthinking that I had to come up with a complete set of intermediate features {disfmarker} in intermediate categories to {disfmarker} to classify right away . But what I 'm thinking now is , I would start with{disfmarker} with a reasonable set . Something {disfmarker} something like , um , um {disfmarker} like , uh , re regular phonetic features , just to {disfmarker} just to start off that way . And do some phonerecognition . Um , build a system that , uh , classifies these , um {disfmarker} these feat uh , these intermediate categories using , uh , multi - band techniques . Combine them and do phon phoneme recognition . Lookat {disfmarker} then I would look at the errors produced in the phoneme recognition and say , OK , well , I could probably reduce the errors if I included this extra feature or this extra intermediate category . Thatwould {disfmarker} that would reduce certain confusions over other confusions . And then {disfmarker} and then {vocalsound} reiterate . Um , build the intermediate classifiers . Uh , do phoneme recognition . Look atthe errors . And then postulate new {disfmarker} or remove , um , intermediate categories . And then do it again .PhD A: So you 're gonna use TIMIT ?Grad F: Um , for that {disfmarker} for that part of the{disfmarker} the process , yeah , I would use TIMIT .PhD A: Mm - hmm .Grad F: And , um , then {disfmarker} after {disfmarker} after , uh , um , doing TIMIT . Right ?PhD A: Mm - hmm .Grad F: Um , that 's{disfmarker} {vocalsound} that 's , um {disfmarker} that 's just the ph the phone recognition task .PhD A: Yeah .Grad F: Uh , I wanted to take a look at , um , things that I could model within word . So , I would mov Iwould then shift the focus to , um , something like Schw - Switchboard , uh , where I 'd {disfmarker} I would be able to , um {disfmarker} to model , um , intermediate categories that span across phonemes ,PhD A:Mm - hmm .Grad F: not just within the phonemes , themselves , um , and then do the same process there , um , on {disfmarker} on a large vocabulary task like Switchboard . Uh , and for that {disfmarker} for thatpart I would {disfmarker} I 'd use the SRI recognizer since it 's already set up for {disfmarker} for Switchboard . And I 'd run some {disfmarker} some sort of tandem - style processing with , uh , my intermediateclassifiers .PhD A: Oh . So that 's why you were interested in getting your own features into the SRI files .Grad F: Yeah . That 's why I {disfmarker} I was asking about that .PhD A: Yeah . Yeah .Grad F: Yeah . Um , andI guess that 's {disfmarker} that 's it . Any {disfmarker} any questions ?PhD A: Sounds good . So you just have a few more weeks , huh ?Grad F: Um , yeah . A few more .PhD A: It 's about a month from now ?Grad F:It 's a {disfmarker} it 's a month and {disfmarker} and a week .PhD A: Yeah .Grad F: Yeah .PhD A: So , uh , you want to go next , Dave ? And we 'll do {disfmarker}Grad E: Oh . OK , sure . So , um , last week I finallygot results from the SRI system about this mean subtraction approach . And , um , we {disfmarker} we got an improvement , uh , in word error rate , training on the TI - digits data set and testing on Meeting Recorderdigits of , um , {vocalsound} six percent to four point five percent , um , on the n on the far - mike data using PZM F , but , um , the near - mike performance worsened , um , from one point two percent to two pointfour percent . And , um , wh why would that be , um , {vocalsound} considering that we actually got an improvement in near - mike performance using HTK ? And so , uh , with some input from , uh , Andreas , I have atheory in two parts . Um , first of all HTK {disfmarker} sorry , SR - the SRI system is doing channel adaptation , and so HTK wasn't . Um , so this , um {disfmarker} This mean subtraction approach will do a kind ofchannel {pause} normalization and so that might have given the HTK use of it a boost that wouldn't have been applied in the SRI case . And also , um , the {disfmarker} Andreas pointed out the SRI system is usingmore parameters . It 's got finer - grained acoustic models . So those finer - grained acoustic models could be more sensitive to the artifacts {pause} in the re - synthesized audio . Um . And me and Barry were listeningto the re - synthesized audio and sometimes it seems like you get of a bit of an echo of speech in the background . And so that seems like it could be difficult for training , cuz you could have {pause} different phones{pause} lined up with a different foreground phone , {vocalsound} um , {vocalsound} depending on {pause} the timing of the echo . So , um , I 'm gonna try training on a larger data set , and then , eh , the systemwill have seen more examples o of these artifacts and hopefully will be more robust to them . So I 'm planning to use the Macrophone set of , um , read speech , and , um {disfmarker} Hmm .Professor B: I had anotherthought just now , which is , uh , remember we were talking before about {disfmarker} we were talking in our meeting about , uh , this stuff that {disfmarker} some of the other stuff that Avendano did , where theywere , um , getting rid of low - energy {pause} sections ? Um , uh , if you {disfmarker} if you did a high - pass filtering , as Hirsch did in {pause} late eighties to reduce some of the effects of reverberation , uh , uh ,Avendano and Hermansky were arguing that , uh , perhaps one of the reasons for that working was ma may not have even been the filtering so much but the fact that when you filter a {disfmarker} an all - positivepower spectrum you get some negative values , and you gotta figure out what to do with them if you 're gonna continue treating this as a power spectrum . So , what {disfmarker} what Hirsch did was , uh , set them tozero {disfmarker} set the negative values to zero . So if you imagine a {disfmarker} a waveform that 's all positive , which is the time trajectory of energy , um , and , uh , shifting it downwards , and then getting rid ofthe negative parts , that 's essentially throwing away the low - energy things . And it 's the low - energy parts of the speech where the reverberation is most audible . You know , you have the reverberation from higher- energy things showing up in {disfmarker} So in this case you have some artificially imposed {pause} reverberation - like thing . I mean , you 're getting rid of some of the other effects of reverberation , but becauseyou have these non - causal windows , you 're getting these funny things coming in , uh , at n And , um , what if you did {disfmarker} ? I mean , there 's nothing to say that the {disfmarker} the processing for this re -synthesis has to be restricted to trying to get it back to the original , according to some equation . I mean , you also could , uh , just try to make it nicer .Grad E: Uh - huh .Professor B: And one of the things you coulddo is , you could do some sort of VAD - like thingGrad E: Mm - hmm .Professor B: and you actually could take very low - energy sections and set them to some {disfmarker} some , uh , very low or {disfmarker} or nearzero {pause} value . I mean , uh , I 'm just saying if in fact it turns out that {disfmarker} that these echoes that you 're hearing are , uh {disfmarker}Grad E: Uh - huh .Professor B: or pre - echoes , whichever they are{disfmarker} are {disfmarker} are , uh , part of what 's causing the problem , you actually could get rid of them .Grad E: Uh - huh .Professor B: Be pretty simple . I mean , you do it in a pretty conservative wayGrad E:OK .Professor B: so that if you made a mistake you were more likely to {pause} keep in an echo than to throw out speech .Grad E: Hmm .PhD G: Um , what is the reverberation time {pause} like {pause} there ?GradE: In thi in this room ? Uh {disfmarker}PhD G: On , uh , the {disfmarker} the one what {disfmarker} the s in the speech that you are {disfmarker} you are using like ?Grad E: Y Yeah . I {disfmarker} I {disfmarker} I{disfmarker} I don't know .Professor B: So , it 's this room .PhD G: It 's , uh {disfmarker}Professor B: It 's {disfmarker} it 's this room .PhD G: Oh , this room ?Professor B: So {disfmarker}PhD G: OK .Professor B: so it's {disfmarker} these are just microphone {disfmarker} this micro close microphone and a distant microphone , he 's doing these different tests on .Grad F: Oh .Professor B: Uh , we should do a measurement in here . Ig think we never have . I think it 's {disfmarker} I would guess , uh , point seven , point eight seconds f uh , R TGrad F: Hmm !Professor B: something like that ? But it 's {disfmarker} you know , it 's this room .PhD G:Mm - hmm .Professor B: So .PhD G: OK . Mm - hmm .Professor B: Uh . But the other thing is , he 's putting in {disfmarker} w I was using the word \" reverberation \" in two ways . He 's also putting in , uh , a{disfmarker} he 's taking out some reverberation , but he 's putting in something , because he has {pause} averages over multiple windows stretching out to twelve seconds , which are then being subtracted from thespeech . And since , you know , what you subtract , sometimes you 'll be {disfmarker} you 'll be subtracting from some larger number and sometimes you won't . And {disfmarker}PhD G: Mm - hmm . Mm - hmm.Professor B: So you can end up with some components in it that are affected by things that are seconds away . Uh , and if it 's a low {pause} energy compo portion , you might actually hear some {pause} funny things.PhD G: Yeah .Grad E: O o one thing , um , I noticed is that , um , the mean subtraction seems to make the PZM signals louder after they 've been re - synthesized . So I was wondering , is it possible that one reason ithelped with the Aurora baseline system is {pause} just as a kind of gain control ? Cuz some of the PZM signals sound pretty quiet if you don't amplify them .PhD C: Mm - hmm . I don't see why {disfmarker} why yoursignal is louder after processing , because yoGrad E: Yeah . I don't know why - y , uh , either .PhD C: Yeah .Professor B: I don't think just multiplying the signal by two would have any effect .PhD C: Mm - hmm .Grad E:Oh , OK .Professor B: Yeah . I mean , I think if you really have louder signals , what you mean is that you have {pause} better signal - to - noise ratio .PhD C: Well , well {disfmarker}Professor B: So if what you 'redoing is improving the signal - to - noise ratio , then it would be better .PhD C: Mm - hmm .Professor B: But just it being bigger if {disfmarker} with the same signal - to - noise ratio {disfmarker}Grad E: It w i i itwouldn't affect things .Professor B: No .PhD C: Yeah .Grad E: OK .PhD C: Well , the system is {disfmarker} use {pause} the absolute energy , so it 's a little bit dependent on {disfmarker} on the {pause} signal level .But , not so much , I guess .Professor B: Well , yeah . But it 's trained and tested on the same thing .PhD C: Mmm .Professor B: So if the {disfmarker} if the {disfmarker} if you change {vocalsound} in both trainingand test , the absolute level by a factor of two , it will n have no effect .PhD C: Mm - hmm . Yeah .PhD A: Did you add {pause} this data to the training set , for the Aurora ? Or you just tested on this ?Grad E: Uh{disfmarker} Um . Did I w what ?PhD A: Well , Morgan was just saying that , uh , as long as you do it in both training and testing , it shouldn't have any effect .Grad E: Sorry ? Yeah .PhD A: But I {disfmarker} I was{pause} sort of under the impression that you just tested with this data .Grad E: I {disfmarker} I bPhD A: You didn't {pause} train it also .Grad E: I {disfmarker} Right . I trained on clean TI - digits . I {disfmarker} Idid the mean subtraction on clean TI - digits . But I didn't {disfmarker} I 'm not sure if it made the clean ti TI - digits any louder .Professor B: Oh , I see .Grad E: I only remember noticing it made the , um , PZM signallouder .Professor B: OK . Well , I don't understand then . Yeah .Grad E: Huh . I don't know . If it 's {disfmarker} if it 's {disfmarker} like , if it 's trying to find a {disfmarker} a reverberation filter , it could be that thisreverberation filter is making things quieter . And then if you take it out {disfmarker} that taking it out makes things louder . I mean .Professor B: Uh , no . I mean , {vocalsound} uh , there 's {disfmarker} there 'snothing inherent about removing {disfmarker} if you 're really removing ,Grad E: Nuh - huh .Professor B: uh , r uh , then I don't {pause} see how that would make it louder .Grad E: The mean . OK . Yeah , I see.Professor B: So it might be just some {disfmarker}Grad E: Yeah . OK . So I should maybe listen to that stuff again .Professor B: Yeah . It might just be some artifact of the processing that {disfmarker} that , uh , if you're {disfmarker} Uh , yeah . I don't know .Grad E: Oh . OK .PhD A: I wonder if there could be something like , uh {disfmarker} for s for the PZM data ,PhD C: EhPhD A: uh , you know , if occasionally , uh , somebodyhits the table or something , you could get a spike . Uh . I 'm just wondering if there 's something about the , um {disfmarker} you know , doing the mean normalization where , uh , it {disfmarker} it could cause{pause} you to have better signal - to - noise ratio . Um .Professor B: Well , you know , there is this . Wait a minute . It {disfmarker} it {disfmarker} i maybe {disfmarker} i If , um {disfmarker} Subtracting the{disfmarker} the mean log spectrum is {disfmarker} is {disfmarker} is like dividing by the spectrum . So , depending what you divide by , if your {disfmarker} if s your estimate is off and sometimes you 're{disfmarker} you 're {disfmarker} you 're getting a small number , you could make it bigger .PhD A: Mm - hmm .Grad E: Mm - hmm .Professor B: So , it 's {disfmarker} it 's just a {disfmarker} a question of{disfmarker} there 's {disfmarker} It {disfmarker} it could be that there 's some normalization that 's missing , or something to make it {disfmarker}Grad E: Mm - hmm .Professor B: Uh , y you 'd think it shouldn't belarger , but maybe in practice it is . That 's something to think about .Grad E: Hmm .Professor B: I don't know .PhD C: I had a question about the system {disfmarker} the SRI system . So , {vocalsound} you trained iton TI - digits ? But except this , it 's exactly the same system as the one that was tested before and that was trained on {pause} Macrophone . Right ? So on TI - digits it gives you one point two percent error rate andon Macrophone it 's still O point eight . Uh , but is it {pause} exactly the same system ?Grad E: Uh . I think so .PhD C: Hmm .Grad E: If you 're talking about the Macrophone results that Andreas had about , um , aweek and a half ago , I think it 's the same system .PhD C: Mm - hmm . So you use VTL - uh , vocal tract length normalization and , um , like MLLR transformations also ,Grad E: Mm - hmm .PhD C: and{disfmarker}Professor B: I 'm sorry , was his point eight percent , er , a {disfmarker} a result on testing on Macrophone or {disfmarker} or training ?PhD C: all that stuff .Grad E: That 's {disfmarker}PhD C: It was{pause} training on Macrophone and testing {disfmarker} yeah , on {disfmarker} on meeting digits .Professor B: Oh . So that was done already . So we were {disfmarker} Uh , and it 's point eight ? OK .PhD C: Mm -hmm .Professor B: OK .PhD C: Yeah . I {disfmarker} I 've just been text {comment} testing the new {pause} Aurora front - end with {disfmarker} well , Aurora system actually {disfmarker} so front - end and HTK ,um , acoustic models on the meeting digits and it 's a little bit better than the previous system . We have {disfmarker} I have two point seven percent error rate . And before with the system that was proposed , it 'swhat ? It was three point nine . So .Professor B: Oh , that 's a lot better .PhD C: We are getting better .Professor B: So , what {disfmarker} w ?PhD C: And {disfmarker}PhD G: With the {disfmarker} with the HTK back- end ? What we have for Aurora ?PhD C: Yeah . Two point seven .PhD G: I know in the meeting , like {disfmarker}PhD C: On the meeting we have two point seven .PhD G: Right . Oh .Grad F: That 's with the new IIRfilters ?PhD C: Uh . Yeah , yeah . So , yeah ,Grad F: OK .PhD C: we have {pause} the new LDA filters , and {disfmarker} I think , maybe {disfmarker} I didn't look , but one thing that makes a difference is this DCoffset compensation . Uh , eh {disfmarker} Do y did you have a look at {disfmarker} at the meet uh , meeting digits , if they have a DC component , or {disfmarker} ?Grad E: I {disfmarker} I didn't . No .PhD C: Oh.Professor B: Hmm .PhD G: No . The DC component could be negligible . I mean , if you are {pause} recording it through a mike . I mean , any {disfmarker} all of the mikes have the DC removal {disfmarker} somecapacitor sitting right in {pause} that bias it .Professor B: Yeah . But this {disfmarker} uh , uh , uh , no . Because , uh , there 's a sample and hold in the A - toD. And these period these typically do have a DC offset.PhD G: Oh , OK .Professor B: And {disfmarker} and they can be surprisingly large . It depends on the electronics .PhD G: Oh , so it is the digital {disfmarker} OK . It 's the A - toD that introduces the DC in .ProfessorB: Yeah . The microphone isn't gonna pass any DC .PhD G: Yeah . Yeah . Yeah .Professor B: But {disfmarker} but ,PhD G: OK .Professor B: typi you know , unless {disfmarker} Actually , there are {pause}instrumentation mikes that {disfmarker} that do pass {disfmarker} go down to DC . But {disfmarker} but ,PhD G: Mm - hmm .Professor B: uh , no , it 's the electronics . And they {disfmarker} and {disfmarker}PhD G:Mm - hmm .Professor B: then there 's amplification afterwards . And you can get , I think it was {disfmarker} I think it was in the {pause} Wall Street Journal data that {disfmarker} that {disfmarker} I can't remember"}
+{"doc_id":"doc_58","qid":"","text":"Project Manager: So is {disfmarker} Why not save that .Marketing: No , you'll ha have to open it up from elsewhere .Project Manager: {gap} {disfmarker} Do you want to replace existing file , no . {vocalsound} Iactually tried to transfer it to My Documents , but {disfmarker}Marketing: Yeah , you have to you have to close that window . 'Cause that's the save one isn't it , so {disfmarker} And then find it .Project Manager:{gap} spreadsheet .Marketing: {vocalsound}Project Manager: {vocalsound} Yeah , but I've ta uhMarketing: {vocalsound}Project Manager: right , I'll just re-do it . That's the easiest way . {vocalsound} {vocalsound}Right .User Interface: Well we've made our prototype anyway . We can have a good look at that . {vocalsound}Marketing: You pass it round to have a look .User Interface: {vocalsound} Mm-hmm . Y no , it's a slightlycurved around the sides . {vocalsound}Marketing: {vocalsound} Mm very nice .User Interface: Um , it's almost curved like up to the main display as well . And the little line at the bottom indicates the bit {disfmarker}the panel that you pull down .Marketing: Mm-hmm .User Interface: And the extra function buttons are below that panel on the little line .Marketing: Mm-hmm .User Interface: And we've got the stick on the button withthe company logo on .Marketing: Mm-hmm .Industrial Designer: We also have a apple slash cherry design at the top .User Interface: {vocalsound}Marketing: {vocalsound} So it is , yeah .Industrial Designer:{vocalsound} {gap} {vocalsound}Marketing: Cherry would be alright actually .User Interface: Yeah ,Marketing: Yeah .User Interface: it's a bit more fun , isn't it ? And it's kinda not really at a kind of {disfmarker} youthink apple , you think computers , like Apple Mac .Industrial Designer: Yeah , yeah , we might get a {disfmarker}Marketing: Mm-hmm . Copyright , yeah . What's this this one ?User Interface: Yeah , and cherries arefun , summery .Marketing: What's that one there ?User Interface: Ah , that's the mute .Industrial Designer: For the M_ . {vocalsound}Marketing: Oh , okay . Right .User Interface: {gap} {vocalsound} It {disfmarker}it'd probably have to be labelled mute .Marketing: {vocalsound}Industrial Designer: They're thinking {disfmarker}User Interface: But um , we didn't have anything small enough to write .Marketing: Uh-huh .IndustrialDesigner: For the first time , well it was hard to get the h um the actual labelling on the individual buttons .Marketing: Okay . Mm-hmm . {vocalsound}User Interface: Yeah . Uh , we just chose simple shapes for allthem .Marketing: {vocalsound}User Interface: Um , the important ones are the volume ones . So we made them a bit bigger . The mute could possibly be a bit smaller .Marketing: Mm-hmm .Industrial Designer: Hum ,you separate off in colour the volume related buttons from the channel related buttons , so you've got the volume in orange on design there ,User Interface: {vocalsound} {vocalsound}Marketing: Yeah .IndustrialDesigner: and the the channel is in blue .User Interface: Mm-hmm .Project Manager: R right . Um ,User Interface: Yeah , and we chose a V_ plus and V_ minus .Project Manager: all these things have cost implications .And so when I done my thing on cost {vocalsound} a {disfmarker} I had assumed that the only uh button that would be a different colour would be the uh the red apple button . So {disfmarker} However , I've now{gap} . {vocalsound} But um , {vocalsound} yeah so uh but there would be a cost implication on that ,Marketing: I'll see if I can find them .Project Manager: and uh {disfmarker} as I suppose that {vocalsound} sowhether {vocalsound} wanted to put in all these colours , would be uh open to debate , I suppose .Industrial Designer: Yeah , sisUser Interface: Well the colours wouldn't {disfmarker} like that's {disfmarker} theywouldn't be too important ,Marketing: Have {disfmarker}User Interface: but we didn't have any white Play-Doh . {vocalsound} So that's where the colour buttons came from . {vocalsound}Project Manager:{vocalsound} An important consideration .Marketing: {vocalsound}Project Manager: {vocalsound} Right , okay so um {disfmarker} {vocalsound} And the second one underneath would be the idea for the{disfmarker}Industrial Designer: Yes , we'll have the slide-away .Project Manager: Right , okay . So we've got um detail design meeting .Industrial Designer: Bottom .Project Manager: Right . So {disfmarker} So ,we've got {vocalsound} prototype presentation , which we've just done , evaluation criteria , um and finance , so I guess w we have to evaluate if that meets the various uh aspects that we're looking for uh from umour previous meeting .Marketing: Mm-hmm .User Interface: {vocalsound}Project Manager: So other than the fact that it doesn't have the second layer , but um obviously obviously it would .Marketing: Mm-hmm.Industrial Designer: Mm-hmm .User Interface: {vocalsound}Project Manager: {vocalsound} But other than that , we got the red apple . We got the buttons and the only thing that has really changed is the is thecolouration of the buttons ,Industrial Designer: Yes , yes .Project Manager: and {vocalsound} the bit after the evaluation criteria is uh is the finance . {vocalsound} And the {vocalsound} and the cost implication.Industrial Designer: Okay .Marketing: Right .Project Manager: The only snag about this is that uh {vocalsound} the cost is probably kind of important . So um , and then the production evaluation , as to how easy thatwould be to uh to manufacture .Industrial Designer: Mm-hmm .Project Manager: Um , and whether it would uh {disfmarker}Marketing: {vocalsound} {vocalsound} So if you had to do a presentation or {disfmarker}will you just work it on the prototype ?Industrial Designer: This this is a {disfmarker}User Interface: Uh , that's it . {vocalsound}Industrial Designer: yes , this is our presentation of the prototype .Marketing: That's theprProject Manager: Right , so uh as far as the the finance of it would be concern would be to make sure that the cost {disfmarker} aye the production cost 'cause you may remember that was one of the first uhconsiderations was to be in d under um uh twelve fifty or two and a half {disfmarker} uh twelve and a half Euros .Marketing: Okay .Industrial Designer: Mm-hmm .Project Manager: So , there's no redesign . So thatshould uh {disfmarker} Right , so , seems to me that the thing that I have to do is is quickly find that uh {disfmarker}Industrial Designer: Could we get this on the board just so we can see {disfmarker} or do youmean do you have the figures there ?Marketing: {gap} we should {gap} plug it in .Project Manager: Right .Marketing: Do you wanna plu do you wanna plug it in into the the back of that one .Project Manager: Okay.Industrial Designer: 'Kay , Alice . So , shMarketing: We could do it as we d go along , the production costs , looking at the prototype .Project Manager: Right . {gap} .Industrial Designer: 'Kay this should be then.Project Manager: {vocalsound} Okay , so , by the fact that we've got uh the simple chip and the uh kinetic energy source , we've got a single curved case . We've got a rubber uh case materials supplements . So , wehad decided that we're having rubber buttons and {disfmarker}Industrial Designer: Mm-hmm . {vocalsound} Have a push button interface .Project Manager: Okay . W the button supplements .Industrial Designer: Um{disfmarker}Project Manager: Well , originally , I thought there would just be uh one in there because it was the one red apple . But {disfmarker}Industrial Designer: Um {disfmarker}Project Manager: So the so thereal w the real question then would come in . Do you make all the buttons {disfmarker}Marketing: Well do we'll do it on the prototype ,Project Manager: OMarketing: so do two , see how much it is .Project Manager:Well , so we've got one special button form , which was the apple . Everything else is gonna be a standard .Industrial Designer: Yeah .Marketing: Yeah .Project Manager: We've got special material , rubber , wood ,titanium , et cetera and that ,Industrial Designer: And then we'd have {disfmarker}Project Manager: so , I was {disfmarker} {vocalsound} originally , I was thinking {gap} rubber wasn't special ,Marketing: Mm-hmm.Project Manager: but according to this , maybe it is .Marketing: Mm-hmm .Project Manager: {vocalsound} So {disfmarker} And the r I mean effectively we've got sixteen buttons that we're gonna have on there.Marketing: Yeah . I think you just do one , don't you , for the {disfmarker}Project Manager: W {vocalsound} I don't know {vocalsound} is {vocalsound} is {vocalsound} is the sort of answer , is that meant to be allsixteen buttons , and therefore {disfmarker} I mean , what's the op The option was maybe not to have rubber buttons , but just to have the one that was soft and spongy , and therefore {disfmarker}Marketing: I thinkI think it's just it's just a one . Else {disfmarker}Project Manager: Whereas it would be {disfmarker} the special colour would be for the {disfmarker} So you would only have the one special button that was rubber ,whereas the rest would be hard plastic . {vocalsound}Marketing: I thi I think I think the button supplement i is just a supplement for all the buttons {gap} made in a different material , rather than per button .ProjectManager: Mm .Marketing: I don't know though .Project Manager: I would {vocalsound} {vocalsound} {disfmarker} Every design change is uh {disfmarker} {vocalsound} sound] I dunno ,Marketing: Hmm .ProjectManager: um {disfmarker} {vocalsound} Okay , um , if we just had all the buttons as standard , except for the one red apple , then that would take care of that , I guess . We'd have one special colour and one specialbutton form .Marketing: Mm-hmm .Project Manager: And when I plugged that in last time {disfmarker} {gap} remember it has to be under twelve and a half . As far as I know , that um {vocalsound} that took care ofthe uh of the various supplements .Marketing: Mm-hmm .Project Manager: And if {disfmarker} What happened ?Marketing: You've just gone off the window into another one . It's on the bottom row .User Interface:Maybe if you just minimise that one in the top right-hand corner of the little box .Project Manager: {vocalsound}User Interface: Yeah .Project Manager: Now , right . {vocalsound}User Interface: {vocalsound}ProjectManager: Okay , so , but the point would be that if we uh if we just did special {disfmarker} Sorry , you were saying that it would be that one , that you would put in one there .Marketing: Yeah . Yeah .Project Manager:Okay .Industrial Designer: So that's nine point one there so we've got some {disfmarker}Project Manager: So it {disfmarker} Well , is it s is {disfmarker} no , it's nine point seven I've got .Industrial Designer: 'Kay.Marketing: Mm-hmm .Project Manager: Okay .Industrial Designer: Just give us a bit of {disfmarker}Project Manager: So , that would {vocalsound} that would work out fine if uh uh as assuming your correction are are{vocalsound} {disfmarker} assuming that that one change covers all the buttons , then that would be fine .Marketing: Mm-hmm . Mm-hmm .Project Manager: And there's nothing else as far as I can see that we we haduh planned to put on {gap} .User Interface: SMarketing: {vocalsound}Industrial Designer: I {gap} switching around those th um on the electronics we got the sample sensor . At the moment we've just got the simplechip , which costs one .Project Manager: Uh-huh .Industrial Designer: Um , I guess the sample sens sample speaker would be the voice recognition thing , which puts up to four ?Marketing: Yeah .Industrial Designer:We should be slightly over our budget but if we gather something else down to slightly lower standard , and maybe go with the one the special form buttons , then we could have the speech {disfmarker}Marketing:Yeah .Project Manager: Well , hold on . Um , if we Okay , that gives us twelve point sevenIndustrial Designer: So uh maybe if we got rid of like the maybe one of the special colours , kept them all the same colour , thenwe could have the voice recognitionProject Manager: But remember that the idea was to keep it the colour of the {gap} {disfmarker}Industrial Designer: without {disfmarker}Project Manager: Oh , I see , so just takeout the special colour for the apple and {disfmarker}Industrial Designer: Yeah , yeah .User Interface: Um , {gap} . D wouldn't you have to keep the simple chip there as well ? You know how you turn that one to a zero, wouldn't the chip and the sample speaker be separate things ,Marketing: Yeah , we have to have it {disfmarker}Industrial Designer: Oh possibly , yeah , yeah maybe .User Interface: so you need both of them?Marketing: Yeah .Industrial Designer: Maybe um we'd be giving up on the kinetic . Um {disfmarker}Project Manager: And go for battery instead .Marketing: Yeah .Project Manager: That would give you one less.Industrial Designer: We should {disfmarker} Yeah , that would save us one , though we'd still be slightly ovProject Manager: But you reckon that i I mean the thing is that you wanted to a appeal to people and nothave to replace batteries .Industrial Designer: Yeah , yeah . Well , since it's the {disfmarker} through the whole technology type thing , um , you were saying in the market research that people like kind of interestinggadgets in them . Um , whether they would figure the {vocalsound} the s uh sample senor and the sample speaker , voice recognition be sort of a worthwhile thing to have .Marketing: Mm-hmm .Industrial Designer:And then still have the batteries ,Marketing: Mm-hmm .Industrial Designer: or whatever they would prefer not uh {disfmarker} You know what I mean ? The the problem was the battery's running out and losing the umlosing the remote .Project Manager: Mm-hmm .Marketing: Yeah .Industrial Designer: So you gotta decide which of those is more important to them .Project Manager: {vocalsound} But which do you think {disfmarker}or which do we think is the more important of the options ? In a sense , at the moment , we've got a total which we need to reduce down by one point two .User Interface: I think the voice recognition .Project Manager:At least . Remember that was a minimum requirement . The other option if we're planning on just going for something cheap and cheerful , would be to um make it {gap} originally , we're gonna make it a simpleproduct .Industrial Designer: Yeah .Marketing: Shall we shall we evaluate the prototype as we've got it now first , and then sort of make decisions about what needs to be changed after ?Project Manager: Mm-hmm .Makes sense .Industrial Designer: OkayMarketing: Okay . Right um , I have a little thing . So , we've all got a note of {disfmarker} it's thirteen point seven , isn't it , with everything we want on .Project Manager: {gap}. Sorry , do you want that back up ?Marketing: Yeah , I just had a presentation to do . {vocalsound}Project Manager: Right .User Interface: But I do think uh the v uh voice recognition thing would be more impressivethan the fact that it's got no battery .Project Manager: Okay , but remember the main {disfmarker} the only reason we were planning on having the voice recognition was so that they could find the remote if it got lost.Marketing: Mm-hmm . Mm . {vocalsound} Right okay um , This is about the evaluation criteria that we use for the the prototype we've got here .User Interface: {vocalsound}Marketing: And so the method is that thedesign team makes a prototype , and we evaluate the prototype against some criteria that we've formulated . And those ones are gonna be in response to sort of market research , and also finance , I guess .{vocalsound} And do that on a scale from say true being one and false being seven , so if it's neither true nor false , then that's four . So , I got a set of criteria just based on the marketing that we need to add in afinancial one as well , at the end . Um so , We have to say whether it's true or false that the product looks and feels fancy . Um {disfmarker} The {disfmarker} whether the product demonstrates technical innovation .Whether it's easy to use . Whether it's incorporating sort of the fashion element to attract the buyer . And whether it's a sort of recognisable Real Reaction product . And I have to go up onto the whiteboard and do thisapparently ,Industrial Designer: Okay .Marketing: so {vocalsound} I'll go over here . {vocalsound} Right . So the first one is um , does the product look and feel fancy . So if we do a sort of a one {disfmarker} So{disfmarker}Industrial Designer: Okay , well we have a single curve , which was {gap} maybe like the feel of the product's quite good .Marketing: Yeah .Industrial Designer: So uh {disfmarker}Marketing: Okay.Industrial Designer: Um , then we have the rubber kinda spongy feel , which was in at the time .Marketing: Yeah . Yeah . Yeah .Industrial Designer: Um , {vocalsound} sorry that'd be considered fancy .User Interface:Yeah , I'd maybe give it a a two .Marketing: {vocalsound} Of {disfmarker} but I think {disfmarker} What {disfmarker} Is one false , or is t one true ?User Interface: One's true .Marketing: I forgot . One's true , andokay . Seven's falUser Interface: And a four is neutral .Marketing: Four is neutral , okay . So {disfmarker}Industrial Designer: So maybe {gap} maybe a two .User Interface: Yeah , 'cause we haven't got the doublecurve , so we can't like say it's completely true .Project Manager: {vocalsound} Go for one . {vocalsound} Yep .Marketing: Right .User Interface: {vocalsound} But it's pretty close . We've got almost everything we can.Marketing: Okay . Right .Project Manager: Okay .Marketing: I gonna put underneath so I've got some more space . So , false is seven , true is one , and {disfmarker} So uh say about a two for fancy ,IndustrialDesigner: Yeah .User Interface: Yeah .Marketing: you think ?Project Manager: Yeah , why not not ,Marketing: Okay .Project Manager: m m maybe nearer three .Marketing: Okay , well d you do an average at the end , Idon't know . Um {disfmarker}Project Manager: Two three . Well , it's just that uh saying something {disfmarker} {vocalsound} remember that when you look down , we've got solar power , we've got uh various otherthings you could have , and we're not going for these options .Marketing: Uh-huh . This this is just this is just for like the look . Does it sort of look fancy rather than functional . So {disfmarker}Project Manager:Mm-hmm . {vocalsound}User Interface: Yeah , I suppose that might be in the technical innovation bit .Marketing: Yeah , so that {disfmarker} so sh should we go for a a two on that ?Project Manager: Okay .Marketing:'Kay . And I mean , how much does the product demonstrate technical innovation do you reckon ?Industrial Designer: Um , {gap} deciding between the kinetic power or um the speech recognition , and if we had eitherof those for our budget , they both show a reasonable amount of speech recognition .Marketing: D yeah . Okay . So , what about the pr The prototype as it is ,Industrial Designer: Um {disfmarker}Marketing: we've gotwe've got the speech recognition on it , haven't we .Industrial Designer: But not the kinetic .Marketing: But not the kinetic .Industrial Designer: Like the power .Project Manager: No . 'Cause you can't afford that{disfmarker} w we took that out too .Industrial Designer: No , we c ca yeah , we can't afford both .Marketing: Alright , so {disfmarker}Project Manager: Didn't you ? Or {disfmarker}Marketing: So it doesn't{disfmarker} It's pretty {disfmarker} The prototype as it is isn't sort of um fulfilling the {disfmarker}Industrial Designer: No may is {disfmarker} maybe about neutralUser Interface: Maybe a three .Industrial Designer:plus it it it's got something , but it hasn't got {disfmarker}Marketing: {vocalsound} Okay . Yeah .Project Manager: Well , wait a minute . In thirteen point seven we do have kinetic .User Interface: I would give it morethan a four .Project Manager: The problem is we have to reduce down from there to get it down to twelve point five .Industrial Designer: Right .Project Manager: And one way of doing that would be to take out thekinetic .Industrial Designer: Okay .Project Manager: So , it's very much dependant on what you do with your options . And if you're definitely going for the sample sensor and sample speaker , then {disfmarker}because that {vocalsound}Industrial Designer: 'Kay .Marketing: Right , okay .Project Manager: the other functions we've got in are are more at the {vocalsound} {disfmarker} The special material , the rubber , wood ,titanium , et cetera , if you go for that , th that's at the high end 'cause that's point six , whereas down at uh just special colours uh is point two . Now you're trying to lose one point two , so it seems to me that if you'regoing for the sample sensors {disfmarker} speaker , you're basically then having to go for the cheaper options on everything else .Marketing: Mm-hmm .Industrial Designer: Okay .Project Manager: And and the simple"}
+{"doc_id":"doc_59","qid":"","text":"Project Manager: Mm-hmm .Industrial Designer: Mm yeah .Project Manager: Okay . {vocalsound} I g yeah . Time is it ?Marketing: {vocalsound} Fourteen twenty six .Project Manager: Okay . Lovely to see you all again. Um {vocalsound} it's our conceptual design meeting and it's starting at approximately fourteen twenty five and so we have forty minutes for this one again and so we'll go just after three o'clock . Um okay{vocalsound} our agenda , we're gonna do an opening , I'm gonna review the minutes of the last meeting , then we'll have your three presentations um and then we'll have to make a decision on the remote controlconcepts , and finally we'll close . SoIndustrial Designer: Okay .Project Manager: opening . Um these are our minutes from r the functional design . We decided our target group is the focus on who can afford it ,because we have international appeal and we said it's for all age groups , different um functions of it . Our main objectives were simplicity and fashion . {vocalsound} And s um in specific functions are something tokeep the remote from getting lost , large buttons for the essential functions , a possibility for extra functions , like a sliding a sliding piece {vocalsound} and a long-life battery or a charging station . Okay , now threepresentations . I'd like to do it in this order , first do the conceptual specification of components , properties and materials {vocalsound} um and then the conceptual specification of user interface {vocalsound} andfinally trend watching .Industrial Designer: That would be me .User Interface: Yep .Industrial Designer: Alright . Well .Project Manager: Mm . 'kay . Function F_ eight it . There we go .Industrial Designer: Alright . UmI'm very excited by this one actually guys I uh had a lot of fun doing it . Components design . This is where you look at what does it take to make a remote control and what should we make our specific remote controlout of . {vocalsound} Um . So , we need to examine each element separately , but we're designing a full thing , so you wanna keep it integrated as a whole . The main elements of remote controls in general , andtherefore ours as well , are the case , the buttons , the circuit board with the chip and the battery . These are all things that we had sort of addressed before , but I'm gonna take each one a little bit separately here aswe figure out what they should be made of and what they should look like . The case , uh the options that I've gotten from headquarters about what we can do , um there's there's the shape of a case , we could do a flatsh a flat case , a curved case or maybe even a double double-curved case . I haven't seen any pictures of what this exactly looks like yet , just keep that in mind , but these are the options that we have frommanufacturing and we can make our case out of plastic , the m the main base will be plastic , but we have all these sort of fashion and technological elements we can add in , wood , latex , titanium , rubber or othercoloured types of plastic . That would be our case . Um buttons , for buttons we have um pushbuttons , which is what Real Reaction uses the most often , but we also have scror scroll wheels ,Project Manager: Mm.Industrial Designer: which can have integrated pushbuttons , or we could go all high-tech and have an L_ L_C_D_ screen . {vocalsound} Um circuit board and chip we can have a simple one , a regular one or anadvanced one , depending on what our other needs are . And then battery I think is where things get most exciting . We're talking about long-life batteries here . {vocalsound} Um we can we can have your sort of basicdouble A_ batteries , but we also have these options of um {vocalsound} using a kinetic battery , like are used in high-tech watches , where you just have to move it a little bit to get it to power up . Um so simplemovements like pushing buttons would recharge the battery . Or a solar battery , although there are slight um {vocalsound} complications with solar batteries as in we can't use a latex case if we have a solar battery.Project Manager: Hmm .Industrial Designer: Or um something they only described as the type of battery you find in torches from about fifty years ago , flashlights . Not quite sure what that is , but that's thedescription that I received , so that's what I'm passing on to you . {vocalsound} So those are our options . Um personal preferences that I was thinking through {disfmarker} here's what we've been talking about allthrough , fashion and simplicity . So if we're going for fashion in our cases , I think that what we're gonna wanna look at is a curved or a double-curved case , probably with a variety of design elements . Maybe titanium, maybe some wood . We're gonna have to investigate that better when I get specifics of the actual materials , but that's sort of what I have in mind . And we wanna go for simplicity . Probably pushbuttons , but I'msort of intrigued by the idea of a scroll scroll wheel , if anyone has anythingProject Manager: Mm .Industrial Designer: any ideas on that ? I mean I know the iPods and things right now have touch scroll um buttonswhich are exactly like what they're describing , so that might be something we wanna look into . And I'm really intrigued by the idea of a kinetic battery . {vocalsound} Solar I don't think would be such a good idea ,because how often are you sure that your remote control will get a certain amount of light .Project Manager: {vocalsound}Industrial Designer: But this idea of the kinetic , that you don't have to replace , and that asimple just shaking it around will make it work , I think that that m would be a very interesting thing . But I think we'd also wanna go for e a simple chip or regular chip to keep our costs down . Uh we really only need aregular or advanced chip t if we're gonna start using an L_C_D_ . So I think we want to be aware of not making things overly t technological if they don't need to be , 'cause that'll keep our manufacturing price waydown . That's what I have for options . Um I'd appreciate anyone's input , but that's what I'm seeing for the future of the the look of this thing . {vocalsound}Marketing: Is double-curved like {disfmarker} would be liketwo hands kind of thing ?Industrial Designer: I'm not sure . I haven't received any specificMarketing: {vocalsound} Okay .Industrial Designer: visuals of this yet .Marketing: 'Cause I'm imagining like double-curved islike , you know , like two sides that curveIndustrial Designer: This is what I'm sort of {disfmarker}Marketing: and then like one curve would just be like a single vertical-ish kind of looking thing ,Industrial Designer:{vocalsound} Yeah . I'm not sure ,Marketing: but I've no idea .Industrial Designer: but I'll let you know as soon as I get any pictures .Marketing: Sounds good .Project Manager: Yeah , I wonder {disfmarker}IndustrialDesigner: I know if we do have a double-curved case , it can't have any titanium in it . But the titanium , they were quite {disfmarker} they're marketing quite hard to us as being used in the space programme , so thatcould be quite interesting .User Interface: {vocalsound} {vocalsound}Industrial Designer: Space-age remote .Project Manager: Mm-hmm . {vocalsound} Just an interesting marketing kind of element .IndustrialDesigner: Just all things to keep in mind . Yeah . {vocalsound} That's about all I have to do , guys . I hope I didn't go through that too quickly .Project Manager: Uh just a real quick question um the weight of thesedifferent elements , have you {disfmarker}Industrial Designer: Yeah , nProject Manager: no idea , okay .Industrial Designer: no idea , no idea . Um I'm assuming that a kinetic battery isn't gonna take up that muchweight ,Project Manager: Mm-hmm .Industrial Designer: and that a tita titanium is very light , I know ,Project Manager: Mm-hmm .Industrial Designer: um but other than {disfmarker}Project Manager: {gap}IndustrialDesigner: that's really basic , I mean , that's all I have gotten so far . {vocalsound}Project Manager: Okay .Industrial Designer: Alright ? Any other questions ?User Interface: Uh-huh . Don't think so .IndustrialDesigner: No ? Okay .Project Manager: Mm 'kay .Industrial Designer: I have save this in the uh shared projects , if anyone wants to lookProject Manager: Thank you , perfect .Industrial Designer: and I have cconsiderable notes on the topic as well , if anyone needs any more information . Uh {disfmarker}Marketing: Thanks .Project Manager: Um if you made notes yourself you can put those on our um {disfmarker}underneath our {disfmarker} oh , uh in your book ,Industrial Designer: Just in my notebook ,Project Manager: then don't worry about that .Industrial Designer: but if anyone has any specific questions , don't hesitate toemail me or something . Alright ? Uh I guess I can {disfmarker}Project Manager: 'Kay now we're um concepts concepts of user interface . {vocalsound}Marketing: {vocalsound}Project Manager: Yeah , um . This one'sso much tighter than the other one .Industrial Designer: {vocalsound} I know .Project Manager: Okay . Nope . There we go . Here you are .User Interface: Jess .Industrial Designer: G oh , geez .User Interface: Alright ,so I'm gonna describe the the concept of the user interface of this des device . Um we've talked about uh the two essential properties of the user interface . We want it to be simple and we want it to be fashionable . Umother {disfmarker} we've also got to remember that this is a device that serves as a useful purpose . Uh we want people to be able to use it s as a remote control , so we need to determine what the essential functionsof the d of the device are and make sure that we include {disfmarker} that we've included all of those and that we actually end up with a device that is going to be useful to people . We have a number of differentchoices for a design concept um and s that's that's something that that I'll show you some examples of um , but essentially we need to choose how how is this device going to work ,Industrial Designer:{vocalsound}User Interface: how how {disfmarker} what kind of model is there going to be for user interaction with this device . Uh once we've chosen a a concept for it , we can then design the features around theconcept , making sure that we get all the essential functions in the device and uh the extra functions and the more advanced features . And of course we also have to make it look cool .Industrial Designer:{vocalsound}User Interface: So basically ,Marketing: {vocalsound}User Interface: that's what we don't want . {vocalsound} M we don't want lots of buttons , uh complicated features . We want something that looksnice and simple .Industrial Designer: Hmm .User Interface: Here's a a fairly simple device . This is an an iPod from Apple . Um I think the main thing to notice about it is it just has four buttons . It's very minimalistic inits design . Uh you use these four buttons to m to move around a range of settings on the small L_C_D_ screen . Um {vocalsound} the thing I like about this is that it's very very quick to access the main features . Uhyou can just about make out uh that the button {disfmarker} three buttons are uh previous track , next track and play pause . They're the main the main features of the iPod , the things you will use a all the time . Umthen if you want to do anything more advanced , you go into the little menu on the L_C_D_ screen and you use the buttons just to scroll around and and find the more advanced features that you want . So I think that'sthat's a good a good kind of model that we could have . Um {vocalsound} here's a another example . This is uh {disfmarker} it's an interesting idea and I think i it looks pretty cool . Um it's certainly got novelty value.Project Manager: Mm .User Interface: Uh it's nice and colourful , it's nice and bright . Uh it's also something that you can kind of feel your way around . The buttons are are different shapes and and you can sort of{disfmarker} yeah if you're watching T_V_ in the dark or whatever , you can work out which button's which and basically , yeah it's ith it's fun . So I {vocalsound} I like I like this idea of just having buttons for thefeatures that you use most often . So you'd need a few buttons to select your favourite channels . I mean most people , when they watch T_V_ , they have two hundred and fifty channels on their T_V_ and they watchof 'bout four of them at the most . So , you have buttons for your favourite channel , changing the volume , which is something you do all the time when you're watching T_V_ , and the button to switch it off , in caseyou get bored . Um other features , things like adjusting the brightness , tuning the T_V_ , uh I don't know what else you do with a T_V_ . Um but these are these are all necessary functions . Uh you can't have a tthere's no point having a television that you can't tune or that you can't set the contrast , so we need to find a way of including these somehow . Um and one other suggestions I'd make is to in is to include in a menusystem , a bit like on the iPod . So we'd either have a small L_C_D_ display on the device itself , or uh have a dis a menu display that comes up on your television and can b be controlled through the device .IndustrialDesigner: Hmm .User Interface: And that would allow you to access access the advanced features uh whilst keeping a very small and simple set of buttons for the features that you use most often .Project Manager:{vocalsound} Okay .Industrial Designer: So you'd be advocating an L_C_D_ then ?User Interface: I think that's {vocalsound} that's one way to go , yes .Industrial Designer: Okay .User Interface: Um I mean there arethere are advantages and disadvantages if you if you have an L_C_D_ display , it's it's nice , because it's {disfmarker} it it lets you just sort of sit there and st and control your television from your armchair .IndustrialDesigner: Mm-hmm .User Interface: There are disadvantages , an an L_C_D_ display would have to be quite small , 'cause we're we're {vocalsound} I {vocalsound}Industrial Designer: RightUser Interface: well we're{disfmarker} I assume we're gonna be making quite a small device . Um it would also have to have uh a kind of backlighting in it , 'cause you ten you tend to watch T_V_ in the dark ,Project Manager: Mm-hmm.Industrial Designer: Right .User Interface: but you need to be able to see your L_D_D_ L_C_D_ display . The alternative is to have a {vocalsound} an on-screen display on your television that you control through yourremote control . Uh a bit like a bit like how they have these um digital boxes where you you press the buttons and it comes up with your {disfmarker} this thing of watch lo what's on each channel .Project Manager:Mm-hmm .Industrial Designer: Okay .User Interface: I mean that that's also a good idea . It's it can it does have it's problems as well , if you've got a small T_V_ and you're sitting on the other side of a room , it's hardto read the little text that comes up .Project Manager: Mm .Industrial Designer: Mm-hmm .User Interface: Uh but that's a that's a design decision that we can make .Industrial Designer: 'Kay .Project Manager: I dothink that um one of the important features for a remote is seeing a menu and seeing what's on .Marketing: {vocalsound}Project Manager: Um and soUser Interface: Yeah .Project Manager: like favourite channels is isapplicable , but I think th that you do need to have some kind of function where it's {disfmarker} um you have t you can see the title of the show or possibly a description of it .Industrial Designer: Well {disfmarker}Are you are you takProject Manager: Like I I know I use that often enough .User Interface: Yeah .Marketing: {vocalsound} Wait , but is that separate from what he was saying ?Project Manager: WellIndustrialDesigner: Yeah .Project Manager: if it if it was a L_ L_C_D_ on th on the remote , I don't know that you could f that you'd be able to see a {disfmarker}Industrial Designer: No , I think I think we're talking menu likecontrast and tuning the V_C_R_ or something if I've understood you correctly , rather than menu as what's on .Project Manager: Okay .User Interface: Yeah , that that would be one of the features , yes .ProjectManager: Okay . 'Cause that would be more specifically a digital box ,User Interface: But it's it's it's something to bear in mind is that if we put a display on the remote control the c uh communication is one way ,ProjectManager: mm-hmm .User Interface: so you can't have the televisions and information back to the remote control , at least I don't think you can .Industrial Designer: Oh , good point .Project Manager: Mm .UserInterface: Um I'm not sure .Industrial Designer: Yeah .Project Manager: Okay , now we're moving on to market . Marketing .Marketing: {vocalsound} Should I plug that in ?Project Manager: {vocalsound}Marketing:{vocalsound}User Interface: Is that going on ? Okay .Marketing: Maybe it's just not {disfmarker}User Interface: Uh that should be alright , actually .Marketing: Is it on ? Ri What F_ do you have to press ,ProjectManager: Eight .Marketing: five ? I just keep pressing lots of 'em . Well , I don't know how relevant all of this gonna be . {vocalsound} If anything , the {gap} that they gave me .Project Manager: Oops , it's notplugged in , quite in well enough .Industrial Designer: No signal .Marketing: Alright .Project Manager: There we are .Industrial Designer: Oop , there we go .Project Manager: Mm 'kay .Marketing: Oh yeah .{vocalsound} Okay , so we're gonna look a little bit at trend watching . {vocalsound} Basically , I was given um an executive summary that was a market investigation on remote controls that was recently conducted ,and then also some fashion watchers in Paris and Milan commented on some things that are gonna be going on this year .Project Manager: {vocalsound}Marketing: {vocalsound} So first um they had people{disfmarker} they ranked um the important aspects of r remote controls , and right now i d they're saying that currently there's a functional look and feel preference , but that really , over the next year it it that's gonnabe switching to fancy look and feel remotes , so that just goes back to the whole desire of our c Real Reaction company wanting to focus on fashion and so , even though we're stressing , when we're talking , we've allbeen talking about this like simplicity and easy to use idea , they're sort of wanting us to remember that the number one thing for everyone is that it's fancy look and feel . And as these are ranked , the top one isdoubly important to the second one , which is doubly important to the third one ,Industrial Designer: Okay .Marketing: so just to take that weight into account . {vocalsound} The second thing that was mentioned asimportant was the technological innovations . That would be like if we use something like the space material or the L_C_D_ screen , things like that . And then ease of use was the third most important , whi so really ,no matter what , we need to focus the most on fancy look and feel , according to this . I don't know how much we agree with that . {vocalsound} And then {vocalsound} the fashion watch talks about that this year's toptrend for clothes ,Industrial Designer: {vocalsound}User Interface: {vocalsound}Marketing: shoes and furniture is fruits and vegetables and tha that there's a preference for spongy , {vocalsound} tight material .UserInterface: {vocalsound}Project Manager: S sweet .Marketing: {vocalsound} And so that brings us to my personal preferences . Who wants a spongy remote or one with {vocalsound} fruit and vegetable padding.Industrial Designer: {vocalsound}Project Manager: {vocalsound}Marketing: Personally , I don't really think that I want one that's gonna go out of style or go stale , excuse the pun , um in a year , soUser Interface:{vocalsound}Marketing: {vocalsound} even though this is coming from us as , you know , trend watch , market research , I don't know how much of it we necessarily {vocalsound} wanna take away .IndustrialDesigner: {vocalsound}Marketing: Also , considering that the d research b has been carried out by Real Reaction , I'm a little hesitant as to {vocalsound} like , how these questions may have been worded , and ifnecessarily this whole fashion to technology y edas ease of use is necessarily the right ranking . Personally , like I might reverse it , but if we're working for this company then I guess no matter what , we have to stressfashion the most . {vocalsound} But {vocalsound} it doesn't necessarily need to be a spongy material . {vocalsound}Industrial Designer: Mm . {vocalsound}User Interface: {vocalsound}Industrial Designer: That{disfmarker} there's all kinds of scope for imagination in that one though .User Interface: {vocalsound}Marketing: Yeah . {vocalsound} I don't have a lot of notes to share if you want them ,Industrial Designer:{vocalsound}User Interface: {vocalsound}Marketing: that pretty much sums it up . So yeah .Project Manager: Okay , do we have any {disfmarker} s some questions for this , let's see um .Marketing: Yeah , what can I"}
+{"doc_id":"doc_60","qid":"","text":"Project Manager: {vocalsound} Okay . Good morning everybody .Industrial Designer: Good morning .Project Manager: Oh , everybody is not ready .User Interface: Uh almost .Project Manager: Alright .User Interface:Ready .Project Manager: Okay , let's go . So , we're here today to to have our first kick-off meeting about uh this new project we're going to tak to talk about in a few minutes . Um so I will be uh Sebastian the ProjectManager . Um you are the {disfmarker}User Interface: I'm uh Michael . I'm the user interface designer .Project Manager: Okay .Marketing: Hi I'm Guillermo {gap} . I'm the Marketing Expert .Industrial Designer: And Iam Hemant , the industrial designer .Project Manager: Okay , very good . Thanks for being here . Um so let's have a look to the the agenda . So , we are going to go through this agenda uh and mainly first to uh{vocalsound} to make {disfmarker} to to be used to the tools uh available in this nice and smart meeting room we have here . Um then we'll go to uh the plans for project and have general discussions about it . So ,the goal of this project is to uh developed a new remote control . Um it should be original , trendy , and also user friendly . As usual we will follow the the project method um {vocalsound} that we are using in the{disfmarker} in our company . It is in three step as you know . First the functional design . The second's a conceptual design , and then the detailed design . During each step uh of each design we wi you will work uh sseparately , individually on uh your specific tasks and will m we will meet to um to discuss and take decisions about uh what you've you've you did and what uh we will do next . So first , we have to to train ourself withall the um the tools availables in the in this nice meeting room and uh particularly the the white board so uh we are going to go through the white board and take some um s some notes or do some drawings . So whowant to start ? Mister {gap} .User Interface: Ah well if no one else wants to , yeah . Okay so , want me to draw my favourite animal .Project Manager: {vocalsound}User Interface: {vocalsound} Let's see . Well , I don'treally have a favourite animal , but umProject Manager: You have one in mind ?User Interface: uh I think I have one in mind , so uh {disfmarker} {vocalsound} I'm gonna {vocalsound} {gap} about the uh spiderbecause you can actually draw it pretty well in the corner of a white board . The spider has a {disfmarker} spider lives in a web {vocalsound} and uh it has eight legs , and uh it can move all about the web in twodimensions . Unless it's a three dimensional web which y they have sometimes . There are some spiders that live in like {disfmarker} that have like uh kind of a a big ball of a of a web . And uh the other thing is somespiders can actually uh fly like uh they have uh they let out like uh a stream of like the web building material but it's it acts like a parachute so they can actually kind of go and find new uh {disfmarker} build a new websomewhere else . So I think they did this in uh in Charlotte's Web that movie that little uh {disfmarker} well it's actually a book first but uh um at the end all the the spiders kinda flew away .Project Manager: Okay.User Interface: So , that's my animal .Project Manager: Th thank you . Very interesting . {vocalsound} Guillermo you want to ?Marketing: {vocalsound} 'kay {vocalsound} I dunno why , but {vocalsound} when I wasa child I I wanted to be a a pantherProject Manager: {vocalsound}Marketing: {vocalsound} not a pink panther ,Industrial Designer: But don't you think it's very difficult to draw a panther ?Marketing: or maybe yes.Project Manager: {vocalsound} It would be very funny for us .Marketing: Uh yeah yeah .Industrial Designer: So bad I don't like it . {vocalsound} {vocalsound}Project Manager: Oh .Industrial Designer:{vocalsound}Marketing: Okay it's a friendly panther .User Interface: {vocalsound}Industrial Designer: {vocalsound}User Interface: Maybe it's happy 'cause it just ate someone .Marketing: Yeah maybe {vocalsound}.User Interface: {vocalsound}Marketing: Um . Actually , honestly I I I dunno what's what's his it's be behaviour , I dunno if if it's the male who who hunts or it's the female uh , I I I have watched that lions di didn't huntit's the the female lions who who hunt , so {disfmarker} but {vocalsound} I like it because it's fast , and it's black as well , so it can he {disfmarker} it can hide itself very easily and it's it's {disfmarker} it looks like um{vocalsound} powerful , strong , uh I dunno . I I watch a a film about a black panther when I was a child and {vocalsound} I was in that age when everything was shocking me a lot . {vocalsound}User Interface:{vocalsound}Project Manager: Okay . Thank you .Marketing: Okay .Project Manager: Hemant .Industrial Designer: Um sure .Project Manager: {vocalsound}User Interface: So you don't like pink panthers ?{vocalsound}Marketing: I like it {vocalsound} .Project Manager: {gap} {gap}Industrial Designer: Oh yeah . Thanks . This lapel is coming out once in a while . It's not very strong . Okay . So , not the favourite animal ,but I think I'll draw elephant .Project Manager: {vocalsound}Industrial Designer: I'll try to draw elephant {vocalsound} . It's a problem . Okay , thanks . Okay so , elephant goes like this , {gap} and then it has fourfeet {vocalsound} . I don't know whether there's any dist there should be any distance or not , but I think this is the easiest . And then we have it's trunk . And yep something like this {vocalsound} .Project Manager:{vocalsound}Industrial Designer: An eye , cute {vocalsound} .Marketing: {vocalsound}Industrial Designer: Yeah , so {disfmarker}Project Manager: Poor elephant {vocalsound} .Industrial Designer: {vocalsound} andsometimes they have a hump . It seems that uh elephants are pretty friendly and they they have one very important way {disfmarker} a different way of walking . So when they walk , wherever they are going to puttheir first feet , the second feet will always be . When they'll come to that position the second , the third feet will be there . That's the way they walk . And that's very peculiar about them . None of the other animalswalk like this . And they are very useful to human beings . At least few few hundred years ago when there was no means of transportations or something , or when they had to carry huge um loads from one place toanother , elephants were very useful . And they are found in um usually the warm countries . And um they are the biggest terrestrial animal . That's what I know about them . So , that's what I wanted to tell aboutelephants .User Interface: So is this uh an Indian or an African elephant , 'cause you haven't drawn the ears ?Industrial Designer: There are two kind of uh yeah , they are very different , Indian and African elephants .So Indian elephant is having one bump , I think , and the African have two . And then there's a difference in the trunk of the animals , these elephants who are Indian and {disfmarker} So at some {disfmarker} forsome elephants it's {disfmarker} the trunk is having one {disfmarker} Do we have some message there ?Project Manager: Yes . We have to {disfmarker} I have to catch you ,Industrial Designer: Wind upProjectManager: sorry . We have to to go through the meeting .Industrial Designer: ? Okay , some other time .User Interface: Okay .Industrial Designer: Thank you .Project Manager: Thank you {vocalsound} .User Interface:We can discuss that off-line .Project Manager: Yeah we'll discuss a f a fly or do {disfmarker} we'll do another meeting abo on elephants .Industrial Designer: {vocalsound} Thanks .Project Manager: {vocalsound} So{vocalsound}User Interface: {vocalsound}Project Manager: so another important part of the project is about money , uh and about {disfmarker} so about finances . So {vocalsound} we should target selling price oftwenty-five Euro for this remote control and uh we have um {vocalsound} {disfmarker} which which would generate a profit of of um {vocalsound} fifty million Euros , okay . And we should target the inter aninternational market .User Interface: So could I just ask one question , um is this a stand-alone unit that we're gonna be selling ? So it's gonna be you already have a T_V_ but you're buying an extra remote control forit or something ?Project Manager: O this is the {vocalsound} next topic we have to discuss exactly ,User Interface: Okay , alright .Project Manager: so let's go to it . So um we should decide which kind of remote controlwe want to uh we want to uh we want to go . Should be should should it be um specific remote control to some specific device ? Should it be a universal one ? And uh etcetera . So um {vocalsound} so I'm waiting foryour for your inputs very quickly because we have only three three minutes to go .User Interface: Okay well , so , it seems the the first thing that they've kinda specified is the price like based on how much profit wewanna make , which seems to {disfmarker} a kind of a little strange if we don't know what the the product is yet , but I guess if that's {disfmarker} if that's the requirement that we need to to design the the product toactually fit that that price bracket so , I guess we're gonna need to find out what's actually {disfmarker} you know , what people ar are willing to pay for {disfmarker} um what kind of product they're expecting fortwenty-five EuroProject Manager: Okay .User Interface: because it seems quite a lot for a remote control ,Project Manager: Okay I think this is more a job to ourUser Interface: so it's {disfmarker}Project Manager:market person yeah .Industrial Designer: Marketing person .User Interface: Yeah .Project Manager: So it should be the topic of maybe of the next meeting just to to have an overview of this and uh in which direction weshould go .Industrial Designer: Mm-hmm .Project Manager: So we need to close the meeting . Uh we'll have a new meeting soon and uh so {gap} the work every every of you ha have t d to do . So um you have towork on the on the working design , you have to uh work on the technical functions , and uh you have to work on us user requirements specs , alright ?Marketing: Yeah .Project Manager: Um you will receive someinformation by emails , i as usual . Thanks for coming today .User Interface: Okay .Project Manager: Thanks .Industrial Designer: Thanks .User Interface: Alright ."}
+{"doc_id":"doc_61","qid":"","text":"Project Manager: Okay . Um welcome to our second meeting . This is the functional design meeting . And I hope you all had a good individual working time . Okay , let's get started . Okay , here's the agenda for themeeting . After the opening um I am going to fulfil the role of secretary , take the meeting minutes . And we're gonna have three presentations , one from each of you . Then we're gonna discuss some new projectrequirements . Um gonna come to a decision on the functions of the remote control . And then we're gonna close up the meeting . And we're gonna do this all in about forty minutes . {gap} Okay . First I want to discussthe goals of this meeting . First we need to determine the user requirements and the question that we can ask ourselves is what needs and desires are to be fulfilled by this remote control . And then we're going todetermine the technical functions , what is the effect of the apparatus , what actually is it supposed to do , what do people pick up the remote and use it for . And then lastly we're going to determine its working design ,how exactly will it perform its functions , that's the whole technical side of {disfmarker} 'Kay I'll just give you a minute , 'cause it looks like you're making some notes .User Interface: {vocalsound}Project Manager: 'Kay. Oh , well let's go ahead and ,User Interface: {vocalsound} {vocalsound}Project Manager: {gap} back , previous .User Interface: {vocalsound}Project Manager: So what I wanna do right now is hear from all three ofyou , on your research that you just did . Who would like to start us off ? 'Kay .User Interface: I don't mind going first .Project Manager: Okay . Um do you have a PowerPoint or no ?User Interface: Yeah , it's in the{disfmarker} should be in the m Project .Project Manager: Okay .Marketing: Do you want us to do our PowerPoints now or {disfmarker}User Interface: You know you could you could do it yourself actually .ProjectManager: Oh .Industrial Designer: Did you send it ?Project Manager: Save it in the project documents .User Interface: Put it in Project Documents ,Project Manager: Okay .User Interface: yeah .Project Manager:Mm-mm-mm . This one ?User Interface: Sure . {vocalsound}Project Manager: Okay .User Interface: Yeah .Industrial Designer: Okay . Great .User Interface: Okay . Um well , the function {vocalsound} of a remotecontrol , as what uh we've been informed , is basically to send messages to the television set , for example , switch it on , switch it off , go to this channel , go to channel nine , turn the volume up , etcetera . Um someof the considerations is just um for example the what it needs to include it's the numbers , you know , zero to nine , so you can move to a channel , the power button on slash off , the channel going up and down ,volume going up and down , and then mute , a mute function . And then functions for V_H_S_ , D_V_D_ , for example , play , rewind , fast-forward , stop , pause , enter . And enter would be for like , you know , themenus . {vocalsound} And then other menus for D_V_ as well as T_V_ , whether that means like um we can go and decide the brightness of the screen , things like that , all the more complicated functions of menus.Project Manager: {gap}User Interface: And we can decide if that's what we want , {gap} , um if we want to include that on the remote , if that's something that would stay on the T_V_ itself , for example .ProjectManager: Okay . Okay .User Interface: These are two examples . Um and you can see on the left , it's got a lot more buttons ,Project Manager: {vocalsound}User Interface: and I don't know if you can read it , but itsays , step , go to , freeze , um slow , repeat , program , mute , and so those are some of the buttons and so it gives you an idea of s one example . And then on the right , it's a lot more simpler , it's got volume , it'sgot the play the like circle set , which is play , rewind , but it's also what is {disfmarker} fast-forward is also like next on a menu . So you have functions that are d uh duplicating .Project Manager: Right .User Interface:And you have a mute button and then the numbers and the eject , and the power button . So that gives you two different kinds , a more complex and more simple version . Okay .Project Manager: Ready .UserInterface: And then lastly , it's just the questions that we want to consider like what functions do we want it to include , and how simple , complex it should be ? And what functions it needs to complete . Uh , what areneeded to complete insulation process , 'cause , you know , that's something that also has to be considered and it's gonna be hopefully a one-time thing , when you set it up it should be set to go , but we have toinclude the functions that can allow it to set up i in the first place .Project Manager: {gap}User Interface: So that's it .Project Manager: Alright . Very good presentation . Thank you . You speak with such authority onthe matter .User Interface: Mm . Left .Project Manager: {vocalsound} Okay . Who would like to um follow that one up ? Now , that we've discussed {disfmarker}Marketing: I can go .Project Manager: Okay . Do youwant me to run it or you wanna {disfmarker}Marketing: Yeah , you should run it .Project Manager: Okay . {vocalsound} Functional requirements .Marketing: {vocalsound} Mm yes .Project Manager: 'Kay . Alright . Nowwe have Courtney with the functional requirements .Marketing: Yes , okay so we tested a hundred subjects in our lab , and we just we watched them and we also made them fill out a questionnaire , and we found thatthe {vocalsound} users are not typically happy with current remote controls . Seventy five percent think they're ugly . Eighty percent want {disfmarker} they've {disfmarker} are willing to spend more , which is goodnews for us um if we make it look fancier , and basically w we just need something that really I mean there's some other points up there , but they {disfmarker} it needs to be snazzy and it {disfmarker} but yet simple.User Interface: {gap} Wait .Marketing: So that's really what we need to do . And we need we need it to be simple , yet it needs to be high-tech looking . So {disfmarker}User Interface: And that meaning what?Marketing: Like {disfmarker} They like I guess use the buttons a lot .User Interface: Okay .Marketing: Yeah .User Interface: {gap}Marketing: I don't know . It's from my uh research .Project Manager: Okay , what doyou mUser Interface: Right .Marketing: My team wasn't very clear .Project Manager: Oh , I'm sorry .User Interface: Only use ten percent of the buttons .Project Manager: What do you mean by um the current remotecontrols do not match well with the operating behaviour of the user , like they have to press the buttons .Marketing: {vocalsound} That's okay . I I think it's like the engineering versus user ,Project Manager: Okay.Marketing: whereas like the engineering she showed that the engineering ones are more complexProject Manager: Oh , right .Marketing: and users don't really need all of the buttons that are contained on there ,because they only use ten percent of the buttons really .Project Manager: The buttons . Okay .Industrial Designer: {vocalsound}Project Manager: Yeah . Okay .Industrial Designer: We only use ten per cent of our brains. {vocalsound}User Interface: {vocalsound} {vocalsound}Marketing: Good point .Project Manager: It works .Marketing: It's a necessary evil .Industrial Designer: {vocalsound} yeah .Project Manager: {vocalsound}Ready for the next slide ?Marketing: Mm-hmm . {vocalsound} And so people say that they typically lose it , as you yourself know , because you probably lose your remote control all the time ,Project Manager: Hmm.Marketing: much like any small appliance like a cellphone ,User Interface: Lost .Marketing: and they {disfmarker} we need something simple , because most people , well thirty four percent say that it's just too muchtime to learn how to use a new one , and we don't want to go {disfmarker} we don't want to vary too far from the normal standard remote ,User Interface: SMarketing: but I mean they do need to be able to identify it ,and R_S_I_ , I'm not very sure what that is .Project Manager: It's okay . It's very important . {vocalsound}Marketing: Yes , it is important for the remote control world .Project Manager: {vocalsound}User Interface:Wait , is that like your {disfmarker} ergonomics like your hand movements or something ?Marketing: ShProject Manager: Could be , yeah .Marketing: Uh possibly .Industrial Designer: Do we really need t to providemore information on what R_S_I_ is ?User Interface: Like {disfmarker} {vocalsound}Project Manager: Oh .Marketing: Uh yeah , that's what my web site said , IUser Interface: Channel , volume , power .ProjectManager: I think that's a pretty good guess though .Marketing: don't know .User Interface: {vocalsound}Marketing: Yeah , I would assume so .User Interface: It's like if you're holding it {disfmarker}Marketing: I thinkwe're supposed to know it as remote control experts .Project Manager: Yeah . It's okay . {vocalsound}Marketing: {vocalsound} But also s so the channel , the volume and the power buttons are the most important onour company website you can find like the specific statistics concerning to how much each button is used , but those are the definitely the top ones .Project Manager: Okay . Next slide ?Marketing: Yes . And sopersonally I think that we need a modern eye-catching design , but it it really needs to be simple . So saying from y your slide , your presentation , the engineering versus the user-specified remotes , I think that weshould go with something that's more user-friendly .Project Manager: User-friendly .Marketing: Where the engineering ones , the boxes , tend to make it look more complicated than it really is . Um the functionality ofthe product really needs to be considered as to like what type of buttons do we really need on it . And it needs to be open to a wide range of consumers , so even though we need a small number of buttons , we alsoneed to take in {disfmarker} like are most people going to be using it for a D_V_D_ player , a TiVo , what what exactly are we using it for , as well as the age range . So we need a hip , but not a corny marketingscheme for promoting our product .User Interface: {gap}Marketing: And also we found {disfmarker} our team found that speech recognition is {disfmarker} it's like an up-and-coming thing they really {disfmarker}consumers are really interested in it , and since our findings found that people are willing to pay more money for a remote for it to be more high-class we could consider it .Project Manager: And so just to {disfmarker}just to clarify by speech recognition you mean they would say , channel five , and the thing would go to channel five ?Marketing: I guess so , yeah .User Interface: {vocalsound}Project Manager: Okay .User Interface:{gap} to just say , where are you , and thing beeps , you know . {vocalsound}Project Manager: {vocalsound} Oh , that'd be lovely .Marketing: Yeah , I guess we can interpret it like , we can just try out different typesof speech recognition within our remote programme .User Interface: Yeah .Project Manager: {vocalsound} Didn't they {disfmarker} um didn't our rival companies manufacture a remote that you would press the buttonon the T_V_ and it would {disfmarker} the remote would beep so if you have lost it {disfmarker}User Interface: It's kinda like what the remote phone used to do .Project Manager: Mm . Oh , yeah , that's true .UserInterface: You know like go to the base .Project Manager: We could definitely include that if we wanted to .User Interface: Yeah .Project Manager: If it's within our price . Okay . Are we ready for our last presentation ,Amber ?Industrial Designer: Yeah , I'm just trying to move it .Project Manager: Okay .Industrial Designer: 'Kay . I think it should be there , working design .User Interface: Working design .Project Manager: There wego .User Interface: {vocalsound}Project Manager: 'Kay .Industrial Designer: 'Kay . Uh I didn't get a chance to complete this one , 'cause some of the tools that I was given were frustrating .Project Manager: Oh my bad. {vocalsound}Marketing: Oh that's fine .Industrial Designer: Uh okay , so method method of our design , I think I just start listing th some of the things that we actually need to put into this .User Interface: Help me.Industrial Designer: We need a power source , we're gonna need a smart chip if we're gonna make it multi-functional . Um extra functions will probably need an additional chip . Either that or the smart chip will have tobe extremely smart .User Interface: {vocalsound}Marketing: What exactly is a smart chip ?Industrial Designer: Usually a smart chip is just a chip that's been programmed and designed so that it can complete a fairrange of functions .User Interface: Well , how much extra would the additional chip be ? Is that gonna push us over our production costs ?Industrial Designer: I wouldn't think so , 'cause we could probably get it fromlike , in bulk , from a a newer company . And they tend to sell their chips pretty cheap .User Interface: Mm-hmm .Project Manager: Okay . Ready ?Industrial Designer: Um yep , nothing here .Project Manager: That'sokay .User Interface: {vocalsound}Industrial Designer: Um power source , I figured , batteries , 'cause they're easily available . Typically a remote has either two double A_s or four triple A_s , sometimes three . Uh itreally kinda depends on the size of the actual remote itself .User Interface: {gap}Industrial Designer: Um a large on-off button , {vocalsound} demographically we're moving towards an older generation of people , so alarge on-off button would probably be good .User Interface: {vocalsound} {gap}Project Manager: Hmm .Industrial Designer: Selection button for various entertainment devices , so you want something that will permityou to select the D_V_D_ player or the T_V_ or the stereo system . Um smart chip that perverts {disfmarker} uh that permits , sorry , universal application again , something that'll allow us to skip over betweendevices , and that's kinda it .Project Manager: {gap}Industrial Designer: Uh this is my fifty second design .User Interface: {vocalsound}Industrial Designer: Power source over here . We're gonna have a switchobviously between the power source and the rest of it , and you're gonna need the switch . Um extra bulb could just be for flashiness , um subcomponent which would be like a way of diverting the power to differentparts of the the device . Um the chip and of course the infra-red bulb , so it can communicate with the various devices that it needs to talk to .Marketing: So what exactly we are looking at , is this like the front of theremote ?Industrial Designer: This is just like a rough schematic .Project Manager: So this would be the front ?Industrial Designer: So this is the internal workings .Project Manager: So the red would be the front of theremote though , right ?Marketing: Oh okay .Industrial Designer: Yeah .Project Manager: Okay .User Interface: Yeah , that's gonna be what's communicating with the T_V_ , but the other bulb , I think , is good to just toindicate , I'm doing something , it's sort of like a reassurance .Project Manager: The l {vocalsound} the light up kind of {disfmarker}Industrial Designer: Yeah , so you don't have to stare at that infra-red ,Marketing:Like that we know the battery's working .Project Manager: Yeah .Industrial Designer: 'cause you know when the battery starts dying in your remote currently , you have to actually stare at that bulb and go , okay ,when I push this button , is it working ?Project Manager: Hmm . It'd probably be lighting up the key too ,Marketing: Okay .Industrial Designer: We can skip that whole thing .Project Manager: right ?Industrial Designer:Yep .Project Manager: 'Kay .User Interface: Yeah .Marketing: Yeah .Industrial Designer: So you can put it in the dark . {vocalsound}Project Manager: The buttons .Marketing: Yeah , and that's good .Project Manager:Okay .Marketing: We should make it glow in the dark . {vocalsound}Project Manager: Yeah , definitely . 'Kay nex R Ready ?Industrial Designer: Yeah , that's it .Project Manager: 'Kay , any p 'Kay ?User Interface:{vocalsound}Marketing: Mm 'kay .Project Manager: Anything you wanna add for personal preferences though , you f you said already that we needed a large on-off button , you think . Anything else ?IndustrialDesigner: I think that that's a good idea , because you know that's one of the most important buttons .User Interface: Just {disfmarker}Project Manager: Okay .User Interface: Well , should it be larger buttons ingeneral , you know like uh the examples that I had , they were swi quite small . So should we try and go for something that has l larger buttons ?Marketing: I think we should . Like I think that would be in a as in{disfmarker} like in {disfmarker} for the design , sorry , um . I think we should definitely go with buttons that don't look like a normal remote , 'cause most remotes have small square buttons ,Project Manager: Mm.Marketing: I think we should do something like maybe bigger and round like bubbles .User Interface: Ovals . Yeah , yeah .Project Manager: Okay . Okay , let's talk about all of our {disfmarker} We'll come to decisionlater about all the components that we need to include , let's um wrap up this one , and {vocalsound} I'm gonna go back to my PowerPoint , 'cause we need to discuss the new project requirements which you might'vealready seen flashed up on the screen a bit earlier . {vocalsound} Wait , come back . Alright . Sorry , let's go through this . Alright . Here we go . New product requirements . First it's only going to be a T_V_ remote .We're trying not to over-complicate things . So no D_V_D_ , no TiVo , no stereo .Industrial Designer: {vocalsound} Okay .Project Manager: It's not gonna be multi-functional .User Interface: {gap}Project Manager: Hey. And we th need to promote our company more , so we need to somehow include our colour and our company slogan on the remote . We're trying to get our name out there in the world . Okay .User Interface:{gap}Project Manager: And you know what teletext is ?User Interface: Yeah .Project Manager: {gap} in States we don't have it , but um it's like they just have this channel where just has news and weather , kind ofsports ,User Interface: I know .Marketing: What is it ?User Interface: {vocalsound}Project Manager: it's very um bland looking , it's just text on the screen ,User Interface: Yeah ,Project Manager: not even{disfmarker}User Interface: it's like black , black and white kind of {disfmarker}Project Manager: Yeah , just black with just text .Marketing: Like running along the bottom ?Project Manager: Yeah .Industrial Designer:You can also get the kind of the T_V_ guide so {disfmarker}User Interface: It'll give you the sports .Marketing: Wait , is it like the Weather Channel where it's got like the ticker running on the bottom or something?Project Manager: Kind of .User Interface: Except the entire screen .Project Manager: Yeah it's the whole screen .Industrial Designer: It's the entire screen is just running information at random .Project Manager: Soanyway {disfmarker}User Interface: You can pick sports , you can pick the news , you entertainment ,Industrial Designer: Seemingly .User Interface: you know it's like {disfmarker}Project Manager: Right .Marketing:So it's like a separate channel from like what you're watching ?Project Manager: Right . But it's becoming out-dated now , because of the Internet .User Interface: Yeah .Project Manager: Nobody needs to go to theteletext channel to check the news , {vocalsound} and we have twenty four hour news channels now too , so {disfmarker} Those are our new product requirements . Alright . Mm-hmm .Industrial Designer: Okay.Marketing: Okay .Industrial Designer: So , do we have to include the company colour within that ?Project Manager: Yes . It's part of the logo . Okay .User Interface: Company colour being yellow . {vocalsound}ProjectManager: What we're going to do right now is come to some decisions , definitive that we can all agree on , about um the target group and the functions and just definite things that we need to do and then we'll closeup the meeting . So . Alright . {gap} Whatever . Okay . So our target group is {disfmarker} You mentioned um older people ? Would it just be universal for everyone , you think ?User Interface: Mm-hmm .ProjectManager: Because I think even if something has large buttons , as long as they are not childishly large , like even technically {disfmarker}User Interface: It's gonna make it nicer . Yeah .Project Manager:non-technically challenged people are gonna use it . I mean they want something user-friendly , so {disfmarker}Industrial Designer: Mm well , even if we kept the regular standard size of remote , if we reduced thebuttons down to the ones that people are saying that they use the most often and a couple extra ,Project Manager: Yeah .Industrial Designer: 'cause they're saying they only use ten per cent of them ,Project Manager:"}
+{"doc_id":"doc_62","qid":"","text":"Lynne Neagle AM: Good morning, everyone, and welcome to today's meeting of the Children, Young People and Education Committee. We've received no apologies for absence. Can I ask Members whether there areany declarations of interest, please?Darren Millar AM: Yes, I have a declaration of interest, Chair. I understand that my daughter features in one of the videos that is going to be used to contribute evidence to thisinquiry. And, in addition, I'm a governor of one of the schools that features in the video.Lynne Neagle AM: Thank you, Darren. So, item 2, then, today is our first session on the provision of textbooks and learningresources for pupils, which is a video of interviews with young people and teachers. The committee team has been out to take video evidence around Wales, and we're now going to watch the results of that on thescreen. Okay. Well, I'm sure that the committee would want me to place on record our thanks to the young people and the teachers who took part in that very helpful and informative video. We'll move on now then toour evidence session, and I'm very pleased to welcome Gareth Pierce, chief executive of the WJEC, Mike Ebbsworth, assistant director educational support, WJEC, Philip Blaker, chief executive of Qualifications Wales,and Emyr George, associate director general qualifications at Qualifications Wales. So, thank you all of you for attending and thank you for the papers that you provided in advance as well. If you're happy, we'll gostraight into questions now, and if I can just start by asking you to outline what you see as your role in ensuring that students and teachers in Wales have the resources that they need to pass general qualifications andwhat you think the role of commercial publishers and Welsh Government is.Philip Blaker: Shall I start? So, Qualifications Wales is the regulator of the awarding bodies, so we regulate awarding bodies. Our powers arestructured around the regulating of awarding bodies. We don't regulate commercial publishers nor the provision of textbooks within that. In regulating the awarding body, our primary focus is also on the design of thequalifications and then the delivery of the assessment. So, it's much more around the assessment side than teaching resources. That said, when we are going through the design of the qualifications, we go through anapproval process, so we develop approval criteria and we ask WJEC to submit their specifications against those approval criteria and sample assessment materials as well. So, our focus is very much on making sure thatteachers are able, through the sample assessment materials and the specifications, to have a good understanding of what is going to be expected of them in the examinations and of their pupils in the examinations. So,that's setting out the knowledge, skills and understandings that will be assessed by WJEC when those exams are sat. We have in the past pulled together groups of people to look at issues like resources. So, during thelast round of approvals, we pulled together interested parties in Welsh Government, regional consortia and WJEC to look at resources that would be available with a view to facilitating the discussion about who would bebest placed to fill the gaps where there may be perceived to be gaps in resources. Our other primary role is in maintaining standards. So, as the regulator of qualifications, what we want to do is we want to make thatthe awards of qualifications—so, the grades that people get—are fair. One of the things we do is set out the way in which the awarding bodies will set grades—so, the awarding process, the methods that will beused—and then we monitor WJEC's award of grades against those processes. During a period of change, we prescribe the use of comparable outcomes as the primary approach, largely because comparable outcomesare designed for circumstances like this, where there's a change in a specification particularly, because there are any number of reasons, including resources, why performance may be different from one year to thenext, but comparable outcomes is there to ensure that, all things being equal, if the cohorts have the same ability, the same grade should be awarded from one year to the next. We do recognise that there have beendelays in textbooks. Much of that has been related to the timelines that we've all had to deliver new specifications against, which have been far from ideal for everybody involved. We think that particularly our rolemoving forward will be looking at the timelines for reforms that will be necessary for the new curriculum to make sure that this situation isn't repeated and that there is sufficient time in future reforms to allow forgreater system readiness. In terms of the roles of others, Welsh Government have a role at the moment in terms of grant funding of translation of materials into Welsh medium. And there is, through the common modelat the moment—and this is a model that is common between England and Wales—a reliance on commercial publishers to provide textbooks. Now, that's something that probably needs to be looked at in the future interms of potential different models for how that might be achieved and also, potentially, around a paradigm shift in what's expected of those materials. So, I think that sets out Qualification Wales's position inparticular.Lynne Neagle AM: Thank you. Gareth.Gareth Pierce: Thank you very much. The WJEC does provide what's required in a regulatory sense, and there are two things there—the specification, which tends to bevery comprehensive in providing guidance in terms of drawing up a programme of teaching, and also exemplar assessments, which include marking, and those go to the regulator before they are published. So, thosesamples go to the regulator. The WJEC also do invest a great deal in resources that we produce digitally in both languages simultaneously. Each new course has substantial teaching guidance, which includes a great dealof useful information for teachers and pupils. And we run a professional development programme for teachers that is free of charge when courses are new, and then annually there is some charge for those events. Theyare face-to-face events, or, increasingly, they are webinars. The WJEC also encourages publishers to take an interest in providing textbooks. We don't have a commercial agreement with publishers. Indeed, theregulations as they stand in Wales, Northern Ireland and England preclude examination bodies from having commercial links with providers of textbooks, but that is something that emerges from the three-nation regimethat existed in terms of qualifications. So, that is one point that we noted as something that needs to be considered for Wales as we move forward, whether it would be possible—. As we are not talking aboutexamination boards competing with each other in Wales for GCSE and A-levels, in passing, that is something that I would want to suggest may deserve review. We encourage publishers to take an interest. At themoment, these tend to be England-based—Hodder Education and Illuminate Education, for example—and then the Welsh Government does provide funding to the WJEC to support the process of providingWelsh-language versions for those textbooks. So, we use that funding to provide editorial support to the process, and also to pay for translation costs, and we give significant guidance in terms of terminology. We havea language services team including excellent editors and translators within the WJEC, and we work closely with external translators too, and we use translation technology increasingly, which facilitates a great manythings. Beyond that, I think the WJEC does see the need for flexibility, particularly when difficulties arise, and you heard there of some of the methods used by Mike and others to get digital resources available earlierthan the print versions. And I should also note perhaps that, as the WJEC is very much involved with stakeholders, we feel that we do have a contribution to make in terms of ideas for the future.Lynne Neagle AM:Thank you. We heard in the video that teachers are spending a lot of their time actually translating materials. What is your view on that as a good use of teachers' time in Wales?Gareth Pierce: I think the question oftranslation is an interesting one. There was talk about pupils translating and teachers translating. I think perhaps we need to understand what causes the need for that because, as I mentioned earlier, there are somany resources available digitally in both languages at the same time. Perhaps an interesting question is: is that source useful for teachers, being able to draw resources from two sources? Another interesting question,I think, is—. The Welsh language, of course, is a language that is used in an educational context, but we are in a big world that's an English language world. I'm very aware that many of the websites we refer to in ourresources and many of the case studies, as was mentioned in that video—they are available in English only. Therefore, I think another interesting question is: can we discover what those additional resources are thatare worth translating? And, certainly, it would be very unfortunate if there were a dozen Welsh-medium schools, for example, translating material from the same website independently of each other. If there are a fewwebsites, or a few case studies, in this big external digital world that are worth translating, shouldn't we able to source those early? Because I don't think it's a good use of teachers' time. But I also think that the use ofboth languages is an interesting one. What is the vision in terms of teaching in a Welsh-medium class, in particular, perhaps, in the A-level classes? I'm sure that some teachers feel that there is a way ofenriching the teaching by referring to terms in both languages, as well as explaining those terms in their own language. But the impression I got from the video was that there was quite a lot of mechanical translatinghappening, and perhaps there is a need to understand more of the context.Lynne Neagle AM: Llyr on this.Llyr Gruffydd AM: Just to pick up on your point on the additional materials, whose role would it be to asses thisor to take that overview, and then to respond to the demand?Gareth Pierce: Mike, in the WJEC, has conversations about resources in the team he's part of.Mike Ebbsworth: Yes. That is extremely important—to identify,as Gareth has just said, those materials that need to be translated, and not everything needs to. We've made a lot of use recently of speaking with teachers and the consortia, and ensuring then that we are focusing onthose things that need that attention.Llyr Gruffydd AM: But would you—? The question I'm asking is: would you still see that as a core part of your work, although it's not necessarily essential in terms of the provisionthat you're required to provide?Gareth Pierce: Yes, we invest substantially from the WJEC budget into digital resources. So, through the types of conversations that Mike mentioned, in terms of identifying needs,deciding on priorities with teachers in individual subject areas, that can provide very useful information for us in terms of prioritisation. Of course, the digital packages that we create are already based onconversations with teachers.Llyr Gruffydd AM: So, it's already happening to a certain extent.Gareth Pierce: Well, yes, but we could always go a step further.Llyr Gruffydd AM: And do we need further resources forthat?Gareth Pierce: Well, it's an interesting question. The WJEC is doing as much as we can—Llyr Gruffydd AM: Why isn't it happening to the extent that it needs to happen, then?Gareth Pierce: One can always do more,of course. The WJEC is trying to use its budget prudently, and most of our funding comes from payments made by schools and colleges in terms of taking assessments. So, we do have a budget, but it's not a bottomlesspit. So, we do need to make choices within the substantial budget we have in terms of the work that Mike is undertaking.Mike Ebbsworth: There is a need to be careful as well in identifying resources and needs, and thatthose are suited towards the requirements. Quite often a teacher—and I've been a teacher myself—has this idea that there is a need to have everything. But, certainly, that's not always the case. Quite often, the focusis on different things. There has been a move towards different means of assessment over recent years, and we've moved our resources towards that to meet the needs of teachers on how to undertake that sort ofassessment.Llyr Gruffydd AM: Okay. Thank you.Lynne Neagle AM: Did you want to come in on any of this?Philip Blaker: I'm just going to say one thing. Teachers will want to be creative in the use of resources, and, indoing that, they'll potentially want to adapt resources from either language. I think one of the things that we would be quite keen to try and establish moving forward is what is the common core that should by defaultbe available bilingually, and then what sits around that that would be for schools to use creatively and adapt. And what I wouldn't want to see is a default position where all materials were bilingual—a wide range ofresources that might be created from all sorts of diverse, different channels—because that may inhibit the creation of some of those materials that may be more creative, which could then be used by teachers as theysee appropriate. But I think it is reasonable to expect for that core, common body of knowledge to be available bilingually by default, and for teachers not to have to spend time translating that.Lynne Neagle AM: Okay.Thank you. A final question from me, then. The £500,000 funding for Welsh-medium educational resource that's in the budget for 2018-19—are you able to share any information with the committee as to how that'sgoing to be spent?Gareth Pierce: Tthe WJEC has some information in terms of that budget. It is a Welsh Government budget, and they have annual discussions with us as to what resources we are likely to be workingon along with publishers, and where we would like to make a claim against that grant to pay for the editorial and translation costs that we will have incurred. Now, there have been conversations recently about possiblesupport from that grant for some research work into the use of various materials and resources, and also, although this would be a very small part, a contribution towards seminars for publishers. But that isn't a fullpicture of the £500,000; I think you would have to ask the Welsh Government about the exact allocation of that total fund. But there may be some flexibility. We've just started this financial year; I'm sure there is someflexibility in their thinking in terms of the use of some of this resource. Do you want to add anything, Mike?Mike Ebbsworth: Certainly. We have contributed a list of publications, for example, that are ongoing, andthey're aware of that, and a percentage of that funding then will go towards ensuring that those are there through the medium of Welsh.Lynne Neagle AM: Thank you. Darren Millar.Darren Millar AM: This is a hugemess, isn't it? It's a huge mess, which is causing lots of pressure and extra work for teachers, lots of pressure and extra work for learners, and is affecting the well-being of students, at a time when they need to bementally fit, in order to go through the general stress that learners face when they have exams coming up. We know that the problems are not confined to Welsh-medium resources; they're also being experienced inEnglish language resources as well, particularly in terms of the availability of textbooks. You've both mentioned—both of your organisations have mentioned that there needs to be some sort of common core ofresources available for learners and teachers, and I would agree with you on that front. But isn't a textbook a pretty basic element of anybody's toolkit for supporting a child getting through the information that theyneed to learn, and swot up on, in advance of exams?Gareth Pierce: I think that the evidence is that different learners see their requirements differently. And I agree that a textbook is part of the picture that should beavailable. But I think the evidence also shows that not every young person will use them; perhaps the teacher uses them. There is an emphasis, for example, from one pupil there, on that traditional model of revision,namely class notes and his own revision notes, but that he personally also wanted a textbook. So, certainly, the content of a textbook is going to be important, and that that's available in some form or other. It was veryinteresting to know, for example, that when he was describing the traditional model of revision, he felt that he'd had quite a lot of the content of the textbook through the classroom notes. Much of that digital content, ofcourse, corresponds to the content areas of a textbook, but it's just in a different form. But, in general, there should be a textbook. And some of our frustration as well is that the timetables of some individual publishersdon't always get us to the point where there is a textbook available in time. That doesn't happen so often in English medium, but we know about that gap in time in the Welsh provision.Darren Millar AM: Well, it'shappened fairly regularly in the English-medium textbook world, hasn't it? My daughter—she featured in that video—has got her RS qualifications coming up, and she only had a textbook over the Easter period. I mean,it's completely unacceptable. And many others in that video are also being affected. You mentioned digital resources; not everybody's got access to digital resources in their own homes, even, in Wales. So, aren't wegiving a significant disadvantage to those learners who might need the traditional 'swotting up from a textbook' method of revision and benefit from that?Mike Ebbsworth: We do ensure that those digital resourcesinclude things that the teachers can also print. Most of these are resources for teachers so that the teachers can adapt them for their own use, to suit the learners who are in front of them at any given time.But certainly there are materials there. If there are activities, then those activities can be printed off and handed to pupils so that they can take them home. So, I would be sceptical about that comment. We are thinkingof the totality, ultimately.Gareth Pierce: I think you're right that the availability of technology is an important part of this big picture. The young people talk about websites and blogs, and we're talking about digitalresources, so being able to reach those resources, I think, is vital in Wales. It's interesting to note two contradictory remarks from the teaching associations in the letters. One praises what's available digitally, whereasanother teaching organisation sees this as more work for teachers. As Mike said, we've created those resources that can be adapted. One teaching organisation says that it just creates more work, whileanother organisation says that the digital resource is something that's very valuable. Of course, the headteacher at the end was praising the fact that, in a situation of crisis or unacceptable timetables, we havesucceeded in creating some resources that will be in the textbook later, but available digitally at an early stage. But I agree with your core comment that technology is vital, and access to that, and also the content of atextbook in some form is vital as well.Darren Millar AM: Mr Blaker, you would agree that a textbook should be an essential core piece of the resource pack available for each qualification.Philip Blaker: I think we wouldn'twant to underplay the desirability of textbooks, recognising that different learners have different learning styles and may look to different resources. I think what I'd like to raise is a wider concern about textbooks intheir current model, which is very much around the fact that every time there's a change in a specification, there's a new textbook, which is designed around that specification and is endorsed by an awarding body,which is a nice model for a publisher, because every time there's a change, there's an opportunity for a new textbook. There are two concerns that I'd like to raise on that. First, the focus on teaching and learning.Ofsted and also Estyn have raised concerns about the focus in teaching on teaching to the test as a common concern in both nations. I have a concern that having a textbook that is endorsed by the awarding body andis designed specifically around that specification may lead to some of that tendency. And also, there's the sustainability of the model. We know that we're about to go into another round of reforms associated with thecurriculum change. That's going to lead to another round of textbooks that may need to be focused on qualifications. I think I'd much rather see that textbooks are seen as a curriculum resource that are broader than,perhaps, the model of endorsement and the current model of publication suggest.Darren Millar AM: So, you don't think that a textbook for each subject should be a core resource for pupils who are learning in advance"}
+{"doc_id":"doc_63","qid":"","text":"User Interface: Hi .Industrial Designer: Hi .Project Manager: Hello .Marketing: {vocalsound}User Interface: Oh .Project Manager: Good morning .User Interface: Good morning .Industrial Designer: Morning .Marketing:Good morning .Project Manager: Uh before I start with the with the meeting I have a few things to tell you about the the setting we're in , uh because we're uh being watched by uh Big Brother . So um{disfmarker}Marketing: By Big Brother ?Project Manager: Yeah . {vocalsound} Yeah .Industrial Designer: {vocalsound}Marketing: Okay .Project Manager: This uh {disfmarker} These are cameras , so are these . Thisthing uh that looks like a pie ,Marketing: Mm-hmm .Project Manager: are actually all microphones .Marketing: Yeah . Okay .Project Manager: So you must be careful with uh with uh all this . And uh as I can see you uhyou have placed your laptops uh exactly on the place where it must be . And that has to do with the camera settings , so we don't have our uh laptops in front of the cameras .Marketing: Of our faces .Project Manager:And {disfmarker} Indeed . So they can see our faces .Marketing: {vocalsound}Project Manager: {vocalsound} Okay .Marketing: {vocalsound}Project Manager: Welcome at the kick-off meeting . My name is uh DannyWolfs . {vocalsound} Uh this is the agenda for today . Uh first a little opening . Uh I will introduce myself , uh and uh I think it's very uh good to introduce uh yourself . Uh then uh a little bit of acquaintance ,acquaintance to uh to to ourselves . So uh we get to know each other . Uh that will be done uh with a tool training from the he these two uh smart boards . Then the project plan . What we're going to do , and how we'regoing to do it . Uh and discussion about that and a little closing at the end . {vocalsound} Okay uh , my name is uh Danny Wolfs . I'm the Project Manager . What's your name ?User Interface: I'm Juergen Toffs . I'm theUser Interface Designer .Project Manager: User interface , okay .Industrial Designer: Hi , my name's uh {gap} . I'm the Industrial Designer .Project Manager: Industrial , yes .Marketing: I'm uh Tim {gap} . Um myfunction is the Marketing Expert .Project Manager: Okay , thank you . First a little about the project aim . Uh the the the aim is to make a new remote control . Uh maybe you have read uh read the website . It's a veryuh , yeah , very uh ambitious uh company . They uh they wanna do something else . I w Uh there must be a new remote control . Uh first of all uh it must be original , uh and trendy . That's two things really uh close toeach other . But at the same time uh user-friendly . And they have uh {disfmarker} Yeah , that's uh very important uh for them . Uh there are three stages . There is a functional design . So uh what are we going uh touh to do ? What are we going to uh uh make f uh kind of functions in the remote ? And why are we going to do it ? Then the conceptual design . How are going to do it ? {vocalsound} And that's uh really global . Uhbecause at the detailed design , how , part two , uh we go uh to dig in uh really about how the the te the technical of {disfmarker} If it's uh it's possible technical-wise .Marketing: {vocalsound}Project Manager: Uheach stage is uh {vocalsound} uh is broken up in two uh two stages , individual work and a meeting . So it's uh it's very straightforward . {vocalsound} Okay , the tool training . We have two smart boards .{vocalsound} This one is for the presentations , the PowerPoint presentations or the Word presentation of whatever you uh you had . Uh and this is uh only for uh drawing . So uh we uh must let it uh stand on this uhthis programme . {vocalsound} This is called a smart boardMarketing: {vocalsound} Speaks for itself .Project Manager: thing uh {disfmarker} Yeah , it speaks for itself . Um and as you uh may have heard , thedocuments in the shared folder uh can be uh showed on this screen . Not in y the the My Documents . So if you wanna show something , put it in the shared folder . {vocalsound} Uh {disfmarker} This uh is {gap} verystraightforward , with the save , the print , the undo , the blank , the select , the pen . Well , I don't uh gonna explain it all ,Marketing: {vocalsound}Project Manager: because I think you know uh how it works . Um wemust not forget uh everything we draw on here , uh all must be saved . We we may not delete anything . So uh if you have uh drawn something , save it . Never delete it . That's a very important uh thing .Marketing:{vocalsound}Project Manager: Okay . Uh little uh little {vocalsound} kinda exercise to uh know each other .User Interface: {vocalsound}Marketing: {vocalsound}Project Manager: {vocalsound} At uh the white boardon the left . Every uh every one of us uh must draw our favourite animal ,Industrial Designer: {vocalsound}Project Manager: {vocalsound} and uh tell uh tell us why we uh had uh chosen that animal . Uh important isthat we use different colours , {vocalsound} and uh different pen widths . Widths . Widths .Marketing: I have a question .Project Manager: Yes ?Marketing: Um this exercise , um did the company board tell you to do it,Project Manager: Yeah .Industrial Designer: {vocalsound}Marketing: or uh did you just make it up yourself ?Project Manager: No no no . It's uh it's uh {vocalsound} {disfmarker} I I I must do it .Marketing: It's part ofthe introduction ,Project Manager: Yeah , yeah , yeah . 'Cause we uh really don't know each other ,Marketing: okay .Project Manager: and uh it's kinda new . So getting used to each other , we can uh have a little funthen , before we uh dig in really to the hard stuff .Marketing: Okay . {vocalsound}Project Manager: That kind of thing . Would you start with drawing your uh favourite animal ?Marketing: Um , yeah . I don't know reallyhow it works . But maybe you can show us first ?Project Manager: {vocalsound} Okay , okay . Yeah , okay . Drawing goes with uh this thing . Do not touch your hand on uh this little uh thingy here . That's uh important.Marketing: {vocalsound}Project Manager: So hold it uh like this .User Interface: {vocalsound} {vocalsound}Marketing: You g you get electrocuted or {disfmarker}Project Manager: Yeah , kinda .{vocalsound}Industrial Designer: {vocalsound}Marketing: {vocalsound}Project Manager: So , {vocalsound} um {disfmarker} You must p p uh push a little uh {disfmarker} Good . Because {disfmarker} And uh wait uhwait a few seconds . It's not uh fully real-time , so uh watch it .User Interface: Ach . {gap}Project Manager: Oh yeah . Well I'm gonna paint in the red .User Interface: {vocalsound}Project Manager: Oh .User Interface:Ooph .Project Manager: That's the background colour . {vocalsound}Marketing: {vocalsound}User Interface: {vocalsound}Project Manager: Well , undo . Um {disfmarker} The pen ? No . One minute please .{vocalsound}Industrial Designer: {vocalsound}Project Manager: Yeah , that's the one . Well , five . Okay . {vocalsound}Marketing: {vocalsound}Project Manager: {vocalsound} My favourite animal huh ?IndustrialDesigner: {vocalsound}Marketing: It's like Pictionary ? {vocalsound}Industrial Designer: {vocalsound}Project Manager: Yeah , you can guess what it is .Marketing: The the one who says it first {vocalsound} gets araise .Project Manager: {vocalsound} May uh paint uh next .Industrial Designer: {vocalsound} {vocalsound}Marketing: {vocalsound}User Interface: {vocalsound}Industrial Designer: {vocalsound}Marketing: It's apork ? {vocalsound}Project Manager: {vocalsound} No , it's not an orc . {vocalsound}User Interface: {vocalsound}Project Manager: You don't see it uh at the ears ?Marketing: Mm yeah , I have it at home .{vocalsound}Project Manager: You have an orc at home ?User Interface: Very artistic .Industrial Designer: {vocalsound}Project Manager: Thank you .Marketing: {vocalsound}Project Manager: So it's a cat .{vocalsound}Marketing: What's it called ?Project Manager: Simba . 'Cause uh we have a cat at homeMarketing: Ah .Project Manager: and he's called Simba . 'Cause he looks like the uh the the lion from The Lion King.User Interface: Okay . {vocalsound}Industrial Designer: {vocalsound}Marketing: {vocalsound} Miniature size ?Project Manager: So we uh found it kinda cool to uh name it after a lion .Marketing: Okay .{vocalsound}Project Manager: He's happy with us , so uh he's smiling .User Interface: Wow . He does have body uh {disfmarker} {vocalsound} Huh .Project Manager: No , only the face . Because we have we havetwen twenty five minutes . So we uh {disfmarker}Marketing: Okay . We have to speed up .Project Manager: Yeah .Marketing: Remember you use uh different colours , and different pen widths .Project Manager: Yeah .Okay , who wants to go next ?Marketing: I {disfmarker} Okay .Project Manager: Yeah ?Industrial Designer: {vocalsound}Project Manager: So choose a colour , choose a pen width and draw a {disfmarker}UserInterface: You don't have to change the colour and the pen width during uh the drawing .Marketing: Save it .Project Manager: Yeah .User Interface: Or {disfmarker}Marketing: You have to save it .Project Manager:Save it , okay .Industrial Designer: {vocalsound}Marketing: I've done it . New ? 'Kay .User Interface: You have to draw uh push hard on the pen or uh {disfmarker}Marketing: Mm uh {disfmarker} Not really .ProjectManager: Kind of firm touch .User Interface: {vocalsound}Marketing: That one .User Interface: Oh . Uh hmm .Marketing: Yeah ? Okay . Open . Which one is it ? Smart board ?Project Manager: Yeah .User Interface:Okay .Industrial Designer: {vocalsound}Marketing: Okay . And now ? Okay . Okay , thanks . 'Kay , I've speed up . 'Kay , that's fine . Line width .Industrial Designer: By the way , why was your cat uh red ?ProjectManager: Because uh my cat is red uh at home .User Interface: Oh .Industrial Designer: Oh , okay . {vocalsound}Project Manager: And I have red hair , so uh must be red .User Interface: It's a very bloody cat.Industrial Designer: {vocalsound} Oh , yeah , sure .User Interface: It's a frog . {vocalsound}Industrial Designer: No , it's a turtle . {vocalsound}User Interface: {vocalsound} Uh it's an apple . {vocalsound}IndustrialDesigner: {vocalsound}Marketing: {vocalsound} It's not an apple .Industrial Designer: Must be a dog . {vocalsound}User Interface: A dog ? {vocalsound}Industrial Designer: Yeah .Marketing: Hmm . Colour .{vocalsound} Something like this . Smaller .Project Manager: {vocalsound}User Interface: Huh ?Industrial Designer: {vocalsound}User Interface: Oh , it is a turtle .Project Manager: It is a turtle . Why a turtle ? Why ?Tim ?Marketing: Um {disfmarker} 'Cause I liked Teenage Mutant Hero Turtles .Project Manager: {vocalsound} You watched it a lot ?User Interface: {vocalsound}Industrial Designer: {vocalsound}Marketing:{vocalsound} Uh ?Project Manager: You watched it a lot ?User Interface: It's uh inside its shell . You'll be uh finished sooner .Marketing: No , it's uh {disfmarker}Project Manager: It's a scared turtle .Marketing: No no .{vocalsound} It's coming up . Mm . Uh .User Interface: Wow .Project Manager: {vocalsound}User Interface: {vocalsound}Industrial Designer: {vocalsound}Project Manager: {vocalsound} Okay , Tim . Thank you .{vocalsound}Marketing: Something like this . {vocalsound} Okay , you know {vocalsound}User Interface: {vocalsound}Industrial Designer: {vocalsound}Marketing: Very artistic .Project Manager: Jurgen , you want togo next ?User Interface: Yes {gap} . Okay . Wha Thank you .Marketing: Yeah ? Here you go .User Interface: Yeah . Um {disfmarker}Marketing: {vocalsound}Industrial Designer: {vocalsound}User Interface: How did itwork ?Project Manager: Format ? And then you have the the current colour ,User Interface: Performance ?Project Manager: you can change . So no red or green .User Interface: And a pen ?Project Manager: And uh lineuh width . I had five .Marketing: {vocalsound}Project Manager: Tim had {disfmarker} Uh Tim , what kinda line width did you have ?User Interface: Um {disfmarker}Marketing: Uh the big lines were like nine .ProjectManager: {vocalsound}Industrial Designer: {vocalsound}Project Manager: Okay . It's a dog .User Interface: Well , very good . {vocalsound} I just uh thought I'd pick the easiest one .Industrial Designer: {vocalsound}Uh .Project Manager: Okay . Why a dog ? You have a dog at home ?User Interface: Well , we had a dog , a few years ago .Project Manager: Had a dog ?Marketing: Uh , it's pProject Manager: Yeah ?User Interface: Andand it , {gap} yeah , when it died we didn't get a new one or something .Project Manager: Ah .User Interface: But uh {disfmarker}Marketing: It's pretty good uh {disfmarker}Industrial Designer: {vocalsound}ProjectManager: You have an artistic uh inner middle .Marketing: {gap} {vocalsound} An artist .Project Manager: {gap} {vocalsound}User Interface: Uh a Graphical User Designer , so {disfmarker}Project Manager:{vocalsound}Industrial Designer: Hmm .User Interface: Hey .Marketing: Think you uh picked the wrong uh function . Wrong job .Project Manager: {vocalsound}User Interface: {vocalsound} Oh .Marketing:{vocalsound}User Interface: No . Can work together . Ah colour .Project Manager: So I think you can see it's real uh really a easy programme to use . Not difficult at all .Marketing: WhaUser Interface: {vocalsound}Well ,Project Manager: Okay ,User Interface: it's okay {gap} .Project Manager: thank you . {vocalsound}Industrial Designer: {vocalsound}Marketing: {vocalsound} That's enough ,User Interface:{vocalsound}Marketing: thanks . {vocalsound}Project Manager: Janus ? The last one ?Industrial Designer: Yeah , sure .User Interface: Yeah .Industrial Designer: Uh thanks .Marketing: I wonder .Project Manager: Yeah. After a cat , a turtle and a dog .Industrial Designer: {vocalsound}Marketing: {vocalsound}Project Manager: I think he's gonna draw an elephant . {vocalsound}User Interface: {vocalsound}Industrial Designer: Ifigure I should do something like that ,Project Manager: {vocalsound}Industrial Designer: but I'm gonna do something much more difficult .Marketing: {vocalsound}Project Manager: Uh-oh .User Interface: Uh-oh . Oh ,he is the artistic {gap} design .Project Manager: {vocalsound}Industrial Designer: {vocalsound}Marketing: I'm gonna design a remote uh {vocalsound} remote control animal . {vocalsound}User Interface:{vocalsound} Remote control animal .Industrial Designer: {vocalsound} Exactly . Uh {disfmarker}Project Manager: {vocalsound}Marketing: {vocalsound} Oh . {vocalsound}Project Manager: {vocalsound}Marketing:Sorry .User Interface: Well with the interface , it might be easier to ha to draw here and display there uh .Marketing: Yeah .Project Manager: {gap}Marketing: That that might be easier . But at the other hand , uh a penlike that is easy to hold in your hand , and {disfmarker}Project Manager: No .Marketing: I think it's easier to draw .Project Manager: Better to draw with a with {disfmarker}Marketing: Yeah . With a pen than with amouse mouse .User Interface: Than on the , with {disfmarker}Project Manager: {vocalsound}User Interface: Yeah , I m I mean like uh like on here , drawing drawing uh . And then displaying on screen , but{disfmarker}Industrial Designer: {vocalsound}Marketing: Mouth . Oh , okay . Yeah . W with this paper it's too mu too expensive . {vocalsound}Project Manager: But what is he uh ?User Interface: Too expensive , yeah.Project Manager: Is it a rabbit ?Industrial Designer: Yes . {vocalsound}Project Manager: Do you have a rabbit at home ?Marketing: {vocalsound}Industrial Designer: No .Marketing: It's a rabbit with uh broken legs ?{vocalsound}User Interface: A green rabbit .Industrial Designer: {vocalsound} No . {vocalsound}Project Manager: Is it a white rabbit f It's the white rabbit from The Matrix .Industrial Designer: Yeah , exactly .{vocalsound}Project Manager: Okay , then yeah .User Interface: There , the g white green rabbit .Industrial Designer: So .User Interface: {vocalsound} He's a little bit stoned there . {vocalsound}Industrial Designer:{vocalsound} {vocalsound} Uh I figured this is a pretty b good impression of a rabbit .Marketing: Yeah . It will do .Industrial Designer: Uh uh {disfmarker} Uh well .Project Manager: Okay . Finishing touch and thenwe're going further .User Interface: {vocalsound}Marketing: Project Manager ? Uh {disfmarker}Project Manager: Yeah ?Industrial Designer: Where does the pen go ? Just uh {disfmarker}Marketing: Have you been uhcounting the time ?Project Manager: Yeah , a little . {vocalsound}Marketing: Okay . Let's go on then .Project Manager: Well , I think the dog is the the most uh artistic .Industrial Designer: Uh I figured the rabbit wasactually the most uh impressive . {vocalsound}Marketing: {vocalsound}Project Manager: Don't choose for youself .Industrial Designer: {vocalsound} Oh , sorry . {vocalsound}Project Manager: That's selfish . Okay ,now we're gonna dig into the to the serious stuff .Marketing: It's pretty abstract .Project Manager: {vocalsound} Uh the selling price for the remote will be uh twenty five Euro , and the production cost uh may not bemore than uh twenty and a half Euro . So uh from my point of view , I don't think it's uh gonna be very uh very high tech , high definition , uh ultra modern uh kinda remote , for twelve uh fift uh twelve and a half Euro.Marketing: {vocalsound} {vocalsound}Project Manager: {vocalsound} Uh the profit we must make with uh the new remote is uh fifty million Euro . So that's a lot . We have to sell uh a lot of uh {disfmarker}UserInterface: Yeah , how much is it ?Marketing: Like how much ?User Interface: Hundred million uh remotes or something ?Project Manager: Uh I think uh w when the selling price is twenty five , uh uh you got two million, two million remotes .User Interface: Oh yeah .Industrial Designer: Twenty million . Two million , oh yeah , two million . Yeah .Project Manager: But our marketing range is uh , market range is international . So wehave uh virtually the whole world we can sell uh we can sell our r remotes to . At least that uh countries which have uh a television .Marketing: Yeah .Project Manager: Um {disfmarker} So now it's time uh for us to uhgoing uh to discuss a little uh things . You can think about uh experience with a remote control uh yourself , at home . What you think might be uh a useful uh new feature . What uh what can distinguish our new trendyremote control from all the others . Um so uh let's uh let's uh discuss a little . I'm gonna join you at the table . {vocalsound} Well what what's the most uh important thing at a remote control ?User Interface: Um well Ithink the most important thing of a remote control is that you can switch channels . And my opinion is you should keep it as basic as possible . Uh {disfmarker}Project Manager: Okay . So not a not a remote control whouh uh which can uh can be used for television and a D_V_D_ and radio and {disfmarker} Or just only {disfmarker}Marketing: Yeah . I think so . Uh but I have some points . Can I show them on the on the big screen ?Maybe ?Project Manager: If you have them on uh {disfmarker} I can uh {disfmarker}Marketing: Yeah . Yeah , I can find {disfmarker} Uh .Project Manager: Okay . Oh , in case you want it {disfmarker} This is a deadkind of fly . Between the the the , yeah , the the uh {disfmarker}User Interface: {vocalsound}Marketing: Screen ?Project Manager: Yeah , be The screens .Marketing: Okay .User Interface: Is it possible to open pendrawings in this uh on this screen ?Project Manager: {vocalsound} No no no . Only {disfmarker} All the drawings go there , at the left uh {disfmarker} {gap}User Interface: Uh but um which {disfmarker} The ones wemade on the {disfmarker}Project Manager: Oh , that pen drawings . Uh no , I think uh when it is uh in Word and you have saved it in the Shared Documents folder , you can show it there .User Interface: Oh , only inWord ,Project Manager: Yeah .User Interface: okay .Marketing: Okay , I have some uh points from marketing point of view .Project Manager: Yeah .Marketing: Um just the standard thing li things like uh intuitive , uhsmall , fairly cheap . Uh it's pretty cheap , twenty five Euros . Uh brand independent . Um I think , it doesn't have to matter uh which brand your T_V_ or other thing is . Um {disfmarker}Project Manager: Yeah . Okay .Five minutes .Marketing: Five minutes ?Project Manager: Yeah .Marketing: Okay , I'll wrap it up quickly . Um I personally think it has to be multi-purpose .Project Manager: Yeah .Marketing: Uh most of the remote c uhremote controls are uh just for one purpose .Project Manager: Yeah .Marketing: And uh by making it multi-purpose , it uh has a new feature , adds a new feature to the market , and distinguish from uh from currentproducts .Project Manager: Mm-hmm .Marketing: Um maybe some other technology than infrared . Uh I rather find it very annoying um , like when someone is standing in front of the T_V_ then you can't switch it . Um"}
+{"doc_id":"doc_64","qid":"","text":"Marketing: {gap}Project Manager: {gap} {vocalsound}Marketing: I dunno . {vocalsound} Throwing away my toothpick .User Interface: Hi there .Project Manager: Yo . Ow .Industrial Designer: {vocalsound}ProjectManager: {gap} {vocalsound}Marketing: 'Kay .Project Manager: Uh {disfmarker}Marketing: Nice user interface .Project Manager: Yeah . What the {disfmarker} Uh {disfmarker}Marketing: {gap}Project Manager: Yeahwell , ja well let's just start .Marketing: 'Kay .Project Manager: {vocalsound} {vocalsound} I've uh made a presentation uh but uh I'll open it on the Smartboard , so we can all see it .Marketing: Right let's see it .ProjectManager: So it's in the project documents because that's what we can find here . Well {gap} . {vocalsound}Industrial Designer: {vocalsound}Project Manager: Very nice . Well this is called the the the kick-off meeting .So uh {vocalsound} I'm the Project Manager , so I had to fill it in ,Marketing: 'Kay .Project Manager: and uh hmm . {vocalsound} {vocalsound} Oh sorry . {vocalsound} And {gap} an uh a nice agenda . {vocalsound}Uh we'll do the opening and then uh we'll meet each other , what uh we already do , so , that's not uh very much trouble . I'll I'll show you the the tools we have here , so that we can all use them . Then uh we'll look atthe project plan from uh Real Reaction .Marketing: {vocalsound}Project Manager: We'll discuss about our first ideas about the project , and then uh we'll close the meeting , and then we can uh individually uh do ourthings and then uh we'll get back here . So {vocalsound} this the opening we'll uh {disfmarker} We have to uh design a new television remote control . You have heard that uh already I think , so .Marketing: Mm-hmm.Project Manager: Um we want it to be original , so a nice uh a nice new design . Uh trendy , it's {vocalsound} also for young people , and we have to just uh make it uh modern . And uh friendly , so size does matter .And uh {disfmarker} Well it has to be a have the the right uh the right buttons on the right place , that kin those kind of things .Industrial Designer: Mm-hmm .Project Manager: Other uh {disfmarker} There happen tobe uh three stages . {gap} functional , conceptual , and d detailed design . Um so every time we we'll do some individual work , get meeting , talk about it , uh and then go into the next phase . That's just it .{vocalsound} Um {disfmarker} We have uh these two Smartboards . Um well as I just showed , there's a project management folder , a project document folder on the desktop . It just works exactly the same as acomputer . You just uh click on the on the folder and you open the everything you you put in it with your laptop . So you can uh make uh {vocalsound} Words Excel , everything . Um and the w the r uh the rest uh alsoworks the same so uh when you open a notepad you uh you just get your uh things , you can uh draw . This is a uh well a drawing board . {gap} you have a {disfmarker} these different uh functions on the board . Youcan see them there . So you have a a nice pen , and it's works just like a bal ball pen . {vocalsound} This is just a {gap} . I want to uh {disfmarker} Oh yeah . Of course w {vocalsound} doesn't work any more .{vocalsound}Industrial Designer: {vocalsound} {vocalsound}User Interface: {vocalsound}Industrial Designer: Maybe you should try to write on the on the big white uh {disfmarker}Project Manager: Yes I will{disfmarker}Industrial Designer: Does it ? Yeah . It works .Project Manager: eraser {gap} so .Industrial Designer: {vocalsound} {vocalsound} Wonderful .Project Manager: It's fantas fantastic . We can uh uh well youcan save a file . So if uh we draw we have to save everything . Don't throw anything away .Industrial Designer: Mm-hmm .Project Manager: Uh just we can start a new one , and we just go on , and don't throw anythingaway .Marketing: {vocalsound}Project Manager: Just uh let them all uh stand here . We can delete , but we don't do that . Um you can here select a pen , you can draw anything you want . It's a bit uh childish youhave to write . It's not as fast as you w you know it , but it does work sometimes .Industrial Designer: {vocalsound} {gap} .User Interface: {vocalsound}Marketing: {vocalsound}Project Manager: {vocalsound} Wellit's just like a normal uh paint .Industrial Designer: {vocalsound}Project Manager: So it's gone .Industrial Designer: {vocalsound} Alright , yep .Project Manager: Well we are designers , so we have to have a a more uha Smartboard . So that's fantastic . Um well this uh speaks for itself . We going to try it . So um we all uh are going to uh draw a nice animal on this board ,User Interface: {vocalsound}Industrial Designer:{vocalsound}Marketing: {vocalsound} {vocalsound}Project Manager: not my idea . {vocalsound}Industrial Designer: {vocalsound}Marketing: Alright , your favourite animal ? {vocalsound}Project Manager: Yes ouryour favourite . So um I'm to going to have to draw a kangaroo ,Industrial Designer: {vocalsound}Project Manager: but I'm going d I'm not going to . I'm just uh going to uh well draw a nice uh beastMarketing:{vocalsound} Grizzly bear . {vocalsound}Project Manager: w I dunno what I'm going to design .Industrial Designer: {vocalsound}Project Manager: Oh um {vocalsound} doesn't {disfmarker} oh .Industrial Designer: Ihope this was part of the assignment and not uh your uh {disfmarker}Project Manager: Yeah , 'kay . Hmm ?Industrial Designer: I hope this was part of the assignment and not uh your personal uh enjoyment.Marketing: {vocalsound}Project Manager: I just said it's not my ideaMarketing: Yeah .Project Manager: but I am the Project Manager ,Industrial Designer: {vocalsound}Project Manager: and officially this is my idea .{vocalsound} So {disfmarker} {vocalsound}User Interface: {vocalsound}Industrial Designer: I I I {vocalsound} I understand . Alright .Marketing: We're kinda losing time , though .Project Manager: what ?Marketing:We're losing time , but {disfmarker}Project Manager: Ah {vocalsound} the first the first meeting is just a bit uh loose , loosen up , a bit uh meeting each otherIndustrial Designer: {gap} so start {disfmarker}Marketing:Alright .Project Manager: {gap} well uh uh nice yeah . {vocalsound} ShIndustrial Designer: {vocalsound} Yep yes .Project Manager: I hope our Industrial Designer does this better because uh this is uh{disfmarker}Industrial Designer: Don't uh count on it .Project Manager: No {vocalsound} {vocalsound} so a a few legs .Marketing: Do we have to guess ?Project Manager: {vocalsound} Yes yesMarketing:{vocalsound} A hippo ? {vocalsound}Project Manager: guess . {vocalsound} Well I should make it an hippo now . {vocalsound}User Interface: {vocalsound}Industrial Designer: {vocalsound} I think it's a mouse or arat .User Interface: {vocalsound}Marketing: Yeah .Project Manager: {vocalsound} No I don't think so .Marketing: {vocalsound}Industrial Designer: Oh . Oh I know it .Project Manager: Well what is it , huh ?IndustrialDesigner: It's a hedgehog .Marketing: I don't know how to call it .Project Manager: YeahMarketing: A hedgehog ? {vocalsound}Project Manager: {gap} difficult English word . I didn't knew it myself {gap} .{vocalsound}Marketing: {gap} .Industrial Designer: Well I'm amazed uh about your uh drawing skills . {vocalsound}Marketing: {vocalsound}Project Manager: Our characteristics sum it up . Well it's uh very{vocalsound} uh painfulIndustrial Designer: {vocalsound}Marketing: {vocalsound}Project Manager: {disfmarker} {vocalsound} those kind of thing . So we can uh just uh {disfmarker}Marketing:{vocalsound}Industrial Designer: {vocalsound} Yeah .Marketing: {vocalsound} {vocalsound}Project Manager: We're going back and now uh our Industrial Designer can uh draw its uh most favourite animal .IndustrialDesigner: {vocalsound} {vocalsound} I am the Industrial Designer .Marketing: Alright . Thank you .Project Manager: Huh .Industrial Designer: Chief , I am the Industrial Designer .Project Manager: Oh uh but this uhmarketing designer .Industrial Designer: Yeah .Project Manager: {vocalsound}Industrial Designer: {vocalsound} I think {disfmarker} It's pr it resembles {vocalsound} the animal drawn by {gap} .Marketing:{vocalsound}Project Manager: {vocalsound} {gap}Marketing: It's {gap} . {vocalsound}Project Manager: what kind of animal is that then ? {vocalsound}Industrial Designer: I think {disfmarker} can I say it?Marketing: Yeah sure .Project Manager: Uh it {gap} . {vocalsound}Industrial Designer: {vocalsound}User Interface: {vocalsound}Marketing: It's a rabbit . {vocalsound} Well {disfmarker} Looks very nice , right?Project Manager: Yeah .Industrial Designer: It looks amazing .Project Manager: No no no . What are you going to do ? {vocalsound}User Interface: We want to erase it . {vocalsound}Project Manager: No no.Marketing: {vocalsound}Project Manager: No no save it and start a new uh {disfmarker} save it and start a new black uh doc {gap} a blank document .Industrial Designer: These are very impor{vocalsound}Marketing: Yes .Industrial Designer: These are very important documents , of course , uh these drawings , uh {disfmarker}Project Manager: Yeah well we have to save everythingMarketing: Yes uh right.Project Manager: so now um the next one uh {disfmarker} {gap} and then save it and start an blank document .User Interface: {vocalsound} Thanks .Marketing: You go man .Project Manager: {vocalsound} Yeah .There's also different colours and different uh well pen widths uh the line the the thickness thickness .Marketing: Alright .Project Manager: So um well you should uh try it but uh {disfmarker}Marketing: I should havemade mine a white rabbit . {vocalsound}Project Manager: Well y y y you could have but uh {vocalsound} .Industrial Designer: And he deliberately draws a animal we don't know the English word for .Project Manager:It speaks for itself .Marketing: {vocalsound}Project Manager: {vocalsound} What the {disfmarker} {vocalsound}Industrial Designer: It looks like an uh {disfmarker}Project Manager: uh just a duck .{vocalsound}Industrial Designer: It looks like that beast from Sesame Street .Project Manager: {vocalsound} Nice . {vocalsound}Marketing: {vocalsound} {gap} .Industrial Designer: Yeah .User Interface: Big bird .{vocalsound}Project Manager: {vocalsound} Is it a duck ?Marketing: You're standing in front of it ,Industrial Designer: It's it's uh {disfmarker}Project Manager: Is it a plane ? {vocalsound}Marketing: I can't see it .Alright , thank you . Yeah it's a bird , but what kind of bird ?Industrial Designer: {vocalsound}Project Manager: It doesn't draw uh circles uh that easy uh .Industrial Designer: Do we have to uh {disfmarker}Marketing:You have to push harder .Project Manager: Yeah just a bit a bit childish ,User Interface: Mm .Project Manager: a bit {vocalsound} .Industrial Designer: But we have uh {vocalsound} do we have to name the specificspecies of the bird ?Marketing: Release your anger .User Interface: {vocalsound}Marketing: {vocalsound}Project Manager: {vocalsound}User Interface: {vocalsound} Uh no I don't .Industrial Designer: No ?UserInterface: It's just a bird .Project Manager: Well uh save the documentIndustrial Designer: Well wonderful .Project Manager: and then uh {disfmarker}User Interface: {vocalsound}Marketing: {vocalsound}ProjectManager: And then a a new blank document for {gap} . {gap} uh will uh choose a new colour and a new pen width so w we can all see it .User Interface: Here you go .Industrial Designer: {vocalsound} Why do I haveto do the difficult tasks ?Project Manager: No well firstIndustrial Designer: Uh pen {disfmarker}Project Manager: yeah .Industrial Designer: yeah that's {gap} .Project Manager: And then you go to format I think{vocalsound} , and current colour {gap}Industrial Designer: Uh current colour .Project Manager: you choose a new colour . {vocalsound} And a new pen width uh {gap} also format .Industrial Designer: I like uh{disfmarker}User Interface: Mm .Industrial Designer: oh they don't have pink . {vocalsound} Oh b oh {vocalsound} think this is uh {disfmarker}Project Manager: It's not like in paint . Line width .Industrial Designer:Uh ? Uh {disfmarker}Project Manager: And you can choose a nice one .Industrial Designer: Line width .Project Manager: Width width .User Interface: Width .Project Manager: With each other .Industrial Designer: Uh{vocalsound} {vocalsound} fifteen .Project Manager: {vocalsound}User Interface: Hmm .Industrial Designer: And I can draw ?Project Manager: Yeah . {vocalsound} So . Just a wa that's the way we do {gap}IndustrialDesigner: Uh {disfmarker}Project Manager: it's quite easy .User Interface: {vocalsound}Marketing: Hmm . {vocalsound}Project Manager: Mm-hmm . {vocalsound}Industrial Designer: {vocalsound}User Interface: It'sa pussy cat .Marketing: It's a cat . {vocalsound}Project Manager: Oh Pussy . {vocalsound}Industrial Designer: Oh the line width is too thick , but oh well .Project Manager: Well then you change it . And erase things.Industrial Designer: Uh .Project Manager: {vocalsound} What ? {vocalsound}User Interface: {vocalsound}Marketing: {vocalsound} It's a pig . {vocalsound}Industrial Designer: It smiles nicely .Project Manager:Super pig . {vocalsound}Industrial Designer: Now {vocalsound} I have to change the line width . {vocalsound} Uh one {vocalsound} {gap} .Project Manager: So {disfmarker} {vocalsound} Yeah yeah yeahIndustrialDesigner: These are {gap} whiskers , you know .Project Manager: we know . {vocalsound}Marketing: Right .Industrial Designer: Uh well I think it's obvious right now .Project Manager: Yes alright . It's a cat .{vocalsound}Marketing: No it looks great .Industrial Designer: Miaow .Project Manager: {vocalsound}Industrial Designer: Well if this isn't obvious {disfmarker}Project Manager: Well well um {disfmarker}Marketing:Just save it . {vocalsound}Project Manager: Yeah save it {vocalsound} and {vocalsound} start a new blank document .User Interface: {vocalsound}Industrial Designer: {vocalsound} I'll save it {vocalsound} alright uhsave . Uh yeah uh blank .Project Manager: Yep . So that's uh what we're going to use when we uh need it .Industrial Designer: Well I feel comfortable now .Marketing: Oh great .Project Manager: Well {vocalsound} it'sterrific , eh ? {vocalsound}User Interface: {vocalsound}Industrial Designer: Thanks for this exercise . I feel totally at ease .Marketing: It's good for group spirit . {vocalsound}Project Manager: Yeah that's it .{vocalsound}User Interface: {vocalsound} It certainly is . {vocalsound}Project Manager: We're one big happy family now . {vocalsound}Marketing: {vocalsound}Industrial Designer: Yeah something like that .ProjectManager: Well then uh the serious uh stuff . We're we want to sell it at twenty five Euros internationally um so um but we dunno what exactly th i it is in dollars , but uh twenty five Euros . Our profit aim is , worldwide ,fifty million Euros . So I didn't uh exactly uh calculate how much we have to sell .Industrial Designer: So {disfmarker} {vocalsound}Project Manager: {vocalsound} {gap} we want to keep it our costs at twelve and ahalf Euros so , keep uh that in mind when we uh talk about our uh materials an f and stuff , and uh marketing uh research .Industrial Designer: Alright .Marketing: Right .Project Manager: Now then we all uh we can uhsit down and discuss uh what do we think about our current remote controls , first {gap} about design uh about uh aim in the market etcetera ?Marketing: Right .Project Manager: Well uh we c we can sit down uhbecause uh presentation can wait . We can uh take notes {vocalsound} and uh {disfmarker} Well who has uh some uh remarks about the current uh remote controls ? Please ? {vocalsound}Industrial Designer: Well I Ididn't have to prepare anything about uh {disfmarker} {gap}Project Manager: No uh I did . {vocalsound}Industrial Designer: it's not , it's it's not my task to uh talk about uh experience with current remote controls ,but uh {disfmarker}Project Manager: Well uh just w we're uh four uh if we if we would just have one then {disfmarker}Marketing: I think it's im it's important to uh look at uh the remote controls of our competitors.Project Manager: Yeah .Marketing: Get the good points uh try to merge them into one universal remote control .Project Manager: Yeah yeah .Marketing: On our corporate site I saw uh a new D_V_D_ player uh we'regonna produce .Project Manager: Yep . That's alright .Marketing: Maybe it's important to make it compatible with the D_V_D_ playerProject Manager: That would be a nice idea , yes .Marketing: so you can uh use yourtelevision and your D_V_D_ player with the same uh remote control .Project Manager: Yep yep yep .Marketing: Furthermore it's important to make it uh acceptable for the whole world , for different cultures , maybe ,because we want to we want to {gap} well fifty million ?Project Manager: Yes fifty million is our aim to a profit , so .Industrial Designer: Mm-hmm .Marketing: Yeah yeahUser Interface: {vocalsound}Marketing: so a lotof people have to be able to use it .Industrial Designer: No but uh the b the buttons have to uh have to have uh international recognisable buttons and uhMarketing: So {disfmarker}User Interface: Easy to learn.Marketing: Yeah . Yeah that's right .Project Manager: Yes .User Interface: Yeah .Industrial Designer: and numbers and uh that every culture in uh , yeah , people in every country can recognise .User Interface: Yeah.Project Manager: I'll make uh notes and then uh maybe uh {disfmarker} well I'll put it in the project uh folder when I'm done uh just now .Marketing: Mm-hmm .User Interface: I also think we should not add too manybuttons .Industrial Designer: Alright .Marketing: Right .Project Manager: No that's right .User Interface: Modern day uh remotes have {vocalsound} too much buttons I think .Project Manager: Y y you don't use uh thehalf of them that's that's {gap}User Interface: Precisely .Project Manager: culture uh international .Marketing: Maybe we could make one button to switch between D_V_D_ player and T_V_User Interface: Yeah.Marketing: and make the other buttons uh multi-functional or something .Project Manager: Yes .User Interface: Yeah indeed .Industrial Designer: Yeah so it doesn't uh become too complicated with too much buttonsand uh {disfmarker}Marketing: Yeah right .Project Manager: Yep , and maybe we do uh {vocalsound} we even have uh more than just a D_V_D_ player . Don't we have uh other uh ouUser Interface: Yeah we shouldmake it compatible perhaps with everything we use , we uh we make ?Project Manager: Uh .Industrial Designer: And stereo uh s uh audio installations .Project Manager: We also uh just uh released a T_F_T_ uh thing Isaw .Marketing: Yeah so but th that's kind kind of standard T_ television so it also works on that .Project Manager: Yeah .User Interface: Yeah .Project Manager: Yep .User Interface: And I think the people who who willbuy our uh remote already have some experience with remotes . So we can keep that in mind .Industrial Designer: Most people do , yeah .Project Manager: Well yeah .Industrial Designer: It doesn't {gap}ProjectManager: It doesn't have to be , but we can .User Interface: {vocalsound}Industrial Designer: it doesn't have to be {disfmarker}User Interface: W well it's a n it's a new remote and you don't buy a remote if you don'thave anything to uh to control with it .Project Manager: Well except if we deliver it together with our D_V_D_ .Marketing: Yeah but {disfmarker}Industrial Designer: Yeah .User Interface: Yeah alright , but{disfmarker}Marketing: We need to to keep it consistent with other d uh {disfmarker}Project Manager: Yeah because we look at competitorsIndustrial Designer: Well .Project Manager: and w if we pick up the goodthings about that and give it a nice design {disfmarker}Industrial Designer: Hmm .Marketing: Yeah but it's {disfmarker} it has to be useable .Industrial Designer: It has to be different and familiar at the same time.Project Manager: Yes .User Interface: Yeah . YeahMarketing: Yeah .User Interface: we could use another form or shape or colour , that kind of things .Project Manager: Yep .Industrial Designer: {gap} yeah the shapewill will have to be recognised . I thought about uh like most uh remote controls uh are uh a long box shaped thing {gap}Project Manager: Yeah .Industrial Designer: you can make it uh triangle shaped ,User Interface:Well we we could make more more oval or something , and and {disfmarker}Industrial Designer: but that's not uh very recognisable .Marketing: {vocalsound} No .Project Manager: OoIndustrial Designer: Oval ?ProjectManager: N we can use uh it as a as a game pad .User Interface: Yeah or soIndustrial Designer: I {disfmarker}Project Manager: So {vocalsound} one hand has the beer , so the other hand uh {disfmarker}"}
+{"doc_id":"doc_65","qid":"","text":"Lynne Neagle AM: Good morning, everyone. Welcome to the Children, Young People and Education Committee. We've received no apologies for absence this morning. Can I ask if there are any declarations of interestfrom Members, please? No. Okay. Thank you. Item 3 this morning then is a scrutiny session on early childhood education and care, and I'm very pleased to welcome Julie Morgan AM, Deputy Minister for Health andSocial Services; Jo-anne Daniels, director of communities and tackling poverty at Welsh Government; and Nicola Edwards, deputy director of the childcare, play and early years division in Welsh Government. Thank youall for your attendance. We’re very much looking forward to the session. If you're happy, we'll go straight into questions, and the first ones are from Hefin David.Hefin David AM: Good morning, Deputy Minister. Whatare your primary objectives? Is it supporting the development of children or getting parents into work?Julie Morgan AM: Well, I think you'll be aware from the range of programmes that we've got that we do feel it’simportant to support both children and parents. There's obviously lots of evidence to show how important the early years are for children, how important they are for their development, and so, that is one of ourprimary objectives. But we also know how important it is for parents to have stable jobs, reasonably paid, so that can also help with the development of the children. So, we really see it that our plans are for bothparents and children, and we believe that a high-quality, early-childhood education and care system can provide that. And, of course, in terms of when we talk about jobs as well, I think it’s really important toremember that the childcare system is a big employer as well and a very important employer. So that, actually, itself provides jobs.Hefin David AM: So, the evidence we've seen suggests that, historically, Governmentsin the UK and devolved have focused on primarily getting parents into work. So, are you suggesting then that your focus is to change that and move towards early child development?Julie Morgan AM: No, what I'msaying is that we want to give parents the opportunity to work. We don't want childcare to be a barrier to parents working because we think that working is one the best routes out of poverty, but we do also want tomake sure that children have the greatest experience that they can have in the early years. So, we see it as one.Hefin David AM: Okay. And that's quite a policy challenge to deliver both at the same time.Julie MorganAM: The situation as it is is complex, and I think it needs simplifying. It is a challenge, but it’s probably one of the most important challenges we've got in Government, because what we offer to families with youngchildren is one of the most important things we do.Hefin David AM: And in your evidence to the committee, you said that the Welsh Government’s approach 'will build on a wide variety of programmes that arecontinually developing in order to support parents, families and children during the early years.' And you've just said you want to simplify that. How do you simplify that, particularly with regard to the provision offunding and the way these things connect from the birth of a child into school? How will simplification look, and what will happen?Julie Morgan AM: Well, we're not at the stage of being able to say what it will look like atthe moment, but we're looking at ways of simplifying, because I think it’s absolutely right, it is a very complex system, because it’s grown up from all different routes. But we are having lots of pilot projects that arelooking at ways of simplifying the system. We have got pathway projects in, I think it’s eight local authorities, who are looking at ways of joining up the whole system. So, we are looking at that, and I absolutely exceptthat it is very complex and we want to find ways of making it simpler and easier to understand. So, we are working with local authorities and health boards to see how we can actually work together and simplifythings.Hefin David AM: And it's good to hear that that's your objective. Can I just come back to the first thing you said: 'We can't say yet what we're going to do'?Julie Morgan AM: No.Hefin David AM: So, when will wehave a policy plan and something that we can interrogate in more detail?Julie Morgan AM: Well, I think we are near getting to an announcement where we will be able to say what direction we're going in, and becausewe have had—. Some of this work has been going on for a year or so, and we're getting the results of those pathfinder projects coming in. So, when we do have all those results, we will be able to say the direction thatwe want to go in, and I hope we'll be able to do that very soon.Hefin David AM: Before Christmas?Julie Morgan AM: I hope so.Hefin David AM: Okay. And finally from me—Julie Morgan AM: I'm sorry I can't say too muchabout that because we haven't actually—. We need to—.Hefin David AM: Well, it does sound like something is imminent.Julie Morgan AM: Yes.Hefin David AM: Okay. And that's as far as you're willing to go. And if that'sas far as you're willing to go, then I'll stop asking.Lynne Neagle AM: I've got a supplementary from Siân.Hefin David AM: Okay.Julie Morgan AM: Yes, that's fine.Sian Gwenllian AM: I just want to understand a littleabout the pilot, the pathfinders in eight local authority areas. Is the focus there on the child or is it on parents returning to work?Julie Morgan AM: The focus is on an early years system, but we've worked both locallyand nationally. So, it's looking at both. I mean, actually, I think, perhaps, Nicola, would you like to or one of you like to describe one of the programmes?Sian Gwenllian AM: And can you just explain the vision? Is it achild-centred early years provision that we're thinking of in these pathfinder—?Jo-Anne Daniels: So, in 'Prosperity for All', we set out that early years was one of the key priority areas, and within that we said that wewanted to create a more joined-up and more responsive system. So, when we talk about a system, we're talking about the services that are provided by health boards, so health visiting, midwifery, speech and languagesupport, other kinds of therapeutic services, as well as all the important services that local authorities are providing, such as support for parenting, advice and guidance, employment support and childcare, obviously.And we've got eight pathfinders. I'll try and remember each of them. So, Flintshire, Newport, Blaenau Gwent, Neath Port Talbot, Swansea, Ceredigion, Pembrokeshire—and then I've missed one, I think, because I'veonly got to seven—who have been working with us to look at how all of those services are currently delivered in their local area and whether and how they can reorganise those services to improve accessibility, toimprove take-up, but essentially to improve the efficacy of those programmes in terms of supporting children, but often, obviously, in supporting children you have to support parents too and support the home.SianGwenllian AM: So, would you say it's a child-centred approach?Jo-Anne Daniels: Absolutely, because it's about making sure that we deliver the best start in life for children in Wales, but obviously parents are a criticalelement of that, so can't be excluded.Lynne Neagle AM: And how long have they been going for?Jo-Anne Daniels: So, those eight pathfinders started their work in—I think it was—February this year. And they're still inthe very early stages in terms of actually unpicking and mapping the current provision of services across their areas and then moving on to the stage where they'll develop proposals for how they might change thedelivery of early years.Lynne Neagle AM: Okay, thank you. Julie.Julie Morgan AM: Just to say also, the one in Flintshire is also testing the impact of consistent funding rates for education and childcare. So, that's beengoing longer than the others. So, that's another important area because there's an evaluation of that project under way at the moment.Lynne Neagle AM: Thank you.Jo-Anne Daniels: Sorry, but Caerphilly was the onethat I forgot to mention.Lynne Neagle AM: Oh dear. [Laughter.]Hefin David AM: That's absolutely unforgivable. [Laughter.]Lynne Neagle AM: Hefin. [Laughter.]Julie Morgan AM: Very significant.Hefin David AM: In yourreport, the 'Alignment of the Childcare Offer for Wales to the Foundation Phase', one of the recommendations was that 'The Welsh Government, local authority education and childcare policy and delivery teams couldmerge'. So, looking behind the scenes, those disparate parts of policy, delivering the foundation phase and childcare offer should merge. Is that the case? Has that been put under way and should we be looking at thisstructure in more depth?Julie Morgan AM: Well, probably not at the structure at this time because the report that you're referring to was looking at the first year of the delivery of the childcare offer and it did make anumber of points, which we have taken on board. For example, we issued guidance last year regarding the delivery of the foundation phase, which supports widening the number of non-maintained settings that are ableto deliver early education and we're also supporting co-location and partnership working between education and childcare providers through our capital investment programme. I think it's about £81 million that we putinto the capital investment where we are developing childcare facilities co-located with the education facilities, because that was one of the things that came out from this report you're referring to. And, I mean,obviously, early years is one of the key priorities within 'Prosperity for All' and, obviously, education sits within one portfolio with the Minister for Education, and childcare is with me. But we're doing what we can to worktogether to try to bring those together, and that was one of the proposals in that report. But it's still very early to think about, at this stage, a structural change.Hefin David AM: And I remember when you were on thecommittee here with me, sitting next to me, we had those discussions about co-location. I know the problem with not having co-location is that you could end up seeing a child travelling between three or more locationsduring the course of a day. Are you suggesting now that the actions you're taking will resolve that issue universally, or will it lead to a piecemeal resolution? And, if so, to what extent, what percentage of children willsee that resolved as an issue?Julie Morgan AM: Certainly, the co-location is not going to solve it universally because although we've been able to develop a lot of new facilities, or build on old facilities, there will be a lotof areas that we won't have covered. So, I can't say that there's going to be a situation where everything is going to be co-located because I don't think that would be feasible, and,for some of the providers, theywouldn't be in a position to move to a school. But ideally it's a good situation, but, certainly, I think the discussions that there were on the committee, it's not ideal to take children for long distances between differentproviders, let alone the effect it has on the climate change issue. It's whether it's good for children as well. So, I can't say that they will ever be co-located, but as I said in response to your earlier question, we areencouraging the development of the foundation phase in non-maintained settings, which, obviously, is quite significant.Lynne Neagle AM: Okay. Thank you. I've got some questions now from Janet Finch-Saunders.JanetFinch-Saunders AM: Thank you, Chair. What is the Welsh Government doing to address the big differences in the amount of early childhood education and care provision available in different parts of Wales?Julie MorganAM: Right. Well, thank you very much for that question. I mean, obviously, it would be good to see a greater degree of consistency, but I think it's important to acknowledge that there are reasons for that variation.Now, early education, of course, is the responsibility of the Minister for Education, and we are aware that different local authorities have adopted different patterns of providing early education. For example, localauthorities are funded to provide 10 hours minimum of the foundation phase for three and four-year-olds across Wales, but there's quite a variance in how much is actually provided, with some local authoritiesproviding a lot more historically. So, it does mean that there is a different pattern across Wales, according to what local authorities do. But what I could say is, of course, the quality is very good, as the Estyn reportshave shown; that the quality provided, the delivery of the foundation phase, is very good. But it does vary in terms of what is offered throughout Wales, and that is the decision of the local authorities, and it is ahistorical thing. I refer to this pilot in Flint, which is trying to test paying the same rate for foundation phase and childcare. We're going to have an independent evaluation on that soon, in November this year, so thatwill help us. Obviously, I think local authorities' role in all this is absolutely crucial because they are the local, nearest people to decide how things develop in their own areas. And then, of course, we've got Flying Start,which is geographically targeted, which uses the data from income benefit to decide which are the areas where that is being delivered. And that is delivered where the highest proportion of children aged nought to threeare living in income-dependent households. So, again, that determines the pattern throughout Wales. With Flying Start being geographically targeted, with the education being determined by the local authorities abouthow much there is, we know that there is a variance throughout Wales. We'd like to see facilities developed in each local authority throughout Wales that would answer the needs of the families and the children in thoseareas.Lynne Neagle AM: Before you move on, Janet, Siân's got a supplementary.Sian Gwenllian AM: Just in terms of the foundation phase, there have been cuts, of course, in expenditure in that phase. How concernedare you about that and the impact that that will have on the way in which the foundation phase is taught in our schools? The foundation phase is now part of the education improvement grant, which has seen areduction of 10 per cent, and it has to compete against other expenditure streams within that greater pot of funding. So, are you concerned that money is being lost and that that will have an impact on standards in thefoundation phase?Julie Morgan AM: I haven't seen any evidence. Obviously, I must reiterate the foundation phase does come under the Minister for Education, but I haven't seen any evidence of any standards beinglowered, and the reports from Estyn are very good. In fact, I think the foundation phase is one of our great joys, that we absolutely celebrate it, and so I'd be very concerned if I thought there was any drop in standardsin the foundation phase, and I certainly haven't had any evidence of that. I would want to guard against that.Sian Gwenllian AM: Exactly, but if there are fewer teaching assistants in the system because of the cuts, it'sgoing to impact on standards, at the end of the day.Julie Morgan AM: I think we have to be very careful to see that lower standards are not implemented, because it was groundbreaking when we brought it in, and ithas proved to be a great success, so we want to make sure that's guarded.Lynne Neagle AM: Thank you. Janet.Janet Finch-Saunders AM: Going back to my original question about the big differences in amounts of earlychildhood education and care provision in different parts of Wales, the Welsh and UK Governments have followed a demand-driven approach to the childcare market, with subsidies mainly given to working parents. Isthat a mistake? Should it be more universally available?Julie Morgan AM: Well, some of our provision is universally available in certain areas. For example, the Flying Start provision is universally available ingeographically defined areas, and I think that's very important, because that does mean that there isn't stigma, and so,in those areas, everybody can take advantage of it, and yet it is reaching those who are most inneed because it's reaching those areas. So, I think that there is a purpose behind that. In terms of when you say demand led, could you elaborate on that?Janet Finch-Saunders AM: I know that—we've just had a usefulbriefing from David Dallimore, and, basically, there is this theory that there are too many resources—the demand-driven approach is based more on certain factors: geographic spread in terms of it being moreuniversal, and whether that's the right way. How do children then mix with peers from different backgrounds, in their own peer or age group?Julie Morgan AM: It is demand—Nicola Edwards: [Inaudible.]—because theoffer is targeted at working parents—Janet Finch-Saunders AM: Yes, yes.Nicola Edwards: —obviously, then the amount of availability is based on how many parents apply for it and take it up. Is that the context ofdemand led in that—Janet Finch-Saunders AM: Yes.Nicola Edwards: Right, okay.Julie Morgan AM: It is universally available to all parents who meet the eligibility criteria of working, and I think what you're saying is thatit should be available to everybody.Lynne Neagle AM: I think the point that Janet's making is that some areas have traditionally got more childcare anyway because they have traditionally had more demand in thoseareas, so there's not a level playing field to start from. Is that correct?Janet Finch-Saunders AM: Yes.Julie Morgan AM: I think that, historically, that is definitely true, and when you look at the take-up of the childcareoffer, it's certainly taken up in some areas with a very high take-up rate. I think Ynys Môn was nearly 90 per cent or something—Sian Gwenllian AM: They need more money, because they haven't got enoughfunding.Dawn Bowden AM: So does everywhere.Sian Gwenllian AM: No, to meet the demand.Julie Morgan AM: In other areas, it's much, much lower—in some of the cities, I know. So, there is a big range intake-up—Janet Finch-Saunders AM: So, do you intend to bring something forward to address that?Julie Morgan AM: We are planning to extend it. We're looking at the possibility of extending it to parents who are ineducation and training. So, we are widening the offer, yes. Obviously, we have to wait for the evaluation of that. It would be great to be able to offer it to absolutely everybody, but obviously we have got the finance tolook at in terms of how we do that. But we are certainly planning to expand it.Lynne Neagle AM: We've got questions on the offer in a little while. Janet.Janet Finch-Saunders AM: Does the Welsh Government intend todevelop an integrated approach, then, against all settings? If so, given the current inconsistencies, how can quality be assured?Julie Morgan AM: We are developing a more integrated approach towards the early years.As I've said, we're trying to have the foundation phase operating in more non-maintained settings, and we're already developing that. But Estyn and CIW will continue to inspect and regulate the early years sector toensure standards, and, since January 2019, CIW and Estyn have moved to joint inspections for the non-maintained settings that are offering the foundation phase. So, that is a very positive move, I think, and isabsolutely making sure that standards are maintained, because if we are having the foundation phase in non-maintained settings, that is a challenge where we want to be sure that the standards and the philosophy ofthe foundation phase are maintained. So, we have got the system of inspection to ensure that.Janet Finch-Saunders AM: And finally from me, what specific steps have been put in place to take forward the commitmentsfrom the Welsh Government's 2017 childcare/play early years workforce plan to build a better understanding of the workforce's Welsh language skills to enable support for the sector to be targeted and to identify wherecapacity needs to be built for the future to meet the needs of the early years sector in a bilingual Wales?Julie Morgan AM: We think this is very important, and we're pleased that 29 per cent of children taking up thechildcare offer are in Welsh or bilingual settings, so we think that's very good. We have established a specific programme to develop Welsh language skills in the childcare and play workforce with the National Centre forLearning Welsh, to develop workplace Welsh language skills across the sector. So, we're actually working with that, and I think you've done something with those recently, haven't you? I don't know if you wantto—Nicola Edwards: Yes. So, we have a stakeholder group where we've brought together a variety of people with an interest in the early years, childcare and play sectors, and we had a presentation just last month fromthe national language centre about the education programmes that they're rolling out, and how this is all coming together, which is quite interesting. We've been working quite carefully to make sure that the variety of"}
+{"doc_id":"doc_66","qid":"","text":"PhD A: Eh , we should be going .Professor B: So ne next week we 'll have , uh , both Birger {pause} and , uh , Mike {disfmarker} Michael {disfmarker} Michael Kleinschmidt and Birger Kollmeier will join us .PhD D: Uh -huh .Professor B: Um , and you 're {disfmarker} {vocalsound} you 're probably gonna go up in a couple {disfmarker} three weeks or so ? When d when are you thinking of going up to , uh , OGI ?PhD D: Yeah , like , uh, not next week but maybe the week after .Professor B: OK . Good . So at least we 'll have one meeting with {vocalsound} yo with you still around , and {disfmarker} and {disfmarker}PhD D: Uh - huh .Professor B:That 's good .PhD D: Um , Yeah . Well , {vocalsound} maybe we can start with this . Mmm .Professor B: All today , huh ?PhD D: Yeah .Professor B: Oh .PhD D: Um . Yeah . So there was this conference call this morning, um , and the only topic on the agenda was just to discuss a and to come at {disfmarker} uh , to get a decision about this latency problem .Professor B: No , this {disfmarker} I 'm sorry , this is a conference callbetween different Aurora people or just {disfmarker} ?PhD D: Uh , yeah . It 's the conference call between the Aurora , {vocalsound} uh , group .Professor B: It 's the main conference call . OK .PhD D: Uh , yeah .There were like two hours of {pause} discussions , and then suddenly , {vocalsound} uh , people were tired , I guess , and they decided on {nonvocalsound} a number , two hundred and twenty , um , included eincluding everything . Uh , it means that it 's like eighty milliseconds {pause} less than before .Professor B: And what are we sitting at currently ?PhD D: Um .Professor B: Yeah .PhD D: So , currently d uh , we havesystem that has two hundred and thirty . So , that 's fine .Professor B: Two thirty .PhD D: Yeah . So that 's the system that 's described on the second point of {pause} this {vocalsound} document .Professor B: So it 's{disfmarker} we have to reduce it by ten milliseconds somehow .PhD D: Yeah . But that 's {disfmarker} Yeah . That 's not a problem , I {disfmarker} I guess .Professor B: OK . W It 's {disfmarker} it 's p d primary{disfmarker} primarily determined by the VAD at this point ,PhD D: Um .Professor B: right ?PhD D: Yeah .Professor B: S so we can make the VAD a little shorter .PhD D: Yeah . At this point , yeah .Professor B: That 's{disfmarker}PhD D: Yeah , uh - huh .Professor B: Yeah . We probably should do that pretty soon so that we don't get used to it being a certain way .PhD D: Uh - huh .Professor B: Yeah .PhD D: Um .Professor B: WasHari on the {disfmarker} on the phone ?PhD D: Yeah , sure .Professor B: OK .PhD D: Well , it was mainly a discussion {vocalsound} between Hari and {vocalsound} David ,Professor B: Hmm .PhD D: who was like{disfmarker}Professor B: Yeah .PhD D: Uh ,Professor B: OK .PhD D: mmm {disfmarker} Uh , yeah . So , the second thing is the system that we have currently . Oh , yes . We have , like , a system that gives sixty - twopercent improvement , but {vocalsound} if you want to stick to the {disfmarker} {vocalsound} this latency {disfmarker} Well , it has a latency of two thirty , but {vocalsound} if you want also to stick to the number{vocalsound} of features that {disfmarker} limit it to sixty , {vocalsound} then we go a little bit down but it 's still sixty - one percent . Uh , and if we drop the tandem network , then we have fifty - seven percent.Professor B: Uh , but th the two th two thirty includes the tandem network ?PhD D: Yeah .Professor B: OK . And i is the tandem network , uh , small enough that it will fit on the terminal size in terms of {disfmarker}?PhD D: Uh , no , I don't think so .Professor B: No .PhD D: No .Professor B: OK .PhD D: It 's still {disfmarker} in terms of computation , if we use , like , their way of computing the {disfmarker} the maps {disfmarker}the {disfmarker} the MIPs , {vocalsound} I think it fits ,Professor B: Mm - hmm . Mm - hmm .PhD D: but it 's , uh , m mainly a problem of memory .Professor B: Right .PhD D: Um , and I don't know how much {pause}this can be discussed or not , because it 's {disfmarker} it could be in ROM , so it 's maybe not that expensive . But {disfmarker}Professor B: Ho - how much memory d ? H how many {disfmarker} ?PhD D: I d I d uh , I{disfmarker} I don't kn remember exactly , but {disfmarker} {vocalsound} Uh . Yeah , I c I {disfmarker} I have to check that .Professor B: Yeah . I 'd like to {pause} see that , cuz maybe I could think a little bit aboutit , cuz we {vocalsound} maybe we could make it a little smaller or {disfmarker} I mean , it 'd be {disfmarker} it 'd be neat if we could fit it all .PhD D: Uh - huh .Professor B: Uh , I 'd like to see how far off we are .PhDD: Mm - hmm .Professor B: But I guess it 's still within their rules to have {disfmarker} have it on the , uh , t uh , server side . Right ?PhD D: Yeah . Yeah .Professor B: OK .PhD D: Mmm .Professor B: And this is still{disfmarker} ? Uh , well , y you 're saying here . I c I should just let you go on .PhD D: Yeah , there were small tricks to make this tandem network work . Uh , {vocalsound} mmm , and one of the trick was to ,{vocalsound} um , use {vocalsound} some kind of hierarchical structure where {pause} the silence probability is not computed by {pause} the final tandem network but by the VAD network . Um , so apparently itlooks better when , {vocalsound} uh , we use the silence probability from the VAD networkProfessor B: Huh .PhD D: and we re - scale the other probabilities by one minus the silence probability . Um . So it 's some kindof hierarchical thing , {vocalsound} uh , that Sunil also tried , um , {vocalsound} {vocalsound} on SPINE and apparently it helps a little bit also . Mmm . And . Yeah , the reason w why {disfmarker} why we did thatwith the silence probability was that , {vocalsound} um {disfmarker}Professor B: Could {disfmarker} ? Uh , uh , I 'm {disfmarker} I 'm really sorry . Can you repeat what you were saying about the silence probability?PhD D: Mm - hmm .Professor B: I only {disfmarker} My mind was some {disfmarker}PhD D: Yeah . So there is the tandem network that e e e estimates the phone probabilitiesProfessor B: Yeah . Yeah .PhD D: and thesilence probabilities also .Professor B: Right .PhD D: And {vocalsound} things get better when , instead of using the silence probability computed by the tandem network , we use the silence probability , uh , given bythe VAD network ,Professor B: Oh .PhD D: um ,Professor B: The VAD network is {disfmarker} ?PhD D: Which is smaller , but maybe , um {disfmarker} So we have a network for the VAD which has one hundred hiddenunits , and the tandem network has five hundred . Um . So it 's smaller but th the silence probability {pause} from this network seems , uh , better .Professor B: OK .PhD D: Mmm . Uh . Well , it looks strange , but{disfmarker}Professor B: Yeah . But {disfmarker}PhD D: but itProfessor B: OK .PhD D: Maybe it 's {disfmarker} has something to do to {vocalsound} the fact that {vocalsound} we don't have infinite training data and{disfmarker}Professor B: We don't ?PhD D: Well ! And so {disfmarker} Well , things are not optimalProfessor B: Yeah .PhD D: and {disfmarker} Mmm {disfmarker}Grad E: Are you {disfmarker} you were going to saywhy {disfmarker} what made you {disfmarker} wh what led you to do that .PhD D: Yeah . Uh , there was a p {comment} problem that we observed , um , {vocalsound} {vocalsound} that there was {disfmarker}there were , like , many insertions in the {disfmarker} in the system .Professor B: Mm - hmm .PhD D: Mmm .Professor B: Hmm .PhD D: Actually plugging in the tandem network was increasing , I {disfmarker} I{disfmarker} I think , the number of insertions .Professor B: Mm - hmm .PhD D: And , {vocalsound} um {disfmarker} So it looked strange and then just using the {disfmarker} the other silence probability helps . Mmm. Um {disfmarker} Yeah . The next thing we will do is train this tandem on more data .Professor B: So , you know , in a way what it might {disfmarker} i it 's {disfmarker} it 's a little bit like {vocalsound} combiningknowledge sources .PhD D: Um {disfmarker}Professor B: Right ? Because {vocalsound} the fact that you have these two nets that are different sizes {pause} means they behave a little differently ,PhD D: Mm - hmm.Professor B: they find different {pause} things . And , um , if you have , um {disfmarker} f the distribution that you have from , uh , f speech sounds is w {comment} sort of one source of knowledge .PhD D: Mm -hmm .Professor B: And this is {disfmarker} and rather than just taking one minus that to get the other , which is essentially what 's happening , you have this other source of knowledge that you 're putting in there . Soyou make use of both of them {vocalsound} in {disfmarker} in {pause} what you 're ending up with . Maybe it 's better .PhD D: Yeah .Professor B: Anyway , you can probably justify anything if what 's usePhD D: Yeah.Professor B: Yeah .PhD D: And {disfmarker} and the features are different also . I mean , the VAD doesn't use the same features there are .Professor B: Mm - hmm .Grad E: Hmm .Professor B: Oh !PhD D: Um{disfmarker}Professor B: That might be the key , actually .PhD D: Mm - hmm .Professor B: Cuz you were really thinking about speech versus nonspeech for that .PhD D: Mm - hmm .Professor B: That 's a good point.PhD D: Mmm . Uh . Well , there are other things that {vocalsound} we should do but , {vocalsound} um , {vocalsound} it requires time and {disfmarker} {vocalsound} We have ideas , like {disfmarker} so , thesethings are like hav having a better VAD . Uh , we have some ideas about that . It would {disfmarker} {vocalsound} probably implies working a little bit on features that are more {vocalsound} suited to a voice activitydetection .Professor B: Mm - hmm .PhD D: Working on the second stream . Of course we have ideas on this also , but {disfmarker} {vocalsound} w we need to try different things and {disfmarker} Uh , but their noiseestimation , um {disfmarker} {vocalsound} uh {disfmarker}Professor B: I mean , back on the second stream , I mean , that 's something we 've talked about for a while . I mean , I think {nonvocalsound} that 'scertainly a high hope .PhD D: Yeah . {vocalsound} Mmm .Professor B: Um , so we have this {disfmarker} this default idea about just using some sort of purely spectral thing ?PhD D: Uh , yeah .Professor B: for asecond stream ?PhD D: But , um , we {disfmarker} we did a first try with this , and it {disfmarker} it {vocalsound} clearly hurts .Professor B: But , uh , how was the stream combined ?PhD D: Uh . {vocalsound} It wasc it was just combined , um , by the acoustic model . So there was , no neural network for the moment .Professor B: Right . So , I mean , if you just had a second stream that was just spectral and had another neuralnet and combined there , that {disfmarker} that , uh , {vocalsound} might be good .PhD D: Mm - hmm . Yeah . Mm - hmm . Mm - hmm . Mmm . Yeah . Um {disfmarker} Yeah , and the other thing , that noiseestimation and th um , maybe try to train {disfmarker} uh , the training data for the t tandem network , right now , is like {disfmarker} i is using the noises from the Aurora task and {vocalsound} {vocalsound} I thinkthat people might , {vocalsound} um , try to argue about that because {vocalsound} then in some cases we have the same noises in {disfmarker} for training the network {pause} than the noises that are used fortesting ,Professor B: Right .PhD D: and {disfmarker} So we have t n uh , to try to get rid of these {disfmarker} {vocalsound} this problem .Professor B: Yeah . Maybe you just put in some other noise , something that's different .PhD D: Mm - hmm . {vocalsound} Yeah .Professor B: I mean , it {disfmarker} it 's probably helpful to have {disfmarker} have a little noise there . But it may be something elsePhD D: Uh - huh .Professor B:th at least you could say it was .PhD D: Yeah .Professor B: And then {disfmarker} if it doesn't hurt too much , though .PhD D: Uh - huh .Professor B: Yeah . That 's a good idea .PhD D: Um . Yeah . The last thing is thatI think we are getting close to human performance . Well , that 's something I would like to investigate further , but , um , I did , like , um {disfmarker} I did , uh , listen to the m most noisy utterances of theSpeechDat - Car Italian and tried to transcribe them . And , um {disfmarker}Professor B: So this is a particular human . This is {disfmarker} this i this is Stephane .PhD D: Yeah . So that 's {disfmarker} that 's{disfmarker}Grad E: St - Stephane .Professor B: Yeah .PhD D: that 's the {disfmarker} the flaw of the experiment . This is just {disfmarker} i j {comment} {vocalsound} {vocalsound} it 's just one subject ,ProfessorB: Yeah .Grad E: Getting close .PhD D: but {disfmarker} but still , uh , {vocalsound} what happens is {disfmarker} is that , {vocalsound} uh , the digit error rate on this is around one percent ,Professor B: Yeah .PhDD: while our system is currently at seven percent . Um , but what happens also is that if I listen to the , um {disfmarker} {nonvocalsound} a re - synthesized version of the speech and {pause} I re - synthesized thisusing a white noise that 's filtered by a LPC , uh , filter {disfmarker}Professor B: Yeah .PhD D: Um , well , you can argue , that , uh {disfmarker} that this is not speech ,Professor B: Yeah .PhD D: so the ear is nottrained to recognize this . But s actually it sound like {pause} whispering , so we are {disfmarker}Professor B: Well , I mean , it 's {disfmarker}PhD D: eh {disfmarker}Professor B: There 's two problems there . I mean{disfmarker} I mean , so {disfmarker} so the first is {vocalsound} that by doing LPC - twelve with synthesized speech w like you 're saying , uh , it 's {disfmarker} {vocalsound} i i you 're {disfmarker} you 're addingother degradation .PhD D: Uh - huh .Professor B: Right ? So it 's not just the noise but you 're adding in fact some degradation because it 's only an approximation . Um , and the second thing is {disfmarker} which is mmaybe more interesting {disfmarker} is that , um , {comment} {vocalsound} if you do it with whispered speech , you get this number . What if you had {pause} done analysis {comment} re - synthesis and taken thepitch as well ? Alright ? So now you put the pitch in .PhD D: Uh - huh .Professor B: What would the percentage be then ?PhD D: Um {disfmarker}Professor B: See , that 's the question . So , you see , if it 's{disfmarker} if it 's {disfmarker} if it 's , uh {disfmarker} Let 's say it 's {pause} back down to one percent again .PhD D: Uh - huh .Professor B: That would say at least for people , having the pitch is really , reallyimportant , which would be interesting in itself . Um ,PhD D: Uh , yeah . But {disfmarker}Professor B: if i on the other hand , if it stayed up {pause} near five percent , {vocalsound} then I 'd say \" boy , LPC n twelve ispretty crummy \" . You know ?PhD D: Uh - huh .Professor B: So I I I 'm not sure {disfmarker} I 'm not sure how we can conclude from this anything about {disfmarker} that our system is close to {vocalsound} thehuman performance .PhD D: Ye Yeah . Well , the point is that eh l ey {disfmarker} the point is that , um , {vocalsound} what I {disfmarker} what I listened to when I re - synthesized the LP - the LPC - twelve {pause}spectrum {vocalsound} is in a way what the system , uh , is hearing , cuz @ @ {disfmarker} all the {disfmarker} all the , um , excitation {disfmarker} all the {disfmarker} well , the excitation is {disfmarker} is nottaken into account . That 's what we do with our system . AndProfessor B: Well , you 're not doing the LPC {disfmarker}PhD D: in this case {disfmarker}Professor B: I mean , so {disfmarker} so what if you did a{disfmarker}PhD D: Well , it 's not LPC , sure ,Professor B: What if you did LPC - twenty ?PhD D: but {disfmarker} LPC {disfmarker} ?Professor B: Twenty . Right ? I mean , th the thing is LPC is not a {disfmarker} areally great representation of speech .PhD D: Mm - hmm . Mm - hmm .Professor B: So , all I 'm saying is that you have in addition to the w the , uh , removal of pitch , {vocalsound} you also are doing , uh , a particularparameterization ,PhD D: Mm - hmm .Professor B: which , um , uh {disfmarker}PhD D: Mmm .Professor B: Uh , so , let 's see , how would you do {disfmarker} ? So , foPhD D: But that 's {disfmarker} that 's what wedo with our systems . And {disfmarker}Professor B: No . Actually , we d we {disfmarker} we don't , because we do {disfmarker} we do , uh , {vocalsound} uh , mel filter bank , for instance . Right ?PhD D: Yeah , but isit that {disfmarker} is it that different , I mean ?Professor B: Um , {vocalsound} I don't know what mel , {pause} uh , based synthesis would sound like ,PhD D: IProfessor B: but certainly the spectra are quite different.PhD D: Mm - hmm .PhD A: Couldn't you t couldn't you , um , test the human performance on just the original {pause} audio ?PhD D: Mm - hmm . This is the one percent number .Professor B: Yeah , it 's one percent .He 's trying to remove the pitch informationPhD D: Mm - hmm .PhD A: Oh , oh . OK ,PhD D: Mm - hmm .PhD A: I see .Professor B: and make it closer to what {disfmarker} to what we 're seeing as the feature vectors.PhD A: OK . So , y uh , your performance was one percent , and then when you re - synthesize with LPC - twelve it went to five .PhD D: Uh - huh . Yeah .PhD A: OK .Professor B: I mean {disfmarker} We were{disfmarker} we were j It {disfmarker} it {disfmarker} it 's a little bit still apples and oranges because we are choosing these features in order to be the best for recognition .PhD D: Uh - huh .Professor B: And , um , i ifyou listen to them they still might not be very {disfmarker} Even if you made something closer to what we 're gonna {disfmarker} i it might not sound very good .PhD D: Yeah .Professor B: Uh , and i the degradationfrom that might {disfmarker} might actually make it even harder , {vocalsound} uh , to understand than the LPC - twelve . So all I 'm saying is that the LPC - twelve {vocalsound} puts in {disfmarker} synthesis puts insome degradation that 's not what we 're used to hearing ,PhD D: Uh - huh .Professor B: and is , um {disfmarker} It 's not {disfmarker} it 's not just a question of how much information is there , as if you will alwaystake maximum {vocalsound} advantage of any information that 's presented to you .PhD D: Mm - hmm .Professor B: In fact , you {vocalsound} hear some things better than others . And so it {disfmarker} it isn't{disfmarker}PhD A: But {disfmarker}Professor B: But , {vocalsound} I agree that it says that , uh , the kind of information that we 're feeding it is probably , {vocalsound} um , um , a little bit , um , minimal . There 'sdefinitely some things that we 've thrown away . And that 's why I was saying it might be interesting if you {disfmarker} {vocalsound} an interesting test of this would be if you {disfmarker} if you actually put the pitchback in . So , you just extract it from the actual speech and put it back in , and see does that {disfmarker} is that {disfmarker} does that make the difference ? If that {disfmarker} if that takes it down to one percentagain , {vocalsound} then you 'd say \" OK , it 's {disfmarker} it 's in fact having , um , {vocalsound} not just the spectral envelope but also the {disfmarker} also the {disfmarker} the pitch {vocalsound} that , uh ,{comment} @ @ {comment} has the information that people can use , anyway . \"PhD D: Uh - huh . Mmm .PhD A: But from this it 's pretty safe to say that the system is with either {vocalsound} two to seven percentaway from {pause} the performance of a human . Right ? So it 's somewhere in that range .Professor B: Well , or it 's {disfmarker} it 's {disfmarker}PhD A: Two {disfmarker} two to six percent .Professor B: Yeah , so{disfmarker} It 's {disfmarker} it 's one point four times , uh , to , uh , seven times the error ,PhD D: To f seven times , yeah .Professor B: for Stephane .PhD D: Um .Professor B: So , uh {disfmarker} uh , but i I don'tknow . I do don't wanna take you away from other things .PhD D: But {disfmarker} {comment} but {disfmarker}Professor B: But that 's {disfmarker} {vocalsound} that 's what {disfmarker} that 's the first thing thatI would be curious about , is , you know , i i {vocalsound} when you wePhD D: But the signal itself is like a mix of {disfmarker} um , of a {disfmarker} a periodic sound and , {pause} @ @ {comment} uh , unvoicedsound , and the noiseProfessor B: Mm - hmm .PhD D: which is mostly , {vocalsound} uh , noise . I mean not {pause} periodic . So , {pause} what {disfmarker} what do you mean exactly by putting back the pitch in ?Because {disfmarker}PhD A: In the LPC synthesis ? I think {disfmarker}Professor B: Yeah . You did LPC re - synthesis {disfmarker}PhD D: IProfessor B: L PC re - synthesis .PhD D: Uh - huh .Professor B: So ,{vocalsound} uh {disfmarker} and you did it with a noise source , rather than with {disfmarker} with a s periodic source .PhD D: Mm - hmm .Professor B: Right ? So if you actually did real re - synthesis like you do in"}
+{"doc_id":"doc_67","qid":"","text":"Project Manager: Okay . Everybody found his place again ? Yeah ?Marketing: Yes .Project Manager: That's nice . Okay so this is our second meeting . And uh still failing ? {vocalsound}Marketing: Yeah .Project Manager:Uh now we're going um into the functional design . Um important thing of this phase is that we're going to uh try to get an agreement about the user requirements , technical function design , and the working design .So that we can move onto the second uh phase . But first this phase . Um first an announcement . There's a little adaptation in the air conditioning system . So {disfmarker}Marketing: {vocalsound}Project Manager:{vocalsound} There's our {vocalsound} ghost mouse again . That that means that you can have a little trouble with , little trouble with the air conditioning , that's because of this uh {disfmarker}User Interface: Okay.Project Manager: It's in wing C_ and E_ .Marketing: Okay .Project Manager: So it should be over in a in a while , couple of days . But it's going to be cold anyway , so {vocalsound} I don't think you're gonna need it.User Interface: {vocalsound}Marketing: No .Project Manager: Then our agenda . Now first the opening . Uh this time I will take the minutes . Uh you're going to have a presentation . All of you . Um and we've got fortyminutes for the whole uh prese for the whole uh presentations . So uh I suggest we take about seven minutes per presentation , and then we can have a little discussion about the new project requirements uh whichhave been sent to me . And then the decision on the control functions uh which we wanna include and those which we don't wanna include . So we've got forty minutes for all of it . So I suggest um let's start with thefirst presentation .Marketing: Yes .Project Manager: Um who wants to be first ?Marketing: Think I'll go first .Project Manager: Okay . So {disfmarker}Marketing: {vocalsound}Project Manager: Just maybe it's easier ifyou um {disfmarker} Yeah I think you will tell {gap} your presentation as well . Just which function you have and what you're gonna talk about . {vocalsound}Marketing: 'Kay . My name is Freek Van Ponnen . I'm theMarket Expert . But you already knew that . Um I've done some research . We have we uh have been doing research in a usability lab where we observed um users operating remote controls . Uh we let them fill out aquestionnaire . We had one hundred of these uh test subjects . Uh in addition we did some market research . Uh see what the market consists of . What ages are involved . Well these are three quite astonishing results ,I thought . Um remotes are being considered ugly . F uh seventy five percent of the um people questioned uh indicated that they thought their remote were was ugly . Um and an additional eighty percent indicated thatthey would spend more money on a fancy-looking remote control . So {disfmarker} Um in addition remotes were not very functional . Fifty percent of the people indicated they only loo used about ten percent of thebuttons on a remote control . And fifty percent of the people indicated that their remote tended to get lost in their room . SoUser Interface: Mm .Marketing: some things . Then we did some research to the most relevantfunctions . Channel selection and volume selection um both got a ten on a scale of one to ten for relevancy . The power button got a nine . And teletext got a six and a half . So these are the most most uh importantfunctions on a remote control . Then there are some one-time use function . That's what I like to call them . That uh audio settings , video settings , and channel settings buttons . Which are not really used veryfrequently , but are still considered to be of some importance . Um channel selection was also indicated to be used very frequently . One hundred and sixty eight times per hour . Then these are the {disfmarker} This isthe market . Um sixty percent of the market consists of users between the ages sixteen and forty f six . Um {disfmarker} Main characteristic of this group is that they're very critical on the remote control . Um they liketo use new f new functions . But they also are very critical . They won't spend their money very easily . So {disfmarker} Um the users of forty six to sixty five years cons The make up forty percent of the market . Theyare not really very interested in features . But they do tend to spend their money a lot easier . What I think this indicates for our um design . I think we should make a remote for the future . And this means we wouldum have to focus on the age ages sixteen to forty five . Uh this also makes up most the biggest part of the market , so that will also be where our main profit would be gettable . Um this would mean we would have tomake a fancy design . Um {disfmarker} The results also indicated that um about one quarter of the people questioned thought that the remote control caused R_S_ R_S_I_ . Um this is certainly something to take intoaccount . And thirty four percent thought that it was hard to learn a n how to operate a new control , remote control . So these are two factors that I think should be included in the design . Besides of course that theremote must look very nice . And the functionality {disfmarker} As a lot of people indicated , they only use about ten percent of the buttons , I think we should make very few buttons . Uh this will also be uh beneficialto the design of the remote . Uh I think the most frequently used buttons should be emphasised . Especially the channel selection and audio uh selection buttons . 'Cause they're used most and so they should be robust. They shouldn't break down easily . Um {disfmarker} Then as mo as a lot of people indicated that their um remote got lost in the room , it might be and I say might be because it would um certainly boost the uhproduction costs a lot . But it might be a good idea to make a docking station . And this would , could get a button in it which would send a signal to the remote which would then beep . So you'd know where it is in theroom . And in addition to this it could um recharge the batteries in the remote if you put it in . Then um a surprisingly great deal of people w indicated that um an L_C_D_ screen in the remote control would be preferred. This was um mostly people in the age of sixteen to twenty five . But up till forty five it remains feasible . This would also greatly increase the production costs but I think these are just some small factors we couldconsider .Project Manager: Okay .Marketing: That would be all .Project Manager: Thank you . So anybody have um any questions until now ?Marketing: Any questions ?Project Manager: About functional requirements?User Interface: Mm-hmm .Project Manager: OkayIndustrial Designer: No .Project Manager: that's clear . {gap} Now to the second .Marketing: 'Kay . {vocalsound}Project Manager: {vocalsound}User Interface: Uhokay . Um I've been looking at uh the user interface of it . Um f for the techno f functions uh of of it . Um {disfmarker}Project Manager: Yeah . Yeah you can take your time .User Interface: Okay .Project Manager:We've got uh plenty of time ,User Interface: Mm ?Marketing: YeahProject Manager: so {disfmarker}Marketing: you should go to the top thingy . Slide show .User Interface: Oh .Project Manager: {gap}User Interface:Uh .Project Manager: Yeah . There it is . Yeah .User Interface: Okay .Marketing: Oh yeah .User Interface: Um yeah . I think uh we uh must use the general functions uh of the uh remote control . Uh uh I've do I've uhdone a little uh research on the internet and {gap} not much information about it , {gap} {disfmarker} Um about uh interface but uh {disfmarker} Uh {disfmarker} Yeah I I've been thinking about a simple manner uhto put a lot of functions uh uh in one um in one uh remote control . Uh so uh you've got a lot of devi uh devices like uh D_V_D_ uh uh television , uh stereo . So um {disfmarker} But uh it must be uh user-friendly . Soum uh you c you can't put a a lot of uh functions uh in one uh {disfmarker} Yeah . Uh uh uh {disfmarker} Yeah . In one um remote control .Project Manager: One remote .User Interface: But um {disfmarker} Yeah.Project Manager: {gap}User Interface: Um yeah . Got uh many functions in one uh remote control , um but um yeah you can see , this is uh quite simple uh remote control .Project Manager: {vocalsound}UserInterface: Um few uh buttons but uh {disfmarker} This uh re uh remote control got a a lot of uh buttons . Um uh people uh don't like it , uh so um {disfmarker} Well what uh I was uh thinking about was um uh keepthe general functions uh like they are . So uh like uh the on-off uh button . Uh keep it uh yeah l like a red button . Uh everybody everybody knows it so uh uh you don't have to change that . Um {disfmarker} Mypersonal uh preferences um . Use a display for uh specific uh functions of the different uh device . So um {disfmarker} Wh what I was th uh thinking about was um you've got um {disfmarker} Uh this the remotecontrol uh {vocalsound}Project Manager: {vocalsound} {gap}Industrial Designer: {vocalsound}User Interface: and uh you got here the general functions , uh like uh the on-off button uh sound uh {vocalsound} Idunno um {disfmarker} And um here you've got a s kind of a display . It's a touchscreen . So um yeah you got a general f uh f the functions of the device uh for a D_V_D_ player or uh so um the pl yeah um f for uhplaying uh reverse uh {gap} . And um you got here uh real buttons for uh selecting uh a device . So um this button is for a D_V_D_ or {vocalsound} {disfmarker} So um for every um device you've got a uh a f a b apart uh display of a part buttons . So uh you you never got uh all the buttons uh on w one device .Project Manager: Hmm . {vocalsound}User Interface: So uh that's uh my uh idea about it .Project Manager: 'Kay .UserInterface: Um yeah and {disfmarker} Uh let's see . Uh yeah . So a touchscreen . Uh and um th the buttons uh the real buttons uh we have to use um . We better c um uh use uh quite uh large buttons uh for um yeah .Everybody uh have to use it so {disfmarker} Uh ol even even old people um young people . So uh we must keep uh buttons uh quite s uh simple and quite large . So uh {disfmarker} Um {disfmarker}Project Manager:Yeah .User Interface: Yeah . Uh yeah . That was uh my uh part of it .Project Manager: Okay .User Interface: So {disfmarker}Project Manager: Anybody has questions about the technical functions ?Industrial Designer:WellProject Manager: {gap}Industrial Designer: I think if we are gonna use a touchscreen uh we're gonna go way above the twelve and a half Euros .Project Manager: Yeah .User Interface: N I I don't think so . Uh yougot uh quite a cheap uh touchscreen . S um it's uh not uh in colour or something .Project Manager: Touchscreen .User Interface: Uh it's just uh um one colo Uh yeah . Uh I seen uh w uh something on the internet uh nottoday but uh a few uh weeks ago . Uh you got uh yeah quite an uh a kind of uh touchscreen um and it's uh {vocalsound} for uh twenty uh Euros or uh less uh .Project Manager: Huh .User Interface: So it's possible.Marketing: Hmm .Project Manager: 'Kay . That's nice . Uh {disfmarker}Marketing: Well it would certainly make a fancy design .User Interface: Yeah .Project Manager: Yeah .Industrial Designer: But the {disfmarker} Itwouldn't be very robust .Marketing: So {disfmarker}Industrial Designer: It's very fragile and you can get scratches on it .Marketing: That is true .Project Manager: That's right .User Interface: Yeah that's true .ProjectManager: Uh maybe we can first um listen to your presentation ?Marketing: We would have to look into that .Project Manager: Uh {disfmarker} And then we {gap} have a little discussion about the requirements and uhdesign .User Interface: Uh .Industrial Designer: That's {gap} . Okay .Marketing: Yeah .Project Manager: {vocalsound}Marketing: {vocalsound}Project Manager: I think it's going to {disfmarker} Uh it's not too much .Okay . {vocalsound}Industrial Designer: Okay I've got a presentation about the working design . Um first about how it works . It's really simple of course . Everybody knows how a remote works . The user presses abutton . The remote determines what button it is , uses the infrared to send a signal to the T_V_ . The T_V_ switches to the frequency , or what function it is . So we've got um the the plate . It gots conductive disks forevery button . When the user presses a button , a signal got sent , goes to the LED and transmits tranmi transmits its to the T_V_ . It's a very simple device , technically speaking . So this is a schematic overview .You've got the buttons . The power source . And uh when a button gets pressed , its goes to the chip . The chip uh controls the infrared bulb and perf perhaps a normal bulb . When you press a button you can actuallysee your pressed button . Well um I think we should use default materials , simple plastics . Keep the inner workings simple , so it's robust . Uh I think we should focus on aesthetics , the design and the user interface ,because if you're going to use high-tech materials the price is going to go sky-high . And uh you only have to design a remote once , and if you use high-tech materials it come back in every product . So it's , in my idea, it's uh it's gonna be smart to invest in di in design and not in uh in the product itself . That's it .Project Manager: Okay . Thank you . Okay .Marketing: {vocalsound}Project Manager: Uh {disfmarker} Okay now I hopeeverybody has a little bit more insight in the functions we all have and what we are doing right now . Um I'm the Project Manager so I'm here to mess things up and uh tell you some new uh requirements .UserInterface: {vocalsound}Industrial Designer: {vocalsound}Marketing: {vocalsound}Project Manager: Um that's , we've uh got to design a um remote which is only suitable for T_V_ . Um that's because {vocalsound} uhit will be too complexUser Interface: Okay .Project Manager: and the time to market will be too big , if we wanna have it uh for more functions . So it has to be simple .User Interface: Mm .Project Manager: Uh anotherpoint is we have to skip the teletext , because in the world of uh upcoming internet uh we think teletext is going to be uh a thing of the past . And uh it's a function we don't need in our remote control .Marketing:{vocalsound}Project Manager: Um internet is also mentioned {gap} in a function we can use . Uh maybe also on televisions it will be available as well . Another one is uh the customer is uh forty plus . Uh that's the themarket we have to to to target , because we are going to develop a new product which is specially designed for the younger customers . Um this is uh a bit pity for the Marketing uh Expert .Marketing: {vocalsound}UserInterface: {vocalsound}Project Manager: {vocalsound} Because he was uh aiming on the the younger persons . So we have to find a market which is above forty plus uh but which will suit our uh remote control , andthe other way round . And we have to be very uh attent in uh putting the corporate image uh in our product . So it has to be visible in our design , in the way our device works . And uh we have to be uh very clear onthis point as well . So I suggest let's have a discussion on the control functions . Yeah .Marketing: So is there any discussion possible about the new product requirement ?Project Manager: {vocalsound} Uh we can seeif we can find a way uh between the functions we wanna use and the market we wanna reach with our product . Um {disfmarker}User Interface: {vocalsound} Mm .Marketing: Yeah 'cause you're you're saying thatteletext is gonna be an old feature and it's not gonna be used anymore anyway pretty soon . And new T_V_s will have internet access on them .Project Manager: {vocalsound}Marketing: But I think if you're targetingpeople of forty plus , the chance that they will have a T_V_ with internet access within the next like twenty years is very slim .User Interface: Yeah .Marketing: In addition people indicated that teletext simply was animportant feature for the remote control . So I think it's pretty dumb to put no teletext feature on it . I'm pretty much against it .Project Manager: Against the no teletext ?User Interface: Mm .Marketing: Yes .{vocalsound}Project Manager: Um {disfmarker}Marketing: Besides that , I think the market for forty plus is like pretty small . But I mean if I s if I see this , it's {disfmarker} I think we're just gonna go foranotherProject Manager: Yeah it's it is {disfmarker}User Interface: {gap} forty {disfmarker}Project Manager: Standard remote .Marketing: prettyProject Manager: No I think we canMarketing: and notinnovativeProject Manager: I think we can do a lot with the design and the simple buttonsMarketing: remote control .Project Manager: which were also mentioned . Uh if we put a lot of effort in those , we can make aremote control with uh just two or three buttons . Or just a remote which is suitable for the market we wanna reach because it is forty percent of the market .User Interface: Yeah .Project Manager: And um if you look inHolland at the whole generation of forty plus , fifty plus , it it's the the biggest share of the of the whole population now .Marketing: Yes but it's not the biggest part of the market .Project Manager: No .Marketing: Andbesides that , they're not very critical so {disfmarker} I mean they don't really care what the remote control is like . They'll just pretty much take the first thing they see and which looks acceptable .Project Manager:But don't you think that if we make a remote which is uh typically made for this market , that people think {gap} {disfmarker} the people think that's the the device I've looked for although I didn't realise it .UserInterface: {vocalsound}Project Manager: So let's try it .Marketing: No . I think that would be the case in the sixteen to forty five age category . because they are critical and they they want to have a fancy remotecontrol .User Interface: Yeah .Marketing: People of forty plus , I mean they want it to work , but as soo as soon as it works it's okay with them .Project Manager: Yeah .User Interface: Mm .Industrial Designer: I thinkthat if we're {disfmarker} If we put our marketing right um we can sell this just like um {disfmarker} I don't know if you've heard about it in the news , the the elderly mobile phone ?Marketing: So {disfmarker}ProjectManager: Yeah . It's a big success .Industrial Designer: Yeah if we if we make a remote control just l with that idea in mind , we could make tons of money , I think .Project Manager: Very big success .Marketing: Ihaven't heard of it .Project Manager: Yeah . Uh . I think so as well .User Interface: Mm .Marketing: Hmm .Industrial Designer: We don't have to focus on on on the on the design then but on functionality . We justchange our focus on the project , and I think we can uh we can sell this .Project Manager: Uh I simply think umUser Interface: {gap}Project Manager: uh that the new products we are gonna make , uh spef specificallydesign , are designed for uh younger people , uh so maybe we can focus ourself on the elderly people . And I think we have to um see what requirements we need for those um remote controls . {vocalsound} 'Causewhat you told is the channel selection is important . Volume selection , power and teletext . {vocalsound}Marketing: {vocalsound} Yes .User Interface: Mm .Project Manager: Okay . Um {disfmarker}User Interface:{vocalsound} Yeah .Marketing: Yes . But obviously the board tends to disagree .Project Manager: No we we haven't voted yet , so {disfmarker} {vocalsound}User Interface: {vocalsound}Project Manager: Uh I thinkteletext can be uh um can be a function as well . But only if uh if it won't higher the the cost , because I don't know if it will be a lot more money to implement teletext as well , but I don't think it will be a problem . Or isteletext a {disfmarker}User Interface: But um deaf people need uh teletext for uh for subtitles .Project Manager: Yeah .User Interface: So it's {disfmarker}Marketing: Yeah , also .User Interface: Yeah .Project Manager:Yeah . So I suggest uh {disfmarker}Marketing: I think it'd definitely be a bad idea not to include teletext .User Interface: It's {disfmarker}Project Manager: Yeah .User Interface: Mm .Project Manager: Is anybody umreally against teletext ?Industrial Designer: No .Project Manager: No ? Just that , that we just keep the teletext . I think that's a good idea as well , especially for the subtitles . Maybe we can make that um another pointof advantage in our remote control , if we uh make a k a button ex for example for big subtitles , which is instantly on the remote control . For elderly people they can think , oh I wanna have subtitles ,User Interface:Yeah yeah .Project Manager: and they push the button and they get the big subtitles .User Interface: Yeah . Yeah .Industrial Designer: Uh that's a good idea .Project Manager: Um so I think teletext can v can be veryuseful in our advantage . Um {disfmarker} Functionality should be few buttons , you said .Marketing: Yes .Project Manager: I think uh that's very important we have a few buttons .User Interface: Yeah .Marketing:"}
+{"doc_id":"doc_68","qid":"","text":"Marketing: Oh right okay . {vocalsound} I cover myself up . {vocalsound}Project Manager: I feel like Madonna with one of these on . I said I feel like Madonna with one of these on . {vocalsound}Industrial Designer:{vocalsound}Marketing: {gap} .Project Manager: {vocalsound}Marketing: {vocalsound} I've always wanted one of these , I really have . {vocalsound} Where do you buy 'em from ? {vocalsound} They're {gap}.Project Manager: {vocalsound}User Interface: {vocalsound}Marketing: {vocalsound}Project Manager: Right . Hello everybody .User Interface: Hello .Project Manager: Back again for another wonderful meeting.Industrial Designer: {gap} .Marketing: {vocalsound}Project Manager: Is uh everyone ready ?User Interface: Yeah .Industrial Designer: Almost . {vocalsound}Marketing: Yeah .Project Manager: Okay , we c we canhold on for a minute .Marketing: {vocalsound} Oh my gosh . {vocalsound} {gap} {vocalsound}Project Manager: I figured with the spam thing , if you can't beat it , join in . {vocalsound}User Interface:{vocalsound}Marketing: {vocalsound}User Interface: That's the kind of spam that everybody likes to receive .Marketing: {vocalsound} {vocalsound} {vocalsound}Industrial Designer: Mm 'kay .Project Manager: Areyou ready ? Okay , right , well , I take it that you are all ready now .Marketing: {vocalsound}Project Manager: Um alright first off we'll just uh recap from our last meeting . Um {vocalsound} which was we got togetherjust to basically decide on {disfmarker} well to talk about what it is that we were actually uh supposed to be doing ,Marketing: {vocalsound}Project Manager: and who we all are and stuff like that , mm get bit more ofan idea together of what's going on . {vocalsound} Um what we are gonna talk about in this meeting is um now that we know what it is that we are doing , now we know that it's a T_V_ remote and stuff and you guyshave just been off doing some some uh R_ and D_ for that , that's research and development for those that haven't heard that before ,User Interface: {vocalsound}Marketing: Mm-hmm .Project Manager: see I'mlearning all sorts of new technologi terms in technology today . Um yeah , we're gonna hear your uh th three little presentations ,Marketing: {vocalsound}Project Manager: whether they be on computer or on thewhiteboard or whatever you want .User Interface: Hmm . {vocalsound} Do you have any preference uh of order ?Project Manager: Um I'd like to um hearMarketing: {vocalsound}Project Manager: o I'd like to hearwho's g who's on the um from from uh Catherine actually first . I want {disfmarker} what I'd like to hear about is uh if we've finally decided on um what sort of energy we're gonna be using andIndustrial Designer:{vocalsound}Marketing: Batteries .User Interface: I think she is still finishing her {gap} . {vocalsound}Industrial Designer: No no no no , it's fine I'm just preparing .Project Manager: It's just that {disfmarker} yeah ,let's let's hear from you first .Industrial Designer: Okay .User Interface: Hmm .Industrial Designer: Where is that thing ?User Interface: Okay , it's uh {vocalsound} {disfmarker}Marketing: It's here .Industrial Designer:Oh sorry , couldn't see .Marketing: {vocalsound}Industrial Designer: Would that work ?Project Manager: Get yourself in position . {vocalsound}Industrial Designer: {vocalsound} Okay , so that's me again .Marketing:Ah .Industrial Designer: {vocalsound} Um so um for the energy sources we can have a basic battery , a hand dynamo which is {disfmarker} which was used uh in the fifties for torches , if you remember that kind of{disfmarker} which wouldn't be v wouldn't be v vProject Manager: I don't think any of us remember the fifties .User Interface: Is it like a crank thing or something {gap} .Industrial Designer: yeah , yeah . It wouldn'tbe very fancy .Marketing: {vocalsound}Industrial Designer: You can have a kinetic provision of energy , which is used on some watches these days . So if you have just a bit of gentle movement that {disfmarker} it willgive it the energy to work .Marketing: Mm .Industrial Designer: Or you can use solar cells , but I'm not sure about that indoors , really , but {disfmarker}User Interface: Well , there's sometimes combinations , I mean ,like calculators do combinations of battery with {disfmarker} but also using some solar power .Industrial Designer: Yeah .Project Manager: Do {gap} sol solar panel things , do they have to work from the sun or canthey work from a light bulb ?Marketing: Mm .Project Manager: Does anybody know ?Industrial Designer: I dunno actually .User Interface: Uh I think , it has to be on the on the solar energy , but I don't know .IndustrialDesigner: I dunno . Um . Think the the uh what would cost the less would be the basic battery , really .Project Manager: Okay .Industrial Designer: And uh if we want something fancier , I think the kinetic provision ofenergy could be nice ,Marketing: Mm .Industrial Designer: but I don't know if it's worth the cost . So we've got to discuss that .Project Manager: Mm . Okay , jolly good .Industrial Designer: {vocalsound} For the case ofthe remotes itself , um they can be a general case , which is just a flat one . You can have uh a curved one or a double curved one , if you know what I mean , so {disfmarker}Project Manager: What's a double curvedone ?Industrial Designer: You know , kind of more ergonomic , that kind of suits the palm of your hand , that kind of thing .Project Manager: Okay .Industrial Designer: So {disfmarker} {vocalsound} Um then the casematerial itself , so it can be uh uh either plastic or latex , uh rubber , wood , or titanium . And th for each of them you have uh cases where {disfmarker} for example titanium , you can't use it for {disfmarker} if you ifwe're choosing a double curved case , we can't choose titanium . And if we are choosing um solar cells then we can't choose latex for the case material , so we just have to take that into account . But if we're choosingjust the flat case then we can go for anything . And I think we discussed earlier on the R_ S_ I_ problem thing , so we could uh {disfmarker}Project Manager: So that might be an idea of using the rubber ,IndustrialDesigner: Yeah .Project Manager: but then it should , you know {disfmarker}User Interface: Let's have a squeezable remote . {vocalsound}Project Manager: yeah .Industrial Designer: Yeah . And also it doesn't breakas easily maybe ,Project Manager: {gap} when a T_V_ programme's got one {gap}Industrial Designer: I dunno {disfmarker}User Interface: {vocalsound}Project Manager: watching the match and {gap} your team'sjust lost , you can fuzz it across the room and it'll bounce off the wall back at you .Industrial Designer: {vocalsound}User Interface: {vocalsound}Marketing: Yeah .Project Manager: Yeah , I like that idea .Marketing:Mm .Industrial Designer: So rubber would be {disfmarker} Okay .Marketing: I think rubber's {disfmarker}Project Manager: Rubber , we're all we're all going {disfmarker} we're all liking that idea ? You think you canmarket that ?Marketing: But after my after my fashion thing , I think you'll realise that rubber is more {disfmarker}Project Manager: Ooh , we like rubber , ooh . {vocalsound}Industrial Designer: Uh s so if dMarketing:People . {vocalsound}Industrial Designer: okay . And then there are the push-buttons , so you can have basic push-buttons or a scroll-wheels , like you have on a mouse , um or you could have um L_C_D_ , whichgives you a display . Um scroll buttons , as well .Project Manager: Uh-huh .Industrial Designer: So if you use a rubber double curved case , you must use rubber push-buttons . So if we're going for rubber then we haveto decide for the case . Um and if we choose double curved then we have to go for rubber push-buttons .Project Manager: Well , we're gonna go with {gap} I think we've decided that it's gonna be a rubber case so{disfmarker}Industrial Designer: So it's a constraint . Yeah , but is it a double curved one or not ? {vocalsound} If it's not a double curved , then we've got the choice for the push-buttons , if it's a double curve , we'vegotta go for rubber push-buttons . If that makes sense .Project Manager: {gap} push buttons instead of the wheel ?Industrial Designer: Yeah . {gap} .User Interface: If it's rubber , isn't it malleable anyway , {gap} itdoesn't matter if it's double {disfmarker} I mean isn't a rubber case , mean it's completely flexed , I mean , it it flexes to whatever they want it to ? Mean so what's the difference between a normal rubber case and arubble doub double {disfmarker} rubber double curved case ? {vocalsound}Project Manager: {gap} rubble double double . {vocalsound}Industrial Designer: No , but na le you see , you've got , okay , the energy that'sone thing ,Project Manager: I'll have a Big Mac , please . {vocalsound}Industrial Designer: then you have the case is uh , whether it's flat or curved . And that's {disfmarker} {vocalsound} we don't care if it's rubrubber or not , but then we've decided that we going for rubber for the case material . So if we've chosen rub rubber and if now we have the choice for the case whether it's flat , single curved or double curved . And I'mjust saying if it {disfmarker} if we choose it to be double curved then we need to go {disfmarker} I dunno why , but we need to go for uh rubber push-buttons . So , either {disfmarker}User Interface: Okay .IndustrialDesigner: I dunno we just need to decide on the on the case .Project Manager: Let's have rubber push buttons , hey .User Interface: Okay . Go rubber . Go rubber the whole way .Industrial Designer: Let's go crazy .{vocalsound} And then , do I have a last slide ? Yes , I do . Um so the push-buttons themselves they can be just simple or they can be {disfmarker} so that's just the electronics between the but behind thepush-buttons .Project Manager: Yeah .Industrial Designer: Um and the price that go with it with it , so the simple push-buttons are gonna be the cheapest . Uh if we get a scroll-wheel , that's a higher price range . If weget an advanced chip which is um used for the L_C_D_ , the display thing , then that's even more expensive .Project Manager: {vocalsound} Simple , yeah . Chip on print . It's a bit {gap} . {vocalsound} Okay , uhwhat I'm not understanding hereIndustrial Designer: Mm .Project Manager: {vocalsound} is uh , okay , advanced chip on print , which I presume is like one P_C_B_ and that's got all the electronics on one boardincluding the um infra-red sender ?Industrial Designer: {gap} . Yeah .Marketing: {vocalsound}Industrial Designer: The infra-red . Yeah .Project Manager: Right . Um what a what alternatives do we have to that ?{vocalsound} Y um {vocalsound} what alternatives do we have to the chip on print ?Industrial Designer: Well , if if it's not chip on print then , I guess , you get different chip components , and you build them separatelyand doesn't include the infra-red . It's less expensive mm {disfmarker}Project Manager: {vocalsound} so it sounds {disfmarker}Industrial Designer: Technically speaking , it's not as advanced , but it does the job , too. {vocalsound}Project Manager: So , why would we not go for that ? If it's something that's inside the the unit . {vocalsound} I it doesn't affects whether the customer's gonna buy it or not .Industrial Designer: Fo Itdoesn't , yeah , yeah , yeah . Totally . Yeah .Project Manager: Um we wanna go for an i i all {vocalsound}Industrial Designer: So let's not go for the {disfmarker}Project Manager: so long as it works ,IndustrialDesigner: Yeah , yeah . I agree .Project Manager: you know . So let's not let's uh not bother with the chip on print .Industrial Designer: So it's either um the scroll-wheel or the push-buttons .Project Manager: Yeah . Syeah , push buttons .Marketing: What about the just developed uh sample sensor ?User Interface: I think push-buttons is {disfmarker}Project Manager: What about what ?Marketing: G there , the sample sensor ,sample speaker thing .Industrial Designer: Well {disfmarker}Project Manager: Well , what do we need a speaker for in a remote control unit ?Marketing: Mm , I dunno . Be cool .Industrial Designer: It'd be it'd be cool ,but they are saying they've just developed it ,User Interface: Yeah .Marketing: {vocalsound} Channel two . {vocalsound}Industrial Designer: I'm just guessing . But it's gonna be the most expensive option , probablyand {disfmarker}Project Manager: SUser Interface: Th the the {vocalsound} speech recognition um option is {disfmarker} it doesn't seem really very promising for us uh ,Project Manager: Yeah . It's not somethingthat we wanna t go into with this product .User Interface: 'cause uh {disfmarker} The yeah the example that they're already using it for is with the coffee machine , where , basically , you can program a sample wi um{disfmarker} That when you say something it will give a response , and you program the response as well . Just uh clips of tha that you record yourself . So you can program your coffee-maker that when you say , goodmorning , to it it says , hello Rick , or whatever .Project Manager: Yeah . {vocalsound}User Interface: But , I mean , it's not {disfmarker}Industrial Designer: Hm .User Interface: it would be one thing if it was speechrecognition where you say something and it turns the T_V_ on like , turn the T_V_ on , and i turns {disfmarker} comes on , but it's not that . It just gives you a it just gives you a verbal response .Marketing: Oh , it justgives an answer .User Interface: So , yeah , I mean , like what's the point of saying , Hello remote , I mean , hello , how how are you ? {vocalsound}Marketing: Oh , then then {disfmarker}Project Manager: Yeah . Yeah. {vocalsound}Industrial Designer: {vocalsound} Just if you are really lonely , maybe . {vocalsound}Marketing: I thought I thought it was {disfmarker} when they said {disfmarker}User Interface: Yeah , if you're reallylonely , it is it's {disfmarker}Marketing: I thought when they said , voice recognition , they meant um like ,Industrial Designer: Channel five . And then it switches on .Marketing: channel five , and it will change .UserInterface: No , tha that w that w that would be more promising .Marketing: Like you talk to it . Can I have channel five ?Project Manager: Yeah .Industrial Designer: {vocalsound}User Interface: It it's just a remote thattalks to you .Project Manager: Yeah . Yeah .User Interface: Uh . {vocalsound} I mean to certain cues .Marketing: Oh , then {gap} forget about it . Oh right okay .Project Manager: Yeah .Industrial Designer: Okay , soI'll go back , maybe , to the previous slide and we can decide for each problem , what we should choose . So for the energy source , do we go for the battery or the {disfmarker}User Interface: 'Kay . Yeah , I'm fine withthe basic battery .Project Manager: Basic battery .Marketing: Mm .Project Manager: It's cheap , it's cheerful , it's worked , does work .User Interface: Hmm .Industrial Designer: Cheaper option . Are you happy with that?Marketing: Mm . Yeah .Industrial Designer: Okay . So we'll go for the battery . Then the case , do you want it flat or curved or sing or double curved ?Project Manager: We were go we were going with the late with thethe R_S_I_ rubber , weren't we ?User Interface: Yeah , so we want it rub rubber double curved . {vocalsound}Project Manager: The the {gap} {vocalsound} {disfmarker}Marketing: So it will look like something likethis .Industrial Designer: Double ?Project Manager: The double whopper , please .Industrial Designer: Okay , so then if we use double curved case , then we have to u choose rubber push-buttons ,Project Manager: Yep, but {disfmarker} we're going for the simple buttons .User Interface: So rubber rubber keys , yeah .Project Manager: Yeah .Industrial Designer: and that's fine ?Project Manager: And it's cheapest all round , it soundskinda funky , and we can also market itIndustrial Designer: PUser Interface: Yeah .Project Manager: as i 'cause we were s saying earl you were saying earlier in your research that um the the people have the R_{disfmarker} people were getting the {disfmarker} complaining about R_S_I_ , and this is anti-R_S_I_ .Marketing: {gap} .Industrial Designer: Yeah .Marketing: Yeah .Project Manager: So that's another marketingpoint that we can use .Marketing: Well the rubber push-buttons {gap} . Don't you have to move your {disfmarker}Project Manager: But anything is gonna have buttons .Marketing: Mm .Project Manager: Even if it's ajog wheel , it's still repetitive . You {disfmarker}Industrial Designer: I thought they would give an option of flat buttons or a {disfmarker}Project Manager: You see , you can still get {disfmarker} it does you still getrepetitive strain injury , whether you are pressing a button or pressing a flat bit of screen .Industrial Designer: That they don't . {vocalsound}Project Manager: It's the v it's the fact that you are pressing the same{disfmarker} doing the same movement .Industrial Designer: Mm .User Interface: {gap} .Project Manager: It's not actually what you are doing .Industrial Designer: {vocalsound}Project Manager: But the fact that thisthis rubber i is actually used in these anti-R_S_I_ ps specific {disfmarker}Marketing: Mm .User Interface: Yeah .Marketing: Yeah , the rubber's good .User Interface: We're giving them a way to burn off steam ,basically , yeah .Project Manager: Yeah .Marketing: Yeah , so they can sit there and go like {disfmarker}User Interface: {vocalsound} Not that watching T_V_ should be that stressful .Project Manager: And you know ,yeah , you can fuzz it across the room and throw it at throw it at your children {disfmarker} yeah .Marketing: {vocalsound}User Interface: {vocalsound} Oh yeah , I guess T_V_ can be stressful , yeah , if you'rewatching sports .Marketing: {vocalsound}Industrial Designer: Alright , that's me done .Project Manager: Okay , Gabriel . Let's um let's let's hear from you about the um it's {disfmarker} the interface .User Interface:Alright . Alright . Yeah , some of what I have to say ties into what Catherine was just talking about .Project Manager: Great .Industrial Designer: Sorry .User Interface: Okay , so I'm continuing with the user interface uhtopic . And so basically I consulted with our manufacturing division . It sounded like Catherine was also speaking with them . Uh I also took uh Reissa's marketing findings from the last meeting into consideration um ,'cause I think that's that's crucial as far as uh what keys we're going to inc inclu what buttons we are going to include and and how they're laid out .Project Manager: Mm .User Interface: Uh and so the manufacturingdivision uh sent some some samples of of uh interface components that we might be interested in using that have been used in other products , uh like the coffee machine . So I already mentioned the speechrecognition interface .Marketing: {vocalsound}User Interface: I guess , we we basically vetoed that idea . It's it's pointless .Project Manager: Mm .User Interface: Uh it's just a sample sensor sample output . It wouldjust be probably the most expensive part of our remote without any actual interesting functionality as far as operating the T_V_ . Uh so yeah , they they also give the uh {disfmarker} they they suggested the idea ofusing a spinning wheel like you use on the side of an M_P_ three player like iPod .Project Manager: Mm .Marketing: Mm .User Interface: Um so we've already addressed that and I think that would actually be worse forsomething like R_S_I_ I mean you got that thumb movement that you're constantly doing .Project Manager: Yeah .Marketing: Mm .User Interface: Um the other suggestion ,Marketing: That does get annoying .UserInterface: and I I have a feeling that we're interested in in something more general , but they suggested uh , you know , going i a little bit into a a niche , like either gearing our remote towards kids , where you couldhave {gap} lot of colours um , the keys might be you know , funny or or {gap} ,Project Manager: Mm-hmm .User Interface: or uh something for the elderly , where the remote's very large and the buttons are verylarge and there's only a few buttons . But you know we can we can discuss this , but it sounded like from our last meeting we really wanted something that was general , but done well .Project Manager: Yeah .UserInterface: Uh {gap} um {disfmarker} So , the key layout and design are really crucial . You don't want uh you want people to be able to quickly access the buttons that they use a lot without uh always pressing thewrong one um . And I didn't mention that we need a power button {gap} in our last {disfmarker} I can give you an example here of uh , {gap} good layout and bad layoutIndustrial Designer: {vocalsound}UserInterface: uh from our manufacturing department . So this would be an example of bad layout , where you have volume up and volume down , but they have a V_ on both of them , so uhProject Manager: Yeah . Yeah.User Interface: it's sort of confusing for the user . Uh this is the example of the giant remote that's impossible to lose .Project Manager: Do we have an uh example of a good one ? {gap} {vocalsound} Brilliant"}
+{"doc_id":"doc_69","qid":"","text":"Professor C: Starts {disfmarker} No . No .PhD D: No . That 's a different thing .Professor C: There 's another {disfmarker} I don't know . It starts with a P or something . I forget the word for it , but it 's {disfmarker} it's umPhD D: Oh .Professor C: Typically when you {disfmarker} you 're ab r starting around forty for most people , it starts to harden and then it 's just harder for the lens to shift thingsPhD D: Oh .Professor C: and ththe {disfmarker} the symptom is typically that you {disfmarker} {vocalsound} you have to hold stuff uh uh further away to {disfmarker} to see it .PhD E: Uh - huh . Yeah .Professor C: In fact , uh m my brother 's a{pause} gerontological psychologist and he {disfmarker} he uh {vocalsound} came up with an {disfmarker} an uh {disfmarker} a uh body age test which uh gets down to sort of only three measurements that aregood enough st statistical predictors of all the rest of it . And one of them is {disfmarker} is the distance {vocalsound} that you have to hold it at .PhD D: Give someone a piece of paper and then they {disfmarker} Oh.PhD E: Yeah .Professor C: Yeah .Grad A: We 're {disfmarker} we 're live by the way , so we 've got a good intro hereProfessor C: Oh . Yeah . About how old I am .Grad A: Yep .Professor C: OK .Grad A: We can edit thatout if you want .PhD D: Oh , that 's optional .Professor C: No , that 's OK .Grad A: OK . So . This time the form discussion should be very short ,PhD D: You know .PhD E: Mm - hmm .Grad A: right ?Professor C: It alsoshould be {pause} later .Grad A: OK .Professor C: Because Jane uh is not here yet .Grad A: Good point .Professor C: And uh she 'll be most interested in that . Uh , she 's probably least involved in the signal -processing stuff so maybe we can just {disfmarker} just uh , I don't think we should go though an elaborate thing , but um uh Jose and I were just talking about {vocalsound} the uh {nonvocalsound} uh , speech eenergy thing ,PhD E: The @ @ {disfmarker}Professor C: and I uh {disfmarker}PhD E: Yeah .Professor C: We didn't talk about the derivatives . But I think , you know , the {disfmarker} the {disfmarker} i if I can{disfmarker} if you don't mind my {disfmarker} my speaking for you for a bit , um {vocalsound} Uh . Right now , that he 's not really showing any kind of uh distinction , but uh {disfmarker} but we discussed a coupleof the possible things that uh he can look at . Um . And uh one is that uh this is all in log energy and log energy is basically compressing the distances {vocalsound} uh {pause} between things . Um {pause} Another isthat he needs to play with the {disfmarker} the different uh {pause} uh temporal sizes . He was {disfmarker} he {disfmarker} he was taking everything over two hundred milliseconds uh , and uh he 's going to varythat number and also look at moving windows , as we discussed before . Um And uh {disfmarker} and the other thing is that the {disfmarker} yeah doing the {disfmarker} {vocalsound} subtracting off the mean andthe variance in the {disfmarker} {pause} uh and dividing it by the {pause} standard deviation in the log domain , {vocalsound} may not be {pause} the right thing to do .Grad A: Hi Jane !PhD E: Hi .Grad A: We juststarted .PhD E: Yeah .Grad A: Could you take that mike there ?PhD D: Are these the long term means ? Like , over the whole {disfmarker} I mean , the means of {pause} what ?Grad A: Thanks .Professor C: Uh BBetween {disfmarker} between {disfmarker}PhD D: All the frames in the conversation ?Professor C: No .PhD D: Or of things that {disfmarker}Professor C: Between {disfmarker} Neither . It 's uh between the pauses{pause} uh for some segment .PhD E: No .PhD D: Oh .Professor C: And so i i his {disfmarker} his {disfmarker} He 's making the constraint it has to be at least two hundred milliseconds .PhD D: Oh .Professor C: And soyou take that . And then he 's {disfmarker} he 's uh measuring at the frame level {disfmarker} still at the frame level , of what {disfmarker}PhD D: Right .Professor C: and then {disfmarker} and then just uhnormalizing with that larger amount . um and {disfmarker} But one thing he was pointing out is when he {disfmarker} he looked at a bunch of examples in log domain , it is actually pretty hard to see {vocalsound} thechange . And you can sort of {pause} see that , because of j of just putting it on the board that {vocalsound} if you sort of have log - X plus log - X , that 's the log of X plus the log of twoPhD E: Yep .PhD D: Yeah ,maybe it 's not log distributed .PhD E: Mmm . Yeah .Professor C: and it 's just , {pause} you know , it {disfmarker} it diminishes the {pause} effect of having two of them .PhD E: Professor C: Um .PhD D: But you coulddo like a C D F there instead ? I mean , we don't know that the distribution here is normally .Professor C: Yes , right . So {disfmarker} So what I was suggesting to him is that {disfmarker}PhD D: So just some kind of asimple {disfmarker}Professor C: Actually , a PDF . But , you know , uh But , either way .PhD D: PDFProfessor C: Yeah . Yeah , eith eith uh {vocalsound} BPhD D: Yeah .PhD E: Yeah .PhD D: Something like that where it's sort of data driven .Professor C: Yeah , but I think {pause} also u I think a good first indicator is when the {disfmarker} the {disfmarker} the researcher looks at {vocalsound} examples of the data and can not see achange {pause} in how big the {disfmarker} the signal is , {vocalsound} when the two speaker {disfmarker}PhD E: Yeah . Yeah .Professor C: Then , that 's a problem right there . So . I think you should at least beable ,PhD D: Oh yeah .Professor C: doing casual looking and can get the sense , \" Hey , there 's something there . \" and then you can play around with the measures . And when he 's looking in the log domain he 's notreally seeing it .PhD D: Oh yeah .PhD E: Yeah .Professor C: So . And when he 's looking in straight energy he is , so that 's a good place to start .PhD E: Yeah .Professor C: Um . So that was {disfmarker} that was thediscussion we just had . Um . {vocalsound} The other thing Actually we ca had a question for Adam in this . Uh , when you did the {vocalsound} sampling ? uh {pause} over the {pause} speech segments or s orsampling over the {disfmarker} the individual channels in order to do the e uh the {pause} amplitude equalization , {vocalsound} did you do it over just the entire {disfmarker} everything in the mike channels ?PhD E:How {disfmarker}Professor C: You didn't try to find speech ?Grad A: No , I just took over the entire s uh entire channel um {pause} sampled ten minutes randomly .Professor C: Right , OK . So then that means thatsomeone who didn't speak {pause} very much {vocalsound} would be largely represented by silence .Grad A: Yep .Professor C: And someone who would {disfmarker} who would be {disfmarker} So the normalizationfactor probably is {pause} i i i {pause} is {disfmarker} is {disfmarker}Grad A: Yeah , this was quite quick and dirty , and it was just for {pause} listening .PhD E: Yeah .Professor C: Yeah .Grad A: And for listening itseems to work really well .Professor C: OK .PhD E: Yeah .Professor C: Yeah .PhD E: Yeah .Grad A: So .Professor C: Yeah . But that 's {disfmarker}Grad A: But , it 's not {disfmarker} Not a good measure .Professor C:Right . So thPhD E: Yeah .Professor C: OK . So yeah there {disfmarker} there {disfmarker} there {disfmarker} There 's a good chance then given that different people do talk different amounts {pause} that there is{disfmarker} there {disfmarker} there is still a lot more to be gained from gain norm normalization with some sortPhD E: Yeah . Yeah . Mmm .Grad A: Yes , absolutely .Professor C: if {disfmarker} if we can figure out away to do it .PhD E: Yeah .Professor C: Uh . But we were agreed that in addition to that {comment} uh there should be {pause} s stuff related to pitch and harmonics and so forth .PhD E: Yeah .Professor C: So wedidn't talk at all about uh the other derivatives , but uh again just {disfmarker} just looking at {disfmarker} Uh , I think uh Liz has a very good point , that in fact it would be much more graphic just to show{disfmarker} Well , actually , you do have some distributions here , uh for these cases .PhD E: Yeah . Yeah .Professor C: You have some histograms , um {pause} and {pause} uh , they don't look very separate .PhD E:Yeah .Professor C: uh {vocalsound} {pause} separated .PhD E: This is the {disfmarker} the first derivate of log of frame energy uh without any kind of normalization .PhD D: What {disfmarker}Professor C: Yeah . Yeah. Yeah .PhD D: Log energy . Sorry .PhD E: These the These are the {disfmarker} the first experiments uh with comment uhPhD D: Frame energy .Grad A: Except that {pause} it 's hard to judge this because the{disfmarker} they 're not normalized . It 's just number of frames .PhD D: Yeah .Professor C: Yeah .PhD D: Yeah .PhD E: Yeah .Grad A: But yeah , even so .PhD D: W {vocalsound} I mean , what I meant is , even ifyou use linear , {pause} you know , raw {pause} measures , like {pause} raw energy or whatever ,Professor C: \" Number \" {disfmarker}PhD D: maybe we shouldn't make any assumptions about the distribution 'sshape , and just use {disfmarker} you know , use the distribution to model the {disfmarker} {vocalsound} {pause} the mean , or what y you know , rather than the mean take some {disfmarker}Professor C: Yeah .But {disfmarker} And so in {disfmarker} in these he 's got that .PhD D: Yeah .Professor C: He 's got some pictures . But he doesn't {disfmarker} he doesn't in the {disfmarker} he iPhD E: Yeah .Professor C: just inderivatives , but not in the {disfmarker}PhD D: Yeah . Oh .Professor C: but he d but he doesn't {disfmarker} doesn't {disfmarker}PhD D: Right . So , we don't {pause} know what they look like {pause} on the ,{pause} tsk {disfmarker} {comment} For the raw .Professor C: But he didn't h have it for the energy . He had it for the derivatives . Yeah .PhD D: Yeah . So . I mean , there might be something there . I don't know.Professor C: Yeah .PhD D: Huh .Grad A: InterestingPhD E: Here I {disfmarker} IProfessor C: Oh that {disfmarker} yeah that 's a good qPhD E: in {disfmarker} No I {disfmarker} I {disfmarker} I haven't theresultProfessor C: did {disfmarker} did you have this sort of thing , for just the {disfmarker} just the l r uh the {disfmarker} the unnormalized log energy ? OK . Yeah . So she {disfmarker} she 's right .PhD E: but it 'sthe {disfmarker} it 's the {disfmarker} the {disfmarker} the following .Professor C: That 's a {disfmarker}PhD D: Well it might be just good to know what it looks like .Professor C: Yeah . That 's {disfmarker} That 's uh{pause} cuz I 'd mentioned scatter plots before but she 's right ,PhD D: Cuz {disfmarker}PhD E: Huh ?Professor C: I mean , even before you get the scatter plots , just looking at a single feature {vocalsound} uh ,looking at the distribution , is a good thing to do .PhD E: Yeah . Catal - uh {disfmarker} Combining the different possibilities of uh the parameters . I {disfmarker} I {disfmarker} I {disfmarker} I mean the {disfmarker}the {disfmarker} the scatter plot {pause} combining eh different {pause} n two combination .Professor C: Yeah , but {disfmarker} but what she 's saying {pause} is , which is right , is {pause} lePhD E: combination oftwo , {pause} of energy and derivate {disfmarker}Professor C: I mean , let 's start with the {disfmarker} Before we get complicated , let 's start with the most basic wh thing , which is {pause} we 're arguing that ifyou take energy {disfmarker} uh if you look at the energy , that , when two people are speaking at the same time , usually {vocalsound} {pause} there 'll be more energy than when one is right ?PhD E: Yeah.Professor C: That 's {disfmarker} that sort of hypothesis .PhD E: That 's right .Professor C: And the first way you 'd look at that , uh s she 's , you know , absolutely right , is that you would just take a look at thedistribution of those two things , much as you 've plotted them here ,PhD E: Yeah .Professor C: You know , but just {disfmarker} but just {disfmarker} {pause} just uh do it {disfmarker}PhD E: Yeah .Professor C: Wellin this case you have three . You have the silence , and that {disfmarker} that 's fine .PhD E: Yeah .Professor C: So , uh with three colors or three shades or whatever , just {disfmarker} just look at those distributions.PhD E: Yeah .Professor C: And then , given that as a base , you can see if that gets improved , you know , or {disfmarker} or {disfmarker} {pause} or worsened {pause} by the {disfmarker} looking at regular energy, looking at log energy , we were just proposing that maybe it 's {disfmarker} you know , it 's harder to {pause} see with the log energy , um and uh also these different normalizations , does a particular choice ofnormalization make it better ?PhD E: Yeah .Professor C: But I had maybe made it too complicated by suggesting early on , that you look at scatter plots because that 's looking at a distribution in two dimensions . Let 'sstart off just in one , uh , with this feature .PhD E: Yeah . Yeah .Professor C: I think that 's probably the most basic thing , before anything very complicated .PhD E: Yeah .Professor C: Um And then we w I think we 'reagreed that pitch - related things are {disfmarker} are {disfmarker} are going to be a {disfmarker} a really likely candidate to help .PhD D: Yeah .PhD E: Yeah . I agree , yeah . Uh - huh .Professor C: Um {pause} But{pause} since {disfmarker} {vocalsound} uh your intuition from looking at some of the data , is that when you looked at the regular energy , that it did in fact usually go up , {vocalsound} when two people weretalking , {vocalsound} that 's {disfmarker} eh you know , you should be able to come up with a measure which will {pause} match your intuition .PhD E: OK . Yeah . Yeah . Yeah , yeah , yeah .Professor C: And she 'sright , that a {disfmarker} that having a {disfmarker} having {disfmarker} {comment} having this table , with a whole bunch of things , {pause} with the standard deviation , the variance and so forth , it 's{disfmarker} it 's {disfmarker} it 's harder to interpret than just looking at the {disfmarker} the same kind of picture you have here .PhD E: But {disfmarker} Uh - huh . Yeah . But {disfmarker} It {disfmarker} it 'scurious but uh I f I found it in the {disfmarker} in the mixed file , in one channel {vocalsound} that eh in several {disfmarker} oh e eh several times eh you have an speaker talking alone with a high level ofenergyProfessor C: Mm - hmm . Mm - hmm .PhD E: eh in the middle eh a zone of overlapping with mmm less energyProfessor C: Mm - hmm .PhD E: and eh come with another speaker with high energyProfessor C: Mm- hmm .PhD E: and the overlapping zone has eh less energy .Professor C: Yeah . So there 'll be some cases for which {disfmarker}PhD E: Because there reach very manyProfessor C: But , the qu So {disfmarker} Sothey 'll be {disfmarker}PhD D: Right .Professor C: This is {disfmarker} {vocalsound} I w want to point {pause} to visual things , But I mean they {disfmarker} there 'll be time {disfmarker} There 'll be overlapbetween the distributions , but the question is , \" If it 's a reasonable feature at all , there 's some separation . \"PhD E: Yeah . Yeah .PhD D: Especially locally .Professor C: Mm - hmm .PhD D: So . Locally .PhD E: justlocally , yeah .Grad A: And {disfmarker} I was just going to say that {disfmarker} that {pause} right now we 're just exploring .PhD D: And the other thing is I Sorry . I {disfmarker}Grad A: What you would imagineeventually , is that you 'll feed all of these features into some {pause} discriminative system .PhD E: Yeah .Professor C: Yeah .Grad A: And so even if {disfmarker} if one of the features does a good job at one type ofoverlap , another feature might do a good job at another type of overlap .PhD E: Yeah . Yeah . Yeah .Professor C: Right . I mean the {disfmarker} the reason I had suggested the scatter f p features is I used to do this alot , when we had thirteen or fifteen or twenty features {pause} to look at .PhD E: Yeah , this is the {disfmarker}Professor C: um Because something is a good feature uh by itself , you don't really know how it 'llbehave in combination and so it 's nice to have as many {disfmarker} as many together at the same time as possible in uh in some reasonable visual form . There 's cool graphic things people have had sometimes toput together three or four in some funny {disfmarker} funny way . But it 's true that you shouldn't do any of that unless you know that the individual ones , at least , have {disfmarker} have some uh {disfmarker}some hopePhD E: Yeah .PhD D: Well , especially for normalizing .Professor C: Mm - hmm .PhD D: I mean , it 's really important to {pause} pick a normalization that matches the distribution for that feature .ProfessorC: Mm - hmm .PhD D: And it may not be the same for all the types of overlaps or the windows may not be the same . e Actually , I was wondering , {vocalsound} right now you 're taking a {disfmarker} all of the{pause} speech , from the whole meeting , and you 're trying to find points of overlap , but we don't really know which speaker is overlapping with which speaker ,Professor C: Right .PhD D: right ? So I mean anotherway would just be to take the speech from just , say , Morgan , And just Jane and then just their overlaps ,PhD E: Yeah .PhD D: like {disfmarker} but by hand , by cheating , and looking at you know , if you can detectsomething that way , because if we can't do it that way , there 's no good way that we 're going to be able to do it .Grad A: No prayer .PhD D: That {disfmarker} You know , there might be something helpful and cleanerabout looking at just {pause} individuals and then that combination alone .PhD E: Yeah .PhD D: Plus , I think it has more elegant {disfmarker} eProfessor C: Mm - hmm .PhD D: The m the right model will be {pause}easier to see that way . So if {disfmarker} I don't know , if you go through and you find Adam , cuz he has a lot of overlaps and some other speaker who also has e enough speechPhD E: Yeah .PhD D: and just sort oflook at those three cases of Adam and the other person and the overlaps ,PhD E: Yeah .PhD D: maybe {disfmarker} and just look at the distributions , maybe there is a clear patternPhD E: Yeah .PhD D: but we justcan't see it because there 's too many combinations of {disfmarker} of people that can overlap .PhD E: Uh - huh . Yeah .Postdoc B: I had the same intuition last {disfmarker} last {disfmarker} last week .PhD D: So .Just seems sort of complex .PhD E: Yeah .Postdoc B: I think it 's {disfmarker} to start with it 's s your {disfmarker} your idea of simplifying , starting with something that {pause} you can see {pause} eh you knowwithout the {pause} extra {pause} layers of {disfmarker}PhD D: Right . Cuz if energy doesn't matter there , like {disfmarker} I don't think this is true , but what ifPhD E: To study individual ?Postdoc B: Sorry , what?PhD D: Hmm ?PhD E: To study individual ?Postdoc B: Well , you {disfmarker} you {disfmarker} you don't have to study everybody individuallyPhD D: Well , to study the simplest case to get rid of extra{disfmarker}PhD E: The {disfmarker} the {disfmarker} the {disfmarker} But {disfmarker} Consider {disfmarker}Postdoc B: but {pause} just simple case and the one that has the lot of data associated with it .PhD D:Right . Cuz what if it 's the case and I don't think this is true {disfmarker}Grad A: That was a great overlap by the way .PhD D: What if it 's the case that when two people overlap they equate their {disfmarker} youknow , there 's a {pause} conservation of energy and everybody {disfmarker} both people talk more softly ? I don't think this happens at all .Postdoc B: Or {disfmarker} or what if what if the equipment {disfmarker}what if the equipment adjusts somehow ,PhD D: Or they get louder .Postdoc B: there 's some equalizing in there ?PhD D: Yeah or {disfmarker}Professor C: Uh , no we don't have that .PhD D: I mean .Grad A: Well , but{disfmarker} But I think that 's what I was saying about different types of overlap .Postdoc B: OK .Professor C: But .Postdoc B: Saturation .PhD D: There are {disfmarker} there are different types , and within thosetypes , like as Jose was saying , that {pause} sounded like a backchannel overlap , meaning the kind that 's {pause} a friendly encouragement , like \" Mm - hmm . \" , \" Great ! \" , \" Yeah ! \"PhD E: Yeah .PhD D: And itdoesn't take {disfmarker} you don't take the floor . Um , but , some of those , as you showed , I think can be discriminated by the duration of the overlap .PhD E: Yeah .PhD D: So . It {disfmarker} Actually the s newstudent , Don , who um Adam has met , and he was at one of our meetings {disfmarker} He 's {pause} getting his feet wet and then he 'll be starting again {pause} in mid - January . He 's interested in trying todistinguish the types of overlap . I don't know if he 's talked with you yet . But in sort of honing in on these different typesPhD E: Yeah . I don't consi Now I don't consider that possibility .PhD D: and {disfmarker} So"}
+{"doc_id":"doc_70","qid":"","text":"Marketing: It's Play-Doh .Project Manager: Play-Doh's edible . Did you know that ? It's definitely {disfmarker}Marketing: Because kids {disfmarker} yeah .Industrial Designer: I used to eat it .User Interface: I've , I'vedefinitely eaten it before . I didn't know was edible . {vocalsound} {gap} .Project Manager: Yeah . It's it's chew proof . {vocalsound}Marketing: But um , it's it's made edible 'cause , yeah . It's made edible 'cause kidseat it ,Project Manager: Yeah .Marketing: and if it's wasn't edible then {disfmarker} Well , normal babies . {vocalsound}User Interface: Actually that makes sense , because I remember like , peopl I dunno if my Momever did it but I remember other people's Moms making like home-made Play-Doh where you just like make the {gap} colouring and make some sort of sort of dough .Project Manager: Yeah .Marketing: Oh yeah it is ,yeah . Oh yeah .Project Manager: {vocalsound} Right .User Interface: Mm-hmm .Project Manager: Everybody everybody ready ?Industrial Designer: Yep .User Interface: Yeah .Project Manager: Okay , let's have yourum {disfmarker} let's get {gap} have the uh presentation ?Industrial Designer: {vocalsound}User Interface: We've got some {gap} .Industrial Designer: We've got a cool prototype .User Interface: Yeah , it's prettyexciting . So , everything uh that we wanted we wanted it to be ergonomic and to be made out of rubber , very simple and easy to use ,Industrial Designer: Double curved .Project Manager: Nice .User Interface: yeah ,double curved ,Marketing: {vocalsound}User Interface: um but also something that was gonna jump out at people , something that would be different uh , separate it from the other remotes out on the market . So uh Ithink if you put this in the palm of your hand , you'll see what a nice thing we have going here .Project Manager: {vocalsound}Marketing: That is cool .User Interface: So , basically , if you hold it like that , the one onyour thumb , yeah , {vocalsound} the thumb button is the power button .Project Manager: Mm-hmm . Mm-hmm .User Interface: Your index finger is channel up , middle finger is channel down , ring finger is volume up, your pinkie is volume down .Marketing: What's the big blue thing ?User Interface: That's the lock button , has a L_ L_ on itMarketing: Oh cool .User Interface: and then the M_ is a mute button . And then it also hasdigitProject Manager: {gap} what button ? Um . Oh mute .User Interface: For muting the uh {disfmarker}Marketing: And mute .User Interface: Um and then then you can also {disfmarker} there's a numeric keypad onthe top so you can key directly to the to the channel if you want .Marketing: {vocalsound}Project Manager: Okay .User Interface: So it's really basic functionalities as far as what keys are available , but we think it'svery comfortable and very innovative and it looks different .Project Manager: That certainly does .Marketing: {vocalsound}User Interface: So all the , I mean the important keys are right at your f f you know right at uhat a convenient place for you to to access them .Project Manager: Mm .Industrial Designer: Which is ant anti-R_S_I_ .User Interface: So you don't you {disfmarker} Yeah . It should be .Project Manager: Mm .UserInterface: And it's also conformable to the size of your hand . I mean if that's too big , it's a rubber remote , so you can , you knowProject Manager: Yeah . 'S great .User Interface: change that . So d does that uh what{disfmarker} mesh with what you guys were hoping and for and expecting or does it {disfmarker}Marketing: Oh it's so cute .Industrial Designer: {vocalsound}Project Manager: I have one thing about it , but it's asmall thing , but it'd mean we'd have to make a right-handed one and a left-handed one .Industrial Designer: Oh right , yeah .User Interface: Ah , that's good thinking , yeah .Project Manager: But , that's I don't seewhy that's not possible .User Interface: Yeah , if we build rocket ships why can't we build left-handed and right-handed uh remotes .Project Manager: Yeah . {gap} They make left-handed scissors , you know .{vocalsound}User Interface: {vocalsound} Yeah , I didn't I didn't think about that , but I'd {disfmarker} yeah , {gap} .Marketing: Yeah , but then but then you can learn to use your right h like I was just thinking ifthere's left-handers and right-handers in the family , what , they have two remotes ?Project Manager: Yes sIndustrial Designer: Yeah , I know I know people who have left-handed and right-handed people in the familyand they all use the computer {vocalsound} for the whole {disfmarker} the same computer the fes family and they have a mouse , and everybody is using right-handed mouse .Project Manager: Mm . Sure . Sure.Marketing: Yeah , I'm sure they'll be able to {disfmarker}User Interface: Uh-huh .Marketing: I mean it's only pressing buttons , you don't have to do anything , you know , extraordinary . I think everybody can press abutton with their left and right hand so {disfmarker}User Interface: Yeah .Industrial Designer: Imagine d are you right handed ?Project Manager: Yeah .Industrial Designer: Imagine you're doing it with your left hand , Idon't think it's too {disfmarker}Marketing: Yeah , it's not {disfmarker}Industrial Designer: But we can have both uh {disfmarker}Marketing: Yeah . Have them in stock .Project Manager: Yeah .Industrial Designer: Yeah.Marketing: Make 'em more appealing as well .Project Manager: But um other than that , I mean uh and that's um , you know , that's just something , I think I think it's great , yeah , great idea .User Interface: Do youthink it says {vocalsound} R_R_ ?Industrial Designer: {gap} I think it does . {vocalsound}User Interface: {vocalsound}Project Manager: I think it's , well , if the R_R_ motto is , we bring fashion to to electronics , I'dsay that could be quite fashionable .User Interface: Fashion to electronics . Yeah .Industrial Designer: Yeah .User Interface: Yeah . And it's got the b the black and yellow and blue .Project Manager: {vocalsound} Yeah.User Interface: Plus red , which is sort of a a fruit and vegetable uh uh .Project Manager: {vocalsound} Yeah .Marketing: {gap} . {vocalsound} {vocalsound}Industrial Designer: {vocalsound} There you go .UserInterface: So that's that's {vocalsound} our end of things wha uh {disfmarker}Project Manager: Yeah , very good , yeah .User Interface: That's {disfmarker}Project Manager: It's come up with what we've you know ,the things that's what we've {disfmarker} what we were looking at doing , hasn't it , {gap} all seems to be there .User Interface: Yeah .Project Manager: Well done .Marketing: And all the playing around is uh{disfmarker}Project Manager: Um before we move on {disfmarker}Marketing: Yeah , I'm just {disfmarker} do you wanna plug in ?Project Manager: I need that cable .Marketing: Okay .Project Manager: Thank you .Yeah . Um . One thing I do need to do {disfmarker} we need to look at , is the costs .User Interface: The costs , was that what you said ?Industrial Designer: Play-Doh is very cheap . {vocalsound}Project Manager: Well, yeah . {vocalsound}User Interface: {vocalsound}Marketing: Mm .Project Manager: {gap} um {disfmarker}Marketing: Play-Doh won't last very long everybody'll go like , oops , it's gone . {vocalsound}{vocalsound}User Interface: But it's edible .Marketing: Mm-hmm . Mm-hmm .Industrial Designer: Chew proof .User Interface: {vocalsound}Marketing: Well , they'll buy more of them if you eat them , {gap} .UserInterface: That was the main criteria from the last meeting , it had to be chew proof .Industrial Designer: {vocalsound}Project Manager: Yeah . Uh right . {vocalsound} Okay , now I think we'll do this {disfmarker} Icould do {disfmarker} you know , I can do this o on my own or I could do it with you ,Marketing: Yeah .Industrial Designer: Oh ho-ho .Project Manager: but it's just easy enough to go through it with you , so we'regoing for the kinetic power .Industrial Designer: Yep .Project Manager: {vocalsound} And the electronics , we decided on it being just a simple , the easiest thing that's inside it . Ooh .Industrial Designer:{vocalsound}Project Manager: So {disfmarker} the case , we've gone for the double curved . Um and it's made out of rubber . {vocalsound} The interface is push-buttons . And button supplements well they're in diffspecial colours , aren't they ?Marketing: Yeah .Project Manager: So {gap} special colours .User Interface: Yeah .Marketing: It's better for {disfmarker}Project Manager: Special form , yeah , they're a special form therein shapes and stuff .User Interface: Yeah , I mean , {vocalsound} these these ones on the side are curved kind of , so {disfmarker}Marketing: And special material .Project Manager: Yep . Yeah . Um . Are they madeout of any special material ?Industrial Designer: Rubber .Project Manager: No they're not . They're not made out of wood or titanium or rubber or anything , they're just simple {disfmarker}User Interface: The buttonsare rubber .Marketing: Well they're rubber , aren't they ?Project Manager: Okay . Right .Industrial Designer: Yeah .Project Manager: So let's see if that comes within budget . And it does . That is gonna cost uh{disfmarker}Industrial Designer: {gap} .Marketing: We're under budget .Project Manager: Yeah . That's gonna cost ten ten Euro seventy cents a unit to make . And our target was it had to come in at under twelve fifty.User Interface: That's cool . Yeah . Yeah .Project Manager: So ,User Interface: And we're actua actually making a better profit than we expected .Project Manager: this is all very very good . The bosses will be verypleased .User Interface: {vocalsound}Project Manager: Okay , let's just save this so I can e-mail it to you . Uh .Marketing: {vocalsound}Project Manager: {vocalsound} Save it in {gap} save it in the uh {vocalsound}my documents .Marketing: It's already saved , I think .Project Manager: Splendid . Okay . So uh , that's {gap} done with this with this um doodah , so you're {gap} . Gonna do {disfmarker} what you were gonna do,Marketing: Thank you . Mm .Project Manager: your evaluation .Marketing: Oh , yeah . This is where we all get to {vocalsound} I get to write on the , oops , on the board . Right .Project Manager:{vocalsound}Marketing: Oh . 'S function {disfmarker}Project Manager: F_ eight .Marketing: Okay .Project Manager: {gap} I love the smell of that Play-Doh .User Interface: {vocalsound} Yeah ,Project Manager:{vocalsound} I cou {gap} . {vocalsound}Marketing: Mm .User Interface: have some have some .Marketing: Okay . So , {vocalsound} evaluation . We're gonna do it all together so we evaluate each criteria . I've gotthe criterias . And we have to do it on a scale of one to seven , one being true , so it's it's more like it's {disfmarker} fits the criteria , and seven being as in it doesn't fit the criteria . And the criterias are , and I'll drawthis up on the board {disfmarker} {vocalsound} so we have a box {disfmarker} {gap} . And this is false , this is just like to keep you informed . So seven's here and one's here and then you've got in the middle .{vocalsound} So the first criteria . Do you all get what we're doing ?Industrial Designer: Mm-hmm .User Interface: Mm-hmm .Marketing: Okay , cool . Okay , first criteria , look and feel . So the does remote look andfeel fashionable to what we talked about ? As it {disfmarker} is it colour-wise and is it spongy ?User Interface: Mm .Marketing: So what mark should we give for that ?Project Manager: I would give it a seven .UserInterface: Yeah .Marketing: As in it's not .Project Manager: Oh sorry , one , d yeah .User Interface: Oh , sorry , one . {vocalsound}Industrial Designer: A one .Marketing: A one a one . So I'll just write criteria criteriaone we get one . Second criteria , new technology . Have we implemented new technology ? As in the new high-tech {vocalsound} {disfmarker}Industrial Designer: Well , the kinetic thing , yeah .Project Manager: Yeah.User Interface: Yeah . That was our main technological innovation w every everything else was fairly simple , but the fact that we used the kinetic energy was new .Project Manager: {gap} .Marketing: So it's {gap} .So we'll give it a {disfmarker}Industrial Designer: Well so the um {disfmarker}User Interface: It's ergonomic ,Marketing: {vocalsound}User Interface: but that's not {disfmarker} that's that's a design that's a desthat's a design thing , yeah .Project Manager: Yeah , but that's not a technological thing , that's another thing , i that's another marketing thing .Industrial Designer: Yeah . Yeah . Yeah . True .Project Manager: So onthe technical side of it it {disfmarker}Marketing: Yeah . I'd say it's about a a twoish ?Industrial Designer: Two .User Interface: It's about in the mid in the middle somewhere ,Marketing: Two .User Interface: maybe ,yeah , I dunno .Marketing: Three .Industrial Designer: Yeah .User Interface: Maybe three , yeah .Marketing: {gap} three . So criteria three is is it easy to use ?Project Manager: Easy to use .Marketing: I think it's a one, I think .Project Manager: I'd say it's I wouldn't {disfmarker}User Interface: Yeah .Project Manager: not if you're left-handed it's not . I would give it a I would give it a two ,User Interface: Mm .Marketing: Two ,ProjectManager: 'cause i i it i it i it is more geared for right-handed people than left-handed people , but {disfmarker}Marketing: so it's {disfmarker}User Interface: Okay .Industrial Designer: Mm .Marketing: But if we make aright-handed and a left-handed then ?User Interface: If we're gonna have one left-handed and one right-handed then I would give it a one , but otherwise otherwise a two .Project Manager: Yeah .Marketing: Yeah.Industrial Designer: Yeah .Project Manager: Give it a t give it a two .Marketing: Yeah , okay . {vocalsound} 'Kay , criteria four is costs . {gap}Project Manager: Cost . It's come in under budget .Marketing:{vocalsound} 's great .Project Manager: So that's a definite one .User Interface: Yeah . That was great .Marketing: Yeah .Project Manager: Amount of buttons .Marketing: Like the amount of buttons ,Project Manager:Contains only the necessary buttons .Marketing: 'cause people like a lot le like {disfmarker} So it's a one ?Project Manager: Yeah .Industrial Designer: Yeah .User Interface: Yeah .Marketing: Um criteria six . R_S_I_ isit good against ?Industrial Designer: {vocalsound} Yes s yeah .Marketing: Yes . Very good .Project Manager: So it's anti-R_S_I_ .Marketing: It's one . And criteria seven , which is the last one , does it get lost?Industrial Designer: It's yellow .Marketing: Is it easy to get lost ?Project Manager: I don't think it's gonna get lost easily .User Interface: {vocalsound} It is very bright , yeah .Industrial Designer:{vocalsound}Marketing: No ? But it is smallish .Industrial Designer: Two .User Interface: It's not the kinda thing that's gonna slip like between a couch cushion or something , you know . Maybe it will . Uh .IndustrialDesigner: TMarketing: Mm . I think i it would , could be , could get lost .User Interface: You think it could lost {disfmarker}Project Manager: {gap} two .Marketing: Mm . Yeah .User Interface: Mm .Project Manager: Imean it {disfmarker}Marketing: I mean it's not fully it's not fully {disfmarker} like you can't say {disfmarker}Project Manager: No , I meanMarketing: I mean , it's not a one , definitely .Project Manager: I mean , youcould still flush it down the toilet theoretically , but {disfmarker}User Interface: Okay . Yeah , anything , I mean . Okay . It's bigger than the average mobile , I guess .Marketing: Yeah .User Interface: But , yeah , it canget lost .Marketing: The mobiles get lost all the time .User Interface: Yeah . Okay , yeah , two is fine .Marketing: But then you ring 'em and you find them . {vocalsound} So {disfmarker}Industrial Designer: Mm . Mm.User Interface: Yeah , yeah .Project Manager: Okay .Marketing: Yeah . So , that's that . So that's the evaluation , so I'd say {disfmarker} Yay .Project Manager: Alright it's all all systems go .Industrial Designer:{vocalsound} We've , we've done well .Marketing: It's like {vocalsound} {gap} like a number one . Um .User Interface: Yeah .Marketing: Number one product .User Interface: Mm .Project Manager: {vocalsound} Wecan't fail .Marketing: All done , thanks . We fitted all the criterias . {vocalsound}Project Manager: {vocalsound}Marketing: Yeah .Project Manager: {gap} .Marketing: Yeah , so {disfmarker}Project Manager: Well done ,Reissa .Marketing: So that's that one .Project Manager: Okay , I I think um I just wanna put in as Project Manager the you know , little bit of praise for everybody here for how they've worked on it ,User Interface:{vocalsound}Project Manager: you know , both individually and as a team . You know you've w everyone's come up with their own individual ideas in their own different departments , um and then come together andworked in , you know , integrally , you know , at the right times , psp , you know , especially you two .Marketing: {vocalsound}Project Manager: That's all , you know , gone very very wellUser Interface: Yeah .ProjectManager: and and and be you know , has been good communication going on . {vocalsound}User Interface: Yeah , during our design I mean there was some s some heated heated discussion ,Industrial Designer:{vocalsound}User Interface: but we we kept {disfmarker} we tried to keep it cool and andProject Manager: {vocalsound} Did you have to go down to the the corporate squash court and bash a few balls about ?{vocalsound}Marketing: {vocalsound}User Interface: just just {disfmarker}Industrial Designer: Well .User Interface: {vocalsound} We just had to we just had to squeeze our product a little bit and{disfmarker}Marketing: {vocalsound}Industrial Designer: You know {disfmarker}Project Manager: {vocalsound}Industrial Designer: {vocalsound}Marketing: {vocalsound}Project Manager: {vocalsound} Fantastic.Industrial Designer: It is {gap} .User Interface: Now you guys have been a a great team . Think we're the we're the envy of all the of all the other R_R_ teams , {gap} .Marketing: {gap} been cool .Project Manager: Ithink {disfmarker} SoMarketing: {vocalsound}Project Manager: I I , you know , and I think we've co we have come we've come up with something new , something that hasn't been done before , we haven't{disfmarker} we're not just rehashing an old design .Marketing: In four diff in in four meetings .Project Manager: Yeah .Marketing: Funny , all designer meetings could be this quick .Project Manager: You know , maybethis isn't a simulation , maybe this is actually {disfmarker} so it's like Sony or someone like that they're they're just , yeah , {gap} they get {gap} {disfmarker}Marketing: {vocalsound}User Interface: Yeah I thinkthey're actually trying to find ideas for a ideal remote . {vocalsound}Marketing: They're using our ideas .User Interface: {vocalsound}Project Manager: Yeah . Yeah , {gap} two years' time this will be on the market.User Interface: {vocalsound}Project Manager: Ex exactly that productMarketing: {vocalsound}User Interface: {vocalsound}Project Manager: um thum {disfmarker} we'll go , yeah , we designed that and no-one willbelieve us .User Interface: {vocalsound}Marketing: {vocalsound}Project Manager: {vocalsound} But um {disfmarker}User Interface: So at this stage , I mean , is this the last meeting of the project ? We don't uh haveanother one after it's gone gone to marke market or something ?Marketing: Yeah .Project Manager: No ,Marketing: {gap}Project Manager: I think when this meeting's finished like officially , there b we'll get a uhquestionnaire to fill in .Marketing: {vocalsound}Industrial Designer: Y Oh really ?User Interface: {vocalsound}Project Manager: {vocalsound} Or six , uh {disfmarker}Marketing: Just start summarising now .{vocalsound} You can reply to the same message .Project Manager: I haven't got message .Marketing: See summary , there . If you just reply to that one .User Interface: So there's no way to like predict what our{disfmarker} 'Cause we had a {disfmarker} we originally had a {vocalsound} {disfmarker} As far as our financial uh um goals , we had a specific number for profits that we wanted . It was fifty mil fifty million{disfmarker}Marketing: Was it was it fifty or five ?User Interface: I don't remember . But there's not a way to compute that , I mean , since we saved on the on the production cost , do we know how much we'remaking on profit ?Project Manager: It gets handed over to another department .Marketing: Depends how much we sell .User Interface: Uh .Project Manager: What our what our project was was to come up with theproduct , basically .User Interface: Hmm .Project Manager: {gap} the for the {disfmarker} and just basically is it it come {disfmarker} can {disfmarker} is it within budget . When it c when it comes to all the otherthings of how to sell it and , you know , the b the profits and all that that's other departments {disfmarker} it's another team that actually work out the mai the {disfmarker}User Interface: But we have a vested"}
+{"doc_id":"doc_71","qid":"","text":"Industrial Designer: {gap} .User Interface: Hello {vocalsound} . 'Kay .Project Manager: You all saw the newsflash ?Industrial Designer: It's {disfmarker}Project Manager: Or you got the same message ?Marketing:Yeah I I just saw it one minute ago .Project Manager: {vocalsound} Yeah sorry .Industrial Designer: I don't know .Marketing: When I uh {disfmarker}Industrial Designer: I didn't see it yet I think .User Interface:Newsflash ? D did I miss something ?Marketing: {vocalsound} Yeah .Project Manager: Yeah . Yeah I received an email so I thought I I can't mail you so I thought I'd just drop it in the folder , but{disfmarker}Marketing: Yeah pretty much .Industrial Designer: Hey what's wrong with my computer ?User Interface: Okay .Project Manager: Is it unlocked ?User Interface: No .Industrial Designer: {gap} .Marketing:Mm . Yeah that's my presentation . {vocalsound}Project Manager: Woah . I uh kind of opened it {gap} .User Interface: Mm .Industrial Designer: Huh ?Marketing: Mm ?Project Manager: Uh {disfmarker}IndustrialDesigner: What the {disfmarker}Marketing: Oh right .User Interface: I think you have to uh change your desktop uhProject Manager: Okay .Marketing: {vocalsound}User Interface: size .Marketing: Ooh .{vocalsound}Project Manager: 'Kay . Everybody ready ?Industrial Designer: Not really .Marketing: Well {disfmarker}Industrial Designer: Sorry .Project Manager: No no no . Yes yes yes .User Interface: {gap} computeris uh not functioning ?Marketing: Alright .Project Manager: {vocalsound} Okay .Industrial Designer: Okay . Where do I find this ? I'm not so g display huh ?User Interface: Uh display .Marketing: {vocalsound}UserInterface: And then uh settings ?Industrial Designer: Appearance ?Marketing: Huh .User Interface: Mm I'm not sure I {gap} .Marketing: {vocalsound} You read the newsflash ? {vocalsound}Project Manager: 'Kay . Canwe get startedUser Interface: No .Industrial Designer: No what was it about ?Marketing: Hmm .Project Manager: or is there some pressing issue ?Industrial Designer: Yeah my computer is not functioning properly.Project Manager: Oh no pressing .User Interface: {vocalsound}Marketing: {vocalsound}Project Manager: {vocalsound} Did you plug in the power cable when you come back ?Industrial Designer: Yeah yeah . No butmy screen is reduced in size . {vocalsound}Project Manager: {vocalsound} Yeah . That's difficult . Yeah .User Interface: {vocalsound}Marketing: What ? {vocalsound}Industrial Designer: Yeah .Project Manager:{vocalsound}Industrial Designer: Feedback .Marketing: Hmm .User Interface: Okay .Project Manager: {vocalsound}Industrial Designer: Okay .Marketing: {gap} alt delete . {vocalsound}Project Manager: {vocalsound}Yeah .User Interface: {vocalsound} Format . {vocalsound}Project Manager: Format save .Marketing: {gap} . So it doesn't draw the attention away .Project Manager: Yeah .Industrial Designer: This is dreadful .UserInterface: I made uh uh my own map .Project Manager: Oh yeah sure .Industrial Designer: No not this , but the task .User Interface: It's a {disfmarker}Project Manager: You have Playstation also ?User Interface: Yeah.Industrial Designer: {vocalsound} Yeah . {vocalsound} No that's okay . No I just flapped it , closed it , took it here and then this happened . Ah . Uh {disfmarker} where was it ? In settings ? Okay . Alright . Thank you.Project Manager: Huh .Industrial Designer: Do you guys like your tasks ?User Interface: Yeah .Marketing: Yeah . {vocalsound}Industrial Designer: I spent a lot of time thinking about what I was gonna do and then acouple of minutes before this I get my function you know the information that I need .User Interface: Yeah wa wa you actually {disfmarker} Yeah . But it it's not clear what you have to to to type uh type in yourpresentation .Industrial Designer: So frustrating .Marketing: Yeah .Industrial Designer: So {disfmarker}Marketing: Yeah . I I had a whole idea and then just was typing it and then oh . I have to do that so switch.Industrial Designer: Yeah {disfmarker} Yeah exactly . This presentation is mainly based on my own ideas 'cause I hadn't time to intergrate tha the information yet so {disfmarker}User Interface: Yeah .Marketing: Mm.Industrial Designer: Really annoying .Project Manager: Okay . So there we are again .Marketing: By your humble P_M_ .Project Manager: Yeah .Marketing: {vocalsound}Project Manager: Okay this is the agenda . Umwe have three presentations , I heard .Marketing: {vocalsound}User Interface: Really . {vocalsound}Project Manager: Yeah really . {vocalsound} So who wants to start ?Marketing: Yeah that's fine {gap} .IndustrialDesigner: Yeah .Marketing: We have to start it right away ? {vocalsound}Project Manager: Yeah . Uh this is you ?Marketing: Functional ? Yeah functional requirements .Project Manager: 'Kay .Marketing: Alright . I'mgonna talk about functional requirements . Um {disfmarker} Well uh some research has be done uh has been done . Uh observing of one hundred uh subjects in the usability lab using a remote control . Uh and theyalso filled in a questionnaire . The findings were um , well you can see them for yourself . They disliked the look-and-feel of current remotes controls . {vocalsound} Users think they're ugly . Um {vocalsound} they donot match the the operating behaviour of the users . So they they d they don't match what they want to have on it . Um {vocalsound} they are often lost somewhere in the room . Um it takes too much time to learnhow to use a new remote control . And they're bad for R_S_I_ . {vocalsound} I don't know uh how a user can reach that but okay . Um {vocalsound}Industrial Designer: TsMarketing: there is also uh was also someresearch on uh the most relevant and and and irrelevant uh f functions . Uh most irrelevant and less used were audio settings , mono , stereo , uh pitch , bass . Um screen settings for brightness and colour and stuff likethat . Um but they are used . I mean the {disfmarker}Industrial Designer: So they do need to be in the {disfmarker}Project Manager: Yeah .Marketing: Yeah they do need to be on the on the remote control .IndustrialDesigner: Alright .Marketing: I mean if you can't control the the sound settings {disfmarker} I mean if you dislike a very uh loud bass or something , you you need to change that .Project Manager: {vocalsound} {gap}often .Marketing: So um yeah we have to .Industrial Designer: By the way my T_V_ doesn't have an equ equaliser butMarketing: We c we c Yeah I mean w we can't {disfmarker}Project Manager: {vocalsound} Nextgeneration does . {vocalsound}Industrial Designer: {disfmarker} okay .Marketing: my my T_V_ has ,Industrial Designer: No . {vocalsound} Alright .Marketing: but we we can leave them uh away . Uh most relevant ,uh most used functions , uh they speak for themselves I guess . Uh power button , uh channel , volume selection . Uh teletext but we can skip that because I saw the newsflash , and teletext is so outdated that it it's ishould not be used uh any more in the future .Project Manager: N not used anymore .Marketing: So forget this one .User Interface: Okay .Marketing: Uh channel settings , so for programming uh your channels in in theright order .Project Manager: Yeah .Industrial Designer: By the way where did you guys get that newsflash from ?User Interface: Yeah . {vocalsound} I was wondering uh {disfmarker}Industrial Designer: I didn't getanything .Marketing: Yeah , {vocalsound} on on the project uh {disfmarker}Project Manager: Yeah . Not by mail . I receiv the mail but you don't . So {disfmarker}User Interface: But you you've got more informationthan {disfmarker} uh .Marketing: No so it's a text file n in the project folder . So teletext can be skipped .Project Manager: That's in the presentation , so {disfmarker}Industrial Designer: Alright .Marketing: Um therewas some research on new features in a remote control . Uh about an L_C_D_ screen uh and speech recognition . Well we got an update for the for the audience . Or the the the targeted group . So it's above forty Iguess .Project Manager: Uh below I believe .Marketing: The new product ? Or below {vocalsound}Project Manager: Yeah below forty .Marketing: because that's pretty relevant .Project Manager: Mm-hmm .Marketing: Ithought I read a {disfmarker}Project Manager: Our current customers are in the age group forty plus .Marketing: Yeah ?Project Manager: And the new product should reach new markets , which is the customers belowforty .Marketing: Below ? Okay well {vocalsound}User Interface: But where did you get uh that information ?Project Manager: That's in a newsflash .Marketing: that's that's in the newsflaProject Manager:{vocalsound}User Interface: Okay . {vocalsound}Marketing: okay that's a good to know . Um because you see see a clear distinction between the age groups , concerning the features .User Interface: Yeah .Marketing:I mean uh above forty people are not so interested uh not so interested in a screen or speech recognition . Uh but below that age they uh they pretty much are . So I think we can build that in . Um {disfmarker} Yeahwell we can skip this part as well , because I thought I read above forty so we could skip the features , but we just have to build them in because uh they find it very interesting . Um well we have to keep all the classicfunctions but make the buttons as user-friendly as possible . Um and and also there's {disfmarker} so not only the design of the bus uh buttons but o how you can push them , and stuff like that . So the physical uhaspect of it . Um {disfmarker} And I think {disfmarker} and certainly for for the for the lower age groups , uh nice design , which uh does not make the remote control {gap} in your room .User Interface: Yeah.Marketing: It's it's actually a part of your interior , of of your design in your room . So it's {vocalsound} the people can say , well what's that , well that's my remote control , so it's d it has to look nice and feel nice ,and and have all the functions that uh {disfmarker}Project Manager: Yeah . But it also needs to have corporate identity .Marketing: Yeah so the the logo has to beProject Manager: Present and the colours .Marketing:uh present yeah , and the colours as well .Project Manager: {vocalsound} So we can't change much of that .Industrial Designer: Do we have {disfmarker} uh yeah {gap} .Marketing: Yeah so but I I don't think that'sthat's a problem because the thing has to have a colour anyway , and most of the times there is a brand present on it .Project Manager: Mm-hmm . Mm-hmm . Yeah . Yeah .Marketing: So I think that's not gonna gonnaaffect it very uh very much .Project Manager: Okay .Marketing: Well that are the the consequences uh on a marketing uh part .Project Manager: {vocalsound} 'Kay .Industrial Designer: Alright .Marketing: Yes .UserInterface: Okay .Project Manager: It's open already so you can use {gap} toMarketing: {gap} .Project Manager: find yours .User Interface: Mm . It's {disfmarker}Project Manager: F_ five .User Interface: F_ five . Okay.Project Manager: {vocalsound} Go Jurgen .User Interface: Oh . What is this ?Marketing: {vocalsound}User Interface: Oh no . {vocalsound}Industrial Designer: {vocalsound}User Interface: How do I uh{disfmarker}Project Manager: {vocalsound} You pressed alt F_ four ? {vocalsound}User Interface: No no no . I pressed the mouse button .Project Manager: Oh great . {vocalsound}User Interface:{vocalsound}Industrial Designer: It's {disfmarker} th that's the self-destruct button .Project Manager: {vocalsound} Yeah .User Interface: Yeah . Okay .Project Manager: Uh maybe you can do it from your computer sotalk us through it .User Interface: Okay . Um if you all go stand around uh {disfmarker}Marketing: Yeah . Just {disfmarker} yeah .Project Manager: Yeah . {vocalsound}User Interface: Computer {disfmarker}IndustrialDesigner: Alright .Marketing: Sure .User Interface: Um {disfmarker} {vocalsound}Project Manager: That's nice . {vocalsound}User Interface: No .Project Manager: F_ five . Yeah .Marketing: Yeah .User Interface: Okay.Marketing: Alright .User Interface: I uh had uh two examples .Project Manager: Mm-hmm .User Interface: Um this one is the the yeah the advanced one with a lot of options and functions and buttons .ProjectManager: Mm-hmm .User Interface: This the easy oneMarketing: Yeah .User Interface: I think we have to to combine them . And uh yeah merge the best functions of all examples .Project Manager: Mm-hmm.Marketing: Yeah .Industrial Designer: Mm-hmm .Project Manager: Yeah .User Interface: Um but yeah the the age is uh under forty ?Project Manager: The mm yeah .Marketing: Yeah and and and marketing researchstated that that that kind of users are not afraid of of a lot of functions .User Interface: So we {disfmarker} Okay so so we have the option for more functions .Marketing: So not not too much but {disfmarker} yeah.User Interface: Um {disfmarker} yeah .Industrial Designer: And we do have to integrate the screen and the the speech {disfmarker}Marketing: And the speech recognition yeah .Project Manager: {vocalsound} Yeah.User Interface: Yeah .Industrial Designer: alright .User Interface: Uh yeah this this one we can remove for kids . It's just only for adults so uh we can uh use some advanced options . But {disfmarker}Marketing: Yeahfrom age of sixteen so yeah .User Interface: Yeah but I prefer we we uh use the the basic options uh yeah . We have to to make them very easy so for just uh zapping around the channels you can just push one button.Marketing: Mm .Industrial Designer: Mm-hmm .Project Manager: Mm-hmm .User Interface: But if you want to to use your your video recorder or something else , you should use use an uh an advanced option.Marketing: Yeah but uh the the newsflash also stated that it should control only one device , only your television .User Interface: Okay one device .Project Manager: Yeah . So n it's very easy .User Interface: Okay . Ididn't see {gap} .Marketing: So wProject Manager: Now yeah it's okay .User Interface: {vocalsound} Okay and I also uh yeah . W yeah .Marketing: So there are not extra options in this case , but uh{disfmarker}Project Manager: Okay .User Interface: We have to make it fashionable . Like you uh said uh before .Project Manager: Yeah .Marketing: Yeah .User Interface: Uh yeah the basic functions . Um yeah onlyuse a extra function if they are really needed .Project Manager: Yeah so maybe you can hide them or something .Marketing: Yeah .User Interface: Yeah .Marketing: Yeah well what what we can do with the screen is isall the the configuration options , you can put that in the screen .Project Manager: Yeah you make a screen menu or something .Marketing: And the and the {disfmarker} yeah screen menu to to to uh to do that,Industrial Designer: Yeah .User Interface: Yeah .Marketing: and then the basic function just on the device itself .Project Manager: Mm-hmm .Marketing: So it looks very simple and all the advanced features are hiddenin the screen , uh with a clear menu .Project Manager: Yeah and the other oth other uh functionality is the screen .User Interface: Yeah .Project Manager: What does the screen do ?User Interface: {vocalsound} Did Iuh {disfmarker}Industrial Designer: Alright .Marketing: Uh . {vocalsound} What are {disfmarker} whProject Manager: Yeah . It's low power .User Interface: did I break it ? {vocalsound}Marketing: What {gap} .ProjectManager: So what does the screen do ? They said they needed it but what does it do ? What do they want with the screen ?User Interface: For for the advanced functions I think .Project Manager: Yeah that's what wemake it up .Marketing: Yeah well it {gap} yeah it didn'tProject Manager: So but what did the marketing {disfmarker}Marketing: it didn't say what they want to do with the screen .Project Manager: No .Marketing: Well I, my guess is it's it's pretty handy for advanced uh advanced functions .Project Manager: Yeah okay it's handy . With no predefined uh {disfmarker}User Interface: Like searching for channels and {disfmarker}IndustrialDesigner: Ah look .Marketing: Yeah searching for channels , programming them .User Interface: Yeah .Industrial Designer: We have your uh {disfmarker} oh never mind . {vocalsound}Project Manager: We're backonline . {vocalsound}User Interface: Okay . That's uh {disfmarker} I'm al I'm almost finished so {disfmarker}Project Manager: Okay . {vocalsound}User Interface: {vocalsound} Um the {disfmarker} we have to to towatch out for the {disfmarker} i if we make it f very fashionable , it it the functional functionality will go down . So we have to make uh a compromise between functionality and fashional fashionableProject Manager:Mm-hmm . Content and form .User Interface: yeah content and form .Industrial Designer: {gap} .Marketing: Yeah .Project Manager: Yeah .User Interface: {vocalsound} Now that that was uh was the end .ProjectManager: {vocalsound} That was the end . Okay .User Interface: Yes .Industrial Designer: Okay .Marketing: Yeah .Industrial Designer: Well my presentation is a bit uh sucky . {vocalsound}Marketing: {vocalsound}Well you can improvise right ?Project Manager: Uh which one is it ? Technical functions ?Industrial Designer: Yeah a little bit .Project Manager: This one ?Industrial Designer: Uh no . No no . {vocalsound}ProjectManager: Functional requirements ?Industrial Designer: Yeah I think that would be it then . {gap}Project Manager: No .User Interface: {vocalsound}Project Manager: You didn't put it in ? Or {disfmarker}IndustrialDesigner: I have no idea .Marketing: So we we can go for {disfmarker}Industrial Designer: That w {gap} .Project Manager: {gap} it's not really English . {vocalsound}Industrial Designer: Let me check . I know.Project Manager: Uh kick off . Oh working design I got it .Industrial Designer: Yeah .Marketing: So we can go for the look-and-feel of the the left example , and then a screen on top of it .Project Manager: Here you go.Industrial Designer: Alright how do I uh skip pages ?Project Manager: Just uh press uh {disfmarker} yeah . Yeah .Industrial Designer: The keys yeah ?Marketing: Yeah .Industrial Designer: Alright . Um yeah well I wasworking on this before I got my information . So I was just working off the top of my head and using my colin common knowledge about uh remote controls .Project Manager: Mm-hmm .Marketing:{vocalsound}Industrial Designer: And well the info on the website which came too late .Project Manager: Mm-hmm .Industrial Designer: Um so I didn't really know what kind of functions we had to put into it yet.Project Manager: Mm-hmm .Industrial Designer: So uh uh this is basically an overview of what we discussed in our last uh meeting . Those were my uh starting points .Project Manager: Mm-hmm .Industrial Designer:Uh I was working on a s yeah on a schedule , and I was supposed to do it like this . But um yeah then uh the information came and it was kind of exact with all the steps in the remote control that I had to follow , so Iwas trying to organise them for myself .Project Manager: {vocalsound}Marketing: {vocalsound}Project Manager: Mm .Industrial Designer: And then make theProject Manager: Design yeah .Industrial Designer: thedesign , a the actual design ,Marketing: Design ? Yeah .Industrial Designer: but I never came around to do that . So I'm not really sure what I'm supposed to say about it .Marketing: Okay .Industrial Designer: I meaneverything speaks for itself I guess . Mean you press a button um {vocalsound} the it tru goes , it sends a signal to a chip ,Project Manager: Mm-hmm .Industrial Designer: which uh translates it into infrared signal ofcertin spatial frequencies .Project Manager: Mm-hmm .Marketing: Yeah frequency . Yeah .Industrial Designer: And uh or temporal fr frequencies actually . And then uh through a uh transformer , it the signal getsboosted and then sent to the to the receiver on the T_V_Project Manager: Yeah decoder .Industrial Designer: and the T_V_ will translate it into a function . Um {disfmarker} {vocalsound} Yeah well this was actually{vocalsound} all I got around to do .Project Manager: {vocalsound} Blank . Yeah okay .User Interface: {vocalsound} Yeah .Marketing: {vocalsound} Yeah .Industrial Designer: I mean I dunno if I'm too slow for thisstuff , but uh {disfmarker}Project Manager: {vocalsound} Work harder .Marketing: {vocalsound}User Interface: Okay shou should we make a list of the of all the functions we want uh {disfmarker}Marketing:{vocalsound}Industrial Designer: Yeah . Whatever .Project Manager: Yeah . Uh {disfmarker}Marketing: Yeah we want to incorporate in uh into it .User Interface: Yeah .Project Manager: 'Kay . Um for those that didn'tsee yet um the basic new requirements of the management were no teletext , only for T_V_ . Uh it should be designed for a use g uh group below forty , but I don't think it's w wrong if we can uh target the current"}
+{"doc_id":"doc_72","qid":"","text":"Project Manager: Okay . Uh door is closed . {vocalsound}Industrial Designer: {vocalsound}Project Manager: Well , let's begin . Because if we have as much time as the last uh meeting , we'll have to hurry up.Marketing: I'm listening .Industrial Designer: {vocalsound}Marketing: Right .Project Manager: Um well I'll start with the presentation again , the agenda .Industrial Designer: {vocalsound}Marketing: Great .ProjectManager: Yo . So . {vocalsound} {vocalsound} Uh {disfmarker} {vocalsound} This one I think .Marketing: {vocalsound}Project Manager: {vocalsound} Uh yeah . Well alright . Um well , I'll show you the notes . It's notas uh interesting as it should be because we just uh had the meeting ,Marketing: {vocalsound}Project Manager: but I'll show them . We'll get your presentations again on the conceptual design . Um {disfmarker} Thenwe'll have to dec decide about the control , the remote control concepts . I've put a f uh a file in the project management folder , which says exactly uh what kind of decisions we should take .Industrial Designer:Mm-hmm .Project Manager: So {vocalsound} this time we exactly know what to decide about .Marketing: {vocalsound} Alright , great .Project Manager: And then we'll close again .Industrial Designer: Alright .ProjectManager: Uh {disfmarker} Well these are some examples , but we'll talk about them later . We'll {vocalsound} first look at your uh presentations . Alright ?Industrial Designer: Mm-hmm .Project Manager: Walter willuh start again this time ?Marketing: Yeah , great .Project Manager: Yo .Marketing: Alright , Trendwatch .Project Manager: 'Kay .Marketing: {gap}Project Manager: {vocalsound}Marketing: Right . I will speak about uhlatest trends trends , latest fashion updates , and uh things we must not do .Project Manager: 'Kay .Marketing: Uh the trends . {vocalsound} It's very important that uh the control is fancy looking and good uh feeling .Uh this because of our last model was very functional , but {vocalsound} it uh people didn't like that , so our new mo model must be very good-looking . That's uh something you uh have to take a look at .IndustrialDesigner: Mm-hmm . Alright .Marketing: And uh the feeling has to be very great . Also the menus and things like that they have to they have to feel great .Industrial Designer: Alright .Marketing: Um there's a minus uhtwo times here , because this is the most important point . This is uh two times as less important ,Project Manager: Less . {vocalsound}Industrial Designer: {vocalsound}Marketing: and uh same for this one .{vocalsound} Um , technological technological innovations , that's uh regarded very highly too .Project Manager: {vocalsound}Marketing: Uh such as an uh L_C_D_ screen , uh speech uh acknowledgement , as we uhtalked about earlier .Project Manager: Well , yeah .Marketing: So we have to have uh something like that , like we uh {disfmarker}Project Manager: L_C_D_ and our uh our fronts .Marketing: Right . {vocalsound} Uhthe last point is easy to use . Well I think that uh speaks for s for itself . I don't know who's uh who's going to look at that .Industrial Designer: Easy to use ?Project Manager: Well , easy to use uh s is a bit uhcontradictionary with the first uh {disfmarker}Marketing: Yeah ?Industrial Designer: I think that's your taUser Interface: {gap}Project Manager: Functional is not an issue , and then easy to use .Marketing: Yeah , Iknow .Project Manager: Well we have to choose one of them . {vocalsound}Marketing: I think we have to go for the first one .Project Manager: Yeah . {vocalsound}Industrial Designer: Mm .Marketing: It's the mostimportant one . So {gap} we have to uh take that one .Project Manager: Okay .Marketing: So it it {vocalsound} it isn't very important that {vocalsound} that it works easy .User Interface: Well something fancy lookingcan be can be easy to use .Industrial Designer: {vocalsound}Marketing: {vocalsound} But {vocalsound} it has to look great .Project Manager: Yeah . We'll we'll look at uh {gap} .Industrial Designer: You {disfmarker}Yeah . Yeah , yeah ,Marketing: We'll see . {vocalsound}Industrial Designer: you can make a very complicated uh uh remote anyway , so ease of use {disfmarker} {vocalsound} It's not a very comp complicated device.Marketing: Yeah , right . But the most important thing is that it looks great and people say {gap} wow , that's real great uh great concept .Project Manager: 'Kay .Industrial Designer: Alright .Marketing: Alright . Uhthese are the new colours of this year .User Interface: {vocalsound}Industrial Designer: {vocalsound}Marketing: So it must be very bright , very colourful .Project Manager: {vocalsound}Industrial Designer:{vocalsound} {vocalsound}Marketing: People like this .Project Manager: {vocalsound}User Interface: {vocalsound}Marketing: So we we have to think uh in this direction .Project Manager: So {disfmarker}Marketing:So i set your mind to it .User Interface: {vocalsound}Project Manager: Well {disfmarker}Marketing: Findings ? Fashion update ? Fruit and vegetables are cool .Industrial Designer: {vocalsound} Uh you think?Marketing: I am told . {vocalsound}Project Manager: {vocalsound}User Interface: {vocalsound}Marketing: The group we are targeting is uh very pleased with fruit and vegetables .Industrial Designer:{vocalsound}Marketing: So {vocalsound} we we we might cons consider in front of uh in in that sort of uh way .Industrial Designer: {vocalsound}Project Manager: Yeah , well {disfmarker}User Interface: Bananas.Marketing: Uh furthermore uh material , that's your part , should be very strong . I was thinking of something like uh {vocalsound} well uh iron plate over it ,Industrial Designer: Mm .Marketing: maybe in a colour orsomething ,Project Manager: Yeah .Marketing: that looks so f really flashy but it it is also strong .Industrial Designer: {gap}Project Manager: BMarketing: And that's uh also for the younger public .Project Manager: Wellthe the handy thing about our fronts is that we can follow these trends e ev every year . Th this year it's fruits but next year it's it's something totally different .Marketing: Yeah , that's great .User Interface: Yeah.Marketing: But I think we can all make the the fronts of titanium or something uh really thin .Project Manager: Yes .Marketing: So it looks very heavy but you can still uh use it very easily .Project Manager: Yep , alright.Industrial Designer: Mm .Marketing: Well , the don'ts . Older people like dark colours and simple shapes . Well we don't want uh older people ,User Interface: {vocalsound}Marketing: we want young people .IndustrialDesigner: {vocalsound} {gap}Marketing: So uh we're gonna turn that around .Project Manager: {vocalsound}Industrial Designer: Alright .Marketing: We're gonna have real uh cool shapes and lots of colours . Right?Project Manager: Wood is popular . Aha .Marketing: Okay . We don't want wood .Project Manager: {vocalsound} Yeah yeah yeah .Industrial Designer: Yeah , among the old people , yeah .Marketing: Old people . So ,that's it for me .Project Manager: Alright . Nice , uh well {gap} show us .Industrial Designer: Right , I am going to tell you something about the components design . Uh again I have uh put up the specificationproperties . This uh so um uh the different uh components of the of of the device . And the materials ? Um I have heard several things , so I uh I'll have to change that on the way . But uh the case ? Uh I suggested uhin the previous meeting hard plastic . But uh as you indicated uh it should be strong .Marketing: Yeah , we should change that .Industrial Designer: It should feel strong . So maybe plastic is not uh sufficient .ProjectManager: Well maybe it it it is ,Industrial Designer: We should move to uh something {disfmarker}Project Manager: but it doesn't look strong . So maybe {disfmarker}Industrial Designer: Well yeah . Y Hard plastic i isof course uh pretty pretty tough , but it doesn't have a really really tough look . So {disfmarker}Marketing: No no no .Project Manager: But we still have to look at our price of course . Because uh if we want an L_C_D_uh window etcetera uh {disfmarker}Industrial Designer: Yeah . Also {disfmarker} Yeah . Mm-hmm . But we'll return to that .Project Manager: Yeah ?Industrial Designer: Uh the buttons of course rubber , I thinkeveryone agrees . And electrical cables , copper is all pretty basic stuff . The chips made of silicon , I guess . I think that's the best uh way to do it .Project Manager: {vocalsound}Industrial Designer: And infra infrared lLED is uh just a simple bulb .Marketing: {vocalsound}Industrial Designer: Then I've uh {vocalsound} had a few findings , made a few findings . Uh the target audience product style . Um it's uh um generally the casethat uh senior and wealthy people above uh forty five years old uh like , as you said , uh particularly the traditional materials as such as wood and materials such as that . They also like straightforward shapes andluxurious style . But of course that's not our uh things this . So this is things we must not do .Project Manager: Yes .Industrial Designer: And then we have uh young uh and dynamic uh people , which is of course our uhgroup , the people we aim at . Um under forty five years old . Uh they like soft materials uh with primary colours . Soft materials is of course uh agai again a bit a contradiction with uh our uh material choice of what yousaid , that uh it should be hard an and and and and strong looking .Marketing: Mm . Yeah .User Interface: Yeah .Industrial Designer: But they like soft materials , uh so we might uh we have to consider that . And alsothey like curved round shapes . So not uh too formal like like uh the older people want . And if uh also a finding but not very ap applicable here , that sports and gaming devices such as uh discmans for jogging and thatthose kind of devices , gaming devices , should define the characteristics of the device . But uh since we don't have a really a sports or gaming device , so we don't really have to consider that .Project Manager: Sportsuh , they're uh that uh are accessible on on your L_C_D_ uh window uhUser Interface: Soccer fronts . {vocalsound} Mm .Marketing: {vocalsound}Project Manager: {disfmarker} Huh ? {vocalsound}Industrial Designer:Mm .Project Manager: That's nice . {vocalsound}User Interface: Hmm .Project Manager: All the {gap} results ?Industrial Designer: Well I also have um several examples of uh styles ,Marketing: We keep coming backto the fronts . {vocalsound}Project Manager: {vocalsound}User Interface: Yeah . {vocalsound}Industrial Designer: so you can get a clear picture of uh what I mean .Project Manager: Yeah .Industrial Designer: Uh{vocalsound} these are the basic uh older older peoples' stuff .User Interface: {vocalsound}Project Manager: Yeah .Marketing: {vocalsound} Yeah .Industrial Designer: It was not very uh interesting uh , very classicallooking ,Project Manager: Mm-hmm . {vocalsound} Nai . Uh no .Industrial Designer: but that's n that's not what we want .User Interface: Hmm .Industrial Designer: We have these kind of things . I don't know whatexactly they are .Marketing: {vocalsound} Fruity . {vocalsound} Fruity .Industrial Designer: It looks like {disfmarker} Well you know uh you recognise the shapes ,Project Manager: {vocalsound}Industrial Designer:it's very primary colours , uh bright colours and uh round shapes .Project Manager: {vocalsound}Industrial Designer: You also uh {vocalsound} see uh this device , it's not very round and {disfmarker} Fruity of course .Yeah , it uh {disfmarker}Project Manager: It's t terrible .Industrial Designer: That's true .Project Manager: Alright .Industrial Designer: And uh well round shapes , primary colours .Project Manager:{vocalsound}Industrial Designer: You can see it all here . And of course uh this famous device .Project Manager: Hmm ?Industrial Designer: I think as you know something uh some devices like this .Project Manager:Yeah , alright .Industrial Designer: So to give you an idea of uh {disfmarker}Marketing: Well it's got a strong look , this . Yeah .Industrial Designer: This has a strong look . Although it's plastic , it's it's grey to to to giveit iron look .Marketing: Yeah , it still has a strong look .Project Manager: Yeah . And it's round .Industrial Designer: That's uh {disfmarker}Marketing: But then you are losing your fruity colours .Industrial Designer:Yeah . Well we have to make a {disfmarker}Project Manager: Well you can make th th th that middle ring can you you can make another colour . So uh those kind of things you can you can combine .Marketing: That'strue .Industrial Designer: Well we can't really make a round uh a round remote control . I don't think that's very practical ,Project Manager: No , it isn't .Industrial Designer: but {disfmarker} But uh it's important to touh to think about the colour .Project Manager: Okay .Industrial Designer: Because if we make it grey or or silvery looking , it it does make it a lot more uh does make it looking a lot more stronger .Project Manager: Yes.Industrial Designer: 'Cause if you look at this , it it doesn't look very very strong ,Marketing: Yeah but the {disfmarker}Industrial Designer: becau But this is plastic , and and this too , but {disfmarker}Marketing: But itdoesn't have to look strong . The the results are , the feel of the material is expected to be strongy .Industrial Designer: The feel ? Uh alright .Marketing: The feel .Project Manager: So , if you tiIndustrial Designer: Well{disfmarker}User Interface: And it it doesn't have to be strong , also .Project Manager: Well {disfmarker}Marketing: Nah yeah the feel {disfmarker}Project Manager: You you {disfmarker} Maybe you should have uhsome some coloured titanium or something .User Interface: {vocalsound} Only the feel . {vocalsound}Project Manager: So it it looks pretty but it feels strong .User Interface: {vocalsound}Industrial Designer:Mm-hmm .Marketing: Right .User Interface: Oh .Industrial Designer: And I {disfmarker} Then I have some more findings . Um {vocalsound} uh about the energy energy source of the of the device ,Marketing: I agree.Industrial Designer: uh I uh suggest uh the basic battery . I uh got some other um uh uh energy sources of course . But solar energy is not very practical inside a house , because you don't have a have a lot of uh sun.Marketing: {vocalsound}Industrial Designer: And uh kinetic and and and dynamos are are not very practical , I think , for uh for a simple remote ,Marketing: {vocalsound}Industrial Designer: that's a bit , oh , that's abit uh {disfmarker} That's a bit uh much .Project Manager: {vocalsound} {gap} No titanium . {vocalsound}User Interface: {vocalsound}Industrial Designer: And I also suggest uh as a shape uh a double curved case.Project Manager: {vocalsound}Industrial Designer: Uh the disadvantage of that that you can use no titanium . That that's the information I received . If you use the curved case , uh a curved case , double curved thenyou can't use titanium .Project Manager: What do you exactly mean with double curved ?Industrial Designer: Now uh this uh to give it a more modern look .User Interface: {gap}Industrial Designer: And uh{vocalsound} now the the shape , yeah , {gap} a curved case . Um yeah I think uh sort of triangle-shaped bottom or something . Uh {gap} a more modern look not plain , long box style , but {disfmarker}Marketing:{vocalsound} I dunno .Project Manager: Double curved ?Industrial Designer: {vocalsound} I'll draw it ,Project Manager: It it mean {disfmarker}User Interface: Yeah . Yeah . {vocalsound}Project Manager: Yeah , wellokay . {vocalsound}Industrial Designer: but maybe later .Marketing: {vocalsound}Industrial Designer: {vocalsound} And it makes uh it gives it a more u user friendly shape , than if you have uh {gap} . Um anyway{disfmarker}User Interface: {vocalsound}Marketing: {vocalsound}Industrial Designer: Um f as uh for the buttons , simple push buttons . No uh otherwi uh no um difficult scroll things or some uh things like that ,because it makes more complex and expensive . And , uh as we agreed , we don't use a speaker or a sensor or um {vocalsound} uh speak uh speech uh controlled {vocalsound} device .Marketing: Yeah right .{vocalsound}Industrial Designer: {vocalsound} Because it makes it also more complex and expensive . But we do use an L_C_D_ screen , so we uh we do have to consider uh of we have to use a more advanced chip ,which is more complex and expensive . But {disfmarker} It's worth the trouble I think ,Project Manager: Well {disfmarker}User Interface: The buttons can be made of an uh a soft material .Industrial Designer: because{disfmarker}User Interface: Because people like that .Project Manager: This soft material thing from uh {disfmarker} Yeah .Industrial Designer: Uh rubber is a soft material , I guess .User Interface: Yeah . Right . Yeah.Industrial Designer: Uh soft enough .Marketing: Yeah . Right .Industrial Designer: So that's uh basically what I want to talk about .Project Manager: Alright . Okay . We will take that . And then uh Mike ? Okay .UserInterface: Yeah . Well um nah the method um we will um include the buttons as we discussed uh earlier . Um an L_C_D_ s screen will be implemented . Um we must decide where , this meeting .Project Manager:{vocalsound}Marketing: {vocalsound}User Interface: Um there are new developments in speech recognition um systems , {vocalsound} um and they are already being uh used on uh coffee machines . And um wellthey're cheap , so we could use them now .Project Manager: {vocalsound} Oh {disfmarker} That's interesting .User Interface: Um it's not really speech recognition , it's more um like you can um talk to the chip , uhrecord the message and record an answer , and then once you uh talk to the remote , then um he will a answer with the the prerecorded message that you left . So if I say hi Mike , and you have recorded uh hi Mikeback , then you will get that .Industrial Designer: Oh , yeah , I understand . Yeah .Marketing: Oh okay . {gap}Project Manager: Okay . But you can also say that , when you say something , it does some function.Marketing: Right .User Interface: No it doesn't does not do anything .Marketing: No .Project Manager: Oh . That's a bit uh {disfmarker}User Interface: But i it's just a {disfmarker}Marketing: But that that makes itcheap .Project Manager: Yes . I understand .User Interface: Yeah it's it's cheap .Industrial Designer: Yeah . {vocalsound}Marketing: It's {vocalsound} it's just a an extra function ,Project Manager: But {vocalsound} ithas no functionality for our remote at all .Marketing: and it's cheap .User Interface: NoMarketing: No but {vocalsound} {disfmarker}User Interface: but that's the gadget they want , or the gimmicks .Marketing: Yeah ,right . {vocalsound}Industrial Designer: But it it's n nice for young people .Marketing: Young people love them .User Interface: Yes , we we should really uh include that one , I think . Um {disfmarker}IndustrialDesigner: They like gadgets . Yeah .Marketing: Yeah , ple Right .Project Manager: Hmm .Industrial Designer: If it's cheap . Yeah .User Interface: Well , as I said uh earlier I think the uh L_C_D_ screen should be uhpositioned at the lower end of the remote .Project Manager: {vocalsound}User Interface: Um the buttons for screen width and general settings and {gap} uh and that kind of stuff {vocalsound}Marketing:{vocalsound}User Interface: um we can also do let that kind of functions um be shown in the L_C_D_ screen , uh instead of uh extra buttons .Project Manager: So you put a menu in the L_C_D_ ?User Interface: I thinkyoung people and yeah w well every user would like that . Um the buttons um should be positioned uh positioned the same way as they are on a , well , conventional remote , I think . For the learnability and uh well tokeep it recognisable . A voice recognition can be uh implemented . And uh I drew an example ,Industrial Designer: {vocalsound}User Interface: but it did not work quite the well uh the way I wanted it to do .Marketing:{vocalsound} Alright .Industrial Designer: Can you draw it now of uh {disfmarker}Marketing: How {disfmarker} How {disfmarker}Project Manager: Ah .User Interface: Hmm ? Well I have the {disfmarker} I can drawit again ,Industrial Designer: Can you draw it now ?User Interface: and I know what I did wrong . I didn't tick the note bo box in the {gap} . Um {disfmarker}Industrial Designer: Mm . Alright .Marketing: How do you uhuh give input to the menu on the L_C_D_ screen ?User Interface: {vocalsound} Um with the uh the up and down and and well buttons and the {disfmarker}Marketing: Alright . So you have a menu button , and thenyou can go up and down .Project Manager: But then we should also have an uh an Okay button .User Interface: Well I will draw what I had drawn on the screen . Yes .Marketing: Yeah right .User Interface:{vocalsound} Um I shall draw this . If it uh works .Industrial Designer: {gap} button , yeah .Project Manager: Just uh {disfmarker} {vocalsound} There is already a blank . Yes ? So {disfmarker} Yeah .Marketing: Yeah"}
+{"doc_id":"doc_73","qid":"","text":"Project Manager: {vocalsound} Uh welcome back after lunch , I hope uh you had a good lunch together . For uh this meeting the main agenda okay uh to discuss about the conceptual design meeting . Okay and theagenda will be the opening and uh {disfmarker} that's uh {disfmarker} the product manager or secretary that's me and uh the presentations from the Christine and uh Agnes and from Mister Ed . And finally in thismeeting we have to decideMarketing: {vocalsound}Project Manager: and we are to take a decision on the remote control concept and uh the functional design So we have forty minutes , I think it's uh little bit uh low ,but I I hope we can finish it up {vocalsound} so I'll handle to the the functional team , to the Christine , okay , to discuss about uh the components concept .Industrial Designer: Okay . So uh , if you could open thePowerPoint presentation .Marketing: {vocalsound}Industrial Designer: I'm number two .Project Manager: You're number two . 'KayIndustrial Designer: {vocalsound} Components design , there we go .Marketing:{vocalsound}Industrial Designer: So uh can we put it in slide show mode ? Yeah .Project Manager: The next one .Industrial Designer: Right here , is that little {disfmarker} that one , yes please .Marketing:{vocalsound}Industrial Designer: Thank you .Project Manager: {vocalsound}Industrial Designer: I'll take the mouse . {vocalsound} So uhProject Manager: {vocalsound}Industrial Designer: we were looking hespecifically at the components uh {disfmarker} the following components , uh the case , the power supply , uh the means of communications with the television set . In instance we had talked about using some sort ofspeech recognition ,Project Manager: {vocalsound}Industrial Designer: you have to have microphone {disfmarker} well no you don't actually I haven't {disfmarker} have to have microphone in the device , but ummaybe you do have it a a way {disfmarker}Marketing: {vocalsound}Industrial Designer: it has to it has to hear the speakerUser Interface: Mm-hmm .Industrial Designer: and um , so it could be in the television set ,could be in the device , but somewhere you have to put the microphone , um and a w a way of making beeps or sounds so you can find it when it's gets lost . Um so the other w thing that we {disfmarker} So . Ourmethod for going about this is we've looked at uh the histo hi historical record , what's worked , what hasn't and then we also um {disfmarker} we wanted to evaluate some new materialsMarketing:{vocalsound}Industrial Designer: and we contacted manufacturing for their input because , course , we m might {vocalsound} come up and choose the material that then manufacturing didn't have the technologies orcapabilities to offer us , so uh this is the approach that we took during our um {disfmarker} our research .Marketing: {vocalsound}Industrial Designer: So um for the case , um we told we were making a specificaspecific assumption that it would be curved in design .Marketing: {vocalsound} {vocalsound} {vocalsound}Industrial Designer: Course , you know , I wanted it to be expandable and shrinkable , but um that uh doesn'tseem to b be one of the choic non-option we can uh {disfmarker} we can really seriously explore ,User Interface: {vocalsound} {vocalsound}Industrial Designer: {vocalsound} so then we were thinking about umrubber , but um unfortunately that's been eliminated because of the heat uh factorUser Interface: {vocalsound}Industrial Designer: and th um there might be some {vocalsound} problems with the m uh how it's{disfmarker} {vocalsound} uh goes with the board . {vocalsound} Uh and uh then th plastic also has this problem of melting and it's brittle {disfmarker} it gets brittle after a while ,User Interface:{vocalsound}Industrial Designer: so um we still had titanium and and wood available , but um unfortunately uh uh titanium's also been eliminated uh ,User Interface: {vocalsound}Industrial Designer: the m people inmanufacturing said that you couldn't make d curved cases out of titanium , although how {vocalsound} Apple did it with th PowerBook I'm not su quite sure but uh nevertheless um they've eliminated all of our optionsexcept wood .User Interface: {vocalsound} At least it's environmentally friendly . {vocalsound}Industrial Designer: {vocalsound} So , {vocalsound} this is our finding .Marketing: {vocalsound}Industrial Designer: Anda as she said , it's an environmentally friendly uh material , so we're {disfmarker} we're {vocalsound} currently uh proposing ,Marketing: {vocalsound}Industrial Designer: uh we'll get to all my personal preferences injust a second .Marketing: {vocalsound}Industrial Designer: So then there's this other matter of the chips and um well we could use a simple design on the board ,User Interface: {vocalsound}Project Manager:{vocalsound}Industrial Designer: {disfmarker} uh these simple chips , but that's only works for the bu you don't get very much um intelligence with this simple one . And um then there was the regular which{vocalsound} I regret that I've forgotten exactly why I'm eliminating that one . Uh the other option was this advanced chip on print , {vocalsound} and uh we liked th we we found that it it includes this infrared sender,Marketing: {vocalsound}Industrial Designer: which w 'member the beam was {disfmarker} that was an important component of finding the right chip .Marketing: {vocalsound}Industrial Designer: And uhmanufacturing has told us that they've um uh recently developed a uh a sensor and a speaker that would uh be integrated into this advanced chip on print , so uh we we uh now jumping right to our personalpreferences um I I'd really think we should , you know , use some of uh some really exotic woods , like um ,User Interface: {vocalsound}Industrial Designer: you know uh , well you guys come from tropical countries soyou can kinda think of some trees and some nice woods . I think that people will might really want to design their own cases , you see , they could do sort of a {disfmarker} this um three-dimensional design on theinternet , and then they could submit their orders , kinda like you submit a custom car order , you know , and you can choose the colour and the size of the wheels and the colours of the leather and things like that , andthen I uh think we should go with the solar cells as well as the um microphone and speaker on the advanced chip . So this is the findings of our researchMarketing: {vocalsound}Industrial Designer: and myrecommendations um for the new remote control w um would be to have um have it be made out of wood . Do you have any problems with that ?Project Manager: {vocalsound} Can you go back uh one slide ?IndustrialDesigner: I'm not sure , how do I {disfmarker} Oh , I know , let's see .User Interface: Thank you . Yeah .Industrial Designer: Let's go back up here .Project Manager: Yes , uh {gap} question , uh , what's mean exactly, advanced chip on print ? What's the meaning of that ?Industrial Designer: I think it's um um a multiple uh chip design um {vocalsound} and it's uh maybe printed on to the circuit board .User Interface:{vocalsound}Project Manager: Mm-hmm .Marketing: {vocalsound}Industrial Designer: Uh I could find out more about that uh before the next fi next meeting .Project Manager: Yeah , is it means it's on the{disfmarker} yeah is it on a micro-proc micro-processor based or uh {disfmarker}Industrial Designer: {vocalsound} I don't know , but I'll find out more at our next meeting .Project Manager: Okay , tha that would begreat , so if you find out from the technology background , okay , so that would be good .Marketing: {vocalsound}Industrial Designer: Sounds good .User Interface: Why was the plastic eliminated as a possible material?Industrial Designer: Because um it gets brittle , cracks {disfmarker}User Interface: Mm-hmm .Industrial Designer: Um We want {disfmarker} we expect these um {vocalsound} uh these remote controls to be aroundfor several hundred years . So . {vocalsound} Good ex {vocalsound} {gap} Good expression . {vocalsound}User Interface: {vocalsound} WhicMarketing: Wow ,User Interface: {vocalsound} Which{disfmarker}Marketing: {vocalsound} good expression . Well after us . {vocalsound}User Interface: {vocalsound}Industrial Designer: I don't know , speak for yourself , I'm planning to be around for a while .{vocalsound}User Interface: Although I think {disfmarker} {vocalsound}Marketing: {vocalsound}User Interface: I think with wood though you'd run into the same types of problems , wouldn't you , I mean it chips , itif you drop it ,Industrial Designer: {vocalsound}Marketing: {vocalsound}User Interface: uh it's {disfmarker} I'm not su {vocalsound}Industrial Designer: {vocalsound} {vocalsound}Project Manager: So {gap} soyou're not convinced about the the wood , yes .User Interface: {vocalsound}Industrial Designer: {vocalsound} {gap} you're what ?Marketing: Actually , I'm ready to sell it .User Interface: I think {vocalsound} if you reif you use really good quality wood , then it might work ,Marketing: I'm ready to sell it .Industrial Designer: {vocalsound} You think ? {vocalsound} And you could {disfmarker} you could sell oils with it , to take care ofit .User Interface: but you can't just use {disfmarker}Marketing: No y {vocalsound} no no no , the o the only w the only wood you can use are the ones that are hard , extremely hard wood ,User Interface: Yeah ,exactly , yeah .Marketing: but there are some very pretty woods out there {vocalsound} .Industrial Designer: {vocalsound} Well I'm glad you {disfmarker}User Interface: {vocalsound}Marketing: That's actually veryinnovative idea .Industrial Designer: {vocalsound} Okay , good .User Interface: {vocalsound}Industrial Designer: {vocalsound} Sorr having a hard time keeping wi control over my face . {vocalsound}Marketing:{vocalsound}Industrial Designer: {vocalsound}Marketing: Well , it's actually a very innovative n different idea that uh you know you can choose your colour of wood , your type of wood .Industrial Designer: Mm-hmm.User Interface: The stain .Marketing: {vocalsound} I mean it's {disfmarker} each person is gonna have their own personalised , individualised speech recognition remote control in wood , that's not on the market.Industrial Designer: Mm .User Interface: {vocalsound}Project Manager: Yeah , so it it's looks good the the design the functional design uh , what about yo you ?Marketing: {vocalsound}User Interface: {vocalsound}Um , in terms of comments on this or in terms of my own {disfmarker}Project Manager: Yes , in t yes , in term in terms of comments first {disfmarker}Marketing: {vocalsound} In turns of wow . {vocalsound}IndustrialDesigner: {vocalsound}User Interface: {vocalsound}Industrial Designer: She works in the cubicle next to me so she's uh she was already a little bit prepared for this {vocalsound} .User Interface: Y yeah .Marketing:{vocalsound} {vocalsound}Industrial Designer: Luckily Ed was not . {vocalsound}User Interface: {vocalsound}Marketing: Wood ? {vocalsound}User Interface: {vocalsound} I think we can get the quality materialsthen {vocalsound} it shouldn't influence the design principles too much , which you'll see with my presentation .Marketing: {vocalsound} {vocalsound}User Interface: One thing we'd have to check though is what theusers {disfmarker} whether {disfmarker} how quickly the novelty wears off of having uh {vocalsound}Industrial Designer: {vocalsound} Mm-hmm . Yeah , you wouldn't wanna have to have splinters in your hand whileyou're using your {disfmarker}User Interface: {disfmarker} Yeah , for example . {vocalsound} So , have to see how kid-friendly it is and and all that ,Marketing: {vocalsound}Industrial Designer: {vocalsound} It'sreally good if your dog gets ahold of it , they can use it {vocalsound} {gap} for teething .User Interface: but {disfmarker} {vocalsound}Marketing: {vocalsound}User Interface: {vocalsound}Marketing: They do thatanyway with the rubber and plastic ,Industrial Designer: Yeah , they do it with other materials as well , yeah .Marketing: so {vocalsound} , and chew 'em up . And chew 'em up .Project Manager: Okay then , uh , let'smove to Agnes .User Interface: Sure .Industrial Designer: Oh , I'm sorry .Project Manager: S you're {disfmarker}User Interface: {vocalsound}Project Manager: You are in participant three .User Interface: One pointthree , yeahMarketing: {vocalsound}User Interface: Uh , yeah .Project Manager: This one ?User Interface: I think so , yeah . Yeah , that's the one . So , it's a very short presentation , 'cause I'm actually gonna drawyou the layout on the board so if you want to just go straight to the second slide , um , which basically shows , sort of {disfmarker}Marketing: {vocalsound}User Interface: I took the ideas that we were talking aboutlast time um and tried to put that into the remote control so the things that y you can actually see on it are the on off switch , volume and channel control , the menu access button , ergonomic shape , which Icompletely agree with Christine's idea to have it sort of molded , so it's slightly more ergonomic and comfortable to hold than the r standard very straight remote controls . And actually the other thing with the wood ifwe take your customising idea , is that people can actually do sort of quasi-measurements on their hand size , so if someone has larger hands , you have a wider remote control .Industrial Designer: {vocalsound} Right, my hand is uh different size than yours for example .User Interface: {vocalsound} So , that's actually a really good idea for customi customisability . Um , one thing I thought might be kind of interesting is to put a flipscreen on it , just like you have on flip phones ,Marketing: {vocalsound}User Interface: so that you don't have this case where someone sits on the remote control or accidentally puts their hand on it , especially if youhave little kids around , they're not pressing the buttons while you're trying to watch a T_V_ show and accidentally change the channel or turn it off .Industrial Designer: Mm-hmm .User Interface: And also{vocalsound} um you had issues with the batteries running out ,Marketing: {vocalsound}User Interface: so I thought maybe we could put a little battery life-light on it that kind of goes dimmer and dimmer and dimmeras your battery is {disfmarker} starts to die . And in terms of invisible features , audio and um tactile feedback on button presses and , like you said , speech recognition .Industrial Designer: Mm-hmm .User Interface:So , in terms of what this thing would actually look like {disfmarker}Marketing: {vocalsound}User Interface: Despite working in interface design , I'm not the greatest artist in the world , so you'll have to forgive me .{vocalsound} {vocalsound} You'd have something like this with an on-off switch fairly big , sort of in the corner and by itself , so you don't accidentally turn your T_V_ off while you're trying to manoeuvre other buttons. And then you have sort of one of those toggle displays for , oops , channels and volume , sort of for surfing channels and then volume , so the volume would be the up and down , 'cause volume goes up and down andthen channels left to right . And then here you'd have your sort of standard , telephonish number pad . {vocalsound} And then on one side you would have an access to the menu on your T_V_Project Manager:{vocalsound}User Interface: and on the other side a way to turn off the voice control . So that if the user doesn't want to use their voice , they can just turn it off and you don't have the remote control accidentallychanging things on you .Industrial Designer: Mm . Mm-hmm .User Interface: {vocalsound} Um , so again you can have a little L_C_D_ light somewhere , the flip {vocalsound} thing and {disfmarker} Have I forgottenanything ? I don't think so . So , as you can see , it's a very very simple design ,Marketing: No . {vocalsound}Project Manager: {vocalsound}User Interface: which is one of the things I really wanted to keep , is keep itsimple , not have too many buttons , not have too many functionalities thrown into it . Think the design can pretty much carry over to everything , although with the wood the flip screen might have to do somethingslightly different .Project Manager: {vocalsound}Industrial Designer: A hinge . Be like a copper hinge or you know .Project Manager: {vocalsound}User Interface: Yeah . But you also have to d start watching out for theweight , 'cause depending on how much the the flip screen will add to the weight of the remote control , you don't want it to start getting too heavy .Industrial Designer: Mm-hmm . Mm .User Interface: But that's thegeneral layout with the general functionalities , if we come up with something else . As you can see , there's still lots of space on the actual remote control and if you do it customisably , {vocalsound} you can make thisthing fairly small or fairly o large , depending on personal preferences .Industrial Designer: Mm-hmm , mm-hmm . {vocalsound}Marketing: Hmm .User Interface: So , that's pretty much {vocalsound} all I had to say , Imean , everything else in terms of design issues . Um the centering of the key pad and {vocalsound} the channel is just depending on where your thumb is and you tend to use the the volume control and uh thebrowsing more than the actual number pad , so that would be sort of in direct line of where your thumb goes when you are holding the remote control ,Industrial Designer: {vocalsound} Mm-hmm .User Interface: thenumber pad a little bit lower 'cause it's used less frequently .Industrial Designer: Mm . Mm-hmm .User Interface: So once we decide exactly what we want , then we can figure out the exact positioning , but more or lessI think it should go along those lines .Project Manager: {vocalsound} So what's your , uh , the comments or uh sMarketing: Simple design . It's what consumers want .Project Manager: OkayMarketing: It's almost like ,Houston , we have a product here . {vocalsound}User Interface: {vocalsound}Industrial Designer: {vocalsound} {vocalsound}Marketing: Problem is obviously gonna be cost .User Interface: Mm-hmm .Marketing: Okay, I also have a f {vocalsound} very simple presentation ,Project Manager: Mm-hmm .Marketing: because for the marketing point you have to see what the consumers want .Project Manager: Yeah .User Interface: Yeah.Marketing: {vocalsound} I also have uh copied a different type of remote . If you can find me , where I'm at . {vocalsound} There should only be one in here . {gap} trend watch .Industrial Designer: {vocalsound}Sure .Marketing: It's being modified .User Interface: {vocalsound}Marketing: {vocalsound} They're stealing our product . {vocalsound} We've been giving simple {vocalsound} questionnaires in different areas becauseth {gap} obviously we have to see what the com consumers are looking for today , 'cause uh trends change very very quickly . In six months maybe this idea is already gone out the window , so it's gonna be a questionhow fast we can act . Uh they already erased the rest of mine , huh .Industrial Designer: No ,User Interface: No , no .Industrial Designer: f go to findings .Project Manager: {vocalsound}Marketing: No no , no no .{vocalsound} 'Cause I had another comment there . Uh the market trend . This is what we know from the last uh {disfmarker} from the {vocalsound} questionnaires from the the {disfmarker} all the p surveys we'vedone , fancy and feel-good , that's what we've been looking for , something that feels good in the hand , that's easy to use . Looking for next generation of innovation , because all the remotes out there now , they're allvery similar , they all do the same thing ,Project Manager: {vocalsound}Industrial Designer: {vocalsound}Marketing: we have to have something completely different . Okay ? Easy to use , has always has become{disfmarker} has become another major interest that uh , with the whiteboard we can see that it's a remote that's easy to use . And I think this is another thing that's interesting is the consumers actually willing to paythe price for exciting tel technology . So even if we have a product that may be more expensive , if it comes out right , if they {gap} look {disfmarker} it looks and feels good and has technology . The second two , youcan see the last one is a very easy simple design . {vocalsound} The second one , there is about uh forty-five thousand different buttons on it , which makes it fairly hard to read , uh very hard to use .IndustrialDesigner: {vocalsound}User Interface: {vocalsound}Marketing: The first one , I see {vocalsound} that they put in a display . Now there's something else uh with the little flip-up , now we're adding all kinds of things in,User Interface: Mm-hmm .Marketing: but with the little flip-up , if you have a little display on the flip-up that when you close it everything is locked .User Interface: Yeah .Marketing: Maybe the display also makes it"}
+{"doc_id":"doc_74","qid":"","text":"PhD A: Alright . We 're on .Professor B: Test , um . Test , test , test . Guess that 's me . Yeah . OK .Grad D: Ooh , Thursday .Professor B: So . There 's two sheets of paper in front of us .PhD A: What are these ?PhD E:Yeah . So .Professor B: This is the arm wrestling ?PhD C: Uh . Yeah , we formed a coalition actually .PhD E: Yeah . Almost .PhD C: We already made it into one .Professor B: Oh , good .PhD C: Yeah .Professor B:Excellent .PhD E: Yeah .Professor B: That 's the best thing .PhD E: Mm - hmm .Professor B: So , tell me about it .PhD E: So it 's {disfmarker} well , it 's {pause} spectral subtraction or Wiener filtering , um , dependingon if we put {disfmarker} if we square the transfer function or not .Professor B: Right .PhD E: And then with over - estimation of the noise , depending on the , uh {disfmarker} the SNR , with smoothing along time , um, smoothing along frequency .Professor B: Mm - hmm .PhD E: It 's very simple , smoothing things .Professor B: Mm - hmm .PhD E: And , um , {vocalsound} the best result is {vocalsound} when we apply this procedureon FFT bins , uh , with a Wiener filter .Professor B: Mm - hmm .PhD E: And there is no noise addition after {disfmarker} after that .Professor B: OK .PhD E: So it 's good because {vocalsound} {vocalsound} it 's difficultwhen we have to add noise to {disfmarker} to {disfmarker} to find the right level .Professor B: OK .PhD A: Are you looking at one in {disfmarker} in particular of these two ?PhD E: Yeah . So the sh it 's the sheet thatgives fifty - f three point sixty - six .Professor B: Mm - hmm .PhD E: Um , {vocalsound} the second sheet is abo uh , about the same . It 's the same , um , idea but it 's working on mel bands , {vocalsound} and it 's aspectral subtraction instead of Wiener filter , and there is also a noise addition after , uh , cleaning up the mel bins . Mmm . Well , the results are similar .Professor B: Yeah . I mean , {vocalsound} it 's {disfmarker}{comment} it 's actually , uh , very similar .PhD E: Mm - hmm .Professor B: I mean , {vocalsound} if you look at databases , uh , the , uh , one that has the smallest {disfmarker} smaller overall number is actuallybetter on the Finnish and Spanish , uh , but it is , uh , worse on the , uh , Aurora {disfmarker}PhD E: It 's worse on {disfmarker}Professor B: I mean on the , uh , TI - TI - digits ,PhD E: on the multi - condition in TI -digits . Yeah .Professor B: uh , uh . Um .PhD E: Mmm .Professor B: So , it probably doesn't matter that much either way . But , um , when you say u uh , unified do you mean , uh , it 's one piece of software now , or{disfmarker} ?PhD E: So now we are , yeah , setting up the software .Professor B: Mm - hmm .PhD E: Um , it should be ready , uh , very soon . Um , and wePhD A: So what 's {disfmarker} what 's happened ? I think I've missed something .Professor B: OK . So a week ago {disfmarker} maybe you weren't around when {disfmarker} when {disfmarker} when Hynek and Guenther and I {disfmarker} ?PhD C: Hynek was here .PhD A:Yeah . I didn't .Professor B: Oh , OK . So {disfmarker} Yeah , let 's summarize . Um {disfmarker} And then if I summarize somebody can tell me if I 'm wrong , which will also be possibly helpful . What did I just presshere ? I hope this is still working .PhD E: p - p - pProfessor B: We , uh {disfmarker} we looked at , {nonvocalsound} uh {disfmarker} anyway we {disfmarker} {vocalsound} after coming back from QualComm we had ,you know , very strong feedback and , uh , I think it was {vocalsound} Hynek and Guenter 's and my opinion also that , um , you know , we sort of spread out to look at a number of different ways of doing noisesuppression . But given the limited time , uh , it was sort of time to {pause} choose one .PhD A: Mm - hmm . Mmm .Professor B: Uh , and so , uh , th the vector Taylor series hadn't really worked out that much . Uh ,the subspace stuff , uh , had not been worked with so much . Um , so it sort of came down to spectral subtraction versus Wiener filtering .PhD A: Hmm .Professor B: Uh , we had a long discussion about how they werethe same and how they were d uh , completely different .PhD A: Mm - hmm .Professor B: And , uh , I mean , fundamentally they 're the same sort of thing but the math is a little different so that there 's a {disfmarker}a {disfmarker} {vocalsound} there 's an exponent difference in the index {disfmarker} you know , what 's the ideal filtering , and depending on how you construct the problem .PhD A: Uh - huh .Professor B: And , uh ,I guess it 's sort {disfmarker} you know , after {disfmarker} after that meeting it sort of made more sense to me because {vocalsound} um , if you 're dealing with power spectra then how are you gonna choose yourerror ? And typically you 'll do {disfmarker} choose something like a variance . And so that means it 'll be something like the square of the power spectra . Whereas when you 're {disfmarker} when you 're doing the{disfmarker} the , uh , um , {vocalsound} looking at it the other way , you 're gonna be dealing with signalsPhD C: Mm - hmm .Professor B: and you 're gonna end up looking at power {disfmarker} uh , noise powerthat you 're trying to reduce . And so , eh {disfmarker} so there should be a difference {vocalsound} of {disfmarker} you know , conceptually of {disfmarker} of , uh , a factor of two in the exponent .PhD A: Mm - hmm.Professor B: But there 're so many different little factors that you adjust in terms of {disfmarker} of , uh , {vocalsound} uh , over - subtraction and {disfmarker} and {disfmarker} and {disfmarker} and {disfmarker}and so forth , um , that {vocalsound} arguably , you 're c and {disfmarker} and {disfmarker} and the choice of do you {disfmarker} do you operate on the mel bands or do you operate on the FFT beforehand . There're so many other choices to make that are {disfmarker} are almost {disfmarker} well , if not independent , certainly in addition to {pause} the choice of whether you , uh , do spectral subtraction or Wiener filtering ,that , um , {vocalsound} @ @ again we sort of felt the gang should just sort of figure out which it is they wanna do and then let 's pick it , go forward with it . So that 's {disfmarker} that was {disfmarker} that was lastweek . And {disfmarker} {vocalsound} and , uh , we said , uh , take a week , go arm wrestle , you know ,Grad D: Oh .Professor B: figure it out . I mean , and th the joke there was that each of them had specialized inone of them .PhD A: Oh , OK .Professor B: And {disfmarker} and so they {disfmarker} so instead they went to Yosemite and bonded , and {disfmarker} and they came out with a single {disfmarker} single piece ofsoftware . So it 's {vocalsound} another {disfmarker} another victory for international collaboration . So .PhD A: So {disfmarker} so you guys have combined {disfmarker} or you 're going to be combining the software?Professor B: Uh .PhD C: Well , the piece of software has , like , plenty of options ,PhD E: Oh boy .PhD C: like you can parse command - line arguments . So depending on that , it {disfmarker} it becomes either spectralsubtraction or Wiener filtering .PhD A: Oh , OK .PhD C: So , yePhD A: They 're close enough .Professor B: Well , that 's fine , but the thing is {disfmarker} the important thing is that there is a piece of software that you{disfmarker} that we all will be using now .PhD C: Yeah . Yeah .Professor B: Yes .PhD C: There 's just one piece of software .PhD E: Yeah .Professor B: Yeah .PhD E: I need to allow it to do everything and even more{disfmarker} more than this .PhD C: Right .PhD E: Well , if we want to , like , optimize different parameters of {disfmarker}PhD C: Parameters . Yeah .Professor B: Sure .PhD E: Yeah , we can do it later . But , still{disfmarker} so , there will be a piece of software with , {vocalsound} {vocalsound} uh , will give this system , the fifty - three point sixty - six , by default and {disfmarker}Professor B: Mm - hmm .PhD A: How{disfmarker} how is {disfmarker} how good is that ?PhD E: Mm - hmm .PhD A: I {disfmarker} I {disfmarker} I don't have a sense of {disfmarker}PhD E: It 's just one percent off of the {pause} best proposal .PhD C:Best system .PhD E: It 's between {disfmarker} i we are second actually if we take this system .PhD A: OK .Professor B: Yeah .PhD C: Yeah .PhD E: Right ?PhD A: Compared to the last evaluation numbers ? Yeah.Professor B: But , uh {disfmarker} w which we sort of were beforePhD C: Yeah .PhD E: Mm - hmm . Yeah .Professor B: but we were considerably far behind . And the thing is , this doesn't have neural net in yet forinstance . You know ?PhD E: Mm - hmm .PhD A: Hmm .Professor B: So it {disfmarker} so , um , it 's {disfmarker} it it 's not using our full bal bag of tricks , if you will .PhD A: Mm - hmm .Professor B: And , uh , and it{disfmarker} it is , uh , very close in performance to the best thing that was there before . Uh , but , you know , looking at it another way , maybe more importantly , uh , {vocalsound} we didn't have any explicit noise, uh , handling {disfmarker} stationary {disfmarker} dealing with {disfmarker} e e we didn't explicitly have anything to deal with stationary noise .PhD A: Mm - hmm .Professor B: And now we do .PhD A: So will the{pause} neural net operate on the output from either the Wiener filtering or the spectral subtraction ? Or will it operate on the original ?Professor B: Well , so {disfmarker} so {disfmarker} so argu arguably , I mean ,what we should do {disfmarker} I mean , I gather you have {disfmarker} it sounds like you have a few more days of {disfmarker} of nailing things down with the software and so on . But {disfmarker} and then{disfmarker} but , um , {vocalsound} arguably what we should do is , even though the software can do many things , we should for now pick a set of things , th these things I would guess , and not change that .PhD E:Mm - hmm .Professor B: And then focus on {pause} everything that 's left . And I think , you know , that our goal should be by next week , when Hynek comes back , {vocalsound} uh , to {disfmarker} uh , really justto have a firm path , uh , for the {disfmarker} you know , for the time he 's gone , of {disfmarker} of , uh , what things will be attacked . But I would {disfmarker} I would {disfmarker} I would thought think that whatwe would wanna do is not futz with this stuff for a while because what 'll happen is we 'll change many other things in the system ,PhD A: Mm - hmm .Professor B: and then we 'll probably wanna come back to this andpossibly make some other choices . But , um .PhD A: But just conceptually , where does the neural net go ? Do {disfmarker} do you wanna h run it on the output of the spectrally subtracted {disfmarker} ?PhD E: Mmm.Professor B: Well , depending on its size {disfmarker} Well , one question is , is it on the , um , server side or is it on the terminal side ? Uh , if it 's on the server side , it {disfmarker} you probably don't have to worrytoo much about size .PhD A: Mm - hmm .Professor B: So that 's kind of an argument for that . We do still , however , have to consider its latency . So the issue is {disfmarker} is , um , {vocalsound} for instance , couldwe have a neural net that only looked at the past ?PhD A: Right .Professor B: Um , what we 've done in uh {disfmarker} in the past is to use the neural net , uh , to transform , {vocalsound} um , all of the features thatwe use . So this is done early on . This is essentially , {vocalsound} um , um {disfmarker} I guess it 's {disfmarker} it 's more or less like a spee a speech enhancement technique here {disfmarker}PhD A: Mm - hmm.Professor B: right ? {disfmarker} where we 're just kind of creating {vocalsound} new {disfmarker} if not new speech at least new {disfmarker} new FFT 's that {disfmarker} that have {disfmarker} you know , whichcould be turned into speech {disfmarker} uh , that {disfmarker} that have some of the noise removed .PhD E: Mm - hmm .PhD A: Mm - hmm .Professor B: Um , after that we still do a mess of other things to{disfmarker} to produce a bunch of features .PhD A: Right .Professor B: And then those features are not now currently transformed {vocalsound} by the neural net . And then the {disfmarker} the way that we had it inour proposal - two before , we had the neural net transformed features and we had {vocalsound} the untransformed features , which I guess you {disfmarker} you actually did linearly transform with the KLT ,PhD E:Yeah . Yeah . Right .Professor B: but {disfmarker} but {disfmarker} but {disfmarker} uh , to orthogonalize them {disfmarker} but {disfmarker} {vocalsound} but they were not , uh , processed through a neural net .And Stephane 's idea with that , as I recall , was that {vocalsound} you 'd have one part of the feature vector that was very discriminant and another part that wasn't ,PhD A: Mm - hmm .Professor B: uh , which wouldsmooth things a bit for those occasions when , uh , the testing set was quite different than what you 'd trained your discriminant features for . So , um , all of that is {disfmarker} is , uh {disfmarker} still seems like agood idea . The thing is now we know some other constraints . We can't have unlimited amounts of latency . Uh , y you know , that 's still being debated by the {disfmarker} by people in Europe but , {vocalsound} uh ,no matter how they end up there , it 's not going to be unlimited amounts ,PhD A: Yeah .Professor B: so we have to be a little conscious of that . Um . So there 's the neural net issue . There 's the VAD issue . And , uh ,there 's the second stream {pause} thing . And I think those that we {disfmarker} last time we agreed that those are the three things that have to get , uh , focused on .PhD A: What was the issue with the VAD?Professor B: Well , better {comment} ones are good .PhD A: And so the w the default , uh , boundaries that they provide are {disfmarker} they 're OK , but they 're not all that great ?Professor B: I guess they stillallow two hundred milliseconds on either side or some ? Is that what the deal is ?PhD E: Mm - hmm . Uh , so th um , they keep two hundred milliseconds at the beginning and end of speech . And they keep all the{disfmarker}PhD A: Outside the beginnings and end .PhD E: Yeah .PhD A: Uh - huh .PhD E: And all the speech pauses , which is {disfmarker} Sometimes on the SpeechDat - Car you have pauses that are more thanone or two seconds .PhD A: Wow .PhD E: More than one second for sure . Um .PhD A: Hmm .PhD E: Yeah . And , yeah , it seems to us that this way of just dropping the beginning and end is not {disfmarker} We couwe can do better , I think ,PhD A: Mm - hmm .PhD E: because , um , {vocalsound} with this way of dropping the frames they improve {pause} over the baseline by fourteen percent and {vocalsound} Sunil alreadyshowed that with our current VAD we can improve by more than twenty percent .PhD A: On top of the VAD that they provide ?PhD C: No .PhD E: Just using either their VAD or our current VAD .PhD C: Our way .PhD A:Oh , OK .PhD E: So , our current VAD is {disfmarker} is more than twenty percent , while their is fourteen .PhD A: Theirs is fourteen ? I see .PhD E: Yeah .PhD A: Huh .PhD E: So . Yeah . And {pause} another thing thatwe did also is that we have all this training data for {disfmarker} let 's say , for SpeechDat - Car . We have channel zero which is clean , channel one which is far - field microphone . And if we just take only the , um ,VAD probabilities computed on the clean signal and apply them on the far - field , uh , test utterances , {vocalsound} then results are much better .PhD A: Mm - hmm .PhD E: In some cases it divides the error rate bytwo .PhD A: Wow .PhD E: So it means that there are stim {comment} still {disfmarker}PhD A: How {disfmarker} how much latency does the , uh {disfmarker} does our VAD add ?PhD E: If {disfmarker} if we can havea good VAD , well , it would be great .PhD A: Is it significant ,PhD E: Uh , right now it 's , um , a neural net with nine frames .PhD A: or {disfmarker} ?PhD E: So it 's forty milliseconds plus , um , the rank ordering ,which , uh , should bePhD C: Like another ten frames .PhD E: ten {disfmarker} Yeah .Grad D: Rank . Oh .PhD E: So , right now it 's one hundred and forty {pause} milliseconds .Professor B: With the rank ordering{disfmarker} ? I 'm sorry .PhD C: The {disfmarker} the {disfmarker} the smoothing {disfmarker} the m the {disfmarker} the filtering of the probabilities .PhD E: The {disfmarker} The , um {disfmarker}PhD C: on theR .PhD E: Yeah . It 's not a median filtering . It 's just {disfmarker} We don't take the median value . We take something {disfmarker} Um , so we have eleven , um , frames .Professor B: Oh , this is for the VAD .PhDC: Yeah .PhD E: And {disfmarker} for the VAD , yeah {disfmarker}Professor B: Oh , OK .PhD C: Yeah .PhD E: and we take th the third .PhD C: Yeah .Grad D: DarPhD E: Um .Professor B: Yeah . Um . So {disfmarker}{comment} Yeah , I was just noticing on this that it makes reference to delay .PhD E: Mmm .Professor B: So what 's the {disfmarker} ? If you ignore {disfmarker} Um , the VAD is sort of in {disfmarker} in parallel ,isn't i isn't it , with {disfmarker} with the {disfmarker} ? I mean , it isn't additive with the {disfmarker} the , uh , LDA and the Wiener filtering , and so forth .PhD C: The LDA ?Professor B: Right ?PhD C: Yeah . So{disfmarker} so what happened right now , we removed the delay of the LDA .PhD E: Mm - hmm .Professor B: Yeah .PhD C: So we {disfmarker} I mean , if {disfmarker} so if we {disfmarker} if {disfmarker} so whichis like if we reduce the delay of VA So , the f the final delay 's now ba is f determined by the delay of the VAD , because the LDA doesn't have any delay . So if we re if we reduce the delay of the VAD , I mean , it 's likeeffectively reducing the delay .PhD A: How {disfmarker} how much , uh , delay was there on the LDA ?PhD C: So the LDA and the VAD both had a hundred millisecond delay . So and they were in parallel , so whichmeans you pick either one of them {disfmarker}PhD A: Mmm .PhD C: the {disfmarker} the biggest , whatever .PhD A: I see .Professor B: Mm - hmm .PhD C: So , right now the LDA delays are more .Professor B: Andthere {disfmarker}PhD A: Oh , OK .Professor B: And there didn't seem to be any , uh , penalty for that ? There didn't seem to be any penalty for making it causal ?PhD C: Pardon ? Oh , no . It actually made it , like ,point one percent better or something , actually .Professor B: OK . Well , may as well , then .PhD C: Or something like thatProfessor B: And he says Wiener filter is {disfmarker} is forty milliseconds delay .PhD C: and{disfmarker}Professor B: So is it {disfmarker} ?PhD C: Yeah . So that 's the one which Stephane was discussing , like {disfmarker}PhD E: Mmm .Professor B: The smoothing ?PhD C: Yeah . The {disfmarker} yousmooth it and then delay the decision by {disfmarker} So .Professor B: Right . OK . So that 's {disfmarker} that 's really not {disfmarker} not bad . So we may in fact {disfmarker} we 'll see what they decide . We mayin fact have , {vocalsound} um , the {disfmarker} the , uh , latency time available for {disfmarker} to have a neural net . I mean , sounds like we probably will . So .PhD C: Mm - hmm .Professor B: That 'd be good .Cuz I {disfmarker} cuz it certainly always helped us before . So .PhD A: What amount of latency are you thinking about when you say that ?Professor B: Uh . Well , they 're {disfmarker} you know , they 're disputing it.PhD A: Mmm .Professor B: You know , they 're saying , uh {disfmarker} one group is saying a hundred and thirty milliseconds and another group is saying two hundred and fifty milliseconds . Two hundred and fifty iswhat it was before actually . So ,PhD A: Oh .Professor B: uh , some people are lobbying {disfmarker} lobbying {comment} to make it shorter .PhD A: Hmm .Professor B: Um . And , um .PhD A: Were you thinking of thetwo - fifty or the one - thirty when you said we should {pause} have enough for the neural net ?Professor B: Well , it just {disfmarker} it {disfmarker} when we find that out it might change exactly how we do it , is all.PhD A: Oh , OK .Professor B: I mean , how much effort do we put into making it causal ? I mean , {vocalsound} I think the neural net will probably do better if it looks at a little bit of the future .PhD A: Mm - hmm.Professor B: But , um , it will probably work to some extent to look only at the past . And we ha you know , limited machine and human time , and {vocalsound} effort . And , you know , how {disfmarker} how muchtime should we put into {disfmarker} into that ? So it 'd be helpful if we find out from the {disfmarker} the standards folks whether , you know , they 're gonna restrict that or not .PhD A: Mm - hmm .Professor B: Um .But I think , you know , at this point our major concern is making the performance better and {disfmarker} and , um , {vocalsound} if , uh , something has to take a little longer in latency in order to do it that 's{pause} you know , a secondary issue .PhD A: Mm - hmm .Professor B: But if we get told otherwise then , you know , we may have to c clamp down a bit more .Grad D: Mmm .PhD C: So , the one {disfmarker} one"}
+{"doc_id":"doc_75","qid":"","text":"Project Manager: Okay . Here we go . Alright , the agenda for thi oh . Alright . Um the agenda for this meeting {vocalsound} is um {disfmarker} we'll initially have the prototype presentation by our two designers . Andthen we will evaluate it , given the criteria that um that we gave gave it . And um talk about our finances , whether we were under or over our budget . I have a um a spreadsheet where we can calculate um our pricesfor every aspect of of what we've made , given our options . And um evaluate the product , as a group .Industrial Designer: Okay .Project Manager: And um {disfmarker} So first we'll have the prototype presentation .Do you need the um PowerPoint for this ?Industrial Designer: Um yeah . I just got a few slides , so show them .Project Manager: Alright .Industrial Designer: Thank you . Do you want to present it ? {vocalsound}UserInterface: {vocalsound} Um {disfmarker}Industrial Designer: Yeah , here we are .User Interface: {vocalsound} This is what we came up with . It's a pretty simple design . It's um based on a mango ? Yeah . And{vocalsound} we {disfmarker}Marketing: {vocalsound}Project Manager: On ?Industrial Designer: {vocalsound} Mango shape .Project Manager: {vocalsound} A mango . Okay .User Interface: Yeah . And we have thecompany logo here and this will be the infrared hereIndustrial Designer: The L_E_D_ .User Interface: and this'll be the power point , the on off button kind {disfmarker}Project Manager: Oh . Okay .User Interface: yeah.Marketing: I'm sorry .Project Manager: Oops .Marketing: What was the {disfmarker} where's the L_E_D_ ?User Interface: It's in the middle of one of the little R_s .Marketing: Oh . Okay .User Interface: And then theother one is the power . And uh we just have a simple design . We wanted it all to beIndustrial Designer: So it's palm-held .User Interface: accessible from your thumbIndustrial Designer: Yeah .User Interface:{disfmarker} yeah palm-heldProject Manager: Yeah .User Interface: and all the buttons are accessible from your thumb .Project Manager: Notice you have a number ten button .User Interface: So you don't have to{disfmarker} Oh that was a mistake , wasn't it ?Project Manager: {vocalsound} Okay . {vocalsound}Industrial Designer: You just need the nought . {vocalsound}User Interface: Right no , that's a zero .Marketing:{vocalsound}User Interface: {vocalsound} Take that one off . {vocalsound} Sorry . I was in charge of the numbers . {vocalsound}Project Manager: {vocalsound} No problem .Industrial Designer:{vocalsound}Marketing: {vocalsound}Project Manager: {vocalsound} Ah .User Interface: And this is just if you've got like eleven or twelve or thirt the plus .Industrial Designer: So one plus one would be eleven ,UserInterface: {vocalsound} You can go one , three or something .Industrial Designer: or {disfmarker}Project Manager: Oh . You press a plus button ?User Interface: You press that first and then you go one three yeah.Project Manager: Oh okay . I've never heard of that kind before .User Interface: Well we just thought , we have all the numbers here , so we wanted something representative of numbers larger than ten and{disfmarker}Project Manager: Yeah .Industrial Designer: Yeah because if you {disfmarker} on your average um remote , if you press one twice you just go to {disfmarker} um or uh say you wanted channel twelve ,you press one , and then you go to channel one , and then two then you'd just go to channel two , instead of twelve .Project Manager: Yeah .Marketing: Oh , there's no eProject Manager: Oh .Industrial Designer: So ifyou did like one plus two you could go to channel twelve , or two plus two is channel twenty two .User Interface: So the plus and then {disfmarker}Marketing: okay .User Interface: yeah .Project Manager: IMarketing:Okay .Project Manager: But {disfmarker} Would you have to go zero plus one if you wanted to go to channel one or two ?User Interface: No no , th all {disfmarker} that's why we have all these numbers . Thesenumbers um these numbers all work independently up to nine . {vocalsound}Project Manager: Yeah but I mean if you press , it'll go to that channel right away . 'Cause you gotta press the plus afterwards .UserInterface: Yeah . Oh no . Uh , the plus is only for if you're going past the number nine .Project Manager: Yeah I know , but if if I wanna go to say number like sixty five , channel sixty five , if I press the six it'll go tochannel six , and then I'll press the plus , and then it'll go to six and then put the five and it'll go to sixty five ?Marketing: Sixty .User Interface: You p Oh . No you press the plus first .Industrial Designer: Oh .UserInterface: I I {disfmarker} well it doesn't {disfmarker} we haven't really s I would've thought you pressed the plus first and then the six five ,Marketing: {vocalsound}User Interface: but she says plus {disfmarker}{vocalsound} press {disfmarker} which {disfmarker}Industrial Designer: Well I don't mind , we can further define that .User Interface: what do you think is simpler ?Project Manager: I th Um {disfmarker}UserInterface: It's a {disfmarker}Industrial Designer: I wouldn't have thought it'd be a problem that it went to channel six first , in like on the way to channel sixty five .User Interface: Yeah .Project Manager: Yeah itwouldn't be a problem . But I was just wonderingIndustrial Designer: But I suppose it's not as snappy .User Interface: Yeah .Project Manager: like as long as we realise that's what it'll do .Marketing: Well the there is a{disfmarker} there's a delay on remotes I think .User Interface: Oops . Yeah .Marketing: Where you can have it {disfmarker}Industrial Designer: Yeah .Marketing: it's like a five second input time .Industrial Designer:Yeah . If you don't put it {disfmarker}Marketing: So as long as you hit them dadaIndustrial Designer: Yeah . Yeah ,User Interface: Yeah .Industrial Designer: that {disfmarker} yeah .Marketing: {vocalsound} it shouldbe fine .Project Manager: Yeah .Marketing: As long as there's not a big pause between the t hitting the two buttons .Industrial Designer: Mm-hmm .User Interface: Yeah . So {disfmarker}Industrial Designer: Um{disfmarker}Marketing: Was there {disfmarker} so on the top there is volume and {disfmarker}Industrial Designer: And channel ,User Interface: A channel .Industrial Designer: which is so you could just go like thatwithout thinking about it , like {disfmarker}Marketing: Channel up volume up . Okay cool .Project Manager: C_ and V_ .User Interface: Just so we can flick {disfmarker}Project Manager: Right , where um where's thepower button ?Marketing: Yeah .User Interface: It's in the middle of one of the little R_s . {vocalsound}Industrial Designer: It's the bigger R_ .Marketing: It's the R_ .Project Manager: Oh okay .Industrial Designer: Soit's just like {vocalsound} .User Interface: Yeah ,Project Manager: Yeah .User Interface: so it's all accessible . Without m taking your hand off the remote .Industrial Designer: We deciProject Manager: Yeah .IndustrialDesigner: Yeah um we went for like a a circular design for the numbersMarketing: Mm-hmm .Industrial Designer: because we thought that's kind of a more natural movement than just going like that with your thumb.Project Manager: Oh okay .Industrial Designer: Uh e ergonomics are all considered .Project Manager: Yeah .Marketing: Mm-hmm .Project Manager: Ergonomic , definitely ergonomic .User Interface: And {vocalsound}it might actually help with the repetitive stress injury as well .Marketing: {vocalsound}Industrial Designer: It could cause another type of repetitive stress injury though .User Interface: Okay . {vocalsound}IndustrialDesigner: But yeah , no I mean it's a different movementMarketing: {vocalsound}Industrial Designer: so {disfmarker} yeah .User Interface: Yeah .Industrial Designer: Um and the feel of it , I mean , we've made thisout of Play Doh , which is representing the , you know , the rubber , and the spongy rubberness .Project Manager: {vocalsound}User Interface: {vocalsound}Project Manager: The spon yeah .User Interface: Yeah .{vocalsound}Industrial Designer: Um 'cause it was said before in the material specification that this {disfmarker} the {disfmarker} this anti-R_S_I_ um material is often used in stress balls so this has got a you know abit of give to it ,Project Manager: Yeah .Industrial Designer: and it just feels feels different .User Interface: Yeah .Project Manager: Bit of a stress ball feel .Industrial Designer: Would you like to feel it yourselves ?UserInterface: Yeah . {vocalsound}Project Manager: Yes . I would .Industrial Designer: How it fits in the palm of your hand ?Marketing: {vocalsound}Project Manager: My goodness .Industrial Designer: {vocalsound}Thanks .Marketing: {vocalsound}Project Manager: {vocalsound} There you go .Industrial Designer: And you ? {vocalsound}Project Manager: Genevieve ?Marketing: YesProject Manager: Yeah .{vocalsound}Marketing: . Oh it's nice . Oh I think I killed the five .Industrial Designer: {vocalsound}Marketing: I did .Project Manager: And something hmm . {vocalsound}Marketing: I killed the four . Oh god .{vocalsound}Industrial Designer: O Okay , as for the colours , we were presented with um a limited range of colours for this prototype .User Interface: Of Play Doh yeah .Marketing: Oh it smells good .{vocalsound}Industrial Designer: But we're thinking that , seeing as we're having it in interchangeable casing anyway , that this is not necessarily a representation of the true colours that we would necessarily use . Orthe combination . Um and we're thinking to carry-on with the fruit and vegetable theme , the colour um combination just could just be named after different fruit , like banana could be black and yellow , watermelon redand green ,Project Manager: Oh right .Industrial Designer: or vanilla might be the most popular if it just uh blends inUser Interface: 'Cause it'd be quite subtle and {disfmarker}Industrial Designer: more settled creaminstead of the others are all a bit garish .Project Manager: Yeah . It looks more {disfmarker} Think like vanilla and banana would .Industrial Designer: Banana's more representative of our colour scheme , like thecompany {disfmarker} the yellow and black .Project Manager: Okay yeah .User Interface: Yeah .Industrial Designer: So that {disfmarker} for corporate identity that would probably be the most strength .UserInterface: {vocalsound}Marketing: {vocalsound}Project Manager: {vocalsound}Industrial Designer: I mean watermelon , you know , m probably appealing to the {disfmarker}Project Manager: Kinda Christmas , youknow .Industrial Designer: yeah , seasonal .User Interface: Yeah , yeah , yeah . {vocalsound}Industrial Designer: Apple green , brown , more kinda trendy , you know , khaki {disfmarker}Project Manager: Yeah .UserInterface: The pomegranate's kinda girly and funky kind of ,Project Manager: Cool .User Interface: and then the vanilla's more for the more sophisticated {vocalsound} customer who just wants something that fits inwith all decor .Project Manager: {vocalsound}Industrial Designer: Yeah . Okay . Um yeah we thought of the components it was definitely um a focus of ergonomics and just a single ha handheld device , I mean youdon't need to use both hands , one hand to hold this and type in with the other , you can just use your thumb .User Interface: Yeah .Industrial Designer: Um , as we said the rubber's probably used for comfort andanti-R_S_I_ and that's about it .Project Manager: Alright , thank you very much .User Interface: {vocalsound}Project Manager: Good work everyone .Marketing: {vocalsound} Bravo {vocalsound}Industrial Designer:{vocalsound}Project Manager: Alright . And so now that we've we have a prototype , uh we need to go over the finances and seeing if this prototype matches uh what our budget can handle .Industrial Designer:Mm-hmm .Project Manager: So , I have something I'm going to {disfmarker} Oh wait a minute .Marketing: You want the {disfmarker}Project Manager: Do you need to do a presentation first ?Marketing: {vocalsound}I don't know what order it goes in .Project Manager: Yeah . I'm gonna check that out for a second .Marketing: I have one .Industrial Designer: Mm go {disfmarker}Project Manager: What time is it anywIndustrialDesigner: {gap}Project Manager: Oh yeah sorry you're right . Evaluation criteria is next in line .Marketing: Evaluation cri Okay . That's me .Project Manager: Yeah .Marketing: Hello . Oh there we go . Okay . Come onmy computer . Come on . {vocalsound} Sorry my computer's giving me technical difficulties .Project Manager: Just press um function eight again .Marketing: Should I press it again ? Last time I did that it sh Okay .You're right .Project Manager: And then again I think . One more time .Marketing: Oh . Still not there .Project Manager: Yeah . Yeah .Marketing: Okay now I think for this one I could {disfmarker} Would you guys preferuse the whiteboard or mayb maybe I'll just do it on {disfmarker} right on the screen where you can see it . Um , we're gonna be doing an evaluation report together based on the protoptype that we've just seen . Umand looking looking back at my notes from our {disfmarker} both our conceptual and our functional meetings , um I made a list of what our original requirements and goals were , um , back to our kick-off meeting thismorning . Um , and we'll evaluate as to whether we've s done what we set out to do . Um and we're gonna do it on a one to seven scale where one is true and seven is false . So basically the lower p the lower the pointsthe better . {vocalsound} Okay so question number one . Does the remote {disfmarker} whoops . Sorry . Oh I'm not gonna be able {disfmarker} um , I'll do it on the whiteboard . I can't change it so I'm g I'm gonnaask you to push it down once .Project Manager: Okay .Marketing: I'll write down our scores up on the {disfmarker}Project Manager: Ooh .Marketing: Okay so number one . Do we have a fancy look-and-feel ?IndustrialDesigner: Feel I think .User Interface: Mm .Industrial Designer: We've been quite successful with the rubber coatingProject Manager: Yeah .Industrial Designer: and {disfmarker}Project Manager: The look is a little bitmore playful .User Interface: Well {disfmarker}Industrial Designer: Yeah .User Interface: Yeah .Marketing: Yeah I guess that depends on your definition of fancy , but it's definitely different .Project Manager: Ohdefinitely different yeah .Marketing: It's not your traditional {disfmarker} yeah .Industrial Designer: I think the colour has a lot to do with it . I mean {vocalsound} th the colours we were given for making the prototypearen't the colours that I think we would've necessarily chosen .Marketing: Mm-hmm .User Interface: Yeah .Industrial Designer: It's not the kind of {disfmarker} ooh uh at all sleekProject Manager: Oh you were onlygiven red and black ?Industrial Designer: {disfmarker} red , black and yellow , and orange .Project Manager: Oh okay .User Interface: Yeah {vocalsound} so {disfmarker}Industrial Designer: {vocalsound} Um{disfmarker}User Interface: {vocalsound} not very sleek and we don't wanna go for black because most remote controls are black or grey .Marketing: Yeah .User Interface: So we want it to be stand out that way ,anyway .Project Manager: Yeah . Okay .Industrial Designer: But if you can imagine that in like a s just a {disfmarker} maybe uh a kind of pale metallic-y finish or something {disfmarker}User Interface: Yeah . Ametallic-y finish we were thinking .Industrial Designer: {vocalsound} Well I know know it's for rubber .Marketing: Mm-hmm .Project Manager: Yeah .Industrial Designer: I mean diff if you can visualise this in nicecolours I think it would look quite fancy . {vocalsound}User Interface: Polished . Okay {disfmarker} Yeah .Project Manager: Yeah .Marketing: Yeah . I kinda {disfmarker} I like the potato look .Project Manager: It'smango . {vocalsound}Industrial Designer: {vocalsound} Oh well , potato , mango , fruit and veg .User Interface: {vocalsound} We we were {vocalsound} we were thinking about {disfmarker} {vocalsound}Marketing:It's very different . It's what ?Project Manager: It's mango . {vocalsound}Marketing: Oh sorry the mango the mango look .Industrial Designer: {vocalsound} Potato's fine . Potato's fine .User Interface: yeah .Marketing:{vocalsound} Yeah it is , fruit or vegetable depends on your mood .Project Manager: {vocalsound}Industrial Designer: Yeah . Totally . It's really adaptable .Marketing: So I myself would say a one or a two .ProjectManager: Yeah . I would say two . Personally .User Interface: I w I'd say two I think .Marketing: It's a two ?Industrial Designer: For theMarketing: Okay ,User Interface: Fanciness .Marketing: and pProject Manager:Yeah .Industrial Designer: fancy {disfmarker}Marketing: One being true . So {disfmarker}Industrial Designer: I {disfmarker} uh two , three . {vocalsound}Marketing: Two .User Interface: Yeah .Marketing: Okay , actuthat's pro that's gonna get confusing , like that . Okay so question number two was {vocalsound} is it techn technologically innovative ? So I know we have the kinetic energy which is very innovative .Project Manager:Yeah .Industrial Designer: Yeah and the use of the rubber .Marketing: {vocalsound} Use of the rubber , the use of the L_E_D_ .Industrial Designer: For the anti-R_S_I_ .User Interface: Yeah .Project Manager: Yeah.Industrial Designer: The L_E_D_ use isn't particularly innovativeMarketing: Isn't {disfmarker}Industrial Designer: and we don't have any scroll buttons , it's all pushbuttons ,User Interface: Mm .Industrial Designer:there's no L_C_D_ control , so if we're thinking about the rest of the market , it's sort of probably halfway .Marketing: Mm-hmm .Project Manager: Yeah .Industrial Designer: In some aspects it is , like we said .ProjectManager: Yeah . I'd say maybe three .User Interface: I'll go for three as well .Marketing: Yeah . And I think {disfmarker} I mean it it's tough to say because we were {disfmarker} we didn't want it to be any moreinnovative than this , because then that would've defeated the purpose .Project Manager: Yeah we want it simple .Industrial Designer: Yeah . Though it was our specification .User Interface: No . Wouldn't be simple ,yeah .Marketing: So I mean I {disfmarker} we'll put three , but I think we actually reached our goal .Project Manager: Yeah .User Interface: Yeah .Marketing: {vocalsound} We didn't want it any more than that . Okayquestion number three . Uh , will it be easy to use ?Project Manager: I think so . Yeah .Industrial Designer: Yeah . Yeah .User Interface: Yeah very .Marketing: Yeah .User Interface: I think one for that .Marketing: Yeah. S YeahProject Manager: Yeah . One .Marketing: I think it's {disfmarker}Industrial Designer: Yeah .User Interface: Yeah .Marketing: you can't really get confused with that .User Interface: No .Project Manager:ThMarketing: I mean , there'll be s we have to work out the uh number {disfmarker} the plus system .Project Manager: The plus number thing .User Interface: Yeah that's the only thing yeah .Marketing: But oncethat's figured out , it should be fine .Industrial Designer: Yeah and perhaps the turning on but {disfmarker}User Interface: {vocalsound}Marketing: Number four . Is this a good-looking remote ?Industrial Designer: Mm.Marketing: Remember that seventy five percent of users find most remote controls ugly .User Interface: {vocalsound} It's definitely {disfmarker}Industrial Designer: Again I think the colour comes into this .ProjectManager: Yeah colour will definitely be a factor .Marketing: Mm-hmm {vocalsound} .Project Manager: I think that the logo could be smaller .Industrial Designer: Okay .Project Manager: And maybe not such aprominent way .User Interface: Yeah .Project Manager: Maybe like at the bottom , kind of .User Interface: But the {disfmarker}Industrial Designer: Not in {disfmarker}User Interface: Remember the management saidthat it it had to be prominent .Project Manager: Oh it just had to be on there I guess .Marketing: Whoops .User Interface: Yeah . {vocalsound}Marketing: Should just not touch it .Project Manager:{vocalsound}Industrial Designer: Don't worry . {vocalsound}Marketing: {vocalsound} This time it's the three I killed . {vocalsound} I was just wondering if it should be like flatter . Or {disfmarker}Industrial Designer:I suppose I've got quite big hands .Project Manager: I like the appeal of it being like a big glob in your hand .Marketing: Well {disfmarker}User Interface: Yeah .Industrial Designer: {vocalsound}User Interface: But youknow what I've just thought of there now . What {disfmarker} where's it gonna sit in your living room ? Is it not gonna fall off the arm of the sofa ?Project Manager: Maybe if the bottom was just sort of flat , and thenthe rest is likeMarketing: Yeah the bottom could be like ch chopped a bit .User Interface: Yeah .Project Manager: round .User Interface: But then it wouldn't sit as comfortably in your hand {vocalsound} .Marketing: Oh"}
+{"doc_id":"doc_76","qid":"","text":"User Interface: {vocalsound}Industrial Designer: Okay . {vocalsound} Yeah . That's okay . That's okay .Marketing: {vocalsound}Industrial Designer: Okay .Project Manager: Am I starting now ? Anytime ? Oh sorry .'Kay , um . Alright , welcome back fro to the second meeting . And um I hope you had a productive last thirty minutes .User Interface: {vocalsound}Project Manager: Um , and um , I'll be taking minutes on this one ,and um {disfmarker} Being hooked up to the PowerPoint for this meeting isn't very necessary for uh myself , because it'll be more about uh , what you guys are bringing to the meeting today . Um , so , the firstpresentation we'll be looking at is Poppy's presentation . And , um {disfmarker} So , sorry ? So , um , take it away Poppy .Industrial Designer: Okay . Um , do I need to {disfmarker} {gap}Project Manager: It's , it'splugged in . So , um {disfmarker}Industrial Designer: plugged in .User Interface: F_ eight , w . Function F_ eight .Industrial Designer: F_ okay . Function F_ eight . Sorry about this guys .Project Manager: No problem.User Interface: {gap}Industrial Designer: 'Kay . {gap} is on . Right . {gap} Okay . I will take this time just to apologise .User Interface: {vocalsound}Industrial Designer: I , I only , uh , received my emails later on .'Cause I was too busy carried away doing my own thing ,Marketing: {vocalsound}Industrial Designer: which is not obviously not a very good part of a team-working thing .User Interface: {vocalsound}IndustrialDesigner: But there we go .Project Manager: I'm sure it's fine .Industrial Designer: Um , so I was looking at how we're going to go about the working design , and what we actually need to do , and what the remotecontrol needs to do . And it needs to um allow a person to have a portable desi device , so they can control the television from wherever they are . They don't need to actually manually touch the television set . So , itgives them much more flexibility , and allows them to be where they want to be . Um , from {disfmarker} Uh , on a functional side of things , we found out that wh from our previous meeting , we decided that there'recertain points that will make our product unique . Um , one is the visibility in the dark , which was um Genevieve's idea . So we need to think about how we could bring this in um technically . And we could useilluminated buttons , which we are all familiar with when we're using a mobile phone , or um something fam familiar . A automatically , um lights up at first touch . Or we could use fluorescent materials which would justum take in the light during the day , and then as soon as they go off they would glow in the dark . Um , also we could use um an alarm . So if we lost the um remote control , perhaps there could be a button on thetelevision set itself , which you could press , and then an alarm from the handset would sound where it was , hopefully in the room . Maybe behind a cushion or somewhere .Project Manager: {vocalsound}UserInterface: {vocalsound}Industrial Designer: Um , so that would work . Um , oop . Go back there . Um , another thing I think we d missed out on on the last meeting was the fact that we should consider theenvironmental impact of our design . Um , from previous researches I've carried out on other projects , um we've learnt about smart materials where um um specific alloys of metals have a shape memory .UserInterface: {vocalsound}Marketing: {vocalsound}Industrial Designer: So they can be heated and um and cooled , and they change the shape of um the metal . So , for example , a screw that's holding somethingtogether could expand and it would force all the components apart . So um , the benefits of this for our product would be that when it came to the end of its product life , if it was heated , um everything would springapart . So , all the um individual components could be easily separated , and then some could be reused , some could be recycled , and I think that would be very important for products now . Especially 'cause there'smuch uh responsibility for all the um companies who are coming up with like new designs . 'Cause all , we all know that our resources are being limited , and we have to be very environmentally conscious .ProjectManager: Right , um , one question . This , um , self-destructible uh metal , it allows for recycling materials ?Industrial Designer: Yeah .Project Manager: So that , um , someone could have this product for as long asthey felt that they wanted it , and then once they contribute it , then that company can break down the part , the parts better ?Industrial Designer: Um {disfmarker} And then {disfmarker} Yeah . Yeah they would , umyou would make the , the product as you normally would , apart from the , the bits that hold it all together would be made out of this shape-memory alloy . And that's the part that would um allow all the other parts tobe separated at the end . I mean , the user would return the p product to the company , 'cause it's the product's responsibility to get rid of what they've made . Um , and then the company could then just use , makeuse of this shape-memory alloys to split up the components ,Project Manager: Yeah .Industrial Designer: and then either reuse some bits , and other bits which are obviously gonna wear out with time , or not usable ,they might be like be able to put into scrap metal . Something like the case , if it's scratched or something , you would want to reuse it , but you might be able to melt it down and reuse it again somewhere else .ProjectManager: Mm-hmm . Would we be the company that would break down these , or uh metals ? Or would we contribute to another group ?Industrial Designer: You could {disfmarker} we could probably empl em employa , a side company or something to do that for us . But it would be our responsibility to get that done and to dispose of the products that we made . For a certain percentage at least .Project Manager: Alright .IndustrialDesigner: Not every , not a hundred percent of everything we produce ,Project Manager: Okay . This sounds like a really great idea .Industrial Designer: but {disfmarker}Project Manager: One thing we have to consideris our uh one hundred percent um turnover goal that we have for our financial sector .Industrial Designer: Yeah . Yeah .Project Manager: Um , so we'll have to investigate how much that will cost us , cost the company,Industrial Designer: Yeah .Project Manager: um 'cause it sounds very labour-intensive . You would have to hire a number of people , and it might be more expensive .Industrial Designer: Well I {disfmarker} the fact ofthe shape-memory alloys is that they , they don't need to be manually de um deconstructed . Like , you don't have to individually um unscrew all the screws . Because of this , their properties are smart material .ProjectManager: Mm-hmm .Industrial Designer: All you need is just the heat , so they self-destruct themselves .Project Manager: Alright . We'll still have to investigate the financial implications .Industrial Designer: So Isuppose it does need like high contact , yeah , you know high uh quality machinery , and very specific machinery , but {disfmarker}Project Manager: Alright . I like the environmental approach . Um , we'll have to see ifthat can meet our financial goals as well .Industrial Designer: Yeah . Okay . Um also there is um components . This'll be how it uh will actually work . But I haven't put this plan together yet .Project Manager: I'm sorry ,could you {disfmarker}Industrial Designer: There we goProject Manager: Those were um {disfmarker}Industrial Designer: . Sorry , should I go back . This would actually show the circuit diagram . Although I haven'tcome up with the final circuit yet .Project Manager: Okay .Industrial Designer: So I just {gap} put all those components in .Project Manager: So those are what , um , we'll c construct the remote . Those are all the{disfmarker}Industrial Designer: Yeah . I it just shows what sort of energy source . It could be a battery , like rechargeable probably . Um , an' yeah , well how the infrared will actually be sent through the chip to bereceived by the chip on the television set itself .Project Manager: Alright . Great .Industrial Designer: Okay ? So , now is it F_ eight again to escape ? Or escape ? There we go . Okay .Project Manager: Alright . Thankyou very much . And , um , the next presenter will be Tara .Industrial Designer: Thank you .User Interface: {vocalsound}Industrial Designer: There you go Tara .User Interface: Thanks . Can you see ?Marketing: Oh ,{vocalsound}User Interface: Do you think {disfmarker} Is it uh , function eight yeah ?Project Manager: Yeah .Industrial Designer: Function F_ eight .Marketing: {vocalsound} Function F_ eight .Project Manager:Function F_ eight . Sorry .Industrial Designer: The one at the top .User Interface: Oh right . Okay .Marketing: That looks right .Project Manager: Yeah .User Interface: Okay . I'm the User {vocalsound} um UserInterface Designer . Uh , the technical functions design of the apparatus is the effect the apparatus should have . Um , in this case it's the function of the remote control , which is to send messages to the television ,television set . By taking inspiration from other similar designs , we'll try and come up with an original trendy remote control , which is sellable international . There're two functional design options . A multifunctionalremote control , which can be used for several entertainment devices . And a single function remote control , used specifically for the television . {vocalsound}Marketing: I'm sorry , what was that last one .Multifunctional and {disfmarker}User Interface: Sorry . Um , a single function just for the television itself .Marketing: Ch Oh , I see .User Interface: Yeah . Um , multifunctional controls can be difficult to use , as themultitude of buttons can be confusing . A single function remote control is simpler to use , but it means you have to have other remote controls for your other entertainment devices .Marketing: 'Kay .User Interface: Um, I think that a single function remote control would be preferable , because it's easier to use . It'd be more compatible with a range of television sets , making it more internationally sellable . Um , it will make anoriginal design more obtainable , as we have less functional necessities to include in the design . And it would be more profitable as it would be more simplistic . And less functions would have to be included . So it wouldbe cheaper to make . And probably more sellable just because it's more compatible with a r a wider range of devices . Does anyone have any questions ? {vocalsound}Marketing: {vocalsound} So as far as we know ,um , a single function television remote control is us usable internationally ?User Interface: Well , it's just that , when we're creating it , we're , we have to make it um compatible with different brands of devices.Marketing: {gap} Right .User Interface: And it would be easier to make it compatible with just different brands of television devices rather than other ent ,Marketing: D_V_D_s and V_C_R_ ?User Interface: yeah,Project Manager: Right .Marketing: Okay .User Interface: other entertainment devices .Project Manager: Does everyone agree with this ? Does anyone object and , and find the multifunctional might be a better way togo ?Industrial Designer: Um , {vocalsound} I was just wondering about the , what , what Genevieve said before , about having like some hidden controls like having the outer casing . And that would probably , um , I d, well well what you said before about it being a more profitable simplistic design . I suppose having that would complicate it a lot more .User Interface: Yeah . Yeah .Industrial Designer: {vocalsound} And limit thedesign {gap} . Do you think ?Marketing: Yeah , I think I agree with the single design thing for now , because we're trying to do so much , that if we're trying to make a unique , user-friendly , dadada , and it's also multialso multifunctional , um , we're gonna go over budget for one thing .Industrial Designer: Yeah . Yeah . That's true . Yeah .User Interface: Yeah .Marketing: So {disfmarker}Project Manager: Mm-hmm .User Interface:Yeah . And with this we'll have more room in the budget probably to make a more original design .Industrial Designer: Yeah .Marketing: Mm-hmm .User Interface: We'll have more money to go into the design side of it.Project Manager: Yeah .Industrial Designer: Okay . Yeah .Project Manager: Alright . Sounds great .Marketing: Mm , 'kay .Project Manager: Alright , well , um ,Marketing: {vocalsound}Project Manager: are you readyfor your presentation Genevieve ?Marketing: Yes I am .Project Manager: Fabulous . Except you're not hooked up to the {disfmarker}Marketing: Oh ,User Interface: {vocalsound}Marketing: I'm not hooked up , butother than that , completely ready . {vocalsound}Project Manager: {vocalsound} Great .Marketing: Okay . Okay . Oh . I just lost my microphone .Project Manager: {gap} No problem ,Marketing: Just a moment .ProjectManager: we can {disfmarker}Marketing: Okay . So I'll be discussing the functional requirements of this remote control . Um , and I'll give you a little briefing on what that means exactly . Um , if you all remember fromthe email we got before our very first uh kick-off meeting , with the coffee machine ? The functional requirements of that was to produce hot coffee quickly . Um , so what I'll be talking about now is the equivalent for aremote control . Um , so basically what needs and desires are to be fulfilled . Um , I've done some marketing research , a lot of interviews with remote control users , um , and some internet research . And I'll show youmy findings . Oh , and firstly I wanted to remind you about our company motto and purpose . So we believe in providing international market with fashionable products . Um , hence our motto , we put the fashion inelectronics . So I think that should be our priority here . Um , and we should also be looking to trends in clothing and interior design . Not just in electronic fashion . So that it's something that fits in the household.Project Manager: I'm sorry , what was that last thing that you just said ?Marketing: Um , we should be looking towards trends in both clothing and interior design .Project Manager: Mm-hmm .Marketing: Any trendsthat are going on in , in the public , even media ,Industrial Designer: Mm .Marketing: you know who's famous , what T_V_ shows are being watched ,Industrial Designer: Yeah .Marketing: um , to influence our remotecontrol . Okay , so the findings . Um , seventy five percent of users of remote controls find them ugly . Which is a , quite a significant number .Industrial Designer: {vocalsound}Marketing: Um , the other twenty fivepercent didn't specify if they love them or found them , you know , neutral . Eighty percent of users would spend more money when a remote control would look fancy . Current remote controls do not match well theoperating behaviour of the user .Project Manager: I'm sorry , that eighty percent of users would spend more money when a remote control would look fancy . You mean that they would spend more money on afancy-looking remote control ?Marketing: Yeah , they're willing , they're willing to spend money on a remote control with personality .Project Manager: Okay .Marketing: As opposed to your basic , you know , oval black, all same size button remote control .Industrial Designer: Mm . Yeah .Marketing: Um , so it is something that people care about . It's not , it's not ignored in the household . Um , seventy five percent of remote controlusers said that they zap a lot . Zapping meaning they go through channels a lot .Industrial Designer: Mm-hmm .Marketing: They're you know thumb-masters . Um , and fifty percent of users say they only use tenpercent of the buttons . That A very small amount . Thought that was interesting .Project Manager: Alright , so it might be very appealing if , um , we have very concise buttons .Industrial Designer: Mm . {gap} thesingle function .Project Manager: And another thing with um lots of surfing , we'd probably have to work on something that could be um a lot more durable ,Industrial Designer: Yeah .Project Manager: because I findwith um channel-changers that , um , a lot of the numbers get rubbed down if they're printed on the button .Marketing: Yes .Industrial Designer: Yeah that's a good point .User Interface: Yeah . Yeah .Marketing: Andactually to go with that , I'm gonna give you some statistics on the uh relevancy of the buttons , how much they're used . And uh how important the uh users find them . So the power button , obviously , in an hour isonly used once . Hopefully the person's not turning on and off the T_V_ . Um , but the relevance of that button is nine out of ten . So people wanna be able to turn on the T_V_ with the remote control . Um , as opposedto standing up and turning on the television set . Channel selection is used a hundred and sixty eight times on average per hour .Industrial Designer: {vocalsound}Marketing: That's a huge amount . This is the mostimportant button . Um , so obviously when commercials come on they're changing it , so as you said we want a durable button that's not gonna run down . Relevance of that button , our users found was uh ten , ten outof ten . Uh , ditto for volume selection , so ten out of ten . And it's used on average four times an hour . Not as much as channel selection , but still significant . Um , audio settings is used on average zero point eighttimes an hour . Relevance is two . Screen settings , which means brightness , colour etcetera , zero point five times an hour . Um , and relevance of one point five . We're getting to specific statistics here . Teletext , um, now I'm not too clear on what that is . I don't know if you can help me . Flipping pages .User Interface: It's um {disfmarker}Marketing: Is that {disfmarker}Industrial Designer: It's like the news . Or like information.User Interface: It has {disfmarker} T_V_ has like information , it has information on holidays , the news , entertainment .Project Manager: Yeah .Industrial Designer: The {disfmarker}Project Manager: It's um{disfmarker}Industrial Designer: and what's on .Marketing: So like a running banner , underneath {disfmarker}Project Manager: No it's a button that you press , and then you , uh , like a menu pops up .User Interface:No , li Yeah .Project Manager: I haven't used it beforeUser Interface: Yeah .Project Manager: but {disfmarker}Marketing: Oh .Industrial Designer: It's like {disfmarker}User Interface: And you have page numbers likefor the menu , and you press the page numbers with your remote , and it , it'll come up .Industrial Designer: It's like very basic internet . Sort of ,Marketing: Okay .User Interface: Very basic internet , yeah .IndustrialDesigner: um {disfmarker}User Interface: But you have {disfmarker}Marketing: Okay . Like tells you the weather , and {disfmarker}User Interface: Yeah . But you have no interaction back with it , you know.Marketing: Okay .User Interface: Like the internet you can send emails and {disfmarker} You've no interaction .Industrial Designer: Yeah , it's just information that um , like television timetables , what's on , what's onnow , what's on next , on every channel , and {disfmarker}Marketing: Right .User Interface: Yeah .Marketing: Alright . Well I guess I'm not with it , because I wasn't {disfmarker} But it's , it's being used fourteen timesan hour . Um , and has a r a high relevance of six point five . So it looks like something that we're gonna want to do some research on and include on our remote control .User Interface: Yeah .Industrial Designer: Yeah.Marketing: Um , channel settings . Zero point zero one times an hour . Relevance of three . Channel settings .User Interface: Uh , probably just tuning in the channels , would it be ?Marketing: P Sorry . Changing thechannels ?User Interface: Tuning them in at the very start . You know if you get a new T_V_ set , you tune in all the channels ,Industrial Designer: To get the right reception and picture , I suppose .User Interface: doyou th do you think ?Marketing: Oh , okay .User Interface: Yeah . Yeah .Marketing: Yeah . Okay .Project Manager: Mm .Marketing: Um , so it's not used very often , but people still find it relevant . Okay . Um , biggestfrustrations of uh the people that we interviewed . Remote controls are often lost somewhere . So that was already discussed by Poppy . How we could have a , an alarm system so that people can find it . Um , takes toomuch time to learn how to use a new remote control .Industrial Designer: {gap}Marketing: So it should be very user-friendly , you know . People know what to do very quickly . Um , remote controls are bad for R_S_I_. {vocalsound} {gap}Industrial Designer: Repetitive strain injury .User Interface: Repeti Uh .Marketing: Ah .Industrial Designer: I think .Marketing: Is that what it is ? People with arthritis and such ?Project Manager:That's rather sad . {vocalsound}Industrial Designer: {vocalsound}User Interface: {vocalsound} {vocalsound}Industrial Designer: {vocalsound}Marketing: Um , maybe ourIndustrial Designer: Oh , I'm guessing that's"}
+{"doc_id":"doc_77","qid":"","text":"Project Manager: Okay . {vocalsound} Well , let's start . What are we doing ? Oops . {vocalsound}User Interface: Hmm .Industrial Designer: Ah , pinball .Project Manager: {vocalsound} Okay . Okay . Not doing.Industrial Designer: {vocalsound}User Interface: {vocalsound}Industrial Designer: {vocalsound}Marketing: Mm . Ah . Hey . {vocalsound} Ah .Project Manager: Uh {disfmarker}User Interface: Oh .Marketing: Now Ihave my screen back too . {vocalsound}Project Manager: Very good .Industrial Designer: {vocalsound}Project Manager: {vocalsound} Okay .Industrial Designer: {vocalsound}Marketing: Yeah .Project Manager:{vocalsound} {gap} we have presentations . So first , it's your turn .Industrial Designer: {gap}User Interface: Mine . Oh , great .Project Manager: {vocalsound} Yeah . Isn't it amazing . {vocalsound}IndustrialDesigner: Huh . {vocalsound}Marketing: {vocalsound} Yeah . Very interesting .User Interface: Uh {disfmarker}Marketing: {vocalsound}Industrial Designer: {vocalsound}User Interface: {vocalsound}Project Manager:Industrial Designer . Interface concept .User Interface: {vocalsound} Yes , well uh let's uh talk about the interface uh concept . Uh , first I'll uh I'll uh discuss the buttons we just chose , uh show you some samples , uhuh discuss some colours and design maybe , already . And uh my personal preferences . {vocalsound} Well we chose the power button to switch the television on and off . The bu uh the mute button to switch thevolume on and o on and off . The channels buttons , one to nine , and uh off uh uh zero to nine , and the uh button to choose uh higher channels than nine . Uh the volume and channel quadrants , uh left and right , upand down arrows , to uh do the volume and channel . And the menu menu button to man manipulate the L_C_D_ uh display . Um , I found some uh interesting uh uh samples . Examples .Industrial Designer:{vocalsound}User Interface: Um , well uh what's pretty standard is uh that it's {disfmarker} that they're all pretty uh uh high uh {disfmarker}Marketing: Large .User Interface: Yeah . Yeah . Large and and and prettythin and uh and long .Marketing: A lot {disfmarker} a lot of buttons buttons .User Interface: Um , power buttons are mostly at the top uh left or right . Um , well we see the the the same uh arrows . Like there . And uh{disfmarker} Yeah , well arrow b buttons can be blue . And what's interesting is the the the icons on the buttons . Some buttons have icons like the play and stop , but we don't use that . But uh , these we we have tochoose the right icons , or or letters . Uh this is the V_ for volume , but they're both uh a V_ .Project Manager: {vocalsound}User Interface: So it's it's not really very uh clear what's the function of that .Marketing: Yeah.User Interface: Um {disfmarker} Yeah . So , that's {disfmarker}Project Manager: {vocalsound} Can you go back one page ? For the uh menu , what do we use for that ? We don't have buttons for the menu .UserInterface: Uh , well {disfmarker}Project Manager: Or we may have to use channel of the volume and channel {gap} .User Interface: Yeah . I thought that was our uh idea .Project Manager: Okay . But {gap} uh{disfmarker}User Interface: So , uh how {disfmarker}Project Manager: You have to put it on the {disfmarker}User Interface: Like this .Project Manager: Yeah .User Interface: Or or this . And that the menu button isokay .Project Manager: Yeah but , has to be clear that you can use the arrows .User Interface: {vocalsound} Yeah , okay .Marketing: Yes .User Interface: Uh , so the {disfmarker} The icons on the arrows , as well , youmean .Project Manager: Mm-hmm . Yes . The second one .User Interface: Yeah . Uh , well that's something to uh think about . {vocalsound}Project Manager: Okay .Industrial Designer: Uh , maybe I'll have somethingin my uh presentation . And you will see it .User Interface: Okay .Marketing: Okay . {vocalsound}User Interface: Um , well I don't I don't know if we have to discuss this already , or in the next uh meeting .IndustrialDesigner: {vocalsound}User Interface: But uh , as we have to uh to to design the the case and the whole uh remote control in our uh our our corporate uh company uh uh colours and the logo , I would uh recommend ayellow case . Uh , round edges . The logo at the bottom . And uh , well maybe each each uh set of buttons uh has uh has his own colour . So , it's good . Uh , recognisable . K so , I think .Project Manager: {vocalsound}Not too much colours .User Interface: Uh , no . Not too much .Project Manager: No , it's not flower power .User Interface: But uh {disfmarker} No , no , no . But this has to be has to be trendy and uh {disfmarker} and{gap} {disfmarker} {vocalsound}Project Manager: S okay .User Interface: Uh , yeah so good uh good icons on the buttons , and uh and big buttons is my uh personal uh opinion .Project Manager: Okay .UserInterface: That was that .Project Manager: Thank you . So , you're next .Industrial Designer: I'm next , okay . {vocalsound} Yes . No . Here we go .Marketing: {vocalsound}Project Manager: {vocalsound}{vocalsound}Industrial Designer: Uh , at first we will uh I will f uh say something about what younger people want ,Marketing: {gap} Okay .Project Manager: {vocalsound}Marketing: Mm-hmm .Industrial Designer: ouruh group w uh w uh we want to uh sell our remote controls to . And then , I'll discuss what my opinion is about the costs , about uh what battery is in it , what kind of buttons also . First uh , the younger people , theywant like soft mat uh materials and primary colours . Like , totally yellow , totally red . Uh , so it's visible . Uh , the shapes are curved and round , like uh you also said . Maybe it's nice to uh get a remote control not likeall the other ones , straight and uh flat and long . But to give him the shape of your hand , so you {disfmarker} it's easier to use or something like that . But that's just an idea . And then , I'll have to discuss about thecosts uh of all the things for the remote control . The battery , there are few options . Uh , I think the best option is to use uh the basic battery . So , everybody can buy it uh at the at the supermarket . Or use uh a k uhkinetic battery like uh within a watch . When you uh shake it a few times , it it's loaded . Uh , the the form of the remote control , I think it's also nice {gap} have it curved . And maybe like it's hand-shaped . Uh , so uhyou take it here in your hand and here are the buttons . Uh material , you use plastic . Hard plastic uh because uh {gap} it won't have to burst uh like in the {disfmarker} in one time . And also rubber because theyounger people like that , what we see in the research . Uh the push-buttons . We have one new thing uh discovered . It's a scroll push uh thing like a mouse . Maybe it's uh easy to use uh for the channels . When youwant to go m move up , you just scroll up and click on the button , if you wanna see the next , uh if you wanna see that channel . And also for the mouse , uh for the volume , it's also uh easy to use . Just scroll a bit up, scroll a bit down . And that's also easy just w when you have a thing like this , and you get it here . You can do it with your thumb . And with your l left hand you can uh push the buttonsMarketing: Hmm .IndustrialDesigner: uh if you {gap} push uh channel one , you can see channel one . The electrics um with a scroll push uh button , we must use regular uh chips . There are also uh simple chips . They are uh cheaper . Um , butthen we have just a basic uh uh remote control , and I think there are a lot of those uh things , and people won't buy it any more . They have seen enough of it . And you have also advanced um chips . But that's withthe L_C_D_ uh screen . And the costs will increase a lot more . And I think our budget is too low to use and an L_C_D_ , and the chip who is more expensive . And maybe it's also then uh thoughtful if we u uh use uh asum different kind of uh shapes for the {disfmarker} for remote control , that we then use the primary colours . Like , you get a yellow uh remote control , red one , blue one , et cetera . You have any more questionsabout this ? I think the main thing is we look at the costs .Marketing: Yep .Project Manager: Hmm .Industrial Designer: And not too basic , not a basic remote control , who everybody already has .Marketing: Yeah . But, thi i uh {disfmarker} This is with an L_C_D_ ? No ,Industrial Designer: Not with an L_C_D_ .Marketing: not .Project Manager: No , isn't .Industrial Designer: No .Project Manager: But the L_C_D_ is easy when you usethe scroll uh buttons . Then you can scroll , you see what number , and then you push .Industrial Designer: Yeah . But then , what I say , the costs will uh get a lot higher .Project Manager: But then it's not easy to usescroll uh wheel . If you don't {disfmarker}Industrial Designer: Th then you'll see it on the television .Project Manager: Hmm , yes . But then . Yeah , then you go one down one up . When you scroll .Industrial Designer:but l when you see a menu uh on the television , it's like you see uh one to twenty , you go uh uh s scroll up , and push number tw twenty . YeahProject Manager: but like we said before , it has to be used on everytelevision . Yeah So you may not be uh {disfmarker}Industrial Designer: {vocalsound}Project Manager: No . The television must do that . So {disfmarker}Industrial Designer: Mm-hmm . Yeah , I think the youngerpeople will have newer televisions , which can provide our uh remote control .Project Manager: Yeah but young people have to have all their uh room . And mostly they are smaller . So {disfmarker}Industrial Designer:Yes . But that won't be a problem . I think .Project Manager: Most the times that are not advanced televisions .Industrial Designer: No , but then we'll get to the regular uh remote controls .Marketing:{vocalsound}Industrial Designer: And I think , what I said , everybody has them uh has them already . And they go to a uh supermarket and buy them uh for two Euros . Uh , and ge and get the most cheapest uh thing. And I think we must look further to uh to devel d develop something news .Project Manager: Okay .Marketing: Uh , can you give an indication in b uh in the cost difference between uh the chip with L_C_D_ or without?Industrial Designer: {vocalsound} I got it on my screen and it was uh higher . But I don't know uh how much higher . {vocalsound}Marketing: 'Cause it {disfmarker}Project Manager: That's important .Marketing: Ithink if we have an L_C_D_ , it will also sell a lot better .Industrial Designer: That's true .Marketing: And that might uh bring back the costs uh {disfmarker}Industrial Designer: But then we'll {disfmarker} I think wemust discuss who {disfmarker} uh what will be better . If we have a better shape of the um remote control , or better options on it . With a scroll menu , a w scroll thing , and a L_C_D_ . And then a flat um remotecontrol . Or , a more hand-shaped remote control , with scroll , without L_C_D_ .Project Manager: Yeah . Maybe you can look how how much it is for the L_C_D_ .Industrial Designer: I can uh look on my uh{disfmarker} {vocalsound}Project Manager: {vocalsound} It's very important .Industrial Designer: {gap} Uh {disfmarker} Note that the push-button requires a simple chip chip . A scroll wheel requires minimally aregular chip , which is a higher price range . The display requires a advanced chip , which is which in turn is more expensive than the regular chip .Project Manager: Yeah , more expensive . But how much ?UserInterface: {vocalsound}Industrial Designer: Doesn't say . {vocalsound}Project Manager: {vocalsound} Oh .User Interface: Hmm .Marketing: Huh .Project Manager: Okay .Industrial Designer: That's from mymanufacturing division .Project Manager: Okay .Industrial Designer: {vocalsound}Marketing: 'Kay . {vocalsound}Project Manager: {vocalsound} Well , thank you .Industrial Designer: Yes ?Marketing: My turn ?ProjectManager: Next .Industrial Designer: {vocalsound}Marketing: {vocalsound} Mm . So {disfmarker} So {disfmarker} Yeah . So , my uh presentation is about trend-watching . Uh , I did some trend-watching . It's veryimportant to uh keep up with latest trends . {vocalsound} 'Cause if you don't , you won't sell . So , well how we did do that ? Uh , well we made an investigation of the market , by Trendwatchers . They uh watch in uhcities like uh Paris and Milan . Of course , well known for their uh trend {disfmarker} uh trends . And well , uh what did you find ? Uh , we have two groups , young and trendy , and the old and rich . Well th and theyoung and trendy , they uh they starting to like uh fruit and vegetables uh as a theme for n uh clothes , shoes , and also uh products . And um , material ? That should feel {disfmarker} have uh a spongy feeling . Andto get a feeling for what it is , uh here is an image of it . Then the old and rich . They like uh dark colours , and simple , recognisable shapes .Industrial Designer: {vocalsound}Marketing: And um , they also like uhfamiliar material , uh especially wood . Now , another picture .User Interface: {vocalsound}Marketing: To get a feeling for this . Well , uh then already come to my personal preferences . We uh aim at the youngermarket . So , we should also be uh look at their uh trends . However , with trends it's always if there's {disfmarker} it's now . It it it might last one year , and next year it be {disfmarker} uh can be totally different .And I think we want to sell our product for longer than one year . So , we m must not just only look at what the trend is now , as it might be totally different next year . So , that's uh one thing to keep in mind.Industrial Designer: Changing covers . {vocalsound}User Interface: {vocalsound}Marketing: {vocalsound}Project Manager: {vocalsound}Marketing: Yeah . Any questions ?Industrial Designer: Nope .Project Manager:No . It's clear .User Interface: No .Project Manager: So now , it's uh {disfmarker} {vocalsound} Ah , let's see . Now , w we have to decide {vocalsound} Well , we have to decide on the concept . So , we have to look at{disfmarker} 'S next . Components and user interface concept . So {disfmarker} Now , we have to make some concept . Maybe one of you can paint it on the board . First , uh user interface .Industrial Designer: Uh ,uh-uh . How w how we how we make it ? Uh {disfmarker}Project Manager: Yes , a concept on uh {disfmarker} {vocalsound}Industrial Designer: {vocalsound}Marketing: {vocalsound}Project Manager: Just{disfmarker}Industrial Designer: Shouldn't we first discuss about like what w we all {disfmarker}Marketing: Yeah .Project Manager: {vocalsound} Yeah , but maybe we can paint it . Uh , what do we want ?IndustrialDesigner: Yeah , but if I paint with {disfmarker}Project Manager: I'll paint . Okay .Industrial Designer: {vocalsound}Marketing: {vocalsound}Project Manager: Well {disfmarker}Marketing: Mm .Project Manager:Something like this ? Or {disfmarker} Shapes or {disfmarker} What do we need ?User Interface: Mm , yes . What ?Marketing: Can make several uh concepts .Project Manager: Yes , okay .Marketing: We have this , andwe had the idea of an um a more uh uh uh like sh in the shape of your hand .Project Manager: Okay .Industrial Designer: More like something {disfmarker}Marketing: Yeah I I I uh {disfmarker} yes . {vocalsound}UserInterface: {vocalsound}Industrial Designer: M like {disfmarker} Yeah I can't dr I can't draw it .Project Manager: And you have to .Industrial Designer: Uh {disfmarker} {vocalsound}Marketing: {vocalsound}UserInterface: {vocalsound}Industrial Designer: I have to .Project Manager: Yeah .Industrial Designer: I'm not a designer . It's more {gap} three D_ . Like , um when you have a part here . This is the remote control . Andthen you have something like th this under it . So , it's easier to get it like this .User Interface: Mm .Project Manager: {vocalsound} {gap}User Interface: {vocalsound} Yeah .Industrial Designer: {vocalsound}{vocalsound} It's like a gun . {vocalsound}Marketing: Yeah .User Interface: {vocalsound}Marketing: A g {vocalsound}Project Manager: So , it has to be soft ?Marketing: Mm . {gap} .Industrial Designer: And it has tobe soft , yeah .Project Manager: Okay . And uh , the buttons ?Industrial Designer: So , you can squeeze in it and {disfmarker} Sorry ?Project Manager: Buttons .Industrial Designer: Buttons on top of it . And here . Thescrolling . You can do it with your thumb .Project Manager: {vocalsound} No , it won't .Industrial Designer: {vocalsound}User Interface: But but i that's the only scroll uh button on it then ?Industrial Designer: But nowwe use one scroll button and the other one is here . One till uh uh zero till nine .User Interface: Yeah , okay .Project Manager: But , well there one for the sound and one for the channels .User Interface: But but how{disfmarker}Industrial Designer: And the bMarketing: Yeah .Industrial Designer: {vocalsound}User Interface: Yeah . How {disfmarker}Industrial Designer: Yeah ? Or two buttons .User Interface: Okay .ProjectManager: Uh , two scroll uh wheels .Marketing: And i if we go to uh {disfmarker} {vocalsound}Industrial Designer: If uh {disfmarker} 'Kay c If we do {disfmarker} If we use one , then we'll have just a switch on it ,and you'll just switch it , and now it's the sound to switch backUser Interface: Mm .Marketing: {vocalsound}Project Manager: That's th that's more difficult .Marketing: But if we have uh a me Yeah .Project Manager: It'sbetter in {disfmarker}Marketing: If we have a menu , uh how do we uh choose other options ?Industrial Designer: with the menu uh button . And then you also can scroll uh scroll in it . Just not like all the other ones ,with uh this thing , and uh here an arrow , here an arrow , here an arrow , here an arrow .Marketing: Yeah .Industrial Designer: Because uh , from h hundred uh {gap} remote controls , ninety nine have it .ProjectManager: But if we don't have a L_C_D_ we don't have a menu .User Interface: Yeah .Industrial Designer: Uh , then we have it on the T_V_ , the menu .Marketing: Uh-uh .Project Manager: Yeah , but {vocalsound}again maybe th How do we know the T_V_ can handle it ?Industrial Designer: {vocalsound}User Interface: {vocalsound}Project Manager: You don't know . So , there's no menu .Industrial Designer: I don't know . It'slike some sort of uh teletext option , but we don't have teletext . {vocalsound}Project Manager: No . So you can't use it .Industrial Designer: And if we put an L_C_D_ thing on it , then the costs will uh be much higher.Project Manager: Okay , we make two concepts . One with L_C_D_ . One without L_C_D_ .Industrial Designer: 'Kay . But you all like this kind of thing . Uh {disfmarker}Project Manager: Good concept . But{disfmarker}Industrial Designer: With the scroll button .Project Manager: That's one .Industrial Designer: And and this one has to be soft .Marketing: Uh-uh .Industrial Designer: And this has to be harder , becausewhen it falls , it mu mu must not burst . Or some kind of rubber around it .User Interface: Mm-hmm .Project Manager: It's one . Two . Number two .User Interface: And you can and you can uh make the the powerbutton as a trigger .Project Manager: {vocalsound}User Interface: Like uh {disfmarker} {vocalsound}Industrial Designer: {vocalsound} Yeah . Yeah .User Interface: {vocalsound} {gap}Industrial Designer:{vocalsound} Ah that's nice .User Interface: {vocalsound}Industrial Designer: {vocalsound} Here . Trigger . {vocalsound}Marketing: {vocalsound}Project Manager: No . {vocalsound} But when you handle it , you putit on and off .User Interface: Just to uh {disfmarker} {vocalsound}Project Manager: It's not good to use .Industrial Designer: {vocalsound}Project Manager: {vocalsound} Yeah , but {vocalsound} I'll zap .UserInterface: Oh , like a {vocalsound} {gap}Marketing: {vocalsound}Project Manager: {vocalsound} Fuck . Out . {vocalsound}User Interface: {vocalsound} Yeah .Industrial Designer: {vocalsound}Project Manager: No ,it's not good .Marketing: Yeah .Project Manager: {vocalsound} Now , second concept . One with L_C_D_ , one without L_C_D_ . Then uh {disfmarker} Paint it . {vocalsound}User Interface: {vocalsound}IndustrialDesigner: Paint it ?Marketing: {vocalsound}User Interface: {vocalsound}Industrial Designer: With the scroll thing on , like this ?Project Manager: One with two scroll buttons and one with without . Yeah . Uh , one witha with a menu , and one without a menu .Industrial Designer: So ?Project Manager: And the one with with a menu has an L_C_D_ .Industrial Designer: {vocalsound} Draw it . {vocalsound}Project Manager:{vocalsound} Unbelievable .Marketing: {vocalsound}Project Manager: Do I have to do everything . Blank . You have {disfmarker} {vocalsound} Not so difficult .Marketing: {vocalsound} Yeah .User Interface: But ifyou put {disfmarker} push the the menu button {disfmarker}Project Manager: Uh , that's the menu . There for the L_C_D_ screen .User Interface: Yeah , wh what {disfmarker} Yes , but you don't know which of the"}
+{"doc_id":"doc_78","qid":"","text":"Lynne Neagle AM: Okay, good morning, everyone. Welcome to the Children, Young People and Education Committee. We've received no apologies for absence. Can I ask Members whether there are any declarations ofinterest, please? No. Okay. Thank you. Item 2 this morning is our evidence session with the Cabinet Secretary for Education for our inquiry into the status of the Welsh baccalaureate qualification. I'm very pleased towelcome Kirsty Williams AM, Cabinet Secretary for Education; Kevin Palmer, who is deputy director, pedagogy, leadership and professional learning; and Andrew Clark, deputy director, further education andapprenticeships division. So, thank you all for attending, and we're looking forward to hearing what you've got to say. If you're happy, Cabinet Secretary, we'll go straight to questions.Kirsty Williams AM: Ofcourse.Lynne Neagle AM: And the first questions are from Julie Morgan.Julie Morgan AM: Thank you very much, Chair, and bore da. I was going to ask some general questions about the value of the baccalaureate.Could you give us your views on how the Welsh bac is valued by learners and teachers?Kirsty Williams AM: Bore da, Julie, and thank you very much for your question. Firstly, I'd like to begin by saying that I as theCabinet Secretary value the qualification very much indeed. I believe that it helps ensure that we are able to give our young people in Wales a broad and balanced curriculum, recognising the need to develop knowledgeand skills in core subjects but recognising also that the purpose of education is to help prepare our children for further study and the world of work, and I believe that the skills challenge element of the baccalaureatedoes just that. I meet with young people and teachers all the time who tell me about the positive experiences they have had studying for the Welsh bac, and much of that was evidenced in Qualifications Wales's reviewinto the Welsh baccalaureate. They did focus group work with a representative sample, and many of the learners expressed the fact that they have enjoyed studying for the qualification and have gained a great dealfrom it. I meet regularly with individuals who have been able to use their bac to successfully gain a place at university, so I believe there's a huge value for Welsh young people being able to study this particularqualification alongside the more traditional qualifications that perhaps we're all used to. I think the challenge is that, given that many people are very familiar with what a GCSE is and, as parents, we will know what thatis and many of us will have done—some of us are so old we'll have done O-levels. We know what those traditional qualifications look like, and therefore a new qualification—there's always a job of work to do tocommunicate that, if people aren't used to it, but I value it hugely. I think that, whilst there is always room for improvement—and, of course, you'll be aware of the review that Qualifications Wales undertook and thathas suggested ways in which we can further improve and refine the qualification, but I think it is a valuable piece of work for Welsh young people to undertake.Julie Morgan AM: It's great that you've been aroundlistening to learners and what they have said about it. Have you had any negative feedback?Kirsty Williams AM: Well, occasionally, of course, we do have concerns raised with us, and those concerns are similar to theones that have been raised in the Qualifications Wales review. So, for instance, we sometimes have concerns about how some students balance the Welsh bac with other qualifications they may be taking. Someteachers feed back around the workload issues associated with the Welsh baccalaureate. For some students, there may be concerns about the nature of the Welsh bac and whether that can impact negatively on theirwell-being. And, obviously, that's why Qualifications Wales have undertaken this piece of work so that we can refine, if necessary, that qualification and how we continue to look at how we ensure my belief that takingthe Welsh bac should be the norm for students but also recognising that, in some cases, there needs to be flexibility to ensure that the well-being of the student is not compromised.Julie Morgan AM: And so would yousay that it's valued by learners more or less at key stage 4 or post 16?Kirsty Williams AM: Well, I think that, as I said, the vast majority of students I meet report very positively about the opportunities that are affordedfor studying at that level. Occasionally, we hear from students who I believe think that in studying the subject they may be compromising their chances because they want to do additional A-levels, and I'm sure we'llcome on to, later on, whether universities, and whether the Russell Group universities in particular, value the qualification. But I feel that there are particular strengths. And I think what's really important, and, intalking to universities, since the qualification became graded, rather than just a pass/fail qualification—I think that added rigour since 2015 has been particularly important in ensuring that there's real value in studentsundertaking that work.Julie Morgan AM: And what about the effect that the leadership in the school has on the way that the bac is received? Have you—?Kirsty Williams AM: As always, Julie, leadership is crucial, andstudents' experiences can be very coloured by the attitude towards the teacher delivering that particular course. And, therefore, we need to continue, alongside the WJEC and Qualifications Wales, to ensure that theWelsh bac is communicated to children in a positive way, the benefits are explained to children and their parents, and, also, we need to ensure that those who are tasked with teaching Welsh bac in their schools orcolleges feel confident in their ability to do so and to ensure that students have a really positive experience of that qualification, because if you're being taught by someone who is telling you, 'Oh, I don't know why we'rehaving to do this', then, obviously that's going to colour how you feel about it. And, if I'm honest, I recently attended a youth forum, where young people from the county were discussing all sorts of issues—everythingfrom the environment to their experience in school—and I was struck by the group of year 12 and year 13 students. I specifically asked them about the bac—I always take the opportunity to ask them about theirexperience of the baccalaureate. One school, the group of students said, 'It's fantastic. We really enjoy it. It's really valuable. I'm learning a lot.' Students from a school seven miles away—just seven miles away—said,'Oh, I don't know why we're having to do this.' And I suspect that that has got more to do with how that is being delivered in their institutions than it has about the quality of the qualification. So, we need to keepensuring that those who are tasked with this see it as important, communicate that to students, and have the confidence and the ability to deliver a really positive experience.Julie Morgan AM: I think our experiences inthe committee are very similar. Within the same room, actually, we've had two completely different sets of views. So, what do you intend to do to try to ensure that there's consistent support and enthusiasm for thebac from the leaders?Kirsty Williams AM: Well, first of all, we have the design group of Qualifications Wales looking to address some of the issues that arose out of the report around ensuring that, especially from ateacher workload perspective, it's not too onerous in terms of assessment. So, there's that to do to make sure that we're not asking children to duplicate and do things over and over and over again, which, of course, forany of us, would be wearing and we would question to the value of. So, there's the design group looking at the qualification itself. We are ensuring, as part of our professional learning for teachers that—. There areexisting opportunities via the regional consortia for support for teaching of the qualification. The WJEC has resources and support available, but we will look, as we roll out our national approach to professional learning,at that the professional learning needs of those already in the system are addressed. Of course, our accreditation for our new initial teacher education is predominantly addressed at being able to deliver the newcurriculum, but, if you think about the elements of 'Successful Futures' and the skills and the knowledge and the pedagogy associated with that, it's very much in line with the Welsh baccalaureate challenge certificate.So, actually, there are opportunities via initial teacher education as well, and we continue to need to look to work with our partners to be able to reinforce why this is a worthwhile qualification. And I have to say I thinkthe best people to do that—. It's not me. I'd like to see past students of the Welsh baccalaureate being able to talk about their own experiences and why it's made a difference to them. I come across individuals forwhom their place at university has been secured by that Welsh baccalaureate, and, all of a sudden, if that's what's got you your place, it becomes a lot more valuable than perhaps it was six months before. We need tomake sure that students are aware, and teachers and school leaders are aware, of the importance that this qualification has.Lynne Neagle AM: Suzy, did you have a supplementary?Suzy Davies AM: Yes. I've got one onIT, but I'll leave that one. I just want to go back to Julie's question about whether there was a different perspective or a different sense of value for students who are post 16 and those who are pre 16. When one of thecollege leaders here was asked whether he had people coming to him in his FE college who've been through the pre-16 bac and had heard evidence or had stories of, basically, those children cobbling together their bacin the last four weeks of term before they got there, he said that yes, that is his experience. Does that worry you at all, because, of course, the whole purpose of bac is to teach skills over a period of time, and itspurpose cannot be fulfilled by getting it all done in the last term of—which year am I in?—year 11, in order to satisfy the curriculum?Kirsty Williams AM: Yes. Obviously, that's not the experience that we would wantyoung people to have, and, as someone who has had a daughter just finish year 11, that's certainly not the experience that my daughter had in her particular school, and I have another daughter who has just gone intoyear 10, where the Welsh bac has started in year 10 and it is a a two-year course in which elements are undertaken. Obviously, we will need to address, as part of the design group and the work that QualificationsWales is doing, how that is playing out in individual schools. But that would not be a positive experience; we want this to be taken in exactly the same way as we would expect a GCSE to be taught over a period of twoyears. But, Andrew, I don't know if there's anything you'd like to add from the college perspective.Andrew Clark: I think it is variable. I think that it will depend on the feeder schools to the colleges and it'll depend uponthe delivery models that are in existence in those schools. It's been around as a qualification now for about a decade, I think. There have been differences in the way that the subject has been—sorry, not the subject,the qualification has been delivered. And I think it'll be helped by a recent review by Qualifications Wales, because they're doing a survey at the moment as to different delivery models in different locations, and that,perhaps, will inform more even practice as we move forwards.Suzy Davies AM: Yes, and Estyn and consortia are looking at it as well. I don't want to cut across questions, so, thank you.Andrew Clark: No, but it's aknown issue, if you like, that various people are attempting to address and bring a more uniform mode of delivery across the nation.Suzy Davies AM: Okay, thank you.Lynne Neagle AM: We've got some more detailedquestions now on understanding, from Siân Gwenllian.Sian Gwenllian AM: Just to drill down rather deeper into the issue of the variability in the way in which the Welsh bac is provided, could you explain why you thinkthat this inconsistency is happening, and then what the impact of the inconsistency and variability is on the value that learners attach to the bac and their understanding of it?Kirsty Williams AM: I think the variabilitycan be perhaps explained by the fact that it's a new type of qualification, the fact that different schools have adopted it at different rates—Sian Gwenllian AM: Ten years?Kirsty Williams AM: Well, as I said, over thattime, there were some early adopters who have done it in a certain way, there are some people who've come later to it, who may be doing it in a different way. And, as I said, it's quite a different departure fromtraditional O-levels, from GCSE-type subjects, where there is a programme of work and a syllabus. So, it is a different nature of qualification, and, therefore, as Andrew has just alluded to, schools have approached it ina different way. We are alert to that and Qualifications Wales, crucially, is alert to that, and we are looking to ensure greater consistency in how it is delivered in individual schools. We're also aware, in the schoolsetting, in pre 16, there are some concerns about the onerousness of the workload associated with the evaluation of the students' work. Now, clearly, there is a difference between onerous and rigorous. We wrote thequalification to be a rigorous qualification for the students, but we don't want it to be jeopardised by the evaluation of it being too onerous. So, there's that balance to be struck. Again, that's one of the issues that thedesign group and Qualifications Wales are looking at. That process is a really important process, so there is the design group, but working alongside the design group, who they are testing the messages and testing theirthoughts with, is a stakeholder group, and there is also a practitioners group. So, that work by the design group is being tested with those people who have an interest: business, for instance, the world of work—is thisqualification really giving students the skills that are valued by potential employers?—but it's also testing its thinking with the practitioners, those people who will be charged with the delivery of the qualification, and Ithink that's really important to be able to get an understanding of the challenges of making sure there's a consistency, and what are the barriers to that, and what steps need to be taken to ensure a greater level ofconsistency in delivery.Sian Gwenllian AM: Is there a correlation between consistency in general? Because we know that there's polarisation in the secondary school sector between the good schools and the not-so-goodschools. And is there a correlation between—if the schools are good according to Estyn, or excellent, are they also good, excellent at delivering the bac? Is it a fundamental inconsistency across the sector that's causingthis inconsistency?Kirsty Williams AM: I don't know. I don't have that data to hand, but, of course, from next year, the bac will be a dedicated performance measure for schools. So, actually, we will be lookingspecifically at completion of the bac as part of the wider set of school performance measures. So perhaps we will be in a better position once that's formally established to be able to track progress.Sian Gwenllian AM:Because some of the evidence we've heard is that if the leadership is good around the bac in the school, well, everything else follows from that. So, it makes sense to me that it could be.Kirsty Williams AM: Absolutely.As I said, I don't have the figures to hand, but, as I said, from next year, the bac actually becomes a formal part of the performance measures for schools.Sian Gwenllian AM: Fine. I'll turn, therefore, to theunderstanding of employers of the Welsh bac and the skills challenge certificate. From the evidence that we've had, it appears that there is a problem in this area, that is, employers generally don't value thequalification. Is that your experience, and how can we improve that? How can we elicit more engagement from employers of all sizes with the value of the baccalaureate?Kirsty Williams AM: Well, the first thing to say ismy understanding of the development of the bac is that employers' voices were reflected and they were part of the process that drew up the qualification in the first place. You'll be aware of the review by QualificationsWales that found that many employers say that the skills that are developed through the baccalaureate are exactly the kinds of skills that they want young people to be acquiring whilst at school, that put them in a goodplace for looking for employment later. I would agree with you, Siân, and not just in terms of the bac, there are lots of reasons why we need greater working between education and employers. I sit down with employerorganisations to try and explore better ways in which we can work together—everything from ensuring that children have work experience opportunities through to, for instance, what more some of our companies coulddo to take up governors' roles, for instance, in our local schools, so that employer voice and that business voice are heard at a school management level. I think these things are really important. It's something that'ssometimes difficult. There are some excellent examples of really good practice where local employers work really closely with schools. I think of Sony in Bridgend doing a really, really, really good job working with theirlocal schools. In other areas, where you haven't got such a big employer, it can be difficult, can't it, for a small business that is trying to do their small business to think about, 'Oh my goodness, I've got to do somethingto help improve the education system as well.' So, I'm always looking at new ways in which we can get that working together. As I said, the Qualifications Wales design group has a stakeholder group that is helpingthem with their review into the qualification at the moment, but there are really good examples where employers and other organisations are working together. We also need to continue, I think, to communicate moreclearly with employers the nature of the qualification. Again, because it's relatively new, and the brands of the GCSE and A-level are so strong, people know what they are, unless you've either done the Welsh bacyourself or you have a son or a daughter, or a grandson or granddaughter who has gone through the process, you're probably going to be less familiar, and we need to continue to work together with the WJEC andQualifications Wales as a Government to better communicate the value of the qualification.Sian Gwenllian AM: So, you agree that there is a specific piece of work that needs to be done around employers and that theGovernment should be leading that.Kirsty Williams AM: Yes, and we are working closely with, as I said, Qualifications Wales to develop a joint communication plan, and we continue, as I said, as part of QualificationsWales's review into the nature of the qualification—employers' voices are being heard as part of that particular piece of work. But more generally, yes, I think there's more that we can do to better engage employerswith the education system in lots and lots of different ways.Sian Gwenllian AM: Okay. Thank you.Kirsty Williams AM: Not just on the Welsh bac.Lynne Neagle AM: Just before we move off this section, the variability thatthe committee has seen has been quite pronounced, really. We've been to a school where they've got a passionate and dedicated Welsh bac school leader, but then we've spoken to other schools where it's tagged on toa variety of teachers' roles, and that clearly has an impact on the way it's being taught. You said in your answer to Siân that you're trying to ensure more consistency in the delivery of it, and you referred to theperformance measures; are the performance measures the main vehicle by which you're going to ensure consistency, or are you planning to issue any more guidance to schools on how it should be delivered on theground?Kirsty Williams AM: We will need to reflect the work that Qualifications Wales is undertaking. Professional learning, I think, has a role to play as well as performance measures. So it's not just one thing that wecan do that will change this, it is a number of things—everything from the communications plan to making sure that teachers who find themselves responsible for delivering this feel confident and have had theprofessional learning opportunities to give them the skills so that they do a great job in delivering a positive experience to students. The performance measures, of course, as we know—sometimes in schools, it is thosethat make schools focus on something. So there's a wide variety of ways in which I think we can look to ensure more consistency. But, in the end, I think it is professional learning and teacher training, ITE, that willmake the biggest difference.Lynne Neagle AM: Okay. And just on understanding, one of the things the young people in Crickhowell told us was that they thought the name should be changed. They felt that it wasn't"}
+{"doc_id":"doc_79","qid":"","text":"Project Manager: Uh 'kay . So {disfmarker}Marketing: So so so .User Interface: Put on your mic .Industrial Designer: {vocalsound} So you forgot how this works again ?User Interface: Boss .Project Manager: Yep.Industrial Designer: {gap} Boss .Marketing: Maybe . Maybe maybe maybe .Project Manager: Okay so we're here to talk about the detailed design of the product , 'kay ?User Interface: Yep .Project Manager: And here'sthe agenda for this meeting . Uh I'm just gonna open , say a few boring words to start with again , and start taking minutes afterwards . You guys are gonna give us a presentation of our wonder product that I can seesome demonstrations of over there . Looks cool . And then we're gonna evaluate it .Marketing: {vocalsound} BraUser Interface: {vocalsound}Project Manager: Then we're gonna talk about finance , and I've got alovely Excel spreadsheet that I knocked up in the last five minutes for this . And uhIndustrial Designer: {vocalsound} Hmm you knocked it up ?Project Manager: yep . And {vocalsound} we're gonna evaluate theproduct and close .User Interface: {vocalsound}Industrial Designer: {vocalsound}Project Manager: Got forty minutes to do this in . We should be fine . Let's try and keep this one on schedule .User Interface: Alright.Project Manager: So {disfmarker}Industrial Designer: {vocalsound}Project Manager: {vocalsound} Your thing is in {disfmarker} where is it ? Is it in {disfmarker}User Interface: Three , three .Industrial Designer: Thithird third third . The end product thingy . Yeah .Project Manager: Who wants it ?User Interface: Pedro can have it .Industrial Designer: {vocalsound}User Interface: I like {disfmarker}Industrial Designer: {gap} .UserInterface: I'll help talk .Industrial Designer: {vocalsound} Um yeah so what we ended up with . Production costs estimated by our manufacturing department and um the research department , which is us , is uh fifteenpoint eight Euros ,User Interface: {vocalsound}Industrial Designer: someone forgot the {vocalsound} units thereUser Interface: Unit price .Industrial Designer: yeah , uh unit price {disfmarker} unit production pricecost thing . Um we implemented the basic functions , which is just T_V_ functions plus the locator , which was one of the marketing things , cradle , scroll wheel for uh the {vocalsound} the channels , and uh weimplemented the f the the way of putting the new and revolutionary zapping , your favourite channels functionality , in the scroll .Project Manager: Zapping your favourite channels , eh ?Industrial Designer: Yeah .UserInterface: Scrolling through your favourites list .Project Manager: Oh okay okay .Industrial Designer: Zapping you know zapping .Project Manager: Ah 'kay okay , that's favourites .Industrial Designer: Maybe it's just aPortuguese thing {vocalsound} . And um yeah that was the result .Project Manager: Ah 'kay . I like the the the the logo on there as well .Industrial Designer: {vocalsound}User Interface: It's very prominent{vocalsound} .Project Manager: It is very prominent . So this is the {disfmarker}User Interface: So {vocalsound} here I'll give you the {disfmarker} so this is the cradle unit , and this is the actual remote itself . Um sothe scroll bar is {disfmarker} or the scroll wheel is this this green little scrolly guy here , um and then the volume controls are here and here .Project Manager: Okay .User Interface: Uh you've got the keypad which isthe numbers uh f from zero to nine and then ten . This is the power button . Uh we have our um {vocalsound} we have the enter button and uh what was the other button here ? This is the teletext .Industrial Designer:Start s the the start uh to to toUser Interface: The programme button ,Industrial Designer: programme yeah .Project Manager: Ah , okay I see .User Interface: yeah the programme button . So this bl this button will beused both for the favourites and for programming {vocalsound} your uh the um the type of television you wanna use . So um the plastic is the white area of this {disfmarker} of the model here , and the red area is likea rubber covering .Project Manager: It's pretty cool .User Interface: So you can see that when it lays like this or like this {disfmarker} and the buttons are all gonna be rubber , so it's pretty hard to actually damage itum {disfmarker}Project Manager: Is that {disfmarker} could that be easy to {disfmarker} for the scroll wheel to be rotated if it lands on it ?User Interface: Yeah that might be a possible a mi uh possible problem , butif you drop it {disfmarker}Industrial Designer: Not helping {vocalsound} .Project Manager: {vocalsound}User Interface: yeah {vocalsound} .Project Manager: Oh well I guess it depends on the stiffness a little of it.User Interface: Yeah and it depends on if it's sliding , but I think it's pretty ergonomic . You can feel it .Project Manager: Mm . Feels good .Industrial Designer: {vocalsound}Project Manager: I take it that this is gonnabe slightly lighter in the final design as well .User Interface: Yeah of course . Well this is clay {vocalsound} .Industrial Designer: {vocalsound}Project Manager: {vocalsound} Yeah it's kinda cool . You have to reach alittle bit don't you .User Interface: Yeah the the power button is a bit of a reach , but I think we might scale down the final model a bit .Project Manager: Ah yeah that wouldn't make sense .User Interface: {vocalsound}These {disfmarker} this is a bit larger than it would be , but {disfmarker}Project Manager: It's cool . I'm impressed .Industrial Designer: Don't have no one to handle that .User Interface: {vocalsound}Project Manager:And hold it so {vocalsound} {disfmarker}Marketing: Mm that's {disfmarker}Project Manager: wh what's the marketing perspective ?Marketing: oh that's {disfmarker} oh I like it . I mean you guys gave me more than Iwas asking for , so I'm happy because we've got some really marketable features in this . Yeah I think it's good . Good good good job .User Interface: Mm Pedro can demonstrate the the paging ability .IndustrialDesigner: Yeah . So you ha you have like the the base station with um the little button for the where's my remote .User Interface: Beep beep beep .Marketing: {vocalsound} Uh plaUser Interface:{vocalsound}Industrial Designer: The locator function .Marketing: I'm haProject Manager: {vocalsound} Okay .Marketing: It's great . That's great . It's a great feature .User Interface: Um beep beep beep{vocalsound}Project Manager: Mm it's impressing .Industrial Designer: {vocalsound} Wicked isn't it ? {vocalsound}Project Manager: {vocalsound} So let me get it ,User Interface: so {vocalsound}Project Manager: if Ipress this button {disfmarker}User Interface: beep beep beep {vocalsound}Project Manager: I see . That's pretty cool . Hang on . {vocalsound}User Interface: beep beep beep {vocalsound} be shut up .{vocalsound}Industrial Designer: {vocalsound}Marketing: So you can take this ho take this home with you tonight and you can push that and he'll be across town {disfmarker}User Interface: Beep beep beep{vocalsound}Project Manager: {vocalsound} {vocalsound} I plan to do that as well .User Interface: okay . Um no no no tha that's alriProject Manager: {vocalsound} So the the two blue {disfmarker} are are those forthe the it to charge off of {disfmarker} in ?User Interface: Exactly that's exactly what those are for .Project Manager: Ah okay okay .User Interface: And um there's one other feature that we were debating , but wedecided to go against it , is um {disfmarker} you couldIndustrial Designer: {vocalsound}Project Manager: {vocalsound}User Interface: beep beep beep {vocalsound} {disfmarker}Industrial Designer:{vocalsound}User Interface: we were thinking that it might be interesting to have a trigger button here because you have this finger {disfmarker}Project Manager: Yeah {vocalsound} it's the right shape isn't it ?UserInterface: it it's it kinda feels like there should be something there , but we couldn't figure out what button is important enough to put there . And we we don't wanna accidentally be hitting the power button like that so{disfmarker}Project Manager: But maybe if you had a trigger plus the scroll then that would get past the the problem of it landing and scrolling ,User Interface: Mm .Project Manager: 'cause then it would need to be hiton both sides {gap} .User Interface: Right . So maybe in a final design phase we might tweak that a little bit ,Project Manager: Okay .User Interface: but {disfmarker}Marketing: Uh , I can see that .Project Manager:But it's definitely got options for like different types of models and things as well based on that , hasn't it ?User Interface: Mm-hmm .Marketing: Yep I like . Good job .Project Manager: So is that the the final colourscheme as well or ?Marketing: {vocalsound} No no .User Interface: Oh no this is {vocalsound} just what we had to work with at the time .Project Manager: Okay .User Interface: So we'll leave the colour scheme up tothe marketing people .Project Manager: The {disfmarker} hmm .User Interface: {vocalsound} Careful .Project Manager: It came off . The scroll wheels , {gap} a problem with them not being sort of {disfmarker}UserInterface: {vocalsound}Industrial Designer: {vocalsound}Project Manager: I don't think the user interface guy wants to touch it anymore .Marketing: Well I mean of course , I mean {disfmarker}User Interface:{vocalsound}Industrial Designer: {vocalsound}Marketing: My my s my suggestion is we're gonna go go to the silvers and blacks like most of the televisions .Project Manager: Mm .Marketing: You know some blend ofsilvers and blacks .User Interface: {vocalsound} Beep beep beep . {vocalsound}Project Manager: {vocalsound} Okay enough of that .Industrial Designer: {vocalsound}Project Manager: Well i it's cool guys . 'Kay so arewe done with the this presentation ?User Interface: Yeah .Industrial Designer: Ja .Project Manager: Okay . {vocalsound}Industrial Designer: {vocalsound}User Interface: {vocalsound}Project Manager: Now now .UserInterface: {vocalsound}Marketing: So you're not gonna find my uh my folder up there I gotta do mine up at the board .Project Manager: Have you ? Okay .Marketing: Yeah yeah . So {vocalsound} {disfmarker}ProjectManager: Can I not get your get at stuff from your shared folder now ?Marketing: No it's not in there because I had the computer problem and I I I cou I couldn't create it .Project Manager: Oh I see I see .Marketing: Icouldn't create it in the PowerPoint ,Project Manager: {vocalsound}Marketing: and I think I've got this really strange cable . So what I had , basically going from the PowerPoint format , is that uh yeah yeah I like this alot . Is this one of the tests is to see how we can adapt to s changing situations in the in the meeting room ?Project Manager: {vocalsound}Industrial Designer: {vocalsound} Nah .User Interface:{vocalsound}Marketing: So what we had is we had the method . That's not how you spell method , is it ?User Interface: No way .Project Manager: {vocalsound}Marketing: No A_ {vocalsound} . {gap} . {vocalsound}So this doesn't go so fast this way . And when I speak about method I speak about the marketing of the product huh . And uh to me with this product we got uh {disfmarker} we got {vocalsound} basically three thingsto market . We've got the features , we have the uh characteristics , and we have the {vocalsound} I I don't know what we would call the other part {disfmarker} what we call you know the the {vocalsound} the corpcorporate {disfmarker} Help me . The the corporation stands behind the product , okay . So the features I think {vocalsound} we got the scroll , we've got the uh the locator , we've got the durability , we've got thedependability ,Industrial Designer: It fell off .Marketing: we've got you know the features that make this a unique product . UmUser Interface: Beep beep beep .Marketing: {vocalsound} the characteristics I talk about ,we have reliability , we have comfort , we have ergonomics , we have environmentally s sensitive . Uh and the corporation , we're talking about {disfmarker} we're we're a new we're a new company . We're wanting tomake a name for ourself . We're wanting you to uh find our product so we're gonna give you a good product at a fair price . One thing I would want to to see is uh is can we can we get a lifetime uh guarantee on thisproduct , a normal use guarantee , which means that this product , for the for the life of of {disfmarker} the life use , if it should have a technical problem , that we could re replace it at no cost ? That was something Iwould be interested in . Um so {vocalsound} yeah without uh going into great details , we have a we have a product , it has the features and the characteristics , and the background , I believe , to make it marketable Ibelieve at a cost of of of thirty thirty five to to fifty Euros . We're gonna be competitive , and we're gonna we're gonna have a market niche . Um wProject Manager: Do you {disfmarker} would you a argue that thatwe're better going for the higher cost than bringing it down into twenty f five as we probably could , but lowering our profit margins ?Marketing: That that would be uh that would be I think a decision best made bycorporate um I I m for my evaluation , based on what our competition is , I th I think that that we can go after this and and and go after more of the uh exclusivity sense than the mass market sense .Project Manager:Mm-hmm . Mm 'kay .Marketing: But I'm sh I'm sure open to to market this in either direction . But you guys came up with a great product , and at that cost I think it uh {disfmarker} there's nobody else that's puttingthis this combination of of ingredients together . The only limitations I see to this is that we're focused on television only . Uh that's the only that's the only drawback I see to this . But with all of these other features Ithink people c {vocalsound} one thing I'm I'm hoping for is people are not gonna even notice . There's gonna be somebody going home and say oh sh this thing doesn't work for my D_V_D_ and my {disfmarker} but Ilike these other things , so they keep it , they don't take it back .Project Manager: And we're actually quite open to be able to expand the product for a later version with those features quite simply anyway , aren't we ?Th there's no fundamentally different technology to do that .Marketing: {vocalsound} Well one of one of the thoughts that I had is can can this unit be be produced in a way that makes it upgradable ?Project Manager:Hmm .Marketing: You know uh like like a um a sim card in a in a um in a telephone . You know is there a card in th can we make a card and so after {vocalsound} {disfmarker}Industrial Designer: W we need we needwe need s some more buttons if it would to work on some other stuff , but {disfmarker}User Interface: Mm-hmm .Marketing: Mm-hmm , but you follow what I'm s I'm sIndustrial Designer: We we w yeah we could getanother version of it that actually works . But uh {disfmarker}Marketing: Yeah 'cause if if we can make this unit upgradable then we're {disfmarker} {vocalsound} yeah but then we talk about changing the warrantyconcept and everything , but that's that was just an idea I had . Uh to me the only additions {disfmarker}Project Manager: Yeah , the plus there's the the risk of making it unusable as well , or making it less{disfmarker} b because at the moment it's actually very straightforward to look at all the buttons , you know what they do , it's very simple , and it just works .Marketing: Yeah .Project Manager: Mm there's a risk ofthat .Marketing: Yep . But anyway that's uh {disfmarker}Project Manager: Okay so we can talk about finance now . So I have a little spreadsheet for us where {disfmarker} I I was wondering , you {disfmarker} whenyou talked about the fifteen point eight Euros , I was wondering how you came up with that figure ?User Interface: Well , that was just just our technical team added up the um production costs of the individual units.Marketing: {vocalsound}Project Manager: Okay so I have bit of a spreadsheet here for this . {vocalsound} NowUser Interface: Oh .Industrial Designer: Very co very colf colourful .Project Manager: I've made a f fewassumptions here in that I'm assuming that our power adaptor we can make for a cost of four Euros ,User Interface: {vocalsound} Uh-huh .Project Manager: equivalent to solar cells , which I think is probably fairconsidering that we have in-house manufacturing of power adaptors already .User Interface: Uh-huh .Project Manager: Uh {vocalsound} and I'm assuming that the locator beacon , the you know the {disfmarker}UserInterface: Yeah .Marketing: Mm-hmm .Industrial Designer: beep beep beep .Project Manager: {vocalsound} Can be made for {disfmarker} it sounded different that time {disfmarker} uh can be made for a similar priceto uh an L_C_ display ,User Interface: Oh , sorry . {vocalsound}Industrial Designer: {vocalsound}Project Manager: uh an uh {gap} {disfmarker} {vocalsound} Uh do you think that's fair coming from a {disfmarker} mthe manufacturing ?User Interface: Yeah um I do think we that we we {vocalsound} uh don't need the events chip on print , we only need the uh the regular chip on print ,Project Manager: {gap} . Okay .UserInterface: so there may have been a m miscalculation in there .Project Manager: Yep . Okay . So we're down to sixteen point four , yeah .User Interface: And we and we have a single-curved uh {disfmarker}ProjectManager: Is that a single-curved rather than a double-curved ?User Interface: Uh I think that {disfmarker}Project Manager: We're not entirely sure what single-curve versus double-curMarketing: {vocalsound} We'vegot a we've got a curve and a droop . I don't know whether that {vocalsound} .User Interface: It's single-curved ,Project Manager: You think ? OkayUser Interface: yeah .Project Manager: I'm {gap} convinced . But wesave one Euro that way , yeah ? So we come {disfmarker} bring it down to {disfmarker} {vocalsound} Fifteen point four .User Interface: See it's a little bit more than f single-curved . So yeah it's fifteen point eight ,that's where we came up with it {vocalsound} .Project Manager: {vocalsound} Well hang on .Marketing: {vocalsound}Project Manager: Do don't speak so {disfmarker} it's in here , in that {vocalsound}User Interface:Okay .Project Manager: w do we have any {disfmarker} we have special form don't we ?User Interface: Yeah we do .Industrial Designer: Yeah .Project Manager: So that's {disfmarker} yeah .User Interface: Ah . Whatdo you know {vocalsound} .Project Manager: But the the the {disfmarker} we haven't talked about any special colour though uh I don't thUser Interface: {vocalsound} Oh it's {vocalsound} a that's not very special ,it's pretty {disfmarker}Project Manager: if we're going for greys and silvers then I don't think we're {disfmarker} {vocalsound} O okay so we're {disfmarker}User Interface: {vocalsound} If th {vocalsound} .ProjectManager: Push-button , scroll wheel , we're {disfmarker} basically we have uh thIndustrial Designer: We don't {disfmarker}Project Manager: is this intended to be a button as well or just a scroll ?User Interface: That'sa scroll .Industrial Designer: It's a scroll .Project Manager: Just a scroll ? It's not one of the scrolls where , for example , with this one you could push it down to be a button ?User Interface: Uh no we just use it as ascroll .Marketing: Ooh .Project Manager: Okay then we have fifteen point eight Euros .User Interface: It was a pretty accurate estimate I would say .Project Manager: {vocalsound} It wasn't bad .Industrial Designer:Yes .User Interface: {vocalsound} Yeah {vocalsound} .Industrial Designer: We're wicked . Awesome .Project Manager: Okay so we're on to the {disfmarker}User Interface: S 's kind of s frighteningly accurate{vocalsound} .Industrial Designer: Yeah .Project Manager: We're on to the pat-on-the-back part of the presentation , where we have a look at the criterias th that Paul {vocalsound} the criterion criteria that Paul hashas given us {vocalsound} , and we can use that to tell {disfmarker} How's it going ? {vocalsound} Anyone got any thoughts ?User Interface: What ?Project Manager: How how have we done today ?User Interface: Ithink we did pretty well .Project Manager: I think we did pretty well too .Industrial Designer: Yeah .Project Manager: That looks pretty spectacular .Marketing: No , I think we come up with a with a attractive marketableum product and and concept .Project Manager: Any other chang uh thoughts ? Okay so th th what about um room for creativity ?Marketing: {vocalsound}Project Manager: Is it the {gap} .Industrial Designer: That wasmm-hmm {disfmarker}User Interface: Sh I think there was plenty of room .Project Manager: I {vocalsound}Industrial Designer: Yeah .Project Manager: I think we we ended up being quite creative there .UserInterface: We got a couple innovative iMarketing: YeahUser Interface: Couple innovative ideas .Marketing: well we we we kinda broke {vocalsound} {disfmarker} we kinda at least adjusted every every criteria they"}
+{"doc_id":"doc_80","qid":"","text":"Project Manager: Okay , all set ? Welcome to the conceptual design meeting .User Interface: Uh , okay .Industrial Designer: Yes .Project Manager: The agenda . The opening . I'll again be the secretary and makeminutes , take minutes , uh and it will be three presentations , just like the last meeting . So um , {vocalsound} who wants to start off ? Technical uh designer again ?User Interface: {vocalsound} Again .ProjectManager: Okay .User Interface: Hmm .Project Manager: Uh , yeah . Uh , before we begin it , I want to say I've I've put the minutes of the uh second meeting in the shared folder , but they're still not uh quite okay . Ituh it uh still some technical difficulties so the the first part of the minutes are very hard to read , because there are two documents that uh were layered over each other .User Interface: Mm-hmm .Marketing:{vocalsound}Project Manager: So {disfmarker}Marketing: Okay .Project Manager: But uh , from now on I won't use my pen anymore , so will be p just {vocalsound} ordinary keyboard .User Interface:{vocalsound}Industrial Designer: {vocalsound}Marketing: {vocalsound}User Interface: Uh , may be better , yeah .Marketing: Keyboard work . Yeah .Project Manager: I think it {gap} will will be more uh easy for youto read the minutes .User Interface: Yeah .Marketing: Alright .Industrial Designer: Okay , when we talk about uh components design , um it's really about the material and the {disfmarker} and uh uh really the stuff webuild uh the remote controls of . Um , a remote control consist of uh components and the components of a remote control consist of uh properties and material . We have to choose th uh these uh wisely and it couldaffect uh uh a kind of grow of {disfmarker} in uh in buying uh the remote controls . Um , the components of a remote control are of course uh the case . Uh the properties of the case , um it has to be solid uh in hardmaterial like uh hard plastic uh with soft rubber for uh falling and and uh uh {disfmarker} yeah , it feels uh good in your hand .Marketing: {vocalsound}Industrial Designer: Mm the buttons has to be uh solid too , andthe material is soft rubber . Uh I've got a uh email from the possibilities of Real Reaction . Um uh they're telling me that um when we build uh a remote control of um of plastic or rubber , the uh buttons have to be uhrubber too . Mm {disfmarker} It's okay . Yeah . I when we use a rubbled {disfmarker} a doubled curved case , we must use a rubber push-buttons to {disfmarker} uh the the rubber double-curved case is a is a t uhthree-dimensional uh curve in the in the design , which is uh necessary when we want to be trendy . Uh {disfmarker} UmUser Interface: Oh .Industrial Designer: the energy source , uh I've got a lot of possibilities forthat too . Um , uh the basic battery , which I thi prefer because of its uh its non uh non-depending of of of uh um {disfmarker} Uh here you have to have a hand uh {disfmarker} yeah , kinetic uh energy . Also in uh thisone , like in the watches , but a remote control can lie on a table for a day , and then you push uh a button and {disfmarker} so you don't have to uh walk with it all the all the time . Mm , solar cells are also uh a bitweird for uh remote controls .Marketing: {vocalsound} {vocalsound}Project Manager: {vocalsound} {vocalsound}Industrial Designer: Um uh also the case material , uh I think that plastic is the is the best with rubber ,because uh wood or titanium would also be a bit weird .User Interface: Oh titanium is probably trendy , I think . {gap} .Marketing: That's true , I guess . Yeah .User Interface: Well , maybe a little bit expensive.Marketing: {vocalsound}User Interface: I don't know .Industrial Designer: Uh , they don't tell anything about the cost of uh titanium .Marketing: Huh .Industrial Designer: Um the chip {disfmarker} uh the chip set uhand the board is uh all off the shelf . Also , the speaker in the remote control , when we want to retrieve it . Um , the base station is also off the shelf , all the materials and the components are uh just available in uh inour uh factory . Mm , I've told about uh the three first points . Mm , the simple electronical chip uh is is available uh with the LED transmitter uh transmitter . Uh , it's all uh off the shelf and even the speaker and thewireless retriever are all uh available in our company . Um , another possibility . I uh yeah , I looked up on was uh the L_C_D_ displays . Could be uh something special to our uh remote control , and it's possible , but itonly cost a bit more , but maybe it can be uh within the limits of twenty five Euros .Project Manager: Twelve and a half . Actually {disfmarker}Industrial Designer: Ah yeah .Marketing: Yeah .User Interface: Yeah ,production cost .Industrial Designer: {vocalsound} I th I got an email with uh some examples and it {disfmarker} these were were the most trendiest one .User Interface: {vocalsound}Industrial Designer: You see uh acovers , which can be {disfmarker}Project Manager: What are those , t tooth uh brushes , or soUser Interface: {vocalsound}Industrial Designer: Um , I don't know . Um {disfmarker}Marketing: {vocalsound}ProjectManager: But it's actually kind of uh {disfmarker}User Interface: I {disfmarker}Project Manager: well , it resembles the design I had in mind for this projIndustrial Designer: Yes .Project Manager: You know the thecartoonish {vocalsound} Alessi kind of design .Marketing: Yep .Industrial Designer: Yes , maybe we can uh bri uh bring a couple of uh couple of types of uh {disfmarker}Project Manager: And we can we can steal theirideas .Marketing: {vocalsound}Industrial Designer: maybe a kind of uh whole uh um a whole set of uh different uh remote controls .Project Manager: Huh .Industrial Designer: Maybe we can bring a whole line uh withuh with a {gap} huge variety of uhProject Manager: Well , it's a possibility , too .Industrial Designer: uh house uh stuff .User Interface: Different colours also .Industrial Designer: Like uh {vocalsound} maybe radiosand uh television also uh in this in this {disfmarker} in the same style , but {disfmarker}Project Manager: Uh-uh .Marketing: {vocalsound} Yeah , that'll be for the future , I guess .Project Manager: Okay .UserInterface: {vocalsound} Yeah . {vocalsound}Project Manager: {vocalsound} Next time we're here . {vocalsound}Industrial Designer: Yes , because we have to uh {disfmarker} we have to {disfmarker} {vocalsound}we have to bring the logo and all the stuff uh back into it .Marketing: {vocalsound} Yeah . {vocalsound}Project Manager: Oh , okay .Marketing: Yeah . Definitely .Project Manager: Okay .User Interface: {vocalsound}Okay .Industrial Designer: Thank you . {vocalsound}Marketing: Alright .User Interface: {gap} uh {disfmarker}Marketing: {vocalsound} Yeah . That's okay .User Interface: Ah .Marketing: {vocalsound}User Interface:Well , I shall go to the next slide . UmMarketing: {vocalsound}User Interface: um , I still don't have any information about user requirements .Marketing: {vocalsound}User Interface: I was thinking about just uh thebasic functions and I got uh {disfmarker}Project Manager: Oh , we decided upon that in the last meeting . Didn't we ?User Interface: Yeah , but but then wh I don't know when there are new user requirements .ProjectManager: Oh , okay . Well , tha I didn't receive any new requirements or somethiUser Interface: I ha I ha I have the I have {disfmarker}Project Manager: Just {disfmarker}User Interface: nothing .Project Manager: no, but we decided to use only b basic functions only .User Interface: Well , I have here a couple of basic functions I could think of .Project Manager: Okay .User Interface: I dunno if they're {disfmarker} maybe a little bitmore , but {disfmarker}Project Manager: Well we {disfmarker} maybe we can think of that later . W just {disfmarker}User Interface: Yeah .Project Manager: these are the ones you already summed up in the{disfmarker}User Interface: Yeah , I I uh {vocalsound} well , I pointed them out here , just to make it a little bit easier .Project Manager: Okay .User Interface: Um Another function uh is {disfmarker} of course wealready discuss it on the side . Um , I don't know what costs of it . Uh , I've no idea about it . Uh , I was also looking for what you said , for {disfmarker} I got an email uh uh about uh L_C_D_ in in in front of the remotecontrol . I don't know if that's a good idea , or maybe it's a little bit too much for twelve and a half . Production .Project Manager: Yeah .User Interface: If we got already uh something like a base .Industrial Designer:Uh-huh .Project Manager: That might get redundant also maybe . I don't know what kind of information it would {disfmarker}User Interface: Yeah , I don't know . I d I uh ju I was just thinking about it . Then I got apop-ups to go to the meeting . But {disfmarker}Marketing: Mm yeah .Project Manager: Yeah . Yeah , it's okay .Industrial Designer: Maybe we can bring t uh uh teletext to the t {vocalsound} to the remote control .{vocalsound}User Interface: The remote control .Marketing: {vocalsound} Then you {disfmarker}Project Manager: {vocalsound}User Interface: {vocalsound} {gap} a little uh too {disfmarker} {vocalsound} A little bit{disfmarker}Marketing: and then you've got a flag s {vocalsound} Very big R_C_ . Yeah .Project Manager: Okay . {vocalsound} That's not {disfmarker} {vocalsound} It was not a good idea .User Interface: A little bittoo big , I think . Exactly .Industrial Designer: {vocalsound}Marketing: {vocalsound}Project Manager: Okay .User Interface: Um , yeah . Well , the functions are are not more to discuss , I think .Project Manager: No .No .User Interface: It's it's just the base things we already discussed that the {disfmarker} no V_C_R_ or that kind of {disfmarker}Marketing: No .User Interface: uh , so that's very easy . Um {disfmarker}ProjectManager: But you do mention the next and previous uh button .User Interface: Mm-hmm .Project Manager: {gap}User Interface: Well , that's next channel . I mean {gap} next channel .Marketing: Next channel ,previous channel .Project Manager: Oh , okay , o okay okay .User Interface: Uh {disfmarker} Um {disfmarker} oh , I I got an email with {disfmarker} {vocalsound} with an uh a remote control with a base .ProjectManager: Huh .User Interface: So , it's uh just an idea . And I um {disfmarker} {vocalsound} uh thinked of the button sizes and I'm not sure uh if they have to be big or uh just small {disfmarker}{vocalsound}Industrial Designer: But you're the expert . {vocalsound}Marketing: I think it depends on the function .User Interface: Well , I'm not a e I'm the expert for user-friendly , but not for trendiness .ProjectManager: Mm-hmm .User Interface: Maybe it {disfmarker} {vocalsound}Marketing: Well , if you save uh {disfmarker} Perhaps uh s tiny buttons aren't user-friendly , then we wouldn't im implement that of course.Project Manager: {vocalsound} {vocalsound}User Interface: {vocalsound} Well uh {vocalsound} {disfmarker}Industrial Designer: {vocalsound}Marketing: {vocalsound}User Interface: okay , that's your point . Um ,yeah . Yeah , okay .Marketing: {vocalsound}User Interface: Yeah , I've nothing to {vocalsound} sIndustrial Designer: {vocalsound}Project Manager: Well , w when we only use basic functions , we have the possibilityto make the buttons larger .Marketing: Oh , that's right .User Interface: Uh , with a little bit larger , yeah .Marketing: Yeah .User Interface: I thought so , but maybe with the {disfmarker}Project Manager: Well , I thinkwe already agreed upon the fact that the the the skip buttons and the cha and the volume buttons , th th those two have {disfmarker} yeah , they have to be large .User Interface: Yeah , that groups .Project Manager:Uh , I mean th th the the two two basic buttons , you know , the {disfmarker} to skip channels and to uh {disfmarker}User Interface: Large ? Yeah .Marketing: Yep .Project Manager: I think {disfmarker} yeah , I don'tknow why , but I think that is {disfmarker} that's t trendy too ,User Interface: Most {disfmarker} the most used uh buttons .Marketing: Those are probably the the thProject Manager: because that's the mo it{disfmarker} it {disfmarker} you know , it's uh acc acc um accentu uh , how do you say it ? It puts an extra accent on the the on the simplicity of our remotes to j to make these two most basic functions extra big , liketMarketing: Yes .User Interface: True . Yeah .Marketing: Those are probably the b four most most used buttons on the th in the remote control .Project Manager: Yeah . And you want to acc accentuate that , you know.Industrial Designer: You did the research .User Interface: Yeah .Industrial Designer: {vocalsound} It's from your research . {vocalsound}Marketing: Sorry ? Yeah , sure . {vocalsound}Project Manager: {vocalsound}So {disfmarker}User Interface: Okay . Uh , that was all yIndustrial Designer: {vocalsound}User Interface: uh personal preference I didn't have .Project Manager: Okay .User Interface: I didn't had any time left .ProjectManager: No uh , that's coo it's cool .Industrial Designer: {vocalsound}Marketing: {vocalsound} You don't care . No , {vocalsound} sorry . {vocalsound}Project Manager: {vocalsound}Industrial Designer:{vocalsound}Marketing: Yeah .User Interface: {vocalsound}Marketing: Oh . Go away .User Interface: It's there .Marketing: Come on .User Interface: Yeah , click on it .Marketing: {gap} .User Interface: Couple time.Marketing: Oh , great . Well , I've done some research again about trends on the internet . Um I've done some investigation , and uh well I uh got some information from fashion watchers from Paris and uh Milan .{vocalsound} Some uh some findings {disfmarker} the most important thing is fancy look and feel of the remote control . Uh , well , we were going to imply that , so that's nice . The second important thing is uhinnovative technology in the R_C_ . Uh , our market really likes really likes that . And uh the third point there in this uh order if {disfmarker} of importance , the third point , is a high ease of use . And uh , well , for theidea , I've put some trends uh for the market of elderly people .Industrial Designer: {vocalsound}Marketing: Dark colours , simple recognisable shapes . So we probably won't do that .User Interface:{vocalsound}Marketing: The younger market likes uh {disfmarker} Well , {gap} the {gap} themes of of this year are uh surprisingly fruits and vegetables and spongy material .Industrial Designer: {vocalsound}UserInterface: {vocalsound}Industrial Designer: {vocalsound}Marketing: I found this image , which is uh {disfmarker} Well , it symbolises the idea of fruits and vegetables . I don't see the spongy part in it . But with a littlebit of fancy {disfmarker}Project Manager: Well maybe c {vocalsound} then we have to do something with Sponge Bob then . {vocalsound}User Interface: {vocalsound}Industrial Designer: {vocalsound}Marketing:{vocalsound} Exactly . I got some ideas {disfmarker}User Interface: {vocalsound}Marketing: Uh well , yeah , pictures isn't really good word , but umIndustrial Designer: {vocalsound}Marketing: some symbols of fruitsor vegetables maybe . Uh , catchy colours .Industrial Designer: {vocalsound}Marketing: Fruit is uh yellow , green , red , whatever .User Interface: {vocalsound}Marketing: So , remote controls in in catchy colours.Project Manager: It doesn't stroke with the with the dark colours .Marketing: Uh , no , we don't want dark colours .Project Manager: {vocalsound} Not the dark colours ? Okay .Marketing: {vocalsound} No , I just putthem there to uh , yeah , uh for general idea .Project Manager: Okay .Marketing: And uh , the docking stIndustrial Designer: {vocalsound}Marketing: uh I think the spongy material is is very irritating for the uh remotecontrol itself . But to {disfmarker}Industrial Designer: {vocalsound}Marketing: Yeah , the {disfmarker} {vocalsound} To implement some spongy thing , maybe we can do it in the in the docking station . At the bottomof the docking station or whatever . And uh , we could bring one line with a dark colour uh to um uh p uh yeah {vocalsound}Industrial Designer: {vocalsound}Marketing: uh uh v how do you say ?Project Manager: Fordiversity or something . Uh {disfmarker}Marketing: Yeah , also a bit for elderly people who are a little bit crazy and want {vocalsound} maybe want a little younger design but still the dark colour .User Interface: Well ,how uh {disfmarker}Industrial Designer: {vocalsound}Marketing: I mean it it it reaches a different market uh , but it it it doesn't cost really much effort to b to uh bring uh like a black R_C_ on the market or whatever .Yes .User Interface: But how do we use uh fruits and vegetables in Christ's {vocalsound} sake with {vocalsound} remote control ?Industrial Designer: {vocalsound}Project Manager: No , but I I I think that uh ourdesign already resembles so a piece of fruit .Marketing: Yeah , there's there's always aUser Interface: Uh , make it a banana ?Project Manager: It's like a pear or something .User Interface: {vocalsound}Marketing: Wellthere there's always empty space of course on a remote control . I mean I think this part of the R_C_ uh well {vocalsound} the upper the upper part or whatever is uh is not not used with buttons , I guess .ProjectManager: No , I don't think you have to do it like {disfmarker}Industrial Designer: {vocalsound}User Interface: {vocalsound}Marketing: So you you can put some fruity things {disfmarker}Project Manager: Yeah , butit that doesn't have to remind you , you know , like explicitly of s our f of a of a specific piece of fruit , but just , you know , like the the the the round curves .Industrial Designer: {vocalsound}Marketing: No , of coursenot .Project Manager: And so y I I think this {disfmarker} y it already sem resembles uh something like a pear to me or something .Marketing: Especially iUser Interface: Yeah , but th {vocalsound} yeah , but that{disfmarker} {vocalsound}Marketing: Yeah , yeah . Yeah , exactly .Industrial Designer: {vocalsound}Project Manager: Yeah .User Interface: Yeah , but that's {disfmarker}Marketing: If we make it little bit greenish.Project Manager: You do get the idea , eh ? The fruity kind of round {disfmarker}User Interface: Yeah uh uh {disfmarker}Project Manager: 'Kay .Marketing: A {vocalsound} and we could use {vocalsound} one of thesefor the uh w what is it ?Project Manager: Yeah , uh {disfmarker} yeah , I don't know .Industrial Designer: Grapes .Marketing: Uh {disfmarker}Industrial Designer: {vocalsound}Project Manager: {vocalsound} Uh , thisis a b yeah . {vocalsound}Marketing: Isn't {disfmarker} Wha whatever .User Interface: But d don't we need a creative artist or something like that to m make it to feel like a a a a vegetable or fruit ?Industrial Designer:{vocalsound}Project Manager: Yeah , yeah . Of course we have uh {disfmarker} {vocalsound}Marketing: Yeah , sure .Project Manager: we have a very big uh the sMarketing: Yeah . Well , w we can uh {disfmarker} wwe can we can produce multiple uh multiple things .Industrial Designer: For a big team of artists . {vocalsound}Project Manager: Of d design team , yeah .User Interface: {vocalsound}Marketing: This is then the uhpear . I don't know the English word , so forget it .Project Manager: {vocalsound} Yeah , but {disfmarker} {vocalsound} It's pear , I guess .Marketing: {vocalsound} And um , maybe , yeah , a b a banana is uh is n{vocalsound} not easy for a remote control , but m yeah .Industrial Designer: But uh but I think we don't have to makeProject Manager: {vocalsound} No .Industrial Designer: we can't make all uh ten designs . Wehave to make one design I th I I think .Project Manager: No , but I think it's it's already what we were were up to .Marketing: Mayb maybe two or three .User Interface: Yeah .Project Manager: Uh , it's {disfmarker} itdoesn't have to resemble uh what I already said , a specific piece of fruit , but just , you know , like a fruity thing going on .User Interface: {gap}Marketing: Yeah . No sure , but but {disfmarker}Project Manager: Andit's {disfmarker} it looks fruity to me .User Interface: {vocalsound}Marketing: B but that's great , and and and what I was {disfmarker}Project Manager: And uh , but I do like the {disfmarker}Marketing: what what Iwas saying , the catchy colours {disfmarker}Project Manager: yeah , I do like uh the f uh to {disfmarker} the idea of making a a y uh , a catchy colour design and a d because I do {disfmarker} I think a dark colourwould be nice too .Industrial Designer: But pictures of fruit , vegetables vegetables {disfmarker}Marketing: Yeah .Project Manager: Maybe it's too much , you know .User Interface: But , we we have to um {disfmarker}There have to be the the the the firm colours , our own uh colours has to be in it .Marketing: Yeah , uh not really . Pictures was a was a bad word , but {disfmarker}Project Manager: Okay , but what are the{disfmarker} This is yellow .Marketing: Well we c yeah .User Interface: Yellow , a Real Reaction .Industrial Designer: Yes , you can put a logo on top of it .Project Manager: But I don't think our our company colours are"}
+{"doc_id":"doc_81","qid":"","text":"Project Manager: {vocalsound} Wouldn't wanna be Project Manager . {vocalsound} Uh , what we going to do .Industrial Designer: {vocalsound}Marketing: {vocalsound}Project Manager: Um , once again I'm uh gonnatake minutes . So , um no presentation for me . Uh , first we have a prototype presentation by G_ and G_ .User Interface: {vocalsound}Industrial Designer: {vocalsound}Project Manager: {vocalsound} Afterwardssome uhUser Interface: Yo .Marketing: J_ and J_ . {vocalsound}Project Manager: eval eval evaluIndustrial Designer: Evaluation .Project Manager: evaluationUser Interface: Evaluation criteria .Marketing: Evaluation.Project Manager: s {vocalsound} sorry .Industrial Designer: {vocalsound}Project Manager: Uh evaluation crit criteria . Uh , in combination with the finance I um {vocalsound} uh I received uh a an uh an Excel uhfileUser Interface: {vocalsound}Marketing: Hmm .Project Manager: which we have to fill in later on . Um , you see . Uh , and then we must see uh if we uh stay under the twelve and a half Euro .Marketing: Hmm .Interesting . Ah , okay .Project Manager: So , that's uh that's a bigUser Interface: {vocalsound} Oops .Marketing: {vocalsound} Cool . {vocalsound}Industrial Designer: Mm-hmm . That's gonna be t problem .ProjectManager: l so let's uh wait it uh umMarketing: {vocalsound} {vocalsound} {vocalsound}Project Manager: we have we have must {disfmarker} uh ,User Interface: Some creative uh {disfmarker}Project Manager: wemust have uh some time for that uh because it will be uh {disfmarker} yeah , quite a lot of mathematics .User Interface: Oh . Yeah .Project Manager: And after that , uh uh an evaluation of uh the process how we uhhow we have done it here with the SMARTboard , with the with our laptops , with the {disfmarker} all uh all this . And uh afterwards , uh we closing . Once again , forty minutes , so uh let's start .User Interface: Okokay .Project Manager: I would g give the word to um G_ and G_ for the prototype presentation .User Interface: Shall I give a short introduction and then uh {disfmarker}Industrial Designer: Yeah , well sure.Marketing: J_ and J_ .Project Manager: J_ and J_ .User Interface: Okay . {vocalsound} J_ and J_ , okay .Marketing: Jane and Jane .Project Manager: {vocalsound}Marketing: 'Kay guys , take it away .User Interface:Take it away .Industrial Designer: Hi .Project Manager: {vocalsound} {vocalsound}Marketing: {vocalsound}User Interface: Um , this was our first concept . We decided to use a single touch-screen . So , we've workedout this concepts , how to how to hold it , where to put the buttons and and stuff . And um , well , we began with uh with a form of shape , that is uh is easy to hold w in one hand , left or right handed .IndustrialDesigner: {vocalsound}User Interface: So , we made i it a little bit less thick and uh it has some ar artistic meaning . No ? This uh isn't nothing . {vocalsound}Marketing: {vocalsound}Project Manager:{vocalsound}User Interface: Idea maybe uh is better .Project Manager: {vocalsound}User Interface: Um well , during the meeting I showed you the concept of uh placing the buttons on top , usable with your thumb ,and uh the menu structure , uh if necessary , with your other hand , so it's just gonna hold it easily .Project Manager: {vocalsound}User Interface: And it has to be acce accessible with your uh other hand too , ofcourse .Project Manager: {vocalsound} {vocalsound}User Interface: So we began uh working out a concept .Industrial Designer: Yeah , uh well , and as you saw , we would just have the basic remote with the panelL_C_D_ uh screen . Well , these would be the main buttons , h you could uh change them later on in your own profile if you want to . But , well it's standard they will be delivered with this kind of uh set-up . We havethe {gap} more advanced menu uh setting right here . We have the sub-menus and stu stuff . We made a top {disfmarker} oh , or a front view . Just so like you wanna uh back view . As you can see , this uh{disfmarker} there , there are uh two uh weird bumps in it .Marketing: {vocalsound}Project Manager: {vocalsound}Industrial Designer: {vocalsound} This is for uh the added uh effect of uh well uh y youth anddynamic . And uh this is for the artistic effect .Project Manager: {vocalsound}Industrial Designer: Well , what we figured is uh we'll show you a picture {gap} later on {gap} you have more b a better idea after that .But , idea is for to stay in balance with these two uh {disfmarker} with these two .Marketing: Hmm .Industrial Designer: And so when you put it on the table , it will just {gap} lay down . It won't {vocalsound} uh rollaround or stuff . But it will lie more in your hand like an old telephone maybe , or like these old uh phones .Project Manager: Mm .Industrial Designer: Y you you may get the idea . So thi this is about uh how we figuredit should be . The s panel we g you would hide with some more uh rubber layers , like we discussed early on . Uh , you would s you wouldn't see the uh straight panel , but more fluidly and round .User Interface: Yeah ,the panel just uh of course goes like this .Industrial Designer: Yeah .User Interface: But the overlaying layer is uh a little bit uh curved and stuff .Project Manager: No , okay .Marketing: Okay .Industrial Designer: Anduh , in these bumps you could actually uh {gap} put some electronics uh that would {disfmarker} you can make a more thinner uh design ,Marketing: Yeah .Industrial Designer: and that would actually look very nice ,yeah .User Interface: Yeah .Industrial Designer: And uh , about the colour , what have {disfmarker}User Interface: Yeah . Oh , we added that this um can be held with your hands for this {disfmarker} maximum is omyeah , one and a half centimetres . So , you have room here for your battery and maybe even other um electronic chips . S and you can just be the the layer of the touchscreen and some {disfmarker} have some wiresunderneath it to make it as uh thin as possible in the middle for good grip .Marketing: Okay . Hmm .Industrial Designer: {vocalsound} Yeah , f uh , as colours , do you do you have the picture in uh {disfmarker}UserInterface: Yeah .Industrial Designer: Oh yeah . Now , well this is the idea about uh the bumps . Uh , you can see there's a v a very uh youthful uh dynamic uh exterior . It uh {disfmarker} you just want to hold it you uhyou are young and uh dynamic like us .Marketing: 'S l {disfmarker} it's like an uh Easter egg .User Interface: Yeah .Industrial Designer: Yeah , it's like an e but this is for children . We we want a more adult version .But , this is like a remote control for children .Marketing: {vocalsound}Project Manager: It's called a weemote {vocalsound}Industrial Designer: {vocalsound} {gap} . A weemote .Marketing: Weemote .ProjectManager: Weemote .Industrial Designer: Yeah . Hey , that's actually a brilliant uh marketing stand .User Interface: {vocalsound}Project Manager: {vocalsound}User Interface: Yeah . {vocalsound}Industrial Designer:Uh , but {vocalsound} {disfmarker}Marketing: {vocalsound} Wait what I w got in mind . {vocalsound}Project Manager: {vocalsound}User Interface: {vocalsound}Industrial Designer: So this actually basic the idea .We we just want to build a more uh adult vers adult version of of this .Project Manager: Yeah , I can imagine that .Marketing: Mm-hmm .Industrial Designer: {vocalsound} And and for colours , we we figured startingwith basic colours like uh white or metallic grey . Those are the technological colours actually ,User Interface: Yeah . It would be best to to appeal to a broad public and make the covers exchangeable ,IndustrialDesigner: so it dUser Interface: so the young people will buy an orange and a red and blue and a purple ,Industrial Designer: Or blue or whatever .User Interface: but when the o older people uh go in the shop and theysee uh an orange um remote control , it would be less appealing than a white one . And young people , we think , are a little bit more flexible ,Marketing: Hmm .User Interface: they think , ah I'll buy for a couple ofEuros some noi nice hip uh {disfmarker}Marketing: Hmm . Maybe it's an idea to sell it without a cover , so that you can pick a cover in the in the shop .User Interface: Well , um I think a cover is necessary , 'cause alsotherwise you'll just have the L_C_D_ screen .Marketing: Yeah , okay . Yeah , okay .User Interface: So , there must be some cheap standard cover , um maybe white or something ,Marketing: Hmm . Mm .UserInterface: that's could comes with it and you can buy , so we can make extra money .Project Manager: Yeah , but uh you d you mustn't forget that uh our target aim is younger people .Marketing: Oui okay .ProjectManager: Uh , we had decided to uh put uh some flashy fruity colours in it , uh and uh in the survey from uh Milan and Paris uh it uh it came out that uh uh the d the older people are uh more willing to uh to spendmoney on extra features . So I think uh it will be a better idea to have some uh flashy fruity colours as as a standard ,User Interface: Okay . The other way around , you mean .Industrial Designer: {gap} Oh yeah.Project Manager: and for the people who uh really want uh a more sophisticated , more traditional look , they're willing to pay uh that .User Interface: Uh-huh .Project Manager: They want uh {disfmarker}{vocalsound} they want more luxury stuff ,Industrial Designer: Yeah .Project Manager: but they have the money to do it and they want to b to buy that .User Interface: Mm-hmm .Project Manager: So , maybe it's anidea to put that as an extra and not as a standard .User Interface: Okay .Marketing: Yeah .Industrial Designer: Yeah . Yeah , maybe {disfmarker} yeah , perhaps you're right . Uh , I I would I would actually agree withthis sounds logical .User Interface: Okay , yeah .Marketing: An another idea . Uh , maybe we could uh develop a cover uh with wood style .Project Manager: Yeah .Marketing: {vocalsound} They'll please the elder usersas well .Project Manager: Yeah .User Interface: Well yeah , a colour of {disfmarker} a wood style , a white c and uh a couple of h hip uh fruity colours .Project Manager: {vocalsound} Yeah .User Interface: And lea uh ldelivered standard with a fruity colour , but not too not too much .Industrial Designer: Nah . Yeah .Marketing: Yes . Not not too uh {disfmarker} yeah .User Interface: This is banana and mango , not not purple or porange and yellow .Marketing: Yeah , exactly .Project Manager: Yeah . But , the mai I think th uh the standard must be some kind of uh uh attractive flashy colours .Marketing: Yeah . Or blue or {disfmarker}ProjectManager: Not too , but w a little ,User Interface: Ah . Mm-hmm .Project Manager: because that's our aim .Industrial Designer: Yeah ,User Interface: Yeah .Industrial Designer: li like like this like this .Project Manager:Yeah .Industrial Designer: This isn't this isn't too much , is it ?User Interface: Yeah , okay . No . Yeah .Industrial Designer: I fMarketing: {gap} .Project Manager: Well , the buttons don't have to be uh all uh all of{gap}Industrial Designer: Yeah . {vocalsound} The buttons ,Marketing: Well I I I think so .Industrial Designer: I {disfmarker} {vocalsound}Marketing: Yeah , except for the buttons it's {disfmarker} it could be astandard model .Project Manager: yeah . It {disfmarker} Yeah .User Interface: Okay .Industrial Designer: Yeah , uh something like this would be nice .Project Manager: Okay .User Interface: Okay .Industrial Designer:Okay , that's that's it from us .Project Manager: Thank you .Marketing: 'Kay , it's my time now .User Interface: It's my turn .Industrial Designer: {vocalsound}Marketing: {vocalsound}Project Manager: The MarketingExpert .Industrial Designer: Uh-oh .Marketing: {vocalsound}Project Manager: {vocalsound}Industrial Designer: {vocalsound} {vocalsound}Marketing: Okay .User Interface: {vocalsound}Industrial Designer:{vocalsound}Marketing: During the {disfmarker}User Interface: {vocalsound}Industrial Designer: {vocalsound}Marketing: Oh . {vocalsound} During the design uh design life-cycle we uhProject Manager:{vocalsound} Sorry .User Interface: {vocalsound}Marketing: we made lot of requirements and trend analysis and stuff . Um , now is the time to uh evaluate our prototype concept to uh to the past requirements .{vocalsound} So we are going to evaluate the design according to the past user requirements and trends analysis . Um , we're going to do that with a seven point scale . Opening a Word document now . Okay . One{disfmarker} oh , okay , uh I have to expla explain something . We have to uh be consensive about about things . So , it has to be a group uh group decision .Project Manager: Okay ,Marketing: Okay ?Project Manager:so we gon we gonna evaluate theMarketing: Uh {disfmarker} We're going to vote . We {disfmarker}Project Manager: Yeah , the the thing we {gap} saw .Marketing: yeah ? The prototype .Project Manager: Okay , justsaw .Marketing: Yeah . Okay , one . The remote control is designed for people with age below forty .Project Manager: Yeah . Seven ?Marketing: {vocalsound}User Interface: {vocalsound}Marketing: Seven is false.Project Manager: Uh , true . {vocalsound} Sorry .Marketing: Yeah , b one or {disfmarker}Project Manager: Yeah , one I think .Industrial Designer: Why ?Marketing: Most true ?Industrial Designer: Yeah , it's not justuh designed for people under the age of forty . It's also designed for people above forty .User Interface: Mm .Marketing: Yeah ,Project Manager: Yeah .User Interface: Yeah .Marketing: so {disfmarker}IndustrialDesigner: So {disfmarker}Marketing: so a o one is appropriate ?User Interface: No no , a little more in the middle .Marketing: Or , more like a four .User Interface: No , uh three or {disfmarker} yeah .IndustrialDesigner: I have {disfmarker} I've {disfmarker}Marketing: Three .Industrial Designer: Yeah , two or three , because it's not just {disfmarker} uh the qu question is aimed at is it designed for people with age belowforty .Project Manager: Okay .Industrial Designer: But it's also designed for people of age above forty . So ,Marketing: Ah , exactly . Exactly .Industrial Designer: I'll say it's about three .User Interface: Yeah ,ProjectManager: Okay .User Interface: it will be primary appealing to to m minus forty , but also appealing to {disfmarker}Marketing: Three .Project Manager: {vocalsound}Marketing: Yeah . But also for {disfmarker} yeah ,okay . Uh , second . The remote control is beautiful .User Interface: Yeah . {vocalsound}Project Manager: {vocalsound}User Interface: It's {disfmarker} {vocalsound}Industrial Designer: {vocalsound}User Interface:Wow .Industrial Designer: {vocalsound}Marketing: {vocalsound} Yeah , acco according to us , it's one ? Or {disfmarker}Project Manager: {vocalsound} Yeah . {vocalsound}User Interface: {vocalsound} Yeah,Industrial Designer: {vocalsound} Yeah , I I think {disfmarker}User Interface: it's the marketing uh angle on television .Industrial Designer: Yeah . {vocalsound} {vocalsound}Marketing: Yeah ,User Interface: Wehave a wonderful {disfmarker}Marketing: p s Of c of course you have to be uh very positive and uh enthusiastic about your own product .User Interface: Yeah .Project Manager: {vocalsound}User Interface: Well , it'salso fancy then .Marketing: Three . Uh , the remote control looks fancy .Project Manager: Yeah .Industrial Designer: Yes .User Interface: Yeah .Marketing: One ?Project Manager: Yep .User Interface: Of course . Wehave a perfect remote .Industrial Designer: Yes .Marketing: Good . Four . The remote control has big , clear channel switching buttons .User Interface: Yes . Yeah yeah , oh they have to agree but {disfmarker}{vocalsound}Industrial Designer: {vocalsound} Yeah .Project Manager: Yes .Industrial Designer: Leads to user face , yeah .User Interface: I'm the User Interface uh Expert . {vocalsound}Marketing: Daniel . Uh ,teletext buttons and volume buttons ?User Interface: Um , uh no .Project Manager: No teletext buttons . Teletext is in the menu .User Interface: You you've different menu .Industrial Designer: Yeah , false .Marketing:False ?User Interface: And volume is impoMarketing: And volume ?Project Manager: Volume is true .User Interface: yeah .Marketing: True .Industrial Designer: Uh , hmm .Marketing: Big and clear ?Project Manager:{vocalsound}Industrial Designer: Yeah , the they are big and clear . {gap} .User Interface: Yeah yeah , big and clear .Project Manager: Yeah , big and clear .User Interface: But you could make a teletext button uh six.Marketing: Hey .User Interface: Otherwise , the people who read this uh are gonna think we have no teletext button .Marketing: Hey . Hide .Project Manager: {vocalsound}Industrial Designer: Yeah , but but theteletext button . Yeah , you can ch That's in a menu .Marketing: {vocalsound} It's it's not {disfmarker}Industrial Designer: So , it's w yeah , it {disfmarker} it itMarketing: yeah , it {disfmarker}Industrial Designer: itisn't entirely unclear ,Marketing: JIndustrial Designer: but {disfmarker} So , I wouldn't give it a seven .User Interface: No .Industrial Designer: I would give it a more a five or a six .User Interface: Yeah .Marketing: Five?Industrial Designer: Uh , I don I don't know .Marketing: Okay .Industrial Designer: What do you think , uh Mister Project Manager ?Marketing: Yeah , it's it's {disfmarker} yeah .Project Manager: Oh , okay . Well , Iagree . I was thinking very black and white .Marketing: {vocalsound}Industrial Designer: Hmm .User Interface: Black and red . {vocalsound}Industrial Designer: Yeah .Marketing: {vocalsound}Project Manager:{vocalsound} Thank you J_ . {vocalsound}Industrial Designer: {vocalsound} {vocalsound}User Interface: {vocalsound} Okay , don't forget to save it . Uh {disfmarker}Project Manager: {vocalsound}IndustrialDesigner: {vocalsound}Marketing: Red . Okay . Volume . The remote control is easy to be found .User Interface: Uh well , when we put in fancy colours , yeahProject Manager: {vocalsound} Fruity . {vocalsound}UserInterface: and {disfmarker}Marketing: {vocalsound}Industrial Designer: Yeah , it has these {disfmarker} all these fruity colours and it has a strange shape .User Interface: {vocalsound} Yeah .Industrial Designer: So ,if you so if you have {vocalsound} trouble finding it {disfmarker}User Interface: But , um it it's not making any sound uh ,Marketing: {vocalsound}User Interface: have we deciding ?Marketing: Oh , okay ,UserInterface: So {disfmarker}Marketing: but {disfmarker} If you put uh your normal uh remote control under your bed , or you throw this remote control under your bed , is it better findable ?User Interface: {vocalsound}It'll make a difference . We have the better re {vocalsound} I don't know . Yeah , I think so . My remote control's black .Marketing: A li little bit maybe ?User Interface: A little bit , but {disfmarker} yeah .ProjectManager: Yeah . Well , we p we can do it glow in the dark .Marketing: Four ?User Interface: Uh {disfmarker}Marketing: FiProject Manager: So , if it's in the dark place , you still see it glowing .User Interface:{vocalsound} K yeah .Marketing: I {disfmarker}User Interface: Fo fo yeah fo five is {gap} .Marketing: Ah , I I I think five . It's it's {disfmarker} it doesn't really make a lot of {disfmarker}Industrial Designer: Well ,then uh then I'll go for four .Marketing: Four ?Industrial Designer: {vocalsound} Because uh four is between three and uh uh also between between true and false .User Interface: Yeah , okay , you're right .IndustrialDesigner: Uh ,Marketing: {vocalsound} Yes , but five is between four and six . {vocalsound}Project Manager: I think {disfmarker}Industrial Designer: so I'll I'll go for four .Project Manager: Ah , you must see it as uh ,w uh according to uh the the other uh remote controls , there may uh uh be there in your uh T_V_ room , this one will stand out , I think .Industrial Designer: WhaUser Interface: Yeah .Industrial Designer:{vocalsound}Marketing: B_ .User Interface: Yeah . Yeah .Industrial Designer: Yeah , that that's a better question actually .Marketing: Yeah ,Project Manager: Exa I think that that's what it's about .User Interface: Yeah.Marketing: it {disfmarker} it's {disfmarker}User Interface: If your uh fifteen remotes in a drawer , uh you find it , yeah ?Project Manager: If it {disfmarker} if this lying on your couch , you're you're {disfmarker} youthink what's that for kinda orange uh thing .Marketing: Yeah , yeah .Project Manager: So {disfmarker}Marketing: But but the survey under users was that they uh really lost it .Project Manager: Yeah .User Interface:Yeah , that's stupid . {vocalsound}Industrial Designer: {vocalsound}Marketing: Like , no not uh not seeing it , but lost it in the house or something .Project Manager: {vocalsound} Okay .User Interface: Uh , but whenyou lost it you're just not {disfmarker}Marketing: But , okay .Industrial Designer: Well , if i if you see a strange shape lying somewhere , uh then you'd uh recognise it as , whoa , that is strange .Project Manager:"}
+{"doc_id":"doc_82","qid":"","text":"Lynne Neagle AM: Good morning, everyone, and welcome to the Children, Young People and Education committee this morning. We've received apologies for absence from Siân Gwenllian and there is no substitute thismorning. Can I ask if Members have got any declarations of interest they'd like to make, please? No? Okay. Thank you. Item 2 this morning, then, is a further session on our follow-up on our 'Mind over matter' report.I'm very pleased to welcome Carol Shillabeer, who is chief executive of Powys Teaching Health Board, and who manages the Together for Children and Young People programme. Thank you very much for attending, andthank you for the written update that you provided in advance to the committee. We've got a lot of ground that we want to cover this morning, so if it's okay we'll go straight into questions. If I can just start and askyou if you're satisfied with the progress that's been made since the programme was established in 2015.Carol Shillabeer: Thank you very much for that question, Chair. I've got to say 'yes', in many regards. So, the keyfocus of the programme in the early stages was about improving access to specialist child and adolescent mental health services. We developed the windscreen model—or we lifted the windscreen model. Other modelsthat are very similar have been talked about as well, and our big focus was on ensuring that we could make immediate progress around access to specialist CAMHS. It's some years ago now since this committee did theoriginal report, and obviously Healthcare Inspectorate Wales and the Wales Audit Office had done reports in the past, and I think there was a need for a programme that could focus on action. You'll see in the writtenupdate that we covered quite a large number of areas, and so therefore had to make a prioritisation. The prioritisation was at the specialist CAMHS end. We have provided the committee with a red, amber or greenrating of where we feel that we were, and that was just before submission of the evidence. Overall I would say we have made progress. I recognise you recognise that in your 'Mind over matter' report, and that ispleasing. What I would say, though, is that there's a still a lot to be done. Certainly over the last nine months or so, we've seen a real momentum around the whole-school approach work, which we're not actuallyleading now as a programme, although we facilitated the workshop held in September. But that's got a real momentum, and the absolute priority now is the early help and enhanced support part of the work movingforward, and I'm sure we will come on to that in more detail. But we know there is more community workforce in specialist CAMHS, we know we're seeing children in a shorter time frame, and we know we're acceptingmore referrals, so our indicators are telling us we are making progress.Lynne Neagle AM: Thank you. And you referred to the work on the whole-school approach, which is very welcome, and I recognise that theprogramme has been involved in driving that as well. But I'm sure you'll also recognise the emphasis that the committee has placed on this being a whole-system approach to children and young people's mental health,and we feel very strongly that if any of the areas get out of balance, then it will jeopardise the progress in other parts of the programme. Are there any particular areas where you feel you haven't made enough progressthat you'd like to draw the committee's attention to?Carol Shillabeer: This is maybe about what the programme's done, but really around the broader sense as well. I'm going to be very straight and say we should havemade more progress on psychological therapies. I'm disappointed that we haven't. I'm assured that we've got capacity in place now and the drive in place to get the Matrics Cymru framework developed for children andyoung people. I've had discussions with the national psychological therapies committee, who have owned this, and we're working together more on this area. That's not to say for one minute that health boards and localareas haven't been working on psychological therapy service provision and changing the models, but that is an area we should have made, I think, earlier progress on. There's been a general reflection from myself andthe Together for Children and Young People programme board over the phase of the programme. I think we started very strongly; I think we probably had a bit of a lull in the middle, if I'm truthful about that—we had achange of personnel, and we really gathered a momentum over the last year or 18 months, and that has helped to push us from a focus on specialist CAMHS into that whole-school approach. But, if I could just agreewith your comments about the whole system, it has to be the whole system and that's why the real focus now on early help and enhanced support is critical. If I can just say, in case I don't get a chance to say this later,I was delighted to see the focus on youth work yesterday, because what is clear is for that part, the early help and enhanced support, this isn't just about the NHS and it's not just about education, it's about every partof the system, really, which does make it more complex. But I just wanted to say that I think that youth work has perhaps not have the recognition that it's needed and yesterday was a positive step.Lynne Neagle AM:Okay, thank you. We've got some questions now on early help and enhanced support from Janet Finch-Saunders.Janet Finch-Saunders AM: Thank you. Good morning. In terms of local primary mental health supportservices, what is your understanding of the issues leading to some health boards not meeting the Mental Health (Wales) Measure 2010 targets for assessment and therapy for children and young people, and how muchof this is due to an increase in demand?Carol Shillabeer: Yes, thanks very much. So, it's important to say, I think, at the outset, just by way of reminder, that the target, quite rightly, changed for children and youngpeople. The target changed some years ago for adults, so it was only right that there was an equalisation around children. So, the services were working, a couple of years ago, with significant demand and then achange in the standard. I think you're absolutely right; your question alludes to the fact that some health boards are struggling to maintain the full performance around seeing children, particularly within the 28 days. Iwould say—. And we've had some discussion about whether the impact of the mental health Measure has actually drawn perhaps some of the workforce, the staff, who would have been working at that earlier stage inlocal primary mental health, into a bit more of the secondary element, which is why the review being undertaken by the NHS delivery unit into primary care CAMHS is so critical, because, actually, if we don't have—andI believe we don't have—enough capacity in that part of the system, then referrals will move towards the more specialist end of this. So, I think we will have seen, by the evidence submission, that demand hasincreased, not just in Wales but in the UK, and it has increased significantly. We are doing reasonably well at meeting that demand—so, we have more contacts, more staff, shorter access times, so that is a good newsstory. We've not got it completely sustained at this stage, and therefore the focus of the delivery unit's primary care CAMHS report is what more can we do in that part of the system to help to see children and youngpeople or provide consultation and liaison to others and support people at that level of intervention.Janet Finch-Saunders AM: Thank you. I know, from my own experience as a constituency AM, I have families who tellme that they can't get into the early interventions and eventually things just become so—they end up in the more specialist ones and believe that that's—. And I don't like to put it in resource terms, but it's falseeconomy in terms of the impact on the child and the family, but, obviously, in terms of cost as well. Do you find that that's a common theme across Wales?Carol Shillabeer: Yes. I think that the thrust of that isabsolutely right. So, we absolutely need to see children and families at the earliest intervention and that's why this is a whole system, not compartmentalised. I think there have been really good attempts in a couple ofareas of that greater reach out and that earlier help—hot clinics and those sorts of initiatives that help people not to get in a long queue for specialist CAMHS, but can be supported, often by telephone, at that earlierstage. My sense of where we go next, in terms of, you know, you talk about early help and enhanced support for all the 'missing middle', as you referred to it in your report, is to make sure we've got a fully joined-up,multi-agency team approach to that. And I think that will need some resourcing to support that, yet to be fully determined. But yesterday's announcement about youth work, the Government's commitment to primarycare, CAMHS, et cetera—that's all going to be very helpful to prevent those young people having to go into specialist CAMHS. And just a final note on that, if I may—at the beginning of the programme, we had a reportfrom Hafal called 'Making Sense' and there were 10 key asks, if you like, of the system and the service from young people who had experience of the service. They said, 'Please don't medicalise it'—I'm paraphrasingnow, of course—'Please don't medicalise it; please focus on supporting teachers and others who can support us at an earlier stage and then, when we really need help, please ensure that it is there at that morespecialist level.' That's been a bit of a guiding principle for the programme. So, that reflects the questions that you were asking, really.Janet Finch-Saunders AM: Thank you. What are the outcomes of the stakeholderworkshop held last week on early help and enhanced support? And how are the actions going to be taken forward and implemented? And also, given that the Together for Children and Young People programme comesto an end in October of this year, who, in your view, is best placed to forward this work stream, and what will be the biggest challenges? It's a bit of a long question, so, break it up however you like.Carol Shillabeer:That's absolutely fine.Janet Finch-Saunders AM: And what will be the biggest challenges that they will face?Carol Shillabeer: Yes, I think that's helpfully laid out in three stages. So, you're absolutely right, there was ahighly successful workshop last week really focusing on early help and enhanced support. It brought all of the agencies together, which was—and actually had a bit of a waiting list, apparently, for places. So, there wasa lot of demand and a lot of interest in this. In relation to the next steps, there is a planning group reflection in early July, in terms of the outcomes of the workshop or the outputs of the workshop, and there are threecommitments that have been made to this stage. One is that we develop those values-led approaches that will bring multiple agencies together to have that common purpose. The second one is to develop theingredients for successful working in this area, and then, thirdly, to determine or propose priorities and sequencing of next steps. So, that's the next stage of that. I'm pretty sure we'll come on shortly—or hopefully—tothe potential of the regional partnership boards. There is some work that we are doing as a programme with the children's commissioner in terms of working more with the regional partnership boards in taking forwardthis work. So, that will run alongside. But during the summer, then, we will be developing that framework approach, and we will be participating in the Association of Directors of Social Services conference inSeptember, and then a follow-up workshop in October on this matter. On your question of 'Well, what happens after the programme?' we are currently working on legacy arrangements for the programme. I'm prettysecure on the specialist CAMHS element. That will move, most likely, to the CAMHS network, which is part of the NHS mental health network. I actually chair the mental health network and that's one part of that. Thewhole-school approach element is already settled in Government and we've got a connection in to that. The question that's outstanding is where the early help and enhanced support and the neurodevelopmental will go.I am currently in discussions with Welsh Government officials around that. I can be very clear of my own view that there needs to be a confident and clear legacy arrangement for this work. We cannot afford that we'vecome so far for this not now to proceed. I think there's a huge momentum behind this. I don't see there would be any obstacles—I hope—in getting that commitment translated into a strong approach, as we moveforward. So, I'm not in a position to say, 'And the legacy arrangements will be—', but I am in a position to say that I'm having those discussions with Welsh Government officials. They know my view that we've got toput something in place that is strong and secure as we move forward, and I believe that they are supportive of that.Janet Finch-Saunders AM: Thank you.Lynne Neagle AM: Janet, I think those two questions have beentouched on, the remaining questions. We are going to discuss in more detail the legacy arrangements, but if I could just ask on psychological therapies: you referred to the fact that you were a bit disappointed withprogress in this area, and the area hasn't been directly led on by the Together for Children and Young People programme. Do you think that means now that there is more of a threat to progress in this area, because,you know, we've got different compartmentalising of actions, and this is absolutely key, isn't it, really?Carol Shillabeer: Yes. I think there's—. There is some refinement to be done, I think, in making sure theconnections are there. So, I think, as we move to programme end, we'll want to be absolutely assured that there are no strands left hanging, so to speak. I am confident—I mentioned the mental health network boardthat I chair—that we have those strands nailed down, but recognising that the early help and enhanced support and the provision of psychological support is beyond the NHS. So, this will be an area that needs to bevery much seen as a key part of that. My own sense is that—. There's been quite a lot of other developments through the life of the programme. So, in the evidence that I've provided, you'll see the First 1000 days, allthe adverse childhood experiences work, the Cymru Well Wales partnership, et cetera, et cetera. So, there is a bit of what I would call tidying up of the landscape to be done, and this is the ideal opportunity to dothat.Lynne Neagle AM: Okay. Thank you. We've got some questions now on specialist CAMHS—if I can just ask about the impact of the specialist CAMHS framework, and how effective you feel that has been inpromoting a consistent delivery of care for young people.Carol Shillabeer: Thanks very much for that. Without wanting to go back too far in history, I remember coming into this area back in 2014 as I was asked toestablish a CAMHS network. My observation was there wasn't really a strong and well-connected clinical community in this area. When we spin forward five years, I can confidently say that there is a strong andwell-connected clinical community around specialist CAMHS. The programme has helped; the emphasis and the focus of the programme has helped to bring people together with that more common endeavour tounderstand, actually, there is a good case for consistency in the main, with local variation. There has been a case for much greater learning between organisations. If I just give you an example—you'll know that thecommunity intensive service teams were put in place in 2015-ish. Some areas have them, but a lot of areas didn't. We do have inconsistency in that, but the consistent part is there is a service now right the way acrossWales for more intensive support to children and young people and their families in their own homes, which helps to prevent admissions and then, where there are admissions, helps to support people to be at home.They're all called slightly different things. So, I might have referred in my papers to CITT, CATT, COT and CITE. So, they've all got slightly different names and they've got slightly different opening hours. The key thrustof this is that there is a backbone, if you like, of a consistent approach with that local variation. We have to check. So, things like frameworks for improvement—there is a coming together of the clinicians and theprofessionals to agree what that framework for improvement is. That then gets implemented, with some local variation. So, I think the process of moving in that way has been extremely helpful. There will be somevariation. We want some variation, to some extent, as places try new things and evaluate new things. So, if I just refer to the previous question that I had, and I talked about hot clinics and different ways of reachingout; that's been tried in one area, been evaluated—let's see the spread of that. So, you'll know my view on internet counselling, for example; I feel that is quite a strong offer for children—not necessarily in thespecialist end. If that works in one area, why aren't we rolling that out to other areas? So, I think the framework for improvement has provided a vehicle for those clinicians and professionals to come together. It's in astronger place—a much stronger place—than it was five years ago.Lynne Neagle AM: Okay, thank you. You've referred to there being some inconsistencies in terms of crisis care, but are you able to assure thecommittee that all young people are now getting at least a consistent service, especially in terms of interventions in the instances of young people self-harming. Wherever you live in Wales, is that help there for younow?Carol Shillabeer: Well, in your work to produce the 'Mind over matter' report, I clearly listened to the views from the police and the recommendations in relation to the police. We've taken that as a further piece ofwork under the specialist CAMHS umbrella, to truly understand what the experiences of the police are and what some of the root issues may be in relation to that. For example, is it that because the CIT, CAT, COT,CITE—the community intensive service—closes at 10 o'clock in a certain area, that actually it's after that that the network of support isn't as strong, and, if that is the case, what are we going to do about that? There'scertainly potential in working more regionally or even working between adults' and children's in terms of the crisis resolution services that work beyond those hours. So, we are taking an extra look at this, because Icould not be 100 per cent confident that, throughout the 24-hour period, we've got this fully settled. I continue to hear some stories from the police that they are picking up young people and feeling that they've not gotthat solid place to go, and we're following those through.Lynne Neagle AM: Okay, thank you. We've got some questions now from Hefin David on neurodevelopmental services.Hefin David AM: I think, Chair, I shouldhave declared an interest here, as my daughter has been diagnosed with autism and is currently going through the process of receiving neurodevelopmental speech and language support particularly. We're seeing anincrease in neurodevelopmental referrals, and that will increase further in the future. Can you give us an explanation as to why this demand is growing and how we're going to meet capacity to deliver and for support forthose children?Carol Shillabeer: Thank you. They're very big questions in terms of 'why'. I'm not sure that anyone really knows why, if I'm honest, although there is a lot of academic research going on. What we doknow is that we are starting to see the scale of those referrals coming through. So, in the information provided, I refer to the NHS digital prevalence report in England, which indicates that about 5.5 per cent of two tofour-year-olds have a mental disorder. Now, that sounds a bit shocking when we say that, but that's in the international classification scaling, and, of that, certainly, 2.5 per cent is around autism. I can just testify, inreal life, that demand is absolutely growing. So, if I just take my own health board for a moment, we usually have about 75 referrals per year. Last year we had 300. So, that has felt very difficult to manage. If I canjust give you a sense of what we've done so far and then what I think is next, I want to recognise the work of Dr Cath Norton and the steering group that's been established on neurodevelopmental issues under theprogramme. They had a standing start. They've done a lot of very, very good work. We now have seven teams in place across Wales. We now have a national pathway. We now have a community-of-practice-typeenvironment, and we're really getting into this. Good progress has been made. More people have been seen. More people have been assessed. So, we have made progress. But I've got a long list of considerations that I"}
+{"doc_id":"doc_83","qid":"","text":"Project Manager: Okay Right {vocalsound} Um well this is the kick-off meeting for our our project . Um {vocalsound} and um this is just what we're gonna be doing over the next twenty five minutes . Um so first of all ,just to kind of make sure that we all know each other ,Marketing: Mm-hmm .Project Manager: I'm Laura and I'm the project manager . {vocalsound} Do you want to introduce yourself again ?Marketing: Great.Industrial Designer: Hi , I'm David and I'm supposed to be an industrial designer .Project Manager: Okay .Marketing: And I'm Andrew and I'm uh our marketingUser Interface: Um I'm Craig and I'm User Interface.Marketing: expert .Project Manager: Great . Okay . {vocalsound} Um so we're designing a new remote control and um {disfmarker} Oh I have to record who's here actually . So that's David , Andrew and Craig , isn't it? And you all arrived on time . Um yeah so des uh {vocalsound} design a new remote control . Um , as you can see it's supposed to be original , trendy and user friendly . Um so that's kind of our our brief , as it were .Um and so there are three different stages to the design . Um I'm not really sure what what you guys have already received um in your emails . What did you get ?Industrial Designer: Um , I just got the projectannouncement about what the project is {vocalsound} .Project Manager: Mm-hmm .Industrial Designer: Designing a remote control .Marketing: Mm-hmm .Industrial Designer: That's about it , didn't get anything else.Marketing: Mm-hmm . Yeah , that's that's it .Project Manager: Is that what everybody got ?Industrial Designer: Did you get the same thing ?User Interface: Yeah .Project Manager: Okay .Marketing: Yeah .ProjectManager: Um . So we're gonna have like individual work and then a meeting about it . And repeat that process three times . Um and at this point we get try out the whiteboard over there . Um . {vocalsound} So uh youget to draw your favourite animal and sum up your favourite characteristics of it . So who would like to go first ?Marketing: I will go . That's fine .Project Manager: Very good . {vocalsound}Marketing: Alright . So{disfmarker} {vocalsound} {vocalsound} This one here , right ?Project Manager: Mm-hmm .Marketing: Okay . Very nice . Alright . My favourite animal is like {disfmarker} {vocalsound} {vocalsound} A beagle .ProjectManager: {vocalsound}Marketing: Um charac favourite characteristics of it ? Is that right ?Project Manager: Yeah . Yeah .Marketing: Uh , right , well basically um high priority for any animal for me is that they be willingto take a lot of physical affection from their family . And , yeah that they have lots of personality and uh be fit and in robust good health .Industrial Designer: {vocalsound}Marketing: So this is blue . Blue beagle . Myfamily's beagle .Project Manager: Right .Marketing: {vocalsound}Project Manager: Lovely . {vocalsound}User Interface: {gap} Well , my favourite animal would be a monkey .Project Manager: {vocalsound}IndustrialDesigner: {vocalsound}User Interface: {vocalsound} Then they're small cute and furry , and uh when planet of the apes becomes real , {vocalsound} I'm gonna be up there with them .Marketing:{vocalsound}Industrial Designer: Cool .Project Manager: Right .User Interface: {vocalsound} {vocalsound}Industrial Designer: There's too much gear . {vocalsound}Project Manager: You can take as long over this asyou like , because we haven't got an awful lot to discuss .Industrial Designer: {vocalsound}Project Manager: Ok oh we do we doUser Interface: {vocalsound}Project Manager: Don't feel like you're in a rush , anyway.Industrial Designer: Okay .Marketing: I coulda told you a whole lot more about beagles .Project Manager: Ach {gap} why not {disfmarker}Marketing: Boy , let me tell you . {vocalsound}Project Manager: We mighthave to get you up again then .User Interface: {vocalsound}Project Manager: I don't know what mine is . I'm gonna have to think on the spot now .Marketing: Impressionist .Project Manager: {vocalsound}UserInterface: {vocalsound}Industrial Designer: Can't draw . {vocalsound}User Interface: {vocalsound}Industrial Designer: Um .Project Manager: Is that a whale ? {vocalsound}Industrial Designer: Yeah . Um , wellanyway , I don't know , it's just the first animal I can think off the top of my head . Um . Yes . Big reason is 'cause I'm allergic to most animals . Allergic to animal fur ,Project Manager: Ah .Industrial Designer: so umfish was a natural choice . Um , yeah , and I kind of like whales . They come in and go {vocalsound} eat everything in sight . {vocalsound}User Interface: {vocalsound}Marketing: {vocalsound}Industrial Designer: Andthey're quite harmless and mild and interesting .Marketing: {vocalsound} Alright . Mm .Project Manager: Okay . God , I still don't know what I'm gonna write about . Um .Marketing: Superb sketch , by the way.Industrial Designer: {vocalsound} Tail's a bit big , I think . {vocalsound}Project Manager: I was gonna choose a dog as well .Marketing: {vocalsound}Project Manager: But I'll just draw a different kind of dog.Marketing: Yep .Project Manager: M my favourite animal is my own dog at home . {vocalsound} Um {disfmarker} That doesn't really look like him , actually . He looks more like a pig , actually . Ah well .Marketing: Isee a dog in there .Project Manager: Do you ?User Interface: {vocalsound}Project Manager: Oh that's very good of you .Marketing: Yep . {vocalsound} Now I see a rooster .Industrial Designer: {vocalsound}ProjectManager: {vocalsound}User Interface: {vocalsound}Project Manager: Uh .Marketing: What kind is it ?Project Manager: Um he's a mixture of uh various things . Um and what do I like about him , um {disfmarker}That's just to suggest that his tail wags .Marketing: {vocalsound}Industrial Designer: {vocalsound}Project Manager: Um he's very friendly and cheery and always pleased to see you , and very kind of affectionate andum {vocalsound} uh and he's quite quite wee as well so you know he can {disfmarker} doesn't take up too much space .Marketing: {vocalsound}Project Manager: Um and uh {disfmarker} And he does a funny thingwhere he chases his tail as well ,Industrial Designer: {vocalsound}Project Manager: which is quite amusing , so {disfmarker}Marketing: Is he aware that th it's his own cha tail he's chasing ?Project Manager: It is . Ithink it is . He only does it after he's had his dinnerMarketing: {vocalsound}Project Manager: and um he'll just all of a sudden just get up and start chasing his tail 'round the living room .Industrial Designer:{vocalsound} It's an after dinner dog then .Marketing: Hmm .Project Manager: Yeah , so uh {disfmarker}Marketing: Probably when he was little he got lots of attention for doing it and has forever been conditioned.Project Manager: Yeah , maybe . Maybe . {vocalsound} Right , um where did you find this ?Marketing: {vocalsound}Project Manager: Just down here ? Yeah .Industrial Designer: {vocalsound}Project Manager: Okay .{vocalsound} Um what are we doing next ? Uh um . Okay , uh we now need to discuss the project finance . Um so according to the brief um we're gonna be selling this remote control for twenty five Euro , um and we'reaiming to make fifty million Euro . Um so we're gonna be selling this on an international scale . And uh we don't want it to cost any more than uh twelve fifty Euros , so fifty percent of the selling price .Marketing: 'Kay .Um , can we just go over that again ?Project Manager: Sure .Marketing: Uh , so bas at twel Alright , yeah . Okay . So cost {disfmarker} like production cost is twelve fifty ,Project Manager: All together .Marketing: butselling price is {disfmarker} is that wholesale or retail ? Like on the shelf .Project Manager: Um I dunno . I imagine {disfmarker} That's a good question .Marketing: Our sale our sale anyway .Project Manager: I imagineit probably is our sale actuallyMarketing: Yeah , okay okay .Project Manager: because it's probably up to the the um the retailer to uh sell it for whatever price they want . Um .Marketing: Okay . Mm-hmm .ProjectManager: But I {disfmarker} I don't know ,Marketing: Alright .Project Manager: I mean do you think the fact that it's going to be sold internationally will have a bearing on how we design it at all ?Marketing: Yes .{vocalsound}Project Manager: Think it will ? Um .Marketing: Mm-hmm . Mm-hmm .Project Manager: {vocalsound} Hmm .Marketing: Well right away I'm wondering if there's um th th uh , like with D_V_D_ players , ifthere are zones .Project Manager: Oh yeah , regions and stuff , yeah .Marketing: Um f frequencies or somethingProject Manager: Yeah . Okay .Marketing: um as well as uh characters , um different uh keypad styles ands symbols .Industrial Designer: Hmm .Project Manager: Yeah . Well for a remote control , do you think that will be {disfmarker}Marketing: Um .Project Manager: I suppose it's depends on how complicated our remotecontrol is .Marketing: I don't know . Yeah .Industrial Designer: It does make sense from maybe the design point of view 'cause you have more complicated characters like European languages , then you need morebuttons .Project Manager: Yeah , yeah .Marketing: Yeah .Industrial Designer: So , possibly .Marketing: Yeah .Project Manager: Okay .Marketing: And then a and then al the other thing international is on top of the price. I'm thinking the price might might appeal to a certain market in one region , whereas in another it'll be different , so {disfmarker}Project Manager: What , just like in terms of like the wealth of the country ?Marketing:Just a chara just a characteristic of the {disfmarker}Project Manager: Like how much money people have to spend on things like ?Marketing: Just {disfmarker} Or just like , basic product podi positioning , the twentyfive Euro remote control might be a big hit in London , might not be such a big hit in Greece , who knows ,Project Manager: Aye , I see what you mean , yeah .Marketing: something like that , yeah .Project Manager:Marketing . Good marketing thoughts .Marketing: {vocalsound} Yep .Project Manager: Oh gosh , I should be writing all this down . Um .Marketing: Right away I'm making some kind of assumptions about what whatinformation we're given here ,Project Manager: Mm .Marketing: thinking , 'kay trendy probably means something other than just basic ,Project Manager: Yeah .Marketing: something other than just standard . Um soI'm wondering right away , is selling twenty five Euros , is that sort of the {disfmarker} thi is this gonna to be like the premium product kinda thing or {disfmarker}Project Manager: Yeah , yeah . Like how much does ,you know , a remote control cost .Marketing: Uh-huh .Project Manager: Well twenty five Euro , I mean that's um that's about like eighteen pounds or something , isn't it ? Or no , is it as much as that ?Marketing:Mm-hmm .Project Manager: Sixteen seventeen eighteen pounds .Marketing: Yep . Yeah , I'd say so , yeah .Project Manager: Um , I dunno , I've never bought a remote control , so I don't know how how good a remotecontrol that would get you . Um .Marketing: No . Yeah , yeah . {vocalsound}Project Manager: But yeah , I suppose it has to look kind of cool and gimmicky .Marketing: Mm-hmm .Project Manager: Um right , okay . Letme just scoot on ahead here . Okay . Um well d Does anybody have anything to add to uh to the finance issue at all ? ThinMarketing: Do we have any other background information on like how that compares tootherProject Manager: No , actually . That would be useful , though ,Marketing: other {vocalsound} {disfmarker}Project Manager: wouldn't it , if you knew like what your money would get you now .Marketing: Yeah.Industrial Designer: Hmm .Project Manager: Mm-hmm .Marketing: Mm-hmm . Yeah , interesting thing about discussing um production of a remote control for me is that l as you point out , I just don't think of remotecontrols as somethin something people consciously assess in their purchasing habits .Project Manager: Yeah , yeah .Marketing: It's just like getting shoelaces with shoes or something .Project Manager: Oh . Fiveminutes to end of meeting .Marketing: It just comes along .Project Manager: Oh , okay . We're a bit behind .Marketing: Do you know what I mean ?User Interface: {vocalsound} Yeah .Industrial Designer: Yeah.Marketing: Like so sort of like how do you I I mean one one way of looking at it would be , well the people producing television sets , maybe they have to buy remote controls . Or another way is maybe people whohave T_V_ sets are really fed up with their remote control and they really want a better one or something .User Interface: I know um {disfmarker} My parents went out and bought um remote controls because um theygot fed up of having four or five different remote controls for each things the house .Marketing: But {disfmarker} Right . Right .User Interface: So um for them it was just how many devices control .Marketing: Okay so{disfmarker} Right , so in function one of the priorities might be to combine as many uses {disfmarker}Project Manager: Yeah . Right , so do you think that should be like a main design aim of our remote control d youknow ,Marketing: I think so .Project Manager: do your your satellite and your regular telly and your V_C_R_ and everything ?Marketing: Yeah , yeah . Yeah . Well like um , maybe what we could use is a sort of like aexample of a successful other piece technology is palm palm pilots . They're gone from being just like little sort of scribble boards to cameras , M_P_ three players , telephones ,Project Manager: Mm-hmm .Marketing:everything , agenda . So , like , I wonder if we might add something new to the to the remote control market ,Project Manager: {vocalsound} Yeah .Marketing: such as the lighting in your house , or um{disfmarker}Project Manager: Or even like , you know , notes about um what you wanna watch . Like you might put in there oh I want to watch such and such and look aMarketing: Yeah , yeah .Project Manager: Ohthat's a good idea . So extra functionalities .Marketing: An Yeah . Like , p personally for me , at home I've I've combined the um the audio video of my television set and my D_V_D_ player and my C_D_ player . Sothey w all work actually function together but I have different remote controls for each of them .Project Manager: Mm-hmm .Marketing: So it's sort of ironic that that then they're in there um you know , the sound andeverything it's just one system .Project Manager: Hmm .Marketing: But each one's got its own little part .Project Manager: Um okay , uh I'd wel we're gonna have to wrap up pretty quickly in the next couple of minutes. Um I'll just check we've nothing else . Okay . Um so anything else anybody wants to add about what they don't like about remote controls they've used , what they would really like to be part of this new one at all?Industrial Designer: And you keep losing them .Project Manager: You keep losing them .Marketing: Mm .Project Manager: Okay .Industrial Designer: Finding them is really a pain , you know .Marketing: Mm . Mm.Industrial Designer: I mean it's usually quite small , or when you want it right , it slipped behind the couchMarketing: Mm-hmm . Mm-hmm .Industrial Designer: or it's kicked under the table .Project Manager: Yeah.Marketing: Yeah .Project Manager: W You get those ones where you can , if you like , whistle or make a really high pitched noise they beep .Marketing: Yeah .Industrial Designer: You know .Marketing: That's just reallygood id Yep .Project Manager: There {disfmarker} I mean is that something we'd want to include , do you think ?Marketing: Uh , {vocalsound}Project Manager: Dunno .Marketing: sure . {vocalsound}Project Manager:Okay maybe . {vocalsound}Marketing: I remember when the first remote control my my family had was on a cable . Actually had a cable between it and the T_V_Project Manager: {vocalsound}Marketing: and big likebuttons that sort of like , like on a blender or something .Project Manager: My goodness .Marketing: And um , you know , when I think about what they are now , it's better , but actually it's still kind of , I dunno , like amassive junky thing on the table .Project Manager: Still feels quite primitive .Marketing: Maybe we could think about how , could be more , you know , streamlined . SProject Manager: Maybe like a touch screen orsomething ?Marketing: Something like that , yeah .Project Manager: Okay .Marketing: Or whatever would be technologically reasonable .Project Manager: Uh-huh , okay . Well I guess that's up to our industrial designer.Marketing: 'Cause it could b it could it could be that f it could be that functionally that doesn't make it any better , but that just the appeal of of not having {disfmarker}Project Manager: It looks better .Marketing: Youknow , these days there's a r pe things in people's homes are becoming more and more like chic , you know .Project Manager: Yeah .Marketing: Um , nicer materialsProject Manager: Okay .Marketing: and mightbeProject Manager: Okay .Marketing: be worth exploring anyway .User Interface: Uh .Project Manager: Right , well um so just to wrap up the next meeting's gonna be in thirty minutes . So that's about um about ten totwelve by my watch . Um so inbetween now and then , um as the industrial designer , you're gonna be working on you know the actual working design of itIndustrial Designer: Yep .Project Manager: so y you know whatyou're doing there . Um for user interface , technical functions , I guess that's you know like what we've been talking about , what it'll actually do . Um and uh marketing executive , you'll be just thinking about what itactually {disfmarker} what , you know , what requirements it has to has to fulfil and you'll all get instructions emailed to you , I guess .Marketing: Okay .Project Manager: Um .Marketing: {vocalsound}Project Manager:Yeah , so it's th the functional design stage is next , I guess . {vocalsound} And uh and that's the end of the meeting . So I got that little message a lot sooner than I thought I would , so {disfmarker}Marketing: Um .{vocalsound} {vocalsound} Before we wrap up , just to make sure we're all on the same page here ,Project Manager: Mm-hmm .Marketing: um , do we {disfmarker} We were given sort of an example of a coffeemachine or something ,Project Manager: Uh-huh , yeah .Industrial Designer: Mm-hmm .Marketing: right ? Well , um are we at ma right now on the assumption that our television remote control may have featureswhich go beyond the television ? Or are we keeping sort of like a a design commitment to television features ?Project Manager: Th Okay , well just very quicklyMarketing: I I don't know .Project Manager: 'cause this{disfmarker} we're supposed to finish now . Um I guess that's up to us ,Marketing: Yep . Yeah , sure .Project Manager: I mean you probably want some kind of unique selling point of it , so um , you know{disfmarker}Marketing: Okay .Industrial Designer: I think one factor would be production cost .Marketing: Okay , yeah .Industrial Designer: Because there's a cap there ,Project Manager: Yeah .Industrial Designer: soum depends on how much you can cram into that price . Um .Marketing: Okay .Project Manager: Mm-hmm .Marketing: Okay .Industrial Designer: I think that that's the main factor .Project Manager: Yeah . Okay.Marketing: Okay .Project Manager: Right , okay , we'll that's that's the end of the meeting , then . UmMarketing: Alright . {vocalsound}Project Manager: So , uhMarketing: {vocalsound}Project Manager: thank you allfor coming . {vocalsound}Industrial Designer: {vocalsound} Cool .Marketing: {vocalsound}"}
+{"doc_id":"doc_84","qid":"","text":"Lynne Neagle AM: Good morning, everyone. Welcome to the Children, Young People and Education Committee this morning. I've received no apologies for absence. Can I ask Members if there are any declarations ofinterest, please? No. Okay, thank you. Item 2 this morning is our scrutiny session on Estyn's annual report 2018-19. I'm very pleased to welcome Meilyr Rowlands, Her Majesty's Chief Inspector, Estyn; Jassa Scott,strategic director at Estyn; and Claire Morgan, strategic director at Estyn. Thank you all for attending. We're looking forward to hearing what you've got to say. We'll go straight into questions from Suzy Davies.SuzyDavies AM: Bore da. Good morning, everybody. Thank you for the papers upfront, in which you say that the most striking feature of the education system, looking forward, of course is the curriculum and the changethat that's bringing. How can we be sure that, during this period of change, standards don't slip? And also, from the point of view of scrutiny, will we be back in a situation where we're being told, 'You can't compare oneset of results against the previous year's results, because of the nature of the change'?Meilyr Rowlands: Bore da, bawb. Thank you for the invitation to come here. I think that's a good question. I think any kind of majoreducational reform has got risks attached to it, particularly if those changes were made too quickly. I think this process of reform has been going on in the background for a few years now, so I think there is a trackrecord of standards and provision not slipping. We've seen small incremental improvements. So, overall, I think we can be fairly confident that standards won't slip during this period of preparation.Suzy Davies AM: CanI just ask: is that based on your evidence around primary schools, where the sort of ethos that we've seen in the curriculum has been already articulated through the foundation phase?Meilyr Rowlands: The track recordI'm talking about is across the board, so it's very difficult to think of anything that's actually got worse over the last three or four years, so it's difficult to say that standards of provision is slipping. It might not beimproving as quickly as we would like, but the purpose of major curriculum and, more generally, educational reform is to make sure that we do get a more substantial sort of improvement. I think we shouldcongratulate the profession for the work they've been doing. A large number of schools and teachers and leaders have been part of preparing the new curriculum and all the associated work, as well as doing the dayjob. I think their commitment and their engagement with curriculum reform, and engagement with wider education reform, is to be congratulated. So, I think going forward, we must make sure that that is continued;that this process that's called co-construction—engaging with the profession, making sure that they're behind all the changes—continues. I think that's what's going to make sure that we don't see any slippage.SuzyDavies AM: Okay, and on that point of comparing year on year, we will be able to make those comparisons legitimately then?Meilyr Rowlands: Yes, certainly, in terms of our inspection outcomes and our inspection work,yes.Suzy Davies AM: Okay. That's great, thank you. Can I just ask you then about the difference in preparedness between primary and secondary schools, which I've just mentioned previously, and also what your viewsare on the impact of funding for schools on that as well? Because we're in a situation where a number of primary schools have got surplus funds, sometimes that's because of end of year additional funds just beingmagicked up, but there is a serious worry that so many secondary schools are in deficit and that, overall, secondary schools are in deficit. Is there a correlation between those two positions, that secondary schools maybe less ready for this than primary schools?Meilyr Rowlands: I think it's probably true to say that secondary schools have a greater challenge than primary schools generally in terms of preparedness for the newcurriculum. I think that's why we welcomed the phasing in of the new curriculum. With any sort of education reform, you've got that danger of people wanting to see change as soon as possible on the one hand, and onthe other hand you need time to pilot things, to make sure that people have the right professional learning and make sure that there's opportunity for evaluation and thinking and so forth. So, we've got to get thatbalance right.Suzy Davies AM: Sorry, that could be difficult to do if a school doesn't have money to create that space, couldn't it?Meilyr Rowlands: Yes. You raised two issues, I think. One, about the difference betweenprimary and secondary: I think what I'm saying there is I think the fact that the new curriculum is going to be brought in for all the years in primary, but it's going to be phased in year by year for secondary is arecognition of that difference. In terms of funding, probably everyone in this room, and certainly me included, would like to see more money for the education system—any educationalist would like to see that. But, youknow, that is a decision for local and central Government to decide how much they can afford. I think there is an argument for saying that the funding has become more challenging for schools over time.Suzy DaviesAM: Can I ask, just to keep it on track, are you finding that that's having an impact on secondary schools particularly—their ability to make space to get their heads around the curriculum?Meilyr Rowlands: I don't thinkyou can make that straightforward correlation. But if you do look at surpluses and reserves, they have been more or less constant for primary schools over a long period of time, but they have declined for secondaryschools. So, I think there probably is an argument for saying that we need to look at the funding of secondary schools in particular because, overall, they're in deficit now. So, I think there is an argument for looking atthat. The other thing that's worth saying about funding is that even a small decrease in real terms can be disproportionately time consuming to manage. So, you know, if you have a large school and you have to maybemake one member of staff redundant, it can have a real big effect on the morale in the school. But also the time it takes for the headteacher and the senior staff to make those decisions can take their eye off theeducational ball because they're looking at these financial and staffing issues.Suzy Davies AM: Okay, thank you. Siân might develop that a little bit further on. The final question from me is: there's a general concernabout the number of teachers that we have in the system at the moment, particularly at secondary level and in particular subjects as well. How do you think we can improve that? What impact is it likely to have on theability of secondary schools to really get a grip on this?Meilyr Rowlands: Obviously, the most important resource for the education system is the teachers. So, it is a concern that recruitment is getting more and moredifficult and that targets for initial teacher training are not being hit. And we're not seeing them hit, if I remember correctly, even in primary, let alone secondary. So, there is a challenge, and I think we've got to look atthis in the round. We've got to make sure that we have both a long-term strategy and a shorter term strategy for this. So, long term, we've got to make sure that education is an attractive option for young people andmore mature people to want to go into. So, that is partly to do with workload and staff well-being. I think there's a general acceptance now that that needs to be higher up on the agenda, that people need to take thatseriously, and there's work going on regarding the workload issue.Suzy Davies AM: I suppose what I'm coming to, and I will finish with this, Chair, is, we're asking our existing workforce to undertake a fair bit ofcontinuous professional development—let's call it that—in order to get ready for this curriculum when they've barely got time for lunch as it is. Do you think that's going to have an impact on the ability of secondaryschools to get to grips with this, albeit that there'll be a phasing in?Meilyr Rowlands: Yes. I think it will have an effect, but I think it'll have a positive effect. I think the new curriculum, one of the things about the newcurriculum is that it re-professionalises the profession. It gives back agency and ownership to teachers. I think it's really important. And one of the reasons why teaching maybe hasn't been that attractive a profession isthat teachers in the past have just been delivering a set curriculum, and now they've got a much more creative part in deciding for themselves how to teach something and what to teach. So, I think that is a veryimportant part of attracting intelligent people into the profession.  There are short-term things we need to do, of course, as well. I think we need to have a much more varied set of routes into teaching, so I welcomesome of the part-time Open University courses, for example. So, there are lots of ways—we were talking about maybe converting people from primary into secondary, particularly in Welsh-medium, where there's ashortage. So, all those kinds of varied routes, I think, into teaching, are important as well.Suzy Davies AM: Degree apprenticeships, potentially.Meilyr Rowlands: Yes, I think it's well worth exploring that. Yes.SuzyDavies AM: Lovely. Thank you. Thank you, Chair.Lynne Neagle AM: Okay. Siân Gwenllian now has some questions on secondary schools causing concern. Siân.Sian Gwenllian AM: Yes. Just before going on to that, justto pick up on that last point that you made about the shortage of teachers and losing teachers during the first year of their training. Has Estyn done any themed work on that particular issue, or do you intend to doanything on that? Also, looking at the financial incentives and how they compare with the situation in England, for example; do we need, perhaps, to think about financial incentives, not just for specific subjects, but forgoing to schools where there are particular issues, perhaps?Meilyr Rowlands: Well, yes, there are currently discussions ongoing between us and the Government about working in those early years for teachers. It'spossible that we will be undertaking work in the near future on that. I know that Professor Mick Waters is looking at this currently, and we've had the discussion with him. And I think we would welcome the opportunityto look at this particular period. Now, we are, of course, looking at initial teacher training, but we haven't looked at the first couple of years for many a year.Sian Gwenllian AM: Right, thank you very much. And for yourinformation, I've commissioned a piece of work on that particular issue, and that work will be published in due course. So, I hope to have a discussion with you about that.Meilyr Rowlands: Thank you very much.Yes.Sian Gwenllian AM: In terms of the secondary schools, that’s where the problem lies, isn’t it, rather than the primary sector. How much of a concern is it to you that children’s chances of going to a secondary schoolthat is good or better appear to be 50:50, and that, indeed, over 10 per cent of secondary schools are judged to be failing and 12 per cent are under Estyn review? How much of a concern is that to you?MeilyrRowlands: Well, it is of concern to us, of course. I hope that we will have an opportunity to talk about the positive aspects of the education system in Wales, because there are a number of good things we can reportalso. The primary sector, the special sector, post-16—there are many sectors that are doing well, and I think a story that's particularly positive this year is that we have seen pupil referral units improving. We have seenexamples of excellent practice in that sector for the first time in many a year, and we've also seen excellent practice in independent special schools, which is also a sector—. Because these are two sectors where thereare very, very vulnerable children in attendance. So, I think that's very encouraging. But, you're right, of course, the biggest concern for the system, I would say, is secondary schools, and that is an issue of leadership,and also of the quality of the teaching and learning. Those are the recommendations that we make most often in our inspection reports. So, I believe that there is a need to find a long-term solution, as I mentionedpreviously, and also a short-term solution to this problem. In the long term, to improve the quality of teaching and learning—well, that’s the main aim of the new curriculum. So, I am confident that that strategy is theright strategy. It will take time, as we mentioned previously; it will take longer in secondary schools, and that's for a number of reasons, and I have discussed the challenges that are additional for secondary schools inprevious annual reports. So, there are many reasons why secondary schools find it more difficult, possibly, than primary schools. The children themselves are older and they have greater challenges. Life is morecomplicated for them, possibly. It’s more difficult to engage with the parents of older children than younger children, and that’s an important factor. That’s one of the reasons why I believe it’s important that we do havecommunity schools that ensure that the parents are part of the school’s life and take an interest in the education of their children. We also know that qualifications take a very prominent role in secondary schools’mindsets, and, in some cases, perhaps excessively so. So, we need to ensure that those qualifications are reformed as a result of the reform of the curriculum, and, of course, Qualifications Wales is carrying out thatwork currently. And also, we need to change the measures that we use to measure the schools’ successes. Now, there is work ongoing on that as well. But there are all kinds of variations and differences between theprimary and secondary sectors. In primary schools, for example, the greatest and most obvious difference, I would say, is that you’ve got one teacher who looks after a child for a whole year, and that teacher canidentify the needs of the pupil very well over a period of time, getting to know the child and, possibly, the family very well. It’s much more complicated for secondary school to do that; there have to be systems put inplace for that. So, there are many long-term things that we need to respond to. But in the short term, what is important is that those schools that cause concern receive much more support, and that is why I am gladand do welcome what's being piloted currently, which is a system of supporting these schools, the multi-agency approach, that is. So, that is something that we have been calling for for quite a long period of time andpiloted ourselves a few years ago. So, I'm very glad that we are doing this in secondary schools throughout Wales. I believe there are about 12 schools that are in that pilot scheme.Sian Gwenllian AM: You saidpreviously that it's a cause of concern for you that these schools that are failing or underachieving are not identified early enough. Are there signs that that's improving?Meilyr Rowlands: Well, one of the things that'svery positive about this pilot scheme is that it's not just the schools that are officially causing concern that are a part of the pilot scheme, that is, the schools that we have identified, through inspections, as needing tobe put in a statutory category. So, there are schools involved in the pilot scheme that the authorities and the consortia have identified themselves as schools that are at risk of causing concern. I believe that it's fair tosay that we have not reached a point yet where we have a system of agreed criteria in relation to identifying these schools yet. I think that there has been initial work that has been commissioned or that is about toarrive in relation to that, and the types of measures you would expect us to take account of would be dissatisfaction from parents, staff leaving, a change in leadership. We use surveys with the children, for instance,and that gives you quite a good idea of whether a school is possibly facing difficulties. So, there's not one single criteria alone that will tell you, 'This is a school that is at risk of causing concern', but taken together,having a set of criteria that everyone has agreed would be a good way of monitoring schools, I believe.Sian Gwenllian AM: Okay. Well, we'll be coming on to that middle tier later on, and perhaps that's where theproblem lies, namely that if there isn't an agreed system from consortia and yourselves, perhaps that's where the focus needs to be.Meilyr Rowlands: I would say that it's not the identification of the schools that is thegreatest problem. The greatest problem is ensuring that there is support for them and that the support is multi-agency support, where all the agencies that support these schools are working together.Sian GwenllianAM: Well, how long does it take, therefore, for a school to move from an improvement category, in terms of special measures, to be escalated then? Because one sees sometimes that there's an excellent school, andwithin five years' time, it's in the red. So, there's a great deal of variance in that.Meilyr Rowlands: Well, that would be something quite unusual—to move from excellent to red.Sian Gwenllian AM: Yes, well, gradually,perhaps.Meilyr Rowlands: Yes. Perhaps Claire can respond to this.Claire Morgan: On average, secondary schools that are in need of special measures take just over two years, on average. Some are shorter; some arequite a considerable amount longer. It's a little less for schools that go into significant improvement. With primary schools, of course, it's much shorter because the issues are far less complex; it's easier to bring aboutimprovements in teaching. When you've got large numbers of staff, you've got large secondary schools, it takes time to actually bring about those improvements, but it is a long time, just over two years, when youthink that some pupils, maybe in key stage 4 for the two years—. Certainly, we want to see schools coming out of category much quicker, and this is where the multi-agency approach certainly is a positive step. Allpartners involved in supporting the school are involved in these improvement boards. They focus on bringing about improvement in the areas of the school that are weakest, and it is the responsibility of everybodyinvolved—that is: ourselves, the regions, local authorities, the schools themselves and their governing bodies—to look at how they can best support the school to bring about that improvement. So, it's getting anagreement on what the issues are, and then planning the support so that we avoid duplication, but that we support the school in the areas they need more support. And we hope that this then will accelerate theimprovement of the schools that find themselves in category. But, as Meilyr already said, there are some schools involved in that particular pilot that are at danger of causing serious concern. So, the pilot is trying outthose two different approaches as well.Sian Gwenllian AM: Okay, thank you. And just finally from me, for the time being at least, the financial situation; we've spoken about that already this morning. If you could—. Iffunding was injected into the system tomorrow, say, what would you spend it on? What aspects would benefit from that additional funding?Meilyr Rowlands: Were you asking about something specific there?SianGwenllian AM: In the schools themselves, if you were a school leader, what would you—Meilyr Rowlands: Oh, if I were a school leader.Sian Gwenllian AM: Yes. How would you use any additional funding that would flowinto the school?Meilyr Rowlands: It's difficult to make that decision, because every school is different. It is important, of course, that leaders do have the power and the ability to make those decisions themselves. But,certainly, in the short term, the type of thing I would have thought would be to prepare for the new curriculum. That means freeing up teachers to think about what the new curriculum means to them. The schools thathave been a part of developing the curriculum have been in a fortunate position in that they've had plenty of time to think about this. So, it's now time—and this was the chief message of my annual report this year—forevery school in Wales to start to think. Because I think that the new curriculum is truly an opportunity to take a forward step in terms of how we teach and learn within schools. But that means that time is needed forschools to think this through and, in that thinking, to contact the community, to talk to their children as well, to see what the community in its broader sense would like to see being in the new curriculum, because it'sup to every school. Although the new curriculum sets a framework, it is up to each and every school to decide what they're going to teach, and what they're teaching in order to prepare their young people for this newworld that we have in the twenty-first century. Therefore, to give you a somewhat superficial answer, I would be setting time aside for the training of teachers.Jassa Scott: Can I just add one thing there? I think what"}
+{"doc_id":"doc_85","qid":"","text":"Professor B: Is it starting now ?PhD E: Yep .Professor B: So what {disfmarker} what {disfmarker} from {disfmarker} what {disfmarker}Grad A: Hello ?Professor B: Whatever we say from now on , it can be held againstus , right ?PhD E: That 's right .Professor B: and uhGrad A: It 's your right to remain silent .Professor B: Yeah . So I {disfmarker} I {disfmarker} the {disfmarker} the problem is that I actually don't know how th theseheld meetings are held , if they are very informal and sort of just people are say what 's going onPhD E: Yeah .Professor B: andPhD E: Yeah , that 's usually what we do .Professor B: OK .PhD E: We just sorta go aroundand people say what 's going on , what 's the latest uh {disfmarker}Professor B: Yeah . OK . So I guess that what may be a {disfmarker} reasonable is if I uh first make a report on what 's happening in Aurora ingeneral , at least what from my perspective .PhD E: Yeah . That would be great .Professor B: And {disfmarker} and uh so , I {disfmarker} I think that Carmen and Stephane reported on uh Amsterdam meeting ,PhD D:Uh oProfessor B: which was kind of interesting because it was for the first time we realized we are not friends really , but we are competitors . Cuz until then it was sort of like everything was like wonderful and{disfmarker}PhD E: Yeah . It seemed like there were still some issues ,Professor B: Yeah .PhD E: right ? that they were trying to decide ?Professor B: There is a plenty of {disfmarker} there 're plenty of issues .PhD E:Like the voice activity detector ,Professor B: Well and what happened was that they realized that if two leading proposals , which was French Telecom Alcatel , and us both had uh voice activity detector . And I said \"well big surprise , I mean we could have told you that {pause} n n n four months ago , except we didn't because nobody else was bringing it up \" .PhD E: Right .Professor B: Obviously French Telecom didn't volunteerthis information either , cuz we were working on {disfmarker} mainly on voice activity detector for past uh several monthsPhD E: Right .Professor B: because that 's buying us the most uh thing . And everybody said \"Well but this is not fair . We didn't know that . \" And of course uh the {disfmarker} it 's not working on features really . And be I agreed .PhD E: Right .Professor B: I said \" well yeah , you are absolutely right , I mean ifI wish that you provided better end point at speech because uh {disfmarker} or at least that if we could modify the recognizer , uh to account for these long silences , because otherwise uh that {disfmarker} that{disfmarker} th that wasn't a correct thing . \" And so then ev ev everybody else says \" well we should {disfmarker} we need to do a new eval evaluation without voice activity detector , or we have to do somethingabout it \" .PhD E: Right .Professor B: And in principle I {disfmarker} uh I {disfmarker} we agreed .PhD E: Mm - hmm .Professor B: We said uh \" yeah \" . Because uh {disfmarker} but in that case , uh we would like tochange the uh {disfmarker} the algorithm because uh if we are working on different data , we probably will use a different set of tricks .PhD E: Right .Professor B: But unfortunately nobody ever officially can somehowacknowledge that this can be done , because French Telecom was saying \" no , no , no , now everybody has access to our code , so everybody is going to copy what we did . \" Yeah well our argument was everybody hahas access to our code , and everybody always had access to our code . We never uh {disfmarker} uh denied that . We thought that people are honest , that if you copy something and if it is protected {disfmarker}protected by patent then you negotiate , or something ,PhD E: Yeah . Right .Professor B: right ? I mean , if you find our technique useful , we are very happy .PhD E: Right .Professor B: But {disfmarker} And FrenchTelecom was saying \" no , no , no ,PhD E: Mm - hmm .Professor B: there is a lot of little tricks which uh sort of uh cannot be protected and you guys will take them , \" which probably is also true . I mean , you know , itmight be that people will take uh uh th the algorithms apart and use the blocks from that . But I somehow think that it wouldn't be so bad , as long as people are happy abou uh uh uh honest about it .PhD E: Yeah.Professor B: And I think they have to be honest in the long run , because winning proposal again {disfmarker} uh what will be available th is {disfmarker} will be a code . So the uh {disfmarker} the people can go tocode and say \" well listen this is what you stole from me \"PhD E: Mm - hmm .Professor B: you know ?PhD E: Right .Professor B: \" so let 's deal with that \" .PhD E: Right .Professor B: So I don't see the problem . Thebiggest problem of course is that f that Alcatel French Telecom cl claims \" well we fulfilled the conditions . We are the best . Uh . We are the standard . \" And e and other people don't feel that , because they{disfmarker} so they now decided that {disfmarker} that {disfmarker} is {disfmarker} the whole thing will be done on well - endpointed data , essentially that somebody will endpoint the data based on clean speech ,because most of this the SpeechDat - Car has the also close speaking mike and endpoints will be provided .PhD E: Mm - hmm . Ah .Professor B: And uh we will run again {disfmarker} still not clear if we are going to runthe {disfmarker} if we are allowed to run uh uh new algorithms , but I assume so . Because uh we would fight for that , really . uh but {disfmarker} since uh u u n u {disfmarker} at least our experience is that onlyendpointing a {disfmarker} a mel cepstrum gets uh {disfmarker} gets you twenty - one percent improvement overall and twenty - seven improvement on SpeechDat - CarPhD E: Hmm .Professor B: then obvious thedatabase {disfmarker} uh I mean the {disfmarker} the {disfmarker} the {disfmarker} uh the baseline will go up . And nobody can then achieve fifty percent improvement .PhD E: Right .Professor B: So they agreedthat uh there will be a twenty - five percent improvement required on {disfmarker} on uh h u m bad mis badly mismatched {disfmarker}PhD E: But wait a minute , I thought the endpointing really only helped in thenoisy cases .Professor B: It uh {disfmarker}PhD E: Oh , but you still have that with the MFCC .Professor B: Y yeah .PhD E: OK .Professor B: Yeah but you have the same prob I mean MFCC basically has an enormousnumber of uh insertions .PhD E: Yeah . Right . Yeah . Yeah . Yeah .Professor B: And so , so now they want to say \" we {disfmarker} we will require fifty percent improvement only for well matched condition , and onlytwenty - five percent for the serial cases . \"PhD E: Hmm .Professor B: And uh {disfmarker} and they almost agreed on that except that it wasn't a hundred percent agreed . And so last time uh during the meeting , Ijust uh brought up the issue , I said \" well you know uh quite frankly I 'm surprised how lightly you are making these decisions because this is a major decision . For two years we are fighting for fifty percentimprovement and suddenly you are saying \" oh no we {disfmarker} we will do something less \" , but maybe we should discuss that . And everybody said \" oh we discussed that and you were not a mee there \" and I said\" well a lot of other people were not there because not everybody participates at these teleconferencing c things . \" Then they said \" oh no no no because uh everybody is invited . \" However , there is only ten or fifteenlines , so people can't even con you know participate . So eh they agreed , and so they said \" OK , we will discuss that . \" Immediately Nokia uh raised the question and they said \" oh yeah we agree this is not good to touh dissolve the uh uh {disfmarker} the uh {disfmarker} the criterion . \"PhD E: Mm - hmm .Professor B: So now officially , Nokia is uh uh complaining and said they {disfmarker} they are looking for support , uh I thinkQualComm is uh saying , too \" we shouldn't abandon the fifty percent yet . We should at least try once again , one more round . \"PhD E: Mm - hmm .Professor B: So this is where we are .PhD E: Mm - hmm .Professor B:I hope that {disfmarker} I hope that this is going to be a adopted .PhD E: Hmm .Professor B: Next Wednesday we are going to have uh another uh teleconferencing call , so we 'll see what uh {disfmarker} where itgoes .PhD E: So what about the issue of um the weights on the {disfmarker} for the different systems , the well - matched , and medium - mismatched and {disfmarker}Professor B: Yeah , that 's what {disfmarker}that 's a g very good uh point , because David says \" well you know we ca we can manipulate this number by choosing the right weights anyways . \" So while you are right but {disfmarker} uh you know butPhD E: Mm -hmm .Professor B: Uh yeah , if of course if you put a zero {disfmarker} uh weight zero on a mismatched condition , or highly mismatched then {disfmarker} then you are done .PhD E: Mm - hmm .Professor B: Butweights were also deter already decided uh half a year ago . So {disfmarker}PhD E: And they 're the {disfmarker} staying the same ?Professor B: Well , of course people will not like it . Now {disfmarker} What ishappening now is that I th I think that people try to match the criterion to solution .PhD E: Mm - hmm .Professor B: They have solution . Now they want to {vocalsound} make sure their criterion is {disfmarker}PhD E:Right .Professor B: And I think that this is not the right way .PhD E: Yeah .Professor B: Uh it may be that {disfmarker} that {disfmarker} Eventually it may ha may ha it may have to happen . But it 's should happen ata point where everybody feels comfortable that we did all what we could .PhD E: Mm - hmm .Professor B: And I don't think we did .PhD E: Mm - hmm .Professor B: Basically , I think that {disfmarker} that this test wasa little bit bogus because of the data and uh essentially {pause} there were these arbitrary decisions made , and {disfmarker} and everything . So , so {disfmarker} so this is {disfmarker} so this is where it is . So whatwe are doing at OGI now is uh uh uh working basically on our parts which we I think a little bit neglected , like noise separation . Uh so we are looking in ways is {disfmarker} in uh which {disfmarker} uh with which wecan provide better initial estimate of the mel spectrum basically , which would be a l uh , f more robust to noise , and so far not much uh success .PhD E: Hmm .Professor B: We tried uh things which uh a long time agoBill Byrne suggested , instead of using Fourier spectrum , from Fourier transform , use the spectrum from LPC model . Their argument there was the LPC model fits the peaks of the spectrum , so it may be m naturallymore robust in noise . And I thought \" well , that makes sense , \" but so far we can't get much {disfmarker} much out of it .PhD E: Hmm .Professor B: uh we may try some standard techniques like spectral subtractionand {disfmarker}PhD E: You haven't tried that yet ?Professor B: not {disfmarker} not {disfmarker} not much . Or even I was thinking about uh looking back into these totally ad - hoc techniquesPhD E: Hmm .ProfessorB: like for instance uh Dennis Klatt was suggesting uh the one way to uh deal with noisy speech is to add noise to everything .PhD E: Hmm !Professor B: So . {comment} I mean , uh uh add moderate amount of noiseto all data .PhD E: Oh !Professor B: So that makes uh th any additive noise less addi less a a effective ,PhD E: I see .Professor B: right ? Because you already uh had the noise uh in a {disfmarker}PhD E: Right.Professor B: And it was working at the time . It was kind of like one of these things , you know , but if you think about it , it 's actually pretty ingenious . So well , you know , just take a {disfmarker} take a spectrumand {disfmarker} and {disfmarker} and add of the constant , C , to every {disfmarker} every value .PhD E: Well you 're {disfmarker} you 're basically y Yeah . So you 're making all your training data more uniform.Professor B: Exactly . And if {disfmarker} if then {disfmarker} if this data becomes noisy , it b it becomes eff effectively becomes less noisy basically .PhD E: Hmm .Professor B: But of course you cannot add too muchnoise because then you 'll s then you 're clean recognition goes down , but I mean it 's yet to be seen how much , it 's a very simple technique .PhD E: Mm - hmm .Professor B: Yes indeed it 's a very simple technique ,you just take your spectrum and {disfmarker} and use whatever is coming from FFT , {pause} add constant ,PhD E: Hmm .Professor B: you know ? on {disfmarker} onto power spectrum . That {disfmarker} that{disfmarker} Or the other thing is of course if you have a spectrum , what you can s start doing , you can leave {disfmarker} start leaving out the p the parts which are uh uh low in energy and then perhaps uh onecould try to find a {disfmarker} a all - pole model to such a spectrum . Because a all - pole model will still try to {disfmarker} to {disfmarker} to put the {disfmarker} the continuation basically of the {disfmarker} ofthe model into these parts where the issue set to zero . That 's what we want to try . I have a visitor from Brno . He 's a {disfmarker} kind of like young faculty . pretty hard - working so he {disfmarker} so he 's{disfmarker} so he 's looking into that .PhD E: Hmm .Professor B: And then most of the effort is uh now also aimed at this e e TRAP recognition . This uh {disfmarker} this is this recognition from temporal patterns .PhDE: Hmm ! What is that ?Professor B: Ah , you don't know about TRAPS !Grad A: Hmm .PhD E: The TRAPS sound familiar , I {disfmarker} but I don't {disfmarker}Professor B: Yeah I mean tha This is familiar like sort ofbecause we gave you the name , but , what it is , is that normally what you do is that you recognize uh speech based on a shortened spectrum .PhD E: Mm - hmm . Mm - hmm .Professor B: Essentially L P - LPC , melcepstrum , uh , everything starts with a spectral slice . Uh so if you s So , given the spectrogram you essentially are sliding {disfmarker} sliding the spectrogram along the uh f frequency axisPhD E: Mm - hmm.Professor B: and you keep shifting this thing , and you have a spectrogram .PhD E: Mm - hmm .Professor B: So you can say \" well you can also take the time trajectory of the energy at a given frequency \" , and whatyou get is then , that you get a p {pause} vector .PhD E: Mm - hmm .Professor B: And this vector can be a {disfmarker} a {disfmarker} s assigned to s some phoneme . Namely you can say i it {disfmarker} I will{disfmarker} I will say that this vector will eh {disfmarker} will {disfmarker} will describe the phoneme which is in the center of the vector . And you can try to classify based on that .PhD E: Hmm .Professor B: And you{disfmarker} so you classi so it 's a very different vector , very different properties , we don't know much about it , but the truth is {disfmarker}PhD E: Hmm . But you have many of those vectors per phoneme,Professor B: Well , so you get many decisions .PhD E: right ? Uh - huh .Professor B: And then you can start dec thinking about how to combine these decisions . Exactly , that 's what {disfmarker} yeah , that 's what itis .PhD E: Hmm . Hmm .Professor B: Because if you run this uh recognition , you get {disfmarker} you still get about twenty percent error {disfmarker} uh twenty percent correct . You know ,PhD E: Hmm .Professor B:on {disfmarker} on like for the frame by frame basis , so {pause} uh {disfmarker} uh so it 's much better than chance .PhD E: How wide are the uh frequency bands ?Professor B: That 's another thing . Well c currentlywe start {disfmarker} I mean we start always with critical band spectrum . For various reasons . But uh the latest uh observation uh is that you {disfmarker} you {disfmarker} you are {disfmarker} you can get quite abig advantage of using two critical bands at the same time .Grad A: Are they adjacent , or are they sProfessor B: Adjacent , adjacent .Grad A: OK .Professor B: And the reasons {disfmarker} there are some reasons forthat . Because there are some reasons I can {disfmarker} I could talk about , will have to tell you about things like masking experiments which uh uh uh uh yield critical bands , and also experiments with release ofmasking , which actually tell you that something is happening across critical bands , across bands . And {disfmarker}PhD E: Well how do you {disfmarker} how do you uh convert this uh energy over time in a particularfrequency band into a vector of numbers ?Professor B: It 's uh uh uh I mean time T - zero is one number , {pause} time tPhD E: Yeah but what 's the number ? Is it just the {disfmarker}Professor B: It 's a spectralenergy , logarithmic spectral energy ,PhD E: it 's just the amount of energy in that band from f in that time interval .Professor B: yeah . Yes , yes . Yes , yes .PhD E: OK .Professor B: And that 's what {disfmarker} that's what I 'm saying then , so this is a {disfmarker} this is a starting vector . It 's just like shortened f {pause} spectrum , or something . But now we are trying to understand what this vector actually represents ,PhD E:Mm - hmm .Professor B: for instance a question is like \" how correlated are the elements of this vector ? \" Turns out they are quite correlated , because I mean , especially the neighboring ones , right ? They{disfmarker} they represent the same {disfmarker} almost the same configuration of the vocal tract .PhD E: Yeah . Yeah . Mm - hmm .Professor B: So there 's a very high correlation . So the classifiers which use thediagonal covariance matrix don't like it . So we 're thinking about de - correlating them .PhD E: Hmm .Professor B: Then the question is uh \" can you describe elements of this vector by Gaussian distributions \" , or towhat extent ? Because uh {disfmarker} And {disfmarker} and {disfmarker} and so on and so on . So we are learning quite a lot about that . And then another issue is how many vectors we should be using ,PhD E:Hmm .Professor B: I mean the {disfmarker} so the minimum is one .PhD E: Mm - hmm .Professor B: But I mean is the {disfmarker} is the critical band the right uh uh dimension ? So we somehow made arbitrarydecision , \" yes \" . Then {disfmarker} but then now we are thinking a lot how to {disfmarker} uh how to use at least the neighboring band because that seems to be happening {disfmarker} This I somehow start tobelieve that 's what 's happening in recognition . Cuz a lot of experiments point to the fact that people can split the signal into critical bands , but then oh uh uh so you can {disfmarker} you are quite capable ofprocessing a signal in uh uh independently in individual critical bands . That 's what masking experiments tell you . But at the same time you most likely pay attention to at least neighboring bands when you are makingany decisions , you compare what 's happening in {disfmarker} in this band to what 's happening to the band {disfmarker} to {disfmarker} to {disfmarker} to the {disfmarker} to the neighboring bands . And that 'show you make uh decisions . That 's why the articulatory events , which uh F F Fletcher talks about , they are about two critical bands . You need at least two , basically . You need some relative , relative relation .GradA: Hmm .Professor B: Absolute number doesn't tell you the right thing .PhD E: Hmm .Professor B: You need to {disfmarker} you need to compare it to something else , what 's happening but it 's what 's happening inthe {disfmarker} in the close neighborhood . So if you are making decision what 's happening at one kilohertz , you want to know what 's happening at nine hundred hertz and it {disfmarker} and maybe at elevenhundred hertz , but you don't much care what 's happening at three kilohertz .PhD E: So it 's really w It 's sort of like saying that what 's happening at one kilohertz depends on what 's happening around it . It 's sort ofrelative to it .Professor B: To some extent , it {disfmarker} that is also true . Yeah . But it 's {disfmarker} but for {disfmarker} but for instance , {vocalsound} th uh {vocalsound} uh what {disfmarker} what uhhumans are very much capable of doing is that if th if they are exactly the same thing happening in two neighboring critical bands , recognition can discard it .PhD E: Mm - hmm .Professor B: Is what 's happening{disfmarker}PhD E: Hmm .Grad A: Hey !Professor B: Hey ! OK , we need us another {disfmarker} another voice here .PhD E: Hey Stephane .Professor B: Yeah , I think so . Yeah ?PhD E: Yep . Sure . Go ahead.Professor B: And so so {disfmarker} so for instance if you d if you a if you add the noise that normally masks {disfmarker} masks the uh {disfmarker} the {disfmarker} the signal right ?PhD E: Mm - hmm .ProfessorB: and you can show that in {disfmarker} that if the {disfmarker} if you add the noise outside the critical band , that doesn't affect the {disfmarker} the decisions you 're making about a signal within a critical band.PhD E: Hmm .Professor B: Unless this noise is modulated . If the noise is modulated , with the same modulation frequency as the noise in a critical band , the amount of masking is less . The moment you {disfmarker}"}
+{"doc_id":"doc_86","qid":"","text":"Grad F: OK .PhD C: Adam , what is the mike that , uh , Jeremy 's wearing ? Grad F: It 's the ear - plug mike .Postdoc A: Ear - plug .PhD E: That 's good .PhD C: Is that a wireless , or {disfmarker} ? Oh .Grad F: No.Grad G: It 's wired .Professor B: Oh !Postdoc A: Is that {disfmarker} Does that mean you can't hear anything during the meeting ?Grad D: It 's old - school .Grad F: Huh ? What ? Huh ?Professor B: Should we , uh ,close the door , maybe ?Grad F: It {disfmarker} it 's a fairly good mike , actually .Professor B: So it 's {disfmarker} Yeah . Huh .Grad F: Well , I shouldn't say it 's a good mike . All I really know is that the signal level isOK . I don't know if it 's a {disfmarker} the quality .Professor B: Well , that 's aGrad F: Ugh ! So I didn't send out agenda items because until five minutes ago we only had one agenda item and now we have two . So .{vocalsound} And , uh .Professor B: OK . So , just to repeat the thing bef that we said last week , it was there 's this suggestion of alternating weeks on {vocalsound} more , uh , automatic speech recognition related ornot ? Was that sort of {pause} the division ?Grad F: Right .Professor B: So which week are we in ?Grad F: Well {disfmarker} We haven't really started , but I thought we more {disfmarker} we more or less did MeetingRecorder stuff last week , so I thought we could do , uh {disfmarker}Professor B: I thought we had a thing about speech recognition last week too .PhD C: Yeah .Grad F: But I figure also if they 're short agenda items ,we could also do a little bit of each .Professor B: Yeah .Grad F: So . I seem to be having difficulty getting this adjusted . Here we go .Professor B: OK .Grad F: So , uh , as most of you should know , I did send out theconsent form thingies and , uh , so far no one has made any {disfmarker} Ach ! {comment} {comment} any comments on them . So , no on no one has bleeped out anything .Professor B: Um . Yeah .Grad F: So . Idon't expect anyone to . But .Professor B: Um . {vocalsound} So , w what follows ? At some point y you go around and get people to sign something ?Grad F: No . We had spoken w about this beforeProfessor B: Yeah ,but I 've forgotten .Grad F: and we had decided that they have {disfmarker} they only needed to sign once . And the agreement that they already signed simply said that we would give them an opportunity . So as longas we do that , we 're covered .Professor B: And how long of an opportunity did you tell them ?Grad F: Uh , July fifteenth .Professor B: July fifteenth . Oh , so they have a plenty of time , and yGrad F: Yep .Professor B:Given that it 's that long , um , um {disfmarker} Why was that date chosen ? You just felt you wanted to {disfmarker} ?Grad F: Jane told me July fifteenth . So , that 's what I set it .Postdoc A: Oh . I just meant thatthat was {pause} the release date that you had on the {pause} data .Professor B: Oh , OK .Grad F: Oh . I {disfmarker} I didn't understand that there was something specific .Postdoc A: I , uh {disfmarker} I thought{disfmarker}Grad F: You {disfmarker} y you had {disfmarker}Professor B: I don't {disfmarker}Grad F: I had heard July fifteenth , so that 's what I put .Postdoc A: Mm - hmm .Professor B: No , the only {disfmarker}th the only {pause} mention I recall about that was just that July fifteenth or so is when {vocalsound} this meeting starts .Grad F: So .Postdoc A: That 's right . That 's why .Professor B: Oh , I see .Postdoc A: You saidyou wanted it to be available then .Professor B: OK .Postdoc A: I didn't mean it to be the hard deadline .Professor B: Right .Postdoc A: It 's fine with me if it is , or we cou But I thought it might be good to remind peopletwo weeks prior to thatProfessor B: wPostdoc A: in case , uh {disfmarker} you know , \" by the way {pause} this is your last {disfmarker} \"Professor B: Right .Postdoc A: Uh . Yeah .Professor B: We probably shouldhave talked about it , cuz i because if we wanna be able to give it to people July fifteenth , if somebody 's gonna come back and say \" OK , I don't want this and this and this used \" , uh , clearly we need some time torespond to that . Right ?Grad F: Yeah . As I said , we {disfmarker} I just got one dateProfessor B: Yeah .PhD H: Damn !Grad F: and that 's the one I used .Professor B: Yeah .Grad F: So . But I can send a follow - up . Imean , it 's almost all us . I mean the people who are in the meeti this meeting was , uh , these {disfmarker} the meetings that {disfmarker} in {disfmarker} are in set one .PhD C: Was my {disfmarker} was myresponse OK ?Postdoc A: That 's right .PhD C: I just wrote you {disfmarker} replied to the email saying they 're all fine .Grad F: Right . I mean , that 's fine .PhD C: OK , good .Grad F: I {disfmarker} we don't{disfmarker} My understanding of what we {pause} had agreed upon when we had spoken about this months ago was that , uh , we don't actually need a reply .PhD C: That makes it easy .Grad F: We just need to tellthem that they can do it if they want .Professor B: OK . I just didn't remember , but {disfmarker}Grad F: And so no reply is no changes .Postdoc A: And he 's got it so that the default thing you see when you look at thepage is \" OK \" .Professor B: OK .Postdoc A: So that 's very clear all the way down the page , \" OK \" . And they have two options they can change it to . One of them is {pause} \" censor \" , and the other one is \" incorrect\" . Is it {disfmarker} is {disfmarker} your word is \" incorrect \" ?Grad F: Right .Postdoc A: Which means also we get feedback on {pause} if {pause} um , there 's something that they w that needs to be {pause}adjusted , because , I mean , these are very highly technical things . I mean , it 's an added , uh , level of checking on the accuracy of the transcription , as I see it . But in any case , people can agree to things that arewrong .Grad F: Well {disfmarker}Postdoc A: So .Grad F: Yeah . The reason I did that it was just so that people would not censor {disfmarker} not ask to have stuff removed because it was transcribed incorrectly,Postdoc A: And the reason I liked it was because {disfmarker}Grad F: as opposed to , uh {disfmarker}Postdoc A: was because it , um {disfmarker} it gives them the option of , uh , being able to correct it .Grad F:Right .Postdoc A: Approve it and correct it . And {pause} um . So , you have {pause} it nicely set up so they email you and , uh {disfmarker}Grad F: When they submit the form , it gets processed and emailed to me.Postdoc A: Mm - hmm . Mm - hmm . And I wanted to say the meetings that are involved in that set are Robustness and Meeting Recorder .Grad F: So .Postdoc A: The German ones will be ready for next week . Thoseare three {disfmarker} three of those . A different set of people . And we can impose {disfmarker}PhD C: The German ones ?Postdoc A: Uh , well .PhD H: Yeah . Those {disfmarker} uh {disfmarker}Professor B: NSA.Postdoc A: OK . I spoke loosely . The {disfmarker} the German , French {disfmarker} Sorry , the German , {vocalsound} Dutch , and Spanish ones .PhD E: Spanish . Yeah .Grad F: Mm - hmm .PhD C: Oh , those arethe NSA meetings ?PhD E: The non - native {disfmarker}PhD H: Those are {disfmarker}Postdoc A: Yeah . Uh - huh .Professor B: German , Dutch , Swiss and Spanish .PhD C: Oh , oh ! OK .PhD E: The all non - native{disfmarker}Postdoc A: That 's {disfmarker} that 's {disfmarker} that 's rGrad F: Mm - hmm .PhD H: Uh - huh .PhD C: OK . I 'd {disfmarker} I dPostdoc A: Yeah . {pause} It 's the other group .Professor B: I It was thenetwork {disfmarker} network services group .PhD C: OK .Postdoc A: Uh - huh . Yeah , exactly . Yeah .Professor B: Yeah .Postdoc A: I didn't mean to {pause} isolate them .Professor B: Otherwise known as the German, Dutch , and Spanish .Postdoc A: Yeah . Sorry . It was {disfmarker} it was not the best characterization .Grad F: Mm - hmm .Postdoc A: But what {disfmarker} {vocalsound} what I meant to say was that it 's the othergroup that 's not {disfmarker} n no m no overlap with our present members . And then maybe it 'd be good to set an explicit deadline , something like {pause} a week {pause} before that , uh , J July fifteenth date , ortwo weeks before .Professor B: I mean , I would suggest we discuss {disfmarker} I mean , if we 're going to have a policy on it , that we discuss the length of time that we want to give people ,Grad F: Mm - hmm.Professor B: so that we have a uniform thing . So , tha that 's a month , which is fine . I mean , it seems {disfmarker}PhD C: Twelve hours .Grad F: Well , the only thing I said in the email is that {pause} the data isgoing to be released on the fifteenth . I didn't give any other deadline .Postdoc A: Mm - hmm .Grad F: So my feeling is if someone after the fifteenth says , \" wow I suddenly found something \" , we 'll delete it from ourrecord . We just won't delete it from whatever 's already been released .Postdoc A: Hmm . That 's a little bit difficult .Grad F: What else can we do ?Postdoc A: Yeah .Grad F: If someone says \" hey , look , I {pause}found something in this meeting and {pause} it 's libelous and I want it removed \" . What can we do ?Postdoc A: Well . {pause} That 's true .Grad F: We have to remove it .Postdoc A: I {disfmarker} I agree with thatpart , but I think that it would {disfmarker} it , uh {disfmarker} we need to have , uh , a {disfmarker} a {disfmarker} a message to them very clearly that {vocalsound} beyond this date , you can't make additionalchanges .Professor B: I mean , um , I {disfmarker} I {disfmarker} {vocalsound} i I think that somebody might {pause} request something even though we say that . But I think it 's good to at least start some placelike that .Postdoc A: Mm - hmm . Good .Professor B: So if we agreed , {vocalsound} OK , how long is a reasonable amount of time for people to have {disfmarker} if we say two weeks , or if we say a month , I think weshould just say that {disfmarker} say that , you know , i a as {pause} um , {vocalsound} \" per the {disfmarker} the {disfmarker} the , uh , page you signed , you have the ability to look over this stuff \" and so forth \"and , uh , because we w \" these , uh {disfmarker} I would {disfmarker} I would imagine some sort of generic thing that would say \" because we , uh , will continually be making these things available {vocalsound} toother researchers , uh , this can't be open - ended and so , uh , uh , please give us back your response within this am you know , within this amount of time \" , whatever time we agree upon .Grad F: Well , did you readthe email and look at the pages I sent ?Professor B: Did I ? No , I haven't yet . No , just {disfmarker}Grad F: No . OK , well why don't you do that and then make comments on what you want me to change ?ProfessorB: No , no . I 'm not saying that you should change anything . I I 'm {disfmarker} what I 'm {disfmarker} what I 'm {disfmarker} {vocalsound} I 'm trying to spark a discussion hopefully among people who have read itso that {disfmarker} that you can {disfmarker} {vocalsound} you can , uh , decide on something .Postdoc A: Mm - hmm .Professor B: So I 'm not telling you what to decide .Postdoc A: Mm - hmm .Professor B: I 'mjust saying you should decide something ,Postdoc A: OK .Professor B: and then {disfmarker}Grad F: I already did decide something , and that 's what 's in the email .Postdoc A: Yeah , yeah . OK , so {disfmarker}GradF: And if you disagree with it , why don't you read it and give me comments on it ?Postdoc A: Yeah . Well {disfmarker} I {disfmarker} I think that there 's one missing line .Professor B: Well , the one thing that I didread and that you just repeated to me {pause} was that you gave the specific date of July fifteenth .Grad F: Mm - hmm .Professor B: And you also just said that the reason you said that was because someone said it toyou . So what I 'm telling you {pause} is that what you should do is come up with a length of time that you guys think is enoughGrad F: Right .Professor B: and you should use that rather than {pause} this date thatyou just got from somewhere . That 's all I 'm saying .Grad F: OK .Professor B: OK ?Postdoc A: I ha I have one question . This is in the summer period and presumably people may be out of town . But we can make theassumption , can't we ? that , um , they will be receiving email , uh , most of the month . Right ? Because if someone {disfmarker}Professor B: It {disfmarker} well , it {disfmarker} well , you 're right . Sometimessomebody will be {pause} away and , uh , you know , there 's , uh {disfmarker} for any length of time that you {vocalsound} uh , choose {pause} there is some person sometime who will not {pause} end up reading it.Postdoc A: OK .Professor B: That 's {disfmarker} it 's , you know , just a certain risk to take .PhD H: S so maybe when {disfmarker} Am I on , by the way ?Grad F: I don't know . You should be .PhD H: Oh . Hello ?Hello ?Grad F: You should be channel B .PhD H: Oh , OK . Alright . So . The , um {disfmarker} Maybe we should say in {disfmarker} w you know , when the whole thing starts , when they sign the {disfmarker}{vocalsound} the agreement {vocalsound} that {disfmarker} you know , specify exactly uh , what , you know , how {disfmarker} how they will be contacted and they can , you know {disfmarker} they can be asked togive a phone number and an email address , or both . And , um , then {disfmarker}Postdoc A: We did that , I {disfmarker} I believe .PhD H: Right .PhD E: Yeah .PhD H: So . {vocalsound} A And , then , you know , sayvery clearly that if they don't {disfmarker} if we don't hear from them , you know , as Morgan suggested , by a certain time or after a certain {vocalsound} period after we contact them {vocalsound} that is implicitlygiving their agreement .Grad F: Well , they 've already signed a form .Postdoc A: And the form says {disfmarker}PhD E: And nobody {disfmarker} nobody really reads it anyway .PhD H: Right .Grad F: So . And the sand the form was approved by Human Subjects ,PhD H: Says that . Right .Postdoc A: Uh , the fPhD H: Well , if that 's i tha if that 's already {disfmarker} if {disfmarker}Grad F: so , eh , that 's gonna be a little hard tomodify .Postdoc A: Well , the form {disfmarker} Well , the form doesn't say , if {disfmarker} uh , you know , \" if you don't respond by X number of days or X number of weeks {disfmarker} \"PhD H: I see . Uh{disfmarker} Oh , OK . So what does it say about the {disfmarker} the {disfmarker} the process of {disfmarker} of , uh {disfmarker} {vocalsound} y the review process ?Postdoc A: It doesn't have a time limit . Thatyou 'll be provided access to the transcripts and then , uh , allowed to {pause} remove things that you 'd like to remove , before it goes to the general {disfmarker} uh , larger audience .PhD H: Oh , OK . Hmm . Right.Grad F: Here .Postdoc A: There you go .Grad F: You can read what you already signed .PhD H: Oh .PhD E: I guess when I {pause} read it , um {disfmarker}PhD H: OK .PhD E: I 'm not as diligent as Chuck , but I hadthe feeling I should probably respond and tell Adam , like , \" I got this and I will do it by this date , and if you don't hear from me by then {disfmarker} \" You know , in other words responding to your email {pause}once , right away , saying \" as soon as you get this could you please respond . \"Grad F: Right .PhD E: And then if you {disfmarker} if the person thinks they 'll need more time because they 're out of town or whatever ,they can tell you at that point ? Because {disfmarker}Grad F: Oh , I just {disfmarker} I didn't wanna do that , because I don't wanna have a discussion with every person {pause} if I can avoid it .PhD E: Well , it 's{disfmarker}Grad F: So what I wanted to do was just send it out and say \" on the fifteenth , the data is released ,Postdoc A: Mm - hmm .Grad F: if you wanna do something about it , do something about it , but that 'sit \" .Postdoc A: I {disfmarker} I kind of like this .PhD E: Well {disfmarker}Postdoc A: Yeah .PhD E: OK . So , we 're assuming that {disfmarker}PhD H: Well , that 's {disfmarker} that would be great if {disfmarker} butyou should probably have a {pause} legal person look at this and {pause} make sure it 's OK . Because if you {disfmarker} if you , uh , do this {vocalsound} and you {disfmarker} then there 's a dispute later and , uh ,some {disfmarker} {vocalsound} you know , someone who understands these matters concludes that they didn't have , uh , you know , enough opportunity to actually {vocalsound} exercise their {disfmarker} theirright {disfmarker}PhD E: Or they {disfmarker} they might never have gotten the email , because although they signed this , they don't know by which date to expect your email . And so {pause} someone whosemachine is down or whatever {disfmarker} I mean , we have no {disfmarker}Professor B: Mm - hmm .PhD E: in internally we know that people are there ,Grad F: Well , OK . l Let me {disfmarker} Let me reverse this.PhD E: but we have no confirmation that they got the mail .Grad F: So let 's say someone {disfmarker} I send this out , and someone doesn't respond . Do we delete every meeting that they were in ?PhD E: Well ,then {disfmarker}Grad F: I don't think so .PhD E: It {disfmarker} we 're hoping that doesn't happen ,PhD H: No .PhD E: but that 's why there 's such a thing as registered mailGrad F: That will happen .PhD E: or{disfmarker}PhD H: That will happen .PhD E: Right .Grad F: That will absolutely happen . Because people don't read their email , or they 'll read and say \" I don't care about that , I 'm not gonna delete anything \" andthey don just won't reply to it .PhD H: Maybe {disfmarker} uh , do we have mailing addresses for these people ?Grad F: No . We have what they put on the speaker form ,PhD H: No .Postdoc A: Well {disfmarker}{comment} {vocalsound} Most {disfmarker}Grad F: which was just generic contact information .PhD H: Oh .Postdoc A: But the ones that we 're dealing with now are all local ,PhD H: Well , then {disfmarker}Postdoc A:except the ones who {disfmarker} I mean , we {disfmarker} we 're totally in contact with all the ones in those two groups .PhD H: Mmm . OK .Postdoc A: So maybe , uh , I {disfmarker} you know , that 's not thatmany people and if I {disfmarker} if , uh {disfmarker} i i there is an advantage to having them admit {disfmarker} and if I can help with {disfmarker} with processing that , I will . It 's {disfmarker} it 's {disfmarker}there is an advantage to having them be on record as having received the mail and indicating {disfmarker}Grad F: Yeah . I mean I thought we had discussed this , like , a year ago .Postdoc A: Yes , we did .Grad F: Andso it seems like this is a little odd for it to be coming up yet again .Postdoc A: You 're right . Well , I {disfmarker} you know . But sometimes {disfmarker}Professor B: Well , we {disfmarker} we haven't experienced itbefore .Grad F: So .Postdoc A: That 's right .Professor B: Right ? So {disfmarker}PhD E: You 'll either wonder {pause} at the beginning or you 'll wonder at the end .Postdoc A: Need to get it right .PhD E: I mean , there's no way to get around {disfmarker} I It 's pretty much the same am amount of work except for an additional email just saying they got the email .Postdoc A: Yeah .PhD E: And maybe it 's better legally to wonderbefore {disfmarker} you know , a little bit earlier than {disfmarker}Grad F: Well {disfmarker}Postdoc A: It 's much easier to explain {pause} this way .Grad F: OK . Well , why don't you talk {pause} tPostdoc A: T t tohave it on record .Grad F: Morgan , can you talk to our lawyer about it , and find out what the status is on this ? Cuz I don't wanna do something that we don't need to .Postdoc A: Yeah , but w Mmm .Grad F: Becausewhat {disfmarker} I 'm telling you , people won't respond to the email . No matter what you do , you there 're gonna be people who {pause} you 're gonna have to make a lot of effort to get in contact with .Postdoc A:Well , then we make the effort .Grad D: I mean , i it 's kGrad F: And do we want to spend that effort ?PhD H: Hmm .Postdoc A: We make the effort .Grad D: It 's kind of like signing up for a mailing list . They have opt inand opt out . And there are two different ways . I mean , and either way works probably , I mean .Postdoc A: Except I really think in this case {disfmarker} I {disfmarker} I 'm agr I agree with Liz , that we need to be{pause} in the clear and not have to after the fact say \" oh , but I assumed \" , and \" oh , I 'm sorry that your email address was just accumulating mail without notifying you \" , you know .Professor B: If this is a purelyadministrative task , we can actually have administration do it .Postdoc A: Oh , excellent .Professor B: But the thing is that , you know , I {disfmarker} I {disfmarker} I think , without going through a whole expensivething with our lawyers , {vocalsound} from my previous conversations with them , my {disfmarker} my sense very {pause} much is that we would want something on record {pause} as indicating that they actuallywere aware of this .Postdoc A: Yes .Grad F: Well , we had talked about this beforeProfessor B: Mm - hmm .Grad F: and I thought that we had even gone by the lawyers asking about that and they said you have to s"}
+{"doc_id":"doc_87","qid":"","text":"Project Manager: Hello again .User Interface: Hello .Industrial Designer: Hi . {vocalsound}Marketing: Hey , Project Manager .Project Manager: {vocalsound}User Interface: Um , Project Manager , I have something totell you .Project Manager: Mm yeah .User Interface: I have a little problems with my laptop .Project Manager: Okay .User Interface: And uh s s s so I had a little less time to complete .Project Manager: Okay .UserInterface: No , a little problem , uh {vocalsound} big problem . I just thought {disfmarker}Marketing: What was it , problem ?User Interface: Um , it didn't work anymore . {vocalsound}Marketing: The laptop ?UserInterface: The entire Windows uh {disfmarker}Marketing: It hang {disfmarker} hung .User Interface: It it hung . {vocalsound}Project Manager: {vocalsound}Marketing: Ha-ha . Oh . Project Manager .Project Manager:{vocalsound} Yes . {vocalsound} Yes .Industrial Designer: {vocalsound}Marketing: You're our Project Manager .Project Manager: {vocalsound} Your project manager . {vocalsound}Industrial Designer:{vocalsound}User Interface: {vocalsound}Project Manager: Welcome to the conceptual design meetingIndustrial Designer: {vocalsound} {vocalsound}Marketing: {vocalsound}Project Manager: for Real Reaction.Marketing: {vocalsound}Project Manager: Uh , hello again . Uh it's uh the same as the last time . Uh uh , also this time there will be uh three presentations .Industrial Designer: {vocalsound}Project Manager: And weum must uh reach a decision on uh the remote control concepts . Um uh , and at the end , uh I uh , when I finish it off I have some uh input from uh a master class I uh {vocalsound} visited . {vocalsound} {gap}information . {vocalsound}Marketing: {vocalsound}Industrial Designer: {vocalsound}User Interface: During lunch , yeah .Marketing: Master .User Interface: He's the master , yeah . {vocalsound} {vocalsound}ProjectManager: {vocalsound}Industrial Designer: {vocalsound}Project Manager: The the the the the concepts on uh {disfmarker} we uh {disfmarker} where we uh must reach a decision on . Um uh , our {disfmarker} fromuh are of two sorts .Marketing: Master of {disfmarker}Project Manager: Components concepts and user interface concepts . Uh , the first one is uh really about the the the the the total package uh with uh {disfmarker}Well , we have decided to do a {disfmarker} do the uh {disfmarker} with a touch-screen that must be a case around it so uh it won't be uh uh as breakable . Uh how how about the energy ? Can you uh can you reload itor uh just have batteries which you must exchange ? Uh , the user interface concept . Uh , with the type and uh the the supplements . So uh where to put what button . {vocalsound} And uh uh I would say uh{disfmarker} Jans , can you begin ?Industrial Designer: Yeah , sure .Project Manager: Okay .Marketing: {vocalsound}Project Manager: At the end , uh {disfmarker} I will take notes uh and at the end of the minutes uhwill uh be at the shared folder .Industrial Designer: Okay . Uh , let me see . I think it's this one . Ha .User Interface: Wow .Industrial Designer: Right . Uh , well , I'll be talking about the components .Marketing:{vocalsound}Industrial Designer: Uh , what I did was I reviewed previously used items uh by uh two two uh different uh age groups .Project Manager: Mm-hmm .Industrial Designer: Uh below forty five and above . Anduh I just uh watch what the differences are and I checked uh , well , what what d do we want , and {gap} how can we uh d aim a at uh the target group . Well uh what I found was that a senior um {disfmarker}ProjectManager: {vocalsound}Industrial Designer: {vocalsound} senior citizens uh {disfmarker} {vocalsound}Marketing: {vocalsound} I'm sorry . {vocalsound}Industrial Designer: Ye Ah , it's {vocalsound} it's okay.Marketing: Okay . Go on . {vocalsound}Industrial Designer: Uh {disfmarker} {vocalsound} They , well , they like more the {disfmarker} they like the traditional materials , like wood and and such more .Marketing:{vocalsound}Industrial Designer: Wood and chrome .Project Manager: {vocalsound}Industrial Designer: And uh uh they like uh straightforward shapes . Um , uh they they they they like luxurious uh styles , wherewhereas the young and dynamic , they like a more uh soft materials . Think of the Teletubbies , for instance .Project Manager: {vocalsound}Industrial Designer: Uh uh , soft and fluffy and colourful and{disfmarker}Marketing: {vocalsound}Industrial Designer: Well uh , shapes are curved and round .Marketing: {vocalsound}Industrial Designer: Y y you get {vocalsound} the picture . And uh they like sports andgaming , and that gives them uh the vitality . Uh , so w well uh , firsProject Manager: One one little question .Industrial Designer: Yes .Project Manager: Um about the the material .Industrial Designer: Yeah .ProjectManager: Uh a soft material for a remote control ?Industrial Designer: No , I'll I'll get to that .Project Manager: Okay . Yeah .Industrial Designer: You you'll see . Yeah .Project Manager: Thank you .{vocalsound}Industrial Designer: Uh , well f first off , let's start start with the energy . W I uh I had a choice between uh a few different uh sources .Project Manager: Mm-hmm .Industrial Designer: But uh the two basicsources that I found were the best possible were the battery uh versus kinetic . Uh kinetic , that's when you move something , then uh it gets energy . I figured , well that's ki kinda high-tech , when when you have aremote control that well , when you pick it up , it has power . That would be actually very nice , uh I figured .Project Manager: Oh .Industrial Designer: Well , we could also use a battery , that's a bit{disfmarker}Marketing: Yeah but when the power gets low , you have to shake it or something ?Project Manager: {vocalsound}User Interface: {vocalsound}Industrial Designer: Yeah . Yeah yeah , you c just you haveto shake it around a little bit .Marketing: Uh , and uh uh {disfmarker}Industrial Designer: And then then it d then it has some more uh energy .Project Manager: {vocalsound}Marketing: Hmm .Industrial Designer: Well, y you could just go for a battery . Or you can go for both ?User Interface: Oh , have you considered the option of using a solar panel ?Industrial Designer: Yeah , I actually did . But uh the thing is about solar panel isyou have to have l uh light . Well , sunlight preferably .User Interface: W {gap} nah .Industrial Designer: Uh , and you you could you could use normal light , but uh you wouldn't get the same amount of energy thatyou would from a battery or something .User Interface: Mm . Yeah .Industrial Designer: Uh for uh ultimate b uh {vocalsound} n uh use of uh solar panels , you could actually use uh {disfmarker} you could use uh solarpanels , but uh you ha you'd have to implement them into uh the remote control , leaving you uh a bit less space for the interface .Marketing: Mm yeah . It's too less space .User Interface: Yeah .Industrial Designer: Souh {disfmarker} so i i it it wo what's actually {disfmarker} I I c just in f I've figured it out that well , uh seeing that you'll always be uh within the l uh distance of T_V_ , and the {disfmarker} from T_V_ there comes a aa whole bunch of light . So it would actually power itself uh from a T_V_ .Marketing: {vocalsound}User Interface: Yeah .Industrial Designer: But , well you just take up all the space , and you wouldn't uh have the fullamount of power actually used .User Interface: Okay .Project Manager: But you prefer kinetic ?Industrial Designer: So {disfmarker} I I prefer kinetic because it's uh {disfmarker} well , the costs aren't that much higher, and um , ju just a bit more high-tech than than a normal battery .Project Manager: Okay . Yeah , but you don't move a a remote control too much .Industrial Designer: I mean , if {disfmarker} No , but uh d Well , youpick it up and you press buttons and y well , you {disfmarker}Project Manager: And that's enough to to keep the energy level uh {disfmarker}Industrial Designer: Yeah , well uh actually it is .Project Manager: Okay.Industrial Designer: And it it {disfmarker} if it isn't , you just shake it a bit and and add add with power up again .Marketing: {vocalsound}Project Manager: {vocalsound}User Interface: Yeah .Industrial Designer: But, what l what Jarek said , you could you could use a battery that you'd just keep it on the recharging whenever it moves . And for rest , you'd just add juice on the battery .Project Manager: Okay .Marketing: And whenthe battery doesn't work , I usually shake it too . So {disfmarker}Project Manager: {vocalsound} Thank you , Tim . {vocalsound}User Interface: {vocalsound}Industrial Designer: {vocalsound} Exactly .{vocalsound}Marketing: {vocalsound} Like slamming on it . {vocalsound} It's exactly the same . {vocalsound}Industrial Designer: And so that {disfmarker} Uh {disfmarker} {vocalsound} Uh well ,User Interface:{vocalsound}Industrial Designer: f furthermore , you you {disfmarker} we {gap} {disfmarker} uh checked uh the cases .Marketing: {vocalsound}Project Manager: {vocalsound}Industrial Designer: We have uhdifferent options uh concerning the cases . You ha I {disfmarker} you sim uh you simply add a basic uh standard uh model uh {disfmarker} it was kind of square and uh I figured that's a bit boring . So you you{disfmarker} we could go for uh the single curved or the double curved . Um , single curve , it's just a {disfmarker} well , uh , you know , it's just uh a nice curve . Or but but you could go in a in an double curves . Andthat's {gap} like several different dimensions .Project Manager: Yeah .Industrial Designer: That gives you an whole new uh effecProject Manager: Dynamic dynamic look ?Marketing: Hmm .Industrial Designer: Yeah ,that gives you a younger and uh more high-tech look , I f I figured . But , that uh we'll discuss later .Marketing: But , are you going to draw it ?Industrial Designer: What ?User Interface: Th th yeah . Yeah .IndustrialDesigner: You want me to draw in three-D_ ?Marketing: The {disfmarker} Yeah . Yeah .Project Manager: {vocalsound}Marketing: Uh , I c I can't imagine .Industrial Designer: {vocalsound} Uh , yeah , I ca I ca I could Icould show you . I could show you .Marketing: I can't imagine how how how it looks like .User Interface: {vocalsound}Industrial Designer: Well uh let's say y uh you uh {disfmarker}Marketing: Yeah .IndustrialDesigner: Let's say that's your standard uh {disfmarker}Marketing: Design .User Interface: Yeah .Industrial Designer: That's a bit your d standard design . But you could actually go like uh something like this.Marketing: Mm-hmm .Industrial Designer: And then uh in three-D_ effect you could go {disfmarker} {vocalsound}User Interface: Um {disfmarker} {vocalsound}Marketing: Uh {disfmarker}Project Manager:{vocalsound} {vocalsound}Industrial Designer: So y you you just {disfmarker} Yeah , this is a {disfmarker} this {vocalsound} bit uh difficulty in {disfmarker}Marketing: {vocalsound}User Interface:{vocalsound}Industrial Designer: {vocalsound} I didn't take a major in art . So {disfmarker} {vocalsound} But but you could have uh uh a whole new uh the back back the the the depth , you could you could uh justplay around a bit with .Marketing: Oh , okay . Okay .Industrial Designer: You you don't have to use standard uh {disfmarker}Marketing: Oh , okay .Project Manager: A little artistic .Industrial Designer: Yeah you could{disfmarker} y It leaves more space for creativity .Project Manager: Okay .Industrial Designer: Uh that might be an idea ,Marketing: Okay .Industrial Designer: but {vocalsound} just a {disfmarker} Well , furthermore, uh well , uh plastic versus rubber ? You {disfmarker} We could choose uh what uh what's better , plastic um or rubber . I I ch prefer rubber because it feels uh {disfmarker} Yeah .Project Manager: It's soft .IndustrialDesigner: Yeah , it's soft and it's {disfmarker} that {disfmarker} {vocalsound} I like soft .Project Manager: {vocalsound} That's the material the younger people want uh , ain't it ?User Interface:{vocalsound}Industrial Designer: {vocalsound} Yeah , yeah I mean uh plastic uh is {disfmarker} Plastic also has that cheap feeling to it , {vocalsound} like plastic uh {disfmarker} Your your {disfmarker} I usuallyassociate plastic with uh something that's cheap . Uh that's maybe just me , but {disfmarker} Uh , we could uh uh , oh , talk about it later . Uh furthermore , buttons . Uh traditional uh or a touch screen . Well , wediscussed it in a previous meeting , so I figured I'll just leave it at the L_C_D_ . And uh chip set , well uh if we are going to use traditional buttons , we could go uh with a simple chip set . But uh if we decide to go on a nuh um L_C_D_ screen , we would use an uh {disfmarker} we have to use an a advanced chip set . And that would bring uh the necessary costs with with it . So that's something we th have to keep in mind . If it isn't uhmanageable uh budget-wise , we'd have to go over to uh to sim to simple buttons .Marketing: Well , I think uh we're going to sell tell {disfmarker} ten millions of them . So uh I bet a big company in uh Korea or Taiwan, like uh Samsung , can give us uh a big discount on the chips , so {disfmarker}Industrial Designer: {vocalsound}User Interface: Yeah .Industrial Designer: Yeah . Yeah , probably .Marketing: U usually , chips are uharen't more expensive than one dollar .Industrial Designer: Yeah , probably , but {disfmarker} But uh yeah , that's that's {disfmarker}Marketing: So {disfmarker} {vocalsound} That that shouldn't be a real issue , Ithink .Industrial Designer: That shouldn't shouldn't be uh that big a issue . I'll I'll I'll just add , uh uh I put a big summary here , so we could discuss it a bit . Uh {gap} what i what are your ideas {gap} concerningbattery versus kinetic ?Marketing: {vocalsound}User Interface: Um , I think you should use kinetic as a back-up .Industrial Designer: Yeah , you you you should {disfmarker} we should {disfmarker}Marketing: Yeah , acombination .User Interface: A combination , yeah .Industrial Designer: A combination . Uh , {gap} you use the battery and w charge it up with kinetic . When you pick it up , it charges up .Marketing: Yeah . Like an uhaku uh {disfmarker}Industrial Designer: Yeah .Marketing: Acu uh , yeah .Industrial Designer: Yeah yeah , I know .User Interface: Okay . Yeah .Project Manager: Just like the watch from Seiko .Marketing: {vocalsound}Well , {gap} . Yeah .User Interface: Psycho-kinetic . {vocalsound} Yeah .Industrial Designer: Yeah , I con Exactly .Project Manager: Yeah .Industrial Designer: What uh what do you think ?Project Manager: I I uh Iwould prefer uh both uh too .Industrial Designer: You agree ?Project Manager: Yeah . Combine them .Industrial Designer: Yeah ? Both ?Marketing: Combine them .Industrial Designer: Okay . Uh , well that would bringthe m m some more costs , but I mean the {disfmarker}Marketing: {vocalsound} Okay . {vocalsound}Industrial Designer: {vocalsound} Who cares , right .Project Manager: {vocalsound}Industrial Designer:{vocalsound} That's the Project Manager's problem . {vocalsound}User Interface: Buy a fifty cents battery and uh {disfmarker}Marketing: {vocalsound} Of course . Fifty cent . {vocalsound}Project Manager:{vocalsound} {gap} {vocalsound}Industrial Designer: Yeah , {vocalsound} well {disfmarker} {vocalsound} Fifty cent uh {disfmarker}User Interface: {vocalsound}Industrial Designer: {vocalsound} Uh , why doesn't{disfmarker} And then we have single-curved versus double-curved .User Interface: Well maybe I have something in my presentation to uh to cope with that .Industrial Designer: {vocalsound} That {disfmarker}{gap} Okay . No , we'll we'll just wait and uh {disfmarker} Uh , plastic versus rubber . Any ideas ?Marketing: Rubber .Project Manager: Rubber . Yeah .Industrial Designer: Uh , rubber ?User Interface: Um , isn'tpossible to make combination with kind of rubber is {gap} or bendable remotes where you've got a {gap} .Industrial Designer: You {disfmarker}User Interface: Or do you think it {disfmarker}Industrial Designer: Uh ,I figured it will be m rather than hard {disfmarker}User Interface: Rubber casing , yeah .Industrial Designer: Nah , rubber c uh this is a casing , yeah . Rubber casing ,Marketing: Rather hard .Industrial Designer:because well if you use an uh d a touch-screen , uh it's just a casing uh around it . So um , you could go for plastic , but I figured {disfmarker}User Interface: Yeah .Marketing: Yeah .User Interface: Um , well d Maybe Ican ask it right now the question that I have .Industrial Designer: I I I would choose rubber .User Interface: Uh , is it possible uh of {disfmarker} is it necessary to make a touch-screen square ? It isn't , I think , yeah?Industrial Designer: Well , m I don't know . No .Marketing: Well , I think that touch-screens are generally square .Project Manager: Yeah .Industrial Designer: Yeah .Marketing: But it's the case you put around it thatmakes the shape .User Interface: We're {disfmarker} We put fashion in electronics ,Industrial Designer: That isn't {disfmarker}User Interface: so maybe we can uh {disfmarker}Marketing: Hmm ? Yeah okay , but ifyou have a square uh L_C_D_ screen , and you put a case around it that has uh like bulbs or that that covers part of the L_C_D_ screen .User Interface: Mm yeah .Industrial Designer: {vocalsound}User Interface:Mm-hmm .Industrial Designer: Yeah , that would cover it .Marketing: That {disfmarker}Industrial Designer: That that would solve the problem .User Interface: Oh , yeah . Okay , I I get it .Marketing: That's{disfmarker} it's custom customisable and {disfmarker}Project Manager: Mm yeah .Industrial Designer: So mm {disfmarker} Uh uh so uh so what are the opinions ? Uh rubber or plastic ? I I I prefer rubber .Marketing:Yeah , me too .Project Manager: Me too .User Interface: Okay .Project Manager: Yeah ?Industrial Designer: {vocalsound} Yeah , you too ?User Interface: That's good .Industrial Designer: You sure ? You {gap} you youseemed to hesitate a bit .User Interface: Well , as long a as long as it's it's uh it's firm , and you don't uh {disfmarker} it's not bendable or something ,Project Manager: {vocalsound}Marketing: Mm yeah .UserInterface: I th I think that goes too far .Industrial Designer: Yeah , it it shouldn't it shouldn't flop over when you hold it in your hand uhProject Manager: Okay .User Interface: Oh . {vocalsound}Industrial Designer:{disfmarker} {vocalsound} {vocalsound} No , that that that that's gonna {disfmarker} The the chip set will hold it firm in place ,Marketing: {vocalsound} {vocalsound} {vocalsound}User Interface: Okay .IndustrialDesigner: and uh and and uh and a L_C_D_ screen also {disfmarker}User Interface: It might even bounce back when you drop it on the floor .Industrial Designer: {vocalsound} Yeah it {vocalsound} m might it might.Project Manager: {vocalsound}User Interface: {vocalsound} Okay .Marketing: {vocalsound}Industrial Designer: {vocalsound} Uh , tra uh traditional versus L_C_D_ , well I figured we we all set on that .Marketing:{vocalsound}Industrial Designer: And uh , then also the simple versus advanced . Well I figure if we go for L_ L_C_D_ , we we should have the advanced .Project Manager: Mm yeah .Industrial Designer: So thatshouldn't be a problem .Marketing: Yeah .Industrial Designer: Okay , well that's my uh {disfmarker}Project Manager: Thank you .Industrial Designer: Uh , you're welcome .Marketing: Can I uh do my thing ?ProjectManager: Yeah . Do your thing , Tim .Marketing: It uh {disfmarker} {vocalsound}User Interface: Do your thing . {vocalsound}Industrial Designer: {vocalsound} {gap} {vocalsound}Project Manager: Bring it on .{vocalsound}Marketing: {vocalsound} Expert map .User Interface: {vocalsound}Industrial Designer: {vocalsound}Marketing: Okay uh {disfmarker} Last weekProject Manager: {vocalsound}Marketing: I went to uhParis and Milan for some trend-watching .Industrial Designer: {vocalsound}Marketing: For marketing . Our research and development department and I went to Paris and Milan . In Paris and Milan , we uh askeddifferent people , uh differing in age and in income , uh the amount of money to spend , um {vocalsound} what they like in design uh and material nowadays . Findings . Our main audience , uh so that's people belowforty , uh prefer the following . At first , the colours of fruit .Project Manager: {vocalsound}Marketing: Very basic colours , like Janus explained . Um , fresh colours , uh green , red , uh strawberry red , uh yellow ,banana yellow .Project Manager: {vocalsound}Marketing: {vocalsound} Um , considering material , um {disfmarker} {vocalsound} Yeah . They like spongy material ,Industrial Designer: {vocalsound}User Interface:Spongeball .Marketing: like {disfmarker} yeah a sponge-ball .User Interface: {vocalsound}Marketing: Like a s soft material .Project Manager: Yeah .Marketing: Janus m uh mentioned it also . I think he did some uh"}
+{"doc_id":"doc_88","qid":"","text":"Project Manager: Okay we all all set ? Right . Well this is the uh final detailed design meeting . Um we're gonna discuss the look and feel design , the user interface design , and we're gonna evaluate the product . Andthe end result of this meeting has to be a decision on the details of this remote control , like absolute final decision , um and then I'm gonna have to specify the final design in the final report . So um just from from lasttime to recap , we said we were gonna have a snowman shaped remote control with no L_C_D_ display , no need for talk-back , it was hopefully gonna be kinetic power and battery uh with rubber buttons , maybebacklighting the buttons with some internal L_E_D_s to shine through the casing , um hopefully a jog-dial , and incorporating the slogan somewhere as well . Anything I've missed ?Industrial Designer: No .ProjectManager: Okay um so uh if you want to present your prototype go ahead .User Interface: Uh-oh . This is it ? {vocalsound}Industrial Designer: Ninja Homer , made in Japan . {vocalsound}User Interface: Um , there area few changes we've made .Project Manager: Okay .User Interface: Um , well look at the expense sheet , and uh it turned to be quite a lot expensive to have open up and have lots of buttons and stuff inside ,ProjectManager: Mm . Mm-hmm .User Interface: so instead we've um {disfmarker} this is gonna be an L_C_D_ screen , um just a a very very basic one , very small um with access to the menu through the the scroll wheeland uh confirm um button .Marketing: Mm 'kay .User Interface: Uh , apart from that , it's just pretty much the same as we discussed last time .Industrial Designer: And there isn't uh d it doesn't open up to theadvanced functions ? the advanced functions are still hidden from you , but they're hidden in the sense that um they're not in use .Marketing: Where are they ?Industrial Designer: Um they're in the L_C_D_ panel andthe jog-dial ?Marketing: Ah , right .Industrial Designer: Okay 'cause {disfmarker}Project Manager: So w what kind of thing uh is gonna be {disfmarker}Marketing: Great .User Interface: {vocalsound}IndustrialDesigner: The L_C_D_ panel just displays um functionally what you're doing . If you're using an advanced function right , like um c brightness , contrast , whatever , it will just say {disfmarker}Marketing: Right . Okay.Industrial Designer: You know it's like it only has four columns , it's a very simple L_C_D_ like , whereas many {disfmarker} the minimum amount we need that the user will automatically know like this is brightness orthis is contrast .Marketing: Right .Project Manager: Mm-hmm . Okay cool .Marketing: Right , 'kay .Industrial Designer: It might even be one , a bit more complex L_C_D_ panel with pictures like maybe the sun or the ,you know , the the symbols of the various functions .Marketing: OkayProject Manager: Oh right okay .Marketing: Mm-hmm , and what is this here ?Project Manager: Cool .Industrial Designer: That's a number pad.Marketing: Okay so the number pad is {disfmarker} 'Kay , great .Project Manager: Where are we gonna have the slogan ?Industrial Designer: Um they're al along this {disfmarker}User Interface: You know , just likeright inside there .Industrial Designer: Yeah .Project Manager: Okay cool .Industrial Designer: You have this space here , and then you have this thing on the side as well , or at the bottom .Project Manager:{vocalsound}Industrial Designer: 'Cause slogans are usually quite small , right ,Project Manager: Okay .Industrial Designer: they're not like hugeMarketing: Mm .Industrial Designer: so they're sMarketing: Yep.Industrial Designer: Say a button's aboutProject Manager: Okay .Marketing: Looks good .Industrial Designer: say a button's about this size , right , so you would still have plenty of space for a slogan , say even for that.Marketing: Yep . {vocalsound} Mm-hmm .Project Manager: So if this isn't to scale , what kind of dimensions are you thinking about here ?User Interface: {vocalsound} Well {vocalsound} we want the other buttons tobe big enough to push easily with a fingerProject Manager: Mm-hmm .User Interface: so we reckon maybe that'll be about the same size as the palm of your hand . {gap}Marketing: Okay .Industrial Designer: Yep sothat would be about a centimetre for a button , so one two three four centimetres . Plus maybe half o fiveMarketing: Mm-hmm .Industrial Designer: six seven eight ,Marketing: About nine in total .Project Manager: Six ,seven , eight , nine , ten .Industrial Designer: about yeah nine total .Project Manager: So we're talking about ten centimetres .Marketing: That sounds good . Yeah .Project Manager: That would be good . So tencentimetres in height .Marketing: Yep .Industrial Designer: Nine , ten . Yep .Project Manager: Okay um {vocalsound} .Marketing: That'd be good , in fact a pen is about ten centimetres usually , so that would be{disfmarker} that sounds like a really good size , if you see it there .Project Manager: Yeah . That's great and it's very bright as well . So um okay .Marketing: Mm . Is it possible {disfmarker} uh I'm just gonna bring upthe idea of colours . Is these are these the colours that {disfmarker} of production , or is this just what we had available ?User Interface: Well I'm {disfmarker} We're gonna have again the the sort of the foggy umyellow from last time that lit up when you pushed the button .Marketing: Right .Project Manager: Okay so just {disfmarker}User Interface: Um {disfmarker}Project Manager: could you just list all the things that it doess so I can write them in the report .User Interface: But um {vocalsound} this button um , because it's red it's sort of very prominent , we're gonna use it as uh {disfmarker} it can be the power button if you hold it formaybe two seconds it'll send a stand-by signal .Industrial Designer: {vocalsound} Excuse me .Project Manager: Mm-hmm .User Interface: Um apart from that it's gonna be used as a confirm button for the L_C_D_screenIndustrial Designer: Sure .Project Manager: Okay .User Interface: and you use this as a jog-dial .Project Manager: Okay so that's like an okay button , right .Marketing: Mm-hmm .Industrial Designer: Oh we'vediscussed how h high it is , but how wide is it ? {vocalsound}User Interface: I don't know . {vocalsound}Project Manager: Okay .Marketing: How high is it ?Industrial Designer: No as in the height , but what about thewidth ?Marketing: Yeah .Project Manager: Oh ohUser Interface: Didn't put five centimetres .Project Manager: like depth of the actual thing .Industrial Designer: Do we need five ? I don't think five is {disfmarker}UserInterface: Um .Industrial Designer: be about th three and a half .Marketing: Okay .Project Manager: Oh is this k to get an idea of scale from your from your thing there okay .User Interface: Something by there.Industrial Designer: Yeah , yeah .Marketing: Sure .Project Manager: So you can power on and off , what else can you do ?Marketing: Three and a half .User Interface: Um you can skip straight to a channel using thesebuttons .Project Manager: Okay .User Interface: Um , were gonna have the volume control here , but um because we've got the the L_C_D_ and the jog-dial we just thought we'd um use that as the volume .ProjectManager: Okay jog-dial for volume . And what else do you do with the jog-dial ?Marketing: Mm-hmm .User Interface: Um you can use it for um more advanced functions like contrast , colour and {disfmarker}ProjectManager: Contrast , brightness ,User Interface: Um yeah .Project Manager: yeah , and anything else ?User Interface: Um just whatever else we wanted to include as the advanced functions , um we didn't actually gothrough and specify the {disfmarker}Project Manager: Well of the designers what are they ?User Interface: Uh what can a T_V_ do ?Industrial Designer: Okay things like um brightness , contrast ,Project Manager:Uh-huh .Industrial Designer: um maybe tuning the channels .Project Manager: Okay channel tuning .Industrial Designer: Um .Project Manager: That's a good one .Industrial Designer: What else ? Um the various inputs. Are you having a V_C_R_ , are you having {disfmarker} you know which input do you have ?Marketing: Mm-hmm , mm-hmm .Project Manager: Okay auxiliary inputs .Marketing: Mm-hmm ,Industrial Designer: Um.Marketing: probably colour or sharpness .Industrial Designer: Yep , colour , sharpness . Um a lot of these things will have to be um free and open for users to define them .Project Manager: Sharpness . Okay whatabout uh sound settingsMarketing: Mm-hmm .Project Manager: ? Uh d can you change any of those at all ?Marketing: Audio .Industrial Designer: Audio , we have like your basic y your base , your mid-range , your highrange .User Interface: Um .Industrial Designer: Um .User Interface: {gap} the the balance hmm .Industrial Designer: Yep , left-right balance , um maybe even pre-programmed sound modes , like um the user coulddetermine like a series of sound modes ,Project Manager: Okay .Industrial Designer: and then what could happen would be um when you click on that then it would go to that setting .Marketing: Mm-hmm .ProjectManager: Okay ,Marketing: Mm 'kay .Industrial Designer: Yeah .Project Manager: is there anything else at all it can do ? That {disfmarker} 'cause that's that's fine . Just need to know so I can write it down . Okay umright I g I guess that's it , so we can now um {vocalsound} {disfmarker} We can now have a little look at the the Excel sheet and price listing , and see if we need to um if we need to rethink anything at all .UserInterface: Mm-hmm .Project Manager: So um for this first part here power-wise , have we got battery ?Industrial Designer: The battery .Project Manager: Do we have kinetic as well ?Industrial Designer: No .ProjectManager: No . Okay ,Industrial Designer: Um .Project Manager: just battery .Industrial Designer: We need an {disfmarker}Project Manager: And that's because of cost restraints is it ?Industrial Designer: Yep .ProjectManager: OkayUser Interface: Yeah .Industrial Designer: Yeah advanced chip .Project Manager: um what about the electronics here ?Industrial Designer: We need an advanced chip I think , yep .Project Manager:Advanced chip .Industrial Designer: Let me just confirm that . Yes I think so . Yep .Project Manager: Okay um the case , what does it mean by single and double , do you know ?User Interface: Um I think single wouldjust be sort of one sort of oval whereas double is this sort of thing .Industrial Designer: Yeah .Project Manager: So we want double-curved ?Industrial Designer: Yep .Project Manager: Okay . Um .Industrial Designer:Plastic .Project Manager: Is there any rubber at all in the buttons or anyIndustrial Designer: I think we're gonna have to skip the rubber .Project Manager: Okay ,Industrial Designer: Um .Project Manager: um and wewanted special colours didn't we ?Industrial Designer: Yep .Project Manager: So I'll have to put that {disfmarker} Oh no wait we {disfmarker} ho how many colours have we got there ?Industrial Designer: For the caseitself , one colour . It's one special colour .Project Manager: Just one colour , okay .Industrial Designer: 'Cause the case unit itself , the rest of our components go on top of it .Project Manager: Okay so interface-wise , isit this third option we have , the two of them there ?Marketing: Mm .Industrial Designer: Yes . One and the L_C_ display .Project Manager: Okay and then buttons , we have what , two colours ?Industrial Designer: Howmany {disfmarker}User Interface: Um we have um got some push buttons as well .Marketing: Or even clear .Industrial Designer: We've got push buttons as well .Project Manager: Like uh oh wait so push button andintegrated scroll wheel pushUser Interface: 'Kay .Project Manager: okay .User Interface: So I reckon we've got one button for this thing 'cause it's just one big sheet of rubber .Project Manager: Uh-huh .User Interface:I'm not sure if that counts but {disfmarker}Industrial Designer: Okay let's just be safe and put like say four buttons for that one .Project Manager: Okay . Okay .Industrial Designer: Okay um and maybe a special colourfor the buttons , so maybe four again .Project Manager: Four .User Interface: You can see we're we're all very far beyond the {disfmarker}Project Manager: So w why are we arriving at the number four ? Where doesthe number four come from ?Industrial Designer: 'Cause that's one button by its the complexity of twelve buttons .Project Manager: Okay right ,Industrial Designer: So we're just estimating that yeah it would be less.Project Manager: so we're writing down four . {vocalsound} Okay . How about these ? Are we wanting them in {disfmarker}Industrial Designer: No .Project Manager: no they're just {disfmarker}Industrial Designer:Yep .Project Manager: is everything gonna be plastic ?Industrial Designer: Yep .Project Manager: Okay . So we're w w quite far over .User Interface: {vocalsound}Industrial Designer: {vocalsound}Project Manager:Now we're gonna {disfmarker} something's gonna have to go . Um we're at sixteen point eight and {disfmarker}Marketing: Uh how mm-hmm {disfmarker} how are we going to achieve this high-end product if{disfmarker}Project Manager: Well we h something has to go to the tune of two point t three Euro ,Marketing: We only have very sparse {disfmarker}Project Manager: so let me see , what are we {disfmarker} I mean{disfmarker}Marketing: Two point three ? Four point three no ?Project Manager: oh yes sorry , four point three . My maths is all out .User Interface: Well we could take out ones by making it single curved , just fill inthose bits .Project Manager: Yeah .Industrial Designer: How much would that save us ?Marketing: And then where is the {disfmarker}Project Manager: How much would that save us ?Industrial Designer: That will onlysave you one .User Interface: That is one .Industrial Designer: The other thing could be that um you could take away the L_C_D_ panel and the advanced chip together ,Project Manager: One .Industrial Designer: umbecause when you do something on the T_V_ , the T_V_ responds and reacts as well ,Marketing: Mm-hmm .Industrial Designer: so the user could be looking at the T_V_ and pushing his thing so we may not need to{disfmarker}User Interface: That's fair enough , yeah .Industrial Designer: so when we scroll we need just some way to get the T_V_ to respond ,Marketing: Mm-hmm . Mm-hmm .Industrial Designer: which I think is atechnically doable thing so {disfmarker}Project Manager: Okay so {disfmarker}Marketing: Mm-hmm .Project Manager: So w what's our reviewed suggestion ?Marketing: Mm-hmm .Industrial Designer:{vocalsound}Project Manager: Um take away the L_C_ display ?Industrial Designer: Yep . And the advanced chip goes away as well .Marketing: Mm-hmm .Project Manager: To be replaced with aIndustrial Designer:Regular chip .Project Manager: regular chip .Industrial Designer: Yep . So what that means is that um {disfmarker}Project Manager: Okay .Marketing: Mm-hmm .Project Manager: {vocalsound} And so we've got pointthree to get rid of . Um and we ha where are the four {disfmarker} the four push buttons are where exactly now ?Industrial Designer: The twelve buttons that you see there {vocalsound} .Project Manager: Twelvebuttons .User Interface: That's um one piece of rubber but it's gonna have twelve button things underneath so {disfmarker}Project Manager: Yeah .Industrial Designer: Functionally you're gonna have to intercept{disfmarker} So four is a good estimate for {disfmarker}Project Manager: Do you think ?Industrial Designer: Yeah , so you can't actually cut {vocalsound} {disfmarker} It's like three times the number of buttons , four, eight , twelve .Project Manager: Like is is that one big button or is it twelve buttons ,Industrial Designer: It {disfmarker} It needs to be more than one big button because if you open up your phone , underneaththere's actually one button underneath , it's just that the panel itself is a single panel .Project Manager: how can it be something in between ?Marketing: Mm-hmm .Project Manager: Mm . OkayMarketing: Mm-hmm.Project Manager: well we have point three to get rid of somewhere .Industrial Designer: We just report that it has to be over budget {vocalsound} ,Project Manager: Mm .Marketing: {vocalsound}Industrial Designer:or the colours , you could take away s colours for th for the buttons .Project Manager: No can do .Marketing: Yeah we could just go with um {disfmarker}User Interface: Yeah wIndustrial Designer: Normal colouredbuttons .Project Manager: Well do you want colour differentiation here ?Industrial Designer: No that's not the button we're talking about .User Interface: Um {disfmarker}Industrial Designer: That's {disfmarker}ProjectManager: Oh yeah sorry yeah then . {vocalsound}Industrial Designer: the buttons only refer to the pad so {disfmarker}Project Manager: Right so {disfmarker}Industrial Designer: Should we take that off uh ?ProjectManager: Ah .User Interface: {vocalsound}Industrial Designer: Hey it's back to the original .Project Manager: That's it .Marketing: Hmm .Industrial Designer: Um so then these just become normal coloured buttons , sothat might be some some way of cutting the cost .Marketing: Mm-hmm . Mm .Project Manager: Okay , ach that's a shame . {vocalsound} Um right , so take away that completely ? Ah . And now we're under budget .So we do have point five Euro to play with if we wanted .Marketing: {vocalsound}User Interface: {vocalsound} So I reckon {disfmarker}Project Manager: Um {disfmarker}Marketing: How about with embossing thelogo , isn't that going to cost us some money ?Project Manager: Doesn't say so . {vocalsound}Marketing: Yeah . That's a freebie .User Interface: Reckon that probably counts as a special form for the buttons .IndustrialDesigner: Yeah .Project Manager: Yeah that's a good idea . Just one ? Does that mean that one button has a special form or {disfmarker}User Interface: I think {gap} there's just one button soProject Manager: Yeahokay .Industrial Designer: {vocalsound}User Interface: handy {vocalsound} .Project Manager: Well well there we go . So I'm just gonna have to redraw this now . So we're not gonna have the L_C_D_ anymore , andwe'll just gonna have an on t on the T_V_ it'll show you what you're doing , which I think is fair enough , and so this is gonna be one big thing here . Um .Marketing: Was the goal in your in your prototype design that itbe as low profile as possible ?Industrial Designer: What do you mean by profile ?Marketing: {vocalsound} Sort of flat as possible .User Interface: Yeah .Industrial Designer: No .User Interface: You see I envision it asbeing um quite deepMarketing: Yeah .User Interface: sort of {vocalsound} deep enough to be comfy to hold in your hands rather than being wide and flat .Marketing: Yeah that's what I was thinking , toIndustrialDesigner: We didn't have enough Play-Doh to make it three D_ . {vocalsound}Marketing: Sure , okay . Yeah alright yeah fair enough .User Interface: {vocalsound}Marketing: Okay , just thought I'd ask .IndustrialDesigner: So there's one more dimension to the thing which we need to to add ,Marketing: Mm-hmm .Industrial Designer: and you might want to add in the report , length , width , and height .Project Manager: Rightokay .Industrial Designer: Yeah .Project Manager: So just to well to be thorough then , width-wise we're looking at about what three centimetres or something ?Industrial Designer: Yeah .Project Manager: Okay andthen so height-wise {disfmarker}Marketing: Hmm .Project Manager: How how tall do you envisage it being ? About that big ?Industrial Designer: Two .User Interface: Yeah it works , yeah .Project Manager: About twocentimetres , okay .Marketing: Two's not very high at all though .Industrial Designer: This is about this is about two .Marketing: Maybe a bit higher ?Industrial Designer: Slightly more than two , so{disfmarker}Marketing: {vocalsound} Yeah .User Interface: See , about that thick .Project Manager: Okay . Ach , that is {disfmarker}Marketing: Maybe closer to three even or two and a half .Industrial Designer: Okay.Project Manager: Yeah . Okay we'll s we'll say two point five . Okay um so we have it within cost anyway . Um so yeah project evaluation is this point . Um .Marketing: Mm-hmm .Project Manager: Right uh . Okay socan we close that ? This is what it's {disfmarker} the final spec that it's gonna be . Someone is gonna have to {disfmarker}Marketing: Mm-hmm .Project Manager: yeah that's fine that's fine .Marketing: Um it's probablyjust {disfmarker} I dunno if it's worth getting into , but um just in in that we want this to be stylish , should we think a little bit more out of the box in terms of a button grid , because I've seen there's lots of devices outthere that that instead of taking your standard nine nine square grid , and they have it sort of stylized or in different concept that that {disfmarker}Industrial Designer: I think that's something that's very hard to catch"}
+{"doc_id":"doc_89","qid":"","text":"Professor D: OK . So , uh You can fill those out , uh {pause} after , actually , so So , I got , uh {pause} these results from , uh , Stephane . Also , um , I think that , uh {pause} um {pause} we might hear later today ,about other results . I think s that , uh , there were some other very good results that we 're gonna wanna compare to . But , {vocalsound} r our results from other {disfmarker} other places , yeah .PhD A: I I 'm sorry? I didn'tProfessor D: Um , I got this from youPhD A: Yeah .Professor D: and then I sent a note to Sunil about the {disfmarker} cuz he has been running some other systemsPhD A: Mm - hmm .Professor D: other thanthe {disfmarker} the ICSI OGI one .PhD A: Oh yeah .Professor D: So {pause} um , I wan wanna {disfmarker} wanna see what that is . But , uh , you know , so we 'll see what it is comparatively later . But {pause} itlooks like , umPhD A: M yeah .Professor D: You know most of the time , even {disfmarker} I mean even though it 's true that the overall number for Danish {disfmarker} we didn't improve it If you look at it individually, what it really says is that there 's , um , uh Looks like out of the six cases , between the different kinds of , uh , matching conditions {pause} out of the six cases , there 's basically , um , a couple where it stays aboutthe same , uh , three where it gets better , and one where it gets worse .PhD A: Yeah .Professor D: Uh , go ahead .PhD A: Y Actually , uh , um , for the Danish , there 's still some kind of mystery because , um , um ,when we use the straight features , we are not able to get these nice number with the ICSI OGI one , I mean . We don't have this ninety - three seventy - eight , we have eightPhD E: Eighty - nine forty - four .PhD A:yeah . Uh , so , uh , that 's probably something wrong with the features that we get from OGI . Uh , and Sunil is working on {disfmarker} on trying to {disfmarker} to check everything .Professor D: Oh , and{disfmarker} and we have a little time on that {disfmarker} and {disfmarker} actually soPhD A: Hmm ?Professor D: We have a little bit of time on that , actually .PhD A: Yeah .Professor D: We have a day or so , soWhen {disfmarker} when {disfmarker} when do you folks leave ?PhD A: Uh , Sunday .Professor D: Sunday ? So So , uh Yeah , until Saturday midnight , or something , we have W we {disfmarker} we have time , yeah. Well , that would be good . That 'd be good .PhD A: Yeah .Professor D: Yeah . Uh , and , you know , i u when whenever anybody figures it out they should also , for sure , email Hynek because Hynek will be over there{vocalsound} telling people {vocalsound} what we did , so he should know .PhD A: Mmm . Yeah .Professor D: Good , OK . So , um So , we 'll {disfmarker} we 'll hold off on that a little bit . I mean , even with theseresults as they are , it 's {disfmarker} it 's {disfmarker} it 's really not that bad . But {disfmarker} but , uh , um And it looks like the overall result as they are now , even without , you know , any {disfmarker} anybugs being fixed is that , uh , on the {disfmarker} the other tasks , we had this average of , uh , forty uh {disfmarker} nine percent , or so , improvement . And here we have somewhat better than that than the Danish, and somewhat worse than that on the German , but I mean , it sounds like , uh , one way or another , the methods that we 're doing can reduce the error rate from {disfmarker} from mel ceptrum {pause} down by ,you know {pause} a fourth of them to , uh , a half of them . Somewhere in there , depending on the {pause} exact case . So So that 's good . I mean , I think that , uh , one of the things that Hynek was talking aboutwas understanding what was in the other really good proposals and {disfmarker} and trying to see if what should ultimately be proposed is some , uh , combination of things . Um , if , uh {disfmarker} Cuz there 'sthings that they are doing {pause} there that we certainly are not doing . And there 's things that we 're doing that {pause} they 're not doing . And {disfmarker} and they all seem like good things .PhD A: Yeah.Professor D: SoPhD E: Mmm , yeah .PhD C: How much {disfmarker} how much better was the best system than ours ?Professor D: So Well , we don't know yet .PhD C: Mmm .Professor D: Uh , I mean , first place ,there 's still this thing to {disfmarker} to work out , and second place {disfmarker} second thing is that the only results that we have so far from before were really development set results .PhD C: Oh , OK .Professor D:So , I think in this community that 's of interest . It 's not like everything is being pinned on the evaluation set . But , um , for the development set , our best result was a little bit short of fifty percent . And the bestresult of any system was about fifty - four , where these numbers are the , uh , relative , uh , reduction in , uh , word error rate .PhD C: Oh , OK .Professor D: And , um , the other systems were , uh , somewhat lowerthan that . There was actually {disfmarker} there was much less of a huge range than there was in Aurora one . In Aurora one there were {disfmarker} there were systems that ba basically didn't improve things .PhDC: Hmm .Professor D: And here the {disfmarker} the worst system {pause} still reduced the error rate by thirty - three percent , or something , in development set .PhD C: Oh , wow .Professor D: So {disfmarker} so ,you know , sort of everybody is doing things between , well , roughly a third of the errors , and half the errors being eliminated , {vocalsound} uh , and varying on different test sets and so forth .PhD C: Mm - hmm.Professor D: So I think Um {pause} It 's probably a good time to look at what 's really going on and seeing if there 's a {disfmarker} there 's a way to combine the best ideas while at the same time not blowing up theamount of , uh , resources used , cuz that 's {disfmarker} that 's critical for this {disfmarker} this test .PhD C: Do we know anything about {disfmarker} who {disfmarker} who 's was it that had the lowest on the devset ?Professor D: Um , uh , the , uh , the there were two systems that were put forth by a combination of {disfmarker} of , uh , French Telecom and Alcatel . And , um they {disfmarker} they differed in some respects ,but they e em one was called the French Telecom Alcatel System the other was called the Alcatel French Telecom System , {vocalsound} uh , which is the biggest difference , I think . But {disfmarker} but there 're{disfmarker} there 're {disfmarker} there 're some other differences , too . Uh , and {disfmarker} and , uh , they both did very well ,PhD C: Uh - huh .Professor D: you know ? So , {vocalsound} um , my impression isthey also did very well on {disfmarker} on the {disfmarker} the , uh , evaluation set , but , um , I {disfmarker} I we haven't seen {disfmarker} you 've - you haven't seen any final results for thatPhD C: And they used{disfmarker} the main thing that {disfmarker} that they used was spectral subtraction ?Professor D: yeah .PhD C: OrProfessor D: There is a couple pieces to it . There 's a spectral subtraction style piece {disfmarker} itwas basically , you know , Wiener filtering . And then {disfmarker} then there was some p some modification of the cepstral parameters , where they {disfmarker}PhD A: Yeah , actually , something that 's close tocepstral mean subtraction . But , uh , the way the mean is adapted {disfmarker} um , it 's signal dependent . I 'm {disfmarker} I 'm , uh So , basically , the mean is adapted during speech and not during silence.Professor D: Yeah .PhD A: But it 's very close to {disfmarker} to cepstral mean subtraction .Professor D: But some people have done {vocalsound} {pause} exactly that sort of thing , of {disfmarker} of {disfmarker}and the {disfmarker} I mean it 's not {disfmarker} To {disfmarker} to look in {pause} speech only , to try to m to measure these things during speech ,PhD A: Yeah , yeah .Professor D: that 's p that 's not thatuncommon . But i it it {disfmarker} so it looks like they did some {disfmarker} some , uh , reasonable things , uh , and they 're not things that we did , precisely . We did unreasonable things , {vocalsound} which{disfmarker} because we like to try strange things , and {disfmarker} and , uh , and our things worked too .PhD C: Hmm .Professor D: And so , um , uh , it 's possible that some combination of these different thingsthat were done would be the best thing to do . But the only caveat to that is that everybody 's being real conscious of how much memory and how much CPU they 're usingPhD C: Mm - hmm .Professor D: because these, {vocalsound} {vocalsound} {vocalsound} uh , standards are supposed to go on cell phones with m moderate resources in both respects .PhD C: Did anybody , uh , do anything with the models as a {disfmarker} anexperiment ? OrProfessor D: Uh , they didn't report it , if they did .PhD C: N nobody reported it ?Professor D: Yeah . I think everybody was focused elsewhere . Um , now , one of the things that 's nice about what we didis , we do have a {disfmarker} a , uh {disfmarker} a filtering , which leads to a {disfmarker} a , uh {disfmarker} a reduction in the bandwidth in the modulation spectrum , which allows us to downsample . So , uh , asa result of that we have a reduced , um , transmission rate for the bits .PhD C: Mm - hmm .Professor D: That was misreported the first time out . It {disfmarker} it said the same amount because for convenience sakein the particular way that this is being tested , uh , they were repeating the packets . So it was {disfmarker} they were s they {disfmarker} they had twenty - four hundred bits per second , but they were literallycreating forty - eight hundred bits per second , {vocalsound} um , even though y it was just repeated .PhD C: Oh . Mm - hmm . Right .Professor D: So , uh , in practicePhD C: So you could 've had a repeat count inthere or something .Professor D: Well , n I mean , this was just a ph phoney thing just to {disfmarker} to fit into the {disfmarker} the software that was testing the errors {disfmarker} channel errors and so on .PhD C:Oh . Oh .Professor D: So {disfmarker} so in reality , if you put this {disfmarker} this system in into , uh , the field , it would be twenty - four hundred bits per second , not forty - eight hundred . So , um , so that 's anice feature of what {disfmarker} what we did . Um , but , um , well , we still have to see how it all comes out .PhD C: Hmm .Professor D: Um , and then there 's the whole standards process , which is another thingaltogether .PhD C: When is the development set {disfmarker} I mean , the , uh , uh , test set results due ? Like the day before you leave or something ?Professor D: Uh , probably the day after they leave , but we 'llhave to {disfmarker} {vocalsound} we 'll have to stop it the day before {comment} we leave .PhD A: Yeah , yeah . SoPhD C: Huh .Professor D: I think tha I think the {disfmarker} the meeting is on the thirteenth orsomething .PhD A: Yeah , this Tuesday , yeah .Professor D: And , uh , they , uh Right . And the {disfmarker} the , uh , results are due like the day before the meeting or something . SoPhD A: Yeah , probably ,wellProfessor D: I th I think {disfmarker} I I think they are ,PhD A: Yeah , wellProfessor D: yeah . So {pause} {vocalsound} um , since we have a bit farther to travel than {vocalsound} some of the others ,{vocalsound} uh , we 'll have to get done a little quicker . But , um , I mean , it 's just tracing down these bugs . I mean , just exactly this sort of thing of , you know , why {disfmarker} why these features seem to bebehaving differently , uh , in California than in Oregon .PhD C:  Hmm .Professor D: Might have something to do with electricity shortage . Uh , we didn't {disfmarker} we didn't have enough electrons here and Uh , but ,um Uh , I think , you know , the main reason for having {disfmarker} I mean , it only takes w to run the {disfmarker} the two test sets in {disfmarker} just in computer time is just a day or so , right ?PhD A: Yeah,Professor D: SoPhD A: it 's very short interval .Professor D: yeah . So , I think the who the whole reason for having as long as we have , which was {pause} like a week and a half , is {disfmarker} is because of bugslike that . So Huh So , we 're gonna end up with these same kind of sheets that have the {pause} the percentages and so on just for the {disfmarker}PhD A: Yeah , so there are two more columns in the sheets,Professor D: Oh , I guess it 's the same sheets ,PhD A: two . Yeah , it 's the same sheets ,Professor D: yeah , yeah {disfmarker}PhD A: yeah .Professor D: just with the missing columns filled in .PhD A: Yeah .ProfessorD: Yeah . Well , that 'll be good . So , I 'll dis I 'll disregard these numbers . That 's {disfmarker} that 's {disfmarker} that 's good .PhD A: So , Hynek will try to push for trying to combine , uh , different things ? OrHmm ?Professor D: Uh , well that 's {pause} um yeah I mean , I think the question is \" Is there {disfmarker} is there some advantage ? \" I mean , you could just take the best system and say that 's the standard . Butthe thing is that if different systems are getting at good things , um , a again within the constraint of the resources , if there 's something simple that you can do Now for instance , uh , it 's , I think , very reasonable tohave a standard for the terminal 's side and then for the server 's side say , \" Here 's a number of things that could be done . \" So , um , everything that we did could probably just be added on to what Alcatel did , and iit 'd probably work pretty well with them , too . So , um , uh , that 's one {disfmarker} one aspect of it . And then on the terminal 's side , I don't know how much , um , memory and {disfmarker} and CPU it takes , butit seems like the filtering {pause} Uh , I mean , the VAD stuff they both had , right ? And , um , so {disfmarker} and they both had some kind of on - line normalization , right ?PhD A: Uh , yeah .Professor D: Of sorts ,yeah ? So {disfmarker} so , it seems like the main different there is the {disfmarker} is the , uh , filtering . And the filtering {disfmarker} I think if you can {disfmarker} shouldn't take a lot of memory to do that Uh ,and I also wouldn't think the CPU , uh , would be much either for that part . So , if you can {disfmarker} if you can add those in {pause} um {pause} then , uh , you can cut the data rate in half .PhD A: Yeah .ProfessorD: So it seems like the right thing to do is to {disfmarker} on the {disfmarker} on the terminal 's side , take what they did , if it {disfmarker} if it does seem to generalize well to German and Danish , uh , take whatthey did add in a filter , and add in some stuff on the server 's side and {disfmarker} and {disfmarker} and that 's probably a reasonable standard . Um {pause} UhPhD A: They are working on this already ? Because{disfmarker} yeah , Su - Sunil told me that he was trying already to put some kind of , uh , filtering in the {vocalsound} {pause} France Telecom .Professor D: Yeah , so that 's {disfmarker} that 's {disfmarker} that 'swhat That would be ideal {disfmarker} would be is that they could , you know , they could actually show that , in fact , a combination of some sort , {vocalsound} uh , would work even better than what {disfmarker}what any of the systems had . And , um , then it would {disfmarker} it would , uh {pause} be something to {disfmarker} to discuss in the meeting . But , uh , not clear what will go on . Um , I mean , on the one hand ,um , sometimes people are just anxious to get a standard out there . I mean , you can always have another standard after that , but {vocalsound} this process has gone on for a while on {disfmarker} already and{disfmarker} and people might just wanna pick something and say , \" OK , this is it . \" And then , that 's a standard . Uh , standards are always optional . It 's just that , uh , if you disobey them , then you risk not beingable to sell your product , or {pause} {vocalsound} Uh {pause} um And people often work on new standards while an old standard is in place and so on . So it 's not final even if they declared a standard . The otherhand , they might just say they just don't know enough yet to {disfmarker} to declare a standard . So you {disfmarker} you {disfmarker} you will be {disfmarker} you will become experts on this and know more{disfmarker} far more than me about the tha this particular standards process once you {disfmarker} you go to this meeting . So , be interested in hearing . So , uh , I 'd be , uh , interested in hearing , uh , yourthoughts now I mean you 're almost done . I mean , you 're done in the sense that , um , you may be able to get some new features from Sunil , and we 'll re - run it . Uh , but other than that , you 're {disfmarker} you're basically done , right ? So , uh , I 'm interested in hearing {disfmarker} hearing your thoughts about {pause} where you think we should go from this .PhD A: Yeah .Professor D: I mean , we tried a lot of things in ahurry , and , uh , if we can back off from this now and sort of take our time with something , and not have doing things quickly be quite so much the constraint , what {disfmarker} what you think would be the bestthing to do .PhD A: Uh , well Hmm Well , first , uh , to really have a look at {disfmarker} at the speech {pause} {vocalsound} from these databases because , well , we tried several thing , but we did not really look{vocalsound} at what what 's happening , and {vocalsound} where is the noise , andProfessor D: OK .PhD A: EhProfessor D: It 's a novel idea . Look at the data . OK .PhD A: Yeah .Professor D: Or more generally , Iguess , what {disfmarker} what is causing the degradation .PhD A: Yeah , yeah . Actually , there is one thing that {disfmarker} well {pause} Um , generally we {disfmarker} we think that {vocalsound} most of theerrors are within phoneme classes , and so I think it could be interesting to {disfmarker} to see if it {disfmarker} I don't think it 's still true when we add noise , and {vocalsound} so we have {disfmarker} I{disfmarker} I guess the confusion ma the confusion matrices are very different when {disfmarker} when we have noise , and when it 's clean speech . And probably , there is much more {pause} between classeserrors for noisy speech .Professor D: Mm - hmm .PhD A: And {vocalsound} so , um Yeah , so perhaps we could have a {disfmarker} a large gain , eh , just by looking at improving the , uh , recognition , not ofphonemes , but of phoneme classes , simply .Professor D: Mm - hmm .PhD A: And {vocalsound} which is a s a s a simpler problem , perhaps , but {disfmarker} which is perhaps important for noisy speech .Professor D:The other thing that strikes me , just looking at these numbers is , just taking the best cases , I mean , some of these , of course , even with all of our {disfmarker} our wonderful processing , still are horrible kinds ofnumbers . But just take the best case , the well - matched {pause} uh , German case after {disfmarker} er well - matched Danish after we {disfmarker}PhD A: Mm - hmm .Professor D: the kind of numbers we 'regetting are about eight or nine {pause} uh {pause} p percent {pause} error {pause} per digit .PhD A: Mm - hmm . Yeah .Professor D: This is obviously not usable ,PhD A: No .Professor D: right ?PhD A: Sure .ProfessorD: I mean , if you have ten digits for a phone number {comment} I mean , every now and then you 'll get it right . I mean , it 's {disfmarker} it 's , uh , {vocalsound} um So , I mean , the other thing is that , uh{disfmarker} And {disfmarker} and {disfmarker} a and {disfmarker} and also , um {pause} part of what 's nice about this is that this is , uh , {vocalsound} um {pause} a realistic {disfmarker} almost realisticdatabase . I mean , it 's still not people who are really trying to accomplish something , but {disfmarker} but , uh , within the artificial setup , it isn't noise artificially added , you know , simulated , uh , additive noise.PhD A: Mm - hmm .Professor D: It 's real noise condition . And , um , {vocalsound} the {disfmarker} the training {disfmarker} the training , I guess , is always done on the close talkingPhD A: No , actually{disfmarker} actually the well - matched condition {pause} is {pause} still quite di still quite difficult .Professor D: No ?PhD A: I mean , it 's {disfmarker} they have all these data from the close mike and from thedistant mike , {vocalsound} from different driving condition , open window , closed window ,Professor D: Yeah .PhD A: and they take all of this and they take seventy percent , I think , for training and thirty percent fortesting .PhD E: Mm - hmm .PhD A: So , training is done {vocalsound} on different conditions and different microphones , and testing also is done {pause} on different microphone and conditions . So , probably if weonly take the close microphones , {vocalsound} I guess the results should be much much better than this .Professor D: I see .PhD A: Mmm .Professor D: Oh , OK ,PhD A: UhProfessor D: that explains it partially . Wha -what about i in {disfmarker} so the {disfmarker} the {disfmarker}PhD A: Yeah , so {disfmarker} there is this , the mismatched is , um {pause} the same kind of thing ,Professor D: go ahead .PhD A: but {pause} the"}
+{"doc_id":"doc_90","qid":"","text":"User Interface: Okay .Project Manager: So I see all everybody's here , 'kay .Marketing: Mm-hmm .Industrial Designer: Yep .Project Manager: And we can start meeting .User Interface: Okay {vocalsound} .Marketing:What's the agenda for this meeting ?Project Manager: The {disfmarker} I will uh present here agenda with with with with slides to you .Marketing: Okay .Project Manager: Um as you can see here .Industrial Designer:{vocalsound}User Interface: {vocalsound}Industrial Designer: Perfect .Project Manager: So first uh just to mention I will take notes uh of this meetingMarketing: Mm-hmm .Project Manager: and uh I will try to workthem out and give them to you . I've also made notes of the previous meeting and um I was about to send them you but {vocalsound} then uh I had to go to this uh meeting so you will get them too uhMarketing:Mm-hmm .User Interface: Next .Project Manager: Um .Industrial Designer: So y you are the secretary also .Project Manager: Yes . Indeed .Industrial Designer: Right ? Okay .Project Manager: Then I hope you all haveuh worked out {vocalsound} some some uh {vocalsound} some some presentations about uh about well you the the task given to you in the previous meeting .Industrial Designer: Perfectly yeah yeah of course uh-huh.User Interface: {gap}Project Manager: Um . W We will uh in a minute we will uh {vocalsound} start with them . Um , we will see in which order we will handle them of . Um then I will uh bring in some some some newrequirements I I got uh from the uh account manager , I try to work them out , they were quite abstract , and we can have maybe have com some discussion about it . Uh Um about the functionsMarketing: Mm-hmm.Project Manager: and {disfmarker} Well in this meeting we should really {vocalsound} try to reach a decision about the target group and the functionality of the {disfmarker}Marketing: Mm .Industrial Designer: Youmean the social target group who we wants to target ?Project Manager: Yes I mean well yes w who are we going to uh to well to sell this ,Marketing: Mm .User Interface: {gap}Industrial Designer: Oh the customers ,okay .Marketing: Yeah .Project Manager: the customers , indeed yes . Think that's that's important matter .Marketing: That's the big question yeah .Project Manager: Uh . {vocalsound} So {vocalsound} And then uh wewill close this meeting uhUser Interface: {vocalsound}Project Manager: and after this meeting we'll uh we'll have a lunch . Good . Um . Maybe um why uh Anna can you c do you have a presentations ?Marketing: No , Idon't .Project Manager: You don't have presentation ?Marketing: I wasn't . No .Project Manager: Uh you want a table to to uhMarketing: I c I can talk about it but I have no slides or anything .Project Manager: Yes yesmaybe maybe you can uh can just talk about it or maybe you can use the whiteboard if necessary um .Marketing: Mm-hmm . Well I've just been um presented with some research we've done in a small focus group so ,a hundred people , just asked them about their remote control usage habits and what they want in a remote control . Um . It's {disfmarker} probably can't email this to you , I've just got a web page with some data onit . Um basically it's saying that users generally dislike the look and feel of their remote controls . Um seventy five u seventy five percent of users find most remote controls ugly . Um .Project Manager: Mm-hmm.Marketing: Eighty percent of users would spend more money when a remote control would look fancy . Um . Current remote controls do not match well the operating behaviour of the user . Uh seventy five percent ofusers said they zap a lot , so they use their remote control quite frequently while they're watching television . Uh . Fifty percent of users say that they only use ten percent of the buttons , so they've got a remote controlwith a lot of functionality but really most of the time they only use a small part of that .Project Manager: Mm .Marketing: Um .Project Manager: Do you Do you have this uh information on the web page you said?Marketing: I have an a web page yes .Project Manager: Yes , mayb maybe you can can send an email to me later uh . Uh about this .Marketing: Yep . Yep , sure . Mm-hmm . So basically um there's a breakdown ofhow much they use the different functions on a rem remote control . Um , power and volume selection are only used a few times within this uh per hour . Um , channel selection is used a hundred and sixty eight timesum {vocalsound} and then there's things like channel settings , audio settings , which are only used very infrequently .Project Manager: Mm .Marketing: Um . Teletext is used um fourteen times in the hour , so it isused but not nearly as much as the channel selection is used . Um .Project Manager: Mm .Marketing: An interesting thing that this report has brought up is that um fifty fifty percent of users report that the remotecontrol gets lost a lot of the time in the room , so some way of some way of locating the remote control would be very useful to a lot of users . Um .Project Manager: Yes yes , I have {vocalsound} that too {vocalsound}.Industrial Designer: {vocalsound}Marketing: Thirty four percent said it takes too long to learn to use a remote control , they want something that's easier to use straight away , more intuitive perhaps .ProjectManager: Mm .Marketing: Um .Industrial Designer: It's it's easy to learn or how do you say it's {disfmarker}Marketing: Thirty four percent said it took too much time to learn to use a new one . Yep .Industrial Designer:Okay too much time to learn . Okay .Marketing: Um . And thirty {disfmarker} twenty six percent said remote controls are bad for R_S_I_ .Industrial Designer: Not enough {gap}Marketing: I don't know how we'd goabout combating that .User Interface: {gap} . What do you mean there ?Marketing: For R_S_I_ ? Respet Repetitive strain injury .User Interface: Okay .Marketing: So . But {disfmarker}Project Manager: Mm . Theythink that or do their doctor the doctor says ?Marketing: Mm .Project Manager: {vocalsound} But it's it's the opinion of the uh of the users huh ?Marketing: Yeah . That's what the report says yeah .Project Manager: Somm .Marketing: Um and then it's got a demographic breakdown on {disfmarker}Industrial Designer: Maybe y y you cannot put this webpage online on the {disfmarker}Marketing: Uh I should be able to actually , if Iemail it to you now .User Interface: You can disconnect it thereProject Manager: {vocalsound} You can maybe just just {disfmarker}User Interface: no ?Marketing: Oh no , yeah .Industrial Designer: Ah it's{vocalsound} it okay it's a webpage on the C_ it's a fileMarketing: Yeah .Industrial Designer: okay .Marketing: Um , s hang on .Industrial Designer: O otherwise you yeah . You can connect this one .Project Manager:{gap}User Interface: Then you can connect this one or this one yeah .Project Manager: {vocalsound}User Interface: All to your computer .Industrial Designer: Yeah .Marketing: Well .Industrial Designer: So these areimportant numbers that Matthew and I need to take into account for our functional um {disfmarker}User Interface: Oh yeah .Project Manager: {gap}Marketing: Oh I need to muck around with this . It's probably easierif you put it on yours and then I'll just email it to you . It's just a web link .Project Manager: Hmm .Industrial Designer: Yeah {gap}User Interface: Okay .Industrial Designer: Yeah these numbers have have to be haveto be taken into account for the uh both yeah user interface and functional design .User Interface: Hmm . {vocalsound} Yeah .Marketing: One thing it goes on to talk about , which is interesting , is the {disfmarker}hang on a minute .Industrial Designer: Because if there are many numbers and we need to select to to constraint uh our design based on what is more important .Marketing: Mm-hmm . Yep .Project Manager: Mm-hmm.Marketing: Um , one thing is interesting is talking about um speech recognition in a remote control .Industrial Designer: Speech recognition in {disfmarker}Marketing: And who would pay more for that and whetherpeople would find it useful .Project Manager: D do you have numbers o o on that ?Industrial Designer: Ah okay .Marketing: Yes , I'll just get this up .Industrial Designer: So that we don't {disfmarker} Do we not needany button on the remote control {vocalsound}Marketing: Well potentially yeah , um {disfmarker}Project Manager: {vocalsound}User Interface: {vocalsound}Industrial Designer: it would be all based on speech.Marketing: I think even for interestiIndustrial Designer: Okay . Interesting idea .Marketing: yeah I think that would not work so well . You wanna have both options .Industrial Designer: Okay .Project Manager: Well itwould it would be a solution for uh when your remote control is lost ,Marketing: Mm-hmm .Project Manager: I mean when it has speech recognition then uh i then it doesn't matter where it is , my {disfmarker} well it's{disfmarker} we should be in range ,Industrial Designer: Yeah .Marketing: Mm .Project Manager: or maybe it can respond and produce sound , so say where it is . But the these are all quite fancy featuresIndustrialDesigner: Yeah .Project Manager: I'm not sure whether we will we can make this for {vocalsound} for twelve Euro fi and fifty cents {vocalsound} .User Interface: Well it would be fMarketing: Yeah .Industrial Designer:Yeah .User Interface: No you can't .Industrial Designer: And we don't know where the state of the art of speech recognition is , maybe you know ?User Interface: Oh . Well , {vocalsound} it depends you know like thereis uh it's a very small vocabulary that you want to do the operations like you want to say on , off , one , two , twenty three ,Project Manager: Mm .Industrial Designer: But it's quite noisy if there is the T_V_ uh shouting.Marketing: Mm .User Interface: yeah .Marketing: Yeah .Project Manager: Yes ,User Interface: It's it's going to be liProject Manager: that that that that's mm .User Interface: it's not going to be s so easy but u usuallyit's going to be more of an isolated caseProject Manager: Do you have some more important factsUser Interface: but it's {disfmarker} but I don't know with twenty fiMarketing: Um {disfmarker}Project Manager: or canwe go to the next presentation ?Industrial Designer: Okay . SoMarketing: Well {disfmarker}Industrial Designer: you had to to to summarise maybe the {disfmarker}Marketing: This is now talking about um who wouldpay for speech recognition in a remote control , who would pay more for it , um . Ninety percent of the fifteen to twenty five year old market said that they would pay more , it goes down from there , seventy six percentfor twenty five to thirty five , thirty five percent for thirty five to forty five , um twenty two percent for forty five to fifty five and then eight percent for fifty five to sixty five .Project Manager: Mm .User Interface: Okayit's uh decline .Marketing: Yeah .User Interface: Okay .Marketing: But we shProject Manager: Mm-hmm . Decline with age , mm .Marketing: Yeah , it really depends where we're gonna be targeting this product , um,User Interface: {vocalsound}Project Manager: Mm . {vocalsound}Marketing: which we'll be talking about later I think .Industrial Designer: Mm .Project Manager: Yes . We will talk about it later .{vocalsound}Marketing: Did you get the email ?Project Manager: Okay . {vocalsound}Marketing: Yep , that one .Industrial Designer: Mm-hmm .Marketing: Just follow that link .Industrial Designer: {gap} I thi{vocalsound} You usMarketing: It'll be in a different window , yep .Industrial Designer: yeah yeah .Marketing: That's {disfmarker} left {disfmarker} that one .Project Manager: {vocalsound}Marketing: Yep .IndustrialDesigner: Okay perfect . .. .Marketing: Mm . So that's the figure that I was just talking about there , with the different demographics .User Interface: Okay .Marketing: Another thing it's talking about there is theL_C_D_ screen but there's no figures apparently on that .Project Manager: Mm . Okay . {vocalsound} umIndustrial Designer: Mm 'kay .Project Manager: Uh maybe uh Mael c c can you give uh uh your presentation uh?Industrial Designer: Yeah . Mm I okayProject Manager: Oh ,Industrial Designer: I stay {disfmarker}Project Manager: this is {disfmarker}User Interface: Now you can move I think yeah .Project Manager: Mm-hmm , yy you can move , uh .Industrial Designer: {vocalsound} I can move as far as {vocalsound} {vocalsound} Maybe I take your chair ?Project Manager: Yes . You can you can sa take my chair .Industrial Designer: I okay{vocalsound} .User Interface: It's a channel selection , a module {gap} , this and this function ,Marketing: Sorry ? Oh .User Interface: go to the {gap} . Yeah .Industrial Designer: So I think as everybody knows uh I'mthe uh Industrial Designer . And uh in this presentation uh this group presentation um {vocalsound} is gonna focus on the working design of the the remote control . Um I'd like first to give a quick a very simpleintroduction , how does it work , so that everybody knows even if you don't have a very uh technical background uh what is it because I think in the product it is important .Marketing: Mm . {vocalsound}IndustrialDesigner: So basically um the basic function of a remote control is to send uh messages to another system that is fixed .Marketing: Mm-hmm .Industrial Designer: And so an energy source feeds an integrated circuit ,the chip , that can compose messages , usually uh through a um infrared bitMarketing: Mm-hmm .Industrial Designer: and uh the user interface controls the chip and accordingly the the messages , alright . So mymethod for um designing the yeah the work design uh yeah first {vocalsound} the the main point is that I would wish to to make a really functional product . I would prefer to have very functional um capabilities ratherthan fancy stuff that in fact is not used and doesn't work .Marketing: Mm-hmm .Project Manager: Mm .Industrial Designer: So for that yeah as it's important to take into account the user requirements from theMarketing uh Expert uh AnnaMarketing: Mm-hmm .Industrial Designer: and um w to to we should agree on what are the technical functions uh for this remote control and I show you the the working design . So umbasically uh here is a really large view of what we want {vocalsound} . Uh we want an on off button , it can be uh {disfmarker} it's simple but it's it's important , and also uh {gap} the to both channels as well as otherbuttons that come after ,Marketing: Mm .Industrial Designer: right . So the components I quickly draw here , is that in this part you have the remote control the the sender and on the other part the receiver so that's{disfmarker} my method is um will be to well my aim would be to uh design the and choose the chips and the infrared um components to build the remote controlMarketing: Mm-hmm .Industrial Designer: right .ProjectManager: Mm-hmm .Industrial Designer: So of course we need energy sources and uh uh the receiver a a receiver . This is {vocalsound} very quick uh design , uh you stop me or interrupt me if uh you don't agree on iton that .Project Manager: Mm-hmm .Industrial Designer: And um so what I have found and {vocalsound} after a lot of work actually I {vocalsound} I draw this I draw for you this uh schemaMarketing: {vocalsound}Well . {vocalsound}Project Manager: Uh-huh .Industrial Designer: that can be maybe too technical for you but is very important for meMarketing: You drew it a long time ago ?Industrial Designer: you know .ProjectManager: Is huhMarketing: Ninety one . {vocalsound}Industrial Designer: {vocalsound} {vocalsound} {vocalsound} And uh that's it so I won't go into details about thatProject Manager: overwhelming {vocalsound}.Marketing: {vocalsound}Project Manager: No .Industrial Designer: but uh these are my preferences to use uh that kind of components .Project Manager: {vocalsound} And and why do you want these kind ofcomponent ?Industrial Designer: So . SoProject Manager: I mean , are they cheap , or are they uh reliable ? What were your {disfmarker}Industrial Designer: found and yeah th you have always a compromise with uhreliability and uh i if it's expensive ,Project Manager: Mm .Industrial Designer: but uh this one was not this one also really uh reliable um so yeah that's it for the working design , uh I hope you get clearer view on uhwhat what a remote control is uh in terms of uh technical componentsProject Manager: Yes . It it it's more clear now I think .Industrial Designer: but maybe yeah {disfmarker}Project Manager: So {vocalsound}{disfmarker}User Interface: But is it uh can you just buy it on the market and f plug it in or you want to maIndustrial Designer: No no no no we we will uh {disfmarker} This is a preference but we can always change uh{disfmarker}Project Manager: Mm-hmm . What I w what I was thinking about uh the the the schema uh about uh the sender and the receiver , I mean can you can you get back to it ?Industrial Designer: Yeah .ProjectManager: {vocalsound} Yeah uh , the receiver is of course already in the television and we are not uh able to change it . So we we must adapt to the to the receiver .Industrial Designer: Of course yeah .ProjectManager: I I suppose there is a standard uh way of communicating to televisions uh .Industrial Designer: Yeah . We will use uh {vocalsound} infrared protocol uh using {vocalsound} yeah infrared and uh and of coursewe need to adapt to that protocol that already existsProject Manager: Mm-hmm .Industrial Designer: and but we what we can do is uh uh adapting {vocalsound} the the chips inside uh to the best uh chips and uhinfrared bubbles .Project Manager: Mm . Mm . Mm . Mm . Yes . Okay .Industrial Designer: Um . Okay . {gap}Project Manager: Thank you .User Interface: Well it to du it's just you had to change the frequencies.Industrial Designer: The frequencies ?User Interface: Yeah .Industrial Designer: Yeah yeah . Of course yeahUser Interface: {vocalsound} But you should be careful ,Industrial Designer: in the chip you have it yeah.User Interface: people are sometime becoming problem , like a guy has recently designed a remote uh uh uh which could switch off any other T_V_s {vocalsound} , so basically {gap} through all the things .IndustrialDesigner: That can control o other things . Yeah .Marketing: Ah .Project Manager: Mm .User Interface: So maybe we should think of {vocalsound}Marketing: {vocalsound}Industrial Designer: Of course yeah we shouldtake that into accountMarketing: That's handy .Project Manager: Yeah yesMarketing: So if the b T_V_ in the next apartment's really loud , you can just turn it off .Project Manager: I I I {disfmarker}User Interface: yeah.Industrial Designer: in the uh {disfmarker}User Interface: {vocalsound} Yeah so you can just go on the street and then switch off everyone's T_V_ {vocalsound} and you can just walk away {vocalsound}IndustrialDesigner: {vocalsound}User Interface: You don't have to be near the T_V_ at all {vocalsound} .Marketing: Yeah . I like that idea .Project Manager: I I feel I I I think M Mael will will consider this uh th these things .UserInterface: {vocalsound}Project Manager: Maybe Maybe we can go to to your presentation uh Matthew .User Interface: YeahProject Manager: I I I assume you were finished here .User Interface: so {vocalsound}.Industrial Designer: Yes .Project Manager: Uh okay .User Interface: Okay . {vocalsound} So I can take I think mine now there .Industrial Designer: Okay .User Interface: Okay so voila .Marketing: {vocalsound}UserInterface: Hmm I can take mine it's okay , voila , mm so mm . Okay .Project Manager: Oh . I {disfmarker} Uh , sorry ? I know where it is .User Interface: It's on the desktop .Project Manager: It's uh {disfmarker}UserInterface: Technical function .Project Manager: Yes .User Interface: Okay .Project Manager: It's uh {disfmarker}User Interface: Like so .Project Manager: {vocalsound}User Interface: Well . So um I'm going to talk alittle bit about the technical function so wha what actually it's about what is the user going to do , I think my last presented what is going inside ,Marketing: Mm-hmm . Yep .User Interface: so what's the user is going tosee from the outside and how he is going to use it . So well the approach is that uh basically the idea is to send a message to the T_V_ set , as Mael has pointed , and it will be decoded by the T_V_ and usually we it iseasier to have uh keys or buttons with which people can uh press and then um changing a button will basically uh change the message which is being sent to the T_V_ and uh {vocalsound} umIndustrial Designer:Mm-hmm .User Interface: a and basically it sends an internal signal and decoded by the receiver . So p as um Anna has said that this ki people are interested in things which are you don't need to k press the keys ,people are can have a speech recognition but this is uh s a question which will we have to see later .Project Manager: Mm-hmm .User Interface: But in the present scenario is that you have certain keys and you press it"}
+{"doc_id":"doc_91","qid":"","text":"Project Manager: Yep . Soon as I get this . Okay . This is our last meeting . Um I'll go ahead and go through the minutes from the previous meeting . Uh and then we'll have a , the prototype presentation . {vocalsound}Um then we will um do an evaluation . Uh or we'll see what , what we need to have under the criteria for the evaluation . Then we'll go through the finance and see if we fall within the budget . Um then we'll do theevaluation , and then we can finish up after that with um any changes that we'll need to make , or hopefully everything will fall right in line . Um let's see , minutes from the last meeting . Um we looked at uh the thetrends . We had uh the fashion trends that people want a fancy look-and-feel . It was twice as important as anything else . Um they liked fruit and vegetables in the new styles . Um and a spongy feel . So we weretalking about trying to incorporate those into our prototype . Um they wanted limited buttons and simplicity . Um then we looked at the uh the method for coming up with our own remote . Um looking at other otherdevices . Um the iPod , we really liked the look of that . Um we also had uh the kid's remote for a simple idea . Um a two part remote , which was what were were originally looking at . Uh and then um there was talk ofspee uh speech recognition um becoming more uh predominant and easier to use . But I think we've still decided not to go with that . {vocalsound} Then we looked at the components um the materials for the case , thedifferent energy sources , the different types of chips , um and made a decision on what we were going to use to make our remote . Um and basically how , what were making for the prototype . So I'm going to leave itat that and let you guys take over .User Interface: The prototype discussion .Project Manager: The prototype yeah . Do you need a {disfmarker} this ?User Interface: No . {vocalsound}Project Manager: Okay .IndustrialDesigner: {vocalsound} Can try to plug that in thereUser Interface: There is our remo {gap} the banana .Marketing: {vocalsound}Industrial Designer: but {disfmarker}User Interface: Um {vocalsound} yeah basicallywe we st went with the colour yellow . Um working on the principle of a fruit which was mentioned , it's basically designed around a banana .Project Manager: {vocalsound}User Interface: Um but it would be held insuch a fashion ,Marketing: {vocalsound}User Interface: where it is , obviously it wouldn't be that floppy 'cause this would be hard plastic . These would be like the rubber , the rubber grips . So that's so that wouldhopefully help with grip , or like the ergonomics of it . Um but all the controlling would be done with this scroll wheel . You have to use your imagination a little bit . And this here represents the screen , where you ,where you'd go through .Project Manager: Very nice .User Interface: And the the simplest functions would be um almost identical to an iPod , where that one way ch through channels , that way th other way throughchannels . Volume up and down . And then to access the more complicated functions you'd you sorta go , you press that and go through the menus . It's that that simple . That just represents the infrared uh beam .That's a simple on and off switch . Um I don't know , we could use the voice . T that blue bits should be yellow , that that'd be where the batteries would be I suppose . And um {vocalsound} that's about it . It's assimple as you , we could make it really .Industrial Designer: Right .User Interface: Is there anything you want to add ?Industrial Designer: That's what we have there . That's plastic . Plastic covered with rubber . Wemight uh add some more underneath here . Maybe give it , give it a form . I mean you're supposed to hold it like that , but um just if you grab it , take it from somewhere ,User Interface: Yeah .Project Manager:Mm-hmm .Industrial Designer: so {disfmarker} yeah ,User Interface: Doesn't make much make much difference .Industrial Designer: you have some rub yeah .User Interface: You could work left-handed orright-handed I suppose .Industrial Designer: Exactly , {gap} use both . Might as well think about {disfmarker}User Interface: T the actual thing might be smaller .Industrial Designer: Th think about the button as well .Like either put either one {gap} one on either side orUser Interface: {vocalsound} Yeah .Project Manager: What but what's that button ?Industrial Designer: not do it at all . It's a quick on-off button .User Interface:Just the on and off .Project Manager: Uh , 'kay .Industrial Designer: That's umMarketing: {vocalsound}Industrial Designer: yeah I think it's pretty important . So you don't have to fiddle with that .Project Manager: 'Kay.Industrial Designer: Right ? Um that's not um {disfmarker}Project Manager: {vocalsound}Industrial Designer: I'd say a bit smaller would probably be nice . You wanna play with that over there .User Interface: Yeah.Industrial Designer: There you go .User Interface: It's you know it's flimsy 'cause it's made out of heavy Play-Doh ,Marketing: {vocalsound}Project Manager: Would you like to uh {disfmarker}Industrial Designer:Right .User Interface: but {disfmarker}Marketing: Pretty impressive .Project Manager: Well done .User Interface: {vocalsound}Marketing: {vocalsound} Kind of a banana .User Interface: And whether or not it wouldfall into the cost {gap} everything I suppose . With the scroll and the L_C_D_ .Project Manager: Well luckily we are going to find out . Or not luckily . Um do you have a marketing presentation for us .IndustrialDesigner: {vocalsound}Marketing: {vocalsound} I do . Okay . You guys are gonna help me do an evaluation of the criteria . Um . Okay . So first I'll just discuss some of the criteria that I found . Just based on the pasttrend reports that I was looking at earlier . And then we'll do a group evaluation of the prototype . And then we will calculate the average score to see how we did . Um so the criteria we're gonna be looking at are thecomplaints um that we heard from the users who were interviewed earlier . So we're gonna be doing it based on a seven point scale . And one is going to mean true , that we did actually achieve that . With seven beingfalse , we did not achieve that . {gap} . Okay . So for the first one , we need to decide , did we solved the problem of the users who complained about an ugly remote ? {vocalsound}Industrial Designer: {vocalsound}{vocalsound} .User Interface: {vocalsound}Project Manager: I think it's definitely different than anything else out there .User Interface: {vocalsound}Marketing: Mm .User Interface: Yeah .Project Manager: So if theythink that what is out there is ugly , then yes I would say , I would say most definitely .Marketing: {vocalsound}User Interface: I would {gap} .Project Manager: It's bright .User Interface: It's bright . It's{disfmarker}Project Manager: It still has your traditional black .User Interface: It's curved . It's not {disfmarker} there's no sharpIndustrial Designer: {vocalsound}User Interface: angles to it .Project Manager: Yep ,not angular .Marketing: Mm .Industrial Designer: I'd say , when it comes to the ergonomics , the form and stuff , yes that's definitely more beautiful than your average .Marketing: {vocalsound}Industrial Designer:However the colour , we don't have a say in that .Marketing: Yeah I think the colours detract a little bit . {vocalsound}User Interface: Some people might say it . Yeah .Industrial Designer: That has been , that has beendictated pretty much by the company .Project Manager: Mm .Industrial Designer: So uh to answer that honestly I would rather say like uh , we have not solved the problem completely with the ugly remote because thecolour is ugly , definitely .Project Manager: {vocalsound} Yep .Marketing: That's true . Yeah .Project Manager: {vocalsound}User Interface: Yeah .Industrial Designer: 'S nothing you can say about that . I mean I muchprefer something like brushed chrome with that form .User Interface: Yeah .Industrial Designer: But {disfmarker}Project Manager: Yeah something more modern to go {disfmarker} a a modern colour to go with themodern form .Industrial Designer: Right . Right . It's different . You don't want your uh three feet huge L_C_D_ dis display in your living room that's hanging from the wall to be controlled with something like that.Marketing: Um okay so , do you think , since we {disfmarker} This was a a sign criteria , do you think maybe we should put it somewhere in the middle then ?Industrial Designer: Yeah .Marketing: Does that soundgood ?Project Manager: Yeah .User Interface: Yeah .Industrial Designer: {vocalsound}Marketing: What do you think ? Three ? Four ?Project Manager: I would sayMarketing: Five ?Project Manager: four .{vocalsound}Industrial Designer: Yeah . {vocalsound}Marketing: {vocalsound} Four is fair . Okay .Project Manager: Very non-committal , four .Marketing: Okay , the second one . Did we make it simple for new users?Industrial Designer: It's very intuitive , I think yeah .User Interface: Yeah . I think that was the main aim , one of the main aims that we had .Industrial Designer: {vocalsound} S give it a one .Marketing: One ,ProjectManager: Yeah .Marketing: 'kay . Okay . Um , do the controls now match the operating behaviour of the users ?User Interface: Uh yeah . 'Cause we've we've brought it down to basically four controls {gap} mostcommon , which are channel and volume .Marketing: I'd say that {disfmarker}Project Manager: Mm-hmm .Industrial Designer: Right .User Interface: And then the other ones are just a matter of just going , justscrolling further .Project Manager: S scrolling through and selecting a few .Industrial Designer: Right . So that's a one .Marketing: So one ?Project Manager: I think that's a one .Marketing: Yeah ? {vocalsound} Okay .Okay um the fourth one . How about the problem of a remote being easily lost ? One of the number one complaints .Industrial Designer: Something that big and that yellow you just don't lose anymore .ProjectManager: {vocalsound}User Interface: {vocalsound} Yeah .Marketing: {vocalsound} Whether you want to or not , you're not gonna lose it . {vocalsound}User Interface: It's bright yellow .Industrial Designer:{vocalsound}User Interface: Bright yellow's hard to lose . But um if we were to , if we were , that , the speech recognition . That , we could maybe just use that solely for the the finding thing . That was what we'd we'dmentioned .Project Manager: So if we incorporate speech recognition into it then it could {disfmarker}User Interface: Just just to use , to find it when it was lost . But like I said , like I don't think you'd lose somethingso yellow so easily .Industrial Designer: Oops . Hmm .User Interface: And it's not gonna fall , like a rectangle would slip down behind things . That's gonna be a difficult shape to {disfmarker}Industrial Designer: Wellwhat {disfmarker}Project Manager: And it is quite bright and {disfmarker}User Interface: Yeah .Marketing: {vocalsound}User Interface: Maybe in the middle again , three or four or something ?Project Manager: Uh{disfmarker}Industrial Designer: SMarketing: Okay .User Interface: I mean you know {gap} loo losing things is one of those things that people can lose , I mean a million ways .Project Manager: Yeah .User Interface:You can pick it up and walk away with it and then you've lost it .Industrial Designer: Mm .Marketing: That's true .Project Manager: But if we do go with the , with the speech recognition , then it , then our scale goes upquite a bit I think .Marketing: Mm .Industrial Designer: Oh yeah . You probably {disfmarker}User Interface: Yeah .Project Manager: Probably two . You know . If we eliminate the fact that you know it's impossible toguarantee that it's not gonna be lost thenUser Interface: Yeah .Industrial Designer: Mm .Project Manager: I'd say two .Industrial Designer: {vocalsound}Marketing: {vocalsound}Project Manager: With the speechrecognition , which of course may be changed depending on budget .User Interface: Yeah .Industrial Designer: Y you could add an extra feature actually . Which makes this thing raise hell when you remove it too farfrom the television .User Interface: Yeah .Industrial Designer: We could add that but that's nothing we have thought of so far .Project Manager: Which , which may be cheaper than speech recognition if it were just a{disfmarker}Industrial Designer: Yes .User Interface: Yeah true . But I mean d just those whistling , clapping key rings you have . They're cheap .Marketing: Annoying alarm or something ?Project Manager:{vocalsound}Industrial Designer: It's it's {disfmarker}Marketing: Yeah .User Interface: So it can't be thatIndustrial Designer: Um the {disfmarker} it's based on this anti anti-theft technology for suitcases and stuff,User Interface: expensive .Project Manager: Some sort of proximity {vocalsound} {disfmarker}User Interface: Yeah .Industrial Designer: where you have one piece that's attached to your luggage , another piece thatstarts beeping . That can't cost much .User Interface: Yeah .Industrial Designer: So that can also easily be integrated because these things are small enough to to hide , so you have one piece , you have to gluesomewhere behind your {disfmarker} stick it behind your T_V_ and the other {disfmarker}User Interface: {gap} stick it on the T_V_ {gap} .Project Manager: {vocalsound} Pray that you don't accidentally lose thatpiece . {vocalsound}Industrial Designer: Right .User Interface: {vocalsound}Marketing: {vocalsound}Industrial Designer: That'd be tough then . {vocalsound} Well also your remote would uh alarm you if somebodystole you t your television , yeah . Ran off with it without taking the beautiful remote control .Project Manager: {vocalsound}User Interface: Yeah . {vocalsound}Marketing: So . Are we adding one of these two features?Industrial Designer: Let's add one of those features and say yes . {vocalsound}Marketing: {gap} gonna say {disfmarker} okay .Project Manager: Okay .Marketing: So we're {vocalsound} back to a one ?UserInterface: Two .Marketing: Or a two ?Project Manager: Two .Industrial Designer: Two .Marketing: Two , 'kay . Okay . Are we technologically innovative ?Industrial Designer: Uh {disfmarker}User Interface:{vocalsound} I'd say so .Industrial Designer: {vocalsound}User Interface: Uh don't get many mo remote controls withIndustrial Designer: It's all just {disfmarker}User Interface: screens on .Industrial Designer: It's alljust stolen technology when it comes down to {disfmarker} {vocalsound} {vocalsound}User Interface: Yeah it's stolen technology .Marketing: From iPod yeah . {vocalsound}Project Manager: It's {disfmarker}{vocalsound}User Interface: But we have {gap} .Project Manager: But there's not a lot of yellow , there's not a lotta yellow .Industrial Designer: rightMarketing: But for remotes {disfmarker} yeah .Project Manager:Course that wasn't really {disfmarker}Industrial Designer: rightUser Interface: FaIndustrial Designer: right right .Project Manager: we were kinda forced to take that colour .Marketing: Two ? Three ?User Interface:{gap} 'cause it's stolen .Project Manager: I don't know that we are that innovative , to tell you the truth . {vocalsound}User Interface: No maybe not .Industrial Designer: Yeah not really .Marketing: But how manyremotes do you see like this ?User Interface: {vocalsound}Project Manager: If we added the screaming factor {vocalsound} then we go up .Industrial Designer: {vocalsound}Marketing: Not so many .IndustrialDesigner: {vocalsound}User Interface: {vocalsound}Marketing: {vocalsound}Project Manager: {vocalsound} Um I would say we're probably at four .Industrial Designer: Right .Marketing: Really ? Okay . {vocalsound}That's gonna hurt us .User Interface: {vocalsound}Marketing: Okay . Um spongy material ?Industrial Designer: Yeah well you have that , kind of , sort of .Project Manager: We have some spongy , yeah .User Interface:Yeah as much as as needed , I think .Marketing: 'Kay .Industrial Designer: It's not a one though .Project Manager: No .Industrial Designer: One would be the whole thingProject Manager: Yeah . Because it's only gotwhat , these parts are the grips and perhaps the back side {disfmarker} the bottom {disfmarker} the underneath on the back .Industrial Designer: to fold and stuff . Yeah .User Interface: Yeah .Industrial Designer: Sothat's a four at most .Project Manager: Probably a four at most . Possibly even a five .Marketing: And lastly , did we put the fashion in electronics ?Project Manager: {vocalsound}Industrial Designer: Y yes .UserInterface: Yeah .Marketing: I'd say we did .Project Manager: If your fashion is b is Carmen Miranda , you betcha . {vocalsound}Industrial Designer: More {disfmarker} {vocalsound}User Interface: Yeah .{vocalsound}Marketing: {vocalsound}Industrial Designer: {vocalsound} Well the recent fashion is rather displayed in the in the L_C_D_ and the way you operate it than the form and the colour ,User Interface: On the{disfmarker}Project Manager: It's true .User Interface: Yeah .Industrial Designer: but it definitely is {disfmarker}User Interface: Be what we were told , and they'd say yeah , definitely .Industrial Designer: {gap}.Marketing: 'Kay . Alright . Now we just gotta calculate . Six eight twelve sixteen . Seventeen divided by sUser Interface: {gap} .Project Manager: Seven is {disfmarker}Marketing: Eight .Project Manager: Two point{disfmarker}Marketing: {vocalsound}Project Manager: {gap} two point four ?User Interface: Is that some long division ? No .Project Manager: Something .Marketing: Well I haven't done math in years .IndustrialDesigner: {vocalsound}Marketing: What two {disfmarker}User Interface: {vocalsound}Marketing: {vocalsound} I dunno .User Interface: Just , I'm sure there's a {gap} .Marketing: Okay we'll say two point four two .Right ? How does that look ?Industrial Designer: I'm impressed . I can't do that without a calculator . {vocalsound}User Interface: No I can't do long {gap}Marketing: {vocalsound} It's been a while .User Interface:very impressive .Project Manager: And what what is the acceptable criteria ? Is there like a scale that we have to hit ?Marketing: Oh no . They just told me toIndustrial Designer: {vocalsound}Marketing: {vocalsound}pick my own criteria and have you guys evaluate it {vocalsound} basically .Project Manager: {vocalsound} Alright then .Marketing: So that's that .Project Manager: Okay . Well , let's see .Marketing:{vocalsound}Project Manager: Now we get to do the budget numbers . You didn't know that you were gonna have a budget . But we do . Okay .User Interface: Yeah . Yeah so . You'd been going a long time dividingthat . It's two point four two eight five se it just keeps going on .Marketing: Oh my god .User Interface: Two point four two basically .Marketing: Okay . Yeah we'll go with that .Project Manager: So I have here an{disfmarker}Industrial Designer: {vocalsound} Fifty percent , you're kidding .Marketing: Not too shabby .Project Manager: Yeah .Industrial Designer: {vocalsound} PProject Manager: We want a fifty percent profit onthis . Oh you can't really see that very well .User Interface: {vocalsound} Charge about three hundred quid for it .Project Manager: {vocalsound} Twelve and a half Euros is what supposed to cost us . Okay , so{disfmarker}Industrial Designer: It's too much .Project Manager: Well let's see .Industrial Designer: Um {disfmarker}Project Manager: The f the {disfmarker} Wonder if I can make this {disfmarker}IndustrialDesigner: Uh {disfmarker}Project Manager: What the {disfmarker} {vocalsound} Oh it won't let me do that . Okay . Alright so at top , I don't know if you guys can read that or not . I can't 'cause I don't have myglasses on ,Industrial Designer: {vocalsound}Project Manager: but so we've got the energy source . There's uh four , five , six categories .Industrial Designer: Battery .Project Manager: We have energy source ,electronics , case . Then we have case material supplements , interface type , and then button supplements . Okay so {disfmarker} Uh first of all energy source , we picked battery . Um and how many batteries do wethink this will probably take ?User Interface: {vocalsound}Project Manager: Probably some e either two or four .Industrial Designer: Two .Project Manager: Two ? {vocalsound} Like it . {vocalsound}Industrial Designer:At four it's gonna be too heavy , so that that's not our problem . People can change it every month .Project Manager: {vocalsound} Excellent .Industrial Designer: {vocalsound} They won't know until after they boughtit .User Interface: {vocalsound}Marketing: {vocalsound}Project Manager: This is consumerism .Industrial Designer: {vocalsound}Project Manager: Alright so for the electronics our choices are simpl simplechip-on-print , regular chip-on-print , advanced chip-on-print , sample sensor , sample speaker .Industrial Designer: {gap} .User Interface: We're advanced chip are we ?Industrial Designer: That's the advanced"}
+{"doc_id":"doc_92","qid":"","text":"Project Manager: Mm-hmm ? Okay . Ooh .User Interface: {gap}Industrial Designer: So we're 'kay ? On the {gap} or {disfmarker} No . I dunno where to put it 'cause the {disfmarker} Okay . Could you s take it off ?{gap} .Marketing: Is that alright ? {vocalsound} {gap} or {disfmarker} Okay .Industrial Designer: Okay .Marketing: Keeps coming off . 'S fiddly .Project Manager: Hmm . {gap}Marketing: {vocalsound} Right .ProjectManager: How do we sta wa how do we start ? Does anybody know ?Marketing: Oh , another one .Project Manager: So that's this {disfmarker}Industrial Designer: {vocalsound}Project Manager: Oh okay , right.Industrial Designer: Are we free to take notes uh {disfmarker} Okay .Project Manager: Uh {vocalsound} {gap} . {vocalsound} {gap} . Hmm . Okay , just hang on a second everybody . I haven't actually looked at thisyet .Marketing: {vocalsound} Ah .Project Manager: {gap} um {disfmarker}Marketing: Very nice .Project Manager: I haven't looked at it , but let's just start it off and we'll see what happens . If you're all ready .UserInterface: Yeah .Project Manager: So {gap} is the agenda ? Opening , acquaintance , tool training and project plan , discussion and then closing . Project aim is a new remote control . It's original , uh trendy and it'suser-friendly .Marketing: 'Kay .Project Manager: Project method , functional design , individual work , another meeting , conceptual design , individual work , and a meeting of details design , individual work and ameeting . Tool training . Try out the whiteboard , every participant should draw their favourite animal and sum up their favourite characteristics of that animal .Marketing: Okay .Project Manager: Um . Uh Miss IndustrialDesigner , would you like to go first ?Industrial Designer: Okay . So are we supposed to bring the little things for the {disfmarker}Project Manager: Yeah , why don't you just c , I think just clip on {disfmarker}clipMarketing: {vocalsound}Project Manager: {disfmarker} do you have a belt ?Industrial Designer: Mm .Marketing: Clip {gap} .Project Manager: Or put 'em in your pocket , yeah .Industrial Designer: Yeah .{vocalsound} {gap} okay . So my favourite animal {disfmarker}Project Manager: Yeah , what's your favourite animal ?Industrial Designer: 'Kay um {disfmarker}Marketing: Ah .Project Manager: Is it rude ?Marketing:It's an elephant . {vocalsound}User Interface: {vocalsound}Project Manager: That's a very good elephant .User Interface: The back end of an elephant .Marketing: Oh my gosh , I'm never gonna be able to draw thatwell . {vocalsound}Project Manager: 'Kay , and you want to write up on there , it says you've gotta sum up your f f your favourite characteristics of that animal .Industrial Designer: Um {vocalsound} okay , it's big , it'sgot a great memory .Marketing: Does it ? Oh .Industrial Designer: Supposed to have a great memory , we say an elephant never forgets .Project Manager: Mm .Marketing: Mm .Industrial Designer: And uh dunno knowwhy but {vocalsound} looks like nice to me .Project Manager: Okay . Wonderful , well done .Industrial Designer: Nice animal .Project Manager: Do you want to use the wipe {disfmarker} the m the wiper and wipe it off?Industrial Designer: Okay .Project Manager: And Mister aesthetics designer do you wanna go next ?User Interface: {vocalsound} Aesthetic yep , sure .Marketing: I have no idea what my favourite animal is .UserInterface: 'Kay , my favourite animal ,Marketing: {vocalsound}User Interface: uh let's see .Marketing: Oh .User Interface: Dunno if any of you have seen Napoleon Dynamite before .Marketing: It's {disfmarker}UserInterface: It's a liger {vocalsound} ,Project Manager: No .Marketing: A what ?User Interface: a combination of a lion and tiger {vocalsound} .Marketing: Alright .Project Manager: {vocalsound}Industrial Designer:{vocalsound}User Interface: Have you not seen Napoleon Dynamite ?Marketing: How {gap} .Project Manager: No .Industrial Designer: No .User Interface: Oh it's a hilarious movie .Marketing: No .User Interface: Youhave to see it . And and it's best characteristic is it's pretty much the awesomest animal . But you have to see the movie to fully appreciate it . {vocalsound}Project Manager: Okay , well done .Marketing: Great . Me?Project Manager: Yeah . Miss mar Miss Marketing ?Marketing: Okay . Not quite sure how this is gonna work .User Interface: There {gap} go .Marketing: {vocalsound} Cool . {vocalsound} Uh {vocalsound} well I'll trymy best {vocalsound} to draw . Can I just draw the face ?Project Manager: Um yeah , I think you can just draw the face , but then you'll have to describe in writing how the rest of it looks . {vocalsound}Marketing: Ooh. It's a cat .Project Manager: That's a very pr pretty cat .Marketing: {vocalsound} Which also has what ? A big fat body and big {disfmarker} and a long tail .Project Manager: Okay , do y do you wanna do some{disfmarker} write {vocalsound}Marketing: {vocalsound} Why ?Project Manager: you wanna just write some words about it ?Marketing: Because um cuddly . And usually cats are very friendly . Usually . And they'rehealing as well . They heal . And they can feel when a human's got problems so {disfmarker}Project Manager: Wow , so they're kinda spiritual .Industrial Designer: {vocalsound}Marketing: So , that's why I like cats.Project Manager: Well done .Marketing: There we are , that's me . {vocalsound}Project Manager: Okay .Marketing: {vocalsound}Project Manager: Um , I don't actually have a favourite animal ,Marketing: Mm .ProjectManager: but for the for th for this meeting I'll s draw a little {disfmarker}Marketing: {vocalsound} Mm-hmm .Project Manager: Uh . I honestly can't draw for toffee . Uh .User Interface: {vocalsound}IndustrialDesigner: {vocalsound} Really ?Marketing: {vocalsound}Project Manager: Yeah .Industrial Designer: Oh that's a {disfmarker}Project Manager: {gap} noUser Interface: {vocalsound}Industrial Designer:{vocalsound}User Interface: A prairie dog ?Project Manager: {gap} no {vocalsound} uh {disfmarker}User Interface: {vocalsound} Oh a squirrel ?Project Manager: That's exactly what it is .User Interface:{vocalsound}Project Manager: Uh not a very good one {disfmarker} {vocalsound}Industrial Designer: Not bad I would say .User Interface: Yeah , that's pretty good .Project Manager: Okay , well , you got it's a s It's asquirrel , and I like them , because they're cute and stupid .User Interface: {vocalsound}Industrial Designer: Very good .Marketing: Ah .User Interface: Alright .Project Manager: Right . Okay , so , I guess that was thetest to see if this equipment is all working .Marketing: {vocalsound}Project Manager: Mm . Let's move on to the next page . Okay , project finance , selling price twenty five Euros , profit aim fifty million Euros.Marketing: Market range internationally sold .Project Manager: Yeah . Production cost , ah right it's gotta be {disfmarker} can't cost any more than twelve fifty to make .Marketing: Ah right okay .Project Manager:{gap} experience with with remote control , so talk about who who's used what . Any ideas ? Stuff like that . Next meeting starts in thirty minutes . {vocalsound} At quarter to twelve . {vocalsound}User Interface: So Ithink before we close uh , we are expected {disfmarker} I mean the last slide wanted us to maybe discuss longer what our what our ideas where . I mean if you wanna go back to the last slide . Uh {disfmarker}ProjectManager: Yeah .User Interface: SMarketing: Yeah .User Interface: Yeah , I think we're {disfmarker} I mean before we close the meeting , we're supposed to come up with some ideas for {disfmarker}Project Manager:Oh k so we're actually supposed to be doing this discussion like right now are we or {disfmarker}User Interface: Yeah .Marketing: Yeah .Project Manager: oh okay .Industrial Designer: Mm .User Interface: Yeah .ProjectManager: I thought this was just t giving us instructions for the re to do next , but {disfmarker}User Interface: Yeah , I think this is just the preliminary , get some rough ideas for what our experiences with remotecontrols have been and and what we would {disfmarker} roughly what we would incorporate into a new one maybe .Project Manager: Okay . Right , who's got experiences with remote controls then ? Pretty mucheverybody .Industrial Designer: {vocalsound} Yeah .User Interface: Yeah , I think we've all got {disfmarker}Marketing: Uh . {vocalsound}Project Manager: Um .Industrial Designer: Is this a T_V_ one we are supposedto make ?Marketing: Yeah . Yeah it's a T_V_ remote control .Industrial Designer: Okay .Project Manager: 'Kay um .Marketing: Well . {vocalsound}Industrial Designer: TMarketing: A new remote control for T_V_ . Whatwould I like ? {vocalsound} Um .Project Manager: W what {disfmarker} You want it big do you want it small . Are we are we going for like like telephones are going little teeny tiny things or we are going for somethingthat's that's big and {disfmarker}Marketing: Medium .User Interface: Mm . Yeah it seems like there's like {disfmarker} there's sort of a tension between two ideas , I mean , you want you want one remote that maybecan work uh all all of the functions of T_V_ and if you have whatever associated with T_V_ the D_V_D_ player , or something like that ,Project Manager: {vocalsound} Video and ts hi-fi and stuff .User Interface: but likeat the same time you don't wanna really busy remote with a thousand buttons on it or something .Project Manager: Maybe you {disfmarker} yeahUser Interface: Mm .Project Manager: now th that's the other thing isit's gotta be cheap .User Interface: Yeah .Project Manager: 'Cause I I I mean I was thinking something that's got different like maybe a a an L_C_D_ display on it that's got different pages for different devices,Marketing: {vocalsound}Project Manager: but that would p that would probably be quite expensive .Marketing: Mm .Industrial Designer: But how do we know how much uh , I mean , how much do we have per{disfmarker} how much ?Marketing: Twelve fifty .Industrial Designer: Twelve fifty . {vocalsound}User Interface: It g can't be more than twelve fifty per unit .Marketing: Each .Project Manager: Per unit , yeah .UserInterface: Cost .Industrial Designer: So do we have to be realistic within the budget or {disfmarker}Project Manager: Well at the moment we could , wa I mean we {disfmarker}Industrial Designer: Close pr I don'tknow how much it would cost . Yeah .Marketing: Guess {disfmarker}Project Manager: 'cause we this is what we th what we're doing at the moment is just saying what what we'd like , and then after we after we'vefound out what we can like , some different ideas , we can then go and do the research to find out if these {disfmarker} any of these ideas are feasible or not .Industrial Designer: Right .Project Manager: So would benice to have something that that controls lots of different things .User Interface: Yeah .Project Manager: Um .Marketing: Couldn't we have like one that comes out ? {vocalsound} Like so you have one in like{disfmarker} mmIndustrial Designer: Yeah .Marketing: it doesn't have to be really thick . I mean remote controls can be thin bits . And then you have one for your D_V_D_ and you sort of slide it out , and then youhave another one , you slide it out .Project Manager: {vocalsound} 'Kay .Marketing: {gap} have slides . And then it all comes compactProject Manager: Okay , that's {gap} .Marketing: into one . So it's not{disfmarker} you actually just putting three or four different remotes together but making them thinner , and um into one basically .User Interface: {vocalsound}Project Manager: Th that's an idea .User Interface: Yeah.Marketing: So you just flip them out .Project Manager: Okay .Industrial Designer: Um {gap} have uh one very complicated one on one side with {vocalsound} all the D_V_D_ and V_C_R_ access and stuff , and then onthe other side o {vocalsound} one uh a remote control that would be very very simple with just the channel , program plus and {vocalsound} minus , and the just the mute button , for example . I can real keep it reallyreally simple on one side and the other side be very complicated .Project Manager: One side for kids , one side for adults .Industrial Designer: Yeah .User Interface: {vocalsound} I'm not sure if that's like{disfmarker}Industrial Designer: Or grandma as well , you know it's like {vocalsound} what is the mute button .User Interface: I'm not sure if it's a good idea to have a two sided remote though , 'cause it would bevery hard to use in the way that you mani manipulate it .Industrial Designer: No , but you would slide it into uh someth like something on the back would hold {disfmarker} like you wouldn't be able to press the buttons, but {disfmarker}User Interface: Oh .Project Manager: Like it {gap}User Interface: Oh okay .Project Manager: or something like a flip telephone , something like that maybe . {vocalsound}User Interface: Yeah . Okay.Marketing: That would be cool .Project Manager: F flip it open and you've got all the buttons , or you flip it closed and you've just got the basic buttons on the outside maybe .Marketing: I was thinking that like a flip.User Interface: Mm-hmm .Project Manager: Um , oh we've got five minutes left .Industrial Designer: Start breaking up .Project Manager: But {disfmarker} okay .Marketing: Okay . Um .Project Manager: Well we've gota k we've got a few ideas there .User Interface: Yeah , we should uh {disfmarker}Marketing: {gap} .User Interface: I guess by the end of this meeting we should have at least a a rough conception {disfmarker} youknow {gap} stage one was technical functions design , what effect the apparatus should have . Okay . Um so I mean we still have time in our next meeting to come up with the actual concept for the user interface , butthe the functions that we're sure that we want are that it can control the T_V_ , but also devices connected to the to the T_V_ , I mean , be able to operateProject Manager: Yeah .User Interface: D_V_D_ players ,things like that .Project Manager: I have got {disfmarker} I think we should also have a back-up plan of {disfmarker} I {disfmarker} 'cause I I I just think that it might be expensive to make something that{disfmarker} I mean we don't , we haven't been told it has to be something that will control everything . We should have a back-up plan of just a really good television remote control , that just {disfmarker} that is justfor a T_V_ , but it's just a really good , nice one .User Interface: Yeah .Industrial Designer: Yeah .User Interface: Okay . Right .Project Manager: What do you reckon ? See 'cause , {gap} I'm just thinking {disfmarker}bearing in mind th we've gotta {disfmarker} we have to have something that's cheap to make .User Interface: Yeah , I mean {gap} . Yeah , that's true , maybe we should just concentrate on having a a good T_V_remote , and have it be umProject Manager: {vocalsound} I think we'll be able to come up with ideas and stuff a lot quicker .User Interface: have it be like ergonomic so it's comfortable to use ,Project Manager: Yeah.User Interface: uh simple to use , and looks decent and {disfmarker}Project Manager: May w you know , maybe even {disfmarker}Marketing: But what'll make it what'll make it interesting for people to buy though?Project Manager: Or maybe even so something that's for disabled peopleMarketing: I mean if it's if it's just like {disfmarker}Project Manager: or so people that uh b don't see very well or {disfmarker} big buttons for{disfmarker} touchy buttons for {disfmarker}User Interface: Sorta find a niche for our remote , like market it to a certain kind of p kind of people ,Project Manager: Yeah .Industrial Designer: Yeah .Project Manager: Orjust one that looks really fucking cool .User Interface: certain certain demographic {disfmarker}Industrial Designer: {vocalsound}User Interface: {vocalsound}Project Manager: {vocalsound}Marketing: Mm-hmm.Industrial Designer: {vocalsound} Could be really light or , I dunno , something special .User Interface: Yeah , no I think you're right . Yeah , rathe rather than focus on {disfmarker}Project Manager: Otherwise we'll bewe'll be here all day talking about {gap} do this let's do that n I think we sh I think we should {disfmarker}User Interface: Y {vocalsound} Yeah .Industrial Designer: Yeah , 'cause at the end of the day if it says justT_V_ remote , doesn't say com combination with all all the r {vocalsound}User Interface: Yeah .Project Manager: Yeah . I mean obviously everyone {disfmarker} we're uh you know uh sounds like we're all a bit sort ofgadget heads and we like things that do everything at once , but you know , that's {disfmarker}User Interface: {vocalsound} Remotes spinning out from other remotes and having little nested remotes inside .{vocalsound}Industrial Designer: {vocalsound}Marketing: {vocalsound}Project Manager: Yeah .Industrial Designer: {vocalsound}Marketing: Mm .Project Manager: Yeah , that's right . Yeah . I mean I'd like one thatmakes tea as well , but {vocalsound} that's not gonna happen .Industrial Designer: {vocalsound}Marketing: {vocalsound} I think a flip up thing , 'cause you always have this problem of like if it's on this {disfmarker}well I did anyway , like we had five or six remotes and they would be lying on the c on the coach , and you'd come and sit down and {disfmarker} ooh , the telephone's {disfmarker} the television switched on orsomething . So maybe something that like does have a lid or closes , so you don't accidentally press a button or record button for something .Project Manager: Okay , like a lock f like a lock functs function on it like youhave on your telephones , yeah .Marketing: Yeah . But make it like really snazzy and cool {gap} people will want it . So make it {disfmarker} Yeah .Project Manager: Yeah , it's gotta be sellable . Yeah .Marketing: Yeah.User Interface: Yeah , that's true what you were saying , I mean it doesn't have to have a flip function , it can just have a lock function , so that it's not uh not usable when you don't want it to be usable .ProjectManager: Yeah .Marketing: Mm .Industrial Designer: Mm .Project Manager: {vocalsound}Marketing: Yeah .Project Manager: Okay .Marketing: And even for kids as well . It's um it's safer for them , I guess . Like theydon't flick onto channels and all that sl flick onto . {vocalsound} {vocalsound}Project Manager: {vocalsound} No porn channel for children .Industrial Designer: {vocalsound}User Interface: {vocalsound}IndustrialDesigner: {vocalsound}Project Manager: Okay . Um alright ,Industrial Designer: Okay .Marketing: {vocalsound}Project Manager: so we've got some ideas , we've got um {disfmarker}User Interface: I guess that'sgood good for now .Project Manager: Let's move on .Marketing: Mm .Project Manager: Oops , let's close that . Next meeting , uh okay .Marketing: W What does I_D_V_I_D_N_M_E_ stand for ?Project Manager:Industrial Designer um which is {disfmarker}Marketing: Ah ri okay . {gap} these are requirement specification .Project Manager: Um .Industrial Designer: That's {disfmarker} Mm .Marketing: And I'm marketing.Project Manager: Yeah , there you go . {vocalsound} So {gap} {disfmarker} User Interface Designer , that's that'sUser Interface: That's me . Okay .Project Manager: that's you , so you gotta {gap} you go , you'reyou're gonna be the one that's working out what what buttons we need . Um .User Interface: Right . Right .Project Manager: Industrial Designer , you are the one {gap} , you know , you're gonna be working out kind ofbox it goes in , I guess so , um whether it's {gap} what goes into the box , somehow .Industrial Designer: Mm . Har how it works anProject Manager: And in marketing {disfmarker}Industrial Designer: BuMarketing:{vocalsound} These are requirement specification .Project Manager: User requirements specifications .Marketing: So what the user requiresProject Manager: Yeah , what {disfmarker}Industrial Designer: Do you thinkour two kind of overlap , because {disfmarker}Marketing: in a remote .Project Manager: Right , okay , yeah .User Interface: Yeah , it does seem like our our responsibilities have some overlap .Marketing: I guess that'swhat it says .Project Manager: You two {vocalsound} you two are gonna be just , I think , you just double up , you know , you {disfmarker} working together .Industrial Designer: Yeah .User Interface: Yeah .ProjectManager: You're the one that's gotta go and find out {disfmarker} do th do the research , see what people want in a remote , what buttons are used more often , and s stuff like that .Marketing: Mm .Project Manager:{vocalsound} Oh , we've been warned to finish the meeting now . Okay . Okay everyone , well done .User Interface: {vocalsound}Project Manager: Good meeting .User Interface: Alright , see you in thirty minutes.Project Manager: {vocalsound} Yeah .Industrial Designer: {vocalsound}User Interface: {vocalsound}Marketing: So {vocalsound} , do we take these off ?Industrial Designer: I don't {disfmarker}"}
+{"doc_id":"doc_93","qid":"","text":"Marketing: I wanna find our if our remote works .Project Manager: Me too . {vocalsound}Marketing: Oh . {vocalsound}Project Manager: Okay . Um here's the agenda for our last meeting .Marketing: Whoohoo .ProjectManager: Um after the opening we're going to have a prototype presentation , then we're going to discuss the evaluation criteria and the financing of our remote . Then we're going to evaluate the product and I thinkthe whole production process , and then we're gonna close it up , and we have forty minutes , so let's get started . Oh , no , let's have the prototype presentation .Industrial Designer: Mm 'kay ,User Interface:{gap}Industrial Designer: you ready ?User Interface: Um sure . You or me ?Industrial Designer: Y you read that stuff , since you wrote it .User Interface: Okay . Well , since our materials aren't exactly what we weregoing for , I'm just gonna translate what this all means for you .Industrial Designer: I'll be the Vanna .User Interface: {vocalsound} The base is gonna be gunmetal gray , which is what we had decided , and it's gonnabe plastic . Um then there's the latex cover , which is what you see as red . Um because it can be replaceable , we just kinda went with the colour .Project Manager: Right .User Interface: Um and then the buttons areactually kind of poking through rather than on top . Um and the buttons will be a l much lighter blue , almost see-through .Project Manager: Hmm .User Interface: It's just sort of a very pale blue and a light-up yellow.Marketing: That's nice .Project Manager: Yeah .User Interface: The whole thing lights up if you press any button , rather than it {disfmarker} just that one button will light up .Marketing: Good .User Interface: Um andthen at the bottom we have our logo . Um bright yellow sort of design with the R_R_ {vocalsound} which will actually look like our logo .Project Manager: {vocalsound} Great .User Interface: And then on the side youhave the buttons . {vocalsound} They're one button , but they kind of push up and down .Project Manager: Okay .User Interface: I don't think they're scrolling .Industrial Designer: No . They're just buttons .UserInterface: {vocalsound} Right , yeah . And then {disfmarker} yeah , the buttons .Industrial Designer: On off switch will be here and as you've noticed on our prototype um they've ended up with a curvature kind of , byconcave sort of thing , except for , you know , {gap} can't see underneath .Marketing: Yeah .Industrial Designer: So I'm hoping that when we get to production we can actually make them like that , because they'revery nice to stock {gap} you know , stick your finger in . Um the two squared buttons are are two probably least used , menu , mute ,User Interface: Thumb-shaped .Marketing: Yeah .Industrial Designer: and thenthese are the numbers , so our channel and our volume will be on either side .User Interface: Yeah . And then the last thing is just that it'll be black labelling on top , just which we didn't do . {vocalsound}ProjectManager: Okay . And did you determine um the curvature of the bottom part of it for the hand , is it gonna be a single or a double ?User Interface: {vocalsound}Industrial Designer: I'd say a single .Project Manager:Single . Single sounds good ,User Interface: Single .Project Manager: 'cause it's not big enough to really constitute a double .Marketing: Yeah .Industrial Designer: Yeah , it's only actually the size of my hand .UserInterface: Right .Project Manager: Great . Great . I think you did an awesome job .Marketing: Yeah , I think it's a beautiful {disfmarker}Project Manager: It is beautiful , and it's everything that we discussed .UserInterface: {vocalsound}Marketing: Yeah . Good job , you guys .Project Manager: Good job .Industrial Designer: Whoohoo .User Interface: Oh thank you . {vocalsound}Marketing: Those are really good .ProjectManager: Alright {vocalsound}Industrial Designer: {gap}Project Manager: what's next in our agenda ? Um we're gonna discuss the evaluation criteria , and that's with Courtney .Marketing: Okay , it's a PowerPointpresentation . I don't really know exactly what we should uh talk about . It's under evaluation .Project Manager: Right .Marketing: Alright . Um so these are the criteria we're gonna ask , is it easy to use , is itfashionable uh {disfmarker} yeah , I guess we should write these down so we can reference them .Project Manager: Mm .User Interface: Feel good meaning what ?Marketing: Like does it feel good , like{disfmarker}User Interface: Physically ,Project Manager: Right .User Interface: okay .Marketing: yeah , physically .User Interface: {gap}Project Manager: Sqi {vocalsound}Marketing: {vocalsound} {vocalsound}That's just for current trend .Project Manager: Right .User Interface: {vocalsound}Marketing: It doesn't really count , you guys .Industrial Designer: Yeah , it was a little difficult to incorporate the cover with the cherryfruit on it .User Interface: {vocalsound}Marketing: Yeah . But it's {disfmarker} so we do have removable covers , right ?Project Manager: Right .Industrial Designer: Yes .User Interface: {gap}Marketing: Yeah , wellthen that's covered .Project Manager: 'Kay .Marketing: And so we n k everybody have that ?Project Manager: I'll wait .Marketing: Yeah , she's got it .User Interface: Yeah .Marketing: It's good . Yeah . Okay so , we'reusing the criteria uh for a seven point scale , and so we need to discuss how we feel . It falls within this range , so for easy to use , do we feel it's very easy to use ?Project Manager: Are we going to indiUser Interface:True or false , easy to use .Project Manager: I say we individually rate {disfmarker} what do you say ?Marketing: You guys {disfmarker}Project Manager: Just orally .User Interface: {vocalsound} Yeah .ProjectManager: Why not ? We have {disfmarker} okay .Marketing: Okay .Project Manager: Um easy to use . I vote six .Marketing: Oh wait , that's false .Project Manager: Oh ,User Interface: {vocalsound}Project Manager:two .Marketing: Okay .Industrial Designer: I'd say two as well .User Interface: Yeah , two .Marketing: Two . That's what I say .Project Manager: Uh hello , we're great .User Interface: {vocalsound}Marketing: Okay ,fashionable ?Project Manager: {vocalsound} Um one .Industrial Designer: At the moment , no .Project Manager: No .Marketing: No . I mean like no , I think it's very fashionable .Project Manager: Me too , very chic .{vocalsound}Marketing: I thi I would give it a one .Project Manager: One , I give it a one .Industrial Designer: Okay .User Interface: {vocalsound}Industrial Designer: I'll give it a two , because at the moment it's notlooking that way .Project Manager: Oh , and ma it's a prototype ,Marketing: Well , that's that's just like {disfmarker} that's a clay , it's a prototype .Project Manager: right .User Interface: Mm I don't think it's thatfashionable .Marketing: What do you think ?User Interface: I'd give it like three or four .Project Manager: Well , now I'm {gap} .Marketing: Okay .Project Manager: So , the average is about a two .User Interface:{vocalsound} But then I'm not fashionable , soMarketing: Yeah , it's a two .Project Manager: Two or three . Two point five .User Interface: don't use my opinion .Marketing: That's okay . Yeah .Industrial Designer:Neither are all o all the customers we have , either .Marketing: {vocalsound} UmUser Interface: {vocalsound}Marketing: does it feel good ?Project Manager: Imagine , since we obviously don't have that .UserInterface: Does it feel good ?Marketing: I feel like {disfmarker}Industrial Designer: Uh the shape of it actually does uh .Project Manager: And it's i it is very ergonomically designed . It's gonna be curved .UserInterface: Yeah , it's gonna be thicker .Project Manager: Yeah .User Interface: Depth .Marketing: I think it feels good .Project Manager: I think so too .Marketing: I'll give it a two .Project Manager: 'Kay . Two .UserInterface: {vocalsound} I'll give it a one .Marketing: What do you say ?Industrial Designer: I'd say a two .Project Manager: Alright , average is two .Marketing: Okay .Project Manager: Is it technologically innovative ?Oh sorry I'm taking over your job here .User Interface: {vocalsound}Marketing: Oh no , it's fine ,Project Manager: Go right ahead . {vocalsound}Marketing: you're {disfmarker} I mean you're Project Manager.Industrial Designer: {vocalsound}Marketing: Um yeah , I mean and it {disfmarker} does it have voice {disfmarker} I mean the phrase recognition on it ?Project Manager: Yes . Right ? We were able to do it with thatkind of chip .User Interface: Oh right , the {disfmarker}Industrial Designer: We could do it with the chip , yes . It wasn't {disfmarker} we have no reflection of it on the prototype ,Marketing: And there's no way you canrepresent it on here . YProject Manager: Yeah , right .Industrial Designer: but that's because it's only two dimensions , really .Project Manager: That was {disfmarker} 'kay . And we discussed that being included .UserInterface: {vocalsound}Marketing: {vocalsound} Yeah , so .User Interface: Right .Marketing: Then yes , then I would {disfmarker} well it isn't {disfmarker} what else would it need for it to be technologically innovative?Industrial Designer: It {disfmarker}Project Manager: Well we don' have the {disfmarker} you know , we can't say channel , and it changes the channel , channel eight .Marketing: And it doesn't cover anything otherthen T_V_ ,Project Manager: Right .Marketing: so I'd probably give it a three .Industrial Designer: Yeah .Project Manager: Okay .Marketing: Even though it is {disfmarker} for just a T_V_ remote it's uh very advanced .But it is just a T_V_ remote .Project Manager: Yeah . I'd go for a three or four on that one , so {disfmarker}User Interface: Yeah I go four .Project Manager: okay , let's go for a three point five .User Interface:{vocalsound} {vocalsound}Industrial Designer: Three and an half .Project Manager: Alright , and the last criteria {disfmarker} is it is it um {disfmarker}User Interface: Squishy and fruity .Marketing: {vocalsound} Wellyeah , so I'd give it a two .Project Manager: Well , we've covered that with theUser Interface: It's just trendy , basically .Project Manager: trendy . Sure . Capable . Very capable .Industrial Designer: It's capable of beingsquishy and fruity .Marketing: Oh , it's very capable of being squishy and fruity .User Interface: {vocalsound} Okay .Project Manager: And {vocalsound} it's very important . 'Kay , there we go .Marketing: Yeah .ProjectManager: So .Marketing: Okay , next .Project Manager: Next . {vocalsound}Marketing: {vocalsound} So um our re model slightly resembling a giant delicious cookie appears to be a winner ,Project Manager:{vocalsound}Industrial Designer: {vocalsound}Marketing: and uh hopefully we'll sell millions . Good job , team . {vocalsound}Industrial Designer: {vocalsound} How did you get that in there ?User Interface:{vocalsound}Marketing: {vocalsound} {vocalsound} What ?Industrial Designer: The {vocalsound} slightly resembling a giant delicious cookie .Project Manager: {vocalsound} It does .User Interface:{vocalsound}Marketing: It {vocalsound} it does . {vocalsound}Industrial Designer: {vocalsound} That was good .Project Manager: {vocalsound} Very good .Marketing: Thanks .Project Manager: Alright , let's go backto this {disfmarker} {vocalsound} No , that's it . Hmm . Oops . Okay , so now uh we're moving on to finance , okay . I'm gonna show you an Excel spreadsheet and we're going to fill it in together based on whatcomponents we're including in our remote and see if it's under twelve fifty Euro . If so , we can proceed , if not , we need to go back to the drawing board a little bit . 'Kay ? So let me bring that up . Here we go . Alright .Um it's not hand dynamo , it's powered by battery , so we give it a {disfmarker}Industrial Designer: Yep .Marketing: Two .Project Manager: Number of components you plan to use . Do I just put quantity being onebattery , or {disfmarker} Yeah .Marketing: Yeah .Industrial Designer: Mm 'kay .Project Manager: But if it's a {disfmarker} do you wanna go for {disfmarker} this is where we need to make a final call on if it's a lithiumor do we wanna go triple A_s , 'cause triple A_s we're gonna have t do more than one battery . Oh , let's just go for a lithium . What do you say ?Industrial Designer: Yeah ,User Interface: {vocalsound} {gap}{vocalsound}Marketing: Yeah , let's let's do a lithium .Project Manager: {vocalsound} I think uh I think the people who purchase this are gonna be technologicallyIndustrial Designer: it's {gap} .Marketing: We're gonthat's gon Nologically advanced ,Project Manager: {disfmarker} right .Marketing: yeah .Project Manager: Okay , down to the electronics um section . We're gonna need this kind , correct , if we do the voice sensor,Industrial Designer: Yep .Marketing: Yeah .Project Manager: so one of those . It is a single-curved , so one of those .Marketing: Uh {gap} .Project Manager: Oh . What's that ? Yeah , that's correct .Marketing: Yeah.Project Manager: 'Kay , down here , case material .User Interface: It's plastic .Marketing: We {disfmarker}Project Manager: Plastic .Marketing: plastic .User Interface: And special colour .Marketing: And special colour.Project Manager: 'Kay . {vocalsound} Down here , interface type . We're gonna have the integrated scroll scroll wheel .User Interface: No , we don't have the scroll .Project Manager: Isn't {disfmarker}IndustrialDesigner: {vocalsound}Project Manager: oh those are just regular buttons .Industrial Designer: Well , that's the push-button too , right there .User Interface: Buttons .Marketing: But it's {disfmarker} Yeah ,ProjectManager: This ?Marketing: but i so iIndustrial Designer: Integrated scroll-wheel or push-button .User Interface: {vocalsound}Industrial Designer: We're really having just push-button interface .Project Manager: Okay ,so we can just go {disfmarker} um .Marketing: But will we w actually we'll need two , won't we ? One for the top and then one for the s one e for each side .Industrial Designer: But it {disfmarker} that just covers thetype of button we're having . Because we're not doing a scroll on the side , it's still push-button .User Interface: Oh like the {disfmarker} twenty nine means like you have both scrolls andIndustrial Designer:Push-button .Project Manager: Right I think she's {disfmarker}Industrial Designer: But we just have pushUser Interface: push-buttons .Marketing: Okay .User Interface: But we don't have any scrolls .Project Manager:I think what Courtney's talking about is do we need to put two here ?Marketing: Like because there's like one interface right here and then {disfmarker} because it's not gonna be on the same plane when you press thebutton .Project Manager: Right .Marketing: There's gonna have to be additional signals on the sides .Industrial Designer: Yeah . Okay .Marketing: So is that gonna be an extra one on each side ?Project Manager: I don'tknow , they might put us {disfmarker} well , let's just .User Interface: Two interfaces , is that what w should we s say ?Project Manager: Two or would it be three ?Industrial Designer: Let's call it thMarketing: Or three ,because of one on each side and one on top .User Interface: Okay , fine . Yeah .Marketing: I mean it's fine 'cause it comes out the same as twenty nine . Well less than twenty nine even .Project Manager:OkayIndustrial Designer: Okay .Project Manager: and we're gonna {disfmarker}User Interface: {vocalsound}Project Manager: button supplements {disfmarker} the buttons are no uh okay .Marketing: They're a specialcolour . Um they're uh they're a special form , 'cause they're indented .Project Manager: Are they ? Oh , right .User Interface: And then sMarketing: And , they're a special material .User Interface: yeah .ProjectManager: Mm . Well , we're under cost then . Alright .User Interface: We're over ?Project Manager: No , we're under .Industrial Designer: Grand .Marketing: We're under .Project Manager: Twelve point five is our limit.User Interface: Okay .Project Manager: We've got eleven point two .User Interface: Oh , I see .Project Manager: Alright .Industrial Designer: So we can go to production .Project Manager: We can go to {disfmarker} Idunno what I just did . {vocalsound} Okay . Now we're gonna talk about the project process um and whether or not we're satisfied with the whole process and the result . Um did we have a lot of room for creativity ?Did we have a lot of room for individual leadership , um teamwork , and the means , meaning the technology that we used to produce our little guy there , and if we found any new ideas . Now , question is , how do wedo this ?User Interface: {vocalsound}Industrial Designer: Go back .Marketing: {vocalsound} I think we just discuss it .Project Manager: Discuss , sure .Industrial Designer: Previous .Project Manager: Alright . Whowant who would like to go first ?Industrial Designer: We think we got stifled for cri {vocalsound} creativity by the company itself , in restricting us only to using a T_V_ remote , initially .User Interface: We didn't have awhiteboard .Project Manager: Hmm . Hmm .User Interface: Yeah .Marketing: Oh that's true .User Interface: And no internet .Marketing: Yeah . {vocalsound} No , yeah , that's a good point . 'Cause I'd forgotten thatthat wasn't our decision , yeah .Project Manager: {vocalsound} And how did you feel about the whole the whole process though ?Marketing: Oh , overall I mean I thought we did a good job like {disfmarker}UserInterface: {vocalsound}Marketing: We got to choose {disfmarker} basically we had control over {disfmarker} minus it being just merely a T_V_ remote we got to choose what we wanted to do with it .Project Manager:Right , and we got say over what {disfmarker} how technologically advanced it should be and also how fashionable , which I kind of like {disfmarker}Marketing: And we're a fashion forward technology company .ProjectManager: we {disfmarker} yep . You know it .Industrial Designer: {gap} right .Project Manager: Um what about um the teamwork aspect ? How did you guys enjoy making the model , the prototype ?Marketing:{vocalsound}Industrial Designer: {vocalsound} Yeah .User Interface: I think we did well .Project Manager: I think ya' did . Did you work well together in there , and {disfmarker}User Interface: Yep .{vocalsound}Project Manager: 'kay .Industrial Designer: Well , no , there was there was scratching and fighting , but {disfmarker} no {vocalsound} .Marketing: Minus that one fight .User Interface: {vocalsound}Gouges .Project Manager: Oh my God ,Marketing: Yeah .Project Manager: and we've all been a pretty congenial team here , I think .Industrial Designer: {vocalsound}Project Manager: We hadn't had any ma fallings out.User Interface: {vocalsound}Marketing: Yeah . I mean minus you guys being wha what is it , the survey , annoying or what is it ?Project Manager: {vocalsound} Irritating .Industrial Designer: Irritating .{vocalsound}User Interface: Irritating .Marketing: Irritating , yeah . Wow that's a {disfmarker} it's definitely a strong one .Project Manager: Okay .Industrial Designer: The means , the whiteboard didn't work .{vocalsound}Project Manager: {vocalsound} Yeah .User Interface: And no internet .Marketing: Yeah .Project Manager: I have to knock that one down a couple notches .Industrial Designer: {vocalsound} A and ourfriend here really feels strongly about the internet . {vocalsound}Marketing: Yeah , and no internet .User Interface: Misses . I do .Project Manager: {vocalsound}User Interface: There's so much available .Marketing:And the digital the digital pensUser Interface: Like it's informationProject Manager: Yeah , digital pens .Industrial Designer: {vocalsound} I really appreciated those , yeah .Marketing: were {disfmarker} they werepretty cool .Project Manager: They were fine .Marketing: Yeah they were fun , even though I'm not really sure what I could do with them , but they are awesome . {vocalsound}Industrial Designer: The use of thelaptops for receiving everything .Project Manager: Right , laptops are extremely handy ,Industrial Designer: It was wireless too , so .Marketing: Yeah .Project Manager: wireless . And that we have a shared networkwhere we can put all of the {disfmarker}Marketing: And these things whoa .Industrial Designer: And let's not forget the sexy dual microphones everyone gets to wear .User Interface: Yeah .Marketing: Yeah . And BigBrother .Project Manager: Big brother .Marketing: {vocalsound} Yeah . {vocalsound}Industrial Designer: {vocalsound}Project Manager: 'Kay , have we found any new ideas through this process ?Marketing: Um we arereally gonna sell this .Project Manager: {vocalsound}Marketing: {vocalsound} Ta-da .Project Manager: For something that looks cool and also has what I want it to b do technologically .User Interface: Yeah .ProjectManager: And that's your right brain taking over , w wanting the artistic , the fashionable , the hip , you know .Marketing: Mm-hmm .Project Manager: If we all just went out and bought useful things , I don't think"}
+{"doc_id":"doc_94","qid":"","text":"Professor E: Let 's see . Test ? Test ? Yeah . OK .Grad A: Hello ?PhD B: Channel one .Grad A: Hello ?PhD C: Test .Professor E: I was saying Hynek 'll be here next week , uh , Wednesday through Friday {disfmarker} uh ,through Saturday , and , um , I won't be here Thursday and Friday . But my suggestion is that , uh , at least for this meeting , people should go ahead , uh , cuz Hynek will be here , and , you know , we don't have anyCzech accent yet , uh , {vocalsound} as far as I know , so {disfmarker} There we go .PhD F: OK .Professor E: Um . So other than reading digits , what 's our agenda ?PhD F: I don't really have , uh , anything new .Been working on {pause} Meeting Recorder stuff . So .Professor E: OK . Um . Do you think that would be the case for next week also ? Or is {disfmarker} is , uh {disfmarker} ? What 's your projection on {disfmarker}?PhD F: Um .Professor E: Cuz the one thing {disfmarker} the one thing that seems to me we really should try , if you hadn't tried it before , because it hadn't occurred to me {disfmarker} it was sort of an obvious thing{disfmarker} is , um , adjusting the , uh , sca the scaling and , uh , insertion penalty sorta stuff .PhD F: I did play with that , actually , a little bit . Um . What happens is , uh , {vocalsound} when you get to the noisystuff , you start getting lots of insertions .Professor E: Right .PhD F: And , um , so I 've tried playing around a little bit with , um , the insertion penalties and things like that .Professor E: Yeah .PhD F: Um . I mean , it{disfmarker} it didn't make a whole lot of difference . Like for the well - matched case , it seemed like it was pretty good . Um . {vocalsound} I could do more playing with that , though . And , uh {disfmarker}ProfessorE: But you were looking at mel cepstrum .PhD F: and see . Yes .Professor E: Right .PhD F: Oh , you 're talking about for th {vocalsound} for our features .Professor E: Right . So , I mean , i it it 's not the direction thatyou were working with that we were saying what 's the {disfmarker} uh , what 's the best you can do with {disfmarker} with mel cepstrum . But , they raised a very valid point ,PhD F: Mmm .Professor E: which , Iguess {disfmarker} So , to first order {disfmarker} I mean , you have other things you were gonna do , but to first order , I would say that the conclusion is that if you , um , do , uh , some monkeying around with , uh, the exact HTK training and @ @ {comment} with , uh , you know , how many states and so forth , that it {disfmarker} it doesn't particularly improve the performance . In other words , that even though it soundspretty dumb , just applying the same number of states to everything , more or less , no matter what language , isn't so bad . Right ? And I guess you hadn't gotten to all the experiments you wanted to do with numberof Gaussians ,PhD F: Right .Professor E: but , um , let 's just {disfmarker} If we had to {disfmarker} if we had to draw a conclusion on the information we have so far , we 'd say something like that . Right ?PhD F: Mm -hmm .Professor E: Uh , so the next question to ask , which is I think the one that {disfmarker} that {disfmarker} that Andreas was dre addressing himself to in the lunch meeting , is , um , we 're not supposed toadjust the back - end , but anybody using the system would .PhD F: Yeah .Professor E: So , if you were just adjusting the back - end , how much better would you do , uh , in noise ? Uh , because the language scalingand insertion penalties and so forth are probably set to be about right for mel cepstrum .PhD F: Mm - hmm .Professor E: But , um , they 're probably not at all set right for these things , particularly these things thatlook over , uh , larger time windows , in one way or another with {disfmarker} with LDA and KLT and neural nets and {vocalsound} all these things . In the fa past we 've always found that we had to increase theinsertion penalty to {disfmarker} to correspond to such things . So , I think that 's , uh , @ @ {comment} that 's kind of a first - order thing that {disfmarker} that we should try .PhD F: So for th so the experiment is to, um , run our front - end like normal , with the default , uh , insertion penalties and so forth , and then tweak that a little bit and see how much of a difference it makesProfessor E: So by \" our front - end \" I mean take, you know , the Aurora - two s take some version that Stephane has that is , you know , our current best version of something .PhD F: if we were {disfmarker} Mm - hmm .Professor E: Um . I mean , y don't wanna dothis over a hundred different things that they 've tried but , you know , for some version that you say is a good one . You know ? Um . How {disfmarker} how much , uh , does it improve if you actually adjust that ?PhDF: OK .Professor E: But it is interesting . You say you {disfmarker} you have for the noisy {disfmarker} How about for the {disfmarker} for the mismatched or {disfmarker} or {disfmarker} or {disfmarker} or the{disfmarker} or the medium mismatched conditions ? Have you {disfmarker} ? When you adjusted those numbers for mel cepstrum , did it {disfmarker} ?PhD F: Uh , I {disfmarker} I don't remember off the top of myhead . Um . Yeah . I didn't even write them down . I {disfmarker} I {disfmarker} I don't remember . I would need to {disfmarker} Well , I did write down , um {disfmarker} So , when I was doing {disfmarker} I justwrote down some numbers for the well - matched case .Professor E: Yeah .PhD F: Um . Looking at the {disfmarker} I wrote down what the deletions , substitutions , and insertions were , uh , for different numbers ofstates per phone .Professor E: Yeah .PhD F: Um , but , uh , that {disfmarker} that 's all I wrote down .Professor E: OK .PhD F: So . I {disfmarker} I would {disfmarker} Yeah . I would need to do that .Professor E: OK .So {disfmarker}PhD F: I can do that for next week .Professor E: Yeah . And , um {disfmarker} Yeah . Also , eh , eh , sometimes if you run behind on some of these things , maybe we can get someone else to do it andyou can supervise or something . But {disfmarker} but I think it would be {disfmarker} it 'd be good to know that .PhD F: OK . I just need to get , um , {vocalsound} front - end , uh , stuff from youPhD B: Hmm .PhDF: or you point me to some files {pause} that you 've already calculated .PhD B: Yeah . Alright .Professor E: OK . Uh .PhD F: I probably will have time to do that and time to play a little bit with the silence model.Professor E: Mm - hmm .PhD F: So maybe I can have that for next week when Hynek 's here .Professor E: Yeah .PhD B: Mm - hmm .Professor E: Yeah . Cuz , I mean , the {disfmarker} the other {disfmarker} That , infact , might have been part of what , uh , the difference was {disfmarker} at least part of it that {disfmarker} that we were seeing . Remember we were seeing the SRI system was so much better than the tandemsystem .PhD F: Hmm .Professor E: Part of it might just be that the SRI system , they {disfmarker} they {disfmarker} they always adjust these things to be sort of optimized ,PhD F: Is there {disfmarker} ?Professor E:and {disfmarker}PhD F: I wonder if there 's anything that we could do {vocalsound} to the front - end that would affect the insertion {disfmarker}Professor E: Yes . I think you can .PhD F: What could you do ?ProfessorE: Well , um {disfmarker} uh , part of what 's going on , um , is the , uh , the range of values . So , if you have something that has a much smaller range or a much larger range , and taking the appropriate root .PhD F:Oh . Mm - hmm .Professor E: You know ? If something is kind of like the equivalent of a bunch of probabilities multiplied together , you can take a root of some sort . If it 's like seven probabilities together , you cantake the seventh root of it or something , or if it 's in the log domain , divide it by seven .PhD F: Mm - hmm .Professor E: But {disfmarker} but , um , that has a similar effect because it changes the scale of the numbers{disfmarker} of the differences between different candidates from the acoustic modelPhD F: Oh , right .Professor E: as opposed to what 's coming from the language model .PhD F: So that w Right . So , in effect , that's changing the value of your insertion penalty .Professor E: Yeah . I mean , it 's more directly like the {disfmarker} the language scaling or the , uh {disfmarker} the model scaling or acoustic scaling ,PhD F: That 'sinteresting .Professor E: but you know that those things have kind of a similar effect to the insertion penaltyPhD F: Mm - hmm .Professor E: anyway . They 're a slightly different way of {disfmarker} of handling it .PhDF: Right .Professor E: So , um {disfmarker}PhD F: So if we know what the insertion penalty is , then we can get an idea about what range our number should be in ,Professor E: I think so .PhD F: so that they {pause}match with that .Professor E: Yeah . Yeah . So that 's why I think that 's another reason other than curiosity as to why i it would in fact be kinda neat to find out if we 're way off . I mean , the other thing is , are aren'twe seeing {disfmarker} ? Y yPhD F: Mm - hmm .Professor E: I 'm sure you 've already looked at this bu in these noisy cases , are {disfmarker} ? We are seeing lots of insertions . Right ? The insertion number is quitehigh ?PhD B: Yeah .Professor E: I know the VAD takes pre care of part of that ,PhD F: Yeah .PhD B: Yeah .Professor E: but {disfmarker}PhD F: I 've seen that with the mel cepstrum . I don't {disfmarker} I don't knowabout {pause} the Aurora front - end , but {disfmarker}PhD B: I think it 's much more balanced with , uh {disfmarker} when the front - end is more robust . Yeah . I could look at it {disfmarker} at this . Yeah . Mm -hmm .Professor E: Yeah . Wha - what 's a typical number ?PhD B: I don't {disfmarker} I don't know .Professor E: Do we {disfmarker} ? Oh , you {disfmarker} oh , you don't know .PhD B: I don't have this in{disfmarker}Professor E: OK . I 'm sure it 's more balanced ,PhD B: Mm - hmm .Professor E: but it {disfmarker} it {disfmarker} it wouldn't surprise me if there 's still {disfmarker}PhD B: Mm - hmm .Professor E: Imean , in {disfmarker} in the {disfmarker} the {disfmarker} the old systems we used to do , I {disfmarker} I {disfmarker} uh , I remember numbers kind of like insertions being half the number of deletions , as being{disfmarker} and both numbers being {disfmarker} tend to be on the small side comparing to {disfmarker} to , uh , substitutions .PhD B: Mm - hmm .PhD F: Well , this {disfmarker} the whole problem with insertionswas what I think , um , we talked about when the guy from OGI came down {pause} that one time and {disfmarker} and that was when people were saying , well we should have a , uh , uh , voice activity detector{disfmarker}Professor E: Right .PhD F: that , because all that stuff {comment} that we 're getting thr the silence that 's getting through is causing insertions . So .PhD B: Mmm .Professor E: Right .PhD F: I 'll bet youthere 's still a lot {vocalsound} of insertions .PhD B: Mm - hmm .Professor E: Yeah . And it may be less of a critical thing . I mean , the fact that some get by may be less of a critical thing if you , uh , get things in theright range .PhD F: Mm - hmm .Professor E: So , I mean , the insertions is {disfmarker} is a symptom . It 's a symptom that there 's something , uh , wrong with the range .PhD F: Right .Professor E: But there 's{disfmarker} uh , your {disfmarker} your {disfmarker} your substitutions tend to go up as well . So , uh , I {disfmarker} I {disfmarker} I think that ,PhD F: Mm - hmm .Professor E: uh , the most obvious thing is justthe insertions , @ @ . But {disfmarker} Uh {disfmarker} um . If you 're operating in the wrong range {disfmarker} I mean , that 's why just in general , if you {vocalsound} change what these {disfmarker} thesepenalties and scaling factors are , you reach some point that 's a {disfmarker} that 's a minimum . So . Um . Um . We do have to do well over a range of different conditions , some of which are noisier than others . Um. But , um , I think we may get a better handle on that if we {disfmarker} if we see {disfmarker} Um , I mean we ca it 's if we actually could pick a {disfmarker} a {disfmarker} a more stable value for the range ofthese features , it , um , uh , could {disfmarker} Uh {disfmarker} Even though it 's {disfmarker} it 's {disfmarker} it 's true that in a real situation you can in fact adjust the {disfmarker} these {disfmarker} thesescaling factors in the back - end , and it 's ar artificial here that we 're not adjusting those , you certainly don't wanna be adjusting those all the time . And if you have a nice front - end that 's in roughly the right range{disfmarker}PhD F: Hmm .Professor E: I remember after we got our stuff more or less together in the previous systems we built , that we tended to set those scaling factors at kind of a standard level , and we wouldrarely adjust them again , even though you could get a {disfmarker}PhD F: Mm - hmm .Professor E: for an evaluation you can get an extra point or something if you tweaked it a little bit . But , once we knew what rouroughly the right operating range was , it was pretty stable , and {disfmarker} Uh , we might just not even be in the right operating range .PhD F: So , would the {disfmarker} ? Uh , would a good idea be to try to mapit into the same range that you get in the well - matched case ? So , if we computed what the range was in well - matched , and then when we get our noisy conditions out we try to make it have the same range as{disfmarker} ?Professor E: No . You don't wanna change it for different conditions . No . No . I {disfmarker} I {disfmarker} I {disfmarker} What {disfmarker} what I 'm saying {disfmarker}PhD F: Oh , I wasn'tsuggesting change it for different conditions . I was just saying that when we pick a range , we {disfmarker} we wanna pick a range that we map our numbers into {disfmarker}Professor E: Yeah .PhD F: we shouldprobably pick it based on the range that we get in the well - matched case . Otherwise , I mean , what range are we gonna choose to {disfmarker} to map everything into ?Professor E: Well . It depends how much wewanna do gamesmanship and how much we wanna do {disfmarker} I mean , i if he it {disfmarker} to me , actually , even if you wanna be {disfmarker} play on the gamesmanship side , it can be kinda tricky . So , Imean , what you would do is set the {disfmarker} set the scaling factors , uh , so that you got the best number for this point four five times the {disfmarker} {vocalsound} you know , and so on .PhD F: Mm - hmm.Professor E: But they might change that {disfmarker} those weightings .PhD F: Yeah .Professor E: Um . So {disfmarker} Uh {disfmarker} I just sorta think we need to explore the space . Just take a look at it a little bit.PhD F: Mm - hmm .Professor E: And we {disfmarker} we {disfmarker} we may just find that {disfmarker} that we 're way off .PhD F: OK . Mm - hmm .Professor E: Maybe we 're not . You know ? As for these otherthings , it may turn out that , uh , {vocalsound} it 's kind of reasonable . But then {disfmarker} I mean , Andreas gave a very reasonable response , and he 's probably not gonna be the only one who 's gonna say thisin the future {disfmarker} of , you know , people {disfmarker} people within this tight - knit community who are doing this evaluation {vocalsound} are accepting , uh , more or less , that these are the rules . But ,people outside of it who look in at the broader picture are certainly gonna say \" Well , wait a minute . You 're doing all this standing on your head , uh , on the front - end ,PhD F: Yeah .Professor E: when all you could dois just adjust this in the back - end with one s one knob . \"PhD F: Mm - hmm .Professor E: And so we have to at least , I think , determine that that 's not true , which would be OK , or determine that it is true , in whichcase we want to adjust that and then continue with {disfmarker} with what we 're doing . And as you say {disfmarker} as you point out {disfmarker} finding ways to then compensate for that in the front - end{vocalsound} also then becomes a priority for this particular test ,PhD F: Right .Professor E: and saying you don't have to do that .PhD F: Mm - hmm .Professor E: So . OK . So , uh {disfmarker} What 's new with you?PhD B: Uh . So there 's nothing {pause} new . Um .Professor E: Uh , what 's old with you that 's developed ?PhD B: I 'm sorry ?Professor E: You {disfmarker} OK . What 's old with you that has developed over the lastweek or two ?PhD B: Mmm . Well , so we 've been mainly working on the report and {disfmarker} and {disfmarker} Yeah .PhD F: Mainly working on what ?PhD B: On the report {pause} of the work that was alreadydone .PhD F: Oh .PhD B: Um . Mm - hmm . That 's all .PhD F: How about that {disfmarker} ? Any - anything new on the thing that , uh , you were working on with the , uh {disfmarker} ?PhD C: I don't have results yet.PhD F: No results ? Yeah .Professor E: What was that ?PhD F: The {disfmarker} the , uh ,Grad A: Voicing thing .PhD F: voicing detector .Professor E: I mean , what what 's {disfmarker} what 's going on now ? Whatare you {pause} doing ?PhD C: Uh , to try to found , nnn , robust feature for detect between voice and unvoice . And we {disfmarker} w we try to use {vocalsound} the variance {vocalsound} of the es differencebetween the FFT spectrum and mel filter bank spectrum .Professor E: Yeah .PhD C: Uh , also the {disfmarker} another parameter is {disfmarker} relates with the auto - correlation function .Professor E: Uh - huh .PhDC: R - ze energy and the variance a also of the auto - correlation function .Professor E: Uh - huh . So , that 's {disfmarker} Yeah . That 's what you were describing , I guess , a week or two ago .PhD C: Yeah . But wedon't have res we don't have result of the AURO for Aurora yet .Professor E: So .PhD C: We need to train the neural networkProfessor E: Mm - hmm .PhD C: and {disfmarker}Professor E: So you 're training neuralnetworks now ?PhD C: No , not yet .Professor E: So , what {disfmarker} wha {vocalsound} wh wha what what 's going on ?PhD C: Well , we work in the report , too , because we have a lot of result ,Professor E: Uh -huh .PhD C: they are very dispersed , and was necessary to {disfmarker} to look in all the directory to {disfmarker} to {disfmarker} to give some more structure .PhD B: YeaProfessor E: So . B So {disfmarker} Yeah . Iif I can summarize , basically what 's going on is that you 're going over a lot of material that you have generated in furious fashion , f generating many results and doing many experiments and trying to pull it togetherinto some coherent form to be able to see wha see what happens .PhD C: Hm - hmm .PhD B: Uh , y yeah . Basically we we 've stopped , uh , experimenting ,Professor E: Yes ?PhD B: I mean . We 're just writing somekind of technical report . And {disfmarker}PhD F: Is this a report that 's for Aurora ? Or is it just like a tech report for ICSI ,PhD C: No .PhD B: Yeah .PhD C: For ICSI .PhD F: or {disfmarker} ? Ah . I see .PhD B: Yeah.PhD C: Just summary of the experiment and the conclusion and something like that .Professor E: Yeah .PhD B: Mm - hmm .Professor E: OK . So , my suggestion , though , is that you {disfmarker} you not necessarilyfinish that . But that you put it all together so that it 's {disfmarker} you 've got {disfmarker} you 've got a clearer structure to it . You know what things are , you have things documented , you 've looked things upthat you needed to look up .PhD B: Mm - hmm .Professor E: So that , you know {disfmarker} so that such a thing can be written . And , um {disfmarker} When {disfmarker} when {disfmarker} when do you leaveagain ?PhD C: Uh , in July . First of July .Professor E: First of July ? OK . And that you figure on actually finishing it in {disfmarker} in June . Because , you know , you 're gonna have another bunch of results to fit inthere anyway .PhD B: Mm - hmm .PhD C: Mm - hmm .Professor E: And right now it 's kind of important that we actually go forward with experiments .PhD C: It 's not .Professor E: So {disfmarker} so , I {disfmarker} Ithink it 's good to pause , and to gather everything together and make sure it 's in good shape , so that other people can get access to it and so that it can go into a report in June . But I think {vocalsound} to{disfmarker} to really work on {disfmarker} on fine - tuning the report n at this point is {disfmarker} is probably bad timing , I {disfmarker} I {pause} think .PhD B: Mm - hmm . Yeah . Well , we didn't {disfmarker}we just planned to work on it one week on this report , not {disfmarker} no more , anyway . Um .Professor E: But you ma you may really wanna add other things later anywayPhD B: Yeah . Mm - hmm .Professor E:because you {disfmarker}PhD B: Mmm .Professor E: There 's more to go ?PhD B: Yeah . Well , so I don't know . There are small things that we started to {disfmarker} to do . But {disfmarker}PhD F: Are youdiscovering anything , uh , that makes you scratch your head as you write this report , like why did we do that , or why didn't we do this ,PhD B: Uh .PhD F: or {disfmarker} ?PhD B: Yeah . Yeah . And {disfmarker}"}
+{"doc_id":"doc_95","qid":"","text":"Project Manager: So we come again for the the second meeting .User Interface: Mm-hmm .Project Manager: Uh for the aim of this meeting now is to to make presentation about uh the work for each one .UserInterface: {vocalsound}Project Manager: And {gap} take the the decision about the the design and the functionality of the the remote control .User Interface: Okay . {vocalsound}Project Manager: And we have{disfmarker} think I got a new project requirement .Industrial Designer: Okay .Project Manager: So I think uh teletext becomes outdated . So the popularity of the {disfmarker} since the popularity of the internet,Industrial Designer: Okay .Project Manager: and I think we don't need lighting adaptive , so the remote control should be only used for the the television . And of course we should have our image {gap} in the in thedesign . So , let's start with the the industrial designer .User Interface: {vocalsound}Project Manager: {gap} .User Interface: {vocalsound}Industrial Designer: Yeah , alright .Project Manager: Or y you can use thewhiteboard if you want .Industrial Designer: So uh {disfmarker} Well I have a PowerPoint pr presentation stored in my in my personal folderProject Manager: Here .Industrial Designer: so I I I think you can reach itfrom here .Marketing: Just go to explorer .Project Manager: Oh okay .Marketing: Or open . Participant two .Industrial Designer: Participant two .Project Manager: This one .Industrial Designer: Yeah .Marketing: Open uh.Industrial Designer: Uh open . {vocalsound}Project Manager: Do you want to open {disfmarker}User Interface: Because it's open you mean . {vocalsound}Project Manager: {vocalsound}Industrial Designer:{vocalsound} Right , so um I will talk about the the w working design and {disfmarker}User Interface: {vocalsound} F_ five .Marketing: Slide show , view slide show , {gap} .Project Manager: Ah .Industrial Designer:And um well I I will present my my first idea on how to build the {disfmarker} our new remote control for television .User Interface: {vocalsound}Industrial Designer: So uh can you go one page down , please . So Ithink the first things to do is to define the hardware components neededs to achieve uh what we want to do .User Interface: {vocalsound}Industrial Designer: So uh mm I'm thin uh {vocalsound} I think uh I I'll do asurvey about what is uh what is available on the market and what what is the the cheapest possible {vocalsound} things we hav we can use . Then uh I will try with the technical team to to build a prototype and to seeuh with uh h how this little box {vocalsound} would uh look look like .User Interface: {vocalsound}Industrial Designer: And how an and we can uh start troubleshooting first uh com communication problems or thingslike that .User Interface: {vocalsound}Industrial Designer: And when we are ready with this first prototype I I think we can add some software functionalities on a programmable chip like browsing by content or umthings like that . Okay so can you go down uh {disfmarker} So , wha what I think {vocalsound} for now {vocalsound} is {vocalsound} we don't want to have a remote control w which is wiredUser Interface:{vocalsound}Project Manager: {vocalsound}Industrial Designer: so uh I think we u we can use a battery for the {gap} . Then two programmable chips for both software functionalities and communication . And thecommunication with the T_V_ set is uh made through uh infrared communication So uh this is the {vocalsound} the schema of the {vocalsound} o of the future uh remote controlsUser Interface: Did you draw it ?{vocalsound}Marketing: {vocalsound}Project Manager: {vocalsound} Wow . {vocalsound}Industrial Designer: so uh you can you can see the components , uh battery and uh the two chips goes to the infrared uhconnection to the T_V_ set .User Interface: This {gap} .Project Manager: This {disfmarker}User Interface: What is the other chip for ? The one on top .Industrial Designer: The one on top is for the um {disfmarker}well the functionali the functionalitiesUser Interface: {vocalsound}Marketing: One is a communication .Industrial Designer: and the the th red um {disfmarker} sorry the green one is is to {disfmarker} well , puttingthings together , um f transform the data into uh qu into the format to to {gap} uh to communicate with the T_V_ set .User Interface: For men . To the {disfmarker} in {disfmarker} {vocalsound} Okay .IndustrialDesigner: And , that's it . I think we should use a F_P_G_A_ for {vocalsound} for the functionalities which is easy to to tUser Interface: Mm . What is F_P_G_A_ ?Industrial Designer: It's field programmable uhsomething array .Marketing: {vocalsound} Gateway arrays .Industrial Designer: {vocalsound} Yeah .Marketing: It's a field programmable gateway arrays .User Interface: So why's it {disfmarker} how is it differentfrom the Bluetooth ?Industrial Designer: Well , uh a F_P_G_A_ is just a chip you can uh you can {gap} pr programme it uh wi with wh whatever you want .User Interface: Yeah . Programme it .Marketing: Yeah {gap}.User Interface: Okay .Industrial Designer: And uh well the Bluetooth chip is just responsible to uh make the communication uh between uh the two devices .User Interface: Yeah . {vocalsound} Uh {disfmarker} So thisare the {disfmarker} they have to work together ? Or ? Do they have to work together or two separate choice {disfmarker}Industrial Designer: No . Well , th the F_P_G_A_ will produce the the data to send .UserInterface: Okay .Marketing: Or it's something like {disfmarker} isn't hardware the first one ? And the second one is for the software .User Interface: Is the is the software par alri okay .Industrial Designer: Yeah.Marketing: Yeah to run th to make it run .User Interface: Okay , okay .Marketing: That's it .User Interface: So you can control {gap} if you want , right ?Industrial Designer: Yeah {vocalsound} .Marketing: No.Industrial Designer: Alright and that's it for the working design .User Interface: {vocalsound}Industrial Designer: So if you have any questions ?User Interface: Mm .Marketing: Okay , and how about the battery power? Uh you mean that battery would be somewhere there and the remote contro the power to the battery comes through infrared ?Industrial Designer: Uh no no no no , I think uh we have uh to to uh have uh embeddeduh b batteries in in the {disfmarker}Project Manager: {gap} .Marketing: Into the {vocalsound}Industrial Designer: yeah into the t .Marketing: more compact and uh {disfmarker} okay , {gap}Industrial Designer: Yeah, yeah .User Interface: {vocalsound}Industrial Designer: And uh I I don't think it will need um {vocalsound} very uh much power to make it run , so {disfmarker}User Interface: {vocalsound} Mm . Mm .Marketing:Yeah , yeah . Okay .User Interface: Mm . You can put it on the charger when uh you when you don't need to use it .Industrial Designer: Yeah . It's a good idea .Marketing: Yeah , that's right .User Interface: Yeah.Marketing: Having a charger rather than putting the battery cells always .User Interface: Yeah , yeah .Industrial Designer: Yeah .Marketing: People don't like it to have to buy the batteries when they run out .UserInterface: Yeah . Mm . Uh {disfmarker} mm .Marketing: We just make a small chargerUser Interface: Y yeah , yeah .Marketing: and put it {disfmarker}Project Manager: You can i yeah .User Interface: Because you areusing because you are using Bluetooth , if some people have P_D_A_ they can use their P_D_A_ to control the T_V_ if they want to , right ?Industrial Designer: That's a good idea .Marketing: {vocalsound}ProjectManager: MaIndustrial Designer: Also , but but {vocalsound} I I I think uh the the goal is to sell our remote {vocalsound} control .Project Manager: {vocalsound}User Interface: {vocalsound} I dunno .{vocalsound}Marketing: Bu {vocalsound}Project Manager: Yeah we can change the b {gap} .Marketing: Our remote ,Project Manager: Yeah .Marketing: we do not want to make it P_D_A_ . {vocalsound}UserInterface: {vocalsound}Industrial Designer: {vocalsound} S {vocalsound} okay , so charger for {gap} is the {gap} .Project Manager: Um .User Interface: {vocalsound} So is mine .Project Manager: It's mine .Participant one , no ?User Interface: Oh . Yeah , this your {disfmarker}Project Manager: Mm . Oh we have {gap} so let's move to to user interface design {gap} .User Interface: Yeah . {vocalsound} So you can openuh {vocalsound}Project Manager: Participant {disfmarker}User Interface: three . Yeah . {vocalsound} So {disfmarker} So I'm working on the technical functions design . {gap} can you show the next slide . So the thepurpose is to to find uh the important questions to ask is what effect should the apparatus have . So {vocalsound} so I found on a webs on the internetProject Manager: {vocalsound} During the weekend .IndustrialDesigner: {vocalsound}User Interface: {vocalsound} {disfmarker} yeah . {vocalsound} I spent a lot of time searching {vocalsound}Industrial Designer: {vocalsound}Project Manager: That's good . {vocalsound}UserInterface: and uh and I found that uh the function of remote control is to send messages to television set .Industrial Designer: {vocalsound} {vocalsound} {vocalsound}Project Manager: Mm-hmm .User Interface:{vocalsound} For example switch on , switch off , switch the next channel and so on and so on .Marketing: GUser Interface: So I found two very good prototypes for {vocalsound} for this interface from ourcompetitorsIndustrial Designer: {vocalsound}User Interface: so can you {vocalsound} {disfmarker}Industrial Designer: {vocalsound}Project Manager: This are usual functionality {gap} .User Interface: Yeah , yeah ,yeah . Ours is a bit uh different . So these are two example . One is from {vocalsound} {gap} the other one is from , yeah , uh engineering centr yeah .Project Manager: Tasks .Industrial Designer: {vocalsound}UserInterface: This is the most competing prototypes I've found {vocalsound} .Industrial Designer: {vocalsound}User Interface: But then uh loo but then I found if you look at {disfmarker} you see on the left one there aretoo many buttons {disfmarker}Industrial Designer: {vocalsound}Project Manager: And they are small {gap} .User Interface: Yeah . O on the right I tried to play with {vocalsound} the problem is that uh if I havehundred channels I have uh I have to choo press the other button to choose the hundred channels and I have to compose the numberIndustrial Designer: {vocalsound} Yeah .User Interface: so it's very lousy .ProjectManager: Mm-hmm .User Interface: {vocalsound} So you {vocalsound} so you move to the next the next one .Industrial Designer: Of course .User Interface: Yeah , so I talk about the problem . And then I I look at theuser manual they are a hundred pages thick , so we don't want that .Project Manager: Yeah .User Interface: {vocalsound} So I propose the easy to use uh prototype . You can navigate on T_V_ screen and we can{gap} the user's preference and we need to have the T_V_ connected to internet so we end {disfmarker} in order to access the T_V_ programmes by X_M_L_ and we need some {disfmarker} to do some preprocessing. From the technical aspect , the processing should be done on the T_V_ set than on the {vocalsound} on the remote controller , right ?Industrial Designer: {vocalsound}User Interface: {vocalsound} And then we{disfmarker} the speech recognition as uh Harry says we may just put in {disfmarker} we may K_I_V_ .Project Manager: What do you mean by the pa pa processing will be done on the T_V_User Interface: Yeah , allthe processing is done {disfmarker} the T_V_ is a compu has some processing power the {disfmarker} {vocalsound}Project Manager: than the {disfmarker}Industrial Designer: {vocalsound} So we have to tProjectManager: So we should have specific T_V_ ? Or ? We can use this .User Interface: Yeah .Industrial Designer: We have to sell a T_V_ with the remote control too . {vocalsound}Project Manager: Yeah , we don't{vocalsound} {disfmarker}Marketing: {vocalsound}User Interface: {vocalsound} Yeah because {disfmarker} {vocalsound} are you just wondering what controller {disfmarker} okay .Project Manager: Yeah , I think so. J j just the remote control .Marketing: Yeah , not the T_V_s .Industrial Designer: I think there there is there is al there there is a a technology like show view who is already available on most of the T_V_ set onrecorders or thing like thatUser Interface: Yeah .Industrial Designer: and we can try t to get this information on to the remote control to to do the processing on the remote control because {disfmarker}User Interface:Okay .Marketing: Yeah .User Interface: Yeah . {vocalsound} Okay .Marketing: Yeah , that's right .Project Manager: Mm .User Interface: So i the processing on on the remote controller {disfmarker}Project Manager:Yeah ,User Interface: so it can u be used in any T_V_ , any conventional T_V_ sets ?Project Manager: we {gap} . Yeah .User Interface: Mm . Okay . {vocalsound}Project Manager: Speech recognition .User Interface: Nyeah , that's all . The next one ? So I come up with a simple design , just keep the v navigation buttons . {vocalsound}Industrial Designer: Yes , that's a good idea , I think .Project Manager: Keep thenavigationIndustrial Designer: We d we don't we we don't need really much buttons to {disfmarker} i if we have a screen to navigate on on the T_V_ so uh {vocalsound} {disfmarker}Project Manager: but{disfmarker}User Interface: Yeah . {vocalsound} Yeah . {vocalsound}Industrial Designer: Well , f four five buttons , it's sufficient .User Interface: Yeah . Mm .Industrial Designer: It's easy to build ,User Interface:{vocalsound} {vocalsound}Industrial Designer: it does not consume much power . {vocalsound}Marketing: Yeah , that's right .Project Manager: {gap} .User Interface: {vocalsound} Okay , that's all .{vocalsound}Marketing: Oh , but you have a catch there , um assume that um if you want to go to {disfmarker} if you are watching channel two and if you want to go to channel ninety nine , then {vocalsound} .UserInterface: {vocalsound}Industrial Designer: Well , then y you you go to the main menu and uh you have uh go to channelUser Interface: Mm .Industrial Designer: and then uh you {gap} can {disfmarker}UserInterface: Mm . No , because you choose by channel , so {disfmarker} you choose by T_V_ programIndustrial Designer: Yeah .Marketing: Uh-huh huh huh huh .Industrial Designer: Maybe you {disfmarker}UserInterface: so you don't have hundred channels to choose from . If you go by channel , you don't have to do that .Industrial Designer: {gap} .Marketing: Mm-hmm hmm hmm .Industrial Designer: {gap} but uh I I thinki i {gap} if you if you want to to make uh {disfmarker} well a a big jump {vocalsound} {gap} but uh well you you have to to have a a a device when you could you could {disfmarker}Marketing: But{disfmarker}Project Manager: So you are {disfmarker}User Interface: Ah . Ah , a big jump .Marketing: Yeah then yeah that's right .User Interface: A mouse or {disfmarker}Industrial Designer: Well , not a mouse butuh something that that says more clearly that uh right , left , up , down ,User Interface: Yeah .Industrial Designer: well , the to have the ability to to to write something to the navigator , maybe directly , or{disfmarker}Marketing: Mm hmm hmm . Okay .Project Manager: Mm .Industrial Designer: So ,Marketing: Okay .User Interface: Mm . {vocalsound}Industrial Designer: we can think of buttons like in the telephone tosend messages or things like that .User Interface: Mm-hmm .Project Manager: How the {gap} this remote ?Industrial Designer: But we'll see . {vocalsound}User Interface: Uh it's gonna be small .Industrial Designer:{vocalsound}Project Manager: Yeah , of course {vocalsound} small .User Interface: {vocalsound} {vocalsound} Yeah . So it'll beep if you wanna find itMarketing: {vocalsound} {gap} too small that it goes under thesofa and we can't find it . {vocalsound}Project Manager: {vocalsound}User Interface: you just uh shout {disfmarker} y h just {disfmarker} it just has to re respond to you when you look for the device .Marketing: Yeah,Industrial Designer: {vocalsound}Marketing: that's {gap} .User Interface: {vocalsound} I dunno how bu {vocalsound}Marketing: {gap} just {gap} give it a name and we call him .User Interface: {vocalsound} And{gap} responds to you , and {gap} {vocalsound}Industrial Designer: {vocalsound}Marketing: {vocalsound} Yeah , that's right . Yeah , that's right .Industrial Designer: Okay , so uh next presentation {disfmarker}{vocalsound}User Interface: {vocalsound}Project Manager: Participant four . So Harry .Marketing: Okay , after having the inputs from {vocalsound} industrial design and user interface , I think most of the points whichI want to are already covered here .Industrial Designer: Mm . {vocalsound}User Interface: {vocalsound}Marketing: And to find the most interesting features what the users would be interested , then what we havedone is we have put a feedback forms in all the magazines , and the users send the feedbacks , and based on that {disfmarker} These are the findings which we got and {disfmarker} yeah adding of a speech interfaceis always good for a T_V_ remote but the technology {disfmarker} We already know that {disfmarker} as discussed earlier {disfmarker}Industrial Designer: Well I I think it will be a , yes , a bit complicated to um makea speech recognisers runs on the small uh tsUser Interface: {vocalsound} {vocalsound}Project Manager: {vocalsound}Marketing: An {vocalsound} it does {gap} how feasible it is .User Interface: I- {vocalsound} mm .But I think if you {gap} to recognise numbers it's a well-studied problem . I if you just recognise uh numbers is a limited {disfmarker} you have limited vocabulary {disfmarker}Marketing: Oh we can put an limitedvocabulary as in the mobile phones .Industrial Designer: Yeah .Marketing: We just have the {disfmarker}User Interface: Mm .Industrial Designer: And this can allow to choose the the program , for instance without uhadding uh buttonsUser Interface: Yeah .Industrial Designer: so it's a good idea .Marketing: {gap} it's not going to take much space also . It's going to be very slim .User Interface: Mm . Mm .Marketing: And next onewas the size of the remote control . It has to be of course a very slim and small one . And of course most of the people are interested in if it's less expensive ,Project Manager: Mm-hmm .User Interface: Mm .Marketing:so this is an important criteria here is {disfmarker}User Interface: {vocalsound} But {disfmarker} {vocalsound}Project Manager: But do you think what they sug suggested s possibility {gap} .User Interface:{vocalsound} Mm .Marketing: I mean we have to look for a trade-off .User Interface: Yeah .Marketing: The features and the cost .User Interface: {vocalsound} I no {disfmarker} I I think that uh i if we go for qualitypeople may tolerate for high quality and of course comes with uh reasonable cost .Industrial Designer: {vocalsound}Project Manager: Yeah . {vocalsound}Marketing: {vocalsound}User Interface: Maybe not less , butthey may be willing to pay little bit more for comfort ,Marketing: Little bit more if it's with extra features .Project Manager: It {disfmarker}Industrial Designer: Yeah .Project Manager: Yeah .User Interface: yeah , extrafeatures .Industrial Designer: Yeah , s s speech is a important extra feature I think {disfmarker}Marketing: Okay .User Interface: Mm . {vocalsound} Yeah .Marketing: Yeah , yeah . That's right .Project Manager: But isit useful or not u I don't know .Industrial Designer: Well , uh {vocalsound} {disfmarker}Project Manager: There is {gap} in the {vocalsound} {disfmarker}Marketing: I mean , for a lazy guys they could say nine andthe nine channel comes .User Interface: Mm .Industrial Designer: {vocalsound}Marketing: Or they say movie name {disfmarker} or I don't go for movie names but only for the numbers on the channel , or volume up ,volume down , brightness , contrast .User Interface: Mm .Project Manager: Mm .User Interface: Mm .Marketing: So , I think this should be a good idea , to put this features . And the fourth one was the teletext invarious languages .Industrial Designer: we we just have to find a mean how to to add a m a a a microphone or uh well {disfmarker} yes a microphone into the the remote control , so {disfmarker}Marketing: Mm , Ithink {disfmarker}User Interface: {vocalsound}Industrial Designer: I {disfmarker} well {disfmarker}Project Manager: I think i {vocalsound}Industrial Designer: it will be alright . {vocalsound}Marketing:{vocalsound}Project Manager: {vocalsound} If it's necessary can {disfmarker} you can do that .User Interface: What is the teletext ? Mm .Project Manager: We can integrate small microphone in the remoteIndustrial"}
+{"doc_id":"doc_96","qid":"","text":"Project Manager: Is everyone ready to start ?Industrial Designer: Yeah . {vocalsound}User Interface: Yeah .Marketing: {vocalsound} Yes .Project Manager: Okay . Great . Well , welcome to the third meeting ofconceptual design . I'll just get the PowerPoint presentation up and running . Okay . Um , on the agenda for this , um , for this particular meeting , we'll have your three presentations on what you've done since our lastmeeting , after we came up with um some general ideas of our design . And , um , then we have to make some key decisions on , on our remote control concept , and how we're gonna make it , what uh materials we'regonna use , and that sort of thing .Industrial Designer: {vocalsound}Project Manager: The meeting will be forty minutes long .Industrial Designer: Okay .Project Manager: And um we will once again have Poppy as ourfirst presenter .Industrial Designer: {vocalsound} Okay .Project Manager: Alright , and I will switch up PowerPoint .Industrial Designer: Thank you .Project Manager: Okay .Industrial Designer: Should be just loading .{vocalsound} Okay . Oh , although I can't see it on my screen . That says go here . Okay . I've been doing some research into the different components that we could use , um what's available to us f to actually makethe remote control . Um , first of all we have to look at how the remote control is actually made , and what is it happens inside the casing , which is more your field . Um , thes main internal feature is a circuit board ,which contains all the elec electronics and also the contacts with the power source .Marketing: {vocalsound}Industrial Designer: Which is not necessarily a battery , as we're about to see . Um , there are severalcomponents of , um , the circuit board that we need to consider , where we'll be getting them from , what they'll be made of . Um , including the integrated circuit , which is also known as the chip . Which is where allthe main information is uh contained . Um , diodes , transistors , resonators , resistors , and capacit capacitors all need to be considered as well . Um , and all their positioning in the circuit .Project Manager: Um{disfmarker} Are they all included , like mandatorily , or r are these different options ?Industrial Designer: Uh , these , they're all different options , they're all separate , apart from the chip , which we will probabledecide whether we buy a simple , a regular , advanced .Project Manager: Yeah .Industrial Designer: We can go into that later . Um , all the other things are individual components that we'd have to get in separately ,and work out the most , like , effective um circuit , including all the wires and everything like that . And the L_E_D_ of course , that's a light emitting diode . So , we could , so we've got flex flexibility with colours andthings , with that as well .Project Manager: Mm .Industrial Designer: Okay , there are lots of different possibilities for the energy source . We could use a basic battery , but that brings with it , like they need to berecharged and the bulk , the size of it as well . And they're not so great to dispose of , environmentally . {vocalsound} There's a hand-powered dynamo which is a sort of thing that was used for torches fifty years ago .A bit out of date . Kinetic energy is something that's been recently developed .Project Manager: Um {disfmarker} What is a hand-powered dynamo ?Industrial Designer: Um , where you manually charge up the power.Project Manager: Just every , every once in a while ?Industrial Designer: Like you wind up something .Project Manager: Just every once in a while or constantly ?Industrial Designer: Sorry ? Yeah . Every once in a whileI thinkProject Manager: Alright . It'd be kind of strange to always be cranking it I think .Industrial Designer: . But it's {disfmarker} Yeah . It would be like going a step back in time .User Interface: {vocalsound} Yeah.Industrial Designer: I don't think it would really be with kind of cutting edge technology .Project Manager: No . {vocalsound}Marketing: {vocalsound}Industrial Designer: Whereas kinetic energy is a new idea that'sbeing used by some watches and other devices , where you just shake the device and it gives it power . I mean , the kinetic energy is transformed into power to make the circuit work . Um , or there's solar power ,which we've been considering inside a building , which is where it's gonna be used , might not be quite so useful .Project Manager: Right .Industrial Designer: But , good to look into , renewable energy , always the way. Um , lots of considerations for the case , like what sort of shape it would be , curved or flat . That's got a lot to do with the ergonomics . Like how it's comfortable and s sits in the hand . We don't want something that'shuge and you can't pick up . Or too small . Or too slidy . I know I've had a remote control before which you couldn't tell which was the front and the back ,User Interface: {vocalsound}Industrial Designer: 'cause it hadso many buttons on , and the shape was so symmetrical that I'd be pressing like a volume button instead of the on button .Marketing: Mm .Industrial Designer: Because you can't really see which way round it is .ProjectManager: Right .Industrial Designer: Um , we also can choose what materials {disfmarker} um , the {disfmarker} we could use metal , we could use rubber which might be more um ideal for the anti-R_S_I_ . It's likethe same sort of rubber that's used in stress balls and things like that , so it's very like soft , not so stressful on your hands .Project Manager: Mm-hmm .Industrial Designer: {vocalsound} Wood .Project Manager:{vocalsound}Industrial Designer: Um , again , stepping back in time again there .User Interface: {vocalsound}Industrial Designer: I don't think that's quite up to date with what we're looking for here .Project Manager:Yeah .Industrial Designer: Um , titanium is not gonna be possible , even though it just it beyond our budget really . But , would've been maybe for future projects . Um right our choice for buttons as well . We'vedeveloped some {disfmarker} we've got some good advances in technology , with our research team have found some uh new multiple um option scroll buttons . I think that was brought up for , um , {disfmarker}they're basically quite a flexible design , modern , you don't have to use individual buttons . You can just slide up and down . I'm sure we're all quite familiar with those on mobiles or computer laptop pads .ProjectManager: Mm-hmm .User Interface: Yeah .Project Manager: Um one thing with the scroll buttons though . It , it {disfmarker}Industrial Designer: {vocalsound}Project Manager: we would have to have an L_C_D_umIndustrial Designer: Yeah . That's true .Project Manager: display , and the glow in the dark thing might be difficult .Industrial Designer: And that would lead to an advanced {disfmarker} yeah . If we have{disfmarker} yeah . We're going on to that later with the advanc with the L_C_D_ that means we'd need a really advanced chip .Project Manager: Yeah .Industrial Designer: And it's unlikely that that's gonna be in ourbudget .Marketing: Mm-hmm .Industrial Designer: Um , also we've got the integrated pushbutton , which is what we're most familiar with . It's the most straightforward . But you can in like incorporate that with a scrollbutton as well . {gap} . Got decisions to make there . And this is what I was just saying before . Linked in the different {disfmarker} depends on what type of buttons we have and the inputs . Um simple would go withthe pushbutton . Um , regular you could link with the scroll button . And the advanced we'd have to go with a L_C_D_ s display .Project Manager: Right .Industrial Designer: {vocalsound} My personal preferences ? Ithink we could go for the kinetic energy source . I don't , I think that's quite um an advanced kind of technology . It's not been seen before , so it could be quite a , a novelty factor , attractive as well . And also energysaving 'cause you're producing the energy , you don't need an external sort of battery supply or solar panels . You just give it a shake .Project Manager: Yeah .Industrial Designer: {vocalsound} Sounds brilliant to me.Project Manager: Uh .Industrial Designer: Rubber casing I thing would probably the best , if we're going for the anti-R_S_I_ and like more choice with um aesthetics . Like it could be pretty much any colour we want .Um , and gives you , yeah , more flexibility there . And probably the regular chip as opposed to the simple ,Marketing: {vocalsound}Industrial Designer: then we could possibly have the scroll and the push , but noL_C_D_ , 'cause we probably can't afford that one .Project Manager: Yeah . Um , one concern with the rubber casing is that it would be rubber encapsulating all of these {vocalsound} chips and diodes and delicatetechnology asIndustrial Designer: Mm-hmm .Project Manager: like as the exterior . This is the one thing that's protecting its innards .Industrial Designer: I think that would , uh there would be an in sort of more internalcasing . And the rubber would just be the , what's in contact with the human .Project Manager: Yeah . Another thing is it might be more difficult {disfmarker} if it's a rubber exterior {gap} talking about putting oninterchangeable plates .Industrial Designer: {vocalsound} Yeah .Project Manager: Um , is it {disfmarker}Industrial Designer: Yeah .Marketing: Mm-hmm .Project Manager: I don't see how a like a rubber plate going ontop it would stay there . Like if it was sort of like a clip-on plastic plate . It would work that way .Industrial Designer: Maybe if the , um , if it was just kind of a , more of a rubber coating which was on to a case .UserInterface: WIndustrial Designer: So , it was kind of , the whole thing would be removable .User Interface: Like plastic with rubber , kind of on topIndustrial Designer: Yeah .Project Manager: Yeah .Industrial Designer:Like {disfmarker} I can't think of what .User Interface: Well , there's , there is a certain phone that has like a rubber casing ,Project Manager: Yeah .Industrial Designer: Yeah . Or like an {disfmarker}User Interface: blike a Nokia it is .Marketing: Mm-hmm .Industrial Designer: you can get sort of outer casing for iPods and something , that's just {disfmarker} it's protective as well .User Interface: It's {disfmarker} yeah .ProjectManager: Yeah .Marketing: Like the skin ?Industrial Designer: It , it stops it , I mean ,Marketing: Yeah .Industrial Designer: it would reduce the impact if it was dropped or something , as well , 'cause it wouldn'tdamage itself so easily .Project Manager: Yeah .User Interface: {vocalsound}Project Manager: Alright . So maybe the {disfmarker}Industrial Designer: I think i maybe a mixture of both there , maybe .Marketing: Okay.Project Manager: Yeah .Industrial Designer: Yeah .Marketing: So the actual remote would be hard plastic and the casings rubber .Industrial Designer: And then {disfmarker} yeah . Yeah .User Interface: Yeah.Marketing: Okay .Project Manager: Yeah .Marketing: And the buttons obviously are rubber .Industrial Designer: Yeah .User Interface: Yeah .Marketing: Okay .Project Manager: Yeah .Marketing: {vocalsound}ProjectManager: That sounds good . I , um , is it possible to put designs onto this type of rubber ?Industrial Designer: As far as I know . It should be .Project Manager: Okay ,Marketing: {vocalsound}Project Manager: we'lljust say yeah . {vocalsound}User Interface: {vocalsound}Project Manager: Yes , just why not .Industrial Designer: Yeah . Yeah , yeah . {vocalsound}Project Manager: {vocalsound} Alright . I like the kinetic energysource idea .Industrial Designer: Yeah .Project Manager: Um , I don't know when people will , um , be moving a remote around a lot .Industrial Designer: I thought that was {disfmarker}Project Manager: But I thinkthat it's worth it , kinetety , kinetic umUser Interface: Yeah , thaMarketing: Mm-hmm .Project Manager: energy source . It could make an we could have any kind of style .Industrial Designer: Yeah .Project Manager: Itwouldn't be as heavy or bulky , and {disfmarker}Industrial Designer: Yeah .Project Manager: Yeah . Just for environmental reasons .Industrial Designer: Yeah .User Interface: {vocalsound}Marketing: I guess it's a bitscary 'cause it hasn't been done before .Industrial Designer: Yeah .Marketing: So it seems {disfmarker} we'd have to do more research on it .Industrial Designer: Yeah .Marketing: Or I dunno if you could have a batterypack .Industrial Designer: Like as a backup for something .User Interface: Backup . Yeah .Marketing: Yeah so there's there is a one battery , because most remotes use two batteries I believe .Industrial Designer: Yeah.Project Manager: Yeah .Marketing: So , if it was running off of one battery as a {disfmarker}User Interface: That would be good yeah .Industrial Designer: Yeah . Some alternative just in case something went wrong.Marketing: Right .User Interface: Maybe we could {disfmarker} you were saying about um solar power ma maybe not working indoors , but a lot of calculators , yeah , have solar power .Industrial Designer: That's true. I just thought of that {gap} .Project Manager: {vocalsound}Industrial Designer: {vocalsound} Yeah . Yeah .User Interface: So maybe that could be incorporated as {disfmarker}Industrial Designer: May maybe thatcould be the backup .Project Manager: Yeah .Industrial Designer: Instead of a battery .User Interface: Yeah .Industrial Designer: Like solar backup .Marketing: Although it needs some light , doesn't it ?IndustrialDesigner: Yeah . I supposeProject Manager: Yeah , you can watch a T_V_ in the dark then .User Interface: Do , do those calculators {disfmarker}Industrial Designer: s but some {disfmarker}Marketing: So , if we'redoing {disfmarker}User Interface: yeah .Marketing: yeah . If we're {disfmarker}Industrial Designer: But thing is , it's not {disfmarker} you don't need the solar all the time .User Interface: I don't know how it works.Industrial Designer: It can be stored . It can be like {disfmarker} you can have the solar energy and then it can store that energy and use it .User Interface: Yeah .Marketing: Yeah .Industrial Designer: It just needs tobe in light for a certain amount of time per day .User Interface: Yeah .Project Manager: Yeah .Industrial Designer: Like a few hours a day . {gap} .Project Manager: I think that might be a little impractical though.Marketing: Yeah . I think sometimes it's just shoved under , under a cushion ,Project Manager: Yeah .Marketing: and {disfmarker} yeah .Industrial Designer: That's true . It could easily {disfmarker}User Interface:Yeah .Project Manager: Like people don't wanna have to worry about that .Industrial Designer: Yeah .Marketing: Yeah .Project Manager: Yeah .Industrial Designer: I suppose it would be really annoying if you get tothink , oh no , I forgot to charge my remote today .User Interface: {vocalsound} {vocalsound}Project Manager: Yeah .Industrial Designer: Like if the kinetic thing , I think what's best about that is that it's instantenergy .User Interface: {vocalsound} Yeah .Project Manager: Yeah .Industrial Designer: You don't have to , you know , you can shake it a few times , or whatever .Project Manager: Yeah .Industrial Designer: And itworks .Project Manager: Or just like pick it up when you're gonna use it .Industrial Designer: Yeah . Instead of you don't have to like make sure it's in the right place to charge and {gap} .User Interface: Yeah , Isuppose .Project Manager: Yeah .User Interface: Yeah .Project Manager: Alright . Cool .Industrial Designer: K okay .Project Manager: 'S that the end of your presentation .Industrial Designer: Yeah .Project Manager:Alright .User Interface: Yeah .Project Manager: Thank you .Industrial Designer: There we go .User Interface: Thanks . Oh . {vocalsound} It's not on my screen .Industrial Designer: {gap} it wasn't on mine either .UserInterface: Why ? {vocalsound}Industrial Designer: I don't know why . I think , I just , I just used the mouse on there .User Interface: You don't know why ? Oh okay . Is it that one ?Project Manager: Yeah . That's um{disfmarker}Industrial Designer: Yeah .User Interface: Um , I'm just gonna go through the interface concept with yous now . Uh , first of all I'll explain what a user interface is . It's the aspects of a computer systemwhich can be seen or otherwise perceived , for example , heard or felt maybe , or {vocalsound} by the human user . And it's also the commands that the user uses to control its operation and to input data . Um , thereare two types of user interfaces . There's the graphical user interface , which emphasises the use of pictures for output and a pointing device , for example a mouse for input control . So that's sort of like the scroll thingwe were talking about .Project Manager: Oh . Okay . Yeah .User Interface: Yeah . I'm not really sure about the pictures that {disfmarker} maybe that's on an L_C_D_ screen .Industrial Designer: Mm .User Interface: Ormaybe it's the the buttons or pictures or something . {vocalsound}Project Manager: Hmm .Industrial Designer: Yeah .Project Manager: Yeah .User Interface: Do you think it's {disfmarker}Project Manager: Yeah ,'cause {disfmarker}Industrial Designer: So I suppose sometime {disfmarker}Project Manager: I'm sorry ?Industrial Designer: after you . {vocalsound}User Interface: {vocalsound}Project Manager: Um , becausecommand interface requires you to type textual commands and input at a keyboard , so the numbers are sort of like a keyboard . You're pressing the numbers for , um , for what you want .User Interface: Yeah . Yeah.Industrial Designer: Mm .User Interface: So you must , for the graphical user you must need some kind of presentation for the graphics .Industrial Designer: {vocalsound} I s I suppose where um mm on some buttonsyou would have {disfmarker} like the power would be s some kind of symbol .User Interface: Like an L_C_D_ screen .Industrial Designer: And if you wanted to go onto teletext or ,User Interface: Yeah .IndustrialDesigner: I know we're not having that , but I mean a similar thing ,User Interface: Yeah .Industrial Designer: you , they have {disfmarker} there's a like little picture with a screen with lines across it , which{disfmarker} I suppose it's that sort of thing like the , the symbol on the button .User Interface: Yeah . Yeah .Industrial Designer: But if we're having a simplified display anyway , w that , we probably won't have tofocus so much on that .Project Manager: Yeah , we'll be doing {disfmarker}Industrial Designer: It'll be more the on the numbers and the volume .User Interface: Yeah .Project Manager: Yeah . It'd be more a commandinterface , and then {disfmarker}Industrial Designer: I suppose we need to think of symbols for like the volume , display , and stuff like that .User Interface: Yeah .Project Manager: Yeah .Marketing: So it's just drafgraphical for the pointing aspect ?Industrial Designer: I {disfmarker}Marketing: The infrared is like , that's considered a {disfmarker}Project Manager: Hmm ?User Interface: No I think it's to do with the actual symbolsthat are on the , that's on the buttons of the remote control , and perMarketing: Okay . So when it says pointing device that doesn't include {disfmarker}Industrial Designer: For inpUser Interface: Well it could be a weescroller thing , and something could come up on the screen .Project Manager: Yeah . I think they're talking about L_C_D_ type things .Industrial Designer: Mm .Marketing: Okay .User Interface: Yeah .Marketing: Okay.Project Manager: Yeah .User Interface: But um I think we're gonna go with the command interface anyway ,Project Manager: Yeah .User Interface: to make it more simplistic . But the , we could incorporate some ofthe graphical user um points ,Marketing: Mm-hmm .User Interface: as in {disfmarker} just to make it m um nicer to look at maybe . {vocalsound}Project Manager: What do you mean ?User Interface: Like{vocalsound} I can't think of an example , but {disfmarker} Sort of like little pictures rather than {disfmarker}Project Manager: Oh yeah , like how the buttons {disfmarker}User Interface: Like a little sound . Insteadof saying volume , like a little speaker or something .Project Manager: Yeah , as a button though .User Interface: Yeah , something yMarketing: Mm .Project Manager: So , it's a keyboard in the shape of it , right ?UserInterface: Yeah m perha yeah . Yeah . Maybe .Project Manager: Okay . Yeah . I like that idea .User Interface: Um , the co uh {disfmarker} we've decided that the command interface would be the most useful for aremote control . As it would be less complicated , and the controls would be more user-friendly . Um , the remote control would be cheaper to design , so that we'd have more money in the budget to , um , target thedesign area of the interface . You know , make it more trendy and original . We'll have more money if we keep it simple .Project Manager: Yeah . I'm sure i like kinetic energy would probably dip into the budget . A bitmore too , yeah .Industrial Designer: Yeah . {vocalsound}User Interface: Yeah . Seeing as it's quite a new technology . Um {disfmarker} {vocalsound} We , we also have to keep in mind when we're designing our , um"}
+{"doc_id":"doc_97","qid":"","text":"Project Manager: Uh it fell off . One , two , three , four , yeah , we're ready . Okay . Welcome to this second meeting . Um it's now quarter after twelve and we're given forty minutes um for this meeting . This is ameeting on functional design . Um and I wanna welcome you all and thank you all for doing some research in between . Um I did {disfmarker} took the minutes from the first meeting and I'll show them to you in amoment . Um I know each of you have a presentation and um in thinking about the forty minutes , I thought it would take only like three minutes for the previous minutes , um each of you having about seven minutesor maybe a little more , maybe a little less for your pre presentations and a little discussion , because there's {disfmarker} I happen to have been told there were some new project requirements and we have to makesome uh decision on what functions it will have . Okay ? Is this ap everybody agree with this ?Industrial Designer: Oops .User Interface: Yes .Marketing: Yes .Project Manager: Okay . Um and after the meeting there'llbe things to be done and as you can see it says we get to get lunch , um and then some more individual work and then putting minutes away and individual actions . {vocalsound} Um but uh now for the minutes of thefirst meeting . And go to that one . Um as you can see it was this earlier today . Um Kate , Steph , Sarah and myself in our four capacities were present . I opened the meeting , the product was developed uh andreviewed , and we talked about the financial end of it . Um and it had some implications , um the four million sales target and new ideas of not too many buttons , bright colours and some of the influence of theJapanese . And we closed early so you could then proceed with your research and getting your reports together for tod this meeting {vocalsound} Anybody have any questions on those minutes ? Are they complete ,did they discuss everything that we covered last time ? 'Kay .Industrial Designer: Uh I think so ,Project Manager: Did I miss something ?Industrial Designer: we we we talked about the the individual roles that we eachhad as well .Marketing: Mm-hmm .Project Manager: Yeah . I'm afraid I incorporated {vocalsound} that when I said who was present , but {disfmarker} yes , we did ,Industrial Designer: {vocalsound} Okay .ProjectManager: and we did a little bit of uh team building of uh of making the pictures ,Marketing: {vocalsound} Okay , I accept the minutes .Project Manager: but I didn't think those were appropriate to the minutesnecessarily . So um as a group I think we've {disfmarker} are {disfmarker} they're accepting the minutes . And uh {disfmarker} okay .Marketing: Is that what we're supposed to say ?Project Manager: Yeah .UserInterface: Yeah , I do .Project Manager: Good . Um , then we'll move to the three presentations . Okay ?Marketing: Okay .Project Manager: Okay . Mm we need to move this . Who wants to go f first ? {vocalsound}That's as far as it goes .User Interface: Uh not really meant to touch those microphones . Oh it doesn't have any on , does it ? That's fine .Marketing: Excellent , thank you .Industrial Designer: Oy , big loop under thetable .Project Manager: She said we didn't need to screw it in .Marketing: Okay . Okay , that looks good .Project Manager: It's doing its thing . There we are .Marketing: Alright . Thank you very much . Um . One of thethe biggest issues I found about um from last meeting was the fact that we need to sell four million of these um remote controls and I think that this is an opportunity to really take Real Reaction in the direction of ofsimilar {disfmarker} of handheld tools that have been used and are used by many of us and to kind of bring the remote control into the si same realm as an accessible um useful electronic device , as opposed tosomething that is lost in the couch and what have you . So um my main goal here is to re-envision the remote control in in this context and to think about menu functionality and current technology and the fact that itcould be interactive with other tools . Um some of the research uh in the market has shown that people really are not happy with remote controls as they are now , and um that means we do need to make somedecisions about what what keys or or buttons on the on the remote control to perhaps keep and and what ones to discard . And if we devote some energy into this , I think the um recent productions of Real Reaction ,the I go everywhere power and the high definition D_V_D_ players {disfmarker} although it makes immediate sense to {vocalsound} have our remote control interact with these , I think we can also use this as aplatform to make it interact with other tools . And um in fact I think the high definition D_V_D_ players and all of this will come along in the uh {disfmarker} will only benefit from the positive feedback {vocalsound}from our well designed tool . So again , most uh users really dislike the current look and feel of remote controls . Um {vocalsound} fifty percent {disfmarker} I think of all these uh numbers the most important is fiftypercent of user say they only use ten percent of the buttons . And eighty percent of users , and if we think about this {vocalsound} there are a lot of uh television , D_V_D_ , stereo remote control users out there ,eighty percent would spend more money on a remote control that looks fancy .Industrial Designer: Could {disfmarker} can I ask where these figures come from , is this market research we've {disfmarker}Marketing:Um it was market research and there were a hundred people in the room , so eighty out of a hundred said they would spend more money .Project Manager: Now in between , as the Project Manager , they sent me anemail from the powers that beIndustrial Designer: Mm-hmm .Project Manager: um that teletext is outdated umMarketing: Mm-hmm .Project Manager: and the internet is coming in as important , but that they want thisremote control to only be for T_V_ um with incorporating the corporate image , colour and slogan .Marketing: Mm-hmm . {vocalsound} Well I think we can {disfmarker} I I think we can really focus on this remote andand again bring the Real Reaction um brand in in and and get some positive marketing for our other tools , even if we directly don't um advertise {vocalsound} for the I go everywhere line .Project Manager: Mm.Marketing: So an interesting um element was the would you pay more for speech recognition question . So these market research uh uh questionnaires {vocalsound} looked into your your uh concern abouttechnologyProject Manager: Hmm .Industrial Designer: {vocalsound}Marketing: and s specifically wanted to find out information about speech recognition .Project Manager: Okay .Marketing: Now the early adopters ,those of us who grew up with technology and uh luck lucky for us have the uh cash to to pay for it , the young age group without the mortgages and responsibilities , ninety one percent of them {vocalsound} would paymore for speech recognition in a remote control . Very interesting , I I leave this up to the group to decide if we wanna use this uh if {disfmarker} and you know , the the designers ,Project Manager: Mm .Marketing: butninety one percent , fifteen to twenty five {disfmarker}Project Manager: Is that a large enough target market to target it ?Marketing: Well , I I I think {disfmarker} especially in terms of growth , I think this would be avery smart group to target . I mean s three quarters of the next age group , twenty five to thirty five are interested , and uh with the technologies improving , if we can get these uh {disfmarker}Project Manager: Inreal numbers , does the ninety one percent and the seventy six percent translate to ex in excess of the four million ?Marketing: {vocalsound} Yeah . To {disfmarker} {vocalsound} Um yes .Project Manager: Or eightmillion .Marketing: Yes . But would you pay more and does it work and is it approachable and and did I know that it was it was an {disfmarker}Project Manager: Hmm .Marketing: that's a that's a very good question.Project Manager: {vocalsound} Yeah .Industrial Designer: Um {disfmarker}Marketing: I don't know if speech recognition should be um should be included ,Project Manager: Mm .Marketing: but I think it's aninteresting {disfmarker} I think that maybe shows more about uh being open to technology .Project Manager: Mm .User Interface: Uh it definitely needs uh a lot more researchMarketing: Shall I go back ?UserInterface: on like how much more it would be and any , you know , existing examples ,Marketing: Yeah , yeah .User Interface: and what reactions to them have been , and that sort of thing .Marketing: Yeah .IndustrialDesigner: How d I'm wondering how how ou how our target price compares with the the typical price of these things . I expect an Industrial Designer should know that , but if we're aiming to to build this thing fortwelve Euros fifty , um is that a lot or a little ?Marketing: Exactly . I mean I I I uh did not receive any information on that , but I think the competition , sussing out what other people are doing and what's in the pipelineis very very important , because um there is a question about do you want an L_C_D_ screen and and that wasn't responded to , but uh some of the larger remotes do have screens where you can navigate , you know ,so it turns into something {disfmarker} uh perhaps you all have seen uh the Osbournes where Ozzy Osbourne is is attempting to manage his super entertainment system with something that looks like a uh a small tray.Industrial Designer: {vocalsound} Sh surely he's in the wrong age group .Marketing: You know ,Project Manager: {vocalsound} {vocalsound}Marketing: it's {disfmarker} I a and I think , you know{disfmarker}Industrial Designer: He must be w one of a s small population . {vocalsound}Marketing: {vocalsound} No , no ,Project Manager: Mm .Marketing: you {disfmarker} Kate , you're exactly right there .{vocalsound} But I think the key is to get the early adopters , people who are familiar with technology and and uh they'll be {disfmarker}Project Manager: But we're not looking at whether they're early adopters on thatscreen ,Marketing: Uh , mm .Project Manager: that's looking at age groups .Marketing: Exactly . I {vocalsound} yes , and I'm making and I'm making the the uh uh leap that people who are familiar {disfmarker}younger people are l are more familiar with technology than than older people . Or comfortable ,Project Manager: Leap . {vocalsound} Hmm . Mm .Marketing: you know , um so {disfmarker}Project Manager: Okay ,you had the other power channel .Marketing: I think the most important thing is an attractive streamlined remote control and to be extraordinarily reductionist , power , channel , volume and everything else is is uh upto the designers . {vocalsound} And this is this is also supported by the market research .Project Manager: Okay .Marketing: {vocalsound} Thank you . That's my contribution .Project Manager: Alright . And we'll turnto the next presentation . I think she said we don't need to screw it in , just stick it in . And then press , what ? F F_N_ and F_ eight . Next to the control button on the bottom , and then F_ eight at the top .UserInterface: Yeah , press them .Project Manager: And then w be patient . {vocalsound}User Interface: Yeah , here we go .Project Manager: Tada .Industrial Designer: And if you want it to go into slide show mode , it'sthat little button there .User Interface: Can I not just uh do each one in order ?Industrial Designer: I you can if you like , it it {disfmarker} that that just sets it up to do a p a pProject Manager: There we are . Yay .UserInterface: That ?Industrial Designer: no that one , that one there .User Interface: That ?Industrial Designer: Left , left a bit , left a bit , that one , yep .User Interface: That ? Right , technical functions design . Uh well Ithink first off , basically I do agree with what Sarah has defined as as uh your personal preferences,yeah . I think we need uh a more streamlined volume with no extraneous functions . So my method was to look at theexisting remotes and what functions they have . And what we all need to discuss is whether we want these functions uh pretty much the same as what existing remotes have . If we can build on this with the speechrecognition , that's not something I'd thought about at all , but it's also something we can discuss .Project Manager: Okay .User Interface: Um and and I presume we can miss out the functions really to to a video orD_V_D_ remote control , if this is only gonna be a , you know , satellite , cable , T_V_ remote control .Project Manager: T_V_ only .User Interface: So these are two models of existing remote controls . Uh the one onthe left seems to be a fairly uh standard universal remote control .Project Manager: {vocalsound} Ugh .User Interface: It has fast-forward , stop , play , all relating to movies . It also has {disfmarker} seems to havechannel up and channel down , which is which is more what you'd expect from a , you know , like a Sky or cable remote controlProject Manager: Hmm .User Interface: where you've got hundreds of channels instead ofa merely terrestrial one . Uh but I think we should be looking more along the lines of the one on the right , which has {disfmarker} it also has play , stop and pause and everything , I don't think we need them at all . Ithink we just need channel selection , volume up , volume down and I think an an enter function where you can access {disfmarker} it's not like teletext , but along the same lines , access things on the screen . Uh notrelated to the internet one that you mentioned , because that'd be far outside our budget and what we want this to do .Project Manager: Mm . And exceed the requirements they're expecting of us .User Interface: So itreally exceed the requirements , 'cause the requirements really are just {disfmarker} want to be able to change channels and functions , which is more a text on the screen thing than uh than actual buttonsProjectManager: Okay .User Interface: o I was thinking something {disfmarker} some smooth , sleek , little remote control with big user-friendly buttons and uh a menu that you can access .Project Manager: Alright .UserInterface: Uh but then I do think we need to discuss the speech um recognition possibility .Project Manager: Okay . Any uh thing else you wanna add ?User Interface: No .Project Manager: Okay .User Interface: But wecould go back to the pictures of the {disfmarker} uh , what're they called ? The pictures of the remote controls and possibly discuss what we think about them ,Marketing: Or if {disfmarker}User Interface: but{vocalsound} maybe should hear what Kate has to say first .Marketing: Yeah .Project Manager: Yeah . Let's hear what Kate has to say .User Interface: Okay then .Marketing: Maybe afterwards we could do a uhwhiteboard with that {disfmarker} your {disfmarker} the one on the right as a as a basis .Project Manager: Hmm .Marketing: Whiteboard session .Project Manager: I think the white {disfmarker} that one on the rightis , as well as less cluttered , {vocalsound} {disfmarker}Marketing: Mm-hmm .User Interface: Definitely less cluttered and {disfmarker} I mean but still it's {disfmarker}Project Manager: It's thereUser Interface:SorryProject Manager: but it's {disfmarker}User Interface: I was just {disfmarker} I'll just uh resume something else I was gonna say .Marketing: {vocalsound}User Interface: The the style of these is terrible .ProjectManager: Yeah .User Interface: {vocalsound} I I I really think we need to uh not only possibly even materials , like the type of plastic used , but everything including size and shape of buttons , positioning of buttons ,the actual shape of the hand-held device , colours , just every e yeah , everything to do with this has to be revolutionised . {vocalsound}Marketing: The ergonomics , the way it fits in your {disfmarker}Project Manager:Hmm .Marketing: Yeah .User Interface: But {disfmarker}Project Manager: {gap}User Interface: So that's that for now .Industrial Designer: Cheers . Mm , I haven't actually got a display on my screen .Project Manager:Okay .Industrial Designer: Still , I'll do without that . Okay um , now I wanna bring us down to earth again I'm afraid and talk about the actual practicalities of how the thing needs to work . {vocalsound} Um oh and thisis the methodology I used in preparing for this meeting . Um basically I've been doing a little bit of web-based research , {vocalsound} and if I had a design team , I would've been discussing my ideas with 'em . But thethe net result is that I've come up with a first cut for the working design that I'd like to discuss with you . So , let's go back to what the basic function of a remote control is . It's for sending a message , um typically umvia infrared . {vocalsound} And the the basic components we've got to build in for our twelve Euros fifty are um an energy source , the user interface and {disfmarker} which will um in incorporate um an integratedcircuit that actually composes the message um based on what the {disfmarker} which buttons the user presses , we turn that into a message , um and then we need a sending mechanism to send it to the receiver .Now I would have hoped {disfmarker} I think that's my only slide actually , yeah . I would have have hoped to um do you a pretty PowerPoint slide of um my first cut design , but unfortunately the technology defeatedme , so if you'll bear with me I'll do it on the whiteboard . {vocalsound} So we want an energy source which is there . And we've got to think about what that might be .Project Manager: Hmm-mm .Industrial Designer:Uh we obviously don't want wires on this thing . Uh typically it would be a battery , but I'm open to suggestions . {vocalsound} Um and then we have the the user interface . Oops . And the main components in thereare the the th the chip that actually has the intelligence of the machine that translates button presses into a message , which it then transfers to some sending mechanism , which encodes it and sends the message tothe receiver . So those are the basic things that we've got to get in for our twelve Euros fifty . {vocalsound} Thank you .Project Manager: Hmm . {vocalsound} Okay . Right . But those things {disfmarker} as long as wecan get those components , the block , that that rectangle for the user interface , is where the user comes in of {disfmarker} what what does it look like ? What do the buttons look like ? Uh what does it feel like ? That'swhere the user interface is really coming into its own .Industrial Designer: Mm-hmm .Project Manager: The technical end is what's actually gonna be in there , but also it has to be easy enough to change or repair ifsomething goes wrong . For example the battery energy source or um what if the chip , for whatever reason , breaks down after a certain amount of time , do you just replace it ? Um is there any um {disfmarker}because it may be in the same area with several other user interfaces , like for D_V_D_s , movies , whatever . Um does it have to have a a way of being segregated from the others , in a different frequency orsomething ?Industrial Designer: Well I may be wrong here , but I'd been thinking of this device as being a a cheap mass-produced device . We're trying to sell four million of 'em ,Project Manager: Mm .IndustrialDesigner: um that's that's , you know , that's almost one in every tenth household or whatever it is . Um and I hadn't thought of it as being a reparable thing ,Project Manager: {vocalsound} Okay .Industrial Designer:you just {disfmarker} if it goes wrong you chuck it out , and that's why I'm a bit concerned . I like the idea of speech recognition , that's a great idea , but I'm not convinced we can put it into this box for the price thatwe need {disfmarker} gonna need to hit .Project Manager: Okay .User Interface: Whoop .Marketing: Do we have um ki some idea of how much it would cost to create a device that has these basic elements ?UserInterface: {vocalsound} Isn't that your job ?Marketing: Because then {disfmarker}Project Manager: {vocalsound} Oh .Industrial Designer: {vocalsound}Marketing: No ,User Interface: {vocalsound} Oh right.Marketing: the chip composer marketing . Oh no , the chip composer sender .Project Manager: Mm . What they cost .Industrial Designer: Um , I'm I'm I'm hoping that my personal coach is gonna {vocalsound} give mesome advice on that , if you're asking me ,Marketing: I I don't believe I know , um .Project Manager: {vocalsound} Okay .Marketing: Okay .Industrial Designer: but {disfmarker} {vocalsound}Marketing: Be becausethen we would ha ha figure out how much we had to play with in terms of user interface and this look and feel idea .User Interface: Yeah . {vocalsound}Project Manager: Mm .Industrial Designer: Yeah .User Interface:It does it does seem as if we're just to do something really simple and mass-produced , the {disfmarker} which is pretty much the same as these existing models ,Marketing: Mm-hmm .User Interface: just maybe a"}
+{"doc_id":"doc_98","qid":"","text":"Postdoc B: Alright .Professor C: So , uh {disfmarker}Grad F: Um , so I wanted to discuss digits briefly , but that won't take too long .Professor C: Oh good . Right . OK , agenda items , Uh , we have digits , What else wegot ?PhD A: New version of the presegmentation .Professor C: New version of presegmentation .Postdoc B: Um , do we wanna say something about the , an update of the , uh , transcript ?PhD G: Yeah , why don't yousummarize the {disfmarker}Professor C: Update on transcripts .PhD G: And I guess that includes some {disfmarker} the filtering for the , the ASI refs , too .Postdoc B: Mmm .Professor C: Filtering for what ?PhD G: Forthe references that we need to go from the {disfmarker} the {pause} fancy transcripts to the sort of {nonvocalsound} brain - dead .Postdoc B: It 'll {disfmarker} it 'll be {disfmarker} basically it 'll be a re - cap of ameeting that we had jointly this morning .Professor C: Uh - huh .PhD G: With Don , as well .Postdoc B: Mm - hmm .Professor C: Got it . Anything else more pressing than those things ? So {disfmarker} So , why don'twe just do those . You said yours was brief , so {disfmarker}Grad F: OK . OK well , the , w uh as you can see from the numbers on the digits we 're almost done . The digits goes up to {pause} about four thousand . Um, and so , uh , we probably will be done with the TI - digits in , um , another couple weeks . um , depending on how many we read each time . So there were a bunch that we skipped . You know , someone fills out theform and then they 're not at the meeting and so it 's blank . Um , but those are almost all filled in as well . And so , once we 're {disfmarker} it 's done it would be very nice to train up a recognizer and actually startworking with this data .PhD D: So we 'll have a corpus that 's the size of TI - digits ?Grad F: And so {disfmarker} One particular test set of TI - digits .PhD D: Test set , OK .Grad F: So , I {disfmarker} I extracted , Ther- there was a file sitting around which people have used here as a test set . It had been randomized and so onPhD D: Grad F: and that 's just what I used to generate the order . of these particular ones .PhD D: Oh !Great . Great .Professor C: So , I 'm impressed by what we could do , Is take the standard training set for TI - digits , train up with whatever , you know , great features we think we have , uh for instance , and then teston uh this test set .Grad F: Um {disfmarker}Professor C: And presumably uh it should do reasonably well on that , and then , presumably , we should go to the distant mike , and it should do poorly .PhD D: Yeah.Professor C: And then we should get really smart over the next year or two , and it {disfmarker} that should get better .Grad F: Right . And inc increase it by one or two percent , yeah .Professor C: Yeah ,{vocalsound} Yeah .Grad F: Um , but , in order to do that we need to extract out the actual digits .Professor C: Right .Grad F: Um , so that {disfmarker} the reason it 's not just a transcript is that there 're false starts ,and misreads , and miscues and things like that . And so I have a set of scripts and X Waves where you just select the portion , hit R , um , it tells you what the next one should be , and you just look for that . You know, so it {disfmarker} it 'll put on the screen , \" The next set is six nine , nine two two \" . And you find that , and , hit the key and it records it in a file in a particular format .Professor C: So is this {disfmarker}Grad F: Andso the {disfmarker} the question is , should we have the transcribers do that or should we just do it ? Well , some of us . I 've been do I 've done , eight meetings , something like that , just by hand . Just myself ,rather . So it will not take long . Um {disfmarker}Professor C: Uh , what {disfmarker} what do you think ?Postdoc B: My feeling is that we discussed this right before coffee and I think it 's a {disfmarker} it 's a fine ideapartly because , um , it 's not un unrelated to their present skill set , but it will add , for them , an extra dimension , it might be an interesting break for them . And also it is contributing to the , uh , c composition of thetranscript cuz we can incorporate those numbers directly and it 'll be a more complete transcript . So I 'm {disfmarker} I think it 's fine , that part .Grad F: There is {disfmarker} there is {disfmarker}Professor C: Soyou think it 's fine to have the transcribers do it ?Postdoc B: Mm - hmm .Professor C: Yeah , OK .Grad F: There 's one other small bit , which is just entering the information which at s which is at the top of this form ,onto the computer , to go along with the {disfmarker} where the digits are recorded automatically .PhD D: Good .Professor C: Yeah .Grad F: And so it 's just , you know , typing in name , times {disfmarker} time , date, and so on . Um , which again either they can do , but it is , you know , firing up an editor , or , again , I can do . Or someone else can do .Postdoc B: And , that , you know , I 'm not , that {disfmarker} that one I 'mnot so sure if it 's into the {disfmarker} the , things that , I , wanted to use the hours for , because the , the time that they 'd be spending doing that they wouldn't be able to be putting more words on .Professor C:Mmm .Postdoc B: But that 's really your choice , it 's your {disfmarker}PhD D: So are these two separate tasks that can happen ? Or do they have to happen at the same time before {disfmarker}Grad F: No they don'thave {disfmarker} this {disfmarker} you have to enter the data before , you do the second task , but they don't have to happen at the same time .PhD D: OK .Grad F: So it 's {disfmarker} it 's just I have a file whiwhich has this information on it , and then when you start using my scripts , for extracting the times , it adds the times at the bottom of the file . And so , um , I mean , it 's easy to create the files and leave them blank, and so actually we could do it in either order .PhD D: Oh , OK .Grad F: Um , it 's {disfmarker} it 's sort of nice to have the same person do it just as a double - check , to make sure you 're entering for the right person. But , either way .Professor C: Yeah . Yeah just by way of uh , uh , a uh , order of magnitude , uh , um , we 've been working with this Aurora , uh data set . And , uh , the best score , on the , nicest part of the data ,that is , where you 've got training and test set that are basically the same kinds of noise and so forth , uh , is about , uh {disfmarker} I think the best score was something like five percent , uh , error , per digit .PhD A:Per digit .Professor C: So , that {disfmarker}Grad F: Per digit .Professor C: You 're right . So if you were doing {pause} ten digit , uh , recognition , {vocalsound} you would really be in trouble . So {disfmarker} So the{disfmarker} The point there , and this is uh car noise uh , uh things , but {disfmarker} but real {disfmarker} real situation ,PhD D: Mm - hmm .Professor C: well , \" real \" , Um , the {disfmarker} uh there 's onemicrophone that 's close , that they have as {disfmarker} as this sort of thing , close versus distant . Uh but in a car , instead of {disfmarker} instead of having a projector noise it 's {disfmarker} it 's car noise . Uh butit wasn't artificially added to get some {disfmarker} some artificial signal - to - noise ratio . It was just people driving around in a car . So , that 's {disfmarker} that 's an indication , uh that was with , many sitescompeting , and this was the very best score and so forth , so . More typical numbers likePhD D: Although the models weren't , that good , right ? I mean , the models are pretty crappy ?Professor C: You 're right . Ithink that we could have done better on the models , but the thing is that we got {disfmarker} this {disfmarker} this is the kind of typical number , for all of the , uh , uh , things in this task , all of the , um , languages. And so I {disfmarker} I think we 'd probably {disfmarker} the models would be better in some than in others . Um , so , uh . Anyway , just an indication once you get into this kind of realm even if you 're looking atconnected digits it can be pretty hard .PhD D: Hmm .Postdoc B: Hmm . It 's gonna be fun to see how we , compare at this . Very exciting . s @ @ .Professor C: Yeah .PhD D: How did we do on the TI - digits ?Grad F:Well the prosodics are so much different s it 's gonna be , strange . I mean the prosodics are not the same as TI - digits , for example .Professor C: Yeah .Grad F: So I 'm {disfmarker} I 'm not sure how much of effectthat will have .PhD D: H how do {disfmarker}PhD G: What do you mean , the prosodics ?Grad F: Um , just what we were talking about with grouping . That with these , the grouping , there 's no grouping at all , and soit 's just {disfmarker} the only sort of discontinuity you have is at the beginning and the end .PhD G: So what are they doing in Aurora , are they reading actual phone numbers ,Grad F: Aurora I don't know . I don'tknow what they do in Aurora .PhD G: or , a {disfmarker} a digit at a time , or {disfmarker} ?Professor C: Uh , I 'm not sure how {disfmarker}PhD G: Cuz it 's {disfmarker}Professor C: no , no I mean it 's connected{disfmarker} it 's connected , uh , digits ,PhD G: Connected .Professor C: yeah . But .Grad F: But {disfmarker} Right .PhD G: So there 's also the {disfmarker} not just the prosody but the cross {disfmarker} the cross- word modeling is probably quite different .PhD D: H HowGrad F: But in TI - digits , they 're reading things like zip codes and phone numbers and things like that ,PhD G: Right .PhD D: do we do on TI - digits ?Grad F:so it 's gonna be different . I don't remember . I mean , very good , right ?Professor C: Yeah , I mean we were in the .Grad F: One and a half percent , two percent , something like that ?Professor C: Uh , I th no I thinkwe got under a percent , but it was {disfmarker} but it 's {disfmarker} but I mean . The very best system that I saw in the literature was a point two five percent or something that somebody had at {disfmarker} at BellLabs , or . Uh , but . But , uh , sort of pulling out all the stops .Grad F: Oh really ?Postdoc B: s @ @ . It s strikes me that there are more {disfmarker} each of them is more informative because it 's so , random ,Grad F:OK . Alright .PhD D: Hmm .Professor C: But I think a lot of systems sort of get half a percent , or three - quarters a percent ,Grad F: Right .Professor C: and we 're {disfmarker} we 're in there somewhere .Grad F: Butthat {disfmarker} I mean it 's really {disfmarker} it 's {disfmarker} it 's close - talking mikes , no noise , clean signal , just digits , I mean , every everything is good .Professor C: Yeah .PhD G: It 's the beginning oftime in speech recognition .Grad F: Yes , exactly .Professor C: Yeah .Grad F: And we 've only recently got it to anywhere near human .PhD G: It 's like the , single cell , you know , it 's the beginning of life ,PhD D: Pre -prehistory .PhD G: yeah .Grad F: And it 's still like an order of magnitude worse than what humans do .PhD G: Right .Professor C: Yeah .Grad F: So .Professor C: When {disfmarker} When they 're wide awake , yeah .Um ,Grad F: Yeah . After coffee .Professor C: after coffee , you 're right . Not after lunch .Grad F: OK , so , um , what I 'll do then is I 'll go ahead and enter , this data . And then , hand off to Jane , and the transcribersto do the actual extraction of the digits .Professor C: Yeah . Yeah . One question I have that {disfmarker} that I mean , we wouldn't know the answer to now but might , do some guessing , but I was talking beforeabout doing some model modeling of arti uh , uh , marking of articulatory , features , with overlap and so on .Grad F: Hmm .Professor C: And , and , um , On some subset . One thought might be to do this uh , on{disfmarker} on the digits , or some piece of the digits . Uh , it 'd be easier , uh , and so forth . The only thing is I 'm a little concerned that maybe the kind of phenomena , in w i i The reason for doing it is because the{disfmarker} the argument is that certainly with conversational speech , the stuff that we 've looked at here before , um , just doing the simple mapping , from , um , the phone , to the corresponding features that youcould look up in a book , uh , isn't right . It isn't actually right . In fact there 's these overlapping processes where some voicing some up and then some , you know , some nasality is {disfmarker} comes in here , and soforth . And you do this gross thing saying \" Well I guess it 's this phone starting there \" . So , uh , that 's the reasoning . But , It could be that when we 're reading digits , because it 's {disfmarker} it 's for such a limitedset , that maybe {disfmarker} maybe that phenomenon doesn't occur as much . I don't know . Di - an anybody {disfmarker} ? {pause} Do you have any {disfmarker} ? {pause} Anybody have any opinion about that,Postdoc B: and that people might articulate more , and you that might end up with more {disfmarker} a closer correspondence .Professor C: Mm - hmm . Yeah .Grad F: Yeah {disfmarker} that 's {disfmarker} I{disfmarker} I agree .PhD D: Sort of less predictability ,Grad F: That {disfmarker} it 's just {disfmarker}Postdoc B: Mm - hmm .Professor C: Yeah .PhD D: and {disfmarker} You hafta {disfmarker}Grad F: It 's a{disfmarker} Well {disfmarker} Would , this corpus really be the right one to even try that on ?PhD G: Well it 's definitely true that , when people are , reading , even if they 're re - reading what , they had saidspontaneously , that they have very different patterns . Mitch showed that , and some , dissertations have shown that .Professor C: Right .PhD G: So the fact that they 're reading , first of all , whether they 're readingin a room of , people , or rea you know , just the fact that they 're reading will make a difference .Professor C: Yeah .PhD G: And , depends what you 're interested in .Professor C: See , I don't know . So , may maybethe thing will be do {disfmarker} to take some very small subset , I mean not have a big , program , but take a small set , uh , subset of the conversational speech and a small subset of the digits , and {pause} lookand {disfmarker} and just get a feeling for it . Um , just take a look . Really .Postdoc B: H That could {disfmarker} could be an interesting design , too , cuz then you 'd have the com the comparison of the , uh ,predictable speech versus the less predictable speechProfessor C: Cuz I don't think anybody is , I at least , I don't know , of anybody , uh , well , I don't know , {vocalsound} the answers .PhD D: Hey .Professor C: Yeah.Postdoc B: and maybe you 'd find that it worked in , in the , case of the pr of the , uh , non - predictable .Professor C: Yeah .PhD D: Hafta think about , the particular acoustic features to mark , too , because , I mean ,some things , they wouldn't be able to mark , like , uh , you know , uh , tense lax .Professor C: Mm - hmm .PhD D: Some things are really difficult . You know ,Postdoc B: Well .PhD D: just listening .Grad F: M I think wecan get Ohala in to , give us some advice on that .PhD D: Yeah .Postdoc B: Also I thought you were thinking of a much more restricted set of features , that {disfmarker}Professor C: Yeah , but I {disfmarker} I{disfmarker} I {disfmarker} I was , like he said , {vocalsound} I was gonna bring John in and ask John what he thought .Postdoc B: Yeah , sure . Sure . Yeah .Professor C: Right . But I mean you want {disfmarker} youwant it be restrictive but you also want it to {disfmarker} to {disfmarker} to have coverage .Grad F: Right .Postdoc B: YeahProfessor C: You know i you should . It should be such that if you , if you , uh , if you had oum , all of the features , determined that you {disfmarker} that you were uh ch have chosen , that that would tell you , uh , in the steady - state case , uh , the phone . So , um .Postdoc B: OK .Grad F: Even , I guesswith vowels that would be pretty hard , wouldn't it ? To identify actually , you know , which one it is ?Postdoc B: It would seem to me that the points of articulation would be m more , g uh , I mean that 's {disfmarker} Ithink about articulatory features , I think about , points of articulation , which means , uh , rather than vowels .Grad F: Yeah .PhD D: Points of articulation ? What do you mean ?Postdoc B: So , is it , uh , bilabial ordental or is it , you know , palatal .Professor C: Mm - hmm .Postdoc B: Which {disfmarker} which are all like where {disfmarker} where your tongue comes to rest .Professor C: Place , place .PhD D: Place of ar place ofarticulation .Grad F: Uvular .PhD A: Place .Postdoc B: Place . Thank you , what {disfmarker} whatev whatever I s said , that 's {disfmarker}Professor C: Yeah .PhD D: OK .Postdoc B: I really meant place .Professor C:Yeah .PhD D: OK , I see .Professor C: Yeah . OK we got our jargon then , OK .Postdoc B: Yeah .Professor C: Uh .PhD G: Well it 's also , there 's , really a difference between , the pronunciation models in the dictionary ,and , the pronunciations that people produce . And , so , You get , some of that information from Steve 's work on the {disfmarker} on the labelingProfessor C: Right .Grad F: Right .PhD G: and it really , I actually thinkthat data should be used more . That maybe , although I think the meeting context is great , that he has transcriptions that give you the actual phone sequence . And you can go from {disfmarker} not from that to thearticulatory features , but that would be a better starting point for marking , the gestural features , then , data where you don't have that , because , we {disfmarker} you wanna know , both about the way that they 'reproducing a certain sound , and what kinds of , you know what kinds of , phonemic , differences you get between these , transcribed , sequences and the dictionary ones .Professor C: Well you might be right that mimight be the way at getting at , what I was talking about , but the particular reason why I was interested in doing that was because I remember , when that happened , and , John Ohala was over here and he waslooking at the spectrograms of the more difficult ones . Uh , he didn't know what to say , about , what is the sequence of phones there . They came up with some compromise . Because that really wasn't what it look like. It didn't look like a sequence of phonesGrad F: Right .PhD G: Right .Professor C: it look like this blending thing happening here and here and here .Grad F: Yeah , so you have this feature here , and , overlap , yeah.PhD G: Right .Professor C: Yeah .PhD D: There was no name for that .PhD G: But {disfmarker} Right .Professor C: Yeah .PhD G: But it still is {disfmarker} there 's a {disfmarker} there are two steps . One{disfmarker} you know , one is going from a dictionary pronunciation of something , like , \" gonna see you tomorrow \" ,Grad F: And {disfmarker} Or \" gonta \" .Professor C: Right . Yeah .PhD G: it could be \" going to \"or \" gonna \" or \" gonta s \" you know .Professor C: Right .PhD G: And , yeah . \" Gonna see you tomorrow \" , uh , \" guh see you tomorrow \" . And , that it would be nice to have these , intermediate , or these{disfmarker} some {disfmarker} these reduced pronunciations that those transcribers had marked or to have people mark those as well .Professor C: Mm - hmm .PhD G: Because , it 's not , um , that easy to go fromthe , dictionary , word pronuncia the dictionary phone pronunciation , to the gestural one without this intermediate or a syllable level kind of , representation .Grad F: Well I don't think Morgan 's suggesting that we dothat , though .Professor C: Do you mean ,PhD A: Yeah .Professor C: Yeah , I mean , I I I 'm jus at the moment of course we 're just talking about what , to provide as a tool for people to do research who have differentideas about how to do it . So for instance , you might have someone who just has a wor has words with states , and has uh {disfmarker} uh , comes from articulatory gestures to that . And someone else , mightactually want some phonetic uh intermediate thing . So I think it would be {disfmarker} be best to have all of it if we could . But {pause} um ,Grad F: But {disfmarker} What I 'm imagining is a score - like notation ,where each line is a particular feature .Professor C: Yeah .Grad F: Right ,Professor C: Yeah .Grad F: so you would say , you know , it 's voiced through here , and so you have label here , and you have nas nasal here ,and , they {disfmarker} they could be overlapping in all sorts of bizarre ways that don't correspond to the timing on phones .Professor C: I mean this is the kind of reason why {disfmarker} I remember when at one ofthe Switchboard , workshops , that uh when we talked about doing the transcription project , Dave Talkin said , \" can't be done \" .Grad F: Right .Professor C: He was {disfmarker} he was , what {disfmarker} what hemeant was that this isn't , you know , a sequence of phones , and when you actually look at Switchboard that 's , not what you see , and , you know . And . It ,Grad F: And in {disfmarker} in fact the inter - annotatoragreement was not that good , right ? On the harder ones ?Professor C: yeah I mean it wasPhD G: It depends how you look at it , and I {disfmarker} I understand what you 're saying about this , kind of transcriptionexactly ,Professor C: Yeah .PhD G: because I 've seen {disfmarker} you know , where does the voicing bar start and so forth .Professor C: Yeah .PhD G: All I 'm saying is that , it is useful to have that {disfmarker} the"}
+{"doc_id":"doc_99","qid":"","text":"Grad D: And we already got the crash out of the way . It did crash , so I feel much better , earlier .Professor F:  Yeah .Postdoc E: Interesting . Hmm .Professor F: Will you get the door , and {disfmarker} ? Grad D: OK ,so um .Professor F: OK . You collected an agenda , huh ?Grad D: I did collect an agenda . So I 'm gonna go first . Mwa - ha - ha ! It shouldn't take too long .Postdoc E: Yeah .Grad D: Um , so we 're pretty much out ofdigits . We 've gone once through the set . Um , so the only thing I have to doProfessor F: No there 's only ten .Grad D: Yeah , that 's right . so I {disfmarker} I just have to go through themProfessor F: Well , OK .GradD: and uh pick out the ones that have problems , and either correct them or have them re - read . So we probably have like four or five more forms to be read , to be once through the set . I 've also extracted out aboutan hour 's worth . We have about two hours worth . I extracted out about an hour 's worth which are the f digits with {disfmarker} for which whose speaker have speaker forms , have filled out speaker forms . Noteveryone 's filled out a speaker form . So I extracted one for speakers who have speaker forms and for meetings in which the \" key \" file and the transcript files are parsable . Some of the early key files , it looks like ,were done by hand , and so they 're not automatically parsable and I have to go back and fix those . So what that means is we have about an hour of transcribed digits that we can play with . Um , Liz{disfmarker}Professor F: So you think two {disfmarker} you think two hours is the {disfmarker} is the total that we have ?Grad D: Yep , yeah .Professor F: And you think we th uh , I {disfmarker} I didn't quite catchall these different things that are not quite right , but you think we 'll be able to retrieve the other hour , reasonably ?Grad D: Yes , absolutely .Professor F: OK .Grad D: So it 's just a question of a little hand - editing ofsome files and then waiting for more people to turn in their speaker forms . I have this web - based speaker form , and I sent mail to everyone who hadn't filled out a speaker form , and they 're slowly s trickling in.Professor F: So the relevance of the speaker form here , sGrad D: It 's for labeling the extracted audio files .Professor F: Oh , OK .Grad D: By speaker ID and microphone type .Professor F: Wasn't like whether theywere giving us permission to use their digits or something .Grad D: No , I spoke with Jane about that and we sort of decided that it 's probably not an issue that {disfmarker} We edit out any of the errors anyway . Right? So the there are no errors in the digits ,Professor F: Yeah .Grad D: you 'll always read the string correctly . So I can't imagine why anyone would care . So the other topic with digits is uh , Liz would like to elicitdifferent prosodics , and so we tried last week with them written out in English . And it just didn't work at all because no one grouped them together . So it just sounded like many many more lines instead of anythingelse . So in conversations with Liz and uh Jane we decided that if you wrote them out as numbers instead of words it would elicit more phone number , social security number - like readings . The problem with that is itbecomes numbers instead of digits . When I look at this , that first line is \" sixty one , sixty two , eighteen , eighty six , ten . \" Um , and so the question is does anyone care ? Um , I 've already spoken with Liz and shefeels that , correct me if I 'm wrong , that for her , connected numbers is fine ,Postdoc E: Mm - hmm .Grad D: as opposed to connected digits . Um , I think two hours is probably fine for a test set , but it may be a littleshort if we actually wanna do training and adaptation and all that other stuff .Professor F: Yeah Um , do um you want different prosodics , so if you always had the same groupings you wouldn't like that ? Is that correct?PhD G: Well , we actually figured out a way to {disfmarker}Grad D: Yeah , the {disfmarker} the {disfmarker}PhD G: the {disfmarker} the groupings are randomly generated .Professor F: No but , I was asking if thatwas something you really cared about because if it wasn't , it seems to me if you made it really specifically telephone groupings that maybe people wouldn't , uh , go and do numbers so much . You know if it if it 's{disfmarker}PhD A: Uh {disfmarker}PhD G: I think they may still do it , um ,Professor F: Maybe some , but I probably not so much .PhD B: What about putting a hyphen between the numbers in the group ?PhD G: And{disfmarker}Professor F: Right ? So if you {disfmarker} if {disfmarker} if you have uhGrad D: Six dash one , you mean ?Professor F: if you go six six six uh dash uh two nine three one .PhD G: I {disfmarker} well OK{disfmarker} I {disfmarker} it might help , I would like to g get away from having only one specific grouping .Professor F: That 's what I was asking , yeah .PhD G: Um , so if that 's your question ,Professor F: Yeah.PhD G: but I mean it seems to me that , at least for us , we can learn to read them as digitsPostdoc E: Yeah .PhD G: if that 's what people want . I {disfmarker} I 'mPostdoc E: Yeah .PhD G: don't think that 'd be thathard to read them as single digits .Postdoc E: I agree .PhD G: Um , and it seems like that might be better for you guys since then you 'll have just more digit data ,Grad D: Right .PhD G: and that 's always a good thing.Grad D: Yep .PhD G: It 's a little bit better for me too because the digits are easier to recognize . They 're better trained than the numbers .Grad D: So we could just , uh , put in the instructions \" read them as digits \".Professor F: Right .PhD G: Right . Right , read them as single digits , so sixty - one w is read as six one ,Postdoc E: Mm - hmm .PhD G: and if people make a mistake we {disfmarker}Grad D: How about \" O \" versus \"zero \" ?Professor F: I mean , the other thing is we could just bag it because it 's {disfmarker} it 's {disfmarker} it 's - I 'm not worrying about it I mean , because we do have digits training data that we have from uhfrom OGI . I 'm sorry , digits {disfmarker} numbers training that we have from OGI , we 've done lots and lots of studies with that . And um .PhD G: But it 's nice to get it in this room with the acousProfessor F: Yeah.PhD G: I mean {disfmarker} for {disfmarker} it 's {disfmarker}Professor F: No , no , I guess what I 'm saying is thatGrad D: Just let them read it how they read it .Professor F: to some extent maybe we could justread them {disfmarker} have them read how {disfmarker} how they read it and it just means that we have to expand our {disfmarker} our vocabulary out to stuff that we already have .PhD G: Right . Well that 's finewith me as long as {disfmarker} It 's just that I didn't want to cause the people who would have been collecting digits the other way to not have the digits .Professor F: Yeah . We can go back to the other thing later.PhD G: So {disfmarker}Professor F: I mean we s we {disfmarker} we 've {disfmarker} We can do this for awhilePhD G: OK .Professor F: and then go back to digits for awhile , or um . Do yo I mean , do you want{disfmarker} do you want this {disfmarker} Do you need training data or adaptation data out of this ?PhD G: OK .Professor F: How much of this do you need ? with uh the {disfmarker}PhD G: It 's actually unclear rightnow . I just thought well we 're {disfmarker} if we 're collec collecting digits , and Adam had said we were running out of the TI forms , I thought it 'd be nice to have them in groups , and probably , all else being equal ,it 'd be better for me to just have single digitsProfessor F: OK .PhD G: since it 's , you know , a recognizer 's gonna do better on those anyway , um , and it 's more predictable . So we can know from the transcript whatthe person said and the transcriber , in general .Professor F: OK , well if you prePhD G: But if they make mistakes , it 's no big deal if the people say a hundred instead of \" one OO \" . and also w maybe we can just letthem choose \" zero \" versus \" O \" as they {disfmarker} as they like because even the same person c sometimes says \" O \" and sometimes says \" zero \" in different context ,Professor F: Yeah .PhD G: and that 's sort ofinteresting . So I don't have a Specific need cuz if I did I 'd probably try to collect it , you know , without bothering this group , but If we can try it {disfmarker}Grad D: OK so {disfmarker} so I can just add to theinstructions to read it as digits not as connected numbers .Postdoc E: Mm - hmm .PhD G: Right , and you can give an example like , you know , \" six {disfmarker} sixty - one would be read as six one \" .Grad D: Right.Postdoc E: Mm - hmm . And i actually it 's no more artificial than what we 've been doing with words .PhD G: And I think people will get it .Postdoc E: I 'm sure people can adapt to this , read it single .PhD G: Right ,right .Postdoc E: The spaces already bias it toward being separated .PhD G: It 's just easier to read .Postdoc E: And I know I 'm gonna find this easier than words .PhD G: Right .Grad D: Oh yeah , absolutely ,cognitively it 's much easier .PhD G: OK I also had a hard {disfmarker} hard time with the words ,Professor F: Yeah .PhD G: but then we went back and forth on that . OK , so let 's give that a tryGrad D: OK . And is thespacing alright or do you think there should be more space between digits and groups ?Professor F: OK .PhD G: and {disfmarker}Grad D: Or is that alright ?PhD G: I mean what do other people think cuz you guys arereading {comment} them .Postdoc E: I think that i it 's fine .Grad D: OK .Postdoc E: I it {disfmarker} it {disfmarker} to me it looks like you 've got the func the idea of grouping and you have the grou the idea ofseparationPhD G: OK .Postdoc E: and , you know , it 's just a matter of u i the instructions , that 's all .PhD G: Great . OK .Grad D: And I think there are about ten different gouping patternsProfessor F: Let 's try it .PhDG: Well let 's give it a try .Grad D: isn't that right , Liz ? That we did .PhD G: Righ - right , and you just {disfmarker} they 're randomly {nonvocalsound} generated and randomly assigned to digits .Postdoc E: I did{disfmarker} Mm - hmm .Professor F: So we have {disfmarker}Postdoc E: Go ahead .Professor F: Sorry , I {disfmarker} I was just gonna say , so we have in the vicinity of forty hours of {disfmarker} of recordings now. And you 're saying two hours , uh , is digits , so that 's roughly the ratio then ,Grad D: Yep .Professor F: something like twenty {disfmarker} twenty to one . Which I guess makes {disfmarker} makes sense . So if wedid another forty hours of recordings then we could get another couple hours of this .Grad D: Right .Professor F: Um , yeah like you say , I think a couple hours for a {disfmarker} for a {disfmarker} for a test{disfmarker} test set 's OK . It 'd be nice to get , you know , more later because we 'll {disfmarker} we might use {disfmarker} use this up , uh , in some sense ,Postdoc E: Mm - hmm .Grad D: Right .Professor F: but{disfmarker} but uh {disfmarker}Postdoc E: Yeah , I also would like to argue for that cuz it {disfmarker} it seems to me that , um , there 's a real strength in having the same test replicated in {disfmarker} a wholebunch of times and adding to that basic test bank .Grad D: Right .Postdoc E: Hmm ? Cuz then you have , you know , more and more , u chances to get away from random errors . And I think , um , the other thing too isthat right now we have sort of a stratified sample with reference to dialect groups , and it might be {disfmarker} there might be an argument to be made for having uh f for replicating all of the digits that we 've done ,which were done by non - native speakers so that we have a core that totally replicates the original data set , which is totally American speakers , and then we have these stratified additional language groupsoverlapping certain aspects of the database .Grad D: Right . I think that uh trying to duplicate , spending too much effort trying to duplicate the existing TI - digits probably isn't too worthwhile because the recordingsituation is so different .Professor F: Yeah .Grad D: It 's gonna be very hard to be comparable .Postdoc E: Except that if you have the stimuli {pause} comparable , then it says something about the {disfmarker} thecontribution of settingProfessor F: No it 's {disfmarker} it 's not the same .Postdoc E: and {disfmarker}Professor F: A little bit , but the other differences are so major .Grad D: Yeah I mean read versus not .Postdoc E:OK .Professor F: They 're such major sources of variance that it 's {disfmarker} it 's {disfmarker} it 's uh {disfmarker}Postdoc E: What 's an example of a {disfmarker} of m some of the other differences ? Any other adifference ?Professor F: Well i i individual human glottis {vocalsound} is going to be different for each one ,Postdoc E: OK .Professor F: you know , it 's just {disfmarker} There 's so many things .Grad D: Well , and notjust that ,Postdoc E: OK .Professor F: it 's {disfmarker} it {disfmarker} and {disfmarker} and enunciation .Grad D: I mean the uh the corpus itself . I mean , we 're collecting it in a read digit in a particular list , and I 'msure that they 're doing more specific stuff . I mean if I remember correctly it was like postman reading zipcodes and things like that .Professor F: TI - digits was ?Grad D: I thought so .Professor F: I thought{disfmarker} I thought it was read .Grad D: Was it read ?Professor F: Yeah , I think the reading zipcode stuff you 're thinking of would be OGI .Grad D: Oh , I may well be .Professor F: Yeah , no TI - digits was read inth in read in the studio I believe .Grad D: I haven't ever listened to TI - digits . So I don't really know how it compares .Professor F: Yeah . Yeah .Grad D: But {disfmarker} but regardless it 's gonna {disfmarker} it 'shard to compare cross - corpus .Professor F: But it {disfmarker} but {disfmarker} It - it 's different people {pause} is the {disfmarker} is the core thing .Grad D: So .Postdoc E: OK , fine .Professor F: And they 'redifferent circumstances with different recording environment and so forth , so it 's {disfmarker} it 's {disfmarker} it 's really pretty different . But I think the idea of using a set thing was just to give you some sort offramework , so that even though you couldn't do exact comparisons , it wouldn't be s valid scientifically at least it 'd give you some kind of uh frame of reference . Uh , you know it 's not {disfmarker}PhD B: Hey Liz ,What {disfmarker} what do the groupings represent ?Postdoc E: OK .PhD B: You said there 's like ten different groupings ?PhD G: Right , just groupings in terms of number of groups in a line , and number of digits in agroup , and the pattern of groupings .PhD B: Mm - hmm . Are the patterns {disfmarker} like are they based on anything orPhD G: Um , I {disfmarker} I just roughly looked at what kinds of digit strings are out there ,and they 're usually grouped into either two , three , or four , four digits at a time .PhD B: Oh .PhD G: And they can have , I mean , actually , things are getting longer and longer . In the old days you probably only hadthree sequences , and telephone numbers were less , and so forth . So , there 's between , um {disfmarker} Well if you look at it , there are between like three and five groups , and each one has between two and fourgroupings and {disfmarker} I purposely didn't want them to look like they were in any kind of pattern .PhD B: Mmm .PhD G: SoGrad D: And which group appears is picked randomly , and what the numbers are arepicked randomly .PhD B: Mm - hmm .Grad D: So unlike the previous one , which I d simply replicated TI - digits , this is generated randomly .PhD G: Right .PhD A: Oh OK .PhD B: Mmm , oh , OK .PhD G: But I think it 'dbe great i to be able to compare digits , whether it 's these digits or TI - digits , to speakers , um , and compare that to their spontaneous speech , and then we do need you know a fair amount of {disfmarker} of digitdata because you might be wearing a different microphoneGrad D: Mm - hmm .PhD G: and , I mean {disfmarker} so it 's {disfmarker} it 's nice to have the digits you know , replicated many times . Especially forspeakers that don't talk a lot .Grad D: Yeah .PhD G: So {vocalsound} um , for adaptation . No , I 'm serious ,PhD A: Yeah .Grad D: Yeah all we have for some people is digits .Professor F: Yeah .PhD G: so we have aproblem with acoustic adaptation , and we 're not using the digit data now , but you know {disfmarker}Grad D: Oh , you 're not .PhD G: Not for adaptation , nope . v W we 're not {disfmarker} we were runningadaptation only on the data that we ran recognition on and I 'd {disfmarker} As soon as someone started to read transcript number , that 's read speech and I thought \" well , we 're gonna do better on that ,Grad D: OhI see .PhD G: that 's not fair to use \" .Grad D: Oh yeah that 's true , absolutely .PhD A: OK .PhD G: But , it might be fair to use the data for adaptation , so . So those speakers who are very quiet , {comment} shy{disfmarker}Grad D: That would be interesting to see whether that helps .PhD G: r Right {disfmarker}PhD B: Like Adam ?Grad D: Do you think that would help adapting on {disfmarker} Yeah . Yeah , I have a realproblem with that .Professor F: Yeah .PhD G: Well , it sh I mean it 's the same micropho see the nice thing is we have that in the {disfmarker} in the same meeting ,Grad D: Right . Same {disfmarker} same acoustics,Professor F: Yeah .PhD G: and so you don't get {disfmarker}Grad D: same microphone ,PhD A: Yeah .Grad D: same channel .PhD G: Right , and so I still like the idea of having some kind of {pause} digit data .Grad D:OK . Good .Professor F: Yeah I mean , for the {disfmarker} for the um acoustic research , for the signal - processing , farfield stuff , I see it as {disfmarker} as {disfmarker} as the place that we start . But , th I mean ,it 'd be nice to have twenty hours of digits data , but {disfmarker} but uh the truth is I 'm hoping that we {disfmarker} we through the {disfmarker} the stuff that {disfmarker} that you guys have been doing as youcontinue that , we get , uh , the best we can do on the spontaneous stuff uh , uh nearfield , and then um , we do a lot of the testing of the algorithms on the digits for the farfield , and at some point when we feel it 'smature and we understand what 's going on with it then we {disfmarker} we have to move on to the spontaneous data with the farfield . So .Postdoc E: Great .PhD G: The only thing that we don't have , I know thissounds weird , and maybe it 's completely stupid , but we don't have any overlapping digits .Grad D: Yeah , we talked about that a couple times .PhD G: An - yea I know it 's weird , but um {disfmarker}PhD A:Overlapping digits !Grad D: The {disfmarker} the problem I see with trying to do overlapping digits is the cognitive load .PhD G: Alright everybody 's laughing . OK .Grad C: Dueling digits .Grad D: No it 's {disfmarker}it 's not stupid , it 's just {disfmarker} I mean , try to do it .PhD G: I 'm just talkin for the stuff that like Dan Ellis is gonna try ,Grad D: I mean , here , let 's try it .PhD G: you know , cross - talk cancellation .Grad D: Youread the last line , I 'll read the first line .Professor F: Let 's try it .PhD G: OK .PhD A: Oh !PhD G: Wait {disfmarker} oh it {disfmarker} these are all the same forms .Professor F: Sixty - one .PhD G: OK {comment} Sobut {disfmarker}Grad D: So {disfmarker} so you read the last line , I 'll read the first line .Professor F: No , I 'll pPhD G: So you plu you plug your ears .Grad D: Oh I guess if you plug you 're ears you could do it , butthen you don't get the {disfmarker} the same effects .PhD A: Yeah .PhD G: Well , what I mean is actually no not the overlaps that are well - governed linguistically , but the actual fact that there is speech coming fromtwo peopleGrad D: Yeah .PhD G: and the beam - forming stuf all the acoustic stuff that like Dan Ellis and {disfmarker} and company want to do .Grad D: Oh I see .PhD G: Digits are nice and well behaved , I meanGradD: I guess we could try .PhD G: Anyway , it 's just a thought .Grad D: We could try doing some .PhD G: It {disfmarker} it would go faster .PhD B: Parallel .PhD G: It would take one around {comment} amount of tiPhDB: It 's the P - make of digit reading .Grad D: Well {disfmarker} Well OK . Well let 's try it .PhD G: That 's right . I {disfmarker} I mea I 'm {disfmarker} I was sort of serious , but I really , I mean , I 'm {disfmarker} Idon't feel strongly enough that it 's a good idea ,Professor F: See , yGrad D: You do the last line , I 'll do the first line .PhD G: so .Professor F: OK .Grad D: O . {comment} That 's not bad .Professor F: No , I can do it.PhD B: I couldn't understand a single thing you guys were saying .PhD G: A and that prosody was great , by the way .Postdoc E: I think it was numbers , but I 'm not sure .PhD G: It {disfmarker} it sort of sounded likea duet , or something .PhD A: Yeah .PhD B: Performance art .Professor F: Alright , let 's try three at once you {disfmarker} you pick one in the middle .PhD A: The Aurora theater .PhD G: OK .Professor F: Go .PhD G: I'm sorry . I 'm mean I think it 's doable ,Grad D: The poor transcribersPhD G: I 'm just {disfmarker}Grad D: they 're gonna hate us .PhD G: So , we {disfmarker} we could have a round like where you do two at a time ,"}
+{"doc_id":"doc_100","qid":"","text":"Project Manager: Hi Kate . {vocalsound} Okay , carry on .Industrial Designer: Just just carry on . {vocalsound}Project Manager: {vocalsound} Alright um this is the beginning of the third meeting , the conceptualdesign meeting . Um our agenda should be um that we're opening the meeting , I have {disfmarker} the minutes from the previous meeting are on the shared f drive at this point . Um and we should each have apresentation to make . Um we have certain decisions to make and we have forty minutes total . It's twenty five after two at the moment , so forty minutes is five after three , {vocalsound} um which I'll be keeping aneye on the clock for us . Okay . {vocalsound} Um there are the decisions we have to turn to , but we'll come back to them in a minute after I take us to the minutes of the previous meeting . Right um as we remember ,I opened the meeting , the four of us were present , the meeting {disfmarker} the first meeting's minutes were reviewed and approved . Um Sarah , you presented a marketing research report um which pretty muchrep represented that fifteen to thirty five year olds uh it has to be hand-held , power , channel , volume , number keys , possibly a speech recognition . And then Steph did a second presentation um that those functionsplus streamlining them with big user-friendly keys that were easy to use . I think all of us agreed with those things . Kate presented a working design of {disfmarker} going after {disfmarker} going over the basics onthe whiteboard um that it should be a simple mass-produced device , because of the twelve and a half Pence cost . Um but we did talk about possibly using rechargeable batteries and having a docking place as a sellingpoint . Um and the new requirements that it for {disfmarker} be for T_V_ only um and that it include the l so slogan and colour of the uh corporate design be included . Um {vocalsound} the corporate image . So weagreed that the target market would be fifteen to thirty five with more money than sense , that were decision makers . Alternatively it would be a manufacturer to enclose it with the T_V_ , but it still should meet thoseparameters . Um and that the function we agreed was volume , power , numbers , enter , channels , a way to move between channels , easy to use and hand-held . {vocalsound} Um at that point we agreed that Sarahwould look at the current cost of competition , what what do the current ones sell for . Um and Steph was gonna look at ec ergonomics . Kate was gonna look at cost and feasibility of the various possibilities that wediscussed . And I was to type up these minutes and work on the final report . Is this a fair presentation of what our last meeting was ?User Interface: Yeah .Industrial Designer: Mm-hmm .User Interface: Yes .ProjectManager: Okay . Right . So we're ready to close that and go back to our {disfmarker} That one . Right . We're up to the point of the {disfmarker} Go back . Um {vocalsound} the three presentations . So we're going topull the plug on me and turn to Sarah . Is that okay ? Is that alright with everybody else ?Industrial Designer: Mm-hmm . {vocalsound}User Interface: Yep .Project Manager: Especially since Kate asked to be last .{vocalsound} Sarah , I'm sorry if I misspelled your name , I didn't know whether it was S_A_R_A_ or {vocalsound} S_A_R_H_ .Marketing: {vocalsound} {vocalsound} I respond to either .Project Manager: You respondto whatever you get , huh ? {vocalsound}Marketing: No worries .Project Manager: Okay . Um , did you do your {disfmarker} Hit {disfmarker}User Interface: Yeah , {gap}Project Manager: Ah , there it is . Ta-da.Marketing: Okay , first thing I want to address is um one of the points that Florence brought up , which was uh current cost of the competition devices , similar to the ones that Stephanie uh showed us and and they'reuh twenty to sixty Euros , depending on uh branding .User Interface: Right .Marketing: Some of them that have a higher brand recognition are on the more expensive end . But I think that with the current um price thatwe're searching for , we're well within , even on the lower end , of the uh of the market .Project Manager: Mm 'kay .Marketing: But I'm going to move on to more interesting um {vocalsound} more vibrant things .{vocalsound} So , I investigated the remote control market in greater detail , and my uh {disfmarker} the theme of what I was to work on was uh trend watch .User Interface: {vocalsound}Marketing: And{vocalsound}Project Manager: 'Kay .User Interface: {vocalsound}Industrial Designer: {vocalsound} Sorry . {vocalsound}User Interface: {vocalsound}Marketing: {vocalsound}Project Manager: {vocalsound}UserInterface: {vocalsound}Industrial Designer: I'm glad to see the marketing budget is being so well spent on {vocalsound} {gap} . {vocalsound}Marketing: {vocalsound}Project Manager: {vocalsound}Marketing:{vocalsound} I know that you all are a distance from cutting edge marketing research ,Industrial Designer: {vocalsound}Marketing: so you know , I'm just gonna try to cloak it in really professional terms here . What'shot , fruit and veg . Spongy .Industrial Designer: {vocalsound}User Interface: {vocalsound}Marketing: And this is all over the catwalks , Paris , Milan , and I'm talking about clothing , furniture , shoes .{vocalsound}Industrial Designer: {vocalsound}Marketing: This is really interesting change from past years ,Project Manager: Mm .User Interface: {vocalsound}Marketing: because it is much more organic , um somewould say approachable . {vocalsound} And I think if we're to refashion our view of what we want in a remote control , we should perhaps think about incorporating technologically interesting fabrics and some of thebold colours into a simple handset . So . {vocalsound} I also did a little research on um {vocalsound} what again are the most important priorities in uh decision making about uh purchasing . Fancy . Functional is out .And f the fancy , and that's exactly the term , I'm I'm thinking polished , elegant , {vocalsound} you know , kind of innovative , but a cut above . This is twice as important as the next finding , which is technologicallyinnovative . This is interesting , 'cause I think in the last meeting we were talking about technology as being so important , but maybe what's innovative is having it simple with um with uh technologically {vocalsound}superior fabrics or uh , you know , designed in interesting substances . Ease of use . Again , pretty low , I mean it's the top three , but each of the uh fancy and technologically innovative are far more important . So Ithink we should cloak the streamlined remote control device in a series of {vocalsound} fruit {vocalsound} fruit themed sleeves .User Interface: {vocalsound}Industrial Designer: {vocalsound} {vocalsound} I thinkthat's a good idea . Don't you ? {vocalsound}Marketing: {vocalsound} Y yeah , you know {disfmarker}Project Manager: It sounds like the the uh covers that they use for the remote , you know , your t your cell phone.User Interface: Yes .Marketing: Exactly . {vocalsound} Exactly . I was thinking though that instead of having something uh like patterned , you know , so , you know , something similar to a summer dress . {gap} youknow , it would have like fruit and veg , is that we actually make these spongy .Project Manager: Mm .Marketing: They could be {disfmarker} ini initially I thought we could start with kind of um fruit that would suit kindof uh a long uh hand-held , so banana , pineapple and pear . Um it could actually {disfmarker} the sleeve could {vocalsound} take up a lot of the {vocalsound} development and the remote control , we'd just need toget reductionist on it . {vocalsound}User Interface: {vocalsound} {vocalsound}Marketing: They could be interchangeable , they're spongy , that goes back to ergonomic , and the youngsters love 'em , fun for the wholefamily , everyone can have their own . So what we're talking about is changing . this concept . Everyone has a T_V_ remote , but then we add in the fact that they could each have their own individual fruit .UserInterface: {vocalsound}Marketing: {vocalsound} That's what's hot on the catwalks . {vocalsound} So , this is my {disfmarker} This is what I'm thinking .Project Manager: Hmm .User Interface: {vocalsound}{vocalsound}Project Manager: Uh-huh mm . In most families , don't {disfmarker} isn't the remote {disfmarker} is a remote .Marketing: Y yeah , but I think I think what this would allow is perhaps a person in thefamily who had the most opinion about it {disfmarker} we all need a remote ,Project Manager: Mm .Marketing: but the person who is really perhaps active in personalising , I'm thinking the teenager , the {disfmarker}someone fifteen to thirty five would go out and get this additional thing the same way as you mentioned that people would get the cell phone covers .User Interface: {vocalsound} So when your dad's sitting there ,overriding your decision , going no we're gonna watch this , you can bring out your own remote and be like zap , no we're gonna watch this .Marketing: {vocalsound} Yeah . W and {vocalsound} plus I think{disfmarker}Project Manager: Mm . Well actually some households do have three and four T_V_sMarketing: {vocalsound} Uh yeah .User Interface: {gap}Project Manager: and they would have a remote for each one,Marketing: Yeah .Project Manager: so .Marketing: Yeah . So this is an idea and I I {disfmarker} you know , this is exactly what the research has uh has shown . So I really open this up to uh any other feedback . This{vocalsound} spongy fruit and veg .Industrial Designer: Yeah , I I think we're gonna have some trouble when we get down to the component design on this .Marketing: Thanks . {vocalsound} Alright .Project Manager:Hmm .Industrial Designer: Spongy is gonna be difficult , I'm afraid .User Interface: Yep . {vocalsound} And as for as for um well budgeting as well , if we're gonna have lots of different interchangeable components.Project Manager: Hmm . {vocalsound}Marketing: {vocalsound} I I just have my ear to the market , guys . {gap} {disfmarker}User Interface: {vocalsound} Is this {gap} to the market {gap} ?Industrial Designer:Yeah , I mean basically we can make these things out of wood , titanium , plastic or rubber . I suppose rubber is the closest to spongy ,Marketing: Is spongiest , yeah .Industrial Designer: yeah .Marketing: That wouldadd {disfmarker}Industrial Designer: I was thinking titanium myself .User Interface: I was thinking titanium , I was thinking it's just {disfmarker} I have been influenced by pictures of iPods , and they're alsominimalist and shiny .Marketing: Mm-hmm . {vocalsound} They are and they they would fulfil the uh first um priority , which is fancy . I think many of us would associate those with fancy . Something else we could dois uh call it something that's fruit and veg oriented . We could call it uh {disfmarker} {vocalsound} The name .Project Manager: Are we talking about the device itself or the c or a cover for the device that would be aninterchangeable cov cover as a separate product ?Marketing: {vocalsound} Well it would be uh a a very simple product that would have a spongy sleeve that would be interchangeable . So {disfmarker}ProjectManager: Perhaps perhaps that desi that particular suggestion needs to go back to managementUser Interface: Yeah , but it's kind of pointless , isn't it ?Project Manager: and perhaps go to another group to actuallydesign as a separate product .User Interface: Yeah .Marketing: {vocalsound} That , you know , that might be {disfmarker}User Interface: Let's delegate . {vocalsound}Project Manager: Wo would that be agreeable?Marketing: And then we could keep it titanium .Industrial Designer: Yeah . {vocalsound} W w would it be helpful if um I described the components a bit , because I think it would give you um {disfmarker} maybe bringthis discussion back to Earth of what we can actually physically do .User Interface: {vocalsound} Yeah , maybe . Or {disfmarker}Project Manager: Do you wanna be next or you want Kate to go next ?User Interface: Ithink possibly it might be more useful if Kate went next .Project Manager: Okay , we'll move the {disfmarker}User Interface: Um {disfmarker}Industrial Designer: {vocalsound}User Interface: {vocalsound} You caneven have them in different flavours as well . {vocalsound} So that if you just wanna sit there and chew on the remote , it could be like pear flavour ,Marketing: Yeah . Or s or smelly . ScratchyUser Interface: yeah .Scratch and sniff . {vocalsound}Marketing: Uh well I was really thinking a lot about the I_ uh the iMac kind of gel gem tone .Industrial Designer: {vocalsound} Right , wellMarketing: It's hot on the streets , guys.Industrial Designer: I I I think some of this um {disfmarker}User Interface: {vocalsound}Industrial Designer: you're gonna be a little disappointed with some of the things I have to tell you , but I'm afraid this is thereal world . {vocalsound} So um I've been looking at the the basics of how these devices actually have to work in order to operate , and I've had some discussions with the ma manufacturing division , who have told mewhat's actually available , you know , what the current state of the art in components is , and some of the exciting new things they've got , but I'm not sure that it's quite what you want um . Now this isn't a very goodoverhead , but this is just to show you , this is the innards of a remote control um . I really need a pen or something but uh {disfmarker} does my mouse work ? No . Um {disfmarker} oh yeah , can you see my littlemouse pointer ?Project Manager: Mm .Industrial Designer: Right . This is this is the a a {vocalsound} a remote that's been opened upProject Manager: Mm .Industrial Designer: and that's the the back of the interface .And this is a push-button one , so you see these little little buttons here , they're little rubber rubber buttons that go through onto the the board at the back and they push these buttons here . Um {vocalsound} and we{disfmarker} that's the basic construction that we've got to got to accommodate . We got to have something that pushes the little buttons that um talk to the chip that encodes the message that sends the the messageto the receiver . So um I wan I wanna go through not not just addressing the um {vocalsound} uh the the points that you made , Sarah , but um {vocalsound} doing my presentation in the order I wrote it .{vocalsound} So first of all um I wanna talk about what possibilities we've got for the energy source .Marketing: {vocalsound}Industrial Designer: Um we can have your bog standard double double A_ batteries in areplaceable um little compartment . We can have a hand {disfmarker} {vocalsound} sorry {disfmarker}User Interface: {vocalsound} A wind-up .Marketing: {vocalsound}Industrial Designer: a wind-up , yeah ,{vocalsound} which I think is quite an interesting concept for a {disfmarker} {vocalsound} sorry {disfmarker} for a remote control ,Marketing: {vocalsound}Project Manager: {vocalsound}Industrial Designer: but i itmaybe is {disfmarker} doesn't quite go with the um the fruit and veg .Marketing: {vocalsound} {vocalsound} {vocalsound}Project Manager: {vocalsound} Alright .Industrial Designer: {vocalsound} {vocalsound} Umone that one that I think is quite interesting is the kinetic energy source ,Marketing: {vocalsound}Project Manager: Remember , we only have forty minutesIndustrial Designer: where um {vocalsound} you you actuallyget the energy by moving the device ,Marketing: Mm .Project Manager: Hmm .Industrial Designer: which is quite a ni a nice and neat one . You have to {disfmarker} it means that if it's sitting there for a long time itprobably won't work , but you have to sort of throw it between your hands every now and then , it'll work .User Interface: {vocalsound}Industrial Designer: Or we we had talked about solar power ,Marketing: Hmm.Industrial Designer: but I thing that we agreed that that's not so good in the dark .Project Manager: Mm .Industrial Designer: Now I'm afraid this is the options we've got on on the case . It can be made of plastic ,rubber , wood o if you like , {vocalsound} or titanium .Marketing: {vocalsound} Hmm .User Interface: {vocalsound}Industrial Designer: Um and the nearest we've got to st to spongy there I guess is rubber , but um{vocalsound} I'm gonna come back to the advantages of titanium ,Marketing: Hmm .Industrial Designer: and basically it can have a flat surface , a curved surface or a double curved surface , but I think if we wannause standard components , we're gonna have difficulty with anything much beyond that .Marketing: Hmm .Industrial Designer: Okay , what does the interface look like ? Um well push button , that's that's the one we'reall familiar with . {vocalsound} Um we can have scroll buttons and the the scroll button can incorporate a push ,Project Manager: Hmm .Industrial Designer: so you can have it like on a mouse where you can use it togo up and down , change volume or channel or something like that and push to select something . {vocalsound} Um you can have multiple scroll buttons , um this is maybe getting a little bit complicated , but um it's it{disfmarker} the technology is there . And we can also incorporate an L_C_D_ display in the remote , but this will increase the cost . {vocalsound} {vocalsound} Um the electronics that actually makes the device work ,we've basically got three , simple , regular , advanced , and the price goes up as we choose each of this . If we want the nice cheap one , the simple , then we can only have push buttons . All the other fancy interfacedesigns go out the window , I'm afraid . Um pay a little bit more for a regular chip and you can have scroll buttons . If you want the advanced chip it obviously costs more , but it {disfmarker} that's what you need ifyou want the L_C_D_ display . And the manufacturing devision tell me that they have recently developed um sample sensor sample speaker devices . Now I don't know what that is , but I think they think it's quiteimportant and we might want to incorporate it somewhere . Um ou our real expertise is in push buttons , I have to say , but maybe you think that's old technology . {vocalsound}Marketing: Mm .Industrial Designer:And {disfmarker} well I I think we've got two options . We can either go for a really cheap model , keep all of the costs down , um which {vocalsound} means a flat plastic case with an ordinary battery and simple pushbuttons . Or we can have something that looks a bit nicer , I think it , um won't necessarily l uh look like a pineapple , but um that {vocalsound} may or may not be a good thing .Marketing: {vocalsound}User Interface:{vocalsound}Industrial Designer: {vocalsound} Sorry . {vocalsound} Um {vocalsound} but it could have an L_C_D_ screen and it could have multiple scroll buttons , and it could have the the company's newdevelopment of the um sample sensor and speaker . {vocalsound} So , thank you .Marketing: That sounds good . Any idea {disfmarker} {vocalsound} you you mentioned that there would be a cost difference.Industrial Designer: {vocalsound} Yeah ,Marketing: Um do you have any idea if if this could {disfmarker} if the fancy model could be done in twelve Euros fifty ?Industrial Designer: I'm afraid I don't have thatinformation available . Um manufacturing didn't actually give {disfmarker} attach any prices to any of this , I'm afraid .Project Manager: Hmm .Marketing: Hmm . Because , you know what , I'm being quite seriouswhen I say that that um the things I mentioned are hot . But I think the important thing might be to choose one .Industrial Designer: {vocalsound} Yeah mm-hmm .Marketing: You know , if if what you're telling me is isum some of these things aren't just f aren't feasible , maybe we could something about naming , we could call it , you know , Blackberry .User Interface: Bear bear in mind it has to be the colours and styles of thecompany ,Marketing: That's uh {disfmarker}User Interface: so what I had been thinking was something chunky and yellow and plastic with black buttons with a logo on it .Industrial Designer: {vocalsound} Banana?Marketing: {vocalsound} Alright , well let's see then .User Interface: But um I I don't know how important that is to keep it exactly the colours of the Real Reaction company .Marketing: Yeah .User Interface: It's justwhat I'd understood we'd be doing . That's before I heard about all this hot tips about the future , fruit-wise .Marketing: Yeah . But {disfmarker} yeah ,Industrial Designer: We we could we could do um a double curvedrubber one ,Marketing: I'm trying to streamline mine a little bit .Industrial Designer: which would allow um say a banana , but um unfortunately I see from my notes that if we do that , we have to have a push button asthe interface ,Marketing: Yeah .Industrial Designer: we can't do anything fancier .User Interface: Shall we wait 'til I've 'til I've showed you what {disfmarker} well , {vocalsound} my extensive presentation"}
+{"doc_id":"doc_101","qid":"","text":"Project Manager: That should hopefully do the trick , um . 'Kay . Sorry about the small delay . Falling a little bit behind schedule . And that's uh fifteen twenty five . Okay . So just to try and roughly go over what weagreed in the last one , um we're gonna go for something uh uh how was it ? Uh The new black , I believe .Marketing: {gap} .Project Manager: Um something that looks good 'cause that seems to be in preference toactual functionality in the end , though we should never avoid functionality , of course . Uh many of our components are gonna be standard , off the shelf , but it seemed like we were gonna require at least an advancedchip and we were still very much for the idea of using an L_C_D_ display . Um other things were we were hoping to use rubber , most likely gonna be double curved , etcetera . Okay . So um due to your hard work , wemight as well let the uh two designers go first , and uh show us the prototype .User Interface: Okay , it's a {disfmarker}Project Manager: Quite how the best way to do this is , I'm not sure ,Industrial Designer:{vocalsound}User Interface: {gap} I think if we both step upProject Manager: but {disfmarker}User Interface: and uh outline our ideas . Okay . Now do {disfmarker} uh doing the prototype gave us a bit more insightinto the ergonomics of the design . Um for one thing , it turned out that the only point at which it needs to be articulated for handedness is um is h i is down here for the uh L_E_D_ . As it turned out , the whole thingtransfers from the right to left hand fairly well from the point of view of operating the uh function buttons and joystick , though it might be an idea to be able to a adjust the positions for the base of the joystick just alittle bit for uh {disfmarker}Project Manager: Okay .User Interface: {gap} ju just a thought . You could simply have a slightly ovoid shaped joystick that could then just be turn uh twisted round , so that the uh sticky uhso that the bit that sticks out a bit more is on one side or the other . But as you as you see with the uh {vocalsound} with holding it in the left hand , the L_ uh the L_C_D_ is nowhere useful , so that would need to bearticulated uh if we're going to retain {gap} ergonomic design . Um now I I got your note about uh keeping the cost down .Project Manager: I'm afraid yeah .User Interface: Yeah .Project Manager: We'll go into that abit more ,User Interface: {gap} this design could be done with um with uh plastic casing .Project Manager: but please go on .User Interface: Though I would recommend around the grip part here in the middle , havingmaybe just a rubber grip over that which would allow for a slightly more sort of bio-morphic form , and a bit more ergonomic as well . As for the um as for the single curve , um well this edge and this edge , like I say itwould be nice to have some curvature to it , but it's not absolutely necessary . Really the curve that's most needed is the underside so that the jo so that the joystick rests over the the edge of the hand like this . Umand you have the uh transmitter here and a wee speaker for the uh for the uh for the uh fi uh for the remote control finder . So .Project Manager: {vocalsound}User Interface: Any further comments ?IndustrialDesigner: Um obviously it's gonna be bulkier than how it looks , because it's gonna be flat on one side , so the L_C_D_ will be s sticking down like this , won't it ?User Interface: Mm-hmm . Yeah .Industrial Designer:'Cause it {disfmarker} you can't get it curved .User Interface: Yeah , I mean theIndustrial Designer: Uh because of costs .User Interface: uh {disfmarker} Yeah .Industrial Designer: And it's plastic as well , so it won'tbe as comfortable on the hand .User Interface: Yeah . I mean with the with the rubber design it could i you know it could pretty much mould very much to the to the user's hand .Project Manager: Mm .User Interface:One nice wee feature if we could if we could still do the rubber , I though of was to have {gap} the uh rubber extend beyond the end of the uh {vocalsound} of the rigid substructure . So it has a wee sort of tail that youjust drape over your wrist so it stays in position nicely .Project Manager: {vocalsound}User Interface: Mm . Lovely . Um .Industrial Designer: Yeah , {gap} . {vocalsound}Project Manager: Okay , yeah . Great . Um.Marketing: Right . Yeah I've got a {disfmarker} if you load up my evaluation document .Project Manager: Yeah , okay {gap} .User Interface: Okay .Project Manager: Excellent work .Marketing: Mm .Project Manager:Um .Marketing: Uh evaluation . {vocalsound} Basic point uh have a list of criteria that we need to rate the prototype by . {vocalsound} Um then we will {disfmarker} it's a seven s um seven seven step kinda evaluationprocess . So um not seven steps , seven scale . So after we've finished doing all the ratings for each criteria , we average that and that will give us some type of uh confidence in our prototype . And uh the criteria {gap}based on Real Reactions' kinda goals and policies , marketing strategies , and also those I put together from the user requirements phase . 'Kay . Um if you flip the {disfmarker} {vocalsound} So , those are the criteria .And uh perhaps I could have put 'em a bit better , but you notice a few things that we've totally abandoned , which means {vocalsound} that uh the product will score very badly on some of those points .ProjectManager: {vocalsound}Marketing: {vocalsound} Put it mildly . So we have um true ? One , t Seven , eight , oh . Fourth . Okay , so we have to go through each point . If we imagine it's actually straight , and just give ita a score . So um how well would you say the prototype is uh how well have we realised the dream of being able to stop remotes from from being lost , or to be able to find them once they are lost . I mean , uh is thehoming thing still {disfmarker} the locator , is that still {disfmarker}User Interface: Yeah , that's still part of the design .Marketing: Sure . And Adam , we can keep that in ?Project Manager: Yeah , I believe so . So Imean I don't think anybody could actually stop a remote being lost ,Marketing: Okay .Project Manager: 'cause that would mean doing something about the human element ,Marketing: {vocalsound} Sure .ProjectManager: but I'd like to think that we've done something about finding the damn thing once we have .Marketing: TUser Interface: Mm . Mm . And making it a bright colour helpsMarketing: Sure .User Interface: with the{disfmarker} personally I would have gone for purple {gap} . {vocalsound}Project Manager: {vocalsound}Marketing: Mm . Bright colour . So we still have that noise thing , yeah ?User Interface: Mm-hmm .Marketing:Os on a scale of one to seven , how would you guys rate it for finding {gap} finding it once it's lost ?User Interface: I'd say number one .Marketing: Number one ?Industrial Designer: One . Yeah .{vocalsound}Marketing: Okay . Number number one for the first criteria .User Interface: I think w if it was just the sounder then th {gap} I mean something I've found with uh w w with say tr trying to find uh acordless phone or a m mobile , you can hear it , but you can't quite pin it dow pin down where it is .Marketing: Yeah you can tell what room the mobile is {disfmarker}User Interface: BuIndustrial Designer: What about{disfmarker} what if the the volume on the T_V_'s turned up massively and uh you just wanna turn down the volume {gap} can't find remote . Suppose you have to go to the T_V_ and do it manually . Mm .Marketing:Yeah .User Interface: Yeah .Project Manager: Mm . UmMarketing: Yeah .Industrial Designer: Like y you wouldn't hear the speaker {gap} .Marketing: Mm-hmm .Project Manager: just before we go through all of thesteps here , um well what we'll do isMarketing: You wanna say something ?Project Manager: um if we can look at the criteria you're gonna evaluate , and then we'll come back to the product evaluation if that's alright.Marketing: That's fine .Project Manager: Yeah , is that {disfmarker}Marketing: Oh that's that's fine .Project Manager: Um so is there anything here that you that you wanted to cover as in the criteria that you'vecovered ? And then we'll come back pretty much promptly to this .Marketing: What do you mean cr is there anything I wanna {disfmarker}Project Manager: I is there any of these criteria that need any explaining ? Oris there anything that yous thought tha really would stand out compared to the others ?Marketing: Um , a few . {vocalsound} Something I neglected from my initial research is that Real Reactions has a a goal strategythat all of the products be inspired by material fashion , and clothing fashion . That is why fruit and veg being popular in the home and in clothing was important and they want all their products to be somehow inspiredby current trends in fashion . So they say we put the fashion in electronics , well they really mean it they they're very big on fashion ,Project Manager: Okay .Marketing: so . That's this bit right here . And uh this bit isthis one easy to use for visitors or for anybody ? I guess it's just the same as saying easy to use interface , so it's kinda condensed into one . And we can come back to it , you said .Project Manager: Okay .Marketing: So.Project Manager: No and which we will do very very shortly . Um . Okay . Slight problem we had was that we have an amazing four Euros over budget for what we were hoping to do . Um most of it stems from the useof the L_C_D_ which I think in the end accounted for about half of our expenditure because of course we required a chip as well . Um the only way to get this down was either to ditch the a L_C_D_ , at which pointwe've removed a large part of how we were gonna interface , {gap} require more buttons , etcetera . Or what we did was that we um we as in I as I was quickly going over it was altering the actual structure . Umchanging it to plastic and a solid unit with a single curve design would allow us to come back into the um proposed costs and we're just scraping it in , we've got point two of a Euro left over there . So we're justmanaging it really . Even then as well , um there was no criteria technically defined for a joystick so I've used what I think's appropriate . With any luck that won't mean that we've incurred more cost than we canactually afford to . It blows a lot of our really good ideas kind of slightly to one side , for example the possibility of having a U_S_B_ connection is definitely not viable now . Um .Marketing: Different languages ?ProjectManager: That should still be viable . We've got an advanced chip , we've got the use of the L_C_D_ . So being able to communicate in multiple languages is still very much a possibility .Marketing: Yeah .{vocalsound}Project Manager: Um but what's something we need to decide on is how we're gonna go from here . {vocalsound} We do need to try and come up with an idea which could be continued with other people ifneed be . Um . We can I can bring the excel up sheet up and uh show you if you wish um . I really think as m much as it pains me is that we might have to go with plastic and some kind of solid design , possiblymeaning that the L_C_D_ wouldn't be in this perfect place . It might be s stuck like slightly between what would be good for left handed and what would be good for a right handed person .User Interface: Mm-hmm Isuppose o one thing that could be done is h {vocalsound} is have it um circular and have it s {vocalsound} so that the uh the pink {gap} actually goes a bit over the pinkie finger . Mm .Project Manager: Okay.Marketing: Mm .User Interface: So that uh thProject Manager: It very much is about making concessions , unfortunately . Um .User Interface: Mm .Marketing: Do you have any data on how much um different printscost ? I mean can you get the entire thing printed with a design um ?Project Manager: Um b b b da is {disfmarker} you mean on the plastic , or ?Marketing: {gap} .Project Manager: Let's have a look . You now have asmuch information as I do . {vocalsound} Um .Marketing: Yeah , yeah .Project Manager: So as you can see here , for example , the battery really not very little choice in that one . We've gone for one of the cheaperoptions as well . Unfortunately we require the advanced chip if we're gonna do what we're needing to . I've said single curved . We really do need it to be that way for the ergonomics of it . Um plastic for some reasonincurs no cost , which I've had to very much make advantage of , despite the fact that rubber's only got a value of two Euros per unit . Problem comes here as you can see in the interface . Um if I've read this thingcorrectly , then we can save point five of a Euro here in that it's not per push button . That might make sense , because then a numeric keypad would come in at um what , four point five Euros , which is an awful lot ,so that could well be wrong . Even if we save point five there , it would just mean that we're most likely placing it in actually just gaining a colour for the unit , which has had to be put to one side . As you can see , theuse of an L_C_ display um advanced chip and what would determine the scroll wheel here as well because it's an integrated scroll scroll wheel push button that wasn't quite what I think they had in mind with a joystick.Marketing: Why would why would that be more expensive than an individual push button and scroll wheel together ? That's quite significantly expensive .Project Manager: I {disfmarker} that's something you'll have totake up with the bean counters . UmMarketing: {gap} .Industrial Designer: {vocalsound}User Interface: Mm . {gap} yeah .Project Manager: as you can see I mean that's taken up well over half of the price .Marketing:Yeah .Project Manager: So um I'm very much open to suggestions of where we go , but because we need to shed what was four Euros off of the um the price of for what we really desired , this one comes in under priceas you can see , but this was the one that sacrificed the material for the case and for the actual case design .Marketing: We don't even have uh speakers here . The {disfmarker} like uh we uh {disfmarker} what aboutspeakers and transmitters and stuff like that ? Have we factored that in ?Industrial Designer: Mm .Project Manager: Uh no , we haven't , not {disfmarker}Marketing: Transmitter , receiver , speakers . Plus the extradevice itself that's gonna be on a T_V_ .Industrial Designer: {vocalsound}Marketing: Is that gonna be a button , or {disfmarker}Project Manager: That'll {gap} it literally would just be a button .Marketing: Yeah.Project Manager: We might have to {disfmarker}Industrial Designer: That's too expensive {gap} isn't it ?Project Manager: It looks like almost nothing {disfmarker} Mm . Oh good call , I missed that .Marketing: I Imean it's not on here , but um .Project Manager: {gap} that's a very valid point .Marketing: Did they s do we have to use an advanced chip for the L_C_D_ ?Industrial Designer: Yeah .Marketing: Okay . Well that's{disfmarker} yeah .Project Manager: So if we're gonna go with the L_C_ display , then that's {disfmarker}Marketing: What's a hand dyna dynamo ? You have to wind it up ?Project Manager: I believe so , yeah.Marketing: {vocalsound}Industrial Designer: {vocalsound}Project Manager: That would probably not be in keeping with the um the fashion statement and such ,Marketing: {vocalsound} Technology . Yeah .IndustrialDesigner: Fashion .Project Manager: yeah .Marketing: Okay .Industrial Designer: So basically the only new thing is the L_C_D_ on the remote now .Project Manager: Being manipulated by the joystick , yeah .IndustrialDesigner: Oh , and joystick , yeah .Project Manager: Which I'm defining as scroll wheel . Um .Marketing: And we couldn't replace the joystick , right ? Because we would need four extra buttons to replace it , up downleft and right , and that would be more expensive than a {disfmarker} but is a scroll wheel not just back and forward ?User Interface: Mm .Project Manager: Yeah it's just because there was no actual definition for whata joystick might be , that that's what I've labelled it for the purposes of this evaluation .Industrial Designer: So {disfmarker} The L_C_D_ basically is the big selling point ofProject Manager: If we remove the L_C_display , we could save ourselvesIndustrial Designer: the remote .Project Manager: a fair amount . Which you could {vocalsound} {disfmarker}Industrial Designer: But that's what makes it uh original though ,UserInterface: Mm . I think {gap} if we remove the the L_C_ display then there was absolutely no point to any of these meetingsMarketing: Yeah . {vocalsound}Industrial Designer: isn't it ?User Interface: and we just{gap} we could just put our branding on any other remote control .Marketing: Yeah . Yeah . Um . Uh kProject Manager: It's a shame . We should possibly have {disfmarker} If we could've increased the price wecould've manufactured that and we could've got something far closer to what we were hoping to .Marketing: Does this does this bear in mind that {disfmarker} I mean it's a bit ridiculous that they're gonna charge uswhat is it , like this much money for three million if we're gonna buy three million components ,Project Manager: Again , you'll have to argue with the accountants on that one .Marketing: you know .Project Manager:Um but for the purposes of this meeting , I'm {disfmarker} we're gonna have to stick with these figures .Marketing: Mm . 'Kay .Project Manager: So , I would say that it would seem like the general opinion is we'regonna keep the L_C_ display 'cause it's about what really separates us , {vocalsound} despite the cost it's gonna incur . UmMarketing: I think so .Project Manager: are people maybe not happy with , but are willing togo ahead with this in going for a plastic solid case , to keep the L_C_D_ ?User Interface: Mm-hmm . Um yeah {gap} I mean one thing , I mean ho uh how much extra would it be to to keep I mean {vocalsound} keepthe um the articulation ?Project Manager: It's hard to tell . Um I would say that you're at least gonna take double curved ,User Interface: This is what I'm wondering .Project Manager: and even then I'm not quite sure ifthat's incorporating the idea of articulation .User Interface: OhMarketing: Yeah .User Interface: no , I think I I it d that it needn't require it to be double curved .Industrial Designer: It can be s yeah , it can still be singlecurved ,User Interface: It's uh it's just {vocalsound} it's just {vocalsound} it's just that the case would come in t {vocalsound} would be made in two parts and then joined together with an articulation .IndustrialDesigner: but {disfmarker}Project Manager: Single curved with articulation ?Industrial Designer: You just {gap} .Marketing: Could we could we not get rid of the curvy the curvous the curvaceousness and focus on themenu being the best interface ? 'Cause like we {disfmarker} do we have re restrictions on software ?Industrial Designer: That's what we need for the joystick I think though .User Interface: Mm . Yeah , ImeanMarketing: Oh but there has to be {disfmarker}User Interface: and {vocalsound} I mean the uh I mean if you look uh if you look closer at the uh at the prototype here , the lines here along the grip are actuallyquite straight . Um I mean {gap} yeah ,Project Manager: {vocalsound} But the curves all o over {gap} hand ,User Interface: on the {gap} on the L_C_D_ I mean although we've done it with a curve itProject Manager:is it ?User Interface: could just as easily be done um without curves . The curve that's really needed is up here ,Marketing: {gap} joystick .User Interface: to put uh to keep the joystick in a good ergonomic position forit to have it rest on the top of the hand .Marketing: Okay . Sure . Okay , my bad .Project Manager: We wouldn't actually save a lot by reducing it anyway , so I mean for the purposes of this meeting maybe we can statethat single curve still allows articulation .User Interface: Mm .Project Manager: Um unless we hear otherwise we could go ahead with that proposal .Marketing: So I think the product is not gonna perform so well for mycriteria .Project Manager: Which is what we can get onto now . As long as {disfmarker} so are we gonna say {disfmarker} {gap} w we have to keep an eye on the time as well , but we're gonna say um single curveddesign {vocalsound} {disfmarker}Marketing: Oh , wait a minute . Sample speaker ? What is a sample speaker ? Is that somewhat similar to what we want ?Project Manager: It could well be ,User Interface: MmnoProject Manager: but at a cost of {disfmarker}User Interface: that's that voice response thing that we got the email about .Industrial Designer: Costs four .Marketing: Yeah .User Interface: But I thought it was justcompletely pointless .Marketing: You got a email about voice response ?User Interface: Yeah .Marketing: I did not ,User Interface: Alright .Marketing: so .User Interface: B i basically it was {gap} saying that our labshad come up with a chip that you could , you know , say hello to , and it would say hello back in a friendly female voice {gap} . {vocalsound}Project Manager: Okay , yeah we'll definitely won't go with that one"}
+{"doc_id":"doc_102","qid":"","text":"The Chair (Hon. Anthony Rota (NipissingTimiskaming, Lib.)): I call this meeting to order. Welcome to the 14thmeeting of the House of Commons Special Committee on the COVID-19 Pandemic.  This will be a hybridmeeting. Some members will be participating via video conference and some will be participating in person. In order to ensure that those joining the meeting via video conference can be seen and heard by those in thechamber, two screens have been set up on either side of the Speaker's chair, and members in the chamber can listen to the floor audio or to interpretation using their earpiece at their desk. Before speaking, please waituntil I recognize you by name, and please direct your remarks through the chair. For those joining via video conference, I would like to remind you to leave your mike on mute when you are not speaking. Also, pleasenote that if you want to speak in English, you should be on the English channel. If you want to speak French, you should be on the French channel. Should you wish to alternate between the two languages, you shouldchange the channel to the language that you are speaking each time you switch languages. Should members participating by video conference need to request the floor outside their designated speaking times, theyshould activate their mic and state that they have a point of order. Those in the Chamber can rise in the usual way. Please note that today's proceedings will be televised in the same way as a typical sitting of the House.We'll now proceed to ministerial announcements. I understand that there are none. Now we'll proceed to the tabling of documents. Mr.LeBlanc has a document he wants to table. Go ahead, Mr.LeBlanc.Hon. DominicLeBlanc: Mr. Chair, I have the honour to table, in both official languages, a report entitled \"Democracy Matters, Debates Count: A report on the 2019 Leaders' Debates Commission and the future of debates in Canada.Mr. Chair, on behalf of all of us, I want to thank the Right Honourable David Johnston for his continued service.The Chair: Good. We'll now proceed to the presenting of petitions, for a period not exceeding 15 minutes. Iwould like to remind members that any petition presented during a meeting of the special committee must have already been certified by the clerk of petitions. For members participating in person, we ask that youplease come to the front and drop off your certificate at the table once the petition has been presented. In presenting petitions, the first presenter today is Mr. Genuis.Mr. Garnett Genuis (Sherwood ParkFortSaskatchewan, CPC): Thank you, Mr. Chair. I'm pleased to be presenting a petition in support of Bill S-204. This is a bill in the Senate, put forward by Senator Salma Ataullahjan. It would make it a criminal offence for aperson to go abroad and receive an organ for which there has not been consent by the donor. It also creates a mechanism by which someone could be deemed inadmissible to Canada if they were involved in organharvesting and trafficking. This bill is designed to confront and address the horrific practice by which, in certain casesfor instance, inside Chinaminority communities or dissidents may be targeted and have their organsremoved as they're killed and used for transplantation. Petitioners are supportive of Bill S-204, and they want to see it passed as soon as possible.The Chair: Our next petition will go to Mr. Viersen.Mr. Arnold Viersen(Peace RiverWestlock, CPC): Mr. Chair, I am presenting a petition today signed by Canadians who are concerned that Bill C-7 removes safeguards from the current euthanasia regime, including the mandatory 10-daywaiting period. Mr. Chair, these people who are signing this petition would like to see an improvement in assisted living, not assisted dying.The Chair: We'll now go to Ms. Zahid.Mrs. Salma Zahid (Scarborough Centre,Lib.): Thank you, Mr. Chair. I would like to present an e-petition signed by over 40 people. It asks that the Government of Canada recognize the Republic of Somaliland as an autonomous state that may result in foreigninvestments, direct access of development aid, foreign aid for disaster relief and infrastructure development investment loans.The Chair: Now we'll proceed to Statements by Members for a period not exceeding 15minutes. Each statement will be for a maximum of one minute. I remind members that if they exceed that time limit, they will be interrupted.  Our first statement goes to Monsieur El-Khoury.Mr. Fayal El-Khoury(LavalLes les, Lib.): Mr.Chair, I thank the government for the way it has managed this global crisis and its impact on Canadians. It has acted in a robust, rapid and very effective way. Our Prime Minister has beenawarded the medal of honour, courage and humanity worldwide. Canada is one of the few countries that has acted in the best interests of its citizens and maintained their dignity in these uncertain times. Whileaddressing Canadians, our right honourable Prime Minister showed us leadership, the importance of transparency, and integrity. He kept us united. His top priority was saving lives, along with finding realistic solutionsregarding the economic impact on our daily life. Because of his outstanding leadership, we're admired across the world, which is another distinguished privilege of being Canadian. Thank you, Mr. Chair.The Chair: We'llnow go to Mr. Epp.Mr. Dave Epp (Chatham-KentLeamington, CPC): COVID-19 has emptied food banks across Canada, even in an agricultural community like Chatham-Kent, so Wes Thompson and James Rasmussen,along with Alysson Storey, Randi Bokor, Maureen Geddes, Chris and Terry Johnston, Jason King, Fannie Vavoulis and Brent Wilken, grew an idea into the community's largest-ever food drive. Project manager MornaMcDonald estimates that over 3,000 volunteers ended up helping in the May 16 Miracle. Residents put non-perishable foodstuffs on their doorsteps, with drop-off centres organized for rural areas. Volunteer groupstravelled predetermined routes while maintaining physical distancing. The community collected an amazing 678,000 pounds of food. They accidentally exceeded by over 20% the record in the Guinness World Recordsbook for collected food in a single day. Chatham-Kent has restocked their food banks and reaffirmed their community pride. It's an honour to represent such a community.The Chair: We'll now go to Mr. Sarai. We havea point of order from Mr. d'Entremont.Mr. Chris d'Entremont (West Nova, CPC): As much as I like seeing my friends on the big screens, there are no big screens yet, so we don't know who's on and who's not on. I waswondering if there was going to be a TV coming up soon here, Mr. Chair.The Chair: There is a technical issue, and it is being worked on. We're working on it as we go through. The other alternative is that we suspenduntil we fix it. If it's okay, we'll just continue. I think we can all hear the members who are speaking. This is one of the realities of a virtual or hybrid system. Our next statement will go to Mr. Sarai.Mr. Randeep Sarai(Surrey Centre, Lib.): Thank you, Mr. Chair, and mabuhay to all the Filipino Canadians across this country. In June across Canada we recognize Filipino Heritage Month to raise awareness and celebrate the Filipinocommunity. Here in Surrey Centre, and across Canada, the Filipino community makes important contributions to our cities and has helped shape Canada into the vibrant multicultural society that we all know and lovetoday. Now more than ever, during these challenging times we must come together as Canadians to celebrate the rich heritage and history of our Filipino neighbours. Throughout June, please join me in celebrating ourfellow citizens of Filipino descent by recognizing all the incredible ways in which they have contributed to making Canada a better place for all of us. Happy Filipino Heritage Month. Thank you, Mr. Chair.The Chair:Mr.Perron.Mr. Yves Perron (BerthierMaskinong, BQ): Good afternoon, Mr.Chair. Today is World Milk Day, and I would like to recognize the exceptional work and dedication shown by everyone in the industry. Theyensure we have a nutritious, high quality product every day. Let's take part in the local consumption movement and rediscover the exceptional products of our dairy producers and processors. Enjoy the yogurts, cheesesand other products because it's true that milk is good. I would also like to thank BrunoLetendre, outgoing chair of the Producteurs de lait du Qubec, and I congratulate the new chair, DanielGobeil. The dairy industry hasbeen sacrificed several times in trade agreements. The government's broken promises are piling up. The payment of compensation is still uncertain. Action must be taken. The first step must be the direct allocation ofimport quotas to processors, and the second must be the full payment of the promised compensation. We demand a formal commitment from the government.The Chair: We'll now continue with Mr.Iacono.Mr. AngeloIacono (Alfred-Pellan, Lib.): Mr.Chair, June is Italian Heritage Month. The situation is special this year, since Italy has been hard hit by COVID-19, with more than 30,000deaths. Like me, many Italian Canadians stillhave family and friends in Italy, and the news has sometimes been very difficult to take, yet that has not detracted from the great co-operation that exists between Canada and Italy.  Today I would like to highlight thesolidariet italiana in our community. During the pandemic, Canadians of Italian descent have been united to support anziani, our famiglie and our amici in Italy by participating in the fundraising campaign COVID-19AiutiAMO lItalia to support the Italian Red Cross response activities. I send a special salute to to my cugino Giuseppe, who is still on the road to recovery from COVID-19. The Chair: We'll continue with Mr. Kram.Mr.Michael Kram (ReginaWascana, CPC): Mr. Chair, I would like to acknowledge all of the organizations in Saskatchewan and across Canada that are working hard to help small businesses adapt to the challenges of thecurrent pandemic. In particular, I would like to thank the Regina Downtown Business Improvement District, or RDBID. As soon as the pandemic hit, RDBID launched a daily electronic newsletter to keep their membersinformed of support programs, local initiatives and local success stories. They have used their social media channels on a daily basis to promote takeout and delivery services, online and curbside services offered byrestaurants and retailers. They have also launched a number of their own initiatives to help businesses access e-commerce. Through persistent communication and a lot of long hours, RDBID has helped businesses indowntown Regina to weather the storm. Because of their hard work, downtown Regina will come through this pandemic better than ever.The Chair: Mr.Lauzon now has the floor.Mr. Stphane Lauzon (ArgenteuilLaPetite-Nation, Lib.): Mr.Chair, high-speed Internet will be to the 21stcentury what electricity was to the 20th: an essential service. We are currently experiencing a drastic change in our morals, our consumption patternsand our socialization habits. We are turning to the Internet to read the news, contact our friends and complete our purchases. Isolation associated with COVID-19 has only accelerated this trend. Unfortunately, not allregions of Canada have reliable, affordable, high-speed access. I would like to reassure the citizens of my riding about the efforts that we are making as a government, but also about the work I've been doing as amember of Parliament since2015 to connect the 41municipalities of ArgenteuilLa Petite-Nation. Aside from this essential service, our students, seniors, entrepreneurs and telework are very important to the regions. Wehave heard you, and I will continue to fight for you, so that you can have access to affordable high-speed Internet.The Chair: We'll now go on to Mr. MacKinnon.Mr. Steven MacKinnon (Gatineau, Lib.): Mr. Chair, a fewdays ago, we all watched with horror and outrage the death of an unarmed black man at the hands of the police in Minneapolis. For many of us, these images may seem shocking, but it's an all too familiar tale tomillions of black people not only in the United States but also here in Canada, in my city of Gatineau and around the world, who must at times live with the scourge of anti-black racism.  Mr.Chair, I can't know what it'slike to be black in our society. What I do know, however, is that you and I, and everyone in this House, have the power and the responsibility to make our country more just. Let us all recommit ourselves to thatendeavour. Black Canadians and all those who have to endure racism and discrimination are watching us, and they expect more from us.The Chair: Mr. Duncan is next.Mr. Eric Duncan (StormontDundasSouth Glengarry,CPC): Without a doubt, these past few months have been challenging, to say the least, from both a health and economic perspective, but, Mr. Chair, I have to say how proud I am of my community ofStormontDundasSouth Glengarry. We continue to successfully flatten the curve in our region and, just as importantly, we are making sure that we are here for each other, whether it is the Cornwall Optimists' GoFeedMecampaign, the Iroquois-Matilda Lions Club delivering groceries to those who are quarantined in their households or the local United Way, the Social Development Council or the Carefor seniors support centre co-leadingan effort to deliver 1,500 baskets to seniors in need. There have been many examples of kindness and generosity from our community. I rise today in the House of Commons to say thank you to my constituents and toall Canadians; to our essential front-line workers, our service clubs and our businesses that have stepped up to help out; and to everybody playing their part to get us through this challenge. I couldn't be more proud ofmy community and my residents, and it is an honour to serve as their member of Parliament. Thank you, Mr. Chair.The Chair: We'll now go to Ms. Yip.Ms. Jean Yip (ScarboroughAgincourt, Lib.): Mr. Chair, althoughAsian Heritage Month has just passed, we recognize the tremendous effort of all Asian Canadians on the front lines of this pandemic, as health care providers or as essential workers. I want to thank the many Asianorganizations for donating to ScarboroughAgincourt's hospital, long-term care homes and food banks. As a Canadian born and raised in Scarborough, I'm offended by the reports of violence and vandalism targetingAsian-Canadian communities across this country. In budget 2019 we invested $45 million to launch a new anti-racism strategy, which included the establishment of the anti-racism secretariat, because these efforts areunfortunately clearly still needed. As events continue to unfold in the United States, it is important to recognize that we have work to do here as well. Whether it is anti-black or anti-Asian, racism and discrimination ofany kind have no place in Canadafull stop. Now more than ever, we must stand united in diversity.The Chair: We'll now go on to Mr. Bragdon.Mr. Richard Bragdon (TobiqueMactaquac, CPC): Thank you, Mr. Chair. Overthe last few months, Canadians throughout New Brunswick and across the country have stepped up to support their community. Health care workers, truckers, farmers, business owners, pharmacists, grocery storestaff, faith-based and non-profit organizations and so many others have all answered the call to do their part. Today, Mr. Chair, I would like to specifically highlight the work of those who support and take care of ourseniors, who are among some of our most at-risk citizens. It has been said that the character of a nation and its people is revealed most in how they treat their most vulnerable. Our seniors have made immensecontributions to our society. Many have put their lives on the line to protect Canada and the democratic freedoms we enjoy as Canadians. They have worked hard and made many sacrifices throughout their lives tomake Canada the greatest nation on earth. Taking care of our seniors is the right thing to do. I want to take this opportunity to thank all those who are supporting and caring for our seniors. Whether they be long-termcare staff, personal care workers, health care professionals, family members or volunteers, thank you for all you are doing in support of our seniors. Together we shall overcome.The Chair: We'll now go to Ms. Shin.Ms.Nelly Shin (Port MoodyCoquitlam, CPC): Thank you, Mr. Chair. Although we've come to the end of Asian Heritage Month, I'd like to acknowledge some unsung Chinese Canadian heroes who shed their blood as patriotsfor our nation. I commemorate the 6,500 Chinese Canadians of the 9,000 railway workers who helped build and unite Canada. I pay respect to the many Chinese Canadians who died while building the CP Railway on themost dangerous terrains in the B.C. segment. I honour the Chinese Canadians who served and died in World War II. Sadly, Asian communities in Canada face racist incidents today. No one should be afraid of walking intheir own neighbourhood. Adult children should not have to call their elderly parents to tell them to stay home because they might be attacked by racists. There's no justification for racial slurs, physical violence orvandalism against any individual or community. I will continue to work together with other elected officials, the police and the RCMP to mitigate these issues toward justice and restoration.The Chair: We'll go on to Mr.Angus. Mr. Angus, please proceed.Mr. Charlie Angus (TimminsJames Bay, NDP): Ten years ago today, Cree youth leader Shannen Koostachin was killed in a horrific car accident. She was only 15 years old, yet in hershort life she became the voice of a generation of first nation youth who were no longer willing to put up with systemic discrimination. Shannen had never seen a real school. Children in Attawapiskat were beingeducated in squalid conditions. Her fight for their dignity and rights launched the largest youth-driven civil rights movement in Canadian history. At 14 she was nominated for the International Children's Peace Prize.Shannen never lived to see the school that was built in her community, but her work carries on through the Shannen's Dream movement. She is a role model for youth activists across this country. A movie, two booksand a statue are dedicated to her. She's been recognized as one of the 150 most influential women in Canadian history. I had the honour to know Shannen. In fact, I think of her every single day. She truly did comefrom the angels, and one day she returned.The Chair: Mr.Barsalou-Duval, you now have the floor.Mr. Xavier Barsalou-Duval (Pierre-BoucherLes PatriotesVerchres, BQ): Mr.Chair, for months now, thousands ofconsumers who need money to pay their bills have been fighting against airlines and the government to have their rights respected: three class action suits, a unanimous motion by the National Assembly and over30,000signatures on a petition calling for reimbursement for cancelled flights. It isn't a whim to enforce the law. Air Canada, which confiscated $2.6billion from its customers, received more than $800million fromOttawa without any conditions. Yet, the company has a year's worth of cash in reserve, $6billion in its coffers, and is in the process of raising more than $1.4billion in the financial markets. Air Canada has the means toreimburse citizens. It has the money it needs. We're tired of the Minister of Transport's crocodile tears. I consulted the bankruptcy directory this morning and didn't see any airlines listed. Now is the time to work for thepeople.The Chair: Mr.Rayes now has the floor.Mr. Alain Rayes (RichmondArthabaska, CPC): Mr.Chair, I want to pay tribute to a great man who represented the public here, in the House, for close to 15years:MichelGauthier. Michel, in life, we meet a lot of people, but some of them leave their mark on us forever. From the first time I spoke with you two years ago, I immediately understood that I was talking with a man withheart, a passionate man, a man who had Quebec imprinted on his heart. Because of your decision to join the Conservative Party of Canada, I got to know you personally, and I am most grateful. I will remember ourdiscussions on the best ways to communicate our Conservative vision to Quebeckers. I will remember our heated discussions on Quebec-Canada relations. I will remember all the passion and energy you had in thelead-up to a speech to our supporters. Michel, Canadians, Quebeckers and I will remember you forever, the great man you were, the outstanding speaker, a formidable parliamentarian, with integrity, passion,commitment and love for Quebec. I offer my sincere condolences to Anne, and to your family and friends. Rest in peace.The Chair: Mr.Dubourg, you now have the floor.Mr. Emmanuel Dubourg (Bourassa, Lib.):Mr.Chair, the murder of GeorgeFloyd in Minneapolis resonated strongly within black communities in Canada and also in the heart of Montreal North. At a time of pandemic uncertainty when members of our community"}
+{"doc_id":"doc_103","qid":"","text":"Sian Thomas: Bore da. Unfortunately, the Chair, Lynne Neagle, is unable to attend today's meeting. Therefore, in accordance with Standing Order 17.22, I call for nominations for a temporary Chair, for the duration ofthe meeting.Julie Morgan AM: I nominate John Griffiths.Sian Thomas: Any further nominations? I therefore declare that John Griffiths has been appointed temporary Chair, and I invite him to chair for the duration oftoday's meeting.John Griffiths AM: Thank you very much. I thank the Members for that. Welcome, everyone, to this meeting of the Children, Young People and Education Committee. The first item on our agenda todayis apologies, substitutions, declarations of interest. Obviously, Lynne Neagle isn't able to be with us today. We haven't received any other apologies. Are there any declarations of interest? No. We will move on then toitem 2 on our agenda, the continuation of our inquiry into targeted funding to improve educational outcomes, and evidence session 8. And I'm very pleased to welcome Estyn here this morning to give evidence to thecommittee. Would you like to introduce yourselves for the record, please?Meilyr Rowlands: Meilyr Rowlands, chief inspector.Claire Morgan: Claire Morgan, strategic director.Simon Brown: Simon Brown, strategicdirector.John Griffiths AM: Okay. Thank you. And welcome again. If it's okay, we'll move straight into questions—we have quite a number of questions to get through this morning. Firstly, Llyr.Llyr Gruffydd AM: Thankyou, Chair, and good morning. I just want to start by asking about your perception of how schools are using the pupil development grant funding, and to what extent they are genuinely targeting that funding exclusivelytowards children eligible for free school meals.Meilyr Rowlands: Thank you for the question. This grant has been targeted far better by now than it was originally. Estyn has made several reports regarding theeffectiveness of the grant, and, really, going back to before this specific grant, to a similar grant, called RAISE. At the start of this grant, the funding was often spent on tackling underachievement, rather than dealingwith the underachievement of children who are eligible for free school meals specifically. But, over a period of time, we have seen that it is targeted much better by now. That's not to say that the targeting is workingperfectly still, and I think that we are seeing examples where the targeting isn't going just to children who receive free school meals. Schools sometimes interpret poverty in a slightly wider way than that. In terms ofwhat schools are doing with the grant, we have given evidence to you of the kinds of things that they are doing. They are tracking progress of pupils, they are trying to improve attendance, they are trying to work withfamilies and the community in general, they're doing work specifically to improve how children are doing in exams, in key stage 4, specifically—a lot of funding is being spent on that—improving the confidence ofstudents, taking students on extra-curricular activities, improving literacy and numeracy. Those are the kinds of activities they're being used for.Llyr Gruffydd AM: Because the research by Ipsos MORI and the WalesInstitute of Social and Economic Research, Data and Methods has shown that there is some kind of blurring—I think that's the term that they use—in terms of who is eligible. But you are relatively comfortable with thefact that there is sufficient targeting happening. You referred to the fact that it is used, perhaps, to reach a slightly wider cohort than just those who are eligible for free school meals, but you do feel that that balance,from your experience, is acceptable.Meilyr Rowlands: Yes, certainly, it has improved a great deal. When I was looking at this initially, the targeting wasn’t happening at all. It was being spent on children who wereunderachieving, and one of the things that we did notice in the first report was that much more funding was being spent on boys than girls. And, of course, that raised the question immediately that it wasn't being spentthen on children who are eligible for free school meals, because those numbers are equal. So, it wasn’t, but it has improved. There is a discussion about who exactly should have it and whether free school meals is thebest definition. So, I think that schools are perhaps not following that exactly, but within the spirit of the grant, I think I’m fairly comfortable. There is a specific question—I don’t know if you are going to askthis—regarding more able and talented pupils.Llyr Gruffydd AM: That's where I was going next.Meilyr Rowlands: So, if there is a cohort of pupils who are missing out on this, they are the more able and talented pupilswho receive free school meals. There are a number of reasons for this, I think. One of them is that there’s still some feeling that less able children should be receiving this grant, children who are underachieving.Schools don’t always identify underachievement of those more able children. It seems that they are doing okay, but if they were given more support, they would do even better.Llyr Gruffydd AM: So, is it a lack ofawareness of the nature of the grant, and that the individual has to be targeted rather than just those who are underachieving? Is that the problem? Or is it the regime that focuses on exam results and the need to drawthose pupils who are underachieving up, rather than incentivising those who are achieving to achieve better?Meilyr Rowlands: A bit of both, I'd say. And the third factor is identifying children who are more able. I thinkthat we have a bit of work to do in that regard. I was in a conference for headteachers last week, where there was new data being discussed, and that data showed the progress of children from a certain point, year 6tests. I think that kind of data will be very useful, because what that data can do is help secondary schools to identify more able children and that they are underachieving. Even though they're doing quite well, that kindof value-added data is very useful. So, I think that that will help as well.Llyr Gruffydd AM: Thank you.John Griffiths AM: Mark, did you want to pursue these matters further?Mark Reckless AM: Yes. I just wanted to askabout the more able and talented stream. It was good to read in your report an increased emphasis on this and to see your awareness of its importance in the PDG as well. Can I just ask—? Would you look at one arearegarding schools' engagement with the Seren network, particularly for the more able and talented, and what more Estyn can do through its inspection criteria and otherwise to encourage this from schools?MeilyrRowlands: Well, I think Estyn has always been very strongly focused on improving the performance of more able pupils. For example, in last year's annual report I raised it, and a lot of the debate around this now, Ithink, was generated by some of the things I've said in previous annual reports. We gave a lot of evidence to the—. Paul Flynn, I think, did the—no, who did the report? Paul Murphy did the report. So, we gave evidenceto that. And on Seren, I'm particularly proud that my alma mater, Jesus College, is a very strong supporter of the Seren work. So, I'm personally quite interested in the work of Seren. And we look at the performance ofmore able pupils in all our inspections. It's a particular part of our inspection framework—looking at the relative performance of different groups. So, we look at the different performance of boys and girls, free schoolmeals and non-free school meals, ethnic minorities, but we also look at the performance of more able pupils in particular, and we question schools about how they provide for the more able pupils, and we've referred toSeren in several of our inspection reports.Mark Reckless AM: And where schools work particularly hard to engage with Seren and take up opportunities from that and push as many pupils as appropriate to work withthat, is that something that you would recognise within your inspection reports? And, on the other side, where schools don't do that, is that something you would pull them up on?Meilyr Rowlands: Yes, we've done that.We've done it in several reports.Claire Morgan: Throughout our inspections, we are looking for best practice, because part of our strategy is always to identify where there are weaknesses, but actually to point schools inthe direction of where they can find a solution. So, capturing different approaches to more able and talented is part of the role of inspection.Mark Reckless AM: Thank you.Llyr Gruffydd AM: Just briefly, you touchedearlier on using the measure of those who are eligible for free school meals as a way to identify children from disadvantaged backgrounds so that you can target this funding. Varied evidence has been given to us onthis. Do you have an opinion on whether that's the best way?Meilyr Rowlands: It certainly is a good way of doing it. There is a strong correlation between children who underachieve and that measure, so it is a strongmeasure. But, there is scope to discuss how exactly it does work. For example, some people say that if you have received free school meals for a period of time and now you're not receiving them, then perhaps youshould still be receiving the funding for a period of time, for example. So, there are ways of fine-tuning that measure, I think. It's worth considering those approaches.John Griffiths AM: Thanks for that. We move onnow to Michelle.Michelle Brown AM: Thank you. Good morning, everyone. You've reported that the proportion of schools making effective use of the PDG remains around two thirds of secondary and primary schools,meaning that a third are still not using that PDG effectively. Why do you think this is?Meilyr Rowlands: I think that sort of proportion broadly corresponds to the schools that don't have particularly good leadership. Ithink, ultimately, all of these sorts of initiatives come down to strong leadership and effective leadership—that they know how to organise and use those grants effectively. One of the shortcomings that we often identifyis evaluation—that money has been spent on a particular way of using the grant, but it has not been evaluated well. So, I think quite a lot of it is to do with generic leadership skills. But those are some of the specificshortcomings to do with evaluation.Michelle Brown AM: Are there any patterns by region or type of school in that?Meilyr Rowlands: I don't think there's any patterns that we've identified in terms of region.ClaireMorgan: As Meilyr said, it's very strongly linked to leadership capacity.Michelle Brown AM: Okay. Thank you. What are the most effective uses of PDG, from your point of view? Is there something in particular that youthink that schools should be focusing on?Meilyr Rowlands: I think there's a lot of evidence on what constitutes good practice in this area. There's the Welsh Government guidance, there's our guidance, there's a lot ofresearch—the Sutton Trust toolkit—and they're the sorts of things I mentioned earlier. I think that more attention does need to be given to the community-focused element of this work. So, schools do a lot ofthings that they are in control of—the things I mentioned earlier: things like improving attendance, offering extra-curricular activities, literacy and numeracy support, tracking pupils—all those sorts of things. But animportant element of this, I think, is engaging with the learners, but also with parents and the community. I think what we've found is that the most effective schools—the ones that really do make a big difference tothis cohort of students—are the ones that do that most effectively.Claire Morgan: I think that there are different situations in different schools, but in the best schools, they evaluate the barriers to learning for theirparticular children. Often we see that engagement with communities is part of that engagement with families. In Brackla Primary School, in Bridgend, they've got Families at Brackla, and it's a range of activities toengage with families. Families often have had a negative experience of education themselves, and the schools are trying to address some of those concerns. Cefn Hengoed in Swansea, which I'm sure many of you knowabout, have had an extensive strategy for engaging with the community, with the families, and equipping their children to participate in decisions around the curriculum, making them more confident learners. So, it isabout removing the barriers for disadvantaged learners.Michelle Brown AM: Thank you. You've made the comment that secondary schools are focusing too much on key stage 4 and not enough on developing pupils'skills in a sustainable way. Can you expand on that and give us a bit more detail on that, please?Meilyr Rowlands: Yes. I think this is sort of generally accepted now. The latest guidance on the grant now says that 60per cent of it should be spent on key stage 3. I think that acknowledges this general point. But what a lot of schools did with this money was precisely that, to target key stage 4—to have catch-up homework clubs,revision clubs, specifically to get children better GCSE results, and getting C grades, in particular. Of course, that is an important part of your armoury of tools to use, but I think there was too much use of that. Part ofthe problem with that is that it doesn't either develop the long-term transferable skills that those pupils have, or should have, nor does it produce the kinds of skills that the teachers need as well. So, it's kind of a quickwin, a quick-fix solution, while what we feel would be more effective in the long term, and more sustainable in the long term—because if this money goes, then those quick fixes won't be possible—what would be moreeffective in the long term is to improve the curriculum and the pedagogy, the quality of the teaching, the quality of the curriculum, so that children are naturally enthused by what is on offer, that they attend betterbecause they want to be in school, that they want to learn. So, we feel that getting the curriculum right, tailoring the curriculum to the needs of the pupils in that area, and improving teaching, is a more sustainablelong-term solution.Michelle Brown AM: Do you think there's anything in particular driving the focus on the key stage 4?Meilyr Rowlands: Well, again, I think most people would say it is the performance indicators. I thinkthere's a general acknowledgement of that. Again, I said last week—. There was a conference of all the secondary heads in Wales, and that was one of the major discussion points in the conference: how do we get theperformance indicators right so that there are no perverse incentives in it?Michelle Brown AM: To what extent are decisions being made in schools concerning the application of the PDG actually evidence-based? To whatextent are they using research to back up how they're using the PDG or is it effectively just guesswork?Meilyr Rowlands: I think that, of all the areas of school policy, this is the one that's most evidence-based. I thinkthat, generally, schools can do much more about using evidence and research findings, but this particular area is probably the one that schools are strongest at using research in. That's partly because the guidancestrongly suggests that you should do that, but also because there is a lot of easily accessible research evidence available. So, there's a lot of research on this. As I mentioned earlier, the Sutton Trust toolkit is a goodexample where researchers have really tried very hard to simplify all the evidence that exists in a way that schools can use. So, there are little pound signs to show how costly an intervention is and little stars orsomething to show how many months of gain pupils get out of this particular intervention. So, it makes it much easier for schools to make a decision. But I think what's missing is that you can't just take that evidenceas it is, because you have to implement it in your own school, and that then will affect how effective that particular intervention is. Just because it is evaluated by researchers as being generally very effective doesn'tmean that you will necessarily implement it effectively. So, it is therefore important that each school does evaluate. So, there are kind of two sides to using research. There's looking at research, but there's also doingyour own research and evaluating how effectively you have implemented something. I think that's been a weakness.Michelle Brown AM: Thank you.John Griffiths AM: Okay. Hefin David.Hefin David AM: Do you thinkthere's an attendance crisis at key stage 4 for those students eligible for free school meals?Meilyr Rowlands: 'Crisis' is maybe too strong a word, but I think there's been a lot of attention given to attendance, quiterightly. Over a long period of time, I was a member of the national behaviour and attendance review board under Ken Reid about 10 years ago. So, there's been a lot of attention on attendance, and that's veryimportant because attendance has a very strong correlation with outcomes.Hefin David AM: Of those students at key stage 4, 35 per cent of those eligible for free school meals are attending for 95 per cent of the time,whereas it's 60 per cent for their peers. Is the PDG making an impact on that? You've mentioned engagement with the curriculum. What more can be done?Meilyr Rowlands: I think what's happening now is that peopleare targeting their attention on attendance. Attendance has improved in primary and in secondary generally. It has also improved for these cohorts as well, and at a faster rate than the rest of the cohort. So, there havebeen improvements. Nevertheless, I agree with you totally that it is a major, major problem, and that is why schools do use the PDG specifically to improve attendance.Hefin David AM: But you said they've not used itwell enough.Meilyr Rowlands: Did I say that? They are using it, and attendance has improved, and the attendance of this cohort has improved more, but there's still a major, major problem. So, I think there needs to beeven more attention—Hefin David AM: So, what—? I'm looking for specifics. What can be done with the PDG?Meilyr Rowlands: I think, as I said earlier, that these are major social issues. So, I think what can be donethat hasn't been done currently is to give more attention to the community-focused side of schooling. I think the schools that have done well, that have really improved attendance of this particular group of pupils, arethe ones that have taken community relationships very, very seriously and worked with parents.Hefin David AM: Yes, you mentioned working with families when you were answering Llyr. How does that happen,though? What does it look like? If I'm a parent, what does it look like?Meilyr Rowlands: Okay. I'll ask Claire to give you an example. Cefn Hengoed is a good example of a school that has not cracked it but made a lot ofprogress.Claire Morgan: Often, in the best schools, the headteachers consider themselves to be community leaders as well as headteachers, and they often set up arrangements where they engage directly with thefamilies of disadvantaged children or children who are underachieving generally. They try to build very strong relationships with the families so that the school is in a position to either liaise with different agencies or tobring agencies into the school to address some of the issues that are outside school control.Hefin David AM: And where does the PDG come into this, and the use of it?Claire Morgan: This sometimes is used forappointing staff whose role it is to facilitate these arrangements to give one-to-one support to children, to monitor attendance, to visit homes where children are not coming into schools, to try and address what thebarriers are in getting them into classrooms.Hefin David AM: And those lessons you've learned from Cefn Hengoed: how are you going to spread that? How does that get spread?Claire Morgan: Well, we've done it in anumber of ways. Obviously, the first thing we do is the inspection report, and we highlight the practice there. We also have things—. This is an example of our best-practice case studies. We also have conferences aswell, where we invite the headteachers from those schools to come and present to other headteachers. We also tweet, use social media, to try and get the message out there. But there's also—Hefin David AM: This allseems like stuff that's done to teachers. It doesn't seem very engaging.Claire Morgan: Well, it is—. Headteachers tell us that learning about best practice from other headteachers is very, very useful. When we had aconference, and when we looked at leadership and improving schools, Cefn Hengoed, along with a number of other schools, presented, and we had very positive feedback from that. So, it is actually schools learningfrom other schools, and I think the work that the consortia have been doing on school-to-school support as well can contribute to it.Hefin David AM: We're spreading the PDG very thinly now, if we're talking aboutattendance, and then we talk about exclusion as well. Is it possible that it can have an impact on reducing the higher exclusion rates for EFSM students?Claire Morgan: I think it has the potential to. I think all these"}
+{"doc_id":"doc_104","qid":"","text":"Grad A: OK . We seem to be recording .Professor G: Alright !Grad A: So , sorry about not {disfmarker}Professor G: We 're not crashing .PhD D: Number four .Grad A: not pre - doing everything . The lunch went a littlelater than I was expecting , Chuck .PhD E: Hmm ?Professor G: OK .PhD B: Chuck was telling too many jokes , or something ?Grad A: Yep . Pretty much .PhD E: Yeah .Professor G: OK . {vocalsound} Does anybody havean agenda ?Grad A: No .Postdoc F: Well , I 'm {disfmarker} I sent a couple of items . They 're {disfmarker} they 're sort of practical .Professor G: I thought {pause} somebody had .Postdoc F: I don't know if you 're{disfmarker}Professor G: Yeah , that 's right .Postdoc F: if {disfmarker} if that 's too practical for what we 're {pause} focused on .Grad A: I mean , we don't want anything too practical .Professor G: Yeah , we onlywant th useless things .Grad A: Yeah , that would be {disfmarker}Professor G: Yeah . No , why don't we talk about practical things ?Postdoc F: OK .Professor G: Sure .Postdoc F: Well , um , I can {pause} give you anupdate on the {pause} transcription effort .Professor G: Great .Postdoc F: Uh , maybe {nonvocalsound} raise the issue of microphone , uh , um procedures with reference to the {pause} cleanliness of the recordings.Professor G: OK , transcription , uh , microphone issues {disfmarker}Postdoc F: And then maybe {nonvocalsound} ask , th uh , these guys . The {disfmarker} we have great {disfmarker} great , uh , p steps forward interms of the nonspeech - speech pre - segmenting of the signal .Professor G: OK .Grad A: Well , we have steps forward .PhD C: Yeah .Postdoc F: Well , it 's a {disfmarker} it 's a big improvement .PhD C: I would preferthis .Professor G: Yes . Yeah , well . OK . Uh {disfmarker}PhD D: We talk about the {disfmarker} {vocalsound} the results ofProfessor G: You have some {disfmarker} Yeah .Grad A: I have a little bit of IRAMstuffProfessor G: OK .PhD D: use {disfmarker}Grad A: but {pause} I 'm not sure if that 's of general interest or not .Professor G: Uh , bigram ?Grad A: IRAM .PhD D: IRAM .Professor G: IRAM .Grad A: IRAM , bigram,Professor G: Well , m maybe .PhD D: Bi - Bigram .Grad A: you know .Professor G: Yeah , let 's {disfmarker} let 's see where we are at three - thirty .PhD B: Hmm .Professor G: Um {disfmarker}PhD B: Since , uh{disfmarker} since I have to leave as usual at three - thirty , can we do the interesting stuff first ?Postdoc F: I beg your pardon ?Professor G: Well {disfmarker}PhD C: Which is {disfmarker} ?Grad A: What 's theinteresting stuff ?Postdoc F: I beg your pardon ?PhD D: Yeah .Professor G: Yeah . Th - now you get to tell us what 's the interesting part .PhD E: Please specify .Professor G: But {disfmarker}PhD B: Well , uh , I guessthe work that 's been {pause} done on segmentation would be most {disfmarker}PhD C: Yeah .Postdoc F: I think that would be a good thing to start with .PhD B: Yeah .Professor G: OK . Um , and , um , {vocalsound}the other thing , uh , which I 'll just say very briefly that maybe relates to that a little bit , which is that , um , uh , one of the suggestions that came up in a brief meeting I had the other day when I was in Spain with ,uh , Manolo Pardo and {vocalsound} Javier , uh , Ferreiros , who was {pause} here before , was , um , why not start with what they had before but add in the non - silence boundaries . So , in what Javier did beforewhen they were doing , um {disfmarker} h he was looking for , uh , speaker change {pause} points .PhD D: Mm - hmm .Professor G: Um . As a simplification , he originally did this only using {pause} silence as , uh , a{pause} putative , uh , speaker change point .PhD C: Yeah .Professor G: And , uh , he did not , say , look at points where you were changing broad sp uh , phonetic class , for instance . And for Broadcast News , thatwas fine . Here obviously it 's not .PhD D: Yeah .Professor G: And , um , so one of the things that they were pushing in d in discussing with me is , um , w why are you spending so much time , uh , on the , uh , featureissue , uh , when perhaps if you sort of deal with what you were using beforePhD D: Uh - huh .Professor G: and then just broadened it a bit , instead of just ta using silence as putative change point also {disfmarker}?PhD D: Nnn , yeah .Professor G: So then you 've got {disfmarker} you already have the super - structure with Gaussians and H - you know , simple H M Ms and so forth . And you {disfmarker} you might {disfmarker}So there was a {disfmarker} there was a little bit of a {disfmarker} a {disfmarker} a {disfmarker} a difference of opinion because I {disfmarker} I thought that it was {disfmarker} it 's interesting to look at whatfeatures are useful .PhD D: Yeah .Professor G: But , uh , on the other hand I saw that the {disfmarker} they had a good point that , uh , if we had something that worked for many cases before , maybe starting fromthere a little bit {disfmarker} Because ultimately we 're gonna end up {vocalsound} with some s su kind of structure like that ,PhD D: Yeah .Professor G: where you have some kind of simple HMM and you 're testingthe hypothesis that , {vocalsound} uh , there is a change .PhD D: Yeah .Professor G: So {disfmarker} so anyway , I just {disfmarker} reporting that .PhD D: OK .Professor G: But , uh , uh {disfmarker} So . Yeah , whydon't we do the speech - nonspeech discussion ?Postdoc F: Yeah . Do {disfmarker} I {disfmarker} I hear {disfmarker} you {disfmarker} you didn't {disfmarker}PhD C: Speech - nonspeech ? OK .Postdoc F: Uh - huh .Yeah .PhD C: Um , so , uh , what we basically did so far was using the mixed file to {disfmarker} to detect s speech or nonspeech {pause} portions in that .Professor G: Mm - hmm .PhD C: And what I did so far is I justused our old Munich system , which is an HMM - ba based system with Gaussian mixtures for s speech and nonspeech . And it was a system which used only one Gaussian for silence and one Gaussian for speech . Andnow I added , uh , multi - mixture possibility for {disfmarker} {vocalsound} for speech and nonspeech .Professor G: Mm - hmm . Mm - hmm .PhD C: And I did some training on {disfmarker} on one dialogue , whichwas transcribed by {disfmarker} Yeah . We {disfmarker} we did a nons s speech - nonspeech transcription .PhD D: Jose .PhD C: Adam , Dave , and I , we did , for that dialogue and I trained it on that . And I did somepre - segmentations for {disfmarker} for Jane . And I 'm not sure how good they are or what {disfmarker} what the transcribers say . They {disfmarker} they can use it or {disfmarker} ?Postdoc F: Uh , they{disfmarker} they think it 's a terrific improvement . And , um , it real it just makes a {disfmarker} a world of difference .Professor G: Hmm .Postdoc F: And , um , y you also did some something in addition which was ,um , for those in which there {nonvocalsound} was , uh , quiet speakers in the mix .PhD C: Yeah . Uh , yeah . That {disfmarker} that was one {disfmarker} one {disfmarker} one thing , uh , why I added more mixturesfor {disfmarker} for the speech . So I saw that there were loud {disfmarker} loudly speaking speakers and quietly speaking speakers .Professor G: Mm - hmm .PhD C: And so I did two mixtures , one for the loudspeakers and one for the quiet speakers .Grad A: And did you hand - label who was loud and who was quiet , or did you just {disfmarker} ?PhD C: I did that for {disfmarker} for five minutes of one dialogueGrad A:Right .PhD C: and that was enough to {disfmarker} to train the system .PhD B: W What {disfmarker} ?PhD D: Yeah .PhD C: And so it {disfmarker} it adapts , uh , on {disfmarker} while running . So .PhD B: What kindof , uh , front - end processing did you do ?PhD C: Hopefully .PhD D: OK .PhD C: It 's just our {disfmarker} our old Munich , uh , loudness - based spectrum on mel scale twenty {disfmarker} twenty critical bands andthen loudness .PhD B: Mm - hmm .PhD C: And four additional features , which is energy , loudness , modified loudness , and zero crossing rate . So it 's twenty - four {disfmarker} twenty - four features .PhD B: Mmm.Professor G: Mm - hmm .Postdoc F: And you also provided me with several different versions ,PhD C: Yeah .Postdoc F: which I compared .PhD C: Yeah .Postdoc F: And so you change {nonvocalsound} parameters .What {disfmarker} do you wanna say something about the parameters {nonvocalsound} that you change ?PhD C: Yeah . You can specify {vocalsound} the minimum length of speech or {disfmarker} and silenceportions which you want . And so I did some {disfmarker} some modifications in those parameters , basically changing the minimum {disfmarker} minimum {pause} length for s for silence to have , er to have , um{disfmarker} yeah {disfmarker} to have more or less , uh , silence portions in inserted . So .Grad A: Right . So this would work well for , uh , pauses and utterance boundaries and things like that .PhD D: Yeah .PhD C:Yeah . Yeah .Grad A: But for overlap I imagine that doesn't work at all ,PhD C: Yeah .PhD D: Yeah .Grad A: that you 'll have plenty of s sections that are {disfmarker}PhD C: Yeah .PhD D: Yeah .PhD C: That 's it . Yeah.Postdoc F: Mm - hmm , mm - hmm .PhD D: Yeah .Grad A: But {disfmarker}Postdoc F: That 's true . But {nonvocalsound} it {disfmarker} it saves so much time {disfmarker} the {disfmarker} the {nonvocalsound}transcribersProfessor G: Um {disfmarker}Grad A: Yep .Postdoc F: just enormous , enormous savings . Fantastic .Professor G: That 's great . Um , just qu one quickly , uh , still on the features . So {vocalsound} youhave these twenty - four features .PhD C: Yeah .Professor G: Uh , a lot of them are spectral features . Is there a {disfmarker} a transformation , uh , like principal components transformation or something ?PhD C: No.Grad A: Yeah . It was IS two .PhD C: No . W w we {disfmarker} originally we did thatProfessor G: Just {disfmarker}PhD C: but we saw , uh , when we used it , uh , f for our close - talking microphone , which{disfmarker} yeah , for our {disfmarker} for our recognizer in Munich {disfmarker} we saw that w it 's {disfmarker} it 's not {disfmarker} it 's not so necessary . It {disfmarker} it works as well f with {disfmarker}with {disfmarker} without , uh , a LDA or something .Professor G: OK . OK . No , I was j {pause} curious .PhD C: Yeah .Postdoc F: Mm - hmm .Professor G: Yeah , I don't think it 's a big deal for this application ,PhD C:Yeah .PhD D: Right .Professor G: but {disfmarker} but {disfmarker} Yeah , it 's a {disfmarker}Postdoc F: Mm - hmm . OK . But then there 's another thing that also Thilo 's involved with , which is , um {disfmarker} OK, and {disfmarker} and also Da - Dave Gelbart . So there 's this {disfmarker} this problem of {disfmarker} and w and {disfmarker} so we had this meeting . Th - the {nonvocalsound} {disfmarker} also Adam , beforethe {disfmarker} the {disfmarker} before you went away . Uh we , um {disfmarker} regarding the representation {nonvocalsound} of overlaps , because at present , {nonvocalsound} {vocalsound} um , because{nonvocalsound} of the limitations of {vocalsound} th the interface we 're using , overlaps are , uh , not being {nonvocalsound} encoded by {nonvocalsound} the transcribers in as complete {nonvocalsound} and , uh ,detailed a way as it might be , and as might be desired {disfmarker} I think would be desired in the corpus ultimately .Professor G: Mm - hmm .Postdoc F: So we don't have start and end points {nonvocalsound} ateach point where there 's an overlap . We just have the {disfmarker} the {nonvocalsound} overlaps {nonvocalsound} encoded in a simple bin . Well , OK . So {nonvocalsound} @ @ the limits of the {nonvocalsound}over of {disfmarker} of the interface are {vocalsound} such that we were {disfmarker} at this meeting we were entertaining how we might either expand {nonvocalsound} the {disfmarker} the {vocalsound} interfaceor find other tools which already {pause} do what would be useful . Because what would ultimately be , um , ideal in my {disfmarker} my view and I think {disfmarker} I mean , I had the sense that it was consensus ,is that , um , a thorough - going musical score notation would be {nonvocalsound} the best way to go . Because {nonvocalsound} you can have multiple channels , there 's a single time - line , it 's very clear , flexible ,and all those nice things .Professor G: Mm - hmm .Postdoc F: OK . So , um , um , I spoke {disfmarker} I had a meeting with Dave Gelbart on {disfmarker} on {disfmarker} and he had , uh , excellent ideas on how{pause} the interface could be {pause} modified to {disfmarker} to do this kind of representation . But , um , he {disfmarker} in the meantime you were checking into the existence of already , um , existing interfaceswhich might already have these properties . So , do you wanna say something about that ?PhD C: Yes . Um , I {vocalsound} talked with , uh , Munich guys from {disfmarker} from Ludwi - Ludwig Maximilians University, who do a lot of transcribing and transliterations .Professor G: Mm - hmm .PhD C: And they basically said they have {disfmarker} they have , uh , a tool they developed {pause} themselves and they can't give away ,uh , f it 's too error - prone , and had {disfmarker} it 's not supported , a a a and {disfmarker}Professor G: Yeah .PhD C: But , um , Susanne Bur - Burger , who is at se CMU , he wa who was formally at {disfmarker} inMunich and w and is now at {disfmarker} with CMU , she said she has something which she uses to do eight channels , uh , trans transliterations , eight channels simultaneously ,Professor G: Excuse me .PhD C: but it 'srunning under Windows .Postdoc F: Under Windows .PhD C: So I 'm not sure if {disfmarker} if {disfmarker} if we can use it .Postdoc F: Mm - hmm .PhD C: She said she would give it to us .Postdoc F: Mm - hmm .PhDC: It wouldn't be a problem . And I 've got some {disfmarker} some kind of manual {pause} down in my office .Grad A: Well , maybe we should get it and if it 's good enough we 'll arrange Windows machines to beavailable .PhD C: Yeah .Postdoc F: Mm - hmm . We could {disfmarker} uh , potentially {nonvocalsound} so .Grad A: So .Postdoc F: I also wanted to be sure {disfmarker} I mean , I 've {disfmarker} I 've seen the{disfmarker} this {disfmarker} this is called Praat , PRAAT , {nonvocalsound} which I guess means spee speech in Dutch or something .Grad A: Yep .PhD C: Yeah , but then I 'm not sure {pause} that 's the right thingfor us .Postdoc F: But {disfmarker} In terms {nonvocalsound} of it being {nonvocalsound} Windows {nonvocalsound} versus {disfmarker}Professor G: Yeah .Grad A: No , no . Praat isn't {disfmarker} Praat 's multi -platform .Postdoc F: But I 'm just wondering , is {disfmarker} ?PhD C: No . No , Praat {disfmarker} Yeah . Yeah .Postdoc F: Oh ! I see .PhD C: Yeah .Postdoc F: Oh , I see . So Praat may not be {disfmarker}PhD C:That 's not Praat . It 's called \" trans transedit \" {pause} I think .Postdoc F: It 's a different one .PhD C: The {disfmarker} the , uh {disfmarker} the tool from {disfmarker} from Susanne .Postdoc F: I see . Oh , I see .OK . OK . Alright .Professor G: The other thing , uh , to keep in mind , uh {disfmarker} I mean , we 've been very concerned to get all this rolling so that we would actually have data ,Postdoc F: Mmm , yeah .ProfessorG: but , um , I think our outside sponsor is actually gonna kick inPostdoc F: Mm - hmm .Professor G: and ultimately that path will be smoothed out . So I don't know if we have a long - term need to do lots and lots oftranscribing . I think we had a very quick need to get something out and we 'd like to be able to do some later because just it 's inter it 's interesting . But as far a you know , uh , with {disfmarker} with any luck we 'llbe able to wind down the larger project .Grad A: Oh .PhD B: But you sGrad A: What our decision was is that {pause} we 'll go ahead with what we have with a not very fine time scale on the overlaps .PhD C: Yeah.Professor G: Right . Yeah .Grad A: And {disfmarker} and do what we can later {pause} to clean that up if we need to .Postdoc F: Mm - hmm .Professor G: Right .Postdoc F: And {disfmarker} and I was just thinkingthat , um , {vocalsound} if it were possible to bring that in , like , {vocalsound} you know , this week , then {nonvocalsound} when they 're encoding the overlaps {nonvocalsound} it would be nice for them to be ableto specify when {disfmarker} you know , the start points and end points of overlaps .Professor G: Uh - huh .Postdoc F: uh Th - they 're {nonvocalsound} making really quick progress .Professor G: Yeah . That 's great.Postdoc F: And , um , so my {disfmarker} my goal was {disfmarker} w m my charge was to get eleven hours by the end of the month . And it 'll be {disfmarker} I 'm {disfmarker} I 'm {disfmarker} I 'm clear that we'll be able to do that .Professor G: That 's great .Grad A: And did you , uh , forward Morgan Brian 's {pause} thing ?Professor G: Yeah .Postdoc F: I sent {nonvocalsound} it to , um {disfmarker} who did I send that to ?I sent it to a list and I thought {nonvocalsound} I sent it to {nonvocalsound} the {nonvocalsound} {disfmarker} e to the local list .PhD E: Meeting Recorder .Grad A: Oh , you did ? OK . So you probably did get that.Postdoc F: You saw that ? So Brian did tell {nonvocalsound} me that {nonvocalsound} in fact what you said , that , {nonvocalsound} uh {disfmarker} that {nonvocalsound} our {disfmarker} that they are {pause}making progress and that he 's going {disfmarker} that {nonvocalsound} they 're {nonvocalsound} going {disfmarker} he 's gonna check the f the output of the first transcription and {disfmarker} and{disfmarker}Professor G: I mean , basically it 's {disfmarker} it 's all the difference in the world . I mean , basically he 's {disfmarker} he 's on it now .Grad A: Yeah .Postdoc F: Oh , that 's {disfmarker} this is a newdevelopment .Professor G: So {disfmarker} so {disfmarker} so this is {disfmarker} so i it 'll happen .Postdoc F: OK . Super . Super . OK . Great .Professor G: Yeah . I mean , basically it 's just saying that one of our{disfmarker} one of our best people is on it ,Postdoc F: Yeah .Professor G: you know , who just doesn't happen to be here anymore . Someone else pays him . So {disfmarker}PhD B: But about the need fortranscription ,Postdoc F: Isn't that great ?PhD B: I mean , don't we {disfmarker} didn't we previously {vocalsound} decide that the {pause} IBM {pause} transcripts would have to be {pause} checked anyway andpossibly augmented ?Professor G: So . {vocalsound} Yeah .Postdoc F: Yes . That 's true .PhD B: So , I think having a good tool is worth something no matter what .Postdoc F: Mm - hmm .Professor G: Yeah . S OK .That 's {disfmarker} that 's a good point .Grad A: Yeah , and Dave Gelbart did volunteer ,Postdoc F: Good .Grad A: and since he 's not here , I 'll repeat it {disfmarker} to at least modify Transcriber , which , if we don'thave something else that works , I think that 's a pretty good way of going .PhD C: Mmm .Postdoc F: Mm - hmm .Grad A: And we discussed on some methods to do it . My approach originally , and I 've already hackedon it a little bit {disfmarker} it was too slow because I was trying to display all the waveforms . But he pointed out that you don't really have to . I think that 's a good point .Postdoc F: Mm - hmm .Professor G: Mm -hmm .Grad A: That if you just display the mix waveform and then have a user interface for editing the different channels , that 's perfectly sufficient .Professor G: Hmm .Postdoc F: Yeah , exactly . And just keep those{nonvocalsound} things separate . And {disfmarker} and , um , Dan Ellis 's hack already allows them to be {nonvocalsound} able to display {vocalsound} different {nonvocalsound} waveforms to clarify overlaps andthings ,Grad A: No . They can only display one ,Postdoc F: so that 's already {disfmarker}Grad A: but they can listen to different ones .Postdoc F: Oh , yes , but {disfmarker} Well , {vocalsound} uh , yes , but{nonvocalsound} what I mean is {pause} that , uh , from the transcriber 's {nonvocalsound} perspective , uh , those {nonvocalsound} two functions are separate . And Dan Ellis 's hack handles the , {vocalsound} um, choice {nonvocalsound} {disfmarker} the ability to choose different waveforms {vocalsound} from moment to moment .Grad A: But only to listen to , not to look at .PhD C: Yeah .Postdoc F: Um {disfmarker}Grad A:The waveform you 're looking at doesn't change .PhD C: Yeah .Postdoc F: That 's true .Grad A: Yeah .Postdoc F: Yeah , but {nonvocalsound} that 's {disfmarker} that 's OK , cuz they 're {disfmarker} they 're , youknow , they 're focused on the ear anyway .Grad A: Right .Postdoc F: And then {disfmarker} and thenProfessor G: Hmm .Postdoc F: the hack to {vocalsound} preserve the overlaps {nonvocalsound} better would beone which creates different output files for each channel ,Grad A: Right .Postdoc F: which then {nonvocalsound} would also serve Liz 's request {pause} of having , you know , a single channel , separable , uh , cleanly ,"}
+{"doc_id":"doc_105","qid":"","text":"Marketing: {vocalsound} That went well , thank you .Project Manager: That's great .Industrial Designer: {vocalsound} 'Kay .Marketing: Perfect .Project Manager: Alright , let me just PowerPoint this up . {vocalsound}{vocalsound} {vocalsound} Right so um this meeting will be about the conceptual design , don't ask me s precisely what conceptual design is , it's just something important that we need to do . Um , think of it{disfmarker} 's kind of uh turning the abstract into slightly more concrete . In this meeting ideally we'll come to some final decisions on what we're gonna do for the prototype . Um . Right so um , apologies for the lastmeeting , it was brought to my attention that I did not make the roles clear enough , um , so I will attempt to do so more accurately in this particular meeting . Um , fair enough , thanks for the input , 's always good .Um . So , basically all we're gonna do is have some presentations again much like last time , um , and gonna go through you , uh whoever wants to go first is f fine by me um and we'll collate what we know about umwhat we discussed in the last meeting , possible directions . {vocalsound} And then we'll make some more decisions on um basic uh firm up our idea on how we want this remote control to look and work . So , perfect .So , without th further ado , whoever wants to go first is free to .Industrial Designer: I'll go first .Project Manager: Alright Nathan ,Marketing: Go ahead .Project Manager: take it away . It is Nathan right ? I'm not callingyou the wrong name over and over again ?Industrial Designer: No Nathan's fine .Marketing: {vocalsound}Project Manager: {vocalsound} Good .Industrial Designer: It's either Nathan or participant two .ProjectManager: {vocalsound}Marketing: {vocalsound}User Interface: {vocalsound} Mister participant two that is . {vocalsound}Industrial Designer: Uh .Project Manager: {vocalsound}Marketing: Nice .Industrial Designer:Okay . Um ,Project Manager: Nice .Industrial Designer: basically what I'm gonna have to talk to you about today is um component design and it's been brought to my attention that we may be somewhat limited as towhat we can do because of what our manufacturer offers ,Project Manager: Mm .Industrial Designer: so {disfmarker} Basically what I'm gonna be doing is talking to you about that . Um , components of a remotecontrol , okay . We've already kind of gone over this but we're gonna have to get into more detail and probably have to reach some conclusions some time soon . Energy source , um , our manufacturer offers a varietyof energy sources , your standard battery , solar cells . Our manufacturer didn't say anything about lithium so we might have to look {disfmarker} if we do go that route , we might have to look elsewhere . Um , andalso there's a kinetic energy possibility . Basically , it's like a um {disfmarker} the idea of moving the remote would create enough energy to keep it running . So that's one possibility but I don't know whether thatwould be powerful enough to illuminate a touch screen .Project Manager: Hmm .Industrial Designer: So we'll have to look into that .Marketing: Mm .Industrial Designer: Um , the case , we have a few options , plastic ,rubber or wood . Um and then as far as the way it's shaped , we can do standard boring flat , which we probably don't wanna do , curved or very sexy double curved .Project Manager: What kind of th thickness are welooking at ?Industrial Designer: Um , I imagine that we could specify . Um , I don't see any reason to go outside of the convention of three or four millimetres . Yeah .Project Manager: Okay , brilliant .IndustrialDesigner: Um , the buttons , there are multiple scroll buttons available from our manufacturer , but to use those we'd have to use more chips , um and that would cost us more . And if we do go with the rubber doubledcurved case um we'll have to use rubber push buttons because the other buttons aren't compatible with that .Project Manager: Hmm .Industrial Designer: Um and just a little note there ,Marketing: Right .IndustrialDesigner: touch screen equals many chips which equals many Euro .Project Manager: {vocalsound}Marketing: {vocalsound} Right . Nice .Industrial Designer: Um , one thing that I noticed was that most remotesoperate on a infrare on the infrared part of the spectrum . So you notice when you push a button on a remote you can't see anything coming out of it but in fact there is light coming out of the remote and you know thetelevision can detect that . And if you were to record {disfmarker} if you were to make a video recording you could actually see the light . Uh one thing that I thought might be interesting was to use part {disfmarker}use visible light coming out of the remote , just kind of as a fun gimmick .Project Manager: Hmm .Industrial Designer: So you could actually see something coming out of the remote when you pushed it .Marketing:Interesting .Industrial Designer: Course it'd have to be a part of the spectrum that wouldn't damage the human eye or anything like that .Project Manager: {vocalsound} M Maybe {disfmarker}User Interface:{vocalsound}Marketing: Mm . Good call .Project Manager: is there an option that we can have that off or on so a person can select like {disfmarker}Industrial Designer: Yeah .Marketing: Choose it .Industrial Designer:I am sure that we could do that . Um , of course {disfmarker}Project Manager: Yeah I like the idea , it's a good idea .Industrial Designer: Yeah , just as a fun gimmick .Project Manager: Yeah .Industrial Designer: Justto set us apart a little bit . Um , and then on to the circuit board that we're gonna use , also known as the chip . Uh , we really don't have any way around the T_A_ one one eight three five .Project Manager:{vocalsound}User Interface: {vocalsound}Industrial Designer: Um findings , okay , we're very limited by what our current manufacturers can offer , um and my question to all of you is , should we look to othermanufacturies or should we just make do with what we have available ?User Interface: Interesting question .Industrial Designer: 'S a bit of a challenge question .Project Manager: Mm .User Interface: Yes .Marketing:Well I'd say shop around but with our time constraints , is that really a feasible option ?Project Manager: Mm .Industrial Designer: Right , that's my concern too . Um , if we do go the lithium battery route then we'llhave to go outside our current manufacturer . My personal preference is {disfmarker} I'll just throw my cards on the table , uh I think we should probably go the solar battery route , just to kinda keep with theenvironmentally friendly theme that we have going on . Uh , I like the idea of the visible light signalling , that's something to set us apart and uh I was thinking about {disfmarker} I was thinking of ways that we couldproduce the remote in a variety of different case materials to suit different tastes . So we're not so confined by one style and say some {disfmarker} you know , say our {disfmarker} the one {disfmarker}Marketing:Right .Industrial Designer: if we just go with one and it doesn't go over well then we're in a bad situation .Project Manager: Mm .Marketing: Right .Project Manager: Can we do marketing piloting too ? Try to see whatkind {disfmarker} before we launch {disfmarker} can we see how they're received ?Marketing: Um {disfmarker} It's an option , uh but actually there's {disfmarker} I've got some research already on like what we'relooking at and trends in casing right nowProject Manager: Okay . Okay .Marketing: which actually might even come into play beforehand ,Project Manager: Okay , perfect .Marketing: it may help us decide for now .Temporarily anyway .Project Manager: Great , thank you very much Nathan .Industrial Designer: Oh yeah , you're welcome .Project Manager: That's perfect , so I guess that makes sense for you to take it from here.Marketing: {vocalsound} I guess so , 'cause I found some interesting things . {vocalsound}Project Manager: {vocalsound}Industrial Designer: {vocalsound}User Interface: {vocalsound} Did you ?{vocalsound}Marketing: You waiting for me ? {vocalsound}Project Manager: Fascinating , compelling even .Marketing: I know , what a teaser ain't it . Um . {vocalsound} Right . SoUser Interface:{vocalsound}Marketing: current market trends . Screen . Um , basically I was looking at what's going on in the remote control market right now and what's going on in other design fields , to see sort of what's what'strendy , what's new , what's happening . Um , remote control right now {disfmarker} basically everybody says they want newer , fancier , more exciting {disfmarker} they're sick of this boring , normal , functional , um{disfmarker} that we need innovative design options and there needs to be an easy user interface . Um the challenge is that current trends right now , across the board in fashion , in furniture , in technology , is a veryorganic fruit and vegetable kind of thing .User Interface: {vocalsound}Project Manager: {vocalsound}User Interface: {vocalsound}Project Manager: {vocalsound}User Interface: {vocalsound}Industrial Designer:{vocalsound}Marketing: Now I'm not saying we should have , you know , tomato shaped remote controls or anything , but I think it is possible maybe to use um natural colours , like if wood is an option , that wholeorganic , sleek , clean ,Industrial Designer: Mm .Marketing: v line thing may be something we can look into . Different skin options , or if we can't afford this touch plate thing , or touch face screen interface um , maybehaving the b images be specific , like you could choose your menu bullets to beProject Manager: {vocalsound} Tomatoes . {vocalsound}Marketing: a different shapeIndustrial Designer: {vocalsound}User Interface:{vocalsound}Marketing: or {vocalsound} okay , not the example I would choose , but you know what I mean to t sort of {disfmarker} and th apparently the feel of the next couple of years is spongy ,Project Manager:{vocalsound}Industrial Designer: Mm . {vocalsound}User Interface: {vocalsound} I like it , I like it . {vocalsound}Marketing: uh not something I I've come up with a {gap} though if we can get around to gettingpiloting , I thought maybe a casing option like uh not like a skin , but like a holder almost if you could do like um , leather options or wood options or something {disfmarker}Industrial Designer: Hmm . I should havementioned this um . As far as the rubber that we can use {disfmarker} we can use a rubber as part of the case ,Marketing: Mm-hmm .Industrial Designer: it has a consistency of those stress balls .User Interface: Yes.Marketing: Mm . {vocalsound}Project Manager: Slick , slick .User Interface: Fabulous .Marketing: Might be an interesting way to go . Um , yeah so something to sit on for now . So overall I think we should stick withwhat we're finding , everyone's looking for easy to use , technologically innovative and this fancy new {disfmarker} I think perhaps the double curve thing and maybe this rubber option is our best way to go for rightnow .Industrial Designer: Mm .Marketing: {vocalsound} Um .Project Manager: Interface , oh the interface graphics for the um {disfmarker}Marketing: {vocalsound} Yeah . Um . Well I d but then if the touch screenthing isn't gonna work out for us that's really a non-issue .Project Manager: Yeah .Industrial Designer: I like the idea of of rubber too because it's {disfmarker} tends to be associated with being durable , something thatyou can drop and it doesn't matter .Project Manager: Mm .Industrial Designer: 'Cause so many {disfmarker}Marketing: True .Industrial Designer: you go to so many houses these days and you see broken remotecontrols .Marketing: Very true . Very true .Project Manager: Yeah , it's like , yep {vocalsound}Industrial Designer: Taped with duck tape and what have you ,Marketing: Very much so {vocalsound} . UmIndustrialDesigner: you wouldn't have that problem if you used rubber .Project Manager: it's ubiquitous isn't it ?User Interface: We can have a duck tape casing .Project Manager: {vocalsound}Industrial Designer:{vocalsound}Marketing: We could .User Interface: {vocalsound}Marketing: I think that goes against the whole fancy something , a new line ,Project Manager: {vocalsound}User Interface: {vocalsound} It could gowith the granola crowd .Marketing: but worth a shot .Project Manager: {vocalsound}Industrial Designer: {vocalsound}User Interface: {vocalsound}Marketing: Ah , it could be , it could be ,Project Manager:{vocalsound} Great ,Marketing: um . Yeah that's what I know .Project Manager: thanks for that Sarah .Marketing: No problem .Project Manager: Ron ?User Interface: Phew . Computer's adjusting . One moment please. So interme interface concept by your faithful user interface designer .Project Manager: {vocalsound}Industrial Designer: {vocalsound}Marketing: {vocalsound}User Interface: So yur user interface , guys , is basicallyaspects of a computer system that we can see or hear , or otherwise uh perceive . Uh , commands and mechanisms , that basically user uses to control the operator operating system . Here's a d series of differentremote controlsIndustrial Designer: {vocalsound}User Interface: that are out on the market today . I think we're definitely trying to get away from this kind of a look .Project Manager: YeahUser Interface: Um , so thefollowing are a bunch of different uh interface uh concepts . Uh voice recognition , we we um actually have some new uh information from our research design team but uh I'll get to that in a moment . Um , so currentvoice recognition starts up to about eighty speech samples , um and basically you record your own verbal labels c and connect them to the remote control . Now our design team , research team , has been able to uhset up a system in which uh you can teach the remote control voice c recognition system to respond to um {disfmarker} with standard responses . Like you could say good morning uh remote control and it'll say in asexy female voice , Good morning Joe . Um .Project Manager: {vocalsound}Marketing: {vocalsound}Project Manager: {vocalsound}Industrial Designer: {vocalsound}User Interface: {vocalsound} In fact we alreadyhave this for a coffee maker lineMarketing: {vocalsound} Mm .Project Manager: {vocalsound} Lot of single people on the um on the re on the remote control research teamUser Interface: {vocalsound} On the remotecontrolIndustrial Designer: {vocalsound} {vocalsound}Project Manager: at the {gap} {vocalsound}User Interface: right .Marketing: Yeah . Very true , very true .User Interface: Um , another concept is what uh Applehas come up with , the spinning wheel with uh L_C_ display like on the uh iPodProject Manager: Mm .User Interface: which I am sure most of you know about .Marketing: Mm .User Interface: Um and then we have thescroll button with integrated push-button , kind of like a modern {gap} a bit bulky , a bit crazy ,Project Manager: Mm .Industrial Designer: Mm .User Interface: I don't think that's we're necessarily going for .IndustrialDesigner: No .User Interface: And uh some special components , uh ideas like uh blocking , having the ability to block channels from your {disfmarker} for your children um and uh dedicated buttons for for commonlyused uh channels and even uh ideas like secured or hidden programming but uh I {disfmarker} again if we go with touch screen I don't think that's a big issue . Um and uh this is kind of the uh the big daddy of remotecontrols here .Project Manager: {vocalsound}Marketing: Hmm .Industrial Designer: {vocalsound}Marketing: {vocalsound}User Interface: Uh the jumbo universal remote control is almost impossible to misplace or lose.Project Manager: {vocalsound} {vocalsound} Yeah , I can see . {vocalsound}User Interface: Um , again probably not what we're going forMarketing: {vocalsound}User Interface: so I {disfmarker} I mean my ideashere and kind of where I think we're heading is something slightly larger than a regular iPod uh with a hard cla c uh plastic casingMarketing: Okay .User Interface: although I think some of the suggestions we've comeup with are definitely uh very good ideas . Uh changeable casings uh {disfmarker} our design team was possibly talking about including one extra face plate with the package to kind of set the idea that you can changeit and you can try changing itMarketing: Mm , right .User Interface: and kind of get used to thinking about maybe buying another one which can add value to our uh bottom line . Uh touch screen interface , um possiblyhaving go-to buttons being uh stuck into the system so those don't move away from the screen , uh , the important ones like power , volume and jump between channels . Um , and of course our voice commandsystem which I've talked a little bit about alreadyProject Manager: Mm .User Interface: and uh the use of recognisable colours and shapes to aid recognition of the features um that are around so red for power , umarrows for different volume ups and downs and channels ups and downs and what not .Marketing: Mm .User Interface: And uh perhaps even adding in some stupid little jokes with the voice recognition idea like perhmm for instance my toastie maker that I got from my bankMarketing: {vocalsound}User Interface: has jokes when it's ready .Industrial Designer: {vocalsound}Marketing: {vocalsound} Nice .Project Manager: Great.User Interface: And uh that is about it .Project Manager: Great , wonderful Ron , cool . Lot of good ideas , good facts to have .Marketing: Mm .Project Manager: That's what they need , it's like a little dongle it juststicks up this further so you don't have to stand up every time , just connect it , my kingdom .Industrial Designer: Yeah . {vocalsound}User Interface: {vocalsound}Marketing: Mm .Project Manager: Right so , good toknow all that stuff , thanks guys , um . {vocalsound} Now we kind of have to come to some decisions , um , I figure we can just go down the line and all three of us can have a chat about it . Um . Based on what Nathanpresented as far as the um {vocalsound} various costs and benefits um I think , I dunno , what do you guys think about the touch screen at this point ?Marketing: I think it's our most marketable feature just becauseit's so new and it's something that is showing up in other places .Project Manager: 'Kay . 'Kay .Marketing: But can we really afford it 'cause it looks like they would be , that would be a really main cost source thenProjectManager: Mm-hmm .Marketing: right ?Industrial Designer: My estimate is that in order to incorporate touch screen technology it's gonna cost us upwards of seventeen fifty Euro per remote ,Project Manager: Toproduce each one .User Interface: {vocalsound}Marketing: Per ?Industrial Designer: yeah that's just an estimate though .Marketing: Piece .User Interface: Oh you guys are always the dampers on these projects.Industrial Designer: {vocalsound}Marketing: {vocalsound} I knowProject Manager: Mm .User Interface: You industrial designers . {vocalsound}Industrial Designer: I know .Project Manager: {vocalsound} Hmm.Industrial Designer: It's fun . {vocalsound}Marketing: And our goal was to be under twelve fifty or we have to be under twelve fifty ?Project Manager: Well .Marketing: Do we remember ?Industrial Designer: I thoughtthere was some flexibility with that .Marketing: Okay .Project Manager: There is , it's just , it is a question of {disfmarker} and how much ca o does that mean we're gonna have to increase the price to make money.Marketing: Can we justify it ?Project Manager: Um , from twelve fifty if we d wanna get our fift uh hundred per cent profit margin {vocalsound} um that would mean selling it from twenty five . If you multiplyseventeen fifty by two that's thirty five .Marketing: Right .Project Manager: So {disfmarker}User Interface: Where do you guys come up with these numbers ?Industrial Designer: That's just off the top of my head,Project Manager: {vocalsound} {vocalsound} From the board ,Industrial Designer: it is pending further emails . {vocalsound}User Interface: {vocalsound}Marketing: {vocalsound} {vocalsound}User Interface:{vocalsound} {vocalsound}Industrial Designer: {vocalsound} Right .Project Manager: um , well {vocalsound} {disfmarker}Marketing: Though I think that's what people would pay for ,User Interface:{vocalsound}Marketing: I mean if you're gonna pay for an expensive high class remote , you're gonna expect it to do something {disfmarker}Project Manager: That's true , I mean {disfmarker}Industrial Designer: It isthe new {disfmarker} it would be in a class of its own .Marketing: Yeah .Project Manager: {vocalsound} And that's {disfmarker} to be fair the um the per cent of the market {disfmarker} we're not going for mass anyyou know , mass sales anyway , we're gonna make {disfmarker} I mean we we're not talking about selling eight zillion of these things , we just couldn't , not for twenty-five Euros ,Marketing: Right .Project Manager: so"}
+{"doc_id":"doc_106","qid":"","text":"Professor A: OK .Grad B: OK we 're on and we seem to be working .PhD C: Yes .Professor A: OK .Grad B: We didn't crash {disfmarker} we 're not crashing anymorePhD C: One , two , three , four , fGrad B: and it reallybothers me .Professor A: Yeah ?PhD C: No crashing .PhD G: I do . I crashed when I started this morning .Grad B: You crashed {disfmarker} crashed this morning ? I did not crash this morning .PhD C: Yeah ?ProfessorA: Oh ! Well maybe it 's just , you know , how many t u u u u how many times you crash in a day .PhD G: Really ? Yeah . Maybe , yeah .Professor A: First time {disfmarker} first time in the day , you know .PhD G: Ormaybe it 's once you 've {pause} done enough meetings {comment} it won't crash on you anymore .PhD E: Yeah .PhD C: No ?Postdoc F: Yeah .PhD G: It 's a matter of experience .PhD E: Yeah .Professor A: Yeah.Postdoc F: Self - learning , yeah .Professor A: That 's {disfmarker} that 's great .PhD G: Yeah .Professor A: Uh .PhD C: Yeah .Professor A: Do we have an agenda ? Liz {disfmarker} Liz and Andreas can't sh can't{disfmarker} uh , can't come .Grad B: I do .Professor A: So , they won't be here .Grad B: I have agenda and it 's all me .PhD G: Did {disfmarker}Grad B: Cuz no one sent me anything else .PhD G: Did they send , uh ,the messages to you about the meeting today ?Grad B: I have no idea but I just got it a few minutes ago .PhD G: Oh .Grad B: Right when you were in my office it arrived .PhD G: Oh . OK , cuz I checked my mail . Ididn't have anything .Grad B: So , does anyone have any a agenda items other than me ? I actually have one more also which is to talk about the digits .Professor A: Uh , right , so {disfmarker} so I {disfmarker} I wasjust gonna talk briefly about the NSF ITR .PhD C: Mm - hmm . Yeah .Grad B: Oh , great .Professor A: Uh , and then , you have {disfmarker}Postdoc F: Can wProfessor A: I mean , I won't say much , but {disfmarker}{comment} uh , but then , uh , you said {disfmarker} wanna talk about digits ?Grad B: I have a short thing about digits and then uh I wanna talk a little bit about naming conventions , although it 's unclear whetherthis is the right place to talk about it . So maybe just talk about it very briefly and take the details to the people who {disfmarker} for whom it 's relevant .Professor A: Right .PhD C: Yeah .Postdoc F: I could always saysomething about transcription . I 've been {disfmarker} {vocalsound} but {disfmarker} but {disfmarker} uh , well {disfmarker}Professor A: Well if we {disfmarker} Yeah , we shouldn't add things in just to add thingsin . I 'm actually pretty busy today ,Postdoc F: Yeah .Professor A: so if we can {disfmarker} {comment} {vocalsound} we {disfmarker}Postdoc F: Yeah , yeah , yeah .Professor A: a short meeting would be fine .PostdocF: This does sound like we 're doing fine , yeah . That won't do .Grad B: So the only thing I wanna say about digits is , we are pretty much done with the first test set . There are probably forms here and there that aremarked as having been read that weren't really read . So I won't really know until I go through all the transcriber forms and extract out pieces that are in error . So I wa Uh . Two things . The first is what should we doabout digits that were misread ? My opinion is , um , we should just throw them out completely , and have them read again by someone else . You know , the grouping is completely random ,PhD C: Uh - huh .Grad B:so it {disfmarker} it 's perfectly fine to put a {disfmarker} a group together again of errors and have them re - read , just to finish out the test set .Postdoc F: Oh ! By {disfmarker} throw them out completely ?Grad B:Um , the other thing you could do is change the transcript to match what they really said . So those are {disfmarker} those are the two options .PhD C: Yeah .Postdoc F: Mm - hmm .Professor A: But there 's oftenthings where people do false starts . I know I 've done it , where I say {disfmarker} say a {disfmarker}Grad B: What the transcribers did with that is if they did a correction , and they eventually did read the right string, {comment} you extract the right string .PhD G: Oh , you 're talking about where they completely read the wrong string and didn't correct it ?PhD E: Yeah .Grad B: Yeah . And didn't notice . Which happens in a fewplaces .PhD E: Yeah .PhD G: Ah .PhD C: Yeah .Grad B: So {disfmarker} so {disfmarker}Postdoc F: Well , and s and you 're talking string - wise , you 're not talking about the entire page ?Grad B: Correct .PhD E: Yeah.Postdoc F: I get it .Grad B: And so the {disfmarker} the two options are change the transcript to match what they really said , but then {disfmarker} but then the transcript isn't the Aurora test set anymore . I don'tthink that really matters because the conditions are so different . And that would be a little easier .PhD G: Well how many are {disfmarker} how {disfmarker} how often does that happen ?Grad B: Mmm , five or sixtimes .PhD G: Oh , so it 's not very much .Grad B: No , it 's not much at all .PhD G: Seems like we should just change the transcriptsPhD E: Yeah .Grad B: OK .PhD G: to match .Professor A: Yeah , it 's five or six timesout of {pause} thousands ?PhD C: Yeah .Grad B: Four thousand .Professor A: Four thousand ?PhD C: Four thous Ah ! Four thousand .PhD G: Yeah , it 's {disfmarker}Professor A: Yeah , I would , uh , {vocalsound} takdo the easy way ,PhD G: Yeah .Professor A: yeah .Grad B: OK .PhD C: Yeah .Professor A: It {disfmarker} it 's kinda nice {disfmarker} I mean , wh who knows what studies people will be doing on {disfmarker} onspeaker - dependent thingsPhD C: Mmm .Professor A: and so I think having {disfmarker} having it all {disfmarker}PhD C: Yeah .Professor A: the speakers who we had is {disfmarker} is at least interesting .PhD G: Soyou {disfmarker} um , how many digits have been transcribed now ?Grad B: Four thousand lines . And each line is between one and about ten digits .PhD G: Four thousand lines ?Grad B: I didn't {disfmarker} I didn'tcompute the average . I think the average was around four or five .Professor A: So that 's a couple hours of {disfmarker} of , uh , speech , probably .PhD G: Wow .Grad B: Yep . Yep .Professor A: Which is a yeahreasonable {disfmarker} reasonable test set .PhD C: Mm - hmm .PhD G: Mm - hmm .Grad B: And , Jane , I do have a set of forms which I think you have copies of somewhere .Postdoc F: Mm - hmm . Yeah , true .GradB: Oh you do ? Oh OK , good , good .Postdoc F: Mm - hmm . Mm - hmm .Grad B: Yeah , I was just wond I thought I had {disfmarker} had all of them back from you . And then the other thing is that , uh , the forms infront of us here that we 're gonna read later , were suggested by LizPostdoc F: No , not yet .Grad B: because she wanted to elicit some different prosodics from digits . And so , uh , I just wanted people to , take a quicklook at the instructionsPhD C: Mm - hmm . PhD E: Eight eight two two two nine .Grad B: and the way it wa worked and see if it makes sense and if anyone has any comments on it .Professor A: I see . And the decisionhere , uh , was to continue with uh the words rather than the {disfmarker} the numerics .Grad B: Uh , yes , although we could switch it back . The problem was O and zero . Although we could switch it back and tellthem always to say \" zero \" or always to say \" O \" .Postdoc F: Oh {disfmarker}Professor A: Or neither .PhD C: Yeah .Professor A: But it 's just two thing {disfmarker} ways that you can say it .Grad B: Mm - hmm.Professor A: Right ?Grad B: Sure .Postdoc F: Oh .Professor A: Um {disfmarker} um ,PhD E: Yeah .Professor A: that 's the only thought I have because if you t start talking about these , you know u tr She 's trying toget at natural groupings , but it {disfmarker} there 's {disfmarker} there 's nothing natural about reading numbers this way .Grad B: Right .Professor A: I mean if you saw a telephone number you would never see itthis way .Grad B: The {disfmarker} the problem also is she did want to stick with digits . I mean I 'm speaking for her since she 's not here .Professor A: Yeah .Grad B: But , um , the other problem we were thinkingabout is if you just put the numerals , {comment} they might say forty - three instead of four three .PhD E: Yeah .PhD G: Mmm .PhD C: Yeah .PhD E: Yeah .PhD C: Yeah .Postdoc F: Well , if there 's space , though ,between them . I mean , you can {disfmarker} With {disfmarker} when you space them out they don't look like , uh , forty - three anymore .PhD E: Yeah .Grad B: Well , she and I were talking about it ,Professor A:Yeah .Grad B: and she felt that it 's very , very natural to do that sort of chunking .Professor A: She 's right . It 's {disfmarker} it {disfmarker} it 's a different problem . I mean it 's a {disfmarker} it 's a {disfmarker} it's an interesting problem {disfmarker} I mean , we 've done stuff with numbers before , and yeah sometimes people {disfmarker} If you say s \" three nine eight one \" sometimes people will say \" thirty - nine eighty -one \" or \" three hundred {disfmarker} three hundred eighty - nine one \" , or {disfmarker} I don't think they 'd say that ,PhD C: Yeah .Professor A: but {disfmarker} but thGrad B: Not very frequentlyProfessor A: no{disfmarker}Grad B: but , {vocalsound} they certainly could .Professor A: But {disfmarker} Yeah . Uh , th thirty - eight ninety - one is probably how they 'd do it .Grad B: So . I mean , this is something that Liz and Ispoke aboutProfessor A: But {disfmarker} I see .Grad B: and , since this was something that Liz asked for specifically , I think we need to defer to her .Professor A: Mm - hmm .PhD C: Yeah .Professor A: OK . Well , we're probably gonna be collecting meetings for a while and if we decide we still wanna do some digits later we might be able to do some different ver different versions ,Grad B: Do something different ,Professor A: butthis is the next suggestion ,Grad B: yeah .Professor A: so . OK . OK , so uh e l I guess , let me , uh , get my {disfmarker} my short thing out about the NSF . I sent this {disfmarker} actually this is maybe a little sidething . Um , I {disfmarker} I sent to what I thought we had , uh , in some previous mail , as the right joint thing to send to , which was \" M {disfmarker} MTG RCDR hyphen joint \" .Grad B: It was . Joint . Yep .ProfessorA: But then I got some sort of funny mail saying that the moderator was going to {disfmarker}Grad B: It 's {disfmarker} That 's because they set the one up at UW {disfmarker}Postdoc F: Grad B: that 's not on ourside , that 's on the U - dub {comment} side .Professor A: Oh .Grad B: And so U - UW set it up as a moderated list .Postdoc F: Yeah .Professor A: Oh , OK .Grad B: And , I have no idea whether it actually ever goes toanyone so you might just wanna mail to MariProfessor A: No {disfmarker} no , th I got {disfmarker} I got , uh , little excited notes from Mari and Jeff and so on ,Grad B: and {disfmarker}Professor A: so it 's{disfmarker}Grad B: OK , good .Professor A: Yeah .Grad B: So the moderator actually did repost it .Professor A: Yeah .Grad B: Cuz I had sent one earlier {disfmarker} Actually the same thing happened to me{disfmarker} I had sent one earlier . The message says , \" You 'll be informed \" and then I was never informed but I got replies from people indicating that they had gotten it , so .Professor A: Right .Grad B: It 's just toprevent spam .Professor A: I see . Yeah so O {disfmarker} OK . Well , anyway , I guess {disfmarker} everybody here {disfmarker} Are y are {disfmarker} you are on that list , right ? So you got the note ?PhD G: Mm -hmm .Professor A: Yeah ? OK .PhD G: Yeah .Professor A: Um , so this was , uh , a , uh , proposal that we put in before on {disfmarker} on more {disfmarker} more higher level , uh , issues in meetings , from{disfmarker} I guess higher level from my point of view . Uh , {vocalsound} and , uh , meeting mappings , and , uh {disfmarker} so is i for {disfmarker} it was a {vocalsound} proposal for the ITR program , uh ,Information Technology Research program 's part of National Science Foundation . It 's the {pause} second year of their doing , uh , these grants . They 're {disfmarker} they 're {disfmarker} a lot of them are{disfmarker} some of them anyway , are larger {disfmarker} larger grants than the usual , small NSF grants , and . So , they 're very competitive , and they have a first phase where you put in pre - proposals , and we{disfmarker} we , uh , got through that . And so th the {disfmarker} the next phase will be {disfmarker} we 'll actually be doing a larger proposal . And I 'm {disfmarker} I {disfmarker} I hope to be doing very little ofit . And {disfmarker} uh , {vocalsound} which was also true for the pre - proposal , so . Uh , there 'll be bunch of people working on it . So .Grad B: When 's {disfmarker} when 's the full proposal due ?Professor A: Uh ,I think April ninth , or something . So it 's about a month .PhD E: p sProfessor A: Um {disfmarker}Grad B: Yep . And they said end of business day you could check on the reviewer forms ,PhD G: uGrad B: is that{disfmarker}PhD G: Tomorrow .Professor A: Tomorrow . March second , I said .PhD E: Tomorrow ?Grad B: I 've been a day off all week .PhD C: Tomorrow .PhD E: Yeah .Grad B: I guess that 's a good thing cuz thatway I got my papers done early .PhD G: It would be interesting {disfmarker}Professor A: So that 's amazing you showed up at this meeting !Grad B: It is . It is actually quite amazing .PhD E: Yeah .PhD G: It 'll beinteresting to see the reviewer 's comments .Professor A: Yeah . Yeah . My favorite is was when {disfmarker} when {disfmarker} when one reviewer says , uh , \" you know , this should be far more detailed \" , and thenex the next reviewer says , \" you know , there 's way too much detail \" .Grad B: Yep . Or \" this is way too general \" , and the other reviewer says , \" this is way too specific \" .PhD C: Yeah .Professor A: Yeah .PhD C:Yeah .Professor A: Yeah .Grad B: \" This is way too hard \" , \" way too easy \" .Professor A: We 'll see . Maybe there 'll be something useful . And {disfmarker} and , uh {disfmarker}Grad B: Well it sounded like they{disfmarker} they {disfmarker} the first gate was pretty easy . Is that right ? That they didn't reject a lot of the pre - proposals ?Professor A: Do you know anything about the numbers ?Grad B: No . Just {disfmarker}just thPhD G: It 's just from his message it sounded like that .PhD E: Yeah . Yeah . I said something , yeah .PhD G: Gary Strong 's {disfmarker}Professor A: IPhD G: there was a sentence at the end of one of hisparagraphsPhD E: Yeah .PhD G: I {disfmarker}Professor A: I should go back and look . I didn't {disfmarker} I don't think that 's true .Grad B: Yeah , OK .PhD G: Mmm . He said the next phase 'll be very ,competitivePhD E: Very {disfmarker} very ,PhD G: because we didn't want to weed out much in the first phase .PhD E: yeah . Yeah .Professor A: Well we 'll have to see what the numbers are .Grad B: Or something likethat ,PhD C: Mm - hmm .Grad B: so .PhD C: Hmm .Professor A: Yeah . But they {disfmarker} they have to weed out enough so that they have enough reviewers .Grad B: Right .PhD C: Yeah .Professor A: So , uh , youknow , maybe they didn't r weed out as much as usual , but it 's {disfmarker} it 's usually a pretty {disfmarker} But it {disfmarker} Yeah . It 's {disfmarker} it 's certainly not {disfmarker} I 'm sure that it 's not downto one in two or something of what 's left .Grad B: Right .Professor A: I 'm sure it 's , you know {disfmarker}Grad B: How {disfmarker} how many awards are there , do you know ?Professor A: Well there 's differentnumbers of w awards for different size {disfmarker} They have three size grants . This one there 's , um {disfmarker} See the small ones are less than five hundred thousand total over three years and that they have afair number of them . Um , and the large ones are , uh , boy , I forget , I think , more than , uh , more than a million and a half , more than two million or something like that . And {disfmarker} and we 're in the middle{disfmarker} middle category .Grad B: Mm - hmm .Professor A: I think we 're , uh , uh , I forget what it was . But , um {disfmarker} Uh , I don't remember , but it 's {pause} pr probably along the li I {disfmarker} Icould be wrong on this yeah , but probably along the lines of fifteen or {disfmarker} that they 'll fund , or twenty . I mean when they {disfmarker} Do you {disfmarker} do you know how many they funded when they fin {disfmarker} in Chuck 's , that he got last year ?PhD G: I don't {disfmarker} I don't know .Professor A: Yeah .Grad B: I thought it was smaller , that it was like four or five , wasn't it ?Professor A: Well they fund{disfmarker}PhD G: I {disfmarker} I 'm {disfmarker}Professor A: they {disfmarker}PhD G: I don't remember .Professor A: yeah . I mean {disfmarker}Grad B: Uh it doesn't matter , we 'll find out one way or another.Professor A: Yeah . I mean last time I think they just had two categories , small and big ,Grad B: Mm - hmm .Professor A: and this time they came up with a middle one , so it 'll {disfmarker} there 'll be more of themthat they fund than {disfmarker} of the big .PhD G: If we end up getting this , um , what will it mean to ICSI in terms of , w wh where will the money go to , what would we be doing with it ?Professor A: Uh .Grad B:Exactly what we say in the proposal .PhD G: I {disfmarker} I mean uh which part is ICSI though .Professor A: You know , it {disfmarker} i None of it will go for those yachts that we 've talking about .PhD G: I mean{disfmarker} Dang !Professor A: Um , well , no , I mean it 's {disfmarker} u It {disfmarker}PhD G: It 's just for the research {disfmarker} to continue the research on the Meeting Recorder stuff ?Professor A: It 'sextending the research , right ? Because the other {disfmarker}PhD G: Yeah .Grad B: Yeah it 's go higher level stuff than we 've been talking about for Meeting Recorder .Professor A: Yeah . Yeah the other things thatwe have , uh , been working on with , uh , the c with Communicator {disfmarker} uh , especially with the newer things {disfmarker} with the more acoustically - oriented things are {disfmarker} are {disfmarker} are{disfmarker} are lower level . And , this is dealing with , uh , mapping on the level of {disfmarker} of , um , the conversation {disfmarker} of mapping the conversationsPhD G: Mm - hmm . Right , right .Professor A: todifferent kind of planes . So . Um . But , um . So it 's all it 's all stuff that none none of us are doing right now , or none of us are funded for , so it 's {disfmarker} so it 's {disfmarker} it would be new .PhD G: Soassuming everybody 's completely busy now , it means we 're gonna hafta , hire more students , or , something ?Professor A: Well there 's evenings , and there 's weekends , and {disfmarker} Uh . Yeah , there{disfmarker} there would be {disfmarker} there would be new hires , and {disfmarker} and there {disfmarker} there would be expansion , but , also , there 's always {disfmarker} {vocalsound} for everybody there 's{disfmarker} there 's always things that are dropping off , grants that are ending , or other things that are ending , so ,PhD G: Right .Professor A: there 's {disfmarker} there 's a {vocalsound} continual need to{disfmarker} to bring in new things .PhD C: Mm - hmm .Grad B: Yep .PhD G: Right .Professor A: But {disfmarker} but there definitely would be new {disfmarker} new {disfmarker} new , uh , students ,PhD G: I see.Professor A: and so forth , both at {disfmarker} at UW and here .Grad B: Are there any students in your class who are {vocalsound} expressing interest ?Professor A: Um , not {pause} clear yet . Not clear yet .Grad B:Other than the one who 's already here .Professor A: I mean we got {vocalsound} {disfmarker} we have {disfmarker} yeah , two of them are {disfmarker} two in the c There 're {pause} two in the class already here ,and then {disfmarker} and {disfmarker} and , uh {disfmarker} uh , then there 's a third who 's doing a project here , who , uh {disfmarker} But he {disfmarker} he {disfmarker} he won't be in the country that long,Grad B: Mm - hmm .Professor A: and , maybe another will end up .Grad B: Yep .Professor A: Actually there is one other guy who 's looking {disfmarker} that {disfmarker} that 's that guy , uh , Jeremy ? {comment} Ithink .PhD C: Mm - hmm . Professor A: Anyway , yeah that 's {disfmarker} that 's all I was gonna say is that {disfmarker} that that 's {disfmarker} you know , that 's nice and we 're sorta preceding to the next step ,and , {vocalsound} it 'll mean some more work , uh , you know , in {disfmarker} in March in getting the proposal out , and then , it 's , uh , you know {disfmarker} We 'll see what happens . Uh , the last one was{disfmarker} that you had there , {comment} was about naming ?Grad B: Yep . It just , uh {disfmarker} we 've been cutting up sound files , in {disfmarker} for ba both digits and for , uh , doing recognition . And Lizhad some suggestions on naming and it just brought up the whole issue that hasn't really been resolved about naming . So , uh , one thing she would like to have is for all the names to be the same length so that"}
+{"doc_id":"doc_107","qid":"","text":"Project Manager: Okay . Everybody ready ?Marketing: Okay .Industrial Designer: Yeah .Project Manager: Uh I think the first thing we do is introduce ourselvesMarketing: I think so .Project Manager: and everybody'sname and what your function is ?Marketing: Yeah , that's a good plan .Project Manager: So maybe we start with you ?User Interface: Okay . Yeah , my name is Francina . And I'm uh an user interface {disfmarker} myrole is uh {disfmarker} the main responsibility is user interface .Project Manager: Mm-hmm .User Interface: And my role is to design uh a television remote control .Project Manager: Mm-hmm . Okay .Marketing: AndI'm a marketing person . I wanna figure out how to sell them .Project Manager: Mm-hmm . And your name is ?Marketing: My name is Eileen .Project Manager: Okay .Industrial Designer: Yeah . Uh I'm Jeanne-Oui . Umuh my role is industrial designer and my responsibilities are uh uh um deal with the {vocalsound} technical-functional designs and specifications of user interface and dealing with user interface design .Project Manager:Very good . And as you already know I am Betty . I am the project manager for today . So why don't we look at the presentation {vocalsound} to see what we really are supposed to do . {vocalsound} Um .Marketing:Okay .Project Manager: {vocalsound} Yes y opening , acquaintance , tool training {disfmarker} well , the tools are , I think , we already {disfmarker} I guess the tool is really our {disfmarker} the computer , as far as Ican see .Marketing: Mm-hmm .Project Manager: Uh we get ins each of us will get instructions and we'll take it from there . Project plan , that falls under the same heading pretty much . Um , I don't think we have anygreat discussion at this point .Marketing: No .Project Manager: Um . Here is what this thing should be . This thing we are gonna um uh design is a new remote control . Uh should be original {vocalsound} , trendy , and, of course , user friendly .Marketing: Mm-hmm . {vocalsound} {vocalsound}Project Manager: So maybe you wanna make some notes of that .Marketing: Okay .Project Manager: Okay ?Marketing: Mm-hmm .ProjectManager: All right . {vocalsound} Here is what the functional design is supposed to achieve . Um . That is it's gonna be individual work and then at the meeting we'll discuss what uh we have come up with . The samegoes for the conceptual design , there will be individual work whic and then discussion afterwards . Detailed design , same thing basically .Marketing: Mm 'kay so {disfmarker} Three different types of design that we'regonna be concerned with okay .Project Manager: Mm-hmm . Mm-hmm .Marketing: Functional , conception and detailed .Project Manager: I can't write with this thing . {vocalsound}Marketing: {vocalsound} Maybe weshould redesign it . {vocalsound}Project Manager: {vocalsound} Yes . {vocalsound}Industrial Designer: {vocalsound}Marketing: After we've finished the remote control we'll get to that .Project Manager: {vocalsound}Yeah , okay . All right ? Then , tool training try out the white board , participant can draw their favourite animal . Does anybody want to go and see how the white board works ? So that in case we have to , in the nextmeeting , present something on the white board . You wanna go Eileen and {disfmarker}Marketing: Okay , I'll see what I can do .Project Manager: Whether you {disfmarker} without hanging yourself .{vocalsound}Marketing: See if I r See if I remember how to draw a kitty cat or a rabbit or something . {vocalsound}User Interface: {vocalsound}Industrial Designer: {vocalsound}Marketing: {vocalsound}ProjectManager: And remember you have to press so it works .Marketing: So that it will record okay .Project Manager: Mm-hmm .Marketing: Um uh um traditional kitty cat .Project Manager: {vocalsound} Fat , a fat cat .{vocalsound}User Interface: {vocalsound}Marketing: {vocalsound} I've a very fat cat .Industrial Designer: {vocalsound} {vocalsound}Project Manager: {vocalsound}Industrial Designer: {vocalsound}Marketing:{vocalsound} And it likes to sit like that .Project Manager: Okay .Marketing: Okay .Project Manager: And you're Francine , right ? Would you like s like just to see um how it feels , so that you have a little idea ?UserInterface: Yes , I'm Francina . Yes , sure . {vocalsound}Project Manager: In {disfmarker}Marketing: Am I supposed to wipe off that or {disfmarker}Project Manager: No , no . No , that's okay .User Interface: No , Okay.Marketing: okay .Project Manager: I don't know , we'll get to that later .Marketing: Okay .User Interface: What should I draw ? {vocalsound}Industrial Designer: {vocalsound} {vocalsound} Snake .User Interface: I'mgoing to draw a snake . {vocalsound}Industrial Designer: {vocalsound}Project Manager: {vocalsound} Okay .User Interface: How does it look like ? {vocalsound}Industrial Designer: {vocalsound}Marketing: Uh , okay.Industrial Designer: {vocalsound}Project Manager: {vocalsound} Okay .Marketing: I hope the kitty cat is hungry 'cause I don't like snakes . {vocalsound}Project Manager: {vocalsound}User Interface:{vocalsound}Industrial Designer: {vocalsound} {vocalsound}Project Manager: Here's the project finance uh which , of course , we all have to think about when we design this thing . Um selling price is supposed to betwenty five Euro . Uh profit aim for the company is fifty million Euro ,Marketing: Mm-hmm . {vocalsound}Project Manager: the market range unlimited meaning internationalMarketing: Okay .Project Manager: and theproduction cost should not exceed {disfmarker} hopefully should be less than twelve fifty Euro .Marketing: Mm 'kay that should keep everybody on their toes and challenged .Project Manager: Mm-hmm .Marketing:Profit . Um is fifty mm .Project Manager: So these are all things , of course , to remember with the budget and when you design {vocalsound} to materials , cost , etcetera . Now , uh the discussion I guess is um doesanyone of you have experience with remote control ?Marketing: Oops .Project Manager: I exp I s 'cause we we use 'em {disfmarker} we use 'em , right , everyday .Industrial Designer: Yeah , of course , using remotecontrol . Yeah .User Interface: Yes .Project Manager: And um now having used a remote control for years does anybody already have like an idea like things you didn't like with it , things you would like to change ,things you would like to improve with this thing ye any first ideas ? Would you like it to be smaller , bigger ,Industrial Designer: Uh .Project Manager: have more have more buttons on it or maybe clearly {disfmarker}better marked buttons , you know , things like that ?User Interface: Yeah , I {disfmarker}Industrial Designer: Yeah .User Interface: Yes , I I feel that all the remote should be very compact .Industrial Designer: Yeah.Project Manager: Small , right . Mm-hmm .User Interface: Yeah , those which we get here nowadays it's very long .Project Manager: Mm-hmm .User Interface: And um and it should have multi-purpose . Like uh theremote control which we use for T_V_ , it shou uh it should be used f uh for some other purpose also , like controlling the uh temperature inside the house or for air-conditioners , or for heating system .Project Manager:Mm-hmm .Industrial Designer: Audio player . Oh . Okay .Project Manager: So it should be a multi-functional uh gadget that would um control all your household uh uh machines basically .User Interface: Yes , exactlyYes .Industrial Designer: Hmm .User Interface: Yes .Industrial Designer: {vocalsound} Divides us {disfmarker}User Interface: Yeah . Exactly .Industrial Designer: {vocalsound} Yeah . Yeah .Marketing: {vocalsound}At um twelve fifty Euros per {disfmarker} {vocalsound}User Interface: {vocalsound}Industrial Designer: {vocalsound}Project Manager: Well .Marketing: Well who knows if we get a really good designer maybe we cando that .Industrial Designer: Yeah .Marketing: {vocalsound} We certainly can try to {disfmarker} I agree with her that to market something successfully it should do some more things .Project Manager: It should besomething new {disfmarker} it should be s it it should do something different than than just what we have .Marketing: That's right .Project Manager: Now , of course , the other thing to think there is maybe the design.User Interface: Yeah .Industrial Designer: Yeah , of course .User Interface: Yeah , design should be , yeah {disfmarker} it should be different . All the {disfmarker} almost all the remotes {disfmarker}Project Manager:Like trendy no like f for earlier we saw maybe it should be something trendy you know . Maybe it should {disfmarker} different colours or materials or you know .User Interface: Yes , exactly .Industrial Designer: Yeah ,maybe ten {disfmarker} I do yeah , coloursUser Interface: Are different shapes .Industrial Designer: and al shapes also . Yeah .User Interface: Yes .Project Manager: Um so yeah shapes right , you know , like kidneyshape feels better in your hand or something , you know .User Interface: Yes .Industrial Designer: Yeah of course yeah .Marketing: Yeah okay , friendly shape , that would help .Project Manager: Yeah .Marketing: Ithink another thing that would help is um if it beeps when you clap ,Project Manager: Yes .Marketing: because I think one of the big things that happens is people lose them . They can't find it .Project Manager:{vocalsound} That is true ,User Interface: {vocalsound}Project Manager: because they put a newspaper or they put it behind a plant or , we you know , whatever .Marketing: {vocalsound}Industrial Designer: Yeah .{vocalsound}Project Manager: And and they {disfmarker} suddenly the phone rings and they want to turn the T_V_ off and they say , where the hell is my {vocalsound} my remote control yeah ?Marketing: Mm-hmm.Industrial Designer: {vocalsound}Project Manager: Well or yeah or if it's really , if it's really in a dark spot that it gives out a a sound or a signal .Marketing: So some {disfmarker} {vocalsound}Industrial Designer:Yeah , some beep or something like that ,Project Manager: Yeah . Mm-hmm .User Interface: Or a bMarketing: Uh so , so it's really the beep or , or a light should blink .Industrial Designer: so that we can go{disfmarker}Project Manager: So if lost {disfmarker} If lost uh signal with b throw signal , you know .User Interface: Should haIndustrial Designer: Yeah .User Interface: A fluorescent signal , yeah .Marketing: Mm 'kay.Industrial Designer: Yeah , maybe it should have a light so that we can , we can just recognise where it is .Project Manager: Exactly , I mean just {vocalsound} that's what I'm saying .Industrial Designer: Yeah , yeah .May not be beep .Project Manager: I'm just saying throw signal meaning just whether it's a beep or whether a light or {disfmarker}Industrial Designer: Beep or uh it's a light , maybe it's a light .Marketing: And do youthink a good c c um clue for that is that it would respond to a clap or it would respond to your voice or it would respond {disfmarker} what what should you have to do to make it beep or blink ?Project Manager: Okay ,my {disfmarker} my idea is maybe that the minute it's really hidden , in in other words if it's like in a dark spot , uh meaning you know like a newspaper is on top , a sweater is on top or it it's behind a plant , at thatmoment it's it's like , it's like um , what you call it {disfmarker} a light s sensors , you know ?Marketing: Mm-hmm . Mm-hmm .Project Manager: In in that moment it has a sensor , i it it gets a certain darkness , it gehas a sensor and it gives out a signal whether that be a light signal or a beep ,Marketing: Okay so {disfmarker}User Interface: Yes .Marketing: Okay .Project Manager: I mean , that we can discuss that later , you know.Industrial Designer: Yeah , probably {disfmarker} yeah , probably it's a {disfmarker} yeah , yeah .User Interface: Yeah . And uh {disfmarker}Marketing: So the light sensor would activate the signal .Project Manager:That's right . You know there would be {vocalsound} {disfmarker}Industrial Designer: Mm-hmm .Project Manager: right you have to have some kind of sensor and I I think uh voice or clapping it's not specific enough .Uh I know there are the lamps and stuff , you know , you can clap on and off ,Marketing: Mm-hmm .User Interface: Yes .Project Manager: but I think they only work to certain degree and {disfmarker}Marketing: But itcould be someplace really obvious and you still wouldn't be able to find it .Project Manager: What with {disfmarker}Industrial Designer: Yeah , of course , that didn't {disfmarker}User Interface: Then , in that case{disfmarker}Marketing: Well , because you're s because you're silly . Because people are silly .Industrial Designer: I i we can't do it .Project Manager: Oh yeah well , but then those people {disfmarker} we can't helpeverybody . {vocalsound}Marketing: I mean it could be on {disfmarker} well , i if it were like on top of your bookcase and you usually kept it on the coffee tableIndustrial Designer: {vocalsound}Marketing: um{vocalsound} ,Project Manager: Okay we have uh {disfmarker}Marketing: you know , well {disfmarker} maybe we have to move along , okay .Project Manager: yeah , we have to move along , but I think we havesome good good points to start with here .Industrial Designer: Yeah , good point .Project Manager: Okay , the next meeting will be in thirty minutes . I think you all {disfmarker} did you get uh notices on yourcomputer for this ? Okay so well , you got the notice umIndustrial Designer: Me yeah .User Interface: Yes .Project Manager: {disfmarker} uh . The working design , I guess that's the function I_D_ {disfmarker} uh whois this ? The industrial designer {disfmarker} That's you .Industrial Designer: Yeah . Yeah , it's functional de yeah , exactly , technical .Project Manager: Okay . So , we looking for a working design when we come back.Industrial Designer: Yeah .Project Manager: {vocalsound}Industrial Designer: Uh working design , yeah , it's it's uh mainly technical-functional design .Project Manager: Then {disfmarker} And then the technical functyou are the technical function ,Industrial Designer: Yeah , functional design ,Project Manager: so so you are the working design .Industrial Designer: and you {disfmarker}Project Manager: So you have a workingdesign and then a functional design .User Interface: Okay .Project Manager: And the marketing manager is coming up with some user requirement specification , like friendliness , and what we just discussed in general .That would be your idea . And , of course , price . That it , that it , that the price is a good price . I mean , the price is given , but , that was {disfmarker}Marketing: Mm-hmm . We have to justify that price by havingsufficient features to make it sell at that price .Project Manager: That's right . That's right .User Interface: {vocalsound}Project Manager: And , you know , specifi you you will get specific um instructions for that . I thinkthat's the end of the show . Yeah . So um {vocalsound} we have {disfmarker} well , we have a twen two two two three minutes . Um any questions at this point ? Or uh suggestions ?Marketing: Mm .Project Manager: Ithink {disfmarker} basically basically you will get instructions to work with and if you have any questions uh , uh I guess , you can uh {disfmarker}User Interface: Okay .Industrial Designer: Yeah .Marketing: Okay , Ithink I have enough to think about 'til our next meeting .Project Manager: Mm-hmm .Industrial Designer: Yeah , even I have .Marketing: How about you people ?Project Manager: Mm-hmm .User Interface: Yes.Industrial Designer: Yeah , even I have , I think , yeah .Marketing: Really ? Okay . 'Kay .Project Manager: Okay .Industrial Designer: Yeah , so let's see .Marketing: Alright , well uh {disfmarker}Project Manager: Thenuh we see you in about thirty minutes . And see what we can come up with .User Interface: Yes .Industrial Designer: Hmm .User Interface: Okay .Marketing: Okay , very good .Project Manager: Okay ?User Interface:Yes .Industrial Designer: Yeah ."}
+{"doc_id":"doc_108","qid":"","text":"Project Manager: Uh fourth meeting . {vocalsound}User Interface: We have to do what ?Project Manager: Some extra deciding .Industrial Designer: {vocalsound} W what ? Alri alright . We'll see .Project Manager:{vocalsound} Well {disfmarker}User Interface: Oh .Project Manager: {gap} I'll show you the notes again . Very interesting .Industrial Designer: {vocalsound}Project Manager: Well you'll you two will uh present usyour prototype .Industrial Designer: Yeah .Project Manager: Then um {disfmarker} I guess that's your bit ? I I didn't s see anything about it ,Marketing: Yeah .Project Manager: so {vocalsound} I already uh thoughtyou uh you were {gap} to do that .Industrial Designer: {vocalsound}Project Manager: So the you're uh {gap} .Marketing: {vocalsound}Project Manager: I'll show you how we're going to do with financing this uhdesign .User Interface: Mm .Industrial Designer: Yeah , that's important too . Yeah . {vocalsound}Project Manager: And then we'll evaluate , after after we have redesigned it .User Interface: {vocalsound} Bit late .{vocalsound}Project Manager: Because uh well we'll see about the costs . Um we'll uh evaluate our p our uh production and then uh we can close .Industrial Designer: Alright .Project Manager: Well the finance uh we'lldo later , so um firstly uh {vocalsound} I'll show you the notes . {vocalsound} I don't think it's very interesting . {vocalsound}User Interface: I think it is .Project Manager: Oh nei . Uh no . {vocalsound} Alright . This iscopy paste . So {disfmarker}Industrial Designer: From me of course , yeah .Project Manager: Of course . You had some very strange layout .Industrial Designer: Well from us all , yeah , from all of us . Yeah .{vocalsound} It's a nice chorus , yeah .Project Manager: {vocalsound} Well um {disfmarker}User Interface: {vocalsound}Marketing: {vocalsound}Project Manager: We ge we went through the agenda ,IndustrialDesigner: {vocalsound}Project Manager: and well we had some uh some presentations from you three . And uh I summarised what you said to us . So uh I don't think it's very interesting and go through it again.Industrial Designer: Repeat it yeah . Alright .Project Manager: So uh {disfmarker} This is what we decided . It's also copy paste from what we made together . So we still know that .Marketing: Okay .Project Manager:And then uh we can we can uh use the time better . Well uh next you two will uh present uh the pot prototype for us .Industrial Designer: Alright , we both uh will ?Project Manager: Yeah .Industrial Designer: Or one ofus will ?User Interface: {vocalsound} Alright .Industrial Designer: Uh {disfmarker}User Interface: No you go and I'll uh supplement you .Industrial Designer: Alright . If I make mistakes uh you'll uh {disfmarker}UserInterface: {vocalsound} Yeah .Project Manager: Correct . {vocalsound}Industrial Designer: Right . Uh well this is our design .Marketing: {vocalsound}Industrial Designer: Uh it's pretty uh much uh like uh Mike draw uhdrew uh the in the during the last meeting . With uh the different uh perspectives of it . Uh we'll begin uh with the front . We have of course uh the the round shape uh the round uh basic shape . Um with uh the upperpart being the front . Th So there's this part um {vocalsound} which is made of hard plastic , the front . And uh we're we're using different colours . Of course for the launch we use the basic ugly colours ,ProjectManager: {vocalsound} Yeah .Industrial Designer: and later we'll put out uh more interesting covers with different patterns and pictures and everything .Project Manager: Mm-hmm .Industrial Designer: But basically ,different colours , bright colours not black , too dark . Fancy colours . {vocalsound} Um then we have uh the lower part {vocalsound} of the of the device . Uh which is of course um part of the back actually , becauseit's also titanium . You can see it also on the on the on the side view , that only this part is the front , and the rest of it , the under uh the under side uh of it , yeah , the back side and the lower part of the front is ofcourse titanium made of titanium , and has the titanium colour of course , the look . Um then we have uh on back on the front uh the logo in the upper corner ,Project Manager: Mm .Industrial Designer: uh which is uhmade uh which is also part of the back , part of the titanium uh titanium part .User Interface: Yeah , it's a double R_ , but {disfmarker}Industrial Designer: Yeah ?User Interface: It's a double R_ .Industrial Designer:It's a double R_ . Yeah the logo {disfmarker}User Interface: But {vocalsound} it's very difficult to to draw that in {disfmarker} Yeah .Project Manager: Yeah , alright .Industrial Designer: Uh uh it's difficult to draw sosmall , but it's our double R_ uh logo is in there .Project Manager: Okay . Yeah .Industrial Designer: Um so that's the logo in the upper lef uh right corner . Then we have the buttons . Uh it's difficult to draw again thelittle oval or round {disfmarker} I think oval will be better for the for the d for the different uh channel buttons .User Interface: Oval yeah .Project Manager: Alright .Industrial Designer: So {gap} uh oval , n those arehere . And then we have the m The mUser Interface: Channel up and volume ?Industrial Designer: Yeah the the con the the the , yeah , the t volume and the channel controls uh in the middle here . Um um with kind ofarrow shapes , which makes it also a bit more exciting than basic round or um uh {vocalsound} uh square buttons . And also here are the two uh buttons we agreed on . We have the Okay button . Oh nei we uh theOkay button's here in the middle of the of the operators , of the channel and uh volume um changers .Project Manager: Mm-hmm .User Interface: Yeah .Industrial Designer: And then we've here the Menu button andthe {disfmarker}Project Manager: Alright .User Interface: Menu for the L_C_D_ screen .Industrial Designer: And the video button . The {disfmarker}Project Manager: So {disfmarker}Marketing: Mm right .UserInterface: {vocalsound}Industrial Designer: Yeah . And of course this low part , this is the L_C_D_ screen .Project Manager: 'Kay .Industrial Designer: Uh this is what we made of it . You can make uh suggestions uh ifyou want .Project Manager: Well if I look at it , the side the side view {disfmarker}User Interface: Well , at the back {disfmarker} {vocalsound}Industrial Designer: Maybe we maybe we should finish first uh ourtalkUser Interface: Yeah .Industrial Designer: and then you can add suggestions .Project Manager: Oh yeah alright . Yeah {gap} .Industrial Designer: Maybe I I don't want to {disfmarker} {vocalsound} I don't want tosuppress you but n I'll uh finish this uh quick .Project Manager: {gap}Industrial Designer: Um okay I've had everything I guess on the front ?User Interface: No the back . With the logo and our uh l uh{disfmarker}Industrial Designer: Yeah the back . Yeah . {vocalsound} We thought about {disfmarker} Yeah , uh the back is of course totally titanium . {vocalsound} And we thought about the logo big in the middle.Project Manager: Mm-hmm .Industrial Designer: Just so again the double R_ . We have then the logo on front and on the back .Marketing: Mm-hmm .Industrial Designer: Maybe that's too muchProject Manager: Okay.Industrial Designer: but you have to say uh say that if you think that way .User Interface: No I don't think {disfmarker} And the {disfmarker}Industrial Designer: And the company slogan , we thought in a kind of arcshape uh above the logo .Project Manager: Yeah .Marketing: Yeah .Industrial Designer: That's basically what we were thinking about ,Project Manager: {vocalsound} Okay .Industrial Designer: and {disfmarker}ProjectManager: WUser Interface: And about the side view um {disfmarker} This the front won't be as thick ,Industrial Designer: {vocalsound}User Interface: but again th the the drawing technique makes it very difficult to toreally uh {disfmarker}Project Manager: Well I see , but {disfmarker}Industrial Designer: Oh and uh before I forget . Yeah the the voice , of course ,Project Manager: Well . Yeah I see it .Industrial Designer: the voicerecorder is uh at the bottom .Project Manager: Yes .Industrial Designer: And you can record it uh using , yeah , the the the back of the f w device .Marketing: {vocalsound}Project Manager: When I look at uh when Ilook at this side view , I think w when I have that in my hand , it's terrible .User Interface: Well , it won't be visible . Mm ?Project Manager: If if you look if if this this is thick , and this is thin , th th then it that it liesover your hands . But {disfmarker}Industrial Designer: Why ? {vocalsound} Well it fits uh it it it it fits the hand , {vocalsound}User Interface: Yeah .Industrial Designer: mean uh the the the the {disfmarker}ProjectManager: Well what what what I what I agree is that when uh when um you have such of uh an arc in the middle , so that the the a the ends and the fronts is a bit thicker , so th then it falls over your hands .Marketing:Yeah , I agree .User Interface: {gap} If y {vocalsound} If you handle a remote , you you usually don't have your hand straight like this .Industrial Designer: {vocalsound} In the middle in the {disfmarker}UserInterface: You you have it a bit uh {disfmarker} Yeah .Marketing: It depends on the size . If it's kinda small , this is is great . But if it's it's larger , then you want to grab it .Project Manager: And how large is it ?UserInterface: Yeah .Marketing: Yeah , that's the question .Industrial Designer: That's the question .Project Manager: {vocalsound}User Interface: {vocalsound}Industrial Designer: Uh well {disfmarker} Yeah . H What doyou suggest I mean we do ? {gap} This was Mike's prototype ,Project Manager: Well uh {disfmarker}Marketing: {vocalsound}Industrial Designer: and y you seemed to agreed on it .Project Manager: Well the sides Ihaven't seen yet , uh {gap} ?Industrial Designer: But now you have a totally different {gap} .User Interface: Well , they lay there all the time .Industrial Designer: The size ? Yeah well the size doesn't really matter w Imean {disfmarker}Project Manager: They the the the the the side view ,Industrial Designer: Side ? Uh oh the side ?Project Manager: we didn't uh {disfmarker}Industrial Designer: W we we he drew the s the side ,UserInterface: Yeah yeah .Industrial Designer: but you d you weren't paying attention as usual .Project Manager: {vocalsound}User Interface: {vocalsound}Industrial Designer: Well any case , we'll discuss it now . Uh Ithink uh this is a pretty good uh good idea {gap} .Marketing: Yeah , I agree with the L_C_D_ screen . You have it in your palm like this , and you can watch uh watch the screen . And if you have it li in the middle , yourhand might be over it .Project Manager: Yeah .User Interface: {vocalsound}Industrial Designer: But you you hold it like this .User Interface: Yeah you you don't you don't grab it ,Industrial Designer: You're not holdingit like this or something .User Interface: you you {disfmarker} {vocalsound}Industrial Designer: You , yeah , y How do you call it ? Yeah .Project Manager: {vocalsound}Industrial Designer: Well y y y you don't have itlike this .Project Manager: No no no .Industrial Designer: You have it more like this .User Interface: {vocalsound}Industrial Designer: {gap} You you you're using buttons this way , or if you're right-handed , this way.Marketing: Like you're holding your telephone .Project Manager: Yep .User Interface: Yeah .Industrial Designer: So you {disfmarker} Yeah . So {disfmarker}Marketing: Because if you have a screen on it , you wannalook at your screen .User Interface: Hmm . That way , it it falls into your hand . I think . {vocalsound}Industrial Designer: Yeah well {disfmarker}Project Manager: Okay .Industrial Designer: And maybe you can youcan grab it a bit higher ,Marketing: Yeah , I agree on this .Industrial Designer: so {disfmarker} Well {disfmarker}Project Manager: {vocalsound}Marketing: No , I don't think so . That's not uh the point{disfmarker}User Interface: No but but {disfmarker}Industrial Designer: Well the the {disfmarker} Well that's a reason to to to put the L_C_D_ screen uh of course on the upper side , but {disfmarker}User Interface:{vocalsound} Well f for as far as I can see , three of us agreeProject Manager: Yeah wellUser Interface: and only Nils {disfmarker}Project Manager: uh I think uh if you t if you three uh agree then then that's it .UserInterface: But you're the Project Manager , you can make the hard decisions . {vocalsound} {vocalsound}Project Manager: Yes . So uh I c I cIndustrial Designer: If necessary .Project Manager: Well , we'll we we'll do itlike this .Industrial Designer: But uh are d Can you live with it ? Uh {disfmarker}Project Manager: Alright , if you think that that's the way it should {gap} {disfmarker}User Interface: Yeah ?Industrial Designer: Y Yeah ,y y y y you said it was totally uh unusable .Project Manager: No {disfmarker} No ,Industrial Designer: But do youProject Manager: when I I my personal taste is that I want it to fall over my hands with a thick{disfmarker} But {disfmarker} In the market uh {disfmarker}Industrial Designer: But d you don't think this is completely unusable I guess . I think .Project Manager: No not totally .Industrial Designer: {vocalsound}Not totally , well {disfmarker}Project Manager: {vocalsound} For me , I I wouldn't buy it . Let's say it like that .Industrial Designer: Yeah but of course y you are also human . We have to take uh {vocalsound} everyeveryone into account . So {disfmarker}Project Manager: No {gap} {disfmarker}Marketing: And you might be uh {disfmarker} You might be target customer .Industrial Designer: Yeah .Project Manager: Yes but{disfmarker}Industrial Designer: Well uh who who else thinks like you ?User Interface: Mm .Industrial Designer: We don't know .Project Manager: Yeah , we don't know ,Industrial Designer: Maybe a thousand people,Project Manager: but that's uh that's that's that's more market research .Industrial Designer: or a million people .Marketing: {vocalsound}Project Manager: So {vocalsound} let it be like this at uh at this moment.Industrial Designer: {vocalsound} Let it be .User Interface: {vocalsound}Project Manager: Okay ?Industrial Designer: Alright . So that's that .User Interface: {vocalsound}Industrial Designer: Uh any other suggestions?Project Manager: No , I think it's great .Marketing: Yeah .User Interface: But what about the redesigning ?Project Manager: {vocalsound} Comes to that later .User Interface: Okay . {vocalsound}Project Manager: Umyou . Uh c You can uh {disfmarker} {vocalsound} Walter . {vocalsound} You can do the evaluation uh criteria on this ?User Interface: {vocalsound}Industrial Designer: {vocalsound} You're very personal again.Marketing: {vocalsound} Alright . Great .User Interface: {vocalsound}Project Manager: That's more useful than just {vocalsound} speaking .User Interface: {vocalsound}Industrial Designer: {vocalsound}Marketing:{vocalsound} {vocalsound} Well , this is just a short intro .Project Manager: Yes .Marketing: I'm going to do uh the ev evaluation . That's gonna be done at the end of seven point skill criteria .Industrial Designer:{vocalsound}Project Manager: {vocalsound}Marketing: So I made a {disfmarker} I made a few questions on the hand of uh uh the impor most important requirements and trends .Project Manager: Mm-hmm.Marketing: And we have to look if our uh if our device uh is working correctly . Well , I put some questions in a Word file . See if I can find them . Uh uh uh uh mm .Project Manager: 'Kay .Marketing: Well{disfmarker}User Interface: Hmm .Marketing: I uh think you have all seen uh this kind of evaluation , so uh I don't have to explain it . Uh the first question is , uh is the device good-looking ? Because normal p uh mostpeople thought that um earlier devices were ugly ugly . Seventy five percent of them . So what do we think ?Industrial Designer: Well d we designed it , so of course we are very {disfmarker}User Interface: Mm .ProjectManager: Yeah , we're we're not quite uh objective about this .Marketing: Yeah {vocalsound} {disfmarker}User Interface: Well we designed it to be good-looking .Industrial Designer: Yeah .Marketing: No , I know , but{vocalsound} I have to uh evaluate it . So I have to take this questionnaire .Project Manager: To the customers ?Industrial Designer: So and we ha we have answer now ?Project Manager: To potential customers whohave to take this questionnaire ?Industrial Designer: Yeah . {gap}Marketing: Yeah {vocalsound} {disfmarker} Yeah , but I can't can sProject Manager: Nei . Oh no . I know , I know , I know .User Interface: Hmm.Project Manager: But um {disfmarker} Well {vocalsound} we can go , uh because of the time , uh pretty quick through this . Uh do we find it good-looking ? Well we think so . Uh {disfmarker}User Interface: Yeah . Wedesigned it to be good-looking , so {disfmarker}Industrial Designer: I {disfmarker} Yeah , I think it {disfmarker}Marketing: Yeah , but uh , you know {disfmarker} We dis we di {vocalsound} we designed it to beperfect .Project Manager: Yeah .User Interface: {vocalsound}Marketing: So {vocalsound} {disfmarker} But we have to be critic critical about it . And I have to uh take all these points and get a average at the end . Sowe {vocalsound} we know where we stand .Project Manager: Well , one .Industrial Designer: {gap}Marketing: 'Cause th there are some things we might have uh bi might have forgotten .Project Manager: Well so it'spoint four . Easy to find tIndustrial Designer: Well l well let's start with the beginning , just one by one . {vocalsound}Marketing: Right , so {disfmarker} Right . Uh is it good-looking ?Industrial Designer: Well , I guessuh I think uh {vocalsound} it's uh it's it's um pointed towards the youth of course , uh if you look at the design and and the colours and everything . {gap}Project Manager: Two . {vocalsound}Industrial Designer: Thatwas our target audience of course . But it's also not completely um {vocalsound} uh u unacceptable for older people I guess . Uh it's it's not f a device that {disfmarker}Marketing: The titanium might be uh f for olderpeople .Industrial Designer: Yeah , that's that's uh for older people , it's it's more that classical look . So {disfmarker}Marketing: It you put uh put a black front on it or something .User Interface: Hmm .IndustrialDesigner: Uh no . {vocalsound} I think {disfmarker} Yeah they like black of course , but I think they'll uh they they think uh the the titanium look of it is also {disfmarker} Uh I think it's also good for them , so I thinkwe both uh have uh consider considered uh the youth and also a bit older people . So I think it's very good-lookingMarketing: Right .Industrial Designer: and not only for youth uh young people .User Interface: I thinkwe shouldn't discuss any points points that long , because I don't know how how many points there are but uh {disfmarker}Project Manager: No . I totally agree .Marketing: Right .Industrial Designer: Yeah , thefourteen yeah .Project Manager: We we have to get get on , go through this .Marketing: Right , a number please .User Interface: Yeah .Industrial Designer: Is it easy to t change channels ? Yeah well I think so.Marketing: So the last one is seven .User Interface: Um , no it's uh {disfmarker}Marketing: Easy to change channels ?Project Manager: No , not false . It's one .Marketing: Oh , sorry .User Interface:{vocalsound}Marketing: Yeah , right .Project Manager: Well uh two ? Y Well we have to go through it {gap} .Marketing: Change channels ?Industrial Designer: {vocalsound} I think it's uh as easy as uh can be made .Uh {disfmarker}Marketing: Right .Industrial Designer: So I {disfmarker} {vocalsound} Yeah . You {disfmarker} How can you make it any easier ? {vocalsound}Marketing: {vocalsound}User Interface: {vocalsound}With two huge buttons .Marketing: The power , channel and volume buttons are easy accessible ?Project Manager: Yep .Industrial Designer: Yeah , huge is a {disfmarker} Yeah .Project Manager: Two .Marketing: Two ?Alright . The uh device is easy to find if you lose it ?Project Manager: Well , no . We didn't implement anything about that . {gap}Industrial Designer: D we d we don't we don't have uh that sUser Interface: Well it'seasier to find than a a normal black one or something ,Project Manager: {vocalsound} Well six then . {vocalsound}User Interface: because of the colour . But {disfmarker} {vocalsound} {vocalsound}IndustrialDesigner: Yeah .Marketing: Yeah . Six ? Right .Industrial Designer: Well we don't have the device that beeps uh when you lost it or so ,Project Manager: Are the functions easy to learn ?Industrial Designer: but um um{disfmarker}Project Manager: Well w I we do want we have a l f f less of an {disfmarker}User Interface: {gap} We have so few functions , so {disfmarker} Yeah .Marketing: Yeah , I agree .Project Manager: And thedevice R_S_I_ sensitive ?User Interface: Well , I should {disfmarker} I think two ,Project Manager: Yeah .User Interface: because {vocalsound} the voice recorder is n not self learning . {vocalsound}Project Manager:"}
+{"doc_id":"doc_109","qid":"","text":"Project Manager: Okay . So , now um , {vocalsound} last time . Can you uh {vocalsound} push the button ? {vocalsound} One time please . So {disfmarker} {vocalsound} I'm still the secretary . Now uh , I ask you topresentate the prototype . One of your {disfmarker} you two .User Interface: {vocalsound}Industrial Designer: I don't care . {vocalsound}User Interface: Oh this , you mean ?Project Manager: Yes . The prototype.Industrial Designer: Huh ?User Interface: Yes , well uh this is it . {vocalsound}Industrial Designer: {vocalsound}Marketing: {vocalsound} This is it .Project Manager: Well , thank you . Uh , now {disfmarker}UserInterface: It's uh it's uh it's yellow . And uh , this is rubber . And and and this too . TheProject Manager: {vocalsound}User Interface: the sides .Project Manager: Yes .User Interface: And the rest is hard plastic . And uh{disfmarker} We uh we had some uh {vocalsound} {disfmarker} We had a new idea {vocalsound} that that this can uh can be uh uh turned inside .Industrial Designer: {vocalsound}User Interface: And then it coversthe {disfmarker} these buttonsProject Manager: Okay .User Interface: until here or something .Marketing: Yes .User Interface: And then you can still use the the power button and the mute and the the joystick .ProjectManager: Mm-hmm .User Interface: So , you can still operate uh all the things . Because you don't always use the menu . And then it can break .Project Manager: Okay . And the buttons ?User Interface: Uh , well uh{disfmarker}Industrial Designer: Big . {vocalsound}User Interface: Big buttons . And everything is blue , except the power button . And the mute . Of uh {disfmarker} yeah , and the mute and the the other button .{vocalsound} Yeah . Channel higher channel button .Industrial Designer: {gap} .Marketing: Yeah .Project Manager: And the joystick is for the volume and the channels .User Interface: Uh , yes . Yes ,IndustrialDesigner: Yes .User Interface: that's uh {disfmarker} {vocalsound}Industrial Designer: {vocalsound}User Interface: Very obvious .Project Manager: {vocalsound}Industrial Designer: Up is channel up . Down ischannel down . To the right is volume up . To the left is volume down .User Interface: Yeah .Project Manager: Okay , so if joystick and L_C_D_ . What's the R_R_ {gap} d {vocalsound}User Interface: R_R_'s the l thethe the the company uh logo .Industrial Designer: The R_R_ ?Project Manager: Okay . Very good .Industrial Designer: {vocalsound}Project Manager: So , we have {disfmarker}Marketing: That's on the rub rubber part.User Interface: Uh , yes . Yes . That's about here .Project Manager: So , what they say on the side is put fashion there . Yes . It's good .User Interface: Oh .Project Manager: So , that's it . That's prototype .Marketing:Yeah ?Project Manager: Now , the finance . {vocalsound} We don't know if it's {disfmarker} th it {disfmarker} if it's okay .Marketing: Alright . {vocalsound}Project Manager: So , I'm gonna look .Marketing: Do we{disfmarker}Project Manager: We have {disfmarker}Marketing: Do we change the {disfmarker}Project Manager: Sorry ?Marketing: Do we change the the order ? Or are we going to uh ev evaluate it first ?ProjectManager: Finance is um {disfmarker} Yeah it's {disfmarker} No , first uh {disfmarker} Yes . We have to evaluate the product yet .Marketing: Okay .Project Manager: Sorry .Marketing: That's uh um {disfmarker} {gap}That can be none . Um , we gonna do the evaluation now , together . But I have uh a introduction how it works . So , it will come up . Uh-oh . Okay . Um , yeah . Well , we uh {disfmarker} uh , I have um thinked a fewevaluation uh criterias , uh based on um our marketing strategy , on uh the latest trends , on user preferences . Uh , we have a seven point scale from uh true , as well . To false , seven ? And on base of each c uhcriteria , we need to um give a rating . We can uh {disfmarker} Well , it look like this . But we gonna uh do it here , they said . {vocalsound} So , you hope found out how to do it with a Word document . Yeah . Okay ,yeah . Yeah . Um , well uh we have the Word documentProject Manager: {vocalsound}Industrial Designer: {vocalsound}Project Manager: Criteria .Marketing: You {disfmarker} {gap} So we open up that blank here .Um {disfmarker} {vocalsound} Think I can {disfmarker} Uh , what this just an example . So , this not very important . But um , if I can get a number in here . Hmm .Project Manager: No , it's okay .Marketing: Well ,uh we can't do that .Industrial Designer: I'll get it .Project Manager: Oh , it's okay .Marketing: Um , so uh you have to think of it as uh the remote control is techno technologically innovative . Uh , and then we have touh agree on the rating together . And in the end , we will c uh count an average of all rating . The first uh on each item .Project Manager: What do you think ?Marketing: Yeah , I think it's uh {disfmarker} {vocalsound}Uh , well technologically using , it's not uh {disfmarker} it doesn't contain many new features . Only the L_C_D_ . So , it {disfmarker} Um , I think I will give it a {disfmarker} yeah , yeah , yeah {gap} , a four . Hmm.Industrial Designer: I think the scroll-button is something also uh new . What uh {disfmarker} not anoth uh ,Marketing: {vocalsound}Industrial Designer: not a lot of uh {disfmarker} a lot of uh remote controls have .I think technologically I'll give it an seven . Si six six .Project Manager: {gap} Yeah .Industrial Designer: Sorry , six .Marketing: So now i I think you uh see it {gap} um its statement .Industrial Designer: Oh , true orfalse .Marketing: And you {gap} true or false .Industrial Designer: Oh , uh I'll I'll give it uh a t a two .Marketing: And true is one . So , yeah . Yeah .Project Manager: Two .Industrial Designer: Sorry .Project Manager:You ?User Interface: Three .Project Manager: Me too . So it's a three .Marketing: 'Kay . Um , well {disfmarker} It's a one . {vocalsound} The first item . So , okay the second item . Um , this product is for all sorts ofcustomers .User Interface: Mm {disfmarker}Marketing: Well , it's a statement which uh I disagree with , because we uh really aim uh at at young market and I think the way it looked uh c uh totally in yellow , it's notuh really aimed for all customers . It doesn't look like that .Project Manager: So it's a {disfmarker}Marketing: That's uh a six .Industrial Designer: Five .User Interface: Mm , four .Project Manager: Yes , it's for theyounger g group . So it's uh half half of the people .User Interface: Yeah , but it's it's {disfmarker}Project Manager: So I think it's four .User Interface: Yeah . I mean it still has l large buttons and not m many buttons.Project Manager: No .User Interface: So {disfmarker} I mean , the colours are for young people ,Industrial Designer: Mm-hmm .User Interface: butProject Manager: Yes . So , I think it's four .User Interface: older{disfmarker}Marketing: {vocalsound}User Interface: Yeah .Industrial Designer: Maybe version uh three point O_ uh {disfmarker} {vocalsound} has other colours . {vocalsound}Marketing: {vocalsound}User Interface:{vocalsound} Yeah . Maybe .Project Manager: Okay . Give it a four .Industrial Designer: Four .Project Manager: Yep .Marketing: Four . Uh , okay . Mm .Project Manager: We put the fashion in electronics .Marketing:That's uh the motto of our company . Yeah , well do we do this with uh this product ? I um {disfmarker} Yeah . I think if we do this , as it's uh uh c uh it's really orientates on the design . Um , so I would give it a two.Industrial Designer: Me too a two , because only the battery is not uh techin uh technologically high standard . But the rest of it is . So , I think a two .Project Manager: {vocalsound}User Interface: Yes . Two .ProjectManager: Uh , I say uh a five .Marketing: Two .Project Manager: It's not fashion , it's new . It must be a fashion . But it isn't .Industrial Designer: It {disfmarker} it will be fashion .Project Manager: Yes . It w If it's not afashion we can put it in it . So , it must be a fashion . I think it's a five .Industrial Designer: {vocalsound}Project Manager: {vocalsound}Marketing: Uh {disfmarker} {vocalsound} Okay .User Interface: Then make it ththree .Marketing: Okay . Yes , I'll think of that too .Project Manager: No . Oh .Industrial Designer: 'Kay . Three is okay .Marketing: Yeah , agree ?Project Manager: I use my feet though . {vocalsound}User Interface:{vocalsound}Industrial Designer: {vocalsound} Oh , we'll wait outside .Marketing: {vocalsound}Project Manager: {vocalsound}Marketing: {vocalsound} A three .Project Manager: Okay .User Interface:{vocalsound}Marketing: Yeah okay .Industrial Designer: {vocalsound}Project Manager: {vocalsound}Marketing: The next element um is the product looks good . Well personally , I do not prefer a um remote controlthat's fully in yellow . So , I would give this a five .Industrial Designer: I give it a one . {vocalsound}User Interface: {vocalsound}Marketing: {vocalsound}User Interface: {gap} . Yes , a one . I like it .Project Manager:Well , I say three . So , counting then is two and a half . {vocalsound}Marketing: We have to do our uh {disfmarker}Industrial Designer: Say two .Marketing: Two or three ?Project Manager: Okay , two .IndustrialDesigner: Two .Marketing: Two . Okay .Industrial Designer: {vocalsound}Project Manager: {vocalsound}Marketing: So , well we gonna do the next part . Uh , yep . Uh uh , the next statement . It has not too muchbuttons . Um , yeah , I I have uh said is not because uh a low number is better . And in the end we calculate an average . So , um that's why it's a negative in it . Um , well this one of our aims not have too muchbuttons . So , um uh did we uh do that ? Well , uh if we go to {vocalsound} uh this fashion , I {disfmarker} We still have caused uh a lot of uh buttons for the numbers . But you can you can go for that . And um thatway , you don't have a lot of buttons over . So , I would give this a two .Industrial Designer: One .Project Manager: {vocalsound} You ?User Interface: One . {vocalsound}Project Manager: Me too . One .Marketing: One. {vocalsound} Um , but {vocalsound} where where is the {gap} ?Industrial Designer: {vocalsound}Project Manager: Next , six . It does not get lost easily .Marketing: So {disfmarker} Yeah , did we implement uh thesound ?Industrial Designer: {vocalsound} Uh {disfmarker} {vocalsound}User Interface: Yes . {vocalsound}Marketing: {vocalsound}Industrial Designer: Just a small thing . {vocalsound}Project Manager: No , we didnot . So , but can it get lost if it's such a thing ?User Interface: Yeah , but uh {disfmarker} Yeah .Industrial Designer: Ah . Yellow .Project Manager: I don't think so .Marketing: {vocalsound}Industrial Designer: Lookslike a pistol .Project Manager: Yes . Not a not a normal shapes . So {disfmarker}Industrial Designer: Uh {disfmarker} It won't get between uh the pillows uh on the couch .Project Manager: No . It won't get lost.Marketing: Yeah .Project Manager: So {disfmarker}Industrial Designer: Uh {disfmarker}Marketing: It won't .Project Manager: A one ? {vocalsound}User Interface: Yeah .Industrial Designer: Yeah , o one .ProjectManager: Okay , a one .Marketing: One .Project Manager: Next .Marketing: Okay , um well we aimed for the younger market .Project Manager: {gap}Marketing: Uh yeah , did we achieve that . I think with the way itlooks and um it is designed , I will give it a two .Project Manager: Yeah me {disfmarker} {gap}Industrial Designer: Yeah . Me too .Project Manager: That was our target . Two .Industrial Designer: Two .ProjectManager: Yep .Industrial Designer: Yeah ? Yeah .Marketing: Yeah .Project Manager: Right . There's a fancy look-and-feel .Marketing: Uh , yes . That that was uh , yeah , one of the most important things that uhTrendwatch said . I didn't uh say it in my presentation . But um , well does it have that ? I would say yes . So um {disfmarker} Well , let's also give this a two . TIndustrial Designer: I gave this a one because of therubber . It feels soft . Uh , it looks like a l uh uh b uh , a bit like a joystick . It's {disfmarker} Yeah . Yeah , f very fancy {gap} trendy .Project Manager: Okay .User Interface: Yes , a one .Project Manager: I say a two .It's a a bit personal . If it's fancy .User Interface: {vocalsound}Marketing: {vocalsound} Yeah .Project Manager: So I think s two is better .User Interface: Yeah , okay .Industrial Designer: Two is okay .Marketing: Okay. Two .Industrial Designer: {gap} .Marketing: And um , then the last one I could think of , uh it goes with the latest trends .Project Manager: No , it's new . Innovation .Marketing: If we looked at the latest trends forthe uh younger people , and they ate uh fruit and vegetables , well it has a um a nice colour , uh well compared to food but we didn't uh {disfmarker} We did not paint any uh fruit and vegetable on it for something likethat .Industrial Designer: Oh .Marketing: So , I would {disfmarker} did not give this uh a one or two . I {disfmarker} We'll go for a three .Project Manager: {gap} .Industrial Designer: I go for two because uh the theshapes are still round . Uh , the latest trends are soft things , you know , like uh I said in my presentation . Uh {disfmarker}Marketing: Yes .Industrial Designer: But the the colours are um basic , like yellow , red , umblue . Something what also younger people want . It's also a trend , so I'll give it a two .Project Manager: Okay .User Interface: Mm , three .Project Manager: Me too . Three .Marketing: A three .Project Manager: Yeah.Marketing: Okay . So um , come back to the presentation now . So , we find yourself there , and now we have to calculate an average rating .Project Manager: Effort is three , ten and twelve . Thirty , forty , fifty ,{gap} .Marketing: So , we will do that . Yes .Project Manager: Twenty one . So , it's uh two and three nine two and one third .Marketing: By nine .Industrial Designer: Two .Marketing: Yeah . Um , uh okay .{vocalsound} Two .Project Manager: Yep .Marketing: Come on . {vocalsound}Industrial Designer: {vocalsound}Project Manager: Uh , nah . Okay .Marketing: So uh , that's a pretty low rating , I think .User Interface:{vocalsound} Yes .Marketing: {vocalsound}Project Manager: So , it's good .Marketing: So , according to our uh own evaluation uh we did a good job . {vocalsound}Project Manager: Okay .User Interface:{vocalsound}Project Manager: Thank you .Industrial Designer: Yeah , I think {gap} .Marketing: Oh . Nah . How am I doing ? Yes .Project Manager: Okay .Marketing: And I closed your slide-show .Project Manager:Back to my uh {disfmarker}Marketing: Which one was the last for you ? Uh , dreaming .Project Manager: Yep . Next please .Marketing: Next . Finance .Project Manager: So , now uh we have a product . Very happy .But uh , is it cheap enough ? Um , so if uh {disfmarker} I'll have a look . We have a battery . One battery .User Interface: Mm-hmm .Industrial Designer: Cheapest there is .Project Manager: Okay , one battery .Electronics . Advanced chip .Industrial Designer: Expensive .Project Manager: Yeah it's the most advanced . Chip-on-print . We have that one .Industrial Designer: Well , it's the most advanced .Project Manager: Wehave the simple , regular and advanced .Industrial Designer: Advanced .Project Manager: We have the adva advanced . 'Kay , so uncurved or flat . Nope . Single curved or double curved ? We have double curved .{gap} {disfmarker} {vocalsound}Industrial Designer: {vocalsound}Project Manager: So {disfmarker}Industrial Designer: {vocalsound}Marketing: {vocalsound}Project Manager: Then we have plastic , wood , rubber.Industrial Designer: {vocalsound}Project Manager: {gap} we have half rubber , half plastic .User Interface: Mm , yes .Project Manager: No titanium . Special colour . Yes , yellow .Industrial Designer: Uh , yellow .{vocalsound}Marketing: Yeah .User Interface: Mm , yeah .Project Manager: Interface , push-button . Scroll-wheel , integrated scroll-wheel push push-button , or L_C_D_ display .Industrial Designer:{vocalsound}Project Manager: So , we have the L_C_D_ We have two scroll-wheels ? Or one ?Industrial Designer: One .Marketing: One .Project Manager: And it's not really a sIndustrial Designer: Joystick uh thing.Marketing: {gap} .Project Manager: Yeah , it's this one . Now , uh button supplement .Industrial Designer: {vocalsound}Project Manager: Special colour . We already {disfmarker} Uh , that's the {disfmarker} from the{disfmarker} for the buttons . The buttons are regular colour .User Interface: Mm , yeah .Project Manager: So , then uh {disfmarker} then then then then then then {disfmarker} Then {disfmarker}Industrial Designer:{vocalsound} We're not gonna make it . {vocalsound}Project Manager: Uh , no . It's too expensive .Industrial Designer: Yeah . {vocalsound} WhProject Manager: So , we have to change something .IndustrialDesigner: What what are the costs ?Project Manager: Fifteen Euros .Industrial Designer: {vocalsound} Fifteen .Project Manager: Yeah , well uh when we lose one scroll-wheel , it's okay . 'Cause we can't lose the battery. We can't lose the advanced chip . We can't lose the double curve . We have rubber , special colour .Marketing: {gap} . We would have uh nIndustrial Designer: A special colour .Project Manager: Oh , no , we{disfmarker}Industrial Designer: Uh , I don't think it's a very special colour .Project Manager: No , it's uh {disfmarker} Sorry ?Industrial Designer: Yellow ? Uh , is it a special colour ?Marketing: For a remote control.Industrial Designer: {vocalsound} What ?Marketing: I've {disfmarker} For a remote control , I think it is . {vocalsound}Industrial Designer: Yeah . {vocalsound}Marketing: If we would have uh uh normal buttonsinstead of uh the joystick . For up down left right .Project Manager: Um , then we uh lose two Euros . Then we have thirteen Euros . Half a Euro too much . Exactly the special colours . So {disfmarker}IndustrialDesigner: And what if we use only one sort of um {disfmarker} Um {vocalsound} just only plastic or only rubber ?Project Manager: That's one Euro .Industrial Designer: One Euro discount . {vocalsound}ProjectManager: So , I don't think that's good . Mm {disfmarker} I think we have to keep the L_C_D_ . If {disfmarker}Industrial Designer: If we change the joyst uh the joystick thing into a button up , button down , buttonright , button left .Project Manager: Yes . Then it's only thirteen Euros .Industrial Designer: {vocalsound} And then we'll lose fifty cent in what ?Project Manager: So uh {disfmarker} yeah . Yeah . Then you have{disfmarker} Or you have to cut this off .Industrial Designer: Uh {disfmarker} uh-uh .Project Manager: Then it's not good anymore .Industrial Designer: No .Project Manager: So , wait . Okay . I'll have a look .{vocalsound} We {disfmarker}Industrial Designer: And if you say it's just a r uh normal colour {disfmarker} it's a normal colour , wh {vocalsound}Project Manager: Yellow rubber .Industrial Designer: No one will see it. {vocalsound}Project Manager: Yeah , normal .Industrial Designer: Normal colour , and the the joystick away , and put the button up , button down , right , left .Project Manager: Uh {disfmarker}Industrial Designer:And it's twelve Euros , I think .Project Manager: One minute , please . Uh {disfmarker} {vocalsound} Is it maximum . Um {disfmarker} Yeah , it's normal colour . But if you lose the joystick , it's still uh an advancedchip ?Industrial Designer: No . Uh , no , no , no .Project Manager: Or it's then a regular ?Industrial Designer: Uh {disfmarker} Oh , wait wait wait .Marketing: The advanced chip was for the L_C_D_ wasn't it ?UserInterface: Yeah .Industrial Designer: Oh yeah .Project Manager: So , the advanced is for the L_C_D_ and the regular for the joystick .Industrial Designer: Oh yeah . Yeah . Yeah , yeah .Project Manager: And what if welose the L_C_D_ ?Industrial Designer: If we lose the L_C_D_ , then we have an uh regular chip and no L_C_D_ .Project Manager: Yeah , regular chip . But {disfmarker} Is it a good design ?Industrial Designer: Uh ,yeah . Then you'll have to m uh see the menu on the television . And you don't have the L_C_D_ .Marketing: If uh {disfmarker} {vocalsound}Industrial Designer: So , the T_V_s has to uh {disfmarker} have to beup-to-date .Marketing: If we have the n no buttons {disfmarker} If we have we have uh not a joystick but buttons , we would have {disfmarker} uh , we have thirteen Euros ?Project Manager: Mm , yes .IndustrialDesigner: Yeah .Marketing: And then uh we move the the colour . What will that be ?Industrial Designer: Yeah .Project Manager: Then it's okay .Industrial Designer: Huh . No knew that .Marketing: Yeah .{vocalsound}Project Manager: Okay , so no joystick . Oh no , but we {disfmarker} then we get push-buttons from half a Euro .Industrial Designer: Yeah , then it's twelve Euro fifty , then it's okay .Project Manager: Uh ,yes , yes , yes , yes . No joystick . Push-buttons . No special colour . Twelve and a half Euros . Then it's okay . So , we have to change that a little bit . And you cannot use the red and green button . Because if you give"}
+{"doc_id":"doc_110","qid":"","text":"Project Manager: {vocalsound} So um nice to see you again . Uh . So , uh . Tod uh for this meeting I will take the notes and do the minutes . Uh so we will see our three presentations . Um we will start with the uhManager Expert wi who will talk about uh user re requirements , whats user needs and what it desire for this devi device .Marketing: Okay , can I have the laptop over here , or ?Project Manager: Yep . Oh , I don't thinkso . I think you have to come here .Marketing: Okay . Have to get up . {vocalsound}Project Manager: I dunno . I think it should stay .Marketing: Excuse me .Industrial Designer: Yeah , that's it .Project Manager:{gap}Marketing: {vocalsound} Okay .Project Manager: Should stay in the square here . {vocalsound}Marketing: Okay .Project Manager: Oh , maybe .Marketing: Okay , so basically I'm gonna present some findings ofa study we conducted uh into uh what users want in this remote control .Project Manager: Oh , you can put it here . Oh that's okay , it's jusMarketing: Um so first of all we {disfmarker} what we did is we um conducteda an experiment with a hundred test subjects . Um we put them in a in our um usability laboratory and got them to , you know , um play with remote controls , and also to complete , after they'd done that , to completea questionnaire uh to tell us what they like and what they don't like in remote controls . {vocalsound} {vocalsound} So basically um the major things we found out was that um basically users don't like the look and feelof of most remote controls that are currently on the market . Um they , you know , seventy five percent of the people we we uh did the experiments on , found that rem remote the remote controls that they'd used inthe past were ugly . Completely ugly . Um they they didn't match the operating behaviour of the user , that is , you know , the the way users use remote controls when they're watching T_V_ . Um , that the layout ofthe remote controls didn't match they way that they used it . Um and thirdly they say that w half of the users that we um tested said that they only used ten percent of the buttons that uh are on remote controls . Umso we collect we also some collected some usage statistics uh based on how these test subjects were using their remote control . And from this we basically came up with the figure that the channel buttons , the channelselection buttons are the most {disfmarker} by far the most used buttons on the remote control . Um and you can see they're used a hundred and sixty eight times per hour on average , um , while the user's watchingT_V_ .Industrial Designer: {vocalsound}Project Manager: {vocalsound}Marketing: Um the closest button that was used , well the cl the button that was used that was closest to the channel button was the teletextbutton , um which was used fourteen times per hour , followed by the volume button , which was four times per hour , um , all the other , all the other um buttons , such as ch um audio and picture selection umconfiguration buttons and things were used , you know , l approx well less than or equal to one times per hour . Um we also asked users um which buttons had the most importance to them , you know , which whichbuttons they felt were the most important buttons on on the remote control . And basically they came {disfmarker} they said the channel , volume , and power buttons had the highest relevance to users , um note thatonly power was very infrequently used , it only had a b a a fr usage frequency of about one times per hour , but users ranked it as having a very very high relevance . Um and the audio and picture settings had a very{disfmarker} that well the users thought that um w the audio and picture settings were very uh weren't very important to them um , and they used them very infrequently a as well . {vocalsound} So we asked userswhat what um frustrates them the most about um current remote controls . And fifty percent of the users said that uh what frustrates them is losing the remote control um somewhere in the room and not being able tofind it . Um {vocalsound} they also said that it um it takes a lot of time to learn a new remote control , especially when there's many buttons and it's a , you know , a c a a unintuitive interface . Um and then thirdly ,they {disfmarker} some users commented on the fact that the the you know the way that you have to hold and press buttons on a remote control ar are bad and um cause u repetitive strain injury . {vocalsound} Wealso asked some users about some specific features that they'd like to see in the {disfmarker} on the remote control . In particular , do they want an L_C_D_ d display , and secondly , do they think speech recognitionuh is a useful feature to have on a remote control .Project Manager: {vocalsound}Marketing: Um basically our findings are that um amongst a younger age groups uh the answer is umv overwhelmingly yes . They wantthese features , they want these high technology features .Industrial Designer: {vocalsound}Marketing: Um for instance , ninety one percent of pe of people aged between fifteen and twenty five said yes , they wantthese features . Whereas um {vocalsound} the the trend was as users as users um became older and older uh they were less likely to want these sort of features in a um in a remote control . So I guess it depends onwhere we're focusing our our market . Um and as our company motto is putting fashion in electronics , um I think we're focusing on the younger younger um target demographic , and so maybe we should think aboutadding these sort of high technology features into our remote control .Project Manager: Hmm .Marketing: That's my dic that's my presentation . Thank you .Project Manager: Thank you .Industrial Designer:{vocalsound}User Interface: Okay .Project Manager: So , um maybe now we can talk about a user interface and uh about the technical function of this device . So uh Pet Peter , can you talk say something about that?Industrial Designer: Well , okay , yeah . Yeah , but the user user interface is responsible .Project Manager: No .User Interface: B you think uh I I'm User Interface Manager .Project Manager: Ah .Industrial Designer:Okay , so {gap} .Marketing: {vocalsound}Project Manager: {vocalsound} Sorry , I'm {disfmarker} Sorry . Sorry .User Interface: {vocalsound} Okay . Okay .Project Manager: {gap}User Interface: If I could go therewith this cable .Industrial Designer: You're scaring me with L_C_D_ man . And speech recognition in remote unit , it will be very e expensive .Marketing: {vocalsound} Yeah , it's true , but , you know , they're featuresthat users want ,Industrial Designer: {vocalsound}Marketing: so it's {disfmarker}Industrial Designer: Yeah .Marketing: And our production cost of twelve fifty Euros per per unit is fairly high I think ,User Interface:{gap}Industrial Designer: Yeah .Marketing: so I think we can afford to to add these sort of features into our remote .Industrial Designer: At least we have couple of months t to work on it so so it will be cheaper finally .{vocalsound}User Interface: {vocalsound} Sh okay . {gap}Marketing: It is true .User Interface: Where's delete button ? Okay . Oh I'm sorry . {vocalsound} {gap}Industrial Designer: {vocalsound}Project Manager:{gap}User Interface: {gap} Okay .Marketing: That's the wrong one , I think .Project Manager: Yeah , it's still Bob Morris .User Interface: Oh . Presentation three ?Project Manager: {vocalsound} Yeah you should haveput yes .Industrial Designer: Because you cancelled it . Yeah .Project Manager: Click on yes .User Interface: Oh . {vocalsound}Project Manager: {gap} yeah .Industrial Designer: Yep .User Interface: Okay , so here ismy presentation about technical function design . I will talk about different components and s of system and how they react together . Okay , uh , first what is a remote control ? Simply it's a device , as you know , foruh , for sending some commands by some waves to uh another device to to tell different commands uh with this device . And the main idea we don't use any cable and we can rec react simpler with the device . Uh i ithas different blocks , different blocks . Uh first is remote control have sh ha should have some electric circuits uh making interface with uh keyboard and uh r reading uh keyboard and reading the keyboard uhcommands . And then inter then make uh these keyboard commands , uh in interpret these int uh keyboard commands . And then there should be uh an electronic circuit making uh electronic signals according to thesecommands and uh finally there is a transmitter which is a cord or a a diode making uh making uh waves to transmit through the air and uh uh this air this uh wave uh will be received by the by the other device like atelevision or whatever , to uh r to realise the command . Okay , {vocalsound} uh about {disfmarker} what I found about uh different uh these different blocks are uh , usually there are two different methods uh to{disfmarker} for designing a remote control . They are based on infra-red uh waves or uh uh radio waves .Industrial Designer: You still want me the presentation .User Interface: There are two different uh uh solutionsI mean . This is uh this can be uh uh the the differences the th between different kind of waves , infra-red or radio waves . And uh also as uh I understood , and uh I think it was a part of uh Bob , uh uh presentation ,people prefer to have uh to have uh the remote control with less button . So for the electronic part , working and interfacing , with button , we should we should try to t try to design a remote control having uh somesome simpler buttons or some rolling buttons to just to just to search between different options , and showing o something on T_V_ and putting less lesser stuff on the uh on the remote control . And uh personalpreferences , uh uh uh uh certainly a remote control with {disfmarker} uh working with radio waves is uh preferred because uh you can pr you can take it in any direction and you don't need to tune it any way . And uhuh again , using bigger buttons and less number of buttons are also preferred , as I see . Okay . That was my presentation .Marketing: Okay . I have a question .User Interface: Uh-huh .Marketing: Do you think radiowaves um will interfere with other appliances in the home ?User Interface: Uh , I don't think so , because uh we can make uh we ca we can make this wave in a specific frequency . So they can be in a range which is notinter interfering with the {vocalsound} with other devices inside the home .Marketing: Okay .Project Manager: So can we use any any frequency ?Industrial Designer: Yeah , it should be okay {gap} .Project Manager:We have the right to use any frequency ?User Interface: Uh no but as I know , there is a range for uh for this uh f for for uh for this stuff , for designing this circuit . We can we can we can tune our uh transmitter towork in this range , and for this range we don't need to ask any permission .Project Manager: Okay . And what happen with uh radio waves when two neighbours have the same {disfmarker} have our remote control ,for example ? And so do they have the same frequency , or ?User Interface: Uh for this I'm not uh I I don't know the solution , but one solution can be something like putting uh p password or something inside the wave, so the only your T_V_ can understand itProject Manager: Okay . A kind of identification {gap} ,User Interface: Yeah , identification code inside the {disfmarker}Industrial Designer: Yeah f {vocalsound} uh I knowabout this , since it's my {disfmarker} it's exactly my field , so .Project Manager: okay . So {disfmarker}Industrial Designer: It's uh kind of handshaking , uh , when starting to {disfmarker} uh when you start tocommunicate with the your T_V_ then then it's like an handshaking protocol with your your remote .Project Manager: Yeah . So {disfmarker}Industrial Designer: So so if two two devices are trying to go tocommunicate with the T_V_ set then the the the one which has the more energy in the wave is chosen . Well it can be a problem sometimes , but most of the time it works okay .Project Manager: Okay .User Interface:The password may simply {disfmarker} uh or uh i identification code may simply solve this problem . A specific uh remote control has a specific fIndustrial Designer: {vocalsound} Yeah but we we don't have to think uhabout this because I think as a function designer that we will use the already made uh circuits which we probably bu buy . It's worth to buy .Project Manager: Hmm .Industrial Designer: And they have these problemssolved so . So we don't have to think about these .User Interface: Mm .Marketing: Okay .Project Manager: Okay .User Interface: Mm-hmm .Project Manager: So , maybe you can talk about the function , and{disfmarker}Marketing: Okay .Industrial Designer: Yes . I have only a couple of things because I had {disfmarker} I struggled a bit with the software that I'm supposed to use in this uh uh in this company . I was usedto use Linux before , so . But I tried to tried to break through this {gap} too , I guess .Project Manager: Open .Industrial Designer: Mm . Ah .User Interface: {vocalsound}Industrial Designer: Okay . {vocalsound} Howto make it big ?Project Manager: Slide show .User Interface: Five . {gap}Industrial Designer: Slide show . Okay , thanks . {vocalsound}Project Manager: It should work , so you can {gap} .Industrial Designer: Okay .Oh so I will speak about working design . That's the first slide . Uh what uh I have to do ? A look at what the other company {disfmarker} Okay so uh presently I am looking what is possible to use , what circuits to useand stuff like that because uh I didn't work uh with these uh circuits so far so I have to look what what is a v a v available on the market for for the communication {disfmarker} for the I_R_ circuits and so on , so I'mcurrently looking what is available on the web . And uh I wanted to ask you m maybe afterwards , after after our discussion , if we have some contacts in some companies , so , which can report on what is going onthere , so , I would be glad if you can tell me about them .Project Manager: Mm . Yeah .Industrial Designer: So , you know . Uh , okay findings , that's {gap} the point that I'm working on currently but uh so far I I wasuh looking what what are the blue circuit , I mean radio wave {disfmarker} radio frequency circuits are available now ,Marketing: Mm-hmm .Industrial Designer: but the prices I read are high . So , I know that uh theuser interface people and these speak about radio frequency waves because you can you can uh you can make the T_V_ do what you want even if you are in the bathroom or so on ,User Interface: Mm-hmm .ProjectManager: Hmm .Industrial Designer: but you know , when you are not close to the T_V_ you probably won't need to to change the program and so on and so I am I am voting for s to stick to the um infra-red controlinstead of R_W_ but we will discuss it later maybe . Uh . Components to use , I'm not exactly sure what I will use for the design of the circuit . It depends uh on whether we will use the L_C_D_ and mainly the speechrecognition ,User Interface: {vocalsound}Industrial Designer: because the speech rec Yeah ?Marketing: Are we um are we planning to take an off the shelf an O_E_M_ component for the radio wave circuit , or are weplanning to construct our own circuit board ?Industrial Designer: No no no no no . This we this we buy I think , because it's rather cheap nowadays and it's not worth to construct ourselves .Marketing: Okay s So we justbuy a circuit board and {vocalsound}Industrial Designer: Exactly .Marketing: Okay .Industrial Designer: But I'm not sure about the circuit which is responsible for speech recognition . This I prefer that we should makeourselves .Marketing: Okay .Industrial Designer: But it depends whether we take a decision to use it . Same thing . It's fairly expensive to use these circuits . So , speech recognition {disfmarker} well , L_C_D_ it's okaybecause it's common nowadays to use L_C_D_ ,Project Manager: {vocalsound}Industrial Designer: so I agree on using any kind of L_C_D_ , less buttons good for me as a as a designer of the circuit .Project Manager:Yeah .Industrial Designer: But the speech recognition we have to compare whether the price and the {disfmarker} what does it offer , you know .User Interface: Mm .Project Manager: Yeah . So what do you think wouldbe the price , it would be out of range ?Industrial Designer: Yeah , I'm {disfmarker}Project Manager: Or it would be maybe feasible ?Industrial Designer: Oh . I was not thinking too much about the price . But if we usethe L_C_D_ uh even the radio frequency communication with the T_V_ set and the backlight and uh related things like the photo diodes and stuff , it should be okay . If we decide to use the speech recognition , then weprobably could struggle but we'll see afterwards .Project Manager: Okay .Industrial Designer: It depends of you if if the M_E_ or U_I_D_ ,Project Manager: Mm .Industrial Designer: I'm sorry about the names , I don'treally know , uh want to have it like in metal or in plastic , these things , it it depends on you not {disfmarker} Because the the the electronic device's price is not not so big in comparison to to the overall shape andstuff like that , so .Marketing: Okay .Industrial Designer: We will discuss it afterwards . Oh , this is nothing . This is just my notes on what to use . And uh my personal preference is yes , I would like also preferably touse R_W_ circuit , but from the point of view uh of the design and price , I would stick to I_R_s . That's my opinion . Uh I mean if infra-red uh circuit not not the radio frequency .Project Manager: Why ? Because it'ssimpler ?Industrial Designer: Because because the the range where you can use it is fair .Project Manager: Yeah . Mm .Industrial Designer: It's okay I think . And the price is fairly cheap for this .Project Manager: Okay .It's a a price matter .Industrial Designer: Well , depends .Project Manager: Yeah .Industrial Designer: Jus just the price .Project Manager: Mm .Industrial Designer: Otherwise I don't care what I put there because it'sthe chip which I buy or which we buy .Project Manager: Okay .Industrial Designer: So I I I think it's o y o {vocalsound} .Marketing: What how much more expensive ? Are we talking three times more expensive ?ProjectManager: {gap}Industrial Designer: Well , three to three to five .Marketing: Or ten times more expensive ? Or {disfmarker}Industrial Designer: N not ten times ,Marketing: Okay .Industrial Designer: but it dependswhat what we {disfmarker}Marketing: Yeah yeah . That's still a lot . I think it's it's probably not worth spending the extra money ,Project Manager: Hmm . Yeah .Marketing: because I mean all the other remote controlson the market have infra-red , so people don't expect anything other than infra-red .Industrial Designer: {gap}Project Manager: Yeah .Industrial Designer: Yeah .Marketing: So it's not worth spending the extra money.Project Manager: Well I {gap} , oh {disfmarker}Industrial Designer: Th they are used to use it when they can see the T_V_ so , I don't know .Project Manager: On the other side , we want to have something new.Marketing: Yeah .Project Manager: You know , whereMarketing: Yeah .Project Manager: we want to to have something new and So we I think we should still thinking about it . But maybe {gap} .Marketing: But I think ,based on my usability studies I th I feel that users are {disfmarker} prioritise the look and the feel and the trendiness above , you know , the difference between infra-red or radio waves .Project Manager: Okay.Marketing: So I think we're better off spending money in the usability phase .Industrial Designer: {gap} You the user interface , and management man , uh {vocalsound} {disfmarker}Project Manager: Okay . Yeah.User Interface: Mm .Marketing: Okay .Industrial Designer: Uh okay , that's it for me .Project Manager: Okay , thank you Peter .Industrial Designer: 'Kay .Project Manager: So um I have to inform you I receive an emailfrom the management bon board today and they have new requirements for the for the remote control . UmMarketing: Mm .Project Manager: first um , they say that's uh about something about t teletext . Uhapparently it becomes from {disfmarker} according to them it becomes out of date . Out-dated . And uh {disfmarker} Because of the internet popularity and everybody has internet at home , and actually it's not usefulto have teletext . Um . So I think we can avoid the teletext . Um the second thing is uh they suggest that that we should uh use the remote control only for T_V_ , not for D_V_D_ and other devices , because it make it{disfmarker} it makes it's too complex and uh because we have not much time for this project we should stay on T_V_ on the {disfmarker} only specific T_V_ remote control .Industrial Designer: I agree .{vocalsound}Project Manager: The third {vocalsound} the third one is uh about the the the image of the company . So um uh we should we should keep uh {disfmarker} The the product should be recognisable . Uh ,"}
+{"doc_id":"doc_111","qid":"","text":"Lynne Neagle AM: Good morning, everyone. Welcome to the Children, Young People and Education Committee. We've received apologies for absence from Suzy Davies and there is no substitute. Janet Finch-Saunders isjoining us from the Assembly offices in Colwyn Bay via video conference. Can I ask Members if there are any declarations of interest, please? No. Okay. Item 2, then, this morning is a post-legislative scrutiny session onthe Higher Education (Wales) Act 2015. I'm very pleased to welcome Kirsty Williams AM, Minister for Education, and Huw Morris, who is director of the skills, higher education and lifelong learning group in WelshGovernment. Thank you, both, for attending, and thank you for the paper that you provided in advance. I will just start the questioning by asking whether you are planning to repeal the 2015 higher education Act, orwill it be amended by the post-compulsory education and training Bill?Kirsty Williams AM: Thank you very much, Chair. I'm very pleased to be with the committee again this morning, although it's in slightly unusualcircumstances. As a piece of post-legislative scrutiny, this was a Bill that was taken forward by a different Minister in a different administration, but I think it is really valuable work in the context of the question you justset out: what can we learn from the implementation of this piece of legislation as we move forward with our reform journey and with this Government and my proposals to introduce a new commission for tertiaryeducation? There is much, at the moment, that lies within the 2015 Act that we will look to bring forward into the new legislation, but there are certainly experiences—and I'm sure we'll come on to some of the evidencethat has been received about what's worked, what perhaps hasn't worked—that we all want to reflect on and be mindful of as we take forward the new Bill, including the report of this committee as part of it. So, it is ourintention that this Bill will be superceded by the new PCETR Bill.Lynne Neagle AM: Okay, thank you. We've got a series of questions now from Siân Gwenllian.Sian Gwenllian AM: Good morning. Do you believe that theAct has fulfilled all the Government's objectives? Where are the weaknesses?Kirsty Williams AM: Diolch yn fawr, Siân. As I've said, it's a bit difficult to place myself in the mind of the previous Minister when thislegislation was first envisaged and then taken through. You'll be aware that there were four main reasons for the introduction of the Bill: around regulation of institutions in Wales; safeguarding the contribution made topublic good arising from Welsh Government's financial support for the sector; maintaining a focus on fair access; and preserving and protecting the principle of institutional autonomy. I think the evidence that has beenreceived by the committee to date shows that there are different views about the effectiveness of whether all four strategic aims have been achieved. I think those strategic aims are still really, really important andcertainly will underpin our thought process going forward, but we have to recognise the higher education and research Bill across the border in England, the implementation of new student support measures in Wales, aswell as the report that was done by Ellen Hazelkorn, I think, means it is appropriate that we move forward with different proposals, not just regulation of the HE sector but the post-compulsory sector as a whole. We willlook to see what we can do to strengthen or whether there is more that we need to do to achieve those four objectives, because I think those four objectives are still very, very relevant. But we have to have legislationnow that is fit for the circumstances we currently find ourselves in and, hopefully, futureproofs us for how we want to see the sector develop in the future.Sian Gwenllian AM: Do you feel perhaps that the legislation itselfhasn't been strong enough, and that you then have had to drive some of these objectives through the annual remit letter, rather than through legislation, and that's why the strengthening is required?Kirsty WilliamsAM: Certainly, I see the remit letter as a really, really important way in which national priorities and the priorities of an elected Government can be clearly stated, communicated to the Higher Education Funding Councilfor Wales, and then HEFCW use their powers to ensure that that happens. So, certainly, I see the remit letter as being a very important mechanism for ensuring, as I said, that those national priorities are clearlyarticulated, and then change happens.Sian Gwenllian AM: Has the current legislation been framed around institutional autonomy so that it's not possible for institutions to fulfil any national outcomes, and is that goingto be an element of the new Bill?Kirsty Williams AM: Well, certainly, the 2015 Act contains numerous provisions that protect universities' privileges and autonomy. And that's really important, and those are principlesthat I am committed to in any legislation that I bring forward. We'll certainly be looking to see how we can carry those protections into the forthcoming Bill, but, at the same time, we do have to ensure appropriateregulation and accountability of institutions for their public funding and the privileges that they enjoy. And I think there are a number of ways in which that can happen. We have a very positive working relationship withthe Higher Education Funding Council for Wales, and I am very fortunate to have a very positive working relationship with the sector. The remit letters are a really important way in which we can lay out those nationalpriorities. I don't think there's anything in the legislation per se that prevents those national priorities being articulated and being acted upon.Sian Gwenllian AM: I don't think that's what HEFCW has said in theirevidence. They've said that the Bill has been framed in a way where it's not possible for institutions to fulfil any requirements. You're talking about the remit letter; maybe you need to have that discussion there, but, interms of the Bill itself, you can't make them fulfil any national outcomes. Shouldn't there be a discussion looking to move in a direction where there are national outcomes being set through legislation, because there ispublic money going into that?Kirsty Williams AM: Well, I don't know whether we need national outcomes through legislation, because those national priorities, potentially, will change over time. What is really important,and what we will be seeking to do in the new legislation, is look to move to a system of outcome agreements. So, there is a very clear expectation that the commission will have, in regulating the sector, andco-ordinating and funding the sector, to create a system of outcome agreements, where those outputs will reflect national priorities, and that's one of the things that we've consulted on, and will look to take forward inthe new legislation.Sian Gwenllian AM: Okay. That's clear enough. What about private providers? The Act, or the Act as it stands, makes it a requirement for a regulated institution to be a charity, and that means it's notpossible to regulate alternative private providers under the Act, even though they can provide higher education in Wales. What is your view on this, and will the new legislation continue with the requirement of being acharity?Kirsty Williams AM: Okay. So, I think, first of all, it's important to make the distinction between the scale of private providers, and what could be termed as 'unregulated providers' in the Welsh system, asopposed to the English system. And I think that's a really important distinction to make. So, currently, under the current legislation, unregulated providers can only access Welsh Government student support if they'redesignated on a case-by-case basis. So, we do have a circumstance where—and a process in place, to manage this. So, we have a specific designation policy, which is operated on our behalf by HEFCW. Only sixorganisations were designated on a case-by-case basis in the 2018-19 academic year, so the scale here is small. Three of those were further education colleges. So, when we talk about a private provider, perhapspeople would have a view of a private university, but, actually, three of those were FE colleges, which we would all be familiar with. And the three private providers were the Centre for Alternative Technology, thetraining arm of the Church in Wales and the Newport and District Group Training Association. All three of those are actual charities. So, in order for their courses to be specifically designated, the three crucial questionsthat those providers have to answer are: quality—is what they’re providing to students of a good quality; the financial viability of the institution, again, to try to protect the interests of the students who may findthemselves embarking on a course in an institution that isn’t viable; as well as their contribution to private—sorry, not to private good—public good. And we are considering how that part of the sector will be regulatedin the forthcoming legislation. But, Huw, I don't know if there's anything else to add?Huw Morris: Well, just to say that there are a very small number of private providers, as the Minister has outlined, and, in comparisonwith England, where I think the last figures said that there were between 300 and 400 private providers in England, you get a sense of the differences that exist there. And, if you look at what happened over recentyears, it has been those small private providers across the UK who have been most financially challenged and a number of them have stopped their operations, with consequences for the students. So, we’ve been keento put students at the front of things to make sure that the institutions that they’re enrolling with are strong and have good quality.Sian Gwenllian AM: Okay. So, what you're saying is that you will continue with acharitable status, or not—Kirsty Williams AM: At this stage—Sian Gwenllian AM: —or are you still thinking about it?Kirsty Williams AM: Well, at this stage, I think the charitable status will continue to be an importantpart of what we will take forward.Sian Gwenllian AM: Just turning finally to part-time fees and postgraduate fees, do you have an intention to regulate this part in the new legislation?Kirsty Williams AM: I have to saythat, at present, we've not identified an urgent reason to designate these courses as qualifying courses for the purposes of a fee limit. And there are a number of reasons for that. Actually, the current Act—the 2015Act—does not permit the fee regulation of postgraduate courses, other than PGCE courses for IT purposes. In the case of part-time courses, I'm currently content that fee levels are not exceeding the amount of studentsupport made available by the Welsh Government. So, I think we are, at this moment, relaxed about that, and there are some difficulties around deciding and introducing fee limits on postgraduate courses. I thinkwhat's really important to me is the success at the moment of attracting people to postgraduate and part-time study in Wales, as a result of our reforms to student finance. But, clearly, we'll need to keep that underreview. But, at this current moment, the Act precludes fee regulation in some areas and there's not a pressing policy need that we've identified to date.Lynne Neagle AM: Okay. Thank you. Okay, we're going to move onnow to some questions about the level of ambition in the higher education Act and any lessons for the PCET Bill, from Janet Finch-Saunders.Janet Finch-Saunders AM: Thank you. To what extent has the 2012 universityfunding system limited Welsh Government’s policy leverage over the sector, and how has the HE Act addressed this beyond the levers offered by fee and access plans?Kirsty Williams AM: Of course, the Act wasintroduced as a direct result of the changing scenario around finance and the different ways in which, because of the reduction in HEFCW's budget, the level of influence that HEFCW would be able to exert overinstitutions through the imposition of terms and conditions of funding—. So, the Act was introduced in part to address that shift in influence and the Act also has provided HEFCW with a range of new powers ofintervention and sanctions in the case of non-compliance by institutions. Personally, I wholeheartedly believe that tertiary education providers should contribute to national goals and outcomes as part of what I'ddescribe as a civic mission. I'm determined that any legislation that I bring forward and any commission that I establish will be empowered to enable that to happen through its regulatory and funding powers. Of course,the funding situation has shifted again now because of the introduction of what is commonly known as the Diamond reforms, but our new system of student finance does again shift the parameters of influence thatHEFCW or any new tertiary commission could have. But, as I said earlier, it's not to say that institutions have had a free reign. We have been able to use the remit letter and our relationship with HEFCW to progressagendas that we would want to see. So, for instance, you'll be aware, in my remit letter, I am concerned about issues around how people working in the sector are paid. We've been able to successfully see allinstitutions sign up to becoming living wage employers, all institutions sign up to the Welsh Government's code of ethical procurement. So, it's not to say that the Act has meant that we've had no influence, but thereare opportunities now, because of the change in financial circumstances once again, to look at that in any forthcoming legislation.Janet Finch-Saunders AM: Thank you, Minister. Do you share HEFCW's views on thebenefits of having national targets to get institutions to address national priorities? Is this something you wish you could do?Kirsty Williams AM: Well, it's not something I wish I could do; I think that we're doing it.Self-praise is no recommendation, but, because of the working relationship that we have, I think we're seeing some success in using the remit letter to influence national outcomes. So, I've just talked about living wage;we're also using our remit letter to drive transparency over senior leaders' pay, the gender pay gap within institutions. For instance, as part of this Government's commitment to improving mental health, we've beenable to use the remit letter and some funding to be able to drive change and some improvements in mental health in the higher education sector. These are national priorities and we're acting upon them and we're usingthe multiple levers we have at the moment to engage in universities. And, I have to say, universities have risen to that challenge, and I'm very grateful to them for doing that.Janet Finch-Saunders AM: Thank you. Arethere plans to give the proposed new PCET funding body more effective policy levers to align the sector to the social, economic and civic needs of Wales? And, if so, how will this be done?Kirsty Williams AM: Well, as Isaid in answer earlier, I'm determined that we ensure a sense of civic mission for the entirety of the sector, including our institutes of higher education. You'll be aware, Janet, that, in the consultation exercises thathave been undertaken by the Government so far on PCET reform, we will be introducing more formal outcome agreements, whereby institutions might be given by the commission very clear expectations of how they'reexpected to contribute to national priorities.Janet Finch-Saunders AM: Thanks. We've heard that the HE Act, by focusing on individual institutions, did not encourage collaboration, even for widening access activity. Wasthis a missed opportunity and how will this be taken forward in the PCET Bill?Kirsty Williams AM: I think we can strengthen our sector by closer collaboration. I think what sets us apart in Wales is that this Governmentis determined to create a legislative regime and a regulation regime that encourages collaboration and co-operation, which is in stark contrast to the marketisation and the competition that we see being regulated forand legislated for across the border in England. That's one of the reasons why we are going to introduce the new PCET reforms—to create collaboration, not just between different higher education institutes but actuallyacross the sector. So, this is a prime opportunity where we can create a framework that demands and encourages collaboration, not just, as I said, in between individual institutions but across the entirety of the sector.We're doing that because that means we can avoid duplication, we can fill gaps that there currently are and we can create a system that allows for a seamless passage for students to move between the different partsof post-compulsory education that are currently available, where, sometimes, those students find barriers.Lynne Neagle AM: Okay, Janet?Janet Finch-Saunders AM: Thank you—that's great, thank you.Lynne Neagle AM:We've got some questions now around HEFCW's powers of intervention from Dawn Bowden.Dawn Bowden AM: Thank you, Chair. We received substantial evidence from HEFCW suggesting that powers were inflexibleand hard to use—I think HEFCW called them 'threatening'—saying that they make sanctions difficult to use and so on. Are you satisfied that HEFCW's powers are useful on a preventative day-to-day basis?Kirsty WilliamsAM: If I may disagree slightly, I don't think their powers are frightening. It's very clear what powers are available to HEFCW, and they're certainly more than just the ability to, maybe, lean on an institution. Clearly,there is a system by which there is the ability to, you know, ramp up and escalate levels of intervention in the sector by HEFCW, but I certainly wouldn't describe them as inflexible or not having weight.Dawn BowdenAM: I think they were saying it was difficult to use for swift interventions—they found it a bit cumbersome. They explained to us that they often take informal measures or actions in their role as regulator, and they'veexplained that the small size of the sector enables good relationships to be developed. How can such measures work in the tertiary education body when there clearly will be many more than the 10 providers?KirstyWilliams AM: Well, looking ahead to the new Bill, I would want to see and be very keen to ensure that there are sufficiently flexible—did you use the word soft—and soft regulatory powers that the commission couldexercise. Those powers, for instance, could include the ability to offer advice and guidance, rather than, maybe, punitive interventions, and powers to undertake enhanced monitoring of institutions to ensure compliancewith regulatory conditions. So, I would expect the commission to be able to have a series of abilities to intervene, from the soft, flexible type, which is non-punitive but actually allows people to go in and supportinstitutions, through to something that would be, as I said, more punitive, if they felt that an institution was in danger of not providing quality or financial failure.Hefin David AM: Can I just come in there, on the pointthat was made? The issue that seemed to me to come from HEFCW and from the universities is that the dial seems to have only three steps. So, rather than having a graduated series of actions that they can take, itseems to step from—what did he call it—a 'meeting without coffee' to—Kirsty Williams AM: That's a very HEFCW thing to say.Hefin David AM: —potentially institutions going bankrupt, and there don't seem to be manysteps in between that. I'd invite you to say whether you'd like to remedy that in future.Kirsty Williams AM: I think, as I said at the beginning of the session, this is why this post-legislative scrutiny is useful, because wecan reflect on that feedback. As I said, I would expect to be able to ensure that the commission had a range of powers that could address—from that soft power and those early conversations to being able to, as I said,issue, perhaps, advice and guidance to an institution, so there would be a more graduated escalation. Huw, is there anything else that I've missed out?Huw Morris: Just to build on what the Minister has said, there's arange of ways in which we interact with all institutions that are going to be in the tertiary sector, and some of that is about providing information. So, HEFCW provides information—it sends around circulars, it producesreports and it holds events. There's staff, management and leadership development activity, which can create a culture amongst the leaders of institutions, but also amongst their governing bodies, to help them movein a particular direction. We would hope that's in the direction of the civic university approach that the Minister has outlined. We use those mechanisms and informal interactions with FE college principals, with thework-based learning provider network, with sixth forms and others, and we would want to see, I hope, in the tertiary sector some alignment of those things. When things go badly wrong, there are a range ofmechanisms. I think what stands behind HEFCW's comments is that before we had a loan-based system of student finance, there was a system of block grant allocations and conditions could be attached to those grant"}
+{"doc_id":"doc_112","qid":"","text":"Project Manager: Okay . Right . Conceptual design meeting . Right . Okay , so {disfmarker} Right well um from the last meeting {vocalsound} I was trying to send you the minutes , but uh it didn't work out too well , somaybe in sort of um quick summary of the last uh meeting , I can quickly give you what we what we had .User Interface: {vocalsound}Project Manager: Uh right , so {disfmarker} Wishing I hadn't closed the damn{disfmarker} Right so we had the fact that we're gonna have the the logo uh the company logo in its uh colour scheme incorporated onto the the device the remote device . We had uh made our decisions about uhmade our decisions about uh the device itself , that it was gonna be simple to make it uh enable us to complete the project in time . We're gonna have uh effectively two pages , a front page which had the uh featuresthat the uh the customers most wanted , and then the uh the backup features on the second page so that it could uh meet the technical requirements . And the customers wouldn't have to look at them too often , onlyas and when required . So . So basically what decisions uh have we uh made ? Uh have there been any uh changes ?Industrial Designer: I think we all have a presentation again ,Project Manager: Right .IndustrialDesigner: so if we go through those and then umMarketing: Yeah .Project Manager: Three presentation , yeah .Industrial Designer: {gap} . Shall I go first again ? {gap}Project Manager: So {disfmarker} Yeah , fine.Marketing: Okay .Industrial Designer: I see {gap} this a little more smoothly than the last one . {vocalsound}Project Manager: {vocalsound}Industrial Designer: Okay right , let's get started . Um basically the uh forthe {disfmarker} Um I'll {gap} back actually . For the components design , um next step is basically the the way the remote's gonna work is still the same idea as before . We still have the user interface which is all thebuttons we're gonna incorporate . Then there is a chip and still the sender . So um yes {gap} including the power s supply as well . Um I'll go on to my findings in each of these areas . Uh first in the power supply , wehave the option of just the standard battery , um . {vocalsound} There's a dynamo . Any of you think of kind of like the the old torches which you wind up {gap} um . There's a kinetic option , which if any of you'veseen those new watches which you kind of you power up by waving around , um it just requires a small amount of movement which would mean the batteries wouldn't have to be replaced . Um that's one option,Marketing: Mm-hmm .Industrial Designer: but I think that was gonna cost a little more . And then there's solar cells . Um as a final option . For the buttons , we have um an integrated push button , which is{disfmarker} Oh just to say all all these are um supplied by Real Reaction . So I guess for the ease of for quickness and ease we should take them from at least like one of these options .Project Manager: Okay.Industrial Designer: Um so for the buttons there's an integrated push button , which I guess is just the same as the standard ones . This says it's uh similar to uh the button on the mouse for a normal {disfmarker} forlike uh like modern computer . Um there's a scroll wheel which is {disfmarker} you know the new mouse has just got like the centre section which you can scroll up and down , which may be for the volume .ProjectManager: Mm-hmm .Industrial Designer: You could do do that .Marketing: Mm-hmm .Industrial Designer: Um one issue for the buttons is , depending on which material we use , if we use rubber buttons then it requiresa rubber case , so we have to take that into consideration . Um moving on to the printed sProject Manager: What would be the cost do do we know ?Industrial Designer: Um that's on the next {disfmarker}ProjectManager: {gap}Industrial Designer: I th I think the there wasn't too much difference in the cost , that that related to the actual buttons , but it does affect the printed circuit board . Um which is the next section .Basically for the circuit board which is the middle , it's just {disfmarker} see it down there the chips like the like the workings of the actual um of the remote .Project Manager: Mm-hmm .Industrial Designer: The firmsupplies a simple , a regular and an advanced um circuit board . And there's different prices according to each . So if we've got the scroll wheel for one of the buttons , that would require a slightly more advanced circuitboard than if we just had a standard um push button .Project Manager: Mm-hmm .Industrial Designer: Um one final thing we came up with was some information on the speech recognition . There's a small unitavailable through the company um which obviously would be an extra cost , but it wouldn't affect the size of the remote too much . Um and I guess that would require a more advanced circuit board , so there is an extraprice in that sense . There is th sorry an extra cost in that sense . Um going to my personal preferences , um I thought possibly for power we could use kinetic um which is the idea of the watches um that you move youmove the remote around to power it up . And this would avoid batteries running out , having to replace batteries and such like . Um for the buttons , I thought we'd probably get away with just having the standard umpush buttons rather than the scroll wheel . Um and for the circuit board , again depends on which features we want in the actual in the remote . So if we wanted the scroll wheel and wanted the voice recognition , umthen we'd have to get a a more costly circuit board . And that's it .Marketing: 'Kay .Project Manager: {gap} with the printed circuit boards you were going for the {disfmarker}User Interface: Thanks .{vocalsound}Industrial Designer: Um i it kind of depends um if we're gonna have the speech recognition , we'd have to probably get an advanced one . I'm guessing .Project Manager: Mm-hmm .Industrial Designer: Uhbut I don't know , so that is something I'll have to look into .Project Manager: But are we going f R right .Industrial Designer: Um that's a that's a decision for all of us . Um .Project Manager: So are we able to make thatdecision now in a sense that this is the point at which we're discussing that issue ,Industrial Designer: Yeah yeah . We decide . Yeah .Marketing: Mm-hmm .Project Manager: so would it not be best to {disfmarker}rather than {disfmarker} I mean one way is to do each of the presentations and then make decisions going back to the various presentations as they were . The other way would be to do the presentationMarketing:Mm-hmm .Project Manager: and then make the decision at that point in time .Industrial Designer: Um . Maybe wUser Interface: Yeah , that's probably a better one , to discuss it straight away .Project Manager: 'Causeat that point then you've got the details up there , so if we wanted to know for instance that the scroll wheel required the regular {gap} and what required advance . Then if we were able to see that down then we couldmake the decision at that point in timeIndustrial Designer: Um .Project Manager: and then that would be the end of that issue . Does that make sense ?Industrial Designer: Yes .User Interface: {vocalsound} Um I havea lot of the information there .Marketing: Mm-hmm .User Interface: It might not be very clear .Industrial Designer: Is there {disfmarker}User Interface: Unless you want to plug it back in to yours .Industrial Designer:Um . We could do , yeah . Um yeah we should {gap} .Project Manager: {vocalsound}Industrial Designer: As I say it only specified that we need a more advanced circuit board for the scroll wheel ,Project Manager:Mm-hmm .Industrial Designer: it didn't {disfmarker} The voice recognition came as a separate piece of information . Um .Project Manager: No the scroll wheel required the regular , so the {disfmarker}IndustrialDesigner: Yeah if if you {gap} down um . It's just this bit at the bottom which I've highlighted ,Project Manager: Hmm .Industrial Designer: but the scroll wheel requires a mini m minimally a regular chip ,ProjectManager: {vocalsound}Industrial Designer: which is in the higher price range .Project Manager: Okay . The display requires an advanced chipUser Interface: I think the scroll wheel um {disfmarker}Project Manager:the display requires an advanced chip which in turn is more expense .Industrial Designer: Also the display's for something else which we decided against . Um but that bit {disfmarker}Project Manager: Okay .IndustrialDesigner: And note that the push button just requires a simple chip , so that would keep the price down .Project Manager: Down .User Interface: Yeah , and if we're going for sleek and sexy , I think a scroll wheel ismaybe a bit kinda bulky ?Marketing: Mm-hmm .User Interface: I I've got um pictures well I've seen pictures with it kind of sticking off the side of it ,Project Manager: Right . Okay .User Interface: and they don't reallylook great .Industrial Designer: 'Kay . So maybe just a simple push button , and that would cut costs on the {disfmarker}Project Manager: So . So we're going for p Okay . So {gap} is um {disfmarker}Marketing: Soare we going for the w are we going for the simple one , are we ?User Interface: Yeah , a simple pushbuttons .Project Manager: Simple push button . {vocalsound}Marketing: Okay .Industrial Designer: {gap} Dideveryone get this on the speech recognition ? The um it was basically what we said before , the idea that you record in a set message , and then it picks up that message um and replies to you .Project Manager:Mm-hmm .Marketing: Yeah .Industrial Designer: So it is basically the concept we discussed before . Um but then we don't know for sure whether it would require a more complicated circuit board .Marketing:{gap}Industrial Designer: I'm guessing it would , but {gap} got like the definite information . Maybe we should go on what we're certain of rather than {disfmarker}Project Manager: So if we go for the simple pushbutton , so effectively we're going for the simple printed circuit board are we ? Or are we going for the regular ?Industrial Designer: Um if it's just the push button then it just needs the simple circuit board .ProjectManager: Mm-mm . But is there any other {disfmarker} {vocalsound} I mean okay , that's true for the {disfmarker} for for that element , but we have to take all {gap} el elements into consideration . And so if there isone element that requires the more expensive one , or say the regular one , or the more advanced , then that would have to be the same for all of them . SMarketing: Mm .User Interface: Hmm . But{disfmarker}Marketing: I suppose we need we need to find out what circuit board that requires , maybe before we {gap} m make a decision .Project Manager: Right .User Interface: But the way that I interpret that umit doesn't seem to send out a signal to the telly , it just {disfmarker} it's like a parrot just rep reply replying to your message .Project Manager: Mm-hmm .Marketing: Oh yeah , I suppose so , yeah .Industrial Designer:So maybe that would be something separate , yeah .User Interface: So I don't think it would effect our circuit board .Project Manager: No .Marketing: Yeah .Industrial Designer: Okay , so we'd have a simple circuitboardProject Manager: {vocalsound}Industrial Designer: and that would be an extra that would be in addition to it .User Interface: Yeah .Industrial Designer: Oh that makes sense .User Interface: And I don't think youcould really perform any of the remote functions with it .Marketing: Yeah .User Interface: 'Cause the example that they've given there is good morning coffee machine , good morning Jo .Project Manager: Mm-mm .UserInterface: It might be useful to say like where are you remote . Here I am , Jo .Industrial Designer: Okay .Marketing: {vocalsound} Yeah . {vocalsound}Project Manager: {vocalsound}User Interface: {vocalsound} ButI think that's maybe as far as that one could go ?Project Manager: Okay .Marketing: Yeah .Industrial Designer: Yeah that makes sense , so we'd stick with the simple circuit board and then think of the speechrecognition as an extra an extra possibility .User Interface: Yeah , just as a fun way to find it .Project Manager: {vocalsound}Industrial Designer: Okay . Um .Project Manager: Simple circuit board . Simple push button .Okay . W w kinetic .User Interface: And it says that {disfmarker}Project Manager: You were you were wanting to go for the kinetic power supply .User Interface: I think it said the cost of that isn't too much .IndustrialDesigner: Um yeah I I thought so just for {disfmarker} just for ease of not having to replace the batteries .Project Manager: Mm-hmm .Marketing: Mm-hmm .Industrial Designer: Um .Project Manager: And how does itget uh charged up ?Industrial Designer: It's um I think it works on the basis they have some kind of ball bearings inside . It's um it's some on watches which you you kind of you shake to power it up . Somehow themechanism inside powers up through movement .Marketing: Mm-hmm .Project Manager: Okay .Industrial Designer: So you'd you'd move the remote around a little bit and then that powers it up to use it .ProjectManager: Okay .Marketing: Yeah .Project Manager: So the speech recognition was {disfmarker} Are we going for speech recognition ? No ? 'Cause that required the advanced {disfmarker}User Interface: Um I think itwould be helpful to find it , but I don't think it'd um {disfmarker}Marketing: Just {disfmarker}Industrial Designer: Uh yeah I think {disfmarker} did we decide it didn't affect the circuit board , it just affected{disfmarker}User Interface: Yeah , I think so .Marketing: Just just for the call and find thing .Industrial Designer: It was just {disfmarker}Project Manager: I had speech recognition requires advanced reqrequireIndustrial Designer: Oh no th that's what that's what I thought , but maybe maybe it doesn't {gap} .Project Manager: Oh .Industrial Designer: Um I think I might have got that wrong .Project Manager: So okay.Marketing: 'Cause it's s it's separate isn't it ,Project Manager: Speech recognition you reckon then is s simple .Marketing: it's not part of the {disfmarker}Industrial Designer: It's it's just an addition thing it's um yeah.Project Manager: And so we would want it in as an extra because it doesn't appear to cost too much . Would that be {disfmarker}Industrial Designer: 'Kay .User Interface: Mm-hmm .Marketing: Mm-hmm .IndustrialDesigner: 'Kay shall I pass on to you now ?User Interface: I think {disfmarker}Project Manager: In fact , it wouldn't really cost anymore , would it ?User Interface: I'll just just check what it said . Actually I don't think itreally says anything about the cost , but it says that it's already in the coffee machines , so like it's already kind of {disfmarker}Marketing: Yeah .Industrial Designer: I assume it would cost extra , but {disfmarker}Maybe we maybe we'll find out how much that does cost and have to decide slightly later .Project Manager: {vocalsound} And then have to change all {vocalsound} change {gap} everything at the last minute .UserInterface: {vocalsound}Project Manager: Okay . SUser Interface: Um . {vocalsound} Oh , that was quick . Um okay , so very brief presentation , um . From looking at the remotes that are out there at the minute ,none of them are particularly um sleek and sexy . Um I haven't actually got the examples of the scroll button there , um but there's some curved cases that you can see , uh a range of sizes uh . All of them have a lot ofbuttons there um they seem to just have the rubber buttons . Does that move it ?Project Manager: Sorry ?User Interface: It just seems to be skipping on without us doing anything . {vocalsound}Project Manager: Yeah, I've found that {gap} try and get it back .Industrial Designer: If you right click and then go onto a previous slide .User Interface: Ah it's alright .Industrial Designer: Okay , right .User Interface: Um . There wasn'tmuch more to say about that , just rambling . {vocalsound} Um some of the uh remotes that I looked at , one of the models da did actually have voice recognition where you could um where it was connected to theremote control functions . And uh it was quite uh a swish model , where it can control uh four devices , T_V_ , cable , satellite , video , D_V_D_ , audio . Um so that's a bit of competition there . So I mean maybe it'sbetter not to try and compete with that sort of thing and just to market it as a completely different um like different viewpoint as a kind of finding your lost controlIndustrial Designer: Yeah , yeah .User Interface: ratherthan trying to compete with the functions . Um the scroll buttons , as you've already mentioned , um there's examples of those , but they don't look as sleek as other models . And there's no real advantage and{disfmarker} because it impacts on other {disfmarker} on the materials and the price it's not great .Industrial Designer: On the price , yeah .Project Manager: So you were saying the scroll buttons {disfmarker}UserInterface: Um {disfmarker} Yeah . Th there was a specialist type of remote that we could think about , um . There was children's remote , where um they just had a very limited range of buttons and they were b uhbright and colourful and um you you could program them so that they could only look at certain channels .Project Manager: Mm-hmm .Industrial Designer: 'Kay .User Interface: Um but I don't know if that's really in ourfield ?Industrial Designer: I guess I guess we're going for the biggest market , {gap} maybe not ,User Interface: But that's something that's out there .Industrial Designer: but {disfmarker} Was it was it specified thatwe went for the biggest ?Project Manager: Well we're to go for the international market rather than a local market but that that wouldn't necessarily preclude {disfmarker}User Interface: Hmm .Project Manager: Theone thing that you can often do with products is you can uh make small modifications . So you have your basic model which you would sell at whatever , and then you could have additional features in you know like a{disfmarker} You'd have model one , model two and model three , and therefore you can sub-divide your market up . But that's really where your field is .User Interface: {vocalsound}Marketing: Mm-hmm .ProjectManager: {vocalsound} {vocalsound}Industrial Designer: So maybe the children's remote should be like a a next step , but maybe I dunno for ours , maybe we should {disfmarker}Project Manager: Anyway you couldadd on for an extra package , but on this basic one I'm reckoning that we're going for the basic model to be discussed here and that uh you would have for future reference the possibility of adding in extra features atextra cost to take care of specialist market segments .User Interface: Hmm .Marketing: Mm-hmm . Mm-hmm .User Interface: Okay .Project Manager: Is thatUser Interface: Right well that's something that we can beaware of .Project Manager: So so what are we deciding to do here ?User Interface: Um . I think because there's already um very good voice recognition technology out there , and because ours might not cover thesame functions that the leading brands do , it might be a good idea to market it as a um finder function .Project Manager: Right . Mm-hmm . Uh the fi Yeah , the finder function rather than as a speech function to findyour remote .Industrial Designer: Yeah .User Interface: Yeah .Project Manager: Okay .Industrial Designer: So you also said for going for the international market um that some some maybe older people might not likethe speech recognition . S s so um {disfmarker}User Interface: Oh yeah . Different languages might not be compatible .Industrial Designer: Yeah , yeah . It w it would make it quite complicated ,Project Manager: Hmm.Industrial Designer: where um ours at least keeps it fairly simple and then the {disfmarker}User Interface: Hmm .Marketing: Mm-hmm .User Interface: Yeah , 'cause I think you program um this one yourself , like tosay like whatever you want to your question .Industrial Designer: Yeah , yeah .Marketing: Yeah and ours is quite a cheap device , so I don't know how much we'll be able to put into it .Industrial Designer: Yeah .ProjectManager: So you'd have a finder feature rather than a voice recognition feature .Marketing: Yeah .User Interface: Hmm .Project Manager: And you were talkingUser Interface: Maybe unless something else comes up.Project Manager: Mm . And you were talking about scroll buttons ?User Interface: Um yeah I think um I think we've decided that it's gonna increase the costProject Manager: Okay .User Interface: and give no realkinda extra benefitProject Manager: {gap} bIndustrial Designer: Yeah .User Interface: and it's gonna decrease from the sleekness of it .Project Manager: Alright , so we're just gonna have the the rubber buttons , wasthat right ?Industrial Designer: Yes yes .User Interface: Hmm um and just to be aware that there are kind of specialist functions and specialist remotes but we probably don't want to focus on those like such as the"}
+{"doc_id":"doc_113","qid":"","text":"Grad D: Channel one .PhD G: Test .PhD E: Hello .Grad D: Channel three .PhD G: Test .PhD A: Uh - oh .Professor F: So you think we 're going now , yes ? OK , good . Alright Going again Uh {disfmarker} So we 're gonnago around as before , and uh do {disfmarker} do our digits . Uh transcript one three one one dash one three three zero . {comment} three two three {comment} four seven six five {comment} five three one six twofour one {comment} six seven {comment} seven {comment} eight {comment} nine zero nine four zero zero three {comment} zero one five eight {comment} one seven three five three {comment} two six eight zero{comment} three six two four three zero seven {comment} four {comment} five zero six nine four {comment} seven four {comment} eight five seven {comment} nine six one five {comment} O seven eight O two{comment} zero nine six zero four zero zero {comment} one {comment} two {comment} Uh {disfmarker} Yeah , you don't actually n need to say the name .Grad C: OK , {vocalsound} this is Barry Chen and I amreading transcriptProfessor F: That 'll probably be bleeped out .Grad C: OK .Professor F: So . That 's if these are anonymized , but {vocalsound} Yeah {disfmarker}Grad C: Oh . {comment} OK .Professor F: uh{disfmarker} I mean {disfmarker} not that there 's anything defamatory about uh {disfmarker} eight five seven or {vocalsound} or anything , butGrad C: OK .Professor F: Uh , anyway . Uh {disfmarker} so here 'swhat I have for {disfmarker} I {disfmarker} I was just jotting down things I think th w that we should do today . Uh {disfmarker} This is what I have for an agenda so far Um , We should talk a little bit about the plansfor the uh {disfmarker} the field trip next week . Uh {disfmarker} a number of us are doing a field trip to uh Uh {disfmarker} OGI And uh {disfmarker} mostly uh First though about the logistics for it . Then maybelater on in the meeting we should talk about what we actually you know , might accomplish . Uh {disfmarker}Grad C: OK .Professor F: Uh , in and {pause} kind of go around {disfmarker} see what people have beendoing {disfmarker} talk about that , {pause} a r progress report . Um , Essentially . Um {disfmarker} And then uh {disfmarker} Another topic I had was that uh {disfmarker} uh {disfmarker} Uh {disfmarker} Davehere had uh said uh \" Give me something to do . \" And I {disfmarker} I have {disfmarker} I have uh {disfmarker} failed so far in doing that . And so maybe we can discuss that a little bit . If we find some holes in somethings that {disfmarker} that {disfmarker} someone could use some help with , he 's {disfmarker} he 's volunteering to help .PhD A: I 've got to move a bunch of furniture .Professor F: OK , always count on a{vocalsound} serious comment from that corner . So , um , uh , and uh , then uh , talk a little bit about {disfmarker} about disks and resource {disfmarker} resource issues that {disfmarker} that 's starting to getworked out . And then , anything else anybody has that isn't in that list ? Uh {disfmarker}Grad D: I was just wondering , does this mean the battery 's dying and I should change it ?Professor F: Uh I think that meansthe battery 's O K . {disfmarker}PhD A: Let me see .Professor F: d {disfmarker} do youGrad D: Oh OK , so thPhD A: Yeah , that 's good . You 're alright ?Grad D: Cuz it 's full .Professor F: Yeah . Yeah .Grad D: Alright.Professor F: Yeah . Yeah . It looks full of electrons . OK . Plenty of electrons left there . OK , so , um , uh . OK , so , uh , I wanted to start this with this mundane thing . Um {disfmarker} Uh {disfmarker} I {disfmarker}I {disfmarker} it was {disfmarker} it was kind of my bright idea to have us take a plane that leaves at seven twenty in the morning .Grad C: Oh , yeah , that 's right .Professor F: Um . Uh {vocalsound} this is uh{disfmarker} The reason I did it uh was because otherwise for those of us who have to come back the same day it is really not much of a {disfmarker} of a visit . Uh {disfmarker} So um the issue is how {disfmarker}how {disfmarker} how would we ever accomplish that ? Uh {disfmarker} what {disfmarker} what {disfmarker} what part of town do you live in ?Grad C: Um , I live in , um , the corner of campus . The , um , southeastcorner .Professor F: OK . OK , so would it be easier {disfmarker} those of you who are not , you know , used to this area , it can be very tricky to get to the airport at {disfmarker} at uh , you know , six thirty . Um . So. Would it be easier for you if you came here and I drove you ? Yeah ? Yeah , yeah , OK .PhD G: Yeah , perhaps , yeah .Grad C: Yeah . Sure .PhD E: Yeah .Professor F: OK , so if {disfmarker} if everybody can get hereat six .PhD E: At six .Professor F: Yeah , I 'm afraid we need to do that to get there on time .Grad C: Six , OK .Professor F: Yeah , so . Oh boy . Anyway , so .PhD A: Will that {pause} be enough time ?Professor F: Yeah .Yeah , so I 'll just pull up in front at six and just be out front . And , uh , and yeah , that 'll be plenty of time . It 'll take {disfmarker} it {disfmarker} it {disfmarker} it won't be bad traffic that time of day and{disfmarker} and uhPhD A: I guess once you get past the bridge {pause} that that would be the worst .PhD B: Yeah , Oakland .Professor F: Going to Oakland .PhD A: Yeah .Grad C: Oakland .PhD A: Once you get pastthe turnoff to the {pause} Bay Bridge .Professor F: Bridge oh , the turnoff to the bridgePhD A: Yeah .Professor F: Won't even do that .PhD B: Yeah .Professor F: I mean , just go down Martin Luther King .PhD A: Yeah .OK . Mm - hmm .Professor F: And then Martin Luther King to nine - eighty to eight - eighty ,PhD A: Yeah .Professor F: and it 's {disfmarker} it 'd take us , tops uh thirty minutes to get there .PhD A: Oh , I{disfmarker}Professor F: So that leaves us fifty minutes before the plane {disfmarker} it 'll just {disfmarker} yeah . So Great , OK so that 'll It 's {disfmarker} I mean , it 's still not going to be really easy but{disfmarker} well Particularly for {disfmarker} for uh {disfmarker} for Barry and me , we 're not {disfmarker} we 're not staying overnight so we don't need to bring anything particularly except for {vocalsound} uh{disfmarker} a pad of paper and {disfmarker} {vocalsound} So , and , uh you , two have to bring a little bitGrad C: OK .Professor F: but uh {disfmarker} you know , don't {disfmarker} don't bring a footlocker and we'll be OK So .Grad C: s So just {disfmarker}Professor F: W you 're staying overnight . I figured you wouldn't need a great big suitcase , yeah .PhD G: Oh yeah . Yeah .Professor F: That 's sort of {pause} {vocalsound}one night . So . Anyway . OK .Grad C: So , s six AM , in front .Professor F: Six AM in front .Grad C: OK .Professor F: Uh , I 'll be here . Uh {disfmarker} I 'll {disfmarker} I 'll {disfmarker} I 'll {disfmarker} I 'll give youmy phone number , If I 'm not here for a few m after a few minutes thenGrad C: Wake you up .Professor F: Nah , I 'll be fine . I just , uh {disfmarker} it {disfmarker} for me it just means getting up a half an hourearlier than I usually do . Not {disfmarker} not {disfmarker} not a lot ,Grad C: OK . Wednesday .Professor F: so OK , that was the real real important stuff . Um , I {disfmarker} I {disfmarker} I figured maybe wait onthe potential goals for the meeting uh {disfmarker} until we talk about wh what 's been going on . So , uh , what 's been going on ? Why don't we start {disfmarker} start over here .PhD G: Um . {vocalsound} Well ,preparation of the French test data actually .Professor F: OK .PhD G: So , {vocalsound} it means that um , well , it is , uh , a digit French database of microphone speech , downsampled to eight kilohertz and I 've addednoise to one part , with the {disfmarker} actually the Aurora - two noises . And , @ @ so this is a training part . And then {pause} the remaining part , I use for testing and {disfmarker} with other kind of noises . Sowe can {disfmarker} So this is almost ready . I 'm preparing the {disfmarker} the HTK baseline for this task . And , yeah .Professor F: OK Uh , So the HTK base lines {disfmarker} so this is using mel cepstra and so on ,or {disfmarker} ? Yeah . OK .PhD G: Yeah .Professor F: And again , I guess the p the plan is , uh , to uh {disfmarker} then given this {disfmarker} What 's the plan again ?PhD G: The plan with {pause} these data?Professor F: With {disfmarker} So {disfmarker} So {disfmarker} Does i Just remind me of what {disfmarker} what you were going to do with the {disfmarker} what {disfmarker} what {disfmarker} what{disfmarker} what 's {disfmarker} y You just described what you 've been doing . So if you could remind me of what you 're going to be doing .PhD G: Yeah .Professor F: Oh , this is {disfmarker} yeah , yeah .PhD G:Uh , yeah .Grad C: Tell him about the cube .PhD G: Well . The cube ? I should tell him about the cube ?Grad C: Yeah .Professor F: Oh ! Cube . Yeah .PhD G: Yeah .PhD E: Fill in the cube .PhD G: Uh we {disfmarker}actually we want to , mmm , Uh , {vocalsound} uh , analyze three dimensions , the feature dimension , the {pause} training data dimension , and the test data dimension . Um . Well , what we want to do is first wehave number for each {pause} uh task . So we have the um , TI - digit task , the Italian task , the French task {pause} and the Finnish task .Professor F: Yeah ?PhD G: So we have numbers with {pause} uh{disfmarker} systems {disfmarker} I mean {disfmarker} I mean neural networks trained on the task data . And then to have systems with neural networks trained on , {vocalsound} uh , data from the same language ,if possible , with , well , using a more generic database , which is phonetically {disfmarker} phonetically balanced , and . Um .Professor F: So - so we had talked {disfmarker} I guess we had talked at one point aboutmaybe , the language ID corpus ?PhD G: Yeah . So .Professor F: Is that a possibility for that ?PhD G: Ye - uh {disfmarker} {pause} Yeah , but , uh these corpus , w w there is a CallHome and a CallFriend also , TheCallFriend is for language ind identification . Well , anyway , these corpus are all telephone speech . So , um . {vocalsound} This could be a {disfmarker} {pause} a problem for {disfmarker} Why ? Because uh , uh ,the {disfmarker} the SpeechDat databases are not telephone speech . They are downsampled to eight kilohertz but {disfmarker} but they are not {vocalsound} uh with telephone bandwidth .Professor F: Yeah . That 'sreally funny isn't it ? I mean cuz th this whole thing is for {pause} developing new standards for the telephone .Grad C: Telephone .Professor F: Yeah .PhD G: Yeah , but the {disfmarker} the idea is to compute thefeature before {pause} the {disfmarker} before sending them to the {disfmarker} Well , {pause} you don't {disfmarker} do not send speech , you send features , computed on th the {disfmarker} {pause} the device,Professor F: Mm - hmm . Yeah , I know , but the reason {disfmarker}PhD G: or {disfmarker} Well .Professor F: Oh I see , so your point is that it 's {disfmarker} it 's {disfmarker} it 's uh {disfmarker} the features arecomputed locally , and so they aren't necessarily telephone bandwidth , uh or telephone distortions .PhD G: So you {disfmarker} Yeah . Yeah .PhD A: Did you {pause} happen to find out anything about the OGImultilingual database ?Professor F: Yeah , that 's wh that 's wh that 's what I meant .PhD G: Yeah , it 's {disfmarker}Professor F: I said {disfmarker} @ @ , there 's {disfmarker} there 's {disfmarker} there 's an OGIlanguage ID , not the {disfmarker} not the , uh {disfmarker} the CallFriend is a {disfmarker} is a , uh , LDC w thing , right ?PhD G: Yea - Yeah , there are also two other databases . One they call the multi - languagedatabase , and another one is a twenty - two language , something like that . But it 's also telephone speech .PhD A: Oh , they are ? OK .PhD G: Uh . Well , nnn .Professor F: But I 'm not sure {disfmarker}PhD G: So{disfmarker}Professor F: I mean , we ' r e e The bandwidth shouldn't be such an issue right ? Because e e this is downsampled and {disfmarker} and filtered , right ? So it 's just the fact that it 's not telephone . Andthere are so many other differences between these different databases . I mean some of this stuff 's recorded in the car , and some of it 's {disfmarker} I mean there 's {disfmarker} there 's many different acousticdifferences . So I 'm not sure if {disfmarker} . I mean , unless we 're going to include a bunch of car recordings in the {disfmarker} in the training database , I 'm not sure if it 's {disfmarker} completely rules it outPhDG: Yeah .Professor F: if our {disfmarker} if we {disfmarker} if our major goal is to have phonetic context and you figure that there 's gonna be a mismatch in acoustic conditions does it make it much worse f to sort ofadd another mismatch , if you will .PhD G: Mmm .Professor F: Uh , i i I {disfmarker} I guess the question is how important is it to {disfmarker} for us to get multiple languages uh , in there .PhD G: Yeah , but{disfmarker} Mm - hmm . {vocalsound} Um . Yeah . Well , actually , for the moment if we w do not want to use these phone databases , we {disfmarker} we already have uh {disfmarker} English , Spanish and Frenchuh , with microphone speech . Professor F: Mm - hmm . Yeah .PhD G: So .Professor F: So that 's what you 're thinking of using is sort of the multi the equivalent of the multiple ?PhD G: Well . Yeah , for the multilingualpart we were thinking of using these three databases .Professor F: And for the difference in phonetic context {pause} that you {disfmarker} ? Provide that .PhD G: Well , this {disfmarker} Uh , actually , these threedatabases are um generic databases .PhD E: Yeah .PhD G: So w f for {disfmarker} for uh Italian , which is close to Spanish , French and , i i uh , TI - digits we have both uh , digits {pause} training data and also{pause} more general training data . So . Mmm .Professor F: Well , we also have this Broadcast News that we were talking about taking off the disk , which is {disfmarker} {vocalsound} is microphone data for{disfmarker} for English .PhD G: Yeah . Yeah , perhaps {disfmarker} yeah , there is also TIMIT .Professor F: Yeah .PhD G: We could use TIMIT .Professor F: Right . Yeah , so there 's plenty of stuff around . OK , soanyway , th the basic plan is to , uh , test this cube . Yes .PhD G: Yeah .PhD E: To fill in the cube .Professor F: To fill i fill it in , yeah . OK .PhD G: Yeah , and perhaps , um {disfmarker} {pause} We were thinking thatperhaps the cross - language issue is not , uh , so big of a issue . Well , w w we {disfmarker} perhaps we should not focus too much on that cross - language stuff . I mean , uh , training {disfmarker} training a net on alanguage and testing a for another language .Professor F: Uh - huh . But that 's {disfmarker}PhD G: Mmm . Perhaps the most important is to have neural networks trained on the target languages . But , uh , with ageneral database {disfmarker} general databases . u So that th Well , the {disfmarker} the guy who has to develop an application with one language can use the net trained o on that language , or a generic net,Professor F: Uh , depen it depen it depends how you mean \" using the net \" .PhD G: but not trained on a {disfmarker}Professor F: So , if you 're talking about for producing these discriminative features {pause} thatwe 're talking about {pause} you can't do that .PhD G: Mmm .Professor F: Because {disfmarker} because the {disfmarker} what they 're asking for is {disfmarker} is a feature set . Right ? And so , uh , we 're the oneswho have been weird by {disfmarker} by doing this training . But if we say , \" No , you have to have a different feature set for each language , \" I think this is ver gonna be very bad .PhD G: Yeah .Grad C: Oh .PhD G:You think so .Grad C: That 's {disfmarker}PhD E: Oh .Professor F: So {disfmarker} Oh yeah .PhD G: Mmm .Professor F: Yeah . I mean , in principle , I mean conceptually , it 's sort of like they want a re @ @{comment} well , they want a replacement for mel cepstra .PhD G: Mmm .Professor F: So , we say \" OK , this is the year two thousand , we 've got something much better than mel cepstra . It 's , you know , gobbledy- gook . \" OK ? And so {vocalsound} we give them these gobbledy - gook features but these gobbledy - gook features are supposed to be good for any language .PhD G: Hmm .Professor F: Cuz you don't know who 'sgonna call , and you know , I mean so it 's {disfmarker} it 's {disfmarker} it 's , uh , uh {disfmarker} how do you know what language it is ? Somebody picks up the phone . So thi this is their image . Someone picks upthe phone , right ?PhD G: Well , I {comment} chh {disfmarker}Professor F: And {disfmarker} and he {disfmarker} he picks up the phPhD G: Yeah , but the {disfmarker} the application is {disfmarker} there is a targetlanguage for the application .Professor F: Yeah . y y yPhD G: So , if a {disfmarker}Professor F: Well . But , no but , y you {disfmarker} you pick up the phone ,PhD G: Well .Professor F: you talk on the phone ,PhD G:Yeah ?Professor F: and it sends features out . OK , so the phone doesn't know what a {disfmarker} what {disfmarker} what your language is .PhD G: Yeah , if {disfmarker} Yeah . If it 's th in the phone , but{disfmarker}Professor F: But that 's the image that they have .PhD G: well , it {disfmarker} that {disfmarker} that could be th at the server 's side ,Professor F: It could be ,PhD G: and , well . Mmm , yeah .Professor F:but that 's the image they have , right ? So that 's {disfmarker} that 's {disfmarker} I mean , one could argue all over the place about how things really will be in ten years . But the particular image that the cellularindustry has right now is that it 's distributed speech recognition , where the , uh , uh , probabilistic part , and {disfmarker} and s semantics and so forth are all on the servers , and you compute features of the{disfmarker} uh , on the phone . So that 's {disfmarker} that 's what we 're involved in . We might {disfmarker} might or might not agree that that 's the way it will be in ten years , but that 's {disfmarker} that 's{disfmarker} that 's what they 're asking for . So {disfmarker} so I think that {disfmarker} th th it is an important issue whether it works cross - language . Now , it 's the OGI , uh , folks ' perspective right now thatprobably that 's not the biggest deal . And that the biggest deal is the , um envir acoustic - environment mismatch . And they may very well be right , but I {disfmarker} I was hoping we could just do a test anddetermine if that was true . If that 's true , we don't need to worry so much . Maybe {disfmarker} maybe we have a couple languages in the training set and that gives us enough breadth uh , uh , that {disfmarker} that{disfmarker} that the rest doesn't matter . Um , the other thing is , uh , this notion of training to uh {disfmarker} which I {disfmarker} I guess they 're starting to look at up there , {comment} training to somethingmore like articulatory features . Uh , and if you have something that 's just good for distinguishing different articulatory features that should just be good across , you know , a wide range of languages .PhD G: Yeah.Professor F: Uh , but {disfmarker} Yeah , so I don't th I know {disfmarker} unfortunately I don't {disfmarker} I see what you 're comi where you 're coming from , I think , but I don't think we can ignore it .PhD G: Sowe {disfmarker} we really have to do test with a real cross - language . I mean , tr for instance training on English and testing on Italian , or {disfmarker} Or we can train {disfmarker} or else , uh , can we train a neton , uh , a range of languages and {disfmarker} which can include the test {disfmarker} the test @ @ the target language ,Grad C: Test on an unseen .PhD G: or {disfmarker}Professor F: Yeah , so , um , there 's{disfmarker} there 's , uh {disfmarker} This is complex . So , ultimately , uh , as I was saying , I think it doesn't fit within their image that you switch nets based on language . Now , can you include , uh , the{disfmarker} the target language ?PhD G: Yeah .Professor F: Um , from a purist 's standpoint it 'd be nice not to because then you can say when {disfmarker} because surely someone is going to say at some point , \"OK , so you put in the German and the Finnish .PhD G: Mmm .Professor F: Uh , now , what do you do , uh , when somebody has Portuguese ? \" you know ? Um , and {disfmarker} Uh , however , you aren't{disfmarker} it isn't actually a constraint in this evaluation . So I would say if it looks like there 's a big difference to put it in , then we 'd make note of it , and then we probably put in the other , because we have somany other problems in trying to get things to work well here that {disfmarker} that , you know , it 's not so bad as long as we {disfmarker} we note it and say , \" Look , we did do this \" .PhD G: Mmm ?PhD A: And so ,ideally , what you 'd wanna do is you 'd wanna run it with and without the target language and the training set for a wide range of languages .Professor F: Uh . Yeah .PhD G: Yeah , perhaps . Yeah .PhD A: And that way"}
+{"doc_id":"doc_114","qid":"","text":"Lynne Neagle AM: Good afternoon, everyone. Welcome to the first virtual meeting of the Children, Young People and Education Committee. In accordance with Standing Order 34.19, I determine that the public areexcluded from the committee's meeting, in order to protect public health. In accordance with Standing Order 34.21, notice of this decision was included in the agenda for this meeting, which was published last Friday.This meeting is, however, being broadcast live on Senedd.tv, with all participants joining via video conference. A record of the proceedings will be published as usual. Aside from the procedural adaptation relating toconducting proceedings remotely, all other Standing Order requirements for committees remain in place. The meeting is bilingual, and simultaneous translation from Welsh to English is available. Can I remind allparticipants that the microphones will be controlled centrally, so there's no need to turn them on and off individually? Can I ask whether there are any declarations of interest, please? No. Okay. Thank you. Can I justthen, again, note for the record that, if, for any reason, I drop out of the meeting, the committee has agreed that Dawn Bowden AM will temporarily chair while I try to rejoin? Item 2, then, this afternoon is an evidencesession with the Welsh Government on the impact of the coronavirus epidemic on education in Wales. I'm very pleased to welcome Kirsty Williams AM, Minister for Education, Steve Davies, director of the educationdirectorate, and Huw Morris, who is group director, skills, higher education and lifelong learning. Can I welcome you all and thank you for attending? Minister, I understand you'd like to make a short openingstatement.Kirsty Williams AM: Thank you very much, Lynne. And indeed, if I could just begin by, once again, putting on the record my gratitude to everyone who is helping us get through this pandemic. There are avast number of people who are keeping our school hubs open, looking after vulnerable children, and the children of key workers. Because of them, and their efforts, those key workers are able to carry on their criticalroles in responding to COVID-19. I am extremely proud of the way that members of the school community have gone above and beyond. They have kept their schools open out of hours, over the weekends, on bankholidays, and Easter. And it is really heartening and humbling to see the way that they have responded to this crisis. And there are teachers, teaching assistants, and many others, who are helping our children and theirparents to keep learning at home. I know that home schooling isn't easy, so I want to say also thank you to parents and carers for their efforts at this time. By keeping their children at home, they are helping us to keeppeople safe, and reducing pressure on our education system, and on our NHS. Be in no doubt, we are facing many challenges because of this pandemic. My primary concern is, and always will be, the health andwell-being of our children, of our young people, and of all the staff in our education settings. And I am very grateful to everyone who is supporting us in these endeavours. Thank you very much—diolch yn fawr. And I'mnow happy to answer questions that members of the committee may have this afternoon.Lynne Neagle AM: Thank you very much, Minister. I'm sure that the committee echoes the heartfelt thanks you have just giventhen. The first questions we've got this afternoon are from Hefin David.Hefin David AM: Good afternoon, Minister. With regard to your five principles, which you've set out today, regarding when schools will reopen,they're very clear that they require a judgment from you. So could you outline when you think that schools might reopen?Kirsty Williams AM: Thank you, Hefin. I am very clear that schools will move to a newphase—because, already, schools are open in many settings; we will move to a new phase when it is safe to do so and when I have advice from the chief medical officer and the chief scientific officer that it is safe to doso. I have made very clear in my statement that that is not imminent. I know that in some cases there has been speculation that a return to normal could be with us quite shortly. I'm clear that a return to normal is notimminent, and therefore I'm not in a position to give a date as to when we will see more schools opening up to more children.Hefin David AM: Have you been given any indication at all by the chief medical officer as towhen, in the longer term, it might be?Kirsty Williams AM: No, I have not been given a date. What I have done today is publish the principles that will aid me in, as you said, me making a decision. So, clearly, we will berelying on the advice of our medical and scientific advisers, but the principles are very clear. Firstly, we will need to consider any decision to have more children returning to school in the context of the safety and thephysical and the emotional well-being of children and young people and the staff. Obviously, I can't make a decision regarding education in isolation. It will have to be taken in the context of the wider WelshGovernment response to dealing with this pandemic. Thirdly, it is absolutely crucial in making any decisions that we have clearly communicated that to parents and to staff, on the information that we have used toreach any decisions, to build confidence for parents and professionals, but also to give them time to plan. It will be impossible to move quickly to new ways of working. And we also have to look at—and it's beenparaphrased quite a lot today—if we are looking at certain groups of children accessing more education within a school setting, which groups they should be. And, finally, how do we operationalise that? How do we makethose settings as safe as they possibly can be, and how do we tackle some of the difficult challenges of everything from ensuring that we have adequate numbers of workforce available, to the very real questions abouthow you would do social distancing in the context of education, school transport issues, how you would avoid people gathering at the school gate, for instance? So, there are very practical issues that would need to beconsidered and thought through very, very carefully before we could return, before what we could see is a move from where we are now to the next phase of education, and new approaches to what schooling may looklike. But, again, I must be absolutely clear to you, members of the committee, and to people watching: it is not feasible, in this sense, that we would move from where we are now to what all of us would regard asnormal education and what the operation of schools looked like before the start of this pandemic.Hefin David AM: So, what is clear from what you've said is that it's going to be phased return. I would assume that wouldbe the most vulnerable—perhaps additional learning needs pupils would return first. Just reading some of the things that you've said today, can you answer that question? And can I also ask: you said that guidingprinciple No. 3 will be having the confidence of parents, staff and students, based on evidence and information, so they can plan ahead. What will that evidence and information be, and how will you know that you've gotthe confidence of parents to return?Kirsty Williams AM: Well, as I said, primarily, we will need to take a lead from our scientific and medical advisers. I want to also say that we are obviously working on a four-nationbasis and keeping in very close contact with my counterparts in Northern Ireland, Scotland and England. But we're also looking beyond the United Kingdom to approaches to education in the face of this pandemic.Members are aware that we as a nation are a member of the Atlantic Rim Collaboratory. So, recently I was able to talk to educationalists and Ministers in Iceland, other parts of Europe, North America, South Americaand Australia. So, we're also looking at best international evidence in this regard. And, clearly, we will need to be very clear, as today is an attempt to be very clear with parents and our teaching professionals, and theunions that represent them, about the basis of that evidence.Hefin David AM: And could I just ask, with regard to the principles, do they then apply to further education and universities?Kirsty Williams AM: Well, ofcourse, when we are discussing these challenges, we are doing that with our colleagues in both the school sector but also our colleagues in the FE sector, and we're in close contact with colleagues in higher education toshare thinking on these matters.Hefin David AM: But these principles don't apply in those circumstances; these are principles for schools only.Kirsty Williams AM: These principles are applying to both, and our work inthis area is applying to both schools and FE colleges. Clearly, universities, as independent institutions, we wouldn't be able to dictate to. But I want to be absolutely clear: we are working with representatives of the HEsector to include them in this work. And I have received, not assurances, but from discussions that I've had with Universities Wales and vice-chancellors, they are very keen to be kept apprised of these approaches,because they may well wish to implement something similar within their own institutions.Lynne Neagle AM: Okay. I've got a couple of supplementaries now; firstly, from Suzy Davies, and then I'm going to go to SiânGwenllian. Suzy. No, we can't hear Suzy. Suzy? No. I'll go to Siân, then, and then I'll come back to Suzy. Siân.Hefin David AM: Chair, I don't think my microphone is muted.Sian Gwenllian AM: Okay. I'll move on to myquestion to Kirsty Williams. Now, it is clear that any decisions that need to be taken on reopening schools would have to be made in the context of all of the other issues that the Welsh Government has to take intoaccount. And it is entirely clear that the approach of Government towards testing hasn't been sufficiently developed for us to even start to think about removing restrictions. So, wouldn't it be dangerous, if truth be told,to start to discuss reopening schools when we haven't had the necessary testing in place for the majority of the population? And doesn't it convey a mixed message that we're starting to relax some of these restrictionswhen, in reality, the restrictions are still in place and still need to be in place robustly?Kirsty Williams AM: First of all, thank you very much, Siân, for that important question. Can I be absolutely clear, and I thought Ihad been pretty clear in answering Hefin David, that we are not relaxing any of the restrictions with regard to education? As I said to Hefin, it is not imminent that we would see a further phase in the next stage ofeducation here in Wales. What I have done today is to provide clarity on the nature of the principles that I would use when coming to any discussion. It is the responsibility of me, as the Minister, and indeed of the widerGovernment, to begin to think about planning for the future. But I have been absolutely clear: we are not moving to an imminent change in how education is operating at the moment. And I'm also very, very clear thatshould we be given the opportunity to see more children in our schools, I will only do that when it is safe for me to do so, when I've been advised by the CMO that I am able to do that, and we have given sufficient timeand planning to the sector to respond. It is not going to be easy, and we will need to give them, as a sector, time to be able to address. But if I have not been clear enough, let me say it again: we are not relaxing anyissues around schools at present, nor is that imminent.Lynne Neagle AM: Thank you. Suzy, I think we can try going to you again now.Suzy Davies AM: Thank you. Minister, in your consideration of introducing a phasedreturn to school, in due course, have you taken into consideration how things like school absences are going to be managed? Because, regardless of the amount of good work you do on messaging, there will still besome families that don't realise that going back to school is for their particular family. Will there be a relaxation of, effectively, what we would call truancy rules? Or is that something that schools will be getting guidanceon much up-front?Kirsty Williams AM: Thank you, Suzy. As I said in my statement earlier today, returning to school will not be a return to normal, and in recognition of this, I've already made it clear that I will seek, inall opportunities, to reduce the burdens on school. That includes various data collection, the suspension of performance measures and removing the requirement to undertake literacy and numeracy testing, and, clearly,school attendance will want to be an important factor of that.Lynne Neagle AM: Okay. Thank you. I'm keen to go on now to talk about the current situation as being faced by our children and young people in schoolswith some questions from Siân Gwenllian. Siân.Sian Gwenllian AM: Since yesterday, the Welsh Government has started publishing data on the number of schools that are open, the number of children attending thoseschools, and the number of staff involved, and they have been making this information available as per capita of the population. On average, I think it's 1 per cent of the children of Wales that actually attend theselocations, and some 5 per cent of the staff. So, can you analyse those figures a little further? Can you tell us how many children, according to this data, are children of key workers, and how many are vulnerablechildren?Kirsty Williams AM: Thank you very much, Siân. As you quite rightly say, on average, we have 518 school hubs open each day, with up to 4,200 children attending. We have seen an increase in the number ofattendances since the start of what would have been the traditional summer term. We have approximately 5.6 per cent of the teaching population working in those hubs, and at present, 85 per cent of the children whoare attending are the children of key workers, the remainder being vulnerable children. So, we are now averaging 600 vulnerable children per day. These are small numbers, but we have seen an increase in thosenumbers since the start of what would have been the traditional summer term.Sian Gwenllian AM: Okay. I'm sure we'll return to that point a little later on. How much confidence do you therefore have that thearrangements are effective in terms of the safety of staff and children at these locations?Kirsty Williams AM: Thank you once again for that. The smooth operation of the hubs, with regard to health and safety, is, ofcourse, of paramount importance. What we have seen since schools closed for traditional statutory purposes and moving to their repurposed function—we have seen a change of pattern over time. So, following myannouncement on, I believe, 18 March, the week after, we saw a large number of settings open and operating. As local authorities have been able to understand the demand for those places—from critical workers andvulnerable children—we have seen more local authorities move to a hub model, and we have been able to publish guidance to local authorities on how issues around safe working in those hubs should be followed, andwe've been able to give guidance in that regard. Local authorities are asked by us to report any incidents where they are concerned about operation issues on the ground.Sian Gwenllian AM: As I mentioned earlier,testing is crucially important in dealing with this crisis. So, how many school staff have been tested for COVID because they may have experienced symptoms and so on? And how many of those have testedpositive?Kirsty Williams AM: My understanding from Public Health Wales is that 15 teachers have been tested for COVID-19, and I believe two of those results have come back as positive. Can I make it absolutely clear,the week before last, Welsh Government issued new guidance around who should be tested? I want to make it absolutely clear to those professionals working in our hubs, if they or a member of their family areexhibiting any of the symptoms, however mild, of COVID-19, they can and they should be tested.Sian Gwenllian AM: Okay. And the final question from me on this: how important is testing going to be in this nextphase, as you start to think about relaxing restrictions?Kirsty Williams AM: Obviously, the ability to be able to test, to trace and to quarantine will be critical to the next phase and will be a very, very important andsignificant building block in all aspects of the Government's work to respond to this pandemic.Lynne Neagle AM: Okay. Thank you, Minister, and thank you, Siân. We've got some questions now on the impact onparticular groups of children, from Dawn Bowden.Dawn Bowden AM: Thank you, Chair. Just following on from your answer to Siân Gwenllian earlier about the number of vulnerable children in school, what's being donespecifically to facilitate more of those children coming into a school setting or hub at the moment? I'm thinking about the 600 you've talked about, and I know, in one of my local authority areas of Merthyr, which is avery small authority, we're talking about the number of children identified as vulnerable running into thousands, not hundreds, and that's just in one authority. So, this is a particularly difficult issue to address, Iappreciate, but how are we going to get more of these children into the hubs?Kirsty Williams AM: Okay, Dawn. The first thing to say is that the issue of vulnerable children attending settings is one that is a challenge tonot just Wales, but also to my colleagues in Northern Ireland, Scotland and England. I'm pleased to say that we are working across Government departments—myself, obviously, and colleagues in education—withcolleagues in social services to have a cross-Government approach to these issues. I think the first thing to say is that these are complex messages, because the overriding public health message from our Governmenthas been to stay at home and children should be kept at home as much as possible, and to make sure that our hubs run smoothly, safely and effectively, we do need to limit the number of children who are attendingthose hubs. So, firstly, the fact that numbers are small is in some ways a success of our public health messages, because parents have been heeding those messages, but, of course, all of us will have concerns for somechildren who remain at home. So, I'm pleased to say that we have seen a doubling in the last week of the number of children. So, although numbers are small, they have doubled over the course of the last week. We'reworking with local authorities and they have assured us that children and young people with a social worker have been risk assessed on a multi-agency basis and are receiving support in a number of ways, and thatincludes having conversations about some of those children attending the hubs. They're also looking to support in other ways. Of course, some of our children who would be classed as vulnerable—and our definition of'vulnerable' is one that is shared between the systems in England and Wales—could be children with a statement of special educational needs. For some of those children who, perhaps, have very intense health needs,actually, staying at home is the appropriate thing for that child and that family to do, and we're looking to support families, and local authorities and local education systems are looking to support families, in a numberof ways. We also know that just because you don't have a social worker or a statement of special educational needs does not mean that a child may not be vulnerable, and schools are very aware of the needs of thosechildren and have been carrying out regular telephone check-ins where they can—if the age of the child is appropriate—just to keep in touch with those families and those individual children. But we will continue to workacross Government to encourage, where it is appropriate, children to attend settings, and, if it is not appropriate for children to be in a setting, that there is contact with those children and young people to ensure thatthey remain, and their families remain, supported.Dawn Bowden AM: Thank you, Minister. It's encouraging to hear you talk about the ongoing safeguarding of children that are at home and I assume, within that,appropriate referral mechanisms are still in place if teachers or anybody has any particular concern about a child. Similarly, with special educational needs, whereas some of those children benefit clearly from aone-to-one provision in a school, and they may not respond as well to remote working, or remote contact, with an SEN advisor, are you considering in any way any relaxation of the lockdown rule in particular for thosechildren in terms of them being able to access the support that they need for their particular educational needs?Kirsty Williams AM: Well, first of all, Dawn, you're absolutely right: my expectation is that schools shouldremain in contact with children and continue to identify vulnerable children, and schools should continue to refer children to children's services if they have any concerns, and that would also, of course, be the case for"}
+{"doc_id":"doc_115","qid":"","text":"Lynne Neagle AM: Good morning, everyone, and welcome to this morning's Children, Young People and Education Committee. We've received no apologies for absence. Can I ask Members who are present if they wishto declare any interests? Okay, thank you. Item 2 this morning is our final evidence session for our inquiry into targeted funding to improve educational outcomes. I'm very pleased to welcome Kirsty Williams AM,Cabinet Secretary for Education; Steve Davies, director of the education directorate; and Ruth Conway, deputy director, support for learners division. Welcome to all of you, and thank you for your attendance and alsofor the paper that you've provided in advance. If you're happy, we'll go straight into questions, and the first questions are from Llyr Gruffydd.Llyr Gruffydd AM: Bore da. I just want to start by asking some questionsaround the targeting of the pupil development grant because, clearly, we've had a lot of evidence around this apparent blurring of eligibility to an extent. I'm just wondering how comfortable you are that the money isbeing targeted appropriately because, clearly, it's being targeted more widely than just those eligible for free school meals, from some of the evidence we've had, but also that it seems to be predominantly focused onlow-attaining frees—pupils who are eligible for free school meals.Kirsty Williams AM: Thank you, Llyr. I think it's important to be absolutely clear that when it comes to individual interventions, those individualinterventions should only be targeted at those children who are eligible for free school meals. But in some cases, schools may use their PDG funding to provide a universal intervention, but we would want to—inchallenge advisers' discussions in schools—we'd want to have evidence that that universal intervention would have a disproportionate effect on the outcomes for children on free school meals. So, for instance, if I giveyou an example in your own region, Llyr: at Brynteg County Primary School in Wrexham, if you look at that primary school in Wrexham, their results for free-school-meal children at the end of their primary schoolperiod in school are equivalent to their non-free-school-meal counterparts. So, there is no differentiation in those results. One of the things that they've used their PDG for is to really focus on the concept of growthmindset in school. So, that's a universal thing that they've trained all the teachers in, but what we know is that that has a disproportionate effect on those children who are on free school meals. So, if you're familiarwith the concept of a growth mindset, it's about really challenging learners to think that, 'I can do things. If sometimes I fail, I pick myself up, I'm more resilient.' Now, that has been, as I said, trained to all the teachersin the school—it's an ethos for the whole school—but we have seen that the impact on the free-school-meal children has been even greater, and now they're at the same level. So, that's the important distinction.Individual intervention per child has to be targeted at those children who are eligible for free school meals, but sometimes a school will employ a whole-school approach to train their staff, for instance, and that, then,has to demonstrate it has a disproportionate effect on free school meals. So, growth mindset; it may be attachment disorder training for staff, for instance, where we know it's of benefit to everybody, but will haveparticular benefits for that cohort of students. With regard to more able and talented, you know, Llyr, that this is an area of concern for me, generally, within the Welsh education system; that we've not been particularlygood at identifying, supporting and driving attainment for those children. I'm absolutely clear that PDG needs to be used for those children who are eligible to drive potential, whatever the potential of that child is,including more able and talented. And again, I'll give you an example that has been seen as good practice in Pembrokeshire: a window on the world bus, again paid for by schools. I don't know if you're aware of it.LlyrGruffydd AM: We've heard about that.Kirsty Williams AM: Oh, you've heard about it; well, it's a really good example the window on the world. And, again, that's very much targeted at raising aspirations and givingchildren who are more able and talented, who are eligible for PDG, those experiences, and to really push them. So, yes, I'm absolutely clear that PDG shouldn't just be seen to be getting individuals to the average. Forthose children who are more able and talented, it should be used to support them—Llyr Gruffydd AM: And we all share those aspirations, I'm sure, and you pointed to examples of good practice, but of course, it's notuniversal, is it, so what I'm asking is: do you think that the guidance is sufficient as it is? Do you think that there's a great enough awareness of how the PDG should be used at the coalface? And also, are you confidentthat consortia and others have the measures in place to be able to demonstrate that it is being used properly?Kirsty Williams AM: I think, if we look at what Estyn has said about PDG, it does actually recognise that thePDG is being used to push more able and talented children, but as always with the system, Llyr, it's whether we can be sure that that is strategic and that it's happening across all of our schools. So, you're—LlyrGruffydd AM: But not just in relation to more able and talented, I'm referring to the eligibility and the targeting.Kirsty Williams AM: Oh, the eligibility. You'll be aware that, on the advice of Sir Alasdair, we haveemployed and appointed new PDG regional advisers, and I think their role is going to be absolutely crucial in spreading that good practice across the region, whether that's use of PDG for more able and talented, orensuring that PDG is used in the appropriate way. So, that's there to provide strategic overall advice. And obviously, we have been very clear with regional challenge advisers, in the relationship and the conversationsthey're having with individual schools, that they're really challenging their schools about the use of PDG, not just in terms of targeting, but the programmes, what the money is being spent on, whether there is anevidence base for that and whether we are clear on impact. So, I think the new regional advisers are going to be crucial in enabling us to ensure more consistent practice across the regions.Llyr Gruffydd AM: So, are youcontent that eligibility for free school meals is the best measure, really, of identifying which pupils to target?Kirsty Williams AM: Llyr, in the absence of anything better. I'll be the first person to say that maybe it's not asabsolutely focused, but in the absence of anything different to identify a proxy for need, I think it's probably the best that we've got at present. And we will continue to have discussions with local government aboutwhether there are different ways. We have to be mindful. Some of the policy levers in this area are out of my hands, so if we look at the roll-out of universal credit, for instance, we've got officials working very hard atthe moment to try and understand what universal credit is going to mean and where we are going to be able to identify relative need, going forward. We haven't had any additional resource as a result of this, but we'revery mindful that, potentially, this has an impact, going forward. And, officials are working all of the time, I must say, in conjunction with the department in England, to understand their thinking in this area so that weare in a position to make some decisions about what a notional eligibility for free school meals will look like going forward, but before I make any decisions, I want to assure everybody that there will be a full publicconsultation on that.Llyr Gruffydd AM: Okay. Finally for now, on this issue of once a year, in January, if you're eligible for free school meals, then you're in that group for that year. We've had some quite strong evidenceabout how difficult that makes longer term planning for a number of schools and we've also been pointed in the direction of what's happened in England with the Ever 6, and I'm just wondering whether you're giving anythought to maybe changing that a little bit.Kirsty Williams AM: Well, we're certainly giving thought to flexibility. In conversations with Alasdair, who is our independent adviser on this agenda, and individual schools,we're actively giving thought to greater flexibility and maybe longer term projections, so that schools know, for a number of years ahead, what their allocation will be. There are advantages to that system, because youcould give that flexibility, you could give that long-term approach, but then, how do you make that responsive if a school suddenly has more children? We do know that, actually, the number of free-school-meal pupils isdropping. But there can be changes, you know, regional working in areas of north Wales in tourism, or maybe in other areas at Christmas time, parents are able to get a period of work. So, how can we create a moreflexible system? We're actively looking at that at the moment. I wouldn't use it as an Ever 6 concept, but as an 'Ever 2' concept. We have looked at Ever 6, and I'm going to be absolutely blunt with you: to introduce anEver 6 concept for Wales would mean in the region of identifying an additional £40 million. I'm going to be absolutely straight and blunt with you: we're not in a position at the moment to be able to identify an additional£40 million to introduce an Ever 6. But issues around flexibility, certainly, are actively under consideration. In fact, we'll be having a discussion later on today about decisions, going forward, for the next two years.LlyrGruffydd AM: Thank you.Lynne Neagle AM: Darren on this.Darren Millar AM: It's just a very brief point in response to the £40 million price ticket that you just put on that. That's, of course, assuming that you maintainthe current level of PDG, yes? So, if you reduced the level of PDG slightly, but made it available to more individuals, if you like, via allocating it in a different way, then that £40 million price ticket wouldn't be there,would it?Kirsty Williams AM: I was asked a question about had I ever considered an Ever 6. We have looked at that, we've priced that up. I have to make decisions in the envelope of resources that are available to me.We could, indeed, change the way in which we allocate PDG money, but we have to do it within the envelope that is available to me, over £90 million. That's a significant level of investment, but, of course, as always,Darren, we could cut the amount per pupil, but that might have quite challenging swings in allocations. What we have done—because what I am clear on is that there was evidence to suggest that in the secondarysector, a great deal of PDG was being focused on years 10 and 11, especially year 11, in catch-up provision, and you'll be aware, because we've said this in evidence to the committee in the papers, we've set achallenge to secondary schools to say, 'Actually, the majority of your PDG allocation has to be used in key stage 3.' Now, we have to balance the needs, the moral hazard of turning round to children in years 10 and 11and saying, 'We're not going to provide catch-up opportunities for you,' because, clearly, those children need that support. But the evidence and the advice that we're receiving is: actually, strong focus on early years,primary and key stage 3, if we get that right, should negate the need for spending money on catch-up at years 10 and 11. That's why we, in our advice to local authorities and schools, say that we want to see evidencethat they're spending this money earlier on in a child's career, rather than just a scramble at year 11 to say, 'Right, we've got to get you through your exams.'Darren Millar AM: Okay, but have you actively considered,then, reducing the level you have?Kirsty Williams AM: We've—Ruth Conway: Sorry—I was just going to say that one of the things is looking at the scope of the definition, and I think it's about being more flexible withthe definition, rather than reducing the amount per head.Darren Millar AM: Okay. Thank you.Lynne Neagle AM: Thank you. If we can go on, then, to talk about some of the practical uses of the PDG, you write in yourwritten paper that 'the majority of schools are making well thought out and appropriate decisions' on how to use it. But Estyn reported that only two thirds of primary and secondary schools make effective use of thePDG. Given that we've had it now for six years, would you not have expected there to be a higher level of schools actually making good use of that funding?Kirsty Williams AM: Well, to flip it on its head, the vastmajority of schools, as identified by Estyn, are using this money to good effect. So, that's the way I like to see it—that the vast majority of schools are doing well. What Estyn has also indicated is the intrinsic link hereto leadership within individual schools, and as you'll be aware, leadership, improving capacity in leadership and developing leadership talent in the Welsh education system is a key priority for me in our national mission.Of course, that's being developed in a different work stream. I think what's fair to say is that the use of PDG is evolving over time. I think we are seeing, increasingly, more and more schools understanding how best todeploy that money for best effect for students. So, if we're honest, when PDG first started, I think, in some schools it was spent on investing in tracking of children, because they'd never thought about tracking thesechildren, they didn't have systems in place to look at the performance of these children, and to have a system in place. So we've moved now from spending money on the infrastructure around support for FSM childreninto actual inputs in terms of teaching and learning. We're also seeing from Estyn that, actually, in terms of money following the evidence of what we know works, Estyn says that PDG is probably the best example ofschools following tried and tested and evidence-based interventions to deploy the money. But clearly we want all of this money to be deployed as well as it can be, and again we come back to the decision I've made toappoint regional PDG advisers so that we can get that better consistency of approach. We are, in the discussions that I have with the regional consortia about how they challenge individual schools on usage, looking forvery clear evidence of schools using the Sutton Trust toolkit, and we could have a discussion about whether that's the right thing, because that's on my mind too. But we want to see schools demonstrating theirevidence base, and if they're not, if a school isn't doing that, okay, so demonstrate to us why you've made those decisions and, crucially, what are you doing as the school to judge whether that decision is actuallymaking a difference for your individual pupils. So, if you're moving away from tried and tested interventions, what we know works, if you're doing something different with your money, okay, you need to justify that andyou need to explain how you're going to demonstrate impact. But I think what we're seeing is increasing good practice in this area as the PDG develops and as our understanding of our school-to-school working in ourself-improving school system also develops. I think we're seeing better usage of the money year on year.Lynne Neagle AM: Thank you. Llyr on this.Llyr Gruffydd AM: You mentioned some schools will be moving fromthe tried-and-tested interventions, really, and I'm just wondering to what extent that evolution of use of PDG is being driven by cuts to core funding.Kirsty Williams AM: No, I don't think it's being driven by cuts to corefunding. I think there has been—. One of the biggest impacts of PDG has not been—well, I suppose it is the money in itself, because the money has concentrated the minds, hasn't it? So, one of the most importantthings that PDG has done is highlight the importance of this agenda within schools, and really raise this up in the thinking of leadership and senior management teams in our schools, and has driven a focus on scrutinyand accountability in the systems that are working with our schools. I think the changing use of PDG reflects the journeys that schools have been on, some of them from a very low base where this was not a priority forthem, to better understanding, and as research and as intelligence grows over time in this area, both in Wales and outside of Wales, schools are increasingly learning to use that evidence to tailor approaches in theirschools.Llyr Gruffydd AM: So you wouldn't accept at all that some of this money's being used to paper over some funding cracks from elsewhere. Because the unions and some others have told us that, whether we likeit or not, there is some of that going on.Kirsty Williams AM: As I said, Llyr, we're very clear about the usage that this money can be spent on in terms of individuals or universal application within schools, and that formsan important part of the checks and balances that we have in our system. Can we continue to improve, and ensure that more and more of our schools are employing best practice? Yes, we can, and as I've said, we'vetaken steps to put in place the infrastructure to support that.Lynne Neagle AM: Thank you. Mark's questions are next.Mark Reckless AM: Cabinet Secretary, how would you assess the impact of PDG on attendance andhopefully subsequent engagement with education from children who have free school meals?Kirsty Williams AM: I think what's important to note is that, as Estyn have themselves said, over the period of the lastinspection report, we have seen improvements in attendance, but I do think we need to, again, look at how PDG can support this particular agenda. And as always in the Welsh education system, there are someexcellent examples of how schools use the money to address this. Ysgol y Preseli in Pembrokeshire is a very good example of how they've deployed their money. Forgive me; I can't off the top of my head remember thename of the primary school I visited, again in north Wales, where the school has proactively used this money, and they actually send teaching assistants out of school in the morning before the start of the school day,and they actually have a walking bus. They call at homes for children, and they walk the children to the breakfast club. So, they're proactively going out into the community and making sure that those children are inthe classrooms, because the teacher said, 'We recognised we had a problem with attendance. We tried a variety of means of improving that, but in the end we have taken this quite bold step—we actually send the staffout and they create that walking bus, and they walk the children into school'. They say that they know that, for some of those children, because of the difficult circumstances they and their families are living in, theyprobably wouldn't be in school if it wasn't for that proactive approach. So, we're looking again at what more we can do to support this particular agenda in terms of improving attendance, because although, again, thereare examples of good practice, there is still a gap between the attendance of free-school-meal pupils and non-free-school-meal pupils. And, of course, we can have the best curriculum in the world with reallyhigh-quality teaching, but unless the children are in the classes then we're not going to make the difference for them. Whilst that differential exists, then it's going to be hard to close the attainment gap for thosechildren.Mark Reckless AM: I was actually quite shocked just reading in advance of this meeting that the proportion attending 95 per cent or more, who have pretty full attendance, was only 35 per cent forfree-school-meal children at level 4, compared to 60 per cent for non-free-school-meal pupils. It still is an extraordinary difference. My colleague here showed me, I think, last week, a graph showing the link betweenattendance and attainment, in particular. When people were absent, a lot of the—. As I'm sure you're aware, there's a huge connection. What more can PDG do to deal with it? In the example you give I can see how aschool with an awful lot of free-school-meal children could do that, but a lot of the free-school-meal children are actually in schools that don't have that high a proportion of free school meals, where it would be muchmore challenging to bring in that type of initiative.Kirsty Williams AM: Yes, indeed, and I think it gets more challenging the older the children get. I think it's more difficult to find interventions that are successful higherup, so key stage 4. So, you can do a walking bus with little ones, can't you, but I don't suppose your average 15 or 16-year-old is going to take very kindly to that. So, you do need a different approach to that. Butagain, we see in Ysgol y Preseli the employment of staff to directly work with families of older children to reinforce the messages around, as you quite rightly say, the linkage between attendance and attainment, andreally work with individual families to understand the barriers to attendance: what's going on in the family that is preventing that child from going to school, and what more can the school do to address those situations."}
+{"doc_id":"doc_116","qid":"","text":"Grad C: Hmm . Testing channel two .Grad E: Two , two . Grad C: Two .Grad E: Two . Oh .Grad D: Hello ?Grad B: Hmm ? Yeah Thank You . OK Well , so Ralf and Tilman are here .Professor F: OK . Great . Great .Grad B:Made it safely .Professor F: So the {disfmarker} what w we h have been doing i they would like us all to read these digits . But we don't all read them but a couple people read them .PhD A: OK .Professor F: Uh , wannagive them all with German accents today or {disfmarker} ?Grad B: Sure .Professor F: OK .Grad B: OK and the way you do it is you just read the numbers not as uh each single , so just like I do it .PhD A: Mm - hmm.Grad B: OK . First you read the transcript number . Turn .Grad D: OK , uh {disfmarker} What 's {disfmarker}Professor F: OK . Let 's be done with this .PhD A: OK .Professor F: OK . this is Ami , who {disfmarker} Andthis is Tilman and Ralf .PhD A: Hi . Uh - huh . Nice to meet you .Grad D: Hi .Professor F: Hi . OK . So we 're gonna try to finish by five so people who want to can go hear Nancy Chang 's talk , uh downstairs .PhD A:Hmm .Professor F: And you guys are g giving talks on tomorrow and Wednesday lunch times ,PhD A: Yes .Grad D: Mmm .Professor F: right ? That 's great . OK so , do y do you know what we 're gonna do ?Grad B: Ithought two things uh we 'll introduce ourselves and what we do . And um we already talked with Andreas , Thilo and David and some lines of code were already written today and almost tested and just gonna say wehave um again the recognizer to parser thing where we 're working on and that should be no problem and then that can be sort of developed uh as needed when we get {disfmarker} enter the tourism domain . em wehave talked this morning with the {disfmarker} with Tilman about the generator .PhD A: SGrad B: and um There one of our diligent workers has to sort of volunteer to look over Tilman 's shoulder while he is changingthe grammars to EnglishPhD A: Mm - hmm .Grad B: because w we have {disfmarker} we face two ways . Either we do a syllable concatenating um grammar for the English generation which is sort of starting fromscratch and doing it the easy way , or we simply adopt the ah um more in - depth um style that is implemented in the German system and um are then able not only to produce strings but also the syntactic parse uhnot parse not the syntactic tree that is underneath in the syntactic structure which is the way we decided we were gonna go because A , it 's easier in the beginningPhD A: Mm - hmm .Grad B: and um it does requiresome {disfmarker} some knowledge of {disfmarker} of those grammars and {disfmarker} and {disfmarker} and some ling linguistic background . But um it shouldn't be a problem for anyone .Professor F: OK So Thatsounds good . Johno , are you gonna have some time t to do that uh w with these guys ?Grad E: Sure .Professor F: cuz y you 're the grammar maven .Grad E: OK .Professor F: I mean it makes sense ,Grad E: Yeah.Professor F: doesn't it ? Yeah Good . OK . So , I think that 's probably the {disfmarker} the right way to do that . And an Yeah , so I {disfmarker} I actually wanna f to find out about it too , but I may not have time toget in .Grad B: the {disfmarker} the ultimate goal is that before they leave we {disfmarker} we can run through the entire system input through output on at least one or two sample things . And um and by virtue ofdoing that then in this case Johno will have acquired the knowledge of how to extend it . Ad infinitum . When needed , if needed , when wanted and so forth .Professor F: OK that sounds great .Grad B: And um also umRalf has hooked up with David and you 're gonna continue either all through tonight or tomorrow on whatever to get the er parser interface working .Grad D: Mmm .Grad B: They are thinning out and thickening outlattices and doing this kind of stuff to see what works best .Grad D: Mmm , yep .Professor F: Great . So , you guys enjoy your weekend ?PhD A: Yes , very much so .Grad D: Yeah , very muchProfessor F: OK , before{disfmarker} before you got put to work ?Grad D: YeahProfessor F: Great . OK , so that 's {disfmarker} Sort of one branch is to get us caught up on what 's going on . Also of course it would be really nice to know whatthe plans are , in addition to what 's sort of already in code .PhD A: Yes .Professor F: and we can d I dunno w w was there uh a time when we were set up to do that ? It probably will work better if we do it later in theweek , after {pause} we actually understand uh better what 's going on .PhD A: Yes .Grad D: Hmm .PhD A: Yeah .Professor F: So when do you guys leave ?PhD A: Um we 're here through Sunday ,Grad D: OhPhD A: soAll through Friday would be fine .Professor F: Oh , OK , so {disfmarker} OK , So {disfmarker} so anyt we 'll find a time later in the week to uh get together and talk about {pause} your understanding of what SmartKomplans are .PhD A: Mm - hmm .Professor F: and how we can change them .PhD A: Yes . Sure .Professor F: Uh ,Grad B: Should we already set a date for that ? Might be beneficial while we 're all here .Professor F: OK ?um What {disfmarker} what does not work for me is Thursday afternoon . I can do earlier in the day on Thursday , or {pause} um {pause} most of the time on Friday , not all .Grad B: Thursday morning sounds fine?Professor F: Wha - but , Johno ,PhD A: Mm - hmm .Professor F: what are your constraints ?Grad E: um Thursday afternoon doesn't work for me , but {disfmarker}Grad B: Neither does Thursday morning , no ?Grad E:Uh Thursday morning should be fine .PhD A: OK .Professor F: Eleven ? Eleven on Thursday ?Grad E: I was just thinking I w I will {pause} have {pause} leavened by eleven .Professor F: Right . Right . This is then out ofdeference to our non - morning people .PhD A: Mm - hmm . OK . So at eleven ?Grad D: Hmm .PhD A: Thursday around eleven ? OK .Professor F: Yeah . And actually we can invite um Andreas as well .Grad B: Uh he willbe in Washington , though .Professor F: Oh that 's true . He 's off {disfmarker} off on his trip already .Grad B: but um David is here and he 's actually knows everything about the SmartKom recognizer .Professor F:Thilo . OK well yeah maybe we 'll see if David could make it . That would be good .Grad B: OK so facing to {disfmarker} to what we 've sort of been doing here um well for one thing we 're also using this room to collectdata .PhD A: Yeah obviously .Grad B: um um Not this type of data ,PhD A: Oh , OK .Grad B: no not meeting data but sort of {disfmarker} sort ah our version of a wizard experiment such not like the ones in Munich butpretty close to it .PhD A: Mm - hmm .Grad B: The major difference to the Munich ones is that we do it via the telephonePhD A: OK .Grad B: even though all the recording is done here and so it 's a {disfmarker} sort of acomputer call system that gives you tourist informationPhD A: Mm - hmm .Grad B: tells you how to get places . And it breaks halfway through the experiment and a human operator comes on . and part of that is sort oftrying to find out whether people change their linguistic verbal behavior when first thinking they speak to a machine and then to a human .PhD A: Yeah .Grad B: and we 're setting it up so that we can {disfmarker} wehope to implant certain intentions in people . For example um we have first looked at a simple sentence that \" How do I get to the Powder - Tower ? \" OK so you have the {disfmarker} castle of HeidelbergPhD A: OK.Grad B: and there is a tower and it 's called Powder - Tower .PhD A: Oh , OK . Yeah .Grad B: and um so What will you parse out of that sentence ? Probably something that we specified in M - three - L , that is @ @{comment} \" action go to whatever domain , object whatever Powder - Tower \" .Grad D: Mmm .Grad B: And maybe some model will tell us , some GPS module , in the mobile scenario where the person is at themoment . And um we 've sort of gone through that once before in the Deep Mail project and we noticed that first of all what are {disfmarker} I should 've brought some slides , but what our {disfmarker} So here 's thetower . Think of this as a two - dimensional representation of the tower . And our system led people here , to a point where they were facing a wall in front of the tower . There is no entrance there , but it just happensto be the closest point of the road network to the geometric center Because that 's how the algorithm works . So we took out that part of the road network as a hack and then it found actually the way to the entrance .which was now the closest point of the road network toPhD A: Yeah .Grad B: OK , geometric center . But what we actually observed in Heidelberg is that most people when they want to go there they actually don't wantto enter , because it 's not really interesting . They wanna go to a completely different point where they can look at it and take a picture .PhD A: Oh , OK .Grad D: Hmm .PhD A: Yeah .Grad B: And so what uh uh a s yous let 's say a simple parse from a s from an utterance won't really give us is what the person actually wants . Does he wanna go there to see it ? Does he wanna go there now ? Later ? How does the person wanna gothere ? Is that person more likely to want to walk there ? Walk a scenic route ? and so forth . There are all kinds of decisions that we have identified in terms of getting to places and in terms of finding information aboutthings . And we are constructing {disfmarker} and then we 've identified more or less the extra - linguistic parameters that may f play a role . Information related to the user and information related to the situation .And we also want to look closely on the linguistic information that what we can get from the utterance . That 's part of why we implant these intentions in the data collection to see whether people actually phrase thingsdifferently whether they want to enter in order to buy something or whether they just wanna go there to look at it . And um so the idea is to construct uh um suitable interfaces and a belief - net for a module thatactually tries to guess what the underlying intention {pause} was . And then enrich or augment the M - three - L structures with what it thought what more it sort of got out of that utterance . So if it can make a goodsuggestion , \" Hey ! \" you know , \" that person doesn't wanna enter . That person just wants to take a picture , \" cuz he just bought film , or \" that person wants to enter because he discussed the admission fee before \". Or \" that person wants to enter because he wants to buy something and that you usually do inside of buildings \" and so forth . These ah these types of uh these bits of additional information are going to be embeddedinto the M - three - L structure in an {disfmarker} sort of subfield that we have reserved . And if the action planner does something with it , great . If not you know , then that 's also something um that we can't really{disfmarker} at least we {comment} want to offer the extra information . We don't really {disfmarker} um we 're not too worried .PhD A: Mm - hmm .Grad D: Hmm .Grad B: I mean {disfmarker} t s Ultimately if youhave {disfmarker} if you can offer that information , somebody 's gonna s do something with it sooner or later . That 's sort of part of our belief .Grad E: What was he saying ?Grad B: Um , for example , right now Iknow the GIS from email is not able to calculate these viewpoints . So that 's a functionality that doesn't exist yet to do that dynamically ,PhD A: Mm - hmm .Grad B: but if we can offer it that distinction , maybesomebody will go ahead and implement it . Surely nobody 's gonna go ahead and implement it if it 's never gonna be used , so . What have I forgotten about ? Oh yeah , how we do it ,Professor F: Well th uhGrad B:yeah that 's theProfessor F: No no . It 's a good time to pause . I s I see {pause} questions on peoples ' faces , so why don't {disfmarker}PhD A: OhProfessor F: let 's {disfmarker} let 's {disfmarker} Let 's hear{disfmarker}PhD A: Well the obvious one would be if {disfmarker} if you envision this as a module within SmartKom , where exactly would that Sit ? That 's the dGrad B: um {disfmarker} so far I 've thought of it assort of adding it onto the modeler knowledge module .PhD A: OK , yeah .Grad B: So this is one that already adds additional information to theGrad D: Hmm .PhD A: Makes perfect sense . Yes .Grad D: Hmm , ah .GradB: but it could sit anywhere in the attention - recognition I mean basically this is what attention - recognition literally sort of can {disfmarker}PhD A: Well it 's supposed to do . YeahGrad D: Mmm .Professor F: That 'swhat it should do .PhD A: Yeah .Professor F: Right ,PhD A: Yeah .Professor F: yeah .Grad D: Huh .Grad B: Yeah .PhD A: Well f from my understanding of what the people at Phillips were originally trying to do doesn'tseem to quite fit into SmartKom currently so what they 're really doing right now is only selecting among the alternatives , the hypotheses that they 're given enriched by the domain knowledge and the um discoursemodeler and so on .Grad B: Yeah .PhD A: So if {disfmarker} if this is additional information that could be merged in by them .Grad B: Yeah .PhD A: And then it would be available to action planning and {disfmarker}and others .Grad B: Yeah . the {disfmarker}Professor F: let 's {disfmarker} let 's That w OK that was one question . Is there other {disfmarker} other things that cuz {pause} we wanna not Pa - pass over any {pause}you know , questions or concerns that you have .PhD A: Well there 're {disfmarker} there 're two levels of {disfmarker} of giving an answer and I guess on both levels I don't have any um further questions .Grad D:Mmm . Mmm .PhD A: uh the {disfmarker} the two levels will be as far as I 'm concerned as {pause} uh standing here for the generation moduleGrad D: Mmm .PhD A: and the other is {disfmarker} is my understandingof what SmartKom uh is supposed to beProfessor F: Right .PhD A: and I {disfmarker} I think that fits in perfectlyProfessor F: So {disfmarker} well , let me {disfmarker} Let me s {pause} expand on that a little bit fromthe point of view of the generation .Grad D: Hmm .PhD A: Yeah .Professor F: So the idea is that we 've actually got this all laid out an and we could show it to you ig um Robert didn't bring it today but there 's a{disfmarker} a belief - net which is {disfmarker} There 's a first cut at a belief - net that {disfmarker} that doesn't {disfmarker} it {disfmarker} isn't fully uh instantiated , and in particular some of the {disfmarker} thecombination rules and ways of getting the {disfmarker} the conditional probabilities aren't there . But we believe that we have laid out the fundamental decisions in this little spacePhD A: Mm - hmm .Professor F: andthe things that influence them . So one of the decisions is what we call this AVE thing . Do you want to um access , view or enter a thing .Grad D: Hmm .Professor F: So that 's a a discrete decision .PhD A: Mm - hmm.Professor F: There are only three possibilities and the uh {disfmarker} what one would like is for this uh , knowledge modeling module to add which of those it is and give it to the planner .PhD A: Mm - hmm .ProfessorF: But , uh th the current design suggests that if it seems to be an important decision and if the belief - net is equivocal so that it doesn't say that one of these is much more probable than the other , then an option is togo back and ask for the information you want .PhD A: Mm - hmm .Professor F: Alright ? Now there are two ways one can go {disfmarker} a imagine doing that . For the debugging we 'll probably just have a{disfmarker} a drop - down menu and the {disfmarker} while you 're debugging you will just {disfmarker} OK . But for a full system , then one might very well formulate a query ,PhD A: Mm - hmm .Professor F: give itto the dialogue planner and say this , you know ar are you know you {disfmarker} are you planning to enter ? Or whatever it {disfmarker} whatever that might be . So that 's {disfmarker} under that model then ,There would be a {disfmarker} uh {disfmarker} um a loop in which this thing would formulate a query ,PhD A: Yes .Professor F: presumably give it to you . That would get expressed and then hopefully you know , you'd get an answer {pause} back .PhD A: Yep .Professor F: And that would of course {disfmarker} the answer would have to be parsed .Grad D: Mmm . Yep .Professor F: right and {disfmarker}PhD A: Yes .Professor F:OK so , {pause} th {pause} that uh , We probably won't do this early on , because the current focus is more on the decision making and stuff like that .PhD A: Yep .Professor F: But While we 're on the subject I justwanted to give you a sort of head 's up that it could be that some months from now we said \" OK we 're now ready to try to close that loop \" in terms of querying about some of these decisions .PhD A: Mm - hmm . Mm- hmm .Grad D: Hmm .PhD A: Yep . So {disfmarker} my suggestion then is that you um look into the currently ongoing discussion about how the action plans are supposed to look like . And they 're currently umAgreeing or {disfmarker} or in the process of agreeing on an X M L - ification of um something like a state - transition network of how dialogues would proceed . and {disfmarker} The {disfmarker} these um transitionnetworks uh will be what the action planner interprets in a sense .Professor F: Hmm . D did you know this Robert ?Grad B: uh Michael is doing that , right ?PhD A: Well uh Marcus Lerkult is actually implementing thatstuff and Marcus and Michael together are um leading the discussion there , yeah .Grad B: OK .Professor F: So we ha we have to get in on that .PhD A: Yep .Grad B: Mm - hmm .Grad D: Mmm .Professor F: because umpartly those are like X - schemas .PhD A: Definitely .Professor F: the transition diagrams .Grad B: Hmm .Professor F: And it may be that {disfmarker} that um we should early on make sure that they have the flexibilitythat we need .Grad B: Hmm . But they uh Have I understood this right ? They {disfmarker} they govern more or less the {disfmarker} the dialogue behavior or the action {disfmarker}PhD A: Mm - hmm .Grad B: It 'snot really what you do with the content of the dialogue but it 's So , I mean there is this {disfmarker} this {disfmarker} this nice interfGrad D: uh , No , it 's {disfmarker} it 's also a quantrant uh uh {disfmarker}GradB: i Is it {disfmarker}Professor F: So there 's ac so there {disfmarker} th the word \" action \" , OK , is {disfmarker} is what 's ambiguous here .Grad D: I think . Hmm .PhD A: Yes .Professor F: So , um one thing is there's an actual planner that tells the person in the tourist domain now ,PhD A: OK .Professor F: per tells the person how to go , \" First go here ,Grad D: Mm - hmm .Professor F: first go there uh , you know , take a bus \" ,whatever it is . So that 's that form of planning , and action , and a route planner and GIS , all sort of stuff . uh But I think that isn't what you mean .PhD A: No . No , in SmartKom terminology that 's um called afunction that 's modeled by a function modeler . And it 's th that 's completely um encapsulated from th the dialogue system . That 's simply a functionality that you give data as in a query and then you get back fromthat mmm , a functioning model um which might be a planner or a VCR or whatever . um some result and that 's then {disfmarker} then used .Professor F: Well , OK , so that 's what I thought . So action he action heremeans dia uh speech ac uh you know dialogue act .PhD A: Yeah , yeah . Yeah , in that {disfmarker} in that senseGrad B: Mmm .PhD A: yes , dialogue act ,Professor F: Yeah .PhD A: yeah .Professor F: Um , I think tha Ithink it 's not going to {disfmarker} I think that 's not going to be good enough . I I don what uh {disfmarker} what I meant by that . So I think the idea of having a , you know , transition diagram for the grammar ofconversations is a good idea .PhD A: Mm - hmm .Professor F: OK ? And I think that we do hav definitely have to get in on it and find out {disfmarker} OK . But I think that um when {disfmarker} so , when you get tothe tourist domain it 's not just an information retrieval system .PhD A: Mm - hmm . Clearly . Yes .Professor F: Right ? So this i this is where I think this {disfmarker} people are gonna have to think this through a bitmore carefully .PhD A: Mm - hmm .Professor F: So , if it 's only like in {disfmarker} in the {disfmarker} in the film and T V thing , OK , you can do this . And you just get information and give it to people . But whathappens when you actually get them moving and so forth and so onPhD A: Yep .Professor F: Uh , y y your {disfmarker} I d I think the notion of this as a self contained uh module you know th the functional module that{disfmarker} that interacts with {disfmarker} with where the tourism g stuff is going {comment} probably is too restrictive .PhD A: Yep .Professor F: Now I dunno how much people have thought ahead to the touristdomain in thisPhD A: Probably not enough , I mean an {disfmarker} another uh more basic point there is that the current um tasks and therefore th the concepts in this ac what 's called the action plan and what 's"}
+{"doc_id":"doc_117","qid":"","text":"Project Manager: Okay . Hello everyone . {vocalsound} {vocalsound}Industrial Designer: Hi .User Interface: Hi .Marketing: Hi .Project Manager: Um how uh how we doing ?Industrial Designer: Yeah , good .ProjectManager: Uh first we going uh over the minutes of the last meeting , more or less .User Interface: Mm-hmm .Project Manager: Um in the last meeting uh the marketing manager had presented uh her method ofworking , meaning gathering i suggestions from everyone to see how she best could market uh this this product at the {disfmarker} within the budget uh that was given . Uh in general {vocalsound} the idea is that itshould be something that is not difficult to use . Um it's also an item that people lose a lot . So we should address that . And , of course , it should be something s s that is very simple to use . In addition to that to makeit sell , of course , uh the marketing manager w wishes that it be very attractive ,Marketing: {vocalsound}Project Manager: or like she says put some sizzle into it in one way or another so that the people are buying itnow because , in particular with smaller items , that's a very important fact , 'cause um if they say , well , I go home and think about it , that won't work . Um also mentioned was it should be uh {disfmarker} it shouldhave a very short learning curve . And maybe it could be sold by using a slogan .Industrial Designer: Hmm .Project Manager: {vocalsound} Our technical manager has then said that she feels it should have achipMarketing: {vocalsound}Project Manager: that has infra-red bits and it has an interface controls w interface that controls the chip . Therefore , messages uh will be controlled in the same manner . There should beextra features like lid buttons , maybe a beep . If too many buttons are pressed , mm uh uh child lock um and uh maybe a display clock so that people could um {disfmarker} you could see the time , you know , whatshow they want to watch . Also mentioned was uh maybe different shapes . So the components of the thing should be button , bulbs , infra infra-red bulbs , battery , chips , wires , and maybe some kind of a holder uhfor the for the uh item . Francino who is our umUser Interface: Interface designer .Project Manager: interface designer um uh has mentioned that the {disfmarker} that it , of course , should have an on-off button , andalso has mentioned an interesting feature that it should have maybe a channel lock . Particularly with maybe small children that they couldn't uh watch a channel that is undesirable . It should be compact . Her personalfavourite was it should be T-shaped . And maybe have an anar alarm-clock . And the material should possibly be not of non-allergic nature . Uh the different systems uh that exist are infra-red or radio-waves . Uhmaybe it should have uh electri electrici electricity saving feature .Marketing: {vocalsound} {vocalsound}Project Manager: And {vocalsound} even possibly a timer to {disfmarker} so that people can program{vocalsound} their favourite uh uh program on th right from the remote .User Interface: Yes .Project Manager: Uh are we all in agreement that that's about what we discussed last time ? Okay .User Interface: Yes.Industrial Designer: Yeah .Marketing: Yeah , I think that pretty much is it . Yeah . Mm-hmm .Project Manager: {vocalsound} Okay , then we {disfmarker} I'm looking for three presentations . And uh I don't knowwhether the order matters much uh , I don't I don't think so , so whoever w wants {disfmarker}User Interface: Okay , I can start first .Project Manager: Yeah , okay .User Interface: Okay . Now my slide , please .{vocalsound}Project Manager: Okay , your slides . Okay . Oh , come on , close already .Marketing: {vocalsound}Project Manager: And that's number two , right ?User Interface: Three .Project Manager: Three .UserInterface: Participant three . Yes . Okay .Project Manager: Okay .User Interface: Now as an interface designer , I would give more emphasis on the interface , how the remote looks like so that it is sellable , it isattractive to customers . Next , please . Okay . Now the function of a remote is to send messages to the television . This messages could be uh switch on-off message or switch to next channel message or swapping thechannels or switching onto a particular channel , like you can have the numbers one , two , three , four , up to nine .Project Manager: Nine what ? Nine channel uh switches ?User Interface: Pardon me ?Project Manager:Nine channel switches ? Is {disfmarker} Yeah . Mm-hmm . Mm-hmm .User Interface: Yes , nine numbers . And then you have swapping of uh buttonProject Manager: Mm-hmm .User Interface: by which {disfmarker}using which you can swap the channels if you don't want to see the third channel you can swap it to the fourth channel or vice versa . Then it should have a next button , and next button channel by which you can keepon uh v uh mm eh scrolling the channels one by one .Project Manager: Mm-hmm .Industrial Designer: Going to the nex next .Project Manager: Mm-hmm .User Interface: Next slide , please .Project Manager: Mm-hmm.User Interface: Then you should have a button which should which ca which can be used for increasing or decreasing the volume .Project Manager: Mm-hmm .User Interface: Then , there should be a button which cangive subtitles for a particular program which is going on a television . For example , if you are watching a French program and you would like to have a subtitles in English , then there should be a channel which cantrigger this mechanism in the television so that the user can see uh the {gap} the subtitles on the screen .Marketing: {vocalsound}Project Manager: Mm-hmm .User Interface: Then there should d uh there should besome buttons which can control features like the colour , colour of the picture , the contrast , sharpness , brightness of the picture . Now there should be a memory switch . There should be a mute button . Suddenly if ifif uh uh viewer he gets a telephone call , and if he want he doesn't want to switch off the uh T_V_ , but he he can reduce the sound , he can bring the volume down and he can watch {disfmarker} he can uh{disfmarker} while talking he can watch the T_V_ . Now the most important feature I would like to have in my remote would be the speech recognition feature . It's an integrated progra programmable sample sensorspeaker unit . So a remote can be th can be uh designed which can have the voice recognisers , you can record your own voiceProject Manager: Mm-hmm .User Interface: which can be recognised by as voice recogniserin the television , for example , if you want to see {disfmarker} we if you want to see the ninth channel if you say just say ninth channel , uh th now the the {disfmarker} uh yeah , the remote will {disfmarker}automatically it will switch to the ninth channel .Marketing: {vocalsound}Project Manager: Mm-hmm . Mm-hmm .User Interface: So the T_V_ will have some recogniser which will recognise the user's voice andaccordingly it will change its functionalities .Project Manager: Mm-hmm . Mm-hmm .User Interface: So this is one of the very important feature a remote control can have . So this is one one of the interface which canbe created .Project Manager: Mm-hmm .User Interface: A very simple interface which has all the t uh uh important features .Project Manager: Mm-hmm .User Interface: Then , please , next slide .Project Manager:Mm-hmm .User Interface: Then , these are some of the remotes which are different in shape and colour , but they have many buttons .Project Manager: Mm-hmm .User Interface: So uh sometimes the user finds it verydifficult to recognise which button is for what function and all that . So you can you can design an interface which is very simple , and which is user-friendly . Even a kid can use that .Project Manager: Mm-hmm .UserInterface: So can you go on t t uh to the next slide . Yeah , so this is one of the interface or one of the remote which has this vi voice recogniser .Project Manager: Mm-hmm .Marketing: {vocalsound}User Interface: Andthis has multi-purpose use , it can be used for T_V_ , it can be used for cable-satellite , it can be used for V_C_R_ , D_V_D_s and audio . And this has in-built voice recogniser .Project Manager: {vocalsound}UserInterface: Can you go on to the next slide ? Yeah , now this is an interface for a chil uh for a remote uh uh which a child can use .Project Manager: Mm-hmm .User Interface: Uh this is user-friendly , it's very attractiveand uh children can use it as well as they can play with it . And this comes with different colours , different shapes .Industrial Designer: Mm .Project Manager: Mm-hmm .User Interface: And this this uh child uhinterface has minimum buttonsMarketing: {vocalsound}User Interface: and all the important uh buttons are there in this small , compact , attractive child interface . Next slide , please . Now this is a big over-sizedremote which cannot be misplaced or it's impossible to misplace .Project Manager: {vocalsound}Industrial Designer: {vocalsound}Marketing: {vocalsound}Project Manager: {vocalsound}Marketing: You don't know me.User Interface: {vocalsound} {gap} {vocalsound} {gap} this . {vocalsound}Marketing: {vocalsound} I could lose that in a minute . {vocalsound}User Interface: {vocalsound}Project Manager: {vocalsound}UserInterface: So this is {disfmarker} {vocalsound} No this is a very big , you cannot {vocalsound} misplace it anywhere .Marketing: {vocalsound}User Interface: {vocalsound} So this is a jumbo universal remote controland it's impossible to im misplace or lose . {vocalsound}Marketing: {vocalsound}Project Manager: Mm-hmm .User Interface: This i this is one such interface which can be created . {vocalsound} And the personalpreference {vocalsound} uh would be a spe uh uh to incorporate speech recognisers uh which will respond to user's voice for a particular uh function .Marketing: {vocalsound}Project Manager: Mm-hmm . Right .UserInterface: Thank you , that's {disfmarker}Project Manager: Mm-hmm . Okay , thank you very much . Uh any comments on uh her presentation ?Marketing: Well , um looks like we still have quite a choice of things outthere .Industrial Designer: Mm-hmm .Marketing: Um what uh {vocalsound} I'm {disfmarker} No suggestion's bad .User Interface: Mm yes .Marketing: But uh we're gonna have to narrow it down a little more . I don'tthink that we can get uh {disfmarker} The T-shape is good , the child one is good , the too big to misplace , I think it's just funny .User Interface: Okay . {vocalsound}Marketing: {vocalsound} Um I don't think that'sgonna be our impulse purchase at the checkout counter .Industrial Designer: {vocalsound}Project Manager: Yeah , I I th I think {disfmarker}User Interface: Okay . {gap} {vocalsound}Marketing: It's it's gonna be alittle bit too unwieldy .User Interface: {vocalsound}Project Manager: No , I think the these are her presentations , but uh as far as the decision making we getting to that after afterMarketing: Yeah mm . Mm-hmm .Have to come back to that later . Okay .User Interface: We can .Project Manager: but if {disfmarker} I just wanted to know whether anybody had any any anything to add to her presentation .Marketing: No , I think herpresentation was good , and she really explored all the options . Yeah .Project Manager: Mm right . Mm-hmm . Ho who wants to go next um ? Mm-hmm . Okay ,Industrial Designer: Yeah , maybe .Project Manager: andyou {disfmarker}Industrial Designer: Participant two .Marketing: {vocalsound}Project Manager: Uh okay .Industrial Designer: Uh the next one , sorry .Project Manager: Oops .Industrial Designer: It's it was the old one.Project Manager: The components design .Industrial Designer: Components .Project Manager: Mm-hmm . Okay .Industrial Designer: Um this time I'm I'm going to um concentrate more on the components and thetechnical side of the remote controller design .Marketing: Mm-hmm .Industrial Designer: Uh , can you go on to the next slide , please .Project Manager: Mm-hmm .Industrial Designer: I have just brief {vocalsound} uhdown few uh components which we require for the remote control uh construction .Marketing: {vocalsound}Industrial Designer: Uh the first one is case to keep all the components like integrated circuit , battery ,etcetera , etcetera , it's like {disfmarker} Uh it can be a plastic one , hard plastic , so that it can be strong , even if you just uh uh , {vocalsound} you know , if you {vocalsound} {disfmarker} if it falls down , then itdoesn't {vocalsound} break . So it should be strong .Project Manager: Mm-hmm .Industrial Designer: And uh uh there are no harmful materials used in that . And it should be recyclable .Project Manager: Mm-hmm.Industrial Designer: Uh and uh {vocalsound} ,Marketing: Mm-hmm . Good point .Industrial Designer: yeah , and also uh using of colouring compon components like uh if we want to have different colours , blue , red ,green , so uh uh we have to use uh some colouring compone compone components . And uh the second important thing is uh uh uh integrated circuit .Marketing: {vocalsound}Industrial Designer: Uh which uh we canuse a highly sophisticated one because it's like the it's like the heart of the remote controller . If it is not efficient then everything wi is going to be uh like um the lef ess less efficient so it {disfmarker} you should{disfmarker} we should have a highly sophisticated one . And it should be resistant to high as well as uh low temperatures . Suppose if it is thirty-eight degrees outside forty degrees outside , it should it should uh{vocalsound} be able to re uh resist the uh temperature uh uh highs and uh high temperatures and low temperatures . And uh it should be with uh {vocalsound} um {disfmarker} equipped with timer and alarm facility. And the uh other component we should {disfmarker} uh we have in the remote controller is a resistor uh which is like uh uh i it is very very much important for the electricity uh flow through {vocalsound} throughthrough the uh remote controller and uh also a capacitor which is a b which is a m I think it's it's like a battery , capacitor . Can you go on to the next slide , please ?Marketing: Mm-hmm .Project Manager: Mm-hmm.Industrial Designer: Uh a diode , a transistor , a resonator , these are all this uh technical uh electri electronic compons uh components which are {disfmarker} which we have to use in a remote controller . A battery uh, I would like to suggest one thing uh if we {disfmarker} uh if we will be able to make a res rechargeable battery then we sh we need not go for a high performance battery , even if it is a low performance battery it ca itcan't l it can't charge much .Marketing: Mm-hmm .Industrial Designer: It it it's not a high voltage battery . Then also we can {disfmarker} If it is a rechargeable one , then uh people can use it for a long time , so in thatway we can cut cut the cost , but w uh uh that we have to make the battery as rechargeable one . And we we have a circuit board uh in a remote controller . Can you go to the next slide , please . And how it works ,how the remote controller works .Project Manager: Go away .Industrial Designer: Thank you . Uh when you press a button , when you do that , you complete a specific connection that means when you when you pressa button there will be a s a small circuit underneath the button , and it will send some signals through the wires ,Marketing: {vocalsound}Industrial Designer: and then uh the chip will send start connection and knowsthat which button is pressed . Suppose you have pressed channel one button , number one you have pressed , then the uh chip will know that the number one button was pressed .Marketing: {vocalsound}IndustrialDesigner: It pros produces a mors morse code line signal specific to that button . Every button , every individual button , has its own morse code . Suppose uh the uh user has pressed butto button one , then it will havea spe the circuit will generate a specific morse code to b {vocalsound} that that button , and the transistor will amplify the signal and send then to the L_E_D_ which translates the signal into infrared light . Like{vocalsound} you have got a signal by pressing a button . That's a d a morse code has been generated by the integrated circuit . Now , that signal , that morse code , has to be amplified by the transistor . That is theuse of transist transistor we {disfmarker} which we use in the remote controller . It will amplify the signal and it will send it to the L_E_D_ and which translates the signal into an infra infrared bits . The sensor on theT_V_ can see the infrared light , and seeing the signal seeing the signal re it reacts appropriately , that when it sees the amplified mo morse code signal , then it will uh it will uh know which uh what what action it has touh do . Then it will do the appropriate action . So uh this is how the remote controller works .User Interface: It works .Industrial Designer: Can you go to the next slide , please . Yeah , I have few pictures . When youlook at the uh um remote controller uh it's it's {vocalsound} it {disfmarker} this is a normal remote controller . And {gap} to the next slide , please .Marketing: Mm-hmm .Industrial Designer: And where we had a a fewbuttons and all . And uh if you open the remote controller you have this circui circuit board and few electronic components ,Marketing: Mm-hmm .Industrial Designer: like you can see a chip there which is havingeighteen pins ,Project Manager: Mm-hmm .Marketing: Mm-hmm .Industrial Designer: and also a capac uh a capacitor , three resistors and also a resonator uh um mm {disfmarker} yeah , and di and a diode transistor.Project Manager: Mm-hmm .Industrial Designer: The electronic components {disfmarker} uh all of the electronic components have all those uh things like a chip and d {vocalsound} diode transistors an Yeah , di umcan y uh you can see the T_A_ double one eight three five labelled uh chip um .Project Manager: Mm-hmm .User Interface: Mm yes .Project Manager: Mm-hmm .Marketing: Yes .Industrial Designer: Uh you can also seethe uh uh the green {disfmarker} two green things are uh these are {disfmarker} they are {disfmarker} they are resistors ,User Interface: Mm-hmm .Industrial Designer: and uh just beside that you can see atransistor , and a uh uh cylinder shape , uh that one is a capacitor . Uh and also there are uh {vocalsound} um resistors {disfmarker} uh sorry , ther there is a diode .Project Manager: Mm-hmm .Industrial Designer:Can you go {disfmarker} go on to the next slide .Project Manager: Mm-hmm .Industrial Designer: So uh this is the circuit board . The green one is a circuit board . Actually , uh building a circuit bo board is pretty prettyuh easy and also it's a it's a l l inexpensive . Uh it's it costs less than what you print on a paper , because uh {vocalsound} uh when you {disfmarker} when you are building uh some circuits {disfmarker} some um uhcircuits and also wires , it's it's better to go for printing , because uh you can build these kind of k circuit boards on a on a bulk and it's just printing , nothing like uh , you know , you don't need to use wires and all .UserInterface: Mm-hmm .Industrial Designer: It's not exactly wires we are using . It's just printing something on a board .Marketing: {vocalsound}Industrial Designer: Tha tho those prints will acti act as wires and ci uhcircuits . So th that green uh thing is a circuit board , and also you can see uh there are b s like uh um access for buttons , like when you press a button , the circuit under the button will be activated uh th it will it willhe get some signals from it and it will uh it will ch its ch se send a signal {disfmarker} signals to the , yeah , um integrated circuit .User Interface: Transmit .Industrial Designer: Can you go to the next slide , please . Uhso this is {disfmarker} these are the circuits un underneath the buttons . Uh can you see the black uh , round marks ?Project Manager: Mm-hmm .Industrial Designer: They they are the circuits .Marketing: Yes.Industrial Designer: Next , please . And um like uh we have uh designed uh before we have seen some uh few things like {vocalsound} instead off buttons we have some scrolls . Uh b but a b a push-button requires asimple chip underneath it , but whereas a scroll wheel requires normally a regular chip which is a higher price range . Like for s scrolls we have to go for a sophisticated and and k uh {vocalsound} uh uh full{disfmarker} a complete chip .Marketing: Okay .User Interface: Okay .Industrial Designer: Uh and a as energy source we offer a basic battery , a more ingenious uh hard dynamo , um a kinetic provision of energy ,more than what is that you shake casually to provide energy . So that also we can have in a battery , uh or we can use solar sells . Uh .Marketing: Hmm , that's interesting .Industrial Designer: Yeah . Uh yeah uh theproduct can be de delivered into different cases . Uh usually , the cases and card flat {vocalsound} that w we see usually uh d uh a normal remote controller .User Interface: Okay .Industrial Designer: Um .Project"}
+{"doc_id":"doc_118","qid":"","text":"Project Manager: Hello , uh this meeting we are it's fo should be focused on the conceptual design of the remote control .Marketing: Hello .Industrial Designer: Mm-hmm .User Interface: Hello .Project Manager: Um thegoal of this meeting is to reach a decision at the end on the concept and I think the last time we talked about an a lot and we had a rough idea of what is going to be , but uh in th at the end of this meeting we have toto reach a decision . So , uh we will have again three presentation , from all of you , and uh I hope it will be fast because I would like to have time to for long discussion and and decisions . So , who wants to start ?Okay .User Interface: I sMarketing: Okay .User Interface: No , no , you you can start .Project Manager: So start , uhMarketing: Okay , I'll start . Can you open my presentation ,Project Manager:{vocalsound}Marketing: please .Project Manager: Uh . {gap}Marketing: I'm number four .Project Manager: This one ?Marketing: Trend . Yep . Can you pass the mouse , please . {vocalsound} Oh okay , that's fine.Project Manager: Turn .Marketing: Okay . Um so basically I just want to presented to you {disfmarker} present to you some recent results we've had from um looking at uh um some remote control market researchand some fashion trends around the world . Um the fashion trends we got from talking to our our contacts in the fashion industry based in Paris and Milan . {vocalsound} Um {vocalsound} so f from our market researchbasically we've come to the conclusion that a fancy look and feel , um as opposed to a functional look and feel , is our number one priority . Um fancy is is is is the , you know , highest priority .Project Manager: Hmm.Industrial Designer: Hmm .Marketing: Secondly um that our remote control needs to be techn technologically innovative . Um so this is t number two priority but it's two times less important as the fancy criteria . Umand third thirdly the easiness of use is is the um is is important as well , but again two times less important as the technologically innovativeness of the remote control . {vocalsound} From our f fashion people in Parisand Milan , um we've discovered that this year um fruit the fruit and vegetable motif will be the most important thing in in clothes , shoes and furniture . So , {vocalsound} I'm pretty confident that our remote controlfits into the furniture category . And also um the feel of material this year um is expected to be spongy .Project Manager: Okay .Marketing: Um so hopefully our remote control reflects that s in some way .IndustrialDesigner: What does it mean , spongy ?Marketing: Uh sort of um squishy .Industrial Designer: Like soft , or something ?Marketing: Um . Yeah soft ,Project Manager: {vocalsound}Marketing: like a uh like a sponge.Project Manager: Like a sponge . {vocalsound} Yeah .Marketing: {vocalsound} I don't know . Yeah .Industrial Designer: Okay . I will see .Marketing: Um so in conclusion , we need a our remote control needs to besomething that's really fancy , um has lots of technolog tech technology in it . {vocalsound} Um somehow would be good to have it related to fruit and vegetables with a spongy feel .Project Manager:{vocalsound}Industrial Designer: {vocalsound} Okay .User Interface: {vocalsound}Marketing: And that it's easy to use and from our last meeting our you know Fabian told us that w you know one of the requirementsis that we have to reflect the look and feel of our {disfmarker} of th the Real Reaction company . Um .Industrial Designer: {vocalsound}Project Manager: {vocalsound} Yeah , uh yeah .Marketing: {vocalsound} That's it.Project Manager: Easy to use , is it uh a as much as important than technology or fancy thing . It's less important , right ?Marketing: Less important .Project Manager: Yeah yeah .Marketing: So um fanciness first andthen two ti you know , half as important as that is technology technology ,Project Manager: Okay .Marketing: and half important as technology is easy to use . So .Project Manager: {gap} So , Hamed , can you {gap}.User Interface: Yeah . The second one . Could you please show the presentation number three .Project Manager: Mm-hmm .Industrial Designer: I think the biggest struggle will be the easy to use feature .ProjectManager: {vocalsound} Um . Number ?Industrial Designer: {vocalsound} We'll see .User Interface: Yeah .Project Manager: Three .User Interface: Three .Project Manager: This one ? {vocalsound}User Interface:{vocalsound} Yes . {gap} Just Could you please check if it is the first one or the second . Uh , n n no , it's the first one . The second one .Project Manager: So it's not this one .User Interface: Uh yeah . Okay . {gap}Okay . So I am going to talk about {disfmarker} a little bit about how this remote control should be appear to be more easy to use . I think uh I think the feature easy to use is more important than being fancy , butokay , we can discuss about it uh later . Um {vocalsound} generally , generally uh this remote control uh uh should be should be something , in my opinion , uh the first feature is just to be easy to use . So , the morefrequent buttons should be larger , they should be placed in a good position uh uh inside the remote control . And uh s uh I can conclude like this , that we shouldn't need to learn how to use it . It should be{disfmarker} we shouldn't need to es open a a t book and uh start reading and uh learning how to use this uh this uh remote control . {vocalsound} Okay . So what I found out that uh as I said uh I think it's better toput uh more frequent uh uh uh ke uh buttons which are used more in the middle of the remote control , and they should be bigger in size . Uh the shape of remote control should be in a way which can {disfmarker}which should be taken easily in hand . It should not be completely like uh a cube . It should be it should have round edge , so uh then it's easier .Industrial Designer: Exactly .User Interface: And maybe uh just likesome toys , some joystick which is easier to take inside the hand . And uh also f uh uh m because because customers doesn't like to buy lots of battery , it should not uh consume lots of energy . Okay . And my personalp uh preference is uh , as I said , uh just putting this buttons in a special places and covered some buttons which are not used uh that much like settings button , like mobile phone . Usually some mobile phone coverthe dialling number part , so we can cover these buttons which are not used or uh number buttons for the for the for the can channels , and just put uh volume change or s ch can uh channel change buttons uh uh in theremote control . And if the user needed to do some more complex task uh he he can open the cover and then change settings or something like this . Uh . And also uh I think if we put some some some some somebuttons inside of the remote control it can be used easier . Not on remote control . I dunno if I can explain well . But uh just inside . For example , a sliding or rolling uh uh d uh stuff , if we put it inside then we caneasily manipulate with uh thumb . So it can be another uh preference . And uh I dunno but uh I think usage of a speech recogn uh r recogniser can be good . I know that it consumes lots of energy , but if we do it insome way that it asleeps when there is no sound and when it detects some sound it may consume less energy . And I think it's good because it's something new and usually young people like something new . So it maynot be very useful but because it's new , people may buy it . Uh I personally think there should be a big difference between uh between something . Otherwise they prefer to buy something which is coming from afamous company , or . Okay . That's mine .Project Manager: Okay . {gap}Industrial Designer: Uh okay , so good news from me uh uh for me from Hamed , but bad news from Bob obviously , because spongy design , Idon't like it as {gap} {disfmarker}Marketing: {vocalsound}Project Manager: {vocalsound}Industrial Designer: Okay , so could you please , Fabien , open it .Project Manager: Yeah .Marketing: {vocalsound}IndustrialDesigner: I'm person two . And which one , uh probably the first one . I'm not sure but check the first one . I {disfmarker} Most of the things I have to write myself on the board , but {disfmarker}Project Manager: Thisone , yeah .Industrial Designer: Yeah , that's it . Just {disfmarker} It's only this slide ? Yeah . This this is just uh one thing I wanted to mention and show you that I just uh I just found this , that our company uhdeveloped a s a seven f seven fingers or I'll just {disfmarker}Marketing: Inch .Industrial Designer: Yeah , seven seven inch T_ {disfmarker} T_F_T_ screen , which is good news for us , since we wanted to include adisplay there . Uh so I I probably draw it down raw scheme .Project Manager: Oh , {gap} .Industrial Designer: This is this is the stuff that I can use to {disfmarker}Project Manager: Oops .Industrial Designer: Okay , sothe {disfmarker} this will be like the overall scheme or overall requirements from the engineering point of view . Uh first thing is uh this will be the overall shape , no uh I'm not speaking about the real shape of thedevice , but the shape of the inside of the device . So there will be some circuit uh for the power . So , say power circuit here . Uh the main energy will be taken from batteries that we can uh uh {disfmarker} And if wedecide to use the speech recognition stuff there , we must use additional source of energy , which I found the best is to use the solar cells which can which can uh supply everything . I was computing all the all thethings related to the speech recognition , and it's okay to use just uh two batteries and solar cells , so . So no problem . There can be also solar cell . Uh the main board with all the circuits will take at least seven toseven centimetres , so this is my like hard requirement for the guys from the design .User Interface: Mm-hmm .Industrial Designer: So at least seven to seven . It depends where you put your screen , because thescreen is uh seven inch , so it depends on you where where you put it .Marketing: {vocalsound}Industrial Designer: It doesn't matter . Um it's just one cord from from the main board to the screen which can beelsewhere . So this will be T_F_T_ . And on the main board we have the um interface to the microphone , which is somewhere , say here . Interface to the microphone . Then the graphical card uh for the T_F_T_ and thethird unit is the I_R_ . The good news is that we can uh we decided to use the infra-red unit because our company has also developed the chip for communication by the infra-red , including all the stuff inside , so it willbe very cheap for us . So infra-red here . So the {disfmarker} once again the overall requirements , seven to seven centimetres for the board , which has to be {disfmarker} which can be spongy but has to be this size ,and the T_F_T_ which is seven inches . Um I have to check what I wanted to {disfmarker} Uh from my point of view I don't care about the about the material used for the overall des uh ov all the device .ProjectManager: Can you fit any uh for example a T_F_T_ or any electronic device in a spongy thing , or is there any problem for that ? For example , put electronic card on a spongy thing , I can I can imagine it could be aproblem .Industrial Designer: {vocalsound} A all these things in in uh in this box are okay to put in in any shape , basically .Project Manager: Yep .Industrial Designer: But we have to take care of the T_F_T_ . Well ,sponginess . Maybe it a good feature , since it takes {disfmarker} if it's around the T_F_T_ then it's good , because it's just keeps it safe ,Project Manager: Okay . So {disfmarker}Industrial Designer: I dunno .UserInterface: Well maybe it can have two shells , a hard shell inside and a spongy shell outside .Marketing: SoProject Manager: Okay . Maybe put electronic in a box and a spongy thing around . {gap} maybe after.Industrial Designer: Well , it's maybe related to the U_I_ .Marketing: So {disfmarker}Project Manager: Yeah .Marketing: Ca Can I ask a question . {vocalsound}Industrial Designer: A Yeah , that's all from me.Marketing: This seven inch T_F_T_ screen ,Industrial Designer: Yeah ?Marketing: how big is it in reality ?Industrial Designer: Well , seven to seven inches .Marketing: So like that .Industrial Designer: Yes .ProjectManager: {vocalsound}User Interface: {vocalsound}Marketing: That's quite big .Industrial Designer: {vocalsound}Marketing: Uh uh have we decided that we're gonna use this T_F_T_ screen ?Project Manager: No , Idon't think it's seven by seven ,Industrial Designer: Yeah but {disfmarker}Project Manager: I think it's seven {disfmarker} the diagonal is seven .Industrial Designer: To be honest , I was {disfmarker}Project Manager:Usually when they say seven inch I think it's the diagonal .User Interface: Yeah yes {gap} .Marketing: But I mean even even that is like this big .Project Manager: Yeah . {vocalsound} I dunno I dun I dun One each{gap}User Interface: {vocalsound} {vocalsound}Marketing: {gap}Project Manager: . But , yeah , {gap} .Industrial Designer: Yeah , honestly speaking I was thinking that it was seven centimetres initially ,Marketing:Yeah .Industrial Designer: but it's seven inches . But I I think we can we can cut it .Marketing: You can cut the T_F_T_ screen . {vocalsound}Project Manager: {vocalsound} Let's go . {vocalsound}Industrial Designer:Yeah , no no problem ,User Interface: {vocalsound}Industrial Designer: because because because then the size of the graphic card will be one fourth .Project Manager: {vocalsound} So let's cut the T_F_T_ .IndustrialDesigner: So {vocalsound} {disfmarker}Marketing: {vocalsound}Industrial Designer: Yeah , but no problem to to me to cut the screen .User Interface: Mm .Marketing: Okay , so {disfmarker}Industrial Designer: So sofor the same price we have four screens now {vocalsound} .Project Manager: Mm .Marketing: Okay .Project Manager: These technical engineers , huh .Marketing: So , what's the size of the device ?Industrial Designer:Ah well this is like this is almost nothing . Seven to seven to at least well some three millimetres or something .Marketing: Even from my perspective seven t seven centimetres by seven centimetres is still{disfmarker}Industrial Designer: Yeah , but we wanted the big buttons and stuff like that , you know .Marketing: Is it {disfmarker} Can you hold that , or ?Industrial Designer: Because if it's t too small we can we canlose it , at home , you know .Project Manager: {vocalsound} What user wants . He wants a small remote control , or ? Uh uh with big buttons .User Interface: Uh .Industrial Designer: I thought that it it should fit in thehand or something .Marketing: Yeah , a small c control that they can hold in hand .Project Manager: It's difficult .User Interface: Yes .Project Manager: {vocalsound} A smIndustrial Designer: {vocalsound}Marketing:But is something that's seven centimetres square e easy to hold ?User Interface: {vocalsound}Industrial Designer: W I I think so . I if the roller buttons are on the side you don't have to catch it like that , but just likethis , and you know follow follow {disfmarker} Well , that's that's no task for me , but well seven to seven at least yeah ,Project Manager: {vocalsound} So maybe you can finish your presentation ,User Interface:{vocalsound}Project Manager: and afterwards we will discuss about all this .Industrial Designer: but {disfmarker} Oh , okay .User Interface: Maybe this {gap} .Marketing: Okay .Industrial Designer: Okay thanks {gap}.Project Manager: That's it . Okay . So . {vocalsound} {gap} No . Uh , so I think we have a lot {disfmarker} We have to take decision today , so I think we have to do some work to finalise our idea and take decisions .Uh first I think energy it's a key problem because uh it depend what can we have as feature if we use only batteries , for example , or something like that . Because can we have L_C_D_ and speech recognition withbattery , and it's also r related to the size of the of the devi of the device ?Industrial Designer: Not {disfmarker} J uh just a point to the energy th things . If we use the batteries , and the additional so solar cell , thenit's okay for L_ uh speech recognition and L_C_D_ ,Project Manager: Okay .Industrial Designer: so no problem in energy , I think .Project Manager: So {disfmarker} Okay .Industrial Designer: But we have to use thesolar cell .User Interface: So but {disfmarker}Project Manager: Uh like {disfmarker}Industrial Designer: Otherwise not .Project Manager: but using how many batteries , for example ? Are are what Maybe what is thesize of the battery {gap}Industrial Designer: {vocalsound} Yeah I was thinking just common A_A_ cells .Project Manager: Okay . Uh one two {disfmarker}Industrial Designer: So like three to five centimetres ,ProjectManager: Okay .Industrial Designer: I dunno exactly , but .Marketing: So if we use s solar cells , um where is the sun if someone's watching T_V_ inside ?Industrial Designer: S Uh d doesn't need to be sun . It it's justthe daylight , you know .Marketing: {vocalsound} {vocalsound} Okay .Project Manager: The television lights . {vocalsound}Industrial Designer: Yeah well I I suppose that I suppose that uh that this remote controlwon't be in the in the room like this , where there is light only when when there are people , but .User Interface: {vocalsound}Marketing: {vocalsound}Project Manager: {vocalsound}User Interface: Mm-hmm .ProjectManager: At least when there is T_V_ you can get light from the T_V_ .Industrial Designer: Yeah from the T_ {vocalsound} {disfmarker}User Interface: Yeah .Industrial Designer: I don't think it's enough , uh .ProjectManager: {vocalsound} I dunno .Marketing: Okay .Project Manager: Okay . Mm .Industrial Designer: Ah it's a it's a compromise , no ?Marketing: {vocalsound}Project Manager: At least it's new and maybe technologyNew technology .Industrial Designer: Yeah , that's why I wanted to to include the speech recognition , because you wanted all the new things .Marketing: It's it's quite innovative , yes .Project Manager: Yeah .UserInterface: Hmm .Project Manager: Um .Marketing: And if you watch T_V_ outside it's {vocalsound} very useful . {vocalsound}User Interface: {vocalsound}Project Manager: So I think before talking about the otherthing , it's important thing it's the case .Industrial Designer: {vocalsound}Project Manager: Uh what what are gonna be the size , because its weight drives the other {disfmarker} what we are going to use as featuresand so on . For example for the for the L_C_D_ , if we choose to have a small device , we cannot use this um a such a a a screen .Industrial Designer: Uh the s the screen is okay , but the board , uh that's the problem .Well what what would you guess as a shape ? Or what what would be the shape ?User Interface: Mm . I think I think their being uh large or small is not important . The only important thing is to be able to take it in uhinside hand easily . So let's say an average size , okay ,Industrial Designer: Mm .User Interface: and it should not be very heavy also . And I prefer to {disfmarker} is it shouldn't have a uniform shape , so in the middleit should be a little bit thinner , maybe maybe . So we c it's like like some joysticks . You can take uh some some joystick you can take inside hand easier because it's it's designed for your f uh taking into account yourfinger shape and your palm shape . So the general shape should be like this . I think uh seven centimetre by seven centimetre is a little bit large . So uh seven {disfmarker} not seven but let's say five by ten it's I thinkit's {disfmarker} that's my opinion . It's easier .Industrial Designer: Okay .Marketing: Which is the same area .Industrial Designer: {vocalsound} Okay .User Interface: Yeah . {vocalsound}Marketing: Could you recould you redesign your board ?Industrial Designer: Five to ten . Well that {disfmarker}Marketing: Oh , five five centimetres by ten centimetres .Industrial Designer: Yeah , right .Marketing: Yeah .Industrial Designer:Yeah , I think it's feasib Well one um um {disfmarker} How could we do it ? We could put the board next to , well , under the L_C_D_ and for example make the L_C_D_ be totally unrelated to the thing that you hold inyour hand .User Interface: Mm-hmm .Industrial Designer: Like holding something , and the L_C_D_ to be just on top of it , you know somehow . Well {disfmarker} But maybe let's stick to the s spongy thing , like oneunit .Project Manager: Oh . I've I s I think the easiest thing would be to to have a smaller L_C_D_ , if it's possible .Industrial Designer: Well fi five to ten it would be feasible .User Interface: Mm .Industrial Designer:Okay , so five to ten , I I think it's it's feasible .Project Manager: Okay . So we are agree with a smallIndustrial Designer: I'll make it .User Interface: {gap} Or uh or I don't knowProject Manager: L_C_D_ .{vocalsound}Industrial Designer: Fo Five by ten .User Interface: but I don't want to now invent something new , because we didn't discuss about it . So using some L_C_D_s we can touch , so we can remove uh keys"}
+{"doc_id":"doc_119","qid":"","text":"The Chair (Hon. Anthony Rota (NipissingTimiskaming, Lib.)): I call this meeting to order. Welcome to the 13th meeting of the House of Commons Special Committee on the COVID-19 Pandemic. This will be a hybridmeeting. Some members will be participating via video conference and some will be participating in person. In order to ensure that those joining the meeting via video conference can be seen and heard by those in thechamber, two screens have been set up on either side of the Chairs chair, and members in the chamber can listen to the floor audio or to interpretation using the earpieces at their desks. Before speaking, please waituntil I recognize you by name, and please direct your remarks through the chair. For those joining via video conference, I would like to remind you to leave your mike on muteMr. Ziad Aboultaif (Edmonton Manning,CPC): I have a point of order.The Chair: Can the member wait for the point of order until we finish the introduction?Mr. Ziad Aboultaif: There is so much noise in the background over there, Mr. Chair.The Chair: That is avery good point of order. I want to remind everyone that when we speak, it is picked up. We have amazing speakersand an amazing Speaker, but that's a whole other storyand amazing microphones in the chamber,and they do pick up everything. I know there was some chatter going on in the background. I want to make sure everyone is aware of that. Mr. Aboultaif, that was a very good point of order. I appreciate that. For thosejoining us via video conference, I would like to remind you to leave your mikes on mute when you're not speaking. Also, please note that if you want to speak in English, you should be on the English channel, and if youwant to speak in French, you should be on the French channel. Should you wish to alternate between the two languages, you should change the channel to the language that you are speaking each time you switchlanguages. Should members participating by video conference wish to request the floor outside their designated speaking times, they should activate their mic and state that they have a point of order. Those in theChamber can rise in the usual way. Please note that today's proceedings will be televised. I understand that there are no ministerial announcements for today, so we'll continue to the presentation of petitions, for aperiod not exceeding 15 minutes. I would like to remind members that any petition presented during a meeting of the special committee must have already been certified by the clerk of petitions. For membersparticipating in person, we ask that they please come and drop the signed certificate off at the table once the petition is presented. The first petition goes to Mr. Manly, who is joining us via video conference.Mr. PaulManly (NanaimoLadysmith, GP): Thank you, Mr. Chair. This is a petition that calls on the government to deal with helping our honey bees. They are crucial to our food system. They provide hundreds of billions of dollarsworth of services to commercial agricultural crops and other ecological services every year, and the European Union has put heavy restrictions on the chemicals that are affecting them, the neonicotinoids. This petitioncalls on the Government of Canada, for the sake of bees and our food security, to follow Europe's lead and adhere to the precautionary principle by banning the use of neonicotinoids in Canada.The Chair: The nextpresenter of petitions will be Mr. Genuis, who is very parliamentary and dressed from the waist up, I understand.Mr. Garnett Genuis (Sherwood ParkFort Saskatchewan, CPC): Thank you, Mr. Chair, and that is all youneed to see for the moment. Canadians are horrified by the military report on the conditions of long-term care in Ontario. It raises big questions about the choices facing seniors in certain situations, which is whatmakes this first petition particularly timely. I am tabling a petition related to Bill C-7, the government's euthanasia bill, which seeks to dramatically remove safeguards that the government said were vital only a shorttime ago. When some people are living in deplorable conditions, we cannot truly speak of them as having a choice of when they ought to die. Especially in light of that new information, I commend this petition for theconsideration of members of the House. The second petition is in support of Bill S-204 on organ harvesting and trafficking, put forward in the Senate. The bill would make it a criminal offence for a person to go abroadand receive an organ without the donor's consent. This bill seeks to combat the horrific practice of forced organ harvesting and trafficking.The Chair: The next petition presenter will be Ms. May.Ms. Elizabeth May(SaanichGulf Islands, GP): Thank you, Mr. Chair, and greetings from SaanichGulf Islands. The petition I'm presenting today is petition e-2509, which has been duly certified. It relates to what I think many of us willregard as the real heroes of the last few months. In this pandemic, there have often been very underpaid and overworked front-line workers who receive minimum wage and nothing more, and who are of coursedeemed essential services. The petitioners have asked the government to implement a wage supplement as a temporary measure to bring the wages for those who are in contact with the general public and working inwhat has been deemed an essential service to no less than $20 an hour, in light of their service and the risks they're taking for all of us.The Chair: We have a point of order from Ms. Harder.Ms. Rachael Harder(Lethbridge, CPC): Mr. Chair, the honourable member who just spoke brought up a great point yesterday. She said that when we present petitions, we are simply supposed to give one or two sentences before puttingthem on the table. I believe that was more than one or two sentences.The Chair: I want to remind honourable members that when they are presenting petitions, they should be very concise with the prcis that they giveup front, as opposed to going on for a long time. Now we will proceed to statements by members for a period not exceeding 15 minutes, and each statement will be for one minute. We will start with Mr. Fonseca.Mr.Peter Fonseca (Mississauga EastCooksville, Lib.): Thank you, Mr. Chair. Today I am honoured to recognize the youth in my riding of Mississauga EastCooksville who are part of the 52nd Mississauga Scouts. For over adecade, I've had the great opportunity to join the Scouts every year during the month of May for the door-to-door food drives. This year has been a lot different, owing to the COVID situation, but our Scouts are notused to saying the word impossible. David Chant, head leader for their cub pack, reached out to share that the youth have found innovative ways to engage our community through a virtual food bank. I say a big thankyou to Scout leaders like David, who are strong role models for our youth, teaching them the importance of leadership, kindness and giving back. I've always been amazed with the support within our community for theScouts' food drive. David and his group of Scouts raised over $46,000 worth of food last year for the Mississauga Food Bank and The Compass. Again, I give a huge virtual high-five to all of our young Scouts, who havetaken the lead with lots of compassion and care.The Chair: We'll now go on to Mr. Richards.Mr. Blake Richards (BanffAirdrie, CPC): May 24 to May 31 is Tourism Week in Canada. This annual celebration is a time for usto recognize the contributions and experiences of Canada's tourism industry. This is a very important industry, and this year's Tourism Week is a little different from what it normally is. The ongoing coronavirus crisishas closed provincial and international borders to recreational travel, and tourism operators from coast to coast have been among the first and hardest hit due to the government-mandated lockdowns. Clear criteriaregarding border reopenings and health and safety requirements will allow hospitality and tourism businesses to sufficiently prepare to reopen. This includes rehiring employees, ordering supplies and putting togethertour packages and marketing plans. Operators do not need to be set back any further because of a lack of clarity around reopening. While this Tourism Week is not a celebration like the one we had expected, Ianticipate next year's celebration to be a celebration of an even stronger and more successful tourism industry in Canada.  The 1.8 million Canadians whose jobs depend on a thriving tourism sector are counting onit.   Bonne semaine to tourism.The Chair: We'll go on to Mr. Rogers.Mr. Churence Rogers (BonavistaBurinTrinity, Lib.): Mr. Chair, Monday was a sad day in my riding of BonavistaBurinTrinity, and indeed our entireprovince. Please join me as I offer sincere condolences to the families of the men who lost their lives at sea in a tragic accident off the coast of St. Lawrence in Placentia Bay.  Ed Norman, his son Scott Norman and hisnephew Jody Norman all tragically lost their lives while fishing for crab this past Monday. A fourth man, family friend Isaac Kettle, was also with them. After a courageous search mission by Canadian Coast Guardauxiliary members and the Department of National Defence and Provincial Airlines, he is unfortunately still missing. We grieve with the entire town of St. Lawrence as they mourn this tragic loss of life. Mr. Chair, I amsure the entire province of Newfoundland and Labrador, this parliamentary family and Canadians from coast to coast to coast join me in thinking of these men, along with their friends and families, during this difficulttime. Thank you, Mr. Chair.The Chair: We'll now continue with Mr.Simard.Mr. Mario Simard (Jonquire, BQ): Thank you, Mr.Chair. I would like to speak to you today about a solid man who unfortunately passed away onMay25. We were greatly saddened to learn about the death of FrancisDufour. This builder of Quebec's political history drew his last breath at the age of91, late Sunday night. Mr.Dufour was the archetypal proudrepresentative of my region who spent his entire life in Jonquire. He first became involved in the Alcan employee's union in Arvida, then continued his civic involvement at the municipal level as mayor, then in theQuebec National Assembly as the member for Jonquire. He will be remembered as a man with deep ties to his community, a man of integrity, a people person, who dedicated himself to serving citizens and advancingthe independence movement in Quebec. On behalf of the people of the riding of Jonquire and all the people of Quebec, I offer my most sincere condolences to FrancisDufour's family and loved ones. Thank you.TheChair: We are continuing with MartinezFerrada.Ms. Soraya Martinez Ferrada (Hochelaga, Lib.): Thank you, Mr.Chair. The pandemic has greatly affected Montreal East, particularly the riding of Hochelaga, which Irepresent. Today, I'd like to recognize the exceptional work of all the volunteers and organizations in Hochelaga that are helping the more vulnerable populations, including Anonyme, CAP St-Barnab, CARE Montral, theCuisine collective Hochelaga-Maisonneuve, Bouffe Action, the Centre Communautaire Hochelaga, Chic Resto Pop, Jojo Dpannage, Groupe d'Entraide de Mercier-Ouest and many others. I'd like to acknowledge thecommitment of the merchants who have rolled up their sleeves, including the Coop Couturires Pop, to make masks. I'd especially like to recognize essential workers, especially attendants. Allow me to offer ourcondolences to the loved ones of the attendants who have lost their lives to protect ours. The citizens of Hochelaga are resilient and unified. I am proud to rise in the House to salute them.The Chair: The nextpresentation will be by Mr. Cumming.Mr. James Cumming (Edmonton Centre, CPC): Mr. Chair, I rise today to pay tribute to a great Albertan and former parliamentarian, Louise Feltham, who passed away this Mondayafter a lengthy battle with cancer. Louise was an entrepreneur, a public servant and a force of nature. She inspired the family motto How hard can it be? by creating communities and building several homes in herlifetime. In all that she did, Louise broke glass ceilings. Her many firsts included being the first woman to serve as a councillor in rural Alberta, the first female reeve in rural Alberta and the first woman born inNewfoundland to serve in this chamber. She was the MP for Wild Rose from 1988 to 1993. Her son Glenn served as the president of NAIT when I chaired the board. My thoughts and sympathies are with him, his wifeTammi and the rest of their family for this great loss. Her parliamentary family mourns with you today.   Some hon. members: Hear, hear!The Chair: We will now go to Mr. Bagnell.Hon. Larry Bagnell (Yukon, Lib.): Mr.Chair, it is a great honour to speak to the House of Commons today from Whitehorse, Yukon, here on the traditional territory of the Kwanlin Dn First Nation and the Ta'an Kwch'n Council. As a great historic Canadianevent last week, Yukon became home to Canada's first university north of 60. Yukon University will provide Yukoners with educational opportunities closer to home, expand our research capabilities and expertise on theArctic and climate change and allow those who want to study northern and first nations governance to do so in the north. I encourage all students living in the northern half of Canada to look at the many programs anddegrees at Yukon University to continue their studiesin some cases this year, virtuallyby remaining in the north. I want to congratulate the staff of Yukon College, who spent the last decade working towards thistransition, and especially the outgoing president, Karen Barnes. I wish her all the best in her retirement. Thank you, merci, mahsi cho and sga senl.The Chair: We'll now go on to Ms. Hutchings.Ms. Gudie Hutchings(Long Range Mountains, Lib.): Thank you, Mr. Chair. First of all, from the Long Range Mountains, I too want to send my condolences to my colleague, Mr. Rogers from BonavistaBurinTrinity, on the tragic loss in St.Lawrence. We're all communities that rely on the sea, and we understand the importance and the tragedy, and the hard work it is being fishers. However, today, colleagues, I want to mention, as my colleague fromacross the way said, that it's national tourism week, so please take the time to get out and thank the tourism and hospitality businesses in your ridings. Most businesses around the world were hit hard by COVID-19.The tourism economy was hit very hard, especially seasonal and rural operations and the 1.8 million people the industry employs. However, this industry knows how to work hard. They know how to partner. They knowhow to look after their employees and their guests. They will find new and innovative opportunities and experiences. They will build new business and they will continue to attract visitors. We know that the domestic andlocal markets will recover first. I know that the operators in my riding are getting ready just for that. It's exciting to speak with them about how they're working on their new normal and how it's going to be developedand implemented here in the Long Range Mountains. Remember too that many of our national parks are opening on June 1, so get out and explore the park in your backyard. I look forward to working with the TourismIndustry Association of Canada, Destination Canada and my colleagues so that when we turn the corner of this pandemic, we are ready to rebuild a stronger tourism economy. Friends, go out and discover the tourismtreasures in your province. They need your support. Tourism matters. Thank you, Mr. Chair.The Chair: Mr.Gourde, you have the floor.Mr. Jacques Gourde (LvisLotbinire, CPC): Thank you, Mr.Chair. Some people werealready too few in number and already burdened with heavy responsibilities even before the COVID-19 crisis occurred. I would like to take this opportunity to express my admiration for the dedication of all the essentialworkers who stepped up in the riding of LvisLotbinire. This crisis has created pressing needs and unprecedented emergencies. Fine men and women committed to human dignity, volunteers, retirees, and you, who havewisely agreed to stay home, you have been part, to varying degrees, of this great equation to minimize the impact of the spread and avoid the worst. The snow has melted, the flowers have arrived. Many children arehappy to be able to expend their energy again; our seniors are being cuddled, with great care, and our essential workers in the riding are still dedicated to the job. I say bravo, thank you and don't give up, even thoughyou have already earned your place in heaven.The Chair: Ms.Bendayan.Ms. Rachel Bendayan (Outremont, Lib.): Thank you, Mr.Chair. My father, who is now retired, was a researcher for over 40years. He was involvedin many medical discoveries. From his laboratories at the Univerist de Montral, he worked with CHUM and the Centre hospitalier universitaire SainteJustine, renowned institutions in Outremont. In Fact, Outremont is fullof professors, scientists and researchers. They are Quebeckers, Canadians, who are at the forefront of discoveries that save and will save lives. Since coming into office, our government has reversed the funding cuts tomedical research and has invested billions in science. Recently, we announced new funding for COVID-19 research for fundamental science and supports for academic researchers. We are working very hard to find avaccine for COVID-19, and our fundamental research is helping us to understand viruses that we don't even know the names of yet. It is this work that will help us stay ahead of the curve rather than flatten it. To all ourCanadian scientists and to my dad, thank you.  Some hon. members: Hear, hear!The Chair: We'll now continue with Ms. Alleslev.Ms. Leona Alleslev (AuroraOak RidgesRichmond Hill, CPC): Mr. Chair, citizens in myriding of AuroraOak RidgesRichmond Hill are showing incredible compassion as they help their families, their friends and even strangers during this difficult period. They are our community champions. The AuroraChamber of Commerce and the Richmond Hill Board of Trade are helping businesses navigate in these difficult times. Organizations like The STEAM Project and Ganesha Temple are making and donating face masks forthose in need. The Aurora Museum & Archives is collecting artifacts to document the pandemic for future generations. The Aurora Farmers' Market is bringing local farmers and businesses to us, but this year with onekey person missing. Our community has lost one of the farmers' market's founders, our jam lady, Jan Freedman. We were deeply saddened by her passing, and she will be sorely missed. My sincere thanks to everyonewho's working to ease the burdens on one another during this crisis. It's not easy, but this too will pass, and we will be stronger for it. In the meantime, stay safe, and let us all do our part to be community champions.Thank you.The Chair: Mr.Deltell, you have the floor.Mr. Grard Deltell (Louis-Saint-Laurent, CPC): Mr.Chair, we all understand that a crisis like the one the world is currently experiencing generates deficits. We also knowthat a deficit is a bill we send to our children and grandchildren, which is why it is important to be prudent, to make wise choices and, above all, to know where we are going. It's a shame that every time we ask thegovernment a question, no minister can tell us how big the Canadian deficit is. We aren't the only ones concerned about the deficit and the government's lack of transparency. In fact, last Tuesday, at a parliamentarycommittee meeting in the Senate, the Parliamentary Budget Officer made some very scathing remarks about the government. He said he was concerned. He said that there had to be a deadline or we'd be headingtoward taxation levels that haven't been seen in generations in this country because there is not a lot of ammunition left before we go into a large structural deficit. I'm not the one saying it; it's the ParliamentaryBudget Officer. For weeks, almost every day, the Prime Minister has been announcing cash injections for Canadians. We agree with that. However, hundreds of billions of dollars are being spent without any idea of thedeficit. That's why we're sounding the alarm and calling on the government to be careful. The Prime Minister needs to know that we can't play Santa Claus every day, because the bills in January come in fast, and theyare high.The Chair: We will now go to Mr. Garrison.Mr. Randall Garrison (EsquimaltSaanichSooke, NDP): Mr. Chair, making sure science informs our health policies is critical during a pandemic. That's why I'm sodisappointed that the Liberals have maintained the ban on blood donations from gay men and trans women. There is no science behind this ban. Not only does it reinforce homophobia and transphobia, it also reducesour blood supply at this critical time. Now we've learned that the ban will also result in rejecting plasma donors, when plasma is so critical in emerging COVID-19 research and treatment. More than 17 countries,"}
+{"doc_id":"doc_120","qid":"","text":"Project Manager: {vocalsound} Okay .User Interface: Mm-hmm .Project Manager: So we are here for the concept design meeting . So , we will first start by summarizing the mm {vocalsound} the previous meeting andthe decision we've taken . Uh I will take notes during this meeting so uh that you can uh look at my uh folder to see the summary of this meeting afterwards . So each of you will uh show us the various investigationthey've done during uh previous uh hours . We'll then t take decision in concert and then uh uh we will uh define the nest {disfmarker} next task , to have {disfmarker} to be done before the next meeting . So , lasttime we decided to have a simple interface . We also decided to have a wheel to change channel {disfmarker} previous channel button . Channel digit uh buttons should be uh protected by plastic cover or something forthe remote control to look very simple . We have also button for volume , and to switch on off the T_V_ . We have also uh the lightening feature for the remote control to be easy to find , and for fast development andlow cost we have decided to have no L_C_D_ no voice features . So now uh we will have three presentations . So the conceptual specification by Industrial Designer , the specification of the U_I_ by {disfmarker} orU_I_ {vocalsound}User Interface: Abdul al-Hasred is my name .Project Manager: okay . {vocalsound} And uh the last point is uh trend watching by Market Expert . So maybe we can start with uh industrial design . Sothis is the presentation .Industrial Designer: Uh , I_D_ you want ?Project Manager: Maybe I can switch slide uh on your request .Industrial Designer: Yeah . I only v have three slides , so . I just look at the mm{disfmarker} um just this . On some web pages to find some documentationProject Manager: Yeah .Industrial Designer: and I think a remote control is , as I s mentioned previously , you just have a a very simple chipand the mm the user interface is just done usually by push button and in our case we are using a um a wheel control . So uh uh I was looking basically for that chip , which is uh very very standard , and uh I just lookedfor the wheel sensor and the standard push button . And um {vocalsound} yeah we can change directly .Project Manager: Yeah .Industrial Designer: In fact I have the number of that element which is very standard forremote control . The push button are usually extremely cheap , but I just have one problem and this is related with the wheel sensor , which seems to be quite expensive .Project Manager: Okay .User Interface:Mm-hmm .Industrial Designer: And I think we if we could just talk about that if we really need a wheel sensor or if we can not {disfmarker} if if we could combine something with the push button .Project Manager: Okay.Industrial Designer: Uh a wheel sensor is fifty time the price of a a a push button .User Interface: Yeah .Project Manager: But is it a significant price on the whole remote control ?User Interface: Mm .Project Manager:Because we can afford up to twelve Euros for the price of the remote control .Industrial Designer: Yeah . YeahProject Manager: So will will will this with uh including all possible things , so buttons , wheel and the chip ,be uh lower than twelve Euros to produce ?Industrial Designer: I I th {vocalsound} But I don't think that uh we should {disfmarker} We should talk about uh the design of the box also which needs some money .UserInterface: Yeah .Project Manager: OkayUser Interface: Also have to say {disfmarker}Industrial Designer: But {disfmarker}User Interface: Did you receive the email about the voice recognition ?Industrial Designer: Umthat's all {vocalsound}User Interface: No ?Project Manager: You received something {disfmarker}Industrial Designer: yeah . I haven't checUser Interface: Yeah . You we uh an email from the manufacturing divisionthat they have basically a voice recognition chip already developed .Project Manager: Hmm .User Interface: Says {disfmarker} Yeah . It says that ri right now they just use it to uh to record uh answers to particularquestions . But I guess it could be {disfmarker}Project Manager: And could it be adapted ?User Interface: I guess it's possible . I mean instead of recording the answers you can just uh record uh something simpler likea command .Project Manager: Okay and there can uh recognize some commands and stuff ?User Interface: Yeah you reco recognize commands and you can record new commands and stuff , so if they already have itas uh as a chipProject Manager: Okay . Yeah .User Interface: then we we could use it .Project Manager: Okay maybe we can just uh listen to this presentation and then take decision later on {disfmarker} according tothose news .Industrial Designer: Mm-hmm .User Interface: Okay .Industrial Designer: Yeah but I think it's yeah {disfmarker} Sorry , I haven't written my personal references . Um {vocalsound} the I I just want tomention the the problem of the the r wheels sensor which is much more expensive than any push button ,Project Manager: Okay .Industrial Designer: and if we could reduce that . We we have already some good thingsuh with um um with the backlight of the push button .User Interface: Mm-hmm . I have a question about that actually {vocalsound} . Um , what is the purpose of the light ?Industrial Designer: Just to to makesomething which is uh slightly more design that uh a squarey box with a rubber {disfmarker}User Interface: Is {disfmarker}Project Manager: You can easily find the button in the dark or so ?User Interface: But{disfmarker} But in th in the dark uh {disfmarker} Yeah but is going to be always turned on , the light ?Project Manager: It will be turned on when the when the user move the remote control I think , no ?UserInterface: But if you move it then you have it , you don't need to find it .Project Manager: Hmm .User Interface: You can see the buttons better , of course .Project Manager: Yeah . Yeah .User Interface: Yeah .ProjectManager: Yeah . True .Industrial Designer: Yeah . Actually .User Interface: But if you move it then you have to have some sensor to {disfmarker} when you move it to detect your movement .Industrial Designer: Assoon as you thought to move the the remote control you have the light .User Interface: Yeah , but you need another sensor for that , right ?Industrial Designer: Yeah . Again .User Interface: Yeah {vocalsound} no it'stoo expensive . {vocalsound}Industrial Designer: I don't think that this is really expensive , but at the end this is plenty of unexpen eh very cheap devices but uh the bill starts to be {disfmarker}User Interface: Okay .Mm . Extra . Yeah , okay . Mm . Yeah , but I expected also the wheel would be cheap but you tell me that it is very expensive so ,Industrial Designer: {vocalsound} First of all I was thinking to have a a continuouslightUser Interface: yeah .Industrial Designer: and you w when t you you you you press the on button you have the light on your remote control , when you want to turn off your device {disfmarker}User Interface: Mm. Mm-hmm .Project Manager: But it can be uh battery consuming , no ? To have the light always on ?Industrial Designer: Yeah , a little bit . A little bit .User Interface: Mm .Project Manager: Well we will discuss thatafter maybeIndustrial Designer: Yeah .User Interface: OkayProject Manager: the other presentations .User Interface: . So uh my one , it uh should be in the shared folder .Project Manager: Yeah .User Interface: So . Itwas last time I saw it .Project Manager: And it is .User Interface: Okay . So ,Project Manager: Okay .User Interface: {vocalsound} just move to the next slide . {vocalsound} So basically {vocalsound} want very simple, right ? That's the major idea , as simple as possible .Project Manager: Yeah . Yeah .User Interface: So I just look at some current designs uh on the web , of usually more complicated remote controls . And let's look attwo of them because uh th even though they have many buttons they look quite simple . And in our case we just uh reject the buttons what we don't need and it become even simpler .Project Manager: Yeah .UserInterface: Um . {vocalsound} So .Project Manager: And also does it uh fit well in hand ? Because it was uh th your wrist problem with the usage .User Interface: Yeah . Well this these uh these remotes are quite big , sogo to the next page , so . We have all these buttons as you can see , but most of them , we just need the ones in the middle .Project Manager: Yeah {vocalsound} . Yeah .Industrial Designer: Yeah .User Interface: So ,from the bottom or whatever is there , uh the uh the numbers and then the top , uh until the ten also , this middle part ,Project Manager: Yeah . Yeah .User Interface: and on the left one is exactly the same . So it'sbasically more or less how we would like it , with a big volume control , big channel control , and mute and power , yeah ?Project Manager: Yeah .User Interface: These are the basic thing .Project Manager: So it's onlythe central part .User Interface: So basically , w software we will build will look more or less the same as these two .Project Manager: Yeah . With a maybe a more ergonomic design on on the bottom part .UserInterface: Yeah , if you have , for example {vocalsound} {disfmarker} I think that the volume and the buttons that are there on the top are not very easy to reach with your thumb .Project Manager: Yeah .UserInterface: It could be on the right side , for example .Project Manager: Okay .User Interface: Yeah . Because we don't have these input buttons and this other stuff that they have . And I think that the plastic cover isnot very good uh idea becauseProject Manager: Okay .User Interface: you open it , it can break , you ca you can do various things .Project Manager: Okay . SUser Interface: Uh you just need to put the channelnumbers somewhere a bit out of the way .Project Manager: Okay . Will be down or {disfmarker}User Interface: So that they're separate a bit ,Project Manager: Okay .User Interface: yeah . Uh and it's easy to press theother {disfmarker} the big buttons , but uh , it's not that difficult to press the the channel buttons either . Mm . Yeah , I think that if you put the cover it will be even more difficult for the user .Project Manager: Okay.User Interface: Alright , you won't {disfmarker} yeah . Usually what {disfmarker} I have noticed that people put the plastic cover on things that you normally don't mess with , like buttons for t uh tuning the channelsand stuff like that .Project Manager: Okay .User Interface: Yeah . That you want to protect a bit . And I think it's uh it's reasonable .Project Manager: Okay .User Interface: So , I don't think {disfmarker} Yeah , this isjust the the wheel .Project Manager: Mm .User Interface: We could use the {disfmarker} some wheels can be pushed down , could use the push down of the wheel for the record if we want .Industrial Designer:Mm-hmm .User Interface: Uh so we could just basically use one just wheel and uh user could use just the wheel to do everything with the channels in that case .Project Manager: Yeah . Maybe the wheel will be a{vocalsound} good advantage over our competitors .Industrial Designer: Mm-hmm .Project Manager: Because otherwise it's pretty standard apart the fact that it's very simple . So maybe it's worse to uh to have moreexpense on that's that aspect .Industrial Designer: To s Mm-hmm .User Interface: Yeah , I guess the market researcher will tell us all about that .Project Manager: Okay . So we can move to the {disfmarker} Is thereany question ? For designer of user interface ? {vocalsound} or we can move to the next part , maybe , and discuss afterwards ? Okay .Marketing: Okay , I can go ?Project Manager: Yeah .Marketing: Can I ?{vocalsound} So now the recent investigation we we have done fo of the remote control um . So , the most important aspect for remote controls is to be fancy look and feel and not current functional look and feel . Andum the second aspect is uh that the remote control should be uh technological innovative .Project Manager: Okay .Marketing: {vocalsound} And the third most important aspect is to to {disfmarker} is that the coremote control should be easy to use . So , are things we are we have uh speak about before .User Interface: Mm-hmm .Project Manager: Yeah .Marketing: Yeah . And um {disfmarker} so you you can go{disfmarker}Project Manager: Yeah .Marketing: after . And there is a fashion watchers in Paris and Milan that have detected the following trends , uh fruits and vegetables will be the most important theme for clothes ,shoes , and furnitures . {vocalsound} So , maybe if our {vocalsound} remote control have to be a fruit form or vegetable form {vocalsound}Project Manager: Okay .Marketing: something like that , or{disfmarker}Industrial Designer: I support an apple .Marketing: {vocalsound} And the mm the material is expected to be spongy .Project Manager: {vocalsound}Marketing: Uh I don't know which material{vocalsound} can be spongy ,Project Manager: Yeah .Marketing: and if you {disfmarker}Project Manager: This is good also for {disfmarker}User Interface: Well , wou wou I think we can certainly just put theelectronics in a spongy thing ,Industrial Designer: Yeah .User Interface: it it would work , right ?Project Manager: Yeah .Industrial Designer: Yeah .User Interface: Yeah .Marketing: Mm-hmm .Project Manager: I think itis good also f to have a spongy material , yeah .User Interface: You can throw it to the television .Project Manager: Yeah , because it's robust .Marketing: Okay {vocalsound}Industrial Designer: Yeah . Me too.Marketing: It's robust , yeah .User Interface: Hey that's a cool one . We could say that if you throw it , you have a sensor , and you throw it and hits the television and turns it off .Project Manager:{vocalsound}Marketing: {vocalsound}User Interface: When it d uh takes a shock .Project Manager: YeahMarketing: {vocalsound} Not good .Project Manager: uh sorry ?Industrial Designer: Ah it's okay . I know thatthey do that for alarm clock also .User Interface: Yeah .Marketing: An and and uh this uh you can yeah you can say that . You ca uh you can go uh beforeProject Manager: No . Yeah . Before ?Marketing: , before , yes .And you know here the more iz important aspect is the fancy look and feel , after is uh technological innovative , and after the easy to use .Project Manager: Yeah . Yeah . Yeah . I think it's innovative to use the mm thewheel because I think no one else has .Industrial Designer: Yeah .Marketing: Yeah that's why {disfmarker}Project Manager: Has it ?Marketing: Yeah that's why I think we have to keep that if it's possible .ProjectManager: Yeah . I think it's {disfmarker} it makes it both easy and both innos innovative .Industrial Designer: Mm-hmm .Marketing: Innovative . Mm .Project Manager: So I think it's a good aspect and it should be kept.User Interface: How do we make it look cool is the question .Project Manager: Cool , fancy ?User Interface: Yeah .Project Manager: We have to make it l look like a fruit or vegetable . {vocalsound}User Interface:{vocalsound}Marketing: Yeah .Project Manager: Maybe uh um {vocalsound} a colour that remember some fruit uh , things like that .Industrial Designer: What about um {disfmarker}Marketing: {vocalsound} Mm . Oh, colour , yeah .User Interface: Well the obvious thing is a banana , I guess .Marketing: Oh {disfmarker} i i {vocalsound}Project Manager: {vocalsound} Maybe yeah .Industrial Designer: {vocalsound}Marketing: Ithought about a a pear , for example . You know the pear , is like that and it's it's easy to to have in in handProject Manager: Yeah , and it's ergonomic as well .Marketing: and uh {disfmarker} Yeah .Project Manager: Apear .User Interface: The banana is also ergonomic .Marketing: {vocalsound}Project Manager: Yeah . Maybe pear yeah or something like that .Marketing: Or a fruit like that . I dunno .Project Manager: Yeah . We candiscuss that uh . D D Is is there anything you want to add ?User Interface: Is there any fruit that is spongy ?Marketing: {vocalsound} {vocalsound}Project Manager: {vocalsound} I don't think so . I think we we canhave like yeah a pear is good , fit well , or banana as you told .User Interface: {vocalsound} Yeah .Marketing: {vocalsound}Project Manager: Something like that .Industrial Designer: And for maybe look and feel , whatabout a a piece of ice , with blue L_E_D_ inside ?Project Manager: But that's not in the trend . {vocalsound} .User Interface: You can make it um {disfmarker}Marketing: {vocalsound}Project Manager: The trend isspongy , and vegetable fruits .Industrial Designer: Yeah . Yeah . {vocalsound}User Interface: It's not hard , the metal .Marketing: {vocalsound}Project Manager: {vocalsound} I think p spongy is good because it it willbe robust as well .Industrial Designer: Yeah . {vocalsound}Marketing: {vocalsound}User Interface: Plastic . {vocalsound}Industrial Designer: Yep .Project Manager: So , I think we can keep the wheel because it's uheasy , it's innovative , even if the cost is a bit higher ,Industrial Designer: Yeah .Project Manager: and we also have to find a , so , a fruit like pear or banana wit uh any others idea you have . What kind of fr fruit wouldyou like to to control your T_V_ with ? {vocalsound}Marketing: {vocalsound}User Interface: Mm .Project Manager: OdiIndustrial Designer: Banana I think , it's a nice idea .Project Manager: Banana is also yellow so youyou can't lost your remote control then .Industrial Designer: Because {disfmarker} But {disfmarker}Marketing: {vocalsound} Yeah . {vocalsound}User Interface: Yeah .Industrial Designer: You y you don't use thebanana when the banana is curving like that ,User Interface: Two of the button , yeah .Industrial Designer: but when the banana is curving like that , with the wheel on the top and to control ,User Interface: Yeah .Yeah .Industrial Designer: and here you have a a push button to {disfmarker}Marketing: But you don't have {disfmarker}Project Manager: I think it's a good idea , yeah .User Interface: Yeah so you can just have uhjust have this curve , yeah , and you move uh your hand here to press the buttons and then you move uh on the other side .Project Manager: Yeah .Industrial Designer: Yeah .User Interface: So you can have it on ontwo sides and it'll be cool ,Project Manager: Yeah .User Interface: no ?Project Manager: I think it's a good design and it's innovative as well then . Maybe we can keep the banana . And it will be very easy to find.Industrial Designer: And everybody knows what is a banana .User Interface: You can put also vibrator inside .Industrial Designer: Basically .Marketing: {vocalsound} Yeah .Industrial Designer: If you if you start withuh fancy fruits and fra s and thaUser Interface: Ah-ha . You can also take into account the fact that the banana fits with the colour scheme of our company .Project Manager: Yeah .Industrial Designer: Oh , yeah{vocalsound}Marketing: {vocalsound}Project Manager: Yeah it's really uh really a good point .User Interface: {vocalsound} Yeah . {vocalsound} I hope the students of management die ,Marketing: {vocalsound}UserInterface: but anyway . {vocalsound}Marketing: {vocalsound}User Interface: Now who are recording this meeting ?Project Manager: I think it {disfmarker} So {disfmarker} One second . So we have to take somedecision on this aspect . So , uh so for {disfmarker}Marketing: {vocalsound}Project Manager: sorry , for uh component , so {disfmarker}Industrial Designer: So {disfmarker}Project Manager: we have to think aboutthose aspects , sorry .Industrial Designer: So we will just use a a standard battery ?Project Manager: Yeah .Industrial Designer: And uh the chip we {disfmarker} chip imprint we know exactly which one we are going touse . Uh what do you mean by case ?Project Manager: I think it's the box that should be spongy , banana's shape .Industrial Designer: Yeah . Uh I mean for me if we use a a spongy banana case , doesn't matter.Project Manager: {vocalsound}Industrial Designer: I just want to have so something to prin to to fix my my components onto that box , and that's it .User Interface: The only th Yeah . Y Yeah that can be in inside th inthe structure .Industrial Designer: Yeah yeah . Yeah .User Interface: But uh the thing is that the buttons and the wheel have to be {disfmarker}Industrial Designer: Spongy also .User Interface: I mean if it's spongythen the buttons and the wheel have to {disfmarker} I mean if it's spongy then it's going to move , right ? So , it's going to be bend a lot .Project Manager: But {disfmarker}Industrial Designer: Oh no I think it'spossible .User Interface: So if we try to push the buttons , it {disfmarker}Project Manager: No the button would be {disfmarker}User Interface: You think it's possible ?Project Manager: In fact it it should be somethingodd shaped , with a spongy cover .Industrial Designer: Yeah . YeahUser Interface: Okay .Industrial Designer: . This is uh like the {disfmarker}User Interface: Yeah .Project Manager: Okay odd shape with spongy"}
+{"doc_id":"doc_121","qid":"","text":"Grad A: OK , this is one channel . Can you uh , say your name and talk into your mike one at a time ?PhD C: This is Eric on channel three , I believe .Grad A: OK . Uh , I don't think it 's on there , Jane .Undergrad D:Tasting one two three , tasting .Postdoc E: OK , this is Jane on channel five .Grad A: Uh , I still don't see you Jane .Postdoc E: Oh , darn , what am I doing wrong ?Undergrad D: Can you see me on channel four ? Really?Grad A: Yeah , I sUndergrad D: My lucky day .Postdoc E: Uh , screen no , {disfmarker} it is , oh , maybe it just warmed up ?Grad A: No .Postdoc E: Oh , darn , can you can't see channel five yet ?Grad A: Uh , well , themike isn't close enough to your mouth , so .Postdoc E: Oh , this would be k OK , is that better ?Grad A: S uh , try speaking loudly ,Undergrad D: I like the high quality labelling .Grad A: so ,Postdoc E: Hello ,Grad A: OK ,good .Undergrad D: David , can we borrow your labelling machine to improve the quality of the labelling a little bit here ?Postdoc E: hello . Alright .Grad A: Thank you .PhD B: One tUndergrad D: How {disfmarker} howmany are there , one to five ?PhD B: One five , yeah .Undergrad D: Yeah , please .Postdoc E: Would you like to join the meeting ?Grad A: Well , we don't wanna renumber them ,Postdoc E: I bet {disfmarker}Grad A:cuz we 've already have like , forms filled out with the numbers on them . So , let 's keep the same numbers on them .PhD B: Yeah , OK , that 's a good idea .Grad A: OK , Dan , are you on ?PhD B: I 'm on {disfmarker}I 'm on two and I should be on .Grad A: Good .PhD B: Yeah .Undergrad D: Want to join the meeting , Dave ? Do we {disfmarker} do {disfmarker} do we have a spare , uh {disfmarker}Grad A: And I 'm getting lots ofresponses on different ones , so I assume {pause} the various and assorted P Z Ms are on .Undergrad D: We ' r we 're {disfmarker} we ' r This is {disfmarker} this {disfmarker} this is a meeting meeting .Postdoc E:This is abou we 're {disfmarker} we 're mainly being taped but we 're gonna talk about , uh , transcription for the m future meeting meetings .Grad A: Stuff . Yeah , this is not something you need to attend . So.Postdoc E: Yeah . e OK .PhD C: You 're always having one of those days , Dave .Postdoc E: Y you 'd be welcome .Grad A: Besides , I don't want anyone who has a weird accent .Postdoc E: You 'd be welcome .Grad A:Right , Dan ?Undergrad D: So , I don't understand if it 's neck mounted you don't get very good performance .PhD C: It 's not neck mounted . It 's supposed to be h head mounted .Undergrad D: Yeah . It {disfmarker}it should be head mounted . Right ?Grad A: Well , then put it on your head .PhD B: I don't know .PhD C: Right .Grad A: What are you doing ?Undergrad D: Cuz when you do this , you can {disfmarker} Rouww - Rouww.Postdoc E: Why didn't I {disfmarker} you were saying that but I could hear you really well on the {disfmarker} on the transcription {disfmarker} on the , uh , tape .Grad A: Well , I m I would prefer that people wore iton their headPhD B: I {disfmarker} I don't know .PhD C: iGrad A: but they were complaining about it . Because it 's not {disfmarker} it doesn't go over the ears .Undergrad D: Why ?Postdoc E: It 's badly designed.Grad A: It 's very badly designed so it 's {disfmarker}PhD B: It 's very badly designed ?Undergrad D: What do you mean it doesn't go over the ears ?PhD B: Why ? It 's not s It 's not supposed to cover up your ears.Grad A: Yeah but , there 's nowhere to put the pad so it 's comfortable .PhD B: I mean , it 's only badly {disfmarker}Postdoc E: So that 's what you 're d He 's got it on his temples so it cuts off his circulation .PhD B: Oh, that 's strange .PhD C: Yeah , that 's {disfmarker} that 's what I have .Grad A: And it feels so good that way .PhD C: It feels so good when I stop .Grad A: So I {disfmarker} I again would like to do some digits.Undergrad D: Somebody wanna {disfmarker}Postdoc E: Try it .Grad A: Um .Undergrad D: Somebody wanna close the door ?Grad A: Sure .PhD B: OK .Postdoc E: We could do it with noise .Grad A: So let me{disfmarker}PhD C: You 're always doing digits .Grad A: Well , you know , I 'm just that sort of {disfmarker} digit - y g sorta guy . OK . So this is Adam .Postdoc E: Uh , this is the same one I had before .Grad A: Idoubt it .PhD B: It 's still the same words .Grad A: I think we 're session four by the way . Or m it might be five .Undergrad D: Psss ! Oh , that 's good .Postdoc E: NoGrad A: I didn't bring my previous thing .PhD B: Wedidn't {disfmarker}Postdoc E: Now , just to be sure , the numbers on the back , this is the channel ?PhD B: That 's the microphone number .Postdoc E: That 's the microphone number .Grad A: Yeah , d leave thechannel blank .Postdoc E: Uh - oh . OK , good .Undergrad D: But number has to be {disfmarker} ? So we have to look up the number .Postdoc E: Five {disfmarker}Grad A: Right .Undergrad D: OK , good .Postdoc E:Good . OK . Well , this is Jane , on mike number five . Um . I just start ? Do I need to say anything more ?Grad A: Uh , transcript number .PhD B: Transcript number {disfmarker}PhD C: OK , this is Eric on microphonenumber three ,Undergrad D: This is Beck on mike four .Grad A: Thanks . Should I turn off the VU meter Dan ? Do you think that makes any difference ?PhD B: Oh , God . No , let me do it .Grad A: Why ? Are you gonnado something other than hit \" quit \" ?PhD B: No , but I 'm gonna look at the uh , logs as well .Grad A: Oh . Should have done it before .Postdoc E: Uh , you said turn off the what ?Grad A: The VU meter which tells youwhat the levels on the various mikes are and there was one hypothesis that perhaps that {disfmarker} {vocalsound} the act of recording the VU meter was one of the things that contributed to the errors .Postdoc E: Oh. Oh , I see .Undergrad D: Yeah , but Eric , uh , you didn't think that was a reasonable hypothesis , right ?Postdoc E: I See .Grad A: That was me ,Undergrad D: Oh , I 'm sorry yGrad A: I thought that was{disfmarker}Undergrad D: That was malarkey .Grad A: Well , the only reason that could be is if the driver has a bug . Right ? Because the machine just isn't very heavily loaded .Undergrad D: No chance of that .GradA: No chance of that . Just because it 's beta . Look OK ?PhD B: Yeah , there {disfmarker} there {disfmarker} there was {disfmarker} there was a {disfmarker} there was a bug . There was a glitch last time we ran.Undergrad D: Are - are yo are you recording where the table mikes are by the way ?PhD B: No .Undergrad D: Do you know which channels {disfmarker}Grad A: Yeah , we usually do that .PhD B: No , we don't .Grad A:Yeah .PhD B: But we {disfmarker} we ought to st we ought to standardize .Undergrad D: Why not ?PhD B: I think , {vocalsound} uh , I s I spoke to somebody , Morgan , {comment} about that . I think {disfmarker} Ithink we should put mar Well , no , w we can do that .Undergrad D: Why don't you just do this ?Grad A: I mean , that 's what we 've done before .PhD B: I know what they {disfmarker} they 're {disfmarker} they 'refour , three , two , one . In order now .Undergrad D: Four .PhD B: Three , two , {vocalsound} and one .Undergrad D: Three .PhD B: But I think {disfmarker} I think we should put them in standard positions . I think weshould make little marks on the table top .Grad A: Which means we need to move this thing , and sorta decide how we 're actually going to do things .PhD B: So that we can put them {disfmarker}Postdoc E: Oh , OK.PhD B: I guess that 's the point .Grad A: So .PhD B: It 'll be a lot easier if we have a {disfmarker} if we have them permanently in place or something like that .Grad A: Right .Postdoc E: I do wish there were big boomscoming down from the ceiling .PhD B: You do ?Postdoc E: Yeah .PhD C: Would it make you feel more important ?Grad A: Mmm .Postdoc E: Yeah , yeah , yeah .PhD C: I see .Undergrad D: Wait till the projector getsinstalled .Postdoc E: You know .Grad A: That 'll work .Postdoc E: Oh , that 'll be good .Grad A: That 'll work .PhD B: Oh , gosh .Undergrad D: Cuz it 's gonna hang down , make noise .Postdoc E: OK .PhD B: When 's itgonna be installed ?Postdoc E: OK .Undergrad D: Well , {vocalsound} it depends onPhD B: I see .Undergrad D: Is this b is this being recorded ?Grad A: That 's right .Undergrad D: Uh , I think Lila actually is almostgetting r pretty close to even getting ready to put out the purchase order .PhD B: OK . Cool .Undergrad D: I handed it off to her about a month ago .PhD B: I see .Grad A: OK , so , topic of this meeting is I wanna talk alittle bit about transcription . Um , I 've looked a little bit into commercial transcription services and Jane has been working on doing transcription . Uh , and so we wan wanna decide what we 're gonna do with that andthen get an update on the electronics , and then , uh , maybe also talk a little bit about some infrastructure and tools , and so on . Um , you know , eventually we 're probably gonna wanna distribute this thing and weshould decide how we 're gonna {disfmarker} how we 're gonna handle some of these factors . So .PhD B: Distribute what ?Grad A: Hmm ?PhD B: The data ?Grad A: Right . Right . I mean , so we 're {disfmarker} we're collecting a corpus and I think it 's gonna be generally useful . I mean , it seems like it 's not a corpus which is {disfmarker} uh , has been done before . And so I think people will be interested in having {disfmarker}having it ,PhD B: Oh .Grad A: and so we will {disfmarker}Undergrad D: u Using , like , audio D V Ds or something like that ?Grad A: Excuse me ?PhD B: Yes .Undergrad D: Audio D VGrad A: Well , or something . Yeah ,audio D V C Ds ,Undergrad D: Or tGrad A: you know .Undergrad D: Yeah . tapes .Grad A: And {disfmarker} and so how we do we distribute the transcripts , how do we distribute the audio files , how do we{disfmarker} how do we just do all that infrastructure ?PhD C: Well , I think {disfmarker} I mean , for that particular issue ther there are known sources where people go to {disfmarker} to find these kind of things likethe LDC for instance .Postdoc E: Yeah ,Grad A: Right , but {disfmarker} but so should we do it in the same format as LDCPostdoc E: that 's right .Grad A: and what does that mean to what we 've done already ?PhD B:Right . The {disfmarker} It 's not so much the actu The logistics of distribution are secondary to {pause} preparing the data in a suitable form for distribution .PhD C: Right .Grad A: Right . So , uh , as it is , it 's sort ofa {pause} ad - hoc combination of stuff Dan set and stuff I set up , which we may wanna make a little more formal . So .PhD B: And the other thing is that , um , University of Washington may want to start recordingmeetings as well ,Grad A: Right .PhD B: in which case w w we 'll have to decide what we 've actually got so that we can give them a copy .Grad A: That 's right .Undergrad D: A field trip .Grad A: Yeah . I was actuallythinking I wouldn't mind spending the summer up there . That would be kind of fun .PhD B: Oh , really ?Grad A: Yeah . Visit my friends and spend some time {disfmarker}PhD B: Different for you . Yes .Grad A: Well ,and then also I have a bunch of stuff for doing this digits . So I have a bunch of scripts with X Waves , and some Perl scripts , and other things that make it really easy to extract out {vocalsound} and align where thedigits are . And if U d UW 's going to do the same thing I think it 's worth while for them to do these digits tasks as well .Undergrad D: Mm - hmm .Grad A: And what I 've done is pretty ad - hoc , um , so we mightwanna change it over to something a little more standard .PhD C: Hmm .Grad A: You know , STM files , or XML , or something .Undergrad D: An - and there 's interest up there ?Grad A: What 's that ?Undergrad D:There 's interest up there ?Grad A: Well they {disfmarker} they certainly wanna collect more data . And so they 're applying , I think I B Is that right ? Something like that .PhD B: I don't know .Grad A: Um , for somemore money to do more data . So we were planning to do like thirty or forty hours worth of meetings . They wanna do an additional hundred or so hours . So , they want a very large data set . Um , but of course we 'renot gonna do that if we don't get money . So .PhD B: I see .Grad A: And I would like that just to get a disjoint speaker set and a disjoint room . I mean , one of the things Morgan and I were talking about is we 'regonna get to know this room really well ,PhD C: Mm - hmm .Grad A: the {disfmarker} the acoustics of this room .PhD B: All about that .Undergrad D: Including the fan .Grad A: Including the fan .Undergrad D: Did younotice the fan difference ?PhD B: Oh , now you 've touched the fan control , now all our data 's gonna be {disfmarker}Undergrad D: Hear the difference ?Grad A: Oh , it 's enormous .PhD B: Yeah , it 's great .Postdoc E:Oh , that 's better .Undergrad D: Do you wanna leave it off or not ?Postdoc E: That 's better .Grad A: All the others have been on .PhD B: That 's {disfmarker}Undergrad D: Yeah , the {disfmarker} You sure ?PhD B: Oh, yeah .Grad A: y AbsolutPhD B: Absolutely .Undergrad D: You {disfmarker} {vocalsound} You think that {disfmarker}Grad A: Yeah .Undergrad D: things after the f then This fan 's wired backwards by the way . Uh , Ithink this is high speed here .Postdoc E: Yeah , it 's noticeable .Undergrad D: Well , not clear .PhD B: Well it 's {disfmarker} well like {vocalsound} \" low \" is mid {disfmarker} mid - scale .Undergrad D: Maybe it{disfmarker} Maybe it isn't .PhD B: So it could be {vocalsound} that it 's not actually wired backwardsUndergrad D: That 's right .PhD B: it 's just that ambiguous .Undergrad D: I was wondering also , Get ready .{comment} whether the lights made any noise .Postdoc E: Uh - huh .Grad A: There 's definitely {disfmarker} Yep .PhD B: Oh , they do .PhD C: Yeah , a little bit .PhD B: Yeah .Grad A: High pitch hum . Wow .UndergradD: So , {vocalsound} do our meetings in the dark with no air conditioning in the future .Grad A: Yeah , just get a variety .Postdoc E: I think candles would be nice if they don't make noise .Grad A: They 're very good.PhD B: Oh , yeah .PhD C: It would {disfmarker} you know , it would real really mean that we should do short meetings when you {vocalsound} turn off the {disfmarker} {comment} turn off the air conditioning ,GradA: Carbon monoxide poisoning ?Undergrad D: Short meetings , that 's right . Or {disfmarker} Yeah , sort of {comment} r rPhD C: got to finish this meeting .Undergrad D: Tear t {pause} Tear your clothing off to staycool .PhD C: That 's right .Undergrad D: Actually , the a th air {disfmarker} the air conditioning 's still working , that 's just an auxiliary fan .PhD C: Right , I see .Grad A: SoPhD C: So , um , in addition to this issueabout the UW stuff there was announced today , uh , via the LDC , um , a corpus from I believe Santa Barbara .Postdoc E: Yeah , I saw it . I 've been watching for that corpus .PhD C: Um , of general spoken English.Postdoc E: Yeah . Yep .PhD C: And I don't know exactly how they recorded it but apparently there 's a lot of different {vocalsound} styles of speech and what not .Grad A: Mm - hmm .PhD C: And {disfmarker}PostdocE: They had people come in to a certain degree and they {disfmarker} and they have DAT recorders .PhD C: I see . So it is sort of far field stuff . Right ?Postdoc E: I {disfmarker} I assume so , actually , I hadn'tthought about that . Unless they added close field later on but , um , I 've listened to some of those data and I , um , I 've been {disfmarker} I {disfmarker} I was actually on the advisory board for when they set theproject up .Grad A: Mm - hmm .PhD C: Oh , OK .PhD B: What 's it sound like ?Postdoc E: I 'm glad to see that it got released .Grad A: Yeah , I {disfmarker} I wish {disfmarker}Postdoc E: So it it 's a very nice thing.Grad A: I wish we had someone here working on adaptationPhD C: SGrad A: because it would nice to be able to take that stuff and adapt it to a meeting setting . You know {disfmarker}PhD C: But it may be{disfmarker} it may be useful in {disfmarker}Postdoc E: How do you mean {disfmarker} do you mean mechanical adaptation or {disfmarker}Grad A: No , software , to adapt the speech recognition .Postdoc E: OK .PhDC: Well , what I was thinking is it may be useful in transcribing , if it 's far field stuff ,Grad A: Mm - hmm .PhD C: right ? In doing , um , some of our first automatic speech recognition models , it may be useful to havethat kind of dataPostdoc E: Great idea .PhD C: because that 's very different than any kind of data that we have so far .Grad A: That 's true .Postdoc E: And {disfmarker} and their recording conditions are really clean . Imean , I 've {disfmarker} I 've heard {disfmarker} I 've listened to the data .Grad A: Well that 's not good , right ?PhD C: That 's {disfmarker} that 's not great .Postdoc E: It sounds {disfmarker}Undergrad D:TrPostdoc E: well but what I mean is that , um {disfmarker}Undergrad D: But far field means great distance ? I mean {disfmarker}Grad A: Just these .Undergrad D: Not head mounted ?PhD B: Yeah .Undergrad D: Andso that 's why they 're getting away with just two channels or something , or are they using multiple DATs ?Postdoc E: Um , oh , good question and I can't ans answer it .Grad A: Well we can look into it .Postdoc E: Idon't know .PhD C: No , and their web {disfmarker} their web page didn't answer it either . So I 'm , I uh , was thinking that we should contact them .Postdoc E: OK .PhD C: So it 's {disfmarker} that 's sort of a beside- the - point point . But .Grad A: So we can get that just with , uh , media costs ,Undergrad D: Still a point .PhD C: Right .Grad A: is that right ?PhD C: Uh , in fact we get it for freeGrad A: Oh .PhD C: cuz they 'redistributing it through the LDC .Grad A: Great .Postdoc E: Yep .Grad A: So that would be {disfmarker} yeah , that would be something to look into . So .PhD C: So , I can {disfmarker} I can actually arrange for it toarrive in short order if we 're {disfmarker}Postdoc E: The other thing too is from {disfmarker} from a {disfmarker}Grad A: Well , it 's silly to do unless we 're gonna have someone to work on it , so maybe we need tothink about it a little bit .PhD C: Huh .Postdoc E: The other thing too is that their their jus their transcription format is really nice and simple in {disfmarker} in the discourse domain . But they also mentioned that theyhave it time aligned . I mean , I s I {disfmarker} I saw that write - up .PhD C: Yeah . Maybe we should {disfmarker} maybe we should get a copy of it just to see what they didPhD B: Yeah , absolutely .Grad A: Yeah.PhD C: so {disfmarker} so that we can {disfmarker} we can compare .Postdoc E: It 's very nice .Grad A: OK , why don't you go ahead and do that then Eric ?PhD B: Absolutely .PhD C: Alright , I 'll do that . I can'tremember the name of the corpus . It 's Corps - S {disfmarker}Postdoc E: CSAE .PhD C: S {disfmarker}Postdoc E: Corpus of Spoken American English .PhD C: Right , OK .Postdoc E: Yeah , sp I 've been {disfmarker} Iwas really pleased to see that . I knew that they {disfmarker} {vocalsound} they had had some funding problems in completing itPhD B: Uh - huh .PhD C: Yeah .Postdoc E: but , um ,PhD C: Well they 're{disfmarker}Postdoc E: this is clever .PhD C: Apparently this was like phase onePostdoc E: Got it through the LDC .PhD C: and the there 's still more that they 're gonna do apparently or something like that unless ofcourse they have funding issuesPostdoc E: Great . Great .PhD C: and then then it ma they may not do phase two but {vocalsound} from all the web documentation it looked like , \" oh , this is phase one \" , whateverthat means .Postdoc E: Super . Super . Great . Yeah , that {disfmarker} I mean , they 're really well respected in the linguistics d side too and the discourse area ,PhD C: OK .Postdoc E: and {disfmarker} So this is avery good corpus .PhD C: But , it uh it would also maybe help be helpful for Liz , if she wanted to start working on some discourse issues , you know , looking at some of this data and then ,Grad A: Right .PhD C: youknow {disfmarker} So when she gets here maybe that might be a good thing for her .Grad A: Actually , that 's another thing I was thinking about is that maybe Jane should talk to Liz , to see if there are anytranscription issues related to discourse that she needs to get marked .Postdoc E: OK .PhD C: Maybe we should have a big meeting meeting .PhD B: Sure , of course .Undergrad D: That would be a meeting meetingmeeting ?Grad A: A meeting meeting meeting .PhD C: Yeah .Grad A: Well this is the meeting about the meeting meeting meeting . So .PhD C: Oh .Grad A: Um .PhD C: Right . But maybe we should , uh find some daythat Liz {disfmarker} uh , Liz and Andreas seem to be around more often .Grad A: Mm - hmm .PhD C: So maybe we should find a day when they 're gonna be here and {disfmarker} and Morgan 's gonna be here , andwe can meet , at least this subgroup . I mean , not necessarily have the U - dub people down .Grad A: Well , I was even thinking that maybe we need to at least ping the U - dub {disfmarker} to see {disfmarker}PhD C:"}
+{"doc_id":"doc_122","qid":"","text":"Project Manager: Good morning . Sorry ? Yeah , busy job . Good morning . So {disfmarker} Oh , good morning everyone .User Interface: Good morning .Industrial Designer: Good morning .Project Manager: I'd uh liketo welcome you to our first meeting . I've prepared a little presentation . My name is {gap} and uh I hope you will introduce yourself uh in a few minutes , as will I . Um I'm the Project Manager of this project , and uh ,well I will tell you {gap} on what actually is the project . This is uh the agenda for our first meeting . Um this is the opening , then we will get {disfmarker} {gap} I will hope we will get acquainted to each other . We'lldo a little tool training with these two things . We'll take a look at the project plan . Uh there will be time for discussion . Actually we have to discuss because we have to create a product . And then we will close thissession . Um but first of all we I'd like to uh introduce you to this room . Um as you probably have noticed there are little black uh fields on the table . Um you have to put your laptop exactly in that field so the littlecameras can see your face . Um there are camerasIndustrial Designer: {vocalsound}Project Manager: everywhere around the room especially here for your face , of course , and this isn't a pie , it's a a set ofmicrophonesIndustrial Designer: {vocalsound}Project Manager: and there are microphones here also . But please uh don't be afraid of them .User Interface: {vocalsound}Project Manager: They won't hurt you . Umwell uhUser Interface: Well {vocalsound}Industrial Designer: {vocalsound}Project Manager: I said I'm the Project Manager and uh I'm hoping uh for a good project and uh I'd like to hear uh who you are and what yourfunctions are uh on this project . Let's start with the ladies {vocalsound} {vocalsound} .User Interface: Well uh I'm uh {gap} and my uh function is User Interface Design , I think .Industrial Designer: {vocalsound}UserInterface: {vocalsound} So uh that's me .Industrial Designer: Okay , uh I'm {gap} uh I'm the Industrial Designer and I uh hope to uh {disfmarker} look forward to uh a very uh pleasing uh end of this uh project.Project Manager: Okay , so I .User Interface: Me too .Marketing: My name's {gap} . I'm uh {vocalsound} Marketing Expert . {vocalsound} My job is in the company to promote company or promote products to thecustomers . So I also h hope we have a pleasant uh working with uh with each other .Project Manager: Okay , well we have some expertise from uh different pieces of the of the company .User Interface:{vocalsound}Project Manager: That's good . Um well I said uh we're working on a project and the aim for the project is to to create a {disfmarker} to design a new remote control which uh has to be original , trendyand of course , user friendly . {vocalsound} And uh I hope we have the expertise to create such a project {disfmarker} such a product . Um the way we hope to achieve that is uh the following methods . It consists ofthree phases , namely the functional design , conceptual design and detailed design . As you can see , all of these phases consists of two parts , namely individual work part and a meeting where we will discuss uh ourwork so far . Okay . But first I will uh tell you something about the tools we have here . I already talked about the cameras and microphones , but they are not of uh much use to us . Uh we will have to take advantageof these two things . They are smart boards . As you can see , you can give a presentation on them . And uh this one here is a white board . I will uh instruct you about that soon . Um as you also noticed uh thispresentation document is in our uh project folder and every document you put in this folder uh is uh it is possible to show that here in our meeting room . Um and yeah there are available on both smart boards but Ithink we will uh mainly use this one for the documents in the shared folder . As you can see , this is the same tool bar uh as is located here . Um the most functions uh we will use will be to to add a new page , um uh togo back and forward between pages , and of course uh to save it every now and then . Um and this is the pen with which you can draw on the board , for instance like this if everything's okay ,User Interface:{vocalsound}Project Manager: but I first have to put it on the pen , you see I'm new to it too .User Interface: {vocalsound}Project Manager: Um and then you can write things like test or whatever you want .IndustrialDesigner: {vocalsound}User Interface: Oh .Project Manager: As you can see you have to move it a little bit slow , it's not such a fast board , it's a smart board but also a slow board .Industrial Designer:{vocalsound}User Interface: {vocalsound}Project Manager: Uh but you can write things and of course you can also , when you click here , uh erase things , so we have uh est left . And um you can also delete an entirepage , but we ask you not to do that . Just simply create a new one and uh start all over because we want to save all the results . Um does everyone understand thisUser Interface: {vocalsound} So we can't eraseanything .Project Manager: nice application ?Industrial Designer: Yeah .Marketing: Mm-hmm .Project Manager: Well you can erase it with the eraser , but uh you shouldn't delete an entire page , but just create a newblank one .User Interface: Right .Marketing: SProject Manager: I will delete this one now because we don't use it yet .User Interface: Alright .Project Manager: But you can of course erase when you make a mistake ,but don't uh delete entire pages . And you can also um let's see I think it's here uh change the uh colour of your pen , for instance take a blue one and uh change the line width like to five . Um that's what you will needfor our first exercise , because I'm uh going to ask you to draw your favourite animal .User Interface: {vocalsound}Industrial Designer: {vocalsound}Project Manager: It's also to gets to know each other because umI'm asking three things , uh for that uh drawing ,Industrial Designer: Okay .Project Manager: to do it on a blank sheet , with different colours and I just showed you how to pick a colour , and also with different penwidths which I also showed you . Um and a favourite characteristic can be just uh one word . Well I'm not very good at drawing , but I will uh go first and um try to draw {disfmarker}User Interface:{vocalsound}Project Manager: Or maybe you should guess what I'm drawing , eh . {vocalsound}Industrial Designer: {vocalsound}User Interface: {vocalsound}Marketing: Good .User Interface: {vocalsound}IndustrialDesigner: Hmm .Marketing: {gap} No .User Interface: It's a sheep . {vocalsound}Industrial Designer: {vocalsound}User Interface: {vocalsound}Marketing: DinosIndustrial Designer: Seal , a seal .{vocalsound}Marketing: Dinosaur .User Interface: {vocalsound}Marketing: Beaver .User Interface: {gap} A beaver . {vocalsound}Industrial Designer: A be {vocalsound}Project Manager: Well it uhUser Interface: It'sweird . {vocalsound}Project Manager: could be everything .Industrial Designer: Mm . With a tail and a mouth .Project Manager: Maybe when I put onUser Interface: It has wings ?Marketing: Turtle .Project Manager:this thing it could be a turtle , or a snail ,Industrial Designer: Snail . {vocalsound}User Interface: {vocalsound} Well the snail doesn't have legs .Industrial Designer: Okay .Project Manager: But a turtle has . And thoseare slow . And I hope our project group will not be slow ,Industrial Designer: {vocalsound}Project Manager: but we will uh work to a good resultIndustrial Designer: {vocalsound}Project Manager: and do it uh as fast aswe can . Okay , time for another animal . Would you like to go next ?User Interface: {vocalsound}Marketing: {vocalsound} No problem . No problem .Industrial Designer: Sure .User Interface: {vocalsound} Oh right.Marketing: Mm . It was four months ?User Interface: {vocalsound}Marketing: Nice , okay .User Interface: Well . {vocalsound}Industrial Designer: {vocalsound} The hell .User Interface: {vocalsound}Marketing:{vocalsound} To make it a little bit easier . {gap}User Interface: {vocalsound} It's a giraffe .Industrial Designer: Make that cute . {vocalsound}User Interface: Or a dinosaur . {vocalsound}Marketing: No , it's a giraffe. 'Kay .User Interface: {gap}Marketing: I think it's easy to r uh to recognise as a giraffe .User Interface: Yes . Giraffe .Industrial Designer: {gap}Project Manager: Mm-hmm .Marketing: {vocalsound} Yeah , thefavourite charis characteristic is that the long neck , {vocalsound} it can reach everything . And I hope I can also reach a lot with this project . So that's my favourite animal .Project Manager: Okay .Marketing: Anythingelse you need to know ?Project Manager: Could you write the words , uh underneath it ? Or more words .Marketing: Oh , uh {gap}Industrial Designer: {vocalsound} Tall . {vocalsound}User Interface:{vocalsound}Marketing: Tall . So ,User Interface: Should I uh {disfmarker}Marketing: 'kay .User Interface: Alright .Marketing: {gap}User Interface: So I can draw , but uh {disfmarker} Uh . Well . {vocalsound} Oh.Industrial Designer: B {vocalsound}Marketing: It's a mouse .User Interface: {vocalsound}Industrial Designer: Bunny rabbit . {vocalsound}Marketing: A bunny rabbit . {vocalsound}User Interface: {gap} Oh wrongone . Uh . {gap}Industrial Designer: {vocalsound}Marketing: {vocalsound}User Interface: {vocalsound} Well uhIndustrial Designer: {gap}User Interface: you can guess what it is , I hope . {vocalsound}Marketing:Uh-huh . No problem .Project Manager: Little rabbits .User Interface: It's a rabbit .Industrial Designer: {vocalsound}User Interface: {vocalsound} And uh well uh it's uh quick , I guess . That's uh my uh favourite animal. {vocalsound}Project Manager: Okay , thank you .Industrial Designer: Okay .Project Manager: And our final drawing .User Interface: {vocalsound}Marketing: Bob Ross .User Interface: A dolphin . {vocalsound}ProjectManager: {vocalsound}Industrial Designer: {vocalsound} Okay , um .Marketing: Dolphin .Industrial Designer: Uh I uh draw I I've drawn a dolphin because of its intelligence .User Interface: {vocalsound}Marketing:{vocalsound}Project Manager: {vocalsound}User Interface: Right .Industrial Designer: One of the most intelligent uhProject Manager: Mm-hmm .Industrial Designer: animals in our world .User Interface: Well.Marketing: {gap}User Interface: {vocalsound}Industrial Designer: Yeah intelligent .User Interface: With an E_ .Project Manager: {vocalsound}Industrial Designer: I've I've uh {disfmarker}User Interface:{vocalsound}Industrial Designer: Eraser .Project Manager: {vocalsound}User Interface: You can try out the eraser now . {vocalsound}Project Manager: {vocalsound}Industrial Designer: Pen . Well not perfect , butokay .Project Manager: Okay , wellUser Interface: {gap}Project Manager: thank you very much . I can see we have some uh drawing talent uh in this group ,Industrial Designer: {vocalsound}User Interface:{vocalsound} Not really . {vocalsound}Project Manager: huh ? Well , nice animals , nice words . Sounds good . Um back to business , back to the money part . Um from the finance department I have learned that weare aiming for a selling price of twenty five Euros . And we're hoping for a aim of fifty million Euros and uh we are hoping to achieve that uh by aiming for an international market . And the production cost will be twelveEuro fifty max . Okay , well it's time uh for some discussion . I've wrote down some examples here of what we can can speak about . Uh what's your experience with remote controls , um what kind of ideas do you haveto design a new remote control , maybe for which market segments should we aim , or should we aim for all segments . Uh well actually I'd like to hand the word uh back to you . What's your experience with remotecontrol ?User Interface: {gap} I always lose them .Industrial Designer: A lot of buttons . And you always lose them .Marketing: Yeah .User Interface: {vocalsound} Yes .Industrial Designer: A lot of buttons which youdon't useUser Interface: Yeah .Project Manager: Mm-hmm .Industrial Designer: or who you don't useMarketing: Complex .User Interface: Yeah .Industrial Designer: Complex .User Interface: {gap}Industrial Designer:Not user friendly .User Interface: {gap} search for the buttons , which one is whichMarketing: No .User Interface: and uh {disfmarker}Industrial Designer: {gap}Marketing: No .Industrial Designer: {gap}Marketing:Boring .User Interface: {vocalsound}Project Manager: Boring , it's not fun to use a remote .Industrial Designer: {gap}Marketing: No .Industrial Designer: Mm .Marketing: Black , all black .User Interface: Well .ProjectManager: Mm-hmm .Industrial Designer: Black colours .Marketing: So , yeah .Project Manager: Well maybe we should try to make it fun .Marketing: Mm-hmm .Industrial Designer: {gap} They use batteries and {gap}batteries uh and poor signal .Project Manager: Mm-hmm .Industrial Designer: Uh .Marketing: Yeah .User Interface: Perhaps that you have a lot of road remotes r road con remote controls .Marketing: The the angle youhave to use . You had different remote controls for different devices .Industrial Designer: Yeah , different remote controls ,User Interface: {vocalsound} Yes ,Industrial Designer: yeah .User Interface: perhaps you canintegrate them or something .Marketing: Yes .Industrial Designer: Uh for the use of different uh devices {vocalsound} .User Interface: Yes .Project Manager: Mm-hmm .User Interface: Your stereo and yourT_V_Marketing: Yeah .Industrial Designer: {gap}User Interface: and uh . Perhaps that's an idea .Marketing: Yeah but then again you you still have a lot of buttons ,User Interface: Yeah , that's right . And which youdon't use .Industrial Designer: YeahMarketing: so {disfmarker}Industrial Designer: but you could uh I thin uh there's a possibility to g uh to uh to put those buttons uh behind some uh kind of uh protectionMarketing:FlapUser Interface: Right .Industrial Designer: so that if y y you only get to see them when you need 'em .Marketing: yeah . Yeah , okay , that's possible ,Industrial Designer: That's possible , so that you only get the{disfmarker}Marketing: but it'll get very big the the remote control .User Interface: {vocalsound} Yeah . You should just give it to {gap} . {vocalsound}Industrial Designer: No n n no , just {vocalsound} {disfmarker}Uh for example you got th uh the same size uh remote control you use everyday , but um {vocalsound} the usual buttons such as uh um {vocalsound} zapping uh as you call it in Dutch . Uh and the volume control uhare only the only possible buttons uh to use directly .Marketing: Mm-hmm .User Interface: {vocalsound} Changing channel .Project Manager: Mm-hmm .Industrial Designer: Or uh {vocalsound} the numbers , of course.Marketing: Mm-hmm . {gap} numbers .Industrial Designer: But uh not uh the buttons used to search on the the channels on your television .Marketing: On and off .Industrial Designer: You only use those uh the firsttime , or .Marketing: Yeah ,Industrial Designer: So . Uh .Marketing: play , pause , stop .Project Manager: Mm-hmm . So maybe a a minimalist design , the least uh possible amount uh of buttons .Industrial Designer:Yeah , I think so , yeah .Marketing: {gap}User Interface: Yes . But you should make sure that you have every button they need on it . Because uh things for uh teletext , I dunno uh , {vocalsound} wIndustrialDesigner: {gap}Marketing: Mm-hmm , of course .Industrial Designer: Yeah , uh teletext .Marketing: {vocalsound}User Interface: what's the name ?Project Manager: Mm-hmm .Industrial Designer: {gap} think so.Marketing: {gap}Industrial Designer: Okay .Project Manager: So you don't want to bother people with uh loads of buttons , but on the other hand they need many buttonsMarketing: No .Project Manager: so they don'thave to get out of their seat .User Interface: Yeah .Marketing: Yeah .User Interface: But {vocalsound}Industrial Designer: Right .Marketing: Because I think a market will be all kind of people . Elderly p el elderly ,young people , so .User Interface: But if if it's if it's international you should uh look in {disfmarker} think in Britain they have uh different things they can do with the T_V_ , or so uh that you can choose what you wantto see . I dunno if you should uh take that in consideration , or that you just should aim for the normal T_V_sIndustrial Designer: Uh .User Interface: that uh {disfmarker}Industrial Designer: Yeah I I understand.Marketing: Yeah I think that's the better one ,User Interface: And the B_B_C_ {gap} .Marketing: because {disfmarker} I think if you you're going to target a lot of people and the whole world and only Britain then Ithink the cost will uh rise higher than the twelve fifty , I think .Industrial Designer: {vocalsound} No .User Interface: Yes {gap} . Yeah , I don't know if the they have that anywhere else , though .Marketing: I think theaim is better to use uh the whole world and Britain , yeah .Industrial Designer: Yeah .User Interface: Yeah , we can leave that {gap} .Industrial Designer: When I think of it uhMarketing: Not that much .IndustrialDesigner: I think the main idea uh of this remote remote control is uh to make it user friendly . So uh I think uh when p uh when uh the customers will buy this remote control , they already have uh the remote controlwhich uh companies uh uh with uh the the standards uh remote control with which comes uh with the television .User Interface: Yeah .Marketing: Mm . Standard deliver .Project Manager: Mm-hmm .Industrial Designer:So uhMarketing: Mm .Industrial Designer: it only has to have uh the most used buttons . You don't have to integrate the buttons to search the channels on your television .User Interface: WellIndustrial Designer: Inthose {disfmarker} in that {disfmarker}User Interface: butMarketing: No but {disfmarker}User Interface: but then you have to to find your other remote control if you want to search .Marketing: Yeah . Yeah , th it{vocalsound} it's {disfmarker} I think that's not {disfmarker}User Interface: That's not {disfmarker}Industrial Designer: Yeah but I {disfmarker} but it is impossible to uh to accommodate uh accommodate uh all thebuttons on the s on the difference {disfmarker} different televisions sets on one remote control . It's impossible .User Interface: Yeah , that's right .Marketing: Yeah , okay {gap} .Industrial Designer: Because uh forexample Sony television uh has the opportunity to s to make uh uh to make it possible for {disfmarker} to see on one side of the screen uh teletext , and on the other side uh just n uh regular television . Uh{disfmarker}Marketing: No .User Interface: Yeah that's uh {gap} .Marketing: I think n m n most televisions nowadays do this .Industrial Designer: Yeah , but uh they don't use the same signal , uh on remote control.User Interface: Well not everywhere .Marketing: So {gap} I think numerals .Industrial Designer: Because you can't use a Panasonic uh remote control on a on a Philips television .Marketing: Yeah , but then you haveto choose the {disfmarker} always with r universal remotes you have to choose the code .User Interface: Yeah , you can choose the code {gap} .Industrial Designer: Okay . Okay . Okay . Okay ,Marketing: You can usewhich which type of television you have . That's no problem . But I think like the two pages on the same screen , like teletext and normal television , that's that's nowadays standard , I think .Industrial Designer: but{vocalsound} uh I think that most people uh th uh will buy the remote control because {vocalsound} because uh the first {disfmarker} they lost the one they lost first oneMarketing: Simplicity .Industrial Designer: orthe first one is broken ,Marketing: Yeah .Industrial Designer: so uh uh perhaps they have a got a an older television ,Marketing: Yeah , yeah . Mm-hmm .Industrial Designer: so that option is not {vocalsound} uhoptional for those uh people .User Interface: Yeah .Marketing: Yeah g available .User Interface: But the people have a new television ,Marketing: True .User Interface: and c if you look into the future , then they want{disfmarker} will want the button , if their thing is broke .Industrial Designer: Yeah , yeah .Marketing: Yeah .Industrial Designer: So we should take that in consideration .User Interface: Yeah .Marketing: Mm-hmm.Project Manager: Mm-hmm . Okay , wellMarketing: Mm-hmm .Project Manager: any more ideas ?User Interface: {vocalsound}Industrial Designer: Oh mm , no .Project Manager: No ?User Interface: Guess not.Marketing: Of course .Industrial Designer: Things'll come up .Marketing: Yeah .Project Manager: Okay , yeah well we have some time . Let's see what more I have to tell you . I don't think there is much left . Nope .We're starting to close . Um our next meeting uh will start {disfmarker} well we're a little bit early , but our next meeting will start in in thirty minutes .Industrial Designer: {vocalsound}User Interface:"}
+{"doc_id":"doc_123","qid":"","text":"Professor E: So . OK . Doesn't look like it crashed . That 's great .Grad G: So I think maybe what 's causing it to crash is I keep starting it and then stopping it to see if it 's working . And so I think starting it and thenstopping it and starting it again causes it to crash . So , I won't do that anymore .Postdoc B: And it looks like you 've found a way of uh mapping the location to the {disfmarker} without having people have to give theirnames each time ?PhD A: Sounds like an initialization thing .Postdoc B: I mean it 's like you have the {disfmarker} So you know that {disfmarker}Grad G: No .Postdoc B: I mean , are you going to write down {pause}that I sat here ?Grad G: I 'm gonna collect the digit forms and write it down .Postdoc B: OK .PhD C: Oh , OK .Grad G: So {disfmarker} So they should be right with what 's on the digit forms . OK , so I 'll go ahead andstart with digits . u And I should say that uh , you just pau you just read each line an and then pause briefly .Professor E: And start by giving the transcript number .PhD A: TranPhD D: Transcript {disfmarker} Uh . OK ,OK .PhD A: Oh sorry , go ahead .Professor E: So uh , you see , Don , the unbridled excitement of the work that we have on this project .Grad H: OK .Professor E: It 's just uh {disfmarker}Grad H: Umh .Professor E: Uh ,you know , it doesn't seem like a bad idea to have {comment} that information .Grad G: And I 'm surprised I sort of {disfmarker} I 'm surprised I forgot that ,Professor E: Yeah , I {disfmarker} I 'd {disfmarker} I thinkit 's someGrad G: but uh I think that would be a good thing to add . After I just printed out a zillion of them .Professor E: Yeah , well , that 's {disfmarker} Um , so I {disfmarker} I do have a {disfmarker} a an agendasuggestion . Uh , we {disfmarker} I think the things that we talk about in this meeting uh tend to be a mixture of uh procedural uh mundane things and uh research points and um I was thinking I think it was a meetinga couple of weeks ago that we {disfmarker} we spent much of the time talking about the mundane stuff cuz that 's easier to get out of the way and then we sort of drifted into the research and maybe five minutes intothat Andreas had to leave . So {vocalsound} uh I 'm suggesting we turn it around and {disfmarker} and uh sort of we have {disfmarker} anybody has some mundane points that we could send an email later , uh holdthem for a bit , and let 's talk about the {disfmarker} the research - y kind of things . Um , so um the one th one thing I know that we have on that is uh we had talked a {disfmarker} a couple weeks before um uhabout the uh {disfmarker} the stuff you were doing with {disfmarker} with uh um uh l l attempting to locate events , we had a little go around trying to figure out what you meant by \" events \" but I think , you know ,what we had meant by \" events \" I guess was uh points of overlap between speakers . But I th I gather from our discussion a little earlier today that you also mean uh interruptions with something elsePhD D: Yeah.Professor E: like some other noise .PhD D: Uh - huh . Yeah .Professor E: Yes ? You mean that as an event also .PhD D: ToProfessor E: So at any rate you were {disfmarker} you 've {disfmarker} you 've done somework on thatPhD D: right .Professor E: and um then the other thing would be it might be nice to have a preliminary discussion of some of the other uh research uh areas that uh we 're thinking about doing . Um , I thinkespecially since you {disfmarker} you haven't been in {disfmarker} in these meetings for a little bit , maybe you have some discussion of some of the p the plausible things to look at now that we 're starting to get data, uh and one of the things I know that also came up uh is some discussions that {disfmarker} that uh {disfmarker} that uh Jane had with Lokendra uh about some {disfmarker} some {disfmarker} some um uh workabout I {disfmarker} I {disfmarker} I d I {disfmarker} I don't want to try to say cuz I {disfmarker} I 'll say it wrong , but anyway some {disfmarker} some potential collaboration there about {disfmarker} about the{disfmarker} about the {disfmarker} working with these data .PhD C: Oh . Sure .Professor E: So . So , uh .Grad G: You wanna just go around ?Professor E: Uh . {pause} Well , I don't know if we {disfmarker} if this issort of like everybody has something to contribute sort of thing , I think there 's just just a couple {disfmarker} a couple people primarily um but um Uh , wh why don't {disfmarker} Actually I think that {disfmarker}that last one I just said we could do fairly quickly so why don't you {disfmarker} you start with that .Postdoc B: OK . Shall I {disfmarker} shall I just start ? OK .Professor E: Yeah , just explain what it was .Postdoc B:Um , so , uh , he was interested in the question of {disfmarker} you know , relating to his {disfmarker} to the research he presented recently , um of inference structures , and uh , the need to build in , um , this{disfmarker} this sort of uh mechanism for understanding of language . And he gave the example in his talk about how {pause} um , e a I 'm remembering it just off the top of my head right now , but it 's somethingabout how um , i \" Joe slipped \" you know , \" John had washed the floor \" or something like that . And I don't have it quite right , but that kind of thing , where you have to draw the inference that , OK , there 's thistime sequence , but also the {disfmarker} the {disfmarker} the causal aspects of the uh floor and {disfmarker} and how it might have been the cause of the fall and that um it was the other person who fell than theone who cleaned it and it {disfmarker} {comment} These sorts of things . So , I looked through the transcript that we have so far , {comment} and um , fou identified a couple different types of things of that type andum , one of them was something like uh , during the course of the transcript , um um , w we had gone through the part where everyone said which channel they were on and which device they were on , and um , thequestion was raised \" Well , should we restart the recording at this point ? \" And {disfmarker} and Dan Ellis said , \" Well , we 're just so far ahead of the game right now {pause} we really don't need to \" . Now , howwould you interpret that without a lot of inference ? So , the inferences that are involved are things like , OK , so , how do you interpret \" ahead of the game \" ? You know . So it 's the {disfmarker} it 's {pause} i Whatyou {disfmarker} what you int what you draw {disfmarker} you know , the conclusions that you need to draw are that space is involved in recording ,Grad G: Hmm , metaphorically .Postdoc B: that um , i that {pause}i we have enough space , and he continues , like \" we 're so ahead of the game cuz now we have built - in downsampling \" . So you have to sort of get the idea that um , \" ahead of the game \" is sp speaking withrespect to space limitations , that um that in fact downsampling is gaining us enough space , and that therefore we can keep the recording we 've done so far . But there are a lot of different things like that .Grad G: So ,do you think his interest is in using this as {pause} a data source , or {pause} training material , or what ?Professor E: Well , I {disfmarker} I should maybe interject to say this started off with a discussion that I hadwith him , so um we were trying to think of ways that his interests could interact with oursGrad G: Mm - hmm .Professor E: and um uh I thought that if we were going to project into the future when we had a lot of data, uh and um such things might be useful for that in or before we invested too much uh effort into that he should uh , with Jane 's help , look into some of the data that we 're {disfmarker} already have and see , is thereanything to this at all ?Grad G: Mm - hmm .Professor E: Is there any point which you think that , you know , you could gain some advantage and some potential use for it . Cuz it could be that you 'd look through it andyou say \" well , this is just the wrong {pause} task for {disfmarker} for him to pursue his {disfmarker} \"Grad G: Wrong , yeah .Professor E: And {disfmarker} and uh I got the impression from your mail that in factthere was enough things like this just in the little sample that {disfmarker} that you looked at that {disfmarker} that it 's plausible at least .Postdoc B: It 's possible . Uh , he was {disfmarker} he {disfmarker} he{disfmarker} you know {disfmarker} We met and he was gonna go and uh you know , y look through them more systematicallyProfessor E: Yeah .Postdoc B: and then uh meet again .Professor E: Yeah .Postdoc B: So it's , you know , not a matter of a {disfmarker}Professor E: Yeah .Postdoc B: But , yeah , I think {disfmarker} I think it was optimistic .Professor E: So anyway , that 's {disfmarker} that 's e a quite different thing fromanything we 've talked about that , you know , might {disfmarker} might {disfmarker} might come out from some of this .PhD C: But he can use text , basically . I mean , he 's talking about just using textPostdoc B:That 's his major {disfmarker} I mentioned several that w had to do with implications drawn from intonational contoursPhD C: pretty much , or {disfmarker} ?Postdoc B: and {pause} that wasn't as directly relevant towhat he 's doing . He 's interested in these {disfmarker} these knowledge structures ,PhD C: OK .PhD D: Yeah , interesting .Postdoc B: inferences that you draw {pause} i from {disfmarker}Professor E: I mean , hecertainly could use text , but we were in fact looking to see if there {disfmarker} is there {disfmarker} is there something in common between our interest in meetings and his interest in {disfmarker} in {disfmarker} inthis stuff . So .Grad G: And I imagine that transcripts of speech {disfmarker} I mean text that is speech {disfmarker} probably has more of those than sort of prepared writing . I {disfmarker} I don't know whether itwould or not , but it seems like it would .Professor E: I don't know , probably de probably depends on what the prepared writing was . But .Postdoc B: Yeah , I don't think I would make that leap , because i in narratives, you know {disfmarker} I mean , if you spell out everything in a narrative , it can be really tedious ,Grad G: Mm - hmm .Postdoc B: so .Grad G: Yeah , I 'm just thinking , you know , when you 're {disfmarker} whenyou 're face to face , you have a lot of backchannel and {disfmarker} And {disfmarker}Postdoc B: Oh . That aspect .Grad G: Yeah . And so I think it 's just easier to do that sort of broad inference jumping if it 's face toface . I mean , so , if I just read that Dan was saying \" we 're ahead of the game \" {comment} in that {disfmarker} in that context ,Postdoc B: Well {disfmarker} Yeah .Grad G: I might not realize that he was talkingabout disk space as opposed to anything else .Postdoc B: I {disfmarker} you know , I {disfmarker} I had several that had to do with backchannels and this wasn't one of them .Grad G: Uh - huh .Postdoc B: This{disfmarker} this one really does um m make you leap from {disfmarker} So he said , you know , \" we 're ahead of the game , w we have built - in downsampling \" .Grad G: Mm - hmm .Postdoc B: And the inference , iif you had it written down , would be {disfmarker}Grad G: I guess it would be the same .Postdoc B: Uh - huh . But there are others that have backchannelling , it 's just he was less interested in those .PhD F: Can I{disfmarker} Sorry to interrupt . Um , I f f f I 've {disfmarker} @ @ {comment} d A minute {disfmarker} uh , several minutes ago , I , like , briefly was {disfmarker} was not listening and {disfmarker} So who is \" he \"in this context ?PhD C: Yeah , there 's a lot of pronoun {disfmarker}PhD F: OK . So I was just realizing we 've {disfmarker} You guys have been talking about \" he \" um for at least uh , I don't know , three {disfmarker}three four minutes without ever mentioning the person 's name again .PhD C: I believe it . Yeah . Actually to make it worse , {comment} uh , Morgan uses \" you \" and \" you \"PhD F: So this is {disfmarker} this is{disfmarker} this is {disfmarker} gonna be a big , big problem if you want to later do uh , you know , indexing , or speech understanding of any sort .Grad G: It 's in my notes .PhD C: with gaze and no identification , or{disfmarker} I just wrote this down . Yeah , actually . Cuz Morgan will say well , \" you had some ideas \"PhD D: Yeah .PhD F: You just wrote this ?PhD C: and he never said Li - He looked {disfmarker}Grad G: Well , Ithink he 's doing that intentionally ,PhD C: Right , so it 's great .Grad G: aren't you ?PhD C: So this is really greatPhD F: Right .PhD C: because the thing is , because he 's looking at the per even for addressees in theconversation ,PhD D: Yeah .PhD F: Mm - hmm .PhD C: I bet you could pick that up in the acoustics . Just because your gaze is also correlated with the directionality of your voice .Professor E: Uh - huh . Could be.Postdoc B: Can weProfessor E: Yeah . That would be touGrad G: Oh , that would be interesting .PhD C: Yeah , so that , I mean , to even know um when {disfmarker}PhD D: Yeah .PhD C: Yeah , if you have the P Z Msyou should be able to pick up what a person is looking at from their voice .Grad G: Well , especially with Morgan , with the way we have the microphones arranged . I 'm sort of right on axis and it would be very hard totell .PhD C: Right .Grad G: Uh .Postdoc B: Oh , but you 'd have the {disfmarker}PhD C: Put Morgan always like thisPostdoc B: You 'd have fainter {disfmarker}PhD C: and {disfmarker}Postdoc B: Wouldn't you getfainter reception out here ?Professor E: Well , these {disfmarker}Grad G: Sure , but I think if I 'm talking like this ? Right now I 'm looking at Jane and talking , now I 'm looking at Chuck and talking , I don't think themicrophones would pick up that difference .PhD C: But you don't have this {disfmarker} this problem .Postdoc B: I see .PhD C: Morgan is the one who does this most .Grad G: So if I 'm talking at you , or I 'm talking atyou .Professor E: I probably been affect No , I th I think I 've been affected by too many conversations where we were talking about lawyers and talking about {disfmarker} and concerns about \" oh gee is somebodygoing to say something bad ? \" and so on .Grad G: Lawyers .Professor E: And so I {disfmarker} so I 'm {disfmarker} I 'm tending to stay away from people 's names even though uh {disfmarker}Postdoc B: I am too.PhD C: Even though you could pick up later on , just from the acoustics who you were t who you were looking at .Postdoc B: I am too .Grad G: And we did mention who \" he \" was .PhD C: Yeah .Professor E: Yeah .PhDF: Right , but I missed it .Grad G: Early in the conversation .PhD F: But {disfmarker} it was uh {disfmarker}PhD C: Yeah , yeah .Professor E: Yeah .Grad G: Do {disfmarker} Sh - Can I sayProfessor E: Yeah . No no ,there 's {disfmarker}PhD F: Yeah .Grad G: or {disfmarker} or is that just too sensitive ?Professor E: No no , it isn't sensitive at all .Postdoc B: Well {disfmarker}Professor E: I was just {disfmarker} I was just{disfmarker} I was overreacting just because we 've been talking about it .Postdoc B: And in fact , it is {disfmarker} it is {disfmarker} it is sensitive .PhD C: No , but that {disfmarker} it 's interesting .Professor E: It 'sOK to {disfmarker}Postdoc B: I {disfmarker} I came up with something from the Human Subjects people that I wanted to mention . I mean , it fits into the m area of the mundane , but they did say {disfmarker} Youknow , I asked her very specifically about this clause of how , um , you know , it says \" no individuals will be identified uh , \" in any publication using the data . \" OK , well , individuals being identified , let 's say youhave a {disfmarker} a snippet that says , \" Joe s uh thinks such - and - such about {disfmarker} about this field , but I think he 's wrongheaded . \" Now I mean , we 're {disfmarker} we 're gonna be careful not to havethe \" wrongheaded \" part in there , but {disfmarker} but you know , let 's say we say , you know , \" Joe used to think so - and - so about this area , in his publication he says that but I think he 's changed his mind . \" orwhatever . Then the issue of {disfmarker} of being able to trace Joe , because we know he 's well - known in this field , and all this and {disfmarker} and tie it to the speaker , whose name was just mentioned amoment ago , can be sensitive .Professor E: b But I {disfmarker}Postdoc B: So I think it 's really {disfmarker} really kind of adaptive and wise to not mention names any more than we have to because if there 's aslanderous aspect to it , then how much to we wanna be able to have to remove ?Professor E: Yeah , well , there 's that . But I {disfmarker} I mean I think also to some extent it 's just educating the Human Subjectspeople , in a way , because there 's {disfmarker} If uh {disfmarker} You know , there 's court transcripts , there 's {disfmarker} there 's transcripts of radio shows {disfmarker} I mean people say people 's names allthe time . So I think it {disfmarker} it can't be bad to say people 's names . It 's just that {disfmarker} i I mean you 're right that there 's more poten If we never say anybody 's name , then there 's no chance of{disfmarker} of {disfmarker} of slandering anybody ,PhD C: But , then it won't {disfmarker} I mean , if we {disfmarker} if we {disfmarker}Professor E: but {disfmarker}Grad G: It 's not a meeting .PhD C: Yeah . Imean we should do whatever 's natural in a meeting if {disfmarker} if we weren't being recorded .Professor E: Yeah . Right , so I {disfmarker} So my behavior is probably not natural .PhD C: \" If Person X {disfmarker}\"Professor E: So .Postdoc B: Well , my feeling on it was that it wasn't really important who said it , you know .Professor E: Yeah .PhD F: Well , if you ha since you have to um go over the transcripts later anyway , youcould make it one of the jobs of the {pause} people who do that to markGrad G: Well , we t we t we talked about this during the anon anonymization .PhD F: Right .Grad G: If we wanna go through and extract from theaudio and the written every time someone says a name . And I thought that our conclusion was that we didn't want to do that .Professor E: Yeah , we really can't . But a actually , I 'm sorry . I really would like to push{disfmarker} finish this off .Postdoc B: I understand . No I just {disfmarker} I just was suggesting that it 's not a bad policy p potentially .Professor E: So it 's {disfmarker}Postdoc B: So , we need to talk about thislater .Professor E: Yeah , I di I didn't intend it an a policy though .Postdoc B: Uh - huh .Professor E: It was {disfmarker} it was just it was just unconscious {disfmarker} well , semi - conscious behavior . I sorta knew Iwas doing it but it was {disfmarker}PhD F: Well , I still don't know who \" he \" is .Professor E: I {disfmarker} I do I don't remember who \" he \" is .PhD C: No , you have to say , you still don't know who \" he \" is , withthat prosody .Professor E: Ah . Uh , we were talking about Dan at one point {comment} and we were talking about Lokendra at another point .Postdoc B: Yeah , depends on which one you mean .Professor E: And Idon't {disfmarker} I don't remember which {disfmarker} which part .PhD F: Oh .PhD C: It 's ambiguous , so it 's OK .Professor E: Uh , I think {disfmarker}Grad G: Well , the inference structures was Lokendra .PhD F:But no . The inference stuff was {disfmarker} was {disfmarker} was Lokendra .Professor E: Yeah . Yeah . Yeah .PhD F: OK . That makes sense , yeah .PhD C: And the downsampling must have been Dan .Professor E:Um {disfmarker}Grad G: Yeah .Professor E: Good {disfmarker} Yeah .PhD C: It 's an inference .Professor E: Yeah , you could do all these inferences , yeah .Grad G: Yeah .Professor E: Yeah . Um , I {disfmarker} Iwould like to move it into {disfmarker} into uh what Jose uh has been doingPostdoc B: Yeah .Professor E: because he 's actually been doing something .PhD D: Uh - huh . OK .Professor E: So . {vocalsound} Right .PhDF: As opposed to the rest of us .PhD D: Well - {comment} {vocalsound} OK . I {disfmarker} I remind that me {disfmarker} my first objective eh , in the project is to {disfmarker} to study difference parameters to{disfmarker} to find a {disfmarker} a good solution to detect eh , the overlapping zone in eh speech recorded . But eh , {vocalsound} tsk , {comment} {vocalsound} ehhh {comment} In that way {comment} I{disfmarker} {vocalsound} I {disfmarker} {vocalsound} I begin to {disfmarker} to study and to analyze the ehn {disfmarker} the recorded speech eh the different session to {disfmarker} to find and to locate and tomark eh the {disfmarker} the different overlapping zone . And eh so eh I was eh {disfmarker} I am transcribing the {disfmarker} the first session and I {disfmarker} I have found eh , eh one thousand acoustic events ,eh besides the overlapping zones , eh I {disfmarker} I {disfmarker} I mean the eh breaths eh aspiration eh , eh , talk eh , eh , clap , eh {disfmarker} {comment} I don't know what is the different names eh you use to{disfmarker} to name the {disfmarker} the {pause} n speechPhD A: Nonspeech sounds ?PhD D: Yeah .Grad G: Oh , I don't think we 've been doing it at that level of detail . So .PhD D: Yeah . Eh , {vocalsound} I"}
+{"doc_id":"doc_124","qid":"","text":"Marketing: Is this okay ?Project Manager: Uh yeah . Fine now . Oh , it's not liking us , it went that-a-way . Computer adjusting . Oh . Uh . Okay . {vocalsound} So . Right . You ready back there ? {vocalsound} Uh okay. Welcome everyone . Um this is the kick-off meeting for the day . Um we're the new group uh to create a new remote control for Real Reaction . As you can see our agenda is to open up the meeting , um becomeacquainted with each other , um have a little training on tools , uh create a plan , discuss things and and we only have twenty minut twenty five minutes total . Okay . The new remote control is to be original , trendyand user-friendly . That , Steph , is your part , is the user-friendliness . The originality um is gonna take all of us . Um the trendiness we'll probably go look at {disfmarker} for some marketing research information fromyou , Sarah . Um and we'll get on with it . Okay , so we'll have a functional design individual work um with meeting and then conceptual design t and then detailed design . Okay ? Right . Everybody's supposed to try outthe whiteboard . Kate , why don't you try it first , if you can either bring your things with you , I guess {disfmarker}Industrial Designer: Uh yeah , if I can pick up with all these bits and pieces , hang on .ProjectManager: And while you're doing that we'll try and figure out how to hook these things on as well , 'cause we're all gonna have to be able to walk around .Industrial Designer: Uh right , so you want an animal and thecharacteristics of that animal . {vocalsound}Project Manager: {vocalsound}Industrial Designer: Do you have to be able to recognise what animal it is ? {vocalsound} Um {disfmarker}Project Manager: Uh I do not thinkso ,User Interface: {vocalsound} {vocalsound} Are we all gonna draw a cat ?Project Manager: I think it's just to try out the whiteboard . {vocalsound} {vocalsound} Ah {vocalsound} .Industrial Designer: {vocalsound}Only animal I could thin I could draw {vocalsound} .Marketing: I know .Industrial Designer: Its a sort of bunny rabbit cat . {vocalsound}User Interface: {vocalsound}Project Manager: {vocalsound}Industrial Designer:You can tell it's not a bunny rabbit by the ears .Project Manager: Uh-huh .Industrial Designer: Um I suppose it should have a mouth as well , sort of {disfmarker}Project Manager: Okay .Industrial Designer: Right , yeah.Project Manager: Great . And the characteristics ?Industrial Designer: Um the favourite characteristics of the cat um {disfmarker} the whiskers I think , um because they're the easiest to draw .Project Manager:Uh-huh .Industrial Designer: In fact , I'll give it some more {disfmarker}Project Manager: Okay .Industrial Designer: {vocalsound} Oh , and the tailProject Manager: Fantastic . Since you're handy as well , why don'tyou do yours next , Steph . I think it's to get us used to using the pen .Industrial Designer: {vocalsound} Yes . Um sure it's not to test our artistic {disfmarker}Project Manager: Uh no . {vocalsound} A mouse-y?Industrial Designer: It's a mouse .User Interface: That's not a mouse-y , no .Industrial Designer: No it's not a mouse . It's a wombat .Project Manager: Oh .User Interface: It's a ratty .Project Manager: Argh .IndustrialDesigner: A what ?Project Manager: Rat .User Interface: A ratty .Project Manager: Not a mouse , a rat .Industrial Designer: A webbed foot . Webbed f {vocalsound}User Interface: {vocalsound} It's clothes . That's it'sclothes . {vocalsound}Project Manager: {vocalsound}Industrial Designer: Oh right {vocalsound} .User Interface: It's a ratty with a with a with a very long tail .Project Manager: And your favourite characteristics of thatanimal .User Interface: I love whiskers . Uh they're intelligent and they're cheeky {vocalsound} and uh fantastic petsProject Manager: Oh .User Interface: and very friendly .Project Manager: Okay . Kate ?IndustrialDesigner: {vocalsound} {vocalsound}User Interface: And they sit on your shoulder and whisper the answers to your homework in your ear when you're doing your homework .Project Manager: {vocalsound}Marketing:Thanks .Project Manager: Oh , a fish .Industrial Designer: {vocalsound} Gosh ,User Interface: A shark ?Industrial Designer: why didn't I think of fish ? That's even easier to draw than cat . {vocalsound}Marketing: Mm{vocalsound} this is very representational fish . {vocalsound}Project Manager: Oh , okay .Industrial Designer: {vocalsound}Project Manager: Fine .Marketing: Um I like them because they're sleekProject Manager:Favourite characteristics ?Marketing: and they have a lot of freedom but they also do n uh swim in groups ,Project Manager: 'Kay .Marketing: so .Project Manager: So they have team elements . {vocalsound}IndustrialDesigner: {vocalsound}Marketing: Do you have a favourite one ?Project Manager: I'm afraid I'm with Steph . And I think your pen's running out of whatever . But I'm afraid I take the coward's way out , and the cat'slooking the other way . {vocalsound}Industrial Designer: {vocalsound}Marketing: {vocalsound}Project Manager: He's hiding .Marketing: {vocalsound}Project Manager: Um cats are sometimes very independent . Myparents had cats . Uh and they can mm decide for themselves what is best . Okay . Now um {vocalsound} we have to get down to the nitty-gritty of how to make this and this remote control has to be sold {disfmarker}um we're to sell it for twenty five Euros , with a profit aim ultimately of fifty million Euros . That tells you something about how many um we have to sell on an international scale . Um would be an awful lot of these ,would be like what , a hundred million of them um to make twenty five Euros on each one and to make a total profit of fifty million . Um the production is to only cost twelve and a half Euros per item . Now if they costtwelve and a half , you're selling it for twenty five , you're making twelve and a half Euros each . Um and we're to make a profit of fifty million , that's t uh {disfmarker} can you do the maths and how many are weselling ?Marketing: {vocalsound} Uh yeah . {vocalsound} I was just wondering if that's the um {disfmarker} If fifty percent is normal {disfmarker}Project Manager: Mark-up ?Marketing: B yeah . Um I would thinkwould be more like sixty percent . But um let me {disfmarker}Project Manager: Okay .Marketing: I have two thoughts . One hundred , fifty percent .Project Manager: {gap}Marketing: And and your question is howmany do we have to sell ?Project Manager: Yes , 'cause our market um is international and your problem is {disfmarker} has to do with marketing of {disfmarker} you know , you gotta know how many we're going tobe selling to know how big a market you have to target and who is that .Marketing: At twenty five . Mm-hmm . Yeah , that's um {disfmarker}Project Manager: To give you a pretty good idea of where you're looking.Marketing: So that's four million of them ?Project Manager: Something like that ? Okay .Marketing: Yeah .Project Manager: That's fifty million Euros . In order to make fifty million Euros , and you're only getting twelveand a half each {disfmarker}Marketing: And if we make {disfmarker} Mm-hmm .Project Manager: That's a lot of selling . Two four {disfmarker}Marketing: Yeah . Four million .Project Manager: To be fifty , be fourmillion . You'd have to sell four million .Marketing: Hmm .Project Manager: Okay ? Right . Experience with a remote control . Any of you use of remote control for a television or D_V_D_ or something ? You're bothnodding ,Industrial Designer: That that that's the sorta product we're talking about , one that will work for a {disfmarker} in a home environment , for a T_V_s and {disfmarker}Marketing: Yeah .Project Manager: allthree . Well I've seen some remote controls that are for more than one device at a time , but I also have heard about them not working well or not well co-ordinated and you wind up working with this one for thi thisthree and then this one over here for another .User Interface: It is true that you always sit around {disfmarker} you know , you're sitting on your sofa and you wanna change something , there's five different remotes ,and one for the D_V_D_ and one for the video and one for cable and one for whatever else .Industrial Designer: {vocalsound}Marketing: Mm-hmm . Y yeah .Project Manager: And they don't always talk to each other.User Interface: But I presume this is t I presume this is just for television .Project Manager: Don't know . Okay .Marketing: {vocalsound}Project Manager: Are there any um ideas for the remote ? What would it be forand what group would be be for ? We have to think about that one .Marketing: We could make a Hello KittyIndustrial Designer: {vocalsound}Marketing: themed remote .Project Manager: {vocalsound}User Interface: Ithink one in b bright colours would be good . {vocalsound}Marketing: Yeah .Industrial Designer: {vocalsound} I think one that works would be good . {vocalsound}Marketing: We could totally go for the Japan-a-mation. Well I mean there's also the cachet that um uh the Japanese make great {vocalsound} products . Electrical {disfmarker} their industrial design is very good .User Interface: I think one that doesn't have lots ofsuperfluous functions . Like I've got one at home that has well , apart from the obvious , channels , channel up , channel down , volume ,Marketing: Yeah .User Interface: you know , subtitles , mute , there's a lottabuttons that I've got no idea what they do , like {vocalsound} .Project Manager: {vocalsound}Marketing: Well , that's a really good point ,Project Manager: Okay .Marketing: because I think one of the things that{disfmarker} being somewhat computer literate , we tend to um go to menus and then make choices , you know , so if it's like an uh volume button , you know , you can go in and say mute or or volume . We don'tneed to have like the l the numbers if we also have uh uh channel up channel down .User Interface: Mm .Project Manager: Mm . {vocalsound} Okay .Marketing: Mm . We can make it smart like an iPod , you know ,make everything menus .User Interface: Ooh , closing the meeting .Project Manager: Yeah . Um I know this sounds like it was very quick ,User Interface: That was quick .Project Manager: but the I think that's theindustrial design is the first one ,Industrial Designer: Mm .Project Manager: that's Kate , for the working design .Industrial Designer: Mm-hmm .Project Manager: And user , that's you S Steph , for the technicalfunctions design , and for marketing the user requirements specification . I think there's going to be a lot of {disfmarker} we have to help each other and work through this as a group , and I think we all , you know ,{vocalsound} we like our kitty-cat and our rat and our fish , but I think we all have to like each other um to get this done . Uh as it says , we're gonna get individual instructions , but uh I don't think they allowed a lot ofextra time , so I think a little bit of less of this and more at do will set us in good stead . Do you all agree ?Industrial Designer: Mm-hmm .User Interface: Mm-hmm .Project Manager: Alright . Um then I don't see anyreason to prolong it and f we should finish this meeting at ni right now and go into other things . Alright , so this is the end of the first meeting .Marketing: Okay .Industrial Designer: 'Kay .Project Manager: Thank youall ."}
+{"doc_id":"doc_125","qid":"","text":"Project Manager: Right uh . So um . So where's the PowerPoint presentation ? Sorry ? Microsoft PowerPoint , right . Right , okay . So . Right . Okay , so we've got uh so we've got new project requirements . Um . Sobasically we've got three things , and we've got forty minutes in which to uh {disfmarker} for this meeting to uh to discuss the various options . Um . Three presentations .Industrial Designer: We have a {disfmarker} Iguess we have a presentation each , 'cause I've got one . Um .User Interface: Yeah .Marketing: Yeah ,Project Manager: I see , right .Marketing: I've got one too .Project Manager: That's nice to know , one from each ofyou . Um new project requirements . Um so do we want to do the presentation first , or do we want to um {disfmarker} W I I got um {gap} or or three things basically , um relating to the remote being only for T_V_ .We discussed that last timeIndustrial Designer: Mm-hmm .Project Manager: and in actual fact that was pr pretty well what we came up with anyway .Marketing: Mm-hmm .Project Manager: So in fact it actually f wewon't be forestalled {vocalsound} in a sense .Marketing: Mm-hmm .User Interface: {vocalsound}Industrial Designer: {gap}Project Manager: Um we've got uh teletext outdated . Um did you get any information on that?Industrial Designer: Uh we didn't , no .User Interface: No .Project Manager: Right and the corporate image was the uh final thing .Industrial Designer: I d I didn't personally .Marketing: Hmm .Project Manager: So I Igot that in email form .User Interface: {vocalsound}Project Manager: Um . Right okay . So I guess if we go ahead with the uh with the three presentations . So we'll start with yourself on the basis that uh{disfmarker}Industrial Designer: Okay that's fine . I'll just um I'll grab the wire out the back of this one .Project Manager: Sorry , yep .Industrial Designer: {gap}User Interface: {vocalsound}Project Manager: Oh .{vocalsound}User Interface: What is it ?Industrial Designer: I'm not quite sure how it {disfmarker}User Interface: I think you've got to do um control F_ eight .Industrial Designer: Control {gap} {disfmarker} Doesn'tseem to be quite working at the moment .User Interface: Shift F_ eight . {vocalsound} {gap}Industrial Designer: Alt function F_ eight . {vocalsound} Again not doing anything .Marketing: {vocalsound} There's usuallya little thing in the top right for the {disfmarker}Industrial Designer: Oh .User Interface: Ah there ,Marketing: Oh hang on ,User Interface: it's doing something .Marketing: it's just coming on .Industrial Designer: {gap}pressed about five times now .User Interface: {vocalsound}Marketing: {vocalsound}Industrial Designer: Okay , that's me {gap} . Okay , um I have to go {gap} again .Project Manager: {gap} it going ?IndustrialDesigner: Hopefully that should be it this time . Okay , I think we're there . That's good . Okay , um {disfmarker} Okay I'm gonna be looking at the working design . Um {vocalsound} of the of the remote control . UmI've just got three sections , first is the research I made on the on the remote control itself um . And then that involves the components required in it and the systems uh design of the actual the actual remote . Um sohaving researched the existing models within the market , um I found my research off the internet . Um I've established what the components required for the remote control to function , actually are . And then also themethods in which these components interact together for the remote to actually do what you want it to do and how it connects with the television . Um the basic components are an energy source which I guess um inmost existing models would be a battery supply . Whether that'll be sort of two batteries , four batteries , um it may vary .Project Manager: Okay .Industrial Designer: We then have the user interface , which is basicallythe like the the buttons on the actual remote . Um the various functions used for changing channel , uh channel up and down , volume , things like that . Um there's also a chip inside the remote which does all thecomputer type things . And then the sender , which um is usually , I've found , an infra-red device which sends a signal to the actual television . Um and the last part is receiver which is important in the system but isnot actually part of the remote itself , because that's obviously found in the television . {gap} . Um I'm gonna have to actually draw on the board because uh it was a little tricky on PowerPoint to get this working , so .I'll just go through there . S um um do we have a cloth to wipe this down with , or ? Oh I'll jProject Manager: Uh there's the rubber on the right , I think .User Interface: I think it's that little {disfmarker}IndustrialDesigner: Oh I see . Oh okay . I'll get rid of the bear.$Project Manager: {gap} it's magic . {vocalsound}Marketing: {vocalsound}Industrial Designer: Okay that's great . Okay , so we start off with a um battery suppl Uhno , a power supply which we'd probably get {disfmarker} it's probably gonna be the battery . Um we then have a particular button , which may be {disfmarker} {gap} that's obviously there's lots and lots of differentbuttons . Um but this is how the basic system works . Um that sends {gap} after you press that that sends the message to the chip , which um then sends {disfmarker} It sort of interprets which button you've pressedand then sends the appropriate message to the sender . {vocalsound} Um . So that's {gap} . That's the remote in itself , that's the components of the remote and how they work together . So this is the uh userinterface . Um this is the chip itself , which then {gap} , and that's the that's the infra-red sender . And then on the separate thing we have on the on the television we have a a receiver . And the sender sends amessage to the receiver . 'Kay .Project Manager: So the the top bit's the power source , yes ? {gap} .Industrial Designer: Ah yes , that's the power source . Um . {gap} going on to personal preferences , I've said thatbattery seems the best option for the actual remote , just because of the size . You don't want a a cable attached to the remote otherwise it's not it's not really a remote . Um and then the sender ,Marketing:{vocalsound}Industrial Designer: and infra-red um has been used quite successfully . If the battery's on reasonable power , they always seem to work fairly well . You don't have to be point directly at the televisionitself .Project Manager: So the battery is the {disfmarker} in the sender .Industrial Designer: Um {disfmarker} Yes . 'Kay and that's it for the moment .Marketing: Okay .Project Manager: Okay . So , now more design .{vocalsound}User Interface: Right . Thank you . Mine's not quite as complicated as all that .Project Manager: {vocalsound} That's what we like to hear . {vocalsound}User Interface: {vocalsound} Did I press function ?Yeah .Project Manager: Is it control function ei Oh , th there you go .User Interface: Oh . Um . Okay so I'm gonna talk a bit about the technical functions design . I'm Louisa , the User Interface Designer , as you know .{vocalsound} Um so the m basic method of this is to send a signal from the remote to the television set , so that a desired function is performed . Um an example of the function could be to change the volume up ordown , uh so obviously you need two different buttons for that . Um to change the channel , either by pressing the number that you want or by channel up or down . Um to switch the television on or off , maybe astandby button . Um here are two example remotes . Um by the look of it they both have um kind of play and fast forward , rewind functions , so I think they incorporate a kind of video function which we won't have toworry about . Uh but as you can see , the left remote is quite um quite busy looking , quite complicated . Um whereas the right remote is much simpler , it looks much more user friendly . Um so my personal preferencewould be the right remote . So , {vocalsound} it's got nice big buttons , it's got a very limited number of buttons . Um they're nice , kinda clearly labelled . Um I like the use of the kind of um symbols like the trianglesand the squares and the arrows as well as the words on the um kind of play functions and all that . So it's very very user friendly , and it's got a little splash of colour . Could maybe do with some more colour . Um.Project Manager: Well there's a couple of things there . Um we have to remember that we have our own um logo and colour scheme . So basically we'd have to uh we'd have to be putting that on um the the product.User Interface: Hmm . Do we get to see that ?Project Manager: {vocalsound} I haven't as yet , no .User Interface: Will you be presenting that in a bit ? {vocalsound}Project Manager: {vocalsound} But uh I got uh Igot an email that basically said to uh make sure that uh whatever device we come up with at the end of the day had to incorporate um the corporate colour and slogan . So uh I'm guessing that uh uh I notice on thebottom there it's got uh what's that ? A_P_O_G_E_E_ that might be the corporate colour scheme , although the only the only colour I can see in that is the red .Industrial Designer: {gap}User Interface: Hmm.Industrial Designer: Would you be able to get rid of the the extra buttons here , the the sort of circular section , because that seems to be for a video as well . So we could dispense with that little bit as well and just getit down to just the numbers and the volume . Possibly ?User Interface: What do you mean by the circular section ?Industrial Designer: J yeah yeah yeah j yeahUser Interface: Like all of that bottom bit ?ProjectManager: {vocalsound}Industrial Designer: just this little bit is that {disfmarker} I think that's still um a video remote part ,User Interface: Yeah .Industrial Designer: so maybe we could get rid of that as well .UserInterface: Yeah . And I don't really think that you need nine numbers .Project Manager: Well b uh wUser Interface: I mean how often do you use seven , eight and nine ? I think just one to six and then channel up anddown should be enough .Project Manager: Well th the on the {disfmarker} {vocalsound}User Interface: Like how often do you hit nine ?Project Manager: Well uh for for general television purposes obviously you havechannels one to five at this point in time ,Marketing: Mm-hmm .Project Manager: and we'd have to have some room for uh future such channels . But but {disfmarker}Industrial Designer: It's just people are used toseeing that , so if we didn't have them then they might think it's {disfmarker} {gap}Project Manager: But , well possibly but the the other thing is that with um the current expansion of uh channels uh in the process oftaking place , certainly the button up and down , but uh I mean {vocalsound} how many channels do we have to um {disfmarker} actual television channels do we have to uh prepare for ? I would have thought that uh{gap} it's forever expanding and at the moment we've got {disfmarker} although you've onl you've got the five standard , you've got the B_B_C_ have come up with a further sixIndustrial Designer:{vocalsound}Project Manager: and uh there's uh I don't know exactly how many channels there are on uh when you take into account uh Sky and various other um various others .Marketing: Mm-hmm .IndustrialDesigner: Hmm .Project Manager: So I would've thought that we wouldn't , you know , rather {disfmarker}User Interface: Hmm .Project Manager: Okay , if the time of flicking from one to other , but presumably it'lltake a secondUser Interface: {vocalsound}Project Manager: 'cause you have to be able to stop it . Maybe you could have a fast forward on the on the channels that w and then you could dispense with more otherwise .Y you'd want you'd want to get fairly quickly to the channel that you wanted .Industrial Designer: {vocalsound}User Interface: {vocalsound} Um some remotes have kind of favourite options where if you always flickfrom channel one to channel six , um if that's a favourite you just like by-pass two to five .Project Manager: Mm-hmm .Industrial Designer: {gap}Project Manager: Yeah , I s I suppose in a sense you could have um ifyou've got a hundred channels then if you had sort of an easy way of getting {disfmarker} rather than having to go one to a hundred , you could go one to one to ten , ten to twentyIndustrial Designer: {gap}UserInterface: Hmm .Project Manager: and then have a second button to get you to the actual channel you wantMarketing: Mm-hmm .Project Manager: and that would cut down your time .User Interface: Mm . Um .ProjectManager: Anyway .User Interface: But I think a lot of um like Cable and Sky and stuff , that would be tuned to one channel , and then you'd have another remote for all of those channels .Industrial Designer: Okay ,yeah .User Interface: Like to get to fifty five and the higher numbers {disfmarker}Project Manager: {vocalsound} Whatever .User Interface: Yeah .Marketing: {vocalsound}Project Manager: {vocalsound} Okay . Okay .Limit the number of buttons , user friendly .User Interface: But I suppose nine's not really excessive .Industrial Designer: I suppose with nine you've got the the like the last one which makes the tenth means you{disfmarker} uh it's like uh multiples you can put them together so you can make any number .User Interface: I suppose it does make a good pattern .Industrial Designer: So with that we'd kind of by-pass anyproblems with {disfmarker}Project Manager: Yeah Well that's true , yeah ,Industrial Designer: Yeah .Project Manager: you could get fifty by five and a zero or whatever , that that makes sense .Industrial Designer:Yeah . 'Cause that facilitates having all the numbers you could ever need .Project Manager: Yeah .Industrial Designer: Um .Project Manager: Does .Marketing: Mm-hmm .Project Manager: So w so what was the circularthing that you were {disfmarker}User Interface: Okay . Um I think that's just for a video , so we wouldn't need any of that at all .Industrial Designer: So we could get it down to what ?Project Manager: If it's just forT_V_ , which is what it is at the moment .User Interface: Mm-hmm .Industrial Designer: So we get to {disfmarker} How many buttons have we got ? We've just got ten , eleven twelve th We got fourteen that we need .I guess .Marketing: Mm-hmm .Industrial Designer: Um which isn't really too many . That'll be quite easy to make a user guide for a fourteen button remote .Project Manager: Mm-hmm . Well we've we've got um thatit's remote for T_V_ only otherwise project would become too complex with uh which would endanger the time to market {vocalsound} was one of the considerations .Industrial Designer: 'Kay .Project Manager: I'm{disfmarker} I don't know d did you have that information behind the marketing ,Marketing: Mm-hmm .Project Manager: or was I meant to give you that information ?Marketing: Um I'm not sure . I had I've had somemarket information ,Project Manager: Right .Marketing: but not from the company , no .Project Manager: Right , okay , so basically time to market seems to be important , therefore speed of delivery .IndustrialDesigner: 'Kay .Project Manager: We've only got about another four hours left . {vocalsound}Industrial Designer: {gap}User Interface: {vocalsound}Marketing: {vocalsound}User Interface: Okay , so is everyonehappy with that ?Industrial Designer: Ah yes yes , that seems good .Marketing: Okay .User Interface: Right well that's the end of my presentation .Marketing: 'Kay . I'm gonna pull this off . {vocalsound}IndustrialDesigner: I think if you just give it a second to maybe catch up .Project Manager: Yeah , I think she said twenty seconds to um {disfmarker}Marketing: Uh-huh .Industrial Designer: I'm sure we'll have by the end oftoday .Marketing: Okay . {vocalsound} I'll give it another go . Yeah , there we go . {vocalsound}Industrial Designer: {gap}Marketing: Right , we've done some research into the functional requirements that peoplewant out of their remote control . And first off we should state that th the remote control's for controlling the T_V_ and um how do people use it ? We asked them sort of which buttons were useful for them . Um how dhow does a remote control look and feel for them , and what improvements would would they like to remote control . And we did that by sort of giving them a questionnaire that we'd prepared and asking them to fill inthe answers . And three quarters of them found that remote controls are ugly and that a sort of even higher proportion would spend more for a sort of s uh a fancier remote control And that of all the buttons on theremote control , the sort of setting buttons for sort of the picture picture and brightness and the audio settings , um they weren't used very often at all . People concentrated on the channel buttons and the volumebuttons and the power buttons . Uh we also asked them about speech recognition uh for remote control . And young people were quite receptive to this , but as soon as we got sort of over about into a thirty five to fortyage {disfmarker} forty five age group and older , people people weren't quite so keen on speech recognition . There's a lot more th there's a lot lot more older people who didn't know whether they wanted it or not aswell . Um we also asked what frustrated people about remote controls and the number one frustration was that the remote was lost somewhere else in the room and that they couldn't find it . And the second secondbiggest frustration what that if they got a new remote control , it was difficult to learn um all the buttons and all the functions , and to find your way around it . {vocalsound} Okay , so {disfmarker} My personalpreferences from the marketing is that we need to come up with some {vocalsound} sort of sleek sort of good looking high high-tech {disfmarker} A design which looks high-tech , basically . Um and that we shouldcome up with fewer buttons than most of the controls on the market , and we should sort of concentrate on the channels and sort of power , and also volume and that sort of thing , as as Louisa said . Um we couldmaybe come up with a menu , a sort of a an L_C_D_ menu for other functions on the remote control . That's worth thinking about . Um and maybe we could think about speech recognition as well , because um sort ofyoung people are perhaps the ones that are gonna buy buy our new product if we aim it at sort of you know sort of a high-tech design . That that might be the market that we're we're looking for . And we could maybethink about using speech recogniti recognition as a way to find the remote control if it's lost in a room , rather than sort of um having it to {vocalsound} speech recognition to change the channels . 'Cause there's aproblem with that in that the television makes noise , so it could end up talking to itself and changing its channel .Industrial Designer: Mm .Marketing: {vocalsound} Okay um , and that's the end of the slide show .That's it . Cool .Project Manager: What was that last wee bit there ?User Interface: Do {gap} a lot of um {disfmarker}Marketing: Um about speech recognition ?Project Manager: Speech recognition ,User Interface:{vocalsound}Marketing: Yeah .Project Manager: But that was only for young people that preferred it , older people didn't .Marketing: Youn young people pref Yeah , they s they said that they'd be interested in a remotecontrol which offered that possibility and as you go up through the age groups , people got less and less interested in sort of a a remote control that you could talk to , so .Industrial Designer: No what I maybe think isum it seems the technology would be quite advanced for that and they might end up costing more than our twelve fifty budget for for the speech recognition . Um .Project Manager: Well that's right .Marketing: Yeah .Yeah . Yeah .Industrial Designer: And possibly the thing about the about the remote being lost we could have {disfmarker} You know with your mobile phone , you lose that and you can ring it . Maybe we can havesome kind of sensor which is kept somewhere where you can {disfmarker} {gap} some kind of buzzer system between the two . So you can press a button which is always kept in one placeMarketing: Yeah .IndustrialDesigner: and then it maybe buzzes to somewhere else , wherever the remote actually is .Marketing: Uh-huh . Yeah . Yeah , we'd have t that would mean we'd have to put two products together as well ,IndustrialDesigner: That is true , yes .Marketing: which which again would probably be a bit expensive , but {disfmarker}Industrial Designer: Hmm .User Interface: There's key rings um that you kind of whistle at or clap at , Ican't remember , and then they whistle back , or something like that .Marketing: Yeah .Project Manager: Sounds reasonable .User Interface: That'd probably be really simple ,Marketing: Yeah .User Interface: they'recheap .Project Manager: Mm-hmm .Marketing: Mm-hmm .Project Manager: Yeah . So {disfmarker}Industrial Designer: So I guess it'd be something we could like attach to the {disfmarker} or like the same technology"}
+{"doc_id":"doc_126","qid":"","text":"Project Manager: Okay . {vocalsound} Je croix que c'est dommage de le {disfmarker} it will be sad to destroy this prototype . It really looks like a banana .User Interface: {vocalsound} It is a banana .Project Manager:It is a banana . {vocalsound}User Interface: It is the essence of bananas . I would be confused with this thing .Project Manager: {vocalsound}User Interface: {vocalsound}Project Manager: {vocalsound} Mm .IndustrialDesigner: {vocalsound}User Interface: SProject Manager: Okay .Marketing: Mm-hmm . {vocalsound}User Interface: How is everyone ?Project Manager: Hi .Industrial Designer: Hi .Project Manager: So we are here forthe detailed design meeting .Marketing: {vocalsound}Project Manager: {vocalsound} So {vocalsound}User Interface: Mm-hmm .Project Manager: we will uh {disfmarker} I will first present what we are going to do inthis meeting . Then uh I've {disfmarker} I will also take notes during this meeting and I will send you uh a summary then as usual . We will then look at the evaluation criteria of the prototype presented by uh our twocolleagues that make good work .Industrial Designer: {vocalsound}Marketing: {vocalsound}Project Manager: {vocalsound} And uh then we will see the financial aspects and the cost of the product . Then we will uhevaluate the product . And uh end with the conclusion of this project and see whether it fits with {disfmarker} it fulf if it fulfil the requirement or not . SoIndustrial Designer: Mm-hmm .Project Manager: d let's start withthe cost aspect so so I look at the aspect discussed last time , that is to say uh to have a standard battery , {vocalsound} to have a yellow banana shaped uh case with uh a rubber material around itIndustrial Designer:{vocalsound}Project Manager: to be uh to feel spongy ,User Interface: Like a banana .Project Manager: {vocalsound} and uh also at the different aspect like having a wheel etcetera .Marketing: {vocalsound}IndustrialDesigner: Mm-hmm .Project Manager: And the cost ended to be ten point seven Euros . So which is uh good , because we had a price gap of twelve point five Euros .Industrial Designer: Mm-hmm .Project Manager: Sofor the financial aspect it's okay , we can uh {disfmarker} we can continue with this product uh as if ,Marketing: {vocalsound}Project Manager: {vocalsound} and we are now going to see the project evaluation with uhour marketing expert .Marketing: {vocalsound} Yeah . Okay . So uh you can have my project in {disfmarker}Project Manager: Yeah . You have a presentation ?Marketing: Uh yeah just a {disfmarker}Project Manager:Participant four , yes .Marketing: {vocalsound} Four . Evaluation .Project Manager: Okay . Okay .Marketing: Okay . So you can go . We can go through .Project Manager: Okay .Marketing: So I made an evaluation andthe the evaluation criteria is made according to {vocalsound} the users' requirements and the market trends we talked about uh during the previous uh meetings . So you can go through and {disfmarker}ProjectManager: Okay .Marketing: okay so uh we have uh six points . We we talked about before .Project Manager: Okay .Marketing: So we we want to have a product fancy look and feel , technologically innovative , easy touse , fashion , {vocalsound} easy to find in a room , and robust ,Project Manager: Yeah .Industrial Designer: Mm-hmm .Marketing: uh and uh uh I have a scale of uh seven points .Project Manager: Yeah .Marketing:Okay . So I go through all the uh all the points here ,Project Manager: Yeah .Marketing: and uh according to what you think about the this project you can uh mm make a one point , two point or seven point . Okay?Project Manager: Okay .Marketing: And after we ha we have an an average , and uh we see .Project Manager: Okay .Industrial Designer: Mm-hmm .Marketing: The {disfmarker} okay ? {vocalsound} Uh so uh fancylook and feel , what do you think ?Project Manager: Okay . Maybe you can presen {vocalsound}Marketing: F between o one and seven .Project Manager: okay . Maybe {disfmarker} {vocalsound} hold it .Marketing:{vocalsound}Project Manager: {vocalsound} So I think it's uh very uh very nice . What do you think ?User Interface: I give it a {disfmarker} I give it a five .Project Manager: Yeah . So it's between one and seven ?Seven is the highest uh ?Marketing: Yeah . {vocalsound} Seven is the {disfmarker}Project Manager: I will give a six .Industrial Designer: I will give a a five .Marketing: {vocalsound} Mm-hmm .User Interface:{vocalsound} And you ?Marketing: {gap} sorry .User Interface: Do you vote uh Christine ?Marketing: {gap} eh ?User Interface: Do you also vote ?Marketing: {vocalsound} No , I just want to see something{disfmarker}Project Manager: Maybe we all have to agree on a common {disfmarker}User Interface: Well , we can {gap} very easily {vocalsound} .Project Manager: Yeah .Marketing: Mm-hmm .Industrial Designer:{vocalsound}Project Manager: {vocalsound}Marketing: Uh I think uh {gap} {vocalsound} and need to {gap} as well {vocalsound} .Project Manager: No problem . SoUser Interface: {vocalsound}Marketing: Need to{disfmarker}Project Manager: this is your {disfmarker}Marketing: uh I don't know if you {disfmarker} we ha we have to put uh one uh f If it's better or {disfmarker}Project Manager: One is most {gap} .UserInterface: I {disfmarker}Marketing: Uh-uh .Project Manager: Well , we can choose what we want .Marketing: Um . Yeah .Project Manager: Okay , let's say that seven is the best .Marketing: Or maybe we can say sseven is the best mm {vocalsound} .Project Manager: Okay . So so do note the grade we have five , six for me ,Industrial Designer: Five .Project Manager: five . And what what's your choice ?Marketing: Oh sorry .{vocalsound}Project Manager: How much would you give on the fancy aspect , on the fashionable aspect ?Marketing: Six {disfmarker} Uh s you can {disfmarker} how much what ?Project Manager: How much wouldyou {disfmarker} you don't answer to this uh questionnaire ?Marketing: Oh yes I mm I dunno mm , I think six , it's a good uh {disfmarker}User Interface: So it will have five point five average .Project Manager: Fivepoint five average .Marketing: Yeah .Project Manager: Okay .User Interface: Mm .Marketing: Wa can {gap} . {vocalsound}Industrial Designer: {vocalsound}Marketing: Okay .Project Manager: Well , does it{disfmarker}Marketing: {vocalsound} I sorry .User Interface: {vocalsound}Marketing: Okay . So after , the technological aspect ?Project Manager: Okay , techne technological aspect .Marketing: So we we said uh wehave uh a new technological uh thing with a wheel .Project Manager: Yeah , we have the wheel . We also have the rubber material ,Marketing: Uh .Project Manager: which make it uh like new also . I think I would give afive .User Interface: It's {gap} four .Project Manager: Four ?Industrial Designer: A four also , because , except for the wheel , we don't have so much innovation .User Interface: Yeah .Industrial Designer: The rubber is{disfmarker}Project Manager: Okay .Industrial Designer: Uh a four . I I {disfmarker}User Interface: D are we including the voice {disfmarker} are you glu are we including the voice in the end or not ? Huh ?ProjectManager: No .User Interface: No . Okay .Project Manager: SoMarketing: No .Project Manager: what's your uh grade ?Marketing: Four .Project Manager: Four ? So we have four , four f and five ?Marketing: We can putfour ?User Interface: Yeah .Project Manager: Yeah , four . Four , yeah , let's put four .User Interface: For twenty five .Marketing: Everyone is okay or {disfmarker} four poin Four .User Interface: Yeah .Marketing: Okay.Project Manager: Doesn't it {disfmarker} {vocalsound}Marketing: Very easy to use . Do you think it's easy to use ?Project Manager: Yeah , I think so . Yeah .Industrial Designer: Yeah .User Interface: I give a seven , Ithink .Industrial Designer: Six .Project Manager: I would give a {disfmarker} I would give a seven as well . It's very easy to use .Industrial Designer: Six .Marketing: Mm , six for me also .Project Manager: SoUserInterface: 'Kay .Marketing: Six point five . {vocalsound}Project Manager: six point five .Industrial Designer: Six six six point five .Project Manager: Okay .Marketing: Okay . {vocalsound} Is it fashion ?{vocalsound}Project Manager: Oh yeah ,User Interface: {vocalsound}Project Manager: its its f its fruit fruit shape .Marketing: Seven ? {vocalsound}Project Manager: I would say seven . And is very very nice design.Marketing: Yeah it's fashion , because it's a fruit ,User Interface: Yeah , we can we can put a seven here .Marketing: and we say that the {disfmarker}Industrial Designer: Yeah , seven .User Interface: Yeah .Marketing:yeah , seven .Project Manager: Yeah . Seven , okay .User Interface: Yeah . Well , we hope .Industrial Designer: {vocalsound} Easy to find .Marketing: {vocalsound} Uh easy to find in a room ? {vocalsound}ProjectManager: {vocalsound}Industrial Designer: {vocalsound} I lost my banana . {vocalsound}User Interface: {vocalsound} {vocalsound}Project Manager: I think you can't miss it .User Interface: {vocalsound} Yeah.Project Manager: Okay .Marketing: Yeah ?Industrial Designer: Uh .User Interface: Yeah , I think it's cool . I think we can put a six here .Marketing: We have the lightning , or {disfmarker}Project Manager: Yeah , wehave {vocalsound} the {vocalsound}Marketing: The lighting .Project Manager: we don't sesh especially have the lightningUser Interface: {vocalsound} So you'll make the material transparentProject Manager: but{disfmarker}Marketing: {vocalsound}User Interface: so that it uh lights up completely , or {disfmarker}Project Manager: So it's yellow . It's okay .Marketing: {vocalsound} Yeah . {gap}Project Manager: I think it'svery easy to {vocalsound} {disfmarker}Marketing: Seven ?Project Manager: I would say seven . It's hard to miss it .Industrial Designer: {vocalsound} Six . Yeah , okay .User Interface: Yeah .Marketing: Is it{disfmarker} is it robust ?Project Manager: Yeah , it's rubber , made of rubber ,Industrial Designer: Uh f yeah , it's ru it's rubber .Project Manager: I think it's m it's uh more rubber than uh other remote control.Industrial Designer: Yeah . {vocalsound}User Interface: Yeah the only problem there might be {disfmarker} which {gap} know , i if it's very sensitive ,Project Manager: Yeah .User Interface: they will ,IndustrialDesigner: Yeah .User Interface: I don't know {disfmarker}Project Manager: But it is uh {disfmarker} it is surrounded by rubber material .Industrial Designer: Yeah .User Interface: Yeah , okay .Project Manager: Somaybe we can put a six .Industrial Designer: Yeah .User Interface: Mm .Marketing: {vocalsound} Everybody is okay , six .Industrial Designer: Six or five . Five {vocalsound}Project Manager: Six is okay ?UserInterface: Six , yeah , for me .Industrial Designer: Six .Marketing: Yeah . {vocalsound} Okay .Project Manager: Yeah .User Interface: Yeah .Marketing: S now {vocalsound} um so .Project Manager: Tadada . We haveto sum up everything .User Interface: Twenty .Marketing: Thirteen uh , twenty , twenty six point five , uh seven , thirty two , thirty six {gap} .User Interface: Thirty . ThirMarketing: That's that's okay ? Six .ProjectManager: {vocalsound} Six is a good {disfmarker}User Interface: Okay .Marketing: Good . Uh if we say that seven it's uh it's the better ,Project Manager: Yeah , the be .Industrial Designer: {gap}User Interface: Yeah ,the top {disfmarker}Marketing: and when uh s six sit six are good {disfmarker} it's a good uh p product , I think .Project Manager: Okay , so six is a {disfmarker}User Interface: Mm . So will become eight soon?Project Manager: So it's a good evaluation , I think . It's very promising .User Interface: Yeah , well it's a bit biased . {vocalsound}Project Manager: Huh .Marketing: We have a good price and uh {vocalsound}.Industrial Designer: Yeah .Project Manager: So this prototype is quite nice . {vocalsound}User Interface: Okay .Marketing: Good .User Interface: Because I saw uh some phones that were banana shaped , uh wirelessphones not mobile ones , wireless for the house ,Marketing: {vocalsound}Project Manager: Yeah . Okay .User Interface: uh quite big also ,Marketing: {vocalsound}User Interface: and they were selling {gap}something like a hundred Euros , two hundred Euros .Project Manager: {vocalsound}User Interface: Just a {vocalsound} just a phone , wireless .Project Manager: So having this at twenty five Euros is uh quiteattractive , I think .Industrial Designer: Mm-hmm .User Interface: Yeah .Project Manager: I think the {disfmarker}Industrial Designer: But almo also the complexity between a phone and a remote control is not{disfmarker} cannot compare .User Interface: Yeah . Yeah ,Project Manager: Yeah .User Interface: it's much more complex , but {disfmarker}Project Manager: So , I think , we can summarise . So we have seen theprototype . It's very nice according to the work of our two designer .Industrial Designer: {vocalsound}Project Manager: The the the financial aspect were okay . We we have the cost below uh our threshold and so wecould sell at twenty five Euros and make i make profit . The the evaluation give satisfying result as well . So I think we can move to the last part of the meeting .Marketing: {vocalsound}Project Manager: So the cost isin the budget , the evaluation is okay , so I th I think we can now uh open champagne and make a huge party .Industrial Designer: {vocalsound} Start to eat banana . {vocalsound}User Interface: {vocalsound}ProjectManager: I don't know if it's provided by uh by the meeting staff .User Interface: {vocalsound}Marketing: Mm-hmm .User Interface: Okay .Project Manager: {vocalsound} Okay so congratulation . {vocalsound} Niceproduct .Industrial Designer: Yeah .User Interface: {vocalsound} Congratulations to the team . Uh very well , we worked together fantastically .Marketing: {vocalsound}Project Manager: Yeah .Industrial Designer:{vocalsound}Project Manager: I think it was a good collaboration uh . Aspect .User Interface: {vocalsound} So what does the management say ?Project Manager: Sorry ?User Interface: What does the management say?Project Manager: I think we will have um much bigger project next time and a much bigger salary as well .User Interface: Ah .Industrial Designer: {vocalsound}Marketing: {vocalsound}Project Manager: All it dependson who watch this meeting .Industrial Designer: {vocalsound}User Interface: {vocalsound}Industrial Designer: {vocalsound} Yeah . {vocalsound}Project Manager: {vocalsound} We don't know . {vocalsound}UserInterface: Yeah .Project Manager: Okay , soUser Interface: Okay .Project Manager: good guys {vocalsound} ,Marketing: {vocalsound}Project Manager: so see you for next uh successful project . {vocalsound}IndustrialDesigner: Okay . Yeah . Fruits .Marketing: Mm 'kay .User Interface: Mm ."}
+{"doc_id":"doc_127","qid":"","text":"Project Manager: Good morning , again .Industrial Designer: One question .User Interface: Yeah . {vocalsound}Industrial Designer: {vocalsound} Send .User Interface: Choose a number ? {vocalsound}IndustrialDesigner: Submit . {vocalsound}Marketing: {vocalsound} Yep yep yep yep .Project Manager: All set ?Industrial Designer: Mm . Yeah .Marketing: Mm-hmm .Project Manager: Good . Okay . Let's see what we can findhere . Okay . A very warm welcome again to everyone .User Interface: {vocalsound}Project Manager: Um here we are already at our uh functional design meeting . Um and this is what we are going to do . The opening, which we are doing now , um and the special note , I'm project manager but on the meetings I'm also the secretary , which means I will make uh minutes as I did of the previous meeting .Industrial Designer:{vocalsound}Project Manager: And uh I also put these as fast as possible in the uh project folder , so you can see them and review what we have discussed . Um if I'm right , there are three presentations , I guess eachone of you has prepared one ? Good .User Interface: Yes .Project Manager: And um we will also take a look at new project requirements , um if you haven't heard about them yet . And then of course we have to take adecision on the remote control functions and we have some more time , forty minutes . But I think we will need it . Um well I don't know who wants to go first with his presentation .Industrial Designer: I'll go first . Okay. I'll go first yeah .Marketing: Yeah .Project Manager: You can go first , okay .User Interface: Well .Marketing: Well , shall I go first with the users ?User Interface: Well {vocalsound}Marketing: I think {disfmarker} wellokay no problem . {vocalsound}Project Manager: Is there an order ? I haven't {disfmarker}User Interface: everybody already has his presentation ,Marketing: Ja precies , ja precies , ja preciesUser Interface:{vocalsound} so you can adjust it . {vocalsound}Industrial Designer: So . Huh ? Okay , um {disfmarker}Project Manager: And one question , uh your name Denni , is it with aMarketing: E_I_E_ .Project Manager: I_E_{disfmarker} E_I_E_ , okay . Thank you .User Interface: {vocalsound}Industrial Designer: Okay , um I wanted to explain the working design of the remote control . It's possibly very handy if you want to uh design oneof those . Um {vocalsound} well so it basically works uh as I uh uh r wrote down uh in this uh little uh summary . Uh when you press a button , {vocalsound} uh that's when you do pr for example when you uh want toturn up the volume , um a little connection is made uh the the rubber uh {vocalsound} button just presses on aProject Manager: Sorry . {vocalsound}Marketing: {gap}User Interface: {vocalsound}Industrial Designer:on a little print plate uh which uh makes uh uh {vocalsound} a connection that uh gives the chips , uh which is uh mounted beneath those uh that plastic of a rubber button . Uh senses that a connection has been made, and know and knows what button you pressed , becau uh for example the the volume up or volume down button . Um uh the the chip uh makes a Morse code uh like uh signal which uh then is si uh signalled{vocalsound} to uh several transistors which makes uh which sends the signal to a little let . You know what a let is ?User Interface: Yeah .Industrial Designer: Okay . {vocalsound} And that makes uh the the infra-redlights signal which is sent to the television set . Uh which has a sensor in it to uh sense uh the signal of the infra-red . That's basically uh how it works . Um the findings uh uh that I found uh searching up some uhdetailed information about the remote controls , are that uh they are very easy to produce , uh it is pis uh it's possible to uh make them in mass production because it is as eas it is as easy as uh printing a page , uh justuh fibreglass plate um is b uh is uh covered with uh some uh coatings and uh uh {vocalsound} and chips .User Interface: {vocalsound}Industrial Designer: Uh and the technology's already available , we don't have tofind out how remote controls uh have to work or uh how that how uh to make some chips that are possible to uh to to transmit those uh signals . Uh I made a little uh uh animation of {vocalsound} about how a tran ouruh remote controller works .User Interface: {vocalsound}Marketing: {gap}User Interface: Oh right .Marketing: {vocalsound} Animation . {vocalsound}User Interface: {vocalsound}Industrial Designer: {vocalsound}we telUser Interface: There is something turning .Industrial Designer: There .Project Manager: Yeah , it's a little bug it's in the in the smart board . {vocalsound}Industrial Designer: {vocalsound} Okay . Uh wellUserInterface: {vocalsound}Industrial Designer: the sub-component , I suppose that you understand what a sub-component is , is f in this example it's the button . Uh when it is pressed down , um , the switch is ter is uh isswitched on , so with uh the wire is sent to the to the chip in uh co-operation with the battery of course , because to make uh a a signal possible you have to have some sort of uh li uh a d ad uh electronic uh{disfmarker}User Interface: {vocalsound}Marketing: Infrared light .Industrial Designer: Yes , uh , okay . Um w after it's being composed by the chip uh the signal uh is transported uh to the infra-red bulb , and fromthere it signals a Morse code-like signal to the to the b to the bulb in uh in the television set . Okay . S Uh I wrote down some personal preferences about uh the remote control . Of course it is very handy if the remotecontrol is hand held , so you don't have to uh uh wind it up or something , or just is it's it's very light to uh to make uh to use it . Uh I personally uh pref prefer that uh it would be p uh come available in the variouscolours , and uh easy to use buttons . But I suppose that the one of the other team members uh uh thought of that uh too . {vocalsound}User Interface: Yeah , I've got it there too . {vocalsound}{vocalsound}Industrial Designer: And it is possible for several designs and um easy to use b uh sorry , easy to use buttons . Perhaps soft touch , uh touch screen uh buttons because uh the rubber buttons are alwaysuh uh they uh slightly uh they can be slightly damaged ,Marketing: {vocalsound}Industrial Designer: uh so the numbers on the buttons are not possible uh to read anymore . And uh well as I said uh before th uh wecan uh make several designs . {vocalsound}User Interface: Yeah .Industrial Designer: Okay , well , that's my contribution to this meeting , and uhMarketing: To this meeting . {vocalsound}Project Manager: Okay ,thank you .User Interface: {vocalsound}Industrial Designer: two of these this meeting . So .User Interface: Shall I go uh next ?Project Manager: Yep .User Interface: 'Kay .Project Manager: Please .User Interface: So.Marketing: {vocalsound} Smoking .User Interface: Well uh , my name's {gap} , and I looked at uh technical functions design of the remote . Uh I did this by uh looking at examples of other remote controls , of howthey uh they look , and information from the web that I found . Um well what I found was that uh th the actual use of the remote control is to send messages to television set , how you uh d what you described uh justearly . And this can be all sorts of medsa messages , turn it on , turn it off , uh change the channel , adjust volume , that kind of thing . Uh play video , teletext , but also t uh play C_D_ if you use it your C_D_ playerthe remote control will that one . There are some uh examples of remote controls . You can see they are very different . The one has got all the functions that you could possibly need and an lot of uh buttons etcetera .And the other is uh more user friendly , little with big buttons . And uh not n all the the the the stuff you can do with it , but uh the the essential stuff is there . Um {vocalsound} I guess you could better y you shouldlook at a a user centred uh approach , because the customers have to use them and and if they don't think it's usable they won't uh buy it . A lot of buttons they may think from I don't need s as much as that . Uh , wellperf personal preferences is is uh a simple remote , with uh the basic functions that you can need that you could use . But uh keep in mind the new functions of T_V_ what we discussed earlier , split screen and uh isthat a function that you should have ? Because all the T_V_s will have them . Or because of only a few and isn't really necessary . And then uh make it {disfmarker} I would make so that you can could uh use it onmore than one appliance . If you have one that uh uh does with the vi the the video , it could also work with uh with the stereo , because play is play and stop stop and that sort of thing . The shu c you could reuse thebuttons so that you don't have to have a lot of buttons for uh anything . And it should be a user friendly , clear buttons , and not too much . And that is my presentation .Project Manager: Okay , thank you .IndustrialDesigner: Okay . {vocalsound}Marketing: 'Kay . Check . {vocalsound}Industrial Designer: {vocalsound}User Interface: You must still have it open .Marketing: Kijke {gap} 'Kay , so . {vocalsound} We're going to jdiscuss the functional requirements of the remote , that m that means that functions user n want to have on the remote control , or just {disfmarker} Yeah , and the users , actually .Industrial Designer:{vocalsound}Marketing: The methods I I prefer is we're going to look which section of the users we are going to focus a l on more . Are the younger people going to buy the remote control or the elderly people ? Andthen {disfmarker} tho that section we're going to focus and adjust the remote more to that section than the whole user section . Okay . Some data . Younger people , from sixteen to thir forty five um years are moreinterested in fj features like L_C_D_ screens , speech recognition e etcetera . And we possess about two third of the market from in that range of age . The elderly people , from forty five years to sixty five years are notthat much interested in features , and we possess less than two third , that's two fifth , of the market share in that area . {gap} Goed so .Project Manager: {vocalsound}Industrial Designer: Hmm .Marketing: 'Kay .Findings . Fifty percent of the users lose their remote often .User Interface: {vocalsound} Yeah .Industrial Designer: {vocalsound}Marketing: So we don't have to make it very small , like uh like a mobile phone orsomething , but some somewhat bi bigger than small , so you don't lose it that much anymore . {vocalsound} Seventy five percent of the users also find it ugly ,Industrial Designer: Mm .Marketing: and fif seventy fiveof the users zap a lot , so the buttons sh should be that small , or shouldn't be that complex because we have to search for the buttons , which one are you going to use . Next . Important issues about the remote . Ithink it would be better with a personal reference , but okay . Remote control has to have to have a low power usage , because s w seventy five percent of the users only zap one time an hour , so the power usage isalso one one time an hour , or so , with a high power usage we would use a lot of but batteries . The volume button and the channel buttons are the two most important buttons on the remote control , so those{disfmarker} they {disfmarker} those have to h be find very easily . And have to be somewhat like bigger etcetera . It has also be {disfmarker} have to find easily when the label is gone . My colleague also announcedit that labels should be scratched offIndustrial Designer: Mm .User Interface: Hmm .Marketing: or would be s uh {gap} senden {gap}User Interface: {vocalsound}Marketing: okay . {vocalsound} So uh if that's k uh ifthat's the problem , you also have to find it easily on the remote . Buttons . Like what all colleagues said , have to have to be minimalized . or should be covered , or in L_C_D_ screen . L_C_D_ screen is easy becausewe have the L_C_D_ screen , we have the various options . Put one option and then you have the all the buttons of that options , so the other options would be gone . And you don't see the buttons . So L_C_D_ screensshould be easy , but an L_C_D_ screen , the problem with the L_ sc L_C_D_ screen is that elderly people fr from forty five to for sixty five years don't use the L_C_D_ screen a lot . So we have to that keep that in mindthat if you're going to implement L_C_D_ screen , you don't have to make it that hard to learn or to use .Industrial Designer: Uh L_C_D_ screen as in uh touch screen ?Marketing: Yeah , touch screen , yeah .IndustrialDesigner: Okay .Marketing: The last but not least , younger people are more critical about the features . Because they use the remote control often more often , and are more technical than the ol older people . And theolder people spend more money , and easily on a remote control .User Interface: Mm .Industrial Designer: 'Kay .Marketing: So we have to keep in mind to to focus not a lot {disfmarker} not that much on the youngerpep younger people , but also somewhat on the elderly people . And on my personal preferences , I don't have any mo more time to come with that ,User Interface: {vocalsound} {vocalsound}Marketing: but like I said, L_C_D_ screen is easily to useIndustrial Designer: {vocalsound}Marketing: because you have {disfmarker} you can implement a lot of buttons in one remote with not that much buttons . And it should be easy to use .Especially the volume buttons , the channel buttes buttons and the number buttons to zap through the channels . And that is it .Project Manager: Okay ,Industrial Designer: Okay . {vocalsound}Project Manager: thankyou .User Interface: Oh right . {vocalsound}Project Manager: Um , well thank you all , huh . {vocalsound} I dunno uh did everyone receive an email with uh the new project requirements ?User Interface: {vocalsound}No . Res I did not .Project Manager: No ? Well ,User Interface: Perhaps the rest ?Industrial Designer: No .Project Manager: then I think it's a good thing that I made a separate slide of themMarketing: Ja , {gap}ProjectManager: so you can all read them . Oh , well not in this presentation . HmmUser Interface: {vocalsound}Project Manager: Should be in there . Well , I can tell you them uh from my laptop . Um teletext does{disfmarker} has become outdated since the popularity of the internet .User Interface: Oh . Mm .Project Manager: {vocalsound} So that's uh the first thing we I think we should pay less attention to uh teletext . Uh theremote control should only be used for the television , otherwise the project becomes more complex , which endangers the time to market , and of course would make it more costly , I think . Um our current customersare within the age group of forty plus , and new product should reach a new market with customers that are younger than forty , and you talked about that before . And uh a last point , but also very important , ourcorporate image should stay recognisable in our products , which means that our uh corporate colour and slogan must be implemented in the new design . So we have to keep that in mind . Um well uh according to ouragenda it's then time to take a decision on the remote control functions . So , who has any idea about what should be on it , and what shouldn't ?User Interface: Well you said it should only uh work with one appliance?Marketing: Be television .User Interface: Or with one uh d che only the T_V_ ?Industrial Designer: Yeah .Project Manager: Yeah . Only be used for television .User Interface: And the video also , or not uh ?{vocalsound}Project Manager: Well it says only for television here , huh .Marketing: Only the television .User Interface: Oh . Alright . Okay . {vocalsound}Project Manager: {vocalsound} Makes it a lot easier , huh ?{vocalsound}User Interface: {vocalsound} Yeah .Industrial Designer: Mm .Marketing: So yeah , then you can yeah . Requirements , no ? Functions .Project Manager: Mm-hmm .User Interface: Then it should have uhon , off ,Industrial Designer: Yeah for {disfmarker}User Interface: and uh {disfmarker}Industrial Designer: Standby options ,Marketing: Yeah , the basics then by a volume , channel , one till two zero numbers on it,Industrial Designer: yeah ? Uh yeah .User Interface: Yeah . And per perhaps uh {disfmarker}Marketing: oh teletext doesn't have to be ?User Interface: No .Marketing: Um other functions .User Interface: Well uh uhyes yes s sh A button where you can uh change from one number to two numbers .Marketing: {vocalsound} Yeah I had {disfmarker}Industrial Designer: Two s two two digits ,Marketing: Yeah , yeah .User Interface:Can you {disfmarker} {vocalsound}Industrial Designer: oh okay .User Interface: Don't know if that's got a name ,Industrial Designer: Yeah I understand what you mean . Yeah .User Interface: but {disfmarker}{vocalsound}Marketing: I think it's I think it's easy to implement a button with a s s what which especially do that , because some T_V_s , if you press the t one and then the two , it be between five secs it make twelve,Industrial Designer: It makes it twelve , yeah .User Interface: Yeah . SIndustrial Designer: Indeed . Okay .Marketing: and that's that's not relaxedIndustrial Designer: Well , not really {vocalsound}Marketing: to user.Industrial Designer: And and there are some models that don't uh accommodate that function . SoMarketing: {vocalsound} Yeah .Industrial Designer: d uh wh the Philip's television makes it possible in that indeed touh press one and then two to make uh the uh tj to reach channel twelve .Marketing: So that it {vocalsound} easy and fast .User Interface: Yeah .Industrial Designer: But uh all the television makes uh use of thosebutton where you first press that button and then press two digits to uh to getMarketing: Yeah .User Interface: Yeah . Yeah , so you should have that one on .Industrial Designer: Uh yeah , think so .Marketing: Ourmain targets' age are ? were ? Forty five plus , or ?User Interface: Mute misschien also .Project Manager: Uh wellIndustrial Designer: Mm .Project Manager: new product should reach a market with customers that areyounger than forty , and now we have current customers uh of forty plus .Marketing: Forties , okay because {vocalsound} because younger people as Uh younger people have now , sixteen till to twenty five age , are feighty one percent interested in L_C_D_ screen . From twenty six to thirty five have sixty six percent , and thirty six to forty five , fifty five percent , so I think to um {disfmarker} Because on most recog remotecontrols um the print plate will be broken how much , two years . You have to press h very hard to go to the next channel .Industrial Designer: Mm-hmm .Project Manager: Mm-hmm .Marketing: With the L_C_D_ screenit's easier because you only have to wipe the screen to uh {disfmarker} for fingerprint ,Industrial Designer: Yeah , we we could yeah . But I think that uh that collides with our mission to make it very cheap .Marketing:and then you can use it again .Industrial Designer: Because L_C_D_ screens are very expensive .Marketing: Yeah , okay .User Interface: AnIndustrial Designer: A touch screen uh probably uh even more .Marketing:Yeah but a {disfmarker} you don't know {disfmarker}Industrial Designer: So ,Marketing: True .Industrial Designer: true , true .User Interface: {vocalsound}Marketing: {vocalsound}Industrial Designer: But uh{disfmarker} Well um is it possible to make an L_C_D_ screen uh , how was the information ?Marketing: Yeah , it only says that this perce percentage like L_C_D_ screen . Because , yeah and it says that younger agebetween sixteen and forty five highly interesting features more critical .Industrial Designer: So perhaps we should we should focus on that L_C_D_ screen .Marketing: {vocalsound} And if the only f Yeah , because ourtarget is sixteen to forty five .User Interface: But , do you {disfmarker}Industrial Designer: Yeah but uh will we not uh exceed our uh our uh production uh {disfmarker}Marketing: Yeah you don't know how much itcosts . Yeah , you don't know how much it costs , the L_C_D_ screen .Industrial Designer: Is it possible to find out , anyway ?Marketing: No , I don't have any costs here ,Industrial Designer: You know ?Marketing: Ionly have percentages .User Interface: But if you would do an L_C_D_ screen do we have don don't you have any buttons ? Or because if it only directs at the T_V_ , then you only have uh I don't know what you wantto do with the L_C_D_ screen .Marketing: Yeah .Industrial Designer: No , an L_C_D_ screen's just like uh like a drawn here . Um just uh displays several buttons ,User Interface: Yeah ?Industrial Designer: for exampleum if you wanted the minimal uh use b uh buttons , such as channel and volume , you just h uh displays four buttons on the screenUser Interface: Oh right , so you can {disfmarker}Industrial Designer: and it's possibleto p uh press them down , just like a touch screen .User Interface: Oh , yeah alright . So you can adjust which buttons you want on that s screen .Industrial Designer: Yeah , we can make it possible to do that , yeah"}
+{"doc_id":"doc_128","qid":"","text":"Grad E: OK , we 're on .Professor B: OK .Grad E: So , I mean , everyone who 's on the wireless check that they 're on .PhD F: C we {disfmarker}Grad G: Alright .Postdoc C: I see . Yeah .PhD F: Yeah .Grad E: OK , ouragenda was quite short .Professor B: Oh , could you {pause} close the door , maybe ? Yeah .Grad E: Sure . Two items , which was , uh , digits and possibly stuff on {disfmarker} on , uh , forced alignment , which Janesaid that Liz and Andreas had in information on ,Professor B: Grad E: but they didn't ,PhD F: Mm - hmm .Professor B: I guess the only other thing , uh , for which I {disfmarker}Grad E: so .PhD F: We should do thatsecond , because Liz might join us in time for that .Grad E: OK .Professor B: Um . OK , so there 's digits , alignments , and , um , I guess the other thing , {vocalsound} which I came unprepared for , uh , {vocalsound}is , uh , to dis s s see if there 's anything anybody wants to discuss about the Saturday meeting .Grad E: Right .Professor B: So . Any {disfmarker} I mean , maybe not .Grad E: Digits and alignments . But{disfmarker}Professor B: Uh .PhD F: Talk about aligning people 's schedules .Professor B: Yeah .Grad E: Yeah .Postdoc C: Mm - hmm .Professor B: Yeah . I mean {disfmarker} Right . Yeah , I mean , it was{disfmarker}Grad E: Yeah , it 's forced alignment of people 's schedules .PhD F: Yeah .PhD D: Forced align .PhD F: If we 're very {disfmarker}Professor B: Yeah .PhD F: Yeah .Professor B: With {disfmarker} with{disfmarker} whatever it was , a month and a half or something ahead of time , the only time we could find in common {disfmarker} roughly in common , was on a Saturday .PhD D: Yeah .Professor B: Ugh .Grad E:Yep .PhD F: It 's pretty sad .Professor B: Yeah .PhD F: Yeah .Postdoc C: Have {disfmarker} Have we thought about having a conference call to include him in more of {disfmarker} {vocalsound} in more of the meeting? I {disfmarker} I mean , I don't know , if we had the {disfmarker} if we had the telephone on the table {disfmarker}Professor B: No . But , h I mean , he probably has to go do something .PhD F: No , actually I{disfmarker} I have to {disfmarker} I have to shuttle {pause} kids from various places to various other places .Professor B: Right ?Postdoc C: I see . OK .Professor B: Yeah .PhD F: So . And I don't have {disfmarker}and I don't , um , have a cell phonePhD D: A cell phone ?PhD F: so I can't be having a conference call while driving .Professor B: R r right .Postdoc C: No . {comment} It 's not good .Professor B: So we have to{disfmarker} we {disfmarker}Postdoc C: That 's not good .PhD F: Plus , it would make for interesting noise {disfmarker} background noise .Professor B: Grad E: Yep .PhD F: Uh {disfmarker}Professor B: So we have toequip him with a {disfmarker} with a {disfmarker} {vocalsound} with a head - mounted , uh , cell phoneGrad E: Ye - we and we 'd have to force you to read lots and lots of digits ,Professor B: and {disfmarker}Grad E:so it could get real {disfmarker} {vocalsound} real car noise .PhD F: Oh , yeah .PhD D: Yeah .PhD F: Oh , yeah .Grad G: Take advantage .PhD D: And with the kids in the background .PhD F: I 'll let {disfmarker} I 'd let{disfmarker}PhD D: Yeah .PhD F: I let , uh , my five - year - old have a try at the digits , eh .Professor B: Yeah .Grad E: So , anyway , I can talk about digits . Um , did everyone get the results or shall I go over themagain ? I mean that it was basically {disfmarker} the only thing that was even slightly surprising was that the lapel did so well . Um , and in retrospect that 's not as surprising as maybe i it shouldn't have been assurprising as I {disfmarker} as {disfmarker} as I felt it was . The lapel mike is a very high - quality microphone . And as Morgan pointed out , that there are actually some advantages to it in terms of breath noises andclothes rustling {pause} if no one else is talking .PhD D: Yeah .PhD F: Exactly .Grad E: Um , so , uh {disfmarker}Grad G: Mm - hmm .Professor B: Well , it 's {disfmarker} Yeah , sort of the bre the breath noises andthe mouth clicks and so forth like that , the lapel 's gonna be better on .Grad G: It 's g it {disfmarker}PhD D: Or the cross - talk . Yeah .Professor B: The lapel is typically worse on the {disfmarker} on clothes rustling ,but if no one 's rustling their clothes ,Grad E: Right . I mean , a lot of people are just sort of leaning over and reading the digits ,Professor B: it 's {disfmarker} it 's {disfmarker}Grad E: so it 's {disfmarker} it 's a verydifferent task than sort of the natural .PhD D: Yeah . You don't move much during reading digits , I think .Professor B: Yeah .Grad E: So .Professor B: Yeah .Grad E: Right .Grad G: Probably the fact that it picks up otherpeople 's speakers {disfmarker} other people 's talking is an indication of that it {disfmarker} the fact it is a good microphone .PhD D: Yeah .Professor B: Right . So in the digits , in most {disfmarker} most cases ,there weren't other people talking .Grad E: Right . Right .Grad G: So .Professor B: So .PhD F: D do the lapel mikes have any directionality to them ?Professor B: There typically don't , no .PhD F: Because I {disfmarker}I suppose you could make some that have sort of {disfmarker} that you have to orient towards your mouth ,Grad E: They have a little bit ,PhD F: and then it would {disfmarker}Grad E: but they 're not noise -cancelling . So , uh {disfmarker}Professor B: They 're {disfmarker} they 're intended to be omni - directional .Grad E: Right .Professor B: And th it 's {disfmarker} and because you don't know how people are gonna putthem on , you know .PhD F: Mm - hmm .Grad E: Right . So , also , Andreas , on that one the {disfmarker} the back part of it should be right against your head . And that will he keep it from flopping aro up and down asmuch .PhD F: It is against my head .Grad E: OK .Professor B: Yeah . Um . Yeah , we actually talked about this in the , uh , front - end meeting this morning , too . Much the same thing ,Grad E: Uh - huh .Professor B:and {disfmarker} and it was {disfmarker} uh , I mean , there the point of interest to the group was primarily that , um , {vocalsound} the , uh {disfmarker} the system that we had that was based on H T K , that 'sused by , you know , {pause} all the participants in Aurora , {vocalsound} was so much worse {vocalsound} than the {disfmarker} than the S RGrad E: Everybody .Professor B: And the interesting thing is that eventhough , {vocalsound} yes , it 's a digits task and that 's a relatively small number of words and there 's a bunch of digits that you train on , {vocalsound} it 's just not as good as having a {disfmarker} a l very largeamount of data and training up a {disfmarker} a {disfmarker} a nice good big {vocalsound} HMM . Um , also you had the adaptation in the SRI system , which we didn't have in this . Um . So . Um .PhD F: And weknow {disfmarker} Di - did I send you some results without adaptation ?Grad E: No .Professor B: I s I think Stephane , uh , had seen them .Grad E: Or if you did , I didn't include them , cuz it was{disfmarker}Professor B: So {disfmarker}PhD F: Yeah , I think I did , actually . So there was a significant loss from not doing the adaptation .Professor B: Yeah .PhD F: Um . A {disfmarker} a {disfmarker} a couplepercent or some I mean {disfmarker} Well , I don't know it {disfmarker} Overall {disfmarker} Uh , I {disfmarker} I don't remember , but there was {disfmarker} {nonvocalsound} there was a significant , um , loss orwin {comment} from adaptation {disfmarker} with {disfmarker} with adaptation . And , um , that was the phone - loop adaptation . And then there was a very small {disfmarker} like point one percent on the natives{disfmarker} uh , win from doing , um , you know , adaptation to {pause} the recognition hypotheses . And {pause} I tried both means adaptation and means and variances , and the variances added another{disfmarker} or subtracted another point one percent . So , {vocalsound} it 's , um {disfmarker} that 's the number there . Point six , I believe , is what you get with both , uh , means and variance adaptation .Grad E:Right .Professor B: But I think one thing is that , uh , I would presume {disfmarker} Hav - Have you ever t {vocalsound} Have you ever tried this exact same recognizer out on the actual TI - digits test set ?PhD F: Thisexact same recognizer ? No .Professor B: It might be interesting to do that . Cuz my {disfmarker} my {disfmarker} cuz my sense , um {disfmarker}PhD F: But {disfmarker} but , I have {disfmarker} I mean , people{disfmarker} people at SRI are actually working on digits .Grad E: I bet it would do even slightly better .PhD F: I could {disfmarker} and they are using a system that 's , um {disfmarker} you know , h is actuallytrained on digits , um , but h h otherwise uses the same , you know , decoder , the same , uh , training methods , and so forth ,Professor B: Mm - hmm .PhD F: and I could ask them what they get {pause} on TI - digits.Professor B: Yeah , bu although I 'd be {disfmarker} I think it 'd be interesting to just take this exact actual system so that these numbers were comparablePhD F: Mm - hmm .Professor B: and try it out on TI - digits.PhD F: Well , Adam knows how to run it ,Professor B: Yeah .Grad E: Yeah . No problem .PhD F: so you just make a fProfessor B: Yeah . Yeah . Cuz our sense from the other {disfmarker} from the Aurora , uh , task isthat {disfmarker}Grad E: And try it with TI - digits ?PhD F: Mm - hmm .Professor B: I mean , cuz we were getting sub one percent {vocalsound} numbers on TI - digits also with the tandem thing .PhD F: Mm - hmm.Professor B: So , {vocalsound} one {disfmarker} so there were a number of things we noted from this .PhD F: Mmm .Professor B: One is , yeah , the SRI system is a lot better than the HTK {disfmarker}PhD F: Hmm.Professor B: this , you know , very limited training HTK system .PhD F: Mm - hmm .Professor B: Uh , but the other is that , um , the digits {vocalsound} recorded here in this room with these close mikes , i uh , areactually a lot harder than the {pause} studio - recording TI - digits . I think , you know , one reason for that , uh , might be that there 's still {disfmarker} even though it 's close - talking , there still is some noise andsome room acoustics .PhD F: Mm - hmm . Mm - hmm .Professor B: And another might be that , uh , I 'd {disfmarker} I would presume that in the studio , uh , uh , situation recording read speech that if somebody didsomething a little funny or n pronounced something a little funny or made a little {disfmarker} that they didn't include it ,Grad E: They didn't include it .Professor B: they made them do it again .Grad E: Whereas , Itook out {pause} the ones that I noticed that were blatant {disfmarker} that were correctable .Professor B: Mmm . Yeah .Grad E: So that , if someone just read the wrong digit , I corrected it .Professor B: Yeah .GradE: And then there was another one where Jose couldn't tell whether {disfmarker} I couldn't tell whether he was saying zero or six . And I asked him and he couldn't tell either .Grad I: Hmm .Grad E: So I just cut it out.Professor B: Yeah .Grad E: You know , so I just e edited out the first , i uh , word of the utterance . Um , so there 's a little bit of correction but it 's definitely not as clean as TI - digits . So my expectations is TI - digitswould , especially {disfmarker} I think TI - digits is all {pause} American English .Professor B: Mm - hmm .Grad E: Right ? So it would probably do even a little better still on the SRI system , but we could give it a try.PhD F: Well . But {pause} remember , we 're using a telephone bandwidth front - end here , uh , on this , uh {disfmarker} on this SRI system , so , {vocalsound} um , I was {disfmarker} I thought that maybe that 'sactually a good thing because it {disfmarker} it gets rid of some of the {disfmarker} uh , the noises , um , you know , in the {disfmarker} the {disfmarker} below and above the {disfmarker} um , the , you know ,speech bandwidthProfessor B: Mm - hmm . Mm - hmm .PhD F: and , um , I suspect that to get sort of the last bit out of these higher - quality recordings you would have to in fact , uh , use models that , uh , weretrained on wider - band data . And of course we can't do that or {disfmarker}Grad E: Wha - what 's TI - digits ? I thought tProfessor B: It 's wide - band , yeah . It 's {disfmarker} in {disfmarker} in fact , we looked itupGrad E: It is wide - band . OK .Professor B: and it was actually twenty kilohertz sampling .Grad E: Oh , that 's right . I {disfmarker} I did look that up .PhD F: Mm - hmm .Grad E: I couldn't remember whether thatwas TI - digits or one of the other digit tasks .Professor B: Yeah .PhD F: Right . But {disfmarker} but , I would {disfmarker} Yeah . It 's {disfmarker} it 's easy enough to try , just run it on {disfmarker}Professor B:Yeah .Grad E: Mm - hmm .Professor B: See wGrad E: So , Morgan , you 're getting a little breath noise .PhD F: Now , eh , does {disfmarker}Grad E: You might wanna move the mike down a little bit .PhD F: one{disfmarker} one issue {disfmarker} one issue with {disfmarker} with that is that {vocalsound} um , the system has this , uh , notion of a speaker to {disfmarker} which is used in adaptation , variance norm uh , youknow , both in , uh , mean and variance normalization and also in the VTL {pause} estimation .Professor B: Mm - hmm .PhD F: So {disfmarker}Grad E: Yeah , I noticed the script that extracted it .PhD F: Do y ? Is{disfmarker} ? So does {disfmarker} so th so does {disfmarker} does , um , {vocalsound} the TI - digits database have speakers that are known ?Grad E: Yep . Yep .PhD F: And is there {disfmarker} is there enoughdata or a comparable {disfmarker} comparable amount of data to {disfmarker} to what we have in our recordings here ?Grad E: That I don't know . I don't know . I don't know how many speakers there are ,ProfessorB: Yeah .Grad E: and {disfmarker} and how many speakers per utterance .PhD F: OK .Professor B: Well , the other thing would be to do it without the adaptation and compare to these numbers without the adaptation .That would {disfmarker}PhD F: Right . Uh , but I 'm not so much worried about the adaptation , actually , than {disfmarker} than the , um , {vocalsound} um {disfmarker} the , uh , VTL estimation .Grad E: Right .PhDF: If you have only one utterance per speaker you might actually screw up on estimating the {disfmarker} the warping , uh , factor . So , um {disfmarker}Grad E: I strongly suspect that they have more speakers thanwe do . So , uh {disfmarker}PhD F: Right . But it 's not the amount of speakers , it 's the num it 's the amount of data per speaker .Grad E: Right . So we {disfmarker} we could probably do an extraction that wasroughly equivalent .PhD F: Right . Right .Grad E: Um .PhD F: So {disfmarker}Grad E: So , although I {disfmarker} I sort of know how to run it , there are a little {disfmarker} a f few details here and there that I 'll haveto {pause} dig out .PhD F: OK . The key {disfmarker} So th the system actually extracts the speaker ID from the waveform names .Grad E: Right . I saw that .PhD F: And there 's a {disfmarker} there 's a script{disfmarker} and that is actually all in one script . So there 's this one script that parses waveform names and extracts things like the , um , speaker , uh , ID or something that can stand in as a speaker ID . So , wemight have to modify that script to recognize the , um , speakers , {vocalsound} um , in the {disfmarker} in the , uh , um , {vocalsound} TI - digits {pause} database .Grad E: Right . Right . And that , uh{disfmarker}PhD F: Or you can fake {disfmarker} you can fake {pause} names for these waveforms that resemble the names that we use here for the {disfmarker} for the meetings .Grad E: Right .PhD F: That wouldbe the , sort of {disfmarker} probably the safest way to do {disfmarker}Grad E: I might have to do that anyway to {disfmarker} to do {disfmarker} because we may have to do an extract to get the {pause} amount ofdata per speaker about right .PhD F: Uh - huh .Grad E: The other thing is , isn't TI - digits isolated digits ?PhD F: Right .Grad E: Or is that another one ? I 'm {disfmarker} I looked through a bunch of the digits t corpcorpora , and now they 're all blurring .Professor B: Mm - hmm .Grad E: Cuz one of them was literally people reading a single digit . And then others were connected digits .Professor B: Yeah . Most of TI - digits isconnected digits , I think .Grad E: OK .Professor B: The {disfmarker} I mean , we had a Bellcore corpus that we were using . It was {disfmarker} {vocalsound} that 's {disfmarker} that was isolated digits .Grad E:Maybe it 's the Bell Gram . Bell Digits . Alright .Professor B: Um .PhD F: By the way , I think we can improve these numbers if we care to compr improve them {vocalsound} by , um , {vocalsound} not starting with theSwitchboard models but by taking the Switchboard models and doing supervised adaptation on a small amount of digit data collected in this setting .Grad E: Yep .PhD F: Because that would adapt your models to theroom acoustics and f for the far - field microphones , you know , to the noise . And that should really improve things , um , further . And then you use those adapted models , which are not speaker adapted but sort ofacous you know , channel adapted {disfmarker}Grad E: Channel adapted .PhD F: use that as the starting models for your speaker adaptation .Professor B: Yeah . {vocalsound} But the thing is , uh {disfmarker} I mean, w when you {disfmarker} it depends whether you 're ju were just using this as a {disfmarker} {vocalsound} a starter task for {disfmarker} you know , to get things going for conversational or if we 're reallyinterested i in connected digits . And I {disfmarker} I think the answer is both . And for {disfmarker} for connected digits over the telephone you don't actually want to put a whole lot of effort into adaptationPhD F:Well , I don't know .Professor B: because {vocalsound} somebody {pause} gets on the phone and says a number and then you just want it . You don't {disfmarker} don't , uh {disfmarker}Postdoc C: This is{disfmarker} this {disfmarker} that one 's better .PhD F: Right .Postdoc C: Mm - hmm .PhD F: Um , but , you know , I {disfmarker} uh , my impression was that you were actually interested in the far - fieldmicrophone , uh , problem , I mean . So , you want to {disfmarker} you want to {disfmarker} That 's the obvious thing to try .Postdoc C: Oh . Oh .Professor B: Right .PhD F: Right ? Then , eh {disfmarker} because you{disfmarker} you don't have any {disfmarker}Postdoc C: Yeah .PhD F: That 's where the most m acoustic mismatch is between the currently used models and the {disfmarker} the r the set up here .Professor B: Right.PhD F: So .Professor B: Yeah . So that 'd be anoth another interesting data point .PhD F: Mm - hmm .Professor B: I mean , I {disfmarker} I guess I 'm saying I don't know if we 'd want to do that as the {disfmarker}as {disfmarker}PhD D: Other way .Grad E: Other way . Liz {disfmarker}PhD A: Now you 're all watching me .Grad E: It f it clips over your ears .PhD A: Alright . This way .Grad E: There you go .Postdoc C: If you have astrong fe if you have a strong preference , you could use this .PhD A: You 're all watching . This is terrible .Postdoc C: It 's just we {disfmarker} we think it has some spikes . So , uh , we {disfmarker} we didn't use thatone .PhD A: I 'll get it .Postdoc C: But you could if you want .Professor B: Yeah . At any rate , I don't know if wPostdoc C: I don't know . And Andre - Andreas , your {disfmarker} your microphone 's a little bit low.Professor B: Yeah .PhD F: It is ?Professor B: I don't know if we wanna use that as the {disfmarker}Postdoc C: Yeah .Grad E: Uh , it pivots .PhD F: Uh .Postdoc C: So if you see the pictureGrad E: It {disfmarker} it{disfmarker} like this .PhD F: I I {disfmarker}Postdoc C: and then you have to scrPhD F: I {disfmarker} I already adjusted this a number of times .Grad E: Eh .PhD F: I {disfmarker} IGrad E: Yeah , I think these mikesare not working as well as I would like .PhD F: can't quite seem to {disfmarker} Yeah , I think this contraption around your head is not {pause} working so well .Professor B: Too many adju too many adjustments .Yeah . Anyway , what I was saying is that I {disfmarker} I think I probably wouldn't want to see that as sort of like the norm , that we compared all things to .Postdoc C: That looks good . Yeah .Professor B: To , uh ,the {disfmarker} to have {disfmarker} have all this ad all this , uh , adaptation . But I think it 's an important data point , if you 're {disfmarker} if {disfmarker} Yeah .PhD F: Right .Professor B: Um . The other thingthat {disfmarker} that , uh {disfmarker} of course , what Barry was looking at was {disfmarker} was just that , the near versus far . And , yeah , the adaptation would get {vocalsound} th some of that .PhD F: Mm -hmm .Professor B: But , I think even {disfmarker} even if there was , uh , only a factor of two or something , like I was saying in the email , I think that 's {disfmarker} {vocalsound} that 's a big factor . So"}
+{"doc_id":"doc_129","qid":"","text":"Grad C: Now can you give me the uh {pause} remote T ?Professor D: OK , so Eva , co uh {disfmarker} could you read your numbers ?Grad A: Go ahead and read . OK .Professor D: Yeah .Grad C: Alright .Professor D:Yeah , let 's get started . Um {disfmarker} Hopefully Nancy will come , if not , she won't .Grad B: Uh , Robert , do you uh have any way to turn off your uh screensaver on there so that it 's not going off every{disfmarker} uh , it seems to have about at two minute {disfmarker}Grad C: Yeah , I 've {disfmarker} I {disfmarker} uh {disfmarker} it 's not that I didn't try .Grad B: OK .Grad C: and um I {disfmarker} I told it tostay on forever and ever , but if it 's not plugged in it just doesn't obey my commands .Grad B: OK .Grad C: It has a mind .Grad B: Got it .Grad C: But I I just {disfmarker} You know , sort of keep on wiggling.Undergrad E: Wants to conserve .Grad B: Yeah , OK .Grad C: But uh {disfmarker} we 'll just be m m working on it at intensity so it doesn't happen . We 'll see . Should we plunge right into it ?Professor D: Yeah .GradC: So , would you like to {disfmarker}Professor D: I think so .Grad C: So what I 've tried to do here is list all the decision nodes that we have identified on this {pause} side . Commented and {disfmarker} what they 'reabout and sort of {disfmarker} the properties we may um give them . And here are the uh {disfmarker} tasks to be implemented via our data collection . So all of these tasks {disfmarker} The reading is out of thesetasks more or less imply that the user wants to go there , sometime or the other . And analogously for example , here we have our EVA um {disfmarker} intention . And these are the data tasks where w we can assumethe person would like to enter , view or just approach the thing . Analogously the same on the object information we can see that , you know , we have sort of created these tasks before we came up with our decisionnodes so there 's a lot of things where we have no analogous tasks , and {pause} that may or may not be a problem . We can change the tasks slightly if we feel that we should have data for e sort of for every decisionnode so {disfmarker} trying to im um {disfmarker} implant the intention of going to a place now , going to a place later on the same tour , or trying to plant the intention of going sometime on the next tour , or thenext day or whenever .Professor D: Right , right .Grad C: But I think that might be overdoing it a little .Professor D: So {disfmarker} Yeah . So let me pop up a level . And uh s s make sure that we 're all oriented thesame . So What we 're gonna do today is two related things . Uh one of them is to work on the semantics of the belief - net which is going to be the main inference engine for thi the system uh making decisions . Anddecisions are going to turn out to be parameter choices for calls on other modules . so f the natural language understanding thing is uh , we think gonna only have to choose parameters , but You know , a fairly large setof parameters . So to do that , we need to do two things . One of which is figure out what all the choices are , which we 've done a fair amount . Then we need to figure out what influences its choices and finally we haveto do some technical work on the actual belief relations and presumably estimates of the probabilities and stuff . But we aren't gonna do the probability stuff today . Technical stuff we 'll do {disfmarker} uh {disfmarker}another day . Probably next week . But we are gonna worry about all the decisions and the things that pert that contribute to them . And we 're also , sort of uh in the same process , going to work with Fey on whatthere should be in the dialogues . So One of the s steps that 's coming up real soon is to actually get subjects uh {disfmarker} in here , and have them actually record like this . Uh record dialogues more or less . And{disfmarker} depending on what Fey sort of provokes them to say , we 'll get information on different things .Grad C: Well how people phrase different intentions more or less ,Professor D: So {disfmarker} Fo - v yeahpeople with the {disfmarker} phrase themGrad C: huh ?Professor D: and so {disfmarker} Uh for , you know , Keith and people worrying about what constructions people use , uh {disfmarker} we have some i we havesome ways to affect that by the way the dialogues go . So what Robert kindly did , is to lay out a table of the kinds of uh {pause} things that {disfmarker} that might come up , and , the kinds of decisions . So the uh{disfmarker} uh {disfmarker} on the left are decision nodes , and discreet values . So if {disfmarker} if we 're right , you can get by with um just this middle column worth of decisions , and it 's not all that many , andit 's perfectly feasible technically to build belief - nets that will do that . And he has a handout .Grad C: Yeah . Maybe it was too fast plunging in there , because j we have two updates .Professor D: Yeah .Grad C: Umyou can look at this if you want , these are what our subject 's going to have to fill out . Any comments I can {disfmarker} can still be made and the changes will be put in correspondingly .Undergrad E: m {vocalsound}{vocalsound} {vocalsound} {vocalsound} {vocalsound} {vocalsound} Yes .Grad C: Let me summarize in two sentences , mainly for Eva 's benefit , who probably has not heard about the data collection , at all .Grad A:OK .Grad C: Or have you heard about it ?Grad A: Not that much you didn't .Grad C: No . OK . We were gonna put this in front of people . They give us some information on themselves .Grad A: OK .Grad C: Then{disfmarker} then they will read uh {disfmarker} a task where lots of German words are sort of thrown in between . And um {disfmarker} and they have to read isolated proper names And these change{disfmarker}Professor D: S I don't see a releaseGrad C: No , this is not the release form . This is the speaker information form .Professor D: Got it . OK , fine . OK .Grad C: The release form is over there in that box.Professor D: Alright , fair enough .Grad C: And um {disfmarker} And then they gonna have to f um um choose from one of these tasks , which are listed here . They {disfmarker} they pick a couple , say three{disfmarker} uh {disfmarker} uh six as a matter of fact . Six different things they sort of think they would do if they were in Heidelberg or traveling someplace {disfmarker} and um {disfmarker} and they have a map.Grad B: Hmm .Grad C: Like this . Very sketchy , simplified map . And they can take notes on that map . And then they call this computer system that works perfectly , and understands everything .Grad A: OK .Grad C:And um {disfmarker}Grad B: This is a fictional system obviously ,Grad C: The comp Yeah , the computer system sits right in front of you ,Grad B: huh .Grad C: that 's Fey .Undergrad E: I 've {disfmarker} I understandeverything .Professor D: And she does know everything .Undergrad E: Yes I do .Grad C: And she has a way of making this machine talk . So she can copy sentences into a window , or type really fast and this machinewill use speech synthesis to produce that . So if you ask \" How do I get to the castle \" then a m s several seconds later it 'll come out of here \" In order to get to the castle you do {disfmarker} \"Grad B: Yeah .Grad C:OK ? And um {disfmarker} And then after three tasks the system breaks down . And Fey comes on the phone as a human operator . And says \" Sorry the system broke down but let 's continue . \" And we sort of get theidea what people do when they s think they speak to a machine and what people say when they think they speak to a human , or know , or assume they speak to a human .Grad A: OK . Huh .Grad B: Mm - hmm . Mm -hmm .Grad C: That 's the data collection . And um {disfmarker} And Fey has some thirty subjects lined up ? Something ?Undergrad E: Yeah .Grad C: And um {disfmarker} And they 're {disfmarker} r ready uh{disfmarker} to roll .Undergrad E: And more and more every day .Grad C: And we 're gonna start tomorrow at three ? four ? one ?Undergrad E: Tomorrow , well we don't know for sure . Because we don't know whetherthat person is coming or not ,Grad C: OK . Around four - ish .Undergrad E: but {disfmarker}Grad C: And um we 're still l looking for a room on the sixth floor because they stole away that conference room . Um{disfmarker} behind our backs . But {disfmarker}Professor D: Well , there are these {disfmarker} uh {disfmarker} uh {disfmarker} oh , I see , we have to {disfmarker} Yeah , it 's tricky . We 'll {disfmarker} let 's{disfmarker} let {disfmarker} we 'll do that off - line , OK .Grad C: Yeah , but I {disfmarker} i i it 's happening . David and {disfmarker} and Jane and {disfmarker} and Lila are working on that as we speak .ProfessorD: OK .Grad C: OK . That was the uh {disfmarker} the data collection in a nutshell . And um {disfmarker} I can report a {disfmarker} so I did this but I also tried to do this {disfmarker} so if I click on here , Isn't thiswonderful ? we get to the uh {disfmarker} uh belief - net just focusing on {disfmarker} on the g Go - there node . uh {disfmarker} Analogously this would be sort of the reason node and the timing node and so forth.Grad B: Mm - hmm .Grad C: And what w what happened is that um design - wise I 'd sort of n noticed that we can {disfmarker} we still get a lot of errors from a lot of points to one of these sub Go - there User Go -there Situation nodes . So I came up with a couple of additional nodes here where um whether the user is thrifty or not , and what his budget is currently like , is going to result in some financial state of the user . Howmuch will he {disfmarker} is he willing to spend ? Or can spend . Being the same at this {disfmarker} just the money available , which may influence us , whether he wants to go there if it is {disfmarker} you know{disfmarker} charging tons of dollars for admission or its gonna g cost a lot of t e whatever . Twenty - two million to fly to International Space Station , you know . just {disfmarker} Not all people can do that .ProfessorD: Right .Grad C: So , and this actually turned out to be pretty key , because having specified sort of these {disfmarker} uh {disfmarker} this {disfmarker} this {disfmarker} intermediate level Um and sort of noticingthat everything that happens here {disfmarker} let 's go to our favorite endpoint one is again more or less {disfmarker} we have {disfmarker} um {disfmarker} then the situation nodes contributing to the {disfmarker}the endpoint situation node , which contributes to the endpoint and so forth . um {disfmarker} I can now sort of draw straight lines from these to here , meaning it g of course goes where the sub - S {disfmarker}everything that comes from situation , everything that comes from user goes with the sub - U , and whatever we specify for the so - called \" Keith node \" , or the discourse , what comes from the {disfmarker} um{disfmarker} parser , construction parser , um will contribute to the D and the ontology to the sub - O node . And um one just s sort of has to watch which {disfmarker} also final decision node so it doesn't make sense{disfmarker} t to figure out whether he wants to enter , view or approach an object if he never wants to go there in the first place . But this makes the design thing fairly simple . And um now all w that 's left to do thenis the CPG 's , the conditional probabilities , for the likelihood of a person having enough money , actually wanting to go a place if it costs , you know this or that . And um {disfmarker} OK . and once um Bhaskara hasfinished his classwork that 's where we 're gonna end up doing . You get involved in that process too . And um {disfmarker} And for now uh the {disfmarker} the question is \" How much of these decisions do we want tobuild in explicitly into our data collection ? \" So {disfmarker} Um , one could {disfmarker} sort of {disfmarker} think of {disfmarker} you know we could call the z see or {disfmarker} you know , people who visit thezoo we could s call it \" Visit the zoo tomorrow \" , so we have an intention of seeing something , but not now {disfmarker} but later .Professor D: Right . Yeah . Yeah , so {disfmarker} let 's s uh s see I th I think thatfrom one point of view , Uh , um , all these places are the same , so that d d That , um {disfmarker} in terms of the linguistics and stuff , there may be a few different kinds of places , so I th i it seems to me that Weought to decide you know , what things are k are actually going to matter to us . And um , so the zoo , and the university and the castle , et cetera . Um are all big - ish things that um {disfmarker} you know{disfmarker} have different parts to them , and one of them might be fine .Grad C: Hmm . Hmm , hmm . Yeah {disfmarker} The {disfmarker} the reason why we did it that way , as a {disfmarker} as a reminder , is uh{disfmarker} no person is gonna do all of them .Professor D: And {disfmarker}Grad C: They 're just gonna select u um , according to their preferences .Professor D: Yeah , yeah .Grad C: \" Ah , yeah , I usually visit zoos, or I usually visit castles , or I usually {disfmarker} \" And then you pick that one .Professor D: Right , no no , but {disfmarker} but s th point is to {disfmarker} to y to {disfmarker} build a system that 's got everythingin it that might happen you do one thing .Undergrad E: They 're redundant .Professor D: T to build a system that um {disfmarker} had the most data on a relatively confined set of things , you do something else . Andthe speech people , for example , are gonna do better if they {disfmarker} if {disfmarker} things come up uh {disfmarker} repeatedly . Now , of course , if everybody says exactly the same thing then it 's notinteresting . So , all I 'm saying is i th there 's {disfmarker} there 's a kind of question of what we 're trying t to accomplish . and {disfmarker} I think my temptation for the data gathering would be to uh , you know{disfmarker} And each person is only gonna do it once , so you don't have to worry about them being bored , so if {disfmarker} if it 's one service , one luxury item , you know , one big - ish place , and so forth and soon , um {disfmarker} then my guess is that {disfmarker} that the data is going to be easier to handle . Now of course you have this I guess possible danger that somehow there 're certain constructions that people useuh when talking about a museum that they wouldn't talk about with a university and stuff , um {disfmarker} but I guess I 'm {disfmarker} I uh m my temptation is to go for simpler . You know , less variation . But Idon't know what other people think about this in terms of {disfmarker}Grad B: So I don't exactly understand {disfmarker}Professor D: uh {disfmarker}Grad B: like I I {disfmarker} I guess we 're trying to {disfmarker}limit the detail of our ontology or types of places that someone could go , right ? But who is it that has to care about this , or what component of the system ?Professor D: Oh , well , uh {disfmarker} th I think there aretwo places where it comes up . One is uh {disfmarker} in the {disfmarker} th these people who are gonna take this and {disfmarker} and try to do speech with it .Grad B: Mm - hmm .Professor D: uh {disfmarker} Lotsof pronunciations of th of the same thing are going to give you better data than l you know , a few pronunciations of lots more things .Grad B: OK .Professor D: That 's one .Grad B: So we would rather just ask{disfmarker} uh have a bunch of people talk about the zoo , uh and assume that that will {disfmarker} that the constructions that they use there will give us everything we need to know about these sort of zoo , castle, whatever type things , these bigger places .Professor D: Bigger {disfmarker} Y yeah thi well this is a question for {disfmarker}Grad B: And that way you get the speech data of people saying \" zoo \" over and overagain or whatever too .Professor D: Yeah . Yeah .Grad B: OK .Professor D: Yeah . So this is a question for you ,Grad B: Mm - hmm .Professor D: and , you know , if we {disfmarker} if we do , and we probably will ,actually try to uh build a prototype , uh probably we could get by with the prototype only handling a few of them anyway . So , Um {disfmarker}Grad C: Yeah , the this was sort of {disfmarker} these are all differentsort of activities . Um But I think y I {disfmarker} I got the point and I think I like it . We can do {disfmarker} put them in a more hierarchical fashion . So , \" Go to place \" and then give them a choice , you know eitherthey 're the symphony type or opera type or the tourist site guide type or the nightclub disco type person and they say \" yeah this is {disfmarker} on that \" go to big - ish place \" ,Grad B: Mm - hmm .Grad C: this iswhat I would do . \" And then we have the \" Fix \" thing , and then maybe \" Do something the other day \" thing , so . My question is {disfmarker} I guess , to some extent , we should {disfmarker} y we just have to try itout and see if it works . It would be challenging , in {disfmarker} in a sense , to try to make it so {disfmarker} so complex that they even really should schedule , or to plan it , uh , a more complex thing in terms of OK, you know , they should get the feeling that there are these s six things they have to do and they sh can be done maybe in two days .Professor D: Well {disfmarker} yeah .Grad C: So they make these decisions,Professor D: Well I think th thGrad C: \" Can I go there tomorrow ? \"Professor D: yeah .Grad C: or {disfmarker} you know {disfmarker} influencesGrad B: Mm - hmm .Professor D: Yeah . Well , I think it 's easy enoughto set that up if that 's your expectation . So , the uh system could say , \" Well , uh we 'd like to {disfmarker} to set up your program for two days in Heidelberg , you know , let 's first think about all the things youmight like to do . So there {disfmarker} th i i in {disfmarker} I mean {disfmarker} in {disfmarker} I th I {disfmarker} I 'm sure that if that 's what you did then they would start telling you about that , and then youcould get into um various things about ordering , if you wanted .Grad C: Mm - hmm . Yeah . Yeah , but I think this is part of the instructor 's job . And that can be done , sort of to say , \" OK now we 've picked these sixtasks . \" \" Now you have you can call the system and you have two days . \"Professor D: I 'm sorry .Grad C: And th wProfessor D: No , we have to help {disfmarker} we have to decide . Fey will p carry out whatever wedecide . But we have to decide you know , what is the appropriate scenario . That 's what we 're gonna talk about t yeah .Grad C: Yep , yep .PhD F: But these are two different scenarios entirely . I mean , one is aplanner {disfmarker} The other , it kind of give you instructions on the spotGrad C: Yeah , but th the {disfmarker} I don't {disfmarker} I 'm not really interested in sort of \" Phase planning \" capabilities . But it 's morethe {disfmarker} how do people phrase these planning requests ? So are we gonna masquerade the system as this {disfmarker} as you said simple response system , \" I have one question I get one response \" , orshould we allow for a certain level of complexity . And a I w think the data would be nicer if we get temporal references .Professor D: Well , so Keith , what do you think ?Grad B: Well , um it seems that {disfmarker}Yeah , I mean , off the top of my head it kinda seems like you would probably just want , you know , richer data , more complex stuff going on , people trying to do more complex sets of things . I mean {pause} youknow , if our goal is to really sort of be able to handle a whole bunch of different stuff , then throwing harder situations at people will get them to do more linguistic {disfmarker} more interesting linguistic stuff . But Imean {disfmarker} I 'm {disfmarker} I 'm not really sure Uh , because I don't fully understand like what our choices are of ways to do this here yet .Grad C: I mean w we have tested this and a y have you heard{disfmarker} listen to the f first two or th as a matter of fact the second person is uh {disfmarker} is {disfmarker} was faced with exactly this kind of setup .Grad B: I started to listen to one and it was just like , um ,uh , sort of depressing .Grad C: And {disfmarker}Grad B: I thought I 'd just sort of listen to the beginning part and the person was just sort of reading off her script or something . And .Grad C: Oh , OK . That was thefirst subject .Professor D: Yeah .Grad B: Yeah .Professor D: First one wasn't very good .Grad B: Yeah .Grad C: Yeah .Grad B: So um , I {disfmarker}Grad C: Um , it is {disfmarker} already with this it got pretty{disfmarker} with this setup and that particular subject it got pretty complex .Undergrad E: Although {disfmarker}Grad B: Mm - hmm .Grad C: Maybe {disfmarker} I suggest we make some fine tuning of these , get{disfmarker} sort of {disfmarker} run through ten or so subjectsGrad B: Mm - hmm .Grad C: and then take a breather , and see whether we wanna make it more complex or not , depending on what {disfmarker} whatsort of results we 're getting .Grad B: Right . Yeah . It {disfmarker} In fact , um , I am just you know {disfmarker} today , next couple days gonna start really diving into this data . I 've basically looked at one of the"}
+{"doc_id":"doc_130","qid":"","text":"Project Manager: Okay , so now we are on the conceptual design meeting . {vocalsound} Uh y getting close to the lastMarketing: Mm-hmm .Project Manager: is the penultim meeting . {vocalsound}{vocalsound}Marketing: {vocalsound}User Interface: How was lunch ? {vocalsound}Project Manager: {vocalsound} Mm great . {vocalsound}Marketing: {vocalsound} Thanks {vocalsound}Industrial Designer:{vocalsound} {vocalsound} {vocalsound}Marketing: Don't be sarcastic . {vocalsound} Mark . {vocalsound}Project Manager: So {vocalsound} um I will again do the secretary part uh we will have three presentationfirst um uh the industrial design , first Rama then Mark and then Sammy .Marketing: Uh Rama .Industrial Designer: {vocalsound} Ramaro .Project Manager: Um um we have to take a decision on the control{disfmarker} remote control concepts and we have forty minutes .User Interface: Mm .Project Manager: So what we want to {disfmarker} the decision we want to take on this meeting are on the um first on thecomponent concept , so what kind of energy we use uh what kind of chip on print and one ki kind of case . And also on user interface concept uh what kind of interface we use and if there is some supplements . And atthe end um Sammy will give um {vocalsound} a trend watching on what he's {disfmarker} he's been doing . It's {disfmarker} So , let's go . First with Rama . Participant two .Industrial Designer: Yeah , participant two .Component .Project Manager: Mm-hmm . {vocalsound}Industrial Designer: Yep . So we're to mainly design f mainly need to know which components we'll use for energy , and the material and interface . For energythere are maybe two or three possibilities . First one , we can use simple battery , or we can use {vocalsound} traditional solar cells or {disfmarker} mm and the material we can have plastic , rubber which is good forthis R_S_A_Marketing: Ah .Industrial Designer: and then uh titanium , which can be {disfmarker} which have very good look an and then interface we're to use push buttons or liquid crystal d L_C_D_ display . And wecan use some {gap} , moving {gap} kind of thing . So , as we discussed before , we need to {disfmarker} we would like to have some speech recognition s chip in our remote control . So this can be simple kind ofprogrammable chip and {disfmarker} which can use microphone {gap} sensors . And we also want to look at our remote control , so . Still we are looking for possible uh technical uh specifications and how w easy wecan do and within our pri range , like we're to {disfmarker} in our twelve Euros or around that . So we are looking for simple devices or simple technology to do the location of remote control in a room or in a house.Project Manager: Mm-hmm , okay .Industrial Designer: So uh we discussed an {disfmarker} {vocalsound} Excuse me . So we would like to propose battery instead of solar cells and it would be problematic uh to haveenough energy with the solar cellsMarketing: Mm-hmm .Industrial Designer: and so we would like to just use simple battery . And also we want to go for titanium design instead of rubber or {disfmarker} and well theproblem is with this design we found that we can't use double-curved shapes .Marketing: What is a double-curved shape ?Industrial Designer: {vocalsound} Like you can have two curves .Marketing: Uh-huh .UserInterface: Why ?Industrial Designer: Uh it's {disfmarker} I think in manufacturing I guess it's problematic . So , we want to go for simple push buttons because it need a simple chip and it's really lesser {disfmarker} uhre really less expensive compared to L_C_D_Marketing: {vocalsound}Industrial Designer: which are uh which needs advanced chip technology and it's more expensive ,User Interface: Mm-hmm .Industrial Designer:since we want to put some other features such as speech recognitionMarketing: {vocalsound}Industrial Designer: we want to reduce uh cost .Project Manager: {vocalsound} Um I want to know why it b uh just uh sorrybut for the point before uh why not the rubber , if it is something that it seems to be light .Marketing: The cost .Industrial Designer: Uh {disfmarker} Uh {disfmarker} And also like in {disfmarker} if you put a {gap} it'sbe difficult to do all the moulding of buttons and these thingsProject Manager: Okay . You m titanium it's more uh {disfmarker}Industrial Designer: and {disfmarker} Yeah .User Interface: W we can use something likeyou know {vocalsound} the whole body's titanium but there are some rubber or I dunno some rubber parts likeIndustrial Designer: Yeah .Marketing: Mm like this ?Project Manager: Yes so mm {disfmarker}UserInterface: to make it feel better and to you know {disfmarker}Industrial Designer: Like in cell phones recentlyProject Manager: Uh-huh .User Interface: {vocalsound} Yeah . Yeah .Industrial Designer: these{disfmarker} you can {gap} with the rubber in four directions and {disfmarker}Marketing: Mm-hmm .Project Manager: Okay . {gap}Industrial Designer: yeah . But full assembly {disfmarker} We'll use mainly fortitanium {gap}Project Manager: Okay .Industrial Designer: rubber is expensiveProject Manager: Okay .Industrial Designer: and also it's bit difficult to do all the shapes uh .Project Manager: Okay .Industrial Designer:And this push buttonsProject Manager: Uh yeah soIndustrial Designer: {disfmarker} we we would like to use push buttons instead of L_C_D_s and so we want to mo I mean we're {gap} we want to put speechrecognition so we want to reduce price on this technology and so that we can have enough space or enough moneyProject Manager: Okay , s so simple button and uh speech recognition for the more complicated.Industrial Designer: for {disfmarker} S SMarketing: Speech {disfmarker}Industrial Designer: Y yeah we have simple buttons and speech recognition technology ,User Interface: Mm-hmm .Project Manager: Okay .UserInterface: Okay , and still we have {disfmarker}Industrial Designer: so {disfmarker}User Interface: mm can we still include the L_ L_S_D_ display ?Marketing: L_C_D_ .User Interface: L_C_D_ yeah L_C_D_ .IndustrialDesigner: Uh lMarketing: Seems not , it's either L_C_D_ or push-button .Industrial Designer: So uhUser Interface: No ,Industrial Designer: it's like a {disfmarker}User Interface: it's not gonna be a t no touchable butstill like a source of information or source for menus .Marketing: Ah .Industrial Designer: Yeah maybe maybe we can see depending on how we'll come up with our full design then if we have enough money or like forand {disfmarker}User Interface: Okay , so let's try it , let's tIndustrial Designer: because the speech recognition technology will take at least five Euros or {gap} or something so we want to reduce the cost ondisplayMarketing: {gap} The L_C_D_ would {disfmarker}Industrial Designer: or this interMarketing: The display would only be display and not uh touch sensitive you mean .User Interface: Yeah , yeah , it's it's notgonna be a touch pad , uh just a display for giving you information .Marketing: Just uh for output , yeah .Industrial Designer: Ok Yeah , that can we we can consider ,Marketing: Yeah .Project Manager: {vocalsound}Mm-hmm .Industrial Designer: because like it won't take much money I guess ,User Interface: Mm-hmm .Industrial Designer: because {disfmarker}Project Manager: Okay .Industrial Designer: Okay , yep .ProjectManager: {gap} Mm .Industrial Designer: You have any further questions or ?Marketing: I guess no um . So the batteries uh are going to be very light .Industrial Designer: Yeah . Yeah , we're to go for li and now Ithink we have many options in the market so we can go for small nickel or alkaline batteriesMarketing: Okay .User Interface: Mm-hmm . Mm-hmm .Industrial Designer: for really light batteries and with uh good price.Marketing: So this device on n that can be used for speech recognition could also be used for just uh the finding it basically , instead of clapping why not just be {disfmarker} ask .Industrial Designer: Yeah , that's{disfmarker} then the the one thing we want to know is like because remote control is used for like in the household so it it it will be it {disfmarker} m maybe at least five , six people want to use it so so how to uh uhhow to define our re speech recognitionMarketing: Mm-hmm .Industrial Designer: whether we want to do s speaker independent or speaker dependent . If we're going for more speaker independent then it would be likeagain cumbersome and we need really m more technologyProject Manager: Okay ,Industrial Designer: and so {disfmarker}Project Manager: for the location . Hmm .Industrial Designer: Yeah , if if everybody in thehouse n {gap} to locate then we're to go for some speaker independent technology or something .Marketing: Okay . {vocalsound}Project Manager: Okay . So let's now go to the {disfmarker} you don't have morequestion ?Industrial Designer: {gap}Marketing: No , it's okay .Project Manager: Um mm thank you mm .User Interface: No more questions .Industrial Designer: Yep . Thank you .Marketing: Puts less of constraint onwhat we can doProject Manager: Yeah .User Interface: Mm yeah , yeah .Marketing: butIndustrial Designer: Yeah .Marketing: it's always like that . We have dreams and the {disfmarker} in the end we find out that it'snot feasible . {vocalsound}Project Manager: Yeah , but {disfmarker} mm .Industrial Designer: Oh . We have uh some limitations {gap} . {vocalsound}Marketing: Anyway . {vocalsound} Yeah .User Interface: But stilluh L_S_D_'s already quite nice ,Marketing: L_C_D_ .Project Manager: {vocalsound} Okay . {vocalsound}User Interface: L_C_ {vocalsound}Marketing: L_S_D_ is something else ,Industrial Designer: {vocalsound}{vocalsound}Marketing: and it's quite nice as well . {vocalsound}User Interface: I'm an artist , sorry . {vocalsound}Marketing: So ,Project Manager: Um {vocalsound} yeah .User Interface: So uh , that's not{disfmarker}Marketing: go on uh artist . {vocalsound}User Interface: I hope that's not too much .Project Manager: Now let's talk about uh interface .User Interface: Okay . {vocalsound} Uh participant number three.Project Manager: Three .Industrial Designer: Three .User Interface: {vocalsound} UhProject Manager: Which one ? {vocalsound}Industrial Designer: {vocalsound}Marketing: Hmm . {vocalsound}User Interface: mmmm uh have a look at this {disfmarker}Project Manager: {vocalsound}Industrial Designer: {vocalsound}User Interface: no it's {disfmarker} yeah .Project Manager: {vocalsound} Okay .User Interface: {gap} Uh so theconcept of the interface . Generally I developed quite a broad concept not only for the interface , but for possible instruction or user's manual and uh all the complex things that come together with your T_V_ andremote controls . So let's start with this . We got our perfect remote control with a lot of buttonsMarketing: {vocalsound} {vocalsound} {vocalsound}User Interface: and uh we got explanation for every buttonIndustrialDesigner: {vocalsound}User Interface: and you can use your time and uh it will take i some days to learn all this buttons and um the L_C_D_ is going to be somewhere here and uh go back button , I don't know reallywhere it is , maybe one of this buttons , and um power on and off mm I I don't rememberProject Manager: {vocalsound} Mm .Industrial Designer: {vocalsound} {vocalsound}Marketing: {vocalsound}User Interface: souh it it it should be maybe this button is power on and off ? Or no {gap} ? I can see nothing . So that's our concept . It's called the millennium remote control .Project Manager: {vocalsound}Marketing: Let's changemillenniums . {vocalsound}Industrial Designer: {vocalsound} SoUser Interface: Yeah .Industrial Designer: maybe you can use {gap} in the end and {disfmarker} {vocalsound}Marketing: {gap} doesn't make sense .This is very {vocalsound} ugly .User Interface: Really ? {vocalsound}Project Manager: {vocalsound}User Interface: I thought you like it . Ah okayMarketing: Oh no ,User Interface: just press the button , please uh .{vocalsound}Marketing: too much concept .Project Manager: No .Marketing: Ah .Industrial Designer: Uh {disfmarker}Marketing: {vocalsound} {vocalsound}User Interface: Yeah , we will not use this . We will not usethis .Project Manager: {vocalsound}User Interface: But instead of this I will devise {disfmarker} That's our concept .Industrial Designer: {vocalsound}Marketing: Ah , back today . {vocalsound}Industrial Designer:{vocalsound}User Interface: And it's got just few buttons , quite low looking , and all this stuff we already we already discussed .Project Manager: Mm-hmm . 'Kay .User Interface: And uh what will people say ? They'llsay it's perfect . Or what will say ? Uh they will say it's splendid . And uh e everyone will say I'll buy it .Industrial Designer: {vocalsound}Marketing: {vocalsound}Project Manager: Mm-hmm .Marketing: {gap} Do youthink it can come in several colours ?User Interface: And everyone's gonna be satisfied .Marketing: Or did the {disfmarker}User Interface: {vocalsound} I would make a backlight of the L_C_D_ screen with differentcolours .Marketing: Um but not the case .User Interface: Not the case .Marketing: Uh the case would only be in that uh aluminium uh titanium stuff ,User Interface: Yeah .Marketing: like {disfmarker}IndustrialDesigner: Mm .Project Manager: Because apparently from your survey people like colours , no ?Industrial Designer: Yeah .Marketing: Yeah , well they like uh something which is uh {disfmarker}User Interface: Okay ,so let's remember there's a Nokia phone which changeable panels .Marketing: Mm yeah , okay ,User Interface: Do you like it ?Marketing: so that would be the option . I don't know I don't have a Nokia phone ,ProjectManager: {vocalsound}Industrial Designer: {vocalsound} But it's uh {disfmarker}Marketing: but I don't use that but again , uh I might {disfmarker}User Interface: That's why you don't have it . That's why ,Marketing:Yeah ,User Interface: 'cause it's nasty . {vocalsound}Marketing: bu but {disfmarker} {vocalsound}Project Manager: {vocalsound}Industrial Designer: {vocalsound} But it would be expensive , no ? If you use colourL_C_D_ .User Interface: No .Industrial Designer: Uh instead of that maybe we can change the colour of the assembler .Marketing: Mm-hmm .Industrial Designer: Maybe we can just {disfmarker} if users want morecolours they can pay more money to get this uh the shapes and they can have different assembly .User Interface: Um , I am here .Project Manager: Okay .Industrial Designer: So users have different {disfmarker} Imean they have their own interests , colour interests and so {disfmarker}Project Manager: So ?User Interface: Mm-hmm .Industrial Designer: So we can just {disfmarker} if they want they can just pay another twoEuro .Project Manager: Uh-huh , okay , soUser Interface: 'Kay .Project Manager: you you propose something with option i that increase the price if we {disfmarker} if you want o more colours {vocalsound} on L_C_D_,Industrial Designer: Yeah . Yeah yeah yes . If they want like uh {disfmarker} so that we can {disfmarker} yeah .Marketing: Kind of upgradable uh {vocalsound} remote control .Project Manager: yeah .IndustrialDesigner: Yeah .Project Manager: Okay .Marketing: Wow , wow .Industrial Designer: Just they'll get few more things and few more colours .User Interface: Okay , what uh {disfmarker} there's one more decisi uh onemore solution in fact , um {vocalsound} 'cause there are some some paints that can change colour according to where they are , like they can reflect different colours depending on what is around , like what colour isaround , and depending on the temperature ,Industrial Designer: Lights , yeah .Marketing: Mm .Project Manager: And thermodynamic also . Mm-hmm .Industrial Designer: Yeah .Marketing: Like a chameleon .ProjectManager: Mm-hmm .User Interface: yeah .Industrial Designer: Yeah yeah .User Interface: We can make it in fact .Project Manager: Yeah but that's maybe mo too much expensive , yeah .User Interface: If if if the{disfmarker}Industrial Designer: Mm .User Interface: okay .Marketing: Mm-hmm .Project Manager: But uh it can be in uh maybe in an {disfmarker} a gradable version ,User Interface: Mm-hmm , mm-hmm ,ProjectManager: but {disfmarker}Industrial Designer: Yeah .User Interface: so {disfmarker}Marketing: Because uh I think there are two kinds of people . Those for which the remote control is uh is to be uh something usefuluh I'm going to talk about this later but {disfmarker} and those for which is something that that that uh is uh specific to them so it it's like a signature . My remote control is pink . Nobody else than me has a pinkremote control .Project Manager: Mm-hmm .User Interface: Uh-huh .Industrial Designer: {vocalsound}Marketing: {vocalsound} And that makes me special .Project Manager: OkayMarketing: {vocalsound}ProjectManager: and you think that we don't have to make to make them pay more because of {vocalsound} uh o or this is {disfmarker}Industrial Designer: {vocalsound}Marketing: {vocalsound} I think I think they would beready p ready to pay more for that .Project Manager: Okay , soMarketing: Those who wanted to have it pink .Project Manager: so {vocalsound} i it's not uh a s base serviceIndustrial Designer: Uh{disfmarker}Marketing: No mm no .Project Manager: it's a {disfmarker}User Interface: So ,Industrial Designer: Mm .User Interface: {gap} be an option ,Project Manager: Mm .User Interface: yeah .Marketing: It mightbe optional , yeah .Project Manager: Okay .Industrial Designer: But those people will be really few , no ? So like we can {gap} those {disfmarker}Marketing: The the young people the young people want to be differentfrom their friends .Industrial Designer: Ah .Marketing: Although similar but have something just slightly better . Pink {vocalsound}Project Manager: Mm-hmm .Industrial Designer: Yeah .Project Manager: So msoIndustrial Designer: Mm . {vocalsound}Project Manager: maybe that's {disfmarker} {vocalsound} if that it's a selling point maybe it has to be the base .User Interface: {vocalsound} Yeah , yeah ,Marketing: Mm .Yeah .User Interface: yeah . But you know if you want to be different you just take your remote control with you all the time .Project Manager: {vocalsound} And you'll be different .User Interface: {vocalsound} And itmakes you different ,Industrial Designer: {vocalsound}Marketing: Yeah , yeah .User Interface: you know ?Marketing: You always have your remote .Project Manager: {vocalsound} Uh in the train uh , hello uh no .{vocalsound} Want to change my neighbour .User Interface: Anyone has their remote controls here ?Marketing: Oh , you don't ? {vocalsound} Yeah . You don't have your remo {vocalsound}User Interface: No ?{vocalsound}Industrial Designer: {vocalsound}Marketing: Wh you you know like for instance take the iPod . It's a kind of remote control . {vocalsound} Uh it's whiteUser Interface: Mm-hmm .Marketing: and it's sowhite that you see it from any anywhere .Project Manager: Mm .Marketing: It has this distinctive look and feel and look {gap} which people seems to like {vocalsound}User Interface: Okay .Marketing: just because it's{vocalsound} a colour that we don't usually see in a remote control . White .Project Manager: Mm-hmm .User Interface: Uh-huh , uh-huh . Could we integrate something into our remote control , something like light?Marketing: Seems important .Industrial Designer: Hmm .User Interface: That they can use it in darkness , like . Hand light ,Marketing: Mm {gap} glow in the dark ,Industrial Designer: {gap}Project Manager:{vocalsound}User Interface: yeah .Industrial Designer: YeahMarketing: so {disfmarker}Industrial Designer: maybe like the infrared like we can put some radium chips or somethingMarketing: {vocalsound}UserInterface: {vocalsound} Mm-hmm .Industrial Designer: so that like {disfmarker} at least um {disfmarker}Project Manager: Iradium ? {vocalsound}Industrial Designer: yeah .User Interface: {vocalsound} Okay . Okay.Industrial Designer: {vocalsound} {gap} {vocalsound} Yeah ,Marketing: {vocalsound}Project Manager: Ah sorry . Mm .Industrial Designer: that {disfmarker}Project Manager: {vocalsound} Okay . So mm{disfmarker}User Interface: Okay . S well ,Marketing: Okay .User Interface: let's go on maybe with the presentation .Marketing: Yeah . Uh-huh , yeah sure . {vocalsound}Project Manager: Mm-hmm .{vocalsound}User Interface: And um the remote control's going to be smartIndustrial Designer: Oh .User Interface: but how smart should it be to not to complicate things too much ?Project Manager: {vocalsound}UserInterface: And uhIndustrial Designer: {vocalsound}User Interface: I dunnoMarketing: {vocalsound}User Interface: that's a question to you and to mm to {disfmarker}Marketing: Well so I heard that uh it seems that"}
+{"doc_id":"doc_131","qid":"","text":"Grad A: Hey , you 're not supposed to be drinking in here dude .Grad D: OK .Grad A: Do we have to read them that slowly ? OK . Sounded like a robot . Um , this is tGrad C: OK .Grad A: When you read the numbers itkind of reminded me of beat poetry .Grad D: I tried to go for the EE Cummings sort of feeling , but {disfmarker}Grad A: Three three six zero zero . Four two zero zero one seven . That 's what I think of when I think ofbeat poetry .Grad C: Beat poetry .Grad A: You ever seen \" So I married an axe murderer \" ?Grad C: Uh parts of it .Grad D: Mm - hmm .Grad A: There 's a part wh there 's parts when he 's doing beat poetry .Grad C: Ohyeah ?Grad A: And he talks like that . That 's why I thi That uh probably is why I think of it that way .Grad D: Hmm . No , I didn't see that movie . Who did {disfmarker} who made that ?Grad A: Mike Meyers is the guy.Grad D: Oh . OK .Grad A: It - it 's his uh {disfmarker} it 's his cute romantic comedy . That 's {disfmarker} that 's {disfmarker} That 's his cute romantic comedy , yeah . The other thing that 's real funny , I 'll spoil itfor you . is when he 's {disfmarker} he works in a coffee shop , in San Francisco , and uh he 's sitting there on this couch and they bring him this massive cup of espresso , and he 's like \" excuse me I ordered the largeespresso ? \"Grad D: Uh . We 're having , {vocalsound} a tiramisu tasting contest this weekend .Grad A: Wait {disfmarker} do are y So you 're trying to decide who 's the best taster of tiramisu ?Grad D: No ? Um . Therewas a {disfmarker} a {disfmarker} a fierce argument that broke out over whose tiramisu might be the best and so we decided to have a contest where those people who claim to make good tiramisu make them ,GradA: Ah .Grad D: and then we got a panel of impartial judges that will taste {disfmarker} do a blind taste {vocalsound} and then vote .Grad A: Hmm .Grad D: Should be fun .Grad A: Seems like {disfmarker} Seems likeyou could put a s magic special ingredient in , so that everyone know which one was yours . Then , if you were to bribe them , you could uh {disfmarker}Grad D: Mm - hmm . Well , I was thinking if um {disfmarker} yyou guys have plans for Sunday ? We 're {disfmarker} we 're not {disfmarker} it 's probably going to be this Sunday , but um we 're sort of working with the weather here because we also want to combine it with somebarbecue activity where we just fire it up and what {disfmarker} whoever brings whatever you know , can throw it on there . So only the tiramisu is free , nothing else .Grad A: Well , I 'm going back to visit my parentsthis weekend , so , I 'll be out of town .Grad D: So you 're going to the west Bay then ? No ,Grad A: No , the South Bay ,Grad D: south Bay ?Grad A: yeah .Grad D: South Bay .Grad C: Well , I should be free , so .GradD: OK , I 'll let you know .Grad C: OK .Grad A: We are . Is Nancy s uh gonna show up ? Mmm . Wonder if these things ever emit a very , like , piercing screech right in your ear ?Grad D: They are gonna get morecomfortable headsets . They already ordered them . OK .Grad C: Uh {disfmarker}Grad D: Let 's get started . The uh {disfmarker} Should I go first , with the uh , um , data . Can I have the remote {vocalsound} control. Thank you . OK . So . On Friday we had our wizard test data test and um {vocalsound} these are some of the results . This was the introduction . I actually uh , even though Liz was uh kind enough to offer to be thefirst subject , I sort of felt that she knew too much , so I asked uh Litonya . just on the spur of the moment , and she was uh kind enough to uh serve as the first subject .Professor B: Mm - hmm .Grad D: So , this iswhat she saw as part of {disfmarker} as uh for instr introduction , this is what she had to read {pause} aloud . Uh , that was really difficult for her and uh {disfmarker}Grad C: Because of l all the names , you mean?Grad D: The names and um this was the uh first three tasks she had to {disfmarker} to master after she called the system , and um then of course the system broke down , and those were the l uh uh I should say thesystem was supposed to break down and then um these were the remaining three tasks that she was going to solve , with a human {disfmarker} Um . There are {disfmarker} here are uh the results . Mmm . And I willnot {disfmarker} We will skip the reading now . D Um . And um . The reading was five minutes , exactly . And now comes the {disfmarker} This is the phone - in phase of {disfmarker}Grad C: Wait , can I {disfmarker}I have a question . So . So there 's no system , right ? Like , there was a wizard for both uh {disfmarker} both parts , is this right ?Grad D: Yeah . It was bo it both times the same person .Grad C: OK .Grad D: One time, pretending to be a system , one time , to {disfmarker} pretending to be a human , which is actually not pretending .Grad C: OK . And she didn't {disfmarker}Grad D: I should {disfmarker}Grad C: I mean . Well . Isn'tthis kind of obvious when it says \" OK now you 're talking to a human \" and then the human has the same voice ?Grad D: No no no . We u Wait . OK , good question , but uh you {disfmarker} you just wait and see.Grad C: OK .Grad D: It 's {disfmarker} You 're gonna l learn . And um the wizard sometimes will not be audible , Because she was actually {disfmarker} they {disfmarker} there was some uh lapse in the um wireless ,we have to move her closer .Grad A: Is she mispronouncing \" Anlage \" ? Is it \" Anlaga \" or \" Anlunga \"Grad D: They 're mispronouncing everything ,Grad A: OK .Grad D: but it 's {disfmarker} This is the system breakingdown , actually . \" Did I call Europe ? \" So , this is it . Well , if we {disfmarker} we umProfessor B: So , are {disfmarker} are you trying to record this meeting ?Grad D: There was a strange reflex . I have a headache . I'm really sort of out of it . OK , the uh lessons learned . The reading needs to be shorter . Five minutes is just too long . Um , that was already anticipated by some people suggested that if we just have bullets here ,they 're gonna not {disfmarker} they 're {disfmarker} subjects are probably not gonna {disfmarker} going to follow the order . And uh she did not .Grad C: Really ?Grad D: She {disfmarker} No .Grad C: Oh , it 'ssurprising .Grad D: She {disfmarker} she jumped around quite a bit .Professor B: S so if you just number them \" one \" , \" two \" , \" three \" it 'sGrad D: Yeah , and make it sort of clear in the uh {disfmarker}Professor B:OK . Right .Grad D: Um . We need to {disfmarker} So that 's one thing . And we need a better introduction for the wizard . That is something that Fey actually thought of a {disfmarker} in the last second that sh thesystem should introduce itself , when it 's called .Professor B: Mm - hmm . True .Grad D: And um , um , another suggestion , by Liz , was that we uh , through subjects , switch the tasks . So when {disfmarker} whenthey have task - one with the computer , the next person should have task - one with a human , and so forth .Professor B: Mm - hmm .Grad D: So we get nice um data for that . Um , we have to refine the tasks moreand more , which of course we haven't done at all , so far , in order to avoid this rephrasing , so where , even though w we don't tell the person \" ask {pause} blah - blah - blah - blah - blah \" they still try , or at leastLitonya tried to um repeat as much of that text as possible .Grad C: Say exactly what 's on there ? Yeah .Grad D: And uh my suggestion is of course we {disfmarker} we keep the wizard , because I think she did awonderful job ,Professor B: Great .Grad D: in the sense that she responded quite nicely to things that were not asked for , \" How much is a t a bus ticket and a transfer \" so this is gonna happen all the time , we d youcan never be sure .Professor B: Mm - hmm .Grad D: Um . Johno pointed out that uh we have maybe a grammatical gender problem there with wizard .Grad A: Yes .Grad D: So um .Grad A: I wasn't {disfmarker} wasn'tsure whether wizard was the correct term for {pause} uh \" not a man \" .Grad C: There 's no female equivalent of {disfmarker}Grad D: But uh {disfmarker}Grad A: Are you sure ?Grad C: No , I don't know .Professor B:Right .Grad C: Not that I know of .Grad D: Well , there is witch and warlock ,Grad A: Yeah , that 's so @ @ .Professor B: Right .Grad C: Yeah , that 's what I was thinking , but {disfmarker}Grad D: and uh{disfmarker}Professor B: Right . Uh .Grad D: OK . And um {disfmarker} So , some {disfmarker} some work needs to be done , but I think we can uh {disfmarker} And this , and {disfmarker} in case no {disfmarker}you hadn't seen it , this is what Litonya looked at during the uh {disfmarker} um while taking the {disfmarker} while partaking in the data collection .Grad C: Ah .Professor B: OK , great . So {pause} first of all , I agreethat um we should hire Fey , and start paying her . Probably pay for the time she 's put in as well . Um , do you know exactly how to do that , or is uh Lila {disfmarker} I mean , you know what exactly do we do to{disfmarker} to put her on the payroll in some way ?Grad D: I 'm completely clueless , but I 'm willing to learn .Professor B: OK . Well , you 'll have to . Right . So anyway , umGrad D: NProfessor B: So why don't youuh ask Lila and see what she says about you know exactly what we do for someone in thGrad D: Student - type worker ,Professor B: Well , yeah she 's un she 's not a {disfmarker} a student ,Grad D: or {disfmarker}?Professor B: she just graduated but anyway .Grad D: Hmm .Professor B: So i if {disfmarker} Yeah , I agree , she sounded fine , she a actually was {pause} uh , more uh , present and stuff than {disfmarker} than shewas in conversation , so she did a better job than I would have guessed from just talking to her .Grad D: Yeah .Professor B: So I think that 's great .Grad D: This is sort of what I gave her , so this is for example h howto get to the student prison ,Professor B: Yeah .Grad D: and I didn't even spell it out here and in some cases I {disfmarker} I spelled it out a little bit um more thoroughly ,Professor B: Right .Grad D: this is theinformation on {disfmarker} on the low sunken castle , and the amphitheater that never came up , and um , so i if we give her even more um , instruments to work with I think the results are gonna be even better.Professor B: Oh , yeah , and then of course as she does it she 'll {disfmarker} she 'll learn @ @ .  So that 's great . Um {pause} And also if she 's willing to take on the job of organizing all those subjects and stuff thatwould be wonderful .Grad D: Mmm .Professor B: And , uh she 's {disfmarker} actually she 's going to graduate school in a kind of an experimental paradigm , so I think this is all just fine in terms of h her learningthings she 's gonna need to know uh , to do her career .Grad D: Mmm .Professor B: So , I {disfmarker} my guess is she 'll be r r quite happy to take on that job . And , so {disfmarker}Grad D: Yep . Yeah she{disfmarker} she didn't explicitly state that so .Professor B: Great .Grad D: And um I told her that we gonna um figure out a meeting time in the near future to refine the tasks and s look for the potential sources to findpeople . She also agrees that you know if it 's all just gonna be students the data is gonna be less valuable because of that so .Professor B: Well , as I say there is this s set of people next door , it 's not hard toGrad D:We 're already {disfmarker} Yeah .Professor B: uh {disfmarker}Grad D: However , we may run into a problem with a reading task there . And um , we 'll see .Professor B: Yeah . We could talk to the people who run itand um see if they have a way that they could easily uh tell people that there 's a task , pays ten bucks or something ,Grad D: Mm - hmm . Yeah .Professor B: but um you have to be comfortable reading relativelycomplicated stuff . And {disfmarker} and there 'll probably be self - selection to some extent .Grad D: Mmm . Yep .Professor B: Uh , so that 's good . Um . Now , {pause} I signed us up for the Wednesday slot , and partof what we should do is this .Grad D: OK .Professor B: So , my idea on that was {pause} uh , partly we 'll talk about system stuff for the computer scientists , but partly I did want it to get the linguists involved in someof this issue about what the task is and all {disfmarker} um you know , what the dialogue is , and what 's going on linguistically , because to the extent that we can get them contributing , that will be good . So thisissue about you know re - formulating things ,Grad D: Yep .Professor B: maybe we can get some of the linguists sufficiently interested that they 'll help us with it , uh , other linguists , if you 're a linguist , but in anycase ,Grad D: Yep .Professor B: um , the linguistics students and stuff . So my idea on {disfmarker} on Wednesday is partly to uh {disfmarker} you {disfmarker} I mean , what you did today would {disfmarker} i isjust fine . You just uh do \" this is what we did , and here 's the {pause} thing , and here 's s some of the dialogue and {disfmarker} and so forth . \" But then , the other thing of course is we should um give thecomputer scientists some idea of {disfmarker} of what 's going on with the system design , and where we think the belief - nets fit in and where the pieces are and stuff like that . Is {disfmarker} is this {pause} makesense to everybody ?Grad D: Yep .Professor B: Yeah . So , I don't {disfmarker} I don't think it 's worth a lot of work , particularly on your part , to {disfmarker} to {disfmarker} to make a big presentation . I don't thinkyou should {disfmarker} you don't have to make any new {pause} uh PowerPoint or anything . I think we got plenty of stuff to talk about . And , then um just see how a discussion goes .Grad D: Mm - hmm . Soundsgood . The uh other two things is um we 've {disfmarker} can have Johno tell us a little about thisProfessor B: Great .Grad D: and we also have a l little bit on the interface , M - three - L enhancement , and then umthat was it , I think .Grad A: So , what I did for this {disfmarker} this is {disfmarker} uh , a pedagogical belief - net because I was {disfmarker} I {disfmarker} I took {disfmarker} I tried to conceptually do what youwere talking about with the nodes that you could expand out {disfmarker} so what I did was I took {disfmarker} I made these dummy nodes called Trajector - In and Trajector - Out that would isolate the things relatedto the trajector .Professor B: Yep .Grad A: And then there were the things with the source and the path and the goal .Professor B: Yep .Grad A: And I separated them out . And then I um did similar things for our{disfmarker} our net to {disfmarker} uh with the context and the discourse and whatnot , um , so we could sort of isolate them or whatever in terms of the {disfmarker} the top layer .Professor B: Mm - hmm .Grad A:And then the bottom layer is just the Mode . So .Professor B: So , let 's {disfmarker} let 's {disfmarker} Yeah , I don't understand it . Let 's go {disfmarker} Slide all the way up so we see what the p the p very bottomlooks like , or is that it ?Grad A: Yeah , there 's just one more node and it says \" Mode \" which is the decision between the {disfmarker}Grad D: Yeah .Professor B: OK , great . Alright .Grad A: So basically all I did was Itook the last {pause} belief - netProfessor B: So {disfmarker} Mm - hmm .Grad A: and I grouped things according to what {disfmarker} how I thought they would fit in to uh image schemas that would be related . Andthe two that I came up with were Trajector - landmark and then Source - path - goal as initial ones .Professor B: Yep . Mm - hmm .Grad A: And then I said well , uh the trajector would be the person in this caseprobably .Professor B: Right , yep .Grad A: Um , you know , we have {disfmarker} we have the concept of what their intention was , whether they were trying to tour or do business or whatever ,Professor B: Right.Grad A: or they were hurried . That 's kind of related to that . And then um in terms of the source , the things {disfmarker} uh the only things that we had on there I believe were whether {disfmarker} Oh actually , Ikind of , {disfmarker} I might have added these cuz I don't think we talked too much about the source in the old one but uh whether the {disfmarker} where I 'm currently at is a landmark might have a bearing onwhether {disfmarker}Grad D: Mm - hmm .Grad A: or the \" landmark - iness \" of where I 'm currently at . And \" usefulness \" is basi basically means is that an institutional facility like a town hall or something like thatthat 's not {disfmarker} something that you 'd visit for tourist 's {disfmarker} tourism 's sake or whatever . \" Travel constraints \" would be something like you know , maybe they said they can {disfmarker} they onlywanna take a bus or something like that , right ? And then those are somewhat related to the path ,Professor B: Mm - hmm .Grad A: so that would determine whether we 'd {disfmarker} could take {disfmarker} wewould be telling them to go to the bus stop or versus walking there directly . Um , \" Goal \" . Similar things as the source except they also added whether the entity was closed and whether they have somehow markedthat is was the final destination . Um , and then if you go up , Robert , Yeah , so {disfmarker} um , in terms of Context , what we had currently said was whether they were a businessman or a tourist of some otherperson . Um , Discourse was related to whether they had asked about open hours or whether they asked about where the entrance was or the admission fee , or something along those lines .Professor B: Mm - hmm.Grad A: Uh , Prosody I don't really {disfmarker} I 'm not really sure what prosody means , in this context , so I just made up you know whether {disfmarker} whether what they say is {disfmarker} or h how they say itis {disfmarker} is that .Professor B: Right , OK .Grad A: Um , the Parse would be what verb they chose , and then maybe how they modified it , in the sense of whether they said \" I need to get there quickly \" orwhatever .Professor B: Mm - hmm .Grad A: And um , in terms of World Knowledge , this would just basically be like opening and closing times of things , the time of day it is , and whatnot .Grad D: What 's \" tourbook \"?Grad A: Tourbook ? That would be , I don't know , the \" landmark - iness \" of things ,Grad D: Mm - hmm .Grad A: whether it 's in the tourbook or not .Professor B: Ch - ch - ch - ch . Now . Alright , so I understandwhat 's {disfmarker} what you got . I don't yet understand {pause} how you would use it . So let me see if I can askGrad A: Well , this is not a working Bayes - net .Professor B: a s Right . No , I understand that , but{disfmarker} but um So , what {disfmarker} Let 's slide back up again and see {disfmarker} start at the {disfmarker} at the bottom and Oop - bo - doop - boop - boop . Yeah . So , you could imagine w Uh , go ahead ,you were about to go up there and point to something .Grad A: Well I {disfmarker} OK , I just {disfmarker} Say what you were gonna say .Professor B: Good , do it !Grad A: OK .Professor B: No no , go do it .Grad A:Uh {disfmarker} I {disfmarker} I 'd {disfmarker} No , I was gonna wait until {disfmarker}Professor B: Oh , OK . So , so if you {disfmarker} if we made {disfmarker} if we wanted to make it into a {disfmarker} a realuh Bayes - net , that is , you know , with fill {disfmarker} you know , actually f uh , fill it @ @ in , then uh {disfmarker}Grad A: So we 'd have to get rid of this and connect these things directly to the Mode .Professor B:Well , I don't {disfmarker} That 's an issue . So , um {disfmarker}Grad A: Cuz I don't understand how it would work otherwise .Professor B: Well , here 's the problem . And {disfmarker} and uh {disfmarker} Bhaskaraand I was talking about this a little earlier today {disfmarker} is , if we just do this , we could wind up with a huge uh , combinatoric input to the Mode thing . And uh {disfmarker}Grad A: Well I {disfmarker} oh yeah , Iunders I understand that , I just {disfmarker} uh it 's hard for me to imagine how he could get around that .Professor B: Well , i But that 's what we have to do .Grad A: OK .Professor B: OK , so , so , uh . There{disfmarker} there are a variety of ways of doing it . Uh . Let me just mention something that I don't want to pursue today which is there are technical ways of doing it , uh I I slipped a paper to Bhaskara and{disfmarker} about Noisy - OR 's and Noisy - MAXes and there 're ways to uh sort of back off on the purity of your Bayes - net - edness .Grad A: Mmm .Professor B: Uh , so . If you co you could ima and I now I don'tknow that any of those actually apply in this case , but there is some technology you could try to apply .Grad A: So it 's possible that we could do something like a summary node of some sort that {disfmarker} OK.Professor B: Yeah . Yeah . And , um So .Grad A: So in that case , the sum we 'd have {disfmarker} we {disfmarker} I mean , these wouldn't be the summary nodes . We 'd have the summary nodes like where thethings were {disfmarker} I guess maybe if thi if things were related to business or some other {disfmarker}Professor B: Yeah .Grad A: Yeah .Professor B: So what I was gonna say is {disfmarker} is maybe a good at"}
+{"doc_id":"doc_132","qid":"","text":"PhD F: And we 're on .Professor D: OK . Might wanna {vocalsound} close the door so that {disfmarker} Uh , Stephane will {disfmarker}PhD F: I 'll get it .Professor D: YeahPhD F: Hey Dave ? Could you go ahead andturn on , uh , Stephane 's {disfmarker}Grad C: Mm - hmm .Professor D: So that 's the virtual Stephane over there .PhD F: OK .Professor G: Do you use a PC for recording ? Or {disfmarker}PhD F: Uh , yeah , a Linuxbox . Yeah . It 's got , uh , like sixteen channels going into it .Professor G: Uh - huh . Uh - huh . The quality is quite good ? Or {disfmarker} ?PhD F: Mm - hmm . Yeah , so far , it 's been pretty good .Professor G: Mm -hmm .Professor D: Yeah . So , uh , yeah {disfmarker} the suggestion was to have these guys start to {disfmarker}PhD F: OK . Why don't you go ahead , Dave ?Grad C: OK . Um , so , yeah , the {disfmarker} this pastweek I 've been main mainly occupied with , um , getting some results , u from the SRI system trained on this short Hub - five training set for the mean subtraction method . And , um , I ran some tests last night . But ,um , c the results are suspicious . Um , it 's , um , {vocalsound} cuz they 're {disfmarker} the baseline results are worse than , um , Andreas {disfmarker} than results Andreas got previously . And {vocalsound} itcould have something to do with , um {disfmarker}PhD F: That 's on digits ?Grad C: That 's on digits . It c it {disfmarker} it could h it could have something to do with , um , downsampling .PhD F: Hmm .Grad C: That's {disfmarker} that 's worth looking into . Um , d and , um , ap ap apart from that , I guess the {disfmarker} the main thing I have t ta I have to talk is , um , where I 'm planning to go over the next week . Um . So I've been working on integrating this mean subtraction approach into the SmartKom system . And there 's this question of , well , so , um , in my tests before with HTK I found it worked {disfmarker} it worked the bestwith about twelve seconds of data used to estimate the mean , but , we 'll often have less {comment} in the SmartKom system . Um . So I think we 'll use as much data as we have {pause} at a particular time , and we'll {disfmarker} {vocalsound} we 'll concatenate utterances together , um , to get as much data as we possibly can from the user . But , {vocalsound} um , {vocalsound} there 's a question of how to set up the models. So um , we could train the models . If we think twelve seconds is ideal we could train the models using twelve seconds to calculate the mean , to mean subtract the training data . Or we could , um , use some otheramount . So {disfmarker} like I did an experiment where I , um , was using six seconds in test , um , but , for {disfmarker} I tried twelve seconds in train . And I tried , um , um , the same in train {disfmarker} I 'm a Itried six seconds in train . And six seconds in train {vocalsound} was about point three percent better . Um , and {disfmarker} {vocalsound} um , it 's not clear to me yet whether that 's {vocalsound} somethingsignificant . So I wanna do some tests and , um , {vocalsound} actually make some plots of , um {disfmarker} for a particular amount of data and test what happens if you vary the amount of data in train .PhD F: Mm -hmm .Professor D: Uh , Guenter , I don't know if you t {vocalsound} followed this stuff but this is , uh , {vocalsound} a uh , uh , long - term {disfmarker} long - term window F F Yeah . Yeah , he {disfmarker} youtalked about it .Professor G: Yeah , we {disfmarker} we spoke about it already ,Professor D: Oh , OK . So you know what he 's doing .Professor G: yeah .Professor D: Alright .Grad C: y s so I was {disfmarker} I actuallyran the experiments mostly and I {disfmarker} I was {disfmarker} I was hoping to have the plots with me today . I just didn't get to it . But , um {disfmarker} yeah , I wou I would be curious about people 's feedbackon this cuz I 'm {disfmarker} {vocalsound} @ @ {comment} I p I think there are some I think it 's {disfmarker} it 's kind of like a {disfmarker} a bit of a tricky engineering problem . I 'm trying to figure out what 's theoptimal way to set this up . So , um , {vocalsound} I 'll try to make the plots and then put some postscript up on my {disfmarker} on my web page . And I 'll mention it in my status report if people wanna take a look.Professor D: You could clarify something for me . You 're saying point three percent , you take a point three percent hit , {vocalsound} when the training and testing links are {disfmarker} don't match or something?PhD E: Hello .Professor D: Is that what it is ?Grad C: w Well , it cProfessor D: Or {disfmarker} ?Grad C: I {disfmarker} I don't think it {disfmarker} it 's {vocalsound} just for any mismatch {vocalsound} you take a hit.Professor D: Yeah .Grad C: i In some cases it might be u better to have a mismatch . Like I think I saw something like {disfmarker} like if you only have two seconds in test , or , um , maybe it was something like fourseconds , you actually do a little better if you , um , {vocalsound} train on six seconds than if you train on four seconds .Professor D: Yeah . Right .Grad C: Um , but the case , uh {disfmarker} with the point threepercent hit was {vocalsound} using six seconds in test , um , comparing train on twelve seconds {comment} versus train on six seconds .Professor D: And which was worse ?Grad C: The train on twelve seconds.Professor D: OK . But point three percent , uh , w from what to what ? That 's point three percent {disfmarker}Grad C: On {disfmarker} The {disfmarker} the {disfmarker} the accuracies {vocalsound} w went from{disfmarker} it was something vaguely like ninety - five point six accuracy , um , improved to ninety - five point nine wh when I {disfmarker}Professor D: So four point four to four point one .Grad C: OK .Professor D:So {disfmarker} yeah . So about a {disfmarker} about an eight percent , uh , seven or eight percent relative ?Grad C: OK .Professor D: Uh , Yeah . Well , I think in a p You know , if {disfmarker} if you were going foran evaluation system you 'd care . But if you were doing a live system that people were actually using nobody would notice . It 's {disfmarker} uh , I think the thing is to get something that 's practical , that{disfmarker} that you could really use .Grad C: Huh . That 's {disfmarker} that 's interesting . Alright , the e uh , I see your point . I guess I was thinking of it as , um , {vocalsound} an interesting research problem .The {disfmarker} how to g I was thinking that for the ASRU paper we could have a section saying , {vocalsound} \" For SmartKom , we {disfmarker} we d in {disfmarker} we tried this approach in , uh , {vocalsound}interactive system \" , which I don't think has been done before .Professor D: Yeah . Mm - hmm .Grad C: And {disfmarker} and then there was two research questions from that .Professor D: Mm - hmm .Grad C: Andone is the k does it still work if you just use the past history ?Professor D: Mm - hmm .Grad C: Alright , and the other was this question of , um what I was just talking about now . So I guess that 's why I thought it wasinteresting .Professor D: I mean , a short - time FFT {disfmarker} short - time cepstrum calculation , uh , mean {disfmarker} u mean calculation work that people have in commercial systems , they do this all the time .They {disfmarker} the {disfmarker} they calculate it from previous utterances and then use it , you know .Grad C: Yeah , um .Professor D: But {disfmarker} but , uh , as you say , there hasn't been that much with thislong {disfmarker} long - time , uh , spectra work .Grad C: Oh , o Oh , OK .Professor D: Uh ,Grad C: So that 's {disfmarker} that 's {disfmarker} that 's standard . Um {disfmarker}Professor D: Yeah . Pretty common.Grad C: OK .Professor D: Yeah . Um , but , u uh , yes . No , it is interesting . And the other thing is , I mean , there 's two sides to these really small , uh , gradations in performance . Um , I mean , on the one hand ina practical system if something is , uh , four point four percent error , four point one percent error , people won't really tell {disfmarker} be able to tell the difference . On the other hand , when you 're doing , uh ,research , you may , eh {disfmarker} you might find that the way that you build up a change from a ninety - five percent accurate system to a ninety - eight percent accurate system is through ten or twelve little thingsthat you do that each are point three percent . So {disfmarker} so the {disfmarker} they {disfmarker} they {disfmarker} it 's {disfmarker} I don't mean to say that they 're {disfmarker} they 're irrelevant . Uh , theyare relevant . But , um , {vocalsound} i for a demo , you won't see it .Grad C: Mm - hmm . Right . OK .Professor D: Yeah .Grad C: And , um , Let 's {disfmarker} l let 's see . Um , OK . And then there 's um , anotherthing I wanna start looking at , um , {vocalsound} wi is , um , the choice of the analysis window length . So I 've just been using two seconds just because that 's what Carlos did before . Uh , I wrote to him askingabout he chose the two seconds . And it seemed like he chose it a bit informally . So , um , with the {disfmarker} with the HTK set - up I should be able to do some experiments , on just varying that length , saybetween one and three seconds , in a few different reverberation conditions , um , say this room and also a few of the artificial impulse responses we have for reverberation , just , um , making some plots and seeinghow they look . And , um , so , with the {disfmarker} the sampling rate I was using , one second or two seconds or four seconds is at a power of two um , number of samples and , um , I 'll {disfmarker} I 'll jus f for theones in between I guess I 'll just zero - pad .Professor D: Mm - hmm . I guess one thing that might also be an issue , uh , cuz part of what you 're doing is you 're getting a {disfmarker} a spectrum over a bunch ofdifferent kinds of speech sounds . Um , and so it might matter how fast someone was talking for instance .Grad C: Oh .Professor D: You know , if you {disfmarker} if {disfmarker} if {disfmarker} if there 's a lot ofphones in one second maybe you 'll get a {disfmarker} a really good sampling of all these different things , and {disfmarker} {vocalsound} and , uh , on the other hand if someone 's talking slowly maybe you 'd needmore . So {disfmarker}Grad C: Huh .Professor D: I don't know if you have some samples of faster or slower speech but it might make a difference . I don't know .Grad C: Uh , yeah , I don't {disfmarker} I don't thinkthe TI - digits data that I have , um , {vocalsound} i is {disfmarker} would be appropriate for that .Professor D: Yeah , probably not . Yeah .Grad C: But what do you {disfmarker} What about if I w I fed it throughsome kind of , um , speech processing algorithm that changed the speech rate ?Professor D: Yeah , but then you 'll have the degradation of {disfmarker} of , uh , whatever you do uh , added onto that . But maybe .Yeah , maybe if you get something that sounds {disfmarker} that {disfmarker} that 's {disfmarker} does a pretty job at that .Grad C: Yeah . Well , uh , just if you think it 's worth looking into .Professor D: You couldimagine that .Grad C: I mean , it {disfmarker} it is getting a little away from reverberation .Professor D: Um , yeah . It 's just that you 're making a choice {disfmarker} uh , I was thinking more from the system aspect, if you 're making a choice for SmartKom , that {disfmarker} that {disfmarker} that it might be that it 's {disfmarker} it c the optimal number could be different , depending on {disfmarker}Grad C: Yeah . Right.Professor D: Could be . I don't know .Grad C: And {disfmarker} and th the third thing , um , uh , is , um , Barry explained LDA filtering to me yesterday . And so , um , Mike Shire in his thesis um , {vocalsound} did a{disfmarker} a series of experiments , um , training LDA filters in d on different conditions . And you were interested in having me repeat this for {disfmarker} for this mean subtraction approach ? Is {disfmarker} isthat right ? Or for these long analysis windows , I guess , is the right way to put it .Professor D: I guess , the {disfmarker} the {disfmarker} the issue I was {disfmarker} the general issue I was bringing up was that ifyou 're {disfmarker} have a moving {disfmarker} {vocalsound} moving window , uh , a wa a {disfmarker} a set of weights times things that , uh , move along , shift along in time , that you have in fact a linear timeinvariant filter . And you just happened to have picked a particular one by setting all the weights to be equal . And so the issue is what are some other filters that you could use , uh , in that sense of \" filter \" ?Grad C:Mm - hmm .Professor D: And , um , as I was saying , I think the simplest thing to do is not to train anything , but just to do some sort of , uh , uh , hamming or Hanning , uh , kind of window , kind of thing ,Grad C:Right . Mm - hmm .Professor D: just sort of to de - emphasize the jarring . So I think that would sort of be the first thing to do . But then , yeah , the LDA i uh , is interesting because it would sort of say well , supposeyou actually trained this up to do the best you could by some criterion , what would the filter look like then ?Grad C: Uh - huh .Professor D: Uh , and , um , that 's sort of what we 're doing in this Aur - Aurora stuff . And, uh , it 's still not clear to me in the long run whether the best thing to do would be to do that or to have some stylized version of the filter that looks like these things you 've trained up , because you always have theproblem that it 's trained up for one condition and it isn't quite right for another . So . uh {disfmarker} that 's {disfmarker} that 's why {disfmarker} that 's why RASTA filter has actually ended up lasting a long time ,people still using it quite a bit , because y you don't change it . So doesn't get any worse . Uh ,Grad C: Huh .Professor D: Anyway .Grad C: o OK . So , um , a actually I was just thinking about what I was asking aboutearlier , wi which is about having {vocalsound} less than say twelve seconds in the SmartKom system to do the mean subtraction . You said in {vocalsound} systems where you use cepstral mean subtraction , theyconcatenate utterances and , {vocalsound} do you know how they address this issue of , um , testing versus training ? Can {disfmarker}Professor D: Go ahead .Professor G: I think what they do is they do it always on -line , I mean , that you just take what you have from the past , that you calculate the mean of this and subtract the mean .Grad C: OK . Um {disfmarker}Professor G: And then you can {disfmarker} yeah , you{disfmarker} you can increase your window whi while you get {disfmarker} while you are getting more samples .Grad C: OK , um , and , um , so {disfmarker} so in tha in that case , wh what do they do when they 're tum , performing the cepstral mean subtraction on the training data ? So {disfmarker} because you 'd have hours and hours of training data . So do they cut it off and start over ? At intervals ? Or {disfmarker}?Professor G: So do you have {disfmarker} uh , you {disfmarker} you mean you have files which are hours of hours long ? Or {disfmarker} ?Grad C: Oh , well , no . I guess not . But {disfmarker}Professor G: Yeah . Imean , usually you have in the training set you have similar conditions , I mean , file lengths are , I guess the same order or in the same size as for test data , or aren't they ?Grad C: OK . But it 's {disfmarker} OK . Soif someone 's interacting with the system , though , uh , Morgan {disfmarker} uh , Morgan said that you would {vocalsound} tend to , um , {vocalsound} chain utterances together um , rProfessor D: Well , I think whatI was s I thought what I was saying was that , um , at any given point you are gonna start off with what you had from before .Grad C: Oh .Professor D: From {disfmarker} and so if you 're splitting things up intoutterances {disfmarker} So , for instance , in a dialogue system , {comment} where you 're gonna be asking , uh , you know , th for some information , there 's some initial th something . And , you know , the first timeout you {disfmarker} you might have some general average . But you {disfmarker} you d you don't have very much information yet . But at {disfmarker} after they 've given one utterance you 've got something . Youcan compute your mean cepstra from that ,Grad C: Mm - hmm .Professor D: and then can use it for the next thing that they say , uh , so that , you know , the performance should be better that second time . Um ,  andI think the heuristics of exactly how people handle that and how they handle their training I 'm sure vary from place to place . But I think the {disfmarker} ideally , it seems to me anyway , that you {disfmarker} youwould wanna do the same thing in training as you do in test . But that 's {disfmarker} that 's just , uh , a prejudice . And I think anybody working on this with some particular task would experiment .Grad C: Right . I gI guess the question I had was , um , amount of data e u was the amount of data that you 'd give it to , um {vocalsound} update this estimate . Because say you {disfmarker} if you have say five thousand utterancesin your training set , {vocalsound} um , and you {disfmarker} you keep the mean from the last utterance , by the time it gets to the five thousandth utterance {disfmarker}Professor D: No , but those are all differentpeople with different {disfmarker} I mean , i in y So for instance , in {disfmarker} in the {disfmarker} in a telephone task , these are different phone calls . So you don't wanna @ @ {comment} chain it together from a{disfmarker} from a different phone call .Grad C: OK , so {disfmarker} so {disfmarker} so they would {disfmarker} g sProfessor D: So it 's within speaker , within phone call ,Professor G: Yeah .Professor D: if it 's adialogue system , it 's within whatever this characteristic you 're trying to get rid of is expected to be consistent over ,Professor G: Hmm .Grad C: r and it {disfmarker}Professor D: right ?Grad C: right . OK , so you 'd{disfmarker} you {disfmarker} and so in training you would start over at {disfmarker} at every new phone call or at every {vocalsound} new speaker . Yeah ,Professor D: Yeah .Grad C: OK .Professor D: Yeah . Now ,{vocalsound} you know , maybe you 'd use something from the others just because at the beginning of a call you don't know anything , and so you might have some kind of general thing that 's your best guess to startwith . But {disfmarker} So , s I {disfmarker} I {disfmarker} you know , a lot of these things are proprietary so we 're doing a little bit of guesswork here . I mean , what do comp what do people do who really facethese problems in the field ? Well , they have companies and they don't tell other people exactly what they do .Grad C: R right .Professor D: But {disfmarker} but I mean , when you {disfmarker} the {disfmarker} thehints that you get from what they {disfmarker} when they talk about it are that they do {disfmarker} they all do something like this .Grad C: Right , OK . I see . Bec - because I {disfmarker} so this SmartKom task firstoff , it 's this TV and movie information system .Professor D: Yeah , but you might have somebody who 's using itGrad C: And {disfmarker} Yeah .Professor D: and then later you might have somebody else who 's usingit .Grad C: Yeah . Right . Right . I {disfmarker} I see .Professor D: And so you 'd wanna set some {disfmarker}Grad C: I was {disfmarker} I was about to say . So if {disfmarker} if you ask it \" What {disfmarker} whatmovies are on TV tonight ? \" ,Professor D: Yeah . Yeah .Grad C: if I look at my wristwatch when I say that it 's about two seconds . The way I currently have the mean subtraction , um , set up , the {disfmarker} theanalysis window is two seconds .Professor D: Yeah .Grad C: So what you just said , about what do you start with , raises a question of {vocalsound} what do I start with then ?Professor D: Mm - hmm .Grad C: I guess it{disfmarker} because {disfmarker}Professor D: Well , w OK , so in that situation , though , th maybe what 's a little different there , is I think you 're talking about {disfmarker} there 's only one {disfmarker} it{disfmarker} it {disfmarker} it also depends {disfmarker} we 're getting a little off track here .Grad C: Oh , right .Professor D: r But {disfmarker} but {disfmarker} but {disfmarker} Uh , there 's been some discussionabout whether the work we 're doing in that project is gonna be for the kiosk or for the mobile or for both . And I think for this kind of discussion it matters . If it 's in the kiosk , then the physical situation is the same .It 's gonna {disfmarker} you know , the exact interaction of the microphone 's gonna differ depending on the person and so forth . But at least the basic acoustics are gonna be the same . So f if it 's really in one kiosk ,then I think that you could just chain together and {disfmarker} and you know , as much {disfmarker} as much speech as possible to {disfmarker} because what you 're really trying to get at is the {disfmarker} is thereverberation characteristic .Grad C: Yeah .Professor D: But in {disfmarker} in the case of the mobile , uh , {comment} presumably the acoustic 's changing all over the place .Grad C: Right .Professor D: And in that"}
+{"doc_id":"doc_133","qid":"","text":"The Chair (Hon. Anthony Rota (NipissingTimiskaming, Lib.)): I call the meeting to order.  Welcome to the third meeting of the House of Commons Special Committee on the COVID-19 Pandemic. Pursuant to the order ofreference of Monday, April20, the committee is meeting for the purposes of considering ministerial announcements, allowing members to present petitions, and questioning ministers of the crown, including the PrimeMinister, in respect of the COVID-19 pandemic. I understand there's an agreement to observe a moment of silence in memory of the six members of the Canadian Armed Forces who lost their lives last Wednesday in ahelicopter crash off the coast of Greece.  We'll return to order. Colleagues, we meet today to continue our discussion about how our country is dealing with the COVID-19 pandemic. As we do, Canadians, like everyonearound the world, are doing their best to live their lives until things improve. Meanwhile, as we look towards the future, I believe that it is also important to remember our past and to continue to mark the importantmoments in our shared history. At this very moment, the Dominion Carillonneur, Dr. Andrea McCrady, is performing a special recital to commemorate the 75th anniversary of the liberation of the Netherlands by theCanadian Forces. In May 1945, Canadian Forces played a major role in liberating the Dutch people from Nazi occupation. May 5 is now a national holiday in the Netherlands that commemorates the event and the greatfriendship that now exists between our two countries. Today's meeting is taking place by video conference. The proceedings will be made available via the House of Commons website. Please be aware that the webcastwill always show the person speaking rather than the entire committee. Let me remind you that, as in the House or in committee, members may not take photographs of their colleagues or film the proceedings. In orderto facilitate the work of our interpreters and ensure orderly meetings, I will outline a few rules. Interpretation of this video conference will be done as it is at normal committee meetings and in the House. At the bottomof your screen, you can choose floor, English or French. As you have seen, I change as I am speaking. I have now switched over to English in order to speak English. If you look at the bottom, you have a little flag thatindicates whether it's English or French, and that's how we will be speaking. It makes it easier. That was where we had a little bit of a glitch in the last session. I understand that there are no statements by ministers.We can now proceed to presenting petitions for a period not exceeding 15 minutes.  I would like to remind members that petitions presented during a meeting of the special committee must already have been certifiedby the clerk of petitions.  In addition, to ensure that the petition is considered to have been properly presented, the certificate of the petition and each page of the petition for petitions certified in a previous Parliamentshould be emailed to the committee no later than 6 p.m. on the day before the committee. I thank all the members for their usual co-operation. Thank you all. Now we'll proceed to presenting petitions. Our first petitioncomes from the honourable member for Sherwood ParkFort Saskatchewan, Mr. Genuis.Mr. Garnett Genuis (Sherwood ParkFort Saskatchewan, CPC): Mr. Chair, I'm pleased to be presenting two petitions today. The firstpetition is with respect to government Bill C-7. Petitioners raised concerns that this bill removes safeguards from the current euthanasia regime. It includes removing the mandatory 10-day reflection period and thenumber of required witnesses who will witness a person's consent. The petitioners urge the House of Commons to immediately discontinue the removal of safeguards for people requesting euthanasia, and to put in placeadditional measures to protect vulnerable people. This would require that bill to be amended or not passed. The second petition is with respect to Senate public bill S-204. This is on organ harvesting and trafficking.Petitioners call on members of the House, and hopefully the Senate as well, to support Bill S-204, which would make it a criminal offence for a person to go abroad and receive an organ for which there has not beenconsent. It would also create provisions under which a person could be made inadmissible to Canada if they had been involved in organ harvesting or trafficking. Thank you very much.The Chair: Thank you. I want toremind all the members that there are specific headsets that have been mandated to all of us. If you don't have one, please talk to your IT ambassador and they will get one to you as quickly as possible. The reason forthem is not so much for what you hear, but that our interpreters are working and there are work conditions that really make it difficult. Part of that is not having the appropriate boom on your headset, which will make itvery difficult for them to hear and interpret for our members. Now we go to the member for BeachesEast York, Mr. Erskine-Smith.Mr. Nathaniel Erskine-Smith (BeachesEast York, Lib.): Mr. Chair, I had to learn how totie my tie all over again. It's been so long. I want to thank Jenna Robar, who's led this petition e-2453. The petitioners have noted that there are approximately 60 indigenous languages in Canada and that 2019, lastyear, was declared by the UN to be the year of indigenous languages. They draw attention to article 13 of the UNDRIP and to the TRC's calls to action numbers 13 to 16. Fundamentally, they call upon the Government ofCanada to recognize indigenous languages as being official languages of Canada and to have each language recognized nationally, with implementations on regional and provincial levels, acknowledging that manyregions have different languages.Mr. Eric Duncan (StormontDundasSouth Glengarry, CPC): Mr. Chair, I am proud to present a petition on behalf of one of my constituents, Myles Lynch of St. Andrews West in my riding.Myles made history as the first Canadian ever to survive three double-lung transplants. Myles lives with cystic fibrosis and has had three lung transplants in the last five years, and he's only 22 years old. Myles created adocumentary called 8 Thousand Myles, which had a few showings in my riding. It documented his journey across Canada. One thing Myles has been advocating for is the creation of a national opt-out program for organdonation. Myles asked me how he could help raise awareness of that issue. I mentioned to him e-petitions online and getting people across the country to sign them. I am proud to have this certified today, with 1,318signatures, asking the Standing Committee on Health to launch a study into the feasibility of the creation of a national opt-out program. I give kudos to Myles not only for his strength personally but also for his advocacyfor others and for saving lives in our country by advocating for a better and an improved organ donation system. Kudos to Myles. I'm proud to present this petition today.Mr. Peter Julian (New WestminsterBurnaby,NDP): Mr. Chair, I'm very pleased to present this certified petition on behalf of several dozen residents of Toronto, Mississauga and Brampton, Ontario, who add their voices to those of the thousands upon thousands ofCanadians who have signed similar petitions. Given that Canadians are living through unprecedented, catastrophic climate events, and at the same time our society, as you know, is suffering from worsening social andeconomic inequalitieshalf of Canadian families are only $200 away from insolvency in any given monthand particularly given the pandemic that we are currently experiencing, these petitioners are calling on theGovernment of Canada to support motion M-1, a made-in-Canada green new deal that I am presenting in front of the House of Commons. It calls on Canada to take bold and rapid action to tackle the climateemergency, and to put in place a shift to a clean and renewable energy economy.Mr. Gord Johns (CourtenayAlberni, NDP): Mr. Chair, it's an honour to table a petition on behalf of constituents from CourtenayAlberni.They are concerned, obviously, about fentanyl-related deaths. Over 12,000 Canadians have died over the last four years due to fentanyl-poisoned sources. They cite that the current war on drugs has been costly andgrossly ineffective; that it has resulted in widespread stigma towards addiction and against those who use illicit drugs; and that criminalization of particular substances has resulted in the establishment of a drug tradethat now trafficks dangerous and lethal products such as fentanyl. They are citing that regulating to ensure safe sources, with proper measures and bylaws, will reduce the criminal element associated with street drugs.Problematic substance use is a health issue and is not resolved through criminalization of personal possession and consumption. They are calling on the Government of Canada to declare the current opioid overdose andfenanyl poisoning crisis a national public health emergency under the Emergencies Act. They are calling for the government to reform current drug policy to decriminalize personal possession, as has been done inPortugal and other countries, and to create with urgency and immediacy a system to provide safe and unadulterated access to substances so that people who use substances experimentally, recreationally or chronicallyare not at imminent risk of overdose due to a contaminated source.Mr. Brad Vis (MissionMatsquiFraser Canyon, CPC): Mr. Chair, I'm presenting a petition today that contains the concerns of Canadians in my riding withthe government's approach to firearms legislation and regulation. The petition highlights that the Liberal government's December 5, 2019, Speech from the Throne contains numerous inaccuracies about current firearmslegislation and regulation; that the term military-style assault rifles is a political phrase undefined in Canadian law; that municipalities are constitutionally unable to enact criminal law to ban handguns in theirjurisdictions; that the experts, including chiefs of police, agree that banning firearms and requiring law-abiding gun owners to follow more unnecessary red tape will not increase public safety; that the majority of gunsused in violent crimes are smuggled into Canada from the United States; and that the Liberal government continues to target law-abiding firearms owners instead of the gangs, drug traffickers and illegal gun traffickersresponsible for violence in our communities. The petitioners in MissionMatsquiFraser Canyon are calling on the government to stop targeting law-abiding firearms owners; to cancel all plans to confiscate firearms legallyowned by federally licensed, RCMP-vetted Canadians; and to focus our limited resources on anti-gang enforcement, on reducing the involvement of at-risk youth and gangs, on mental health and on providing theCanada Border Services Agency with the tools they need to do their job effectively.The Chair: Very good. That's all for petitions today. We will now proceed to the questioning of ministers. I would like to remindhonourable members that no member shall be recognized for more than five minutes at a time and that members may split their time with one or more members by so indicating to the chair. Ministers responding to thequestion should do so by simply turning on their mike and speaking. I want to again remind honourable members to use the boom on the official headsets so that everything runs smoothly, not only for ourselves butalso for the interpreters.  We start the question period with Mr.Paul-Hus.Mr. Pierre Paul-Hus (CharlesbourgHaute-Saint-Charles, CPC): Thank you, Mr.Chair. Although we are right in the middle of a pandemic and thegovernment has agreed to set aside all parliamentary business in order to concentrate solely on eliminating the virus in Canada and its impacts, the Prime Minister is deceiving Canadians by introducing measures topunish law-abiding firearm owners. Why?Right Hon. Justin Trudeau (Prime Minister): Mr.Chair, I feel that all Canadians were affected by the massacre in Nova Scotia. Once again, too many families are facing tragedyand tremendous grief. During the last election campaign, we promised to ban military-style assault weapons, and that is exactly what we have done. We will be working with members from all parties in order tocontinue strengthening gun control. It is a shame that, once more, the Conservatives do not want to strengthen gun control in the country.Mr. Pierre Paul-Hus: Mr.Chair, I understand the Prime Minister's reply.However, I would like to know whether he considers that, with this order in council, organized crime, street gangs and other criminals are simply going to turn in their weapons.Right Hon. Justin Trudeau: This is indeedonly a first step, but it is an important one. We are doing other things to eliminate or restrict handguns in our municipalities, to strengthen the control at our borders, and to implement other measures. I am pleased tohear the hon. member speak of those measures, because we are going to work together in the House to strengthen gun control. I hope that the Conservative Party will be part of that discussion in a positive way, inorder to keep Canadians safe.Mr. Pierre Paul-Hus: Mr.Chair, I can simply say to the Prime Minister that the Conservative Party has always been committed to battling criminals, not law-abiding citizens. Speaking ofcriminals, we know that, even before the pandemic, the Prime Minister had asked the Parole Board of Canada to release prisoners more easily and more quickly. Now we are learning that, because of the pandemic,some releases are happening very quickly. The Minister of Public Safety told us that the people were approaching the end of their sentences or were older, but we are learning in the media that some dangerouscriminals are being released. Can the Prime Minister give us an explanation?Right Hon. Justin Trudeau: The protection, the safety and the health of all Canadians are important for the government. This is why we havetaken additional measures in our correctional services to ensure that guards and inmates are protected. We have indeed opened the doors to some more speedy releases, but only in very specific cases that present littleor no danger for Canadians. We have managed to find the right balance. We must protect Canadians and we must also ensure that they are safe. Those two things go hand-in-hand.Mr. Pierre Paul-Hus: So is the PrimeMinister confirming to us that no dangerous criminals have been precipitously released so that they do not have to experience COVID-19 within the walls?Right Hon. Justin Trudeau: There are very strict rules andprinciples to ensure that people posing a threat to society are not released.The Chair: Mr.Paul-Hus, you have one minute left.Mr. Pierre Paul-Hus: Thank you, Mr.Chair. The Chinese government has not been transparentwith the rest of the world about the coronavirus. Australia asked for an in-depth investigation, but has received threats from the communist regime. Is Canada going to stand by its allies in the Five Eyes and demandthat the Chinese government be completely transparent?Right Hon. Justin Trudeau: We continue to stand in solidarity with our allies, including the Five Eyes, as they have stood in solidarity with Canada in terms of thetwo Canadians who have been unjustly detained for a long time in China. In the coming months and years, we expect to obtain answers to all our questions about the origin of this pandemic, including questions that areimportant for China. At the same time, we are going to work hard to ensure that all Canadians have the equipment and the protection they need to get through this pandemic.The Chair: We now move toMr.Blanchet.Mr. Yves-Franois Blanchet (BeloeilChambly, BQ): Thank you, Mr.Chair. I am sorry that I do not have my official headset. I was elsewhere, and I did not bring it with me. I hope that you can still hear meproperly. For some days, discussions have been going on between people from the Bloc Qubcois and people from the government with a view to collaboratively coming up with a proposal for seniors in Quebec andCanada. The gist of our proposal is to temporarily increase the old age security by about $25per week, or $110per month. By the way, I hate the term \"old age security. I prefer \"senior security. The discussion has beengoing on for some time and it's a proposal that we made in the election campaign. We are asking for it to be done at this point, at least temporarily. Parliament stopped sitting in the middle of March. We are now in May,and seniors still have nothing. They are impatient themselves, and we spend a good part of our days answering them. Given that impatience, I realized I should not be the one answering them, it should be the PrimeMinister. So here is my question for the Prime Minister: what are you doing to seek a solution that will increase the purchasing power of seniors in Quebec and Canada in the very short term?Right Hon. Justin Trudeau:Clearly, seniors need support and significant services from us because of COVID-19. Our priority was to implement income replacement benefits for workers who have lost their jobs because of COVID-19. Then weannounced different measures, including measures for seniors. The most vulnerable seniors are going to receive reimbursement of the GST, which will help them very quickly. We have also reduced by 25% theminimum amount that must be withdrawn from registered retirement income funds. We have also channelled $9million through the United Way, to help the most vulnerable seniors. Absolutely, I recognize that moremust be done. I am very pleased that we have been able to work with other parliamentarians, including those in the Bloc Qubcois, to hear these concerns and to find the best way to help seniors in the short term. Interms of the pandemic, they have concerns about their physical security, but also about their financial security. We will have more to say about this soon.Mr. Yves-Franois Blanchet: In the last few hours, the PrimeMinister has indicated that he could need the cooperation of other parties, including the Bloc Qubcois, on a completely different matter. We are very open to that discussion, but we want the same openness when we areasking for something to serve the people of Quebec. The cost of a basket of groceries has increased for seniors, as it has for everyone else. It's true for all seniors over 65years old, of course. The current old agepension represents less than half of the Canada emergency student benefit. It represents less than one third of the basic Canada emergency response benefit. Seniors in my constituency, as in any other of the338constituencies, are asking what we are doing. They are asking how there can be nothing for them. When will there be something for them? I want to be able to give them an answer of some kind. What is the PrimeMinister's answer? I will repeat it to them.Right Hon. Justin Trudeau: There will be announcements in the coming days on the way in which we will be able to help seniors, particularly the most vulnerable seniors. Werecognize that the cost of a basket of groceries is increasing for everyone. That is why we have to do better for our seniors. There are horror stories, whether about the CHSLDs, or about our most vulnerable seniorsacross the country. Far too many families are experiencing tremendous grief. There are seniors who are alone, seniors who are afraid of falling ill without ever seeing their grandchildren or their children again. We haveto be there for those who belong to that great generation that fought for us during the second world war. Now we have to fight for them in their homes. That is exactly what we are going to do.The Chair: We'll go to thenext question. Ms. Collins.Ms. Laurel Collins (Victoria, NDP): Mr. Chair, every day I hear from people who are struggling to pay their bills and to keep a roof over their head. Instead of making sure that Canadians getthe help they need, the government has created complicated programs that are still letting people fall through the cracks. If the Prime Minister won't commit to a universal benefit, will he at least commit to removingthe restrictive eligibility criteria that are leaving the most vulnerable people behind?Right Hon. Justin Trudeau: Mr. Chair, we knew, when this pandemic hit, that we needed to help Canadians who were suffering fromcoast to coast to coast, particularly the most vulnerable. That is why we moved forward rapidly with the Canada emergency response benefit, which has helped over seven million individual Canadians and has made ahuge difference. We had to move very quickly to get this money out to people, and that is exactly what we did. We also recognized that there would be a need to do more. That is why since that moment, we havecontinually worked on reaching out to the most vulnerable and supporting them as well. We have more to do, but we knew that targeted approaches were what was most needed.Ms. Laurel Collins: Mr. Chair, the"}
+{"doc_id":"doc_134","qid":"","text":"Project Manager: Alright , that did nothing . Okay . Welcome to the meeting everyone . Just gonna attempt to make this into a slide show . Sorry guys .Marketing: You may have to do the function F_ eight thing .ProjectManager: I did . Twice .Marketing: Oh , okay . {vocalsound}Project Manager: This'll just take a moment . {vocalsound}User Interface: {vocalsound}Industrial Designer: Okay okay {vocalsound}Marketing:{vocalsound}Project Manager: Or it won't .Marketing: {vocalsound}Project Manager: Okay we'll have to deal with it like this then .Industrial Designer: Okay . {vocalsound}Project Manager: Alright . Um . This is thefirst meeting uh for developing our , our new product . {gap} I'm Heather , I'm your Project Manager .Industrial Designer: Hello . {vocalsound}User Interface: {vocalsound}Project Manager: Okay . So um . So that wasthe opening .Marketing: {vocalsound}Project Manager: The first thing we'll do is get acquainted with one another . If everyone could go around and explain their role and um , and their name .User Interface:{vocalsound}Industrial Designer: Okay . My name's Poppy . I'm the Industrial Designer for this project . Um , I'm going to be responsible for the functional design phase . Also the conceptual design and the detaileddesign for the final product .Project Manager: Nice to meet you Poppy .Industrial Designer: Okay . {vocalsound}User Interface: {vocalsound} My name's Tara and I'm the User Interface Designer .Marketing:{vocalsound}User Interface: I will also be responsible for the functional design phase , the conceptual design phase and the detailed design phase of the user interface design . {vocalsound}Project Manager: Alright.Marketing: Hi , I'm Genevieve . I'm the Marketing Expert . I'm an expert at marketing .Industrial Designer: {vocalsound}Project Manager: {vocalsound}Marketing: Um , I'll be telling you guys about the userrequirement specifications for our new product . Um , I'll be doing some trend-watching in the conceptual design , and product evaluation for the design phase .Project Manager: Alright I'm Heather and I've I said I'myour Project Manager , um Well you can pretty much read what it is that I'm doing . But um um {disfmarker}User Interface: {vocalsound}Marketing: {vocalsound}Project Manager: Yeah . And uh tool training is onething that we're going to be doing today , um um as well as planning the project , how we're going to , uh , create this product , and , um , discuss , um , our aims and objects of this , Which brings us to our nextsubject ,Industrial Designer: {vocalsound}Project Manager: is , um , um ,Marketing: {vocalsound}Project Manager: as a team we're going to be designing and creating a new kind of remote control . Um , we want thisto be a marketable product that can be trendy , um , a completely new style , so that , um , can really appeal to a , to a generation that doesn't want a simple plain kind of , uh , channel-changer . And , um , it needs tobe user-friendly for , um , maybe , for an example , for people that , um , can't see the numbers as well , or , um , perhaps an ergonomic design .Industrial Designer: Okay . So this is a television remote control ?ProjectManager: Yes , it's a television remote control .Industrial Designer: Yeah .Project Manager: Right . I believe I should be taking minutes on this right now . So , alright .Industrial Designer: Okay .Project Manager: Um ,yeah . Um , the way that we're going to go about this is , um , we'll have a time where we can , um come up with new ideas alone , and , and work on the project and then , um , after we've brainstormed and , andthought about , we can come together in a meeting and , and discuss what , what um , what kind of functional design we want to use . Same with conceptual design and detailed design . So , um , making sure that it ,it's usable , that as a , um {disfmarker} and that it's , it's feasible to create , and uh , to come up with a concept of it want , what we want it to look like . Um , tool training . Is , is everyone , um {disfmarker} {gap}Okay .Industrial Designer: Yeah . Got those notes .Marketing: Yeah .Project Manager: Great . Great .Marketing: Thank you .Project Manager: Um One thing that , uh , we're going to do is become more acquainted withthe , the tools that we have access to for our project . Um , one of them is our whiteboard . And , um , as a sort of team-building moment , um , I , I'd like us to , um , try out the whiteboard by expressing our favouriteanimal and the charac characteristics of that animal .Industrial Designer: {vocalsound}Marketing: {vocalsound}User Interface: {vocalsound}Project Manager: Um , why that , why that should be your favourite animal .So , um , I , I'm assuming that we should do that now .Industrial Designer: Okay .Marketing: {vocalsound}Project Manager: 'Kay .User Interface: {vocalsound}Marketing: {vocalsound}Project Manager: {vocalsound}With our microphones still attached to our bodies . Okay . {vocalsound}Industrial Designer: Okay .User Interface: Gosh . {vocalsound}Project Manager: 'Kay , what's my favourite animal ?Industrial Designer:{vocalsound}Project Manager: Do come up . {vocalsound}Industrial Designer: Oh ,User Interface: {vocalsound}Industrial Designer: {gap} to go first . {vocalsound} Oh ,Project Manager: This is a team-buildingtimeIndustrial Designer: are we all doing it individually ?User Interface: {vocalsound} Yeah . {vocalsound}Project Manager: where , um , {vocalsound} ,Industrial Designer: Okay , let's stand up and support you{vocalsound}Project Manager: okay cool , um {disfmarker}Industrial Designer: {vocalsound}Project Manager: My favourite animal , which changes all the time , okay ,Industrial Designer: {vocalsound}User Interface:{vocalsound}Project Manager: right now it is an elk .Industrial Designer: {vocalsound} Okay .User Interface: An elk ?Marketing: {vocalsound}Project Manager: alright , so {disfmarker}User Interface: {vocalsound} Avicious {disfmarker} {vocalsound}Project Manager: And it goes like {disfmarker} Yeah it's got like big antlers ,User Interface: {vocalsound}Project Manager: yeah . Looks kinda like , like it has holly growing out of itshead .Industrial Designer: {vocalsound}User Interface: {vocalsound}Marketing: {vocalsound}Industrial Designer: Do you have elk where you come from ?Project Manager: Yes .Industrial Designer: You do .ProjectManager: YeahMarketing: We have moose too . {vocalsound}Project Manager: we have moose and we have deer .Industrial Designer: Okay .User Interface: {vocalsound}Project Manager: Do you have{disfmarker}User Interface: We have sheep . {vocalsound}Project Manager: {vocalsound} {gap} 'Kay , um .Industrial Designer: {vocalsound} Sheep . Yeah ,Marketing: {vocalsound}Industrial Designer: cows .ProjectManager: {vocalsound}Industrial Designer: That's a great elk .Marketing: Uh-oh , we have a good artist . {vocalsound} {vocalsound}User Interface: That is really good .Project Manager: {vocalsound} Thanks.Industrial Designer: {vocalsound} Yeah . {vocalsound}User Interface: I'm quite {disfmarker} {vocalsound}Project Manager: This is my {disfmarker}User Interface: {vocalsound}Marketing: Oh , very shapely .ProjectManager: Okay .Industrial Designer: Brilliant .Project Manager: That's a sketching of my my elk , and it , it is my favourite animal right now , 'cause it is a large beautiful majestic creature ,User Interface:{vocalsound}Project Manager: that um , that um {disfmarker}User Interface: {vocalsound}Project Manager: In a way it looks kind of awkward , because it's on spindly legs and it uh {disfmarker}User Interface:{vocalsound}Project Manager: But it can really overcome harsh terrain , and although it's gorgeous it's also very dangerous , because it has um strong antlers , and uh it can really combat its enemies , even like it it's ait's an herbivore but , uh , it can really defend itself .Industrial Designer: Mm .Project Manager: Yeah .Industrial Designer: Very nice . Okay .Project Manager: Right .Industrial Designer: {vocalsound}Project Manager:Right , I'm gonna take minutes while , um , you guys express your favourite animals .User Interface: {vocalsound}Industrial Designer: Okay , I'll go next . I am a big animal lover . like all sorts of animals , but for themoment I'm gonna draw a cat , in memory of my poor cat that died recently . {vocalsound}Marketing: {vocalsound} Oh .Project Manager: Oh .Industrial Designer: It's gonna be a bit of a strange drawing , but nevermind .User Interface: {vocalsound}Industrial Designer: {vocalsound}User Interface: {vocalsound}Industrial Designer: Not as artistic as Heather's drawing .Project Manager: {vocalsound}User Interface:{vocalsound}Industrial Designer: Bit more cartoon style .Project Manager: {vocalsound}Industrial Designer: But I like cats because they're so independent , and they always seem to be doing what they want to bedoing . Um , but that doesn't mean they're completely not sociable , 'cause they enjoy interacting with humans as well , and they seem to enjoy the good things like sunshine and , um , running around outside as wellas being inside , and enjoying their food , and generally just , they just seemed so cool and {vocalsound} they just know what they're doing .User Interface: {vocalsound} {vocalsound}Industrial Designer: Uh I reckonthey're sort of , they got it sorted . They know what they want .User Interface: {vocalsound}Industrial Designer: {vocalsound} Basically , that's why I like cats . {vocalsound}User Interface: Very good .{vocalsound}Project Manager: Great .Industrial Designer: {gap} I'll rub that out . There you go . {vocalsound}User Interface: Okay . I think my favourite animal would be a dog , but I'm not really sure {vocalsound}how to draw one .Industrial Designer: Ooh .User Interface: I , I've never drawn a dog , I don't think . I'm tempted to draw a snail 'cause I draw them sometimes {vocalsound} and they're really easy to draw.Marketing: {vocalsound}Project Manager: {vocalsound}Industrial Designer: {vocalsound}User Interface: Um ,Project Manager: I forget her name .User Interface: right it's gonna be a really funny dog , 'cause I'm notsure how to draw a dog .Marketing: TaraProject Manager: {vocalsound}Marketing: or Tara .Industrial Designer: Well there are loads of different types of dogs , so I'm sure it'll represent one kind of dog .{vocalsound}User Interface: {vocalsound} It's a cartoon dog I think .Project Manager: {vocalsound}Industrial Designer: {vocalsound}User Interface: A s I don't ev Oh , oh well . {vocalsound} It's a scary cartoon dog .That {disfmarker} This ,Industrial Designer: {vocalsound}User Interface: that does not look like a dog .Project Manager: {vocalsound} It looks kinda like a person . {vocalsound}Industrial Designer: {vocalsound} Wecan pretend . {vocalsound}User Interface: {vocalsound} I'm sorry .Marketing: {vocalsound} That's Pinocchio .User Interface: {vocalsound} {gap} {vocalsound} {vocalsound} How do you draw a dog ? I suppose it hasa lon Oh my god . Right . Yous know what it's supposed to be .Industrial Designer: {vocalsound} Okay .User Interface: {vocalsound} It's a dog . {vocalsound} . Um , I like dogs because , um , they're so good tohumans , like they can be trained to be police dogs and seeing-eye dogs , and they're just such friendly animals . And , like they're more of a companion than cats .Industrial Designer: Yeah , that's true .User Interface:{vocalsound} I've nothing against cats . Cats don't really like me , so I can't like them .Project Manager: {vocalsound}Marketing: {vocalsound}User Interface: {vocalsound} But they're just so friendly and warm andnice animals ,Project Manager: {vocalsound}User Interface: {vocalsound} that don't look like that . {vocalsound}Industrial Designer: {vocalsound}Marketing: {vocalsound} Alrighty . I feel like a robot .User Interface:{vocalsound}Project Manager: {vocalsound}Industrial Designer: {vocalsound}Marketing: {vocalsound} Okay . Um , well I guess I had the most time to think about it . I'm going to draw a butterfly , because I saw abutterfly yesterday , that seemed to be like the symbol of Spring arriving . And it was actually the prettiest butterfly I've ever seen out in the wild , and I though that was pretty cool in Scotland . It was like , well it wasa little pointier than that . At first I thought it was a dead leaf .User Interface: {vocalsound}Marketing: And then it landed on the wall next to me . But this part was all brown and then it has these big blue dots like this .And then it kinda {disfmarker} there was a green , I think it was a green ring , and there was like red going out like this .Project Manager: It's kinda like a peacock .User Interface: {vocalsound}Marketing: Yeah , itkinda was actually , 'cause it was {disfmarker} This part of the body was really dull , and then it was the most colourful exotic butterfly ever , and I'm like , wow this is the middle of Scotland in like March .ProjectManager: {vocalsound}Industrial Designer: {vocalsound}Marketing: So I thought that was pretty cool . And it landed by a wall and let me look at it for about two minutes . I wish I'd had my camera . So that's gonna bemy favourite animal because after all the snow it seemed to say that like Spring is finally here . Yeah .Industrial Designer: Very nice . {vocalsound}Marketing: There you go .Project Manager: Great .Marketing:{vocalsound} Uh , what do we {disfmarker} Oh .Project Manager: Do you hear the eraser buzzing while you do that ?Marketing: Yes I do . {vocalsound} {gap}Project Manager: Yea {vocalsound} Right .Marketing:{vocalsound}Project Manager: So , now that we know how to use the whiteboard ,Industrial Designer: Okay .Project Manager: um , the next , um , thing we need to address is our financial department , to meet our ourbudget , um {disfmarker} or not meet our budget but more , um , like what kind of , uh , selling range we'll be looking at , um , wanna make this um {gap} selling price of twenty five Euros . And so we have to , um ,come up with a way to , to create a , a uh remote control , where um we can {disfmarker} like the price to create it will be significantly less . Um , we'd like to , um to , uh , make fifty million Euro . I'm assuming that'swhat the M_ means . Um , and make it for an international market . Um , one thing we'd have to think about internationally is in the design of , um , like different kinds of , uh , V_C_R_s . Things like that , depending onwhich country you are . Another thing for the design team to think about . Um , we want it to cost , uh , absolute maximum of twelve Euro and fifty cents .Marketing: Okay , so we'll have a hundred percent profit then ?Twelve fifty .Project Manager: I'm bad at math .Marketing: Okay .Project Manager: 'Kay . {vocalsound} Um ,Industrial Designer: {vocalsound}Project Manager: so now that , um , that is underway , umIndustrialDesigner: {vocalsound}Project Manager: it is discussion time . So this is time for us to bring our initial ideas , any um suggestions that you may have so far , a um your personal experiences with remote controls , andum , um , areas you see that , uh , could be improved in your experience with them . Does anyone have any initial thoughts ?Marketing: I find that in the dark it's often hard to know what button you're pushing .ProjectManager: Mm-hmm . So what's something we could , uh , do to remedy that ?Industrial Designer: {vocalsound}Marketing: {gap}Industrial Designer: Okay .Marketing: Um {disfmarker}Industrial Designer: I alwaysfind that in our house the remote control always goes missing .Project Manager: {vocalsound}Industrial Designer: It's always , where is the remote control ?User Interface: {vocalsound} Yeah .Industrial Designer: Somaybe if you could have some kind of tracking {vocalsound} device for the remote control or some signal that you could find out where it was .Project Manager: {vocalsound}Industrial Designer: I dunno , some kind ofalarm . You can press a button on your wall , {gap} signal ,Project Manager: Yeah . It's a great idea . It's a great idea .User Interface: {vocalsound}Industrial Designer: 'cause it always gets lost .User Interface: Doyous not find that , um , {vocalsound} like , there's a lot of , um , buttons on your remote control , and you don't know what half of them do .Industrial Designer: Yeah .Marketing: Mm-hmm .Industrial Designer: Yeah ,that you don't use half of them . {vocalsound}Project Manager: {vocalsound}User Interface: Yeah , I don't know what they do . {vocalsound}Marketing: Mm-hmm . There's some remote controls where there's kind of ahidden panel , so all those buttons that you don't really use unless you're programming or something .User Interface: Yeah .Industrial Designer: Yeah , that's , that's {disfmarker}Marketing: That's useful .IndustrialDesigner: Yeah , it is . Yeah .Marketing: So you just have like the number buttons , power button , T_V_ video button .User Interface: Yeah .Industrial Designer: Yeah .Project Manager: Alright . Anything about , um ,the look of the , uh , remote control that you might have ideas about . Maybe it could be , instead of like a standard rectangular shape , it could be , um , something more interesting like {disfmarker}Marketing:{vocalsound}Project Manager: Any ideas will do that you have at this point .Industrial Designer: Mm .Marketing: Could be shaped like a conch ,Project Manager: {vocalsound} Can hold it .Industrial Designer:{vocalsound} A novelty .User Interface: {vocalsound}Marketing: you know . Be like a shell-shaped remote . {vocalsound} {vocalsound}Project Manager: Yeah .Industrial Designer: Are we going into kind of noveltyfactors here . Like , I've seen phones like a {disfmarker}Project Manager: Well if it's a trendy original , um , aspect we're going for .Industrial Designer: Okay .Project Manager: I mean , you're the designers , you c ,you can um decide what kind of , um , direction you wanna go in ,Industrial Designer: Yeah . Mm-hmm .User Interface: Yeah .Project Manager: but at this point in the , in the first meeting it can be any ideas that wejust throw out there .Industrial Designer: Yeah . I suppose , if we're he heading to have it , like make a huge profit out of this , it needs to be quite a universally accepted thing . Like , a novelty thing might only sell afew things rather than , like , a general kind of more acceptable {disfmarker}User Interface: Yeah .Marketing: {vocalsound} {vocalsound} .Project Manager: Mm-hmm .Industrial Designer: But we don't wanna gotowards boring , 'cause that wouldn't sell either .Project Manager: Yeah .Industrial Designer: So , hmm .Project Manager: And the key issue here is , is being trendy and original . Um , that does not necessarily mean itneeds to be outrageous .Industrial Designer: Yeah . Yeah .Project Manager: Right . Okay we have five minutes left . So , just to cover {disfmarker} We have one more thing . Um , like you can go over your ideas , ofcourse , in your own personal times . Um , our next meeting will be in half an hour .Industrial Designer: Yeah .Project Manager: So you have half an hour to , uh , think about what you want to present . Or not presentbut bring to the meeting . Um , I_D_ , whatever that stands for .Industrial Designer: Industrial Designer .Marketing: Interface ?Project Manager: Industrial Designer .Industrial Designer: That's me .{vocalsound}Marketing: Oh , industrial .Project Manager: I have to remember these things . Um . You'll be beginning your , your working design .Industrial Designer: Mm-hmm .Project Manager: Um , U_I_D_ thetechnical functions design will , will be worked on the next thirty minutes . Um , {vocalsound} maybe how this can be achieved , and , um , we need the user requirements from the manag Marketing Expert .Marketing:Marketing Expert . {vocalsound}Project Manager: Um , you will get specific instructions , um , of what to do in the next half an hour . And I'll see you in half an hour , okay ?Industrial Designer: Okay .Project Manager:'Kay .Industrial Designer: Thank you .User Interface: {gap}"}
+{"doc_id":"doc_135","qid":"","text":"Project Manager: {vocalsound} Um {vocalsound} minutes from the last meeting which were essentially that we uh had decided on roles for each of you , however , um there are some changes that I've got from onhighUser Interface: Okay . {vocalsound}Project Manager: that um are a bit uh {disfmarker} well w what I didn't actually realise it was that the uh {vocalsound} this is for a specific television .User Interface: Okay.Project Manager: So the all in one idea goes out the window . And {vocalsound} they require that the uhUser Interface: Mm-hmm .Project Manager: actually I'll get to that at the end {gap} point number four , um we'llget what you've got and then we can see what we can adapt from it . So um , presentations , were you {disfmarker} anybody got , raring to go ?Marketing: Yeah . Yeah .Project Manager: Raring to go ? Okay . Goodstuff . Mm .Marketing: Um . So how {disfmarker}Project Manager: Oh I need to plug you in . {vocalsound}Industrial Designer: {vocalsound}Marketing: S {gap}Project Manager: Just about .User Interface: Wow .{vocalsound}Industrial Designer: It's a inspired design .Marketing: {gap}User Interface: {vocalsound}Marketing: Sh do you want me to hold it ?Project Manager: Uh there we go , just screw 'em on in . Gonna have toswap them round so {disfmarker} {vocalsound}Marketing: {vocalsound} So , after that ?Project Manager: now , it was function F_ eight .Marketing: F_ eight . {vocalsound} f oh sorry F_ eight .Project Manager: That'sthe wee blue one . Blue one F_ eight .Marketing: Okay .Project Manager: Should do it , good one .Marketing: Yeah . Yeah . Uh , me again , Rajan the Marketing Expert . Uh , as we have decided in the last meeting that Ihave to find out , sorry , yeah sure .Project Manager: Hold on , sorry . {gap} and if you just click that it'll go ahead , one at a time .Marketing: Yeah , yeah . Uh actually , sorry I have to see the other {gap} , sorry.Project Manager: {vocalsound} Sorry , uh .Marketing: Yeah , thank you .Project Manager: {vocalsound}Marketing: Uh , yes , I have to look at the uh market potential for this product , uh , like consumer likings andeverything , what is the potential for this product and are we able to achieve our a net profit or our aims or not ? Then {disfmarker}Project Manager: P press F_ five to start it first .Marketing: Sorry . Okay . Yeah , I can, okay .Industrial Designer: Hmm .Project Manager: {vocalsound} Jesus .Marketing: Uh then uh the methodology I adopted to find out all this was market survey . A a detailed market survey on consumers was done tofind out their likings and dislikings , what they prefer what they not prefer , w what problems they do encounter in all this type of things . And what we got was , we found that {disfmarker} if you {disfmarker} uh ,what they th what problems they are having with different uh remote controls available in the market . Seventy five percent of users they do find it that the remote controls available in the market are ugly . They arenot so good looking . So , we have to put stress on this , uh we have to take care of this fact also like our design , uh should be appropriate , should be good looking for the consumers . And yes that's wi uh this willdefinitely , this can definitely put uh uh enhance our sales . Uh and even uh the good thing about this is that eighty percent of users they are willing to pay high uh pay more for this uh good looking remote controls also. So even if the available market goes for the available {disfmarker} uh even if the market goes for the available remote control is less even then we can sell it at twenty five Euros , which maybe which may seem quitehigh but if our looks are are if the re remote control we design have a good better uh better look uh designs , then we can hope that consumers will prefer these g remote controls .Project Manager: Excellent .Marketing:Then {disfmarker} {gap} And the second thing , some some companies they think that they should have more and more functions of the users uh or in their remote controls , but rather than those having morefunctions in the remote controls we should emphasise what actually consumer want , what they operate , rather than making it too complicated . Because mostly it has been found that fifty percent of the users they useonly ten percent of the buttons , so there is no point of having ninety percent buttons making the remote controls too bulky , too complicated too expensive a because I think I believe that technology is useful only if uhthe consumers they want to use it . Otherwise there is no point of having all this type of things . So this will not only reduce the cost of our remote controls but it will increase our profit also . So we have to take care ofthis fact also . Then . Uh it was function I want to go to .Project Manager: Oh you wanna go back ? Just escape .Marketing: Uh , escape , okay thank you . Then if we look at this slide ,Project Manager: Okay .Marketing:uh these are in your shared documents , you can see ,Project Manager: Okay .Marketing: like {disfmarker} Uh , sorry .User Interface: So , sorry {disfmarker} I was just gonna say , what was the question for this ? Oris {disfmarker} are you coming on to that ?Marketing: Ah t look all the market potential , what uh how we should design consu our remote controls , what they should be there so as to en enhance our profit , enhanceour sales .User Interface: Okay . So these percentages are are what ?Marketing: Yeah , these are different age group persons like uh sorry , I can open it in another way .Project Manager: Okay . Speech recognition.Marketing: Uh , yes . If we look at the costs whether the consumers they are willing to uh pay more for speech recognition in a remote control or not , we can find that they up to a thirty five years age group we have avery good disliking for this uh this uh point , like for speech recognition in a remote control .Industrial Designer: {vocalsound}Marketing: So we can emphasise on this point also like , because it will definitely enhanceour sales in this ag in this particular age group from uh fifteen to thirty five ,User Interface: Hmm .Marketing: and I uh and I think that most of the users of the rem uh T_V_ are belong to this age group . So we shouldlook {disfmarker}Project Manager: Hmm . We're als we we're looking at who buys it as well . {gap}Marketing: Yeah . We can look at that that factor also , so yes . {vocalsound}Project Manager: Uh , which I think thetwenty five to thirty five is uh usual , sort of .Marketing: Yeah .User Interface: Mm , mm .Marketing: So , and {disfmarker} {gap}Project Manager: {gap}Marketing: {vocalsound} And then {disfmarker}ProjectManager: Fifteen to tweMarketing: Yes . I think so . Uh if we look at this data how how uh h how what are the problems the consumers are facing with the existing remote controls in the market .Project Manager:{vocalsound}Marketing: They find that thirt uh thirty five percent uh thirty four percent of the consumers they find too difficult to operate a remote control . So it should be in such a way that it should be easy to learnhow to operate these remote controls and we should provide pl uh spe uh proper manuals for its use also so as that people {disfmarker} consumers could easily learn . They need not to have any , much technicalknowledge to see uh to know how to operate these remote controls .User Interface: Mm-hmm .Marketing: So this is also a very goo uh major factor to loo uh take into consideration to enhance our profits and sales . Soum this is all aboutProject Manager: Okay . {vocalsound}Marketing: uh market potential by me .Project Manager: {vocalsound}User Interface: Mm-hmm .Marketing: Uh , yes , th thank you .Project Manager: Okay ,thank you . Um , {vocalsound} follow on with Helen ? Yeah please .User Interface: Yep , sure , that's cool , um {disfmarker}Marketing: Yeah we have to take that {gap} out .Project Manager: Oh , so we do yeah.Marketing: Sorry .User Interface: Yeah .Marketing: {vocalsound}Project Manager: Fun and games .Marketing: Sorry .Project Manager: Don't know if the cable's gonna be long enough .Marketing: Uh sorry , I have{gap} . {vocalsound}Project Manager: I think I just kicked over whatever it runs on underneath as well .Marketing: Brian , this one also I {gap} . Yeah .Project Manager: Okay .Marketing: Thank you very much Brian.User Interface: I can turn my computer quickly if that's okay .Marketing: If you want me to help , yeah .User Interface: Um , yep .Project Manager: {vocalsound}Marketing: Yeah .User Interface: Okay , and then whatdo I press , F_ eight ?Marketing: Uh F_ eight . Function F_ eight .Project Manager: Function F_ eight .User Interface: Oh right .Marketing: Mm s .User Interface: Okay , cool .Marketing: It's not coming . Function F_eight , okay .User Interface: Oh .Marketing: Yeah .User Interface: Yeah . No signal . {vocalsound}Marketing: {vocalsound} Computer .Project Manager: Hmm .Marketing: Computer adjusting , yeah .Project Manager:There you go .User Interface: Okay . Cool .Marketing: Yeah .User Interface: Okay and then how do I press the the big one , to get it on to the big {disfmarker}Project Manager: Uh F_ five .User Interface: F_ five and Ipress that again to get it off as well do I ?Marketing: Escape .Project Manager: Um , F_ five and escape'll bring it back and just uh the left button for advancing .User Interface: Okay , so um I'm the interface designdesigner , User Interface Designer sorry , uh I'm concerned with um w what effect the apparatus should have on the user and um I'm I'm also {disfmarker} I want to point out that our motto , put the fashion inelectronics ,Project Manager: {vocalsound}User Interface: so obviously we as a company we want to make our products trendy and fashionable , it's a big concern of ours . Okay , and how do I press n just the nextbutton ?Project Manager: Uh just a left uhUser Interface: The arrow ? Okay .Project Manager: left mouse button .User Interface: So um I looked at existing designs and also um the information that Raj gave us wasvery useful about what people like , what people dislike . Um and what people {disfmarker} fashionable , because we said people between twenty five and thirty five were the main um buyers of of our T_V_ I think.Project Manager: Mm-hmm . Okay .User Interface: So um what they like and what they find fashionable .Project Manager: 'Kay .User Interface: {vocalsound} And ergonomics , we said um , I don't know I haven'tactually been able to do any of this myself ,Project Manager: {vocalsound}Industrial Designer: {vocalsound}User Interface: but um maybe that comes up , I don't know .Project Manager: That can come under Arlo aswell .User Interface: And the findings , well the basic {disfmarker} that was the basic function to send messages to the television set .Project Manager: Uh .User Interface: That's what people want to do . Um , so theyneed to be included , um , but I've got some pictures here of some leading ones . I don't know how to get to them ,Project Manager: Uh if you if you escape then you can see your bar .User Interface: {vocalsound} do Ipress F_ five is it ? {gap} escape ? Oh okay , cool . I haven't got my glasses on so I hope it's this one .Project Manager: {vocalsound} Uh okay .User Interface: These are two leading um remote controls at the moment.Project Manager: 'Kay .User Interface: You know they're grey , they've I mean this one's got loads of buttons , it's hard to tell from here what they actually do ,Project Manager: {gap} {vocalsound}User Interface: andthey don't look very exciting at all . Um , personally I prefer this one just because it's looks easier use , it's a bit more sleek with more of this silver stuff ,Project Manager: Mm-hmm .User Interface: um , but there yougo , that's what we're up against ,Project Manager: {vocalsound}User Interface: and I think we can do much better than that .Project Manager: {vocalsound} We hope so .Industrial Designer: {vocalsound}{vocalsound} Of course . {vocalsound}User Interface: Um hang on . F_ five ,Project Manager: {vocalsound}User Interface: okay , sorry . Personal preferences . Um , well I think we need to l I think the ergonomics isquite um important , umProject Manager: {gap} Yeah , particularly if we've uh there was a bit in Raj's about R_S_I_ and things as well .Marketing: Yeah .User Interface: Uh-huh . And um I thought not too edgy and likea box , more kind of hand-held more um {vocalsound} not as uh computery andProject Manager: Organic {vocalsound} .User Interface: or organic , yeah , more organic shape I think . {vocalsound} Um simple designs, like the last one we just saw , not too many buttons and as Raj pointed out , only ten percent {disfmarker} fifty percent of people only use ten percent of the buttons ,Marketing: {gap}Project Manager: Mm-hmm.User Interface: so I think what we can miss out on the buttons we can make up for in design and and how nice it looks .Project Manager: Sales , {gap} . Okay .User Interface: Um , hand-held and portable I think isportamint is important because T_F_T_ have just um released um I think is it a a remote control for presentations or uh and a big seven inch big screen , anyway , so um {disfmarker}Project Manager: Yeah it's like a ,yeah . {vocalsound} It's {gap} . {vocalsound}User Interface: Yeah , no seven inches isn't that big but um anyway um so hand-held and portable and uh m I thought about other functions for T_V_ but as you pointedout people don't actually want that ,Project Manager: Right .Marketing: Yeah .Project Manager: And also the company want to keep it stuck to the T_V_ for uh to keep down the production time .User Interface: somaybe we forget about that . It's for one T_V_ oh right okay , sure . And so the last thing I thought w which I quickly mentioned in the other one was maybe a bit of a gimmick to set us apart from other people , likeglow-in-the-darkProject Manager: Mm-hmm .Marketing: Exactly . Yeah .User Interface: um which {vocalsound} does already e exist but it's not very widely used I don't think .Project Manager: Yeah .User Interface:Easy finder with the a whistle function or something ,Project Manager: Okay .User Interface: or rechargeable station because it's a pain when you run out of batteries .Project Manager: Yeah .User Interface: And I thinkthat , yep , that's it .Project Manager: That's cool .Industrial Designer: So uh , I noticed your talk about speech recognition and whistling ,User Interface: Okay ? Mm-hmm .Industrial Designer: and uh I was just curiousto know , have we done any research into how many people can whistle ? Um , or if {disfmarker}Project Manager: {vocalsound}User Interface: {vocalsound}Industrial Designer: is that a function we want in the remote?Project Manager: Um , do you have trouble whistling ?User Interface: Um , I haven't been able to {disfmarker}Industrial Designer: I don't , but I I know a lot of people do right .Project Manager: {vocalsound} Really?Industrial Designer: Yeah it justProject Manager: Ooh . {vocalsound}Industrial Designer: {disfmarker} I mean it has to be a certain kind of whistle too , right ?Project Manager: Yeah , I suppose that's true .UserInterface: Mm-hmm , yeahProject Manager: Well I suppo uh you could y you could have theUser Interface: or some sort of voice {disfmarker}Project Manager: you could have the basically um instead of a whistle if it'sgot the voice recognition you could have it just , you know , where are you ? {gap} . {vocalsound}Industrial Designer: {vocalsound} That's costly though .User Interface: Yeah .Marketing: Yeah .Industrial Designer:Um a much easier thing is just any loud noise like clapping um , shouting , you know ,Project Manager: Hmm .User Interface: Mm-hmm .Marketing: Yeah .Industrial Designer: uh and then , what would the response be? It beeps back at you or something ?Project Manager: Sounds good .User Interface: Yeah , something .Industrial Designer: {vocalsound} Okay .User Interface: {vocalsound}Industrial Designer: Well , uh let me setthis up . So I plug it in , press F_ five ? Function F_ five ?Project Manager: Function F_ eight for the um the uh {disfmarker}Industrial Designer: Or function F_ eight ? Okay .User Interface: Oh you need to twiddle thethingamibobsy thing .Industrial Designer: Okay . I think it's {vocalsound} uh just to lock it in . It's got it .Project Manager: Yeah .User Interface: Okay .Industrial Designer: {vocalsound} Okay .Project Manager:{vocalsound}Industrial Designer: Um . {vocalsound} So as the Industrial Designer my job is to take an input from you guys ,User Interface: {vocalsound}Industrial Designer: um so it's good you went first ,ProjectManager: Alright .Industrial Designer: and I jotted down some notes as to what are the b needs and uh what kind of novel features we can add to differentiate our product from the others .User Interface:{vocalsound}Project Manager: Let's remember that .Industrial Designer: Um so Raj told us that uh consumers are willing to spend more for fancy products , and um he also mentioned that uh the current products don'talways match users' operating behaviour . Um , a lot of the buttons aren't used , and uh {vocalsound} he mentioned that they're not fun to use . And uh a novel feature which uh we just brought up was this thisautomatic speech recognition feature or noise detection feature for when you lose the remote ,Project Manager: {gap}Industrial Designer: there could be a little microphone on it , and any noise over a certain thresholdum it'll pick up as a a distress signal um from you and it'll beep back and say you know oh here I am or something of this sort .Project Manager: Mm-hmm . But sure surely that would have to be um sort of specificrather than above a threshold 'cause if you had a loud movie on you're likely to get it beeping back at you .User Interface: Mm-hmm .Industrial Designer: Oh yeah , yeah , that's true .User Interface: Mm-hmm.Industrial Designer: Well maybe you could have a um hmm {vocalsound} tha that would be a consideration to take into account yes . Um .Project Manager: Sorry I didn't mean to derail you there .{vocalsound}Industrial Designer: Yeah well tha that's uh for later down the road um , and then as for the user interface it should be trendy , um {vocalsound} and not computery ,User Interface: {vocalsound}IndustrialDesigner: right , so more low tech and not too many buttons .Project Manager: {vocalsound}User Interface: Mm-hmm .Industrial Designer: So I took these all into consideration and also I have some limitations fromthe boss .Project Manager: {vocalsound}Industrial Designer: Right um , and practical limitations which I kinda threw out the window .Project Manager: {vocalsound}Industrial Designer: And so I did a little research andunfortunately all I had to work on was our uh our corporate archives of the great products we've made before ,User Interface: {vocalsound}Industrial Designer: which include , you know , um space craft , coffee makers, and bullet trains {disfmarker} Or uh or a high speed train .Project Manager: Ah is that what that is ? {vocalsound}User Interface: {vocalsound}Industrial Designer: {vocalsound} Right and having personally workedwith all these products uh I have a great deal of experience with uh with industrial design of these .User Interface: {vocalsound}Project Manager: Well that's cool . If you if you can build space craft you'll have noproblem with a remote control , yeah .Industrial Designer: Right . So ,User Interface: Yeah sure .Industrial Designer: I figured , just put 'em all together .Project Manager: {vocalsound}Industrial Designer: You got a acaffeine powered space shuttle train transport to your T_V_ , and umUser Interface: {vocalsound}Project Manager: {vocalsound}Marketing: Hmm .Industrial Designer: as for the user interface problem , you know , toomany buttons . Give it one buttonUser Interface: {vocalsound}Industrial Designer: and and it's a {disfmarker} you know , for the the cowboy in all of us {gap}Marketing: {vocalsound}Project Manager:{vocalsound}Industrial Designer: {disfmarker} I I'm not quite sure what the the function is there but {disfmarker}Project Manager: Right okay . {vocalsound}User Interface: Well I like that design .{vocalsound}Industrial Designer: Yeah it's a g I mean you could have a you know a {disfmarker}Project Manager: Is that just switches on the speech recognition and it's entirely speech operated , is it ?IndustrialDesigner: Right . So I think I I missed the budget thing ,Project Manager: Yeah .User Interface: {vocalsound}Industrial Designer: it was fifty million Euros ?User Interface: {vocalsound}Project Manager: {vocalsound}Yeah .Industrial Designer: And we gotta sell twenty five of them ? Right . {vocalsound} Okay . {vocalsound}User Interface: Yeah , not a problem .Marketing: Fifty million was uh profProject Manager: Ah now it's fif fiftymillion Euros we've gotta uh we've g {vocalsound}Marketing: As a profit .User Interface: {vocalsound}Industrial Designer: Oh okay , so I I mixed those numbers .Project Manager: gotta make profit , so we're making"}
+{"doc_id":"doc_136","qid":"","text":"Grad C: Yeah , we had a long discussion about how much w how easy we want to make it for people to bleep things out . So {disfmarker} Morgan wants to make it hard .PhD D: It {disfmarker} it doesn't{disfmarker}Grad C: Did {disfmarker} did {disfmarker} did it {disfmarker} ? I didn't even check yesterday whether it was moving .PhD D: It didn't move yesterday either when I started it .Grad C: So .PhD D: So Idon't know if it doesn't like both of us {disfmarker}Grad C: Channel three ? Channel three ?PhD D: You know , I discovered something yesterday on these , um , wireless ones .Grad B: Channel two .Grad C: Mm - hmm?PhD D: You can tell if it 's picking up {pause} breath noise and stuff .Grad C: Yeah , it has a little indicator on it {disfmarker} on the AF .PhD D: Mm - hmm . So if you {disfmarker} yeah , if you breathe under{disfmarker} breathe and then you see AF go off , then you know {pause} it 's p picking up your mouth noise .PhD F: Oh , that 's good . Cuz we have a lot of breath noises .Grad C: Yep . Test .PhD F: In fact , if youlisten to just the channels of people not talking , it 's like \" @ @ \" . It 's very disgustGrad C: What ? Did you see Hannibal recently or something ?PhD F: Sorry . Exactly . It 's very disconcerting . OK . So , um ,Grad C:PhD F: I was gonna try to get out of here , like , in half an hour , um , cuz I really appreciate people coming , and {vocalsound} the main thing that I was gonna ask people to help with today is {pause} to give input onwhat kinds of database format we should {pause} use in starting to link up things like word transcripts and annotations of word transcripts , so anything that transcribers or discourse coders or whatever put in thesignal , {vocalsound} with time - marks for , like , words and phone boundaries and all the stuff we get out of the forced alignments and the recognizer . So , we have this , um {disfmarker} I think a starting point isclearly the {disfmarker} the channelized {pause} output of Dave Gelbart 's program , which Don brought a copy of ,Grad C: Yeah . Yeah , I 'm {disfmarker} I 'm familiar with that . I mean , we {disfmarker} I sort ofalready have developed an XML format for this sort of stuff .PhD F: um , which {disfmarker}PhD D: Can I see it ?Grad C: And so the only question {disfmarker} is it the sort of thing that you want to use or not ? Haveyou looked at that ? I mean , I had a web page up .PhD F: Right . So ,Grad C: So {disfmarker}PhD F: I actually mostly need to be able to link up , or {disfmarker} I it 's {disfmarker} it 's a question both of what therepresentation is and {disfmarker}Grad C: You mean , this {disfmarker} I guess I am gonna be standing up and drawing on the board .PhD F: OK , yeah . So you should , definitely .Grad C: Um , so {disfmarker} so itdefinitely had that as a concept . So tha it has a single time - line ,PhD F: Mm - hmm .Grad C: and then you can have lots of different sections , each of which have I Ds attached to it , and then you can refer from othersections to those I Ds , if you want to . So that , um {disfmarker} so that you start with {disfmarker} with a time - line tag . \" Time - line \" . And then you have a bunch of times . I don't e I don't remember exactlywhat my notation was ,PhD A: Oh , I remember seeing an example of this .Grad C: but it {disfmarker}PhD F: Right , right .PhD A: Yeah .Grad C: Yeah , \" T equals one point three two \" , uh {disfmarker} And then I{disfmarker} I also had optional things like accuracy , and then \" ID equals T one , uh , one seven \" . And then , {nonvocalsound} I also wanted to {disfmarker} to be i to be able to not specify specifically what the timewas and just have a stamp .PhD F: Right .Grad C: Yeah , so these are arbitrary , assigned by a program , not {disfmarker} not by a user . So you have a whole bunch of those . And then somewhere la further down youmight have something like an utterance tag which has \" start equals T - seventeen , end equals T - eighteen \" . So what that 's saying is , we know it starts at this particular time . We don't know when it ends .PhD F:OK .Grad C: Right ? But it ends at this T - eighteen , which may be somewhere else . We say there 's another utterance . We don't know what the t time actually is but we know that it 's the same time as this end time.PhD A: Mmm .Grad C: You know , thirty - eight , whatever you want .PhD A: So you 're essentially defining a lattice .Grad C: OK . Yes , exactly .PhD A: Yeah .Grad C: And then , uh {disfmarker} and then these alsohave I Ds . Right ? So you could {disfmarker} you could have some sort of other {disfmarker} other tag later in the file that would be something like , um , oh , I don't know , {comment} uh , {nonvocalsound} \" noise -type equals {nonvocalsound} door - slam \" . You know ? And then , uh , {nonvocalsound} you could either say \" time equals a particular time - mark \" or you could do other sorts of references . So {disfmarker} or{disfmarker} or you might have a prosody {disfmarker} \" Prosody \" right ? D ? T ? D ? T ? T ?PhD F: It 's an O instead of an I , but the D is good .Grad C: You like the D ? That 's a good D .PhD F: Yeah .Grad C: Um ,you know , so you could have some sort of type here , and then you could have , um {disfmarker} the utterance that it 's referring to could be U - seventeen or something like that .PhD F: OK . So , I mean , that seems{disfmarker} that seems g great for all of the encoding of things with time and ,Grad C: Oh , well .PhD F: um {disfmarker} I {disfmarker} I guess my question is more , uh , what d what do you do with , say , a forcedalignment ?PhD A: How - howPhD F: I mean you 've got all these phone labels , and what do you do if you {disfmarker} just conceptually , if you get , um , transcriptions where the words are staying but the timeboundaries are changing , cuz you 've got a new recognition output , or s sort of {disfmarker} what 's the , um , sequence of going from the waveforms that stay the same , the transcripts that may or may not change ,and then the utterance which {disfmarker} where the time boundaries that may or may not change {disfmarker} ?PhD A: Oh , that 's {disfmarker} That 's actually very nicely handled here because you could{disfmarker} you could {disfmarker} all you 'd have to change is the , {vocalsound} um , time - stamps in the time - line without {disfmarker} without , uh , changing the I Ds .PhD F: Um . And you 'd be able topropagate all of the {disfmarker} the information ?Grad C: Right . That 's , the who that 's why you do that extra level of indirection . So that you can just change the time - line .PhD A: Except the time - line is gonnabe huge . If you say {disfmarker}Grad C: Yes .PhD F: Yeah ,PhD A: suppose you have a phone - level alignment .PhD F: yeah , especially at the phone - level .PhD A: You 'd have {disfmarker} you 'd have{disfmarker}PhD F: The {disfmarker} we {disfmarker} we have phone - level backtraces .Grad C: Yeah , this {disfmarker} I don't think I would do this for phone - level . I think for phone - level you want to use somesort of binary representationPhD F: Um {disfmarker}Grad C: because it 'll be too dense otherwise .PhD F: OK . So , if you were doing that and you had this sort of companion , uh , thing that gets called up for phone -level , uh , what would that look like ?PhD A: WhyGrad C: I would use just an existing {disfmarker} an existing way of doing it .PhD F: How would you {disfmarker} ?PhD A: Mmm . But {disfmarker} but why not use itfor phone - level ?PhD F: H hPhD A: It 's just a matter of {disfmarker} it 's just a matter of it being bigger . But if you have {disfmarker} you know , barring memory limitations , or uh {disfmarker} I w I mean this isstill the mGrad C: It 's parsing limitations . I don't want to have this text file that you have to read in the whole thing to do something very simple for .PhD A: Oh , no . You would use it only {pause} for {pause}purposes where you actually want the phone - level information , I 'd imagine .PhD F: So you could have some file that configures how much information you want in your {disfmarker} in your XML or something .GradC: Right . I mean , you 'd {disfmarker} yPhD F: Um ,PhD A: You {disfmarker}Grad C: I {disfmarker} I am imagining you 'd have multiple versions of this depending on the information that you want .PhD F: cuz th itdoes get very bush with {disfmarker} Right .Grad C: Um , I 'm just {disfmarker} what I 'm wondering is whether {disfmarker} I think for word - level , this would be OK .PhD F: Yeah .Grad C: For word - level , it 'salright .PhD F: Yeah . Definitely .PhD A: Mm - hmm .Grad C: For lower than word - level , you 're talking about so much data that I just {disfmarker} I don't know . I don't know if that {disfmarker}PhD F: I mean , weactually have {disfmarker} So , one thing that Don is doing , is we 're {disfmarker} we 're running {disfmarker} For every frame , you get a pitch value ,PhD D: Lattices are big , too .PhD F: and not only one pitch valuebut different kinds of pitch valuesGrad C: Yeah , I mean , for something like that I would use P - filePhD F: depending on {disfmarker}Grad C: or {disfmarker} or any frame - level stuff I would use P - file .PhD F:Meaning {disfmarker} ?Grad C: Uh , that 's a {disfmarker} well , or something like it . It 's ICS uh , ICSI has a format for frame - level representation of features . Um .PhD F: OK . That you could call {disfmarker} thatyou would tie into this representation with like an ID .Grad C: Right . Right . Or {disfmarker} or there 's a {disfmarker} there 's a particular way in XML to refer to external resources .PhD F: And {disfmarker} OK .GradC: So you would say \" refer to this external file \" . Um , so that external file wouldn't be in {disfmarker}PhD F: So that might {disfmarker} that might work .PhD D: But what {disfmarker} what 's the advantage of doingthat versus just putting it into this format ?Grad C: More compact , which I think is {disfmarker} is better .PhD D: Uh - huh .Grad C: I mean , if you did it at this {disfmarker}PhD F: I mean these are long meetings andwith {disfmarker} for every frame ,Grad C: You don't want to do it with that {disfmarker} Anything at frame - level you had better encode binaryPhD F: um {disfmarker}Grad C: or it 's gonna be really painful .PhD A:Or you just compre I mean , I like text formats . Um , b you can always , uh , G - zip them , and , um , you know , c decompress them on the fly if y if space is really a concern .PhD D: Yeah , I was thi I was thinking theadvantage is that we can share this with other people .Grad C: Well , but if you 're talking about one per frame , you 're talking about gigabyte - size files . You 're gonna actually run out of space in your filesystem forone file .PhD F: These are big files . These are really {disfmarker} I mean {disfmarker}Grad C: Right ? Because you have a two - gigabyte limit on most O Ss .PhD A: Right , OK . I would say {disfmarker} OK , so frame- level is probably not a good idea . But for phone - level stuff it 's perfectly {disfmarker}PhD F: And th it 's {disfmarker}PhD A: Like phones , or syllables , or anything like that .PhD F: Phones are every five framesthough , so . Or something like that .PhD A: But {disfmarker} but {disfmarker} but most of the frames are actually not speech . So , you know , people don't {disfmarker} v Look at it , words times the average{disfmarker} The average number of phones in an English word is , I don't know , {comment} five maybe ?PhD F: Yeah , but we actually {disfmarker}PhD A: So , look at it , t number of words times five . That 's not{disfmarker} that not {disfmarker}PhD F: Oh , so you mean pause phones take up a lot of the {disfmarker} long pause phones .PhD A: Exactly .Grad C: Yep .PhD A: Yeah .PhD F: Yeah . OK . That 's true . But you dohave to keep them in there . Y yeah .Grad C: So I think it {disfmarker} it 's debatable whether you want to do phone - level in the same thing .PhD F: OK .Grad C: But I think , a anything at frame - level , even P - file ,is too verbose .PhD F: OK . So {disfmarker}Grad C: I would use something tighter than P - files .PhD F: Do you {disfmarker} Are you familiar with it ?Grad C: So .PhD F: I haven't seen this particular format ,PhD A: Imean , I 've {disfmarker} I 've used them .PhD F: but {disfmarker}PhD A: I don't know what their structure is .PhD F: OK .PhD A: I 've forgot what the strPhD D: But , wait a minute , P - file for each frame is storing avector of cepstral or PLP values ,Grad C: It 's whatever you want , actually .PhD D: right ? Right .Grad C: So that {disfmarker} what 's nice about the P - file {disfmarker} It {disfmarker} i Built into it is the concept of{pause} frames , utterances , sentences , that sort of thing , that structure . And then also attached to it is an arbitrary vector of values . And it can take different types .PhD F: Oh .Grad C: So it {disfmarker} th theydon't all have to be floats . You know , you can have integers and you can have doubles , and all that sort of stuff .PhD F: So that {disfmarker} that sounds {disfmarker} that sounds about what I wGrad C: Um . Right ?And it has a header {disfmarker} it has a header format that {pause} describes it {pause} to some extent . So , the only problem with it is it 's actually storing the {pause} utterance numbers and the {pause} framenumbers in the file , even though they 're always sequential . And so it does waste a lot of space .PhD A: Hmm .Grad C: But it 's still a lot tighter than {disfmarker} than ASCII . And we have a lot of tools already to dealwith it .PhD F: You do ? OK . Is there some documentation on this somewhere ?Grad C: Yeah , there 's a ton of it . Man - pages and , uh , source code , and me .PhD F: OK , great . So , I mean , that sounds good . I{disfmarker} I was just looking for something {disfmarker} I 'm not a database person , but something sort of standard enough that , you know , if we start using this we can give it out , other people can work on it,Grad C: Yeah , it 's not standard .PhD F: or {disfmarker} {comment} Is it {disfmarker} ?Grad C: I mean , it 's something that we developed at ICSI . But , uh {disfmarker}PhD F: But it 's {pause} been used hereGradC: But it 's been used herePhD F: and people 've {disfmarker}Grad C: and {disfmarker} and , you know , we have a {pause} well - configured system that you can distribute for free , and {disfmarker}PhD D: I mean ,it must be the equivalent of whatever you guys used to store feat your computed features in , right ?PhD F: OK .PhD A: Yeah , th we have {disfmarker} Actually , we {disfmarker} we use a generalization of the{disfmarker} the Sphere format .PhD D: Mmm .PhD A: Um , but {disfmarker} Yeah , so there is something like that but it 's , um , probably not as sophistGrad C: Well , what does H T K do for features ?PhD D: And Ithink there 's {disfmarker}Grad C: Or does it even have a concept of features ?PhD A: They ha it has its own {disfmarker} I mean , Entropic has their own feature format that 's called , like , S - SD or some so SF orsomething like that .PhD F: Yeah .Grad C: I 'm just wondering , would it be worth while to use that instead ?PhD D: Yeah .PhD A: Hmm ?PhD F: Yeah . Th - this is exactly the kind of decision {disfmarker} It 's justwhatever {disfmarker}PhD D: But , I mean , people don't typically share this kind of stuff , right ?PhD A: Right .Grad C: They generate their own .PhD D: I mean {disfmarker} Yeah .PhD F: Actually , I {disfmarker} Ijust {disfmarker} you know , we {disfmarker} we 've done this stuff on prosodics and three or four places have asked for those prosodic files , and we just have an ASCII , uh , output of frame - by - frame .Grad C: Ah ,right .PhD F: Which is fine , but it gets unwieldy to go in and {disfmarker} and query these files with really huge files .Grad C: Right .PhD F: I mean , we could do it . I was just thinking if there 's something that{disfmarker} where all the frame values are {disfmarker}Grad C: And a and again , if you have a {disfmarker} if you have a two - hour - long meeting , that 's gonna {disfmarker}PhD F: Hmm ? They 're {disfmarker}they 're fair they 're quite large .Grad C: Yeah , I mean , they 'd be emo enormous .PhD F: And these are for ten - minute Switchboard conversations ,Grad C: Right .PhD F: and {disfmarker} So it 's doable , it 's justthat you can only store a feature vector at frame - by - frame and it doesn't have any kind of ,PhD D: Is {disfmarker} is the sharing part of this a pretty important {pause} considerationPhD F: um {disfmarker}PhD D:or does that just sort of , uh {disfmarker} a nice thing to have ?PhD F: I {disfmarker} I don't know enough about what we 're gonna do with the data . But I thought it would be good to get something that we can{disfmarker} that other people can use or adopt for their own kinds of encoding . And just , I mean we have to use some we have to make some decision about what to do .Grad C: Yeah .PhD F: And especially for theprosody work , what {disfmarker} what it ends up being is you get features from the signal , and of course those change every time your alignments change . So you re - run a recognizer , you want to recompute yourfeatures , um , and then keep the database up to date .Grad C: Right .PhD F: Or you change a word , or you change a {vocalsound} utterance boundary segment , which is gonna happen a lot . And so I wantedsomething where {pause} all of this can be done in a elegant way and that if somebody wants to try something or compute something else , that it can be done flexibly . Um , it doesn't have to be pretty , it just has tobe , you know , easy to use , and {disfmarker}Grad C: Yeah , the other thing {disfmarker} We should look at ATLAS , the NIST thing ,PhD F: Oh .PhD A: Mmm .Grad C: and see if they have anything at that level .PhDF: Uh {disfmarker}Grad C: I mean , I 'm not sure what to do about this with ATLAS , because they chose a different route . I chose something that {disfmarker} Th - there are sort of two choices . Your {disfmarker}your file format can know about {disfmarker} know that you 're talking about language {pause} and speech , which is what I chose , and time , or your file format can just be a graph representation . And then theapplication has to impose the structure on top . So what it looked like ATLAS chose is , they chose the other way , which was their file format is just nodes and links , and you have to interpret what they mean yourself.PhD F: And why did you not choose that type of approach ?Grad C: Uh , because I knew that we were doing speech , and I thought it was better if you 're looking at a raw file to be {disfmarker} t for the tags to say \" it's an utterance \" , as opposed to the tag to say \" it 's a link \" .PhD F: OK . OK .Grad C: So , but {disfmarker}PhD F: But other than that , are they compatible ? I mean , you could sort of {disfmarker}Grad C: Yeah , they're reasonably compatible .PhD F: I mean , you {disfmarker} you could {disfmarker}PhD D: You could probably translate between them .Grad C: Yep .PhD F: Yeah , that 's w So ,Grad C: So , well , the other thing is ifwe choose to use ATLAS , which maybe we should just do , we should just throw this out before we invest a lot of time in it .PhD F: OK . I don't {disfmarker} So this is what the meeting 's about ,Grad C: Yeah .PhD F:just sort of how to {disfmarker} Um , cuz we need to come up with a database like this just to do our work . And I actually don't care , as long as it 's something useful to other people , what we choose .Grad C: Yeah.PhD F: So maybe it 's {disfmarker} maybe oth you know , if {disfmarker} if you have any idea of how to choose , cuz I don't .Grad C: The only thing {disfmarker} Yeah .PhD A: Do they already have tools ?Grad C: Imean , I {disfmarker} I chose this for a couple reasons . One of them is that it 's easy to parse . You don't need a full XML parser . It 's very easy to just write a Perl script {pause} to parse it .PhD A: As long as uh eachtag is on one line .Grad C: Exactly . Exactly . Which I always do .PhD F: And you can have as much information in the tag as you want , right ?Grad C: Well , I have it structured . Right ? So each type tag has onlyparticular items that it can take .PhD F: Can you {disfmarker} But you can add to those structures if you {disfmarker}Grad C: Sure . If you have more information . So what {disfmarker} What NIST would say is thatinstead of doing this , you would say something like \" link {nonvocalsound} start equals , um , you know , some node ID ,PhD F: Yeah . So {disfmarker}Grad C: end equals some other node ID \" , and then \" type \"would be \" utterance \" .PhD A: Hmm .Grad C: You know , so it 's very similar .PhD F: So why would it be a {disfmarker} a waste to do it this way if it 's similar enough that we can always translate it ?PhD D: It probablywouldn't be a waste . It would mean that at some point if we wanted to switch , we 'd just have to translate everything .Grad C: Write a translator . But it se Since they are developing a big {disfmarker}PhD F: But it{disfmarker} but that sounds {disfmarker}PhD D: But that 's {disfmarker} I don't think that 's a big deal .PhD F: As long as it is {disfmarker}Grad C: they 're developing a big infrastructure . And so it seems to me that"}
+{"doc_id":"doc_137","qid":"","text":"Project Manager: Excellent . So um I sent you the agenda , it was on the {disfmarker} in the project documents . I don't know if you got a chance to just have a look at it . Anyway , it's {disfmarker} the meeting'sgonna follow more or less the same structure as last time , so we'll go round each of you in turn and you can give your presentations on what you've been up to . Um and at the end of that we need to discuss whatyou've come up with , so that we can make a decision on the key remote control concepts , so that's {disfmarker} we need to know about the components' properties , materials , the user interface and any trends thatthe Marketing Expert has been watching .Industrial Designer: {vocalsound} Right .Project Manager: Okay . Um , do you wanna start again ?Industrial Designer: {vocalsound} Okay .Project Manager: Let me{disfmarker}Industrial Designer: Right s {vocalsound}Project Manager: we've got forty minutes .Industrial Designer: so I haven't made a PowerPoint presentation ,Project Manager: {vocalsound} You haven't made aPowerPoint , okay .Industrial Designer: yeah , I I thought I'll use the whiteboard instead .Project Manager: Mm-hmm .Industrial Designer: Um mm , {vocalsound}Project Manager: Let's hope the pen holds out .{vocalsound}Marketing: {vocalsound}Industrial Designer: okay , so basically I'll start off by {disfmarker} uh {vocalsound} I thought I'll use the whiteboard because we have so many different options and what we cando is that we can start um uh rubbing off the options that we do not require and putting in the options that uh are m or highlighting or underlining them or something like that .Project Manager: Mm-hmm .IndustrialDesigner: Okay , so uh I'll start again with a brief introduction to {disfmarker} connect that anyway {disfmarker} brief introduction to the insides of a remote controlProject Manager: Yeah .Industrial Designer: and uhthen we can probably uh discuss the various components . Yeah . Okay , so w what you see here is {disfmarker} so {vocalsound} this is the outside of the remote , right ? If you open it , you have a circuit board here ,right ,Project Manager: Mm-hmm .Industrial Designer: and this is the chip that I was talking about last time . This basically sends information to a tr uh transistor here , which then uh sends the information to anL_E_D_ device here . If you flip the printed circuit board , and this is th the most important point here ,Project Manager: Mm-hmm .Industrial Designer: uh {vocalsound} everything else is kind of {disfmarker} Okay ,so if you flip the circuit board , this is what it looks like . So you see for example a particular button attaches to a particular place on the P_C_B_ and uhProject Manager: Yeah .Industrial Designer: on pressing thisbutton I {disfmarker} a circuit completes , the information goes to the chip , which is somewhere here and the chip that tra then translates the code into an infra infrared radiation , which goes goes out through there .{vocalsound} So uh the important point that I read over the website was uh that the configurations of these printed circuit circuit boards uh are quite cheap to make , you can ge get them printed as you want to,Project Manager: Mm-hmm .Industrial Designer: so w we can have a configuration um irrespective of the cost , the way we want to have . Right ? So that's the important point here ,Project Manager: Mm-hmm.Industrial Designer: so these are the different options that we have . Okay . So the batteries , I'll start with the battery , right ?Project Manager: Mm-hmm .Industrial Designer: So they can be simple which is like uhthe normal batteries in uh our {disfmarker} uh the cells , yeah ?Project Manager: Yeah .Industrial Designer: Uh thes these are the kind {disfmarker} different kind of batteries that the company makes , right ? So . Anddynamos . Um {vocalsound}Marketing: Does that mean like a wind-up one ?Industrial Designer: yeah , yeah .Marketing: {vocalsound} A wind-up remote .Industrial Designer: So uh I don't know if {disfmarker} even ifyou want to consider this ,User Interface: {vocalsound}Industrial Designer: but these are the different things that the company makes , so th they'll they'll {disfmarker}Project Manager: Okay .Industrial Designer:since uh they'll come internally from the company , they'll be eas uh cheaper , uh all these options .Project Manager: Mm-hmm .Industrial Designer: So {vocalsound} the third one is uh the kinetic energy ones.Marketing: You could make the hand dynamo into an exercise bike , and then people could exercise whilst watching T_V_ .Industrial Designer: Yeah .Project Manager: And charging their remote ,Marketing: Yeah , andstop worrying about the whole R_S_I_ from the remote thing , 'cause that's just {disfmarker}Project Manager: yeah .User Interface: {vocalsound}Industrial Designer: {vocalsound} {vocalsound} Yeah , it's a goodoption .Project Manager: {vocalsound}User Interface: {vocalsound} So what was what was this k kaIndustrial Designer: The the kinetic energy one is uh that e uh uh they are usually modern watches , since our handkeeps moving , it keeps the watch ticking .User Interface: Okay .Project Manager: Uh yeah .Industrial Designer: But I dunno i if it is a good idea for a remote control , because it'll just lie there for a long whilesometimes .Project Manager: Mm-hmm . For a remote , 'cause you {disfmarker} Yeah .Industrial Designer: But as soon as you pick it up it moves and then again it uh re recharges or something .User Interface:Mm-hmm .Project Manager: Yeah .Industrial Designer: And the fourth option is the solar cells , which are also {vocalsound} made by the company .Marketing: Yay .User Interface: {vocalsound}Industrial Designer:Environment friendly . Okay {vocalsound} um so I'll list things and then we can come back and discuss what what we think from uh everybody's perspective .Project Manager: Yeah {vocalsound} .Industrial Designer:There are different cases that can be provided . They can be {disfmarker} basically the shape of the cases , they can be flat , they can be curved with uh one-sided curved and one side flat ,Project Manager: Mm-hmm.Industrial Designer: and they can be curved with {disfmarker} on both the sides .Project Manager: Mm-hmm .Industrial Designer: {vocalsound} These are the three options , right ? Um {vocalsound}{disfmarker}User Interface: {vocalsound} Um you mean this would be like the the overall shape of the remote control , yeah ,Industrial Designer: Yeah , would it be flat on both the sides , would be curved from oneside , or whatever {disfmarker} {vocalsound}User Interface: mm-hmm . Yeah , mm-hmm , mm-hmm .Project Manager: Mm-hmm .User Interface: Mm-hmm mm-hmm .Industrial Designer: uh there were different kindof supplements available , um like it can be in plastic , rubber , wood , or titanium , right ?Project Manager: Mm-hmm . Okay .Industrial Designer: Wo wo wood .Marketing: Did you say wool ?Project Manager: Wood ,wood .Marketing: Wood . Oh right .User Interface: {vocalsound}Industrial Designer: Yeah . {vocalsound} Not wool . {vocalsound}Marketing: {vocalsound} .Project Manager: {vocalsound} A fluffy remote .{vocalsound}Marketing: Yeah , you'll understand why when we get to my presenta {vocalsound} .Industrial Designer: Oh really ? {vocalsound} Okay . Um the {disfmarker}Project Manager: Huh .Industrial Designer:so uh we can use even um {vocalsound} a certain titanium is also used uh in the company to make uh {vocalsound} uh some space design equipment , so it's kind of um uh it'll be probably nicer to use , because itrelates to the overall image of the company , but uh it cannot be used on a double curved surface . If we choose this , we cannot use titanium . For for these two we can use titanium , wood , rubber , or plastic .ProjectManager: Mm .Industrial Designer: Yeah ?Project Manager: Mm-hmm .Industrial Designer: Uh okay , the interface options now . So {vocalsound} we can have push-buttons , like most remotes do and our company isan expert in making push-buttons .Project Manager: {vocalsound}User Interface: {vocalsound}Industrial Designer: Ooh . Uh we can have scroll wheels like the ones on um uh mouse pointers uh uh{disfmarker}Marketing: Sony .Project Manager: Mm-hmm .Marketing: Sony Ericsson mobile phones has it .Industrial Designer: Yeah , yeah , something like that .Marketing: Mm .Industrial Designer: {vocalsound} So ,and they have {disfmarker} they can even have an an integrated uh push-button inside the scrolling thing .Project Manager: Okay .Industrial Designer: The scroll plus push . So this is something that has been recentlydeveloped by the company , um {vocalsound} in the last decade , so not too recent . And L_C_D_s , we can have L_C_D_s . So these two are recent and and this is q quite old .Project Manager: Mm-hmm .IndustrialDesigner: {vocalsound} The various electronic options are um uh {vocalsound} so th this concerns firs first of all the the chips I I showed you at uh {disfmarker} so there's there's a chip behind this one , right ? TheP_C_B_ is uh inexpensive , so we can put put in uh whatever we want , but the various integrated circuit options are , we have either a simple oneProject Manager: Mm-hmm .Industrial Designer: or a regular oradvanced . And uh the price goes up as we go down , obviously .Project Manager: Mm-hmm .Industrial Designer: Um {vocalsound} okay , so the good thing about uh wh wh why why we would want to use advanced uwhy we might want to use advanced is that L_C_D_s can only come with the advanced chip .Project Manager: Mm-hmm .Industrial Designer: Um the {disfmarker} we need regular or advanced for uh scroll wheels .Right ? Um {vocalsound} and the chip basically includes the infra infrared sender .Project Manager: Mm-hmm .Industrial Designer: Yeah . Uh besides this in electr under electronics uh also the company has startedmaking a sample sender , which is {vocalsound} {disfmarker} did not explained what i what it was , but I'm guessing that uh {vocalsound} {disfmarker} so they have a sample sender and a sample speaker . So I'mguessing that uh the sample speaker is probably something like um uh you know , as soon as you press a button , it it mm uh give gives you feedback , one five or whatever . Yeah , on .Project Manager: Mm-hmm.Industrial Designer: Um {vocalsound} and uh I dunno whether sample sender sender has to do something with voice recognition or not , but anyway .Project Manager: Mm-hmm .Industrial Designer: So , these are thedifferent options that we have . Okay , so {vocalsound} th that's that's basically {disfmarker} now now uh I think that uh we can integrate um {vocalsound} uh you know , uh the user interface uh and uh the marketingthings in that , keep uh taking out things from this and uh underlining things that are important , yeah .Project Manager: Yeah .User Interface: {vocalsound}Project Manager: Mm-hmm . Excellent . Do you wanna staysomewhere near the board , so that if we need to {disfmarker}User Interface: Okay .Industrial Designer: Yeah , yeah , sure . Sure . Yeah .Project Manager: you can sit down , but just {disfmarker} {vocalsound} wemight need you to leap up .User Interface: {vocalsound} Okay .Project Manager: What are you , PowerPoint , or {disfmarker}User Interface: Um I have some PowerPoint , yeah .Industrial Designer: Right .ProjectManager: Okay .User Interface: Oh . {vocalsound}Marketing: {vocalsound}Project Manager: Do you think these pens can give you cancer of the hand ?User Interface: 'Kay .Project Manager: Some sort of radiation?Industrial Designer: {vocalsound}Marketing: No it's got its little camera in there , {vocalsound} plug it in {gap} .Project Manager: Yeah .User Interface: Okay .Industrial Designer: Yeah , it should should do it . Yeah.Marketing: 'S aProject Manager: Right , interface concept .User Interface: Okay . Um to be honest actually , I mentioned some some of the things which which could fit on the on the {disfmarker} this talk um this time, I m I mentioned them already in the previous talk .Project Manager: That's fine .User Interface: So um yeah , this time um I might not have them on the slides but I {vocalsound} I can just mention them aw again.Project Manager: Mm-hmm .User Interface: Okay . So um I thought um I would also include the definition of user interface um so it's the aspects of a of of a computer system or programme which can be seen uh bythe user um and and which {disfmarker} uh the mechanisms that the user uses to control its operation and input data . So this would p includes things like shape and size and buttons and um voice recognition as well ,and colour , and so on .Project Manager: Mm-hmm .User Interface: Um um the method I {vocalsound} employed this time was {vocalsound} a again having a look to related products and mainly on the internet andthen {vocalsound} um {vocalsound} analyse them uh from the point of view of user fen friendliness and {vocalsound} also um {vocalsound} whether their appearance was was pleasant . Um {vocalsound} and thenum {vocalsound} this uh this um {vocalsound} this can help us to decide which features we want to incorporate in our product .Project Manager: Mm-hmm .User Interface: So some findings um {vocalsound} um . Soin in the case of many user interfaces , they're just so full of buttons that it's actually uh hard to find the ones you you really um want to use and um and it's just confusing , it takes y know time to learn . Um{vocalsound} okay , and I thought I would just quickly show some of them that I found . Okay , some of them are here .Project Manager: {vocalsound}User Interface: Um {vocalsound} well the picture is not very clear, but as you can see , there are actu oi , oh oh oh , {vocalsound}Project Manager: {vocalsound}User Interface: sorry for that . 'S go back .Industrial Designer: {vocalsound} That's nice one .User Interface: Ah , no ,please . Okay , so yeah , they're quite big and have many many buttons . Actually {vocalsound} of the {disfmarker} of all these I personally p prefer this one , because it's it's the smallest and and with with least{disfmarker} uh with the smallest number of buttons as well . And I would say even the appearance of some of them is kind of not so nice .Marketing: Ugly .Project Manager: Mm .User Interface: {vocalsound} Um okay. So let's carry on with this . Um {disfmarker} So uh um o other findings {disfmarker} um some new things um used , uh some of them were mentioned already by our Technical um Designer uh . {vocalsound} Ourown company has developed a new in user interface {disfmarker} uh wait , no this is not the one . Okay , there is a {disfmarker} {vocalsound} we can uh include voice recognition and um it allows {disfmarker} i it'spossible to record eighty different voice samples on it .Industrial Designer: Mm .Project Manager: Mm-hmm .User Interface: Uh so uh this uh this one was already mentioned uh the L_C_ display .Project Manager: It's{disfmarker} yeah .User Interface: Um s another new development is a scroll button , which was also th also already mentioned . And uh our own manufacturing division ha has uh designed {vocalsound} a new um{vocalsound} {vocalsound} uh programmable speech uh {vocalsound} mm sorry uh speaker unit I guess it's {disfmarker} it should be .Project Manager: Yeah .User Interface: Um and this means that um once uh uh itit it comes together with a voice recognition , but it's {disfmarker} once once the mm {vocalsound} um gadget uh recognises uh the voice of the speaker , there can be a um pre-programmed answer , for example ,you can pick up the remote control and say something to it like hello and it says some hello and your name or whatever .Project Manager: Uh-huh , hi {vocalsound} yeah .Industrial Designer: Mm .User Interface: So{vocalsound} I mean this is also one of the n dev new developments which we might consider if we wanted to include .Industrial Designer: Uh sorry , uh can you go back for a second ? Um {vocalsound} uh are yousure wha what this means , a spinning wheel with the L_C_ display ? Uh {vocalsound} oh yeah are thProject Manager: It's like the {disfmarker} like you said , no ? The scroll scroll wheel .Marketing: Yeah , you can't{disfmarker}User Interface: No no , the scroll button is a different thing . I I have a picture if you {vocalsound} {disfmarker} just a moment , I'll {vocalsound} I'll show you . I wasn't completely sure myself , but Ithink it's just like um {vocalsound} it's it's a wheel , it's like not separate buttons .Industrial Designer: {vocalsound} Oh okay , the iPod thing , yeah .User Interface: Look , this one here .Marketing: Oh , it's like the iPod.User Interface: But I'm I'm not really sure whether whether you can really turn it round ,Marketing: G yeah , no , you can .User Interface: it's like you press this or this or {disfmarker}Industrial Designer: Uh it's theiPod uh kind of uh {disfmarker}Marketing: It's like it's like where you {disfmarker} you know how you have your your mouse , and y you go round and i it's kind of like that and you spin roundProject Manager:{vocalsound} Uh-huh .Industrial Designer: Alright , right . Okay , okay .Marketing: and it {disfmarker} yeah . It is {disfmarker}Industrial Designer: So instead of going down you just spin {disfmarker} yeah , yeah.Marketing: You just go roundProject Manager: Mm-hmm .Marketing: and it is a bit weird at first , but it's actually very like fast .Industrial Designer: Uh-huh .Marketing: I like the the wheels that click on the side youyou get 'em much slower ,Project Manager: Mm-hmm .Marketing: so it's quite good if you like searching quite a lot of stuff .Industrial Designer: Right .Marketing: Do you know , if you're lookin if you're th scrollingthrough the A_ to Z_ of your music and you're looking for something at T_ , then it's a lot faster than the wheel ,Project Manager: Mm-hmm .User Interface: Uh-huh .Industrial Designer: Mm-hmm .Marketing: butyou've got a lot less control over it .Industrial Designer: Right . So maybe I should include that here as well ,Project Manager: Mm-hmm .User Interface: Mm .Project Manager: Yeah .Industrial Designer: L_C_D_s umplus spinning .User Interface: {vocalsound} Uh {disfmarker}Project Manager: Yeah .User Interface: Okay , and the personal preferences are pretty much the same as as as last time .Project Manager: Mm-hmm .UserInterface: It {vocalsound} it has to be small , simple . Okay , we decided to include voice recognition , so to have the standard uh major buttons like on , off , um ch the channels and and then um volume and then therest would be a menu on the screen . Um and I I also thought uh {vocalsound} if we want to keep it small and nice um and actually I I quite like the idea of a scroll a scrolling button , I thought it could be for for voicelike , I dunno , it mm like on a um i like it used to be on Walkmans or something . There is {vocalsound} uh I think there is no reason why we couldn't use something like this for for the remote control .IndustrialDesigner: Mm-hmm .Project Manager: Mm-hmm .User Interface: So yeah , that's uh that's it .Project Manager: Excellent . Okay , straight to trends , and then we can discuss it all at once .Industrial Designer: Right.Marketing: Okay , I've put the copy of the presentation in um the {disfmarker}Project Manager: The project documents .Marketing: yeah .Project Manager: Excellent . If you two could both do that as well , in case weneed to refer to it .Industrial Designer: Mm-hmm .Marketing: Cool .Project Manager: Here it comes . Okay .Marketing: Fabulous . Okay , cool . Um so what I did was to search the internet to come up with market trendsand you know what users are gonna be wanting in the the near future .Project Manager: Mm-hmm .Marketing: Okay . Right . Now , the first aspect is apparently twice as important as the second aspect , which is twiceas important as the third a aspect . So , I mean the the easy to use thing is fairly low down on the {disfmarker}Project Manager: Okay .Industrial Designer: Mm-hmm .Marketing: which I think given the target group iswhat you would expect , really .Project Manager: Mm-hmm .Marketing: Um , you know , people want something new , something technologically innovative and different , so the whole idea with the L_C_D_s and thespinning and the colours and the voice recognition is quite like , quite the thing to go for .Industrial Designer: Okay .Marketing: And um , yeah it wants to look fancy , fancy look and feel .Project Manager: Mm-hmm.Industrial Designer: So um {vocalsound} uh maybe uh as you're discussing things , is it okay if we just uh keep highlighting things here ?Marketing: So {disfmarker}Project Manager: Yeah , yeah , sure . Yeah.Marketing: Yeah , yeah .Industrial Designer: Right . So mm uh so it {vocalsound}Project Manager: That's over on the interface ,Industrial Designer: {disfmarker} yeah ,Project Manager: if if you could put"}
+{"doc_id":"doc_138","qid":"","text":"User Interface: .. .Project Manager: Okay . So , this is uh first meeting of this design project . Um and I um like to show you the agenda for the meeting , I don't know if it was sent round to all of you .User Interface:Mm , yeah .Project Manager: Maybe not . Anyway ,User Interface: I didn't receive it yet {vocalsound} .Project Manager: this is the the plan for today's meeting is um firstly just to introduce the project briefly , umalthough I'm sure you've actually got some of the information already . Then the main purpose is to {disfmarker} so that we get to know each other a little bit more .Industrial Designer: Mm-hmm .Project Manager: Umthen we want to practice using some of the tools that we'll be using during the the course of the design project and the meetings , um specifically the whiteboard over there . Um then we need to go through the specificsof our project plan um and discuss {disfmarker} come up with some preliminary ideas about it . And then that's it . So we've got twenty five minutes to do that , that's until eleven twenty five .Industrial Designer:{vocalsound} {gap} so shProject Manager: S so any any questions ?Industrial Designer: {gap} {vocalsound} {gap} .Project Manager: Is i {gap} not at this point .User Interface: Not at this point .Project Manager: Sothis is our project . What we're aiming to do is to create a new remote control for a television . Um we want it to be something original , something trendy and also something user friendly , so it has to be quite intuitivethat people are able to use this product . The method that we're going to use to complete the project , that has three components as such . There's the functional design of the the remote control . We're going{disfmarker} the way we'll do that I think is to to work individually initially and then come together for meetings to to work on that . Um similarly with the conceptual design , we'll start off by working individually withour own expertise on our own laptops and then we'll bring what we've done together . Um and then the detailed design will come after that . We'll pull it all together .Industrial Designer: I'm a bit confused about uhwhat's the difference between the functional design and conceptual design ? Uh i is it just uh more detail , uh as I understand it ?Project Manager: I think it {disfmarker} th w we're talking the the functional design ismore your um area of things where you'll be {disfmarker} we want to look at what functions we need in the remote controlIndustrial Designer: Right .Project Manager: and what what specific things it it has todoIndustrial Designer: {gap}Project Manager: but the conceptual design is um perhaps bigger than that and includes the {disfmarker} how people are going to use it and and that kind of thing .Industrial Designer: Howhow it will be done . So whe where do we identify the components of our uh product ? Uh I think it's it's in the conceptual design phase that we identify the {disfmarker} it's in the conceptual design phase that weidentify the components of our product ?Project Manager: Um I think we'll we'll start that initially with the functional design already but thenIndustrial Designer: Okay .Project Manager: {disfmarker} yeah . Okay , sothat's just a brief overview of the p the the project itself . Um what I'd like us to do now is simultaneously introduce ourselves and start using some of the tools that we're using for {vocalsound} for the project ,specifically the whiteboard .Industrial Designer: Hmm .Project Manager: So each person in turn , I'd like us to go up to the whiteboard , the pen's just underneath it there and draw your favourite animal and then telleveryone what the f your favourite characteristics of that animal are and while you're doing that tell us your name , what your role is and perhaps how your animal relates to the role that you're taking in this project .{vocalsound}Industrial Designer: {vocalsound}Marketing: Why are you looking at me ?User Interface: {vocalsound}Marketing: {vocalsound}Project Manager: Would you like to go first ? {vocalsound}Marketing:{vocalsound} Do I have a choice ? {vocalsound}Industrial Designer: {vocalsound}Marketing: Okay . Ooh ooh , things falling everywhere .Project Manager: Oh , yeah ,Marketing: Right , okay .Project Manager: p putthem in pockets .Marketing: Cool . Okay .Project Manager: You don't have to hurry , we've got plenty of time .Marketing: So , my name's Cat and I'm really not very good at this whole drawing malarkeyIndustrialDesigner: {vocalsound}Project Manager: {vocalsound}Marketing: so um {disfmarker}User Interface: {vocalsound}Marketing: Okay .User Interface: {vocalsound}Industrial Designer: {vocalsound}Project Manager: It'sgot no eyes .Marketing: Oh , good point . Ah , the eyes always ruin it . Right . Okay , what do {gap} it's eyes like ? Okay , cool . Um this is a rabbit . {vocalsound}Industrial Designer: {vocalsound}Project Manager:{vocalsound} I thought it might be a cat . {vocalsound}User Interface: {vocalsound} Yeah well origi uh at first I thought it was going to be cat . {vocalsound}Industrial Designer: {vocalsound}Project Manager:{vocalsound}Marketing: Yeah , I don't think it's furry enough , so we'll make it a fluffy rabbit .User Interface: Yeah now I now I understand now , yeah . {vocalsound}Industrial Designer: {vocalsound}Project Manager:{vocalsound} Yeah I can see by the ears .User Interface: Yeah .Marketing: Okay , right , it's a fluffy rabbit , blue .Industrial Designer: {vocalsound}Marketing: Rabbits don't come in blue but you know .IndustrialDesigner: {vocalsound}Marketing: Um okay and I like it because it's small {vocalsound} and it's fluffy .Project Manager: {vocalsound}Industrial Designer: {gap}Project Manager: Mm .Industrial Designer:{vocalsound}User Interface: {vocalsound}Marketing: And one day you'll be able to getical genetically modify them and they will come in pink .Industrial Designer: {vocalsound}Project Manager: {vocalsound}UserInterface: Ah . {vocalsound}Marketing: {vocalsound} Okay ?Industrial Designer: Mm .Project Manager: Excellent , and what's your what's your role within the team ?Marketing: I am the um {disfmarker} I need mynotebook , mm ooh {vocalsound}Industrial Designer: {vocalsound}Marketing: top banana . Thank you . Okay , cool , I am the Marketing Expert {vocalsound} um so like I'm gonna be doing the {disfmarker}apparently according to the little guy in the computer that knows everything {disfmarker} the user g requirements specification of the functional design , um trend watching in the conceptual design and productevad-valuation in the detailed design {vocalsound}Project Manager: {vocalsound}Industrial Designer: Mm-hmm . Okay .Project Manager: Mm-hmm .Marketing: um so yeah .Industrial Designer: 'Kay .Project Manager:And more about yourself , you're from ?Marketing: Um I'm from Leicester ,Project Manager: Mm-hmm .Marketing: um second year . Um what else do you want to know ?Industrial Designer: {vocalsound}Marketing: Ilike sports {vocalsound} um yeah , aerobics , kickboxing , spinningProject Manager: {vocalsound}Marketing: um {vocalsound} and uh {disfmarker}Project Manager: But not with rabbits . {vocalsound}Marketing: notwith rabbits , no no .Industrial Designer: Mm .Marketing: And vets , I like vets as well .Industrial Designer: {vocalsound}Marketing: {vocalsound} And yeah um and I like cocktails , especially pink ones .IndustrialDesigner: {vocalsound} Cool .Marketing: Okay ? Cool . {vocalsound}Project Manager: Excellent , to match the rabbit . {vocalsound}User Interface: {vocalsound} {vocalsound} Okay . Um so my name is Maarika .Where's the pen ? Okay .Project Manager: There's a {disfmarker} an {disfmarker} if you have not enough room there's an eraser there and you can rub it off .User Interface: Yeah , well , or I can make it smaller .{vocalsound} Uh so um um I'm the Interface Designer in this project and my favourite animal , I m I mean I'm not so sure because I'm not so so very um {vocalsound} familiar with all kinds of animals , but I do likedogs .Project Manager: {vocalsound}User Interface: Oh , sorry , maybe I should have {disfmarker} shouldn't have said it beforehand butIndustrial Designer: Mm .User Interface: mm {vocalsound} hmm .ProjectManager: {vocalsound}Industrial Designer: {vocalsound}Marketing: {vocalsound}User Interface: Um well , there are different kinds of dogs , but okay um .Industrial Designer: {vocalsound}User Interface:{vocalsound} {vocalsound}Industrial Designer: {vocalsound} That's not bad at all .Project Manager: Ah it looks like a dog .Industrial Designer: {vocalsound} Yep .Marketing: Is a bit more impressive than my rabbit.User Interface: Okay .Marketing: I think it needs four legs if it's gonna walk though .Industrial Designer: {vocalsound}User Interface: Yeah , maybe it has some colourful patches , yeah .Marketing:{vocalsound}Project Manager: {vocalsound} {gap} the other legs are on the other side .User Interface: Um yeah and I do like dogs because they are good friends to people and they are loyal . Mm , well that'scompared to some other animals like cats . Um they're really much more fun because they are not so independent .Project Manager: {vocalsound}User Interface: Um yeah maybe maybe the fact that they protect theirhome as well , yeah . Um what it has to do with with my role in the project is hard to say .Project Manager: {vocalsound}User Interface: Uh I hope to be loyal to the projectIndustrial Designer: {vocalsound}Marketing:{vocalsound}User Interface: and not to n not to um let people doing similar projects know the details of our project or something , {vocalsound} yeah .Industrial Designer: {vocalsound}Project Manager: And wherewhere are you from ?User Interface: I'm from EstoniaProject Manager: Estonia .User Interface: uh , yep . Um so is there anything else you'd like to know ? Oh , right , my roles ,Industrial Designer: {gap} .UserInterface: um so um in the different um {vocalsound} stages of the design , so at first I will be responsible for um for {vocalsound} yeah , designing the technical functions of the um {vocalsound} um of the remotecontrol uh then in the in the conceptual design stage I need to um come up with uh interface concept and then in the last um stage I will be responsible for the int infa for the user interface design .Industrial Designer:{gap} .User Interface: {vocalsound} Okay , that's it . {vocalsound}Industrial Designer: Thank you . Okay {vocalsound} um {vocalsound} I'll do some {disfmarker} I'll rub the featuresProject Manager:{vocalsound}Industrial Designer: and let the drawing stay . {vocalsound} 'Kay um my name is Gaurav . Um {vocalsound} my favourite animal {disfmarker} one of my favourite animals is a cow . I've got no idea howto draw a cow .Marketing: {vocalsound}Project Manager: {vocalsound} Good luck .User Interface: {vocalsound}Industrial Designer: {vocalsound} Uh this is going to be {disfmarker}Marketing: They're not just like abig round body and then some really skinny legsIndustrial Designer: Yeah , that'll do .Marketing: and then just some horns .Industrial Designer: Okay , so let let me draw the body first .Marketing: {vocalsound}ProjectManager: Mm .Industrial Designer: Big , round body , really skinny legs {vocalsound}Marketing: {vocalsound}Project Manager: {vocalsound}Industrial Designer: and they've got a long tailMarketing:{vocalsound}Industrial Designer: and a long face . {vocalsound}Marketing: {vocalsound}Project Manager: {vocalsound} It's eating .User Interface: {vocalsound}Marketing: It looks like Eeyore .{vocalsound}Industrial Designer: And there is some grass there .Marketing: {vocalsound}Project Manager: Yeah . {vocalsound}Industrial Designer: {vocalsound} {vocalsound} So this is what I like about{vocalsound} cows {vocalsound}Marketing: {vocalsound} Horns ,Project Manager: {vocalsound}User Interface: {vocalsound}Industrial Designer: that they just keeps sitting there eating grass ,Marketing: draw somehorns . {vocalsound}Industrial Designer: they do not disturb anybody umMarketing: {vocalsound}Project Manager: {vocalsound}Industrial Designer: they're kind of Buddhist in a way . {vocalsound}Project Manager:{vocalsound}Industrial Designer: So yeah , I like cows . {vocalsound} Um {vocalsound} my my role in the project is um uh the industrial designer , so I'm supposed to design all the details of of the product um ho howit works and whatever it'll mm take during the functional role , what are the various functions that have to be performed by it uh during the um conceptual design , what are the various components of it and um finally ,I'm not too sure what was the last part . Um the detailed design , I I guess it will again be the identification of the components and how they integrate with each other . Um I'm from India . Uh I'm doing my P_H_D_ inPsycholinguistics , I sit at the Department of Psychology . {vocalsound} Yeah . Thank you .Project Manager: Excellent .User Interface: {vocalsound} Thanks .Project Manager: Right , now now it's my turn obviously .{vocalsound}Industrial Designer: That doesn't look like a cow , does it ? {vocalsound}Project Manager: Okay , here's a space .Marketing: {vocalsound}User Interface: {vocalsound} It looks very very cute .ProjectManager: Yeah , I like the cow .Industrial Designer: {gap}Project Manager: I'm Jen .User Interface: Yeah . Mm-hmm .Project Manager: Um I like dogs too , but I can't do that already because I can't draw a dog as wellas you can .User Interface: {vocalsound}Project Manager: I like {disfmarker} Mm .Marketing: Is that a lizard ?Industrial Designer: No way . {vocalsound}User Interface: {vocalsound}Project Manager: Hmm .UserInterface: Wow .Project Manager: It's a gecko .Industrial Designer: Ah okay .User Interface: Ah , a gecko , okay .Project Manager: Yeah .Marketing: Is there a difference ?User Interface: Is {disfmarker} a ar are theyalso like lizards or are they {disfmarker}Project Manager: They're {disfmarker} Yeah , they're l it's a kind of lizard .User Interface: yeah , they areProject Manager: And I I like geckosUser Interface: {disfmarker}mm-hmm .Project Manager: because they remind me of warm places {vocalsound}Industrial Designer: Uh-huh .Project Manager: and , and where I was living in Cambodia they used to live in my houseUser Interface:Ah . {vocalsound}Marketing: {vocalsound}Project Manager: and they were on the ceiling and they would make little gecko noises in the evening .User Interface: Mm-hmm .Industrial Designer: {vocalsound}UserInterface: I hope you don't like snakes , do you ?Project Manager: I don't like snakes . I come from AustraliaUser Interface: Okay . {vocalsound}Project Manager: and we have nasty snakes . That's where I'm from ,Australia .User Interface: Mm-hmm .Project Manager: I'm from Melbourne and I'm your Project Manager for todayIndustrial Designer: Mm .Project Manager: and my role is basically to keep things going and make surethat you all work together in a productive way , so that by the end of the day we come up with a great product .User Interface: Wonderful .Project Manager: {vocalsound} Okay .Industrial Designer: Thank you .ProjectManager: {vocalsound} So , let's see what's next in the PowerPoint presentation . So , I've just thought {disfmarker}Marketing: If you right click on it you can {disfmarker}Project Manager: yeah I've just thoughtabout this that we could even put it much more professionally {vocalsound} as {disfmarker}Marketing: {vocalsound}Industrial Designer: Mm-hmm .User Interface: {vocalsound}Project Manager: there we go . Okay ,so this is the um overall budget for our project . We've got {disfmarker} um we're planning to sell these remote controls for {disfmarker} let's make that go away , that means we've got five minutes . Um we'replanning to sell the remote controls for twenty five Euros each . Um and with that we're aiming for a profit of fifty million Euros . And that's selling them on the international market , not just in the U_K_ . Um so to dothat our finance people estimate that we need production costs of maximum twelve and a half Euro so that we can reach that profit target . So that's something to keep in mind while you're designing . Okay . Hmm .This is {disfmarker} let me just skip ahead to see {disfmarker} that's the last thing , okay . We've only got a couple of minutes . Does anyone have any first ideas to bounce around about um what we're thinking of thisremote control ?User Interface: Yep . I'm just wondering whether whether there is like any special feature that we want to have {disfmarker} w want this remote control have as opposed to the already existing ones.Project Manager: Mm-hmm . I think that's probably something that w it's best if we take away with us ,Industrial Designer: Mm-hmm .Project Manager: but if we all have a think , when we go away from the meeting ,what specific things could be um included in this remote control that that {vocalsound} are out of the ordinary .Industrial Designer: {vocalsound} I think uh i in the beginning uh one thing was {disfmarker} that wasmentioned was that it should be mm trendy , user friendly and original so um I think your point is relevant as far as the originality is concerned , that we should provide some features that are quite unique to this.Project Manager: Something something new .Marketing: Yeah , I was looking at the website ,Industrial Designer: Mm .Marketing: and the other things that they've made and I like put down some like inspirationalwords like that I got from looking at the pictures . So the motto is um we put the fashion in electronicsProject Manager: Mm-hmm .Marketing: and um so it's something that is sleek and stylish but it's still functional ,you know ?Project Manager: Mm-hmm .Marketing: So I'm kind of thinking , you know like those phones that they have , the new generation ones , where they don't actually have any buttons on them and stuff like that.Industrial Designer: Alright .Project Manager: Uh-huh .Marketing: You know , so something heading towards that , so it's not overly {disfmarker} I mean I don't know what h most of the buttons do on my remotecontrols , so I figure how many do you need , you know ?Project Manager: Mm-hmm .Industrial Designer: Mm .Marketing: Okay .Project Manager: So perhaps some sort of menu-based thing , or {disfmarker}IndustrialDesigner: {vocalsound}Marketing: Something that's a little less crowded than this , like I mean you know , theoretically you can do all kinds of things with your T_V_ , right ?Project Manager: Mm-hmm .Marketing: Butwhat do most people do ?Project Manager: Yeah .Marketing: They turn it on , they watch certain specified channels , you know , and then they turn it off again .Industrial Designer: Yeah .Project Manager: {vocalsound}Yeah .Industrial Designer: {vocalsound} There is a lot of functionality in there that is not used ninety percent of the time ,Marketing: Sometimes they play a movie .Industrial Designer: but will be used ten percent ofthe time , yeah .Marketing: Yeah , soProject Manager: Yeah .Marketing: there's no need to have buttons on it to do that ,Project Manager: So , no .Marketing: maybe to do {disfmarker}Industrial Designer: Yep .ProjectManager: It could be one button for a menu or something , if you really need to go and do that .Marketing: Yeah .Industrial Designer: And then use the {disfmarker}User Interface: Mm-hmm .Marketing: So , if you'rethe kind of sad case that knows how your remote control works , then you know that's fineProject Manager: {vocalsound}Industrial Designer: Mm .Marketing: and you can do it on the screen rather than everybody elsehaving to have those buttons , which just confuse them . {vocalsound}Project Manager: Mm-hmm .Marketing: Hmm .Project Manager: Excellent .Marketing: 'Cause like if you look at the train , it's just very like , there'sno extra bits on it , the train on the website and I dunno if you can put it up on the thingProject Manager: Oh I haven't had a look yet , yep .Marketing: um but it is just like a long like thing used for mu moving people ,but it looks really pretty too .Project Manager: Mm-hmm .Industrial Designer: {gap}Project Manager: Great . Any other immediate thoughts before we move along ?Industrial Designer: Mm . {vocalsound} Uh we canaim for {disfmarker} I mean we can think about all these little things , but we can aim for something wi that gives a high battery life , although I don't think that um it's a huge problem for remote controls anyway ,battery life ,Project Manager: Mm-hmm .Industrial Designer: uh every now and then you need to replace the batteries . Um {disfmarker}Project Manager: Yeah .Industrial Designer: Hmm .User Interface: Yeah but uh Imean e even though it has to be re original we shouldn't uh go like too far away from from the usual ones , because otherwise the new users will just have a lot of problemsIndustrial Designer: Yeah . A big learning"}
+{"doc_id":"doc_139","qid":"","text":"PhD F: OK .Professor B: Uh . Somebody else should run this . I 'm sick of being the one to sort of go through and say , \" Well , what do you think about this ? \" You wanna {disfmarker} ?PhD D: Yeah .PhD F: Should wetake turns ? You want me to run it today ?Professor B: Yeah . Why don't you run it today ? OK .PhD F: OK . OK . Um . Let 's see , maybe we should just get a list of items {disfmarker} things that we should talk about .Um , I guess there 's the usual {pause} updates , everybody going around and saying , uh , you know , what they 're working on , the things that happened the last week . But aside from that is there anything inparticular that anybody wants to bring upPhD D: Mmm .PhD F: for today ? No ? OK . So why don't we just around and people can give updates .PhD E: Oh .PhD F: Uh , do you want to start , Stephane ?PhD C: Alright .Um . Well , the first thing maybe is that the p Eurospeech paper is , uh , accepted . Um . Yeah .PhD F: This is {disfmarker} what {disfmarker} what do you , uh {disfmarker} what 's in the paper there ?PhD C: So it 'sthe paper that describe basically the , um , system that were proposed for the {pause} Aurora .PhD F: The one that we s we submitted the last round ?PhD C: Right , yeah .PhD D: Yeah .PhD F: Uh - huh .PhD C: Um{disfmarker} Yeah . So and the , fff {comment} comments seems {disfmarker} from the reviewer are good . So .PhD F: Hmm .PhD C: Mmm {disfmarker} Yeah .PhD F: Where {disfmarker} where 's it gonna be thisyear ?PhD C: It 's , uh , Aalborg in Denmark . And it 's ,PhD F: Oh , OK .PhD C: yeah , September .PhD F: Mmm .PhD C: Mmm {disfmarker} Yeah . Then , uh , whhh well , I 've been working on {disfmarker} on t mainlyon on - line normalization this week . Uh , I 've been trying different {disfmarker} slightly {disfmarker} slightly different approaches . Um , the first thing is trying to play a little bit again with the , um , time constant .Uh , second thing is , uh , the training of , uh , on - line normalization with two different means , one mean for the silence and one for the speech . Um , and so I have two recursions which are controlled by the , um ,probability of the voice activity detector . Mmm . This actually don't s doesn't seem to help , although it doesn't hurt . So . But {disfmarker} well , both {pause} on - line normalization approach seems equivalent . Well ,they {disfmarker}PhD F: Are the means pretty different {pause} for the two ?PhD C: Yeah . They can be very different . Yeah . Mm - hmm .PhD F: Hmm .Professor B: So do you maybe make errors in different places ?Different kinds of errors ?PhD C: I didn't look , uh , more closely . Um . It might be , yeah . Mm - hmm . Um . Well , eh , there is one thing that we can observe , is that the mean are more different for {disfmarker} forC - zero and C - one than for the other coefficients . And {disfmarker} Yeah . And {disfmarker} Yeah , it {disfmarker} the C - one is {disfmarker} There are strange {disfmarker} strange thing happening with C - one ,is that when you have different kind of noises , the mean for the {disfmarker} the silence portion is {disfmarker} can be different . And {disfmarker}PhD F: Hmm .PhD C: So when you look at the trajectory of C - one ,it 's {disfmarker} has a strange shape and I was expecting th the s that these two mean helps , especially because of the {disfmarker} the strange C - ze C - one shape , uh , which can {disfmarker} like , yo you canhave , um , a trajectory for the speech and then when you are in the silence it goes somewhere , but if the noise is different it goes somewhere else .PhD F: Oh .PhD C: So which would mean that if we estimate themean based on all the signal , even though we have frame dropping , but we don't frame ev uh , drop everything , but {disfmarker} uh , this can {disfmarker} hurts the estimation of the mean for speech , and{disfmarker} Mmm . {comment} But I still have to investigate further , I think . Um , a third thing is , um , {vocalsound} that instead of t having a fixed time constant , I try to have a time constant that 's smaller atthe beginning of the utterances to adapt more quickly to the r something that 's closer to the right mean . T t um {disfmarker} Yeah . And then this time constant increases and I have a threshold that{disfmarker}Professor B: Mm - hmm .PhD C: well , if it 's higher than a certain threshold , I keep it to this threshold to still , uh , adapt , um , the mean when {disfmarker} {vocalsound} if the utterance is , uh , longenough to {disfmarker} to continue to adapt after , like , one secondProfessor B: Mm - hmm . Mm - hmm .PhD C: or {disfmarker} Mmm . Uh , well , this doesn't help neither , but this doesn't hurt . So , well . It seemspretty {disfmarker}PhD F: Wasn't there some experiment you were gonna try where you did something differently for each , um , {vocalsound} uh {disfmarker} I don't know whether it was each mel band or each , uh, um , FFT bin or someth There was something you were gonna {disfmarker} uh , {comment} some parameter you were gonna vary depending on the frequency . I don't know if that was {disfmarker}PhD C: I guess itwas {disfmarker} I don't know . No . u Maybe it 's this {disfmarker} this idea of having different {pause} on - line normalization , um , tunings for the different MFCC 's .PhD F: For each , uh {disfmarker}Professor B:Mm - hmm .PhD C: But {disfmarker} Mm - hmm .PhD F: Yeah . I {disfmarker} I thought , Morgan , you brought it up a couple meetings ago . And then it was something about , uh , some and then somebody said \"yeah , it does seem like , you know , C - zero is the one that 's , you know , the major one \" or , uh , s I can't remember exactly what it was now .PhD C: Mmm . Yeah . There {disfmarker} uh , actually , yeah . S um , it's very important to normalize C - zero and {pause} much less to normalize the other coefficients . And , um , actu uh , well , at least with the current on - line normalization scheme . And we {disfmarker} I think , we{vocalsound} kind of know that normalizing C - one doesn't help with the current scheme . And {disfmarker} and {disfmarker} Yeah . In my idea , I {disfmarker} I was thinking that the {disfmarker} the {disfmarker}the reason is maybe because of these funny things that happen between speech and silence which have different means . Um {disfmarker} Yeah . But maybe it 's not so {disfmarker} {vocalsound} so easy to{disfmarker}Professor B: Um , I I really would like to suggest looking , um , a little bit at the kinds of errors . I know you can get lost in that and go forever and not see too much , but {disfmarker} {vocalsound}sometimes ,PhD C: Mm - hmm .Professor B: but {disfmarker} but , um , just seeing that each of these things didn't make things better may not be enough . It may be that they 're making them better in some waysand worse in others ,PhD C: Yeah . Mm - hmm .Professor B: or increasing insertions and decreasing deletions , or {disfmarker} or , um , um , you know , helping with noisy case but hurting in quiet case . And if yousaw that then maybe you {disfmarker} it would {disfmarker} {vocalsound} something would occur to you of how to deal with that .PhD C: Mm - hmm . Mm - hmm .PhD D: Hmm .PhD C: Alright . Mmm . Yeah . W um ,So that 's it , I think , for the on - line normalization . Um {disfmarker} Yeah . I 've been playing a little bit with some kind of thresholding , and , mmm , as a first experiment , I think I Yeah . Well , what I did is t is totake , um {disfmarker} {vocalsound} to measure the average {disfmarker} no , the maximum energy of s each utterance and then put a threshold {disfmarker} Well , this for each mel band . Then put a threshold that's fifteen DB below {disfmarker} well , uh , a couple of DB below this maximum ,Professor B: Mm - hmm . Mmm .PhD C: and {disfmarker} Actually it was not a threshold , it was just adding noise .Professor B: Mm -hmm .PhD C: So I was adding a white noise energy , uh , that 's fifteen DB below the maximum energy of the utterance . And {disfmarker} Yeah . When we look at {disfmarker} at the , um , MFCC that result from this, they are {pause} a lot more smoother . Um , when we compare , like , a channel zero and channel one utterance {disfmarker} um , so a clean and , uh , the same noisy utterance {disfmarker} well , there is almostno difference between the cepstral coefficients of the two .PhD F: Hmm .PhD C: Um . And {disfmarker} Yeah . And the result that we have in term of speech recognition , actually it 's not {disfmarker} it 's not worse , it's not better neither , but it 's , um , kind of surprising that it 's not worsePhD F: Hmm .PhD C: because basically you add noise that 's fifteen DB {disfmarker} just fifteen DB below {pause} the maximum energy .GradA: Sorry .PhD C: And at least {disfmarker}PhD F: So why does that m {pause} smooth things out ? I don't {disfmarker} I don't understand that .Professor B: Well , there 's less difference . Right ?PhD C: It 's{disfmarker} I think , it 's whitening {disfmarker} This {disfmarker} the portion that are more silent ,Professor B: Cuz it 's {disfmarker}PhD C: as you add a white noise that are {disfmarker} has a very high energy , itwhitens everythingPhD F: Huh . Oh , OK .PhD C: and {disfmarker} and the high - energy portion of the speech don't get much affected anyway by the other noise . And as the noise you add is the same is {disfmarker}{pause} the shape , it 's also the same .PhD F: Hmm .Professor B: Yeah .PhD C: So they have {disfmarker} the trajectory are very , very similar . And {disfmarker} and {disfmarker}Professor B: So , I mean , again , ifyou trained in one kind of noise and tested in the same kind of noise , you 'd {disfmarker} you know , given enough training data you don't do b do badly . The reason that we d that we have the problems we have isbecause {pause} it 's different in training and test . Even if {vocalsound} the general kind is the same , the exact instances are different . And {disfmarker} andPhD F: Mm - hmm .Professor B: so when you whiten it ,then it 's like you {disfmarker} the {disfmarker} the only noise {disfmarker} to {disfmarker} to first order , the only th noise that you have is white noise and you 've added the same thing to training and test .PhD F:Mm - hmm .Professor B: So it 's ,PhD F: Hmm .Professor B: uh {disfmarker}PhD F: So would that {pause} be similar to , like , doing the smoothing , then , over time or {disfmarker} ?PhD C: Mm - hmm .Professor B:Well , it 's a kind of smoothing ,PhD C: I think it 's {disfmarker} I think it 's different .Professor B: but {disfmarker}PhD C: It 's {disfmarker} it 's something that {disfmarker} yeah , that affects more or less the silenceportions because {disfmarker}PhD F: Mm - hmm .PhD C: Well , anyway , the sp the portion of speech that ha have high energy are not ch a lot affected by the noises in the Aurora database .Professor B: Mm - hmm.PhD C: If {disfmarker} if you compare th the two shut channels of SpeechDat - Car during speech portion , it 's n n n the MFCC are not very different . They are very different when energy 's lower , like duringfricatives or during speech pauses . And ,Professor B: Yeah , but you 're still getting more recognition errors ,PhD C: uh {disfmarker}Professor B: which means {vocalsound} that the differences , even though they looklike they 're not so big , {vocalsound} are {disfmarker} are hurting your recognition .PhD C: YeProfessor B: Right ?PhD C: Yeah . So it distort {vocalsound} the speech . Right .Professor B: Yeah .PhD C: Um .PhD F: Soperformance went down ?PhD C: No . It didn't . But {disfmarker}PhD F: Oh .PhD C: Yeah . So , but in this case I {disfmarker} I really expect that maybe the {disfmarker} the two {disfmarker} these two stream offeatures , they are very different . I mean , and maybe we could gain something by combining themProfessor B: Well , the other thing is that you just picked one particular way of doing it .PhD C: or{disfmarker}Professor B: Uh , I mean , first place it 's fifteen DB , uh , {vocalsound} down across the utterance . And {vocalsound} maybe you 'd want to have something that was a little more adaptive . Secondly , youhappened to pick fifteen DBPhD C: Mmm .Professor B: and maybe twenty 'd be better ,PhD C: Yeah .Professor B: or {disfmarker} or twelve .PhD C: Yeah . Right .PhD F: So what was the {disfmarker} what was thethreshold part of it ? Was the threshold , uh , how far down {disfmarker} ?Professor B: Yeah . Well , he {disfmarker} yeah , he had to figure out how much to add . So he was looking {disfmarker} he was looking at thepeak value .PhD F: Uh - huh .Professor B: Right ? And then {disfmarker}PhD C: Uh - huh .PhD F: And {disfmarker} and so what 's {disfmarker} ho I don't understand . How does it go ? If it {disfmarker} if{disfmarker} if the peak value 's above some threshold , then you add the noise ? Or if it 's below sPhD C: I systematically {comment} add the noise , but the , um , noise level is just {pause} some kind of thresholdbelow the peak .PhD F: Oh , oh . I see .PhD C: Mmm .PhD F: I see .Professor B: Yeah .PhD C: Um . Yeah . Which is not really noise , actually . It 's just adding a constant to each of the mel , uh , energy .PhD F: Mm -hmm .PhD C: To each of the {pause} mel filter bank . Yeah .PhD F: I see .PhD C: So , yeah , it 's really , uh , white noise . I thProfessor B: Yeah .PhD F: Mm - hmm .Professor B: So then afterwards a log is taken , andthat 's so sort of why the {disfmarker} {vocalsound} the little variation tends to go away .PhD C: Mm - hmm . Um . Yeah . So may Well , the {disfmarker} this threshold is still a factor that we have to look at . And Idon't know , maybe a constant noise addition would {disfmarker} {vocalsound} would be fine also , or {disfmarker} Um {disfmarker}Professor B: Or {disfmarker} or not constant but {disfmarker} but , uh , varyingover time {pause} in fact is another way {pause} to go .PhD C: Mm - hmm . Mm - hmm .Professor B: Um .PhD C: Yeah . Um {disfmarker}Professor B: Were you using the {disfmarker} the normalization in addition tothis ? I mean , what was the rest of the system ?PhD C: Um {disfmarker} Yeah . It was {disfmarker} it was , uh , the same system . Mm - hmm .Professor B: OK .PhD C: It was the same system . Mmm . Oh , yeah . Athird thing is that , um , {vocalsound} I play a little bit with the , um {disfmarker} {vocalsound} finding what was different between , um , And there were a couple of differences , like the LDA filters were not the same. Um , he had the France Telecom blind equalization in the system . Um , the number o of MFCC that was {disfmarker} were used was different . You used thirteen and we used fifteen . Well , a bunch of differences .And , um , actually the result that he {disfmarker} he got were much better on TI - digits especially . So I 'm kind of investigated to see what was the main factor for this difference . And it seems that the LDA filter is{disfmarker} is {disfmarker} was hurting . Um , {vocalsound} so when we put s some noise compensation the , um , LDA filter that {disfmarker} that 's derived from noisy speech is not more {disfmarker} anymoreoptimal . And it makes a big difference , um , {vocalsound} on TI - digits trained on clean . Uh , if we use the {disfmarker} the old LDA filter , I mean the LDA filter that was in the proposal , we have , like , eighty - twopoint seven percent recognition rate , um , on noisy speech when the system is trained on clean speech . But {disfmarker} and when we use the filter that 's derived from clean speech we jumped {disfmarker} so fromeighty - two point seven to eighty - five point one , which is a huge leap .Professor B: Mm - hmm .PhD C: Um . Yeah . So now the results are more similar , and I don't {disfmarker} I will not , I think , investigate on theother differences , which is like the number of MFCC that we keep and other small things that we can I think optimize later on anyway .Professor B: Sure . But on the other hand if everybody is trying different kinds ofnoise suppression things and so forth , it might be good to standardize on the piece {vocalsound} that we 're not changing . Right ? So if there 's any particular reason to ha pick one or the other , I mean {disfmarker}Which {disfmarker} which one is closer to what the proposal was that was submitted to Aurora ? Are they {disfmarker} they both {disfmarker} ? Well , I mean {disfmarker}PhD C: I think {disfmarker} Yeah . I think thth uh , the new system that I tested is , I guess , closer because it doesn't have {disfmarker} it have less of {disfmarker} of France Telecom stuff ,PhD D: You mean the {disfmarker}PhD C: I {disfmarker}PhD D: The{disfmarker} whatever you , uh , tested with recently . Right ?PhD C: Mmm ? Yeah .PhD D: Yeah ?Professor B: Well , no , I {disfmarker} I 'm {disfmarker} I {disfmarker} Yeah , you 're trying to add in France Telecom.PhD C: But , we {disfmarker}Professor B: Tell them about the rest of it . Like you said the number of filters might be {vocalsound} different or something . Right ? Or {disfmarker}PhD D: The number of cepstralcoefficients is what ?Professor B: CepPhD C: Mm - hmm .Professor B: Yeah . So , I mean , I think we 'd wanna standardize there , wouldn't we ?PhD C: Yeah , yeah .Professor B: So , sh you guys should picksomethingPhD D: Yeah .Professor B: and {disfmarker} Well , all th all three of you .PhD D: Yeah .PhD C: I think we were gonna work with {disfmarker} with this or this new system , or with {disfmarker}PhD D: Uh , sothe {disfmarker} the {disfmarker} right now , the {disfmarker} the system that is there in the {disfmarker} what we have in the repositories , with {disfmarker} uses fifteen .PhD C: So {disfmarker} Right . Yeah .PhDD: Yeah , so {disfmarker} Yeah , so {disfmarker} Yep .PhD C: But we will use the {disfmarker} the LDA filters f derived from clean speech . Well , yeah , actually it 's {disfmarker} it 's not the {disfmarker} the LDAfilter .PhD D: Yeah , yeah . So {disfmarker}PhD C: It 's something that 's also short enough in {disfmarker} in latency .PhD D: Yeah . Well .PhD C: So .PhD D: Yeah . So , we haven't {disfmarker} w we have beenalways using , uh , fifteen coefficients ,PhD C: Yeah .PhD D: not thirteen ?PhD C: Mm - hmm .PhD D: Yeah . Well , uh , that 's {disfmarker} something 's {disfmarker} Um . Yeah . Then {disfmarker}Professor B: I thinkas long as you guys agree on it , it doesn't matter .PhD D: mmm {disfmarker}Professor B: I think we have a maximum of sixty , {vocalsound} uh , features that we 're allowed . So .PhD C: Yeah .PhD D: Yeah . Ma -maybe we can {disfmarker} I mean , at least , um , I 'll t s run some experiments to see whether {disfmarker} once I have this {vocalsound} {comment} noise compensation to see whether thirteen and fifteen reallymatters or not .PhD C: Mm - hmm . Mm - hmm .PhD D: Never tested it with the compensation , but without , {vocalsound} uh , compensation it was like fifteen was s slightly better than thirteen ,PhD C: Yeah .PhD D:so that 's why we stuck to thirteen .PhD C: Yeah . And there is {disfmarker} there is also this log energy versus C - zero .PhD D: Sorry , fifteen . Yeah , the log energy versus C - zero .PhD C: Well . W w if {disfmarker}if {disfmarker}PhD D: Uh , that 's {disfmarker} that 's the other thing . I mean , without noise compensation certainly C - zero is better than log energy . Be - I mean , because the {disfmarker} there are more , uh ,mismatched conditions than the matching conditions for testing .PhD C: Mm - hmm .PhD D: You know , always for the matched condition , you always get a {pause} slightly better performance for log energy than C -zero .PhD C: Mm - hmm .PhD D: But not for {disfmarker} I mean , for matched and the clean condition both , you get log energy {disfmarker} I mean you get a better performance with log energy .PhD C: Mm - hmm.PhD D: Well , um , maybe once we have this noise compensation , I don't know , we have to try that also , whether we want to go for C - zero or log energy .PhD C: Mm - hmm .PhD D: We can see that .PhD C: Yeah.PhD D: Hmm .PhD C: Mmm .PhD F: So do you have {pause} more , Stephane , or {disfmarker} ?PhD C: Uh , that 's it , I think . Mmm .PhD F: Do you have anything , Morgan , or {disfmarker} ?Professor B: Uh , no . I'm just , you know , being a manager this week . So .PhD F: How about you , Barry ?Grad A: Um , {vocalsound} still working on my {disfmarker} my quals preparation stuff . Um , {vocalsound} so I 'm {disfmarker} I'm thinking about , um , starting some , {vocalsound} uh , cheating experiments to , uh , determine the , um {disfmarker} {vocalsound} the relative effectiveness of , um , some intermediate categories that I want toclassify . So , for example , um , {vocalsound} if I know where voicing occurs and everything , um , {vocalsound} I would do a phone {disfmarker} um , phone recognition experiment , um , somehow putting in the{disfmarker} the , uh {disfmarker} the perfect knowledge that I have about voicing . So , um , in particular I was thinking , {vocalsound} um , in {disfmarker} in the hybrid framework , just taking those LNA files ,"}
+{"doc_id":"doc_140","qid":"","text":"Project Manager: All hooked up . {vocalsound} Okay , so now we are here at the functional design meeting . Um {vocalsound} hopefully this meeting I'll be doing a little bit less talking than I did last time 'cause this iswhen you get to show us what you've been doing individually . The agenda for the meeting , I put it in the sh shared documents folder . I don't know if that meant that you could see it or not .User Interface:{vocalsound}Project Manager: Did anyone ?Industrial Designer: Mm .User Interface: No .Project Manager: No . Oh well . Um I'll try and do that for the next meeting as well so if you check in there , there's a sharedproject documents folder . Um and it should be in there .User Interface: Mm . Um um wi on on a what ? Oh project project documents , yeah , yeah , yeah , okay .Project Manager: Project documents , yeah . So I'll putit in there .User Interface: Oh okay , yeah .Project Manager: Is it best if I send you an email maybe , to let you know it's there ?User Interface: Yes , I think so .Project Manager: Yep . I'll do that next time . Um{vocalsound} I'll act as secretary for this meeting and just take minutes as we go through , and then I'll send them to you after the meeting . The main the main focus of this meeting is your presentations that you'vebeen preparing during the time , so we'll go through each of you one by one . Um then we need to briefly discuss the new project requirements that were sent to us . I just sentUser Interface: Yeah , the last minute ,yeah ,Project Manager: at the last minute , I'm sorry about that ,User Interface: yeah .Project Manager: but we can see how that affects what you were you were doing .User Interface: Yeah .Project Manager: Um andthen we need to , by the end of the meeting come to some kind of decision on who our target group's going to be and what the functions of the remote control {disfmarker} that's the the main goal is to come up withthose two things , target group and functions of the remote control . And we've got forty minutes to do that in . So I would say {disfmarker}Industrial Designer: You said uh targ target groups ,Project Manager: yeah?Industrial Designer: what does that mean ?Project Manager: As uh who it is that we're going to be trying to sell this thing to ,User Interface: {vocalsound} Um {disfmarker}Industrial Designer: Uh okay , 'kay .ProjectManager: yeah .Industrial Designer: So are {disfmarker}Project Manager: So we need to {disfmarker} yeah , we need to have a fairly defined group that that we want to focus onIndustrial Designer: Okay .ProjectManager: and then look at the functions um of the dem remote control itself . So with that I think it's best if I hand over to you . Does anyone have a preference for going first ?Industrial Designer: Alright .{vocalsound} I can go first ,Project Manager: You wanna go first ?Industrial Designer: yeah .User Interface: Okay . Hmm .Project Manager: Okay , so we need to unplug my laptop and plug in yours .IndustrialDesigner: {vocalsound}Project Manager: I assume we just pull it out ?User Interface: Mm .Industrial Designer: {vocalsound} {vocalsound} Right . Um {vocalsound} so f from the {disfmarker}Project Manager: Justbefore you start , to make it easier , would you three mind emailing me your presentations ? Once we {disfmarker} you don't have to do it now but when {disfmarker} once you go back ,User Interface: Okay , yeah ,afterwards , yeah , okay .Industrial Designer: Right sure .Project Manager: just so that I don't have to scribble everything down .Industrial Designer: Uh okay . {vocalsound} {vocalsound} So n uh with uh with regardto the {vocalsound} uh working design of this uh uh remote control uh I've identified um {vocalsound} a few basic uh components of the remote and uh {vocalsound} se uh from the design , functional designperspective um w I c we can now uh know wha what exactly the components are and how how they work together with each other . {vocalsound} {vocalsound} So {vocalsound} {vocalsound} this is the method thatuh I'll mostly be following in my um {vocalsound} in my uh role . Um the identification of the components , uh and uh since since I'm dealing only with the technical aspects , I would need feedback from the marketingperson uh and {vocalsound} uh from the user interface person . Uh we'll then integrate this into the product design at a technical levelProject Manager: Hmm .Industrial Designer: and uh basically update and come upwith a new design , so it's a cyclical process . {vocalsound} Okay , so {vocalsound} these were the basic findings from today . The last three bullets have been integrated from uh the last minute uh email . Uh I justquickly jotted them down . Um {vocalsound} so basically uh the {disfmarker} as I told you the identification of how the remote control works and what are the various parts to it uh and what are the different processesum {vocalsound} and how the parts uh communicate with each other . Um {vocalsound} okay , so e the mee email said that teletext is now outdated , so we need to do away with that functionality of the remotecontrol . Um also uh the remote control should be used only for television , because incorporating other features um makes it more comp complex . And the reason why teletext is outdated because uh of internet and uhthe availability of internet over television . How however , our our remote control would only be dealing uh with the {vocalsound} the use for television , {vocalsound} in order to keep things simple . Um {vocalsound}also the management wants that um our design should be unique uh it {disfmarker} so {vocalsound} it should incorporate um colour and the slogan uh that our company um has it as its standard . {vocalsound} Okay ,so he he here is a functional overview of the remote control . Um {vocalsound} there's basically an energy source at the heart uh which feeds into the chip and the user interface . The user interf interface communicateswith the chip , so {vocalsound} I'll basic go over to the {disfmarker} Okay . {vocalsound} So {vocalsound} if uh if this is our energy source and this is a cell , uh it communicates {disfmarker} uh it feeds energy intothe into the chip , which basically finds out h uh how how to do everything . There is a user interface here . {vocalsound} So whe when the user presses a button , it feeds into the chip and the chip then generates aresponse and takes the response to an infrared terminal , um which then {disfmarker} so the output of the chip is an infrared bit code , which is then communicated {vocalsound} to the remote site , which h has aninfrared receiver . Um the there can be uh a bulb here or something to indicate whether the remote is on or communicating . Um so these are the essent so a all the functionality of the remote control , whatever newfunctions that we need to do , um make the chip more complicated uh and bigger , basically .Project Manager: Mm-hmm .Industrial Designer: {vocalsound} Okay . {vocalsound} Um so {vocalsound} i in my personalpreferences um {vocalsound} I'm hoping that we can ke keep the design as simple and clear as possible . This would uh help us uh to upgrade our technology at a future point of time . And uh also if we can incorporateuh the latest features in our chip design , so that our um {vocalsound} uh remote control does not become outdated soon and it's compatible with mot most uh televisions . {vocalsound} That's about it . {vocalsound}So anything that you would like to know or {vocalsound} {disfmarker}Project Manager: Okay .User Interface: {vocalsound} Thanks .Project Manager: Do you have any um i idea about costs at this point ?IndustrialDesigner: {vocalsound} No , I don't have any idea about what each component costs .Project Manager: {vocalsound} BrIndustrial Designer: Um yeah .Project Manager: Okay . 'Cause that's something to consider , Iguess , if we're if we're using more advanced technology , it might increase the price .Industrial Designer: Yeah . Certainly , yeah . So so tha yeah , {vocalsound} we definitely need to operate within our constraints,Project Manager: Yeah .Industrial Designer: but um {vocalsound} unfortunately I I do not have any data , so uh I just identified the functional components for that .Project Manager: That's fine . Are there any morequestions , or shall we just skip straight to the next one and then we can discuss all of them together at the end ?User Interface: {vocalsound} I think we need like some general discussion at the end probably.Industrial Designer: Yeah , okay .Project Manager: Yeah , I think that will do . Okay , so do you want to {disfmarker}User Interface: Yeah . Yeah , I think since since we were discussing some um design issues then I II would like to continue {disfmarker}Project Manager: Yes , shall shall we pull this up ?User Interface: okay , yeah .Project Manager: I think that has to come out of there .Industrial Designer: Yeah .Project Manager:Yeah .Industrial Designer: Mm 'kay .User Interface: {vocalsound} Thanks .Project Manager: Yeah , I thought those last minute things , they're gonna hit you the worst . {vocalsound}User Interface: Oh i {vocalsound}Okay , I hope {disfmarker} wait . Should it just {disfmarker}Industrial Designer: I it'll take some time .Project Manager: It ta takes a little {disfmarker} Oh , and have you {disfmarker}User Interface: There's justnothing .Project Manager: you need to then also press on yours , function F_ eight ,User Interface: Oh right , right , right , um {disfmarker}Project Manager: so the blue function key at the bottom and F_ eight .UserInterface: Okay . NothinIndustrial Designer: Oh , there it is , yeah .User Interface: okay , something is coming up .Project Manager: {vocalsound} Now it's coming ,Industrial Designer: {vocalsound} It'll come up , it{disfmarker} um uh no signal .Project Manager: computer no signal .User Interface: No signal ? Why ?Project Manager: Maybe again ?Industrial Designer: Yeah yeah , it says something now ,User Interface: Oh . My mycomputer went blank now .Industrial Designer: adjusting {disfmarker}Project Manager: Okay , adjusting .User Interface: Adjusting . But {vocalsound} I don't see anythingIndustrial Designer: Okay .Project Manager:There we go , there we go .User Interface: I don't see anything on my computer now .Industrial Designer: Oh , that's strange .Project Manager: Oh , if you press if you press function and that againUser Interface: Thisis the problem , but {disfmarker}Project Manager: there's there's usually three modes , one where it's only here , one where it's only there , and one where it's both .Industrial Designer: Okay .User Interface: Um{gap} .Industrial Designer: And one more time .Project Manager: Okay , so one more time .User Interface: Uh now it's {disfmarker} okay . No ? No .Industrial Designer: Mm .Project Manager: Should {disfmarker}yeah just wait for a moment , adjusting .User Interface: Oh okay .Project Manager: {vocalsound} Okay .User Interface: Okay , that's fine , that's good . Okay , let's start from the beginning . So I'm going to speakabout technical functions design uh just like some {vocalsound} some first issues that came up . Um 'kay , so the method I was um adopting at this point , it's not um for the for the whole um period of the um{vocalsound} all the project but it's just at th at this very moment .Project Manager: Mm-hmm .User Interface: Um uh my method was um to look at um other {vocalsound} um remote controls , uh so mostly just bysearching on the web and to see what um functionality they used . And then um after having got this inspiration and having compared what I found on the web um just to think about what the de what the user reallyneeds and what um what the user might desire as additional uh functionalities . {vocalsound} And yeah , and then just to um {vocalsound} put the main function of the remote control in in words .Project Manager:Mm-hmm .User Interface: Um so the findings uh were {vocalsound} um that the main function of the remote control is is just sending messages to the television set , so this quite straightforward . And uh w some ofthe main functions would be switching on , switching off , uh then the user would like to switch the channel um for example just m changing to the next channel to to flip through all all of the possible channels , or thenmm {vocalsound} uh the other possibility would be that um she might just want to choose one particular channel , so we would need the numbers . And and also the volume is very important . Um {vocalsound} um{vocalsound} I alsIndustrial Designer: {vocalsound} Sorry , cou could you go back for a second ?User Interface: okay .Industrial Designer: Uh switching on off channel , uh volume , {vocalsound} okay , that's great.User Interface: 'Kay . Um um among the findings I found that m m most of the curr mm presently available remote controls also include other mm {vocalsound} functionalities um in their design , like operating aV_C_R_ , but they don't seem to be able to deal with D_V_D_ players , but then {vocalsound} there are {disfmarker} surely there are many other functionali functions that could possibly be added to them , butaccording to the last minute update um actually um we do not want to have all this complicated functions added to our design .Project Manager: Mm-hmm .Industrial Designer: {vocalsound}User Interface: So mypersonal preferences would be uh to keep the mm the whole remote control small um just like the physical size . And then it must be easy to use , so it must follow some conventions um like whereabouts you find theon off button and maybe the colour tends to be red or something . Um then {disfmarker} {vocalsound} yeah , the must-have buttons would be on off and then {vocalsound} the channel numbers and then um{vocalsound} the one that allows us to go to the next or the previous channel , and then volume has to be there . But then um other functionalities um {vocalsound} could be just {disfmarker} uh there could be amenu button and you could change things on the screen then , um for example brightness and mm similar functions could be just um {vocalsound} done through the menu . And yeah , the last question I had aboutwhether we wanted to incorporate n uh more functionalities , the answer was already no because of the last minute update .Project Manager: Mm-hmm .User Interface: So at the {disfmarker} for the time being that'suh that's all .Project Manager: Yeah .User Interface: If you have questions {disfmarker}Project Manager: If {disfmarker} I mean that was the the directive that came through from management , but if we had a adecent case for {disfmarker} that we really think it's important to include video and D_V_D_ , I could get back to them and see . It's w it's just whether it's worth arguing about .User Interface: Yeah , and also it's it'sum {disfmarker} other question is uh because there are so many different {disfmarker} And there are so many different things that could possibly be includedMarketing: {vocalsound}Project Manager: Mm-hmm .UserInterface: because besides video and D_V_D_ there are the mm um video C_D_s and whatever , so it might be problematic to to choose between all these possible things .Project Manager: Yeah . Mm-hmm . Okay.Industrial Designer: {gap}Project Manager: Are there any questions for clarification of Maarika before we go on to the next one ?Industrial Designer: {vocalsound} So in the u user interface requirements uh uh uh wewe have been able to identify what are the basic buttons that we do want . Um but um {vocalsound} so so at this stage , uh how we go about implementing those button we will not identify or {disfmarker} I mean in{disfmarker} we can completely do away with buttons and uh have some kind of a fancy user interface or something like that . But uh is is there any uh uh any thoughts on that ?User Interface: Um well , I think thebuttons are still mm kind of the most um easy for the user to use ,Industrial Designer: Right .User Interface: I mean um what other options would you have ? A little screen or something , but this would be really kind ofI think a lot of learning for the userIndustrial Designer: Yeah , and it'll make the costs {disfmarker} yeah .User Interface: and and I mean the user just wants to get um get a result um quickly , not to spend time in likeum giving several orders um I dunno .Industrial Designer: Right .Project Manager: Mm-hmm .User Interface: I think I th I would I would think the put the buttons , but if if you have other mm proposals um .IndustrialDesigner: Uh I think the co costs will also play a big role when we come to know about them .Project Manager: Mm .Industrial Designer: So well we can probably wait until t we have more knowledge on that .ProjectManager: Mm .User Interface: Yeah .Industrial Designer: Uh i if the if the costs allow , we can have like an L_C_D_ displayUser Interface: Yeah .Industrial Designer: and uh with um {disfmarker} because we do wantsomething fancy and fashionable as well . So yeah ? Cool .Project Manager: Mm-hmm .User Interface: Mm-hmm . Yep .Project Manager: Sure , we can discuss that maybe after the next one .Marketing: Cool . Do youwanna give me the little cable thing ?Project Manager: Do you want to {disfmarker} yeah .User Interface: Uh am I going in the right direction ?Marketing: {vocalsound} Yeah .User Interface: {vocalsound} No .{vocalsound} {vocalsound} Wait .Project Manager: Oh , I'm getting hungry . {vocalsound}User Interface: Okay , here it comes . Okay , here you are .Marketing: Cool . Ah , that's why it won't meet . {vocalsound}Okay , cool .Project Manager: You set ?Marketing: Yep , cool . Okay , functional requirements .Project Manager: Uh we need to do the function key thing so that it comes up on here .Marketing: Alright , yeah .ProjectManager: Hello .Industrial Designer: {gap} try to press {disfmarker}Project Manager: Is it plugged in propIndustrial Designer: oh , okay ,Marketing: It's working .Project Manager: it's working ?Industrial Designer: yep.Project Manager: Okay .Marketing: Cool , okay .Project Manager: Excellent .Marketing: So what I have , wh where I've got my information from is a survey where the usability lab um observed remote control use withum a hundred subjects and then they gave them a questionnaire . Um so it was all about , you know , how people feel about the look and feel of the remote control , you know . What's the most annoying things aboutremote controls and um the possibility of speech recognition and L_C_D_ screens in remote control . Not that they actually gave me any answers on the L_C_D_ screens , so I should have taken that bit out , butanyway .Industrial Designer: {vocalsound}Marketing: Um okay , so . What they found is that people don't like how current remote controls are , so you know , definitely you should be looking at something quitedifferent . Um seventy five percent of users find most remote controls ugly . {vocalsound} Uh the other twenty five percent have no fashion sense . Uh eighty percent of users would spend more to get um you know , anice looking remote control .Project Manager: {vocalsound}Marketing: Um current remote controls , they don't match the user behaviour well , as you'll see on the next slide . Um I dunno what zapping is , but{disfmarker}Project Manager: It's um switching between channels , sort of randomly going through .Marketing: Oh , right . But you have that little thing that comes up at the bottom and tells you what's on . Um okay ,fifty percent of users say they only use ten percent of the buttons ,Project Manager: {vocalsound}Industrial Designer: Mm .Marketing: so that's going back to what , you know , we were saying earlier about , you know ,do you need all the buttons on the remote control ,Industrial Designer: Right .Marketing: they just make it look ugly .Project Manager: Mm .Marketing: Okay ? Cool . Um so this is my little graph thing .Project Manager:Ooh , that's a bit difficult to see .Marketing: Mm kProject Manager: If you explain it to us it'll be fine .Marketing: Okay , well , I can send it to all of you . What it is is um it's cones ,Project Manager: Yeah .Marketing:'cause I thought they'd be more exciting . Um but {disfmarker}Project Manager: I liked the , I liked the littMarketing: ooh where's it go ?Project Manager: ooh come back .Marketing: Back . Oh .Project Manager: No.Marketing: Oh yes , cool . Okay , I'm gonna stop playing with the little pointy thing .Project Manager: {vocalsound}Industrial Designer: Mm-hmm .Marketing: Um okay , so like what it shows is how much things areused relatively and what you can clearly see from that is the thing that's used most is the channel selection .Project Manager: Okay .Marketing: What you can't see is volume selection , it's a little bit higher than all theothers .Project Manager: Mm-hmm , that's the next one along , yeah ? {vocalsound}Marketing: Yeah , so what the graph shows is that , you know , power , channel selection and volume selection are important , and"}
+{"doc_id":"doc_141","qid":"","text":"Project Manager: Hello .Marketing: Hey guys .User Interface: Hi .Industrial Designer: Hi .Project Manager: Hi .Industrial Designer: I see my bunny is still standing .Project Manager: Yeah .Industrial Designer: No onedrawing it .Project Manager: It's too beautiful .User Interface: Yeah , true .Industrial Designer: {vocalsound} Uh I figured uh that much . {vocalsound}Project Manager: {vocalsound}Marketing: Too wicked .UserInterface: Mm .Marketing: {vocalsound} {vocalsound} {vocalsound}Project Manager: A minute please , my uh laptop is uh {disfmarker} oh , there it is , thank you . So welcome back . {vocalsound} At the functionaldesign meeting um the plan is uh that uh each one of you , so not me but only you uh will uh present uh the the things you worked on uh the last uh half hour . I will uh take minutes and will put uh the minutes that Ihave uh at the end of the session in the shared folder . {vocalsound} Also the minutes of the previous session are also in the shared folder now , so you can read that uh now or afterwards . Um {vocalsound} uh I hadan email from the from the management boardMarketing: {vocalsound}Project Manager: uh , I don't know if you a al also uh received it , but there were four points uh which uh I think are very important . First one isuh they think that uh teletext teletext becomes outdated uh and internet will be the the main uh focus . {vocalsound} Uh second one is also important uh , because it's one of the discussion points of the previoussession . Uh the remote control shou should onl only be used for the television , so it uh not gonna it's not gonna be a multi-purpose remote control , so uh that's one thing to keep in mind .User Interface:{vocalsound}Marketing: {vocalsound}Project Manager: Uh second , and I think that's important for the Marketing uh Expert , uh the current uh customers uh are in the age group group of uh forty years and older , butwith this uh new remote uh they uh will uh {disfmarker} would like to reach uh a group uh younger than uh forty . Uh and uh I think to keep in mind , but not really uh for now is that they uh want the the the sloganand the and the logo uh to uh to be recognised more in the remote .Marketing: {vocalsound}Project Manager: So , we have uh forty minutes , so I think uh not more than ten minutes uh uh per presentation uh each ,and please uh use uh all the the the facilities so that you have either SMARTboards , the the Word files , what you uh {disfmarker} whatever you want . So uh Tim , can you start ? Yeah ?Marketing: Okay .{vocalsound} 'Kay , welcome . I have some uh new findings on uh Marketing Expert level ,User Interface: Mm-hmm .Marketing: which I will show you . {vocalsound} The method I used was um giving orders to ourusability lab uh to do a questionnaire . Um {vocalsound} one hundred respondents were involved and my marketing uh department generated a report with a lot of results . Um , these were a couple of findings , firstpage of three . Um , we have three audiences of {disfmarker} two audiences , {vocalsound} I'm sorry . Uh the first one , this scale , from sixteen to forty five {gap} age . Uh the second one is from sixty four{disfmarker} uh forty six to sixty five . Um , as you can see here , the market share for the first audience is about sixty percent {disfmarker} um sixty five . Uh second audience audience is uh thirty five percent . Mm{vocalsound} and some interests from the from the age groups , uh it seems like the young users of remote controls really like the fancy uh new technology stuff , like uh an L_C_D_ screen on the remote control , umspeech recognition . I don't think that's uh really appropriate . Um , {vocalsound} and when you see uh the audience , the age is going up uh {disfmarker} Yeah , they don't really want it anymore , at least the newtechnologies . Second findings {vocalsound} out of the questionnaire um are the opinion {vocalsound} the opinions uh of the audience about current remote controls . First point is , seventy five percent of the usersfind the most repo remote controls very ugly , uh and eighty percent of the users would spend more money when a remote control would look fancy . So that's maybe something for the User Interface uh Designer .Okay , third findings . According to the frequency of use versus importance investigation , um {vocalsound} following buttons are most important . Um , I will tell something about the way this uh this test was , yeah ,done . Um , {vocalsound} persons were asked uh what the buttons were uh they use most , how much an hour ,Project Manager: Mm-hmm .Marketing: and uh in the second table the importance of those buttons . Um, when you multiply them , you get the {disfmarker} these three points . Switching channels , um yeah , that's pretty uh pretty normal , that's what you do with a remote control . Um the second , teletext , uh and thethird , uh volume controls . Um , I think it's good uh that we know what the user want {disfmarker} wants , uh at least the these three points have to be uh very clear .Project Manager: But it's strange that the themanage board {disfmarker} the management board said that the teletext will be uh outdated by the internet . So that that's strange .Marketing: Yeah , okay . Yeah , okay , but uh at the moment uh teletext is{disfmarker} Yeah , th the best thing you can get uh on T_V_ , like getting information .Project Manager: Yeah , okay . Yeah .Marketing: So uh , when you ask people , what do they use , {vocalsound} they use teletextand not the internet on a remote control .Project Manager: Okay . Yeah , okay .Marketing: That's ridiculous . {vocalsound}Project Manager: Yeah .Marketing: That's a ne i it {disfmarker} It's a new technology ,ProjectManager: Yeah .Marketing: but it's not incorporated right now . Okay , my personal preferences . Um , I think we should aim at the uh audience from sixteen to forty five . {vocalsound} Mm , first of all um it's thebiggest share , the biggest audience , sixty five percent . Uh second , I think you will get the most revenue from i from it . Um , yeah , people from sixteen to forty five watch a lot of T_V_ , more than uh people who areel uh elder . Um {vocalsound} second point , {vocalsound} we have to impro improve the most used functions , as I said here , switching channels , teletext and volume controls . Third point um that came out of the uh{disfmarker} of the questionnaire , uh people used to uh get lost off the remote controller , so maybe it's an idea for us uh to design ex kind of placeholder uh on side of the , yeah , of the T_V_Project Manager: Yeah ,that's a cool idea .Marketing: where you can put the the remote control in . {vocalsound} Um , that's about it , I think . Yeah .Industrial Designer: When you mentioned uh improving functions , what uh what do youmean by that what what are you think about ?Marketing: Uh not not the r not the functions ,Industrial Designer: {vocalsound} Uh , the funtionability .Marketing: but uh it came out that a lot of buttons weren't evenused uh on a remote control . So you can have a remote control full of buttons , a hundreds hundreds of buttons , but if you don't use them , yeah it's {disfmarker}Project Manager: Yeah .Industrial Designer: Ah okay ,so focusing more on the used buttons .Marketing: Yeah , they have to be on itIndustrial Designer: Yeah .Marketing: j just to t to get it done if necessary ,User Interface: {vocalsound}Marketing: but um the most usedbuttons uh have to be bigger or {disfmarker}Industrial Designer: Could you use perhaps uh one button for multiple functions , like example pressing it in longer makes it switch to an different function for example.Marketing: Yeah , perhaps .Industrial Designer: Thank you .Marketing: Just for the minor functions perhaps .Industrial Designer: Yeah , ma perhaps , just just an idea .Marketing: Just to get less buttons on the remotecontrol , to make it easier and quicker to learn .Industrial Designer: Yeah .Marketing: Yeah ? 'Kay , that's it .Project Manager: Thank you , Tim . {vocalsound} Janus , can you uh {disfmarker}Industrial Designer: Uhyeah yeah , I'll go , sure . Right uh , I'll be uh explaining a bit about uh working design about uh the project . Well uh what I did was I dissected uh uh current remote controls and um I viewed how how they w looked ,how they worked , uh what kind of components are involved , and how they are connected together . And uh after that I put up a scheme about how uh these things are organised and I'll show it to you in in a in a fewseconds . And I'll explain a bit about uh how it works and how we could uh build one and why I think several possibilities uh that we discussed in the earlier meeting falls off . Um right . Uh well what I did was uh I Ichecked uh remote controls and the uh remote controls of today are all infrared , not like all probably know . And the thing about that is um the remote controls uh have to act as a T_V_ or uh a stereo or something ,and those uh have a transmitter that's also focused on infrared , so if we want to uh build uh mm a remote control uh with Bluetooth for instance then uh the T_V_ should have Bluetooth too in order to communicate ,so that would mean extra cost for the user and thus uh that's that wouldn't mean a a cheap uh remote control for us . So that's probably why most controls are still infrared . Furthermore they all have uh a a verysimple structure , so that would probably uh mean lower costs and uh i that could mean for us a good thing uh 'cause uh well we we should be able to build a relatively cheap uh {gap} a cheap uh remote . Well uh as Imentioned ready , we have some Bluetooth {disfmarker} Well it may be possible , but uh I figured it wouldn't be possible in {disfmarker} within our budget , but that's not for me to decide , but that's maybe somethingfor marketing to look into . F because uh {disfmarker} well my personal opinion is uh is not to do uh Bluetooth {gap} or or radio waves , {vocalsound} although {disfmarker}Marketing: What do you think about uhincorporating Bluetooth or a radio uh receiver uh in the place-holder next to the T_V_ , connected to the T_V_ ?Industrial Designer: Yeah , actually I have tMarketing: So it's in the wrong product .Industrial Designer:Yeah . Yeah , I actually {disfmarker} I figured that would be that would be rather nice , but then you'd still have the uh {disfmarker} the infrared function . So in in theory you'd actually just move the problem,Marketing: Yeah . Yeah .Industrial Designer: but uh what I did uh think about was when you mentioned about the uh the cup-holder , is why not uh introduce a speech function like where is the remote . If somebodysays , where is the remote , then it goes uh beep uh beep beep beep or something ,User Interface: {vocalsound}Marketing: {vocalsound} Yeah .Industrial Designer: I dunno , maybe uh maybe something to look into , Idunno uh what the cost {gap} that something like that would be . But it may be uh may be something to explore . Uh I'll I'll just explain a bit of the components . Uh first you have the energy source . The energy sourcewould be a battery , simple uh battery uh that you can find anywhere . I figured that would be best , 'cause when the battery uh stops functioning uh we could just uh use {disfmarker} you could just go out and buy anew one . So we didn't {disfmarker} and we don't have to do all uh {disfmarker} to be too complicated about that . Uh the energy source is connected to the infrared button , but uh the infrared button uh works onlyvia the chip and the subcomponent to uh the switch {disfmarker} there is a switch uh between these . When the switch is pressed in a w on this this case it switches a button , when a button is prush pushed in , uh aelectric current goes through here , and in uh {disfmarker} immediately , a l a bulb lights up uh displaying to the user that something has happened . That's uh that's so the h user won't be um thinking , well uh did thebutton be pressed , w what happened uh . Or I press button but nothing's happening on the T_V_ , so is is something wrong or something . So that's just to uh to to explain the {disfmarker} of {disfmarker} to to uhmake it clearer to the user . Uh w well the signal goes via chip that's translated into uh electric sig uh electronic signals and then it's processed and then it's sent to the infrared bulb where it will be uh uh received on thereceiving end . And those uh interpreted by the device , well in this case the television . Uh well my personal preferences here , well we have to keep it simple . Not too many uh gadgets and functions , just like you saiduh {disfmarker} well the most users n uh you have a lot of buttons and you u u use {disfmarker} you don't use them , so why why should we invent uh {disfmarker} w spend more time on those . Uh I I think weshould stick by {disfmarker} with infrared transmitting and uh no receiving . So uh no input from the television . So I think we shouldn't be uh spending time on um teletext and st things like that , because when you uhwant teletext on uh infrared you'd have to build in a receiver too , and so in order to receive the signals from uh what's on T_V_ and such . So I figure that would be uh spending too much money and time and{disfmarker}Marketing: Um , yeah , maybe another problem uh , I think current T_V_s can even send infrared .Industrial Designer: Yes , but what should we uh s I I I f I agree with you , but should we spend money or{disfmarker} and time on building a receiver into the uh remote control ?Marketing: Huh .Industrial Designer: 'Cause that would be {disfmarker} I mean extra components , extra designs , um larger g uh remotecontrol .Marketing: Mm-hmm . Yeah .Industrial Designer: These all uh all stuff that we have to take in account .Marketing: Yeah .Industrial Designer: So I I {disfmarker} my personal opinion is no no no receiver at all .Um , wellMarketing: Yeah .Industrial Designer: we should uh look into the design and the functionability . Like I said , uh use one button for instance for m multiple functions , or well uh just hide the few buttons o ofswitching it open or something , the usual uh {gap} stuff . And uh don't overbuild , we shouldn't make a big uh remote control for simple functions , but we we should stick to the basics . So that was my uh my personalopinion . And that was my uh my presentation uh {disfmarker}Project Manager: Okay , thank you Janus .User Interface: Okay . Yes ,Project Manager: You do ?User Interface: I can go ahead .Project Manager: The lastpresentation . You have plenty of time ,User Interface: Last presentation . Okay .Project Manager: Tim and uh Janus don't uh talk to ten minutes ,Industrial Designer: {vocalsound}Project Manager: so uh take yourtime .User Interface: {gap}Marketing: {vocalsound}Project Manager: If you take your time too long I will uh eventually uhIndustrial Designer: {vocalsound}Project Manager: warn you .User Interface:{vocalsound}Marketing: {vocalsound}User Interface: Well , I'm going to give a presentation abut some of the technical functions of these design and uh usability functions .Project Manager: {vocalsound}UserInterface: Um what's my opinion about what's most important to combine the design , technical possibilities and the user friendliness in one , so if you um going to design a remote that looks good , that shouldn't weighover the uh {disfmarker} if it's possible to make , of course , but also the user friendliness , so tha that's that's some of the main points . And another one is um the use um of many functions will will make it moredifficult , so use as as little functions as possible or at least don't display them all at once on the same remote . If you have fifty functions you don't want fifty buttons uh t uh to be shown at the same time ,Marketing:Hmm .User Interface: 'cause when you visit an internet uh site you don't want fifty links uh to see , but maybe use a hierarch hierarchy uh structure . {vocalsound}Marketing: {vocalsound}User Interface: And uh wellone of the ideas was maybe uh use touch screen , but s I don't know in how far that is possible ,Marketing: Hmm .User Interface: since we are sticking to uh um infrared and and the remote cannot receive anything ,but uh we might uh consider that . Um well , of course I I hope this is all clear to you . If you {disfmarker} you can use remote like this with all the functions , {gap} many functions , but {disfmarker} Well , your thumbis a little bigger than th it than this . You have to be very careful what you push ,Marketing: {vocalsound} {vocalsound}User Interface: and um if you're looking for teletext you'll be uh searching for half an hour from uhum {disfmarker} yeah well , where is it ? Where the hell {disfmarker} he here I guess and , yeah , when you have to uh use something else . So just keep it simple , make clear buttons , easy to use . For example ifyou want to use a play and back and stop , that's very important . Um well this was because of our last discussion , if multiple machines are used , create easy switch between the machines , but um it's no longer uhapplying . {vocalsound} Well yeah , I prefer to use it only for T_V_ and um n uh not to give too many options and and if possible , uh the buttons should give {vocalsound} a dr direct action , not first select{disfmarker}Project Manager: Uh you you just said um uh you wanted to to combine more functions in one , so uhUser Interface: Yeah ,Project Manager: you you want to keep it simple ,User Interface: and so that'swhere the difficulties lie .Industrial Designer: Yeah , but {disfmarker}Project Manager: but I think that if you want to do that , then you can't escape the the fact that there will be buttons uh which give s uh moreoptions than one .User Interface: Yeah , this {disfmarker} so that's the thing you have to weigh against each other .Industrial Designer: Yeah . Yeah , but {disfmarker}User Interface: Do we want to use a few optionsand might not be so or original , or uh multi-purpose as we thought ,Project Manager: Mm-hmm . Okay .User Interface: or do we want to use um many buttons .Project Manager: Yeah .User Interface: So um weighingthose factors .Marketing: Hmm {gap} it's maybe an option uh if you use an L_C_D_ {vocalsound} or a touch screen um , that in the middle are the the main keys , like displayed on the {disfmarker}User Interface:{vocalsound}Marketing: Uh yeah .User Interface: The {gap} doesn't {gap} .Marketing: {vocalsound} {gap} . Yeah , this ? No ? Yeah . {vocalsound} Something like that . Okay , just uh in the middle the generalfunctions , like play , uh channel switching ,User Interface: Yeah .Marketing: and then uh at the top or at the bottom , some menus like uh settings or {disfmarker} that you can drop down .User Interface: Yeah , butwhen all the questions I had {disfmarker} Do we want to use uh a menu display on the T_V_ ? Or um does have to f everything uh be in remotes ? 'Cause if you use a memory display on the T_V_ , you can simply pushuh a more menu and then select the options you want to have and press okay .Marketing: Mm .User Interface: Uh so that's my recommendation , if you use many options in one buttle {disfmarker} button , um displaythe menu on the T_V_Marketing: Nah . Mm-hmm .User Interface: and don't um use combination of t of two buttons at the same time or pressing buttons three times for five seconds ,Marketing: Yeah .User Interface: istoo complicated for most users .Marketing: Yeah .Industrial Designer: Yeah , but {disfmarker}Marketing: I think so too , but {disfmarker} {vocalsound} and that's partly because um uh a lot of T_V_s have differentmenus , and when you have a particular menu uh at your device , uh it could be that don't correspond to the menu what's actually on T_V_ .User Interface: Yeah , that will be a problem .Industrial Designer:WellMarketing: Yeah .Industrial Designer: you d you have to {gap} keep in mind that uh several T_V_s uh don't even have a menu structure , or they have a very simple menu structure , so you have to keep in mindthat not all uh d not {disfmarker} our remote won't be able to work on all televisions .User Interface: Yes .Industrial Designer: And that would be uh a considerable problem .User Interface: So if we have to stick withcurrent technologies and uh um well yeah , the restrictions of what's uh is on the market today , um you should keep it s at this .Industrial Designer: Yeah .User Interface: Use big clear buttons . Not too many . Somaybe we'll loose a few option uh options , but I think i this is more important . Um {vocalsound} especially the important buttons , um if you want to switch channel , change your volume , uh use teletext , it uh it hasto work at once and more advanced options may be put it s somewhere away on the remote , behind uh a little uh little thing or a touch screen .Industrial Designer: Not embed Yeah , but then with something like atouch screen could {disfmarker} could make more menu up {disfmarker} pop up or something .User Interface: And yeah , if you want to uh uh s put {gap} on stand-by or change the channel , that should always be"}
+{"doc_id":"doc_142","qid":"","text":"Lynne Neagle AM: Good morning, everyone. Welcome to the Children, Young People and Education Committee this morning. I have received apologies for absence from Jack Sargeant, and I'm very pleased to welcomeVikki Howells, who is substituting for Jack this morning. Can I ask whether there are any declarations of interest from Members, please? No. Okay. Thank you. Item 2 this morning is our last evidence session on theChildren (Abolition of Defence of Reasonable Punishment) (Wales) Bill, and I'm really pleased to welcome back Julie Morgan AM, Deputy Minister for Health and Social Services; Karen Cornish, who is deputy director ofthe children and families division; and Emma Gammon, who is the lawyer working on the Bill. So, thank you all for coming. If you're happy, we'll go straight into questions because we've got lots of ground that we wantto cover, and the first questions are from Janet Finch-Saunders.Janet Finch-Saunders AM: Good morning. Thank you, Chair. Good morning, Deputy Minister. Of those individuals who responded to our writtenconsultation in a personal capacity, nearly 70 per cent do not support this Bill. We also heard a clear message from the parents we met last week who oppose this Bill that, as parents, they understand clearly thedifference between child abuse and a light smack from a loving parent. How would you like to respond to that?Julie Morgan AM: Thank you very much, Janet, for that question. I think I'd like to start by saying that childabuse is not the issue that the Bill is trying to address. What the Bill is trying to do is prohibit all forms of physical punishment, and that is in order to protect children's rights and to ensure that children have the sameprotection from physical punishment as adults. But I do understand that people have different views, and that's why this process has been so important—for us to hear what your views are and what parents' views are.I know that, often, people use different euphemisms really to make light of physical punishment. I've heard expressions used such as a 'light smack' or a 'loving smack' or a 'tap', and really there can be differentinterpretations of what is a 'light smack', what is a 'loving smack', and that doesn't really cover the issue of the frequency of such actions being taken. But I would say that, however mild it seems to be, the UnitedNations Committee on the Rights of the Child recognises that any physical punishment of children, however minor, is incompatible with their human rights, and why should a big person hit a little person? That's beenthe sort of mantra, really, that has taken me through supporting this legislation—that it just seems wrong to me that there is something in the law that could mean that there could be an excuse for that happening. Ibelieve we shouldn't have anything in the law that defends the physical punishment of children, and I don't think we should be defining acceptable ways of hitting or punishing children, because I think it does send aconfused message to children. It says, 'It's okay for me to hit you, but don't you hit anybody else.' I think it causes confusion. So, I'm confident that updating the law will make it much clearer for parents and peopleworking with children—and, of course, I'm sure, as you'll have heard from the evidence you've taken, that people who work with children are overwhelmingly in support of this legislation, and the representative surveysthat we've carried out show support for the Bill's principles.Janet Finch-Saunders AM: Thank you, Deputy Minister. Last week, during the workshop, a few parents—predominantly all of them, actually—said that they usea gentle tap or smacking as part of a toolkit of ways to deal with challenging behaviour or, sometimes, for the safety of the child or, indeed, to carry out the parenting of a child. How do you intend to work with parentsgoing forward, given the finite resources that social care and social services have? I know from the responses we've received to the consultation that parents themselves who have to parent 24 hours a day, seven daysa week, they are really, on the scale of things, very upset about this. How do you intend to try and get your message across to those parents on removing what they consider to be part of their toolkit when raisingchildren? How do you intend to deal with that aspect?Julie Morgan AM: Well, first of all, I want to say, as I've said in most evidence sessions, that I completely accept that bringing up children is hard. It's very difficult;many of us have done it and we know how tough it can be. But we don't think that there is any place for physical punishment in bringing up children. There's a whole range of other ways that you can help parents bringup children, and advice you can give them of different methods to use. But, the clear message of this Bill is that we don't want any physical punishment; we don't think it's the right thing to do, and we believe that weare supported by many people in that view.Janet Finch-Saunders AM: Thank you.Lynne Neagle AM: You've got other questions, Janet.Janet Finch-Saunders AM: Okay. Oh, yes. Several consultation responses refer tostatistics from Sweden, which they say show that child-on-child violence actually increased by 1,791 per cent between 1984 and 2010, following the ban on physical punishment in 1979. What is your view on thesefigures and how can we be certain that this Bill won't lead to other long-term negative outcomes in Wales?Julie Morgan AM: Well, I'm aware of the debate surrounding the interpretation of the different statistics fromSweden. What's happened, really, in the academic research is that different academics are focused on different figures to support their views, and the methodological ways of doing it makes it quite difficult to havecausation. I was very encouraged that a recent study of 88 countries concluded that if a country prohibits corporal punishment, the result is association with less youth violence, and this is one of the largestcross-national analyses of youth violence, with more than 400,000 participants. So, there is other evidence, very widespread evidence, which looks at a whole range of people, that is in contrast to the Swedishevidence. But, evidence in this field is mixed and we have considered a wide range of research and reviews, but ultimately the decision is one that is based on our commitment to children's rights.Janet Finch-SaundersAM: Okay, thank you.Lynne Neagle AM: Do you want question 3?Janet Finch-Saunders AM: I can do it, yes. The Bill's explanatory memorandum says that 'there is no definitive evidence that \"reasonable\" physicalpunishment causes negative outcomes for children'. However, we have heard from Equal Protection Network Cymru that international evidence could not be clearer and that they found the Wales Centre for PublicPolicy's report, on which the explanatory memorandum is based, very confusing and very frustrating, and that it didn't tie in with what they knew. How would you respond to those viewpoints?Julie Morgan AM: We werevery keen to get as balanced research as we possibly could, and we didn't want to just put forward views that we thought agreed with our point of view. So, we were trying to give a balanced point of view, but we didcommission the Wales Centre for Public Policy to do an independent literature review and we're honestly reporting to you what they said. But they did make it clear, again, which I think I've said in previous evidencesessions, that all physical punishment, under all conditions, is potentially harmful to children. And certainly, there is no peer-reviewed research that says that physically punishing a child is going to improve things, hasfavourable outcomes. So, I understand what Equal Protection Network Cymru are saying, because there is a lot of very strong evidence, but we're giving you the evidence that we had from the research that wecommissioned.Lynne Neagle AM: Thank you. We've got some questions now from Suzy on implementation.Suzy Davies AM: Thank you, Chair. I've just got a couple of questions on this balance between the steps thatwill be needed to implement this Bill and the impact that it'll actually have. You've probably heard in evidence that we've received that there are still some concerns out there about how agencies might address maliciousreporting; some detail about how the public interest test might be applied further along the line; what's going to happen with out-of-hours provision from social services, and so on. There are still, from our perspective,quite a few things that are unknown about the effect on our public services in particular of the implementation of this Bill. Would you agree that perhaps we should know a little bit more about that before we proceedwith supporting the Bill?Julie Morgan AM: Well, it's very difficult, bringing in this legislation that hasn't been done before. It's very difficult to gauge the impact, and we've covered that, I know, in previous discussions.But I think it's very important to say that we are not creating a new offence. The Bill is removing a defence to an offence of common assault. And I think it's an interesting point to make that, in Ireland, they introducedsimilar legislation through an amendment to a Bill, and had no detailed preparation for bringing in the Bill, and in fact there's no evidence that this has caused any difficulties, and no significant negative impacts orincrease in workload. But in any case, we have our implementation group, which is going to address many of these issues. This met on 14 May. That was the first meeting. You see, I think we do have to take a balancebetween assuming this Bill is going to go through and what we can actually do. We can't presume that the Assembly will accept this Bill, so we have to be staged in what we do. But we had the first strategicimplementation group on 14 May, and we had representatives from the police, the police and crime commissioners, the Crown Prosecution Service, the Association of Directors of Social Services Cymru, the Associationof Directors of Education in Wales, the Welsh Local Government Association, the legal profession and the third sector. They're all there, and they're all very keen to make this legislation work and to look at theimplications of it. I'd just like to say how grateful I am for all those organisations giving their time and commitment. They've set up four work streams, looking at parenting advice and support; data collection, evaluationand monitoring; operations, procedures and processes; and out-of-court disposals and diversions. These groups will be taking forward this work and will be looking at many of those issues that you've mentioned, andwill also be updated on the progress of the awareness strategy that we will be bringing in. I'm really confident that the legislation will be implemented in a very practical and workable way, because we do have thecommitment of all these agencies, and there's been a huge amount of preparation done in the Welsh Government to prepare for this in a way that, I have to say, hasn't been done in some of the other countries—as Imentioned, in Ireland. So, as much preparation as could be done is being done and has been done, but we really now see that the implementation group is taking forward all these issues, and obviously those agenciesthat are taking part in the implementation group are, on the whole, in support of the principles of this Bill.Suzy Davies AM: Well, thank you for that, Minister, but the way I look at this is that you've already said that, ifthis Bill passes—and it will pass; it's in enough manifestos to pass, so the question is what type of Bill is going to pass—and if there is a gap of, let's say, two years before anything is implemented, and theimplementation group is doing the work that you've described—and we're very relieved to hear that—why is this Bill being introduced now when that implementation group hasn't really come up with a strategy thatcould help persuade people about what implementing this Bill would look like in real life? You're asking the Welsh public to take a bit of a chance on this.Julie Morgan AM: I think we have, as far as possible, looked atinternational evidence where this legislation has been introduced. It's different for different countries, so I know it's difficult to get anything that's absolutely linked. But I don't agree that it's a bit of a chance, really. Ithink we are preparing very well and very carefully. As the team who have been working on this have worked through the preparation for the Bill, lots of issues have arisen as they've done that, and so you have to dothat, I think, alongside the actual practical implications with the groups that are coming together, and I think the point at which we've done that is probably just about right, really.Suzy Davies AM: Okay. I hope this isn'tgoing on to somebody else's questions, but accepting what you say, would you then be open to accepting amendments to the face of the Bill that would clarify the position for the Welsh public on certain things that maybe of concern to them, which have been fed through to us? I'm not suggesting anything specific, but—.Julie Morgan AM: No, no. I mean, the position is that it is a very simple, one-clause Bill. We want to keep it assimple as possible, but I'm certainly prepared to consider any issues that come up, and I think that's been the case all along. Although our preference is to keep it simple.Suzy Davies AM: I understand that. It's justwhat's going to work as a bit of law here, isn't it? And then just finally from me, and you've made the point to a degree, that, of course, not all countries are like Wales. If we look at Ireland, and New Zealand's the onewe've been looking at an awful lot, which are the most similar, their work hasn't really been in place for that long, and one of the things that, I think, you're going to need to be able persuade us of is that if the culturechange to which we've already referred is going in one way anyway, and if it continues to go in that direction, that this Bill will have had a causal effect. I'm trying to establish whether the culture change is going tohappen anyway, whether or not we pass this legislation.Julie Morgan AM: Well, it does look as if a culture change is happening in any case, but the culture change will never really move, I think, as most of us want it, ifthere is legislation that does appear to condone the use of physical punishment, and having this reasonable punishment in law means that happens. So, I think, passing the legislation by itself will certainly not doeverything—Suzy Davies AM: No. And you'll be aware that this is to go with it. I get that, but—Julie Morgan AM: You've got to have—. And I think the research has all shown you've got to have an awareness campaignrunning along with it. That is shown. And in the other countries we've looked at, I don't think an awareness campaign was actually carried out because we are planning a really big awareness campaign because we thinkit's absolutely fair to the Welsh public, as you said, that they absolutely know what we're doing and everybody's aware of it. So, I think it is—.Suzy Davies AM: Okay. Well, can I just finish—?Julie Morgan AM: I know thepoint you're making. You're saying that this would happen in any case, maybe.Suzy Davies AM: I'm suggesting it.Julie Morgan AM: But if you've got a bit of legislation there on the Bill, it will always mean that for a veryminority group of parents, they will feel that they have got the right to use physical punishment against their child, and I just think it's something we should get rid of. I think it's an anachronism and it's something weshould—. And I think Wales has been very strong on children's rights. We've got rid of physical punishment in schools, child minders, regulated care settings. And, of course, the other point that I don't think we sayenough about is that it's not just parents; it's people in loco parentis who are working in leisure centres or religious establishments or any of those unregulated settings who also have this defence. So, it's last bit in thejigsaw, really, to have it quite clear that we want to treat our children with respect and dignity and I think this will move us towards that.Suzy Davies AM: Okay. Well, it's the argument you've made before. I think whatI was trying to get to is: how are we going to prove that this piece of legislation has worked effectively? It's about the data capture, I guess.Julie Morgan AM: Yes.Suzy Davies AM: What are you going to do to make surethat you acquire evidence in the future to show that this has worked, or potentially not worked? I'd be surprised if that was the case, but—. Because, of course, that has an implication then on the resources for thevarious people you'll be asking to collect the data.Julie Morgan AM: Yes. I think that's very important because we need to know what is the effect of the legislation we'll be bringing in. So, we will be having ongoingevaluation, we will be bringing in an independent body to evaluate. We have got ongoing monitoring and we've got ongoing monitoring surveys looking at what are the views of the public. So, yes—Suzy Davies AM: It'llbe directly linked to the Bill, then, rather than that broad culture change.Julie Morgan AM: The monitoring, asking the views of the public, is generally about issues related to the Bill. The views of parents about whetherthis legislation—Suzy Davies AM: Sorry, I don't want to labour this point.Julie Morgan AM: And awareness. How aware they are.Suzy Davies AM: Basically, we need a question, 'Has this Bill stopped you smacking yourchild?' That's the core question. So, phrase it differently, yes?Julie Morgan AM: Yes. Well, we are in the surveys asking how many people feel that they do smack their child, but this is any physical punishment, actually,not just smacking—Suzy Davies AM: And it's for the future, not for now.Julie Morgan AM: —and how many, actually, are doing that. And it is consistently going down, as you said.Suzy Davies AM: Thank you. I don'twant to take it any further.Lynne Neagle AM: Thank you. We're going to move on to explore some of the issues around social services now with questions from Dawn Bowden.Dawn Bowden AM: Thank you, Chair.Morning, Minister. When the Association of Directors of Social Services Cymru came in, they were saying to us that they would encourage people to report any instances, anything that they see around somebodysmacking a child. That leads on to the question about whether in fact social services, then, would change their thresholds for intervention if there were more cases being referred to them. Are you fairly confident, areyou certain, that that wouldn't happen, or do you think there is a danger that social services might actually say, 'Well, actually, if we're getting all these referrals, we need to think again about when and if we intervene',and the thresholds could become a bit lower?Julie Morgan AM: Well, as you know, social services already receive and investigate reports of children being physically punished—any sort of range of physicalpunishment—and they use standard procedures to determine how to proceed, but that's done on a case-by-case basis; it's made on the individual case element. And, of course, there is a distinction between reasonablepunishment and child neglect or abuse. And if this legislation is enacted, a significant proportion of the incidents of physical punishment will not require any response under the child protection procedures, and we do notexpect the threshold of significant harm to change. And I know you took evidence from the ADSS, and I know Sally Jenkins gave evidence, who is one of the lead practitioners, and I understood she said: 'In terms ofthresholds for children's services, we would not be anticipating a huge number of referrals to us. There may be a small number of referrals that come through. What we know from other nations is that it will peak andthen settle. We recognise that's likely to happen.' So, I think—Dawn Bowden AM: So, it's the threshold for intervention that's the key, really, isn't it, rather than—?Julie Morgan AM: Yes, they don't see thatchanging.Dawn Bowden AM: So, they don't see that changing.Julie Morgan AM: No, no. And we don't see that changing.Dawn Bowden AM: Okay, that's fine. The police, when they came in to give evidence, talked aboutthe need for the multi-agency safeguarding hubs. And what we also heard is that it's a bit inconsistent across the country. And I think you acknowledged that as well. Do you think the implementation of the Bill, and itseffectiveness, is going to be dependent on us having consistently effective multi-agency safeguarding hubs right the way across the country?Julie Morgan AM: No. The effective implementation of the Bill does notdepend on MASHs, as we call them for short, because bodies, social services, already work closely with the police on a day-to-day basis, really, and they have indicated their willingness to do so, and there are alreadywell-established mechanisms in place that enable this joint working to take place. I know that the MASHs are only in certain areas, and I know that it's—. I think they're probably very good to have, actually, and very"}
+{"doc_id":"doc_143","qid":"","text":"Industrial Designer: {vocalsound}Marketing: {vocalsound}Project Manager: {vocalsound}Marketing: {vocalsound} Hmm .Project Manager: Okay . Good morning everybody . Um I'm glad you could all come . I'm reallyexcited to start this team . Um I'm just gonna have a little PowerPoint presentation for us , for our kick-off meeting . My name is Rose Lindgren . I I'll be the Project Manager . Um our agenda today is we are gonna do alittle opening and then I'm gonna talk a little bit about the project , then we'll move into acquaintance such as getting to know each other a little bit , including a tool training exercise . And then we'll move into theproject plan , do a little discussion and close , since we only have twenty five minutes . First of all our project aim . Um we are creating a new remote control which we have three goals about , it needs to be original ,trendy and user-friendly . I'm hoping that we can all work together to achieve all three of those . Um so we're gonna divide us up into three {vocalsound} compa three parts . First the functional design which will be uhfirst we'll do individual work , come into a meeting , the conceptional design , individual work and a meeting , and then the detailed design , individual work and a meeting . So that we'll each be doing our own ideas andthen coming together and um collaborating . Okay , we're gonna get to know each other a little bit . So um , what we're gonna do is start off with um let's start off with Amina . Um Alima ,Industrial Designer: Alima.Project Manager: sorry , Alima .Industrial Designer: {vocalsound} {vocalsound}Project Manager: Um we're gonna do a little tool training , so we are gonna work with that whiteboard behind you . Um introduceyourself , um say one thing about yourself and then draw your favourite animal and tell us about it .Industrial Designer: Okay . Um I don't know which one of these I have to bring with me .Project Manager: Probablyboth .Industrial Designer: {vocalsound} Right , so , I'm supposed to draw my favourite animal . I have no drawing skills whatsoever . But uh let's see , introduce myself . My name is Alima Bucciantini . Um I'm from thestate of Maine in the US . I'm doing nationalism studies , blah , blah , blah , and I have no artistic talents .Project Manager: How do you spell your name ?Industrial Designer: A_ L_ I_ M_ A_ .Project Manager: Thanks.Industrial Designer: Oh , and I guess I'm the Industrial Designer on this project . So let's see if I can getMarketing: {vocalsound} {vocalsound}Industrial Designer: um here . I will draw a little turtle for you all . Notnecessarily 'cause it's my absolute favourite animal , but just that I think they're drawable . And you have the pretty little shell going on . Some little eyes . Happy . There you go . That's a turtle .Marketing: Yes .ProjectManager: So what are your favourite characteristics ?Industrial Designer: Um . I I like the whole having a shell thing .Project Manager: Mm .Industrial Designer: It's quite cool carry your home around where you go ,um quite decorative little animals , they can swim , they can , they're very adaptable , they carry everything they need with them , um and they're easy to draw .Project Manager: {vocalsound} Excellent .UserInterface: {vocalsound}Project Manager: {vocalsound} Shall we just go around the table ?User Interface: Uh Okay . Well , my name is Iain uhProject Manager: Mm .User Interface: and I'm the User Interface Designerfor the project . Um . And I'll try and draw my favourite animal .Industrial Designer: {vocalsound} No ,User Interface: I'll {disfmarker} I should leave that one on thereIndustrial Designer: you can erase the turtle ,UserInterface: shouldn't I {vocalsound} before I callously rub it off .Industrial Designer: it's alright .Project Manager: Might be nice to have them all up there at same time .User Interface: {vocalsound} Um I'm not gonnadraw it quite to scale um .Industrial Designer: {vocalsound}User Interface: {vocalsound} Is that at least identifiable ?Industrial Designer: Snake .Marketing: Well .Project Manager: EmIndustrial Designer: Well ,UserInterface: It's a whale {vocalsound} , yes .Industrial Designer: snake ? {vocalsound} It's w {vocalsound}User Interface: {vocalsound} Thanks .Marketing: Oh my god , it's better than what I'm gonna be able to do.User Interface: {vocalsound} Um and , yeah , the reason I like whales is 'cause uh they're {disfmarker} well , first of all they're quite intelligent um and also they're they're kind of mysterious , like we don't really knowmuch about them or or understand how they work , how they form groups . And I just find them interesting animals .Marketing: Take my contraptions with me . Alright , I'm Jessy . I'm from around D_C_ ish sort of inthe U_S_ . And we're gonna keep the deep sea sort of theme going on , {gap} animal . Don't really know how to draw this . Just where can I {disfmarker} Mm . Mm . Maybe if I do the water ,Industrial Designer:{vocalsound}Marketing: but how ? Sort of give an idea . {vocalsound} I have no idea how one would explain this . Mm maybe with some whiskers . Briefly , it's supposed to be a seal .Project Manager:{vocalsound}Industrial Designer: {vocalsound}Marketing: You can imagine it in the water . I like them , because they are like playful and silly sort of have a good time . Not gonna try and pretend like I can get anybetter than that . {vocalsound}Project Manager: Mm 'kay . Mm 'kay ? I'm Rose and I'm Project Manager , {vocalsound} from California . Um . Hmm . {vocalsound} S {vocalsound}Industrial Designer: {vocalsound} Oh,Marketing: It's definitely significantly harder once you are doing it .Industrial Designer: a cat .Project Manager: Um it's actually a coyote .Industrial Designer: Yeah .Project Manager: Let's see . Let's see ,IndustrialDesigner: Right .Marketing: {vocalsound} That's impressive .Project Manager: let's give it a little bit of a snout , I don't know , some teeth .Industrial Designer: That's {disfmarker}Project Manager: Yeah .IndustrialDesigner: That's pretty impressive .User Interface: Cool . {vocalsound}Project Manager: {vocalsound} Oh dear . {vocalsound} Yes .Industrial Designer: {vocalsound}Project Manager: I live um I live right across thestreet from an open space in California . We have coyotes howl all the time . So I really enjoy their their singing , you they're really beautiful animals . Mm . {vocalsound} Okay um , moving on to slightly more seriousstuff . We're gonna talk about project finances . Um we have a couple {vocalsound} we'd like to sell it for about twenty five Euro with the profit aim of um fifteen million Euro um from our sales and because this is such{disfmarker} this is for television it's a {disfmarker} we have a market range of Internet , like it's an international market range , we don't have to worry about specifics . Um in order to make a profit of this magnitude ,we need to um be able to produce each one at a maximum of twelve fifty Euro . So we're selling it for twice what we'd like to produce it for . Okay um , just to generate a little bit of discussion about the project um , Icould {disfmarker} I'd like to hear about your experiences using ro remote controls , um your first ideas about um creating a new r remote control , what would be the best um like you {disfmarker} what are thefeatures that you really like what are the features that you don't like , etcetera , so {disfmarker}Marketing: Um I hate when there's like four different buttons and you have to press to actually turn on the T_V_ like youhave to do one for the power of the T_V_ and then like another one to get the actual screen on and something else to get it all going , I don't know . Now they keep combining all different remotes together , and I don'tknow if I necessarily like that 'cause I feel like you end up with multimedia overload .User Interface: {vocalsound}Marketing: I just wanna watch the T_V_ {vocalsound} um .Project Manager: Hmm .Marketing:{vocalsound} Always gets lost . Some sort of like device to help you find it .User Interface: I've used , I've used remote controls , for things like T_V_ and the C_D_ player and video recorder and I I guess they'rethey're pretty neat neat little tools uh . You don't have to get up and walk across the room to change a channel .Project Manager: Mm .User Interface: So especially if you're someone really lazy like me they they'repretty nice . Um . I find them {disfmarker} they can be a bit annoying , especially , like you know if I'm watching T_V_ I have have to have three separate remote controls of {disfmarker} in front of me , you know ,one for the T_V_ , one for the digital box , one for m the video recorder as well . Um . And also they tend to they tend to be a bit confusing , they've got too many buttons on them uh too too sort of too sort ofcomplicated when all I really wanna do is switch on and off , change the channel , change the volume .Industrial Designer: Yeah um . I agree with having too many remotes around . My dad has a whole drawer at homeof remotes for various things , and I don't know how to work half of them um . What's important for me , I guess , is that it's easy to use and that there's not too many buttons , they are not too small , you know youknow you need to n to know what you're doing . And one thing I particularly like is if you are not um sort of moving it around to get it to work with the infra-red .Marketing: Yeah .Industrial Designer: Um , I think thereis a way around that ,User Interface: Yeah .Industrial Designer: but I know in my residence right now the the television you sort of have to walk all around the room to get it to turn on ,Project Manager: {vocalsound}Mm-hmm .Industrial Designer: so i it's just simpler just to just turn around the T_V_ itself , and I think that's {disfmarker} if we're gonna make a remote control , it should actually work for what it's doing . So{disfmarker}Marketing: What about like batteries and things like that , like are there some remotes that don don't require like batteries or do all remotes require batteries ?Project Manager: {vocalsound} Um I wouldimagine all of them ,Industrial Designer: I know .Project Manager: but we could {disfmarker} but it's possible we could use like a lithium battery um that would last a lot longer than like double A_s .Industrial Designer:Yeah , something that doesn't {disfmarker}Marketing: Mm-hmm .Project Manager: Um like tho those are the batteries that are used in a lot of um M_P_ three players now and that kind of thing . Um .Marketing:Mm-hmm .Industrial Designer: Mm .Project Manager: Um . Okay , it seems we have a little bit of a conflict over um to uh combining all the remotes cont together versus having f five different remotes . So um like yousaid you don't like having all the buttons on one on one remote , and yet you don't wanna have five remotes . So how do we work with that ?Industrial Designer: {vocalsound} Yeah .User Interface: Mm .IndustrialDesigner: Could we get something that just has {disfmarker} No doesn't have all the buttons that you need to program the video recorder or program s other things that I'm not very coherent about , but that just hasyour major buttons for {disfmarker} that work for everything , you know volume control , on , off ,Project Manager: Mm-hmm .Industrial Designer: channel changing .Marketing: And maybe that spatially divides it , soit's like if you're looki if you're trying to get the T_V_ on that's , you know , like the top thing on the remote , I dunno if d be vertical or horizontal in terms of how we're gonna make it , but if it's like all the T_V_ stuffwas here ,Industrial Designer: Yeah .Marketing: then all the V_C_R_ stuff was here , all the {disfmarker} whatever else we have programmed into it it's all just in its separate place and not like all the on buttonstogether ,Project Manager: Mm .Industrial Designer: N that way {disfmarker} Yeah .Marketing: 'cause then you like , I don't even know what I'm turning on .Project Manager: Mm .Industrial Designer: {vocalsound}Yeah , and if um if you'd save the more complicated functions maybe for separate remotes that you wouldn't need to use every day .Marketing: {vocalsound} Mm-hmm .Project Manager: Okay , so maybe have like oneremote that has the main functions on , off , channel changing , volume , and another rote remote with all the special things .Industrial Designer: Um .Project Manager: Because that is one thing that um remotes tendto have buttons that the T_V_s no longer have as well .Industrial Designer: Yeah .Project Manager: So like you have to have them somewhere ,Industrial Designer: Mm .User Interface: Yeah .Project Manager: 'causeyou're gonna m need those special functions occasionally . Um but not necessarily on the m the normal remote .Industrial Designer: Right .User Interface: Can I ask , are we designing a remote control for a televisiononlyProject Manager: {vocalsound} Good question .User Interface: um , and if if this device is just to be used for the television would we even technically be possible to include video recorder functions on it ?ProjectManager: {vocalsound} I don't know that yet .User Interface: Um or should we just stick to just stick to having television television related buttons on it ?Industrial Designer: Mm .Project Manager: It's a good question .Um . {vocalsound} I'll look into that .Marketing: Mm-hmm hmm .Project Manager: If I can .User Interface: {vocalsound}Marketing: I think it's just T_V_ , I mean , if it {disfmarker} if we're taking it just {gap} newproduct a new television remote control that's not like {vocalsound} doesn't say .Industrial Designer: Mm yeah .Marketing: You know , things might be more advanced than that . {vocalsound}Project Manager: Mm.User Interface: {vocalsound} So we should {disfmarker} maybe we should assume that i t it's just a television that we're wanting to control .Industrial Designer: {vocalsound}User Interface: Well , I mean I suppose itwould be nice to have {vocalsound} playing and record and stop buttons on it for the video recorder as well I I don't know if that works technologically or not .Industrial Designer: Yes . I guess we have to define whatwhat we're aiming for . If it's just a television then that {disfmarker} it's a bit simpler , 'cause there's less buttons that would even need to be on it .User Interface: Yeah .Marketing: It's an idea with the buttons beingreally {gap} .Industrial Designer: Large . If you have older people or people like me that aren't very co-ordinated hand-eye , it's really quite important that you are not pressing a small like teeny mobiles phone sizebuttons , if we can help it .Marketing: Yeah .Project Manager: Mm .User Interface: Yeah .Project Manager: Okay . 'Kay sounds like we've had a good little discussion for our first ideas . Mind if we move on ? PsIndustrialDesigner: {vocalsound}Project Manager: mm okay .User Interface: 'Kay .Marketing: Mm-hmm .Project Manager: Um now our next meeting starts in thirty minutes . I believe we've actually been only working on thisthis one for about twenty , so we can continue discussing more new ideas if you'd like um ,Industrial Designer: Hmm .Project Manager: but this is just a breakdown of what we'll be doing individually . Um the industrialdesign , Alima will be doing um the working design .Industrial Designer: Yeah .Project Manager: Um the User Interface Designer , that's for {gap} . Technical functions , I guess like keeping in mind the buttons thing ,the size of the buttons . Um user requirements um , so you'll be hearing about different trends , uh about different things that people need , um I guess kind of the same uh discussion that we've been having , we'll getfrom the actual consum s consumers .Marketing: Mm-hmm .Project Manager: Mm 'kay um . And you will get specific instructions sent by your personal coach . I realised in this past one we we didn't have much , we justwanted to get a little brain-storming done . Um so very exited to see all your animals and how {disfmarker} what wonderful um artists we all are {vocalsound} um .User Interface: {vocalsound}Project Manager: Anyquestions ?Industrial Designer: {vocalsound}User Interface: What we're gonna be discussing at the next meeting ? Do we know that ?Project Manager: I haven't gotten an agenda yet , um I'll put that together . I'msure as we'll each get our own instructionUser Interface: Right .Project Manager: and then um because what we gonna do is first our individual actions and then we'll come back together . So I'm sure we'll all have moreconcrete things to contribute next timeUser Interface: Yep .Industrial Designer: 'Kay .User Interface: Yep .Industrial Designer: I'm sure we'll be busy .User Interface: {vocalsound}Project Manager: Mm 'kay um I'll typeup mi minutes and probably email those out to all of you . Um just including all the things that we talked about . Um .User Interface: Okay . Can you e-mail your slides as well ? Is that possible ?Project Manager: Yes , Iyes , I think I can . Mm-hmm .User Interface: CoolProject Manager: I'll just attach it to an email . And you're you're number two ,Industrial Designer: I'm two .Project Manager: three , four ?Marketing: I'm four .ProjectManager: Is that correct ? Okay .Industrial Designer: Alright .Project Manager: Excellent . It was lovely meeting you all .User Interface: 'KayProject Manager: Just make sure you keep checking the company web siteand the emails . {vocalsound}Industrial Designer: 'Kay .Project Manager: Let me see if I can do that right now ."}
+{"doc_id":"doc_144","qid":"","text":"Project Manager: {vocalsound} Alright , yeah . {gap} crack on {gap} . Okay so we'll start off with a quick overview of the minutes . I think to sum up the last meeting , would be to say um the requirements that we'veum set out . Those are we were going to go for what seemed to be a fairly minimal design based on uh a small joystick , {vocalsound} L_C_D_ and a couple of other buttons for navigation um with power being Isuppose one of the main single purpose buttons . Um we were also going to use {gap} novelty of being able to locate the remote control again via a small transmitter with any luck , the idea to try and separate us andalso because of the minimal design um looks like we'll be able to be fairly adventurous in the actual physical shape of our remote control with any luck . Um that pretty much sums up the last one . So we'll just crack on, um like to maybe start with the Industrial Designer if it's possible .Industrial Designer: {vocalsound} Uh uh okay .Project Manager: Um uh the con today is the concep today .Industrial Designer: I'll just{disfmarker}Project Manager: This uh meeting is the conceptual design phase and is um {disfmarker} Sorry about this . {gap} . And is to cover things like um what the parts might be made of , um , can we uhoutsource these from elsewhere , um will we have to construct any items ourselves ?Industrial Designer: {vocalsound} Uh I have a presentation {gap} I just saved it in the uh the folder .Project Manager: Yeah , okaywell I'll just uh I'll load it up then . Um {vocalsound} . Which one do yIndustrial Designer: Uh .Project Manager: Oh , interface concept ?User Interface: Yeah , that's me .Project Manager: That's you . We've got trendwatching , that's you .Industrial Designer: It's uh {disfmarker} Components design .Project Manager: Components design .Industrial Designer: {gap} .Project Manager: Okay .Industrial Designer: Alright . {vocalsound}So {disfmarker} {vocalsound} Uh . The case uh le that's what I wrote first of all , could be plastic our plastic . Uh but later on {gap} we found out that um it can be rubber as well , or titanium or even wood . So uh wedecide what it's gonna be . Probably plastic . Uh we need the infra-red transmitter . Get that off the shelf . Uh joystick we'll probably if we're gonna use it , um could be plastic w or rubber even as well . Um{vocalsound} if you go on to the next slide . Uh {disfmarker} {vocalsound} If you go on to f uh findings , it's like two or three slides down .Project Manager: Okay .Industrial Designer: Right . So , this is what I foundwe can use . Uh three different types of batteries . Um can either use a hand dynamo , or the kinetic type ones , you know that they use in watches , or else uh a solar powered one .Project Manager: Okay . Now,Industrial Designer: Um .Project Manager: the kinetic one , we've {disfmarker} 'cause that's the ones where like you {disfmarker} the movement causes it .Marketing: Cost is {disfmarker} Yeah .Industrial Designer:{vocalsound} Yeah .Project Manager: Um the bat uh the battery for a a watch wouldn't require a lot of power , would be my one query .User Interface: Mm .Project Manager: Is a kinetic one going to be able to supplyenough power ?User Interface: There's also a watch moves around a great deal more .Project Manager: Do you think ?Industrial Designer: Uh .Marketing: {vocalsound} Yeah .Project Manager: WIndustrial Designer:Yeah , I don't think it would . Um . And solar cells , I dunno about that .Marketing: {gap} yeah .Industrial Designer: Uh . We should probably just use conventional batteries . Um , just like in usual remote controls.Project Manager: Which I suppose as well would allow us to go off the shelf again , you'd say ?Industrial Designer: Um . Yeah . Um . {vocalsound} And these are three different types of {disfmarker} or two differenttypes {disfmarker} three different types of shapes you can have . Uh one is a flat one , and then more original ones are single curved one or one with a double curved . Um {vocalsound} the materials are tha there asyou can see , but uh you can't have a titanium one for a double curved ,Project Manager: {vocalsound}Marketing: Titanium , the really strong metal , titanium ?Industrial Designer: uh which would be {disfmarker}Yeah ,Marketing: Is it not also it's expensive ?Industrial Designer: and light . Uh , i think so as well , yeah .Project Manager: Um . Um .Industrial Designer: They make mountain bikes out of that , don't they . So it'sreally light as well .Project Manager: Curious . Um , I don't know if you'd be able to off the top of your head or not , the single curved and double curved , would you be able to give an example ?Industrial Designer: Um. {vocalsound} T yeah .Project Manager: Um could you maybe draw something ? I you don't doesn't have to be perfect , it's just 'cause I'm not quite sure if I understand the difference between the two .IndustrialDesigner: Uh . Well for a curved , well I was thinking to {disfmarker} f for to sit in your {disfmarker} the palm of your hand . Uh maybe like this , with the uh joy pad here . Joystick here . And maybe um an okaybutton around here , so that the thumb can uh use it quite easily . Um I don't exactly {vocalsound} {disfmarker} Double curved . It probably means {disfmarker} this is probably double curved . Uh whereas a singlecurved would be like that . I guess . Or not necessarily .Project Manager: So it might literally just be {disfmarker}Marketing: Two curves {gap} .Project Manager: okay .Industrial Designer: Yeah like that . Whereas thisis two curves . Um {vocalsound} so I guess that's what they mean by uh double curve .Project Manager: Alright .Industrial Designer: Um which obviously {disfmarker} it looks better than the single curve , but uh youcan't have it in titanium , which is uh a nice material . {vocalsound} UhProject Manager: Mm .Industrial Designer: and for the buttons , um it can have the scroll wheel which they use in mouses for com P_C_s . Uh butum it requires a more expensive chip to use , and if you wanna use L_C_D_ it's even more expensive . So you have to decide , there's trade-offs there . Um {vocalsound} if you want the buttons to be {disfmarker} ohyeah , if you have a double curve uh control and it's rubber , then you have these rubber buttons as well . But {vocalsound} you're gonna ha I reckon you're gonna have to have uh key a number keypad anyway for theamount of channels these days . You wouldn't want to just have to scroll through all the channels to get to the one you want . You wanna enter just the number of it , if you know it . So um I reckon we're gonna have tohave a number keypad anyway . Do you think ?Project Manager: Okay , that was definitely something we can talk about . Um so you've got a little bit about the the chip that we might require as well ?IndustrialDesigner: Yeah . So , depends where gonna spend the money if you want the f fancy L_C_D_ display .Project Manager: Um , do you have any idea so far , like when we're saying that we'd need an advanced chip for anL_C_D_ , does that in shoot the cost up by a drastic amount ? Or ?Marketing: Need an advanced chip for the L_C_D_ . Is that {disfmarker} did I {disfmarker}Project Manager: Well I think compared to say just pressing{gap} buttons .Industrial Designer: Yep .Marketing: Advanced , like three eight six advance .Project Manager: {gap} if you press a button that sends a certain transmission through the infra-red , whereas I think ifwe're controlling the L_C_D_ we definitely require a much more powerful chip . Just compared to the chip you would use for pushing buttons I think is the the point being made .Marketing: Okay . Okay , sure .UserInterface: Mm .Project Manager: If I've not over-stepped . Yeah ?Industrial Designer: Yeah iProject Manager: Okay , um should I go on , or go back ?Industrial Designer: Um {disfmarker} {vocalsound}Marketing: Mm ,if we only have twelve Pounds fifty , twelve Euros , not even twelve Pounds . Twelve Euros , what's that , like eight pounds or something like that , nine Pounds ?Project Manager: Well we'd also be relying on the um thebulk buying in producement and such . I assume .Marketing: Okay , that's good point .Project Manager: We have to look into the costs of those . So , sorry .Industrial Designer: Uh the previous slides just explain what'sin the internal components of the uh remote control . If you go to the one before that uh so it just says what it does , translate the key press into an infra-red signal and this is received by the T_V_ . Uh the chip justneeds to detect the signal or detect the key press and then uh it'll send it to the tr the amplifier .Project Manager: Okay .Industrial Designer: And uh then the next slide just shows how the uh copper wires uh interactwith the buttons , the rubber buttons , uh to uh get sent to the chip . So that's just how the control works inside . Um we have to decide on what buttons we're gonna use .Project Manager: Okay .Industrial Designer:{gap} .Project Manager: Um . {gap} . So in the information that you've been supplied , how feasible would you say that the idea of using an L_C_D_ looks ?Industrial Designer: Um {disfmarker} I think we can do it if{vocalsound} uh we use conventional batteries and not have solar cells or kinetic . Um and then maybe use single curved uh case . Because we might need it to be curved for the uh thumb to use the joyst joystickeasily . Um and then you'll need the advanced chip obviously for the L_C_D_ .Project Manager: Um I mean that sounds like quite a good requirement to me . Um conventional battery would seem to make sense .UserInterface: Mm-hmm .Project Manager: Um I'm not sure if there's any cost differences between single and double curved and I'm {disfmarker} I don't know about anybody else , but plastic or rubber as a traditional formof casing would seem to be a good way forward ? {gap} .User Interface: Mm . Um I'm actually gonna be bold and go oo go straight for rubber um for reasons I'll go into uh in more detail .Project Manager: Okay.Marketing: I also have a preference for rubber .Project Manager: Okay , well um {disfmarker}Marketing: Based on my research .Project Manager: Yeah , well will we move on to user interface , and {disfmarker}UserInterface: {gap} .Project Manager: yeah ? Um sorry ,User Interface: Mm .Project Manager: as long as {disfmarker} were you ? Yeah . Okay .Industrial Designer: Yep I'm finished .Project Manager: Um {gap} and d d dinterface concept .User Interface: Yep . Now I'm gonna have to work between the uh the slides and the uh {vocalsound} and the white boardProject Manager: Yeah .User Interface: 'cause I actually I have some fairlyconcrete things this time . Uh um I was given a an H_T_M_L_ file giving um various ideas from uh from other previous remote control designs , and pretty much decided to just dump them all . I wasn't very impressedby them and they didn't seem to re uh nothing I saw seemed to meet the sorts of design specifications that we're going for today . Um so what I ra rather than looking at other remotes , uh ra oomp be better to simplylook at the human hand . Um and try and f um and try and figure out a way of laying out the elements we've already decided on , um so that if r a if {vocalsound} so that the finger is e each finger or thumb is whereverit needs to be already . Um so uh next slide , if you please . Um and what we've basically decided on was the the um the joy uh the joystick , two function buttons and the L_C_D_ , just keep it paired down to theabsolute minimum . I don't actually think we need the um the numeric keypad because if you m because one of the menus that we could have available um {vocalsound} v via via the L_C_D_ is one where you scrollthrough channels , so if there's something f {vocalsound} and be bear in mind since this isn't meant to work for umMarketing: {gap} digital .User Interface: f f f {vocalsound} for di for digital or um or for {vocalsound}or for cable , whatever ,Industrial Designer: Ah , okay .User Interface: you're basically looking at four or five terrestrial channels , and then um your V_C_ uh and then the channel through your V_C_R_ and or D_V_D_player . And or um {gap} box . So it's not {vocalsound} I'm not really excessively concerned about that . You must have two two modes , basic mode , where um the joystick's uh left right {vocalsound} left right forchannels , up down for volume , um and the uh uh and the menu mode for uh further functions . Um now the reason I was particularly interested in using rubber for this is that if we're going to have a highly ergonomicdesign , um it needs to be ergonomic for left or right handed people . Um , so youProject Manager: Can I just jump in slightly there ?User Interface: Mm-hmm .Project Manager: That would suggest the double curveddesign's probably going to be most appropriate , then .User Interface: Yes , absolutely .Project Manager: {gap} okay .User Interface: Um , basi {vocalsound} basically what I {vocalsound} basically what the{vocalsound} what {gap} be having um , I would say , the the whole thing articulated at two points , so that if you if you're handing it from a lef uh left or right handed user you can adjust it so that the um the L_C_{vocalsound} the L_C_D_ and the uh {disfmarker} {vocalsound} The joystick would be in the right place . And {vocalsound} also this is {gap} a rather nicer de uh design gimmick that the {vocalsound} the um youknow the whole thing you know {vocalsound} it should have sort of organic feel to itProject Manager: Mm .User Interface: that it should be , you know , soft to touch and can be moved around all nice . Um okayProjectManager: Okay .User Interface: on to {vocalsound} on to the next uh to the next slide .Project Manager: Um , yeah . Just to let you know we'll probably be quite tight for time as well ,User Interface: Okay .ProjectManager: because I think you've probably got a lot you'd like to say , I guess .User Interface: Yeah , 'kay basically um {vocalsound} {disfmarker} I can add pretty pictures to this . The um {disfmarker} Assuming thehand {vocalsound} the hand to be in about sort of this position , um {gap} hol uh holding the remote , the um the joystick unit should rest over the uh the joint of the f of the uh four finger so that it's directly accessiblefor the thumb . Um and it would need t there would need to be a {disfmarker} it would need to be articulated just below that so that it could be switched around for uh left or right handed users . So . You then have agrip section that can be more or less the same irrespective of handedness . You just have big {vocalsound} two big buttons that cover most of the area so it can {vocalsound} in the upper part , one for the four finger ,one for the middle finger . Um , and that {disfmarker}Marketing: Is this the joystick ?User Interface: Th {vocalsound} this part here is the joystick . This would be the actual grip . Probably where you'd want to havethe battery as well .Marketing: Okay .User Interface: That would be probably the bulkiest part . And you then have , at the uh at the bottom , the L_C_D_ , and this would need to be articulated as well . And basicallyI'd want this to rest here , right at the base of the wrist . So it would fit just nicely in the hand . And again , this part could be rotated , so it can {disfmarker} {vocalsound} So {vocalsound} so so that it can be adjustedto either left or right handed user . Um {disfmarker} So the t uh the top function button in basic mode would be the on off switch and menu mode would be the enter button . And then the bottom function buttonsswitches between between modes . Um now programming it {vocalsound} actually thi this is one thing I've found with um the replacement remote control . Programming them can be a right pain . So I thought th thesimplest way around that would be to have um a cable to connect it to the computer some {vocalsound} some fair iv {gap} fairly fairly simple software on the computer just so that you {disfmarker} on your {gap}computer just so that you could um pr {vocalsound} program it at a rather {vocalsound} in a rather more comfortable interface . And you could download programs for it from uh for uh T_V_s from all sort of mainmanufacturers . Um though you {disfmarker} i it would be necessary to have uh have a m uh have a {vocalsound} ha have a mode for programming it without the computer , uh just in case there are there are stillpeople left out there who don't have them yet . Um . But uh . Yeah .Marketing: Mm .User Interface: That's that's my idea .Project Manager: Okay . {vocalsound} Excellent , right . Um {vocalsound} uh .Marketing: Mm .'Kay .Project Manager: File open .Marketing: {vocalsound} We go .Project Manager: Trend watching .Marketing: {vocalsound} Okay . {vocalsound} So uh to gather my research , two basic methods . We compared uhwhether people want the remote control to do a lot of stuff or they want it to look cool . And then we we research uh fashion trends in Europe , what's what's the new black ,Project Manager: {vocalsound} Okay.Marketing: you know , as it goes . {vocalsound} Next slide please . Uh we found , in order of importance , people want the remote control to look cool more than they want it to to be cool . As in they want it to do a lotof good s they want it to look like it does a lot , and if it does do a lot that's a bonus , but they don't care so much , you know . {vocalsound} They want it to be {disfmarker} that's sounds a bit like a contradiction .Technology technical {disfmarker} technologically innovative . People want it to be that , but s still they care more about the way it looks than what it does . So like the interface is really important . {vocalsound} Andeasy to use , it it just so happens that uh from the second point to the third point is twice as important {disfmarker} I mean the second point is twice as important as the third point . People want it {disfmarker} I is ithas to be cooler than easy to use , you know , if it has the newest features , even if it's difficult to use , {gap} prefer it to have the newest features . And if it's easy to use that's a bonus . {vocalsound} The fashion ,now this is seems a bit odd to me , but fruit and veg is the new is the new black for furniture , for clothes , for shoes . How that relates to a remote control I don't know .Project Manager: {vocalsound}Marketing: But I Isee {vocalsound} I come on to that in the next in the next slide . Spongy . I've als I've been saying everything's the new black . Well spongy's the new black as well . So we have the choice between rubber and plastic .If it's the type of rubber that you can squeeze , you know , it's spongy , then {disfmarker} can I skip the rest ?Industrial Designer: {vocalsound} Oh yeah , I forgot to mention that . The uh rubber material is the type ofstress ball material , not just normal rubber .Marketing: Okay . Okay , soIndustrial Designer: {vocalsound} Forgot to say that .Marketing: kinda spongy material .Project Manager: Okay .Marketing: So um so mypersonal opinion ? {vocalsound} Um we want something fancy and techni technologically innovative , obviously . But what we what we need is something that looks like it's from the future that looks cool , that's that'sdifferent , you know , that's {disfmarker} everyone has a white remote control , black remote control , you need something cool . Like , titanium is cool but it's expensive . And maybe it's a bit of overkill for a remotecontrol . Um now the fruit and veg options , either we we go in that direction or we stay totally away from it . Um {vocalsound} I mean the research did come up with fruit and veg , so maybe it is important for{disfmarker} it's the up to the interface guy . So if we stay away from it , s you know stay away from it , but if we're gonna go along with it then it doesn't necessarily have to be like an apple or something like that , ora kiwi fruit . It could be something like , I say potato peeler but I'm sure you guys have a have a much cooler idea than I do . So I think cool is the key . {vocalsound} Few questions about a spongy remote control . I'venever seen one before . I've seen plastic remote controls . I think maybe they were {disfmarker} I don't know , back in the day when they first came up with remote controls , they had a reason for it beingProjectManager: Mm-hmm .Marketing: sturdy , you know . For being strong and sturdy . So um if we want something strong and sturdy , I say stay with plastic or titanium , but if we go with spongy , we can stress that youcan drop this as many times as you want , it doesn't matter , it's spongy material , it's not gonna break , you know . I just don't know how the L_E_D_ and the lights are gonna fit into a spongy material because it's notgonna be completely squeezable . So how do things fit it ? And if we are gonna use spongy , we can say it's long lasting , you know it's damage resistant and stuff like that , so . So just to summarise , people want stuffthat's cool , that's that looks like it's cool , and if it is cool then that's a bonus {gap} doesn't have to be um people like fruit and veg . We can either go down that alley or stay totally away from it . People like spongy"}
+{"doc_id":"doc_145","qid":"","text":"PhD E: OK .Professor B: OK , so {pause} We {disfmarker} we had a meeting with , uh {disfmarker} with Hynek , um , in {disfmarker} in which , uh , uh , Sunil and Stephane , uh {vocalsound} summarized where theywere and {disfmarker} and , uh , talked about where we were gonna go . So that {disfmarker} that happened sort of mid - week . Uh .PhD E: D did {disfmarker} did you guys get your code pushed together ?PhD D:Oh , yeah . Yeah . It 's {disfmarker} it 's {disfmarker} it 's {disfmarker} it was updated yesterday ,PhD E: Cool .PhD D: right ?PhD A: Yeah .PhD D: Yeah .PhD A: You probably received the mail .PhD E: Oh , right , Isaw {disfmarker} I saw the note .PhD A: Yeah .PhD E: Mm - hmm .Professor B: What was the update ?PhD A: What was the update ? So there is th then {disfmarker} the {disfmarker} all the new features that go in.Professor B: Yeah .PhD A: The , um , noise suppression , the re - synthesis of speech after suppression . These are the {disfmarker}PhD E: Is the , um {disfmarker} the CVS mechanism working {pause} well ?PhD A:Yeah .PhD E: Are {disfmarker} are people , uh , up at OGI grabbing code uh , via that ?PhD D: Uh , I don't think {disfmarker} I don't think {disfmarker}PhD E: Or {disfmarker} ?PhD A: I don't know if they use it , but.PhD D: Yeah , I I don't think anybody up there is like {pause} working on it right now .PhD E: Uh - huh . Mmm .Professor B: I think it more likely that what it means is that when Sunil is up there {vocalsound} he willgrab it .PhD D: Yeah . Yeah . So right now nobody 's working on Aurora there .PhD E: Yeah .Professor B: They 're {disfmarker} Yeah . They 're working on a different task .PhD E: I see . I see .PhD D: Yeah .PhD E: OK.Professor B: But what 'll happen is {disfmarker} is he 'll go back up there and , uh , Pratibha will come back from {disfmarker} from , uh , the east coast . Uh .PhD E: Mm - hmm .Professor B: And , uh {disfmarker}and {disfmarker} and I guess actually , uh , after Eurospeech for a little bit , uh , he 'll go up there too . So , actually everybody {vocalsound} who 's working on it {comment} will be up there for at least a little while .So they 'll remotely access it {vocalsound} from there .PhD E: So has {disfmarker} Has anybody tried remotely accessing the CVS using , uh , uh , SSH ?Professor B: Yeah . PhD A: Um , I don't know if Hari did that or{disfmarker} You dPhD D: I {comment} can actually do it today . I mean , I can just log into {disfmarker}PhD E: Have you tried it yet ?PhD D: No , I didn't . So I I 'll try it today .PhD E: OK .Professor B: Good idea.PhD A: Actually I {disfmarker} I tried wh while {disfmarker} when I installed the {pause} repository , I tried from Belgium .Professor B: Yeah .PhD D: Yeah .PhD A: I logged in there and I tried {pause} to import{disfmarker}PhD E: Yeah ? It worked good ?PhD A: Yeah , it works .PhD E: Oh , good !PhD A: But it 's {disfmarker} So , right now it 's the mechanism with SSH .PhD D: Oh .PhD E: Great !PhD A: I don't {pause} s Ididn't set up {disfmarker} You can also set up a CVS server {pause} on a new port . It 's like well {pause} uh , a main server , or d You can do a CVS server .PhD E: Yeah . Right . Then that 's using the CVS passwordmechanism and all that ,PhD A: But . Yeah , right .PhD E: right ?PhD A: But I didn't do that because I was not sure about {pause} security problems . I {disfmarker} I would have to {disfmarker}PhD E: So w when youcame in from Belgian {disfmarker} {comment} Belgium , using SSH , uh , was it asking you for your own {pause} password into ICSI ? So if yo you can only do that if you have an account at ICSI ?PhD A: Right . Yeah.PhD E: OK .PhD A: Yeah .PhD E: Cuz there is an {disfmarker} a way to set up anonymous CVS right ?PhD A: Yeah , you ha in this way you ca you have to set up a CVS server but then , yeah , you can access it .PhD E:So that {disfmarker} Oh , OK .PhD A: you {disfmarker} you can set up priorities .PhD E: So the anonymous mechanism {disfmarker}PhD A: You can access them and mostly if you {disfmarker} if y the set the server isset up like this .PhD E: OK . Because a lot of the open source stuff works with anonymous CVS and I 'm just wondering {disfmarker} Uh , I mean , for our transcripts we may want to do that .PhD A: Mm - hmm.Professor B: Yeah .PhD E: Uh .Professor B: Yeah , for this stuff I don't think we 're {pause} quite up to that . I mean , we 're still so much in development .PhD E: Mm - hmm . Yeah ,Professor B: We want to have justthe insiders .PhD E: yeah , yeah . Oh , I wasn't suggesting for this . I 'm {pause} thinking of the Meeting Recorder {comment} stuffProfessor B: Yeah .PhD E: but . Yeah . OK . Cool .Professor B: Yeah . So , uh{disfmarker}PhD E: What 's new ?Professor B: Well , I mean , I think maybe the thing to me might be {disfmarker} I me I 'm sure you 've just been working on {disfmarker} on , uh , details of that since the meeting ,right ? And so {disfmarker}PhD A: Mmm , since the meeting , well , I {disfmarker} I 've been {disfmarker} I 've been train training a new VAD and a new {pause} feature net .Professor B: That was {disfmarker} thatwas Tuesday . OK .PhD A: So they should be ready . Um .Professor B: But I guess maybe the thing {disfmarker} since you weren't {disfmarker} yo you guys weren't at that {disfmarker} that meeting , might be just{disfmarker} just to , um , sort of recap , uh , the {disfmarker} the conclusions of the meeting .PhD A: Mm - hmm .PhD E: Oh , great .Professor B: So .PhD E: You 're talking about the meeting with Hynek ?Professor B:Yeah . Cuz that was sort of , uh {disfmarker} we {disfmarker} we 'd sort of been working up to that , that {disfmarker} that , uh , he would come here this week and {disfmarker} and we would sort of{disfmarker}PhD E: Uh - huh .Professor B: Since he 's going out of town like now , and I 'm going out town in a couple weeks , uh , and time is marching , sort of , given all the mu many wonderful things we could beworking on , what {disfmarker} what will we actually focus on ?PhD E: Mm - hmm .Professor B: And , uh {disfmarker} and what do we freeze ? And , you know , what do we {disfmarker} ? So , um . I mean , this{pause} software that these guys created was certainly a {disfmarker} a key part . So then there 's something central and there aren't at least a bunch of different versions going off in {disfmarker} in ways that{pause} differ {pause} trivially . Uh , um , and , um ,PhD E: Yeah . That 's {disfmarker} that 's nice .Professor B: and then within that , I guess the idea was to freeze a certain set of options for now , to run it , uh , aparticular way , and decide on what things are gonna be experimented with , as opposed to just experimenting with everything . So keep a certain set of things constant . So , um . Uh , maybe describe roughly what{disfmarker} what we are keeping constant for now , or {disfmarker} ?PhD A: Yeah . Well . So we 've been working like six weeks on {disfmarker} on the noise compensation and we end up with something that seemsreasonable . Um .PhD E: Are you gonna use {disfmarker} which of the two techniques ?PhD A: So finally it 's {disfmarker} it 's , um , Wiener filtering on FFT bins . And it uses , uh , two steps , smoothing of the transferfunction , the first step , that 's along time , which use recursion . And {vocalsound} after this step there is a further smoothing along frequency , which use a sliding window of twenty FFT bins . Mmm . And , uh{disfmarker}PhD E: So this is on the {disfmarker} uh , before any mel scaling has been done ?PhD A: Yeah , yeah .PhD E: This is {disfmarker}PhD A: It was {disfmarker}Professor B: This {disfmarker} this smoothingis done on the estimate , um , of what you 're going to subtract ? Or on the thing that has already had something subtracted ?PhD A: Yeah . Uh , {vocalsound} it 's on the transfer function . So {disfmarker}Professor B:Oh , it 's on the transfer function for the Wiener filter .PhD A: Yeah .Professor B: Yeah , OK .PhD A: Yeah , so basically we tried {vocalsound} different configuration within this idea . We tried u u applying this on melbands , having spectral subtraction instead of wiener filtering . Um . Well , finally we end up with {pause} this configuration that works , uh , quite well . So we are going to fix this for the moment and work on the otheraspects of {vocalsound} the whole system .PhD E: Mm - hmm .PhD A: So {disfmarker}Professor B: Actually , let me int eh , Dave isn't here to talk about it , but let me just interject . This module , in principle , i I mean, you would know whether it 's {vocalsound} true in fact , is somewhat independent from the rest of it . I mean , because you {disfmarker} you re - synthesize speech , right ?PhD A: Mm - hmm .Professor B: So , um .Uh , well you don't {disfmarker} I guess you don't re - synthesize speech , but you could {disfmarker}PhD A: We {disfmarker} we do not foProfessor B: Uh , but you could .PhD A: Well {disfmarker} well , we do , butwe don't {disfmarker} don't re - synthesize . In {disfmarker} in the program we don't re - synthesize and then re - analyze once again . We just use the clean FFT bins .Professor B: But you have a re - synthesizedthing that you {disfmarker} that 's an {disfmarker} an option here .PhD A: This is an option that {disfmarker} then you can {disfmarker} Yeah .Professor B: Yeah , I gu I guess my point is that , um , i in some of thework he 's doing in reverberation , one of the things that we 're finding is that , uh , it 's {disfmarker} it 's {disfmarker} for the {disfmarker} for an artificial situation , we can just deal with the reverberation and histechniques work really well . But for the real situation uh , problem is , is that you don't just have reverberation , you have reverberation in noise . And if you don't include that in the model , it doesn't work very well .So in fact it might be a very nice thing to do , to just take the noise removal part of it and put that in front of what he 's looking at . And , uh , generate new files or whatever , and {disfmarker} and , uh , uh{disfmarker} and then do the reverberation part .PhD A: Mm - hmm .Professor B: So it 's {disfmarker}PhD D: Mmm .Professor B: Anyway .PhD E: So Dave hasn't {pause} tried that yet ?Professor B: No , no . He 's{disfmarker} I mean , ePhD E: I guess he 's busy with {disfmarker}Professor B: Yeah , prelims , right .Grad C: Pre - prelim hell .Professor B: Yeah .PhD E: Yeah .Professor B: So .PhD E: Yeah .Professor B: Uh , but{disfmarker} but , you know , that 'll {disfmarker} uh , it 's clear that we , uh {disfmarker} we are not {disfmarker} with the real case that we 're looking at , we can't just look at reverberation in isolation because theinteraction between that and noise is {disfmarker} is considerable . And that 's I mean , in the past we 've looked at , uh , and this is hard enough , the interaction between channel effects and {disfmarker} and , uh{disfmarker} and additive noise , uh , so convolutional effects and {disfmarker} and additive effects . And that 's hard enough . I mean , I don't think we really {disfmarker} I mean , we 're trying to deal with that . In asense that 's what we 're trying to deal with in this Aurora task . And we have , uh , the , uh , uh , LDA stuff that in principle is doing something about convolutional effects . And we have the noise suppression that 'sdoing something about noise . Uh , even that 's hard enough . And {disfmarker} and the on - line normalization as well , in that s category . i i There 's all these interactions between these two and that 's part of whythese guys had to work so hard on {disfmarker} on juggling everything around . But now when you throw in the reverberation , it 's even worse , because not only do you have these effects , but you also have somelong time effects . And , um , so Dave has something which , uh , is doing some nice things under some conditions with {disfmarker} with long time effects but when it 's {disfmarker} when there 's noise there too , it 's{disfmarker} it 's {disfmarker} it 's pretty hard . So we have to start {disfmarker} Since any {disfmarker} almost any real situation is gonna have {disfmarker} uh , where you have the microphone distant , is going tohave both things , we {disfmarker} we actually have to think about both at the same time .PhD E: Hmm .Professor B: So , um {disfmarker} So there 's this noise suppression thing , which is sort of worked out and then, uh , maybe you should just continue telling what {disfmarker} what else is in the {disfmarker} the form we have .PhD A: Yeah , well , {vocalsound} the , um , the other parts of the system are the {disfmarker} theblocks that were already present before and that we did not modify a lot .Professor B: So that 's {disfmarker} again , that {disfmarker} that 's the Wiener filtering , followed by , uh {disfmarker} uh , that 's done at theFFT level . Then {disfmarker}PhD A: Yeah , th then the mel filter bank ,Professor B: Mm - hmm .PhD A: then the log operation ,Professor B: Mm - hmm .PhD A: Mmm .Professor B: The {disfmarker} the {disfmarker}the filtering is done in the frequency domain ?PhD A: Yeah .Professor B: Yeah , OK . And then the mel and then the log , and then thePhD A: Then the LDA filter ,Professor B: LDA filter .PhD A: mmm , then thedownsampling ,Professor B: And then uh downsample ,PhD A: DCT ,Professor B: DCT ,PhD A: then , um , on - line normalization ,Professor B: on - line norm ,PhD A: followed by {pause} upsampling . Then finally , wecompute delta and we put the neural network also .Professor B: Right , and then in parallel with {disfmarker} an {disfmarker} a neural net . And then following neural net , some {disfmarker} probably someorthogonalization .PhD A: Yeah .Professor B: Uh {disfmarker} Um .PhD A: And finally frame dropping , which um , {vocalsound} would be a neural network also , used for estimated silence probabilities . And the inputof this neural network would be somewhere between log {pause} mel bands or one of the earlier stages of the processing .Professor B: Mm - hmm . So that 's sort of {disfmarker} most of this stuff is {disfmarker} yeah, is operating parallel with this other stuff .PhD A: Mm - hmm .Professor B: Yeah . So the things that we , um , uh , I guess we sort of {disfmarker} uh , There 's {disfmarker} there 's some , uh , neat ideas for{vocalsound} V A So , I mean , in {disfmarker} I think there 's sort of like {disfmarker} There 's a bunch of tuning things to improve stuff . There 's questions about {pause} various places where there 's an exponent ,if it 's the right exponent , or {pause} ways that we 're estimating noise , that we can improve estimating noise . And there 's gonna be a host of those . But structurally it seemed like the things {disfmarker} the mainthings that {disfmarker} that we brought up that , uh , are {disfmarker} are gonna need to get worked on seriously are , uh , uh , a {disfmarker} {vocalsound} a significantly better VAD , uh , putting the neural net on, um , which , you know , we haven't been doing anything with , the , uh , neural net at the end there , and , uh , the , uh , {vocalsound} opening up the second front . Uh .PhD E: The other half of the channel?Professor B: Yeah , yeah , I mean , cuz we {disfmarker} we have {disfmarker} we have , uh , uh , half the {disfmarker} the , uh , data rate that they allow .PhD E: That what you mean ?Professor B: And , uh , so theinitial thing which came from , uh , the meeting that we had down south was , uh , that , um , we 'll initially just put in a mel spectrum as the second one . It 's , you know , {pause} cheap , easy . Uh . There 's aquestion about exactly how we do it . We probably will go to something better later , but the initial thing is that cepstra and spectra behave differently ,PhD E: Mm - hmm .Professor B: so . Um , {comment} I think TonyRobinson used to do {disfmarker} I was saying this before . I think he used to do mel , uh , spectra and mel cepstra . He used them as alternate features . Put them together .PhD E: Hmm .Professor B: Uh .PhD E: So ifyou took the system the way it is now , the way it 's fro you 're gonna freeze it , and it ran it on the last evaluation , where it would it be ?PhD A: Mm - hmm . It , uh ,PhD E: In terms of ranking ?PhD A: Ri - right now it's second .PhD D: Second . PhD A: Um .PhD E: Mm - hmm .Professor B: Although you {disfmarker} you know , you haven't tested it actually on the German and Danish , have you ?PhD A: No , we didn't . No , um.Professor B: Yeah .PhD E: So on the ones that you did test it on it would have been second ?Professor B: Yeah . Would it {disfmarker} I mean {disfmarker} But {disfmarker} When you 're saying second , you 'recomparing to the numbers that the , uh {disfmarker} that the best system before got on , uh {disfmarker} also without German and Danish ?PhD A: Yeah , yeah .Professor B: Yeah , OK .PhD D: And th the rankingactually didn't change after the German and Danish . So , yeah .Professor B: Well ranking didn't before , but I 'm just asking where this is to where theirs was without the German and Danish ,PhD A: Yeah .PhD D: Yeah.PhD A: Mmm .PhD D: Yeah .Professor B: right ?PhD D: Yeah , yeah .Professor B: So .PhD E: Where {disfmarker} where {disfmarker} where were we actually on the last test ?Professor B: Oh , we were also espessentially second , although there were {disfmarker} there were {disfmarker} I mean , we had a couple systems and they had a couple systems . And so , I guess by that {pause} we were third , but I mean , therewere two systems that were pretty close , that came from the same place .PhD E: Uh - huh . I see . OK .Professor B: Uh , so institutionally we were {disfmarker} {vocalsound} we were second , with , uh , the third{disfmarker} third system .PhD E: We 're {disfmarker} so this second that you 're saying now is system - wide second ?Professor B: See {disfmarker} Uh , no I think it 's also institutional , isn't it ?PhD E: Stillinstitutionally second ?Professor B: Right ? I mean , I think both of their systems probably {disfmarker}PhD A: Uh , we are between their two systems . SoProfessor B: Oh , are we ?PhD A: I {disfmarker} It is a triumph.PhD D: Yeah .Professor B: Is it ?PhD D: Their {disfmarker} their first system is fifty - four point something . And , uh , we are fifty - three point something .PhD A: But everything is {pause} within the range of one{disfmarker} one percent .PhD D: And their second system is also fifty - three point something . Yeah , one percent .Professor B: Yeah , so {disfmarker} so basically they 're all {disfmarker} they 're all pretty close.PhD E: Oh , wow !PhD A: So .PhD E: That 's very close .PhD D: Yeah .PhD E: Yeah .Professor B: And {disfmarker} and , {vocalsound} um , you know , in some sense we 're all doing fairly similar things . Uh , I mean ,one could argue about the LDA and so forth but I {disfmarker} I think , you know , in a lot of ways we 're doing very similar things . But what {disfmarker} what {disfmarker}PhD E: So how did they fill up this{disfmarker} all these {disfmarker} these bits ? I mean , if we 're uProfessor B: Um , why are we using half ? Well , so you could {disfmarker} you cPhD E: Yeah . Or how are they using more than half , I guess maybeis what I {disfmarker}Professor B: Yeah , so I {disfmarker} I think {disfmarker} uh , you guys are closer to it than me , so correct me if I 'm wrong , but I {disfmarker} I think that what 's going on is that in{disfmarker} in both cases , some kind of normalization is done to deal with convola convolutional effects . Uh , they have some cepstral {pause} modification ,PhD A: Mm - hmm .Professor B: right ? In our case wehave a couple things . We have the on - line normalization and then we have the LDA RASTA . And {pause} they seem to comple complement each other enough and be different enough that they both seem to help{disfmarker} help us . But in any event , they 're both doing the same sort of thing . But there 's one difference . The LDA RASTA , uh , throws away high modulation frequencies . And they 're not doing that .PhD E: Soth So {disfmarker}Professor B: So that if you throw away high modulation frequencies , then you can downsample .Grad C: Get down .PhD E: I see . I see .Professor B: So {disfmarker}PhD E: So what if you didn't{disfmarker} So do you explicitly downsample then ? Do we explicitly downsample ?Professor B: Yeah .PhD A: Yeah .PhD E: And what if we didn't do that ? Would we get worse performance ?PhD A: Um {pause} Yeah ,not better , not worse .Professor B: I think it doesn't affect it , does it ?PhD E: I see . OK .Professor B: Yeah . So I think the thing is , since we 're not evidently throwing away useful information , let 's try to put in someuseful information .PhD E: Yeah . Yeah .Professor B: And , uh , so I {disfmarker} you know , we {disfmarker} we 've found in a lot of ways for quite a while that having a second stream uh , helps a lot . So that 's{disfmarker} that 's put in , and you know , it may even end up with mel spectrum even though I 'm saying I think we could do much better , just because it 's simple .PhD E: Mm - hmm .Professor B: Um . And you"}
+{"doc_id":"doc_146","qid":"","text":"PhD B: We 're , I mean {pause} we {disfmarker} We didn't have a house before .Professor D: Yeah . Yeah .PhD E: OK .Professor D: We 're on again ? OK .PhD A: Mm - hmm . That is really great .Grad H: Yeah , so if{pause} uh {disfmarker} {pause} So if anyone hasn't signed the consent form , please do so .PhD A: That 's terrific .PhD B: Oh , yeah !Professor D: OKGrad H: The new consent form . The new and improved consentform .PhD A: Now you won't be able to walk or ride your bike , huh ?Professor D: OK .Postdoc F: Uh .PhD B: Right .Professor D: OK .Grad H: And uh , shall I go ahead and do some digits ?Professor D: Uh , we weregonna do that at the end , remember ?Grad H: OK , whatever you want .Professor D: Yeah . Just {disfmarker} just to be consistent , from here on in at least , that {disfmarker} {pause} that we 'll do it at the end .PhDB: The new consent form .Grad H: It 's uh {disfmarker} {pause} Yeah , it doesn't matter . OK .Professor D: OK Um Well , it ju I mean it might be that someone here has to go ,Postdoc F: Testing , one , two , three.Professor D: and {disfmarker} Right ? That was {disfmarker} that was sort of the point . So , uh {pause} I had asked actually anybody who had any ideas for an agenda {pause} to send it to me and no one did . So,Grad H: So we all forgot .Professor D: Uh ,Postdoc F: From last time I wanted to {disfmarker} Uh {pause} {pause} The {disfmarker} An iss uh {pause} one topic from last time .Professor D: Right , s OK , so one itemfor an agenda is uh {pause} Jane has some uh {vocalsound} uh some research to talk about , research issues . Um {pause} and {pause} Uh , Adam has some short research issues .Grad H: And I have some {pause}short research issues .Professor D: Um , I have a {pause} list of things that I think were done over the last three months I was supposed to {vocalsound} {vocalsound} send off , uh {pause} and , um {pause} I{disfmarker} I sent a note about it to uh {disfmarker} to Adam and Jane but I think I 'll just run through it {pause} also and see if someone thinks it 's inaccurate or {pause} uh insufficient .PhD A: A list that you haveto send off to who ?Professor D: Uh , to uh uh , IBM .PhD A: Oh .Professor D: OK . They 're , you know {disfmarker}PhD E: Professor D: So . Um , So , uh {pause} so , I 'll go through that . Um , {pause} And ,Anything else ? {pause} anyone wants to talk about ?PhD A: What about the , um {disfmarker} your trip , yesterday ?Professor D: No . OK . Um . Sort of off - topic I guess .PhD A: Oh , OK .Professor D: Cuz that 's{pause} Cuz that was all {disfmarker} all about the , uh {disfmarker} I {disfmarker} I {disfmarker} I can chat with you about that {pause} off - line . That 's another thing . Um , And , Anything else ? Nothing else ?Uh , there 's a {disfmarker} I mean , there is a {disfmarker} {pause} a , um {pause} uh {pause} telephone call tomorrow , {pause} which will be a conference call {pause} that some of us are involved in {pause} foruh a possible proposal . Um , we 'll talk {disfmarker} we 'll talk about it next week if {disfmarker} if something {disfmarker}Grad H: Do you want me to {pause} be there for that ? I noticed you C C ' ed me , but Iwasn't actually a recipient . I didn't quite know what to make of that .Professor D: Uh Well , we 'll talk {disfmarker} talk about that after our meeting . OK .Grad H: OK .Professor D: Uh , OK . So it sounds like the{disfmarker} the three main things that we have to talk about are , uh this list , uh Jane and {disfmarker} Jane and Adam have some research items , and , other than that , anything , {pause} as usual , {pause}anything goes beyond that . OK , uh , Jane , since {disfmarker} since you were sort of cut off last time why don't we start with yours , make sure we get to it .Postdoc F: OK , it 's {disfmarker} it 's very {pause} eh{disfmarker} it 's {pause} very brief , I mean {disfmarker} just let me {disfmarker} just hand these out . Oops .Grad H: Is this the same as the email or different ?PhD C: Thanks .Postdoc F: It 's slightly different . I{disfmarker} {pause} basically the same .Grad H: OK .PhD A: Same idea ?Postdoc F: But , same idea . So , if you 've looked at this you 've seen it before , so {pause} Basically , {vocalsound} um {pause} as you know, uh {pause} part of the encoding {pause} includes a mark that indicates {pause} an overlap . It 's not indicated {pause} with , um {pause} uh , tight precision , it 's just indicated that {disfmarker} OK , so , It 'sindicated to {disfmarker} to {disfmarker} so the people know {pause} what parts of sp which {disfmarker} which stretches of speech were in the clear , versus being overlapped by others . So , I {pause} used thismark and , um {pause} and , uh {pause} uh , {pause} divided the {disfmarker} I wrote a script {pause} which divides things into individual minutes , {pause} of which we ended up with forty {pause} five , and alittle bit . And , uh {pause} you know , minute zero , of course , is the first minute up to {pause} sixty seconds .PhD C: OK .Postdoc F: And , um {pause} What you can see is the number of overlaps {pause} and then{pause} to the right , {pause} whether they involve two speakers , three speakers , or more than three speakers . And , {pause} um {pause} and , what I was looking for sp sp specifically was the question of {pause}whether they 're distributed evenly throughout or whether they 're {pause} bursts of them . Um . And {pause} it looked to me as though {disfmarker} uh , you know {disfmarker} y this is just {disfmarker} {pause} eh{disfmarker} eh , this would {disfmarker} this is not statistically {pause} verified , {pause} but it {pause} did look to me as though there are bursts throughout , rather than being {pause} localized to a particularregion . The part down there , where there 's the maximum number of {disfmarker} {pause} of , um {pause} overlaps is an area where we were discussing {pause} {vocalsound} whether or not it would be useful toindi to s to {pause} code {pause} stress , {pause} uh , sentence stress {pause} as possible indication of , uh {pause} information retrieval . So it 's like , {pause} you know , rather , {pause} lively discussion there.Professor D: What was {disfmarker} what 's the {disfmarker} the parenthesized stuff {pause} that says , like {disfmarker} e the first one that says six overlaps and then two point eight ?Postdoc F: Oh , th{vocalsound} {pause} That 's the per cent .Professor D: Mmm .Postdoc F: So , six is , uh {pause} two point eight percent {pause} of the total number of overlaps in the {pause} session .PhD E: Mm - hmm .ProfessorD: Ah .PhD C: Mm - hmm .Postdoc F: At the very end , this is when people were , {pause} you know , packing up to go basically , there 's {pause} this final stuff , I think we {disfmarker} {pause} I don't rememberwhere the digits {pause} fell . I 'd have to look at that . But {pause} the final three there are no overlaps at all . And {pause} couple times there {pause} are not .PhD E: Mm - hmm .Postdoc F: So , i it seems like itgoes through bursts {pause} but , um {pause} that 's kind of it .PhD E: Mm - hmm .Postdoc F: Now , {pause} Another question is {pause} is there {disfmarker} are there {pause} individual differences in whether you're likely to be overlapped with or to overlap with others . And , again {pause} I want to emphasize this is just one {pause} particular {pause} um {disfmarker} {pause} one particular meeting , and also there 's beenno statistical testing of it all , but {pause} I , um {pause} I took the coding of {pause} the {disfmarker} I , you know , my {disfmarker} I had this script {pause} figure out , um {pause} who {pause} was the firstspeaker , who was the second speaker involved in a two - person overlap , I didn't look at the ones involving three or more . And , um {pause} {pause} this is how it breaks down in the individual cells of {pause} whotended to be overlapping most often with who {disfmarker} who else , and {pause} if you look at the marginal totals , which is the ones on the right side and across the bottom , you get {pause} the totals for anindividual . So , {vocalsound} um {pause} If you {pause} look at the bottom , those are the , um {pause} numbers of overlaps in which {pause} um {pause} Adam was involved as the person doing the overlappingand if you look {disfmarker} I 'm sorry , but you 're o alphabetical , that 's why I 'm choosing you And then if you look across the right , {pause} then {pause} that 's where he was the {pause} person who was the spfirst speaker in the pair {pause} and got overlap overlapped with by somebody .PhD A: Hmm !PhD E: Mm - hmm .Postdoc F: And , {pause} then if you look down in the summary table , {pause} then you see that , um{pause} th they 're differences in {pause} whether a person got overlapped with or {pause} overlapped by .Grad H: Is this uh {pause} just raw counts or is it {disfmarker}Postdoc F: Raw counts .Grad H: So it wouldbe interesting to see how much each person spoke .PhD B: Mm - hmm .PhD C: Yeah .PhD E: Yeah {vocalsound} YeahPostdoc F: Yes , very true {disfmarker} very trueGrad H: Normalized to how much{disfmarker}Postdoc F: it would be good to normalize with respect to that . Now on the table I did {pause} take one step toward , uh {pause} away from the raw frequencies by putting , {pause} uh {pause}percentages . So that the percentage of time {pause} of the {disfmarker} of the times that a person spoke , {pause} what percentage {pause} eh , w so . Of the times a person spoke and furthermore was involved in atwo two - person overlap , {vocalsound} {vocalsound} what percentage of the time were they the overlapper and what percent of the time were they th the overlappee ? And there , it looks like you see somedifferences , um , {pause} that some people tend to be overlapped {pause} with more often than they 're overlapped , but , of course , uh i e {vocalsound} this is just one meeting , {pause} uh {pause} there 's nostatistical testing involved , and that would be {pause} required for a {disfmarker} for a finding {pause} of {pause} any {pause} kind of {pause} scientific {pause} reliability .Professor D: S so , i it would bestatistically incorrect to conclude from this that Adam talked too much or something .Grad H: No {disfmarker} no actually , that would be actually statistically correct ,Professor D: Yeah , yeah .Postdoc F: No , no , no.PhD E: Yeah , yeah . Yeah , yeah .Grad H: butPostdoc F: Yeah , that 's right .Professor D: Yeah . Excuse me .Postdoc F: That 's right . And I 'm {pause} you know , I 'm {disfmarker} I don't see a point of singlingpeople out ,Professor D: B I {disfmarker} I {disfmarker} I rather enjoyed it , but {disfmarker} but thisPostdoc F: now , this is a case where obviously {disfmarker}PhD A: But the numbers speak for themselves .PhD E:He 's {disfmarker} Yeah , yeah , yeah .Postdoc F: Well , {vocalsound} you know , it 's like {disfmarker} I 'm not {disfmarker} I 'm not saying on the tape who did {pause} better or worseGrad H: Yes , that 's right , soyou don't nee OK .Professor D: Sure .Postdoc F: because {pause} I don't think that it 's {disfmarker} I {pause} you know , and {disfmarker} and th here 's a case where of course , human subjects people would say besure that you anonymize the results , {pause} and {disfmarker} and , so , might as well do this .Professor D: Yeah .Grad H: Yeah , when {disfmarker} this is what {disfmarker} This is actually {disfmarker} when Janesent this email first , is what caused me to start thinking about anonymizing the data .Postdoc F: Well , fair enough . Fair enough .Professor D: Yeah .Postdoc F: And actually , {pause} you know , the point is not aboutan individual , it 's the point about {pause} tendencies toward {pause} you know , different styles , different speaker styles .Professor D: Oh sure .Postdoc F: And {pause} it would be , you know {pause} of course ,{pause} there 's also the question of what type of overlap was this , and w what were they , and i and I {disfmarker} and I know that I can distinguish at least three types and , probably more , I mean , the{vocalsound} general {pause} {vocalsound} cultural idea which w uh , the conversation analysts originally started with in the seventies was that we have this {vocalsound} strict model where politeness involves thatyou let the person finish th before you start talking , and {pause} and you know , I mean , {pause} w we know that {disfmarker} {pause} an and they 've loosened up on that too s in the intervening time , that{pause} that that 's {disfmarker} that 's viewed as being {pause} a culturally - relative thing , I mean , {pause} that you have the high - involvement style from the East Coast where people {vocalsound} will overlapoften as an indication of interest in what the other person is saying . AndGrad H: Uh - huh .PhD B: Exactly !Postdoc F: Yeah , exactly !PhD E: YeahPostdoc F: Well , there you go . Fine , that 's alright , that 's OK . And{disfmarker} and , {pause} you know , in contrast , so Deborah {disfmarker} d and also Deborah Tannen 's {pause} thesis she talked about differences of these types , {pause} that they 're just different styles , and it's um {pause} you {disfmarker} you can't impose a model of {disfmarker} {pause} there {disfmarker} of the ideal being no overlaps , and {pause} you know , conversational analysts also agree with that , so it 's{pause} now , universally {pause} a ag agreed with . And {disfmarker} and , als I mean , I can't say universally , but anyway , the people who used to say it was strict , {pause} um {pause} now , uh {pause} don't . Imean they {disfmarker} they {pause} also {pause} {vocalsound} you know , uh {pause} uh , ack acknowledge the influence of {pause} sub of subcultural norms and {pause} cross - cultural norms and things . So ,um Then it beco {pause} though {disfmarker} so {disfmarker} just {disfmarker} just superficially to give {pause} um {pause} a couple ideas of the types of overlaps involved , I have at the bottom several that Inoticed . So , {pause} {vocalsound} uh , there are backchannels , like what Adam just did now and , um {pause} {vocalsound} um , anticipating the end of a question and {pause} simply answering it earlier , andthere are several of those in this {disfmarker} in these data where {disfmarker}PhD B: Mm - hmm .Postdoc F: because we 're {pause} people who 've talked to each other , um {pause} we know {pause} basicallywhat the topic is , what the possibilities are and w and we 've spoken with each other so we know basically what the other person 's style is likely to be and so {vocalsound} and t there are a number of places wheresomeone just answered early . No problem . And places {pause} also which I thought were interesting , where two or more people gave exactly th the same answer in unison {disfmarker} different words of course butyou know , the {disfmarker} basically , {pause} you know everyone 's saying \" yes \" or {disfmarker} you know , or ev even more sp specific than that . So , uh , the point is that , um {pause} {vocalsound} overlap 'snot necessarily a bad thing and that it would be im {pause} i useful to subdivide these further and see if there are individual differences in styles with respect to the types involved . And that 's all I wanted to say onthat , {pause} unless people have questions .Professor D: Well , of course th the biggest , {pause} um {pause} result here , which is one we 've {disfmarker} {pause} we 've talked about many times and isn't new tous , but which I think would be interesting to show someone who isn't familiar with this {vocalsound} {pause} is just the sheer number of overlaps .Grad H: Yep .Professor D: That {disfmarker} that {disfmarker} Right? {pause} that {disfmarker} that , umPhD E: Yes , yes !Postdoc F: Oh , OK {disfmarker} interesting .PhD E: Yeah .Professor D: here 's a relatively short meeting , it 's a forty {disfmarker} {pause} forty plus minute{pause} {vocalsound} meeting , and not only were there two hundred and fifteen overlaps {vocalsound} {pause} but , {pause} uh I think there 's one {disfmarker} {pause} one minute there where there{disfmarker} where {disfmarker} where there wasn't any overlap ?Grad H: Hundred ninety - seven .Professor D: I mean , it 's {disfmarker} {pause} {vocalsound} uh throughout this thing ?PhD A: It 'd be interesting{disfmarker}Professor D: It 's {disfmarker} You have {disfmarker}Postdoc F: Well , at the bottom , you have the bottom three .PhD E: Yeah .Grad H: S n are {disfmarker}Postdoc F: So four {disfmarker} four minutesall together with none {disfmarker} none .PhD A: But it wProfessor D: Oh , so the bottom three did have s stuff going on ? There was speech ?Postdoc F: Yes , uh - huh . Yeah . But just no overlaps .Professor D: OK , soif {disfmarker} the {disfmarker} this {disfmarker}PhD A: It 'd be interesting to see what the total amount of time is in the overlaps , versus {disfmarker}Postdoc F: Yes , exactly and that 's {disfmarker} that 's whereJose 's pro project comes in .PhD E: Yeah , yeah , I h I have this that infor I have th that information now .PhD G: I was about to ask {disfmarker}PhD A: Yeah .PhD C: Yeah .PhD B: Hmm .Professor D: Oh , about howmuch is it ?PhD E: The {disfmarker} the duration of eh {disfmarker} of each of the overlaps .Professor D: O oh , what 's {disfmarker} what 's the {disfmarker} what 's the average {pause} length ?PhD E: M I{disfmarker} I haven't averaged it now but , uh {pause} I {disfmarker} I will , uh I will do the {disfmarker} the study of the {disfmarker} {pause} with the {disfmarker} with the program with the {disfmarker} uh ,the different , uh {pause} the , nnn , {pause} distribution of the duration of the overlaps .Professor D: You don't know ? OK , you {disfmarker} you don you don't have a feeling for roughly how {pause} much it is ?Yeah .PhD E: mmm , {pause} Because the {disfmarker} the uh , @ @ is @ @ .Professor D: Yeah .PhD E: The duration is , uh {pause} the variation {disfmarker} the variation of the duration is uh , very big on thedatPhD A: Mm - hmm .Postdoc F: I suspect that it will also differ , {pause} depending on the type of overlap {pause} involved .PhD E: but eh {disfmarker}Professor D: Oh , I 'm sure .PhD E: Yeah .Postdoc F: Sobackchannels will be very briefPhD E: Because , on your surface eh {pause} a bit of zone of overlapping with the duration eh , overlapped and another very very short .Postdoc F: and {disfmarker}Professor D: Yeah .Yeah .PhD E: Uh , i probably it 's very difficult to {disfmarker} to {disfmarker} because the {disfmarker} the overlap is , uh on is only the {disfmarker} in the final \" S \" of the {disfmarker} of the {disfmarker} the finthe {disfmarker} the end {disfmarker} the end word of the , um {pause} previous speaker {vocalsound} with the {disfmarker} the next word of the {disfmarker} the new speaker .PhD A: Mm - hmm .PhD E: Um , Iconsidered {pause} that 's an overlap but it 's very short , it 's an \" X \" with a {disfmarker} and {disfmarker} the idea is probably , eh {pause} when eh {disfmarker} when eh , we studied th th that zone , eh {pause}{pause} eh , we h we have eh eh {pause} confusion with eh eh noise .PhD A: Mm - hmm .PhD E: With eh {pause} that fricative sounds , but uh {pause} I have new information but I have to {disfmarker} to study.Professor D: Yeah . Yeah , but I {disfmarker} I 'd {disfmarker} {vocalsound} uPhD G: Can I {disfmarker}Professor D: go ahead .Postdoc F: Yeah .PhD G: You split this by minute , um {pause} so if an overlapstraddles {pause} the boundary between two minutes , that counts towards both of those minutes .Postdoc F: Yes . Mm - hmm . Actually , um {vocalsound} um {pause} actually not . Uh , so {pause} le let 's thinkabout the case where {vocalsound} A starts speaking {pause} {vocalsound} and then B overlaps with A , {pause} and then the minute boundary happens . And let 's say that {vocalsound} after that minute boundary ,{vocalsound} um {pause} B is still speaking , {pause} and A overlaps {pause} with B , that would be a new overlap . But otherwise {pause} um , let 's say B {pause} comes to the conclusion of {disfmarker} of thatturn without {pause} anyone overlapping with him or her , in which case there would be no overlap counted in that second minute .PhD G: No , but suppose they both talk simultaneously {vocalsound} {pause} both a{disfmarker} a portion of it is in minute one and another portion of minute two .Postdoc F: OK . In that case , um {pause} my c {pause} the coding that I was using {disfmarker} {vocalsound} since we haven't ,{pause} uh {pause} incorporated Adam 's , uh {pause} coding of overlap yets , the coding of Yeah , \" yets \" is not a word . Uh {vocalsound} since we haven't incorporated Adam 's method of handling overl overlapsyet {vocalsound} um {pause} then {pause} that would have fallen through the cra cracks . It would be an underestimate of the number of overlaps because , um {pause} I wou I wouldn't be able to pick it up from the"}
+{"doc_id":"doc_147","qid":"","text":"Project Manager: Alright ? Alright . Thank you for coming to this third meeting of the uh uh design group . Um I think we uh made some definite progress at the last one um and come up with some interesting uh uh wsuggestions for our our new remote control . Um I'll again very quickly uh just present some notes of that meeting . Um {vocalsound} the the the problem with existing remote controls , we felt , was that they're uglyum and that people are prepared to pay a premium for something better . Um they've got lots of buttons on them that uh people don't use and find difficult to learn . Um and people lose them . And {vocalsound} We wethought that f for our our new uh uh remote control that everybody will want to rush out and buy , um {vocalsound} that we're {disfmarker} {vocalsound} we should look at speech recognition rather than r rather thanbuttons , and that if we have any buttons they should be very few of them and only for those functions that are actually identified that that people use . That {disfmarker} um {vocalsound} we want to go for uh a longlasting battery that we gua we guarantee for the life of the uh uh the product and a shape that will be instantly recognisable , A_ um as uh a trendy remote control , and and B_ as uh a Real Reaction product . So that wuh when people are uh happy with that , they will they will want to buy uh everything else from us . Uh {disfmarker} {vocalsound} Okay . So again um , I'll {disfmarker} we'll have the three three presentations fromthe the the three of you and then uh we'll we'll make a a final a final uh decision . Um and the the decisions that we need to to make today , finally , are um what energy source we want to use , whether i it is practicalto use uh um a a a long lasting one . And uh I I think our discussion was around the fact that uh if we're gonna go for uh a long lasting power supply , then basically it's uh sealed for life and uh if anybody does manageto run one down , we'll we'll give them another one . And uh it it'll be uh , you know , prominently displayed as part of the th the advertising literature that it's um um , you know , for life , guaranteed for life . Um{vocalsound} now the the the internal chip um {disfmarker} and uh this is where I need uh uh Kate's expert adviceIndustrial Designer: {vocalsound}Project Manager: and given that {vocalsound} th this has to to go tomarket as quickly as possible um d d do we go for a custom designed chip ? Or or do we buy one off the shelf and and programme it ourselves ? Uh I mean I'm I'm I'm n not an expert on these things , but presumably ,there must be loads of 'em already on the market that we can modify .Industrial Designer: {vocalsound}Project Manager: But uh that that's uh that's your area of expertise . And then the uh , you know , the the overalldesign of the case uh is is is Kendra's field and uhUser Interface: {vocalsound}Industrial Designer: {vocalsound}Project Manager: {vocalsound} we we had some discussions last time as as to uh how we might goforward and we'll we'll finalise those uh da today . Um and thi this is all linked in with the the the user interface , whether we p um {vocalsound} go for voice , buttons , or or a bit of both . Uh and then uh , you know , ffor the next meeting Kate will be looking at the the the s the look , feel and design , Kendra the uh ho how the the user actually uses it and and Andrew of course the the product evaluation . And uh Kate and Kendra willbe producing a a model for us to uh to look at .Industrial Designer: {vocalsound}User Interface: {vocalsound}Project Manager: Uh so , if if we can have the the three presentations again please , and uh um p perhapsyou'd like to start uh k .Industrial Designer: {vocalsound} Okay . Um {disfmarker}Project Manager: Kate . Oh I'm sorry , oh sorry .Industrial Designer: Um p there we go .Project Manager: {vocalsound}IndustrialDesigner: {vocalsound} 'Kay , I'll just be talking about the components design . And {disfmarker} {vocalsound} Okay , basically I just uh looked at what exactly do remotes do . Uh basically they wait for you to press akey or give a voice command and then this is translated uh into uh light signals which are then seen by the T_V_ . Uh the materials we're gonna need to look at {disfmarker} uh the two big ones are the integratedcircuit chip and the battery and the in integrated circuit chip uh works in conjunction with a a diode transistor or resonator , uh two more resistors and a capacitor and the battery works in conjunction with a resistor anda capacitor . Um . {vocalsound} Uh basically what happens is you'll press a number or give a voice command and this creates a a connection within the the remote that allows the chip {disfmarker} the chip then sensesthis connection and produces a signal in a Morse code format . This signal's sent to the transistor which amplifies it and then sends it on to the light emitting diode and uh {disfmarker} which is then trai changed into ainfrared light which is sent to the T_V_ and sort of seen by the T_V_ and which uh changes the channels . {vocalsound} Um . Oh . {vocalsound} Uh cool . {vocalsound} Uh so as for how we should end up uh using thisin our remote uh t couple of main questions are the buttons . Uh y the fewer buttons you have , I guess the fewer internal connections and internal codes you're gonna need . Um however uh to n not have buttons or touse a voice commands instead of buttons might make these connections more difficult and uh raise the production cost . That's something we should think about . Also we have to work within the company constraints ,and the company has informed me via email that uh they're experts at pushbuttons and that seems to be the most uh cost-effective way of producing it . Um also with battery connections the company has some limitson the batteries we can use , so I was thinking perhaps a combination of solar cells with a back-up basic battery and somehow between the combination of that two we might be able to come up with something that uhwill last the the lifetime or the five to ten years and we could still keep that original idea . {vocalsound} Um we also need to look at the chips , uh v custom-designed versus off the shelf , and the custom-designed willgive us much more flexibility and enable us to incorporate the voice function that we all uh seem to have agreed upon . Um , however that's gonna cost more , but uh the off the shelf is gonna be uh cheaper and it'sgonna be {disfmarker} allow us to produce it quicker and get out there faster , but it's going to be less flexible with the features , especially things like uh voice activation , which haven't really been used much onremotes , so there's not really chips out there that would be easy to uh to convert ,Project Manager: {vocalsound} Okay ,Industrial Designer: so if we were uh definitely gonna go with the the voice option we'd probablyhave to design um our own chip . {vocalsound} And that pretty much sums it up .Project Manager: so how um {disfmarker} sorry , can you uh just put that one back up again , please ? Um .Industrial Designer: Mm .Oh yep , sorry . {vocalsound} Yep .Project Manager: Uh d d d {vocalsound} okay , I mean uh inevitably a b a custom design chip is gonna be more expensive . Do we do we know uh by how much ?Industrial Designer:Mm . {vocalsound} Um I don't actually have any price information , no . {vocalsound}Project Manager: And and do we know how long it'll take to uh develop a a custom chip .Industrial Designer: Um it {disfmarker} alot longer than an off the shelf chip . Oh w yeah , we did {disfmarker} the the problem is the the the voice technology is not really highly developed ,Project Manager: Right ,Industrial Designer: it's sort of still still in anex experimental form ,Project Manager: okay .Industrial Designer: uh so it would uh {disfmarker} it's hard to predict the time . {vocalsound}Project Manager: Right , I think we need to make a a decision here . Uhgiven that the company wants this on the market quickly and cheaply ,Industrial Designer: Mm .Project Manager: that would appear to uh effectively constrain us to an existing chip and thus therefore conventionalbutton technology . Um uh now before we go round everybody else , does anybody um h have any have anyti ha anything to say about that ?User Interface: I {disfmarker} I just have a question about that . Um does itmake a difference if there are just a few commands , for example if you um can pre-programme in like numbers one through ten and pre-programme say , you know , nine channels and then just use the voicerecognition to say channel one and then you've programmed in say B_B_C_ four as your channel one , as your favourite , it's like to have a certain number of favourites umIndustrial Designer: W just to to incorporatethe voice activation in it is is sorta the trick .User Interface: and that wIndustrial Designer: Once you've got the whole voice chip in there , then it's pretty much the the world {disfmarker} the the sky is your limit ,UserInterface: Okay . Then it doesn't matter . Okay .Industrial Designer: but to actually {disfmarker} the the big step is to actually get the voice activation chips in there and working .User Interface: Okay .Project Manager:Cause uh I {vocalsound} must say I find it slightly surprising given that , you know , mobile phones incorporate voice activated dialling . So uh um I meanUser Interface: Yeah .Project Manager: I d d for slightlydifferent {disfmarker} well no , I mean , it's if you you {disfmarker} speak somebody's name and it'll dial the number for you , so uh bu I mean the this this information is from {disfmarker} is {disfmarker} this is theinternal company information , is it ?Industrial Designer: Uh bits of it , yeah .Project Manager: So uh {disfmarker}User Interface: Of course mobile phones do tend to be more expensive ,Industrial Designer: Yes , aswell .Project Manager: {vocalsound}User Interface: you know , hundred and fifty pounds or something . As opposed to the twenty Euros , twenty five Euros .Project Manager: Yeah , mm true , again but if it's withoutany without any uh p price informations that's uh difficult to uhIndustrial Designer: {vocalsound}Project Manager: uh decide .User Interface: Yeah .Marketing: {vocalsound} Also lots of mobile phones have got a lot oftechnology in them , not just that , so .Industrial Designer: Mm .Project Manager: Yeah , that's that's right . It's like {disfmarker} it's it's {disfmarker} you can't {disfmarker} 'cause mobile phones are expensive , youcan't say it's the voice recognition bit that is .User Interface: {vocalsound} Yeah .Project Manager: But we don't know . Um . {vocalsound} I mean uh I su i I mean if {disfmarker} given that the um the technology isnot well developed and and given that it's it's never been done before , um th th the double risk , uh perhaps we ought to uh stick to uh to buttons , since the last thing we want to do is present a product that doesn'twork . Um . Thoughts ?User Interface: Well , another thought I {disfmarker}Marketing: Would {disfmarker}User Interface: oh , sorry , go ahead .Marketing: Oh I was just gonna say mayb maybe it sh like um{disfmarker} maybe we can like cut corners somewhere else to bring in over cost .Project Manager: {vocalsound} I mean do w do we think that the voice technology is fundamental to the project ?Industrial Designer:Uh it's fundament well I mean I guess it it's something we've discussed uh since the the sort of the beginning , so I th I think in in our in our minds it's it's fundamental , but I don't know that the uh the upper echelonsof the company would necessarily agree with that , so I think you have to {disfmarker}Project Manager: I mean I think we {disfmarker} {gap}User Interface: Oh yeah .Industrial Designer: {vocalsound}ProjectManager: Mm .Industrial Designer: Hm .User Interface: {gap} Okay .Industrial Designer: {vocalsound}User Interface: Well , I kinda think if we're gonna have the voice recognition for part of it , then maybe we shouldhave it for the whole thing .Project Manager: Yeah , I I I I I think that's uh {disfmarker}Industrial Designer: Mm .User Interface: And we've been talking about it the whole time .Project Manager: Yeah , yeah .IndustrialDesigner: Mm , mm .User Interface: Anyway , I'm I'm incli kinda inclined to say that we should just go for it .Project Manager: Mm , right , okay .Industrial Designer: Mm .Marketing: Uh yeah , {gap} it's the secondmost important aspect to users that the device should be technologically innovative .Project Manager: {gap}User Interface: Yeah .Marketing: From uh my presentation show , so .Project Manager: Yeah , it should be{disfmarker}Marketing: Uh technologically innovative .Project Manager: Right , okay , so .Industrial Designer: No ,Project Manager: Fine . Okay .Industrial Designer: that sounds good . Mm .Project Manager: I it willhave voice recognition um uhIndustrial Designer: Mm . Cool .User Interface: Okay .Project Manager: if if that means uh if that means we can't afford buttons but I mean b b {vocalsound} {disfmarker}IndustrialDesigner: {vocalsound} Um {disfmarker}Project Manager: second question , do we need the five buttons for channel change , up down , {vocalsound} volume up down and on off , just as a a backup or just so thatpeople can uh j j just sit there pressing buttons ?User Interface: Yeah .Industrial Designer: Yeah , I I would say we do , yeah .User Interface: I think so .Project Manager: Right . Okay . Sorry , d did you want to sayanything ? No ?Industrial Designer: Uh nope ,Project Manager: Okay .Industrial Designer: that was it , that was it .Project Manager: Shall we move rapidly on to uh Kendra ?Industrial Designer: Okay .User Interface:Okay .Project Manager: Uh um ra rapidly move the cable over .User Interface: {vocalsound} Let's see .Project Manager: Mm . Oh good .User Interface: Oh . Yes . Is it gonna work ?Project Manager: Mm yeah ,IndustrialDesigner: Yeah , it's thinking about it .Project Manager: it'll get there . Yep .User Interface: Okay . Okay ,Industrial Designer: Yeah .User Interface: so I did some research on the internet and um {vocalsound} what{vocalsound} {disfmarker} you know , the interf user interface are just aspects that are seen by users , um commands and mechanisms for the operation , and there're just kind of a variety of choices . Um findings , soa lot of times they tend to look clutteredProject Manager: Mm-hmm .User Interface: and these were just a couple examples of um different kinds that are a little bit more unusual .Project Manager: Mm , yeah .UserInterface: There're some special ones available , like this one right here ,Project Manager: Uh-huh .User Interface: which is marketed towards children , um different designs ,Project Manager: Alright .User Interface:and one of the things that n we need to watch out for is a V_ in volume because people some {vocalsound} Bring a little picture of what I thought ours could look like {vocalsound} .Industrial Designer:{vocalsound}User Interface: So just kind of minimise the clutter ,Project Manager: Mm-hmm .User Interface: avoid too many buttons and also um {vocalsound} one of the things that people have used is a slide button, like you have on a mouse , that possibly we could use that on the sides for volume , for example , have the slide button on the side ,Marketing: Mm .User Interface: and then you can pre-programme the channels , thevoice recognition and then the voice response sample locator .Project Manager: {vocalsound} Mm yeah . Sorry y y yeah , {vocalsound} if I can interrupt you . Well d {vocalsound} p 'kay , do you wanna say anythingabout um slide controls ?Industrial Designer: Mm .Project Manager: I mean I think the reason everybody uses pushbuttons is that they're they're si simple , cheap and reliable .Industrial Designer: Uh {disfmarker}{vocalsound} Uh I think they're they're about the same cost really . I I mean , I think it's just sort of {disfmarker} the the {vocalsound} {disfmarker} there's a lot of slide buttons out there . I think it's pretty much thesame sort of connection . Mm yeah . {vocalsound}Project Manager: Okay , fair enough , fine .User Interface: Just because I n for example if I'm using a mouse I like to be able to slide it up and downIndustrialDesigner: Mm .User Interface: so I thought it might be good for volume to just be able to kind of roll it and then have the up and downProject Manager: Yeah . Good , good .User Interface: and then the{disfmarker}Project Manager: Yeah .User Interface: this is my great little drawing .Project Manager: So three three {disfmarker} there's three buttons on a slider .Industrial Designer: {vocalsound}Project Manager:Three buttons , channel up channel up down and {disfmarker}User Interface: Y yes , yes .Marketing: Well , if you g if you if you got a channel up down , we can have a slider in that as well . Because if it {disfmarker} ifyou noUser Interface: {gap}Marketing: if you notice on the thing it it kind of like has got kind of {disfmarker} if you you know it s kind of like sticks , if you know what I mean , up like one unit , if you see what I mean.Industrial Designer: Mm .User Interface: Yeah .Marketing: So it kinda goes up one , then y like you can keep rolling it up , but it's like like like like a cog or something .Project Manager: Uh-huh .Marketing: So youkinda take it up one at a time .Project Manager: Okay . Um {disfmarker}User Interface: The only advantage I was thinking of to having the buttons , like the buttons on one side for the channel , and then the slider isthat if you're just holding in your hand , and you pick it up , it's easy to n s know , okay , this is just the volume and this is the channel .Marketing: DProject Manager: Mm-hmm .Marketing: {vocalsound} Oh .ProjectManager: This one on the one side and one {disfmarker}Marketing: {vocalsound} Uh you could you could {vocalsound} as l as like a mouse you could {disfmarker}Project Manager: yeah . Okay .Industrial Designer: Yeyeah , 'cause I've definitely picked up remotes and like meant to change the channel and turn the volume , or vice versa ,Project Manager: Yeah .User Interface: Yeah .Project Manager: Yeah .Industrial Designer: so it'dbe kinda good to have them be {disfmarker} feel completely different . You'd know what you were fiddling with .Project Manager: Yeah ,Industrial Designer: Yeah .Project Manager: or {disfmarker} yeah uh th th the{disfmarker} I mean thi this is what the {disfmarker}User Interface: That was {disfmarker}Marketing: Yeah , like the shape of it almost like a mouse , with a {disfmarker}Project Manager: we have to come up with isthe the actual shape that people can ins instantly pick it up and and know know uh know what it's going to do .Industrial Designer: Mm .User Interface: Yeah .Project Manager: Okay , so we we're looking at sliders forboth a {disfmarker} uh volume and channel changeUser Interface: Um wellProject Manager: of one sort .User Interface: I was thinking kind of just for the volume ,Project Manager: Just for the volume , uh .IndustrialDesigner: Mm .User Interface: but what what do you guys think ?Marketing: Dep I dunno if it {disfmarker}User Interface: We could {disfmarker}Marketing: depending on the final shape of it , 'cause you could havelike , I dunno , {gap} it looks like you can c control the volume with your thumb ,User Interface: {vocalsound} Yeah , yeah .Marketing: and then you could control the buttons with your fingers .Project Manager: Fingers,Industrial Designer: Yeah ,Project Manager: yeah .Industrial Designer: 'cause if {disfmarker} yeah , in that kinda position the fingers would be better for pressing and the {disfmarker} that for rolling ,Project Manager:It {disfmarker} yeah , I mean it it it seems to me that uh it uh it al also has the advantage that it it {disfmarker} the two are clearly different ,User Interface: BIndustrial Designer: just the way it would{disfmarker}User Interface: Yeah .Industrial Designer: Mm yeah , yeah , yeah .User Interface: Yeah .Project Manager: um that there's no no possibility of uh confusing the two .Marketing: Oh yeah , yeah .ProjectManager: So okay . Right so uhUser Interface: I'm just gonna pass this along .Project Manager: that's {disfmarker} sorry is that that all you want to say at the moUser Interface: Yes .Project Manager: okay , fine.Industrial Designer: {vocalsound}User Interface: Yeah . {vocalsound}Marketing: {vocalsound}Project Manager: Mm right .Marketing: {gap}Industrial Designer: {vocalsound}Marketing: Here we go .Project Manager:Right .Marketing: {vocalsound} Uh yeah , this is my report on trend watching .Project Manager: Mm-hmm .Marketing: The data's come off internet uh from executive summary for us on the top three things wanted bythe consumer . And we got reports from Paris , Milan on new fashions .Industrial Designer: {vocalsound}Marketing: And uh the most important aspect is the l the look {disfmarker} it has to look fancy , look andfeelProject Manager: Mm-hmm .Marketing: uh instead of the current functional look and feel . This is a st well I was gonna say yeah twice as important as the second aspect ,Project Manager: Mm .Marketing: which is"}
+{"doc_id":"doc_148","qid":"","text":"Lynne Neagle AM: Good morning, everyone. Welcome to the Children, Young People and Education Committee this morning. I've received apologies for absence from Siân Gwenllian, and I'm very pleased to welcomeHelen Mary Jones, who is substituting for Siân today. Can I ask whether Members want to declare any interests, please? Can I just, then, place on record that I have got a son who was about to do A-levels, so isaffected by the exam decision? We'll move on, then, to our substantive item today, which is an evidence session with the Welsh Government around the impact of the coronavirus pandemic on education in Wales. I'mvery pleased to welcome Kirsty Williams, Minister for Education; Steve Davies, who is director of the education directorate; Huw Morris, who is the group director, skills, higher education and lifelong learning; and RobOrford, who is the chief scientific adviser for health. Thank you all for coming. We know that this is a really difficult and pressurised time for everyone, and we appreciate your attendance. Minister, I understand youwanted to make an opening statement today.Kirsty Williams AM: Yes, if that's okay, Chair. As you know, it's not usually my practice to do that, but I think it is important today. COVID-19 coronavirus is one of the mostsignificant issues that the Welsh Government and the people of Wales have dealt with in recent times. Dealing with the impacts of this pandemic is extremely challenging. Things are changing on an hourly basis, and wehave to make decisions quickly to ensure public safety. But I would like to assure you that our aim, and my aim, and my main concern as the education Minister is to protect all staff and pupils in our schools and othereducational settings. But we also have a duty to ensure continuing and continuity of education. Public health is clearly the priority here, but that does not change our belief that no child should miss out on any education,unless absolutely necessary. So, the decision to close all schools from tomorrow for statutory education provision was not taken lightly, but I believe it was necessary, given the advice and recommendations that we hadreceived from a public health perspective and the situation that was developing on the ground. From next week, schools will have a new purpose. They will help support those most in need, including people involved inthe immediate response to the coronavirus outbreak, and I'm working with my colleagues in the Cabinet, with Government officials and our partners in local government to develop and finalise these plans. The keyareas that we're looking at are supporting and safeguarding the vulnerable and ensuring continuity of learning. This includes all of those who benefit from free school meals and children with additional learning needs. Ican confirm that all maintained schools in Wales already have access to a range of digital tools that can support distance learning through the world-class Hwb digital learning platform, including virtual classrooms andvideo-conferencing facilities. A guide on what tools are available and how schools can use them has been developed and is being promoted widely. Yesterday, I announced that, whilst there are no easy choices, we haveagreed that the best way forward is not to proceed with the summer exam series. Learners due to sit these exams will be awarded a fair grade to recognise their work, drawing on a range of information that is available,and I will announce further details shortly, but I felt it necessary to give early certainty to students and to staff. I would like to put on record my thanks to everyone working in education settings for the hard work thatthey have put in over the last few months in dealing with the virus and ensuring that pupils have been able to continue to learn. We need to continue to do this work together, as we face the continuing challenges posedby the coronavirus. Diolch yn fawr.Lynne Neagle AM: Thank you very much, Minister, for that statement. We'll go to questions from Members now, and I've got some questions from Dawn Bowden.Dawn Bowden AM:Thank you, Chair. Can I thank you, Kirsty, for your statement and the really difficult decisions that you've been having to make? You've already indicated in your statement this morning that these decisions are nottaken lightly, and we understand that that is the case across Government. So, thank you for what you've been doing. You've outlined a little bit further there in your statement to us this morning about the new purpose.I take from what you're saying that you haven't really developed that yet in terms of exactly what that is going to look like. You've talked about the children of key workers, free school meals, additional learning needs.Is there anything else you can tell us about that at the moment and how you might staff the schools in those particular areas?Kirsty Williams AM: Thank you, Dawn. So, you're absolutely right, our priority now is tooperationalise, with colleagues in local government and schools, a practical response. And I have to say, we're working to timescales that I would have hoped to have avoided, but given the fact that we're having tomake these decisions quite quickly, I hope that you will understand that perhaps where we start on Monday might change when we have more time and more opportunities to develop programmes going forward. Stevewill be able to give you more details of the practical work that has already been going on, but our expectation will be that schools will be playing an important part in providing safe and secure places for children of thoseon the front-line response to dealing with the coronavirus to attend, and work is already under way with local authorities and individual schools on what that will look like for the emergency situation on Monday. Ourother priority is indeed free school meals, and, again, where we eventually end up might be a different place to where we are on Monday. Again, we're responding to the emergency situation that there will be familiesthat were expecting a free school meal on Monday, and, again, individual schools and local authorities are developing those plans at pace to be able to provide an emergency response as we work out a longer term planto deal with the situation. The same thing also goes for additional learning needs, and attending to the needs of that particular group of learners. So, those conversations began a few days ago. I had the opportunity tomeet with the First Minister and Andrew Morgan, the leader of the Welsh Local Government Association, yesterday to talk about what local government could do, and what they were already doing. Those plans in someplaces are already quite developed, and are now working at pace, but I hope you will understand that where we start on Monday is the emergency response, and that work will develop as we go forward. But, Steve,perhaps you could—? Because Steve was the one making all those phone calls and doing the practical operational stuff, rather than me. Steve.Steve Davies: In short, the new purpose is to meet the needs of particulargroups of children and young people. In some cases, some of the response to supporting free school meals, in the short term in particular, we may use the schools as part of that, and I'm certain that will happen insome cases. The second area is looking at how we support the children of key workers. Now, there is still work to be done on identifying exactly the categories of key workers, but I think it's really encouraging that inmy discussions yesterday—I spoke with all 22 directors of education, and the examples we're picking up in their work with schools is they're already ahead of the curve in working with schools. So, schools haveidentified the number of children with health workers. It will grow, and we will need to look at that range. Then, the third area is vulnerable children. They're vulnerable sometimes in terms of education other than atschool, vulnerable in terms of mental health, and for those children, as well as having an experience that we want to be planned, some have compared it to a snow day, particularly on Monday, when you're puttingsomething together in the short term, but it will not be a formal curriculum that those children would normally go through. So, the range of activities—some will be focused on educational activities, some will be cultural,some will be sporting, and that plan will be developed on the basis of the age range of children, which in some cases may go from extremely young children up to those at the age of 16 in our all-through schools, butthere will be a planned set of activities to cater for those children. What we are doing currently—I have staff back at Cathays Park who are in touch and working with directors of education to ensure that schools over thenext two days will have been able to identify, at least at the earlier stage, in terms of health workers, the type and numbers of people. There are already schools who have informed us, and local authorities, of theirplans for these activities to be starting next week, which is quite amazing, actually, given where we are. But we are expecting, and we're writing to schools today, that during the course of next week, headteachers to bein schools, and with their staff, taking into consideration the health guidance as to which staff should or should not be in, and in that period from next Monday through the two-week period, to Easter, we expect staff tobe both planning for delivery post Easter, but also, as I said, building on and reflecting the good practice that's already in place for schools that have engaged in activities, and I'm sure a number of them will be invitingand enabling those children to come in on Monday. So, Monday will be a challenge for some, and not all will be delivering it, but we will be working so that we can get as much as possible delivered for those groups overthe next two weeks, and particularly to have resilient programmes post Easter for the groups of children in those three categories that I said.Dawn Bowden AM: Those that have been identified. Can I just clarify onething? One of the identified vulnerable groups would clearly be children on the at-risk register. They would be included.Steve Davies: Yes, definitely. Vulnerable children, yes.Kirsty Williams AM: In our discussions, wehave asked local government to be working with the social services departments and individual schools to identify those children who may be in that situation. We know that, for some children, being at school is part oftheir safeguarding arrangements, and obviously we will need to be able to respond to those needs.Steve Davies: I wrote specifically yesterday to all directors of education to be assured that, for those children, theregister is up to date and the plans are in place. I'm working with Albert Heaney my colleague, the director for social services, who is meeting with the 22 directors of social services today to look to ensure that we arejoined up in ensuring none of these children fall through the gap.Lynne Neagle AM: Okay. I've got a supplementary from Hefin, and then Suzy.Hefin David AM: A very quick and simple question: how are you going tocommunicate this to parents? There's a bigger picture and it's changing all the time, as you said. The Welsh Government have a route to communication. The most helpful thing I've seen is that Public Health Wales havea single website with information regarding the wider issue of the virus. How will this then be cascaded to schools, because there's obviously a time lag? So, have you considered how this is going to be communicateddirectly to parents?Kirsty Williams AM: We're using all of our platforms of communication to get these messages across. So, we're using the more informal methods of communication, but are relying on a systematicapproach via individual directors and through to individual schools. Welsh Government already has a dedicated website page with all of the relevant information about coronavirus. We're looking, as quickly as we can, tohave a frequently asked education questions page that we can update. Understandably, people are communicating to us on Twitter asking questions. It is impossible for the communications team here to be able torespond individually to every single person that is sending Facebook messages and sending tweets, so the best way we can do that is to collate the types of questions people are asking and then to be able to have afrequently updated question and answer page to try to respond to that. With regard to parents, for instance, we're aware of schools that have already sent a questionnaire out last night to parents saying, 'Do youconsider yourself to be a key worker? Do you work in the NHS? Please let us know by tomorrow so we can put arrangements in place for your children.' So, schools are already taking the initiative and having thoseconversations with parents about what their needs will be. And, as I said, Hefin, will it be perfect on Monday? No. It won't be perfect by Monday, because we're working to such constrained timescales. But we willcontinue to build that resilience. We also have to think about systems that look at what might the epidemic do and have systems of resilience that may work next week, given the situation we find ourselves in withpublic health advice at the moment. But that public health advice may change. Therefore, have we got a system that will be resilient in those circumstances? These are some of the challenges that we're having tograpple with. So, as I said, what happens on Monday might look very different to where we are if schools are still off in May. So, I hope people will understand that we are working in those kinds of scenarios.LynneNeagle AM: Suzy, you had a supplementary.Suzy Davies AM: Yes, just on this question of vulnerable children, I'm just wondering how much discretion teachers are going to have in including individual children who maynot be obviously under social services' care or on a risk register or whatever. Teachers know their pupils and, very sensitively, they could include people who may not be obviously in need.Kirsty Williams AM: We wouldabsolutely respect the professional judgment of individual headteachers to be able to have those conversations with their directors. As you said, quite rightly, they are the individuals who know their children best andknow which children, perhaps, will need this extra support. We will put no constraints on those teachers trying to do that work.Suzy Davies AM: Okay. The second part of my question is: there were going to be Easterholidays anyway, weren't there? What was going to happen about free-school-meal children during that period? Has that gone out of the window now, the normal holiday provision for children? Because that's not therenormally, is it, except in separate—Kirsty Williams AM: We do find ourselves in a strange situation. My understanding is what we're trying to work to is that we would have ongoing provision and not to make somestrange, 'You get this for two weeks, then you don't get it for two weeks, and then you're back in.' My understanding is, in England, that is what they're going to do. We're trying to create a system where it will beseamless and it will not necessarily matter that two of those weeks were formally holidays. It won't matter to those nurses and doctors who will need to be in work during those weeks. We're trying to create a systemthat will run uniformly. That's our policy goal at the moment.Lynne Neagle AM: Helen Mary.Helen Mary Jones AM: Just briefly, building on Suzy's question, one particular group of children and young people that I hopewill be eligible to be included in the potentially vulnerable category is young carers. For some of them, they may not be able to come into school because the people they're caring for may have to be excluded because oftheir conditions. But I think that, for other young carers, coming to school is an absolute lifeline, because they're working at home. So, I don't know if it's appropriate for you to specifically mention those in discussionswith local authorities, but it's a group of young people who, again, may not be vulnerable in other ways, but because of their caring responsibilities they may need school. And the other group—and this, I suppose, goesback to Suzy's point about teachers knowing their young people—is the children who may be living in situations where they're at risk of witnessing domestic abuse. Again, these may very well not be children who are inany formal contact with social services, but being at home may be really not a good place for them to be. So, again, I'd put in an appeal for that to be something that perhaps can be raised with schools. If a teacher isworried about what a child's circumstances are like at home, whether they can be, as you said, Kirsty, included as one of the—. They may not be formally identified, but if the teacher knows that they're at risk, or thereis an instinct that they're at risk, they might be able to be included in children who are allowed to take advantage of this special provision you're making at this difficult time.Kirsty Williams AM: We will certainly raisethose issues. We have to do that in the context of what is deliverable, and we also have to do that in the context of the public health advice that we are receiving as well. One of the reasons why schools are closing is tohelp manage this disease. We know that the ability for school closures to make a contribution to that diminishes if we have significant children in school still. So, we will take these issues into consideration, butremembering this is part of an epidemic mitigation plan. Rob is the expert on that, not me.Rob Orford: Yes, absolutely. This is a rapidly-evolving problem and the scale is something that we haven't seen in 100 years,and so we're having to evolve and iterate things as we go. Next week, I think, will look different to this week. So, it kind of is what it is. We've all got a role to play, and schools certainly have a significant role to play inbreaking those chains of transmission. Areas that we're worried about are displacement activities. If we close the schools, then people collect at others' houses. We need to send a really clear message that you're allpart of the solution, and the things that you do by distancing yourselves from your friends and your family are really important for us to get on top of this outbreak. The more that we can do that, the easier it will bewhen we go forward.Helen Mary Jones AM: I'm sure that that's true, but I'm sure that we wouldn't be wanting a child who's in a very pressured environment with perhaps a very difficult relationship between mum anddad—. It may be very important for those children to be out of that for some of the time. Hopefully, we're talking about relatively small numbers, but I just—.Kirsty Williams AM: We will look at vulnerability in a holisticway.Lynne Neagle AM: Janet, you had a supplementary.Janet Finch-Saunders AM: Thank you, Chair, and good morning, Minister, and your team. Can I just put on record my thanks for all that you're having to endureat this moment? I think it's fair to say you have the support of Assembly Members and, indeed, our communities. Now, the question I have: if Cylch Meithrin have to close, where will they get money from to pay theirstaff? Because, currently, thankfully, there's support for businesses.Lynne Neagle AM: Janet, we're not doing Cylch Meithrin at the moment; we are sticking with schools, as we discussed in advance. Dawn.DawnBowden AM: Can I just get some clarity, Steve, around what you were saying in terms of next week? Because I think the practical applications of this—and I understand that you don't know all of this yet, I understandthat—the practical applications are what is coming to us, obviously, with constituents saying, 'Well, what's going to happen to that?' Just so that I can be clear, are you saying that, at this stage, every headteacher willbe in school on Monday, as will all their staff?Steve Davies: Within the scope of the guidance in terms of their health, the expectation—and this will be conveyed in letters by the Minister today, to be made clear—is thatthey are closing for the majority of pupils, but our expectation within the guidance is that the headteacher with their staff will be coming in; for some to start the delivery of what we just described, but that will probablybe small numbers, but more importantly to plan to ensure that, after the formal Easter period, which is school holidays, the schools are geared to cater for the range of pupils that we've been discussing.Dawn BowdenAM: So, would you anticipate—again, I know this is all a bit 'if and when', and it depends on the changing nature of the advice, but from what you're saying, I think we can probably anticipate that, as we go forward,there will probably be fewer schools opening and operable—that we may be moving those children on to fewer sites. Would that possibly—?Kirsty Williams AM: That is a potential. So, we already know that one of ourlocal authorities already has identified a strategic pattern of schools that they will want to operate in this way. That local authority has already chosen those locations, and is already having communications with how"}
+{"doc_id":"doc_149","qid":"","text":"Marketing: Right first time this time . Nu There we go . It's not that complicated , but I get it wrong every time . {vocalsound}Industrial Designer: Okay so we are just waiting for Matthew {gap} .Marketing: ForMatthew , yep .Project Manager: Mm . Uh {disfmarker} So I suggest we start the meeting uh without Matthew uhMarketing: Mm-hmm .Industrial Designer: Mm 'kay .Project Manager: he's uh obviously late for somereason . {vocalsound} Good . Um . Today uh we will uh talk about uh conceptual design . I hope uh you both did some uh some work uh concerning a uh conceptual design .Marketing: Mm-hmm .Project Manager: Umthis will be the uh agenda for the meeting uh {gap} . Uh I will take some minutes uh again .Marketing: Mm-hmm .Project Manager: Um we will have the presentations of y of you different team members ,Marketing:Yep .Industrial Designer: Yep .Project Manager: and then try to come to decisions uh about the concepts uh you have presented . So and that uh will uh {disfmarker}Industrial Designer: Mm-hmm .Project Manager: wehave some uh forty minutes uh to complete this uh .Marketing: Mm-hmm .Project Manager: So um who has the fir do you ha Anna do you have your presentation ready ?Marketing: I have a presentation , I'm justmaking this {disfmarker}Industrial Designer: Yeah I think {disfmarker} {vocalsound} yeah the {disfmarker} Matthew it is it's important that Matthew yeah is hereProject Manager: Okay . AhIndustrial Designer:because it's really a a team uh project with a teamProject Manager: there is Matthew .Industrial Designer: and if someone is not here then we cannot {disfmarker}User Interface: Sorry .Industrial Designer: but it's okay{vocalsound} it's good . {vocalsound}Marketing: Okay I'll just email you this file , my presentation .Project Manager: So . Good . Do {gap} presentation ready ?Marketing: Mm-hmm I'm just emailing it to you .ProjectManager: Oh okay .Industrial Designer: {vocalsound}User Interface: So {disfmarker}Project Manager: So did you manage uh {disfmarker}User Interface: Yeah I sent you the slides , you didn't see them ?ProjectManager: Oh yes I see him , good yes .User Interface: Okay . {gap} .Project Manager: No .User Interface: {vocalsound} So {disfmarker} {vocalsound} 'Kay .Marketing: Okay it should've gone through to you .UserInterface: {vocalsound}Project Manager: Okay mm yes I have it .User Interface: {vocalsound}Marketing: Mm-hmm . Okay so this is just a presentation on uh the trends that we're gonna use to make the product standout from the rest of the products out there at the moment . Um can I just put this on ? So we have to work out a way {disfmarker} what we can do with our product to make it stand out and make it so people wannabuy it . Um . This is {disfmarker} to do this I will not remove my microphone . {vocalsound} We basically used um some focus group surveys which I went through with you last time , the main results of that , and umsome research on the current design um and fashion trends that are out there at the moment um ,Industrial Designer: {vocalsound}Marketing: and as part of this {disfmarker} The important aspects that came outwere things that we've already discussed really . The most important by far was the look and feel of it . It needs to be something that's very different from everything else out there . It needs to stand out {vocalsound}. It needs to be not functional like the rest of the things out there at the moment . Most people find remote controls boring at the moment , we need to have something that looks interesting , that looks exciting , thatwill stand out . People will wanna buy it . Um {disfmarker} That was twice as i important as the next item on here which is that it has to be technologically innovative {disfmarker} has to have something else , apartfrom just the look of it . People have to then think about it and say {gap} got something there that I want . That's a really cool feature , and it has to make them wanna buy it again . Third on the list , and againinnovative was twice as important as this last um aspect , it has to be easy to use . So they have to be able to {disfmarker} be able to look at it and have some intuitive idea of how to use it um . Drawing on the fashiontrends at the moment , uh fruit and vegetables um . This is basically talking about just the the feel of it , so probably not the smell of it , but the bright colours , um eye-catching , really bold designs , and a spongy feel.User Interface: {vocalsound}Project Manager: Mm .Industrial Designer: Mm-hmm .Project Manager: Mm .Marketing: Um I had a talk to the design people about this , but having a remote that's tactile , that feelsdifferent , that would be really cool . That would make it stand out . Um .Project Manager: Hmm .Industrial Designer: So can you repeat and be more precise about what you just said ?Project Manager: Spongy feel?Industrial Designer: Uh about the feeling yeah uh yoMarketing: WellUser Interface: {vocalsound} You can {disfmarker}Marketing: ma make it not necessar sp spongy is the current thing . Spongy is the currenttexture , but basically there are no reports no remotes at the moment which are spongy or tactile at all , so if we make it like maybe furry or soft or something , that'll be something that sets it apart ,IndustrialDesigner: Okay .Project Manager: Mm .Marketing: rather than just bare plastic which they all are at the moment .Industrial Designer: Yeah .Project Manager: Okay .Marketing: So as far as the design goes , the verymost important aspect was the design , to the customers . So going with the fruit and vegetable idea , we've got the bright colours , so makes it stand out , the oranges and the the bright yellows and the florescentcolours , part of the fruit and vegetables um . Going back to the idea of taking inspiration from mobile phones , they've all got those {disfmarker} a lot of them have the changeable covers , so they can choose whatcolour the outside is . That's one way of looking at it um . Textured feel we just talked about . Maybe it's another way of doing that .Project Manager: Mm-hmm .Marketing: So if it's part of the the changeable coversthen may maybe they can choose a different texture , a spongy one or a soft one or something like that . So they can choose it li as they want to to maybe {disfmarker} to fit in with their decor in their living room , orjust what they like , their sports team or whatever .Industrial Designer: Yeah that's a very good idea , yeah . Yeah .Marketing: Um and yeah , still taking the inspiration from the mobile phone design so functionality ,the way the mobile phones work , the way the keypad looks . Also just the way that a lot of industrial design is going into mobile phones at the moment . They're big selling items . People put a lot of thought into that sowe can leverage off that , and we can start using some of their ideas . Um back to technological in in innovation , not quite as important , but still a big issue . Um we talked about having a way of finding a remotecontrol if it's been lost , uh that's one thing we could look at . There are other aspects like L_C_D_ screens and speech recognition which weren't {disfmarker} I don't think , in my personal opinion , gonna be worth theextra expense and the extra effort that will go into them . I think we're better doing something basic like thisIndustrial Designer: Mm-hmm .Marketing: which is very important and very {disfmarker} will be a really coolfeature to put in . And {disfmarker} {gap} use . I had no real specific ideas for this , maybe we just , the basic idea of having your core functions big and at the top maybe , by themselves ,Project Manager: Mm . YeswellMarketing: and then {disfmarker}Project Manager: maybe Matthew can can give some more information on the {disfmarker}Marketing: yeahUser Interface: Yeah .Marketing: {disfmarker} and then th th the finerdetails of buttons you don't use as much either hidden away or completely separate .Project Manager: Mm .Marketing: Yep {vocalsound} and that's the presentation .User Interface: Voila .Project Manager: Okay good ,that's very clear .User Interface: Yeah .Industrial Designer: Yeah very clear .Project Manager: 'Kay . Um . Uh {disfmarker}Marketing: So does anyone have any comments or ideas on that ? I think you{disfmarker}Project Manager: Maybe we yes well we maybe {vocalsound} can decide later on um {vocalsound} the l the the look and feel of uh I've {disfmarker} it was a good idea maybe to to {disfmarker}IndustrialDesigner: To let the people choose , {gap} you mean ?Project Manager: Yes the the the there are changeable covers ,Industrial Designer: Yeah .Project Manager: but on the other hand I I don't know whether mysuperiors would be so glad with it because {vocalsound} you have to introduce a complete uh uh new l line of uh of suppliesMarketing: Hmm .Project Manager: uh it would be uh very complicated uh organisational{disfmarker}Industrial Designer: {vocalsound}Marketing: Well we're selling so many units of this . This is gonna be a mass marketed product , we can afford to have two or three different designs at least .ProjectManager: Hmm . Mm-hmm .Industrial Designer: Yeah a range of uh yeah , a set of three , four different aspects .Marketing: Mm mm .Project Manager: Yes . Mm-hmm .Industrial Designer: Sure that fits the{vocalsound} {disfmarker}Project Manager: Yes {gap} and of course it will be a we we get a {disfmarker} if it works we can get uh after-salesMarketing: Mm .Project Manager: I mean that would {gap} would be verygood I mean those covers could go for for three , five Euro {vocalsound} .Industrial Designer: Yeah .Marketing: Mm .Project Manager: That's a very good idea um {disfmarker} And then uh maybe uh we can go a thMatthew's presentation becauseUser Interface: YeahMarketing: Mm-hmm .User Interface: sProject Manager: the {disfmarker}User Interface: then we could discuss later like {disfmarker} we can put all ideas together.Project Manager: Together indeed uh ,Marketing: Mm .User Interface: It should be easier with that .Project Manager: because you ma might have some some information on the the easy to use ,Industrial Designer:Yeah yeah I agree .Marketing: Mm-hmm , yeah .Project Manager: what you were already mentioning .User Interface: Yeah .Industrial Designer: Yeah .User Interface: So {disfmarker}Industrial Designer: And your partis very related to mineUser Interface: Yeah .Industrial Designer: because when you suggest something then it has to be integrated inside .User Interface: Yeah so {vocalsound} I'll I'll go with that actuallyMarketing:Mm-hmm .User Interface: so um {vocalsound} {disfmarker} Okay so m so {vocalsound} then the the idea of uh having a remote is generally you have uh different keys and uh different structures , different forms ,and uh they could be like buttons and um they could be of uh a varying sizes if you want to to uh basically emphasize a particular key more than the other , and uh maybe like you can have different colours for examplehaving the r red for the on off switching on and off the button . So this this is the general trend to ha the method they do . {vocalsound}Industrial Designer: Yeah .Marketing: Mm-hmm .User Interface: So what I havefound was that uh currently uh the {gap} they are mostly that the T_V_ , V_C_R_ , music system operated ones actually , and they are very specific to each other , but there are some common keys for example if youwant to follow the V_C_R_ and if you want to follow the uh g uh s some uh soundtrack on the w w see they have the common thing actually you can haveMarketing: Mm .User Interface: and uh {vocalsound}{disfmarker} There is also um a speech recognition to store channel information , names , like {disfmarker} You can basically {disfmarker} if you have a multiple functionality , say T_V_ , V_C_R_ or something I say itto the T_V_ and the {gap} T_V_ , and you can programme the keys if you want to , certain keys are even the channel information {vocalsound} .Marketing: Mm . Mm . I like the idea though of having speechrecognition for like the n the name of a channel like B_B_C_ , rather than having to remember the the number of it on the keypad . That's a good idea .User Interface: Yeah yeah so you you you can just uh because uhas more and more channels come then you have more and more problems to remember the v v exact channel numbers ex exactly ,Industrial Designer: {gap} .Marketing: Mm .Industrial Designer: Yeah .User Interface:even if you arrange it by {disfmarker} however you arrange it , you still have the problem to remember exactly which channel you want to {disfmarker}Marketing: Hmm . Mm . Yeah I really like that idea .IndustrialDesigner: So what functionalities do you suggest for that ? For facing this problem ?User Interface: So it it it's like it {gap} limited one . In the present market I saw it that says something like they are looking for{vocalsound} eighty word thing , eighty word ,Marketing: Mm-hmm .User Interface: which shouldn't be th that difficult to implement , like eighty to hundred word . Basically you want you don't want to store all thechannels in the remote control ,Marketing: Mm .User Interface: you want to st store your favourite channel .Marketing: Maybe ten channels , yeah at the most .User Interface: Yeah some ten twelve channel information. You know you don't want to st store all the hundred channel information into that .Industrial Designer: Okay .Marketing: Mm .User Interface: And uh basically uh it depends like the remote with L_C_D_ display forbrowsing because you have multiple functionalities for example you are watching a movie , and uh uh you are {vocalsound} having a universal remote control and you want to uh you don't know really whichfunctionality is {gap} now , so I am using the T_V_ so every time I use it , it could be like , for example I can use a simple toggle switch , and a display , so I press it so the display says , okay , I'm in T_V_ or D_V_D_or whatever it is , instead of having three keys separately for four keys ,Marketing: Mm-hmm .Industrial Designer: Mm-hmm . Oh yeah yeah yeah mm .User Interface: to model the functionalities will increase actually,Marketing: Mm .Industrial Designer: Mm .User Interface: and for you and you might want {vocalsound}Marketing: Mm .User Interface: you don't want separate keys for all of them . You can't . And uh well there canbe children friendly where you can programme your remote so that they they are not allowed uh to browse certain channels which you can block them , and you can operate them . So these are the things presentlywhich are seen in the market scenarios at present .Industrial Designer: Mm-hmm .User Interface: I personally would look at {vocalsound} things like having a u universal remote , is uh um is a good idea , like insteadof having {gap} unusual ones for all of them you can think of having , um with multiple functionality possibly with speech recognition .Marketing: Mm-hmm .User Interface: I got a mail from the the coffee machineinterface unit that uh they have uh integrated the s speech recognition into a into the coffee machine ,Industrial Designer: {vocalsound}Marketing: Mm bUser Interface: and so if you say hello coffee machine , it say hiJoe , or something like that , you know , and uh {disfmarker}Marketing: But a coffee machine , there's not too many words they'd be using with that it's a it's a small vocabulary .User Interface: {vocalsound} Yeah youyou won't be using it , so it's a limited vocabulary mm thing , and very isolated wordMarketing: Mm . Mm .User Interface: and it's uh it is interesting , and basically storing the channel through voice or other ways ofprogramming your keys , on the display for the browsingMarketing: Mm .User Interface: which is again {disfmarker} and maybe having something like a blinking thing , like uh it could indicate you're uh {disfmarker} itit could indicate what is cal like the uh whether uh you you have enough battery in your in your uh remote , the blinking .Marketing: Mm .Industrial Designer: Yeah .User Interface: At the same time , if it's a dark room ,it can be used to locate the remote alsoMarketing: {vocalsound}User Interface: {vocalsound} {gap} or {disfmarker}Industrial Designer: And you want okay {disfmarker} for coming back to one pointMarketing: Twothirty five supposed to finish .Industrial Designer: y you want to let the user to programming the keys ? Some of them ?User Interface: Yeah you can let them to do that .Industrial Designer: And uh isn't that toodifficult for the {disfmarker} we want w I don't know if we still want the um R_C_ to be easy to use ,Marketing: Hmm .Industrial Designer: that's the {gap} compromise .User Interface: N no but the {disfmarker} if yougive {disfmarker} it d depends on the easiness like the user how much effort he can put .Industrial Designer: Yeah .Marketing: Hmm .User Interface: Like for example uh I would like to store in certain way , so if youwant to give the full freedom to the userMarketing: Mm .User Interface: or you want to keep some constraints and let the user use it with that constraint .Industrial Designer: Yeah .Marketing: Yeah . Mm . I think youcan do it both ways .User Interface: So it deIndustrial Designer: Yeah .Marketing: You can have it so it's easy {gap} they can pick it up and use it straight away without doing anythi without customizing it ,IndustrialDesigner: A standard .Marketing: or if they want to they have the option of using these extra features .Industrial Designer: Yeah .Project Manager: Um yes but but I do {vocalsound} {disfmarker}User Interface: So{disfmarker}Industrial Designer: Yeah .Project Manager: maybe you can {vocalsound} give a hand to us because I I'm not sure whether that that we can implement that for twelve Euro and fifty cents .User Interface:{vocalsound} So {disfmarker}Marketing: Hmm .Project Manager: I'm sorry to have {disfmarker} {vocalsound} Every time I have to come down on this price againMarketing: Hmm .Project Manager: to {vocalsound}so this might be a little limiting for your creativity ,Marketing: Hmm .Project Manager: but it's it's it's the real {disfmarker} {vocalsound} We have to consider it . S so {vocalsound}Industrial Designer: Yeah .ProjectManager: do we think these ideas {vocalsound} an and my uh sp speech recognition , I mean maybe it's possible for for twelve Euro but then then it will be at cost of other functionality we might implement like the uhuh the the the furry uh {vocalsound} uh case of the {disfmarker}Marketing: Mm . Hmm .Industrial Designer: Mm-hmm yeah like {vocalsound} I would say that for programming uh keys , you said , uh it could be uheasily uh done within the the package of twel twelve Euros ,User Interface: Yeah .Project Manager: Mm .User Interface: Yeah .Industrial Designer: but for the A_S_R_ system , uh I'm not sure if it's feasible to havethisUser Interface: We well we can still look at {disfmarker} we can talk with the coffee unitIndustrial Designer: We {vocalsound}User Interface: and you can uh check how much how much they {disfmarker}{vocalsound}Industrial Designer: Exactly yeah i if if it's a low vocabulary it's already implemented ,User Interface: yeah yeahMarketing: Mm .User Interface: yeah .Industrial Designer: and w how much it's cost , maybewith a f cheap chip .User Interface: Maybe we can come {vocalsound} we we can talk to them , and we can come with that ,Project Manager: Mm mm .User Interface: you know .Industrial Designer: Yeah .UserInterface: And also well you can think of having uh since you have a {disfmarker} you know something {gap} maybe if you added little bit of {gap} display , you might need the {disfmarker} to che keep checking thebattery , so you really need a some {vocalsound} kind of indicator ,Marketing: Hmm .User Interface: so it could be a blinking option of L_E_D_ {vocalsound}Project Manager: Hmm .User Interface: it could actually beused to detect also .Industrial Designer: Yeah .User Interface: If it's in a dark room you can basically detect it also .Marketing: Mm . Hmm .Project Manager: Hmm .Industrial Designer: Yeah {vocalsound} .Marketing: Ilike the idea too of being able to use the remote in the dark ,Project Manager: Mm .User Interface: So {disfmarker}Marketing: so either having the buttons so you can feel the difference between them or if they if theylight up or something .User Interface: No actually {vocalsound} i if i it is like {disfmarker} you know it tells you um , it can be for two purposes ,Marketing: Mm .User Interface: like if you have an L_C_D_ display and allthose things it's not going to be the standard remote ,Marketing: Mm . Hmm .User Interface: which is having uh which need just uh six six volt uh th sorry three volts um of D_C_ .Marketing: Mm .User Interface: It mayneed more actually , so y you you may need to check your battery usage it {disfmarker} and then you need that , some functionality to indicate the battery limit .Industrial Designer: Mm .Marketing: Hmm .User"}
+{"doc_id":"doc_150","qid":"","text":"Industrial Designer: {vocalsound} I'm proud of it . {vocalsound}User Interface: {vocalsound}Project Manager: Okay . This is our final meeting , the detailed design meeting . And again I'll take minutes . The{disfmarker} what we have to get through in this meeting is firstly the prototype presentation from you two , so you can show us what you've been working on so diligently .User Interface: Yeah .Marketing: It does lookvery cool .Project Manager: Um thenIndustrial Designer: {vocalsound}Project Manager: {vocalsound} then Cat's going to present the evaluation criteria that we're going to be evaluating this against .User Interface:{vocalsound}Project Manager: Then I need to say some st a few things about finance , 'cause we have to check that it's within the finance criteria . Um and then we'll be making sure that our product fits both theevaluation criteria from Cat and the financial limits . Um and then we uh will have a brief evaluation of the whole process of production and design that we've been through . So we've got forty minutes . SMarketing: Andthen do we get to make a remote control ?Industrial Designer: {vocalsound}Project Manager: {vocalsound} 'Cause we missed out .User Interface: {vocalsound}Marketing: {vocalsound} Yeah .Project Manager:SoIndustrial Designer: {vocalsound}Project Manager: it's now {disfmarker} I guess that we're supposed to start at fifteen thirty five , so we've got until four fifteen .Industrial Designer: Uh-huh . How how much do wehave , forty minutes ?Project Manager: Is that right ?User Interface: Yeah , about four fifteen , yeah .Project Manager: Yeah ,Industrial Designer: Yeah .Marketing: Yeah .Project Manager: until about four fifteen . Soyeah . {vocalsound}Industrial Designer: {vocalsound} Okay , so .Project Manager: Go for it . Do you want {disfmarker}User Interface: So , you said um {disfmarker} are are we starting with the the{disfmarker}Project Manager: Yes .Industrial Designer: Presentation .User Interface: so will you maybe start with like the mm the shape and things and and then I will explain the the user interface th uh things , likethe buttons and the scrolling things and {disfmarker}Industrial Designer: {vocalsound} Okay . {vocalsound} Okay . So um basically going with our trend of vegetables and {vocalsound} {disfmarker} we selected thecolour and approximate shape of banana .Project Manager: {vocalsound}User Interface: {vocalsound}Marketing: {vocalsound} You think bananas are a safe thing to use ?Project Manager: {vocalsound}IndustrialDesigner: {vocalsound} Um {disfmarker} {vocalsound}Marketing: It's a bit um phallic .Industrial Designer: Yeah . Um {disfmarker}Project Manager: {vocalsound}User Interface: {vocalsound} Well , but it's it's just ana approximation . {vocalsound}Project Manager: Dual use , perfect .Industrial Designer: Yeah . {vocalsound}Project Manager: {vocalsound} Dual use , perfect .User Interface: {vocalsound}Marketing: Oh ,{vocalsound} {gap} your remote control ? Oh that's just bad . {vocalsound}Project Manager: {vocalsound} Does it vibrate when you press the buttons ?Industrial Designer: {vocalsound} Um so basically it's the it'sthe flip open thing again .Project Manager: Sorry , sorry .User Interface: {vocalsound}Industrial Designer: So now we we have the {disfmarker} okay ,Project Manager: Mm-hmm .Industrial Designer: so Ma Maarikawill explain you the user interface there . And it flips open on the side , so it opens like that . And we have the user interface o in hereProject Manager: Mm-hmm . Wow .Industrial Designer: and uh {vocalsound} the theL_C_D_ and and the scroll are inside . Um well , everything else is probably user interface , so . Yeah , yeah .Project Manager: And it's {disfmarker} the whole thing's made of rubber , is that {disfmarker}UserInterface: Uh yeah .Industrial Designer: {vocalsound} Oh yeah . Yeah , it has , yeah .User Interface: Rubber .Marketing: Is it to scale , or do you think you can make it a bit smaller ?User Interface: Yeah , {gap} . Um itcould be made a bit smaller , and and of course it would be {gap} and {disfmarker}Marketing: Yeah .User Interface: {vocalsound} yeah , but um one thing we actually kind of um forgot while designing , that one sidewas supposed to be rounder ,Industrial Designer: {vocalsound} Yeah ,User Interface: so we said the back side round , yeah .Industrial Designer: well , but i since it's made of rubber anyway . I I think it's it's uh{disfmarker}Project Manager: Mm-hmm .Marketing: It l does look like the {gap} curvyUser Interface: Yeah .Marketing: and then the whole shape's curvy , so I would say that this curvy does look quite like a vegetable.Industrial Designer: Yeah .Project Manager: Yeah .Industrial Designer: Mm . Hmm .User Interface: Yeah . And it's spongy as well . {vocalsound}Industrial Designer: {vocalsound}Marketing: {vocalsound} I wasn't verykeen on that , but yeah . {vocalsound}Project Manager: {vocalsound}User Interface: So {vocalsound} so uh the user interface as as we discussed last time uh mm on on the {vocalsound} on the cover we just have thevery basic things .Industrial Designer: {vocalsound}Project Manager: Huh . Mm-hmm .User Interface: So we have that n uh channels here starting from um uh one two three {disfmarker} there would be numbers in inthe {disfmarker} on the actual one .Project Manager: Yeah .User Interface: So it's four , up to four , up to seven , up to nine and zero , z zero here .Project Manager: {vocalsound} Six seven eight nine . I like that .UserInterface: Yeah . And then , well this is on off button . It's it's quite standard mm place for it and and also the colour is quite often red , so it's it's kind of user friendly .Project Manager: Yeah .User Interface: And thenthese ones would be for flipping the channels back and {disfmarker} like the previous one and the next one .Project Manager: Uh-huh .User Interface: And and we would also have a l little um thing saying here ,previous and ne prevon prevon next .Marketing: So where's the volume ?Project Manager: Yeah .User Interface: The volume is is scrolling .Industrial Designer: It's on the side .User Interface: On the side ,Marketing:Ah , you did get that in then ,User Interface: this one . Yeah you just do it like this .Marketing: mm-hmm .User Interface: And and and it's it's on the back is mm cover or back lid , because if you flip it open , you canstill do the scrolling here .Marketing: Oh okay , {gap} .Project Manager: Mm-hmm .User Interface: See ? So the volume is {vocalsound} you just scroll , but then once you flip it open , {vocalsound} okay , there thereyou have the screenProject Manager: Yeah .User Interface: and and you have the mm {vocalsound} spinning wheel with options to choose .Project Manager: Mm-hmm .User Interface: You can move back and forth andthen if you need to m choose something on the screen , you just push the cen mm the middle button .Project Manager: Mm-hmm .Marketing: Cool . Oh , the thing we forgot was like a mute button .Industrial Designer:{vocalsound} Uh no , we we'd not put {gap} {vocalsound} {disfmarker}User Interface: A mute button .Marketing: Yeah .Industrial Designer: so on on the cover we have the the bare essentials .User Interface: Well ,{gap} we'll have this on the screen , on the display .Project Manager: Y or you could have it {disfmarker} so you {disfmarker} on the wheel if you {disfmarker}Marketing: On the wheel , like if you hold the wheel downthen it will mute .Industrial Designer: Uh on the L_C_D_ we r you know , the main menu will have various options .User Interface: Well , but the but the mute {disfmarker} yeah , the scrolling is kind of you have toscroll all the way to make it mute , right ?Project Manager: But if you hold it in ,Industrial Designer: Mm .Marketing: Yeah , but it's a scroll and click , isn't it ?Project Manager: if it's a scroll and click so you hold it in?Marketing: Okay , cool .User Interface: Okay , yeah , okay .Marketing: So that {gap} that solves the whole mute issue .Industrial Designer: Mm .User Interface: Yeah . {vocalsound} And okay , so i so the the voicerecognition is also just part of it .Project Manager: {gap} no .User Interface: You can't really see it in the interface .Industrial Designer: {vocalsound} Yeah , it's hidden in there somewhere .User Interface: Yeah . Andwe do have the logo on it as well .Project Manager: Mm-hmm , very good .User Interface: So I think it {disfmarker}Project Manager: And it's {disfmarker} {vocalsound} with the the black and yellow you're even in theright colours .User Interface: Yeah .Marketing: {gap} .Industrial Designer: Cool .User Interface: Yeah , I think um we could do l the logo in grey , as it is on the website .Project Manager: Mm-hmm .Industrial Designer:{vocalsound} We ran out of resources here , so . {vocalsound}Marketing: Yeah .User Interface: In the actual one .Project Manager: {vocalsound}User Interface: Yeah . {vocalsound}Marketing: {vocalsound}IndustrialDesigner: You can have a look . {vocalsound}User Interface: So if you have questions .Project Manager: Very good , let's have a look .User Interface: {vocalsound}Project Manager: Test it out .{vocalsound}Marketing: {gap} . {vocalsound}Industrial Designer: {vocalsound}Project Manager: {vocalsound}User Interface: {vocalsound}Project Manager: Uh it's a sort of intermediate colour , I guess .Marketing:Yeah , oh , we hold the remote .Industrial Designer: {vocalsound}Marketing: Oh , but it it does feel all cold and slimy .Project Manager: {vocalsound}Industrial Designer: {vocalsound}Marketing: I hate Play-Do , it'sjust minging .Industrial Designer: {vocalsound}Marketing: But yeah , uh that's cool , cool .Project Manager: Very good .Marketing: Mm-hmm .Project Manager: Okay , so maybe if we go on to evaluation cricriteriaMarketing: Okay .Project Manager: and then we'll there {disfmarker}Industrial Designer: Yeah , see the budget .Project Manager: I suspect we're gonna have a couple of minor finance issues , but um we'll seI'm sure we can get around them somehow .Marketing: {vocalsound} {vocalsound}Industrial Designer: {vocalsound}Project Manager: We'll just send all of our manufacturing to some nice poor countryIndustrialDesigner: {vocalsound}Project Manager: and cut some of the prices that way .User Interface: {vocalsound}Marketing: Wales . {vocalsound}Industrial Designer: {vocalsound}Project Manager: Wales , for example .{vocalsound}Marketing: Mm . Cool , okay . Right , okay . {vocalsound} {vocalsound} Fabulous ,Project Manager: Marketing Expert .Marketing: yeah . Okay , cool . So what we're gonna do is prefer {disfmarker}prepare the evaluation of the new design . {vocalsound} Um so we're gonna be using a seven point scale ,Project Manager: Mm-hmm .Marketing: so one is , you know , yes , it totally meets with that requirement andseven is , no , it really doesn't , we need to go back and start again . Um , you know . Basically , what I did was I went through all the like user requirements and things that we've done and we've worked on and likemade a list of them . Um you know , so that we can evaluate each one and like {disfmarker} so it was about going back to the start and saying oh yeah , we did manage to do that , or oh no , we really forgot about that.User Interface: Yeah .Marketing: Okay ?Project Manager: Mm-hmm .Marketing: Cool , so these are what they are . Oh {disfmarker}Project Manager: So for each of these we need to give it a one to seven . Is that right?Marketing: Yes , I did have A_ , B_ , C_ , and D_ down here , but it seems to have turned into like just bullet points .Project Manager: Mm dots , never mind .Marketing: Okay . But if you can imagine that they say A_ ,B_ , C_ , and D_ , then that would be really good .Industrial Designer: {vocalsound} {vocalsound} I guess we'll give it maximum points in everything . {vocalsound}User Interface: Yeah , the yeah , it's definitelyattractive . {vocalsound}Industrial Designer: {vocalsound}Project Manager: {vocalsound} Yeah , I agree .User Interface: Oh , the locatable thing we actually forgot .Marketing: Well , I thought we'd um kinda said thatyou'd have a little thing to stick on the T_V_ ?Project Manager: Yeah , just prepare one now .User Interface: Yeah . Shall I just prepare it now ?Marketing: {vocalsound} Yeah .User Interface: It will be red , too.Marketing: Cool . Okay . So , be attractive to look at . That's this one . What do you all say ?Industrial Designer: So ?Project Manager: I reckon it {disfmarker}User Interface: {vocalsound} S seven was th themaximum , yeah ?Marketing: Yeah .Project Manager: Yeah .User Interface: I I go for seven .Industrial Designer: {vocalsound} Yes .Marketing: Oh {vocalsound} we're all so proud of the {gap} .Project Manager: Seven, yeah , it's terribly sexy . Yeah .Marketing: Okay , so that'll be a seven for A_ .User Interface: {vocalsound}Marketing: Could {disfmarker} oh no , you can't whilst that's up there . Okay um uh what I've done on thenext page is I've set it up so we just put the marks in .Project Manager: Ah , okay .Industrial Designer: Okay .Project Manager: Excellent . Except we can't {disfmarker}Marketing: Yeah .Industrial Designer: But we canwe can {disfmarker}Marketing: But that's alright .Project Manager: uh we can if we {disfmarker}Industrial Designer: I can I can take note uh uh {disfmarker}Marketing: If you take a note of them , and then I'll putthem in in a minute .Project Manager: then yeah , I'll take a note , it's fine .Marketing: Okay , so {vocalsound} we're all agreeing on seven for A_ ?Project Manager: Yeah .Marketing: Cool , okay . Does it match theoperating behaviour of the user ?Industrial Designer: Um the the only thing that we were considering was that uh this thing is kind of more for right-handed people than for left-handed people ,Project Manager: I thinkit does .User Interface: I would think yes , yeah .Marketing: Yeah . I mean {disfmarker}Industrial Designer: so if you're left-handed you're kind of left uh scrolling with your finger .User Interface: Yeah ,ProjectManager: Alright .User Interface: so y so we we might do we might want to do like a uh another m {vocalsound} model another another version , which is like exactly the mirror image of this one .Marketing: Yeah.Project Manager: But that's gonna be a problem ,Industrial Designer: But then {disfmarker} yeah .Project Manager: 'cause you don't always have all left-handers or all right-handers in a family .Industrial Designer:Yeah .User Interface: Yeah .Industrial Designer: So bu it's it's not a huge problem ,Marketing: I th I think it's not {vocalsound} it's not like it's a pen .Industrial Designer: because i i it is operatable .User Interface: Butthen then I think left-handed people are already used to discrimination anyway ,Project Manager: Yeah .User Interface: so they just {disfmarker}Marketing: Yeah , but I mean because it's not like it's a pen , you know ,left-handed people can't normally write right-handed ,User Interface: Yeah .Marketing: but they can normally do most things right-handed ,Project Manager: Yeah .Industrial Designer: Right .Marketing: so I would sayit's not such a big issue .Project Manager: Mm-hmm .User Interface: Yeah , because I mean anyway , right-handed people would be able to scroll with it ,Marketing: Yeah .Industrial Designer: Yeah .Marketing: I meanyou can you can use your finger to to scroll rather than your thumb .Project Manager: Yeah .User Interface: so i if the majority are right-handed , it's uh {disfmarker}Project Manager: Mm-hmm .Industrial Designer:Yep .Marketing: So I mean that does kind of negate the whole R_S_I_ issue .Project Manager: Yeah .Industrial Designer: Mm .Marketing: So maybe we need to put {disfmarker} that needs a little bit of investigation ,maybe give it a five , I would say ?Project Manager: Um {disfmarker}Marketing: What do you what do you all think ?Industrial Designer: Mm .Project Manager: Six .User Interface: Or maybe six , because it's just oneone i one among the issues ,Project Manager: Yeah , I think I think for um {disfmarker}User Interface: I mean . Yeah .Project Manager: I mean most people are right-handed , so in {vocalsound} in terms of ourgreatest target group , I think it's pretty good , but we might want to flag it for management , they want {disfmarker} might want to um {disfmarker}User Interface: Yeah .Industrial Designer: One more thing is thatiMarketing: Okay .Industrial Designer: It might be a little clumsy when when it opens up , right ,Project Manager: They {disfmarker}Industrial Designer: so it opens on the side . So {vocalsound} {disfmarker}ProjectManager: Mm-hmm .User Interface: No , yeah , but mm but we have it {vocalsound} nicely {vocalsound} with the hinges here {gap} yeah .Industrial Designer: {vocalsound} Yeah yeah yeah , I mean {disfmarker}yeah .Project Manager: Yeah .User Interface: So it won't be a problem ,Marketing: Yeah . Yeah .Industrial Designer: So you guys can decide wh whether {disfmarker}User Interface: it will be {disfmarker} and it will be{disfmarker} it won't be heavy .Industrial Designer: Oops .Marketing: I th I think the alternative is flipping from the top .Industrial Designer: Yeah , but we {disfmarker} which makes it kind of really big , yeah .UserInterface: Yeah well yeah ,Project Manager: The length is gonna be difficuUser Interface: but it's it's a bit long . It's a little bit long .Marketing: Yeah um {disfmarker}User Interface: Well , I mean it can be opened likethis of course and yeah .Marketing: But you were thinking about making it smaller , yeah ?Industrial Designer: {vocalsound} Uh this this kind of uh makes it more {gap}Project Manager: Mm .Marketing: Because{disfmarker}User Interface: S uh slightly smaller .Industrial Designer: and two , it might interfere with the I_R_ channel .Marketing: So you have to keep that side flat .User Interface: Yeah , but if we flip it open only asmuch as that .Industrial Designer: Okay .Marketing: So it works like a mobile phone flipping , but y you know , as long as that side's flat , than that will work .Industrial Designer: Right . Okay .Marketing: Okay . Um{vocalsound} okay , so C_ . Are are we admitting defeat on C_ or are we saying we're gonna stick a locator on the T_V_ ?Industrial Designer: No , we have a locator .Project Manager: No , we're gonna put it like{disfmarker} we've got th there's the locator dot .Marketing: There's a locator . Cool , so that means you need a {disfmarker} that does mean you need a little speaker on it though ,User Interface: Mm that you stick onT_V_ .Project Manager: Mm .Marketing: doesn't it ? To make it beep .Industrial Designer: Yeah .Marketing: Or a buzzer .Project Manager: Yeah .User Interface: Yeah well w but l but the speak sample speaker isincluded , so it it has some capacity to mm to do some {disfmarker} to make some sounds , so {disfmarker} yeah .Marketing: Okay .Industrial Designer: Yeah .Marketing: So that's two , so that's seven , yeah . It'slocatable ?User Interface: Yep .Marketing: Fabulous . D_ .Industrial Designer: Intuitive , completely intuitive . {vocalsound}Marketing: {vocalsound}Project Manager: {vocalsound}User Interface: Yeah . If{vocalsound} uh uh if this means intuitive , if it means the way people kind of are used to finding thingsProject Manager: Yeah .User Interface: and it's {disfmarker} I th I think it's {disfmarker}Project Manager: I'd saysix , 'cause the {disfmarker} I mean the the standard layout for numbers is three three three and one , rather than the way you've got it . I really like the way you have it ,Marketing: Yeah .Project Manager: but it's notthe immediate thing that you're used to .Industrial Designer: Intuitive .Marketing: Yeah , and I mean dIndustrial Designer: And uh even the scroll , it's a it's a new technologyProject Manager: So {disfmarker}IndustrialDesigner: so m m might be a little more difficult for people to get used to in the beginniProject Manager: Might be {disfmarker}Industrial Designer: so it is kind of not very intuitive but uh it's a good technology , I meanonce they get used to it .Project Manager: But it {disfmarker} and it's something that they will be experiencing in a lot of different places soon .Industrial Designer: Yeah .User Interface: Yeah .Marketing: So , should wemaybe say f a fiveIndustrial Designer: So lMarketing: and say it is intuitive ,Project Manager: Five ?Marketing: but it's different , so , do you know , I mean it's obvious how to use it ,Project Manager: Yeah .Marketing:but you might have to think about it first . So we give that one a five , you think ?Industrial Designer: Yeah , okay . I'm gonna give a seven in everything , so . {vocalsound}Marketing: Yep .Project Manager: I'm happywith five ?User Interface: Yeah .Project Manager: Yeah . {vocalsound}Marketing: I'm glad you're accepting this . It has taken a little while , hasn't it ? Um intuitive but {disfmarker} Sorry , it's really hard to write onthose .Industrial Designer: Mm . {vocalsound}Marketing: I just went a bit mad , didn't I ?Project Manager: {vocalsound}Marketing: Um okay , cool , E_ , okay . Um I would guess this comes back from this whole B_"}
+{"doc_id":"doc_151","qid":"","text":"Project Manager: SoMarketing: So {disfmarker}Project Manager: I hope you're ready for this uh functional design meeting .Marketing: Of course . {vocalsound}Project Manager: Um so I will take the minutes you mmyou three are going to do presentation . Um uh we want to know {disfmarker} to {disfmarker} at the end to know the new project's requirement so we need uh to know the the user uh needs that we want to fulfil tofulfil the {disfmarker} from the technical part we want to know how it going to work and um third part {vocalsound} uh I don't remember {vocalsound}Marketing: {vocalsound} {vocalsound}Project Manager: which isnot very good . Ah of course , how to to design this uh this {disfmarker}Marketing: Nice stuff {vocalsound}Project Manager: {vocalsound} yeah . So um let's go for the three presentations , so first um Marketing Expert.Marketing: {vocalsound} Who starts ? {vocalsound} Oh . Ha . okay .Project Manager: So wait a minute . Mm .Marketing: So I dunno if I can do that like this ? Yeah ? So it's being modified . Do you want {disfmarker}yeah , open . Read only . I hope I saved it . {vocalsound}Industrial Designer: {vocalsound}Marketing: So , umUser Interface: Sammy Benjo . I know this name uh .Marketing: yeah , this is my name .{vocalsound}Project Manager: {vocalsound} Sounds uh {disfmarker}User Interface: {vocalsound} We met before .Marketing: So as you know , you {disfmarker} I think you already know me , Sammy Benjo . I am theexpert in marketing and I want to tell you about what people uh s want and uh like and dislike in remote controls , and I hope this is going to help you to to design it correctly . So next please . Uh-oh .{vocalsound}Project Manager: Mm {vocalsound} uh .Industrial Designer: Yeah , it is put F_ five {gap} .Project Manager: Hmm .Marketing: {vocalsound} Hmm .Industrial Designer: The full page presentation , yep.Marketing: Yeah maybe in the full pageProject Manager: Okay .User Interface: F_ F_ five .Marketing: because i I spent lots of time doing this presentation , so .Industrial Designer: Yeah . Yep .Project Manager: F_ five.Industrial Designer: Yeah .Marketing: Uh-huh hmm okay .Project Manager: Mm-hmm . Mm .Marketing: So basically uh what I suggest is that uh instead of deciding ourself what what could be and what should be agood uh remote control , let's ask people who are users of remote controls how they feel about w the current remote controls , what they like , what they don't like and um and what they do with them by the way{vocalsound}Industrial Designer: {vocalsound}Marketing: because they are supposed to be useful . {vocalsound} Don't forget about that . So we've we've conducted a a survey on on the use of uh remote controls andI'd like to show you some of the results we found on this survey . And next please . Yeah , so basically what we found was that uh there are several things that the user don't like in remote controls . First of all , theyfind it very ugly . {vocalsound} Current remote controls as you know they're the same as this one uh they're not nice colour , not nice shape , I mean they're all the same , and they're not l good looking . Um what isinteresting is that in fact it seems that they were {disfmarker} people are ready to pay for nice and look {disfmarker} and fancy looking uh remote control , so I think we should probably spend lots of time in{disfmarker} and effort in that um . And the other thing is that uh the the current remote controls are not so easy to use and it it {disfmarker} the the current uh facilities that they offer do not match what people reallywant to use their remote controls . For instance uh we see that uh they zap very often so I think this is a very uh important uh functionality that it should be easy for them to to zap uh in one way or another . And mostof the buttons uh on uh current remote controls are not used , so I think we should design something where some of the buttons which are those that are used should be easier to see and use than others that only acouple of people are using . Um next please . {vocalsound} Now {vocalsound} people are very frustrated w with their {vocalsound} remote controlsIndustrial Designer: {vocalsound} {vocalsound}Marketing: and theyfor instance uh they don't even find it {vocalsound}Project Manager: {vocalsound}Marketing: it's {vocalsound} it's often lost somewhere in the in the {disfmarker} in your home and nobody knows where it is.Industrial Designer: Yeah .User Interface: Agree .Marketing: Maybe if we have something where we could {vocalsound} ask the remote control please , where are you ?Industrial Designer: Yeah .Project Manager:{vocalsound}Industrial Designer: {vocalsound} Yeah .Marketing: {vocalsound} Like uh something to to {disfmarker} like t I think phones . Some of the phones have some of this kind of s functionality . Uh of coursephone you can always phone your phoneProject Manager: {vocalsound}Marketing: but {vocalsound} you can't phone your {vocalsound} your remote control .Industrial Designer: {vocalsound} You can {disfmarker}you are {gap} .Project Manager: Why not ? {vocalsound}Marketing: But why not ? Yeah .Industrial Designer: {vocalsound}Marketing: And because of the fact that there are so many buttons in these remote controlsthat nobody use ,Industrial Designer: Hmm .Marketing: in fact they don't even know how to use them , so most of the the people say they they don't know how to {disfmarker} they {disfmarker} to use properly their rremote controls . And uh they are bad for R_S_I_ but uh I don't remember what is R_S_I_ .Project Manager: {vocalsound}Industrial Designer: {vocalsound}Project Manager: {vocalsound} Okay uh tha that's look great.Marketing: {vocalsound} So I think they are bad . {vocalsound}User Interface: {vocalsound} R_S_I_ mm-hmm .Industrial Designer: {vocalsound} {vocalsound}Marketing: Mm-hmm . Mm nobody has any idea aboutthat ? Well I'll check uh with myIndustrial Designer: Yeah , it's electromagnetic waves or something kind of maybe uh effect .Marketing: Oh , okay ,User Interface: No , I don't think so .Marketing: I think it's a technicalthingIndustrial Designer: Yeah ,Marketing: which our {disfmarker}Industrial Designer: because infrared uses some electromagnetic technology ,Project Manager: Mm-hmm . Okay .Marketing: Okay .User Interface:Okay .Industrial Designer: and those waves have high {disfmarker}Marketing: So , it seems that {vocalsound} it's a lot of people for a concept that we don't know {vocalsound}User Interface: But twenty six percent ,do you know {disfmarker}Project Manager: {vocalsound} Or something we don't know . {vocalsound} Mm-hmm . {vocalsound}Industrial Designer: Uh .User Interface: Twenty five . {vocalsound}Industrial Designer:Uh .Marketing: but we have to take this into account .User Interface: Every fourth , you know . {vocalsound} Every four {disfmarker} some of us knows .Industrial Designer: Yeah it's {disfmarker} People really{vocalsound} {disfmarker}Marketing: {vocalsound}Project Manager: {vocalsound} Okay .Marketing: So anywayUser Interface: One of us {disfmarker}Marketing: that's for what the biggest frustration uh of the userand umIndustrial Designer: Yeah . Yeah .Marketing: what else do I have ? Next slide ? Ah yeah .User Interface: Mm-hmm .Marketing: So we've listed a couple of uhUser Interface: Functions .Marketing: s uh functionsthat may be uh used by u the user in the current uh available uh remote controls and uh well the tables look very nice to read but what is important is to understand that the power button is not used often because ingeneral you {vocalsound} use it only once per session , but it is very relevant . {vocalsound}Project Manager: {vocalsound}Marketing: People want to have a power button . Channel selection is uh o often used{disfmarker} very often used and indeed uh very relevant .Project Manager: {vocalsound}Marketing: {vocalsound} Ah {vocalsound} now I remember what is R_S_I_ {vocalsound}Project Manager:{vocalsound}Marketing: it's repetitivity stress injury . {vocalsound} We have to be careful with that word but {vocalsound} uh anywayIndustrial Designer: Uh .Marketing: I continue my presentation so {disfmarker}yeah ,User Interface: {vocalsound}Marketing: channel selection is um very important , very often used . Volume is not often used but people uh want to have control on volume and that makes sense of course . And nthen you have things which are very much less often used like the settings . Audio settings , screen settings , even teletext and channel settings . All of them . they're not often used and they are s more or less relevant. It seems that people find teletext teletext uh relevant , even if I personally never use it but seems that it's average relevant at least , so .Project Manager: I have been told that we uh don't consider teletext , that it'sout of date now because of internet .Marketing: I can tell you that uh in a l in a scale between one and ten relevant uh not relevant to relevant people scored a six on this , which is not as uh these these two one were{disfmarker} had I think ten I think .Project Manager: Mm-hmm .Marketing: But but if you compare with these ones , uh I think they scored a one or two .Industrial Designer: Hmm .Marketing: Not very relevant , so ifif there are good reason not to put teletext it's okay but just know that people find it somehow relevant .Project Manager: Mm-hmmUser Interface: Mm-hmm .Project Manager: {vocalsound}Marketing: That's for themain functions I think and uh then we can ask uh ourself uh what people don't have that may be useful . For instance I think {disfmarker} net next slide . {vocalsound} One of the thing {disfmarker} the trend uh thatuh you are probably aware of is the possibility {disfmarker} the eventual possibility of having speech recognition in your remote control , so you wouldn't have to tap tap in your buttons but just tell your remote controlor whatever you need you have what you want . So we've conducted a survey about uh whether people would like or not to have uh this kind of uh functionality in their remote control and as we can see it reallydepends on the age . Young people , probably because it's a buzz word , find it very relevant . And uh as the age goes up {vocalsound} the {vocalsound} the relevance goes down .Industrial Designer: {vocalsound}Yeah .Marketing: {vocalsound} So now it really depends on the kind of uh targeting uh wha who are we targeting with this remote control ?Industrial Designer: 'Cause {disfmarker}Marketing: I think if we are targetingyoung people then uh it's probably something we have to consider . If we are targeting you very old people this is something they really don't know why they {disfmarker} this should be so nowProject Manager:Mm-mm . Okay .Marketing: this is of course , depends on that . And um I don't have any conclusion , I didn't have time the meeting was very tight , so that's basically my findings . And uh , if you have any question?Project Manager: Mm I think it's good , okay . You done a good review .User Interface: I got one question ,Marketing: I can go back .Industrial Designer: Thank you .Marketing: Yeah one question ,User Interface: uhyou are a Market ExpertMarketing: yeah ?User Interface: soMarketing: I am . {vocalsound}User Interface: should we aim at the young people or not ?Marketing: I think we should aim at the young people . But uh Ithink they are {disfmarker} they are those uh who might be more interested in a in a new device .Industrial Designer: Mm .Marketing: In general the the early adopters of a new device are young people , less than{disfmarker} more than {disfmarker}User Interface: Okay , then teletext is used less .Industrial Designer: Mm .Project Manager: Mm-hmm .Marketing: Then teletext is useless for them I think ,User Interface: Okay.Marketing: yeah . Because they they have other means of finding their information . Yeah .Project Manager: Mm-hmm mm mm . Okay .User Interface: Mm-hmm . Mm-hmm .Project Manager: That's good point.Marketing: But {disfmarker} yeah . Nope .Industrial Designer: Mm , yep .User Interface: Mm . Okay .Project Manager: Okay .Marketing: 'Kay ?Industrial Designer: Thank you .Project Manager: So um now I think it'sthe turn of the the {disfmarker} {vocalsound} I'm not sure um {disfmarker}Marketing: {vocalsound}Project Manager: Of the technical function , so {vocalsound} uhMarketing: So I think it's you , huh ?IndustrialDesigner: Uh it'sMarketing: No ? {vocalsound}User Interface: {vocalsound} That's me .Project Manager: what effect {disfmarker}Industrial Designer: techni function of {disfmarker}Marketing: No , userrequiremenIndustrial Designer: Yeah .Project Manager: Okay . Wait a second .Marketing: {vocalsound}Project Manager: Argh .Industrial Designer: I have to do working design so uhProject Manager: So you're{disfmarker}User Interface: That's {disfmarker} but this but number three , yes . Mm-hmm . So , my name is Mark Dwight , and um I am responsible for User Interface Design .Marketing: {vocalsound}User Interface:However , uh mm Project Manager asked me to give you some presentation about technical functions design . Uh , as I'm a more an artistMarketing: {vocalsound}Project Manager: {vocalsound}User Interface: that'sgonna be less technical functions but more User Interface and current intentions and everything which is linked with this .Project Manager: Okay . Let's go .User Interface: So next slide please . And uh a general methodwhich is {disfmarker} seems to be very useful for our taskMarketing: {vocalsound}Industrial Designer: Mm .User Interface: is not to forget about uh Occam razor . We should never complicate things too much . Weshould only make a remote control , nothing more . Nothing more than this , just a remote control .Marketing: {vocalsound}Project Manager: {vocalsound}User Interface: 'Cause current remote controls they are nevereasy enough to use .Marketing: Makes sense . {vocalsound}User Interface: So , make a click , please . So here is this remote control .Marketing: {vocalsound}Project Manager: {vocalsound}User Interface: It's quite astandard one , but it's not from a T_V_ , it's from a much easier device like air conditioning or something . But you know , we can use it for a T_V_ easily . Only buttons we need is on off , volume , channels and maybesome options or something else , and please make a click , compared to this oneMarketing: {vocalsound}Industrial Designer: {vocalsound} It's {disfmarker}User Interface: which one would you prefer ? I guess this.Industrial Designer: Yeah , yeah .Marketing: I would say the simplest one as long as there are the uh {disfmarker} I find the buttons that I need every time I need a button .User Interface: Sure , sure .IndustrialDesigner: Yeah .Marketing: {vocalsound}Industrial Designer: Maybe it can be yeah middle of {disfmarker} like , between those twoUser Interface: Yeah , and our method is going to be , provide simpleIndustrialDesigner: liProject Manager: Oh sorry . {vocalsound}User Interface: simple desires into simple actions .Marketing: Nice . Nice sentence .User Interface: Findings .Project Manager: Okay .Marketing: {vocalsound}ProjectManager: Oh sorry .User Interface: Our question of the style , we should remember that our companyMarketing: {vocalsound}User Interface: puts fashion into electronics and we should never forget about it.Marketing: {vocalsound}Project Manager: {vocalsound}User Interface: Concept .Industrial Designer: {vocalsound} S you should {disfmarker} yeah .User Interface: {vocalsound} Be simple . Be simple and you'll leanon this market .Industrial Designer: {vocalsound}User Interface: Market is a {disfmarker} of remote controls {disfmarker} you know it better ,Marketing: Mm .User Interface: it's very well , it's it's not an easy field toto play , you know ? So be simple .Marketing: {vocalsound} {vocalsound}User Interface: For personal preferences I think that to make a baby-proof remote control it got to be a titanium .Project Manager:{vocalsound}Industrial Designer: {vocalsound}Marketing: {vocalsound}User Interface: It's a really good style , it going to be {disfmarker} look like like this . It is unbreakable and it is very universal . W we'll have ascreen with a back light which can change colours ,Marketing: Mm-hmm .User Interface: and we can put all the options into this screen . We'll need only few buttons . All the other things can be controlled through thescreen . And all these buttons should be easy to find and to click , 'cause when you watch a movie and you want to change something , you always try to find a good button and click it , but you should do it by touchingit and finding it easily just by touch . So {disfmarker} Press {disfmarker}Project Manager: {gap}User Interface: I would propose this concept for design , just few buttons , a screen with a back light which can changecolours , titaniumIndustrial Designer: Mm .User Interface: I think , and uh what else ? I got just very few and good ideas . We need power and volume . And let us include two nice features into this device , first , poweron and off can be made fully automatic . When you go to the sofa , take your control and point it to the T_V_ ,Project Manager: It's off .Marketing: Hmm .Project Manager: It's on .User Interface: the T_V_ turns on.Marketing: And when does it turn off ?User Interface: When you don't touch the control but you go out of the {disfmarker} For for enough timeMarketing: Oh so you have aUser Interface: like uh you{disfmarker}Marketing: sensing {disfmarker} sensor machine that uh knows {disfmarker}User Interface: It's a question to our technical design , our {vocalsound} two engineers .Industrial Designer: {gap}{vocalsound}Project Manager: {vocalsound}Marketing: Tech {vocalsound}User Interface: And another nice feature that I would like to implement is uh volume control . Suppose you set u you set up some volume andthen you move out or you move to the other corner of the room and take your control with you . Like , you want to to change the chair or you want to move to the armchair from the sofa or something , and then thevolume changes .Project Manager: Or you want to go to the kitchen . {vocalsound}User Interface: It's easy to do ,Marketing: Mm-hmm .User Interface: you just control the {disfmarker}Marketing: According to yourdistance to {disfmarker} and the angle maybe , if you have a stereo system .Industrial Designer: Distance .User Interface: According to the distance . {gap} Yeah yeah yeah . So {disfmarker}Marketing: Uh I'm notsure about the screen , wha what is the use usefulness of the screen ? Uh is it a touch screen by the way ?User Interface: I think it can be just a menu which can be controlled with a left , right , up , down and enter.Industrial Designer: Yeah .Marketing: So it gives instructions but uh it has to be with an back light somehow . {gap}User Interface: So , its main purpose in fact is a back light ,Industrial Designer: Mm-hmm .UserInterface: which change colours ,Marketing: Okay .User Interface: which makes it easier to find , and each can {disfmarker} it can respond for your voice , like it can turn on the light for you just to f find it easily , yeah?Project Manager: Mm .Marketing: Okay .User Interface: So basically that's it .Project Manager: {vocalsound} Um I see that you target uh several s application not only T_V_ but i like we talk about um universal uhremote control .User Interface: Can be easily done ,Project Manager: Yeah .User Interface: 'cause you got simple designs , y we should put it to simple actions .Project Manager: Hmm .User Interface: Let it be universal, so you want to use it for your hi-fi system . You want to change tracks and you want to adjust volume .Project Manager: Mm-hmm . {vocalsound}User Interface: Just few actions , a few actions for everything.Industrial Designer: Mm .Project Manager: Hmm . SUser Interface: All the rest , we sh we'll put it into this menu on the screen .Project Manager: Mm . Since we were targeting a really soon uh uh date for the the theum i issuing of this uh remote control I think we will only concentrate on T_V_ for the moment and then maybe m make it more generalised {disfmarker} yeah .User Interface: Okay , okay .Industrial Designer: Mm .Yeah and it {disfmarker} mm .User Interface: Okay , but it's quite universal you know .Industrial Designer: Mm .User Interface: We can just extend it to any device .Industrial Designer: Mm .Marketing: So for instanceif I want to go to {disfmarker} directly to channel twenty five , how would I do {disfmarker} can I do that with this ?User Interface: Uh twenty five .Marketing: Yeah mm let's say I am uh on channel eight now . Youknow these days we have hundreds of channels ,User Interface: Mm-hmm .Marketing: that's not so easy to go just next next next when you have hundreds of channels .User Interface: {vocalsound} In fact I would"}
+{"doc_id":"doc_152","qid":"","text":"The Chair (Hon. Anthony Rota (NipissingTimiskaming, Lib.)): I call this meeting to order. Welcome to the 12th meeting of the House of Commons Special Committee on the COVID-19 Pandemic. This will be the firsthybrid meeting of the committee. Some members will be participating via videoconference and some will be participating in person. This follows the order made by the House on May26,2020. Members who have alreadyparticipated in a virtual meeting of the special committee may actually not notice any change, except for the fact that some members are also participating from the floor of the House. An additional rubric, that ofstatements by members, was also added to the proceedings of the committee. In order to ensure that those joining the meeting via video conference can be seen and heard by those in the chamber, two screens havebeen set up in the chamber on either side of the Speakers chair. Sound amplification for virtual interventions will be available, and members in the chamber can listen to the floor sound or interpretation using theearpieces on their desks. Before speaking, please wait until I recognize you by name. Please also direct your remarks through the Chair. Thank you. For those of you joining via video conference, I would like to remindyou to leave your mike on mute when you are not speaking. Also, please note that if you want to speak in English, you should be on the English channel. If you want to speak French, you should be on the Frenchchannel. Should you wish to alternate between the two languages, you should change the channel to the language that you are speaking each time you switch languages. Should members participating byvideoconference need to request the floor outside their designated speaking times, they should activate their microphone and state that they have a point of order. Those in the chamber can simply rise in the usual way.Please note that today's proceedings will be televised in the same way as a typical sitting of the House. Next we'll move on to ministerial announcements. I understand that there are no ministerial announcementstoday, so we'll move on to petitions. We'll be presenting petitions for a period not exceeding 15 minutes. I would like to remind members that any petition presented during a meeting of the special committee must havealready been certified by the clerk of petitions. For members participating in person, we ask that they please come and drop the signed certificates off at the table once the petitions are presented. First on our list forpresenting petitions is Ms. May, who is joining us virtually.Ms. Elizabeth May (SaanichGulf Islands, GP): Mr. Chair, what an honour to be the first voice coming to you from the screens on either side of the Speaker of theHouse. I speak to you from SaanichGulf Islands on the traditional territory of the WSNEC people. Hych'ka Siem. I'm presenting a petition, number 431-00215, and it has been certified. The petitioners call on this Houseto take note of the fact that Canada is the only country with a universal health care system that does not include the provision of necessary prescription medications. They note that the system across Canada is apatchwork that leaves three million Canadians unprepared and uninsured to be able to purchase necessary medications. They call on the House assembled to put in place a system of universal national pharmacare,bringing down the cost of drugs through bulk purchasing. I think I'll call that a summary, Mr. Chair. Thank you very much.The Chair: The next petition will be presented by Mr. Genuis.Mr. Garnett Genuis (SherwoodParkFort Saskatchewan, CPC): Thank you very much, Mr. Chair. I'm pleased to be presenting two petitions before the committee today. The first petition is in support of Bill S-204. This Senate public bill, been putforward by Senator Salma Ataullahjan in the Senate, would make it a criminal offence for someone to go abroad to receive an organ for which there has not been consent. It also has a mechanism by which somebodycould be deemed inadmissible to Canada for being involved in the horrible practice of forced organ harvesting and trafficking. This bill has been before various Parliaments for over 10 years, and petitioners are hopefulthat this Parliament will be the one that finally takes action to address forced organ harvesting and trafficking. The second petition is put forward by folks who are concerned about Bill C-7, particularly the efforts by thegovernment through Bill C-7 to remove vital safeguards that are currently associated with Canada's euthanasia regime. Petitioners are not happy about the fact that the government is trying to eliminate the 10-dayreflection period and remove other safeguards that only four short years ago the government thought were essential for the euthanasia and assisted suicide system that they were putting in place. The petitioners call onthe government to address that, and they are not supportive of these particular efforts to remove vital safeguards from that regime. Thank you very much.The Chair: Is anyone else presenting petitions? Seeing none,we'll move on to statements by members. We will now proceed to Statements by Members for a period not exceeding 15minutes. Each statement will be for one minute. The first will be from Mr.Samson. Mr.Samson,you have the floor.Mr. Darrell Samson (SackvillePrestonChezzetcook, Lib.): Good afternoon, everyone. It's an honour to be presenting an S. O. 31. This spring has been a difficult one for Nova Scotia and thecommunities of SackvillePrestonChezzetcook. While residents have banded together to tackle the challenges presented by COVID-19, we have also had to mourn the passing of three remarkable local women: RCMPConstable Heidi Stevenson, well known by many in Cole Harbour and the surrounding areas; our own Sub-Lieutenant Abbigail Cowbrough, who was based out of 12 Wing Shearwater; and Captain Jenn Casey of theCanadian Forces Snowbirds. All three women died in the line of duty in separate tragic events while serving our country. These three brave women, who served with honour on land, at sea and in the air, represent theabsolute best of us. Heidi, Abbigail and Jenn were inspirational and will not be forgotten. Thank you.The Chair: Next we'll go to Mr. Bezan.Mr. James Bezan (SelkirkInterlakeEastman, CPC): Thank you, Mr. Chair. Canadaneeds a prime minister who will create jobs and opportunity, but instead we have a prime minister who is piling up crippling national debt. Yesterday the PBO predicted the federal deficit this year will hit over $252billion. That is almost equivalent to an average year of government spending before the Liberal government. After five years with this debt, Prime Minister, Canada's national debt is set to hit $1 trillion, with almostnothing to show for it. Industries from coast to coast are either closed or are struggling. Canadian workers need and deserve a prime minister who supports our energy sector and gets our natural resources andagriculture products to market, who supports small business and will make our tax system encourage job creation and growth, and who will bring advanced manufacturing jobs to Canada and keep the automotiveindustry growing. Most importantly, we need a Conservative prime minister who will get the government finances under control after the massive debt left by this prime minister.The Chair: Next we'll go to Mr.Anandasangaree.Mr. Gary Anandasangaree (ScarboroughRouge Park, Lib.): Mr. Chair, I speak today with a very heavy heart. Since the COVID-19 outbreak, we've seen a disproportionate number of deaths in long-termcare homes. I'm thankful for the Canadian Armed Forces who were deployed to the Altamont care home in my riding and four other facilities across the GTA. The CAF have brought forward horrifying allegations in theoperation of these homes. They include residents being given expired or improper doses of medication; not being cleaned or changed for a prolonged period of time; being forcibly fed, causing choking; being bed-boundfor weeks; receiving inadequate nutrition, and much more. Mr. Chair, I call upon Premier Ford to place these five homes under a mandatory management order and to appoint a third party manager to address andrectify these violations. I also call upon the Premier to undertake an independent public inquiry into the tragedy we face in long-term care facilities across Ontario. Finally, Mr. Chair, we need to work with the provincesand territories to set national standards of care for the most vulnerable in our society. We can and must do better. Thank you, Mr. Chair.The Chair: We have a point of order. Go ahead, Ms. May.Ms. Elizabeth May:Thank you, Mr. Chair. I hesitate to interrupt colleagues, but I'm concerned about the petition practice, which, as I understand it, is to summarize a petition but not make a speech. I felt one of our colleagues wastrespassing on our usual rules.The Chair: I will remind honourable members that when a petition is presented, we're expected to give a prcis and make it as concise as possible. Thank you. Mr.Champoux, you have thefloor.Mr. Martin Champoux (Drummond, BQ): Mr.Chair, I would like to recognize the resilience of Quebeckers concerned for their jobs or their businesses during the COVID-19 crisis. They need us to plan for after thecrisis, and we must do so now. To do so, we need the proper information. We need to know the status of the public finances. That is why the Bloc Qubcois is demanding that the government present an economic update,and that it do so before June17. This is not about making a spectacle. Everyone knows that the deficit will be huge. We had to provide the people with support and we all agree on that. But we have to know to whatextent. We also have to know where we are starting from so that we can plan where we are going. This is about respecting the public, because they are the ones who will be paying the bill. In closing, I would like toremind the government that one group is not really contributing to the public purse at the moment. I am talking about the tech giants, the GAFAM group, that have never before been used to the extent that they arenow, and that are still not paying a cent in tax in Canada. The Liberals promised to correct this injustice. Now is a great time for them to do so.The Chair: We'll now go to Ms. Sidhu.Ms. Sonia Sidhu (Brampton South,Lib.): Mr. Chair, this week is National Paramedic Services Week. I want to take this opportunity to thank the Peel region police, paramedic and firefighting services for keeping Bramptonians safe. In my riding,organizations have stepped up to help our community. Organizations such as the Khalsa Aid Society, the Interfaith Council of Peel, the Brampton YMCA, the Prayer Stone Peoples Church, Unity in the Community, Ste.Louise Outreach Centre, Knights Table, the Yogi Divine Society, Vraj Community Service, Regeneration Brampton and many more have made our community stronger during this difficult time. I also have to address thereport that came out yesterday from our brave Canadian Armed Forces. Like many Canadians, I was shocked by this report from the long-term care centres, including one in my riding. The examples of abuse describedin the report are unacceptable. Our seniors deserve dignity and respect. We must find a solution. We need to fix this.The Chair: We'll now go to Mrs. Stubbs.Mrs. Shannon Stubbs (Lakeland, CPC): Mr. Chair, Canada's oiland gas sector is in crisis, made worse by five years of bad policies, red tape and barriers to pipelines. Just in the last two months, we saw the largest production cut in Canadian history. Active rigs dropped by 92% andtens of thousands of oil and gas workers lost their jobs, adding to the 200,000 since 2015. Energy is Canada's biggest investor, and exporting could lead the recovery if there are actions, not just words. On March 25,the finance minister promised help in hours or days, not weeks, but he's letting Canadians down. Sixty-three days later, small oil and gas companies still can't apply for BDC loans, and last week's large employer loanterms are predatory, with interest rates escalating to 14% by year five. Those are payday loan rates. The required stock options being at record lows could make the government the largest shareholder. That's notemergency assistance; it's pandemic profiteering. Programs can't help workers if businesses can't or won't actually get the support. The Liberals' death-by-delay tactics are doing exactly what foreign activists in othercountries want: to shut down Canada's oil.The Chair: Ms.Bessette, the floor is yours.Mrs. Lyne Bessette (BromeMissisquoi, Lib.): Mr.Chair, in times of crisis, we stick together. I can state that this is certainly the case inBromeMissisquoi. In the last weeks, I have been calling volunteer action centres in my constituency so that they can tell me their news. I would like to take the time that I have to highlight the work that communityorganizations are doing tirelessly in my constituency. The crisis has made us realize the extent to which food banks and meals-on-wheels can not only relieve hunger, but also relieve thousands of shut-in seniors of theirloneliness. Let me also highlight the devotion of the volunteers giving generously of their time, particularly the initiative of Mabel Hastings in the volunteer aid centre in Mansonville. Like me, she sends out a dailynewsletter to keep the public informed about the many resources available for their support. COVID-19 is bringing out the best in our community and I am certain that, together, we will get through it.The Chair: We willgo to Mr. Virani.Mr. Arif Virani (ParkdaleHigh Park, Lib.): Mr. Chair, during the COVID-19 pandemic I have been inspired by the courageous work of so many essential workers. I want to thank everyone on the front linesfor keeping us safe, keeping us fed and keeping our communities functioning. I want to make special note of one particular essential health care worker, a woman who is a quarantine manager with the Public HealthAgency of Canada. I have personally seen her working tirelessly over the past three months to keep all of us safe. That woman is my wife, Suchita Jain. Suchi, I love you, I am very proud of you and I thank you for all ofthe sacrifices you are making. I want to highlight another woman from my riding of ParkdaleHigh Park, Rachelle LeBlanc. She is a local designer. When the pandemic broke, she saw the need for protective barriers forsmall shops in Parkdale, so she set about collecting donations. She then put her design talents to work and started designing free-standing protective shields. Rachelle's team has now delivered 25 free COVID protectiveshields to small shopkeepers in Parkdale, and the team is on track to building 100 more. It's the compassion of Canadians like Rachelle that gives meaning to the phrase we are all in this together.The Chair: Mr.Godin,you have the floor.Mr. Jol Godin (PortneufJacques-Cartier, CPC): Mr.Chair, the school year has been shattered and our graduating classes must be proud of what they have achieved amid the COVID-19 pandemic.Young men, young women, be proud of your accomplishments! You can believe in the future. Keep learning. It will give you tools that will serve you all your lives. What you have achieved in this extraordinary year willset you apart from the others. I invite you to be inspired by that and turn it to your advantage. The current government has the obligation to promote the values that will lead you to become involved in yourcommunities. Your willingness to learn or to work makes you into better citizens. Knowledge and experience are irreplaceable and invaluable. I implore this government, which is unaware of the damage it is causing, toimmediately announce all the positions that have already been approved under the Canada summer jobs program. Urgent action is needed. Let us have confidence in our organizations, our companies, and let ussupport our youth, a rich resource that we must equip and motivate. I congratulate all the young graduates in the beautiful constituency of PortneufJacques-Cartier.The Chair: We will now go to Mr. Fergus.Mr. GregFergus (HullAylmer, Lib.): Mr.Chair, this pandemic lets us see what Canadians are made of. This coming Saturday, May30, more than 2,000Christians of all denominations are coming together virtually for prayer and foraction. When the going gets tough, Canadians get going. This could not be more true than with respect to what will be happening on May 30. This Saturday, in more than 2,000 churches and homes, thousands offaith-filled Canadians are gathering to pray and act on those prayers as part of Stand United Canada. They will gather through television, Facebook Live and Instagram Live. Then they are going to deliver much-neededsupport to at-risk Canadians who live in disadvantaged areas. This is faith in action. I'm sure I speak for all parliamentarians when I wish success to Stand United Canada. I hope it inspires more Canadians to follow inits footsteps. Thank you, Mr. Chair.The Chair: We will now go to Ms. Harder.Ms. Rachael Harder (Lethbridge, CPC): The best way to safeguard the truth is to allow people to speak freely, but from the very beginning ofthis pandemic, the Liberals have silenced dissent. Sadly, their short-sightedness has been to the detriment of Canadians. Early on, they propagated the notion that human-to-human transmission wasn't possible. Theysaid that closing the borders wasn't necessary. They told us that wearing face masks wouldn't help. It is undeniable that the Liberal government has put Canadians in danger by silencing alternative points of view andhas spread misinformation. Ironically, however, they have now gone ahead and crowned themselves the arbiters of truth. They are spending millions of dollars to censor what Canadians can and cannot say. They aredetermining what is true and what is not, what is right and what is wrong, what is in and what is out. When freedom of speech is repressed, it is safe to say that democracy is under siege. I call upon the government torestore the personal liberties that are granted under our Canadian Charter of Rights and Freedoms. This is Canada. We are not an autocracy; we are a democracy.The Chair: We will now go to Mr. Nater.Mr. John Nater(PerthWellington, CPC): Mr. Chair, small businesses have always been the cornerstone of communities across this country. They provide employment and economic stability and are always the first to supportcommunity functions and activities, but small businesses have been particularly hard hit due to COVID-19. They have shut their doors temporarily, and now many worry they'll never be able to open their doors again.With the season cancellations at the Stratford Festival, Drayton Entertainment and Stratford Summer Music, businesses in the tourism, hospitality, accommodation and retail sectors in PerthWellington are struggling.Every day, I talk to small business owners who can't access the Canada emergency business account, and others who find the convoluted commercial rent assistance program to be out of reach. The program isneedlessly complicated, frustratingly slow and excessively restrictive. Mr. Chair, the government needs to go back, fix these programs and ensure that support goes to the small businesses that need it.The Chair: Wewill now go to Ms. Collins.Ms. Laurel Collins (Victoria, NDP): Mr. Chair, Canadians have been shaken by this pandemic. It has exposed the gaps in our health care system and our social safety net. It has shown howvulnerable we all are when disaster hits. It has brought us to a crossroads. We can go backwards to so-called business as usual, with horrific conditions in long-term care homes, widespread inequality and no real actionon climate change, or we can build for better. In Victoria, people in the community, organizations and municipal leaders have been calling for a new way forward. The City of Victoria has a plan for reinvention, resilienceand recovery. Organizations like Greater Victoria Acting Together; Common Vision, Common Action; and Kairos Victoria are exploring ideas for a sustainable and just recovery. We can build for better. We can invest inthe infrastructure. We need to fight climate change, homelessness and inequality. We can build a Canada where we take better care of the planet and each other.The Chair: We now move to Ms.DeBellefeuille.Mrs.Claude DeBellefeuille (SalaberrySurot, BQ): Mr.Chair, in this time of pandemic, it is with heartfelt emotion that I want to highlight the excellent work of all the guardian angels at the CISSS de la Montrgie-Ouest. Fromthe bottom of my heart, I want to thank the entire staff, as well as the retirees who have come back to provide their assistance. I admire the managers, at all levels and in all services, working tirelessly so that theirteams can answer the call in this difficult situation. My fellow managers and the management teams of the Support Program for the Autonomy of Seniors, both in home support and in residential care, you have my"}
+{"doc_id":"doc_153","qid":"","text":"Project Manager: Okay . So welcome back .Marketing: {vocalsound}Project Manager: What do {gap} {disfmarker} do we have to do ? {vocalsound}Marketing: {gap} .Project Manager: So first . I want to say I'm thesecretary , so I make the minutes . You find them in your {disfmarker} in the map in the From the group . There's the minutes from the first meeting . You'll find the next minutes also there . Then {vocalsound} Iwanna hear from you , what you've done . And after that I have some new product requirements . So {disfmarker} And after that we have to make decisions , what we will do . And then we're ready . We have fortyminutes for this meeting . After that we'll have lunch . So first I wanna ask the {disfmarker} {vocalsound} Industrial Designer to tell what he did . So {disfmarker}Industrial Designer: That's my task . Okay . Uh I've{disfmarker} Where have I put it ? My Documents or not ? Hmm . I've save it on my computer , my presentation .Project Manager: Yeah on your computer , or the {disfmarker}Industrial Designer: But where ?ProjectManager: What's the name ?Industrial Designer: Uh uh uh {disfmarker}Project Manager: What's the name of it ?Industrial Designer: It was about the working of the remote control .Project Manager: It's the technicalfunction or the functional requirements .Industrial Designer: Nope .Project Manager: {vocalsound}Industrial Designer: Not a {gap} of {disfmarker} Wait . The working design . But I've saved it .Project Manager:Working design .Industrial Designer: But now I don't know where it is . Hmm .Project Manager: Working design . What is this ? Product documents .Industrial Designer: Yeah . And I import this until {disfmarker}ProjectManager: On the desktop . Up . {gap} up . Up . Up .Industrial Designer: One more .Project Manager: Up .Industrial Designer: {vocalsound}Project Manager: Yes . My Documents . Nope .Industrial Designer: What thefuck is this ?Project Manager: Gone . {vocalsound} Well you {disfmarker} Um {disfmarker} Nah . Nah , nah , nah .Industrial Designer: {vocalsound}Project Manager: PowerPoint . Working design .Industrial Designer:Yeah that's the empty one .Project Manager: {vocalsound} And {disfmarker}Industrial Designer: I had one .Project Manager: Presentation of working design .Industrial Designer: Uh-huh . Open it . Okay here it is.Project Manager: Save as {gap} .Marketing: {vocalsound}Project Manager: Uh it's {disfmarker}Marketing: Desktop .Project Manager: Project {gap} .Industrial Designer: Project .Marketing: Yeah . Okay . Well .ProjectManager: Save .Industrial Designer: Okay .Project Manager: Very good .Industrial Designer: A little later but here it is .Marketing: {gap}Project Manager: Okay . So {disfmarker} {vocalsound}Marketing:{vocalsound}Industrial Designer: So okay . It's a little difficult what I'm gonna tell you . It's about the working of the remote control . I just had an half an hour j to study itUser Interface: {vocalsound}IndustrialDesigner: and {vocalsound} I don't get it .Marketing: {vocalsound} Make it .Project Manager: Now have ten minutes to tell it .Industrial Designer: Ten minutes to tell it . Okay . I think it will be a few minutes and{disfmarker}Project Manager: Okay .Industrial Designer: First uh I will tell you something about the findings , what I discovered about the remote control . The working bout it {disfmarker} uh of it . Uh then I'll have uhsome kind of map , and it's the top of the remote control . With a little bit of science , uh you {disfmarker} I will show that uh in in a few minutes . And then uh what I'll think about it . First , the findings . The remotecontrol is a very difficult uh thing to uh to explain to just all of you wh who haven't seen a remote control uh inside . Uh there's a lot of uh plastic on it ,Marketing: {vocalsound}Industrial Designer: um because its uhnot so expensive . And there are uh a lot of uh wires , uh which um connect the components in it , the battery , and there are um switches and things like that . There's a lot of small uh electronics . So it won't be um uhtoo expensive to build it . Only twelve Euro fifty I think uh we will make it . Now {gap} {disfmarker} And here I have the top of the remote control . Uh here's some kind of chip . Uh on top of this , there are uh thenumbers . Uh you have all on your remote control . And uh the teletext uh button . And uh here's the battery . And when you push the button , it will uh will be sent to the chip . And the chip will um send it to all kind ofsub-components . That's what I said , it's very difficult .Project Manager: {vocalsound}Industrial Designer: And after that it will be sent to the infrared . And that will send it to your television . That's a short h uh how itworks . Uh I think I can uh make it uh difficult , but we all {vocalsound} we all don't get it . My preferences ? It's uh {disfmarker} it won't be uh {disfmarker} We shouldn't make it too big . Uh also for the cost , uh weshould only put one battery on it . A long-lasting battery . Uh also for the cost , uh use only plastic . Not other materials . Also because of the cost , uh not too much buttons on it . We can also make uh a button uh witha {gap} {disfmarker} menu uh button . And then um that that you will see it on the T_V_ . And on the T_V_ you can uh switch into the menu .User Interface: Mm-hmm .Industrial Designer: That's {disfmarker} I thinkit's easier . And the bleep signal , y uh you told us . Uh but we can also use it uh a bleep like something , when the battery's empty , then there is a bleep . Then you'll have to change it in a in a week or something . Andalso the bleep , when {disfmarker} what I told you about uh when you lost it , and you push a button , and then you hear bleep bleep , and we will find it . This is uh just uh {disfmarker}Project Manager: Oh oh . Twoquestions .Industrial Designer: Yeah . Yeah .Project Manager: The battery . You say one battery is cheaper . Why ?Industrial Designer: If we w if we use only just one uh small pen-light , then it will be cheaper thanwhen we use two .Project Manager: Yeah but when you use two , you can use it two times longer .Industrial Designer: Yeah but then we'll have to make the um remote control uh long lasting .Project Manager: Okay soit's the size of the remote control .Industrial Designer: {gap} Just {disfmarker} Yeah .Project Manager: Okay and the buttons . When you use it on the television , you've {disfmarker} you need the television , wh whichcan use it .Industrial Designer: Yeah . But uh I think this {disfmarker} our remote control is for the televisions we uh we sell in our company ?Project Manager: Okay .Industrial Designer: Or is it also for other company{disfmarker} uh for other televisions ?Project Manager: I think we have to use it also on other televisions though .Industrial Designer: Then this is an option . {vocalsound}Project Manager: So {disfmarker}IndustrialDesigner: Maybe just a menu button to use it on our televisions . And then we make it easier uh for our televisions . And on the other tele televisions , you can also use it , but then we won't use theProject Manager:Yeah but I don't {disfmarker} I think it {disfmarker} {vocalsound} They are two different things though . We have to choose one . It has to work on o uh all televisions .User Interface: Mm .Industrial Designer: Yeah ?Okay . Then I think uh the menu button uh will only work on the newer televisions . And we will uh look forward and don't make a remote control which for the older televisions .Marketing: Hmm .Project Manager: Okay.Industrial Designer: And I just uh have one more idea . Uh maybe it's one of your tasks . But {disfmarker} Uh , to have a trendy remote control , we can also um make something like the Nokia um mobile phones . Tochange covers . So if you have uh a trendy half with all red , uh yellow and something . And then you can put a red cover on it .Marketing: Hmm .Industrial Designer: And also different things .Project Manager: Yeah .Good idea .Industrial Designer: Yes .Marketing: Will this will this add to the cost ?Industrial Designer: Uh then it won't be {disfmarker} uh will have just one cover on the uh original one . And then you can buy thecovers .Marketing: Yes but you have to m uh be able to change it . D does it make it more difficult to design ?Industrial Designer: I think it will be a little more difficult , but not too much .Project Manager: Mm-hmm.Marketing: Not much . 'Kay .Industrial Designer: Just like with the Nokia uh mobile phones .Project Manager: Yeah but there are much more Nokia telephones than um these ones .Industrial Designer: Just one .ProjectManager: {vocalsound}Industrial Designer: Yeah but then we'll have to to just um put five covers on it , and see if it works . If it won't works then we'll get something else . Then we uh won't g uh go further with it.Project Manager: Yeah but are their profits bigger than their cost ?Industrial Designer: Uh a p a {disfmarker} {vocalsound} a cover made in uh in China , it it won't be I guess so expensive I think .Project Manager:Yeah but there are also design cost . I don't think {disfmarker} When you have a remote control , do you change the cover ? Would you change the cover ?Industrial Designer: Maybe . I wi I won't .Project Manager: No.Industrial Designer: But maybe I think trendy people or like children where you can paint on it , and uh the the children think , oh this is my remote control , uh I made a picture on it . Uh {disfmarker}Project Manager:N yeah but {disfmarker} I think that too less people would change it for good profit . So {disfmarker}Industrial Designer: Yeah . Okay . And the other people ? What do you think about it ? {vocalsound}Marketing: Um{disfmarker}User Interface: Yeah it's a good idea . But {disfmarker} If if it {disfmarker} Yeah , I don't {disfmarker} I'm not sure if it will make profit enough to uh {disfmarker}Industrial Designer: Okay .ProjectManager: {gap}User Interface: But it's uh yeah it's uh original idea . {vocalsound}Project Manager: Yes it is but I don't think we have to do it .User Interface: No .Industrial Designer: Okay .Marketing: Mm .IndustrialDesigner: You're the Project Manager . {vocalsound}Project Manager: Okay .Marketing: {vocalsound}Project Manager: {vocalsound}Industrial Designer: Yes . That's it .Project Manager: That's clear . {vocalsound}Okay thank you . So now the User Interface Designer .User Interface: Oh . That's me . Uh {disfmarker} Come on . {gap} . Ah .Marketing: Yeah .User Interface: Yes well uh uh I shall give a short talk about the thetechnical function design .Industrial Designer: {vocalsound}User Interface: {vocalsound} Um I thought the the the technical function design was uh to uh {disfmarker} for a remote control to to to have some influenceon the T_V_ set . Uh both audio and vide video uh in a cordless way . No cords attached . And uh well , it all by pushing a button on the remote . That was from my own experience and uh and uh the previous meeting .Uh I find some uh some interesting quotes on the web . Uh well the same idea here . Uh message to the television . And uh and and and well basic uh operations like on and off , and uh switching channels , and uh{disfmarker} and maybe uh teletext or something like that . Uh well these are two uh remotes , and that's our uh our dilemma I think . Uh {disfmarker} We just heard from the Industrial Designer how uh difficult it is .But uh shall we make a basic remote control , uh just uh swapping channels and volume and uh power button and well nothing much more . Or uh uh more functions on the remote . Uh maybe more devices you caninfluence . Uh a radio or a v a video recorder , uh V_C_R_ . {vocalsound} Yeah well that's our dilemma . Um any ideas about that ? Basic or multifunctional ?Project Manager: We'll got back on that later .User Interface:Okay yeah . Yeah well the {disfmarker} that was just on my mind .Marketing: Yes .User Interface: So uh I didn't know what uh what way we would go . Mm yeah well that was my uh functional uh talk {vocalsound}.Industrial Designer: 'Kay .Project Manager: 'Kay , thank you . Then it's your turn , the marketing expert .Marketing: Okay . Uh um m Yeah . {vocalsound} Um yeah okay . This bit too far . {vocalsound}ProjectManager: {vocalsound}Industrial Designer: {vocalsound}User Interface: {vocalsound}Marketing: So {disfmarker} So I'm uh gonna have a presentation about um the market , about um yeah what people think . Uh wedid a usability lab-test with a hundred persons . And we looked at uh several um things . Uh among them design , uh d d how d did they like the use of it , uh what frustrations they had while using remote controls . Uhwell what what will be our market . And uh we asked them if we had some new featu features . If um that would be a good idea or not . Well our findings . Uh our users , they disliked the look and feel of current remotecontrols . Um uh they especially found found them very ugly . And um th they also found them hard to to learn how to use it . Uh well they also zap a lot . So uh zapping uh should be very easy . And uh fifty percent ofthe users only use ten percent of the buttons . So a lot of unused buttons . There is more findings . Uh on the buttons . Which uh buttons find users uh very important and which which not ? And how much would theyuse them ? Well uh the most used button is the channel selection . And uh we asked them how uh relevant they think uh the buttons are . The power , volume and channel selections are very relevant . Uh teletext is uhless relevant but also important . Uh not important they found the audio , uh that's not the volume but uh specific the the pitch , or the left or right . Uh the screen and the brightness . And uh channel settings . Uh thand they also are not used very often . Then we have a few um graphs about the market . Uh here we can see what the market share is of uh several groups . Um as you can see , most users are uh between thirty sixand forty five . Um the the the younger group between sixteen and twenty five is not very big . And to come back on the the swapping uh things , uh I don't think uh , I {vocalsound} I think the younger will be mostinterest in it . But uh they are not a very big group . Um in the {gap} we asked them , uh how would you like a s a new feature . If you have an L_C_D_ on the remote control , what would you think of it . Now you canclearly see young users say {gap} . I will {disfmarker} that would very nice . And older user think uh they will be scared of change {vocalsound} I think .Industrial Designer: {vocalsound}Marketing: And they won't likeit . And another thing , how would you like to have a speech recognition on it . Well here we see the same . Young users uh think that's an interesting idea . And old users not . Uh well we uh found out that there are two{disfmarker} several markets at which we can aim . Uh the first are the younger , the age between sixteen and forty five . Uh they are highly interested in the features , as you can see uh here . And um they are morecritical on their money spending . Uh the second group is the older group . Aged between forty six and sixty five . They are less interested in uh new features . But uh they spend their money more easily . Now if we lookback at this graph , we can see that among the first group is about um sixty percent . And the second group about forty percent . So the the first group is bigger . Well then I come to my uh personal preferences . Uhyeah the first question is uh {disfmarker} also we have to ask is at the which market do we aim at . Uh of course n uh saying we aim at the young group doesn't say that old people won't buy it . But less of them willbuy it . Um well I uh {disfmarker} {vocalsound} Okay . What I thought , um even young people say it's hard to use , remote control . So if you make a remote control that is uh very easy to use , that's especially aimedat this group , even uh the young group will also be more interested . And um we can make special features . But uh I think it looks nice in the first time . But when use it , uh I don't know what's uh good thing ofspeech recognition .User Interface: Mm-hmm .Marketing: Um well th uh that's my second point .Industrial Designer: {vocalsound}Marketing: Uh less important functions should be discarded from the remote control .It's about discussion we had earlier . Um {disfmarker} You can find most functions on a T_V_ set . So uh you don't have to have a lot of audio options , or screen options to change the brightness . And such things . Umwell the design is very important . One thing I did not say I think , is that a lot of users also said then I would uh buy a good looking uh remote control if there will be one . But they found most remote controls very ugly. So the design of our remote control is very important . And uh yeah it should be very zap friendly , as most users use it for that . That were my findings .Project Manager: Okay thank you .Industrial Designer: Yeah . Ihave uh one question .Project Manager: Yes .Industrial Designer: If we aim for the younger people , um and there will be uh a lot of features like L_C_D_ or the the the speech uh f recognising , uh the cost will be a lotof h uh a lot higher .User Interface: Mm-hmm .Industrial Designer: Uh I think we don't have that in our budget .Marketing: Yes .User Interface: No .Industrial Designer: Do you think ?Marketing: No .User Interface: AndI don't uh I don't think twenty five Euros for a remote is really cheap or something .Industrial Designer: Like {disfmarker} No . No .User Interface: So it's {disfmarker} Yeah , it's hard to uh get the younger group.Industrial Designer: Uh-huh .Project Manager: I think uh the L_C_D_ is cheaper than speech recognition . So I think that can be an d good option . L_C_D_ .User Interface: Mm-hmm . Just the L_C_D_ ?ProjectManager: Yes . Only the L_C_D_ .User Interface: Mm-hmm .Project Manager: So {disfmarker} But we'll come back on that .Marketing: Okay .Project Manager: Now {disfmarker} {vocalsound} Oh , go on . What d d dum {disfmarker} Um {disfmarker} Uh we go {gap} {disfmarker} back on the decisions later . Now we have a few new product requirements . First , teletext . We have internet now so we don't need the teletextanymore . So not necessary .Industrial Designer: {vocalsound}Project Manager: Next . Only for the television . So we don't look at the other things like the radio or something . Only the television . We look at the agegroup of forty plus . Uh no , younger than forty . Is a g big group , and like you showed , n not very much people buy our stuff . Fourth point . {vocalsound} Our corporate colour and slogan must be used . Veryimportant for the design . So you can see it on our site .Marketing: {vocalsound}Project Manager: Next . Um no . We have to make our decisions , what we want to do . So {vocalsound} like you said , we need the{disfmarker} {gap} . Maybe it's good to put it in a document . Now we have to decide what controls do we need . So maybe you can tell us .Marketing: Yeah maybe we can first have a discussion uh on the the productrequirements you just uh said .Project Manager: Sorry ?Marketing: The the requirements you just said ,Project Manager: Yes .Marketing: maybe we should first have a discussion about that .Project Manager: Yes , it'sokay .Marketing: I uh personally think uh teletext is a good option . Uh not everyone um who is looking T_V_ can go to internet when they want to see the latest news .Project Manager: Yeah but we don't use it . It's a{disfmarker} {vocalsound} new requirement .Marketing: {vocalsound}Project Manager: So , it's not my requirement .Industrial Designer: 'Kay , we'll just have to do that .Project Manager: We have to do this.Industrial Designer: Okay . No discussion about it .Marketing: Okay . Okay sorry .Project Manager: No .Marketing: Then uh {disfmarker}User Interface: {vocalsound}Industrial Designer: Okay . {vocalsound}Unfortunately .Marketing: {vocalsound}Project Manager: So what controls do we need ? Who first ?User Interface: Well a power button ?Marketing: {vocalsound}Project Manager: Okay . Uh power .User Interface: Uhthe well um I think separate channels . So {disfmarker}Project Manager: Uh mm channel .User Interface: But then both the the separate channels . So so uh zero to nine or something .Project Manager: Channel{disfmarker} Zero to nine .User Interface: Uh volume .Project Manager: Volume . Maybe it's easy to pick . What was w your one ? TechnoMarketing: Mine ? It's the functional requirements .Project Manager: Okay . Wehad w uh no no no no . Where was that example of the {disfmarker}User Interface: Oh mine .Project Manager: Johan . That was the {disfmarker} the the the the {disfmarker} {gap}User Interface: Technical .ProjectManager: technical {disfmarker} Hallo . Okay . What do we need ? On-off . Zero to nine .Industrial Designer: To change to the next channel , just one button . To move up , move down .Project Manager: Yeah that's thechannel .Marketing: D Yeah . Do we make a menu ?Project Manager: Menu ? Uh yes the n newer televisions ha do have menus . Uh {disfmarker}Marketing: {vocalsound} {vocalsound} Uh {disfmarker}Project"}
+{"doc_id":"doc_154","qid":"","text":"Project Manager: Okay uh Agnes , you can help me for the slide when {gap}User Interface: Yep . Sure .Project Manager: okay . Okay , welcome back . I hope uh you have a fresh head and a fresh time . How t now themeeting actually we gathering here to discuss about the functional design meeting . Okay , and uh we'll issue some information from uh all of you . And it's in the , I think uh , in the sharing folder . And uh I will inviteuh the Christine and the Ed and uh Agnes to discuss about on the various subjects . So can you go to the next slide ? Yeah uh the agenda of the meeting is opening . Then uh I'm going to talk about uh the projectmanagement , what I'm going to do , and uh , of course , I'm doing the project management and secretary both , okay , to take the minutes of the meeting . And there are three presentations . One is uh new projectrequirements . And the second one about uh decision on remote control functions . And uh finally we are closing . Uh and the meeting time will be uh forty minutes , so you have to be very quick . And I have come upwith the {disfmarker} management come with the new proposal , okay , and I have to discuss a few points on this . Uh both says new insights in the aim of your project . Uh the one is uh the teletext becomes uhoutmoded , okay because if uh because of the computer systems and the new technology . So we don't need to consider really about the teletext all in our new project design . And the second one is about uh theremote control . Should be used only for the T_V_ . That's what our uh management says . And the third point , it's very very important to establish our uh marketing or uh corporate image , okay , with this new projector new product . Okay . {vocalsound} So I will invite uh {disfmarker} Agnes , can you go to the third slide ?User Interface: No , this is the third slide .Project Manager: Okay , {gap} . So , I'll invite uh Christine todiscuss about uh the functional design .Industrial Designer: 'Kay , do you wanna open the {disfmarker}User Interface: Sure . Um . You're participant sIndustrial Designer: I'm number two .User Interface: Two ?ProjectManager: {vocalsound}Industrial Designer: That's it .User Interface: Do you want the mouse , or do you want me to {disfmarker}Industrial Designer: I'll do the notes . Yeah , thanks .Project Manager:{vocalsound}Industrial Designer: So um well I I figured uh we should um identify some user requirements , and from my experience , I wanna uh , and from {vocalsound} research I did , uh the the device has to turnthe television on and off the first time you press on the big button , you can't uh can't have like uh waffling on this point , you know .Project Manager: {vocalsound}Industrial Designer: Really have {disfmarker} Itneeds to be able y y have to be able to find it . Because one of the biggest problems with remote controls is finding them . So uh , I also , since we have to establish our corporate image on the basis of this new product, thought we better look at things that are popular and um ex go beyond those , and , as I said in the first meeting , um {vocalsound} and then uh we might wanna talk eventually about the materials that areappropriate to use in uh in the construction , especially in the the uh the outside of the productProject Manager: {vocalsound}Industrial Designer: so that it gives the appearance , and it is reliable , and so forth .{vocalsound} I did a little history on uh the the uh remote controls and when they were invented and so forth , so , I guess this guy Zenith uh created the Flashmatic , which I kinda like the idea , 'cause it made methink of um um maybe the remote control made a big flash when uh you turn the T_V_ on and off , that might be interesting . And um {vocalsound} so it was highly directional flash light that uh you could turn thepicture on and off , and the sound on and off , and change channels c so I think um those are still requirements we have today , uh fifty years later .Project Manager: {vocalsound}User Interface: Mm-hmm .IndustrialDesigner: And uh it was really a pioneering innovation , but it was uh sensitive to the sun , so that uh it would get {disfmarker} would start off by the {disfmarker} you'd get {disfmarker} it would easily cause umproblems . So , uh I {disfmarker} in addition to uh looking at the um {vocalsound} uh the functional requir so all these devices are examples of where uh mm {disfmarker} they {vocalsound} represent examples thatare available today {vocalsound} {vocalsound} which I think the one in the middle is r um really uh something to keep in mind .Marketing: Fantastic . {vocalsound}User Interface: {vocalsound} {vocalsound}IndustrialDesigner: It'd be easy to find . And um it would uh y you'd {vocalsound} {disfmarker} you could throw it at things if if the T_V_ didn't turn on and off , you could use it for something else . And since I'm not really um{vocalsound} Industrial Designer , I didn't really know what to do with this slide . But um {vocalsound} I just {vocalsound} took some {vocalsound} different uh schematics and I put them into this , and I guess this iswhat a slide might look like if you were drawing a circuit board . {gap} I don't know why um we were asked to do this . So , uh {vocalsound} personal preferences , {vocalsound} umUser Interface:{vocalsound}Industrial Designer: I think we could uh I I'm really thinking outside the box here , and I think that we should consider perhaps having an an an a a size uh {vocalsound} {disfmarker} a remote controlthat changes in size depending on the user preference .User Interface: {vocalsound}Industrial Designer: So something that's very very flexible and inflatable and then you could shrink it . I think um it could either be{disfmarker} you could go either one extreme , be very colourful , or you could make it clear , and um kind of blend in with things , so you didn't have to um {vocalsound} uh have a problem with the th the decorationof the {disfmarker} of the user's home . Um I think uh it needs to be waterproof , because uh sometimes they fall into cupsProject Manager: {vocalsound}Industrial Designer: and , you know , it might be out by theswimming pool or something like that . Um {vocalsound} if you uh mi one of {disfmarker} one of my requirements was about needs t to tell you when it's done its job or not , because half the time , I keep pushing onthe remote control , and I don't know if it's actually understood my message , so I think it should give you some sort of an oral cue . And uh , course I never wanna replace the battery . {vocalsound} So ,Marketing:{vocalsound}Industrial Designer: that's {disfmarker} those are my f preferences , and that's my presentation .Project Manager: Yeah , let me uh interrupt you uh if you can add other facility , other feature , like uhunbreakable .Industrial Designer: Yes .Project Manager: Okay , because uh especially today , you know , you have the family and the kids ,User Interface: {vocalsound}Project Manager: okay , and the kids throw it andthey they play with their remotes and {gap} .Industrial Designer: Run over it with a car .Project Manager: Yes . Okay , so if you can add the feature , okay , for your uh fabric whatever in your outline design okay , withunbreakable , okay , I think that will give a lot of advantage for our product , if I'm not wrong . Maybe you can uh add it in that .Industrial Designer: Good idea . Good idea , I'll I'll uh um {disfmarker} Yes , very good.Project Manager: Okay , uh thank you Christine , and uh uh any questions or uh clarifications , or any discussion on the functional design ?User Interface: Do you have any preconceived ideas in terms of materials ?'Cause , for example , in the unbreakable thing , doing something plastic would be harder ,Industrial Designer: Hmm .User Interface: whereas having something like , I dunno , steel or titanium isn't really economicallyviable . {vocalsound}Industrial Designer: Titanium . Titanium would be {vocalsound} be heavy , too ,Marketing: Titanium . {vocalsound}Industrial Designer: wouldn't it ?User Interface: Yeah .Industrial Designer: No , Ihaven't really um {disfmarker} I wanted feedback , I think we need to rate {disfmarker} rank these , but we'll see what your uh personal preferences are and your thoughts .User Interface: Yeah . Sure , yeah . No , Ijust wondering whether {disfmarker} that you had any sort of {disfmarker}Industrial Designer: {vocalsound} I like titanium . It's light .User Interface: Yeah .Industrial Designer: Uh {vocalsound} yeahMarketing:Expensive .User Interface: {vocalsound} The marketing comes out . {vocalsound}Industrial Designer: but uh who who said {disfmarker} who said we were ,Marketing: {vocalsound}Project Manager: Yes .IndustrialDesigner: you know , nobody told me how mu what our financial objective is , so um {disfmarker}Project Manager: {vocalsound} Yeah so {disfmarker}Industrial Designer: It'd be hard to inflate something ou made outof titanium though {vocalsound} .Project Manager: Yeah the the {disfmarker} I'm sorry because uh the last meeting we supposed to discuss about the financial thing .User Interface: {vocalsound}Marketing:{vocalsound}Project Manager: Uh let me go quickly , maybe if I can go back {vocalsound} . I know the project plan and the budget . So I can close this , {gap} not sure . Was in uh {disfmarker} S This . So let me seewhere is this file .User Interface: That's Christine's .Project Manager: This is Christine . {vocalsound}User Interface: And that's mine , I think .Project Manager: That's yours , okay . Saving .Marketing: {vocalsound}{gap}User Interface: In modified .Marketing: I don't know ,Project Manager: Okay , uhMarketing: I think verbally we can {disfmarker} we can pretty much sell .Project Manager: I will {disfmarker} I will send you amail , okay ? The project may be the the project aim , okay . At the end of the day , the company uh wants to make at least uh the fifty million Euro . Okay , and uh of course the price will be very reasonable on the thesales side . Okay , that maybe Eddie will talk to you about uh how much uh the price and uh what's uh {disfmarker} how much its cost for the manufacturing and how much it's going to be {disfmarker} we sell in themarket . Okay . Then uh you can come back with your feedback . And I I have one {disfmarker} maybe the suggestion or opinion . This remote control , okay , it can be for like universal , to use for any T_V_ . Okay ,and it will be slim , okay , and uh {disfmarker}Industrial Designer: {vocalsound} Not fat ?Project Manager: Not fat .Industrial Designer: Not fat , huh .Project Manager: Okay .Industrial Designer: {vocalsound} Might behard to find , though .Project Manager: Yep . But let's try it , okay , with the different uh {disfmarker} the designs , okay , the functional designs .Marketing: Hmm .Industrial Designer: Oh , okay .Project Manager:Okay ? So any other questions ?Marketing: Uh from her side , I don't think uh there's too many more questions .Project Manager: Okay . Thank you Christine for uh time being ,Marketing: If you can come to the{disfmarker}Project Manager: so then uh Ed , so can you tell about {disfmarker}Marketing: Okay , from the marketing {disfmarker} yeah , from the marketing side , just to to give an idea what the management islooking for , I was looking for a a remote control to have a sUser Interface: S 'scuse me for one sec .Marketing: I have a sales price of twenty-five Euro , with a production price of uh twelve and a half Euro . For what uhI think from what we're trying to find , we're tr we're looking for , I don't think that price is exactly in the market . Okay ?Project Manager: Mm-hmm .Marketing: I'll explain myself here now in the sense that uh in a{disfmarker} in the recent surveys , uh from the ages {disfmarker} fr from fifteen to thirty-five , eighty percent are willing to spend more money for something as fancy as trendy .Project Manager:{vocalsound}Marketing: Twenty-five Euros , uh that's that's a preson reasonable price . That's a market price right now . Now if we're gonna take a risk , and push this up a bit , make it more expensive ,ProjectManager: Yep .Marketing: but give them added things that they don't have now ,Project Manager: Yep .Marketing: then it w it could possibly sell . Obviously the risk is there . Too expensive , they're not gonna buy . But, I think uh there's one other thing interesting {disfmarker} two things that are interesting {gap} is that uh from the fifteen to thirty-five year-old group , which always spends more money on trendy new things ,speech recognition is requested .Industrial Designer: {vocalsound} Speech recognition? .Marketing: And we're talking between seventy-five to ninety percent of this group is willing to pay for speech recognition on aremote .Project Manager: Mm-hmm .Marketing: Obviously , we can't make a remote into a computer , but maybe simple commands . I dunno , louder , softer , on , off . That might be a possibility , even though it costsmore , to be the first on the market to produce this .Project Manager: {vocalsound}Marketing: Thirty-five percent say they're too difficult to use . So we have to figure out a way of making it um more user friendly .{vocalsound} Uh fifty percent say they can't find the remote half the time . {vocalsound}Industrial Designer: {vocalsound}Marketing: So maybe one word speech recognition commands , say remote , and there's abeep beep beep , and they can find it through , you know , ten tons of newspapers , magazines , whatever you have at home .Project Manager: {vocalsound}Marketing: But , in the cost that uh the management islooking for , that's not gonna be possible . But if it's trendy , if it's fancy , it's got some colour to it , if it's very easy {disfmarker} easy to use , if it's got simple remote {disfmarker} speech remote uh control , like I said, louder , softer , change channel , on , off , remote , it goes beep beep , I can find my my remote without spending half a day looking for it and getting all upset 'cause I can't turn the T_V_ on . So we're gonna have tolook at it in a {vocalsound} in this global idea , with the ideas of the industrial uh design .Project Manager: {vocalsound}Marketing: But , price obviously we have to talk about .Project Manager: Yep . So what do youthink about uh the design {gap} ? Do you think you can make it or uh {disfmarker}Industrial Designer: D uh I'm sorry ? {vocalsound}Project Manager: What do you think about uh the design , uh what he was talkingabout {disfmarker} of the speech recognition ?Marketing: Speech recognition .Industrial Designer: {vocalsound} Well , uh training is always an issue with uh commands .Project Manager: Mm-hmm .IndustrialDesigner: So um {disfmarker} might uh {disfmarker} we can perhaps um {vocalsound} do it if the user is willing to spend some time in the training process , uh it could reduce th th uh the overall um cost . Not surehow . {vocalsound} But um anyway , um {vocalsound} I I think also that uh this might impact the battery life . And um so , maybe what we'll have to do is um add something where you can um recharge it wirelessly sothat uh {vocalsound} y you know sen send power to it . So uh or maybe uh set it out in the sun and it uh , you know , gets uh , from the light , um a a solar cell inside thereUser Interface: Hmm .Industrial Designer: sothat uh you have enough uh juice to do all these fancy things .User Interface: It seems also like with the speech recognition , yeah , it's a great feature , but if you're watching T_V_ , there's a lot of ambient sound , andit's words . It's not just , you know , noises like something hitting . It's actual speech , so then you have to make sure that the speech recognizer is good enough to filter out the T_V_ speech , and the the user's speech. Otherwise , you can say remote .Industrial Designer: Off . {vocalsound}User Interface: But if someone on the screen is saying the same thing , all of a sudden , you have someone in a movie saying off and yourscreen dies , because they've triggered the remote control and it's turned off your T_V_ . {vocalsound} So , I think if we can find a speech recognizer that can handle those types of problems , then yeah , it'd be a reallygood marketing gimmick .Marketing: Mm .User Interface: But , I think we seriously need to consider how that would impact the situation .Industrial Designer: Very good point .Marketing: Because tha w {vocalsound}with speech recognition uh th I'm not that good at that ideaUser Interface: Mm-hmm .Marketing: but th {vocalsound} if it's a one-word recognition , 'cause I know with telephones and cars and things I've seen in theStates ,User Interface: Yeah .Marketing: {gap} a friend of mine says call Mom , and it calls up Mom .User Interface: Yeah .Marketing: 'Kay the radio can be on and everything .Project Manager: Yep .Marketing: BecauseI think s with speech recognition , if uh the the remote or like the telephone {vocalsound} {disfmarker} it has a exact word that it has to hear .User Interface: Mm-hmm .Marketing: I don't think it would come through asentence in a television . If somebody's speaking on the se the television , they're not gonna stop and say remote ,User Interface: Mm-hmm .Marketing: okay . So I think that uh something could be designed torecognise single word {disfmarker}User Interface: Oh yeah . Yeah . No , I think it's a great idea if we can design it to to suit those requirements .Marketing: Like the t like the telephone . No because I {gap} this is thisis years ago in the United States where we're driving down and he said call home , and the telephone called immediately {vocalsound}User Interface: Yeah . {vocalsound}Marketing: so well , that's kinda cute .{vocalsound}Project Manager: Well , what I can uh suggest to you , Christine , okay , uh if you need some uh {disfmarker} the technical feedback , or some training , okay , about uh this facility , especially for thespeech recognition , I can recommend you some companies like uh Intel or I_B_M_ , okay , because they're already in this uh speech recognition part , okay . And uh you can maybe have some uh technical backupfrom them , some kind of a technical tie-up . Okay , and uh if you want , I can coordinate , okay , to get some information , okay , and uh you can uh let me know , okay , so what kind of uh the details you require okay, to add this feature in this project . I don't think it's uh the difficult . And uh we need to know how much is the timeframe you need to develop , apart from uh what {gap} today .Industrial Designer: Okay , we'll findthat out .Project Manager: Yep .Marketing: From from your side uh , you're gonna have to go back the management and s be more s precise .Project Manager: Yes .Marketing: What do they want ?Project Manager: Yes.Marketing: Uh {vocalsound} , a risk , take a risk on the market ? Something that's gonna cost more , but could very easily s make a boom in the market ?Project Manager: Yes . Yep .Marketing: Because it has to besomething totally different , has to be total totally new . Something that nobody has right now .Project Manager: Yeah butMarketing: And it's gonna cost .Project Manager: but end of the day , you're the sales guy , so Iwill come back and sit on your head because uh you are going to give your sales projection ,Marketing: {vocalsound}User Interface: {vocalsound}Project Manager: okay . It's uh of course it's uh good to uh tell themanagement how much it's cost usMarketing: Mm-hmm .Project Manager: and how much you are going to benefit ,Marketing: Sure . Sure .Project Manager: okay . And uh , so I don't mind to convince , okay , themanagement to spend some more money on the project , okay , if you can make out ofMarketing: Obviously .Project Manager: the money from this project .Marketing: If the bottom line is positive .{vocalsound}Project Manager: Yes , okay I don't mind to convince the the management ,User Interface: {vocalsound}Project Manager: okay .Marketing: Mm .Project Manager: The management says , okay , so theythey don't want certain facilities , which it's already worked , okay , they want something uh new , okay . I think uh like uh speech recognit definitely they will agree , I don't think they'll say no for that , okay . And uh Ihope I can convince the management on that , okay . So if you have any uh new ideas , okay , for uh your {disfmarker} you can always come up and uh you can tell me if you need any uh s special , okay , coordination, okay , between any uh technical companies , which you can uh hide their technology backup , okay , for your uh functional design or technical design , okay , then I am ready to do that . And uh what's your commentsabout uh {disfmarker}User Interface: Um well , I mean , maybe if I go through my presentation , you can sort of see what the user perspective is , and how it ties into the other two comments .Marketing: Mm .ProjectManager: Yeah , so you are finish , Ed , uh so I can uh {disfmarker}Marketing: Yes . Mm .Project Manager: Okay , I'll uh hand over to Agnes . Just gonna close this . T Uh where are you , here ?User Interface: Mm"}
+{"doc_id":"doc_155","qid":"","text":"Lynne Neagle AM: Okay. Good morning, everyone. Welcome to the Children, Young People and Education Committee. We've received apologies for absence from Suzy Davies and Jack Sargeant and I'm very pleased towelcome Jayne Bryant back, who is substituting for Jack today. Are there any declarations of interest from Members, please? No. Okay, thank you. Item 2, then, this morning, is our sixth scrutiny session on the Children(Abolition of Defence of Reasonable Punishment) (Wales) Bill. I'm very pleased to welcome our witnesses this morning: Sally Jenkins, who is chair of All Wales Heads of Children’s Services and is here representing theAssociation of Directors of Social Services; Alastair Birch, who is senior system leader for equalities and safeguarding at Pembrokeshire County Council, who is here representing the Association of Directors of EducationWales; and Councillor Huw David, who is the Welsh Local Government Association spokesperson for health and social care and leader of Bridgend County Borough Council. So, thank you all for attending this morning.We're very pleased to have you here. We've got a lot of ground to cover, so, if you're happy, we'll go straight into questions and I'll start just by asking about your general support for the Bill, which is outlined in theevidence. Can you just explain why you think the current law is ineffective or unclear?Alastair Birch: Bore da—bore da, bawb. So, I'm Alastair Birch. The statement, really, from ADEW is that the rights of the child shouldbe educated and achieved, really, under the United Nations Convention on the Rights of the Child. The current legislation has been criticised, obviously, by the UN concerning the defence of reasonable punishment stillbeing within our current legislation. So, we will always—ADEW will always—advocate that the rights of the child be upheld, so that is really the fundamental aspect in terms of the statement from ADEW, and the positionof ADEW is that the rights of the child are fundamental in this process. And there are certain articles—. I know that the Rights of Children and Young Persons (Wales) Measure 2011 made sure that article 3 and article 4,article 12 and article 37 were a focus in terms of making sure that the best interests of the child were put first, that children expressing their views and opinions was a priority. And we know, for safeguarding purposes,that the express opinions of the child and the voice of the child are a fundamental aspect of any safe environment, whether it be a school or college. So, that is—the position is really following that legal position underthe Rights of Children and Young Persons (Wales) Measure.Lynne Neagle AM: Okay, thank you. Nothing to add at this stage, no?Sally Jenkins: I'll just add, on behalf of ADSS and on behalf of children's services andsocial services more widely, for us, this is not a change in our position, this is not new; this is a position that we, on behalf of the leaders of social services across Wales, have taken over many years, going back 20, 25years. I think what we would say is that we really welcome this Bill and we welcome the proposed change for the clarity it would bring—the clarity that it would bring for children, for parents and for professionals. I thinkwhat we would recognise is that this is a very little-used piece of legislation, so it's rare, it's not as if this is something that is going to cast great change across the scene for children and families in Wales, but what itwill do is represent a change in the reality of how we care and nurture our children. I would echo absolutely what Alastair has said in terms of the rights of the child, but equally, in terms of all of our policies in Wales interms of promoting well-being for children, this has to be key. So, for us, this is about a natural progression of change in how we care for our children in Wales. For children's services at the very sharp end of this world,for us, it brings a true clarity. This continues with an ambiguity in how we treat our children and how we care for our children, and the shift for us brings that very much needed clarity.Lynne Neagle AM: Okay, thankyou. The committee has already heard different views about whether there's clear evidence that physical punishment is harmful to children. What evidence does the work of social services provide about whetherphysical punishment is actually harmful?Sally Jenkins: Obviously, what you'll all be aware of is that, as part of the consultation for this Bill, the Public Policy Institute did a further piece of research to look at the impactof physical punishment on children. A number of things that we know—we know from across the world that the evidence is that introducing legislation or changing legislation in this way improves children's positionswithin their families. What we know is that children themselves, as Alastair has already referred to, really find physical punishment demeaning and harmful, and for children it is an emotionally damaging experience.Now, there may be disagreement about that, there will be different views on that, but that's the voice of the child in this debate. The voice of the child is very clear that physical punishment is for them harmful. I thinkwhat we would also say is that, in the world that we work in, it's part of a continuum, and, whilst this is an element of how children are cared for, what we see is a continuum where an acceptance of how we treatchildren in a particular way perpetuates throughout our work. By changing this, it helps that shift to that absolute recognition that our children must be cared for in a way that is physically safe in all dimensions forthem.Lynne Neagle AM: Okay, thank you. We've had evidence from the equal protection network that the reasonable punishment defence undermines child protection and fails to protect children because it permits anarbitrary level of violence, which invades children's physical integrity, making it a potential pathway to more serious physical or sexual abuse, and you did refer to that just now. Is there anything you want to add onthat?Sally Jenkins: I would echo that. I think there is something in this that is about our culture, about how we see our children. It is about how we see our smallest and most vulnerable people, and if it is acceptable itopens the door to those other, more extreme versions of violence, which then complicates the issue for us. This is about clarity, and, whilst there is an argument that this is a small episode for a child, it's not a smallepisode for a child, it is a major episode for a child, and I think absolutely, as you said, the potential for it then to lead on, and over gradation and time to increase the risk for children, is clearly there.Lynne Neagle AM:Okay, thank you. The final question from me: your written evidence emphasises the need for greater clarity around the definition of what constitutes corporal punishment, but that contrasts with what we've been toldby the children's commissioner and the equal protection network, who've emphasised the importance of simplicity in the Bill. How do you respond to that view, and is what you're calling for essential to be on the face ofthe Bill?Sally Jenkins: It's not essential for it to be on the face of the Bill. What we would like to see is discussion within the implementation phase for that nuancing. Absolutely agree in terms of simplicity—I think that isreally important—and I've already mentioned clarity. What we don't want to do is further confuse the position. We know that the legislation in different countries has done that, and there are ways that you can do it, butwhat we would welcome is an opportunity during the implementation phase for discussion.Lynne Neagle AM: Okay. Thank you.Huw David: And, as a principle, obviously we would welcome full involvement, and we knowthere's the commitment from Welsh Government to full involvement in the implementation, because, as with every piece of legislation, implementation is the most important part, and we would want to ensure there isthat commitment to a major awareness-raising campaign, and there is that from Welsh Government, because we need to take families, carers and parents with us on this. Also we need to ensure that there is thatsupport available to parents and carers that do sometimes struggle with parenting, and that needs to be a universal offer across Wales. If we're to progress with this, that has to be an option that is offered to everyparent in Wales.Lynne Neagle AM: Okay. Thank you.Sally Jenkins: Local authorities have already been very heavily involved in terms of looking at this Bill and exploring what the issues are and the discussions andlooking at what the implications from a local authority perspective will be, as Huw describes, both in terms of the awareness raising, early support and intervention and prevention services for families against thebackdrop of the current issues that we have in local government, but also awareness raising—because absolutely it is key that families come with us on this journey. This is not an imposition. This is embracing a cultureand a value system for our children.Lynne Neagle AM: Okay, thank you. I've got some questions now from Dawn Bowden on the implementation of the Bill.Dawn Bowden AM: Thank you, Chair. So, you've pre-emptedme, Huw.Huw David: Right. Sorry. I've got good eyesight; I can't see—. [Laughter.]Dawn Bowden AM: You've already said, obviously, that you're looking towards working with Welsh Government in terms of itsimplementation. What's been your role so far in terms of the implementation of the Bill—local authorities generally, now? Have you had a role? Has Welsh Government been involving you in discussions around theintroduction of the Bill so far?Huw David: Yes. So, obviously we were consulted—a key consultee—but also our officials have worked very closely with Welsh Government officials to make sure this is implementedsuccessfully, if it is progressed.Sally Jenkins: Our involvement with this, from a social services perspective, goes back over two years, directly in working towards this point, never mind the history in terms of worktowards this area. But, very directly in relation to this Bill, we were first involved at least two years ago, to recollect, and that was in a series of workshops with other agencies, for example Children and Family CourtAdvisory and Support Service Cymru and the police, and looking in real depth at what the implications would be for us as agencies to look at what the likely trajectory would be in terms of our pathways for referral intoour services and what that might mean for us. And then particularly, for example, with CAFCASS Cymru in relation to private law, what the fallout might be, and then what, if anything—and that's the discussion that weneed to have—that could mean for children's services in particular, given the pressures that we're already under. So, we've been in constant, I suppose, involvement in terms of the Bill already, as part of theconsultation, in terms of the focus groups and in terms of direct work with Welsh Government officials to take this forward. And we are absolutely committed to continuing with that work.Dawn Bowden AM: Okay. Youtouched there on the pressures that you're already under, which we fully appreciate, but you also mentioned in answers to Lynne Neagle earlier on that you welcomed the Bill in terms of its clarity. So, are you confidentthat the Bill can be implemented without any major impact on your capacity to deal with it?Sally Jenkins: We've done—. A number of local authorities—my own included, Newport City Council, has done some work tolook at what the likely impact would be and then actually to look at what some of that costing would need to be. Further work is needed on that area, and that needs to be carried out during the implementation phase. Ithink what we've done is we've looked internationally at what the impact has been elsewhere when similar legislation has been introduced to try and gauge, but that's difficult to do in terms of comparable nations andsize and also different systems. And obviously our approach in terms of children and pedagogy is very different from some of the nations that have already done this. I wouldn't like to say one way or the other, becauseI think, in terms of that culture shift, it could be a double impact on us in terms of increased referrals because of increased awareness, but it could also be, I suppose, as Huw alludes to, that, if we're looking at ensuringgreater awareness of preventative services and support services for parents, actually people coming to the fore and asking us for those services as well. So, at this stage, I think what we would want to say is that wecontinue to be fully involved in the implementation phase, to look at what the cost implications for that could be, and not just for the local authorities but also the police, CAFCASS Cymru, for third sector organisationsinvolved in preventative services. I don't think any of that should undermine the position in terms of children and their rights within our society. So, a difficult answer, in the sense that—Dawn Bowden AM: No, Iunderstand. What you're saying is that this is a piece of legislation that, in your view, is a good piece of legislation. It's setting out to, hopefully, achieve what the purpose of it is and you will deliver what you need to.Can I ask you whether, then, you've also given thought to the impact on—we've talked about social services, but the impact on other services, like housing, education and so on? You're obviously coming at it fromslightly different angles in other sections.Alastair Birch: We are part of the universal service for children, and we very much work in co-operation with the WLGA and our social care colleagues, and we've been part ofthat consultation. In terms of education, the main changes, or adaptations, would be around training and awareness. And, in terms of the Bill, there needs to be the clarity—ambiguity would be bad—in terms of makingsure that safeguarding leads within all schools have the right training and support. So, really, that's the key element there, and then obviously the preventative services for the parents that schools can signpost, andsometimes possibly even host, in terms of being community schools. These positive parenting approaches that—. I have colleagues who have worked in that area for many years and see the benefits in how thosepositive parenting approaches make a difference to families.Dawn Bowden AM: So, from your point of view, it's awareness raising, is it?Alastair Birch: It's awareness raising; it's making sure that professionals are fullybriefed on necessary changes, that there's very little ambiguity, that we are aware that—. We still have that duty to report whenever there is any safeguarding concern. That'll still be part of the all-Wales childprotection procedures. That won't change, and that duty is always going to be there for all our professionals. But that awareness raising and training will be the key, and then, obviously, working in co-operation with ourcolleagues.Dawn Bowden AM: Okay, I understand that. Have you been given an indication of how long you've got between Royal Assent and implementation, and whether you've thought through any of the keymilestones that need to be implemented?Sally Jenkins: There's a group proposed that would be a strategic leadership group in the steering group that we're part of, which is now laying out what would happen afterRoyal Assent if that is given. So, we will work towards that.Dawn Bowden AM: Okay. My final question, Chair, is about some of the responses we've had to this committee that say that the state should not get involvedin family life—I'm sure you've heard those views—unless it's in the most serious circumstances. To what extent do you think that this Bill undermines the existing local authority responsibilities, or don't you?Huw David:The state's paramount role is to protect children from harm. That is our legal responsibility, it's our moral responsibility, and we will discharge that. And there is obviously a view—it's a view that is enshrined in the UNConvention on the Rights of the Child—that physical punishment, physical harm to a child is harm to a child, and we should be preventing that and act to prevent that. That would be the position of the Welsh LocalGovernment Association, and we also respect the mandate that Members of the National Assembly for Wales have too. And we believe that children can be raised by parents without recourse to physical punishment,effectively, and we'd support parents in that. We do not believe that in the 50 nations across the world where such legislation exists that the state is interfering in family life unnecessarily. We believe this action reflectsa cultural change, a sea change that's taken place in Wales over the last 30 to 40 years, where the vast majority of parents now say that they do not use it themselves, they do not support it, and we believe this isactually a reflection of what has happened in Welsh society. We support Assembly Members in the view that the natural progression of that is that children's rights are protected across Wales.Dawn Bowden AM: So, I'vegot largely positive feedback from you in terms of the Bill and its intentions, and so on. Do you foresee any unintended consequences for this Bill?Huw David: If we implement it carefully, if we implement it with theright resources, then I hope not. I think not. But as with every piece of legislation, it is about the implementation, it is about the cultural change as well, and that's why I cannot overstress the importance of making surethat resources are made available, because our social services departments—children's social services in particular—are overstretched. They are at breaking point—make no bones about it—and they are dealing withchildren who are facing serious harm and neglect. We are having record numbers of contacts from police, from teachers, from doctors and, of course, from children themselves who are experiencing that harm andneglect. And obviously, we want to focus our energy and our attention on those children. Equally, though, we don't want to lose sight of those families and children that are experiencing significant problems, but who wewant to support through our early intervention and prevention programmes, and that is why it is important that there is investment in those programmes, so that children do not end up in that terrible position where wehave to, for their safety, take them from their birth families to protect them. And the reality is, in Wales, that we are doing that to more children than we've done for a long time, and the numbers are growing acrossWales. And that is only because of the most appalling neglect and abuse, because there is no way that any judge would permit us to act to make a child safe if it was not for that fact, and the facts are there. So, I don'twant that focus to be lost, but, of course, we welcome and understand the need to progress this piece of legislation.Dawn Bowden AM: That rise that you talk about here, is that due to more interventions, greaterawareness, more incidents? I'm trying to link this to the Bill in terms of whether the Bill is actually going to give you more work to do in those areas.Sally Jenkins: On the reasons for the rise in the numbers oflooked-after children in Wales, which are higher than those in England, and also the numbers of contacts that we have across the local authorities, the work of the care crisis review, which was completed last year; thework of Isabelle Trowler, who's the chief social worker in England; countless research and reports that have taken place in the last 18 months; and currently the public law working group, under the auspices of thepresident of the family court, would all indicate that it's multifactorial. So, what you have is a range of reasons that have led to the increasing numbers of children becoming looked after across England and Wales. Whatyou can't do is identify a single reason. There have been headlines that have said, 'Is it increased austerity?' That is clearly a part of this. Is it in Wales an increased awareness of adverse childhood experiences and theemphasis of the impact on children of, for example, domestic abuse? Is it because of our understanding of what happens to children in those households? All of that research would say it's all of those things. And then,when you also add in changes in our practice with our colleagues in the judiciary, changes in our police service, but also changes in our preventative services, you've got that whole range of elements. And there is goingon across the local authorities and Welsh Government a huge amount of work to try to address and understand that, and then to ameliorate that. Children who need to be in care for safety need to be in care, but whatwe have to do is get to a point where fewer children come into care and we're able to protect them, firstly, and secondly where those children who are in care are cared for in a way that delivers the best possibleoutcomes for them. So, there is no simple answer unfortunately. I think, in terms of this Bill and unintended consequences, I agree absolutely with everything that Huw has said. My job is around children at that far"}
+{"doc_id":"doc_156","qid":"","text":"PhD B: OK . We 're on .Grad E: Hello ?Professor A: OK , so uh {vocalsound} had some interesting mail from uh Dan Ellis . Actually , I think he {disfmarker} he {vocalsound} redirected it to everybody also so uh{vocalsound} the PDA mikes uh have a big bunch of energy at {disfmarker} at uh five hertz uh where this came up was that uh I was showing off these wave forms that we have on the web and {disfmarker} and uh{vocalsound} I just sort of hadn't noticed this , but that {disfmarker} the major , major component in the wave {disfmarker} in the second wave form in that pair of wave forms is actually the air conditioner .Grad C:Huh .Professor A: So . So . I {vocalsound} {vocalsound} I have to be more careful about using that as a {disfmarker} as a {disfmarker} {vocalsound} as a good illustration , uh , in fact it 's not , of uh {disfmarker}{vocalsound} of the effects of room reverberation . It is isn't a bad illustration of the effects of uh room noise . {vocalsound} on {disfmarker} on uh some mikes uh but So . And then we had this other discussion aboutum {vocalsound} whether this affects the dynamic range , cuz I know , although we start off with thirty two bits , you end up with uh sixteen bits and {vocalsound} you know , are we getting hurt there ? But uh Dan ispretty confident that we 're not , that {disfmarker} that quantization error is not {disfmarker} is still not a significant {vocalsound} factor there . So . So there was a question of whether we should change things here ,whether we should {vocalsound} change a capacitor on the input box for that or whether we shouldPhD B: Yeah , he suggested a smaller capacitor , right ?Professor A: Right . But then I had some other uh thingdiscussions with himPhD B: For the P DProfessor A: and the feeling was {vocalsound} once we start monk monkeying with that , uh , many other problems could ha happen . And additionally we {disfmarker} wealready have a lot of data that 's been collected with that , so .PhD B: Yeah .Professor A: A simple thing to do is he {disfmarker} he {disfmarker} he has a {disfmarker} I forget if it {disfmarker} this was in that mail orin the following mail , but he has a {disfmarker} a simple filter , a digital filter that he suggested . We just run over the data before we deal with it .PhD B: Mm - hmm .Professor A: um The other thing that I don't knowthe answer to , but when people are using Feacalc here , uh whether they 're using it with the high - pass filter option or not . And I don't know if anybody knows .Grad E: Um . {vocalsound} I could go check .ProfessorA: But . Yeah . So when we 're doing all these things using our software there is {disfmarker} um if it 's {disfmarker} if it 's based on the RASTA - PLP program , {vocalsound} which does both PLP and RASTA - PLP{vocalsound} um then {vocalsound} uh there is an option there which then comes up through to Feacalc which {vocalsound} um allows you to do high - pass filtering and in general we like to do that , because ofthings like this and {vocalsound} it 's {disfmarker} it 's pretty {disfmarker} it 's not a very severe filter . Doesn't affect speech frequencies , even pretty low speech frequencies , at all , but it 'sPhD B: What 's the{pause} cut - off frequency it used ?Professor A: Oh . I don't know I wrote this a while agoPhD B: Is it like twenty ?Professor A: Something like that .PhD B: Yeah .Professor A: Yeah . I mean I think there 's some effectabove twenty but it 's {disfmarker} it 's {disfmarker} it 's {disfmarker} it 's mild . So , I mean it probably {disfmarker} there 's probably some effect up to a hundred hertz or something but it 's {disfmarker} it 's prettymild . I don't know in the {disfmarker} in the STRUT implementation of the stuff is there a high - pass filter or a pre pre - emphasis or something in the {disfmarker}PhD F: Uh . I think we use a pre - emphasis . Yeah .Yeah .Professor A: So . We {disfmarker} we {disfmarker} we want to go and check that in i for anything that we 're going to use the P D A mike for . {vocalsound} uh He says that there 's a pretty good roll off in thePZM mikes so {vocalsound} we don't need {disfmarker} need to worry about them one way or the other but if we do make use of the cheap mikes , {vocalsound} uh we want to be sure to do that {disfmarker} thatfiltering before we {vocalsound} process it . And then again if it 's uh depending on the option that the {disfmarker} our {disfmarker} our software is being run with , it 's {disfmarker} it 's quite possible that 's alreadybeing taken care of . uh But I also have to pick a different picture to show the effects of reverberation . uhPhD B: Did somebody notice it during your talk ?Professor A: uh No .PhD B: Huh .Professor A: Well . uh Well . Ifthey made output they were {disfmarker} they were , you know {disfmarker} they were nice .PhD B: Didn't say anything ?Professor A: But . {vocalsound} I mean the thing is it was since I was talking aboutreverberation and showing this thing that was noise , it wasn't a good match , but it certainly was still uh an indication of the fact that you get noise with distant mikes . uh It 's just not a great example because not onlyisn't it reverberation but it 's a noise that we definitely know what to do .PhD B: Mm - hmm .Professor A: So , I mean , it doesn't take deep {disfmarker} {vocalsound} a new {disfmarker} bold new methods to get ridof uh five hertz noise , so .PhD B: Yeah .Professor A: um {vocalsound} uh But . So it was {disfmarker} it was a bad example in that way , but it 's {disfmarker} it still is {disfmarker} it 's the real thing that we did getout of the microphone at distance , so it wasn't {vocalsound} it w it w wasn't wrong it was inappropriate . So . {vocalsound} So uh , but uh , Yeah , someone noticed it later pointed it out to me , and I went \" oh , man .Why didn't I notice that ? \"PhD B: Hmm .Professor A: um . So . {vocalsound} um So I think we 'll change our {disfmarker} our picture on the web , when we 're @ @ . One of the things I was {disfmarker} I mean , Iwas trying to think about what {disfmarker} what 's the best {vocalsound} way to show the difference an and I had a couple of thoughts one was , {vocalsound} that spectrogram that we show {vocalsound} is O K ,but the thing is {vocalsound} the eyes uh and the {vocalsound} the brain behind them are so good at picking out patterns {vocalsound} from {disfmarker} from noise {vocalsound} that in first glance you look at themit doesn't seem like it 's that bad uh because there 's many features that are still preserved . So one thing to do might be to just take a piece of the spec uh of the spectrogram where you can see {vocalsound} thatsomething looks different , an and blow it up , and have that be the part that 's {disfmarker} just to show as well . You know .PhD B: Mm - hmm . Mm - hmm .Professor A: i i Some things are going to be hurt . um{vocalsound} Another , I was thinking of was um {vocalsound} taking some spectral slices , like uh {disfmarker} like we look at with the recognizer , and look at the spectrum or cepstrum that you get out of there ,and the {disfmarker} the uh , um , {vocalsound} the reverberation uh does make it {disfmarker} does change that . And so maybe {disfmarker} maybe that would be more obvious .PhD B: Hmm .Grad C: Spectralslices ?Professor A: Yeah .Grad C: W w what d what do you mean ?Professor A: Well , I mean um all the recognizers look at frames . So they {disfmarker} they look at {disfmarker}PhD B: So like one instant in time.Professor A: Yeah , look at a {disfmarker}Grad C: OK .Professor A: So it 's , yeah , at one point in time or uh twenty {disfmarker} over twenty milliseconds or something , {vocalsound} you have a spectrum or acepstrum .Grad C: OK .Professor A: That 's what I meant by a slice .Grad C: I see .Professor A: Yeah . And {vocalsound} if you look at {disfmarker}PhD B: You could just {disfmarker} you could just throw up , youknow , uh {vocalsound} the uh {disfmarker} some MFCC feature vectors . You know , one from one , one from the other , and then , you know , you can look and see how different the numbers are .Professor A: Right .Well , that 's why I saying either {vocalsound} {vocalsound} Well , either spectrum or cepstrumPhD B: I 'm just kidding .Professor A: but {disfmarker} {vocalsound} but I think the thing is you wanna {disfmarker}PhD B: I don't mean a graph . I mean the actual numbers .Professor A: Oh . I see . Oh . That would be lovely , yeah .PhD B: Yeah . \" See how different these {vocalsound} sequences of numbers are ? \"Professor A:Yeah . Or I could just add them up and get a different total .PhD B: Yeah . It 's not the square .Professor A: OK . Uh . What else {disfmarker} wh what 's {disfmarker} what else is going on ?PhD F: Uh , yeah . Yeah , atfirst I had a remark why {disfmarker} I am wondering why the PDA is always so far . I mean we are always meeting at the {vocalsound} beginning of the table and {vocalsound} the PDA 's there .Professor A: Uh . Iguess cuz we haven't wanted to move it . We {disfmarker} we could {disfmarker} {vocalsound} we could move us ,PhD F: Yeah ?Professor A: and .PhD F: OK .Grad E: That 's right .PhD F: Well , anyway . Um . Yeah ,so . Uh . Since the last meeting we 've {disfmarker} we 've tried to put together um {vocalsound} the clean low - pass um downsampling , upsampling , I mean , Uh the new filter that 's replacing the LDA filters , andalso {vocalsound} the um delay issue so that {disfmarker} We considered th the {disfmarker} the delay issue on the {disfmarker} for the on - line normalization . Mmm . So we 've put together all this and then wehave results that are not um {vocalsound} {vocalsound} very impressive . Well , there is no {vocalsound} real improvement .Professor A: But it 's not wer worse and it 's better {disfmarker} better latency ,PhD F: It 'snot {disfmarker}Professor A: right ?PhD F: Yeah . Yeah . Well . Actually it 's better . It seems better when we look at the mismatched case but {vocalsound} I think we are like {disfmarker} like cheated here by the{disfmarker} th this problem that {vocalsound} uh in some cases when you modify slight {disfmarker} slightly modify the initial condition you end up {vocalsound} completely somewhere air somewhere else in the{disfmarker} in the space , {vocalsound} the parameters .Professor A: Yeah .PhD F: So . Well . The other system are for instance . For Italian is at seventy - eight {vocalsound} percent recognition rate on themismatch , and this new system has eighty - nine . But I don't think it indicates something , really . I don't {disfmarker} I don't think it means that the new system is more robustProfessor A: Uh - huh .PhD F: or{disfmarker} It 's simply the fact that {disfmarker} Well .Professor A: Well , the test would be if you then tried it on one of the other test sets , if {disfmarker} if it was {disfmarker}PhD F: YProfessor A: Right . So thiswas Italian , right ?PhD F: Yeah . Yeah .Professor A: So then if you take your changesPhD F: It 's similar for other test setsProfessor A: and then {disfmarker}PhD F: but I mean {vocalsound} from this se seventy -eight um percent recognition rate system , {vocalsound} I could change the transition probabilities for the {disfmarker} the first HMM and {pause} it will end up to eighty - nine also .Professor A: Uh - huh .PhD F: Byusing point five instead of point six , point four {vocalsound} as in the {disfmarker} the HTK script .Professor A: Uh - huh . Yeah .PhD F: So . Well . That 's {disfmarker}PhD B: Yeah . Yeah I looked at um {disfmarker}{vocalsound} looked at the results when Stephane did thatPhD F: Well . Eh uh {disfmarker}PhD B: and it 's {disfmarker} it 's really wo really happens .PhD F: This really happens .PhD B: I mean th the only differenceis you change the self - loop transition probability by a tenth of a percentPhD F: Yeah .Professor A: Yeah .PhD B: and it causes ten percent difference in the word error rate .Professor A: A tenth of a per cent .PhD B:Yeah . From point {disfmarker}PhD F: Even tenth of a percent ?PhD B: I {disfmarker} I 'm sorryPhD F: Well , we tried {disfmarker} we tried point one ,PhD B: f for point {disfmarker} from {disfmarker} You change atpoint onePhD F: yeah .Professor A: Oh !PhD B: and n not tenth of a percent , one tenth ,PhD F: Hmm .Professor A: Yeah .PhD B: alright ? Um so from point five {disfmarker} so from point six to point five and you getten percent better .Professor A: Mm - hmm .PhD B: And it 's {disfmarker} {vocalsound} I think it 's what you basically hypothesized in the last meeting {vocalsound} about uh it just being very {disfmarker}PhD F: Mm- hmm .PhD B: and I think you mentioned this in your email too {disfmarker} it 's just very um {disfmarker}PhD F: Mmm , yeah .PhD B: you know get stuck in some local minimum and this thing throws you out of it Iguess .PhD F: Mm - hmm .Professor A: Well , what 's {disfmarker} what are {disfmarker} according to the rules what {disfmarker} what are we supposed to do about the transition probabilities ? Are they supposed tobe point five or point six ?PhD B: I think you 're not allowed to {disfmarker} Yeah . That 's supposed to be point six , for the self - loop .PhD F: Yeah .Professor A: Point {disfmarker} It 's supposed to be point six .PhDB: Yeah . But changing it to point five I think is {disfmarker} which gives you much better results , but that 's {vocalsound} not allowed .Professor A: But not allowed ? Yeah . OK .PhD B: Yeah .PhD F: Yeah , but even ifyou use point five , I 'm not sure it will always give you the better resultsPhD B: Yeah .PhD F: on other test set or itPhD B: Right . We only tested it on the {disfmarker} the medium mismatch ,PhD F: on the othertraining set , I mean .PhD B: right ? You said on the other cases you didn't notice {disfmarker}PhD F: Yeah . But . I think , yeah . I think the reason is , yeah , I not I {disfmarker} it was in my mail I think also ,{vocalsound} is the fact that the mismatch is trained only on the far microphone . Well , in {disfmarker} for the mismatched case everything is um using the far microphone training and testing , whereas for the highlymismatched , training is done on the close microphone so {vocalsound} it 's {disfmarker} it 's clean speech basically so you don't have this problem of local minima probably and for the well - match , it 's a mix of closemicrophone and distant microphone and {disfmarker} Well .PhD B: I did notice uh something {disfmarker}PhD F: So th I think the mismatch is the more difficult for the training part .PhD B: Somebody , I think it wasMorgan , suggested at the last meeting that I actually count to see {vocalsound} how many parameters and how many frames .Professor A: Mm - hmm .PhD F: Mm - hmm .PhD B: And there are uh almost one pointeight million frames of training data and less than forty thousand parameters in the baseline system .Professor A: Hmm .PhD F: Yeah .PhD B: So it 's very , very few parameters compared to how much training data.Professor A: Well . Yes .PhD D: Mm - hmm .Professor A: So . And that {disfmarker} that says that we could have lots more parameters actually .PhD B: Yeah . Yeah .PhD F: Mm - hmm .PhD B: I did one quickexperiment just to make sure I had everything worked out and I just {disfmarker} {vocalsound} uh f for most of the um {disfmarker} For {disfmarker} for all of the digit models , they end up at three mixtures perstate . And so I just did a quick experiment , where I changed it so it went to four and um {vocalsound} it it {disfmarker} it didn't have a r any significant effect at the uh medium mismatch and high mismatch casesand it had {disfmarker} {vocalsound} it was just barely significant for the well - matched better . Uh so I 'm r gonna run that again but {vocalsound} um with many more uh mixtures per state .Professor A: Yeah . Cuzat forty thou I mean you could you could have uh {disfmarker} Yeah , easily four times as many {vocalsound} parameters .PhD B: Mm - hmm . And I think also {vocalsound} just seeing what we saw {vocalsound} uhin terms of the expected duration of the silence model ? when we did this tweaking of the self - loop ? The silence model expected duration was really different .PhD F: Yeah .PhD B: And so in the case where{vocalsound} um {vocalsound} it had a better score , the silence model expected duration was much longer .PhD F: Yeah .PhD B: So it was like {disfmarker} {vocalsound} it was a better match . I think {vocalsound}you know if we make a better silence model I think that will help a lot too um for a lot of these cases so but one one thing I {disfmarker} I wanted to check out before I increased the um {vocalsound} number ofmixtures per state was {vocalsound} uh {vocalsound} in their {vocalsound} default training script they do an initial set of three re - estimations and then they built the silence model and then they do seven iterationsthen the add mixtures and they do another seven then they add mixtures then they do a final set of seven and they quit . Seven seems like a lot to me and it also makes the experiments go take a really long time Imean to do one turn - around of the well matched case takes like a day .Professor A: Mm - hmm . Mm - hmm .PhD B: And so {vocalsound} you know in trying to run these experiments I notice , you know , it 's difficultto find machines , you know , compute the run on . And so one of the things I did was I compiled HTK for the Linux {vocalsound} machinesProfessor A: Mm - hmm .PhD B: cuz we have this one from IBM that 's got likefive processors in it ?Professor A: Right .PhD B: and so now I 'm {disfmarker} you can run stuff on that and that really helps a lot because now we 've got {vocalsound} you know , extra machines that we can use forcompute . And if {disfmarker} I 'm do running an experiment right now where I 'm changing the number of iterations ? {vocalsound} from seven to three ?PhD D: Mm - hmm .Professor A: Yeah .PhD B: just to see howit affects the baseline system . And so if we can get away with just doing three , we can do {vocalsound} many more experiments more quickly . And if it 's not a {disfmarker} a huge difference from running with seveniterations , {vocalsound} um , you know , we should be able to get a lot more experiments done .PhD F: Hmm .PhD B: And so . I 'll let you know what {disfmarker} what happens with that . But if we can {vocalsound}you know , run all of these back - ends f with many fewer iterations and {vocalsound} on Linux boxes we should be able to get a lot more experimenting done .Professor A: Mm - hmm .PhD B: So . So I wanted toexperiment with cutting down the number of iterations before I {vocalsound} increased the number of Gaussians .Professor A: Right . Sorry . So um , how 's it going on the {disfmarker}PhD F: Um .Professor A: So .You {disfmarker} you did some things . They didn't improve things in a way that convinced you you 'd substantially improved anything .PhD F: Yeah .Professor A: But they 're not making things worse and we havereduced latency , right ?PhD F: Yeah . But actually {disfmarker} um actually it seems to do a little bit worse for the well - matched case and we just noticed that {disfmarker} Yeah , actually the way the final score iscomputed is quite funny . It 's not a mean of word error rate . It 's not a weighted mean of word error rate , it 's a weighted mean of improvements .Professor A: Uh - huh .PhD F: So . Which means that {vocalsound}actually the weight on the well - matched is {disfmarker} Well I well what what {disfmarker} What happened is that if you have a small improvement or a small if on the well - matched case {vocalsound} it will have uhhuge influence on the improvement compared to the reference because the reference system is {disfmarker} is {disfmarker} is quite good for {disfmarker} for the well - ma well - matched case also .PhD B: So it{disfmarker} it weights the improvement on the well - matched case really heavily compared to the improvement on the other cases ?PhD F: No , but it 's the weighting of the {disfmarker} of the improvement not ofthe error rate .PhD B: Yeah . Yeah , and it 's hard to improve on the {disfmarker} on the best case , cuz it 's already so good , right ?PhD F: Yeah but {pause} what I mean is that you can have a huge improvement onthe H {disfmarker} HMK 's , uh like five percent uh absolute , and this will not affect the final score almost {disfmarker} Uh this will almost not affect the final score because {vocalsound} this improvement{disfmarker} because the improvement {vocalsound} uh relative to the {disfmarker} the baseline is small {disfmarker}Professor A: So they do improvement in terms of uh accuracy ? rather than word error rate ?PhDF: Uh . Uh improvement ?Professor A: So {disfmarker}PhD F: No , it 's compared to the word er it 's improvement on the word error rate ,Professor A: OK .PhD F: yeah . Sorry .Professor A: So if you have uh tenpercent error and you get five percent absolute uh {vocalsound} improvement then that 's fifty percent .PhD F: Mm - hmm .Professor A: OK . So what you 're saying then is that if it 's something that has a small word"}
+{"doc_id":"doc_157","qid":"","text":"Industrial Designer: 'S to do now is to decide how to fulfil what your stuff is ,Marketing: Yeah .Industrial Designer: so in that sense {disfmarker}Project Manager: Okay .Marketing: Yeah , sure .Industrial Designer: so itdoes kind of make sense , yeah .Project Manager: Okay , well {disfmarker}Marketing: It kinda does make sense , doesn't it , because when we get into the end of meeting we're kind of {vocalsound} talking aboutaction and design as opposed to background .Industrial Designer: Yep .Project Manager: Okay .Marketing: Everything I have is kinda background .Project Manager: Okay we all ready to go ?Industrial Designer: Yep.Project Manager: Well how um on the {disfmarker} in this meeting then if we um {disfmarker} I'll just just recap on the minutes from the last meeting . And we uh decided onIndustrial Designer: Yep .Project Manager:decided on our our target group being fifteen to thirty five ,Marketing: {vocalsound} Mm-hmm .Project Manager: and we decided that it was gonna be non-rechargeable battery-powered , that we're gonna group ouraudio-visual and other functions into into those categories , um {vocalsound} . And I told you guys about the three new requirements about ignoring teletext , ignoring everything except the T_V_ , and trying toincorporate the the uh corporate colour and slogan . Um so that was the last meeting .Industrial Designer: Mm-hmm .Project Manager: Is there anything {disfmarker} have I forgotten anything ?Industrial Designer: No.Project Manager: Is that everything ?Marketing: Uh that sounds {gap} .Project Manager: Okay . Um so if we have the three presentations , and then if you have anything to kind of {disfmarker} that you know you'regonna want to discuss , maybe just make a note of it , and we'll have all the discussion at the end . That might be a better idea this time .Marketing: Sure .Project Manager: And so if we start off uh with Andrew andthen Craig and then David ,Marketing: Okay .Project Manager: if that's alright .Marketing: Sure .Industrial Designer: Yep .Project Manager: Um and then after that we'll have to make some decisions about stuff , right{vocalsound} .Marketing: Yeah , cool .Project Manager: So if you wanna take this .Marketing: Why don't I get that {vocalsound} ? Hmm .Project Manager: {vocalsound} Screwed in quite tightly . Uh what did{disfmarker} uh how did we leave it with speech recognition now ? We {disfmarker} did we say we were gonna try {disfmarker} maybe incorporate it but we hadn't made a definite decision on that ?IndustrialDesigner: Mm-hmm .Project Manager: Right . Oh I should also point out that um the you know the kind of final objective of this meeting is to reach a decision on the concepts of the product .Marketing: Okay .{vocalsound}Project Manager: So um {vocalsound} that's kind of the end result hopefully .Marketing: Okay . Um alright so c is it function F_ eight ?Project Manager: {vocalsound} Uh-huh . Hopefully appear in a weesecond .Marketing: Hmm . Come on . I think it's working .Project Manager: Up there we go .Marketing: Okay great s so let me just start this . {vocalsound} Okay great . So um {vocalsound} uh s move on . Uh-huh{disfmarker} oh where'd it all go ?Project Manager: {vocalsound} Oh no .Marketing: It's not good . Okay lemme just see where I can find it . This looks more like it . I think I just opened up the template .ProjectManager: Oh right .Marketing: Sorry about that . Okay alright so let's have a look here .Project Manager: Here we go .Marketing: Okay so this was the method that um I've taken . Uh basically what I wanna do here ,before we get into it uh too far , is I want to show you all the background information I have that I think we need to acknowledge if we want this to be successful .Project Manager: Okay .Marketing: And uh and thensorta g go through some of the way that I've dealt with that information , and then sort of bring us all together into it to see {disfmarker} sorta see how this fits in with the overall vision . Um so I've tried to take awhole lot of market research and summarise it for us , and then ide identify uh trends that are are sort of in sync and are important to our our uh p project plan that we have so far , and then uh initiate a kind ofdiscussion on design options so that it sorta helps us to to narrow in on on aspects that will inform other uh other elements of the of the project . Does that make sense , tha that sort of strategy ?Industrial Designer:Yep .Project Manager: Mm-hmm .Marketing: I thought that that will impact on the rest of what we do , so that's why I suggested we get in this .Project Manager: Aye a fair point definitely .Marketing: Okay so out of umdifferent uh figures and ratings ob uh of people in general , um consumers in general , the number one thing that was found was that uh the br t television remote control , a fancy look and feel , okay , and not , itspecified , not a functional look or or feel , uh b f f fancy .Project Manager: Okay .Marketing: Um however , this is where we kinda have to be very , I think , creative about it . Number two was that it be innovative .Okay so that tells me that we have to find a way to be innovative without a adding just unnecessary um sort of functional bits to it . Uh and third priority uh for ease of use , so again that kind of gives us a generalpicture of how it has to be , um {vocalsound} quite user friendly while still having technology . So it {disfmarker} I'll just say right away as a bit of a foreshadowing into how we proceed with this in terms of mmarketing , is that I think um {vocalsound} what we should think about is how the um {vocalsound} about how the innovation uh contributes to the look and feel , and not so much to the functionality of it .ProjectManager: {vocalsound} Aye right .Marketing: For example like when you pick it up and push it like it all lights up or something , you know what I mean , like , or it's got something else to it that just seemsinnovativeProject Manager: Uh-huh .Marketing: because obviously the thing that {disfmarker} the message here is ease of use . So how do you make innovation make something more {vocalsound} more easy to use ?Well that's I guess where we're gonna go with this .Project Manager: Okay .Marketing: Okay then there's the other aspect of the back the the market um research I have here is on fashion style , okay , which as we'veagreed is a priority . Uh top European fashion trend um {vocalsound} that I read about says there's this emerging theme of fruit and vegetables , okay ,Industrial Designer: {vocalsound}Project Manager:{vocalsound}Marketing: especially in clothes and furniture . And when I first saw that I thought hmm , well do we want to actually try and think about this trend and how we add something to it , or we get right into it ,or we completely steer away from it ,Project Manager: Okay okay .Marketing: do you know what I mean ? So my my feeling is that we w do want to observe this trend , but we want to think also about the fact that itsort of has to fit in with something which is not specifically electronics . Um 'cause I think what we're in what we're in is partly sort of home decor , partly something like a computer , um {vocalsound} so I think wemight wanna be careful about how you know how quickly we create like a remote control in the shape of an apple or something ,Project Manager: {vocalsound}Marketing: I think that would be pushing it .IndustrialDesigner: {vocalsound}Marketing: And then in terms of m material trends are for things to be soft and spongy and sort of , you might say ergonomic or or friendly to handle , which is {disfmarker} which also inindicated that last year this was this was not the case . So um probably a lot of the competition on the market will be still in last year's mode , so if we try and really capitalise on that , I think that'll be in our favour . Um{disfmarker} So these this is the summary of everything . Um style is number one uh thing in the in the market of who we're selling to . Uh innovative design technology's also a must in that it's seen {disfmarker} it'dbe seen to be uh cutting edge , uh but ease of use t has to be insured throughout . That was like the number three thing . And then at the end there are vibrant natural colours um that's the way I interpreted it anyway ,softness in materials , shape , and function , and so I've written at written at the bottom to give us sort of a context of discussion , Mac iPods ,Project Manager: Mm-hmm .Marketing: something which is , I'd have to sayvery high-tech , ten gigabytes , whatever , but when you hold it in your hand there's like no buttons .Project Manager: Mm that's true , yeah .Marketing: You know what a Mac iPod is ? I'm thinking however Mac iPod issort of last year's because it's very hard and sort of glassy and glossy , so I'm thinking if we imagine that we're taking some of the features of a Mac iPod and we're then making it s more of like a more of like acomfortable type of {disfmarker} or more of like a {disfmarker} {vocalsound} maybe more vibrant to friendly thing to have . Um and then so this is w with all that information what I'm what I'm suggesting in this slidehere is that we we take these ideas , and as we get into more the more um {vocalsound} techni like sort of production side of things , that we think about shape , materials , and themes or series that go throughout .Sort of like a {disfmarker} I dunno like um we think of some kind of a thin theme that unifies it all , that we agree on , uh sorta like a marketing identity . Um {disfmarker} Does that make sense ? Yeah . So{vocalsound} so like I threw out a few ideas there just to kinda get us thinking along those lines like lemon , lime , I dunno , green colours , pe whatever , it's just an idea , 'cause I'm thinking that some of these ideaswill seem quite coherent if we use them in terms of their {disfmarker} what people associate this {disfmarker} them with in terms of texture , shape , colours , things like that .Project Manager: Mm 'kay . Great.Marketing: Like um the ones the ones which I'm most fond of in terms of giving like a theme to it would be like um like lemon or something like that , you know something which is , like you see a lot in in other areas .Like I see lots of websites and things that seem to associate with like lemon and lime and {disfmarker}Project Manager: Okay .Marketing: So anyway it's just just an idea .Project Manager: Yeah .Marketing: I'mthinking maybe we could incorporate some of these features into a fairly um {disfmarker} {vocalsound} into something which is {disfmarker} which seems to have something to it which is almost gimmicky because likeum like something to do with like lighting within it . Like you know just within the simple sense , when you pick up a phone and touch a button it uh lights up , q usually the buttons light up .Project Manager: Ah.Marketing: How can we build on that ? Maybe like it could light up in different colours or something or or people could buy the buy the control and then it comes with different like covers or something so .ProjectManager: Okay .Marketing: Anyway those are {disfmarker} that's all I have ,Project Manager: That's great .Marketing: but uh hopefully we can we can revisit those ideas when we get into {disfmarker}Project Manager:Uh-huh . Okay great .Marketing: {gap}Project Manager: Um thank you for that . Uh Craig do you wannaMarketing: Yep .Project Manager: uh plug yours in then ?User Interface: Is it working ?Project Manager:{vocalsound} Mm . Not quite .Marketing: Did you press F_ eight ?Industrial Designer: It's probably not sending . Yeah .Project Manager: Oh something coming now , yeah .Marketing: {vocalsound}Industrial Designer:Yep , there it is .Project Manager: There we go .User Interface: And so think of this concept . Um to research it I've um had a look on the the homepage again . It's provided me with more examples of um previouslyexisting c remote controls . Um there's a wee bit of discussion about the other existing ones there , um so I've taken the um suggestions from them and tried to incorporate them into this um {disfmarker} So then this{disfmarker} we're looking for um suggestions on size th um size of control and the buttons , um the shape of the control , and whereabout the buttons should be located on the control .Project Manager: Mm .UserInterface: Um what I found from the research is that most the current controls are just basically big bricks with loads of buttons all over them . Um they're not very attractive to look at , {vocalsound} and they're notvery comfortable to hold , they're {disfmarker} I just hold 'em like big bricks , and they're very easily lost . Um they tend to be very dark colours , so if there are shadowy places down the side of couches you can'treally see them . {vocalsound}Project Manager: Mm-hmm .User Interface: Um {vocalsound} the the controls themselves tend to use a very inconsistent colour scheme . Um for instance , the stand-by button isn'talways red , uh it really should be . It's uh something the user then uh identify with . This is a red switch off , that's how it should be . Um I'm not sure if there's any other examples of that , but something to look out for. Um there's a problem that I've I've got couple of preferences for the the end control {vocalsound} um I get 'em with the the red colour button for stand-by and s the other examples of that {vocalsound} um{disfmarker} {vocalsound} The buttons should be large . They shouldn't be tiny little things like you get on some mobile phones . They should be easy to press , very comfortable . {vocalsound} Um one of theexamples given on the homepage was um {vocalsound} there's an up and down volume button but both of them have a V_ on them ,Project Manager: Mm-hmm .User Interface: so the up volume button looks like itshould be a down volume button , that's kinda confusing . Um should avoid s things like that . Um {vocalsound} if the the corporate colour scheme allows it we should have a very bright colour so that it can be easilyidentified anywhere .Project Manager: Okay .User Interface: Um obviously trying trying to avoid being tacky there , but it could um tie-in very easily with your your lime and lemon idea .Marketing: Yeah . Okay , do wehave a corporate colour scheme ?Project Manager: {vocalsound} I think it's yellowMarketing: I didn't know .Project Manager: because like the website is yellow and there's a band at the bottom is yellow ,Marketing:{vocalsound} Okay .Industrial Designer: And the Play-Doh 's yellow {vocalsound} .Project Manager: so yellow , lemon , you know definitely food for thought there ,Marketing: Okay .User Interface: Fantastic .{vocalsound}Project Manager: but keep goingMarketing: Okay .Project Manager: and we'll discuss it after .User Interface: UmMarketing: Yeah .User Interface: any extra features we add beyond the basic ones shouldbe m hidden , they shouldn't be on the {vocalsound} {disfmarker} um shouldn't be visible without something be opened or some sort of special extra effort .Project Manager: Mm-hmm .User Interface: {vocalsound}Um if we did decide to go for voice activation {vocalsound} there sh should always be a button as alternative , possibly hidden in the the opened up section um making that something is wrong with it or withsomebody's voice , maybe they got a cold or {disfmarker} Um {vocalsound} we should definitely avoid the big square block look . That's just wrong .Project Manager: Mm 'kay .Marketing: Mm-hmm .User Interface:And um we got an email uh from I think it's the the research department , {vocalsound} and they've said th the voice control um can now talk back if you ask it a question .Project Manager: Mm .User Interface: So it shit could be good to have them um confirm any action you takeProject Manager: Aye that's a good idea , yeah .User Interface: and {gap} possibility . Right and these are problems I've had with it . Um I don't knowwhere the slogan should go , or really what the slogan is . I think it's um , fashion into electronics .Project Manager: Yeah .User Interface: And we don't know how flexible the colour scheme is . I mean you say youwanted the the corporate colours , but they don't say you know if we can use any other colours at all or {disfmarker}Marketing: Mm .Project Manager: Okay .Marketing: Mm .Industrial Designer: Cool .User Interface:That's it .Project Manager: Okay .Marketing: Great . {vocalsound} Lots of good information there .Industrial Designer: Mm-hmm .Project Manager: Yeah that that was very good ,Industrial Designer: Mm 'kay um.Project Manager: and uh now with David .Marketing: {vocalsound}User Interface: I think I'm cool .Marketing: It's a shame the cable wasn't just in the middle {gap} {vocalsound} of the table ,Project Manager: I knowit'd be handy , wouldn't it .User Interface: {vocalsound}Marketing: huh ? Just um {disfmarker}Industrial Designer: Oops .Project Manager: Do y do you wanna sit in the the line of sight of this um{disfmarker}Industrial Designer: Yeah okay . Let me just get this going first .Project Manager: Yeah .Industrial Designer: Ah there it is . {vocalsound}Project Manager: {vocalsound} {vocalsound}{vocalsound}Marketing: {vocalsound} It takes a second , doesn't it ?Industrial Designer: 'Kay , that should be it . Okay um I guess the same thing again , I started with something very basic .Marketing:{vocalsound}Industrial Designer: So just so you guys have some idea of what's involved in my process , um and then you can just work through itMarketing: Mm-hmm .Industrial Designer: and we 'll either modify it orstart from scratch um depending on what your needs are . Um the components are exactly the same .Project Manager: Mm-hmm .Industrial Designer: Um I think , like what you guys said , um the most input that'sneeded is basically in the user interface . The rest of the components um they do have an impact in terms of cost and complexity . Um like you said time to market was a problem , um and how many components arephysically in there in cost . And the power is basically a factor of that . Um and the lower components , the power , the logic , the transmitter , and the infrared , um they affect you in terms of the size of your device ,um and that would have some inte impact on how y I think more how you hold rather than um the actual use using the the remote control because um like we've said {disfmarker} we've defined , like we only want thebasic things that {disfmarker} to be visible , and the rest of them we try to hide . So um you know it's just a matter of working out space .Marketing: Mm-hmm .Industrial Designer: So I guess three things , um cost ,um complexity , and the size . These are the three things that um will have an impact on you . So just go through it in the components . Um these are the options that are available to you , um I'm not very sure aboutthe voice thing 'cause I got another email and it was in fact quite sketchy on what n the voice options are .User Interface: Right .Industrial Designer: Um it said it could talk to you , but it never said anything aboutbeing able to listen . I it said something about a sensor but never clarified that .Marketing: Mm .Industrial Designer: So maybe if you {disfmarker}Project Manager: Hmm .Industrial Designer: well I could see the otheremail that they sent you , um 'cause they got back to me with like different requirements {vocalsound} , or different offerings of what components availa Okay so your basic components are buttons ,User Interface:Right .Industrial Designer: okay and you have a wheel available , like a mouse scroll wheel ,Project Manager: Mm .Marketing: Mm-hmm .Industrial Designer: okay there's an L_C_D_ display ,Marketing:{vocalsound}Industrial Designer: {vocalsound} um I think these are quite standard things .Marketing: They're standard , aren't they ?Industrial Designer: No um they're {disfmarker} well in the sense that these are allthe options available for you . I'll explain to you the complexity and the cost thing again a bit later .Marketing: Yeah .Industrial Designer: Okay um then there's um how the case actually looks . It can actually be flat orit can be curved , um and then the different types of materials that you can use , um I don't think you can use them in a combination , um but umProject Manager: Mm-hmm .Industrial Designer: I could check back foryou , but I don't think you can actually use them in a combination .Project Manager: We {disfmarker} you couldn't have like plastic and rubber ?Industrial Designer: Um I think plastic and rubber would be fine , butplastic , rubber , and wood , I wasn't {disfmarker} I'm not very sure about the titanium .Project Manager: Yeah .Industrial Designer: They had some restrictions on using the rubber and the titanium .Marketing: Hmm.Industrial Designer: Um the rubber was a restriction on the kind of power source you could use ,Project Manager: Mm 'kay .Industrial Designer: but the titanium had a different kind of things on the shape of the thing"}
+{"doc_id":"doc_158","qid":"","text":"Lynne Neagle AM: Good morning, everyone. Welcome to the Children, Young People and Education Committee. We've received apologies for absence from Julie Morgan, and I'm very pleased to welcome David Rees,who is substituting for her today. Can I ask Members whether there are any declarations of interest, please? No. Okay. Thank you very much. Item 2 this morning, then, is a session with the Minister for Children andSocial Care on the Welsh Government's childcare offer. So, I'm very pleased to welcome Huw Irranca-Davies, Minister for Children and Social Care, also Jo-Anne Daniels, director for communities and tackling poverty,and Owain Lloyd, deputy director for childcare, play and early years. So, thank you, all, for your attendance. If you're happy, we'll go straight into questions from Members, and the first questions come from HefinDavid.Hefin David AM: Good morning, Minister. How has it gone in the early implementer local authority areas, and is it something of a mixed bag?Huw Irranca-Davies AM: It's gone well, but I'm glad we've done itthrough this process of early implementer, actually piloting it, because we're learning lessons as we go along. It has gone well. It's been encouraging, to the extent that we're at the point where we're expanding—we'vemade announcements on expanding some of the early implementer areas so we can learn more lessons. But, in terms of what we're learning, one is the bureaucracy around the current approach that we're taking,because it's being done on the seven early implementers. So, we're asking parents to come in, provide their wage slips, provide the birth certificates, and so on. You're dealing sometimes with parents and families withcomplex issues and complex backgrounds, so it's difficult. And the burden of administration on that is falling to each pilot area. In one case, it's a whole authority, but it's only one—that's in Blaenau Gwent. In others,it's smaller areas. So, we're also hitting those—. The other big challenge we're hitting is communication. So, we're having parents, generally, who are outside the areas entirely saying, 'Why haven't we got this yet? Canwe please get into it?', which is encouraging. But the other thing we're having is people who are within pilot authorities, where it doesn't extend to the whole authority, saying, 'Well, hold on now, we think we qualify forsomething under universal care, we think we qualify for something on tax credits. Why don't we qualify for this?' 'Well, you're not in the pilot area.' So, we're learning about these things, but the biggest one, I have tosay, is the administrative burden, and I think that's interesting in how we take this forward for a wider roll-out.Hefin David AM: What is the administrative burden? What specifically is that?Huw Irranca-Davies AM: It isthat sheer burden on each local authority, and each pilot area, to administer a scheme where we are asking parents to prove eligibility, to bring in documents to prove their eligibility, to make adjustments as it goesforward based on what their changing work patterns are, what their salary slips say. It's incredibly bureaucratic. So, yesterday, when we made the statement following the announcement of the introduction of theChildcare Funding (Wales) Bill, we made clear that our preferred option, as put within that framework Bill, is actually to build on, and to learn from the lessons as well, the model of the HM Revenue and Customs type ofmodel, where you actually have—and this, by the way, is supported by local authority providers out there—one system that is a centralised system, where there is clarity, that is handled, that has elements ofinformation sharing between Government departments, such as the Department for Work and Pensions, and so on, so that the work is done for the parents, and the work is done for the local authorities; much cleaner,much simpler.Hefin David AM: How confident are you that you can achieve that by 2020?Huw Irranca-Davies AM: We are very confident. But, as I say, I'm more confident in the fact that we're actually piloting it, andphasing this in, because I think we've learned from some of the experiences elsewhere, including just over the border in England, where they have a different version of a childcare offer, but they've gone for it in abig-bang approach. And it has led to technical issues, it's led to volume issues, where their anticipation of how many people would buy into it was overwhelmed by the numbers who actually then came forward for it,and the complexity, I have to say, of individual family situations, whereas what we are doing, Hefin, is taking this forward very, very carefully. Each roll-out, each expansion that we're doing of the pilot is not—and Iknow this has caused some people to come back and say, 'Why can't we all have it now?' It's because we're only rolling out to areas where we now need to learn a lesson about whether it's rurality or, as it will bewithin densely urban areas, where the cost might be slightly higher, and that's allowing us to have the confidence that we'll have it. We've expanded the whole offer across Gwynedd—the whole of Gwynedd, Angleseyand Caerphilly. Flintshire now have a cross-authority offer. Rhondda Cynon Taf is anticipating doing this by September. Swansea is planning to do it, they tell us, in due course—in short order—as well. So, we have theconfidence now that, with that learning going on from different pilot areas, we'll have the full roll-out by 2020.Hefin David AM: Is it true to say that, in the early adopter areas, the intensity of demand for the services isnot spread evenly across?Huw Irranca-Davies AM: Absolutely.Hefin David AM: And why is that? Is that going to cause a problem across Wales?Huw Irranca-Davies AM: No, it won't cause a problem. If we were doingthis tomorrow, it would cause a problem, but what we're learning is that there are some economic issues and then there are some cultural issues. So ,there are issues to do with—. It's not capacity, by the way. We'renot finding a problem here with capacity, whether it's in English language provision or whether it's in Welsh language provision, whether it's in children with complex needs, we're not finding that as an issue. But whatwe are finding is, for example, one of the well-known ones—and I've spoken about this before—is that, in some of the south Wales Valleys constituencies, there is a family tradition of doing childcare within the families.I've done it myself. Grandparents, aunts, uncles and so on provide free, unregistered, unlicensed childcare of a sort. Now that isn't what the scheme is about, by the way, I have to say. So, some of the aspects arecultural, but what we're also doing alongside this, whilst looking at the capacity and looking at how we learnt from the pilot roll-out, is that communication with parents and providers and local authorities as well. So, wehave a whole programme running alongside it. It's about communicating what the offer is, how simple it is to get invovled in this and where they go to, and, critically, I think, how we do that national roll-out would beimportant as well.Hefin David AM: So, given the point you've made about grandparents and family, wouldn't it be sensible, then, to offer a subsidy to grandparents to provide this kind of care?Huw Irranca-Davies AM:Unregistered grandparents?Hefin David AM: Well, through some kind of analysis of that.Huw Irranca-Davies AM: Well, we don't think so and there are good reasons behind this.Hefin David AM: Is it because you say thatthey wouldn't be registered as carers for their own family member?Huw Irranca-Davies AM: Yes, but there's a deeper reason behind that registration as well. The childcare offer isn't only to just provide childcare; it'sthe wider aspects that come with this. This childcare offer ties into the foundation years offer. There's an element of education linked to the childcare offer—there's that 10 hours of the early education foundation yearsas well. The two tie together. So, there's an issue here with quality, about socialisation and how children learn in an environment, as opposed to purely—as great as all our grandparents and aunts and unclesare—simply child-minding. That's one important distinction. So, the focus of this scheme is very much on registered licensed providers, which could be, by the way—because we do have them, and we're discussing thisat the moment internally and with the Professional Association for Childcare and Early Years and others—grandparents who are actually registered and inspected by the care inspectorate? We're having thosediscussions.Hefin David AM: How many of them are there?Huw Irranca-Davies AM: We don't think there is a huge number, but we're trying to bottom this out at the moment. We haven't got the exact number, but wedon't think they are huge numbers, but there are, in our constituencies, registered, licensed, inspected grandparents who look after other people's children in a little group of four or five or six or seven, but also theirown grandchildren.Hefin David AM: So, they're a kind of grandparents club.Huw Irranca-Davies AM: Yes. Now that, I would say to you—and I know that Darren raised this on the floor yesterday as well—is markedlydifferent in the nature of it, because it's registered and licensed, than simply informal grandparents or aunts or uncles. I say that as well because we also get people who will say to us, 'I don't want to be paid for lookingafter my grandchildren; I look after my grandchildren because I look after them'.Hefin David AM: And what about the view, given that you said that capacity wasn't an issue, of the National Day Nurseries Association,which says that Wales has the most fragile childcare sector in Great Britain?Huw Irranca-Davies AM: I don't agree we have the most fragile, but the childcare offer gives us an opportunity to make it more resilient andmore robust. We know from the early piloting, and as we roll it out, that there is the immense diversity within the childcare sector, and we're talking about everything from those very small terraced homes that havebeen licensed and registered to take six or seven children, to large, complex environments that perhaps are on maintained premises within school premises, provided by a voluntary or third sector organisation. So,there's immense complexity and we know that that differs across Wales, and we also know there's immense regional variation in the scale and the type of childcare offer. What the roll-out allows us to do, backed by £60million of capital money behind it, in terms of capital development of childcare facilities, backed by a 10-year workforce development plan for childcare—and bear in mind this is bolted in as part of our foundationaleconomy approach as well—that means, by 2020, we get to the point where we're putting the money into the capital development but also to the workforce development, because in some areas we're finding it's not todo with lack of provision and facilities, it's to do with lack of staff. In other areas, we're finding there are plenty of staff but not the adequate facilities. We've got to get it right.Hefin David AM: That's fair enough, but is itrealistic to think that there's going to be capacity growth in the next two to three years to deliver the product? Is that realistic to think that that foundational sector can provide that level of staffing?Huw Irranca-DaviesAM: Yes, I think it is, absolutely, because, again, what we're finding is we've got several things going on at once in terms of how we monitor and assess the development of this roll-out. One is the work that we're doingon the ground with the phased roll-out, so we're literally learning live time, and I have pretty much weekly or fortnightly updates on how things are going, but also there is a termly update as well. We've alsocommissioned additional work from Arad to look at this first phase of the roll-out that we've done to see what that tells us as well. But the feedback that we're getting from the childcare providers themselves, on thebasis that we're now identifying where either the gaps in the workforce or the physical facilities are, is that, 'Yes, we can do this', because we're putting the money in, we have the strategy for the workforcedevelopment, and it's not going to be the same in all parts of Wales. It's not as if what we're saying is, 'Here's what we're going to do all of a sudden—flick a switch and we have a universality of the same type ofprovision everywhere.' So, let me give you one key example. Alongside this, alongside the £60 million capital fund, alongside the workforce development, we've also identified a separate strain of money into cylchmeithrin. We know that there is a shortage in parts of Wales for Welsh language childcare development. We're specifically putting money into developing that, and, in fact, the first one of those will be, from that newtranche of money, opening up, I think, in September. They anticipate, as part of our big strategy with Welsh language development, we'll have an additional 40 of those by—Jo-Anne Daniels: Thirty.Huw Irranca-DaviesAM: It's an additional 30 by 2020, and an additional doubling of that in the 10 years after that. We can't take this for granted, Hefin. This is difficult. This is hard work, but we have everything in place to make ithappen.Hefin David AM: The last thing from me: the £4.50 single national rate—is there a danger that we might be creating a kind of EasyJet-style nursery provision where you get the basics but the wealthier parentsare going to be able to pay for better care within those settings because of the add-ons?Huw Irranca-Davies AM: We really mulled over this a lot and discussed it, I have to say, not only internally but with childcareproviders out there and with parents as well and with local authorities. The first thing to say is the £4.50 rate that we've set has been welcomed, and it's been welcomed because it's unlike the much more complex offerthat's in England, where there's a variable rate and there are lots of determining factors on it and it's added complexity and confusion.Hefin David AM: Can I just ask there, it's been welcomed perhaps in Blaenau Gwent,but has it been equally welcomed in Cardiff?Huw Irranca-Davies AM: No, because we haven't rolled it out in Cardiff yet, and that is a salient point.Hefin David AM: Okay, fair enough. But will it be, then?HuwIrranca-Davies AM: Yes, it will be. Some of the more expensive areas like Cardiff and Newport are knocking on our door saying, 'Please can we have this offer?', and we are keen to give it to them. But, as I say—HefinDavid AM: But do you anticipate a capacity problem with the £4.50 in those areas, compared to, say, the Cynon valley?Huw Irranca-Davies AM: We can't anticipate it yet, Hefin, but that's exactly the reason for goinginto that area and then assessing how it works. We're reasonably confident that the £4.50—. We're reasonably assured by the feedback that we're having that the £4.50 might work as a universal amount. But if welearn, when we roll it out in Cardiff and Newport, that there needs to be some variation, we can look at that, because we're not doing a big-bang approach. So, that is part of why we will move to roll it out within Cardiffand Newport and other more expensive areas and learn from it, but at the moment, I have to say, the £4.50 amount has been welcomed—it's appropriate. You touched on the other aspect, though, of the wider aspectsof beyond the £4.50, because the £4.50 doesn't cover everything. The £4.50 is a contribution towards the wraparound childcare element but it doesn't cover—and we agonised over this—the issues of things liketransport out on trips or food or snacks and things like this. Now, we did agonise a number of things that brought us to the conclusion where we are. I have to say, this hasn't been ivory-tower stuff; it's been indiscussion with the providers but also parents. One: parents are quite used to—with childcare settings and play care settings and so on—the idea that providers are quite different. Some providers charge a fee that doeseverything in one; others provide simply the childcare element but they tell the parents—and I'm used to this as a parent myself, although mine are older now—'Mr Irranca-Davies, when you sign on, just to be aware, ifwe do take your kids down to St Fagans, there's going to be a little bit of a charge for that' and so on.Hefin David AM: That's fair enough, but it would be the lowest-income working families who would be most undulyaffected by that, because the higher income families would be able to afford those add-ons, the lower income ones won't. Isn't that a concern?Huw Irranca-Davies AM: If money was absolutely no object, then I thinkyou'd be looking at quite a different offer, but it has to be affordable within what we've got as well. The fact that parents, including those who are on lower incomes, are used to currently discriminating betweenproviders, not only with childcare settings but also within school settings as well, where very often schools now will say, 'We're doing something extra'—Hefin David AM: That may be the case, but it's not fair, is it?HuwIrranca-Davies AM: In a pure argument about equity, and if funding was no object and if the burdens of austerity were released and we were told we had money—'You can do what you want'—I think you'd be looking ata very different approach. But within what we have, I think this works very, very well indeed, because it's very transparent for parents who are used to making these decisions. It says, 'Here you have 10 hours of thefoundation education offer. You have the additional hours here provided with the childcare offer. But within those additional hours, you may be with a local provider in the middle of Powys that actually says, \"Within thatwe provide everything\"; you may be with a provider that says, \"Well, actually, we do a whistles and bells thing and we take them out on trips, but it's up to you if you want to come, and here's the additional cost—\".'Parents are used to making that decision and realistically, in terms of what we can do with this offer, this is actually—the arguments around this have been well rehearsed both with providers and with parents and we'renot getting any concerns that this is going to unnecessarily disadvantage. In a total fairness argument, would you make it universal and with no additional charges? Well, possibly you would. But we work within therealistic—Hefin David AM: Or have a lower top-end income limit.Huw Irranca-Davies AM: Depending on how the Bill progresses in the main Chamber and when it goes through committee, there's that flexibility built intothe Bill that those things can be looked at over time and adjusted. For the moment, I think there is an attraction, in terms of the upper limit, of saying: one—'Let's try not to add additional complexity, let's go with ascheme that's already working its way through the system, which is, if you like, what they're doing in England, and not add additional complexity. But, secondly, there is an appeal to universality, curiously, in saying toall parents—and I say this regardless of political hues across the committee here—there's an attraction when you say, 'Let's make an offer focused on working parents as it is', as universal to those working parents aspossible, and avoid the administrative costs of saying, 'Well, let's take the upper limit down to £80 or £60 or £55.' There's always the question of how much additional cost is incurred in actually doing that tweak ofcomplexity. We have looked at it.Lynne Neagle AM: Darren on this.Darren Millar AM: Just to ask, I mean, the labour market costs are changing, aren't they? You've got the national living wageincreasing—[Inaudible.]—that's going to have a bearing, isn't it, on the affordability of this project in terms of the childcare offer and the suitability of the £4.50 per hour regime? By the time it's fully rolled out, ofcourse, that £4.50 rate is going to be a number of years old, for example. Do you have plans to review that? Where is it headed? Because it's certainly not going to be enough in the future.Huw Irranca-Davies AM: Itdepends how far in the future you're looking. I have to say, the feedback that we're having at the moment from organisations like the Professional Association for Childcare and Early Years and from the National DayNurseries Association Wales and others is that this is the right rate and it's suitable not only today but for the foreseeable future of rolling this out.Darren Millar AM: But they've raised concerns about the nationalliving wage implications, haven't they, as well?Huw Irranca-Davies AM: Of course, and I think it's incumbent on us as well to not—Darren Millar AM: So, it's not fair to say that they haven't raised concerns about therate.Huw Irranca-Davies AM: Yes, but what they're not arguing for at the moment is for this rate to be raised.Darren Millar AM: But they have suggested that in meetings—Huw Irranca-Davies AM: That infuture—Darren Millar AM: Absolutely.Huw Irranca-Davies AM: Well, of course, in future, any Minister, any committee, will want to come back and look at—is the hourly rate, as one element of the scheme, appropriate to"}
+{"doc_id":"doc_159","qid":"","text":"User Interface: Okay .Industrial Designer: Or you get it . Okay .User Interface: No I don't think so it has to be like that yeah and you have to adjust the length . Okay , and then .Project Manager: {vocalsound} So weuh {disfmarker} we will wait for Anna , a few minutes .User Interface: Yeah , s yeah , um .Industrial Designer: {vocalsound} Mm {vocalsound} . Yours is well {disfmarker} {vocalsound}User Interface: I think you canput anywhere you want , actually . I thinIndustrial Designer: Yeah but the the mic should not {disfmarker}User Interface: It's not a directional mic , anyway .Project Manager: I think it should work like this .IndustrialDesigner: {vocalsound}User Interface: Uh .Project Manager: So I will try to get my presentation running .User Interface: Yeah .Industrial Designer: Yeah .Project Manager: Mm .Industrial Designer: Mm . Can't help youwith that .User Interface: Last .Project Manager: It's no matter .Industrial Designer: Okay , it's y yeah .Project Manager: No problem . Ah yes .Industrial Designer: Right .User Interface: Okay .Industrial Designer: Thenpress uh alUser Interface: Okay .Industrial Designer: This .Project Manager: I don't know .Industrial Designer: You know ?Project Manager: Just try .User Interface: 'Kay .Project Manager: On this normal{disfmarker}Industrial Designer: Oh oh .User Interface: Alt F_ five .Project Manager: Good . Doesn't appear on the screen here .Industrial Designer: {vocalsound} Right well {disfmarker}Project Manager: Oh.Industrial Designer: Wow . Amazing . It's working {vocalsound} .Project Manager: Okay . Thank you . {vocalsound} Uh .Marketing: Hold that . Okay .Project Manager: Yes and you can put can clip it uh on your{disfmarker}Marketing: Okay . Mm .Project Manager: Somewhere . So , {vocalsound} good morning , everyone . Um {disfmarker} Welcome at uh {disfmarker} at the kick off meeting of our uh latest project .IndustrialDesigner: {vocalsound}Project Manager: I hope you all have been uh updated about it .Industrial Designer: Yeah .Project Manager: Good .User Interface: So . Yes .Project Manager: So w we will try to structure this uhmeeting with an a with an agenda uh as presented here . Um after the opening we will tr get acquainted to each other .User Interface: {vocalsound}Project Manager: See what our roles are in this project . So , um{disfmarker} We have been provided with uh some uh w technical tools to uh {disfmarker} to communicate and to well , learn from each other's plans uh as I can say um so w we will also try to uh to get acquainted tothis tools so they are also new to me I don't know whether you worked with them before . Um then we will come to the uh to the to the actual project plan . You all know I hope {vocalsound} how it's about uh the uhnew r remote control we are going going to design .Marketing: Mm-hmm .User Interface: Total .Project Manager: Uh then we will uh discuss uh , well , how it should be and uh {disfmarker} wh what uh what our newproduct should look lite {disfmarker} like . And uh well then uh after some twenty five minutes I hope uh we can end this meeting . So . Um basically this is about a uh a new c remote control . Um {disfmarker} We{disfmarker} When you design a new product you of {disfmarker} uh you of course want it to be original . Be uh {disfmarker} we want to be distinguished , mm ? People uh want to uh when they look at the shelf wantto think , well that's the product I I need . So it needs to be trendy . I mean trendy is what people want , so then I w they will buy our product . But then , uh , it also should work uh user friendly and uh otherwisepeople uh uh well it will not be uh be rated very well in consumer uh articles and like that .Industrial Designer: {vocalsound}Project Manager: So , the general outline of uh new project will be we first uh go through afunctional design phase . Um {disfmarker} You all get uh um certain task uh in this uh in this phase and uh then we will meet again and uh discuss this functional design . And the same holds for the uh ph two phasesuh after this , the conceptual design and after that a a more detailed design in which the the final project should get its definite shape . Alright , but first we will do some uh tool training . In all in front of you uh you seeuh the uh notebooks and w uh n note blocks and we have here a a {disfmarker} a {disfmarker} a white-board .User Interface: WhiteboMarketing: Mm-hmm .Project Manager: And um well it should work uh{disfmarker} I've read it from my uh from some colleague that it should work with some kind of toolbar . I didn't find out yet how it work , but maybe one of you did , so {disfmarker} Um {disfmarker}IndustrialDesigner: Under documents in the shared folder . Okay .Project Manager: Yes . Do {disfmarker} Do we have to say something about that ? I I I'm not fully updated about this shared folder uh .Industrial Designer: Yeah, I guess we'll have a shared folder uh with documents that we can share . And uh , yeah .Project Manager: Yes well we will then find out ho how it works .Industrial Designer: Yes .Project Manager: Um . Well , thisseems to me , yes , some computer program but I didn't find it yet . So , we'll come to that later . So , uh now we will try out the white-board we have here . So , I would suggest uh {disfmarker}Industrial Designer:Each of us is going .Project Manager: Well , yes , um we uh we should try to t to draw on it and then well it should be smart some way . I {disfmarker} {vocalsound} I'm not really sure how this works , but{disfmarker}Industrial Designer: Okay , shall I start ?Marketing: Mm . Yeah .Project Manager: Yes ,User Interface: Yeah ,Project Manager: a good idea Mael .User Interface: you can start it you know .Marketing: I thinkfor us it's just like a normal whiteboard , but they'll be recording what we write down .Industrial Designer: So , iUser Interface: No they will record through that . There's a sensor over thereMarketing: Mm . Mm .UserInterface: which is going to record the strokes that you make .Marketing: But for us it's just like a normal whiteboard .Project Manager: Okay .User Interface: Yeah .Project Manager: 'Kay .User Interface:{vocalsound}Industrial Designer: But it's {disfmarker}Marketing: {vocalsound}Industrial Designer: Actually , I think I cannot go with uh {disfmarker}Project Manager: You {disfmarker} you {disfmarker} D doesn't itwork ? Maybe someo Maybe {disfmarker} maybe Anna , maybe you can start .Marketing: Mm-hmm .Industrial Designer: Yeah .Project Manager: Then he can maybe find out to get his cord right .Marketing: I have todraw .Project Manager: So um {disfmarker} L Why don't you draw uh {vocalsound} your favourite animal on on th on the white-board .Industrial Designer: {vocalsound}Marketing: M my {disfmarker} my favouriteanimal . {vocalsound} Sorry this is all tangled up here .Project Manager: Oh , I see uh {disfmarker}Marketing: That's better .User Interface: Yeah .Marketing: {vocalsound}Project Manager: Yeah . Yes . Mm . So draw it. We will try to guess what it is . {vocalsound}Marketing: Mm-hmm . {vocalsound} I'm a very bad drawer .Project Manager: {vocalsound}Marketing: Weird . Um . You're not gonna be able to guess from my drawing .I'm a bad drawer . Okay .Project Manager: Mm .Marketing: They're ears , by the way .User Interface: 's a cat .Marketing: No . Um close though . Okay so {disfmarker} like a pet animal .Industrial Designer:{vocalsound} Okay .Marketing: {vocalsound} Like a cat .User Interface: Yeah .Project Manager: It's like a cat , so I guess it's a cat . {vocalsound}Marketing: No , not a cat though .Project Manager: What is this now?User Interface: Ah you forget about it .Industrial Designer: You're on the knife .User Interface: Yeah , uh I think it's fine . I just don't want to carry it off . Man , this wires , eh ? We need a wireless microphone.Industrial Designer: {vocalsound}User Interface: You know ? Pro specially we should next project we should take l like that .Marketing: Okay . So .Project Manager: So ,Marketing: It's not a cat ,Project Manager: that'sthe cat .Marketing: it's a dog .Project Manager: Oh .User Interface: So .Industrial Designer: Mael .Project Manager: It's a dog .Marketing: Yes .Project Manager: So but that's also kind of cat ,User Interface: OhProjectManager: isn't it ?User Interface: the dog doesn't have a tail ?Marketing: {vocalsound} It's got a tail then .Project Manager: B bo both predators .User Interface: Yeah , sure , yeah .Marketing: Yeah yeah .UserInterface: I thought so . The dogs have a tail .Marketing: So do cats .Project Manager: So , thank you . Uh d did you uh work out cord ?Industrial Designer: {vocalsound}User Interface: {vocalsound}Marketing: Andyou guessed cats without a tail . {vocalsound}User Interface: Yeah .Industrial Designer: Yeah , I think I will go without {disfmarker} without it ,Marketing: Okay .Project Manager: Okay .Industrial Designer: right ?UserInterface: It'll still not extend , right ? It's not up to that .Marketing: Okay , there you go . So what favourite characteristics . Uh . Dogs are always friendly and loyal and fun . A horse ?User Interface: It's a horse.Marketing: {vocalsound} This is why you're the designer . And I'm marketing . {vocalsound}Project Manager: Yes . Yes , yes this is {disfmarker} Yes definitely a horse . Yes . Oh very good . So {disfmarker}Marketing:Ah {vocalsound}Project Manager: I suppose it {disfmarker}User Interface: Ah I think you can put that .Marketing: Mm-hmm . That's it . {vocalsound} A blue and black zebra {vocalsound} .User Interface:{vocalsound} {vocalsound}Marketing: {vocalsound}Project Manager: Yes . Can {disfmarker} you can meet them in Africa , I think . Yes . Very good . So {disfmarker}Marketing: The very rare blue zebras . Yes .UserInterface: {gap} I'll tell to get it off my {disfmarker}Project Manager: Ma Matthew ?User Interface: Uh ? Mm-hmm .Project Manager: So {disfmarker}Marketing: You got a lot of room here .Project Manager: Maybe{disfmarker}Marketing: You can probably reach .User Interface: Oh y it's not for that .Marketing: No ?User Interface: No .Project Manager: I hope you have some space in your uh the horse of uh Mael .User Interface:Okay . Yeah . So what should I draw ? Mm . He has already to do cat .Marketing: I took a dog . {vocalsound}Industrial Designer: {vocalsound}Marketing: Um . A mouse ?Project Manager: This looks likes a cat who hasbeen driven over . {vocalsound}Marketing: {vocalsound} Okay .Industrial Designer: {vocalsound} Yeah . {vocalsound}Project Manager: {vocalsound}Industrial Designer: And we should sum up its favourite charascharacteristics , right ?Marketing: Mm-hmm . {vocalsound}Project Manager: Yes , the moustache .Industrial Designer: So {disfmarker}Project Manager: That's {disfmarker} that's definitely a cat .Marketing: Mm-hmm.Industrial Designer: Uh yeah . And i Th They like to sleep , that's why you said you they are like this .Project Manager: {vocalsound} It's quite , you know {disfmarker} relaxed situation .Marketing:{vocalsound}Industrial Designer: Yeah . {vocalsound}Project Manager: Yes .Marketing: Mm-hmm .Project Manager: {vocalsound} Yes , okay . {vocalsound}Marketing: {vocalsound}Industrial Designer: {vocalsound}She has the small legs .Project Manager: Th thank you , Matthew .Industrial Designer: Yeah . {vocalsound} Thank you , Matthew .Marketing: {vocalsound} It's a very big rat . Or a very small cat . {vocalsound}ProjectManager: {vocalsound}Industrial Designer: {vocalsound} Perfect . {vocalsound} Oh a rat , okay .Project Manager: Yes , this is certain uh {disfmarker} some contribution to our project . {vocalsound}Marketing: Mm'kay .Industrial Designer: And you , {gap}Marketing: Your turn .Project Manager: So . Let's see . Which animal has not been drawn yet . So you've all drawn land animals ,Marketing: {vocalsound}Project Manager: sowhy not draw an animal from the water .Industrial Designer: A bird . Okay , in the water .Marketing: {vocalsound} {vocalsound} Ah I don't know what that is . It's a bit {disfmarker}Industrial Designer: Mm .ProjectManager: {vocalsound} Mm . {vocalsound}Marketing: It's a bit hard to guess . {vocalsound}Industrial Designer: {vocalsound} Yeah . {vocalsound}Marketing: {vocalsound}User Interface: So {disfmarker}IndustrialDesigner: Put it colours . Maybe it would help us .Marketing: Yeah .Project Manager: Yes .User Interface: The cat is going to eat the fish or the rat ?Industrial Designer: With different pen widths .Marketing:{vocalsound} Mm-hmm.$Project Manager: {vocalsound} So {disfmarker}Marketing: Oh , it's a shark now .Industrial Designer: Ah it's a shark , yeah .Marketing: {vocalsound}Project Manager: Oh , yes , why not?Industrial Designer: {vocalsound}Project Manager: {vocalsound} Good idea .User Interface: Ah it's a baby shark , it looks to me ,Marketing: Mm .User Interface: you know it's going to eat the cat rather than the cateating the fish , no ?Industrial Designer: Oh .Marketing: Now it's a swordfish .Project Manager: {vocalsound} Why not . A swordfish .Marketing: {vocalsound}Industrial Designer: You have some in {disfmarker} inAustralia , right ?Marketing: Swordfish .Project Manager: {vocalsound}Industrial Designer: Yeah .Marketing: Um , maybe .Industrial Designer: I dunno .Marketing: I've never seen one , no .Industrial Designer: Oh well. Yeah .Project Manager: I hope it still works . So {disfmarker}Industrial Designer: Perfect . So I dunno if we need to spend time on that , actually {vocalsound} But uh {disfmarker}User Interface: You should go for thenext one it seems to me .Project Manager: W Well , this uh this tool seemed to work .Marketing: Mm-hmm .Industrial Designer: Yeah , exactly , yeah .Project Manager: {vocalsound} Let's continue to uh {disfmarker}to the real stuff .Industrial Designer: Wow .Project Manager: Um our project uh finance uh thing . Uh when we are {disfmarker} and when w you are uh going to design w uh we must keep in mind that the selling priceof the product uh will be about twenty five Euros , so when designing a project uh I also look at you uh Mael , keep in mind uh uh uh {disfmarker} People uhUser Interface: Twenty four .Industrial Designer: Yeah.Project Manager: want to get the feeling this is a twenty five Euro project uh pr um product .Industrial Designer: Per remote control ,Marketing: Mm .Industrial Designer: yeah ? Per project .Project Manager: Yes . Okay. UmIndustrial Designer: {vocalsound}Project Manager: more interesting for our company {vocalsound} of course , p uh profit aim , about fifty million Euro . So we have to sell uh quite a lot of this uh {vocalsound} umthings . Uh we will try to uh to get at a international market uh so um it will be I think mainly Europe and uh Northern America ,User Interface: Ah yeah , the sale man , four million .Project Manager: maybe some uhAsian countries . Um also important for you all is um the the product uh production cost must be maximal uh twelve uh twelve Euro and fifty cents .Industrial Designer: {vocalsound} So it's half of the selling price , if Iam good in mathematics .Project Manager: Yes , of course . Uh um I mean we still have to uh to make a profit , huh ?User Interface: They have to sell at least four million to make a profit {vocalsound}IndustrialDesigner: Of course .Marketing: Mm . {vocalsound}Project Manager: You all have to be paid .Marketing: Mm .Project Manager: Excuse me ?User Interface: Ah we have to make {disfmarker} we have to sell at least fourmillion to make our own profit . Fifty millIndustrial Designer: Oh you're g very good in mathematics .Marketing: Yes . {vocalsound}User Interface: {vocalsound}Project Manager: Yes , indeed .User Interface:{vocalsound}Industrial Designer: {vocalsound} Four million .Project Manager: So uh well I think w when we are working on the international market , uh in principle it has enough customersIndustrial Designer: Yeah.Project Manager: uh so when we have a good product we uh we could uh meet this this aim , I think . So , that about finance . And uh now just let have some discussion about what is a good remote control and uh wellkeep in mind this this first point , it has to be original , it has to be trendy , it has to be user friendly . Um , maybe someone can mention some additional uh prerequisites for a good remote control .Marketing: Mm-hmm.User Interface: Of course it should have a on off button . {vocalsound}Marketing: Mm-hmm .Project Manager: Yes , well i it should have the the the the expected functionality uh of a remote control .Marketing: Mm .Yeah .User Interface: Yeah , s and it depends what application you are using it for .Marketing: Mm .User Interface: You might need uh {disfmarker}Project Manager: We wer we were thinking television . Uh .Marketing:Mm .User Interface: We are targ targeting the television set . So ,Marketing: Mm .User Interface: you need to record the channels .Marketing: Yeah .Project Manager: Mm-hmm .User Interface: {vocalsound} You needto browse the {disfmarker} browse the channels in upward downward way ,Marketing: Mm .Project Manager: Yes , yes . Th th that's very handy I {disfmarker} I always miss it and {disfmarker} on some remotecontrols that you can go channel up or down ins instead of retyping the number , especially when you have a lot of channels .User Interface: Uh {disfmarker} And {disfmarker}Marketing: Mm . Mm .User Interface: Uh ,and {disfmarker}Industrial Designer: And uh just before starting the detailed discussion , maybe we are the marketing guy ? Or {disfmarker}Marketing: I'm marketing .User Interface: Marketing .Industrial Designer: thSo you are the marketing .Marketing: Yep .Industrial Designer: And you are in the u use user interface uh design .User Interface: Yeah .Project Manager: Yes .User Interface: Yeah .Industrial Designer: So just{disfmarker} yeah I wanted to to be sure .User Interface: Sure .Industrial Designer: And I I'm the the industrial designerMarketing: Mm-hmm .Project Manager: Yes .User Interface: {vocalsound}Industrial Designer:okay .User Interface: Oh .Industrial Designer: Because I I don't know you very well , actually , but yeah .User Interface: I'm Matthew . You know . {vocalsound}Industrial Designer: Okay . Mael .User Interface: Matth suhIndustrial Designer: Happy to meet you .Marketing: Anna .User Interface: Anna .Industrial Designer: {vocalsound} Okay . It's very uh {disfmarker}Project Manager: A and I'm Nanne .User Interface: And um uhMatthew , yeah .Project Manager: So {disfmarker}User Interface: I thi think you know me ,Industrial Designer: Uh so yeah uh {disfmarker} Just uh on your web page but uh yeah not uh {disfmarker} not face to face.Project Manager: Yes .User Interface: yeah ? right yeah .Project Manager: So . Um {disfmarker} SUser Interface: So .Industrial Designer: {vocalsound} So mm {disfmarker}Project Manager: S sMarketing: Mm.Project Manager: Are there some other very important things to to do {disfmarker} well ,User Interface: So {disfmarker}Industrial Designer: {vocalsound} So IProject Manager: to specify in this first phase of of theproject . So the browse function , as you m mentioned .Marketing: Mm . Yeah . Oth yeah .User Interface: And uh , you'd need the usual ones , like the changing the volume , changing the the channel and then{disfmarker} you uh {disfmarker}Project Manager: Yes . Yeah .User Interface: Today we have uh um teletext and all those things . Tomorrow you might have a some more functions which might come through that , so{disfmarker}Project Manager: Yes .Industrial Designer: Like what ? Like internet on the on T_V_ ?Marketing: Mm .User Interface: Yeah I_P_O_ or . Now we are looking for television things or I_P_ . For examplepersonal video recorder and all those stuffs are coming up .Industrial Designer: Yeah .Marketing: Mm . But we can't really design for something that hasn't been invented yet .User Interface: Yeah . Ah it's {disfmarker}it's {disfmarker} it's {disfmarker} it's coming up , actually . The personal video recorder and all those things it is coming up .Project Manager: Mm , well uh I I think {disfmarker} Uh w y you two should {disfmarker}should , I think , think this over uh w espec what , what functionality .Industrial Designer: {vocalsound} Actually , yeahUser Interface: Let's {disfmarker} Let's take {disfmarker}Industrial Designer: w {vocalsound} Ofcourse , and first before um designing the func well thinking about the functionalities , we need to know what are the user requirements .Marketing: Mm . Yeah .Industrial Designer: Um then if they need internet , thenwe would be able to to p to propose something with uh uh T_V_ over I_P_ .Project Manager: Mm-hmm .Marketing: Yeah . Mm . Yeah . But {disfmarker} Ninety percent of the time , ninety nine percent of the time ,people will be using the main functions , the volume , the different channels , so we can have all the fancy things as well but the main controls need to be very obvious and very easy to use .Project Manager: Mm mm"}
+{"doc_id":"doc_160","qid":"","text":"Project Manager: {vocalsound}Industrial Designer: {vocalsound}Project Manager: Right well . Welcome to the {disfmarker} what should be the last of these meetings and uh it looks like we've uh done a good job hereand uh we'll just go through the the final uh the final details . Um okay , oh the um th the the minutes of the last meeting uh I think we'll take those as read , um {disfmarker} OkayIndustrial Designer:{vocalsound}Project Manager: the um th the the next uh thing we we we'll have a look at the uh th have a look at the prototypes and uh look at the uh evaluation criteria and finance and then uh uh just tidy up withproduction and um and then we can close . Um So f if if you'd like to uh present your your proposals .Industrial Designer: Uh okay we basically have the same kinda lay-out here it's just um you hold it like this and itgets kinda moulded to the to the shape of your hand , basically . Um on the left we've got the scroll for the volume , on the right we have buttons for the channels up and down and that kinda {disfmarker} so you canhold it and scroll , or you can hold it and and push .Project Manager: {vocalsound}Industrial Designer: Uh this is the power key , um it's kinda like the biggest so you know how to turn on .Project Manager: Uh-huh.Industrial Designer: Uh that's the little menu key . This is the infra-red section so you g it'll be sending rays and if you're you know pointing it like that it can send it ,Project Manager: Yep ,Industrial Designer: or if youhold it up like that it'll send it .Project Manager: yeah , good , good .Industrial Designer: Uh we got a microphone there which for all the voice commandsProject Manager: Uh-huh .Industrial Designer: so you can youknow talk to it like thatProject Manager: Yep ,Industrial Designer: and it'll still understand .Project Manager: right .Industrial Designer: Um the logo is down down there umProject Manager: Uh-huh .User Interface: Mm.Industrial Designer: and {gap} has the cover on itUser Interface: SIndustrial Designer: and you can see like it just kinda goes {disfmarker} the red bit's the cover and it kinda goes over everythingProject Manager:Yep , yep ,Industrial Designer: and then there's holes for the buttons to come through . Um .Project Manager: mm-hmm .User Interface: And so we figured it would be kind of you know a light weight plastic ,ProjectManager: Uh-huh .Industrial Designer: Mm .User Interface: just kind of a light {vocalsound} non-descript greyProject Manager: Yep yep .User Interface: so that people'll wanna buy the coversProject Manager: Yep.User Interface: and then the covers will be that sort of rubbery material like they make iPod covers ,Project Manager: {gap} showing me age ,User Interface: so they kinda just stretch over .Industrial Designer: Mm.Project Manager: I don't know what i c iPod covers are like .Industrial Designer: {vocalsound}User Interface: {vocalsound} Yeah , wellProject Manager: Yeah {gap} yeah .User Interface: I I didn't know that but yeahthey're kind of {disfmarker} it's just kind of a rubbery {disfmarker}Project Manager: Uh-huh .Industrial Designer: Yeah .User Interface: and that way {disfmarker} you knowProject Manager: Okay ,User Interface:spongy like is something that people wantedProject Manager: yep , right .User Interface: and it just sort of stretches overIndustrial Designer: Mm-hmm .User Interface: and that way I think probably helps protect it alittle bit too as wellProject Manager: Okay .Industrial Designer: But it's also e e easier to put on versus like mobile coversUser Interface: and {disfmarker}Industrial Designer: you actually have to screw them on andstuff and you kinda sometimes have to get someone to do that for you . This is very much you should be able to stretch it over yourselfProject Manager: Yep .User Interface: just kinda stretch it overIndustrial Designer:and it'll be fine .Project Manager: Okay , good yeah .Industrial Designer: Yeah .User Interface: and it'll just stay onIndustrial Designer: Yeah .User Interface: and then the buttons come through and so {disfmarker} andthen the {disfmarker} each one of 'em on the very end will have the logo with the yellow circle and the R_R_ .Project Manager: Yep , right .Industrial Designer: Li that'll be {gap} the covers as well , yeah yeah .ProjectManager: Yeah , yeah .User Interface: Yeah .Project Manager: I mean tha it's it's a detailed point , I just wondered {disfmarker} I mean h how will people put these down I wonder ?User Interface: Like that .ProjectManager: Right . Okay {gap} for some strange re reason I had it in my mind that they'd put them down verticallyIndustrial Designer: Yeah it could stand , yeah .Project Manager: but uh uh {disfmarker}User Interface:{vocalsound} Oh .Industrial Designer: Well we could broaden the {disfmarker} broaden it out a bitProject Manager: {vocalsound} Yeah , uh noIndustrial Designer: so it would stand like that .Project Manager: because{gap} particularly if they've dif if they're gonna have it as a you know as a fashion itemIndustrial Designer: Yeah , {gap} standing .Project Manager: uh I mean it it's uh it it's just I mean it's just a minor detailed point ,but um as you say you can just make the base a little bit bigger and uh {disfmarker}Industrial Designer: Yeah , we could just widen it out uhProject Manager: Yeah and uh it just needs another uh another logosomewhere is is is is all it gives gives people the option and if if say if they've got them um {gap}Industrial Designer: Mm . Mm .Project Manager: because {gap} actually have several {gap} upon the uh{disfmarker}Marketing: Could have one for your stereo , one for your {gap} D_V_ player .Industrial Designer: Mm , yeah , yeah .Project Manager: Yeah , well .User Interface: Yeah .Industrial Designer: Have to{disfmarker} if we just lengthen it I guessProject Manager: {vocalsound} YeahIndustrial Designer: so it comes down to the base of the handUser Interface: Yeah ,Project Manager: but that that's uh {disfmarker} butuhUser Interface: just kind of {disfmarker}Industrial Designer: and then flatten it outProject Manager: noIndustrial Designer: and could sit there .Project Manager: the the the overall uh the overall concept is uh{disfmarker}Industrial Designer: Yeah , {vocalsound} mm .User Interface: Or just make it little .Project Manager: yeah yeah ,Industrial Designer: Yeah . Yeah .User Interface: Somewhere like thatProject Manager: nono , I mean that's {disfmarker} these uh {disfmarker}User Interface: so it just sort of {disfmarker}Industrial Designer: We might {gap} have to lengthen itMarketing: Yeah I kinda had a a kinda {disfmarker} a naturalkind of a ideaIndustrial Designer: so it kinda {disfmarker} your hand still holds it and have it there ,User Interface: Yeah .Industrial Designer: yeah , yeah , yeah like that , like that {gap} . Yeah .Marketing: where it'slike more of a kind of {disfmarker} like a kinda maybe slightly like thinner ,User Interface: BuProject Manager: Yeah .Marketing: yeah , kinda like that kinda {gap} like a flower or a plantProject Manager: But uh yeah{disfmarker} but no th but the {disfmarker} yeah the the the {disfmarker}Industrial Designer: Mm .Marketing: for the more natural kinda {disfmarker}User Interface: {gap} .Project Manager: Yeah , yeah , yeah,Industrial Designer: {vocalsound} The final product would actually stand up , yeah {vocalsound} .Project Manager: I mean it it's uh {disfmarker} wouldn'tUser Interface: {gap} fall over .Project Manager: wouldn't dothat , indeed yeah . But th th but th yeah th b theUser Interface: Yeah .Project Manager: these were all minor minor uh minor details ,Industrial Designer: Yeah , yeah .User Interface: Yeah .Project Manager: I think theuh the basic concept i i is is absolutely bang onIndustrial Designer: Yeah .User Interface: {gap} . 'S a little longer .Project Manager: and the {disfmarker} iIndustrial Designer: Wee {vocalsound} {disfmarker}ProjectManager: it certainly meets our criteria of being uh {disfmarker} of you know looking different .Industrial Designer: Mm .Project Manager: Um , soUser Interface: Yeah .Project Manager: good that's that that's excellent.Industrial Designer: {vocalsound}Project Manager: Um right let us um What's on the next one ? Oh right yes , let's have a look at the um f finance . Um , now we're given a a clear design brief , uh if I {gap} get the uhspreadsheet up . Oh .Marketing: Uh yeah , {vocalsound} just click there .Project Manager: {gap} .Marketing: Uh the the maximise button .Project Manager: Oh right . Ah . Good , this is why we need to make thesethings simple so that the uh the the the boss can understand .Industrial Designer: {vocalsound}User Interface: {vocalsound}Marketing: {vocalsound}Project Manager: Now I've um {vocalsound} this is the company'suh uh costing for for various uh uh aspects of design and I I I've treated some of these slightly uh liberally given the constraints placed on us , um I wouldn't know for in for instance if if they require us to have it in thecorporate colours , then that is not a special colour , that's a that's a standard colour . Uh , so we're just simply on batteries , the the one th the one decision I've had to make is that um we're {vocalsound} we will haveto find a s a regular standard chip to to do this with and I I um I'm I'm I'm certain that they they are around so , um that I don't think is a a serious problem . The uh the the voice sensor is is expensive but we we madea a basic decision that that was absolutely fundamental to the to the design so that that has to stay . Um then again the the the the shape of the case means that it's it's expensive to uh um l to make 'cause of the theth the double curves but on the other hand because of our overall fashion concept um we we should exceed the the sales targets . Um it's simply made of plastic so th that's uh that's no problem and uh um just becausethe whole {gap} the colour of the the whole thing that's uh uh there's some cost there . Um and uh we haven't actually got a scroll wheel we we we got push buttons and and a simple uh um {vocalsound} slider so umand the and the the buttons are uh uh well I do don't know that they're special colour . Anyway the the costings uh come in at {disfmarker} exactly on target at twelve point five uh but I thi I think we have a a verystrong case to argue that uh what what we've got is is so in innovative and uh and different that um {vocalsound} any any slight compromise we have to make on on cost is is offset by the uh you know the uh you knowthe the the the concept of it being a a fashion accessory and and having the the interchangeable coversIndustrial Designer: Mm .Project Manager: so uh um you know the {disfmarker} if if if the management expect usto be techno {gap} again {gap} fail again {disfmarker} technologically innovative um that they they have to accept that we we can't operate absolutely within uh the constraints that they give ,Industrial Designer: Mm.Project Manager: so uh we we we present this as the uh the company's uh the the company's way forward and uh uh I I think we can argue that we we have uh come in on on budget . Um . Okay , uh . So um . Doesanybody want to uh {disfmarker} uh Andrew do you want {disfmarker} what do you want to say about um the uh yeah the evaluationMarketing: Evaluation .Project Manager: where where you know well where wherewe're where where we're at ?Marketing: The {vocalsound} the product or the project ? {vocalsound}Project Manager: The the the well the {disfmarker} I meant the product .Marketing: Um , well well my presentationjust now ?Project Manager: Yeah .Marketing: Sure , uh can I get the {disfmarker}Project Manager: Oh sorry yeah um , mm .Industrial Designer: {vocalsound}Project Manager: {vocalsound} Mm . More loud clicks inthe microphone .Marketing: Cheers . {vocalsound} There we go , oh . Method of evaluation {vocalsound} testing the product was to just {gap} if it met all the criteria {disfmarker} all the conditions that we set out toset out to solve , from the point of view of the the consumer and the management . So what I've been asked to do is , on the whiteboardProject Manager: {vocalsound}Marketing: um gauge our team response to thesequestions . So , on a scale of one to seven , one being true and seven being being false .Project Manager: {vocalsound} Seven being a nice round number to work to .Marketing: {vocalsound} Yeah . And then at theend just take an averageProject Manager: Tr On for true and seven for flase . Yes .Industrial Designer: {vocalsound}Marketing: Yes {vocalsound} .User Interface: {vocalsound}Industrial Designer:{vocalsound}Marketing: So uh . {vocalsound} So , look at these questions . Is the device f flashy and fashionable ?Project Manager: Well I think most definitely .Industrial Designer: Yeah I'd say definitely a one yeah.User Interface: I think it is yeah .Marketing: So uh {disfmarker} and also uh technologically innovative ?Project Manager: Yes the voice technology indeed .Industrial Designer: Yeah , defi yeah , yeahUser Interface:Yeah .Marketing: Easy to use ?Project Manager: I don't see we could've made it any easier .Industrial Designer: Yeah .User Interface: Yeah .Industrial Designer: {vocalsound}Marketing: Uh suitable for the consumer ?That was um {vocalsound} {disfmarker}Project Manager: Totally .Industrial Designer: Yeah definitely .User Interface: Yeah I think it made {disfmarker} we met all of the consumerIndustrial Designer: Yeah .Marketing:Yeah .User Interface: wants .Marketing: Uh is it complicated ?Project Manager: No .User Interface: No .Marketing: Doing pretty well so far aren't we ? {vocalsound} Uh functional ?Project Manager: Yeah .IndustrialDesigner: Yeah definitely .User Interface: Yeah .Marketing: Um . {vocalsound} Where are we ?Project Manager: {gap} found easily . {gap} yeahMarketing: We've b built in the the speech , where are you , function.Project Manager: I mean that's that's {disfmarker}Industrial Designer: Yeah . Yeah . Yeah , mm-hmm .Project Manager: Yeah .User Interface: Yeah .Marketing: Uh-huh .Industrial Designer: {vocalsound}ProjectManager: Does it take long to learn to use ? Shouldn't .Industrial Designer: No , not at all .Marketing: Mm-hmm . And uh , what else ? {vocalsound} The R_S_I_ compares to the current standards ,Project Manager:{vocalsound} Less buttons so it must be .Industrial Designer: Uh {disfmarker}Marketing: well . We weIndustrial Designer: YeahMarketing: uh yeah it was our {disfmarker} it was a {disfmarker}Industrial Designer:{gap} it is sorta the the handle more ergonomically correct as well .Marketing: we made an actual effort to {disfmarker}Industrial Designer: {gap} yeah .User Interface: Yeah .Project Manager: So yeah , um um.Marketing: {vocalsound} Um will device appeal to all age groups ?Project Manager: I think it will because I mean uh old older people who can't manage the buttons anyway will actually probably like the like like thevoice bit so {disfmarker}Industrial Designer: Mm .User Interface: I think so .Marketing: Yeah ,Industrial Designer: Mm .Marketing: uh that's a good call , yeah . Well we had the we had the data {gap} saying that oldpeople will be less likely to pay extra money but the funct the increased functionality , {vocalsound} the e ease of use of the device might make up for that .Project Manager: And it's it's it's {disfmarker}{vocalsound}Industrial Designer: Mm .Project Manager: well I don't think we're actually charging a particular premium anyway , in the end , so {disfmarker}Industrial Designer: I I I think it will tend to appeal more toyounger aged groupsMarketing: Mm .User Interface: Yeah .Industrial Designer: just 'cause we have gone with the fashion focusProject Manager: Yeah . Yeah .Industrial Designer: and the younger people tend to{disfmarker} would be more conscious of that aspect of it , but um I think it should still appeal on a certain level to everybody , yeah .Project Manager: It will appeal f for dif for different reasons but it's it's uh{disfmarker}Industrial Designer: Yeah , yeah .User Interface: Yeah I think just the simplicity of itProject Manager: yeah yeahIndustrial Designer: Yeah , yeah .User Interface: andProject Manager: so I I {disfmarker}yeah I {disfmarker}User Interface: not having to learn to programmeIndustrial Designer: {vocalsound} Yeah .User Interface: and not having you know a million buttons .Project Manager: Yeah , so I think we canreasonably say it's another another one ,Industrial Designer: Mm .Marketing: {vocalsound}Project Manager: why not ?Industrial Designer: {vocalsound}User Interface: {vocalsound}Marketing: Uh can you just click themy mouse to move onto next page ? Uh , yeah and what h did we make the management's {disfmarker}Project Manager: {gap} in in in in my interpretation of management's instructions uh is that yes it it meets therequirementIndustrial Designer: {vocalsound} {vocalsound}Project Manager: is t it's television only ,Industrial Designer: Yep .Project Manager: it's it's simple to use ,Industrial Designer: Mm-hmm .Project Manager:um it's it's it's within budget ,User Interface: Under the cost .Industrial Designer: Mm-hmm . Yep .Project Manager: um I {disfmarker} it's uh {disfmarker} yes an an any minor points we we we argue .Marketing:{vocalsound}Industrial Designer: {vocalsound}Marketing: Um .Project Manager: So uh I I think we've done an amazing jobIndustrial Designer: Yep .Project Manager: in uhIndustrial Designer: {vocalsound} Well doneus {vocalsound} .User Interface: {vocalsound}Marketing: {vocalsound} Okay .Project Manager: {vocalsound} coming up with what {disfmarker}Marketing: {vocalsound} So uh one two three four five six seven eightnine ten eleven . Eleven divided by {vocalsound} eleven's one so {vocalsound} equals average of one .Industrial Designer: {vocalsound}User Interface: Yeah , {vocalsound} .Project Manager: {gap} Need a need acalculator for that .Marketing: And that roughly concludes my evaluation of the of the product .Project Manager: Okay ,Industrial Designer: Excellent .Project Manager: {gap} nick the cable back then .IndustrialDesigner: {vocalsound} Oh noUser Interface: I mixed up the colours a little bit .Industrial Designer: that's {gap} {disfmarker}User Interface: {vocalsound} I think I {gap} all wrong .Project Manager: {vocalsound}Ooh . Right do um either of you want to uh say anything ?Industrial Designer: Uh .Project Manager: Mm .User Interface: Mm .Project Manager: Before I uh {disfmarker}Industrial Designer: {vocalsound}User Interface:Ps I don't think so ,Project Manager: No .Industrial Designer: {gap} .User Interface: I mean I think we worked well togetherProject Manager: Yeah .User Interface: and looked really at what the consumers wanted andwhat we were trying to makeProject Manager: Yeah .User Interface: and you know , seemed to discuss things pretty wellIndustrial Designer: Mm-hmm .User Interface: and come to group consensus and{disfmarker}Project Manager: Well that's right , I mean th this this slide here I mean the satisfaction with uh room for creativity , I meanIndustrial Designer: Mm . Yeah , definitely .Project Manager: I think we'veallowed ourselves uh as much creativity as the uh the the the product uh allows .User Interface: Yeah .Project Manager: Um I won't comment on leadership , uh teamwork I think we've uh {disfmarker} I thinkeverybody's uh worked pretty well together .Industrial Designer: Mm-hmm .Project Manager: Um we've just about coped with the whiteboard and digital pens , uh I think the results speak for itselfIndustrial Designer:Mm .Project Manager: and new ideas found , um , again gi no given relatively everyday product , I think we've v very uh very effectively come up with a a new uhUser Interface: Yeah .Industrial Designer: Yep .ProjectManager: uh a new approach . Um are the costs within budget ? Yes . Is the project evaluated ? We're we're all happy that it it meets all the criteria , umIndustrial Designer: Yep .Project Manager: Thank you very muchindeed , I think that {disfmarker} I think that's uh {vocalsound}Industrial Designer: Cool , thank you {vocalsound} ,User Interface: Alright .Project Manager: I think we can go f for an early bath .User Interface: Yeah.Marketing: {vocalsound}Industrial Designer: {vocalsound}User Interface: {vocalsound}Marketing: {vocalsound}Project Manager: So I call the meeting closed .User Interface: Okay .Project Manager: Not sure how farahead of schedule we were there ."}
+{"doc_id":"doc_161","qid":"","text":"Project Manager: Okay everybody is ready ? {vocalsound} Good morning again . So , today we are going to have a f second meeting . Oh Michael , hi .User Interface: Yep .Project Manager: You're late . You have a goodreason for that ?User Interface: {vocalsound} Yes .Industrial Designer: {vocalsound}Project Manager: {vocalsound} Very good {vocalsound} . {vocalsound} Okay , let's have a look to the agenda today . {vocalsound}So , we are going to have a meeting about the functional design . Um so first before starting I w just going to uh to go quickly to {disfmarker} through the minutes of previous meeting . So uh {vocalsound} basically wewe are not decided if w we should go for a universal or specific uh uh remote control , but I have new um new i inputs for {disfmarker} about that topics . I goin I'm going to share with you . {vocalsound} And uhbasically we decided to um to uh go to individual actions for each of you uh so um Industrial Designer should wor was supposed to work on th on th on the working design . You showed us {disfmarker}IndustrialDesigner: Yep .Project Manager: you ar you you prepare something for us ?Industrial Designer: Yeah . Yep .Project Manager: The U_I_ guy also uh work on that , yeah , and for the mar our Marketing Expert shoulddeliver some specs .User Interface: Mm .Project Manager: Alright {vocalsound} so {vocalsound} so we are going to go through three of your individual presentations . But first I would like quickly to uh to decide of{disfmarker} to give a name to the project . So , I just put d quickly Remo , but if you have any o other names that we co could decide for just to to keep something fun for our project we we should {disfmarker} wecould discuss quickly . Any ideas ?User Interface: Uh the Powerstick .Industrial Designer: Mm-hmm .Project Manager: {vocalsound} Powerstick , yeah .User Interface: {vocalsound}Project Manager: What else ? Whatelse ?Marketing: Uh . {vocalsound}User Interface: Maybe a Spanish name would work well .Marketing: Mm I was thinking of the {disfmarker}User Interface: Especially if we're selling into the U_S_ market becasuethere's a lot of Spanish speakers there . Maybe something that sounds cool in English but sounds funny in Spanish .Marketing: Mando .User Interface: Mando .Project Manager: Mango ? Mango ?User Interface: What isthat ?Marketing: Mando .Project Manager: Mando . M_A_ ? M_A_ ?Marketing: A*_N_ yeah D_O .Project Manager: M_ D_O_ . Mm , okay .Marketing: It doesn't it doesn't sound cool for me ,Project Manager: What does itmean ? Oh .Marketing: but maybe for a Spanish {disfmarker} for I {disfmarker} for {disfmarker}User Interface: What does it mean in Spanish ?Marketing: Control .User Interface: Control .Project Manager: Hmm .Nice .User Interface: Okay . 'Cause it also {disfmarker} like in English it sounds like you know the man's tool you know because you know men like to have control of the remoteMarketing: But {disfmarker} mm , yeah.User Interface: so it might {disfmarker}Marketing: Mando sounds Latino . {vocalsound} {vocalsound}Project Manager: {vocalsound} {vocalsound}User Interface: {vocalsound}Industrial Designer:{vocalsound}Project Manager: Okay .User Interface: The Mando .Project Manager: {vocalsound} So , let's go for Mando ? Yeah ? No objection ?Industrial Designer: Yeah , yeah .User Interface: Yeah that's {gap}.Project Manager: Great . So {disfmarker}User Interface: And we could have some like you d you could have the fonts you know special , so you have man in like in in uh in one o in one font and then the O_ as like{disfmarker}Project Manager: Okay , I think this is {disfmarker}User Interface: Although you don't wanna cut uh cut women out of the uh potential buyers though ,Project Manager: Okay .User Interface: do you ? So{disfmarker}Industrial Designer: Yeah they are the most T_V_ watcher . So we should be careful .User Interface: Yeah .Project Manager: Okay , I think this is more a question of of {disfmarker}User Interface:Marketing .Marketing: But {disfmarker} yeahProject Manager: I I think this is more a question of of look and feel .Marketing: it uh {disfmarker}Project Manager: Something that should be addressed later We should weshould go to other {disfmarker} for the other topics .Marketing: Yeah because if the product will be international {disfmarker}User Interface: Well that's the thing . We need to know who we're selling it to before we canreally decide on a {disfmarker}Project Manager: Yeah okay , so let's stick f to Man Mando for the nameUser Interface: Um .Project Manager: and we'll see for the for the look and feel later . So let's go for the threepresentations right now . So , who want to start ?User Interface: {vocalsound}Project Manager: So maybe we could start with the market , yeah .Marketing: Maybe maybe I should uh start . Yeah . Mm . Okay .ProjectManager: Okay so I have your slides somewhere ?Marketing: Yeah . Should be in participant four .Project Manager: Participant four . {vocalsound} This one ?Marketing: Yeah , yeah . {vocalsound} Uh .Project Manager:S that's coming . Uh {gap}User Interface: Yeah .Project Manager: okay . Great .Industrial Designer: Yep .Marketing: Okay so yeah I will I will give a brief outline about what I what I prepared for this meeting .ProjectManager: Mm-hmm .Marketing: For the functional requirements and especially for the for the user requirements . I prepare a marketing report and we have to find the weaknesses and and the the improvements wecould do to the current remote controls . And also I di I did a study with {disfmarker} for the incorporation of new technologies it seems that the remote controls have been {disfmarker} have remained the same for thelast five , ten years . There is no no significant difference between the the b the first new controls and {disfmarker}Project Manager: Okay . Sh next slide ?Marketing: Yeah . Yeah .Project Manager: Okay .Marketing:Well {vocalsound} {vocalsound} more {disfmarker} most of the people think that remote controls are ugly , thoroughly . So and they they admit that the the they should uh s they would uh spend more money in afancier remote control , which is which is good and it's interesting point . Also the people are worried about about the R*_S_I_ disease , which is if you repeat the sa the same movement , which is not a {disfmarker}with a not very appropriate device , you you will have problems whe when you will get old . So s people are uh are worried about the the shape of the of the remote control . They are also {vocalsound} {disfmarker}they get angry very often because they lost the remote control very often , so I think it would be a good point to to l to to find a a solution to {disfmarker} any beep any alarm or something incorporated to {disfmarker}with the remote control every time it it get lost .Project Manager: Mm-hmm .Marketing: And also I found that young people {disfmarker} the the younger people are the more interested they are in incorporating newtechnologies in the in the remote control .Project Manager: Okay .Marketing: So {vocalsound} {vocalsound} in my opinion the Mando {disfmarker} this Mando shouldn't be very small because the smaller it is , themore like {disfmarker} the the liklier it is to get lost . Liklier or more likely ?User Interface: More likely . {gap}Marketing: {gap} likely . Okay . Uh {vocalsound} people also complain because they they they all have thesame size of the buttons for buttons who w which are not very use like f uh memorising channels or or this kind of actions which are not very often but {vocalsound} they they shouldn't they shouldn't have the sameimportance in the in the uh in the remote cont in the remote control . Also the z the design should fit the hand shape . So it may be interesting to to think in a {disfmarker} in both prototypes , for right and left handedpeople .User Interface: Well th the on the thing is though , most remote controls are used by more than one person . So unless you're kind of targeting single people you know you're gonna maybeMarketing:{vocalsound} Yeah .User Interface: cut out some {disfmarker} a lot of your market .Marketing: I dunno I th Anyway I think it could be int interesting to to release some {disfmarker} a a small fraction of of this remotecontrols .Industrial Designer: Well maybe it could be a universal design .Marketing: Sorry ?Industrial Designer: A universal design , which is which is good for both the hands .User Interface: Still shaped for yeah foryour hand but not for a particular hand , right ?Marketing: Yeah .Industrial Designer: Yeah ? That's right , whether it's left hand or right hand ,Marketing: Yeah .Industrial Designer: but but {vocalsound} don't you thinkthat the two points are clashing , one thing you are saying design should fit the hand shape and it should not be very small ?Marketing: Sorry ?Industrial Designer: The first and the third point , they are clashing .UserInterface: Well it can still be a {gap} , you can still extend past the hand .Marketing: Yeah .Project Manager: Yeah .Industrial Designer: Okay .User Interface: Uh .Marketing: Like uh {disfmarker}Industrial Designer: Sofitting the hand doesn't mean much then .User Interface: Well it means {disfmarker} like , this remote here is kind of {disfmarker} is very thin and long so instead of having {disfmarker} you know you might have itkind of {disfmarker} a bit biggerIndustrial Designer: Mm-hmm mm-hmm .Marketing: Yeah , like {disfmarker}User Interface: or , you know , with maybe some some finger molds or something .Industrial Designer:Mm-hmm mm-hmm mm-hmm .Project Manager: {vocalsound}Industrial Designer: So it means design should be similar to the traditional ones ?User Interface: {gap}Industrial Designer: Little sleek , longer ?UserInterface: {gap}Industrial Designer: And it should fit the hand .Marketing: No no I was thinking of so like something {disfmarker}Project Manager: Something with the shape of the palm ?Industrial Designer: Mm-hmmmm-hmm mm-hmm .Marketing: yeah .User Interface: Some finger grips maybe .Marketing: Yeah .User Interface: You could even have some buttons like you know on the sides and everything ,Project Manager: On thesides .Marketing: Yeah yeah . It sh it shouldn't it shouldn't be symmetric symmetrical .User Interface: but {disfmarker}Industrial Designer: Mm-hm mm-hmm mm-hmm .Marketing: Not anymore . That's what{disfmarker} yeah .Project Manager: And then finally {disfmarker}Marketing: And finally , the incorporation of a L_C_D_ or a speech recognition system in the remote control could also be interesting , but I don't knowif the budget would be large enough .User Interface: Yeah .Project Manager: Yeah . First I'm just wondering about the L_C_D_ stuff because uh because {disfmarker}Marketing: But most of {disfmarker} yeah most ofthe young people to thirty to thirty years old were really interested in this kind of technology .Project Manager: Yeah , so maybe it's a good time for me to uh {vocalsound} to bring you to some new uh new informations. We had the new requirements from the {disfmarker} so uh from the head offices of the company , and so they wanted {disfmarker} so they want to um {disfmarker} they would like to be restricted to T_V_ .UserInterface: Yeah .Project Manager: Okay , I dunno if you had this information already . No ,User Interface: No .Project Manager: so they want us to restrict the remote control to T_V_ only because of time limitations .Um they want also uh {disfmarker}Marketing: Actually this marketing report is restricted to T_V_ remote controls .Project Manager: Excellent . So we have also to focus more on the internet aspects because well wellte teletext is outdated now and uh finally , {vocalsound} it should be clear that the corporate image , that means colours and logos of the co our company should be clearly inde identified in the product . So{disfmarker}User Interface: {vocalsound} I was still uh I was still working on this uh twenty five Euro price point because I think actually having looked at some of the remotes out there , this is quite a low uh price if ifwe're {disfmarker} maybe I can get to this in my presentation though ,Project Manager: Yeah yeah . Sure sure .User Interface: but um yeah .Project Manager: So maybe we can jump to your presentations , right now.User Interface: Yep . Okay .Project Manager: Okay so let's keep in mind about tha that that {disfmarker} this last point about L_C_D_ and speech uh recoUser Interface: Yeah . I think even even if it was within budgetdo a speech reco rec system it might be a bit difficult because if you think {disfmarker} if you're watching T_V_ you're gonna have a lot of this uh background noise from the T_V_ which might interfere with the{disfmarker}Project Manager: {vocalsound} Sorry , what is your {gap} ?User Interface: Uh participant three . You might have some background noise from the T_V_ which will make the speech recognition much uhharder , so .Marketing: Yeah but you should be able to activate or disactivate , so {disfmarker} yeah yeah .User Interface: {vocalsound} Oh you press a press a button to talk , and the the T_V_ the T_V_ {vocalsound}sound turns off . {gap}Marketing: {vocalsound} Yeah uh channel fifty .Industrial Designer: No it could be command control kind of thing .Marketing: Yeah .Industrial Designer: It requir recognises particular sequenceand then it gets activated . Means you say {disfmarker} you should say like does that , remote control being on or be on kind of thing , and then remote control comes in the picture for the speech recognition .UserInterface: Yeah .Industrial Designer: Because this kind of thing means speech is there from the T_V_ also .User Interface: Yeah .Industrial Designer: So there should be something command controlled , you start andthen you stop .User Interface: Mm . Yeah .Industrial Designer: It's like V_I_ editor , you are having two modes similarly .User Interface: {vocalsound}Industrial Designer: Otherwise it's just lying idle .Project Manager:Okay Michael .User Interface: Okay , so , could I describe the mouse maybe {gap} be easier to {disfmarker}Project Manager: Sorry ?User Interface: could I use the mouse , or {disfmarker}Project Manager: Um yeah.User Interface: Mm . Thanks . Okay .Project Manager: The wheel doesn't work .User Interface: {vocalsound} Great {vocalsound} .Industrial Designer: {vocalsound}Project Manager: {vocalsound}User Interface: Okayso um while uh researching this this topic I first of all just thought of a couple of things that I would like to see in a remote , and just uh looked to see if they're actually available in any current remotes , and then alsosearched for which are the top-rated uh remote controls on Epinions dot com , which is a a you know a a customer um written basically review site . So um there's a pretty wide range of uh remote controls these daysand and uh this remote control on the right here is is one of the more extravagant , but it's not really {disfmarker} it's by no means uh mm you know {vocalsound} on it's own in being so expensive . There are a lot ofexpensive remote controls out there .Project Manager: {gap} Looks like a P_D_A_ {gap} ?User Interface: So {disfmarker} {vocalsound} yeah it doe it's {disfmarker} well basically all the functions uh are controlledthrough through the L_C_D_ screen except for the really really kind of main functions , which have a couple of of their own buttons . Um and if you look at a lot of the universal remotes out um on the market , I knowwe're working on television remote , but a lot of the universal remotes out there have uh have these L_C_D_ screens which kind of helps when you're using multiple uh devices I suppose because you can have multiplekind of functions {disfmarker} d different functions on the screen at different times . But um the thing that I find most interesting about this remote control , and it's kind of difficult to uh to see in the slide , but it has ascroll wheel on it , which is kind of like uh a mouse scroll wheel , which I think is {disfmarker} it's a really kind of important design aspect um is {disfmarker} it's {disfmarker} 'Cause the thing is what a {vocalsound}what we {disfmarker} the presen this presentation we had is what we want the remote control to actually do . And obviously the the simplest thing that a remote control does is it just change the change the channel.Industrial Designer: Change the channels .User Interface: Now umIndustrial Designer: Yeah .User Interface: uh the {disfmarker} I think that a scroll wheel is actually pretty a pretty handy way of of changing thechannel . 'Cause I know when I um when I use the remote to change the channel I very rarely use the numbers on the on the pad . I usually use the up and downIndustrial Designer: Mmm-hmm mm-hmm . Yeah yeah.User Interface: because most channels are you know two digit numbers and you have to press you know a special button to enter a two-digit number , and then two numbers , so that's just uh {disfmarker} it'sannoying . So I think a scroll wheel is is quite handy . Now um the the scroll wheel is is much more useful if you have an L_C_D_ screen , and this brings us to the the point you were mentioning before about theinternet uh capability .Project Manager: Mm-hmm .User Interface: One possibility , if we {disfmarker} now we need to still talk about the price point because obviously a lot of this stuff can't be done for twenty five Euuh Euro , but one possibility is to download program information into the L_C_D_ screen so that instead of actually saying I want to I want to go to channel thirty seven because I know this programme's on , you know ,often you don't know what ch what channel it's on , or you don't know what's on . If you have a list of of programs on your L_C_D_ screen you just scroll to that program rather than to a channel . So if you think about{disfmarker} it's kind of like a {disfmarker} you know in mobile phones now you don't use {disfmarker} you don't remember people's phone number , you remember their name and you go find that name and ring it.Project Manager: {vocalsound}User Interface: So this would be pretty {disfmarker} kind of a handy thing to have , but um we we really need t to discuss the price . So , I mean there are {vocalsound} there are uhcheaper {disfmarker} this is another multi kinda purpose remote control where it's it's it's very simple , there's only a few buttons , but al each of those buttons does something different in a different context . So this issomething else we might wanna consider , is really kind of limiting the number of buttons , because this is the top rating uh universal remote control on on Epinions . It it's really uh maybe worth thinking about limitingthe number of buttons as much as as possible um because really I think people want to be able to find the button they're looking for without even looking at the remote control . And {gap} was saying before abouthaving different size buttons for different you know frequently used uh tasks , but I think also you know the location and and shape of the buttons is important , but also the number of buttons . So if you have too manybuttons it it it increases the the difficulty of finding the one you want .Industrial Designer: But there is one problem {gap} then the user has to understand each of that functionality .User Interface: So{disfmarker}Project Manager: Mm-hmm .User Interface: Yeah well we wIndustrial Designer: Because the same button is doing too many things .User Interface: Yeah well we will have a bit of a simpler uh task in thatwe're only doing uh a television remote control . Um I think maybe one option is to have you know a little flip-open um door that uh that you have hidden most of the time , but contains the extra buttons like , say , thenumber buttons for instance . UmIndustrial Designer: Mm-hmm .User Interface: {vocalsound} I I would {disfmarker} if I had my perfect remote control , I'd probably just have no numbers at all on it because they'rejust in the way .Industrial Designer: Mm-hmm .User Interface: They don't really do anything . Maybe you know I {disfmarker} although I do also find flip-open doors a bit of a pain because sometimes they can breakoff or or whatever , but maybe a door that you can you can permanantly remove or permanantly have on would be good .Industrial Designer: Mm-hmm .User Interface: Um {vocalsound} but I think definitely you needto to keep the buttons down to a minimum , but not not let that kind of interfere with the functionality of of the device . Um {disfmarker}Marketing: H I think I think that the tr the transition to this to this new remotecontrol shouldn't be very very abrupt very hard because w if people see a remo see the {disfmarker} see a remote control without numbers mm they will think it's very difficult to learn very difficult to {disfmarker} verydifferent build {disfmarker} very different to the traditional {disfmarker}Industrial Designer: It does sampling out of the {gap} .Project Manager: {vocalsound}User Interface: {vocalsound} Well I guess that depends"}
+{"doc_id":"doc_162","qid":"","text":"Professor A:  Am I on ? I guess so . Radio two . Hmm . Radio two .Grad E: Hello ?Professor A: Wow .Grad E: Mm - hmm . Hi ?PhD B: Blow into it , it works really well .Grad F: Channel B .Professor A: People say thestrangest things when their microphones are on .PhD D: Channel four . Test .PhD C: Uh - oh .PhD D: OK .PhD C: Radio four .Grad E: Hello ?Professor A: So everybody everybody 's on ?PhD D: Today 'sProfessor A: Yeah. So y you guys had a {disfmarker} a meeting with uh {disfmarker} with Hynek which I unfortunately had to miss . Um and uh somebodyPhD C: Mmm .Professor A: eh e and uh I guess Chuck you weren't there either ,so the uhPhD B: I was there .Professor A: Oh you were there ?PhD B: With Hynek ?Professor A: Yeah .PhD B: Yeah .Professor A: So everybody knows what happened except me . OK . {vocalsound} Maybe somebodyshould tell me .PhD C: Oh yeah . Alright . Well . Uh first we discussed about some of the points that I was addressing in the mail I sent last week .Professor A: Uh - huh .PhD C: So . Yeah . About the um , well{disfmarker} the downsampling problem .Professor A: Yeah .PhD C: Uh and about the f the length of the filters and {disfmarker} Yeah .Professor A: What was the {disfmarker} w what was the downsampling problemagain ?PhD C: So we had {disfmarker}Professor A: I forget .PhD C: So the fact that there {disfmarker} there is no uh low - pass filtering before the downsampling . Well .Professor A: Uh - huh .PhD C: There is becausethere is LDA filtering but that 's perhaps not uh the best w mProfessor A: Depends what it 's frequency characteristic is , yeah .PhD C: Well . Mm - hmm .Professor A: So you could do a {disfmarker} you could do astricter one .PhD D: System onProfessor A: Maybe . Yeah .PhD C: Yeah . So we discussed about this , about the um {disfmarker}Professor A: Was there any conclusion about that ?PhD C: Uh \" try it \" . Yeah .ProfessorA: I see .PhD C: I guess .Professor A: Yeah . So again this is th this is the downsampling {vocalsound} uh of the uh {disfmarker} the feature vector streamPhD C: Uh .Professor A: and um Yeah I guess the{disfmarker} the uh LDA filters they were doing do have um {vocalsound} uh let 's see , so the {disfmarker} the {disfmarker} the feature vectors are calculated every ten milliseconds so uh the question is how fardown they are at fifty {disfmarker} fifty hertz . Uh . {vocalsound} Um .PhD C: Yeah . Mm - hmm .Professor A: Sorry at twenty - five hertz since they 're downsampling by two . So . Does anybody know what thefrequency characteristic is ?PhD C: We don't have yetProfessor A: Oh OK .PhD C: um {vocalsound} So , yeah .Professor A: OK .PhD C: We should have a look first at , perhaps , {vocalsound} the modulation spectrum.Professor A: Yeah .PhD C: Um . So there is this , there is the um length of the filters . Um . {vocalsound} {vocalsound} So the i this idea of trying to find filters with shorter delays . Um . We started to work with this.Professor A: Hmm - hmm .PhD C: Mmm . And the third point um {vocalsound} {vocalsound} was the um , yeah , {vocalsound} the on - line normalization where , well , the recursion f recursion for the meanestimation {vocalsound} is a filter with some kind of delayProfessor A: Yeah .PhD C: and that 's not taken into account right now . Um . Yeah . And there again , yeah . For this , the conclusion of Hynek was , well , \" wecan try it but {disfmarker} \"Professor A: Uh - huh .PhD C: Um .Professor A: Try {disfmarker} try what ?PhD C: So try to um {vocalsound} {vocalsound} um take into account the delay of the recursion for the meanestimation .Professor A: OK .PhD C: Mmm . And this {disfmarker} we 've not uh worked on this yet . Um , yeah . And so while discussing about these {disfmarker} these LDA filters , some i issues appeared , like well ,the fact that if we look at the frequency response of these filters it 's uh , well , we don't know really what 's the important part in the frequency response and there is the fact that {vocalsound} in the very lowfrequency , these filters don't {disfmarker} don't really remove a lot . {vocalsound} compared to the {disfmarker} to the uh standard RASTA filter . Uh and that 's probably a reason why , yeah , on - line normalizationhelps because it {disfmarker} it ,Professor A: Right .PhD C: yeah , it removed this mean . Um . Yeah , but perhaps everything could {disfmarker} should be {disfmarker} could be in the filter , I mean , uh the{disfmarker} the mean normalization and {disfmarker} Yeah . So . Yeah . So basically that was {disfmarker} that 's {vocalsound} all we discussed about . We discussed about {vocalsound} good things to do also uhwell , generally good stuff {vocalsound} to do for the research .Professor A: Mm - hmm .PhD C: And this was this LDA uh tuning perhaps and {vocalsound} Hynek proposed again to his uh TRAPS , so .Professor A: OK.PhD C: Yeah ,Professor A: I mean I g I guess the key thing for me is {disfmarker} is figuring out how to better coordinate between the two sidesPhD C: um .Professor A: cuz {disfmarker} because umPhD C: Mm -hmm .Professor A: uh I was talking with Hynek about it later and the {disfmarker} the {disfmarker} sort of had the sense sort of that {disfmarker} that neither group of people wanted to {disfmarker} to bother theother group too much . And {disfmarker} and I don't think anybody is , you know , closed in in their thinking or are unwilling to talk about things but I think that {vocalsound} you were sort of waiting for them to{vocalsound} tell you that they had something for you and {disfmarker} and that {disfmarker} and expected that they would do certain things and they were sor they didn't wanna bother youPhD C: Mm - hmm.Professor A: and {vocalsound} they were sort of waiting for you and {disfmarker} and {disfmarker} and uh we ended up with this thing where they {disfmarker} they were filling up all of the possible latencythemselves , and they just had hadn't thought of that . So . Uh . {vocalsound} {vocalsound} {vocalsound} {vocalsound} {vocalsound} I mean it 's true that maybe {disfmarker} maybe no one really thought aboutthat {disfmarker} that this latency thing would be such a {disfmarker} a strict issuePhD C: Yeah . Well , but . Yeah . Yeah . Well {disfmarker}Professor A: in {disfmarker} in uh {disfmarker} the other {disfmarker}PhDC: Yeah I don't know what happened really , butProfessor A: Yeah .PhD C: I guess it 's {disfmarker} it 's also so uh the time constraints . Because , {vocalsound} well , we discussed about that {disfmarker} about thisproblem and they told us \" well , we will do all that 's possible to have enough space for a network \" but then , yeah , perhaps they were too short with the time andProfessor A: Then they couldn't . I see .PhD C: uhyeah . But there was also problem {disfmarker} perhaps a problem of communication . So , yeah . Now we will try to {disfmarker}Professor A: Just talk more .PhD C: Yeah , slikes and send mails .Professor A: Yeah.PhD C: u s o o Yeah .Professor A: Yeah .PhD C: Uh . OK .Professor A: So there 's um {disfmarker} Alright . Well maybe we should just uh I mean you 're {disfmarker} you 're bus other than that you folks are busydoing all the {disfmarker} all the things that you 're trying that we talked about before right ? And this {disfmarker} machines are busy and {vocalsound} you 're busyPhD C: Yeah .Professor A: andPhD C: Basically.Professor A: Yeah . OK . Oh .PhD C: Um .Professor A: Let 's {disfmarker} let 's , I mean , I think that as {disfmarker} as we said before that one of the things that we 're imagining is that uh there {disfmarker} therewill be {vocalsound} uh in the system we end up with there 'll be something to explicitly uh uh do something about noisePhD C: Mm - hmm .Professor A: in addition to the uh other things that we 're talking about andthat 's probably the best thing to do . And there was that one email that said that {vocalsound} it sounded like uh uh things looked very promising up there in terms of uh I think they were using Ericsson 's{vocalsound} approach or something and {vocalsound} in addition to {disfmarker} They 're doing some noise removal thing , right ?PhD C: Yeah , yeah . So yeah we 're {disfmarker} will start to do this also .ProfessorA: Yeah .PhD C: Uh so Carmen is just looking at the Ericsson {disfmarker} Ericsson code .PhD D: Yeah . We modifProfessor A: Mm - hmm .PhD C: AndPhD D: Yeah , I modified it {disfmarker} well , modifying{disfmarker} {vocalsound} I studied Barry 's sim code , more or less . to take @ @ the first step the spectral subtraction . and we have some {disfmarker} the feature for Italian database and we will try with thisfeature with the filter to find the result .Professor A: Mm - hmm . Mm - hmm .PhD D: But we haven't result until this moment .Professor A: Yeah , sure .PhD D: But well , we are working in this alsoProfessor A: Yeah.PhD D: and maybe try another type of spectral subtraction , I don't {disfmarker}Professor A: When you say you don't have a result yet you mean it 's {disfmarker} it 's just that it 's in process or that you {disfmarker}{vocalsound} it finished and it didn't get a good result ?PhD D: No . No , no n we have n we have do the experiment only have the feature {disfmarker} the feature but the experiment havePhD C: Yeah .PhD D: wehave not make the experimentProfessor A: Oh . OK .PhD D: and maybe will be good result or bad result , we don't know .Professor A: Yeah . Yeah .PhD C: Yeah .Professor A: OK . So um I suggest actually now we{disfmarker} we {disfmarker} we sorta move on and {disfmarker} and hear what 's {disfmarker} what 's {disfmarker} what 's happening in {disfmarker} in other areas like {vocalsound} what 's {disfmarker} what 'shappening with your {vocalsound} investigations {vocalsound} about echos and so on .Grad F: Oh um Well um I haven't started writing the test yet , I 'm meeting with Adam todayProfessor A: Mm - hmm .Grad F: umand he 's going t show me the scripts he has for um {vocalsound} {vocalsound} running recognition on mee Meeting Recorder digits .Professor A: Mm - hmm .Grad F: Uh {vocalsound} I also um {vocalsound}{vocalsound} haven't got the code yet , I haven't asked Hynek for {disfmarker} for the {disfmarker} for his code yet . Cuz I looked at uh Avendano 's thesis and {vocalsound} I don't really understand what he 's doingyet but it {disfmarker} {vocalsound} it {disfmarker} it sounded like um {vocalsound} the channel normalization part {vocalsound} um of his thesis um {vocalsound} was done in a {disfmarker} a bit of I don't knowwhat the word is , a {disfmarker} a bit of a rough way um {vocalsound} it sounded like he um he {disfmarker} he {disfmarker} it {disfmarker} it wasn't really fleshed out and maybe he did something that was{vocalsound} interesting for the test situation but I {disfmarker} I 'm not sure if it 's {vocalsound} what I 'd wanna use so I have to {disfmarker} I have to read it more , I don't really understand what he 's doing yet.Professor A: OK . Yeah I haven't read it in a while so I 'm not gonna be too much help unless I read it again ,PhD D: It 's myPhD C: Oh yeah ?PhD D: I know this is mine here .Professor A: so . OK . Um . {vocalsound}The um {disfmarker} so you , and then {vocalsound} you 're also gonna be doing this echo cancelling between the {disfmarker} the close mounted and the {disfmarker} {vocalsound} and the {disfmarker} the{disfmarker} the {disfmarker} what we 're calling a cheating experiment uh of sorts between the distant {disfmarker}Grad F: Uh I I 'm ho Right . Well {disfmarker} {vocalsound} or I 'm hoping {disfmarker} I 'mhoping Espen will do it .Professor A: Ah ! OK .Grad F: UmProfessor A: F umGrad F: uProfessor A: Delegate . That 's good . It 's good to delegate .Grad F: I {disfmarker} I think he 's at least planning to do it for the clclose - mike cross - talk and so maybe I can just take whatever setup he has and use it .Professor A: Great . Great . Yeah actually um he should uh I wonder who else is I think maybe it 's Dan Ellis is going to be doinguh a different cancellation . Um . {vocalsound} One of the things that people working in the meeting task wanna get at is they would like to have cleaner {vocalsound} close - miked recordings . So uh this is especiallytrue for the lapel but even for the close {disfmarker} close - miked uh cases um we 'd like to be able to have {vocalsound} um other sounds from other people and so forth removed from {disfmarker} So whensomeone isn't speaking you 'd like the part where they 're not speaking to actually be {disfmarker} So {vocalsound} what they 're talking about doing is using ec uh echo cancellation - like techniques . It 's not reallyecho but {vocalsound} uh just um uh taking the input from other mikes and using uh {vocalsound} uh a uh {disfmarker} {vocalsound} an adaptive filtering approach to remove the effect of that uh other speech . So .Um what was it , there was {disfmarker} there was some {disfmarker} some {disfmarker} some point where {vocalsound} eh uh Eric or somebody was {disfmarker} was speaking and he had lots of {vocalsound}silence in his channel and I was saying something to somebody else uh {vocalsound} which was in the background and it was not {disfmarker} it was recognizing my words , which were the background speech{vocalsound} on the close {disfmarker} {vocalsound} close mike .Grad F: Hmm .PhD B: Oh the {disfmarker} What we talked about yesterday ?Professor A: Yes .PhD B: Yeah that was actually my {disfmarker} I waswearing the {disfmarker} I was wearing the lapel and you were sitting next to me ,Professor A: Oh you {disfmarker} it was you I was Yeah .PhD B: and I only said one thing but you were talking and it was picking upall your words .Professor A: Yeah . Yeah . So they would like clean channels . Uh and for that {disfmarker} mmm uh {disfmarker} that purpose uh they 'd like to pull it out . So I think {disfmarker} {vocalsound} I thinkDan Ellis or somebody who was working with him was going to uh work on that . So . OK . Right ? Um . {vocalsound} And uh I don't know if we 've talked lately about the {disfmarker} the plans you 're developing thatwe talked about this morning uh I don't remember if we talked about that last week or not , but {vocalsound} maybe just a quick reprise of {disfmarker} of what we were saying this morning .Grad E: OK .Professor A:Uh .Grad E: Um . {comment} So continuing to um extendPhD B: What about the stuff that um Mirjam has been doing ? And {disfmarker} and S Shawn , yeah . Oh . So they 're training up nets to try to recognize theseacoustic features ? I see .Professor A: But that 's uh uh all {disfmarker} that 's {disfmarker} is a {disfmarker} a certainly relevant {comment} {vocalsound} uh study and , you know , what are the features that they're finding . We have this problem with the overloading of the term \" feature \" soPhD B: Yeah .Professor A: uh {vocalsound} what are the variables , what we 're calling this one , what are the variables that they 'refound {disfmarker} finding usefulPhD C: Hmm .Professor A: um for {disfmarker}PhD B: And their {disfmarker} their targets are based on canonical mappings of phones to acoustic f features .Professor A: Right . Andthat 's certainly one thing to do and we 're gonna try and do something more f more fine than that but uh um so um So I guess you know what , I was trying to remember some of the things we were saying , do you hastill have that {disfmarker} ? Yeah .Grad E: Oh yeah .Professor A: There 's those {vocalsound} {pause} that uh yeah , some of {disfmarker} some of the issues we were talking about was in j just getting a good handleon {disfmarker} on uh {vocalsound} what \" good features \" are and {disfmarker}PhD B: What does {disfmarker} what did um Larry Saul use for {disfmarker} it was the sonorant uh detector , right ? How did he{disfmarker} H how did he do that ? Wh - what was his detector ? Mm - hmm . Mm - hmm . Oh , OK . Mm - hmm . So how did he combine all these features ? What {disfmarker} what r mmm classifier did he Hmm . Ohright . You were talking about that , yeah . I see .Professor A: And the other thing you were talking about is {disfmarker} is {disfmarker} is where we get the targets from . So I mean , there 's these issues of what arethe {disfmarker} what are the variables that you use and do you combine them using the soft \" AND - OR \" or you do something , you know , more complicated um and then the other thing was so where do you get thetargets from ? The initial thing is just the obvious that we 're discussing is starting up with phone labels {vocalsound} from somewhere and then uh doing the transformation . But then the other thing is to do somethingbetter and eh w why don't you tell us again about this {disfmarker} this database ? This is the {disfmarker}PhD B: Hmm !Professor A: And then tell them to talk naturally ? Yeah , yeah .PhD B: Pierced tongues andYeah . You could just mount it to that and they wouldn't even notice . Weld it . Zzz .Professor A: Maybe you could go to these parlors and {disfmarker} and you could , you know {disfmarker} you know have{disfmarker} have , you know , reduced rates if you {disfmarker} {vocalsound} if you can do the measurements .PhD B: Yeah . I That 's right . You could {disfmarker} what you could do is you could sell little rings andstuff with embedded you know , transmitters in them and thingsProfessor A: Yeah . Yeah , be cool and help science .PhD B: and Yeah .Professor A: OK .PhD B: Hmm ! There 's a bunch of data that l around , that{disfmarker} people have done studies like that w way way back right ? I mean {vocalsound} I can't remember where {disfmarker} uh Wisconsin or someplace that used to have a big database of {disfmarker} Yeah . Iremember there was this guy at A T - andT , Randolph ? or r What was his name ? Do you remember that guy ? Um , {vocalsound} {vocalsound} researcher at A T - andT a while back that was studying , trying to dospeech recognition from these kinds of features . I can't remember what his name was . Dang . Now I 'll think of it . That 's interesting .Professor A: Do you mean eh {disfmarker} but you {disfmarker} I mean{disfmarker} MarPhD C: Well he was the guy {disfmarker} the guy that was using {disfmarker}Professor A: you mean when was {disfmarker} was Mark Randolph there , or {disfmarker} ?PhD B: Mark Randolph.Professor A: Yeah he 's {disfmarker} he 's {disfmarker} he 's at Motorola now .PhD B: Oh is he ?Professor A: Yeah .PhD B: Oh OK .Professor A: Yeah .PhD B: Yeah .PhD C: Is it the guy that was using the pattern ofpressure on the tongue or {disfmarker} ?PhD B: I can't remember exactly what he was using , now . But I know {disfmarker} I just remember it had to do with you know {vocalsound} uh positional parametersPhD C:What {disfmarker} Yeah .PhD B: and trying to m you know do speech recognition based on them .PhD C: Mm - hmm .Professor A: Yeah . So the only {disfmarker} the only uh hesitation I had about it since , I mean Ihaven't see the data is it sounds like it 's {disfmarker} it 's {vocalsound} continuous variables and a bunch of them . And soPhD B: Hmm .Professor A: I don't know how complicated it is to go from there {disfmarker}What you really want are these binary {pause} labels , and just a few of them . And maybe there 's a trivial mapping if you wanna do it and it 's e but it {disfmarker} I {disfmarker} I {disfmarker} I worry a little bitthat this is a research project in itself , whereas um {vocalsound} if you did something instead that {disfmarker} like um having some manual annotation by {vocalsound} uh you know , linguistics students , this would{disfmarker} there 'd be a limited s set of things that you could do a as per our discussions with {disfmarker} with John beforePhD B: Mm - hmm .Professor A: but the things that you could do , like nasality and voicingand a couple other things you probably could do reasonably well .PhD B: Mm - hmm .Professor A: And then there would {disfmarker} it would really be uh this uh uh binary variable . Course then , that 's the otherquestion is do you want binary variables . So . I mean the other thing you could do is {vocalsound} boot trying to {disfmarker} to uh get those binary variables and take the continuous variables from {vocalsound} uhthe uh {vocalsound} uh the data itself there , but I {disfmarker} I 'm not sure {disfmarker}PhD B: Could you cluster the {disfmarker} just do some kind of clustering ?Professor A: Guess you could , yeah .PhD B: Binthem up into different categories and {disfmarker}Professor A: Yeah . So anyway that 's {disfmarker} that 's uh {disfmarker} that 's another whole direction that cou could be looked at . Um . {vocalsound} Um .{vocalsound} I mean in general it 's gonna be {disfmarker} for new data that you look at , it 's gonna be hidden variable because we 're not gonna get everybody sitting in these meetings to {vocalsound} wear the"}
+{"doc_id":"doc_163","qid":"","text":"Industrial Designer: {vocalsound}Project Manager: Um almost , there's one more thing I have to get out of the {disfmarker} I have to make sure that this attachment will open .Industrial Designer: {vocalsound} Ikeep forgetting whether I've done this . {gap} .Project Manager: Ah-ha . Okay . We'll open that when the time is right . In the meantime {disfmarker} Closing things down , okay . Let's see what this thing does . Doesit come up together or disappear one of them or what ? Ah , we came up together , we're good . Okay . Are we ready to start ? Okay . It's now quarter of four . This is a f another forty minute one so it will end at fourtwenty five . Okay . Right . Our agenda is , as before , for me to open the meeting , for us to go over the previous minutes , then for the two of you to present your prototype and for you to g um Sarah present theevaluation criteria . We then have a finance aspect , which is a spreadsheet , an Excel spreadsheet . And I know what you're all thinking of , oh my , um because we're only given a forty minute time period to get it all in, including the production evaluation . So we're going to make a very fast track . Okay . Um and as you can see that's what we do next on this thing . So the first thing I have to do is close this so that I can get to{disfmarker} Where is it ? {vocalsound}Marketing: Red .Project Manager: I need to open mine . Not the agenda .Marketing: Agenda three .Project Manager: No that th I want the minutes from the previous{disfmarker} minutes .Marketing: Mm .Project Manager: That should be there , minutes . Yeah . Okay . Uh from meeting three , is it alright with you if I don't switch it to show , just use it as is ? 'Cause this way I canmore easily flip it . Okay , um obviously all of us were here for the last meeting , we reviewed the previous minutes before that , um each of you made your presentations . {vocalsound} Um we discussed the variouspossibilities based on what was presented in those presentations . The market trend of fruit and veg , mm spongy , uh fancy and elegant more than technologically innovative and that more than easy . Um we decidedchip on print would be used . Um we would use plastic with a rubber casing , I think was the consensus , powered by kinetic energy . There was no decision made on the curvatures or double curvature or straight . Umperhaps the prototype will give us an inkling of that . Um looking like a scroll , but it's really a push button technology , excuse my spelling um that was actually in use , that is uh behind the scenes is push button whichwe uh according to Kate have a very good uh grasp on doing that in production . Um we decided that separate fashionable covers covering your fruit and veg might be a separate product that could be suggested tomanagement . Um and as suggested um yellow with black buttons with the company logo , a slogan and image might be a good idea based on the requirements that have been provided to us . Um we did have a fewproduction issues and coordination of the various bits and we had some conflict of ideas and cost constraints and we ran out of time . Um we had to follow that up and prepare for the last one . And uh we closed as it ranout of time . Is that a fair presentation of what happened ?Industrial Designer: Yep .User Interface: Yes .Project Manager: Okay , back to this meeting . Um we're down to the prototype presentation .IndustrialDesigner: Ta-da .User Interface: Alright .Project Manager: Over to you .Industrial Designer: Right .User Interface: Well .Project Manager: Ooh , two .User Interface: Yeah , well you see , each made one , we didn't haveenough yellow dough .Project Manager: Ah .Industrial Designer: {vocalsound}User Interface: This is the one that I made .Project Manager: Uh-huh .User Interface: It is uh curved , easy to hold , hand-held , nice andsmall with big easy buttons . This is like a scroll , but they are push buttons and they enter {disfmarker} takes you into the different menus . Of course we need someone who's experienced with the television {gap} . Imean this is the infrared thing that's gonna zap at the television . Uh I'm not quite sure how to make that , but I'm sure it will work . Uh this is on off switch , 'cause I think we do need that , and I think it gives it a nicebalance .Project Manager: 'Kay .User Interface: And it's gonna have the logo imprinted on it uh in there .Project Manager: Okay .User Interface: Um as for what it's actually made of {disfmarker} well the function ofthese buttons is up , down , left and right {vocalsound} in the different menus .Project Manager: Okay .User Interface: Uh position , I presume that just means right right on it , easy to see . The main feature of it isjust a simple design , simple , lack of uh buttons all over the place . Right ? {vocalsound} Form curved , kind of smooth , hand-held , makes it feel nice to hold . Uh material , I think Kate's gonna tackle that quite a bit ,but I think we have two different options , because we did make a another one , which wa uh is in the shape of banana , it's just {disfmarker} if you can imagine this as yellow with black buttons , like just like this but inthe shape of a banana ,Project Manager: Mm-hmm . Mm-hmm .User Interface: which is also nice and easy to hold and feels good and has a similar sort of scroll push button technology , just a slightly different design.Project Manager: {vocalsound}User Interface: Also with on off switch and infrared {disfmarker} {vocalsound} uh I had envisioned it in hard smooth plastic . So like uh {disfmarker} well , I dunno , what's it like ? Iguess like an existing remote control , but molded and smooth . Whereas otherwise we'd thought , like with this one {disfmarker} or mix and match , just we were gonna see what you thought , the {disfmarker} uh amore spongy rubber cover with spongy buttons . So we have the two options we can follow , either the smooth hard plastic or the spongy rubber , depending on cost restraints . And what we well , what conclusion wereach when we discuss it . {vocalsound} Uh material {disfmarker} yeah , that's what I have to say about material . Can I scroll down on there and see what else {disfmarker}Industrial Designer: Mm-hmm .UserInterface: Well colour , I think {disfmarker} I definitely have a preference towards bright yellow with black buttons , because that's the company colours , but if anybody's got any other suggestions , I'm quite willing toconsider them as well . {vocalsound} So , it just depends what you think about these ideas and if I'm {disfmarker} yeah , maybe , Kate , you better say what you think about them .Industrial Designer: Um well I don'thave very much to add . Um the the case {disfmarker} oops , that's the uh on off button just come off our prototype .User Interface: {vocalsound}Industrial Designer: The the case can be either um spongy rubber orhard plastic . We're not absolutely sure about a combination of the two , but it can be either of those . We have the technology to do that . Um and as for the the actual components um , uh Steph just said this is a{disfmarker} quite a cheap device to manufacture . We have simple rubber push buttons um which provide all the functionality we need . Um the um {vocalsound} the diode that actually does the um infrared is at theend , it's the stalk of the banana , or it's just the thing at the end of this version . Um so that's for material . Colour , well uh Steph's the expert on colour . Um we we don't have any particular restrictions on that . Yeah ,I think that's all we've got to say really .User Interface: I thin as for as for the fruit or organic theme , I guess this one is obviously fruit shaped .Industrial Designer: A banana .User Interface: This one has n banana ,yeah . This one has no obvious connections to fruit , but because it's round and molded , it kinda makes you think sort of organic , touchy-feely , kiddie , it's more like {disfmarker} yeah , you'd expect it to be like achild's sorta toy remote control instead of a real one , which I quite like that sort of image . 'Cause it's very big and chunky and child-friendly andIndustrial Designer: {vocalsound} Would you care to examine theprototypes , see how they feel in the hand ?User Interface: {vocalsound} Hold them , you see , you know . Curvature , is it to your liking ?Project Manager: Oh I see , the on-off's in the back .Industrial Designer: Yes ,that's so that your index finger automatically goes straight to it .User Interface: {vocalsound} If you don't wanna tire out your thumbs after all .Project Manager: And then you can use your thumb .{vocalsound}Industrial Designer: And it was partly we thought the design looked better ,User Interface: Yeah . {gap}Project Manager: I could see this thing , unless it's reinforced , having a problem with the you know{disfmarker}User Interface: Breaking ,Project Manager: yeah .User Interface: oh right . {vocalsound} Well you see , that's why hard plastic would be quite a good thing for it , because then it'd just be rigid .Marketing:I like the fact that on both of them the keys play such a prominent role .Project Manager: Hmm .User Interface: Yeah , {gap} we really like we really like that design ,Marketing: It's really kind of a {disfmarker}UserInterface: I mean it looks just like a logo , that arrangement of the keys . Like a c like a compass point , you know ,Marketing: Mm-hmm mm-hmm .User Interface: just up , down , left and right , and we think we couldmake that quite a good feature . And it's like the the iPod scroll wheel , {vocalsound} but better .Marketing: Yeah . But it's also like texting ,User Interface: Yeah . Yeah , yeah ,Marketing: you don't{disfmarker}Industrial Designer: Hmm .User Interface: I mean it {disfmarker} that's what it makes me think of , mobile phones ,Marketing: {vocalsound}Industrial Designer: {vocalsound}User Interface: I was try Iwas thinking , moving your thumb like this , what does that remind me of ?Industrial Designer: And it's a very simple design ,Marketing: Yeah .User Interface: It's texting .Industrial Designer: there's not a lot to wrong ,the components are cheap to make .Marketing: It's also in terms of um being lost it's it's quite {disfmarker} it looks quite different .User Interface: Hmm .Marketing: You know , I I d I have several {disfmarker} fourremotes , and they all look the same until you get up close and you have to {disfmarker}User Interface: Yeah .Marketing: you know , this is really identifiable .User Interface: {vocalsound} I mean the thing is we doneed to develop our technology of {disfmarker} {vocalsound} I mean actually how to program the menus and what sort of , you know , text box is gonna appear at the bottom of the screen ,Marketing: Mm-hmm .Mm-hmm .User Interface: but we do definitely think that it's a viable option .Project Manager: Okay . The next item is evaluation .Marketing: No , okay .Project Manager: Uh if that's {disfmarker} if you're finished .UserInterface: {vocalsound} Uh yeah , we're finished .Marketing: Um {disfmarker}Industrial Designer: Mm-hmm .Marketing: shall I take your uh power ?Project Manager: Oh sorry .Marketing: Oh .Project Manager:{vocalsound} Try again .Marketing: Okay . This is going to be a heavily interactive evaluation , and the method here is to evaluate the new remote control in terms of the user requirements and the hot trendsintroduced by the marketing department . So , this means we're going to go over the priorities that were raised by uh the consumers a as well as incorporate all of our insight into this uh evaluation exercise . So I'mgoing to go and use the whiteboard , and I've made a list of criteria to look at , and so I'm gonna I'm gonna leave this up as the last thing , but for the evaluation it's going to be one is true and seven is false , goingover these different criteria , so one true seven false and I'm gonna now use the um the board . Okay . So um fancy , technologically innovative , easy to use , trendy , buttons , excess buttons , good buttons , ugly ,sellable , and other . And in fact I hope that uh you all introduce some additional terms , because these are things that um have been brought up , some of them seem rather close ,User Interface: Yeah , what aboutprice , is that gonna go on there as well ? Price of materials .Marketing: like they overlap . Mm , yeah , price .Project Manager: Hmm .Marketing: We'll put price up at the top .User Interface: {vocalsound} Not that weactually know anything about it ,Industrial Designer: {vocalsound}User Interface: but we can we can pretend .Marketing: {vocalsound}Project Manager: Well we will soon , unfortunately .Marketing: Um Okay , so{disfmarker}Project Manager: Come on .Marketing: Did you say {gap} ?Project Manager: No , {gap} .Marketing: Uh okay , so wha how do we feel in terms of is this fancy ?User Interface: It depends what what youmean by fancy really , 'cause when I think of fancy , I think of it's got lots of extra sort of fripperies and , you know , like baroque curliness and {disfmarker} whichMarketing: {vocalsound} Mm-hmm .User Interface: I'dcall these quite uh minimalist ,Industrial Designer: Yes , a plain , simple , clean design .User Interface: simple and plain , but I mean I do see what {disfmarker} {vocalsound} it is heavily reliant on appearance insteadof pure functionality ,Marketing: Mm-hmm .User Interface: so in that respect it is quite fancy .Marketing: {vocalsound} I {disfmarker} yeah , so in that respect {disfmarker} I think we'll go with that respect .UserInterface: I think just maybe we need a different word other than fancy , I'd say maybe aesthetic .Marketing: Yeah .Industrial Designer: {vocalsound} Well we have got s trendy further down ,Project Manager: Elegant.Industrial Designer: but {disfmarker}Project Manager: Elegant .Marketing: Elegant .Industrial Designer: Elegant , I don't know if I'd call them elegant .Marketing: Yeah , no these aren't the exact terms that the um{disfmarker}User Interface: {gap} like stylish or aesthetic .Industrial Designer: Stylish , yeah .Marketing: Yeah . Elegant . We're gon let's use elegant , although the the the people , the word on the street is is{vocalsound} {disfmarker}User Interface: Fancy .Marketing: Yeah . {vocalsound} N that {disfmarker} umUser Interface: Did you just break the pen ?Project Manager: {vocalsound}Marketing: yeah uh {disfmarker}the uh {disfmarker} is fancy . So let's let's take it to the next level .User Interface: Well d we'll just call it fancy then .Marketing: Well okay , so in terms of elegant , fancy . we'll call it E_F_ um , do we do we think thatperhaps {disfmarker} and maybe we should say the yellow ? Should we go with the yellow in terms of {disfmarker} I think that's a really superior {disfmarker}User Interface: Yeah , I think we n we need to{disfmarker}Marketing: they're both {disfmarker}User Interface: they're both yellow with black buttons , it's just that we didn't have any more dough to represent uh that ,Marketing: Yeah .Project Manager: Mm .UserInterface: but if you can just imagine banana shape with these bits as black .Marketing: Yeah .User Interface: So what we re really need to decide is whether we want the actual banana shape or just a a purely blob orsome sort of abstraction in between the twoMarketing: Yeah .User Interface: that isn't {disfmarker} that is more curved , like a banana , but that isn't actually recognisable as a banana , you know , with the groovesand the stalk and stuff ,Marketing: As a banana .User Interface: so .Marketing: I think that many of us are abstract enough to look at the yellow one and say we'll call it the banana .Project Manager: Yeah .Marketing:And of the two I really like I m I like the banana ,Project Manager: The chunk .Marketing: but I I do like the chunk .User Interface: So that's maybe not something we have to decide just right now , is it .Marketing: No,User Interface: Just somewhere a long the scale of in between these two .Marketing: but I mean in terms {disfmarker} we have to evaluate one of them . Unless {disfmarker} do you guys wanna evaluate both ?ProjectManager: I think between the two , somewhere between the two is true .Industrial Designer: {vocalsound} Yeah , I'd {disfmarker}Project Manager: It's more true than false , about a two .Marketing: Okay . So we saytrue . {vocalsound} technologically innovative .User Interface: {vocalsound}Industrial Designer: I d I don't think that's what we're aiming at with this concept .Marketing: Yeah .Industrial Designer: I think we're usingsimple components that are gonna be robust but not particularly innovative .Marketing: So we'll say {disfmarker} we'll say uh false . Easy to use .Industrial Designer: Very .User Interface: Yes .Marketing: {vocalsound}One ,Project Manager: Mm-hmm .Marketing: is that inappropriate ?Industrial Designer: Yeah .Marketing: Okay . Oh , pardon me . UmProject Manager: Trendy .User Interface: Oh yes .Marketing: trendy , s{vocalsound} and I say specifically spongy fruity .Project Manager: Mm-hmm .User Interface: Well , maybe only a two or a three then , 'cause it's no we still haven't decided about specific sponginess or specific{disfmarker}Industrial Designer: We have the worry about how robust it will be if it's it's curved as a banana but spongy .Project Manager: Hmm .Industrial Designer: I think {disfmarker}User Interface: Yeah , I don'treally think that's gonna work ,Industrial Designer: yeah .User Interface: but {disfmarker}Marketing: {vocalsound} Okay , so two ? UmIndustrial Designer: Yeah .Project Manager: Excess buttons .Marketing: are thereexcess buttons ?Project Manager: No .Industrial Designer: No .User Interface: No .Marketing: {vocalsound} {vocalsound} That is false .Industrial Designer: So that's false . {vocalsound}Marketing: Um {vocalsound}good , well designed buttons , intuitive buttons .Project Manager: Better , more intuitive buttons , yes .Marketing: True . Ugly .Industrial Designer: No .User Interface: No . {vocalsound}Project Manager: No .Marketing:People don't respond well to ugly . Sellable , uh quirky , you know , something people {disfmarker}Industrial Designer: Yeah , I think they're different , aren't they ?User Interface: Well it is quite it is quite quirky I think.Marketing: like oh ,Project Manager: I like it .Marketing: yeah . Yeah , I do too .User Interface: It could be quite a good brand , like a good little object .Marketing: Oh yeah . And I was I was thinking of other things umin terms of uh could we say it's cost saving ? With the {disfmarker}User Interface: Oh , we also need tho think about the energy . Is it the kinetic energy ?Marketing: Yeah , with the energy .Industrial Designer: Mm .{vocalsound}User Interface: If it's {disfmarker} it is gonna be environmentally friendly with the kinetic energy .Industrial Designer: Yeah .Marketing: It is going to be kinetic ?Industrial Designer: Yeah .ProjectManager: Mm-hmm .Marketing: we'll c we'll say it's a cost saving enviro . Yeah , Uh so yes .User Interface: Yeah , but we haven't completely developed that side of it yet , so we're not completely sure about that,Marketing: Well {vocalsound}User Interface: but yeah .Marketing: you're still in the Play-Doh stage .User Interface: Yeah .Marketing: Anything else ? Including price , do you have any idea about price or other features?Industrial Designer: Well I think our instinct is that it should be pretty cheap to develop . We haven't got a lot of expensive components in there .Project Manager: Yes , the instinct says true .Marketing: Okay . So trueone or should I go to two or three ?Industrial Designer: I'd put it at one I think , but {disfmarker} I dunno , what do you {disfmarker}User Interface: I would say maybe a two ,Marketing: Okay .User Interface: 'causewe still {disfmarker} we need to uh get somebody in who is good with the programming for the menus and things .Industrial Designer: Yeah , true ,User Interface: I mean it's not just like {disfmarker} I mean it's notlike ev you know , on a normal chunky remote every button res I mean means something different ,Project Manager: Yeah , that's not a cheap thing to get .Industrial Designer: it might be the {disfmarker} yeah , yeah, true . True .User Interface: whereas this one has only got the four buttons and they all {disfmarker} they mean everything , depending on what menu you're in .Project Manager: Hmm .Industrial Designer: Yeah ,that's a good point .User Interface: {gap} uh we need somebody to develop that .Marketing: Um other ? Anything else you guys can thing of ? And I'm gonna actually change a couple of these so then I'm gonna{disfmarker} instead of ugly I'm gonna say it's attractive and then make that true , so that {disfmarker}User Interface: Yeah .Marketing: 'cause I have to do an average . {vocalsound}Industrial Designer:{vocalsound} Right .Marketing: And then um excess buttons .User Interface: Just putting no excess buttons .Marketing: Exactly . Wow we're doing really well . Yeah , be you know ,User Interface: As for{disfmarker}Marketing: so it doesn't ruin the polarity .User Interface: see if we're technologically innovative , I'd say it is quite innovative , because there aren't really many that have this menu idea instead of all the"}
+{"doc_id":"doc_164","qid":"","text":"User Interface: Here we go again .Industrial Designer: {vocalsound} My mouse is not working anymore .User Interface: {vocalsound} Oh .Industrial Designer: {vocalsound} He's uh {disfmarker}Marketing: Oh .UserInterface: Okay .Industrial Designer: when I put it in , is is going to beep beep beep .Marketing: Oh , I got a nice little screen here over here .User Interface: {vocalsound}Marketing: {vocalsound} I got like this bigblack border uh on every side .Industrial Designer: {vocalsound}Project Manager: Okay .User Interface: Mm , okay .Project Manager: Everybody ready ?Marketing: {vocalsound} I'll I'll fix it .User Interface: Yeah , it'sokay .Project Manager: Welcome at the functional design meeting , again presented by Maarten .Marketing: Yeah , whatever .User Interface: {vocalsound}Marketing: {vocalsound}Project Manager: Uh this is theagenda , the opening . Uh , we've got three presentations . And I'm gonna show you some of the new projects requirements that were sent to me . And we're gonna make a decision on the remote control functions . Wehave uh forty minutes .Marketing: Yes .Project Manager: Oh , well this is the {vocalsound} the closing already .User Interface: {vocalsound}Project Manager: So uh {disfmarker} well we start off with the th the firstpresentation then . Uh , I think um in uh {disfmarker} we have to do it in uh in right order .User Interface: Okay .Project Manager: Maybe the {disfmarker}Marketing: I don't know what the right order is . So{disfmarker}Project Manager: Well , it {disfmarker}User Interface: No .Industrial Designer: Huh .Project Manager: Oh that . It won't {disfmarker} doesn't {disfmarker} Maybe we should start with the the technicalfunctions .Industrial Designer: Okay ,Project Manager: Yeah ?Industrial Designer: how can I get this on the whiteboard ?Project Manager: Well it's you dumped the file in the uh in the sh in the project document folder.User Interface: In project .Industrial Designer: Okay , I've done that .Project Manager: You've already done that ?User Interface: No can that open .Industrial Designer: Yes .Project Manager: Well let's close this one .We'll just uh open a new one .User Interface: Open it there .Project Manager: Uh , well . Yes . Uh-oh . New thing . Oh yeah , uh I have to say something . Uh , due to some uh technical problems I haven't uh digitizedthe last uh the meeting minutes . But I'll uh make sure that uh happens next time .Marketing: Mm-hmm .User Interface: Okay . {vocalsound} About the get {disfmarker}Project Manager: And I'll get this one uh indigital uh form too .Industrial Designer: 'Kay , we're going to um uh talk about working design . Um , the method of the remote control is uh electrical energy , it activates a chip uh in the remote . It's an electricalcircuit which compose uh messages in the form of uh uh infrared signals to control the television . Mm , it's a nowadays very uh known , a known uh uh technology . Um , the known technology can make a cost very low. Uh , it's a wild uh {disfmarker} a wide sale uh of uh remote controls in the world . And and the components are very uh very cheap . Um , Uh , diodes , uh bat batteries and uh uh LED lights , they're needed andthey're uh everywhere available . Uh , again , it's a fair price . It's a common uh technology uh , like I told um {disfmarker} Uh , the circuit board , it's the most um important uh um part of the remote control . Uh , wecan use for that uh fibreglass with copper wires , it's {disfmarker} it is uh {disfmarker} can be made as fast as printing paper . It's uh {disfmarker} {vocalsound} it's all very uh {disfmarker}Project Manager: Okay.Industrial Designer: Yeah , they're making it uh all the time . Uh ,Project Manager: Okay .Industrial Designer: and it's not uh very specialised uh technology . {vocalsound} I haven't come to here , but um I've got uhsome uh images of uh remote controls . They were not uh very uh trendy or just uh just a remote control like everyone knows . So I don't know uh why I should put it here . Uh {disfmarker} {vocalsound}ProjectManager: {vocalsound} Okay . But it's the technical side of the remote control .User Interface: {vocalsound}Industrial Designer: Yes , but uh I uh haven't made it because uh of the time .Project Manager: Oh . Okay .Well , we'll we'll have to skip that part then .Industrial Designer: {vocalsound} What ?User Interface: Okay .Project Manager: But you don't think it's a problem um to design uh the technical part of the remote control ?It's gonna be easy ?Industrial Designer: {vocalsound} No . Yes .Project Manager: Okay .User Interface: But nothing restricted for user interface ?Project Manager: Yeah . MUser Interface: With technical{disfmarker}Industrial Designer: Um , no , it's uh it's just a part of uh a known technology , yeah .User Interface: I don't know .Project Manager: Okay .User Interface: 'Kay .Industrial Designer: Remote control isnothing special nowadays .Project Manager: R regardless of what type of functions we want to implement . Doesn't really matter .User Interface: Okay .Industrial Designer: Um {disfmarker}User Interface: But I kind ofuh {disfmarker}Industrial Designer: I don't think so ,Project Manager: Okay . Yeah , {gap} okay .Industrial Designer: because of the {disfmarker} all the televisions uh {disfmarker} there are a few {disfmarker}maybe a couple of televisions with the new functions ,User Interface: Yes . Uh {disfmarker}Project Manager: Okay .Industrial Designer: but is it useful to put them on a on a standard uh remote ?Project Manager: Well ,we'll see . We'll see later on .User Interface: Well , the technical functions . Um , well I don't know if you got the same uh pictures as I got ,Project Manager: No .User Interface: but uh I got these two ,IndustrialDesigner: No .User Interface: and I think they're {disfmarker} we have to focus uh on uh the uh one hand the expert view or the novice user . {vocalsound} th I think it's it's very much uh depending on the userrequirements , I don't s uh know who's doing tProject Manager: Well , uh will there be some uh user requirements later on ? {vocalsound} The ones I {disfmarker} I've uh received from the account manager .UserInterface: Yeah , but it {disfmarker} I think that's very important to watch uh what kind of functions there we want to uh put in a remote control .Project Manager: Yeah . Well , we'll keep this in mind , and then discussit later on .User Interface: Yeah , well y we can put functions in it when uh {disfmarker} yeah , when we uh get the user requirements uh and we can update it .Project Manager: Uh-huh . Okay , but this real this uh bigd uh distinction between this type of remote . {gap} we should we should choose one uh {disfmarker} we should not compromise but uh really choose for uh expert viewer or novice vMarketing: Yes , I agree . Yeah.Project Manager: Yeah ? Well , what {disfmarker} that's what you want {disfmarker} trying to say .User Interface: Well , yeah w if you want try a a a huge market , if you want to reach a huge market , uh like elderlypeople and {disfmarker} we have to choose for novice user .Project Manager: Okay . Okay .User Interface: But I don't know . It's it's really um depending on how how how far the the the remote controls are already inn um in use .Project Manager: Yeah , well {vocalsound} some of these {disfmarker} Uh , yeah . Well , some of that will {disfmarker} Yeah , but i but it will be more clear when we come to the uh u uh some of the newrequirements .User Interface: Yeah , probably , yeah .Marketing: Yes .Project Manager: So {disfmarker}User Interface: Uh well , there are l at least uh basic functions , uh like just th the channels uh one till nine , uhon and off switch , which must be clear with a red button or something like that . Um , most standard uh have volume , of course , and a mute function , and , of course , the next and previous channel . I think that'sjust basic what we need .Project Manager: Mm-hmm .User Interface: And from that on we can {gap} user requirements what we need more . Uh {disfmarker} Yeah , I just um um I thought Joost was looking at thetrendy {disfmarker} the trends in the markets , and I don't know if there uh are any um {disfmarker} uh if you put more functions , more buttons , maybe it's com becoming less trendy or something like that.Marketing: Yes .User Interface: M you can just {vocalsound} you can k {vocalsound}Marketing: {vocalsound} I haven't really found a conclusion like that .User Interface: you can keep it in mind that .Marketing: Yeah.User Interface: I don't know . Uh , I th I thought the the {disfmarker} with less buttons you can make a more trendier uh {disfmarker}Marketing: Design .User Interface: yeah , more trendier design , I think . I think.Marketing: Sounds interesting .Project Manager: {vocalsound}User Interface: Yeah ?Marketing: {vocalsound}User Interface: Uh , well , that's all I have to say , I think .Project Manager: Okay .User Interface: Yeah ,that was it .Marketing: {vocalsound} Alright .Project Manager: Well , then the Marketing expert can uh tell us something about the current market .Marketing: {vocalsound} Yes .User Interface: {gap} .Marketing: Yeah. It's alright . Um {disfmarker} Alright , I've done some research for functional requirements . Um {disfmarker} yes . The working method um {vocalsound} there were hundred uh uh w h one hundred people , uh howdo you say uh , f watched using remote controls in the usability lab and they also uh filled out a questionnaire uh with a few questions . Uh , I've lined them up here . Uh , ask whether um common remote control looksgood or not , about willingness to spend money on remote control , about zapping behaviour , and uh and stuff like that . I uh have found some interesting things . We do we do got a market . Um , {vocalsound} threeout of four people claim m uh to find remote controls ugly . So if we make a trendy design , we sure have seventy fi seventy five percent of the market , which you can reach . Um , three out of four users uh zaps a lot ,as I uh quoted here from the uh results . {vocalsound} Zap buttons are used one hundred and sixty eight times per hour . That's quite a lot . Um , {vocalsound} relevant options are , of course , power buttons .Although , only used once per hour . Uh , channel selection , volume and buttons for text , and the more um , yeah , other functions , like audio settings , video settings , sound settings are not said to be very importantand uh very much used . Furthermore , fifty percent says uh they only use ten percent of the buttons on a remote control . That doesn't say we got {disfmarker} we can leave ninety percent off . But it sure um says weshouldn't make it too uh complicated . Fifty percent also claims uh to have lost a remote control very often in the room . And um {vocalsound} an important thing here , the most important customers uh , which is overseventy percent of our market , is in the age range of thirty six to sixty five years old . And uh elderly people , our market , are less interested in uh nice features , but more willingly to spend more money on remotecontrols . So , {vocalsound} what I was thinking {disfmarker} oh , wrong side . We shouldn't implement too much features on uh on our remote control , because elderly people will get th lost . Group features for ahigher usability , uh what I was claiming in the previous meeting . Um , all the settings , about audio settings , video settings and channel settings , which are not very often used , we could group them uh on onebutton and make them accessible uh in one menu button or whatever , because they are used very rarely and well , it uh {disfmarker} there are a lot of options there , so we can really make uh {disfmarker} yeah ,how do you say , we can spare at buttons over there .Project Manager: Okay .Marketing: {vocalsound} And um , if you want to implement V_C_R_ and D_V_D_ options , group them in the button , not too uh{disfmarker} {vocalsound} Yeah . Small buttons , so they won't be very um , how do you say {disfmarker}Project Manager: Visually presents .Marketing: Yes , won't be very present , thank you . And a trendy look ,well uh , although seventy percent of the market is uh {disfmarker} consists of elderly people uh who don't really care for trendy looks or whatever , I guess it can do no harm to make it trendy for the other thirtypercent . That was kind of what I found .Project Manager: Okay .User Interface: Okay .Marketing: {vocalsound} Okay .Project Manager: Well , then we {disfmarker} I'm gonna show you some of the new projectrequirements and then we gonna discuss on uh what features we find important .Marketing: {vocalsound} Yes .Project Manager: Uh , well some of the uh new requirements {vocalsound} make some of your findingsquite uh irrelevant , I think .Marketing: {vocalsound}Project Manager: Because um uh s decided to put {disfmarker} They have decide to put two additional requirements forward . Well , now I see four .Marketing: Two? {vocalsound}Project Manager: That's kinda strange . Well , they say tele teletext becomes outdated since the popularity of the internet . Well , I think that may be so , but well , we can't just leave the teletext buttonoff .User Interface: Well {disfmarker}Project Manager: It's impossible , I think .User Interface: No way .Marketing: {vocalsound} No uh , I agree , I agree .Project Manager: So the compromise we could make is just tomake one teletext button , you know , like on and off , and don't make a lot of special {disfmarker} put a lot of special features on it to make it transparent or {disfmarker}Marketing: Not too much , no .ProjectManager: You know , it's just you want you want to be able to make use of teletext , but not to play with it that much .Marketing: Yeah .Project Manager: So we have to think of that . The remote control should only beused for television . Otherwise , the project becomes more complex , which endangers the time t t ma uh the time to market . So maybe we should leave all D_V_D_ and V_C_R_ related features off completely .UserInterface: Yeah .Marketing: {vocalsound} Okay .Project Manager: I don't know . I think that uh that's what they're trying to say .Marketing: {vocalsound}Project Manager: Uh , our current customers are within the agegroup of forty plus . New products should reach a new market with customers that are younger than forty . So you uh talked about the elderly who were willing to spend more on a remote control and who wereinterested .Marketing: Mm-hmm .Project Manager: But , well , they're not relevant because we are aiming at a younger {disfmarker}Marketing: {vocalsound} I don't really agree actually , to be honest . It's a verysmall market which we will approach then if we uh want to reach customers younger than forty . It's only like thirty percent of the total market .Project Manager: Yeah , but it is {disfmarker} it's is a dif it's a fact thatthe th th that bigger market you're talking about , we already cover that .Marketing: Mayb yeah ?Project Manager: Our company already sells remote control to the older people , but we we also want , {vocalsound}you know , a new customer group . That's the one we haven't covered yet . So I think that's what the problem is . We haven't got remote controls for uh {disfmarker}Marketing: {vocalsound} Okay .Project Manager:Well I think , yeah .Marketing: Maybe maybe we can compromise a little bit .Project Manager: Yeah , I think so . Maybe if it's {disfmarker}Marketing: Not too much then , bu alright .Project Manager: no no , but I thinkwe have to just keep in mind what the older age group wants . So maybe we can make a remote control that's primarily interesting for the younger group , but isn't that bad for an older person either .Marketing: Yes.Project Manager: Uh , our corporate image sh should stay recognisable in our products . Our product's corporate colour and slogan must be implemented in the new design . Okay , {vocalsound} something else nice toknow .User Interface: But what's our slogan ?Project Manager: Sorry ? Yeah , {vocalsound} you will have to look that up . {vocalsound}User Interface: The slogan uh {disfmarker} {vocalsound}Marketing:{vocalsound} Yeah , I'll have a look .Project Manager: {vocalsound} I think it's something about the {disfmarker}User Interface: Puts fashion in electronics . {vocalsound}Marketing: We put the fashion in electronics.Project Manager: Oh , okay . {vocalsound} I thought it w might be , let's make things better or something , but {disfmarker}User Interface: {vocalsound} Sense simplicity . {vocalsound}Marketing: {vocalsound}Sense and simplicity . {vocalsound}Project Manager: Okay well , {vocalsound} let's go back to the the agenda . So we've now had to {disfmarker} the three presentations . We know about the new projectrequirements . That means we can uh well d yeah , discuss on the remote control functions . Well , if I can uh make a start , I think it's becoming more clear what kind of remote control it's gonna be , and I alreadytalked about the {disfmarker} maybe you have a f familiar with the rem remote control that has the the can opener underneath it . I think we're we're looking for some {disfmarker}Marketing: {vocalsound}ProjectManager: Yeah , we we're looking for a really simple remote control with only basic T_V_ functions . Y well , that {disfmarker}User Interface: Yeah .Marketing: Well , to be honest , if um our uh aim group is uh till forty ,not older than forty , maybe that's not very uh {disfmarker} yeah , we don't really need to have a simple remote control .Project Manager: Yeah . Yeah .Marketing: I think we can implement more functions then ,because um {vocalsound} basically uh the younger people are more able to adapt to new technologyUser Interface: Yeah , but whaProject Manager: Yeah , yeah .Marketing: and therefore will be a more{disfmarker}Project Manager: M yeah , that's why um well a lot of um the use the requirements the the account manager sent me , I think they are are c are contradicting each other ,User Interface: But{disfmarker}Project Manager: because they want a simpler design , and no uh other uh s functions than just T_V_ , but they s do aim at a younger {disfmarker}Marketing: Yes . {vocalsound}Project Manager: Well ,maUser Interface: Yeah , but you sai you said that that a lot of functions aren't used .Marketing: Yeah .User Interface: So why should j we put this function in ?Marketing: {vocalsound} Well , I think {disfmarker}UserInterface: I think more {disfmarker} I think uh people {disfmarker} younger people are more looking for just a trendy look than uh more functions .Industrial Designer: {vocalsound}Project Manager: But I think uh you{disfmarker} we can make some discuss uh distinctions in uh what kin in the , know , th th in functions you have {disfmarker} Y Well you have different kind of uh equipment in your room , like a t T_V_ and a D_V_D_player .Marketing: Yes .Project Manager: You can uh , know , you {gap} you can {vocalsound} make very d you can put very detailed functions regarding the T_V_ set on your remote control uh with the with uh the ,you know , audio settings and uh v uh screen settings . We don't want that . I think that was {disfmarker} that became clear . We don't want . But w maybe we should put some func uh , I know that the younger peoplewill most likely have a D_V_D_ player they want to , you know , they want to uhMarketing: Yeah , control .User Interface: Yeah , but uh you said {disfmarker}Project Manager: control , remotely .User Interface: Yeah ,d yeah , but th the functions are not in the remote control we're making .Marketing: {vocalsound}Project Manager: No , yeah , th th the user requirements of the the {disfmarker} The new project requirements told usnot to {disfmarker}User Interface: It's n Yeah .Project Manager: But maybe w Yeah . I think we maybe should {vocalsound}User Interface: Yeah .Project Manager: Yeah , well we should uh put some functions for other{disfmarker} maybe for other equipment on it . But just the basic functions . Maybe like rewind and wind ,Marketing: {gap}Project Manager: or n what d what do you guys think ?Industrial Designer: But you can putthem under the same button .Marketing: Not much more than that .Project Manager: Yeah , if {disfmarker} as far as possible .Marketing: Yep . Or we can u u we could put 'em behind the flip-flap or whatever .ProjectManager: But what do you think ?Marketing: So tProject Manager: Do th should we implement features that uh uh or functions that {disfmarker} to control other devices ?User Interface: No .Project Manager: No , youdon't think so ?Marketing: {vocalsound}User Interface: No , new requirements say no .Project Manager: Yeah , the new requirements say so .User Interface: So {disfmarker}Industrial Designer: But you can put a playand stop and and rewind .Project Manager: Well , maybe it's {disfmarker}Marketing: {vocalsound} Yeah .Project Manager: maybe there there there is something th m most of the time these functions don't support the"}
+{"doc_id":"doc_165","qid":"","text":"Project Manager: Right , so start of the first meeting .Marketing: Mm-hmm .Project Manager: {vocalsound} Uh . Right , so agenda of the first meeting . Where we uh {disfmarker} We have twenty five minutes for thismeeting .Industrial Designer: Okay .Project Manager: We uh are to get acquainted . So does everyone want to say who they are ? {gap} that seem sensible ?Marketing: Yeah . I'm Robin . I'm the Marketing Manager.User Interface: I'm Louisa . I'm the User Interface Designer .Industrial Designer: I'm Nick . I am the Industrial Designer .Project Manager: And I'm Alastair and I'm the project leader . {vocalsound} Alright okay , sotool training . Um . {vocalsound} Project plan . So does anyone have any uh thoughts as to the tool training that uh is required ?Industrial Designer: Tool trainingUser Interface: I'm not exactly sure what you mean bytool training .Project Manager: Neither am I {gap} .User Interface: {vocalsound}Marketing: {vocalsound}Project Manager: Oh I see , so we shouldn't really be {disfmarker} Oh right okay , so . So we have the projectteam , which is to um {vocalsound} basically to come up with a new r remote control device .Industrial Designer: {gap}Project Manager: Uh we have uh {disfmarker} the starting base was the original {vocalsound}which has been in existence now for a period of time . And uh our idea is to uh to make the new remote control device uh more user friendly than the previous one , and to {vocalsound} to be trendier , to be with it ,and therefore to uh to get a bigger market share and bigger audience .Industrial Designer: {vocalsound} Yeah .Project Manager: So um {vocalsound} method of doing this is uh split up as you can see into uh{vocalsound} the functional design , the conceptional design , and the detailed design . So um {vocalsound} in each of these uh phases we'll uh basically be handing over to yourselves , the designers of this uh thisdevice .Industrial Designer: Yes .Project Manager: And uh having uh meetings so that we can uh during the course of the day um come up with a better better inst implement than we had before . And therefore umhave a successful uh conclusion to the day . Um and you'll be doing uh various designs uh throughout the day to meet this end .Marketing: Mm-hmm , okay .Project Manager: So we've got tool training . Try outwhiteboard . Uh . {vocalsound} So we will um .Marketing: {vocalsound}User Interface: {vocalsound}Project Manager: Right so everyone's to uh supposedly uh draw their favourite animal over on the white board overthere . I guess this is uh make sure the whiteboard works . So uh I don't know who wishes to go first .Industrial Designer: Okay {gap} .Marketing: {vocalsound}Project Manager: {vocalsound} Do you wish to go f Havea first bash at uh whatever .User Interface: I don't mind . {vocalsound}Marketing: I dunno . {vocalsound}User Interface: Um .Project Manager: Ah uh . {vocalsound}User Interface: Let's see .Marketing: {gap}UserInterface: Good job I got pockets today .Project Manager: But now you you uh you'll move out from the microphone and the camera .Marketing: Your microphone's just {disfmarker}Project Manager: I take it that{disfmarker}User Interface: Are we supposed to do this right now , do you think , or ?Project Manager: I would {vocalsound} I would guess so . Or {gap} {disfmarker}Marketing: Yeah . I don't know .IndustrialDesigner: You've lost uh your microphone there .Project Manager: {vocalsound} Technical problems .User Interface: Oh . Right here we go .Project Manager: I mean you designers are meant to come up with these sortof things .Industrial Designer: {gap} {vocalsound}Marketing: {vocalsound}User Interface: {vocalsound}Project Manager: {vocalsound} {vocalsound}User Interface: Okay . I think that I would have to say that myfavourite animal is the cat . Little smiley cat there . Um and this would be because they're very independent , uh they're very intelligent , compared to dogs maybe .Project Manager: {vocalsound}Industrial Designer:{vocalsound}User Interface: Um {vocalsound} and they can be very very affectionate . Some people don't think so but I know very affectionate cats . Um . Um and they can look after themselves .Project Manager:{gap} {vocalsound}User Interface: {vocalsound}Marketing: {vocalsound}Project Manager: Next . {vocalsound}Industrial Designer: Okay , yeah . I'll I'll {disfmarker}User Interface: Shall I rub that out , actually?Project Manager: I don't see as there's any need to . There's plenty of space .Industrial Designer: {gap}Project Manager: I mean whatever . {vocalsound}User Interface: {vocalsound}Marketing: We can have have awhole menagerie . {vocalsound}Project Manager: Exactly .Industrial Designer: {vocalsound} Shall I see if I can get across without just tangling everything . Okay .Project Manager: We've had more time to prepareover this side ,Industrial Designer: There's one .Project Manager: so we've all stuck our bits and pieces in our pockets . {vocalsound}Industrial Designer: {vocalsound} Didn't think of that .User Interface:{vocalsound}Marketing: {vocalsound} {vocalsound}Industrial Designer: 'Kay uhProject Manager: The three pens are underneath .Industrial Designer: pens are over here . I'll try the red pen . Okay . Um .{vocalsound} I'm gonna go for the bear which I'm {gap} be able to draw very well ,Project Manager: {vocalsound} You get marks for artistic impression . {vocalsound}Industrial Designer: but I'll have a bash at it.User Interface: {vocalsound}Marketing: {vocalsound}Industrial Designer: Uh .User Interface: {vocalsound}Marketing: {vocalsound}Industrial Designer: {vocalsound} Ooh ooh {gap} I lost it there . I think I've justknocked the microphone . {vocalsound} Um .Marketing: {vocalsound}User Interface: {vocalsound}Project Manager: So you're just doing the face . {vocalsound}Industrial Designer: We'll g then we'll go for a a s smallsmall bear {gap} .User Interface: {vocalsound}Project Manager: {vocalsound}User Interface: {vocalsound}Marketing: {vocalsound}Industrial Designer: {vocalsound} Um {vocalsound} and I like my animal that looksnothing like a bear because um I dunno maybe because there's so many cartoon characters made up after the bear like the jungle book characters and stuff like that .Project Manager: {vocalsound}Industrial Designer:{vocalsound} Great . {vocalsound}Marketing: Right . Hello . Um I'm gonna go for the dog , and I'm gonna draw one badly as well . Uh . {gap} looks like it's going to be a dachshund or something .User Interface: That'squite good . {vocalsound}Industrial Designer: {vocalsound}Marketing: {vocalsound} Right . There's my dog . Um {vocalsound} I like dogs because they're very loyal . And they're always happy , so wheneverwhenever you're feeling sort of a bit a bit down or tired , they're always coming up and they're always um quite excited . So um you can always have a lot of fun with a dog . And they're also good for exercise as well .You can sorta get out and they they sorta never get tired . And and when they're tired they're quite cute as well , so . {vocalsound}Project Manager: {vocalsound}Industrial Designer: {vocalsound}User Interface:{vocalsound}Marketing: Okay , that's why I like dogs .Project Manager: {vocalsound} Right , um . {vocalsound} Well I've not actually had too many pets uh over my uh time 'cause to be honest with you uh {gap} I'mnot too keen on them anyway . Not to worry . So what my daughters have got at the moment is they've got uh a few fish and so hopefully um won't prove too difficult to draw . Uh {vocalsound} {vocalsound}{gap}User Interface: {vocalsound}Project Manager: As you can see that my artist artistic work is useless as well .Marketing: {vocalsound}Project Manager: Anyway um . {vocalsound} And uh one of the best uh thingsabout fish is that they don't really take uh too much looking after because uh with most of the animals if you're going away on holiday or whatever , you've gotta spend money or get a friend or whatever to look afterthem for you . Whereas if you got fish , you just gotta put the food in a a a dripper feed which feeds them over the uh couple of weeks that you're away and uh change the water every couple of months , and buy in afew plants , so . Other than the fact that they keep dying ,Industrial Designer: {vocalsound}Project Manager: uh fish are uh {vocalsound} are not are are are reasonable pets in that uh they're low maintenance.Marketing: {vocalsound}Industrial Designer: {vocalsound} {vocalsound}Marketing: {vocalsound} Great .Project Manager: {vocalsound} Right . Okay , uh if we're still all with us . Right okay , so . Work has been doneon uh this uh project where by um twenty five Euros is uh the uh expected uh selling price . That information has come from our marketing manager here . {vocalsound}Marketing: Mm-hmm . {vocalsound} Yeah.Project Manager: So we're looking to sell internationally , not just in Europe . We're looking at um having our production costs limited to uh twelve and an half Euro per unit . And therefore making a profit margin of uh{disfmarker} well not actually a profit margin it's uh {disfmarker} because obviously you're gonna have overheads and various other costs to uh take uh from uh from that to give you your profit margin per unit . Andso depending what the uh the overhead uh costs are will determine uh how many units we're uh looking to sell or projecting to sell at this point in time .Industrial Designer: {gap}Project Manager: So um {disfmarker}Experience with remote control , first ideas . New remote . So I guess we're looking at um having a discussion at this point in time to help uh you um folks design our our new model as it were .Industrial Designer: Yes .{gap}Project Manager: So uh any any thoughts ?Industrial Designer: Um I {gap} with some remote controls the buttons were a little small so they're quite hard to press so maybe we make something with uh easy topress buttons . As that is the main function .Project Manager: Okay , so so basically we're looking for some um {disfmarker} we're looking for a device that is um robust and and therefore uh won't get damaged tooeasily .Industrial Designer: Yes .Project Manager: Um we're looking for a device that is uh {disfmarker} What was the other things you said there ?Industrial Designer: Um sort of easy to use so the buttons areaccessible .Project Manager: Easy to use . Use .Industrial Designer: {gap} is easy to use and see .Project Manager: And see .Industrial Designer: Yes .Project Manager: Okay . Uh .User Interface: Can I just check ?{vocalsound} Is this just a television remote ? Because a lot of um systems are kind of T_V_ video combined now , or T_V_ D_V_D_ combined .Project Manager: Mm-hmm .User Interface: And one of the most annoyingthings is having like five remotes in the house . So if you've got a combined system , it could be a combined remote .Industrial Designer: {gap}User Interface: Or is it just a television that we're supposed to be doing?Marketing: Mm .Project Manager: Oh I w um basically I'll get back to you on that .Industrial Designer: {gap}Project Manager: But it seems to me sensible ,User Interface: {vocalsound}Project Manager: 'cause{disfmarker} as you rightly said , there's nothing more annoying than having three or four devices littered about the uh about the room .Marketing: Yeah .Project Manager: And uh {disfmarker}User Interface:{vocalsound}Project Manager: So a device for for all remotes .Industrial Designer: {gap} Sorry , you go . You go .Marketing: I've Okay . Yeah . Um one of the things um we found from the market research is thatpeople often get confused by the number of buttons on them as well . 'Cause there's quite often lots and lots . And um sometimes uh they sort of {disfmarker} remote controls defeat their own purpose because you'resat in the chair and the remote is somewhere else in the room . So {disfmarker} whereas in the past you'd have to get up to change the channel , now you have to get up to sort of pick up the remote . So so I don't weneed to sort of maybe think about how um we could maybe uh develop a remote control which moves around the room .Industrial Designer: {vocalsound}User Interface: {vocalsound} Comes to your whistle .{vocalsound}Project Manager: Hmm . {vocalsound}Marketing: That's that's maybe something for the future when you can talk to your television , but {vocalsound} {disfmarker}Industrial Designer: Yeah .{vocalsound}User Interface: {vocalsound}Project Manager: But is it {disfmarker} in a sense it's r um mutually exclusive . You can't have both the th the one device and then have few buttons on it to{disfmarker}Marketing: Yeah .Project Manager: 'cause you want you want simplicity as well , you want any idiot to be able to use it . Whilst at the same time you want , as you rightly said , one remote for all.Marketing: Yeah .Project Manager: And so these are probably mutually exclusive optionsMarketing: Mm-hmm .Industrial Designer: Yes .Project Manager: that uh {disfmarker}Marketing: Mm-hmm .Project Manager:Hmm you could argue that experience of using devices and similar devices as people get more and more used to using remotes , therefore they're more {gap} with handling them ,Industrial Designer: Yeah .ProjectManager: therefore you can make them more complicated as time goes on .Industrial Designer: Maybe we could um have better instructions with the remote . Or are we just doing the design of the remote control itself, or sort of the instructions that would come with it ?Project Manager: {gap} Better instructions .Marketing: Yeah . I mean we've done some research um about sort of you know what the cutting edge sort of hand helddevices are , and a lot of them sort of use you know they're like they're like mini laptops .Project Manager: Mm-hmm .Marketing: So it's possible that we could devise a system where where you're you're basically sortof holding a a miniature computer which is controlling all your your sort of your television , your stereo , and where {disfmarker} you know if you buy a new thing then it sort of {disfmarker} you can link it to that aswell , maybe .Project Manager: Okay . Um well we've got five minutes before the end of the meeting . So uh we have to uh start winding up . Um is there {disfmarker} Next meeting in thirty minutes .IndustrialDesigner: 'Kay .Marketing: Okay .Project Manager: So um {disfmarker} Right , so we've got I_D_ the {disfmarker} Come on , where's my {disfmarker}Marketing: If you just click return it should be okay . It'll get rid ofthe message .Industrial Designer: {vocalsound} Or not . {vocalsound}Project Manager: {vocalsound}Marketing: If you hit just hit return and it should get rid of the message .Project Manager: {vocalsound} Oh therewe go .Marketing: Oh you've got {gap} . {vocalsound}Project Manager: Yeah . {vocalsound}User Interface: {vocalsound}Project Manager: That's what I was looking for . Right . So we've got function {disfmarker} Ohwhat happened to the {disfmarker}User Interface: I think that might be back to the start . Um if you grab the kind of uh slide to the left and pull it down ?Marketing: Yeah .Industrial Designer: {gap} slide four{gap}Marketing: Yeah .Project Manager: Right . Right . {vocalsound} Sorry about that .Industrial Designer: Okay .Marketing: {vocalsound}Project Manager: Okay , so we've got um the working design for I_D_ . ForU_I_D_ the technical functions design . Marketing , the user requirement specification . Specific instructions will be sent to you by your person by your personal coach . So . Are we all clear what objectives we're lookingto meet in the next thirty minutes ?Industrial Designer: {vocalsound}Project Manager: And I guess I'll try and write up some minutes of uh this meeting to uh to give it to you for the next meeting .Industrial Designer:Yes .Marketing: Mm-hmm .Industrial Designer: 'Kay , yes .User Interface: I'm not exactly clear on what we're designing the rem remote for .Marketing: Mm-hmm .User Interface: Is this a mun multi-functional one ordo we decide that ourselves as we go away and work on it ?Industrial Designer: I think you just said at the start it was a television remote control ,Project Manager: Television remote control .Industrial Designer: somaybe we should just stick to that unless we get told otherwise .User Interface: Right .Project Manager: That's true , 'cause during during the course of our day we might make decisions based on information ormeetings that would change {vocalsound} where we're going .Marketing: Okay cool .Project Manager: But at this point in time I think you're right that uh {disfmarker} shall we make it just a T_V_ . Okay ? So we willdepart .Industrial Designer: 'KayProject Manager: {vocalsound} We will stay here and uh and break off . And I'll do minutes and and we'll see you in half and hour .Industrial Designer: Okay , that's great .UserInterface: Okay .Marketing: Okay cheers .Project Manager: Okay . Right s"}
+{"doc_id":"doc_166","qid":"","text":"Project Manager: Okay , welcome everyone to our next meeting . I'm busy writing and busy leading the meeting , but um I've prepared a little presentation once again um or at least an agenda I think uh the biggestpart of the presentation will be uh on your side . Um we are here at the conceptual design meeting , which is hereby opened . Um once again I will try to uh write some minutes which I just from the previous meeting uhplaced inside our project folder , which was quite some typing . Um today we once again have uh three presentations , if I'm right , and after that we will take a decision on the remote control concepts . And just as thelast time we have forty minutes to accomplish that . Okay , wellIndustrial Designer: {vocalsound}Project Manager: I'd say let's start with the first presentation .Marketing: 'Kay .Project Manager: Um in the same orderas last time ?Industrial Designer: W sure .User Interface: Mm . Alright .Project Manager: Okay . Well , take it away .User Interface: {vocalsound}Industrial Designer: {gap} {vocalsound} Okay uh welcome you all .UserInterface: {vocalsound}Marketing: {vocalsound}Industrial Designer: Components design , um {vocalsound} uh first of all uh I would like to uh uh accommodate some of those uh things I uh uh {disfmarker} elaboratesome of the things I did . I I elaborated on the concept . What should be um uh said about uh the components , uh its properties and what kind of materials should we use to uh to make uh one of those r remotecontrols . Uh well first of all I've uh d subtracted some of the components that is that are used uh are w w um {vocalsound} you know from what uh the remote control's formed . Uh first of all , the case , the case , thesurrounding of the of the the remote control . {vocalsound} I would like to uh give you an idea of uh how I thought about .Marketing: Don't destroy my giraffe .Industrial Designer: {vocalsound} Giraffe's gone now.Marketing: {vocalsound}User Interface: {vocalsound}Industrial Designer: Okay um the case was is made from rubber , I suppose . There's one of the {disfmarker} because when you use a remote control a lot ofpeople uh will uh will uh drop their remote controlMarketing: Drop it .User Interface: Hmm .Industrial Designer: and they break uh becau the uh titanium was also an option . But uh it's a very expensive material . Uhrubber is , I think , uh the best suitable uh material uh to use uh for our uh for our remote control . Um it's poss it's also possible to uh create fancy colours with rubber . Uh rubber l makes it easy to uh to to{disfmarker} it lets lets itself colour . Uh titanium uh you have to paint it and with that uh it's possible to scratch it or uh yeah make it ugly . Uh rubber uh the total uh piece of rubber that's sor uh that's that's used uhto make the case is uh the same colour , so if you scratch it it's still the same colour , perhaps uh it's a little bit damaged . But it's a very strong material . Um {vocalsound} I h I had an idea single covered uh curved ,sorry , single curved .User Interface: {vocalsound}Industrial Designer: Uh so it's t two dimensional . I think it's uh it's best to draw ohUser Interface: {vocalsound} It's a colour . {vocalsound}Industrial Designer: green.Marketing: {vocalsound} Bright colour . Fancy colour . Forward .Industrial Designer: Uh {disfmarker} New . Blank . Okay .Marketing: You have to go tIndustrial Designer: Let's make it uh black . Okay . I thought of anidea like this . Oh {gap} that . {vocalsound} Um delete . Blank . Okay . So it also looks nice when it's on your table .User Interface: {gap}Industrial Designer: So you get uh it doesn't lay flat down on the table , but it'sc it's stands .Marketing: Oh it's a side view .Industrial Designer: Side view yes it's side view so uh I I'm not technically good at th three D_ modelling ,User Interface: {vocalsound}Industrial Designer: but .Marketing:{vocalsound}Industrial Designer: Um uh it's just an idea I had so it's uh it's very uh so its also looks nice when it's on the table . Um the graphical user interface and the buttons , uh we also thought about that already .Uh I thought about uh the L_C_D_ touch screen , which is uh is easy to clean too . One of the great uh advantages of the L_C_D_ screen you just use some {gap} or uh another uh cleaning uh uh cl some cleaning stuff.User Interface: {vocalsound}Industrial Designer: And um it should be made of strong plastic and it should be bright . Well I already uh s uh explained some properties of that material and I think uh well we also wealmost concluded about that uh this should uh be uh our uh button component .Marketing: True .Industrial Designer: So uh uh that's all about uh the buttons . Uh the batteries , uh we also thought about that already ,uh will be chargeable with uh uh an option for a mount station so you can uh put the uh {vocalsound} the remote control in a mount station so its charges itself up instead of uh plugging it in or something like that .Questions , {gap} ?User Interface: No . {vocalsound}Marketing: No no no no no . Just looking .Industrial Designer: And they should be long lasting , not uh not be empty uh in about uh two minutes or uh thirtyminutes or forty minutes of use . And next step is the chip uh th the component that's uh makes or transmits the signal to the television . Uh there was an option to use s a rather simple chip but I think uh because uhof our uh highly uh requiring uh requirements , there should be an advanced chip in itUser Interface: {vocalsound}Industrial Designer: with uh also the ability to uh facilitate speaker speech recognition uh whichunfortunately is still in a test phase , so uh there should be some more uh investigation on that side . Uh my personal preferences uh I also overheard in the last meeting that there shou we should use uh our ownbusiness colours . That was correct , wasn't it ?Project Manager: Mm-hmm .Industrial Designer: Okay . I think they are rather boring for um for use with rubber .User Interface: {vocalsound}Project Manager: Well ,business colours I thought it was the the slogan and uh the corporate image , so yeah , it needs colour ,Industrial Designer: Okay they should be m sh they should be in mind ,Project Manager: but I don't think youhave to make the entire thing in the corporate colour . {vocalsound}Industrial Designer: wasn't it ? Okay so it d it doesn't says uh to uh have the slogan ?Project Manager: It must be recognisable .Industrial Designer:Okay okay . Well that's possible of course .User Interface: You can put the R_ and R_ . {vocalsound}Industrial Designer: We could make a little R_ and R_ {gap} on the top of the machine . Uh so they are {vocalsound}pretty boring , I suggest , because just the availability with rubber to make fantastic colours uh and also in a lot of possible colours , so it's possible to make very uh fancy uh remote controls which peopl uh who peoplein which people will find they're uh interesting . And uh will buy uh {vocalsound} them faster when they look at the same old grey or black uh colours . Uh s as I said uh before rubber is uh is impossible to damageseverely imp instead of uh of course you can break it when you you when you break it in s for example with a pair of scissors or something like that , but i if you drop it it's not uh broken uh right away s instead of usinguh plastic , hard plastic or uh titanium . And I personally liked uh the single curved uh remote control , because it yeah it makes sense .User Interface: {vocalsound}Industrial Designer: {vocalsound} Okay . Well that'sall about my uh my findings .User Interface: Alright .Project Manager: Okay , thank you .User Interface: I will go next .Marketing: Mm mm mm . Next .User Interface: {gap}Industrial Designer: {gap}User Interface:Alright soIndustrial Designer: {vocalsound}User Interface: I thought a little bit about the interface . Uh how it should look . And uh {vocalsound} uh we uh determined that will not be no buttons , but only an L_C_D_screen , so I had to uh look on that . And the design is therefore based on what we just uh uh thought of . Uh first there are some new findings and new technology for speech recognition . And this is that uh um uh uhyou you ask you give a question through through the device and it answers you . And they already uh put this in an in a coffee maker . And so that it you say uh good morning , uh coffee maker , and it says t says toyou back good morning Joe or what's your name .Industrial Designer: Mm .User Interface: This uh and there's an easy way to uh program that uh you say record into the device into the speaker and then you say thequestion and three seconds later you say the answer and then when you say the question it gives you the answer . Um perhaps it's useful ,Industrial Designer: Mm .Project Manager: Mm .User Interface: perhaps forbecause people um lose the remote ,Industrial Designer: Mm .User Interface: they can yell uh remote where are you and {gap} calls or something .Industrial Designer: {vocalsound}Marketing: It's true .User Interface:And perhaps we could uh implement that .Industrial Designer: {vocalsound} {vocalsound}User Interface: And then I have to go out of the presentation because I tried to make some kind of a a idea of how it shouldlook likeIndustrial Designer: Oh my God . {vocalsound} {vocalsound}User Interface: but I can't draw , so uh don't {vocalsound} make too much of it {vocalsound} . I tried to uh the L_C_D_ screen I tried to sort of todraw {gap} . I thought uh at least uh the icon for the volume . I don't know if there is an icon for the program , butIndustrial Designer: Not just a P_ .User Interface: yeah .Marketing: P_ yeah , just a P_ .UserInterface: So uhIndustrial Designer: .. . {gap}User Interface: and then the buttons above and uh belowMarketing: {vocalsound}User Interface: the and the and the mute button also recognisable as an icon . Um.Marketing: Where's where's the button for two {gap} ?User Interface: I forgot that one . {vocalsound} I thought I forgot something ,Industrial Designer: {gap}Marketing: Okay .User Interface: but uh {vocalsound}.Industrial Designer: {vocalsound}User Interface: And uh and uh the numbers , that should be a bit larger I think it's not really on scale and and so forth .Industrial Designer: Ah .Marketing: Doesn't matter .UserInterface: Um an options button . And I thought the the button for teletext apar uh apart because it's not really options , I think . It's uh options is the settings of the remote and of the T_V_ and that kind of uh thing.Industrial Designer: Mm-hmm .Marketing: No .User Interface: So could call it settings or something .Industrial Designer: Yep .User Interface: But this is a bit uh how I thought it . And uh the L_C_D_ uh somewhere onthe remote . Perhaps we could be more curvy the remote perhaps should , so that it's better in your hand or something uh .Industrial Designer: Oh okay ,User Interface: But uh and and uh a microph microphone for thespeech uh recognition if we want to implement that .Industrial Designer: yeah .User Interface: Uh and then uh if you press the op options button , now we have an example of and then you should get the other optionswith what what you could do and that you could do with something like this this .Industrial Designer: Oh yeah , {gap} .User Interface: And uh it's also uh I thought think we discussed uh earlier that uh older peopledon't really want to use uh these extra settings . And older people a also don't really want to use this uh th this kind of option menus . So they want to u use one button and then something happens , and not choosewith uh this kind of uh {disfmarker} And you could put in a an a really s little scrolling device on the side of your uh remote ,Project Manager: Mm-hmm .User Interface: so you could scroll scroll uh across these uhthings .Industrial Designer: Mm . Okay .User Interface: That's an option . And that was my uh finding dinge .Project Manager: Thanks .User Interface: Yeah .Marketing: {vocalsound} Okay . {vocalsound}ProjectManager: Now our thirdIndustrial Designer: Go Danny , go Danny . {vocalsound}Project Manager: team member with his presentation .User Interface: {vocalsound}Industrial Designer: {vocalsound}Marketing:{vocalsound} Okay , I'm going to tell you something about a trend watching . The trends from the past years , what the people like , what the youngsters like , what the elderly people liked about shapes , colours ,material and stuff . 'Kay . The method I used was {disfmarker} Like I told I watched the trends from the past years about colours , shapes , material they wanted uh from elderly and young people . So we can keep thatin mind for designing f uh the device itself . Findings I made . The most important thing people liked last year was that the remote control should be look look fancy . The second important thing that w should be if inv ininnov innovative , okay , like the L_C_D_ screen that's {vocalsound} quite innovative so that should be great meeting for this . And the third thing is it should be easy to use . I think with only one menu , four button ,channel , volume , it should also be enough for easy to use . The personal preferences for the young people , they liked fruity colours like uh banana yellow , uh strawberry red and stuff .Industrial Designer: Fruity ?{vocalsound}User Interface: {vocalsound} Grass green .Industrial Designer: Fruity . {vocalsound}Marketing: Yeah . Like that . The round shapes , and soft material m materials like the rubber .Industrial Designer: Mm. Okay .Marketing: It should be soft uh i it should feeling spongy or s Sponge Bob like things .User Interface: {vocalsound} Let's build it into a sponge .Industrial Designer: {vocalsound} {gap} {vocalsound}Marketing:Th Elderly people like au colours which y are being seen in autumn like um woods um dark brown , red , deep reds and stuff . They liked square shapes with round edges . And hard materials like wood , um titanium .They those kind of materials they liked . This is a bit like the young peoples like the fruity colours , innovative , all the colours you see , the blue , the red , the white , the yellow , that stuff . And then I th I I personallythought the front side of the shape should be something for the youngsters like likeProject Manager: Oh y {vocalsound}Marketing: this or something . It's it's a bit like a banana . And the colour should be yellow , orsomething .Industrial Designer: {gap}Marketing: And for the elderly people just plain old . Because we decided to have two kind of remotes , two designs , or was it two colours ?User Interface: It was one remote , Ithink ,Marketing: Different colours , yeah .User Interface: different colours .Marketing: We should decide whether it's going to be with round shapes . I think like my colleague , you said , is that's e better , or for theelderly people something like like the iPod or something , with round squares . Simple butUser Interface: {gap}Marketing: easy to use .Industrial Designer: Mm .Marketing: {vocalsound} So that's it .Project Manager:So for the older people , a more traditional uh form .Industrial Designer: Okay .Marketing: That is my {disfmarker} Yeah , like the older o older colours I can maybe {disfmarker}User Interface: You could you could uhchange the colours , that was also the idea . I don't know which shape you should should take ,Marketing: Yeah .User Interface: but .Marketing: {vocalsound} Colours th the elderly people {disfmarker}Project Manager:Yeah , I guess changing colours will be easier than changing uhUser Interface: Yeah .Industrial Designer: Changing just the shape of the uh remote control ?Project Manager: the shape of it .User Interface: Perhaps youcould find something in the middle . Round but square . {vocalsound}Industrial Designer: Yeah , sProject Manager: {gap}Industrial Designer: round corners , but s but square , yeah .Project Manager: But maybe thenboth groups won't buy it .User Interface: Yeah .Industrial Designer: Yeah .Project Manager: {vocalsound}User Interface: Uh i i if you do it uh uh square , with round corners but a little uh in the middle of it uh i Do youknow what I mean ?Industrial Designer: Yeah I know what you mean , kind of like a {gap} . {vocalsound}User Interface: {gap} wait , like {vocalsound} like this {vocalsound} uh a bit .Industrial Designer: Yeah .UserInterface: So it's a bit square , but it's also a bit uh round .Industrial Designer: Kinda like a beer glass . {vocalsound} Yeah .User Interface: So but then {disfmarker}Industrial Designer: I know what you mean .UserInterface: Same sides . {vocalsound} But that's uh {disfmarker}Industrial Designer: It's also easy to to have {vocalsound} to to put in your hand .User Interface: Yeah but that's also how other remotes are shaped , sothat's uh {disfmarker} But perhaps that's a good thing ,Industrial Designer: Yeah .User Interface: so that's easy to use . People know the {disfmarker}Industrial Designer: Will recognise that's as a remote control .UserInterface: Yeah .Marketing: Uh {disfmarker} Look something like that {gap} . Autumn colours like red , brown .Industrial Designer: Uh when I saw your d Oh .Marketing: They liked the wood a lot .Industrial Designer:Huh .Project Manager: Mm-hmm .User Interface: Yeah .Marketing: So maybe we could give it like wooden loo look look or something in that colour .User Interface: Yeah .Industrial Designer: Yeah , kinda like old cars ,uh {disfmarker}Marketing: And a bit bit old school style renaissance , medieval kind of things .User Interface: Yeah . {vocalsound}Industrial Designer: {vocalsound}User Interface: {vocalsound} {vocalsound} Swords .{vocalsound}Industrial Designer: {vocalsound} Let's put it all together .Marketing: Those kind of {disfmarker} Yeah , those kind of things . So you see the big difference between the young people ? Fresh , exciting.User Interface: Yeah .Industrial Designer: {gap}Marketing: And the old people , old and boring .User Interface: But that's easily to do with the colour , I think .Project Manager: {vocalsound}Marketing: So{disfmarker} Sorry ?User Interface: That's easy to do with the colours , I think .Marketing: Yeah I think it's it's easier to do in colour than in shape .User Interface: Yeah .Project Manager: Yeah we think so too.Industrial Designer: Uh .Marketing: Because otherwise we have to {gap} get different shapes , and colour {gap} way easier than yeah the shapes . In material yeah rubber , rubber is , like I said , young people likemore soft materials and spongy onesIndustrial Designer: {vocalsound}Marketing: and the old people like {vocalsound} plain wood .User Interface: Yeah .Industrial Designer: Yeah .Marketing: So we have to decide ifwe're going to use real hard rubber , or soft rubber . Or something something between that .User Interface: Yeah think uh {disfmarker} Also in between . {vocalsound}Industrial Designer: Soft rubber .Marketing: Yeah{gap} soft rubberIndustrial Designer: {gap}Marketing: which you can you can feel in it .Industrial Designer: Yeah I know what you {disfmarker} Um .User Interface: I don't think you should be able to mould it,Marketing: Or {disfmarker}User Interface: but {vocalsound} {disfmarker}Industrial Designer: It should shouldn't be {gap} .Marketing: No . Or or wh what's something harder . No no no but but you have to like likelike a a eraser or something . That's the bit you can press it in ,User Interface: Yeah .Marketing: or something harder .Industrial Designer: Uh .User Interface: Bit like this kind of rubber . This uh {disfmarker}Marketing:Yeah , something like this , yeah .User Interface: But it's quite hard , this .Marketing: Yeah it's quite hard but you can press it in .User Interface: Yeah .Marketing: It's feels kind s spongy .User Interface:{vocalsound}Industrial Designer: Spongy .Project Manager: Hmm .Marketing: Something . {vocalsound}User Interface: {vocalsound} I don't think it's rubber .Marketing: No . N n nProject Manager: So we need aspongy feeling . {vocalsound}User Interface: Uh did you have something about uh {disfmarker}Marketing: {vocalsound} Are you going to invite Sponge Bob , maybe he can {disfmarker}Industrial Designer: Yeah.Project Manager: {vocalsound}User Interface: So we should first decide about shape , I think .Industrial Designer: Ding ding .User Interface: Which uh {disfmarker}Marketing: {vocalsound} Yeah I think that's thebetter thing to do . {vocalsound}User Interface: Then you can fit the L_C_D_ screen in it ,Marketing: {gap}User Interface: and can decide uh .Industrial Designer: Um I also s uh can't help but notice {vocalsound} thatyou uh used an {disfmarker} you had a remote control {gap}User Interface: {vocalsound}Industrial Designer: and the L_C_D_ screen was uh rather small . Um .Marketing: YeahUser Interface: YeahMarketing: w Ithink that L_C_D_ screen should be like {disfmarker}User Interface: it it's supposed to be bit s bit s bitIndustrial Designer: .. . This was your size ,User Interface: Yeah .Industrial Designer: but I think it should be larger.Marketing: Yeah three quarter of the of the {disfmarker}Industrial Designer: Yeah , three quarters . So uh so you don't have to put your {disfmarker} {vocalsound} oh .Marketing: Yeah the buttons won't get that"}
+{"doc_id":"doc_167","qid":"","text":"Project Manager: Okay , is everybody ready ?Industrial Designer: Yeah ?Marketing: Yeah I'd to just put on my microphone here and I'll be right with you .Project Manager: Mm-hmm .Marketing: Okay ?Project Manager:Um {vocalsound} I take it you all have received instructions as to what you were supposed to doIndustrial Designer: Mm ?User Interface: Yes .Project Manager: and um I think the Marketing Manager probably shouldgo first , addressing the needs and desires .Marketing: {vocalsound} Okay you want me to start right now ?Project Manager: Yeah , mm-hmm .Marketing: Okay .Project Manager: {vocalsound}Marketing: Well , couldyou um put my slides up 'cause I think it might be helpful if uh we looked at the slides at the same time .Project Manager: Okay . You're participant four .Marketing: I'm participant four I believe . Yes uh-huh .ProjectManager: Okay , and now I can uh full screen .Marketing: 'Kay .Industrial Designer: Open .Project Manager: Uh , okay , okay .Marketing: There we go . Okay well I think we have introduced ourselves ,IndustrialDesigner: And then full screen .Marketing: so the functional requirements are {disfmarker} is {vocalsound} is part of my goal but why don't we pass right to the second slide . Cause that's where m my discussion starts. Right well um since I'm in charge of trying to figure out what we should put on this thing since I have to try to sell it .Industrial Designer: Mm-hmm .Marketing: Um {vocalsound} I thought that the method I shouldfollow would be gather suggestions from everybody , and th the reason I just put that there like that is that uh in the init in the initial stage I think I should just be open to lots of suggestions . You know you can sayanything you want no matter how silly it sounds you know it should run your car , it should heat up your motor if should um turn on your C_D_ {vocalsound} whatever you want it to do {vocalsound}IndustrialDesigner: 'Kay .Marketing: um and then as we go on what we'll have to do is accept and eliminate these suggestions according to um design and budget feasibility . So I'll be coming to you um frequently as theIndustrial Expert to tell me how hard it's gonna be to add a feature or how expensive it's gonna be or if your time , if it takes five years to develop this it's just something we can't do .Industrial Designer: Mm-hmm .Yeah . Yeah . Yeah . Hmm hmm . Mm .Marketing: So in the beginning just have a big puddle of things that we {disfmarker} anybody can th throw anything inIndustrial Designer: Yeah .Marketing: and then just weedthings out that can't be done for one reason or another , and then the things that seem the most attractive that to uh to a customer we'll try to then prioritise those .Industrial Designer: Mm-hmm . Yeah .Marketing: Sothat was um what I meant there , and as I said on the slide there consulting the Industrial Engineer about that and the other thing is timing is really gonna be as important as money , because if we're gonna sell thisthing , I think the best time to sell it is as a Christmas present . Twenty five Euros makes a nice little present , and we want it to be an impulse purchase ,Industrial Designer: Mm .Marketing: we want somebody to see itand think it's , gee I just gotta have that . And take out their wallet and buy it . So it's gotta be really attractive and it {disfmarker} but it's gotta go to market by September , 'cause anything that you don't already haveout there in September showing it around , isn't gonna sell for Christmas .Industrial Designer: Yeah .Marketing: Um {vocalsound} and then I'll be coming to you as the User Interface person to try to tell me from yourpoint of view what are the most friendly features that we could put on it and try to prior help me with that prioritising of uh of the features and of the the look and the colourUser Interface: Okay .Marketing: and I'll becoming back to you to help weed out those suggestions from that point of view .User Interface: Okay .Marketing: So I'll be coming to you for how much is it gonna cost us and how long is it gonna take you ,IndustrialDesigner: Mm mm-hmm .Marketing: and I'll be coming to you to tell me what's gonna make somebody take out their wallet you know ,User Interface: What features .Marketing: what what's what's gonna really be whatthey call a sizzle ,User Interface: S sellable . Yes {vocalsound} .Marketing: 'cause we gotta sell this sizzle {vocalsound} .Industrial Designer: {vocalsound}Marketing: A lot of times the thing that works the best from anengineering point of view isn't the thing that somebody's really just gonna take out their wallet and buy for Christmas for for their child or for their husband or whatever .User Interface: Yes .Marketing: Okay can we goto the next slide please ? Alright I I already did a little bit of research after our first meeting where we threw out some ideas and it looks to me that within the budget that we're looking at the uh the whole house ideareally isn't gonna be possible . So I'd like your suggestions to come back to the other slide where I was saying we we could suggest anything .Project Manager: {vocalsound}Marketing: I'd like the suggestions to bereally specific , so that we'll have a list of things we can cross off , not something like you know whole house control what'll be {vocalsound} {disfmarker} And then I found on the internet from from my research thatsome extended electronic entertainment control should be possible . At the budget that we're looking at and at the price point we're looking at , we should be able to make it work the T_V_ , the V_C_R_ , the stereo setum maybe something else cute like a coffee pot or one other appliance or maybe a lamp .Project Manager: {vocalsound} Uh okay , can can I at this point interject um something ?Marketing: I have to wind up ? Yeah ,sure .Project Manager: Um we have received instruction from higher up that certain things should not be uh considered . Um the one thing for example {disfmarker} something to eliminate maybe that's the teletext,Marketing: Okay .Project Manager: because that's sort of outdated with the internet ,Industrial Designer: Mm-hmm .Marketing: Okay .Project Manager: and according to to higher management the {disfmarker} itshould only control the T_V_ ,Marketing: {vocalsound}Project Manager: mostly because they feel that it's too comp complex a task to um to to include other things ,Industrial Designer: Complicated , yeah , of course.Project Manager: and they are concerned with the time to market .Industrial Designer: Yeah .Marketing: Of course , yeah .Project Manager: Okay .User Interface: Okay .Project Manager: Um and the{disfmarker}Marketing: Okay , so that's something {disfmarker}Project Manager: and the third thing that they wanna make sure um that their {disfmarker} that the corporate image is being maintained , and that thecorporate colour and design are being used on the product , so that it's easy that that that they can be easily identified as a product of of of the company , and that there's no mistake that it could be somebody else whois bringing this out .Industrial Designer: Mm-hmm .Project Manager: So I just wanted to interject this here so we're not getting too much off track here with uh with the things we wanna look at . These were instructionsfrom higher up so we have to eliminate uh these things , so it's only gonna be T_V_ ,Marketing: Okay so {disfmarker}Project Manager: but the one thing maybe that could be um eliminated is the teletext uh idea.Marketing: Okay .Project Manager: Mm 'kay .User Interface: Okay .Marketing: Alright , thanks for that . Um alright now {vocalsound} other things that I found out on {disfmarker} in my research is that the complaintsthat people have about the remote controls that are out there now . 'Cause a lot of them take too much time to learn how to use , and that was thirty four percent but even more important the thing that we did addressin our last meeting that frequently it's lost somewhere in the room . Um so those are two things that we definitely do wanna address , uh we wanna s make it as simple as possible , we wanna make it um obvious andintuitive to use , and then the things about finding it we talked about the {disfmarker} a light emitting thing as well as uh maybe a beep , and I think that those are things after my research that we definitely wanna tryto incorporate . 'Kay can we go to the next slide please ? Okay , so , my personal preferences in this um project are really have to concentrate on the sizzle . That is the selling point , the thing that's gonna make it animpulse purchase . Uh because once there's no be-back , well in sales they always say you know , be-backs don't come back .Industrial Designer: {vocalsound}Marketing: If somebody says , oh I'll come back and get itnext week you're dead . They're never gonna come back and buy it . You've gotta make it attractive enough so they buy it now now now w now is a big word in in my book for selling this thing . And , in order to make itreally sellable we've gotta shorten the learning curve , make sure it's really intuitive and easy to use . We have to have as few buttons as possible , because more buttons is more confusion , so that's why I'm saying ,simplicity is good . Finding it's important , obviously you can't use it if you can't find it . So we've gotta concentrate on the features that help you find it , and I've already said this several times but I put it down inwriting here , it should be an attractive impulse purchase at twenty five Euros . So it has to have enough value that when somebody looks at it they say , uh twenty five Euros I'm not gonna take that . Has to be sogreat that they're gonna say , uh twenty five Euros isn't much . Um and then maybe a motto , like we put fashion in electronics might be something we can use in our marketing campaign .Industrial Designer: Yeah.Marketing: Okay that's uh about it for me right now .Project Manager: {vocalsound} Okay . And uh who would be next , uh , I guess that would be you . Mm-hmm .Industrial Designer: Yeah 'kay .Project Manager: Youwant me to get your slide show up ?Industrial Designer: Yeah yeah sure .Project Manager: Mm-hmm .Industrial Designer: Thank you .Project Manager: And you are number three ?Industrial Designer: Number two,Project Manager: Number two .Industrial Designer: yeah . Yeah exactly .Project Manager: Okay . Okay .Industrial Designer: Uh can you make it uh full screen please ?Project Manager: Mm-hmm . Yep .IndustrialDesigner: No , it's like a well you you have to press here . The cup cup shape here ?Marketing: {vocalsound}Project Manager: Yeah yeah , uh-huh .Industrial Designer: The thir third .Project Manager: There , mm-hmm.Industrial Designer: Yeah exactly . Uh so today I'm going to talk about the working design of the remote controller . Um can you go to the next sli slide please ?Marketing: Okay .Project Manager: Mm-hmm .IndustrialDesigner: The metal is like uh in a remote controller you have a chip integrated circuit which is like a brain of the remote controller . It takes the power from a battery say a battery it it can be a elec an electric supplylike you have to uh like uh switch connec connect connect your remote controller to uh power supply from the you know electricity or something like that . It should be a battery because uh uh remote controller shouldbe like you you you should take it t to wherever you want and then um uh thMarketing: Mm-hmm .Industrial Designer: this integrated circuitry takes energy from the power source and whatever like if you press abutton it's like a input for the remote controller and it takes the input and it it transforms into a infro infrared bits and it sends it into the device , like a T_V_ or a air conditioner , something like that so . Uh a remotecontroller is specifically designed to a single device . If you want to design it for multiple devices then you should make all the devices compatible with the frequency like uh th the remote controller it sends some bitssome uh waves like with a particular frequency the device should know what the frequency is . It should re re recognise the uh waves which are coming from the remote controller and it should take the action like if youpress a button channel or something like that then uh the remote uh remote controller will send a send a se {vocalsound} send a signal ,Marketing: {vocalsound} Signal .Industrial Designer: and the T_V_ it shouldtranslate that into like change the channel or something like that , change the volume controlUser Interface: Receive .Marketing: Mm-hmm .Project Manager: Mm-hmm .Industrial Designer: and uh so uh I think it's hardto design a remote controller for multiple uh devices .User Interface: Multi-purpose .Project Manager: Yo and it's {disfmarker}Marketing: Yeah well that's already been eliminated by management , so we're off the hook{vocalsound} .Project Manager: yeah {disfmarker} but it's so {vocalsound} .Industrial Designer: Uh yeah . {vocalsound}Project Manager: Yep .Industrial Designer: Um . So uh user interface controls the chip andaccordingly the messages like there should be a user user in interface like you know switch pad or something like that buttons should be there . So uh you can control whatever you want , you want to change thechannel you want to control the volume you you want to uh mute uh mute the uh T_V_ or you want to have a child lock or you want to do some operations there's a {disfmarker} there should be some device to tellwhat to do to the uh in uh integrated circuit so that the integrated circuit can s send the signals and T_V_ can perform the actions .Marketing: Mm okay .Industrial Designer: So can you go to the next slide please?Marketing: Okay .Industrial Designer: So I I just would like to uh add some extra features to the remote controller um I think these are the very simple features and uh they don't take much uh uh much of the um uminvestment also ,Marketing: Mm-hmm .Industrial Designer: it's like el the text or buttons which uh which are there on the uh remote controller they {disfmarker} those we can make uh um like fluorescent uh they'll belike light emitting if it is dark so that you can find your remote controller if it is dark .Marketing: Mm-hmm .Industrial Designer: And ther there should be a beep if many buttons are pressed if suppose a child is playingwith the remote controller and a and she she or he is pressing the buttons all at the time then there should be a beep saying that it's {disfmarker} this this is not a a you know a a action , there can be no action takingto that so . And there should be a child lock , like uh uh you should be able to lock your remote controller so that uh um whatever buttons are pressed by a child they can't be like y you i you if you have ki kids and allthen they'll be pl playing with the remote controllers so can lock the remote controller . If make it useable for more than one device it's a it's hard but I think it's possibleProject Manager: Yeah well {disfmarker} yeahwell that has been e that has been eliminated , so that's that's unfortunately a moot point now . Mm-hmm .Industrial Designer: but it uhMarketing: Well we already eliminated that .Industrial Designer: yeah yeahyeahUser Interface: Eliminated .Industrial Designer: so it's it's okay , yeah , yeah . And uh different shapes that we can do like uh we can have you know a all animals shapes or you know comfortable uh whi which canfit into your handsProject Manager: {vocalsound}Industrial Designer: and um so that uh {disfmarker}Marketing: Now that's good from a marketing point of view , the fun {disfmarker} the fun shape .IndustrialDesigner: Yeah , yeah , yeah and colours also , different colours , and {disfmarker}Project Manager: Yeah I {disfmarker}User Interface: Mm-hmm colours .Marketing: And that {disfmarker} you you say that won't addtoo much to the budget ?Industrial Designer: No no no , it won't uh I don't think it will be like ,Marketing: To d the shape is uh {disfmarker}Industrial Designer: you can have you know for uh if you want ther there tobe more {disfmarker}Project Manager: It just build a mould basically and uh you know .Industrial Designer: Yeah yeah .User Interface: Yes exactly .Industrial Designer: It's it's just a s shape so it doesn't matter.Project Manager: As the budget we're looking at if you build one mould I don't think that's going to make a big difference whether it's gonna be square or {disfmarker}Industrial Designer: Yeah .Marketing: Do youthink there's any chance of um having ser in {disfmarker} having basically the same machine with the same buttons but maybe several different shapes ?Industrial Designer: Yeah that is also possible I uh yeah I I yeah.Project Manager: Oh yes .Marketing: Is that gonna be a possible ?User Interface: Yes .Project Manager: I think {disfmarker}Marketing: 'Cause that might help with the marketing .Project Manager: I think we will haveto look at the budget on thatIndustrial Designer: Yeah that will be {disfmarker}Project Manager: but I think in principle that that would be {disfmarker} that would be kind of fun , you know .Industrial Designer: Yeahyeah .Marketing: Because we had something sort of sexy for adults and we could have something sort ofIndustrial Designer: Mm-hmm .Project Manager: Yeah .User Interface: {vocalsound}Project Manager: Silly forchildren .User Interface: {vocalsound}Industrial Designer: Yeah , for children , yeah exactly .Marketing: silly for childrenProject Manager: Like an animal or {disfmarker}Marketing: or a little animal shape or in a{disfmarker} or a little elephant so they can remember where it is . {vocalsound}User Interface: Like a doll , or {disfmarker}Industrial Designer: Yeah , that's what , yeah .Project Manager: Yeah .Industrial Designer:Yeah , exactly . Yeah .User Interface: Yes {vocalsound} .Industrial Designer: And and the butto buttons also I think if you want to have more features in your remote controller then there should be more buttons . Ifthere are more buttons then it will be more complicated . If you have less features then your remote controller won't be attractive , so I think uh we need to make some buttons which are {disfmarker} which are likeum uh f in uh in intended for two or three operations , like if you press one button in one mode then it will change the channel , if you press the other button in another mode it will change the colour . So if you want tohave less buttons we can have that option but I think it will complicate the matter more I think so .Marketing: Mm . Well , I think {disfmarker} I think that that's something that we'll have to discuss um with the UserInterface personUser Interface: Yes .Industrial Designer: Yep , yeah .Marketing: because I think there's a lot of argument to be made for one button for one feature . Because I think one of the things were complainingabout in my {disfmarker} what I found out in my research is when they complained about how hard it is to learn a new one .Project Manager: {vocalsound}Industrial Designer: Mm-hmm .Marketing: The changingmodes was something {vocalsound} {disfmarker}Industrial Designer: Yeah , it's like you know {vocalsound} yeah .Marketing: I mean you and I , all f all four of us we work with computers all the time ,IndustrialDesigner: Yeah . Yeah , yeah .User Interface: Okay .Marketing: changing modes is nothing for us , but people who {disfmarker}Project Manager: Yeah , a little elderly , a little arthritic hand you know ,Marketing:{vocalsound} N and {disfmarker}Project Manager: and and it's a small button and and it {disfmarker} they don't press it exactlyIndustrial Designer: Mm-hmm . Yeah .Project Manager: you know something elsehappens n not their favourite channel comes up but something elseIndustrial Designer: Yeah , yes .Project Manager: and they're very frustrated you know .User Interface: Something else .Marketing: And that's{disfmarker} and that's the kind of thing people learn by feel , and um {vocalsound} you don't feel the mode change .Industrial Designer: Yeah , yeah you don't {vocalsound} us yeah yeah , usually . Yeah .Marketing:{vocalsound} So um maybe having buttons be various shapes might be a help too .Industrial Designer: Yeah shapes also , different shapes .Marketing: You know , like the {disfmarker} a triangle is for the volume anda square is for changing channels , so that people can uh develop a tactile sense of it .Industrial Designer: Yeah that will {disfmarker} Mm-hmm .User Interface: Channels .Industrial Designer: Yeah . Yeah .ProjectManager: Mm , mm-hmm .Industrial Designer: Yeah ,Marketing: But we'll get to that with you .User Interface: Yes .Industrial Designer: yeah , and also text should be very clear so that there there won't be anyambiguities and uh {disfmarker}Marketing: That's right , yeah . Now that's a good point . Yeah .User Interface: Yes .Industrial Designer: So yeah .Project Manager: {vocalsound}Industrial Designer: And uh displayclock i if you want more features then we can display a clock it I I don't think it will take any money extra money because anyway we have an integrated circuit I think we can just definitely fit that feature into the circuit"}
+{"doc_id":"doc_168","qid":"","text":"Project Manager: {vocalsound} Oh .User Interface: DuProject Manager: Okay . Thanks for coming to this meeting .Marketing: Hm .Project Manager: S how we doing on our remote ?User Interface: {vocalsound}ProjectManager: We have some {disfmarker} we have some ideas and some uh ideas for what people want .User Interface: Uh we yes s I've lo {vocalsound}Marketing: {vocalsound}User Interface: I've done the role that Iwas asked to do anyway .Project Manager: Yeah .User Interface: {vocalsound} I think .Marketing: {vocalsound}Project Manager: {vocalsound} Alright let's just go over the agenda real quick for this meeting . See if Ican't get things uh moving along here a little bit better . Um I'll go over what we went over last time , which shouldn't take long . Then I believe each of you have a presentation . Um I've was sent a a couple morerequirements for our remote , what they want . Um then we can come to a conclusion on uh what we want the remote to do , um and how it's going to do it hopefully . And uh then we'll have the closing . {vocalsound}Um which we'll have forty minutes for . Uh let's see , the last meeting we went over um {vocalsound} who was responsible for what . I'm responsible for leading the meetings , keeping the notes , uh and coming upwith the final presentation . Um Corinne is our Marketing Expert . She's gonna figure out what what um the consumer wants . Um {vocalsound} Ryan is our User Interface Designer . And Manuel is the IndustrialDesigner . So you're gonna come up with the ideas Ryan , and you're gonna pick 'em apart .User Interface: {vocalsound}Project Manager: {vocalsound} Um we decided our remote , uh we want it to be a universalremote uh that everyone would want . Um we want to be modern , um fun , different . Uh it needs to be sturdy , um easy to find , so we gonna have that locator function . Um and we want to be different . Um and thenwe went over a couple of different ideas . Ball-shaped phone . The keyboard shape . Um we decided that it should probably be one-handed . Something we could use with one hand . Um and that was our last meeting .So um why don't um {disfmarker} Do each of you have a presentation ?Marketing: Yep .Project Manager: Okay . I'll hand it off to you and um {disfmarker} Does anyone {disfmarker} do you wanna go first ?Marketing:Sure .Project Manager: So we can maybe see what uh what the people want .Industrial Designer: {vocalsound}Marketing: What was it ? Function ?Industrial Designer: Eight . F_ eight .Marketing: F_ eight ? Well .{vocalsound} How do I get it {disfmarker}User Interface: Slide show .Project Manager: To go to the next one ?Marketing: Oh right right right .Project Manager: Yeah you click on that guy .Marketing: That one ?ProjectManager: Yeah .Marketing: Okay . Alright . Well , this is my report , which is going to be based pretty much on a survey that I was sent . Oh gosh , I've no idea . {vocalsound} GUser Interface: Just press the arrow keysI think . Usually goes to it .Marketing: Okay .Project Manager: {vocalsound}Marketing: Sorry I actually need to see something else on my screen .Project Manager: {vocalsound}Marketing: {vocalsound}ProjectManager: Hit F_ eight again .Marketing: Yeah .Project Manager: I think .Marketing: And then ? Again ?Project Manager: Yeah . You want it to be on both screens , or just just yours ?Marketing: No I want something elseon mine . Is that possible ?Project Manager: Yeah but I think you have to hit escape . And then you can {disfmarker} Yeah .Marketing: Okay but now you don't have that .Project Manager: Oh hit F_ eight again.Marketing: {vocalsound} Sorry guys .Project Manager: I know . I did the same thing . {vocalsound}Marketing: {vocalsound}Project Manager: And then it should come up here shortly . 'Kay .Marketing: {vocalsound}So is there no way I can give you the slideshow andProject Manager: I think {disfmarker} oh give us the slideshow and something on your screen ?Marketing: yeah . Yeah .Project Manager: Mm .Marketing: Oh well.Project Manager: I'm not sure . You could maybe minimise that screen and then have them both up at the same time I think .Marketing: Yeah . It's okay . Okay . Um so first of all , the method that I used was by doingsome marketing research ,Industrial Designer: {vocalsound}Marketing: by um doing research on some interviews that were conducted . And then some internet research . And I was sent a report that was {disfmarker}I think there were a hundred remote users that they interviewed . And so I will show you some of the results from that , which I think will be helpful . Um okay here are some of the findings . They said that the usersdislike the look and feel of their current remote controls . And seventy five percent of the users find their remote controls to be ugly . Which is a fairly significant number I would say . And eighty percent of the userswould be willing to spend more money if they could get a remote that would look fancy . So I think that earlier we were onto something when we were talking about having it be a modern cool look , I think that'sdefinitely important . Um they say that current remote controls do not match well the operating behaviour of the user . Seventy five percent of users said they zap a lot . And if anyone could clarify what that means?Industrial Designer: {vocalsound} Just jusUser Interface: Is is it j just justMarketing: Zap , does that just mean like changing the channel ?User Interface: just using itIndustrial Designer: yeah .User Interface: yeah.Marketing: Okay . {vocalsound} Um and fifty percent of the users say that they're only using ten percent of the buttons on their remote control . And there was something else , they kept track of the frequency perhour in using certain buttons . And some of them it looks like barely need to be included at all . Of course channel selection is used the most frequently . And then teletext was the next . Volume and then power . Andthen audio settings and screen settings and channel settings were practically never used . So I think we could definitely eliminate or somehow combine a lot of the functions into one button . Um the biggest userfrustrations , as we said fifty percent of people find that their remotes are lost somewhere , and so I think a tracking device of some sort would be a good idea . They said it take {disfmarker} thirty four percent said ittakes too much time to learn how to use a new remote . And twenty six percent said that the controls are bad for R_S_I_ . {vocalsound}User Interface: A repetitive strain injury .Marketing: What is it ?User Interface:Just repetitive strain injury . I think . That's what I guess .Marketing: Okay . Okay . And so bas okay . Um as far as speech recognition goes , um the younger group looks like they're all for it . From the fifteen to twentyfive age group over ninety percent said they would pay more . And it kind of just went down incrementally . The groups at {disfmarker} the older they get it looks like the less willing they are to pay , so maybe we coulddiscuss this and think {disfmarker} and decide if we think it's worth investing in this . At least if we're targeting the younger groups . And so in conclusion . Some things that I drew from this are that I think we werecorrect . We definitely need to focus on a new modern appearance , since so many people seem to be concerned about the ugliness of their remote control . Um a multifunctional remote could be a good thing to explore. So you only have one rather than five different remotes sitting all over your room . Uh we need to simplify the remote and reduce the number of buttons , get rid of the ones that don't seem to be serving muchpurpose . And then lastly I thought that maybe we could discuss the idea of speech recognition . And that's it .Project Manager: 'Kay . Very nice . Now we actually have some ideas of what what people want , what weshould focus on . Uh {disfmarker}Marketing: {vocalsound}Project Manager: Wait can I look at that real quick ? {gap} .Marketing: Oh yeah . Sorry did you guys get time to write everything that you needed ?UserInterface: Yeah .Marketing: 'Kay .User Interface: Having just listened to what Corinne just said , I'll draw on some of the things as well . {vocalsound} {gap} Some things that sort of relevant to what I wanna say . 'Kayso I'm just gonna yeah approach the technical functions design . Um {vocalsound} the method I used was to explore the uh technical functions of a remote control .Marketing: {vocalsound}User Interface: And t ssimplest approach that I came to is is to change , programme and operate an electronic device remotely . I mean that's an obvious thing to say , but it's not attached to the device that you want to control . Um I hadsome things sent to me . Not very much . To look at similar devices . Um defined in some them . And then the personal preferences that I will suggest . Um we discussed a universal one . Um like it's just been broughtup again then . But I think a universal remote control is actually quite a difficult object to design , and po possibly within maybe the budget that we do it , um because you'd need to know all the spef specifications of aall the like electronic companies . I'm not sure have you ever come across a universal remote control yourself , but you have to {disfmarker} i they're a nightmare to use . You have to set them , reset them toeverything . Um and that would only add buttons . Whereas I think the aim is to take away buttons . So I think it'd be better maybe to concentrate on maybe just a universal one for T_V_s . Um or maybe just one thatyou could we could design and then different people , manufacturers could use it to set to their specifications , if if the aim is to get something that's unique in design . Um {disfmarker} Okay here here's just twopictures of remote controls . They're just simple T_V_ remote controls . But one is uh user-centred . That is the one on the left . And you can straight away see there's less buttons . And the other one is {gap}engineer-centred where that's more uh specified for the sort of the elaborate piece of equipment it's trying to control um {disfmarker} {gap} which appeals more to the product that we want , and on what the {gap}have said and the market research and stuff {gap} probably looking at something that should be user-centred . Fewer buttons , simpler to use , and if ten percent um is hidden away {disfmarker} if ten percent iswhat's used , maybe the other fifty percent , the buttons that are used very rarely like programming , they could be hidden maybe under {disfmarker} some remote controls you might have come across have maybe alittle flip thi thing where they're hidden away . And the main buttons are the ones you or the ones you come across . Um and finally , um uh sort I've sort of covered that , our product I think should be user interfaceorientated . Um {disfmarker} Like I said to concentrate on T_V_ remote control , a universal remote might be too complex . Um and as what it , the major findings {gap} market researchers have said , it's the imageand the appearance that people di dislike . So that we should concentrate on something that would set a trend . And that's it .Industrial Designer: {gap} cable there . Thank you .Project Manager: What was your lastconclusion on that one ? Focus on uh the iUser Interface: On something on the image of it .Project Manager: the image of it .User Interface: Uh the f the actual design .Project Manager: 'Kay . Good . Good .IndustrialDesigner: Okay . Gonna talk to you about the working design of the interiors basically which is what dictates the design the both the interface basically and the outer appearance because this is all the stuff that needs togo in there . Right . So unfortunately the people who were supposed to do this little presentation for me obviously were too drunk to actually accomplish it ,Marketing: {vocalsound}Project Manager:{vocalsound}Industrial Designer: so um {vocalsound} I'm going to do a lot of the stuff on the board . Um just {disfmarker} This is the basic basic premise of a remote control . Um the basic function is to sendmessages to another system . Okay so much is clear . An energy source feeds an integrated circuit , like a chip , that can compose messages . {vocalsound} Often in the form of infrared bits . This is the most mostlyused . Um there's uh also some sound systems but infrared is the better or the more more used system . Um parts are cheaper as well . A user interface controls the chip and accordingly the messages . This is wheremy people screwed up basically .Marketing: {vocalsound}Industrial Designer: So I'm going to explain that on the board rather . Um what we have is different components that obviously need to go in there . We'll startwith an energy source . Right . Um which is usually a battery right ? {vocalsound} Since it's not feasible to add a cable to that . This energy source of course is connected to the the user interface itself {vocalsound} .Uh which can be buttons , whatever , which in fact controls a chip . Right ? This is the user interface and there we have the chip . Um the way this goes normally is that this chip then controls an infrared lamp . Thatsends out the signal . Of course the signal differs accordingly . Um depending on what the chip tells the infrared lan lamp . And {disfmarker} Of course that's controlled , the chip itself is controlled by the user interface .The way you normally normally do it is that you add a little device such as a lamp to the whole thing as well , so that you know that it's working basically . You press something , you get a response . Which is alsocomparatively um important on one of those devices . Now this , what we're talking about here , or what I think should be discussed are these two components mostly . The the uh energy source for one thing can bealtered . What we probably cannot alter is of course the infrared , the sending device basically , the infrared lamp . We cannot change the chip which controls the infrared lamp . Right ? These two are components thatwe have to use , and these are dictated by the whole function of the whole thing . Um the lamp can be put onto the desi the device . It c it doesn't have to be there . This can be discussed as well . {vocalsound} Theuser interface . That's something we can also discuss . Um as we've heard uh speech recognition is the hype obviously in the moment . Speech recognition um interface , we don't know that . Or if we just do the usualbutton thing . Or we have a touch pad or something like that {disfmarker} that's something we can discuss . And of course the energy source . Batteries . Solar cells . Who knows ? {vocalsound} Of course it's always aquestion whether these these components are in fact {vocalsound} available cheap enough , developed enough . But that's like I s I suppose rather up to marketing , and not toProject Manager: So we could{disfmarker} the theIndustrial Designer: to the industrial design department .Project Manager: the more complex we make it of course , the more expensive {disfmarker}Industrial Designer: Expensive it's gonna beget uh . Yeah .Project Manager: But people have said that they would {disfmarker} well younger generations of people have said that they would pay more for a speech recognition remote .Marketing: Mm-hmm .ProjectManager: So possibly it might be worth the investment .Industrial Designer: Right .User Interface: I think speech recognition was uh one of those things where um they have to be really good for them to work . 'Causesometimes you find yourself just saying things over and o {gap} if it's on your phone .Marketing: Yeah . {vocalsound}Project Manager: I agree . Well {disfmarker}User Interface: And you need to sort of take into lightlanguages and then {vocalsound} different dialects I suppose as well .Project Manager: I {disfmarker} myself I find , when you , h when there's something like spee speech recognition . Like uh you call on the phoneand you try to change your telephone or power or something . Sometimes they have a a speech recognition on the other end ,User Interface: Yeah .Project Manager: and you say one for this , and you find yours , likeyou said , saying the same thing over and over and over . I find myself , especially if I'm in a crowd of people , looking really silly .User Interface: Yeah .Marketing: {vocalsound}Project Manager: So maybe if you'resitting on your couch with a bunch of people then you know , you {vocalsound} {disfmarker}User Interface: And wou I don't know if would would you want to keep saying stuff if you were watching stuff . If you werewatching something would you sort of be wanting {disfmarker}Project Manager: Volume up . Volume down . Change the channel , you know channel up , channel down ?User Interface: Yeah .Project Manager: I I don'tknow .Marketing: Another thing about these figures is ninety one percent of the youngest age groups said they'd do it , but probably a lot of them that's actually their parents money . Like I don't know if they wouldactually go out and purchase this themselves , a fifteen year old you know .User Interface: I think {disfmarker} As well it'd be j the gimmick factor for the younger people .Project Manager: Mm-hmm .Marketing: Yeah.User Interface: But practically I don't think it's {gap} {disfmarker}Project Manager: It's a , it's a gimmick factor that they like at first , and {disfmarker}User Interface: Yeah . It'll wear off .Marketing: Gets old yeah.Project Manager: Okay . Um {disfmarker} Let's see here .User Interface: Do you wanna put your cord back in ?Project Manager: Yeah I guess so .Industrial Designer: Oh right . {vocalsound}Project Manager: Tradeyou .Industrial Designer: {gap} go . {vocalsound}Project Manager: Now I was sent a couple of things to modify our uh new requirements . Um the remote's only gonna be for the television , which is good because wealready decided {disfmarker} y your your research showed that uh not only is a universal remote more complicated , it's more cost , more costly . And your re uh research showed that you know most of the peopledon't even use it . I think uh you said fifty percent of the people only use half the or ten percent of the buttons .Marketing: Mm .Project Manager: So if we remove the universal remote then that solves that problem .Um no teletext . Um {disfmarker} So we don't have to worry about that . Um but we do have to use the the company wants us to incorporate the corporate colour and our slogan , which is we put the fashion inelectronics . And our corporate colours are grey and yellow . And we could probably get away with black too but {disfmarker} So those are the three um the three new requirements that that I was told we need to use .Um from all all three of your uh presentations , I think that we were on the right track a lot in our last meeting . We want something that looks good . Um we want something that's simple . We want something that youcan find easily . Um {disfmarker} And the speech recognition I I guess is kind of uh give or take . It's gonna cost more . S the young the younger people say that they like it .Industrial Designer: Mm-hmm .ProjectManager: But um it's probably , I would say , probably not worth the investment at this point in time . So maybe we should just do away with speech recognition . Um {disfmarker} And that way we can focus on ourform .User Interface: I did have have a thought about the sort of the tracking thing . Is that {disfmarker} if it came with maybe a holder or holster , whatever you wanna call it . Um that you you should put it back in .Your remote . But if you don't put it back in , you press something like a little button on that , and that just sort of sends out a beep {vocalsound} to find where it is or something . Just by infrared . That shouldn't be toocomplex I would've thought .Project Manager: That'd be , that'd be good if we were going with our our ball .User Interface: Yeah it would be quite good .Project Manager: Or or with {disfmarker} you know I guess withany form that that would be good .User Interface: The ball could sit on a {disfmarker}Marketing: Mm .Project Manager: You know that could be the charger . For you knowUser Interface: Yeah .Project Manager: wecould use rechargeable batteries in the remote . And that would be {disfmarker} or solar . Or you know {disfmarker} However , however you wanted to go about it , the holder could also be the charging unit . Um{disfmarker}User Interface: Yeah .Project Manager: With the locator button . Um and if it were the ball you'd no longer have to have a flat space on it .User Interface: Yeah .Project Manager: Um likeIndustrial Designer:WellProject Manager: ifIndustrial Designer: you still do .Project Manager: we still have the how to hold on to itIndustrial Designer: You s you still {disfmarker} W yeah . You put it on t on the couch table .ProjectManager: {vocalsound} It's gonna roll away .Industrial Designer: While you're watching ,Marketing: {vocalsound} Rolls awayIndustrial Designer: it's gonna roll off . SoMarketing: yeah .Industrial Designer: that's not an"}
+{"doc_id":"doc_169","qid":"","text":"Grad F: Test .Postdoc G: OK .Professor B: Let 's see , I should be Two .PhD D: Up high {disfmarker}Grad E: As close to your mouth as you can get it .Professor B: LaPhD D: high as you can get .Professor B: Is thischannel one ?Postdoc G: Yeah , on your upper lip .PhD H: Channel one one one .Professor B: Gee , OK . Yes . OK .Grad E: OK , so for {disfmarker} for {disfmarker} For people wearing the wireless mikes , like{disfmarker} like this one , I find the easiest way to wear it is sorta this {disfmarker} this sorta like that .PhD H: This is {disfmarker} chan channel channel one one two threeGrad F: Channel five , channel five.Professor B: Yeah . Mm - hmm . What do you do ,Grad E: It 's actually a lot more comfortable then if you try to put it over your temples ,Grad F: Test , test test .Professor B: you do it higher ?Grad E: so{disfmarker}Professor B: Mm - hmm .PhD D: Adam 's just trying to generate good uh data for the recognizer there .Postdoc G: Yeah , I think we 're supposed to {disfmarker} that 's right .Grad E: And then also , for{disfmarker} for all of them , if your boom is adjustable , the boom should be towards the corner of your mouth ,Grad F: Test test .PhD A: By the way , there was a bug . Yeah , i it wasn't using the properPhD D: Oh itwas .Grad E: and about a uh a thumb to a thumb and a half distance away from your mouth ,PhD A: basically it wasn't adapting anything .PhD D: Oh .Grad E: so about like I 'm wearing it now .PhD D: Oh that 'sinteresting . So why didn't you get the same results and the unadapted ?Grad E: so so Jane , you could actually do even a little closer to your mouth ,PhD H: It 's not always possible .PhD A: Hmm ?PhD D: Why didn'tyou get the same results and the unadapted ?Postdoc G: I could {disfmarker} can this be adjuste like this ?Grad E: but {disfmarker}PhD A: Oh , because when it estimates the transformer pro produces like a singlematrix or something .Grad E: Yep .Postdoc G: Is that @ @ ? OK , thank you .Grad F: Adam , I 'm not {disfmarker}PhD D: O Oh oh I see .Grad F: uh , looks kinda low on channel five {disfmarker}PhD D: I see , I see.Professor B: OK .Grad F: no ?Grad E: Channel five , s speak again .Grad F: Maybe not .Postdoc G: Hello .PhD A: Basically there were no countsGrad E: Yeah , that 's alright .Grad F: Hello ?Grad E: I mean , we could{disfmarker} we could up the gain slightly if you wanted to .Grad F: It 's OK ?PhD H: Yeah .Grad F: Is this OK ?PhD H: OK .PhD D: I see what you mean .PhD C: Who 's channel B ?Grad E: but {disfmarker} Uh , channelB is probably Liz .PhD C: Uh oh .PhD H: Uh channel B {disfmarker} I am channel B .Professor B: You wanna close this ,Postdoc G: Channel eight , eight .Professor B: orPhD C: No IGrad E: Thank you .PhD H: No ,channel B .PhD A: Hello , hello .PhD C: yeah , yeah , you 're channel B .PhD H: Yeah , yeah .PhD C: So can you talk a bit ? I thought it might be tooPhD H: OK , yeah , channel B , one two three four five .PhD C: OK.Grad E: Yeah , it 's alright . So , the gain isn't real good .Professor B: We 're recording ,PhD C: OK .Professor B: right ?Grad E: OK , so we are recording .PhD H: Ah .Professor B: Yeah .PhD A: OK .Grad E: Um everyoneshould have at least two forms possibly three in front of you depending on who you are .Grad F: Oh .Grad E: Um we {disfmarker} we 're doing a new speaker form and you only have to spea fill out the speaker formonce but everyone does need to do it . And so that 's the name , sex , email , et cetera .PhD H: Mm - hmm .Grad E: We {disfmarker} we had a lot of discussion about the variety of English and so on so if you don'tknow what to put just leave it blank . Um I {disfmarker} I designed the form and I don't know what to put for my own region ,PhD A: Mmm .Grad E: soPhD D: California .PhD A: I think {disfmarker}Grad E: California.PhD H: California .PhD A: Um may I make one suggestion ? Instead of age put date of {disfmarker} uh year of birthGrad E: Sure .PhD A: because age will change , but The year of birth changes , you know , stays thesame , usually .Grad E: Oh .PhD C: A actually , wait a minute ,Grad E: Birth year ?Postdoc G: Although on {disfmarker}PhD A: Yeah .PhD C: shouldn't it be the other way around ?PhD D: Not for me .Postdoc G: courseon the other {disfmarker} on the other hand you could {disfmarker} you view it as the age at the time of the {disfmarker}PhD C: On the other side ,PhD A: Well the thing is , if ten years from now you look at this formknowing that {disfmarker}PhD C: yeah .Postdoc G: Yes , but what we care about is the age at {disfmarker} at the recording date rather than the {disfmarker}PhD C: O yeah .PhD D: But there 's no other date on theform .PhD C: W we don't care how they {disfmarker} old they really are .PhD A: Well {disfmarker} well I don't know .Postdoc G: Yes . {vocalsound} Unless we wanna send them a card .Grad E: Well I guess it dependson how long the corpus is gonna be collected for .PhD A: Anyway .Postdoc G: Yeah , that 's true .PhD C: I still don't see the problem .Grad E: Either way yeah I think {disfmarker} I think age is alrightPhD A: OK .GradE: and then um there will be attached to this a point or two these forms uh so that you 'll be able to extract the date off thatPhD A: Mm - hmm .Grad E: so , anyway . And so then you also have a digits form which needsto be filled out every time , the speaker form only once , the digit form every time even if you don't read the digits you have to fill out the digits form so that we know that you were at the meeting . OK ? And then also ifyou haven't filled one out already you do have to fill out a consent form . And that should just be one person whose name I don't know . OK ?Grad F: Do you want this {pause} Adam ?Grad E: Uh sure . Thank you.Professor B: So uhGrad E: OK so should we do agenda items ?Professor B: Uh oh that 's a good idea . I shouldn't run the meeting .Grad E: Uh well I have {disfmarker} I wanna talk about new microphones and wirelessstuff .Postdoc G: Mmm .Grad E: And I 'm sure Liz and Andreas wanna talk about recognition results . Anything else ?PhD C: I guess {disfmarker} what time do we have to leave ? Three thirty ?PhD A: Yeah .PhD C:Yeah ,Grad E: Why don't you go first then .PhD C: so .Professor B: Yeah , good idea .PhD A: OK .PhD C: Um Well , I {disfmarker} I sent out an email s couple hours ago so um with Andreas ' help um Andreas puttogether a sort of no frills recognizer which is uh gender - dependent but like no adaptation , no cross - word models , no trigrams {disfmarker} a bigram recognizer and that 's trained on Switchboard which is telephoneconversations . Um and thanks to Don 's help wh who {disfmarker} Don took the first meeting that Jane had transcribed and um {vocalsound} you know separated {disfmarker} used the individual channels wesegmented it in into the segments that Jane had used and uh Don sampled that so {disfmarker} so eight K um and then we ran up to I guess the first twenty minutes , up to synch time of one two zero zero so is that{disfmarker} that 's twenty minutes or so ? Um yeah because I guess there 's some ,Grad E: Or so .PhD C: and Don can talk to Jane about this , there 's some bug in the actual synch time file that ah uh I 'm{disfmarker} we 're not sure where it came from but stuff after that was a little messier . Anyway so it 's twenty minutes and I actuallyGrad E: Hmm .PhD C: umGrad E: I {disfmarker} was that {disfmarker} did that{disfmarker} did that recording have the glitch in the middle ?Postdoc G: I 'm puzzled by that . I {disfmarker} oh {disfmarker} oh , I see .PhD C: There 's {disfmarker} there 's a {disfmarker}Postdoc G: Oh there wasa glitch somewhere .PhD C: yeah , so that actually umGrad F: Was it twenty minutes in ,PhD C: if it was twenty minutes in then I don't knowPostdoc G: I forgot about that .Grad F: I thought {disfmarker}PhD A: Well itwas interesting ,Postdoc G: Well , I mean , they {disfmarker}PhD A: suddenly {disfmarker} the {disfmarker} the overall error rate when we first ran it was like eighty percentGrad E: I don't remember when it is.Postdoc G: but I was able to can transcribePhD A: but i looking at {disfmarker} the first sentences looked much better than that and then suddenly it turned very bad and then we noticed that the reference was alwaysone off with the {disfmarker} it was actually recognizedPhD C: WelGrad E: Oh no .Grad F: Yeah , that might be {disfmarker} that might be {disfmarker} that might be my fault .Postdoc G: Wow .PhD A: soGrad E: Ohso that was just a parsing mismatch .Grad F: I 'm not {disfmarker}PhD A: OK .PhD C: No actually it was {disfmarker} yeah i it was a complicated bug because they were sometimes one off and then sometimes totallyrandom so umGrad F: yeah , I was pretty certain that it worked up until that time ,Postdoc G: Oh . That 's not good .PhD C: YeahPhD A: OK .PhD C: so that 's what we haveGrad E: Alright .Grad F: soPhD C: but that{disfmarker} that will be completely gone if this synch time problemPostdoc G: Yeah .Grad E: The {disfmarker} the glitchPhD A: So {disfmarker} so we have everything recognized but we scored only the first uhwhatever , up to that time toPostdoc G: And the only glitch {disfmarker}Grad E: yeah .Postdoc G: yeah .PhD C: So you guys know .Professor B: S sorry I haven't seen the email ,PhD C: Yeah .Grad E: Th - thePostdocG: The {disfmarker} the {disfmarker} well {disfmarker} waitProfessor B: what was the score ?PhD C: So here 's the actual copy of the emailPostdoc G: we should say something about the glitch . He {disfmarker} hecan say something about the glitch .PhD C: um oh OKGrad E: yeah .Postdoc G: Cuz it 's {disfmarker} it 's {disfmarker} it 's {disfmarker} h it 's {disfmarker} it 's very small {disfmarker}PhD C: so does this glitch occurat other {disfmarker}Grad E: There {disfmarker} there {disfmarker} there 's an acoustic glitch that occurs where um the channels get slightly asynchronizedPostdoc G: very small . Yep .PhD C: Oh .PhD A: Mmm .PhDC: Right .Grad E: so the {disfmarker} that {disfmarker} that problem has gone away in the original driver believe it or not when the SSH key gen ran the driver paused for a fraction of a secondProfessor B: Hmm .GradF: Hmm .Grad E: and so the channels get a little asynchronous and so if you listen to it in the middle there 's a little part where it starts doing {disfmarker} doing click sounds .Professor B: So {disfmarker}PhD C: And isit only once that that happens ?Grad E: But yeahPhD C: OK .Grad E: it {disfmarker} right once in the middle .PhD C: There 's {disfmarker} the previous page has some more information about sort of what waswrongProfessor B: so {disfmarker} so un unsurprisingly Adam is the golden voice ,PhD C: butGrad E: Um But that shouldn't affect anythingPhD C: OK so that 's actuallyPostdoc G: S and it {disfmarker}Professor B: yousee this here ?PhD C: It {disfmarker} y it 's {disfmarker}Grad E: yeah yeah \" bah \"PhD C: OK no {disfmarker}PhD A: Oh , and {disfmarker}PhD C: What happens is it actually affects the script that Don{disfmarker}PhD D: Huh .PhD C: I mean if we know about it then I guess it could always be checked for itGrad E: Well the acoustic one shouldn't do anything .PhD C: but theyGrad F: Yeah , I don't know exactly whataffected itPostdoc G: I agree . I agree .PhD A: I {disfmarker} I have {disfmarker}Grad F: but I 'll {disfmarker} I 'll talk to you about it ,PhD A: Yeah .Grad E: But I {disfmarker} I do remember {disfmarker}PhD C:Yeah .Grad F: I 'll show you the point .Postdoc G: Yeah . It {disfmarker} it had no effect on my transcription ,PhD A: Mmm .Postdoc G: you know , I mean I {disfmarker} I had no trouble hearing it and {disfmarker}and having time binsGrad E: I do remember seeing once the transcriber produce an incorrect XML file where one of the synch numbers was incorrect .Postdoc G: but there was a {disfmarker} Oh .PhD C: Well , the{disfmarker} the synch time {disfmarker} the synch numbers have more significant digits than they should ,Grad F: That 's what happened .Postdoc G: Oh .PhD H: Yeah .Grad E: Where {disfmarker} where theyweren't monotonic .Grad F: There was {disfmarker} yeah , I mean {disfmarker}PhD C: right ? There 's things that are l in smaller increments than a frame .PhD H: Yeah .Postdoc G: Oh , interesting .PhD C: And so then, I mean you look at that and it 's got you know more than three significant digits in a synch time then that can't be rightGrad E: Oh OK so that 'sGrad F: Hmm .Postdoc G: Oh .PhD A: Mmm .PhD C: so anyway it 's{disfmarker} it 's just {disfmarker}Grad E: yeah sounds like a bug .Postdoc G: Yeah .PhD C: that 's why we only have twenty minutes but there 's a significant amount of {disfmarker}Grad F: Non - zero ? Um there arelike more {disfmarker} cuz there 's a lot of zeros I tacked on just because of the way the script ran ,Grad E: The other one I saw was that it yeah .Grad F: I mean but there were there was a point .PhD C: Yeah that wasfine . That {disfmarker} that was OK .Grad E: The other one I saw was non non - monotonic synch timesGrad F: OK .Grad E: and that definitely indicra indicates a bug .Grad F: Uh .PhD C: Well that would really be aproblem , yeah . So anyway these are just the ones that are the prebug for one meeting .Grad F: Yeah .PhD C: um and what 's {disfmarker} which {disfmarker}Grad E: So that 's very encouraging .PhD C: this is reallyencouraging cuz this is free recognition ,Professor B: Hmm .PhD H: Yeah .Professor B: Cool .PhD A: Mmm .PhD C: there 's no I mean the language model for Switchboard is totally different so you can see some like thisTrent Lott whichPhD D: Trent Lott .PhD C: um I mean these are sort of funny ones ,PhD D: It 'll get those though .PhD C: there 's a lot of perfect ones and good ones and all the references , I mean you can read themand when we get more results you can look through and seeGrad E: I and as I said I would like to look at the latticesPhD A: Mm - hmm .PhD C: but um it 's pretty good .Grad E: because it sounded like even the ones itgot wrong it sort of got it right ?PhD C: Well so I guess we can generateGrad E: Sounds likes ?PhD A: There are a fair number of errors that are , you know where {disfmarker} got the plural S wrong or the inflection onthe verb wrong .Postdoc G: Mm - hmm .PhD C: umGrad E: Yeah , and who cares ? And {disfmarker} and there were lots of {disfmarker} of course the \" uh uh \" - s , \" in on \" - s \" of uh \" - s .PhD A: Mmm , so if{disfmarker}PhD C: there 's {disfmarker} No those are actuallyPhD A: Yeah .PhD C: a lot of the errors I think are out of vocabulary ,PhD A: Mm - hmm .PhD C: so is it like PZM is three words , it 's PZM ,PhD A: Mm -hmm .PhD C: I mean there 's nothing There 's no language model for PZM orGrad E: Right . Ri - ri right .PhD C: umGrad E: Did you say there 's no language for PZM ?PhD C: No language model , I mean those{disfmarker}Grad E: Do you mean {disfmarker} so every time someone says PZM it 's an error ? Maybe we shouldn't say PZM in these meetings .PhD C: Well {disfmarker} well there 's all kinds of other stuff like Jimletand I mean um anyway there {disfmarker}Grad E: Yeah , that 's right , Jimlet .Professor B: Well , we don't even know what that means ,PhD C: so {vocalsound} but this is really encouraging becauseProfessor B: soIGrad E: Yeah , that 's right .PhD C: so , I mean the bottom line is even though it 's not a huge amount of data um it should be uh reasonable to actually run recognition and be like within the scope of {disfmarker} of rreasonable s you know Switchboard this is like h about how well we do on Switchboard - two data with the Switchboard - one trained {disfmarker} mostly trained recognizerGrad E: Right .PhD C: and Switchboard - twois {disfmarker} got sort of a different population of speakers and a different topicGrad E: Excellent .PhD C: and they 're talking about things in the news that happened after Switchboard - one so there was @ @ so that's great .Professor B: Yeah . Yeah so we 're in better shape than we were say when we did {disfmarker} had the ninety - three workshopPhD C: UmProfessor B: and we were all getting like seventy percent error onSwitchboard .PhD A: Mm - hmm .PhD C: Oh yeahProfessor B: you knowPhD C: I mean this is really ,PhD A: Mmm .PhD C: and thanks to Andreas who , I mean this is aPhD A: Mmm .Grad E: Well especially for the veryfirst run , I mean you {disfmarker}PhD A: Oh it 's the {disfmarker}Professor B: Yeah .PhD C: eh umProfessor B: Yeah .PhD C: yeahGrad E: the first run I ran of Switchboard I got a hundred twenty percent word errorbutPhD C: So and what al also this means is thatPostdoc G: Right .PhD C: umGrad E: Not Switchboard ,PhD A: Well it 's {disfmarker}PhD C: I mean there 's a bunch of things in this note to various peopleGrad E: uhBroadcast News .PhD C: especially I guess um with Jane that {disfmarker} that would help for {disfmarker} since we have this new data now uh in order to go from the transcripts more easily to um just the words thatthe recognizer would use for scoring . I had to deal with some of it by hand but I think a lot of it can be automated s by {disfmarker}Professor B: Oh one thing I guess I didn't get so you know the language model wasstraight from {disfmarker} from bigram from Switchboard the acoustic models were also from Switchboard or {disfmarker} orPhD A: Yeah .PhD C: Yeah .Professor B: So they didn't have anything from this acousticdata in yet ?Postdoc G: That 's amazing .Grad E: Yeah , so that 's great .PhD C: No .Professor B: OK .PhD C: And actually {disfmarker} we actually um used Switchboard telephone bandwidth modelsPostdoc G: That 'samazing .PhD A: Well that 's {disfmarker} those are the only we ones there are ,Professor B: Yeah .PhD C: which I guessPhD D: I was just gonna say ,PhD C: so that 's the on that 's the only acoustic training data thatwe have a lot ofPhD D: yeah .PhD A: I meanGrad E: Yeah .PhD A: Right .PhD C: and I guess Ramana , so a guy at SRI said that um there 's not a huge amount of difference going from {disfmarker}Professor B: Right.PhD C: it 's {disfmarker} it 's not like we probably lose a huge amount but we won't know because we don't have any full band models for s conversational speech .PhD D: It 's probably not as bad as going f using fullband models on telephone band speechPhD C: So .PhD A: Oh yeah .PhD C: Right .PhD D: right ?PhD A: Yeah .Professor B: Yeah ,PhD C: Right , so it 's {disfmarker} soProfessor B: but for Broadcast News when we{disfmarker} we played around between the two there wasn't a huge loss .Grad E: Right , it was not a big deal .PhD C: YeahPhD A: I should {disfmarker} I should say that {disfmarker} the language model is not justSwitchboardPhD C: so I wou so that 's good .Grad E: Although combining em worked well .PhD A: it 's also {disfmarker} I mean there 's uh actually more data is from Broadcast News but with a little less weightPhD C:Yeah .PhD A: uh becauseProfessor B: Uh - huh .PhD C: Like Trent Lott must have been fromPhD A: mm - hmm , right .PhD C: I guess {vocalsound} Switchboard was beforePhD A: Um By the way just {disfmarker} forfun we also ran ,PhD C: uh .Professor B: Good point .PhD A: I mean our complete system starts by doing ge a gender detectionProfessor B: Mm - hmm .PhD A: so just for the heck of it I ran thatGrad E: And it said ahundred percent male ?PhD A: um and it might be reassuring for everybody to know that it got all the genders right .PhD C: The jPhD A: Yeah soGrad E: Oh it did ?Postdoc G: Oh that 's {disfmarker} I 'm glad .Grad E:It got all two genders ?PhD C: Yeah but you know Jane and Adam have you kn about equal performancePhD A: Yeah . Yes .PhD C: and uh and that 's interesting cuz I think the {disfmarker} their language models arequite different so and I {disfmarker} I 'm pretty sure from listening to Eric that , you know given the words he was saying and given his pronunciation that the reason that he 's so much worse is the lapel .Professor B:Yeah .Grad E: Right .Postdoc G: That makes a lot of sense ,PhD C: So it 's nice now if we can just sort of eliminate the lapel one when {disfmarker} when we get new microphonesPostdoc G: yeah . Very possible.Professor B: Yeah I {disfmarker} I {disfmarker} I would bet on that tooPhD C: that would be worth itProfessor B: cuz he certainly in that {disfmarker} when as a {disfmarker} as a burp user he was {disfmarker} hewas a pretty uh strong one .PhD C: um YeahGrad E: Sheep .PhD C: he {disfmarker} he {disfmarker} he sounded to me just from {disfmarker} he sounded like a ,Professor B: Yeah .PhD C: what 's it a sheep or a goat?Professor B: Sheep .Grad E: A sheep .PhD C: Sheep ,Grad E: Baah .Professor B: Yeah . Sheep is good .PhD C: right . Sounded good .Professor B: Yeah .PhD C: Right so um so I guess the good news is thatPostdoc G:Mm - hmm .PhD C: and {disfmarker} and again this is without a lot of the sort of bells and whistles that we c can do with the SRI system and we 'll have more data and we can also start to maybe adapt the language"}
+{"doc_id":"doc_170","qid":"","text":"Lynne Neagle AM: Good morning, everyone, and welcome to the Children, Young People and Education Committee. We've received apologies for absence from Janet Finch-Saunders. I'd like to take this opportunity towelcome Suzy Davies to the committee, and to thank Mark Reckless and Darren Millar, who have left us, for their service and hard work as members of the committee. Can I ask whether there are any declarations ofinterest, please? No. Okay. We will move on then to our evidence session on our inquiry into the impact of Brexit on higher and further education. I'm very pleased to welcome Kirsty Williams, Cabinet Secretary forEducation, and Eluned Morgan AM, Minister for Welsh Language and Lifelong Learning. Can I just ask you to introduce your officials for the record, please?Kirsty Williams AM: Bore da, Lynne, and thank you for theinvitation to join you. Eluned and I are joined this morning by Huw Morris, who's the group director at SHELL—skills, higher education and lifelong learning—and Marie Knox, who is deputy director, overseeing Europeantransition.Lynne Neagle AM: Okay, thank you very much, and thank you for coming. We'll go straight into questions, then, and the first questions are from Suzy Davies.Suzy Davies AM: Thank you. I'd like to ask youboth, if that's okay, a little bit about preparedness. But if I could start with higher education, I understand that—I don't know, it must be about 18 months ago now—Ken Skates told another committee in this place thatthere had been nine sector analyses done. Presumably, one of those was HE, because of the—well, Welsh Government had a presence, and still does, in Brussels, related to higher education. Apparently, those have nowbeen superseded by work that's been done by Cardiff University. I don't know if you've got any comments on that research, or whether it's been brought to your attention yet.Kirsty Williams AM: Well, Suzy, followingthe vote, I was very keen that we work very closely with colleagues in higher education and further education, to get an understanding from on the ground about the potential impact. So, in terms of preparedness, westarted that group in the September, and that work from that group, which includes both HE and FE, has been instrumental in helping the Government form its views, which were articulated in the Government's WhitePaper, 'Securing Wales' Future'. There has been ongoing work being done—as the debate in London and Europe becomes a little bit more clear, then it becomes a little less clear, and then a little bit more clear, but,bearing in mind the difficulties of working in an ever-changing field, we have been refining those approaches. Each institution has been looking at their own institution, because, as you can imagine, although we have anoverview of the sector, the challenges are very different for individual institutions—so their exposure, for instance, to the number of European Union students that they have at their college, or the work that they mightbe doing with Horizon 2020, or their success—and there has been considerable success in the HE field in securing structural funds for various projects—the exposure and the potential impact of leaving the EU, in a 'nodeal' or in a 'deal' scenario, is very, very different. But I don't know if, Huw, you want to talk any further.Suzy Davies AM: Maybe just to use the 'no deal' scenario is probably the easiest, isn't it?Kirsty Williams AM: The'no deal'?Suzy Davies AM: Well, yes, because that's the worst-case scenario, so let's look at that one.Huw Morris: As the Cabinet Secretary mentioned, the higher education Brexit working group's been meeting sinceSeptember 2016 and has been looking at that in general. More recently, when the prospect of no deal became talked about, officials have been visiting individual institutions to talk to them about their preparedness forthat. As you'll be aware, the funding for much of the activity is secured, we believe, even under a 'no deal' scenario, until December 2020; that's a letter we had from the Chief Secretary to the Treasury. I think theresearch you're referring to may be research that Cardiff University has been doing with the Bevan Foundation and others. I know there's a report due to be launched later today. We have been doing our own researchand looking at the impact on HE, FE and apprenticeship providers.Suzy Davies AM: Well, that's really helpful because my understanding was that this Cardiff University research had superseded all those nine sectoranalyses.Huw Morris: That may be true for the economy brief. Certainly, there are published papers by Max Munday and a team at Cardiff University on the impact of Brexit on the Welsh economy, but for HE and FE andapprenticeship provision, it's as the Cabinet Secretary outlined.Suzy Davies AM: So, are there any formal risk assessments that are available for us to scrutinise, for example? For HE and FE for that matter.KirstyWilliams AM: Well, the Higher Education Funding Council for Wales have been doing some specific work; I can't comment on how wide they would want that to be shared. We have been doing some broad analysis, as Isaid, for the sector, looking at what we can do to mitigate the risk, bearing in mind that each institution is an autonomous institution, a principle that they guard really jealously, and rightly so. So, we have been, as Huwsaid, because the prospect of a 'no deal' has become, perhaps, more to the forefront, officers have been visiting each institution to try and make sure and to satisfy us, as people who fund part of their activity, that theyhave their own plans in place to deal with these scenarios. We continue to work alongside them to push the issues that we can help them with. So, for instance, we continue to work with officials in Westminster aroundErasmus+ provision in a 'no deal' scenario, what a UK stand-alone project would look like, the impacts of a 'no deal' on Horizon 2020. So, we look at the broader picture and we are encouraging continually individualinstitutions to make sure that they themselves are looking at their specific needs within that.Suzy Davies AM: Well, if there is something that's shareable, I'm sure we'd be very pleased to see it—Kirsty Williams AM:Anything that we've got—Suzy Davies AM: —particularly with FE, actually, because, of course, we haven't got a HEFCW for FE; you're doing that regulation yourself. I'd expect to see that type of work evidencedsomewhere from within Welsh Government, and we would be able to see that then.Eluned Morgan AM: So, if I could just make some points on FE. We've been actively engaging with the FE sector. We've spoken toevery one of the colleges about how they see things developing. I think it's quite a different response than what is going to be happening in HE.Suzy Davies AM: Yes, because the student thing isn't such an issue, isit?Eluned Morgan AM: You've got to remember that the FE colleges are much more anchored within their communities, they're much more localised, and so, for example, the number of EU students in these colleges issignificantly lower. The number of staff in these colleges—I think they've analysed that there are only about 71 people. So, we're keeping in touch with them and we're letting them know what we are being told in termsof the Home Office settled status and what we can do to protect those 71. But that's a much bigger issue, I think, for higher education.Suzy Davies AM: What are they telling you about European social fund funding,though, because, as you say, they're locally anchored—the impact on FE of ESF funding is probably more significant than the issues we're talking about with higher education. How are you finding this out? Is thisthrough one-to-one conversations?Eluned Morgan AM: We are engaging with them all, and, obviously, we're engaging with ColegauCymru, who've done their own analysis, and what we found, in particular, is that thereal problems are probably in relation to ESF funding and apprenticeships. But what you've got to remember is that that link between apprenticeships and the local work community is absolutely crucial. So, if—SuzyDavies AM: Yes, that's why I asked.Eluned Morgan AM: —the economy nosedives, or if there's an issue that we see—just the dislocation of companies in those areas as a result of Brexit—then that will inevitably have animpact on the number of apprenticeships that will be on offer. So, it's those kinds of things, but at the moment I think it's worth pointing out that about £15 million a year goes into the FE sector just in relation toapprenticeships.Suzy Davies AM: Can I just come back finally on that, before handing over? In both your areas of responsibility, there's going to be an impact on Welsh Government in how it responds to that, as well.Can you tell me a little bit about the European transition team, which I think is about building resilience within the Welsh Government to deal with the impacts of Brexit? Is that a formal arrangement you have withofficials? I don't really know much about this team, but it seems to meet fortnightly to get Welsh Government ready for Brexit, so could you just give us some clues on this?Marie Knox: Yes, in terms of the Europeantransition team, that's the central co-ordinating group that pulls together all the leads in each department who are pulling together the work on European transition. So, I attend that group in relation to higher educationand further education, and, obviously, other representatives in terms of agriculture, transport, the economy, et cetera.Suzy Davies AM: It's great that you're on that group, but what does it actually do? That's the bit Iwasn't sure about.Marie Knox: I guess it provides the governance structure for the Welsh Government as a whole in relation to European transition. So, individual departments do their own work, and the Europeantransition team provides the governance structure, and, also, they lead on the discussions with the Department for Exiting the European Union, No. 10, the Joint Ministerial Committee—those kinds of ministerialarrangements.Suzy Davies AM: Thank you. I've had enough time, I think.Lynne Neagle AM: Llyr.Llyr Gruffydd AM: I'll ask my questions in Welsh, if I may. This discussion between HEFCW and higher education, thesechallenges in terms of how ready they are for the changes to come, and the work that the Government is doing with FE, I suspect, is happening at an organisational level. So, I just want to hear a little about where thestudent voice comes into that discussion and where the engagement happens in terms of the students.Kirsty Williams AM: So, we have a close working relationship with the National Union of Students. I meet with themregularly, and officials are in constant touch with the student voice. They have been very clear, and I think there is a huge amount of consensus between the Welsh Government, what the universities are asking for andwhat the students are asking for. You'll have seen, only earlier this week, the very powerful campaign by NUS Wales about the importance of Erasmus+ arrangements. There is a huge amount to be gained for Welshstudents and young people participating in the Erasmus programme. Many of us, I know, have had the opportunity to study abroad as part of our own studies, and there's a lot to be gained from it. We've been veryclear from the outset, as have the sector and the student voice, about the importance of participation in that scheme.  NUS are also very concerned that there should be no negative impact on the quality of faculty. OurHE institutions, to a greater extent than FE, have faculty staff from the EU—it runs at about 11 per cent. That adds great diversity and strength to the quality of teaching within our institutions. Clearly, that is a concernfor students. They want to have the best teachers, they want access to the best learning opportunities, and we've been very clear about the importance of providing security and stability for those staff, making sure wesend very clear messages that they're very welcome and we value their contribution. NUS, again, also value the diversity in the student population. Again, as far as we've been able to, we've been able to give messagesabout the security of funding for European students for the next academic year. I wish I could go further, but that's out of my hands. We're working to the limits of what I feel comfortable in being able to guaranteewithout further guarantees from Westminster. So, we've been working closely with the student voice, and I think, Llyr, what's very clear is there is a consensus about what is important across the Government, theinstitutions and student voice. So, that is making sure we send very clear messages about Wales's institutions being open for business and that we welcome both EU and international students, that we value thecontribution of faculty, and that we want to be able to continue in Horizon 2020. That's especially important if we're looking at attracting postgraduate work and postgraduate students into our system, as well asErasmus+. The issue of post-study work visas, again, is very important. As I said, there's a consensus, I think, between the Government, the institutions and the students about what we need the UK Government toachieve for us.Lynne Neagle AM: Before we move on to student recruitment, it's increasingly the view of many experts that we're heading for a 'no deal' Brexit. Can I ask both of you what specific plans you've put inplace in the event of such a 'no deal' Brexit happening and us crashing out next spring?Eluned Morgan AM: Well, I think it's really difficult for us to prepare for a 'no deal' Brexit, but obviously we need to think throughvery carefully what that might look like, and I think that scenario planning is starting to happen. I think it's very different, again, for FE compared to HE. So, in relation to FE, what we do have is funding—ESFfunding—which the UK Government has said that they will underwrite until 2020. So, in March next year, if there is no deal, the immediate impact on FE is unlikely to hit in the way that we may have feared. Theproblem then becomes: what exactly is the deal with the EU in future, because we will have some kind of relationship, and what that impact will be on the broader economy and our ability to work with companieslocally, and industries, to provide that link between training needs? So, the colleges, basically, are providing the training for lots of the apprenticeships, and so if the number of companies reduces, then that is likely tohave an impact. So, there are specific sectors that we are more concerned about than others. Farming is obviously one that we are concerned about, because that could have a difference in terms of day one of no deal.If your markets are not there, that could be quite an immediate impact. Health and social care—obviously, we are concerned that there are a number of people who work in that sector who are EU citizens. What is theimpact? Are they going to feel unwelcome? Are they likely, then, to return home? Where will that skills gap, therefore, be? So, that's a problem for us. Construction is already an issue for us in terms of skills shortages.So, one of the things we're doing is we've developed these regional skills partnerships where we ask local employers, 'What is it that you need in terms of skills development?' and we are now asking further educationcolleges to respond to that need. So, rather than them just getting people through the college system, who are easy to get in because they're doing courses that they're excited about, let's try and encourage them to docourses where we know there are skills shortages. So, that is a new structure that we've developed that is already having an impact; there's a £10 million project there. So, we're already putting things in place for thosesituations. In manufacturing, obviously, if there's no deal, the rules of origin, that could have an immediate impact. Just-in-time—we could have real problems in terms of dislocation there; and hospitality and tourism.So, those are the sectors we have most concerns about, and all of them have very strong links to the FE sector.Kirsty Williams AM: From the HE perspective, from a point of principle, we just have to keep workingtowards some kind of deal. Although the prospect of no deal, maybe, has risen up the agenda, we have got to be consistent in our messages to the Westminster Government: we need a deal. Wales cannot afford tocrash out of the EU without a deal. If that worst-case scenario was to happen, because of the underwrite guarantee, actually, for European regional development fund and European social fund programmes in the HEsector, it would be business as usual. And because of the current underwrite guarantee, the forthcoming bids for Erasmus and Horizon 2020 would be covered, but they would be the last applications that could be made.You'll be aware that there are some proposals for an extension to that guarantee, but from my understanding and our understanding of it, that would only give us third-country status for Horizon 2020 and Erasmus.What that does mean is that we would have limited access to the Horizon 2020 programme, and if you look at the activity that is currently being undertaken by the Welsh HE sector under that programme, that wouldmean that we'd probably lose about 50 per cent of that work, because that's the split between the bits we would still be able to access and what we are currently accessing. As I've already said, we have made aguarantee for EU student support for the next academic year, but, without clarity from the Treasury, I don't think it would be prudent of me to commit Welsh Government to anything further than that. So, we continueto push the message that a 'no deal' would be catastrophic. What can we do? You'll be aware that we have been working with Universities Wales to access resources under the European transition fund, under the GlobalWales programme, to look to boost international marketing of the HE sector and to talk about the strengths that we have in the sector. And we continue to look at other opportunities within the EU transition pot ofmoney to assist the universities and the FE sector in that regard. We also continue to look to respond to the Reid review proposals, about how we can beef up our own research and continue to engage with UK Researchand Innovation to make sure that, with any research money that comes out of that negotiation, Wales is in a competitive position to be able to bid successfully for that.Lynne Neagle AM: Okay, thank you. We're going tomove on, then, to talk about student recruitment. I'm going to, because we've got a lot of questions, appeal for brief questions and answers that are as concise as possible, please. Hefin.Hefin David AM: How does theWelsh Government account for the fact that EU student applications in Wales this year—that Wales is the only country in the UK to have seen a significant drop?Kirsty Williams AM: Okay, well, I think the first thing toremember is that we will not get a full picture of student recruitment until, first of all, November and then the true picture, because some institutions, as you would know, have two admissions dates—we won't get thefull picture until the spring. I think it was inevitable, given the change in Government policy with regard to student support, which had previously allowed European students to benefit from a tuition fee grant, and giventhe fact that that option is no longer available to them, that that has had an impact on EU recruitment, and there's no point trying to hide from that.Hefin David AM: So, together with leaving the EU, that's adouble-whammy effect that's hitting Wales harder than the rest of the UK.Kirsty Williams AM: It just puts us in the same position as EU students applying to England, but it was inevitable. This was looked at byDiamond. It was anticipated that this could be a consequence of the change in policy, and I think we see that reflected in the initial figure, although, as I said, we won't get the true picture until the first census inNovember, and then, ultimately, the final picture in the spring.Hefin David AM: How concerned are you by that?Kirsty Williams AM: Clearly, we want our universities to be able to attract students from both the EU andfrom around the world. The fact that the tuition fee grant arrangements may have had an impact on European Union students at this stage does not preclude the fact that Wales, up until now, has been successful inrecruiting international students. So, the change in the fee regime should not be a barrier to the recruitment of international students, because, actually, international students outside of the EU make up a biggerproportion of students not from the UK who come to our institutions.Hefin David AM: That's a fair point, but it's unfortunate timing, though, isn't it?Kirsty Williams AM: I think, from a public policy point of view andmoving towards a sustainable way of funding our HE sector, then both my priority and, I would say, the priority of the institutions was to see the implementation of Diamond, which is what we have done.Hefin David"}
+{"doc_id":"doc_171","qid":"","text":"Grad B: Grad D: How many batteries do you go through ?Grad B: Thank you .Professor C: Alright .PhD A: Sure .Professor C: Good . Yeah . OK so , let 's get started . Nancy said she 's coming and that means she will be. Um . My suggestion is that Robert and Johno sort of give us a report on last week 's adventures uh to start . So everybody knows there were these guys f uh from Heidelber - uh , uh , actually from uh DFKI uh , part ofthe German SmartKom project , who were here for the week and , I think got a lot done .Grad E: Yeah , I think so too . Um . The {disfmarker} we got to the point where we can now speak into the SmartKom system ,and it 'll go all the way through and then say something like \" Roman numeral one , am Smarticus . \" It actually says , \" Roemisch einz , am Smarticus , \"Grad B: OK .Grad E: which means it 's just using a Germansythesis module for English sentences .Grad B: OK .Grad E: So uh ,Professor C: It doesn't know \" I \" .Grad B: OK .Grad E: Um , the uhGrad B: Oh , Am Spartacus . \"Grad D: \" I am Sm - I am Smarticus \" is what it 'ssaying .PhD A: Right .Grad B: Verstehe . OK .Grad D: I gueGrad E: The uh sythesis is just a question of um , hopefully it 's just a question of exchanging a couple of files , once we have them . And , um , it 's not goingto be a problem because we decided to stick to the so - called concept to speech approach . So I 'm {disfmarker} I 'm {disfmarker} I 'm going backwards now , so \" synthesis \" is where you sort of make this{disfmarker} uh , make these sounds , and \" concept to speech \" is feeding into this synthesis module giving it what needs to be said , and the whole syntactic structure so it can pronounce things better , presumably .Then , just with text to speech .Grad B: Mm - hmm .Grad E: And , uh , Johno learned how to write XML tags . Uh , and did write the tree adjoining grammar for some {disfmarker} some sentences . No , right ?Grad D:Yeah .Grad E: Yeah , for a couple {disfmarker}Grad D: So . Bu - Uh , i The way the uh , the dialogue manager works is it dumps out what it wants to know , or what it wants to tell the person , to a {disfmarker} er inXML and there 's a conversion system for different uh , to go from XML to something else . And th so , the knowledge base for the system , that generates the syntasti syntactic structures for the ge generation is uh , ina LISP - like {disfmarker} the knowledge base is in a LISP - like form . And then the thing that actually builds these syntactic structures is something based on Prolog . So , you have a {disfmarker} basically , a goal andit , you know , says \" OK , well I 'm gonna try to do the Greet - the - person goal ,Grad B: Mm - hmm .Grad D: so it just starts {disfmarker} uh , it binds some variables and it just decides to , you know , do somesubscold . Basically , it just means \" build the tree . \"Grad B: OK .Grad D: And then it passes the tree onto , uh , the ge the generation module .Grad E: But I think that the point is that out of the twelve possibleutterances that the German system can do , we 've already written the {disfmarker} the syntax trees for three or four .Grad D: We yeah . So , the syntax trees are very simple . It 's like most of the sentences in onetree ,Grad B: Mm - hmm .Grad D: and instead of , you know , breaking down to , like , small units and building back up , they basically took the sentences , and basically cut them in half , or you know , into thirds orsomething like that , and made trees out of those . And so uh , uh Tilman wrote a little tool that you could take LISP notation and generate an XML , uh , tree . Uh , S what do ca structure from the {disfmarker} fromthe LISP . And so basically you just say , you know , \" noun goes to \" , you know , Er , nah , I don't re I 've never been good at those . So there 's like the VP goes to N and those things in LISP , and it will generate foryou .Grad B: OK . N , N , V yeah , OK . Alright .Grad E: And because we 're sticking to that structure , the synthesis module doesn't need to be changed . So all that f fancy stuff , and the Texas speech version of it ,which is actually the simpler version , is gonna be done in October which is much too late for us . So . This way we {disfmarker} we worked around that . The , uh {disfmarker} the system , um {disfmarker} I can showyou the system . I actually want , at least , maybe , you should be able to start it on your own . If you wanna play around with it , in th in the future . Right now it 's brittle and you need to ch start it up and then makets twenty changes on {disfmarker} on {disfmarker} on {disfmarker} on seventeen modules before they actually can stomach it , anything . And send in a {disfmarker} a {disfmarker} a couple of side queries on somedummy center set - up program so that it actually works because it 's designed for this seevit thing , where you have the gestural recognition running with this s Siemens virtual touch screen , which we don't have here.Grad B: Mm - hmm .Grad E: And so we 're doing it via mouse , but the whole system was designed to work with this thing and it was {disfmarker} It was a lot of engineering stuff . No science in there whatsoever , butit 's working now , and um , that 's the good news . So everything else actually did prove to be language independent except for the parsing and the generation .Grad D: Why {disfmarker} I had {disfmarker} I did needto chan generate different trees than the German ones , mainly because you know like uh , the gerund in {disfmarker} in German is automatically taken care of with just a regular verb ,Grad E: You have to switch it on.Grad B: Mm - hmm .Grad D: so I 'd uh have to add \" am walking , \"Grad B: OK .Grad D: or I 'd have to add a little stem for the \" am \" , when I build the {disfmarker} built the tree .Grad B: OK . Yeah , I noticed thatum , that some of the examples they had , had you know , non - English word orders and so on , you know . And then all that good stuff . So .Professor C: Alright .Grad D: Yeah .Grad B: Like .Professor C: So it might beworth , Keith , you looking at this ,Grad B: Yeah .Professor C: umGrad B: I {disfmarker} I still don't {disfmarker} I still don't really understand e like {disfmarker}Grad D: Well Tilman sGrad B: I mean we sort of say ,um {disfmarker} You know , I {disfmarker} I still don't exactly understand sort of the information flow uh in {disfmarker} in this thing , or what the modules are and so on . So , you know , like just that such - and -such module uh um decides that it wants to achieve the goal of greeting the user , and then magically it sort of sProfessor C: Yeah {disfmarker}Grad B: I mean , how does it know which syntactic structure to pull out ,and all that ?Professor C: I thi Yeah . So . I think it 's not worth going over in the group ,Grad B: R uh Sure .Professor C: but sort of when you get free and you have the time uh either Robert or Johno or I can walk youthrough it .Grad B: Yeah , soon . OK .Professor C: And you can ask all the questions about how this all fits together .Grad B: That 's fine .Professor C: It 's eee {comment} messy but once you understand it youunderstand it . It 's {disfmarker} it 's {disfmarker} There 's nothing really complicated about it .Grad B: OK .Grad E: No .Grad B: And I remember one thing that {disfmarker} that came up in the talk last Wednesday .Um , was this , I {disfmarker} I think he talked about the idea of like , um {disfmarker} He was talking about these lexicalized uh , uh , tree adjoining grammars where you sort of {disfmarker} for each word you , um{disfmarker}Grad D: OK , you know how to do it ?Grad B: For each lexical item , the lexical entry says what all the uh trees are that it can appear in . And of course , that 's not v That 's the opposite of constructional .That 's , you know , that 's {disfmarker} that 's HPSG or whatever .Professor C: Right .Grad B: You know ?Professor C: Right . Now , we 're {disfmarker} we 're not committed for our research to {pause} do any ofthose things .Grad B: Yeah . Mm - hmm .Professor C: So uh we are committed for our funding .Grad B: Right .Professor C: OK ? to {pause} uh {disfmarker}Grad B: Make our stuff fit to that .Professor C: Yeah , to{disfmarker} n no , to just get the dem get the demos they need .Grad B: Uh - huh .Professor C: OK ? So between us all we have t to get th the demos they need . If it turns out we can also give them lots more thanthat by , you know , tapping into other things we do , that 's great .Grad D: You should probably move the microphone closer to your face .Grad B: Mm - hmm .Professor C: But i it turns out not to be in an any of thecontractsGrad D: There 's like a little {disfmarker} The twisty thing , you can move it with .Grad B: OK .Professor C: and , s deliberately . So , the reason I 'd like you to understand uh what 's going on in this demosystem is not because it 's important to the research . It 's just for closure . So that if we come up with a question of \" could we fit this deeper stuff in there ? \" or something . You know what the hell we we 're talkingabout fitting in .Grad B: Right . OK .Professor C: So it 's just , uh in the sam same actually with the rest of us we just need to really understand what 's there . Is there anything we can make use of ? Uh , is thereanything we can give back , beyond th the sort of minimum requirements ? But none of that has a short time fuse .Grad B: OK .Professor C: So th the demo the demo requirements for this Fall are sort of taken care ofas of later this week or something . And then {disfmarker} So , it 's probably fifteen months or something until there 's another serious demo requirement .Grad B: Oh OK .Professor C: That doesn't mean we don't thinkabout it for fifteen months ,Grad B: Right .Professor C: but it means we can not think about it for six months .Grad B: Right , yeah .Professor C: So . The plan for this summer uh , really is to step back from the appliedproject ,Grad E: Right .Professor C: keep the d keep the context open , but actually go after the basic issues .Grad B: Hmm . Oh OK .Professor C: And , so The idea is there 's this uh , other subgroup that 's worryingabout formalizing the nota getting a notation . But sort of in parallel with that , uh , the hope is tha in particularly you will work on constructions in English Ge - and German for this domain ,Grad B: Mm - hmm.Professor C: but y not worry about parsing them or fitting them into SmartKom or any of the other {disfmarker} anything lik any other constraints for the time being .Grad B: Yeah . OK . Got it .Professor C: It 's hardenough to get it semantically and syntactically right and then {disfmarker} and get the constructions in their form and stuff .Grad B: Yeah .Professor C: And , I don I don't want you f feeling that you have to somehowmeet all these other constraints .Grad B: Right , OK .Professor C: Um . And similarly with the parsing , uh we 're gonna worry about parsing uh , the general case you know , construction parser for general constructions. And , if we need a cut - down version for something , or whatever , we 'll worry about that later .Grad B: OK .Professor C: So I 'd like to , for the summer turn into science mode .Grad B: OK .Professor C: And I assumethat 's also , uh , your plan as well .Grad B: So I mean , the {disfmarker} the point is that like the meetings um so far that I 've been at have been {disfmarker} sort of been geared towards this demo ,Professor C:Right . Yeah . Yeah .Grad B: and then that 's going to go away pretty soon .Professor C: But {disfmarker} but we we 're switGrad B: OK .Professor C: Right .Grad B: And then we 'll sort of shift gears a Fairlysubstantially ,Professor C: Yeah .Grad E: It 's {disfmarker}Professor C: Yeah .Grad B: huh ?Professor C: Yeah .Grad E: It 's got . What I {disfmarker} what I think is {disfmarker} is a good idea that I can {disfmarker}can show to anyone who 's interested , we can even make a {disfmarker} sort of an internal demo , and I {disfmarker} I show you what I do ,Grad B: Mm - hmm .Grad E: I speak into it and you hear it talk ,Grad B: OK.Grad E: and I can sort of walk f through the information . So , this is like in half hour or forty - five minutes . Just fun .Grad B: OK .Grad E: And so you {disfmarker} when somebody on the streets com comes up to youand asks you what is SmartKom so you can , sort of , give a sensible answer .Grad B: Right . OK .Professor C: So , c sh we could set that up as actually an institute wide thing ? Just give a talk in the big room , and{disfmarker} and so peo people know what 's going on ? when you 're ready ?Grad E: Absolutely .Professor C: Yeah I mean , that 's the kind of thing {disfmarker} That 's the level at which you know we can just li inviteeverybody and say \" this is a project that we 've been working on and here 's a demo version of it \" and stuff like that .Grad B: Yeah .Grad E: OK . Well d we {disfmarker} we do wanna have all the bugs out b where youhave to sort of pipe in extra XML messages from left and right before you 're {disfmarker}Grad B: Uh - huh .Professor C: Indeed .Grad E: Yeah . OK . Makes sense .Professor C: But any so that {disfmarker} e e It 'sclear , then , I think . Actually , roughly starting uh let 's say , nex next meeting , cuz this meeting we have one other thing to tie up besides the trip report .Grad B: Yeah . OK .Professor C: But uh starting next meetingI think we want to flip into this mode where {disfmarker} Uh . I mean there are a lot of issues , what 's the ontology look like ,Grad B: Mm - hmm .Professor C: you know what do the constructions look like , what 's theexecution engine look like , mmm lots of things .Grad B: Mm - hmm .Professor C: But , more focused on uh an idealized version than just getting the demo out . Now before we do that , let 's get back in {disfmarker}Oh ! But , it 's still , I think , useful for you to understand the demo version enough , so that you can {disfmarker} can see what {disfmarker} what it is that {disfmarker} that uh it might eventually get retro - fitted intoor something .Grad B: Yeah . OK , right .Professor C: And Johno 's already done that , uh , looked at the dem uh the {disfmarker} looked at the SmartKom stuff .Grad D: Wa uh {disfmarker} To some de uh what{disfmarker} what part of th the SmartKom stuff ?Professor C: Well , the parser , and that stuff .Grad D: Oh yeah {disfmarker} yeah .Professor C: OK . Anyway . So , the trip {disfmarker} the report on these{disfmarker} the last we we sort of interrupted you guys telling us about what happened last week .Grad B: Yeah . It 's alright .Grad E: Um . {vocalsound} Well it was just amazing to {disfmarker} to see uh how{disfmarker} how instable the whole thing is ,Professor C: Maybe you 're done , then .Grad E: and if you just take the {disfmarker} And I g I got the feeling that we are {pause} the only ones right now who have arunning system . I don't know what the guys in Kaiserslautern have running because e the version {disfmarker} that is , the full version that 's on the server d does not work . And you need to do a lot of stuff to make itwork . And so it 's {disfmarker} And even Tilman and Ralf sort of said \" yeah there never was a really working version that uh did it without th all the shortcuts that they built in for the uh October @ @ version \" . So we're actually maybe ahead of the System Gruppe by now , the system {disfmarker} the integration group . And it was , uh {disfmarker} It was fun to some extent , but the uh the outcome that is sort of of scientificinterest is that I think both Ralf and Tilman {disfmarker} um , I know that they enjoyed it here , and they r they {disfmarker} they liked , uh , a lot of the stuff they saw here , what {disfmarker} what we have beenthinking about , and they 're more than willing to {disfmarker} to um , cooperate , by all means . And um , part of my responsibility is uh to use our internal \" group - ware \" server at EML , make that open to all of usand them , so that whatever we discuss in terms of parsing and {disfmarker} and generating and constructions w we {disfmarker} we sort of uh put it in there and they put what they do in there and maybe we caneven um , get some overlap , get some synergy out of that . And um , the , uh {disfmarker} If I find someone at {disfmarker} in EML that is interested in that , um I {disfmarker} I may even think that we could look{disfmarker} take constructions and {disfmarker} and generate from them because the tree adjoining grammars that {disfmarker} that Tilman is using is as you said nothing but a mathematical formalism . And youcan just do anything with it , whether it 's syntactic trees , H P S G - like stuff , or whether it 's construction . So if you ever get to the generation side of constructing things and there might be something of interestthere , but in the moment we 're of course definitely focused on the understanding , um , pipeline .Professor C: Anyth - any other {vocalsound} {comment} uh repo visit reports sort of stories ? uh we {disfmarker} sowe now know I think , what the landscape is like .Grad B: Mm - hmm .Professor C: And so we just push on and {disfmarker} and uh , do what we need to do . And one of the things we need to do is the um , and this Ithink is relatively tight {disfmarker} tightly constrained , is to finish up this belief - net stuff . So . Uh . And I was going to switch to start talking about that unless there 're m other more general questions . OK so here's where we are on the belief - net stuff as far as I understand it . Um . Going back I guess two weeks ago uh Robert had laid out this belief - net , missing only the connections . Right ? That is {disfmarker} {comment}So , he 'd put all th all the dots down , and we went through this , and , I think , more or less convinced ourselves that at least the vast majority of the nodes that we needed for the demo level we were thinking of ,were in there . Yeah {comment} we may run across one or two more . But of course the connections weren't . So , uh Bhaskara and I went off and looked at some technical questions about were certain operations sortof legitimate belief - net computations and was there some known problem with them or had someone already uh , solved you know how to do this and stuff . And so Bhaskara tracked that down . The answer seems tobe uh , \" no , no one has done it , but yes it 's a perfectly reasonable thing to do if that 's what you set out to do \" . And , so the current state of things is that , again , starting now , um we 'd like to actually get arunning belief - net for this particular subdomain done in the next few weeks . So Bhaskara is switching projects as of the first of June , and uh , he 's gonna leave us an inheritance , which is a uh {disfmarker} hopefullya belief - net that does these things . And there 're two aspects to it , one of which is , you know , technical , getting the coding right , and making it run , and uh stuff like that . And the other is the actual semantics .OK ? What all {disfmarker} you know , what are the considerations and how and what are the ways in which they relate . So he doe h he doesn't need help from this group on the technical aspects or if he does uh we 'lldo that separately .Grad B: Mm - hmm .Professor C: But in terms of what are the decisions and stuff like that , that 's something that we all have to work out . Is {disfmarker} is that right ? I mean that 's {disfmarker}that 's both you guys ' understanding of where we are ?Grad E: Absolutely .Professor C: OK .Grad G: So , I guess , um {disfmarker} Is there like a latest version of the belief - net {disfmarker} of the proposed belief -net ? Like {disfmarker}Grad E: We had um decided {disfmarker}Grad G: like {disfmarker}Grad E: Um . Well , no , we didn't decide . We wanted to look into maybe getting it , the visualization , a bit clearer , but I thinkif we do it , um , sort of a paper version of all the nodes and then the connections between them , that should suffice .Grad G: Mm - hmm . Yeah , that should be fine .Professor C: Yeah I mean , that 's a separateproblem .Grad D: Yeah , I {disfmarker}Professor C: We do in the long run wanna do better visualization and all that stuff .Grad E: Yeah .Professor C: That 's separable , yeah .Grad D: I did look into that , uh in terms of, you know , exploding the nodes out and down agProfessor C: Yep . Right .Grad D: JavaBayes does not support that . I can imagine a way of hacking at the code to do that . It 'd probably take two weeks or so toactually go through and do it ,Professor C: Not {disfmarker} not at this point .Grad D: and I went through all the other packages on Murph - Kevin Murphy 's page ,Professor C: Right .Grad D: and I couldn't find thenecessary mix of free and uh with the GUI and , with this thing that we want .Professor C: Well , we can p If it 's {disfmarker} If we can pay {disfmarker} Yeah . If you know it 's paying a thousand dollars or somethingwe can do that . OK ? So {disfmarker} so don't view free as {disfmarker} as a absolute constraint .Grad D: OK . OK , so then I 'll go back and look at the ones on the list that {disfmarker}Professor C: OK . And you canask Kevin .Grad E: But {disfmarker}Grad G: Yeah .Grad D: Mmm .Grad E: But {disfmarker}Grad G: Yeah , the one that uh people seem to use is uh Hugin or whatever ?Professor C: Hugin , yeah that 's free .Grad G:"}
+{"doc_id":"doc_172","qid":"","text":"Project Manager: {vocalsound}Industrial Designer: {vocalsound} {vocalsound}Project Manager: {vocalsound}Industrial Designer: Okay .Project Manager: Okay everyone's ready .User Interface: Hello .ProjectManager: So we are here for uh for uh functional design .User Interface: {gap}Project Manager: Okay ? So we are here for the functional design meeting mm {vocalsound} so first I will show the agenda so we will uh Iwill take notes during this meeting so I will try to summarise it and put that summary in the shared folder if you want to look at it afterwardsUser Interface: {vocalsound}Project Manager: so then uh each of you will uhlead a presentation on the task that has been required last time so user requirement specification , technical function design and working design . Then I will uh present you some new project requirements I receivedfrom uh the management board . Then we will take uh the decision on on the remote control uh needed functions and then I will assign you the task for the next part of the meeting . Of the {disfmarker} of the process .So uh who want to start the the presentation of what they did ?Industrial Designer: F do you want to start ?User Interface: Make a start yeah .Project Manager: You can start .User Interface: So . {vocalsound}ProjectManager: {vocalsound}User Interface: Cable , camera .Project Manager: You have uh PowerPoint ?User Interface: Should be in my {disfmarker} in their folder no ?Project Manager: Ah yeah maybe there . Okay .UserInterface: Up .Project Manager: Who are you ? {vocalsound}User Interface: Um at three I think .Project Manager: {vocalsound}User Interface: No ? {vocalsound} Mm .Project Manager: Ouch . And {disfmarker}UserInterface: {vocalsound}Industrial Designer: Okay . {vocalsound}Project Manager: We have a technical problem uh .User Interface: Do we think w s in the {disfmarker} in the wrong folder maybe ? {vocalsound} It ispossible .Project Manager: You put it on {disfmarker}Industrial Designer: No .User Interface: It was somewhere in something like this . I don't remember the name actually must be something like messenger AMI orsomething .Industrial Designer: What do you have in short cut ?User Interface: Go up .Industrial Designer: Participant two .User Interface: Yeah go up .Project Manager: Yeah .User Interface: Again . No . Go back.Project Manager: You have no {disfmarker}User Interface: Uh maybe messenger AMI . Messenger .Project Manager: Over . Okay .User Interface: No . There is nothing .Project Manager: There's no {disfmarker} Wehave a technical problem .User Interface: Let's go and check .Industrial Designer: Yeah .User Interface: I'll go and check .Industrial Designer: Otherwise , could you just describe by hand ?User Interface: Okay.Industrial Designer: With the the whiteboard ?Project Manager: If you remember yeahUser Interface: Yeah . Yeah .Project Manager: but that's {disfmarker}User Interface: So uh . Basically {vocalsound} what we wanthere is a remote control right .Project Manager: Yeah .User Interface: {vocalsound} So um the question well first of all what to control . So {vocalsound} most people want to have a a remote for their hi-fi and T_V_and stuff like that .Industrial Designer: Mm-hmm .User Interface: And {disfmarker} but other people want th also remotes for {vocalsound} controlling uh and toys like robotic pets and little robots and stuffIndustrialDesigner: Mm-hmm .User Interface: and other people also want to have remotes for controlling um whole house .Project Manager: Yeah .Industrial Designer: Mm-hmm .User Interface: Yeah , so there's a project I thinkcalled X_ house or something like that that does that , uh you can integrate your remote with uh computers stuff . So {vocalsound}Industrial Designer: Mm-hmm .User Interface: there is one {disfmarker} that is onething . The other is the the finder feature yeah by whistling or whatever . Uh if you have the finder feature then you can also haveIndustrial Designer: Okay .User Interface: uh at the same time as {disfmarker} andgeneral voice commands if you want yeah . {vocalsound} So I think it should be a package in that case .Industrial Designer: Mm-hmm .User Interface: Uh so the user interface will consist of two parts . {vocalsound}One is the voice command part and on one is the actual buttons part . {vocalsound} Uh and th the buttons part would be uh a set of buttons for choosing devices , a set of buttons for special navigation in space,Industrial Designer: Mm-hmm . Mm-hmm .User Interface: a set of buttons for {vocalsound} linear access of medium and a set of buttons for random access .Project Manager: Okay .User Interface: Yeah ?IndustrialDesigner: What do you mean by linear access then ?User Interface: Like a video tape goes forward , backwards , uh fast and stuff yeah .Industrial Designer: Ah .Project Manager: Okay so special navigation , linearaccess , random accessUser Interface: Um .Project Manager: and there's a fourth one no ?User Interface: Mm ?Project Manager: So the better now for special navigation ?User Interface: Yeah . For special navigation forexample you might have a T_V_ in the menu and you going to change yeah ?Project Manager: Okay . Then linear accessUser Interface: Uh .Project Manager: then random access .User Interface: Mm . Yeah and alsoparameter changing .Project Manager: Ah yeah parameter okay .User Interface: {vocalsound} So if there are common parameters maybe we should put special buttons for that umProject Manager: Okay .UserInterface: or maybe we could have everything uh generic but uh there are a lot of uh remotes on the market right now and {vocalsound} basically this is most of the {disfmarker} almost everybody has this stuff.Project Manager: Okay . Okay and and voice command did you uh {disfmarker}User Interface: Voice command w we could specify anything . We could assign any button {disfmarker} a command to any button , if wehave enough processing power ,Project Manager: Okay . Okay .User Interface: I guess so . {vocalsound} Yeah .Project Manager: Okay .User Interface: Yeah .Project Manager: So that's uh that close your investigations?User Interface: Yeah .Project Manager: Okay .User Interface: Uh yeah I think so .Project Manager: Okay .User Interface: Not so far .Project Manager: Maybe we can have a look at the user requirements with{disfmarker}Marketing: Yeah . {vocalsound} Um I dunno if you can open the {disfmarker}Project Manager: I dunno if I can open it . Maybe you can sMarketing: uh m is not here .Project Manager: It's{disfmarker}Marketing: Uh in {disfmarker} yeah okay .Project Manager: Messenger no ?Marketing: No . In document {gap} . Mm computer yeah .Project Manager: In which folder ?User Interface: Where did you put it?Marketing: Here . Here .Project Manager: {vocalsound} Short-cut to AMI shared folder ?User Interface: {gap} mm .Marketing: But it's not {disfmarker} Um .Project Manager: Maybe you can send it to me by email .Just to participant one . At AMI .Marketing: Mm-hmm . Yeah , I can do that .Project Manager: I will try to show it to everyone , that would be more comfortable .Marketing: Okay . Um .Project Manager: You send it?Marketing: {vocalsound} It's participant one ?Project Manager: Yeah . Uh this is this email .User Interface: I'm designing the user interface . {vocalsound}Marketing: Okay . You can uh .Project Manager: Okay . Somaybe I can switch slides when you {disfmarker} whenever you ask ,Marketing: Yeah .Project Manager: that will be more convenient . So okay , functional requirements .Marketing: Okay so you can {disfmarker} youcan go . Okay so {vocalsound} in our usability lab we observed the remote control use among one hundred subjectsProject Manager: Mm .Marketing: and the subjects also filled a questionnaireProject Manager: Yeah.Marketing: okay ? And here I have the results so you can see that um seventy five per cent of users find most remote controls ugly so we have to find something to make them more {vocalsound} more nice , morekind . Eighty per cents of users would spend more money when the remote control would look fancy . {vocalsound} Eighty hundred per cent of users would spend more money when the remote control would look{disfmarker}Project Manager: {vocalsound}User Interface: {vocalsound}Marketing: oh {disfmarker} to {disfmarker} it's not good . {vocalsound} So okay .Project Manager: We can just keep doing that ?Marketing: Soit's not in theory {disfmarker} but I I can I can say yeah . {vocalsound}Project Manager: Yeah .Marketing: Fifty f uh seventy five per cent of users say they s zap a lot . So mm {vocalsound} we have to have a remotecontrol uh very um {vocalsound} out for that . {vocalsound} Uh the buttons have {disfmarker} are to be um uh uh like you say resist resisting to to shocks .Project Manager: Okay .Marketing: {vocalsound} Um andfifty per cents of users say they only use uh {vocalsound} ten per cents of but of the buttons in the {disfmarker} in the remote control .Industrial Designer: {vocalsound}Project Manager: Okay .Marketing: So all thebuttons we we have to put are {disfmarker} have to to have um a use a real useProject Manager: Okay .Marketing: and not only or {disfmarker}Project Manager: Okay , so fewer buttons maybe would be good?Marketing: Yeah . F not many buttons , and uh and uh uh u useable buttons {vocalsound} .Project Manager: Okay .User Interface: But what kind of remote controls did you look at ?Marketing: Sorry ?User Interface:What kind of task was it ? It was a T_V_ ?Marketing: Yeah . Uh {vocalsound} most for most is T_V_ .Project Manager: Yeah . Yeah but in fact we {disfmarker} it it seems that we are going to make a T_V_ remotecontrol according to new requirements I received from the managementUser Interface: Huh .Project Manager: bo I will present them in the following .User Interface: Uh-huh . Ah ! Good .Marketing: {vocalsound} 'Kayyou can go so .Project Manager: Okay .Marketing: So there are other frustrations expressed by users , so they said uh they lost uh often the remote control in in the room so they want to have a way to {vocalsound}toProject Manager: Yeah . To find it .Marketing: to find it .Project Manager: Yeah .Marketing: Um and um lot of the time they {disfmarker} it takes too much time to learn how to use a new remote control .ProjectManager: Yeah .Marketing: So they want something s really very simple and uh easy to use .Industrial Designer: Mm-hmm .Project Manager: Okay .Marketing: And uh remote controls are bad forProject Manager: Whatis her other side ?Marketing: R_S_I_ {vocalsound} um {disfmarker}User Interface: Other side yeah , yo wa your wristMarketing: I dunno .Project Manager: {vocalsound}User Interface: It i can become painful you canhave tendonditis .Project Manager: Oh yeah ?User Interface: Yeah .Project Manager: I did not knew that .User Interface: If you also {gap} up on a computer in a strange position .Project Manager: Okay so you{disfmarker} we have to make it uh more ergonomic yeah .User Interface: Ergonomic . But uh {vocalsound} .Marketing: Yeah .User Interface: Have to say ha ha . {vocalsound}Project Manager: {vocalsound} It's yourjob {vocalsound}Marketing: {vocalsound}Project Manager: Oh . {vocalsound}Marketing: {vocalsound} Uh .Project Manager: Uh sorry {vocalsound} got a message from Microsoft . {vocalsound}Industrial Designer:{vocalsound}Marketing: {vocalsound} Okay um before that I I have some some {vocalsound} some thing {vocalsound} uh to say before um {disfmarker}Project Manager: Yeah . Yeah yeah .Marketing: {vocalsound}We know that uh the user use uh a lot their um remote control um to to change channel .Project Manager: Yeah .Marketing: {vocalsound} Um and um to to change uh volume selection of the {disfmarker}ProjectManager: Okay .Marketing: and uh and not uh a lot for setting {disfmarker} for setting the the channels and uh thing things like that .Project Manager: Yeah .Industrial Designer: Mm-hmm .Project Manager: Okay .UserInterface: Mm-hmm .Marketing: So it's better to put uh uh uh something very easy to set and uh and {disfmarker}Project Manager: Yeah . This function should be very uh accessible .Marketing: Very accessible yes.Project Manager: Yeah , okay . This is the main function okay .Marketing: That's right . {vocalsound} So then we asked some questions to themProject Manager: Yeah .Marketing: and um we asked this question if theyprefer an L_C_D_ screen or on their remultific function remotes controlProject Manager: Yeah .Marketing: and if they mm pay more for speech recognition in remote controlProject Manager: Yeah .Marketing: and youcan go {vocalsound} we have here the results ofUser Interface: The first question .Marketing: of the questions . So you know that umProject Manager: {vocalsound}Marketing: {vocalsound} for the younger it's veryimportantProject Manager: To have L_C_D_ and voice .Marketing: to have the s yes and speech recognition . And uh and the others is not so important but uh we know that uh uh people between fifteen and twenty fiveare people who watch a lot T_V_ and uh who who wh can use a lot this uh .Project Manager: Okay .Marketing: So maybe we we can have a speech recognition in .Project Manager: Yeah maybe this this is important.Marketing: Yeah .Project Manager: Moreover th maybe those uh like those teenager customer could advice their parents to buy this equipment and so we can {disfmarker}User Interface: Mm .Project Manager: wehave to take care of that point of view I think or so .Marketing: Mm .Project Manager: Yeah .Marketing: Okay and if there is th the conclusion now . So as we say before , I think uh um a remote control lightening in thedark it's it's a good thing .Project Manager: Okay .Marketing: Uh not to many mud buttons like we we said before ,Project Manager: Yeah .Marketing: e easy to use uh a way to find it easily in the room and uh uhresistant to to shock and to to {disfmarker}Industrial Designer: Mm-hmm .Project Manager: Okay .Marketing: {vocalsound} An I s no , yeah .Project Manager: {vocalsound} Okay these are the user requiMarketing:{vocalsound} I dunno if you see something else important or {disfmarker}Industrial Designer: {vocalsound}Project Manager: {vocalsound}Industrial Designer: I'm just thinking of some thing .Project Manager: Yeah.Marketing: Mm .Industrial Designer: Um {disfmarker} We want to have a {disfmarker} no , I don't know if this is a good idea . We want to have a a general remote control for everything .Project Manager: No no no .We {disfmarker} w it seems that we no want to have a T_V_ remote control . From the management board I receive an email .User Interface: Mm .Industrial Designer: Okay . Yeah .Project Manager: Cos it would becostly uh and and also it it would take more time to develop to have a a general generic remote control .Industrial Designer: Yeah . Yeah yeah . Yeah .User Interface: Mm {disfmarker} I {disfmarker} it's not true I think. The the second claim that you put .Industrial Designer: No no . {vocalsound}Project Manager: That it would be too long to develop .User Interface: Yeah .Marketing: {vocalsound}User Interface: I think that should bethe same .Project Manager: Oh yeah . Because I received that email from management board and they seems to tell that that if we want to be on the market as early as possible we should uh focus on T_V_ more whereit seems that the market is more important . So maybe it's a good decision . I dunno . What's your opinion ?User Interface: I have uh I've no idea I mean I should know a bit more about how fast we can uh design it.Marketing: {vocalsound}User Interface: I don't think {disfmarker}Project Manager: {vocalsound}Industrial Designer: {vocalsound}Marketing: {vocalsound}User Interface: Uh yeah .Industrial Designer: Finish tonight.Project Manager: {vocalsound}User Interface: Yeah . Okay . Yeah .Industrial Designer: {vocalsound} But basically yeah maybe I can continue with my presentation , it would be al you {disfmarker} you{disfmarker}Project Manager: Okay .User Interface: Yeah .Marketing: Yeah .Industrial Designer: but I think we have some technical problem or so . So I'm just going to describe briefly what we do in the remote control.Project Manager: Maybe you can go to the whiteboard if you have some drawings to doIndustrial Designer: If fact {disfmarker}Project Manager: I don't know .Industrial Designer: Yeah but {disfmarker}Marketing: Mm.Industrial Designer: Do I have {disfmarker} oh yeah .Project Manager: {vocalsound}Industrial Designer: Now I have enough cables .User Interface: Like a {disfmarker} you feel a bit like a dog with this stuff .ProjectManager: {vocalsound}Industrial Designer: {vocalsound} Okay so I'm just going to describe {disfmarker} in fact for for a remote control this is quite easy . We just have {disfmarker}Project Manager:{vocalsound}User Interface: {vocalsound}Industrial Designer: sorry , I'm going {vocalsound}Project Manager: Okay .User Interface: {vocalsound}Project Manager: Are you okay ? {vocalsound}Industrial Designer:Like that . I'm just going to describe . Basically we have a a battery a power supply here . After that we just have um user interface . Let's say that um something like that , which could be um a L_C_D_ let's say or uman array of push button , something like that . Push button or a L_C_D_ . After that we we feed that into um uh an electronic chip . So I say U_C_ and I feed that to uh L_E_D_ which is uh infrared {disfmarker} umwhich is a an infrared um component . And so what we {disfmarker} for for myself this {disfmarker} for for us this is quite easy .Project Manager: U_C_ is the central unit ?Industrial Designer: Yeah .Project Manager:Okay yeah .Industrial Designer: Y it's a {disfmarker} it's {disfmarker} this just a chip which does all the um numericalProject Manager: Computation .Industrial Designer: numerical computation according to yourdisplay .Project Manager: Okay .Industrial Designer: And so for us uh this is quite easy . We just need to take {disfmarker} to define what we want to do when the user interface um wants something and after that wejust do the coding to s and send that to to to the {disfmarker} not the {disfmarker} to the television .Project Manager: Okay .Industrial Designer: So for us this is quite easy .Project Manager: Okay so this is quite easy. There is not that much constraints .Industrial Designer: Yeah . Um we just have to define the processing power that we need uh especially if we want to do some uh speech recognition , in that case that mean that weare going to use more for simple {disfmarker}User Interface: {vocalsound} This will {disfmarker} think this will take more time to develop also .Industrial Designer: Yeah of course of course .User Interface: Yeah .{vocalsound}Industrial Designer: And um but for a standard one this is really easy . It's a question of one month and so on sUser Interface: Soon .Project Manager: To have a {disfmarker} you s you speak about withvoi voice control ?Industrial Designer: No no no no ,Project Manager: Standard button one .Industrial Designer: I say {disfmarker} yeah {disfmarker} standard uh standard remote control takes maybe uh one month toto do that .User Interface: Yeah . So the only time problem is the sp voice recognition .Marketing: {vocalsound}Industrial Designer: Yeah .User Interface: Yeah .Industrial Designer: Definitely .User Interface: Yeah.Project Manager: So do you have any idea of how long it would take to have voice recognition now ?User Interface: {vocalsound} Ten years .Industrial Designer: I would say {vocalsound} .Project Manager:{vocalsound} {vocalsound}User Interface: {vocalsound}Industrial Designer: I would say uh about eight months to have the first results .Project Manager: {vocalsound} Okay so i it's a bit long yeah .IndustrialDesigner: Yeah . I can {disfmarker} Um .Project Manager: One month for the standard one with button .Industrial Designer: Yeah .Project Manager: Even if we have a L_C_D_ display ?Industrial Designer: Yeah even . Imean that this is really standard devices now . Um eight . For uh speech recognition .Project Manager: Okay yeah . Okay so we can take this into account . So who think it would be good to go for uh like speechrecognition ?User Interface: But we don't have time to market .Project Manager: {vocalsound} Yeah it will .Industrial Designer: And also {disfmarker} how much uh I thinkUser Interface: I think we should contactmanagement .Industrial Designer: during the kickoff meeting you say that we we shouldn't {disfmarker} we shouldn't go up to twelve point five Euro per unitMarketing: {vocalsound}Project Manager: Euros . Yeah ,yeah .Industrial Designer: so how many units should we sell to have a {disfmarker}User Interface: Well . Uh {disfmarker}Project Manager: Well each unit is is sell uh twenty five Euros .Industrial Designer: Yeah but"}
+{"doc_id":"doc_173","qid":"","text":"Grad A: Yeah , I think I got my mike on . OK . Let 's see .Professor B: OK . Ami , do yours then we 'll open it and I think it 'll be enough .Grad A: Mmm {disfmarker} Doesn't , uh {disfmarker} It should be the other way. Yeah , now it 's on .PhD F: Right . OK .Professor B: OK . So , we all switched on ?Grad A: We are all switched on , yeah .Professor B: Alright . Anyway . So , uh , before we get started with the , uh , technical part , Ijust want to review what I think is happening with the {disfmarker} our data collection .PhD F: We are all switched on .Professor B: So {disfmarker} {vocalsound} Uh , probably after today , {vocalsound} thatshouldn't come up in this meeting . Th - this {disfmarker} this is s should be im it isn't {disfmarker} There 's another thing going on of gathering data , and that 's pretty much independent of this . But , uh , I just wantto make sure we 're all together on this . What we think is gonna happen is that , uh , in parallel starting about now {vocalsound} we 're gonna get Fey {vocalsound} to , where you 're working with me and Robert ,draft a note that we 're gonna send out to various CogSci c and other classes saying , \" here 's an opportunity to be a subject . Contact Fey . \" And then there 'll be a certain number of um , hours during the week whichshe will be available and we 'll bring in people . Uh , roughly how many , Robert ? We d Do we know ?Grad C: Um , fifty was our {disfmarker} sort of our first {disfmarker}Professor B: OK . So , we 're looking for a totalof fifty people , not necessarily by any means all students but we 'll s we 'll start with {disfmarker} with that . In parallel with that , we 're gonna need to actually do the script . And , so , I guess there 's a plan to have ameeting Friday afternoon Uh , with {disfmarker} uh , Jane , and maybe Liz and whoever , on actually getting the script worked out . But what I 'd like to do , if it 's O K , {vocalsound} is to s to , as I say , start therecruiting in parallel and possibly start running subjects next week . The week after that 's Spring Break , and maybe we 'll look for them {disfmarker} some subjects next doorGrad C: Yeah .Professor B: or {pause}iGrad C: Yeah . Also , Fey will not be here during spring break .Professor B: Oh , OK , then we won't do it .Grad C: So .Professor B: OK . So that 's easy . Um . So , is {disfmarker} Is that make sense to everybody ?GradC: Yeah . Also , um , F {vocalsound} both Fey and I will , um , {vocalsound} do something of which I may , eh {disfmarker} kindly ask you to {disfmarker} to do the same thing , which is we gonna check out our socialinfrastructures for possible subjects . Meaning , {vocalsound} um , kid children 's gymnastic classes , pre - school parents and so forth . They also sometimes have flexible schedules . So , if you happen to be sort of in anon - student social setting , and you know people who may be interested in being subjects {disfmarker} We also considered using the Berkeley High School and their teachers , maybe , and get them interested in stuff.Professor B: That 's a good idea .Grad C: And , um . So that 's as far as our brainstorming was concerned .Professor B: Oh , yeah . The high school 's a great idea .Grad C: So . But I {disfmarker} I will just make a firstdraft of the , uh , note , the \" write - up \" note , send it to you and Fey and then {disfmarker}Professor B: And why don't you also copy Jane on it ?Grad C: And , um , Are we {disfmarker} Have we concurred that , uh ,these {disfmarker} these forms are sufficient for us , and necessary ?Professor B: Uh , th I think they 're necessary . This {disfmarker} The permission form .Grad C: Mmm .Professor B: Uh , there has to be one ,GradC: Nuh . N .Professor B: and I think we 're just gonna use it as it is , and {pause} UmGrad C: N . You happy with that ?Professor B: Well , yeah . There 's one tricky part about , um , they have the right um I The lastparagraph {comment} \" if you agree to participate you have the opportunity to have anything excised which you would prefer not to have included in the data set . \" OK ? Now that , we had to be included for this otherone which might have , uh , meetings , you know , about something .Grad C: Mm - hmm .Professor B: In this case , it doesn't really make sense . Um , so what I 'd like to do is also have our subjects sign a waiversaying \" I don't want to see the final transcript \" .Grad C: Mm - hmm .Professor B: And if they don't {disfmarker} If they say \" no , I 'm not willing to sign that \" , then we 'll show them the final transcript . But , um.Grad C: Yep . Makes sense .Professor B: That , uh {disfmarker} yeah , so we might actually , um S i Jane may say that , \" you know , you can't do this \" , uh , \" on the same form , we need a separate form . \" Butanyway . I 'd {disfmarker} I 'd {disfmarker} I 'd like to , e e um , add an a little thi eh {disfmarker} a thing for them to initial , saying \" nah , do I don't want to see the final transcript . \"Grad C: Mm - hmm .ProfessorB: But other than that , that 's one 's been approved , this really is the same project , uh , rec you know . And so forth . So I think we just go with it .Grad C: Yeah . Yeah . OK . So much for the data , except that withMunich everything is fine now . They 're gonna {vocalsound} transcribe . They 're also gonna translate the , uh , German data from the TV and cinema stuff for Andreas . So . They 're {disfmarker} they all seem to behappy now , {vocalsound} with that . So . w c sh should we move on to the technical sides ?Professor B: Yep .Grad C: Well I guess the good {disfmarker} good news of last week was the parser . So , um Bhaskara andI started working on the {disfmarker} {vocalsound} the parser . Then Bhaskara went to class and once he came back , um , {vocalsound} it was finished . So . It , uh {disfmarker} I didn't measure it , but it was aboutan hour and ten minutes .Grad D: Yep .Grad C: And , um {disfmarker} and now it 's {disfmarker} We have a complete English parser that does everything the German parser does .Grad D: Something like that.Professor B: Which is {vocalsound} not a lot . But {disfmarker}Grad D: That 's the , uh , point .Grad C: The {disfmarker} uh , that 's not a lot .Professor B: OK .Grad D: Yes .Professor B: Right .Grad C: And um .GradE: What did you end up having to do ? I mean , wha Was there anything {pause} interesting about it at all ?Grad C: Well , if you , eh {disfmarker}Grad D: We 'll show you .Professor B: Yeah , we can show us ,Grad E:or are we gonna see that ?Professor B: right ?Grad C: Well , w w We d The first we did is we {disfmarker} we tried to {disfmarker} to do {disfmarker} change the {disfmarker} the \" laufen \" into \" run \" , {vocalsound}or \" running \" , {vocalsound} or \" runs \" .Professor B: Yep .Grad C: And we noticed that whatever we tried to do , it no effect .Grad E: Mm - hmm .Grad C: And we were puzzled .Grad E: OK .Grad C: And , uh , thereason was that the parser i c completely ignores the verb .Grad E: Mm - hmm .Grad C: So this sentence {disfmarker} sentence is {disfmarker} parses the p the same output ,Grad E: Hmm . Interesting parserproperty .Grad C: um , even if you leave out , um , all {disfmarker} all of this .Grad E: I see . Yeah .Grad C: So it 's basically feature film and TV .Grad E: TodayGrad C: That 's what you need .Grad E: OK .Grad C: If{disfmarker} if you 'd add {disfmarker} add Today and Evening , it 'll add Time or not .Grad E: And the {disfmarker} t and the time , right ?Grad C: So it {disfmarker} i it does look at that .Grad E: OK .Grad C: But allthe rest is p simply frosting on the cake , and it 's optional for that parser .Grad E: True .Professor B: So , you can sho You {disfmarker} you {disfmarker} Are {disfmarker} are you gonna show us the little templates?Grad C: And {disfmarker}Grad E: SGrad C: Yeah . We ar we can sh er {disfmarker} I can show you the templates . I {disfmarker} I also have it running here ,Grad E: The former end g \" Oh , I see . Uh - huh .Grad C:so if I {vocalsound} do this now , um , {vocalsound} you can see that it parsed the wonderful English sentence , \" Which films are on the cinema today {pause} evening ? \" But , um .Professor B: Well , that sounds{disfmarker}Grad C: Uh do don't worry about it .Professor B: No iGrad C: It could be \" this evening , which {disfmarker} which films are on the cinema \" , or \" running in the cinema , which {disfmarker} \" uh , \" todayevening \" , uh i \" Is anything happening in the cinema this evening ? \"Grad E: OK . OK . Key words , e basically .Professor B: WellGrad C: Ge - elaborate , or , more or less , {vocalsound} uh {disfmarker}Professor B:Actually , it 's a little tricky , in that there 's some allowable German orders which aren't allowable English orders and so forth . And it is order - based . So it {disfmarker} it {disfmarker} Isn't it ?Grad C: No .Grad D: No.Professor B: Oh . So it {disfmarker} it doe I it {disfmarker} These {disfmarker} u these optional elements ,Grad C: It is not {disfmarker}Professor B: it 's {disfmarker} it 's actually a set , not a sequence ?Grad C:Yeah . We were {disfmarker} I was afraid that , um {disfmarker}Professor B: Oh !Grad E: So it really is key word matching , basically .Professor B: Really a seGrad C: Um .PhD F: e yeah . Mm - hmm .Professor B: Oh ,wow .Grad C: Um , I mean , these sentences are just silly .Grad E: Hmm .Grad C: I mean , uh , d these were not the ones we {disfmarker} we actually did it . Um . What 's an idiomatic of phrasing this ? Which films are{pause} showing ?Grad D: Are pl playing at the cinema ?Grad C: playing ?Grad D: Yeah .Grad E: Tonight ?Grad D: I changed that file , actually , where it 's on my account .Grad E: This {disfmarker} this evening ?PhDF: Actually , you would say , \" which films are on tonight ? \"Grad D: You want to get it ? Or {disfmarker} is {disfmarker} di was it easy to get it ?Grad C: Um . I have no net here .Grad D: Oh , OK .Professor B: Do I?Grad C: OK . So . Wonderful parse , same thing . Um .Professor B: Right .Grad C: Except that we d w we don't have this , uh , time information here now , which is , um {disfmarker} Oh . This {disfmarker} are thereserve . Anyways . {vocalsound} So . Um . These are the {disfmarker} sort of the ten different sentence types that the uh {disfmarker} {vocalsound} the parser was able to do . And it still is , now in English.Professor B: Yeah .Grad E: Mm - hmm .Grad C: And , um {disfmarker} Sorry . And , um you have already to make it a little bit more elaborate , right ?Grad D: Yeah , I mean I changed those sentences to make it , uh ,more , uh , idiomatic . And , of course , you can have i many variations in those sentences , they will still parse fine . So , in a sense it 's pretty broad .Professor B: OK .Grad C: OK . So , if you want to look at thetemplates , {vocalsound} {vocalsound} they 're conveniently located in a file , \" template \" . Um , and this is what I had to do . I had to change , @ @ {comment} \" Spielfilm \" to \" film \" , uh , \" Film \" to \" movie \" ,cinem \" Kino \" to \" cinema \" {disfmarker} to \" today \" {disfmarker} heu \" heute \" to \" today \" ,Grad E: Huh .Grad C: evening {disfmarker} \" Abend \" to \" evening \"Professor B: Capitalized as wellGrad A: Hmm .Grad C:And , um .Professor B: Y iGrad D: One thing I was wondering , was , those functions there , are those things that modify the M - three - L basically ?Grad C: Yep .Grad D: OK .Grad C: And that 's {disfmarker} that 's thenext step ,Professor B: pGrad C: but we 'll get to that in a second .Professor B: Oh .Grad C: And so this means , um , \" this \" and \" see \" are not optional . \" Want I like \" is all maybe in there , but may also not be inthere .Professor B: So {disfmarker} so , the point is , if it says \" this \" and \" see \" , it also will work in \" see \" and \" this \" ?Grad E: SProfessor B: In the other order ?Grad C: Yeah .Professor B: with those two key words?Grad C: Should we try it ?Professor B: \" This is the one I want to see \" or whatever .Grad C: OK . \" Action watch \" ,Grad D: Hmm .Grad C: whatever . Nothing was specialfi specified . except that it has some referencesto audio - visual media here .Grad D: AV medium .Grad C: Where it gets that from {disfmarker}Grad D: Yeah .Grad C: It 's correct , but I don't know where it gets it from .Grad D: \" See \" .Grad C: Oh , \" see \" . Yeah .Yeah . Yep . OK .Grad D: I mean it 's sort of {disfmarker}Grad C: And \" see this \" {comment} is exactly the same thing .Professor B: OK , so it is set - based . Alright .Grad D: One thing I was wondering was ,{vocalsound} those percentage signs , right ? So , I mean , why do we even have them ?Grad C: Yep .Grad D: Because {disfmarker} if you didn't have them {disfmarker}Grad C: Uh , I 'll tell you why . Because it givesa {disfmarker} you a score .Grad E: Mm - hmm .Grad C: And the value of the score is , v I assume , I guess , the more of these optional things that are actually in there , the higher the r score {vocalsound} it is .GradD: Oh . OK . So that 's the main purpose . Alright .Grad E: It 's a match .PhD F: Right .Grad E: Mm - hmm .Professor B: OK .Grad C: So we {disfmarker} we shouldn't belittle it too much . It 's doing something , somethings , and it 's very flexible . I 've just tried toGrad E: Mm - hmm .Grad C: be nice .PhD F: Right .Professor B: No , no . Fine .Grad E: Right {disfmarker} Yeah .Professor B: Yeah , yeah , yeah , flexible it is .PhD F: But{disfmarker}Grad C: OK . {vocalsound} Um , let 's hope that the generation will not be more difficult , even though the generator is a little bit more complex . Uh but we 'll {disfmarker} Mmm , that means we mayneed two hours and twenty minutes rather than an hour ten minutes ,Professor B: Alright .Grad C: I hope .Grad D: Right .Grad C: And the next thing I would like to be able to do , and it seems like this would not be toodifficult either , is {vocalsound} to say , \" OK let 's now pretend we actually wanted to not only change the {disfmarker} {vocalsound} the mapping of {disfmarker} of , uh , words to the M - three - L but we alsowanted to change {disfmarker} add a new sentence type and and make up some {disfmarker} some new M - three - L {disfmarker} s \"Professor B: Yep . So That 'd be great . It would be a good exercise to just see{vocalsound} whether one can get that to run .Grad C: See th Mm - hmm . {vocalsound} Yep . And , um ,Grad D: So , that 's {disfmarker}Grad C: that 's {disfmarker} shouldn't be too tough .Grad D: Fine , yeah .Yeah , so where are those {disfmarker} those functions \" Action \" , \" Goodbye \" , and so on , right ? Are they actually , um , {vocalsound} Are they going to be called ? Um , are they present in the code for the parser?Grad C: Yeah . I think what it does , it i i it does something sort of fancy . It loads um {disfmarker} It has these style sheets and also the , um , schemata . So what it probably does , is it takes the , uh , {vocalsound}um {disfmarker} Is this where it is ? This is already the XML stuff ? This is where it takes its own , um , syntax , and converts it somehow . Um . Where is the uh {disfmarker}Grad D: What are you looking for ?Grad C:Um , where it actually produces the {disfmarker} the XML out of the , uh , parsed {pause} stuff .Grad D: Oh , OK .Grad C: No , this is not it . Uh . I can't find it now . You mean , where the {disfmarker} where the acthow the action \" Goodbye \" maps into something {disfmarker}Grad D: Yeah .Grad A: Yeah , where are those constructors defined ?Grad D: Oh .Grad C: Nope .Grad D: No , that 's not it .Grad C: Yeah . This is sort ofwhat happens . This is what you would need to {disfmarker} to change {disfmarker} to get the , uh , XML changed . So when it encounts encounters \" Day \" , {vocalsound} it will , uh , activate those h classes in the{disfmarker} in the XML stuff But , um {disfmarker} I saw those actions {disfmarker} uh , the \" Goodbye \" stuff somewhere . Hmm , hmm , hmm , hmm , hmm .Grad A: Grep for it ?Grad C: Yeah . Let 's do that . Oh.Grad D: Mmm . M - three - L dot DTD ?Grad C: Yep .Grad D: That 's just a {pause} specification for the XML format .Grad C: Yep . Well , we 'll find that out . So whatever {disfmarker} n this does {disfmarker} I meanthis is , basically , looks l to me like a function call , right ?Professor B: Hmm ? Oh , yeah .Grad C: And , um {disfmarker} So , whenever it {disfmarker} it encounters \" Goodbye \" , which we can make it do in a second ,hereGrad A: That function automatically generates an initialized XML structure ?Grad C: IGrad D: I think each of those functions act on the current XML structure , and change it in some way , for example , by adding a{disfmarker} a l a field to it , or something .Professor B: y Yeah . They also seem to affect state ,Grad C: Mm - hmm .Professor B: cause some of them {disfmarker} there were other actions uh , that {disfmarker} thats seemed to step {disfmarker} state variables somewhere ,Grad D: Right .Professor B: like the n s \" Discourse Status Confirm \" . OK . So that 's going to be a call on the discourseGrad C: Yep .Professor B: and{vocalsound} confirm that it 's {disfmarker}Grad C: W we Mm - hmmGrad D: Oh , you mean that 's not going to actually modify the tree ,Professor B: I think that 's right .Grad C: eGrad D: but it 's going to change theevent .Professor B: I think it 's actually {disfmarker} That looks like it 's state modification .Grad D: Oh . Oh .Grad C: e mmm Um , well i There is a feature called \" Discourse - Status \" ,Grad D: When there 's a feature.Professor B: Yeah .Grad C: And so whenever I just say , \" Write \" , it will {disfmarker} it will put this in here .Professor B: Oh , so it always just {disfmarker} Is it {disfmarker} So it {disfmarker} Well , go back , then ,cuz it may be that all those th things , while they look like function calls , are just a way of adding exactly that to the XML .Grad C: h Yep .Professor B: Uh - huh ! I 'm not {disfmarker} I 'm not sure .Grad C: So , this{disfmarker}Professor B: e I 'm not sure {disfmarker} e that {disfmarker}Grad C: Um {disfmarker} well , we {disfmarker} we 'll see , when we say , let 's test something , \" Goodbye \" , causes it to c to createbasically an \" Action Goodbye - End - Action \" .Professor B: Right .Grad C: Which is a means of telling the system to shut down .Professor B: Right .Grad C: Now , if we know that \" Write \" produces a \" Feature Discourse- Status Confirm Discourse - Status \" . So if I now say \" Write , Goodbye , \" it should do that . It sho it creates this ,Grad D: Mm - hmm .Professor B: Right .Grad C: \" Confirm Goodbye \" .Professor B: Yep .Grad D: Rightthere . But there is some kind of function call , because how does it know to put Goodbye in Content , but , uh , Confirm in Features ?Grad C: Oh . It d it {disfmarker} n That 's because {disfmarker}Grad D: So So , it 'snot just that it 's adding that field .Professor B: Right .Grad D: It 'sProfessor B: Absolutely . Good point .Grad D: OK .Professor B: It 's {disfmarker} it 's {disfmarker} the {disfmarker} It 's under what sub - type you 'redoing it . Yeah .Grad C: Mm - hmm . Yeah .Grad A: It 's mystery functions .Grad C: Well , sometimes it m Sometimes , iGrad D: Well , they 're defined somewhere , presumably .Professor B: Yeah , each is {disfmarker}S so that 's funny .Grad C: When it {disfmarker}Professor B: You bury the s the state in the function Alright .Grad C: it {disfmarker}Grad A: Well , it just automatically initializes things that are common , right?Professor B: UhGrad A: So it 's just a shorthand .Professor B: Yeah .Grad C: For example {disfmarker} Oh , this is German . Sorry . e So , now , this , it cannot do anymore . Nothing comes out of here .Grad A: A \" nota number \" is a value . Awesome .Grad C: So , it doesn't speak German anymore , but it does speak English . And there is , here , a reference {disfmarker} So , this tells us that whatever is {disfmarker} has the ID \"zero \" is referenced here {disfmarker} by @ @ {comment} the restriction seed and this is exa \" I want {disfmarker} \" What was the sentence ?Professor B: \" I want two seats here . \"Grad C: \" need two seats here . \"Nuh . \" And where is it playing ? \" There should also be a reference to something , maybe . Our d This is re um Mmm . Here , we change {disfmarker} and so , we {disfmarker} Here we add something to the Discourse -Status , that the user wants to change something that was sort of done before And , uh {disfmarker} and that , whatever is being changed has something to do with the cinema .Grad A: So then , whatever takes this M- three - L is what actually changes the state , not the {disfmarker} Yeah , OK .Professor B: No , right , the Discourse Maintainer ,Grad A: Yeah .Professor B: yeah . I see . And it {disfmarker} and it runs around lookingfor Discourse Status tags , and doing whatever it does with them . And other people ignore those tags . Alright . So , yeah . I definitely think it 's {disfmarker} {vocalsound} It 's worth the exercise of trying to actuallyadd something that isn't there .Grad C: Hmm ?Professor B: Uh DiscGrad C: Sort of get a complete understanding of the whole thing .Professor B: Yeah , a kid understanding what 's going on . Then the next thing wetalked about is actually , {vocalsound} um , figuring out how to add our own tags , and stuff like that .Grad C: OK . Point number two . I got the , uh , M - three - L for the routes today . Uh , so I got some more . This is"}
+{"doc_id":"doc_174","qid":"","text":"Industrial Designer: {vocalsound}Project Manager: Okay , welcome to the second meeting of this uh design group . Um {vocalsound} I'll briefly go through the uh notes of the of the last meeting uh just done in in noteform and I haven't attributed anything to individuals , because we're working strictly as a team here and uh n nobody's working equally ,User Interface: Sorry .Project Manager: so uh . Um we we s we saw that the theproblems with existing remote controls were the uh b a boring shape and boring colour . Um and and we s we saw that the um what we needed to do was to to make sure the device um controls several items , thatswitching was easy , that you shouldn't need to point the thing at uh anything in particular , um that it need to be contoured to make it interesting , that the keys might be concave , simply because that hasn't beendone before that we know of . Um should have interchangeable fascias so people can personalise it , um illuminated so that people can see it in dark rooms . Um and that people might want it as as {disfmarker} inaddition to their existing remote controls . Um {vocalsound} and that it sh it should just always work , whenever you uh um mm uh use it . And that it shouldn't be too small , mm that it it gets lost . Um . {gap} Now uhuh I'll shortly ask for for three three presentations . Uh before I do that , however , I will go through some new project requirements that um {disfmarker} the the management have placed on us and uh will bechallenging in terms of what we discussed at the first meeting . Um the uh the ma the management has had it's own thoughts on this and uh the they don't necessarily agree with with what we uh we thought . Um andand then we'll {disfmarker} as a result of that we will then talk through the the functions that we see the the device um actually b carrying out , and we have uh forty minutes to do this in and I uh {disfmarker} Anyway. Okay . Now , the n the new requirements are um the the management team see that um teletext is no longer of any importance given the uh the rise of the internet . Um and and they want it only to cover televisions .Um now , what is not q quite clear from their directive is whether they mean th they don't want it to cover teletext or whether they don't want it to cover , you know , videos , D_V_D_s , um satellite boxes , which uh{disfmarker} I mean we saw as being fundamental to the uh to the exercise . The um the actual wording of the directive is that it should cover television only . Um and on that basis um I I think we we need to bear thatin mind , um but possibly uh keep at the backs of our minds that the reality that people even when they uh no longer {disfmarker} they don't look at teletext anymore , they certainly do look at other things . Um{vocalsound} the device has to incorporate the company logo and colours . Um the the logo uh being at b the bottom of the screen there , the the the two R_s in grey against uh a yellow background . Um now thisdoesn't {vocalsound} necessarily mean that we have to give up some of our ideas about making it attractive to the t to the market . But uh do do introduce some some constraints as to how we might do that . Um italso has to be simple , which to some extent goes along w with the first one , and that {disfmarker} we've already said that it must be simple 'cause that's what people want anyway . Um but they also want it to besimple to get it to the market quickly , which um mm {vocalsound} uh is is is their choice , but uh um we we need to talk that through . Um okay , so uh after the meeting it'll be summarised and uhIndustrial Designer:{vocalsound}User Interface: {vocalsound}Project Manager: um notes sent out and uh etcetera . Okay , so {vocalsound} we'll first of all mm have individual reports from everybody . Um again I {vocalsound}{disfmarker} there is no order of precedence here um so I I I'll leave it up to you to {disfmarker} who who who thinks they would like to go go first ?Marketing: Uh I don't mind . {gap}Project Manager: P fine.Marketing: Uh can I steal the cable ?Project Manager: Oh sorry , you can indeed .Marketing: Cheers .Project Manager: {vocalsound} {vocalsound} {vocalsound}Marketing: {vocalsound} I got a {disfmarker} how do Istart there ?Project Manager: Oh , if you click on the um uh the one that that looks like a projection screen , no the one to the right of that . That one .Marketing: That one . Cool . Well these are functionalityrequirements from the {disfmarker} our our guys down in the the research lab . Took hundred people and covered all the aspects of what um is needed by people and what they want to see . Um {vocalsound}everything kinda from functionality and how individual functions are {disfmarker} how mu how how often they're used and how much their necessary and stuff . And general opinions about current current remotes .See that , as we kinda noticed , seventy five percent of people find their remote controls ugly . So some kind of a new style should be incorporated that's less ugly {vocalsound} . Uh along with um looking less ugly , if itlooks better , eighty percent of people said they'd spend more money on it . Which is a a plus for us , if we can make it look better , it'd be uh more cost effective and we can put the price up . Current remote controlsdo not match the operating behaviour of the user . I can empl I kinda take that to mean as um {vocalsound} they they don't uh {disfmarker} they , yeah , they only use {disfmarker} they only work for the television oryeah like as in in my flat I've got six remote controls for a stereo system , a digital box , a D_V_D_ player , a video player and T_V_ . If it was uh {disfmarker} I mean th my behaviour is to use multiple things at thesame time and multiple remotes aren't really matched well to my behaviour . {vocalsound} Uh again , seventy five percent is {disfmarker} seventy five percent of users say they zap a lot . I took to mean that they just{disfmarker} they use it a lot , they use it regularly rather than standing up and manually change channels or volume {gap} . {vocalsound} And uh yeah , uh I think the big issue is fifty percent users only use tenpercent of the buttons , 'cause uh wh if we got a remote that like {disfmarker} well we'll have some buttons taken off by the lack of teletext , but uh oh and we're going to see uh on the {disfmarker} uh that some ofthe functions like audio settings aren't h hardly ever used and used very {disfmarker} aren't considered relevant by the user . So I think maybe fewer buttons , which also make the design look sleeker , I dunno . Uh umyeah and uh frustrations of like people losing remote control .Project Manager: Mm .Marketing: I dunno maybe some kind of system of you press a button on the T_V_ or maybe that's b it would have to incorporate{gap} , but like some kind of system where you can f use something else to find the remote control . Maybe like it'll beep or something . And um , yep , the uh time taken to learn new remote controls is {disfmarker}Uh don't want to make it too complicated , easy to use for uh new {disfmarker} like first time users and stuff . And uh repetitive strain injury , I suppose we should make it more comfortable and make ma possibly evenuse {disfmarker} have to make it , yeah , fewer buttons , like I was saying about the whole mice {disfmarker} the mouse idea of it feels more comfortable .Project Manager: Mm .Marketing: Maybe don't even have tohold it as such .Project Manager: Gosh , must be some telly addicts out there if they get R_S_I_ from their television remote , is all I can say .Industrial Designer: {vocalsound}Marketing: {vocalsound}User Interface:{vocalsound}Marketing: But uh yeah . It also asked um if we would {disfmarker} if people would pay more for speech recognitionProject Manager: {vocalsound} {gap}Marketing: and younger people say they would .And uh there was another section on our {disfmarker} on the report for uh L_C_D_ displays , but the data wasn't there , so . I don't actually know what the results for that were ,Project Manager: Mm . Right . Mm.Marketing: so . {vocalsound} May be incrementally emitting , but yeah .Project Manager: Yeah , I must say that um the uh {disfmarker} I c can't remember what {vocalsound} um f you know phone service I wasusing the other day , but that had sorta speech recognition which worked uh remarkably well , so that is indeed a uh um a thoughtMarketing: And uh {vocalsound} it would cut out the R_S_I_ as well if you{disfmarker} {vocalsound}Project Manager: and it it cuts out uh {disfmarker} I was was gonna say , you can't get a lot of R_S_I_ ,Industrial Designer: {vocalsound}Project Manager: j just get jaw ache . Okay , sorry .{vocalsound}Marketing: Yeah , um {disfmarker} oh yeah , so possibly the speech recognition is possibly something could add into the design . Oh , I've got some other things I couldn't fit onto this presentation . Um .You see this okay ? Almost {disfmarker} no ? It's {disfmarker} sorry it's a bit {gap} . I'll read out to you . Uh functionality , uh like people's opinions on functionality , the relevance to the remote and how often they'reused . So um like the power . Using the using the d swi the power switch to switch on T_V_ is a high relevance of nine , but it's not frequently used . You see what I mean ?Project Manager: Yeah .{vocalsound}Marketing: Whereas channel selection , which is very high relevanceProject Manager: Mm-hmm .Marketing: is used the most . So m we can maybe even start to cut down on {disfmarker} or I was possiblyeven thinking of a design that maybe some of the buttons are hidden from everyday use . Maybe like uh a folding ledge or something . So that we can maybe go into the channel settings and the audio settings,Industrial Designer: Mm .Marketing: which are low relevanceProject Manager: {vocalsound} Mm-hmm . I mean {disfmarker}Marketing: and rarely used . And keep the v volume selection and channel selection veryeasily {disfmarker}User Interface: It could be {disfmarker} oh uh I was just gonna say uh maybe like the flip phones that they use ?Industrial Designer: Mm .User Interface: Have you seen the new mo mobilephonesProject Manager: {vocalsound} Yeah .User Interface: that flip out and they have the like texting , and then the numbers on one side ,Marketing: Oh yeah .User Interface: soProject Manager: Mm .User Interface:you could have the most {vocalsound} used buttons on top and flip it out or something .Project Manager: Hmm , hmm .Industrial Designer: Mm .Marketing: Yeah , like the one that like slides backProject Manager: Uh .Should we actually bite the bullet here ?Marketing: and the buttons are concealed underneath .User Interface: Yeah .Industrial Designer: Mm .Project Manager: If people really don't use those buttons to any extent atall um {vocalsound} remove them altogether .Marketing: Just remove them completely ?Project Manager: We we could actually have we could actually have a remote control with um {disfmarker}User Interface: Thatmight be the {disfmarker}Project Manager: I wonder whether we could get the remote control with no buttons at all if we went for voice recognition , given that um the {disfmarker} {vocalsound} Um now the the agestructure we were looking at {disfmarker} um I mean w we had usage by age structure , what we didn't have was what proportion of people using remotes were in those particular age groups . Now do we knowwhether they {disfmarker}Marketing: Uh yeah .Project Manager: Forty {disfmarker} no sorry {disfmarker} for forty five to fifty five age group , uh to put myself right in the middle of it , um u use remote controls to agreat extent .Marketing: {vocalsound}Industrial Designer: {vocalsound}Project Manager: Yes we {disfmarker}Marketing: Um no this is for {disfmarker} pay more for speech recognition .Project Manager: That would've speech recogn right . So , we're looking at {disfmarker} um well again , we don't know the relative proportion {disfmarker} the relative numbers in the age groups .Marketing: Yeah , that's true .Project Manager: Ifwe wanted something different , truly different , then the buttonless remote control w would be it .Industrial Designer: P Well the only problem I can think of with that is if you've got a lot of people that don't wanna bebothered learning how to use new rem remote controls . If you just kind of take away everything that they're used to knowing , that's gonna be quite a change .Project Manager: But if you just lift it up and say , channelone or B_B_C_ {disfmarker}Industrial Designer: It might {disfmarker}Marketing: Or even {disfmarker} I mean you could even just have it left on .User Interface: Maybe iMarketing: You could just put it down once ontop your T_V_ and never have to {disfmarker}User Interface: Yeah , have a big kind of like the satellite box or the cable boxProject Manager: {vocalsound}User Interface: and have it just go on the T_V_ and then itdoesn't matter where in the room you are ,Industrial Designer: Mm .User Interface: you won't lose it .Marketing: Yeah .Project Manager: It c well it {disfmarker} I can I can see technical problems with that in terms ofthe , you know , the sound from the television ,Industrial Designer: Mm .User Interface: No .Project Manager: because if somebody actually on the television says uh uh , you know , I_T_V_ and you're watching B_B_C_then then it might um change itself ,Marketing: {vocalsound} B_B_C_ one . {vocalsound}Industrial Designer: Yeah . {vocalsound}User Interface: {vocalsound} Oh . {vocalsound}Industrial Designer: Yeah .Marketing:{vocalsound}Project Manager: so it probably needs to be um {disfmarker} possibly actually need a button on itUser Interface: Yeah , that's true .Project Manager: just to activate it .Marketing: Oh yeah .ProjectManager: Or or something just to identify that you've lifted it up and it's use . And and then just say , oh I don't know , a thought and and then {disfmarker}User Interface: Yeah .Project Manager: uh I mean that thatwould certainly be uh truly different . {vocalsound} Um 'cause uh you know audio settings , nought point eight percent . I mean if they weren't there , {vocalsound} would people miss them ?Marketing: Mm-mm.Industrial Designer: But look at the importance of them . The volume settings .Project Manager: {vocalsound}Marketing: Relevance of two out of ten ,Project Manager: Vol volume ,Marketing: yeah .IndustrialDesigner: Yeah .Project Manager: yes umIndustrial Designer: They're not used oftenProject Manager: th {vocalsound}Industrial Designer: but they are quite important when they're used .Project Manager: w we needto s identify things that {vocalsound} people actually needIndustrial Designer: Yeah .Project Manager: and and it's a function of frequency and relevance . And um I would say ignoring ig ignoring power for the moment, um the channel and volumeIndustrial Designer: Mm .Project Manager: and th w w given given that we've been told to ignore teletext . Uh channel and volume are the only ones thatMarketing: Yeah .Project Manager:{vocalsound} uh would appear to be essential .Marketing: Stand out .Project Manager: Um . So {disfmarker} if we can design something that that looks interesting , know , or looks different , um incorporates the thelogo and and the colours and um we can still have our interchangeable fascias even if it's {gap} the yellow and grey , um and uh I dunno , buttons or or buttons as an option .Marketing: Uh I just had a thought actually, sorry to interrupt .Project Manager: Do , please .Marketing: Uh you were saying about um it could {disfmarker} technical problems of like uh someone on the television saying a channel number and it changed{disfmarker}Project Manager: Mm-hmm .Marketing: we could maybe have like an activation word .Project Manager: You cer certainly could .Marketing: 'Cause I've seen I've seen this used on computers before , whereyou just {disfmarker} you address the remote ,Project Manager: {vocalsound} Depe uh i depends whether um {disfmarker}Industrial Designer: Mm .Marketing: you address the computer , and then give it a command.Project Manager: if we want to make this so simple that anybody can walk into the room and lift it up and sayMarketing: Oh I see . Oh yeah , I see .Project Manager: B_B_C_ one . Um okay , I mean you could print{disfmarker} actually print it on the uhMarketing: {vocalsound} Mm-hmm , yeah .Project Manager: device itself . Um .Marketing: I mean I'm just thinking of the point of view of peop you could still like lose this remote.Project Manager: S th this I th {vocalsound} that's always gonna be a problem I think .Industrial Designer: {vocalsound}Marketing: Mm .Project Manager: Um and I I I s so I suppose one um {disfmarker} could makeit so desirable that if people lose it they immediately go out and buy another one .Industrial Designer: {vocalsound}User Interface: {vocalsound}Marketing: {vocalsound}Project Manager: Anyway , sorry , carry on . Doyou want to just carry on with {disfmarker}Marketing: Oh noProject Manager: or {disfmarker}Marketing: I I interrupted you ,Project Manager: no no , no uh b I was in the middle of in the middle of your report there .{vocalsound}Marketing: sorry {vocalsound} . Oh okay . Um well , I was just kinda wrapping up there . Yeah ,Project Manager: Mm okay . {vocalsound}Marketing: I was thinking um , yeah , maybe such things arerelevant . We could make things much more f I think the the eighty percent of people would spend more on uh a remote uh that looks better , combined with uh decrease the {disfmarker} or take out the limited functiofunctions that we don't really use much . {gap} alright take out teletext , but as for channel settings and stuff it might it might um turn people somewhe peop some people that want the whole functionality away . But ,since {disfmarker} if we're marketing a more kind of fashionable approach then it'd {disfmarker} it would be fashion and fashion over practicality .Project Manager: Mm-hmm . S s we could {disfmarker} we could makeit dual function {gap} voice recognition and {gap} still have buttons on it umMarketing: {vocalsound} Oh , we could , yeah . We c yeah ,Project Manager: 'cause we're {disfmarker}Marketing: we could even have it aslike a {disfmarker} yeah the buttons control this and the voice functions control the f things that you would do all the time , so .Project Manager: {vocalsound} Certainly could . Yeah , yeah .Industrial Designer: Mm.Marketing: So uh yeah , if we could uh {disfmarker} power on and channel selection and and volume selection , wouldn't have to really {disfmarker}Project Manager: {gap} The {disfmarker} I mean the the advantageof doing away the buttons altogether is it makes the thing cheaper .Marketing: Yeah and probably it would look better as well .Project Manager: No , it cou certainly opens up the possibility for making it uh , you know ,visually very distinctive .Marketing: Yeah . yeah .Project Manager: Um 'cause you know , it does not have to be a oblong box .Industrial Designer: Mm .Marketing: Lined with numbered buttons and {disfmarker}ProjectManager: Mm , yeah . Okay , who {disfmarker} sorry , have you have you finished there Andy ?Marketing: Uh yeah , yeah , that's everything .Project Manager: Yep , yep . Um {vocalsound} given that we've alreadyhad a extensive discussion uh {disfmarker} {vocalsound} .Industrial Designer: {vocalsound}User Interface: {vocalsound}Marketing: {vocalsound}User Interface: Okay well , I can do mine .Industrial Designer: Hmm.Marketing: Do you want the cable ?User Interface: Yeah , let's see if I can make this work . Um .Industrial Designer: Oh , you have to hit like function and F_ something .User Interface: Oh .Marketing: F_ eight.Industrial Designer: F_ eight .User Interface: Is it doing {disfmarker}Industrial Designer: {vocalsound} Dunno .Marketing: Uh , give it about twenty seconds , or so .User Interface: Okay .Project Manager: Ah , therewe go . {vocalsound}Industrial Designer: Oh yeah , it's going .User Interface: Oh okay . {vocalsound} Okay , so this is just about the technical functions .Project Manager: Alright .User Interface: So the method , Ilooked online for examples of other similar products and then just kind of was trying to brainstorm some possible design ideas and um identify what the necessary things are , what people are {disfmarker} what youreally wanna have a remote control do . Um and then there are two different kinds that I found . There's a user centred one and an engineering centred one which I will have pictures of and then we kinda have to decidewhich one this should be .Project Manager: Mm-hmm .User Interface: {vocalsound} So these are the two different ones . This one um {disfmarker} this is the user centred , it has uh quite a few mm uh um fewerbuttonsMarketing: {vocalsound}User Interface: and then this is the engineering centred , which has a lot more buttons ,Project Manager: Mm-hmm .User Interface: and probably this is one that people complain about ,"}
+{"doc_id":"doc_175","qid":"","text":"Grad G: headphones that aren't so uncomfortable .PhD B: I think {disfmarker} Well , this should be off the record ,Professor D: Hmm .PhD B: but I think {disfmarker}Professor D: Uh , OK .Professor A: We 're notrecording yet , are we ?Grad G: Well , I don't think {disfmarker}PhD F: No , uh , that {disfmarker} that wasn't recorded .Grad G: No . Um , I don't think they 're designed to be over your ears .PhD B: Yeah , I know . Itjust {disfmarker} it really hurts . It gives you a headache , like if you {disfmarker} On your temple {disfmarker}PhD F: Temple squeezers .PhD B: Yeah .Grad G: Yep .PhD B: Yeah .Professor D: Mm - hmm .Grad G: ButI definitely {pause} haven't figured it out .Professor A: Um , Meeting Recorder meeting .PhD F: I guess I have to d stop doing this sigh of contentment , you know , after sipping cappuccino or something .PhD B: Yeah ,with the {disfmarker} We kno I know .Grad G: \" Sip , sigh . \"PhD B: We know exactly how much you have left in your cup .PhD F: I was just noticing a big sProfessor D: So are we recording now ? Is this{disfmarker}PhD E: Yeah .Professor D: Oh ! We 're {disfmarker} we 're {disfmarker} we 're live . OK .PhD E: Yeah .Professor D: So , uh , {vocalsound} what were we gonna talk about again ? So we said {disfmarker}we said data collection , which we 're doing .PhD B: Were we gonna do digits ?Professor A: OK . Do we do th do you go around the room {pause} and do names or anything ?Grad G: I think that {disfmarker}PhD E: It 'sa good idea .Grad G: u usually we 've done that and also we 've s done digits as well , but I forgot to print any out . So . Besides with this big a group ,PhD B: You can write them on the board , if you want .Professor D:No . I it 'd be even better with this big {disfmarker}Grad G: it would take too much time .PhD E: Which way is {disfmarker}Grad G: Yeah , but it takes too much time .PhD E: Mari ?Postdoc H: What{disfmarker}Professor A: What ?Professor D: It 's not that long .PhD E: Y I think your {disfmarker} your {disfmarker} your thing {nonvocalsound} may be pointing in a funny direction . Sort of it 's {disfmarker} ithelps if it points sort of upwards .Professor A: Whoops .PhD E: Sort of it {disfmarker} you know .Professor A: Would it {disfmarker} mPhD E: Yeah .Professor D: w uPhD E: So that thing {disfmarker} the little{disfmarker} th that part should be pointing upwards .Professor A: So {disfmarker} Oh , this thing .PhD E: That 's it . Yeah .Professor A: Yeah .Postdoc H: Otherwise you just get a heartbeats .Professor A: It 's kind of{disfmarker}Professor D: Oh , yeah , the element , yeah , n should be as close to you {disfmarker} your mouth as possible .Professor A: Yeah . OK .PhD E: That 's good . That kind of thing is good .Postdoc H: It 's a{disfmarker}Professor A: This w Alright .PhD E: Yeah .Professor A: How 's that working ?Professor D: Yeah .PhD E: Oh , yeah . It 's a {disfmarker} It 's working .Professor A: OK .Professor D: Alright . So what we had{pause} was that we were gonna talk about data collection , and , um , uh , you {disfmarker} you put up there data format ,Professor A: Um .Professor D: and other tasks during data collection ,Professor A: So , Ithink the goal {disfmarker} the goal was what can we do {disfmarker} how can you do the data collection differently to get {disfmarker}Professor D: and {disfmarker}Professor A: what can you add to it to get , um ,some information that would be helpful for the user - interface design ? Like {disfmarker}Grad G: Uh , especially for querying .Professor A: Especially for querying . So , getting people to do queries afterwards , gettingpeople to do summaries afterwards . Um .Postdoc H: Well , one thing that came up in the morning {disfmarker} in the morning was the , um , i uh , if he {disfmarker} I , um {disfmarker} if he has {disfmarker} s I{disfmarker} I don't remember , Mister Lan - Doctor Landry ?Grad G: Landay . James .Postdoc H: La - Landay ? So he has , um , these , uh , um , tsk {comment} note - taking things ,Professor A: Mm - hmm .PostdocH: then that would sort of be a summary which you wouldn't have to solicit . y if {disfmarker} if we were able to {disfmarker} to do that .Professor A: Well , if {disfmarker} if you actually take notes as a summary asopposed to n take notes in the sense of taking advantage of the time - stamps . So action item or uh , reminder to send this to so - and - so , blah - blah - blah .Postdoc H: Mm - hmm .Professor A: So that wouldn't be asummary . That would just be {disfmarker} that would b relate to the query side .Grad G: But if we had the CrossPads , we could ask people , you know , if {disfmarker} if something comes up {vocalsound} write itdown and mark it {vocalsound} {pause} somehow ,Postdoc H: Mm - hmm .PhD E: Right . I mean , we {disfmarker} because you 'd have several people with these pads , you could collect different things .Grad G: youknow .Professor A: Right .PhD E: I mean , cuz I tend to take notes which are summaries . And so , you know {disfmarker}PhD F: I mean , the down - side to that is that he sort of indicated that the , uh , quality of{vocalsound} the handwriting recognition was quite poor .Professor A: Well {disfmarker}Grad G: But that 's alright . I don't think there 'd be so many that you couldn't have someone clean it upProfessor A: So{disfmarker}Grad G: pretty easily .Professor A: Yeah . We also could come up with some code for things that people want to do so that {disfmarker} for frequent things .PhD F: Yeah .Professor A: And the other things ,people can write whatever they want . I mean , it 's to some extent , uh , for his benefit . So , if that {disfmarker} you know , if {disfmarker} if we just keep it simple then maybe it 's still useful .PhD F: Right .Grad G:Yeah .Professor D: I just realized we skipped the part that we were saying we were gonna do at the front where we each said who we were .Postdoc H: The roll call .Professor A: Right . I thought you did that on purpose.Professor D: Roll call .Professor A: But anyway , shall we do the roll call ?Professor D: No , not a No , I just {disfmarker} My mind went elsewhere . So , uh , yeah , I 'm Morgan , and where am I ? I 'm on channel three.Grad G: And I 'm Adam Janin on channel A .Postdoc H: I 'm Jane Edwards , I think on channel B .PhD E: I 'm Dan Ellis .PhD F: Eric on channel nine .PhD B: Liz , on channel one .Professor A: Mari on channel zero.Professor C: Katrin on channel two .Postdoc H: Should we have used pseudo - names ? Should we do it a second time with pseudo No . {vocalsound} No .Professor D: I 'm Rocky Raccoon {vocalsound} on channel{disfmarker}PhD E: Let me , uh , turn that off .Grad G: And , uh , do you want to do the P D As and the {pause} P ZPhD E: Oh . PZM nearest , nearest , next nearest . Next one .Postdoc H: Next nearest .PhD E:Furthest .Grad G: Far .PhD E: PDM - right , PZA - right {disfmarker} PDA - right , PDA - left .Postdoc H: OK .PhD E: Thanks .Grad G: Yeah , and eventually once this room gets a little more organized , the Jimlets{comment} will be mounted under the table , and these guys will be permanently mounted somehow . You know , probably with double - sided tape , but {disfmarker} So . You {disfmarker} So we won't have to gothrough that .Professor A: Hmm .Postdoc H: I have a question on protocol in these meetings , which is when you say \" Jimlet \" and the person listening won't know what that is , sh shou How {disfmarker} how do weget {disfmarker} Is that important information ? You know , the Jimlet {disfmarker} I mean , the box that contains the {disfmarker}Professor D: Well , I mean , suppose we broaden out and go to a range of meetingsbesides just these internal ones . There 's gonna be lots of things that any group of people who know each other have in column {disfmarker} common {comment} that we will not know .Professor A: Right .Postdoc H:Mm - hmm .Professor A: Right .Postdoc H: OK .Professor A: So the there will be jargon that we he There 'll be transcription errors .Postdoc H: Good .Professor D: Yeah .Postdoc H: OK .Professor D: I mean , we{disfmarker} we were originally gonna do this with VLSI design , and {disfmarker} and {disfmarker} and the reason we didn't go straight to that was because immediately ninety percent of what we heard would be{vocalsound} jargon to {disfmarker} to us . So .Grad G: Well , that was just one of the reasons . But , yeah , definitely .Professor D: Yeah .Postdoc H: OK . Good .Professor D: That {disfmarker} that 's right . Therewere others of course . Yeah .Postdoc H: OK , so we were on the data collection {pause} {comment} and the summary issue .Professor D: Right . We can go back .Professor A: So , uh , u u So , actually there 's kind ofthree issues . There 's the CrossPad issue . Should we do it and , if so , what 'll we have them do ? Um , do we have s people write summaries ? Everybody or one person ? And then , do we ask people for how theywould query things ? Is that {disfmarker}PhD F: There 's {disfmarker} there 're sub - problems in that , in that where {disfmarker} or when do you actually ask them about that ?Professor A: Right .PhD F: I mean ,that was {disfmarker} One thing I was thinking about was is that Dan said earlier that , you know , maybe two weeks later , which is when you would want to query these things , you might ask them then .Professor A:Right .PhD F: But there 's a problem with that in that if {pause} you 're not {disfmarker} If you don't have an interactive system , it 's gonna be hard to go beyond sort of the first level of question .Professor A: Right.PhD F: Right . And furth id explore the data further .Professor A: Right .PhD F: So .Professor D: There 's {disfmarker} there 's another problemGrad G: And {disfmarker}Professor D: which is , um , we certainly dowant to branch out beyond , uh , uh , recording meetings about Meeting Recorder . And , uh , once we get out beyond our little group , the people 's motivation factor , uh , reduces enormously . And if we start givingthem a bunch of other things to do , how {disfmarker} you know , we {disfmarker} we did n you know another meeting here for another group and {disfmarker} and , uh , they were fine with it . But if we 'd said , \" OK, now all eight of you have to {disfmarker} {vocalsound} have to come up with , uh , the summar \"Grad G: Well , I asked them to and none of them did .Professor D: t See ? There we go .Grad G: So , I {disfmarker} Iasked them to send me ideas for queries after the meetingPostdoc H: Mm - hmm .Professor A: They {disfmarker}Grad G: and no one ever did .PhD E: Mm - hmm .Grad G: I didn't follow up either .Professor A: Yeah.Grad G: So I didn't track them down and say \" please do th do it now \" . But , uh , no one spontaneously provided anything .Professor D: I I 'm worried that if you did {disfmarker} even if you did push them into it , it{disfmarker} it {disfmarker} it might be semi - random ,Professor A: Right .Professor D: uh , as opposed to what you 'd really want to know if you were gonna use this thing .PhD E: Right .Professor A: OK .Grad G: Ijust don't know how else to generate the queries other than getting an expert to actually listen to the meeting and say \" that 's important , that might be a query \" .Postdoc H: Tsk . Well , there is this other thing whichy which you were alluding to earlier , which is , um , there are certain key words like , you know , \" action item \" and things like that , which could be used in , uh , t to some degree finding the structure .Professor A:Yeah .PhD E: Although {disfmarker}Professor A: WPostdoc H: And {disfmarker} and I also , um , was thinking , with reference to the n uh , note - taking , the advantage there is that you get structure without theperson having to do something artificial later . And the fir third thing I wanted to say is the summaries afterwards , um , I think they should be recorded instead of written because I think that , um , it would take solong for people to write that I think you wouldn't get as good a summary .Professor A: How about this idea ? That normally at most meetings somebody is delegated to be a note - taker .Postdoc H: Yeah , good . Goodpoint .Professor A: And {disfmarker} So why don't we just use the notes that somebody takes ?Postdoc H: Yeah .Grad G: I mean , that gives you a summary but it doesn't really {disfmarker} How do you generatequeries from that ?PhD E: Well . But , I mean , maybe a summary is one of the things we 'd want from the output of the system .Postdoc H: Yeah .Professor A: Right .PhD E: Right ? I mean , they 're something . It 's a{disfmarker} a kind of output you 'd like .PhD B: Actually {disfmarker} And so {disfmarker}Grad G: Uh , James and I were talking about this during one of the breaks . And the problem with that is , I 'm definitelygoing to do something with information retrieval even if it 's sort of not full full - bore what I 'm gonna do for my thesis .Professor A: Right .Grad G: I 'm gonna do something . I 'm not gonna do anything withsummarization . And so if someone wants to do that , that 's fine , but it 's not gonna be me .Professor D: Well , I think that we {disfmarker} I mean , the {disfmarker} the f the core thing is that you know once we getsome of these issues nailed down , we need to do a bunch of recordingsProfessor A: Well {disfmarker}Professor D: and send them off to IBM and get a bunch of transcriptions even if they 're slightly flawedGrad G: Yep.Professor D: or need some other {disfmarker} And then we 'll have some data there .Professor A: Yeah .Professor D: And then , i i we can start l looking and thinking , what do we want to know about these things and{disfmarker} at the very least .PhD E: Mm - hmm .Professor A: Yeah {disfmarker}PhD B: I actually want to say something about the note pad . So , if you could sense just when people are writing , and you tell themnot to doodle , or try not to {pause} be using that for other purposes , {comment} and each person has a note pad . They just get it when they come in the room . Then you c you can just have a fff {comment} plot ofwh you know , who 's writing when .Professor D: Hmm .PhD B: That 's all you {disfmarker}PhD E: Activity . Yeah .PhD B: And , you can also have notes of the meeting . But I bet that 's {disfmarker} that will allow youto go into the {disfmarker} sort of the hot places where people are writing things down .Professor D: Mm - hmm .Grad G: Oh , I see .PhD B: I mean , you can tell when you 're in a meeting when everybody stops towrite something down that something was just said .Professor A: Mm - hmm .PhD B: It may not be kept in the later summary , but at that point in time is was something that was important .Postdoc H: Mm - hmm .PhDB: And that wouldn't take any extra {disfmarker}Postdoc H: That 's a nice idea .Professor A: Mm - hmm .PhD B: Or someone could just pu you could just put your hand on the padProfessor D: It {disfmarker}ProfessorC: Mm - hmm .PhD B: and go like that if you want to . It 's {disfmarker}Professor D: That 's a good idea but that doesn't {disfmarker} Maybe I 'm missing something , but that doesn't get to the question of how wecome up with queries , right ?Professor A: Well , what it does {disfmarker}PhD B: Well , then you can go to the points where the {disfmarker} you could actually go to those points in time and find out what they weretalking about . And you rProfessor A: Well , what it does is provide a different {disfmarker}Professor D: Yeah .PhD B: And {disfmarker}Grad G: Uh , yProfessor A: I {disfmarker} I think it 's an interesting thing . I don'tthink it gets at the {disfmarker} the queries per - se , but it does give us an information fusion sort of thing that , you know , you wanna i say \" what were the hot - points of the meeting ? \"PhD B: Yeah .Professor D:That {disfmarker} that 's what I mean , is that I think it gets at something interesting but if we were asking the question , which I thought we were , of {disfmarker} of {disfmarker} of , um , \" how do we figure outwhat 's the nature of the queries that people are gonna want to ask of such a system ? \" , knowing what 's important doesn't tell you what people are going to be asking .PhD B: But I bet it 's a good {pause} superset ofit .Professor D: Does it ?Professor A: Well , yeah .PhD E: Well , see , there are thProfessor A: I think you could say they 're gonna ask about , uh , when {disfmarker} uh , when did so - and - so s talk about blah . Andat least that gives you the word {pause} that they might run a query on .PhD B: At least you can find the locations where there are maybe keywordsProfessor D: Maybe .Grad G: I mean , i this would tell you what thehit is ,PhD B: and {disfmarker}Grad G: not what the query is .Professor A: Right .PhD B: Right , right .Grad G: What {disfmarker}Professor A: It 'll tell you the hit but not the query .PhD B: But I think {disfmarker} Ithink thinking about queries is a little bit dangerous right now .Grad G: And so you could {disfmarker} you can generate a query from the hits ,Professor A: Right .Grad G: but {disfmarker}PhD B: We don't even knowwhat {disfmarker} I mean , if you want to find out what any user will use , that might be true for one domain and one user ,Professor D: Mm - hmm .PhD B: but I mean a different domain and a different user{disfmarker}Postdoc H: Mm - hmm .Professor D: Yeah , but we 're just looking for a place to start with thatPhD B: Um .Professor D: because , you know , th what {disfmarker} what {disfmarker} what James is gonnabe doing is looking at the user - interface and he 's looking at the query in {disfmarker} in {disfmarker} i We {disfmarker} we have five hours of pilot data of the other stuff but we have zero hours of {disfmarker} of{disfmarker} of queries . So he 's just sort of going \" where {disfmarker} where do I {disfmarker} where do I start ? \"Professor A: w Well , th you could do {disfmarker} I think the summaries actually may help get usthere ,Professor D: OK .Professor A: for a couple reasons . One , if you have a summary {disfmarker} if you have a bunch of summaries , you can do a word frequency count and see what words come up in differenttypes of meetings .Professor D: Mm - hmm .Professor A: So \" action item \" is gonna come up whether it 's a VLSI meeting , or speech meeting , or whatever . So words that come up in different types of meetings maybe something that you would want to query about .Grad G: Mm - hmm .Professor A: Um , the second thing you could possibly do with it is just run a little pilot experiment with somebody saying \" here 's a summary of ameeting , what questions might you want to ask about it to go back ? \"Grad G: Yeah , I think that 's difficult because then they 're not gonna ask the questions that are in the summary .Professor A: Well{disfmarker}Grad G: But , I think it would give {disfmarker}Professor A: That 's one possi one possible scenario , though , is you have the summary ,Grad G: Mm - hmm .Professor A: and you want to ask questions toget more detail .Grad G: th Yeah , I think it has to be a participant . Well , it doesn't have to be . OK . So that {disfmarker} that is another use of Meeting Recorder that we haven't really talked about , which is forsomeone else , as opposed to as a {pause} remembrance agent , which is what had been my primary thought in the information retrieval part of it would be . But , uh , I guess if you had a meeting participant , theycould use the summary to refresh themselves about the meeting and then make up queries . But it 's not {disfmarker}Professor D: Mm - hmm .Grad G: I don't know how to do it if {disfmarker} until you have a system.PhD B: The summary is actually gonna drive the queries then .Professor A: Mmm .PhD E: Yeah .PhD B: I mean , your research is going to be very circular .Professor A: Yeah .Grad G: Yeah , that {disfmarker} that 'swhat I was saying .PhD E: But th there is this , um {disfmarker} {vocalsound} {vocalsound} {vocalsound} There is this class of queries , which are the things that you didn't realize were important at the time but somein retrospect you think \" oh , hang on , didn't we talk about that ? \" And it 's something that didn't appear in the summary but you {disfmarker}Professor A: Mm - hmm .PhD E: And that 's kind of what this kind of , uh ,complete data capture is kind of nicest for .Professor A: Right . Right .PhD B: Right .PhD E: Cuz it 's the things that you wouldn't have bothered to make an effort to record but they get recorded . So , I mean{disfmarker} And th there 's no way of generating those , u u until we just {disfmarker} until they actually occur .PhD B: But you could always post - hoc label them .PhD E: You know , it 's like {disfmarker} Right ,right . Exactly .PhD B: Yeah . Yeah .PhD E: But I mean , it 's difficult to sort of say \" and if I was gonna ask four questions about this , what would they be ? \" Those aren't the kind of things that come up .Grad G: But atleast it would get us started .PhD E: Oh , yeah . Yeah , sure .Postdoc H: I also think that w if {disfmarker} if you can use the summaries as an indication of the important points of the {disfmarker} of the meeting , then"}
+{"doc_id":"doc_176","qid":"","text":"Grad G: Time .Grad C: Thanks .Grad G: Are you Fey ?Undergrad D: I am Fey , yeah .Grad G: Oh .Grad B: What day is today ?Undergrad D: Hi .Grad G: Hi . I think we 've met before , like , I remember talking to youabout Aspect or something like that at some point or other .Undergrad D: A couple times yeah .Grad F: It 's the uh twenty {disfmarker} nineteenth .Grad B: Nineteenth ?Undergrad D: That 's right , yeah .Grad G: So.Undergrad D: And you were my GSI briefly , until I dropped the class .Grad F: Grad B: Right , right .Grad G: Oh that 's right .Undergrad D: But .Grad G: Well .Grad C: OK , wh whGrad G: No offense .Grad C: Yeah.Grad G: Like .Grad C: OK . Some in some introductions are in order .Grad G: Oh , OK sorry .Grad C: OK .Grad G: Getting ahead of myself .Grad C: So . Um . For those who don't know {disfmarker} Everyone knows me, this is great . Um , apart from that , sort of the old gang , Johno and Bhaskara have been with us from {disfmarker} from day oneGrad G: Yay !Grad E: Hi .Grad C: and um they 're engaged in {disfmarker} in variousactivities , some of which you will hear about today . Ami is um our counselor and spiritual guidance and um also interested in problems concerning reference of the more complex type ,PhD A: Well .Grad E: Oh wow.Grad C: and um he sits in as a interested participant and helper . Is that a good characterization ?PhD A: u That 's pretty good , I think .Grad C: I don't know .PhD A: Yeah . Thanks .Grad C: OK . Keith is not technicallyone of us yet ,Grad E: Not yet .Grad C: ha - ha . but um it 's too late for him now .Grad G: \" One of us . \"Grad C: So .Grad E: Yeah right . I 've got the headset on after all .Grad C: Um . Officially I guess he will bejoining us in the summer .Grad E: yes .Grad C: And um hopefully it is by {disfmarker} by means of Keith that we will be able to get a b a better formal and a better semantic um idea of what a construction is and umhow we can make it work for us . Additionally his interest um surpasses um English because it also entails German , an extra capability of speaking and writing and understanding and reading that language . And um , isthere anyone who doesn't know Nancy ? Do you {disfmarker} do you know Nancy ?Grad G: Me ?Grad E: I know Nancy .Grad G: Mm - hmm .Grad B: I made that joke already , Nancy , sadly .Grad C: OK .Grad G: What?Grad B: The \" I don't know myself \" joke .Grad G: You did ? When ?Grad B: Uh before you came in .Grad G: Oh .Grad E: Man !Grad G: About me or you ?Grad B: About me .Grad G: OK . {vocalsound} OK .PhD A: Youcould do it about you .Grad B: Yeah .Grad G: Well I didn't know . I didn't mean to be humor copying , but OK , sorry . Yes , I know myself . It 's OK .Grad C: OK .Grad G: It 's a {disfmarker}Grad C: And um Fey is withus as of six days ago officially ?Undergrad D: Officially ,Grad C: Officially ,Undergrad D: yeah .Grad C: but in reality already um much much longer and um um next to some {disfmarker} some more or less bureaucraticuh stuff with the {disfmarker} the data collection she 's also the wizard in the data collection Um ,Grad G: Of Oz .Undergrad D: It 's very exciting .Grad C: we 're sticking with the term \" wizard \" ,Undergrad D: Yes.Grad C: OK .Undergrad D: Yes .Grad C: and umGrad G: Not witch - like .Grad B: Wizardette .Grad E: Wizard .Grad F: Wizardess .Grad C: Sorceress , I think .Grad G: OK .Undergrad D: Wizard .Grad C: wizard uh by bypopular voteGrad G: OK .Grad C: umGrad G: Didn't take a vote ? OK .Grad C: OK , um , why don't we get started on that subject anyways . Um , so we 're about to collect data and um the uh s the following things havehappened since we last met . When will we three meet again ? And umGrad G: More than three of us .Grad C: what happened is that um , \" A \" , {comment} there was some confusion between you and Jerry with the{disfmarker} that leading to your talking to Catherine Snow , and he was uh he {disfmarker} he agreed completely that some something confusing happened . Um his idea was to get sort of the l the lists of mayors ofthe department , the students . It {disfmarker} it 's exactly how you interpreted it , sort of sGrad E: The list of majors in the department ?Undergrad D: M m Majors ?Grad C: Ma - majors , majors .Undergrad D: Majors?Grad C: \" Mayors \" .Undergrad D: OK , mayor {disfmarker}Grad C: Majors .Undergrad D: Something I don't know about theseGrad G: The department has many mayors .Grad C: Majors and um just sending the{disfmarker} the little write - up that we did on to those email listsUndergrad D: OK . OK . Yeah , yeah , yeah . But {disfmarker} Yeah .Grad C: uh {disfmarker}Undergrad D: So it was really Carol Snow who wasconfused , not me and not Jerry .Grad C: Yep , yep , yep . OK . So . So , that is uh {disfmarker}Undergrad D: That 's good . So I should still do that .Grad C: Yep .Undergrad D: OK .Grad C: And {disfmarker}UndergradD: And using the thing that you wrote up .Grad C: Yep .Undergrad D: OK .Grad C: Wonderful . And um we have a little description of asking peop subjects to contact Fey for you know recruiting them for our thing andum there was some confusion as to the consent form , which is basically that {disfmarker} that what what you just signedGrad G: Right .Grad C: and since we have one already um {disfmarker}Grad G: Did Jerry talk toyou about maybe using our class ? the students in the undergrad class that he 's teaching ?Grad C: Um well he said um we {disfmarker} definitely \" yes \" ,Grad G: eGrad C: however there is always more people in a{disfmarker} in a facul uh in a department than are just taking his class or anybody else 's class at the momentGrad G: Yeah .Grad C: and one should sort of reach out and try and get them all .Grad G: OK , but th Iguess it 's that um people in his class cover a different set so {disfmarker} than the c is the CogSci department that you were talking about ?Undergrad D: I guess . SeeGrad G: uh reaching out to ?Undergrad D: that 'swhat I suggested to him , that people like {disfmarker} like Jerry and George and et cetera just {disfmarker}Grad G: Cuz we have you know people from other areasGrad C: Yeah .Grad G: advertise in their classes aswell .Undergrad D: Yeah or even I could {disfmarker} you know I could do the actual {disfmarker}Grad C: Mm - hmm .Grad G: Cuz I mean I {disfmarker} I know how to contact our students ,Undergrad D: That 'sgenerally the way it 's done .Grad G: so if there 's something that you 're sending out you can also s um send me a copy ,Grad C: Yeah .Grad G: me or Bhaskara could {disfmarker} either of us could post it to uh is it{disfmarker}Undergrad D: A mailing list .Grad G: if it 's a general solicitation that you know is just contact you then we can totally pro post it to the news groupGrad C: Mm - hmm . Yeah .Undergrad D: Yeah .Grad G:so .Grad C: Do it . Yeah .Undergrad D: That 's {disfmarker}Grad G: OK , so you 'll send it or something so .Grad C: As a matter of fact , if you {disfmarker}Undergrad D: I can send it .Grad C: if {disfmarker}UndergradD: I 'll send it ,Grad G: You can send it to me .Grad C: Now , iUndergrad D: yeah .Grad G: OK . Don't worry , we {disfmarker} this doesn't concern you anymore , Robert .Grad C: How {disfmarker} however I suggestthat if you {disfmarker} if you look at your email carefully you may think {disfmarker} you may find that you already have it .Grad G: It 's fine . Oops . Already ? Really ?Grad C: Maybe .Undergrad D: ProbabGrad G:Oops .Grad C: OK . W we 'll see .Grad G: I don't remember getting anything .Grad C: Anyhow , um the uh Yeah , not only Also we will talk about Linguistics and of course Computer Science .Grad G: Mm - hmm .Grad C:Um and then , secondly , we had , you may remember , um the problem with the re - phrasing , that subject always re - phrase sort of the task that uh we gave them ,Grad B: Right .Grad C: and so we had a meetingon Friday talking about how to avoid that , and it proved finally fruitful in the sense that we came up with a new scenario for how to get the {disfmarker} the subject m to really have intentions and sort of to act uponthose , and um there the idea is now that next actually we {disfmarker} we need to hire one more person to actually do that job because it {disfmarker} it 's getting more complicated . So if you know anyone interestedin {disfmarker} in what i 'm about to describe , tell that person to {disfmarker} to write a mail to me or Jerry soon , fast . Um {vocalsound} the idea now is to sort of come up with a high level of sort of abstract tasks \"go shopping \" um \" take in uh a batch of art \" um \" visit {disfmarker} do some sightseeing \" blah - blah - blah - blah - blah , sort of analogous to what Fey has started in {disfmarker} in {disfmarker} in compiling{disfmarker} compiling here and already {disfmarker} she has already gone to the trouble of {disfmarker} of anchoring it with specific um o {comment} um entities and real world places you will find in Heidelberg .And um . So out of these f s these high level categories the subject can pick a couple , such as if {disfmarker} if there is a cop uh a category in emptying your roll of film , the person can then decide \" OK , I wanna dothat at this place \" , sort of make up their own itinerary a and {disfmarker} and tasks and the person is not allowed to take sort of this h high level category list with them , but uh the person is able to take notes on amap that we will give him and the map will be a tourist 's sort of schematic representation with {disfmarker} with symbols for the objects . And so , the person can maybe make a mental note that \" ah yeah I wanted togo shopping here \" and \" I wanted to maybe take a picture of that \" and \" maybe um eat here \" and then goes in and solves the task with the system , IE {comment} Fey , and um and we 're gonna try out that{disfmarker} Any questions ?Grad G: so um y you 'll have those say somewhere what their intention was {disfmarker} so you still have the {disfmarker} the nice thing about having data where you know what theactual intention was ?Grad C: Mm - hmm . Yeah .Grad G: But they will um {disfmarker} There 's nothing that says you know \" these are the things you want to do \" so they 'll say \" well these are the things I want to do\" and {disfmarker} Right , so they 'll have a little bit more natural interaction ?Grad C: Hopefully .Grad G: OK . Mm - hmm .Grad F: So they 'll be given this map , which means that they won't have to like ask thesystem for in for like high level information about where things are ?Grad C: Yeah it 's a schematic tourist map . So it 'll be uh i it 'll still require the {disfmarker} that information and AnGrad G: It w it doesn't have likestreets on it that would allow them to figure out their way {disfmarker}Grad C: N not {disfmarker} not {disfmarker} not really the street network . Nuh .Grad G: OK .Grad E: So you 're just saying like what part oftown the things are in or whatever ?Grad C: Yeah a and um the map is more a means for them to have the buildings and their names and maybe some ma ma major streets and their namesGrad G: Mm - hmm .Grad C:and we want to maybe ask them , if you have {disfmarker} get it sort of isolated street the {disfmarker} the , whatever , \" River Street \" , and they know that {disfmarker} they have decided that , yes , that 's wherethey want to do this kind of action um that they have it with them and they can actually read them or sort of have the label for the object because it 's too hard to memorize all these st strange German names . Andthen we 're going to have another {disfmarker} we 're gonna have w another trial run IE the first with that new setup tomorrow at two and we have a real interesting subject which is Ron Kay for who {disfmarker}those who know him , he 's the founder of ICI . So he 'll {disfmarker} he 's around seven seventy years old , or something .Grad G: I didn't know he was the founder . That 's {disfmarker} OK .Grad C: And he alsoapproached me and he offered to help {vocalsound} um our project and he was more thinking about some high level thinking tasks and {vocalsound} I said \" sure we need help you can come in as a subject \" and hesaid \" OK \" . So that 's what 's gonna happen , tomorrow , data .Grad G: Using this new {disfmarker} new um plan ,Grad C: New {disfmarker} new set up .Grad G: OK .Grad C: Yeah . Which I 'll hopefully sort of scrapetogether t But , thanks to Fey , we already have sort of a nice blueprint and I can work with that . Questions ? Comments on that ? If not , we can move on . No ? No more questions ?Grad E: I 'm not sure I totallyunderstand thisGrad G: So what 's the s this is what you made , Fey ?Grad C: Hmm ?Grad E: but {disfmarker} I 'm not sure I totally understand everything that 's being talked aboutGrad G: Like so {disfmarker} So it's just based on like the materials you had about Heidelberg .Grad C: Um are you familiar with {disfmarker} with the {disfmarker} with the very rough setup of the data ?Grad E: but I {disfmarker} I imagine I 'll c justcatch on .Undergrad D: Based on the web site , yeah , at the {disfmarker}Grad G: Oh OK there 's a web siteGrad C: experiment ?Undergrad D: Right .Grad G: and then you could like um figure out what thecateUndergrad D: It 's a tourist information web site ,Grad E: Uh , this is where they 're supposed to {disfmarker}Undergrad D: so .Grad G: OK .Grad C: Talk to a machine and it breaks down and then the human comeson .Grad G: OK .Grad E: Yeah . Yeah .Grad C: The question is just sort of how do we get the tasks in their head that they have an intention of doing something and have a need to ask the system for something withoutgiving them sort of a clear wording or phrasing of the task .Grad E: OK . OK . OK .Grad C: Because what will happen then is that people repeat {disfmarker} repeat , {comment} or as much as they can , of thatphrasing .Grad E: OK .Grad G: Hmm . Um , are you worried about being able to identify {disfmarker}Grad E: OK .Grad G: Um . The {disfmarker} The goals that we 've d you guys have been talking about are this{disfmarker} these you know identifying which of three modes um their question uh concerns .Grad C: Mm - hmm .Grad G: So it 's like the Enter versus View {disfmarker}Grad C: Yeah , we {disfmarker} we{disfmarker} we will sort of get a protocol of the prior interaction ,Grad G: Uh - huh .Grad C: right ? That 's where the instructor , the person we are going to hire , um and the subjects sit down together with these highlevel thingsGrad G: Uh - huh . Mm - hmm .Grad C: and so th the q first question for the subject is , \" so these are things , you know , we thought a tourist can do . Is there anything that interests you ? \"Grad G: Mm -hmm .Grad C: And the person can say \" yeah , sure sh this is something I would do . I would go shopping \" . Yeah ? and then we can sort of {disfmarker} this s instructor can say \" well , uh then you {disfmarker} youmay want to find out how to get over hereGrad G: Mm - hmm .Grad C: because this is where the shopping district is \" .Grad G: So the interaction beforehand will give them hints about how specific or how whateverthough the kinds of questions that are going to ask during the actual session ?Grad C: No . Just sort of {disfmarker} OK , what {disfmarker} what {disfmarker} what would you like to buy and then um OK there youwanna buy a whatever cuckoos clocksGrad G: Yeah .Grad C: OK and the there is a store there .Grad E: Mm - hmm .Grad C: So the task then for that person is t finding out how to get there , right ?Grad G: Mm - hmm.Grad C: That 's sort of what 's left .Grad G: Mm - hmm .Grad C: And we know that the intention is to enter because we know that the person wants to buy a cuckoos clock .Grad G: OK , that 's what I mean so like thosetasks are all gonna be um unambiguous about which of the three modes .Grad C: Hopefully .Grad G: Right . OK . So .PhD A: Well , so the idea is to try to get the actual phrasing that they might use and try to interfereas little as possible with their choice of words .Grad C: Hopefully .Grad G: t {vocalsound} {vocalsound} {vocalsound} {vocalsound} {vocalsound} {vocalsound} {vocalsound} {vocalsound} {vocalsound} {vocalsound}{vocalsound} {vocalsound} That they 'll be here ?Grad C: Yes . In a sense that 's exactly the {disfmarker} the {disfmarker} the idea ,PhD A: uh uhGrad C: which is never possible in a {disfmarker} in a s in a labsituation ,PhD A: Well , u u the one experiment th that {disfmarker} that {disfmarker} that I 've read somewhere , it was {disfmarker} they u used pictures .Grad C: nuh ?PhD A: So to {disfmarker} to uh actually umuh specify the {disfmarker} the tasks .Grad C: Yep .Grad E: Mm - hmm .PhD A: Uh , but you know i iGrad C: Yeah . We had exactly that on our list of possible way things so we {disfmarker} uh I even made a sort of asilly thing how that could work , how you control you are here you {disfmarker} you want to know how to get someplace , and this is the place and it 's a museum and you want to do some and {disfmarker} and{disfmarker} and there 's a person looking at pictures . So , you know , this is exactly getting someplace with the intention of entering and looking at pictures .PhD A: Right .Grad C: However , not only was{disfmarker} the common census were {disfmarker} among all participants of Friday 's meeting was it 's gonna be very laborious to {disfmarker} to make these drawings for each different things ,PhD A: Right .Grad C:all the different actions , if at all possible , and also people will get caught up in the pictures . So all of a sudden we 'll get descriptions of pictures in there .PhD A: Right .Grad C: And people talking about pictures andpictorial representationsGrad E: Hmm .Grad C: and {disfmarker} umPhD A: Right .Grad C: I would s I would still be willing to try it .PhD A: I mean , I I 'm {disfmarker} I 'm not saying it 's necessary but {disfmarker}but uh i uh uh i {vocalsound} you might be able to combine you know text uh and {disfmarker} and some sort of picture and also uh I think it {disfmarker} it will be a good idea to show them the text and kind of chewthe task and then take the test away {disfmarker} the {disfmarker} the {disfmarker} the {disfmarker} the {disfmarker} the text awayGrad C: Mm - hmm . Yeah .PhD A: so that they are not uh guided by {disfmarker}by by what you wrote ,Grad C: We will {disfmarker}PhD A: but can come up with their {disfmarker} with their own {disfmarker}Grad C: Yeah , they will have no more linguistic matter in front of them when they enterthis room .PhD A: Right .Grad C: OK . Then I suggest we move on to the {disfmarker} to we have um uh the EDU Project , let me make one more general remark , has sort of two {disfmarker} two side uh um actions ,its um action items that we 're do dealing with , one is modifying the SmartKom parser and the other one is modifying the SmartKom natural language generation module . And um this is not too complicated but I 'mjust mentioning it {disfmarker} put it in the framework because this is something we will talk about now . Um , I have some news from the generation , do you have news from the parser ?Grad F: Um , not{disfmarker}Grad C: By that look I {disfmarker}Grad F: Yes , uh , I would really p It would be better if I talked about it on Friday .Grad C: OK .Grad F: If that 's OK .Grad C: Yeah , wonderful . Um , did you run intoproblems or did you run into not h having time ?Grad F: Yeah . But not {disfmarker} not any time part .Grad C: OK , so that 's good . That 's better than running into problems .Grad F: OK .Grad C: And um I{disfmarker} I do have some good news for the natural language generation however . And the good news is I guess it 's done . Uh , meaning that Tilman Becker , who does the German one , actually took out sometime and already did it in English for us . And so the version he 's sending us is already producing the English that 's needed to get by in version one point one .Grad F: So I take it that was similar to the {disfmarker}what {disfmarker} what we did for the parsing ?Grad C: Yeah . I {disfmarker} I {disfmarker} it {disfmarker} even though the generator is a little bit more complex and it would have been , not changing one hundredwords but maybe four hundred words ,Grad F: OK .Grad C: but it would have beenGrad F: OK .Grad C: but this {disfmarker} this is I guess good news , and the uh {disfmarker} the time and especially Bhaskara and uh{disfmarker} and um {disfmarker} Oh do I have it here ? No . The time is now pretty much fixed . It 's the last week of April until the fourth of May so it 's twenty - sixth through fourth . That they 'll be here . So it 's{disfmarker} it 's extremely important that the two of you are also present in this town during that time .Grad B: Wait , what {disfmarker} what are the days ? April twenty - sixth to the {disfmarker} May fourth ?GradC: Yeah , something like that .Grad B: I 'll probably be here .Grad C: It 's {disfmarker}Grad F: Yeah .Grad E: You will be here .Grad C: There is a d Isn't finals coming up then pretty much after that ?Grad F: Finals was"}
+{"doc_id":"doc_177","qid":"","text":"Project Manager: Good .Industrial Designer: Beep . {vocalsound} {vocalsound} Oh .Project Manager: So well uhUser Interface: What ?Project Manager: welcome everyone .User Interface: Yeah .Project Manager: Umas you may have noticed I uhUser Interface: {vocalsound}Industrial Designer: {vocalsound}Project Manager: created separate folders because it was uh tending to get a little busy in our uh shared project documentsuh folder .User Interface: Yeah .Project Manager: I don't know if everybody uh put their own uh documents in the right folder , which is for now the detailed design meeting .Marketing: That's new one ?Project Manager:Yeah .User Interface: We didn't make any uh {disfmarker}Industrial Designer: Uh , we should save that one . {vocalsound}User Interface: Oh in {disfmarker}Project Manager: Then I'll move this one .User Interface:Didn't we just do that ?Industrial Designer: Yeah , save in the folder . Save as project .User Interface: Oh .Project Manager: Oh no , this is just one big document , so you can leave that wherever it is .IndustrialDesigner: Oh , okay .Project Manager: {vocalsound} And we have a evaluation left here .User Interface: {vocalsound}Industrial Designer: Hmm hmm .Project Manager: Okay .Industrial Designer: Agenda .ProjectManager: Well not main documents this time . Oh uh yes .User Interface: Hmm ?Project Manager: I have it open myself I guess . Um well the detailed design meeting {disfmarker} Huh ? We're finally gettingsomewhere hopefully .Industrial Designer: {vocalsound}User Interface: {vocalsound}Project Manager: Um what are we going to do ? I've opened it already . Um I'm still going to take some minutes , and if I'm right ,you two are going to give a prototype presentation ?Industrial Designer: Oh , sorry .Marketing: {vocalsound}Industrial Designer: {gap}Project Manager: Aren't you ?User Interface: We could . {vocalsound}ProjectManager: Yes , you are .Industrial Designer: {vocalsound} {vocalsound}Project Manager: And uh m did you do something with evaluation criteria ?Marketing: Yep . Yep .Project Manager: Good . And we have a correctagenda . And uh then we have to look at something which is less nice , the finance uh aspect , whether we can afford what we have designed ,User Interface: Oops . {vocalsound}Project Manager: and if we can we canuh commence the final part which is the production or project evaluation , how did we work together and what are the results , and how happy are we with those . Okay , well finance uh will be later . Now I'd like to givethe word to you two .User Interface: Yeah .Industrial Designer: Okay .User Interface: {vocalsound} Well uhIndustrial Designer: Get up stand up . {gap} just {disfmarker}User Interface: we made a prototype.Industrial Designer: 'Kay .User Interface: We first start with the overall uh {disfmarker} This is about the total remote control .Industrial Designer: View .User Interface: We made it green .Industrial Designer: Justexample colour ,User Interface: Yeah .Industrial Designer: so uh there's one of the colours we would like to uh see in our prototype .User Interface: It's a fresh colour . And uh the screen light blue . Oh uh this the scrollbutton and the microphone on the on the sides here under . And the R_ and R_ logo , it just says R_ and R_ now , but uh {disfmarker}Industrial Designer: Okay ?User Interface: Any questions so far ?{vocalsound}Marketing: Big microphone .Industrial Designer: {gap} yeah ,User Interface: Yeah .Industrial Designer: just uh just an idea about how to m th that could also be possible .Marketing: Oh okay . That's theplace where it's going to be , not the size . {gap}User Interface: Yeah .Industrial Designer: Uh well , it's an idea in a {disfmarker} so .User Interface: Oh y you {disfmarker} perhaps you should make it a bit big , sopeople know it's there and uh {disfmarker}Industrial Designer: Do not forget it .User Interface: Uh {disfmarker}Marketing: Mm-hmm .Industrial Designer: To function it it doesn't really have to be sm uh big of course.User Interface: Hmm .Marketing: Yeah , okay . Of course .Industrial Designer: The microphone could be just a minor uh hole uh on the left uh button .Marketing: Mm . Mm , th yeah .Industrial Designer: OkayumMarketing: Small .Industrial Designer: {vocalsound} we also made some uh ideas about how uh the options menu would work . Uh using the scroll button on sides uh y uh I uh um {gap} {disfmarker}User Interface:You push the scroll buttonIndustrial Designer: Yeah , you push the scroll buttonUser Interface: and it's claps out if there's a {disfmarker} {vocalsound}Industrial Designer: and a drop down menu or a pull out menucomes out and uh you get uh you get the options uh becoming available . For example uh T_V_ settings , uh remote settings , et cetera .User Interface: Remote settings , et cetera . Yeah .Industrial Designer: So uh youcan scroll down too with the scroll uh button , uh as you can see {disfmarker} oh , it's here , just push it in , uh the menu comes out like this and uh i it all becomes visible . Um {disfmarker}User Interface: Yeah . Andyou could also touch it so that it comes out ,Industrial Designer: Yeah , that's cUser Interface: and and use the the the scroll thing as a {disfmarker} with your fingers .Industrial Designer: Yeah . Indeed .User Interface:Yes .Industrial Designer: Okay , um it's also uh nice to see that um we made a small uh menu , uh the options menu uh becoming available when pressing the uh scroll uh button , and the opportunity to use the teletext, whi which is used uh {disfmarker} which should still be used and we think that it's uh very handy to put it uh not uh under the options menu , but in uh {disfmarker} Yes . In an apart uh {disfmarker}User Interface:Yeah .Project Manager: So a separate button for for text ,Industrial Designer: In a separate button , yeah . {vocalsound}User Interface: Yeah .Project Manager: okay .User Interface: Perhaps we should use the teletextsign in p yeah .Industrial Designer: A sign , yeah , just like {disfmarker} Okay , indeed .User Interface: Yeah .Industrial Designer: Okay ,User Interface: Forgot . {vocalsound}Industrial Designer: we can uh modify thatlater . Okay . Would you like to make any comments about next uh {disfmarker}User Interface: Uh well , this is the total interface uh that f of the L_C_D_ screen . Uh the numbers , which is pretty straight forward . Weput ano an an extra button in . We can erase it , but {disfmarker} It's the button where you can switch channels . {gap} just when you are one and you go to two , you can {disfmarker} or if you go to five , you can goback to one with that button . Yeah , that one , yeah .Industrial Designer: Previous page , yeah , indeed .User Interface: It has a name . And uh uh we put that in ,Industrial Designer: Oh my God .User Interface: Ithought it would be handy there . Uh this the one number or two numbers button . Below that , the page and the sound . And uh in the middle the the mute . Uh battery indicator . {vocalsound}Industrial Designer:{vocalsound} {vocalsound} {vocalsound} It's quite large .User Interface: It's {vocalsound} it's a bit big .Marketing: {vocalsound}User Interface: {vocalsound} And this is the uh the on off uh knop , the stand by uhknop . Or at least it should look like it . And the options uh of teletext .Industrial Designer: Okay . You can see very clearly now that the uh teletext and options menu isn't uh taking uh much uh {disfmarker} uh it'staking much part of the screen , so it's very uh {disfmarker} when you uh {vocalsound} when you use it , doesn't uh become irritating to see .User Interface: Huh .Industrial Designer: 'Cause if you put it on the top youalways get see the the options menu . 'Cause people regularly uh read from left top to right down ,Project Manager: Mm-hmm .Industrial Designer: so {disfmarker}User Interface: Yeah . Well this about it , I think.Industrial Designer: Okay . Huh .User Interface: Yeah .Project Manager: Thank you . Looks good .User Interface: I will put it back on the {disfmarker} {vocalsound} on the nice green .Industrial Designer:{vocalsound}Project Manager: And I just missed when I was typing {disfmarker} The R_R_ stands for ?Industrial Designer: {gap}User Interface: That's the logo of the {disfmarker}Project Manager: Logo , okay .{vocalsound}User Interface: Yeah . It's th th right now it's only R_ R_ , but uh {disfmarker} {vocalsound}Marketing: {vocalsound}Project Manager: Okay well {disfmarker} {vocalsound}Industrial Designer: Full screen.Project Manager: I would have recognised it if it were the right colours of course . {vocalsound}Marketing: Shit .User Interface: Yeah . {vocalsound}Industrial Designer: Alright . {vocalsound}User Interface: Sorry .{vocalsound}Marketing: 'Kay . {gap}Project Manager: Okay , the evaluation criteria ,User Interface: Oh full screen , yeah {vocalsound} {gap} .Industrial Designer: Huh .Project Manager: huh ?Marketing: Evaluation .'Kay , my task was this time to put up a questionnaire by which we can evaluate the design of the remote control by the questions we {gap} {disfmarker} requirements from the {disfmarker} of the users . My name ,my job , okay .Industrial Designer: My name , my job . {vocalsound}User Interface: {vocalsound}Marketing: The methods . Questionnaire with seven point scale from one to seven , from true to false ,User Interface:Right .Marketing: like question , is remote big enough , we can say it's true or it's false by steps . One means absolutely not true , seven {gap} {disfmarker} means true .User Interface: Yeah .Marketing: The threeimportant things of refa {vocalsound} {gap} are uh from th of this year is {disfmarker} are ,Industrial Designer: {vocalsound} Sorry ,User Interface: {vocalsound} {vocalsound}Industrial Designer: you used thePowerPoint {gap} {disfmarker}Marketing: is the remote control fancy enough ,User Interface: Yeah .Marketing: is it in innovative enough , and is it easy enough to use . And then evaluation itself . Uh .User Interface:{vocalsound}Industrial Designer: What ? {vocalsound}Marketing: So .Industrial Designer: Bling .Marketing: Okay .User Interface: Yeah .Marketing: First question . Is the design fancy enough ?User Interface: Well{disfmarker}Marketing: Project Manager , what do you think ?Project Manager: Well it's {disfmarker} looks fancy , especially with the green colour . And the the curves which we decided ,User Interface: {vocalsound}Yeah .Marketing: But does it {disfmarker}Project Manager: huh ?Marketing: Yeah .Project Manager: Only what happened to the single curve we spoke about last meeting ?User Interface: It uh {disfmarker} oh it's inthe background . Oh .Industrial Designer: {vocalsound} Now uh the single curved idea was uh {disfmarker} Yeah , okay , you ge um {disfmarker}User Interface: Y you should make uh a sideways uh view .IndustrialDesigner: Yeah . The sideways view , uh that that that maUser Interface: It will be , I guess . Oh , we can {disfmarker}Industrial Designer: Ho not that pen . {vocalsound} Not that pen . {vocalsound} {vocalsound}{vocalsound}User Interface: OhMarketing: {vocalsound} {gap} {vocalsound}Project Manager: {vocalsound} WellUser Interface: g {vocalsound} I would {vocalsound} {disfmarker} smart board .Project Manager: itmight work one time , huh . {vocalsound}Industrial Designer: {vocalsound} Suppose so .User Interface: {vocalsound} Uh can I draw here or uh {disfmarker}Marketing: Think .User Interface: Ooh .Industrial Designer:Ah . Oh my God ,Marketing: Yeah , yeah , you can .User Interface: So it would be uh something like this from the side , but with a bit of uh curve here ,Industrial Designer: it works .User Interface: right ?IndustrialDesigner: Yeah , that's the single curve indeed .User Interface: Yeah . So if you v flip it like this .Project Manager: Okay .Industrial Designer: Yep .User Interface: Here's {gap} yeah .Industrial Designer: That's not very{disfmarker} i it's also uh very handy if you make a side curve way to make the the remote control very thin at the bottom uh at a bottom at a bottom . Uh make it uh rather thick on the top , because uh on the top ithas uh the screen , which takes uh in some uh space , and the batteries can be located over there ,User Interface: Yeah . So you just make the back of this part a bit bigger ,Industrial Designer: so uh {disfmarker}UserInterface: so that it lays a bit oIndustrial Designer: Yeah .Marketing: Isn't going to be a little bit heavy at the top ?Industrial Designer: {gap}User Interface: {vocalsound} Yeah , that's a bit of problem maybe.Marketing: {vocalsound}Industrial Designer: No .Marketing: With two batteries , the whole print plate and t and top , and if you're holding it quite a lot I think {disfmarker}User Interface: Yeah . I think yeah , thebattery should be in here , because it's just nothing ,Industrial Designer: Yeah .User Interface: so if you could {disfmarker}Marketing: Yeah .Industrial Designer: Okay , indeed . Yeah .User Interface: Yeah .ProjectManager: Okay , but we have to rate uh these things now ?User Interface: 'Cause otherwise I think iMarketing: Yeah , we have to rate .Project Manager: Okay .Marketing: Is it fancy enough ? True is one , false is seven. So fancy enough means , does it comes to the younger people and the elder people .User Interface: I think it does .Industrial Designer: I think so .User Interface: I if you don't make it green , then the elder peoplewon't won't like it .Industrial Designer: It's pretty fancy .Marketing: I think {disfmarker} {vocalsound} Yeah , I have to agree , all the colour colours don don doesn't matter that m that much now ,User Interface: Yeah.Industrial Designer: {gap} you get thProject Manager: Mm-hmm .Marketing: it's only design .User Interface: I think it does .Project Manager: Yeah .Marketing: And the design .Project Manager: Well I think uhespecially because of the microphone and the L_C_D_ screen also .Industrial Designer: Yeah .User Interface: Yeah . I don't know whether older people will use it , but {disfmarker}Project Manager: Very new thing .Well {disfmarker} Fancy {gap} the old people will .Marketing: So {disfmarker}User Interface: I would make it a two or something .Industrial Designer: {gap}Marketing: A two ?User Interface: Yeah .IndustrialDesigner: {gap} It's true , it's a one . {vocalsound} Very fancy .User Interface: Huh ? Alright , it's a one . {vocalsound} Oh it's a one . {vocalsound}Project Manager: No , it's a two . {vocalsound} Little bit strange wehave to judge that ourselves , huh ?User Interface: Yeah .Marketing: Yeah , I n used {disfmarker} I wouldn I should use that one , but it doesn't {disfmarker}Industrial Designer: {vocalsound}User Interface: But it's aone uh {disfmarker} Maybe uh {disfmarker}Marketing: Okay , no it's two ? True is a one .User Interface: Yeah .Marketing: Very true , is it very true or isn't that true ?Project Manager: Well I'd say two on a scale{disfmarker}User Interface: Well they think it's very true , but uh {disfmarker}Industrial Designer: It's very true , because we designed it to be very fancy ,Marketing: Yeah , I think two .User Interface: {vocalsound}Yeah ,Industrial Designer: so {disfmarker}User Interface: but {disfmarker}Industrial Designer: It's very fancy , I think .User Interface: We should perhaps {disfmarker}Industrial Designer: Have you ever seen aremote control like this ?Project Manager: No , okay well , that's true . {vocalsound}Industrial Designer: No , okay ,User Interface: That not .Industrial Designer: so so it's fancy .Marketing: That's fancy enough .UserInterface: Yeah .Project Manager: Okay , one two .Marketing: Then ?Project Manager: That doesn't matter that much , so make it a one . {vocalsound}User Interface: {vocalsound}Industrial Designer: Yeah .{vocalsound}Marketing: Okay . Let's give it a two . Is it innovative ?User Interface: I think it is ,Marketing: Enough .Project Manager: YeahUser Interface: because it has an L_C_D_ screen , a mi microphone .ProjectManager: mIndustrial Designer: And uh uh the scroll is rubber ,User Interface: It's from rubber .Marketing: We have for the search function .User Interface: Yeah . {vocalsound}Industrial Designer: so s Eno enough to{gap} I think .Marketing: The scroller a bit {disfmarker} I think it's it's a one yeah .User Interface: {vocalsound} It's a one I think .Industrial Designer: {gap}Marketing: True . Also huh uh-huh {disfmarker} thebuttons , are they easy to find ? That was a big requirement of the old people .Industrial Designer: {vocalsound}User Interface: Yeah , because they're right on your screen . So you can use the b the the arrows .They're right on your screen ,Industrial Designer: Huh .User Interface: so I don't know where you'd search .Industrial Designer: With the ones {gap}Marketing: Are all the buttons easy to find ? Not only this buttons ,all the buttons .User Interface: Yeah .Industrial Designer: {vocalsound}User Interface: Well , I think they are . The options are it {disfmarker} uh little bit harder ,Industrial Designer: Yeah .User Interface: but if youtouch the options then it's uh {disfmarker}Industrial Designer: Take a harder look , yeah , sure .Marketing: I think th it'sIndustrial Designer: It's easier than the regular uh remote control .Marketing: easy tProjectManager: Yeah , and you use these buttons the most ,Marketing: Yeah , I think this is easy now . I think th I think the options buttons are not the the easiest way to toProject Manager: huh ? So {disfmarker}IndustrialDesigner: Yeah .User Interface: No they're not , but they're they're they are easy to find .Marketing: to handle . True .Industrial Designer: Yeah , they are a lot easier to find than uh th than on the regular remotecontrolsMarketing: I would rate it a {disfmarker}User Interface: Oh .Industrial Designer: where you have to uh find out what {disfmarker} which sign or icon means on uh every button .Marketing: Yeah , okay , that'strue , that's true .User Interface: Yeah .Project Manager: SoIndustrial Designer: So you have t you have to use the the the manual to understand most {disfmarker}Project Manager: which {disfmarker}Marketing: Butthat's that's vantage of L_C_D_ screen , you can have text .Project Manager: So which number are we going to fill in ?Industrial Designer: Yeah .User Interface: I would say yeah .Industrial Designer: I think it's uh it's atwo , at least .User Interface: Yeah . Yeah ,Project Manager: A two , yeah ?User Interface: you can make it a two .Project Manager: Two , three and {disfmarker}Industrial Designer: It's not perfect , but{disfmarker}Marketing: Yeah .Project Manager: what do you think ?Marketing: {vocalsound} I think it's a three .Industrial Designer: A three ?Project Manager: Okay , so we have two , two , three .Industrial Designer:And why is that ?Marketing: I personally think , because I d I don't think i maybe it's easy to use , it has to be easy to find right away . I I think if you have the button at the right , I don't think you can find the optionbutton that easy .User Interface: Yeah , but you don't have t have to use the button on the right . You can touch it .Marketing: You can touch it .User Interface: Yeah . You you can touch options .Industrial Designer: Itsaid bo both the options .Marketing: Yeah , okay , but you have y then you have here s written option on here , the teletext button ,User Interface: Yeah .Marketing: right ?Industrial Designer: Yeah .Marketing: Okay ,then okay , good . Then I think also two , yeah .User Interface: You can touch optionsProject Manager: A two , okay ,User Interface: and it's comes out .Project Manager: because we have to {disfmarker}IndustrialDesigner: A two , a two .Marketing: Yep .User Interface: {vocalsound} The uh the um {disfmarker} Below .Project Manager: It's the box below it ,Industrial Designer: Uh the next question the next question .ProjectManager: huh ?Industrial Designer: Oh my God .Marketing: {vocalsound}User Interface: {vocalsound} {vocalsound}Project Manager: Otherwise we have two results in one question .User Interface: {vocalsound} It'sdifferent .Industrial Designer: {vocalsound}Project Manager: Okay , next question .Marketing: It's easy to use , as well for younger as elderl elderly people .User Interface: For young people I think it's easy to use.Project Manager: {gap}Marketing: Young means sixteen to forty years .Industrial Designer: Yeah , I was {disfmarker} uh {disfmarker}User Interface: Yeah .Marketing: And elderly from forty eight to their death.Industrial Designer: Yeah .User Interface: I think it's {disfmarker}Industrial Designer: I think it's the most useful uh remote control ever to be manufactured . {vocalsound}User Interface: {vocalsound} In the entiremankind .Project Manager: Okay , you're very enthusiastic about your own design ,Marketing: Also if you're sixty years old {disfmarker}Project Manager: huh ?Industrial Designer: Yeah , but because it has the regularuh controls , li uh as you can see in the screen now , and uh you don't have all the other options uh always uh on your screen .User Interface: Yeah .Industrial Designer: So it's t I think it's really easy to use . You want"}
+{"doc_id":"doc_178","qid":"","text":"Lynne Neagle AM: Okay. Good morning, everyone. Welcome to the Children, Young People and Education Committee. We've received apologies for absence from Janet Finch-Saunders, and also from Dawn Bowden, andI'd like to welcome Huw Irranca-Davies, who is substituting for Dawn Bowden. Can I ask Members if there are any declarations of interest, please? No. Okay. We'll move on, then, to our evidence session for our inquiryon school improvement and raising standards. I'd like to welcome Kirsty Williams AM, Minister for Education, and Steve Davies, director of education. Thank you both for attending and for your detailed paper in advanceof the meeting. We've got a lot of ground to cover, so we'll go straight into questions, if that's okay. If I can just start by asking you: to what extent is the Organisation for Economic Co-operation and Development stillinvolved in the Welsh Government's school improvement journey?Kirsty Williams AM: First of all, can I thank the committee for their invitation this morning, and their interest in this particular area? As you will beaware, on coming into office, the director and I agreed to ask the OECD to do a rapid review of the state of Welsh education at the beginning of this Assembly term. They did that, and the feedback from that workinformed the publication and content of the national mission. I was very clear in the national mission that I would invite the OECD back to review our progress against that mission, and that has happened in the tail endof last year, and the OECD will publish their latest report on Welsh education next month now, in March. So, the expectation is that the report will be published on 23 March, and my intention is to make a statement tothe Chamber on 24 March. The nature of that review is part of our ongoing development of self-evaluation. So, we talk a lot about self-evaluation in the school system. Actually, the continuing relationship with OECD isabout self-evaluation of the entirety of the system and Welsh Government. We don't want to accept our own orthodoxy and just be in a bubble where we are constantly listening to ourselves and those people who mightwant to agree with us or tell us what we want to hear. So, the OECD is our best attempt of having some external verification of where we are. That's a risk for Ministers and for Government, because we want them togive an honest evaluation of where we are, but that's a really important tool for me, to ensure that we're constantly testing ourselves. The nature of that review is that the OECD were able to talk to whoever they felt itwas important to talk to, so that included practitioners on the ground, elements of the middle tier, as well as Welsh Government. And I know, Chair—I hope you'll be pleased to hear this—that the reports of thiscommittee have formed parts of their review, looking at how the Senedd itself has contributed to and has held the Government to account. So, as I said, we expect our report to be published towards the end ofMarch.Lynne Neagle AM: Okay, thank you, Minister. Can I ask about the powers under the School Standards and Organisation (Wales) Act 2013, to ask you to tell us about the use of those powers either by WelshGovernment or by local authorities, and how effective you feel that legislation has been?Kirsty Williams AM: Okay. Well, as you'll be aware, local authorities have quite extensive powers of intervention in schools if theyfeel that is necessary. If I'm honest, I think there's a mixed picture, with some local authorities using those powers not on a regular basis, but obviously demonstrating a willingness to use those powers. There are otherlocal authorities who don't seem to have used them. Since that legislation came into being, there have been a number of reasons, because of course a local authority has to give a reason for using those powers ofintervention. They usually focus on standards, but sometimes they focus on a breakdown in governance arrangements, perhaps, or a failure or a breakdown in financial management. So, sometimes the budgetaryissues trigger an intervention power. And the types of interventions that have been used have included, in some cases, appointing additional governors to governing bodies, or suspending a school's delegated budget sothe local authority takes on, then, financial control of that particular school, or sometimes applying to the Welsh Government to entirely replace a governing body and establish an intervention board. So, if I can giveyou an example of where that's been used and has been successful, in Flintshire. They applied to Welsh Government for two interim executive boards, in Sir Richard Gwyn Catholic High School and in Ysgol Trefonnen.They applied to us. Those governing bodies were dissolved. The IEBs were put in place and both of those schools, which had been in special measures, moved quite rapidly, actually, out of special measures. Perhaps themost recent example of this is one that the Chair will know very well in her own constituency of Torfaen, in Cwmbran High School, where Torfaen has intervened in that case. The Welsh Government has not used thosepowers to date. My expectation always is that local authorities should be the first port of call, and I would encourage—and we always encourage—local authorities to take a proactive approach to intervention and to usethose powers. But it's my belief that it is they who are best placed initially to do that.Lynne Neagle AM: Thank you, Minister. Can I ask, then, about the national evaluation and improvement resource and how significanta role that will play in the raising of school standards, and how you feel it's evolved since it was first conceived?Kirsty Williams AM: So, this brings us back to the principle of self-evaluation and something, if we'rehonest, we've not been very good at. If you look at a number of chief inspectors' reports into the Welsh education system, self-evaluation has always been identified as something that is missing or underdeveloped inour system to date, hence, then, the work to establish not a new approach, but a more robust approach to self-evaluation. We've done that in conjunction, again, with the OECD, middle tier and practitioners. It's reallyimportant, throughout the entirety of our reform journey that that's done in co-construction, because we want this resource to be usable in schools. So, it's all very well having a conceptual idea and people outside theclassroom working on it, but if it's of no practical use to a school leadership team, then we won't see the impact. So, it's—. We're in phase 2 at the moment, where we're doing—. So, the initial resource has beendeveloped by the OECD, middle tier and practitioners. We're in the testing phase at the moment and having it evaluated itself, with a view to introducing that resource across the system at the start of the new academicyear, in September 2020. I truly believe that, if we're to make progress in Welsh education, we have to develop the skills within our system to have robust self-evaluation. This resource gives us continuity of approachright the way across Wales. So, it's not left to an individual school to come up with a system; it's right the way across the system. My hope would be that those principles could then be applied to local educationauthorities, to regional school improvement services and Welsh Government as part of a whole-system approach to self-evaluation. I don't know if there's anything more you want to add, Steve.Steve Davies: Just toadd that the other critical partners are Estyn themselves.Kirsty Williams AM: Oh, yes, sorry.Steve Davies: So, they have played a critical role and, as we know, as the Minister has said in the past, she may introducepolicy and practice, but if Estyn are part of it then schools, usually, because they recognise that it will be part of the inspection process—it gives it greater push and support around it. So, they've been key players withinit.Kirsty Williams AM: And I think, if I just say as well, that the external perception of what that's about is really important. It's not a test of school readiness for reform, it is a genuine attempt for a school to evaluatetheir strengths, their weaknesses and where they need to go next. It's not an Estyn checklist. And because of the word 'toolkit'—the feedback was that it gave the impression of a checklist, 'Just do this and check list'.So, we're actually going to change the name of that resource. So, it'll be called the national evaluation and improvement resource, rather than the toolkit, because, as I said, the feedback was that 'toolkit' gave theimpression of a checklist exercise, and it's got to be about more than that if it's going to be meaningful. So, it'll be changed to an 'improvement resource'.Lynne Neagle AM: Okay. Before I bring Suzy in, can I justwelcome Siân Gwenllian, who is joining us via video-conference in north Wales? Morning, Siân.Sian Gwenllian AM: Good morning. Can you hear me?Lynne Neagle AM: We can, yes. We can hear you very nicely, thankyou.Sian Gwenllian AM: Okay. Thank you.Lynne Neagle AM: Suzy, you've got a supplementary.Suzy Davies AM: Yes. Only a very quick one. It's about the development of the—Kirsty Williams AM: The resource.SuzyDavies AM: Yes, the resource, thank you—about whether there were any conflicting ideas in the process of development that made it quite difficult to zone in on something that school leadership teams, in particular,could rely on. Were there differences of opinion on what this should look like?Kirsty Williams AM: Not that I'm aware of from the practitioners that I've spoken to who have been part of that. So, for instance, Suzy, youwill know the very small school of Gladestry. The head of Gladestry has been involved in this process, and she said that she'd really enjoyed the process of working alongside Estyn and the OECD as a school leader to beable to shape it. But I'm not aware that there's been conflict in that process.Suzy Davies AM: I'm not suggesting that there has been; I'm just interested as to how it had worked, that's all.Steve Davies: Chair, I think,inevitably, when you bring stakeholders together, they're not going to be in total agreement as to how it's going to work, and I think initially one of the challenges was having Estyn there as part of the facilitation group.There are always some concerns that, actually, it's coming from a to inspect, oral, judgmental tick box. So, we had some early day challenges where we had to convince—and, ultimately, Estyn convinced them—thatthey were there to help and support as opposed to to inspect, and that the model that was developed, as the Minister said, was not going to be a tick box, 'You are good at this part of self-evaluation', it was to build theskillsets up.Suzy Davies AM: Okay. So, it's got their full confidence.Kirsty Williams AM: Yes, and I think again, also, what—. You know, four years into the job, what I've reflected on as well is there is this sometimes afeeling out there that the Minister says all the right stuff, but you're not actually going to do it, so, when you talk about a new approach to doing things, you're not actually serious about it. So, trying to build thatconfidence that we are serious about developing a new system around self-improvement, which is different from accountability—sometimes, the practitioners are like, 'Oh, yes, we've heard it all before but it neveractually happens.' And I think that's been a part of the constant—not pressure, but the responsibility on Welsh Government is in following through. So, we said that we were going to do this in the national mission, andwe are going to do it. I'm really proud that there or thereabouts, a few months either way, we've actually kept to the timetable as outlined in the national mission, and that helps build confidence within the sector thatwe are committed to that programme and we're going to do what we say we're going to do.Suzy Davies AM: Okay. Thank you.Lynne Neagle AM: And a final question from me: how effective do you think the investmentin school standards has been in this Assembly term, as opposed to the approach taken in the last Assembly term, where there was the protection put in place for core school budgets?Kirsty Williams AM: Well, I think,first of all, it's important that, whilst this additional resource is specifically targeted at school standards, that is only a part of a much wider education budget, a budget that—you know—is incredibly complex. And so it isreally challenging to be able to draw straight lines—you know, 'We did this and it's resulted in that'—given that we're looking at the entirety of school funding here. What's been really important is that, if you drill downinto what that money has been spent on, 50 per cent of it has been directed towards professional learning in one form or another to support our teaching professionals. And that's been really important to me. I've said ittime and time again: an education system cannot exceed the quality of the people who stand in front of our children day in, day out to work with them and teach them. Therefore, that investment in staff and investmentin the professional learning of our staff and support for them I think is making a difference already but, importantly, will continue to make a difference. But I think it is really challenging to be able to say, 'Well, we spentthis bit of money and it definitely led to that', because it's such a complex picture. But that money, the way it's been spent, has been driven by evidence. And, again, what we do know from international best practice,what do we know that works in driving up standards, and then how can we align the money that we've got to supporting that? And, as I said, 50 per cent of that money has gone directly to simply supporting theprofessional learning of those who work with our children.Lynne Neagle AM: Thank you very much. We're going to talk now a bit about schools causing concern with questions from Huw Irranca-Davies.HuwIrranca-Davies AM: Thank you, Chair. If I can, just first of all, zoom in on the way in which we actually decide which schools need what support. So, one of the interesting questions for us is how do we use the differentsystems out there. So, we've got the school categorisation system, which we're familiar with. We've also got Estyn inspection reports, then we've got other intelligence, including local intelligence on the ground. How doyou decide from that? How is it decided what schools need support, need challenge? How do we do that?Kirsty Williams AM: Well, you're right: what we have is a variety of ways in which we can identify schools thatneed support, or need to be challenged on their practice. But it's important not to confuse them either. So, our primary route to doing this is our school categorisation system. Sometimes, and perhaps this isinevitable—. That system is primarily there as a triage system around identifying where our resource should be spent. So, our school improvement service—it's a risk-based approach, so they can evaluate where theyneed to put their time, effort and resource. Sometimes, it's used by other people for other things, but that is not its primary purpose; its primary purpose there is not one of accountability, it is one of identifying risk andaligning that then to the support that is available. Estyn—now that is part of that accountability system. That is our method of holding schools and their governing bodies to account for their practice and for the workthat they do. Both systems, of course, are evolving. So, how we do categorisation has changed over a period of time. The elements that go into making that judgment around the levels of support have changed, and, ofcourse, the Estyn inspection regime is also changing. At the moment, schools are only inspected once every seven years. We're moving to a system where Estyn will be more regularly in schools. So, they are twosystems, but they are different and they look at different things. But our categorisation system is how we look for those ways of identifying support for schools.Huw Irranca-Davies AM: And you've made, with feedbackover the last few years, adjustments to the way that the categorisation system works. Are you content with where it is now, or do you see more adjustments being made? Have you got things in front of you that you'regetting feedback on saying 'Well, we need to tweak this again a little bit'?Kirsty Williams AM: So, that system has evolved over time. So, when it started, it was just a tool around secondary schools. Now, it covers thebreadth of schools. Initially, on coming into office, when I first came in, it was purely driven by data, and it was also done in quartiles. So, there was a certain number of schools that had to be in the bottom, whichdrove practitioners mad. They were like 'Ah, every year, there's going to be some of us that have to be in the bottom quartile', because of the way in which it was arranged, which seemed very unfair to them. So, we'vechanged that. It's not just purely driven on data now; there are other judgments—the professional judgments of our challenge advisers are taken into account. And I would expect that situation to continue to evolve toalign itself to our curriculum reform, and our changes in self-evaluation. So, it's not a fixed point. I expect that that system will continue to evolve and change, so that it complements and assists in the reform journeyas other parts of the system change.Huw Irranca-Davies AM: Thanks for that. I think, for any impartial reader of the way that the trends have been going on this, there is some good news within that, in that, certainly,those schools that might have been identified as have been okay but coasting along, seem to be moving up the categories, although we still do have that—. Well, it's what the system is there to do, it's to identify thoseschools that do need that additional support. And I like your analogy of a triage system—'You're fit; keep on doing what you're doing and do it well; you need more support, we'll put the support in.' But, can I turn tothose schools that are causing significant concern, and how we identify them? The Estyn chief inspector's conclusions at the end of the 2017-18 report that these schools are not being identified early enough—there's aneed to do something urgently about these concerns, particularly in secondary schools. Have we addressed that? Are you content that we've addressed that concern? Was he right?Kirsty Williams AM: No, the chiefinspector is absolutely right—absolutely right. I've got no beef with that statement at all. In some ways, when a school goes into special measures, in a way, that's a failure of the system, because that should have beenidentified sooner. So I've got no beef, as I said, with the chief inspector saying that.Huw Irranca-Davies AM: So just to ask, bearing in mind the earlier discussion we were having, how is it that we don't identify thoseschools?Kirsty Williams AM: That's it—you're quite right. Undoubtedly, what categorisation has done is led to a greater understanding, I think, on behalf of local education authorities' and school improvement services'knowledge about their schools. I think knowledge around schools is greatly enhanced by that process. But we are not there yet in terms of necessarily, then, moving those schools more quickly, once they've beenidentified as needing the highest level of support to see improvement. And secondary schools is a particular, particular challenge. So you will have seen from the last publication of categorisation data that our primarysector continues to improve—more and more and more of our primary schools are in a green rating, which is very satisfying to me. But we have got more of an issue with secondary schools, and we have a particularissue with the same schools being identified in that level of categorisation. So even though we've identified them as needing that extra help, they are not moving at pace away from that system. So there are two thingsthat we are doing at the moment. The first is, we are, again, looking at different sets of data that can give us even earlier warning systems that things are going wrong in a school—and perhaps Steve will explain later.For instance, staff sickness, and carefully monitoring staff sickness, because there is a direct correlation between high levels of staff sickness in a school and what is going on in the school. And Steve can explain some ofthis work later. But we're piloting a new approach to those schools that are causing concern. Each local authority has been asked to identify two of their high schools that they are particularly worried about. And we havea new multi-agency approach, working with those schools to try and move them more forward. So it's two from each region, a multi-agency panel, working with the school. And that multi-agency panel includes theschool itself, the local authority, the regional consortia school improvement staff, Estyn and Welsh Government—as a multi-agency panel to support improvement in that school. So, for instance, what would normallyhappen, Estyn would come in, Estyn would make a judgment on the school—requiring special measures or urgent improvement—and Estyn would go away. They'd go away for six months, and then they'd come back in"}
+{"doc_id":"doc_179","qid":"","text":"User Interface: {gap}Project Manager: {vocalsound}User Interface: {vocalsound} How do you wear this thing ?Project Manager: Hmm . Mm mm mm . {vocalsound}User Interface: Not too many cables and stuff.Marketing: {gap}User Interface: {vocalsound} {vocalsound}Project Manager: {vocalsound}User Interface: {vocalsound} Original . {vocalsound}Project Manager: {vocalsound} Is recorded ? Okay ? Okay so welcomeeveryone . So we are here for the kickoff meeting of uh the process of designing a new remote control . So I will first start with a warm welcome opening {vocalsound} stuff ,User Interface: {vocalsound}ProjectManager: then uh we will uh see what will be uh our product and what will be the different step we will have to design it . And uh then we will uh discuss if we have few ideas and we will uh end uh by uh dispatching thedifferent task you will be {disfmarker} you will have to fulfil to complete this process . So {disfmarker}User Interface: Uh . Just one thing . Uh , you said twenty-five minutes , but I have something else to do uh , sogotta have another meeting uh soon ,Project Manager: {vocalsound}User Interface: so maybe you could hurry up a bit {disfmarker}Project Manager: {vocalsound} sorry ?User Interface: It's true . I have anothermeeting so if you could uh {disfmarker}Project Manager: You have another meeting soon ?User Interface: Yeah .Project Manager: So you have to be quick .Industrial Designer: {vocalsound}User Interface: Yeah , forthe lawnmower project .Project Manager: Okay .User Interface: Okay .Project Manager: So the the goal is to have a remote control so to have an advantage over our competitors we have to be original , we have to betrendy and we have to also try to be user-friendly .User Interface: {vocalsound}Project Manager: So uh the design step will be divided in three uh main points . First it will be the functional design . Third is theconceptual design and then is the desired design . So the functional design is to identify the main user needs , the technical function the remote control should fulfil . And then we will move to f conceptual design wherewe'll specify the different component involved , what kind of user interf interface we want and what are the different uh trend in user interface and stuff like that .Industrial Designer: {vocalsound}Project Manager: Andthen the desired devi design will consist in uh specifically implementing {vocalsound} and detailing the choice we've uh made in the second point . So I will now ask you which is very important for the design of a newremote control for to uh each of us to to draw uh your favourite animal on the white board .User Interface: {vocalsound} What an original idea .Project Manager: {vocalsound} Do you have any idea of which animal youwant to show us ? {vocalsound}User Interface: Orangutan .Project Manager: Okay {vocalsound} that's good .Industrial Designer: {vocalsound}User Interface: {vocalsound}Industrial Designer: No no nProjectManager: {vocalsound} n n {gap}User Interface: Can I give you theProject Manager: You should {disfmarker}User Interface: {disfmarker} no ? But I don't have to say anything . When I'm drawing the orangutan.Project Manager: {vocalsound} {vocalsound} If you want to react uh about this wonderful drawing uh {vocalsound} I'll let you uh comment .User Interface: {vocalsound} {vocalsound}Industrial Designer:{vocalsound}Marketing: {vocalsound}User Interface: It's an abstract drawing of an orangutan .Project Manager: Okay it's an abstract drawing .User Interface: Yes .Project Manager: I think it's nice and original .{vocalsound}Industrial Designer: {vocalsound} You should write y the name I think . {vocalsound}Marketing: {vocalsound}User Interface: I don't have a red colour . Usually orangutans have red hair so this is a veryimportant but I don't have red pen , so {disfmarker}Project Manager: Okay .User Interface: {vocalsound} Yes .Project Manager: You want to draw something Christine ? {vocalsound}Marketing: {vocalsound}{vocalsound}User Interface: {vocalsound}Marketing: Okay uh sorry . You have to imagine a little bit {vocalsound} um .Project Manager: {vocalsound}Marketing: This {disfmarker}Project Manager: Of course youranimal is recorded so it's not lost . {vocalsound}Marketing: {vocalsound} Sorry too {vocalsound} uh .User Interface: Yes . I know .Project Manager: {vocalsound}Marketing: {vocalsound}User Interface:{vocalsound}Industrial Designer: {vocalsound}Marketing: {vocalsound}User Interface: {vocalsound}Project Manager: Is this uh {disfmarker}User Interface: Wha what is this strange beast ?Marketing: Is it beautiful ?{vocalsound}Project Manager: {vocalsound}Industrial Designer: {vocalsound}User Interface: Is it a monster ?Project Manager: {vocalsound}Marketing: Do you know ? It's a cat .User Interface: It's a cat ?IndustrialDesigner: {vocalsound}Marketing: {vocalsound} Isn't it ? {vocalsound}User Interface: I thought these things did not exist .Project Manager: {vocalsound}Marketing: {vocalsound} Yes yesIndustrial Designer: Me{vocalsound}Marketing: is it {disfmarker} like that .User Interface: Ah yeah {vocalsound}Industrial Designer: Ah yeah . Yeah .Marketing: Is it better ?Project Manager: Ah okay it's pretty . {vocalsound}Marketing:{vocalsound} Okay .Project Manager: {vocalsound} Okay it's your cat . {vocalsound}Marketing: {vocalsound} It's my cat .User Interface: Does have a name ?Marketing: {vocalsound} Yeah . {vocalsound}IndustrialDesigner: {vocalsound}Marketing: The name is Caramel .User Interface: Caramel . Ah-ha .Industrial Designer: Caramel .Marketing: Yeah . {vocalsound}Project Manager: Okay . Olivier , do you want to{vocalsound}Industrial Designer: {vocalsound} And you {vocalsound} {vocalsound} I think I'm too short for the cables . {vocalsound}Marketing: {vocalsound}Project Manager: {vocalsound} Okay I go , but next timeyou'll do something I'm sure . {vocalsound} {vocalsound} I'm a bit short on cable .User Interface: Next time I concentrate .Industrial Designer: {vocalsound}Project Manager: Okay . So what could I draw ?{vocalsound} Maybe I can draw like a very simplified cow . {vocalsound} I don't know if it looks like a cow {vocalsound}User Interface: He looks like a bong .Marketing: {vocalsound}Industrial Designer:{vocalsound}Project Manager: Like a what ? {vocalsound}User Interface: Okay . Sorry . No .Industrial Designer: Quite squarey .User Interface: Scary ?Project Manager: {gap} {vocalsound}Industrial Designer: He also. {vocalsound}Marketing: {vocalsound}Project Manager: I dunno it it looks more like a donkey in fact {vocalsound} I would say .User Interface: {vocalsound}Marketing: {vocalsound}User Interface: {vocalsound} I Ithink we will be finished this uh {disfmarker}Industrial Designer: Mm .Project Manager: Okay so I hope that it helps you uh in the process of designing a remote control .User Interface: Is it for uh for putting a{disfmarker} for logos , no .Project Manager: {vocalsound} Okay .User Interface: {vocalsound} That's {disfmarker}Project Manager: Let's move on . So {disfmarker} Here the uh financial objective of our project . Thatis to say to to have a production cost lower than twelve point five Euros and have a selling price of twice that price t in order to target a profe profit of uh fifty uh million Euros .User Interface: I is there a matter for anew remote control ?Project Manager: {vocalsound} Yeah if it's trendy , original I d fulfil the user needs .User Interface: Is it uh a single device remote control or is it a multi-device remote control ?Project Manager: Wehave to discuss that point .User Interface: AhProject Manager: On {disfmarker}User Interface: this is not defined at all ?Project Manager: yeah you you can suggest points like this . So what what {disfmarker}UserInterface: Ah , okay .Project Manager: so we have to decide for example if it can control one device or multiple . So what's {disfmarker} what are your ideas about that ?User Interface: {vocalsound}Project Manager:Maybe I can have the {disfmarker} your opinion from the marketing side ?User Interface: Well uh do we sell other stuff ? Uh if if we bundle the remote control with something uh to sell then it could be a single device ,otherwise it could be programmable one otherwise who would buy a remote control from us .Project Manager: Okay , so if it selled uh by its own i it it would rather be for multiple device .User Interface: Yeah .ProjectManager: {vocalsound} Do you agree ?Industrial Designer: Mm-hmm .Project Manager: Yeah . So maybe it should be for multiple devices . And uh do you have any ideas um of uh design ideas or any uh uh technicalrequirement we we should uh fulfil ?Industrial Designer: {vocalsound} I think we shouldn't have too many b for my part . I think {disfmarker}User Interface: No , I couldn I cannot fi think of any requirements right now. {vocalsound}Industrial Designer: If we don't have so many buttons could be nice .Project Manager: {vocalsound} Few buttons . Okay .User Interface: {vocalsound}Project Manager: And do you have it also to be{disfmarker} to be lighted in order to be used in the dark ? Might be a good idea .Industrial Designer: {vocalsound} Yeah .Project Manager: Okay . And do you have any um any uh idea of the trend {disfmarker} thetrend in domain , what it shouldn't {disfmarker} it should look like , or things like that ?Industrial Designer: {vocalsound} Something which is not squarey maybe uh , not a box .User Interface: Mm .Project Manager:With rou okay . Like for {disfmarker} okay .User Interface: Something like that , least fits in your hand .Project Manager: Okay .User Interface: {vocalsound} Yeah .Industrial Designer: Yeah .User Interface: The basicrequirement .Project Manager: So . Fit in your hand , yeah .User Interface: {vocalsound} Only a buck .Project Manager: And also it have , i it may be {vocalsound} it may be important for the remote control to be uh{disfmarker} To , to resist to various shocks that can happen if it fall .User Interface: {vocalsound}Industrial Designer: Mm-hmm .User Interface: Waterproof . {vocalsound}Project Manager: {vocalsound} Water-proofas well .Industrial Designer: {vocalsound} And I think we should have a device {disfmarker}Project Manager: Maybe it is original because you can uh use it in your uh {disfmarker} in your bath whereas the others can't.User Interface: {vocalsound}Marketing: {vocalsound}Project Manager: Maybe water-proof would be very original .Industrial Designer: Sorry . {gap}Marketing: {vocalsound}Project Manager: Havin having awater-proof remote control so that the people can uh use it in their bath .User Interface: Mm .Project Manager: That could be uh {disfmarker}User Interface: B it seems uh so , but uh if you don't have an waterproofremote control it means you can just cover it with some plastic and you can sort of fProject Manager: Yeah but , it is still something uh you have to buy and that is um not maybe very {disfmarker}User Interface: And ,and that's one of the {disfmarker} that's one of the shock {disfmarker} I mean there are people that have a remote control and they are worried that it's going to break and they put some extra plastic around it.Project Manager: Yeah , mayb BUser Interface: That's people {gap} they actually do it themselves .Project Manager: But maybe we can bulk it with uh already this plastic thing and uh the waterproof uh stuff as well.Industrial Designer: Yeah . {gap} directly .User Interface: I it will look a bulky in that case .Project Manager: Yeah . Maybe we can sell uh all that together , so so plastic protection and uh and a waterproof box as well.Industrial Designer: Yeah .Project Manager: That might be good uh track to follow .User Interface: Like as an optional thing .Project Manager: Optional or selled with it ?Industrial Designer: {vocalsound} And I I thinkwe should have something , most of the time I I lose my remote control .Project Manager: Yeah .Industrial Designer: We should have s uh special bu button on the T_V_ to make the remote control beeping .ProjectManager: Maybe we can have uh {disfmarker} But we don't design the T_V_ .Marketing: {vocalsound}Project Manager: Maybe we can have uh something you whistle and uh the remote control uh beep .IndustrialDesigner: Ah yeah .Marketing: {vocalsound}User Interface: Barks .Industrial Designer: Yeah . {vocalsound}Project Manager: Yeah , barks , yeah .Industrial Designer: {vocalsound} Barks .Project Manager: So we canuh have a whistle uh remote control ?Industrial Designer: Yeah . Yeah whistle .Project Manager: I don't know , whistle-able ? {vocalsound} ThIndustrial Designer: Whistle tracking . {vocalsound}Project Manager:{vocalsound} Whistle tracking yeah . Whistle tracking remote control . That's a good idea , that's very original and that's can uh improve .User Interface: {vocalsound} That's that's quite cool , but uh of course we{disfmarker} you don't normally need uh any audio uh recording stuff on your remote control right ?Project Manager: Yeah d d uh .User Interface: So i it's just going to add t to the cost .Project Manager: Yeah but s stillwe have to mm we have to {vocalsound} have an advantage over our competitors . I think this is a good advantage .User Interface: {vocalsound} It's cool . I think I like the idea , but I'm not sure about the what you,Project Manager: Yeah . We have to ask {disfmarker}User Interface: who is giving {disfmarker} who's giving who's giving our budget . Who's {disfmarker}Project Manager: Yeah . We have to ask the quest of that's uhdesign to the uh Industrial um Designer .User Interface: Yeah . Yeah .Industrial Designer: Yeah . {vocalsound} yeah {vocalsound}Project Manager: {vocalsound} Which is you .User Interface: 'Kay .{vocalsound}Project Manager: {vocalsound} Okay so try to find that for next meeting . {vocalsound}Industrial Designer: Okay . {vocalsound}Project Manager: Okay . So next meeting is in thirty minutes or so uh .{vocalsound} Don't pani .Industrial Designer: {vocalsound} Don't panic . {vocalsound}Project Manager: So so I will ask the Industrial Designer to find out more about this industrial design so any working {disfmarker}any working function we have discussed .Industrial Designer: Mm-hmm .Project Manager: So then I will ask the User Interf Interface Designer to to think about the point we discussed like the number of buttons , thethe fact that is lighted or not , things like that , and what would be convenient for the user .User Interface: Mm-hmm .Project Manager: And also um {vocalsound} I will ask the Market Expert to uh try to find out whatare the absolute requirements , what is absolutely needed in a remote control uh for the user . So . And then uh I will uh just ask you to think about that and uh look at your mail because you will receive uh some goodadvice soon . {vocalsound}User Interface: Mm .Project Manager: So . Thank you I think that's all for this point .User Interface: Good .Industrial Designer: Mm-hmm .User Interface: {vocalsound}Marketing: Thank you{vocalsound}User Interface: Uh , so we come back in five minutes ? Half an hour .Project Manager: Anyway you will receive some messages . {vocalsound} Be careful . You eat it ? Does it move uh ? Okay , but I don'tknow if it uh is still correctly uh {disfmarker} We'll see .Industrial Designer: Ah . {gap}"}
+{"doc_id":"doc_180","qid":"","text":"Project Manager: Uh , making a profit of fifty million Euros . {vocalsound}Industrial Designer: Alright so twenty five .User Interface: Mm 'kay .Project Manager: So , it's go gonna have to be be pretty damn trendy .{vocalsound}Industrial Designer: So yeah , I've {disfmarker} The only the only remote controls I've used usually come with the television , and they're fairly basic .Project Manager: Yeah . Yeah .User Interface:Mm-hmm .Industrial Designer: So uh {disfmarker} {vocalsound}Project Manager: Yeah , I was thinking that as well , I think the the only ones that I've seen that you buy are the sort of one for all type things wherethey're ,User Interface: Yeah the universal ones . Yeah .Industrial Designer: Mm .Project Manager: yeah . So presumably that might be an idea to put into .Industrial Designer: But but to sell it for twenty five you needa lot of neat features . For sure .Marketing: Slim .Project Manager: Yeah , yeah .User Interface: Yeah .Project Manager: Uh 'cause I mean , what {disfmarker} uh twenty five Euros , that's about I dunno , fifteen Poundsor so ? And that's quite a lot for a remote control .User Interface: Mm-hmm , it's about that .Industrial Designer: Yeah , yeah .User Interface: Mm .Marketing: {vocalsound}User Interface: Um well my first thoughtswould be most remote controls are grey or black . As you said they come with the T_V_ so it's normally just your basic grey black remote control {gap} functions ,Project Manager: Uh-huh .User Interface: so maybe wecould think about colour ?Project Manager: Mm-hmm .User Interface: Make {disfmarker} that might make it a bit different from the rest at least . Um , and as you say , we need to have some kind of gimmick , so um Ithought maybe something like if you lose it and you can whistle ,Project Manager: Okay . {vocalsound} The the keyrings , yeah yeah .User Interface: you know those things ? Because we always lose our remote control.Industrial Designer: Right .Marketing: {vocalsound} Uh yeah uh ,Project Manager: Okay , that's cool .Marketing: being as a Marketing Exper Expert I will like to say like before deciding the cost of this remote control orany other things we must see the market potential for this product like what is the competition in the market ? What are the available prices of the other remote controls in the prices ?Project Manager: {gap} Okay.Marketing: What speciality other remote controls are having and how complicated it is to use these remote controls as compared to other remote controls available in the market . So before deciding or before finalisingthis project , we must discuss all these things , like {disfmarker}User Interface: Okay .Marketing: and apart from this , it should be having a good look also , because people really li uh like to play with it when they arewatching movies or playing with {gap} or playing with their C_D_ player , M_P_ three player like any electronic devices .User Interface: Mm . Mm-hmm .Marketing: They really want to have something good , having agood design in their hands ,Project Manager: {gap}User Interface: Mm-hmm . Yeah .Project Manager: Okay .Marketing: so , yes ,Project Manager: 'Kay .Marketing: all this .Industrial Designer: Uh , what do we think a{disfmarker}Project Manager: So , we're looking for {disfmarker} {gap} 'Kay .Industrial Designer: What do we think a good size would be for this ? {gap}Project Manager: We're {disfmarker}Marketing:{gap}Industrial Designer: 'Cause I I know as you add more buttons to the remote it sometimes gets so big and clunkyProject Manager: Sorry , carry on . {vocalsound}User Interface: {vocalsound}Industrial Designer:and there's just like a hundred buttons on it ,Project Manager: Mm-hmm .User Interface: Yeah .Industrial Designer: or you could have a really small slim one but then you could lose it easily . {vocalsound}ProjectManager: Mm-hmm .User Interface: Yeah . Then you lose it , yeah . {vocalsound}Project Manager: Okay .User Interface: Kind of um , maybe more like a P_D_A_ kind of , just hand held , like ,Project Manager: For foruhUser Interface: 'cause {disfmarker}Project Manager: remember we're trying to make it for twelve Euros fifty . {vocalsound}User Interface: Yeah . No , I wasn't , no sorry I wasn't thinking of the screen of like aP_D_A_Project Manager: Okay well right we'll have to um {disfmarker} I'll {disfmarker}User Interface: butProject Manager: we're k having another meeting in half an hour so umUser Interface: Okay .Project Manager:we should all look into a bit uh , oh actually , no , we'll allocate . So you do the looking around at other remote controls .Marketing: Yeah .Project Manager: Um , if you could maybe come up with sort of shapes andsuggested shades or whatever , and you could look into um {vocalsound} basically how how it's made I_E_ like how you make it all in one , how {disfmarker} what sort of materials are available to you whatever . Andobviously , other instructions will come from the personal coach .Industrial Designer: Right .Project Manager: Which will probably just usurp what I said so {disfmarker}User Interface: So you want me to look at shapesand everything you said ?Project Manager: Shapes and colours and {disfmarker} um basically how to make it attractive .User Interface: Yep . Okay .Project Manager: Uh .User Interface: Mm-hmm .Marketing:{gap}Project Manager: And you look at competition and design .Marketing: Yep .Project Manager: Cool . {vocalsound}Industrial Designer: {vocalsound} Okay .User Interface: Okay .Marketing: {gap}Project Manager:SoIndustrial Designer: {gap}Project Manager: we have uh {disfmarker}Industrial Designer: Wait for emails ?Marketing: Uh .Project Manager: {vocalsound} Um .Industrial Designer: {vocalsound}Project Manager:{vocalsound} {vocalsound}Industrial Designer: Hmm .Project Manager: {vocalsound}Industrial Designer: {vocalsound}Project Manager: Okay , groovy . And no doubt we'll get um {disfmarker}User Interface: Oh no ,{gap} .Project Manager: Sorry .User Interface: SorryProject Manager: We'll get um warnings for next meetings as well .User Interface: it's okay . Okay , cool .Project Manager: {vocalsound} Okay . I shall {disfmarker}I can't imagine these {gap} are worth much . {vocalsound}Marketing: Hmm .Project Manager: Okay . Fashion into electronic . Okay ."}
+{"doc_id":"doc_181","qid":"","text":"The Chair (Hon. Anthony Rota (NipissingTimiskaming, Lib.)): I call this meeting to order.  Welcome to the 23rd meeting of the House of Commons Special Committee on the COVID-19 Pandemic.  A reminder to allmembers that in order to avoid issues with sound, members participating in person should not also be connected to the video conference. For those of you who are joining via video conference, I will remind you thatwhen speaking you should be on the same channel as the language you are speaking, and please use your headsets. As usual, please direct your remarks through the chair. As I understand, there are no ministerialannouncements today.  We will now proceed to presenting petitions. I remind members that any petition presented during a meeting of this special committee must have already been certified by the clerk of petitions.For members participating in person, I ask that they please come and drop their signed certificates off at the table once the petition is presented. I would ask members to be very brief and concise, and to summarize theexact content of the petition. We will continue. The first person presenting a petition today is Ms. May.Ms. Elizabeth May (SaanichGulf Islands, GP): Thank you, Mr. Chair. I present two petitions this morning. Theresidents of SaanichGulf Islands are calling on the government to simplify the process for protection of marine protected areas. It's a multi-layered communication process. The marine protected area first proposed inthe 1970s for the southern Strait of Georgia, now called the Salish Sea, has been awaiting designation for so long that it was originally endorsed by Jacques Cousteau. That gives us a sense for why petitioners arecalling for a simplified and more rapid process. The second petition is from petitioners who are very concerned about our obligations under the United Nations Declaration on the Rights of Indigenous Peoples and ourcommitments under the Truth and Reconciliation Commission calls to action. They specifically reference the RCMP violation of UNDRIP in its actions on Wet'suwet'en territory and ask the government to commit toactually living the principles embodied in UNDRIP.The Chair: We will now go to Mr. Hardie.Mr. Ken Hardie (FleetwoodPort Kells, Lib.): Thank you, Mr. Chair. I am presenting a petition on behalf of the one in a millionCanadians who suffer severe and adverse effects from vaccinations. GuillainBarre syndrome is very debilitating, and this petition seeks the setting up of a no-fault accident or compensation system to help offset the lossof work, the loss of wages and the loss of quality of life that many of these people suffer. I'm pleased to present this petition pursuant to Standing Order 36.The Chair: Mr.Trudel, you have the floor.Mr. Denis Trudel(LongueuilSaint-Hubert, BQ): Mr.Chair, culture is the soul of a people. Over the past 20years or so, culture, especially music, has never been as accessible as it is now. Paradoxically, creators' incomes have never beenso low. The advent of digital technology has completely overturned the system for distributing the wealth generated by creators for the benefit of various Web stakeholders, many of whom are billionaires. This petitionaddresses these problems and proposes realistic solutions. The first is to set a minimum royalty model for streaming platforms for artists. The second is to update the existing private copying system. The third is forInternet and cell phone providers who sell their services as direct access to culture to share their profits with artists. The fourth is that the GAFAMs have to pay taxes on their services. Six thousand people have alreadysigned the first version of this petition, launched last month by musician JordanOfficer and supported by singer BarbaraSecours. As an artist, I am proud to present this petition today because the issues it raises arefundamental to the survival of Quebec culture.The Chair: We'll now continue with Mr. Genuis.Mr. Garnett Genuis (Sherwood ParkFort Saskatchewan, CPC): Thank you very much, Mr. Chair. I have four petitions topresent today. I will be as brief as you suggested, although I will observe that if some members are going on longer during petitions than they normally do, it might be because the government has taken away so manyof the tools that opposition members normally have for raising important issues in the House. The first petition deals with the issue of euthanasia and long-term care. The petitioners are concerned that instead offocusing on improving medically assisted life, something that we know is a major issue in light of recent revelations, the government has put so much time and legislative energy into efforts to continually further expandeuthanasia in Canada and remove vital safeguards. The second petition speaks to the ongoing conversations happening in Canada around systemic discrimination and systemic racism. I think we do need to reflect onsystemic discrimination. This petition deals specifically with Bill 21 in Quebec and raises concerns. The reality of the way that bill applies is that people from certain backgrounds who wish to practise their faith are notable to fully participate in Canadian society if they are employed in the public service. This petition asks the government to provide a response on that issue, something it hasn't done in response to past petitions onthis. The third petition deals with the issue of firearms. The petitioners want to see the government take a strong response in dealing with illegal guns and gun smuggling. The petition notes that the vast majority offirearms-related crimes in Canada involves illegal guns. At the same time, the petitioners are concerned that the government has the wrong focusthat is, harassing law-abiding firearms ownerswithout putting in placesubstantial measures to deal with illegal guns. The petitioners want to see the reversal of the order in council from May 1 and strong measures to deal with illegal firearms. The fourth and final petition deals with BillS-204, a bill that would make it a criminal offence for a Canadian to go abroad and receive an organ from a person who has not consented to giving that organ. It would also create a mechanism by which someone couldbe deemed inadmissible to Canada if they were involved in organ harvesting and trafficking. The petitioners are supportive of Bill S-204 and of similar bills in previous parliaments and would like to see us pass that billas soon as possible.The Chair: Presenting petitions, Mr. Lamoureux.Mr. Kevin Lamoureux (Winnipeg North, Lib.): Thank you, Mr. Chair. It is with pleasure that I table another petition by the residents of Winnipeg North.These residents have signed a petition asking the Government of Canada, and in fact all members of Parliament, to put a high priority on assisting our poorest seniors. The increases to the GIS by $200, and $300 to theOAS, have been well received. They just want to highlight how important it is to support our seniors, in particular the poorest of our seniors.The Chair: For members present in the Chamber, a reminder that they areasked to bring their petitions to the table. We'll now proceed to statements by members. We'll go to Ms. Atwin for the first one.Mrs. Jenica Atwin (Fredericton, GP): Thank you, Mr. Chair. June 21 is National IndigenousPeoples Day, a day of acknowledgement and a day of celebration of the beautiful diversity of indigenous peoples across Turtle Island. I wish to recognize the leadership of Chief Shelley Sabattis of the Welamukotuk FirstNation in Oromocto, New Brunswick. Each year she and her council, volunteers and staff go above and beyond to show appreciation for their members and to demonstrate pride and culture while promoting well-being.We gather in an event where all are welcome to take part, from traditional hand drum-making with elders to moose meat and tacos. This year we will celebrate a bit differently, but we will still stay connected, virtuallyand in spirit, to the vast network of indigenous peoples and allies. We need each other now more than ever. May we come together in song and stories and in solidarity. We will remember those who are not among us. Ihope all of Canada will join us in observing National Indigenous Peoples Day.  Mawiyapasuwok: let us come together. Nit liech.The Chair: We'll now go to Mr. Beech.Mr. Terry Beech (Burnaby NorthSeymour, Lib.): Mr.Chair, COVID-19 is an unprecedented challenge for all communities across Canada, but as we do our part to flatten the curve, I often think about those who suit up every morning to serve on the front lines of our healthcare system. My mother is a home care worker and my sister is a nurse. Even before the crisis, they would often share the hardships they faced on a day-to-day basis. It's a tough job at the best of times. In apandemic, these jobs are life-threatening. I think we can all agree that these workers deserve more than our good wishes. They deserve a raise. That is why we have worked with the provinces to implement pandemicpay. In British Columbia more than 250,000 front-line workers are eligible for this program. That works out to a pay increase of about $4 an hour. It's a small show of our appreciation for their difficult and pricelesscontribution to our country. Share this message and say thanks to our front-line workers, participate in the 7 p.m. cheer, and order a pizza for your local nurses. It's the least we can do.The Chair: We'll now go on to Mr.Shipley.Mr. Doug Shipley (BarrieSpringwaterOro-Medonte, CPC): Thank you, Mr. Chair. We've been living in difficult times. Slowly, we are getting back to some resemblance of normalcy, although unfortunately not soonenough for some of our great summer festivals. It will not be normal in BarrieSpringwaterOro-Medonte this summer without the iconic Boots and Hearts weekend music festival, Kempenfest, Oro World's Fair, theElmvale Fall Fair, or the Midhurst Autumnfest. Canada Day celebrations have been cancelled, but we can still celebrate the great nation we call home. Because of the lack of Canada Day celebrations, I've created HappyCanada Day lawn signs that are available through my constituency office, free to all residents of BarrieSpringwaterOro-Medonte. I'm also hosting a drive-through party on Canada Day at the Royal Canadian Legion onSt. Vincent Street in Barrie. All are welcome to attend. There will be cupcakes for all. Please drop by the legion between 11 a.m. and 2 p.m., and we can celebrate Canada Day safely together. Thank you and have agreat summer.The Chair: Now we'll go on to Ms. Young.Ms. Kate Young (London West, Lib.): Thank you, Mr. Chair. Among the countless ordinary Canadians who have stepped up to do extraordinary work duringCOVID-19, I wish to draw attention to our teachers. Teachers have always had a special place in my heart. My father was a teacher, and my daughter-in-law, Kelly Webb, is one now. I'm certain that my colleagues canall easily remember a teacher in their past who played an important role in helping them achieve their potential. I remember my grade 12 English teacher, Vince Weaver, at Westminster Secondary School in London. Hemade me realize that I could do so much more than I believed. Across the country, as schools closed, teachers did not stop their work. Some took their classes online. Others found innovative ways to continue engagingwith their students. This is not the school year anyone imagined, and what the next one will look like is unclear, but our teachers in London West and across Canada have shown that no matter what, they will be there tohelp our next generation shine.The Chair: Before proceeding to the next presenter, I just want to remind the honourable members in the chamber that I realize that the six-foot limit makes it harder to whisper to eachother, but we're hearing a bit of rumble, so I just want you to try to whisper at your best. Mr.Bergeron, you have the floor.Mr. Stphane Bergeron (Montarville, BQ): Mr.Chair, on July1st, we will be celebrating one of themost important events for the riding of Montarville: the 175thanniversary of the city of Saint-Bruno-de-Montarville. The theme Proud of our traditions will be the focus of this celebration for the people of Montarville.This is a good illustration of the rich history of this municipality nestled in the western foothills of Mont-Saint-Bruno. The seigneury of Montarville was granted in1710 to the illustrious former governor of Trois-Rivires,PierreBoucher. The parish of Saint-Bruno, which took root there and in which a village grew, became a municipal corporation in1845. To this day, it is one of the most prosperous localities, with a strong sense ofbelonging, a very dynamic community life and jealously preserved natural environments. A whole program had been drawn up for the celebration, but the current health crisis has taken over some of the plannedactivities, which has in no way diminished the pride and festive spirit of the people of Montarville. On July1st, we will have a good reason to be proud, in spite of everything. Happy 175thanniversary toSaint-Bruno-de-Montarville.The Chair: We'll now continue with Mr. Maloney.Mr. James Maloney (EtobicokeLakeshore, Lib.): Mr. Chair, thank you for allowing me to take a moment to highlight an initiative that I startedearly on during the COVID-19 pandemic. The Heroes of EtobicokeLakeshore is an opportunity for citizens in my riding to recognize the contributions of those in their community who make life a bit easier. I'm pleasedwith the number of nominations I received that honour everyone from front-line workers to businesses that are innovating in these difficult times to volunteers who are finding new ways to reach out. I think of DanielLauzon who set up Food for Now, a mobile service that helps take care of the homeless. I think of Toni Varone, who helped his business clients by forgiving their rents, or young Lucas, who wanted to thank his teachers.I've been moved and inspired by the countless stories of generosity, strength, resiliency, kindness, incredible character and creativity. I want to thank all the heroes, as well as the people who nominated them. Keepthem coming. Stay safe, everyone, and I wish you happy Canada Day early.The Chair: We'll now move on to Ms. Wong.Hon. Alice Wong (Richmond Centre, CPC): Mr. Chair, it gives me great pleasure to thank a localRichmond-based charity, the Social Diversity for Children Foundation, SDC, for its hard work both in raising funds for the purchase of personal protective equipment and in distributing this PPE to long-term care facilitiesand individual seniors' homes in the lower mainland of B.C. The COVID-19 relief fund is supported by a dozen other non-profits, businesses and community groups. Over the past two months, SDC has been to 32seniors homes and senior-related organizations. In total, it has delivered masks to 7,000 care workers, staff and seniors. It is amazing to have witnessed how the younger generation have gotten involved in caring forthe elderly at this very challenging time.The Chair: We'll now go to Ms. Damoff.Ms. Pam Damoff (Oakville NorthBurlington, Lib.): Mr. Chair, June is ALS Awareness Month, and 79 years after Lou Gehrig died from ALSlittle has changed. There's still no cure, and those with ALS typically die within five years of diagnosis. On June 21, Canadians will gather virtually to raise funds for ALS Canada in the Walk to End ALS. In Halton,normally we meet each year at Bronte Creek Provincial Park on the May long weekend to raise funds for ALS Canada. This year I will virtually join Tim's Titans, a team formed to honour Tim Robertson, my friend whodied in 2016 after living with ALS for 13 years. I have a T-shirt, with a picture of Lou Gehrig, that says, Great Player...Lousy Disease and Tim's Titans...Great Team! ALS...Still a Lousy Disease. Join me on June 21 forthe virtual Walk to End ALS to raise funds to support patients and their families and for ALS research.The Chair: We'll now continue with Ms. Khera.Ms. Kamal Khera (Brampton West, Lib.): Mr. Chair, on Saturday ourcommunity stood and marched in solidarity against anti-black racism. The peaceful protests that we're seeing across the country and around the world were not triggered by an isolated incident. They are fuelled bydecades of ineffective action against something that is so insidious and deeply entrenched in our history, systems and institutions. For us, that is the racial inequality faced by Canada's indigenous and blackcommunities. Anti-black racism is real. It exists right here in Canada, in our communities, including in Brampton. It exists when racialized students at McCrimmon Middle School are called McCriminals. It exists when ashocking report exposes the Peel District School Board's failure to work fairly with the black community. It exists when D'Andre Campbell, who was fighting mental illness, loses his life at the hands of the police. It isclear that we need reform. We need to dismantle the systems that allow this privilege and oppression to take form, and address the unconscious bias plaguing our institutions. We'll need to be bold, and the time to dothat is now.The Chair: We'll now go to Mr. Lloyd.Mr. Dane Lloyd (Sturgeon RiverParkland, CPC): Mr. Chair, a few months ago I rose in the House on the eve of our closure due to COVID-19. I told Canadians we must notgive in to fear, that we would carry on and get through this crisis stronger than ever. Today, in this city and across Canada, Canadians are enjoying a beer on their favourite patios. Businesses are reopening, jobs arereturning and our lives are starting to feel a bit normal again. Canadians pulled together, and because of that we did not see the devastating death toll that many had predicted. Life may be returning to normal, butunfortunately, here in this chamber of democracy, the people's voices continue to be shut down. There is no good reason for Parliament to be suspended today. In the words of my grandfather, it's time for the Liberalsto get with the program and bring back the House.The Chair: We will now proceed with Ms. Jones.Ms. Yvonne Jones (Labrador, Lib.): Mr. Chair, from in-person learning to virtual classrooms, COVID-19 has drasticallychanged the lives of students across the country, especially those in post-secondary education who are worried about covering costs like tuition or rent this coming fall. Our government recognized that students shouldnot have to worry or put their futures on pause during this difficult time. That's why last month the federal government introduced the Canada emergency student benefit. If you're a high school student headed to apost-secondary school, or a current post-secondary student or a recent graduate, you can receive the Canada emergency student benefit every four weeks and have the financial support that you need to save forschool. We also doubled Canada student grants and loans, enhanced the student loan program, increased supports for indigenous post-secondary education and introduced the Canada student service grant for thosewho wish to pursue it. Our government is here to help all students get the support they need to pursue their future goals successfully. I wish them all the very best, and I wish all of you, my colleagues and those acrossCanada, a very happy National Indigenous Peoples Day, which is coming up on June 21.The Chair: I want to remind the honourable members to keep to their 60 seconds so that we don't go over the time. I'm sure itwould be a lot easier for everyone if we stuck to that limit. We will now go to Mr. Aitchison.Mr. Scott Aitchison (Parry SoundMuskoka, CPC): Mr. Chair, I rise today to once again implore the government to do somethingabout the horrible lack of access to and crazy cost of rural Internet service. Right now, too many areas of my riding have no access to rural Internet service at all, and those who can get service are paying through thenose. I've even heard constituents say that during this pandemic, they are having to choose between feeding their kids and educating them. Over the last few weeks, Conservatives have been consulting with ruralCanadians, and the results are in. My constituents are tired of fancy political promises. They are frustrated beyond belief by the new challenges created by this pandemic. They are absolutely fed up with having theirpleas ignored. All we want is affordable and reliable Internet service. Is that too much to ask of the government?The Chair: We'll now go to Mr. MacGregor.Mr. Alistair MacGregor (CowichanMalahatLangford, NDP): Mr.Chair, these last few months have been incredibly challenging for the residents of CowichanMalahatLangford, who have been forced to deal with the economic and social consequences of COVID-19. The pandemic haslaid bare the inadequacies of our social safety net, the weakness in our supply chains and the dependence of our society on essential workers, who often work long hours for low wages, putting themselves and theirfamilies at risk. We've also been forced to confront the systemic inequality, poverty and racism that continue to hold so many people back from achieving their full potential. I will not dishonour the sacrifice that so many"}
+{"doc_id":"doc_182","qid":"","text":"Marketing: Great man . Who starts ?Project Manager: Well I'll uh start just with another presentation , so then we can uh look at th at the agenda uh for this meeting .Marketing: Alright , great . Alright .ProjectManager: {vocalsound} Okay . I've put some uh new things in the in the map .Marketing: Mm-hmm .Project Manager: Uh oh . {vocalsound} This is it . I don't know the shortcut , so {disfmarker} Ah F_ five . Well ourfunctional design meeting , that's the stage we're in .Industrial Designer: Mm .Project Manager: And you also ha all three of you have uh prepared something about it .Marketing: Yes .Project Manager: Well um in we'lluh just have a look at the at the notes from the previous meeting , what we uh thought we had dec decided . But uh {disfmarker} Uh then we'll uh look at uh the three uh presentations uh from you . I think you haveprepared uh all three uh ? {vocalsound}Marketing: 'Kay .Industrial Designer: Well , yeah .Marketing: Yeah .Project Manager: Um we'll look at th the new project requirements we uh {disfmarker} I dunno . Y you alsohave uh received that mail , the new project requirements from our bosses ?Industrial Designer: No . {vocalsound}Project Manager: Oh I've received a mail with uh some additional requirements ,Marketing: No . You'rethe only one . {vocalsound}Project Manager: and I'll have a look if {disfmarker}Industrial Designer: Oh .Marketing: Alright .Project Manager: Well I think we should show them before your presentations , because it'snot really uh smart uh to uh to include some things uh we can't , because of the new requirements . Well um then we can make some decisions about our remote control functions .Marketing: 'Kay .Project Manager: Wehave to deb we have to decide it in this meeting what our function will be . And then uh we can discuss uh some more closely . Uh {disfmarker}Industrial Designer: We have forty minutes for this uh discussion ?ProjectManager: Uh yeah , I think so . {vocalsound}Industrial Designer: Alright .Project Manager: Well uh {gap} the closing uh we'll not uh look at it yet .User Interface: {vocalsound}Marketing: Alright .Project Manager: Um{vocalsound} now I'll look at {gap} show {gap} this board . Um {disfmarker} Well uh notes , first meeting . Now . I gave a disc a a presentation . Uh we familiarised ourself with the boards and then we discussed somefirst ideas . So we said that uh we have to merge the strong points from our uh competitors , and uh look at their uh remote controls .Marketing: Right .Project Manager: We should make it uh compatible with our newD_V_D_ and other releases we have , our technical releases .Industrial Designer: Huh ?Project Manager: Uh not too many one buttons . One recognisable button in the middle , where you do the most importantfunctions with . And um well they can have two functions , because uh you have a D_V_D_ and a television .Industrial Designer: {vocalsound} Yeah .Project Manager: Um the design has to fit the hand , be original , butalso be familiar . {vocalsound} It's uh one of our ideas .Industrial Designer: {vocalsound} {vocalsound}Marketing: {vocalsound}Project Manager: {vocalsound} Yeah well that wa It's just thirty minutes ago ,UserInterface: {vocalsound}Project Manager: so it's not quite uh {disfmarker} {vocalsound} But well I have to do it .Industrial Designer: Mm-hmm , now it's right .Marketing: {vocalsound} Yeah .Project Manager: Thematerials uh well should be hard plastic with rubber from {gap} , and uh well the labelling of the buttons should be indestructible . It should be uh recognisable at all times .User Interface: {vocalsound}IndustrialDesigner: It's meant to be easily wiped out , yeah . {vocalsound}Project Manager: Yes .User Interface: Mm .Marketing: Okay .Project Manager: Well fronts were to be {gap} just like mobile telephones . And uh thetechnical aspects um {disfmarker} And also labelling of the buttons , the functions should be universal standards . Well that's just uh some ideas from the first meeting . It's quite logical al all of it .Industrial Designer:Mm-hmm .Project Manager: Um now the new project requirements , I'll just show them . I got this mail from uh our bosses . Well , teletext goes out . We will not use teletext .User Interface: Oh .Marketing: Okay.Project Manager: Maybe a new sort of thing , but n but not teletext .Industrial Designer: I I disagree , but uh it's not uh t it's not my place to disagree I guess .Project Manager: Well {disfmarker} the second is a bit shpity because we just said we wanted to d include the D_V_D_User Interface: Oh .Project Manager: and they don't want it , because of our time we have for this project .Marketing: Alright .Industrial Designer: Oh ,alright .User Interface: Oh , that's a shame .Project Manager: So that's a shame , because uh especially for the third requirement we want to reach people under the thirty years . Because uh we don't have thosecustomers a lot at th at this point . Um well it's a bit pity because it's just those people want to have uh one remote control for all those technical devices they can uh reach it .Marketing: Yeah . But let's forget about it .It's just time-consuming ,Project Manager: Yeah .Marketing: so we uh have to go on .User Interface: {vocalsound}Project Manager: Well and uh our corporate image should stay rec recognisable in our products . So uhwe have to uh use uh maybe a slogan , maybe a colour , and um {disfmarker} Yeah well uh on our remote controls the design has to be uh , well as we already said a actually , uh familiar . Uh not only just uh theshape but also our company .Marketing: Yes .Industrial Designer: Yeah , we are a {vocalsound} real fashionable company . I read uh I read it on the {disfmarker}Project Manager: Yeah . {vocalsound} Yeah .UserInterface: Yeah . {vocalsound}Industrial Designer: I didn't know what company we were ,Marketing: Mm .Industrial Designer: but we we design uh especially trendy uh trendy trendy stuff .Marketing:{vocalsound}Project Manager: {vocalsound} Yeah . Okay .Industrial Designer: So it has to be uh a modern design . That's important to know , uh when you design a thing of course .Project Manager: Yes . I I uh noteduh our uh slogan that we have , our company . It's uh we mm put the fashion in electronics .Industrial Designer: Yeah .Project Manager: So maybe that's a slogan we can put uh somewhere on our remote control orsomething .Marketing: Right .User Interface: Yeah .Project Manager: Alright then um we're going to uh have three presentations .Marketing: Yeah .Project Manager: You want to start ?Industrial Designer:{vocalsound}Marketing: Yeah . {vocalsound} I think I have to start .Project Manager: {vocalsound} Oh you have to start ? I didn't see anything about uh who had to start .Industrial Designer: {vocalsound} The order? No . {vocalsound}Marketing: {vocalsound} Oh no , no problem .Project Manager: Well s then start .User Interface: Mm .Marketing: I I just have to uh to think which file's mine ,User Interface:{vocalsound}Marketing: 'cause I was uh bit in a hurry .Project Manager: Okay . Well uh {disfmarker}Marketing: I think it's this one . But I'm not sure . {gap}Project Manager: {gap} You already uh opened uhPowerPoint .Marketing: Hmm ? Yeah . S Right .User Interface: {vocalsound}Marketing: Yes . This is it .Project Manager: Yeah .Marketing: Well , I'm going to tell you something about functional requirements .ProjectManager: Mm-hmm .Marketing: Um to start with these points . Uh next sheet ? Um at first I tell you something about what people dislike about the current uh controls , because it's uh a smart thing to exclude thosethings . Uh , furthermore it's very important what they do like and what they do use . {vocalsound} Um then I tell something about um the most important issues . So we have to focus on those three thing three things. And in the end I'll um show you our target {vocalsound} audience or our target product users , customers . Well , {vocalsound} um the first findings are that people um think most controls are very kind of ug ugly.Project Manager: {vocalsound}Marketing: That's seventy five per cent of the current users . They don't like it , so we might think about fronts in that section . Um {disfmarker} They also say , that's about uh I thoughtit was fifty per cent , uh that more money will be spent on uh better looking controls . So it's very important that you design a a nice looking control . {vocalsound} Um the current user uses his machine just about wellall of the time for a few functions . Uh , almost every user uses it d the the control for just ten per cent of its capacity . So it's really important to make the the buttons for the common uh tasks kind of big or kind of uhflashy . Furthermore , it's uh {vocalsound} seventy five per cent of the users uh zaps a lot . Thus it might be uh might be smart to make a a big uh zapping button or something in the middle , so you can reach it withyour thumb .Industrial Designer: {vocalsound} You can zap away . Yeah . {vocalsound}Marketing: Yeah , yeah right .Project Manager: Yeah .Marketing: Right . A lot of losers um users lose their controls in their{vocalsound} in their living room .Industrial Designer: {vocalsound}Project Manager: {vocalsound}Marketing: So it might be sensible to make some kind of a button on your television , that's your um your controlbeeps or something , that you can find this very easily .Project Manager: {vocalsound} Well {disfmarker} {vocalsound}User Interface: Yeah .Marketing: I dunno , maybe that's an idea .Industrial Designer: Oh.Marketing: 'Cause it's uh a big {disfmarker} I think fifty per cent of the users loses his its control , within the same room .Industrial Designer: {vocalsound} Oh ?Project Manager: It should actually uh {disfmarker} Itshould actually be loose from the television ,User Interface: {vocalsound} Yeah .Project Manager: because it can also be used for other televisions . So if you deliver a small uh click-on device that you can put on yourtelevision , that bleeps to your remote control , everyone can use it .Marketing: Yeah but what if you lose your click-on device ?Project Manager: No you can click it on your television .Marketing: Yeah but if someone dsomebody else uses it in ano other room or something ?Project Manager: {vocalsound} Yeah in another room , yeah .Industrial Designer: {vocalsound}Project Manager: Well yes .Marketing: Nee but it it specificallysays it's uh the the control is lost in the same room .User Interface: {vocalsound}Project Manager: Yeah .Industrial Designer: Mm-hmm .Marketing: So {disfmarker} Well a beeping device would be {disfmarker}ProjectManager: Well we'll have a look at it , yeah .Marketing: Uh furthermore the learning time is a problem . Uh thirty four thirty four per cent um thinks it's it's too uh too difficult to learn . So the the learning curve shouldbe very short uh for the dumbest people should be able to use it .User Interface: {vocalsound}Industrial Designer: I think our uh user uh expert should also consider manual a manual for the remote , of course . Uh{disfmarker}Marketing: Yeah but people don't read manuals .Industrial Designer: I didn't read it ?User Interface: No .Industrial Designer: Oh , alright .Marketing: No .Industrial Designer: {gap} users to uh add one ?Do you think ?User Interface: I don't think {disfmarker}Marketing: I think you should put more time in the in the design of uh pick up and use , than a manual .User Interface: Yeah . Yes you should {disfmarker} Youshould could take a look at it and and and know how it how it's supposed to work . {vocalsound}Industrial Designer: Mm-hmm .Project Manager: Yep .Industrial Designer: Yeah alright . Because they don't use it ?Alright .Project Manager: Well there sh should always be a menu ,Marketing: Yeah . Right .Project Manager: but it c can be very short .Marketing: And it should be consistent with consistent with older remotes .UserInterface: Yeah but nobody reads a manual about a remote control , I think .Project Manager: Yes okay .Industrial Designer: Well maybe for the {disfmarker} If you don't recognise a button who d who d who do I calluh wh when I don't know it ?Marketing: Alright .User Interface: Yeah right . It sh it should be there , the manual . But but not to explain how the remote works . Only {disfmarker} {gap}Marketing: And we don't havemuch time . So it's better to uh put our attention to the the design . So you can pick up and use it , than {disfmarker} I think .Project Manager: Well we are a design team ,User Interface: Hmm .Project Manager: wecan say to some uh writer uh make a manual point .Industrial Designer: {vocalsound} Isn't it part of the of the uMarketing: Yeah right , right .Project Manager: SoUser Interface: {vocalsound}Industrial Designer: No .No . Never mind .Project Manager: Well we'll have a look . Um yes ?Marketing: Next point . Um R_S_I_ .User Interface: {vocalsound}Marketing: Well that's about twenty per cent I thought . But uh the designer shoulduh take it uh {vocalsound} should uh {disfmarker} Wie zeg ik dat ? Yeah , consider the consequences of using your remote .Industrial Designer: Consider the m Yeah .Marketing: It should be a good in your hand .{vocalsound}Industrial Designer: Mm-hmm .Project Manager: Yep .Marketing: Right , this is the most important part . Um , we're {disfmarker} Like the requirements said , we're gonna specify of we're gonna target ayounger audience . Um , {vocalsound} that's about sixty per cent of the market , so it's uh quite important . Um research shows that they like to have a little L_C_D_ screen on their on their uh zapping uh device . Uh{disfmarker} I thought it was the age between sixteen and twenty , ninety nine per cent of uh the people like that .Project Manager: Well {disfmarker}Marketing: So it's very important we should definitely have that inour uh designs .Project Manager: Well with twelve Euro fifty as production cost , we can't uh afford an L_C_D_ uh {disfmarker}Industrial Designer: It's going to be expensive . Yeah .User Interface: No .Marketing: Yeahbut {vocalsound} they think it's really important .Project Manager: Yeah .Marketing: So if we want to s If we have a big {disfmarker} {vocalsound} If we make lots of uh of the stuff , maybe we can uh buy it verycheap , I dunno . We have to uh {disfmarker}Project Manager: Well {disfmarker}Industrial Designer: Well we'll uh consider it uh .Project Manager: Yeah well uh it's your your task to uh look into the costs uh of thoseuh {disfmarker}Industrial Designer: We'll think abo we'll think {disfmarker}Marketing: Yeah , I don't know . I don't have any information on that . So {disfmarker} {vocalsound}Project Manager: {vocalsound}NighUser Interface: {vocalsound}Project Manager: I know . {vocalsound}Industrial Designer: No , we'll look we'll look into that later . Alright ?Marketing: Right . And uh another thing is uh speech uh recognition . Theyalso like that ,User Interface: {vocalsound}Marketing: but research is very uh costly . So {disfmarker}User Interface: I think that's uh difficult to realise also .Marketing: Yeah , but {vocalsound} it {vocalsound} itmight be important for the sale .Industrial Designer: We have very demanding clients .Project Manager: It's not yet a standard uh development uh those so {disfmarker}User Interface: {vocalsound} No and we havecustomers in multiple uh countries I think .Project Manager: We shMarketing: Well I do think L_C_D_ is more reachable than the speech recognition .Project Manager: Yeah absolutely .User Interface: Yeah .Marketing:So we might consider L_C_D_ screens .User Interface: {vocalsound} No .Industrial Designer: Yeah , yeah , alright . Well we'll consider both and and see what uh what what we can find , I think .Project Manager: Yep.Industrial Designer: We don't rule them out uh yet .Marketing: Alright .Project Manager: {gap} 'Kay .Marketing: Alright . Um , I think that's it . Um {disfmarker}Project Manager: Alright .Marketing: I think it is sensibleto u uh to take this take these points into the notes .Project Manager: Yes .Marketing: So you can {disfmarker} Right .Project Manager: Well you {disfmarker} I c I can uh still see your presentation .Marketing: Yeah .Right .Project Manager: It's in the {disfmarker} Well uh next um I dunno who is next .User Interface: Oh you go .Industrial Designer: Shall I give a technical talk ?Project Manager: Yes .Industrial Designer: Alright.Project Manager: Well go ahead . {vocalsound}Industrial Designer: Well uh it is my task to uh explain uh or to point out a working design .Project Manager: Yip .Industrial Designer: {vocalsound} We have that here .Okay , how do you enlarge it , so that you can have the {disfmarker}Project Manager: F_ five .Industrial Designer: F_ F_ five .Project Manager: {vocalsound} F_ five .Industrial Designer: Yep .User Interface:{vocalsound}Industrial Designer: Well , the working design ,Marketing: Alright .Project Manager: {vocalsound}Industrial Designer: that's my uh {disfmarker}Marketing: {vocalsound} Next button .{vocalsound}Industrial Designer: Well alright uh , you know who I am and what I do . So uh we have this . It's a bit uh unclear because I wanted to copy paste something . It was originally in black and whiteMarketing:Oh right .Industrial Designer: but it became black and purple .Marketing: Purple {vocalsound} .Industrial Designer: But I think you can read it .User Interface: {vocalsound} {gap}Project Manager:{vocalsound}Marketing: Yeah , yeah , yeah . A bit .Industrial Designer: Um well um I think it's important uh for you to realise the basic function of a remote control . Uh well you can see uh {disfmarker}Marketing:Maybe you can select it . So it uh inverts .Industrial Designer: {gap} And I then can select I can select on the dings {gap} It goes to the next page .Marketing: {gap} the p the whole picture .Project Manager: Click .{vocalsound}Marketing: Nah , uh never mind .Industrial Designer: Well , you can read it ,User Interface: Yeah , go ahead .Industrial Designer: it's not too difficult . Meanwhile , this is a schematic uh um view of uh howa basic remote control works . You have uh basically uh the energy , the power of the of the remote control , uh and the sender , w which is the LED , the the the the the the the the the bulb that sends the the infraredbeam to the , no , to the set .Marketing: Yeah . Alright .Industrial Designer: And uh the source is of course the user . Uh the user interface is um {vocalsound} uh the {vocalsound} the {gap} the buttons of course .UserInterface: {vocalsound}Industrial Designer: And the {vocalsound} the user interface sends uh the the different signals of the different buttons to the chip , and the chip uh sends it to the LED , and the LED sends it tothe receiver . That's the that's the basic idea .Project Manager: Yep .Industrial Designer: Very basic .Marketing: {vocalsound}Industrial Designer: Um well I have uh {vocalsound} uh {vocalsound} put it in a in in in a{vocalsound} a couple of basic steps .Project Manager: {vocalsound}Industrial Designer: Uh the remote uh is basically just waiting for a user to press a key . It does nothing until uh of course uh the key is pressed .The key {gap} a signal to a chip , uh the chip senses the connection . {vocalsound} uh and recognise the key . So {vocalsound} well you understand .Project Manager: {vocalsound}Industrial Designer: The chip uhproduces Morse code , um a specific code to indicate that specific button that is pressed , of course . And it uses transistors in the in the remote control to amplify and to send uh that signal again to the to the LED ,which is the bulb , of course .Project Manager: {vocalsound}Industrial Designer: Now the LED produces an infrared beam and signals the , well it's uh very simple , and signals the uh signals to the sensor on the T_V_set ,Project Manager: Yeah .Marketing: {vocalsound}Industrial Designer: and the T_V_ set uh also recognises the the {vocalsound} the signal , and performs the assigned task .Project Manager: So it is also why wehave to have a button that says uh I'm now busy with a D_V_D_ uh if we had done that . And a button for T_V_ . So {disfmarker}Industrial Designer: Ah bu Yeah , but we don't . Uh we {disfmarker} {vocalsound}UserInterface: {vocalsound}Industrial Designer: No no , but {disfmarker} Yeah . Exactly . Uh well this is uh the basic uh function of a remote .Project Manager: {vocalsound}Industrial Designer: I've some couple of pictureshere . It's a very basic one . And uh {gap} if we if we're going to add an uh an uh L_C_D_ screen to it , it uh won't look anything like this , but {disfmarker} This is very basic uh basically the the shape of um of aremote control . It has uh very little buttons and {disfmarker}User Interface: {vocalsound}Industrial Designer: But it it uh it's it's quite um {disfmarker} Yeah , you can easily recognise the buttons . They're uh farenough apart and an anything . It's not very um uh not very high-tech uhUser Interface: High tech . {vocalsound}Industrial Designer: indeed , and it's not very user-friendly . Uh if you look at the shape , it's uh just a"}
+{"doc_id":"doc_183","qid":"","text":"Project Manager: So uh good morning .User Interface: Morning .Marketing: Morning .Project Manager: I see you all find your places .Industrial Designer: Morning .Project Manager: Is everybody sitting on the right place? Yeah ?Marketing: Yep .Project Manager: I guess so . So {disfmarker} Let's see . First I will introduce myself . I don't know if uh {disfmarker} if everybody knows me , so I'm Bart ,Marketing: My name's Frank .ProjectManager: hello . Hello .User Interface: I'm {gap} .Project Manager: Bart . Hello . Hello . Bart .Industrial Designer: {gap}Project Manager: Welcome .Marketing: Thank you .Project Manager: Uh let's see . Uh let's startoff um with a little presentation . Uh Now first I'll tell you a little bit about the setting . You can see there are a few cameras here . They'll record uh our actions and you'll have wires and microphones that will recordyour voice . Uh there are also some microphones there but th um you don't have to pay a lot of attention on those , because it will uh disappear when you don't attend to it . So is there a project documents folder ?There are some notes in it already I see , some documents . Uh I'll start with the presentation kick off . Is being modified by the administrator . Uh okay {vocalsound} .User Interface: {vocalsound}Marketing:{vocalsound} Hmm , that's interesting .Project Manager: Let's do it read only . Well I don't know if you've noticed , but uh we're working for Real Reaction . Uh it's a company in uh electronics . We put fashion inelectronics , uh we make it work , uh we put a lot of effort in design and in the product itself . I'm Bart {gap} the project manager so I'll direct you through the project . This is our agenda . {vocalsound} Uh we haveour opening acquaintance , tool training , project plan description closing .Marketing: {vocalsound}Project Manager: Uh maybe I can sit down , then I can take some notes or {disfmarker} Let's see . Maybe you cantake the minutes once in a while .Marketing: Sure .Project Manager: I dunno it's not a lot of work , but just uh if you hear something uh you can write down , just write it down . Uh as you can see uh it's the opening ,aquaintance tool training . Aquaintance is a point we've done a bit . Um have you all seen the corporate website already ? Yeah .User Interface: Yep .Marketing: Yep . Visit it .Project Manager: Have you seen any flawsin it ? I think I found one . {vocalsound} No ?User Interface: Hmm ?Marketing: Can't say I paid much attention to it ,Project Manager: I can see if it works this way . No , it doesn't work here .Industrial Designer:{vocalsound}User Interface: {vocalsound}Project Manager: Okay no problem . But um on the corporate information side there's a th uh {disfmarker} there was Real Remote instead of Real Reaction .Marketing: Ohyeah .Project Manager: Real Remote is not really the company we're {disfmarker} we are , but it's just a little {gap} fault .User Interface: Okay . Yeah .Project Manager: Um okay , what are we going to do ?{vocalsound} Uh our project aim is as you can see a new remote control . It has to be original , trendy , and user friendly . So these are uh the points why uh we also hired you . {vocalsound} We've got the MarketingExpert for uh the trendy and user friendly look .Marketing: Okay .Project Manager: And Industrial Designer uh there's also user friendly and a bit original . {vocalsound} And we've got our User Interface Designer .UserInterface: Yep .Project Manager: He's also uh {disfmarker} That's about the new remote control . Uh project method um is uh there are three phases we are going through . First is functional des uh design , individualwork , meetings . After the functional design , then the conceptual design and the detailed design . {vocalsound} I had some role indications on here . But I think you know it already by yourself . The IndustrialDesigner is going to work on the working design , uh components design and a bit of the look and feel design . Uh the User Interface Designer is going to do the technical function design , user interface concept anduser interface design . {vocalsound} And the marketing expert is doing a little bit of user requirement specification , trend watching and project {disfmarker} uh product ev evaluation . So that's a bit what you're goingto do . But that will be all worked out in uh other meetings .Marketing: {vocalsound}Project Manager: Then we've got our first tool training . {vocalsound} We are going to work with a lot of high-tech tools here , so it'sab it's handy if we have a little bit of training first . As you can see we've got the smart boards here and here in the white board . Um in the white board here there's a little tool bar on this side . Here are some functions. You can save . N uh these functions we don't have anything to do with , only undo , you can undo a little uh piece of drawing . A blank new document for each person . Uh select a pen , eraser . Capture we don't haveto do anything with . Uh then we've got our pen . This pen . It's really funny because you can draw with it on this page um in the {disfmarker} think it is form of .Marketing: 'Kay .Project Manager: You can also selectthe current colour and the line width . But then first you have to select the pen function .User Interface: Hmm .Project Manager: But we're going to work with it in a minute . So okay . Uh that's very simple and it's easyto uh draw your findings and drawings on there . {vocalsound} Uh then a short thing about documents . We've got our shared folder , project {gap} project {disfmarker} what was it ? Project documents {gap} I think .But all you will found that already because there are a lot of documents in it already , so it will be okay . And these are available on the smart boards as well , so if you have a document you wanna show , just open itfrom the folder .User Interface: Okay . Yeah .Project Manager: Here is a simple tool bar . It's what I just said , it's save , print , move back or forward one page . You can switch between the different drawings . Andthen we're going to try out the white board .Industrial Designer: {vocalsound}Project Manager: {vocalsound} So as you can see we g all {vocalsound} going to draw a animal . {vocalsound} Just to uh uh just to get abit familiar with it .User Interface: {vocalsound}Project Manager: {vocalsound} {vocalsound} Mouse wasn't running away . {vocalsound}Marketing: {vocalsound}User Interface: {vocalsound}Marketing: That wasinteresting .Project Manager: Is everybody {disfmarker} is anybody playing with the mouse ? No .Marketing: {vocalsound} Innocent .Project Manager: Okay . {vocalsound}User Interface: {vocalsound}ProjectManager: We're going to uh draw animal . {vocalsound} And uh just sum up a few of its favourite characteristics .Marketing: {vocalsound}Project Manager: Um the only thing we have to uh look after is that we usedifferent colours , and different line width .Marketing: {vocalsound} {vocalsound}Project Manager: Uh there's {disfmarker} I can start from now . I will . You can use this pen by holding it like a like a little child .Because if you hold it like this , the sensors will get blocked and then the drawing won't get good .User Interface: Okay .Marketing: 'Kay .Project Manager: Another thing is you have to be uh a bit slow . 'Cause if you'regoing to draw like really fast then um the pen won't hold up . So we choose form of current colour uh I think grey is appropriate . Then the line width . I think seven will be nice . Now you'll see my drawing capabilities.User Interface: {vocalsound}Project Manager: These are not very much , but uh {disfmarker} Uh , see you have to do it real slow . {vocalsound} Oh {gap}Industrial Designer: {vocalsound}Project Manager:{vocalsound}User Interface: {vocalsound}Marketing: {vocalsound}User Interface: Sure .Project Manager: Ah I was trying to draw a dolphin ,User Interface: {vocalsound} {vocalsound}Project Manager: but I think hisnose has to be a little bit {disfmarker}Marketing: {vocalsound}User Interface: {vocalsound}Project Manager: But it's close .Marketing: I'm thinking about a swordfish .Project Manager: So what {disfmarker} yeah it's{disfmarker} this is bit of the swordfish .User Interface: Yeah . Yeah .Marketing: {vocalsound}Project Manager: Yeah , he hasn't got an eye .User Interface: {gap} {vocalsound}Industrial Designer: {vocalsound}Mm-hmm .Project Manager: Woah . {vocalsound} Now we've got another function . We've got the eraser .Marketing: {vocalsound} {vocalsound} .Project Manager: {vocalsound} And then you can undo this easily.Marketing: Meat .Project Manager: Ah it's okay .User Interface: {vocalsound}Project Manager: And I've got to write down a few of its characteristics . Uh is {disfmarker} They've got no text tool , no . Uh .{vocalsound} Okay .User Interface: {vocalsound}Marketing: {vocalsound}Project Manager: This is typically a undo action , I think . {vocalsound}Marketing: Yeah . {vocalsound}Project Manager: Pen . Maybe you haveto hold it a bit upside-down . I think that's it because if you wan ar are going to do it like this then it will be a stripe . But I don't know , I'm just trying . {vocalsound} {vocalsound} This is not my work ,IndustrialDesigner: {vocalsound}Marketing: {vocalsound}Project Manager: okay .Marketing: Hmm .Project Manager: Maybe you have to use {disfmarker} Oh .Marketing: {vocalsound}Project Manager: Uh . I think it's a{disfmarker} it wants to draw a {disfmarker} another animal ? I don't know . It lives for the fun . So {disfmarker} It's my characteristic uh characteristic about the dolphin . It lives for the fun . So now I'm gonna handover the pen on the new blank sheet to you .User Interface: Okay .Marketing: Okay . {vocalsound}User Interface: {vocalsound}Project Manager: Go ahead .Marketing: Thank you . Okay . Gonna use a different linewidth . And I'm gonna draw in black . There . 'Kay , I'm not much of an artist , but here we go .Project Manager: Maybe it's easier to draw the smaller line width , I think . Because this is going a lot better than uh I did.User Interface: Hmm .Industrial Designer: {vocalsound}User Interface: A sheep .Marketing: Mm .Industrial Designer: {vocalsound}Marketing: {vocalsound} Okay .User Interface: {vocalsound}Project Manager:{vocalsound}Marketing: This is my um {disfmarker} Hmm . Sheep .Project Manager: It's nice . {vocalsound}Marketing: With of courseProject Manager: {vocalsound} Uh .Marketing: little blue dot they always getsprayed on their butts .Project Manager: {vocalsound} It's a real dead sheep ,User Interface: {vocalsound}Marketing: There .Project Manager: yeah . {vocalsound} For recognition ,Marketing: Yeah .{vocalsound}Project Manager: yeah , I see . {vocalsound} Um maybe you can also write your name somewhere .Marketing: 'Kay .Project Manager: On just a {disfmarker}Marketing: They are {disfmarker}ProjectManager: {vocalsound}Marketing: Come on . You have to go really slow when you're writing .Project Manager: Yeah .Marketing: They're brilliant animal animals .User Interface: {vocalsound}Industrial Designer:{vocalsound} {vocalsound}Marketing: And that's just a little me thingy . So . Guess I'll pass the pen to our User Interface Designer .Project Manager: Nice .User Interface: Okay . Um I'm just gonna draw its uh head ,but mm {disfmarker} Let's see . Mm . Uh . {gap} Okay . {vocalsound}Project Manager: {vocalsound} Sweet . {vocalsound}User Interface: {vocalsound} Yeah .Industrial Designer: {vocalsound}Marketing: Interesting.User Interface: You know what that is ? Or who ?Industrial Designer: Garfield .Marketing: A rabbit ?User Interface: Ah okay , yeah .Marketing: Garfield . Yeah .User Interface: Just a {disfmarker} Mm . Guess . So uh{disfmarker} {vocalsound} Yeah . That's enough . {vocalsound} Um , you say a blank ,Project Manager: Yeah , just a blank sheet .User Interface: or {disfmarker} Okay .Industrial Designer: Well I was gonna draw acat too , so .Project Manager: {vocalsound}User Interface: {vocalsound}Industrial Designer: I'll just try something else .Project Manager: No . {vocalsound}Industrial Designer: Something different than Garfield .UserInterface: {vocalsound}Industrial Designer: Mine is a bit more skinny . {vocalsound}Project Manager: Yeah , it's pretty skinny cat . {vocalsound}User Interface: {vocalsound}Marketing: Yeah . {vocalsound}IndustrialDesigner: {vocalsound} But uh {disfmarker}Marketing: And the most interesting tail .Project Manager: Is your cat , or did you find him on the street ? {gap} {vocalsound}Industrial Designer: {vocalsound}UserInterface: {vocalsound}Marketing: {vocalsound}Industrial Designer: {vocalsound} Well , it's supposed to be a cat . I like cats because uh they are uh independent .Project Manager: Ah . {vocalsound}IndustrialDesigner: The pen . So .Project Manager: Okay . That's pretty clear . So everybody knows how to work with the white board now ? So if you have any ideas or if you wanna draw anything on the white board , justaskMarketing: Yeah .Industrial Designer: The pen . {vocalsound}Project Manager: and go ahead . It's pretty uh easy .Marketing: {vocalsound}Project Manager: {vocalsound} 'Kay .User Interface: {vocalsound}ProjectManager: S {gap}Marketing: We're being haunted .Project Manager: haunted white board . {vocalsound} So we've got the tool uh introduction . We move along to the project finance .Marketing: {vocalsound}ProjectManager: Um as you can see , we um for our remote control , a selling price is uh twenty five Euros . Our selling price . Uh our profit aim is fifty million Euros . Uh that's the least we have to get from our remote controls, so we have to work together to reach our aims . Uh we can do it international , so we have to focus on different kind of users , different kind of cultures , and different kind of trends as well . Um but that's all in thelater stadium . Our production cost um can be maximal twelve and a half Euros , so that's also a point we have to keep in mind , that we won't make remote controls with small televisions inside , and stuff like that . Itwon't work . So just try to remember these points . Selling price twenty five , profit aims fifty million um , but more important is the int international market we're trying to focus on . And production cost uh maximaltwelve and a half Euros . So that's leads us to our little discussion . We've got about five or ten minutes left for discussion . So I'm gonna sit down , I think . It's easier .Marketing: Yeah , you got a message .ProjectManager: I've got a message . Five minutes . Okay ,User Interface: Five minutes , okay .Project Manager: that's uh good timing . {vocalsound} {gap}Marketing: So just on a side note , why is it my laptop is only givingme a black screen ?User Interface: Mm ?Project Manager: Uh maybe you have to say the magic word . {vocalsound}User Interface: {vocalsound}Marketing: {vocalsound} Yeah . Right .Project Manager: Does it doanything ?Marketing: No .Project Manager: Maybe you have to just clap it down ? Mm back up again . No slide show . Hmm .Marketing: It's off now .Project Manager: It's off . Now you have to put it back o Oh yeah .You'll be okay , I think .Marketing: Well , it was on , but {disfmarker}Project Manager: Well it's those laptops . {vocalsound}Marketing: Ah , there we are .Project Manager: Nice . Okay . {vocalsound} But so mm doeseverybody has um experiences with uh remote controls , and I mean not the ordinary mote controls , but also a little bit different ones ? Like you can use for other ?Marketing: {vocalsound}User Interface: Mm . Ohreally ?Project Manager: No ?User Interface: Huh .Project Manager: You ? {vocalsound}User Interface: It's a {disfmarker}Industrial Designer: No , me neither .Marketing: Well , we have a kind of broad T_V_ at home ,and a D_V_D_ player , so we got like a lot of remote controls , one for the T_V_ , one for the video recorder , one for the D_V_D_ player .Project Manager: Ah yeah .Marketing: And I think it's {disfmarker} it would bebest to just make one remote control that can operate them all .Project Manager: Yep . YeahUser Interface: Sure . Yeah .Project Manager: I've I've got one at home . And you can uh program I think eight differentdevices in it , and you can use it for your television , anything else .User Interface: Okay , yeah . Yeah .Project Manager: And it also operates on infra-red , so you have to got the little device inside your room , and thenyou can operate it from the third or th or second floor .User Interface: Okay , yeah .Marketing: OhProject Manager: So that's pretty handy when you have a video recorder or D_V_D_ player downstairs and you've got alink to your T_V_ on the second floor . So that's a pretty handy umMarketing: really .User Interface: Hmm . Oh . Mm-hmm .Marketing: Yeah .Project Manager: thing . {vocalsound} Um but only the I think that if youcan put different kind of devices in one remote control , it makes it a lot easier as well . It's uh {disfmarker}Marketing: Yeah .User Interface: Oh .Project Manager: That's good to remember .Marketing: So I think youcan take minutes again .Project Manager: Yeah , that's nice , I think . {vocalsound}Marketing: Since it's your job .Project Manager: So we've {disfmarker} we want different functionsMarketing: Yeah .Project Manager:uh and we can maybe see if we can do something with the infra-red . But I don't know if that will exceed the production costs . So that uh that's something we have to find out , I think .User Interface: Mm .Marketing:Yeah . But that would be really good if we could do that . {vocalsound}Project Manager: And other functions for a remote control ? Maybe we can make it uh uhUser Interface: Mm-hmm .Marketing: Um . Think it has tobe shock proofUser Interface: Sure , yeah .Marketing: 'causeProject Manager: Shock proof .Marketing: my remote control tends to fall a lot .User Interface: Waterproof , or uh {disfmarker}Project Manager:{vocalsound} Sure .User Interface: Uh , you never no know uh ,Marketing: So {disfmarker}User Interface: I w I mean uh {disfmarker}Project Manager: Waterproof . Okay . So these are our um a few things we canthink of . Um I will put the minutes from this meeting uh in our project folder .User Interface: 'Kay .Marketing: Yeah , one other little thing . Thought it might be handy to put a battery status display on it .ProjectManager: That's a {disfmarker}Marketing: So you can seeProject Manager: battery stays .User Interface: Okay , yeah .Marketing: how much is left in the battery . But they'll also really drag up the production costs , sothink we'll have to see about that too .Project Manager: Yeah .User Interface: Mm .Project Manager: Uh .Marketing: But maybe just a little LED , I don't know .Project Manager: That's an idea as well . Other ideas ?Quick ideas .Industrial Designer: Nope .User Interface: Mm .Industrial Designer: They were all mentioned ,Project Manager: Okay .User Interface: Yeah .Industrial Designer: so {disfmarker}Project Manager: Anyquestions about this uh presentation ? Kick off presentation .Marketing: Um . Nope , don't think so .Project Manager: No ?User Interface: {gap}Project Manager: Okay , then I'll put the minutes from this meeting in theproject folder , and then we can all work . Finish meeting now . {vocalsound} Okay . {vocalsound}Marketing: Okay .Project Manager: And we can all work uh on our own projects . {vocalsound}Marketing: Aye sir.Project Manager: Okay then I'll meet you in about a half an hour , I think .Marketing: Half an hour .Industrial Designer: Okay .Project Manager: So good luck . {vocalsound} {vocalsound}User Interface: Okay.Marketing: Okay .User Interface: Yep ."}
+{"doc_id":"doc_184","qid":"","text":"Project Manager: {vocalsound}Marketing: {vocalsound}Project Manager: Okay . Good afternoon again .User Interface: {vocalsound}Project Manager: So we should have our final meeting about the detail designed of{disfmarker} detail design of the product of the remote control . Um {vocalsound} So here is the agenda for today . Uh uh just going to go quickly through the minutes of the last last uh meeting then we have a ppresentation of prototype of you two , sounds interesting . And we'll have um {vocalsound} presentation of evaluation crit criteria by ou our Marketing Experts . Then we'll have to go through finance evaluation of the ofthe cost of the thing and um hopefully uh we should fit the target o tw of twelve point five uh uh Euro . {vocalsound} Okay . So let's go . Uh if I go quickly through the minutes of the last meeting . {vocalsound} So wewent through th uh w we took this following decisions . No L_C_D_ , no speech recognition technology , okay , we went through a b to a banana look and feel for the remote control . We went through the use of wheelsand but buttons . {vocalsound} And also the use of a basis station for battery ch charging and uh also to um call the to call the mot mote remote control when it is lost . Okay . Um . Good . So guys let {gap} this uhwonderful thing .Industrial Designer: Okay so we can go to the slides .Project Manager: {vocalsound} Oh yeah . Sorry . Um .Industrial Designer: Yeah . Number three . Oh number two sorry .Project Manager: Which is{gap} {disfmarker}Industrial Designer: So final design . Final design . Okay so Michael you can go ahead .User Interface: Yeah so uh following our decision to uh make a yellow {disfmarker} well to make abananaProject Manager: Yeah can you show it to the the camera maybe .User Interface: remote {disfmarker} okay so we actually have a {disfmarker}Industrial Designer: You can pull it out first , maybe .UserInterface: We've {disfmarker} well first first of all we made a an attractive {vocalsound} base station uh with a banana leaf uh look and feel um and uhProject Manager: Mm-hmm . {vocalsound}User Interface: bana sit{disfmarker} the banana sits in there k you know nicely weighted so that it's not gonna tip over and um this is the remote itself , it's kind of it's it's ergonomic , it fits in the hand uh rather well . We've got the two uh{vocalsound} uh scroll wheels here which you know one on the the left for the uh volume and the one on the right for for the channel and uh underneath {vocalsound} we have the uh the turbo button which is in like anice uh trigger position for you know for pressing quite naturally .Project Manager: What's the use uh of the t turbo button already ?User Interface: This is when you when you uh are scrolling the uh {disfmarker}through the channels you can tell it to to skip th past channels that you {disfmarker} quickly rather thProject Manager: Ah yeah yeah an then you stop when you stop it stops .User Interface: Yeah . Well when you stopscrolling the wheel it stops . But normally with uh {disfmarker} it will just uh s stay on each station briefly so you can see the the picture .Industrial Designer: Uh {disfmarker}Project Manager: Uh-huh .IndustrialDesigner: And we we do have one more functionality . If you take the banana as such and uh you press the turbo button , so it switch ons the switch ons the T_V_ .User Interface: The T_V_ yeah .Project Manager:Which one ?User Interface: The s the turbo button .Industrial Designer: The turbo button .Project Manager: Okay .User Interface: So rather than having uh an extra button for um for the on off switch you just use theturbo button .Industrial Designer: Additional button .Marketing: What this button for ?User Interface: This is a teletext button . So once you press that then you get teletextMarketing: Okay .User Interface: and you canuse the the channel selector scroll wheel as uh {disfmarker}Project Manager: To navigate it through th through teletext .User Interface: To navigate yeah .Marketing: But if you want to go to page seven hundred?Industrial Designer: That's right , that's right .User Interface: Yeah .Project Manager: {gap} with the wheel it's easy .Marketing: How manUser Interface: Well then you can you you have like a little uh numberselection thing , you press the {gap} the the teletext button uh to move between uh the fields and then you can just scroll the number back and forth so you have s you go {disfmarker} you scroll to seven and thenzero zero and then you can uh {disfmarker}Marketing: I don't understand it . Can you repeat it ? {vocalsound}User Interface: {vocalsound} Well you can you can press press the teletext buttonIndustrial Designer:{vocalsound}User Interface: and then you then you can you can fIndustrial Designer: So then then both the scroll buttons they are for teletext browsing .Marketing: Yeah .Industrial Designer: And you canteleMarketing: Ah okay okay . Okay . Okay okay .Industrial Designer: yeah ,User Interface: Mm uh {disfmarker}Industrial Designer: once you press the teletext button then the scroll buttons they are more for teletext ,they are no more for channel or vol volume .Marketing: Okay . I see . I see . Okay . Okay .Industrial Designer: Yeah .User Interface: {vocalsound} And this is the uh the infrared uh port .Industrial Designer: That's right.User Interface: Also the top of the banana .Project Manager: Excellent .User Interface: So . And then we haveIndustrial Designer: Yeah .User Interface: in the uh in the base station we have the the button at the frontfor uh for calling the uh the banana .Project Manager: Calling . Excellent .Industrial Designer: Yeah .Project Manager: And the the leaves plays the roles of of antennas ?User Interface: Actually they do .ProjectManager: Oh .User Interface: That's that's yeah that's uh that's form and function in the one in the one uh object .Industrial Designer: Yeah . So it always means , whatever the rays goes by they they get reflected andthen you are having a better coverage .User Interface: {vocalsound}Industrial Designer: It's like antennas .User Interface: Yeah . So .Marketing: {gap}User Interface: But yeah that's um that's just like {disfmarker}that's an attractive um base station .Project Manager: Great . {vocalsound}User Interface: {vocalsound} So .Project Manager: So , what else ?User Interface: Okay .Industrial Designer: And for the power source we arehaving solar cells and rechargeable batteries and this and uh the basis station is going to have the input from the mm power line for for charging the batteries .Marketing: {vocalsound} Is it really weight ? Is it light or{disfmarker}Industrial Designer: It is very light .Project Manager: Yeah , they're light .User Interface: It's it's uh it's about the weight of a banana .Marketing: Okay .Project Manager: {vocalsound}Marketing: Okay.User Interface: You know , to give you the correct look and feel .Project Manager: {gap}Industrial Designer: Yeah .Marketing: OkIndustrial Designer: And we have put these different colours so that people don'tmistake them mistake it as a banana .User Interface: {vocalsound}Industrial Designer: Otherwise it's you know a child comes and so {disfmarker}Marketing: Okay . Yeah yeah yeah , I see . I under I understand .UserInterface: I think a child would try to eat it anyway , so maybe we shouldIndustrial Designer: Yeah .User Interface: consider that . {gap} maybe health and safety aspects .Project Manager: Ah yeah .IndustrialDesigner: Mm-hmm .User Interface: {gap}Industrial Designer: Oh we didn't think of that yet . Yeah .User Interface: Yeah .Project Manager: So for the power source , apparently you still {disfmarker} you you want touse both solar cells and batteries .Industrial Designer: Oh yeah that's right .Project Manager: Uh you mean {disfmarker} okay . So {disfmarker}User Interface: I don't really know if the solar cells are actually necessaryany more if you have a recharging base station .Project Manager: Yeah , where are going to {disfmarker} where are you are you going to place them ?Industrial Designer: Mm-hmm mm-hmm . It'll It'll be always at topsomewhere at there .User Interface: If I was gonna place them I'd put them on the on the top here since that's like uh the black bitProject Manager: You have enough surface ? You {gap} {disfmarker}User Interface:but yeah I don't I really don't think it's necessary to have the solar cells anymore .Industrial Designer: Yeah because now we are having rechargeable batteriesProject Manager: Okay .User Interface: Mm .IndustrialDesigner: so that that is {gap} .Project Manager: What will be the autonomy ? Roughly ?User Interface: The what sorry ?Project Manager: The autonomy . Autonomy .User Interface: What do you mean ?ProjectManager: Uh I mean how long does i how how how long can it be held off a station ?Marketing: How long the {disfmarker} how long the bit the batteries long .User Interface: Ah . Ah . A long time .Project Manager:Yeah . A long {disfmarker} {vocalsound}User Interface: {vocalsound} No no no ,Industrial Designer: Eight to ten eight to ten hours .Marketing: {vocalsound}User Interface: it can {disfmarker} it should be weeks.Industrial Designer: N most {disfmarker} no most of the time it's not being used .Project Manager: Yeah , so it's {disfmarker}User Interface: Yeah but y people don't like to put it back in the base station all the timepeople leave wanna leave it on the couch so {disfmarker}Industrial Designer: So when when you are making it on {disfmarker}Project Manager: It's used only when you {disfmarker}Industrial Designer: Mm .Mm-hmm . No eight or eight or ten hours of working .User Interface: Ah , okay .Industrial Designer: If you are just leaving like that it'll be much longer .User Interface: Okay .Project Manager: Yeah . F weeks .UserInterface: Yeah .Industrial Designer: Yeah . That's right .Project Manager: Right . Next slide ?Industrial Designer: Yeah . And we are having the speakers regular chip for control . Pricing is {disfmarker} was a factor sothat's why we have gone for a regular chip only not the advanced chip . And uh that's it .Project Manager: Okay . {gap} Okay . Those really sounds very good .Industrial Designer: That's right .Project Manager:{vocalsound} Nothing else to add ?User Interface: It seems to be falling over .Marketing: I l yeah .Project Manager: Yeah .Marketing: I like I like it . Maybe the the thing that convince me the less is the {vocalsound}the multifunctional buttons . Looks a bit {disfmarker}Industrial Designer: You want to have more functional buttons ?Marketing: Looks a bit puzzled uh I dunno how to say {vocalsound} that .Industrial Designer: Youare not convinced .Marketing: You {disfmarker} the the b the buttons change h h their function depending if y it's teletext or not {disfmarker}Industrial Designer: Not not many , we we want to keep it simple . So thatthis button fo is for teletext which is usually also the case , that usually there is a teletext button and once you press that , the channel buttons , they baco become the scrolling buttons .Marketing: And the volumebutton will will become {disfmarker}Industrial Designer: It's up to you , means .Project Manager: Well in fact b both will be {disfmarker} could be useful , navigating through teletext .Industrial Designer: Now that{disfmarker} Means let's say this this can move the the larger digits and this can move the smaller digits .User Interface: Or can move between positions in the in the number .Industrial Designer: That's right .ProjectManager: Yeah .Marketing: And what about people who want to use digits ? Butto real buttons ?Project Manager: Wow .Industrial Designer: Yeah . So there was there was a constraint that the surface area which wehave on this banana on one side because of the shape .Marketing: {vocalsound}Industrial Designer: So we are targeting a segment which is which is just very trendy kind of thing , they they don't care about thebuttons any more . And anyway {disfmarker}Marketing: Okay . Because have you thought about configuration and all this kind of uh stuff ?User Interface: It's all automatic .Marketing: It's all automatic .User Interface:Yep .Project Manager: {vocalsound}User Interface: {vocalsound}Industrial Designer: {vocalsound}Marketing: {vocalsound} Okay . {vocalsound} Okay yeah it's fine .Project Manager: Very good uh yeah{disfmarker}Marketing: W we are living in a wonderful world . {vocalsound}Project Manager: {vocalsound} you th yeah .User Interface: Uh . {vocalsound}Industrial Designer: {vocalsound}Project Manager:{vocalsound} Bananas everywhere .Industrial Designer: {vocalsound}Project Manager: Okay , so {disfmarker} {vocalsound}Marketing: Automatically configure {gap} . {vocalsound}Project Manager:{vocalsound}Marketing: {vocalsound}Project Manager: So we have to go through now evaluations .Industrial Designer: Evalua yeah .Marketing: Yeah .Project Manager: {vocalsound} So your slides are ready?Marketing: SProject Manager: Uh you're four I think .Marketing: Yeah .Project Manager: So this is one , which one is this one ?Marketing: Yeah .Project Manager: {vocalsound} {vocalsound}Marketing: Okay . I{vocalsound} I const I constructed a a list of criteria based on the on the general user requirements . And each criteria is {vocalsound} will be evaluated it's uh logical criteria so we must users must say i if it's true or is{disfmarker} or if it's false in a in a scale ranging from zero to seven .Industrial Designer: Why this strange factor of seven ?Marketing: Because i I'm sorry . Sorry .Industrial Designer: Usually I have seen that scalesare from one to ten .Marketing: Ah yeah . It's from {disfmarker} sorry , it's from one to seven . It's from from one to seven sorry . Because it should be an even it should be an even uh scale ,Industrial Designer: Okay.Project Manager: Num number {disfmarker}Industrial Designer: Okay . Mm-hmm .Marketing: and five is too short and nine is too long .Industrial Designer: Okay .Marketing: {vocalsound} I'm a I I'm{disfmarker}Industrial Designer: Okay fine , got the idea .Project Manager: So to have {disfmarker} in order to have enough granularity {disfmarker}Marketing: Sorry ?Project Manager: it's in order to have enoughgranularity in the evaluation .Marketing: Yeah yeah .Industrial Designer: Okay .Marketing: The variance is mi it's is minimal .Project Manager: Okay .Industrial Designer: Okay , okay , great .Marketing: I'm umanswering your question .Industrial Designer: Okay . Yeah yeah .Marketing: Okay .Industrial Designer: Go ahead .Marketing: {vocalsound} And that's the criteria I I found more useful . I think I sh I {vocalsound} Icould write the criteria in the on the whiteboard ?Industrial Designer: Mm-hmm . Sure .Marketing: And we all four could rangeIndustrial Designer: Okay . Yeah yeah . Yeah .Marketing: could evaluate the{disfmarker}Project Manager: Okay .Marketing: {gap}Industrial Designer: So you can say fancy , handy . Handy .Marketing: Okay let's let's evaluate if it's fancy or {disfmarker}Industrial Designer: Yeah , it's fancy ,according to me .Marketing: Seven but {disfmarker} {vocalsound}User Interface: {vocalsound}Project Manager: Yeah , six .Industrial Designer: {vocalsound}Project Manager: S seven .Industrial Designer: Seven .Seven by me .Project Manager: Six .Marketing: I would say seven .Industrial Designer: Okay .Marketing: It's quite fancy .Industrial Designer: So you can add seven plus six plus seven plus {disfmarker}User Interface:{vocalsound}Project Manager: No , wait .User Interface: Yeah uh five .Project Manager: What do you say seven ? Five ?Industrial Designer: Five .User Interface: Five , maybe maybe maybe six it's it's I guess it's{disfmarker}Project Manager: Okay , six point five .User Interface: yeah .Project Manager: Handy ?User Interface: {vocalsound}Industrial Designer: Again I'll give seven .Project Manager: Seven .User Interface: I'dgive it a six like I'd I think it's probably more handy than my current remote , 'cause of the scroll wheelsMarketing: Six .Industrial Designer: Yep .User Interface: but maybe loses the point for not having you know theextra buttons when you reall if you do need them for some reason but you know you can always use your other remote .Project Manager: So seven , seven ,Industrial Designer: Seven for me .Project Manager: six ,UserInterface: Yeah .Marketing: Six .Project Manager: six point five . Functional . {vocalsound} {vocalsound}User Interface: {vocalsound}Industrial Designer: I'll give five .Project Manager: Four .Marketing: I would say{disfmarker} {vocalsound}Project Manager: {vocalsound}Industrial Designer: {gap}User Interface: Well it depends when you say functional , do you mean it does what we want it to do , or d does what it does , youknow , can it make you coffee ?Marketing: Everything arProject Manager: {vocalsound} Uh for a remote control , does he have all the {gap}User Interface: You know .Marketing: Mm everything {disfmarker}UserInterface: {vocalsound} Yeah . Yeah . {gap}Project Manager: you could expect .Marketing: It's compared to the allIndustrial Designer: That's right .Marketing: remote controls .User Interface: That's before{disfmarker}Industrial Designer: That's right . The standards . What is available in the market off the shelf .User Interface: Yeah . I have to say four .Marketing: Actually I don't know what are the r the real specificationof a of a universal remote controUser Interface: Well it's not a universal remote . Remember we're focus we're supposed to focus just on T_V_s .Industrial Designer: {vocalsound} We {disfmarker}Marketing: Ah it's notan univer but it's for all kind of T_V_s ?Project Manager: Yeah .User Interface: Well all T_V_s but only T_ {disfmarker} only T_V_s I guess .Project Manager: {vocalsound} So it's universal but for T_V_s . {vocalsound}So s uh four ?Marketing: Yeah .Industrial Designer: Five .Project Manager: Five ?User Interface: Four .Project Manager: Four .Marketing: Four . Four .Industrial Designer: So four point two ?User Interface: Just four.Project Manager: Four .Industrial Designer: {gap} four . {vocalsound}User Interface: {vocalsound} Obviously there are some outliers so {disfmarker}Marketing: So four ?Project Manager: {vocalsound} {vocalsound}Okay cool ? Cool device .Industrial Designer: {vocalsound}Marketing: {vocalsound}Industrial Designer: There I'll give it seven .Project Manager: {vocalsound}Marketing: It means cool features , like new featuresactually .Industrial Designer: That's right .User Interface: {vocalsound} Which {disfmarker}Industrial Designer: For a T_V_ the most important feature which I felt was the locator which is a cool feature . And then thescroll buttons are again cool features . We don't have L_C_D_ for it but that we decided we don't want to have .Project Manager: Yeah . Seven .Marketing: I would say five .User Interface: I'll say five .Project Manager:Six .Industrial Designer: Mm-hmm . Seven .Project Manager: Plus six , I say {disfmarker} I said seven .User Interface: Yeah .Project Manager: So it's six .User Interface: S yeah .Marketing: You said seven ?{vocalsound}Project Manager: Yeah .User Interface: 'Cause it's five five seven seven so {disfmarker}Industrial Designer: Okay .User Interface: Uh , okay , definitely easy to use .Industrial Designer: Definitely seven.User Interface: Seven .Project Manager: Seven . Seven . And you ? Outl you are not lik outlier .Marketing: Five . {vocalsound}User Interface: {vocalsound}Project Manager: Seven {vocalsound}Industrial Designer:{vocalsound}Project Manager: {vocalsound} Okay okay okay okay .Industrial Designer: {vocalsound} Okay .Marketing: Sorry , I have them {disfmarker}User Interface: Alright , now here's the sixty million Dollarquestion ,Project Manager: {vocalsound}User Interface: well , twenty five twenty five Euro question .Project Manager: Of course I'll buy the {gap} banana . {gap}User Interface: What do you what do you guys reckon?Marketing: {vocalsound} Of cour Of course the most difficult question for the end . {vocalsound}Project Manager: Well {disfmarker}Industrial Designer: I'll say five .User Interface: Hmm .Industrial Designer: I'll sayfive .Project Manager: Twenty five Euros . {vocalsound} Cheap .Industrial Designer: {vocalsound}Marketing: I find it quite cheap {vocalsound} actually .User Interface: {vocalsound}Marketing: I dunno . If i i itdepends , if you live in in Switzerland or you live in {disfmarker}Project Manager: Yeah , so the target price is for all Europe , or only for rich countries ? {vocalsound} It's more targeting U_K_ or{disfmarker}Marketing: I don't know . Wha the initial specifications were for the whole all Europe or {disfmarker}User Interface: {vocalsound} Uh {disfmarker}Project Manager: So this is selling costs , not productioncosts .User Interface: Yeah . Yeah .Marketing: Yeah this is the the initial specifications .Project Manager: Yeah yeah sure . Um {disfmarker} Five .Marketing: I would say six . It's quite cheap actually .User Interface: I'd"}
+{"doc_id":"doc_185","qid":"","text":"Grad A: Why ?Grad D: Um .Grad E: I 'm known . I {disfmarker}Grad A: No , cuz she already told me it , before she told you .Grad E: No , she told me a long time ago . She told me {disfmarker} she told me like twoweeks ago .Grad A: Oh , well , it doesn't matter what time .Grad B: OK . You know how to toggle the display width {pause} function {disfmarker}Grad A: Well maybe she hadn't just started transcribing me yet .Grad D:Wow .Grad A: Anyway .Grad D: What is it ?Grad E: Let me explain something to you .Grad D: Um ,Grad E: My laugh is better than yours .Grad D: there .Grad A: I beg to differ .Grad B: Yo .Grad D: Um , OK .Grad A:But you have to say something genuinely funny before you 'll get an example .Grad E: Yeah .Grad D: The thing is I don't know how to get to the next page . Here .Grad E: No . You should be {disfmarker} at least beself - satisfied enough to laugh at your own jokes .Grad D: Actually I thought {disfmarker}Grad A: No , it 's a different laugh .Grad D: There .Grad A: Ooh , wow !Grad D: How weird .Grad E: Oh ! Holy mackerel .GradA: Wow . Whoa !Grad D: What ? ! Oh . OK . I wasn't even doing anything . {vocalsound} OK .Grad A: Uh .Grad E: Eva 's got a laptop , she 's trying to show it off .Grad D: That was r actually Robert 's idea . But anyhow. UmProfessor F: O K . So , here we are .Grad E: Once again .Professor F: Once again , right , together . Um , so we haven't had a meeting for a while , and {disfmarker} and probably won't have one next week , I thinka number of people are gone . Um , so Robert , why don't you bring us up to date on where we are with EDU ?Grad B: Um , uh in a {disfmarker} in a smaller group we had uh , talked and decided about continuation ofthe data collection . So Fey 's time with us is almost officially over , and she brought us some thirty subjects and , t collected the data , and ten dialogues have been transcribed and can be looked at . If you 'reinterested in that , talk to me . Um , and we found another uh , cogsci student who 's interested in playing wizard for us . Here we 're gonna make it a little bit more complicated for the subjects , uh this round . She 'sactually suggested to look um , at the psychology department students , because they have to partake in two experiments in order to fulfill some requirements . So they have to be subjected , {vocalsound} {comment}before they can actually graduate . And um , we want to design it so that they really have to think about having some time , two days , for example , to plan certain things and figure out which can be done at what time, and , um , sort of package the whole thing in a {disfmarker} in a re in a few more complicated um , structure . That 's for the data collection . As for SmartKom , I 'm {disfmarker} the last SmartKom meeting Imentioned that we have some problems with the synthesis , which as of this morning should be resolved . And , so ,Professor F: Good .Grad B: \" should be \" means they aren't yet , but {disfmarker} but I think I havethe info now that I need . Plus , Johno and I are meeting tomorrow , so maybe uh uh , when tomorrow is over , we 're done . And ha n hav we 'll never have to look at it again Maybe it 'll take some more time , to berealistic , but at least we 're {disfmarker} we 're seeing the end of the tunnel there . That was that . Um , the uh , uh I don't think we need to discuss the formalism that 'll be done officially s once we 're done . Um ,something happened , in {disfmarker} on Eva 's side with the PRM that we 're gonna look at today , and um , we have a visitor from Bruchsal from the International University . Andreas , I think you 've met everyoneexcept Nancy .Grad A: Sorry . Hi . Hi .Grad C: Yeah .Grad B: Hi . Hi .Grad A: So when you said \" Andreas \" I thought you were talking about Stolcke .Grad B: And , um ,Grad A: Now I know that we aren't , OK .Grad B:Andy , you actually go by Andy , right ? Oh , OK .Grad C: Yeah .Grad B: Eh {disfmarker}Grad C: Cuz there is another Andreas around ,Grad A: Hmm .Grad C: so , to avoid some confusion .Grad B: That will be {pause}Reuter ? Oh , OK .Grad C: Yeah .Grad B: So my scientific director of the EML is also the dean of the International University , one of his many occupations that just contributes to the fact that he is very occupied . And ,um , the {disfmarker} um , he @ @ might tell us a little bit about what he 's actually doing , and why it is s somewhat related , and {disfmarker} by uh using maybe some of the same technologies that we are using .And um . Was that enough of an update ?Professor F: I think so .Grad B: In what order shall we proceed ?Grad D: OK .Grad B: Maybe you have your on - line {disfmarker}Grad D: Uh , yeah , sure . Um , so , I 've bejust been looking at , um , Ack ! What are you doing ? Yeah . OK . Um , I 've been looking at the PRM stuff . Um , so , this is , sort of like the latest thing I have on it , and I sorta constructed a couple of classes . Like , auser class , a site class , and {disfmarker} and you know , a time , a route , and then {disfmarker} and a query class . And I tried to simplify it down a little bit , so that I can actually um , look at it more . It 's the samepaper that I gave to Jerry last time . Um , so basically I took out a lot of stuff , a lot of the decision nodes , and then tried to {disfmarker} The red lines on the , um , graph are the um , relations between the differentum , classes . Like , a user has like , a query , and then , also has , you know um , reference slots to its preferences , um , the special needs and , you know , money , and the user interest . And so this is more or lesssimilar to the flat Bayes - net that I have , you know , with the input nodes and all that . And {disfmarker} So I tried to construct the dependency models , and a lot of these stuff I got from the flat Bayes - net , andwhat they depend on , and it turns out , you know , the CPT 's are really big , if I do that , so I tried to see how I can do , um {disfmarker} put in the computational nodes in between . And what that would look like in aPRM . And so I ended up making several classes {disfmarker} Actually , you know , a class of {disfmarker} with different attributes that are the intermediate nodes , and one of them is like , time affordability moneyaffordability , site availability , and the travel compatibility . And so some of these classes are {disfmarker} s some of these attributes only depend on stuff from , say , the user , or s f just from , I don't know , like thesite . S like , um , these here , it 's only like , user , but , if you look at travel compatibility for each of these factors , you need to look at a pair of , you know , what the um , preference of the user is versus , you know ,what type of an event it is , or you know , which form of transportation the user has and whether , you know , the onsite parking matters to the user , in that case . And that makes the scenario a little different in a PRM, because , um , then you have one - user objects and potentially you can have many different sites in {disfmarker} in mind . And so for each of the site you 'll come up with this rating , of travel compatibility . And ,they all depend on the same users , but different sites , and that makes a {disfmarker} I 'm tr I w I wa have been trying to see whether the PRM would make it more efficient if we do inferencing like that . And so , Iguess you end up having fewer number of nodes than in a flat Bayes - net , cuz otherwise you would {disfmarker} c well , it 's probably the same . But um , No , you would definitely have {disfmarker} be able to re -use , like , {vocalsound} um , all the user stuff , and not {disfmarker} not having to recompute a lot of the stuff , because it 's all from the user side . So if you changed sites , you {disfmarker} you can , you know ,save some work on that . But , you know , in the case where , it depends on both the user and the site , then I 'm still having a hard time trying to see how um , using the PRM will help . Um , so anyhow , using thoseintermediate nodes then , this {disfmarker} this would be the class that represent the intermediate nodes . And that would {disfmarker} basically it 's just another class in the model , with , you know , references to theuser and the site and the time . And then , after you group them together this {disfmarker} no the dependencies would {disfmarker} of the queries would be reduced to this . And so , you know , it 's easier to specifythe CPT and all . Um , so I think that 's about as far as I 've gone on the PRM stuff .Professor F: WellGrad D: Right .Professor F: No . So y you didn't yet tell us what the output is .Grad D: The output .Professor F: Sowhat decisions does this make ?Grad D: OK . So it only makes two decisions , in this model . And one is basically how desirable a site is meaning , um , how good it matches the needs of a user . And the other is themode of the visit , whether th It 's the EVA decision . Um , so , instead of um , {vocalsound} doing a lot of , you know , computation about , you know , which one site it wants of {disfmarker} the user wants to visit , I'll come {disfmarker} well , try to come up with like , sort of a list of sites . And for each site , you know , where {disfmarker} h how {disfmarker} how well it fits , and basically a rating of how well it fits and what to dowith it . So . Anything else I missed ?Professor F: So that was pretty quick . She 's ac uh uh Eva 's got a little write - up on it that uh , probably gives the {disfmarker} the details to anybody who needs them . Um , sothe {disfmarker} You {disfmarker} you didn't look at all yet to see if there 's anybody has a implementation .Grad D: No , not yet , um {disfmarker}Professor F: OK . So one {disfmarker} so one of the questions , youknow , about these P R Ms isGrad D: Mm - hmm .Professor F: uh , we aren't gonna build our own interpreter , so if {disfmarker} if we can't find one , then we uh , go off and do something else and wait until s oneappears . Uh , so one of the things that Eva 's gonna do over the next few weeks is see if we can track that down . Uh , the people at Stanford write papers as if they had one , but , um , we 'll see . So w Anyway . Sothat 's a {disfmarker} a major open issue . If there is an interpreter , it looks like you know , what Eva 's got should run and we should be able to actually um , try to solve , you know , the problems , to actually takethe data , and do it . Uh , and we 'll see . Uh , I actually think it is cleaner , and the ability to instantiate , you know , instance of people and sites and stuff , um , will help in the expression . Whether the inference getsany faster or not I don't know . Uh , it wouldn't surprise me if it {disfmarker} if it doesn't .Grad D: Mm - hmm .Professor F: You know , it 's the same kind of information . I think there are things that you can expressthis way which you can't express in a normal belief - net , uh , without going to some incredible hacking of {disfmarker} sort of rebuilding it on the fly . I mean , the notion of instantiating your el elements from theontology and stuff fits this very nicely and doesn't fit very well into the extended belief - net . So that was one of the main reasons for doing it . Um . I don't know . So , uh , people who have thought about the problem ,like Robert i it looked to me like if {comment} Eva were able to come up with a {vocalsound} you know , value for each of a number of uh , sites plus its EVA thing , that a travel planner should be able to take it fromthere . And {disfmarker} you know , with some other information about how much time the person has and whatever , and then plan a route .Grad B: Um - hmm , um , {vocalsound} well , first of all uh , uh , greatlooks , mu much cleaner , nnn , nnn , Certain {disfmarker} certain beauty in it , so , um , if beauty is truth , then , uh we 're in good shape . But , the um , as , uh , mentioned before we probably should look at t thedetails . So if you have a write - up then uh , I 'd love to read itGrad D: Mm - hmm .Grad B: and uh {disfmarker} because , um , i Can you go all the way back to the {disfmarker} the very top ?Grad D: Yeah .Grad B:Um , {vocalsound} uh these {disfmarker} @ @ {comment} these {disfmarker} w w when these are instantiated they take on the same values ? that we had before ?Grad D: I can't really see the whole thing .Grad B:or are they {disfmarker} have they changed , in a sense ?Grad D: Well I think I basically leave them to similar things .Grad B: Uh - huh .Grad D: Some of the things might {disfmarker} that might be different , maybelike {disfmarker} are that the hours for the site .Grad B: Hmm .Grad D: And , eventually I meant that to mean whether they 're open at this hour or not .Grad B: Uh - huh .Grad D: And status would be , you know ,more or less like , whether they 're under construction , and {disfmarker} and {disfmarker} or stuff like that .Grad B: And the , uh , other question I would have is that presumably , from the way the Stanford peopletalk about it , you can put the probabilities also on the relations . If {disfmarker}Grad D: Which is the structural uncertainty ?Professor F: Yeah . Yeah , I {disfmarker} that 's {disfmarker} That I think was actually inthe previous {disfmarker} the Ubenth stuff . I don't remember whether they carried that over to this or not ,Grad A: Mmm .Professor F: uh , structural uncertainty .Grad B: It 's sort of in the definition or {disfmarker}in the {disfmarker} in Daphne 's definition of a PRM is that classes and relations ,Professor F: OK .Grad B: and you 're gonna have CPT 's over the classes and their relations .Professor F: Alright .Grad B: Moreuncertainty , or {disfmarker} or {disfmarker}Professor F: Uh ,Grad B: I should say .Grad D: I remember them learning when , you know , you don't know the structure for sure ,Professor F: Yeah .Grad D: but I don'tremember reading how you specifyGrad B: Yeah , that would be exactly my question .Professor F: Right .Grad D: wh to start with . Yeah .Grad B: Well {disfmarker}Grad D: Yeah .Professor F: Yeah . So , uh , the{disfmarker} the plan is {disfmarker} is when Daphne gets back , we 'll get in touch and supposedly , um , we 'll actually get s deep {disfmarker} seriously connected to {disfmarker} to their work andGrad B: Yep.Professor F: somebody 'll {disfmarker} Uh , you know {disfmarker} If it 's a group meeting once a week probably someone 'll go down and , whatever . So , we 'll actually figure all this out .Grad B: OK . OK . Then Ithink the w {vocalsound} long term perspective is {disfmarker} is pretty clear . We get rocking and rolling on this again , once we get a package , if , when , and how , then this becomes foregroundedGrad D: Mm -hmm .Grad B: profiled , focused , again .Grad E: Designated ?Grad A: Of course .Grad B: And um , until then we 'll come up with a something that 's {disfmarker} @ @ {comment} that 's way more complicated for you. Right ?Grad D: OK .Grad B: Because this was laughingly easy , right ?Grad D: Actually I had to take out a lot of the complicated stuff , cuz I {disfmarker} I made it really complicated in the beginning , and Jerry waslike , {vocalsound} \" this is just too much \" .Professor F: Yeah . So , um , you could , from this , go on and say suppose there 's a group of people traveling together and you wanted to plan something that somehow ,with some Pareto optimal uh , {vocalsound} uh , thing for {disfmarker}Grad A: That 's good . That 's definitely a job for artificial intelligence .Professor F: uh , or {disfmarker}Grad A: Except for humans can't reallysolve it either , so .Grad B: Well that 's not {disfmarker} not even something humans {disfmarker} yeah .Professor F: Right . Right . Well that 's the {disfmarker} that would {disfmarker} that would be a {disfmarker}uh , you could sell it , as a {disfmarker}Grad A: Yeah .Professor F: OK , eh you don't have to fight about this , just give your preferences to the {disfmarker}Grad A: And then you can blame the computer .Professor F:w Exactly .Grad A: So .Grad B: Hmm . But what does it {disfmarker} uh {disfmarker} Would a pote potential result be to {disfmarker} to split up and never talk to each other again ? You know .Grad A: That should beone of them .Grad B: Yeah .Professor F: Yeah . Right .Grad E: That 'd be nice .Grad A: Mmm .Professor F: Anyway . So . So there i there are some {disfmarker} some u uh , you know , uh , elaborations of this that youcould try to put in to this structure , but I don't think it 's worth it now . Because we 're gonna see what {disfmarker} what else uh {disfmarker} what else we 're gonna do . Anyway . But uh , it 's good , yeah and{disfmarker} and there were a couple other ideas of {disfmarker} of uh , things for Eva to look at in {disfmarker} in the interim .Grad B: Good . Then , we can move on and see what Andreas has got out his sleeve . OrAndy , for that matter ?Grad C: OK . So uh , uh , well , thanks for having me here , first of all . Um , so maybe just a {disfmarker} a little background on {disfmarker} on my visit . So , uh , I 'm not really involved inany project , that 's uh {disfmarker} that 's relevant to you uh , a at the moment , uh , the {disfmarker} the reason is really for me uh , to have an opportunity to talk to some other researchers in the field . And{disfmarker} and so I 'll just n sort of give you a real quick introduction to what I 'm working on , and um , I just hope that you have some comments or , maybe you 're interested in it to find out more , and{disfmarker} and so I 'll be uh , happy to talk to you and {disfmarker} and uh , I 'd also like to find out some more and {disfmarker} and maybe I 'll just walk around the office and and then {disfmarker} and ask some{disfmarker} some questions , uh , in a couple days . So I 'll be here for uh , tomorrow and then uh , the remainder of uh , next week . OK , so , um , what I started looking at , uh , to begin with is just uh , contentmanagement systems uh , i i in general . So um , uh what 's uh {disfmarker} Sort of the state of the art there is to um {disfmarker} uh you have a bunch of {disfmarker} of uh documents or learning units or learningobjects , um , and you store meta - data uh , associate to them . So there 's some international standards like the I - triple - E , uh {disfmarker} There 's an I - triple - E , LON standard , and um , these fields are prettystraightforward , you have uh author information , you have uh , size information , format information and so on . Uh , but they 're two uh fields that are um , more interesting . One is uh you store keywords associatedwith the uh {disfmarker} with the document , and one is uh , you have sort of a , um , well , what is the document about ? So it 's some sort of taxonomic uh , ordering of {disfmarker} of the {disfmarker} of the units .Now , if you sort of put on your semantic glasses , uh you say , well that 's not all that easy , because there 's an implicit um , uh , assumption behind that is that uh , all the users of this system share the sameinterpretation of the keyword and the same interpretation of uh , whichever taxonomy is used , and uh , I think that 's a {disfmarker} that 's a very {disfmarker} that 's a key point of these systems and they sort ofalways brush over this real quickly without really elaborating much of that and uh {disfmarker} As a matter of fact , the only thing that m apparently really works out so far are library ordering codes , which are very ,very coarse grain , so you have some like , science , biology , and then {disfmarker} But that 's really all that we have at the moment . So I think there 's a huge , um , uh need for improvement there . Now , what thisuh {disfmarker} a standard like this would give us is we could um , sort of uh with a search engine just query uh , different repositories all over the world . But we can't really {disfmarker} Um , so what I 'm{disfmarker} what I try to do is um , to have um , uh {disfmarker} So . So the scenario is the following , you you 're working on some sort of project and you encounter a certain problem . Now , what {disfmarker}what we have at our university quite a bit is that uh , students um , try to u program a certain assignment , for example , they always run into the same problems , uh , and they always come running to us , and they 'llsay why 's it not {disfmarker} it 's not working , and we always give out the same answer , so we thought , well , it 'd be nice to have a system that could sort of take care of this , and so , what I want to build isbasically a {disfmarker} a smart F A Q system . Now , what you uh need to do here is you need to provide some context information which is more elaborate than \" I 'm looking for this and this and this keyword . \" So .And I think that I don't need to tell you this . I 'm {disfmarker} I 'm sure you have the same {disfmarker} when {disfmarker} when somebody utters a sentence in a certain , uh , context it , and {disfmarker} and thesame sentence in another context makes a huge difference . So , I want to be able to model information like , um , so in the {disfmarker} in the context of {disfmarker} in the context of developing distributed systems, of a at a computer science school , um , what kind of software is the person using , which homework assignment is he or she working on at the moment , um , maybe what 's the background of that student 's um ,"}
+{"doc_id":"doc_186","qid":"","text":"Lynne Neagle AM: Good morning, everyone. Welcome to the Children, Young People and Education Committee. We've received apologies for absence from Michelle Brown and Jack Sargeant; there are no substitutions.Can I ask if Members have any declarations of interest, please? No. Okay. We'll move on, then, to item 2, which is our scrutiny of the 'Healthy Weight: Healthy Wales' draft strategy, and I'm very pleased to welcome DrFrank Atherton, the Chief Medical Officer for Wales, and Nathan Cook, who is the head of the healthy and active branch at Welsh Government. Thank you, both, for attending this morning. We're very much lookingforward to hearing what you've got to say. If you're happy, we'll go straight into questions. If I can just start by asking about the fact that 'Healthy Weight: Healthy Wales' is an all-age strategy, really, and howconfident you are that it will deliver for children and young people.Dr Frank Atherton: Well, we're very confident. I mean, it has to, quite clearly. We do need to think about the present generation, the problems faced bythe current generation. We have high prevalence of overweight and obesity among adults—we know that, and we can't walk away from that because that's translating into demand on health services. But we have totake a focus, a future generation's focus, almost, on the next generation. I don't write off the current generation, we can't afford to do that, but we do need to think about what can we do that would be different for thenext generation so that they don't get into the sorts of problems that we're currently seeing with overweight and obesity. We know that the consequences of that for our young people are going to be enormous if wedon't do something and something quite soon. We know that overweight children go on to become overweight adults, unfortunately, and that brings all the consequences of multiple disease issues—diabetes is oftencited—cancer risk et cetera. So, we have to focus on children, and, in fact, during the consultation, we've been very clear that we need to engage with children and young people as well. Perhaps we'll get into that atsome point, Chair, but, yes, I can give you that assurance.Lynne Neagle AM: Okay, thank you. What my follow-up question, really, is: can you just tell us what kind of engagement you've had with children and youngpeople to inform the draft strategy?Dr Frank Atherton: Well, Nathan may be able to influence some of the detail, but in broad terms, we have discussed with young people in a number of fora. In fact, I was delightedthat we had a young person, Evie Morgan, a schoolgirl from mid Wales, who came to the joint launch on the consultation. She met the Minister there and gave a very good personal account of her views on obesity andoverweight. We've been visiting a number of schools during the consultation process. I'm visiting a school, either this week or next week, at Treorchy, to talk with teachers and young people there. Obviously, we'rehopeful that schools and young people will contribute to the consultation as well. So, we've had quite good input, I would say, from children and young people. There is always more we can do we and we want to hearthose voices.Nathan Cook: I was going to say, we've also had a session with youth ambassadors as well, and what we've actually produced for the consultation is not just the children and young people's version, butalso a toolkit in terms of getting schools really engaged and involved in terms of the work that we want them to do to feed into this as well. So, we've already had some really good responses from a lot of youth groupand schools already.Lynne Neagle AM: And you've got a structured programme, have you, to roll that out? Okay. Thank you. We've got some questions now on leadership, and the first questions are from SiânGwenllian.Sian Gwenllian AM: Good morning. I'll be speaking in Welsh. The Minister for health said yesterday, in answering a question from me on the Chamber floor, that you gave him advice not to have a target interms of reducing obesity among children. Could you confirm that that's what your advice was and tell us why you don't think that a target is needed?Dr Frank Atherton: My advice was not that we don't need atarget—we may well need a target, and that's one of the issues we need to consult on—but that the target that had been adopted in England and in Scotland to halve the prevalence of obesity in children was moreaspirational than deliverable, and that if we are to choose a target in Wales, then we need to balance deliverability with challenge. We need a challenging environment. So, there is something about performancemanagement, because I would be looking to not just the health system but the health and care system and to public services boards to think about how they're delivering on this, and I think we can use targets to that.But they are one tool in the box that I would think we could use, and part of the consultation is to ask that question—'If we are to go down a route in Wales of choosing a target, what might that look like?'Sian GwenllianAM: Okay. So, to be clear, you're not ruling out that maybe we would need a target.Dr Frank Atherton: It's certainly something that we could consider in terms of the final strategy.Sian Gwenllian AM: And is that youropinion too?Nathan Cook: Yes.Sian Gwenllian AM: Okay. Well, that is contrary to what I was told yesterday on the floor of the Chamber by the Minister, but there we go. I'm glad to hear that you're not ruling out havinga target, because without a target, without something to aim for, how do we know that we're getting there?Dr Frank Atherton: I think your point about evaluation is really important. Whatever we produce at the end ofthis process—and we're looking to produce a final strategy towards the autumn—we do need to have a strong evaluation. So, some metrics in there, it would seem, would be appropriate, but what those are, what thenature of those are, do we frame them as targets or ambitions—that's the point we need to consult on.Sian Gwenllian AM: Okay. And the other point, of course, is the investment. If the Government is going to besuccessful in terms of the aim of reducing childhood obesity, then it needs to fund and support the actions. Have you made an assessment of the level of investment needed to implement this plan?Dr Frank Atherton:Resourcing will be important. We currently do make investments in a number of areas that relate to child health generally, and, of course, obesity and overweight in particular. So, the question of resourcing isimportant. Now, we can't quantify an absolute amount of resource that will be needed to deliver until we know exactly what's going to come out of the consultation and what actions we might want to deliver to a greaterdegree in Wales. A figure of £8 million to £10 million a year has been banded around as a broad kind of area of what we might need to invest, but that would need to be drawn from existing programmes. We need tolook at existing programmes, how effective they are. Can we make them more effective? Can we get better value from them? And there may well be a case for new investment, and that's a question, of course, thatwould need to be discussed with Ministers when we're producing the final strategy.Nathan Cook: But I think a key consideration as well is we already know there is investment across health boards in some kind ofobesity-related services. So, I think what we really need to think about across Wales is how we can drive greater scale, how we can look at current programmes in terms of making sure that they're better evaluated,and how we can make sure that we're also drawing up on the existing resources and capacity out there as well.Sian Gwenllian AM: And does the level of investment depend on what the target is—what the goal is?DrFrank Atherton: I don't think you can necessarily just link the two. The issue of resourcing is one that's there irrespective of whether we choose to put a target in place.Sian Gwenllian AM: But how would we know thatit's being used effectively if there isn't something to aim for?Dr Frank Atherton: Which brings you back to the question about evaluation. We need proper evaluation of the various programmes that we have.SianGwenllian AM: Yes, but without a target, how can you properly evaluate? If you don't know what you're trying to do, how can you properly evaluate? Anyway, you're open to suggestions about having a target, which isgreat. Would you agree that Government could use the revenue that's being produced through the levy on soft drinks towards some of these efforts to—?Dr Frank Atherton: Well, of course, there are someconsequentials that are coming to the Welsh Government as part of the levy on sugary soft drinks. That funding, of course, is less than we had anticipated, and that reflects, actually, a success story because industry isreformulating, and so the amount of sugar in soft drinks is already starting to decrease, which is a good thing. But to your question: should we use the funding? Well, of course we should use funding. I'm not personallyin favour of hypothecation, I think I'm more interested in the totality of resource that goes into public health programmes than into marginal resource. There are, of course, a number of initiatives that we currently fundthrough the general revenue. And when I think about obesity, I don't just think about the relatively small marginal amounts of money that come in through whatever source, but I think about the totality of the £7 billionwe spend in health and social care and how we can divert and channel some of that towards broad prevention initiatives in general, and towards tackling being overweight and obesity in particular.Sian Gwenllian AM:You're saying that it's less than expected. Could you give us any kind of figure?Dr Frank Atherton: I'm sorry, could you repeat the question?Sian Gwenllian AM: You say that there is less money that's come in throughthese consequentials from the levy, can you mention some sort of figure?Dr Frank Atherton: The figure that I have in mind is about £56 million that's coming in in terms of revenue over a two-year period. But I'd haveto confirm that with the committee. What the anticipated—. When the sugar levy was first brought in, there was some modelling at UK level about what level of revenue that would bring, but it was based on the amountof sugar that was currently then in drinks and the fact that the sugar has reduced in drinks, I mean, the total amount available to the UK is less and hence our consequentials are less. Nathan may have some precisefigures.Nathan Cook: Yes, I was going to say, there was a mid-year report done where the levy has raised £150 million to date since coming into force in April, and the original forecast was £520 million a year. So, Ithink that shows the amount of work that's been done by industry around reformulation.Sian Gwenllian AM: And the consequentials of that? That is the consequential—£150 million.Nathan Cook: On a UK level.SianGwenllian AM: Yes, so what's the Welsh consequential?Lynne Neagle AM: Fifty-six.Sian Gwenllian AM: Fifty-six? Gosh, that sounds a lot. Anyway, it's a good sum of money and you're talking about investing £8 million to£10 million. So, obviously, you know, we can be more ambitious because there is money in that pot if that money was ring-fenced for this particular scheme.Dr Frank Atherton: Well, the resource is going to be a realissue that we need to address, and I think as Nathan has said, there is funding of various initiatives currently in the system, and we need to look at that and make that as effective as possible. Will there be a need forsome additional resource? There may well be, and that's a question that we'll have to look at in terms of the strategy when we develop it and have a discussion with Ministers about the level of resourcing.Lynne NeagleAM: Can I just ask on that before Siân moves on? What assessment have you made of how that money is being spent in other UK nations? Because my understanding is that the money is being used in other UK nationsto directly impact on obesity. Have you given any consideration to—? As I understand it, that money now is being dispersed around a plethora of programmes, including the transformation programme, and what I foundvery odd, really, was vaccination, which is surely the core business of the NHS. Have you got any view on that?Dr Frank Atherton: I'm not sure I understand your point, Chair, in terms of the link between theconsequentials from—. Are you talking about the consequentials from the sugar levy or are you talking about—?Lynne Neagle AM: Yes, because in other nations, it is being used to directly impact on initiatives to tackleobesity, whereas, we've kind of put it here in Wales into the general pot and it's being used to fund a plethora of different things.Dr Frank Atherton: Well, that cuts to what I was talking about. My preference—it's apersonal view—is that hypothecation doesn't really help us too much. I mean, what we need to look at is whether the programmes, the sorts of programmes that are being funded in England, or indeed in Scotland, areworking effectively, and if they are, are they being delivered here in Wales? We have looked very carefully at the plans that England and Scotland have for tackling obesity and overweight, and we've made a comparisonwith what we're doing in Wales, and our ambition in Wales is to go further than those nations, in many ways. But I come back to the point that just linking the hypothecation of a relatively small amount of resource islikely to be less impactful than asking a question of public services boards and of the health system, indeed, about how much money, overall, are we putting into prevention.Lynne Neagle AM: No, I recognise that, and Ithink we're talking about additional resource. Suzy.Suzy Davies AM: I was just wondering whether you thought that there was a useful psychological link on the part of the public between saying, 'Here's a sugar levy',and 'It's going to be used to help children and adults stay healthier.' Going into a pot, it actually makes it quite difficult to explain the purpose of the tax in the first place. So, I take your overall point, but in terms of thepeople who we're trying to help in all this, actually creating a direct link might be quite helpful.Dr Frank Atherton: You may be right. I'm not a behavioural psychologist. We'd have to ask—Suzy Davies AM: Neither am I.I'm a person who eats a lot of sugar. [Laughter.]Dr Frank Atherton: Your point's taken.Suzy Davies AM: Thank you.Lynne Neagle AM: Thanks. Siân.Sian Gwenllian AM: The last question from me, about partnershipworking. You're putting an emphasis on the whole-system approach in implementing the plan, how are you going to create a system that co-ordinates action and drives change across relevant partners, avoiding asituation where it's everyone's role, but nobody's responsibility? How are you going to avoid that?Dr Frank Atherton: It's a very important question, and one of the four strands in the consultation is exactly related tothat, around leadership and drive nationally. I'm not interested in producing a strategy that sits on a shelf. If you look around the world, there are plenty of obesity strategies. You may notice, by the way, that we'vechosen not to talk about an obesity strategy but a healthy weight strategy, because I think having a positive construct is really quite important to us here in Wales. But leadership will be really important, and we willneed some sort of structure to lead this, to provide oversight. I'm not a great believer in creating new structures, so we do need something that will give that drive, but the leadership comes from the top down. We needpolitical commitment to this, and that's why I welcome the input from this committee. So, that needs to be assured. And then we need to make sure that the public sector generally is engaged in this, but it goes waybeyond the public sector, of course, because we have to work with industry, and we have to work with communities, and we have to work with the public on this. So we need to think about our governance system forthis and how we drive it forward. Interestingly, we had quite a large discussion two days ago between health and social care, but also involving the third sector and some members of the public, around how can we driveprevention more generally. It wasn't specifically on obesity, but of course obesity came up because it's such a pressing issue. This question of governance was discussed quite extensively, and we do have governancesystems, of course, in Wales. We have public services boards, we have regional partnership boards, and how we can get those aligned behind this common agenda is really important. But I'd like to see—and I know I'ma public health professional, so I know that only maybe 10 per cent, 15 per cent, possibly 20 per cent of what makes and keeps us healthy as individuals and as communities can be driven through the health system;but I would like the system to step up and take these kinds of issues more seriously as well. So I'd be looking for local leadership through directors of public health and indeed through chief executives to work with theirpublic services boards on this. So, we'll need some sort of national oversight, absolutely, but we need local ownership and local leadership, too.Lynne Neagle AM: Thank you. We've got some questions now from JanetFinch-Saunders.Janet Finch-Saunders AM: Thank you, Chair. Delivery of the plan will be led by a national implementation board that will be accountable to Ministers. Which Minister do you believe it should beaccountable to, or, given the complexity of obesity, should the board be directly accountable to the First Minister?Dr Frank Atherton: Ultimately, the First Minister will be responsible for this and will want to have astrong oversight of this. It is often framed as a health issue, and the Minister, Vaughan Gething, has a strong personal commitment to this, I know. We've talked extensively with him and with sports and recreationcolleagues about that, so there's a link there. It does cut across all portfolios, and so this is an issue that I have discussed with Cabinet, and that collective ownership is really important, and will be, because it can't justsit in one domain. I think what you do need to have is you do need to have a lead organisation or a lead ministry, and I would see health as—I work within health, so I'm perhaps biased, but I would see health asleading this, but it needs broad ownership across Government.Janet Finch-Saunders AM: I know my colleague Siân Gwenllian mentioned earlier targets and things, but I know in Wales we're not too good at collectingdata. What data is currently available on childhood obesity and what metrics will be used to measure progress against the plan's objectives?Dr Frank Atherton: Well, of course, our main data source is the childmeasurement programme, which collects information on children entering school aged four or five. That's our main source of information. If we look at that data, it shows us—. Well, I'm sure you're familiar with thestatistics, but it'll be just under a third of children at that age who are overweight or obese—Janet Finch-Saunders AM: Could I just ask—sorry to interrupt—how up to date is that?Dr Frank Atherton: The last survey wasjust last year.Nathan Cook: The data was published last week.Dr Frank Atherton: Yes, the lastest data was out last week.Janet Finch-Saunders AM: It is pretty up to date.Dr Frank Atherton: So, it's pretty up to date,and what it shows—. It's not getting radically worse—there's always statistical variation in these things—but it's not getting any better. And, for the first time last year, we did look at the question not just of childrenwho were overweight or obese, but we actually singled out the proportion who are obese, severely obese. So we have a figure for that for the first time, which is about 12 per cent, which is quite shocking, in away.Janet Finch-Saunders AM: It is shocking.Dr Frank Atherton: So, that's our main source of information. Does that answer your question?Janet Finch-Saunders AM: Yes, but how will any gaps in your data beaddressed?Dr Frank Atherton: Well, one of the questions that are often asked is: could we measure more on a longitudinal basis? By that I mean in England, for example, children are measured at school entry and thenagain at year 11—at age 11 or 12., that kind of age group. And so you do have a longitudinal view over time of what's happening to children. I think that would be helpful to us in Wales, and it's one of the questions inthe consultation about whether we should expand that. Obviously, that would have significant resource implications, not just for the funding, but also for schools and for the system to deliver it. But it's something thatmaybe would help us in terms of better understanding and better evaluation—the point that was made earlier.Nathan Cook: And the other data we do have is the millennium cohort study, which has been released, for"}
+{"doc_id":"doc_187","qid":"","text":"Professor B: OK So uh today we 're looking at a number of uh things we 're trying and uh fortunately for listeners to this uh we lost some of it 's visual but um got tables in front of us . Um what is {disfmarker} whatdoes combo mean ?PhD C: So combo is um a system where we have these features that go through a network and then this same string of features but low - pass filtered with the low - pass filter used in the MSGfeatures . And so these low - pass filtered goes through M eh {disfmarker} another MLP and then the linear output of these two MLP 's are combined just by adding the values and then there is this KLT . Um the outputis used as uh features as well .Professor B: Um so let me try to restate this and see if I have it right . There is uh {disfmarker} there is the features uh there 's the OGI features and then um those features um gothrough a contextual {disfmarker} uh l l let 's take this bottom arr one pointed to by the bottom arrow . Um those features go through a contextualized KLT . Then these features also uh get um low - pass filteredPhD C:Yeah . Yeah so yeah I could perhaps draw this on the blackboardProfessor B: Sure . Yeah . Yeah .PhD C: Yeah .PhD D: The graph , yeah another one .Professor B: Yeah , that 's good .PhD C: Professor B: SoPhD C: Sowe have these features from OGI that goes through the three paths .Professor B: Yeah . Three , OK .PhD C: The first is a KLT using several frames of the features .Professor B: Yeah . Yeah .PhD C: The second path is uhMLP also using nine frames {disfmarker} several frames of featuresProfessor B: Yeah . Uh - huh .PhD C: The third path is this low - pass filter .Professor B: Uh - huh .PhD C: Uh , MLPProfessor B: Aha ! aha !PhD C:Adding the outputs just like in the second propose the {disfmarker} the proposal from {disfmarker} for the first evaluation .Professor B: Yeah ? Yeah . Yeah .PhD C: And then the KLT and then the two together again.Professor B: No , the KLT . And those two together . That 's it .PhD D: Two HTK .Professor B: OK so that 's {disfmarker} that 's this bottom one .PhD C: Um . So this is {disfmarker} yeahProfessor B: And so uh andthen the {disfmarker} the {disfmarker} the one at the top {disfmarker} and I presume these things that uh are in yellow are in yellow because overall they 're the best ?PhD C: Yeah that 's the reason , yeah .ProfessorB: Oh let 's focus on them then so what 's the block diagram for the one above it ?PhD C: For the f the f first yellow line you mean ?Professor B: Yeah .PhD C: Yeah so it 's uh basically s the same except that we don'thave this uh low - pass filtering so we have only two streams .PhD D: Step .PhD C: Well . There 's {disfmarker} there 's no low {disfmarker} low - pass processing used as additional feature stream .Professor B: Mm -hmm . Mm - hmm .PhD C: UmProfessor B: Do you e um they mentioned {disfmarker} made some {disfmarker} uh when I was on the phone with Sunil they {disfmarker} they mentioned some weighting scheme thatwas used to evaluate all of these numbers .PhD C: Yeah . Uh actually the way things seems to um well it 's uh forty percent for TI - digit , sixty for all the SpeechDat - Cars , well all these languages . Ehm the well matchis forty , medium thirty five and high mismatch twenty - five . Yeah .Professor B: Um and we don't have the TI - digits part yet ?PhD C: Uh , no .Professor B: OK .PhD C: But yeah . Generally what you observe with TI -digits is that the result are very close whatever the {disfmarker} the system .Professor B: OK . And so have you put all these numbers together into a single number representing that ?PhD C: Yeah .Professor B: I meannot {disfmarker}PhD C: Uh not yet .Professor B: OK so that should be pretty easy to do and that would be good {disfmarker}PhD C: No . Mmm yeah , yeah .Professor B: then we could compare the two and say whatwas better .PhD C: Mmm . Yeah .Professor B: Um and how does this compare to the numbers {disfmarker} oh so OGI two is just the top {disfmarker} top row ?PhD D: Yeah .PhD C: So yeah to {disfmarker} actuallyOGI two is the {disfmarker} the baseline with the OGI features but this is not exactly the result that they have because they 've {disfmarker} they 're still made some changes in the featuresProfessor B: OK .PhD C:and {disfmarker} well but uh actually our results are better than their results . Um I don't know by how much because they did not send us the new resultsProfessor B: OK .PhD C: UhProfessor B: Uh OK so the one{disfmarker} one place where it looks like we 're messing things up a bit is in the highly mismatched Italian .PhD C: Yeah . Yeah .Professor B: AnPhD C: Yeah there is something funny happening here because{disfmarker} yeah .Professor B: Yeah .PhD C: But there are thirty - six and then sometimes we are {disfmarker} we are {disfmarker} we are around forty - two andProfessor B: Now upPhD C: butProfessor B: Uh soone of the ideas that you had mentioned last time was having a {disfmarker} a second um silence detection .PhD C: Yeah . So there are some results herePhD D: For the Italian .PhD C: uh so the third and the fifth lineof the tablePhD D: For this one .Professor B: So filt is what that is ?PhD C: Filt , yeahPhD D: Yeah .PhD C: Um yeah so it seems f for the {disfmarker} the well match and mismatched condition it 's uh it bringssomething . Uh but uh actually apparently there are {disfmarker} there 's no room left for any silence detector at the server side because of the delay . Uh wellProfessor B: Oh we can't do it . Oh OK .PhD C: No .PhD D:For that {disfmarker} for that we {disfmarker}Professor B: Oh .PhD C: UhProfessor B: Too bad . Good idea , but can't do it .PhD C: Yeah .Professor B: OK .PhD C: Except I don't know because they {disfmarker} I thinkthey are still working well .Professor B: Uh - huh .PhD C: Uh t two days ago they were still working on this trying to reduce the delay of the silence detector so but yeah if we had time perhaps we could try to find uhsome kind of compromise between the delay that 's on the handset and on the server side . Perhaps try to reduce the delay on the handset and {disfmarker} but well hmm For the moment they have this large delay onthe {disfmarker} the feature computation and so we don'tProfessor B: OK . So Alright so for now at least that 's not there you have some results with low - pass filter cepstrum doesn't have a huge effect but it{disfmarker} but it looks like it you know maybe could help in a couple places .PhD C: I thProfessor B: Uh little bit .PhD C: Yeah .Professor B: Um and um um Yeah and uh let 's see What else did we have in there ? Uh Iguess it makes a l um at this point this is I {disfmarker} I guess I should probably look at these others a little bit uh And you {disfmarker} you yellowed these out uh but uh uh Oh I see yeah that {disfmarker} that oneyou can't use because of the delay . Those look pretty good . Um let 's see that one Well even the {disfmarker} just the {disfmarker} the second row doesn't look that bad right ? That 's just uh yeah ?PhD C: Yep.Professor B: And {disfmarker} and that looks like an interesting one too .PhD D: Mmm yeah .Professor B: UhPhD C: Actually the {disfmarker} yeah the second line is uh pretty much like the first line in yellow exceptthat we don't have this KLT on the first {disfmarker} on the left part of the diagram . We just have the features as they are .Professor B: Mm - hmm .PhD C: UmProfessor B: Yeah . Yeah so when we do this weightedmeasure we should compare the two cuz it might even come out better . And it 's {disfmarker} it 's {disfmarker} it 's a little {disfmarker} slightly simpler .PhD C: Mm - hmm . Yeah .Professor B: So {disfmarker} sothere 's {disfmarker} so I {disfmarker} I would put that one also as a {disfmarker} as a maybe . Uh and it {disfmarker} yeah and it 's actually {vocalsound} does {disfmarker} does significantly better on the uh uhhighly mismatched Italian , so s and little worse on the mis on the MM case , but uh Well yeah it 's worse than a few thingsPhD C: Mm - hmm .Professor B: so uh let 's see how that c that c c see how that comes out ontheir {disfmarker} their measure and {disfmarker} are {disfmarker} are we running this uh for TI - digits or uhPhD C: Yeah .Professor B: Now is TI di {disfmarker} is is that part of the result that they get for the uhdevelopment {disfmarker} th the results that they 're supposed to get at the end of {disfmarker} end of the month , the TI - digits are there also ?PhD C: Yeah . Yeah . It 's included , yeah .Professor B: Oh OK . OK .And see what else there is here . Um Oh I see {disfmarker} the one {disfmarker} I was looking down here at the {disfmarker} the o the row below the lower yellowed one . Uh that 's uh that 's with the reduced uh KLTsize {disfmarker} reduced dimensionality .PhD C: Mm - hmm ? Yeah . Yeah .Professor B: What happens there is it 's around the same and so you could reduce the dimension as you were saying before a bit perhaps.PhD C: Yeah , it 's {disfmarker} it 's significantly worse well but {disfmarker} Mm - hmm .Professor B: It 's significantly worse {disfmarker} it 's {disfmarker} it 's uh it 's {disfmarker} it 's mostly worse .PhD C: Exc -except for the HMPhD D: For many a mismatch it 's worse .PhD C: butProfessor B: Yeah . But it is little . I mean not {disfmarker} not by a huge amount , I don't know . What are {disfmarker} what are the sizes of anyof these sets , I {disfmarker} I 'm {disfmarker} I 'm sure you told me before , but I 've forgotten . So {disfmarker} you know how many words are in uh one of these test sets ?PhD C: UhPhD D: I don't remember.Professor B: About ?PhD C: Um it 's {disfmarker} it depends {disfmarker} well {disfmarker} the well matched is generally larger than the other sets and I think it 's around two thousand or three thousand wordsperhaps , at least .PhD D: Ye But words {disfmarker} well word {disfmarker} I don't know .PhD C: Hmm ? The words , yeah . S sentences .PhD D: Sentences .PhD C: Some sets have five hundred sentences , so .PhDD: Yeah .Professor B: So the {disfmarker} so the sets {disfmarker} so the test sets are between five hundred and two thousand sentences , let 's sayPhD C: Mmm .Professor B: and each sentence on the average hasfour or five digits or is it {disfmarker} most of them longer orPhD C: Yeah .PhD D: Yeah for the Italian even seven digits y more or lessPhD C: It {disfmarker} it d Seven digits .PhD D: but sometime the sentence haveonly one digit and sometime uh like uh the number of uh credit cards , something like that .Professor B: Mm - hmm . Right , so between one and sixteen . See the {disfmarker} I mean the reason I 'm asking is{disfmarker} is {disfmarker} is we have all these small differences and I don't know how seriously to take them , right ?PhD C: Mm - hmm ?Professor B: So uh i if {disfmarker} if you had uh just you know {disfmarker}to give an example , if you had uh um if you had a thousand words then uh a {disfmarker} a tenth of a percent would just be one word ,PhD C: Yeah .Professor B: right ? So {disfmarker} so it wouldn't mean anything.PhD D: Yeah .Professor B: OhPhD C: Yeah .Professor B: um so um yeah it be kind of {disfmarker} I 'd kind of like to know what the sizes of these test sets were actually .PhD C: Yeah .PhD D: The size that we have?PhD C: We could {disfmarker} we could run {disfmarker} run some kind of significance testsProfessor B: Yeah since these {disfmarker} well also just to know the numbers ,PhD C: orPhD D: Yeah .Professor B: right .So these {disfmarker} these are word error ratesPhD C: Yeah .Professor B: so this is on how many words .PhD C: Yep .PhD D: Yeah we have the result that the output of the HTKProfessor B: Yeah .PhD D: The numberof {disfmarker} of sentences , no it 's the number isn't .PhD C: Yeah sure {disfmarker} sure . Yeah sure .Professor B: Yeah so anyway if you could just mail out what those numbers are and then {disfmarker} then{disfmarker} that {disfmarker} that be great .PhD C: Yeah .PhD D: Yeah .Professor B: Um {vocalsound} what else is there here ? Um see the second {disfmarker} second from the bottom it says SIL , but this is somedifferent kind of silence or thing or {disfmarker} what was that ?PhD C: UhPhD D: It the {disfmarker} the output silence of the MLP .PhD C: Oh yeah I see .PhD D: It 's only one small experiment to know whathappened . To apply also to in include also the {disfmarker} the silence of the MLP we have the fifty - six form and the silence to pick up the silence and we include those .Professor B: Yes . Uh - huh , uh - huh . Thesilence plus the KLT output ? Oh so you 're only using the silence .PhD C: Yeah .PhD D: Yeah , because when we apply the KLTPhD C: No they 're {disfmarker} I think there is this silence in addition to the um KLToutputsProfessor B: No .PhD D: in addition , yes .PhD C: it is because we {disfmarker} we {disfmarker} we just keep uh we don't keep all the dimensions after the KLTPhD D: In addition tPhD C: and {disfmarker} yeah.PhD D: and we not s we are not sure if we pick {disfmarker} we have the silence .PhD C: So we try to add the silence also in addition to the {disfmarker} these twenty - eight dimensions .Professor B: I see . OK . Andwhat {disfmarker} and what 's OGI forty - five ? The bottom one there ?PhD C: Uh it 's o it 's OGI two , it 's {disfmarker} so the {disfmarker} th it 's the features from the first linePhD D: It 's in fact OGI two .ProfessorB: SPhD C: and {disfmarker} yeah .Professor B: Right , but I mean what 's the {disfmarker} what does the last row mean ?PhD C: So it 's uh basically this but without the KLT on the {disfmarker} from the left path.Professor B: I thought that was the one {disfmarker} I thought that was the second row . So what 's the difference between the secondPhD C: Uh the second line you don't have this combo stuff so you justProfessor B:Oh .PhD C: uhProfessor B: So this is like the second line but with {disfmarker} with the combo stuff .PhD C: Yeah . Yeah .PhD D: And with the {disfmarker} all the output of the combo .Professor B: OK . Yeah .PhD C:Yeah .PhD D: UhProfessor B: OK , so {disfmarker} alright so it looks to me {disfmarker} I guess the same {disfmarker} given that we have to take the filt ones out of the {disfmarker} the running because of this delayproblem {disfmarker} so it looks to me like the ones you said I agree are {disfmarker} are the ones to look atPhD C: Mm - hmm .Professor B: but I just would add the {disfmarker} the {disfmarker} the second rowonePhD C: Yeah .Professor B: and then um if we can umPhD C: Mmm .Professor B: oh yeah also when {disfmarker} when they 're using this weighting scheme of forty , thirty - five , twenty - five is that on thepercentages or on the raw errors ? I guess it 's probably on the percentages right ?PhD C: Uh {vocalsound} I guess , yeah .Professor B: Yeah OK .PhD C: I guess , yeah . Mmm .Professor B: Alright .PhD C: It 's not clearhere .Professor B: OK . Maybe {disfmarker} maybe they 'll argue about it . Um OK so if we can know what {disfmarker} how many words are in each and then um Dave uh Dave promised to get us something tomorrowwhich will be there as far as they 've gotten {vocalsound} FridayPhD C: Mm - hmm .Professor B: and then we 'll operate with thatPhD C: Yeah .Professor B: and uh how long did it I guess if we 're not doing all thesethings {disfmarker} if we 're only doing um um I guess since this is development data it 's legitimate to do more than one , right ? I mean ordinarily if {disfmarker} in final test data you don't want to do several and{disfmarker} and take the bestPhD C: Yeah . Mmm .Professor B: that 's {disfmarker} that 's {disfmarker} that 's not proper but if this is development data we could still look at a couple .PhD C: Yeah . We can{disfmarker} yeah . Sure . But we have to decide {disfmarker} I mean we have to fix the system on this d on this data , to choose the bestProfessor B: Yeah . I Right .PhD C: and theseProfessor B: But the question iswhen {disfmarker} when do we fix the system ,PhD C: But we couldProfessor B: do we fix the system uh tomorrow or do we fix the system on Tuesday ?PhD C: it dProfessor B: I {disfmarker} Yeah , OK except that wedo have to write it up .PhD C: I think we fixed on Tuesday , yeah . Yeah . Mm - hmm . Mm - hmm .Professor B: Also , soPhD C: Yeah . Yeah .Professor B: UmPhD C: Uh yeah well . Well basically it 's this with perhapssome kind of printing and some {disfmarker} some other @ @ .Professor B: Right so maybe what we do is we {disfmarker} we {disfmarker} we uh as soon as we get the data from them we start the training and soforthPhD C: Yeah but Mm - hmm .Professor B: but we start the write - up right away because as you say there {disfmarker} there 's only minor differences between these .PhD C: I think you {disfmarker} we could{disfmarker} we could start soon , yeah .Professor B: Yeah .PhD C: Write up something .Professor B: Yeah , and {disfmarker} and I {disfmarker} I would {disfmarker} you know , I would {disfmarker} I 'd kind of liketo see itPhD C: Um yeah . Mm - hmm .Professor B: maybe I can {disfmarker} I can edit it a bit uh sure . The {disfmarker} my {disfmarker} what in this si i in this situation is my forte which is English .PhD C: Yeah.Professor B: Uh soPhD C: Mmm .Professor B: uh H yeah . Have y have you seen alt d do they have a format for how they want the system descriptions or anything ?PhD C: Uh not really .Professor B: OK .PhD C: UmThere is the format of the table which is {vocalsound} quite impressive .Professor B: Yeah ? Uh I see . Yes , for those who are listening to this and not looking at it uh it 's not really that impressive , it 's just tiny . It 'sall these little categories set a , set b , set c , multi - condition , clean . Uh No mitigation . Wow . Do you know what no {disfmarker} what no mitigation means here ?PhD C: Um it should be the the problem with theerror {disfmarker} channel errorProfessor B: Oh that 's probably the {disfmarker}PhD C: orProfessor B: this is probably channel error stuffPhD C: well , you {disfmarker}Professor B: huh ? Oh this is i right , it saysright above here channel {disfmarker} channel error resilience ,PhD C: Yeah . Yeah .Professor B: yeah . So recognition performance is just the top part , actually . Uh and they have {disfmarker} yes , split betweenseen databases and non - seen so basically between development and {disfmarker} and evaluation .PhD C: Yeah .Professor B: And {vocalsound} so {disfmarker} right , it 's presumed there 's all sorts of tuning that 'sgone on on the see what they call seen databases and there won't be tuning for the uh unseen . Multi - condition {disfmarker} multi - condition . So they have {disfmarker} looks like they have uh uhPhD C: Mm - hmm.Professor B: so they splitting up between the TI - digits and everything else , I see . So the everything else is the SpeechDat - Car , that 's the multi multilingualPhD C: Yeah , so it 's not divided between languages youmean or {disfmarker}Professor B: Well , it is .PhD C: it justProfessor B: It is , but there 's also {disfmarker} there 's these tables over here for the {disfmarker} for the TI - digits and these tables over here for the cardata which is {disfmarker} which is I guess all the multilingual stuffPhD C: Oh yeah .Professor B: and then uh there 's {disfmarker} they also split up between multi - condition and clean only .PhD C: Yeah . For TI -digits .Professor B: Yes .PhD C: Yeah , actually yeah . For the TI - digits they want to train on clean and on noisyProfessor B: Yeah .PhD C: and {disfmarker} yeah .Professor B: So we 're doing that also , I guess .PhD C:Uh yeah . But uh we actually {disfmarker} do we have the features ? Yeah . For the clean TI - digits but we did not test it yet . Uh the clean training stuff .Professor B: OK .PhD C: Mmm .Professor B: Well anyway ,sounds like there 'll be a lot to do just to {vocalsound} work with our partners to fill out the tables {vocalsound} over the next uh next few daysPhD C: Mm - hmm .PhD D: Yes .Professor B: I guess they have to send itout {disfmarker} let 's see the thirty - first is uh uh Wednesday and I think the {disfmarker} it has to be there by some hour uh European time on WednesdayPhD C: Hmm - hmm .Professor B: so {vocalsound} I thinkbasicallyPhD D: We lost time uh Wednesday maybe because {vocalsound} that the difference in the time may be {disfmarker} is a long different of the time .Professor B: E excuse me ?PhD D: Maybe the Thursday thetwelfth of the night of the Thurs - thirty - one is {disfmarker} is not valid in Europe .PhD C: Yeah .PhD D: We don't know is happening .Professor B: Yes , so I mean {disfmarker} I think we have to actually get it doneTuesdayPhD D: Tuesday .Professor B: right because I {disfmarker} I thinkPhD C: Yeah , well .Professor B: uh UhPhD C: Except if {disfmarker} if it 's the thirty - one at midnight or I don't know {disfmarker} we can{vocalsound} still do some work on Wednesday morning .Professor B: yeah well . W i is but is {disfmarker} is it midni I thought it was actually something like five PM on {disfmarker}PhD C: Yeah , well . Yeah .PhD D:"}
+{"doc_id":"doc_188","qid":"","text":"Project Manager: Okay . Uh good afternoon . This is our third meeting already .Marketing: Good afternoon .Project Manager: I hope you enjoyed your lunch . {vocalsound} I did anyway . {vocalsound} Um let's see .Presentation three . Okay this is um the second phase uh we're going to discuss today . It's the conceptual design meeting . And a few points of interest in this meeting um are the conceptual specification ofcomponents . Uh conceptual specification of design . And also trend-watching . Um these are hopefully the points you addressed in uh your pre uh presentations you're going to show me in a few minutes . Um but firstI'll show you the agenda . Uh first the opening . Then we have three presentations . Uh after that we have to come to a decision on remote control concepts . How we're going to make it . And then we're closing . Wehave about forty minutes . Uh so I suggest let's get started . Uh did someone encounter any problems during the preparation ? No ?User Interface: No .Project Manager: Everything fine ?Marketing: {gap}ProjectManager: That's nice . Then a little uh thing about the last meeting . Uh these are the points um we agreed on . The requirements and the target market . Uh requirements are uh teletext , docking station , audio signal, small screen , with some extras that uh button information . And we are going to use default materials . Um does somebody have any comments on these requirements ? Maybe ? No ? These are just the the things wethought of , so maybe if you figured something else or thought of something else , just let me know . And maybe we can uh work it out . And we're going to target uh sixty to to eighty year old customers . So noweverybody knows what we're do we're doing , um I suggest let's get started with the presentations . So shall we keep the same uh line-up as uh last time ?Marketing: Sure .Project Manager: Okay .Marketing: I'll startoff then .Project Manager: Good luck . {vocalsound}Marketing: Doh . 'Kay I'm uh gonna inform you about the trend-watching I've done over the past few days . Um we've done some market research . We distributedsome more enquetes , questionnaires . And um besides that um I deployed some trend-watchers to Milan and Paris to well get all of the newest trends . And I've consulted some additional trend-watch trend-watchers ,after the original trend-watchers return , about what the the best design would be . Um okay these are some overall findings . Um most important thing is the fancy design . Um the research indicated that that was byfar the most important factor . Um innovativeness was about half as important as the fancy design . By innovativeness this means um functions which are not featured in other remote controls . Um about half of , halfas important as the innovativeness was the was easy to use . Um for our um group , we're focusing on the people of sixty to eighty y years old , this is um , these factors are slightly more equal . 'Kay these are somemore group specific findings . Uh the older people prefer dark colours . Uh they like recognisable shapes , and familiar material . And our surveys have indicated that especially wood is pretty much the material for olderpeople . Um this is , this image will give you a little bit of an impression about um the look-and-feel that um the remote should have . Um this leads us to some personal preferences . Uh the remote control and thedocking station should uh blend in in the in the room . Um so this would mean no uh eye-catching designs . Just keep it simple and {disfmarker} Well the docking station and small screen would be our main points ofinterest , because this would be the {disfmarker} These would uh be the innovativeness in the remote control . So this would be very important that we {vocalsound} at least include these features . Um well thetrend-watchers I consulted advised that it b should be , the remote control and the docking station should be telephone-shaped . So you could imagine that uh the remote control will be standing up straight in thedocking station . This is not really {disfmarker} This is pretty much a new shape to uh older people . So they would prefer uh a design where the remote control just lies flat in the docking station . So it would be kindamore telephone-shaped . Um besides that we would advise um to bring two editions , one with a wood-like colour and maybe feel , and one with a grey-black colour . The wood-like for the more uh exclusive people .People with more money . Uh the grey-black colour for well people with less means . That would be all .Project Manager: Okay . Thank you . Any questions about the the trends ?Marketing: Any questions ?ProjectManager: MaybUser Interface: Mm no .Project Manager: No ? Okay , we go on to the next one .User Interface: {gap}Project Manager: {vocalsound}User Interface: Um {vocalsound} 'kay um yeah . {gap} uh some uhresearch uh a about um designing of an interface . Um the uh last meeting uh we had a about um uh using a f few buttons . So uh um uh that's w what I what I want to uh uh to do in uh our design . So um finding anattractive uh way to control uh the remote control . Um the uh {disfmarker} I found some uh something about uh speech uh recognition . So maybe uh we can uh use uh that . Um {disfmarker} Uh and uh using a littleuh display . So um findings . Um yeah just um we have just to focus on the primary um functions . So uh only uh buttons uh for uh sound , um for uh on-off , um uh shifting u up uh sa uh ca channel or uh down shiftingdown . Um uh let's see . Um yeah and {disfmarker} Uh {gap} we uh need some uh new a attractive functions uh uh which attract uh uh people for using it . So uh it's uh like a speak uh speech uh recognition and um aspecial button for selecting uh subtitles . Just uh what we uh mentioned uh last uh meeting . Um and yeah overall um user-friendly . So uh using uh large large buttons . Um {disfmarker} It's uh possible to uh uh tomake um quite cheap uh system for uh speech uh recognition . Um you can think about um uh when you lost your um remote control , you can uh call it and um it gives an um sig signal . So uh uh yeah . And and uh foruh shifting up a sen uh c ch channel or uh for um uh putting out uh sound or something , you can uh just give a sign uh say um sound off or {disfmarker} A and uh yeah . Television uh put the sound off uh put thesound off uh . Um {disfmarker} Let's see . Uh yeah . I was thinking about the special uh button for uh subtitles , um just one button to keep it uh simple . Uh one push on the button uh you get uh uh small uh subtitles .Um double push push um , if double click , um so uh you get uh big uh subtitles , for uh people uh um uh which c f uh who can't uh read small uh subtitles . So uh {disfmarker} Um {disfmarker} Yeah and w we have tokeep uh in general buttons uh so um we've got um the buttons we have to use . The on-off , sound on-off , sound higher or lower , um the numbers , uh zero to uh uh nine . Um the general buttons m more general bone button for shifting up and shifting down uh channel . Um also we want to uh use a little d display uh for um for displaying the uh the functions of the buttons . And um we can uh build in a function f which uh showsthe channel or some uh which the t television is on . So um made a little uh picture of uh it . Um {disfmarker} See . Um yeah . Just um we can put uh the on-off button uh over in this uh corner , um almost uh e all uhremote controls uh are using a on-off button on that place . Um so uh people uh will uh recognise uh um the button .Industrial Designer: {vocalsound}User Interface: So um {disfmarker} D display uh of it , it's uh justa small display . Uh um you can put it uh on top . Um it's uh most uh uh place where people uh , most of {gap} looks at . So uh um and a special uh button for shifting up uh and uh shifting down uh channel , um it's uhon place where um the thumb of of the {disfmarker} So you you can uh easily uh shift up or shift down . Um it's uh quite uh handy place . So um and uh all the f functions for subtitle uh one button , uh for sound uh{disfmarker} Uh and uh for our design , um uh we have to discuss about it uh I think uh so uh the form of it so {disfmarker}Project Manager: Okay .User Interface: And that's it .Project Manager: Uh thank you .{vocalsound}Industrial Designer: Okay . About the components design . Um for the energy source we can use a basic battery or , a as an optional thing , a kinetic energy , like in a watch , which you just shake and itproduces energy . But if we choose for that option , the docking station would c become obsolete . So I don't think it's really an option . Uh for the casing , uh the uh manufacturing department can deliver uh a flatcasing , single or double curved casing . It's really up the the design that we're gonna use . It's uh doesn't uh imply any technical restrictions . Uh as a case supplement , we could um , I thought of that l later , uh arubber uh belt , like a anti-slip . Uh for the b buttons , we can use plastic or rubber . And the chip-set , um it says simple here , but it should be advanced , because we're using an L_C_D_ uh screen . And as uh thetrend-watcher presentation showed , um people like wood , but it raises the price and it doesn't really fit the image , unless we would start two product lines . Form should follow function overall . Um well the kineticenergy source is rather fancy . But depends on what we want . I think we should disc discuss that . Um for the case , uh the supplement and the buttons , it really depends on the designer . And the chip-set uh reallyshould be advanced because otherwise uh it would really be a simple uh remote control . And that's it .Project Manager: Okay . Thank you . So that brings us to the discussion about our concepts . Mm .Marketing:{vocalsound}Project Manager: 'Kay . So these are the points we have to discuss . Um first I think we can talk about the energy source , since that's um has a pretty big influence on production price , uh and image.User Interface: {gap}Project Manager: Uh so uh f I think first of all we have to see uh it is possible to introduce kinetic energy in our budget , I think .Industrial Designer: Yes w there there are four options . We coulduse the basic normal battery .Project Manager: Yeah .Industrial Designer: Uh a hand dynamo .Project Manager: {vocalsound} Okay {gap} . {vocalsound}Industrial Designer: But I don't think that's {vocalsound} reallyan option .User Interface: {vocalsound}Industrial Designer: You don't wanna swing before you can watch television .Marketing: {vocalsound}Project Manager: {vocalsound} Yeah .Industrial Designer: Uh solar cells .But not every room is very lightUser Interface: Mm .Industrial Designer: so it's not a very good option .Project Manager: No .Industrial Designer: Or the kinetic energy .Project Manager: Yeah . Okay .Marketing: Andhow exactly does the kinetic energy work ?Industrial Designer: Well y you basically shake your remote , and then it powers up .Marketing: You just {disfmarker} You use it and it works .User Interface:{vocalsound}Industrial Designer: Yeah .Project Manager: Yeah .User Interface: Nah .Marketing: Okay . Well personally I don't think that older people like to shake their remote control before they use it .User Interface:{vocalsound}Industrial Designer: {vocalsound} Yeah . That's true .Marketing: And besides that you mentioned it would make the docking station obsolete .Industrial Designer: Oh .Marketing: And I think our dockingstation could be one of the marketing issues with which we can um get great popularity for our product .Project Manager: Yeah .User Interface: ButMarketing: Um welUser Interface: what's the function ? Yeah f forloading up uh the batteries {gap} .Marketing: Yeah you could load up the batteries ,User Interface: B bMarketing: you could um insert the find the lost remote control function in there .User Interface: Okay but uh itwon't use uh much e energy uh I I believe . Uh it's uh just a small display so I believe uh it will run on one battery for um six months or f or or more . So I believe one battery uh is just enough .Project Manager: Uh{disfmarker}User Interface: Uh so {disfmarker}Project Manager: Uh well I think uh elderly people just like to have everything in place .Marketing: That's true . {vocalsound}Project Manager: And I don't think they theylike uh remotes just laying everywhere in their rooms .User Interface: Okay .Project Manager: So maybe a docking station will help them give the remote a place .User Interface: Yeah . That's true . Yeah .ProjectManager: And also what you said . Um you can introduce voice recognition by uh finding back your remote .User Interface: Mm-hmm .Project Manager: But I think it's um more efficient and cheaper to put it in thedocking station .User Interface: Yeah .Project Manager: So you have a but button on your docking station which you can push , and then it starts beeping .User Interface: Okay .Project Manager: And then we can wecan still use the voice recognition , but maybe then for only the the channels .User Interface: Yeah . Uh .Project Manager: That's safe .Marketing: I'm wondering um what will the voice recognition mean for theproduction price ?Project Manager: Yeah . That's a good point .Industrial Designer: Mm I don't have any information on pricing . So I'll have to ask the manufacturing department .User Interface: Mm .Marketing: 'Causein our earlier um market research , if you'd allow me to go to the flat board , SMARTboard .Project Manager: Yeah , sure . Go ahead .Marketing: Um so it was open here . Um we also um asked if w they would , if peoplewould pay more for speech recognition in a remote control . Well you can see here , our target group would not do that .Project Manager: No .Marketing: So if that would increase the price for which we're selling ourremote controlUser Interface: Mm .Marketing: I would greatly advise not to do it .Project Manager: Yeah .User Interface: {gap}Marketing: I think that would be better to uh insert in our other product , that is meant fortheProject Manager: Yeah .Marketing: younger people .User Interface: 'Kay .Industrial Designer: But that would also go for the L_C_D_ screen then I guess . It's a bit higher percentage , but {disfmarker}Marketing:Um well this is Yeah but this is here the question was , would you prefer it . So that doesn't really mean they wouldn't pay extra for it . And on top of that the L_C_D_ screen would um help in making the remote controleasier to use .User Interface: Yeah .Project Manager: Yeah .Industrial Designer: Okay .Marketing: And I think a voice recognition function would not make the remote control much easier to use .Project Manager: Easierto use ? No , I think that's a good point .User Interface: But uh is uh our uh research um about um bi large uh L_C_D_ sh uh display , or uh just a small one uh we want to uh use ?Marketing: Um well this was for like anL_C_D_ screen like you would have on a on the the most advanced mobile phones .User Interface: Okay .Marketing: So pretty large .Project Manager: Yeah .User Interface: Yeah .Project Manager: I personally think theL_C_D_ screen we wanna use , with the extra information , I think nobody has anything against it . Because it's just uh some extra information ,User Interface: No .Project Manager: and it's easy to ignore as well . So ifyou don't wanna use it you just don't use it .User Interface: Yeah .Project Manager: And um yeah I think the um {disfmarker} Maybe we have to uh discard the voice recognition . Because it will increase cost uh signifiuh significantly . And I don't think the {disfmarker} I don't think it will be a lot easier to use , as well .User Interface: Yeah .Project Manager: So that brings us back to the energy . If we don't have the voice recognition, it will it won't use a lot of energy to use . Um {disfmarker}User Interface: Mm-hmm .Project Manager: So in that case we could use kinetic uh energy , but I think just a simple battery which you can reload on adocking station is just as good . And much cheaper as well .User Interface: Yeah .Project Manager: So {disfmarker}Industrial Designer: And that's the best choice .Project Manager: Okay let me just choose for thebattery . That brings us to the chip .Industrial Designer: Well there isn't any choice there because we're using the the the the display .Project Manager: Just the advanced .Industrial Designer: So it's gotta be advanced.Project Manager: OkayMarketing: 'Kay .Project Manager: {gap} , advanced chip . And then we get to the point of the case . Um which brings us a little bit back to marketing as well . Uh if we wanna choose for wood orthe black and grey . Or both ? Um as we saw there is not {disfmarker} Yeah wood is a lot more expensive to produce .Marketing: Mm-hmm .Project Manager: Um but I think it will attract elderly people who wanna havesomething exclusive , which they can show off to their grandkids .Marketing: Mm-hmm .Project Manager: Look I've got a new remote control , and uh {disfmarker}Industrial Designer: {vocalsound}User Interface: Uh Idunno .Marketing: Well {disfmarker} {vocalsound} And I think most important factor there is the wooden colour . So it wouldn't actually have to be wood ,Project Manager: Yeah . That's right .Marketing: if it's justUserInterface: Mm .Marketing: wood-coloured .Project Manager: But with colour was a lot more expensive ? Or ?Industrial Designer: Mm I dunno .Project Manager: You don't know ?Industrial Designer: I'll have to uhresearch .Project Manager: I think so because {disfmarker} Yeah .Marketing: Probably .Project Manager: It's a lot more difficult to to handle and to to get in the right shape .User Interface: Mm . Uh is it possible uh tomake um changeable uh case . So um uh you 'cause uh {disfmarker} Yeah with uh mobile phones uh uh so uh like the Nokia mobile phones , uh when you can change the case of it .Project Manager: Yeah .UserInterface: SoProject Manager: Change the cases . Yeah .User Interface: maybe it's possible uh possibility . So um um you have just to make one um standard um remote control , and um yeah you can sell uh few uh{disfmarker}Project Manager: You can sell the cases .User Interface: Yeah .Project Manager: Yeah . I think that's a very good option . Because um then you can advertise as well with the {disfmarker} Give yourgrandfather a new case for his remote control , or whatever . {vocalsound}User Interface: Yeah .Industrial Designer: {vocalsound}Marketing: {vocalsound}Project Manager: Because that's a {disfmarker} it'ssomething extra , it's something other remotes don't have ,User Interface: Yeah .Project Manager: which we can get a great advantage point .Marketing: Yeah that is true .Project Manager: So and then you can makethem with colour . Black and grey , other colours as well .User Interface: Yeah .Marketing: Yeah . We would have to look carefully into the design though .Project Manager: Costs .Marketing: 'Cause we would have tomake one w uh control which would fit in with a wooden cover and a plastic cover . The more original one , or the more standard one .Project Manager: Yeah . Yeah . SoMarketing: So that would {disfmarker}ProjectManager: you suggest we should design two different telephones on which you can apply , yeah {vocalsound} remote controls , on which you can apply different case covers , for example .Marketing: Well I wouldn'tdesign a telephoneIndustrial Designer: {vocalsound}Marketing: but {disfmarker} {vocalsound}User Interface: {vocalsound}Marketing: Well no I think w we should just , we should then just design one umProjectManager: Remote .Marketing: one remote , but it would have to be fancy with either the wood cover or the plastic one .Project Manager: Yeah . Okay .Marketing: So , but that shouldn't be too much of a problem.Project Manager: So everybody's okay with the changing covers ? I think that's a good uh good option .User Interface: Yeah .Industrial Designer: Yes .Project Manager: Changing case covers .Marketing: Um I heardour Industrial Designer talk about uh flat , single and double curved .Project Manager: Yeah .Industrial Designer: Yes .Marketing: Could you explain that a little more ?Industrial Designer: Well the the general like mostolder remotes are flat , just straight .Marketing: Mm-hmm .Industrial Designer: And uh our d manufacturing department can also deliver single curved or double curved ca curved cases .Marketing: And what wouldsingle curved and double curved mean ?Industrial Designer: Um it would just only affect the form , for as far as I know . So it's j really just up to the design department what we're gonna use . It doesn't really matterfor the price or the functionality .Marketing: Okay . So we can pretty much just do whatever we want .Industrial Designer: Pick one you like , yes .Project Manager: Mm . Okay .Marketing: 'Kay . That's good .ProjectManager: Uh but the form has to be um {disfmarker} It has to {disfmarker} It's has to be possible to stand up ? Or just only to lie down ?Marketing: No just to lie down .User Interface: {gap} okay .Project Manager:"}
+{"doc_id":"doc_189","qid":"","text":"PhD A: OK , we 're going .PhD D: Damn .Professor C: And uh Hans - uh , Hans - Guenter will be here , um , I think by next {disfmarker} next Tuesday or so .PhD B: Oh , OK .PhD D: Mm - hmm .Professor C: So he 's{disfmarker} he 's going to be here for about three weeks ,PhD B: Oh ! That 's nice .PhD A: Just for a visit ?Professor C: and , uh {disfmarker} Uh , we 'll see .PhD A: Huh .Professor C: We might {disfmarker} mightend up with some longer collaboration or something .PhD A: Cool .Professor C: So he 's gonna look in on everything we 're doingPhD D: Mm - hmm .Professor C: and give us his {disfmarker} his thoughts . And so it 'llbe another {disfmarker} another good person looking at things .PhD B: Oh . Hmm .Grad E: Th - that 's his spectral subtraction group ?Professor C: Yeah ,Grad E: Is that right ?Professor C: yeah .Grad E: Oh , OK . So Iguess I should probably talk to him a bit too ?Professor C: Oh , yeah . Yeah . Yeah . No , he 'll be around for three weeks . He 's , uh , um , very , very , easygoing , easy to talk to , and , uh , very interested ineverything .PhD A: Really nice guy .Professor C: Yeah , yeah .PhD B: Yeah , we met him in Amsterdam .Professor C: Yeah , yeah , he 's been here before .PhD B: Oh , OK .Professor C: I mean , he 's {disfmarker} he 's{disfmarker} he 's {disfmarker} he 's {disfmarker}PhD A: Wh - Back when I was a grad student he was here for a , uh , uh {disfmarker} a year or {comment} n six months .PhD B: I haven't noticed him .Professor C:N nine months .PhD A: Something like that .Professor C: Something like that .PhD A: Yeah .Professor C: Yeah . Yeah . He 's {disfmarker} he 's done a couple stays here .PhD B: Hmm .Professor C: Yeah .PhD A: So , um, {vocalsound} {comment} I guess we got lots to catch up on . And we haven't met for a couple of weeks . We didn't meet last week , Morgan . Um , I went around and talked to everybody , and it seemed like they{disfmarker} they had some new results but rather than them coming up and telling me I figured we should just wait a week and they can tell both {disfmarker} you know , all of us . So , um , why don't we{disfmarker} why don't we start with you , Dave , and then , um , we can go on .Grad E: Oh , OK .PhD A: So .Grad E: So , um , since we 're looking at putting this , um {disfmarker} mean log m magnitude spectralsubtraction , um , into the SmartKom system , I I did a test seeing if , um , it would work using past only {comment} and plus the present to calculate the mean . So , I did a test , um , {vocalsound} where I usedtwelve seconds from the past and the present frame to , um , calculate the mean . And {disfmarker}PhD A: Twelve seconds {disfmarker} Twelve {disfmarker} twelve seconds back from the current {pause} frame , isthat what you mean ?Grad E: Uh {disfmarker} Twelve seconds , um , counting back from the end of the current frame ,PhD A: OK , OK .Grad E: yeah . So it was , um , twen I think it was twenty - one frames and thatworked out to about twelve seconds .PhD A: Mm - hmm .Grad E: And compared to , um , do using a twelve second centered window , I think there was a drop in performance but it was just a slight drop .PhD A: Hmm!Professor C: Mm - hmm .Grad E: Is {disfmarker} is that right ?Professor C: Um , yeah , I mean , it was pretty {disfmarker} it was pretty tiny . Yeah .Grad E: Uh - huh . So that was encouraging . And , um , that{disfmarker} that {disfmarker} um , that 's encouraging for {disfmarker} for the idea of using it in an interactive system like And , um , another issue I 'm {disfmarker} I 'm thinking about is in the SmartKom system .So say twe twelve seconds in the earlier test seemed like a good length of time , but what happens if you have less than twelve seconds ? And , um {disfmarker} So I w bef before , um {disfmarker} Back in May , I didsome experiments using , say , two seconds , or four seconds , or six seconds . In those I trained the models using mean subtraction with the means calculated over two seconds , or four seconds , or six seconds . And ,um , here , I was curious , what if I trained the models using twelve seconds but I f I gave it a situation where the test set I was {disfmarker} subtracted using two seconds , or four seconds , or six seconds . And , um{disfmarker} So I did that for about three different conditions . And , um {disfmarker} I mean , I th I think it was , um , four se I think {disfmarker} I think it was , um , something like four seconds and , um , sixseconds , and eight seconds . Something like that . And it seems like it {disfmarker} it {disfmarker} it hurts compared to if you actually train the models {comment} using th that same length of time but it{disfmarker} it doesn't hurt that much . Um , u usually less than point five percent , although I think I did see one where it was a point eight percent or so rise in word error rate . But this is , um , w where , um , evenif I train on the , uh , model , and mean subtracted it with the same length of time as in the test , it {disfmarker} the word error rate is around , um , ten percent or nine percent . So it doesn't seem like that big a d adifference .Professor C: But it {disfmarker} but looking at it the other way , isn't it {disfmarker} what you 're saying that it didn't help you to have the longer time for training , if you were going to have a short time for{disfmarker}Grad E: That {disfmarker} that 's true . Um ,Professor C: I mean , why would you do it , if you knew that you were going to have short windows in testing .Grad E: WaPhD A: Yeah , it seems like for your{disfmarker} I mean , in normal situations you would never get twelve seconds of speech , right ? I 'm not {disfmarker} e uPhD B: You need twelve seconds in the past to estimate , right ? Or l or you 're looking at sixsec {disfmarker} seconds in future and six in {disfmarker}Professor C: Yeah .Grad E: Um , t twelve sProfessor C: No , total .Grad E: N n uh {disfmarker} For the test it 's just twelve seconds in the past .PhD B: No , it's all {disfmarker} Oh , OK .PhD A: Is this twelve seconds of {disfmarker} uh , regardless of speech or silence ? Or twelve seconds of speech ?Grad E: Of {disfmarker} of speech .PhD A: OK .PhD B: Mm - hmm.Professor C: The other thing , um , which maybe relates a little bit to something else we 've talked about in terms of windowing and so on is , that , um , I wonder if you trained with twelve seconds , and then when youwere two seconds in you used two seconds , and when you were four seconds in , you used four seconds , and when you were six {disfmarker} and you basically build up to the twelve seconds . So that if you have verylong utterances you have the best ,Grad E: Yeah .Professor C: but if you have shorter utterances you use what you can .Grad E: Right . And that 's actually what we 're planning to do inProfessor C: OK . Yeah .Grad E:But {disfmarker} s so I g So I guess the que the question I was trying to get at with those experiments is , \" does it matter what models you use ? Does it matter how much time y you use to calculate the mean whenyou were , um , tra doing the training data ? \"Professor C: Right . But I mean the other thing is that that 's {disfmarker} I mean , the other way of looking at this , going back to , uh , mean cepstral subtraction versusRASTA kind of things , is that you could look at mean cepstral subtraction , especially the way you 're doing it , uh , as being a kind of filter . And so , the other thing is just to design a filter . You know , basically you 're{disfmarker} you 're {disfmarker} you 're doing a high - pass filter or a band - pass filter of some sort and {disfmarker} and just design a filter . And then , you know , a filter will have a certain behavior and you loocan look at the start up behavior when you start up with nothing .Grad E: Mm - hmm .Professor C: And {disfmarker} and , you know , it will , uh , if you have an IIR filter for instance , it will , um , uh , not behave inthe steady - state way that you would like it to behave until you get a long enough period , but , um , uh , by just constraining yourself to have your filter be only a subtraction of the mean , you 're kind of , you know ,tying your hands behind your back because there 's {disfmarker} filters have all sorts of be temporal and spectral behaviors .Grad E: Mm - hmm .Professor C: And the only thing , you know , consistent that we knowabout is that you want to get rid of the very low frequency component .Grad E: Hmm .PhD B: But do you really want to calculate the mean ? And you neglect all the silence regions {comment} or you just use everythingthat 's twelve seconds , and {disfmarker}Grad E: Um , you {disfmarker} do you mean in my tests so far ?PhD B: Ye - yeah .Grad E: Most of the silence has been cut out .PhD B: OK .Grad E: Just {disfmarker} There 'sjust inter - word silences .PhD B: Mm - hmm . And they are , like , pretty short . ShorGrad E: Pretty short .PhD B: Yeah , OK .Grad E: Yeah .PhD B: Yeah . Mm - hmm . So you really need a lot of speech to estimate themean of it .Grad E: Well , if I only use six seconds , it still works pretty well .PhD B: Yeah . Yeah . Uh - huh .Grad E: I saw in my test before . I was trying twelve seconds cuz that was the best {pause} in my testbeforePhD B: OK .Grad E: and that increasing past twelve seconds didn't seem to help .PhD B: Hmm . Huh .Grad E: th um , yeah , I guess it 's something I need to play with more to decide how to set that up for theSmartKom system . Like , may maybe if I trained on six seconds it would work better when I only had two seconds or four seconds , and {disfmarker}Professor C: Yeah . Yeah . And , um {disfmarker}Grad E: OK.Professor C: Yeah , and again , if you take this filtering perspective and if you essentially have it build up over time . I mean , if you computed means over two and then over four , and over six , essentially what you 'regetting at is a kind of , uh , ramp up of a filter anyway . And so you may {disfmarker} may just want to think of it as a filter . But , uh , if you do that , then , um , in practice somebody using the SmartKom system ,one would think {comment} {disfmarker} if they 're using it for a while , it means that their first utterance , instead of , you know , getting , uh , a forty percent error rate reduction , they 'll get a {disfmarker} uh ,over what , uh , you 'd get without this , uh , um , policy , uh , you get thirty percent . And then the second utterance that you give , they get the full {disfmarker} you know , uh , full benefit of it if it 's this ongoingthing .PhD A: Oh , so you {disfmarker} you cache the utterances ? That 's how you get your , uh {disfmarker}Professor C: Well , I 'm saying in practice , yeah ,Grad E: MPhD A: Ah . OK .Professor C: that 's{disfmarker} If somebody 's using a system to ask for directions or something ,PhD A: OK .Professor C: you know , they 'll say something first . And {disfmarker} and to begin with if it doesn't get them quite right , mam maybe they 'll come back and say , \" excuse me ? \"PhD A: Mm - hmm .Professor C: uh , or some {disfmarker} I mean it should have some policy like that anyway .PhD A: Mm - hmm .Professor C: And {disfmarker}and , uh , uh , in any event they might ask a second question . And it 's not like what he 's doing doesn't , uh , improve things . It does improve things , just not as much as he would like . And so , uh , there 's a higherprobability of it making an error , uh , in the first utterance .PhD A: What would be really cool is if you could have {disfmarker} uh , this probably {disfmarker} users would never like this {disfmarker} but if you had{disfmarker} could have a system where , {vocalsound} before they began to use it they had to introduce themselves , verbally .Professor C: Mm - hmm .PhD A: You know . \" Hi , my name is so - and - so ,Professor C:Yeah .PhD A: I 'm from blah - blah - blah . \" And you could use that initial speech to do all these adaptations and {disfmarker}Professor C: Right .Grad E: Mm - hmm .Professor C: Oh , the other thing I guess which{disfmarker} which , uh , I don't know much about {disfmarker} as much as I should about the rest of the system but {disfmarker} but , um , couldn't you , uh , if you {disfmarker} if you sort of did a first pass I don'tknow what kind of , uh , uh , capability we have at the moment for {disfmarker} for doing second passes on {disfmarker} on , uh , uh , some kind of little {disfmarker} small lattice , or a graph , or confusion network ,or something . But if you did first pass with , um , the {disfmarker} with {disfmarker} either without the mean sub subtraction or with a {disfmarker} a very short time one , and then , um , once you , uh , actually hadthe whole utterance in , if you did , um , the , uh , uh , longer time version then , based on everything that you had , um , and then at that point only used it to distinguish between , you know , top N , um , possibleutterances or something , you {disfmarker} you might {disfmarker} it might not take very much time . I mean , I know in the large vocabulary stu uh , uh , systems , people were evaluating on in the past , somepeople really pushed everything in to make it in one pass but other people didn't and had multiple passes . And , um , the argument , um , against multiple passes was u u has often been \" but we want to this to be ryou know {disfmarker} have a nice interactive response \" . And the counterargument to that which , say , uh , BBN I think had , {comment} was \" yeah , but our second responses are {disfmarker} second , uh , passesand third passes are really , really fast \" .PhD A: Mm - hmm .Professor C: So , um , if {disfmarker} if your second pass takes a millisecond who cares ? Um .Grad E: S so , um , the {disfmarker} the idea of the secondpass would be waiting till you have more recorded speech ? Or {disfmarker} ?Professor C: Yeah , so if it turned out to be a problem , that you didn't have enough speech because you need a longer {disfmarker} longerwindow to do this processing , then , uh , one tactic is {disfmarker} you know , looking at the larger system and not just at the front - end stuff {comment} {disfmarker} is to take in , um , the speech with somesimpler mechanism or shorter time mechanism ,Grad E: Mm - hmm .Professor C: um , do the best you can , and come up with some al possible alternates of what might have been said . And , uh , either in the form ofan N - best list or in the form of a lattice , or {disfmarker} or confusion network , or whatever .Grad E: Mm - hmm .Professor C: And then the decoding of that is much , much faster or can be much , much faster if itisn't a big bushy network . And you can decode that now with speech that you 've actually processed using this longer time , uh , subtraction .Grad E: Mmm .Professor C: So I mean , it 's {disfmarker} it 's common thatpeople do this sort of thing where they do more things that are more complex or require looking over more time , whatever , in some kind of second pass .Grad E: Mm - hmm . OK .Professor C: um , and again , if thesecond pass is really , really fast {disfmarker} Uh , another one I 've heard of is {disfmarker} is in {disfmarker} in connected digit stuff , um , going back and l and through backtrace and finding regions that areconsidered to be a d a digit , but , uh , which have very low energy .Grad E: Mm - hmm . OK .Professor C: So , uh {disfmarker} I mean , there 's lots of things you can do in second passes , at all sorts of levels . Anyway, I 'm throwing too many things out . But .PhD A: So is that , uh {disfmarker} that it ?Grad E: I guess that 's it .PhD A: OK , uh , do you wanna go , Sunil ?PhD B: Yep . Um , so , the last two weeks was , like{disfmarker} So I 've been working on that Wiener filtering . And , uh , found that , uh , s single {disfmarker} like , I just do a s normal Wiener filtering , like the standard method of Wiener filtering . And that doesn'tactually give me any improvement over like {disfmarker} I mean , uh , b it actually improves over the baseline but it 's not like {disfmarker} it doesn't meet something like fifty percent or something . So , I 've beenplaying with the vPhD A: Improves over the base line MFCC system ? Yeah .PhD B: Yeah . Yeah . Yeah . So , um {disfmarker} So that 's {disfmarker} The improvement is somewhere around , like , thirty percent overthe baseline .Professor C: Is that using {disfmarker} in combination with something else ?PhD B: No , just {disfmarker} just one stage Wiener filterProfessor C: With {disfmarker} with a {disfmarker}PhD B: which is astandard Wiener filter .Professor C: No , no , but I mean in combination with our on - line normalization or with the LDA ?PhD B: Yeah , yeah , yeah , yeah . So I just plug in the Wiener filtering .Professor C: Oh , OK.PhD B: I mean , in the s in our system , where {disfmarker}PhD A: Oh , OK .PhD B: So , I di i diProfessor C: So , does it g does that mean it gets worse ? Or {disfmarker} ?PhD B: No . It actually improves over thebaseline of not having a Wiener filter in the whole system . Like I have an LDA f LDA plus on - line normalization , and then I plug in the Wiener filter in that ,Professor C: Yeah ?PhD B: so it improves over not having theWiener filter . So it improves but it {disfmarker} it doesn't take it like be beyond like thirty percent over the baseline . So {disfmarker}Professor C: But that 's what I 'm confused about , cuz I think {disfmarker} Ithought that our system was more like forty percent without the Wiener filtering .PhD B: No , it 's like , uh ,PhD D: Mmm .PhD A: Is this with the v new VAD ?PhD B: well , these are not {disfmarker} No , it 's the oldVAD . So my baseline was , {vocalsound} uh , {vocalsound} nine {disfmarker} This is like {disfmarker} w the baseline is ninety - five point six eight , and eighty - nine , and {disfmarker}Professor C: So I mean , if youcan do all these in word errors it 's a lot {disfmarker} a lot easier actually .PhD B: What was that ? Sorry ?Professor C: If you do all these in word error rates it 's a lot easier , right ?PhD B: Oh , OK , OK , OK . Errors ,right , I don't have .Professor C: OK , cuz then you can figure out the percentages .PhD B: It 's all accuracies .Professor C: Yeah .PhD D: The baseline is something similar to a w I mean , the t the {disfmarker} thebaseline that you are talking about is the MFCC baseline , right ?PhD B: The t yeah , there are two baselines .PhD D: Or {disfmarker} ?PhD B: OK . So the baseline {disfmarker} One baseline is MFCC baseline that{disfmarker} When I said thirty percent improvement it 's like MFCC baseline .PhD D: Mm - hmm .Professor C: So {disfmarker} so {disfmarker} so what 's it start on ? The MFCC baseline is {disfmarker} is what ? Is atwhat level ?PhD B: It 's the {disfmarker} it 's just the mel frequency and that 's it .Professor C: No , what 's {disfmarker} what 's the number ?PhD B: Uh , so I I don't have that number here . OK , OK , OK , I have ithere . Uh , it 's the VAD plus the baseline actually . I 'm talking about the {disfmarker} the MFCC plus I do a frame dropping on it . So that 's like {disfmarker} the word error rate is like four point three . Like{disfmarker} Ten point seven .Professor C: Four point three . What 's ten point seven ?PhD B: It 's a medium misma OK , sorry . There 's a well ma well matched , medium mismatched , and a high matched .ProfessorC: Ah .PhD B: So I don't have the {disfmarker} like the {disfmarker}Professor C: Yeah .PhD B: So {disfmarker}Professor C: OK , four point three , ten point seven ,PhD B: And forty forty .Professor C: and{disfmarker}PhD B: Forty percent is the high mismatch .Professor C: OK .PhD B: And that becomes like four point three {disfmarker}Professor C: Not changed .PhD B: Yeah , it 's like ten point one . Still the same . Andthe high mismatch is like eighteen point five .Professor C: Eighteen point five .PhD B: Five .Professor C: And what were you just describing ?PhD B: Oh , the one is {disfmarker} this one is just the baseline plus the , uh, Wiener filter plugged into it .Professor C: But where 's the , uh , on - line normalization and so on ?PhD B: Oh , OK . So {disfmarker} Sorry . So , with the {disfmarker} with the on - line normalization , theperformance was , um , ten {disfmarker} OK , so it 's like four point three . Uh , and again , that 's the ba the ten point , uh , four and twenty point one . That was with on - line normalization and LDA . So the h wellmatched has like literally not changed by adding on - line or LDA on it . But the {disfmarker} I mean , even the medium mismatch is pretty much the same . And the high mismatch was improved by twenty percentabsolute .Professor C: OK , and what kind of number {disfmarker} an and what are we talking about here ?PhD B: It 's the It - it 's Italian .Professor C: Is this TI - digitsPhD B: I 'm talking about Italian ,Professor C: or{disfmarker} Italian ?PhD B: yeah .Professor C: And what did {disfmarker} So , what was the , um , uh , corresponding number , say , for , um , uh , the Alcatel system for instance ?PhD B: Mmm . Professor C: Do youknow ?PhD D: Yeah , so it looks to be , um {disfmarker}PhD B: You have it ?PhD D: Yep , it 's three point four , uh , eight point , uh , seven , and , uh , thirteen point seven .PhD B: Yep .Professor C: OK .PhD B: So"}
+{"doc_id":"doc_190","qid":"","text":"Project Manager: Um we are {disfmarker} So the meeting will have about the same format as the last time . So {gap} switching over I've just left uh my first two screens {gap} .User Interface: Mm-hmm .ProjectManager: Um {vocalsound} mailed you the minutes of the last meeting uh just to save time .User Interface: Okay . Cool .Project Manager: {vocalsound} Um and is there any questions you have that arised from lastmeeting that are particularly bothering you ? NUser Interface: Mm um . No , I don't think so .Project Manager: No ? Okay , cool .Industrial Designer: No .Project Manager: Then we shall start with a presentation fromRaj .Marketing: Yeah . {vocalsound} Hi , me Raj , again . Uh in this meeting I I'm going to discuss about the trend watching , uh how these trends is going to affect our market potential and how important is this . Sowe have to look on this . First of all methodology . The met methodology to find out the trend was incl uh was done in a way {disfmarker} {vocalsound} We have done a rec not only a recent remote control marketsurvey , but we also considered the latest fre fashion trends of the market , because we think that this is also a factor which will affect our sales and profit . So what are our findings ? In our {vocalsound} uh in ourfindings we have seen that {disfmarker} when we did our remote control market survey we found that uh people l uh people do have preference for tho fancy mobi uh f remote controls which look and feel very good ,rather than having a functional look and feel uh good . So this sh this clearly indicates their preference for the design their outlook of the remote controls . So we should take into uh we should consider this factor as themost important factor , because this factor is twice as important , the second factor which is further ti twice the as important as the sec as uh the third factor . So this factor becomes the most important factor in oursurv uh uh in our mark uh means in take {disfmarker} in designing our rem uh remote controls .User Interface: The last one is the most important one , is it ?Marketing: No the first one is theUser Interface: Oh , sorry.Marketing: uh the outlook of the mobile , the it should have a fancy outlook ,Project Manager: {gap}User Interface: Okay .Marketing: the fancy design uh rather than just having a functional look and feel good , itshould have a fancy look and foo feel good .User Interface: Okay .Marketing: The second most important aspect is that remote control should be a technologically uh innovative . We must have some technologicaladvancement in the remote control tha rather than just putting it as it is as the other remo uh remote controls are . So it uh should be technologically innovative like glow-in-the-dark or speech recognition , somethinglike that .Project Manager: {vocalsound}Marketing: So that indicates our technological advancement . And the third most important aspect in the ta to take into consideration is that it should be easy to use ,UserInterface: Mm-hmm .Marketing: like it shouldn't be too much co complicated ,User Interface: Mm-hmm .Marketing: there shouldn't be too many buttons on this mobi uh remote control , it shouldn't be too complicateduh like this way . And it should be uh {disfmarker} and customers should be provided with manuals that is easy to understand in their local language , something . So that they could know how to use these remotecontrols . When we did uh f fashions uh , recent fashion uh {disfmarker} our recent fashion update shows that {disfmarker}User Interface: {vocalsound} Sorry .Industrial Designer: {vocalsound}Marketing: Ah yeah ?{vocalsound}User Interface: I was just reading fruit and vegetables .Project Manager: {vocalsound}User Interface: Hard to know how we are going to incorporate that . {vocalsound}Marketing: Y yeah uh yeah , wehave to , because uh d you can see how people have related their clothes , shoes , {gap} and everything with fruits and vegetables ,Project Manager: {gap}User Interface: {vocalsound}Marketing: because the g worldis now changing it's trend towards organic , becoming more and more organic ,User Interface: Okay . Yeah .Industrial Designer: We should make a big sponge lemon ,Marketing: becoming {disfmarker}{vocalsound}Industrial Designer: and then it'd be it would be yellow .Marketing: Yeah . {vocalsound}Project Manager: {vocalsound}User Interface: Yeah .Industrial Designer: It's {disfmarker}Marketing: So{disfmarker} {vocalsound}User Interface: Th that's very good .Industrial Designer: Yeah .Marketing: Yeah . So something like that we we should do .User Interface: Glow-in-the-dark . Okay .Marketing: And people uhthe f feel of the material is expected to be spongy rather than just having a plastic look , hard look .Industrial Designer: Mm . {vocalsound}User Interface: Well , that's good .Marketing: {vocalsound} Yeah . Yeah .UserInterface: That's what we kind of predicted anyway .Marketing: So so that they could play with it while handi uh while handling it . So that should also be taken into consideration .User Interface: Okay . Okay.Marketing: So these are my views .User Interface: Okay .Marketing: So {disfmarker}User Interface: Okay , the spongy , not real spongy , you can {vocalsound} {disfmarker}Marketing: No it ca {vocalsound} y a{gap} {disfmarker}User Interface: Do you think like rubber would be good or does it really want to be like gel kind of stuff ?Marketing: The rubber which is good for health and which is quite disposable that we can takeinto coUser Interface: Okay . Quite disposable .Marketing: Yeah . 'Cause we It shouldn't be have any harm to the environment also ,User Interface: Okay .Marketing: because our company is very well {gap} for takingall these concerns into consideration ,Project Manager: Alright , okay .User Interface: Oh okay .Marketing: so we don't want to have any harm to the society ,User Interface: Uh-huh . Okay .Marketing: so{disfmarker}Project Manager: Fashion .User Interface: {vocalsound}Project Manager: {vocalsound} Mm 'kay .User Interface: Cool .Marketing: So that's all . {vocalsound}Project Manager: Fruit and veg , well there yougo .User Interface: {vocalsound}Project Manager: Just what I think of when I think of a remote control . {vocalsound} {vocalsound}User Interface: Mm .Industrial Designer: {gap}User Interface: A remote control ?Yeah .Marketing: {vocalsound} {gap}User Interface: And were there any factors that weren't important in the survey , that they said we don't want ?Marketing: S uh we didn't find out any such point .User Interface:Or was it just {disfmarker} Okay . {vocalsound}Marketing: Uh yes , there could be , but we couldn't find out any , so {disfmarker}Project Manager: Mm-mm-mm-mm .User Interface: Cool .Project Manager:Mm-mm-mm-mm-mm .User Interface: F_ , what is it ? Um .Project Manager: Function F_ eight .User Interface: {gap} yeah .Project Manager: Hmm .User Interface: Okay .Industrial Designer: {gap}Marketing: Yeah .{gap}Project Manager: {gap}Marketing: Oh no , {vocalsound} {gap} .User Interface: No signal . Is that {gap} ?Industrial Designer: No , it's got it's got it .Marketing: Yeah , uh yeah , uh yeah .Industrial Designer:{gap}Marketing: {gap} Yeah . {vocalsound}Project Manager: {vocalsound} Excuse me .User Interface: Okay , and then F_ five , right ?Project Manager: Uh , yeah {gap} .User Interface: Okay . Um okay , so theinterface concept um . Yeah . The interface specification , what people {disfmarker} um how they interact with it basically , I think . Um so the method , we looked at existing designs , what are the {disfmarker} what'sgood about them , what's bad about them , um I looked at their flaws , so we're going to look at their flaws , everything . Um and what {vocalsound} the survey told us and what we think would be good , so a bit ofimagination .Project Manager: Mm 'kay .User Interface: {vocalsound} Uh the findings , I've got some pictures to show you as well .Project Manager: {vocalsound} {gap} either . {vocalsound}Industrial Designer:{vocalsound}Marketing: Hmm .User Interface: {vocalsound} Yeah . {vocalsound} Okay , so most remote controls use graphical interface , where you um have got s buttons and you point it rather than having theoutput as a a stream of text or something .Project Manager: Uh okay .User Interface: Um and we also found that there's inconsistent layout , which makes it confusing . So I think for our remote control {disfmarker}There is some inconsistency already in {disfmarker} ec existing in {disfmarker} between remote controls , but I think standard kind of um shape and uh play and those kind of but buttons like the the top right for onand off or something ,Project Manager: Right , okay . Yeah .User Interface: I think , people find that important,'cause then it's easy to use .Project Manager: {vocalsound}User Interface: And we've got some pictures ofsome uh new remote controls to show you .Project Manager: Excellent .User Interface: Do I press Escape F_ five ? Or just {disfmarker}Project Manager: Uh no just escape should uh {disfmarker}User Interface: Escape, okay . Um , oh I still haven't got my glasses on . Yeah , okay . So these are the {disfmarker} some of the pictures of existing ones .Project Manager: {vocalsound}Industrial Designer: Wow .User Interface: I'll justwalk you through them . This one is a voice recognition .Project Manager: 'Kay .User Interface: And that's the kind of idea we're going for .Project Manager: Looks pretty complicated .User Interface: There's um anL_C_D_ thing , which we thought could {disfmarker} I thought could get a bit confusing and a bit expensive as well for us .Project Manager: Right , okay .User Interface: This one is {disfmarker} got a kind of scroll likea mouse ,Project Manager: Mm-hmm , like the middle button .User Interface: which {disfmarker} Yeah .Project Manager: Okay .User Interface: Um and {disfmarker} But I'm not exactly sure how you'd use that,Industrial Designer: {vocalsound}Project Manager: Ah it's kinda like scrolling {disfmarker}User Interface: like would the computer come {disfmarker}Project Manager: uh right , well , if I s if I'm thinking of the rightone , I've got the same thing in front of my monitor , you scroll it and the when you reach the sort of um {vocalsound} menu item that you require , you press the middle of the scroll .User Interface: Uh-huh , that's likethe L_C_D_ one ,Project Manager: Right , okay .User Interface: is it ? But the one below that has got like {vocalsound} a little scroll function on the side . But I presume that the functions must come up on the T_V_screen .Marketing: {vocalsound} Yeah .Project Manager: Yeah , presumably .User Interface: I think that's what that is . So these are just a few ideas . Again that's just quite boring shape , grey , looks quite space-agey, but too many buttons , I think on that one .Industrial Designer: Uh it looks threatening .Project Manager: Yeah , looks like uh looks like something out of a jet . {vocalsound}User Interface: Yeah , it does look kind ofdangerous .Industrial Designer: {vocalsound} It looks like yeah {gap} .Marketing: Hmm .User Interface: Um this one I thought was really cool . It's w it's got the programmability function that we talked about.Industrial Designer: {vocalsound}User Interface: You can put it in there , it's for your kids , and it's quite an organic shape and the little circle around there is pretty cool .Project Manager: Okay .User Interface: Andthat's really easy to use , bright , so I like this one lot for our design . I think something like that would be good .Industrial Designer: Wow .Project Manager: Yeah , I m I mean the one thing I think about about theseones is um these kl uh secured areas um {vocalsound} , I've seen a lot of them with the the cover missing .User Interface: Of course yellow . {vocalsound}Project Manager: So like have it hinge rather than sort of clipon or whatever .User Interface: Right , yeah . Yeah , that's true . Yeah . Um so maybe that could be built into one of the things and it comes up on the T_V_ or something . And this one , the over-sized one , I don'tknow about you , but I think it's a bit too gimmicky .Project Manager: {vocalsound} Yeah .Industrial Designer: {vocalsound}User Interface: I don't think that will sell very well .Project Manager: I mean is that not sortof to assist the blind or something , is it ? {vocalsound}User Interface: {vocalsound} I guess so . I don't know .Industrial Designer: Then d blind don't watch T_V_ . {vocalsound}Project Manager: Strange .{vocalsound}User Interface: I think that's a bit {disfmarker} {vocalsound} Yeah exactly .Project Manager: No they do , they do .Industrial Designer: They do ? {vocalsound}Project Manager: They listen to it . Yeah.User Interface: {vocalsound} Yeah . And um this one {vocalsound} is just pointing out . I like {vocalsound} some of these things um the the raised symbols and everything , but {gap} pointing out um that this onethe volume it is kind of pressing down , but it would actually go up , because of the shape .Project Manager: Right , okay .User Interface: So that could {disfmarker} that's a bit confusing . Um but the buttons on this Ithink are {disfmarker} it's just showing you how you can have different different um buttons . They don't have to be all the same . So that's quite cool . Um .Project Manager: 'Kay but people tend to recognise certainshapes to do certain things anyway , don't they ?User Interface: Yeah , exactly . Um F_ five . Yes . So there are some of the findings . So we need to combine those ones umIndustrial Designer: {vocalsound}UserInterface: and I've just got {vocalsound} an e-mail from our technical department saying that they have broken through with some new speech recognition software that you can program in .Project Manager: Brilliant .That's handy . {vocalsound} {vocalsound}User Interface: Um yeah it is , just in time , very handy . Um so {vocalsound} I think maybe incorporating that in our design would be good .Project Manager: Okay .UserInterface: It's {disfmarker} you program it like you say , record , um and then , play , and then , record , play machine , and stuff like that , so that's {disfmarker} And it's much {disfmarker} Yeah . So that's quite cool. Uh personal preferences just some imagination , the raised symbols I thought were good , the L_C_D_ , it does look smart , but I think maybe for our budget , do you think that would be a bit too expensive to havethe {vocalsound} {disfmarker}Industrial Designer: The L_C_D_User Interface: Yeah .Industrial Designer: and the other stuff uh , I think .User Interface: And the speech recognition , 'cause I think we're definitely goingfor the speech recognition ,Marketing: But in our market survey we have seen that people are willing to pay more ,User Interface: are we ?Marketing: but they want the quality , they want f fancy look , they want somenew design , something new .User Interface: Uh-huh .Project Manager: Okay .Marketing: Uh yeah .User Interface: Uh-huh . But our budget , we've {disfmarker}Project Manager: It's still it's still got to get within ourtwelve fifty , you know .Marketing: Yeah .User Interface: Yeah .Marketing: So even if we increase our cost little bit , within uh some limits , and we give something new technological advancement as well as new designwith fancy outlook , I think we will meet the requirements and we will be able to have a good sales in the market .User Interface: Uh-huh . Okay .Project Manager: Okay .User Interface: I'm not sure if the {disfmarker}if {vocalsound} for twenty five Euros uh per uh twelve Euros fifty m manufacturing cost , {gap} .Industrial Designer: Ben banaProject Manager: Yeah . I can't see tha Although , th I mean to be to be sure they have got{disfmarker} I mean they are going crazy with the L_C_D_ technology now ,Industrial Designer: {gap}User Interface: The L_C_D_ .Project Manager: so that you've got your L_C_D_ T_V_s and everything so maybethe small {disfmarker}Industrial Designer: {vocalsound}Project Manager: But I mean like I I {disfmarker} the black and white , I guess , it just doesn't look funky enough .User Interface: Yeah .Industrial Designer:{vocalsound}Project Manager: Um but , I mean , like even mobile phones or whatever have {disfmarker} now have colour L_C_D_ screens ,User Interface: No .Industrial Designer: Hmm .Project Manager: w I ju ImeanUser Interface: Yeah . SProject Manager: I wouldn't know about the costs of them .User Interface: Uh-huh .Industrial Designer: But uh price price not withstanding um , is it too complicated , is it gonna be toomuch just overload ?Marketing: And the {disfmarker}Project Manager: Twelve fifty .Marketing: Uh i it will be easy because there will be , on L_C_D_ s screen , there will be different frent icons , they can just click okokay , whatever they waProject Manager: {vocalsound} Possibly .User Interface: Yeah , that's the thing , because {disfmarker}Industrial Designer: But but the thing is when you use a remote control , you never look atit , right ? You're looking at the T_V_Project Manager: Yeah .User Interface: Yeah .Industrial Designer: and and it's uh {disfmarker}Project Manager: Yeah .User Interface: That's true , yeah .Industrial Designer: It justseems kind of like a a needless thUser Interface: And one of the survey findings was that they want it easy to use , so I think I'm not sure about the L_C_D_ .Project Manager: Right .User Interface: It's a it's great , it'sa good idea , but for our budget and for the thing we're trying to go for eas easy to use , it's not the thing we should go for , I think . Child-friendly , I thought this was good , as you pointed out the um {vocalsound}the bit , it often goes missing especially with children , but it's a good shape and the organic is kind of {disfmarker} we could make a vegetabley kind of round shape , I think .Project Manager: {vocalsound} Yeah.Industrial Designer: So which vegetable ? {vocalsound}Project Manager: Well I mean we could make a {disfmarker}User Interface: Yeah , I know , carrot {vocalsound} .Project Manager: Yeah . {vocalsound}IndustrialDesigner: Okay . {vocalsound}Project Manager: Well , si since we're going for the uh the k the sort of company colours , I think your lemon wasn't that far s {vocalsound}Industrial Designer: The the lemon . Well whatare the options ?User Interface: Yeah .Project Manager: And if it doesn't work you know , we've just made a lemon . {vocalsound} {vocalsound}User Interface: But we don't want it to be {disfmarker} Yeah . Um thechild-friendly , yeah . Easy to use , it seems quite easy to use . I like the d the different shapes of the buttons and stuff .Project Manager: Mm-hmm . I like I like the colourful buttons as well .User Interface: I thinkthat's a good idea to go for . Yeah . And the mouse one , I thought it was a good idea , because people use mo mice mouses now with the scrolling thing . Um .Project Manager: Yeah . I mean we are marketing to sortof twenty five to thirty five ,User Interface: Yeah .Project Manager: so most people will have come in contact with that kind of use .User Interface: S yeah . So they'd be able to use that um , as I said I think i I'dpresume it would come up on the screen .Project Manager: Yeah .User Interface: Um so there you go .Project Manager: And that means tha that means you get to bump that bit to the T_V_ maker , so{disfmarker}User Interface: Yeah .Industrial Designer: Oh .User Interface: So that's um the user interfaceProject Manager: 'Kay .User Interface: design .Project Manager: {vocalsound} {gap}Industrial Designer: Okay.User Interface: So okay , I'll take this out now then .Industrial Designer: Um soProject Manager: {vocalsound}User Interface: There you go .Industrial Designer: I guess there are a lot of options that we're gonna haveto choose from among ,Project Manager: {vocalsound} Yeah , looks like it .Industrial Designer: and I'll I'll give you the uh , {vocalsound} I guess , technical considerations for those .User Interface: Mm .ProjectManager: {vocalsound} Uh {vocalsound}User Interface: {gap}Industrial Designer: And I'm gonna use the whiteboard , just 'cause we haven't used it {vocalsound} .Project Manager: Yeah , I was just thinking the selfsame thing . {vocalsound}User Interface: {vocalsound}Industrial Designer: Right . So , the way I'm gonna do this {vocalsound} is uh we're gonna take a look at some old remote controls , see how they work , uhreuse the the vital kind of um essential pieces of it ,Project Manager: {vocalsound}Industrial Designer: and then we'll throw in our new innovations um {vocalsound} and keep it all within budget .Project Manager:{vocalsound} Magic man .Industrial Designer: So uh yeah , looking inside a a very simple remote control . Um this is what they sent me . 'Kay . Here's uh the competition , I suppose .Project Manager:{vocalsound}Industrial Designer: Um you open it up , there's a circuit board inside ,Project Manager: Mm-hmm .Industrial Designer: um {vocalsound} and there's a a chip , a processor , the T_A_ one one eight three"}
+{"doc_id":"doc_191","qid":"","text":"Project Manager: Okay . Uh first of all I'll start with the costs ,Marketing: {gap} .Project Manager: because that's going to influence our design .User Interface: {vocalsound} Oh no .Marketing: Oh , {gap} .{vocalsound}Project Manager: If you {disfmarker} Don't know if you al already had a look or not ?User Interface: No n I I already did it .Industrial Designer: Did you do your questionnaire already ?Marketing: No .UserInterface: It's not much . It's just one question .Project Manager: Because we have a problem .Industrial Designer: Uh {disfmarker}Marketing: Oh . {vocalsound}Project Manager: If you look closely , you can see .UserInterface: Yeah .Industrial Designer: It wants {disfmarker}Project Manager: Um I already took the liberty to make some suggestions . {gap} . {gap} . {vocalsound} At the moment we have fifteen buttons , oneL_C_D_ screen , one advanced chip-on-print . We use a uh sensor , that's for the speech . Uh we use kinetic energy . And we wanted uh the buttons in a special colour . Okay . What's the first thing we should drop ?The special colour of the buttons ?User Interface: No that's that's for the trendy uh feel and look . So {disfmarker}Project Manager: Okay . Uh {disfmarker}Industrial Designer: Yeah but everything is .Project Manager:Should we switch to a hand dynamo ?User Interface: {vocalsound}Project Manager: Uh that's the still the same idea as the kinetic energy because you have to use it and do things .Marketing: No .User Interface: Yeah ,b but {disfmarker}Marketing: Yeah but young people like that .Project Manager: Batteries ?Marketing: So just do normal battery .Project Manager: Batteries .User Interface: I think the battery option .IndustrialDesigner: Just a normal battery then , yeah .Marketing: Yeah .Project Manager: {gap} .Marketing: It has to be twelve and a half .Project Manager: Yeah .Marketing: Or not ? {vocalsound}User Interface: Oh .{vocalsound}Project Manager: So {disfmarker}Industrial Designer: Oh my goodness .Project Manager: You're going to redesign something .Marketing: {vocalsound}User Interface: Oh no .Project Manager: Okay , sowe're at twenty five .Marketing: Uh , yeah . {vocalsound}Project Manager: {vocalsound} Um {disfmarker} Do we keep the shape doubly curved or g do we go for single curved ?Industrial Designer: Well I guess i we'llhave to go for single curve then . I mean we have to drop on everything .Project Manager: Mm-hmm . {vocalsound} Uh {disfmarker}Marketing: But we can keep it single curved with uh top view still curved , but fromthe side it's it's flat ,Industrial Designer: Yeah .Marketing: and the screen screen is just {disfmarker} Well you just have to hold it like this then . So {disfmarker}Project Manager: {vocalsound} Yeah . Um{disfmarker}Industrial Designer: How about {disfmarker} Sorry .Project Manager: Uh another option I saw was to drop the buttons one through nine , so you can't directly access a channel , but instead use only the upand down arrows . That would skip nine buttons and four and a half Euros .Industrial Designer: That's what I was thinking .User Interface: Yeah .Marketing: Alright .Project Manager: Yeah ?Industrial Designer: AaMarketing: Let's do it then . Yeah .Project Manager: Uh then we have left {disfmarker}User Interface: But we don't have any basic options any more .Marketing: {gap} we {disfmarker} {vocalsound}Project Manager:Uh yeah . We do .Industrial Designer: And uh 'cause then they don't have to n They don't need special colour as well .Marketing: F_ eight .Project Manager: They don't need special colours . Fine . That's more like it.Marketing: {vocalsound} Yeah .User Interface: {vocalsound}Project Manager: {vocalsound} You were saying something .Industrial Designer: That was exactly my point . Like let's drop all the buttons , and just makeoneProject Manager: Yeah .Industrial Designer: {disfmarker} I mean we're gonna use the L_C_D_ screen anyway . So we'll just have to use it for everything .Project Manager: Mm-hmm . Yeah .Industrial Designer: Andthen you can make an overview of channels in the screen , and select a channel , click {disfmarker}Project Manager: Yeah , some more menu options . Yeah . Okay so maybe we can drop few more buttons .IndustrialDesigner: {vocalsound}Project Manager: But um {disfmarker} Now let's look .User Interface: Yeah we c could {disfmarker} We only need the the the the the menu arrow arrow button uh thing . Everything you can dowith with the menu . So {disfmarker} With the display .Industrial Designer: {vocalsound}Project Manager: Mm-hmm .Industrial Designer: Yeah we need one integrated button for everything then .User Interface: Yeah.Marketing: The joystick .Project Manager: {vocalsound} Uh {disfmarker}Industrial Designer: Yeah . Kind of . I was {disfmarker} Because {disfmarker}Marketing: {vocalsound}Project Manager: Yeah , scroll-wheel ,push-button uh {disfmarker}Industrial Designer: Yeah . If you if you go to {disfmarker}Marketing: Integrated scroll-wheel push-button , yeah .Industrial Designer: If you go to our uh view , like you {disfmarker} if youare in the sound system there , uh and you wanna adjust the treble for instance ,Project Manager: Yeah . Yeah .Industrial Designer: this is just uh an example ,Project Manager: Mm-hmm .Industrial Designer: y y youwanna see a bar on which you can adjust it from zero to ten for example .Project Manager: Mm-hmm . Mm-hmm .Industrial Designer: But you want a sound preview of how it's gonna sound ,Project Manager: Yeah.Industrial Designer: right ? So you wanna click on it , activate it , whe and when you move it , hear the difference of the treble coming out or going into the sound .Project Manager: Yeah .Industrial Designer: So you'llyou'll need a a kind of a joystick uh button .Marketing: Yeah or or the integrated scroll-wheel push-button .Industrial Designer: Yeah .Marketing: So that's kind of on your mouse and then you can click it , adjust it , clickagain and then you're out of it .Industrial Designer: Exactly .Marketing: But you still {disfmarker} But you then still need to have {disfmarker} Well you can use the scroll-wheel as well for um maybe for the channels .But you still um {disfmarker}Industrial Designer: Yeah it's r Yeah .Marketing: You still have to have some some button in the menu to go back .User Interface: So you do one inte You can do one integrated scroll-wheelpush-button .Marketing: Yeah .User Interface: And then just drop all the other buttons .Project Manager: Uh yeah .Marketing: Well not all .User Interface: But but th the cost of one integrated button is far more than afew extra push-buttons .Marketing: Not s not sound I guess .Industrial Designer: {vocalsound} No .Project Manager: Yeah . It's uh {disfmarker} One integrated button is five times the cost of a normal button.Marketing: {vocalsound}User Interface: Yeah .Marketing: Mm .Project Manager: So {disfmarker}User Interface: So we have to to make it s uh more uh {disfmarker} It has to be {disfmarker}Project Manager: Youcould also drop j three more of these , without losing much functionality . You just drop the Okay and the Back .Marketing: Yeah . Wh wh what what what is the what is the uh sample sensor sample speaker ?ProjectManager: Oh , that's for the speech .Marketing: Speech recognition .Project Manager: Yeah .User Interface: Could drop the speech recognition . {vocalsound}Marketing: Right .Project Manager: S s Drop speechrecognition ?Industrial Designer: {vocalsound} No but {disfmarker}Project Manager: Yeah that's possible . {vocalsound}User Interface: We we dIndustrial Designer: Yeah it's it's expensive , but uh we never consideredthe possibilities of uh speech recognition . 'Cause it can take the function of a lot of uh uh buttons .Project Manager: Buttons .Marketing: Buttons .Project Manager: That's not very easy to use .User Interface: Yeah.Industrial Designer: IMarketing: No , it can be disturbed by by noise andIndustrial Designer: No .Project Manager: {vocalsound}Industrial Designer: Yeah but lets just say that the speech recognition works .Marketing:stuff like that . Let let let me see what's more what's more popular . I guess the the screen was more popular than um than the speech recognition .User Interface: Yeah .Marketing: I have to look on that . Let me see .{vocalsound} Uh well no I was wrong .Project Manager: {vocalsound}Marketing: There are more people who like speech recognition than an L_C_D_ screen .Project Manager: Yep . Okay . Because if you d lose theL_C_D_ screen , we {vocalsound} need a lot of {disfmarker}Marketing: But if it {disfmarker} {vocalsound} But it it {disfmarker} it's a it's a both a hypersUser Interface: We lose our whole concept .Project Manager:Yeah .User Interface: Uh so {disfmarker} No we just {disfmarker}Project Manager: We need a lot of extra buttons .Marketing: No , but {disfmarker}User Interface: We keep the L_C_D_ .Marketing: Well we Yeah wekeep the screen . I mean it's it's about the same . Eight one to ninety one percent , uh sixty six to seventy six .Project Manager: OkayIndustrial Designer: We uh we we haven't really integrated this {disfmarker} thespeech into the system ,Project Manager: so we drop the speech .Industrial Designer: so we can might as well s drop that . {gap}Project Manager: And drop it yeah ?User Interface: Yeah .Marketing: Yeah . Let's dropthe speech .Project Manager: Okay . S Fo Four less Euros . So we still have three and a half Euro to lose .User Interface: {vocalsound}Marketing: Sixteen Euros .Industrial Designer: {vocalsound} We need to lose somebuttons .Marketing: But y yProject Manager: Yeah if you lose the the Back , the Okay button {disfmarker} Uh v let's say we only have the four arrows , and the Menu button .Marketing: Yeah . Yeah .Project Manager:Then you're {disfmarker}Marketing: And then and then use um {disfmarker}Project Manager: {vocalsound} Oh and the power button we have also .Marketing: The the {disfmarker} Okay . And the menu button doesalso does the okay function then .Project Manager: Yeah .Marketing: And then when you in the menu {disfmarker}Project Manager: So that's one Euro .Marketing: S so so you activate the menu .User Interface: If wedo uh two integrated scroll-wheel push-buttons , we can drop all the the push-buttons .Project Manager: {vocalsound} Yeah . Yeah ? And {gap} {disfmarker}User Interface: With with one uh integrated button we canuh do the whole menu thing . With the other , we can do the the channel , the volume , et cetera .Marketing: Yeah yeah . {vocalsound} Yeah . {gap} .Project Manager: That would save zero point two Euros comparedto {disfmarker} No .User Interface: No it's three Euros . No ? Um {disfmarker}Project Manager: Yeah . To This together is more expensive than {disfmarker} Oof , it's almost the same as t keeping this .User Interface:No it's it's n Yeah . Yeah yeah yeah . {vocalsound}Project Manager: And we can drop these two .Marketing: Well okay .User Interface: It's the {disfmarker}Marketing: For example if you have f f four buttons ,{vocalsound} channel up and down , uh volume left right {disfmarker}Project Manager: Volume .Marketing: Okay , I've {disfmarker} I think we have to keep that .Project Manager: And the power button .Marketing:And then {disfmarker} and the power button . So that's five .Project Manager: That's the basic .Marketing: That's basic . That that's what you need anyway . And then for the menu , um you can have a button thatactivates menu . Or d or do we just integrate an an an scroll-wheel with a push-button . And then if the moment you use the scroll-wheel , the the the menu gets activated , and then you can scroll , choose an option ,click on it , it goes into an feature . Click on it again , selects features , scroll , adjust it . Click again , it's okay . Then you only need one button to move back . Or or under each option , you set a {disfmarker} you setan a screen thing what says back , and you select that one , click again , and you go one step back . And in that menu , scroll , click , one step back .User Interface: {vocalsound}Marketing: So that then you need fivebuttons , and one integrated scroll-wheel push-button .Project Manager: Yep . Okay th that's {disfmarker}Marketing: But we can't drop three buttons .Industrial Designer: Which {gap} {disfmarker} That's even{disfmarker}Marketing: But I see that's {disfmarker}Project Manager: Yeah that's one Euro more expensive .Marketing: Yeah .Industrial Designer: {vocalsound}Marketing: So {gap} {disfmarker} {vocalsound} that'snot a good idea .Project Manager: That's not an option .Marketing: Because which buttons do we have now ? Those five which I mentioned , and then menu , and then {disfmarker}Project Manager: Menu , power.Marketing: Yeah . F of the four things ?Project Manager: Four arrows ?Marketing: Yeah , th power .Project Manager: Power . Uh {disfmarker}Industrial Designer: {vocalsound} Yeah , if you if you go to eight{disfmarker}Marketing: {vocalsound} Which more ?Industrial Designer: I don't know how to {disfmarker}Project Manager: Yeah . Okay . So four arrows ?Marketing: Yeah .Project Manager: Uh power I believe?Marketing: Power . Th Yeah that's five .Project Manager: {vocalsound} Uh {disfmarker} We have a Back and a Okay button .Marketing: Yeah , okay that's seven ,Project Manager: And the Menu .Marketing: and one toactivate the menu , yeah . So okay that's eight . Well we can't reduce that . We we keep the display .Project Manager: Yeah , and even if we drop three buttons from here , we still have to make some adjustmentsaround here . So {disfmarker}Marketing: Oh , well okay . Yeah .Project Manager: {vocalsound}Industrial Designer: Yeah , we need the chip for the for the L_C_ display .Marketing: {vocalsound}Project Manager: TheL_C_D_ ? Yeah .User Interface: Let's make the {disfmarker} Let's make the case plastic .Marketing: Yeah well we need the advanced {disfmarker}Project Manager: Then I rather make it wood .Marketing: Instead ofrProject Manager: Because then also it's good in the market with the forty five plus uh people .User Interface: Yeah .Industrial Designer: Yeah . True .Marketing: Yeah but but that's not our market .User Interface: But{disfmarker}Project Manager: No that {disfmarker} maybe not . But maybe it's better than plastic anyway .Marketing: Ah no , hard plastic . {vocalsound}User Interface: Plastic with a with a special colour .IndustrialDesigner: {vocalsound} Oh .User Interface: A woo wood uh wood uh wood colour .Marketing: Yeah , plastic with special colour .Project Manager: Yeah ? {vocalsound}Marketing: {vocalsound} No but I I{disfmarker}Project Manager: Yeah okay uh {disfmarker}User Interface: {vocalsound} That's an option . {vocalsound}Marketing: Because we have to use the special colour anyway . You forgot that .User Interface:Yeah .Project Manager: Yep . Yeah , yeah .User Interface: So we do one one sMarketing: {vocalsound} So let's go for the plastic .User Interface: Yeah .Project Manager: Yeah , okay . Plastic .Marketing: And since it'snot kinetic , it doesn't have to flip around that much ?Project Manager: Uh that's easy because plastic is free . {vocalsound}Industrial Designer: Hmm .Project Manager: {vocalsound}User Interface: Hmm .Marketing:We still have problem of two Euros .Project Manager: Yeah , okay . Uh if we dropped uh {disfmarker}Marketing: {vocalsound}User Interface: No the buttons , those are really needed .Project Manager: Yeah ?UserInterface: Yeah th th it's it's uh {disfmarker}Marketing: Yeah we can't drop them .User Interface: An advanced chip-on-print . {vocalsound}Project Manager: {vocalsound} You still need that .Industrial Designer: Yeahuh {disfmarker}Marketing: {vocalsound} Do we really need that advanced chip for an L_C_D_ display ?Industrial Designer: You {disfmarker} uh uh {disfmarker} Yeah . So the other option would be to go for the thesample speaker , and {disfmarker} Which can use a regular chip , wh which is six Euros in total .Project Manager: {vocalsound} SIndustrial Designer: That doesn't matter .Marketing: Oh . I rather keep I rather keepthe display .Project Manager: No , I keep the re Yeah . Yeah . Because we already designed for it . So {disfmarker}Industrial Designer: Well yeah .Marketing: So the only option is an hand dynamo .Industrial Designer:Exactly .User Interface: {vocalsound} Oh that {disfmarker}Project Manager: Yeah and something else .Industrial Designer: {vocalsound} Yeah but the {disfmarker}Marketing: Oh no tha Oh that's one Euro , right.Industrial Designer: uh can't we f uh fit all the buttons in an intreg integrated scroll push-button ? 'Cause that will save us one and a half Euro already . And then if wMarketing: And then integrated s Yeah but thatwould make it not so easy to use .Project Manager: No y you would recMarketing: I mean it's not that important , easy to use , but {disfmarker}Project Manager: Then you have {disfmarker}Industrial Designer: Ththen we have to scroll through a lot of menus to be able to get where you want , huh ?Project Manager: Then you still need two additional buttons I believe .Industrial Designer: And uh {disfmarker}Marketing: Yeah.Project Manager: For the volume .Industrial Designer: Yeah d at l Yeah . At least one for power .Project Manager: You can use those {disfmarker} Yeah .User Interface: But the {disfmarker}Project Manager: Oh yeahand power . That's three buttons and this would cost {disfmarker}Industrial Designer: Oh . Yeah it's just as expensive as what we have now .User Interface: But the integrated uh button ? How many func functions canit uh have ?Project Manager: Yeah . Three . Up , down , Okay .Industrial Designer: Yeah endlessly . I mean it can be a power button as soon as it powered on .User Interface: Okay .Industrial Designer: You can go intoyou in you main menu ,Marketing: You you press it for like three seconds .Industrial Designer: you can choose uh flip channel , uh you can choose sound options , any options .Marketing: Then then then you should doeverything in the menu . On the screen .Industrial Designer: Yeah .Project Manager: Yeah , okay . It would save enough {disfmarker}Industrial Designer: {vocalsound} Maybe we should . 'Cause we don't have moneyand w we want the screen .Project Manager: Yeah you can choose this , drop these , then we have a half Euro left .Marketing: Yeah . {vocalsound}Project Manager: {vocalsound} So we can maybe still use powerbutton .Marketing: {vocalsound} Yeah , but we'd {disfmarker} {vocalsound} Alright .Project Manager: Yeah .Industrial Designer: I guess we have to .Marketing: It s it saves us four Euros and it costs us two and a half. So let's see , we we drop the price by one and a half .Project Manager: Yeah . You see ?Industrial Designer: We'll we'll be on {disfmarker}Marketing: But we still have thirteen left .Project Manager: Oh still{disfmarker} Yeah ? Oh then I miscalculated . Oh yeah .Marketing: Thirteen . So still half . {vocalsound}Project Manager: {vocalsound} Shit . Drop the special colour . {vocalsound}Marketing: There goes the special co{vocalsound}User Interface: {vocalsound} Oh no .Marketing: Well {disfmarker} {vocalsound} That would make it less appealing . So that's no option .Project Manager: {vocalsound} 'Kay . What else ? Uncurved ?UserInterface: No no , it has to be um curved .Marketing: We sure about the advanced chip we need for the display ?Project Manager: Yeah .Industrial Designer: Yeah it says right here .Project Manager: {vocalsound} Theymade it very easy for us . {vocalsound}User Interface: Okay .Marketing: Well yeah . {vocalsound} {gap} yeah . We made it hard for ourselves with the display , but it's a cool feature .Project Manager: Ah , I don'tthink I can s uh persuade the management to say , this is better for the market so you sell more than {disfmarker} {vocalsound}Marketing: {vocalsound}User Interface: Okay . Wh what we could do is um{disfmarker} drop the the special colour , and uh do the special colour for the buttons .Industrial Designer: {vocalsound} Yeah .Project Manager: Buttons . That's {disfmarker} Oh yeah since we only have one button.User Interface: Yeah . {vocalsound}Industrial Designer: {vocalsound}Project Manager: {vocalsound}Marketing: Yeah but I mean what is meant by special colour ?Project Manager: I just m I don't {disfmarker} I think{disfmarker}User Interface: Just something else than than black or white I think .Project Manager: Uh yeah it's {disfmarker} I think it's grey , regular .Marketing: S yeah . Alright .Project Manager: Grey and rubber.Industrial Designer: But we definitely want the thing to be a special colour though .Project Manager: Of plastic .User Interface: Yeah .Marketing: Yeah .Industrial Designer: {vocalsound} Damn .Marketing: So I ratherhave an hand dynamo {vocalsound} than than drop the colour .Project Manager: {vocalsound}User Interface: {vocalsound}Industrial Designer: Yeah and then {vocalsound} {disfmarker}Project Manager: Yeah"}
+{"doc_id":"doc_192","qid":"","text":"Project Manager: Okay . Oh , that's not gonna work . {vocalsound} Oh , alright . {vocalsound} Okay . Okay . Um alright .Marketing: Uh , uh , um .Project Manager: I'll just put that there . Uh as you all know we're hereto create a brand new fantastic remote . Uh I'm Nick Debusk , I'm the Project Manager . Uh we'll just get started with everyone kind of letting each other know who they are and what you're doing , what your what yourrole is um . Go ahead .Marketing: Okay . {vocalsound} I am Corinne Whiting and I will be the Marketing Expert and in each of the three phases I will have a different role . In the function design phase I will be talkingabout user requirement specification , and this means what needs and desires are to be fulfilled , and I'll be doing research to figure this out . In the conceptual design phase I will be dealing with trend watching and I'llbe doing marketing research on the web . And then finally in the um detailed design phase I will be doing product evaluation and so I will be collecting the requirements and ranking all the requirements to see how wedid .Project Manager: 'Kay .User Interface: Hiya , I'm Ryan . Um I'm the User Interface Designer . Um likewise I've three different roles for each stage of design . Um the functional design is looking at the tex technicalfunctions of a remote control . Um in the concept design , the user interface , how the user reacts with the the product . And the detailed design um {vocalsound} sort of like the user interface design , what they mightbe looking for , uh things like fashions , what makes wha how we're gonna make it special . That's about it .Industrial Designer: {vocalsound} Right . {vocalsound} I'm Manuel and I'm the Industrial Designer in in thisproject um . In the functional design phase I'm {disfmarker} I'll be dealing mostly with the requirements , um we'll discuss what the prog what functions the the product has to fulfil and so and so on . Um I supposewe'll work pretty much together on that one . Um um in the conceptual design um I'll be pro mostly dealing with properties and materials um of our product .User Interface: Yeah .Industrial Designer: And uh thedetailed design {disfmarker} in the detailed design I'll be concerned with the look and feel of the product itself , um so we're pretty much working together obviously on the design front here . Okay .{vocalsound}Project Manager: Okay . Um so we've got our opening , our our agenda is the opening , uh acquaintance which we've kinda done . Uh tool training , project plan discussion and then closing .User Interface:{vocalsound}Marketing: {vocalsound}Project Manager: Uh grand total of twenty five minutes we have here . Um so we are putting together a new remote control . Um we want it to be something original . Um ofcourse we're a {disfmarker} not only a electronics company but a fashion um conscious electronics company , so we want it to be trendy um and we want it to be easy to use . {vocalsound} Um we've got the functionaldesign , conceptual design and detailed design um which basically is is the three of you um . And w uh {vocalsound} well um functional design um . Um do we have {disfmarker} um any ideas of of {disfmarker}{vocalsound} maybe d let's just throw out some ideas of what kind of remote control we want to have , and then we can go into how we're gonna design it and and how we're gonna do the detailing on it .UserInterface: Yeah . Well uh s function of remote control is just just {disfmarker} you know , change channels is its main function .Project Manager: So we want it to be um a T_V_ remote or {disfmarker} I I mean do wewant it to to do other things besides just be a a television remote ?User Interface: Oh right . I suppose you c try make it a universal remoteProject Manager: 'Kay .User Interface: for {disfmarker} could work on all sortof electrical products in in one person's house . But , you know , they all sorta have the same role changing channels , volumes and then programming .Marketing: Mm .Industrial Designer: {vocalsound}ProjectManager: Mm-hmm . 'Kay .Industrial Designer: Mm .User Interface: I think they all work on the same prin principle as well sorta like {disfmarker} I don't actually know . {gap} But is it just infra-red ? Is that standard?Project Manager: I I think {disfmarker} yeah , yeah , r universal remote .User Interface: Ye yeah .Project Manager: Um this is my first uh go-round with creating a remote control ,Marketing: Huh .{vocalsound}Project Manager: so {disfmarker}Marketing: {vocalsound} Ours too . {vocalsound}User Interface: {vocalsound}Project Manager: {vocalsound} I think we're all in the same boat here . {vocalsound} Um{disfmarker}User Interface: Um one thing I thought of with the remote control is you always lose 'em .Project Manager: Okay .User Interface: So if there's a g a way of finding it quite easily , I thought that'd be quitegood quite a good feature .Marketing: Mm . ChProject Manager: So we should we should set our remote control up to where it has a uhMarketing: Like a tracking device ? {vocalsound}Project Manager: like a trackingdevice or or like a a {disfmarker}User Interface: Oh you can get those key {disfmarker} well you could whistle or make a noiseProject Manager: It makes a noise ,User Interface: and it'd beep .Project Manager: there'sa button on the T_V_ that you pressIndustrial Designer: Mm , mm .Project Manager: and {disfmarker}User Interface: Yeah .Marketing: Mm .Industrial Designer: Right .Project Manager: 'Kay .Marketing: Be good.Industrial Designer: So {disfmarker}User Interface: Generally , all remotes are sort of quite similar in their appearance .Project Manager: Yeah . Do we want {disfmarker}User Interface: Just long .Project Manager: sothey're kinda like long and rectangular .User Interface: {vocalsound} Yeah .Project Manager: Do we want something crazy ?User Interface: Black usually .Project Manager: You know , we want something new that'sgonna stand out .User Interface: Yeah .Marketing: Lot more modern .Project Manager: A m a modern {disfmarker} so our remote should be {disfmarker}User Interface: I think so . Maybe sorta spherical or something .A ball .Industrial Designer: {vocalsound}Marketing: Maybe like user-friendly , like a littleUser Interface: Yeah .Marketing: you know , where you can use both hands , like a little keyboard type thing .User Interface:People {disfmarker}Industrial Designer: Mm .User Interface: I thought maybe , because people always tend to throw a remote control about the place to one another {disfmarker} if it was in a ball ,Project Manager:'Kay .User Interface: and maybe the actual controls are inside or something .Marketing: Mm .Project Manager: Um .Industrial Designer: Well there are of course certain restrictions , you can't have it be any form andfulfil all functions at the same time ,User Interface: Yeah .Industrial Designer: so there are always the {disfmarker} some restrictions we have to apply here . Um however um one question is how stable is that thingsupposed to be , that refers to the material , pretty much um . What are we gonna build that thing out of ?Marketing: Mm .Industrial Designer: How sturdy is it gonna be ? Do we want it to last longer or rather havepeople whatever , have to buy one every half a year ?Project Manager: {vocalsound} Okay so {disfmarker} yeah , so we want it to be sturdy ,User Interface: Yeah .Project Manager: we want it to to hold up tosomebody's child , you know , throwing it across the room or , as you said , people kinda throw it , so ball-shaped , uh you know , if it were ball-shaped maybe ,User Interface: Yeah .Project Manager: then it{disfmarker}User Interface: It could be cased on the outside and t everything could be inside .Project Manager: 'Kay . Um so we want it to be modern , fun , sturdy , um {disfmarker} So our form and our function . Umwe want it to be um easy to find . {vocalsound} Um {disfmarker} {vocalsound} What else {disfmarker} it {disfmarker} what else do we want it to to do ? So we want it to be universal . It's something that we'resupposed to sell for about twenty five Euros um and you know , goals for profits are I think somewhere around uh fifty million Euros , what they wanna make on it , so .Marketing: Mm . Also since we're partners of theInternational Remote Control Association , maybe we wanna make it something that would globally appeal .Project Manager: 'Kay .Marketing: That's more on the research end , but {disfmarker} the marketing .ProjectManager: So marketing , you know , how {disfmarker} maybe uh marketing , you could s find out what is the most universally um appealing {vocalsound} remote control out there .Marketing: {vocalsound} Yeah.Industrial Designer: {vocalsound}Marketing: And maybe as far as design goes , maybe we could have different ones for different target audiences ,Project Manager: 'Kay .Marketing: 'cause maybe one won't apply toall of the countries we're targeting .User Interface: Ye Small .Industrial Designer: Right .Project Manager: Um {disfmarker} {vocalsound} Do you guys have any ideas for what it should look like ? Maybe we could drawit up on the on the board over there . Some ideas ? We want it to be a b a ball ,User Interface: {gap} I'd {disfmarker} I could draw sorta the ball idea .Project Manager: you know , we'll draw up we'll draw up the balland maybe th um where the buttons are located .User Interface: My original idea was just simply sort of a sphere , where maybe you {disfmarker} this is where it's connected together , and then when you open it out ,it could fol it could be maybe flip , like a flip phone , and then when you fold it out the middle {disfmarker} Maybe a hinge that'll have to be the strongest part of it . If that {disfmarker} if we did use a hinge , or if it wasjust two parts ,Industrial Designer: {vocalsound}User Interface: and then you'd have just sorta you you you know , your buttons . Thing is inside I think , sometimes remotes have too many buttons , so maybe assimple as possible , um as few buttons inside as possible . Um , I dunno , what's the idea for . Just something {disfmarker} maybe if you ha if it had like if some kind of like light or something or lights around it . It'slooking a bit like something out of Star Wars at the moment though , to be fair .Marketing: {vocalsound}Project Manager: {vocalsound}User Interface: {vocalsound} But yeah .Marketing: Futuristic .{vocalsound}Industrial Designer: {vocalsound}User Interface: That was that was a sorta simple idea I hadProject Manager: Uh-huh .User Interface: and then you know you could {gap} about {disfmarker} Right , itwould almost be like a ball . So that was just just an idea I had . I don't know whether anybody else has other ideas ?Industrial Designer: Right . One problem you'd get with this design is um {disfmarker} the ball is anice idea because of it's stability really ,User Interface: Yeah .Industrial Designer: but of course , since it's a ball , it'll roll , so we'd have to have it flat on one side at least , down here somewhere ,User Interface: Yeah .Maybe f yeah .Industrial Designer: take away that part . That's one of the big issues . Also also you risk the hinges here . That's that's um a problem .User Interface: Yeah , that's g that's a good idea . Yeah . The idea{disfmarker} it didn't have to necessarily be f a hinge ,Industrial Designer: {vocalsound} That's that's {vocalsound} interesting of course ,User Interface: that was just one idea though .Industrial Designer: but that's ofcourse a weak point , yeah .User Interface: Yeah .Marketing: {vocalsound}Project Manager: How would we go about um making you know {disfmarker} getting rid of our weak points ? What {disfmarker} I mean wouldwe just have a flat spot on the bottom of the ball ?User Interface: {vocalsound}Marketing: {vocalsound}Project Manager: {vocalsound} Not to put you on the spot ,Industrial Designer: {vocalsound} E No no ,ProjectManager: but {disfmarker}Industrial Designer: uh uh {vocalsound} .Project Manager: What did you say your title was again ?Industrial Designer: N nMarketing: {vocalsound}Project Manager: You're the the IndustrialDesigner .Industrial Designer: Uh , I'm your Industrial Designer ,Marketing: {vocalsound}Industrial Designer: so i b well ,Project Manager: {vocalsound}Industrial Designer: the point is that {vocalsound} well maybe{disfmarker} I dunno . The shape is perhaps not the most ideal .Project Manager: Okay .Industrial Designer: As as stable as it is , there must be a compromise between um stability and design here , so .User Interface:Well I I suppose that things become {gap} design . But I mean iMarketing: Mm-hmm . {vocalsound}User Interface: I was trying to think of like the design of others . I can't think of anything other than a long rectanglefor remote ,Project Manager: {vocalsound} Yeah .User Interface: maybe small , sort of fatter ones , but there's nothing being done sort of out of left field , yeah .Project Manager: It's not new , it's not innovative , it's{disfmarker} you know , everybody does long remote because it's easy ,User Interface: Yeah .Project Manager: it's it's stable um .Marketing: 'Kay , I'll draw something . {vocalsound}Project Manager: So if{disfmarker} {vocalsound}Marketing: What ? {vocalsound}Project Manager: no , go ahead .Marketing: My idea was just to have it be kind of like a keyboard type shape , you know , like video gamesUser Interface:Yeah .Marketing: l so . But maybe {disfmarker} I mean that would be kinda big and bulky . We could also try to do the hinge thing , so it could like flip out that way . I don't know . {vocalsound} That's my idea .UserInterface: I think definitely doing something differentMarketing: Yeah .User Interface: is a good idea .Industrial Designer: Mm .User Interface: I mean maybe design something , that's sort of like {vocalsound} supposenot everybody's everybody's hand's the same , but something that would maybe fit in the hand easier .Project Manager: Something with a grip .Marketing: Mm . Yeah .User Interface: Yeah , with a grip .ProjectManager: {vocalsound} Yeah . Because even {disfmarker} I suppose even with the ballUser Interface: It still might be hard to {disfmarker}Project Manager: it's {disfmarker}User Interface: it still not the ho easiestthing to hold , yeah .Project Manager: it might not be the easiest to hold onto um .Industrial Designer: Mm .Project Manager: So perhaps the the joystick {disfmarker} the the keyboard idea might work better .UserInterface: Like {disfmarker} yeah .Project Manager: But then again , people like to use one hand to flip and one hand to hold their soda , so maybe maybe we {disfmarker}User Interface: Yeah .Marketing:{vocalsound} True .User Interface: It's d yeah . I think it's definitely got to be a a one-handed a one-handed job .Marketing: Mm .Project Manager: I feel like I'm just shooting everything down here .User Interface:{vocalsound}Marketing: {vocalsound} That's fine .Project Manager: Uh {vocalsound} um {disfmarker}Marketing: You're the boss , you're {vocalsound} allowed to .Industrial Designer: Well with the one-handed designyou also have the the problem of the size w 'cause you know from cell phones , they can be too small . So if the remote is too small it {disfmarker}Marketing: Yeah .Project Manager: Yeah .Industrial Designer: if it'ssmall it probably looks better , but may not be th as functional . So for that there's {disfmarker}Project Manager: Okay , soIndustrial Designer: So {disfmarker}Project Manager: unfortunately we've got about fiveminutes here {vocalsound} to come up with our um remote control idea and start rolling with it . Um we've talked about our experiences with remote control and um we've got a couple ideas um . Let's see here . Whatif we had what if we had not only um {disfmarker} say we went with the ball the ball function um , but maybe we give it sort of grips along the side s um to make it easier to hold on to . So you know um s so it's easierto hold onto that way .User Interface: Yeah .Project Manager: Course that'll then remove some of our our ball . Unless this unless this part were raised , so say the cover flips over and covers that part . So the grip is{disfmarker} No , that wouldn't work either um . But if we're gonna make it flat on the bottom , then that eliminates our ball anyways . So if it were flat on the bottom and then had the sorta grips on the side here Iguess , um and then {vocalsound} flat uh {disfmarker} And then we have the problem with the hinge . So if we're flat on the bottom , it's not gonna roll away , it'll stay where we want .Industrial Designer: Thequestion is also , I dunno , d do you really always want to open that thing when you have to use it ?Project Manager: Mm , that's true .Industrial Designer: {vocalsound} It's probably going to lie around opened all thetime anyway , so I don't know if a lid is a good idea . From stabil stability point of view uh it certainly is , but also you have to face it and take into account the more of these things break by accident , uh the more wesell . So it's {disfmarker} don't make it too stable {vocalsound} uh .Project Manager: So we don't have it flip open . We just have a ball {disfmarker}User Interface: But then maybe to go back to the to th s somethingalong those things then .Industrial Designer: To the other design .Project Manager: Okay , so then we forget the ball .Industrial Designer: {vocalsound} It looks cool . {vocalsound}Marketing: {vocalsound} Looks coolthough .Project Manager: {vocalsound} It looks cool , but it's really not {disfmarker} it's not functional um .Marketing: Yeah .Industrial Designer: Uh {vocalsound} functional .Project Manager: So we've got our sort ofkeyboard kind . What if we flipped it around here , so that it were um {disfmarker} Sorry , that doesn't look anything like what you {vocalsound} had there . Um so it's up and down , you hold it this way .UserInterface: Yeah .Project Manager: Course then it's it's like the rectangular {vocalsound} again , only with a couple of jutting out points . {vocalsound}Marketing: {vocalsound}Industrial Designer: Right . Right .ProjectManager: But it's one-handed um .Industrial Designer: Question is what makes those game pads functional ? W I think that's pretty much the form for full hand . So it's a round shape underneath that makes it comfy,Project Manager: Yeah .Industrial Designer: right ,Marketing: Mm .Industrial Designer: makes it nice , so that's the essential part . Except for that I think we'll not {disfmarker} probably not get a get away from somelonger design .Project Manager: Yeah . {vocalsound}Marketing: Right .Industrial Designer: 'Cause you also have to know which way around to point this thing .Project Manager: Yeah ,Industrial Designer: You know ,allProject Manager: because it doesn't have a cord , like joysticks do .Industrial Designer: that dif batteries {disfmarker} right , and {disfmarker} Batteries go weak as well , so um after a while you have to point ittowards the uh towards the equipment you wanna control with it , right ? So , have to m show which is the front , which is the back .Project Manager: Is it possible to have it to where it would work with a like a sensoron either side ? So that either way you're pointing it it would work .Industrial Designer: I suppose you could do that . O of course the more technology you stick in that , the more it'll cost , so .Project Manager: Moreexpensive and {disfmarker} yeah .Industrial Designer: Course you can do that .Project Manager: {vocalsound} 'Kay . Um {disfmarker}Industrial Designer: I mean of course it'll be evident after a while or {disfmarker}if you look at it , it'll it'll be evident which way around to point it , since you have the the numbers and the and the {vocalsound} the buttons and stuff ,Project Manager: True .Industrial Designer: but um it's ratherabout an instinctual thing ,User Interface: Put it {disfmarker}Industrial Designer: like you just grab it , you don't have to s look at it , you know , which way around to point it . Otherwise the design of {disfmarker} orthe the point of putting two sensors on both sides um would probably work .User Interface: Even if you designed it {disfmarker} in some {disfmarker} in a way that you know , isn't a rectangle , but still pointed in adirection that had definite points . So if that's your thing and you got something like that instead ,Marketing: Yeah . {vocalsound}User Interface: and there's your s you kn you know which way you're gonna pointing it.Project Manager: 'Kay .User Interface: Um {disfmarker}Marketing: Sorry to interrupt , but we have a warning to finish .Project Manager: Are we out of time ?Industrial Designer: Mm .Marketing: Yeah .ProjectManager: Okay , well , just to finish up , should we s go with this plan , start making some {disfmarker} Are good ideas , what are not .Industrial Designer: Let's .User Interface: Does it say {disfmarker} what does itsay for nIndustrial Designer: Obviously {disfmarker}User Interface: it says on there what we need to do for the next meeting , I think .Project Manager: Uh . Must finish now , so .User Interface: TProject Manager: And"}
+{"doc_id":"doc_193","qid":"","text":"Gareth Rogers: Good morning, and welcome to today's meeting of the Children, Young People and Education Committee. Unfortunately, the Chair is unable to attend today, so in accordance with Standing Order 17.22 Icall for nominations for a temporary Chair for the duration of today's meeting.Julie Morgan AM: I nominate John Griffiths.Gareth Rogers: Thank you.Darren Millar AM: I'll second that nomination.Gareth Rogers: Asthere's only one nomination, I declare that John Griffiths has been appointed as temporary Chair. Thank you, John.John Griffiths AM: Okay. Thank you all very much, and item 1 on our agenda today is introductions,apologies, substitutions and declarations of interest. We've received apologies from Hefin David and Lynne Neagle. There are no substitutions. Are there any declarations of interest? No. We will move on then to item 2,and our inquiry into the impact of Brexit on higher and further education, and our first evidence session. I'm very pleased to welcome the Higher Education Funding Council for Wales here today, and Dr David Blaney aschief executive, and Bethan Owen, director of institutional engagement. Welcome to you both. Thanks for coming along to give evidence today. If it's okay with you, we'll move straight to questions, and JulieMorgan.Julie Morgan AM: Good morning. Bore da. I wondered if we could start off with you telling us what evidence you can see that the Brexit process has had any impact on Welsh higher education so far.Dr DavidBlaney: Can I preface the response by just reminding you that we are, by contract and by role, apolitical, and a lot of the judgments about the impact of Brexit essentially reflect where people sit politically in terms ofwhether they think it's a good thing or a bad thing? We're not going to go there, obviously, today, so we'll stick to the facts as we can see them, and hopefully we'll be able to help you, but there are areas where we areunable to help. That's part of the reason.John Griffiths AM: We certainly do not expect you to enter the political fray in any way.Dr David Blaney: Thank you. But even in terms of your assessment of whether this isgoing to be a good thing or a bad thing, a good impact or a bad impact, some of that inevitably in the end becomes a matter of your politics on it, so we will be as careful as we can be on that. In terms of the impact ofBrexit on higher education, clearly, the significance here is about the contribution that higher education can make to Wales. So, we fund provision; we don't fund providers, technically, although obviously there's notmuch provision without providers. So, we are interested in the sustainability of higher education providers, but fundamentally the issue is: what does the HE system in Wales do for Wales, and what impact might Brexithave on the capacity of the system to continue to deliver for Wales? So, we know that universities make annually about £5 billion of impact; 50,000 jobs. Of course, in Wales, all of that economic impact is really verysignificant, and uncertainty about the relationships and the arrangements with Europe is one of the most significant issues confronting university management at the moment. That has an impact in a number of ways.We can identify at the moment the extent to which the HE sector in Wales is exposed to sources of income that are located from the EU, so EU students, structural funds, and EU research funding, and so on, from theEU. We can identify some of that, but, actually, what happens in the future is much harder to be clear about. We are beginning to see some impact in terms of applications from EU students and I'll ask Bethan to sharesome details on that in a moment. We're also beginning to pick up, only anecdotally, some signs that there are increasing difficulties in the UK sector, and the Welsh sector as part of that, in playing in some of the EUcollaborative research activities. And that, I think, just reflects the extent to which EU partners consider that British partners might be a stable partner as we go through this transition period. We don't have data onthat—that's anecdotal—but there are signs that some of those relationships are beginning to become a little bit more difficult. In terms of the financial impact of that, clearly, if it is accepted that the UK is a netcontributor to the EU then, presumably, some of the money—we're almost immediately straight into politics if you're not careful—but some of the money will be available back to the UK, and the extent to which Walesbenefits or not from that returned money is a function of the political relationship between the Welsh Government and Her Majesty's Government. It's not necessarily the case that Wales will always lose out in thatrelationship, but that will become a matter of politics. There's a broader dimension, which is about the economic impact of Brexit on the UK economy and how much tax revenue there is and all of that. I think it's veryhard for us to be definitive about how that's going to play out. I think that depends on the deal and how it all unfolds over the next several years. But we can certainly anticipate some turbulence and exactly how thatplays for institutions remains to be seen. We can touch later on on the extent to which they are sighted on this and preparing for it. So, in terms of recruitment, Bethan.Bethan Owen: This is based on theUCAS applications and the report that was published at the end of June, 30 June. The European Union-domiciled applicants to Wales have decreased by 8 per cent, which contrasts with a 2 per cent increase for Englishinstitutions, and non-EU—so international students, not from Europe—have also decreased by 9 per cent to Welsh institutions, again contrasting with a 7 per cent increase in England. So, those are the signs ofchanges.John Griffiths AM: Okay. Could I then just ask you what you see as the main pressures on the Welsh higher education sector at the moment?Bethan Owen: The funding position would be the main pressure. Therecommendations made by Sir Ian Diamond in his review of higher education funding and student finance are in the process of being implemented, and the changes to the student finance arrangements will take effectfrom this September. However, the recommendations for re-establishing funding at Welsh institutions are expected to take quite a bit longer. That funding, when it returns to institutions, is intended to re-establishfunding for higher cost provision, both full time and part time; reinstate funding for innovation; and maintain, at the very least, the research funding in real terms. Universities, in the meantime, are trying to minimisethe cost reductions that they're making in order to maintain the infrastructure, so that when the funding comes they can get the best value out of it. We have announced our funding allocations for 2018-19. For theresearch and teaching grant, though, we are still funding at a lower level—£12.5 million less—then the starting point for the Diamond report, the 2015-16 starting report. But we expect to be able to start introducingfunding from 2019-20 to make a start on implementing Diamond. And it's probably important to note that the Diamond recommendations predated Brexit, therefore the challenges introduced by Brexit are in addition tothose that the Diamond report was addressing. The other pressures relate to student recruitment. I mentioned the EU and international students. There is also the start of a reduction, both in Welsh-domiciled andEnglish-domiciled applications to Wales. Enrolments are obviously the key important number, which we'll see later. And the other pressures include pay and pension costs, not least the issues around the universitiessuperannuation scheme pension fund, where there's potentially a significant increase in cost. Increased student expectations for modern facilities and infrastructure bring a requirement for capital expenditure andborrowing, which bring their own pressures. And finally, the uncertainty about potential consequences that could arise from the review in England of fees and funding—the Augar review.John Griffiths AM: In terms ofEuropean Union students and enrolment, is Wales forecast to do less well than England and, if so, why might that be?Bethan Owen: They are not forecasting it. It's very difficult until the enrolments are made, and it'salso very hard to see—the data that we see is the UCAS data. Institutions also recruit directly, so until we see the actual recruitment—. I think the arrangements that have changed from 2018-19 also impact on EUstudents. So, now, they have to find the full fee, whereas previously they were getting the grant in the same way as Welsh students. So, I'm speculating that that might be having an impact as well on EU students'appetite to come.John Griffiths AM: Okay. First of all Llyr, then Mark.Llyr Gruffydd AM: Well, that's straight into what I was going to ask, really, about what you think the factors are that led to this 8 per cent or 9 percent drop in EU students applying to study in Wales, where we see a 2 per cent increase in England. Is that it, or are there other things that you've taken into account? What's your assessment of the reasons behindthis?Dr David Blaney: It's very difficult to be definitive about the reasons, but I think there are probably two. The one that Bethan has already indicated, which is the change in student support arrangements for EUstudents, will have an effect of perturbation. That's probably relatively temporary—let's hope it is—as that settles down because, actually, the deal for EU students coming into Wales is no worse than that coming intoEngland. Ours would be better because the fee level is slightly lower, but we do struggle in Wales in terms of the Anglocentric nature of the media and so on. So, getting the messages out is a challenge. The otherdimension is that when you're in a highly competitive recruitment market, you have to do what you can to look attractive. Part of that is about being able to invest in facilities, and particularly buildings and kit, and therelative levels of investment between Wales and England over quite a long period of time now probably have an impact on that. Certainly, anecdotally I know, from my own family, that a lot of the choices have beenmade in terms of the state of repair of campuses and so on. There's something rational about that, isn't there? If you've got a system that is relatively better invested, then you're likely to have a better studentexperience because the resources are likely to be better. So, that's not irrational. We saw a sort of similar but opposite effect when the £9,000 fee maximum limit came in, and some institutions, mostly inEngland—there was one in Wales—chose to pitch their fee levels really quite low, relative to that £9,000, and caught a cold in the student recruitment market because fee levels denote quality in the student mind. So,the price sensitivities work quite differently. So, again, if you've got a relatively better invested part of the system, then that might well be one of the reasons why it looks more attractive.Llyr Gruffydd AM: That latterfactor would affect the whole of the cohort, not just the international recruitment, of course.Dr David Blaney: Indeed. Yes, indeed. The implementation of the Diamond recommendations is crucial to that because that'sre-balancing where the policy of investment goes.John Griffiths AM: Okay. And Mark.Mark Reckless AM: If I heard you correctly earlier, you said that the applications from non-EU students were also down by 8 per centor 9 per cent. So, forgive me a certain scepticism about the explanation of the fall in the EU students being that they did get the fee grant and now they do not. If that's the explanation, why are we seeing the same fallin non-EU applications?Dr David Blaney: Well, I think the Welsh domiciled are also now having to face the prospect of finding a loan for the whole of the fee. So, that would potentially account for that. There's also ademographic dimension here with the downturn in the 18-year-old school-leaver profile, and that actually is happening in Wales at a slightly later point than in England.Mark Reckless AM: But this is non-EU students,and I think you said, Bethan, an 8 per cent or 9 per cent fall in them as well.Dr David Blaney: International non-EU. I beg your pardon. I misunderstood.Bethan Owen: There's also a mix effect. I gave a number thatwas for all English institutions that there will be differential impacts on.Mark Reckless AM: All English or all Welsh?Bethan Owen: Well, I contrasted the Welsh position with the English position where they were seeinggrowth. If you look, then—and we don't have the detailed information, but, again, what UCAS publish is some analysis by tariff. They analyse by type of institution—in other words, the grades that you need to get intoinstitutions—and there is a trend for growth being in the higher tariff institutions. So, there's a mix effect in there as well, and I think there's undoubtedly an element of perception of how welcome overseas andinternational students are, and that's something that we know the sector are working on with Government.Mark Reckless AM: Why would that affect Wales more than England? Do you think there's been perhaps toogreat a negativity about Brexit in the sector?Bethan Owen: I think it's the mix of institutions that we have. So, we only have sector information published at the moment. When we look at the mix of institutions that wehave, we will probably see a differential impact between Cardiff University and others.John Griffiths AM: Okay, Mark? Sorry, David, did you want to add anything?Dr David Blaney: I was just going to say that we wouldexpect to see quite differential performance in the English sector, so the overall numbers are being brought up by substantial increased performance with some of that sector, and it's a question of how many of that typeof institution you have in Wales.Mark Reckless AM: So, performance is increasing amongst the English universities, but not amongst the Welsh, you think.Dr David Blaney: I think performance is increasing, butincreasing substantially with some of the English sector, not all of it. So, you get an average for the sector that is increased performance, but actually the stronger players within that sector, with the strongerinternational profiles, are bringing that up, and we have fewer in Wales that have that sort of presence.John Griffiths AM: Okay. Darren.Darren Millar AM: Would it be fair to say, then, that the universities over theborder in England are better at selling themselves internationally than our Welsh institutions? Or is it just this fact that we've got fewer very high tariff universities versus the English market?Dr David Blaney: I suspect,and this is speculation—I suspect that it's a bit of both. I think some of it is to do with the mix of different types of institution. I would then come back to the point I was making about the Anglocentric nature of the UKmedia. If you're looking overseas, I think Wales has to work harder to penetrate the consciousness.Darren Millar AM: But, forgive me, don't international students just look at the UK as a whole? How are we comparingto Scotland, for example, or Northern Ireland, in terms of their universities? Do you have a comparative figure for Scottish universities?Bethan Owen: I haven't got that one with me for now, but there will be one in thedata.Dr David Blaney: Yes, we could get that.Bethan Owen: Again, it's a combination of being part of the UK but differentiating, and the ability to differentiate the strengths of Wales, so attracting those students toWales specifically, on top of the UK draw.Dr David Blaney: So, in terms of the efforts that have been made, there's a programme now that is being run by the sector in Wales—it's 'Study in Wales'. It's relatively recent;you could argue that we could have got there earlier. But that is a determined collective effort to present Wales as a good place to study, with particular messages about what distinguishes studying in Wales fromstudying more broadly in the UK. In a sense, that is responding to the need to increase the presence of Wales in an international market. So, that sort of initiative I think is very good, very welcome. It will take a whileto actually have an impact, but I think that's exactly the sort of work the sector need to be doing more of.Mark Reckless AM: What are those messages on why prospective students should study in Wales?Dr DavidBlaney: One of them in particular is relative safety. We know that one of the considerations, particularly for parents of overseas students, is are they going to go to a safe environment, and we know that the perceptionof international students who study in Wales is that this is a comfortable and safe place to be. That's partly a function of the size of our larger cities—quite a lot smaller than many of the cities in England. So, that's a keymessage. Being part of a UK system is also an important message there as well. So, we've got a UK-quality system, a UK degree, and the strength of that brand is available in Wales, but it's available in a way that issafer and more supportive, I think is the messaging that's coming through.John Griffiths AM: Okay. We'd better move on, I think, hadn't we? Darren, then.Darren Millar AM: I just wonder to what extent you have beenable to plan in your financial forecasts for the next few years ahead for the potential impacts of Brexit. What have you built in, if anything?Bethan Owen: In terms of our funding, we receive our funding annually, but thesector provides us with financial forecasts, and we use those for monitoring sustainability. So, the last full forecasts that we had were in July 2017. We are due to receive a full forecast at the end of this month, and weobviously have updated information from institutions.Darren Millar AM: And they're three-year forecasts that come through to you, aren't they?Bethan Owen: They are four plus the current year. So, we've got numbersto 2019-20 at the moment, and expect to go to 2020-21.Darren Millar AM: And what are the universities expecting? What do they anticipate?Bethan Owen: Well, for 2017-18, which is the year we're about to end now,they were expecting £38 million income from European students, and approximately £91 million from the various European programme funding sources, and that's about 8 per cent of the total income—£1.5 billion—ofthe sector. The forecasts are assuming that that continues, albeit that institutions have various scenarios that they have for all sorts of scenarios that we can all speculate on, and, as I mentioned earlier, the balancingact of maintaining infrastructure and resources and staff in the short term is where we are at the moment, or where the sector is at the moment. And there are also signs that the banks and lending institutions arebecoming a bit more risk-averse in providing borrowing to institutions, and of more differentiation between individual institutions being made than has possibly been the case in the past. The sector made an operatingdeficit, again looking at all Welsh institutions collectively last year, 2016-17, of £17 million. That's before other gains and losses. And we're expecting a similar collective level of deficit for this financial year, if not slightlyhigher. Now, these are managed deficits and we are not currently seeing critical short-term cash availability issues in the sector. However, the increase in funding from Diamond is a key part of enabling the sector toreturn to longer-term financial sustainability. Short-term challenges can be met if there's a reasonable prospect of future funding. You can manage in the short-term, but there comes a point when the big costreductions and infrastructure reductions have to be made. And, again, having mentioned the pressures on pay, pensions and other challenges, it is difficult to gauge whether, if those factors come into play as well, someof these cost reductions may have to be made before funding comes in to replace—either Diamond funding or the European replacement funding.Darren Millar AM: So, would it be fair to say that, in terms of the fundingarrangements, and, in terms of the student numbers, one reason why we've got this recruitment problem is this lack of investment in the capital infrastructure that we've seen in recent years because of the financingarrangements from the Welsh Government, and the fee regime that we had previously, and the student finance regime that we had previously, not getting more cash into our Welsh universities perhaps, and that, overthe next few years, there's going to have to be much more significant investment in capital if we're to raise the game and be more competitive, yes?Bethan Owen: Yes, that would be fair to say.Darren Millar AM: So, towhat extent are they planning for more capital investment in those financial strategies that they've been preparing and presenting to you?Bethan Owen: They are all planning for capital investment. They are in differentpositions in terms of capacity to borrow and the assumptions. This year, 2018-19, is the first time that we've had capital funding in our remit letter—so, we've got £10 million of capital funding, which is very welcome,"}
+{"doc_id":"doc_194","qid":"","text":"Grad B: what things to talk about .Grad F: I 'm {disfmarker} What ? Really ? Oh , that 's horrible ! Disincentive !Grad A: OK , we 're recording .Grad F: Hello ?Grad B: Check check {pause} check check .Grad D: Uh ,yeah .Grad F: Hello ? Which am I ?Professor C: Oh right .Grad B: Alright . Good .Grad F: Channel fi OK . OK . Are you doing something ? OK , then I guess I 'm doing something . So , um , So basically the result of mmuch thinking since the last time we met , um , but not as much writing , um , is a sheet that I have a lot of , like , thoughts and justification of comments on but I 'll just pass out as is right now . So , um , here . If youcould pass this around ? And there 's two things . And so one on one side is {disfmarker} on one side is a sort of the revised sort of updated semantic specification .Grad D: Um {disfmarker} The {disfmarker} wait.Grad F: And the other side is , um , sort of a revised construction formalism .Grad E: This is just one sheet , right ?Grad D: Ah ! Just one sheet .Grad F: It 's just one sheet .Grad D: OK .Grad F: It 's just a {disfmarker}Nothing else .Grad D: Front , back .Grad F: Um , Enough to go around ? OK . And in some ways it 's {disfmarker} it 's {disfmarker} it 's very similar to {disfmarker} There are very few changes in some ways from whatwe 've , um , uh , b done before but I don't think everyone here has seen all of this . So , uh , I 'm not sure where to begin . Um , as usual the disclaimers are there are {disfmarker} all these things are {disfmarker} it's only slightly more stable than it was before .Grad E: Mm - hmm .Grad F: And , um , after a little bit more discussion and especially like Keith and I {disfmarker} I have more linguistic things to settle in the next fewdays , um , it 'll probably change again some more .Grad E: Yeah .Grad F: Um , maybe I will {disfmarker} let 's start b let 's start on number two actually on the notation , um , because that 's , I 'm thinking , possibly alittle more familiar to , um {disfmarker} to people . OK , so the top block is just sort of a {disfmarker} sort of abstract nota it 's sort of like , um , listings of the kinds of things that we can have . And certain things thathave , um , changed , have changed back to this . There {disfmarker} there 's been a little bit of , um , going back and forth . But basically obviously all constructions have some kind of name . I forgot to include thatyou could have a type included in this line .Professor C: What I was gonna {disfmarker} Right .Grad F: So something like , um {disfmarker} Well , there 's an example {disfmarker} the textual example at the end hasclausal construction . So , um , just to show it doesn't have to be beautiful It could be , you know , simple old text as well . Um , there are a couple of {disfmarker} Uh , these three have various ways of doing certainthings . So I 'll just try to go through them . So they could all have a type at the beginning . Um , and then they say the key word constructionProfessor C: Oh , I see .Grad F: and they have some name .Professor C: So{disfmarker} so the current syntax is if it s if there 's a type it 's before constructGrad F: Yeah , right .Professor C: OK , that 's fine .Grad F: OK , and then it has a block that is constituents . And as usual I guess all theconstructions her all the examples here have only , um , tsk {comment} one type of constituent , that is a constructional constituent . I think that 's actually gonna turn out to m be certainly the most common kind . Butin general instead of the word \" construct \" , th here you might have \" meaning \" or \" form \" as well . OK ? So if there 's some element that doesn't {disfmarker} that isn't yet constructional in the sense that it mapsform and meaning . OK , um , the main change with the constructs which {disfmarker} each of which has , um , the key word \" construct \" and then some name , and then some type specification , is that it 's{disfmarker} it 's pro it 's often {disfmarker} sometimes the case in the first case here that you know what kind of construction it is . So for example whatever I have here is gonna be a form of the word \" throw \" , or it's gonna be a form of the word , you know , I don't know , \" happy \" , or something like that . Or , you know , some it 'll be a specific word or maybe you 'll have the type . You 'll say \" I need a p uh spatial relationphrase here \" or \" I need a directional specifier here \" . So - uh you could have a j a actual type here . Um , or you could just say in the second case that you only know the meaning type . So a very common example ofthis is that , you know , in directed motion , the first person to do something should be an agent of some kind , often a human . Right ? So if I {disfmarker} you know , the um , uh , run down the street then I{disfmarker} I {disfmarker} I run down the street , it 's typed , uh , \" I \" , meaning category is what 's there . The {disfmarker} the new kind is this one that is sort of a pair and , um , sort of skipping fonts andwhatever . The idea is that sometimes there are , um , general constructions that you know , that you 're going to need . It 's {disfmarker} it 's the equivalent of a noun phrase or a prepositional phrase , or somethinglike that there .Grad E: Mm - hmm .Grad F: And usually it has formal um , considerations that will go along with it .Professor C: Mm - hmm .Grad F: And then uh , you might know something much more specificdepending on what construction you 're talking about , about what meaning {disfmarker} what specific meaning you want . So the example again at the bottom , which is directed motion , you might need a nominalexpression to take the place of , you know , um , \" the big th \" , you you know , \" the big {disfmarker} the tall dark man \" , you know , \" walked into the room \" .Grad E: Mm - hmm .Grad F: But because of the nature ofthis particular construction you know not just that it 's nominal of some kind but in particular , that it 's some kind of animate nominal , and which will apply just as well to like , you know , a per you know , a simpleproper noun or to some complicated expression . Um , so I don't know if the syntax will hold but something that gives you a way to do both constructional and meaning types . So . OK , then I don't think the ,{comment} um {disfmarker} at least {disfmarker} Yeah . {comment} None of these examples have anything different for formal constraints ? But you can refer to any of the , um , sort of available elements and scope, right ? which here are the constructs , {comment} to say something about the relation . And I think i if you not if you compare like the top block and the textual block , um , we dropped like the little F subscript . The Fsubscripts refer to the \" form \" piece of the construct .Professor C: Good .Grad F: And I think that , um , in general it 'll be unambiguous . Like if you were giving a formal constraint then you 're referring to the formalpole of that . So {disfmarker} so by saying {disfmarker} if I just said \" Name one \" then that means name one formal and we 're talking about formal struc {comment} Which {disfmarker} which makes sense . Uh ,there are certain times when we 'll have an exception to that , in which case you could just indicate \" here I mean the meaningful for some reason \" . Right ? Or {disfmarker} Actually it 's more often that , only to handlethis one special case of , you know , \" George and Jerry walk into the room in that order \" .Grad E: Mm - hmm .Grad F: So we have a few funny things where something in the meaning might refer to something in theform . But {disfmarker} but s we 're not gonna really worry about that for right now and there are way We can be more specific if we have to later on . OK , and so in terms of the {disfmarker} the relations , you know ,as usual they 're before and ends . I should have put an example in of something that isn't an interval relation but in form you might also have a value binding . You know , you could say that , um , you know , \" name -one dot \" , t you know , \" number equals \" , you know , a plural or something like that .Grad E: Mm - hmm .Grad F: There are certain things that are attribute - value , similar to the bindings below but I mean they 'rejust {disfmarker} us usually they 're going to be value {disfmarker} value fillers , right ? OK , and then again semantic constraints here are just {disfmarker} are just bindings . There was talk of changing the name ofthat . And Johno and I {disfmarker} I {disfmarker} you {disfmarker} you and I can like fight about that if you like ? but about changing it to \" semantic {pause} n effects \" , which I thought was a little bit too order -biasedGrad B: Well {disfmarker} ThGrad F: and \" semantic bindings \" , which I thought might be too restrictive in case we don't have only bindings . And so it was an issue whether constraints {disfmarker} um , therewere some linguists who reacted against \" constraints \" , saying , \" oh , if it 's not used for matching , then it shouldn't be called a constraint \" . But I think we want to be uncommitted about whether it 's used formatching or not . Right ? Cuz there are {disfmarker} I think we thought of some situations where it would be useful to use whatever the c bindings are , for actual , you know , sort of like modified constraining purposes.Professor C: Well , you definitely want to de - couple the formalism from the parsing strategy . So that whether or not it 's used for matching or only for verification , I {disfmarker}Grad E: Yeah .Grad F: Yeah , yeah .It 's used shouldn't matter , right ? Mm - hmm .Professor C: s For sure . I mean , I don't know what , uh , term we want to useGrad F: Mm - hmm .Professor C: but we don't want to {disfmarker}Grad F: Yeah , uh ,there was one time when {disfmarker} when Hans explained why \" constraints \" was a misleading word for him .Professor C: Yep .Grad F: And I think the reason that he gave was similar to the reason why Johnothought it was a misleading term , which was just an interesting coincidence . Um , but , uh {disfmarker} And so I was like , \" OK , well both of you don't like it ?Professor C: It 's g it 's gone .Grad F: Fine , we canchange it \" . But I {disfmarker} I {disfmarker} I 'm starting to like it again .Grad B: But {disfmarker}Grad F: So that that 's why {disfmarker} {comment} That 's why I 'll stick with it .Grad A: Well , you know what?Grad F: So {disfmarker}Grad A: If you have an \" if - then \" phrase , do you know what the \" then \" phrase is called ?Professor C: ThGrad F: What ? Con - uh , a consequent ?Grad A: Yeah .Grad F: Yeah , but it 's notan \" if - then \" .Grad A: No , but {disfmarker}Professor C: I know . Anyway , so the other {disfmarker} the other strategy you guys could consider is when you don't know what word to put , you could put no word,Grad F: Mm - hmm .Professor C: just meaning . OK ? And the then let {disfmarker}Grad E: Yeah .Grad F: Yeah , that 's true .Grad B: So that 's why you put semantic constraints up top and meaning bindings down{disfmarker} down here ?Grad F: Oh , oops ! No . That was just a mistake of cut and paste from when I was going with it .Grad B: OK .Professor C: OK .Grad F: So , I 'm sorry . I didn't mean {disfmarker} that one 'san in unintentional .Grad B: So this should be semantic and {disfmarker}Grad F: Sometimes I 'm intentionally inconsistentGrad B: Grad F: cuz I 'm not sure yet . Here , I actually {disfmarker} it was just a mistake.Grad B: Th - so this definitely should be \" semantic constraints \" down at the bottom ?Grad E: Sure .Grad F: Yeah .Grad B: OK .Grad F: Well , unless I go with \" meaning \" but i I mean , I kind of like \" meaning \" betterthan \" semantic \"Grad B: Or {disfmarker}Professor C: Oh , whatever .Grad F: but I think there 's {pause} vestiges of other people 's biases .Professor C: Or {disfmarker} wh That - bGrad F: Like {disfmarker}ProfessorC: Right . Minor {disfmarker} min problem {disfmarker}Grad F: Minor point .Professor C: OK .Grad E: Extremely .Grad F: OK , um , so I think the middle block doesn't really give you any more information , ex than thetop block . And the bottom block similarly only just illus you know , all it does is illustrate that you can drop the subscripts and {disfmarker} and that you can drop the , um {disfmarker} uh , that you can give dualtypes . Oh , one thing I should mention is about \" designates \" . I think I 'm actually inconsistent across these as well . So , um , strike out the M subscript on the middle block .Professor C: Mm - hmm .Grad F: Sobasically now , um , this is actually {disfmarker} this little change actually goes along with a big linguistic change , which is that \" designates \" isn't only something for the semantics to worry about now .Professor C:Good .Grad F: So we want s \" designates \" to actually know one of the constituents which acts like a head in some respects but is sort of , um , really important for say composition later on . So for instance , if someother construction says , you know , \" are you of type {disfmarker} is this part of type whatever \" , um , the \" designates \" tells you which sort of part is the meaning part . OK , so if you have like \" the big red ball \" ,you know , you wanna know if there 's an object or a noun . Well , ball is going to be the designated sort of element of that kind of phrase .Grad E: Mmm .Grad F: Um , there is a slight complication here which is thatwhen we talk about form it 's useful sometimes to talk about , um {disfmarker} to talk about there also being a designated object and we think that that 'll be the same one , right ? So the ball is the head of the phrase, \" the r the {disfmarker} \" , um , \" big red ball \" , and the entity denoted by the word \" ball \" is sort of the semantic head in some ways of {disfmarker} of this sort of , um , in interesting larger element .Professor C: Aa and the {disfmarker} Yeah . And there 's {disfmarker} uh there 's ca some cases where the grammar depends on some form property of the head . And {disfmarker} and this enables you to get that , if I understandyou right .Grad E: Yeah .Grad F: Mm - hmm .Grad E: Yeah .Grad F: Right , right .Grad E: That 's the idea .Professor C: Yeah yeah .Grad E: Yeah .Grad F: And , uh , you might be able to say things like if the head has togo last in a head - final language , you can refer to the head as a p the , you know {disfmarker} the formal head as opposed to the rest of the form having to be at the end of that decision .Professor C: Right .Grad F: Sothat 's a useful thing so that you can get some internal structural constraints in .Professor C: OK , so that all looks good . Let me {disfmarker} Oh , w Oh . I don't know . Were you finished ?Grad F: Um , there was a listof things that isn't included but you {disfmarker} you can {disfmarker} you can ask a question . That might @ @ it .Professor C: OK . So , i if I understand this the {disfmarker} aside from , uh , construed and all thatsort of stuff , the {disfmarker} the differences are mainly that , {vocalsound} we 've gone to the possibility of having form - meaning pairs for a typeGrad F: Mm - hmm .Professor C: or actually gone back to ,Grad F:Right .Professor C: if we go back far enough {disfmarker}Grad F: Well , except for their construction meaning , so it 's not clear that , uh {disfmarker} Well , right now it 's a c uh contr construction type and meaningtype . So I don't know what a form type is .Professor C: Oh , I see . Yeah , yeah , yeah . I 'm sorry , you 're right .Grad F: Yeah .Professor C: A construction type . Uh , that 's fine . But it , um {disfmarker}Grad F: Right. A well , and a previous , um , you know , version of the notation certainly allowed you to single out the meaning bit by it . So you could say \" construct of type whatever designates something \" .Professor C: Yeah.Grad F: But that was mostly for reference purposes , just to refer to the meaning pole . I don't think that it was often used to give an extra meaning const type constraint on the meaning , which is really what we wantmost of the time I think .Professor C: Mm - hmm .Grad F: Um , I {disfmarker} I don't know if we 'll ever have a case where we actually h if there is a form category constraint , you could imagine having a triple therethat says , you know {disfmarker} that 's kind of weird .Professor C: No , no , no , I don't think so . I think that you 'll {disfmarker} you 'll do fine .Grad E: I {disfmarker}Professor C: In fact , these are , um , as long as{disfmarker} as Mark isn't around , these are form constraints . So a nominal expression is {disfmarker} uh , the fact that it 's animate , is semantic . The fact that it 's n uh , a nominal expression I would say on mostpeople 's notion of {disfmarker} of f you know , higher form types , this i this is one .Grad F: Mm - hmm .Grad E: Yeah .Grad F: Right , right .Professor C: And I think that 's just fine .Grad E: Yeah , yeah .Grad F: Whichis fine , yeah .Professor C: Yeah .Grad E: It 's {disfmarker} that now , um , I 'm mentioned this , I {disfmarker} I don't know if I ever explained this but the point of , um , I mentioned in the last meeting , {comment}the point of having something called \" nominal expression \" is , um , because it seems like having the verb subcategorize for , you know , like say taking as its object just some expression which , um , designates anobject or designates a thing , or whatever , um , that leads to some syntactic problems basically ? So you wanna , you know {disfmarker} you sort of have this problem like \" OK , well , I 'll put the word \" , uh , let 'ssay , the word \" dog \" , you know . And that has to come right after the verbGrad F: Mm - hmm .Grad E: cuz we know verb meets its object . And then we have a construction that says , oh , you can have \" the \"preceding a noun . And so you 'd have this sort of problem that the verb has to meet the designatum .Professor C: Right .Grad E: And you could get , you know , \" the kicked dog \" or something like that , meaning \"kicked the dog \" .Professor C: Right .Grad E: Um , so you kind of have to let this phrase idea in thereProfessor C: That I {disfmarker} I have no problem with it at all .Grad E: but {disfmarker} It - itProfessor C: I thinkit 's fine .Grad E: Yeah .Grad F: Yeah . Right , n s you may be {disfmarker} you may not be like everyone else in {disfmarker} in Berkeley ,Grad E: Yeah . Yeah .Grad F: but that 's OK .Grad E: I mean , we {disfmarker}we {disfmarker} we sort of thought we were getting away with , uh {disfmarker} with , a pGrad F: Uh , we don't mind either , so {disfmarker}Grad E: I mean , this is not reverting to the X - bar theory of {disfmarker}of phrase structure .Professor C: Right .Grad E: But , uh ,Grad F: Right .Grad E: I just know that this is {disfmarker} Like , we didn't originally have in mind that , uh {disfmarker} that verbs would subcategorize for aparticular sort of form .Grad F: Mm - hmm .Professor C: But they do .Grad E: Um , but they does .Grad F: Well , there 's an alternative to thisGrad E: At least in English .Grad F: which is , um {disfmarker} The questionwas did we want directed motion ,Professor C: Yeah .Grad F: which is an argument structure construction {disfmarker}Professor C: Mm - hmm .Grad E: Yeah .Grad F: did we want it to worry about , um , anything morethan the fact that it , you know , has semantic {disfmarker} You know , it 's sort of frame - based construction . So one option that , you know , Keith had mentioned also was like , well if you have more abstractconstructions such as subject , predicate , basically things like grammatical relations ,Grad E: Mm - hmm .Grad F: those could intersect with these in such a way that subject , predicate , or subject , predicate , subject ,verb , ob you know , verb object would require that those things that f fill a subject and object are NOM expressions .Professor C: Right .Grad F: And that would be a little bit cleaner in some way . But you know , fornow , I mean ,Professor C: Yeah . But it {disfmarker} y y it 's {disfmarker} yeah , just moving it {disfmarker} moving the c the cons the constraints around .Grad F: uh , you know . M moving it to another place , right.Grad E: Yeah .Professor C: OK , so that 's {disfmarker}Grad F: But there does {disfmarker} basically , the point is there has to be that constraint somewhere , right ?Professor C: Right .Grad F: So , yeah .Professor C:And so that was the {disfmarker}Grad F: Robert 's not happy now ?Grad A: No !Grad F: Oh , OK .Professor C: OK , and sort of going with that is that the designatum also now is a pair .Grad F: Yes .Professor C: Insteadof just the meaning .Grad F: Mm - hmm .Professor C: And that aside from some terminology , that 's basically it .Grad F: Right .Professor C: I just want to b I 'm {disfmarker} I 'm asking .Grad E: Mm - hmm .Grad F:Yep .Grad E: Yeah .Grad F: Yeah , um , the un sort of the un - addressed questions in this , um , definitely would for instance be semantic constraints we talked about .Professor C: Yeah .Grad F: Here are just bindingsbut , right ? we might want to introduce mental spaces {disfmarker} You know , there 's all these things that we don't {disfmarker}Professor C: The whole {disfmarker} the mental space thing is clearly not here .GradF: Right ? So there 's going to be some extra {disfmarker} you know , definitely other notation we 'll need for that which we skip for now .Grad E: Mm - hmm .Professor C: By the way , I do want to get on that as soon"}
+{"doc_id":"doc_195","qid":"","text":"Project Manager: Okay , good morning . This is our first team meeting .User Interface: Good day .Marketing: Morning .Industrial Designer: Morning .Project Manager: I'll be your Project Manager for today , for thisproject . My name is Mark {gap} will be giving this presentation for you to kick the project off . {vocalsound} That's my uh that's the agenda for today . Well , of course we're new to each other , so I'd like to getacquainted first . So let's do that first , I mean {disfmarker} Let's start with you , can you introduce yourself ? You're our Marketing Expert .Marketing: Yes . {vocalsound} Um my name is Dirk , Dirk Meinfeld . Um I willbe uh {gap} Pr Project {disfmarker} the Marketing Expert . And I will see what the user wants and uh what we can do uh with the new produ project {disfmarker} product . {vocalsound}Project Manager: Okay ,excellent . And you are User Interface {disfmarker}User Interface: Nick Broer ,Project Manager: Yeah .User Interface: User Interface Designer . I'm going to uh look at the technical design from the uh user point of view.Project Manager: Excellent . Okay .Industrial Designer: My name is Xavier Juergens , I'm the Industrial Designer , and there are three main questions that I have to find an answer to today . First one is uh whathappens inside the apparatus , second is what is uh the apparatus made of ,Marketing: Hmm .Industrial Designer: and the third is what should it look like .Project Manager: What should it look like ? Okay .Marketing:Hmm .Project Manager: Oh , let's kick it off . Oh , there we go . So , our new project is about {disfmarker} we need design a remote control for television set , so , which has to be original , trendy and user-friendly . Itook this off our corporate website . {disfmarker} I think well it sums up what we need to do . It's We're inspired by latest fashion , not only electronics , but also the latest trends in clothes and interior design . That'swhy our product will always fit in your home . So apparently we need to {vocalsound} um be very at um very open to what's currently hot in the market . So that's what you need to do to bring us the latest info andwhat people want .Marketing: Yeah . Yeah .Project Manager: So {disfmarker} So we put the fashion in electronics . So that's what we need to go for . Anyway , we'll take this project in three steps , three pha uh threephase of design . First step will be the functional design .Marketing: Yeah .Project Manager: And that's basically what we're gonna do . Everybody has uh a piece of individual work and a meeting afterwards , so we canshare information about {disfmarker} So I'm gonna keep this short , since we had a technical problem . So skip through this . Uh . Okay . Every meeting we {disfmarker} everybody can present their uh their views andeverything , so to help with these , you have {disfmarker} we have the SMARTboards here . We can use a regular PowerPoint presentation . I'm supposed to give you an introduction on this doodling board , so it's{disfmarker} actually it's very easy . Like it says , very simple , you just take out the pen . Like you see here , I'll just take the {disfmarker} take {gap} here . That's it , you just put it on the board . You see a pen here. You go here , just like using a pen . You can just draw whatever you want . It's like the eraser , can erase whatever you want . And so it will be easy just to illustrate your views , if you wanna change the format , youjust {vocalsound} either take out jus just like the pen , and whatever you want , your current colour , your line width , just to make the line bigger . So it should be really easy .Marketing: Okay .Project Manager: This isto take the {disfmarker} just take a new slide and back again . We're just gonna keep using this board all the time , so I think it will be {disfmarker} it's very clear for everyone , I suppose . So I'll take this out .{vocalsound} Okay . We'll use that later . Anyway . Yeah , just just just stuff that you wanna share , just put it in the in the project folder , like I put my presentation now . I'll put the the minutes of every meeting , I'llput them there too , so everybody can read up if they have to leave early or whatever . So next , been here . {vocalsound} Well , {gap} gonna give the electronic white-board uh a shot . So basic idea is we have ablank sheet . Just try whatever you want , and like it says , draw your favourite animal . I think the creative genius should go first . {vocalsound}User Interface: {vocalsound} The creative genius ?Industrial Designer:{vocalsound}Marketing: {vocalsound}User Interface: Thank you very much .Project Manager: So , draw us your favourite animal .User Interface: {vocalsound} Well , I'm more into the technical aspects of drawing,Industrial Designer: {vocalsound}User Interface: so I'm not really good at drawing animals ,Project Manager: Draw us a technical animal .User Interface: but uh the animal which I {gap} {disfmarker} Oh .ProjectManager: Yeah , it's still erasing .User Interface: {vocalsound} Pen .Marketing: {vocalsound}User Interface: Uh format . Else my animal will be like king-size . I pretty much like {vocalsound} a dolphin , because of itsuh its freedom basically . Let's see . A head . {gap} actually worked with this . It's like uh it's a very {disfmarker} Uh high-tech .Industrial Designer: {vocalsound} {vocalsound}Marketing: {vocalsound}User Interface:Bit low-responsive though .Project Manager: {vocalsound} So that's what we don't want .User Interface: Prefer pen and paper .Project Manager: We want a high-responsive product . So {disfmarker} It looks more likenuclear bomb .Marketing: {vocalsound} Very nice dolphin .User Interface: It {vocalsound} {vocalsound} doesn't look like a nuclear bomb .Industrial Designer: {vocalsound} {vocalsound}Project Manager:{vocalsound}User Interface: This thing isn't doing what I'm {disfmarker} What I want .Marketing: {vocalsound}Project Manager: Let's go easy on it .User Interface: So {disfmarker} {vocalsound} Yeah , well it doeslook like a nuclear bomb .Project Manager: {vocalsound}Marketing: {vocalsound}User Interface: I'll just finish up real soon , because I'm {disfmarker}Marketing: {vocalsound}User Interface: So it doesn't really looklike a dolphin ,Project Manager: {vocalsound} Anyway ,User Interface: but then again , this is all new for me .Project Manager: it should {disfmarker} It {disfmarker} It's supposed to be a dolphin , you like the freedomthat it {disfmarker} that it represents .Industrial Designer: Uh-huh .User Interface: Like the ocean , like swimming . Do that in my spare time , so that's basically an {disfmarker}Project Manager: What do you like ?Okay . Well ,User Interface: Now we can forget this ever happened .Project Manager: our Marketing Expert . Show us an animal .Marketing: Um an animal .Project Manager: {gap} Pick a {disfmarker} pick a{disfmarker}Marketing: I like the elephant . {vocalsound}Project Manager: pick a clean sheet . Oh . Take a clean sheet first .Marketing: What ? Yeah . Um {disfmarker}Project Manager: Just press next . That's it.Marketing: Oh yeah . Oh , a blank . Okay , next . Free , I like the elephant . It's big , it's strong , so uh uh {disfmarker} Oh , it's a little bit {disfmarker}User Interface: It's not really that responsive , no .{vocalsound}Marketing: You have to hold it , right ?Project Manager: {vocalsound}Industrial Designer: Mm .Marketing: Hmm .Project Manager: {vocalsound}Marketing: {gap} It's a beautiful animal .Project Manager:{vocalsound}Marketing: Oh , you have to p press it pretty hard . With a smile on it ,Project Manager: {vocalsound} It's a cute elephant .User Interface: {vocalsound}Marketing: it's very important . Yeah .ProjectManager: {vocalsound}Marketing: And uh not to forget its tail . Oh .Project Manager: It's a nice beard .Marketing: Yeah , it's okay . Yes . {vocalsound}Project Manager: {vocalsound}User Interface: And you wasmaking comments on my dolphin . {vocalsound}Project Manager: {vocalsound}Marketing: {vocalsound} I will beat the dolphin . {vocalsound} No .Project Manager: Okay , so it's just a bee .Marketing: Yeah .ProjectManager: So I suggest you make us the elephant in the market . The big and strong player in the market . This would be good .Marketing: Yeah . Yeah .Project Manager: Okay , excellent . On to the next one .IndustrialDesigner: {vocalsound} Okay .Marketing: Uh yeah .Industrial Designer: Okay , you should press next .Marketing: {vocalsound} Yeah .Project Manager: Press next . Yeah , it's up there .Industrial Designer:{vocalsound} Okay .Project Manager: That's it .Industrial Designer: Okay , well the animal I'd like to draw is a tiger .Project Manager: {vocalsound}User Interface: You picked a hard one , didn't you ?{vocalsound}Industrial Designer: My drawing skills are really bad , so .Marketing: Experience with the tiger .Project Manager: {vocalsound}Marketing: What ? They are {disfmarker}Industrial Designer: They are reallybad , my drawing skills .Project Manager: {vocalsound}Marketing: Okay uh-huh .Project Manager: Sure looks smooth .Marketing: Oh .Industrial Designer: I'm not sure how the legs should go , but {disfmarker}ProjectManager: {vocalsound}Industrial Designer: Uh these are stripes .User Interface: Got it . {vocalsound}Industrial Designer: I've picked this animal because it's very fast . It is uh it knows exactly what it wants . Uh ithardly ever wastes any resources .Project Manager: What does it want ?Industrial Designer: Uh well , basically uh it hunts for prey , but it does it always in a very well-thought way . Uh it knows exactly what it wants .It never kills an animal uh just for the killing , so it's very efficient . And it tries to do everything as fast as possible .Project Manager: Okay .Industrial Designer: And it always goes for uh security , in seeking uh uh ahide spot and uh and doing everything ,Marketing: Mm .Industrial Designer: security , speed and efficiency is important . And I think uh those things we can use .Project Manager: I agree .Industrial Designer:{vocalsound}Marketing: Okay .Project Manager: , I'm supposed to draw the animal next . Yay I introduce to the world the amazing ant .User Interface: {vocalsound}Marketing: {vocalsound} Uh hard worker .ProjectManager: Great team-workers .User Interface: {vocalsound}Industrial Designer: Yeah .Marketing: Yeah .Project Manager: Do everything to Uh really small , but together they're really strong . So I'm gonna give it asmiley face .Industrial Designer: {vocalsound} Oh .Marketing: Yeah , yeah .Project Manager: Not sure where the p {gap} . Just put 'em here . Whatever . {vocalsound}Marketing: {vocalsound}Project Manager: Thinkit need shoes . So {disfmarker}Marketing: {vocalsound}Project Manager: {vocalsound} I'm just too lazy to draw it all black , so {disfmarker} {vocalsound} That's the coolest ant ever .User Interface: You've done thisbefore , haven't you ? {vocalsound}Industrial Designer: {vocalsound}Project Manager: I love to draw ants . It's my hobby .Marketing: {vocalsound}Project Manager: Anyway {disfmarker} Nah . {vocalsound} Just{disfmarker} I think it's very representative what we drew , I guess . Like you take {disfmarker} just take your freedom and use a a trendy interface that you design for us .Marketing: Yeah .Project Manager: Just{disfmarker} Yeah . You're supposed to make i make it different from uh from what other people have , and just make it a little distinct . Anyway . {gap} another beep to stop the meeting . See . Warning . Finishmeeting now . Uh put this down . Examples . Well I guess we have a little little time extra , but {disfmarker} Just a little quick discussion to to open open our work . So what do you guys think about {disfmarker} Thefirst idea is just very short . I'll start with you . What are y What are your first ideas for the new product ? What {disfmarker}User Interface: Well , I basically had a question . Do {vocalsound} uh {disfmarker} Are wegoing to introduce a multi remote control ? Is it just the T_V_ or do we want to inProject Manager: The project I got was just for a T_V_ remote control .Marketing: Uh {vocalsound} {disfmarker}User Interface: Just forT_V_ remote control .Project Manager: Yeah , I guess so .Marketing: Yeah .User Interface: Okay . Well , I was thinking about design remote control , with our uh motto and all .Marketing: But {disfmarker}UserInterface: Uh thing to keep in mind is that we need to stick to what people are familiar with .Marketing: Yeah .User Interface: No rational changes or whatever , 'cause it {disfmarker} revolutionary changes ,ProjectManager: Okay , so very intuitive design , I guess .User Interface: yes . {vocalsound} Uh we might have to consider other design aspects of our product . So that was something I wanted to add ,Project Manager:{gap}User Interface: and perhaps some usability aspect . T_V_ is becoming central in most homes . Do we want people who are disabled in any way to uh , yeah , to be able to use it as well ?Project Manager: Yeah ,we want {disfmarker} I suppose we want almost everyone to be using it . So {vocalsound} I think {disfmarker} I mean , really disabled people , yeah , {vocalsound} might be a problem , but I think it's a little {gap}take it into consideration . Um yeah . I think we really need to cut the meeting short . You have anything you wanna share quickly ?Industrial Designer: Hmm .Marketing: Uh .Industrial Designer: Only one thing uh thathas to be added according to me is uh the the material it is made of , it should be something light .User Interface: Yeah .Industrial Designer: That's {disfmarker} it speaks for itself ,Project Manager: It should be light ,okay .Industrial Designer: but some uh {disfmarker} Yeah .Project Manager: Um , let's see ,Marketing: Yeah .Project Manager: where did I {disfmarker} Let's skip that . Oh , this is it . Sorry , I skipped this sheet.Marketing: Selling price .Project Manager: What do we {disfmarker} This {disfmarker} Quick {gap} {disfmarker} What we're going to {disfmarker} Selling price , twenty five Euros . That's for you . The productionprice , twelve and a half Euros , approximately .Industrial Designer: {vocalsound} Okay .Project Manager: Just go go for that . We'll reach the uh reach that profit .Industrial Designer: Okay .User Interface: Okay , wellthat's not that much to work with . {vocalsound}Marketing: {gap} international .Project Manager: No , it's not much to work on . I'm sorry , I skipped it . {vocalsound} Anyways , that's {disfmarker} Yeah , this is it .Do you have anything you you came up with yet ? About uh marketing transfer , whatever ?Marketing: Um about what ? Marketing ?Project Manager: Marketing {gap} I'm not sure what you what you came up with yet. You have anything to share ? Or else we'll cut the meeting just cut the meeting shortMarketing: {vocalsound} Um no , not really yet ,Project Manager: since we're supposed to stop .Marketing: but I've someideasProject Manager: Okay .Marketing: and I will uh say it uh {disfmarker}Project Manager: Anyways , the the personal coach will give you the your p your personal assignments and everything . So we'll just meetback in here thirty minutes .Industrial Designer: Okay .Marketing: Okay .Project Manager: I'm sure we have that .Industrial Designer: Good luck everyone .Project Manager: Yeah , thanks for attending .User Interface:Mm , good luck .Marketing: {vocalsound}Project Manager: I'll see you back here in thirty minutes .Marketing: Okay . Yes .Industrial Designer: {vocalsound}"}
+{"doc_id":"doc_196","qid":"","text":"Project Manager: Okay . Hi everybody and welcome to our kick-off meeting um for our new product that we're gonna be designing . Um I'm Mandy and I'm the Project Manager . And I know all your names again ,Courtney , Fenella and Amber .Marketing: Yep .Project Manager: Alright . Okay ,Industrial Designer: Yep .Project Manager: so first let's go through this PowerPoint . I wonder what button I press ?User Interface: Just doit on the {gap} arrow .Industrial Designer: {gap}Project Manager: Yeah , or how about I just click ? Okay , here is our agenda for this meeting . Um we're gonna start with our opening which was our introductions .{vocalsound} We're gonna get to know each other a little bit better . Um tool training , we're going to , I guess , figure out what to do on this project with our individual roles . Um we're gonna make a project plan andthen have some time for discussion and close up the meeting . Okay , here is our project . We're gonna make a new remote control that's um original , trendy and also user-friendly . And how we are going to do it iseach of us is going to um {disfmarker} We're gonna have {disfmarker} discuss the functional design first , {vocalsound} how is it gonna be used , what's the actual goal here , it has to operate T_V_ , blah blah blah .And we're going to do individual work on that and then meet . Same thing with conceptual design . Just the basic overview of the project and then we're going to do individual work , meet . That's pretty much the thewhole process for today . And then the detailed design , just more in-depth , get the actual schematics of the remote . Okay . Alright . First we're gonna start off by using our tools . And the whiteboard thing , do youguys wanna give that a try even though the ink wasn't working or do you wanna do it on here .Industrial Designer: I think we should forgo the whiteboard since we can't actually see what we're writing .Marketing: Wecould {disfmarker} Yeah , we could on here .Project Manager: Alright , let's go forward then .User Interface: {vocalsound}Project Manager: Um right now so we're all gonna draw our favourite animal and then sum upour favourite characteristics of that animal . Even if you are not a good drawer like me .User Interface: {vocalsound}Project Manager: {vocalsound} Alright .Industrial Designer: Artistic skills , nil .User Interface: Fine.Project Manager: Um .User Interface: {vocalsound}Marketing: {vocalsound} Oh , thanks . {vocalsound}Project Manager: Bless you .Industrial Designer: {vocalsound}Project Manager: {vocalsound}Marketing:{vocalsound}Industrial Designer: {vocalsound} I draw like I'm in grade five .Project Manager: {vocalsound} Oh do I .User Interface: {vocalsound}Project Manager: {vocalsound} 'Kay , about one more minute .{vocalsound} Okay .Marketing: {vocalsound}Project Manager: Okay . And who would like to start us off ?Marketing: I'll go .Project Manager: Alright .Marketing: {vocalsound} Um this is my picture . I drew fish{disfmarker} {vocalsound} I like fish , because uh , you know , their whole water-vascular system thing .User Interface: {vocalsound}Marketing: It's pretty cool , and um they've got a pretty good habitat and they arepretty sometimes , sometimes vicious but that's okay .Project Manager: {vocalsound} Only if they're piranhas .Marketing: Yeah .User Interface: {vocalsound}Marketing: Yeah , they they're easy , you know .ProjectManager: Alright .Marketing: Yeah .Project Manager: Who wants to go next ?Industrial Designer: I'll go .User Interface: {vocalsound}Industrial Designer: I drew a kitty . It's pretty much impossible to tell that's a cat ,but I love cats .Marketing: No I I see it .Project Manager: No , it looks like a cat .User Interface: No , I kne I knew .Marketing: Yeah , it does look like a cat .Industrial Designer: I love cats because they're independent ,uh they pretty much know what they want , they get it , they move on . {vocalsound}Project Manager: I love cats , too . I'm a cat person .User Interface: Yeah .Marketing: I'm allergic to cats .Project Manager: Uh.Industrial Designer: I'm allergic to cats , too . {vocalsound}User Interface: Ah .Marketing: {vocalsound} Oh , okay . {vocalsound}Project Manager: If you're around one {disfmarker}User Interface: In my next life.Project Manager: I had a roommate who was um allergic , but if she was around my cat forever she became used to it , you know ,Marketing: Yeah , yeah , if you're around them for a long period of time{disfmarker}Project Manager: it's weird . Okay . {vocalsound}Industrial Designer: I still can't sleep with them in my room .Marketing: Oh , yeah , this summer I , oh I had to live with cats . It was crazy .ProjectManager: Okay , Fenella ?Marketing: Yeah .User Interface: Um , I drew a badger . {vocalsound}Project Manager: Badger . Good choice .Industrial Designer: Yay .Marketing: Cool . {vocalsound}User Interface:{vocalsound} Well , yeah .Project Manager: Why a badger ?User Interface: {vocalsound} Uh I dunno , they're grumpy and nocturnal and {vocalsound} {gap}Marketing: {vocalsound}Industrial Designer: {vocalsound}Are you trying to suggest something ?Project Manager: {vocalsound}User Interface: Well , a little bit like the {disfmarker} Yes . Um . {vocalsound} And then , if you know Wind in the Willows {gap} badger .Marketing:Oh , okay .User Interface: Yeah and then uh I don't know if you know Brian {gap} . He's Liverpudlian writer .Project Manager: Alright .User Interface: Um {gap} , that kind of books . Badgers are cool in that one too .{vocalsound}Project Manager: Okay . And I'm last . 'Kay . Look at my sad sad giraffe .Marketing: No , that's good .Project Manager: No , no , no , it ends up looking like some kind of a dinosaur , but whatever . I don'tknow even much about giraffes , but I just love the way they look . They're just such odd creatures , you know . I I like that they're so unique and individual , I guess . I don't know much about their behaviour oranything , though . Only seen a couple in zoos .Marketing: You don't really have to , I mean , if you like 'em {disfmarker}Project Manager: Yeah , but you can appreciate the way they look . Okay . Alright . Guess we'regetting straight back into business here .User Interface: {gap}Project Manager: Um the selling price for our remote is going to be twenty-five Euro , and our profit aim is fifty million Euro . We're going to make this aninternational product marketed in the States , in Europe , in Asia . And um our production cost to make that profit is gonna be a max of twelve fifty Euro per remote . Okay . So we're gonna talk for a little while . Umhere are some topics that we might be able to discuss . Expe our experiences with remote controls um , our first ideas about this new remote , anything that you can bring to the table for this project . So .UserInterface: Now ?Project Manager: Yeah . You wanna start us off ? Anybody have anything to offer ?User Interface: {vocalsound}Industrial Designer: Well , we wanna make a multifunctional remote , right ?ProjectManager: Right .Industrial Designer: One remote for everything .User Interface: And everything being {disfmarker} Wait , we have what , sound system , T_V_ , D_V_D_ , V_H_S_ , uh TiVo ?Marketing: Right.Industrial Designer: Um . I think they'll be phasing V_H_S_ out shortly .Marketing: Yeah , TiVo .Project Manager: TiVo .User Interface: But it's still there , soIndustrial Designer: Okay .User Interface: if po if we'regonna do it {disfmarker}Marketing: It needs to be compatible 'cause universal remote controls are never universal .Project Manager: They're never universal . That's right . Esp e especially if you buy a a not big product, D_V_D_ player , say , usually it doesn't work if it's not one of the {disfmarker}User Interface: Or if it's not like a Sony , if it's like a {disfmarker} I don't know .Project Manager: Yeah . Yeah . Something from Sam'sclub .Industrial Designer: So we'll have to figure it how to cover all the different variances in signals .Project Manager: Yeah .Marketing: And what we need an insanely good instruction booklet , because you alwayshave to reconfigure all your contraptions to go with the remote anyways .Project Manager: Yeah . 'Kay , and um another thing that I think is important is the d the design of the product , how it feels in your hand . If it'sjust flat and kind of boring th those don't {disfmarker} Nobody wants to buy those any more . They want the ergonomic ones .Marketing: They want like the flashy lights .Project Manager: Yeah .Marketing: Oh like thiscame from Las Vegas .Project Manager: Ones that ones that look high-tech , too .User Interface: But at the same time are simple .Project Manager: Right .Marketing: Mm yeah .Project Manager: So that people like mymother can use it .Industrial Designer: What about something with the curvature like that matches the curvature of a hand ?Project Manager: Yeah .User Interface: {vocalsound}Project Manager: 'Kay . Anybody haveany experiences with remote controls that they can remember that {disfmarker}User Interface: Just bad ones . {vocalsound}Project Manager: Yeah {gap} . {vocalsound} That's true .User Interface: Um .IndustrialDesigner: What kinda battery would we want to use ? Because battery changing is usually {disfmarker}User Interface: D Double A_ .Marketing: Double A_ .Industrial Designer: Okay .Project Manager: Do some of themuse triple A_s though ?Marketing: Yeah some use triple A_s .Project Manager: Okay .User Interface: Some but {disfmarker}Marketing: So double or triple ?User Interface: Yeah , I guess then it's {disfmarker} If weneed to do triple A_ we can , but most people usually have double A_s around .Project Manager: Okay . Yeah . But that has to do with the size of it too . Well , w as long as we know that issue is {disfmarker}IndustrialDesigner: Yeah .User Interface: Right .Project Manager: Here we can {disfmarker}Marketing: Yeah , if we want it to be more thin , then we'd probably wanna go with a triple A_ .Project Manager: Triple A . ButIndustrialDesigner: Can you {gap} with a small lithium battery ?Project Manager: it's okay , we don't have to decide about it now , just as long as we remember battery type and size is important .User Interface:{vocalsound}Project Manager: Hey . Anything else ? Alright . Moving along . Oh , we're closing the meeting . Next meeting is gonna start in thirty minutes . Here's what we're going to do . Um the I_D_ , which is who ?Okay , you're going to think about the working design . What do you think that means ? {vocalsound}Marketing: {vocalsound}Project Manager: Okay . And U_I_D_ , the technical fun functions design ,User Interface:Mm-hmm .Project Manager: making sure it does everything that we need the remote to do , the functionality of it , operating all those different things . Okay . And the marketing person , that's Courtney , is going to dothe user requirements specification . I guess that means specifying um what exactly the user is going to be looking for . Right ? I would think so . Okay .Marketing: Right .Project Manager: And you're gonna get morespecific instructions emailed to you in just a little while . Okay , so does anybody have anything they wanna say before we close the meeting ? Okay . This meeting is officially over ."}
diff --git a/layout_cache/ps1024x1024/summ_screen_fd/corpus.jsonl b/layout_cache/ps1024x1024/summ_screen_fd/corpus.jsonl
new file mode 100644
index 0000000000000000000000000000000000000000..0fb4feaba7091c034b15cec986924b841b04ba2e
--- /dev/null
+++ b/layout_cache/ps1024x1024/summ_screen_fd/corpus.jsonl
@@ -0,0 +1,336 @@
+{"doc_id":"doc_0","qid":"","text":"[PREVIOUSLY_ON]You make jumps you can't explain, Will. The evidence explains. Then help me find some evidence. I wouldn't put him out there! Should he get too close, I need you to make sure he's not out therealone. I don't think the Shrike killed that girl in the field. This girl's killer thought that she was a pig. You think this was a copycat? I think I can help good Will, see his face. Hello? They know.(gunshots)You said hewouldn't get too close. See?(gunshots)(knocking)Jack: We're here!(police radio chatter)Will: Could be a permanent installation in your Evil Minds Museum.Jack: Well, what we learn about Garrett Jacob Hobbs will helpus catch the next one like him. There's still seven bodies unaccounted for.Will: Yeah, well, he was eating them.Jack: Had to be some parts he wasn't eating.Will: Not necessarily.Jack: All right, what if Hobbs wasn'teating alone? It's a lot of work. Disappearing these girls, butchering them, and then not leaving a shred of anything other than what's in this room.Will: Someone he hunted with.Jack: Someone who is in a coma, whoalso happened to be someone he hunted with.Will: Abigail Hobbs is a suspect?Jack: We've been conducting house-to-house interviews at the Hobbs residence, and, uh, at this property also. Hobbs spent a lot of timehere. Spent a lot of time with his daughter here. She would make the ideal bait, wouldn't she?Will: Hobbs killed alone. Ah... someone else was here.[SCENE_BREAK](Applause)Will: Thank you. Please stop that. This ishow I caught Garrett Jacob Hobbs. It's his resignation letter. Does anybody see the clue? There isn't one. He wrote a letter, he left a phone number, no address. That's it. Bad bookkeeping and dumb luck. (gasping)Garrett Jacob Hobbs is dead. The question now is how to stop those his story is going to inspire. (projector click) He's already got one admirer. A copycat.[SCENE_BREAK]Will: Hi.Alana: How are you, Will?Will: Uh, Ihave no idea.Alana: Um, I didn't want you to be ambushed.Will: This is an ambush?Alana: Ambush is later. Immediately later soon to now. When Jack arrives, consider yourself ambushed.Will: Here's Jack.Jack: Howwas class?Will: Um, they applauded. It was inappropriate.Jack: Well, the review board would beg to differ. You're up for a commendation. And they've, uh, okayed active return to the field.Alana: The question is, do youwant to go back to the field?Jack: I want him back in the field. And I've told the board I'm recommending a psych eval.Will: Are we starting now?Alana: Oh, the session wouldn't be with me.Jack: Hannibal Lecter's abetter fit. Your relationship's not personal. But if you are more comfortable with Dr. Bloom-Will: No, I'm not going to be comfortable with anybody inside my head.Alana: You've never killed anyone before, Will. It's adeadly force encounter. It's a lot to digest.Will: I used to work Homicide.Jack: The reason you currently used to work Homicide is because you didn't have the stomach for pulling the trigger. You just pulled the triggerten times!Will: Wait, so a psych eval isn't a formality?Jack: No, it's so I can get some sleep at night. I asked you to get close to the Hobbs thing. I need to know you didn't get too close. How many nights did you spendin Abigail Hobbs' hospital room, Will?Will: Therapy doesn't work on me.Jack: Therapy doesn't work on you because you won't let it.Will: And because I know all the tricks.Jack: Well, perhaps you need to un-learn sometricks.Alana: Why not have a conversation with Hannibal? He was there. He knows what you went through.Jack: Come on, Will. I need my beauty sleep![SCENE_BREAK]Will: What's that?Hannibal: Your psychologicalevaluation. You are totally functional and more or less sane. Well done.Will: Did you just rubber stamp me?Hannibal: Yes. Jack Crawford may lay his weary head to rest knowing he didn't break you and our conversationcan proceed unobstructed by paperwork.Will: Jack thinks that I need therapy.Hannibal: What you need is a way out of dark places when Jack sends you there.Will: Last time he sent me into a dark place, I broughtsomething back.Hannibal: A surrogate daughter? You saved Abigail Hobbs' life. You also orphaned her. That comes with certain emotional obligations, regardless of empathy disorders.Will: You were there. You savedher life too. Do you feel obligated?Hannibal: Yes. I feel a staggering amount of obligation. I feel responsibility. I've fantasized about scenarios where my actions may have allowed a different fate for Abigail Hobbs.Will:Jack thinks Abigail Hobbs helped her dad kill those girls.Hannibal: How does that make you feel?Will: How does it make you feel?Hannibal: I find it vulgar.Will: Me too.Hannibal: And entirely possible.Will: It's not whathappened.Hannibal: Jack will ask her when she wakes up, or he'll have one of us ask her.Will: Is this therapy, or a support group?Hannibal: It's whatever you need it to be. And, Will, the mirrors in your mind can reflectthe best of yourself, not the worst of someone else.[SCENE_BREAK]Boy1: What is that?Boy2: I bet it's marijuana.Boy3: Mushrooms. Look, they got tubes to water 'em or something.Boy2: No, it's a marijuanaplant.Boy1: That's not marijuana.[SCENE_BREAK]Beverly: I'm pretty sure firearm accuracy isn't a prerequisite for teaching.Will: Well, I've been in the field before.Beverly: Now you're back in the saddle. Ish.Will: Ishindeed. Took me 10 shots to drop Hobbs.Beverly: Zeller wanted to give you the bullets he pulled out of Hobbs in an acrylic case, but I told him you wouldn't think it was funny.Will: Probably not.Beverly: I suggested oneof those clackin' swingin' ball things.Will: That would've been funny.Beverly: You're a Weaver. I took you for an isosceles guy.Will: I have a rotator cuff issue so I have to use the Weaver stance.Beverly: You aretight.Will: I got stabbed when I was a cop.Beverly: Yeah, I got stabbed in the third grade with a number two pencil. Thought I was gonna get lead poisoning.Will: Uh, no lead in pencils; It's graphite.Beverly: See if thathelps with the recoil.Will: That was better. You come all the way down here to teach me how to shoot?Beverly: No. Jack sent me down here to find out what you know about gardening.(crow cawing)Jack: So, Lectergave you the all-clear. Therapy might work on you after all.Will: Therapy is an acquired taste which I have yet to acquire. But, uh, it served your purpose. I'm back in the field.Jack: Local police found tire tracks on ahidden service road and some small animal traps in the surrounding area.Will: He wanted to keep his crop undisturbed.Jack: The only thing missing is the scarecrow.[SCENE_BREAK]Jimmy: OK, we've got nine bodies,various stages of decay, and as you can see, all very well fertilized.Beverly: He buried them in a high-nutrient compost. He was enthusiastically encouraging decomposition.Brian: They were buried alive with theintention of keeping them that way. I mean, for a little while.Jimmy: : Long enough for the fungus to eat away any distinguishing characteristics.Brian: Line and rebar were used to administer intravenous fluids afterthey were buried. He was feeding them something.Will: No restraints?Jimmy: Just dirt.Beverly: The other end of the air-supply system comes up over there.It isn't a very considerate clean air solution, which clearlywasn't a priority, 'cause he isn't lazy.Will: No, he's not.Beverly: You find any shitakes?Brian: : No.Jack: Welcome back.[SCENE_BREAK]Detective: Tell Sam to give me a call, will you? Thank you. Excuse me.Freddie: I'mone of the parents of the explorers who found the bodies. I wanted to thank you for being so good with all the boys.Detective: Those boys were very brave.Freddie: They are good boys.Detective: Yeah.Freddie: You're alocal police detective?Detective: Yes ma'am.Freddie: Would it be an imposition to ask a few things? The boys are gonna have questions and I just want to be as honest with them as-Detective: Of course.Freddie: Canyou, uh, tell me what that man is doing over there by himself?Detective: He's some kind of special consultant. Works for the FBI.Freddie: Huh.(sound muted)(soft ambient pulse)(Sound returns.)Will: I do not bind hisarms or legs as I bury him in a shallow grave. (ventilator pumping) He's alive. But he will never be conscious again. He won't know that he's dying. I don't need him to. This is my design.[SCENE_BREAK]Detective: Ithink your family's leaving.Freddie: We drove separately.[SCENE_BREAK](muffled gasp) (Will gasping)Will: I need an EMT!(person gasping)Katz: EMT! We need an EMT!Officer Zeller: Don't touchhim![SCENE_BREAK]Will: This may have been premature.Hannibal: What did you see? Out in the field.Will: Hobbs.Hannibal: An association?Will: A hallucination. I saw him lying there in someone else's grave.Hannibal:Did you tell Jack what you saw?Will: No!Hannibal: It's stress. Not worth reporting. You displaced the victim of another killer's crime with what could arguably be considered your victim.Will: I don't consider Hobbs myvictim.Hannibal: What do you consider him?Will: Dead?Hannibal: Is it harder imagining the thrill somebody else feels killing, now that you've done it yourself? The arms.Why did he leave them exposed? To hold theirhands? To feel the life leaving their bodies?Will: No, that's too esoteric for someone who took the time to bury his victims in a straight line. He's more practical.Hannibal: He was cultivating them.Will: He was keepingthem alive. He was feeding them intravenously.Hannibal: But your farmer let his crops die. Save for the one that didn't.Will: Well, and the one that didn't died on the way to the hospital, though they weren't crops; Theywere the fertilizer. The bodies were covered in fungus.Hannibal: The structure of a fungus mirrors that of the human brain an intricate web of connections.Will: So maybe he admires their ability to connect the wayhuman minds can't.Hannibal: Yours can.Will: (laughs) Yep. Um yeah, not physically.Hannibal: Is that what your farmer is looking for? Some sort of connection?[SCENE_BREAK]Hannibal: Have a good evening,Will.[SCENE_BREAK]Hannibal: Miss Kimball?Freddie: Yes.Hannibal: Good evening. Please come in.[SCENE_BREAK]Freddie: I've, uh, never seen a psychiatrist before. And I am unfortunately thorough, so you're one ofthree doctors I'm interviewing. It's more or less a bake-off.Hannibal: I'm very supportive of bake-offs. It's important you find someone you're comfortable with.Freddie: I can imagine you as my therapist, which is good.If I can't visualize opening up emotionally, I know it would be a problem.Hannibal: May I ask why now?Freddie: Do you mind if I ask you a few questions first?Hannibal: Of course not.Freddie: I love that you've writtenso much on social exclusion. Since that's why I'm here, I was wondering-Hannibal: Are you Freddie Lounds?Freddie: Ah...Hannibal: This is unethical, even for a tabloid journalist.Freddie: I am, uh, I am soembarrassed.Hannibal: I'm afraid I must ask for your bag.Freddie: What?Hannibal: Your bag. Please hand it over. I'd rather not take it from you. Thank you.Freddie: I was recording our conversation.Hannibal: Ourconversation? Yours and mine?Freddie: Yes.Hannibal: No other conversation?Freddie: No.Hannibal: You were very persistent about your appointment time. How did you know when Will Graham would be here?Freddie:I may have also recorded your session with Will Graham.Hannibal: You didn't answer the question. How did you know?Freddie: I can't answer that question.Hannibal: Come. Sit by me. Delete the conversations yourecorded. Doctor-patient confidentiality works both ways. Delete it, please. You've been terribly rude, Miss Lounds. What's to be done about that?[SCENE_BREAK][ \u0000 J.S. Bach: Cello Suite No.4: Prelude ]Hannibal:Loin, served with a Cumberland sauce of red fruits.Jack: Um, loin. What kind?Hannibal: Pork.Jack: Wonderful. I don't get many opportunities to, uh, eat home-cooked meals. My wife and I both work, and, uh, as hardas I tried not to, I did wind up marrying my mother.Hannibal: Your mother didn't cook?Jack: She did, she did. I only wish she didn't. There was this meal she used to prepare. She liked to call it \"oriental noodles\".Spaghetti, soy sauce, bouillon cubes, and spam. I was raised thin as a youngster.Hannibal: Well, next time, bring your wife. I'd love to have you both for dinner.Jack: Thank you. Mmm. Lovely. So, why do you think WillGraham... came back to see you?Hannibal: I'm sure he recognizes the necessity of his own support structure if he is to go on supporting you in the field.Jack: Well, I believe that a guy like Will Graham knows exactlywhat's going on inside of his head, which is why he doesn't want anyone else up there.Hannibal: Are you not accustomed to broken ponies in your stable?Jack: You think Will Graham's a broken pony?Hannibal: I thinkyou think Will is a broken pony. Have you ever lost a pony, Jack?Jack: If you're asking me whether or not I've ever lost someone in the field, the answer is yes. Why?Hannibal: I want to understand why you're sodelicate with Will. Because you don't trust him, or because you're afraid of losing another pony?Jack: I've already had my psych eval.Hannibal: Not by me. You've already told me about your mother. Why stopthere?Jack: (laughing) Oh, great. All right. Mmm...[SCENE_BREAK]Will: What were they soaked in?Jimmy: A highly concentrated mixture of hardwoods, shredded newspaper, and pig poop perfect for growingmushrooms and other fungi.Brian: It was not the mushrooms, though. They all died of kidney failure.Beverly: Dextrose in all the catheters. He probably used some kind of dialysis or peristaltic to pump fluids after theircirculatory systems broke down.Will: Force-feeding them sugar water?Jimmy: You know who loves sugar water? Mushrooms.They crave it.Brain: Recovering alcoholics. They crave sugar. Uh, don't take that personally,buddy.Jimmy: Oh, I'm not recovering.Brain: Feed sugar to the fungus in your body, the fungus creates alcohol, so it's like friends helping friends, really.Will: It's not just alcoholics who have compromised endocrinesystems. They all died of kidney failure? Death by diabetic ketoacidosis.Beverly: Did you know they were diabetics?Brain: We don't know they were diabetics.Will: No, they're all diabetics. He induces a coma and putsthem in the ground.Beverly: How is he inducing diabetic comas?Will: Changes their medication. So he's a doctor or a pharmacist or he works somewhere in medical services.Beverly: He buries them, feeds them sugarto keep them alive long enough for the circulatory systems to soak it up.Jimmy: So he can feed the mushrooms!Brian: We dug up his mushroom garden.Will: Yeah, he's gonna want to grow a newone.[SCENE_BREAK]Ms. Speck: I'm picking up a prescription for Gretchen Speck.Eldon: Gretchen Speck (typing) - Horowitz.Ms. Speck: Oh, it's just Speck. We're divorced. I lost the hyphen, kept the ring.Eldon:Insulin.Ms. Speck: Yes.Eldon: Oh. Oh, it's the wrong one. Just-Ms Speck: Uh-oh.Eldon: No, no, it's OK. Just gonna be one second. There. There you go. Oh, could you sign here please? And that's your correctaddress?Ms Speck: Yeah. Thank you.Eldon: Thank you.[SCENE_BREAK]Eldon: Mrs. James. If you could sign here, please? Thank you.[SCENE_BREAK]Jack: She's the chain's 10th diabetic customer to disappear afterfilling a prescription for insulin, second to disappear from this exact location.Will: And the other eight?Jack: All over the county. One pharmacist all over the county as well.Will: Floater, huh?Jack: Floater's floating righthere. Still logged in at his work station. Everyone please stop what you are doing. Put your hands in the air! Special Agent Jack Crawford. Which one of you is Eldon Stammets?[SCENE_BREAK]: Eldon was just here. Justnow.Will: Is his car still in the parking lot?Jack: His car![SCENE_BREAK]Will: Give me your baton. Ugh! (ventilator pumping) She's alive!Jack: EMTs! Now! All right. We know his name, we have his address, we have hiscar.Jimmy: Jack. We just checked the browser history at Stammets' work station.Jack: Am I gonna wanna hear this?Jimmy: No. And yes, but mostly no.[SCENE_BREAK]Brian: Freddie Lounds. TattleCrime.com.Beverly:\"The FBI isn't just hunting psychopaths, they're headhunting them \"too, offering competitive pay and benefits in the hopes of using one demented mind-\"Jack: Keep going.Beverly: It's about Will.Jack: Go on.Beverly:\"One demented mind to catch\" She goes into a lot of detail.Jack: Son of a bitch.[SCENE_BREAK]Hannibal: You are naughty, Miss Lounds.[SCENE_BREAK](knocking on door)Freddie: Who is it?(knocking on door)Who isit? Ah!Brian: : All clear.Freddie: I appreciate the pageantry, Agent Crawford, but you can't arrest me for writing an article.Jack: You entered a federal crime scene without permission.Freddie: Escorted by adetective.Jack: Under false pretence!Freddie: It is as good as permission.Jack: You lied to a police officer.Freddie: You can't arrest me for lying.Jack: You got all that information from a local detective?Friddie: Lots oftalk about your man Graham. Not to mention the rivalry of who gets the collar. A local police detective looking for a pissing contest with the FBI might have some insight.Jack: And evidently did.Friddie: Sure did.Jack:You know, the unfortunate timing of your article allowed a murderer to escape. You were in Minnesota. You were in the Shrike's nest. You know how I know? 'Cause you left one of these hairs behind. You contaminatedthe crime scene. Just like everywhere you go, you contaminate crime scenes. That's obstructing justice. I can indict you for obstructing justice.Friddie: I'd appreciate it if you didn't.Jack: You don't write another wordabout Will Graham and I won't have to.Brian: You used me.(monitor beeping)(ventilator pumping)(footsteps)Alana: \"He and the Grandmother discussed better times.\", The old lady said that \"in her opinion, Europe wasentirely to blame for the way things were now. She said\"Will: What are you reading?Alana: Flannery O'Connor. When I was Abigail's age, I was obsessed. I even tried to raise peacocks because she raised peacocks. Butthey were really stupid birds.Will: You could be reading to a killer.Alana: Innocent until guilty and all that. I'm about to broach the subject of that \"Takes One to Know One\" article.Will: Oh, that. Did Jack sendyou?Alana: No, I sent me.Will: I don't think we've ever been alone in a room together, have we?Alana: I haven't noticed. Have we? Not that we're necessarily alone now.Will: Yeah, right. Back to \"Jack Crawford's crimegimp\".Alana: It certainly creates an image. I don't need to talk about it if you don't.Will: No, no, we can talk about or not talk about whatever you want. Actually, I was I was just enjoying listening to you read.Alana:Abigail Hobbs is a success for you.Will: She doesn't look like a success.Alana: Don't feel sorry for yourself because you saved this girl's life.Will: I don't. I don't feel sorry for myself at all. I feel, um I-I I feel, umgood.[SCENE_BREAK]Detective: Don't know where you got half that information. It wasn't from me.Freddie: I may have made some inferences.Detective: They think I told you all of it.Freddie: They saw you talking tome.Detective: They think it's my fault Stammets escaped.Freddie: I'm sorry I got you fired.Detective: I wasn't fired. I was suspended.Freddie: They're gonna fire you. Jack Crawford will make sure of that.Detective:You- You stir the hornet's nest, and I'm the one who gets stung?Freddie: I can help you get work outside the force, if you want me to. I know people in private security.Detective: Not the first cop you got fired.Freddie:Guarantee you it pays better. Right now, future you is thanking me-Eldon: I read your article. Tell me about Will Graham.[SCENE_BREAK]Freddie: Hey, Jack.Jack: Miss Lounds? Go ahead and stand down, officer. MissLounds, are you all right?Freddie: Where's Will Graham?Jack: We have an eyewitness to the murder. We don't need Will Graham.Freddie: No, that's not why I'm asking.Jack: Someone find me Will Graham! This is aboutWill? Freddie: He was talking about people having the same properties of a fungus.Jack: Stammets?Freddie: Thoughts leaping from brain to brain. They mutate, they evolve.Jack: Well, what does he want with WillGraham?Freddie: Someone who understands him. Graham was right. Stammets is looking for connections.Jack: What did you tell him? I need to know what you told Eldon Stammets about Will Graham.Freddie: I toldhim about the Hobbs girl.Jack: What did you tell him?Freddie: Everything. He wants to help Will Graham connect with Abigail Hobbs. He's gonna bury her.[SCENE_BREAK](ding!)Will: Sorry.(ding!)(phone ringing)Hello? -[lt's Jack.] [Are you at the hospital?] Yes, I am. [Stammets knows about Abigail Hobbs.] Where is she? Abigail Hobbs, the girl in 408. Where is she?Nurse: They took her for tests.Will: Who took her? Who tookher?!Nurse: I don't know!Will: Hey! (grunting in pain) What were you gonna do to her?Eldon: We all evolved from mycelium. I'm simply reintroducing her to the concept.Will: By burying her alive?Eldon: The journalist"}
+{"doc_id":"doc_1","qid":"","text":"[EXT. LAS VEGAS CITY (STOCK) - NIGHT][EXT. ABERNATHY RESIDENCE - DRIVEWAY -- NIGHT](The lamp post light over the driveway flickers out then goes back on again.)[INT. ABERNATHY RESIDENCE - MASTERBEDROOM -- NIGHT](Open on a framed photo on the bedside table of a man and a woman smiling. Camera moves over and across the bed to the closed bedroom door. Under the door through the crack we see swirlingsmoke seeping into the bedroom.)[MARTHA JAMES' BEDROOM](MARTHA JAMES sleeps quietly in her bed.)[SAM ABERNATHY'S BEDROOM](Camera sweeps low across the floor - along the thrown puzzle pieces litteringthe carpet and over to the bunk bed ladder. It rises up and finds SAM ABERNATHY sleeping in bed.)[SCENE_BREAK][SABRINA'S BEDROOM](The focus is on the neatly made bed and the stuffed animal on it. Smoke risesup from the floor to cover the bed like a cloud completely obscuring it from our vision.)[SCENE_BREAK][EXT. ABERNATHY RESIDENCE - FRONT YARD - NIGHT - LATER](The bedroom windows explode and a stream offire bursts out of the house. A fireman walking across the lawn ducks instinctively.)Fireman: Go pull a line towards the garage.(The house is on fire and fire fighters are attempting to put it out.)(Two firemen assistMARTHA JAMES and JESSICA ABERNATHY out of the house.Jessica Abernathy: Sam?Fireman: (o.s.) Knock it down.Jessica Abernathy: (hysterical) Sam? Where is Sam?Fireman: You're going to be all right.(The firemenlead MARTHA JAMES and JESSICA ABERNATHY across the lawn and away from the house fire.)Jessica Abernathy: What about Sam?! Sam!Fireman: I'm going to need you to stay right here, ma'am.Jessica Abernathy:Sam. Where is he? Where is...?(A FIREMAN pushes the door open and exits the house. He's carrying SAM ABERNATHY in his arms.)Fireman: Hey, I got one more!(The FIREMAN carries SAM over to his mom and themedic.)Fireman: Here you go, pal. You stay right here with your mom.(The MEDIC takes SAM'S hand.)Fireman: Ma'am, is there anybody else in there?Jessica Abernathy: No.(The FIREMEN open another hose and aim itat the house. The house is on fire.)[SCENE_BREAK](CATHERINE and NICK carry their kits and walk toward WARRICK who is standing on the side on the driveway next to the Arson Investigator, JACK. They're bothwatching the fire.)Catherine: Hey.(WARRICK and JACK turn around.)Nick: What's with the 911 page? Fire's not even out yet.Warrick: Jack's an arson investigator. We were here on this same street ten days ago.Jack:Garage fire a few houses down. Deemed intentional.Catherine: So you think it's a serial?Warrick: I don't know, but I'm keeping my eyes peeled. Maybe they came back to take a look.Fireman: (o.s.) We got anotherone.(A FIREMAN comes out of the burning house carrying a body.)Fireman: Got another one.(He makes his way toward the medics. JESSICA ABERNATHY is completely confused, but she recognizes her owndaughter.)Jessica Abernathy: Sabrina?Fireman: We need a paramedic right now. She's not breathing.(JESSICA kneels down next to her daughter.)Jessica Abernathy: Sabrina, what are you doing here? You weren'tsupposed to be here. Sabrina?(The MEDICS work on SABRINA, but she's already gone.)Jessica Abernathy: (sobbing) Please help me. Please.Catherine: I think our arsonist just turned into a murderer.(Camera rises upabove the scene of the PARAMEDIC working on SABRINA as sounds of her mother sobbing are heard.)FADE TO END OF TEASER ROLL TITLE CREDITS[SCENE_BREAK]FADE IN[EXT. ABERNATHY RESIDENCE --NIGHT](The CORONERS zip up the body bag with SABRINA ABERNATHY inside and put the gurney in the back of the CORONERS' van. CATHERINE and JESSICA ABERNATHY stand off to the side watching.)JessicaAbernathy: She wasn't even burned.Catherine: Smoke inhalation happens really fast. I'm so sorry. I heard you say she wasn't supposed to be home tonight. Was she with her dad?Jessica Abernathy: My husband diedfive years ago in a car accident. She ... was at her friend Molly's house for a sleep-over. At least she was when I went to bed.Catherine: What time was that?Jessica Abernathy: I don't know, 11:00, 11:30.Catherine:Mrs. Abernathy, do you have any idea what may have caused the fire?Jessica Abernathy: I go to bed, I make sure the lights are off, lock the doors.Catherine: Do you know anyone who might want to set fire to yourhome?Jessica Abernathy: I go to work. I take care of my kids and my mother, and that's my life.[SCENE_BREAK][FRONT YARD - NIGHT - CONTINUOUS](NICK faces the crowd and takes photos of the curiousonlookers.)Nick: Thanks a lot.(He snaps more photos, then puts the camera down.)Nick: Okay, folks, any information you feel like you may have...(MARTHA JAMES taps NICK on his shoulder.)Martha James: How am Igoing to get my fosamax?Nick: Oh, well, I'll make sure you have your medications by breakfast, okay? You're going to be all right. Everything's okay.(A FIREMAN appears and pulls MARTHA JAMES off to the side.)Nick:This man will take care of you, okay?[FIRETRUCK (PARKED) - FRONT SEAT - NIGHT -- CONTINUOUS](SAM ABERNATHY points to something up above expecting the FIREMAN sitting next to him to explain it to him.WARRICK stands just outside the open passenger seat door and listens.)Sam Abernathy: What does that one do?Fireman: That one? That turns on the siren, so we can get to places really fast.Sam Abernathy: To helppeople burning inside?Fireman: That's right.Sam Abernathy: But not my sister.Fireman: Yeah. (He puts a hand on the little boy's shoulder.) I'm sorry, buddy.Sam Abernathy: It's okay.(SAM looks at the FIREMAN wholooks past SAM at WARRICK.)[SCENE_BREAK][EXT. LAS VEGAS CITY (STOCK) - NIGHT][INT. CASINO - BATHROOM -- NIGHT](In the middle of the bathroom floor is a very large dead man wearing a red shirt with \"735\"in white on the front.)Brass: So the morning cleaning crew found him. No ID, but this was in his pocket.(BRASS explains what he knows to SARA and GRISSOM. He shows the paper to SARA.)Sara: Looks like some kindof code.(She looks at the wordlist.)Grissom: \"735\"?Brass: His goal weight? (BRASS shrugs. He gives up while he's ahead.) I'm going to talk to housekeeping.(He turns and leaves the rest room. SARA and GRISSOM stepforward to get to work. GRISSOM puts his kit down on the floor next to the body.)(He opens his kit and removes a camera. He takes a photo of the head wound.)Grissom: That's a nasty head wound.Sara: It's alwaysreassuring to see an empty soap dispenser in a public bathroom.(SARA hands the bagged note to GRISSOM. She leans in close over the bathroom counter and looks at the cracked mirror with blood running down thefront.)Sara: So I'm thinking this is how the vic got his head smashed in.(Through the reflection in the mirror, we see GRISSOM stand up behind SARA to look at the mirror.)(Quick flashback to: [BATHROOM - EARLIER]ADAM BRENNER hits his forehead against the mirror. The mirror cracks and ADAM falls back to the floor. Someone standing behind him steps aside.)(End of flashback. Resume to present.)(GRISSOM holds out a swab.SARA takes it from him.)Sara: Thank you.(She takes a sample of the blood on the mirror.)(GRISSOM puts on his latex gloves while staring at the blood stain on the floor. He sees something on the blood.)Grissom: It'scommon to find something in blood. Uncommon to find something on blood.(SARA watches him as he picks up the black thing. He looks down at the body and checks the eyes.)Grissom: Petechial hemorrhaging.Asphyxia.Sara: Head bashed in and asphyxiated. No soap was the least of his problems.(GRISSOM glances up at SARA.)[SCENE_BREAK][EXT. LAS VEGAS COMMUNITY (STOCK) - DAY]Jack (arson Investigator): (V.O.)The smoke detectors' batteries are all dead.[INT. ABERNATHY RESIDENCE - SABRINA'S BEDROOM -- DAY](JACK, the arson investigator, shows CATHERINE, WARRICK and NICK through the house.)Jack (arsonInvestigator): Sabrina's was the only bedroom that sustained any fire damage at all.Catherine: Her mother thought that she wasn't home.(WARRICK takes a photo.)Catherine: But she wasn't asleep.Jack (arsonInvestigator): Not in her bed.(CATHERINE walks over to the small space and finds SABRINA'S hide-away - books and other junk - evidence that a teenager had been there.)(Quick flashback to: SABRINA sits in the smallspace reading the book while music blares in the background.)(End of flashback. Resume to present.)Warrick: That would explain why the firemen didn't find her right away.(WARRICK takes a photo.)Jack (arsonInvestigator): But it doesn't explain what she was doing down there.Catherine: If you can explain the behavior of teenagers, more power to you.[KITCHEN](JACK kicks at the burned linoleum on the floor.)Jack (arsonInvestigator): Adhesive they use to put this stuff down is highly flammable. Crack in the linoleum, the fire will just seek it out and go for it.(CATHERINE looks up at the fluorescent lights on the ceiling. WARRICK takes aphoto of the things on the floor.)(CATHERINE looks at the burned stove. WARRICK tries the back door. He opens it and closes it.)Warrick: (to JACK) This door's unlocked.Jack (arson Investigator): The firemen said theyonly used one point of entry and exit: The front door.Catherine: Mrs. Abernathy said that she locked all the doors before bed.Warrick: Well, this could be how Sabrina got in. Comes home late, forgets to lock the doorbehind her. It's an opportunity waiting to happen.Jack (arson Investigator): Let's check out the living room.(He turns and leads them into the next room.)[LIVING ROOM]Jack (arson Investigator): A few cheap, woodpanel walls. Polyester curtains, couple of fake plants. All highly flammable.(CATHERINE picks up an unburned bottle of alcohol.)Catherine: Plus ... a bar full of liquid fire with a low flash point.(She throws the bottleaside. JACK sees the broken table on the floor.)Jack (arson Investigator): Coffee table.(They both approach the remains of the sofa.)Catherine: Couch?Jack (arson Investigator): At some point, I think this was acouch.Catherine: This looks like a liquid pour pattern. High-intensity burn. You think this could be the point of origin?(Quick CGI flash to: The couch is on fire and burning. End of flash. Resume to present.)Jack (arsonInvestigator): I think this is the area of heaviest damage. The fire spread up and out towards the kitchen.(JACK takes out a tape measure. His voice fades into the background.)[DOOR](WARRICK kneels in front of theback door and fingerprints the door knob.)[DRIVEWAY](Meanwhile out in the car port, NICK looks around and finds a stack of newspapers only slightly burned. He moves the papers and looks at the concrete burnsunder it.)[LIVING ROOM](CATHERINE works on the sofa when WARRICK approaches her. He puts his kit down.)Catherine: How'd you do?(NICK walks into the room carrying the stack of newspapers.)Warrick: Uh,couple of weak partials. What you got, partner?Nick: Newspapers. I found them in the carport.Catherine: That's on the other side of the house.Nick: Yeah, it's kind of weird. Completely out of the path of the fire and thefiremen said they didn't put them there.Warrick: You know the fire down the street was in the garage.Nick: Well, maybe he started in the carport, Sabrina came home, provided access to the inside of thehouse.Catherine: Did they find an accelerant at the first scene?Warrick: Lighter fluid from the garage.Catherine: So maybe part of the M.O. is that he uses accelerants that are present.Nick: Let's hope he stuck aroundlong enough to witness the damage.[SCENE_BREAK][INT. CSI - A/V LAB -- DAY](NICK and WARRICK go through the video of the observers in the crowd.)Warrick: This is home video from the first fire.Nick: It looks likeeverybody's neighbor.Warrick: Well, they say arsonists often commit crimes where they feel most familiar. The last fire was set during the day in the garage when the family was out of town.Nick: A neighbor wouldknow when people were out of town.Warrick: Or when the door was left unlocked.Nick: If this is a serial situation, to go from an empty garage to a whole house full of people, we're talking about a major escalationhere.Warrick: Well, a match was found at the first fire. If we could find a match in the debris of the second fire, then we may know for sure.(On the monitor, a woman stands near the fire truck.)Nick: Oh, she looksfamiliar. Hang on. I may have something.(He goes to the next video.)Nick: She was at both fires. I got her name off the canvas.Warrick: Let's run her.Nick: Yeah.(NICK does a name check and finds something. Sheis:Name: VIVA CHARLESAddress: 22 SUTTER STREETLAS VEGAS, NVs*x: FEMALECriminal Records: ATTEMPTED ARSONMARCH 03, 2000Nick: She has a record.[SCENE_BREAK][INT. CSI - INTERVIEW ROOM --DAY](NICK interviews VIVA CHARLES.)Nick: You were arrested for attempted arson?Viva Charles: I was exonerated.Nick: I have you on film at both fires on cell crook road.Viva Charles: I am not an arsonist.Nick:That's not what your file says.Viva Charles: The law doesn't make much of a distinction between arsonists and pyromaniacs.Nick: What is the distinction?Viva Charles: I don't set fires for money or with the intent tocause damage.Nick: But you do set fires?Viva Charles: Mmm. You go home at night, and you feel a little lonely, you put in a racy video.Nick: No, no, no. We're not talking about me.Viva Charles: I go home, I rip openmy junk mail, and I put it in the fireplace. It's an impulse control disorder ... but it's private. I don't burn down houses and kill children.Nick: Maybe not on purpose, but accidents do happen.[SCENE_BREAK][EXT. LASVEGAS CITY (STOCK) -- MORNING][INT. CSI - LAB - MORNING](GREG walks into the lab. NICK is already there with a pack on the table in front of him.)Greg: You rang?Nick: Yeah. Greg, how'd you like to be listed asan assist on an arson case?Greg: Is that a rhetorical question?Nick: Cool. I collected these matchbooks from the pyromaniac's house, who was ... kind of hot, actually.Greg: Really? You dig chicks who dig fire?(NICKsmiles and doesn't answer the comment.)Nick: Yeah. This, uh ... this match was used to start a garage fire a couple of weeks ago. See if you can find a match to ... (NICK empties the pack onto the table. Dozens ofmatchbooks spill out.) ... one of those. Thanks, pal.(He pats GREG on the shoulder and leaves the lab.)[SCENE_BREAK][INT. CSI - FORENSIC AUTOPSY -- DAY](The two CORONERS work on ADAM BRENNER.)Robbins:All right, David. The three most common ways to asphyxiate: Strangulation, suffocation and...David Phillips: Choking.Robbins: Good.David Phillips: With this guy, my money's on choking.(ROBBINS and DAVID PHILLIPSwork on the body.)Robbins: Scissors.(DAVID PHILLIPS hands ROBBINS the scissors. He removes a portion of the body's trachea to check for blockage.)Robbins: Hold this please. Thank you, David.(He cuts the tracheaopen and finds a LOGOS piece: \"S\". ROBBINS looks at DAVID PHILLIPS.)Robbins: Hmm.[SCENE_BREAK][INT. CSI - GRISSOM'S OFFICE -- DAY](ROBBINS reports his findings to GRISSOM. GRISSOM holds up theLOGOS piece.)Grissom: An \"S\"?Robbins: Cause of death.(Quick flashback to: [BATHROOM] ADAM BRENNER chokes on the piece.)Robbins: (V.O.) I found it in the trachea.(End of flashback. Resume to present.)Grissom:So, he swallows a tile and tries to give himself a Heimlich?(Quick flashback to: [BATHROOM] ADAM BRENNER is choking on the puzzle piece. He looks around for something to help jar it out of him. He slams himselfagainst the counter. He tries again and hits his forehead against the mirror, cracking it. He falls to the floor.)(End of flashback. Resume to present.)Robbins: Or not. I found these in his stomach.(ROBBINS shows theother letters to GRISSOM.)Robbins: You don't swallow six of them by accident.[SCENE_BREAK][INT. CSI - LAB -- DAY](GREG works on the assignment NICK gave him. He goes through each matchbook one by one,comparing the match found at the first arson scene with every matchbook.)[SCENE_BREAK][INT. CSI - GARAGE -- DAY(NICK and WARRICK go through the things brought into the lab from the crime scene. GREG walksinto the room.)Greg: Your hottie's matchbook collection came up dead.Nick: Hmm. Doesn't mean she didn't do it.Greg: True.Nick: You know, arson's usually a property crime. Did you ever find out the Abernathys'financial situation, Warrick?Warrick: According to Catherine, Jessica Abernathy had major credit card debt but minimal insurance-not even enough to cover what she had. Besides, people tend to remove mementoswhen they know what's coming.(WARRICK picks up the burned photo of JESSICA and her husband. The same photo that used to be on the bedside table.)Greg: So, if the pyro didn't do it for love, and Mrs. A didn't do itfor money, who's left?(NICK looks at the headline from the stack of newspapers found in the car port.)Nick: Maybe the high school baseball team.(He reads the headline out loud.)Nick: McKinley High SchoolGazette.Nick: This is tomorrow's edition with the lead story by editor-in-chief Sabrina Abernathy, entitled \"Varsity Hazing Ritual.\" Now listen to this ... \"The question is not whether the so-called student athletes shouldbe expelled, but whether or not they should be arrested.\"(The article continues: \"This latest case of Varsity hazing is having serious repercussions not only with the school, but across the entire state. The studentsconcerned may face serious charges including involvement with prostitution. \"Every four years we get a new set of students that ready to 'one-up' the previous groups ... \")(The two paragraphs repeat.)Warrick: Why,what'd they do?Nick: Apparently, something with several hookers and a lot of testosterone.Greg: Whatever happened to toilet paper and trees?[SCENE_BREAK][INT. CSI -- LAB](GRISSOM places two of the six tilescollected from the body on the table in front of him. An X and a V.)(SARA walks into the lab.)Sara: Hey. DNA came back. Blood from the bathroom floor's a match to the vic. Blood from the bathroom mirror isnot.Grissom: That's interesting.Sara: Hmm. (She looks over at the pen, paper and tiles in front of him.) What are you doing?Grissom: Anagrams.Sara: You think the letters might be a message from thekiller?(GRISSOM continues to write down possibles on his list:VEXINSVENIXSVEXISNNEIS ... )Sara: (thinking out loud) Six letters. What is that? That's 720 possible combinations, not all of them words, of course.(Shemoves the tiles.)Sara: Hmm. You, uh, missed one.(V-I-X-E-N)(GRISSOM glances at SARA who smiles back at him. BRASS walks into the room.)Brass: Hey. We got an ID. Off your DB's prints. His name is AdamBrenner.Sara: That guy has a record?Brass: Well, sort of. He's a civil servant. He's a postal worker from Orlando.Grissom: Do we know why he came to Vegas?Brass: (smiles) Oh, you're going to lovethis.[SCENE_BREAK][INT. HOTEL - MAIN COMPETITION ROOM -- DAY](Rows of tables are set up where dozens of pairs play LOGOS at the 2004 WESTERN REGIONAL LOGOS TOURNAMENT.)(BRASS, GRISSOM andSARA interview one of the TOURNAMENT ORGANIZERS.)Organizer: Adam Brenner was one of our top division one players. Ranked in the high 1,800s.Grissom: Is that like the elo system in chess?Organizer: Logos hasall the skill of chess combined with the cruel whimsy of fate. Adam once set a tournament record by scoring 735 points in a single game.Sara: It was on his t-shirt.Organizer: Justifiably. It's an incredibleachievement.Brass: So, how did the other players feel about that kind of smack-down?Organizer: You actually suggesting that somebody here killed Adam?(GRISSOM looks at the tournament in play in the room behindthem.)Brass: Cruel whimsy of fate. Guy's from out of town, takes a cab from ..., checks into the hotel. The only thing on his hotel bill is four meals a day. No phone calls. So everybody he talked to is in this room. We'regoing to need a list of his opponents.[SCENE_BREAK][EXT. MCKINLEY HIGH SCHOOL BASEBALL FIELD -- DAY](NICK interviews the Baseball team coach, RICK CHILSON, while his son, CODY CHILSON, is out on the fieldpracticing his hitting. An OFFICER stands behind the two men.)Rick Chilson: What's with the cop?Nick: We're just talking.Rick Chilson: Ah, about what?Nick: (loudly) Sabrina Abernathy died in her home in a fire onSaturday night.(CODY CHILSON hears the comment and misses the ball.)Rick Chilson: Hey! What'd I tell you -- you don't waste a good pitch!Nick: Cody, where were you around 1:00 A.M. on Saturday?Cody Chilson: Inbed.Rick Chilson: Cody's in bed every night at 10:00. He gets up at 5:00 to go running.Nick: Except for the nights he's with the team pulling a train on a hooker.(CODY lets another ball pass by as he stares at"}
+{"doc_id":"doc_2","qid":"","text":"ARC OF INFINITYBY: JOHNNY BYRNEPart TwoFirst Air Date: 5 January 1983Running time: 24:42[SCENE_BREAK]MAXIL: Take them away.[SCENE_BREAK]ZORAC: Each and every time the Doctor returns to Gallifreythere's violence.HEDIN: Perhaps it is we who should modify our approach.ZORAC: He resisted the guard!HEDIN: We send armed guards when a friendly face and a welcoming hand would have sufficed. Are yousurprised that he resisted?[SCENE_BREAK]NYSSA: He's hurt. He must have proper medical attention.MAXIL: He'll recover.MAXIL: The compound is guarded. If you try to leave again, my men will shoot to kill. See thatthe Doctor knows.[SCENE_BREAK]THALIA: Well, where is he?CASTELLAN: The Doctor tried to evade security. Some force had to be used. He'll be brought here as soon as he's recovered.THALIA: The situation is critical,Castellan.CASTELLAN: Of that fact I am more than aware. If I may pass? I must give my report to the Lord President.[SCENE_BREAK]DOCTOR: Not the most welcoming return.NYSSA: They've taken the mainspace-time element.DOCTOR: That's the only way to keep me and the TARDIS here.NYSSA: What do we do now?DOCTOR: We need a link. Something to prove the connection between this creature and Gallifrey.NYSSA:And how are we going to find that?[SCENE_BREAK]CASTELLAN: Maxil. The Doctor is secure?MAXIL: Yes.CASTELLAN: The High Council wish to see him the moment he's recovered. And Maxil? See that he's there, or youanswer to me.[SCENE_BREAK]TANNOY: KLM announces the arrival of the delayed flight from London.STUART: Excuse me. Tegan Jovanka?TEGAN: Yes.STUART: Robin Stuart.TEGAN: Oh.STUART: I'm a friend ofColin's.TEGAN: Hello. Colin told me you were travelling round together. Is he here?STUART: I'm afraid not.TEGAN: Oh. He is all right?STUART: Look, let's go into town and I'll tell you all about it,okay?[SCENE_BREAK]MAXIL: You're to come with us, Doctor.DOCTOR: There's no need for all the fire power.MAXIL: They have orders to kill at the slightest sign of resistance.DOCTOR: The Council Chamber, Isuppose.MAXIL: Yes.DOCTOR: My companion is not involved in this.MAXIL: Move. My orders are to take you both.[SCENE_BREAK]TEGAN: Two coffees, please.TEGAN: When did you last see Colin?STUART: Well, it'sdifficult.TEGAN: What do you mean, difficult?STUART: It's hard to explain. He's disappeared.TEGAN: Disappeared? Couldn't he have just wandered off?STUART: You're not going to believe this.[SCENE_BREAK]DOCTOR:Councillors.HEDIN: Doctor. A pleasure to see you again.DOCTOR: And you, Hedin. Nyssa, my old friend, Councillor Hedin. Councillors, my companion, Nyssa of Traken.THALIA: You are welcome to Gallifrey,Nyssa.NYSSA: Thank you.ZORAC: Well, Doctor, an unpleasant business, this. I'm sure you understand why the Lord President was forced to recall you.DOCTOR: Given the chance, I would have returnedwillingly.CASTELLAN: You've never proved as cooperative in the past.THALIA: If you remember, you were asked to return Romana, and you failed to do so.DOCTOR: Romana chose to stay in E-space.HEDIN: That's allpast history.DOCTOR: Yes. Well, now that I'm here, Thalia, have you given any thought to what's happened?THALIA: There hasn't been much time, Doctor.DOCTOR: Has anyone checked to see if my biodata extractshave been removed from the Matrix, Castellan?CASTELLAN: What are you suggesting, Doctor?DOCTOR: I would have thought that was obvious. None of this could have happened unless the creature had thatinformation.CASTELLAN: I should have thought the most importantZORAC: Councillors. The Lord President.BORUSA: You too have regenerated.DOCTOR: Indeed, President Borusa.BORUSA: And Nyssa of Traken, isn'tit? Sorry to have kept you waiting. Please be seated, Councillors.BORUSA: This session of the High Council of Time Lords is now in progress.[SCENE_BREAK]TEGAN: It's the sort of thing the Doctor gets up to.STUART:Doctor?TEGAN: A friend of mine. Have you reported this to the police?STUART: Of course, but do you think I could tell them the same story?TEGAN: Colin has disappeared.STUART: He's a foreign national, a hitchhiker.Unless there's proof of violence, they're not interested. It's the same in any country.TEGAN: We'll see about that.STUART: I can't get involved. What I've said is the truth, but I've lost my passport. I can't risk making afuss.TEGAN: Marvellous, isn't it. First I lose my job. Not to worry, I think. I'll go and see my favourite cousin, cheer myself up. Now this.STUART: I'm sorry. What do you want to do?TEGAN: Tell me your story again,every detail. Then we'll go to the police. It's all right. I'll handle it alone.[SCENE_BREAK]BORUSA: The space-time parameters of the Matrix have been invaded by a creature from the anti-matter world. We know itscomposition and how unstable is the magnetism that shields it. The creature must be expelled immediately if we are to avert disaster.DOCTOR: Without knowing its purpose here.BORUSA: Its presence here must be ourfirst concern. Anti-matter cannot co-exist in harmony in our universe.DOCTOR: Lord President, this creature is here now because it bonded with me. To do so it needed something very special, full and precise details ofmy biological makeup. Now, I didn't pass this information on. Somebody did. The question is who.CASTELLAN: We considered this, Doctor, but the implications are quite preposterous.DOCTOR: Chancellor, can bondingoccur without the full imprint of a so-called bioscan?THALIA: Not to my knowledge. But the power of this creature is outside the limits of what we know, Doctor.DOCTOR: Lord President, I ask for time to have this fullyinvestigated.BORUSA: I'm sorry, Doctor, but we must deal with the situation as it exists now. The time factor involved leaves only one course of action open to us. Commander!BORUSA: You know that capitalpunishment has long been abolished here in Gallifrey, but there is a precedent for a situation like this. Have you nothing further to say, Doctor?DOCTOR: I have a great deal to say.NYSSA: You can't do this! You mustdestroy the creature.BORUSA: Child, do you think we have not considered this? The creature is shielded. We have no way of tracing it.NYSSA: So you're prepared to kill the Doctor?BORUSA: Commander! Remove theDoctor to the security compound. As soon as the warrant is issued, you will convey him to a place of termination. I'm sorry, Doctor.NYSSA: No! You can't!DOCTOR: Executing me will not alter the fact there's a traitor atwork on Gallifrey![SCENE_BREAK]STUART: What did they say?TEGAN: Foreigners get themselves lost all the time. They'll make routine enquiries. Which means, as you said, they'll do nothing.STUART: Did you tell themabout the crypt?TEGAN: Only that Colin was last seen there.STUART: So what now? We can't just abandon Colin.TEGAN: You are telling me the truth?STUART: Yes, I am.TEGAN: Let's see if we can find Colinourselves.[SCENE_BREAK]NYSSA: Time Lords, I beg of you, think what you're doing. The creature knew the TARDIS' location, time zone coordinates, bioscan. That information could only have come from here, fromGallifrey.CASTELLAN: Only the High Council of Time Lords can extract such data from the Matrix. You too accuse us of treason.NYSSA: Can you deny the possibility? At least give the Doctor time.BORUSA: There is notime, nor can proof of what you say change things. We must prevent the full bonding.NYSSA: But the Doctor is innocent.THALIA: What would you have us do? Spare the Doctor and condemn untold billions todestruction? That is the choice we face here.[SCENE_BREAK]DAMON: Doctor.DOCTOR: Damon!MAXIL: I must speak to the Doctor.DOCTOR: He is a friend of mine.MAXIL: I have my orders.DOCTOR: You don't have torelish them so much.[SCENE_BREAK]BORUSA: We have listened to what you say, but the decision must stand.HEDIN: Lord President, in view of what she says, couldn't we at least delay carrying out thejudgement?THALIA: We can't risk it, Hedin.ZORAC: We're sorry, child, but truly there's no other choice.NYSSA: So much for your justice.CASTELLAN: All that remains is the warrant of termination. The precise wordingshould be in the Matrix.HEDIN: What would we do without your diligence.BORUSA: This session of the High Council is now adjourned.[SCENE_BREAK]DAMON: Nyssa of Traken, I am Damon, a friend of the Doctor's. Wemust talk, but not here.[SCENE_BREAK]HEDIN: Castellan.HEDIN: I'm worried by what both the Doctor and his companion have said.CASTELLAN: The possible connection between this creature and Gallifrey?HEDIN:Yes. And the fact that a Time Lord could be a traitor. You do intend to pursue it?CASTELLAN: They were both overwrought.HEDIN: But if it were trueCASTELLAN: I'm sure I'd know if such a serious breach of security hadoccurred.[SCENE_BREAK]NYSSA: You're sure it was the Doctor's biodata extract?DAMON: Yes, I managed to pass it to him on his way to the compound.NYSSA: We must tell the High Council immediately.DAMON: Butwho to trust? Only members of the High Council have access to biodata information.NYSSA: We must find a way to speak to the Doctor.DAMON: That could be difficult. He's closely confined.[SCENE_BREAK]TIME LORD:The Doctor is to be terminated.OMEGA: Good. You are prepared?TIME LORD: Yes. The Matrix is already programmed.[SCENE_BREAK]MAXIL: You wanted to see me?DOCTOR: Your guards will not allow me to leave theconsole room.MAXIL: They have their orders.DOCTOR: If I'm to die, I want to prepare myself mentally. For that I need to be alone.MAXIL: Which is the nearest room?DOCTOR: My companion's. It has already beensearched.MAXIL: Then you may withdraw. But be sensible, Doctor. If you try to lose yourself in the corridors of the TARDIS, my men will hunt you down, and your death will be far from dignified andpainless.[SCENE_BREAK]HEDIN: Nyssa, Damon.NYSSA: We had to see you, Councillor.HEDIN: I'm deeply sorry for what has happened.NYSSA: Councillor Hedin, we need your help.HEDIN: Anything I can do.NYSSA:We must see the Doctor. Can you arrange it?HEDIN: Difficult. The Castellan is very possessive about his charges.DAMON: The Doctor isn't a criminal.HEDIN: True, but what has happened makes him verydangerous.NYSSA: Please, try.HEDIN: I said difficult, Nyssa, but not impossible. Especially with one so sensitive to public opinion as the Castellan is.[SCENE_BREAK]DOCTOR: My bioscan.[SCENE_BREAK]STUART: I justdon't think it's wise, that's all.TEGAN: I'm not scared to go into that crypt, if that's what you mean.STUART: Look, I feel bad enough about Colin. What if something happens to you?TEGAN: Don't worry on my account.How much further is it?STUART: Just over the next bridge.[SCENE_BREAK]MAXIL: Wait here.DAMON: I feel there is something wrong.NYSSA: What?DAMON: The Castellan agreed too quickly to our visiting the Doctor.Even if he knows he can't refuse, he always attempts to make it appear he's granting you permission. I mean, that's the Castellan's way.[SCENE_BREAK]DOCTOR: So soon? What about myappeal?[SCENE_BREAK]MAXIL: You have visitors, Doctor.NYSSA: Doctor.DOCTOR: How did you get in here?NYSSA: Councillor Hedin arranged it with the Castellan.DOCTOR: Well, that's very generous of the Castellan.Come, we'll walk while we speak.MAXIL: You're to talk here, where I can see you.DAMON: Castellan said we might be alone.DOCTOR: Excellent. Well, Damon, what news of my old companionLeela?[SCENE_BREAK]DAMON (OOV.): Er, she's, she's well, and very happy.DOCTOR (OOV.): I was so sorry to miss her wedding. Still, perhaps I'll get to see her before I (out of range)CASTELLAN: You're a fool,Maxil.[SCENE_BREAK]DOCTOR: In here. Maxil has just planted a listening device in the console room. Well now, we have proof my biodata extract was removed from the Matrix.NYSSA: So there is a traitor.DOCTOR:Indeed. And a disaster in the making. Unless I'm mistaken, Gallifrey could lose control of the space-time Matrix.DAMON: But that's impossible.DOCTOR: That's exactly what the High Council think. So, we must see whatwe can do to stop it happening. Look, Damon, I know you've already risked a great deal for me, but could I impose on you a little further?DAMON: Anything.DOCTOR: I need another space-time element for the TARDIS.Preferably without a recall circuit.DAMON: I'll see what I can do. Anything else?DOCTOR: Yes. You could check to see if the Matrix is aware of any details concerning power equipment, movement,transportation.DAMON: Right.DOCTOR: Well, Commander, our time is up so soon. Well, Nyssa, that's my final word. No appeals. We must accept the decision of the High Council. Understood?[SCENE_BREAK]TEGAN:This is it?STUART: Yes. The entrance to the crypt is over there, behind the fountain, but I found a back way in behind the house.[SCENE_BREAK]NYSSA: It's impressive.DAMON: We must hurry. I must first check thecoding for a Type Forty time rotor.[SCENE_BREAK]CASTELLAN: Well?MAXIL: All is in order, Castellan.CASTELLAN: No appeals? No last minute requests?MAXIL: Nothing. The Doctor seems to be taking it quite well, infact.CASTELLAN: You are extremely privileged, Maxil. It's given to very few to supervise the destruction of a Time Lord. It has in fact only happened once before.MAXIL: The warrant is issued?CASTELLAN: Yes. Summonthe Doctor.[SCENE_BREAK]TIME LORD: It is time, my friend. The Council have been summoned to the place of termination. You have little time. Can you do it?OMEGA: All will be ready here.[SCENE_BREAK]OMEGA: Doprecisely as you have been instructed. To the controls.[SCENE_BREAK]NYSSA: What is it?DAMON: The alert. The Doctor is being taken to the place of termination. We're too late.NYSSA: They'll execute him now, thisinstant?DAMON: Yes.DAMON: No, Nyssa. Look, you can't stop them now.NYSSA: Help me!DAMON: Please, Nyssa, please. You'll die too.NYSSA: We can't fail him, Damon. You finish assembling the time element. Nowplease, I want this thing open.DAMON: It's madness.NYSSA: You must get to the TARDIS and fit the element into place. If all goes well, we'll need to leave in a hurry.DAMON: Be careful and, and goodluck.[SCENE_BREAK]DOCTOR: I trust you know what you are doing?BORUSA: You know the choice we have to face, Doctor. Our duty, if not our conscience, is clear.DOCTOR: And the decision was unanimous?BORUSA:There was one dissenter, your good friend Councillor Hedin.DOCTOR: Thank you, Hedin. I much appreciate all you've done.BORUSA: By the authority vested in me as laid down by Rassilon, I, Lord President Borusa, andin harmony with the majority of the Time Lords here present, we are resolved[SCENE_BREAK]GUARD: Halt![SCENE_BREAK]BORUSA: By reason of cruel but unavoidable necessity, we have no recourse but to exercisethe final sanction of termination. Commander Maxil, this warrant empowers you to carry out judgement.MAXIL: Guards, bring the Doctor forward.[SCENE_BREAK]OMEGA: Align scan coordinates.[SCENE_BREAK]NYSSA:Over here, Doctor.DOCTOR: No! Nyssa, I will not have blood spilt to save my life.BORUSA: Nyssa of Traken, I command you to lay aside that weapon.NYSSA: Doctor, quickly!THALIA: Obey the Lord President, or you toowill die.CASTELLAN: You cannot escape, girl.NYSSA: Don't you understand? The Doctor was betrayed. His bioscan was extracted from the Matrix. Doctor, tell them.DOCTOR: They're right, Nyssa. We cannotescape.NYSSA: But we're ready to leave.DOCTOR: Please. You must obey the Lord President. I know what I'm doing. The weapon, please?DOCTOR: Lord President, my companion acted from misguided loyalty. She willcause no further trouble. In return, I ask that she is allowed to go free.BORUSA: Thank you, Doctor. For your sake, we will overlook it.[SCENE_BREAK]OMEGA: Activate booster terminal, now![SCENE_BREAK]MAXIL:Judgement has been carried out, Lord President."}
+{"doc_id":"doc_3","qid":"","text":"OPEN IN LORELAI'S FRONT YARD[An airport shuttle van drops Lorelai and Rory off in front of their house, then pulls away]LORELAI: Agh!RORY: And we're home.LORELAI: How long does a freakin' van ride take?RORY:Not that long!LORELAI: Everybody in the world's life flashed before my eyes. That's how much time I had. I thought we were gonna die on that van.RORY: It seemed a good possibility.LORELAI: Ugh, that van ride feltlonger than our train ride from Paris to Prague, and we had that group of French boys singing Sk8er Boi and smelling like a soccer field sitting all around us.[Babette comes out of her house and rushes over tothem]BABETTE: Oh my God, you're back! Morey, they're back! Are you hurt? Are you bleeding?LORELAI: Oh, we're fine.BABETTE: You're fine? They're fine! Morey!MOREY: [opens his front door] Yeah?BABETTE: They'refine!MOREY: Okay. [goes back inside]BABETTE: What the hell happened to you two? According to the itinerary that Rory gave me, you were supposed to be home on Saturday.LORELAI: The itinerary that Rory gaveyou?BABETTE: So when you girls didn't show up, we panicked! Morey?MOREY: [opens front door] Yeah?BABETTE: Didn't we panic?MOREY: Yeah. [goes inside]LORELAI: Hey, Morey, you ever thought about just stayingout here at times like these?BABETTE: By Sunday night, I was a complete basketcase. I thought you'd been kidnapped by some crazy Sandinistas or something.LORELAI: 'Cause the Sandinista movement is so popularin France.BABETTE: So, finally, I just started calling consulates.RORY: Consulates?LORELAI: How many consulates?BABETTE: Ah, jeez, all of 'em. Anyhow, you're here. Let's go inside, I wanna hear all about Europe.Morey, I'm going in!MOREY: [calls from his house] Okay.[Babette goes into Lorelai's house]LORELAI: You gave her an itinerary?RORY: I thought it would be good for someone to know where we were.LORELAI: Oh, yougave her an itinerary and she called every consulate in the world.RORY: If we were caught smuggling hash over the border and we were thrown in some Turkish prison, wouldn't you want someone to know that we werein Turkey?LORELAI: Where'd we get this hash we were smuggling?RORY: You were at a café, you met a guy, he was sweet-talking you, he put the stuff in your purse when you weren't looking.LORELAI: At least tell mehe was cute.RORY: He was not bad for a hash dealer.LORELAI: Hm.[they walk into the house]BABETTE: [calls from the kitchen] I'm making cocoa!LORELAI: She's making cocoa 'cause you gave her an itinerary.RORY: Imay have given her the itinerary, but you're the one who got us busted for drug smuggling.LORELAI: Reality has absolutely no place in our world.[they walk to the kitchen]BABETTE: Okay, I wanna hear all aboutEurope. Come on, tell me, what'd you see?LORELAI: Well, everything. Uh, Notre Dame, the Roman Baths, St. Peter's Basilica.RORY: Mom touched the Pope.BABETTE: You're kidding!LORELAI: Actually, I just touched hiscar. Then one of the Swiss guards in the fruity cool clothing busted me.RORY: Luckily, Mom's fluent in flirting.LORELAI: And flirting with a guy in a pompom hat and a skirt is quite an accomplishment.BABETTE: Well, itsounds like you had a terrific trip.RORY: It was. [Lorelai signals for her to fake a yawn, and Rory does]LORELAI: Aw, are you okay, hon?RORY: Yeah, I'm just a little sleepy.BABETTE: Aw, of course, you girls must bewiped. I'll, uh, get out of here.LORELAI: Oh, but thanks, Babette.BABETTE: Well, goodnight, sleep tight. I'll talk to you tomorrow. Morey, I'm coming home! [leaves]RORY: I'm gonna go unpack.LORELAI: Oh, unpacktomorrow.RORY: No, if I leave stuff packed overnight, everything's gonna get gross.LORELAI: Everything's already gross.[they walk into Rory's bedroom]RORY: Ahhh.[Rory walks to the closet as Lorelai gets on thebed]LORELAI: Oh my God, your bed feels good.RORY: Do not get comfortable. I will sleep on top of you if I have to.LORELAI: Oh man, smell this. [holds up a pillow]RORY: What?LORELAI: I forgot that pillows don'thave to smell like feet. You know, I have to say, I think it's good I did this hostel thing in my thirties, and I'll tell you why.RORY: [hugging the clothes in her closet] I missed you, I missed you all!LORELAI: If I had doneit in my twenties or teens, I would've been naïve enough to think that hostels were exotic and romantic. But once you're in your thirties, you've lived enough to know they're gross and should be avoided at allcosts.RORY: [to her clothes] I had a dream about you in Copenhagen. You were there, and you, and you, and you.LORELAI: Listen, since we slept on the plane, we should go to sleep now, but get up really earlytomorrow. We don't wanna blow this whole week being jet-lagged. We need to establish normal sleeping patterns.RORY: Fine.LORELAI: Okay. I'm gonna go take a shower and leave you alone to make out with yoursock drawer.RORY: Close the door.[Lorelai leaves. Rory pulls open her sock drawer]RORY: Hello, boys.[opening credits]CUT TO LORELAI'S HOUSE[Rory is organizing the souvenirs in the living room. Lorelai walks downthe steps talking on the phone]LORELAI: [on phone] Gilmore, Lorelai, yes. My daughter's name is Lorelai also. Well, very confusing or, in your case, extremely convenient. Uh, no, see, we were never missing, it was abig mistake.RORY: Who are you talking to?LORELAI: Belgium.RORY: Ah.LORELAI: [on phone] Yes, uh huh, Babette Dell. She got our arrival dates mixed up and she was just worried, but we're fine, we're here. We justloved your fries. Okay, sure, bye bye. [hangs up] Okay, Belgium's done, Lisbon's calling me back, Berlin had no idea what I was talking about, and Paris is pissed.RORY: At who?LORELAI: Ugh, who knows? Okay, I'mtaking a break and then I'm taking on the Netherlands. I still cannot believe Babette did this.RORY: She just loves us.LORELAI: Well, be a little less lovable, would you, 'cause it's costing me a fortune. Try being one ofthose kids where people are like, \"Oh really, she was kidnapped? Hey, well, thin the herd.\"RORY: Very nice. Hey, who are the rosary beads for?LORELAI: They're mine.RORY: What do you need rosary beadsfor?LORELAI: They're cute.RORY: They're for prayer.LORELAI: Well, pray they match my blue suit?RORY: They have just upgraded you to a queen-size bed, Jacuzzi tub, junior suite in hell.LORELAI: Hm. Oh, Pietaplacemat?RORY: Oh, Gypsy.LORELAI: How are you feeling?RORY: You know, not bad. Just a little spacy.LORELAI: Like a cold medicine buzz?RORY: Maybe we got lucky and missed the jet lag.LORELAI: I hope sobecause we have a very big week ahead of us.RORY: Oh yeah?LORELAI: Yes. In fact, I have here in my hand a schedule of all the activities we are going to partake in over this week, the final week of Rory Gilmore's lifebefore she enters the ivy-covered hallowed halls of Yale University.RORY: Schedule, please.LORELAI: Okay. Today we get these presents out to our friends and then we hit the mall.RORY: Got it.LORELAI: Tomorrow weget an early start and we hit three of the crappier movies that are out.RORY: And then we have dinner at Grandma's.LORELAI: Which I will conveniently not put down on my list in the hopes that that magically goesaway. Uh, okay, the next day we hit New York, see your fancy art galleries, hit the Strand.RORY: Yes!LORELAI: Pizza at John's. Um, Sunday, pick up all the stuff you need for school, and then there's a barbecue atSookie's. Monday is mani/pedi, facial, haircut, go to the psychic, and stock up for Tuesday, the day of all days - Godfather I, II, and III, with extra showings of the Sofia death scene over and over as long as theMallomars hold out.RORY: The perfect day!LORELAI: I agree.RORY: And I think we have just enough of the biscotti that we brought back from Milan to last us the rest of the week.LORELAI: Oh, good. Well, everything'sin order, so, uh, let's get going and get this stuff out of here.RORY: Okay.LORELAI: Wow, we sure have a lot of gifts. Do we like this many people?RORY: I didn't think so. Maybe we're getting soft in our oldage.LORELAI: Okay, well, I guess we should get some tote bags.RORY: What tote bags?LORELAI: We must have tote bags.RORY: Where would we get tote bags?LORELAI: Excuse me, every woman who's everpurchased seventy-five dollars worth of Clinique products has some tote bags.RORY: We don't have tote bags.LORELAI: Well, how are we supposed to get this stuff out of here?CUT TO SIDEWALK[Lorelai and Rory walkdown the street wearing their backpacks]LORELAI: Now we're the quirky backpack ladies.RORY: One of the kinder nicknames that have been attributed to us.LORELAI: Let's just be very efficient about this. Okay, we'llstart with Patty, work our way clockwise around the town, end with Andrew. And let's stick with the 'my mom touched the Pope' anecdote. It's quick, it's peppy, and everybody likes a nice Pope story.RORY: Do we havetime to stop at Luke's? I'm starving.LORELAI: Absolutely. This is our week, this week we do anything we want.RORY: I like this week.LORELAI: Hey, I wonder if Luke and Nicole actually went on that cruise.RORY: Ithought he was going.LORELAI: Yeah, I know, but I wonder if he actually went.RORY: Why wouldn't he?LORELAI: Well, I don't know. Because he'd have to pack and leave, plus he'd have to buy a bathing suit.RORY:Well, I hope he went. He could use a good vacation. Plus, he really seems to like Nicole.LORELAI: Mmhmm. Yeah, he does. Oh, hey, looks like the soda shop is open.RORY: Oh, cool.[They stop outside the soda shop andsee Luke and Taylor arguing inside]LUKE: I am gonna kill you.TAYLOR: Oh, please, you are not.LUKE: I am, too. I'm gonna kill you. I should've killed you before. I should've killed you the minute you put up thoseunicorn topiaries in the park, but, hey, hindsight, right?RORY: Aw, I've missed that.LORELAI: What do you think, biscotti moment?RORY: Absolutely.[Lorelai and Rory eat biscotti while they watch Luke and Taylorargue]TAYLOR: You don't have to yell, Luke.LUKE: You put a giant window in my wall.TAYLOR: So what?LUKE: A giant window! Right here! You can see my entire diner. And when I'm in my diner, I can see your wholestupid store.TAYLOR: I don't understand why yours is a diner and mine is a stupid store.LUKE: Look at this place! Look at you. All you need is six dancing penguins and Mary Poppins floating in the corner to bring backtwo of the worst hours of my childhood.TAYLOR: I don't think you had a childhood. I think you came out a bitter surly killjoy.LUKE: You can't change the basic structure of this place without my okay! What?TAYLOR:Your hand is near the wax lips.LUKE: So?TAYLOR: If you could just move it so you don't accidentally touch the candy. Lucas. [Luke rummages through the different boxes of candy] What are you doing? You stop thatright now!LUKE: [throws candy in the air] Look at all the pretty candy!TAYLOR: Agh, stop it right now!LORELAI: [gasps] Oh my God!RORY: Hm, what? What's the matter?LORELAI: Luke.RORY: Yeah, he's finally lostit.LORELAI: No, we forgot Luke.RORY: We forgot Luke what? Oh, we forgot to bring him back a gift. Oh no!LORELAI: We kept putting it off and putting it off.RORY: We couldn't find anything good enough.LORELAI: Weshould've gotten him that bullfighter's uniform.RORY: Well, so what do we do?LORELAI: Well, we have to just pick up something here and we'll tell him that we got it in Denmark.RORY: Pick up what?LORELAI:Something.RORY: What? This is Stars Hollow. Everything you buy here has a Hello, Kitty stamped on the bottom.LORELAI: Well, we have to get him something. We cannot go into Luke's empty handed.RORY:Great.LORELAI: Come on.RORY: I'm hungry.CUT TO SOOKIE AND JACKSON'S HOUSE[Lorelai and Rory walk up to the house]LORELAI: Hey, Sookie![Sookie rushes off the porch to greet them]SOOKIE: [squeals] You'reback!LORELAI: We're back![they all hug; Jackson comes out of the house]JACKSON: Hey, don't squish baby!SOOKIE: I missed you so much!LORELAI: We missed you so much.SOOKIE: Ah, look at you! You lookolder.RORY: Oh, thanks, Sookie.SOOKIE: So how was it, was it wonderful?LORELAI: Oh -SOOKIE: I wanna hear everything you did and everything you ate. Oh, was it warm? I read it was warm. How was Barcelona?Did you see the gaudy apartments? Ooh, did you see a bullfight? Did you see Anne Frank's house? Did you cry? Was Steven Speilberg there, huh? Oh, hey, I hear you touched the Pope! Are you hungry? Do you wantanything to eat? I've got quiche.[they walk into the house]LORELAI: Hold on one sec here, missy. I need to look at you. Sideways, please.SOOKIE: Okay.LORELAI: Hello, hi, nice to see you. I'm your Auntie Lorelai, andthis is your Auntie Rory. Say hi, Rory.RORY: Hey.LORELAI: Come over here.RORY: Oh, no, I'm good.SOOKIE: Come on, Rory, rub my stomach.RORY: I'd rather not.LORELAI: Rory's a chicken.SOOKIE: So isJackson.JACKSON: Hey, I'm gonna like it when it comes out.LORELAI: So what did the ultrasound say, boy or girl?SOOKIE: It's a -JACKSON: Buh-buh-buh-buh-buh-buh-buh.LORELAI: It's a buh? What's abuh?JACKSON: [reveals a button pinned to his shirt] Read.LORELAI: [reads button] \"I do not want to know the s*x of my baby.\"JACKSON: That's right. I'm going old school on this.SOOKIE: And he's being completelystubborn.RORY: But you know?SOOKIE: Of course I know. I had little clothes to buy -JACKSON: Buh-buh-buh-buh-buh-buh!SOOKIE: What? I said nothing about the s*x.JACKSON: You said little, and now I know it'sgoing to be little.LORELAI: Jackson, seriously, you don't wanna know?JACKSON: Hey, in the old days, the guys would pace back and forth in the waiting room until a pretty nurse in a nice white outfit would come outand say, \"Congratulations - it's a 'insert your chosen s*x here'.\" Ricky Ricardo didn't know, Dick van Dyke didn't know, and by gum, if it was good enough for Rick and Dick, it's good enough for me.LORELAI: Well, Iwanna know.JACKSON: Rory, what do you say? Be on my side.SOOKIE: Jackson, there are no sides.JACKSON: We can be in that waiting room together, pacing, waiting, we'll get you a nice suit. What do you say?RORY:Okay, sure. I'm on Jackson's side.JACKSON: Great. Welcome to 1954. [gives her a button]RORY: Happy to be here.LORELAI: Well, I wanna know.SOOKIE: Come on, I'll tell you outside.LORELAI: Sure you don't wannago?RORY: Read the button, missy.LORELAI: Okay.[Lorelai and Sookie leave]RORY: So, you hear about that whole Sputnik thing?JACKSON: Oh, Eisenhower's on top of it.RORY: Hm.CUT TO OUTSIDE[Lorelai and Sookiewalk out back to the shed]LORELAI: So Jackson's really not gonna be in the delivery room with you?SOOKIE: Nope.LORELAI: Does that bug you?SOOKIE: Hey, I don't like Jackson to see me shave my legs, so. . .I'mopening the shed! Okay, are you ready?LORELAI: For what?[Sookie opens the shed; it's filled with blue baby products]LORELAI: [gasps] It's a boy!SOOKIE: It's a boy!LORELAI: Oh, Sookie, you're having a boy!SOOKIE:I know! Jackson will finally have that son to prune the trees with.LORELAI: My God, it's so exciting. A boy! Oh, a little boy. I know nothing about little boys.SOOKIE: Me neither.LORELAI: Man, you're prepared, aren'tyou?SOOKIE: Yes, I am.[They sit down in chairs in the shed]LORELAI: It's so nice to be home.SOOKIE: It's nice to have you home.LORELAI: Hey, have you seen Luke lately?SOOKIE: Briefly.LORELAI: I guess he wenton that cruise, huh?SOOKIE: Yup.LORELAI: That's good. That's good he went. He needed a vacation. He works hard, that one. Always cooking, making the coffee, taking the orders.SOOKIE: You know, I think somethinghappened on that trip of his.LORELAI: What do you mean?SOOKIE: Well, the day he got back, Jackson and I went into the diner and I asked him how his trip went. He couldn't get away from me fast enough.LORELAI:Really? Was Jackson wearing that creepy button?SOOKIE: Nope. Luke just seemed kind of freaked out about something.LORELAI: What?SOOKIE: I don't know.LORELAI: You think he and Nicole had a fight orsomething?SOOKIE: I don't know.LORELAI: He didn't say anything?SOOKIE: Nope. He just walked around acting weirder than normal.LORELAI: Huh. Wonder what that's all about. So. . . are you gonna name himLorelai?SOOKIE: Absolutely. That wouldn't be confusing at all.LORELAI: Great.CUT TO SIDEWALK[Lorelai and Rory walk down the street. Lorelai is carrying a jar of jam.]RORY: I cannot believe you.LORELAI: What? It'sthe perfect gift for Luke. Fine fancy jam from France.RORY: Fine fancy jam from Jackson's pantry.LORELAI: I don't know what you're talking about. I am looking right here at this beautiful hand-crafted label and it says\"Fruits de la Terre.\"RORY: You didn't even spellcheck to make sure you got the French right.LORELAI: Yes, well, I think it adds an authentic touch. See, in my world, the person who made this jam was an illiterateorphan. . .Sochelle.RORY: As in Sochelle Crab.LORELAI: Yes, exactly. Sochelle was born by the sea, or so said the note left in the bassinet when the nuns found her on the steps of Notre Dame.RORY: Oh, good, thereare nuns.LORELAI: Every sad story needs nuns. Anyhow, Sochelle had nothing - no father, no mother, no friends, no education. All she had was a burning desire to make great jam, and now she's the most successfuljamstress in Paris.RORY: Luke's gonna know.LORELAI: No, he is not.RORY: Well, as much as I would like to be there when you give Luke your heartfelt gift, I'm gonna go give Lane her gift.LORELAI: All right, but ifyou're not there, I'm gonna get all the credit for this.RORY: Exactly as it should be.LORELAI: Give Lane a hug for me.RORY: I will. Don't give him the jam.LORELAI: I can't hear you, I'm too far away.CUT TO LUKE'SDINER[Lorelai walks in]LORELAI: Bonjour, Luke. Pouvez-vous attacher vos chausseurs?LUKE: What?LORELAI: Uh, hi, Luke. Do you know how to tie your shoes?LUKE: Very good.LORELAI: Yup. It came in handy, let metell you. Not one shoelace fatality on my watch. [he sets a mug in front of her] You remembered.LUKE: Yup. A couple things about you stick. You have a good time?LORELAI: Vos odeurs de chat.LUKE: What'sthat?LORELAI: Your cat smells.LUKE: You must've been a big hit with the salon set.LORELAI: The trip was incredible, we had the best time. We were supposed to come back on Saturday.LUKE: I know.LORELAI: Keepingtabs on me?LUKE: Always safer to know which direction the tornado's coming from.LORELAI: Anyhow, we were in London and we ran into this group of girls who were heading to Ireland to stake out the ClarenceHotel.LUKE: Why?LORELAI: Because U2 owns it and Bono hangs out there.LUKE: Ah. Him again.LORELAI: So then we jumped on a train and we headed to Ireland - incredibly beautiful, by the way - and we sat in a barfor two days and did nothing but eat soda crackers and funky cheese and he never showed.LUKE: Que sera.LORELAI: Hm. [sips her coffee] Mm, still good. I told 'em about you over there, Señor Swanky-pants.LUKE:Can't tell you how grateful I am to have you as my press agent.LORELAI: And we got you something.LUKE: You did?LORELAI: Yes, we did.LUKE: You didn't have to do that.LORELAI: What are you talking about? We donot go to Europe and come back without bringing something for Luke. Here. [hands Luke the jar of jam]LUKE: Jam.LORELAI: Yes, fancy French jam.LUKE: Fruits de la Terre. Very impressive.LORELAI: It's handmade bythis woman in Paris who has the most amazing story.LUKE: Really?LORELAI: Yeah. Orphaned.LUKE: Uh huh.LORELAI: And illiterate.LUKE: Okay.LORELAI: Just had nothing in her life, you know, except this burningdesire to be the world's greatest jamstress. And she's famous now and, uh, you know, she only makes three bottles of that stuff a year and that's one of 'em, and I brought it all the way across the, uh. . .I got it fromSookie's house.LUKE: No.LORELAI: How did you know?LUKE: Just a wild guess.LORELAI: I swear, we tried to get you something, but nothing was good enough.LUKE: No, forget it. I didn't get you anything on my tripeither. We're even.LORELAI: Oh, yeah, how was the cruise?LUKE: Oh, it was. . .you know.LORELAI: Not really, I've never been on a cruise. So. . .LUKE: It was fine.LORELAI: Okay. So, you and Nicole had funthen?LUKE: Yeah, yeah, yeah, yeah. You want more coffee?LORELAI: Uh, eh, oh. So what did you?LUKE: Where?LORELAI: On the boat? What did you and Nicole do on the boat?LUKE: Oh, uh, you know, we flutteredaround and ate, and there was a magic show and a singer and pillow mints, and you know, that's it.LORELAI: But you and Nicole had a good time, you got along, and. . .LUKE: Yeah. Uh, I'm gonna go check on yourfood.LORELAI: Okay. [Luke walks away] I didn't order anything yet.CUT TO SIDEWALK[Kirk is hanging up a poster in front of the market as Rory walks by]RORY: Hi, Kirk.KIRK: Bienvenido, señora Gilmore.[Rory sees"}
+{"doc_id":"doc_4","qid":"","text":"[Scene: Paige's car. Paige is driving along the road, talking on her phone to Phoebe.]Paige: Okay, so I've stopped at five herb shops but I finally found some eye of newt. So if it's good enough for Shakespeare'switches, I figured it'd help us put a serious dent in Cole.Phoebe: Look, we've tried everything to vanquish him but nothing works, okay. So I just say we watch our backs and get on with our lives. Speaking of which, doyou think eye of newt would work on the woman that's trying to sue me?Paige: Is she demonic?Phoebe: Well, she's demonically stupid. Paige, I am seriously worried that I'm going to lose my job over this.Paige: Forgiving bad advice in your column?Phoebe: No, the advice wasn't bad, I never told her she should leave the guy at the altar.Paige: Either way, what happened to freedom of the press?Phoebe: Well, apparently some dirtbag lawyer is finding a way around it. (Paige passes a demon wearing a suit, standing on the side of the road. He waves his hand and something blows on her car. Her car spins out of control and Paige screams.) Paige?(Paige's car crashes into another car and she is knocked unconscious.) Paige, are you okay? Paige, do you hear me? Are you okay? Paige.[Scene: A demonic strip bar. Women in bikinis are dancing on the stage, whiledemonic men watch them close by. Cole is amongst the demons, watching a dancer straight in front of him. The demon from the street shimmers into the middle of the room, who a waitress bumps into. He looksaround and approaches Cole.]Demon: Cole.Cole: How'd it go?Demon: It was beautiful.Cole: Was the other driver hurt?Demon: Oh, yeah.Cole: Good.Demon: Now all you gotta do is a little mind control on the witnessesand maybe a cop, and we're golden.Cole: Let's get outta here.(Cole starts to get up but a dancer walks over and pushes him back down.)Dancer: No time for one little dance?Cole: Kaia, I was waiting for youearlier.Kaia: I'll make it up to you.Demon: Boss.(Cole gives him a look and he walks away.)Cole: You know what I want.(Kaia shapeshifts into Phoebe and gives him a lap dance.)Opening Credits[Scene: Hospital. Room.Piper, Phoebe and Paige are there. Paige is in the hospital bed, Phoebe sits on the end of the bed, and Piper sits beside in a chair.]Piper: Are you sure you don't want to call Leo?Paige: No, no, it's just a mild concussionand besides, I don't deserve to be healed. I know better than to talk on the phone and drive, I don't know what I was thinking.Piper: Do you remember what happened?Paige: I was speaking to Phoebe and then thenext thing I know the car just started spinning out of control.Phoebe: Hm, it's kinda like my career.Paige: Oh, honey, it's not that bad is it?Phoebe: I think it is. The newspaper's lawyers wanna meet with me and I don'tthink it's because they're huge Phoebe fans.Piper: Well, I'll see you your career and raise you my club. The health inspector's coming back today and the plumbing just exploded, again.Paige: What is going on with us?Is Mercury in retrograde?Phoebe: Have you thought about using a magical band-aid?Piper: I'd do it in a heartbeat if I wasn't afraid of the personal gain consequences.Phoebe: See, this is why demons always have theupper hand, you know. They can use their magic whenever they want to.Paige: Yeah, well, you know, that's what separates good from evil.Phoebe: Yeah, I know that but it's still very tempting. I mean, you could fixyour plumbing, I could turn some lawyers into toads.Piper: Aunt Phoebe, little wiccans have very big ears that can hear you.Phoebe: Oh, I'm sorry, baby, I was only kidding! Mostly. (to Paige) Are you going to be okaybecause I have to go get fired now.Paige: You are not getting fired and I'm fine.Phoebe: From your mouth and god's ears. (She kisses Paige on the head and turns to Piper's stomach.) Okay, bye, my little niece.(Shekisses Piper's stomach.)Piper: You're smashing me.Phoebe: I love you.Piper: Get off me!(Phoebe leaves.)Paige: This is no segue but you and I need to talk about vanquishing Cole.Piper: 'Cause we don't have enoughproblems at the moment?Paige: No, because he's actually our biggest problem at the moment. Okay, look at Phoebe, it's totally beaten her down.Piper: I don't know, she seemed kind of cheerful considering the state ofher career.Paige: That's this wonderful thing called denial. Okay, the Phoebe I know would never roll over for lawyers like that. This morning when I was talking to her about vanquishing Cole, she told me I was wastingmy time. I'm telling you she is off.Piper: Alright, okay, already. Well, we'll spend the afternoon with our noses in potions. But can I go save the soul source of our income first?Paige: Yeah, go, I'll see you later.Piper: Areyou okay to orb?Paige: I'm perfectly fine to orb. Go.Piper: Alright.(Piper leaves the room. Paige gets up to get dressed and two police officers knock at the door.)Cop #1: Paige Matthews?Paige: Yeah?Cop #1: You'reunder arrest.[Scene: Cole's office. Cole's there. The demon stands at the doorway.]Demon: Felony hit and run. She's going down.(He walks over to Cole.)Cole: And P3?Demon: Health inspector's there, our guys are inplace. I've gotta say, using the law to bring down the Charmed Ones was genius, sir. They'll never figure it out.Cole: Oh, they will figure it out, it'll just be too late. (He shows him some blueprints of the manor.) TheHalliwell manor. The doorway to the spiritual nexus. All the power that we need.Demon: Oh, man. Right under the witches' house. Who knew?Cole: I did.Demon: Is that why they're so damn strong?Cole: Ah, partly.The Nexus packs a punch. The power can go either way, in good hands, good gets a power boost. But when we tap into it, evil spreads.Demon: How far?Cole: Far enough. The police, the politicians, and Phoebe. She willbe consumed by evil and she will finally give into our love and then I will torture and kill her sisters and we'll live happily ever after.Demon: Sir, I thought the point of all this was to give you the power to reorganise theUnderworld above ground.Cole: Yes, it is, it is. But to be united, evil must have a happy leader and for me to be happy, I need... (Phoebe walks in carrying a picnic basket.) Phoebe, what are you doing here?Phoebe: Icame to see you, baby. I thought we could have a little picnic.(She walks over to him and gives him a big kiss on the lips.)Cole: Kaia, what the hell do you think you're doing?(Phoebe shapeshifts into Kaia.)Kaia: Damn,how'd you know it was me?(She curls her hair around her finger.)Cole: Well, for starters Phoebe hates me and she doesn't drink and she uses a little less tongue.Demon: Since when does a stripper follow a guy backfrom work?Cole: Hey, hey, hey, Dex, go easy, she's got a little crush.Dex: With all do respect, sir, Kieran demons are manipulative vixens and this one has an agenda that goes way beyond a little crush.Cole: Sure, shecan smell power, can't you Kaia? Maybe she wants to be my new queen.Kaia: Just send this one away and I'll prove my worth.(She strokes his chest.)Cole: I'm afraid I can't, I'm in love with someone else.Kaia: But Ican give her to you, I can be her.Cole: No. You're good for the occasional dance but beyond that I need the real thing.Dex: Alright, you heard him, get out and stay gone. Otherwise, I'll make sure you do.(Kaia stormstowards the door.)Cole: Not like that. Go out the way you came in. In this office we keep up appearances.(Kaia shapeshifts into Phoebe.)Phoebe: You want me, I can feel it.(She leaves.)Dex: Insolent.Cole: Hotthough.[SCENE_BREAK][Scene: P3. Piper, Leo and the Health Inspector are there. The Inspector has stamped a file saying 'condemned'.]Piper: Oh, no, no, no, don't do that. Come on, you've gotta give me anotherchance.Health Inspector: And why is that?Piper: Because, because, because...Leo: Because we've been in business nearly four years and we haven't failed an inspection yet.Health Inspector: Well, I'd have to disagreewith that, Mr. Wyatt. You've failed two this week.Piper: Yeah, but this week has been bad, like strangely bad and we'll have the plumbing fixed tomorrow so can't you just come back then?Health Inspector: Well, yourrecord has been impeccable until now. (A rat squeaks and crawls past his feet.) Whoa, hello. (Piper gasps.) Rats too.Piper: No! No, we don't have rats. They don't live here. They're just, they're just trying to ruin mylife.Health Inspection: Rodent infestation takes longer than a day to clear up. Close down, address the problem, and we'll schedule another inspection in a few weeks.Piper: I won't need another inspection in a fewweeks because if I stay closed that long, I'll be out of business.Health Inspector: Sorry, there's nothing I can do.Leo: Alright, well, I'll show you out.(Leo and the Inspector head for the door. Piper grabs a broom.)Piper:Where are you? (She chases the rats with the broom.) I hate you, I hate you. Go home! Get out of here you plague spreading, club ruining rodent. I will get you!(She tries to blow up the rat but misses and gets a chair.Leo walks back in.)Leo: Piper, what are you doing?Piper: Diminishing the rodent population obviously.Leo: Come on, honey, we're gonna get through this.(Piper goes over and sits on the stairs.)Piper: Yeah, we will butthe club won't. How can this be happening? I mean, I know I've neglected the club since I've been pregnant but not this much.Leo: These things happen, it's just bad luck.Piper: No, it is more than bad luck, it issabotage, it is... it's demonic.Leo: What?Piper: Well, yeah. Phoebe's lawsuit, Paige's accident... Well, that's it, it's all part of it, it has to be.Leo: Why?Piper: Because I said so and if not, we're losing the club which is justnot an option.(Piper and Leo leave the club. The rats turn into two demons.)Rat Demon #1: Damn. She missed me by this much.(They blink out.)[Scene: Police Station. Paige, Darryl and a cop are there.]Cop: This way,Ms. Matthews. (The cop stands Paige next to a wall with the lines to measure her height. He walks over to the camera.) No film.Darryl: Try the filing cabinet. She's not going anywhere.(He walks away.)Paige: Why, whyam I not going anywhere? You've always helped us before.Darryl: With your other problems. This is not others.Paige: I am not so sure.Darryl: Paige.Paige: I didn't do what they're saying I did. And if anybody is tryingto set me up it would be a de... others.Darryl: Officer Garcia is not others, nor is he in league with any others, he's a good cop and he saved my ass on many occasions.Paige: Oh my god, I think I see what is going onhere. Phoebe's lawsuit, Piper's club... You have to get me out of here otherwise it's just going to get worse.Darryl: Listen, I am a Lieutenant now, I can't just bend the rules like I used to. (The cop comes back with film.Darryl hands Paige a board with her name on it.) Even if I could, this is legal problems. I-I can't just make those go away.(Paige holds up the board and the cop takes the photo.)[Scene: The Bay Mirror. Elise's office.Phoebe and Elise are there.]Elise: We can't just make it go away. She have a strong case for malice.Phoebe: I don't understand. How does she have a strong case?Elise: She is claiming that a result of your own bitterdivorce, you've made it your mission to destroy other marriages.Phoebe: That is ridiculous.Elise: (reading from newspaper) \"If you have any doubts, any doubts at all, I suggest you flee at the speed of a baby cheetahat suppertime.\"Phoebe: I was using hyperbole.Elise: I know that. But she's collected dozens of similar clips and she's threatening to go to the press with her story. And as a newswoman I can tell you, it's a goodstory.Phoebe: Okay, well, isn't controversy good for sales?Elise: It may be good for the enquirer but I've worked very hard to build this paper into a respectable news source.Phoebe: Can't we just pay her off? We haveto have insurance for this type of thing, right?Elise: She doesn't want money. She wants you fired. It's like she's on some kind of vendetta. I'm sorry, Phoebe, I have to suspend you without pay while our lawyers try towork this out.(Phoebe gets up.)Phoebe: Cole.Elise: Excuse me?(Phoebe leaves.)[Scene: Manor. Foyer. Piper opens the front door to let Darryl in.]Piper: Darryl, have you heard from Paige? Because she was supposed tocome straight home from the hospital but...Darryl: Paige is in jail. We tried to call you but...Piper: What? For, what for?Darryl: Reckless endangerment and felony hit and run.Piper: What?(Suddenly, Paige orbsin.)Paige: Oops.Darryl: You have got to be kidding me.Piper: Paige, Darryl said you were in jail.Paige: Oh, I am. I mean, I was, I will be. Just as soon as I figure out what demon is doing this to me.Darryl: You justdisappeared from jail?Paige: No! I put pillows in the bed first. It always worked at my parents house.Darryl: Paige!Paige: What? You weren't gonna help me so I had to help myself. Whether you believe it or not, there isa demon behind this.Darryl: At two o'clock, they're gonna come get you for your bail hearing. If you're not there, that's my ass. Everybody knows we're friends. They're gonna just think I let you go.Paige: I will be thereat two o'clock.(Darryl leaves.)Piper: See ya.Paige: Okay, he hates me.Piper: Yeah, he does. But for what it's worth I'm with you. Leo's doing the Elder thing.Paige: Oh, let me guess, you didn't pass the inspection?Piper:Nope.Paige: Let's just cut to the chase, shall we? Our problems are legal, right? Who's the only demonic lawyer we know?Piper: Cole. And he has gone off the deep end lately. But how is ruining our lives gonna help himget Phoebe back?Paige: I don't know. But until we figure it out we should keep her out of it.[Scene: Cole's office. Cole is there sitting at his desk. Phoebe barges in, angrily.]Phoebe: You slimy son of a bitch.Cole:Phoebe, is that you?Phoebe: What are you? Evil and blind? Yeah, it's me. (Cole slowly covers over the manor's blueprints with some files.) Look, why don't you just admit that you're behind this. Admit it so I can usemagic to fight you.Cole: I don't know, uh, I don't know what you're talking about.(She slams the door shut and walks over to his desk.)Phoebe: Look, Cole, my career is the most important thing to me. Okay, so is thatyour plan to take it away from me so that I come running to you for comfort?Cole: Phoebe, I love you and I don't know what's going on but maybe I can help. Would you like me to kill someone for you? Or-or your boss,perhaps? (Phoebe gets so mad she throws all his files on his desk up in the air.) Hey, hey, hey, hey!Phoebe: I might not be able to use magic but...Cole: You're sexy when you're mad, you know. I can't wait until I getto kiss you again.Phoebe: Cole, I will never be with you again. I hate you, I hate you. Do you get that?Cole: Hate is good. It's passionate, intense, it's-it's-it's a breath away from love. (Phoebe laughs and throws a fewmore papers in the air before she spins around and leaves.) Ah, she's great.[Cut to the hallway. Phoebe storms passed Kaia, who's sitting in a chair, covering her face with a magazine.][Cut to Cole's office. Kaia walksin.]Cole: What do you want?Kaia: Just to give you want you want.(Kaia morphs into Phoebe.)[Cut to the elevator. Phoebe is impatiently waiting for the doors to open. She gives up and uses the stairs. The elevatordoors open and Piper and Paige walk out. They head for Cole's office.]Piper: So what are we gonna do?Paige: We're gonna tell him we're on to him and it's not gonna work.(They walk into Cole's office and see Cole andPhoebe making out on his desk. They watch in shock.)[SCENE_BREAK][Scene: Outside Cole's office. Hallway. Piper and Paige are there, looking grossed out.]Paige: I can't believe I saw what I just saw.Piper: Well,believe it 'cause I saw it too.Paige: How, why is she kissing him?Piper: I don't know but I say we go back in there and we pull her out by her hair.Paige: No, no, we can't make a scene. Okay, we need a plan.Piper:Okay, here it is. We go home, we vomit...Paige: And?Piper: That's all I got so far.Paige: Okay.[Cut to inside Cole's office. Cole and Kaia/Phoebe stop kissing.]Kaia/Phoebe: Oh, come on, baby, it was just gettinggood.Cole: Not good enough. You'll never be as good as the real Phoebe and you should stop trying.Kaia/Phoebe: You're right. I'll never be as good, I'll be better. I know tricks the real Phoebe's never even heard ofbefore.Cole: I've been patient with you up until now. This is the last time I'm gonna say this. Leave and don't come back.(Phoebe morphs into Kaia.)Kaia: You don't know what you're missing.(She leaves.)[Cut to thelobby. Dex is waiting by the elevators. Phoebe walks past him and he grabs her.]Dex: Hey! What did I tell you? Cole has some serious work to do and I will not have you distracting him.Phoebe: Cole... What the hell?Who are you?Dex: Get it through your thick head. The leader of the Underworld will never have a whore as his queen.Phoebe: Did you just call me a whore?(Kaia walks out of the elevators.)Dex: Kaia?(Dex shimmersout with Phoebe.)[Scene: Manor. Foyer. Piper, Paige and Leo are there.]Leo: There's not, there's no... Are you sure?Paige: Leo, we saw Phoebe and Cole tongues locked, hands groping all over each other.(Sheshivers.)Leo: Okay, didn't need the visual.Piper: Well, maybe he has her under some kind of mind control. I mean, he can do that, that's possible, right?Leo: Right. I think right now he could do pretty much anything hewanted.Piper: Why? What do you mean?Leo: Well, the Elders have sensed a major surge in demonic activity. They think that evil is organising under a new leader.Paige: Oh, that's just great because the last time Colewas the leader of the Underworld, he took Phoebe as his queen and we were completely blindsided by it that time too. Oh my god, that's why she didn't want me to try to vanquish him.Piper: She was talking thismorning about being tempted.Paige: She was trying to warn us and we didn't even see it.Piper: Okay, this just can not be happening, people. I mean, Phoebe would not do this to us. I mean, it can not, can not, can notbe happening!Leo: Okay, let's just calm down, okay. The last time Phoebe was evil she was under the influence of her demonic pregnancy.Piper: So what, you're saying you think she's pregnant again?Leo: No! I justthink that maybe we're underestimating her. Maybe there's something that we're missing.Piper: Ugh.Paige: We saw what we saw.Leo: Okay, well, maybe she's under a spell. Or-or maybe there was some informationthat she wanted and she was using s*x as a tool.Piper: Okay, I like the sound of that. Slutty and manipulative, that's better than evil any day.Leo: So let's not panic. Let's talk to Phoebe and give her the chance toexplain what's going on. (The clock chimes two o'clock.) By the way, Darryl called.Paige: Oh.[Cut to the police station. Jail cell. Paige orbs in bed. Darryl and a guard approach the cell.]Darryl: She's not ready.Guard:The judge won't wait.Darryl: Paige?(The guard unlocks the gate. Paige gets out of bed.)Paige: Oh, hey, guys, what took you so long? (She walks out of the cell.) Coming, Darryl?[Scene: Cole's apartment. Phoebe andDex are there. Dex has a hold of Phoebe.]Phoebe: Ow! Hey!Dex: I wouldn't have to hurt you if you stopped trying to get away.(Cole appears in the room.)Cole: What happened?Dex: I mistook her for the other one andI said too much. I thought I'd bring her here until the end of the operation.Cole: Good thinking.(He throws an energy ball at Dex and vanquishes him.)Phoebe: Well, as much fun as this has been...(She heads for thedoor.)Cole: I'm sorry, Phoebe, but Dex is right, I can't let you leave.Phoebe: Leo!Cole: Save your voice. This place is magically protected. I can't have you people sensing what I'm doing in here. (He waves his arms andthe windows and doors glow.) Now all the windows and doors are blocked. Please, sweetie, just trust me on this one, I don't want you getting hurt trying to escape.Phoebe: Alright, don't call me sweetie. You can't holda person prisoner and then call them sweetie.Cole: You know, I didn't intend this. I just can't have you running off to your sisters and protecting the Nexus, okay? It is way too important for us.Phoebe: Wait, theNexus?Cole: Dex didn't tell you about that?Phoebe: No, no he didn't. He just told me you were trying to reorganise the Underworld.Cole: Oops. Don't be mad. I only want the Nexus so that you can come back to eviland we can be together.Phoebe: Uh, Cole...Cole: I'm so sorry, I had to involve your work. I just needed you distracted while I ruined Piper's club and put Paige in jail.Phoebe: Paige is in jail?Cole: Listen, I'd love to stayand chat but all this considered I need to speed up my plan.Phoebe: Well, Cole, my sisters are gonna realise that I'm missing and Leo is gonna try to sense me and when he can't they're gonna come straight toyou.(Cole laughs.)Cole: Um, thanks for the concern, but I think I've got my bases covered.(Cole waves his hand and Kaia (morphed into Phoebe) appears beside him.)Kaia/Phoebe: I knew you'd want me again.Cole:Ignore her.Phoebe: Oh my god.Kaia/Phoebe: Oh, no, not god, Kaia!Cole: Just listen to her voice.Phoebe: You're sick, you know that? You need help. Are-are you sleeping with me? I mean, her.Kaia/Phoebe: You're sick,"}
+{"doc_id":"doc_5","qid":"","text":"New York is dangerous littered with thieves we've no morals here we just do as we please but I don't wanna go home where they all stare at me 'cause I'm tattooed and fired up and drunk and obscene. You wear yourreligion like a war sweater, you ask for the truth but you know you could do so much better and you sat on your fences and you screamed, \"no retreat\" so what will your legacy be?AT CLOTHES OVER BROSJulian : I loveyour daughter. I'm in love with her. Would you ask her to call me, please?I look closely to which speaks from pride. I love you I swear it I would never lie but I fear for our lives and I fear your closed eyes. 'cause youwear your religion like a war sweaterAT CLOTHES OVER BROSBrooke : Well, you're here late.Victoria : Yeah. The competition never sleeps.Brooke : Any messages?Victoria : Uh, no. Nothing that matters.And youscreamed, \"no retreat\" so what will your legacy be? And what will your legacy be?AT LUCAS'S HOUSESawyer: Ouain !Lucas : Shh, shh. It's okay. Daddy's here.AT THE HOSPITALLucas : You know. If you keep lettingthese root-beer floats go to waste, I'm gonna have to start drinking them. I'm kidding. They'll be here when you wake up. You know who else will be here when you wake up is, uh... god, our beautiful daughter. She's,uh... You should see her. She's amazing, Peyton. But she needs you. And so do I. Come on. You promised. You promised.OUTSIDE THE HOSPITALJulian : You need to go home, Brooke. You've been awake for the betterpart of the last four days, and it's not healthy.Brooke : I need to be here when she wakes up. What is that?Julian : Every fashion magazine I could find.Brooke : But you just saidJulian : Yeah, but I knew when I said youneeded to go home that you'd say you needed to be here when Peyton woke up, because you're stubborn, Brooke Davis.Brooke : You don't know me.Julian : I think I do.Brooke : She needs to wake up.AT REDBEDROOM RECORDSMia : Yeah, I know. Everything's fine. Just, you know, call if you hear anything, okay? Thanks, Haley.Chase : No word?Mia : No ... word. Lucas must be so freaked out.Chase : Peyton's a badass.She'll be okay. What you got there?Mia : My new record.Chase : Let me see that. My girl's such a rock star. You did good, Mia Catalano.Mia : We did good ... me and Haley and Peyton. Peyton really should be here forthis ... Red bedroom records. Can I help you? Um, Peyton's not here right now, but ... she'll be back soon.AT THE HOSPITALLucas : You know, I, uh ... I'm in a little... I'm in a little over my head here. I took her home,and, uh ... I'm doing what I can, but... but she needs her mom. I need her mom. She doesn't even have a name. We were supposed to do that together. I can't do this without you. And I'm just ... afraid ... that we'regonna lose you, and it's just gonna be the two of us. And she doesn't even have a name.Peyton : Sawyer. Her name's Sawyer, okay?Lucas : Okay. Sawyer Scott. God, you scared me. Oh, my god.Brooke :Peyton.Peyton : You said you would disown me if I left without permission.Brooke : Yeah. I'm about to be your second-best girl when you meet your new one.Peyton : Is she okay?Lucas : She's beautiful.Peyton : Can Isee her?Brooke : She's right outside. Hang on.Lucas : I should get the doctor.Peyton : No. I just want it to be you and me and our daughter for a minute.Lucas : Okay.Karen : Well,well.Lucas : Mom.Karen : My baby'shad a baby. And she's beautiful.Peyton : Hi, Sawyer. Do you remember me? I missed you. I'm gonna love you forever. She's perfect.AT SCOTT'S HOUSEJamie : Hey, dad, when you get back to Charleston, tell Nino heneeds to stop shooting so much, okay?Nathan : Nino's not there, buddy.Jamie : How come? Did they fire him?Nathan : He's playing for the clippers now. They called him up.Jamie : When are they gonna call you up,dad?Nathan : I don't know, Jamie. Maybe never.Jamie : It's okay. At least you're still a chief.Nathan : Yeah. All right. All set.Jamie : I'll take it.Nathan : Thanks, buddyAT BROOKE'S HOUSEJulian : What's that?Brooke :Sam's new home.Julian : I miss that girl.Brooke : Yeah. So I guess you have to be getting back to L.A.Julian : Yeah. I mean ... I mean, we're prepping the new movie.Brooke : Yeah, I haven't even asked what it'sabout.Julian : You know, boy meets girl, boy loses girl. Anyway, it was great getting to spend time with you, Brooke, even considering the circumstances.Brooke : Yeah, you too. Thank you ... for staying with me.Julian: Yeah, well, I wanted to make sure Peyton was gonna be okay.Brooke : Of course. Well ...Lay your ray down you're the one. I could run, I could run for the life of me but where would that get me? Where would thatlead? I'm a fool for waiting so long 'cause you come around, come around come around, come around to me there's something in between you and IJulian : I love you, Brooke Davis. I love you so much.Brooke : Don'tsay it. Just kiss me. You feel like breathing come around, come around, come around, come around to me. Can't you see you're my life?AT LUCAS'S HOUSEKaren : Do you want me to take her so you can get somerest?Peyton : Mm, no. I want to hold her forever. Hey, Karen, thank you... for the way you raised Lucas and the man that you taught him how to be.Karen : You're welcome. But I was just being a mom. You'll see.Comearound, come around, come around, come around to me come around to meAT MOUTH'S OFFICEMouth : Hey, what are you doing down here?Millicent : I don't want to go back to New York.Mouth : And I don't want youto go back to New York.Millicent : But I have to.Mouth : I know.Millicent : I'm just gonna have to talk to Brooke.Mouth : And say what?Millicent : \"I don't want to go back to New York. \"Mouth : Straight and to the point.I like it. Come on.OUTSIDE LUCAS'S HOUSEKaren : I remember sitting on these steps, talking to you about joining the ravens.Lucas : That seems so long ago.Karen : It feels like yesterday, actually. Lily wrote you aletter.Lucas : She's writing already? What, was she born, like, four days ago?Karen : No, that was your daughter, dad.Lucas : Yeah, whatever, grandma Karen.Karen : Look, I know you can't stay, but before you go, Ijust really ... I really wanted to say thank you.Karen : Lucas...Lucas : No, no, no, no, no, no. You helped me through all of it. And you were selfless and strong. And ... if I'm half the parent that you were, then Sawyer isgonna be just fine.Karen : She's gonna be more than fine.Lucas : Remember how you always told me to see the magic in the world? I still do.AT THE GYMNASIUMMan : Nate? Bobby wants to see you.Nathan : Whathappened to all my stuff?Man : Bobby wants to see you.AT SCOTT'S HOUSEHaley : What are you doing home?Nathan : Do you remember that green dress you wore to the Maths-ketball school for Jamie?Haley : TheOppenheimer school. Yeah.Nathan : You look amazing in that dress. I was thinking we could take a trip to charlotte. You could wear that dress. We could take Jamie.Haley : Nathan, what happened?Nathan : I'm not onthe Chiefs anymore.Haley : I'm sorry, baby.Nathan : It's okay. What do you say, Haley James? Want to take the boy to Charlotte? Maybe we could see a basketball game? I mean, I kind of have to be there anyway,considering ... I'm the Bobcats' new point guard.Haley : What?Nathan : I'm the point guard for the Charlotte Bobcats. I got called up.Haley : You're in the NBA?Nathan : I'm in the NBA. Thank you. Thank you forbelieving in me, Haley.Haley : Thank you for being worth it!AT WITHEY'S HOUSEDan : Please. I assume that's loaded.Withey : I bought this gun hoping to see your face again. I'll just say you broke in, came at me.Dan: You'd be doing me a favor.Withey : You look like a haunted man. I heard you have a heart problem. It's not surprising. You've always had a heart problem.Dan : I wish I'd gone back in that game ... the statechampionship. When I look back at my life and see where it all went wrong, that's where I always end up ... fourth quarter, time running down, sitting on the bench at the state championship, and refusing to play. Atnight, in my dreams, I do go back in. And in my dreams, I take it back. All of it. And then I wake up. I'm sorry. I'm sorry for that day and every day since. I'm sorry for what I did to Keith ... and to the people who lovehim.Withey : Did you ever love him?Dan : Not enough.AT BROOKE'S HOUSEBrooke : Hi, Sam. It's me. No, everything's fine. I was just thinking about you, and ... and I was wondering ... How's your life? Are youhappy?AT MOUTH OFFICE / SCOTT'S HOUSEJerry : New lead coming out of commercial.Mouth : Is this for real?Jerry : Yeah.Mouth : Woooo : Sorry.Nathan : Jamie, sports is up next.Jamie : What's the big deal? I gotwifi on my phone.Haley : Get over here and watch with us.Mouth : Last night in the NBA, the Charlotte Bobcats quietly made a move that most sports fans wouldn't have noticed, adding a point guard to their roster forthe rest of the season. But we're leading with that story because this point guard is a local legend who overcame adversity and difficult circumstances in pursuit of a dream. Last night, the Charlotte Bobcats called up aformer Tree Hill Raven, a great guy, and a good friend, Nathan Scott. Jamie Scott, hug your dad for all of us because he just made it to the NBA, and we couldn't be more proud. In other news around the league, theLos Angeles clippers are ...Haley : Jamie.Jamie : I knew you could do it!Nathan : You're gonna kill me before I even play in a game, buddy!AT WITHEY'S HOUSEDan : I was supposed to be dead months ago. I used towonder why I was still alive. And then I realized ... I'm not. I'm dead. And this is my hell. Lucas got married and had a baby girl. And Nathan ... he's got Jamie. And I get to see the happiest moments of their lives, but... I don't get to feel those moments. I don't get to be a part of their lives.Withey : You created that, Danny.Dan : Pull the trigger. Take the pain away! Please. Please.Withey : Maybe you're still here forredemption.OUTSIDE WITHEY'S HOUSEWithey : There's still time, son.Nathan : I just came to tell my coach I made it to the NBA. How you doing, coach?Withey : Good to see you. It's a great surprise. I see you'rekeeping in shape.AT BEDROOM RECORDSChase : This track is awesome!Mia : Thanks.Chase : And the record officially drops tomorrow?Mia : Tomorrow night. Sinning in New York City.Chase : And then ... you tour.Mia :For a couple months, yeah.Chase : Listen, I ... I know you're gonna go on tour and this record's gonna blow up, and just know that art of me wants to be really selfish with you. But I'm not gonna be that way because... well ... because the rest of the world deserves to see your greatness, too.Mia : My heart's ... not going anywhere.Chase : Promise?Mia : Promise.AT CLOTHES OVER BROSMillicent : Mia's new record?Brooke : Yeah.It's really good. She's actually doing a signing in New York tomorrow night. Maybe you could go ...Millicent : Yeah!Brooke : About that ... if you weren't gonna be here in tree hill instead.Millicent : Wait. What?Brooke :The store's gonna be back up and running soon, and I need you here to run it.Millicent : But what about New York? Don't you need someone there?Brooke : I do, but your boy is here.OUTSIDE LUCAS'S HOUSEDan : Hi,Peyton.Peyton : What do you want?Dan : I just wanted ... could I hold her?Peyton : No. Why?Dan : Because she's the only one in my world who doesn't know what I've done.Peyton : Just for a second.Take your laststep.Dan : I'd forgotten what it was like. She's so beautiful. What's her name?Peyton : Sawyer.Dan : Sawyer Scott. And now, said max, let the wild rumpus start.Peyton : Where the wild things are.Dan : I used to readit to Nathan. It seems like another life ago.Peyton : It was.Dan : I know you're gonna have to tell her about me someday. I'm sorry for that. Hallelujah for these eyes she your painted life. Hallelujah for the touch of skinto skin with mine. Hallelujah for this mind that keeps our souls combined. Hallelujah for this life that let me be your child have your mind, have your strength to stay alive keep your eyes open with mine now oh, no. Youfollowed the roadAT MOUTH'S OFFICEMillicent : How would you like your old roommate back?A face without words can last a lifetime it's never the same so don't say goodbyes that last forever now hold on just for awhile but I'll be by to see you someday soon now please hold on tonight oh, 'cause I'm old and I don't know why. Hallelujah for these eyesAT CLOTHES OVER BROSVictoria : Tell me about ... Julian. Brooke. What kind ofman is he?Brooke : The kind who's gone.Hallelujah for this mind that keeps our souls combined now. Hallelujah for this life that let me be your child.AT THE CIMETERYNathan : I finally made it, Q. Something tells meyou already know that. I miss you, buddy. Oh, and, Q, you're right ... It's a comeback. Thank you.You're a traffic light of fire you're a man who I believe will never dieAT LUCAS'S HOUSEBrooke : Hi.Peyton : HiBrooke :Luke around?Peyton : No. He had to take Karen to the airport. She had to get back.Brooke : She's so beautiful.Peyton : Yeah, I kind of like her.Brooke : So how does it feel, P. Sawyer? You have a family now. You ...you have this whole other life to look after.Peyton : It feels just like I dreamed it would.Brooke : Can I hold her?Peyton : Yeah! Got her?Brooke : Oh, yeah. Hi, Sawyer. I'm your aunt Brooke, and I am gonna spoil you.Yes, I am, Sawyer Scott.Peyton : Sawyer Brooke Scott.Brooke : Really?Peyton : Yeah.Brooke : See, I always knew you were a Brooke. And it is a really good name, baby Brooke.Peyton : Just like I dreamed. And whatabout your dreams, Brooke Davis?AT CLOTHES OVER BROSBrooke : Are you going somewhere?Victoria : Back to New York. The designs are excellent. The new line should stabilize the company. There's nothing left forme to do here. There are a few things that I need to leave you with. We need to call our publicist and arrange a series of interviews announcing your return to the company. You need to speak with the people at red andorganize some sort of charitable contribution.And you need to fly to Los Angeles and tell that boy that you love him.Brooke : What?Victoria : When I was young, there was a boy who loved me, and I loved him back. Buthe wasn't from my circle of friends, and he was different than what my parents expected ... so I let him go. And not a day has gone by that I don't regret it.Brooke : Why haven't you ever told me this?Victoria : BecauseI've been a terrible mother. I have a daughter who is ... strong and bright, kindhearted, so beautiful ... and I've nearly broken her with my inability to open my heart. But I haven't broken her. She's just as strong andbeautiful and kindhearted as ever. She simply misnamed her company. Because if this boy Julian loves you ... and you love him ... That's all that matters. That is the most important thing. And the clothes canwait.Victoria : This is for you.Brooke : What is it?Victoria : It's the company. It's all yours ... 100%.Brooke : But why?Victoria : I'd rather have my daughter than a company.Brooke : But you loved this company.Victoria: Yeah. I did. And I was wrong. I should have loved you more ... and the company less. I just didn't know how.Brooke : Mom? I want you to stay on ... and run things from New York.Victoria : You're keeping me?Brooke: You're good at what you do. And besides ... you're my mother.Victoria : My daughter. My daughter. I love you so much. And I'm so proud of you.AT MOUTH'S OFFICEJerry : 60 seconds, Mouth.Mouth : Thanks, Jerry.Thanks. I thought you took off.Millicent : I just wanted to watch my boy work.Mouth : I like that ... being your boy.Millicent : I like it, too. Skills called. They're gonna watch the game with us.Mouth : Great. Soundsperfect.Millicent : It does, doesn't it?Jerry : We're back in 10!Mouth : God, I love my life. A full slate in the NBA kicks off tonight with the Charlotte Bobcats, who recently called up Nathan Scott. The team says that Scottwill take his physical ...Mouth : Take a look at yourself in a mirror. Who do you see looking back?Haley : Is it the person you want to be?AT SCOTT'S HOUSEJamie : You made it.Nathan : We made it.Dan : Or is theresomeone else you were meant to be ... the person you should have been, but fell short of?Mia : Is someone telling you, you can't or you won't? Because you can.AT NEW YORKChase : Could you write, \"Thanks for the45 seconds of heaven\"?Mia : 30. Wait for me?Chase : Hell, yeah.Chase : Believe that love is out there.AT THE GYMNASIUMMan : From the university of maryland, 6'2\" point guard, wearing number 12, NathanScott!Nathan : Believe that dreams come true every day. Because they do.Peyton : Sometimes happiness doesn't come from money or fame or power. Sometimes happiness comes from good friends and family andfrom the quiet nobility of leading a good life.AT LOS ANGELESMan : We're gonna try the lights now, okay, Julian?Julian : Okay.Brooke : You told me that someday I'd be ready to let someone in. I think today mean tobe \"someday\".Julian : Believe that dreams come true every day. Because they do.Julian : If this was a movie, you'd kiss me right now.Brooke : No. I'd say, \"I love you,\" and then I'd kiss you. I love you.Brooke : Believethat dreams come true every day. Because they do.ON THE ROAD IN THE COMETLucas : Take a ride with me, Peyton Sawyer?Peyton : Don't you mean Peyton Scott?Peyton : So take a look in that mirror and remindyourself to be happy, because you deserve to be. Believe that.Lucas : And believe that dreams come true every day. Because they do."}
+{"doc_id":"doc_6","qid":"","text":"Glenn: Lola, we have some good news and some bad news. The good news is, you don't have cancer.Lola: Ohh!Glenn: Cat just put nair in your shampoo.Cat: Because you ate my lunch from the refrigerator.Glenn: Andthe bad news is, she also put a chemical in your iced tea which turns your nose into a tennis ball. But it only lasts a second. So basically, everything's okay. Everything's okay.Owen: Chief! Can't you see I'm busy?Chief:Sometimes I wish I was a mirror.Lola: Hey, Dori, my round sheet is empty. Is that a mistake?Dori: Doesn't look like it.Owen: This place is empty. What gives?Dori: There are no admissions today, and we justdischarged the last child.Cat: Are you saying there are no more patients left in the hospital?Beth: Guys, what do we do with all our time?Sy: Listen, I'm going into town to register the new ambulance.Glenn: Sy! Sy! Sy!Before you go, there are no patients left to treat. Any extra tasks you need us doing?Sy: As a matter of fact, thank you, Glenn. There's a lot of things to be done. First off, the organ supply room needs cleaning.Blake:I'll do it! [ Laughs ] Psych!Sy: Wear gloves this time.Blake: I'll do it my own way.Sy: And then, most importantly, the patients' records, all right? Now, look at this -- completely disorganized. These have been handeddown from administrator to administrator. You know how important this is to me. Glenn, will you take care of reorganizing this entire room?Glenn: I will not let you down, sir.Sy: I would never have asked you, son, if Ididn't believe in you.Chet: Are they falling in love?Owen: Yes.Sy: All right, Glenn is in charge, everybody.Sy: You know what, Lola? That is a great idea. The animal-testing lab is filthy.Lola: [ Scoffs ] Should have said,\"I'd rather clean the Dylan McDermott lab.\"Sy: Who's gonna come with me? It's a great adventure. Dori! Perfect!Dori: Ohh!Sy: Let's go!Blake: Hey, Rosa. Working hard or hardly working?Rosa: [ European accent ] Oh,somewhere in between, Mr. Dr. Downs.Blake: I see what you're saying. You're not working as hard as you can be, but you're certainly not working.Rosa: [ Chuckles ]Blake: Oof. This uterus expired on Tuesday. Youknow what? I figure we have a 10-day grace period.Rosa: Expiration dates are really just suggestions.Blake: I like the way you think, lady.Rosa: You know, being around all these organs is making me hungry. Wouldyou like to come to my home for lunch?Sal: Attention, staff. My dick. That is all.Lola: Hey, chief.Chief: Oh. Owen isn't interested in me. Do you think he noticed I use a walker?Lola: Oh, I'd love to girl-gab, but I justinjected all these stem cells into that handicapped monkey.[ Screeches ]Chief: He doesn't need glasses or his walker?![ Gasps ]Stem cells cure handicaps! Mama want!Lola: No! Chief, no! Oh, God!Chief: [ Gasping ]Wait a minute. I don't feel anything at all. Thanks for nothing, whore!Lola: Wait. Chief. Think fast![ Gasps ]Amazing!Chief: Oh, my God.Lola: Look at that. Oh, my God.Chief: I'm cured! Stem cells? What a greatidea!Glenn: [ Laughs ] Okay. What do you say, guys? Let's get busy!Cat: I'm not doing donkey dick.Glenn: Look, Cat --Chet: What part of \"donkey dick\" don't you understand, ass-kisser?!Glenn: All right. So, how doyou want to do this? My favorite letters are I, T, V, Q, and S, so, obviously, I'll take -- aaaah! Oh, my God. For a second there, I thought that was a real airplane. What's the deal, Cat?Cat: Glenn, this is a free day! Imean, do you really want to spend it organizing records, or do you want to spend setting them? Am I right, guys?[ Peppy music plays ][ Music stops ]Okay, let's go![ Music resumes ][ Both laughing ]Glenn: Come on,guys!Are we doctors or are we... Dart doctors?[ Music continues on radio ]No! No, no, no! The ladies' room is right there! Sy, where are you?Owen: Ha-cha-cha! Whew. Ooh. Hey, there. You new at this hospital?Chief:In a way.Owen: What's your name, beautiful?Chief: My name? Uh, I-- it's... it's, uh, uh... [ Sneezes ]Chief: My name... Ooh, I -- ouch. It's, uh... hey.Chief: Uh...it's chief. Uh, chief...Smith.Owen: Oh. Well, we haveanother lady here named chief, but she's ugly.Chief: Oh, really?Owen: Yeah. She's about as ugly as a big pile of poo.Chief: Oh.Owen: Mm-hmm. She's so ugly, a poo takes a her.Chief: Hmm.Owen: If a dog wanted toeat his own poo, he would make a mistake and eat her.Chief: Yeah.Owen: For all intents and purposes, she is poo.Chief: Ohhh.Owen: When she goes to the toilet store, they tell her to \"go around back 'cause that'swhere we let the poo in.\"Chief: Oh, God.Owen: If you do a Google image search of the word \"poo,\" pictures of poo show up, but then there's a picture of her. Mm. Crazy people smear her on the walls.Chief: There'smore.[SCENE_BREAK]Rosa: Hi! Hi. We're hungry, mama! We're hungry!Rosa: They're saying they're hungry.Blake: Yeah, yeah. No, I heard them. They spoke English.Rosa: Come and sit. Back in Ukraine, I was hospitaladministrator. I loved it so. Oh, thank you, grandma. I work at Childrens just to be around the administrating.Blake: Sort of like a lower-stakes \"Good Will Hunting.\"Rosa: Exactly.Blake: Yeah. [ Laughs ] Mmm. Thissoup is incredible. Is there a secret ingredient?Rosa: Oh, yes. [ Chuckles ] Love.[ Folk music plays ][ Laughter ][ Up-tempo music plays ]Cat: Glenn, come on.Let yourself go.Glenn: Ahh...Cat: Dance.Glenn: Oh, youknow what? You're right. The files can wait. I got to dance! I got to dance![ All cheering ]Lola: Whoa, Glenn!Chet: Yeah!Lola: All right!Cat: What?!Glenn: Hey!Pool! Pool! Aah![ All cheering ]Lola: [ Vomits ]Glenn: Freeday! [ Laughs ]Blake: Thank you so much, Sasha.Really nice meeting you, Andrash. And you, too, Tiffany. Don't ever change. And you... [ laughs ] This day has been wonderful.Rosa: No!Blake: But we -- we have aconnection. I'm Robin Williams, you're Matt Damon. Let's make love, like they did in the movie.Rosa: No! No! I don't like you like that! Please, Dr. Blake, leave!Blake: Let me kiss her on the mouth! Rosa! No! No! No!No! Mwah! Mwah! No![ Both laughing ]Owen: I'll tell you what, chief Smith, I'm gonna go get us some mai tais.Don't you go anywhere.Chief: Don't you worry.Both: Rowr![ Both laugh ]Chief: Mmm.Lola: Hey! Thinkfast![ Gasps ]Chief: Wait a minute.Let me put on my -- my glasses.Owen: Poo chief, where did chief Smith go?! You got to help me find her!Chief: Her is me! Her is me! \u0000 For your sins \u0000Glenn: Hey, Blake, where haveyou been?Blake: Well, let's just say that I've been to another world and I fell in love, and it was not mutual, and I was forcibly removed.Cat: Aw, sweet.Glenn: Are those patients' files?Cat: Yeah.Glenn: Why are youthrowing them into the fire?!Cat: Don't you get it? I don't know.[ Cellphone vibrates ]Glenn: Sy's on his way back.Lola: If only any of us knew something about administrating, then we could fix this.Blake: Wait aminute!Guys, I have an idea. Wait right here, okay? Do you have a sec?Rosa: No.Blake: Come on. Everybody, this is Rosa. She's my girlfriend. She can fix this.Rosa: Not your girlfriend. Blake told me the situation. Wewould have to re-create all the files by calling every patient and getting their medical history. It's impossible.Glenn: Oh, I failed.Blake: Impossible? [ Laughs ] Nothing's impossible if you follow your heart. Not evenlove.Cat: Hi. I'm calling from Childrens hospital. I was wondering, were you ever a patient here?Beth: And when was his last vaccination?Blake: What do you think your weight was in 1975?Lola: I'm still at work. Wehave to re-create these stupid patient files we burned in a hallway campfire.Owen: She's so ugly that monkeys take her out of their butts and throw her at people at the zoo.Cat: And that's it. We did it!Lola: Ohh!Cat:We did it!Glenn: That's it?! We replaced all the files?Cat: No, just this one single file, but you act like it's not that impressive.Sy: Glenn! What the hell happened here?!Cat: Sy, it's fault--Glenn: No, Cat.Cat: Oh.Glenn: Igot to own this. Yeah, we burned the files. And we'd do it again, 'cause, news flash, Sy -- I don't want to run your hospital, 'cause as a surgeon, I make sick money, and you live in a condo at the Harborlight Mall.Sy: Iadmit it. I was wr-- I was wr-- I was wro--Glenn: Sy's having a stroke! Everybody come quick!Chet: I got it! I got it!Lola: No! No! No!Blake: Thank you, Rosa. You've been great.Rosa: I did literally nothing and nothinggot fixed.Blake: Eh, tomayto, tomahto.Sy: No, I just had trouble saying I was wrong. It's a tic. Eh, it's a living.Sal: Attention, staff. When I say \"That is,\" you say \"All.\" That is... that is all."}
+{"doc_id":"doc_7","qid":"","text":"Gabe: Ugh, man. My delts are blasted. I wish they had a chart for how much protein powder to scoop for a 180 pound man with no fat.Dwight: Protein powder, huh? You cut it with water? Why don't you just takeestrogen? [swallows powder] [coughs] There you go boys. See how papa takes care of you? [kisses bicep] Mwah.[SCENE_BREAK]Gabe: I remember when people thought biceps were all that. They'd flex them all nightat the discotheque.Dwight: Oh, I bet you think it's all about core, huh?Gabe: Yeah.Dwight: Oh, please.Gabe: Core's critical. There are four tenets of pilates that I live my life by. One - lengthen. Two - elongate.Jim:Listen, guys, I think we all want to know the same thing, right? Who's the strongest? Well, there's only one way to solve that - flat curl contest.[SCENE_BREAK]Jim: All right, here we go everybody. May the manliestman win. Go.Dwight: Feast on this, Lewis.Gabe: I love the burn. The burn is where I live.Jim: Come on, Gabe, you can't handle his hamstrings. You're getting hypno-thigh-zed.Gabe: Speed set. One. Two.Jim: Here, thisis for your elbows, for your elbows.Dwight: Oh, thank you.Jim: You're welcome.Gabe: Five. Six.Jim: Quick phone call from you guys, keep going,All: Eight, nine, ten.Gabe: We got it?[SCENE_BREAK]Dwight: Very funnyJim.Gabe: Yeah, Jim. Way to mock us for perfecting our bodies.Robert: Everyone, conference room, now. [Dwight and Gabe stand up, falling over]Jim: All right, easy there, grandpa.Dwight: I don't need your help.Jim:Okay. You don't need my help?Dwight: Here, here... Just...[SCENE_BREAK]Andy: Morning.Erin: Hey.Andy: Somebody left in such a hurry this morning that she forgot... these.Erin: Oh.Andy: You know the only thingmore delicious than your feet is the feast that I am going to prepare for everyone.Erin: Andy, if you're gonna hang out for a while, uh...Andy: What's this?Erin: This dumb rule Robert made, he just wants visitors to signin.Andy: Is this Robert's attempt to embarrass me?Erin: No, of course not. It's just - I think it's like if we make an exception for you, then we have to make an exception for the water guy, and then, it's like, where doesit end? So just... [puts visitors tag on Andy][SCENE_BREAK]Andy: Why is it when other people spend all their time at the office, they're rewarded for it, and when I do it, I am told it's a little much? ...Is it because I amnot an employee anymore, because that's what it feels like.[SCENE_BREAK]Jim: All right, well, enjoy the alumni game.Dwight: Good, we have a deal?Jim: Thanks Janet.Dwight: Thanks so much Earl.Jim: Wow,simultaneous sale.Dwight: And they said it couldn't be done. Boom!Jim: Screw 'em.Andy: Lot going on guys. What's happening?Jim: Binghamton branch closed last night and their clients are up for grabs.Andy: Thatwas a fine branch. Things are really bad under Robert California, I guess. It's like a festival of poo.Jim: Hey, hey, come on, language.Dwight: Yeah, and we're not interested in your sour grapes, okay? Jim, tell himwhere he can stick his grapes.Jim: In the fridge.Dwight: No, Jim, the butt, in his butt.Jim: Sorry, man, I can't focus on zingers. There's too many potential clients.Stanley: You two better watch yourselves.Phyllis: Yeah,the Syracuse branch can't be happy you're taking New York clients.Robert: Shh... shh... [vomits in trash can]Jim: Robert?Oscar: Why did Binghamton close?Robert: Can everyone just, please... I had a one-mansaturnalia last night, in celebration of the finalization of my divorce. I got into a case of Australian reds, and - how should I say this - Columbian whites. What - what is this about, uh, Binghamton?Kevin: The branchclosed. Forever.[SCENE_BREAK]Robert: Closing the Binghamton branch never occurred to me before today. Or, I guess, last night. But, in vino veritas as they say, I'm not gonna start doubting my drunken selfnow.[SCENE_BREAK]Nellie: I got your voicemail. From - from last night.Robert: Wonderful.Nellie: And the answer... is yes, yes, yes, yes, and never. [leaves]Robert: Pam, when's the last time you lived so intensely thatyour brain literally couldn't hold the memories in?Pam: Oh, it was this summer -Robert: Apparently, I left a phone message for Nellie last night, and I need you to find out what I said.Pam: Um, I am a little busy.Robert:Yes, 'course. Why don't you list the things that would keep you from helping me.Pam: Yeah, I can make you a list.Robert: Let's do it now. What's number one?Pam: Why don't I help you now?Robert: There we go.Pam:Okay.[SCENE_BREAK][Andy cooking food by reception, Harry walks in]Harry: Who the hell are Jim Halpert and Dwight Schrute?Erin: Jim, Dwight, what are your last names?Dwight: And you are...Harry: HarryJannerone, Dunder Mifflin Syracuse.[shocked look from Jim]Harry: What the hell's all this?Andy: Uh, cherries jubilee over homemade gelato.Harry: You live well down here in P.A. I want to talk to you guys right now.Oh, and Lloyd Gross too. Which one's that guy?[SCENE_BREAK]Jim: The salesmen have a commission cap, but we figured out a way around it.Dwight: Lloyd Gross is a fictional salesman we invented to - how do I putthis - steal from the company. Embezzle. To commit fraud.Jim: Okay, it sounds sketchy, but it helps us get more money.Dwight: Yes.Jim: Pam made a drawing of Lloyd. He is a blend of all the salesman. [showssketch][SCENE_BREAK]Dwight: [pointing at Toby] There he is. That's Lloyd.Toby: Me?Creed: Yeah, you.[SCENE_BREAK]Harry: Where do you get off crossing state lines?Toby: Now, we're actually a lot closer toBinghamton than you are. Kimosabe.[SCENE_BREAK]Toby: I like to think Lloyd Gross is a no-nonsense guy who doesn't back down from anybody. And he calls people \"Kimosabe\".[SCENE_BREAK]Harry: They're NewYork. We're New York. Sate line is the dividing line. That's the way it's always been.Jim: There's actually not a rule that says that.Dwight: That's true.Toby: That's true. There's no rule. You can check the employeehandbook. Oh, can I check the employee handbook Lloyd? Well, does it say anything about me choking a man with my bare hands?Toby: No.Dwight: Wait, no? Are you kidding me? You told me there was a rule. Icould've choked so many people by now.Harry: Stay out of my state. It's in your best interest to stay out of my state.Toby: I've seen guys like you. Big guys who like to push the little guys around. Lloyd Gross eatsbullies like you for breakfast.Harry: Just stay out of New York, Lloyd.Toby: Hey, text from the old wife. Gonna take that. [runs outside]Jim: How about this? How about we just ask Robert? Can we all agree that maybethe C.E.O should decide this?Harry: Robert's here. Look at us. Bickering like schoolgirls, looking around the room for things to hit each other with. I don't think we were doing that.Dwight: Chair, lamp, plant, table leg,Jim's leg.[SCENE_BREAK]Robert: Where's the Advil, Jim? I think I've hit my limit on the Tylenol - Oh.Andy: [Doing dishes] Sorry, not Jim.Robert: Andrew, what do we have to do to get rid of you? Hire you back andsend Erin back to Florida?Andy: Message received loud and clear. Just have to get the caramelized sugar off the pan before it dries.Robert: Oh, for god -Harry: Robert California. What a surprise you're here inScranton.Robert: Harry...Harry: So why would you close Binghamton down without a transition plan in place?Robert: How do you mean?Andy: I forgot, a... a pan, uh -Harry: No, no, no, no, no, kid, stay there, do yourdishes, go ahead.Robert: Harry there is a time for every decision, predetermined many years ago. There's no benefit in questioning why this particular decision seems... so poorly timed.Dwight: Okay, what are youdeciding? We get a say.Harry: Listen, Robert, I don't have time. There's a big client in play. Prestige direct mail solutions -Dwight: Don't listen to him.Harry: Used to be Binghamton's -Dwight: Nope.Harry: I want it, it'smine.Dwight: Prestige is ours. Okay, they're responsible for half of the junk mail on the eastern seaboard. We get them. We already put a call into them, Robert.Harry: We need you to make a decision.Dwight: Make adecision.Robert: I have decided. Neither of you are to have any contact with either Prestige or any other Binghamton client until I have figured out how to divide things up. As Solomon once said... [Andy walksout][SCENE_BREAK]Andy: Some bizarre energy in this place today. Robert is going off the rails, making some funky decisions. Like why is nobody gonna call on Prestige? That is a huge client. [walking to car] I mean,they could give their business to the first person to walk in the door. Could be any idiot. Any idiot at all.[SCENE_BREAK]Robert: Shaping a company is, in a sense, similar to training a geisha. You have to mold notmerely the physical form, but also the character. The two must harmonize. Are they still there? [camera pans to right, Harry, Dwight, and Jim watching Robert in conference room] They want a decision who gets the bigclient. Well, they can wait. I'll still be talking about geishas long past their bedtime. You know, I trained as one.[SCENE_BREAK]Harry: Is it just me or is our boss a freakin' weirdo? [stands up, walks outside] I'm gonnaget some air.Dwight: Jim, you know what would be really dastardly? If we snuck out of here and got to the client first.Jim: [Gets up and looks out Nellie's office window] He's running!Dwight: Damn it!Jim: Damnit.[SCENE_BREAK]Dwight: Wha - what is this supposed to be?Jim: It's a monkey.Dwight: Jim, great real. This is not a monkey. It's got a hula skirt and a blue nose.Jim: Hold on, hold on. Is this him?Dwight: What?Jim:Is that him?Dwight: It's him! Do something! Get out!Jim: What? What am I gonna do? I don't -Dwight: Go slash his tires! Go dent his hood. [Jim opens passenger door] That's it? Oh, that's great. That's like a fivesecond delay.Jim: Dwight!Dwight: Come on, let's go! Does this thing have turbo? Nitrous? Hit the nos.Jim: Nos? You mean like in fast and furious?Dwight: Yeah.Jim: Oh, yeah, definitely have nos.Dwight: Hit thenos.Jim: Are you sure?Dwight: Yes.Jim: Brace yourself. 3... 2...Dwight: Got it. Go.Jim: 1. Here we go! [turns on wipers][SCENE_BREAK]Andy: Hello. Andy Bernard to see the C.E.O.Receptionist: Oh, do you have anappointment?Andy: No, I do not.Receptionist: Okay, I think I can squeeze you in.Andy: Seriously? 'Cause I could just be anyone. I mean, I thought I was gonna have to convince you.Receptionist: He's really not thatbusy.Mr. Ramish: Is there someone here to see me?Receptionist: Yes, this man.Mr. Ramish: Come on in. [Andy walks in][SCENE_BREAK]Pam: So...what do you make of this Robert California guy? I mean, what does aguy like that do on an average weeknight?Nellie: Oh. Oh, I'll tell you what he does.Angela:: [walks in] Hello! Hello, my clucking hens. Got room for another in the roost? Huh? Don't worry, I won't lay anegg.[SCENE_BREAK]Angela:: Robert sent me to take over if Pam fails. If? [laughs][SCENE_BREAK]Angela:: I have been crunching numbers all day. Math is for boys. I need girl talk.Gabe: Did someone say girltalk?[SCENE_BREAK]Gabe: Sometimes I wonder if I have ovaries in my scrotum, because I am great at girl talk.[SCENE_BREAK]Gabe: Have you guys been watching any good Korean soap operas? I'm pretty deep intoHee-Jungcinderella girl. Although, I definitely fast-forward through the young-Tae storylines.Nellie: Do you think I'd like that, or is it important to have an Asian fetish?Gabe: Uh, I think you're gonna need to have anAsian fetish. Yeah. [chuckles] It'll be upsetting if you don't.[SCENE_BREAK]Andy: I'm a former paper executive. I know the product. I know the margins. I can save you 25% on your costs.Mr. Ramish: Why haven't Iheard of you? You got any references?Andy: No. I'm a rogue.Mr. Ramish: Uh-huh.Andy: Which is the best part. That means you will be my first customer and your business will get 100% of my attention. Now... [pullsout business card] I have written down my personal phone number. You call this anytime.Mr. Ramish: Every salesman I've ever met has given me his personal phone number.Andy: Of course they have. Which is whyI'm giving you a key to my house. [gives key to C.E.O] Whatever you need - anytime, night or day - you just stop on by.Mr. Ramish: You want me to drive to your house if I need paper.Andy: Maybe you just wantsomeone to talk to. Maybe... you need a place to crash for a couple of days. My wireless password is eat pray love. Easy to remember.[SCENE_BREAK]Dwight: Ready? Go! Go, go, go, go, go, go, go, go, go, go, go.[takes off belt, ties doors together]Dwight: [Running] Ahhh! [Slides into elevator]Jim: You all right?Dwight: Yeah. [Doors about to close, hand stops them] Oh.Jim: Ah! [Harry walks in]Jim: [Dwight pushes button forfloor two] Dwight, what are you doing?Dwight: Go, go! Take the stairs! Now!Jim: What are you talking about?Dwight: Just run! Take the stairs!Jim: I don't even know where the stairs are!Dwight: I'll stall him. Go!Jim:God!Harry: [Dwight jumping] What are you doing?Dwight: I'm gonna activate the seismic failsafe. We'll be stuck between floors for hours. [pants fall down] Oh. [Jim runs in] My pants fell down.Jim: What?Dwight: Mypants fell down! I don't have a belt![SCENE_BREAK]Dwight: [walks into lobby] Hello, sir. Good day. Dwight K. Schrute. Dunder Mifflin, Scranton. Forgive my pants, they fell down. An appointment with Mr. Ramish,please. Right now is fine. No, no, no, I was here first. Dwight K. Schrute. Dunder Mifflin, Scranton.Mr. Ramish: What's going on?Dwight: Well -Harry: Mr. Ramish, Harry Jannerone. Dunder Mifflin, Syracuse -Dwight: Iwas here first.Mr. Ramish: Oh, oh, oh, oh, oh, okay.Dwight: I already made an appointment... with your secretary.Mr. Ramish: Let me stop you all right here. I've already picked a new paper supplier.Dwight: Wait, it'snot D.M Utica, is it?Mr. Ramish: No, no, it's not Dunder Mifflin at all actually. It's... Big Red Paper Company.Jim: Big Red Paper Company?Mr. Ramish: Mm-hmm.[SCENE_BREAK]Andy: Yes, yes,yes![SCENE_BREAK]Harry: Give me a cup of coffee.Dwight: Me too. Or do you also have a monopoly on thirst?Jim: All right, guys. It didn't work out for any of us, so... we're still on the same team. Let me getthese.Dwight: No. Let him get his own. It's Syracuse money.Harry: You know, your partner's got a lotta attitude. But I like that. How long you guys been dating?Dwight: Jim couldn't land me in a thousand years.Jim:But you're saying there's a chance.Dwight: Shut up.[SCENE_BREAK]Pam: [Walks into conference room] Hey.Robert: Hmm.Pam: I stole Nellie's phone.Robert: Excellent. Excellent. Though troubling that your firstinstinct is thievery.Pam: What do you want from me?Robert: Now we get to the bottom of Nellie's \"yes, yes, yes, yes, never.\"Phone: Hi, Nell, it's mom. Do keep your chin up. It can't be as bad as you described.Robert:Oh yes it can.Phone: This is MasterCard. You are over the limit. Send the minimum payment of $448 by Monday, or we will be forced to send it to collections.Robert: Shopaholic.Pam: Sounds like it.Robert: Yeah.Phone:Hi, sis. Is your boss still hitting on you?Robert: Ah.Phone: This is Annie from second nests. I'm sorry, but the Romanian orphanage felt more comfortable with a two-person nuclear family than a single mother, so, we'regonna hold out for that.Pam: Okay, that's enough. [grabs phone]Robert: Pam, we need to get to the bottom of this.Pam: No, no, no!Robert: No, come on.Pam: Robert! Okay, oops! I deleted them all. They're alldeleted.Robert: Pam, Pam, you've completely bungled this!Pam: Ah. Ahh. [walks out][SCENE_BREAK]Pam: Hey.Nellie: Can I do it, Pam? Can I put off a gold Arabian sandal?Pam: Um... yes. Definitely. With your hair-Nellie: Oh!Pam: Certainly. Um... you dropped your cell phone.Nellie: Oh, gosh.Pam: Yep.Nellie: Thank you. I'm... so stupid.Pam: No. My goodness. You have a lot going on. With Robert and everything.Nellie: Oh, god,Pam. Don't get me started.Pam: No, I will not.Nellie: You've just got me started. Robert... is... a filthy beast. I mean, don't you get the feeling, he's just thinking of fifteen different ways to do you?Pam: Well -Nellie: Imean, the man talks of nothing but s*x.Pam: But sometimes he talks about flesh... and bacchanals.Nellie: I cannot even tell you what he left on my phone last night.Pam: No... don't. Just put it out of your mind.Nellie:Pam, what is your address? I'm gonna send you a pair of these gold harem shoes. Oh, no. You don't -Nellie: Oh yes. Come on, a little gold Arabian slipper.[SCENE_BREAK]Nellie: Things are looking up. I might be amother soon. I have MasterCard right where I want them. And... I have a new friend. A friend. At work.[SCENE_BREAK]Robert: [Erin opens door] Erin.Erin: There's a call for you on line one.Robert: Who is it?Erin: Hesays salvation. No last name.Robert: Yeah, hello?Andy: [in car] You once put me on a list of the losers in the office. Well, this loser just got your biggest client to give him all their business. So hire me back, thatbusiness is yours. Don't, and I will find another buyer.Robert: You're blackmailing me.Andy: It's just business.Robert: Ah, well, I will not be blackmailed by some ineffectual, privileged, effete, soft-penised debutante.You wanna start a street fight with me, bring it on. You're gonna be surprised by how ugly it gets. You don't even know my real name. I'm the *bleep* lizard king. [disconnects]Andy: Whoa. Well I gave him a chance.[gets out of car, walks to house]David: [opens door] Andy Bernard.Andy: You got a minute?David: Um... I'm in the middle of a piano lesson.Andy: I wanted to see if I could interest you in an investment. DunderMifflin.David: Dunder Mifflin. [closes door] Now... why would I want that? It's worth half of what it was three years ago.Andy: Exactly. And you know better than anyone that with the right management it could be worthtwice what you would pay for it today.David: Why don't you come in? [Andy walks in, closes door][SCENE_BREAK]Harry: So what would you do if you weren't selling paper?Jim: Oh, man, I'd have to sell beets. Probablysubmit them for competitions.Dwight: What?Jim: Yeah! I know it sounds stupid, but nationals has always kinda been a dream of mine.Dwight: How have we never talked about this before? Wait. You don't even careabout nationals.Harry: Nothing?Jim: I don't know. I've always wanted to own a bike shop, but what about you?Harry: I'd like to sell one big thing, you know? Like... a plane. One sale, I'm out.Jim: That soundslovely.Harry: Anyway, Robert's gonna run this company into the ground, so... We won't be doing this in six months."}
+{"doc_id":"doc_8","qid":"","text":"[In a shop in New York City]Jenny: So you, you deliver the dresses and I take the accessories.Seller (showing ornaments of jewels): You have chosen which one?Jenny: Oh, no! I'm helping Blair. I am not invited, thenwe'll see.Seller (hooking him a bracelet on your wrist): See! In case.Jenny: Oh!Seller: We put it on the note of your friend.Jenny: Oh, uh no, no!Seller: The girls invited to the ball are our best customers. You will be ourmodel of an evening and you will make us the bracelet after.[SCENE_BREAK][In the room of Blair]Serena: Kati told me about custom corsets, crowns, wigs ... What is this madness?Blair: This is a masked ball. The goalis that nobody recognizes. But I expected a little something extra for Nate tonight! It's a game, a sort of treasure hunt. It will begin with an index, which will take him to a lady of honor, which will lead to a second index...Serena: Wait, wait! You got the ladies?Blair: If he finds me before midnight, before the masks come off, the treasure is for him!Serena: And what is it? (Blair a mischievous smile) Oh! Well yes, I'm stupid. Sorry.Blair:You know, j'me myself that after all that happened, or rather all that is past, I had to do a little effort.Serena: I find it very romantic B. Really. And if you do not want me to come tonight I would understand ...Blair: Oh,but it will not! No! You can not not be there. In fact, I want you to give the last index. Will you be my maid of honor?Serena: What! You really want to be me?Blair: I see this event as a new beginning. J'te J'lui trust andhave faith.Serena: Well, I'd be more than honored to serve you Majesty!Blair: Either way you go with Dan?[In the kitchen of Humphrey]Dan: A ball?Rufus (Jenny looking package all required): You knew that yoursister's name was Cinderella?Dan: And I bet your charming half-sister is Blair Waldorf!Jenny: It's true that she asked me a few services but I'm glad to help.Rufus: And she has to thank you with a prompt and adress?Jenny: I would have deserved. The ballroom, the costumes ... it's gonna be insane! It's weird that Serena you have not mentioned.Dan: But why? This is not because we went out twice together we are forced toremain glued to each other.Jenny: Well I must deliver it all. Let me know if you need a tuxedo! Dan (Rufus just looking at him): Well what! This is a masked ball, she must say that I will find it rather ridiculous, provingthat she knows me pretty well.[In the room of Blair]Serena: I know! Wait, a masked ball! I know, I know he will find it completely ridiculous. You imagine a wolf and a tuxedo, frankly?Blair: We adore you! To go outwith you would be able to do anything. Even wearing a dress my mother if it is. And then not worry, I'm sure he has nothing planned tonight. Who would ever think to invite this guy?Serena: You're disgusting! I know.In fact, it might be better if there's masks, as if it y'en high school who hates it and recognize them well.Blair: Come on, invites Dan Humphrey. That's an order![In the kitchen of Humphrey]Dan: I did not say that Iwould not. Serena invites me if it would be rude not to give it my company.Rufus: It would be very cruel!Dan: But she did not invite me so ...Rufus: If you want to accompany him, what to do. Be a little daring.Dan: Thefestival takes place in a few hours. I have more time to really prepare myself for the idea of being bold.Rufus (Dan's cell phone ringing): This is Serena?Dan: Oh no, it's Vanessa!Rufus: Vanessa! Been a long time. Youpick right?Dan: But if, of course I'll win. (On phone) Hello! Vanessa?Vanessa (on phone): Winner! It's me.Dan (on phone): So what's new? It's going to Vermont?Vanessa (on phone): You always have my book \"TheCrying of Lot 49\"?Dan (on phone): Uh ... I know.Vanessa (on phone): Will you check?Dan (on phone): Uh ... right! It's been over a year that has not spoken, you make me an old book ads![In Dan's room]Dan (onphone): I know where I belong.Vanessa: Look at the window!Dan: Vanessa!Vanessa: Surprise!Dan: Wow! But I can not believe it!Vanessa: How are you?Dan: I can not believe it's great. -What are you doinghere?Vanessa: My parents let me live with my sister that I finish my studies here.Dan: So that means ...Vanessa: I came to stay.Dan: Wow! It is ...Vanessa: A great new hope?Dan: Oh yes! Wait it is! Yes, of course. Itis still unexpected. This is unexpected news. (His phone rings) Oh!Vanessa: Go pick up. I'm starving and I can smell waffles. Rufus!Rufus: Vanessa!Vanessa: Surprise![In the room of Dan / Blair's Bedroom]Dan (onphone): Serena! Are you okay?Serena (on phone): Hi! Are you okay? Uh ...Blair: Go go ahead.Serena (on phone): Uh ... I actually wanted to know if you had anything planned tonight?Dan (on phone): Uh ... Tonight?Nah, nah, nah, nothing. Why?Serena (on phone): Super because I have a night, finally you will surely find it completely sucks, but ...Dan (on phone): Always try.Vanessa: Even cooler, these waffles are screaming! Thekitchen of Rufus failed me. It's true! Hey Rufus! You got whipped cream?Serena (on phone): Who was that?Dan (on phone): Uh ... It is my sister. What-you wanted to tell me?Jenny (arriving in Blair's room with anarmful of bags): Hi, this is me! You want me to ask it where?Blair: It's good, you can put it all here. (Showing a small table) I left you a different list.Jenny (taking the list): Ah!Dan (on phone): Hello! There wassomeone?Serena (on phone): Excuse me, uh ... What?Dan (on phone): Uh, you were going to ask you something.Serena (on phone): No, uh ... no.Dan (on phone): Are you sure?Serena (on phone): No, forget it. Thankyou. I must leave you.Dan (on phone): Oh, okay.Serena (on phone): Bye.Vanessa: Well, what do we do tonight?Serena: I need a partner![SCENE_BREAK][In entry of Archibald]Howard: Damn, Anne! I thought I saidno starch.Anne Howard! It's been 19 years we're going in the same dyer. Your shirts are ironed as usual. You know it's not that get upset.Howard: What annoys me is that I want to be perfect for the evening Eleanor.I'm not allowed to make mistakes. Anne Eleanor knows that you are best placed to introduce his company public, it's you she will choose. Be yourself, it will be fine.Howard: Well, j't'appelle office, huh. I must reread theoffer.Nate: Mom!Anne: Oh, Nate!Nate: Is that-Dad is in trouble?Anne: Tales of the work, not worry about that.Nate: Sure.[SCENE_BREAK][On the streets of New York City]Vanessa: Wow! I love New York. Y'avaitcinoch one 'and they went to Woodbury as films for kids: \"Babysittor\" one year showing.Dan: Well, Vin Diesel has to be funny after all.Vanessa: I can not make up my mind, there's too many things. I rather prefer thatyou choose.Dan (evasively): Yes, as you will.Vanessa: You, you do not want us to go to the movies? You were perhaps other projects like a wild s*x with all the rich kids of your private school waiting their inheritancewisely?Dan: Yeah, besides the limousine is waiting for me.Vanessa: Cool! We will tag the tires or even die! So, it makes you weird me being there?Dan: No, why? Why it would make me weird?Vanessa: Because. Youtold me some things when I'm gone.Dan: Things you immediately asked me to withdraw.Vanessa: Because j'quittais New York, but now I'm here.Dan: Yeah, except it's been over a year, you see. It's been a lot ofthings in a year.Vanessa: And I hope you'll tell me everything! Tonight? Last meeting? Angelica? Any chick that ...Vanessa & Dan: Unless sittor Baby!Dan: Okay, I'll book.Vanessa: It's cool to see you Humphrey!Dan:J'te do not say.[SCENE_BREAK][In the office of Howard]Chuck: What is you're looking for exactly?Nate: Evidence.Chuck: What? An aversion that your father committed to starch? J'compatis to death, inherit the neckcollar. You have asked about the money had disappeared?Nate: Yes, he told me he had made the transfer of accounts. The next day, everything was normal.Chuck: Then why you worry? Financial transactions a bitdodgy, parents who yell at ... this is our daily lot. (A packet of drugs from the book falls into the hands of Nate) Chi Chi breaks the coconut! I'm in shock! I thought that you did not use as tea.Nate: It's not forme.[SCENE_BREAK][In the living room of the Waldorf]Blair: Oh no, but that he takes what Dan Humphrey! Serena acted as if nothing had happened but j'vois although she drools. We need to find him someone.Kati:But we will not have time.Isabel: The best ones are already taken this evening.Blair: Stop you scroll! Serena deserves to get hotter. If he has other plans: he cancels them. If he has a girlfriend: it has dropped. And if itis at the other end of the world, chartered a private jet-it! Not disappoint me.Interior decorator: Ca you please? (Proposing a hookah)Eleanor: It is a wonder! Oh!Blair: Do-it was a bang, mom?Eleanor: Honey?Blair: Idid not know you was addict!Eleanor: It's a, a hookah. And it is wonderful. It goes with the Moroccan theme of my evening!Blair: Why you transform our house into an opium den to celebrate your contract withBendel?Eleanor: Why not?[SCENE_BREAK][On the streets of New York City]Blair (on machine): Hi this is Blair! Sorry not to respond to you I'm getting ready for the masquerade ball! So this evening, if you recognizeme, which I doubt. Ciao!Nate (on machine) Hi B. It's me. I, uh ... I really need to talk to you is, this is about my father and, uh ... We must, I wanted to talk to you then call me as soon as you have asecond.[SCENE_BREAK][In the living room of the Waldorf]Jenny (laden with parcels): Uh, I think everything is there.Blair: Thank you're an angel. I do not know what I would have done without you.Jenny: Nah, it'snothing. I thought it was funny.Blair: Good! Besides that you learn things. (Seeing the bracelet Jenny) And you seem to learn fast: very pretty bracelet. Vintage, right? Diamonds seem true.Jenny: That's because theyare. The head of the shop lent me.Blair: Why did he do this? (Jenny embarrassed) Oh my little Jenny! You do still not believe that you were coming tonight?Jenny: I was hoping for a bit, maybe ... Yeah.Blair: You knowthat the graders are not going to a masquerade, it is the rule.Jenny: Yeah I know but as I saw that there were five dresses ...Blair: Oh! This is the bare minimum. Think I do a stain or tear my dress!Jenny: Yeah, sure. Ishould remember. Have fun tonight!Blair: It's yes. And not be sad, your time will come, I promise! Well let j'te I must prepare myself.[SCENE_BREAK][In Serena's room]Lily: Do you think Eleanor Waldorf will find thisplace enough folk? I have a doubt.Serena: Go with a goat! Eleanor hates us to do things by halves.Lily (seeing the ball dress of Serena): I feel that too.Serena: Wait, me about it! In Waldorf, the theme party isperpetuated from mother to daughter.Lily: You're not with Dan?Serena: Uh ... Nah. Dan is already taken tonight.Lily: But by what?Serena: The question is: by whom?Lily: Han, I had not realized. In fact, to be honest, itrelieves me. At your age, do not deprive themselves of papilloner.Serena: You can talk about you! It is your rider sexy tonight?Lily: What? Nah, you're kidding. Who do you want me to go! I'm going to try this dress andsee if I can find a goat. Edward (by mail) \"Hi Serena! Kati Farkas gave me your email. \"Serena (by mail): \"Oh! Hello! Who are you? \"(Looking at his profile) You're not Dan but never mind, it will do.[In the living room ofHumphrey]Dan (answering machine): Hi Jenny! I have a great scoop for you: Vanessa returned to New York. We will s'faire a movie tonight, so I know not if you go to the ball or not but I wanted to know if you wantedto come. So uh ... I'm gonna book it. So, call me.Gossip Girl (his blog): \"Calling all White Knights! Why friends of Serena Van Der Woodsen to find him a suitor? Fairy tales are they at this point out of fashion for theprincesses are reduced to simply a replacement? I may be old fashioned, but to be a happy end, the knight must sometimes move your ass and seal his faithful steed! \"[In Serena's room / In the living room ofHumphrey]Edward (by mail): \"So what do we do tonight? \"Dan (tuxedos on site): It is perhaps time to be bold after all.Serena (by mail): \"You have a mask? \"[SCENE_BREAK][In the living room of the suite of Van DerWoodsen]Serena (opening the door): Nate! Hello! -What are you doing here? J'croyais that you were, uh ... You're going to be late?Nate: I'm sorry to bother you, it's ... You got a minute?Serena: Yes, of course.Between.Nate: Thank you!Serena: Yes. (Nate having him tell it all) It may be an old remnant, something that dates back 80, a memory of a night at the Limelight and the Tunnel ... Our parents were more crap thanus.Nate: This is recent. Yes, and I'm not surprised one second. I reckon my father to problems frica.Serena: You tried to tell him?Nate: Yeah. In fact that annoys me is that it makes me believe that all is well. Looks likemy parents have signed a secret pact to act like robots.Serena: I do not think this is a secret pact if it. I think all our parents have signed it.Nate: It's okay, I'm more a kid. He let me stay away.Serena: Look, if whatyou believe is true, it probably should be scared. So it will take you to be a little more perseverance if you want it to really listen to you. (Nate annoyed) Hey, not give up! (Nate taking his hand) It's better that you go. Imust prepare myself and all that.Nate: Yeah, uh ... I, too, and I thank you for listening.Serena: It's nothing. Yes, that's normal.Nate: Chuck wanted to test the merchandise and B. messaging was on so it was cool thatyou're here.Serena: At your service. See you tonight, okay?Nate: Okay. At any time! Ciao![SCENE_BREAK][In the living room of Humphrey]Vanessa: Hey! Is it-I can enter?Rufus: Oh, hello! You go out with Dantonight?Vanessa: We're gonna get a movie. And you're going where? Humphrey in a suit and tie. Hmm, I smell a tryst but ...Rufus: But my wife left me.Vanessa: Yeah, but what-happens with Allison? Dan told me shewas still in Hudson. J'croyais it was like for the summer.Rufus: J'le thought also.Vanessa: Oh, I see. We'll talk another time, it looks complex.Rufus: Where-I f*cked my keys?Vanessa: You do not need keys, the windowof Dan this is simpler. Where he is anyway?Rufus: It will not be long in my opinion. So, uh ... Dan looked pleased to see you.Vanessa: Why? It surprises you?Rufus: Well, uh ... if I may, when you're gone, you've brokenher heart.Vanessa: And bah I got home. I hated living away from New York, and away from Dan.Rufus: You told him?Vanessa: No, not yet. But I plan to tell her tonight, before or after the movie, I know not yet. I havefound yet. It will not be obvious.Rufus: Yeah.Vanessa: Hmm ... (finding the keys to Rufus)Rufus: Oh! Thank you! Uh ... You know it, uh ... he spent a lot of things in your absence.Vanessa: Yes, that's what Dansaid.Rufus: But you've always been close. I'm sure it'll get.Vanessa: Wish me luck!Rufus: You too!Vanessa: So where are you going dressed like that?Rufus: Oh, it's just a party.Vanessa: With a friend?Rufus: Uh ... It'snot quite the word I would use. See you later!Vanessa (his phone rings) Hello!Dan (on phone): Hey, where is this-that you're in?Vanessa (on phone): I'm with you.Dan (on phone): Oh! Oh, you're ahead.Vanessa (onphone): Yes, j'pouvais not wait.Dan (on phone): Uh ... I tried to reach you before you go, I want a lot.Vanessa (on phone): Because I'm ahead?Dan (on phone): Nah, because, um ... I, I completely forgot that I had anessay to do for Monday so I'll work all night, but, but I rattraperais. Promised, swore!Vanessa (on phone): With Pierogi?Dan (on phone): J't'appelle tomorrow.Vanessa: Jenny! Hello!Jenny: Hi! (Starting in hisroom)Vanessa: Jenny, what does that matter?[SCENE_BREAK][In the living room of the Waldorf]Rufus (arriving with Lily): Remind me why I must see it as a favor!Lily: Rufus! Look around you. Since when you did notattend the greatest figures of our world? Enjoy it to make you understand, to revive your career faltering, for your little gallery became a place in disaster.Rufus: Han, you've become the patron saint of former rockstars!Lily: Oh yeah? You were a star? Listen, go away if you want, j't'assure. Allison would probably furious to know that you come with me this evening, even if it's in your best interest.Rufus: J'me care what Allisonthinks.Lily: So much the better! I'll introduce you to our hostess. Eleanor!Eleanor: Ah!Lily: This is divine! Really, it's like to Marrakech.Eleanor: Oh Lily! Nan but what a surprise! I did not know if you would be in goodcompany.Lily: Oh!Eleanor: Is not he cute!Rufus: I'm not ...Lily: It's Rufus Humphrey.Eleanor: It is a pleasure.Rufus: Enchanted.Lily: That's good couscous that I see there?Eleanor: Yes, help yourself!Bart (accompaniedby Carissa): Hi Eleanor!Eleanor: How are you? Miss Magic!Lily: Wow!Rufus: Have you seen anything?Lily: No, it's nothing. I love her dress.Bart: Lily!Lily Bart!Bart: Good evening!Rufus: Hi!Bart: Uh, I present to youCarissa.Carissa: Yes, enchanted. Carissa! (Reaching for Lily)Lily (the greeting): Hi!Rufus: Rufus! (Shaking hands)Carissa: Magic!Bart: Well, well, glad to have seen you.Lily: Yes, me too.Bart: Good evening.Lily: Youtoo.Carissa: Good evening!Rufus: You and Bart Bass? Ah, j'comprends better! This is to make him jealous that you invited me? Lily Han, j't'en please! This is ridiculous.Rufus: You know I find it pretty quite flatteringactually. But you could have found better than me.Lily: Not in so little time.Howard: Eleanor! Salamalikum!Eleanor: Oh!Howard: How are you? This evening is fantastic!Eleanor: Thank you, you're anangel.[SCENE_BREAK][In Jenny's room]Vanessa: So basically, this girl makes you a slave?Jenny: Nan, her maid instead.Vanessa: That's what Jane Austen called slaves.Jenny: At the same time she ever said that Iwould go to the ball. I render him service or not.Vanessa: Hin, hin! Do not try to find excuses, after all you did you deserve to go!Jenny: J'croyais that you found the masked balls totally cheesy!Vanessa: This is only myopinion. But if you really want to go, it's not that girl that will prevent you.Jenny: Nothing to it, I mean, I even have a dress!Vanessa: I have a friend who works as a costume designer at BAM, we will pay it. Whatelse?Jenny: I have no invitation.Vanessa: We go through the door. What else?Jenny: If Blair sees me she'll be furious!Vanessa: So this is a chance that you wear a mask.[SCENE_BREAK][In the ballroom masked]GossipGirl: With us on the side of the Upper East Side, appearances can be deceiving. Keep your eyes open and beware of familiar faces![Before the ballroom masked]Jack: Welcome! It is here or there?Dan: Well, that'swhere the lights and zigzag over there it's cars, it avoids them better. Wait, you will see clearer without this stuff! (Him touching his mask)Jack: Yeah, it's not stupid.Dan: Hi! Hey, what's your name?Jack: JackHartmann!Dan: Hi Jack Hartmann! I went out into the air.Vigil of the ball: Oh, okay. (She opened the gate)Dan: Thank you![In the entrance to the masked ball]Vanessa (doing so will pass quietly by the back door):Thank you! (Looking at holding Jenny) Well, let me see.Jenny: Look, I know that you disapprove of worldliness to death these rich kids and all, but ...Vanessa: I'll reprogrammerais any hour. (Taking the mini-bag andgiving it a Jenny fan) That I care, it's hideous. Go, go!Vanessa: Han, thank you![In the ballroom masked]Blair: We'll start the party girls.Gossip Girl (Serena dancing with Edward):-What did I tell you aboutappearances? Oh yes, they could be misleading!Dan: Oh!Gossip Girl: But mostly, we do believe that what we see.[In the entrance to the masked ball]Vanessa: Hey! You would not see my girlfriend? It was me who hisbag and I have his key shot. (A guy the ball making him \"no\" to the head)[In the ballroom masked]Blair: Nah, but what does that makes Nate? He should have found Kati & Isa '! It's late and I cooled!Chuck: You'restunning beauty. If I was ya man, I would not need clues to find you.Blair: That I doubt it for a second.Chuck (watching Jenny): Who is this chick?Blair: Probably the kind that embeds the tape.Chuck: This is the kind Ilike.Blair: Forget it! Nate go get and put it in the right direction.Chuck: All in good time. (Starting to see Jenny)Blair: Han!Chuck: Hi dear angel! You must be my lucky charm. (Seeing her wrist) And I have a lucky charmthat has taste.Jenny: It seems not, since I speak with you!Chuck: Beautiful and cruel. Everything I love. You could dance with a poor devil?Jenny: We could burn this step and find a quiet corner.Chuck: I'll take out thechampagne.Jenny: And I the quiet corner.[SCENE_BREAK][In the living room of the Waldorf]Howard: Introduce your company public is a huge responsibility and it is better to rely on his first impression. It is even youwho taught me, Eleanor!Eleanor: You know I adore you, this is not the problem. But you have no experience in this field. I met with counselors in Calvin and I must admit that I found remarkable presentation.Anne:Enough about business, you are bored our hostess. I thought of one thing when your daughter is fiancera with Nate, I would offer him the ring of my great-grandmother.Eleanor: The Van Der Bilt in that person had"}
+{"doc_id":"doc_9","qid":"","text":"Originally written by Adam Chase[Scene: Monica and Rachel's, Phoebe, Chandler, and Ross are there, Rachel is serving brownies.]Rachel: Here you go Pheebs. Who else wants one of my special homemadebrownies?Chandler: I will have one. (Ross and him both take one.)(Phoebe takes a bite and spits it out and screams.)Chandler: Okay, I'm not gonna have one.Ross: Neither will I. (they both put back thebrownies.)Phoebe: No, no, it's just my tooth.Chandler: All right I'll have one. (he and Ross take another brownie,)Ross: So what's a matter, you need a dentist? I've got a good one.Phoebe: No thanks, I have a goodone too. I just, I, I can't see him.Chandler: See that is the problem with invisible dentists.Ross: Why? Why can't you go to him?Phoebe: Because, every time I go to the dentist, somebody dies.Chandler: That is soweird, because every time I go to the dentist, I look down the hygienist's blouse.Rachel: Phoebe, what? Umm...what?!Phoebe: Yeah, yeah, first there was my aunt Mary, and then there was umm, John, my mailman,and then my, my cowboy friend 'Albino Bob'.Rachel: And all these people actually died?Phoebe: Yes, while I was in the chair! That's why I take such good care of my teeth now, y'know, it's not about oral hygiene, I flossto save lives!Ross: Pheebs, come on, you didn't kill anybody, these people just happened to die when you went to the dentist. It's, it's, it's just ah, a coincidence.Phoebe: Well tell that to them. Oh! You can't, theirdead.OPENING CREDITS[Scene: Central Perk, Ross, Rachel, and Phoebe are there.]Ross: Thanks, Gunther. (takes the plate Gunther serves him and Rachel comes up and kisses him) (to Rachel) Hey! (to Gunther)Umm, can I get a napkin too?Gunther: Oh, like you don't already have everything.Phoebe: (trying to bite into an apple) Ow! Ow! (drops the apple in disgust.)Rachel: Phoebe, your in pain, would you just go to thedentist, just go.Phoebe: All right, fine, fine, but if you're my next victim, don't come back as a poltergeist and like suck me into the TV set.Rachel: I promise.Phoebe: Although, don't feel like you can't visit.Joey:(entering with Monica) Hey, is, is, is Chandler here?Ross: (patting his clothes like he is looking for his wallet) No, no he's not.Monica: You guys, Joey just saw Janice kissing her ex-husband.Ross: What? (to Joey) Sowhat are you going to do? I mean how, how are you going to tell Chandler?Joey: Well, I was thinking about that and I, I think the best way would be, to not.Rachel: Joey, you can't keep this to yourself, if you knowabout this, you have to tell him.Joey: It'll kill him. I mean it'll, it'll just kill him.Phoebe: Well, you could wait 'til I go to the dentist, maybe I'll kill him.[Scene: Monica and Rachel's, All are there except for Chandler.]Joey:(looking out the window) Ewww! Ugly Naked Guy is using his new hammock. It's like a Play-Doo Fat Factory.Phoebe: Well, I'm going to the dentist, so listen, okay, just be on the look out for anything that, that, that youcan fall into, or, or that can fall on you, or... All right, just look out! Okay, And um, I also just wanna, I just wanna tell you all that um...... (starts to cry and runs out)Ross: Okay, I have a problem I have to go into workfor a few hours, some kids messed up the Homo Sapien display.Joey: What did they do?Ross: Well, they painted over the word 'Sapien' for one thing, then they rearranged the figures, let's just leave it at that.Monica:So, do you want me to watch Ben for you?Ross: Yes, that's what I was going to ask, thank you.Rachel: Whoa! Wait! Hello! What about me?Ross: You? You! Want to watch Ben? (in the background Monica mouths 'Don'tworry, I'll be here the whole time.' to Ross.) Yes! That'd be great, no, I just wanted to ask Monica, because I know how empty her life is. (Monica sarcastically mouths 'Yeah!' and holds up her thumb.)Joey: Hey-hey,Ross?Ross: Yeah.Joey: I've got a science question.Ross: Hmm?Joey: If the Homo Sapiens, were in fact 'Homo-sapien', is that why there extinct?Ross: Joey, Homo Sapiens are people.Joey: Hey-hey, I'm notjudging.[Scene: Monica and Rachel's, Monica and Rachel are babysitting Ben.]Rachel: (holding Ben) Look Benny, spoon. (moves it back and forth) Spoon. Come on! All right, y'know what I think he's bored.Monica:Here. Ben, do you wanna play the airplane game, do you wanna show Rachel? Come here. (takes Ben) We're gonna do something fun. Okay. (throws Ben up in the air a little bit and catches him) Weee!! (moves intothe living room and does it again) Weee!! (starts to walk back into the kitchen as she does it again, and hits Ben's head on that wooden beam across the ceiling.)[cut to later]Monica: (to Ben) Who's so brave, you're sobrave, yes you are, you're so brave.Rachel: Okay. Okay honey, he's fine, he's fine, let's just put him down. Come here, Ben. (sets him on the couch) See that's a good boy. (to Monica) How could you do that to him!!Ross trusted me, what is he going to say?!Monica: He's not gonna say anything, because we're not gonna tell him.Rachel: We're not?!Monica: No we're not.Rachel: All right, I like that.Monica: Okay.Rachel: So we'reokay, we're okay, we're okay, (starts to exam Ben) aren't we? No, we're not okay, we're not okay, there's a bump, there's a bump.Monica: Oh my God! Well push it in! Push it in!Rachel: I cannot push it in!Monica:Okay, we're gonna need a distraction.Rachel: Okay, okay, okay.Monica: I got it!Rachel: Okay.Monica: The second that Ross walks in that door, I want you take him back to your bedroom and do whatever it is that youdo that makes him go, (high pitched) rweee!!Rachel: Or. We could put a hat on his head.Monica: A hat! Yes! We need a hat.Rachel: We need a hat..Monica: Where are we gonna find a tiny little hat?Rachel: Oh, oh, oh,I'll get 'Rainy Day Bear'!! (runs to get him)Monica: Because he'll know what to do? (Rachel comes out of her room with a bear that's dressed in a rain suit.) Oh my God, you're a genius!Rachel: Oh God, oh God, it'ssowed on though.Monica: Give it. Give it.Rachel: Okay.(Monica takes the bear, grabs his hat, and rips off his head.)Monica and Rachel: Oh!!Rachel: Oh, it's just like a bloodbath in here today.[Scene: The street,Chandler and Joey are walking past a jewelery store.]Chandler: Hey! Hold on a minute, hold on a second. Do you think these pearls are nice?Joey: I'd really prefer a mountain bike.Chandler: Janice's birthday is comingup, I want to get her something speacial. Come in here with me.Joey: Whoa, whoa, whoa, wait, whoa. Do you ah, want to get her something speacial, get her flowers, get her candy, get her gum, girls lovegum.Chandler: That's a good idea, 'Dear Janice have a Hubba-Bubba birthday'. I would like to get her something serious.Joey: Oh, you want something serious. Y'know what you should do, you should get her one ofthose um, barium enemas. Those are dead serious.Chandler: All right. Look, I'm gonna go in here, and you don't buy me anything ever. (starts to go into the store)Joey: (stopping him) No, no, you can't, you can't,okay, you can't, you can't buy her pearls, you just can't, you can't, you can't.Chandler: Why not?!Joey: Oh God. Uh, okay, here's the thing, this is the thing, okay, the thing is...Chandler: What is the thing?Joey: Okay. Iwent down to the 'Mattress King' showroom and, and I saw Janice, kissing her ex-husband.Chandler: (shocked) What?Joey: They were in his office.Chandler: Well she, she wouldn't do that, she's with, she's withme.Joey: I'm telling you man, I saw it.Chandler: Yeah, well, you're wrong! Okay, you're wrong.Joey: I'm not wrong! I wish I was. I'm sorry. Bet that barium enema doesn't sound so bad now, huh?[Scene: Monica andRachel's, Monica and Rachel are dressing up Ben in the entire rain suit from Rainy Day Bear.]Monica: It just makes more sense as an ensemble.Rachel: Right.Monica: Besides, it takes the focus off the hat.Phoebe:(running through the door) No! Oh! You're alive! You're alive!Rachel: See Pheebs, I promised you no one would die, didn't I?Phoebe: Yeah, well, we'll see about that. Can I use your phone? I just wanna call everyone Iknow.Monica: Sure, we have no money, go ahead.Phoebe: (on phone) 'Hey! You're not dead! Okay, see ya!'Ben: Monica.Monica: Oh my God! He just said my name! Did you hear that?Ben: Monica bang!Rachel: Okay, Iheard that.Monica: Did he just say 'Monica bang'?Rachel: Uh-huh.Monica: Oh my God! He's gonna rat me out!Ben: Monica bang!Monica: Oh-ho-ho, sweetie, sweetie, you gotta stop saying that, now. It's no big deal, it'snot even worth mentioning, you see we all do it all the time. See watch this, Ben, Ben, Ben. (goes over and starts hitting her head on the post) Ow, Monica bang! (does it again) Everybody bang. (repeats) Ben bang.(repeats) Rachel bang. (repeats) Bang, Rachel bang! Oh, isn't that fun?Rachel: (goes over and hits her head on the post) Look at that! (repeats) Look at that! (repeats) We all do it. (repeats) Okay, I'm stoppingnow.Monica: You okay?Rachel: Oh yeah! Y'know, if it's not a headboard, it's just not worth it.[Scene: Chandler and Joey's, Chandler is waiting for Janice to arrive, and is angrily fllipping through a magazine.]Janice:(entering) How's my Bing-a-ling?Chandler: Ah, I don't know, you tell me. Anything you ah, wanna tell me, because, if you ah, you should, if you, you would, tell me.Janice: Why are your eyes so white?Chandler: Youtell me! Maybe, it's because I was just fooling with my ex! Oh no-no-no-no, no-no-no-no, that was you!!Janice: Oh my God!!Chandler: All right!Janice: How did you know?Chandler: Joey told me, he saw you twokissing.Janice: In the park?Chandler: No! In his office! How many kisses were there?Janice: Just those two!Chandler: Wh-wh-why, wh-why, why, why was there kissing!? There should be no kissing!!Janice: Oh, I'msorry honey, I'm so, so, (nasally) haaaaa! I'm so, so sorry, I just (nasally) haaaaaa! But I, oh what happened was, I-I-I can't breathe. Can you get me a bag, or something?Chandler: (giving her a bag) Here.(Janicestarts to breath into it and sucks in the reciept, and then spits it out.)Janice: The receipt.Chandler: I'll take it! All right look, I gotta know. Are you finished with me? (Janice shakes her head no) Are you finished withhim? (Janice shakes her head no) Do you still love him? (Janice shakes her head yes) Do you still love me? (Janice shakes her head yes) All right look, (grabs the bag) I'm gonna need an actual answer here okay, sowhich is it, him or me? (his phone starts to ring)Janice: I don't know.Phoebe: (rushing in) Okay. If you're alive you answer your phone![SCENE_BREAK][Scene: Monica and Rachel's, Monica, Rachel, Phoebe, and Joeyare there.]Monica: Okay, Ben, I won't tell your daddy that you had ice cream for dinner, if you don't tell about our little bonking incident.Rachel: Monica, number one, I don't think Ben understands the concept ofbribery, and number two, I... (Joey starts laughing in the background) (to Joey) What?!Joey: You said number two.Rachel: I also said number one.Joey: I know. (giggles harder)Ross: (entering) Hey! Everyone.Rachel:Hi!Ross: How's my little boy?Rachel: He's perfect, he's never been better.Ross: (noticing the outfit he is wearing) What'd you do, take him whaling?Ben: Monica.Ross: Oh my God, he just said your name, that's great!Good job Ben.Ben: Monica bang!Monica: Oh that's right, that's what I'd sound like if I exploded.Phoebe: Woo-Hoo! The curse is broken! I called everybody I know, and everyone is alive.Joey: Uh.Phoebe: What?Joey:Ugly Naked Guy looks awfully still. (Phoebe runs to the window and gasps.)[Cut to later, all except Chandler are staring out the window at Ugly Naked Guy.]Phoebe: Oh my God! I killed him! I killed another one! Andthis curse is getting stronger too, to bring down something that big.Rachel: Well maybe he's just taking a nap.Joey: I'm tellin' ya, he hasn't moved since this morning.Monica: All right, we should call somebody.Ross:And tell them what? The naked guy we stare at all the time isn't moving.Rachel: Well, we have gotta find out if he's alive.Monica: How are we gonna do that? There's no way.Joey: Well, there is one way. His window'sopen, I say, we poke him.[SCENE_BREAK][Scene: Chandler and Joey's, Chandler is throwing darts, as Joey enters.]Joey: Hey! Y'know how we ah, save all those chopsticks for no reason we get when we get Chinesefood?Chandler: Yeah.Joey: Well, now we got a reason.Chandler: What?Joey: Well, we're fashioning a very long poking device.Chandler: All right.Joey: Hey uh, what's a matter?Chandler: I talked to Janice.Joey: Oh myGod, is she going back to him?Chandler: She doesn't know. Says she loves us both. Y'know I woke up this morning and I was in love, well I was happy. Y'know it serves me right for buying that twelve pack of condoms.And now I can't even return them, because she choked on the reciept!Joey: What are you ah, what are you gonna do?Chandler: I don't know, y'know. What, what, would you do?Joey: Well, it doesn't matter what Iwould do.Chandler: Come on, tell me.Joey: All right, you're probably not gonna want to hear this but ah, if it was me, and this is just me, (Chandler gets ready to throw another dart) I would ah, I would bowout.Chandler: What? (turns around quickly still ready to throw the dart and Joey quickly ducks and hides behind the chair) What are you, what are you talking about?Joey: They have a kid together, y'know. They're like,they're like a family, and if, I don't know, there's chance they could make that work, I know I wouldn't want to be the guy who stood in the way of that. Are you okay? Do you wanna ah, come poke a nude guy?[Scene:Monica and Rachel's, Ross has just finished putting Ben to sleep, and is entering from Rachel's room.]Ross: Well, he's finally alseep. About that ah, bump on his head?Rachel: Are you, are you, are you sure it's ah, anew bump? I mean, no offense, I've always thought of Ben as a fairly bumpy headed child.Ross: It's okay if he bumps his head, kids bump their heads all the time, y'know, it was your first time babysitting, I figured youdid the best you could.Rachel: (confidently) I did!Ross: I know! I'm saying you have to watch them all the time.Rachel: I did!! I watched! I watched! I watched Monica bang his head against that thing!Ross: Monica didit?(Monica runs into the kitchen from the terrace.)Ross: Monica?Monica: Yeah.Ross: Umm, did you notice anything wierd about Ben today?Monica: No. Why?Ross: Well, I was just playing with him, and y'know we weredoing the alphabet song, which he used to be really good at, but suddenly he's leaving out 'e' and 'f.' It's like they just ah, I don't know, fell out of his head.Monica: Really?!Ross: Oh, and also, he's, he's walkin' kind offunny, his left leg is moving a lot faster than his right leg, and he's in there just sort of y'know... (walks around in a circle)Monica: Oh my God, I wrecked your baby!! (runs into the bedroom)Rachel: I hope it's still funnywhen you're in hell.Monica: (coming out of the bedroom) You jerk! You know how much I love that kid! (starts to chase Ross around the living room)Ross: Monica bang! Monica bang! (runs into one of the posts)Ow!Rachel: I'll get the hat.[Scene: Central Perk, Chandler and Janice are there.]Chandler: Janice, I have something I need to tell you, and I want you to let me get through it, because it's, it's, it's not gonna beeasy.Janice: Okay.Chandler: I think you should go back with Gary. I don't wanna be the guy that breaks up a family, y'know when my parents split up, it was because of that guy. Whenever I would see him I wasalways think y'know 'You're the reason, you are the reason why their not together.' and I hated that guy. And it didn't matter how nice he was, or how happy he made my Dad.Janice: Wow!Chandler: Yeah, well. It's theright thing to do.Janice: Oh! You're right. Oh God. But, before I can say 'good-bye', there's something I really need you to know, Chandler. The way I feel about you, it's like, I finally understand what Lionel Richie'sbeen singing about. Y'know, I mean what we have, it's like movie love, you're my soulmate, and I can't believe we're not going to be spending the rest of our lives together.Chandler: Then don't leave me!Janice:What?Chandler: Forget what I said, I was babbling! Pick me!Janice: No, you were right, you were right. I mean, I-I-I've got to give my marriage another chance.Chandler: No you don't! No, no, no, I say you have togive your divorce another chance.Janice: (standing up) I'm sorry. (hugs him)Chandler: Ohhh. Don't go.Janice: No, I-I-I gotta go. (she starts to walk away, but Chandler doesn't let her go.)Chandler: No. No! No!No!Janice: Honey, honey, people are looking.Chandler: I don't care! (turns around and to the people watching them) I don't care!!Janice: Yeah, um, I'm, I'm leaving now. (tries to get her leg out of Chandler's grasp,she finally does, but Chandler takes off her shoe.)Chandler: You can't leave! I have your shoe!Janice: Good-bye Chandler Bing. (walks out with one shoe)Gunther: Rachel has those in burgendy.[Scene: Monica andRachel's, Joey, Rachel, Monica, Phoebe, and Ross are holding the giant poking device.]Joey: All right now remember, something this big and long is going to be difficult to manouver, fortunately I have a lot ofexperience in that area.Ross: Can we please focus here, a naked man's life hangs in the balance!Phoebe: I'm telling you he's dead. What we are about to have here is a dead fat guy on a stick.Joey: All right, ladies andgentlemen, let's poke. (they start to advance the giant poking device) Steady. Steady. Okay, a little higher. Careful of the angle. Okay, okay, we're approaching the window (as he says this the camera cuts to their viewof Ugly Naked Guy, so that we actually see him!) Thread the needle. Thread the needle.(They thread the needle and start poking him, he then stirs.)Phoebe: He's alive! He's a-live!!!Monica: And yet, we're still pokinghim.Joey: Okay, retract the device, retract the device.Ross: He does not look happy.Rachel: Hey-hey, now he's showing us his poking device.Joey: Hey, that's never gonna make it all the way over here,buddy!CLOSING CREDITS[Scene: Chandler and Joey's, Chandler is listening to a Lionel Richie album]Chandler: (singing) 'I'll hold you close in my arms. (Phoebe enters) I can't resist your charms. And love....'Phoebe:(joining him) 'Love....'Chandler and Phoebe: 'I'll be a fool for you. I'm sure, you know I don't mind.'Chandler: (high pitched) 'No you know I don't mind.'Chandler and Phoebe: 'Yes! You mean the world the world to me.Oh..'Chandler: 'I know.'Phoebe: 'I know.'Chandler: 'I've found.'Phoebe: 'I've found....'Chandler and Phoebe: '...in you, my endless (Phoebe goes high pitched, Chandler goes low pitched) love.' (they both look at eachother.) 'My endless love.' (once again they don't match tones, and they just look at each other)"}
+{"doc_id":"doc_10","qid":"","text":"Countryside Merlin and Arthur are galloping. They reach the top of a hill overlooking a small village.Arthur: You know what you need after a hard day's hunt?Merlin: Sleep?Arthur: A nice cold tankard of mead.Merlin:(muttering) Mead. They arrive in the village, dismount and tie their horses up.Arthur: No better place to measure the mood of your people than the local tavern.Merlin: This is one of those moments where I tell you thatsomething isn't a good idea and you ignore me, isn't it?Arthur: You're learning, Merlin. Slowly, but you're learning. Now remember, in here you're not my servant. I'm just a simple peasant as everyone else. They arewalking in the direction of the tavern.Merlin: The simple's part right.Arthur: What?Merlin: I said the sun is very bright.Arthur: Yeah, yeah it is.[SCENE_BREAK]The tavern The place is packed and noisy. Arthur and Merlinsit at a table. The innkeeper, a plump woman, arrives to take the orders.Innkeeper: Afternoon. What'll it be? Oh, you're a handsome fellow!Arthur: (swelling with conceit) Well, you wouldn't be the first to sayitInnkeeper: Oh, no sorry, I was talking about your friend here.Arthur: Him?Merlin: Thank you.Arthur: (looking pretty upset) Two tankards of meat, please.Merlin: I was wrong. Coming here was a great idea. The dooropens and a scary man comes in. Chatters stop. He walks through the tavern. Everybody is staring at him.Dagr: Afternoon, Mary. Business looks good.Mary: We have our better days.Dagr: I don't suppose you'llbegrudge me my share then. Mary throws a couple of coins on the bar. He counts the coins.Dagr: And the rest?Mary: That's all we've got. The bandit grabs Mary and threats her with a dagger.Dagr: I'll not askagain.Arthur: Take your hands off her. The bandit tries to hit Arthur who avoids him, and pushes him into a shelf. They stare at each other.Dagr: I'm going to make you pay for that.Merlin: (laughing) I'd like to see youtry. The bandit whistles and a group of scary men come into the tavern.Arthur: You had to open your big mouth, didn't you, Merlin? A young man stands up.Young Man: You two have got yourselves in a bit of a pickle,haven't you?Arthur: You should get out of here while you have the chance. The young man is drinking a tankard.Young man: You're probably right. The young man holds the tankard to the bandit, smiles and puncheshim on the nose. It's the beginning of the brawl.Merlin: ARTHUR!Arthur: Merlin! Behind you! Merlin ducks to avoid a flying chair. Two big men are threatening Merlin.Merlin casts a spell: Aetslide bencpe. A bench fliesand knocks them out. Merlin goes behind the bar. Mary and Merlin are crushing jugs on bandits. Merlin uses magic to throw a stack of plates on a bandit. The young man is fighting close to the bar.Young man: Pass thejug. He starts drinking. A bandit tries to hit him. He ducks and punches the bandit.Young man: What do they call you then?Merlin: Merlin. They shake hands.Young man: Gwaine. Pleasure to meet you. He turns andbreaks the jug on a bandit's head.Gwaine: Such a waste. The brawl goes on. Arthur is fighting against the chief of the bandits. The man takes his dagger and is about to stab Arthur. Gwaine throw himself in front of thebandit, saving Arthur. The bandit is knocked out and Gwaine is stabbed in the leg. He tries to get up, but he falls and knocks himself on a bench. He lies on the ground unconscious. Merlin comes to examine him.Arthur:How is he? Merlin starts bandages Gwaine's leg.Merlin: Not good. He's losing a lot of blood...[SCENE_BREAK]Outside the tavern The bandit is at the stocks, people are throwing rotten vegetables to him. Gwaine, stillunconscious, is lying on Arthur's horse.Arthur: If this man ever troubles you again, word is to be sent to Camelot. Soldiers will be here within a day.Mary: How can you make a promise like that?Arthur: Because I'm theKing's son. Prince Arthur.Mary: Prince Arthur! Prince Arthur in my tavern! Arthur and Merlin are leaving the village.Mary: Come on! The villagers throw more rotten vegetables at the bandit in stocks --- Opening Credits--- Merlin s chamber Arthur and Merlin are carrying Gwaine onto Merlin's bed. Gaius takes a look at the wound.Gaius: Merlin, fetch me some fresh water, towels, needle and a silk thread.Merlin: And honey?Gaius: You'relearning. It helps fight the infection.Arthur: But he'll be all right?Gaius: Providing he's strong.Arthur: He's that, all right. The man saved my life, Gaius. He's to be given anything he needs. Arthur leaves theroom.[SCENE_BREAK]Merlin's chamber, the next morning Gwaine is waking up. Merlin comes into the room, carrying a tray with food.Gwaine: What am I doing in this bed?Merlin: You were wounded. Arthur wanted tomake sure that you were treated by his physician.Gwaine: Arthur?Merlin: Prince Arthur. You saved his life.Gwaine: If I had known who he was... I probably wouldn't have. He's a noble.Merlin: Yeah, but he's a goodman.Gwaine: (snorting) if you say so.Merlin: Well, you're a hero. The King wants to thank you in person. Gwaine almost spits what he is drinking.Gwaine: Please, no. I've met a few kings... Once you've met one, you'vemet them all.Merlin: He'll probably give you an award.Gwaine: I'm not interested. Besides, I've got everything I need right here.Merlin: Why did you help us?Gwaine: Your chances looked between slim and none. Iguess I just kind of liked the look of those odds.[SCENE_BREAK]Arthur's chamber Merlin is opening the curtains.Arthur: How's Gwaine?Merlin: Recovering... Merlin looks out of the window. Knights are arriving in thecourtyard.Merlin: Who's that? Arthur goes to the window and has a look.Arthur: Ah, Sir Derian! He's here for the melee.Merlin: Oh, yeah the tournaments where the knights ride around hitting each other with bluntweapons for no good reason.Arthur: A little more to it than that...Merlin: Really? All I've ever seen is people getting the seven bells knocked out of them, so the last man standing can be called the winner.Arthur:(patronizing) the melee is the ultimate test of strength and courage.Merlin: Are you sure we are talking about the same thing?Arthur: Well I wouldn't expect you to understand. You're not a knight.Merlin: Well, if itmeans I don't get clobbered round the head, I'm glad of it.Arthur: Well, I'm afraid it doesn't. Arthur throws a cup at the back of Merlin's head.Merlin: Ouch!Arthur: I need that lot cleaned by noon. Merlin rubs his neckand leaves the room.[SCENE_BREAK]A village, in the house of an old sorcerer, CylferthCylferth: The Stulorne blades, just as you requested. The two bandits inspect the swords.Ebor: They're blunt.Dagr: That in onlyhow they appear. Dagr cuts Ebor's shirt with the sword. They both laugh loudly.Cylferth: Why should you want such a weapon?Dagr: That's none of your business old man. You have the crystals?Cylferth: Money first.Dagr gives the old man a purse. He comes back with a casket, containing crystals. Dagr wants to take them.Cylferth: Not yet! He casts a spell on the crystals.Cylferth: (chanting) Pecce treowan andwlitan heora framgesihoe eallra. The crystals start shining. The old man gives Dagr the casket.Cylferth: The wearer of these crystals will be able to take on the form of whoever's blood they touch.Dagr: Thank you.Cylferth: Thank you.He starts counting the coins from the purse when Chief stabs him in the back.Ebor: Now what?Dagr: Now, Ebor, we can take our revenge on Prince Arthur of Camelot. They both burst out laughing and they leave thehouse.[SCENE_BREAK]Merlin's room Gwaine is putting on his boots. Church bells chime. He goes to the window, opens it and looks down at Camelot.[SCENE_BREAK]Street of Camelot Gwaine is walking, he noticesGwen. He snatches a flower and catches Gwen to give her the flower.Gwaine: I believe this belongs to you.Gwen: I don't think so. It's not my colour.Gwaine: Well, let us see. Gwaine puts the flower in Gwen'shair.Gwen: I bet you've got a whole bunch of those to hand out.Gwaine: Yours is the only one. Gwen smiles and tries to leave.Gwaine: I'm Gwaine. Gwaine takes out his hand, they shake hands, but Gwaine does not letGwen go.Gwaine: You haven't told me your name. He keeps holding Gwen's hand.Gwaine: You look like a princess to me. So it's probably something like Sophia or Esmeralda! That's it! Princess Esmeralda! Gwainebows to Gwen.Gwen: Stop it, people are staring.Gwaine: Not until you tell me your name.Gwen: It's Gwen.Gwaine: There, that wasn't so hard, now was it? Gwen tries to move past him. He tries to take abasket.Gwaine: A princess should not have to lump her washing around.Gwen: Unfortunately, I'm not a princess.Gwaine: Ah, but you see, you are to me. She giggles.Gwaine: This is not working is it?Gwen: No, notreally. But I like that you tried and that you know when to give up. She takes the flower out of her hair.Gwen: You'd better have this in case someone else takes your fancy.Gwaine: I've eyes only for you.Gwen: I'msure. Gwen goes finally goes her way, Gwaine chuckles and goes his way.[SCENE_BREAK]In the woods Dagr and Ebor are spying on two knights who are camping.Sir Ethan: How much further would you say it is fromCamelot?Sir Oswald: Half a day's ride. The journey is almost over.Dagr: It is for you. Crackle of branchesSir Ethan: Oswald! Dagr stabs Oswald. He starts fighting against Ethan. Ethan is stabbed in the back by Ebor. Aservant runs out of one of the tents. Ebor sees him.Ebor: Dagr! Dagr throws a dagger to the servant and kills him. The two bandits giggle.Dagr: The crystals. Ebor hands him the casket. Dagr takes one of the crystalnecklaces and wipes the blood of his sword on it. The crystal shines. Then he put on the necklace. Oswald is still lying dead on the ground. Another Oswald is standing by him. He's touching his face.Ebor: You look good,Dagr.Dagr/Oswald: Sir Oswald! Ebor bows to him.Ebor: Sorry, sir.Dagr/Oswald: That's all right. Dagr takes the second necklace.Dagr/Oswald: Your turn. Then we can take our rightful place in the melee. Dagr/Oswaldand Ebor/Ethan are riding to Camelot.[SCENE_BREAK]Castle courtyard Arthur, followed by Merlin, walks down the steps to welcome the two knights.Arthur: Sir Oswald! The knights dismount.Arthur: I didn't think you'dbe brave enough to show up.Dagr/Oswald: And miss the chance of putting you on your backside? They hug.Arthur: You've never managed it before.Dagr/Oswald: That was then. This is now. Arthur punches him andturns to the other knight who introduces himself.Ebor/Ethan: Sir EthanArthur: This is my servant, Merlin. He loves hard work, so anything you need, just give him a call.Dagr/Oswald: Believe me, Iwill.[SCENE_BREAK]Guests 'chamberDagr/Oswald: MERLIN! Merlin opens the door, carrying a huge trunk with difficulty.Merlin: Here it is! D/O smirks.Dagr/Oswald: What took you so long?Merlin: It weighs aton...Stairs... Seven flights...Ebor/Ethan: That's very kind of you. Merlin is rubbing his arm and about to leave the room.Dagr/Oswald: But you can't leave it there.Merlin: I can't?Dagr/Oswald: It's in the way.Merlin: Ok.Where do you want it?Ebor/Ethan: Over there, by the bed. Merlin takes the trunk and carries it by the bed.Dagr/Oswald: Oh, no. The other side. Merlin drags the trunk on the other side of the bed.Ebor/Ethan: It's goingto get in my way there.Merlin: Where do you want it?Dagr/Oswald: On the top of the wardrobe.Merlin: On the TOP?Ebor/Ethan: You're absolutely right, Oswald. That's exactly where it should be. Merlin painfully putsthe trunk on the top of the wardrobe, Dagr/Oswald opens the lock with his sword and everything falls out.[SCENE_BREAK]Gaius's chamber Merlin is slurping the soup almost without breathing.Gaius: It's very hard towork out whether you're eating or inhaling that soup.Merlin: I haven't had anything all day. Sir Oswald had me at his beck and call.Gaius: How is he?Merlin: Awful. He treats me like dirt.Gaius: That doesn't sound likethe young man I knew. He always struck me as a rather kind and thoughtful soul.Merlin: Then he must've changed.Gaius: You must remember that not all masters are good to theirs servants as Arthur. Merlin spitsgreen soup he was eating at Gaius's face.Gaius: Thank you, Merlin.Merlin: Sorry. The door opens and Gwen peeks in.Gwen: Merlin, I think you need to come with me.[SCENE_BREAK]Camelot tavern Gwen and Merlinare staring at a note. Close to them, the innkeeper looks rather cross.Merlin: You drank all this?Gwaine: With some help from my new friends.People in the tavern cheer: Yeah!Innkeeper: He says that he hasn't got anymoney... so it looks like you'll have to pay. The innkeeper grabs Merlin and lifts him from the floor.Merlin: I can't afford this.Innkeeper: Better find someone who can. Gwaine starts laughing and falls on theground.[SCENE_BREAK]Merlin's chamber Merlin helps a staggering Gwaine into his room.Gwaine: You're the best friend I've ever had.Merlin: You seem to have quite a few. They both laugh.Gwaine: I'd love to seeArthur's face when he gets that bill.Merlin: Right. What is it with you and nobles?Gwaine: Nothing. My father was a knight in Caerleon's army. He died in a battle, leaving my mother penniless. When she went to theking for help, he turned her away.Merlin: You didn't know him?Gwaine: Just some stories that I've been told.Merlin: I know how that feels. I met my father just briefly before he died.Gwaine: Why?Merlin: He wasbanished.Gwaine: What had he done?Merlin: Nothing... He served the king.Gwaine: But the king turned against him. That doesn't surprise me.Merlin: Arthur's not like that.Gwaine: Maybe, but none of them are worthdying for, huh! Gwaine laughs, hits his head on the wall and goes on laughing.[SCENE_BREAK]Arthur's chamber, the next morning Merlin enters carrying a tray with food.Merlin: Sorry, I know I'm late.Arthur: Not atall.Merlin: Um, good...Arthur: Are you sure you're all right? You're not sick? Unsteady, about to burst into a song.Merlin: No. Why? Arthur takes a note and start reading.Arthur: 14 quarts of mead, 3 flagons of wine, 5quarts of cider.Merlin: I can explain.Arthur: 4 dozen pickled eggs!Merlin: That was Gwaine. He went to the tavern and... he couldn't pay for it.Arthur: So you said I would?Merlin: Mmm, if I hadn't, that innkeeper hewould have strung us both up.Arthur: I fail to see the downside.Merlin: You said he should be given anything he needs.Arthur: FOUR DOZEN PICKLE DEGGS!Merlin: I'm sorry. I'll pay for it.Arthur: You most certainlywill...[SCENE_BREAK]Throne hallGwaine: Arthur's a thoroughbred little braggart. Gwaine and Merlin are polishing boots.Merlin: Why?Gwaine: Making us to this.Merlin: I think it's fair.Gwaine: For the entire army!Gwaine points at dozen of boots waiting to be polished.Merlin: If you admitted your father was a knight you wouldn't have to...Gwaine: Maybe, but I'm not making the same mistakes he did. Anyway, my father alwaystreated his servants well.Merlin: You didn't know him!Gwaine: Well, I like to think that he did. What about yours?Merlin: No. He didn't have any servants. He didn't have anyone...Gwaine: When did he die?Merlin: Abouta year ago... I'd just wish I had the chance to know him better. There's so much he could've taught me.Gwaine: But you did get to meet him.Merlin: Yeah.Gwaine: If there's one thing that I learnt from my father's life,it's that titles don't mean anything. It's what's inside that count. Gwaine slaps Merlin's knee with a brush.Merlin: Ow![SCENE_BREAK]Outside the castle Arthur is practicing; he is attacking a dummy dressed as aknight.Dagr/Oswald: You look like you need a bit of practice.Arthur: Ah? Do you think so?Dagr/Oswald: I know so. Dagr/Oswald gestures to Merlin to get a sword. Arthur and D/O start fighting.Arthur (bragging): You'rerusty. You're not as quick as you used to be.Dagr/Oswald: Still quick enough to hit you.Arthur: I thought you were left-handed.Dagr/Oswald: Yes I am. I... just wanted to give you a chance. Dagr/Oswald changes handto hold his sword.Dagr/Oswald: How about we make this more interesting? 50 gold coins first clean hit.Arthur: Make it a hundred. Arthur manages to pin his arm, Dagr/Oswald cannot fight any more.Arthur: You cankeep your money. Arthur, satisfied, leaves the field.Ebor/Ethan: Don't worry, in the melee there'll be two of us.Dagr/Oswald: With the Stulorne blade, I'll fillet the little brat. Merlin seems to have overhead theconversation. Dagr/Oswald spits.[SCENE_BREAK]Guests 'chamber Merlin is bringing pieces of armour in the room. The he starts removing dirty plates from the table. He discovers 2 swords. He tries to examine theblades and he gets cut by one of them. Dagr/Oswald and Ebor/Ethan enters the room.Dagr/Oswald: What're you doing with that, boy?Merlin: I was just tidying...Dagr/Oswald: Keep away from things that don't concernyou. Merlin takes the dirty plates and leaves the room.[SCENE_BREAK]Gaius's chamber Gaius is bandaging Merlin's finger.Merlin: To the eye the sword appeared blunt, but when I touched it...Gwaine: You were lucky...I've seen those blades in action. They are forged using sorcery.Gaius: But what would they want with such a blade?Merlin: I think they mean to kill Arthur in the melee.Gaius: But in front of all those people?Gwaine: It'sthe perfect cover. If they succeed, nobody will suspect it was intentional.Merlin: I need to warn Arthur.Gaius: Merlin, Sir Oswald is a knight; he comes from a well-respected family. You can't accuse him without aproof.Merlin: Then we need that blade...Gwaine: I'll get it.Merlin: What if they catch you? What reason would you have to be in Sir Oswald's chambers? No, it's safer if I do it.[SCENE_BREAK]Guests' chamber Oswald isasleep. Merlin sneaks into the room and opens a big trunk, where he finds the blade. Then he notices the crystal, shining on Dagr/Oswald's chest. He walks toward him and sees Dagr's face in the crystal. Dagr wakes upand grabs Merlin by the hand.[SCENE_BREAK]Gaius's chamberGwaine: Merlin should be back by now.Gaius: I know.Gwaine: I'm going to see what's going on. Gwaine leaves the room.Gaius:Gwaine...[SCENE_BREAK]Guest's chamber Merlin is standing against the wall a dagger is thrown just above his head.Merlin: I was just rearranging the bedclothes. That's all. Dagr/Oswald throws anotherdagger.Dagr/Oswald: You hear that, Sir Ethan. He was just rearranging the bedclothes. Dagr/Oswald throws a third dagger.Ebor/Ethan: My mistake he's not the snivelling thief I thought he was. Dagr/Oswald tries toattack Merlin with a sword. Merlin ducks.Merlin: I thought you might be cold.Dagr/Oswald: Of course you did. Merlin ducks again as Dagr/Oswald is trying to hit him again with his sword.Gwaine: Is there a problemhere?Dagr/Oswald: No. Now leave.Gwaine: You all right, Merlin?Merlin nods and mouths: No.Dagr/Oswald: I thought I told you to leave.Gwaine: I wasn't talking to you.Ebor/Ethan: How dare you speak to a knight likethat? Ebor/Ethan attacks Gwaine. Gwaine disarms him and catches his sword. Dagr/Oswald attacks Gwaine.Merlin: Careful!Gwaine: Don't worry I can handle this thug. They start fighting. Ebor/Ethan attacks Gwainefrom behind, hits Ebor/Ethan in the face and knocks him down. Dagr/Oswald attacks Gwaine again.Merlin: Watch out! Gwaine disarms Dagr/Oswald. Sir Leon comes into the room.Sir Leon: What's going on? Gwainelooks at Sir Leon and Dagr/Oswald knocks him down.Dagr/Oswald: This man attacked me. I demand an audience with the King.[SCENE_BREAK]Merlin and Gaius are walking in a corridor.Merlin: It's not Sir Oswald, it'sthe thug from the tavern, Dagr...He's using a magical crystal to change his appearance...[SCENE_BREAK]Throne Hall Two guards are dragging Gwaine into the hall. His hands are chained.Dagr/Oswald: Sire, this manattacked me with a sword. He tried to kill me. Gwaine is kneeling on the floor.Uther: Is this true?Gwaine: I stepped in to protect Merlin.Dagr/Oswald: I tried to talk to him. He was like a man possessed. I'm sure that SirEthan will back me up.Ebor/Ethan: Indeed. I can vouch for his every word.Gwaine: He's a liar!Uther: I will have your tongue; how dare you speak to a knight in that way!Gwaine: Nobility is defined by what you do, notby who you are. These men are anything but. They are arrogant thugs!Arthur: Gwaine!Dagr/Oswald: You see, Sire, how he behaves.Uther: I have heard enough! For a commoner to attack a nobleman is in violation ofthe knight's code.Dagr/Oswald: I couldn't agree with you more, Sire. He must be an example of.Arthur: Sir Oswald, please...Dagr/Oswald: Nothing less than his execution will give me satisfaction.Arthur: Father, Iunderstand how this must look. It's an embarrassing situation. Sir Oswald is a dear friend and our guest here in Camelot. But Gwaine is my guest here too. He may not be of noble birth, but I can vouch that he has anoble heart.Uther: How can you say that when you see the way he behaves?Arthur: Gwaine risked his life to save mine. I beg you, please. If a knight's word is his bond, then I give you may word. Gwaine is a good"}
+{"doc_id":"doc_11","qid":"","text":"Roof Thunder is rumbling. Merle is on the roof hallucinating.Merle: That's right. You heard me, bitch. You got a problem? Bring it on if you're man enough, Or take it up the chain if you're a pussy. You heard me, youpussy-ass noncom bitch. You ain't deaf. Take it up the damn chain of command or you can kiss my lily-white ass. That's right. That's what I said. You heard me. And then this idiot, he takes a swing, You know, andwell... He laughs hysterically.Merle: Oh, you should've seen the look on his face when I punched out his front teeth. Yeah, five of 'em. Pow! Pow! Just like that. Huh. Oh my god. 16 months in the stockade... Oh, that'swhat them teeth cost me. That was... That was hard time, but by god, it was worth every minute of it Just to see that prick spit his teeth out on the ground. Yes sir, worth every minute. Merle continues to try and pullhimself off of the pipe, but he is unable to get loose.Merle: Oh no. No no! No no! No no! God! God! No no! God! Jesus! No no, merciful Christ! No no. No no. God, help me! God! God! Jesus, please! Jesus, please. Helpme! Come on now! Merle sees Walkers trying to get through the door. They are unable to break it because of the chain that T-Dog put on it.Merle: Help me. No no. Oh, no no. Oh my god. Shh shh shh shh shh. Merlestarts crying.Merle: No, Jesus. Jesus. No no no no no no. Please. I didn't behave, I know. I know I'm being punished. I know. I... Oh, I deserve it. I deserve it. I've been bad. Help me now. Show me the way. Go on, tellme what to do. Tell me. Tell me. God! Merle rolls under the pipe and uses his belt to try. He gets the saw that is lying close to him.Merle: That's okay. Never you mind, silly Christ boy. I ain't begged you before. I ain'tgonna start begging now. I ain't gonna beg you now! Don't you worry about me! Begging you ever! I'll never beg you! I ain't gonna beg you! I never begged you before. Oh sh1t. No! He continues to try and get the sawwhile the Walkers try to break through the door.OPENING CREDITSTruckMorales: Best not to dwell on it. Merle got left behind. Nobody's gonna be sad he didn't come back... Except maybe Daryl.Rick: Daryl?Morales:His brother. Behind them, the group hears Glenn in his car.Glenn: Whoo-hoo! Glenn speeds past them and continues to holler about how much fun he's having.Morales: At least somebody's having a good day. CampJim hangs some cans around the perimeter so they can hear Walkers.Girl: Give it back.Boy: Stop it.Girl: No!Boy: I found it.Girl: No!Boy: Give it.Woman: Mijo, leave your sister alone.Boy: Why?Woman: Come on. Lori isgiving Carl a haircut.Lori: Baby, the more you fidget, the longer it takes. So don't, okay?Carl: I'm trying.Lori: Well, try harder.Shane: If you think this is bad, wait till you start shaving. That stings. That day comes,you'll be wishing for one of your mama's haircuts.Carl: I'll believe that when I see it. Shane chuckles.Shane: I'll tell you what... you just get through this with some manly dignity and tomorrow I'll teach you somethingspecial. I will teach you to catch frogs.Carl: I've caught a frog before.Shane: I said frogs... plural. And it is an art, my friend. It is not to be taken lightly. There are ways and means. Few people know about it. I'm willingto share my secrets. Carl looks at Lori unsure of what to say.Lori: Oh, I'm a girl. You talk to him.Shane: it's a one-time offer, bud... not to be repeated.Carl: Why do we need frogs, plural?Shane: You ever eat froglegs?Carl: Eww!Shane: No, yum!Lori: No, he's right. Eww.Shane: When you get down to that last can of beans, you're gonna be loving those frog legs, lady. I can see it now... \"Shane, do you think I could have asecond helping, please? Please? Just one?\"Lori: yeah, I doubt that. Shane chuckles.Shane: Don't listen to her, man. You and me, we'll be heroes. We'll feed these folks cajun-style Kermit legs.Lori: I would rather eatmiss piggy. Yes, that came out wrong. Shane laughs.Shane: Heroes, son, spoken of in song and legend. You and me, Shane and Carl. Carl and Shane laugh. The conversation is interrupted with the beeping of Glenn'scar alarm.Man: Hey, Dale, can you see what that is?Shane: Talk to me, Dale!Dale: I can't tell yet.Amy: Is it them? Are they back?Dale: I'll be damned.Amy: What is it?Dale: A stolen car is my guess. Glenn pulls in andsays hello.Dale: Holy crap. Turn that damn thing off!Glenn: I don't know how!Shane: Pop the hood, please. Pop the damn hood, please.Amy: My sister Andrea...Shane: Pop the damn hood!Glenn: What? Okay okay.Yeah yeah yeah. Yeah yeah!Amy: Is she okay? Is she all right? He pops the hood so Shane can disconnect the battery to turn the alarm off.Glenn: She's okay! She's okay!Amy: Is she coming back?Glenn: Yes!Amy:Why isn't she with you? Where is she? She's okay?Glenn: Yes! Yeah, fine. Everybody is. Well, Merle not so much.Shane: Are you crazy, driving this wailing b*st*rd up here? Are you trying to draw every Walker formiles?Dale: I think we're okay.Shane: You call being stupid okay?Dale: Well, the alarm was echoing all over these hills. Hard to pinpoint the source. I'm not arguing. I'm just saying. It wouldn't hurt youto think thingsthrough a little more carefully next time, would it?Glenn: Sorry. Got a cool car. The group sees the truck arrive. TruckMorales: Come meet everybody. Survival Camp Andrea gets out of the truck.Andrea: Amy.Amy:Andrea! Andrea runs up to Amy and the two sisters hug.Andrea: Oh!Amy: Oh my god! You scared the sh1t out of me. Morales gets out of the truck and his wife and children runs up to him.Boy: Papi! Daddy!Morales:Hey. Come here, sweetie. Hey. I told you I'd be back, didn't I? Carl is still sad and we can see that he wishes that Rick would come back when the groups return. Shane looks at them.Dale: You are a welcome sight.Dale and Morales hug. Both laugh.Dale: I thought we had lost you folks for sure.Shane: How'd y'all get out of there anyway?Glenn: New guy... he got us out.Shane: New guy?Morales: Yeah, crazy Vato just got intotown. Hey, helicopter boy! Come say hello. Rick gets out of the truck.Morales: The guy's a cop like you. Rick walks up and Shane is the first to see him. Carl and Lori then turn over and he sees Rick. Rick also sees Carland Lori.Rick: oh my god. Carl and Lori run up to Rick.Carl: Dad! Dad! Rick takes Carl in his arms, crying.Rick: Carl. Oh! He kisses Carl on the cheek and approaches Lori. He hugs them both. Shane is surprised to seeRick, but isn't as happy as he should be. He feigns a smile as Lori looks at him. Rick smiles at him and Shane smiles back. Survival Camp Later that night, Rick is sitting down with the group around a fire camp.Rick:Disoriented. I guess that comes closest. Disoriented. Fear, confusion... all those things but... Disoriented comes closest.Dale: Words can be meager things. Sometimes they fall short.Rick: I felt like I'd been ripped outof my life and put somewhere else. For a while I thought I was trapped in some coma dream, something I might not wake up from ever.Carl: Mom said you died.Rick: She had every reason to believe that. Don't youever doubt it.Lori: When things started to get really bad, they told me at the hospital that they were gonna medevac you and the other patients to Atlanta, and it never happened.Rick: Well, I'm not surprised afterAtlanta fell.Lori: Yeah.Rick: And from the look of that hospital, it got overrun.Shane: Yeah, looks don't deceive. I barely got them out, you know?Rick: I can't tell you how grateful I am to you, Shane. I can't begin toexpress it.Dale: There go those words falling short again. Paltry things. Nearby, Ed puts another log on his fire.Shane: Hey, Ed, you want to rethink that log?Ed: It's cold, man.Shane: The cold don't change the rules,does it? Keep our fires low, just embers so we can't be seen from a distance, right?Ed: I said it's cold. You should mind your own business for once. Shane gets up and walks over to Ed's fire.Shane: Hey, Ed... Are yousure you want to have this conversation, man?Ed: Go on. Pull the damn thing out. Go on! Carol, his wife, pulls the log out of the fire. Their daughter, Sophia, watches as Carol pulls the log out.Shane: Christ. Shanestomps the flames out.Shane: Hey, Carol, Sophia, how are y'all this evening?Carol: Fine. We're just fine.Shane: Okay.Carol: I'm sorry about the fire.Shane: No no no. No apology needed. Y'all have a good night,okay?Carol: Thank you.Shane: I appreciate the cooperation. Shane rejoins the other group.Dale: Have you given any thought to Daryl Dixon? He won't be happy to hear his brother was left behind.T-Dog: I'll tell him. Idropped the key. It's on me.Rick: I cuffed him. That makes it mine.Glenn: Guys, it's not a competition. I don't mean to bring race into this, but it might sound better coming from a white guy.T-Dog: I did what I did.Hell if I'm gonna hide from him.Amy: We could lie.Andrea: Or tell the truth. Merle was out of control. Something had to be done or he'd have gotten us killed. Your husband did what was necessary. And if Merle got leftbehind, it is nobody's fault but Merle's.Dale: And that's what we tell Daryl? I don't see a rational discussion to be had from that, do you? Word to the wise... We're gonna have our hands full when he gets back from hishunt.T-Dog: I was scared and I ran. I'm not ashamed of it.Andrea: We were all scared. We all ran. What's your point?T-Dog: I stopped long enough to chain that door. Staircase is narrow. Maybe half a dozen geeks cansqueeze against it at any one time. It's not enough to break through that... Not that chain, not that padlock. My point... Dixon's alive and he's still up there, handcuffed on that roof. That's on us. TentRick: I found you,didn't I?Carl: I love you, dad.Rick: I love you, Carl. Rick kisses Carl goodnight and then joins Lori on the other side of the tent. Rick kneels down and passionately kisses Lori. Rick then lies next to Lori.Rick: I found youboth.Lori: Yeah.Rick: I knew I would.Lori: You're getting cocky now, a little bit.Rick: No. No, I knew. Walking into our home, finding an empty house, both of you gone.Lori: I'm so sorry.Rick: I knew you were alive.Lori:How?Rick: The photos were gone, all our family albums. Lori chuckles and grabs one of them.Rick: I told you so.Lori: Now you're getting cocky, huh? A lot. They look at some photos from Carl's last birthday. Rick handsher the photo from his squad car.Rick: It belongs in here.Lori: Baby, I really thought I would never see you again. I'm so sorry... For everything. I feel like... When you were in the hospital, I just... I wanted to take it allback... The anger and the bad times. But the mistakes... Rick kisses her.Rick: Maybe we got a second chance. Not many people get that. Rick and Lori continue to kiss. Rick notices his wedding ring on Lori'snecklaceRick: I wondered where that went.Lori: Do you want it back?Rick: Of course. Lori takes it off and puts it back on Rick's ring finger. Rick and Lori start to get passionate and Lori turns out the lantern. Rick looksover at Carl sleeping.Lori: He won't wake up. The two proceed to make love. Outside Up on the RV, Shane is sitting alone and watches the Grimes' tent. He puts his hat on and seems very upset. Thunder is stillrumbling. Tent The next morning, Rick wakes up and sees that Lori and Carl are not in the tent. Outside He walks out and sees that everything is fine.Rick: Morning.Man: Morning.Rick: Hey.Woman: Hi.Carol:Morning.Rick: Morning.Carol: They're still a little damp. The sun'll have 'em dry in no time.Rick: You washed my clothes?Carol: Well, best we could. Scrubbing on a washboard ain't half as good as my old maytag backhome.Rick: That's very kind. Thank you. Rick approaches Glenn who is visibly upset that Dale has torn apart some of the spare parts on the car that he brought in.Glenn: Look at 'em. Vultures. Yeah, go on, strip itclean.Dale: Generators need every drop of fuel they can get. Got no power without it. Sorry, Glenn.Glenn: Thought I'd get to drive it at least a few more days.Rick: Maybe we'll get to steal another one someday. Rickfinally finds Lori.Lori: Morning, officer.Rick: Hey.Lori: You sleep okay?Rick: Better than in a long time.Lori: Well, I didn't want to wake you. I figured you could use it. God. What?Rick: I've been thinking about the manwe left behind.Lori: You're not serious. Shane drives back to the camp with water.Shane: Water's here, y'all. Just a reminder to boil before use.Lori: Are you asking me or telling me?Rick: Asking.Lori: Well, I think it'scrazy. I think it is just the stupidest way to break your son... Suddenly, the group hears screaming.Carl: Mom!Lori: Carl? Everyone starts to race down to the screaming.Man: It's over there!Carl: Dad!Lori: Baby!Girl:Mama! Mommy!Glenn: Rick!Lori: Carl! Rick grabs a pole and runs down to the site.Man: Over here, boy! Come on, come on!Lori: Carl! Baby!Carl: Mom!Rick: You're okay?Lori: I've got him. I've got him.Lori: Nothing bityou? Nothing scratched you?Carl: No, I'm okay. The group comes upon a Walker that is busy eating the carcass of a deer. Andrea and Amy come up and notice how disgusting it is. When the Walker sees them, it startsto turn on them. Rick, Shane, Glenn, Jim, and Morales start to beat on it with their objects. Dale finishes it off by chopping its head off with an axe. Dale is shocked.Dale: It's the first one we've had up here. They nevercome this far up the mountain.Jim: Well, they're running out of food in the city, that's what. They hear branch snapping and footsteps. Daryl Dixon comes out of the forest and seems very upset that the Walker.Dale:Oh, Jesus.Daryl: Son of a bitch. That's my deer! Look at it. All gnawed on by this... filthy, disease-bearing, motherless poxy b*st*rd! He kicks the carcass of the WalkerDale: Calm down, son. That's not helping.Daryl:What do you know about it, old man? Why don't you take that stupid hat and go back to \"on golden pond\"? I've been tracking this deer for miles. Gonna drag it back to camp, cook us up some venison. What do youthink? Do you think we can cut around this chewed up part right here?Shane: I would not risk that. Daryl sighs.Daryl: That's a damn shame. I got some squirrel... about a dozen or so. That'll have to do. Suddenly, thehead of the Walker starts to move its teeth.Amy: Oh god.Daryl: Come on, people. What the hell? Daryl shoots it with one of his arrows.Daryl: It's gotta be the brain. Don't y'all know nothing?[SCENE_BREAK]SurvivalCamp The group comes back at camp.Daryl: Merle! Merle! Get your ugly ass out here! I got us some squirrel! Let's stew 'em up.Shane: Daryl, just slow up a bit. I need to talk to you.Daryl: About what?Shane: AboutMerle. There was a... There was a problem in Atlanta.Daryl: He dead?Shane: We're not sure.Daryl: He either is or he ain't!Rick: No easy way to say this, so I'll just say it.Daryl: Who are you?Rick: Rick grimes.Daryl:Rick grimes, you got something you want to tell me?Rick: Your brother was a danger to us all, so I handcuffed him on a roof, hooked him to a piece of metal. He's still there.Daryl: Hold on. Let me process this. You'resaying you handcuffed my brother to a roof and you left him there?!Rick: Yeah. Daryl goes to attack him, but Rick shoves him off.T-Dog: Hey! Watch the knife! Daryl pulls his knife out, but Shane is able to come upbehind him and put him in a chokehold.Shane: Okay. Okay.Daryl: You'd best let me go!Shane: Nah, I think it's better if I don't.Daryl: Choke hold's illegal.Shane: You can file a complaint. Come on, man. We'll keep thisup all day.Rick: I'd like to have a calm discussion on this topic. Do you think we can manage that? Do you think we can manage that?Shane: Hmm?Daryl: Mmm. Yeah. Shane lets him go.Rick: What I did was not on awhim. Your brother does not work and play well with others.T-Dog: It's not Rick's fault. I had the key. I dropped it.Daryl: You couldn't pick it up?T-Dog: Well, I dropped it in a drain.Daryl: If it's supposed to make mefeel better, it don't.T-Dog: Well, maybe this will. Look, I chained the door to the roof... So the geeks couldn't get at him... With a padlock. It's gotta count for something.Daryl: Hell with all y'all! Just tell me where he isso that I can go get him.Lori: He'll show you. Isn't that right?Rick: I'm going back. Lori walks into the RV. Survival Camp Later, Rick gets his police uniform on. He walks past Shane.Shane: So that's it, huh? You're justgonna walk off? Just to hell with everybody else?Rick: I'm not saying to hell with anybody... Not yo Shane...Shane: Lori least of all. Tell her that.Rick: She knows.Shane: Well, look, I... I don't, okay, Rick? So could youjust... Could you throw me a bone here, man? Could you just tell me why? Why would you risk your life for a douche bag like Merle Dixon?Daryl: Hey, choose your words more carefully.Shane: No, I did. Douche bag'swhat I meant. Merle Dixon...The guy wouldn't give you a glass of water if you were dying of thirst.Rick: What he would or wouldn't do doesn't interest me. I can't let a man die of thirst... me. Thirst and exposure. Weleft him like an animal caught in a trap. That's no way for anything to die, let alone a human being.Lori: So you and Daryl, that's your big plan?Glenn: Oh, come on. Rick turns to Glenn and Glenn is upset.Rick: Youknow the way. You've been there before... In and out, no problem. You said so yourself. It's not fair of me to ask... I know that, but I'd feel a lot better with you along. I know she would too.Shane: That's just great.Now you're gonna risk three men, huh?T-Dog: Four. Daryl huffs.Daryl: My day just gets better and better, don't it?T-Dog: You see anybody else here stepping up to save your brother's cracker ass?Daryl: Whyyou?T-Dog: You wouldn't even begin to understand. You don't speak my language.Dale: That's four.Shane: It's not just four. You're putting every single one of us at risk. Just know that, Rick. Come on, you saw thatWalker. It was here. It was in camp. They're moving out of the cities. They come back, we need every able body we've got. We need 'em here. We need 'em to protect camp.Rick: It seems to me what you really needmost here are more guns.Glenn: Right, the guns.Shane: Wait. What guns?Rick: Six shotguns, two high-powered rifles, over a dozen handguns. I cleaned out the cage back at the station before I left. I dropped the bagin Atlanta when I got swarmed. It's just sitting there on the street, waiting to be picked up.Shane: Ammo?Rick: 700 rounds, assorted.Lori: You went through hell to find us. You just got here and you're gonna turnaround and leave?Carl: Dad, I don't want you to go.Lori: To hell with the guns. Shane is right. Merle Dixon? He's not worth one of your lives, even with guns thrown in. Tell me. Make me understand.Rick: I owe a debtto a man I met and his little boy. Lori, if they hadn't taken me in, I'd have died. It's because of them that I made it back to you at all. They said they'd follow me to Atlanta. They'll walk into the same trap I did if I don'twarn him.Lori: What's stopping you?Rick: The walkie-talkie, the one in the bag I dropped. He's got the other one. Our plan was to connect when they got closer.Shane: These are our walkies?Rick: Yeah.Andrea: So usethe CB. What's wrong with that?Shane: The CB's fine. It's the walkies that suck to crap... Date back to the '70s, don't match any other bandwidth... Not even the scanners in our cars.Rick: I need that bag. Okay?Lori:All right. Rick approaches Carl.Rick: Okay? Carl nods yes. Survival Camp Later, Rick and T-Dog approach Dale and Jim.Rick: Rumor is you have bolt cutters.Dale: Maybe.T-Dog: Yeah, we get to that roof, though, we'llneed to cut that chain and the handcuffs.Dale: I never like lending tools. The last time I did... And yes, I am talking about you... Let's just say your bag of guns wasn't the only bag that was dropped. My tools got leftbehind with Merle.Rick: We'll bring your tools back too. Think of the bolt cutters as an investment.Dale: Sounds like more of a gamble. Dale gives it to him.Dale: What do I get in return?Rick: What do you want?Dale:How about one of those guns you bring back? My pick.Rick: Done.Jim: Dale, let's... Sweeten the deal a bit. Now that cube van of yours...Rick: What about it?Jim: The RV's radiator hose is shot. That's a problem if weneed to get somewhere and wanna get very far. And the hose on that van is just about a perfect match... Well, enough that I can make it fit.Rick: I'll tell you what... we get back, you can strip that van down to the baremetal. Daryl beeps on the horn.Daryl: Come on, let's go!Rick: Thank you. Shane stops Rick.Shane: Hey, Rick, got any rounds in the python?Rick: No.Shane: Last time we were on the gun range, I'm sure I wound upwith a few loose rounds of yours.Rick: You and that bag... like the bottom of an old lady's purse.Shane: I hate that you're doing this, man. I think that it's foolish and reckless. But if you're gonna go, you're takingbullets.Rick: I'm not sure I'd want to fire a shot in the city, not after what happened last time.Shane: That's up to you. Well... Four men, four rounds. What are the odds, huh? Well, let's just hope that... Let's just hopefour is your lucky number, okay?Rick: Thank you.Shane: All right. Rick gets in the truck and they take off. Tent Carl is lying down in the tent after Rick leaves. Lori comes to see himLori: Hey. You know, I bet they'll be"}
+{"doc_id":"doc_12","qid":"","text":"Ted from 2030: Kids, in my early days of being a professor, I had one simple goal: give a lecture that changes someone's life. Then one afternoon in 2010, I achieved that goal.Ted's classTed: Unfinished. Of all thewords you could use to describe La Sagrada Familia... Brown, pointy, weird... The one that really seems to stick is \"unfinished.\" Why? Because on June 7, 1926, the architect Antoni Gaudi... Whose beard was alsobrown, pointy, weird and unfinished......was run over by a bus. And so, his greatest masterpiece would remain forever...Ted from 2030: But first, let's back up a few days.A few days earlier - The BarBarney: Ted, lookacross the bar. Three chicks: one hot, one kind of hot and one who I'm assuming is really funny. We ride! What's wrong?Ted: I don't know. Got a burger coming.Marshall: Bro, I told you, if you ever need a wingman,I'm your guy.Barney: Yeah, I'm not going to go through that again.[FLAHBACK]Barney: Hi. Barney Stinson.Marshall: And I'm Marshall, Barney's wingman.Barney: Thank you for your time.[END OF FLAHBACK]Barney:Fine. I'll have a three-way with hot and kind of hot while Giggles works the camera. I ride!Robin: So, get this: Last night, I was watching TV, and it turns out, some random satellite channel picks up a certain localChicago newscast.[FLASHBACK](Robin is watching TV in her appartment)TV Speaker: And now, the 11:00 News with Don Frank.[END OF FLASHBACK]Ted: Oh, man, it's bad enough to have to go through a horriblebreakup, but then have that person pop up on your TV? Are you okay?Robin: Well, I'll admit, at first, I felt a little weird. But after the initial shock, I realized something: I've moved on. Finished with that. It was apeaceful moment of closure.Ted: That's great. Good for you.Robin: Yeah, thank you.Lily: Where's the poop, Robin?Robin: Excuse me?Lily: When I was a kid, I had a dog named Bean. Whenever he made the face thatyou're making right now, you just knew he pooped somewhere in the house. Where's the poop, Robin?Robin:I don't know what you're talking about.Lily: Where's the poop, Robin? Robin:There's no poop.Lily: Where'sthe poop? Robin:Okay. So it wasn't entirely a peaceful moment of closure.[FLASHBACK](Robin is watching TV, drinking a beer)Robin: Hey, Don, here's some breaking news: there's a zit breaking ou on your forehead.Finished with that.[END OF FLASHBACK]Robin: Look, I'm not proud, but Don left so quickly that I never got the chance to have that final showdown. So yelling at him, even on TV, felt kind of good. And you know what?Now I truly am over him.Ted: That's great.Robin: Thank you.Lily: Good for you. Where's the poop, Robin?Robin: Damn it! Okay, in the process of truly getting over him, I may have called him and left an... indelicatevoice mail.[FLASHBACK](Robin is on the phone with Don's vocal)Robin: I am gonna kill you. I'm gonna fly to Chicago, kill you, put your stupid face on a deep dish pizza and eat it. And then maybe catch a Bears game.But mostly the killing and eating your face thing.[END OF FLASHBACK]Lily: Give me your phone. We're deleting Don's number.Robin: Don't worry. I am never doing that again. It was a one-time thing.Lily: Prove it.Delete contact.Robin: There. Deleted.(Barney comes back)Marshall: Back already. How was flying solo? And by \"solo,\" I mean so low that you got shot down.Barney: Look, I didn't get shot down. Trust me, I'll get theyes. Barney Stinson always gets the yes. This is all part of the plan. After initial contact, I'm now in the ignoring phase.Lily: Barney, why can't you just take a girl out to dinner like a normal person?Barney: Golden rule:I do not buy dinner to get the yes. Dinner's a very intimate activity. It requires a level of connection and eye contact that s*x just doesn't. Call me old-fashioned, but I need to have s*x with a girl at least three timesbefore I'll even consider having dinner with her.Ted from 2030: The next day, at the university, I had a surprise visitor.At the universityTed: What are you doing here? Oh, God! You're dating one of my students. It'sRachel, isn't it? Barney, I know she wears provocative sweaters, but she's 19! Now I'm gonna have to hear all about it, right? Go on, tell me every detail.Barney: No, you pent-up old perv. I brought you a present.Recognize this?Ted: It's my building.Ted from 2030: Kids, you may remember that, a few years earlier, I was chosen to design the new Manhattan headquarters for Goliath National Bank. It was the opportunity everyarchitect dreams about. And when the project was ultimately scrapped... it broke my heart.Barney: Do you remember how awesome it was to be co-workers... Nay, bro-workers?Ted: Wait a minute. Y-You don'tmean...Barney: Ted Mosby, it's back on. We're gonna build your building.[CREDITS OPENING]The barMarshall: This is awesome... You're designing our new headquarters. Now, there will be voices that tell you a hockeyrink on the roof is unfeasible. You've got to shut those voices out.Ted: Actually, I think I'm gonna say no.Robin: No? Are you kidding me?Lily: But designing a building in New York City is your lifelong dream.Ted: I donot want to work for GNB again. Those guys are evil. No offense, Marshall.Marshall: Dude, none taken. Yes, GNB is, the Empire from Star Wars. But the Death Star's gonna get built either way. And don't you think thearchitect of the Death Star is pretty psyched to have that thing on his space resume? I mean, yes, his design was flawed in the sense that a single bullet fired into a particular vent would explode the whole thing.Ted:For all we know, that was the contractor's fault.Marshall: But that won't happen on your watch... you know why? Because you're Ted Mosby! And you are gonna design the most beautiful, ventless, Rebel-proof buildingin Manhattan, with clearly marked emergency stops for every trash compactor on the detention level.Ted: Look, I know this is hard to understand, but right now, I have a quiet, simple, happy little life. And I like it thatway. I know what my answer has to be.Barney's officeTed: I can't take the job, Barney. I'm done with that life. No hard feelings?Barney: Of course not.Ted: All right.Ted from 2030: And I thought that was the end ofthe story. But then that night...The BarTed: I'm telling you, no architect would ever design a giant exposed vent right over a Death Star's core reactor. That's Space Architecture 101. It had to be the contractor. Barney,back me up. Barney. Dude, this is important.Barney: I need another drink.Ted: Marshall, you want anything?Marshall: No, I'm fine.Ted: Okay, I get that he's mad at me for turning down the job, but acting like I'm noteven here?Marshall: Wait, you turned down the job? When?Ted: This morning.Marshall: That's so weird. Just, like, an hour ago, when we were leaving work...[FLASHBACK](Barney's office)Marshall: So, you still thinkTed's gonna take the job?Barney: Please. I'll get the yes. Barney Stinson always gets the yes.[END OF FLASHBACK]Ted: Am I wrong or is that exactly what Barney says when he's putting the moves on a girl?Marshall:Exactly. I mean, it's almost like he's putting the moves on you.Ted: Yeah, more like the opposite. He's been ignoring me all night. Barney wants me to take the job so bad he's putting the moves on me?Marshall: I hopethat's his end game. Actually, I don't. I like you two together.Ted: I don't buy it. That's crazy, even for Barney.Marshall: Okay, well, think about it. We've seen his moves countless times. What does he do after he'sdone ignoring a girl?[FLASHBACK]Barney: Chrissy, I love your glasses.Chrissy: Really?Barney: They totally pull focus up from that whole chin situation you got going on. To Chrissy.[END OF FLASHBACK]Marshall: Thebackhanded compliment to lower her self-esteem... a proven winner.Ted: But Barney hasn't done...Barney: Ted, I admire your loyalty. You've had that hairstyle forever. You don't care that it's out of fashion or that it'sbeen co-opted by the lesbian community. You stick with it. To Ted.Robin's appartment - Lily comes inRobin: Hey, Lily!Lily: Don't \"Hey, Lily\" me. I smelled poop all the way from the hallway.Robin: Oh, no, not thisagain.Lily: Where's the poop, Robin?Robin: Okay, I left Don another message.[FLASHBACK]Robin: \"This just in\" is what I'm gonna say when I'm stabbing you.(END OF FLASHBACK]Lily: But that's impossible. Youdeleted his number.Robin: I tried to. But then this thing popped up on my phone that said, \"Are you sure?\" And I wasn't sure. I can't lie to my phone.Lily:Oh, sweetie, I totally understand. Delete it!Robin: It's not thateasy, okay? You're not just deleting a number, you're deleting a part of your life. You know, all those memories, all those experiences. It's like you're admitting they're gone forever.Lily: I know, sweetie. I know. Deleteit!Robin: Okay, if it's that easy, I'm gonna delete one of your numbers from your phone, see how you like it.Lily: My \"plezh.\" If you can find a number in there that I don't call regularly, I'll gladly delete it.Robin: SuperKicks Karate.Lily: No, not that one. That's my dojo.Robin: You have a dojo?Lily: I took an introductory karate class.[FLASHBACK]Lily: Ops, wrong room. Where do the grown-ups go for the real karate class?Boy: What'sthe matter, lady? You scared?Lily: Of you? Please. I'm a kindergarten teacher.Boy: I hated kindergarten. All three times.[END OF FLASHBACK]Lily: But I'm totally gonna sign up for more lessons.Robin: How long agodid you take that class?Lily: I don't know. It was around the time when everyone was going, \"Wassuuuuuuup!\"Robin: How do you even remember that? Lily, this is a number that you will never dial again.Lily: Imight.Robin: No, no. But you keep it in your phone because it reminds you of a version of yourself that you could be, even if it's a version of yourself that you'll never become. And that's okay.Lily: No, it's not. Okay,you know what? There, gone. Your move, Scherbatsky.[SCENE_BREAK](Ted and Marshall enters the appartment)Ted: I finally know what your kind goes through. I get it now.Robin: For the last time, I don't care howbig it was, it is not the same as giving birth.Marshall: No! Barney's been \"putting the moves\" on Ted.Lily: Oh, that sucks. Although I like you two together.Marshall: No, he's been doing it to try to get Ted to design thenew GNB Tower.Robin: Which moves are we talking about? Did he do the thing where he brags on himself in the form of a complaint?[FLASHBACKS]Barney: Man, every time I take out my business card and women seethe GNB logo, they throw themselves at me. I miss the chase. It sucks! (...) Man, the courtside Knicks seats that are available to all upper level GNB employees are too close to the action. I keep getting sweat on mysuit. It sucks! (...) Man, GNB's benefits package is so comprehensive it gives me the freedom to see any doctor I want. It sucks![END OF FLASHBACKS]Ted: He did.Robin: And the intense eye contactthing?[FLASHBACK]Barney: So, Ted, would you like to split some jalapeno poppers?[END OF FLASHBACK]Ted: Okay. Yep.Robin: And the thing where he establishs intimacy through physical contact?[FLASHBACK]Ted:You know why jalapeno poppers are so good? It's the cream cheese.Barney: That is so true.Ted: Yeah... Cream cheese has a mild flav-flavor so it... it balances out the spiciness of the jal... the spiciness of the...Dude![END OF FLASHBACK]Robin: So at any point in this did you say, \"Barney, I know what you're doing, and it's not going to work. I am not taking that job\"?Ted: Well, I mean, not exactly in those...Lily: You're lovingthis.Ted: No.Lily: You are. You're loving the attention.Ted: It's nice to be wanted, okay? And, yes, this is a new vest. Thank you all for noticing. Oh, that's right, you didn't. Barney did!Robin: Oh, Teddy, you are so goingto spread your legs and design that building.Ted: I am not that kind of architect. So get this...(Ted goes into his room)Lily: Robin never deleted Don's number.Robin: Oh, everyone thinks it's so easy. Give me yourphone. Let's delete one of yours.Marshall: Okay. No problem. If you can find a number that I don't need or shouldn't have in here, be my guest, but good luck. I keep my phone tight.Robin: Edwin.Marshall: Oh, no, notthat one. That's the booker for the club that my band plays at. You know, my all-lawyer funk band... you remember... The Funk, the Whole Funk and Nothing but the Funk.[FLASHBACK](Ted, Lily and Robin are listeningto Marshall's band playing)*Your witness lied so your case is sunk, hah! I sentence you to a life of funk Counselors, how do you plead? Funky. *[END OF FLASHBACK]Robin: You guys played one gig four years ago. I'mdeleting it.Marshall: No, no, we're gonna... we're gonna play another gig again. Probably really soon. It's just we all got super busy, and... We're not going to play another gig again, are we?Lily: Probably not,baby.Robin: See, it's hard to hit that delete button, isn't it?Marshall: Well, it's just that without that number in my phone, I'm just a corporate lawyer working 60 very un-funky hours a week.Robin: Sorry, Marshall. Butif I have to, you have to.Lily: Okay. Your turn.Barney's office - Ted comes inTed: Barney, I gotta tell you something.Barney: Oh, that reminds me. I got you a little airplane. It represents the spirit of adventure. Do youlike it, Ted? Do you?Ted: Stop it. Stop looking at me like I'm the only person in the world who matters. I'm not designing the GNB Tower.Barney: Yeah, I know. You turned it down. We hired someone else.The barTed:Can you believe it? He's resorting to the oldest move in the book. The classic, \"pretend to take the offer off the table so I'll want it more.\" It's so obvious, right? As if that's going to make me be like, \"Oh, God, I nevershould have said no.\"Marshall: It's not a move, dude. I executed the paperwork for the new architect this morning. Barney wasn't lying.Ted: Oh, God, I never should have said no! Come on, GNB didn't really hire a newarchitect. This is just one of Barney's moves.Marshall: It's not a move, dude. The senior partners were getting impatient. I thought you didn't even want the job.Ted: I didn't! I don't! I don't. I don't!Barney's office - Tedcomes inTed: Okay, I'll do it!Barney: What? Ted, it's too late.Ted: I'll design it for half of what you're paying the other architect. And you know I will do stuff they would never do. Lobby stuff.Barney: Wow, half? Ted, onbehalf of Goliath National Bank...Marshall: Okay, it's a move.Ted: What?Barney: Dude!Marshall: There is no other architect. I'm sorry, I'm sorry I lied. I was being Barney's wingman, and I never get to be thewingman.Ted: You guys lied to me?Barney: You're the world's worst wingman. You know what? I'm out of here.Marshall: I can do better. Take me back. You son of a bitch!Ted: Look, I can't do business with people wholie to me.Barney: We only lied to you to make you realize that you want this job.Ted: No, I don't. I mean, I know I said I did, but that's only because I fell for the same creepy, pickup artist voodoo of yours thatcountless women...Barney: 236.Ted:...before me fell for. Wow, respect.Marshall: No... Ted... you want to do this, okay? You're just scared of getting hurt again. But you can't let fear steal your funk. That is good. Thereis a song in there. Excuse me.Barney: Come on, Ted! This is your dream.Ted: No, it's not. Not anymore. And you know what? Letting go of that dream was the best decision I ever made. You guys actually think I havesome lingering itch to be an architect? Work 20 hours a day and weekends? To get ulcers and pull my hair out and worry and doubt myself and then at the end of it all, have the rug pulled out from under me? I lovebeing a professor, okay? All that stupid crap they tell you about how fulfilling teaching is? It's all true. I'm happy, and I'm not letting go of that. My answer's no.The bar - Robin comes inRobin: Hey, guys.Lily: Where'sthe poop, Robin?Robin: How do you do that? You are like a bomb-sniffing dog, except with poop. You are a poop-sniffing dog.Marshall: I think that's just called a dog.Lily: Where's the poop, Robin?Robin: Fine. I calledDon again.[FLASHBACK]Robin: Hey, Don! It's Robin again. Look, I am sorry for all the calls. It's just, I saw you on the news, and it made me a little crazy for a minute. I guess I wasn't as over our breakup as I thought.But I want to say, from the bottom of my heart, I am going to kill you. No... No, I'm not. I am happy for you. And that Asian slut on your Facebook page. She's dead, too.[END OF FLASHBACK]Lily: I thought you deletedhis number.Robin: I did, but it turns out, I memorized it. You can't delete contacts from your brain, Lily.Lily: Well, you have to try. If you ever want to have closure...Robin: I am never going to have closure. Okay?Closure doesn't exist. Okay, one day, Don and I are moving in together, and the next thing I know, he's on a plane to Chicago. It just... ended. And no matter how much I try to forget that it happened, it will have nevernot happened. Don and I will always be a loose end. We'll always be...Ted's classTed: Unfinished. Gaudi, to his credit, never gave up on his dream, but that's not usually how it goes. I mean, usually, it isn't a speedingbus that keeps the brown, pointy, weird church from getting built. Most of the time, it's just too difficult or too expensive, or too scary. It's only once you've stopped that you realize how hard it is to start again. So youforce yourself not to want it. But it's always there. And until you finish it, it will always be...Barney's officeTed: Hey, Barney. Hey, Rachel. Rachel, why aren't you in class?Rachel: Why aren't you in class?Barney: Yeah,Ted. Why aren't you in class? You son of a bitch. I'll call Marshall. We'll draw up the contract.Ted: Not so fast. I'm not that easy.Ted from 2030: And so I made Barney break his golden rule. I made him take me out todinner before I finally gave him the thing he always got. Yes. And even though it didn't happen right away...Robin's appartmentTV Speaker: And now, the 11:00 News with Don Frank.(Robin makes a phone call)Voice:Bueno?Robin: Who is this?Voice: No hablo ingles. Quien es?Robin: I'm sorry. Is this 917-456... I'm sorry, 465... No, wait.Ted from 2030: Robin finally got some closure, too.Robin: Sorry. Wrong number. Finished withthat.Lily arrives at the dojoLily: Hey, punk! Bit of advice. Next time you step on a kindergarten teacher's neck, you better finish the job.Man: I knew this day would come."}
+{"doc_id":"doc_13","qid":"","text":"[What happened in the previous episode.][PREVIOUSLY_ON]Aria: It's too hard to sit in this room every day and call you Mr. Fitz. Okay, I can't pretend like I don't know you.Hanna: I'm really sorry, mom.Ashley: Forwhat?Hanna: The cop.Spencer: We're meeting Melissa's fiancé.Wren: Does she have to know everything?Spencer: Stop, stop. We can't.Wilden: This is no longer a missing person's investigation. It's a murder.Hanna: Isthis waiting thing something you really want, or is it because of your dad?Sean: No, it's me. It's... It's my choice.Maya: So, I'm corrupting you.Ben: What are you so weirded out about?Emily: I think there's somethingwrong with me.Pam: You lost a dear friend. You need to find a way to say good-bye.[In the woods]Hanna: Whose idea was this, again?Spencer: Emily's mom.Emily: The shed was me. My mom just said we should dosomething for us.Hanna: Well, couldn't we do something without mosquitoes?Aria: They're not mosquitoes, they're gnats.Hanna: Whatever! They're small and annoying, and they're flying up my nose.Spencer: Well,they're attracted to your perfume. And your hair product. And your lip gloss.Hanna: So, what are you saying, I attract flies?Aria: Gnats.Emily: Why do I feel like this is the wrong way?Spencer: No, this is it. I rememberthat tree. It's the halfway point. There's 136 steps left to the shed.Emily: Have you been out here since... Alison?Spencer: Me? No. No way.Aria: But you remember that tree.Hanna: You guys, it's not that weird. Imean, we came out here in eighth grade like, every day... even after.Spencer: I think this is totally the wrong place to do this. Whatever you call it.. shrine.Emily: It's not a shrine. It's just a place to remember Alison.What's wrong with that?Spencer: Doing it way out here makes it look like we have something to hide.Emily: You're worried what other people think?Spencer: Well, aren't you? Do you really want to give that creepyDetective more reasons to question us?Emily: Hanna, why are you so quiet?Hanna: I'm trying to keep the bugs in my nose and out of my mouth.Emily: You're allowed to have an opinion on this.Hanna: You want myopinion? I say we hold off and not remember her 'til we know for sure she's not still here.Everybody: What?Aria: What are you talking about?Emily: You think she's still alive?Spencer: Hanna, they found her body.Aria:Stop. I'm officially scared. Can we just not...Hanna: You know, you asked for my opinion. I don't believe she's really gone.Spencer: We went to her funeral!Ashley: Yeah, and when we left we all got a text fromher.Emily: It wasn't her. Someone is messing with us.Hanna: How do you know? And what about all those nasty messages? I mean, how does this \"A\"person know stuff only Ali knew?Aria: Okay, this conversation isgiving me a hive.Hanna: That's a bite. Mosquito.Emily: Spencer, have you gotten any more messages?Spencer: Haven't you?Branches rustlingEmily: What was that? Did you hear that?Aria: Yes, I heard that. I'mstanding right next to you.Hanna: Hello? Is anybody out there?Spencer: It's probably a rabbit.Hanna: Hello?Spencer: It's a rabbit, Hanna. It's not gonna answer you.Emily: Can we just get to the shed?More branchesrustlingHanna: Okay, that is definitely not a rabbit. Someone's out there.Emily: Let's turn around.The girls' cellphones ring[Opening credits][In Hanna's kitchen]Wilden: Morning.Hanna: Where's my mother?Wilden: Iguess she ran upstairs for somethin'. I'm trying to figure out what makes this stuff spreadable. You want a waffle or somethin'?Hanna: No. Thanks.Wilden: There she is. It's canola oil!Ashley: Darren, why don't you getdressed? I'll take care of breakfast.Wilden: Yeah.Hanna: So what, he lives here now?Ashley: Take out the milk.Hanna: Is this a permanent thing?Ashley: Would you keep your voice down, please?Hanna: God, it wasone pair of sunglasses, and they were last season's.Ashley: Hand me the waffles.Hanna: Mom, you don't have to do this.Ashley: Do what?Hanna: Squeeze his grapefruit.Ashley: We will talk after breakfast.Hanna: Idon't eat breakfast, and neither do you.Ashley: Look. Until he gets the store to drop the charges for your shopping spree, we're not kicking anyone to the curb. The last thing we want is an enemy on the policeforce.Hanna: I get it, okay? But I didn't count on having to buy him a father's day card, either.Ashley: Hanna! The situation is delicate. By the way, if you're buying anyone a card, it should be me.[At arestaurant]Byron: Well, you're pretty far into it.Aria: Yeah, I've got, like, 60-some pages left, and I don't want it to end.Byron: You should read her biography next.Ella: The father-worship thing becomes a lotclearer.Aria: Well, I would worship both of you a lot more... if you got me another one of these.Ella: Uh, the poppy seed? We'll split it. Make sure your father doesn't drink all my coffee, please.Byron: Do you like yourteacher?Aria: What?Byron: Your English teacher. Do you like him?Aria: Oh! Yeah. Uh, he's okay.Byron: What's his name again?Aria: Mr. Fitz. Hey, maybe I'll... I'll check out that biography at school. What's itcalled?Byron: I've got a copy of it in my office. I'll bring it home. It might inspire you.Aria: To what, write a novel?Byron: You've got it in you.Meredith: Byron?Byron: Hey! Hi. How you doing?Meredith: Sorry. I didn'tmean to interrupt.Byron: No, no, no, that's okay.[Flashback in the street where Aria sees his father kissing Meredith][Back at the table]Byron: Uh... Um, Aria this is, uh, Meredith Sorenson. She also teaches in thedepartment, uh, my department, and this is Aria, my daughter.Meredith: Oh, Aria! Hi. Of course you are. Did you get my message?Byron: Yes I did, and I'm sorry I haven't had a chance to call you back.Meredith:That's okay, they just need he referral by Monday, and...Byron: I'll get to it as soon as I get back to campus. Is there an e-mail, or...Meredith: Here. So, how does it feel to be home? This town must seem a little dullafter spending a whole year overseas.Aria: Not really.Byron: Okay, well, I'll, uh... I'll send that before lunch.Meredith: Thanks. I'm so glad I ran into you. Nice to meet you. Welcome home.Meredith leavesAria: Whycan't she graduate?Byron: She has. I told you. She's now a teaching assistant. Not mine, but her office is across the hall. I can't pretend like she doesn't exist, Aria. It's a small college.Aria: Mm, not small enough.[Inthe Hastings' kitchen]Veronica: You can't avoid seeing people, sweetie. It is what it is.Melissa: And what's that... Sad? Humiliating? Pathetic? All of the above? Just... take someone else. I don't want to have to explain awedding that's never gonna happen to every last club member.Spencer: Morning.Veronica: Hey.Melissa: Excuse me.Melissa throws wedding magazines in the trashSpencer: Where's Dad?Veronica: He left for theoffice.Spencer: Already? So he ran without me? Why didn't he just knock on my door?Veronica: He was busy. He was helping Melissa dispose of some things that... Wren left behind.Melisssa: Unfortunately, you weren'tone of them.Spencer: How many times am I going to have to say it?Veronica: Oh, girls, please! I can't arbitrate on one cup of coffee.Melissa: Who's calling the paper to pull the announcement? It was hard enoughchanging my status on Facebook!Veronica: I'll take care of the newspaper.Melissa: What about the engagement dinner? Do I have to make that call?Veronica: No, honey, of course not. Just look up the number and I'llleave a message. To Spencer Where are you going?Spencer: I'll eat in my bedroom.Veronica: Oh, no, you won't. I just dry-cleaned your bedspread. Sit at the table.Spencer: I don't think I'm welcome.Melissa: That'snever stopped you before.Spencer: I did not invite your fiancé to kiss me Melissa. For the last time, he made the move on me!Veronica: Spencer, please.Melissa: Right, you just sat there like a throw pillow with yourtongue down his throat!Spencer: Look, I get it! You're upset and I feel for you, but don't dump it all on me. Maybe you should be asking yourself why Wren felt the need to... I'm sorry. Okay? I'm not perfect, but I don'twant to be accused of something that I didn't do!Veronica: Oh, stop please. Both of you! Go get dressed for school. You can take your muffin to go.[In the street]Mona: Ah! Totally love this color. We should've stockedup on a few more tubes.Hanna: Well, I only have two hands. Keep it.Mona: Why, is your mom asking to see receipts?Sean: It's hilarious.Hanna: Sean! What's so funny?Sean: Nothin'. Noel's just out of control. Mm, yousmell good.Noel: Save something for tomorrow night.Mona: What's tomorrow night?Sean: Noel's parents are leaving town.Noel: It means the party of the year is officially on. Think big, think wild, think parental units ina different time zone.Sean: I gotta get to practice. Save that smell.Noel and Sean leaveMona: So, the pressure's on.Hanna: What do you mean?Mona: Not all of us have a Sean to wear to that party, and I'm not gonnaspend the night guarding the bushes so you can jump each other's bones.Hanna: Okay, we're not gonna be doing it in the bushes.Mona: Whatever. Have you guys even done it yet?Hanna: It's not a race, Mona.Mona:Okay mom, seriously. No one's pushing you to be natty ho, but you guys have been going out for months. If you're not together in that way, how do you know you're together-together? How long can you wait beforeyou lose him?[Near Hanna and Mona were]Maya: I was going to offer you a ride, but your bike's faster than my car.Emily: I passed you? I didn't even see you.Maya: I saw you. You took that corner on one wheel.Ben:Got ya!Emily: Ben, stop.Ben: Fine. I can wait one more day. Well, you guys heard, right? Noel's doing his cabin party tomorrow night.Maya: Is this one of Rosewood's pagan rituals?Ben: Kinda. There was definitelysome howling last year.Emily: Why don't you come with us? Please, come. It'll be fun.[In the corridors of the high school]Ezra: Good morning.Aria: Hi.Ezra enters his classroomAria: Russian history?Spencer: Yeah.Aria:How many AP classes does it take until your brain explodes?Spencer: I'm already drowning in there.Aria: Why, what's drowning for you, B+?Spencer: First paper's due Monday, and I've written two words. Myname.Aria: Well, what's going on? Hey, you're not still freaked out about what happened in the woods yesterday, are you? Look, we do not have to do this thing for Ali until we figure...Spencer: No, it's not just that.It's... It's everything. Is there any chance your family wants to adopt me?Toby & Jenna walk in front of themEmily has a flashback - Toby's carrying Jenna.Maya: Who is that?Emily: Toby Cavanaugh.Maya: Who'she?Emily: He's, uh, an older kid who used to go here and got sent away to a reform school or something.Maya: Why?Emily: He had a... He set fire to a garage, and his stepsister... she was in it.Maya: Should I bescared?Emily: What? No.Maya: See you later.Emily: Bye.Aria: He's back, too? When did that happen?Hanna: Maybe she needs help sending radioactive e-mails.Spencer: Yeah, or he may be sending a few of hisown.Wilden: Hanna.Aria: Cops on campus too.Wilden: I just spoke with your principal, asked him if we could have a chat.Hanna: No, I have to get to class.Wilden: Don't worry. You've been excused. Let's go.Hanna &Wilden leaveAria: What is going on? Why just her?Emily: Probably thinks she's the easiest to crack.Spencer: She is.Jenna: Whisper, whisper, whisper. Almost feels like Alison's still here.Flashback in which we see thebarn burning and the girls running[In Wilden's office]Wilden: I keep coming back to this ninth grade shaft, of you and Alison on the steps.Hanna: What about it?Wilden: Well, you made a lot of changes between ninthand tenth grade. Lost some weight, started styling your hair like Alison's.Hanna: Is that a crime?Wilden: No, just an observation.Hanna: No, she helped me make those changes.Wilden: Did she, really? Did she everregret it? Start seeing you as her competition?Hanna: Nobody competed with Alison. You'd be stupid to even try.Wilden: Why?[Flashback at the restaurant of the high school probably]Ali: Ask him. You'll never knowunless you ask. Now.Hanna: Um, Sean? Did you hear about the party at Noel kahn's?Sean: I heard.Hanna: I don't know. I was thinking about going, so I'm just wondering if you want to go too, with me.Ali: Everybody'sgoing. She's going, I'm going. Why aren't you?Sean: Oh, yeah, no, I guess I am.[Back in the office]Wilden: What about this guy ? Did she ever talk about him?Hanna: What?Wilden: Stay with me, Hanna. It'simportant.Hanna: Why? What's the point?Wilden: The point is I'm trying to flesh out the details of that summer.Hanna: So you can ask me how much weight I lost? By making it look like hefty Hanna wanted Alisondead so I could replace her?Wilden: I'm not questioning you as a suspect, Hanna. We're just having a chat. Besides, one can't underestimate how much the past informs the present.Hanna: Really. So, you're still thatsame party boy you were in the class of '96? Did you call me down here to do keg stands?Wilden: Wow, looks like somebody's been doing their own homework.Hanna: I like to know who's joining us for breakfast. And,by the way, my tenth-grade picture isn't even in that yearbook. I had mono and missed the deadline. Now, my makeup picture is in my living room, which you must've seen while you were wearing a towel. Is that howthe police build their cases these days?[SCENE_BREAK][In the corridors of the high school]Spencer: What are you doing? Is that a new phone?Aria: Yeah, I'm checking my Kin. I'll just write on Hanna's wall fromhere.Emily: If she's not answering texts, what makes you think she's checking Facebook?Aria: It's worth a try.Hanna: What's going on?Aria: We've been trying to get ahold of you. What happened in there?Hanna:Nothing, just the same old stupid questions.Spencer: You were in there for an hour, Hanna. What else did he ask?Hanna: Nothing. He just took a couple calls, and I just sat there, waiting for him to shut up.Aria: Well, ishe gonna question all of us alone now?Hanna: Who knows? Look, let's do this at lunch, okay? I have to hit the ladies' before my next class.Spencer: Is she being weird?Emily: She's being weird. I'll see you guys atlunch.Spencer: Bye.[In Ezra's classroom]Aria: Hey.Ezra: Hey. Are you here to ask about the homework assignment?Aria: Do you have plans this weekend?Ezra: I'm thinking we should talk about the homeworkassignment.Aria: So you do have plans.Ezra: I don't.Aria: Okay, well, there's... This opening at the gallery where my mom works, and I promised I'd help out, so if you're free...Ezra: Do you think that's wise, hangingwith you and your folks, a parent-teacher conference over free wine?Aria: Okay, fine. It's a bad idea. What... if we met up afterwards? I could tell them I'm going to Noel kahn's party.Ezra: Maybe you should. Go to theparty.Aria: Why... would I want to do that?Ezra: So your classmates don't suspect you've lost interest in your peers.Aria: Too late. Ezra, I want... Oh.A woman entersMrs Welch: Ezra.. Oh, Sorry. Excuse me.Ezra: No,it's fine. Come in, Mrs. Welch. Um. So, are we clear about the homework assignment?Aria: Yes, totally. If I have any questions, I'll reach out to you.Ezra: Great.Aria: Thank you, Mr. Fitz.[In front of Wren's\"squat\"]Wren: Did your sister send you here?Spencer: God, no. She has no idea I even called you. Things were never great between us, but... now it's like the hurt locker. It just gets worse every day.Wren: I'm sorry tohear that.Spencer: So, you're living here now?Wren: Squatting. It's not exactly the Hastings manor, but I have a whole sofa to myself.Spencer: Wren, I need your help.Wren: We only have the one sofa. Can you sleepon a ping-pong table?Spencer: Look, I need you to tell them what really happened.Wren: I tried. They won't return my phone calls.Spencer: I know I'm not completely innocent in all of this. I've done a lot of stuff thatI'm not proud of, but... not that night. I never wanted you guys to break up.Wren: I don't think it would matter what I said. Once your parents decide how they're gonna think of someone, it's royal decree. You'rebrilliant, you're rubbish. There's very little in between.Spencer: Could you at least try my dad again?Wren: Spencer, put your efforts elsewhere. My guess is that your jail sentence will be commuted the moment youscore a winning point or ace a test.Spencer: This might not be that simple.Wren: Give it time. Look, I know I made a bloody mess of it, and I'm sorry for putting you in the middle of it. But perhaps my real mistake wasfalling for the wrong sister.Spencer: Um, I should go. It's just the 4:00 train, and I have this huge paper to write that's due Monday.Wren: You gotta get back to that wretched place called home, right.[In the girls'locker room of the high school]Emily: Hello? Hello? Anybody here? Hello?Ben appearsOh, God!Ben: Damn! You're jumpy.Emily: How did you get in here?Ben: Walked.Emily: Yeah, well, if somebody catches you...Ben:I'll take my chances. Besides, we need some alone time.Emily: I... need to get dressed.Ben: Don't bother.Emily: I can't do this now. My mom's expecting me.Ben: What's up, Em? Last week you were all over me in mycar. This week I'm some marching band geek with funyun breath. What's going on?Emily: Nothing. I've just... got a lot on my mind, okay?Ben: All right. Maybe you need to relax.Emily: Ben, I can't do this rightnow.Ben: What?Emily: Seriously, stop it. Hey, you're acting strange. Ben, get off me! Get off! Stop it!Toby comes in, and fights with BenThat's enough! Okay? Stop.Ben: Is this creep a friend of yours? Is he the reasonyou're acting like this?Emily: Ben, get over yourself, okay?Ben: Get over myself?Emily: It's done. We're over.[Ella's office]Ella: The owner refuses to use a computer, which is only mildly irritating, because half of thesecontacts died during the Reagan administration. That was fast. This is my daughter, Aria. Also known as my savior, because when I got here, there were about three cups. Thank you, my dear. Uh, this is Meredith. Sheworks with your dad.Meredith: We've met, actually. Nice to see you.Ella: Meredith just wandered in. She's looking for somebody who shows alternative art.Meredith: And your mother's been very helpful. Thank you somuch, Ella.Ella: Oh, you're welcome. So, we'll see you tonight?Meredith: Mm-hmm.Ella: Okay.Aria: Tonight?Ella: Yeah, I invited her to the opening, which may be a success now that we don't have to eat Cobb saladwith our fingers. Thank you. I'll see you later.Meredith: For Sure. Bye-bye.Aria: You can't come tonight.Meredith: Why not?Aria: You know why not, and so do I... But my mom doesn't.Meredith: I don't know whatyou're talking about.Aria: Look, I saw the way you were looking at my dad yesterday. I have eyes, so just find someone who's available. My dad isn't.[The Marins' kitchen]Ashley: How are you getting home? If there'sany drinking, I will pick you up.Wilden: Or I could take you, if you don't mind riding in the squad car. I wouldn't use the cuffs.Hanna: I'll be fine, thanks.Hanna leavesWilden: What? It was a joke.Ashley: So, have youheard from the store? Are they prosecuting or... or not?Wilden: No, I haven't heard, but I have a call into them, so...Wilden takes a bracelet in Hanna's bagAshley: What are you doing?Wilden: Where have I seen thisbefore? It's nice. Is that from you?Ashley: Alison gave it to her.Wilden: That's right. She mentioned that at school today.Ashley: Why were you at her school?Wilden: I was interviewing Hanna again. That's my dayjob.Ashley: Why was my kid being questioned a second time?Wilden: Because she's close to the victim, and because kids keep secrets.Ashley: Not mine. And if you're thinking she knows more than she's letting on,you're out of line. Sticky fingers is a long way off from what you're talking about.Wilden: Okay, easy mama bear. It's just a routine investigation.Ashley: Well, then you're gonna need a search warrant to go through herpurse.Wilden: So, can I help with dinner?Ashley: Yeah.She gives him the pizzaHave it someplace else. Breakfast, too.[At Noel's]Maya: Come on, lighten up.Emily: I should've stayed home.Maya: Why, 'cause you brokeup with somebody? What are you supposed to do, spend the rest of the school year hiding under your bed?Emily: There he is.Maya: Did you do that to his face? Damn. It's a good color on him.Hanna: Hey, Em.Sean:Yo, what just happened?Ben: So, you decided to come after all.Emily: Yeah, I did. Just not with you.[In the Hastings' kitchen]Spencer transfers Melissa's homework on her laptop and puts her name where Melissa's onewas written.Veronica enters, Melissa followsSpencer: Hey. Hi, how was the club?Veronica: Chilly. Nobody who works there can figure out a thermostat. Did you eat?Spencer: Yeah, I made some pasta if you'rehungry.Melissa: I'm not eating pasta. I don't need to be depressed and fat.Veronica: Good point. I'll make a salad. Let me get out of these clothes.She leavesMelissa: Wren called. He told me you went into the city"}
+{"doc_id":"doc_14","qid":"","text":"Scene: The apartment.Sheldon: Hello, I'm Dr. Sheldon Cooper. Welcome to Sheldon Cooper Presents Fun with Flags. Before we get started, I'd like to announce the winner of our design your own flag competition. But Ican't. The only entry was from GameyGamer75, and I know that was a jpeg of your buttocks. Now this week we have a very special episode where we explore the flags of the popular entertainment franchise, Star Trek.And to help me, I'm pleased to introduce Internet personality, former star of Star Trek: The Next Generation, and the only guy I know lucky enough to be immortalized in one sixteenth scale. Set phasers to fun for myfriend, Wil Wheaton.Wil: Hi, Sheldon. Thanks for having me. I'm happy to be here.Amy: Cut.Sheldon: What's wrong?Amy: Sorry, Sheldon, you were brilliant as always. Wil, that was a little wooden.Wil: Wooden?Amy:Don't worry, it wasn't terrible. Just, this time, try to say it the way people sound. And action.Sheldon: My friend, Wil Wheaton.Wil: Hi, Sheldon. Thanks for having me. I'm excited to be here.Sheldon: So, Wil, what doyou have for us first?Wil: Well, this is an exciting one. This is the flag of the United Federation of Planets. Now what's interesting about this flag...Amy: Cut.Wil: What was wrong with that?Amy: It's called Fun with Flags.They're not at half-mast, nobody died. Let's try and keep it upbeat.Wil: Um, no offence, but I've been acting since I was a kid. I think I can handle a Web show without a lot of direction.Sheldon: It's true. In 1982, Wilplayed the voice of Martin the mouse in The Secret of NIMH. You moved me.Amy: You'll have to forgive me. This is my first time directing, I just want it to be good.Wil: So do I.Amy: Great. So, this time let's try morereal boy, less Pinocchio. And action.Wil: And cut. You realize that I'm doing this for free, right?Amy: Yes. And so far, we're still not getting our money's worth. Let's try it again. Everybody's having fun. Andaction.Sheldon: So, Wil, what do you have for us first?Wil: Well, this is an exciting one. This is the flag of the United Federation of Planets.Amy: Cut.Wil: Problem, first-time director?Sheldon: Oh, none that I could see. Isaw a man who loved flags almost as much as I do. I got goose bumps.Amy: He was overacting on purpose.Sheldon: Really? He reminded me of a young William Shatner.Wil: Listen, Sheldon, I'm really happy to do thisfor you, but not if she's gonna be a huge pain in the ass the whole time.Amy: You gonna let him speak to me like that?Sheldon: Well, you're my girlfriend and I don't want you to be upset. Then again, Wil Wheaton's myfriend and I don't want him to be upset. Hmm, this is a sticky wicket. (To Wil) What do you think?Amy: Can I speak to you for a second?Sheldon: I'll be right back. Feel free to play with yourself.Amy: I don't care foryour friend, he's being rude to me. You need to ask him to leave.Sheldon: Amy, I can't just ask Wil Wheaton to leave. He's a minor celebrity. Once you explain who he is, many people recognize him.Amy: Fine. Thenmaybe I should go.Sheldon: Could you? That would solve everything. You are the best. I'll see you at dinner tonight?Amy: You sure you wouldn't rather have dinner with your friend Wil Wheaton?Sheldon: Come to thinkof it, I would! You, little lady, are on fire. Credits sequence.Scene: Howard's bedroom.Bernadette: Every time we eat dinner here, your mother refuses to let me help with the dishes.Howard: Don't take it personally.She likes doing them by herself so she can lick the plates with no one looking.Bernadette: You ready to go?Howard: Yeah, let me just grab a couple of fresh turtlenecks.Bernadette: I don't understand why you keepyour stuff here when there's plenty of room at home.Howard: What are you talking about? All I have here is a few sweaters, books, bank stuff, computers, mail, collectibles, medicine and my electric body groomer. Ooh,there's my plaid dickie. Oh, got this at the Goodwill store for 50 cents. Can you believe it?Bernadette: 50 cents sounds right. Let's go.Howard: You know, it's kinda late. Why don't we just spend the nighthere?Bernadette: Because we don't live here.Howard: I know.Bernadette: Do you? You said when you got back from space you were gonna move into my apartment, but half the time we stay here.Howard: That's nottrue.Mrs Wolowitz (off): Howard, I'm doing laundry. You want me to put anything in for you?Howard: There's some underwear in the hamper.Mrs Wolowitz (off): Oh, good, I got that new stain stick to try out.Howard:Thank you, I only put it on the list two weeks ago. Okay, I see what you're getting at. How about this weekend I'll box up all my things and move them to our place.Bernadette: Thank you.Howard: The lightsabres aregonna look great in the living room.Bernadette: Or in the closet. We can decide later.Mrs Wolowitz (off): Howard, help, my hand's stuck in the garbage disposal.Howard: Let go of whatever piece of food you'reholding.Mrs Wolowitz (off): Are you kidding? It's a perfectly good chicken leg.Scene: The apartment.Leonard: Hey, look who's out after dark, like a big boy.Sheldon: I was out raising heck with Mr. Wil Wheaton. Fourhours more and we would have closed down the HomeTown Buffet.Leonard: I thought you had plans with Amy.Sheldon: Yeah, I did, but then Wil called Amy a pain in the A-S-S. She got huffy and left, then Wil and Iheaded out to dinner. That place really did remind me of my hometown. Because there we also have a HomeTown Buffet.Leonard: Hold on. Wil and Amy had an argument?Sheldon: Yes, quite the kerfuffle.Leonard:Then Amy got mad and left?Sheldon: Walked right out the door.Leonard: And you?Sheldon: Enjoyed a delightful dinner at a reasonable price. The manager recognized Wil and let us sit right next to the frozen yoghurtmachine. Right next to it. I was closer to it than I am to you right now.Leonard: Buddy, I think Amy might be upset.Sheldon: Why's that?Leonard: Because your friend was rude to her, and then you went to dinner withhim.Sheldon: You're just repeating what I said. It's like living with a lactose-intolerant parrot.Leonard: Trust me, call her.Sheldon: Fine. It's a shame you didn't go to dinner with us, because the buffet you're about toenjoy only serves humble pie, a dessert much less tasty than frozen yoghurt. I was this close.Amy (on skype): What?Sheldon: You'll appreciate this. Leonard has some ridiculous notion that you're mad at me. Tell himyou're not mad at me. Go ahead, set him straight.Amy: I'm mad at you, Sheldon.Sheldon: Hmm. Eat one of your Luna bars. Very often when women think they're angry, they're really just hungry.Amy: I'm not hungry.Your friend insulted me, and you didn't do anything.Sheldon: Precisely, I didn't do anything. Now does someone feel like checking her emotional math?Leonard: Keep going, buddy, you're doing great.Amy: Sheldon, I'myour girlfriend, and you should have taken my side. That's it. End of story. Good night.Sheldon: Wow, Amy's mad and Leonard was right. What a weird day.Scene: The Cheesecake Factory.Penny: Hey. Sorry this tookso long. But you used to work here, you know how it is.Bernadette: Kitchen slammed again?Penny: No, I'm a terrible waitress, remember?Bernadette: So, is there anything I can do to help you with the movetomorrow?Howard: Now that you mention it, I was thinking tomorrow might not be great.Bernadette: What's your excuse this time?Howard: No excuse. It's just, you know, I'm Jewish, and technically, we're notsupposed to drive or carry anything on the Sabbath. So this one's on God.Bernadette: That might be a little more convincing if you didn't have a mouthful of bacon cheeseburger.Howard: My religion's kindaloosey-goosey. Basically, as long as you got your schmekel clipped and don't wear a cross, you're good.Bernadette: Howie, you promised you'd move.Howard: And I will.Penny: Yeah, right.Howard: I will. I'm obviouslynot going to live in my mother's house for the rest of my life. I'm not a child.Penny: I've seen her burp you.Howard: She did not burp me. She was patting me on the back, and I happened to burp. Don't you have othertables you should be waiting on?Penny: Yeah, but I told you, I'm not good at my job. Bernadette, listen to me. He is never gonna leave.Bernadette: I'm starting to think you're right.Howard: All right, I've had enough ofthis. I'm a grown man, I have a successful career, for the love of God, I've been to space. I will move out when I'm ready, and I don't need anyone badgering me into it.Penny: Wow, excuse me.Howard: That was justfor her benefit. I'll move tomorrow. I love you. Don't leave me.Scene: Amy's apartment.Sheldon: (Knock, knock, knock) Amy. (Knock, knock, knock) Amy. (Knock, knock, knock) Angry Amy.Amy: What?Sheldon: I'vebeen thinking about what happened, and I hope this gift will make things better.Amy: Star Trek DVDs? Why would I want this?Sheldon: First of all, you're welcome. And furthermore, not being familiar with WilWheaton's body of work, there was no way for you to know you were being rude to a national treasure. Get ready for 130 hours of I told you so. (She hands him back the DVDs and slams the door) Fine. I'll just tell youwhat happens. Episode one, Encounter at Farpoint. Fade in. The new Enterprise heads out on its maiden voyage to contact the Bandi people of Deneb IV. Enter Wesley Crusher, played by my buddy... (Amy opens door,grabs DVDs, slams door again) She's hooked.[SCENE_BREAK]Scene: Howard's bedroom.Raj: Wow. An end of an era.Howard: Boy, if these walls could talk.Leonard: They'd say, why does he touch himself somuch?Howard: Yeah. I can't believe I'm not going to live here anymore. This has always been my bedroom. Right here is where my mom used to mark my height.Leonard: Oh, yeah. Fifth grade. Sixth grade. Seventhgrade. Eighth grade. Ninth grade.Howard: I remember when I was five, hiding under this desk with all my Halloween candy. Had some Peanut M&M'S, went into my first anaphylactic shock and had to be rushed to thehospital. Came home, celebrated with a Snickers, went into my second anaphylactic shock.Raj: When did you figure out you were allergic to nuts?Howard: Sometime around the third Almond Joy.Leonard: Okay. Youwant to start loading this stuff into the truck?Howard: Yeah, I guess. Hey, would you do me a favour? Go on ahead. I just want one last moment alone in my old room.Leonard: We're not standing outside by the U-Haulwhile you fondle yourself.Howard: Fine, let's go.Scene: The Cheesecake Factory Bar.Penny: Hey. What brings you in?Sheldon: Penny, if you wouldn't mind, I'd like to have a conversation about girls.Penny: I had afeeling we'd have a talk like this sooner or later. Are you finally getting fuzz in weird places?Sheldon: Penny, please, I'm on the horns of a relationship dilemma. And for the record, I had a full pubis of hair by the time Iwas 19.Penny: And for the record, bleugh. So what are you drinking?Sheldon: Well, it's been a rough day. I usually go chamomile tea, but I don't think that's going to cut it.Penny: You could have a Long Island IcedTea.Sheldon: Will that calm my nerves?Penny: It's calmed the pants off me a couple of times.Sheldon: Sold.Penny: Oh. So, the heart you got from the wizard giving you trouble?Sheldon: The trouble isn't with me,Penny, it's with your gender. Someday, scientists will discover that second X chromosome contains nothing but nonsense and twaddle.Penny: Yeah, Amy told me what happened. Look, just apologize. It'll warm hertwaddle.Sheldon: It's a Band-Aid at best. See, the core problem is that Amy and Wil do not like each other. Which is baffling because they're both crazy about me. And I like them, which indicates they're bright andinteresting and/or were on Star Trek.Penny: Honey, you can't make people like each other.Sheldon: Not true. Leonard made me like you. And let me tell you, that was a hard row to hoe. Cheers, pal. Ooh. Boy, that is atreat that's hard to beat. Get the Mad Hatter on the horn, I'm having a tea party.Penny: You might want to pace yourself.Sheldon: I drink tea all the time. I think I know what I'm doing.Penny: Far be it from me tocriticize a man with a full pubis. Look, Sheldon, your problem is not Wil Wheaton, okay? Your problem is the way you treated Amy.Sheldon: My problem is I'm out of tea.Penny: Come on, someone insulted yourgirlfriend and you just let him do it. I thought you Texas guys stood up for your womenfolk.Sheldon: Penny, please, I think I've evolved beyond my simple rustic upbringing.Penny: Sorry.Sheldon: On the other hand,that low-down polecat done wronged my woman.Penny: Welcome to Long Island, Tex.Sheldon: Amy deserves better. You know, when we buy the Planter's deluxe mix, she eats all the Brazil nuts so I don't have to lookat them. She's a unique blend of saint and squirrel.Penny: Yeah, that she is. Here you go.Sheldon: I'm a callous egomaniac. She's gonna leave me.Penny: No, she won't.Sheldon: No, she won't. I'm great.Scene:Howard and Bernadette's apartment.Howard: Okay, I have now officially moved out of my mother's house. You are now the only woman in my life who I'll see naked in the bathroom.Bernadette: I know this wasn'teasy. You doing okay?Howard: Oh, I'm fine. It's just her I'm worried about.Bernadette: Aw, she'll be okay. She's a grown woman.Howard: I know. It's just ever since my dad left, I've felt responsible for her.Bernadette:That's a lot for a kid to deal with.Howard: She was just so sad all the time. I was the only person who could cheer her up. Well, me and Ben and Jerry.Bernadette: She's lucky you were there.Howard: You know, she'swhy I first got into magic. I would do little shows for her, hang up a bedsheet like it was a curtain, put on a top hat and cape. And part way through the act, I would say I needed a volunteer from the audience to be mybeautiful assistant and invite her up on stage. I can still remember the way she'd smile. For a few minutes, she'd forget how lonely she was.Bernadette: Aw, crap. Let's go.Howard: Where we going?Bernadette: Grab abox. We'll sleep at your mother's place tonight.Howard: No, but I want to live here.Bernadette: Well, you should've thought of that before you told me the stupid magic trick story.Howard: Can't we talk aboutthis?Bernadette: No husband of mine is gonna break his mother's heart!Scene: Wil Wheaton's house.Sheldon: (Knock, knock, knock) Wil Wheaton! (Knock, knock, knock) Wil Wheaton! Wait, how many was that?Wil:Hey, Sheldon, what's up?Sheldon: Wouldn't you like to know?Wil: Have you been drinking?Sheldon: Just tea. S'the best tea I've ever had.Wil: Why are you here?Sheldon: I'll tell you. I'm from Texas. Need I saymore?Wil: Yeah, actually, a little more would be helpful.Sheldon: You insulted my woman. I'm here to defend her honour. Two! It was two. (Knock, knock, knock) Wil Wheaton! Now prepare yourself for what maycome.Wil: Oh, Sheldon, do you really think we're gonna fight?Sheldon: My fists are not up here because I'm milking a giant invisible cow. They're up to beat an apology out of you.Wil: Okay, I'm sorry.Sheldon: Well,that was a long bus ride for not very much.Wil: Are you okay?Sheldon: You're asking a lot of questions, Wil Wheaton. As a matter of idle curiosity, which of your shrubberies do you feel would benefit from a thoroughvomiting? Never mind, I'll choose. (Vomits) You were so good in Stand by Me.Scene: The apartment.Sheldon: Hello, I'm Dr. Sheldon Cooper. Welcome to Sheldon Cooper Presents Fun with Flags. Get ready for a veryspecial episode where we explore the flags of the popular entertainment franchise, Star Trek. And to help us, I'm pleased to introduce a special guest, surprisingly, it only took gas money and the promise of free food toget him here, Mr. LeVar Burton.LeVar: Hey, Sheldon, it's a pleasure to be here. Well, we've got some interesting flags for...Amy: Cut. Yikes, this guy is worse than Wil Wheaton.Sheldon: I don't know what she's talkingabout, but I'm obligated to agree with her. She's my girlfriend.LeVar: Ah, I hear you, brother. I still get lunch, right?"}
+{"doc_id":"doc_15","qid":"","text":"Psy's officeSummer: Thanks for seeing me on such short notice.Psy: I'm glad you came. What brings you in?Summer: Well, I've changed a lot since I got to college. New friends, new interests, new clothes.Psy: Well,that's perfectly normal.Summer: I know. But... I think throwing myself into all these new things is just a way of avoiding dealing with what happened to my friend...who, um... who died.Psy: Well, grief often comes infive stages.Summer: Yeah, but I haven't really been grieving. Why is this happening? Life is so unfair! I'd do anything to change things. Please, just name it, and I'll do it. Nothing matters anyway. But this is so not fair!I'm sorry, I have rage issues. I think she would want me to move on. So that's what I'm going to try to do.Psy: I'm proud of you, Summer. You've made astounding progress, and all in one week.Summer: It's kind of arelief in a way. Now I can go back to being me.Psy: What do you mean by that?Summer: Well, this whole save the planet thing, it was a crutch, right? And nothing against handicapped people, but crutches? Ew.Psy: Alot of people do change when they go to college.Summer: Well, not me. I love shopping, tanning and celebrity gossip, always have, always will. But I think I have to. If I ever want things to be good with my boyfriendagain.Psy: Summer, just promise you'll take it slow.Summer: Totally. At the airportRyan: Hey, man.Seth: Hey, dude, I know, three hour time difference, but, Ryan, she's going to dump me.Ryan: It's okay, I'mawake.Seth: Oh, good. Ryan, she's going to dump me.Ryan: No one believes that, all right? Summer loves you.Seth: The old Summer loved me. But new Summer is upon us, and Providence is the place that spawnedher.Ryan: Summer is just dealing with what we're all dealing with, okay? She'll come around.Seth: What if she doesn't? This is my last shot. Otherwise, the girl with the violent temper and good hygiene is nothing but achildhood memory.[SCENE_BREAK]Seth: Careful, lady, my girlfriend's going to be here any second.Summer: Shut up, Cohen.Seth: Hey, you just punched me. My baby's back.Généric At the beachSandy: You look goodout there.Ryan: Thanks.Sandy: I got to get you on a surfboard.Ryan: Not a chance.Sandy: How about some breakfast? I could use some intel on Seth and Summer.Ryan: You know what, I can't, but, uh, I think they'redoing all right. You know? Doing the long distance thing.Sandy: How about you? How are you doing?Ryan: Good, good. Better, once I get my first day of work under my belt.Sandy: Well, Pavo Guapo is lucky to haveyou working there.Ryan: Me, too.Sandy: Now I got an excuse to come by for your shrimp tacos.Ryan: Yeah, Kirsten warned me about that. You're limited to two a week.Sandy: Oh! I knew I should have divorced thatdame.Ryan: Well, it's not forever.Sandy: You're still accepted to Berkeley for next year. I'm just glad you're getting back to your old self. You know? Back home again. New job.Ryan: I'm just trying to stay busy andearn some extra money.Sandy: And hook me up with some shrimp tacos.Ryan: Yeah, right. I'll work on that. I'm going to walk back. I'm kind of sweaty.Sandy: Yeah, I wasn't offering you a ride. Hey, Ryan? Hang inthere. Brown's college - Summer's bedroomSeth: Wow, that was a lot better than what I was imagining on the plane.Summer: You were imagining it on the plane?Seth: Not like that. When you called me here, I wassure you were going to break up with me.Summer: Well, I know I'm not the one that usually apologizes in this relationship, but I'm sorry about everything. I turned into a liberal zealot just to distract myself from myown grief. I'm not even into all this stuff.Seth: So the old you is back?Summer: In all of my artificially tanned glory.Seth: Thank God 'Cause I was not sure that the new you and old me were really working.Summer:Yeah, the new me kind of smelled weird. Well, what would you have done if I didn't go back to being me?Seth: I had a plan to coax the old Summer out. The Valley, Season Three? Summer: Awesome! AtCohen'sKirsten: I checked on Ryan. Did he leave already?Sandy: Yeah. He seemed to be doing okay. I was hoping to hang with him while Seth is away. Poker, maybe shoot a little pool, but his new job is going to makethat tough.Kirsten: Well, I could rack a few balls with you.Sandy: You are so smart and sexy and gorgeous. But sometimes a man just needs to hang with the guys.Kirsten: Well, that I'm not.Sandy: You know, Jimmyleft, Caleb died, then Jimmy left again. Even Neil's gone. Look, I wasn't a pennant winner, but at least I had a bullpen, you know?Kirsten: It's baseball talk. I got it. Why don't you give Jason Spitz a call? You're alwayssaying how funny he is. Why don't you ask him to do something?Sandy: Yeah, yeah... I don't know. I mean, it's a little weird for a guy to ask another guy to do something right out of the blue like that.Kirsten: Sincewhen is Sandy Cohen afraid of acting weird?Sandy: Well, Spitz is pretty funny. He's allegedly a scratch golfer. He likes the Dodgers. I could live with that.Kirsten: It sounds perfect for you.Sandy: Yeah, but what am Igoing to do? I'm going to give him a call or what? Ask him out?Kirsten: Come on. Why don't you use some of that Sandy Cohen charm? I'm sure he won't be able to resist.Sandy: It's been a long time since I been outthere, honey. What if Spitzy doesn't like me?Kirsten: Are you calling him Spitzy now?Sandy: No, not yet. Do you think he'll go for it? At Roberts'Julie: Well, that's very generous of you. Thank you, Neil. Bye.Kaitlin: Sohow's Seattle? Is that short, sassy lady still bossing Dr. Roberts around the hospital?Julie: Neil is fine. He's going to let us stay in the house as long as we want.Kaitlin: Well, nice work, Mom.Julie: I wish I could take allthe credit, but it was actually Neil's idea. He's really very sweet.Kaitlin: Oh, you miss him. Well, don't worry. We'll find you another old dude to pay for all your stuff and cheat on you.Julie: Is that what I'm teachingyou?Kaitlin: Mm, pretty much.Julie: Well, no more. Now that we have our housing situation handled, I am officially giving up men. Good one.Kaitlin: That'll last a week, max.Julie: I'll take that wager, young lady. AndI'll make one with you. I will not so much as bat an eyelash at a man, and you will stay out of trouble.Kaitlin: You cannot live without a man. not even for a week.Taylor: Morning, roomies Anyone want a proteinscramble?Julie: Nice to see you're making yourself at home, Taylor.Taylor: Well, thanks for making me feel at home, Jules. Summer's room is just adorable. And I don't know how I ever lived without a homegym.Kaitlin: Oh, this came for you today. Who's Henry Michael?Taylor: Uh... Oh, Henri Michel? That's just, um, my French husband. I'm sure it's nothing. Excuse me.Julie: You see? Man drama-- who needs it?Kaitlin:Hey, Ernesto's looking pretty hot. Nice six-pack.Julie: Where?Kaitlin: Gotcha. At Ryan's workplaceRyan: Taylor, hey.Taylor: Hi, Ryan. Are you working at El Pavo Guapo? You know, that means a handsome turkey?Ryan:That's why I took the job.Taylor: Hey, do you know when Seth's going to be back? I really need to talk to him.Ryan: Sorry, gone for the weekend.Taylor: You know, that shirt really brings out your eyes.Ryan: It's black.What are you doing here, Taylor?Taylor: Just in the mood for Mexican.Ryan: Mm-hmm.Taylor: Maybe the Macho Nacho Burrito wrap with extra guac. And... Oh, um, a favor.Ryan: No, no, no, sorry.Taylor: With Sethgone, you're the only one I can turn to.Ryan: Well, I'm honored.Taylor: Okay, so, I'm trying to get divorced, and I just found out that Henri Michel... Oh, that's my French husband. Um, he's coming to Newport and Iknow he's going to try and talk me out of it, and I could really use you there.Ryan: No.Taylor: I'm afraid to be alone with him. I'm afraid of his sensual powers. Ryan, the man is a sexual Jedi. Whatever he asks you todo, you just do it. It doesn't matter how depraved...Ryan: Okay, some people are trying to eat here, including me someday, so...Taylor: Ryan, please. If I go alone, I'll be back in France next week. You don't know howhard it was to leave. Seth and Summer are gone,my mom kicked me out, and... I have no one else. Look, just do me this one favor, and I'll leave you alone.Ryan: Promise? At Brown's college - Summer's bedroomChe:Knock, knock. Hey, Summer, can you fact-check this flier on solar panels? It's for the rally tomorrow.Summer: Che, I'd like to talk.Che: Sure, man. What's up?Summer: I haven't been completely honest with you aboutwho I really am. This is my shoe collection. There's leather, suede, and the occasional calfskin boot.Che: Whoa, my friend.Summer: These are my magazines. I know which stars pump gas just like us, and who's onpump watch. And this is Marissa. She was my best friend, um, but she died in a car accident on graduation night.Che: Summer, I'm sorry. That's-That's really heavy.Summer: Yeah, well, it's so heavy that I couldn'tdeal, so... I put all my energy towards being an activist, but that's not who I am. These shoes and these magazines-- that's me, but I hope we can still be friends.Che: All I can do is be me, whoever that is. It's, uh... it'sDylan. The guy's a genius. Look, Summer, if you've found your place in this world, I am nothing but happy for you.Seth: Hey. I put some cream in your coffee. I figured you'd be back on dairy.Summer: Hey, uh, Che,this is my boyfriend, Seth. Seth, this is Che.Che: Summer, you have a twin flame. I wish I knew you were coming into town. I would have made you a bracelet.Seth: Oh, hey. Uh, where I come from, we just sayhey.Che: Well, to borrow your native tongue, hey. Listen, forget what I said about the rally. We got plenty of warriors for the fight. You two, just... be.Summer: Thanks, Che.Seth: What's that?Summer: It's garbage. AtSandy's officeSandy: Hi, Jason. How you doing?Jason: I just had a meeting with Kaminsky.Sandy: Oh, the slowest talker in the world. It took forever. Forever.Jason: Good to see you, man.Sandy: Hey, uh... you gotany plans this weekend?Jason: Sandy, I've been working the past six Saturdays.Sandy: No, no, I didn't mean that. I'm just saying that we could, you know, you and I, uh, we could do something.Jason: Dosomething?Sandy: Poker, pool, you know, a little small ball. If you're free. If not, no worries.Jason: Can I get back to you on that?Sandy: Oh, sure, yeah. Whatever. Brown's college - Summer's bedroomSummer: God,this is so disgusting.Seth: I don't know, I think you're being too hard on April. Derek's knee was... it was really messed up.Summer: No, I just... I don't like this show anymore. All they do is create fake problems forfake people just to distract viewers from the real problems in the world.Seth: Well, I don't think the network would go for a sexy teen soap set in the Damascus, but we can turn it off if you want. I just thought you likedit.Summer: I'm just distracted. I haven't been keeping up on how much blow Lindsay Lohan's doing. And did you hear about JT and Cameron?Seth: No, what?Summer: I don't know. That is the point. I'm going to goget one of my magazines.Seth: That sounds like the old Summer. I'm going to stay here and, uh, keep watching. You know, I have this thing where if I start something, I have to finish. Is that like a disease or acondition?Summer: Don't really know, Cohen. I'm reading about who got lipo. Yatch clubRyan: You know, you might want to relax.Taylor: Distract me. Tell me about this, um, cage fighting. It's something that I've beenmeaning to get into.Ryan: Yeah? Yeah? Ask me another favor, I'll be happy to show you.Taylor: Oh, Ryan Atwood with a side of sauce. I like it. You're going to have to do better, though, 'cause right now all I ca think ofis him, my husband, and his arms, his smell... making love in the barn in Burgundy.Ryan: Sounds like the perfect guy. Why would you want to divorce?Taylor: Well, despite being agnostic in most things, I do believe intrue love. And this was not it. Well, back to you and your life. What is your favorite fruit?Ryan: Peaches.Taylor: Oh, he used to say my breasts were like two, soft...Ryan: Is that him?Taylor: No, that's... hislawyer.Lawyer: Madam.Ryan: Is everything okay?Taylor: No, not exactly.Ryan: What did he say? What's wrong? What's going on?Taylor: Oh, I just told him you were a soccer fan.Ryan: Oh. Yeah, I like soccer. AtBrown's college - Summer's bedroomSeth: Sorry today was such a bust. Summer; What are you talking about? We totally cleaned out the mall.Seth: Well, you threw your smoothie at a lady on the street.Summer: Hey,that fur did not look faux.Seth: Yeah, I just feel like your mind is someplace else.Summer: My mind is on this adorable sweater right here. I'm going to try it on' with that bag we bought, because how cute would theylook together? Now, if you don't mind, a little privacy.Seth: Well, I enjoy watching you take off your clothes, I'm sure I'll enjoy watching you put them on.Summer: Hey, this is a very intense process.Seth: All right,actually this is perfect. I wanted to head over to Thayer Street and do a walking tour of ethnic foods. I can't be moving here if the shwarma is not up to par.Summer: Well, bring me a kabob.Che: Hey,Summer.Summer: Che, hey, I wanted to know how the rally went.Che: We marched, we chanted, and along the way, we may have even opened up a few eyes. We'll see.Summer: Oh, that sounds great.Che: Yeah,Summer, what are you doing?Summer: Trying on a sweater. Hey, Seth and I are going to watch a movie here later if you want to come by.Che: No, I can't. We're prepping for tomorrow night's debate.Summer:Debate?Che: They agreed to grant us an audience with the dean, present our proposal. Only thing not powered by the fuel of the sun is our passion.Summer: Uh, well, tell everyone I said hi, and good luck.Che: Yeah,thanks. So do you like it?Summer: Huh? Like what?Che: The new sweater.Summer: No. Yatch clubKirsten: So you're really giving up on men?Julie: Men are to me, what Chardonnay is to you. One sip and I'm upsidedown on a chandelier.Kirsten: Not that you've ever done that. What's your point, Julie?Julie: I'm just trying to set a good example for Kaitlin, develop my own interests, maybe my career, that is, if you'd still have me asa partner.Kirsten: As I told you, New Matchis there for you whenever you want.Julie: Thanks, Keeks. I was hoping you'd say that. Okay, so, I have so many new ideas about expanding. I went online. I checked outsome office... Oh, there's Taryn.Kirsten: Wow, she looks amazing. Did she have some work done?Julie: She's had something.Taryn: Kirsten, great to see you. Julie, I'm so sorry about Neil. I hope you plan to sue. Youknow, just because you aren't legal doesn't mean you're not entitled to some sort of...Kirsten: Oh, it's Sandy. Excuse me. Hi, honey.Sandy: Hey, guess what?Kirsten: I'm not good at guessing.Sandy: I'm goingout.Kirsten: I'm jealous, with who?Sandy: Spitz! Spitzy to me.Kirsten: He called?Sandy: He called.Kirsten: How about that? How about that?Sandy: Maybe a little golf, maybe a drink after, watch the game.Kirsten:Golfing, game watching, suddenly not so jealous.Taryn: Thanks, but I don't think I'll be needing a dating service anymore.Julie: Really? I didn't know you were seeing anyone.Taryn: Oh, not someone... someones.Young ones. Men our age are so complicated. Young guys just like to have fun. And they are so grateful for a woman who knows what she's doing.Julie: Oh, so grateful, and limber.Taryn: Hey, a group of us are goingout tomorrow night. You should come.Julie: Uh, I'm trying to be a role model.Taryn: Oh, mm-hmm. I'll call you.Kirsten: Did Taryn run off already? Mm-hmm. What's she doing?Julie: Him. HarbourBrad: Hey, Kaitlin! Wegot a guy who can hook us up with fake I.D.'s. It's awesome.Kaitlin: Yeah. I think I'll pass.Brad: You've wanted a fake I.D. since you were six.Eric: Yeah, come on.Brad: Yeah, and the guy's leaving town nextweek.Kaitlin: Well, where is he going?Eric: He's going to prison.Brad: Yeah, for fraud. Because he's awesome.Kaitlin: Look, you guys, I made a bet with my mom that I'd stay out of trouble. And this definitely soundslike trouble.Brad: Dude, not if we don't get caught.Eric: Dude, seriously.Brad: Yeah, dude, seriously.Kaitlin: Well, with a foolproof plan like that, how can I say no?[SCENE_BREAK]At Ryan's workplaceTaylor:Garcon?Ryan: Ah! Taylor ! It's been a few hours since your last Macho Nacho. You must be starving.Taylor: I was thinking of the mol. And, um, one more tiny little favor.Ryan: Does it involve me standing around whileyou speak French? 'Cause I've already done that.Taylor: No, no, no. I actually just need your signature. You see, before I can get divorced, I have to have someone attest to my character.Ryan: That's in French.Taylor:It's just the usual boilerplate. You know, never been to prison- well, me, not you. Never been married before, no contact with livestock, blah, blah, blah. So I think I have a pen.Ryan: Uh, you know, actually, can I signthat after work? Just leave it here.Taylor: Sure. Yes, okay. Thank you very much. So you don't speak French at all?Ryan: No, why?Taylor: Well, it must have been really boring for you today. Sorry. Brown's collegeChe:Hey, Seth, man, what's up?Seth: Hey, I got some extra baba ghanoush.Che: Oh, baba ghanoush. No thanks, man.Seth: I'm all right. Where's Summer? I gave her a little time-out. It's not easy having houseguests.Che: What?! I thought you guys were having this great day, purchasing luxury goods, and eating things with faces.Seth: Honestly, it could have gone a little better. I mean, you know, I support her, whatevershe's into, but I really need this to work 'cause...Summer: The people have spoken! We are of one voice, one mind and one heart! Yeah! I will not sleep, I will not eat, I will not rest until this hypocrisy ends. Solar panelson all of our dormitories, or we revolt!Student: Who's with Summer? Yeah!All: Yeah! Yeah! PoolhouseRyan: Hey, man, how's your French?Seth: Old Summer's been replaced by the real Summer, and she lookssuspiciously like the new Summer.Ryan: So she's still in her \"Go Green\" phase?Seth: I don't think it's a phase, man. I think this is her life now, and it's obvious I don't fit in it. Uh, sorry, gotta go. Ryan! Hey, wait, I'vegot to talk to you about Taylor... what...? Brown's collegeSummer: Didn't mean to eavesdrop.Seth: It's okay.Summer: Well, I knew you were lying last night when you said nothing was wrong.Seth: Nothing is wrong;you're doing what people do at college-- discovering who you really are.Summer: Believe me, I am as surprised as you are. But I'm still going to shave my legs and wash my hair, and be the best girlfriend that Ican.Seth: Well, you know, who can ask for more than that?Summer: Think of all the new subjects we'll have to talk about.Seth: I did explain the concept of recycling to you in tenth grade.Summer: See, there's lots ofplaces where we could use your help, Cohen. Brown's college - Che's bedroomChe: Please come in. Enter.Seth: Hey... Oh! You're really nude. Why don't I... let me come back.Che: No! Wait right there. I have a gift foryou. My song.Seth: Wow. Wow. That's really, uh... Anyways, listen, I kind of need your help.Che: Yeah, bro, one second. Uh, I'm actually really honored you would ask me.Seth: Oh, hey, that's cool, we can shake. Wecan shake. We can shake. And we're touching. Golf courseSandy: Oh! Fore!Jason: Yeah, hi. Sorry!Sandy: Rob, what are you doing?Jason: Yeah, yeah, yeah. Bye. I'm sorry about that. My, my kid's got a rash. I got togo to the pharmacy after this.Sandy: Oh, sorry.Jason: Take another one. It was my fault.Sandy: No, no, no! You're up. I'll play it from the parking lot.Jason: I think I hit your car. It'd be an improvement. Sandy..uh...You know, my kid doesn't have a rash. My wife's just calling, making sure I'm having a good time, you know, because I don't have that many guy friends anymore.Sandy: Who does? Who's got the time?Jason: Iknow, it's work, family, then more work, you know? When did it get so hard?Sandy: Well, when we were kids, all you had to do was ask, hey, want to play some ball? And we didn't have any cell phones.Jason: I turnedmine off. I'm really sorry about that.Sandy: Oh! I'm so sorry, man! I'm so sorry. It's the office. I'm turning it off.Jason: I think I hit your car anyway. At Cohen'sKirsten: I love this space and I love the windows.Julie:Plus it's by the beach, so there'd be lots of foot traffic and eye candy, not that I'm looking.Kirsten: So I'll make an appointment for us for Monday? Are you doing anything tonight?Julie: No, Kaitlin's with the twins,working on a science project, so I have the night all to myself.Kirsten: Well, Sandy's out with a friend. Do you want to do something? I don't know-- takeout and a movie?Julie: Two women spending Saturday night athome together. I love it. How very Whatever Happened To Baby Jane.Kirsten: Go ahead, you can take it.Julie: No, that's okay. Just a sec. Hello?Taryn: It's Taryn. You joining us tonight?Julie: Uh, actually, I'm here with"}
+{"doc_id":"doc_16","qid":"","text":"EXT. NEW YORK CITYFuture Ted VO: Now I remember a lot of stories from back in the days before I met your mother, but there's one story I don't remember. Uncle Marshall still refers to it as the pineapple incident.Thenight started like any other. We were downstairs at the bar.INT. MACLAREN'S(Lily, Marshall, Ted, Robin and Barney sit at booth, Carl comes over with drinks)Carl: On the house.Everyone: Whoa.Carl: It's my ownconcoction. I call it the Red Dragon.Everyone: Wow. Thanks, Carl.(Carl walks away)Ted: We're not really doing shots, are we?Lily: I hope not.Barney: No, no.Lily: These look kinda like blood.Marshall: OK, I know thatyou've all dismissed this theory before, but is there any chance that Carl is a vampire?Barney: That's ridiculous.Marshall: I'm serious. Think about it. He always wears black, we never see him in the daylight, only afterdark.Robin: Oh my God, that does describe a vampire, or you know, a bartender.(Everyone but Marshall laughs)Robin: Well, I should go get dressed.Ted: Where are you going, buddy? Hot date?Lily: I'll say, she's goingout with a billionaire.Robin: Lily, I told you not to call him that.Ted: Wait, you're really going out with a billionaire?Robin: He's not a billionaire. He's a hundred millionaire. Why do people always round up?Ted: So, uh,where's Thurston Howell taking you?Robin: A charity dinner.Lily: Yeah, $2000 a plate.Robin: $1500, Stop rounding up. And it's for third world hunger.Barney: You gonna put out?(Everyone looks at Barneyincredulously)Barney: What? There's only one reason he's taking her to this dinner and it's not so little Mutu can get his malaria pills.Lily: I think my soul just threw up a little bit.Robin: Well, I'm gonna be late. You guyshave fun. Bye.(Robin gets up and leaves)Ted: See ya.Lily: Bye.Marshall: You OK?Ted: Sure, why?Marshall: I don't know. Girl of your dreams dating a billionaire.Ted: OK, first of all, hundred millionaire. And second,she's not the girl of my dreams. We're just friend. Look, it would not be smart if we got together. I mean, I'm looking to settle down. She's looking for...(Barney starts snoring, Ted stops talking)Barney: What? Youdone? Great. Check out table number four. See that little hottie on the end. She's short but has an ample bosom. I love it. She's like half-boob. Let's go.(Barney stands up)Ted: Yeah, and say what? What's our bigopening line?Barney: Daddy's home.Ted: Daddy's home?Barney: Yeah.Ted: You want us to go over there right now and say to those girls, 'daddy's home.' Really think about that, Barney.Barney: Hm. Yeah, I think it'spretty solid.(Barney walks away from their booth over to table four)Marshall: OK, think about this, is there even a single item on the menu that has garlic in it?Lily: Garlic fries.Marshall: OK, well, I'll get back toyou.(Barney walks back to their booth)Ted: Oh, daddy's back. See, if you'd taken a moment to think about that...Barney: (holding up small yellow piece of paper) Then Daddy wouldn't have gotten this seven-digitFather's Day card from Amy, huh?Ted: That worked. I hate the world.Barney: Ted, your problem is all you do is think, think, think. I'm teaching you how to do, do, do.Marshall: Doo-doo.Barney: Totally.Ted: So, I thinka lot. I happen to have a very powerful brain. It can't be helped.Barney: Oh yes it can.(Barney puts a shot in front of Ted)Marshall: InterestingBarney: Ted, I believe you and I met for a reason. It's like the universe wassaying, hey, Barney, there's this dude, he's pretty cool but it's your job to make him awesome. Your brain screws you up, Ted. It gets in the way. It happened with Robin, it happened with half-boob. And it's gonna keepon happening until you power down that bucket of neuroses inebriation-style.Ted: So, what? You want me to do a shot.Barney: Oh no. I want you to do five shots.Marshall: Oooh, more interesting.Ted: Barney, I thinkyou've officially...Barney: No, don't think. Do.Marshall: Ted, he's right. You overthink. Maybe you should overdrink.Marshall, Barney: Drink, drink, drink, drink...Ted: Ah, Lily, will you tell these guys how stupid they'rebeing?Lily: Guys, you are being immature and moronic and drink, drink, drinkMarshall, Lily, Barney: Drink, drink, drink, drink, drink...(Ted takes a shot)Marshall, Lily, Barney: Yes! Drink, drink, drink...Ted: Let me tellyou something about this brain, OK?(Ted takes second shot)Marshall, Lily, Barney: Drink! Drink, drink...Ted: Even alcohol cannot stop this brain.(Ted takes third shot)Barney: I love it, I love it, I love it.Marshall, Lily:Drink, drink, drink...Ted: This brain, dear mortals, is no ordinary brain.(Ted takes fourth shot)Marshall, Lily, Barney: Drink, drink, drink, drink...Ted: This is a superbrain.(Ted takes fifth shot)Ted: This brain isunstoppable. This brain...(screen blacks out)Future Ted VO: And that's all I remember, except for a few hazy memories.(black screen with white swirls spinning around and fire on the side, pineapple spins around, thewords, \"I am Ted, please call\" spin around)Future Ted VO: But really, the next thing I remember is waking up the following morning.INT. TED'S BEDROOM(Ted lying in bed rolls over to his right side to see pineapple onhis bedside table, gets up slightly looking surprised, rubs side of head and gets up and notices girl sleeping next to him on other side)Future Ted VO: So, there were some unanswered questions.(Ted sits up in bed andputs on some sweatpants)Future Ted VO: How much did I drink? How did I sprain my ankle?(Ted gets up and grabs left ankle in pain)Future Ted VO: And who was this girl in my bed?INT. APARTMENT(Lily and Marshallsitting in living room area, Ted walks in from his room) Lily: There's our rock starTed: OK, what the hell happened last night?Marshall: You really don't remember, Superbrain?Future Ted VO: So, Uncle Marshall and AuntLily filled me in.(flashback to previous evening at bar, Marshall, Lily, Barney and Ted sit at booth, Carl walks over)Carl: And how did you guys like the shots?Ted: I drank all five, bitch.Marshall: (laughing) I love drunkTed.Ted: Marshall thinks you're a vampire.(Marshall laughs and then gives Ted a stern look)Carl: If he pukes, one of you guys cleans it up.(Carl walks away)Lily: No dibs. (Lily puts index finger on her nose)Marshall:Oh. (Marshall puts index finger on his nose)(Barney moves top put his index finger on his nose)Barney: No....Dammit.Ted: How quickly you all forget. I haven't puked since high school. I am vomit-free sinceninety-three. Vomit free since ninety-three. That's funny. I'm funny.(Ted gets his cell phone out)Lily: Who are you calling?Ted: Robin.Marshall: Oh, bad idea.Barney: No, no, that's a great idea. That's the whole point ofgetting drunk. You do things you would never do in a million years if you were sober.Lily: Says every girl you've ever slept with.(Lily puts her hand up for a high-five from Barney)Marshall: (pointing to Lily) Saywhat?!(Barney shakes his head, Lily puts her hand down)Ted: Hello Robin, it's Ted.(Robin sitting in back of limo dressed up, talking on phone with Ted)Robin: Oh hi Ted.(Ted on phone)Ted: Hello Robin, it's Ted.(Robinon phone)Robin: Hi Ted. Sounds like you're having fun.Ted on phone)Ted: Robin, have I ever told you that I'm vomit-free since ninety-three?(Robin on phone)Robin: Listen, Ted, I can't really talk right... '93? Dude,that's impressive.(Ted on phone)Ted: I don't say this enough, but you're a great woman, and a great reporter. You should be on 60 Minutes. You should be one of the minutes.(Robin on phone)Robin: That's sweet andodd. But I'm kinda on a date right now.(Ted on phone)Ted: Yeah, and I disagree with Barney. Just 'cause this guy is spending a lot of money doesn't mean you have to put out. Take it slow, Robin, take it slow.Slow.(Robin on phone)Robin: Bye Ted.(Ted on phone)Ted: Slow.(Lily takes away Ted's phone)Marshall: Wow, right, that's why we don't do shots.Lily: Friends don't let friends drink and dial.Ted: I need that phoneback.Lily: You'll get this back at the end of class.Barney: Ding, class dismissed. Here you go, kid, you call whoever you want.(Barney takes phone from Lily and returns it to Ted)Ted: Thank you kind sir. At leastsomeone appreciates the fact that I'm doing and not thinking. And now I don't think I won't not go to the bathroom.(Ted walks away)Lily: Was that necessary? He is not making smart decisions. Barney: Exactly. It'slike, what's he gonna do next. I don't know, but I want to find out.(Cheap Trick's \"Voices\" starts playing on the jukebox)Marshall: Cheap Trick? Oh Ted.(Robin in car, her phone rings, she answers)Robin: Hello again,Ted.(Ted on phone singing along with jukebox)Ted: Hey, it's me again.(Robin on phone smiles)Ted: (singing along with jukebox) Plain to see again.(Ted jumps up on table)Ted: (singing along with jukebox) Please can Isee you every day?Ted: (yelling to everyone in bar) I love everyone in this bar.Marshall: And we love you, drunk Ted.Ted: (singing along with jukebox) I'm a fool again.(Robin in car on phone with mouth wideopen)Ted: (singing along with jukebox) I fell in love...(Ted falls off table)(Robin on phone)Robin: Ted?(back to present scene in apartment)Ted: Well, that explains the ankle.Lily: And then we brought you home and putyou to bed.Ted: Was there anyone else in there with me?(Lily and Marshall get up and run over to Ted's bedroom door, Ted limps behind them, Lily opens door and she and Marshall peek in room to see girl lying onbed, Lily closes the door)Lily: There's a girl in there.Ted: I know.Marshall: And a pineapple.Ted: I know.Lily: Who is she?Ted: I don't know.(Ted sees his jacket burnt)Ted: What the hell happened to my jacket?Marshall: Whoa.Lily: That girl in there is alive, right? Ted: I should call Barney, maybe he knows what happened.(Marshall gets his phone out of his pocket and dials and gives to Ted, sound of phone ringing frombathroom, Lily, Ted and Marshall walk into the bathroom, Lily pulls curtain aside to find Barney lying in the tub)Barney: Hello.Ted: Why are you sleeping in our tub?Barney: The porcelain keeps the suit fromwrinkling.Lily: Wait, were you here when I went to the bathroom in the middle of the night?Barney: Don't worry, I slept through it. (laughs) I totally didn't sleep through it. For a little girl, you've got a big tank.Marshall:How did you get in here anyway? We put Ted to bed around one.Barney: Oh, you put Ted to bed all right.(flashback to Marshall and Lily putting Ted to bed)Ted: You guys take care of me. You guys are the best. I loveyou guys so much.Lily: Good night, Ted.Marshall: Love you too, buddy.(Lily turns out light, Marshall and Lily leave Ted's bedroom and close door, Ted asleep on his bed)(Ted enters MacLaren's)Ted: I'm back babydoll!Barney: Hey, hey hey hey, he rallies. And the night begins now.(Barney and Ted high-five)Barney: All right, game face on. Carl, two more. All right, all right, what do we think of this one?Ted: I think....Barney:Ehhh! Trick question, no thinking. You know what time it is? It's do o'clock. Let's ride.Ted: Bring it.(Barney walks over to table and sits down next to girl, Ted walks in another direction)Barney: Have you metTed?(Barney gestures behind him and finds that Ted's not there, sees Ted standing by jukebox with his phone) Barney: Excuse me.(Barney walks over to Ted)Barney: You're calling Robin.Ted: I'm calling Robin.Barney:Ted, as your mentor and spiritual guide, I forbid you from calling her.Ted: Oh yeah? What you gonna do?Barney: If you complete that call, I will set your coat on fire.Ted: You're bluffing.(Ted completes call toRobin)Ted: Hello, Robin, it's Ted.(Robin at dinner, answers phone)Robin: Ted, for the last time, stop.(Robin hears Ted screaming)Robin: Ted!(back to present scene at apartment, Ted, Barney, Lily and Marshall sitaround living room)Ted: You set me on fire.Barney: Real suede wouldn't have gone up so fast. You got robbed, this is a blend.Ted: You set me on fire. And who's the girl in my bed?(Barney looks at Lily and Marshall andTed, stumbles over to Ted's room and peeks in, closes door and stumbles back to living room) Barney: There's a girl in your bed.Marshall: And a pineapple. Am I the only one who's curious about the pineapple?Barney:Who is she?Ted: I have no idea.Barney: Nice.Ted: You really don't know who that is?Barney: No, after I hosed you down with a beverage gun, I brought you back here.Ted: I better not have gotten burned.(Ted pulls upsleeves to check his skin, notices writing on his right arm)Ted: Did any of you write that?Lily: (reading what's on Ted's arm) Hi, I'm Ted, if lost, please call...Who's number is that?Ted: I don't know.Marshall: Dude, callit. Hold on, I'm gonna make some popcorn.(Marshall runs to kitchen)(Marshall runs back from kitchen with bowl of popcorn)Marshall: OK, you can call now. God, this is intense, I love it.(Ted calls number on arm)Guy:Hello.Ted: Uh, hi, who is this?Guy: You called me, who's this?Ted: It's Ted.[SCENE_BREAK]INT. MACLAREN'S(Carl on phone)Carl: It's Carl, from the bar.INT. APARTMENT(Ted on phone)Future Ted VO: And then Carlfilled us in.(flashback to Barney putting Ted to bed)Ted: Barney, you've always taken care of me. You are a gentleman and a scholar. Go into my stable and take my finest stallion. He's yours, his name isWindjammer.(Ted lies down)Barney: Sleep it off, bra.(Barney turns off light and closes down behind him)(Ted enters MacLaren's)Ted: I'm back, baby doll! Ted: And I am gonna throw up.(Ted walks over tobathroom)(back to present scene)Ted: I threw up? My streak is over. Vomit-free since '05 doesn't sound good. Sorry, Carl, go on.(flashback to Ted talking to Carl at bar)Ted: Carl, did you know the word karaoke isJapanese for empty orchestra? Isn't that hauntingly beautiful? Are you a vampire? Carl: I am cutting you off. Go home and get some sleep, Ted.Ted: Yeah, sun's gonna come up soon. Wouldn't want to be around forthat, would we?Ted: Hey, how easy do you think it'll be to sneak into the zoo? I have to see some penguins, like right now.Carl: Give me your arm.(Ted puts arm on bar)Carl: This way, if you pass out in thegutter...(Carl writs on Ted's arm, Ted starts laughing)Ted: That tickles.Carl: Someone will call me and I will come get you.Ted: Thanks Carl. We can't just be friends, we're attracted to each other and we both knowit.Carl: Excuse me?Ted: Me and Robin. Me and Robin, I have to make one more call.(Ted makes call on his cell phone)Carl: Yeah, this'll go good.Ted: Hey, it's me again. Look, who are we kidding? You and I are bothattracted to each other. We're young, we're drunk, half of us anyway. And we only get one life, so shy don't you come over to my apartment and we'll think of something stupid to do together? Really? Great. Wait,really? Great.(back to present scene)Ted: Thanks Carl.Ted: It's Robin. That's Robin in there.Marshall: Did you guys?(Barney puts up hand for high-five)Barney: Oh come on. You've gotta give me this one. Those fiveshots got you farther with Robin than your brain ever did. See what happens when you don't think? You do! More importantly, you do Robin. Come on.(Ted high-fives Barney)Lily: All right, right over here.(Lily and Tedhigh-five)Ted: Still, what does this mean? Are we dating now? I mean, I never pictured it going down this way, but maybe that's how it had to happen. I mean, think about it...Barney: Someone get him a shot, he'sthinking again.Marshall: Maybe it's not such a bad idea to think about this one. You and Robin went down this road before, you got dinged up pretty bad.Lily: You know who might have something to say about Ted'sfuture with Robin? Robin. Go wake her up.Ted: Wake her up and say what?Barney: Daddy's home.(Ted limps over to his room)Marshall: Good luck buddy.INT. TED'S BEDROOM(Ted limps in, phone rings, Ted hurriedlyanswers it)Ted: Hello.(Robin in cab on phone)Robin: Ted, it's Robin.(Ted looks at girl lying in bed then looks at phone then back to girl, puts phone back to his ear)Ted: Are you sure?INT. APARTMENT(Ted closesbedroom door behind him and walks over to living room)Ted: Hey, Robin, how are you?(Lily, Barney and Marshall look at each other)(screen splits in two with living room scene on top half of screen, Robin in cab onphone on bottom half)Robin: Ted, I think you and I should have a talk about those phone calls last night. Do you mind if I swing by?(While Robin is talking, Lily, Barney, Marshall and Ted whisper to each other about girlin bed)Marshall: Ask her about the pineapple.Ted: Yeah, sure, come on over.Robin: Thanks.(Robin hangs up phone, full screen of apartment scene)Ted: No, wait, don't, no.(Ted hangs up phone)Ted: She's coming over.Crap.Lily: Wait, this is killing me. We have to find out who that girl is.(Trudy walks into the living room)Trudy: Trudy. My name is Trudy.Future Ted VO: And then Trudy filled us in.(flashback to previous evening at bar,Trudy sitting at booth with three girlfriends)Trudy's friend: I'm just surprised you didn't dump him sooner.Trudy: I know, it's two years of my life I'm never getting back. A little part of me just wants to jump the bonesof the next guy I see.(Barney walks over)Barney: Daddy's home.Trudy: Or the one after that.Barney: OK, fair enough. I've got to prove a point to a friend, so you just gave me your number and your name isAmy.(Barney takes out yellow paper and pen from inside jacket pocket, scribbles on paper)Barney: Ladies.(Barney puts pen back in his pocket and walks away)(flash forward to Ted standing on table while singing)Ted:I love everyone in this bar.Trudy's friend: Look at that idiot go.Trudy: He's kinda cute.(Ted falls down and Trudy and her friends laugh)(flash forward to Trudy washing her hands in the ladies room, Ted walks out ofstall)Ted: What are you doing in the men's room? What am I doing in the ladies' room? Oh right, I came in here 'cause I thought I was gonna throw up.Trudy: Did you?Ted: I did not.(back to present scene)Ted: And thestreak continues. Vomit-free since '93.(Ted and Marshall high-five)Ted: Sorry, Trudy, go on.(flashback to Trudy and Ted in ladies room)Trudy: I liked your performance.Ted: What? The karaoke? Domo arigato.Trudy: Iwish I had your guts, getting up and making a complete idiot of myself.Ted: Do it.Trudy: I don't know. Still, I've had a pretty serious week. I could sure stand to do something stupid.Ted: I'm something stupid, dome.Trudy: You're funny.Ted: Hey, can I call you sometime? Trudy: OK.(Ted gets his phone out) Trudy: Here, let me.(Trudy takes it and puts her phone number in)Ted: Why do they call it karaoke anyhow? Was itinvented by a woman named Carrie Okie? These are the kinds of things I think about. Trudy: Karaoke is Japanese for empty orchestra.Ted: That's hauntingly beautiful.(Ted presses send and Trudy's phone rings)Ted:Hey, it works.Trudy: Then I guess you're gonna have to call me.(Trudy walks out of ladies room)(flash forward to Ted and Carl talking at bar)Ted: I need to make one more call.(Ted gets phone out, cut to Trudy sittingin back of cab, her phone rings and she answers)Trudy: Hello.(screen divides into two with Trudy talking on phone on left side, Ted on phone on right side)Ted: Hey, it's me again.Trudy: Hey.Ted: Look, who are wekidding? You and I are both attracted to each other. We're young, we're drunk, half of us anyway. And we only get one life.(back to present scene, Ted, Barney, Lily and Marshall listen to Trudy telling story in livingroom)Trudy: So I came over here. And now I'm really, really embarrassed.Marshall: Dammit, Trudy, what about the pineapple? Sorry.(knock on door)Ted: Uh, Robin's here. Um, look, Trudy, I need you to hide in mybedroom.(Ted grabs Trudy's hand and drags her to his room)Trudy: Why, is that your girlfriend?Ted: No, that's not my girlfriend. Look, it's complicated.Trudy: You're married. Yeah, I can't believe I did this.Ted: No, I'mnot married. Um, I'll explain after you hide.(Trudy goes into Ted's room, Ted goes over and opens front door)Ted: Hi.Robin: Hey guys.Barney: Robin.Lily: Hi Robin.Barney: Top of the morning.Ted: Um, sorry I keptcalling you like that. I was very drunk.Robin: No kidding. Those calls were really weird. Look, Ted, maybe we need to talk.Lily: Let's go get a snack.(Lily stands up)Marshall: I love to snack.(Marshall stands up)Barney:I'm good.(Lily pulls Barney up, Marshall, Lily and Barney walk over to kitchen)Ted: Come on, those calls weren't that weird.(Robin clears her throat, gets her phone out of her purse, presses button and phone replaysTed's call to Robin)Ted: (recording form phone) Robin! Come hang out! OK, I'm gonna make this sound until you come hang out.(Ted makes weird sound)Robin: That goes on for three-and a half minutes.Ted: Withouta breath? That's gotta be some kind of record.Robin: Ted, you can't do this. Please, we're to be friends and now you're making it all confusing.Ted: No I'm not. Look, I just turned off my brain for the night. Nothing'schanged, you've moved on, I've moved on.Robin: Really, you moved on?Ted: Yes. What, you don't believe me?(Robin exhales)Ted: Oh, OK.(Ted limps over to his room)Ted: Trudy, come on out.(Ted points to Robin)"}
+{"doc_id":"doc_17","qid":"","text":"(Continuing from last week. Sydney and Ana kneel in front of the case, staring at its contents. It starts to beep. Acid starts bubbling up through two tubes at either side of a piece of paper which is centered inside. It hasbinary digits written on it -- 0s and 1s. Ana and Sydney start memorizing it, saying out loud. The acid starts covering the piece of paper. The sheet disintegrates. They stand.)SYDNEY: Did you get it?ANA: Did you?(Theytake off, running in opposite directions.)SYDNEY: Dixon, I'm ending transmission!(Inside the SD-6 van, an agent sits with Dixon.)AGENT: She turned off her mic, I've lost her signal.(Sydney runs through the alley of thefield.)SYDNEY: 0-0-1-0. Did you get that?(Vaughn is still in L.A.)VAUGHN: Got it.SYDNEY: I'm giving SD-6 the wrong number!VAUGHN: What? No, no, no, no, you give them exactly what--SYDNEY: I'm not giving themthe right sequence! There is no way, forget it!VAUGHN: Sydney, listen to me! This is critical! Sydney, you give them the number. That's an order.SYDNEY: An order?VAUGHN: Yes.SYDNEY: We have to have a long talkwhen I get back to Los Angeles!(Sydney runs up to the SD-6 van and crawls in.)SYDNEY: Dixon, I've got the code! 0-1-0-0-0-1-1-0-0--(In the K-Directorate van, Ana tells the code to her agents.)ANA: Null, adin, null,adin--(Sydney and the agents in the van, Dixon takes it down.)SYDNEY: 1-0-0-0-1-1-0-0-1-1-1. Just two ones. Then--(In the K-Directorate van.)ANA: Null, adin, null, adin, null, null, adin, null--(SD-6 van.)SYDNEY:1-1-0-1. That's it. 1-1-0-1.DIXON: You did good.(In Los Angeles, inside a yellow parked van. Sydney, Vaughn and Weiss.)SYDNEY: You do NOT give me orders!VAUGHN: Maybe I do--SYDNEY: I could have easily misledSD-6--VAUGHN: You're not thinking this through!SYDNEY: ...That's what I'm here for!VAUGHN: Just stop talking for a second! If you'd given SD-6 a bogus code, what would have happened when Ana gaveK-Directorate the correct sequence?SYDNEY: Who cares? They would have thought I made a mistake!VAUGHN: Oh, and what, that Ana didn't? She would've given them the correct code, they would have seen the codeindicate at Athens, K-Directorate would head there, SD-6 would have nothing. They would suspect you. Sydney, we have to be very careful here. We have to be wildly, crazy careful. If SD-6 suspects you in the least, it'sover.SYDNEY: Ana's been the enemy for three years. In Berlin I realized she wants SD-6 to burn almost as much as I do.VAUGHN: As far as the C.I.A.'s concerned, the only thing worse than SD-6 getting its hands oncritical information is if K-Directorate gets it first. Ana is still your enemy.(Credit Dauphine. Sloane and Russett walk together.)SLOANE: You're not into mysticism, are you?RUSSETT: Mysticism.SLOANE: Neither am I.But keep an open mind, it'll help. The code was written in 1489. The guy who wrote it was some sort of Nostradamus. His name was Milo Rambaldi.RUSSETT: This binary was witten by a fifteenth century fortuneteller.How come I've never heard of him?SLOANE: His designs were so advanced, they just assumed he was insane. On some of his drawings, he made lists of part numbers. I.D. numbers of actual technology notmanufactured until now. This year. It's real, it's a hunt. This man spent the last ten years of his life working on one project. We don't know whether it's a weapon, a fuel source, a transportation system. Based on thelittle we do know, its technology is beyond anything we have ever seen. How's your wife? I forgot to ask.RUSSETT: Uh, good. Yours?SLOANE: Actually, Emily's a bit under the weather. Thanks for asking. Come on.(Theyenter the board room where Marshall and Sydney sit.)SLOANE: Did you read the report?SYDNEY: They found nothing.SLOANE: This is Anthony Russett, he's transferring here from Jennings. He's working on the UCOfile. You've already met Marshall. This is Sydney Bristow.RUSSETT: I know your father.SLOANE: We read the code you recovered. Accordingly, we sent a team to Athens. So, I just got a phone call from SD-3, he saidthere was no evidence to anything pertaining to Rambaldi. And we were there first. Turns out, we made a giant mistake. But so did K-Directorate.MARSHALL: In our rush to decipher the Rambaldi enigma, wemisinterpreted the code. It left us with two series of digits. We assumed longitude and latitude. But he was using a compression scheme. I should have seen that. Instead of sending a team to Athens, we should havebeen headed to Malaga, Spain.SLOANE: Which is where you're going. There's a five-hundred-year-old church sitting on the exact site of Rambaldi's coordinates.SYDNEY: What am I looking for?SLOANE: We don't know.The only clue we have, if it is indeed a clue, are two words that were part of a code: Sol d'oro.RUSSETT: Golden sun.(Malaga, Spain. Sydney shines a flashlight in the church, she looks over the pews for the clue. Shelooks around, turns to see the painted glass window at the back of the church. In the center is a golden sun. Sydney takes a desk and stands on top if it. She touches the golden sun and unscrews its center. The goldencircle is the clue. She looks at it in her hands, and jumps down. Ana, from behind her, takes her by the throat and snatches the golden sun away from her.)ANA: I was hoping you'd come.(Sydney kicks Ana and Ana'sgun goes sliding down the floor. Sydney punches her, roundhouse kicks. Ana drops the sun. Sydney flips Ana and dives behind a pew while Ana fires her gun at the pews, destroying many of them. Sydney flinches whileon the floor, covering her head. She sees the sun lying nearby. Ana slinks closer with her gun in hand. She sees the sun, bends down and gets it. Sydney comes up from behind and hits her on the head with a woodenpost with religious markings on it. The gun flies. Ana grabs a long candle stick holder and slaps Sydney in the head with it. Sydney lands on her back on a table. Sydney grabs Ana's hand and holds it above all thecandles that are lit. Ana snatches her hand away, yelping in pain. Sydney quickly moves and handcuffs Ana's hand to the table post. She struggles like a caged animal. Sydney takes the sun, and walks out.)(In Sydney'shouse, Sydney and Francie sit on the sofa eating Chinese food. Sydney holds the matchbook, looking at it.)SYDNEY: You haven't said anything to Charlie?FRANCIE: I needed to talk to you first.SYDNEY: It's just amatchbook with someone's number.FRANCIE: Yeah, someone named Rachel who \"truly loved tonight.\"SYDNEY: You have to ask Charlie about it.FRANCIE: Yeah.SYDNEY: I mean, what else are you going todo?FRANCIE: Have you ever spied on anyone? Okay, I know it's totally beneath me, but Charlie has been so distant lately, and every time I ask him what's wrong, he's like, \"Nothing, baby. Everything's cool. It's allfine.\"SYDNEY: You don't believe him.FRANCIE: He has law review in an hour.SYDNEY: You want to follow hm.FRANCIE: So much, I cannot even tell you.SYDNEY: I think spying on your boyfriend generally sets a badrelationship precedent.FRANCIE: What if he's cheating on me?(Across the street from Francie and Charlie's house, Sydney and Francie sit in Sydney's vehicle. Francie eats some candy.)FRANCIE: You're a really goodfriend, you know that?SYDNEY: Yes, I do. (smiles) So, this thing happened with Will the other night.FRANCIE: What, did he come on to you?SYDNEY: No, no. I kissed him.FRANCIE: What? You kissed Will Tippin? Areyou kidding me?SYDNEY: I know. Stop it. We were in the apartment by ourselves after you and Charlie left and we had all those drinks...FRANCIE: I don't believe it. You must have been really drunk. Hey, there he is.Start the car, start the car.SYDNEY: No, you wait 'til he's a block away.FRANCIE: Look at you getting all into it.SYDNEY: Everyone knows you wait.FRANCIE: I don't know you wait.SYDNEY: You wait.FRANCIE: What's hedoing?(A car pulls up beside Charlie, its horn honking. Charlie walks over to the driver's side. A blonde woman gets out, and hugs him. They kiss briefly. Sydney looks at Francie. Charlie puts his duffel bag in the girl'strunk. Francie looks devastated.)FRANCIE: Okay. I guess he's not going to law review.(Will's office. He's on the phone, sitting at his desk. Jenny stands nearby.)WILL: H-E-C-H-T. You're certain? Okay. Thank you. Ipromise, I won't call again. (hangs up) Danny was supposed to be registered at a medical conference in Singapore.JENNY: You already told me. Litvack wants the baptist church copy.WILL: But I checked all theconferences twice. He's not registered at any of them.JENNY: I know...(His phone rings.)WILL: Will Tippin.(Sydney's at her house, watering plants.)SYDNEY: Hey, it's me.WILL: Hey. Hi. Uh, how'd your trip go?SYDNEY:Okay. How are you?WILL: Good. Uh, uh, busy. Listen, you don't feel weird about what happened, right?SYDNEY: A little.WILL: Me too. What is that?SYDNEY: We'll talk about that later. Listen, Francie and I saw Charlielast night with another woman.WILL: What? You're kidding.SYDNEY: Yeah. She spent the night at my place. She's here now, she's sort of a mess.WILL: Oh, God...SYDNEY: And the bank called. Uh, I might have anothertrip.WILL: You take an insane amount of trips.SYDNEY: Would you mind dropping by later? Just check on her and make sure she's okay.WILL: No, yeah, yeah, yeah, of course.SYDNEY: Thank you. I should go.WILL:Okay. Go. I'll talk to you later. Bye.(He hangs up. Jenny stands there, watching.)JENNY: That was Sydney. You're different when you talk to Sydney.WILL: Don't analyze me. Go. Can you get me the number of, uh, theguy who works for the airport? What's his name? Luis Scourza? What?JENNY: If you want me to do something for you, you say please.WILL: Please. Scourza, okay? You know, \"please\" is implicit, Jenny!(CreditDauphine. Sydney is at her desk, filing something. She sees her dad walking through. She gets up.)SYDNEY: Dad. You have a meeting with Sloane?MR. BRISTOW: McCullough.SYDNEY: Psych evaluation?MR. BRISTOW:Routine. It's nothing I'm not used to, nothing I look forward to, but, uh, such is the nature of the job.SYDNEY: So, Berlin. It worked out. My meeting with K-Directorate. We got the code. That was smart.MR. BRISTOW:Well, I should go. I'll see you later.SYDNEY: Dad... could we have dinner? How about Thursday, do you have plans?MR. BRISTOW: No. Thursday. Dinner. That'll be fine.(Board meeting. Sloane, Russett, Dixon, Sydney,Marshall.)SLOANE: Analysis is working full-time on the piece you brought back from Spain. This is not glass. They know that. It's a synthetic polymer. They believe it was made at least five hundred years ago.DIXON:Before there were synthetic polymers.SLOANE: And so the mystery continues. Meanwhile, we have another situation. This is last year's United Commerce Organization. Administerial conference. A number of groups ledplanned attacks against the proceedings. Zero defense among them. Word is they're planning to attend the conference this year in Sao Paulo.RUSSETT: Luc Jacqnoud should be landing in Morocco within the nextforty-eight hours.SYDNEY: I thought he was in Le Sante for stabbing a police officer.RUSSETT: Released twenty-six months early. He's obviously got ties to French justice. Intel reports he'll be in Morocco to meet aclient.DIXON: I.D. on the client?SLOANE: None. That's your job. You're Kate Jones, and Justin Bernell. You're traveling with Mindspring Learning Tours. You arrive on Wednesday. Your objective is to monitor themeeting, I.D. the client, and make sure whatever Jacqnoud is up to, doesn't happen.SYDNEY: Is Mochtar the contact?SLOANE: He's meeting you at the airport. (to Russett) This is an Egyptian commando. We recruitedhim two years ago. Marshall.MARSHALL: (standing) Okay. Ahem. How is, uh, everyone? Hi, or -- right. Okay. You're going in with the usual tech -- camera, comm gear, and sat relay, but this-this is new. (holds up apurse) Now, this looks just like a normal purse that you would wear out with going out with your lady friends. Put your feminine things in there, but, a parabolic microphone. (points to center of the design) Has a lasertransmitter that works in a three hundred yard radius, and oh, and I also added a low frequency tantalum wind filter that will eliminate any unwanted sounds below a hundred and fifty hertz. Not that you're going to bein any wind. I mean, you're probably not going to be in any wind, but let's say that you were in some wind, you know, like a light breeze, like a (whistles). Or even a strong wind, like, a gust, like a (blowing air). This?Nothing. Silent. Wind filter. (sits)(Inside psych evaluation room. Mr. Bristow has pads over his face for monitoring purposes. Machines beep around him. McCullough sits nearby.)MCCULLOUGH: You feel light, thin air,and as you continue moving downward, you feel more and more relaxed. The escalator continues down and the closer you get to the light, the more relaxed you feel.(We see inside Jack's mind. Anescalator.)MCCULLOUGH: (voice over) The escalator seems to continue forever, and you feel safe and relaxed.(White light. In Jack's mind, we're transported to a baby's room. A crib sits in the corner with a stuffedteddy bear.)MCCULLOUGH: (V.O.) Still listening to my voice, you keep going and the farther you go, the more comfortable you feel.(A woman is holding a baby gently in her arms. We're assuming it's Jack's wife,Sydney's mom. Suddenly, the woman turns and it's... Sydney. Holding the baby.)SYDNEY: It's only a matter of time before I find out the truth.(In the evaluation room, Mr. Bristow snaps to attention, lookingterrified.)MCCULLOUGH: Jack?MR. BRISTOW: Just give me a minute, will you?(He pulls the pads off his face and exits. Outside the room, he desperately tries to control himself. He calmly buttons his jacket.)(Car wash.Sydney is inside the waiting area while her car gets a washing. Vaughn approaches, looking disheveled. Well, more than usual.)VAUGHN: Sorry I'm late.SYDNEY: That's all right. You okay?VAUGHN: Yeah. Turns out weknew Jacqnoud was traveling, but we thought he was going to Bahrain. But what we don't know is why SD-6 is so interested in the U.C.O.SYDNEY: You sure you're okay?VAUGHN: Yeah. I just, uh--SYDNEY: Did youhave a fight with your wife?VAUGHN: My what?SYDNEY: Your wife.VAUGHN: What wife? I have no wife.SYDNEY: No, there was a picture in your office. You and that woman. I thought you were married.VAUGHN: No.She and I are not remotely m-- You thought I was married this whole time?SYDNEY: I guess so. What's the big deal?VAUGHN: Nothing. So when you get an idea on who he's meeting and/or details of that meeting, justcall the usual number. Hit the eight key. We'll dead-drop in the trash can. Why did you ask me if I had a fight with my girlfriend?SYDNEY: I don't know. Did you?VAUGHN: Huge. Good luck in Morocco.SYDNEY:Thanks.(He leaves, looking more stressed than before.)(Morocco. At the airport, Sydney and Dixon walk to the curb. They see a man, Mochtar, who waves to them. They approach.)MOCHTAR: Look at you!SYDNEY: It'sbeen a while!(She kisses him on both cheeks.)MOCHTAR: Ah, hello!DIXON: How have you been?MOCHTAR: Lately, too busy. Too many people with dangerous toys.SYDNEY: Any news on Jacqnoud?M0CHTAR: Yes. Afriend tells me he's meeting a client today in the local marketplace. I've got a good spot for us.DIXON: Any word on the client?MOCHTAR: Big mystery. We still don't know. Come, I'm parked right over there.(Sydney'shouse. Francie talks on the phone to Sydney.)FRANCIE: Charlie has called my cell phone six times.SYDNEY: You still haven't seen him?FRANCIE: No. I want him to suffer. I'm not even going to tell him where I am. Howis Chicago, did you get there okay?(Cut to Sydney, in Morocco, putting on her disguise.)SYDNEY: Yeah. Chicago's fine. Look, let me just sy one thing, just so someone's saying it. There might be anexplanation.FRANCIE: He got into a car with a woman I have never met.SYDNEY: Just talk to him. Tell Charlie what you saw. You owe him that.FRANCIE: Maybe after he calls me a few more times.SYDNEY: Call me ifyou need me, okay? Love you.FRANCIE: Love you.[SCENE_BREAK](Sydney, complete in her disguise, goes out to the balcony to see Mochtar and Dixon setting up video cameras and cameras for the op.)SYDNEY: How'sthe view? (takes purse) You want to give this a test run? Can you hear me?DIXON: Loud and clear.MOCHTAR: Jacqnoud just walked in.DIXON: Who's he with?M0CHTAR: Uh, looks like he's solo.DIXON: (to Sydney)You're ready.SYDNEY: I'm going shoppin'!DIXON: Bring us back something, would you?SYDNEY: That's the plan!(She leaves and walks down to the market, looking around. She gets closer. Jacqnoud sitsalone.)SYDNEY: Are you picking this up?DIXON: Yeah. The mic's hot.SYDNEY: He's still alone.(A man tries to sell her something.)SYDNEY: No, no, no, I don't understand. Don't understand. Sorry.(Jacqnoud greets aman at his table.)SYDNEY: The meet just got here.(In the balcony, Mochtar and Dixon looks. Dixon takes pictures.)DIXON: Got him! Mochtar, you know this guy?MOCHTAR: No, but I'm going to try and get an I.D. rightnow.(Mochtar runs to another set up around the hallway. The laptop connects, scanning the picture for identification of the man meeting with Jacqnoud.)(Downstairs, the men meet.)SUARI: Nice to finally meet you inperson. Everything worked getting here?JACQNOUD: Yes, thank you. Merci beaucoup.SUARI: So, how are we doing?JACQNOUD: You mean phase three?SUARI: What were the results?JACQNOUD: You will be veryhappy. If Patel's going to be our delivery man, I'll need the piece by tomorrow.SUARI: As long as the financial arrangements can be made, that shouldn't be a problem.JACQNOUD: Bon. Salut.(The bodyguard stares atSydney. She looks away.)SYDNEY: Dammit! The litle guy's bodyguard. I know him.DIXON: What?SYDNEY: From Corisca, two years ago. The son of a bitch broke my arm.(She starts walking away. The bodyguard looksup, and sees the camera lens in the balcony.)DIXON: Mochtar, pack up! We've got to get out of here!(The bodyguard sees shadows scurrying along up on the balcony.)SYDNEY: (walking) We have somebody.(Sydneytries to leave.)DIXON: Syd, get out of there!(The bodyguard stops her.)BODYGUARD: You. I know you.SYDNEY: I'm sorry. You're talking to me?BODYGUARD: I think you remember me, too.(He throws her in a smallpart of the market, she falls to the ground behind the curtain. He advances.)SYDNEY: I'm sorry. I don't know who you are.BODYGUARD: Tell me why you're here, or this time I do more than just break you arm.(Sydneykicks a table in the air, catches it, throws it at him, smashes his head in twice. He pushes her up against the wall, she flips off of it. Kicks him in the back. Hits him with an empty pot three times. He falls. The curtainopens, and an elderly couple -- tourists -- walk in, shocked.)SYDNEY: He wanted to charge me fifty dollars. That's too much.(Upstairs, Dixon frantically packs up. Gunshots are heard. Dixon freezes. Sydney runs up thestairs.)SYDNEY: Dixon! Dixon! Dixon, do you copy!(Sydney stops running when she sees Mochtar's lifeless body. She takes off her glasses. Down the hall, punches are being thrown as more bodyguards try beating upDixon and Sydney. She fights one of the men. Another guy manages to pin Dixon down on a table, but he jumps up, kicking the man.)DIXON: Are you okay?SYDNEY: I'm fine!(Helicopter whirring overhead. Sydney getssome of the gear and stops at Mochtar. Touches his head. When she takes her hand away, she sees his blood on her palm. Dixon stops behind her.)DIXON: We have to go.(Sydney stares at Mochtar, and leaves.)(AtSydney's house, she arrives home from her trip. She puts her bag down.)FRANCIE: Hey.SYDNEY: Hi.FRANCIE: How was your trip?SYDNEY: It was awful.FRANCIE: Syd, I'm sorry.SYDNEY: What's going on withCharlie?FRANCIE: I'm meeting him for coffee. He knows something's up. If he doesn't have an explanation, if he can't exactly explain why he was kissing some whore instead of going to law review, I'm going to killhim.SYDNEY: Don't say that.(Will appears behind them.)WILL: She's on a rampage. She wasn't even going to go out with him, I had to force her to go out with him. (smiles sweetly at Sydney) Hi.SYDNEY: Hi.FRANCIE:Let me ask you something. You think it's going to go all right?SYDNEY: I do.(The girls hug. Only this time, Sydney hugs a little longer, needing that comfort after the day she's had.)FRANCIE: Love you.SYDNEY: Loveyou.FRANCIE: See you, Will!WILL: Good luck. Let me get that for you.(He gestures to Sydney's luggage. Francie leaves.)SYDNEY: Thanks.WILL: You look exhausted.SYDNEY: Pretty good assessment.(Inside Sydney'sbedroom, Will sits down on her bed with the luggage at his feet.)WILL: So, hey, I was thinking about what happened. You know, that, uh, you know, that kiss. Yeah. And, uh, I think I've figured out why it was so"}
+{"doc_id":"doc_18","qid":"","text":"(audience laugh)Lucas (reading): \"It has been a long time since New Years on the roof\". \"Remember that\"? \"I know we've been avoiding it but now the flowers are blooming and it is Spring: the season of love\"! \"Hi! Myname is Lucas Friar and I am here to talk about us\".Maya: Do we have to talk about this?Lucas: We have to make some decisions!Riley: We have chosen to completely forget about this! (yells) He's in my room!Cory(O.C.): You have to make some decisions!Lucas (reading): \"This is very hard for me. We have to be very careful about what's going on, because I don't want to--\"Riley (interrupts): .. lose either one of you as myfriends?Lucas (continues reading): \".. lose either one of you as my friend\".Maya: You were with him when he wrote this?!Riley: No. Maya, I think we just all know what's at stake here.Maya: Nothing's at stake here. Justtell me right now: nothing will affect our friendship.Riley: (shrugs) It won't.Lucas (pretending to read): \"What... about... what... I... want\"?(audience laugh)Riley: One card for each word...Maya: Why did he dothat?Riley: Emphasis.Maya: Why did he do that?!Riley: Lucas, what do you want?Lucas: I don't want anything bad to happen to us... but I especially don't want to be responsible for something bad happening betweenthe two of you!Maya: We know that.Riley: Why do you think we like you?Maya: What's it say on your last card?Lucas: Oh, I'll get to it.(audience laugh)Lucas: See? I have different feelings for each of you and I don'tentirely understand them.Riley: We don't understand this either.Lucas: That's why the smartest thing to do would be to make the right decision, right now, and just move on.Riley: Great! How do we do that?Maya: Youmean, choose one of us over the other? What happens then?Riley: That would be the end of us.Maya: What's it say on your last card?Lucas (reading): \"I don't want this to be the end of us\"![SCENE_BREAK](Thememusic playing)\u0000 I've been waiting \u0000 \u0000 For a day \u0000 \u0000 Like this to come \u0000 \u0000 Struck like lightning \u0000 \u0000 My heart's beating like a drum \u0000 \u0000 On the edge \u0000 \u0000 Of something wonderful \u0000 \u0000 Face to face with changes \u0000\u0000 What's it all about? \u0000 \u0000 Life is crazy \u0000 \u0000 But I know \u0000 \u0000 I can work it out \u0000 \u0000 'Cause I got you \u0000 \u0000 To live it with me \u0000 \u0000 I feel all right, I'm gonna take on the world \u0000 \u0000 Light up the stars, I've got some pagesto turn \u0000 \u0000 I'm singing \"Go-o-o\" \u0000 \u0000 Oh, oh, oh, oh \u0000 \u0000 Take on the world, take on the world \u0000 \u0000 Take on the world \u0000 \u0000 Take on the world, take on the world \u0000 \u0000 Take on the world \u0000[SCENE_BREAK][ INT. JohnQuincy Adams Middle School - Classroom - day ][SCENE_BREAK]Legacy!(audience laugh)Why is Farkle a goose?Riley: That's the Einstein Academy Goose. Oh! Of course. The Einstein Academy Goose. Why is it onFarkle's desk?Maya: Einstein captured Farkle. It was their end of the year prank.Maya: So, since they took our mascot...Riley: We took theirs, and now we are even.(audience laugh)Farkle is not our mascot.Maya: Whatwould you call him?(audience laugh)Where's Zay? They got Zay too? Zay is back in Texas; he's at Vanessa's Spring Formal.all: Ooo-oo-oh. Alright guys, listen up. It's your last week of school. This is my last chance toteach you something.Maya: You have more to teach us? I have so much more I wanna teach you. So much more... I mean, you guys are gonna be leaving this place; what will you be leaving behind? What is yourlegacy? I want to talk about not just what you've gotten from this place... but what you've given.Maya: He's right! We still haven't thought of our class prank! I was thinking we could let all of the air out of school.Everybody would just be like (makes strangling noises). That would be hilarious.Farkle: I'll tell you what's hilarious: nobody saved me! Why did nobody save me?!Riley: Farkle, we looked for you for a whole five minutesand then we took the goose.(audience laugh)Maya: He's the new you!Donnie Barnes, regular goose. I'd see that movie.(audience laugh)Farkle: Oh, please. Farkle cannot be replaced by a goose. Farkle is unique andone of a kind. (at goose) Hah!(Goose honks back)(audience laugh)Farkle: You don't know me.[SCENE_BREAK][ INT. Matthews Kitchen - night ][SCENE_BREAK]Riley: You haven't taught me enough!Did I teach you topass the mashed potatoes?Riley: Yes. Well then, there's a test on that right now.(audience laugh)You passed!(audience laugh)Funny Daddy.(audience laugh)What's bothering you Riley?Riley: Everything gets harder.Everything gets harder and you didn't tell me! Were you going to tell me? You didn't tell her? Only every day. You tell her. Life gets harder. Tell her Auggie.Auggie: I'm doin' fine!(audience laugh)Riley: We're graduatingmiddle school. We're supposed to be in the middle of our education. The only thing I'm in the middle of is a big mess with two of the people I care most about in the world.Why?Riley: Because we're not talking about it?Because Maya and I both like Lucas and so we know none of us is going to get hurt, so we're all scared to move. You know what makes me happy?Riley: How could you be happy about any of this? Because you'retalking to us about it. No matter what happens to you, we always want to be a part of what happens to you.Riley: You always will be. Thanks Riley. That's the greatest legacy any parent could have. Well, you guys areboth going to be fine, and there is nobody stronger than Maya; nothing can break her. I just don't see it.(Maya enters and falls to her knees.)Awwww, it's a poor baby. It's a poor, poor baby. Come here. Come here.Aww... (hugs Maya) Maya. No matter what happens it is nobody's fault.Maya: Yes it is. Whose fault do you think it is?Maya: Matthew's! (points) Well, of course!Maya: You didn't teach us enough we don't know how tohandle this, and now we're leaving, and you're staying behind, and you didn't teach us enough.Riley: Yeah, Dad, you're more than a teacher, you're like a father to me.(audience laugh)Thanks, Riley. He's the bestteacher you're ever going to have and if there is one thing I know for sure he's taught you, it's how to express yourselves to each other, in the best possible way. And as long as you do that, there is nothing to worryabout.Lucas (reading): \"Hi! It's me, Lucas Friar\".(audience laugh)Lucas (reading): \"Since no-one knows what to do, I made a choice\".OK, I'm a little worried.Lucas (reading): \"I choose to stop--\" Lucas, put the cardsaway. Say what you need to say.Lucas: You both mean the world to me, and I would never do anything to hurt either one of you... so I choose to stop. You won't decide, so I did, and I decided we're just friends. That'sall we are. I don't want this to be the end of us.[SCENE_BREAK][ INT. John Quincy Adams Middle School - Classroom - day ][SCENE_BREAK]You came into this place, a bunch of young kids, who didn't know very much,and now look at ya: young men and women ready for what's next. Snap out of it. Get in here!(audience laugh)What are you doin'?Lucas: We value our friendship too much to look at each other.(audience laugh)Turnyour chair around. Get in your seat.(audience laugh)Now, the most important thing you can do in life is give people a reason to remember you. The people who do that are the ones we study in here. So, your lastassignment from me, and for yourselves, is to figure out what you'll give back.Maya: What?Lucas: I looked at Riley.Maya: I know, I saw.Lucas: So, I'm looking at you to even it up!Maya: Oh, well, a girl always wants tobe looked at to be evened up.(audience laugh)Lucas: We're just friends, and I love your outfit.Riley: (screams) Hey! (slams both hands on the window)Lucas: Your hair smells nice!Maya: You smelled her hair?(audiencelaugh)Lucas!Lucas: I'm dying here!(audience laugh)What are you grateful for? Who do you want to remember you?(Riley enters and sits down)Do something about it... right now. Now, get outta here!(The class leaveand Riley is still in her seat)Riley: I'm not ready to leave this place.[SCENE_BREAK][ INT. John Quincy Adams Middle School - Corridor - day ][SCENE_BREAK]Ms. Kossal: What's going on?Maya: I'm graduating, Ms.Kossal... and I wanted to say goodbye... and thank you for believing in me.Ms. Kossal: I expect great things from you, Maya. You've been given a real gift... so grow! And when you feel something you know the rest ofus feel, explain it to us... Paint us a picture.Maya: I'll try.Ms. Kossal: I'm glad I had the chance to be your teacher.(Ms. Kossal hugs Maya)[SCENE_BREAK]Farkle: Just a quick goodbye, Mr. Norton, we both knowemotion has no place in science.Mr. Norton: Quite right, my dear boy. So, from one scientist to another, see you on Mars.(audience laugh)Farkle: Mr. Norton, can we just stop being scientists for one second?Mr. Norton:Well, let me remove the protective goggles of my soul! Clear outta here!(audience laugh)Farkle: I'm really gonna miss you, sir.Mr. Norton: The feeling's mutual, my boy.Farkle: Is it possible feelings are stronger thanscience?Mr. Norton: Hm. Keep discovering, Farkle.[SCENE_BREAK]Janitor Harley: Me?Lucas: Yeah. I wanted to say thank you.Janitor Harley: Why? I left some kind of impression on you? Clear outta here!(audiencelaugh)Lucas: Mr. Matthews told me I had to make a real difficult choice once.Janitor Harley: I was at a crossroads; I was standing on the corner of Maple Street and Alcatraz.Lucas: How did you make the rightdecision?Janitor Harley: I always try and make sure this bench here is polished up and looking nice and inviting for you to sit on. You know why I do that?Lucas: Why? (sits)Janitor Harley: Because, you kids come andgo, but this bench stays right here and all the problems of the universe get decided on it. I respect a nice place where good decisions get made. Gettin' a little worn down... A little old as time goes by, but aren't we all?Thanks for saying goodbye to me, Lucas. Means a lot to me. Make good decisions.[SCENE_BREAK][ INT. John Quincy Adams Middle School - Classroom - day ][SCENE_BREAK]Riley: I don't wanna go. I'm not ready forhigh school... and I don't wanna go.Why not?Riley: 'Cause we did great here. This was the time of our lives; we were kings, Matthews.(audience laugh)Riley: What will I be next year?Not kings.Riley: No. The opposite ofkings. Freshmen. Worms. Worse than worms freshmen. You'll be fine Riley. You all will.Riley: Also... and I don't say this a lot but... I like you.(audience laugh)You do?!Riley: Yeah. You said you had a lot more to teachus. And I will. You're my daughter.Riley: What about the rest of my friends, Dad? You need to teach all of us more. We're a mess. We shouldn't feel we don't know how to feel and you need to teach us how to not feel.What?Maya: You got one last lesson for the road? Yeah. I do.Maya: Well, I've never said this before but... you have my attention.(audience laugh)Good! This one's important. I've gotten to watch you guys becomefriends, and I've gotten to watch you grow. You guys grew up so fast... and I've been trying to teach you to keep your feelings inside...Riley: And you were right. Look at us. I was wrong! Your teacher was wrong. I can'tkeep you in this place. You've outgrown it. You guys are graduating to whatever comes next. You know why?Maya: No. You've earned it.Maya: How do we know when we're ready? Same way we know anything. Let'stake one last test and see.(all groan)Farkle: Yay![SCENE_BREAK]Riley: Are you even allowed to do this? It's the last day of school.I'm still your teacher. I can do whatever I want. Besides, this test isn't for a grade. Thisis a test to find out what you have actually learned here. Question one: What's the secret to life? Maya.Maya: People change people. And for extra credit?Maya: What us does for them? What does that mean?Maya: Howwe help those who are less fortunate than us? And are you an \"us\" or \"them\"?Maya: I'm an \"us\". I'm very blessed. We all are.Question two: Sneak attack. Riley?Riley: Pearl Harbor. And for extra credit?Riley: MissyBradford tried to tear our friendships apart. Lucas was new here and she tried to throw a sneak attack. I think that was the moment we all realized what we really meant to each other. The moment we all cametogether. Good! Farkle, Canada?Farkle: Our greatest allies are the people right next to us. Lucas...Lucas: I think I was the most changed by these people. I know that whatever I'm feeling, I can just tell my friends andeverything would be okay.Riley: Will it?Lucas: I guess we'll see.Maya: I thought we stopped?Riley: I thought we were just friends.Lucas: We're not. We're no good at it. We can't even look at each other any more. Idon't need any note cards now that we have different feelings now. And that's why your teacher was wrong. I can't hold you back from what you feel. Congratulations! You've all passed this test with flying colors.Farkle:What happens now? Now you graduate, Farkle. You walk out of here with everything you've learned... and you live life. You live it. You face whatever comes. This is going to be the greatest test of your friendshipyet.Maya: Wow. I made it to high school. We're gonna need some good teachers, Matthews.Yeah. So... one last thing: How will the school remember you?Lucas: I have an idea.Maya: What's our prank?Riley: I have anidea.[SCENE_BREAK][ INT. John Quincy Adams Middle School - Corridor - day ][SCENE_BREAK]Riley: And that concludes our tour of the big, bad John Quincy Adams Middle School.Maya: Not so scary, right?Lucas: Youguys are gonna do great here.Maya: There's one more thing before you guys go.Lucas: We wanted to give you something from our class to yours.Riley: We think one of the greatest legacies in life is friendship.Lucas:And no matter what happens in your new school, friends should always have a place where they can sit, and talk, and work things out.Because sometimes, life throws you all up and knots people together for a reason.Is that what you were feeling? What's that?(audience laugh)Riley: I think everybody should leave their mark.Maya: We work very well together.(Plaque on the bench reads):THIS FRIENDSHIP BENCH dedicated by Riley,Maya, Lucas, Farkle and ZayPEOPLE CHANGE PEOPLE\u0000 We got time, got time \u0000[SCENE_BREAK][ EXT. John Quincy Adams Middle School - night ][SCENE_BREAK]Katy Hart: Congratulations, baby girl, you are now themost educated person in our family.Maya: Mom! You didn't graduate middle school? Here you go.Katy Hart: OK, it was a joke. (audience laugh) I am a high school graduate, with three days college under my belt, and ifI hadn't taken neurobiology, perhaps I'd still be there, so take classes you understand, honey.(audience laugh)Congratulations, Farkle, only four more years 'til Princeton.Farkle: I wanna go wherever my friends go.C'mere. Look at this place! Different view than when we were growing up. I'm glad you're here with us, Zay. So, how was the Formal? Vanessa likes me better now than when I lived there. Now she's always missin' me'cause I'm gone... You know, I got this whole love thing figured out. Don't be there.(audience laugh)Got this impossible choice to make right now. You know what you should do? What? Don't be there.(audiencelaugh)But I wanna be there. Well, then you deserve what you get. (audience laugh) What's it gonna be? You got two great people, one follows the rules, one likes to break 'em... Yeah. One very blonde. One verybrunette. Yup. Gotta choose, man. I know! So, who do you like better? Me or Farkle?(audience laugh)Ha-ha-ha-ho. Congratulations Riley, you did it! Mmm... I had help. You would've been fine without me. I don't reallysee it that way, Dad. None of us do. Thank you for teaching my daugher so well. My pleasure. I don't think Farkle would have reached his full potential without you, Cory. Thanks Minkus. He had a lot to live up to.Thanks. That's why we want to see that he does! Of course he will. I don't really think you understand, Dad. What? Their class prank. Oh, you haven't hear about that? Nooo. What'd they do? Well, we started talkingabout legacy... About what we left behind... And what we don't want to leave behind... What we wanted to take with us... This is good! We stole something from school. You what?! This is good.(audience laugh)Well, putit back! Nope. It's ours now. We captured the real John Quincy Adams Mascot and we're taking it home with us. What did you guys do? We stole you! I told you this was good.(audience laugh)What are you talkin'about? I called up Uncle Jonathan and I told him that you had a lot more to teach us. She got you promoted, Daddy! Of course, the superintendent of schools didn't want to move teachers around for only one student,so there would have to be a lot of other people who thought you knew what you were doing. So, the parents put together a little petiton, got some signatures, and we presented it to him. I was veryconvincing.(audience laugh)How many parents? All of 'em. We want our children to have the best. You're going to high school, Cory... again!(audience laugh)We get to stay together. You said that you had a lot more toteach us... and now you can![SCENE_BREAK][ INT. Apartment - night ][SCENE_BREAK]Riley: Still like him?Maya: Yeah. You?Riley: Yeah.Maya: OK. I'll check again tomorrow.(audience laugh)Lucas: Any change?Riley:No. I've felt the same way about you ever since I fell into your lap on the subway.Lucas: You? (looks at Maya)Maya: There was this camp fire, y'see... You and me, I was in a far away place, there was a million stars inthe sky... What do you think?Lucas: I think I don't want anybody to be hurt.Riley: I think we don't know how to stop that.[SCENE_BREAK]Maya: Still like him?Riley: Yeah. You?[SCENE_BREAK]Maya: Yeah.(audiencelaugh)Maya: Still like--Lucas: Yeah.Riley: OK."}
+{"doc_id":"doc_19","qid":"","text":"MAWDRYN UNDEADBY: PETER GRIMWADEPart OneFirst Air Date: 1 February 1983Running time: 24:03[SCENE_BREAK]IBBOTSON: A 1929 Humber 16/50 open tourer, Imperial model. Do you realise this car has thesame chassis as the three and a half litre Humber Super Snipe?TURLOUGH: Crude, heavy and inefficient.IBBOTSON: This car is a classic, Turlough.TURLOUGH: It's dull and fat and ugly. Just like you, Hippo.IBBOTSON:Turlough!TURLOUGH: We're going for a ride.IBBOTSON: You can't drive the car!TURLOUGH: Watch me.IBBOTSON: We'll be caught.TURLOUGH: Who will know?IBBOTSON: Oh, Turlough, we can't.TURLOUGH: Oh, comeon, Hippo. Just to the end of the drive and back. You're not afraid, are you? Come on.IBBOTSON: Turlough![SCENE_BREAK]IBBOTSON: Hey, you said just to the end of the drive. But you haven't got a license,Turlough.TURLOUGH: So, who needs one?IBBOTSON: Oh, go back to the school, please. Oh Turlough, slow down, please. You're on the wrong side of the road, Turlough!TURLOUGH: This car's a classic. Isn't that whatyou said, Hippo?IBBOTSON: Look out![SCENE_BREAK]TURLOUGH: Who are you?GUARDIAN: A friend.TURLOUGH: What is this place?GUARDIAN: There's no need to be afraid.TURLOUGH: Then tell me who youare.GUARDIAN: Your guardian. One who has your interests at heart.TURLOUGH: Am I dead?GUARDIAN: Merely sleeping.TURLOUGH: I don't think I'd really care if I were. I hate Earth.GUARDIAN: You would like toleave?TURLOUGH: Is it possible?GUARDIAN: All things are possible.TURLOUGH: Then get me away from here, please.GUARDIAN: But first, we should have to discuss terms.[SCENE_BREAK]RUNCIMAN: He'll be all right.No bones broken. Just a slight concussion.HEADMASTER: It's a wonder they weren't both killed. What's the damage at your end, Brigadier?BRIGADIER: Eh? In thirty years of soldiering, I've never encountered suchdestructive power as I have seen displayed here and now by the British schoolboy. Well, how is he?RUNCIMAN: He's been lucky, He'll be all right.[SCENE_BREAK]GUARDIAN: We haven't much longer. I need to knowthat I have your assent to our arrangement. You will find me the most accommodating of partners.TURLOUGH: But murder. I'm not sure I could go that far.GUARDIAN: You will be destroying one of the most evilcreatures in the universe. He calls himself the Doctor.TURLOUGH: Why can't you destroy him? You have the powers.GUARDIAN: I may not be seen to act in this. I must not be involved.TURLOUGH: I need time tothink.GUARDIAN: There is no time. Yes or no?TURLOUGH: Don't send me back to Earth, please.GUARDIAN: Yes or no?TURLOUGH: Yes.[SCENE_BREAK]RUNCIMAN: He's coming round.BRIGADIER: Steady on, old chap.You had a bit of a knock.[SCENE_BREAK]TEGAN: Doctor? I am free of the Mara, aren't I?DOCTOR: Tegan, Tegan, Tegan.TEGAN: I'm scared.DOCTOR: There isn't any need to be.TEGAN: I'm still having terribledreams.DOCTOR: It's your mind's way of coping with the experience. You've suffered a great deal.TEGAN: That could have been prevented if that Dojjen person had destroyed the Great Crystal.DOCTOR: No, hecouldn't. The Mara during the process of its becoming. It had to be trapped between modes of its being.TEGAN: The feelings of hate. Doctor, I couldn't go through it again.DOCTOR: Well, you're completely free of itnow, Tegan. For you, the Mara is dead forever.NYSSA: For all of us, I hope.DOCTOR: Indeed.TEGAN: Can you take me back to Earth?NYSSA: You want to leave us?TEGAN: I want to rest. I want to be surrounded byfamiliar things.NYSSA: You'll forget the Mara, Tegan. It won't always be as painful as it is now.DOCTOR: Warp ellipse cut out?NYSSA: Can't be. That would mean we were near an object in a fixed orbit in time as well asspace.DOCTOR: And what's the probability of that?NYSSA: Several billion to one against.TEGAN: Are you trying to scare me, or is this your way of telling me we've broken down again?DOCTOR: I'm afraid it's muchmore serious than that.[SCENE_BREAK]MATRON: Right, into bed with you, young man.TURLOUGH: Oh, Matron, I'm perfectly all right.MATRON: Mild concussion and shock. You heard what Doctor Runciman said. Wedon't want complications, do we?TURLOUGH: I'm not going to bed.MATRON: Just this once you can do as you're told. You're in enough hot water already.TURLOUGH: Matron, where did this come from?MATRON: It wasin your jacket, and that was in a fine old mess, I don't mind telling you.MATRON: Good afternoon, Headmaster.HEADMASTER: Is it, I wonder. Well, Turlough, how are you feeling?TURLOUGH: Much better, thank you,sir.HEADMASTER: Which is more than the Brigadier can say for his car. I don't understand you. You make no effort at games, you refuse to join the CCF, you do little or no work in class though you have a first-ratemind, and now this.TURLOUGH: I wasn't driving, you know, sir.HEADMASTER: What?TURLOUGH: The Brigadier's car.HEADMASTER: But Ibbotson saidTURLOUGH: I didn't want Ibbotson to get into trouble, sir. I onlywent along in case he got hurt. I knew he wasn't really able to drive it, and, wellHEADMASTER: I see.MATRON: Ahem. Turlough must get some sleep, Headmaster.HEADMASTER: Of course, Matron. I'll look in againlater.TURLOUGH: So you are real. I thought it was just a dream.GUARDIAN (OOV.): Waking or sleeping, I shall be with you until our business is concluded.[SCENE_BREAK]NYSSA: Are we safe?DOCTOR: There's achance something's on a collision course with the TARDIS.TEGAN: Don't you know?DOCTOR: Well, there's a chance of anything. Statistically speaking, if you gave typewriters to a tree full of monkeys, they'd eventuallyproduce the works of William Shakespeare.NYSSA: Doctor!DOCTOR: Now, you and I know that at the end of the millennium they'd still be tapping out gibberish.DOCTOR: And you'd be tapping it out right along sidethem. I only asked you a simple question.NYSSA: Doctor, something's coming straight for us!NYSSA: We've got to get out of the way.DOCTOR: We can't. We've converged with the warp ellipse.NYSSA: Doctor!DOCTOR:Hold this steady.TEGAN: We're going to crash.DOCTOR: I'll try and materialise on board the ship. Hold tight![SCENE_BREAK]TURLOUGH: Why am I still on Earth?GUARDIAN: Patience, Turlough. Already the elements ofchance are ranged against the Doctor. Soon he will be separated from the TARDIS and in your power. Go to the hill, boy, to the obelisk, and wait. There I will instruct you further.[SCENE_BREAK]HEADMASTER (OOV.):You realise, Ibbotson, what you did is a criminal offence. If it weren't for the good name of the school, I'd hand you both over to the police.HEADMASTER (OOV.): I shall be writing to your parents, needless tosay.BRIGADIER: Ahem.BRIGADIER: Ah, Ibbotson. And what have you got to say for yourself?IBBOTSON: Please, sir, I'm very sorry, sir, but it wasn't my fault, honestly. I'm really sorry, sir.BRIGADIER: Ah,Headmaster. I trust you flogged that young man within an inch of his life?HEADMASTER: Thank you, Brigadier, but I feel that we should wait until Turlough is restored to health before we take any legal or disciplinaryaction.BRIGADIER: You realise that car was unique?HEADMASTER: Quite, but I feel sure that you will agree that we must do what is best for the school.BRIGADIER: Yes, well. Oh, if you say so, Headmaster. Mind, youcan't really take it out on Ibbotson. It's my view that he was led into this by Turlough. Oh, we've got a rotten one there.HEADMASTER: I'm not so sure. I had a word with Turlough. He said he only went along to protectIbbotson.BRIGADIER: Pah. Cunning as a fox. You don't believe him, of course.HEADMASTER: I don't know. I'd be reluctant to jeopardise the boy's future.BRIGADIER: Have you spoken to his parents?HEADMASTER: Ithought you knew. They're dead. I deal with a solicitor in London, and a very strange man he is, too.[SCENE_BREAK]IBBOTSON: Are you awake, Turlough?TURLOUGH: What do you want?IBBOTSON: Listen, the Head'sgoing to write to my parents. The police may be called into investigate. We could be expelled.TURLOUGH: It's all right, Hippo. I've spoken to the Head. I told him it was all my fault.IBBOTSON: I say, did you really,Turlough?TURLOUGH: So you won't get the boot, just beaten, I expect.IBBOTSON: Oh. Well, they'll beat you when you're better.TURLOUGH: Oh no, they won't.IBBOTSON: Hey, you can't get up until Doctor Runcimansays so.TURLOUGH: Goodbye, Hippo.IBBOTSON: Oh, Turlough, you can't leave me on my own! Oh please, Turlough![SCENE_BREAK]TEGAN: Strange ship.NYSSA: No sign of any passengers.TEGAN: Probably havingcocktails with the Captain.NYSSA: What?TEGAN: Well, I mean it's more like the Queen Mary than a spaceship.TEGAN: I take it back. It's not the Queen Mary, it's the Marie Celeste. You'd think on a long journey they'dwant something a little more cheerful.NYSSA: Everything on this ship is designed for pleasure.DOCTOR: I have a weird feeling the warp ellipse will be travelling for a very long time. Possibly through infinity.NYSSA:Well, it's certainly no prison ship.[SCENE_BREAK]IBBOTSON: Where are we going?TURLOUGH: Don't ask questions. (quietly) What am I supposed to do?IBBOTSON: Oh, Turlough, what's happening? Who are youtalking to?IBBOTSON: Oh, wait for me.[SCENE_BREAK]TEGAN: Could you fly this thing, Doctor?NYSSA: You don't fly a ship like this, it's in perpetual orbit.DOCTOR: Amazing.NYSSA: Doctor?DOCTOR: There's a lengthof flight indicator. This ship's been in orbit three thousand years.TEGAN: No wonder there's no one on board.[SCENE_BREAK]IBBOTSON: Now what?TURLOUGH: We wait.GUARDIAN (OOV.): The base of the urn. Pressit. Release the camouflage screen protecting the capsule.[SCENE_BREAK]NYSSA: Doctor, look at this.DOCTOR: Mmm. Transmat terminal.NYSSA: And in the transmit mode.TEGAN: The crew escaped in a liferaft?DOCTOR: Well, someone certainly left the ship, almost six years ago.TEGAN: Where to?DOCTOR: Earth.[SCENE_BREAK]IBBOTSON: What is it?TURLOUGH: A transmat capsule. Don't you knowanything?[SCENE_BREAK]DOCTOR: The ship's orbit takes it within range of Earth for six years.TEGAN: Someone might come back.DOCTOR: Any time. Come on, let's get back to theTARDIS.[SCENE_BREAK]IBBOTSON: Keep back!IBBOTSON: Turlough![SCENE_BREAK]GUARDIAN (OOV.): The controls of the vessel are of no interest to you, Turlough.TURLOUGH: But it's a ship! I can gethome!GUARDIAN (OOV.): I did not bring you here so that you could return home. Your concern is with the Doctor.GUARDIAN: You will obey me in all things.TURLOUGH: Let me go.GUARDIAN: Remember theagreement between us.TURLOUGH: Yes.GUARDIAN: You will seek out the Doctor and destroy him.TURLOUGH: Of course. I will seek out the Doctor and destroy him.[SCENE_BREAK]DOCTOR:Quickly.[SCENE_BREAK]IBBOTSON: Sir! Sir!IBBOTSON: It's Turlough, sir.BRIGADIER: What?IBBOTSON: We were on the hill, sir, and there was this great big silver ball, and Turlough went inside anddisappeared.[SCENE_BREAK]TEGAN: Now what?DOCTOR: The TARDIS won't dematerialise.[SCENE_BREAK]BRIGADIER: If you took more regular exercise, Ibbotson, not only would your body be less disgusting, butyou'd enjoy a healthier imagination.IBBOTSON: I didn't imagine it, sir.BRIGADIER: Take it from me, boy, a solid object just can't dematerialise. Turlough![SCENE_BREAK]TEGAN: What's happening?DOCTOR: Iwonder.DOCTOR: I might have known.NYSSA: Doctor?[SCENE_BREAK]TEGAN: Where are you going?[SCENE_BREAK]DOCTOR: The transmat beam, it's been operated. The signal is interfering with the TARDIS.NYSSA:Look. It must have just returned.TEGAN: Well, how is the transmat signal jamming us?DOCTOR: Well, the capsule and the TARDIS must be dimensionally very similar, and the beam's still functioning. It's supposed tocut out when the capsule completes its journey.TEGAN: Well, can you switch it off?DOCTOR: I hope so.TEGAN: I hope so too. I don't fancy a non-stop mystery tour of the galaxy.DOCTOR: Ah.NYSSA: You found thefault?DOCTOR: In a manner of speaking. It's on Earth.TEGAN: Earth?DOCTOR: If these readings are correct, it's 1983 on Earth.TEGAN: So?DOCTOR: Well, the capsule originally left the ship six years ago.TEGAN:1977.DOCTOR: Yes. I wonder what it's been up to all that time. Come on, back to the TARDIS.TEGAN: Doctor, wait.NYSSA: What's the matter?TEGAN: Well, if that thing's back, then someone could be on board theship.[SCENE_BREAK]DOCTOR: Who are you?[SCENE_BREAK]HEADMASTER: Turlough again.MATRON: I'm sorry, Headmaster, but he was missing when I came in with Doctor Runciman. And there's no sign of Ibbotsoneither.HEADMASTER: I must talk to the Brigadier.MATRON: I sent a boy round to his quarters, but the Brigadier's disappeared too.[SCENE_BREAK]DOCTOR: This is Turlough.TEGAN: Where did you come from?DOCTOR:The transmat capsule.TEGAN: Earth?TURLOUGH: The capsule just appeared. It was very strange.NYSSA: And you just walked in?DOCTOR: Seven, eight. All set.NYSSA: Where are you going?DOCTOR: Earth, via thetransmat capsule.TEGAN: Is it safe?DOCTOR: Well, it worked one way. Once I've disconnected the beam jamming the TARDIS, you should follow me through to Earth.TURLOUGH: May I come with you?DOCTOR: You'llbe safer in the TARDIS.TURLOUGH: Please?DOCTOR: All right, why not. See you on Earth.NYSSA: Good luck.[SCENE_BREAK]DOCTOR: Come on.[SCENE_BREAK]DOCTOR: It's a pity those things don't have a widerrange. Still, at least we're here in one piece. Transmat capsules can do very nasty things to organic structures if they're not properly maintained.[SCENE_BREAK]TEGAN: I don't trust that boy.NYSSA: Oh, I don't know. Ithought he was rather nice.TEGAN: Nobody from Earth is just going to walk into a transmat capsule.NYSSA: As you did into the TARDIS on the Barnet bypass?[SCENE_BREAK]GUARDIAN: In the name of all that is evil,the Black Guardian orders you to destroy him now!GUARDIAN: Now, boy. Do it now!"}
+{"doc_id":"doc_20","qid":"","text":"\"The Baby in the Bough\"[SCENE_BREAK]TEASER(Open: Freeway stock. Night. Booth's Car exterior. Booth's Car interior. BOOTH is driving.)BRENNAN: What do you know about the Cayman Islands?BOOTH: Greatdiving, you know? Lots of sea turtles. Why? Are you going?BRENNAN: No. My accountant wants me to set up a tax shelter there.BOOTH: Tax shelter?! Exactly how loaded are you?BRENNAN: (indignantly) That is anoffensive way to phrase the question. (she pauses, and mumbles) Quite loaded. I'm betting on a seven figure advance for my next book.BOOTH: Seven figures. Wow. With-without the decimal point?BRENNAN:(defensively) The publishers make considerably more.BOOTH: What's the first of those seven figures?BRENNAN: A prime number. What do you do with your money?BOOTH: I use it for food and rent.(Cut to Booth's Carexterior on freeway.)(Cut to: firemen and emergency workers grouped around a crash site in Pendleton. There are fire trucks, police cars and an ambulance. A sports car has run off the road. The area is muddy andwooded. It is night and the site is lit with floodlights on stands. The firemen are packing up hoses and calling to each other as they work. SHERIFF DELPY, BOOTH and BRENNAN walk into shot.)FIREMAN: (inbackground) Hey, this is all done get over to-BOOTH: (to DELPY) Hey. What have we got here?DELPY: You Agent Booth?BOOTH: (shaking his hand) Special Agent Booth. How you doing?DELPY: Sheriff Delpy.BOOTH:This here's my partner-BRENNAN: I can introduce myself. Doctor Temperance Brennan.BOOTH: Somebody ran the car off the road?DELPY: Yeah. Well, it makes it impossible to get any traceable tire marks.(BRENNANapproaches the victim, who is a burned husk still seated in the driver seat of the open top car.)BRENNAN: The victim was doused with gasoline and then set on fire.DELPY: Farmer three miles away saw the smoke,called it in.Brennan: Female. Probably in her early twenties. Preauricula sulcus on the iliac. She's given birth.BOOTH: Ran off the side of the road, set on fire... Somebody wanted her dead.DELPY: Well that's why I needyour help. I only got six deputies covered four hundred square miles. We're stretched thinner than plastic wrap.BRENNAN: Compound fractures to the right tibia and fibula. (BOOTH opens the hood of the car and noticesa diaper bag in the back seat.) Crushed manubrium; massive skull trauma. (BABY ANDY cries and BOOTH looks up quickly as BRENNAN continues her examination) I'm not certain yet whether she died in the accident orthe fire-BOOTH: Ssssh! You hear that? (The SHERIFF and BRENNAN listen) Everybody! Keep quiet! Stop workin'! (To Brennan) Did you hear that?BRENNAN: Sounds like a cat. (They all look around.)BOOTH: A baby.(He looks up. The camera looks down on BOOTH and BRENNAN from the treetops. Pan across to reveal BABY ANDY in a car-seat, lodged in the branches.DELPY: Holy crap.BOOTH: Get a ladder down here now!FIREMAN:All right, let's move!(Cut to DELPY and EMERGENCY WORKER holding BABY ANDY as they walk alongside the emergency vehicles to BOOTH and BRENNAN)DELPY: There's not even a scratch on the boy. It's amiracle.BRENNAN: Well, hardly! Car-seats are specifically engineered to protect the child.BOOTH: From what? Flying out the back of a car and landing in a tree? (BABY ANDY squawks) Oh, look at him, Bones. He looks alittle fussy there. Why don't you pick him up and give him a cuddle?BRENNAN: What? Just because I have breasts doesn't mean that I have magical powers over infants. You're the one with the son.BOOTH: All right,fine. I'll take him. Here you go. (He hands her the diaper bag.) You have fun with the diaper bag. You look good. (he takes BABY ANDY) Come on, little man! Whoa-ho. Hi! Why don't you say hi to your grumpy oldAuntie Bones.BRENNAN: No! I am not grumpy! (To the SHERIFF) The-the vinyl seat melted and fused to the body so we need that brought back to the Jeffersonian. And the driver's door for particulate evidence.DELPY:(Sniffing) The kid smells a little ripe. Might want to take care of that.BOOTH: Ye-eah. (He sighs) Okay, Bones, I'm gonna have to change him. Just hold on to him here (holding BABY ANDY out for Bones to take). Hereyou go. Here you go. Okay? Got him?BRENNAN: What? Oh! Woah! Arrrgh.BOOTH: Okay. Here we go. (Taking off his suit jacket) We'll work together on this one. (He lays his suit jacket on the wide back step of a firetruck) Changin' Diapers 101. ( BRENNAN passes him BABY ANDY) Here we go. Here we go, little big man. Okay. watch your-Here. Right here. Look at that. All right. Get me a diaper there, Bones.BRENNAN: Right. Thereyou go.BOOTH: Thanks. Baby powder.BRENNAN: You know, Booth, I have better things to do with my time. (She looks through the bag) There's no powder.BOOTH: No powder?BRENNAN: Yeah. Hey. Wait a minute.(She pulls a key from the bag and shows it to BOOTH.)BOOTH: Where'd that come from?BRENNAN: There's a rip in the lining of the bag. Seems like someone was trying to hide it.BOOTH: Okay. I'll get an evidence bagand I'll ask EMT if they have any baby powder. Just watch him. (He jogs away.)BRENNAN: Wait. Wait. Wait! Booth. There's a baby! I don't feel comforta-. (She trails off, exasperated. BABY ANDY gurgles.) Coochie-coo?(BABY ANDY cries.) Oh! No no! No need to fuss! Obviously something is upsetting you. Children have toys; you must have some. Let me see. (She rummages in the bag, retrieving a purple stuffed elephant.) You know,elephants are not purple. This is wrong. ( BABY ANDY cries. BRENNAN sighs). Hey, look at that: he flipped over!BOOTH: Bones! That's because you gotta *watch* him. Jeez. Woah. Okay, look, little big man. If you'regonna be in my jacket, we gotta get you out of that diaper. Woah. Okay, where's the key?BRENNAN: I put it on your jacket.BOOTH: Next to the baby?BRENNAN: Yeah.BOOTH: Are you crazy? Do you know that babiesput everything in their mouth, Bones? He could have swallowed the key! It's so dangerous. All right. Okay. ( He picks up the BABY ANDY whilst BRENNAN looks for the key) Shh shh shh shh. The *key*, Bones. look forthe key.BRENNAN: It's not here. Oh, no. He must've... swallowed it.BOOTH: (In synchrony) Swallowed it. (BABY ANDY cries.) Okay. (BOOTH hands BABY ANDY to BRENNAN) Here you go. Get used to him.BRENNAN:What do you mean?BOOTH: That key was evidence. You know how chain of custody works. That kid stays with us until we get the key back.(BRENNAN looks at him. BABY ANDY pees down her leg,)BRENNAN: Ugh.Argh.BOOTH: (Takes the still-peeing BABY ANDY.) Wooh. That's a stream.TITLES.ACT ONE.(Open: Medico-Legal-Lab. CAM, ANGELA and ZACK stand in a line looking down at something offscreen.)ANGELA: I have neverseen anything so gorgeous on this table before.CAM: Or so alive!(Camera looks down from above at ZACK, ANGELA and CAM standing along one side of an examination table. BABY ANDY lies on it, laid on a piece ofcloth and burbling happily.)ZACK: Why is Doctor Brennan the official custodian?ANGELA: She's registered as a foster parent. Russ asked her to do it after he began his prison term.CAM: Russ wants to make sure hisstep-daughters are taken care of if anything happens to Amy.ZACK: Prodigious saliva production.HODGINS: (Walking into shot carrying a security swipe-wand metal detector.) Okay. Now we can determine if the littleguy really *did* swallow the key, or if he has been falsely accused. (HODGINS passes the wand over BABY ANDY. The wand squeals as it passes over BABY ANDY's abdomen.)CAM: Well, unless he's already had a hipreplacement, it sounds like there's a key in there.ANGELA: He liked it! Do it again. (HODGINS wiggles the wand over BABY ANDY, who chuckles and squirms.)BRENNAN: What are you doing?HODGINS: (Grinning) Wewere just- (He sees BRENNAN'S expression and becomes serious.) We verified that the baby did indeed swallow the key.BRENNAN: Then you should X-Ray him to get a clean view. He's not a plaything. (To Zack.) Andyou're supposed to be examining the victim.ANGELA: We thought it would be bad form to examine the remains in front of the baby. You know, creepy formative memory?BRENNAN: Then would you mind taking him fora little while so that we can work?ANGELA: I'd love to. (She gathers up BABY ANDY, smiling. ANGELA looks at HODGINS. who laughs indulgently.) Get used to it. I want, like, a million of these.HODGINS: Cool. (Angelacarries BABY ANDY away. HODGINS to CAM) What do you think she meant by \"a million\"? Two?(Scene: Booth's Office. BOOTH is looking through some photographs. AGENT CHARLIE BURNS knocks on hisdoor.CHARLIE: Agent Booth?BOOTH: Yeah?CHARLIE: Got a hit on your burned car. It was registered to a dead guy.BOOTH: A dead woman driving a dead man's car.CHARLIE: Plates expired five years ago. Dead guy'sfamily said they sold the car for scrap to a junkyard in Seneca Rocks, West Virginia.BOOTH: Let me guess: junkyard guy sells off the old heaps to people who wanna get off the grid.CHARLIE: He used to. Operation gotshut down two years ago. No one's seen him since.BOOTH: Let me know if forensics finds anything to help Bones id. the remains.CHARLIE: (Nods.) Is it true that Doctor Brennan's taking care of the baby? Becausethat's something I'd pay to see.BOOTH: (Studying his photographs.) Goodbye, Charlie.(Medico-Legal Lab-forensics platform.)ZACK: The victim exhibits enlarged hypertrophic lesions and multiple muscleattachments.BRENNAN: The result of strenuous activity, most likely occupational.CAM: The ligamenta flava shows evidence of whiplash. All the para-mortem injuries are consistent with vehicular trauma. She was deadprior to immolation.BRENNAN: Zack, grind some bones so Hodgins can perform an isotope analysis. We might be able to figure out where she lived.ANGELA: (Walking in to the room) Junior made us a littlepresent.BRENNAN: The key. Finally.ANGELA: Not yet. This is just the usual present, but with one major difference. (Angela opens the diaper she is holding to show a pink-soaked seat.)ZACK: I assume pink isn't anormal color for this type of thing.CAM: Does yours ever look pink?ZACK: No, but I'm not an infant.BRENNAN: Where is the baby?ANGELA: Asleep in your office. I was gonna start the facial reconstruction,so...BRENNAN: He's my charge; I'll sit with him.CAM: (Picking up the diaper.) Let me run some tests. See what I can find.ZACK: Actually, one time when I was visiting my cousins, we ate a lot of beets, and the nextday-CAM: Zack, really. Too much sharing.(Cut to BRENNAN and BOOTH walking around the Medico-Legal Lab Floor)BOOTH: You know, you look very mom-like with that baby monitor.BRENNAN: I have a responsibilityunder state law as a foster parent. I've already bought him toys and clothes.BOOTH: Ah, so you've bought him some clothes?BRENNAN: Well, I sent an intern, who apparently loves bears, which in reality would devoura small child.(BRENNAN and BOOTH round the corner to meet HODGINS at the base of the Forensics Platform)HODGINS: I tested the ground bone for strontium.BRENNAN: Strontium is an element found in mostrocks.HODGINS: Human beings absorb it through the consumption of local vegetation and water. (He brings up a map on his computer) Over time, the isotope collects in the bones, meaning-BOOTH: You could use it tofigure out where someone's from. (BRENNAN and HODGINS look at BOOTH in surprise.) That is right, people. I am a constant surprise.(The baby monitor transmits BABY ANDY whimpering.)BRENNAN: I don'tunderstand. He's been fed; he's changed; I patted him, and now he's just...complaining.BOOTH: He's acting like a real baby.HODGINS: The victim was from northern West Virginia. Tucker County to be moreprecise.BRENNAN: Well, are you sure she's from Tucker County? The crash was in Pendleton.HODGINS: Very sure. Particulate matter collected from the salvaged area of the car contained guano from a Corynorhinustownsendii virginianus.BRENNAN: So we know where to look. (She stares at the baby monitor, which is still transmitting BABY ANDY's cries).BOOTH: Are you gonna get him?BRENNAN: I figured you'd get him.BOOTH:Don't you have a \"responsibility under state law\"?BRENNAN: But you're the baby daddy.BOOTH: Baby daddy?!BRENNAN: You have prior experience with pre-verbal infancy.BOOTH: You can be the daddymommy.ANGELA: (Enters, with BABY ANDY) Okay, you two had better get your act together or I'm suing for custody. (ANGELA hands BRENNAN a head shot of a young white woman with dark brown hair.) This is myrendering of the victim.BRENNAN: Numerous genetic similarities. Cam's running DNA tests to be sure, but I'm comfortable with the assessment that this was the child's mother.BOOTH: He misses his mother. He'ssad.(BRENNAN takes BABY ANDY)BRENNAN: We need to go to Tucker County.(Fade to Booth's Car. Huntsville, Tucker County.)BOOTH: The last coal mine closed about eight years ago. This place is a ghosttown.BRENNAN: The local economy was devastated.BOOTH: Yeah. That could be why our victim was driving a junker. She couldn't afford registration, insurance... You know, I don't wanna sound insensitive here, butI'm telling you: real estate? It's gotta be a steal. I mean, you could build yourself a beautiful house on the river. I could come out and fish. You could put in one of those media rooms. You know, I saw a one hundredand three inch flat-screen TV-BRENNAN: I don't need another residence, Booth.BOOTH: Just, you know, tryin' to give you a little financial advice.(BRENNAN looks at BABY ANDY in the back seat.)BRENNAN: He seems sopeaceful. He has no idea that he's all alone.BOOTH: Well, maybe that wasn't his mom. Maybe there's a dad.BRENNAN: No-one filed a report, Booth. No-one's worried about him.BOOTH: Yeah, well, you are.(They sharea look. BRENNAN looks out her window and sees a man working in the front yard of a dilapidated house on the otherwise deserted street.)BRENNAN: There's someone. (BOOTH pulls over.)PAUL: You people are from thegovernment?BOOTH: Yes, sir. With the FBI.PAUL: (Nods toward to BABY ANDY) Ah. Training them up young, I see.BOOTH: If you could just... help us.PAUL: Right. Just like the government helped us when the bridgewashed out. When they closed the school.BRENNAN: Well, the business and industry left the area. The local tax base is non-existent. The government can't be expected to provide services without the fiscal means to doso.PAUL: What'd she say? Are you from France or somewhere?(BOOTH chuckles)BRENNAN: Economies live and die just like any organism. When they expire, the logical thing to do is to move.PAUL: This land is part ofme. I've lived here all my life, my father before me, his father..!DOROTHY: Paul. Who're you hollering at now?PAUL: They're from the government.DOROTHY: (Seeing BABY ANDY) Oh my god! You have no right. Noright at all! Taking people's children away?BOOTH: (Moving to cover BABY ANDY) Hey, hey!DOROTHY: You should be ashamed. That girl does the best she can to provide for Andy.BOOTH: Andy? Do you know thisbaby?DOROTHY: (suspiciously) Yeah. Folks up the street? Carol and Jimmy Grant? They take care of him when his mom works.BOOTH: (Shows her the head shot.) Is that his mother?DOROTHY: Looks like her. But youshould check with the Grants. What's goin' on? Has something happened?(Cut to THE GRANTS, interior. BOOTH is showing the head shot to CAROL GRANT)CAROL: Yeah, that's Meg. Meg Taylor. We all went to highschool together: me and Jimmy and Meg, and Meg's husband, Lou.JIMMY: Back when we had a high school.BOOTH: Meg's husband, does he still live around here?JIMMY: Uh, I've not seen him lately. Not that I'd wantto. He's in and out of jail, does anything for a drink, left Meg before Andy was born.CAROL: I'm not sure he's laid eyes on Andy more'n twice.JIMMY: Meg worked herself to the bone for this boy.CAROL: We couldn't haveone of our own so we were real happy to help Meg out.JIMMY: Meg would have to, heh, pry her away from him at the end of the day.BRENNAN: Where did she work?CAROL: Ah, Fallbrook Rubber? They recycletires.JIMMY: They turn them into ground coverings, you know, for playgrounds and such. It's one of the only places left around here to work.BOOTH: And how about the two of you. You're both currently, what,unemployed?JIMMY: No, uh, I work part-time, looking after some of the buildings they shut down.CAROL: Jimmy used to teach high school and I did some project management, mostly for construction, but now... Wedo what we can.JIMMY: This town used to be something. I mean, we were on the scenic route. You know, people would come to visit. It wasn't all coal.CAROL: What'll happen to Andy, because we can watchhim.BOOTH: He's gonna have to stay with us for now. Tell me where Meg lived?(Huntsville: A denim-clad man is leaning in the doorway of a decrepit building. A sign swings above his head. The windows are boardedover. Booth's Car drives past and we hear BRENNAN talking.)BRENNAN: Looks like everything's closed down around here.BOOTH: Yeah, probably lost all its customers. With no bridge, the highway routes all the trafficaway from the town-(BRENNAN'S phone rings.)BRENNAN: Brennan.CAM: Got the scoop on the poop.(Cut to Medico-Legal Lab: ZACK in the foreground; CAM in the background talking on the phone.)CAM: It waspharmaceutical dye used to color the phenobarbital that showed up on his tox. screen.BRENNAN: Andy had phenobarbital in his system?CAM: Oh, his name's Andy? Adorable. I had a dog named Andy. That came outwrong.ZACK: Why does he have phenobarbital in his system?CAM: It's often prescribed for seizures.ZACK: Perhaps the infant is epileptic.BOOTH: Hey! Don't say that. Andy's going to be just fine.CAM: Well, he was stillbreastfeeding, so there's a slight chance he ingested the drug that way but... the depth of color makes it unlikely.BRENNAN: We're on our way to check out his mother's home. I'll see if I can find a prescriptionbottle.(BOOTH and BRENNAN pull up at a trailer park by some train tracks.)BRENNAN: Okay.BOOTH: Nono no no no no no no no.BRENNAN: What?BOOTH: No no no no. Look, the front door is open. You stayhere.BRENNAN: But-BOOTH: Bones, there is a baby involved. If you hear gunfire, anything like that, drive away.BRENNAN: Bu-I'm not leaving you.BOOTH: Yes you will, because this is about the baby, not me. Promiseme.BRENNAN: (Looks at the baby for a long moment.) I promise.(BOOTH approaches the trailer, weapon drawn. He cautiously enters to see LOU, a man with wild hair, ransacking the place. LOU looks up. BOOTH aimshis weapon.)BOOTH: Okay. Easy. Both hands to the ceiling, nice and easy. Right there. (LOU makes a break for it and BOOTH detains him easily.) Yeah. Easy! God! (BOOTH handcuffs LOU.) You know, I asked you verynicely.BREAK(Trailer, exterior. Booth's Car, interior. BRENNAN and BABY ANDY are inside.)BRENNAN: We will find out what happened to your mother. I promise. You know, Booth is an excellent investigator and, I don'tlike to boast, but I am the best in my field. (BABY ANDY squalls) What do you want? Ah. How, how about some visual and auditory stimulation? Okay. Let's see. Um.(Trailer, interior, BOOTH is hustling LOU to the frontdoor)LOU: I told you, I'm Meg's husband. I live here.BOOTH: If you live here, why'd you break the front lock?LOU: I didn't do it! Somebody else broke in. And when I saw it I thought I'd come in and check onMeg.BOOTH: Oh, so, you live here or came by to check on Meg? Which one is it?LOU: Ugh, all right now you're getting me all confused.BOOTH: Yeah, I bet.LOU: Look, Meg bails me out sometimes. If she can. And whenI saw she wasn't here, I just figured I'd, you know, help myself.BOOTH: How often do you steal from your wife?LOU: It's not stealing. She likes to help me.BOOTH: Well, Meg's dead. She was killed.LOU: How?BOOTH:You seem shocked.LOU: Well, of course I am!BOOTH: Where were you last night?LOU: (Dazedly) Last night? (BOOTH claps his hands sharply in LOU's face) I don't remember.(Booth's Car, interior. BABY ANDY continuesto cry. BRENNAN waggles her hands at him.)BRENNAN: Phalanges! Phalanges. Phalanges! Dancing phalanges. Dancing phalanges! Yeah-hah-hah. Booth thinks bones are dry and boring, but- show me yourphalanges.(BABY ANDY wiggles his fingers.)BOOTH: (Walking a handcuffed LOU to car) Hey, Bones. Her husband, real genius, doesn't even remember where he was last night.BRENNAN: We've got your son in here. Hismother's dead and now you're the only one-LOU: Oh, no no no no no. I never wanted to have a kid. She did it because she thought it would, uh, straighten me out, but I told her I couldn't handle a kid because I'm a"}
+{"doc_id":"doc_21","qid":"","text":"3.03 - Application AnxietyOPEN AT LORELAI'S HOUSE[Lorelai and Rory are on the sofa watching \"The Brady Bunch Variety Hour\"]RORY: This is sublime.LORELAI: It was the golden age of television.RORY: The music,the costumes, the sets.LORELAI: All cylinders were fired on this one, boy!RORY: And who knew that they all had such musical talent?LORELAI: And such far out booty shaking abilities, as well.[The mailman walksthrough the front door and sets the mail on the bench]EDDIE: Mail, ladies.LORELAI: Thanks, Eddie![Eddie walks back out; Rory walks over to get the mail]RORY: Did you see that TV Guide had this on their list of theworst fifty shows of all time?LORELAI: I know! Who are they to judge?RORY: I know, it's on my top fifty best.LORELAI: Yeah, right after \"Holmes and Yoyo\" and \"Hee Haw Honeys.\" Oh, Rory, get back here! They're inclown suits and headed for the pool.RORY: Oh my God.LORELAI: Honey, come here.RORY: It's here.LORELAI: What's here?RORY: My application to Harvard.LORELAI: Oh my God. [walks over to look at it] It'sbeautiful.RORY: Impressive letterage, huh?LORELAI: Oh, yeah, it's so. . .RORY: Very.LORELAI: Can I hold it?RORY: Be careful.LORELAI: Oh, it's heavy, heavy with importance.RORY: I feel dizzy.LORELAI: Are you surethat's not just the sight of Robert Reed in the tight clown pants?RORY: Oh, geez. Let the record show that when my application to Harvard arrived, we were watching \"The Brady Bunch Variety Hour.\"LORELAI: You don'tlose points for that, do you?RORY: I hope not. Man, this morning I was reading Dead Souls \u0000 it couldn't have come then?LORELAI: Well, we'll just tell people that's what you were doing, and that I was studying a reallybig globe. They'll never know.RORY: You can keep a secret?LORELAI: Not so far, but there's always a first.RORY: Dead Souls and a really big globe.LORELAI: Deal. [looks at TV] Oh, kayaks![opening credits]CUT TOLORELAI'S KITCHEN[Lorelai sits at the table with the Harvard application while Rory gets a drink from the refrigerator]LORELAI: Come on, come on, I wanna get started.RORY: Hold your horses there little Miss HorsieHolder.LORELAI: They're going to expect a higher level of wit when you're at Harvard. Oh, watch that drink.RORY: I'm nowhere near it.LORELAI: Well, keep it that way. This is an uncontaminated area. I even cleanedthe table using something other than the sleeve of my sweater and spit. [shows her a bottle of cleanser]RORY: Lovely image. I'll be careful.LORELAI: All right, here we go. First question. Uh! Oh my God.RORY:What?LORELAI: \"What were you doing the moment you received this application?\" counts for fifty percent of your eligibility.RORY: Stop.[Lane walks out of Rory's bedroom]LANE: I need help.LORELAI: With what?RORY:She's writing her drummer-seeks-rock-band ad.LANE: And it's not reading right to me. Could you guys look it over?RORY: Let's see \u0000 \"Drummer with strong beat seeks band into the Accelerators, the Adolescents, theAdverts, Agent Orange, the Angelic Upstarts, the Agnostic Front, Ash. . .\" You went alphabetically.LANE: Seemed tidy.LORELAI: And a little OCD.RORY: And a little long.LANE: I can't make cuts.RORY: It's three pages,single spaced \u0000 make cuts.LANE: But this is the cut-down version. I mean, just from the letter A, I excluded AC/DC, the Animals, and A-Ha, footnoted as a guilty pleasure.RORY: If we can't get through it, no onecan.LANE: Okay.RORY: Okay.LANE: I'll try to make cuts, but no guarantees. [goes back into Rory's bedroom]LORELAI: Okay, personal information. . . state your full name. Better not get that one wrong.RORY: I'lltry.LORELAI: And nickname, if any.RORY: That would be Rory.LORELAI: Or Droopy Drawers.RORY: That was never my nickname.LORELAI: Wrong, I called you that as a baby.RORY: What?LORELAI: That's right. Youhad these little OshKosh cords and they were way too big and once at the mall, they fell right down to your knees and I said, \"Whoa, there, Droopy Drawers!\" \u0000 and I'm just afraid if we don't answer everythingaccurately, the Harvard police will come and hit you with an atlas and say something mean in Latin.RORY: How would they know that you called me Droopy Drawers?LORELAI: Well, we could be at a Harvard event and Icould slip up and say, \"Pass me a lobster puff, Droopy Drawers,\" and they could hear me, and that'll be that.RORY: How \u0000bout you don't drink at any of these Harvard events?LORELAI: Okay, parental information.Mother \u0000 breathtaking.RORY: I think they just want your name.LORELAI: Father \u0000 ostracized. Personal statement.RORY: Oh, the essay \u0000 the big kahuna.LORELAI: You can evaluate a significant experience that's hadan impact on you. How \u0000bout that time your drawers dropped at the mall?RORY: Enough with the drawers.LORELAI: Or you can write about a person who has had a significant influence on you.RORY: You?LORELAI: Orone of your authors, Faulkner or. . .RORY: Or Sylvia Plath.LORELAI: Hm, might send the wrong message.RORY: The sticking her head in the oven thing?LORELAI: Yeah. Although she did make her kids a snack first,shows a certain maternal instinct.[Lane walks out of Rory's bedroom]LANE: Okay, I just crunched the numbers and at two thousand words and twenty-five cents a word, this stupid ad's gonna cost five hundred dollars!That's five months worth of Minwaxing end tables at my mom's store. I give up.RORY: No, don't give up. Just cut down your influences to the most important ones, like with David Bowie.LANE: Gotta have Bowie.RORY:But do you have to list every album he ever recorded plus your personal rating between one to ten?LANE: Maybe not.LORELAI: And what's with Jackson Browne making the list?LANE: Ah, see, cool people know that he'smore than a mellow hippie-dippy folkie, that he actually wrote some of Nico's best songs and was in fact her lover before he bored us with \"Doctor My Eyes.\" That will separate the poseurs from the non-poseurs.RORY:Wax on, wax off.LANE: I hate this. [goes back into bedroom]LORELAI: Okay, what activities interest you?RORY: All of them except for the sports.LORELAI: I thought you were the lacrosse kid.RORY: Mom, just amodicum of seriousness as we do this would be much appreciated.LORELAI: Hm, so, circle all of them except sports. Oh, they want a picture. How about the one of us sticking our heads through the carved out holes ofJohnny Bravo and SpongeBob Squarepants?RORY: There's the seriousness I crave.[Lane opens the bedroom door]LANE: I'm going to have to crank the Ramones if I have to make deep cuts.[Lane shuts the door, and asecond later, music starts blaring from the room]RORY: We'll move outside.LORELAI: The outside's contaminated.[Rory grabs the bottle of cleanser and they walk out the back door]CUT TO LUKE'S DINER[Dean andRory are sitting at a table. Luke refills Rory's coffee mug]RORY: Thank you.LUKE: Do they let kids drink coffee before school?RORY: Why, do you think it might lead to harder stuff? Lattes, cappucinos. . .LUKE: Forget Iasked. [walks away]RORY: So, what are you doing Saturday?DEAN: Just my usual chores.RORY: Your usual chores, John-boy?DEAN: Well, what else do you call house jobs?RORY: I call them the stuff you avoid untilthe Environmental Protection Agency steps in.DEAN: Why do you ask?RORY: I thought we could see a movie or something.DEAN: You're not free.RORY: How do you know?DEAN: \u0000Cause you'll be working on yourapplication all weekend.RORY: No, I'm not.DEAN: Really?RORY: It's not due for weeks, and I already have my essay topic picked out.DEAN: Which is?RORY: Hillary Clinton.DEAN: Sounds perfect.RORY: I know. She's sosmart and tough and nobody thought she could win New York but she did and she's doing amazing, and have you heard her speak?DEAN: Only when you've played me the thousands of hours of C-SPAN footage youtaped.RORY: She's a great speaker, strong and persuasive with a wonderful presence, and even those suits of hers are getting better.DEAN: I'd include that in the essay.RORY: Anyhow, now that I have Hillary, all Ineed is a date for Saturday. Suggestions?DEAN: You're on.RORY: Great. Oh, there's my bus. Sip. [sips coffee] Kiss. [they kiss] And bye.DEAN: Bye.[Rory exits the diner and runs to catch her bus as Luke walks over tothe table]LUKE: Fast runner.DEAN: It's the coffee.LUKE: Not your face?DEAN: Excuse me?LUKE: Sorry, just missed my youth for a second. I'm back. Coffee?[Luke looks out the window and sees Taylor takingphotographs of the store next to the diner]CUT TO CHILTON HALLWAY[Rory is waiting outside the auditorium while Paris argues with a teacher]PARIS: Everyone always says that! This is my speaking voice. This is itsnatural volume! Fine, fine! [walks over to Rory and they walk into the auditorium]PARIS: Short-sighted morons.RORY: What now, Paris?PARIS: We went to all this trouble to set up this stupid seminar. I say we, but let'sface it, I did most of the work, and Mr. Hunter won't let me do it the way I want.RORY: The panelists are up there. We sit across from them and ask questions. What's the problem?PARIS: It's boring and predictable anddone to death. I wanted Charlie Rose.RORY: To ask the questions?PARIS: His style. I wanted us sitting at a round table with black backdrops.RORY: But the audience won't be able to see anything.PARIS: I was workingwith the losers in the AV club to project it on a giant video screen. And all Mr. Hunter said was, \"Paris, this isn't the Beatles at Shea Stadium.\" Nice anachronism, huh? Like they had video screens in sixty-three. Hisreferences are as topical as his suits.MR. HUNTER: [on stage] Ladies and gentlemen, can I have your attention please? We can get this seminar started. I'd like to bring up the organizers of this little event, Paris Gellarand Rory Gilmore.[There are two tables on the stage. A man and a woman are seated at one of them; Rory and Paris walk on stage and sit at the other]PARIS: Thank you, Mr. Hunter. Everybody, this is a seminar called\"The Business of Getting In.\" Its goal is to help guide us through the torturous process of applying to, and getting into, the right college. My panelists are Jim Romaine, admissions officer at Princeton University, andIvy-League college consultant, Rose Samuels. Welcome, panel.RORY: Yes, welcome.PARIS: Now, panel, you're addressing a group of kids just beginning the stressful process of applying to college. Question \u0000 what isthe biggest mistake a person can make on his or her application? Mr. Romaine?MR. ROMAINE: Well, forgetting to send it in would be the worst mistake, but perfunctory answers would be high on my list.PARIS:Explain.MR. ROMAINE: I'm talking about run of the mill responses, a lack of originality, particularly in the essay category. If I read one more over-adulating piece of prose about Hillary Clinton and her profoundinfluence, my head will explode.MS. SAMUELS: I hear that. Sometimes a mistake like that comes from writing what one thinks an admission officer wants to read.MR. ROMAINE: Big mistake.MS. SAMUELS: Andsometimes it's just a lack of original thought.MR. ROMAINE: Just as big a mistake.PARIS: Personal anecdote \u0000 when I was twelve and I was writing the first of my trial essays in practice for the day I'd write my realessay, I chose Hillary Clinton. Then I realized every braindead bint in a skirt would be writing about Hillary, but it was good to clear the pipes. Now, what are some other mistakes?MR. ROMAINE: Well, small thing, but ifyour printing is bad, that says something we don't like. If your extracurriculars and volunteer activities are too by-the-book, that says something we don't like.MS. SAMUELS: Yes, those activities should have apersonality behind them \u0000 a focus, a direction. I've seen applications where the student has circled every activity listed. Again, you're trying too hard there. One can't be interested in everything.MR. ROMAINE: They'rethe ones who've had college paraphernalia on their walls their whole lives.MS. SAMUELS: Too hungry, it's a little immature.PARIS: Interesting, interesting. Rory, do you wanna ask a question?RORY: No.PARIS:What?RORY: No, thank you.PARIS: Okay. So, how early should a student get an application in?MR. ROMAINE: By the due date. Earlier makes no difference. It's a complete myth that there's a benefit to be derived fromearly admission. I do think it's important to talk about the interview process. I believe it's an opportunity to weed out the hyper-intense candidate. . .CUT TO ELDER GILMORE RESIDENCE[Lorelai and Emily walk into theliving room]EMILY: So, she's meeting you here?LORELAI: Yeah, she had a thing after school, a rumble or something. She said she'd be over after.EMILY: A rumble?LORELAI: Yeah, a bunch of kids meet in an alley, theypirouette, they pull knives, it's a whole to-do.EMILY: So she's meeting you here?LORELAI: Yes, she's meeting us here. Where's Dad?EMILY: The magazines. [walks away]LORELAI: That was weird. . .andunresponsive.[Lorelai walks over to the couch as Emily returns with a stack of magazines]EMILY: These are college issues of various magazines. I've been collecting them for a couple of months now.LORELAI: Oh, well,Rory's probably seen all those, but thanks anyway.EMILY: Have you read these?LORELAI: No.EMILY: Well, you should. I've unearthed some shocking statistics. I mean, do you have any idea how hot the competition isto get into a school like Harvard?LORELAI: Well, yeah, it's very hot. It's one of the top schools in the country.EMILY: In the world. People from China, Russia, India, children from every country apply to Harvard. There'smore competition than ever before.LORELAI: Really, Mom, I know all this.EMILY: With the dot-com bust and the job market dwindling and the stock market going up and down like a yo-yo, everyone and his brotherknows the best chance for success and financial security is not just to go to college, but to go to a top college.LORELAI: Thank you, got it, appreciate the info.EMILY: Every child that applies has the same high gradepoint average, they've taken the same AP classes, and they're all on the student council.LORELAI: They're not all that identical.EMILY: One college admissions officer said that he sometimes puts a random stack ofapplications in the yes pile and the rest in the no pile because he knows it doesn't make any difference. He doesn't even so much as glance at them.LORELAI: That does not sound real.EMILY: And now it's the in thingfor young Hollywood celebrities to go to universities. What do they call themselves, the Brat Pack?LORELAI: About a hundred years ago.EMILY: They get into wherever they want based on name recognition. I waswatching TV and that insipid Kate Hudson was talking about going to a university. If she decides to go to Harvard, she'll get right in over Rory, who we know is more qualified.LORELAI: How \u0000bout a drink, Mom? Youwant a drink, \u0000cause I sure do.EMILY: Lorelai, hold on here. What are we gonna do about this?LORELAI: Look, there is no we, okay? It's me \u0000 me and Rory \u0000 that's the we. I appreciate your concern and yourprodigious research, but it's all gonna be fine. Rory's special.EMILY: Well, you know that and I know that but those idiots at Harvard may not necessarily know that.RORY: [calls from hallway] Hello?LORELAI: Uh, we'rein here, honey, and hurry![Rory walks into the living room]RORY: Hi Grandma.EMILY: Hello Rory. You look flushed.RORY: I ran from the bus stop, I'm okay. Mom, hey, I've been trying to call you \u0000 can I talk to you fora second?EMILY: Is something wrong?RORY: No, I just need to talk to Mom about something, that's all. We'll be quick.LORELAI: Okay, hon. We'll be back.CUT TO RICHARD'S STUDY[Rory and Lorelai walk in]RORY: I'mnot getting into Harvard.LORELAI: What? Who says?RORY: Well, I'm completely unprepared, and I have no original thoughts!LORELAI: No, no, don't blame yourself, it's not you. It's those jerks at Harvard \u0000 I hatethem!RORY: What?LORELAI: Well, apparently, it doesn't matter how qualified you are, those lazy-ass admissions officers just take applications and stick it in the yes and no piles without even glancing at them!RORY:Well, it won't matter because my Hillary Clinton essay will be just like every other girl's Hillary Clinton essay because apparently that's all we can think of. I'm such a hack.LORELAI: Is it true everyone has the sameGPA? How is that possible?RORY: Because we all take the same classes and we all give the same perfunctory run-of-the-mill responses. And I'm interested in too many things, I have to limit them. I'm gonna circletravel on my application. From now on, that is what I am interested in, travel.LORELAI: No, no, don't do that, no! Because all those people coming from China and India and God knows where else, they're all nuts fortraveling \u0000 that's why they're traveling here! And and jobs are dropping and dot-com bombing and something's acting like a yo-yo, I don't know what but it's not good! And over my dead body is Kate Hudson gettingyour spot, let me just say that right now!RORY: Mom, you're freaking out!LORELAI: Yes, I'm freaking out!RORY: Well, you can't freak out, I'm freaking out! [cell phone rings] Hello?PARIS: What the hell did Romainemean when he was going on about weeding out the hyper-intense in the interview process? He stopped just short of calling me by name, I'm losing it!RORY: Not now, Paris.PARIS: I tried to throw the questioning overto you because I was about to heave and you left me hanging so I had to come home and heave.RORY: I'll talk to you tomorrow, Paris. [hangs up]PARIS: Wait!LORELAI: Okay, we gotta calm down here.RORY: So, setan example.LORELAI: Hey, I'm human, too.RORY: My forehead is burning up.LORELAI: My heart is beating so fast, it's gotta slow down.RORY: Okay, just. . .let's take a breath.LORELAI: Okay. This freaking out is notgood.RORY: It sucks.LORELAI: We can do this. If others can do this, we can do this!RORY: Well, I'm not so sure anymore.LORELAI: That is unacceptable!RORY: Well, I don't wanna accept it.LORELAI: Then wewon't.RORY: Well, what do we do?LORELAI: I don't know. We definitely need some sort of perspective.RORY: I think we need therapy.LORELAI: And booze! For those of us over twenty-one. Okay, are we calming? Arewe less-freaked?RORY: I'm totally freaked out.LORELAI: Well, hide it!RORY: I can't hide it.LORELAI: Then prepare yourself for an evening of magazine recitations by Emily \"DJ Doom-meister\" Gilmore.RORY: I'll hideit.CUT TO LORELAI'S HOUSE[Lorelai is making coffee in the kitchen when the phone rings]LORELAI: [answers] Hello? . . . No, Lane should be here any minute. Is this about the ad? . . . Well, uh, give me your numberand she'll call you back. . . Okay, then, what's the number of the dude whose couch you're sleeping on? . . .Uh! Dude doesn't have a phone? Well, try back later, dude. Thanks. [hangs up] Rory, are you up? If not, getup! [phone rings again] And where's Lane? She's supposed to be fielding these. [answers phone] Hello? No, she's not, may I take a message? [Lane walks in through the back door] Oh, wait a minute \u0000 here she is,hold on. [holds out the phone toward Lane]LANE: Sorry. [answers phone] This is Lane. [walks out of kitchen][Rory walks out of her bedroom]LORELAI: Hey.RORY: Hey.LORELAI: Aw, what's up?RORY: I didn't sleep sowell.LORELAI: Poor thing.RORY: I'm fine. I'm just a little bummed.LANE: [on phone] No, wait, wait, wait, progressive rock is a really passé style now but I listed it as an influence because it was a progenitor of greatthings that came afterwards. I mean, I contend that you can draw a straight line from Yes to Jethro Tull to the Jam to Nirvana, bing bang boom. . . Who are the Jam? [to Rory and Lorelai] That's disturbing. [walksaway]LORELAI: Hey, maybe instead of going to college, you should drop out and I could quit my job and we can form an all-girl band with Lane, you know, like Bananarama. We could call it Tangerinarama orBanana-fana-fo-fana-rama. . .or something. Honey, I'm just kidding, you gotta go to college.RORY: I'm up for anything at this point. I gotta go. I'll see you later?LORELAI: Feel better, okay?RORY: I will.LANE: You arenot telling me that you did not know that Kim Deal was in the Pixies before the Breeders! I refuse to accept that! [hangs up] These kids have no sense of history.CUT TO LUKE'S DINER[Luke walks up to a customer atthe counter]LUKE: Hey Tom, what's up?TOM: Nothing much. Why don't you get me a ham on rye, mustard, no mayo.LUKE: You got it.[A young boy walks up to the counter]BOY: Hi.LUKE: You got money?BOY: Yes,sir.LUKE: What can I get ya?BOY: Let's see. How about a nice, cold egg cream?LUKE: A what cream?BOY: An egg cream. A nice and cold one.LUKE: What is that?TOM: It's like, uh, milk and soda water with flavoring,isn't it?LUKE: You asking me?BOY: Nice and cold.LUKE: I heard that part.TOM: Used to get them at Coney Island.LUKE: Go to Coney Island, kid.[The boy leaves, and another boy walks up to the counter]BOY: Sir, can I"}
+{"doc_id":"doc_22","qid":"","text":"Act 1 Scene 1 - KACL[Fade in. Frasier is on the air.]Frasier: Gosh, it's been such fun talking about psycho-pharmacological solutions to maladaptive personality traits that I can't believe the three hours is almost gone.Up next is the news followed by...[Roz raps on the window and holds up a note that reads 'BIKE-A-THON\".]Frasier: Oh, but Roz is reminding me that next Saturday is the first annual KACL AIDS Bike-A-Thon. It's boundto be an afternoon of family, fun, and lots of surprises, so dust off your velocipedes and I'll see you there.[He disconnects and stands up as Kenny comes in.]Kenny: Great pitch, Doc. So, uh, what are thesurprises?Frasier: Well, first and foremost: I am not going.Roz: But you just told them you'd see them there.Frasier: Yes, Roz, I'm merely getting the rubes into the tent. I will gladly give my money, but spending theafternoon riding bicycles with a bunch of hooligans is not my idea of fun.Kenny: It's just kids and families.Frasier: Yes, well so was the KACL family picnic at the zoo, until those urchins jostled me into the orangutangrove. Let metell you: orangutans are not the playful gentlemen of the trees the nature shows claim.[Julia walks in.]Julia: Hello.Kenny: Hey, Julia.Frasier: Julia.Kenny: You're goin' to the Bike-A-Thon, right?Roz: Oh,don't embarrass her, Kenny. I mean, it's gotta be tough, finding a comfortable bike seat when you're such a tight-ass.Julia: This from a woman who \"peddles\" her ass all over town.[Roz starts for her.]Roz: Okay,lady...[Frasier grabs Roz and pulls her back.]Frasier: All right, stalemate. Well done, well done. Keep moving, come on.[He ushers her back to her booth.]Kenny: So, Bike-A-Thon, you're in, right?Julia: Nah, I can't bebothered, I'll just send a check.Kenny: Oh, cheese and rice, what's wrong with you people?Julia: Relax, Kenny, I'm just pulling your leg. How can I not go? This is funding AIDS research, for God's sake. I know you thinkI'm heartless and self centered, but at least give me credit for being human.Kenny: Well, Frasier's not goin'.[Frasier lets out a forced, fake laugh.]Frasier: What? Kenny, come on! I was pulling your leg too! I tell youwhat, we should have a fund raiser for your sense of humor. All right, I'll see you there.[He claps Kenny on the back, then crosses through Roz's side of the booth.]Roz: You're pathetic.Frasier: I know.[He exits. Fadeout.]Scene 2 - Frasier's Apartment Building[Fade in. Martin is hurrying to catch the elevator.]Martin: Hold it![He hurries and presses the button so the doors open again. He steps inside, then notices the other person. Itis Cora Winston, the mother of Frasier's upstairs neighbor, last seen in [9.24] \"The Love You Fake.\"Martin: Cora. Hi.Cora: Marty.[The doors close and the elevator starts up. Martin looks nervous, Cora looks firmlyahead.]Martin: Visiting your son?Cora: Yes.Martin: Cora, I'm sorry, but I gotta ask you. What happened? I thought we had a pretty nice thing, but then you stopped returning my calls.Cora: Why don't you ask yourother girlfriend?Martin: What other girlfriend?Cora: That bizarre English lady who told me to leave you alone. Because she was in the British Secret Service and had a license to kill.[The doors open.]Cora: Here's yourstop.Martin: Oh, geez, that was Daphne's mother. She had a thing for me, but it was never mutual.[The doors close and the elevator continues.]Martin: Did she show you a badge? Always ask to see a badge.Cora: Iknew she wasn't a secret agent. But she was pretty convincing about the two of you.Martin: Oh, Cora, I'm so sorry. It's not true.[The doors open again and they step out into the foyer on Cam's floor.]Cora: I'm sorrytoo. I should have asked about her.Martin: Well, hey, it's cleared up now. Maybe we could pick up where we left off. Or skip ahead, your choice.Cora: That would've been nice, but I've been seeing someonelately.Martin: Oh, sure, of course you have. Stupid of me.Cora: But I'm very glad to see you again. Please give Eddie my love.Martin: Oh, yeah. He'll be sorry he missed you. He liked your ankles.[She goes into Cam'sapartment. When the door closes, Martin smacks his cane against the floor in frustration, then turns and mashes the button for the elevator, furious. Fade out.]Scene 3 - Frasier's Apartment[Fade in. Gertrude andDaphne are on the couch. Niles is leaning against the table behind it. Frasier hurries in.]Frasier: Oh, sorry for the hold up, guys. Ah, listen, I think it's best if we take separate cars to the flower show. See, later I have togo buy a bicycle.[Daphne gets up and heads to the kitchen.]Niles: For whom?Frasier: Well, for me. I've been dragooned into riding for the KACL AIDS Bike-A-Thon.Niles: Poor devil, spending the day on a bike. I don'tenvy you.[He starts seriously, but a malicious grin breaks through. Daphne sticks her head out of the kitchen.]Daphne: Niles, why don't we enter the Bike-A-Thon?[She ducks back into the kitchen, leaving Niles stunnedand nervous. He looks to Frasier, who is grinning.]Frasier: You had to see that coming.[Daphne comes out of the kitchen.]Daphne: We can all go to the shop together, after the flower show.Niles: Sure, whynot.Gertrude: Oh, you two would look so cute on matching bicycles.Niles: I guess it would be a kick, eh Frasier?Gertrude: Not you two, ya nit! You and Daphne.[Martin comes in, slams the door and points atGertrude.]Martin: You!Gertrude: Hello.Martin: I just had a very interesting discussion with Cora Winston. Seems someone claiming to be my girlfriend scared her off.Gertrude: Oh dear. Is she the woman from thebookstore?Martin: No. The bookstore?!Daphne: Mum, is this true?Gertrude: Well, I'm sure I don't know what Marty's talking about, but it was probably back when we were an item.Martin: We were NEVER an item! NowI would like for you to leave.Frasier: Now Dad, calm down. I'm sure you can talk this over with Cora and have a good laugh afterwards.Martin: Ha ha! Very funny. Now that she's practically married to this guy.Gertrude:[rising] Oh, Martin, I'm sorry. I guess didn't realize...Martin: Apology not accepted. You went too far, we are no longer speaking.Gertrude: Marty...Niles: No, no, Mrs. Moon. Mrs. Moon...shut up.[He ushers her out thedoor.]Frasier: Uh, Dad, we're leaving now. We're going over to the flower show and after that we're going to a sporting goods store to buy a couple of bikes.Martin: Nice try, Fras, but I'm too mad to laugh.[Frasier,nonplussed, just closes the door behind him. Fade out.]Scene 4 - The Sporting Goods Store[Fade in. Frasier and Niles are with a salesman, looking over a selection of bikes.]Niles: This one has good lines. You have anywithout this bar here?Salesman: You mean girl's bikes. Sure.Niles: Good. 'Cause my wife's a girl and she'll need one of those.Salesman: Nice. Maybe I'll go see how she's doing.[He walks off. Niles covers hisface.]Frasier: Niles, we can't stall much longer. I mean, one seems as good as the next, is there anything else we need?Niles: Hmm, let me see. Oh, yes, I know. We need to know HOW TORIDE THEM!Frasier: Shh! Wewill learn.Niles: Oh, as easy as that? Look at these machines, Frasier. These are BICYCLES! There is nothing between you and the ground but the ground itself.Frasier: Yes! And if a child of FOUR can ride one, then socan we.Niles: That's what we said when we were six! If Daphne finds out, she'll probably...[He breaks off as a man in biking gear comes over to look at the bikes they're standing at.]Frasier: Metal spokes. I likethat.Niles: I should buy the horn separately.Frasier: Uh-huh.[The man walks away.]Niles: That was close.Frasier: Niles, I am not going to look like an idiot at that Bike-A-Thon. Tonight, I am going to a parking lot andcome hell or high water, I am going to master cycling. You're welcome to join me.Niles: I guess I could sneak out. Perhaps it's time to slay the dragon.Frasier: That's the stuff, brother.[The customer comes over bythem again.]Niles: Call me crazy, but I like a bouncy tire.Frasier: Two bouncy tires and a...taut chain. That's good ridin'.[They smile bravely until the customer heads off again.]Niles: Where did you learn all that? Thatwas really good.Frasier: Just a matter of confidence, Niles.[SMASH CUT TO - Frasier's apartment, later that night. Frasier comes in the front, struggling with his new bike and muttering. Niles is behind him.]Niles: All amatter of confidence, he says.[Frasier turns the lights on to reveal that they are covered with scratches and bruises.]Frasier: Yes, well perhaps two people who don't know how to ride bikes shouldn't try to teach eachother.Niles: A good teacher doesn't yell at his student.Frasier: Nor does a good teacher throw a stick at his student![Niles clutches his knee.]Niles: I thought it would make you try harder.Frasier: Oh, you're going tomake a hell of a dad!Niles: Oh, what are we going to do?Frasier: Let's not panic. We still have two days before the Bike-A-Thon. Surely the library has shelves devoted to this topic.Niles: I don't have time for that!Daphne wants to go biking tomorrow afternoon.Frasier: Well, then you're just going to have to tell her that you don't know how to ride.Niles: I can't! It's too late! If I was going to do that, I should have done it at thebike store. But NOOO! You, YOU said we could teach ourselves! You said no one would be the wiser![As he continues to shout, Frasier makes calming gestures.]Frasier: Niles...Niles: \"Two bouncy tires and a taut chain\"you said!Frasier: Niles...Niles: And now look! My spokes are bent, my pants are stuck, and there's blood on the headlight, and blood everywhere...[He breaks down as Frasier tries to comfort him.]Frasier: Niles, thatwasn't your fault. That jogger should have been wearing a reflective vest. Come on. Come and sit down. I'm going to get you a nice sherry.[He heads for the sherry. Niles tries to move, but his pants are still stuck in thechain so he carries the bike with him. Fade out.]Act 2 Scene 1 - Cafe Nervosa[Fade in. Niles is sitting at a table, Frasier is getting coffee at the counter. Roz comes up behind him.]Roz: Hi, Frasier.Frasier: Oh, hi Roz.You're welcome to join me and Niles.Roz: Oh, I can't. I'm on my way to meet Alice and her sitter. Alice wants to practice riding her bicycle for Saturday.Frasier: Really?Roz: Mm-hm, she loves it. I mean, she had thatbike one day before she made me take her training wheels off.Frasier: Tell me, does she ever find that she feels as though her feet are frozen to the pedals? Stuck in a confused, arrhythmic battle between forward andreverse, until finally, with no locomotive momentum whatsoever, she keels over like a felled tree?Roz: I don't think so.Frasier: Well good, good. Because... that's a real thing that happens to some kids.[He sits downwith Niles as Roz steps to the counter. Daphne and Gertrude come in.]Daphne: Hey, Frasier.Frasier: Oh, hello Daphne, Mrs. Moon.[They all say hello to each other as the ladies sit.]Daphne: I'm afraid I have some badnews.Niles: What is it?Daphne: Someone stole our new bikes.Niles: My God, are you sure? [to waiter] Can I get a refill? That's terrible.Frasier: You know, that's curious. Niles, didn't that salesman say nothing couldbreak those titanium locks?Niles: You're right. I must not have locked them properly. Foolish Niles.Gertrude: You know, I spotted a couple of bikes in the storage room, behind the furnace. Perhaps you could borrowthose.Niles: No, I don't think so. The theft has soured me on the whole bike experience and what were you doing behind the furnace anyway?Gertrude: Drinking.[Martin walks up to the table.]Martin: Hello Daphne,Niles, Frasier.Gertrude: Hello, Martin.Martin: How are the three of you doin'? Mind if I join you?Niles: Sure.[Martin pulls another chair up to the table.]Gertrude: Oh, you're not still angry at me, are you?Martin: Coffeeplease.[Roz stops on her way out.]Roz: Hi.Niles: Hey, Roz.Roz: Wow, everybody's here today.Martin: Yeah, grab a seat, I'd love to have a lady sit next to me.[Gertrude looks very put out.]Roz: Thanks, I can't. I'm onmy way to the park. I just got a call from the babysitter. Alice did a wheelie![The others all sound happy at this.]Roz: Well, I'll see you guys later.Frasier: That's great, Roz. Bye-bye.[She leaves.]Frasier: Well,someone's raising a real little showoff.Martin: Now, now, not everyone was meant to ride a bike.Daphne: What does that mean?Martin: Well, I'm just saying my boys are good at other things. Indoor things.[Daphnecasts a suspicious look at Frasier.]Daphne: Oh, no. You don't mean...Niles: Yes, Daphne. Frasier doesn't know how to ride a bike.Frasier: Well, neither do you!Niles: Frasier!Frasier: Well, she was bound to find out! [toDaphne] We never learned.Martin: I tried teachin' 'em, but I had to take them to the hospital so many times, social services started sniffin' around.Niles: All these years, it's been our secret shame.Frasier: Yes, and ithasn't been easy concealing it, either. People are always saying in conversation \"It's just like riding a bike.\" I can smile, and nod. But I only understand it in theory.Niles: We tried to teach ourselves last night.Frasier:Oh, can you imagine a sadder tableaux: two grown men trying to gain mastery over a child's toy and failing miserably.Niles: Even more pathetic: a grown man faking the theft of his and his wife's bicycles. I disgustmyself. I'm so sorry, Daphne.Daphne: Niles, you've no need to apologize. Lots of people don't know how to ride.Niles: Really?Gertrude: No.Daphne: It doesn't matter. I can take you to the park and teach you. I'll teachyou both.Frasier: Really, Daphne?Daphne: Yes.Niles: Daphne, I adore you.[He kisses her.]Gertrude: No, seriously. Who?Frasier: Thank you, Daphne.Niles: You know, I'm afraid my bike may be too damaged toride.Daphne: So we'll borrow one from someone in the building. I promise you, you two are going to learn how to ride bikes.Martin: You're a good wife, Daphne. And I'll bet you were a good daughter when your motherwas alive.[Gertrude crosses her arms and glares at him while everyone else tries to not be involved. Fade out.]Scene 2 - The Park[SCENE_BREAK]CYCOLOGY[Fade in. Frasier is there with his bike, Niles is on agrade-school bike with high handlebars and a banana seat. Daphne is standing just off the path.]Frasier: Helmet.Niles: Check.Frasier: Pads.Niles: Check.Frasier: Cup.[Frasier adjusts his athletic supporter, but Nilestouches the sport bottle on the handlebars.]Niles: Check.Daphne: All right. Now remember: keep your eyes open and pedal quickly. I just want to get an idea of your individual skill levels. All right, everyone ready?And...go![The boys lift their feet up to the pedals, but don't push off or pedal. They twitch for an instant, then fall against each other, propped up. Being on the shorter bike, Niles is about elbow high withFrasier.]Daphne: Okay, good start. Now, let's try again, but this time further apart.[Frasier pulls his bike away from Niles'.]Frasier: Okay. I think this is going to be all right.Niles: Yes, this isn't so bad.Daphne: All right.And...go![The boys bring their feet up, then put them right back down for balance. After a couple of false starts, they start moving forward, terrified looks on their faces. Daphne watches them, smiling.]Daphne: Yes,very good.[Her expression quickly becomes worried as there are sounds of crashing and pain. She starts forward, darting from side to side, unsure which of them needs help more.Music from \"The Barber of Seville\"begins playing as we see a montage of Niles and Frasier trying desperately.][N.B. This theme was also used in the 1979 Oscar-winning film \"Breaking Away\" about an American small-town teenager who becomes soobsessed with a team of Italian bike race champions that he creates an Italian persona for himself, including listening to Rossini's operas.][Frasier seems to be getting along, until he sees a tree. Focusing on it with ahorrified look, he crashes into it and falls down.Daphne is running alongside Niles on his small bike. They pass behind a hedge and only Daphne and the bike emerge. Daphne stops and looks around for herhusband.Frasier again crashes into the tree and falls over.Niles is exhausted and reaches for the sports bottle. However, he is unable to get it loose. Later, he unwraps a power bar to eat. But he pulls the wrapper all theway down and his snack falls to the ground while Frasier watches. He opens the spout on the sports bottle and picks the bike upright so he can drink from it.Niles and Daphne are at the \"killer tree\", urging Frasier to theside. He makes the turn and avoids the tree, looking happy. Niles and Daphne cheer him on, then watch him circle around until they have to quickly move aside before Frasier once more strikes the tree head on andends up on the ground.Daphne again runs alongside Niles. They disappear behind the hedge, the music reaches its finale... and this time Niles emerges alone on the bike, smiling triumphantly. Daphne jumps up anddown and claps her hands, proud and happy. The music ends.Now that Niles has learned, they focus on Frasier.]Frasier: It's that damned sycamore! It's got a magnetic hold on me.Daphne: That's because you keepfocusing on it. Whatever you do, put it out of your mind. The more you think about it, the worse it gets.Niles: You're a cloud, scudding across a clear blue sky.Frasier: I'm a cloud.[He takes off again.]Niles: You're acloud. A cloud...[Frasier looks worried for a moment, but manages to swerve away from the tree.]Frasier: I AM a cloud! I'm flying! Look, I'm riding a bike.[He's ecstatic, but is soon passed by a young girl on a bike withtraining wheels, then a pregnant woman jogging, then a gray-haired man on a razor scooter. Nonetheless, he seems happy at his accomplishment. The finale of the music repeats. Fade out.]Scene 3 - Frasier'sApartment[Fade in. The doorbell rings and Martin hurries to answer as it rings again.]Martin: I heard ya. I'm comin'.[He opens the door to reveal Gertrude, holding some flowers and a sandwich.]Gertrude: Hello.[Martinslams the door in her face and starts walking away. She pounds on the door and he goes back again.]Martin: Oh, geez![He opens the door and speaks before she can.]Martin: Look. I'm sorry. I'm still ticked. I'm notproud of it, but I have to do the right thing and that means hold this grudge.Gertrude: Ah! You're talking to me. I knew you would.[He slams the door in her face again. Cut to - the entryway as she turns around. Cora isjust coming off the elevator.]Gertrude: Oh, you're here to see Marty?Cora: Actually, I think not.[She turns away.]Gertrude: Look, no. This isn't what it looks like. I'm here to apologize. But since he's not talking to me, Iguess I can say me piece to you. Now, first of all, don't be scared. I'm not a secret agent and I don't have a license to kill. Back when I said all that to you, I wasn't really in me right mind, anyway. I mean, I'd justseparated from me husband and...well, maybe I hoped Marty would be some kind of...knight in shining armor. But we were never a couple, though.Cora: It was a pretty rotten thing you did.Gertrude: Yes, I know, dear,just awful. In me defense, I've done much worse. And besides, between you and the girl at the bookstore, I liked you better.[Cora looks a little confused at this. Cut to - inside the apartment. Martin is relaxing in hischair when the doorbell rings. Rolling his eyes, he gets up.]Martin: Sonovabitch![He goes to the door and opens it to reveal Cora holding the flowers and sandwich, a big smile on her face.]Martin: Cora! Hi, come onin.[She enters and hands him the things and he sets them on the table behind the couch.]Cora: Hi. I ran into a friend of yours.Martin: Oh, she's no friend of mine.Cora: Well, she had some nice things to say about you.Maybe we could talk about it at dinner tomorrow.Martin: I thought you were seeing someone.Cora: I don't see him here.Martin: I guess not. Pick you up at seven?Cora: Seven it is. So...who's this girl from thebookstore?Martin: See you tomorrow.[He ushers her out the door and shakes his fist in a victory gesture. Fade out.]Scene 4 - The Bike-A-Thon[Fade in. Lots of people are lined up under a banner marked Start andFinish. Frasier and Niles are at the front, Niles still with his borrowed bicycle.]Martin: Never thought I'd see the day. This is really somethin'.Frasier: Thanks Dad.Daphne: That's right. You faced your fears and youbested them.Niles: Yeah, thanks to you.[He gives her a kiss.]Niles: And who knows? Maybe this is just be the beginning. There are still mountains to conquer. The diving board, for instance.Frasier: Orcartwheels.Martin: Be careful out there, Son.Frasier: I will, Dad. Thanks. I guess I better go take my place, huh?Martin: Okay.[Frasier wheels his bike over to where Kenny and Julia are waiting.]Frasier: Kenny,Julia.Kenny: Hey, Doc.Julia: Hi.Frasier: So, have a good ride.Kenny: Not gonna happen. These shorts are already bunchin' me somethin' fierce. Excuse me.[He gets off his bike to get more comfortable.]Frasier: Prettyexciting.Julia: Thrilling. You don't mind if we don't ride together, do you? I like to go at my own pace.Frasier: No, not at all. You don't have to feel like you have to keep up.[She laughs at this.]Julia: Right. Well, what do"}
+{"doc_id":"doc_23","qid":"","text":"OLIVIA POPE's APARTMENTOlivia: Why are you here? You can't be here.Fitz: I didn't kill Amanda Tanner.Olivia: I know. Her baby it wasn't yours. But it could have been.Fitz: Really? You really want me to detail for youhow and where and in what positions Amanda Tanner and I had s*x? Would that help make you feel better? 'Cause I'll do it.Olivia: No.Fitz: You left me. I was unhappy. She was there. One time. I-- I made amistake.Olivia: I don't want to talk about it. You cheated on your mistress with your girlfriend. Let's just leave it at that.Fitz: She wasn't my girlfriend. Don't you ever call yourself a mistress. We both know better.Olivia:Why are you here?Fitz: Cyrus got this in the mail a week ago. It's a s*x tape. I'm on it. I need you to hear it.Olivia: I definitely don't want to hear you and Amanda Tanner having s*x.Fitz: Olivia. I need you to listen tothis.[SCENE_BREAK]GRANT CAMPAIGN HEADQUARTERSFitz: Well, there's no way to sugarcoat it. We got our ass handed to us by Sally Langston in Iowa last night. So, anyone have any great ideas? Anyone?Jeannine:We have to swing farther right. We haven't said a thing about gay marriage, school prayer-Fitz: Oh, come on. It's not our stances on the issues. We are not getting our message out there. People don't know where Istand. The problem is--Olivia: Your marriage. It looks like you don't screw your wife Which would be fine, except that family values matter to Republicans. It's why they vote for who they vote for. And since Sally's gotJesus firmly on her side, that just leaves family. Marriage. And yours, whatever the truth may be from the outside, it looks cold, distant, dead. Where is your wife, by the way? People want to like who they're voting for.Voters thought Al Gore was a big stiff until he stuck his tongue down Tipper's throat. They put George W. in office because he and Laura seemed like a fun couple to have a beer with. People have to want to invite you infor dinner; and right now, you and your wife are standing in their doorway, not looking at each other, letting in the cold air. That's why you lost Iowa. It's why you'll lose New Hampshire.Fitz: And you are?Olivia: Olivia.Pope.Fitz: Fire her.Cyrus: Ah, she's great, right? A pistol. Lives for her work, a political nun, best student I ever had.Fitz: Fire her.Cyrus: 'Cause she said what every staffer on your campaign was afraid to say?Fitz: Justget rid of her.Olivia: I'll charge my hotel room to the campaign. Don't worry. I haven't had a chance to raid the hotel minibar. Liv best of luck, Governor.Cyrus: Let's be clear about something. I run a sausagefactory.Fitz: Which makes me ... sausage?Cyrus: Handsome, highly qualified, smart, idealistic, and energetic sausage. The stump, the electrifying speeches, the baby kissing that's all you. The nitty-gritty, morallybankrupt, back-alley-brawling rest of the game, that's me. It's filthy and thankless, and it's my hallelujah, heroin, and reason to breathe. And you, you don't have half the stomach for it, so you go and you make nicewith Olivia Pope. Get her back, or you can find another sausage maker.Fitz: Ms.Pope? Ms. Pope, wait. I, I apologize for firing you.Olivia: Why?Fitz: Why do I apologize?Olivia: Why did you fire me? I had a job, a payingjob, from which I took a leave of absence to do a favor for my friend Cyrus because I am good. I am brilliant. I would eat, breathe, and live Fitzgerald Grant every minute of every day. You would be lucky to have me.Just because you don't like hearing the truth about yourself-Fitz: I loved hearing what you had to say. I agree with every word. Very astute. And you're right. I would be lucky to have you. Look ...Olivia: This is why youfired me ...Fitz: Can we just...?Olivia: Go back in there and work.Fitz: Okay.Olivia: Okay.[SCENE_BREAK]PRESIDENTIAL CAMPAIGN PANCAKE BREAKFAST / OLIVIA POPE'S APARTMENTFitz: Oh, it's perfect to meet you.Yeah, thank you for having us. How are you, Sally? Hi.Olivia: Put down the butter.Abby: I don't know what you're talking about.Olivia: I can hear my mixer again, Abby. Butter won't fix it.Abby: So are you a rabidRepublican yet? Hello? Liv?Olivia: He's got ... something I can work with.Abby: Go to it then. You don't have to check on me every day. I'm not deranged. I'm just divorced.Olivia: So stop feeling sorry for yourself. Getout of my kitchen. Call my friend Stephen. He's fun.Abby: Stop trying to get laid. Maybe I'll buy a gun.Olivia: Ohh-kay. Bye!Cyrus: Ooh, he's good, our boy. You'd never know he's dying to rip Langston's throatout.Olivia: If only he were that good at faking it with his wife we wouldn't be losing.Amanda: Schedule of events?Olivia: Thanks.Cyrus: What's your name?Amanda: Amanda.Cyrus: Thanks, Amanda. I don't care whichcampaign you're volunteering for, I want to thank you for coming out today.[SCENE_BREAK]US ATTORNEY'S OFFICEDavid: Alissa, cancel your plans. We're working late tonight.[SCENE_BREAK]GIDEON WALLACE'SAPARTMENTQuinn: Mm. This is really good.Gideon: I know.Quinn: No, I mean like award-winning good, like you should quit your job. 'Cause let's face it, you're kind of a crap reporter.Gideon: Mm-hmm.Quinn: Go outon the road in your car and sell this grilled cheese. Wait. You have a car, right? 'Cause I can't date you if you don't have a car.Gideon: I have a car. I also ... I have ... A deadline tomorrow.Quinn: Oh. Yeah, I sh- I'msorry. I should go.Gideon: No. No. I didn't mean that. You shouldn't go. You should stay. I just have to work for a couple of hours, but you should stay here, naked. And beautiful. And here, in my bed. Stay here.Please.[SCENE_BREAK]US ATTORNEY'S OFFICEDavid: Ah, did you get moo shu chicken? No wonder it took you so long. How do you even walk in those?Alissa: I got whatever you ordered. And these shoes aren't madefor walking. They are made for getting me laid, specifically, they are for the very hot bartender at the Black Cat, where I would be having a drink right now if I didn't happen to work for an obsessive-compulsive slavedriver who makes me fetch him dinner at 10:30 on a Thursday night.David: You know, if you spent less time at the Black Cat and more time studying for the bar exam, you wouldn't be fetching your boss anythingbecause at law firms, they have assistants for that.Alissa: Lots of lawyers fail the bar.David: All lawyers pass the bar. That's what makes them lawyers. Alissa, eat something. We have a murder to solve.Alissa: No, wedon't. Coroner says it's a suicide, and the police agree with her, which is why I went home two hours ago, because work was over.David: Amanda Tanner. 27. Single. 13 weeks pregnant. Worked as an aide at the GrantWhite House till just a couple weeks ago when she abruptly resigned and botched a suicide attempt. Then she becomes a client of Olivia Pope's, and we pull her dead body out of the river. Don't you find that interesting?Well, pretend you do, for me. Now if you did happen to find any of this remotely fascinating, incongruous, intriguing, worthy of our time, what's the first question you might ask about Amanda Tanner?Alissa: Well, um,who in the White House would want her dead?[SCENE_BREAK]PRESIDENTIAL CAMPAIGN STOPMellie: You canceled all our events for the next two days? Yes.Fitz: The primary's in less than a week. We can't miss twodays of campaigning.Cyrus: New Hampshire's a small state.Mellie: I have a literacy fund-raiser in nashua tomorrow. I can't possibly cancel that.Olivia: That's why I canceled it for you.Mellie: Maybe I'm dense, but Ihave to confess, I don't really know what you want from us.Olivia: First off, I'd like you to actually talk to each other.Mellie: We talk all the time, Ms. Pope. Not to each other, you don't. House parties, town hallmeetings, baseball games you barely look at each other.Mellie: Fine. We will add a couple of events to the schedule where we are together.Olivia: That won't do it. You two need to be a couple. A believable, loving,dedicated couple. Or you might as we throw it in right now. Why don't we give you two a moment?Fitz: Why are you fighting this? It's what you wanted. It's what you've always wanted.Mellie: What I wanted? You arethe one running for President.Fitz: Oh, please, like you're not running for First Lady? You're dying to get into that White House. You're practically redecorating already.Mellie: Okay, there it is. I am the ambitiousmonster. I'm the Iron Lady. I have done everything for you! I have sacrificed my career for you. I have had kids for you. There is not a single thing in my life I have not given up so that you could be President!Fitz: Inever asked you for any of that.Mellie: And all I get in turn is this perpetual resentment!Fitz: So what would you prefer? That I ignore you? That we don't talk at all? 'Cause that's pretty much how it's been the past fewyears, and that's worked okay.Mellie: Now you're just being juvenile.Fitz: Look, we BOTH know...Cyrus: This is why they don't talk to each other.Fitz: No ... 'Cause you're afraid it would get out and kill uspolitically.Mellie: If they found out, we'd be dead in the water!Fitz: Fine! Then if living on Pennsylvania Avenue is that important to you, we better suck it up and start acting like this isn't a deadmarriage![SCENE_BREAK]OUTSIDE PRESIDENTIAL CAMPAIGN STOPJames: Governor, you're 5 points down in New Hampshire. Taking time out from the primary for a parent-teacher conference isn't that a littlerisky?Fitz: If it's a choice between losing touch with your family and losing a primary. That's not really a choice, is it?[SCENE_BREAK]PRESIDENTIAL PRIMARY PREPARATIONOlivia: You can't wear this tie on morningTV.Fitz: What?Olivia: It's too distracting. Take it off. Give me your tie, please. Give me your tie. Take it off. Off, off, off, off. Thank you. Okay.Fitz: You decide who you're voting for?Olivia: I'm apolitical.Fitz: You don'tsleep, you rip ties off innocent bystanders for me, you're killing yourself 24/7 to get me elected, and I don't even have your vote.Olivia: Well, you're gonna need to earn it, like any othercandidate.[SCENE_BREAK]INTERVIEW WITH FITZ & MELLIEReporter: If my research is right, you were first in your class at Harvard Law.Mellie: That's right. Oh, and uh, Fitz did fine, too.Cyrus: Not bad.Olivia: They'restill not touching.[SCENE_BREAK]GRANT CAMPAIGN ICE CREAM SOCIALFitz: One more. There you go. One more.Mellie: Very good job.Olivia: That's great.Mellie: It's your turn. It's your turn, Fitz.Fitz: Okay, it's myturn. Mm-hmm. Delicious!Olivia: Oh, wipe it off ... Wipe it off.Cyrus: Wipe it off.Olivia: Wipe it. Wipe it off. Wipe it off, Mellie. Come on.Cyrus: Come on.Fitz: Oh. Thank you.Olivia: Perfect.Mellie: Ice cream,anyone?[SCENE_BREAK]LANGSTON CAMPAIGN HEADQUARTERSSally: Ugh! Who in the holy hell is running that campaign?Billy: As far as I know, they haven't made any official changes.Sally: Oh, yeah? That is a big,old pile of dung, Billy Chambers, and you know it. That is not the Fitzgerald Grant I ran against in Iowa. That is a candidate, Billy. A down-home, charming, red-blooded candidate who's stealing my votes. Hell, I'mhalfway to voting for him. Now I want to find out who's responsible so we can see what we're dealing with here.Billy: I'm on it.Sally: Billy, it is not in God's plan that I lose New Hampshire.Billy: Senator, I promise you,we will not lose New Hampshire.[SCENE_BREAK]GRANT CAMPAIGN STOP (NEW HAMPSHIRE)Fitz: I'm a little superstitious, so we're not gonna have any victory speeches until tomorrow night, after everyone's voted.But for now, I just really want to say thank you. Okay? Thanks. It's all you guys.Fitz: Olivia Pope I don't know how you do it.Olivia: Oh, if we're passing out credit, Governor, you and Mellie deserve most of it. You twoseem to be doing much better.Fitz: I think you underestimate how good a politician I am.Cyrus: We're not gonna win New Hampshire.Fitz: What are you talking about? The polls have us up by-Cyrus: Story's coming outin the morning paper, 6:00 A.M. They'll be reading about it over their damn coffee, right before they vote.Olivia: What story? What's coming out?Cyrus: Mellie's having an affair.[SCENE_BREAK]RESTAURANT BARTV:Senator Sally Langston won the New Hampshire Republican primary Tuesday, with 98% of the precincts reporting. Most attribute the voters' change of heart to new allegations that Governor Grant's wife is involved inan extramarital affair.Billy: Now you can't blame this one on me. You did a hell of a job with those two. The thing is, this isn't a story that goes away. You know, you can't spin a dead marriage. Sally and Doug, on theother hand ... they're like a couple of teenagers who can't keep their hands off each other. It's kinda gross, actually.Olivia: Billy Chambers.Billy: Thanks for meeting me, Olivia.Olivia: What do you want?Billy: Concedebefore South Carolina, and we'll give you the V.P. slot.Olivia: I'll take my check.Billy: Come on. You and I on the same team? We'd be unstoppable. We could play the spin machine, wrangle reporters, have nice mealson the trail. Do you like barbecue?Olivia: Are you asking me to concede or out on a date?Billy: Maybe a little bit of both.Olivia: I hate barbecue.Billy: You're awfully confident for someone who's got no cards left toplay.Olivia: Oh, I always have cards left to play.[SCENE_BREAK]GRANT CAMPAIGN HEADQUARTERS / WASHINGTON D.C. STREETFitz: This is the man who's gonna save my campaign?Olivia: Governor, if they look likeweapons, they're hard to keep secret.Huck: You're late.Olivia: Blame this guy. Cyrus, give us a minute. Huck, are you ready to reenter the real world today?Mellie: Is he wearing pants?Huck: Paul Mosley. Literacy policyadvisor for-Mellie: We all know who he is. He was advising me on literacy. But that's it. End of story. I would never-Fitz: Honey, it's not necessary. We believe you.Huck: They were following you. Did you knowthat?Mellie: What?Huck: A guy like me, but, like, cleaner, has been following you for over seven months. Taking these photos, gathering evidence to use against you, just waiting for the chance.Fitz: How'd you getthese?Huck: Anything digital, it's all just out there. Patterns of ones and zeros waiting to be gotten.Cyrus: All these late night meetings it doesn't look good.Olivia: And the story's picking up traction because Mosley'snot denying it.Cyrus: They must be paying him off.Huck: I pulled up all his financials. His password is \"literacy.\"Olivia: What's he got? Swiss accounts? Cayman Islands?Huck: Uh, just small amounts. Uh, tiny stepproductions. Here's another $4. 19.Cyrus: Hardly damning. Keep looking.Huck: Well, small payments are interesting, too.Fitz: Why is that?Huck: Well, he's been getting quarterly payments from Tiny Step Productions.Tiny ones going back 30 years.Olivia: You ready to try something new?Abby: I was thinking of going savory, but what's up?[SCENE_BREAK]TINY STEP PRODUCTIONS OFFICEAbby: Excuse me.Receptionist: Hello.Abby:What do you do here?Receptionist: We're a feature film company.Abby: Oh? What kind of films?Receptionist: Specialty films, ma'am.Abby: Like educational or ...[SCENE_BREAK]OUTSIDE GRANT CAMPAIGN BUSCyrus:No way!James: No, no way what?Cyrus: You lost your seat on the bus when you ran that Mosley- Mellie affair nonsense of a story without even running it by me.James: I called for comment. You didn't pick up.Cyrus: Iexpected more from you, James.James: Don't bully me for doing my job, Cy. \"Times\" ran that story, too.Cyrus: Claire, you're off the bus, too. Ask James why.Fitz: Hey, Liv?Olivia: Yeah.Fitz: We on top of this, gettingthis guy to come clean?Olivia: I'm on it.Fitz: What does that mean, \"you're on it\"?Olivia: I got a guy.Fitz: You got a guy? Another guy? Hells angel? Mobster? A kindhearted felon who owes you a favor?Olivia:Technically, he's on probation.[SCENE_BREAK]PAUL MOSLEY'S HOUSETV: Don't forget the little pinkie toe. Mm! Mwah! Mm!Harrison: Toe sucking not my thing, but I admire the technique, no matter the application.And you, Paul Mosley, a.k.a. Brock\"The Mouth\" Stone hahaha! You got mad skills. You commit.Paul: Get the hell out of my house.Harrison: No wonder they made eight sequels of \"Twinkle Toes on Parade.\"Paul: I'mcalling the cops.Harrison: Save your minutes. I already did. I figured they'd need a patrol or two to manage the media circus that's gonna be tearing up your front lawn in about four minutes. You see this, yourtoe-sucking highness, is your golden opportunity to fervently deny any remotely romantic involvement with Mellie Grant before you are a national joke and the entire literacy community that holds you in such highesteem reads all about your lengthy and decorated career as an artist of toe-rotica. Wow! Can I get an amen, Paul?[SCENE_BREAK]REPUBLICAN PRESIDENTIAL DEBATE, SOUTH CAROLINASally: We have thetechnology. We should aerial drone the hell out of our Southern borders and protect our legal citizens. Unless, of course, governor grant wants to open up his Santa Barbara ranch for amnesty ...Kendal: The nextquestion is for you, Governor Grant. Your marriage has received a lot of attention during this primary campaign. And while allegations of infidelity have been dismissed, criticism lingers amongst voters. Why do youthink that is?Cyrus: We knew it was coming.Fitz: I think that a lot gets lost in translation between real life and packaged news footage. You can't capture 20 years of marriage in a in a snapshot. You can't capturechemistry with a photo op. I know what some people perceive and what the ... the whispers are, but ... The most honest thing that I can tell you about myself right now, Kendal, is that I'm a man in love with anincredible woman.[SCENE_BREAK]HOTEL ELEVATORCyrus: There's the man!Crowd: Whoo!Cyrus: Congratulations!Crowd: Congratulations! Yeah! Uh-huh! Whoo![SCENE_BREAK]GIDEON WALLACE'SAPARTMENTGideon: Hi. This is Gideon Wallace from \"The D.C. Sun.\" We spoke last week about Amanda Tanner in 3-B. Yes, I do know what time it is. Hey, I know it's late, but I- do you know who's looking afterAmanda's dog? I think it's a golden retriever. Do you know who's watching it for her? Her boyfriend? Really?[SCENE_BREAK]US ATTORNEY'S OFFICEAlissa: Look at these logs. This girl is signing into the White House atthe crack of dawn and signing out in the wee hours, every day. You know what I think? I think work and play overlapped. Think about it. She never goes home, so where's she doing it? The White House, that's where.Oh, like you wouldn't.David: So she was sleeping with someone in the White House, as apparently, any red-blooded American would.Alissa: And plus, it's gotta be someone in the parts of the West Wing she's logginginto.David: Come on.Alissa: That totally narrows it down.David: To 57 employees of the male persuasion. So the question remains who's her baby daddy?Alissa: Did you just say \"baby daddy\"?[SCENE_BREAK]GRANTCAMPAIGN HEADQUARTERSOlivia: I need the latest poll numbers for Alabama, Arizona, Georgia, Arkansas, Oklahoma.Woman: I'm on it.Olivia: Super Tuesday is coming, people, and it's gonna kill us if we don't stay ontop of it.Fitz: Morning.Olivia: Good morning, Governor Grant. Did you need something?Fitz: No, just ... no.Olivia: Good.Fitz: I'm married.Olivia: I know.Fitz: I'm running for President.Olivia: I know.Fitz: I can't.Olivia: Idon't want you to.Fitz: But just stand here with me, for one minute. Let's not go back in there or talk or think or ... For one minute, we just stand here, and I'm not the candidate and you're not the campaign fixer.We're just us. One minute, for one minute. Just ... stand here with me.Olivia: One minute.Mellie: Oh! Liv, there you are. You've really got to look at what they have me wearing at the town hall tonight. I really think it'stoo much.[SCENE_BREAK]GRANT CAMPAIGN BUSCyrus: Just got the tracking polls for Super Tuesday. You're still down with women. They're for Sally and they're not changing their mind.Fitz: I crushed her in thatdebate. The whole country saw it.Olivia: It's hard to win over women when there's a viable female candidate in the race. We've been waiting a long time.Fitz: So what do we do?Cyrus: We've got the oppo on her. Threewitnesses all willing to speak on the record about snorting coke at a frat party with Sally Langston, back when she was just a Tri Delt.Olivia: It won't work. You can't nail Sally Langston on morality. Sally found God,Cyrus. Once you find God, all is forgiven. That's kind of the point.Cyrus: No, the point is we can't win without women.Fitz: No. You take the opposition research and you put it in the garbage. We're playing the rest ofthe game above board, win or lose.Cyrus: Okay.[SCENE_BREAK]GRANT CAMPAIGN EVENT, GEORGIAFitz: And that's exactly why I think deregulation is a good thing, like this pie. Do y'all really get to eat this all thetime?'Cause if you do, I'll have to spend a lot more time down here.Mellie: I'm sorry. I just I can't do this anymore.Fitz: Mel?Mellie: It's okay, honey, I just I need to say it. Um ... A few months ago, Fitz and I found out"}
+{"doc_id":"doc_24","qid":"","text":"(In 1988, a little boy is reading a book)Ted from 2030: When your Uncle Marshall was ten years old, he read a book called Life Among the Gorillas. It was written by an anthropologist named Dr. AureliaBirnholz-Vazquez, it told the story of the year she spent living among the Western Lowland Gorillas of Cameroon. When Dr. Birnholz-Vazquez came to the local community college to give a lecture, Marshall, theyoungest member of the audience, raised his hand with a question.Marshall: What advice do you have for a budding anthropologist?Dr. Birnholz: So you want to be an anthropologist?Marshall: Yep. When I grow up, Iwant to go live with the gorillas, just like you did.Ted from 2030: What she said next changed his life.Dr. Birnholz: Oh, that's wonderful, but I'm afraid you can't. They'll all be dead by then...[in 2006]Marshall:...and ifeconomic sanctions and trade restrictions aren't enforced, the destruction of the rainforests will continue and over a million species will be wiped out.Ted: So you don't want coffee.Marshall: I'm saying that the coffeeindustry is causing irreversible...Ted: All right. I'm pouring it out.Marshall: Okay, one cup. The kid needs to be alert. First day on the job and everything.Ted: I still can't believe you're going all corporate on us. \"The kid\"has become \"the man.\"Marshall: Okay, it's just an internship to make a little money. After law school, I'm going to work for the NRDC. They're gonna stop global warming.Ted from 2030: Well... I mean... they did theirbest.Lily: Here's your sack lunch.Marshall: Okay, I love you because, one, you made me a sack lunch and two, you laugh every time you say the word \"sack\".Lily: I love you, Marshmallow.Marshall: I love you.Ted: Ilove you too, Marshmallow.Marshall: Uh-oh. Ted?Ted: Oh, no. No, she didn't.Marshall: Yeah. Yeah, she did.Ted: Another care package?Ted from 2030: Another care package. I'd been in a long-distance relationship withVictoria for nearly a month. Long-distance relationships are a bad idea.Marshall: How many is that so far?Ted: Three.Lily: And how many have you sent her?Ted: In the mail or in my mind? Zero. She's up three-zip. Oh!Cupcakes! Great. I bet they're delicious, too. Yup, they're delicious. Damn it! I don't deserve these delicious cupcakes. God, I hate myself right now.Marshall: God, that is so me at 15.Ted from 2030: Marshall was goingto work for a big corporation called Altrucel. Altrucel was most well-known for making the yellow fuzzy stuff on the surface of tennis balls. I mean, this was a huge company, so they did other things... But mostly theywanted the public to focus on the yellow fuzzy stuff. Anyway, Marshall managed to score an internship in their legal department because he knew someone who worked there.Barney's office(Barney's on thephone)Barney: Go for Barney.Voice: Mr. Stinson, this is Willis from lobby security. Sorry to bother you, but we've had reports of a sasquatch loose in the building.Barney: A sasquatch?Voice: That's right, sir, a Bigfoot.We don't want to alarm you, but he's been spotted on your floor.Barney: Yes! Look at you. You suited in an unmistakably upward direction.Marshall: Whoa. That is a butt-load of motivational posters.Barney: Yeah, hell,yeah. I got 'em all: Teamwork, Courage, Awesomeness...Marshall: There's one for awesomeness?Barney: Yeah, I had it made. Sit.Marshall: Hey, so, now that I'm working here, are you finally going to tell me exactlywhat your job is?Barney: Please.Man #1: My dawg!Man #2: My dawg!Barney: Hey, Blauman, Bilson, this is Marshall. These guys are in legal. You're gonna be working with them.Marshall: Marshall Eriksen. Nice to meetyou.Bilson: Nice tie. Steak sauce.Blauman: Oh, steak sauce! For true, though.Marshall: Where, I don't, I don't see...Barney: Marshall? Sidebar. Your tie is steak sauce. It means A-1. A-1? Get it? Try to keep up.Bilson:Okay, Eriksen, let's get to work. It's 2:00 a.m. It's raining outside. Ding dong! What? The doorbell? Oh, hello, Jessica Alba in a trench coat and nothing else. But wait-- knock, knock. Somebody's at the backdoor?Marshall: I don't have a back door.Bilson: Oh, my gosh, Jessica Simpson? What a surprise. Two Jessicas, you gotta pick one. What do you do? Go.Marshall: Right. Well, uh... I'm engaged, so--Bilson: Fiancee's outof town. What do you do? Go.Marshall: We're still engaged, even if she's...Bilson: Okay, fiancee's dead. Hit by a bus. What do you do? Go.The BarTed: Sure you don't want one?Robin: How many of those have youeaten?Ted: Four. Teen. No, just four. And the icing from two more. So, anyway, here's the problem.[FLASHBACK]Ted: Hey, it's Ted. I guess you're asleep. Anyway, I got the care package, and it's just great. Here,listen... Mmm. Mmm![END OF FLASHBACK]Ted: So I'm standing there, my mouth full of this delicious relationship-winning cupcake... And... I said something dumb.[FLASHBACK]Ted: Oh, and, um... don't worry, yoursis in the mail. I sent it a couple days ago. And it's awesome. Really, really awesome.[END OF FLASHBACK]Ted: Why did I say that? I think frosting makes me lie.Robin: Oh, Teddy boy.Ted: Yeah. So now, whatever Isend her, she'll know I sent it after I talked to her. So that's the problem. You work on that. I'm gonna eat this cupcake.Robin: All right, here's what you do: Put together a care package of stuff from New York-- someH&H bagels, an Empire State Building keychain... and then, top off the package with a New York Times... Ready? From three days ago.Ted: That's brilliant. You're brilliant. You know, it's funny, not so long ago, I wascoming to Marshall and Lily for advice on how to impress you.Robin: That is funny.Ted from 2030: And here's why it was funny.[FLASHBACK]Ted from 2030: Little did I realize, a few weeks earlier, here's what Robinwas saying to Lily about me.Robin: Okay, fine, I have feelings for him.[END OF FLASHBACK]Ted: Now it's ironic, the girl I used to like is helping me impress the girl I now like.Robin: The irony is clear, Ted.TheappartmentLily: Hey! How was your first day?Marshall: I don't wanna talk about it. The guys I work with are a bunch of jerks.Lily: What?Marshall: They're jerks!Lily: What makes them jerks?Marshall: Forget it, I don'twant to talk about it. Well, like today at lunch..[FLASHBACK]Bilson: What do you got there, Ericksen? Mommy pack your lunch?Marshall: For your information, my fiancee did.Blauman: Oh... Does she cut the crusts offyour sandwich, too?Marshall: No.Blauman: What's that?Marshall: Nothing. Give it.Bilson: \"Dear Marshmallow. Good luck today. I love you. Lilypad.\"Marshall: Give it.Bilson: P.S. If you've unfolded this note, your kissalready got out. Quick-- catch it.\"Marshall: Give it back. Hey, give it. Gimme... Give it![END OF FLASHBACK]Lily: Oh, screw those guys! We're adorable.Marshall: I know. God. It's like freshman year all over again. Onlythis time, my sweet dance moves aren't going to be enough to win them over. Not even Old Reliable.Lily: Sweetie... It would be cool to have some extra money, but, but, if you're unhappy, it's not worth it.TheBarMarshall: I quit.Barney: What? No. We're having so much fun. You, me, working together. It's great.Marshall: We're not even working together, Barney. I'm in the legal department and you're... Seriously, what is itthat you do?Barney: Please.Marshall: I'm sorry, dude, this corporate thing, it's just... it's not for me.Barney: Oh, of course it's not for you. It's for Lily.Marshall: What?Barney: Marshall. Lily's a catch. But do you reallythink you're going to hang onto a girl that great without the package?Marshall: The package?Barney: The package. The house. The car. Sending your kids to a great school. A vacation once in a while.Marshall: Lilydoesn't care about that stuff.Barney: Well, no-- now she doesn't, but how's she going to feel in a couple years, when she's supporting you on a kindergarten teacher's salary while you're off in court defending some...endangered... South American... flying beaver.Marshall: She'll be happy.Barney: Okay. But will you be happy knowing you could have made her a lot happier.At Marshall's workBilson: And all four are totally naked. Yougotta choose one. What do you do? Go.Marshall: I guess, uh... Bea Arthur.Bilson: Ahh! Wrong! Betty White. Clean this stuff up, Eriksen.The BarRobin: So, did she get the awesome care package yet?Ted: Yep.Yesterday.Robin: Did she love it?Ted: Ooh, she loved it.Robin: So what's the problem?Ted: So I was talking to her last night. And, I should tell you, we've been talking on the phone every other night for, like, an hourand a half. Eventually you just run out of stuff to say.[FLASHBACK]Ted: What did you have for lunch today? Oh. Rye bread. Yeah.[END OF FLASHBACK]Robin: Oh, Teddy boy.Ted: I'm usually so good at being aboyfriend, but this never-seeing-each-other thing, it's a bitch. Maybe it just can't be do. I think it's clear what I have to do.Robin: It's pretty clear.Ted: I have to go to Germany and surprise her.Robin: Totally what Iwas thinking. Get out of my head, man!Barney's officeMarshall: Barney, how do I get these idiots to leave me alone?Barney: Marshall, consider the penguins.Marshall: The penguins?Barney: On the wall.Marshall:\"Conformity. It's the one who's different that gets left out in the cold.\" This is a motivational poster?Barney: Look at yourself, Marshall. You're not happy. And you know why? Because you're different. Now, I supposeyou could learn to love yourself for the unique little snowflake that you are, or... you could change your entire personality, which is just so much easier.[SCENE_BREAK]The appartmentLily: Change your personality?That is so awful, and not at all motivational.Marshall: Not necessarily. Okay, at first, I was appalled, but then I realized it's just like Dr. Aurelia Birnholz-Vasquez in Life Among the Gorillas. I have to gain the acceptanceof the herd by behaving exactly like one of them. It's an anthropological study. Isn't that cool?Lily: It sounds kinda like peer pressure.Marshall: No, no, no. It's totally anthropological and it's cool and I'm doing it.Lily:Yeah, I'm pretty sure it's peer pressure. We have an assembly every year.Marshall: I'm portraying someone who succumbs to peer pressure.Lily: All right, but if those guys try to pressure you to smoke, what do yousay?Marshall: Only when I'm drunk.Lily: Good boy.Ted from 2030: And so, to fit in with the gorillas, Marshall had to learn to act like a gorilla, and that meant gorilla lessons.The BarBarney: Okay, I'm psyched aboutthis. But if I'm going to mentor you, I need to know you're psyched about this, too.Marshall: Oh, I am. I'm, I'm psyched.Barney: Yeah, but it's one thing to say it, it's another thing to show it. Show it.Marshall: I'mpsyched!Barney: What was that? Marshall, I should feel tremors of psychitude rock my body like a seizure. That was like a declawed pregnant cat on a porch swing idly swatting at a fly on a lazy Sundayafternoon.Marshall: Wow, that was really specific.Barney: Show me you're psyched! Let's do this! Ow! That hurt!Marshall: So badly.Barney: And then you slip it to the guy with a discreet handshake and he'll get itdone.Marshall: Right. Get what done?Barney: Whatever.Marshall: Cool. And what guy is this?Barney: There's always a guy.Marshall: Okay, all right, I, uh, I think I'm ready.Barney: You sure? You want to practice yourstory one more time?Marshall: All right. So dude, check it. I'm in San Diego with two of my bro-sephs from Kappa, and they're all, \"Yo, Eriksen, let's roll to the strip clubs.\" So I'm, like, \"Snapadoo!\" So we find thischoice nudie nest near the airport......and that is when the bouncer kicked us out. Now, I have no idea if Svetlana ever got her green card, but dudes, fake diamond ring? Worth every penny, bruh.Blauman:Eriksen...that was steak sauce!Bilson: Great story.The appartmentTed from 2030: The next moning, I was about to buy my ticket to Germany when I got an e-mail.Ted: Uh-oh.The BarVictoria's voice: \"Hey, Ted, sorry Imissed your call last night. This long-distance thing sucks, huh? Listen, I've been thinking and I really need to talk to you tonight. I'll call you at 11:00. Victoria.\" So?Ted: So she's going to dump me. Has anyone eversaid, \"Listen, I've been thinking,\" and then follow it up with something good? It's not like: Listen, I've been thinking, Nutter-Butters are an underrated cookie. What else can it be? What could she possibly have to say tome that she couldn't write in an e-mail?Robin: I cut off all my fingers? Ted, you're a great guy. I know it, you know it, she knows it. I would bet you a gazillion dollars-- no, I'm even more confident. I would bet you afloppity jillion dollars that she's not calling to break up with you.Ted: Thanks. You're right. I'm being crazy. So I should still buy that plane ticket, right?Robin: I'd wait.The Appartment(Marshall is on the phone, Lily ispainting)Marshall: 'Sup, Blauman? E-bomb here. We still on for karaoke? Dope. I'm going to rock you on the mike so hard your hears are going to bleed gravy. Catch you on the flip, butt puppet.Lily: Okay...what do youthink?Marshall: Steak sauce.Lily: Steak sauce?Marshall: Yeah.Lily: Look, you know, whatever anthropology you do at work is your business, but please don't act like that around here.Marshall: Lily, when Dr. AureliaBirnholz-...Lily: No, when Dr. Australia Birdbath-Vaseline came home from the gorillas, she didn't run around picking nits out of people's hair and-and throwing feces. I'm begging you just, just leave it at theoffice.Marshall: Why?Lily: Because you're acting like one of those guys, and those guys are lame.Marshall: Okay, those guys were mean at first, yes, but they're actually good guys, and if you got to know them, thenyou would see that. Come karaoke with us tonight, and you'll see how totally not that lame they are, okay?Lily: Okay.At the karaokeBlauman: But wait, knock-knock, back door, who's there? Angelina Jolie... wait, in awheelchair. What do you do? Go.Bilson: Dude, Scarlett Johannsen with no arms, any day of the week. Yeah.Lily: You're right. They're delightful.Marshall: So, Barney, you gonna sing anything?Barney: Nah. I'm so overkaraoke.Marshall: Really? I thought you'd be totally into it.Barney: Oh, don't get me wrong. I'm good. The best, really. But it's the greatest samurai who lets his sword rust in its scabbard.Lily: Oh, baby, they have oursong. Let's do \"Don't Go Breaking My Heart.\"Bilson: What?Marshall: \"Don't Go Breaking My Heart.\" Elton John, Kiki Dee.Bilson: No way. You got to go with some Black Sabbath.Lily: Well, actually, Marshall and I havethis little dance routine.Marshall: \"Iron Man.\" I could do \"Iron Man.\"Blauman: Steak sauce.Bilson: Steak sauce, dude.Blauman: Should we tell him? All right, Eriksen, I've got some good news. On Monday, Bilson and Iare going to talk to Montague in HR. When you graduate, we want you working with us. What do you say? Yes!Bilson: That's my man!Blauman: I told you he would. Aw, we're gonna own the office.Lily: Okay, that wasgross. When were you going to tell me you changed your entire career path?Marshall: Nothing has changed, okay? I still want to help the environment. I just thought that maybe I could make some money for a fewyears. We could buy an apartment, send our kids to good schools. You could quit your job and focus on your painting. I know that you say you don't need it, but... I love you and I want to give it to you anyway. I wantto give you the package.Lily: The package?! You've already given me the package. You've got a great package, Marshall. I love your package.Marshall: Lily, you're the most incredible woman I know, and you deserve abig package.Lily: Your package has always been big enough. You may not realize this, Marshall Eriksen, but you've got a huge package.Robin's work place(Robin is on the phone with Ted)Robin: Hello.Ted: Why hasn'tshe called yet?Robin: Okay, you're making yourself crazy. It's Saturday night. Go out and do something.Ted: No, what's the point of going out? I got a girlfriend... for now. Besides, if I go out, who's going to watch thenews? I'm, like, half your viewership.Robin: I'm flattered you think we have two viewers. She's not going to break up with you, Ted. You're awesome.Ted: Thanks. Anyway, it's almost 11:00. I should let you go. Break aleg.Ted from 2030: And so I was sitting at home, waiting for the phone to ring, something occurred to me.Ted: I'm actually sitting at home waiting for the phone to ring.At the karaoke(Ted arrives)Barney, singing:*He's giving you the blues. You want to graduate, but not in his bed. Here's what you got to do Pick up the phone...*Ted: Marshall.Marshall: Hey, hey.Ted: Dude, I feel like I haven't seen you in a month.Marshall: Yeah.Yeah. How you doing?Ted: I think Victoria's about to break up with me.Marshall: Oh, God, I'm sorry, man.Ted: Yeah, well, honestly, I'm having trouble remembering what she looks like. The more I try to picture her,the more I can't. Like, I remember how she makes me feel. I just... I don't completely remember her. It's like I'm trying to preserve something that's already gone.Marshall: Preserving something that's already gone.Sounds like environmental law.Ted: I don't know. We struggle so hard to hold onto these things that we know are going to disappear eventually. And that's really noble, but even if you save every rainforest from beingturned into a parking lot, well, then where are you going to park your car?Barney, singing: *Done dirt cheap! Dirty deeds. Done dirt cheap! Dirty deeds. Done dirt cheap! Dirty deeds and they're done dirt cheap, ow.Dirty deeds and they're done dirt cheap...* Uh, rockupied. Dude, what...?(Marshall says something to Barney, who then passes him the microphone)Next up, Marshmallow and Lillypad.Marshall: *Don't go breakin' myheart*Lily: *I couldn't if I tried*Marshall: *Honey, if I get restless*Lily: *Baby, you're not that kind...*Ted from 2030: It turns out some things are worth preserving. But here's the real question: It's 2:00 a.m. Yourfriends are still out singing karaoke, but you're home early 'cause you're expecting a call from your girlfriend in Germany, who was supposed to call four hours ago. And then the phone rings.Ted: Hello.Robin: Hi, Ted.It's Robin. Um, listen, I know it's late, but, uh, do you want to come over?Ted from 2030: What do you do? Go."}
+{"doc_id":"doc_25","qid":"","text":"Lina:You're going, and that's it.Russ: Oh, my God. I got your stupid vasectomy. Isn't that enough?Lina: No. You've blown off three follow-up appointments.Russ: I don't need a follow-up visit. I know that itworked.Lina: How could you possibly know that?Russ: Because I... eyeballed it.Lina: What?Russ: My stuff. It's practically clear. Seriously, you could store contact lenses in it.Lina: I am moving on. I'm getting rid of allthe baby stuff from the garage. Do you think that's easy for me?Russ: Even that bassinet? Even the bassinet. You need to move on, too.Russ: I just don't want to be told that I have meaningless semen.Lina: If youwant to get anywhere near any of this... You're gonna have to take care of that.S01E06Russ: I thought you took lessons.Frankie: I'm still scared.(Frankie whimpers) Russ: I want a refund, then. Get this on.Girl: Whatare you doing? Everybody can see you.Girl 2: What's the big deal? Nobody's here.(Indistinct chatter, laughter)Russ: Can I ask you something?Am I invisible?Shepard: I don't know what that means.Lina: He's beenupset because some girls changed in front of him.Shepard: Say what?AJ: Boobs or beaver?Russ: That's not the point.Shepard: N-no, I-I'm gonna allow that.Russ: They didn't care what I saw.Shepard: Oh. Well, Godbless you.AJ: No, no, no. I see... I see your point, here. I mean, for all she knows, you're-you're a rapist. You're a...Russ: Yeah. AJ:...sick, sexual maniac who follows her home, studies her patterns. Maybe you borrow auniform from an old cop buddy who owes you a favor. \"Is there a problem, officer?\" Rag. Ether. Nightmare.Russ: Yeah, I... I think I-I was just trying to say, like, I-I want women to feel uncomfortable changing aroundme. Is that so much to ask?Lina: I'm uncomfortable changing in front of you. (Phone ringing)Shepard: Tammy. Mind if I...?Jess: Get it? No, please, get it. Yeah.Shepard: Hey, Tammy, what's up? Okay.Lina: Who'sTammy?Jess: Tammy is a musician that Shep has been working with.Lina: So he's getting back into the music business?Jess: I don't know. Maybe. It's just nice to see him, uh, excited. It's a nice change from hissuper-intense depression. And I just feel like it's so great to see him get off the couch and go to work and... Put on pants.Lina: Right.AJ: Pants are for losers. You're wearing pants right now, dude.Lina: Yeah.AJ: Not uphere.Shepard: Right. No, it's on ventura. No, but come around the back. Right. And they can, they can set up whenever they get there. Yeah, we'll all be there. All right. Great. All right, buddy. See you tomorrow. Hey,just got some great musicians for Tammy's session tomorrow. It's gonna sound really, really good.Jess: Do you know that when you work, it makes me so hot?Shepard: Really? How hot?Jess: Well, let's say probablyabout doggy-style hot. I-I don't want to put on the knee brace.Jess: Uh-huh. 'Cause it pulls. You know, it's not... All right, doggy it is.Didi: Bowman?Russ: Hey.Didi: You have a co-pay of $550.Russ: Sounds right.Didi:You need to pay it.Russ: Totally.Didi: Today.Russ: Oh. I don't... I don't have that kind of cash on me.Didi: Oh, we take credit cards.Russ: Well, I have the cards, but... not the credit. You're going to have to pay thebalance of this procedure.Russ: Yeah, I'll pay it. Just not today.Didi: Let's reschedule, then. We'll get something on the books after the payment is all squared away.Russ: All right. Have a great day.Child: My name isAlbert Einstein and I was born in Germany in 1879. I developed the theory of relativity.Russ (Whispering): Look, it's not my fault, okay? We tried. It's over.Lina: Seriously? What is wrong with you?Russ: I'minvisible?Lina: Here's what you're going to do. You're gonna go back in that office, and write down that woman's name and scare the sh1t out of her.Russ: How? Tell her that your wife already sent the check and if theydon't see you right away, that you're gonna stop payment on it and let it go to collections. Tell her that.Russ: You're getting pretty good at this.Lina: No, being broke makes you crafty.Russ: So then why don't you comewith me and then you can do the talking.Lina: I can't. I have to take the baby stuff today.Russ: Come on. I... Don't make me go back to that cock-butcher.Father: You guys want to take this outside?Russ: I'm sorry.We're so sorry.Lina (Whispers): Sorry.Russ: Your son looks great.Lina: It's his daughter.Russ: It's your daughter. Look... she looks great. You're going back to the cock-butcher.Russ: Hey, I never got your name.Didi:Didi.Russ: Oh, great name. So, Didi, there was a mix-up before. Uh, it turns out my wife already sent the check. Really?Russ: But if I don't see the doctor right now, we're gonna cancel the payment. And then it will goto collections, Didi. And they will call us and I will be forced to mention your name. Didi. So you'd better polish your résumé. Because you'll get fired.Didi: Why would I get fired?Russ: Because they'll call. And they'llknow. I don't know. I... it made sense when my wife said it. I just need to see the doctor right now, okay? Hello? Didi... please? Oh, what am I, invisible now?Doctor: Who says you're invisible? I see you standing rightthere, Mr. Bowman.Russ: Thank you, doctor.(Didi sighs)Lina: Bye-bye, baby sh1t. (Grunts)Hi. Whew. Lot of memories here.Employee: Okay, you just have to estimate how much this stuff cost you.Lina: Um... myyouth. Every time I cough, I pee a little.Employee: I'll write down \"$50.\"Lina: Can I ask you a question? Who gets this stuff?Employee: Regular people. People who need it.Lina: Do you think that I could meet theperson who gets my stuff? I'd love to put a face with a, you know...Employee: Doesn't really work like that. (Gasps)Lina: I think I'm gonna need a minute.Shepard: She'll be here soon. Well, how long do you have thestudio?Shepard: I'm... by the hour.Jess (Chuckling): Okay.Shepard: So whenever she gets here, we'll... that's when we'll go. (Phone rings) Oh, hey, could be her. And it is. Hey. What's up?Jess: Sorry. (Chuckles) Trustme, this is worth it. She's really hot. She has the talent of a much uglier girl.Shepard: That's... Well, listen, that's your call. You-you do what you guys need. Uh-huh. \"Oh, that's all right. So, you feel better?\" She says,\"no, 'cause I've been throwing up. I've been throwing up for the last couple of days.\"Jess: Uh-huh. So I said, \"hey, what are you, pregnant?\" Guess what.Jess: No. She's pregnant?Shepard: She's pregnant. She and herboyfriend are gonna take the kid. They're gonna raise the kid in Iowa. So they're going to Iowa.Jess: That's gonna ruin her career.Shepard: What do you want me to do?Jess: Oh, my God, you know what you need todo.Shepard: No, I don't. I don't know what I need to do.Jess: Tell her to get rid of it.Shepard: The baby. Get rid of the... That's what I should tell her?Jess: Yeah, look at how happy you are. You love working with thisgirl.Shepard: I didn't love it.Jess: Yes, you did, and you haven't... you...Shepard: It was fun, it was fun.Jess: Oh, my God, you haven't been this happy since you left the label. All right, she's a good singer; I was tryingto help her out, but it's over.Jess: No.Shepard: So that's okay. It's over.Jess: Don't just do that.Shepard: Now it's over.Jess: Tell her about Liz Phair's abortion. I don't know what you're saying now. Tell her that rightbefore Liz Phair was, like, about to break out, she got pregnant, but then you talked about it, and you arranged for her to get an abortion, and then nine months later...(Blows raspberry) You know, she's a hit instead ofa mother. (Chuckles)Shepard: That never happened.Jess: That-that... just, PJ Harvey then, if that makes more sense to you.I never met PJ Harvey, none of...Jess: She probably doesn't even know who that is, either.She'll be embarrassed to ask. Okay, what is wrong with you? These... this is crazy.Jess: Nothing is wrong with me.Shepard: There's nothing to say to her. She wants... it's her life. It's her life, so she...Jess: Tell her thathaving kids is gonna ruin her life. So our little baby boy is ruining your life?Jess: No, he's not ruining my... you're ruining my life.Shepard: Okay.Jess: Don't do this. I know what you're thinking, and that's, youknow...Shepard: Really? What am I thinking? You need to do it, do your thing, fine.Shepard: Can I just say, a lot of the sh1t that comes out of your mouth cannot go back in.Jess: You could just get on the phone andjust, like, talk to her is all I'm saying.Shepard: You know what?Jess: You could just put in the effort and do that. I'm gonna talk to her, okay. Try-try to not talk now. Do me that favor.[SCENE_BREAK]Doctor: Okay, let'ssee. Mm-hmm. Well, the good news is, the incision healed nicely. Everything looks perfectly boring.Russ: Boring? Boring is good. Boring is what you want. Just one thing left to do.Russ: Shots?Doctor: Semen.(Groans)(Indistinct conversations)Hey, where do I go? I got to give this...Father: One-sixth of 12.Daughter: Two.Father: Let's do two-fifths of 100.Russ: Really? Right here?Didi: Be sure to lock the door.Father: Are youasking me or are you telling me?Daughter: 21.Father: 21. Okay, one-sixth of 12.Daughter: Two.Father: Three-quarters of 100.Daughter: 75. (Sighs)(Muffled conversations)Daughter: I divide the circumference by pi,right?Father: That's right.Daughter: But then how do I get the area?Father: Okay, for the area, it's pi times 2r. See, we just multiply the diameter by pi.Russ: That's wrong. Father: What about this here? A third of15.Daughter: Five.Oh, the hell with this. It isn't gonna work.Father: One-half of 20?Daughter: Uh, ten.Didi: You all set?Russ: No, I haven't even started. I'm having a little trouble with the, well, the materials.Didi: Whatkind of trouble?Russ: It's just the magazines. They're soft-core. I just, I... It's my second favorite core.Didi: Don't they have a DVD?Russ: Yeah, it's lesbians. Lesbian p0rn just makes me feel like a third wheel, youknow? It's like, what do they need me for? I'm just gonna get in the way. If you have anything, you know, like, under the desk or in a box or something, with dudes and chicks, that'd be awesome, but no gang bangs,okay? No threesomes. Nothing in a moving vehicle, okay? Because I get carsick.Didi: Do you want to come back at another time and bring your own materials?Russ: Oh. All right, I got this. Excuse me, do you mindkeeping it down, okay? I just, I have a... I have a meeting in there, so...Father: She has a test tomorrow.Russ: This is an important meeting.Father: Well, this is an important test.Russ: Maybe a little help, Didi?Father:Third of 15.Daughter: Five.Father: One-half of ten.Daughter: Five.(Horn honking) (Phone ringing)Lina: What's up?Russ: Hey, I need your help.Lina: They still wouldn't see you?Russ: No, I got in. I just... I need you totake me home.Lina: What?Russ: What are you wearing?Lina: Russ, no. I'm not having phone s*x with you.I'm in a thrift store.Russ: Lina, seriously, come on. The p0rn here sucks, okay? And there's some asshole in thelobby doing homework with his daughter.Lina: This is so unfair.Russ: I don't care. I just... I need you to do something, okay? I did your script, now you do mine.Lina: No, this is not a good time. I just handed over thebassinet. It's official. No more babies. Now I have to figure out my life. I'm just, I can't. Well, can we figure it out after I come?(Sighs)Lina: What do you want me to say?Russ: Well, first change your attitude.Lina(Softly): What do you want me to say?Russ: There you go. I got my shorts off. You're naked.I want you to tell me how I'm gonna enter you.Lina: Regular. No, wrong, okay? Today we do my positions.Lina: Oh, we'regonna be here all day.Russ: Just... start cowgirl, okay, and then reverse it.Lina (Weakly): Yee-haw.Russ: Lina, please, I'm in a room right off of a... lobby with people right on the other side.Lina: Okay, okay, fine. So, Ipush you down on the bed.Russ: Okay, good. And then I climb up on top of you...Russ: Okay. Lina:...and put you inside me. Yeah, and my hands are all over your...Lina: Oh, yeah, you're grabbing my ass. Russ:...tits,yeah.Lina: I mean my tits, yeah, that's right.Russ: Yeah, that's good.Lina: Now I'm sitting on top of you and... Oh, you're so deep.Russ: Yeah, put it inside.Lina: Oh, my God.Man: How much is this jacket? There's nosticker. Yeah, I don't work here, sorry, dude.Russ: Who was that?Lina: You don't know him. Okay, where were we?Russ: Uh, you were riding me.Lina: Okay, right, so I'm riding you. I'm riding you so hard.Russ: That'sgood, yeah.Lina: It feels so good, I'm digging my fingernails into your shoulders.Russ: Yeah, it feels good.Lina: Yeah, it does?Russ: Yeah.Lina: Yeah, you like that?Russ: Yeah, yeah, yeah, yeah.Lina: Okay, so nowyou're, you're sliding in and out of me, and... oh, I'm so wet. And you put your finger in my butt.Lina: Okay, yeah, I'm gonna do that, too. Oh, yeah. Yeah, come, baby. Come on, that's right.Russ: I want to come insideyou.Lina: Okay, yeah.Russ: Yeah, I'm gonna put another baby in you...Lina: No, you're not. Russ, no!Russ: Yeah, I'm gonna make a baby.Lina: Russ, knock it off!Russ: That's it! Aw, you're gonna be so pregnant!Lina:You're being weird.Russ: Aw! Lina, come on!Lina: You come on! We're not doing that anymore. It's weird.Russ: Why can't I just pretend?Lina: I don't want to.Russ: I just need to feel like I'm still... dangerous. Orsomething.(Sighs)Lina: I get it. Okay.Okay, so, so I'm riding you.Russ: Yeah. Yeah, I'm gonna put a baby in you. Yeah.Lina: Yeah, you are, yes. Baby, I want you to come inside me. I want you to, I want you to shoot itup inside me.Russ: Uh-huh, I'm gonna shoot it so deep.Lina: You're gonna make me so pregnant... oh, my God!Russ: I'm gonna make you so pregnant! That's it. I want you to make me so pregnant. Can you do thatfor me? Can you? Can you? Can you put a baby in me?Russ: Yeah, I'm gonna put a baby in you.Lina: Do it! Come inside me. I want you to make a baby. That's right, yeah. Get me pregnant, come on. Come on, get meso pregnant. Oh, God, yeah!Russ: Yeah, keep going. Don't stop.Lina: Shoot all over my eggs, come on! Yeah, I'm gonna shoot on your eggs. Oh, my cum's going on your eggs!Lina: Okay? You make me pregnant? Willyou knock me up?Russ: I'm gonna make you pregnant! I'm gonna make you pregnant! Oh!Lina: Make a baby, yeah!Russ: Oh! Okay.(Moaning)Oh, wow. Please tell me you got it in the cup.Russ: I think I did. I thinkmost of it. Oh, my God.Father: The area is pi times 2r. Okay. All right, I'll see you at home. We need waffles.Russ: Okay.Daughter: Diameter...Father: Mm-hmm. Daughter:...is pi, right?Father: Yeah, that's right. Couldyou remind me how to get the area?Russ: Might be a little spicy. I had chorizo for lunch. Oh, and by the way, the area of a circle is pi-r-squared. Duh.Father: The r, that's the r.Daughter: Oh.Lina: You bought mybassinet.Woman: Who?Lina: That's my bassinet. Well, I just donated it, literally I just donated it. I hope your baby's as happy in there as-as my girls were.Woman: Oh, yeah, I would never put a baby in this piece ofsh1t. It's for my ferret. Actually can you mind holding him while I light my cigarette? It's really more of a coffin to bury him in. 'Cause he has cancer. So, you say it's called a-a bassinet?(Water splashing) (Harrisoncooing)Jess: Ooh, make little splashes?(Dinging nearby) There's too much splashing in the bath. And too many bubbles for one little baby.Shepard: Hey.Jess: Hi. How'd it go with Tammy?Shepard: She's on her way toDavenport.Jess: Is that the name of a clinic?Shepard: No. It's a place in Iowa.Jess: Aw. Your daddy's a good man. But he didn't want our meal ticket to get an abortion. Isn't that right, daddy?Shepard: Stop.Jess:What? That's what happened.Shepard: What, are you mad?Jess: You can't make people do things that they don't want to do, right?Shepard: And I really don't want to be managing some kid. I don't. Hi. Hi! Hey. Wantto watch a movie tonight? Uh, you know, I can't. I'm gonna go to the office. But, um, take a rain check.(Harrison giggles) (Coos) (Shepard sighs)Russ: Hey.Lina: Hmm?Russ: Do you want to have a date?Lina: Mm... I'mnot taking my shirt off.Russ: That's okay. But can we talk about the pregnant stuff again?Lina: No chance.Russ: Come on.Lina: No.Russ: Well, then, can we pretend that I'm a cashier at Ralphs and you're, um,returning some old lettuce?(Lina laughs)Lina: Oh, look at this lettuce.Russ: Ah...Lina: It's so wilted.Russ: Yes, yes! It is.Lina (Laughing): You're so weird!Man: Hey.Jess: Hey.Man: Can I sit with you?(Jess laughs)Jess:Sure.(Man clears throat)Man: Are you alone?Jess: Uh..."}
+{"doc_id":"doc_26","qid":"","text":"Teleplay by: Sheryl J. AndersonStory by: Sanford Golden[SCENE_BREAK][Scene: Manor. Prue, Piper and Phoebe walk in the kitchen carrying shopping bags.]Piper: Any day that brings new shoes is a good day.Phoebe:Are you kidding? This was a great day. Yoga, pedicures, shopping, lunch. When have we had more fun?Prue: It's nice to bond through something other than vanquishing for a change.Phoebe: Yeah, but I gotta hand it tothose pesky little demons. They sure have brought us closer together.Prue: Maybe you should write them a thank you note.(Prue turns on the TV.)Reporter: Early this morning when an argument between neighbours ata block party turned into a street parole, residents of several apartment buildings...Prue: Ugh.(She turns off the TV.)Piper: Some people are just crazy.Prue: Doesn't it seem like this kind of stuff has been happening alot here lately?Phoebe: Random social violence is encouraged by a general D clan and ethical thinking. Well, according to my sociology professor. He said that we don't think about the big questions enough.Prue: Thebig question is how did you stay awake through his class?Phoebe: Not only did I stay awake but I actually enjoyed it. Which is why I bought this book. (She gets a book out of a bag.) It's filled with really deep profoundquestions, which would actually make a good bar game at P3.Piper: Oh, great, solve the problems of the world while doing Jell-O shots.Phoebe: Okay, let's see if I can find a really good one. (She puts on her glassesand opens up to a page in the book.) Okay, what if a building was on fire? Do you save five strangers or one sibling?Prue: I thought that you said that these were hard questions. That's easy, sibling.Piper: Ofcourse.Phoebe: Ditto. Okay, my turn, my turn.(Phoebe hands Prue the book. The doorbell rings.)Piper: Okay, don't answer anything until I answer that.Phoebe: Okay, faster though, faster.(Piper answers thedoor.)Piper: Hi.Leo: Hi.(They kiss.)Piper: Since when do you ring instead of orb?Leo: Well, I'm just trying to respect everybody's space since the three of you have been so, uh...(Prue and Phoebe walk in.)Phoebe: Hey,Leo.Leo: Tight these days.Prue: So, um, are you here for all of us?Leo: No, this isn't business. I was just about to invite Piper to an early dinner before her Paula Cole show.Piper: Oh.Leo: Oh, do you have otherplans?Piper: Uh, not exactly. We've just been hanging out all day spending some quality non-magic time.Leo: Oh, alright, no problem. Rain check?Prue: Um, Piper, why don't you go with Leo? I mean, we're totally coolwith it. Pheebs and I will go to the club early, keep an eye on things.Piper: I have a new assistant manager and she's all checked out so she can take care of things.Phoebe: Still, we'll go and make sure everything'sokay. We'll bring the book, maybe stir up some trouble.Prue: How about stirring up some margaritas?Phoebe: Ooh, that's good.(They link arms and walk back in the kitchen.)Piper: So it's a date.Leo: Alright.[Scene: Onthe street. Leo and Piper are in Piper's car. They pull up at a stop sign.]Piper: I didn't mean that I didn't enjoy being with you, all I meant was that Phoebe and Prue would've enjoyed the restaurant too.(A guy in a carpulls up behind them and starts honking his horn and yelling.)Leo: I wish you were normal sisters, they're never this close.Piper: And it's a problem that we are?Leo: No. It just seems that sometimes I'm breaking up agreat party when I wanna be alone with you.(They guy behind them continues honking the horn.)Piper: Leo, I have room for all of you in my life and in my heart.Leo: I still need to know which room's mine because...(The guy drives around them and speeds around the corner.) Okay.[Cut to the guy. He crashes into a Ute with crates of fruit in the back and the fruit flies out of it onto the road. Piper and Leo pull up.]Piper: Oh, no.(The man that was driving the Ute gets out and storms over to the other guy driving the car. He pulls him out of the car and they start fighting. Other people try to break up the fight. One guy picks up a watermelon andthrows it at Piper's car. It smashes all over the windshield. Piper and Leo get out.) What on earth? (They walk over near the fighting men. The guy throws another watermelon towards Piper and Leo but Piper freezes itbefore it can hit them. Everyone else freezes except Leo and one of the four horseman is standing near by. The horseman looks around confused. He then sees Piper and Leo and starts running.) Leo?Leo: I see him.(Piper runs after him.) Wait, Piper, you don't know what he is. (Leo runs after Piper.)[Cut to the horseman. He runs around the corner of a building and suddenly a horse appears. He jumps on the horse and theydisappear. Piper and Leo run around the corner and wonder where he went.][Cut to a field. The four horsemen on horses suddenly appear, galloping along.]Opening Credits[Scene: P3. Paula Cole is singing. Prue andPhoebe are sitting at the bar watching her. The bartender hands back the book to Prue. Paula Cole finishes her song.]Paula: Thank you, P3, you've been great. Thank you.(Piper and Leo walk up to Prue andPhoebe.)Phoebe: Hey, I can't believe you guys missed Paula Cole, she was awesome.Piper: We saw a pretty awesome show ourselves.Prue: I thought that you guys went to dinner.Piper: We did and then for dessert wedid a little demon hunting.Prue: What happened?Piper: Well, there was this road rage thing and it was completely out of control, so I froze the entire street except for this a guy in a suit.Leo: And he takes off. Yoursister doesn't listen to me so we chase him down into an alley. Nothing, he vanished into thin air.Phoebe: Wait, a demon that causes road rage?Piper: I don't know if he caused it or was attracted by it.Prue: Well, thekind of creature that gets off in that kind of thing would certainly explain why the city's been such a mess lately. He's probably some lower level mischief maker.Leo: As soon as we figure out who he is and what hewants will be better for everyone.Piper: Yeah, except for those of us who have to get rid of him.Phoebe: Okay, we can sit around here being pessimistic or we can go to the house and check the Book ofShadows.[Scene: A field. The four horsemen are there.]War: What happened?Strife: First of all I wanna let you all know that I was out on the field and things are looking good. The public is really responding.War:But...Strife: We might have a problem.War: Did you screw up?Strife: No, why would you assume that?Famine: Please don't fight.Death: It's all they know how to do.Strife: A freezing witch saw me. Caught meworking.War: A good witch?Strife: I would say so. She chased me, I think she thought she could stop me.War: That is a problem.Strife: Fixable. I think we can still move forward with our plan and still make ourdeadline.Famine: But the deadline's 7:00 tomorrow night. The source is gonna...War: Find her and kill her.Famine: How are we gonna find her?War: Set a trap. If she's a good witch she'll want to stop us. All we have todo is give her something she'll want to stop.[Scene: Manor. Attic. Phoebe and Piper are there. Phoebe's flipping through the Book Of Shadows.]Piper: Wait, stop right there.Phoebe: The demon of cruelty.Piper: Hardensthe heart, corrodes the soul...Phoebe: And is a woman.Piper: Oh, oops.(Prue and Leo walk in.)Prue: Hey, so how is it going?Piper: In big fat circles. We've been reading all night and there's no one in here that matchesthe guy I saw.Phoebe: We do have a list of six potential matches though.Piper: But there's no picture so we're sort of shooting in the dark. My best guess is the demon of anarchy.Leo: Hey, you can't just guess. Alright,you have to be sure. It's very dangerous to engage an enemy unless you know who he is and what he wants.Piper: Leo, honey, we have done this a couple of times.Leo: No, I didn't mean...Prue: You know, Leo, itwould be great to know every single thing about our enemies but that's not always the case.Leo: I know, but...Phoebe: And if this guy is causing riots we can't just hang out and wait for inspiration, you know.Leo:Okay, three against one. I-I just, I was working that's all.Phoebe: Okay, so no offense to the Whitelighter but we're going with the Demon of Anarchy, right?Prue: Yes, the Demon of Anarchy.Piper: Okay, so this potiondoesn't even require a double boiler.Phoebe: And it's your basic iambic pentameter chant. It's a very nice simple vanquish.Piper: Okay, so all we have to do now is figure out where this guys gonna show up next.Prue:Alright, well, who do we know that would be keeping track of anarchy?[Time lapse. Prue is on the phone with Morris.]Morris: Yeah, Prue, but the department has all sorts of violence and the captain is calling in civildisturbances. In my professional opinion the whole city's lost its friggin' mind. We got street riots, looting, arson. We're two crimes away from being placed on tactical alert. You're not calling to tell me that all thistrouble's because of you know what, are you?Prue: Yeah, well, possibly. We're actually researching that right now. We were kinda calling for your help.Morris: Look, I really can't leave right now.Prue: No, no, no, I-Iunderstand and we're not quite there yet but it would really help to know where the latest hotspot is.[Scene: In a street. Police cars are there with emergency lights flashing. People are rioting. Prue, Piper and Phoebeget out of the car.]Prue: Don't freeze them yet. Don't let him know that we're here.Piper: Alright, alright.Phoebe: What the hell is wrong with these people?(They start walking through the crowd.)Piper: I can not wait tokick this guys butt all the way back to... (Phoebe and Piper get split up from Prue.) Alright, alright, this way, this way. (Piper spots Strife standing near by.) That's him, that's him.Phoebe: Well, let's go introduceourselves.Piper: Prue!(She points to Strife. He sees them and runs off. Prue runs after him and Phoebe and Piper follow behind. Strife runs in an alley and around the corner where the other three horseman are.)Strife:There are three of them.(Prue runs around the corner.)Prue: There's four of you?(War walks towards her. She tries to use her power but it doesn't work. He grabs her. Piper and Phoebe come around thecorner.)Phoebe: Prue!War: Stop or I'll snap her neck. (to Strife) Start the chant.(Strife starts a chant in a weird language.)Prue: (to Piper and Phoebe) Start the damn chant.(Phoebe and Piper get a piece of paper out oftheir pockets and starts the chant.)Phoebe, Piper: \"Sower of discord, your works now must cease, I vanquish thee now, with these words of peace.\"(Piper throws a potion at Prue and War's feet and smoke rises aroundthem. A bright light appears and then Prue and War disappear into a vortex.)Piper: Prue?Death: What the hell?(The horseman disappear.)Phoebe: What just happened?Piper: I think we just vanquished oursister.[SCENE_BREAK][Scene: Continued from before.]Piper: She's gone.Phoebe: We don't know that.Piper: Phoebe, we killed Prue.Phoebe: Piper, stop it okay. I don't wanna hear that.Piper: You think I wanna say it?I'm the one who made the potion, Phoebe, it's my fault.Phoebe: Okay, how about having a little faith. Alright, our magic has never let us down before.Piper: Well, there's a first time for everything isn't there.Phoebe:She's not dead.Piper: How do you know that?Phoebe: Because, Piper, I have no choice but to believe in us and in our magic. Come here. (She puts her arm around her.) Okay, look, if she were dead, we would see herspirit, right? So maybe because we brought the wrong spell something weird happened. Maybe it just sent them some place.Piper: Where?Phoebe: I don't know but I believe that we can figure it out and I need you tobelieve that too. We have Leo and we have the book and we have each other. We can save Prue. There's gotta be a way.[Scene: Horsemen's Headquarters. The three horsemen are there.]Famine: There's no way, he'sdead and so are we.Strife: He's not dead, he can't be dead. Maybe shifted to another plane but he can not be dead. Only the source can kill us. We are the anointed ones. The four horsemen of the apocalypse.Death:The source won't hesitate to kill us of we miss our deadline.Famine: We were so close. How did this happen?Death: Somebody got sloppy and attracted a witch.Strife: We will not fail.Death: Other teams have failed.They blew it and they paid the price.Famine: Which we will too if we miss our deadline. And then he'll kill us and take four willing souls from in there and anoint them. They'll be the next four horsemen.Strife: Glad tosee you two aren't giving up.Death: We need War. He's the big gun. He's the one who's gonna set nation against nation and do all the heavy work.Strife: Then we'll get him back.Famine: By 7:00?Strife: We have to.Now just listen to me, alright.Death: Who got vanquished and left you boss?Strife: I have a plan. Do you have a plan? Oh, of course you have a plan, the same plan you always have. Kill them all.Death: You looking fora fight?Strife: It's my specialty.Famine: We don't have much time. Hear him out.Strife: All we have to do is find out where he is. Let's pull out the old books, do some research. Alright, he has to be somewhere, we willbring him back. There's gotta be a way.[Apocalypse - 3 hours to go][Scene: Manor. Attic. Leo's there. Phoebe and Piper walk in.]Phoebe: Maybe if we break down the spell and the potion.(Piper walks over to Leo andthey hug.)Leo: I am so sorry.Phoebe: Did you find anything?Leo: I've been looking.Piper: And? Tell us you've found something.Leo: Look, I have been through the whole book and I can not find anything that matchesthe four beings you described.Phoebe: What about disappearances?Leo: Nothing.Phoebe: Okay, we have to look under botched vanquishes.Leo: Phoebe, I checked it all. I have been through the whole book. There is noexplanation for what happened to Prue.Piper: But you agree she's not dead. (silence) I don't understand. Wait-wait, I, wait a minute, I-I can't do this. Phoebe tells me to have hope and you're telling me that there isn'tany? I just need to know.(A breeze blows through the room. Piper gasps.)Leo: Are you okay?Piper: She's here.Phoebe: Who's here?Piper: Prue. She went right through me, I felt her presence. It's hard to describe butdidn't you see her in the wind?Phoebe: She's in the wind?Piper: No, Phoebe, it's like she-she spoke to me, she's alive.Phoebe: Okay, are you sure because if she's in the wind doesn't that mean that she's a spirit?Piper:No.Leo: No, she could be on another plane trying to break through.Phoebe: Okay, well, then we have to help her. (calling out) Uh, Prue? Prue, honey, are you still here? Help us find you, Prue. (The pointer on the spiritboard moves.) H, E, L, P. Honey, how can we help you? (Phoebe gasps.)Piper: What was that? Did she do it to you too?Phoebe: No, it was something else. Or someone else. Evil. Cult.(A bubble-like figure appears andlands on the spirit board. You see Prue's face in it for a second and it disappears.)Piper: What is that? Prue?(Then a red bubble-like figure appears and chases the other around the room.)Leo: She's alive but she's introuble.Piper: Okay, so she's alive and if she can find us then we can find her.Phoebe: So it must be the four suit that's after her. Maybe the combination of our magic did this to them.Leo: Which means we need tofigure out who those suits are.Piper: Okay, Leo, you go ask your bosses whoever they are, whatever they are, who those guys are and how to get our sister back. Now orb faster.(Leo orbs out. Phoebe walks over to theBook Of Shadows.)Phoebe: Wind.Piper: Wind?Phoebe: What else? Can you think of anything else?Piper: Mist.[Scene: Horsemen's headquarters.]Famine: I've checked everywhere. I can't figure out whathappened.Strife: I'm telling you it is the witches. They did this, they must know.(A guy walks up to Death.)Death: What?Guy: You should know we're losing momentum across the board especially in war. Peace hasbroken out in several areas this afternoon.(They guy leaves.)Death: Damn it. If we're going down, we're not going alone. Let's find those damn witches and take them down too.(War shows up on the TV.)Famine: War.It's him, he's alive.Death: Hang in there, partner. We'll get you back then we'll punish those witches.War: No, cease fire. Cooperation.Strife: Wait, you want us to work with the witches?War: Get them to freeme.Famine: How are we supposed to find them?War: Ask the source.[Scene: Manor. Conservatory. Phoebe and Piper are there. Piper's staring at the spirit board and Phoebe's taking notes from the Book OfShadows.]Phoebe: I still haven't found her ---- but I think I have an idea of where Prue might be.Piper: And how to get her back? Because we have to do that before this thing hurts her.Phoebe: Well, remember whenLeo said that Prue might be on another plane? Well, maybe we banished her somehow. Now, there are eleven planes of existence.Piper: Eleven planes? We don't have time to search eleven planes. Prue's been quiet fora really long time, maybe we're too late.Phoebe: Piper, stay with me, okay. We can not give up.(Leo orbs in.)Piper: Did you find out where she is?Leo: No, but I have a message from them.Piper: She's not...?Leo: No,no. While I was there they was contacted by their counter parts on the other side.Phoebe: Are you telling me evil called good and good answered?Leo: These suits that you're dealing with have the highest possibleconnections. Their bosses talk to my bosses.Piper: About Prue?Leo: About the whole situation. They wanna have a meeting with you.Piper: Uh, what could they possibly want from us? They already have Prue.Leo: Prueand their partner are trapped in another world between good and evil. And the only way to release them is for good and evil to cooperate. You have to work with the suits.Piper: Are we allowed to do that?Leo: Look, allthey told me was to give you the message and to let you decide whether you wanted to do it.Phoebe: Did they mention what they think we should do?Leo: Free will. It's a big thing with them.Phoebe: Wonderful. Sowhere's the meeting?Leo: You're gonna do it?Phoebe: I'm sorry, Leo, did you show up to the party late? Of course we're gonna do it.Leo: Phoebe, you can never get into bed with evil, you know that. It could be atrap.Piper: Leo, thank you for your opinion but your bosses did say that they were leaving the decision up to us so maybe you should too.Leo: Look, I can't. Alright, the last time that you went up against this evil youlost Prue. Alright, now you're gonna go up against it again? Both of you could be lost this time.Phoebe: But we're not gonna go up against them, we're gonna work with them, right?Leo: But they'll betray you. Alright,this is how evil works. This is why evil loves free will so much. Because humans use it to follow their heart. And evil takes advantage of that.Piper: So Leo, what are our options?Leo: You have to try and save her byyourselves.Phoebe: But Leo, we don't know how. We have to work with them.Leo: But you don't even know who they are.Phoebe: We tried to find them but they weren't in the book.Leo: Which means they probablyaren't even demons or warlocks anyway.Phoebe: Okay, then what are they?Leo: In the hierarchy of demons. Ferocious, impossible to vanquish. And these went to extraordinary lengths to ask for this meeting. Whoknows what'll happen when the four of them are reunited.Piper: I don't care what happens, we just want Prue back.Leo: So do I but this is not the way.Phoebe: Leo, it's the only way we know. We have to savePrue.[Scene: A field. Piper and Phoebe are waiting there.]Piper: This is where we were supposed to come, right?Phoebe: Right.Piper: And it's not a trap, right, please tell me we're doing the right thing.(The horsemenappear.)Phoebe: Or we're making the biggest mistake in the world.Strife: Thank you for coming. And you are?Piper: Anxious to get this over with, let's go.Strife: Are you in a hurry?Phoebe: You stalling?Strife: You wantyour sister back?Piper: Do you want your friend back?Strife: Let's do business.(He holds out his hand. Piper hesitates for a moment but then shakes his hand. You hear a crack of thunder.)[SCENE_BREAK][Scene:Manor. Conservatory. Phoebe, Leo and the three horsemen are there. Phoebe picks up a plant off the table and the horsemen step back in alarm.]Horsemen: Whoa, hey, what are you doing?Phoebe: Just makingroom.Strife: Of course. (Strife reaches in his coat and Phoebe gasps.) Taking notes. (He pulls out a pen.)Phoebe: Of course.Strife: Old habits are hard to break. I'm sure we can put that all aside and get thisdone.Famine: Or die trying.(Piper walks in.)Leo: (whispers to Piper) You know, it's bad enough working with them but to bring them here.Piper: To the manor where we're the strongest and safest or maybe weshould've gone to their place not that they offered.Leo: And why not? Hmm? Why give up home field advantage unless they're hiding something.Piper: Of course they're hiding something, they're evil.Phoebe: Okay, if"}
+{"doc_id":"doc_27","qid":"","text":"DRAGONFIREPART TWORun time: 24:40[SCENE_BREAK]Lower level[SCENE_BREAK]Mel: Hang on, are you sure this is the right way?Ace: Course I'm sure. Don't you trust me?Mel: I don't know. What with the dragonand all that.Ace: The dragon. It's just something to frighten little children with. It's like witches and goblins. There ain't no such thing.Ace: Wicked!Mel: Get down!Ace: That's not a real dragon. That was a laserbeam.Mel: Look out![SCENE_BREAK]Ice cliff[SCENE_BREAK]Glitz: It's no use, Doctor. I've located the Ice Garden but there's a distinct absence of dragon or treasure.The Doctor: Glitz, I sympathise with yourdisappointment, but I'm about to plummet to my death.Glitz: Oh, I suppose you want me to risk my neck and come and help you.The Doctor: Glitz!Glitz: All right, all right. Don't get your delicates in a twist.The Doctor:Glitz![SCENE_BREAK]Refrigeration room[SCENE_BREAK]Kane: Belazs, you astound me. Those two girls should have been searched when they were arrested. You seem to be taking advantage of my former feelings foryou. Be warned, the past is an empty slate. I demand absolute loyalty now and forever, and I don't forgive those who betray me. The girls must be stopped before they reach Glitz and the Doctor. They must beeradicated.Kane: What could be more appropriate than to despatch some of Glitz's former crew after the girls. He betrayed his crew, now they can have their revenge. Everyone should be allowed his moment ofrevenge.[SCENE_BREAK]Base of the Ice cliff[SCENE_BREAK]The Doctor: I say, thank you.Glitz: It's no use, Doctor. Even if we did find the treasure, it'd take us longer than seventy two hours, and Belazs said if I didn'treturn Kane's money within seventy two hours they'd confiscate my spacecraft.The Doctor: Why don't you explain the problem to him?Glitz: Oh, he'd slice his own mother up to make a point. If he was a mortician, thecorpses would keep their eyes open.The Doctor: Ah.Glitz: In fact, if Kane knew we were after the...[SCENE_BREAK]Refrigeration room[SCENE_BREAK]Glitz (O.C.): Dragon's treasure, your life expectancy wouldn't belooking too clever at the moment. He's a cold man, Doctor. Cut him open and you won't find a heart, just a lump of ice.[SCENE_BREAK]Base of the Ice cliff[SCENE_BREAK]The Doctor: These types never have any senseof fair play.Glitz: Exactly. Which is why I've come to the conclusion that play it by the rules is a mug's game. I have decided to hijack the Nosferatu. Which is where you come in, Doctor.The Doctor: Ah, hang on there aminute, Glitz. I'm engaged in a project of scientific curiosity. I mean, that dragon, or whatever it may turn out to be, could be an undiscovered species.Glitz: Look, I'll do you a good deal. You help me get the Nosferatuback, and I'll give you the treasure map so's you and Mel can go looking for this dragon. I can't say fairer than that, can I?The Doctor: You have me there, Glitz. Without the map, I'll never find the creature.Glitz: You'rea man of insight and logic, Doctor.The Doctor: All right, then. Where's the Nosferatu berthed?[SCENE_BREAK]Refrigeration room[SCENE_BREAK]Glitz (O.C.): In the lower docking bay.[SCENE_BREAK]Restrictedzone[SCENE_BREAK]Kane: A work of artistry, my friend. Incandescent artistry. I could almost believe Xana lives again. A unique beauty, yes, but more than that, a criminal genius also. Oh, what a waste. It should havebeen I who was killed escaping arrest, not you.[SCENE_BREAK]Top of the Ice cliff[SCENE_BREAK]Ace: You're joking. I'm not going down there.Mel: Look, there's the Doctor's brolly. We must be on the right track.Ace:What did he have to come this way for? I could break my neck.Mel: How are we going to get down there?Ace: Hang on.[SCENE_BREAK]Lower docking bay[SCENE_BREAK]Glitz: There's only one guard. Do you think youcan occupy him while I slip on board?The Doctor: I'll do my best.Glitz: Go on, then. Away you go.The Doctor: Excuse me. What's your attitude towards the nature of existence? For example, do you hold any strongtheological opinions?Guard: I think you'll find most educated people regard mythical convictions as fundamentally animistic.The Doctor: I see. That's a very interesting concept.Guard: Personally, I find most experiencesborder on the existential.The Doctor: Well, how do you reconcile that with the empirical critical belief that experience is at the root of all phenomena?Guard: I think you'll find that a concept can be philosophically valideven if theologically meaningless.The Doctor: So, what you're saying is that before Plato existed, someone had to have the idea of Plato.Guard: Oh, you've no idea what a relief it is for me to have such a stimulatingphilosophical discussion. There are so few intellectuals about these days. Tell me, what do you think of the assertion that the semiotic thickness of a performed text varies according to the redundancy of auxiliaryperformance codes?The Doctor: Yes.[SCENE_BREAK]Nosferatu[SCENE_BREAK]Glitz: Ah, my ship. Soon be light years away from this place.Belazs: I wouldn't touch those controls if I were you.[SCENE_BREAK]Base ofthe Ice cliff[SCENE_BREAK]Ace: Wicked. And the bilge bag said this was too dangerous for girls.[SCENE_BREAK]Nosferatu[SCENE_BREAK]Belazs: This spacecraft is mine.Glitz: Hang on, the seventy two hours aren't upyet. You said if I could get hold of the grotzits I could have the Nosferatu back.Belazs: Then I shall just have to make sure you don't manage to find the money in time. I shall have to make very sure.The Doctor: Hello.Not interrupting anything, am I?Belazs: What are you doing here?The Doctor: That's a very difficult question. Why is everyone round here so preoccupied with metaphysics?Glitz: I think she's going to kill us, Doctor.TheDoctor: Ah. An existentialist.Belazs: Quiet! Only one of us can leave Iceworld aboard the Nosferatu, and one way or the other it's going to be me.Glitz: What about the boss, Mister Kane? Does he know of your littleenterprise?Belazs: Kane doesn't own me.The Doctor: Oh, I think he does. I think he bought you like he buys everything in Iceworld.Belazs: What would you know about it?The Doctor: I think he bought you a long timeago. He paid seventeen crowns for each of Glitz's crew. How much did he pay for you? Was it worth it? Were you worth it?Belazs: That's what I sold myself for, Kane's mark. I ought to cut my hand off for doingit.Belazs: Go on, then. Kill me!Glitz: Well, come on, Doctor. We've got the Nosferatu back. Let's get out of here.The Doctor: No, Glitz. You can't go on stealing everything you want, like this Stradivarius and that Dutchmaster. Pay Kane back his debt, even if it costs a thousand crowns, ten thousand crowns. Pay back the debt. And as for you, your debt to Kane, I don't think you'll be able to pay it off. Ever.[SCENE_BREAK]Restrictedzone[SCENE_BREAK]Kane: The whole of eternity has held its breath for this moment. But no one must ever see your work. It exists, that is enough. No one can ever look upon your work and live. Gaze on it and diefulfilled.[SCENE_BREAK]Lower levels[SCENE_BREAK]Mel: What's the matter?Ace: Shush. Did you hear that?Mel: Hear what?Ace: I thought I heard something.Mel: Well, what kind of something?Ace: I don't know. Canyou see anything?Mel: Look out!Ace: Run!The Doctor: I think we go straight on. Either that, or we don't.Glitz: Well, now that we've found the Dragonfire, what's next on your list of tourist attractions, Doctor?TheDoctor: Well, I'm not absolutely certain this one's over yet.The Doctor: It must be generating a spot temperature in excess of fifteen hundred Celsius.Mel: Right, cover your ears.Ace: Ace! Yeah, good job. Throw theother one.Ace: Yeah, go for it, tiger. That was well brill.Mel: We're not in the clear yet.Ace: I don't believe it. Not after two cans of Nitro. Nothing can survive that. Come on, Mel, shift!Mel: Okay!Ace: Come on! Come on,wake up.Mel: Oh, what happened?Ace: It's all right, doughnut. He's gone.Glitz: Get back, Doctor.The Doctor: No, Glitz, don't.Glitz: Why?The Doctor: We've got no right to kill.Glitz: Why didn't it kill us?The Doctor:Perhaps we'd better ask it.[SCENE_BREAK]Refrigeration room[SCENE_BREAK]Kracauer: Can't sleep, Belazs?Belazs: How old do you think I am, Kracauer?Kracauer: Thirty three, thirty four?Belazs: And how old do youthink I was when I first agreed to join Kane? Sixteen. That was a long time ago. Do you see this?Kracauer: Yes, the mark of the sovereign.Belazs: You'd have thought it would begin to disappear after twentyyears.Kracauer: We sold ourselves. We knew what we were doing. We had a choice.Belazs: I was sixteen.Kracauer: Even at sixteen we had a choice.Belazs: He'll kill us. He'll find someone younger and he'll kill us unlesswe kill him first.Kracauer: How do you propose to do that?Belazs: With heat. Even here in Iceworld it's too warm for him. I've seen inside the restricted zone. That's where he keeps his refrigeration unit. He has toreturn there whenever his body temperature rises too high.[SCENE_BREAK]Lower levels[SCENE_BREAK]Ace: Do you want some coffee?Mel: Oh, thanks.Ace: Do you know what I did for a job when they threw me out ofschool?Mel: No.Ace: I worked as a waitress in a fast food cafe. Day in, day out, same boring routine. Some boring life. It was all wrong. It didn't feel like me that was doing it at all. I felt like I'd fallen from anotherplanet and landed in this strange girl's body, but it wasn't me at all. I was meant to be somewhere else. Each night I'd walk home and I'd look up at the stars through the gaps in the clouds, and I tried to imagine whereI really came from. I dreamed that one day everything would come right. I'd be carried off back home, back to my real mum and dad. Then it actually happened and I ended up here. Ended up working as a waitressagain, only this time I couldn't dream about going nowhere else. There wasn't nowhere else to go.[SCENE_BREAK]Restricted zone[SCENE_BREAK]Kane: One day, when we return home, I shall erect colossal statues inyour honour.Computer: Current ambient temperature minus ten Celsius. Target temperature minus a hundred and ninety three Celsius. Cabinet temperature dropping.[SCENE_BREAK]Lower levels[SCENE_BREAK]Ace:There's something I've never told anyone. Do you promise not to laugh, and not to tell no one?Mel: Of course.Ace: It's my name. It's not really Ace. My real name's Dorothy. That's how I knew they couldn't be my realmum and dad. My real mum and dad would never have given me a naff name like Dorothy. Come on.[SCENE_BREAK]Restricted zone[SCENE_BREAK]Computer: Minus one hundred and fifty. Minus one hundred andsixty. Minus one hundred and seventy.Computer: Cabinet temperature rising. Minus one hundred and sixty.[SCENE_BREAK]Ice junction[SCENE_BREAK]Mel: Down there?Ace: I suppose so.The Doctor: Ah, Mel, you'vebrought my umbrella.Mel: Oh, Doctor!Ace: Professor! Bilge bag.Glitz: What's that?The Doctor: Now, now, stop this squabbling. There's no place for animosity on a serious scientific undertaking.Mel: Do you mean thedragon?The Doctor: Well, it's not so much a dragon as more of a semi-organic vertebrate with a highly developed cerebral cortex.Ace: And it's got laser beams in its eyes. It tried to kill us.Mel: Yes.The Doctor: Really?Well, I wonder what you did to annoy it?Ace: It just came at us, Professor. No warning.The Doctor: Really. Well, let's see what this vertebrate with laser beams has got to say for itself.The Doctor: Hello. Where mightyou have popped up from, then?Mel: He's been sent by Kane, Doctor.Ace: He's got masses of them frozen in his deep freeze.The Doctor: Cryogenesis, eh?Glitz: Hang about. I'd recognise that mutinous expressionanywhere.Ace: Friend of yours, is he?Glitz: Pudovkin, old son, you've no idea how pleased I am to see you again.The Doctor: It's no good, Glitz. Ace says he's been cryogenically frozen.Glitz: What about the time wecaptured that space freighter loaded up with all that natural fruit alcohol. We got well dehydrated that night, didn't we?The Doctor: It's no use. Deep cryogenics freezes the neural pathways.Glitz: Oh, come on, old son.A joke's a joke. It's me, Sabalom Glitz.The Doctor: It's completely impossible for him to recall any events prior to cryogenesis.Pudovkin: I remember.The Doctor: Except in cases of overwhelming hatred oranger.Pudovkin: I remember how you always had the best of our pickings.Glitz: I don't recall.Pudovkin: I remember. I remember how you sold our entire crew to Kane to be frozen as mercenaries.Glitz: Oh now, comeon, old son, don't go jumping to conclusions.Ace: I thought he was a friend of yours.Glitz: More of an acquaintance, actually.The Doctor: We don't mean you any harm. Do you understand?Mel: It's friendly.Ace: It wantsus to go with it, Professor.The Doctor: Well, let's see what our new friend wants to show us, shall we?[SCENE_BREAK]Restricted zone[SCENE_BREAK]Computer: Warning, defrost threshold crossed. Cabinet temperaturerising. Plus one Celsius. Plus two Celsius. Plus three Celsius.Computer: Plus four Celsius.Kane: What's happening? Can't breathe. Too warm. Kracauer, what is this?Kane: No, not my statue. No! Who has desecrated themonument? Who?Kane: Belazs.Computer: Target temperature minus a hundred and ninety three Celsius. Temperature dropping to zero Celsius. Minus ten Celsius. Minus twenty Celsius.[SCENE_BREAK]SingingTrees[SCENE_BREAK]Mel: This is beautiful, Doctor.Ace: Here, I can hear singing. Where's it coming from, Professor?The Doctor: I think he wants us to watch.Ace: What's he doing, Professor.The Doctor: Ah, so that'swhat this is all about, a polydimensional scanning imager. And I bet the creature's using itself as the energy source.Archivist: Planetary archives, criminal history segment ninety three twelve oh three. Two of the mostvicious examples of the criminal mentality have been the leaders of the notorious Kane-Xana gang. Until its demise, this gang carried out systematic violence and extortion unequalled in its brutality. In view of the sheerevil of his crimes, Kane is to be exiled from the planet Proamon and never allowed to return home. He will be banished to the barren planet of Svartos, which has a permanently frozen dark side on which he cansurvive.[SCENE_BREAK]Refrigeration room[SCENE_BREAK]Kane: Ah, my dear Belazs. You know, I've been thinking. I've been thinking of your request to leave. You've been with me a long time now. I've grown veryfond of you, but I've been thinking it over carefully and I've decided. You may leave me.Belazs: Leave?Kane: Whenever you wish. Go in fortune and happiness.Kane: You traitor. I've been planning my revenge for threethousand years. How can you stand in my way now I am so close?[SCENE_BREAK]Singing Trees[SCENE_BREAK]Archivist: Kane's partner, the woman Xana, killed herself during the final siege of the gang'sheadquarters to avoid being arrested and tried for her crimes.The Doctor: Fascinating.Mel: Well, that explains about Kane, but where does the creature come from?Glitz: And what about the fabulous treasure? Is thisit?The Doctor: Oh, no, no. We might be deep beneath Iceworld, but Kane could find his way here easily enough. No, the treasure's got to be somewhere else, somewhere beyond Kane's reach. What does he fearmost?Ace: Heat. It'll kill him.The Doctor: Precisely. And what better way of protecting the real treasure than to leave a fire-breathing dragon to guard it? What better protection than if the dragon is the treasure.Mel:The creature, the treasure?The Doctor: Am I right? Are you the one that everyone's looking for, treasure?Glitz: It must be worth a fortune.The Doctor: No, look past the gold and the gemstone, Glitz. Look at the fireinside. A source of intense optical energy.[SCENE_BREAK]Restricted zone[SCENE_BREAK]The Doctor (O.C.): Look at it through Kane's eyes. See it as an evil mind would see it.Kane: At last. After three thousand years,the Dragonfire shall be mine."}
+{"doc_id":"doc_28","qid":"","text":"[PREVIOUSLY_ON]DELILAH: Sanctum was colonized by a team from Earth made up of families... the Primes.GABRIEL: Not everyone believes in the divinity of the Primes.RUSSELL: Children of Gabriel. Nonbelieversmust be purified!WOMAN: Die, nonbelievers!CLARKE: No!RUSSELL: It will be your great honor to become one with Simone Prime.CLARKE: I tried to do better. And then I lost my mom.RAVEN: The Flame. We have totake it out. I'm not the Commander anymore.INDRA: Raven, Sheidheda.NIYLAH: Where did he go?GABRIEL: No one has ever come out of the Anomaly.- OCTAVIA: Hope.- HOPE: I'm so sorry, Octavia.- ECHO: Knife!-BELLAMY: No!Octavia! Octavia![INDISTINCT CHATTER ON RADIO]Octavia![SOBBING]Bellamy? Bellamy!- [GASP] - Whoa, whoa, easy.HOPE: Where am I? You're OK. Uh, Bellamy she's awake. Who are you? I was aboutto ask you the same. Octavia called you Hope. The name Diyoza chose for her unborn child. Diyoza? Octavia? You're, uh... you're hurt. Let me take a look. Let me see.[THUD][COUGHING]Hope,wait![GRUNTING]Bellamy! Echo!ECHO: We're not alone. Back inside. Watch the girl. She's already gone. Come on. We can still catch her. Something else came through. Welcome to the party. Where's Bellamy? It tookhim towards the Anomaly. No, no, no, no. Time's not behaving. We have to get to him first. Echo, you can't shoot what you can't see. Stop talking. I'm opening up a path. Follow me![GUNFIRE][DOG BARKING]MADI:Hello.You said I could start school today. Why are we here? I thought maybe you'd like to see our new home. Russell built it for Simone so she'd have a place that reminded her of the farm she grew up on, back onEarth, before the bombs. Picasso comes with it. We can keep her? Thank you, Clarke.[DOG BARKING]CLARKE: Let's go inside.MADI: Come on, girl.I don't know what I like less... lying about the Flame or making Madipretend she's still Commander. Indra thinks it could split Wonkru. You don't agree? I do, and I know we need them unified to keep the peace here. Just... I worry about Madi. Yeah. For now, we keep it quiet. Indra cansay that she speaks for heda. But Madi is out of it. She finally gets to be a kid. Come on. There are plenty of rooms for all of us.[INDISTINCT CHATTER OUTSIDE]INDRA: Heda. If you don't mind, you're neededelsewhere.- CLARKE: Where?- INDRA: We've been here a day, and Wonkru hasn't seen her.GAIA: Mother, don't be so dramatic. Go on, Madi. Eat your lunch. It's OK. Come on, girl. Let's go.[INDISTINCT CHATTEROUTSIDE]MAN: Hey, Madi.She seems OK.- INDRA: She is.- GAIA: She will be.GAIA: There's never been an ex-Commander before. We don't know how having the Flame removed will affect her. Not to mention beingtaken over by... Sheidheda's gone. Are we sure about that? He's gone. I didn't mean... I... I would just feel better if I knew where that code ended up, that's all.CLARKE: Ok. Then on your next supply run to themothership, you can search the computer again. Meantime, we have to establish a routine. Not just for Madi but for all of us. Sanctum is broken, and it's our job to put it back together. If we focus on that, we'll be OK.Now let's eat so we can get back to work. One of us needs to represent the Commander. And I'm hungry. Mothers and daughters. I'm sorry. It's OK, Raven. I'm fine.[DOOR OPENS AND CLOSES][INDISTINCTCHATTER]MAN: \u0000 I got darkness on my mind \u0000\u0000 so the question Mark, it keeps me looking... \u0000 Her motor functions seem normal.CLARKE: Madi, come on. Let's eat. I want to show you your new room. OK. Come on,Picasso.MURPHY: I see you took the master suite.NIYLAH: To the victor go the spoils. We all share the clothes, though.EMORI: It's fine, Clarke. Our room is fine. A little tight, but we'll make it work. Maybe Daniel andKaylee Prime should live in the palace. Daniel and Kaylee Prime saved your ass, Miller. But a thank you would do.EMORI: Speak for yourself. That palace is...INDRA: No one lives in the palace, least of all us. Being seenas conquerors will only make keeping the peace harder. Ahem. Our first meal in our new home. To absent friends. And departed ones- MILLER: To Abby.- ALL: To Abby.Hey! What the hell is your problem? I'm sorry, butI'm not just gonna sit here while he drinks to the woman that he got killed. I didn't know what Russell was gonna do. OK, I... Clarke, you have to believe me. I didn't know. I believe you. Dwelling on the past is notgoing to get this compound running. And it won't get our compound built.[BREATHING HEAVILY]What the...[GROANING LOUDLY]INDRA: The people of Sanctum have lost their way of life, but many still believe in thePrimes.They blame us. Faith is a powerful thing. A dangerous thing. We can expect conflict between believers and nonbelievers. To make matters worse, the Children of Gabriel are here. Sanctum is their home, too.They want Russell Prime and anyone who believes in him dead. At the moment, they, too, are our allies. Add to that hardened criminals from Earth who Wonkru was at war with a few days ago, and I say we have ourhands full being the keepers of the peace. At the point of a gun? Until we're sure all the guns are rounded up, Wonkru will be armed.MURPHY: An army of cannibal peacekeepers, huh? What could go wrong? Remind meagain how long we gotta wait until our compound gets built. Two years if everything goes perfectly.MAN: Hey! Get away from there! So years.[INDISTINCT CHATTER]INDRA: All right. Stop staring.It's time to go towork. Heda. Go learn something, OK? Bodyguards? Yeah. But not so close and make sure they leave her alone. Copy that. Too many people.RAVEN: Good thing A.L.I.E.'s not around. There you are. Thank God. James,what is it? The reactor again? No. This is more explosive than that.NIKKI: What's the matter? Cat got your tongue?I'd love for you to say that again.TREY: Wait. Don't hurt him. Please.JORDAN: Trey, it's OK. I justmeant this palace is sacred to them. I'm sure we can find you someplace else... Don't mind my wife. She's more bark than bite. Hmm.NELSON: This looks like fun. Criminals and fools. What seems to be theproblem?HATCH: There's no problem. Me and my friends here, we're just looking for a place to lay our heads. You can't do it here. This unholy shrine is now controlled by the Children of Gabriel.TREY: Like hell itis.NELSON: Oh. Maybe you didn't hear, but your gods are dead and they are not coming back this time. Tell that to Russell Prime, null. I will. Right before we burn him at the stake. You think killing our god will get yourparents to love you again?[NELSON AND TREY GRUNT]Now my money's on the guys with the guns.[DOORS OPEN, GUNS COCK]INDRA: Children of Gabriel, stand down, now.The other guns. Here comes the part wherethe convicts take the blame.CLARKE: Wrong. But when we woke you to clear the ground for our compound, you agreed to stay in tents. The palace is off limits.MILLER: That goes for the Children of Gabriel, too. OK. OK,yeah, that's... that's fine. We'll... we'll take your scraps for now. But if we're gonna do the work, then we're gonna hold you to the meaning of the words \"our compound.\" Mm. Let's go. Jordan. You weren't at thefarmhouse. We saved you a room. I'm OK above the tavern. Clarke, these people want to see Russell.INDRA: Out of the question.NELSON: I told you, you'll see him when he burns. Maybe take a log off the fire. No oneis burning at the stake. Not anymore. Then what's being done with him? We haven't figured that out yet. But he's being well cared for. We can't just take your word for that. You're talking about the man who killed hermother. I suggest you say thank you and be on your way. Indra, it's OK. Look, you seem to get on just fine with Jordan. If you won't take my word for it, how about you take his?[DOOR OPENS]JORDAN: I know whatthat's like.To lose your family years ago and yesterday at the same time. Did you kill yours? Didn't think so. You understand a bare whisper of the agony I feel. Is that why you're not eating? Or sleeping, from the looksof it? I don't need sleep or food. I need death! You look surprised. Or is that concern I see? Why are you here? Your people wanted to make sure you're being treated well. Why do they trust you? Never mind. I don'tcare. Tell them I'm being treated better than I deserve. Now get out! I think you should have this. [SIGH] You were adjusted. So, now you believe in the divinity of the Primes? Is that it? No. I know you're just a manwho lost his way. Then tell me... what did you see? You got a glimpse. A glimpse? Of the truth greater than us all. Yes. No. I don't know. Let me guess. You saw this. You saw it, too? Of course. I created all of Sanctumin its image. What does it mean? I stopped trying to answer that question years ago. Looks like it's your cross to bear now. Unless you're prepared to do the same to me, we're done here.[DOOR CLOSES]ECHO:Bellamy! Call out if you can hear me![BOTH PANTING]What the hell are you doing? Making sure we're not being followed. Followed by what? Have you ever seen anything like that? No.[RUSTLING][GUNSHOT]GABRIEL:Hope, no, stop.[WOMEN GRUNTING]I don't want to hurt you. Who are you? Where's Octavia, and why are they taking Bellamy to the Anomaly? Bellamy's gone?GABRIEL: You know him? You remember? No. You calledto him from the tent. This... was in my arm. \"Trust Bellamy.\" I don't remember putting it there, but I think I must have. It's another code. Like the one on Octavia's back. What's it for?- HOPE: I don't know.- ECHO:Stop lying!GABRIEL: Easy. Octavia lost her memory, too. Must be a result of moving through the Anomaly.- HOPE: What's the Anomaly?- ECHO: You tell us.GABRIEL: It's the sound you hear. You said Octavia's nameright before you stabbed her. You remembered then, and you remember now. The Anomaly was on top of us then. Yeah, yeah, yeah, then she lost her memory when it receded... taking Octavia with it. Why just her?Why the memory loss? None of this makes any sense, but, my God, it's incredible. We need to get to Bellamy. How fast can you run? I don't know. Let's find out.[INDISTINCT CHATTER][MEN CHEERING]MURPHY:Clowns to the left of me, jokers to the right.EMORI: Stop it.Here. Listen to this. Kaylee changed because of love, too. Isaac, a null, made her see what they'd become. Aww. Farmer loving the pig she leads to theslaughter. Jackson didn't mean it, John. You didn't kill Abby. Russell did. I told her that it was gonna be good for her. I told them that Abby could make Nightblood out of bone marrow. You did that to save us all. Ihelped Josephine convince Abby that she was Clarke. Blessed is Daniel. Blessed is... I... I'm so sorry, my lord. I got this. It's OK. He's clearly had enough. Look, you got it all wrong. I know you think that I'm...RAVEN:Daniel, can I... Can I talk to you? I just need a minute. Act like you hardly know me. What the hell are you talking about? This place is a powder keg. Oh, this is good. Miss morality wants us to be Primes.Newsflash: youare Primes. That bad choice has sailed. But if these people actually believe you're Daniel and Kaylee, it may still do us some good. The answer's no. Daniel. He blames himself for Abby.RAVEN: This can't be good. How'sRussell?- TREY: What'd he say?- JORDAN: It's OK.TREY: Don't tell me it's OK. We have to help him. Everyone, let's go. Let's go.NELSON: Children of Gabriel, let's move.- RAVEN: Here we go again.- MAN: Get out of theway. Move.It's a riot again.JORDAN: Trey, just hang on for a second.TREY: Free Russell Prime! How dare you put him in a cage!NELSON: A cage is better than he deserves.[INDISTINCT SHOUTING]TREY: Everyone.Wehave to go back and get Russell out of there.CLARKE: Hey. They're going for Russell.TREY: Let us see our god! Let us see him! Give us Russell! I'm moving him to the palace where we can protect him.CLARKE: We saidthe palace was off limits. Every battle plan is perfect till the first shot is fired.RAVEN: And the Children of Gabriel?INDRA: They'll be unhappy. It's either this, or we execute him now and be done with it. Hey, thanks foryour help.He wants to be killed. That's all I told them.Then let's give him what he wants. Death to Primes![CROWD SHOUTING \"DEATH TO PRIMES\"]We have to do this now.NELSON: Death to Primes! Get back, getback! We're moving you someplace safe. Why are you protecting the man who killed your mother? Excellent question. If I could kill you for what you did, I wouldn't hesitate. Get him out of here.[INDISTINCTSHOUTING]NELSON: There he is!Death to Primes!TREY: We won't let you kill him!JORDAN: Hang on! We can figure this out. Get out of the way. We are moving him to the palace for his own safety.JORDAN: Nobody hasto get hurt! Indra, stop!TREY: You don't belong here![INDISTINCT SHOUTING][SCENE_BREAK][LOUD BANG]Have we learned nothing? Huh? Let them pass! We can trust Wonkru. After all... we are one. We areone.[CROWD MURMURING \"WE ARE ONE\"]- Let's go. - Russell!- MAN: Let's go.- SECOND MAN: Right now.\"We are one\"? It's from Kaylee's journal. Her slogan when she stopped oblation. You are so hot right now.Sister. My idea. Good one. Of course, now the Children of Gabriel want them dead. The lengths some people will go to live in a castle.EMORI: We get to live in the castle?MILLER: If they're gonna get murdered in theirsleep, better there than at the farmhouse with us.RAVEN: He does have a point. I need my hours. OK. For now. At least until they kill you. Why did you draw these? Mm, I don't know. I was bored while they wereteaching us about the Primes. Why are they still doing that if they know the truth? I suppose sometimes belief is stronger than the truth.[FOOTSTEPS][DOOR OPENS]Hi. Sorry we're late. No problem. I hope you don'tmind that Madi and I already ate. You know, while you were off rebuilding Sanctum by hand. Who knew putting a broken society back together would be hard work? Clarke... I don't care that you're late. I care why youare.CLARKE: Madi, Indra's right. We have a lot of work to do. Stop it. Talk to me. I know what it's like to lose a mom. And I can help. Hey. I'm still here. You didn't lose me. Not you, Clarke. She died in my arms. I knowwhat that's like. Well, the woman I floated was not my mom. I'm fine, Madi. Really. I'm going to bed.[SIGH]Not my finest moment.INDRA: Don't be so hard on yourself. You handled that well.GAIA: You would thinkthat. After my father died, crying was forbidden. We were at war. It made you strong. It made me become a Fleimkepa. The question is, who is the fleimkepa without a Flame? We all have to find our own new path. Ijust realized I never thanked you. The Flame was your whole world, and yet you chose to save Madi. I can't imagine how hard that must have been for you. Thank you. You should, um, see this. She's drawing memoriesthat are not her own. Sheidheda? I don't know. It could be any of the Commanders or all of them. I'll keep an eye on it. I'm glad she has you in her life. The night Wanheda knelt to Heda. I'm sorry I missed that. Seemslike another world.[EXPLOSION IN THE DISTANCE]New world. Same problems. I got Madi. Go on. Thank you. Wait. Wait, wait, wait. Too much toxin in the air. I am not in the mood to see my ghost right now, areyou?[INHALES][PANTING]GABRIEL: Ray guns. Cool.If it shoots, it can be shot at. That was a bad shot, even from far away. Echo? Echo, what are you doing? Testing a theory. A theory? If you're wrong... She's notwrong. It's not trying to kill us. We're not playing by the same rules. Echo, look around you. The particulate matter moves in response to motion. They come close enough... I'll have a target.ECHO: To set the trap, wehave to open up a lead. Follow me.[LOW THRUM]Listen.[LOW THRUM]Here it comes. No one move, or it won't come close enough.ROAN: Once a killer, always a killer. You just said don't move. Roan? You didn't use theantitoxin, Echo. Echo, it's not real.ROAN: Without Bellamy, who will you follow?- ECHO: Shut up.- GABRIEL: Quiet.- ECHO: Now he's in my shot.- GABRIEL: Shush!Answer the question, Ash.ROAN: Without someone tofollow, who are you? A girl who killed her only friend and stole her name?ROAN: The honorless spy who would do anything for her queen, even betray the man she now claims to love? Echo? Echo, it's close. I can dothis.OCTAVIA: Hope. You have to stay quiet. No matter what you hear, you stay quiet. Do you understand? Hope, it's just in your mind.OCTAVIA: I promise you, Mommy and Aunty O will come back for you. Now,shhh... No, no, don't... Stay down.GABRIEL: Echo, they're right there. Take the shot. Now. Pull the trigger now. I'm sorry.[MAN SCREAMING]ECHO: Gabriel, there could be more.We have to go. Now.GABRIEL: We needto know what we're dealing with.- ECHO: Gabriel...- GABRIEL: Hold on.[LABORED BREATHING]He's just a man. Same tattoos as yours.[GUNFIRE]- GABRIEL: Listen.- ECHO: What is it?GABRIEL: The Anomaly. It'squieter. They're shutting it down. What does that mean?GABRIEL: It means they can control it. What if it means they're taking Bellamy through and they don't want us to follow?GABRIEL, SOFTLY: Let's go.- ECHO:Bellamy!- GABRIEL: No, no, no, no, no.- GABRIEL: Slow down. Echo.- ECHO: It's closing!GABRIEL: We go through together. If we're even seconds apart, we could be separated by months. OK?INDRA: We heard anexplosion. Miller, report.MILLER: They blew up a container on the lower level to pull our attention away from the palace. There's a dozen hardcore believers outside Russell's quarters right now. The adjusters are back intheir bibs. Our guards at their door, they withdrew without engaging.CLARKE: That was the right call, Miller. No one else should die because of what they believe. What other reason is there to die?NELSON: I couldn'tagree more. What the hell is he doing here? He's unarmed. The Children of Gabriel have demands.- CLARKE: Get in line.- NELSON: You want peace, we want Russell Prime.The people that live here should decideRussell's fate, not us.NELSON: This is our home, too. We were thrown out like garbage. My parents are still here and I don't even know who they are. The Primes did that. I'm sorry that happened to you. But we're notletting you have Russell. Either Russell Prime dies, or Kaylee and Daniel do.MILLER: Come on, Nelson. You know they're not Daniel and Kaylee. You want them to play dress-up so you can control the sheep, fine. ButRussell Prime is ours. You have till tomorrow's second moon to decide. The man does deserve to die, Clarke. Maybe. But the kind of society I want my child to grow up in doesn't take an eye for an eye. Clarke, he killedyour... Fine. We'll clear out the fanatics. No. No more violence. So, how do we do it? We don't. Russell does. I'll get Jordan. He's in the tavern.TREY: We invoke the names of the Primes as we pray. Josephine...Simone... Priya... Russ... Faithful, block the way. She just wants to see Russell. You were gonna search me, right? You wouldn't be dumb enough to let someone bring a gun in to see your god.JORDAN: It's OK, Trey.You can trust her. Let her pass. They didn't unchain you. I wouldn't let them. I need you to order your people to leave the palace. Tell me, Clarke... How do you go on after you lose everything? You take a breath. Thenanother. That's it. Now will you give the order or not? If I'd have killed Madi when I had the chance, you'd understand. Wait. I have something for you. Simone left these here, after she was resurrected. They were yourmother's. I thought you'd want them back.[BOTH GRUNTING]For my mother! Get up. Is this what you want? Yes. Do it. Pull the trigger. Set me free.[SOBBING]I'm so sorry.SHEIDHEDA: Hello, Russell Prime. I preferyour new body. Where is this place? Who are you?MILLER: Clarke, open the door![POUNDING ON DOOR][INDISTINCT SHOUTING OUTSIDE][CLARKE SOBBING][POUNDING AND SHOUTING CONTINUE]Looks like youburn after all. Please. Do not leave me here. What would you want Madi to do?[INDISTINCT CHATTER][PEOPLE COUGHING]No! Let it burn. Sanctum is free! There are no kings or queens or Primes here! We have no usefor a palace. We are the last of the human race, and we've all made mistakes. Tomorrow, Russell Prime dies for his.[CROWD CHEERING]"}
+{"doc_id":"doc_29","qid":"","text":"An Initiative briefing.Maggie: This is your objective.Narrator: Previously on Buffy the vampire slayer.Walsh: .. demon classed as the Polgara speciesEngelman: ...bone skewers jut from the creature's forearms duringbattle. It's imperative not to damage its arms.Buffy: Why exactly can't we damage this polka thing's arms?Cut to Engelman and Walsh in a lab.Engelman: She's an unnecessary risk.Cut to Walsh speaking toBuffy.Walsh: Two of our hostiles broke freeCut to Buffy faces the two demonsWalsh: and escaped into the tunnelsCut to Walsh and Riley in the Initiative.Walsh: She's dead Riley.Riley: I don't understand. On themonitors behind them.Buffy: Professor Walsh if you think that's enough to kill me. you really don't know what a slayer is.Cut to Walsh musing in lab.Walsh: She wants a fight we'll give her one.Cut to Buffy talking.Buffy:It's not safe for any of us.Cut to Walsh musing in lab.Walsh: And then when she least expects it, ahhh. She is impaled by a skewer.Walsh: Adam.Adam: Mommy.cut to Giles apt. This scene is a direct continuation of theprevious episode with a time gap of perhaps one to five minutes. Buffy is talking to Giles, Willow, Xander, Anya and Spike.Buffy: So Maggie sends me down into the sewers with one of those blasto guns and the nextthing I know it's raining monsters.Xander: Hallelujah.Buffy: And then this gate slams down behind me and I-I try to use the gun but it goes pfft.Giles: You're saying that Maggie Walsh set you up?Buffy: That's exactlywhat I'm saying. She sent me on a one way recon.Spike: Got to hand it to you goldilocks - you do have bleeding tragic taste in men. I've got a cousin married to a regurgitating {{frovilops}} demon {that's} got betterinstincts than you.Buffy: What does my taste in men have to do with this?Spike: You think Riley was out knitting booties for your future offspring while Maggie stringing you up? Anya, Xander and Giles are silent.Buffy:You guys think Riley had something to do with this.Giles: Um, probably not but we, uh, be remiss if we didn't think all the possibilities {through}.Buffy: {Great./Right.} Remiss. No! No, Maggie made sure that he wasnowhere around when she sent me on this very special make Buffy dead assignment.Willow: Plus Riley he seems like he wouldn't tell a little white lie let alone a whole bunch of big dirty ones.Xander: That's why theycall it the secret forces Will, cause they kinda keep the whole lying thing to themselves.Buffy: All I know is that Maggie has it in for me which means the Initiative has it in for me.Xander: I'm guessing the mad scientistisn't too keen on the fact that the entire scooby gang knows that the Initiative is up to no good.Buffy: Which brings us back to the not safe for any of us concept.Giles: What could have happened to make ProfessorWalsh want to kill you?Buffy: I don't know, uh. She wasn't keen on the fact that I was asking a lot of questions that's for sure.Anya: So you were getting too close to something.Giles: Clearly. Although one can onlyimagine what she'd be so desperate to hide.cut to An Initiative exit. A being exits. Adam is sewn together from parts of different demons. He has a metal brace on his left leg, there are metal parts on the left side of hisface and the back of his head, his right breast, his right shoulder and forearm of his right arm. The only recognizably human portion is the right upper side of his face and his hair. His left eye is red. He had green andgrey-pink demon parts sewn together and there is a huge scar or seam with what could be links of a large chain reinforcing it running down the middle of his chest. He is a mix of demon, Frankenstein monster andTerminator/Borg. It smiles. roll creditsBuffy: Everybody grab a weapon. We've gotta move. Buffy hands Xander an ax and Anya a grappling hook (like a fisherman might use.)Xander: Storm the Initiative. Yeah let's takeon those suckers.Buffy: I was thinking more that we'd hide.Xander: Oh thank God.Giles: I think perhaps we should talk about this.Buffy: We need to relocate someplace we're less likely to be found. We need to comeup with a plan.Willow: We could go to my place.Buffy: The Initiative guys know how close we are. They'll automatically check the places that you hang out. Xander, what about your basement? The guys haven't seen ustogether that much and there's enough room.Willow: Ooh Plus mirrored ball.Xander: Cool! Come on down and boogie at Xander's hideaway.Anya (less happy): Yes, come boogie.Giles: Absolutely not! I will not squat inthat dank hole.Spike: What, it was good enough for me, but you're above it all?Giles: Precisely. Besides I-I don't see why we can't stay right where we are. Pfft. It's very unlikely that those Initiative boys are going tocome round here to look for uh_ Door bangs open. Riley enters.Riley: Buffy! God Buffy are you ok? What happened?Buffy: You know?Riley: I know something went down. umph. Tell me.Buffy: Maggie tried to killme.Anya: It didn't work, but they're all upset anyway.Riley: Ok listen I need you to go over everything step by step. There has to be..has to be some kind of mistakeXander: There was no mistake. And how do youknow something happened?Riley: I was on a mission but I came back and... I'm not sure.. Look let's just keep her heads and not jump to any _ Riley stops and is staring.Buffy: What?Riley: That's hostile 17.Spike: No,I'm just a friend of Xaannderr's. Pfftt. Spike drops his drawl.Spike: Bugger it. I'm your guy.Buffy: This is Spike. He's um.. It's a really long story b-but he's not bad anymore. Spike jumps up.Spike: Hey! What am I, ableeding broken record? I'm bad it's just I can't bite anymore. Thanks to you w*nk*rs. Spike indicates Riley with a head movement.Riley: We've been looking all over the place for him - but you've known where's he'sbeen all along.Buffy: It's not like that.Riley: Then what is it like?.. What's he doing here?Spike: Leaving you swabs to your dramatics, thanks. I've got my stories on the telly for that. Spike puts on his black leathercoatSpike: By the by. If you're trying to kill her. Spike leans back with a big grin and two thumbs up. (His Fonzie imitation?) Buffy and Willow roll their eyes. Spike runs out the door into the sunlight covering his headand arms with his coat.Riley: Buffy, what is this? You're hiding an H.S.T.?Xander: Why don't you just back off and let her ask the questions, Jack? Your boss just tried to make monster food out of her. Riley looksaround. Giles crosses his arms. Riley: I-I didn't see much, I wasn't there unnhhh. All I know is that Professor Walsh told me you were dead but then I saw you on the monitors. Ummph. {look} This isn't ProfessorWalsh. Ummph. There must be something making her act this way. Something ummph I don't know, controlling her.Giles (softly): We think Buffy may have been becoming too inquisitive. That she was getting close tosomething that Professor Walsh was trying to hide. Do you have any idea what that might be?Buffy: What about 314? Maybe that's it.Riley: Maybe she was trying to test you. What if it was only a drill?Buffy: Then whydid she tell you I was dead? Riley it wasn't a test.Giles (softly): See I've heard rumors that the Initiative isn't all that we've been told. That, um, secretly they're working toward some darker purpose, something thatmight harm us all.Riley: No! That's - that's not what happens there.Buffy: Riley!Riley: I would know!Buffy: No one is sure of anything, ok? We're were just trying to sort it out.Riley: I can't be here. I'll sort it out on myown.Buffy: Riley.Riley: No. Just, umph, I'm sorry. Riley leaves.Cut to A forested area. A small boy, perhaps 7 to 9, is squatting and playing with a silver armored doll. His bike is beside him. Adam sees the boy andapproaches.Adam: What am I? The boy stands.Boy: You're a monster.Adam (resigned?): I thought so. Adam (curious?): What are you?Boy: Me? I'm a boy.Adam: A boy. How do you work?Boy: I don' know. I just do.Boy points to bone skewer/spur coming of Adam's wrist.Boy: What's that for? Adam raises his wrist to look at the skewer, then looks at the boy. Adam smiles.Cut to Riley wandering the campus at night. He passes acouple on a bench. A solitary student passes him.Cut to Engelman entering darkened lab. He flicks the light switch several times but nothing happens.Engelman: Dr Walsh? Engelman closes the door slowly.Engelman:Adam? Engelman slips and falls. He sees red on his hands and realizes it is blood. He looks to see the puddle leads to a body. He trembles and scrambles back.Cut to Mirrored ball in Xander's basement. Zooming andengine sounds are heard. Reflected light from the ball strikes Giles in the eye waking him. He is sleeping in plastic furniture. Pan past a makeshift curtain to Willow, Anya and Buffy in bed watching television. WileyCoyote drops a wrecking ball on a chain. The ball misses the Roadrunner and instead of stopping halfway up, continues in a full circle, taking out Wiley Coyote.Buffy: That would never happen.Willow: Well, no Buff,that's why they call them cartoons, not documentaries.Giles: Must we have the noise. My head is splitting. Giles is standing and turns off the tv.Willow: Well, look who's cranky bear in the morning.Giles: Yes I can'timagine why I didn't sleep well in my beach ball.Anya: Every time you moved it made squeaky noises. It was irritating.Giles: Really. I'm surprised you could hear it over your Wagnerian snoring.Buffy: Ok you guys,could we not please? Everything's screwed up enough without you two doing scenes from my parent's marriage.Anya (to Giles): Sorry.Giles (to Anya): {Sorry/Sallright.}Buffy: Thank you.Willow: It'll be ok Buffy, Riley'sjust confused, that's all.Buffy: I don't know. It just seems like things could get heavier. His whole world's falling apart.Anya: And after everything you've been through with Angel. You really should get yourself a boringboyfriend. Like Xander. You can't have Xander!Buffy: That was the idea. Riley was supposed to be Mr. {{Joe Guy.}} We were going to do dumb things like hold hands through the daises going tra-la-la.Willow: PoorBuffy. Your life resists all things average.Anya: So dump him. But you can't have Xander!Buffy: I'll try and remember that. It's too late anyway - I'm already at the I hurt when he hurts, I smile when he smilesstage.Anya: I hate that part.Buffy: I'll just have to make it work. Xander comes down the stairs carrying a breakfast tray with orange juice and some food.Xander: Turn on the tv. Now! Willow does so and lays downagain.TV Announcer: Sunnydale is still reeling from news of the crime. A source in the coroner's office tells us that the boy was stabbed with what looks like some kind of large skewer and his body was then mutilated.Police have not named a suspect and the killer is still at large.Buffy: The Polgara demon had a skewer in its arm. That's the one that Maggie insisted we bring back alive. Giles: She must have sent it after you.Buffy: Andit got distracted... God.Willow: Buffy, its not your fault. Anya shakes head.Willow: How could you know?Giles: She's right. You mustn't blame yourself. Xander shakes head.Buffy: I'm not going to. I'm going to the crimescene to see what I can find out. Buffy stands.Buffy: You guys research the Polgara demon. I want to know where it is. When I find it I'm going to make him pay for taking that kid's life, I'll make him die in ways hecan't even imagine.Anya's eyes lower. Buffy: That probably would have sounded more commanding if I wasn't wearing my yummy sushi pajamas.Cut to Frat house. Riley starts walking up the stairs. Forest sees himand catches up.Forrest: Hey. Where've you been all night? Well, congratulations. I see you and Buffy have finally gotten past the shy phase.Riley: I wasn't with Buffy. I had to be alone, think some thingsthrough.Forrest: What things? Riley enters his room and closes the door behind Forest.Forrest: This is mighty ominous. Forrest: What's up man?Riley: Professor Walsh tried to have Buffy killed. Forrest: What? Did Buffytell you that, I mean do you have any proof?Riley: I saw enough to know it's true.Forrest: I don't get it. Why?Riley: I dunno. Buffy thinks that she's getting too close to something - that Professor Walsh has somesecret.Forrest: I wouldn't put it past Buffy to get on Professor Walsh's bad side. She tends to put her nose where it doesn't belong.Riley: What?Forrest: She's a pain. Always wanting to know why this and whythat?Riley: And you're saying she should die because of that?Forrest: I don't know. Maybe Professor Walsh found out that Buffy was up to something bad. That ever cross your mind?Riley: Why does it bug you so muchthat I'm hanging with her? Is it because she's a better soldier than you?Forrest: It bugs me that she's using you to infiltrate our operation.Riley: So you saying that she's a spy? Hmpph You're crazy.Forrest: Riley thinkabout it. The professor's not stupid, she tried to kill Buffy, maybe Buffy needed killing. Graham enters.Graham: Guys.Riley: Not now {Brian/Graham/Brad}. Graham doesn't leave.Forrest: What is it?Graham: ProfessorWalsh is dead.Cut to Initiative lab. Riley goes to see Walsh's body. Two scientists kneel over it. Military garbed types are standing guard. Forrest arrives moments later.Forrest: Look at that wound. She's been staked,wouldn't you say brother?Riley: What?Forrest: Only one person I can think of that who could do something like that.Riley: You better not be saying what I think you're saying. When we don't know a person did this - thePolgara demon has skewers. Riley walks off. Forrest walks after him.Forrest: {No way } man that's your girlfriend's m.o. Riley grabs Forest's shirt.Riley: That's a serious accusation. You better be ready to deal with theconsequences. Forrest shoves Riley back.Forrest: Bring em on. That supernatural freak has blinded you and I'm sick of it.Riley: That's enough.Engelman: Stand back {man/Finn}. Show some respect. Listen,everybody's upset but arguing isn't going to help anything and it's certainly not what Professor Walsh would want.Riley: No sir.Engelman: Alright, good. Now Washington is sending in a team to do an internalinvestigation. I've been told we have to wait for their word.Riley: What do you mean wait? This has to be the work of the Polgara demon we captured last week.Engelman: Probably. It looks like last night the Polgaraescaped through tunnel 72. Riley: It's out loose somewhere?Engelman: I'm afraid so.Riley: Then we have to go after it.Engelman: My orders from Washington are for a total lock down until they arrive. I'm sorry. Now,return to your quarters. There's nothing you can do here.cut to Riley and some commandos alone.Riley: Listen. Engelman can talk all he wants, but I'm still in charge 'til the brass gets here and tells me otherwise and Isay we've got a demon to hunt. Now suit up for armed patrol And by that I mean loaded guns, men. Target practice is over. We're {going} for blood.Cut to daylight. The Initiative is entering mausoleums or burialcrypts.various voices: Move. Let's go inside. Establish a perimeter. {unintelligible} back. Forrest and Graham enter a crypt.Forrest: Somebody's been staying here.Graham: What do you think, a homeless guy?Forrest:Could be - or a squatter of the demon variety.Graham: Not the Polgara.Forrest: Who cares? I see a demon - it dies. Graham puts his hand on the tv.Graham: It's warm. Both remove cover of a fixed stone coffin only tofind bones and a black shroud/dress.Forrest: Damn. Forrest smashes the tv with the butt of his gun as he leaves.Forrest: Animals! Spike peeks out from beneath the bones and the black dress or shroud. He exhales.cutto The crime scene. Buffy looks from a distance. Yellow tape surround a policeman, someone in plain clothes and two ambulance personnel. Behind Buffy Riley approaches past a policeman dressed in commandogarb.Riley: Buffy. Hey. Buffy: Hey.Buffy: Look I'm sorry about earlier. I know that {{au burn?}} came on pretty strong. And the Spike thing isn't as tweaked as it looks. Ok maybe it is but there's an explanation thatalmost makes sense. Hello. I'm apologizing here. And I-I think that's pretty big of me considering I'm the one who was almost made a demon sandwich. This is the part where you throw me a bone.Riley: Maggie's dead.silenceRiley: Happy now?Buffy: How can you ask me that? Of course I'm not happy. What happened?Riley: That's classified.Buffy: Classifie_ The Polgara. It got her and escaped. Didn't it?Buffy: I'm gonna find it. I'mgonna find it and destroy it. And then you can stop asking me how happy all this death makes me. She walks awayCut to knocks Tara opens her door.Willow: Howdy.Tara: I just got your message a minute ago. I was inclass. But I was about to call you.Willow: I had so much fun the other night, those spells.Tara: Yeah, that was nice.Willow: I hope you don't think that I just come over for the spells and everything. I mean ,I really likejust talking and hanging out with you and stuff.Tara: I know that. But you wanna do a spell.Willow: Yeah. Tara giggles.Willow: But only because it's really important. There's this..Tara: No you don't have to explain Idon't mind really. I've been uh thinking about that last spell we did... all day.Willow: You have?Tara: Mmmhmmm.Willow: Well this one should be really fun too. We conjure the goddess Thespia to help us locatedemonic energy in the area.Tara: The goddess Thespia. Are you sure we're ready for that?Willow: You and me! This is beneath us.Tara: Ok. exhales Tara: If you say so.cut to bar Buffy enters. Willy cringes and movesdown to the end of the bar after tilting his head to tell Buffy to move down there. Demons are drinking, hanging out.Willy: You're killing me here.Buffy: Oh missed you too. Joint's jumping.Willy: Yeah ya know. I'mmaking some changes with my life. Getting away from my old image.Buffy: You mean as a double dealing snitch.Willy: Uh Hunh. I know you're going think I'm blowing smoke, but after those Apocalypse demons nearlydid me in I had an experience of the spiritual variety.Buffy: That's swell really. But I need to know if you've heard anything about a Polgara demon doing some killings in the last few days.Willy: You see that's the thing.I don't talk behind people's backs no more. And I'm bringing some class to the joint, ya know. It's Willy's Place now, see. Brings in a better clientele. I got one of those deep fryers. These demons just go crazy forchicken fingers. Look - if they see me dealing with you then I'm just the same old Willy working both sides of the street.Buffy: I'm going to have to punch you aren't I?Willow: Just once and it don't have to hurt, justmake it look good. Buffy cocks her arm.Willy: Ohhh. Oww.Buffy: Not yet. I haven't touched you Willy: Sorry right, right, g-go ahead. Wait. Willy (loudly): No! I can't talk to you! Buffy punches him. She doesn't seem tohave held back. Willy grabs his nose.Willy: Ohhh! Owwww!Buffy: What have you heard about the Polgara?Willy: Heard there was one around a week or two back. Word was you got him. You and those army guys.Buffy:And that was the last you heard?Willy: Yeah as far as I know he's off the streets.Buffy: What about those army guys? What do you know? You heard anything about 314? Beads rattle as Riley enters.Buffy: What are youdoing here? Following me?Riley: You told me you were tracking the Polgara demon, I thought I'd help. But now I see you're not hunting demons you're socializing with them. Again! I thought you were supposed to bekilling these things not buying them drinks.Buffy: Oh that's smooth, officer Riley. They teach you those undercover moves in special forces?Riley: No I'm serious Buffy. What are you doing here?Willy: Just cooling herdogs like the rest of us. Why don't you sit down, relax?Riley: I want you to tell me. Who are you?Willy: No kidding. How about I get you some chicken fingers on the house?Riley: Hey think you could shut up!Willy: LookI'm just saying.Riley: I said shut up! Or maybe you'd like to go back to the lab with me. I'm sure the coats would love to classify a - whatever you are.Buffy: Leave him alone Riley, he's human.Riley: So he's human.Riley is trembling.Buffy: You're shaking.Riley: He just harbors demons. Which makes him a good guy like you? Riley grabs Buffy's arms.Riley: The truth, Buffy, now!Buffy: You have the truth. You are just screwed upbecause of what happened to Professor Walsh to see it. Now let go of me. Buffy breaks his grip. An old woman starts to leave. Riley: Hold it you! Riley turns with drawn pistol pointed at the woman.Riley: No leaving til Isay so! His hand is trembling.Willy: Hey! We got new rules here, no killing.Riley: Right. Except rules don't seem to apply much these days do they? Like if I shot you right now I don't know if I'd have a corpse on myhands or one pissed off vampire.Buffy: Riley.Riley: I mean who do you believe? First it sounds like lies, then it sounds like truth. Buffy (softly): Riley. Silence. The old woman starts crying. Perhaps she says please inbetween sobs. Riley's hand continues to shake. Riley puts gun down on bar, smashing glasses. Riley trembles and Buffy steps closer.Riley: Oh what's happening to me?=3D=3D=3Dcut to Xander's basementRiley sits on"}
+{"doc_id":"doc_30","qid":"","text":"Jim: Damn, lost another file. Going to have to reboot. Again. [Windows reboot sound] Hey, Dwight, do you want an Altoid?Dwight: What do you think?[SCENE_BREAK]Jim: In school, we learned about this scientist whotrained dogs to salivate at the sound of a bell by feeding them whenever a bell rang. For the last couple of weeks I've been conducting a similar experiment.[SCENE_BREAK]Jim: [Windows reboot sound] Dwight, wantan Altoid?Dwight: Okay.[SCENE_BREAK]Jim: [Windows reboot sound] Altoid?Dwight: Sure[SCENE_BREAK]Jim: [Windows reboot sound] Mint Dwight?Dwight: Inbwit? Yes.[SCENE_BREAK]Dwight: [Windows rebootsound] [Dwight holds out his hand, sighs]Jim: What are you doing?Dwight: I...Jim: What?Dwight: I don't know. My mouth tastes so bad all of a sudden. [nasty, dry mouth-smaking noise][SCENE_BREAK]Michael:Always the bridesmaids, right ladies?Photographer: Okay, for this next one everyone hop out. Just Phyllis and Dad. Actually, let's bring Mom back in. And the sisters. And you, and you, and you.Great.[SCENE_BREAK]Michael: Phyllis is getting married. And I am in the wedding party. She has asked me to push her father's wheelchair down the aisle. So, basically, I am co-giving away the bride. Since I pay hersalary it is like I'm paying for the wedding. Which I'm happy to do. It's a big day for Phyllis. But it's an even bigger day for me. Employer of the bride.[SCENE_BREAK]Phyllis: Yes, I put Michael in my wedding. It was theonly way I could think to get six weeks off for my honeymoon. No one else has ever gotten six weeks before.[SCENE_BREAK]Pam: Phyllis... ended up using the exact same invitations as Roy and me. So it was kind oflike being invited to my own wedding. And I was like 'Wait, thought I called that off'.[SCENE_BREAK]Jim: So what's in the box?Stanley: A toaster, you?Karen: A toaster.Stanley: Unbelievable.[SCENE_BREAK]Dwight:Hello, Angela.Angela: Hi, Dwight.Dwight: You look as beautiful as the Queen of England.Angela: Thank you. Don't linger. Break left. Left![SCENE_BREAK]Dwight: The Shrutes have their own traditions. We usually marrystanding in our own graves. Makes the funerals very romantic, but the weddings are a bleak affair.[SCENE_BREAK]Jim: Those flowers are nice.Karen: Yeah. P and R?Jim: Phyllis and Robert.Karen: Ah, ofcourse.[SCENE_BREAK]Pam: Also, Pam and Roy.[SCENE_BREAK]Michael: There she is. I swear Phyllis you are as beautiful as the first day you started work at Dunder Mifflin.Phyllis: Thanks, Michael. That's sweet. Sameas when you said it outside.Michael: How you doin'? You excited.Phyllis: Yes, very.Michael: Me, too. If you need to vomit, that is ok. I did. Do you want to talk about tonight?Phyllis: No.Michael: You're probably worriedabout pleasing Bob. A lot of pressure. Phyllis, did you break wind? It's okay, if you did. It's a very natural reaction. It's your wedding. And you're nervous...Phyllis: That wasn't me.Michael: Okay... umm... I'm sure thatBob... Wow. That is... that is pungent. I lost my train of thought. Aaah... Are you set on that hairstyle?Phyllis: I thought it was...Michael: Here, let me...Phyllis: Michael... No.Michael: Just cover up that baldpatch.Phyllis: I don't need your... thank you. No, Michael please... I just need some time alone.Michael: Okay.[SCENE_BREAK]Michael: You might be surprised to learn that I've only been to one other wedding. It'sactually a very cute story. My Mom was marrying Jeff. And they asked me to be ring bearer. I was understandably emotional and somehow my pants became wet.Michael: [in video of Michael as a kid] I hateyou!Michael: Long story short: Jeff's dog ended up as ring bearer. And the irony is that after the ceremony that dog peed on everything and nobody said 'boo'.[SCENE_BREAK]Dwight: Why are all these people here?There are too many people on this Earth. We need a new plague. Who are all these people?Jim: You know what? I bet a lot of them are wedding crashers.Dwight: No way.Jim: Did you ever see that movie?Dwight: Ofcourse I saw it.[SCENE_BREAK]Dwight: I saw Wedding Crashers accidentally. I bought a ticket for Grizzly Man and went into the wrong theatre. After an hour, I figured I was in the wrong theatre, but I kept waiting.That's the thing about bear attacks, they come when you least expect it.[SCENE_BREAK]Jim: You know I just wish, I wish, I had the investigative powers to smoke some of these guys out.Dwight: Once again, Jim, I willtake care of this. I will locate the wedding crashers and report them to Phyllis. That way I won't have to get her a gift.[SCENE_BREAK]Kevin: [to Toby's date] Hi. I'm Kevin. [to Toby] Where did you find her?Toby: At thegym.Kevin: Riiight. The gym. [snickers][SCENE_BREAK]Kelly: Could you scoot over? You're on my dress.Meredith: I thought you're not supposed to wear white to a wedding.Kelly: I know but there was anemergency.[SCENE_BREAK]Kelly: I look really good in white.[SCENE_BREAK]Michael: This strappy young lad sitting here is Phyllis' father, Albert, and he is quite the ladies' man, aren't you Albert, hah? Ah, ringbearer. Icould have done better. I will do better. I am going to be better. I can't believe I'm actually doing this! Ooh! Are you ready for this, Albert? I am. Let's do it.[SCENE_BREAK]Pam: That's my dress.Michael: [whispers tofather] That's ok. [Albert gets out of his wheelchair and starts walking]Dwight: It's a miracle.Crowd: [generalized clapping]Michael: This is bull****![SCENE_BREAK]Michael: Me walking Phyllis down the aisle wassupposed to be the highlight of the wedding. And now... the wedding has no highlight.[SCENE_BREAK]Michael: I can't believe I pushed that... that guy's lazy ass around all day... until he was ready to stand up and stealthe show. That's... well... I got news for you, Albert. If that's your real name. The show's not over.[SCENE_BREAK]Priest: And do you, Phyllis, take Bob Vance, Vance Refrigeration, to be your lawfully weddedhusband?Phyllis: I do.Michael: Ladies and Gentlemen, may I present to you for the first time as a couple, Mr. and Mrs. Bob Vance!Priest: And do you, Bob...Michael: Oh, shiii...Priest: ... take Phyllis to be your lawfullywedded wifeBob Vance: I do.Priest: You may now kiss the bride.Michael: Ladies and Gentleman, for the first time as a couple, Mr. and Mrs. Bob Vance. [generalized clapping and cheering] Yeah! That's what I'm talkingabout![SCENE_BREAK]Angela: Congratulations, Phyllis. You look lovely. Your dress is very white. So white, my eyes are burning.Phyllis: Thanks Angela.[SCENE_BREAK]Michael: Congratulations, Bob. You're a goodman. But just know... if you ever lay a finger on Phyllis, I will kill you.Bob Vance: If you ever lay I finger on Phyllis, I'll kill you.Michael: Agreed. No fingers will be laid on Phyllis. [to Albert] Oh, decided to sit down again,huh? Great. Bet you can hear me, too.[SCENE_BREAK]Dwight: Best of luck, Phyllis. Also I'm going to need to see a copy of the guest manifest as well as photographs of the caterers.Phyllis: I don't have that,Dwight.Dwight: Dammit, Phyllis![SCENE_BREAK]Kelly: Are you all right? This must be so awful for you.Pam: What do you mean?Kelly: Well... this was supposed to be your wedding.Pam: Oh... um... no. That's... um...That's actually fineKelly: There's no way it's fine. I'm sorry. If I was you, I would just like freak out and get really drunk and then tell someone I was pregnant.Pam: Okay, that's a lot of good ideas.Thanks[SCENE_BREAK]Dwight: 'Scuse me, sir. How do you know the happy couple?Uncle Al: Who?Dwight: The bride and groom? What are their names?Uncle Al: Oh, I... I don't... I'm not sure.Dwight: Oh I get it, I getit, come on, freeloader. Let's move it. Come on. Come on.Uncle Al: Okay, Okay. Where are we going?Dwight: Got to find yourself another wedding to crash, my friend.Uncle Al: Oh![SCENE_BREAK]Michael: Phyllis! Areyou happy with everything? What can I do to make it more perfecter?Phyllis: It's beautiful. Why don't you find your seat. Enjoy the buffet.Michael: I'm already on it. The chicken? Totally undercooked. I sent itback.Phyllis: It's fish.Michael: I will take care of that.[SCENE_BREAK]Michael: I do. I know a fair amount about fine food... and drink. This is a white.[SCENE_BREAK]Kevin: No this is not our first wedding. This is theTHIRD wedding that Scrantonicity has played. We also played our bassist's wedding and our guitarist's wedding.[SCENE_BREAK]Kevin: Attention, everyone. Attention, please. I am supposed to ask if anyone has seenUncle Al. He is old and has brown eyes and dementia. His family is very concerned. It is a very serious situation. [sings] Roxanne. You don't have to put on your red light.[SCENE_BREAK]Roy: Hey.Pam: Hey.Roy: I knowI normally don't notice these kind of things but uh... This wedding's really nice! I mean, the flowers and stuff? Phyllis has got some great taste.Pam: You're kidding me, right?Roy: I know you're probably not going toremember this, right? But um... Those color roses? I got you those color roses for our prom.Pam: Roy, I picked those flowers. Phyllis just stole all of my ideas for our wedding.Roy: I uh guess I wasn't really too involvedin the planning.Pam: Yeah.Roy: Sorry about that.Pam: It's okay.Roy: You think this sucks for you? I was the one who actually wanted to get married.[SCENE_BREAK]Randy: Phyllis, you're a wonderful woman. Andyou're a hell of a bowler!Crowd: [cheering and clapping]Unknown: She is.Randy: Cheers.Crowd: Cheers.Michael: Thank you, Randy. That was great. Thank you. Thank you very much. Hi, I'm Michael Scott and for thenext forty minutes, I'm going to be your tour guide through the lives of Phyllis Lapin and Bob Vance. One of the great, seemingly impossible, love stories of our time. My name is Michael Scott. Webster's Dictionarydefines \"wedding\" as the fusing of two metals with a hot torch. Well, you know something. I think you guys are two metals. Gold medals. For those of you who don't know me, I'm Michael Scott, Phyllis' boss. To quotefrom The Princess Bride \"Mawige...[SCENE_BREAK]Michael: The most important part of a speech is the opening line. When time is not a factor, I like to try out three or four different ones.[SCENE_BREAK]Michael:Phyllis and Bob: their celebrity couple name would be Phlob. You look at her... and she's kind of matronly today, but back in High School, I swear, her nickname was 'Easy Rider'. Now as for Bob... Bob Vance...BobVance: Oh okay. That's enough.Michael: is a guy that...Bob Vance: Thanks, Michael. Give me...Michael: he works... Okay hold, hold on, hold on. Look. Look. I didn't say anything when Phyllis' dad upstaged me at theceremony. And I think you owe me this. Kay.Bob Vance: Give me the microphone.Michael: No. I'm not going to...Bob Vance: Give me... Give me the microphone, Michael.Michael: Ok. All right.Bob Vance: You're out ofhere!Michael: Oh. Yeah. You're out of here! You're... Yeah. I hate you![SCENE_BREAK]Jim: Hey.Pam: Hey!Jim: When are we going to get to see some of those famous Beesly dance moves?Pam: Oh... I'm pacingmyself.Jim: Come on. Get out there. Give the people what they want.Pam: No. I'm such a dorky dancer.Jim: I know. It's very cute.[SCENE_BREAK]Jim: Hypothetically, if I thought Pam was interested, then... No, it'stotally hypothetical.[SCENE_BREAK]Michael: Come... Come on!Dwight: I can't let you in, Michael.Michael: Dwight, just...Dwight: No, it's Bob and Phyllis' orders.Michael: Look, I just wanted to go in and quietly sit andhave a piece of cake. I'm not even going to dance one song.Dwight: You are a real life wedding crasher and I must bounce you. I'm sorry, it gives me no pleasure.Michael: OK.[SCENE_BREAK]Roy: Hey, they're playingour song.Pam: Yeah, that's weird. I thought they only played the Police.Roy: I know. Uh... I gave them twenty bucks. You want to dance?[SCENE_BREAK]Michael: [sings] ee... I was meant for you... buppity du bombu.[SCENE_BREAK]Roy: [to Pam] Hey, want to get out of here?[SCENE_BREAK]Jim: Here's a 'not hypothetical'. I'm really happy I'm with Karen.[SCENE_BREAK]Karen: [sings] Every little thing she does is magic. Everylittle thing she do just turns me on. Even though my life before was tragic. Now I know my love for her goes on. Every...[SCENE_BREAK]Women: One... Two... Three. Ahhhh! [Phyllis throws the flowers, Ryan knocksthem out of Kelly's hands, Toby's date gets them][SCENE_BREAK]Toby: Toby! Yeah![SCENE_BREAK]Michael: I just want Phyllis to have a great day.Uncle Al: Phyllis and you will be great together.Michael: We are greattogether. We are a great team.Uncle Al: The Celtics were a great team.Michael: Yes. Yes. They were. Robert Parrish! I should talk to her. I don't want this to ruin her honeymoon.Uncle Al: Nobody ever helped me. I hadto do it myself. Even the doctor didn't know!Michael: Dude, keep it together. I listened to you for half an hour even though most of that stuff went right over my head.[SCENE_BREAK]Michael: Phyllis. Phyllis! Wait!Please. I'm sorry. I just... I just wanted to make this a day to remember.Phyllis: You found Uncle Al!Michael: Yeah. Yeah. He's kind of a weirdo.Phyllis: Thank you, Michael.Michael: You're... You'rewelcome.[SCENE_BREAK]Michael: They say that your wedding day goes by in such a flash that your lucky if you even get a piece of your own cake. I say that's crazy. I say let them eat cake. Margaret Thatcher saidthat about marriage. Smart broad.[SCENE_BREAK]Michael: Be careful. Oh no!! [Phyllis and Bob smear cake on each other's face] Oh wow! Phyllis! Phyllis! You look like a clown! Here. Get me! Get me! [Michael smearscake on his own face]"}
+{"doc_id":"doc_31","qid":"","text":"THE YEAR 2030LIVING ROOM(Daughter and Son sitting on couch)Future Ted: So kids, there are many buildings New York City.EXT. NEW YORK CITY BUILDINGSFuture Ted: Thousands of apartments. Millions of stories.And even though it's been decades and someone else lives there now, there's one apartment in particular that will always be our apartment. I have so many great memories of that place.EXT. APARTMENT(Marshallsitting on couch playing video game)Future Ted VO: Marshall playing video games.(Lily painting on fire escape, drops paintbrush)Future Ted VO: Lily painting on the fire escape.Mr. Madsen: Hey!Lily: Sorry, Mr.Madsen.(Ted in kitchen making coffee)Future Ted VO: And me making the coffee. I had this coffeepot that was probably 50 years old at that time, and it made truly terrible coffee. We called it ShockyTed: Pluggingin.Marshall: Saving game.(Ted plugs in coffeemaker and lights flicker and Ted gets shocked)(Interior shots of apartment)Future Ted VO: I loved every last detail of that place. Right down to the incredibly tacky swordswe hung on the wall. I never wanted any of it to change. But that's not how life works.(Marshall and Ted sitting in living room, Lily and Robin enter through front door holding four paper bags)Lily: You guys will neverbelieve what just happened to us.Robin: I don't even believe it myself.Lily: We were in Queens and we decided to stop by my apartment.INT. LIVING ROOM, YEAR 2030(Daugher and Son sitting on couch lookingbewildered)Daughter: Wait, her apartment? I thought Aunt Lily lived with you and Uncle Marshall.EXT. STREET(flashback to Lily and Robin walking to Lily's apartment)Lily: I could see how you would think that but Ihave to have my own place. It's an independence thing.Robin: When was the last time you were there?Lily: Three months ago.(Robin laughs)Lily: What? It's like fat pants. You hope you never have to use 'em butyou're glad to know they're there.(Lily and Robin stop walking, Lily looks confused)Lily: What the hell?Robin: What?Lily: This is my apartment.Robin: Where?Lily: Right here.INT. CHINESE RESTAURANT(Lily and Robinenter through front door)Lily: What the hell?Robin: Lily, this is a Chinese restaurant.Lily: No, no, this was my apartment. My dresser was right...(Lily looks around to point out to Robin where her dresser would be)Lily:That's my dresser! And this is my closet.(Lily opens closet door)And I spilled nail polish there. There's the stain.(Lily and Robin look at something on carpet)(Waitress walks in from kitchen)Waitress: Hi, how many?(Lilylooks up at Waitress) Waitress: Lily.Lily: Yes, you know me?Waitress: Yeah, from your homecoming picture. You're much prettier in person.Lily: Yeah, I know, the bangs were a mistake. Where's my stuff? Waitress: It'sall in the back. We could wrap it up for you. You want it to go?Lily: This is my apartment!Waitress: Not anymore.INT. APARTMENT(back to Lily and Robin telling this story to Ted and Marshall)Ted: No way. You'remaking this up.Marshall: Yeah, the building would have had to give you some sort of notice.(back to Chinese restaurant flashback)Waitress: They sent you a notice about this.Lily: When?Waitress: Three months ago.Here's your mail minus the magazines.(back to everyone in apartment)Marshall: Well, still, legally, they can't just toss you out onto the street. You have a lease.(back to Chinese restaurant scene)Lily: OK so I didn'thave a written lease as such but, but go ask my landlady, Mrs. Conroy.(Lily turns to Robin)Lily: She may be 98 years old but she's still...(Lily turns back to Waitress)Lily: She's dead, isn't she?Waitress: Never even sawthe bus.INT. APARTMENTLily: My apartment is a Chinese restaurant. What am I gonna do?Ted: Come live with us.Lily: Really?Ted: Of course.Marshall: You sure about this, Ted?Ted: Yeah. I mean, you basically live hereanyway. It's not like it'll change anything.INT. BAR(Barney, Robin and Ted sit at booth)Barney: No, it's like it'll change everything. Oh, Ted, you are so screwed.Ted: What? What are you talking about?Robin: And why isthat girl checking you out?(Girl at another table is looking at Barney)Barney: Because I look good. Now focus, you and Marshall are roommates. You have an amazing apartment. Marshall and Lily just got engagedTed:Yeah, so?Barney: So, you're not still gonna be his roommate when he gets married, are you? Someone's going to move out. So who's it gonna be?Robin: Come on, Barney, I'm sure they've talked about who gets theapartment. You talked about who gets the apartment, right?Ted: Yeah, we've talked about it.(flashback to Ted and Marshall playing video games in their apartment)Marshall: So, when Lily and I get married, who'sgonna get the apartment?Ted: Oh, that's a tough one. You know who I think could handle a problem like that?Marshall: Who?Ted: Future Ted and Future Marshall.Marshall: Totally. Let's let those guys handle it.(back toTed, Barney and Robin in bar)Ted: Dammit Past TedBarney: You blew it, dude. Now that Lily's there, it's a whole new dynamic. They're edging you out.Ted: That's crazy. They're not edging me out. Marshall's my bestfriend.(Barney exhales loudly)Ted: One of my best friends. He wouldn't do that to me.Barney: Just keep your eyes open. That's all I'm saying, Ted. Little things are gonna be changing around that apartment.Robin:Come on, Barney, you're just being paranoid. OK, seriously, what is this girl's deal?(Girl at other table waves at Barney, Barney waves back)Barney: Sort of on a date with her.Ted: What?Barney: I found her online. I'mtired of the whole bar scene, the one-night hookups. I'm looking for a soul-mate, someone who I can love and cuddle, or so it says in my profile. (evil laugh) But this girl, she wants the same stuff and it's bumming meout. All right, Ted, call me from the hospital.Ted: All right.Robin: You're going to the hospital?Ted: No, see, he's gonna go back over there and I'm gonna call him and he's gonna pretend that it's an emergency call froma family member at the hospital.Robin: Oh, Lord, fake emergency? That is lamest, most pathetic cop-out in the book. I expect more from you, Barney.Barney: Well, stay tuned, I'm working on some stuff. But in themeantime, wish me luck.(Barney gets up to sit with Girl)Robin: So, are you gonna talk to Marshall?Ted: He's gonna want the apartment. I'm gonna want the apartment. It's gonna lead to an argument, so no.Robin:Hm, that's real healthy. So, when a serious issue comes up, your response is just to avoid it.Ted: I should really make this call.(Ted takes out his cell phone and starts dialing)Robin: Ooh, can I do it?(Ted pushes phoneover to Robin)(Barney's phone rings, he answers)Barney: Hello? Robin: Hi there, sexy.Barney: Hello, Aunt Kathy, what's up?Robin: Oh, nothing. Just sitting here, thinking about you, hot stuff.Barney: An accident? Well,is Uncle Rudy gonna be OK? Robin: Aunt Kathy's got an itch that only you can scratch, big boy.Barney: Oh God! Why did he think he could build his own helicopter?Robin: Come on, daddy, break me off a piece of thatwhite chocolate.Barney: Well, if he needs a transplant, he can have mine. I'll be right there.(Barney stammers and gets up to leave, walks by Ted and Robin's booth)Barney: See you guys later.(Barney walks out ofbar)INT. APARTMENT(Lily is painting by fireplace, Ted is sitting on couch drinking coffee, Marshall is at table studying)Ted: Ah, this'll be nice, the three of us living together. I think it's a good setup.(Marshall smiles atTed and Lily, Lily smiles back)Ted: Man, this coffee's great. It's really great. Too great.(Ted puts down coffee cup and runs to kitchen and sees a different coffeemaker)Ted: What happened to Shocky?(Ted noticesShocky in trash can and gasps)(Ted carries new coffeemaker into living room)Ted: What's this? Lily: My coffeemaker from my apartment. Makes great coffee, right?Ted: Yeah, definitely. I mean, so doesShocky.Marshall: Really? I always thought Shocky's coffee tasted kinda rusty.Ted: Yeah, no, it did. I mean, I kinda liked the rusty taste. I'm used to it. I don't know.Marshall: Also Lily's coffeemaker doesn't, you know,shock you.Ted: No. You gotta admit, that shock, wakes you up in the morningMarshall: You know what else wakes you up in the morning? Coffee.Ted: That's great. You're right. Roomies! I love it.INT. BAR(Robin, Tedand Barney sitting at table)Ted: They're edging me out. They're totally edging me out. I didn't' believe it but you're right.Barney: Told you. That Lily, she's a shrewd one.Robin: Yeah, she got you a nice newcoffeemaker. How dare she!Ted: It's not just the coffeemaker.INT. APARTMENT(Lily painting, Marshall studying close by, Ted walks into living room from his bedroom)Lily: Done. The painting's done.Marshall: That isgreat.Ted: Nice.Marshall: Where do you wanna hang it?Lily: I don't know. Um, over the piano?Ted: Yeah, that would be a good place for it. Too bad the swords are there. We kinda love those swords.Marshall: Well,those swords have been up there a long time.Ted: I know, right? I'd really miss them too. So, maybe Marshall's room?Lily: OK.INT. BAR(Robin, Ted, and Barney at table)Ted: He was gonna take the swords down. Canyou believe that?Robin: Ted, why don't you just talk to him? He's your best friend.(Barney makes protest sounds)Robin: One of your best friends. The point is, maybe it's time for some healthy communication.Barney:Healthy communication? That's the worst idea ever. Look, you held off their first advance. That's good. Now it's time to counter-strike.Ted: Yeah, well, what am I supposed to do?Barney: You gotta mark your territory,and I don't mean missing the toilet. You gotta do something big.Ted: What, like buy a new sofa?Barney: Bigger.(Barney looks over and sees Katie enter bar)Barney: Katie's here. OK, real quick, last night, epiphany! Irealized what the world of dating needs. Ready? A lemon law.Robin: A lemon law, like for cars.Barney: Exactly. From the moment the date begins you have five minutes to decide whether you're going to commit to anentire evening. And if you don't, it's no hard feelings just good night, thanks for playing, see you never. Huh? Huh? The lemon law, it's gonna be a thing, possibly starting right now.(Barney walks over to booth whereKatie is sitting and sits down)Barney: Hi Katie. Barney.Katie: Hi, it's good to finally meet you.(Barney looks over at Ted and looks back at Katie)Barney: Hm, yeah. Katie, you are about to be a part of history.(Barneytalks to Katie and she gets up to leave)Barney (yelling to Katie as she leaves): Tell your friends. Barney (to Robin and Ted at other table): It's gonna be a thing.[SCENE_BREAK]KITCHEN(Marshall making sandwich, Lilygrabs some drinks from the refrigerator)Lily: Man, Ted's been acting weird. He started labeling all his food. He even carved \"Ted\" into that block of cheese.Marshall: Yeah. Well, now it's Ed's.Lily: He's not cool with memoving in.Marshall: No, that's not it. I mean, you basically lived here all along. Ted loves you.Lily: So, what's he PMS'ing about?(Lily and Marshall take food into other room to eat at table)Marshall: I don't know. Butwhen he's ready to talk to me about it he'll come and talk to me about it.Lily: Are you kidding? You guys never talk about anything.(knock on front door)Lily: He'll just let it fester under the surface until he doessomething big and passive-aggressive.Marshall: You clearly don't know Ted.(Marshall opens front door)Delivery guy: Delivery for Ted Mosby.LIVING ROOM(Marshall sitting on couch, large red phone booth is next tocouch, Ted walks in through front door)Marshall: Your English phone booth arrived.Ted: Oh, awesome. It's great, right?Marshall: Yeah, I guess. Just not sure if Lily's gonna like it.Ted: Well, I like it, so I'm just gonnakeep it right here, if that's cool.Marshall: Of course, we all live here so we should all be able to have things the way we want them.Ted: Exactly.Marshall: GreatMarshall: Terrific.(Marshall walks over to painting)Marshall:You like the phone booth. It stays. I like this painting so I'm just gonna hang it...right here on the wall.(Marshall takes swords down and throws them down on the ground, hangs painting in their place)Ted: Oh, so it'slike that, is it?Marshall: Bring, bring.(Marshall walks over to phone booth and picks up phone)Marshall (in British accent): Oh hello governor, oh it's like isn't it? Cheerio.(hangs up phone)Marshall: Yeah, it's likethat.Ted: I want this apartment.Marshall: Well, I want it too.BAR(Girl #2 standing at table Barney's sitting at)Girl #2: You're a jerk.(Girl #2 walks away)Barney: No, I'm a visionary. Lemon law, it's gonna be athing!(Barney walks over to Robin at bar)Robin: For the record, your little lemon law is a symbol of everything that's wrong with our no-attention span society.Barney: No, wrong, lemon law is awesome.Robin: It takeslonger than five minutes to really get to know someone. You keep giving up on people so quickly, you're gonna miss out on something great.Barney: OK, you're on a blind date, sitting across the table is thatguy.(Barney points over to geeky guy)Barney: You really think it'll take more than five minutes to realize there will be no date number two?Robin: Yes I do. For all I know, that guy's my soul-mate.Barney: Bad move,Scherbatsky.(Barney goes over to geeky guy)Barney: Hi, have you met Robin?Kevin: Hi.Robin: Hi.INT. APARTMENT(Ted and Marshall talking)Ted: All right Marshall, we're deciding right now who gets this apartment. Itmay lead to an argument, but we're settling this.Marshall: Or we could flip a coin.Ted: Yeah, let's flip a coin.Marshall: Flip it.Ted: OK, I'm flipping it, here I go.Marshall: Flip it.Ted: OK, here I go.Marshall: Flip it.Ted: I'mflipping. But before I do, I just wanna say something. You didn't even wanna move in here in the first place. You said a pre-war building was bad for your allergies.Marshall: That was five years ago. Now you can getprescription-level antihistamines over the counter. Oh snap. What else you got?Ted: OK, I'm flipping. Heads or tails.Marshall: You don't need two roomsTed: Heads or tails, Marshall. Like you need two rooms?Marshall:We might be starting a family soon.Ted: Oh, no you're not. There's no way you're having a baby while you're in law school. It's gonna be at least three years.Marshall: It could be sooner, we're not that careful with ourbirth control Two-zip.Ted: Oh, come on, you know damn well I move out that room's going unused.Marshall: Oh, and I suppose you'll get a new roommate? Who's it gonna be? Barney? You know he cooks naked.Ted:Yeah, well, at least Barney wouldn't take the swords down.(Ted runs over to the swords, picks up a sword)Ted: We were bros! These swords represent our bro-hood. And you took 'em down to make room for yourfiance's stupid painting?Marshall: My fiancé...suddenly, she's my fiancé.(Marshall picks up other sword) Marshall: Lily's a part of who I am. And if you're such a bro, she's a part of who you are too. She's a bro byextension.Ted: I deserve this apartment, Marshall.(Ted taps Marshall's sword with his sword)Marshall: No more than I do.(Marshall taps Ted's sword with his sword)Ted: Great, so let's flip for it.(Ted taps Marshall'ssword with his sword)Marshall: Flip it.(Ted gets ready to flip coin, Ted and Marshall start sword fighting)Ted: So, is this how we're deciding who gets the apartment?Marshall: I guess so.Ted: How are we doing thisexactly? Is this like to the death?Marshall: We should probably figure that out.(Marshall swipes at Ted, Ted jumps back and falls into chair)Ted: It's OK, it's OK.(Ted gets up and goes to other side of room)Ted: Can Iobserve something?Marshall: That this is kinda awesome?Ted: Totally.Marshall: I can't believe we didn't do this before.Ted: I know!INT. RESTAURANT(Robin and Kevin sitting at table, waiter dressed in futuristiccostume serves them drinks)Robin: Thank you.Kevin: I can't believe this. I'm sitting here with a beautiful woman I just met eating at my favorite restaurant. Sweet.Robin: It's a nice place. It's good to know the futurehas ribs.Kevin: In the future food will most likely be served in gel-cap form. Plus cows will probably have died out by then... or be our leaders.(Robin's cell phone rings)Robin: Just a second.(Robin answers herphone)Robin: Hello.(Barney on phone looking at his watch)Barney: (laughs) Time's running out, Scherbatsky. Last chance for the lemon law.(Robin on phone)Robin: Leave me alone.(Barney on phone looking at hiswatch)Barney: 4:56, 4:57, 4:58.(Robin on phone)Robin: We're only just getting to know each other.(Barney on phone)Barney: Say I'm right and this could all be over. This could be your call from the hospital.(Robinhangs up phone)Robin: Sorry.Kevin: Let me guess, there's been a crazy accident and you have to go.Robin: No, I would never do that. I don't wanna go anywhere. I'm all yours.Kevin: Look, if you're a hooker, I don'thave a lot of money.INT. APARTMENT(Marshall and Ted hit swords, Ted spins around and they hit swords again)Marshall: That was awesome.Ted: I know.Marshall: Do it again.Ted: OK, but this time, jump up and I'llswipe your legs.(Marshall and Ted hit swords, Ted spins around and they hit swords again, Marshall jumps up and Ted swipes sword beneath his feet, the continue sword fight)Ted: Look. Here's why I should get theplace. You and Lily, you get to be married. What do I get, right? I get to be unmarried, alone, minus two roommates. And on top of that I could be homeless. Does that seem fair?Marshall: Oh, boo-freakin-hoo.Ted:What?Marshall: Woe is me. I'm not married yet. My ovaries are shrinking. Ted, if you wanted to be married by now you would be but you're not. And you know why? Because you're irrationally picky. You're easilydistracted and you're utterly anhedonic.Ted: Anhedonic?Marshall: Anhedonic. It means you can't enjoy anything.Ted: The hell I can't. I'm enjoying this.Marshall: I know, this rules.(Marshall and Ted continue swordfight)Marshall: Hey, I'm sorry I took the swords down.Ted: That's OK, it led to this totally rad sword fight, didn't it?Marshall: Yeah it did.(Marshall is standing on table and they lock swords)Marshall: You remember whenwe first got these swords?Ted: It was the day we moved in.(flashback to day they moved in, Marshall is assembling coffee table, Ted just mounted swords on wall)Ted: Congratulations, Marshall. We live in anapartment with swords on the wall.Marshall: List of lifelong dreams, you're not half as long. Crap. I'm missing one of the screws for this tableTed: Just use this wood glue, it'll hold.Marshall: Yeah.(back to present scene,Lily enters apartment through front door, table collapses under Marshall and he falls back towards front door, Lily screams, Ted screams with horror with hands to face)INT. RESTAURANT(Robin is on phone)Robin: OhGod, I'll be right there.(Robin hangs up phone)Robin: Kevin, I'm so sorry. I have to go. My friend's been stabbed with a sword.Kevin: Hab slosi quch! You have no honor. You know, if you felt this way you could havejust been upfront.Robin: No, I swear that was a real call. I just...Oh forget it.(Robin gets up and leaves restaurant) INT. HOSPITAL WAITING AREA(Ted and Marshall sitting, Marshall's holding flowers)Marshall: I stabbedLily. I stabbed my fiancé.Ted: Come on, Marshall, do you really think she's still your fiancé? I'm kidding. Hey, I think you guys should have the apartment. Marshall: But you fought so bravely for it.Ted: I wasn't fightingfor the apartment. I was fighting for...I don't know...for everything to stay the way it is. But I'm not gonna get that, so, seriously, take the place, it's yours.(Robin and Barney enter waiting area)Robin: Is sheOK?Marshall: They're just patching her up. She's gonna be fine.Barney: So get this, I was on a date with this girl, Jackie.(Ted, Marshall and Robin look at him surprised)Barney: What? You said she's fine. So, anyway, Iwas on date with this girl, Jackie.INT. BAR(Barney sitting at table with Jackie)Barney: Wow, Jackie, you make a really great first impression. I have a feeling that tonight you might end up being Jackie O.Jackie: Yeah,I'm sorry, I'm gonna have to lemon law you.INT. HOSPITAL WAITNG ROOMBarney: It's out there, it's a thing. The lemon law is a thing. Damn, I should have called it Barney's law.Robin: But you're totally...Ted: Just lethim have this one.(Doctor exits examining room to go into waiting area)Doctor: All set. She said she'd like to see the knights of the poorly constructed round table?Marshall: That's us.(Marshall and Ted get up and gointo examining room)INT. EXAM ROOM(Ted and Marshall stand sheepishly in front of Lily, Lily sits on exam table with right shoulder bandaged)Lily: A sword fight?Marshall, Ted: Sorry, Lily.Lily: On Monday, I'm gonnahave to tell my kindergarten class who I teach not to run with scissors that my fiancé ran me through with a frickin' broad sword.Marshall: Well, just to be fair, it didn't go all the way through.Lily: I'm sorry, is this adiscussion of the degree to which you stabbed me?Marshall: You're right. I'm sorry. We were fighting to see who gets the apartment. And I won.Ted: Uh, you didn't win. I gave it to you.Marshall: Uh, you know, if I"}
+{"doc_id":"doc_32","qid":"","text":"EXT. HOUSE, NIGHTA fierce thunderstorm blows outside a remote manor house.INT. HOUSE, PARLOUR, NIGHTA young WOMAN enters the parlour to see an older MAN surrounded by tables of electronicequipment.WOMAN: How are we looking?MAN: (nervously) Oh... about ready, I think.WOMAN: Any thoughts on the, er, interference?MAN: (sits) Erm, a stray FM broadcast, possibly? But I've fitted some ferritesuppressors and some RF chokes. Just in case. (stands and puts a camera around his neck) Are you sure you want to go through with this? I mean, the last time was very...WOMAN: But she's so lonely.MAN: Excellent,then. Excellent.The MAN sits down, puts on a headset and taps on a microphone before speaking into it.MAN: Caliburn House, night four, November 25th, 1974. 11.04pm.He nods to the WOMAN and she takes a fewsteps forward to the archway at the base of the stairs. The MAN stands and holds up a parabolic microphone and aims it towards the arch.WOMAN: I'm talking to the spirit that inhabits this house. Are you there? Canyou hear me? I'm speaking to the lost soul that abides in this place.The microphone picks up some static and hissing sounds. The MAN looks over to one of the machines that records energy levels. The needles aremoving over the paper.WOMAN: Come to me. Speak to me. Let me show you the way home.A high-pitched whine comes over the headphones, causing the MAN to shout out and pull them away from his ears. Themachinery reacts, registering the sound. A distorted screaming can be heard, The WOMAN backs out of the dark hallway.WOMAN: Let me show you the way home!The MAN picks up the camera and begins clicking awayas he faces the archway. At each click, a misty white figure appears, an arm stretched out towards them. It comes closer and the WOMAN gasps as the figure appears to pass through her. She falls against a chair andthe MAN goes to her.MAN: Emma?He holds her and helps her stand. He puts his hands on her shoulders and she grips his lapels.EMMA: She's so...MAN: So what?EMMA: Dead.There is a knocking at the front door andboth turn their heads. They walk slowly to the main door.INT. HOUSE, FRONT DOOR, NIGHTThe MAN pulls the door open and there's no one there. The DOCTOR sticks his head out from behind the other door.DOCTOR:Boo! Hello, I'm looking for a ghost.MAN: And you are...?CLARA: (stands beside DOCTOR) Ghostbusters![SCENE_BREAK]Matt Smith[SCENE_BREAK]Jenna-Louise Coleman\"Hide\" By Neil CrossPRODUCER MarcusWilsonDIRECTOR Jamie Payne[SCENE_BREAK]INT. HOUSE, FRONT DOOR, NIGHTDOCTOR: (holds up psychic paper) I'm the Doctor.MAN: Doctor what?DOCTOR: If you like. And this is Clara. (walks past MAN)INT.HOUSE, PARLOUR, NIGHTThe DOCTOR walks into the parlour, excited. He runs over to the machines. The others follow.DOCTOR: Ah, but you are very different! You are Major Alec Palmer. Member of the Baker StreetIrregulars, the Ministry of Ungentlemanly Warfare. (whispers to ALEC) Specialised in espionage, sabotage and reconnaissance behind enemy lines. You're a talented water-colourist, professor of psychology AND... ghosthunter! (shakes ALEC'S hand) Total pleasure. Massive.EMMA: Actually, you're wrong. Professor Palmer spent most of the war as a POW.DOCTOR: Actually, that's a lie told by a very brave man involved in very secretoperations. The kind of man who keeps a Victoria Cross in a box in the attic, eh? But you know that! Because you're Emma Grayling... (walks over and air-kisses both cheeks) the Professor's companion...EMMA:Assistant.DOCTOR: It's 1974 - you're the assistant and \"non-objective equipment\". (looks to CLARA who is by equipment) Meaning \"psychic\".CLARA: Getting that. Bless you, though.The DOCTOR walks over to the areaby the equipment.ALEC: Relax, Emma. He's Military Intelligence. (to DOCTOR) So what's all this in aid of?CLARA sits on the desk.DOCTOR: Health and safety! Yeah, the Ministry got wind of what's going on down here.Sent me to check that everything's in order.ALEC: They don't have the right.DOCTOR: Don't worry, Guv'nor, I'll be out your hair in five minutes. (looks at equipment and snaps fingers) Oh! Oh, look! Oh, lovely. (sitsnext to CLARA and plays with a switch) The ACR 99821. Oh, bliss, nice action on the toggle switches. You know, I do love a toggle switch. Actually, I like the word \"toggle\". Nice noun. Excellent verb. (CLARA touches aswitch and the DOCTOR slaps her hand) Oi, don't mess with the settings.The DOCTOR stands and takes the sonic screwdriver from his inside jacket pocket and scans ALEC and EMMA.ALEC: What's that?DOCTOR:Gadget. Health and safety. Classified, I'm afraid. (stops under arch) You know, while the back room boffins work out a few kinks. (turns back around and scans archway)EMMA: What's it telling you?DOCTOR: It's tellingme that you haven't been exposed to any life-threatening transmundane emanations. So... (spins around and claps his hands) where's the ghost? (walks over to them and picks up lit candelabrum) Show me theghost.There is an eerie whooshing and the DOCTOR smiles.DOCTOR: It's ghost time.EXT. HOUSE, NIGHTOutside the storm still rages.INT. HOUSE, HALL, NIGHTThe DOCTOR walks down the dark hall, the candelabrumthe only source of light. ALEC is on his heels. EMMA and CLARA follow.ALEC: I won't have this stolen out from under me, do you understand?DOCTOR: Erm, no, not really, sorry.ALEC: I will not have my work stolen,then be fobbed off with a pat on the back and a letter from the Queen. Never again! This is my house, Doctor, and it belongs to me.CLARA: This is actually your house?ALEC: It is.CLARA: Sorry. You went to the bankand said, \"You know that gigantic old haunted house on the moors? The one the dossers are too scared to doss in? The one the birds are too scared to fly over?\" And then you said, \"I'd like to buy it, please, with mymoney.\"ALEC: Yes, I did, actually.CLARA: That's incredibly brave.CLARA hears creaking and looks around nervously.DOCTOR: Listen, Major, we just need to know what's going on here.ALEC: For the Ministry?DOCTOR:You know I can't answer that.ALEC: Very well. Follow me. (leaves)INT. HOUSE, PARLOUR, NIGHTALEC has set up a board with pictures and notes of the history of the house and the ghost. The DOCTOR is using thecamera to take pictures of himself. CLARA sits and talks with EMMA.CLARA: So what's an empathic psychic?The DOCTOR walks between them to the small bar and starts looking at the bottles.EMMA: Sometimes I...sense feelings. The way a telepath can sense thoughts. Sometimes, though. Not always.The DOCTOR takes a drink of milk right from the bottle.DOCTOR: The most compassionate people you'll ever meet, empathics.And the loneliest. I mean, exposing themselves to all those hidden feelings - all that guilt, pain and sorrow and...CLARA sees EMMA'S discomfort and puts a hand on the DOCTOR'S arm.CLARA: Doctor?DOCTOR:Yes?CLARA: Shh.The DOCTOR looks at EMMA. ALEC is ready to show them the board.ALEC: Would you, er, care to have a look?The DOCTOR, CLARA and EMMA walk over.ALEC: Caliburn House is over 400 years old butshe's been here much longer... the Caliburn Ghast. She's mentioned in local Saxon poetry and Parish folk tales. The Wraith of the Lady, the Maiden in the Dark... the Witch of the Well.CLARA: Is she real? As in, actuallyreal?ALEC: Oh, she's real. In the 17th century, a local clergyman saw her. He wrote that her presence was accompanied by a, \"dreadful knocking, as if the Devil himself demanded entry.\" During the war, Americanairmen stationed here left offerings of tinned Spam. The tins were found in 1965, bricked up in the servants' pantry, along with a number of handwritten notes. Appeals to the Ghast... \"For the love of God, stopscreaming.\"CLARA: She never changes. The angle's different, the framing, but she's always in exactly the same position. Why is that?The DOCTOR gets the candelabrum and holds it closer, examining the photos.ALEC:We don't know. She's an objective phenomenon. But objective recording equipment can't detect her...DOCTOR: Without the presence of a powerful psychic.ALEC: Absolutely. Very well done.EMMA: She knows I'mhere...They turn to look at EMMA.EMMA: I can feel her... calling out to me.CLARA: What's she saying?EMMA: \"Help me.\"Behind them, a shadow passes the doorway quickly. CLARA turns her head, sensing something,but sees nothing.DOCTOR: \"The Witch of the Well\". So where's the well?ALEC leads the DOCTOR over to a table on which rests plans of the house.ALEC: A copy of the oldest plan that we could find, there is no well onthe property. None that we could find, anyway.CLARA is staring at the photographs when the DOCTOR comes up behind her and taps her on the head. She gasps and turns on him.DOCTOR: (whispers) Youcoming?CLARA: (whispers) Where?DOCTOR: (whispers) To find the ghost.CLARA: (whispers) Why would I want to do that?DOCTOR: (whispers) Because you want to, come on. (starts for the door)CLARA: (whispers)Well, I dispute that assertion.The DOCTOR stops and turns around. He sees EMMA watching them. He nods his head to get CLARA to move.DOCTOR: (whispers) I'm giving you a face. Can you see me? Look at myface.CLARA: (whispers) Fine. (walks over) Dare me.DOCTOR: (whispers) I dare you. No takesies-backsies.CLARA shakes her head and takes the candelabrum from the DOCTOR and heads through the door. TheDOCTOR claps his hands and laughs before following CLARA.EMMA: The Music Room is the heart of the house.INT. HOUSE, HALL, NIGHTThe DOCTOR and CLARA walk down the dark corridors.CLARA: (whispers) Say weactually find her. What do we say?DOCTOR: (whispers) We ask how she came to be... whatever she is.CLARA: (whispers) Why?DOCTOR: (whispers) Because I don't know. And ignorance is... what's the opposite ofbliss?CLARA: (whispers) Carlisle.DOCTOR: (whispers) Yes! Yes, Carlisle. Ignorance is Carlisle.As the DOCTOR and CLARA leave a particular hall, there is a snarling and scraping sound and a part of something can beseen in the shadows.INT. HOUSE, KITCHEN, NIGHTThe DOCTOR and CLARA examine the room by candlelight. The DOCTOR ducks a cobweb. He checks the teapot sitting on the table.INT. HOUSE, PARLOUR,NIGHTEMMA stands by the fireplace. ALEC is at the desk, looking at the plans.EMMA: Is he really from the Ministry?ALEC: Er, I don't know. He's certainly got the right demeanour. Capricious... brilliant.EMMA: (walksover) Deceitful.ALEC: Yes! Ha... he's a liar... but, you know, that's often the way that it is... when someone's... seen a thing or two. Experience makes liars of us all. We lie about who we are... about what we'vedone...EMMA: And how we feel?ALEC: Yes... always, always that.EMMA walks her fingers along to desk towards ALEC'S hand.ALEC: (nervously) You know, I have to... have to be getting on with things The, erm, theequipment and so forth.EMMA: Of course.ALEC walks away.INT. HOUSE, MUSIC ROOM, NIGHTThe DOCTOR and CLARA enter the room. A harp stands in one corner and there are music stands placed around the room.The DOCTOR scans with the sonic. CLARA stops in the centre and looks around.DOCTOR: Ah, the Music Room. The heart of the house. Do you feel anything?CLARA: No.DOCTOR: Your pants are so on fire.CLARA walksfurther into the room until she is by the DOCTOR. The sonic isn't working properly so the DOCTOR taps it against his hand and blows on it.CLARA: Do you feel like you're being watched?DOCTOR: What does beingwatched feel like? Is it that funny tickly feeling on your neck?CLARA: That's the chap.DOCTOR: Then, yes, a bit. Well, quite a big bit.The DOCTOR puts away the sonic and walks towards the door, stopping just in frontof it. CLARA hears a whoosh and turns around. The DOCTOR takes a step closer to the door and exhales. His breath can be seen. Creaking and scraping is heard.CLARA: I think she's here.The DOCTOR steps forward andexhales. Nothing. He steps back, exhales and sees his breath again.DOCTOR: Cold spot. Spooky. (turns around) Cold... (steps forward) warm. (back) Cold... (right) warm... (back) cold... (left) warm... (back) cold...(towards door) warm... (back) cold.A creaking is heard. The DOCTOR draws a chalk circle on the floor to mark the cold spot.CLARA: Doctor? Doctor!DOCTOR: What?CLARA: I'm not happy.DOCTOR: No.The DOCTORleaves the room while CLARA is looking the other way. She turns back and sees him leaving.CLARA: Hey! (runs after the DOCTOR across the circle)INT. HOUSE, PARLOUR, NIGHTThe needles on the machine startmoving. ALEC looks over. It stops and starts again. He walks over and looks at the measurements.INT. HOUSE, MUSIC ROOM, NIGHTSteam rises from the chalk circle and the line disappears.INT. HOUSE, HALL,NIGHTThe DOCTOR and CLARA are walking past a window when they hear a thudding.CLARA: (whispers) What was that?There are two more thuds. They both breathe out and it is visible. A gust of air blows out thecandles. They look at each other, stunned.INT. HOUSE, PARLOUR, NIGHTEMMA walks into the room.ALEC: Does it seem colder?ALEC looks at the thermometer and the mercury drops to zero.INT. HOUSE, HALL,NIGHTThe DOCTOR blows on his hands and rubs them together as he and CLARA look at the window as it frosts.INT. HOUSE, PARLOUR, NIGHTEMMA looks to the archway.EMMA: She's coming.INT. HOUSE, HALL,NIGHTA loud thudding echoes.CLARA: OK, what is that?DOCTOR: (leans on elbow against wall) It's a very loud noise. It's a very loud, very angry noise.CLARA: But what's making it?!DOCTOR: I don't know. Are youmaking it?There's another loud thud and, with a start, the DOCTOR rushes over to stand beside CLARA.CLARA: Doctor?DOCTOR: Yes?CLARA: I may be a teeny, tiny bit terrified.DOCTOR: Yes?CLARA: But I'm still agrown-up.DOCTOR: Mainly, yes, and...?CLARA: There's no need to actually hold my hand.The DOCTOR holds both hands out in front of him.DOCTOR: Clara?CLARA: Yes?DOCTOR: I'm not holding your hand.They slowlylook behind them, and, in a flash of lightning, see the outline of *something*. They scream and run.INT. HOUSE, PARLOUR, NIGHTThe DOCTOR and CLARA run down the stairs. ALEC looks over at them. A whirling darkdish materializes just as the DOCTOR reaches the bottom of the stairs. The DOCTOR takes out the sonic and scans.DOCTOR: Has this happened before?ALEC: Never!DOCTOR: Camera! Camera! (takes camera fromALEC'S unresisting hands)The DOCTOR takes pictures of the spinning dish. It spins faster and cracks begin to form inside it. EMMA is still looking at the archway. She gasps and the figure appears in what seems to be awood. There is an eerie, distorted shouting. CLARA turns her head and sees it as well.CLARA: Doctor?!The DOCTOR turns around and continues to take photos with the camera. EMMA is becoming overwhelmed with thecontact to the figure.GHOST: Help me!EMMA collapses and ALEC catches her. There is a crash from upstairs and CLARA looks up.CLARA: Doctor.The DOCTOR, EMMA and ALEC follow CLARA'S gaze. The DOCTOR slowlywalks up the stairs where a message glows on the wall: Help Me. It fades away and the spinning disc disappears.LATERCLARA pours a whisky for EMMA and one for herself before sitting down in that area beside thebar.EMMA: (sips and makes a face) Ugh! I'd rather have a nice cup of tea.CLARA: Me too. (stands and takes the glass from EMMA) Whisky's the 11th most disgusting thing ever invented.EMMA puts her head on herhand and sighs.INT. HOUSE, DARK ROOM, NIGHTWhile ALEC develops the new photos, the DOCTOR looks at the ones clipped to string criss-crossing the room.DOCTOR: I had a little peek at your records, back at theMinistry. You've certainly seen a thing or two in your time - disrupting U-Boat operations across the North Sea, sabotaging railway lines across Europe, Operation Gibbon, the one with the carrier pigeons - brilliant! I dolove a carrier pigeon.ALEC: I did my duty but then so did thousands of others - MILLIONS of others... I was just luck enough to come back.The picture developing is of the DOCTOR with the ghost in thebackground.DOCTOR: Yes but, how does that man, that war hero end up here, in a lonely old house, looking for ghosts?ALEC: Because I killed... and I caused to have killed... I sent young men and women to theirdeaths... but here I am, still alive, and... it does tend to haunt you. Living, after so much of... the other thing.INT. HOUSE, PARLOUR, NIGHTCLARA: So, you and Professor Palmer, have you ever... y'know?EMMA:No.CLARA: Why not? (picks up kettle) You do know how he feels about you, don't you? You of all people?EMMA: I don't know. People like me... sometimes, we get our signals mixed up. We think people are feeling theway we want them to feel... you know, when they are special to us. When, really, there's nothing there.CLARA: (hands EMMA cup) Oh, this is there.EMMA: How do you know?CLARA: Because it's obvious. It sticks outlike a... big chin.INT. HOUSE, DARK ROOM, NIGHTALEC: See, I was alone and unmarried and... I didn't mind dying. I mean, not for that cause. It was a very, very fine cause...defeating the enemy.DOCTOR: And if youcould contact them, what would you say?ALEC: Well, I'd very much like to thank them.DOCTOR: Uh-huh. (takes photo from tray) Ping! (clips it up)ALEC: What do you think she is?DOCTOR: Not what I thought she'dbe.ALEC: What did you think she'd be?DOCTOR: Fun. Can I borrow your camera? (ALEC hands it to him) Ta. (leaves)INT. HOUSE, PARLOUR, NIGHTEMMA: What about you... and the Doctor?CLARA: (sits with teacup)Oh, I don't think so.EMMA: Good.CLARA: Sorry?EMMA: Don't trust him... there's a sliver of ice in his heart.DOCTOR: (O.C.) Clara!EXT. HOUSE, NIGHTThe DOCTOR and CLARA run down the back of the steps in the rain.CLARA is huddled under her umbrella. They stop a few feet from the TARDIS. CLARA has her arm wrapped around the DOCTOR'S.CLARA: (whispers) I've got this weird feeling it's looking at me. It doesn't likeme.DOCTOR: The TARDIS is like a cat - a bit slow to trust (runs to TARDIS) but you'll get there in the end. (goes inside)CLARA looks back at the house before running to the TARDIS and knocks on the door.INT.TARDISThe DOCTOR hurries from the console to the door and opens it for CLARA. He heads back to the console.CLARA: (enters) Hey! (closes the door and looks around for a place to put the umbrella) You need a placeto keep this.DOCTOR: I've got one. (points) Or I had one... I think I had one. (starts looking around) Look around, see if you find it. Did I have one? Am I going mad? (sees CLARA shaking the umbrella and takes it fromher) No, not in here! How do you expect her to like you? She's SOAKING wet! It's a health and safety nightmare. (sets umbrella on chair and goes back to console)CLARA: (looks up at TARDIS ceiling and whispers)Sorry.The TARDIS seems to gurgle in response.CLARA: (goes to console) So... where we going?DOCTOR: Nowhere. We're staying right here. Right here, on this exact spot - if I can work out how to do it.CLARA: So,when are we going?DOCTOR: (laughs) Oh, that is good. That is top-notch.CLARA and the DOCTOR high-five. The DOCTOR walks away.CLARA: (leans against console) And the answer is...?DOCTOR: (stops and spins)We're going always. (goes down steps)CLARA: \"We're going always.\"DOCTOR: TOTALLY!The DOCTOR reaches up for something out of CLARA'S view.CLARA: That's not actually a sentence.DOCTOR: (comes back withorange spacesuit) Well, it's got a verb in it. What do you think? (holds it up and spins)CLARA: Colour's a bit boisterous.DOCTOR: I think it brings out my eyes.CLARA: Makes my eyes hurt.The DOCTOR drops his arms,dejected by CLARA'S comment.EXT. HOUSE, NIGHTThe TARDIS dematerializes.INT. HOUSE, NIGHTALEC and EMMA watch from a window.ALEC: Did you see where he went? I could hear an engine but I can't see anylights.There is a flash of lightning and behind them, in the next window, the ghost is reaching out to them.EXT. TARDISThe DOCTOR steps out of the TARDIS wearing the spacesuit. The surface of the planet is volcanicwith a dark grey sky. He scans with the sonic before picking up the camera to take a few pictures.INT. TARDISCLARA takes a step towards the door just as the DOCTOR bursts in, hands up. The door closes behind him.Steam rises from the suit.DOCTOR: Back off! Hot suit! Hot, hot, hot! (walks to console)CLARA: When are we?DOCTOR: About six billion years ago. It's a Tuesday, I think. (flips a lever)The DOCTOR and CLARA walkthrough a prehistoric jungle with large insects. The DOCTOR takes another photo.EXT. HOUSE, DAYIt what appears to be the late Victoria era, the DOCTOR takes a photo of the back of the house.INT. TARDISThe"}
+{"doc_id":"doc_33","qid":"","text":"[The Kerwin House - Ashley's Room](While getting ready for school, she's talking to her friend Terri on the phone.)Ashley: This is gonna be the best year ever! (Working on her poster for Degrassi student councilpresident.) The first thing we need to do to, Terri, we need to get you a boyfriend. It'll happen. Trust me. Uh, Terri, I am not a shoe in (as she leaves the room, we see her poster which says \"Ashley Kerwin Your ChoiceFor Degrassi Prez\" with her picture in the center) We won't even know if I'm president till the final vote is counted (closes her door.) Yeah, I just need to have a shower and get dressed. Oh, no, not again. Ter, I've gottago. All right, I'll see you at school. Bye (hangs up with Terri) (Knocks on the bathroom door- goes back and forth a minute between showing Toby in the bathroom and her outside the door) Toby, out.Toby: How do youknow it's me? It could be your mom, could be my dad.Ashley: They have their own bathroom.Toby: Then, go use it. I just got here.Ashley: Toby, come on, be reasonable. I have to get to school to put up my electionposters.Toby: Aren't you the only one running? (Opens the cabinet and sees Ashley's bra hanging in the shower)Ashley: Toby, remember what Dr. Fried said? \"A generous attitude makes for a generous family.\" Now,get out the bathroom, now! Toby, what will it take you to open that door?Toby: Just say \"please\".Ashley: Please.Toby: (while fixing his hair) Now say \"Toby Isaacs is the coolest kid at Degrassi. Way, way cooler thanany stupid grade 8 could ever hope to be.\"Ashley: Toby, I have to get something?Toby: Get what? Your hairbrush? Your eyeliner? Your (opens the door with her bra on) training bra?Ashley: Mom!Themesong.[Degrassi]Toby: I mean, I hadn't even spit out my toothpaste and she wanted in.JT: Maybe you should explain to Ashley that bathroom time is private time.Toby: She'd probably go and cry to her mommy.JT:Really?Toby: She has no sense of humor and she's a neat-o-holic. Yesterday, I left my gym socks on the couch, she freaked.JT: Your gym socks can reek something fierce.Toby: Just 'cause me and dad move in to theirhouse, Ashley treats me like...JT: Dirt? Gum stuck on her shoe?Toby: All of the above. So, ready for Day 1 of the rest of our junior high lives?JT: What do you think?[Inside Degrassi](Terri is helping Ashley put up herposters.)Ashley: Dr. Fried says we need to work together and become more like siblings.Terri: You fight all the time, you can't stand the sight of each other, you're already acting like siblings.Ashley: I mean I don'tmind his dad Jeff, and I'm glad my mom's happy, but Toby, he's everywhere. He's like a little mosquito that keeps buzzing in your ear.Terri: Hey, Ash, maybe when you're president, you can get him expelled.Ashley:Yeah, from my life.(A blond girl named Paige comes up to them. She's wearing a red shirt that says \"Hottie\", blue capris, and sunglasses)Paige: Hey, guys. Haven't seen you all summer. How are you doing? (As shetalks, the camera moves up from her feet to her face)Terri: Paige?Paige: New year, new look, new Paige (a guy stares at her and hits a locker.) You're putting up your campaign posters already?Ashley: The election's onFriday.Paige: Wow, you'd rather on the issues than your appearance. That's so...admirable.Paige walks away.[Another part of Degrassi](Emma and Manny are coming into school.)Emma: Manny, there's nothing to beafraid of.Manny: Nothing but the grade 8's.Emma: They're only a year older than us.Manny: Yeah, a whole year to think of ways to make us suffer.(Emma drops some papers. As she goes to pick them up, Spinner andJimmy approach them. Spinner steps on the papers.)Spinner: Hall pass.Emma: What?Spinner: You're not allowed on school property without a hall pass.Emma: But, we didn't get one.Spinner: Then you'll both have toleave.Manny: But, we can't. It's the first day of school.Spinner: (To Jimmy) Grade 7's are such geeks.(Spinner and Jimmy leave. Emma picks up her papers.)[Outside a room](Toby and JT walk up to the room that'shomeroom, but the door's locked.)Toby: (To Emma and Manny) Hey, guys.Emma: Hey.Manny: Hi. That's our homeroom?Emma: Cool.(The bell rings. Mr. Simpson comes to the door and un-locks it.)Mr. S: Hey, guys.Sorry I'm late. Hey, Em. Okay, here we go. (As the kids enter the room and sit down) All right, just choose your own seats for the time being. Okay, welcome to Degrassi Community School. I'm Mr. Simpson, I'm yourhomeroom and Media Immersion teacher. And I gotta say you guys really lucked out, I mean it. This is by far the coolest homeroom in the entire school. First order of business: These are the code of conduct forms(passing them out to everyone), concerning the computers, and the internet, all right? I wanna get these out of the way before we get to know one another (takes JT's hat off his head).[Ms. Kwan's homeroom (grade 8with Ashley, Paige, Spinner, etc)]Ms. Kwan: Some of you I know already and a few of you are new faces altogether. Welcome. Gavin Reginald Mason.Spinner: Um, I prefer Spinner.Ms. Kwan: This year will I have to giveyou, what was it, another 14 detentions?Spinner: Not if you don't want to.Ms. Kwan: Learning and good grades are all important here at Degrassi, but so is getting involved in the school.Paige: (raises her hand) That'swhy I'm starting a spirit squad this year Ms. Kwan. We so need one.Ms. Kwan: Great, Paige. That's so industrious of you. And speaking of industrious, Ashley?Ashley: Yes?Ms. Kwan: The first day of school and youalready have a professional campaign under way? Excellent start.Ashley: Thank you[Hallway](Starts with a close-up of Ashley's poster.)P.A.: Students are reminded that 3:15 today is the deadline for student councilnominations.(Emma and her friends are walking.)Emma: See, Manny, this isn't so bad, isn't it?Manny: As long as we don't run into that jerk again.(They stop in front of Ashley's poster.)Emma: Is that yourstep-sister?Toby: She's not my step-sister. We just to be stuck in a forced living arrangement.Manny: Well, I think she's pretty.Toby: Ashley hates I live in her house and she hates that I go to her school. Which she'sobviously never heard of democracy.Emma: What are you talking about?Toby: This election. No one's even running against her. She's a shoe-in.Emma: Why don't you run?Toby: Because it would provoke a rupture inour fragile family dynamic. It's family counseling speak for \"my dad would kill me\".Manny: So? Get someone else to run.JT: Yeah, right. Who'd wanna run for student council? The whole thing's a joke.Toby: Did u sayjoke?JT: No way, Toby. I am not going a joke campaign.Toby: Come on, JT. It's the perfect way to stick it to Ashley.JT: But this is my first day at Degrassi.Toby: Exactly. You're in the same boat as a large percentage ofthe student body. Which is why they'll love you. Come on, JT, this is your once of a lifetime opportunity.JT: For you to stick it to Ashley.Toby: No, for you to practice your stand-up material on a large perceptiveaudience.JT: Keep talking.Toby: You want to be famous, right? This is instant fame. Just think: assembly the whole school hanging on your every word.JT: And you'll do all the work?(Toby nods.)JT: Deal. Here we areright here. What if I win?Toby: Trust me. You don't stand a chance.[Hallway]Ashley: The poster's a little low on the left. Just bring it.Liberty: Ashley Kerwin. We haven't met. I'm Liberty Van Zandt and I'm running forsecretary. We're gonna be a great team. Just think. I'd like to discuss a few ideas so our policies will be in sync. First, I think we should tackle a lack of the school newspaper.Ashley: Why don't we wait until after theelection?Liberty: Great. Um, your poster's a little high on the left.(She leaves. Jimmy comes up to Ashley and puts his arm around her (which means they're boyfriend/girlfriend))Jimmy: What was that all about?(Theywalk away.)[Classroom](Toby is making copies of something- we see it says JT's name on it, which means it must be posters.)Mr. S: You do know it's 10 cents a copy?(Toby tries to make them stop.)[Hallway](Toby'sputting up JT's posters.)Ashley: I'm gonna make so many changes at this school, Terri. And not just superficial stuff. I want the students to feel heard.(They stop when they JT's posters.)Terri: Uh, Ash....Ashley: Whatis that?Toby: Oh, a poster without your picture on it.Ashley: JT Yorke. That annoying little friend of yours?Toby: What's wrong Ashley? Afraid of a little competition?Ashley: You are so wasting your time. Schoolpresident is always in 8th grade.Toby: Well, uh, this year that's going to change.(Ashley and Terri walk past Toby.)Toby: 'Bye, Ashley.[Hallway](Someone comes to JT with a camera.)Boy: Hey, JT. Why do you wannarun for president?JT: Why do I wanna run for president? Uh, that's a good question.Toby: In one word people: democracy. The backbone of our fine nation.JT: Hear, hear!Toby: He is, people, our great alternative. In aworld dominated by cruel selfish 8th graders, JT is our last shining hope.JT: I couldn't have said it better myself. Thank you, Degrassi.[Outside]Liberty: A grade 7 running for president? I wouldn't be caught dead votingfor him. Besides, I think Ashley and I, Liberty Van Zandt, will make an excellent team.[Another part of school]JT: If elected, I, JT Yorke, will do what a real politician would do: absolutely nothing. And, like a truepolitician, I will accept bribes.(Ashley and Terri are watching.)Ashley: People are actually paying attention to him?Terri: He's pretty funny. If you like total amateur humor. You're not actually worried are you?Ashley:No.JT: I, JT Yorke: Unknown, unremarkable...[Hallway](Someone with a camera is talking to Emma.)Emma: Personally, I think it's great. Grade 7's have just as much right to run for school president as anyone. I'mvoting for JT.[Outside]Ashley: Greater representation the school boards.Terri: (passing out fliers) And up-to-date recycling programs.Ashley: I'll even get us a night dance. All it costs is a vote.[JT's speech tostudents.]JT: What about the staff washrooms? (It shows Ashley watching) I'll bet you any money that they have softer toilet paper. If you elect me, I'll those staff washrooms, our washrooms. So vote for JT. You'll dothe right thing. I know you will. (To Toby) It's working.Toby: (sees Ashley watching) I know.JT: Vote for JT. It'll do you good. You'll love me. Nice to meet you.[SCENE_BREAK][Kerwin House: Kitchen]Ashley: TobyIssacs, you shrimp, who are you doing this to me?Toby: I'm not doing anything. JT's running for president and I'm just helping him out.Ashley: JT doesn't care about the school.Toby: How do you know? Guess what:Degrassi doesn't revolve around you. Anyone can run.Ashley: The guy is an idiot! And he doesn't know anything because he just got thereAshley's mom, Kate, walks in.Kate: Ashley, What's the problem?Ashley: Great.Take his side again. Don't even try to figure out what we're talking about. I mean, I put all my effort into this race...Toby: There was no race. Now there is.Kate: Toby, are you running against Ashley?Ashley: No, hisfriend, JT, is.Toby: I'm helping my best friend run his campaign. What's wrong with that?Ashley: What's wrong is he's only doing it to bug me.Kate: Come on, Ashley, I'm sure he's not.Ashley: But Mom....Kate: Tobyhas every right to help run his best friend's campaign.[The Next Day- Kerwin Bathroom](Ashley, in curlers, knocks on the door.)Toby: Today's the big day. Written your defeat speech yet?Ashley: JT is not going towin.Toby: You wish. Just think: you're about to lose to a 7th grader.(Ashley goes in the bathroom.)[Degrassi Hallway](Someone is taping Paige.)Paige: Hi. My name's Paige + of course Ashley's going to win today.Sure, some students may resent her for being perfect, but, Ashley always get what she wants, so why would today be any different? Actually, I'll tell why today is different. See, I just got these brand new glasses and Ithink they look rather nice with my outfit, don't you? Oh, and my belt. Please get a close-up of the belt. Thanks. And my new purse so everyone can see all that I own. What do I have in here? This, this isn't mine.(Thecameraman starts to walk away.)Paige: (O.S.) Hello! I'm not done here![Computer room](Toby and JT are on it, checking polls for president.)Toby: Look at this! You've got as much support as Ashley!JT: It's just somestupid poll.Toby: This is before your speech (show a close-up of the poll: Ashley- 48%, JT- 52%). Forget Ashley. You're on the verge of making Degrassi history! Am I the only one excited here?JT: I thought the planwas to make her sweat.Toby: Exactly! The closer you come to beating her, the sweater she gets.JT: Yeah, well, I'm getting pretty sweaty too. Because if I win this thing, I'll have to do a lot of work.[Another part ofschool](Someone is taping Liberty.)Liberty: It would be tragic if Ashley lost today. But if she did, and if I, Liberty Van Zandt, am elected as secretary, I would work closely with JT to ensure excellent standards of studentgovernment.[Hall](JT closes his locker and starts to head to class when Spinner and Jimmy grab him.)JT: Uh, hi.Spinner: You're coming with us.JT: What? What did I do? I'm going to be late for class, you're going to belate for class. That's a lot of lateness. Do you want to get a dentition? I know I don't. What did I do?[A classroom]Ashley is in there waiting.JT: Is this about the election? If I promise you something you got a problemwith, just tell me and I'll change it. Really, I will(They drop him on the floor.)Ashley: Thanks. That's all for now.(They leave. JT gets up.)JT: What's going on?Ashley: Here's the deal: you quit the race for schoolpresident and I give you 50 bucks.JT: 50 bucks?Ashley: 5-0. Okay, 60.JT: You see, I'd jump at that but I've got this older brother. He just lost the race for school president.Ashley: 65.JT: My parents were shattered.They had to go on Prozac. I can't put them through that again.Ashley: 80 bucks and that's my final offer.JT: 80's good.Ashley: Glad to hear it. But for that amount, I want a show. I want you to quit in front of the wholeschool.JT: At assembly? Cool. I still get to say my speech.Ashley: Half now, the rest after. (Gives him the money)JT: It was a pleasure doing business with you, Ms. President. (Puts out his hand but she doesn't shake it)I'll go now.(He grabs his bag and leaves.)[Hall]Manny: Once the election's over, I head straight home.Emma: And avoid Spinner.(Spinner comes up behind them and hits Manny with a spitball.)Manny: Ow.(Holds herneck and starts to cry.)Emma: Oh, great. Now look what you've done.Spinner: I was just kidding around.Terri: Wow that's so cool, Spinner. Making a grade 7 girl cry.Spinner: Look, I didn't mean to make hercry.Emma: Well, you did. Congratulations.(Spinner walks away.)Emma: It's ok, Manny. He's gone.Manny: I knew it would work. Always does on my brother.(They walk away.)[Hall](Toby catches up to JT.)Toby: Shebribed you?JT: She paid me.Toby: It's wrong.JT: Wrong? What about this campaign?Toby: What about it?JT: We did this just to get back at your step-sister.Toby: She's not my step-sister!P.A.: Would all candidatesplease report to the stage?JT: Look, if it makes you feel any better, we'll split it. 50/50.Toby: I don't want her blood money. It's just helping Ashley get exactly what she wants...again.[Assembly](Liberty is finishing herspeech.)Liberty: And in conclusion, I promise that if elected, I, Liberty Van Zandt, will fulfill my responsibilities as student council secretary with enthusiasm and even more enthusiasm. Thank you. (Applause as shesits)(Mr. Raditch comes to the mike.)Mr. R: Thank you very much, Liberty, for that enthusiasm. Next up, our two candidates for school president. Each will have 3 minutes to deliver their speeches and we will beginwith, JT Yorke. (Applause)(JT goes to the mike.)JT: Ladies and gentleman, it's a long year. You gotta vote for me. You need something to laugh at. Now if I could just say a few words about my presidential platform, thisspeech would be a whole lot shorter. But, seriously, if there's one thing I've learned in my zero years of political experience, well, it's nothing.Toby: Ashley! (She ignores him) Ashley!(She gets up and goes out thedoor.)Ashley: What?Toby: You bribed JT.Ashley: No I didn't.Toby: Yes you did. I saw the money. It's corruption.Ashley: Oh, how thrilling. You learned a new word.Toby: Oh you want thrilling? Wait'll I go up on stageand tell everyone what you did.Ashley: But, JT took the money.Toby: No, he excepted it as evidence.Ashley: You wouldn't.Toby: Oh, I will. I'm heading up there and telling everyone what a fraud Ashley Kerwinis.Ashley: Fine. My life's a disaster anyway. It might as well get worse.Toby: Your life's a disaster?Ashley: I want my mom to be happy and I've tired to be nice, but the moment you moved in, everything become allabout you.Toby: About me? Do you have any idea what's it like living in your house?Ashley: Please! My mom dotes on you. She doesn't care what I feel, as long as you're happy.Toby: What?Ashley: And now I can't getaway from you. You're everywhere: at home, at school, even in my campaign.Toby: That's not true...Ashley: I wanted just one thing that you couldn't take away from me. But you found a way. Please. Before you go upthere and publicly humiliate me, just listen to my speech. Then decided if you don't think I deserve to be President.[Inside Assembly]JT: She's got the looks, she's got the brains, she's got the brains, she's goteverything. Don't pity her; pity me. Thank you. Oh, and by the way, I quit the race for school prez. Vote Ashley. (Sits down)Mr. R: Well that's rather interesting. JT, you sure? (He nods) Well, I still think we'd like tohear what Ashley has to say. Ashley? Ashley? (To JT.) We'll talk later.[Outside Door]Ashley: Please.Mr. R (O.S.): Ashley?[Kerwin House - Outside]Ashley: No way!Jimmy: Yeah, whatever, I'm not lying.Ashley: Yeah,right. Well, thanks, uh, and I'll see you tomorrow. (They hug)Jimmy: Congratulations, Ms. President.(Jimmy leaves. Ashley walks over to Toby, who is sitting at a table.)Ashley: So, is this what defeat looks like or justguilt?Toby: Congratulations, Ashley.Ashley: Yeah, whatever.Toby: I mean it. Congratulations. You deserved to win.Ashley: Ok, what have you done with the real Toby Isaacs?Toby: it's not my fault JT's in trouble forriding the joke campaign. I should've never put him up to it.Ashley: You're right. You shouldn't have.Toby: Ash, I'm trying to apologize here. I knew it would drive you crazy. I just couldn't stop myself.Ashley: You hateme that much?Toby: Sometimes.Ashley: I gotta admit sometimes I feel the same way about you. The fact is Toby, we have to live with each other in the same house and that sucks, right?Toby: You can say thatagain.Ashley: But does it have to such this much?Toby: Maybe not.Ashley: Maybe not. Are we bonding here?Toby: Bonding? Us?Ashley: Well, the first time in a month, I don't wanna rip your eyes out.Toby: Wow, Dr.Fried would be so proud."}
+{"doc_id":"doc_34","qid":"","text":"MUSIC IN:EXT. HOUSE - DAYJODY: It's a great neighborhood. Very quiet, very private. It has an oversized backyard. That's a big plus. The whole house has been newly renovated. There are upgrades all over the place.Stainless appliances, air-purification system. Total move-in condition. The furniture is rented, but if you like it, I can have the company make you a deal.[SCENE_BREAK]INT. LIVING ROOM - DAY(DOOR OPENS)JODY:Amy, you are going to love the kitchen, but first I'm going to show you guys the living room. It has a wall-mounted flat screen and a gas log fireplace. You won't believe how easy this is. One push of a button. Isn't thatcozy?(SFX: FIRE LIGHTS)(SFX: JODY GASPS/ SCREAMS)(MUSIC UP AND OUT)(THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT)[SCENE_BREAK]INT. LIVING ROOM - DAYDUCKY: Make sure youcapture the back of his head, too, if you would be so kind.MCGEE: You got it.JIMMY: Sorry!MCGEE: (OVERLAP) Sorry!DUCKY: There's no rush, gentlemen. Our patient isn't going anywhere.MCGEE: Well, Ducky, the oldGibbs is back.DUCKY: The old Gibbs?GIBBS: McGee! Over here. Hands and knees. On the floor.MCGEE: Okay. Um... you're not going to step on me, are you? Footprints! Footprints. Looking for footprints. It's a prettytight weave.DUCKY: It looks like sisal. It's a naturally stiff fiber, woven from the leaf of the cactus plant. It doesn't mat, trap dust or build static. Makes it ideal for carpeting, but personally, I prefer a good shag. From acriminal-investigative standpoint.MCGEE: I don't see any dirty footprints.DUCKY: I think it's safe to assume that our friend didn't stroll in here on his own.TONY: You look happy to see me, Boss! (BEAT) Oh, it's thecoffee. Ran the military ID our local LEOs got off the body. Lance Corporal James Finn stationed at Quantico. Went UA when his unit was shipped to Iraq six months ago.MCGEE: Looks like he's got a pretty good reasonfor not showing.GIBBS: Find out where he was buried.DUCKY: It won't be far, McGee. Had the trip been longer, some bits would have fallen off.MCGEE: Okay, I'll check the backyard.TONY: Scene's not going to sketchitself.(F/X: JIMMY BUMPS INTO TONY)(SFX: JIMMY GROANS)DUCKY: Perhaps it would be better if you fetched the gurney, Mister Palmer. I've seen all I need to see here.JIMMY: Yes, Doctor.(PASSAGE OF TIME)TONY:It's a tidy crime scene.DUCKY: Quite. It appears to be a body drop. A tertiary crime scene. Or quaternary. Or quinary. I could go on.TONY: Oh, you did. It's an odd decorating choice. Although the corpse does give theplace a certain lived-in look.DUCKY: You can see, he brushed the dirt off his face.TONY: Oh, geez!!(F/X: TONY BUMPS INTO GIBBS)TONY: Sorry.DUCKY: Hello. (CHUCKLES) Nicrophorus americanus. Also known as thecarrion beetle. Come here, you little monkey! Ah ah! Yeah, a reminder that Shakespeare got it wrong. We are not food for worms. It's the flies and beetles that feast upon us.GIBBS: I'm more interested in why someonedid this, Doctor.DUCKY: Well, then I'll have to research the predatory, manipulative, grandiose nature of this behavior. But my first impression is that we're dealing with a complete loon.TONY: That Master's in psych isstarting to pay off, Ducky.(SFX: DUCKY CHUCKLES)[SCENE_BREAK]EXT. HOUSE - DAYJODY: Merciful God in Heaven! I have seen a lot of things selling real estate, but can you imagine walking in and seeing that?ZIVA:When was the last time you were here?JODY: Yesterday morning for a showing.ZIVA: And everything was normal?JODY: There was no rotting corpse in the living room if that's what you mean.ZIVA: Who else hadaccess?JODY: A couple of dozen real estate women. The keys are in a lock box on the front door.ZIVA: Who's the owner?JODY: A local contractor... and me. I buy and Bob fixes. We split the profits.ZIVA: Bob?JODY:Robert Whitehead. The contractor.ZIVA: A number where he can be reached?JODY: Yeah.ZIVA: So who put the body here? You or Bob?JODY: Neither of us! You know, it is an empty house. If you're looking to ditch abody, that's a real plus.RICK: Jody! I came as fast as I could. Are you okay?JODY: It's my husband. I called him. (TO RICK) Just duck under the tape, Rick.ZIVA: Stop! It's a crime scene!RICK: Crime scene. Honey, youall right?ZIVA: She's fine.JODY: I am not fine. I had to cancel my one o'clock showing!MCGEE: (V.O.) I think I found where he was buried...[SCENE_BREAK]EXT. BACK YARD - DAYMCGEE: I checked for footprints, but itrained last night. So everything is pretty washed out.GIBBS: You got access?MCGEE: Well, there's side access at street level. Chain link fence around the yard, but anyone with gloves could have scaled it.ZIVA: Wait forme!TONY: Did the real estate agent solve the big mystery?ZIVA: No. But she owns the property with a contractor, and every real estate agent in town had access.TONY: I think the mystery is how they expect to sell ahouse for six hundred grand when it only has two and a half bathrooms.MCGEE: Well, you know what they say. Location, location.... location. So, judging from the marks around the edges, I'd say the digger used agarden spade. The soil is not real packed, so it would have been easy digging for a male or female.GIBBS: You see that?MCGEE: Black plastic bags.TONY: Garbage bags.GIBBS: Body bag. Get it back to Abby. Have asoil sample. I want ground-penetrating radar.MCGEE: Uh, Boss, those techs are booked weeks in advance. I'm going to tell them it's an emergency, and I will not budge until they show.GIBBS: Who's staying withMcGee?ZIVA: I can, if you want Tony to check out the other real estate women.TONY: Fine with me.GIBBS: Tony! Stay with McGee.ZIVA: You shouldn't have licked your chops like a hungry wolf.MUSICAL BRIDGETO:INT. SQUAD ROOM - DAYTONY: Much better. Before I smelled like dirt and sweat. Now I smell like dirt, sweat, and sandalwood.ZIVA: Good morning! What are you doing at my desk?!TONY: I couldn't find mydeodorant, so I used yours.ZIVA: You, you didn't.TONY: Yeah, we're partners. What's the big deal?ZIVA: A hair!TONY: Come on. You attach electrodes to men's testicles. You're getting squeamish about a hair? I'm notgoing to feel bad. Those ground-radar techs didn't show 'till dawn. McGee and I watched the sunrise together. It was very \"Brokeback Mountain.\"MCGEE: He had me at \"Howdy.\"ZIVA: How romantic. I'm sorry I missedit.MCGEE: Well, I can show it to you on my new phone. It takes video. Behold the majesty of the sun.ZIVA: On a two inch screen? Are we all getting those?MCGEE: Nope. I bought it.ZIVA: Expensive?MCGEE: Notreally.TONY: Ha! Yeah, really. You've been dropping a lot of cash lately, McGee. New phone, new watch, new teeth. What's up?GIBBS: Ducky matched the dental records. The body downstairs is Lance Corporal Finn.Ziva, when did you - McGee! How long does it take to put on a clean shirt?MCGEE: Ten seconds. With buttons a little longer. (BEAT) Rhetorical question.ZIVA: Contractor's off the hook. He's been out of town for a week.Going to check on the real estate agents this morning.TONY: That's all you did?ZIVA: No, while you and McGee were watching the sunrise, I was pulling Lance Corporal Finn's SRB, and I have to say it was.... spotty. Hewas UNC on the range and failed his swim qual.GIBBS: So they made him a supply clerk.ZIVA: Right. Six months ago he signed out on a three day pass before deploying to Iraq, and he never returned home.GIBBS:Get me his C.O.TONY: He's in Iraq. (BEAT) I'll contact MTAC.MCGEE: I've put in a request for Finn's bank records, earning statements, and medical records.TONY: Night wasn't a total loss. Ground radar picked up ashovel about ten feet from the gravesite. Already sent it to Abby.(GIBBS WALKS O.S.)MCGEE: Yep. The old Gibbs is back.[SCENE_BREAK]INT. ABBY'S LAB - DAYGIBBS: Do you see something, Abs?ABBY: Beauty. Imean it's tragic, but if you were to see this tableau in a museum, you'd swear it was a brilliant commentary on the human condition.GIBBS: What? A corpse staring at the TV set?ABBY: It says it all.GIBBS: Well, itdoesn't say who put him there, or why?ABBY: That's for us to find out. (GASPS) You shaved your mustache! I liked you with a little hair on your face.GIBBS: I've still got my eyebrows.ABBY: Good point. I found Finn'sblood, hair, and fingerprints on the plastic. So he was probably wrapped in it. But I didn't find any other prints on the plastic or the shovel.GIBBS: Any chance of grabbing the gravedigger's sweat off the handle?ABBY:After being underground, it's unlikely. Strange case, huh? I had this friend once that used to display road kill in his living room. He got an NEA grant --GIBBS: Abby?ABBY: Next I analyzed the soil. It's compost material,rocks, and small sticks. Nothing's over an inch long. That indicates it was processed through a screen.GIBBS: Pretty clean for dirt.ABBY: Well, it's a commercial product. But the house was just re-landscaped, so it's notsurprising. I sent the acidity levels to Ducky. I then inventoried Finn's personal items.GIBBS: Got anything with a date on it?ABBY: Nope, sorry. No credit card or purchase receipts. I guess he was a cash guy. I mean, ifyou can call a guy with thirty-one dollars and seventy-one cents a cash guy. His clothes were Dockers from Sears. No judgments. The shirts are large, the shoes are off-brand. And his underwear are boxer/briefs, likeyou wear, Gibbs.GIBBS: You're fishing, Abs.ABBY: So, are they regular boxers? Trunks? Bikinis? Nothing?(GIBBS WALKS O.S.)[SCENE_BREAK]INT. AUTOPSY ROOM - DAYDUCKY: Mister Palmer, have you finished thechromatographic analysis of his volatile fatty acid?JIMMY: Yes, Doctor.DUCKY: Well, let's plug the numbers into the computer and see how long our friend has been leaking into the topsoil. Agent Gibbs will be here soon,and he will ask...(SFX: DOORS SLIDE OPEN)GIBBS: How'd the Lance Corporal die, Doctor?DUCKY: How he died may take me a while. Try when did he die?GIBBS: That's my next question.DUCKY: That I can answer. It'sa tricky calculation. One has to factor in temperature, soil acidity, and the variety and volume of insects who now call Lance Corporal Finn home.GIBBS: Give me a round number.JIMMY: Ninety-two days with a threepercent margin of error.DUCKY: It would appear you deserted before you died.(SFX: DOORS SLIDE OPEN)ZIVA: Gibbs, Lance Corporal Finn's fiancé is upstairs. She saw a report in the local news last night.GIBBS: How,Doctor?DUCKY: As soon as I know, you'll know.(SFX: DOORS SLIDE OPEN)ZIVA: Her name is Siri Albert. She's twenty-five.[SCENE_BREAK]INT. SQUAD ROOM - DAYZIVA: Lives in Manassas and works as a physicaltherapist.TONY: Finn's fiancé is here. I put her in the conference room.ZIVA: You did? I did!TONY: No, I did.ZIVA: His fiancé?TONY: Yeah, his fiancé.ZIVA: Tall. Light brown hair.TONY: Red head.(DOOR OPENS)(MUSICUP AND OUT)MUSIC IN:INT. CONFERENCE ROOM - DAYSIRI: Someone has made a huge mistake. James isn't dead. He's been writing me letters from Iraq.ZIVA: It's a common name.SIRI: The news said he was born inJackson, Pennsylvania. It's a small town.ZIVA: That James Finn has been dead three months.SIRI: He left for Iraq three months ago. I saw him the morning he went away, and I just got a letter from him last week. Hesays he misses me and he's working a lot.GIBBS: We'll need those.SIRI: Okay. But I want them back.[SCENE_BREAK]INT. SQUAD ROOM - DAYREBECCA: It's his handwriting. I recognize it. They've been coming formonths. Now I want to know who that other woman is!?TONY: We're not here to talk about that.REBECCA: Is she saying that she's engaged to Jimmy, too? (LAUGHS) 'Cause if that's true, he'd better hope he's dead, orelse I'll kill him!MUSICAL BRIDGE TO:INT. CONFERENCE ROOM - DAYSIRI: James and I connected on a deep spiritual level. From then on, anytime he was in town, he was with me.ZIVA: How often did you seehim?SIRI: He would come and go a lot, but I understood. That's how it is with Special Ops.ZIVA: Lance Corporal Finn's record does not indicate he was involved with Special Operations.SIRI: He said his missions weretop secret. He wanted to tell me more, but he didn't want to put me in danger.TONY: (V.O.) When did you last see...[SCENE_BREAK]INT. SQUAD ROOM - DAYTONY: .... Lance Corporal Finn?REBECCA: Six months ago,before he left for Iraq.TONY: How'd you meet?REBECCA: At a bar two years ago. I was there with some girlfriends, and when I got up to go to the lady's room, he blocked my path. Said he couldn't keep his eyes off ofme.MCGEE: And that worked?REBECCA: What worked is that when we talked, he had something to say. Most guys won't shut up about their online war games. But this guy, he had seen real action. And I was feelingpatriotic that night. So I invited him to come home with me. The s*x was fantastic.[SCENE_BREAK]INT. CONFERENCE ROOM - DAYZIVA: When did you two get engaged?SIRI: About a week before he left. James wantedto borrow thirty thousand.ZIVA: Did he tell you what the money was for?SIRI: Gambling debts. And if he didn't pay, they were gonna hurt him.GIBBS: Who?SIRI: He said it was better if I didn't know, because of thedanger.REBECCA: (V.O.) Look!MUSICAL BRIDGE TO:INT. SQUAD ROOM - DAYREBECCA: I didn't give him the money! I loaned it to him.MCGEE: So you drew up a legal document?REBECCA: No, but we had an oralagreement. I mean, he promised to pay me back... with interest! I mean, I maxed out all of my cards! So you better find that money!MUSICAL BRIDGE TO:INT. CONFERENCE ROOM - DAYZIVA: What was he like thelast time you saw him?SIRI: He was sweet. We made love right before he left.GIBBS: Did he use a condom?SIRI: I'm on the pill. (BEAT) We were engaged.[SCENE_BREAK]INT. HALLWAY - DAYGIBBS: (INTO PHONE)Abs, can DNA still be recovered from Lance Corporal Finn's skivvies?(BEGIN TELEPHONE INTERCUTS)ABBY: (V.O./FILTERED) It would take the ...(SCENE CUT)ABBY: (INTO PHONE) ...cooperation of weather andprotection. He was wrapped in plastic, and it's been cold, so there's...(SCENE CUT)ABBY: (V.O./FILTERED) ... a decent chance.GIBBS: (INTO PHONE) Well, run the tests. We'll do a cheek swab on his fiancés.ABBY:(V.O./FILTERED) Wait.(SCENE CUT)ABBY: (INTO PHONE) Did you say fiancés? Like plural? Huh. Kinky! (END TELEPHONE INTERCUTS)[SCENE_BREAK]INT. CONFERENCE ROOM - DAYSIRI: Ah. Is that it?ZIVA: For now,Siri. I need to follow you home and pick up his belongings.SIRI: I want them back when James returns.ZIVA: He's dead. He can't return.SIRI: Look, I know he's not dead. I would feel it in my heart. We're soulmates.MUSICAL BRIDGE TO:INT. AUTOPSY ROOM - DAY(SFX: SIRI GASPS/CRIES)SIRI: (CRYING) No.MUSICAL BRIDGE TO:INT. SQUAD ROOM - DAYTONY: Agent Lee, I need legal help. We have a suspect who'srefusing a cheek swab.LEE: I'll file for a DNA search warrant. What's the name?TONY: Rebecca Kemp. I'll email you the info. Listen, do you miss working with us?LEE: I think the legal department is more my speed.Why? Do you miss me?TONY: Uh, sure. (TO GIBBS) Boss! Agent Lee is getting us our cheek swab.GIBBS: Is Rebecca paranoid or guilty?TONY: Uh, might just be angry. At Finn, us, and the world.GIBBS: Go back withher to her apartment. Get Finn's stuff. And no, I don't want to wait for a search warrant.(REBECCA SIGHS)(ZIVA AND SIRI WALK INTO THE SQUAD ROOM)ZIVA: I'll grab my coat. Wait at the elevator.SIRI:Okay.REBECCA: Hey, you! Where's my money!? Yeah, you! Did you and Jimmy spend it!?SIRI: Please get away from me! I don't know you.REBECCA: I am Jimmy's fiancé.SIRI: James loved me!!REBECCA: He usedyou.SIRI: (SHOUTS) You liar!!(SFX: GIRLS FIGHT/WRESTLE)TONY: Chick fight!REBECCA: Get off of me!(MUSIC OVER ACTION/GIRLS FIGHTING)SIRI: Get off! Get off of me!ZIVA: Stop it!GIBBS: Hey, get off her! Getoff her!(ELEVATOR DINGS/ DOORS OPEN)(SFX: GIRLS SHRIEK B.G.)GIBBS: Get up!!(SFX: REBECCA GASPS)[SCENE_BREAK]INT. AUTOPSY ROOM - DAYGIBBS: How'd this guy die, Doctor?DUCKY: As I told you, when Iknow, you'll know.GIBBS: Know faster.DUCKY: Shaving off your mustache has brought back your usual impatience.GIBBS: Good! That means I'm doing my job.DUCKY: I do have a potential cause of death, but it's byno means airtight. You see this fracture?GIBBS: Well, yeah. You're pointing right at it.DUCKY: The brain revealed an epidural hematoma, verified by this CAT scan. Though it's far from massive. Statistically, it's onlyfatal in about seventeen percent of cases.GIBBS: Blunt force trauma?DUCKY: Most likely. We're looking at a baseball bat or a golf club. Perhaps wielded by a disgruntled fiancé.GIBBS: You tell me how, I'll figure outwho.(SFX: DOORS SLIDE OPEN)MUSICAL BRIDGE TO:INT. MTAC ROOM - DAYSHEPARD: (INTO PHONE) Intelligence has placed La Grenouille in Nairobi. That might mean a shipment to Somalia. We'll continue tomonitor these activities. Just do your best.GIBBS: Mission trouble?SHEPARD: That's need-to-know. Initiate the video conference Special Agent Gibbs requested. (TO GIBBS) Have you figured out why somebody wouldunbury a body?GIBBS: That's need-to-know.SHEPARD: You can't pull that one with me, Jethro. I'm your boss.TECHNICIAN: (V.O.) Iraq standing by, Ma'am.STENGEL: (ON MONITOR) I got your email concerning LanceCorporal Finn. I assume you've been over his SRB.GIBBS: Yeah, we have, Skipper. We'd like to know what's not on the record.STENGEL: (ON MONITOR) Finn wasn't one of my stronger Marines. Wasn't surprised hewent U.A.GIBBS: Did he have any enemies in the company?STENGEL: (ON MONITOR) He was well-liked. Played poker. Not well, but covered his debts. Liked to talk about his sexual exploits in detail. You know howMarines love that.GIBBS: How does a dead Marine stateside send letters home from Iraq?STENGEL: (ON MONITOR) I wondered about that myself. Get over here, Marine! Meet Lance Corporal Hagan... soon to bePrivate Hagan. Before deployment, Finn gave him... a couple hundred bucks to pop letters in the mail to two women. First batch started six months ago. The second three months later. Got enough to last the rest of ourdeployment.GIBBS: I'm going to need those.STENGEL: (ON MONITOR) I'll send them on the next flight out.SHEPARD: Two fiancées....is that a Marine thing?GIBBS: Oh, that's need-to-know, too, Director.MUSICALBRIDGE TO:INT. ABBY'S LAB - DAYABBY: Do you see it yet?MCGEE: No.ABBY: Keep looking!MCGEE: Abby, I've been staring at this thing for five minutes. I don't see anything that I would consider to be art.ABBY: Butyou took the picture!MCGEE: Just because Ducky told me to. I'm sorry.ABBY: That's okay. I'm sure you find other things beautiful.MCGEE: Like Gibbs breaking up a chick fight?ABBY: I can't believe I missedthat!MCGEE: Well, I've got good news. Guess what is now playing on McGee TV?ABBY: I hug and kiss technology!(SFX: VIDEO PLAYS)SIRI: (ON TAPE) You liar!!(SFX: GIRLS SHOUT B.G.)ABBY: Oh, meow! Which one'sSiri?MCGEE: The one Gibbs is pulling off the other girl.ABBY: It's always good to have a face to put with genetic material.MCGEE: Did you get a match on her off of Finn's clothing?ABBY: Yeah, but not just her. There's aparty in Finn's pants. I found genetic material from two distinct females.MCGEE: Siri and...ABBY: The mystery woman.MCGEE: That would explain why Rebecca refused a cheek swab. Told us she hadn't seen him in sixmonths.ABBY: Play it again.MCGEE: Plus, Rebecca's got a lot of anger in her.ABBY: Oh, I wouldn't assume Siri is innocent.MCGEE: Why not?ABBY: Look at the fight. Siri initiates it. She may not be as sweet as shelooks.GIBBS: (ON TAPE) Get off her!ABBY: This is my favorite part.GIBBS: Which part?[SCENE_BREAK]INT. EVIDENCE GARAGE - NIGHTTONY: I was lucky to get out of Rebecca's apartment alive. She threw this at myhead.ZIVA: Wow. Finn was reading Moby Dick?TONY: No, she was throwing it. I took it so she couldn't re-arm.ZIVA: Okay, let's see what he had at Siri's place. Razor and a toothbrush.TONY: Razor and atoothbrush.ZIVA: Three pairs of white underwear.TONY: Three pairs pinkish underwear.ZIVA: One white sock with a gold toe.TONY: Don't you hate it when you leave one black sock at one fiancé's house, and the otherone at the other's house?ZIVA: One pair of blue jeans.TONY: One black mesh t-shirt. Do women really like these?ZIVA: Depends on who's wearing it.TONY: So if I'm--ZIVA: No! It's not much to go on.(SFX: DOORSSLIDE OPEN/ CLOSE)TONY: Only one place left to check. Ha ha!ZIVA: Ha! Tony just put his hands in another man's pocket, and it made him very happy.TONY: Found a pre-paid calling card.GIBBS: That's it?ZIVA:Yes.GIBBS: No engagement rings?TONY: Do you want those, too? (BEAT) I'll go to Siri's and get the ring, and any other gifts Finn might have given her. McGee, you've got Rebecca.ZIVA: How could they have been so"}
+{"doc_id":"doc_35","qid":"","text":"Originally written by Chris Brown. Transcribed by Dan Silverstein.[Scene: Central Perk. The whole gang is there, Ross is showing pictures of his new baby boy, Ben, to the group.]ROSS: And here's little Ben noddingoff...MNCA: Awww, look at Aunt Monica's little boy!PHOE: Oh, look, he's got Ross's haircut!RACH: Oh, let me see! [grabs picture] Oh, God, is he just the sweetest thing? You must just want to kiss him all over![Ross ispractically drooling over Rachel at this point.]ROSS: [quietly] That would be nice.[Chandler, annoyed with Ross's fawning, makes a 'pfft' noise.]RACH: Pardon?CHAN: Nothing, just a little extra air in my mouth. Pffft.Pffffffft. [walks over to where Joey is seated][Joey is looking at his check.]JOEY: Hey, Chan, can you help me out here? I promise I'll pay you back.CHAN: Oh, yeah, right, OK... inlcuding the waffles last week, you nowowe me... 17 jillion dollars.JOEY: I will, really. I'll pay you back this time.CHAN: [sigh]... And where's this money coming from? [gives money to Joey]JOEY: Well... I'm helping out down at the NYU Med School withsome... research.ROSS: [overhearing] What kind of research?JOEY: Oh, just, y'know.... science.ROSS: Science. Yeah, I think I've heard of that. [everyone's interest is piqued, they all look over]JOEY: [sigh]... It's afertility study.[Rachel laughs.]MNCA: Oh, Joey, please tell me you're only donating your time.JOEY: Alright, come on you guys, it's not that big a deal. Really... I mean, I just go down there every other day and... makemy contribution to the project. Hey, hey, but at the end of two weeks, I get seven hundred dollars.ROSS: Hey.PHOE: Wow, ooh, you're gonna be making money hand over fist!Credits[Scene: Monica's apartment.Monica and Phoebe are preparing for a barbecue for Rachel's birthday.]MNCA: OK, we got the cole slaw, we got the buns...PHOE: We've got the ground-up flesh of formerly cute cows and turkeys, ew... [hands meat toMonica][Chandler and Joey enter with charcoal.]CHAN: [in a deep voice] Men are here.JOEY: We make fire. Cook meat.CHAN: Then put out fire by peeing, no get invited back.MNCA/PHOE: Ewww!MNCA: Oh Joey,Melanie called, said she's gonna be late.JOEY: Oh, OK.PHOE: So how are things going with you two? Is she becoming your [provocatively] special someone?JOEY: I don't know, she's, uh.... she's pretty great.MNCA:Yeah? What does she think of your little science project?JOEY: What, you think I'm gonna tell a girl I like that I'm also seeing a cup?MNCA: Man's got a point.JOEY: Well, the tough thing is, she really wants to have s*xwith me.CHAN: Crazy bitch.JOEY: Yeah, well, I still got a week left to go in the program, and according to the rules, if I want to get the money I'm not allowed to conduct any... ersonal experiments, if you know what Imean.MNCA: Joey... we always know what you mean.[Time lapse. Chandler and Joey are making the fire, Monica and Phoebe are inside. Ross enters, carrying luggage.]PHOE: Hey.MNCA: Hey.ROSS: Hey. [Phoebe seeshis bags]PHOE: How long did you think this barbecue was gonna last?ROSS: I'm going to China.PHOE: Jeez, you say one thing, and...MNCA: You're going to China?ROSS: Yeah, i-it's for the museum. Someone found abone, we want the bone, but they don't want us to have the bone, so I'm going over there to try to persuade them to give us the bo--it's--it's a whole big bone thing. Anyway, I'm gonna be gone for like, uh... like aweek, so, uh, if you wanna reach me, y-you can't. So here's my itinerary [hands a sheet of paper to Monica]. Um... here's a picture of me... [hands it to Monica]PHOE: Oh, let me see! [takes the picture]ROSS: [toMonica]: Could you take it to Carol's every now and then, and show it to Ben, just so he doesn't forget me?MNCA: Yeah.[Phoebe puts the picture of Ross up to her face.]PHOE: Hi, Ben. I'm your father. I am... the head.Aaaaaahhhh.... [puts picture down, sees Ross staring at her] Alright, this barbecue is gonna be very fun.ROSS: Hey, is Rachel here? Um, I wanted to wish her a happy birthday before I left.MNCA: Oh no, she's outhaving drinks with Carl.ROSS: Oh. [pause] Hey, who's Carl?MNCA: You know, that guy she met at the coffeehouse.ROSS: No.PHOE: Oh, well, see, there's this guy she met at the--ROSS: At the coffeehouse,right.PHOE: So you do know who he is! [laughs, Ross stares at her] Sorry.ROSS: OK, I'm gonna go say goodbye to the guys.PHOE: Oh, hey, y'know what? Tell them that bone story.[Ross goes outisde on thebalcony.]ROSS: Hi.JOEY: Hey!CHAN: Hey!ROSS: [sigh]....I have to go to China.JOEY: The country?ROSS: No no, this big pile of dishes in my mom's breakfront. Do you guys know who Carl is?CHAN: Uh, let's see...Alvin... Simon... Theodore.... no.ROSS: Well, Rachel's having drinks with him tonight.JOEY: Oh no! How can she do that when she's never shown any interest in you?!?CHAN: Forget about her.JOEY: He's right, man.Please. Move on. Go to China. Eat Chinese food.CHAN: Course there, they just call it food.ROSS: Yeah... I guess. I don't--I don't know. Alright, just... just give her this for me, OK? [gives Chandler a gift forRachel]JOEY: Listen, buddy, we're just looking out for you.ROSS: I know.JOEY: We want you to be happy. And I may only have a couple beers in me, but... I love you, man. [Joey gives Ross a hug]CHAN: I'm still on myfirst. I just think you're nice.[Time lapse. Melanie (MELN), Joey's girlfriend, is there with Joey, Chandler, Monica, Phoebe, and Rachel. Ross is gone.]MELN: Anyway, that's when me and my friends started this whole fruitbasket business. We call ourselves 'The Three Basketeers.'JOEY: Like the three musketeers, only with fruit.CHAN: [sarcastic] Ooooh. [looks dumbfounded at Joey's stupidity]MNCA: [gets up] OK, how does everybodylike their burgers?RACH: Oh, no, no, no. Presents first. Food later. [walks into living room][Everyone follows Rachel to the living room. Monica pulls Joey aside.]MNCA: Hey, hold on there, tiger. How's it going? How youholding up?JOEY: Well, not so good. She definitely thinks tonight is the night we're gonna... complete the transaction, if you know what I--[Monica rolls her eyes.]JOEY: Then you do. Heh, heh.MNCA: So, uh, have youever thought about being there for her?JOEY: What do you mean?MNCA: Y'know, just be there for her.[Long pause... Joey looks confused.]JOEY: Not following you.MNCA: Think about it.[They both walk over to whereRachel is opening her gifts. Rachel sees her first gift is a fruit basket.]RACH: OK, I'm guessing this is from...[Melanie smiles.]RACH: Well, thank you, Melanie.CHAN: [pointing out a gift] OK, this one right here is fromme.RACH: [picks it up] OK... ah, it's light... [shakes it]...it rattles... it's... [opens it] Travel Scrabble! Oooohhh, thank you! [she gives it back to him][Chandler looks dejected. Rachel picks up another gift.]RACH: Thisone's from Joey... feels like a book. Thinks it's a book... feels like a book. And...[opens it]...it's a book!PHOE: Oh, it's Dr. Seuss!JOEY: [to Rachel]: That book got me through some tough times.MELN: There is a littlechild inside this man!CHAN: Yes, the doctors say if they remove it, he'll die.[Rachel picks up the next gift.]RACH: Who's this from?CHAN: Oh, that's Ross's.RACH: Oh... [opens it]... [sees it is a pin] Oh my God. Heremembered.PHOE: Remembered what?RACH: It was like months ago. We were walking by this antique store, and I saw this pin in the window, and I told him it was just like one my grandmother had when I was a littlegirl. Oh! I can't believe he remembered!CHAN: Well, sure, but can you play it on a plane? [pats his Travel Scrabble game]PHOE: Oh, it's so pretty. This must have cost him a fortune.MNCA: I can't believe he didthis.CHAN: Come on, Ross? Remember back in college, when he fell in love with Carol and bought her that ridiculously expensive crystal duck?[Everyone looks at him. He realizes he just spilled the beans about Ross'scrush on Rachel.]RACH: What did you just say?CHAN: [panicked] ahem... um... Crystal duck.RACH: No, no, no.... the, um, the... 'love' part?CHAN: [stuttering incoherently] F-hah.... flennin....RACH: Oh.... myGod.CHAN: [rubbing his temples] Oh, no no no no no....JOEY: [pats Chandler on the leg] That's good, just keep rubbing your head. That'll turn back time.[SCENE_BREAK][Scene: Same as before, a few momentslater.]RACH: I mean, this is unbelievable.PHOE: I know. This is really, really huge.CHAN: No it's not. It's small. It's tiny. It's petite. It's wee.PHOE: Nuh-uh. I don't think any of our lives are ever gonna be the same everagain.CHAN: OK, is there a mute button on this woman?MNCA: I think this is so great! I mean, you and Ross! D-did you have any idea?RACH: No! None! I mean, my first night in the city, he mentioned something aboutasking me out, but nothing ever happened, so I just... [to Joey]: W-well, what else did he say? I mean, does he, like, want to go out with me?JOEY: Well, given that he's desperately in love with you, he probablywouldn't mind getting a cup of coffee or something.RACH: Ross? All this time? Well, I've got to talk to him. [gets up to leave]CHAN: [quickly] H-He's in China!JOEY: The country.MNCA: No, no, wait. [checks Ross'sitinerary] His flight doesn't leave for another forty-five more minutes.CHAN: What about the time difference?MNCA: From here to the airport?CHAN: Yes! [Rachel walks towards door] You're never gonna make it!MNCA:Rachel, what're you gonna say to him?RACH: I-I-I don't know.CHAN: Well then maybe you shouldn't go.JOEY: He's right, cause if you're just gonna, like, break his heart, that's the kind of thing that can wait.MNCA:Yeah, but if it's good news, you should tell him now.RACH: I don't know. Maybe I'll know when I see him.PHOE: Here, look, alright, does this help?[Phoebe gets up, holds the picture of Ross up to her face.]RACH:Noooo... look, all I know is that I cannot wait a week until I see him. I mean, this is just too big. Y'know, I just, I've just gotta talk to him. I... I gotta... OK, I'll see you later. [opens door]CHAN: Rachel, I love you! Dealwith me first! [she leaves][Scene: Airport. Ross has headphones on, and is listening to a 'How To Speak Chinese' tape. Occasionally, he makes an outburst in Chinese in accordance with the tape. He is getting on thejetway. The flight attendant (FLGT) is there.]ROSS: [something in Chinese]FLGT: Alright!ROSS: Ni-chou chi-ma! [walks onto jetway][Rachel runs into the airport, trying to catch Ross, moving people out of theway.]RACH: Ross! Excuse me, pardon me, excuse me....[Rachel gets up to the jetway.]FLGT: Hi!RACH: Hi.FLGT: May I see your boarding pass?RACH: Oh, no, no, I don't have one. I just need to talk to my friend.FLGT:Oh, oooh. I'm sorry. You are not allowed on the jetway unless you have a boarding pass.RACH: No, I know, but I--he just went on. He's right there, he's got the blue jacket on, I... can I j-just...FLGT: No no no! Federalregulations!RACH: OK, alright, OK, um... then could you please, uh... just give him a message for me? Please? This is very important.FLGT: Alright. What's the message?RACH: Uh... I don't know.[Scene: On the jetway.The flight attendant enters, walks past Ross, and approaches an older man with his wife who is also wearing a blue jacket.]FLGT: Sir? Sir? Excuse me, sir? Uh... I have a message for you.MAN: [confused] What?FLGT:It's from Rachel. She said that she loved the present, and she will see you when you get back.MAN: [to wife]: Toby... Oh, for God's sake, I don't know what she's talking about! There's no Rachel! Don't give me thatdeep freeze.[Scene: Joey's bedroom. He and Melanie are in bed together.]MELN: Mmmmmm... Oh, Joey, Joey, Joey... I think I blacked out there for a minute!JOEY: Heh, heh. It was nothin'.MELN: Well, now we'vegotta find something fun for you! [she starts kissing his chest]JOEY: [panicked] Uhhh.. y'know what? Forget about me. Let's, uh... let's give you another turn.MELN: [surprised] M-Me again?JOEY: Sure! Why not?MELN:Boy, somebody's gonna get a big fruit basket tomorrow.[Joey starts to kiss her.]MELN: Oooh, I gotta tell you... you are nothing like I thought you would be.JOEY: How do you mean?MELN: I don't know, I-I guess I justhad you pegged as one of those guys who're always 'me, me, me.' But you... you're a giver. You're like the most generous man I ever met. I mean... you're practically a woman.[Scene: Monica's apartment. Monica,Phoebe, and Rachel are there. Monica is holding the wrapping paper from one of Rachel's gifts.]MNCA: Uh, so, uh, Rach, uh... do you wanna save this wrapping paper, I mean, it's only a little bit torn... so are you gonnago for it with Ross or should I just throw it out?RACH: I don't know. I don't know... I thought about it all the way there, and I thought about it all the way back... and, uh, oh, you guys, y'know, it's Ross. Y'know what Imean? I mean, it's Ross.PHOE/MNCA: Sure.RACH: I don't know, I mean, this is just my initial gut feeling... but I'm thinking... oh, I'm thinking it'd be really great.MNCA: Oh my God, me too! Oh! Oh, we'd be likefriends-in-law! Y'know what the best part is? The best part is that you already know everything about him! I mean, it's like starting on the fifteenth date!PHOE: Yeah, but, y'know, it's... it would be like starting on thefifteenth date.MNCA: Another good point.PHOE: No, I mean, I mean, when you're at the fifteenth date, y'know, you're already in a very relationshippy place. Y'know, it's... you're committed.RACH: [confused]Huh?PHOE: Well, I mean, then what happens if it doesn't work out?MNCA: Why isn't it working out?RACH: I don't know... sometimes it doesn't.MNCA: Is he not cute enough for you?RACH: No!MNCA: Does he not makeenough money?RACH: No, I'm just....PHOE: Maybe there's someone else.RACH: Wha--MNCA: Is there? Is there someone else?RACH: No! There is.. there is noone else!MNCA: Then why the hell are you dumping mybrother?!?[SCENE_BREAK][Scene: Chandler and Joey's apartment. Chandler is eating breakfast, Joey quietly opens his bedroom door.]CHAN: Hey, big--JOEY: Shhhh!CHAN: [quietly] --spender.JOEY: She's stillasleep.CHAN: So how'd it go?JOEY: Oh, it was amazing. You know how you always think you're great in bed?CHAN: The fact that you'd even ask that question shows how little you know me.JOEY: Well, it's like, lastnight, I couldn't do the thing that usually makes me great. So I had to do all this other stuff. And the response I got... man, oh man, it was like a ticker tape parade!CHAN: Yes, I know, as it happens my room is veryvery close to the parade route.JOEY: It was amazing! And not just for her... uh-uh. For me, too. It's like, all of a sudden, I'm blind. But all my other senses are heightened, y'know? It's like... I was able to appreciate iton another level.CHAN: I didn't know you had another level.JOEY: I know! Neither did I![Scene: Monica's apartment, one week later. Monica is seated, Rachel comes out of her bedroom.]MNCA: Hey, great skirt!Birthday present?RACH: Yeah.MNCA: Oh, from who?RACH: From you. I exchanged the blouse you got me.MNCA: Well, it's the thought. Hey, doesn't Ross's flight get in in a couple hours? At gate 27-B?RACH: Uh, yeah.Uh, Monica, y'know, honey, I've been thinking about it and I've decided this--this whole Ross thing, it's just not a good idea.MNCA: Oh, why?RACH: Because, I feel like I wouldn't just be going out with him. I would begoing out with all of you. Oh, and there would just be all this pressure, and I don't wanna--MNCA: [gets up] No, no, no, no, no, no pressure, no pressure!RACH: Monica, nothing has even happened yet, and you'realready so...MNCA: I am not 'so'! OK, I was a teensy bit weird at first, but... I'll be good. I promise.[Door buzzer goes off. Rachel answers it.]RACH: Who is it?VOICE: It's me, Carl.RACH: C'mon up.MNCA: Behind mybrother's back? [Rachel glares at her] ... is exactly the kind of crazy thing you won't be hearing from me.[Scene: Chandler and Joey's apartment. Chandler is seated, and the apartment is filled with baskets of fruit. Joeyenters, check in hand.]JOEY: Seven hundred bucks!CHAN: Alright, you did it! Do we have any fruit?JOEY: Man, hell of a two weeks, huh? Y'know what, though? I really feel like I learned something.CHAN: Really? So,you're gonna stick with this 'it's all for her' thing?JOEY: What, are you crazy? When a blind man gets his sight back, does he walk around like this? [Joey closes his eyes and walks around with arms spread.][Scene: Thebalcony of Monica's apartment. Rachel is having drinks with her date, Carl.]CARL: I'm just sayin', if I see one more picture of Ed Begley, Jr. in that stupid electric car, I'm gonna shoot myself! I mean, don't get mewrong... I'm not against environmental issues per se.... it's just that guy![Rachel looks bored. At this point, Ross--a figment of Rachel's imagination-- shows up on the balcony and starts talking to her.]ROSS: I can'tbelieve you'd rather go out with him than me.RACH: Would you excuse me, please? I'm trying to have a date here.ROSS: Fine, just stop thinking about me.[She tries, and Ross disappears momentarily. He reappears,standing closer to her.]ROSS: Can't do it, can you?RACH: So I'm thinking about you. So what?ROSS: I don't get it. What do you see in this guy, anyway?RACH: Well... he happens to be a very nice... guy....CARL: Imean, come on, buddy, get a real car!ROSS: Rachel, come on. Give us a chance.RACH: Ross, it's too hard.ROSS: No, no, no... why, because it might get weird for everyone else? Who cares about them. This is aboutus. Look, I-I've been in love with you since, like, the ninth grade.RACH: Ross, you're like my best friend.ROSS: I know.RACH: If we broke up, and I lost you...ROSS: Whoa, whoa, whoa. What makes you think we'regonna break up?RACH: Well, have you been involved with someone where you haven't broken up?ROSS: [pause] No. But... it only has to happen once. Look, you and I both know we are perfect for each other, right? Imean... so, the only question is... are you attracted to me?RACH: I don't know... I mean, I've never looked at you that way before.ROSS: Well, start looking.[They kiss. Ross walks away, and then fades out.]RACH:Wow.CARL: Exactly! And you just know I'm gonna be the guy caught behind this hammerhead in traffic!RACH: Right! You're right!CARL: Heh... y'know?RACH: You know what?CARL: What?RACH: I forgot... I amsupposed to pick up a friend at the airport. I am so sorry! I'm so... if you want to stay, and finish your drinks, please do.... [gives him her drink] I mean--I'm sorry. I-I-I gotta go. I'm sorry.[Rachel leaves.]CARL:But...[Scene: Airport. Madonna's Take A Bow plays in the background. Rachel waits at the gate with flowers.]RACH: [sifting through crowd] Excuse me, pardon me, excuse me, excuse me, sorry. Hi.[Scene: Jetway. Theold man who the flight attendant delivered Rachel's message to gets off the plane, his wife still upset with him.]MAN: For God's sake, will you let it go? There's no Rachel![A Chinese woman getting off the plane dropsone of her bags. Ross gets off next.]ROSS: Oh, hey, hey, I got that.[Ross picks up the bag... then he and the woman (JULIE) kiss.]JULIE: Oh, thanks, sweetie.ROSS: No problem. I cannot wait for you to meet myfriends.JULIE: Really?ROSS: Yeah.JULIE: You don't think they'll judge and ridicule me?ROSS: No, no, they will. I just... uh...ROSS/JULIE: Can't wait.ROSS: Come on, they're gonna love you.[Scene: Close-up of Rachel,eagerly awaiting Ross's arrival... not knowing he is getting off the plane with another woman.]"}
+{"doc_id":"doc_36","qid":"","text":"RED BEDROM RECORDJamie is sitting at the piano singing \"I don't want to be\" with David Degraw himself besides himDAVID : Let me take this part.(David Degraw sings alone)DAVID : You're a cute kid.JAMIE : Thankyou.DAVID : You're welcome.OUTSIDE LUCAS' HOUSEWe see news papers throw at his door. Few days has passedINSIDE CLUB TRICWe see Lucas drinking in different clothes.IN THE STREETWe see water balloonsthrow everywhereIN THE HOSPITALDan is at Reverend Carter bedsideBROOKE AND PEYTON'S HOUSEBrooke is looking at a board that says Angie has 8 more days with her. Then she goes play with herBROOKE : Hey,you. Whatcha got there? What's that?THE APARTMENTWe see Deb sneaking out of Skills' bedroomMOUTH'S OFFICEMouth's boss is disregarding himNATHAN AND HALEY'S HOUSEHaley is waking up and finds Chesterbesides her instead of NathanTREE HILL GYMNathan is practicing aloneNATHAN AND HALEY'S HOUSEJamie is standing in front of the poolOUTSIDE CLOTHES OVER BROSMillicent arrives at work, avoiding water balloons,and looks at the roof before entering the store. She seems annoyed.LUCAS' BEDROOMJamie is in front of Lucas who's still asleep, with a pillow over his headJAMIE : I think you drink too much.LUCAS : I think you'reright.NATHAN : Damn. Think somebody got thrown through a plate-Glass window. Dude, it seriously smells like ass in here.JAMIE : And rotten cheese.LUCAS : Go away.JAMIE : Ew, and bad breath.LUCAS : I said, \"goaway.\"(Lucas throws away the pillow and we find out that he has a mohawk)JAMIE : Ho...NATHAN : Holy crap.LUCAS : What?NATHAN : Have you seen your head?LUCAS : Not lately.NATHAN : You have amohawk.LUCAS : I do?(Jamie jumps on the bed and plays with Lucas' mohawk)JAMIE : Awesome. Can I get one, daddy?NATHAN : Sure, if you want to look goofy like your uncle Lucas.JAMIE : Kind of like he has a tail...just on his head.NATHAN : Jamie, why don't you go get Luke a bottle of water, huh?JAMIE : Okay.(Jamie leaves the room)NATHAN : I thought we were gonna see you at that school-Board hearing.LUCAS :Yeah.NATHAN : They suspended you, Luke. 10 games.LUCAS : There's only 11 left.NATHAN : Not for you.(Jamie comes back with the bottle)JAMIE : Here you go!NATHAN : All right, Jamie. Let's get going.JAMIE : Okay.Bye, uncle Lucas. Cool hair.(Jamie goes outside)NATHAN (to Jamie) : Wait for me right there, okay?(Nathan closes the door)NATHAN : Look, Luke... I know from experience whatever answers you're looking for... You'renot gonna find them like this... Trust me. I know it sucks that Lindsey's dating, And it sucks that you grabbed that player, but don't make it worse. The darkness doesn't have any answers, Luke.BROOKE AND PEYTON'SHOUSEBrooke is in bikini, ready to go to the beach with AngieBROOKE : Okay, you silly rabbit. We're going to the beach. Yes, we are. Just me and my funny bunny. Did you hear that? Did you hear what I called you?Did you hear what mama...(Brooke stops, surprised by what she's just said. Then the phone rings)BROOKE (on the phone) : Hello? Yes, this is she. But... there must be some mistake. She has eight days left... But she'srecovering from surgery, so... No, I understand... Okay. Bye-Bye.(Brooke hangs up)BROOKE (to Angie) : They want you to go home today. But that can't happen.LUCAS' BEDROOMLucas is looking at his mohawk in themirror when Haley walks inHALEY : Oh, well, well. What...what is all thisLUCAS : Not sure.HALEY : I would laugh if this whole thing wasn't such a mess.LUCAS : What whole mess?HALEY : You, your head... All of it. Youand I are going for a drive. But, first, we're gonna fix the ferret above your face.LUCAS : Why?HALEY : We're taking a drive because I'm your best friend and you need me. And we are fixing your... Very punk-Rockhaircut because I have a 5-Year-Old son who unfortunately wants to look just like his uncle Lucas.(Lucas sits on the chair and Haley starts shaving his head)NATHAN AND HALEY'S HOUSENathan and Jamie are watchinga basketball game on TV. Jamie has a mohawk tooJAMIE : So, how's the comeback going?NATHAN : It's not a comeback.JAMIE : Quentin says it is.NATHAN : Quentin's wrong. And, by the way, nobody's sporting thefaux hawk anymore, dude.JAMIE : I'm bringing it back.(Jamie makes a shoot in his small hoop with rolled-up socks)JAMIE : So, what team do you think you're gonna play for in the NBA?NATHAN : Jamie, come here... Iknow you're really excited about this, but... I'm probably never gonna play in the NBA.JAMIE : Sure, you will.NATHAN : Geez, kiddo. You're playing with rolled-Up socks? What happened to your ball?JAMIE : I lost it... Igot to go feed Chester(Jamie leaves)INSIDE LUCAS' CARHaley is with Lucas, who's driving.HALEY : I got to ask you something. Did you tell Peyton that you hated her?LUCAS : Maybe. I was a little wasted.HALEY : Luke,you can be such a jackass sometimes. She is in love with you. You probably broke her heart.LUCAS : Oh, I didn't break her heart. You're being dramatic.HALEY : I'm being dramatic. Stop here.LUCAS : The light'sgreen.HALEY : Just stop.LUCAS : All right. We're sitting at a green light. Now what?(People starts honking)HALEY : Just wait for it.LUCAS : Haley, the light's green! Wait for what?!(At this time, a red water balloonsmashed the windshield)HALEY : Kind of like Peyton's heart, don't you think? I'll be right back. You shouldn't stay here.(Haley leaves the car)LUCAS : Okay.THE ROOF OF CLOTHES OVER BROSPeyton is looking at thestreet, Haley arrives.HALEY : Hey.PEYTON : You said it made you feel better.HALEY : It's gonna be okay. Haley is alone, taking their predictions from the wall. When she's done, Lucas arrives.HALEY : All right. All clear,you goof.LUCAS : No Peyton?HALEY : No. You need to apologize to her.LUCAS : Hey, remember all the water-Balloon battles we used to have up here?HALEY : Don't change the subject. Actually, now that you mentionit, it was junior year, the boy-Toy auction. We had that water-Balloon fight up here, and you saw my tattoo of Nathan's jersey number for the first time.LUCAS : You mean your slutty little tramp stamp.HALEY : I am sobarely your friend right now.LUCAS : Sorry.HALEY : The point is, I was so scared that night. I was falling in love for the first time, and I was so unsure. But I did it. And while it hasn't been easy, it has beeneverything.(After a blank)HALEY : We're not kids anymore, Luke. You know... It really hurts me to watch what you're doing.LUCAS : Lindsey said no, Hales, I said yes.HALEY : Don't give me that, Luke. I'm being honestwith you right now, and you need to be honest with yourself. What do you want? If Lindsey's the girl that you're in love with, great. If it's Peyton, great. If it's Brooke, just please... Stop hiding your heart... I meanit.(Haley leaves him alone)MOUTH'S OFFICEMillicent comes to see MouthMILLICENT : Hi. How's your day?MOUTH : Well, I cleaned the bathroom, washed the news van, returned some shoes for the weather ladybecause apparently the straps cut into her \"cankles,\" and they hired a new sports guy... Steve.MILLICENT : How about I buy you some lunch? Come on.THE HOSPITALDan arrives with flowers in Reverend Carter's room,who's unconsciousDAN : Reverend Howard Carter. I did a little research. Man of faith, lived a good life. Tough run, though. Diabetes, stroke. You know, it's not exactly benevolent of you to lie there and take a heart thatcould be put to better use. In fact, it's really quite selfish. Don't you agree?(Dan grabs his head and makes him nod)DAN : \"Yeah, I agree. Yes, I do.\"(A nurse enters the room)NURSE : Morning.DAN : Good morning. Thereverend was looking a little uncomfortable.NURSE : Would you like to give him this pillow?DAN : Actually... I just might.NATHAN AND HALEY'S HOUSENathan is watching by the terrace door. Deb comes homediscreetly behind himNATHAN : Hey, look. It's my mom doing the walk of shame. Maybe we should hire a nanny for you. Out with a guy you met on a p0rn site.DEB : Not p0rn... Erotica.(Deb goes to her room andNathan goes outside, where he finds Jamie's ball, inside the pool)Nathan comes to see Jamie in his room, who's with ChesterNATHAN : Hey, buddy. Thought you might want to go for a swim.JAMIE : No, thanks.NATHAN: It's been a while. I don't think I've seen you in the pool since your accident.JAMIE : It's okay. I have to feed Chester.NATHAN : Jamie, are you afraid?JAMIE : No. I just don't want to.NATHAN : Are you sure? It mightbe fun.JAMIE : No, thank you.(Nathan puts Jamie's ball on his bed before leaving)DR COPELAND'S OFFICEDr Copeland examines AngieCOPELAND : Well, I think I found the problem.BROOKE : You did?COPELAND : Yes.Uh, you have an incredibly cute baby here, and you don't want to send her home.BROOKE : But are you sure she's well enough?COPELAND : Brooke, Angie's tough days are over, okay? And she was very brave aboutthem. It's time for you to be brave.BROOKE : But I was supposed to have eight more days with her. We were supposed to go to the beach.COPELAND : Well, that's how the program works. They take the first flightavailable. Anyway, look, um... When the silence sets in... And it will... Be proud of this. Okay? You've done a great thing here, Brooke. But it's time for Angie to go home... Today.BROOKE : Yeah.TREE HILL GYMNathanis practicing with Quentin. Jamie is watchingQUENTIN : So you got something for me, man?NATHAN : Just shut up and check the ball, \"Q.\"QUENTIN : Oh... Crossover's a little rusty, son. Huh? Fake this guy. Ha ha ha.Where that a.C.C. Game at, Nate? Hmm? First-Team all-American? NBA lottery? Huh? Ugh, up out of here, man.(Nathan tries to make a shot but Quentin stops it)NATHAN : Damn it!QUENTIN : The fadeaway, Nate?Really? Are you serious? The fadeaway is weak, man! Weak! Come on, man. Let's go again.NATHAN : No, man. I'm not feeling today. I'm done.QUENTIN : Hey, J. Scott... Why don't you run out in the hallway and get ussome waters?JAMIE : Okay.(Jamie starts going)QUENTIN : Hey. You see any hot psycho nannies out there, You run back in here, okay?JAMIE : Not funny.(Jamie leaves)QUENTIN : What's going on, Nate?NATHAN : I'mjust out of shape.QUENTIN : No, man. That ain't it. That is not it. Now, every day we do this, and every day you play soft.NATHAN : Well, maybe that's because I can't do this anymore.QUENTIN : Really? Maybe you justscared to, right? Huh? Easier to have your dream taken away than give it a shot and fail, right?NATHAN : I'm not scared.QUENTIN : Right? You not scared? Well, you playing scared.NATHAN : I'm not scared.QUENTIN :You playing scared!NATHAN (yelling) : I am not scared, man!(Jamie comes back and hears his father yelling. Nathan sees him)NATHAN'S CARJamie and Nathan get in the car after practice. Nathan is still angryJAMIE :I'm... I'm afraid to go in the pool, daddy.NATHAN : Yeah, but, uh... You went in the pool all the time before your accident, Jamie, and you loved it. You know you can still do it.JAMIE : I know. I'm just...scared.(After ablank)JAMIE : It's okay if you don't play anymore.NATHAN : Thanks, son.PEYTON'S OFFICEHaley enters the office.HALEY : I'm dying here.(Peyton doesn't answer)HALEY : You okay?PEYTON : Huh? Yeah. Uh, I-I just gota weird e-Mail from Mia saying she met this guy out on tour that said he knew Ellie. So it just caught me off guard... How come you're dying?HALEY : Oh, because I'm having trouble writing lyrics for this melody thatyou liked.PEYTON : Okay, what do you got so far?HALEY : So far I've got nothing.PEYTON : All right. How about... \"I hate you, bitch. You ruined my life\"? Does that do anything for you?HALEY : You know what? I dohave some words for you, even though they're not mine. Lucas and I, we used to write our predictions every year before the school year started. Sort of what we hoped would happen.PEYTON : Lame.HALEY : You knowyou're jealous.PEYTON : Kind of.HALEY : Anyway, I'm gonna violate my friendship rule here because you're at, like, code red.(Peyton starts reading)HALEY : \"Peyton sawyer will become Peyton Scott.\" That was, like,eighth grade. He got a little cocky sophomore year. \"Make out with Peyton sawyer... or more.\" And, \"this year, I'll talk to Peyton Sawyer.\" \"Try again with Brooke... Brooke Davis.\"(Both laugh)HALEY : Well, that... But,you know, this is how much he doesn't hate you. It's a whole lifetime's worth.PEYTON : I know. I know. That's... That's what he writes. But what he says is a totally different story.HALEY : Sometimes people write thethings that they can't say.LUCAS' BEDROOMLucas is putting parts of license plates on his wall. Someone knocks at the door.LUCAS : Come on in. It's open.(Lindsey comes in)LINDSEY : Hi.LUCAS : Hi.(Lindsey is lookingat what Lucas was doing)LINDSEY : This is nice, Luke.LUCAS : Lindsey, what are you doing here?LINDSEY : Uh... I needed to talk to you about something, but... You wouldn't answer your phone.LUCAS : You lookgood.LINDSEY : You look hung over.LUCAS : Yeah, well... There's a girl I almost married started dating again. And after that, well, things just kind of went dark.(He laughs)LINDSEY : The book's done.LUCAS : Oh, comeon. The... The ending needs work. I haven't even written a dedication yet.LINDSEY : You can e-Mail the dedication.(After a blank)LINDSEY : The book's done, Luke. It's perfect. So... I think this is goodbye. And goodbyeshouldn't happen over the phone.(She kisses him on the check and starts leaving)LUCAS : Lindsey... Do you ever miss me?LINDSEY : I should go.(Lindsey leaves. We see Lucas' phone vibrating on the bureau, it's avoice mail from Brooke)BROOKE AND PEYTON'S HOUSEBrooke is leaving the house with Angie and all her stuffs. She lets drop the purple monkey on her way outNATHAN AND HALEY'S HOUSENathan comes to seeJamie in his bedroomNATHAN : What you doing, buddy?JAMIE : Looking at your trophies.NATHAN : You know, someday, you're gonna have your own trophies.JAMIE : Think so?NATHAN : Oh, yeah. I know so. Trophies,awards... Maybe even a monument. And then maybe someday you'll have a son of your own that's even greater than any award or accomplishment. Come here. Don't be afraid to be great, son. Okay? 'Cause you are.And the world isn't strong enough to beat James Lucas Scott. I promise. We love you.MOUTH'S OFFICEMillicent and Mouth come back from lunch. They walk by a new guySTEVE : Hi, I'm Steve, the new sportsguy.MILLICENT : Hi, Steve. That's the better sports guy.OUTSIDE NATHAN AND HALEY'S HOUSEWe see Jamie in his swim suit putting on his wingsTHE HOSPITALDan is at Reverend Carter bedsideDAN : The truth is, I'mscared, okay? The countdown's on. And I've got to wait for this damn beeper to go off before I can get a heart... After you get one. You're the one who's lived a good life. I'm the one who needs time to make amends.So why don't you just take one for the team, huh? And if you do... I'll use my time for redemption. Okay?(Nothing happens)DAN : You suck, Carter.THE AIRPORTBrooke is about to let go AngieBROOKE : I love you, littlegirl, and I always will, okay? You're gonna have a great life. Don't forget me, okay?(Angie is crying. Brooke too)OUTSIDE NATHAN AND HALEY'S HOUSENathan and Haley are watching Jamie jumping in the poolJAMIE :I'm James Lucas Scott!(Nathan and Haley joins him in the pool)THE AIRPORTAngie is gone, Brooke turns around and sees LucasBROOKE : You got my message.(Lucas nods)BROOKE : I told you not to come.LUCAS : Iknow.BROOKE : She's gone, Luke.LUCAS : I know.(Lucas takes her in his arms. Brooke burst into tears)OUTSIDE NATHAN AND HALEY'S HOUSEWe see Nathan and Haley playing with Jamie in the poolTHERIVERCOURTWe see Peyton painting a messageMOUTH'S OFFICEWe see Mouth kissing MillicentTHE HOSPITALWe see Dan taking off the Reverend's oxygen mask and then looking at Jamie's note he had in hispocket.OUTSIDE NATHAN AND HALEY'S HOUSEThey are all three still in the poolNATHAN : You did it, buddy. I knew you could. Come here. All right, you ready?JAMIE : Yeah!NATHAN : One... two, three.(Nathan throwsJamie)THE HOSPITALDan is holding a pillow in front of the Reverend, thinking of choking him. Then he changes his mind and just put the pillow under the Reverend head.DAN : Okay, Carter... It's up to you. Butsometimes a guy just needs a sign there's some hope for him, you know?(Dan shows Carter Jamie's note)DAN : Hope.THE AIRPORTWe see Lucas and Brooke leaving the airportMOUTH'S OFFICEMillicent and Mouth arealone in an officeMOUTH : Thanks for the lunch, and telling the new sports guy off. But I should probably get back to being shunned.MILLICENT : I'm sorry it's so hard for you now.MOUTH : You know something? I standby what I did. Luke was really hurting, and it just felt insidious somehow to broadcast that pain.(Jerry interrupts them)JERRY : Mouth, how many men's basketball championships has UCLA...MOUTH : Eleven(Jerryleaves)MOUTH : I don't know what to do now.MILLICENT : Omaha.MOUTH : Not without you.MILLICENT : Then I'll go, too.MOUTH : Really? You'd go with me?MILLICENT : Yes. I'd go anywhere with you, MarvinMcfadden.(She kisses him)BROOKE AND PEYTON'S HOUSEWe see Brooke sitting on her couch alone, sad, holding the purple monkeyTHE RIVERCOURTLucas lights up the court and is surprised when he sees Peyton'sdrawing. A comet and few sentences \"I will always love you - Peyton\"INSIDE NATHAN AND HALEY'S HOUSEJamie comes from the pool, followed by Deb. Haley is writing and Nathan is ready to go practieDEB : Jamie,you're tracking water all over the house! I can't get him out of that pool now.NATHAN : Dude, dry off and get your jersey on. We're going back to the gym.JAMIE : We are?!NATHAN : Yeah. Nathan and JamieScott.(Jamie leaves and Deb still follows him)DEB : Oh, Jamie!(Haley comes toward Nathan)HALEY : You know what? You still make my heart race.(Nathan laughs)HALEY : You do. I'm serious. Feel this.(She presses hishand against her chest)HALEY : And my heart is so full of pride and love and joy right now because of you.(They almost kiss but her cell phone rings)HALEY : It's my other boy.(He kisses her)NATHAN : All right. I'll seeyou. I love you.(He leaves)HALEY (on the phone) : Hey.THE RIVERCOURTLucas is sitting on the court. Haley joins himHALEY : Wow. Very Peyton.(Lucas nods)LUCAS : Lindsey stopped by today.HALEY : She'shere?LUCAS : Uh, not anymore. I had to go see Brooke.HALEY : The trifecta. How nice. What did Lindsey want?LUCAS : She wanted to tell me that my book's done. Well, everything except the dedication. She said Icould e-Mail that to her.(After a blank)LUCAS : I'm thinking about... Taking off for a little while, you know?HALEY : Lucas, please stop running. Come on... You got to let go of this dark weight you're carryingaround.LUCAS : This morning... Nathan told me the darkness doesn't have any answers.HALEY : He's right. You saw him after his accident. And look at him now.LUCAS : Yeah.HALEY : You know that romantic notionthat all the garbage and the pain Is actually really healing and beautiful and sort of poetic? It's not. It's just garbage, and it's pain. You know what's better? Love. The day that you start thinking that love is overrated isthe day that you are wrong. The only thing wrong with love and faith and belief... Is not having it.THE AIRPORTLindsey is on the phoneWOMAN : hey, they want to do a conference call about the Lucas Scottgalleys.LINDSEY : Okay, just, uh, have them call my cell. And then you should take off. Thanks.WOMAN : Hey, Lindsey, did you tell him?LINDSEY : No. Bye.(She hangs up and looks at her messages. She reads thededication Lucas sent to her:\"...to all those lost souls who have forgotten to believe in the immensity of love\". Then she calls Lucas, crying, but reaches his voice mail)LINDSEY (to the voice mail) : Hi, Luke. Just gotyour dedication... and... I guess I'm one of those lost souls because... I lied to you. I said I was seeing someone, and I wasn't. The truth is... I was afraid of the immensity of your love, and I thought... Well, I justwanted you to know... You asked me if I miss you. Of course I miss you. That's all I do.THE RIVERCOURTLucas is still there, alone, and he is on the phone. Probably with his voice mailBROOKE AND PEYTON'SHOUSEBrooke is still sitting on the couch. Lucas enters.LUCAS : Hi.BROOKE : Hi. They're supposed to call me as soon as Angie's home safe.LUCAS : Where's Peyton?BROOKE : I don't know. Probably at work. I didn't tellher Angie was leaving for sure.LUCAS : And you told me not to come to the airport. Why?BROOKE : I don't like you guys to see me like this... Vulnerable.LUCAS : That's how I always see you, Brooke. And I think it'skind of beautiful. You know, um... I've been thinking about all the things you've done for... Angie and Rachel and me and... All kinds of people. You save people, Brooke Davis. It's what you do. Thanks for letting me"}
+{"doc_id":"doc_37","qid":"","text":"-[Real World]-(Henry is in a convenience store by the comic books. He's flipping through one when a girl, who is roughly Henry's age, approaches him.)Ava: Whatcha reading?Henry: The Hulk versus Wolverine.Ava: I'mAva. I think I've seen you around school. You're in Miss Blanchard's class, right?(Henry nods. Another boy close to their age walks up to Ava.)Nicholas: Almost ready, Ava?Ava: This is my brother, Nicholas.Nicholas: Hi.Come on - let's go.Ava: You want to come hang out?Henry: Sure!(The three go to leave the store, but are stopped by the owner.)Mr. Clark: Where the hell do you think you're going? Open up your bag.Henry: What?Mr.Clark: Don't think I didn't see you rob me. Open your bag.Henry: I didn't take anything.(Mr. Clark takes Henry's bag and looks through it. He pulls out a fistful of candy.)Mr. Clark: And a liar, too.Henry: That's why youwere talking to me. So your brother could put that stuff in there.Mr. Clark: Henry... I'm shocked. And you two - just who do you think you are?-[Fairy Tale World]-(In the forest, a man is hacking at a tree with an axeuntil he manages to topple it. Gretel and Hansel appear from behind another tree.)Father: Ah! A fine specimen. The wood it provides will keep our family's hearth warm this winter.Gretel: Can't I have an axe?Father:Huh?Gretel: You did say you wanted me here so I could help.Father: That I did. So, here's your task - take the cart, go fill it with kindling. The drier the better.Gretel: Okay.Father: And have your brother accompanyyou.Gretel: Okay.(Gretel picks up the end of the cart and goes to leave.)Father: Wait!(The Father removes the compass from around his neck and places it over Gretel's head.)Father: Take this.Gretel: Yourcompass?Father: So you don't get lost. A family always needs to be able to find one another.Gretel: Yeah.Father: Okay. Go. Be safe.(Hansel and Gretel take the cart and go deeper into thewoods.)[SCENE_BREAK](Hansel and Gretel are still collecting kindling for their father. Hansel has a slingshot and is shooting rocks into the forest.)Gretel: It's getting late. We should go.(She takes his slingshot.)Hansel:Hey! Give it back. Come on, Gretel! Give it back.Gretel: No, Hansel. We need to get back to Father.Hansel: Fine.Gretel: Follow me.(Gretel leads them to the area where their father was cutting down trees. However,there is no one there.)Gretel: This is where we left him.Hansel: So why isn't he here?Gretel: Father!Hansel: Father!(They hear a noise in the distance and start running in that direction.)Gretel: Father! Father!Father!(They end up coming to a road that cuts through the woods. When they turn to head down it, they encounter several of the Evil Queen's guards on horseback, as well as the Evil Queen's carriage. Two of theguards drag Hansel and Gretel to the carriage. The Evil Queen steps out.)Evil Queen: What are you doing in my forest?-[Real World]-(Mr. Clark, Regina, Henry, Ava and Nicholas are at the convenience store.)Mr. Clark:Well, I'm sorry, Madam Mayor, but your son was shoplifting.Regina: Were you?(Henry shakes his head.)Mr. Clark: Look for yourself.Regina: My son doesn't eat candy. And he knows better than to steal. It was obviouslythose two. We're going.(Regina and Henry head for the door. Emma walks in just before they get a chance to leave.)Emma: Henry. What happened?Regina: Miss Swan, must I remind you that genetics mean nothing.You're not his mother and it's all taken care of.Emma: I'm here because I'm the Sheriff.Regina: Oh, that's right. Go on - do your job. Take care of those miscreants.(Regina and Henry leave the store.)Emma: Did youcall their parents?Mr. Clark: Uh, the number they gave me was disconnected.Emma: Did you guys give Mr. Clark a fake number?(Ava and Nicholas shake their heads.)Emma: Then why's it disconnected?Ava: Cause ourparents couldn't pay the bill.Emma: And you guys are just trying to help out, huh?Ava: Please - please don't arrest us. It will just make things worse for our parents.-[Fairy Tale World]-(Hansel, Gretel, and the EvilQueen are still on the road in the forest.)Gretel: Please forgive us. We didn't mean to bother you, we just... We just lost our father.Evil Queen: Two helpless children. Lost and alone. A family torn asunder. Such a sadand moving story. Guards - seize them!(Gretel takes out Hansel's slingshot.)Gretel: Hansel, run!(Hansel runs into the forest. Gretel flings a rock at the approaching guard, which disorientates him enough for her to getaway. Gretel follows Hansel into the forest. The guard starts to chase after them, but the Evil Queen stops him. Hansel and Gretel are running up a hill, when the Evil Queen dissipates and appears in front of them.)EvilQueen: Running from me is foolish.(Hansel and Gretel attempt to get away, but the Evil Queen summons a group of vines to catch them. The vines wrap around them, leaving them immobilized on the ground.)EvilQueen: Foolish, but also brave. And that bravery may just have saved you and your family's lives.(The Evil Queen vanquishes the vines.)Gretel: You... You're letting us go?Evil Queen: Oh, I'm doing so much more thanthat. I'm going to find your father.Hansel: You are?Gretel: Why?Evil Queen: Because you two are going to do something for me.Gretel: And then, you'll take us home?-[Real World]-(Emma pulls up to Nicholas and Ava'shouse.)Emma: This it?(Ava nods. Emma takes off her seatbelt and goes to get out of the car, but Ava stops her.)Ava: Please, no. If our parents see you, they'll be so embarrassed.Emma: Did Henry tell you about mysuperpower?Ava: We just met him.Emma: I have the ability to tell when anyone is lying. Tell me the truth - money problems aside, is everything okay at home?Ava: Yeah, we're great. Can we go?Emma: Alright.(Avaand Nicholas get out of the car with a bag of stuff and go up the stairs of the house. They stop at the front door, turn around, and wave at Emma. Emma drives off.)Ava: She's gone. We're good.(They don't go inside thehouse, and instead go back down the stairs. They go around back, where they jump a fence. They end up behind an abandoned house, which they enter through the basement. Inside, Ava unpacks the things theypicked up from store and Nicholas sits on the bed. Suddenly, they hear a noise coming from upstairs. When they go to investigate, they end up finding Emma.)Emma: Why'd you guys lie to me? Where are yourparents?Ava: We don't have any.[SCENE_BREAK](At Mary Margaret's apartment, Ava and Nicholas are eating at the table, while Emma and Mary Margaret talk off to the side. Emma is holding a file about thekids.)Emma: Do you know them? Do they go to your school?MMB: I've seen them, but... I had no idea. None of us did.(Emma opens the file she's holding.)Emma: Ava and Nicholas Zimmer. They said their mother wasa woman named Dory Zimmer. She died a few years ago. No one seems to know her or remember her.MMB: And the father?Emma: There isn't one. At least not one that they know.MMB: What does, uh... What doesSocial Services say?(Emma gives Mary Margaret a look.)MMB: You didn't report them.Emma: I report them, I can't help them. They go into the system.MMB: The system that's supposed to help.Emma: Yeah, thesystem I knew and was in for sixteen years. Do you know what happens? They get thrown into homes where they are a meal ticket - nothing more. These families get paid for these kids and as soon as they're too muchwork, they get tossed out and it all starts over again.MMB: But they're not all like that.Emma: All the ones I was in.MMB: What? We're just going to adopt them?Emma: I want to look for their father. They don't knowhim. He may not know they exist.MMB: And you think if he knows, he'll want them?Emma: I don't know. But what I do know, is it's hard enough finding foster families to take one kid that isn't theirs, let alone two. It'stheir best shot, or-(Ava, who was eavesdropping, interrupts. She is in tears.)Ava: We're going to be separated?Emma: No. That's not going to happen.Ava: Please - please don't let it.[SCENE_BREAK](Emma enters theoffice of Mr. Krzyszkowski.)Emma: Excuse me. Mr...Krzyszkowski?Mr. Krzyszkowski: Yeah, it's Krzyszkowski. Everyone calls me K.Emma: Mr. K. I am Sheriff Swan. I'm hoping to look at the birth certificates of Ava andNicholas Zimmer.Mr. Krzyszkowski: Alright, just, uh, fill out this form - in triplicate.(He pulls out three identical forms.)Emma: Okay.(Emma starts to fill out the forms, while Mr. Krzyszkowski looks through a filingcabinet.)Mr. Krzyszkowski: I'm so sorry. Those documents have been recently removed.Emma: By who?[SCENE_BREAK](Emma confronts Regina in Regina's office.)Regina: Don't worry, Miss Swan. You can relax. I'vecontacted Social Services. Turns out these kids are on their own. They need help.Emma: Which is exactly what I'm trying to do. I'm trying to find their father.Regina: Well, he doesn't exist.(Regina hands Emma afile.)Emma: He has to.(Emma opens the file. The Father section of the birth certificate only has 'Unknown' written in it.)Regina: Well, of course, biologically, he exists. But there's no record of him. Which means we haveno choice - these children need a home, so they will be put into the foster system.Emma: Storybrooke has a foster system?Regina: No, but I've contacted the state. Maine's group homes, unfortunately, are filled. Butthey put us in touch with two homes in Boston - a boy's home and a girl's.Emma: They're separating them?Regina: I don't like it, either. But we've got no choice. You need to have them in Boston tonight.Emma:Me?Regina: Well, you wanted to be Sheriff. This is what sheriffs do. Yes, you're taking them.Emma: No. I promised them they wouldn't be separated.Regina Well then, perhaps you should stop making promises youcan't keep. These children need a home. I'm just trying to find the best one. -[Fairy Tale World]-(The Evil Queen, Hansel, and Gretel are walking through the woods. Gretel is fiddling with her compass.)Evil Queen: Whatis that?Gretel: My father's compass. He gave it to me so I could find him, but now it's broken. When are you going to tell us where we're going?Evil Queen: This is close enough.Gretel: Close enough to what?Evil Queen:The home of the Blind Witch.Hansel: That doesn't sound good.Evil Queen: She has something of mine. And I need you to get it back.Gretel: What is it?Evil Queen: Something I need to defeat a very wicked and powerfulenemy. It's kept in a black leather satchel inside her house.Gretel: Well, why don't you get it yourself? How come you need us?Evil Queen: Because the house is protected by magic. I can't enter. But, luckily, the spelldoesn't work on children. You'll have to wait here until nightfall. And then, once the witch is asleep, you can sneak in.Gretel: And if we do this, you promise you'll find our father?Evil Queen: Oh, indeed, I will. But there'sone more thing - the witch's house is...unique. And because of this, you have to take special precaution once you're inside.Gretel: Like what?Evil Queen: No matter what you do, no matter how you're tempted - don'teat anything.(The Evil Queen pulls back a branch, revealing the Blind Witch's gingerbread house.)-[Real World]-(Emma is in her office at the station. She has a pile of files and papers on her desk, which she's sortingthrough. Henry, who has his book with him, enters the room.)Henry: Any luck?Emma: No.(He puts the book on the desk and flips through it.)Henry: I know who they are. They're brother and sister, lost, no parents -Hansel and Gretel.Emma: Anything in there about the dad?Henry: Just that he abandoned them.Emma: Great. Sounds like a familiar story. Whoever this guy is, he could be in Laos by now.Henry: No, he's here.Emma:Just how do you know that?Henry: Cause no one leaves Storybrooke. No one comes here, no one goes. It's just the way it is.Emma: I came here.Henry: Because you're special. You're the first stranger here -ever.Emma: Right - I forgot. Well, if he's around here anywhere, I'm going to find him.Henry: Can you tell me about him?Emma: I don't know anything yet.Henry: Not their father - mine. I told you about your parentsand now, you're even living with your mom.Emma: Mary Margaret isn't... She's... Never mind.Henry: Please?Emma: I was pretty young. I'd just gotten out of the foster system and the only job I could get was at thistwenty four hour diner just off the interstate. And, um... Your dad was training to be a fireman. He always got the worst shifts, so he'd come in and order coffee and pie and sit at the counter and always complain thatwe didn't sell pumpkin pie. But he always came back the next night anyway.Henry: Did you get married?Emma: Oh, no. Nothing like that. We just... We hung out a few times outside of work and...life happened. His gotbetter and mine got worse and... I got into some trouble.Henry: And you went to jail.Emma: Yeah. Before I went, I... I found out I was pregnant with you. And I tried to contact him, and I found out that he died savinga family from a burning apartment building. So, you think I'm a saviour, Henry - he was. Your father was a real hero.Henry: Do you have anything of his? Something you can remember him by. Something I couldsee.Emma: I... I don't. Henry, I'm sorry. I got to go. I may know how to find this guy.[SCENE_BREAK](Ava and Nicholas are eating cookies at Mary Margaret's. Emma comes downstairs with a box.)Emma: I want toshow you guys something.(Emma pulls a blanket out of the box.)Nicholas: What's that?Emma: It's my baby blanket. It's something I've held onto my whole life. That's the only thing that I have from... From myparents. I've spent a lot of time with a lot of kids in your situation, and all of them - all of us - we held onto stuff. I want to find your father, but I need your help. Is there anything of his you've held onto?Ava: I mighthave something. But if I give it to you, you'll make sure we stay together, right?Emma: Right.(Ava pulls a compass on a chain out of her pocket and hands it to Emma.)Emma: A compass.Ava: Our mom kept it. She saidit was our dad's.Emma: Thank you.Ava: Did you find them?Emma: Who?Ava: Your parents.Emma: Not yet. But I'm going to find yours.-[Fairy Tale World]-(Hansel and Gretel are outside the gingerbread house. Hanselgoes to eat icing off the side of the house, but Gretel stops him. Gretel opens one of the windows, and the two enter. Inside, there is a table full of sweets. The two whisper to each other.)Hansel: How can you be sureshe's sleeping?Gretel: I can't. And remember what the Queen said - not even a lick.(They see the Blind Witch asleep by the fireplace, along with the leather satchel hanging on the wall.)Hansel: You're right.Look.Gretel: And there's the satchel.Hansel: What do you think's inside it?Gretel: Does it matter? All that matters, is getting it to the Queen so she can find Father.(Gretel goes to grab the bag. Hansel, who stays behindby the table of sweets, picks up a cupcake. Gretel removes the bag from its hook, but when she turns around, she sees Hansel take a bite of the cupcake. The Blind Witch awakens. There's a pile of bones at her feet.Hansel and Gretel run for the exit, but the Blind Witch magically locks the door. They try the window, but they are locked, as well.)Blind Witch: I smell dinner.-[Real World]-(Emma enters Mr. Gold's pawn shop. Mr. Goldis at the counter polishing a lamp.)Mr. Gold: Emma. How lovely to see you. I'm flattered you'd take time off your busy schedule for me. What could I do for you, Sheriff?Emma: I'm looking for information on this oldcompass. Any idea where it could have come from?Mr. Gold: Well, well. Look at the detail. You know, this is crystal. This jeweled setting... In despite the rather unfortunate shape it's in, this is actually a very unusualpiece. The person who owned this obviously had great taste.Emma: And where would someone like that buy it?Mr. Gold: Right here, of course.Emma: You know him?Mr. Gold: Indeed. A piece like this is difficult toforget.Emma: Do you happen to remember who bought it?Mr. Gold: Well, I'm good with names, Miss Swan, but maybe not that good. However, as luck would have it, I do keep quite extensive records.(He walks over toa small filing cabinet on the counter and looks through it.)Mr. Gold: And... Yes, here we are.(Mr. Gold pulls out an index card. However, he doesn't read it to Emma.)Emma: What's your price?Mr. Gold:Forgiveness.Emma: How about tolerance?Mr. Gold: Well, that's a start. The compass was purchased by a Mr. Michael Tillman.Emma: Anything else?Mr. Gold: Just a name. But I generally find that's all that oneneeds.(Emma goes to leave the shop.)Mr. Gold: Good luck with your investigation.(Emma leaves. The camera pans to the index card, which turns out to be blank.)[SCENE_BREAK](Emma has found Michael at a garage,where he works as a mechanic. He reads the kids' file and looks at their pictures.)Michael: Not possible.Emma: Actually, it is.Michael: Well, I'm sorry, but Dory - she wasn't my, um... It was just once.Emma:Sometimes, that's all it takes.Michael: I met her when I was camping and we, um... No. It's not possible. I don't have twins.Emma: Yes, you do. You have twins that have been homeless ever since their mother passedaway. You have twins who have been living in an abandoned house because they don't want to be separated from each other. You have twins who are about to be shipped off to Boston, unless you step up and takeresponsibility for them.Michael: Look - I can barely manage this garage. I can't manage two kids. And why are you so sure they're mine?Emma: Besides the timing...(Emma pulls out the compass.)Emma: Have youever seen this?Michael: I lost this.Emma: Let me guess - twelve years and nine months ago? I know it's a lot - believe me, I know. A month ago, a kid showed up on my doorstep - I gave up for adoption - asking forhelp with...something. And I ended up moving here for him.Michael: I heard about that - it's the Mayor's son. But staying in town is... It's a lot different than taking him in.Emma: I don't have my kid because I don'thave a choice. You do. Those kids did not ask to be brought into this world. You brought them into this world - you and their mother. And they need you. And if you choose not to take them, you are going to have toanswer for that every day of your life. And sooner or later, when they find you - because believe me, they will find you - you're going to have to answer to them.Michael: I'm really sorry. I am. I don't know anythingabout being a dad. If it's a good home you're looking for, it's not with me.[SCENE_BREAK](Henry, Ava and Nicholas are baking at Mary Margaret's. The phone rings and Mary Margaret answers it.)MMB: Hello?Emma:Hey, it's me. I need you to come outside right away.MMB: Is everything okay?Emma: Don't say anything in front of the kids, but no, it's not.[SCENE_BREAK](Emma and Mary Margaret meet outside.)Emma: He doesn'twant the kids.MMB: And you don't want to tell them.Emma: I can't. Because all I'll be telling them is that the false hope I gave them is exactly that.MMB: The truth can be painful, Emma, but it can also becathartic.Emma: I agree with the painful part.MMB: Well, hey, look - you told Henry the truth that his father's dead and he's handling it great.Emma: I didn't tell him the truth.MMB: What?Emma: Henry's father was nohero and trust me - he does not need to know the real story. Maybe we can hide the kids. Just until we can find a family for them. Someone to take care of them.MMB: Yes, hiding the twelve year olds is a goodplan.Emma: You have a better idea?MMB: Emma, maybe there isn't an idea. Maybe you just have to-(Regina approaches the two on the sidewalk.)Regina: Sheriff. Shouldn't you be on the interstate?Emma: What areyou doing here?Regina: Seeing to it that you do your job.Emma: You know, you don't have to check up on me. I know what I have to do.Regina: Really? Because those kids are supposed to be in Boston tonight.-[FairyTale World]-(The Blind Witch locks Hansel and Gretel in a cage. She sticks her arms through the bars and feels around for them.)Blind Witch: Where are you?(The Blind Witch grabs Hansel's arm.)Blind Witch: Oh, yes.Nice and tender. A succulent roast, you'll make.(The Blind Witch walks away from the cage and walks over to the oven. She opens the oven's door and sticks her hand inside to test the temperature. In the cage, Hanseland Gretel whisper to each other.)Hansel: Gretel, she's going to cook me! We've got to do something - quick!Gretel: Stay calm. When she opens the cage to get you, don't try to fight. And while she's carrying you to theoven, grab the key that's in her pocket and toss it to me through the bars.Hansel: She's coming. She's coming - I can't do it! I'm going to die!(She approaches the cage.)Blind Witch: Gravy or butter? Which shall itbe?(The Blind Witch sticks her hand through the bar and feels Gretel's face. Gretel kicks Hansel and he yells out in pain, causing the Blind Witch to think Gretel is Hansel. The Blind Witch unlocks the cage door and pulls"}
+{"doc_id":"doc_38","qid":"","text":"[Gilbert's house](Elena is sleeping. Jonas is in the bathroom, looking at her. She hears noise so she wakes up suddenly. She gets up and goes outside her bedroom. She looks everywhere. She hears a noise behind herso she turns herself and sees Alaric, naked. He has a bowl in his hands)Alaric: ElenaElena: I heard something(Jenna arrives. They're uncomfortable)Jenna: That was us. I'm sorry(Jonas is in Elena's bedroom. He takesElena's hair from her hairbrush and some of other stuff, including a picture of her)Alaric: Well, I'm naked so I'm gonna go(He leaves and goes in Jenna's bedroom)Jenna: I'm really really sorryElena: It's okay, Jenna.Don't worry about itJenna: I know he's been staying over a lot. Are you sure it's okay?Elena: Seems like things are goodJenna: They are extremely goodElena: Then I'm extremely okay with that(She goes in herbedroom and lay on her bed. Jonas is waiting in the bathroom. Once she's closed her eyes, he goes outside the bathroom and leaves the house)[The tomb](Stefan and Damon are going under the church ruins to talk toKatherine)Damon: Let's to it(They open the tomb's door)[Gilbert's house](Elena opens the door. Stefan and Damon are here)Stefan: Hey, can we talk?Elena: Why?Damon: We went to see KatherineElena: Come onin(They enter the house)[The tomb](The door of the tomb is opened)Katherine: Please, come on in. There's many room for all of usDamon: I rather poke my eyes outKatherine: Hmm, there are such pretty eyesStefan:We're here for the moonstoneDamon: Feel like tossing it over?Katherine: Tell you what, you get a little witch to hocus pocus me out of here and you get whatever you wantStefan: I thought you liked it in here. Nice andsafe where Klaus can't get to youKatherine: I've time to reconsiderDamon: Meaning you're hungryKatherine: I'm starving, Damon and dirty but above all, I'm bored. At least running from Klaus was not boring so herethe deal: you get me out of here, you get the moonstone and I'll disappear from Mystic Falls forever. Let me know what you decide(She shows them the moonstone and leaves)[Gilbert's house](Elena, Damon andStefan are in the kitchen)Elena: You don't believe her, do you?Damon: No, of course not. We just want the moonstoneStefan: According to Rose's friend Slater, there's the way to destroy the spell that Klaus wants tobreakDamon: No spell, no doppelganger sacrifice so ergo you liveElena: How do you destroy it?Stefan: By releasing it from the moonstoneElena: How do you guys even know this is gonna work?Damon: 'cause we havea crafty witch on our sideElena: You discussed with BonnieStefan: She agreed to do anything she could to help usElena: It's Katherine who has the moonstone. She's not gonna give it to youStefan: We're gonna get itfrom herDamon: Well, what he means to say is we will pray for her cold dead head if we have toStefan: Bonnie just needs to find a way to release the seal long enough for us to get in, get the moonstone and get out intime for her to return itElena: Whoa, seems like you guys have already all planned outDamon: Yep, we're awesomeElena: Except for one thing. I don't want you to do itStefan: What are you talking about? Elena, wedon't have a choiceElena: What about Klaus?Stefan: We'll find him right after we get the moonstoneElena: Is that before or after that he kills everyone that I care about, including the two of you(She looks at Damon. Heseems stunned)Stefan: Elena, if we can dispel the moonstone, we can save your lifeElena: I know, everybody keeps saying that(She leaves. They look at each other)[Mystic Falls' high school](Bonnie is talking withLuka)Luka: So your grams waited you were in high school to tell you that you're a witch?Bonnie: She brought it up before but I just thought she was drunk. In my defense, she wasLuka: So then you're like newBonnie:Newish. I still have some growing painsLuka: Like?Bonnie: Physically it's becoming a lot harder. I have a bad reaction to it sometimesLuka: Your noise bleeds?Bonnie: Yeah and I pass out sometimesLuka: It's becauseyou're trying to do too much on your own. You need helpBonnie: From what?Luka: From nature, the elements. Just things you could dry your power from. Do you have channel to another witch before?Bonnie: What isthat?Luka: Say we put our energy together and we can double our strength. I'll show you. Let me see that bracelet(She gives him her bracelet and he gives her his army necklace)Luka: I want you to stand very still andconcentrateBonnie: I don't get itLuka: I knowBonnie: What are we doing?Luka: We're channeling. They're personal idioms we activate as talisman. Now concentrate(She closes her eyes, reopens it and looks athim)Bonnie: What is that?(He smiles and closes his eyes. The wind is strong. The leafs fly. Everyone runs because there is a lot of wind. Bonnie and Luka are still and have their eyes closed. They open their eyes again.They smile)(She laughs. Jeremy arrives)Jeremy: What's with that weather, uh?Luka: It's global warming man. I don't know. I got to go. See you later BonnieBonnie: Bye Luka(She smiles)Luka: Bye(He smiles andleaves)Jeremy: The guy is weird, uh?Bonnie: No he's not(She still has Luka's necklace in his hands. Her phone rings. She looks at it)Jeremy: What is it?Bonnie: It's Damon[Salvatore's house](Elena enter the house.Rose is here. She only wears a nightgown)Rose: It's not nice to leave a girl naked so early in the morning(She sees Elena)Rose: Sorry, I thought you were...Elena: I... sorry. I...Rose: There is no one else hereElena:Actually I came to talk to youRose: Then I should probably get dressed(She smiles)(They both are in the living room. Rose is dressed)Rose: It's a bad ideaElena: No, it's not. From what Stefan told me your friend Slaterobviously has more information about Klaus. You and Damon just gave up before you got itRose: Because somebody blew up a coffee shop with us in itElena: There's more to learn. We just have to find a way to learnitRose: Why are you coming to me with this?Elena: Because you owe me. One word from me and Damon Stefan could have killed you for kidnapping meRose: Or maybe it's because you know that they wouldn't wantyou doing thisElena: We're having a disagreement, okay? They're willing to risk everyone that i love and I'm notRose: They're just trying to protect youElena: And you've proven you couldn't care less whether I'mprotected or not so we're back to you taking me to SlaterRose: What exactly do you hope to achieve by this?Elena: How would you like to be able to walk during the daylight?Rose: I've been the slave to shadows for500 years, what do you think?Elena: I think I know a witch who's willing to do whatever it takes to help if you're willing to make a deal[Mystic Falls' high school](Tyler is playing basketball. Matt rejoins him)Matt: Heyman, how are you doing?Tyler: Good and you?Matt: I pissed myself for picking a fight with you and I'm feeling guilty for what happened to Sarah. I mean, I've been dodging you for days because I didn't know what tosay to youTyler: Don't worryMatt: I'm really sorry. Please know that(He leaves and meets Caroline)Caroline: MattMatt: HeyCaroline: How are you?Matt: I've been better. I got to get to classCaroline: Okay(He leaves.She rejoins Tyler)Tyler: You two still on the outs?Caroline: Looks like it. You realize there is almost a full moon?Tyler: Vampires don't have enough problems? You want to take on mine?Caroline: Have you thought aboutit? The whole wolf thing? Do you know what you're gonna do?Tyler: I have a planCaroline: Well...Tyler: Kind of privateCaroline: I headed the prom comity, not to mention I single handedly organized this town cleanupcampaign and you're really gonna turned out my help?[Salvatore's House](Bonnie is talking with Stefan, Damon and Jeremy)Bonnie: I might be able to lower the tomb spell long enough for you to get in there and grabthe moonstone from KatherineJeremy: How? It took both you and your grams last time and look what happened to herBonnie: I'm aware of what happened. I've learn a few new thingsJeremy: Bonnie...(She looks atStefan)Bonnie: How will you get it?Stefan: She hasn't been feeding. She's weaker, we're not(Damon shows her a glass of blood)Bonnie: You wouldn't be underestimating her, do you?Stefan: It's a plan. Is it perfect?What plan is?Jeremy: Let me do it. I've got my ring, I could get in, get out and no spell necessaryDamon: Jeez thank you 16 years old child. Why didn't we think about that? Why are you even here?Bonnie: Maybe I canhelp better the plan. Do you have anything that belongs to Katherine?(Damon looks at Stefan)[Somewhere. An apartment](Rose knocks on the door but nobody respond)Rose: Slater? Slater, it's Rose. Open up!(Shelooks at Elena)Rose: He's not home, sorryElena: uh uh. We didn't come all the way out of here for nothing(Rose opens the door with her strength)Rose: Off to you(They enter)Rose: Slater?(She finds Slater'sbody)Rose: I don't think he's gonna be much help(Elena rejoins her and sees the body too. Then she looks everywhere and finds a lot of papers and computer. She looks at the papers)Elena: Looks like whoever blew upthe coffee shop found him and killed him for his informationRose: Yeah, probably for helping people like us. The guy was a vampire omeneck. Knowing too much information just beat him in the ass(Rose opens thecurtains)Elena: What are you...?Rose: tempted glass, UV rays can't penetrate(She looks through the window)Rose: I used to just come here and watch the day(Elena is looking at a picture of Slater and a girl)Elena: I'msorry about SlaterRose: Any luck?(Elena looks at one of the computers)Elena: its password protected, I can't get inRose: Then this is pointless, let's just go(They hear noise)Rose: Stay here(She leaves to see what thenoise is. She goes in a room and finds a girl)Rose: Alice?Alice: Rose(She embraces Rose. She's crying. Elena looks at them)[Salvatore's House]Stefan: This belonged to Katherine. I found it with her things after Ithought she was dead but it was hers(He gives Katherine's portrait to Katherine. She takes it and puts it in a bowl. She puts a few drops of water on it. It burns. She closes her eyes and cast a spell in Latin)Damon:What was this?Bonnie: I can turn the metal into ash, blew the ashes on her and it will incapacitate her for a minute or two. Long enough for you to get the stone and get out(Her nose bleeds but nobody sees her so shecleans it)[The woods](Tyler and Caroline are walking)Tyler: Matt takes it pretty hardCaroline: I know. It's better this wayTyler: I get itCaroline: You do?Tyler: Yeah. You can't be honest with him. It's not really fair to bewith someone not really let them know who you are. I get it(He keeps walking toward the old Lockwood property)Tyler: Right over here. There's a cellar that goes to our old propertyCaroline: I knowTyler: Youdo?Caroline: I know that this is the old Lockwood propertyTyler: Watch your step(They go in the ruins)Tyler: I'm guessing that's where Mason was headed the night he turned. It's this wayCaroline: Did Mason tell youabout this place?Tyler: Mason bolted before I trigger the curse but I found these(He shows her nails marks on the wall)Caroline: Look oldTyler: And these bolt and chains. I need new chains but the bolt can still hold(Heshows her how resistant the bolt is)Tyler: I think that's what this place was use for. Full moons(She looks everywhere and finds something)Caroline: What's this?(She takes what she's found. She opens it in front ofTyler. It's a diary)Caroline: Was it Mason's?(He looks at the diary and begins to read)Tyler: \"August 31. My body is changing. I'm edgy, angry and impatient. I get some black out, I forget what I say or do. I'm notmyself. Not since Jimmy's death. What's happening to me?(He looks further in the diary)Tyler: He chronicled everything. \"The full moon is tonight\"Caroline: Does he say what happened?(He finds a memory stick at theend of the diary. He takes it and looks at it. He looks at Caroline)[Salvatore's house](Bonnie puts the ashes on the table)Stefan: We should get the torchesDamon: Alaric's stakes are in my trunk. Bonnie?Bonnie: Goahead. I'm almost done(They leave. Bonnie is alone with Jeremy)Jeremy: What are you doing? You're not strong enough(She puts a finger on his mouth and looks at him)Bonnie: I'll be fineJeremy: You could gethurtBonnie: and Elena could die. I'll be fine. I promiseJeremy: I got this okay? Go get me something to put this in, alright?(She smiles and goes get him what he asked her. While she doesn't watch, he takes some ofthe ashes)[Slater's apartment](Rose is comforting Alice. She rejoins Elena who's preparing some tea)Rose: She found him a few minutes before we didElena: How is she?Rose: Overreacting. Big timeElena: Herboyfriend just died. There's no such thing as overreactingRose: The tears are for her. She didn't care of Slater. She was only dating him long enough to see if he'll turn her(They both look at Alice. Elena rejoins her andgives her a cup of tea)Alice: Thank you(She looks at Elena)Alice: You look really familiar. Did you know Slater?Elena: Not personally, no. I just knew that he kept detail records of all of his vampire's contacts and I washoping that he could point me towards KlausAlice: Doubtful. Klaus doesn't want to be pointed outElena: Do you know Slater's computer password?Alice: Are you seriously asking me that right now? I just saw myboyfriend with a stake through his heartElena: I understand that. Do you know his password?Alice: Who do you think you are?(She drinks. Elena looks at Rose and get closer to Alice)Elena: What if I could convince Roseto turn you?(Alice is surprised. Rose is not happy about this)Elena: Will you show us his files then?(Alice is on one of Slater's computer. Elena and Rose are with her)Alice: Someone's been here. The hard disc iscompletely wiped outRose: Probably by the one who killed himAlice: Lucky for you, Slater was paranoid. Everything's backed up on a mode server(Rose looks at Elena to speak to her)Rose: You know that she's notgoing anywhere near of my blood, right?Elena: I know but she doesn't(She gets closer to Alice to see the computer. Rose smiles. Alice has entered the computer thanks to the password)Alice: Kristen Stewart. God, wasit obvious?Elena: These are all leads to vampires?Alice: Slater was obsessed. Almost as much as meRose: What about that one: Cody Webber? They exchanged dozens of emails about ElijahAlice: I could call him(Elenagives her the phone)Elena: Tell him that we're trying to send a message to Klaus: the doppelganger is alive and she's ready to surrenderRose: What?!Alice: Oh my god! I knew I recognized youElena: Get him themessage please(She goes in another room. Rose rejoins her)Rose: What are you doing?Elena: I'm getting Klaus's attentionRose: If Klaus knows that you're alive, he'll find you and he'll kill you(Elena's face isdetermined. Rose understands)Rose: Which is exactly what you wanted all alongElena: It's either me or my familyRose: So all of this is a suicide mission so that you could sacrifice yourself and save everyone else?(Alicerejoins them)Alice: Cody is on his way and he really wants to meet you[The Tomb](Katherine stops and sees Jeremy)Katherine: The youngest Gilbert. This is an intriguing surpriseJeremy: I'm here for themoonstoneKatherine: Yeah, the stone. It's very popular todayJeremy: Just give it to meKatherine: Naïve little Gilbert. If you want it, you're gonna have to come here and get it(He drives a stake through her. Sheremoves it but he throws her the ashes. She falls on the floor. She unconscious)Jeremy: I kind of figured you'd say that(He looks if the moonstone is on her but she's not)Jeremy: Come on, where is it?(He goes furtherin the tomb and finds it at the bottom of the tomb, on a rock. He runs to get out of the tomb but Katherine rushes over him and bites him. He throws the moonstone out of the tomb)[SCENE_BREAK][The woods](Bonnierejoins Stefan and Damon at the church ruins)Bonnie: Sorry I'm late. I degrabed the grimoire from homeDamon: Jeremy couldn't take the pressure, uh?Bonnie: He said he'd be here(Bonnie and Stefan go in the tomb.Damon's phone rings. He answers. It's Rose)Damon: Not a good time RoseRose: Don't be angry with meDamon: Why, what did you do?Rose: You need to get to Richmond immediatelyDamon: Tell me[TheTomb](Bonnie and Stefan are in front of the tomb's door. They prepare everything. Stefan sees the moonstone on the floor and rushes over it)Stefan: What the hell?Bonnie: Is it the moonstone?(Katherine stops at thetomb's door. Hers lips are full of blood)Katherine: I hate to interrupt but today have been full of surprises(She shows them Jeremy. He doesn't looks well. He has a bite mark on his neck)Jeremy: I'm sorry. I took somepowderKatherine: Don't worry, I know that he's wearing his ring so no matter how many times I kill him, he'll just be coming back for more. So, I'm gonna be in the back playing with my new little toy and you guys justgive me a howl when you got the tomb open[Jonas and Luka's house](Jonas is with Elijah. There are all the things he's stolen from Elena's bedroom on the table)Elijah: So how exactly does the spell work?Jonas: Giveme your hand(Elijah gives his hand. Jonas cuts it with a knife)Jonas: Place it here(Elijah puts his hand on Elena's picture)Jonas: Now take my hand(Elijah takes Jonas's hand)Jonas: Close your eyes, relax your mind andlook for her(Elijah closes his eyes. Jonas closes his eyes too and cast a spell in Latin)[Slater's apartment](Elena is looking through the window. She sees Elijah's face in it. She turns herself to see if he's here)[Jonas andLuka's house](Elijah opens his eyes)Jonas: You saw her, didn't you?Elijah: I know exactly where she is[The tomb](Bonnie is turns on the torches)Stefan: Where the hell is Damon?Bonnie: We can't wait; we have to gethim out of thereStefan: She's fed, she has her strength backBonnie: We still have what's left of the ash. Do you think you can get close enough?Stefan: I don't have a choiceBonnie: It's gonna take me sometimeStefan: How long?Bonnie: I don't know, a whileStefan: Just get me in there as soon as you can[Jonas and Luka's house](Luka arrives)Jonas: So how was school?Luka: Revealing[The Tomb](Bonnie is casting thespell)[Jonas and Luka's house](Luka doesn't seem good)Jonas: What's wrong?Luka: Nothing(Luka touches his neck but he's necklace's not here anymore)[The Tomb](Bonnie is still casting the spell. She's Luka'snecklace in her hands)[Caroline's house](Caroline and Tyler are in the living room. Tyler puts the memory stick in the computer. It's a videotape from Mason)Mason: \"September 15, 2 hours from the first full moonsince I triggered the curse\"Tyler: He tapped his first transformation(Caroline looks at the diary)Caroline: There's nothing... September 16. He wrote about everything the next day(She reads)Caroline: \"I chose thegarage. I could double the door. It was far from the street so no one could hear. I bolted hooks to the floor for the carabineers\". Like for mountain climbing?(Tyler is looking at the tape)Tyler: Retractable cables(In thetape, Mason drinks something)Caroline: It's wolfs pain. \"I dilated wolfs pain with water to weaken myself but I could barely get it down without plucking. It felt like I was drinking battery acid. Over an hour passed andnothing happened. It got do quiet I could hear my own blood pumping and that's when...\"(On the video, Mason is screaming and moving because of the pain)Caroline: \"I kept thinking at black out and not feel it but Idid. I felt all of it\"(Mason is on the floor, crying because of the pain. He's asking for help)Caroline: How long is it?Tyler: 3 hours in(He advances the video)Tyler: 4 hours(He keeps advancing it)Tyler: 5 hours. How longthis is last?(On the video Mason's eyes change and he screams. Tyler gets up. He's almost crying)Tyler: I can't. I can't do that. Caroline, whatever that was, I can't go through that[Slater's apartment](Elena is drinkingwater. She looks at Alive but then she turns herself and is face to face with Damon)Damon: What are you doing here?Elena: What are you doing here?(She looks at Rose)Elena: You called him?Rose: I'm sorry,Elena.Elena: You said that you understoodDamon: She lied(She looks at Damon. Alice arrives)Alice: Damon SalvatoreDamon: Get rid of herAlice: No way(Rose catches her arm and takes her to another room)Damon:Come on, we're livingElena: NoDamon: I said we're livingElena: I'm not going with youDamon: You do not get to make decisions anymoreElena: When have I ever made a decision? You and Stefan do that for me butthis, this is my decisionDamon: Whose gonna save your life while you're making decisions?Elena: You're not listening to me, Damon. I don't want to be saved. Not if it means that Klaus is gonna kill every single personthat I loveDamon: Get your ass out the door before I through you over my shoulder and carry you out myself(He catches her arm but she doesn't want to. She wants to beat him with her fist but he catches it and get"}
+{"doc_id":"doc_39","qid":"","text":"[Gilbert's house](Elena and Stefan are in Elena's bed. Stefan is sleeping. Elena is looking at him)Stefan: You're staringElena: I'm gazingStefan: It's creepyElena: It's romantic(He puts a pillow on his head. Elenaremoves it. They kiss)Elena: Oh, this is bad of usStefan: Yes it isElena: If Katherine finds out...(He kisses her)[Katherine's bedroom](Mason and Katherine are kissing)Katherine: Shut, Miss Flowers will think I'm a floozyif I have a man in hereMason: Why are you staying here?Katherine: Because I like this little bed and breakfast, don't you?Mason: I love it(They kiss passingly)[Gilbert's House](Elena and Stefan are still kissing andhugging)Elena: Okay, I need be in the showerStefan: Love it, let' go!Elena: No, just me. I'm late. I'm decorating at the Lockwood charity thingStefan: What do you know! So am iElena: Do you thing that's really a goodidea to be at their house today? Mason Lockwood tried to kill you[Katherine's bedroom](Katherine and Mason are still in Katherine's bed)Katherine: Where is the moonstone?Mason: Somewhere safeKatherine: Don't youtrust me?Mason: I don't trust anyone[Gilbert's house]Stefan: I don't trust Mason. I want to be there today to keep an eye on himElena: Okay but then we can't touch or talk and no lingering staresStefan: No, none ofthatElena: What do you think will happen if Katherine founds out that we are fake fighting?[Katherine's bedroom]Katherine: Scary will kill youMason: No, you won't(She kisses him on the neck and bites him)Mason:Ouch! Kat, easy!Katherine: Did I hurt you? Sorry[Gilbert's house](Elena pricks herself with a needle)Elena: OuchStefan: Did it hurt?Elena: It's okay. A little bit every day to make you stronger, right?(He drinks the bloodon her finger)[Katherine's bedroom]Mason: What happen once I give you the moonstone?Katherine: We'll live happily ever after. I promiseMason: I'll bring it tonight, I promise[Gilbert's house]Stefan: I promise, we'regonna get through thisElena: I love you, Stefan[Katherine's bedroom]Katherine: You know I love youMason: I love you too(They kiss)[Salvatore's house](Someone is knocking on the door. Damon opens it. It'sJeremy)Jeremy: I need to talk to youDamon: And why I need to talk to you?Jeremy: Tyler Lockwood has to kill someone to activate his curse. He's not a werewolf yetDamon: Whoa, fascinating. Not enoughJeremy: ButMason Lockwood is and he's looking for a moonstone, a special roc related to the werewolves legend. That's why is hereDamon: A moonstone?Jeremy: And I know where it isDamon: And you're bringing me thiswhy?Jeremy: Do I need a reason? Look, I just want to help, okay?Damon: What your sister say about this little discovery?(Jeremy doesn't answer)Damon: Oh, you haven't told her, have you?Jeremy: Well, Elenadoesn't want me getting involved in all thisDamon: And you're a Gilbert, you just can't help yourself. Whoa, your search for life's purpose is as obvious as it is tragicJeremy: You're gonna let me in or not?(He goes intothe house. Damon closes the door)[Lockwood Mansion](Everyone is preparing for the masquerade ball. Jenna is talking with Carol)Carol: Jenna, thanks for helping rundle the volunteersJenna: Off course, for a goodcause. Plus, I have always been a sucker for the masquerade ballCarol: So was Richard. This was always his favorite party of the year(Matt and Tyler are carrying a table)Carol: Boys! Be careful with that! It's from theeighteen hundreds(She rejoins them. Jenna sees Stefan and rejoins him)Jenna: Stefan, hey!Stefan: HeyJenna: I'm cooking dinner tonight. Rick will be there, you should comeStefan: You know, Elena and I, were kind oftaking a pauseJenna: Really? That's not what it sounded like this morning. Bad sleeper. You know what? I heard nothing(She smiles and leaves)(Bonnie is carrying a box. Elena is there too)Elena: You're hereBonnie: I'mhere(Bonnie is looking around her)Elena: Caroline's not coming. I told youBonnie: Just making sureElena: You know, eventually, you're gonna have to talk to herBonnie: Could you make it a little less obvious you're onher sideElena: There are no sides, BonnieBonnie: Come on! Since Caroline became a vampire, you barely seen each other. Losing Caroline was bad enough; I didn't think I'd lose you tooElena: Come with meBonnie:Where?Elena: Not here. Some place quiet. We have to talk(She takes Bonnie's hand and they leave)[Salvatore's house](Liz is in her cell. Caroline arrives)Caroline: You didn't eat much. Good news: Doctor Damon saidthe vervein is almost out of your system. So With any luck, you'll be freshly compelled and back in your own bed by tonight(Liz doesn't answer)Caroline: Are you really just gonna pretend like I don't exist?Liz: Yes. Soplease goCaroline: As usual, you don't care. Got it. Just like before I was a vampire. It's not like I died or anythingLiz: Are you... Are you really dead?Caroline: Yes, I am nowLiz: How is it possible?(Alaric arrive with abox)Damon: Rick!(Alaric sees Jeremy)Alaric: What are you doing here?Jeremy: Helping Damon. I'm the one who found out about the moonstoneAlaric: does Elena know you're here?Jeremy: Don't exactlyDamon: Whatyou got?Alaric: This is Isobel research's from Duke. Her assistant send it to meDamon: Vanessa, the hottieAlaric: Vanessa yes. Do you remember the old Aztecs curse she told us about?Damon: Son of the moon, bla blabla blaJeremy: an Aztec curse? CoolAlaric: Yeah, supposedly vampires and werewolves used to run freely until a shaman put a curse on them, limitating their power. Since then, werewolves can only turn on a full moonand vampires are weakened by the sunDamon: Most of them anywayAlaric: According to the legend, the werewolf part of the curse is sealed with a moonstoneJeremy: What do you mean sealed?Damon: It's a witchthing, whatever seals the curse is usually the key onto unsealing the curseAlaric: Maybe Mason Lockwood believes he can use the moonstone to break the curseDamon: If we start believing in some supernatural witchymojo legend from a picture book, we're idiots. Where is the stone now?Jeremy: TylerDamon: Can you get it?Jeremy: YeahDamon: You see, know your life has a purposeJeremy: So you do believe it?Damon: This is thesame book that says the werewolf bite kills a vampire. Ignoring it make me an even bigger idiot. Let's go[Lockwood Mansion](Elena and Bonnie are walking on the Lockwood property)Bonnie: I can't believe thisElena:it's a lot, I know. Katherine's gonna do everything that she can to drive me and Stefan apart and Caroline just got trapped in the middleBonnie: It's not that you and Stefan are pretending to fight, is that I didn't evenknow you guys were fighting at allElena: I'm sorry, I don't want to keep things from you but you've made it pretty clear where you stand with the whole vampire thingBonnie: So that makes me the unman outElena:No, Bonnie, of course notBonnie: I know where I stand, Elena and I know where you stand but where do we stand?Elena: You're my best friend, Bonnie. I didn't mean to let this craziness with Caroline get in the way ofthat but she needs you tooBonnie: not yet, I just... she's a vampire, I can't. I think we should get back(Mason is carrying a box. He sees Stefan)Mason: Hey StefanStefan: Hey Mason(Mason is chocked)Mason: I wasn'texpecting you here or anywhereStefan: Yeah, I had this little accident but I'm fine knowMason: What did you do to Sheriff Forbes?Stefan: she's fine too but for now on you'll have to do your own dirty workMason: Not aproblem(He leaves and bumps into Bonnie. She feels something)Mason: Excuse me(Stefan understands that something's going on so he rejoins Bonnie)Stefan: What's the matter? Are you okay?Bonnie: When I touchedhim, I saw somethingStefan: What do you mean? Like a vision?Bonnie: I saw ElenaStefan: You saw Elena?Bonnie: He was kissing herStefan: No Bonnie. Elena wouldn't kiss... you didn't see Elena, you sawKatherine(Elena sees Stefan and Bonnie talking together. Damon rejoins her)Elena: Damon. What are you doing here?Damon: Looking for my baby bro. Speaking of... you should tell yours to stop following mearoundElena: What's going on?Damon: Ask him(Jeremy arrives)Elena: Jeremy, what is he making you do?Jeremy: He's not making me do anything, Damon and i...Elena: No way, no, no, no, no. There is no \"Damonand you\". There's Damon and whoever Damon is using, and those people, they end up dead. Whatever is going on Jeremy, I want you to stay out of itJeremy: I don't really care what you want, Elena. It's because ofyou that I'm in this mess in the first place so I'm sorry, you don't really get to tell me what I'm gonna do(He leaves)(Stefan is talking with Damon)Damon: Katherine's with Mason Lockwood?Stefan: You missed it. Hegot in the town after she did, it makes perfect senseDamon: I know but Mason Lockwood?! Werewolf thing aside, the guy is a surfer. She's got to be using him, it has to beStefan: Using him for what?Damon: MasonLockwood's looking for a moonstone that allegedly can break the full moon werewolf curse. Maybe Katherine wants it as wellStefan: Why?Damon: Well... no idea. This is the beauty of Katherine; she's always up tosomethingStefan: So how are we gonna find this moonstone?Damon: Jeremy is gonna get it from TylerStefan: Why would you involve Jeremy?Damon: He's playing Indiana Jones, he involved himself(Matt and Tyler arehelping decorating)Matt: She's this amazing girl one minute and then this raging jealous freak the nextTyler: Look, you know what I think about Caroline Forbes. She's an insecure narcotic bitchy little twigMatt:Hey!Tyler: But the girl's got heart, she means well. You just get the mean with the best sometimesMatt: Yeah. I'm gonna go get an extra. I'll be right back(He leaves. Jeremy rejoins Tyler)Jeremy: Hey manTyler:Hey!Jeremy: Hey, so I did a little research on that stone you showed meTyler: What? Why?Jeremy: I don't know. Curiosity, boredomTyler: What did it say?Jeremy: Well, it turns out that it's part of this Aztec legend butI want to make sure it's the same kind of stone. You think I could check it out again?Tyler: No. I gave it to my uncleJeremy: Why did you do that?Tyler: Because I'm done with legends and curses. I don't want anythingto do with it, okay?Jeremy: Yeah, yeah sure. It's probably...(Stefan and Damon had listened to the entire conversation. They look at each other)(Elena is texting Stefan. She asks him if everything's okay. Stefanreceives it and tells her that he's with Damon and Bonnie and that he'll fill her later. Stefan and Damon rejoin Bonnie)Bonnie: Okay. This is as far as I goDamon: OkayBonnie: What do you want?Damon: A favorBonnie:That's not gonna happenDamon: So predictable(He looks at Stefan)Damon: that's why I brought himStefan: I know how you feel about helping us out but since you're the one that linked Mason with Katherine, wefinally have an opportunity to get an upper hand on both of them so just hear us outDamon: Pretty pleaseBonnie: I'm listening(Stefan's phone is ringing. It's Elena)Stefan: I have to throw Elena in on what's goingon(He looks at Damon)Stefan: Can you play nice please?(He answers)Stefan: Hey, what are you doing? You shouldn't be calling meElena: I know but I have no idea what's happening. Damon's got Jeremy intosomething and you've got Bonnie with you and I'm sorting stupid masquerade masks for Misses LockwoodStefan: Alright, it's okay. Hold on(He leaves. Damon is talking to Bonnie)Damon: All you have to do is touchMason Lockwood again to see if he gave Katherine the moonstoneBonnie: My visions don't work like that; I don't get to ask questionsDamon: How inconvenient. Although, let's about that witchy mojo you do with me.You know the fun one, when my brain burst into flames? What is that?Bonnie: That's me giving you an aneurysm. Your blood vessels go pop but you heal quickly so I do it over and over againDamon: Is it vampirespecific?Bonnie: It'd work on anyone with a supernatural healing abilityDamon: Good. Good, goodBonnie: Damon, I'm not gonna help you hurt himDamon: Mason Lockwood's a werewolf, Katherine's evil. They're thebad guys. Really? You're gonna play morality police with me right now? Let me explain it to you another way: they're a threat to Elena. You witch, are gonna get over yourself and help usStefan: Yeah, he meant that asa question with a \"please\" on the endDamon: Absolutely(Mason is going to his car)Mason: Hey, can you remove you van? I'm blocked in(He sees Bonnie trying to remove a table from the truck)Mason: Hey, how did youget stucked to that by yourself?Bonnie: All the guys baled. Something about draft pix, I don't know, I don't speak that languageMason: Here, let me give you a hand(He helps her with the table but she uses her powerson him. He holds his head because he's in pain and fall on the floor)Bonnie: Sorry(Damon arrives and kicks him on the face. Mason is unconscious. Bonnie goes into Mason's car. Damon and Stefan put Mason in thetrunk. Damon goes into Mason's car and leaves with Bonnie.)[Salvatore's house](Caroline is in the cell with her mother)Caroline: So I mainly drink from blood bags. It's not as good as the fresh stuff but it beats theanimal blood that Stefan's been trying to get me to drinkLiz: So you steal the blood from the hospital?Caroline: Damon does. I've been pilfering his supply so...Liz: As long as you have blood, you don't need tokill?Caroline: I want to. It's my basic nature now but on a healthy diet, I can control it. I'm getting better at it. I'm better than Stefan. He's a bit of a problem drinker, a blood-aholicLiz: I don't want this for youCaroline:I know but when life gives you lemons... Damon's home(Damon and Bonnie are in the library. Damon puts Mason in a chair)Bonnie: Here's his bag as requestedDamon: Okay, grab that cornerBonnie: Why are we doingthis?Damon: Because I don't want to stain the carpetBonnie: I knew you were gonna say something like thatDamon: You're judging again(They put a blanket under the chair)Bonnie: He's not gonna be out muchlonger(Damon takes chains from Mason's bag)Damon: Looks like this guy used to be in tied up(Bonnie takes Mason's head in her hands)Damon: What are you doing?Bonnie: You're looking for a moonstone and I'mtrying to help you find itDamon: Oh good, yeah. Find out if he gave it to Katherine and find out where she is and find out what they're gonna do with it once they get it(Damon is tying Mason. Bonnie concentrates herselfwhile she touches Mason's head)Bonnie: Somewhere small, dark, there's waterDamon: Like a sewer?Bonnie: No. Like a well? That can't be right? Yeah. It's a wellDamon: Why would it be in a well?Bonnie: I told you, Ionly get what I get(Mason catches Bonnie's wrist but Damon releases her)Bonnie: That's it. That's all I gotDamon: Hey judgy! Thank you(She looks at him and leaves. He's alone with Mason)Damon: Come on. Wake upwolf boy(He punches him on the face)(Bonnie is leaving but Caroline arrives)Caroline: Hey!Bonnie: Hi. How's your mom? Elena filled me on everythingCaroline: I'm gonna take her home tonightBonnie: Caroline... don'tremind, I've got to goCaroline: Did you find the moonstone thing?Bonnie: Not yet. Hey, do you remember that old well where we used to play when we were kids?Caroline: YeahBonnie: It's on the woods. Do youremember where?Caroline: On the edge of the old Lockwood property. Why?Bonnie: I think that's where Mason is keeping the moonstone. I got to goCaroline: Well, I can go with youBonnie: No, it's okay(She looks atCaroline who's disappointed)Bonnie: SureCaroline: Okay[SCENE_BREAK][Lockwood Mansion](Matt and Elena are helping preparing the masquerade ball)Matt: So where's Caroline? This is like her thing. I can't believeshe's not hereElena: She has something else to doMatt: Is she seeing someone?Elena: Matt, come on. No, she's not(Stefan arrives. Elena looks at him. Tyler arrives to)Tyler: Anyone's seen Mason?Stefan: He took off.He said he wasn't sure when he'd be backTyler: It's so weird(He leaves. Stefan receives a text from Bonnie. She's telling him to look in the well, next to the old Lockwood property. Stefan looks at Elena. She goestoward him but he tells her no with his head. She's upset and looks at Matt)Matt: I'm not even gonna askElena: I'll be right back(She leaves)[Salvatore's house](Mason is chained to the chair. Damon is heating up aniron bar in the chimney. Mason is screaming. Damon looks at him)Damon: Someone's feisty(Damon goes toward Mason. Mason can't stop moving. He fell on the floor with the chair)Mason: What?!(Damon puts the ironbar into Mason's chest. Mason screams)Damon: You can hurt, good to know. I was afraid you'd gonna be some beast mess with some with no affinity for pain(Damon looks at Mason's wound. It's healing)Damon: Oh,you heal quickly. Not good. I guess I'll just have to keep an applying pain(He gets back the chair. Mason screams. Damon heats up the iron bar again)Damon: So... Katherine. How do you know her? What is she upto?(Mason doesn't answer)Damon: I have all day(He puts the iron bar into Mason again)[The woods](Stefan arrives at the well. Elena rejoins him)Elena: What's going on?Stefan: You shouldn't be hereElena: I know butI am. What's going on?Stefan: Bonnie thinks the moonstone is down here(He opens the well. He looks into it with a lamp)Elena: Hey. Be carefulStefan: I'll only be down there for a minute(He goes into the well but he'sfull of vervein. Stefan's skin is burning)Stefan: Elena!Elena: Stefan?!Stefan: Elena!Elena: Stefan, what's happening?! What's going on in there?!Stefan: Vervein. Oh my god! Help!Elena: Stefan!(Elena is trying to takethe chains but they're too heavy. Caroline arrives)Caroline: Elena!Elena: Caroline, Stefan's down there and the chain is rusty(Caroline tries to go into the well but Elena catches her)Elena: No, no, no! You can't, it's fullwith vervein. Caroline, we've got to get him out. Now!(Caroline takes the chain)[Salvatore's house]Damon: When did you two meet? Did she seduce you and tell she loved you? You're supernatural so she can't compelyou. I'm she used her other charms. Katherine's good that way(Jeremy arrives)Damon: I thought I told you to leaveJeremy: I found something in Rick's boxes stuffDamon: What is it?Jeremy: I did a search on myphone, it's a plant: Aconitum Vulparia. Grows in the mountain of the northern hemisphere, communally known as \"Aconite\", \"blue rocket\" and \"Wolf spin\"(Damon looks at the plant)Damon: What else did youread?Jeremy: Well, every source says something different. One myth says it causes lycanthropy, which sounds bogus. Another one says that it protects people and another one says, well it's toxic(Mason whimpers.Damon looks at him)Damon: I'm guessing toxic(He takes the plant and goes toward Mason)Damon: What's Katherine doing in Mystic falls?(Mason doesn't answer so Damon puts the plant on Mason's cheek. Mason'sskin burn)Damon: Why is she here?Mason: She's here with me! Why are you asking? Jealous?!Damon: How rude of me. I just realize I didn't offer you anything to eat(He puts the plant in Damon's mouth)Damon:Yummy![The woods](Elena is chaining herself to go into the well)Caroline: I got you okay?(Bonnie arrives)Bonnie: What's going on? You took off in a blurCaroline: I heard Elena screaming. Help her, now! Are youready?Elena: Yeah(Elena goes into the well with the help of Caroline. She arrives at the bottom of the well. She founds Stefan unconscious into the vervein. Stefan's face is scalded. She attaches Stefan with thechains)Caroline: Elena, what's going on down there?Elena: Follow up!(Caroline is pulling Stefan from the well. Elena stays in it. Bonnie unties Stefan and puts him on the floor)Caroline: Elena! Ready for you!Elena: Holdon! I need to find the stone(Elena looks everywhere)Caroline: Hurry!Elena: Hold on! I think I found it!(She finds a wooden box and takes it but a snake is on her arm. She screams. Another snake is on her. She can'tstop screaming)Caroline: Elena! What's going on?!Elena: I got it. Come on, bring me up!(Caroline brings Elena up. Bonnie unties her. Elena sees Stefan)Elena: Oh god! Stefan!(She cuts herself with a rock and gives herblood to Stefan. He drinks it)Elena: I've got the stone, Stefan. Stefan, it's gonna be okay, everything's gonna be okay[Salvatore's house](Damon is still torturing Mason)Damon: Why do you want themoonstone?Mason: Screw you!Damon: Ahhh! Wrong answer!Jeremy: If he was gonna say anything, he would have already!Damon: I'm taking your eyes nowMason: The well! You'll find it there!Damon: I know where itis. I want to know what it does and why you want itMason: I'm getting it for KatherineDamon: Why?Mason: She's gonna use it to lift the curseDamon: Of the moon? Now, why would a vampire help a werewolf break acurse that keeps him from turning whenever they want?Mason: So I wouldn't have to turn anymoreDamon: Why?Mason: Because she loves me!(Damon laughs)Damon: Now I get it. You're just stupid. Katherine doesn't"}
+{"doc_id":"doc_40","qid":"","text":"[Scene: Magic School. Library. Paige, a man, and his daughter are there.]Paige: So the wizard didn't realise the weight of the book. And after he put them on the shelves, they blew up everywhere and he had tore-conjure the entire library magically. But because he was a wizard, it only took him a couple of minutes. (The man and the daughter giggle.) Yeah, it's a cute story. (under her breath) The first couple thousand timesyou tell it.Man: Excuse me?Paige: Nothing. That's pretty much the bulk of the tour. Would you like to know anything about the facilities, students, teachers?(Suddenly, Drake comes flying out of a room and he crashesagainst a wall.)Drake: Boy. That was swinging! Hi.Paige: Hi. This is Professor Drake. This is April, one of the students who's applying.Drake: Oh, salutations. How do you do? Hello.Paige: Drake is our visiting lecturer onadvanced magical compositions.Drake: In this case, magical musical compositions. That's the use of meter and tempo in spell casting and conjuring. (They hear a grunt and a loud noise coming from the room.) Oh, thetroll is here. Why don't we see if he'll dance for us. Come on. (They stand at the doorway.) Hey, you put them down! All of 'em.April: Wow, will I get to take his class?Drake: Sure, why not?Paige: Yeah, actually,Professor Drake's gonna be going on sabbatical in about a week.Drake: That's right. I forgot about that little wrinkle. But with eager minds, and the power of magic, it's midsummer madness all the time. Now, if you'llexcuse me, I gotta cut in.Opening Credits[Scene: Street. A security officer is standing in front of an abandoned building, pointing a gun. People are panicking and trying to get away from him.]Security Officer: They'llburn! They'll burn! Don't you understand? They'll burn. We have to help them. (The police pull up.) I don't want to hurt anybody. We have to help them! They're burning. (The police get out of the car and point theirguns at him.) I don't wanna hurt nobody, but I need somebody to listen. We need help. (A police officer tackles him to the ground.) You don't understand. You don't understand. The fire...Police Officer: Relax, pal,you're under arrest. (He handcuffs him.) Get up.Security Officer: We gotta help Marie!Police Officer: Just calm down, buddy. Come on, everything's gonna be okay.Security Officer: No, it won't. You don't understand.The fire. You have to let me go so I can get help! They're gonna burn! They're gonna burn!(Screams are heard from a muddy hole in front of the building.)[Scene: Manor. Piper's Bedroom. Piper and Leo are therepacking a suitcase. Wyatt is sitting on the bed.]Piper: Uh, rain gear for the kids?Leo: Yes.Piper: Camera and film?Leo: Of course.(Piper picks up an Italian dictionary and flips through it.)Piper: Extra room for my...Pattini?Leo: (thinks) Pattini.Piper: Shoes. It's not a vacation in Italia if you don't have new shoes. (Leo laughs.) What's the matter?Leo: I don't know. I guess I still don't think that this is such a good idea.Piper: Whynot? In Hong Kong, we'll buy you some suits or bootleg DVDs or something.Leo: It's not the shopping. It's this whole world vacation thing. I just think we should stay here and wait for the Elders' decision on me.Piper:Absolutely not. That's precisely why we should be going. Look, we're all together, we deserve a vacation. And we're not gonna sit around and wait for the other pattini to drop, so that's that. We're going.Leo: But whatabout the travel and the cost?Piper: Oh, for god sakes, Leo. We're orbing.Leo: Okay, well, what about Phoebe and Paige?Piper: What about them?Leo: Well, they made us this big send-off dinner last night.Piper: Oh,please. They ordered pizza.Leo: Right. And we're not helping with the clean up.Piper: Wow, if that's the best you got, you really do need a vacation.Leo: But...Piper: Arresto! Look, Phoebe and Paige just remade theworld. I think they can handle the kitchen. Now, unless you have any more objections... (They pick up Wyatt and Chris and their bags.) Leaning Tower of Pisa, here we come.(Leo orbs them all out of the room.)[Cut tothe Kitchen. Phoebe is on the phone. Paige is at the sink cleaning the dishes.]Phoebe: I know, but Elise, why can't we just do the interview here? You know, kind of like an Ask Phoebe at home thing. Oh, yeah, the placelooks great! (Paige makes a face.) Yeah, call them, I'll hold on.Paige: That sounds exciting.Phoebe: I guess.Paige: What do you mean? You have Cosmo profiling you. That'd be great at any time. Sheesh.Phoebe: Iknow, but I still want to make the most out of my day.Paige: Phoebe, you asked to meet me here at... 8:22. That's not making the most of your day. That's some sort of weird OCD thing. What's going on?Phoebe: Idon't know. Maybe meeting Drake and realising what little time he has left has made me want to make the most of the time I have left? You know, time's a'wastin'.Paige: Yeah, well, at least you're not wasting all yourtime at Magic School.(The doorbell rings. Still on the phone, Phoebe heads for the front door.)Phoebe: (to phone) Yeah, Elise, I'm still here. Oh, they can move it, that's perfect. (Paige follows Phoebe to the front door.)Just as long as the shoot's over by 3:00, 'cause I'm speaking at City College. All right, I'll be there in like twenty-five minutes.(Phoebe hangs up.)Paige: Sheesh, woman. You're a machine.Phoebe: Every momentcounts. Can you do me a favour and help me get this place cleaned up by 2:00? Great, thanks. (Phoebe opens the door.) Hey, Darryl, how you doing? Gotta go.(Phoebe grabs her coat.)Darryl: Hey, hold on a second. Ineed your help. Hi, Paige.Phoebe: I was afraid you were gonna say that.Paige: What's the matter?Darryl: I'm not sure, but I think I've been around you guys long enough to know when something is not right.Paige:What do you mean? Something magically wrong?Darryl: I don't know what else it can be.Phoebe: Listen, I'm on the clock here, so you gotta speed this up a little.Darryl: Okay, look, my friend Mike, my mentor, actually.He's the one that brought me into the force. I think that... he might be, you know, possessed, maybe. He's not crazy. I don't care what anybody says. I mean, Mike would not hurt a fly.Paige: Whoa, wait. Back up to thepossessed thing, please.Darryl: Well, since Mike retired, he's been working at this jewelry store as security on Market. And lately he's been having these... episodes.Phoebe: What kind of episodes?Darryl: Well, they'vebeen happening more and more frequently lately until yesterday when he just snapped. He started waving his gun around, talking about he's gonna die in some terrible fire at Cabaret Fantome.Paige: I haven't heard ofthat place.Darryl: Look... I haven't asked you guys for help like this before.Phoebe: Okay. Well, if I move my staff meeting to 11:00 and my 1:00 to 1:30, I should be able to help you right now. So I will check thearchives for the club, Paige, you go with Darryl and check out this Mike guy, and we'll meet back here at like, I don't know, 1:10.(Phoebe leaves. Paige shrugs her shoulders.)[Scene: Bay General Hospital. A Room. Mikeis strapped to a bed. He is yelling and trying to get free.]Mike: No! I need... I need somebody to listen to me! I don't have much time. You understand? I don't have much time!(Paige and Darryl stand at thedoorway.)Darryl: You see what I mean?Paige: It doesn't seem demonic.Darryl: Not demonic? I'm telling you, he doesn't even know who I am. He acts like he doesn't even know who he is.Mike: Help! Let me get out ofhere!Paige: He mostly seems afraid and panicky. All right, here goes. (They walk over to Mike.) Hi, I... I'm...Mike: Marie.Paige: No, I'm Paige. Who's Marie?Mike: My fiance. She's trapped too.Paige: Trappedwhere?Mike: At the club with everybody else.Paige: Cabaret Fantome?Mike: Yes! Yes, you know it? Yeah, yeah, yeah. You believe me?Darryl: Just relax, Mike.Mike: No! My name is George. I keep telling you that! We'regonna die. Don't you understand that?Darryl: If that's not possession, what is it?[Scene: Magic School. Phoebe and Paige are there. Phoebe shows Paige an old newspaper.]Phoebe: Cabaret Fantome, deadly fire. MaybeDarryl's friend isn't so crazy after all. The Count's club was the biggest, most corrupt in the city. Right until it burned down, killing everyone inside.Paige: Okay, why would the Count set the fire in the club, only to die init himself?Phoebe: I don't know, maybe he couldn't get out fast enough?Paige: Maybe we should talk to George.Phoebe: George? Who's George?Paige: If I'm right, he's somebody who died in the fire. I think he's aspirit that's possessed Mike and he's crying out for help.Phoebe: Yeah, but why would he need help? The fire happened over a hundred years ago.(Drake walks in.)Drake: Help from the pain of being a lost soul, perhaps.Paige asked me to do a little research in between classes.(He drops a book on the table.)Phoebe: \"Possessions, Confessions, and Ghostly Obsessions: A demon's guide to everything magical.\"Drake: Yeah, I used to sellthese things lair to lair. Talk about a tough item to move.(The book opens.)Phoebe: \"Lost souls are spirits of the dead, unable to move on because of spiritual confusion.\"Drake: That's when souls die a violent deathtogether. The fires of Gomorrah, the Flood, Pompeii. (The book starts to shake.) I would step back. The book likes to show off a little, don't you?(A rope flies out of the book.)Phoebe: What the hell?Drake: Don't beafraid, it's simply illustrating a point. When souls die at once, the good ones can't move on because the bad ones are holding them back. And vice versa. They're lost, they're stuck in their respective afterlives, unawareof their tragic fate. It's really sad, actually.(The book slams shut.)Phoebe: Okay, but if they're unaware, how are we supposed to help George?Drake: We can't. Unless we enter his world and find out which one of thosebad souls is holding him back.Phoebe: Excuse me?Drake: Well, this spell would get us there, but I'm not gonna tell you what it is unless you take me.Phoebe: Wait, us?Drake: How many chances do we have to go to the1890s?Paige: It's not going to the 1890s that's the problem. It's getting back from the 1890s.Drake: Don't you worry there, little lady. The spell will only keep us with the souls till the moment they become lost. In thiscase, it's when the fire begins.Paige: Okay, how do we free George?Drake: I don't know, we wing it.Paige: Uh, okay. I don't know. I'm gonna go check out some other things.(Paige walks away.)Drake: All right. Youdon't have to go, but you do.Phoebe: I can't. I have an interview today.Drake: Interview shminterview. How does an interview weigh in against the fate of an innocent? And if we are to help, your premonition skillscould prove essential. And it is the next logical step in our whirlwind romance.Phoebe: What whirlwind romance?Drake: The one we'd be having if we had time. Come on, I don't have long to live, I'm dying here. A soulneeds your help. So, what do you say?(Phoebe sighs.)[Scene: Street. Phoebe, Paige and Drake pull up outside a large abandoned building.]Paige: Are you sure this is the place?Phoebe: It says here it's where thecabaret used to be.Paige: A vacant lot after 106 years?Drake: It's probably haunted. Or better yet cursed. Cool, let's go.Paige: Is there a special reason we can't do this from home?Drake: The closer we are to wherethe souls were lost, the better the chances of finding the exact one we are looking for. Excuse me. Safety first.(He gets out of his seat and climbs over to the back seat where Phoebe is. Phoebe giggles.)Phoebe: Whatare you doing?Drake: Getting comfortable. What else? You don't want my body... slumped in the front seat. It's too conspicuous. Phoebe, living isn't about tasks. It's about living.(Drake clicks his fingers and an oldsheet of paper appears in his hand.)Phoebe: All right. Paige, are you gonna make sure Elise bumps my interview two hours?Paige: I'm all over it.Phoebe: And we will be back before two hours?Drake: Yeah. We'll returnjust when the fire begins. Which, based on what you said about George, seems imminent. \"Free our souls from their shells, see where the lost spirits dwell, long enough to find their pain, quick enough to returnagain.\"(Phoebe and Drake fall asleep.)[Cut to inside Cabaret Fantome. 1890s. Phoebe and Drake appear on a staircase. Phoebe is wearing a red feathery dress and Drake is wearing a black tuxedo.]Phoebe: Oh, my.(They look around and see men and women drinking and talking. A man is playing a piano.) This is...Drake: Fantastic. Well, you look stunning.Phoebe: Why, thank you. You don't look so bad yourself.Drake: Well, thankyou very much.(Phoebe takes Drake's arm and they walk down the stairs.)Phoebe: So, what do we do now?Drake: We mingle.(They walk through the room. A man sitting at a table near by with some women standsup.)Count Roget: Ladies, please. (The women walk away.) Toulouse, who the hell is that?(A man turns around and looks at Phoebe and Drake.)Toulouse: Never seen 'em before, boss.Count Roget: Nor have I. Find outwho they are.(Phoebe and Drake notice Count Roget staring at them.)[SCENE_BREAK][Scene: Cabaret Fantome. Continued from before. Phoebe and Drake are walking through the room.]Drake: Pardon us.Phoebe: Soall these people are stuck in some, like, ghostly limbo? As if the fire never happened?Drake: It happened. Otherwise they wouldn't be here.(Drake watches a woman walk past them.)Phoebe: All right, keep your eyes inyour socket, buddy. We're here for George, remember?Drake: That doesn't mean we can't enjoy ourselves. Come on, it's 1899. You may not remember, but I do. What, the Gilded age? It's a time when everyonethought life couldn't possibly get any better. There was science, there was art. There was peace and love. And romance. Everything was a celebration.Phoebe: This is a celebration? Everyone's dead, just like...Woman'sVoice: George? George? (A woman walks up to a fortune teller sitting at a table.) What did you do to him?Fortune Teller: I'm afraid I don't know what you're talking about.Woman: Don't lie to me. I saw him over heretalking to you and now he's gone.Fortune Teller: What can I say? He likes my cards. Still, I don't know where he is. Now, if you'll excuse me.(A man sits at the fortune teller's table. The woman walks away.)Phoebe: Uh,excuse me? I couldn't help but overhear. Do you know George?Woman: Who are you?Phoebe: That doesn't matter. But what does matter is that George came to us for help. About the fire?Woman: What fire? What areyou talking about? I don't have time for this.(The woman walks away.)Phoebe: She doesn't know about the fire either?Drake: That's because it hasn't happened yet. Not as far as she's concerned. Not as far as they'reall concerned.Phoebe: Huh?Drake: Don't you see? They're doomed to repeat the last few hours over and over again. It's like a never-ending loop.Phoebe: Well, that's just terrible. What could possibly cause such athing?Drake: What or who?(They look over at Count Roget. Toulouse walks up to Count Roget.)Count Roget: Well?Toulouse: Well, they're not the law. I don't know where they came from.Count Roget: I'm moreinterested in how they got in. And if they're my way out.Toulouse: What do you mean?Count Roget: Toulouse, what if I was to tell you everyone in this room has been reliving this same night for over 100 years? Likerats on a wheel. I mean, nobody knows it but me. And what if, no matter what anybody did, or how hard they tried, there's absolutely no way out? And all the drinking and gambling and... the girls. Well, what if theydidn't mean squat? What if, you'll love this, I told you that it was going to be like that forever? Forever. What would you say then?Toulouse: Well... Would I get to keep my tips?Count Roget: Bring me a Scotch.Champagne for the lady, and a cigar for the gentleman. I want them to be comfortable when I meet them.Toulouse: Yes, sir.[Scene: Manor. Conservatory. Paige has put Phoebe and Drake on the chairs.]Paige: Okay, ifyou guys are not back in two minutes, I'm calling Piper. (The doorbell rings. Paige walks into the foyer and opens the door. Elise and the photographers are there.) Hey, Elise. What are you doing here?Elise: Well, whatdo you mean? I'm here with Cosmo for the photo shoot. Where's Phoebe?Paige: Uh, Phoebe... Didn't you get her message? She said she's gonna have to reschedule.Elise: What?Paige: Yeah, just for a couplehours.(Elise walks inside and closes the door.)Elise: I never got the message to push the shoot. Are you out of your mind? We're talking national exposure here for her column. The kind you can't buy, and the deadlineis tonight! And no, I can't just... (Elise sees Phoebe asleep in the chair in the conservatory.) Phoebe? Phoebe, we talked about this. (Elise heads for the conservatory.) You blow it with Cosmo once, you don't get asecond chance. What is the matter with her?(Paige stands in front of Elise, stopping her from walking any further.)Paige: Well... I'd say that she's got food poisoning.Elise: Food poisoning!Paige: Shh. I think the moreshe can sleep, the quicker she'll get better.Elise: When? When is she gonna get better?Paige: Well, like I was trying to say... A couple hours. Have you thought about doing it at the office?(They walk back towards thedoor.)Elise: Well, that is where I originally wanted it, but...Paige: See? You're brilliant. Really, a brilliant woman. Okay, I promise you'll have her there.Elise: She better be.(Elise leaves. Paige walks into theconservatory.)Paige: Piper! Piper, Leo! (Piper, Leo, Wyatt and Chris orb in.) How was the vacation?Piper: This better be an emergency. We were just about to go for a gondola ride. (Paige points to Phoebe and Drake.)Per l'amor di dio!(Leo translates.)Leo: Oh, for the love of god.[Scene: Cabaret Fantome. A fan dancer walks on stage and talks to the piano player. Phoebe and Drake are sitting at a table. Count Roget is sitting at atable beside them.]Drake: Hey, a fan dance. I love a fan dance. Wait'll you see this. (Phoebe looks uninterested.) Nevermind.Count Roget: Yes, it is quite a sight. A beautiful woman onstage, nothing between her andthe audience except two ostrich plume fans. The allure of the dance is to watch how she moves with the fans. Showing only what she wants, not an inch more.Phoebe: Is the dance ever performed by a man?CountRoget: So tell me, my new friends, how exactly do you know George?Phoebe, Drake: What makes you think that we do?Count Roget: Well, I saw you talking to his fiance, Marie. She seems terribly distraught, doesn'tshe?Phoebe: She doesn't know what happened to him.Drake: Do you?Count Roget: I've been concerned about him recently. Keeping an eye on him, you know. He is my best barkeep, after all.Phoebe: And you don'tknow what happened?Count Roget: I wish I did. So, how did you come to learn about Cabaret Fantome?Phoebe: Word gets out.Drake: Hard to keep a place like this hidden forever.Count Roget: Do you like thecigar?Drake: Quite.Count Roget: They're hand rolled in Havana, and shipped to my dealer Philippe, special. He's right across the street actually. Would you like to take in the night air, pay him a visit? He loves newcustomers.Phoebe: Sure. Care to join us?Count Roget: Sadly, I am unable to leave the club.Drake: And why is that?Count Roget: Because as they say... the show must go on, right?Piano Player: Ladies and gentleman,please welcome your host, Count Roget.(Count Roget stands up.)Count Roget: Feel free to enjoy the show from here. It's a once-in-a-lifetime experience.Phoebe: We're dying to see it. (Count Roget walks up on stage.Everyone applauds. Suddenly, a glass window shatters and you can see a fire on the other side. Everyone screams and runs for it. The clock says 12:00.) Right on time.(Another window shatters near the fortune teller.Everyone screams.)Drake: Could have waited till after the show. Come on, we gotta get to the spot.(Everyone tries to escape and the doors slam shut. The place is going up in flames. Chandeliers fall.)Maria:George!(Phoebe and Drake head for the stairs.)Phoebe: We have to help her.Maria: George, where are you!Drake: We can't. We stay, we burn. Don't worry, she'll be back tomorrow.[Scene: Bay General Hospital.Room. Mike is struggling to get free from his bed. A nurse is trying to control him.]Mike: The fire!(Darryl runs in.)Darryl: What's wrong? What's going on? Go, go get some help!Nurse: Right away.(The nurse runsoutside. Mike glows and calms down.)[Cut to the Cabaret Fantome. Phoebe and Drake are at the top of the stairs. George suddenly appears in the room.]George: Marie! (Marie runs over to him. They hug.) Just holdon.(Count Roget sits down at a table. He sees Phoebe and Drake vanish.)[Cut to the Manor. Conservatory. Piper and Paige are there. Leo walks in.]Leo: There's nothing in the Book that tells us how to get them back.So... Since I can't talk to the Elders...(Phoebe and Drake suddenly wake up.)Paige: Phoebe?Piper: Are you all right?Phoebe: I don't know.[SCENE_BREAK][Scene: Manor. Conservatory. Continued from before.]Phoebe:"}
+{"doc_id":"doc_41","qid":"","text":"CRU - StreetRusty : I'm telling you, Baldwin's rules for ring closure, they don't even apply. Dr. Albert's wrong.Dale : Then somebody better change Baldwin's rules between now and the final.Rusty : Dr. Albert is notinfallible, Dale.Dale : If you define \"infallible\" as I do in this situation as in \"holds my future in her hands,\" then yes, she is. What you looking at? Dr. Albert? Did she hear you say she wasn't infallible? Please, Lord, grantme invisibility...Rusty : No. It's the girl from my American lit class. Just don't stare so much.Dale : That girl right there? I hate to say this, but I liked it better when you weren't on the prowl.Rusty : That's the Moby Dickgirl.Dale : I'm not real sure I'm comfortable with that statement either.Rusty : Last week, in my American lit class, Mr. Ellman pointed to me and he's like, \"Mr. Cartwright,\" and I said, \"No, please call me Ishmael.\"Both: Emma cracked up.Dale : It's such a good story. Every time.Rusty : She got the joke. I think she gets me. You know how rare that is?Dale : No, not really. But what I do know is that obsessing, particularly in the carnalrealm, distracts the mind from important matters, like solid-state chemistry.Rusty : My work in solid-state chemistry is not suffering because of Emma.Dale : Well, mine is. If you like this girl, for heaven's sake, andmine, just ask her out.Rusty : She laughed at my joke, she didn't give me her phone number. Look how she closes her book first, and then takes her last sip of coffee. Dale ? No !Dale : She'll meet you for coffee tonightat the espresso farm, don't thank me. Let's start with exo-digs, you take favored, I'll take unfavored. You wanna sit down or you wanna just keep standing here? Come on. ZBZ HOUSE - Living roomFrannie : What'sgoing on?Casey : Caroline, Laurie, and Amy have been invited to Lambda Sig pink rose formal.Frannie : It's fantastic.Ashleigh : We're finally moving out of the social dog house. Under the amazing leadership of CaseyCartwright.Frannie : So when do we call the Omega Chis? To build on the momentum? The Lambda Sigs are the second hottest house on campus. Now that they've officially taken us off Greek death row with theseinvitations, this is the perfect time to push for a full pardon by setting up a mixer with the first hottest house... the Omega Chis. If you thought that was a good idea.Casey : Actually, I think it's a... terrible idea.ZBZ Girl: But the Omega Chis are a rightful social counterpart.Casey : Rightful social counterpart B.J.K.Ashleigh : \"Before Jen K.\"Casey : And the shunning Omega Chi gave us after the article was published? Not to mentionB.P.H.Ashleigh : Before... Paris Hilton?Casey : Before public humiliation? The back-to-school carnival. Am I the only one who remembers the kissing booth debacle? The way the Omega Chis publicly humiliated us? Whyshould we reward them for treating us like that? No, ladies. ZBZs will find their way to the top on their own merits. And in the meantime... We can celebrate, and strengthen from within. How about a game night? Wecan order pizza, bake cookies...Frannie : Great, that sounds great. It sounds great. Credits CRU - Dale & Rusty's roomRusty : 7:00, 8:00.? 7:00 sounds great. No. That's fine. Yeah, all right. I'll see you then. All right,bye. She wants to bring her roommate along on our date.Dale : That can't be a good sign.Rusty : If she didn't want to be alone with me, why didn't she just break the date?Dale : Pity can be a pretty powerful emotion.Or... She likes you so much already, she wants to show you off.Rusty : All right, maybe I should bring somebody to... To keep her roommate busy. So I can have a little one-on-one time with Emma.Dale : That's à goodidea. Maybe get one of your frat bros to go along.Rusty : No, I don't wanna have to explain how this whole stupid date thing happened to any of the guys at the fraternity. Especially if it's go up in flames. How aboutyou go with me? You're the one who got me into this.Dale : Rusty, I know you haven't been able to see me in action. You know, pure girls being somewhat in short supply here at CRU. I'm known in certain circles asquite the ladies' man. I wouldn't wanna show you out there.Rusty : What circles are those?Dale : Purity pledge circles. I was voted \"most likely to have the opportunity to become impure, but have the supremeself-control not to\" three years running in high school. I just don't want to risk our friendship over some girl.Rusty : I'm willing to take the risk.Dale : All right, then. If that's the way you want it, roomie. But beforewarned. I have no control over this charisma. ZBZ HOUSE - HallwayRebecca : That sounds terrible. Poor thing! So I'll call you later. That was Cappie. He's sick.Casey : Yeah, I'm suddenly feeling a little nauseousmyself.Rebecca : Not having a boyfriend is nothing to get yourself upset about. You don't need a man to have a fulfilling life. You could be the next mother Teresa or Rosie O'Donnell. Caroline and Mandy have alreadyleft for the movies yet?Casey : Wait, you're not going to see Cappie?Rebecca : He's sick.Casey : Really? OK. I saw Mandy...Rebecca : What?Casey : It's just... When Cappie and I were together, I always took care ofhim when he was sick. But... He's probably not even thinking about that right now. Maybe you can just send him a nice warm e-card. I'm sure it'd mean a lot to him. CRU - GardenAshleigh : Okay, I'm here. So what'swith all the secrecy?Frannie : We needed to talk somewhere away from the house. I'm worried about Casey.Ashleigh : Frannie, I know you've supposedly gone through this whole personality overhaul thing, but I'm kindof weirded out when you start talking about your concern for Casey.Frannie : This is not about me. Didn't you notice how everyone was looking at her when she nixed mixing with the Omega Chis? And I know you heardsomeone call her \"Lizzi.\"Ashleigh : So? Casey, Lizzi. It's an understandable mistake.Frannie : Casey is seriously being blinded to what's good for the house and herself by this Evan-shaped mental block. Which I know Ihelped to put there. That's why I'm doing everything I can to get everyone back to their rightful places.Ashleigh : If you feel so strongly about this, why don't you talk to Casey about it?Frannie : Because she might bekind of weirded out. Don't let her blow this opportunity, Ash. ZBZ HOUSE - Ashleigh & Casey's roomCasey : Not wanting to have a mixer with the Omega Chis couldn't possibly have anything to do with my feelings forEvan. I don't have feelings for Evan. It doesn't matter to me if he's arrogant, or rude, or dismissive... I don't even notice.Ashleigh : Yeah, I can see that. Did you know that Amanda gets PE credits for massaging thevarsity boys during swim meets? We should just go...Casey : The Omega Chis publicly humiliated the ZBZs at the back-to-school carnival. Right?Ashleigh : From where I was standing, Case, it looked more like... Evanhumiliated you. But I could be so wrong.Casey : No, Ash. You're right. It was about Evan and me. But he is an Omega Chi and I am a ZBZ.Ashleigh : Yes, you are. And you're the best president ever.Casey : And thereare 50 other girls in this sorority, who didn't get dissed and who want to resume relations with the Omega Chis.Ashleigh : 50 hot, desirable Omega Chis, including Calvin, who might be waiting for an opportunity todisagree with Evan Chambers.Casey : That part would be gratifying.Ashleigh : I'm social chair. I can extend the invitation.Casey : Thanks Ash, but this isn't just about the party. It's about normalizing relations. I needto do it. I can do it.Ashleigh : Wanna go fondle some swimmers first?Casey : You are such a good friend. CRU - CaféEmma : So how did you meet?Rusty : Did you guys meet here? You can go first.Emma : No, youfirst.Dale : Luck of the draw. Housing office saw fit to put us two brainiacs on the engineering dorm.Rusty : Dale, we don't need...Dale : Honors floor. I got a 2210 on my sats. Rusty here got about the same.Tina : I got2250.Dale : 780 in math. Tina 790.Rusty : Dale's very proud of his accomplishments.Emma : It's okay. Tina's not easily intimidated.Rusty : I see that.Emma : So how are you liking american lit?Rusty : Honestly, I amfinding Moby Dick a little long and kinda stiff. I can't believe I just said that.Emma : I say things I don't mean to say all the time. Why do you think I don't talk in class?Rusty : Well, I just figured you were so far aheadof the discussion, you were just waiting for the rest of the class to catch up.Emma : I wish. Mostly I'm just trying to stay awake. Which I guess brings us back to Moby Dick being...Rusty : A little long and stiff.Tina : Isthat what I think it is?Rusty : What, what is?Dale : His pledge pin? Or his scarlet letter, if you will? He's in a frat.Rusty : We prefer \"fraternity.\" I'm pledging Kappa Tau Gamma.Tina : The Greek system should bebanned from college campuses.Dale : You got a 2250 on your sats, and you're down on the Greeks?Emma : Well, the Greeks aren't so bad.Tina : Emma, they're this totally ritualistic, secretive society.Rusty : I thinkyou may be taking it a little bit too seriously.Tina : You don't think it's serious when an organization takes monies from general students services fees, but doesn't allow all students to participate in its activities?Rusty :Well, the same could be said for most clubs on campus and sports teams.Emma : I could use some more coffee.Rusty : I can get that for you.Dale : You know, I've started an organization you may be interested in,U-Sag.Tina : U- sag? What does that stand for?Dale : University students against Greeks. CRU - StreetRusty : That was a complete disaster.Dale : Are you kidding? That was great. That Tina's a real spitfire.Rusty :Dale, this was supposed to be my date with the new girl, and it turned into the Greek inquisition. They didn't even want us to walk them back to their dorms.Emma : Hey Rusty !Dale : If Tina wants to call me, tell herit's okay. I'm serious.Emma : I just wanted to apologize for abandoning you tonight. I'm not much good with confrontation.Rusty : Your roommate likes it enough for both of you.Emma : I know. I probably shouldn'thave brought her. I didn't really know you, and anyway, I'm really sorry. See you in class?Rusty : Maybe we can try it again? Just you and me? Friday night?Emma : Sure. Why not?Dale : Did you tell her to call me?OMEGA CHI HOUSE - HallwayEvan : Casey ?Casey : Hey!Evan : Hey!Casey : I was looking for Dino.Evan : Dino?Casey : The Omega Chi president?Evan : Yeah, I know. I know who he is. He's not here right now. Whatdid you want to talk to him about?Casey : Just some Greek business. If that's okay with you.Evan : Why wouldn't it be with me? Just that the OCs and the ZBZs aren't exactly doing business anymore. But if you wantme to tell Dino you stopped by, I'll tell him.Casey : You know what? Never mind. I don't have to talk to him after all. KT HOUSE - Cappie's roomRebecca : Cap ?Cappie : That's my girl ?Rebecca : Hey ? Thought maybeyou could use a massage or maybe a sponge... I thought you had a cold.Cappie : I do. I also have pink eye.Rebecca : Bummer. Well, there's some tea. I've gotta go.Cappie : Wait. What's under the white coat,doc?Rebecca : It's... nothing that should be seen through... Crust.Cappie : Is it really that bad? Okay, hold on. Here we go. Better?Rebecca : A little. What?Cappie : I didn't think that you'd come.Rebecca : Why not?Casey took care of you when you were sick, right?Cappie : Well, yeah, but, I mean, you're not... Tea! What is this, Earl Grey?Rebecca : It's chamomile. Is there anything else I can do for you?Cappie : I don't wannaimpose. Let's see. Would you mind... Heating that up? Yeah, it's just a little cold. Thanks. And maybe some Chicken noodle soup in a cup, in, like, the mug, you know? It's always better when it's in a mug for whenyou're sick. With some of the little oyster crackers on top. I'm sorry. It's probably a good thing you wore the coat. ZBZ HOUSE - Living roomAshleigh : So the social committee is planning a game night, and I'm taking apoll on board games.Frannie : More like boring games.ZBZ Girl : What we should be planning is a great party with the Omega Chis.Casey : I couldn't agree more. Which is why I went to the Omega Chi house just nowto discuss the possibility of mixing with us.Frannie : My God, that's fantastic.Casey : But they said no.Ashleigh : Really?Frannie : Did you talk to Dino?Casey : We're still poison as far as they're concerned. But whocares, right? We don't need the Omega Chis to be the best sority at CRU. We are the ZBZs. We have the Lambda Sigs. We have game night. Now I'm gonna go change my clothes. And then let's scatter somegories.Ashleigh : She did what she could. I guess. CRU - Dale & Rusty's roomRusty : CD, cD jacket. Think I'm set.Dale : Were you able to include any \"Darwin lied\"?Rusty : I tried, Dale, but damnation seems like a littlebit of a romance killer.Dale : You know what Emma's gonna like, anyway?Rusty : I don't, which is why I emailed her a detailed questionnaire with multiple options in each musical category. She hasn't sent it back,though, so I thought I'd give her some choices that she can cross-reference while deciding.Dale : Man, that's my third email from Tina today. She's really chompin'at the U-Sag bit. I think she's gonna come by ourmeeting tomorrow.Rusty : I don't get the attraction. Tina's one of the most abrasive people I've ever met.Dale : I'm just not intimidated by strong women. And U-Sag is a big tent organization. CRU - CaféAshleigh : OhCalvin ! Over here.Calvin : Let me just go grab some coffee.Ashleigh : No! Sit.Calvin : Or... not.Ashleigh : Why don't we have mixers anymore?Calvin : \"We\" meaning \"you and I\"?Ashleigh : \"We\" meaning ZBZ andOmega Chi. You guys totally shut down the idea of having a mixer with us? What's up with that?Calvin : I still have no idea what you're talking about.Ashleigh : Casey said that she got a seriously strong negativereaction from Dino when she invited you guys to mix with us.Calvin : Really? That's weird. When it comes to getting back together with the ZBZs, my sense is most of the guys are fine with it, including Dino.Ashleigh : Ineed you to do something for me.Calvin : Okay, let me just grab...Ashleigh : No. So this is what I need you to do. CRU - Emma & Tina's doorRusty : \"Indelible.\" Crap.Girl : See you at dinner, Tina.Rusty : Hey Tina.Tina :What are you doing with our white board?Rusty : I just came by to drop off a CD for Emma, and it just fell off. And I thought I would just take it back to my dorm room, slap some adhesive on it, and bring it back.Tina :It fell?Rusty : Crazy? Good thing I was here. And I have adhesive in my room, so... I'm gonna go.Tina : I can't speak for Emma, but I really don't appreciate being part of these little frat pranks. Give me back my whiteboard.Rusty : This has nothing to do with the fraternity.Tina : Then give it back. Don't you think it would have been simpler to just erase it?Rusty : Yes, but... Okay, I used their marker, and it's indelible. Whoknew?Tina : Yeah, they're in the middle of this feud with these guys down the hall. Hey, if you could find one with a corkboard, that'd be great.Rusty : Hey, can you just give this to Emma for me?Tina : Any message?Something... Short and limp?Rusty : Just say it's from Rusty. Here. OMEGA CHI HOUSE - Meeting roomCalvin : All right. Look, we all know the ZBZs have been looked down upon ever since the article. But it's old news.I think it's time we gave them a second chance. They're the same girls that we partied with last semester, and they're awesome. I just don't think we should keep punishing them for something that could havehappened to any of us.Evan : I think my little brother is well-intentioned, but, in this particular case, missguided. I mean, come on, guys. The events of the past few months have just shown us who they really are. Imean, they're a house... That... Always puts their own interests first, and ultimately can't be trusted. I mean, no matter how much we might wanna trust them.Dino : Do you really believe that?Evan : Look, if this isabout having a mixer, the Tri Pis are always available.Calvin : A little too available.Dino : Why don't we put it to a vote? All those in favor of continuing to shut out the ZBZs? All those opposed. ZBZs have it. ZBZ HOUSE- Ashleigh & Casey's roomCasey : What, did they just announce a new season of \"America's Next Top Model\"?Ashleigh : Better! Kyle, the Omega Chi social chair, just came by to invite the Zeta betas to mix with themthis weekend.Casey : Wow, that's... That's so not what they said before. But great.Ashleigh : We're gonna have to scramble a little to get the registration forms and keg application into the dean's office in time. Butwhere there's a will, there's a way to get through with the new party restrictions. Right?Casey : Right. We're back on with the Omega Chis. I wonder how all of this happened.Ashleigh : Case, did you ever actually talk toDino about a mixer?Casey : Why would you even ask me that?Ashleigh : 'cause I talked to Calvin. And from what he was hearing at the house, it didn't sound like you had.Casey : Let's go see that... That was really fun.Right? I really meant to. I wanted to. I went over there, and Evan answered the door, and he was all cold and judgey. I knew what I should say, but I couldn't talk. I couldn't give him the satisfaction of knowing Iwanted anything from him.Ashleigh : It's one night. One night that'll make two houses very happy. And all you have to do is sign our half of the registration forms and get through a few hours with Evan. And I have aplan for that. CRU - Dale & Rusty's roomRusty : Hey, guys. Emma loved the CD. I just got a text from her. \"T-h-x\" with an exclamation point.Sanjay : A bake sale?Ted : Car washes?Dale : Just keep reading. So I guessshe wasn't phased by the white board incident.Rusty : I told you, Dale, she gets me. I just want to give her a couple more song choices before class.Sanjay : This is truly ambitious.Rusty : What are you guys doing?Dale: We're meeting with Tina later that afternoon about U-Sag. I just want the guys here to be up to speed on all our suggestions.Rusty : That's a lot of suggestions.Dale : Tina's a real dynamo. And I feel like, you know,it's my job now to harness all her energy.Sanjay : That sounds dirty.Ted : You think everything sounds dirty.Dale : Guys, could we focus?Tina : Dale? You ready?Dale : Come in. Hey. Let me introduce you to Sanjay andTed.Sanjay : Hi.Ted : Hi.Tina : Sanjay, Ted. Ishmael. So are you guys ready to go? I had a bunch of posters made up.Dale : Posters? But, I mean, we haven't really went over...Tina : We gotta grow this thing. I've got ahammer, and the rest of you guys could just use your shoes. Come on, guys, let's go! Hurry up!Rusty : Nice harnessing. Got extra shoes? KT HOUSE - Living roomRebecca : Anybody know where the charger to Cappie'slittle video game machine is?Heath : Nope.Rebecca : I don't suppose you have any saltine crackers. Anybody?KT Guy : How 'bout some peanuts? They're warm.Rebecca : Works for me! Okay. I will pay anyone $200 totake this tray up to Cappie's room and watch Reba with him. We're on season five!Heath : No one goes into Cappie's room when he's sick.KT Guy : It's like going into the Bermuda Triangle. With germs.Heath : The onlyone brave enough to do that was...Rebecca : Casey. I know.KT Guy : I hear she never left his side.Heath : Yeah, she was a real angel of mercy. CRU - ClassroomRusty : Hey...Emma : Hey!Rusty : I also brought you aset of push pins. Because, look, it's got a corkboard on it. And a new set of dry erase pens. 'cause you don't want any more accidents.Emma : No, that's for sure. Thanks.Rusty : And I got you a cup of coffee. Careful.And a full selection of additives.Emma : Wow.Rusty : Last, but not least, here is a few more song samples, an updated hard copy of the cd questionnaire. I figured, since you hadn't responded, you were having troubledownloading the attachment.Emma : Rusty, this is amazing. The only bad thing is now I feel like a real jerk for having to postpone our date tonight.Rusty : Oh.Emma : I have a paper due on Monday for my philosophyclass. And I... Thought I'd be a lot further along than I am. So now I have to work on it all weekend. I'm really sorry.Rusty : That's okay. When you're dating a student, you have to expect these kinds of things,right?Emma : Right.[SCENE_BREAK]OMEGA CHI HOUSE - PartyAshleigh : There, now you only have to come in contact with Evan once. When you check his ID. And stamp his hand. Or his face.Casey : Ash !Ashleigh :Like you wouldn't love to.Rebecca : Nice to see the Greek world back on its axis.Casey : How's Cappie? Contagious?Rebecca : Probably. Whatever.Casey : Enjoy your soda.Rebecca : Thanks, Casey.Casey : This nightnot be so bad after all.Ashleigh : There's Calvin. Are you okay here?Casey : Sure, I'm fine. Have fun.Ashleigh : Thanks.Casey : Hey, Evan Let me just stamp your hand and then you can go get started.Evan : You're ZBZparty patrol?Casey : Your guy hasn't shown up yet.Evan : Actually, he has. It's me. OMEGA CHI HOUSE - PartyFrannie : Oh, my God. Is this a reunion of... More than just our houses? Or just an incredibly awkward"}
+{"doc_id":"doc_42","qid":"","text":"[Salvatore's House](Elena is lying in the cell and starting to desiccate. Damon and Stefan are upstairs)Damon: That's the calmest desiccating vampire I've ever seen. I remember when you starved me down there for 3days. I would've wept at your feet for an orange peelStefan: Look, she's not gonna beg for blood. Begging means desperation. Emotion. She's still in no-humanity zoneDamon: How hungry does she have to be beforewe can torture some feelings back into her?Stefan: A lot hungrier than she is now, apparentlyDamon: So, what are we supposed to do in the meantime?(Katherine enters)Katherine: Maybe I can provide a littleexcitementStefan: KatherineKatherine: The one and only. Sort of. So, when's the welcome home party?Damon: Wow. Look who went and got bold. Last time I checked, Klaus was plotting your eternal demiseKatherine:Well, it doesn't matter anymore, because Klaus is goneStefan: Wait. What do you mean he's gone?Katherine: Let's just say that werewolf girl Hayley turned out to be just the thing we needed to get Klaus out of ourlives for good[New Orleans](Haley is at a bar. She looks at the bartender)Bartender: Third time in here this weekHaley: I'm obsessed with The Gumbo, Jane-AnneJane-Anne: The old ladies in the ninth ward say mysister Sophie bleeds a piece of her soul into every dishHaley: I asked around the quarter about my familyJane-Anne: And?Haley: Nothing. Zero. Can't find a single person who remembers themJane-Anne: Because,Hayley, people like you were run out of here years agoHaley: What do you mean, people like me?Jane-Anne: In the Bayou, they call the werewolves Roux-Ga-Roux. You head out there; you'll find what you're lookingfor. Be careful. It's the last place you'd ever want to go(Jane-Anne and Sophie are in a cemetery)Sophie: Don't do it. Please. What if I'm wrong about her?Jane-Anne: That's the beauty of you. You're never wrong. She'sthe only way we're gonna get to KlausSophie: Can we get someone else to do the spell?Jane-Anne: Who? Half the witches don't believe you. The other half are too scaredSophie: Because they know we're gonna getcaught, Jane-AnneJane-Anne: We don't have any other option. Now go. You know what you need to do(Haley arrives at the bayou and has a problem with her car)Haley: What the... uhh! Are you kidding me?(She getsout of the car and takes her phone)Haley: Hey, I'm looking for a tow service(A tour guide is leading a bunch of tourists)Tour Guide: Welcome to the dark side of New Orleans, a supernatural playground where the livingare easily lost and the dead stick around and play(Klaus smiles)Mystic Falls[Rebekah's House]Rebekah: New Orleans? What the hell is Klaus doing there?Elijah: Evidently, there are witches conspiring against him. So,knowing our brother, this was a mission to silence and slaughterRebekah: Well, the French quarter witches are not a lot to be trifled with. You don't suppose they've found a way to kill him once and for all, doyou?Elijah: Rebekah, in the name of our family, you might try to dial down your gleeRebekah: What family? We are 3 distrustful acquaintances who happen to share a bloodline. I for one hope they've found a way tomake that traitorous b*st*rd rot[New Orleans](Klaus sees a woman and goes to her)Klaus: Good afternoon. Time for one more?Woman: I have nothing to say to youKlaus: Oh, now, that's not very amiable, is it? Youdon't even know meWoman: I know what you are. Half-vampire, half-beast. You're the hybridKlaus: I'm the original hybrid, actually, but that's a long story for another timeMystic Falls[Rebekah's House]Rebekah:Where are you going?Elijah: To find out who's making a move against our brother, and then... I'll either stop them, or I'll help them. Depending on my mood(He leaves)[New Orleans]Klaus: I'm looking for someone. Awitch. Perhaps you might be able to help me find her. Jane-Anne DeverauxWoman: Sorry. I don't knowKlaus: Well, now, that's a fib, isn't it? Now, you see... I know that you're a true witch amongst this sea of poseurs.So, enough with the fabrications. I've quite a temperWoman: Witches don't talk Outta School in the quarter. The vampire won't allow it. Those are the rules. I don't break Marcel's rulesKlaus: Marcel's rules? Where doyou suppose I might find Marcel?(Marcel is singing in a bar. When he stops, he goes to the bar and sees Klaus)Marcel: KlausKlaus: MarcelMarcel: Must be 100 years since that nasty business with your papaKlaus: Has itbeen that long?Marcel: Way I recall it, he ran you out of town. Left a trail of dead vampires in his wakeKlaus: And yet how fortunate you managed to survive. My father, I'm afraid, I recently incinerated to dustMarcel:Well, if I'd known you were coming back in town, if I had a heads-up...Klaus: What, Marcel? What would you have done?Marcel: I'd have thrown you a damn parade. Niklaus Mikaelson. My mentor, my savior, my sire.Let's get you a drink. It is good to see youKlaus: It's good to be home. Although please tell me the current state of bourbon street is not your doingMarcel: Ha ha ha ha! Something's gotta draw in the out-of-towners;otherwise, we'd all go hungryKlaus: I see your friends are daywalkersMarcel: Yeah, yeah, I shared the secret of your daylight ring with a few buddies. Just the inner circle, though. The familyKlaus: Tell me. How did youfind a witch willing to make daylight rings?Marcel: I got the witches here wrapped around my fingerKlaus: Is that so? I'm looking for a witch by the name of Jane-Anne Deveraux. Has some business with meMarcel:Looking for Jane-Anne? Then you probably ought to come with me. Ha ha! Showtime!(Marcel and Klaus are outside. A crowd gathers)Marcel: How's the family?Klaus: Those who live hate me more than everMarcel:Forget them. If your blood relations let you down, you make your own, huh? You taught me that. And what's mine is yours, as always. Even my nightwalkers, the riff-raffKlaus: They're hardly subtle, are they?Marcel:It's the quarter. Ain't no such thing as subtle, baby(Marcel's mignons bring Jane-Anne)Marcel: Jane-Anne Deveraux. Give it up for Jane-Anne. Come on. Jane-Anne Deveraux, you have been accused of the practice ofwitchcraft beyond the bounds of the rules set forth and enforced by me. How do you plead? Oh. Was that convincing? I studied law back in the fifties. It's all I know. Seriously, J, tick tock. You know the drill. How do youplead?Jane-Anne: I didn't do anythingMarcel: That's a lie. You know it, I know it, and you hate that I know it. It drives you witches crazy that I'm aware of your every move. That you can't do magic in this town withoutgetting caught. So, why don't we just cut to the chase, huh? You tell me what magic you're brewing. Tell me. I'll grant you leniency. Hey, I am, after all, a merciful manJane-Anne: Rot in hell, monsterMarcel: I'll tell youwhat. I'll give you one more chance. Or not(He kills her. Klaus rejoins him)Klaus: What was that?Marcel: Hey. Come walk with me. Witches aren't allowed to do magic here. She broke the rulesKlaus: I told you I wantedto talk to herMarcel: Hey, I'm sorry. I got caught up in the show. Those witches, they think that they still have power in this town. I have to show them that they don't. I never waste an opportunity for a show of force.Another lesson that I learned from you. And besides, anything that you could've gotten out of her, I can find out for you, and I will. I promiseKlaus: Well, whatever it was, doesn't matter anymore, does it?Marcel: Good.Then let's eat, because all that spilled blood makes me hungry(He leaves. Klaus talks to one of Marcel's minions)Klaus: Hey. Thierry, isn't it? Any more Deveraux witches where she came from?(Sophie is cooking. Sheturns herself. Klaus is here)Sophie: You're KlausKlaus: I am. And you're upset. Sophie, isn't it? I assume this is because of what I just witnessed with your sister on the corner of Royal and St. AnnSophie: Did you enjoythe show?Klaus: It was a little melodramatic for my tastes. What did your sister want with me? Why did Marcel kill her?Sophie: I see you brought friendsKlaus: They're not with meSophie: They're with Marcel. That's allthat matters. I know you built this town, but this is his town now. He killed my sister because she broke the rules. So, I talk to you in front of them, I'm next(He rejoins the 2 men at the bar)Klaus: Are you twogentlemen following me?Man: Marcel said we're your guidesKlaus: Oh, he did, did he? Well, then, let me be exceedingly clear about something. If either of you following me again, you'll do so without the benefit of aspine(The waitress rejoins them)Camille: Sorry for the wait. If you're here for the gumbo, I'm about to break your heart. We just ran outKlaus: Your oldest scotch for my two friends here, love. Marcel wants to knowwhat I'm up to, he can ask me himself(Sophie is outside, alone. She hears a door close and the men who were inside are here)Sophie: The doors work, you knowMan: You doing magic?Sophie: I'm praying to my deadsister. Go ahead. Pay your respectsMan:. Don't make this a thing, Sophie. The hybrid was looking for Jane-Anne. Marcel wants to know whySophie: Oh, that sounds like witch business. I'd say ask her yourself, but Iguess you can't seeing as how Marcel killed her(They're about to kill her but Elijah intervenes and kills them)Elijah: I'm Elijah. You've heard of me?Sophie: YesElijah: So, why don't you tell me what business your familyhas with my brother?(Klaus arrives at a party, looking for Marcel. He catches one of his men)Klaus: Where's Marcel?Man: Who the hell's asking?Klaus: I assume you're jokingMan: I only answer to MarcelKlaus: Well,then, in that case, perhaps you'll answer to this. You're aware the bite of a werewolf can kill a vampire? Well, as you can see, I'm half-werewolf, so I'm gonna ask you one more time! Where is Marcel?(Marcelarrives)Marcel: H-hey. I'm right here. I'm right here. Easy, now. Diego's just looking out for me. Nobody harms myguys. Those are the rulesKlaus: I don't care about your rules, Marcel. I don't need chaperones. Whyare you having me followed?Marcel: Come here. I get it, huh? Show of force. You made your point. Let it go, friend. For meKlaus: Fine. Why don't you show me what you've done with the place while you explain exactlywhat it is you've been up to in my town?Marcel: Follow me(Marcel and Klaus are on a balcony)Marcel: Look at that skyline. That there, that's progress. More hotels, more tourists, more fresh blood. And the humans? Itaught them to look the other wayKlaus: And what of the witches? In my time, they were a force to be reckoned with, and now they live in fear. How do you know when they're using magic?Marcel: Maybe I got a secretweapon, an ace up my sleeve, something that gives me complete control over all the magic in this townKlaus: Hmm. Is that a fact?Marcel: Might be. Or maybe I'm just bluffing(He eats something)Klaus: You takevervain?Marcel: 'Burns like a bitch. But I figure I should limit the number of things I'm vulnerable to. Don't be mad about that chaperone thing. I told my guys to look out for you, that's all. That's what we do here...Look out for each other(They see Camille walking alone)Marcel: Mmmmm. New bloodKlaus: The bartender, walking alone at night. She's either brave or dumbMarcel: Let's see. Brave, I let her live, Let's see. Brave, I lether live, dumb, she's dessert(He jumps above the balcony and lands behind Camille)Marcel: You know, it's not safe here aloneCamille: You know, I have a black belt in karate(Klaus looks at them. Elijah's here)Klaus:Evening, ElijahElijah: NiklausKlaus: What an entirely unwelcome surpriseElijah: And what an entirely unsurprising welcome. Come with meKlaus: I'm not going anywhere. Not until I find out who's conspiring againstmeElijah: I believe I just found that out for you(Klaus and Elijah are in a cemetery)Klaus: What are we doing here?Elijah: Want to know what the witches have in store for you? Follow me(They enter a crypt. Sophie iswaiting for them)Klaus: Sophie Deveraux. What is this?Elijah: He's all yours. ProceedSophie: You know you're famous in this town? Witches tell bedtime stories about the powerful vampire Klaus. We know Marcel wasnothing but an orphaned street rat until you made him what he is. And now he's out of control. He does what he wants. He kills who he wants. I'm gonna stop him... And you're gonna help me(Klaus looks atElijah)Klaus: This is why you brought me hereElijah: Hear her outKlaus: I don't need to hear her out. I assure you, love, there is not a thing on this earth that will matter enough for me to waste even 30 more secondsof my timeKlaus: Elijah, what madness is this?(Haley enters)Haley: Klaus... You need to listen to themKlaus: You're all out of your minds if you think some liquor-fueled one-night stand... No offense, sweetheart...Means a thing to meSophie: Marcel may be able to keep us from practicing real magic in this town, but as keepers of the balance, we still know when nature has cooked up something new. For example, I have a specialgift, of sensing when a girl is pregnantKlaus: What?Haley: I know. It's impossibleKlaus: What are you saying?Elijah: Niklaus... The girl is carrying your childKlaus: No. It's impossible. Vampires cannot procreateSophie:But werewolves can. Magic made you a vampire, but you were born a werewolf. You're the original hybrid, the first of your kind, and this pregnancy is one of nature's loopholesKlaus: You've been with someone else.Admit it!Haley: Hey. I spent days held captive in a freakin' alligator bayou because they think that I'm carrying some magical miracle baby. Don't you think I would've fessed up if it wasn't yours?Sophie: My sister gaveher life to perform the spell she needed to confirm this pregnancy. Because of Jane-Anne's sacrifice, the lives of this girl and her baby are now controlled by us. If you don't help us take down Marcel, so help me, Hayleywon't live long enough to see her first maternity dressHaley: Wait, what?Elijah: Enough of this, if you want Marcel dead, he's dead. I'll do it myselfSophie: No. We can't. Not yet. We have a clear plan that we need tofollow and there are rulesKlaus: How dare you command me? Threaten me with what you wrongfully perceive to be my weaknesses? I won't hear any more liesElijah: Niklaus. Listen(They hear the baby'sheartbeat)Klaus: Kill her and the baby. What do I care?(He leaves)(Elijah rejoins Klaus)Elijah: NiklausKlaus: it's a trick, ElijahElijah: No, brother. It's a gift. It's your chance. It's our chanceKlaus: To what?Elijah: To startover. Take back everything we lost. Everything that was taken from us. Niklaus, our own parents came to despise us. Our family was ruined, we were ruined, and since then, all that you have ever wanted, all that wehave ever wanted, was a familyKlaus: I will not be manipulatedElijah: So, they're manipulating you. So what? With them, this girl and her child, your child... liveKlaus: I'm gonna kill every last one of themElijah: Andthen what? Then you return to Mystic Fall to resume your life as the hated one, as the evil hybrid? Is it so important to you that people quake with fear at the sound of your name?Klaus: People quake with fear becauseI have the power to make them afraid. What will this child offer me? Will it guarantee me power?Elijah: Family is power, Niklaus. Love, loyalty. It's power. This is what we swore to one another a thousand years ago,before life tore away what little humanity you had left, before ego, before anger, before paranoia created this person before me... Someone I can barely even recognize as my own brother. This is us. The Original family.We remain together, always and forever. I am asking you to stay here. I will help you and I will stand by you. I will be your brother. We will build a home here together. So, save this girl Save your childKlaus: NoMysticFalls[SCENE_BREAK][Rebekah's House](Rebekah is on the phone with Elijah)Elijah: He's doing what he does. Given a chance at happiness, Klaus runs in the opposite directionRebekah: Then let him run. That child, ifit's even his, is better off without himElijah: He's not better off without that child, Rebekah, and neither are weRebekah: Darling, kind Elijah. Our brother rarely brings us anything but pain. At what point in yourimmortal life will you stop searching for his redemption?Elijah: I'll stop searching for his redemption when I believe there is none left to be found(She hangs up. Katherine is here)Rebekah: I'd give you a play-by-play,but you have the air of someone who's been lurking and listeningKatherine: He'll come around. You know Elijah. He won't stop until he's convinced Klaus to do the right thingRebekah: I know you consider yourself anexpert in brotherly dynamics, but you don't know my brothers half as well as you think you doKatherine: You're wrong. Klaus won't be able to walk away from this. He and I are the same. We manipulate, we thirst forpower, we control, we punish, but our actions are driven by one singular place deep insideRebekah: And what's that?Katherine: We're alone. And we hate it. Tell Elijah to call me when he comes home. I'll be waiting forhim(She leaves)[New Orleans](Klaus goes back to the party and rejoins Marcel)Marcel: Hey, man. Where'd you run off to?Klaus: You mean your minions aren't still documenting my every move?Marcel: Someone putyou in a mood. What can I do?Klaus: What you can do is you can tell me what this thing is you have with the witchesMarcel: We're back to that?Klaus: Yeah, we're back to thatMarcel: You know I owe you everything Igot, but I'm afraid I have to draw the line on this one. This is my business. I control the witches in my town. Let's just leave it at thatKlaus: Your town?Marcel: Damn straightKlaus: That's funny. Because when I left 100years ago, you were just a pathetic little scrapper still trembling from the lashes of the whips of those who would keep you down, and now look at you. Master of your domain. Prince of the city. I'd like to knowhowMarcel: Why? Jealous? Hey man, I get it. 300 years ago, you helped build a backwater penal colony into something. You started it, but then you left. Actually, you ran from it. I saw it through. Look around.Vampires rule this city now. We don't have to live in the shadows like rats. The locals know their place. They look the other way. I got rid of the werewolves. I even found a way to shut down the witches. The bloodnever stops flowing and the party never ends. You want to pass on through? You want to stay a while? Great. What's mine is yours, but it is mine. My home, my family, my rulesKlaus: And if someone breaks thoserules?Marcel: They die. Mercy is for the weak. You taught me that, too. And I'm not the Prince of the quarter, friend. I'm the King! Show me some respect(Klaus loses his temper and bites one of his minions)Klaus: Yourfriend will be dead by the weekend. Which means I've broken one of your rules. And yet I cannot be killed. I am immortal. Who has the power now, friend?(He leaves)(Camille looks at a painting. Klaus rejoinsher)Camille: The hundred dollar guyKlaus: The brave bartender. Camille. That's a French nameCamille: It's a grandma's name. Call me Cami. Amazing, isn't he?Klaus: Do you paint?Camille: No, but I admire. Everyartist has a story, you knowKlaus: And what do you suppose his story is?Camille: He's... angry. Dark. Doesn't feel safe and doesn't know what to do about it. He wishes he could control his demons instead of having hisdemons control him. He's lost, alone. Or... maybe he just drank too much tonight. Sorry. Overzealous psych majorKlaus: No. I think you were probably right the first timeCamille: So...(Klaus has disappeared)(Klaus issitting alone on a bench. Elijah rejoins him and sits down next to him)Klaus: Are you here to give me another pep talk on the joys of fatherhood?Elijah: I've said all I needed to sayKlaus: I forgot how much I liked thistownElijah: I didn't forget. All the centuries we've spent together and yet I can count on one hand the number of times that our family has been truly happy. I hated leaving hereKlaus: As did IElijah: What is on yourmind, brother?Klaus: For a thousand years, I lived in fear. Any time I settled anywhere, our father would hunt me down and... chase me off. He made me feel powerless, and I hated it. This town was my home once,and in my absence, Marcel has gotten everything that I ever wanted. Power, loyalty, family. I made him in my image and he has bettered me. I want what he has. I want to be KingElijah: And what of Hayley and thebaby?Klaus: Every King needs an heir(Elijah is walking in the cemetery with Sophie)Elijah: So, how do you propose this will work?Sophie: Your brother needs to cement his place in Marcel's world. His inner circle, thedaywalkers... That's where we begin. They're his friends. His family. We'll be hitting him where it hurts(Thierry is sick. Everyone is gathered around him, including Marcel. Klaus enters)Klaus: I had time to sleep on itlast night. I'm not your enemy. Where my family and I failed this town... Marcel succeeded. My blood will heal him. As though it never happened. The quarter is your home, but I would like to stay a while, if I'm still"}
+{"doc_id":"doc_43","qid":"","text":"Ted from 2030: Kids, when your best friend loses someone...Marshall: My dad's dead? Ted from 2030:...you drop everything and rush to his side only to find yourself standing there with no idea what to do or say.AtMarvin's funeralTed: This is the toughest time in Marshall's life and I feel absolutely useless. What can we do to help?Lily: Don't look at me. This morning Marshall said, \"I have to pee.\" And I, \"Don't worry, baby, I'll doit for you.\" Halfway through the pee, I'm, like, \"This doesn't even make sense!\"Robin: Well, uh, I've been to a couple funerals, so I know my role: I'm Vice Girl. Whatever Marshall needs to get through this day, I got itright here.Ted: Cigarettes, alcohol... Are these firecrackers? My God, Robin, you somehow crammed Tijuana into a purse.Robin, hushing: Be cool, nerds!Lily: Marshall's mom hasn't eaten, slept or sat down since we gothere. Wait! That can be my role! I'll take care of Judy!Robin: Yeah, but doesn't Marshall's mom hate you--the fact that you two aren't very close?Ted, whispering: Sweet save.Lily: Okay, yes, Judy and I aren't besties,but today, whatever she needs, I'm there. I'm on Judy duty.Ted: \"Judy duty.\"Barney: She said \"doody.\"Robin: Really, guys? At a funeral?Ted: Uh, okay, while not all of us possess your lofty sense of decorum,Drug-DealerFrom-An-'80s-After-School-Special, we have to laugh today. It's healthy.Barney: Wait a minute! Today, we are gonna make Marshall laugh.Robin: How?Barney: Ted, what's the one thing that always crackshim up?Ted: Internet footage of a guy getting hit in the nuts.Barney: Internet footage of a guy getting hit in the nuts, exactly! So we are gonna get our bro a four-star nad rattler. You search knees, feet, banisters, firehydrants and diving boards, and I'll cover bats, rackets, hockey sticks, golf clubs and riding crops.Ted: What about animals?Barney: Uh... Claws, paws, talons, hooves, beaks and clenched monkey fists. We can dothis!Marshall: Hey, guys, sorry, uh... I left my charger back in New York, so my phone's out of juice. Does anyone have...?Robin: Outlet or USB?Marshall: Uh, outlet. Thank you. Oh...Lily: Wow, you really do haveeverything in there, don't you?Ted: You're like Mary Poppins, if her magic purse was also filled with drugs.Robin: \"If\"? Ted, the kids in that movie jumped into a painting and spent 15 minutes chasing a cartoon fox.\"Spoonful of sugar...\"? Grow up.Reverend: I'm so sorry for your loss, Judy.Judy: Thank you, Reverend.Reverend: Unfortunately, I can't. My daughter in Chicago just went into labor. But I'm leaving you in the capablehands of my second-in-command: my son.Marshall: Your son?Reverend: Oh, you remember Trey. I'll go grab him.Marshall: Guys... Trey Platt terrorized me growing up. He was, he was the toughest bully inschool.Trey: 'Sup Marshall.Marshall: Hello, Trey. Long time. Mm-hmm. I was not aware that you had become a reverend.Trey: Yeah, well, your lunch money finally ran out. Kidding!Barney: Marshall Eriksen, you coulduse a laugh.Ted: Yeah! This video is entitled, \"Little League Coach Gets Hit in the Nuts by a Foul Ball and Then Vomits in a Garbage Can.\" I don't wanna give anything away. Let's just watch.(bat connects with ball, mangroans, vomits)Barney & Ted: Oh!Barney: See? 'Cause, 'cause he got hit...Ted:...right in the nuts,Barney & Ted: The fat kid just runs away.Marshall: Trey Platt. I can't believe my father's funeral service is being led byTrey \"The Noogie Machine\" Platt.Ted: That guy gave you noogies? What, did he carry a stepladder?Marshall: He made me carry it.Trey: So, my dad has these questions he asks to help create a theme for the service, orwhatever. Question one: \"What were your last words with the deceased?\" Lame. Question two:Judy: Wait... My last words with Marvin were lovely. I've been thinking about them a lot.Marshall's brother #1: Me, too. Wewent for a hike in the snow and had this amazing talk.Marshall's brother #2: My last day with Pop, he taught my son how to skate.Trey: Well, this is clearly yielding nothing. Thanks, Dad. Guess I'll have to fill the timewith some jokes... again.Judy: \"Last words\" seems like a good theme. Marshall, do you remember the last thing your father said to you?[FLASHBACK]Judy: Bye, sweetie.Marshall: Bye, Mom.Marvin: Son, there'ssomething I want to say before I leave.Marshall: Yeah, Dad?Marvin: Could I snag that extra pork chop for the flight?Marshall: I was gonna make a sandwich with that, Dad. Dad, don't they have food on theplane?Marvin: Yeah, but plane food is ass.[END OF FLASHBACK]Marshall: \"Plane food is ass.\" Those are the last words my father will ever say to me. Right after I denied the man a pork chop. Oh, God. Wait! I'm wrong!I'm wrong! That wasn't it! They couldn't find a cab so my dad called up from the street.[FLASHBACK]Marvin: Marshall! Looks like rain out here! I couldn't find an umbrella in your closet! You know who probably has anumbrella?Marshall: And then, well, see, my dad grew up in a small town, in another generation, so sometimes - totally well-meaningly - he'd say stuff like...Marvin: The Koreans across the hall! Hey, the Koreans are atrustworthy and generous people!Marshall: Dad...Marvin: I betcha one of the Koreans has an umbrella! Heck, they're Koreans![END OF FLASHACK]Marshall: My dad's last words to me were a string of odd racialstereotypes.Robin: All that stuff was really nice!Lily: Yeah! It's positive racism!Marshall: This is worse than the pork chop.Barney: This next clip is entitled, \"Guy Playing Bagpipes Gets Hit in the Nuts by Low-FlyingSeagull\"Ted: Let's see what happens.Barney: Here he comes... Oh! Oh! 'Cause he gets hit right in the nuts.Ted: And then the fat kid loses his swim trunks.Barney: Fall off. Shorts just fall right off.Marshall: No, wait--I'm wrong. That wasn't it. They couldn't find a cab, so I went down there.[FALSHBACK]Marshall: Hey, you were right. The Kangs did, in fact, have an umbrella.Marvin: Of course they did.Judy: Bye, sweetie.Marshall:Bye, Mom.Marvin: Hey, son, I just want to leave you with a little advice. Rent Crocodile Dundee III. I caught it on the cable last night. It totally holds up![END OF FLASHBACK]Marshall: Crocodile Dundee III is thesecond-best of the Croc trilogy, so maybe I can live with that. (cell phone beeps) Oh, sorry, my phone's charged.Man: I, uh, I hear you're a woman who can get things.Robin: I've been known to locate certain objectsfrom time to time.Man: I need vodka and dirty playing cards.Robin: I got ya.Marshall: Oh, my God.Lily: What is it?Marshall: I have a voice mail from my dad.Lily: You have a voice mail from your dad?Robin:How?Marshall: My phone's been out of juice, so he must've called me the day the he, uh...Lily: Baby, are you okay?Marshall: I hold in my hand the last words my father will ever say to me. I'm gonna hit play.Robin:What's wrong?Marshall: What if it's worse than Crocodile Dundee III? I can't do this. I can't... My mom is about to collapse. I'm gonna...Lily: Wait-- no, no, baby... Baby, I got it. Let me.Robin: You should listen to it.Just don't put too much pressure on it.Ted: She's right. I mean, this idea that someone's last words have to be profound and meaningful? I mean, who can live up to that?Barney: Exactly. All those \"famous last word\"people supposedly said? They're all made up. Like that patriotic dude, Nathan Hale, from third-grade history?[FLASHBACK]Nathan Hale: My I only regret is I have but one life to lose for my country.[END OFFLASHBACK]Barney: You know what his real last words were?[FLASHBACK]Nathan Hale: I'm peeing my pants![END OF FLASHBACK]Barney: True story.Robin: The point is, last words are overrated.Ted: Look, think of itthis way: you get to hear your dad's voice one last time.Marshall: I should go listen to this... alone, okay? I'll be back.(Marshall steps away)Woman: Hey, so, um, I heard you might have...Robin: You heard right.(whispering: ) I'm getting a reputation. So, what you need, mama? Come here.(Robin walk away with the woman)Lily: Guys, listen to what just happened.[SCENE_BREAK][FLASHBACK]Lily: Judy, do you need a break?I'm happy to cook for a while.Judy: You think your snobby New York cooking is better than mine-- admit it! Well, go ahead, Lily, why don't you just whip up a batch of your fancy tofu sushi bagels! And choke onthem![END OF FLASHBACK]Ted: Whoa. Are you okay?Lily: Listen![FLASHBACK](Judy yawns)Judy: I'm gonna go take a nap.[END OF FLASHBACK]Lily: Judy's finally sleeping and it's all because of me! Guys, I have arole: I'm Judy's bitch! Yeah!Ted: Well, but this day is tough on you, too. You sure you can absorb all that?Lily: Yeah! Robin gave me a little orange pill from her purse. I don't know what's in it, but things are flowin'pretty smooth right now.Robin: Hey, stay hydrated.(Marshall comes back)Barney: So?Marshall: I couldn't listen to it. Guys, this is hard.Lily: We know, baby. But you'll always wonder, if you don't. Your dad loved you. Italmost doesn't matter what he said.Barney: It doesn't. That's true.Marshall: Guys, guys, what if-- God forbid-- all of your dads died right now? What would their last words to you have been? Seriously.Ted: I knowmine. When I was in Cleveland last month, I went to visit my dad at his... post-divorce bachelor pad.[FLASHBACK]Ted's dad: Been fun bro-ing out with you tonight, T-Dawg.Ted: Yeah... so glad we can we can talkabout our s*x lives now. That's totally an improvement.Ted's dad: I hooked up with a younger woman the other week-- Donna Bromstead.Ted: My prom date?!Ted's dad: How far did you get, T-Dawg?Ted: I have togo.[END OF FLASHBACK]Marshall: How would you like those to be your father's last words?Ted: Well, they might be. Donna Bromstead's husband is a cop.Marshall: Lawyered. Lily?[FLASHBACK](phone ringing)Lily:Hello.Lily's dad: Lily, it's Dad. Listen, I'm sort of in jail for not paying taxes for the last 25 years. ut bright side, I thought of a great new board game. \"Tax Evasion\", ages six to ten. Which is, ironically, what I might belooking at. Anyway, Pumpkin, I need $15,000.Lily: Fooled ya. Leave a message after the beep. We'll get back to ya. Beep.[END OF FLASHBACK]Marshall: Lawyered. Robin?[FLASHBACK]Robin's dad: And so, despite theendless disappointment you've caused me, I pray that this will finally be the year you achieve something of actual significance. I'd love to stop lying to my friends about you being in a coma. Anyway, the point is, happybirthday, RJ.[END OF FLASHBACK]Ted: That's awful.Robin: No, here's the awful part.[FLASHBACK]Robin: You remembered my birthday![END OF FLASHBACK]Marshall: Lawyered. Now can we all just admit that lastwords are, in fact, a big deal?Everyone: Yes.Barney: Man, I always thought I had it rough not really knowing my dad, but... now I realize at least I'll never have to suffer like this. Our next video is called \"GermanShepherd Activates Tennis Ball Cannon While Fat Kid Sips Energy Drink.\"Marshall: Barney, please, Barney! It's... No more videos, okay? I just need a minute.Judy: Okay... okay, who is responsible for this? Who gotCousin Daphne drunk? She is 15 years old.Robin: Whoa, they grow big out here.Barney: And here's your phone number back.Robin: Judy, I...Lily: I did it.Judy: What possible excuse could you have for this?Lily: I'mfrom New York. We think getting minors drunk is funny.Judy: There's nothing funny about getting minors drunk! You should be ashamed, Lily! Ashamed! Mmm! Oh, cripes, that's tasty. Mmm! Mmm!Lily: That salad's thefirst food she's eaten in two days. Sure, it's mostly cheese, mayonnaise and jelly beans, but it counts.Ted: Well, at least someone's helping. We haven't made Marshall laugh once.Barney: Yeah. Showing videos of guysgetting hit in the nuts wasn't going to do anything. I'm just stupid.Ted: Stupid.Barney: What we need to do is hit each other in the nuts.Ted: Yes. Nothing beats the immediacy of live theater. But which one of us isgoing to take the hit?(Barney hits Ted in the nuts) So that's it? No discussion?Marshall: I'm not going to listen. \"Rent Crocodile Dundee II\" are the last words that my father will ever say to me, and I think I can live withthat.Ted: Is he laughing?Ted from 2030: Marshall really did think he could live with that. That is, until later, at the memorial service.Judy: My last talk with Marvin was so lovely.Ted from 2030: The stories his motherand brothers told were so perfect.Marshall's brother #1: Then he picked my crying son up off the ice. He gave him a hug and said, \"Champ, it doesn't matter if you fall down once in a while.\"Marshall's brother #2: Andas we hiked, a little deer appeared on the path. She hopped over to Dad and started eating-- right out of his hand.Judy: And then he kissed me and he said...Marshall's brother #1: \"I will always be proud ofyou\"\"Marshall's brother #2: \"Life is such a gift.\"Judy: \"You know something, gorgeous, I'm the luckiest man alive.\"Barney, his voice breaking: Lame.Ted: These stories suck.Robin: Doesn't hold a candle to yourCrocodile Dundee thing.Lily: You're up next, baby.Marshall: I just need some air.Lily: Baby, are you okay?Marshall: I have to listen to it. It's a pocket dial. It's nothing.Lily: Hey, so it's a pocket dial. You have so manygreat memories with your dad. Who cares about the last one?Barney: She's right. Your dad was hilarious.Marshall: You guys don't get it, okay? None of you do. My dad was my hero. And he was my teacher. And he wasmy best friend. He always came through for me. And now he's just gone. And what am I left with? (scratchy electronic sounds) Thanks a lot, God! Thank you! You took my father, the greatest man that I have everknown, and you ripped him off this Earth, way too young! And he'll never get to meet our kids, Lily. (scratchy sounds continue) But we got this voice mail. Thank you so much for the voice mail! It's a great comfort!'Cause whenever I'm starting to feel lonely or sad, or-- or you know what, or maybe a little bit cheated, at least I got the sound of his pocket to console me. How is this fair? You know, like, an entire human life and itjust ends for no reason, and... and what are we left with?(scratchy sounds continue)Marvin's voice: Marshall? Oh, looks like I've been calling you for almost five minutes. How's my pocket sound? (laughing) Oh, sorryabout that, buddy. Um, anyway, your mom and I had such a great time seeing you. I love you.Lily: Looks like your dad came through one last time.Marshall: \"I love you.\" My father's last words to me are \"I loveyou.\"Marvin's voice: Ooh, and let me know if you find my foot cream. That fungus thing is acting up again.Marshall: \"I love you.\" My father's last words to me are \"I love you.\"Everyone: Yes. Yes, they were. We heard it.Loud and clear.Marshall: Bye, Pop.Ted from 2030: So Marshall finally got up to speak. Funny thing, though...Marshall: Then my father said the last words that he'll ever say to me: \"Rent Crocodile Dundee III. I caught iton the cable last night and it totally holds up.\"Ted from 2030: He decided to keep Marvin's real last words just for himself.Judy: Thanks.Lily: For what?Judy: I know what you've been doing today. And I really neededit.Lily: Any time.Judy: That dress makes you look like a Kansas City whore. Sorry, dear. Last one.At Judy'sMarshall: Oh, man. I should have rented Crocodile Dundee III.Ted: Okay, seriously, how are you doingthat?Marshall: Thanks. I'll be right back. And if I don't come back, well, then these are my last words to you all. I really, really, really love you guys. Now I'm going to go drop a deuce.Ted from 2030: Last words-- it's alot of pressure, kids.Ted is making a phone callTed: Hi, Dad.Lily is also making a phone callLily: Hi, Dad.Robin is calling her dad.Robin: Hi, Dad.Barney is calling his mother.Barney: Hey, Mom. I'm ready to meet my dad."}
+{"doc_id":"doc_44","qid":"","text":"In the Mayor's office. Faith is sitting at the desk with her eyes closed. A present is laying on the desk in front of her. The Mayor stands by her side.Mayor: Alright, you can open them up now. Faith sees the present andsmiles up at him.Faith: Fab. What's the occasion?Mayor: Faith! As if I need a reason to show you my affection. Or appreciation for running a small errand at the airport.Faith: Airport? What's next? Gonna want me tohelp a buddy of yours move a sofa?Mayor: This isn't a free ride, young lady. You know, I'm beginning to think that somebody's getting a little spoiled. Maybe I should take this back.Faith: (clutches the present) Sorry...Sir.Mayor: That's my girl. (chuckles) Another cookie? (Faith takes one) Now. A package is arriving tomorrow night from Central America. Something, and I can't stress this enough, something crucially important to myAscension. Without it ... Well! What would Toll House cookies be without the chocolate chips? A pretty darn big disappointment, I can tell you. (giggles) Open your present. (she does) There. That look on your face is myreward. The present is a knife with an intricate design.Faith: This is a thing of beauty, boss.Mayor: Well, it cost a pretty penny. So, you just take good care of it. And you be careful not to put somebody's eye out withthat thing, until I tell you to.Faith: Any particular eyes in mind?[SCENE_BREAK]Night, in a graveyard. Angel and Buffy are fighting a pair of vampires. Buffy trips her opponent into Angel's legs.Buffy: Sorry,honey!Angel: That's okay. They finish off both vampires.Buffy: Well, there's something you don't see every day. Unless, of course, you're me.Angel: That was bracing. Want to do another sweep?Buffy: It's what I livefor. Sad to say.Angel: You too tired?Buffy: No. It's just... Do you get the feeling that we're kind of in a rut?Angel: A rut?Buffy: You never take me any place new.Angel: What about that fire demon nest in the cave bythe beach? I felt that was a nice change of pace.Buffy: So this is our future? This is how we're going to spend our nights when I'm fifty and you're ... the same age you are now. They hear a growl offstage.Angel: Let'sjust get you to fifty.Buffy: Liking that plan. Opening credits.[SCENE_BREAK]In the Summers house. Buffy sits at the table, flipping through a book. Joyce enters from the hall.Joyce: Buffy? When were you going to tellme?Buffy: Alright, busted. I didn't think you'd miss them. (takes off earrings)Joyce: You were accepted to Northwestern University. Honey, I'm so proud of you! That's wonderful!Buffy: (less enthusiastic) Right! It'swonderful.Joyce: I mean, it's not cheap, but, uh, I know we can make it work if your father pitches in. Not that Northwestern is your only option. It's a great school, though. I am so proud of you.Buffy: You said thatbefore.Joyce: And will again soon.Buffy: Mom, you know that I can't ... I-I just can't decide on a school right now. I mean I want to sleep on it, you know, mull it over. Raise them up my inner flagpole, see which one Isalute.Joyce: I know, sweetheart. I'm just so pleased that you have so many choices. Ooh, you know what? Your aunt Arleen and her family are in Illinois. I've got to call and tell them. Oh, Buffy?Buffy: I know, you'reproud of me.Joyce: Ah, don't forget to put my earrings back in my dresser before you go out. Arleen? Hi! It's Joyce. How you doing? Listen, you are never going to believe where Buffy got accepted toschool![SCENE_BREAK]Daylight on campus. One guy sits at a picnic table. A second guy drops a paper bag on the table and sits opposite the first guy.Guy #2: Here you go.Guy #1: Thanks.Snyder: (swoops in) Okay,what's in the bag?Guy #1: My lunch.Snyder: Is that the new drug lingo? (takes the bag, looks inside)Guy #1: No, it's my lunch.Snyder: (drops the bag on the table) Sit up straight. (marches off) Camera zooms pastSnyder to another table: Willow and Oz sit opposite Buffy.Willow: Sounds like your mom's in a state of denial.Buffy: More like a continent. She just has to realize that I can't go away.Willow: Well, maybe not now, butsoon, maybe. Or maybe I too hail from Denial Land.Buffy: Faith's turn to the dark side of the Force pretty much put the proverbial kibosh on any away plans for me. UC Sunnydale - at least I got in. You! I mean I can'tbelieve you got into Oxford!Willow: It's pretty exciting.Oz: That's some deep academia there.Buffy: That's where they make Gileses.Willow: I know! I could learn and, and have scones. Although I-I don't know how Ifeel about going to school in a foreign country. Xander is sitting at a nearby tree reading Jack Kerouac's _On the Road_.Xander: Everything in life is foreign territory. Kerouac. He's my teacher. The open road is myschool.Buffy: Making the open dumpster your cafeteria?Xander: Go ahead, mock me.Oz: I think she just did.Xander: We Bohemian anti-establishment types have always been persecuted.Oz: Well, sure. You're all soweird.Willow: I think it's neat, you doing the backpack, trail mix, happy wanderer thing.Xander: I'm aware it scores kinda high on the hokey-meter, but I think it will be good for me. You know, help me to find myself.Cordelia walks between the table and Xander's tree.Cordelia: And help us to lose you. Everyone's a winner.Xander: (getting up) Well, look who just popped open a fresh can of venom. Hey, did you hear about Willowgetting into Oxnard?Willow: Oxford.Xander: Oxford. And M.I.T. and Yale and every other college on the face of the planet. As in your face I rub it.Cordelia: Oxford? Whoopee! Four years in tea-bag central. Soundsthrilling. And M.I.T. is a Clearasil ad with housing. And Yale is a dumping ground for those who didn't get into Harvard.Willow: I got into Harvard.Xander: Any clue on what college you might be attending so we can startcalculating minimum safe distance?Cordelia: None of your business. Certainly nowhere near you losers!Buffy: Okay, you guys, don't forget to breathe between insults.Cordelia: I'm sorry Buffy. This conversation isreserved for people who actually have a future. (leaves)Oz: An angry young woman.Willow: Oh Buffy, she was just being Cordelia, only more so. Don't pay any attention to her.Xander: She's definitely got a chipgoing.Willow: Maybe if you didn't goad her so much?Xander: I can't help it. It's my nature.Willow: Maybe you need a better nature.[SCENE_BREAK]Buffy and Wesley walk into the library.Wesley: I don'tunderstand.Buffy: Well, I don't think I can talk any slower, Wes. I want to leave.Wesley: What? Now?Buffy: No, not now. After I graduate, you know, college?Wesley: But, you're a Slayer.Buffy: Yeah, I'm also a person.You can't just define me by my Slayer-ness. That's ... something-ism. Giles is listening from the door of his office.Giles: Buffy, I know we've talked about you going away...Buffy: I got into Northwestern.Giles: That'swonderful news. Good for you.Wesley: Alright, everyone. Monsters, demons, world in peril?Buffy: I bet you they have all that stuff in Illinois.Wesley: You cannot leave Sunnydale. By the power invested in me by theCouncil, I forbid it. (said while crossing his wrists over his heart - watcher authority hand signal?) Buffy rolls her eyes and turns her back on Wesley.Giles: Ah yes, that should settle it.Wesley: (counting on fingers) Faithgone bad, and the Mayor's Ascension coming up, ...Buffy: I know it's complicated. I'm aware that my graduation may be, among other things, posthumous, but... What if I stop the Ascension? What if I captureFaith?Giles: I very much hope you will.Buffy: If I do that, then all you guys have to do is keep the run of the mill unholy forces at bay through mid-terms and I'll be back in time for Homecoming, and every school breakafter that. Can we at least think about it?Wesley: Perhaps if circumstances were different.Buffy: I'll make them different.Wesley: What?Buffy: I'm tired of waiting for Mayor McSleaze to make his move while we sit onour hands counting down to Ascension Day. I mean, let's take the fight to him.Wesley: No. No! Much too reckless. We're at a distinct disadvantage. We don't know anything about the Mayor's Ascension...Giles: She'sright. Time's running out. We need to take the offensive. (to Buffy) What's your plan?Buffy: I gotta have a plan? Really? I can't just be proactive with pep?Giles: No. You want to take the fight to them? I suggest thefirst step would be to find out exactly what they're up to.Buffy: Oh. I actually knew that. I thought you meant a more specific plan, you know, like with maps and stuff. Great. We'll find out what they're upto.[SCENE_BREAK]Night, at the airport. A small plane taxies to a stop and a man leaves the plane carrying a box. A vampire waits by a limo with a briefcase.Box man: Is he in the car?Vampire: No, I'll take you to him.(opens the limo door) Camera zooms in to show the box handcuffed to the man's right hand. The man kicks the limo door shut.Box man: The Mayor was supposed to be here in person with the money. Well, the pricejust went up. I don't like surprises. Impact sound. The head of an arrow appears through the front of his shirt - Faith has shot him through the back.Faith: Surprise. Faith climbs down from her hiding place andapproaches the body.Vampire: You killed him.Faith: What are you, the narrator? Keys to the cuffs? The vampire searches the man's clothing.Vampire: Nothing. Faith pulls out her flashy new knife.Vampire: That won'tcut through steel.Faith: No, but it will cut through bone.Fade to commercial.[SCENE_BREAK]Night. The limo pulls up in front of City Hall. Faith carries the box inside. Buffy is watching from the bushes.Cut to inside theMayor's office. Faith kicks in the door and carries the box inside.Mayor: Hey ho! There it is! Hahahaha! Ah, what happened to the courier? I was supposed to pay him.Faith: Hunh. Made him an offer he couldn't survive.(takes the money)Mayor: (chuckles) You are one heck of a girl, you know that? I mean geez, the initiative, the - the skill.Faith: Go on, go on. (sits down)Mayor: I will. You know, I'll tell you, if Buffy ... (Faith props herfeet on the desk. The Mayor frowns.) Hey hey hey hey. (Faith drops her feet.) If Buffy Summers walked in here and said she wanted to switch to our side, I'd say (snaps his fingers) no thanks, sister, I've got all theSlayer one man could ever need. (chuckles) Faith sighs.Mayor: What?Faith: Nothing.Mayor: Oh, it's cause I used the B-word, huh? Don't tell me you're still sore about that whole Angel-Buffy thing.Faith: No, I'm over it.She can have him.Mayor: Better believe she can. She deserves that poor excuse for a creature of the night. You, on the other hand, can do better. Faith is fidgeting and begins toying with the clasp of the box. TheMayor slams his hands down on top of the box.Mayor: Don't do that.[SCENE_BREAK]Night. The limo pulls to a stop in a parking lot. The vampire driver hears a noise and looks back through the rear window. Buffysmashes the driver's side window with her fist and pulls his upper body out of the window.Buffy: (peppy) So, what's in the box?Cut to the library. Buffy sits at the table looking at a book. Xander and Wesley lookon.Buffy: The Box of Gavrock. It houses some great demonic energy or something which His Honor needs to chow down on come A-Day. Giles and Willow enter. Giles carries some large drawings.Wesley: What'sthat?Giles: Maps. And stuff.Willow: Plans for City Hall. They were in the Water and Power mainframe.Buffy: The box is being kept under guard in a conference room on the top floor. (points to a map sheet) There.Unfortunately, that's all I could get out of my informant before his aggressive tendencies forced me to introduce him to Mr. Pointy.Wesley: Well, now, here's what I think we should do...Buffy: I figure we can enterthrough the skylight. I'll take Angel with me.Giles: Agreed.Xander: And there's a fire ladder on the east side of the building, (points) here.Wesley: Yes, yes, fine, but we still need to consider whether the Mayor...Giles:It won't be enough to simply have possession of the box.Willow: Right, we have to destroy it. Not just physically - ritually, with some down and dirty black magic.Wesley: Hang on. We don't know what such a ritualwould require.Giles: (flipping through a book) I think the Breath of the Atropyx is standard for this sort of thing. Fairly simple recipe. Xander? Wesley attempts to read over Giles's shoulder but Giles hands the book toXander.Xander: I know. I'm ingredient getting guy.Wesley: Alright, stop! I demand everyone STOP this instant! (everyone looks at him) I'm in charge here and I say this is all moving much too fast. We need time tofully analyze the situation and devise a proper and strategic strategem.Buffy: Wes, hop on the train or get off the tracks.Wesley: The Mayor will most assuredly have supernatural safeguards protecting the box. (silence)Oh, we all forgot about that, did we?Buffy: Looks like a job for Wiccan girl. What do you say, Will? Big time danger.Willow: Hey, I eat danger for breakfast.Xander: But oddly enough, she panics in the face of breakfastfoods.Buffy: Let's get to work. The gang files past Wesley. Giles pushes a map into Wesley's hands. Wesley mopes for a moment, then turns to follow.[SCENE_BREAK]Daylight. Xander is walking along a street andpauses at the window of a shop. He sees Cordelia inside holding up a dress. He starts, stops, looks for a moment more. He goes inside.Xander: I have a theory. Your snide remarks earlier? I'm guessing grapes a little onthe sour side. Didn't get into any schools, did you? The grades were there, but ooh, if it weren't for that pesky interview. Ten minutes with you and the Admissions Department decided that they'd already reached theirmean-spirited superficial princess quotas.Cordelia: And once again, the gold medal in the Being Wrong event goes to Xander \"I'm as stupid as I look\" Harris. (takes envelopes from her purse) Read 'em and weep, creep.USC, Colorado State, Duke, and Columbia.Xander: Wow! These are great colleges. I'm guessing they must have seen a different side of your father's money.Cordelia: (snatches the letters away from him) Goaway.Xander: Sure! If you'll excuse me, I have to go back to helping to save some lives. Carry on. I know that you have some important accessorizing to do. Xander leaves. Cordelia looksunhappy.[SCENE_BREAK]Night. A dark van stops in a parking lot. Wesley is driving, Giles rides shotgun. Buffy, Angel, and Willow get out.Giles: Now remember, if anything should go awry, Wesley and I will create adiversion.Wesley: Let's synchronize our watches. I have twenty-one four... Buffy and Willow are holding up their bare wrists.Wesley: Yes, typical.Willow: Maybe we could just count. One one thousand, two onethousand, ...Giles: Be careful, all of you. The trio marches off. Giles turns to Wesley.Giles: Tea? Angel pulls down the fire ladder. Willow starts climbing.[SCENE_BREAK]In the library. Oz places a large ceramic pot on apedestal. Xander enters carrying a paper bag.Oz: You got the goods?Xander: Yeah. (starts pulling plastic baggies out) Essence of toad, twice-blessed sage, maybe that's the toad?Oz: Well, we better be sure. Destroyingthis box is supposed to be a pretty delicate operation.Xander: Well, then, they shouldn't leave it in the hands of the lay people.Oz: Oh, Willow laid it out for us pretty well. (shows him Willow's papers)Xander: Wow! Sheeven drew helpful diagrams. That's the pedestal.Oz: And the ingredients. And us. See, there's you and there's me.Xander: Well, how can you tell which is which? I mean, they both look kinda stick-figurey to me.Oz:Well, this one's me. See the little guitar.Xander: Oh, gotcha.Oz: Nobody like my Willow.Xander: No sir, there is not. Oz moves to the pot and drops three gold pieces in.Oz: Okay, toad me. Xander throws him a plasticbag.[SCENE_BREAK]Night, on the roof of City Hall. The trio can see the box through the skylight. Angel opens the skylight. Buffy hands Willow a book and a bottle containing salt or sand. Willow reads a spell (in Latin?)while pouring the sand over the box. As the sand falls, a blue force field appears around the box, then suddenly disappears.Willow: (big smile) Oh yeah, I'm bad.Buffy: Four stars, Will. Now get going.Willow: I'm gone.Willow leaves by the fire ladder. Angel fits Buffy with a harness and sets up a pully system. He lowers her down over the box (like the Mission Impossible movie)Buffy: Got it! As she lifts the box off the table, an alarmbell rings. Angel is pulling on the cord, but Buffy doesn't move.Buffy: Angel!Angel: It's jammed.Buffy: I'd like very much to come up now, please. Angel!Angel: I know! Two vampires enter the room with a growl.Buffy:Don't suppose you want to help me get down. (they growl) Didn't think so. Angel leaps down to the table. They fight. Buffy gets in a neat kick using a vertical spin in the trapeze harness, then gets out of it. Buffy andAngel escape the room with the vampire guards in pursuit. Cut to outside. Buffy and Angel run out of the building and dart right. As the vampires leave the building, the black van accelerates past the door and thevampires chase it. Buffy and Angel stand up and watch from their hiding place in the bushes, then run the other way.[SCENE_BREAK]In the wrecked conference room. The Mayor surveys the damage while the vampireguards stand with their heads down.Mayor: Well, this is very unfortunate. I just had this conference room redecorated, for Pete's sake. At taxpayers' expense. And, oh yeah ... (the cheerful facade breaks and with aburst of rage, he smashes a chair) They've got my box. Faith walks in, holding a knife to Willow's neck.Faith: Yeah they do, but looky what we got. Big smile from the Mayor.Fade to commercial.[SCENE_BREAK]In thelibrary. Scooby Gang minus Willow.Buffy: How did you guys let ... How did this happen?Giles: We thought she stayed with you.Angel: They must have grabbed her when she hit the ground. Buffy, I'm sorry.Buffy: Look,it's nobody's fault, okay. We just need to focus and deal. Oz, I swear I won't let them hurt her.Xander: We go back. Full-on assault.Giles: They'll kill her.Wesley: We're assuming they haven't already.Buffy: No. No, theyknow what she means to us. She's too valuable as long as we still have the box. We trade.Wesley: We can't.Buffy: No, it's the safest plan. (to Giles) It's the only way, right?Giles: It might well be.Buffy: Look, we callthe Mayor and arrange a meeting.Wesley: This box must be destroyed.Xander: I need a volunteer to hit Wesley.Wesley: Giles, you know I'm right about this.Buffy: Wes, you want to duck and cover at thispoint?Wesley: Damn it, you listen to me! This box is the key to the Mayor's Ascension. Thousands of lives depend on our getting rid of it. Now I want to help Willow as much as the rest of you, but we will find anotherway.Buffy: There is no other way.Wesley: You're the one who said take the fight to the Mayor. You were right. This is the town's best hope of survival. It's your chance to get out.Buffy: You think I care about that? Areyou made of human parts?Giles: Alright! Let's deal with this rationally.Buffy: Why are you taking his side? The outbursts of Buffy, Giles, and Wesley clash for a moment, then Wesley's voice breaks out of thebabble.Wesley: You'd sacrifice thousands of lives? Your families, your friends? Oz has been sitting through all this. He gets up and walks behind Wesley.Wesley: It can all end right here. We have the means to destroythis box. Oz picks up the pot for the box-destroying ritual and throws it into a display case, smashing both to shards. Everyone looks at each other.Buffy: Giles, make the phone call.[SCENE_BREAK]In City Hall, in amusty storeroom. Willow is banging on a locked window, trying to open it. She gives up on the window and pulls out a desk drawer, making a lot of noise. A vampire guard enters the room.Guard: What are youdoing?Willow: Oh, uh, I'm looking for a sucking candy, cause my mouth gets dry when I'm nervous, or held prisoner against my will. The vampire slowly approaches her with a hungry look.Willow: And suddenly I'mthinking sucking isn't a good word to use around vampires. Hey! Did you get permission to eat the hostage? I don't think so. You're going to be in some trouble when the Mayor ...Ow! The vampire grabs her shouldersand presses her against a wall.Guard: Just a little taste. As he leans in for the bite, a pencil from the desk drawer floats up behind him and stabs him in the back. He crumbles to dust. Willow leaves the room and startsdown a hallway. A door opens and she hears Faith and the Mayor. Willow quickly hides in another room and listens as they pass.Faith: She's not gonna be brain-dead but she'd be to come back here tonight.Mayor: Everhad a dog?Faith: What?Mayor: I did. Rusty. Irish setter. A dog's friendship is stronger than reason, stronger than it's own sense of self-preservation. Buffy's like a dog, and hey, before you can say Jack Robinson, you'llget to see me kill her like one. Faith and the Mayor walk down the hall. Willow starts to run the other way, but stops at the open door to the Mayor's office. She enters, closes the door, and finds the Mayor's cupboard of"}
+{"doc_id":"doc_45","qid":"","text":"[Restaurant \u0000 Jen, Joey and Audrey sit at a table for a meal. A waitress is taking their order.]Waitress: Great. I'll be right back with your drinks, ladies.Audrey: This place got an amazing write-up in timeout: Boston.I'm really glad I decided to tag along.Joey: You mean invite yourself.Audrey: Will you stop? (Jen's cell phone rings) Nobody believes that you don't adore me.Jen: (answering her phone) Hello?Joey & Audrey: (singing)Char-lie!Jen: (into phone) Ha! Hi.Audrey: (to Joey) So do we like this Charlie?Joey: We don't really know this Charlie. She seems to keep this Charlie pretty much to herself.Audrey: I'm a little concerned. This is allsounding very \u0000Nine 1/2 Weeks\u0000 to me. (Jen hangs up) Booty call?Jen: Pretty much. Yeah.Audrey: Oh! I knew it.Joey: Are you gonna go?Jen: I don't know. I could use the snuggles.Audrey: See, that's what I missmost about not having a boyfriend-- the snuggling. It's better than s*x. If only guys knew how easy it was to make us happy.Joey: Yeah, but you know what? Even if they did know, they'd still screw it up. Snuggling tothem is merely just a means to an end.Jen: I mean, I've been seeing Charlie for a week, and the only thing that I really know about him is that his boxers are from The Gap.Audrey: Well, there are worse things, youknow?Jen: Such as?Audrey: Well, for instance, he could be a tighty-whitey guy.Jen and Joey: Oh!Jen: Oh, good point!Joey: Ok. On that note... I'm gonna go to the bathroom, and when I get back, I'd like it very much ifthis week's episode of \u0000s*x and the City\u0000 had come to an end.Jen: Ok, Charlotte.(Joey heads to the bathroom when she stops short. Her face turns serious as they show what she's looking at \u0000 A guy who looks likePacey scene through a window in the door to the kitchen. As a waitress comes out of the kitchen, the door swings open and Pacey is in full view. Opening credits.)[Restaurant \u0000 Joey moves to a bench near therestroom, followed by Jen.]Joey: I wonder how long he's been in town.Jen: 3 and 1/2 weeks.Joey: You think it's been that long?Jen: Yeah, I'm positive.Joey: You knew?Jen: Only that he was in Boston, not that he wasworking at this restaurant. I swear.Joey: Why didn't you tell me?Jen: Because he made me promise not to.Joey: I should go.Jen: No, Joey... don't you want to see him or talk to him?Joey: Of course I want to see him,but he obviously doesn't want to see me.Jen: No-- you don't know that.Joey: 3 1/2 weeks. Jen, if he wanted to see me, he would have, and if he wanted to see me, he wouldn't have asked you not to tell me. (she getsup and walks out)[Grams' House \u0000 Dawson is in the living room when Grams returns with blankets and a pillow.]Dawson: Grams, thank you again for letting me stay here.Grams: I quite enjoy having an expatriatesleeping on my sofa. Makes it feel like Paris in the twenties around here. Alas, no crepes, but I did bake you some Rice Krispie squares for your bus trip tomorrow.Dawson: Oh, how can I be so sure about something andso nervous about doing it at the same time?Grams: Staying in Boston. It's a big decision.Dawson: Well, I can handle it. It's just telling my parents I'm worried about.Grams: Well, they might surprise you.Dawson:Maybe I should just give it more time.Grams: Because of your busy schedule?Dawson: Because I-- I don't even know what I'm gonna tell them.Grams: The truth will set you free.Dawson: The truth will tick them off.Maybe a letter.Grams: If Moses could face Pharaoh, you can face your parents.[Frat House \u0000 People are partying and drinking while Jack and \u0000Blossom\u0000 sit on the couch playing PS2. They are yelling and laughingover the game they are playing, until Jack finally scores and they cheer.]Blossom: Oh, yes! Whoo! Yes! You are the man, Jack. You the man.Jack: All right. Man can't breathe.Blossom: (introducing Jack to someone)Jack, this is Polar Bear.Jack: Hey!Polar Bear: Welcome to Sigma house, Jack. Good to have you.Jack: (shaking hands) Thanks, man.Polar Bear: How are your classes going?Jack: Not bad. Not bad.Polar Bear:Thompson's Astro class is a bitch, huh?Jack: (surprised) Yeah. It is, actually. That's the one class I'm really struggling with. How'd you know that?Polar Bear: (handing him a business card) Call me. We'll talk about thetopic of your pop quiz next week.Pete: (walking up) Blossom, this the guy?Blossom: Jack McPhee, Pete Willard.Pete: How you doing, Jack? Welcome to the house.Jack: Thanks.Pete: So you get any time on the linkslately?Jack: Oh, man, I wish. It's kind of hard to scare up a golf game with the college crowd.Blossom: Pete's on a full-ride golfing scholarship at Boston Bay.Jack: I don't think we're playing the same game.Pete: Ah,you can shoot under par at Capeside Country Club, you can hang. So you interested in helping me humiliate a couple of ATO's Sunday morning?Jack: Yeah, I'd love to.Pete: All right, man. Good to meet you.Jack: Cool.Thanks.Pete: Later, buddy.Blossom: (handing him a plate with a baked potato and a glass of beer) Here you go, man.Jack: You got to be kidding me. How do you know so much about me?Blossom: A bid to Sigma Ep isfor life. Before we extend that privilege, we pretty much make sure we know everything about each guy rushing the house.Jack: Actually, Blossom, look, I think I should probably\u0000Blossom: Excuse me. I think a pledgejust accepted his bid. I got a new brother. (he walks off to join a bunch of frat guys carrying another guy around and singing the Sigma Ep song.)[Restaurant \u0000 Kitchen. Pacey is peeling potatoes when Karen walks inwith a salad.]Karen: This loudmouthed blond girl just returned her Caesar salad because of the anchovies. [Imitating Audrey] She, like, hates anchovies.Pacey: So?Karen: You wouldn't understand.Pacey: You want toknow something I really don't understand? Danny hires me on as the new cook, right? But then he won't let me cook. I don't know about you, but this, to me, looks a lot like potato peeling.Karen: You're not wearing thehat. Why aren't you wearing the hat? There are health regulations, you know.Pacey: I would sooner slap on a pair of chaps, ok?Karen: Fine, Pacey. Don't wear the hat.Pacey: All right. Is it just me, or are you not likingme so much tonight? What? Now you're not even talking to me?Karen: I'm working.Pacey: No, you're waiting.Karen: I'm thinking.Pacey: Well, you're usually talking.Karen: Did it ever occur to you that I might actuallyhave other things to do besides stand around the kitchen and yak it up with the new prep cook?Pacey: You see a prep cook? Because that actually refers to somebody who would cook, which I'm not doing. All I'm doingis peeling potatoes, so I know you couldn't be talking to me.[Charlie's Dorm \u0000 Jen shows up for her booty call.]Jen: Just so you know, um, this is not gonna become a regular thing.Charlie: What's not?Jen: You calling,me just showing up here in the middle of the night like this.Charlie: Yeah, but you didn't just show up. You know, I could have gotten a pizza in less time than it took you. Actually, two pizzas, deep-dish, Chicago-style.(he starts to kiss her)Jen: Chicago? Is that where you're from?Charlie: (trying to kiss her) Not exactly.Jen: Well, um... where exactly?Charlie: Do we really need to talk about this right now?Jen: Yes... because we'vebeen, you know, whatever for a week now, and I feel like I don't know the most basic things about you.Charlie: (kissing her) Come on. Sure you do.Jen: Where'd you grow up?Charlie: (more kissing) All over.Jen:Where d you go to high school, then?Charlie: Lots of places.Jen: (breaking free from Charlie) Ok, see... that's what I mean. These-- these are not real answers.Charlie: Come on. So? The real answers are boring andlong.Jen: And what? You only provide them on a need-to-know basis?Charlie: Yes. Highland park, Illinois. Not exactly the birthplace of cool. All right?Jen: There. Wasn't so hard, was it?Charlie: It was torture.[Capeside\u0000 The Leery Residence. Dawson stands in the backyard looking at the Creek. Suddenly Mitch comes outside.]Mitch: Dawson?Dawson: Hey, dad.[Leery Residence \u0000 Living room. Dawson is looking at thecouch.]Dawson: New couch.Mitch: Your mom's been on a redecorating kick ever since you left.Dawson: I like it.Mitch: I miss my old one.Gale: (coming downstairs) Dawson! Oh, I can't believe it! What a surprise! Oh! Isthis really you?Dawson: It's really me.Gale: Oh, look at you! Oh, my God. You are thin as a rail.Mitch: I want to hear about L.A. You get that deal with Dreamworks yet?Gale: Did you get the cookies that I sentyou?Dawson: No, actually, I didn't. I haven't gotten the cookies because I haven't gotten my mail in L.A. For over a week.Mitch: Class is really that intense, huh? Well, good. You'll learn something.Dawson: I haven'tgotten my mail because I haven't been in L.A.Gale: Uh, I don't get it.Dawson: I've been in Boston.Gale: Uh... still not getting it.Dawson: Um... guys, USC Is not for me. I want to drop out. I know this comes as asurprise to both of you, but I spent the whole summer in L.A., And I went to every single one of my classes, and the main thing that I learned about LA is that LA is just not where I want to be right now.Gale: AndBoston is?Dawson: All my friends are in Boston.Gale: Oh, honey. You'll make new friends in California. It just takes some time.Dawson: Mom, it's more than that. It's more than that. I'm... I'm at a profound crossroadsin my life, and I know that if I don't choose this path, I'm going to have significant regrets.Gale: Hmm Where would you live?Dawson: Uh, with Jack and Jen at Grams'.Gale: What would you do?Dawson: Find a newschool.Gale: Oh, Dawson.Dawson: Mom, I know I sound like a complete flake, but I promise you, I've given this a lot of thought.Mitch: I've given this some thought myself, and I've decided... you're not droppingout.Dawson: It doesn't work like that, dad.Mitch: If you're going to stand here and talk to me about crossroads and paths so you can drop out of school and go crash on a sofa, then don't presume to talk to me likeyou're an adult. (he walks out of the room)Gale: (Lily starts to cry through the monitor) Oh! Lily, I know how you feel. (she goes upstairs leaving Dawson alone.)Dawson: Welcome home.[Joey's Dorm \u0000 Joey is cleaningout something as Audrey tries to get her to open up.]Audrey: Ok. So who's the guy?Joey: What guy?Audrey: The guy who you saw at the restaurant last night that obviously has some huge impact on your life.Joey:Audrey, the only guy that has an impact on my life right now is James Joyce, and I can't focus on him until I get this room in order.Audrey: You know... back in L.A., I was something of a therapist to a lot of my friends.People would call me all the time to talk about their problems. Some even paid the surcharge to call from the valley, and lucky you, you've got me here whenever you want me.Joey: Lucky me.Audrey: So why don't youstop cleaning up the mess and tell me about him?Joey: Don't you have a lacrosse team to date or something?Audrey: I have this theory about you. You want to hear it?Joey: No.Audrey: You love academia because ofthe rules, and you hate relationships because of the lack of them. So do you want to see him or not?Joey: Yes. No. Yes, but only if he wants to see me, and he obviously doesn't.Audrey: Ha! God, you're dense. Ofcourse he wants to see you.Joey: What makes you say that?Audrey: Because... you're beautiful and you don't know it. Because you're smart and you don't believe it. You're the kind of girl that guys never get over.Joey, you're the kind of girl that other girls get compared to.Joey: I don't-- I don't want to make him feel uncomfortable.Audrey: Why do I think you don't want to make yourself feel uncomfortable?Joey: It'scomplicated. I mean, it ended messy, and I don't want to make things worse.Audrey: Joey, no one's gonna grade you on how you handle this, you know? No one's gonna come along and tell you what's expected so youknow how to succeed. Relationships are messy. That's their nature. They start messy, and they end messy, and if you ever want to have another relationship in your life, you better just stop worrying about themess.[Frat House \u0000 the following day. Jack sleeping on the couch when he is woken up by Blossom.]Blossom: (handing him an envelope) Do you know what this is, McPhee?Jack: I'm not even sure where Iam.Blossom: The inner chapter room. Sigmas don't let you drink and drive. We plan on keeping our house. See these pictures on the wall? Every one of these Sigma men looked at the very same thing you're looking atright now. This is your future, Jack. Open it.Jack: (opening his invitation) Wow! What happens if I accept?Blossom: You live in the house, you eat your meals here, your problems become our problems, your success,our success. We're your brothers, your family. What do you think, Jack?Jack: I--I don't know what to think. It's all kind of overwhelming.Blossom: There comes a point in every man's life when he has to ask himself thatone fundamental question-- am I in or am I out?Jack: Yeah... yeah, I've asked myself that question, actually, and I think you guys really need to know the answer. (they all look at him) I'm gay.Blossom: (the guyslaugh a little) You thought we didn't know that?Jack: Most people are surprised.Blossom: Most people aren't Sigma people. You're sigma people, Jack. You're one of us.Jack: You mean, there's other guys in the housethat are gay?Blossom: You'd be the first.Jack: Most fraternities are not particularly well known for, you know, their tolerance towards alternative lifestyles.Blossom: Which is precisely why we need you in this house,McPhee. Listen, Sigma Ep has a reputation for being one of the roughest, party-hearty, alpha male fraternities on campus, a reputation which is not entirely unfounded. The dean wants us to diversify. The dean getswhat the dean wants, so, yes, Jack, we know you're gay, and we want you in this house because you're gay.[Charlie's Dorm \u0000 Jen and Charlie are in bed together.]Jen: So...what's your favorite color?Charlie: I don'tknow. The color of your eyes.Jen: (covering Charlie's eyes) And that would be?Charlie: This is ridiculous. You think I've been sleeping with you for a week and I don't know what color your eyes are?Jen: Humorme.Charlie: Brown.Jen: With subtle flecks of green.Charlie: Look, it's not entirely my fault that we just happen to have a completely normal, healthy, active s*x life.Jen: What are you saying? That it's my fault?Charlie:No. I'm just saying that neither one of us has very much in the way of self-control.Jen: Huh! You don't think that we could go a day without having s*x of any kind?Charlie: A day? Are you insane, woman? We'd be luckyto make it 12 hours.Jen: What's the matter? Afraid you couldn't hold out?Charlie: Now, you see... I know I can hold out. I'm just not sure you can.Jen: Well, all right, then. Bring it on. 12 hours, starting right now, nos*x. (Charlie moves to kiss her. Jen sounds unresisting.) No. No. What--oh! Huh.Charlie: Maybe we should get out of bed.Jen: Good idea.[Restaurant \u0000 Pacey is still working on potatoes the next day. Karen walksin.]Pacey: So is it me? Did I forget to replace the paper towels in the employee washroom? (she ignores him) You know, Brecher told me that the waitresses were moody, but you, Madame, are off the charts, and thatguy is a total, complete, and utter wackjob, because he caught me touching one of the pans today, and the guy almost snapped. \"Put down the ironclad and step away from the stove.\"Karen: Allclad.Pacey: Huh?Karen:Why would he let you mess with something you don't even know the name of?Pacey: Oh, come on. Just hate him with me for a second, would you? You know, nothing'll bond two colleagues quicker than bitching aboutthe boss.Karen: We're not colleagues. This isn't a law firm. I wait for people. You cook for them.Pacey: Uh, no. I don't actually cook for them. I just get to cut their potatoes into paper-thin slices for reasons that are,quite frankly, beyond me.Karen: The whole job is beyond you.Pacey: Ok. What's the problem?Karen: He's got you doing classic culinary prep work. You have to wear the hat so that some nice young woman who's hereon her first date doesn't puke in the ladies' room when she finds a strand of your greasy hair in her pumpkin puree, and the only problem I have is that I'm working with someone whose sole qualification for this job ishis gender.Pacey: Well, you see, this is good. We're making progress now because you just exploded on me. I just have no idea why.[Capeside \u0000 Dawson's Room. Dawson sits on the floor next to his bed when Mitchwalks in.]Mitch: When I was your age, I used to spend hours and hours just sitting around thinking about my life.Dawson: Why'd you stop?Mitch: Well, I guess I got too busy living it to sit around reflecting onit.Dawson: I hope I never get to that place.Mitch: Dawson... I am sleeping in the room with a baby monitor. I'm tired, so don't B.S. me. You and I both know what this is about. This is about a girl.Dawson: You say thatlike it's a bad thing.Mitch: You've been making movies ever since you were a little boy. I first heard about USC when you were 10, and for the last 4 years, it's been the frigging mantra of the leery household. So whatdo you do? You work your tail off. You overcome hell and high water and the kind of adversity that would send ordinary kids running for cover, and you actually do the impossible, and you get yourself in. You did it,Dawson. You...did it. Now here you are... your whole life ahead of you, and you're thinking about chucking it all away? What are you-- you crazy?Dawson: Maybe a little.Mitch: You want to talk about standing at acrossroads, fine, but for God's sake, choose your own path.Dawson: Dad, that's what I'm trying to do.Mitch: No, you're not. You're following Joey down hers. I know how much she means to you, but do you really thinkit's wise to make major life decisions based on someone else? Remember, this isn't high school anymore. The stakes are high. Your decisions have real consequences.Dawson: God, come on. Dad, honestly, do you thinkI don't know that? You think I don't know that this is the most important decision of my life?Mitch: Then make the right one.Dawson: Dad, it's not that simple.Mitch: It really is. Dawson... I have lived twice as long asyou, and I'm just trying to give you the benefit of my experiences.Dawson: Dad, I can't live the life that you want me to have. I can't live the life that you choose for me, all right? I have to have my own.Mitch: Yourown?Dawson: Yes.Mitch: Fine. Here's the opportunity to have the life you've wanted ever since you were a little boy. (hands him an airline ticket) I booked you on the 3:30 tomorrow. Seize this opportunity, Dawson.Seize it. It'll be gone in a moment... and that's life.[SCENE_BREAK][Leery Residence \u0000 Dawson sits on a blanket outside with Lilly. Gale and Mitch sit in the distance watching them.]Gale: I've got a little confession tomake. It's completely and utterly selfish, but I totally want him to drop out of USC and come back and be close to us.Mitch: When I saw him out there standing in the yard, my heart pretty much leapt out of my chest,and I thought, \"God, I miss this kid.\" I miss having him around and seeing him across the table at dinner. I miss hearing what he thinks about whatever movie he's just seen. Do you know how much I love my life? Ihave this amazing family. I mean, I know everybody says that, but, trust me, I've been around the block long enough to know that what we have here is so incredibly rare. But you see... it's the only thing I've everreally been good at.Gale: Oh, honey.Mitch: No, no, no. I'm a family man. I can say with relative certainty that I will never write a poem... (Gale laughs) Or paint a painting or make a movie that will change the world.Just wasn't in the cards for me, and that's ok because maybe, just maybe... our son will do that. (Gale kisses him) What was that for?Gale: What can I say? I love my boys.[Charlie's Dorm \u0000 Jen and Charlie are tryingto not have s*x.]Jen: (looking through a newspaper) This is working. This is totally working. Two people, two cups of coffee, just doing what people do who don't have s*x.Charlie: Going to a movie?Jen: Mm-hmm. Um,check this out. Fellini retrospective-- la strada, la dolce vita...Charlie: Uh, no, I can't do it. No subtitles.Jen: No subtitles?Charlie: No. I can't stand them. You know, if I want to read, I'll pick up a book.Jen: Whathappened to \"I'll see anything\"?Charlie: Well, anything without subtitles.Jen: Not even action movies? No John Woo, Jackie Chan, Crouching Tiger?Charlie: Is this some kind of problem for you?Jen: No. No. No. No. Imean... it's not like a difference of opinion on subtitles spells doom for a relationship, right? I mean, so what really? So what that I have an overwhelming physical attraction to somebody who categorically rejects thevery best that world cinema has to offer just because he's a little too lazy to read the words on the screen.Charlie: Now, see? You're mad. No, no. This is good. This is good. This is what I was talking about-- us getting"}
+{"doc_id":"doc_46","qid":"","text":"\"The Skull in the Sculpture\"[SCENE_BREAK](Open: Junk yard. Two drunken guys are climbing a fence with barbed wire)CHUNKY: My dad thinks I'm selfish, so I want to steal him some spare parts for hisbirthday.DUANE: You're a good son, man.CHUNKY: Hey, dude, I'm not moving.DUANE: Dude, your jacket is caught on the barbed wire. Bounce around a little bit, and you'll come loose.CHUNKY: (falls to the ground.laughs) That worked great.(The two begin staggering around stacks of compressed vehicles)DUANE: So, what kind of car does he have?CHUNKY: Old one. Toyota FJ-40. He loves that thing. More than me, that's forsure.DUANE: Check it out!CHUNKY: Oh, wow! (The two run towards a stack of cars) Can you imagine if I gave him that golden side mirror? I could glue it on his truck. (begins pulling out side mirror) Got to be gentle.It's coming. (Mirror comes off and blood begins to run out of the car)DUANE: The car is bleeding.CHUNKY: There's something back there.(Pulls out sheet of glass to reveal a skull. Both scream.)(Cut to a restaurant bar.Sweets is sitting at the bar. Angela walks up)ANGELA: Okay, look, just to be clear, I asked you out for a drink to talk, not because I'm desperate for male company.SWEETS: You think of me as male company?WAITER:(off camera) Can I get you anything?ANGELA: Vodka up, please. And my grandson here will have another of whatever that is.SWEETS: Oh, sidecar, but no, I'm fine. Okay, one more, one more. I'm cabbing it. (turns toAngela who is now leaning on the bar facing the rest of the room) You just got divorced and broke up with your fiancé. It's totally understandable that you don't feel like s*x.ANGELA: I feel like s*x.SWEETS:Oh.ANGELA: s*x is what I feel like. Now, I could jump Hodgins, but doesn't seem fair somehow. Do you agree?SWEETS: Well, what matters is that it doesn't seem fair to you.ANGELA: Oh, I hate it when shrinks dothat.(both turn back to the bar)ANGELA: Look, I've been alone now for quite a while, which is not like me.SWEETS: Yeah, well, when we open ourselves emotionally and get hurt, we're reluctant to allow ourselves to bethat vulnerable again.ANGELA: It's been, like, six weeks.SWEETS: That's a-a...ANGELA: Long time.SWEETS: (looks down uncomfortably) Yes, of course it is.ANGELA: The longest I've gone without since I lost myvirginity. At age 16.SWEETS: Hmm.ANGELA: Which is the normal age.SWEETS: Sometimes older is just fine, too.ANGELA: I'm not promiscuous, Sweets. I don't sleep with just anybody. I do require an emotionalconnection. Spiritual, actually.SWEETS: Mm-hmm.ANGELA: It's spiritual to me. And fun, of course. Who doesn't like s*x, right?SWEETS: Hey! Didn't we order these drinks a long time ago?ANGELA: You'reright.SWEETS: (looks at Angela in surprise) About what?ANGELA: I have been protecting myself. Without the risk of pain, there can be no possibility of pleasure or joy or love.SWEETS: Yes, yes, and-and regaining thatwillingness to take a risk-- that can take time.ANGELA: No.SWEETS: No?ANGELA: I am done protecting myself. I'm ready to move on. You're good.SWEETS: Hey.(both turn back to the bar as the waiter brings theirdrinks)ANGELA: You really are.WAITER: Here you go SWEETS: Thank you.ANGELA: (raising her glass for a toast) To love, huh? And joy. (they clink glasses. Angela raises her voice and looks around) And s*x!(Sweetslaughs awkwardly)(Cut to the Medico-Legal-Lab - in front of Forensics Platform. Brennan and Hodgins are looking at the crushed car with the skull as Cam, Daisey, and Angela stand behind them. Hodgins is using aflashlight.)HODGINS: Looks like someone with a crooked nose was trying to get rid of our friend here.BRENNAN: There's no way to know that the killer had a crooked nose.DAISY: You mean, the mob? It was a mobhit.CAM: He clearly wasn't wearing a seat belt.HODGINS: We're going to need the Jaws of Life to pry this guy out of here.(Cam and Hodgins begin walking around the car)BRENNAN: No. That could compromise theremains.DAISY: It seems that any viable examination pre-extraction is impossible, unless somebody has X-ray vision. (laughs awkwardly)CAM: (to Brennan) I meant to warn you that Ms. Wick came up in therotation.DAISY: This time you'll be glad I'm here, Dr. Brennan, I promise.(Brennan and Angela exchange a look of annoyance)DAISY: The height of the nasal root points to a Caucasian. The large brow ridges suggest amale.BRENNAN: We need cause of death.(Angela begins to walk around the car)DAISY: Of the Caucasian male? What can be seen of the temporal, zygomatic and frontal bones indicates that they're in multiplefragments, possibly from the crushing of the car.CAM: We have access to blood and fluids. I'll run a tox screen.BRENNAN: (begins to walk around car. All four are now on seperate sides) Booth is checking the records atthe junkyard to see who brought in the car and when it was processed.HODGINS: I'll use an endoscope to retrieve any particulates without disturbing the remains.(Brennan's cell rings. She answers and walksaway)BRENNAN: Brennan.ANGELA: (to Hodgins) Hey, have you been seeing anybody?HODGINS: Listen, I don't want to be rude, but I just don't think that's any of your business.ANGELA: I haven't.HODGINS: Me,either.ANGELA: But I'm going to start.HODGINS: Right, yeah. Me, too. I mean, like, right away.ANGELA: Sweets agrees that it's time.HODGINS: Sweets?ANGELA: We shouldn't fear putting our hearts outthere.HODGINS: Sweets.DAISY: That's so beautiful.CAM: And so inappropriate over a decomposing body.(Brennan walks by)BRENNAN: Booth found out who delivered the car to the junkyard for crushing.(Cut tosidewalk at night. Booth and Brennan come walking around the corner)BOOTH: Invoice was made out to B & B Enterprises. This was the sixth car that was crushed and sent back to this address.BRENNAN: Oh, so youthink there might be five more bodies?BOOTH: Well, you know what? If this is mob-related, and we bring down the big boys...BRENNAN: Yeah.BOOTH:...we will sell the movie rights for a fortune.BRENNAN: But what ifit's not the mob?BOOTH: Come on. Do the math, Bones.BRENNAN: Well, the math wouldn't indicate motive or identify a suspect. And you haven't even provided enough variables...BOOTH: It's a figure of speech,Bones, all right?(They stop in front of a building)BOOTH: Here we are. Woah, woah, woah, woah (pulls Brennan back who was walking towards stairs) What goes first?BRENNAN: Gun goes first.BOOTH: That'sright.(They start walking up the stairs)BRENNAN: But if you get shot?BOOTH: Don't say things like that. You're gonna jinx me, all right?BRENNAN: Well, if you're relying on superstition for safety, perhaps I should carrythe gun.BOOTH: (stopping in front of a set of glass doors) No, you are definitely not carrying a gun.(pulls out lock pick) Give me some space, all right? (leans down and begins to pick the lock)BRENNAN: Is thatlegal?BOOTH: Look, if anybody asks, the door was open.BRENNAN: (whispering) No, it isn't. (Booth looks at her and she realizes what he means) Ah... Right. (Booth pulls out gun and they enter)(cut to the interior ofthe building. More crushed cars are in the room as they enter. Movement is heard in the background. A woman comes from a room around the corner)BOOTH: Okay, what the hell are you supposed to be?BRENNAN:(pointing at the ground) Booth?BOOTH: What?(camera cuts to show a large blood stain)BRENNAN: Look at this.BOOTH: What is it?HELEN: Blood.(cut to opening credits)(Cut to: In a gallery. Camera pans over morecrushed vehicles and an image of Geoffrey. FBI forensics team is working throughout the room. Brennan is looking at a video while Booth looks at a sculpture nearby)BRENNAN: The artist did a series of six sculpturesover the past two years.BOOTH: (holding a pamplet) Sculptures? Whoa. These things are going for hundreds of thousands of dollars.BRENNAN: (as they begin to walk through the room) All cultures put a great value onart.BOOTH: Yeah, art. A nice bowl of fruit, uh, dogs playing poker. If I sold all the crap that was in my garage, I could retire. I'd make a fortune.(They stop by a sculpture. Helen is standing in front of them)HELEN:Geoffrey's work is a brilliant examination of consumerism and the destruction of the soul.BRENNAN: I see twisted metal.HELEN: Well, you need to look beneath the surface.BOOTH: Oh, we did, and we found a deadbody, which is exactly why you're not going anywhere.(FBI tech Marcus Geier walks up)MARCUS: Agent Booth?BOOTH: Yeah.MARCUS: The luminol is showing evidence of blood all over the floor.HELEN: Of course itis.BOOTH: Excuse me?HELEN: Kiko was here.BOOTH: Kiko?HELEN: Kiko, the performance artist. Pig's blood is an integral and crucial part of her work.BRENNAN: Is that even legal?BOOTH: Well, we'll decide what's pigand what isn't. Pull some samples.MARCUS: Okay. (walks away)HELEN: I've already called my lawyer.BOOTH: That's great. Tell him to meet you down at the FBI offices.HELEN:(laughing) Oh, I didn't call him for me.You see how much these works are worth. You are liable for any damages.BOOTH: (laughing) Damage?BRENNAN: They're crushed cars.BOOTH: They're wrecks.HELEN: Fortunately, your ignorance and lack ofappreciation of Geoffrey's work don't affect its value.BOOTH: (to the room at large) Okay, all right, guys. Careful handling the junk. Apparently, it is art. All right?ROXIE: (walking into the room and stopping to addressBooth and Brennan) Uh, perhaps I could help? I'm Roxie Lyon, Geoffrey Thorne's assistant.BRENNAN: Does the artist make a habit of encasing corpses within his sculptures?ROXIE: Excuse me?BOOTH: Well, we foundone of these crushed cars and traced it back here to this address.MARCUS: (walking back over to the group) We've done the best we can without ripping one of these things apart.BOOTH: No accordion-deadbodies?MARCUS: The cadaver dogs can identify human blood. They didn't find any.ROXIE: (walking to Helen)Oh, my God. Helen?HELEN: Yes?ROXIE: Do you think Geoffrey might have actually done it?HELEN: No. Thatwas all just depressed artist talk, Roxie. You should know that. You were a depressed artist yourself.BOOTH: (walking over with Brennan) Hello? Do you want to explain this to me?ROXIE: Uh, recently Geoffrey's beentalking about finding a way to make himself part of the art.BRENNAN: Do you mean literally?HELEN: The ultimate artistic act.ROXIE: Geoffrey was depressed, and he said he felt like he'd reached his limit as anartist.BOOTH: We'd like to show you a picture of the remains, only if you're up for it.BRENNAN: I suggest you don't look at the person, but rather this distinct ring.HELEN: That's Geoffrey.ROXIE: I know that ring. Idesigned it myself. It's Geoffrey.HELEN: (looking up and speaking as if to herself) Bravo, Geoffrey.BRENNAN: You are an extremely unlikable woman.BOOTH: Mr. Thorne have any enemies?HELEN: Why? It's obvious hedid this himself.BRENNAN: To you, perhaps, but we actually require evidence.ROXIE: Anton DeLuca.(Booth looks at her meaningfully)ROXIE: He's an artist and a rival of Geoffrey's. They had a pretty big argument herethe other night.BOOTH: About what?HELEN: What all artists argue about-- money.(Cut to the Medico-Legal forensics lab. Cam is working at a desk, Hodgins walks in carrying a large piece of machinery)HODGINS: Youknow what this is?CAM: Jaws of Life.HODGINS: 23,000 pounds per square inch of raw prying power.CAM: You really want to be the one to use that, don't you?HODGINS: It's not displaced sexual frustration.CAM: Ofcourse not. (turns to look at Hodgins)HODGINS: I am totally cool if Angela wants to date already, or, I mean, again.CAM: pointing to the other room) Right. You do know the point is to remove the human remains frominside the car with minimal disruption of the evidence?(Hodgins puts the Jaws of Life on a table)CAM: (turning back to her computer) Though, these tox results are suggesting suicide.HODGINS: (walking over to herdesk) You got these from the tissue samples?CAM: Mostly skin, some brain matter.(camera shows computer screen with data on each drug listed)CAM: Clonazepam, lamotrigine, quetiapine, venlafaxine, (turns to lookat Hodgins) hydrocodone, oxycodone and codeine.HODGINS: Wow. Anti-anxiety drugs, mood stabilizers, anti-psychotics, antidepressants and painkillers.CAM: He was under psychiatric care. Even spent a week in thepsych ward last March.HODGINS: So, our victim could very well have been dead from an overdose before he was crushed.CAM: Can't tell for sure. Long-time abusers build up a tolerance, so, this could have been atypical Wednesday night for the guy.HODGINS: Best way to find out is to crack her open, baby.(picks up Jaws of Life. Cam looks at him with a questioning look)HODGINS: I didn't mean \"baby.\"CAM: Carefully, Dr.Hodgins. Like removing a baby bird from an egg.(cut to the floor in front of the forensics platform. Hodgins puts on safety glasses)HODGINS: Stand back, ladies. This is about to get medieval.(Angela smiles as Daiseylooks uncomfortable. Caroline walks in as Hodgins is about to begin work. She is followed by Helen, Roxie, and a man, most likely the lawyer.)CAROLINE: Ah, ah, ah, ah, ah. Sorry, cheri. Apparently, this is an historicpiece of art.HODGINS: It's a hard car shell with a gooey corpse filling.DAISY: I've already collected textile, tissue and bone samples.CAROLINE: That was before I got here.(begins walking around thesculpture)CAROLINE: Here on in, this is an historic piece of art. These fine people persuaded a judge of that and got a temporary injunction.HODGINS: Oh, this sucks.ANGELA: Roxie?ROXIE: Angie?ANGELA: Roxie!(thetwo walk to each other and hug. Cam walks past and over to Hodgins and Caroline)ANGELA: My God...ROXIE: Hi! What are you doing here?CAM: What's going on?HODGINS: Those two are old friends from college-- ifthat's the same Roxie.(Angela and Roxie walk off)DAISY: Luckily, I took initiative and got those samples before the injunction.CAM: Injunction?HODGINS: This heap is considered art.CAM: Well, it's... gorgeous. Wheredoes this leave our investigation?CAROLINE: You can still examine it. You just can't disrupt it in any way. Don't worry. This is only temporary. We'll see how artistic people are feeling when it starts stinking. Just don'tscratch it.CAM: Don't scratch the crushed automobile, which encases a rotting, dead body?CAROLINE: Good! We understand each other.(loud noise as Hodgins puts the Jaws of Life back on the table)(cut to awarehouse that's being used as an artists studio. Anton Deluca is working on a sculpture)ANTON: Geoffrey Thorne dead? This is a... great day for the art world.(Booth and Brennan turn to follow him as he worksthroughout the scene)BOOTH: Yeah, well, last time you were seen together, you were arguing.ANTON: Well, we never saw each other without arguing, so...BRENNAN: You disliked Geoffrey Thorne?ANTON: Well, let'sjust say between his work and his guts... I don't know which I hated more.BOOTH: Yeah, well, artistically speaking, crushing him up in his own work, that would be very, uh, symbolic.ANTON: Is that what happened?(launging) Oh, that, that's hilarious. He crushed himself inside one of his stupid car sculptures? An exhibitionist right to the bitter end.ANTON: How Po-Mo.BOOTH: Po-Mo?BRENNAN: Uh, Post Modern.ANTON: Let me tellyou, Geoffrey's hermetic aestheticism was choked with tawdry pastiche. He had plastic intentions and weak enterprise.BOOTH: All right, someone I understand less than you.BRENNAN: This is asymmetrical and yet stillpleasing to the eye.BOOTH: Okay, I take that back. Why don't you just say it's... pretty?ANTON: I don't do pretty.BOOTH: Okay. Simmer down there, Picasso. You get a compliment, you be polite.ANTON: I don't dopolite either.BRENNAN: Maybe that's why you're broke.ANTON: Who gave you my name? Was it that Kabuki ghoul, Helen Bridenbecker?BRENNAN: Shouldn't you be trying harder to look innocent?BOOTH: Yeah. Howlong have you and Thorne hated each other?ANTON: You can write down, since before the big bang.BRENNAN: Oh, no. There was no \"before\" before the big bang, because time didn't exist. If there are no organizingproperties...BOOTH: Bones, I'm just going to write down, it's been a while. All right? So, why were you arguing at the gallery?BRENNAN: We heard it was about money.ANTON: Well, I might have said he was a sell-out.Usually do. But I didn't think to kill him. Now it's too late, right?BOOTH: Well, if you didn't kill him, then, uh, who did?ANTON: I'd look at his girlfriend if I were you.(Brennan and Booth confused)BRENNAN: No one hasmentioned a girlfriend.ANTON: Roxie. His \"assistant.\" He said he was gonna leave all his money to her. I mean, this is kind of basic stuff you guys should know, right?(cut to the sculpture in the medico-legal lab. Daisyis standing behind Cam, who is inserting a scope into the sculpture)DAISY: Did you have like buckets of coffee this morning? You're very shaky.CAM: Could you take a step back, please?(Cam begins using the scope asDaisy watches the video feed)DAISY: A little more. Just a little more. Like tip-toeing mice.CAM: Oh, rats.DAISY: Do you want me to try? Let me try. I'm very dexterous.(Brennan walks over looking around the room.Cam sighs and hands Daisy the scope)DAISY: Oh, you won't be sorry.(Brennan empties the bucket over the sculpture. Beetles crawl through the sculpture.)BRENNAN: I was going to say that I had an accident overhere, but I don't like lying.CAM: You dumped a bucket full of domestic beetles onto this work of art. They'll strip the flesh off our victim in no time.BRENNAN: Within 30 hours. Am I fired?CAM: Au contraire Remind me ofthis moment around Christmas bonus time.DAISY: I'm in!BRENNAN: Uh, good work, Ms. Wick.(Brennan and Cam walk over to where Daisy is working)DAISY: Well, we could've been here hours ago if Dr. Saroyan wouldhave given me the endoscope sooner.CAM: Thanks for mentioning that.DAISY: There's too much flesh to really get an idea of the bone damage.BRENNAN: 30 hours. (walks away)(cut to an interrogation room. Booth isinteviewing Roxie as Sweets observes and talks to Booth through an earpiece)ROXIE: I was Geoffrey Thorne's assistant for almost four years.SWEETS: Okay, I suggest you start with the mundane, and then workyourself up to the sexual stuff.BOOTH: So did you have a sexual relationship with your boss?SWEETS: Okay, that's the total opposite of my suggestion.ROXIE: No. No.BOOTH: So what was the nature of yourrelationship?ROXIE: I assisted Geoffrey. I handled the details of his day-to-day life. Are you sure it's Geoffrey?SWEETS: Prevaricate, keep her guessing.BOOTH: Yes, we're positive.SWEETS: (sighs) Why am Ihere?BOOTH: As his personal assistant did you get him his drugs?ROXIE: If you mean his prescriptions, then... yes, I picked them up for him and I reminded him to take them.SWEETS: Ask her if Thorne was clinicallydepressed.BOOTH: He was depressed, right?ROXIE: Yes. He was... suicidal. Seeing a shrink.BOOTH: (looking towards the one-way mirror) That's why you're here.ROXIE: Because you think Geoffrey took anoverdose?BOOTH: If he killed himself, I mean, wouldn't he have left a suicide note?ROXIE: Yeah, I would think that he would have... left me a message.BOOTH: (flipping through papers) Look, if you weren't sleepingwith Thorne, then why did he name you the sole beneficiary of his estate?ROXIE: Geoffrey's will?BOOTH: Yeah, it's... about one million dollars. Look at that.(Booth puts a page in front of her)ROXIE: I had no idea thathe was going to do that.SWEETS: Perhaps jealousy is her motive for killing Thorne. Why else would she deny sleeping with him?BOOTH: I don't think so.ROXIE: I swear.BOOTH: No, there was another reason why youweren't sleeping with Thorne.mIsn't that right, Roxie?ROXIE: Angela told you, didn't she?SWEETS: Told us what?BOOTH: Why don't you tell me.ROXIE: I'm gay. I'm a lesbian. I've never been with a man in my life and Inever will.SWEETS: oh, that changes everything.(the medico-legal lab. Booth, Brennan and Angela are walking down the stairs to the main floor)BRENNAN: So, according to his will, Roxie stands to inherit Thorne'sentire estate.ANGELA: She said they were close.BOOTH: Well, people usually leave money like that to a wife or a lover.ANGELA: I don't think so.(they continue walking through a hallway)BOOTH: Because?ANGELA:Because Roxie's an old friend and she'd have told me.BRENNAN: Well, she says she's a lesbian.BOOTH: Delicacy, Bones.BRENNAN: What? It's not an affliction, Booth.ANGELA: Yes, Roxie is gay. At least she was whenwe were together.BOOTH: In school?ANGELA: Yes.BOOTH: Oh, you heard rumors.ANGELA: No, I have firsthand knowledge.BOOTH: Oh, you walked in on her, that's awkward.ANGELA: (stopping in front of a station and"}
+{"doc_id":"doc_47","qid":"","text":"Scene 1: FoS - Sookie, Gabe, Godric, Eric, Jason, Sarah, Steve, Brent, KyleSookie, Gabe, Godric and Hugo are in the basement. Sookie is rebuttoning her dress while Godric is taking care of Gabe.Gabe: Godric, it'sme!Godric kills the man.Godric [To Sookie]: You should not have come.They both hear screams.Sookie: Bill!Godric: No.[Closing his eyes] I'm here my child. Down here.Eric appears.Eric: Godric.He kneels down.Godric:You were a fool for sending humans after me.Eric: I had no other choice. These savages they... they seek to destroy you.Godric: I'm aware of what they've planned. [Pointing Hugo] This one betrayed you.Sookie: He'swith the fellowship. They set a trap for us.Eric: How long has it been since you've fed?Godric: I require very little blood anymore.The alarms start.Godric: Save the human. [To Sookie] Go with him.Eric: I'm not leavingyour side until you are...Godric: I can take care of myself.Sookie: Come on! We have to go.Godric: Spill no blood on the way out. Go!Eric and Sookie leave the room.CreditsJason is lying on the ground and notices thered stain on his chest.Jason: I'm alive.He stares at Sarah.Jason: Holy sh1t. God saved me. I'm safe.Sarah Newlin: Oh for Heaven's sake grow a brain cell! [Showing the gun] Paintballs!Jason: What... You crazybitch!Sarah Newlin: I let you into my house, into my bed and into my heart. All I stood for, all I believed in, I violated to be with you!Jason: Okay.Sarah Newlin: I gave you everything for a lie. You're worse thanJudas.Jason: Why, what did he do to you?Sarah Newlin: Ugh. f*ck you! [shoots him again, in the groin]Jason: OOHH OHHH SWEET JESUS. OK, I'm sorry OK? Just, tell me what you want me to say, don't shoot meagain...Sarah Newlin: You came to prey on me; to ruin the sacred vow I made to my husband then like a coward you ran!Jason: No, I didn't... Okay, I ran. But it wasn't from you. It was from your husband and his crazyweapon collection. Why'd you have to go and tell him?Sarah Newlin: Tell him? I didn't tell him anything. He's the one who told me!Jason: [standing] Wait, wait, wait, wait. Told you what?Sarah Newlin: There are wolvesin our hen house. We must defend our flock.Jason: [confused] What's that got to do with-Sarah Newlin: We have your sister!Jason: Sookie's in the church?Sarah Newlin: She came in yesterday, spouting the same liesyou told!Jason: Now you listen to me. She's got nothing to do with this.Sarah Newlin: You Stackhouses... you're nothing but a bunch of heartless, two-faced vampire fuckers!Jason: [grabbing the paint gun and pushingher down] Don't you ever talk about my sister like that! If I find out any of you so much has touched her, I'm gonna come back here...and it won't be with no f*ckin' PAINT GUN!Jason takes the car and leaves.Back tothe FoS Church, people are running away.Steve one Loudspeaker: Brothers and sisters, we are on lockdown. Women with children, please take them to our classroom buildings. Men, and able-bodied women, securitypersonnel will provide you with stakes and silver just outside the chapel. Our Soldiers of the Sun are on their way to protect our church, but safely evacuate the building now. Brothers and sisters, the hour is uponus!Eric and Sookie are watching them getting out of the church.Eric: I could have you out in seconds.Sookie: There are kids out there.Eric: All those humans wouldn't think twice about hurting us.Sookie: Why didn't youbring Bill with you?Eric: His attachment to you is irrational. It clouds his judgment. He would kill every child in this church to save you.Sookie: Why aren't you?Eric: I'm following Godric's orders and getting you out,that's all.Sookie: He's your maker isn't he?Eric: Don't use words you don't understand.Sookie: You have a lot of love for him.Eric: Don't use word I don't understand...Eric looks furtively at the entrance door.Kyle: Let'slock it up! Keep quiet! Alright lock it up, nobody comes through here...Eric walks out toward the members of the fellowship.Sookie: Eric, no!He turns back and leans down to Sookie.Eric: Trust me.He walks toward outthe entrance door.Kyle: Is it locked? Did you check on... did you...Eric: [Taking a cheerful happy-go-lucky voice] Oh Hey y'all! How's it going? Steve sent me over there to man the exit here. Think I can take it fromhere.Kyle: By yourself?Eric: Ha... Yeah!Kyle: You're big and all but there's a vampire on the loose.Eric: Oooh...Brent: Where's your stake?Eric: Oh [laughing] Dang! I forgot!Kyle gives Eric a suspicious look.Eric: Maybe Icould borrow yours if... if that's okay.Another guy looks at him suspiciously.Brent: I can't do that... Get your own.Eric:[Back to his usual voice] I'd very much like to borrow your stake.Brent: Yeah, yeah that'd be okay Iguess.Brent hands Eric the stake while Kyle is about to stake Eric.Sookie: STAKE!Eric turns and punches Kyle and Brent down. As Rich goes to stake him, Eric grabs him by the throat and points the stake to Rich's neck,Sookie rushes over.Sookie: Eric! You don't have to kill him.He lets go of Rich.Eric:[Opening the door] Come on!People are rushing over.Rich: Those arrows are wood. You'll never make it through.Sookie: Eric, throughthe sanctuary.They enter the sanctuary.Eric: Where's the exit?Sookie: Back that way.Steve: There are several exits, actually. For you, the easiest one takes you straight to hell.Members of the FotS enter theroom.Sookie: Let us leave. [To the members] Save yourselves. No one has to die.Steven: The war has begun you evil whore of Satan. You vampires cast the first stone by killing my family. The lines have been drawn.You're either with us, or against us. We are prepared for Armageddon.Sookie: The vampire you're holding prisoner got away. He's a sheriff. He's bound to send for help.Steve: I'm not concerned with Godric. Anyvampire would do for our grand celebration, and we got one right here.He points to Eric. Sookie looks at Eric, and he looks her back.Eric: I'll be fine.He walks toward the altar.Steve: Brothers and sisters, there will be aholy bonfire at dawn [laughing].Scene 2: Hotel Carmilla - Bill, Barry, Lorena, Hoyt, JessicaIn Bill's room:Lorena: [Pushing Barry against the door] Look dear, room service sent a gift for us.Barry: No. No I don't doany...Lorena takes Barry by his throat.Lorena: Aaah... Heart's pounding. It's so much tastier. How considered of you.Bill suddenly turns his head.Bill: Sookie!Lorena: [Looking annoyed] That bothersome human. Justlike an alarm o'clock you can't switch off. Bla bla bla bla... and ten minutes later bla. [Softly touching Barry's throat] I give you first bite.Bill: I am NOT hungry.Lorena: Oh! Come now. As I recall, you appetite wasalways... insatiable. This human attitude for your girlfriend is charming and all but we both know better. [Turning to Barry] Don't we?Barry: Please... I don't wanna die.Bill: [Angry] Let him go!Lorena: [Laughing] I will...soon.Barry: No!Lorena gets her fangs out and bites Barry, who's screaming.Bill's looking away. She ends the biting part, looking oddly at Barry's throat.Lorena: This one's different. I've never tasted... [Holding Barry'schin] What are you? [Sound of something being torn]Lorena turns to see Bill throwing a TV in her face. She lands on the floor. Bill smashes her head with the TV and throws it away. He takes Barry with him and theyleave the room.In Hoyt and Jessica's room.Hoyt and Jess are still making love.Hoyt: ...okay? Are you okay? I'm not hurting you?Jessica: No... Not anymore... Goodness shut up. Keep going.Bill suddenly enters theroom.Jessica screams while Bill is embarrassed and looks away.Hoyt: I... I don't know what you heard but... those were screams of pleasure. [To Jessica] Right?Jessica: [Hiding her face with her hands] Oh mygod...Bill: If you truly care for her, you will take her to your car this very moment and drive her back to Bon Temps before the sun comes up.Hoyt: Now?Bill: Now!Bill leaves.Scene 3: Merlotte's - Lafayette, Tara,EggsLafayette: [Putting down a tarot card] Lovers... Oh sh1t hooker...Tara: What? Isn't the Lovers good?Lafayette: Not for you. In this position it calls for a sacrifice in matters of the heart. You're going to have to makea choice.Tara: But it might turn out well, right?Lafayette: You wanna see your future?A door is being opened, Lafayette is about to turn the card.Eggs: Tara, help me.The card is the Justice. Lafayette looks at Tara andthen at Eggs.Eggs: I need to, talk, to you.Tara: Huh... y-yeah, sure.Lafayette picks up his cards.Lafayette: I'm gonna go and clean a grill or some... [Leaving the table].Tara: [While Eggs is sitting where Lafayette was amoment ago] Say something, you're freaking me out.Eggs: What time is it?Tara: What...Eggs: What TIME is it?Tara: It's... ten past twelve. We just closed, why?Eggs: Look...It happened again, I've lost the last coupleof hours.Tara: Are you sure?Eggs: Yeah.Tara: You don't remember anything?Eggs: I mean, after I left you, I got in my car and, baby, next thing I know I'm over... past Parish Road and I'm over by the lake. And I wakeup on the ground. It's freezing cold. And I don't even know how I got there. Tara, what the hell is wrong with me?Tara: It's okay. It's okay. I'm here. Lafayette, you okay to close up?Lafayette: Yeah... yeah y'all go onahead.Tara: Come on, let's get you home.Tara and Eggs leave the Merlotte's.Scene 4: FotS - Jason, a guyJason is coming back to the camp.Guy: Hey hey, who are you?Jason: It's okay. I'm with the fellowship. Yougotta let me in.Guy: Sorry bro, we're in lockdown. There's a vamper inside.Jason: Yeah. That's why they sent for me. I'm a cadet with the light of day institute. Came strapped. [Pointing his ring] Honesty.Guy: Dude,Honesty. Come on!Jason: Let's move.They enter the church.Guy: Now, we got the vamper surrounded. He's got some having fangbanger chick with him. I'm gonna take you to Steve.Jason: No. I go it.Guy: No he needsyou to... hey... Is that a paintball gun?Jason: Uh oh... [Punching the guy with the paintball gun]. Yeah. It is.Scene 5: Merlotte's- Sam, officer, lady on the phoneBack to Bon Temps.Sam is sleeping in his car until theringing of the phone. The phone call comes from the Merlotte's.Sam: Who is this? [The other person hangs up].Sam opens the door of the Merlotte's.Sam: Hello?He notices the light in the storeroom. He takes a lookand finds Daphne lying against the wall, a bloody hole at the place where her heart should be.Sam: Oh! Jesus Christ!He gets out and looks for garbage's bags; he puts it on the bottom of Daphne's body and gets out. Hecalls for the police.Lady on the phone: Renard Parish sheriff's department. What's your emergency?Right after hearing a voice he sees the blue lights of the police's cars.Officer: Sherrif's department. Anyone inthere?Lady on the phone: Is anyone there? This is the sherrif's department. May I help you? [Sam looks around, panicked]. Hello?Scene 6: Sookie's House - MaryannMaryann is singing while cooking. She starts cuttinga heart and adds the pieces in the frying pan.Scene 7: FotS - Eric, Steve, Bill, Sookie, Jason, Stan, GodricEric is groaning in pain, strapped to the altar with silver.Steve: You see? Justice as our Lord our Savior wasbetrayed for 30 pieces of silver, a few ounces of silver can betray a child of Satan to the world!Sookie: That doesn't make any sense. How can you people listen to him?Eric: I... I offer myself in exchange for Godric'sfreedom. And the girl's as well.Steve: That's noble. But she's just as culpable as you are. She's a traitor to her race. The human race. She hardly deserves our mercy. [To Eric] Maybe we should tie her to you so you canmeet the sun together. [Walking toward Sookie] Hope this marshmallow will roast up nicely.Everyone turns around when hearing the doors being opened.Bill: Sookie!She smiles while Bill's rushing over.Steve: [Pointinga gun against Sookie] One more step, vampire, and the girl dies.Bill: If you shoot her, everybody here will die! Let her go now.Steve: [To Sookie, annoyed] Honestly, what do they see in you? [To the FotS members]Soldiers, some silver chains for our friend here.Sookie: Don't, he's done nothing to you.Bill: Sookie, I'll be fine.Jason: NEWLIN!He shots Steve's hand, the gun falls down.Jason: Let her go, fuckwad.Jason who shots inSteve's head. (Green shot)Steve: AH... AOUH!Bill rushes and kicks down the guys holding Sookie. Meanwhile Jason is being assaulted by 2 members of the FotS.Steve: Son of a bitch! [Still groaning in pain]Sookie goesto Eric, to help him.Bill: Sookie!She takes off the silver chains.Sookie: Let's go!Eric goes straight away to Steve, takes him by the throat and pushes him down.Sookie: Do not kill him!Jason: KILL HIM! Kill them*therf*cker!Steve: Go ahead. Murder us. Murder us before God. We are willing to die.All the members look at him, shocked.A bunch of vampires enter the room.Stan: Steve Newlin! You have pushed us too far. Youexpect us to sit on our thumbs while you round up your men to come lynch us? We'll kill you first. Same way we did your father.Sookie: Oh God no...Steve: [Screaming out of anger] Murderer!Stan: Destroy them. All ofthem.Stan gets his fangs out and all the vampires zoom through the room ready to kill.Sookie: Bill, Eric stop them!Bill: We have to go now!Godric: Enough!Everyone stops.Godric: [Standing in the hall] You came for meI assume. Underling.Stan: Yes sheriff.Godric: These people have not harmed me. You see ? We can coexist. Mr. Newlin, I do not wish to create bloodshed when none is called for. Help me set an example. If we leaveyou in peace, will you do the same?Steve: I will not negotiate with subhumans! Kill me.Woman: No!Steve: Do it. Jesus will protect me.Godric: I am actually older than your Jesus. I wish I could have known him, but Imissed it. [To the FotS Members] Good people, who of you is willing to die for this man's madness? [The room remains silent] That's what I thought. Stand down, everyone. People, go home. It's over now.Sookie: Ohthank god, Bill.Bill: It's all right, you're safe now. You're safe.Steve: Please don't leave me.Godric: [To Steve] I daresay my faith in humankind is stronger than yours. Come.Stan: Sir. After what these humans havedone to you. Has it. Come.Eric: [To Sookie] Are you sure you're okay?Bill: [Angry] She's fine! Go with your maker.Jason: Sookie... Sook... come here [Holding her]. Ah I'm so sorry. Can you please forgive me?Sookie:What were you doing with those people? Are you out of your mind?Jason: Yeah I was. Just [Looking at Steve] that son of a bitch, it's like he sucked out my brain and planted all his own babies in there.Steve: You knownothing. On the final day of reckoning, we'll see who goes to Heaven, and who goes to Hell.Jason: [Smiling, almost laughing] I reckon I've already been to Heaven. It was inside your wife. [Punches Steve].Bill goes toJason.Sookie: Jason, come on!Bill pushes Jason away from Steve.Sookie: Come on!Jason: Take your ring! Honesty my ass, shityhead. White suit motherfu... Go home preaching ...They leave.Scene 8: Merlotte's - Bud,Sam, Kenya, AndyBud: Come on Sam, we can't tell you that. That's why it's called an anonymous tip. We can't tell you who phoned it in.Sam: They wanted you to find me! Why would I keep a body in my ownrefrigerator? It... It was a woman's voice?Bud: Sam!Kenya: There's a rumor saying you were having a relationship with the deceased, is that true?Sam: Yeah.Kenya: And you don't seem too beat up about it.Sam: Iguess we kind of broke up.Kenya: Were you angry?Bud: That must leave some hurt feelings.Sam: Listen, y'all have to trust me. This is bigger and crazier than you can even imagine.Kenya: I'll say... This is the secondtime in 2 weeks a woman's been found in your bar with her heart missing.Bud: And the third time a waitresses of yours has ended up dead.Sam: Oh Come on! That was Rene Lenier! You can't use that against me!Come on Bud, Kenya, listen to yourselves. You know me.Bud: I'm not sure we do. You got no birth records, no social security number; we can't even find where you went to High School.Sam: It's hard to explain.Bud:Save it son. Nothing about your past ever checks out. Won't you just tell us what happened tonight?Andy: What the... Oh oh! Hold up, Bud. You don't think it's Sam, do you?Kenya: Let me get him.Bud: Hold on Kenya.[To Andy] You're on suspension. How did you hear about this?Andy: Still got my radio. I'm not here as a cop okay, I'm a witness. You have the wrong guy.Bud: What?Andy: Sam's not the one you want, he's the victim.I saw him nearly get killed last night.Bud: By who?Andy: The bull!Kenya: The what?Bud: Oh, Andy. He thinks he saw some kind of bull.Andy: With claws. A bull... in a dress... with claws [Mimicking the claws].Bud: OkAndy. You're babbling again...Kenya: I could shut him up.Andy: And your vic, the victim down there, she's part of this whole group of crazy people who was trying to get him [Pointing Sam]. I tried to fight them allbut... [Showing his arm] War wound. I'm corroborating here, Sam. Tell them, help me.Sam: If I told you that's what happened, would you believe me?Kenya and Bud looks at Andy.Andy: Oh,sh1t![SCENE_BREAK]Scene 9: Sookie's house - Tara, Eggs, MaryannTara: [To Eggs] But you're not the only one. I blacked out last night, Arlene blacked out. Maybe there's some kind of gas leak or something.Eggs: Butwhat about Andy Bellefleur. He... he said he saw all of us.Tara: Andy is the only one we know that is out of his mind.Eggs: Tara, I had this sick feeling I did some real bad.Maryann: Knock knock. Hope I'm notinterrupting.Eggs: No, just trying to piece together everything we've been doing in the past couple of days.Maryann: Hum... sounds like somebody's been enjoying himself a bit too much. Tell you what! Why don't easeup on the parties, for a little while? Take it easy. Hey! Snack's ready.They go to the kitchen.Maryann: Ho ho... Hope you're hungry.Tara: Oh my god! That looks amazing, what is it?Maryann: Hunter's soufflé.Eggs: Ididn't know hunters make soufflés.Maryann: Most don't. Dig in.Tara digs in the soufflé which \"red sauce\" is flowing over. Eggs gives Tara a bite.Tara: Wow yeah! What is in that? Is that the rabbit you caught?Maryann:[Smiling] Among other things.Tara licks her hand.Tara: [To Eggs] You have got to try this.Eggs: Hmm. Oh my god.Maryann laughs. Tara and Eggs keep eating.Scene 10: At Godric's Party - Stan, Jason, a woman,Godric, Eric, Bill, SookieWoman: [To Godric] Thank you sir.Stan: Welcome home sheriff. We are all very relieved. [Godric nods]Jason: I just want to say I'm real sorryfort what the fellowship put you through.Godric:You helped save many lives today, Mr. Stackhouse. Please know you have friends in this area whenever you visit.Jason: Thanks man but I don't know if I'll be wanting to come back any time soon.Jason leaves andmeets Eric.Eric: Hail the conquering hero.Jason: Oh no. I'm no hero.Eric: Well you are in this town. But in my area, we know you well as a buyer and user of vampire blood. And that's a very grave offense.Jason: Yeah,listen, I don't do that anymore.Eric: All things considered however, we'll call it even. But you won't be doing it again.Jason: Yes... no, no... got it!Eric: Good boy. Run along.Jason leaves... Eric smiles.Sookie: [To Isabel]Thanks this is great. [To Bill] You've avoided being alone with me all night.Bill: Nonsense. With all this commotion there's hardly been time...Sookie: Bill. I was in that basement for 2 days, you don't even wanna knowwhat almost happened to me down there. Where were you?Bill: Sookie it's...Sookie: \"It's complicated\" is not an answer. Every time I've need you, you've... always come running even in broad daylight. What keptyou?Bill: hum... I was held.Sookie: Held? Like kidnapped? By who? By Eric?Eric: Hmmm heard my name... I hope you were speaking well of me.Sookie: Why should I? You let me walk into a trap.Eric: I regret that. If Ihad known it was possible...Sookie: You did know. But because it was Godric, you'd risk anything.Eric: The bond between a vampire and his maker is stronger than you can imagine. Perhaps one day you'll find out.Billglares at Eric. Sookie looks at Bill, then Eric, and the last one looks at Bill while smiling.Scene 11: Compton House - Hoyt, JessicaJessica and Hoyt enter the house, kissing deeply.Hoyt: [Laughing] Wow wowwow...Jessica: [Laughing] What's the matter? What, you don't love me anymore?Hoyt: I just don't think... Bill might not like us doing this stuff in his house.Jessica: He'll never know. Come on, you drove so fast, I knowyou want to again. Besides, we got two hours before dawn. I can't believe I waited so long. We are gonna do it every single night whether you want to or not. You still want to, don't you?Hoyt: Well, sure, yeah. It's justthat Sookie and Bill might come in any minute.Jessica: We got the house to ourselves. I promise. I've never wanted anything so bad in my life. Make love to me again. Please. Do me. Now. (They begin to make love)Wait, stop, stop.Hoyt: Sorry. What happened?Jessica: I don't know. It just... I mean, it's felt like...Hoyt: Is that blood again?Jessica: Oh, my God. No, no, no, no, no.Hoyt: What, Jessica, what?Jessica: It grew"}
+{"doc_id":"doc_48","qid":"","text":"Is this on?(Beeps)Well, it's been a month since my last Val vlog.(Beeps)Was this going the whole time?(Beeps)Well, it's been a month since my last Val vlog, and I have some really big news. But first, I just want to givea shout-out to my subscriber who said, \"I love it when you do impressions.\" (Laughs) Well... (Mimics Edith bunker) I have very big news that I'm very excited to tell you about. (Giggles) That's my Edith Bunker. Playedby the wonderful... (Beeps) Jean Stapleton! Okay. (Beeps) I should get to my news. Uh... I've been cast in an HBO show.Mark: Why are you telling people you're... Ugh, God. Mark, I thought you left. Why are yousneaking up? Well, I'm not sneaking up. I came to get something. And why are you telling people that you're doing that show? We talked about that. Well, okay, to be fair... Okay, you said, \"no effing way\" and left theroom. I was trying to have a safe discussion and you left the listening circle. Oh, is that what I did? Yeah. Okay. I'm listening. Tell me again why you'd ever want to do that show. It's HBO, Mark. I'll be an actress on anHBO show. Do another HBO show. Okay, I'll just put my name on the sign-up sheet for that. Okay, now it sounds like you're not listening. Okay. All right. Listen, I hear that, okay? I hear that. So you go. Okay. I'mexpressing concern that... You're doing something that's a not-so-flattering version of yourself, written by a drug-addicted... Okay. Asshole, who's just gonna... Yeah. Okay. Right. I'll go. First of all, I'm not playing me.HBO was very clear about that.Okay, and B: Paulie's different now, okay? He's been through rehab. Val... Twice. Two rehabs. People don't change. Ooh. Okay. You just got me. What was that? It's oatmeal. It's really inthere. Steel-cut? That's okay. And he cast me, okay? Paulie cast me in it. So he has changed, Mark. All right? Mark, please, it's HBO, okay? They do all those award-wining shows, right? Like \"Mad Men.\" Is that HBO?Well, they're always smoking on it. I just thought... Oh, no, you're right. You're right. That's A&E. Yeah. So... Well, they have \"Game of Thrones.\" You like that one, right? You always fall asleep to that one. Yeah, that'sgood. Right. Well, here we are at HBO. (Chuckles) New member of the family. (Gasps) Okay, look at this. Oh, \"s*x and the City.\" Started it all. Guess I'm one of the girls now, huh? Oh, all right. Here we go. \"TheSopranos.\" Started it all... In a different way, you know. Don't know that one, actually. No. I don't know it. Oh, and then... \"New Girls,\" huh? Now, this one, she's real special. That, um, Lela Durham. I think it's LenaDunham. Well, I don't... There, that... no, I'm right. Lena, yeah. Really excited to see this one. Can't wait for that.Man: Valerie? Huh? Oh. Hi. We're ready for you. Okay. Take my purse.Mickey: Mm-hmm. Thanks. Okay,here we are. Okay. Yeah, probably a six... I gotta go. Hi. Hello, hello, hello. Pretty office. So pretty. Smells pretty too. (All laugh) Oh, thanks. Oh, yeah, they're with me. Oh. Right. Yeah. Valerie, it's great to see you.Uh-huh, you too. Okay, great. Thanks, so... Valerie, this is Rada. Hi. Current programing. Hi. Okay. Yeah. Such a pretty name.Rada: Thank you.Woman: You know Connor and James? Sure do. Yeah.Val: Wow, gang's allhere, huh? Right, 'cause you said you wanted to see us all. Uh, is there a problem? No. Oh, no. Everything's fine. Great. Yeah. No, I just... I had a couple questions. No, first, just about the film crew... you need to moveover a little bit.Val: So... Yeah, we should talk about that. What's this for? Well, this is... oh, this is just, you know, BTS footage.You know, it's BTS: Behind the scenes. And I just thought, you know, if you want it, youcould have BTS for SR.Sr: \"Seeing Red.\" (Clattering) Oh, watch the blinds, Ivan. (Under her breath) Do better.(Laughing)Maybe we could use it for web content, social media...Val: Oh. Yeah, 'cause these kids havebeen following me around everywhere.Val: And the great thing is, they're cheap. You know? So it won't cost you much. And I just think it's real important to support young people getting a leg up in the business. Yeah,we'd have to use a union crew. Yeah, then they're gone. (Laughs)Val: They're going back to school. Oh. You know, so everybody wins. Okay!Val: Great. Okay. Um, can I ask you something about the schedule?Connor:Hold that thought. Holding.(Laughing)When you had your show, \"The Comeback,\" which I loved, you had a really great producer. Who was that? Oh, from \"The Comeback\"? Jane.Connor: Jane who? Um, Jane... Uh,Jane Jane.Woman: Jane Benson. That sounds right. Yeah. No, I've worked with her. Oh, okay. Well, then let's get her. Or I'll get her, 'cause I know her. Jane Benson, yeah. Yeah. Great. Okay. Okay. Good.James: Wait,you wanted to say something about the schedule also? Yes, I did. Thank you.(Clattering)Val: Just... sorry. (Laughs)Ivan. (Chuckling) Need a union crew.(All laughing)Val: But they're great. They've been learning.Um...I did want to talk to you about... yeah, it's all just happening so fast. You know, want to get my ducks in a row. You know, so I was wondering when do we start? What, like, six weeks? No, we're starting next week. Oh,we moved it up. We wanted to get these on air for spring. Okay. That's fast. I just wanted time to... You know... Prepare. Prepare what? Prepare... Well, prepare. (Emphatically) Prepare. Oh, no. You don't needanything. Well... okay. Oh, no, no, no. You don't need to do anything. You are perfect. Thank you. You're perfect too.(All chuckling)We need to see what we saw in the audition. You're one of the few actresses who stilllooks real. Uh-huh.James: That's why we hired you. Oh. Okay. Right. Doctor, I only got a week to heal, so what can we do? Oh. Valerie. Yeah. Yeah. Wasn't talking to anybody. Um, forgot. We would like to invite you tosee the Golden Globes next week. Oh, okay. You're part of the HBO family now. Aw. We'll see you then. We throw an amazing after-party. Yeah. Yeah. I am so excited about this. I loved \"The Comeback\" and \"I'm It.\"Oh, thank you! Yeah, I saw it at the museum of broadcasting.Val: Uh-huh. Okay. That means it's a classic. That's nice. That's in Beverly Hills. Right. Yeah. Across from the... Nate 'n Al's. Yeah. Mickey, please tell meyou're still in touch with Jane.Val: Okay, there's nothing. All green, and I know we're not at a golf course. This trip to \"Jane-ville\" is a long way to go. That email looked like a definite no to me, Red. Well, no such thingas a definite no, okay? What's the name of that road again? Oh... It's, uh... 4325 Yasidro Sage road. And I know this is her current address because I didn't get my Christmas newsletter back. Okay, we're nowhere. Oh,so many people are dead. Didn't that sign back there say that? All right, I need to pay attention. Didn't realize I'm gonna have to leave bread crumbs.(Chuckles)Oh.Mickey: I think you made a wrong turn, hon.(Dogbarking)Mickey: Oh, there it is.Val: I don't want to hit the dogs.Aw, look at this.(Barking continues)(Goat bleating)Val: Wow.Look at where we are. Jeez, the sun. Where's my sombrero? Oh, you wanna get it? Yeah. I'mgonna need it. My face will look like little orphan Annie.Val: Uh-huh. Oh, look! Horses!Val: Yeah, I saw them. Yeah.Mickey: What's wrong with that one's leg? It's bandaged. Oh, yeah. Supposed to shoot them, right?\"They shoot horses, don't they?\" That movie...Ivan: No. You should Netflix it. Yeah. Okay.(Horse whinnies)Oh! (Val laughs) Jane, Jane. Sound familiar? (Val laughs) Oh my God.Jane: Valerie! I thought, \"who is this?\"And then I saw the cameras and I knew it was you. You never give up. Well, you do. You're really off the grid here, huh? Well, I'm not really off the grid. If I was, I wouldn't have gotten your email about the Paulie G.thing. Oh, yeah. Okay.(Chuckles)Val: All right, okay. Yeah.Come in. Thank you. Yeah. Come on. Yeah.(Dog growls)(Loud clattering)Oh, look out. Watch it. Bust up the joint. Don't worry about that. Here, let me fix thatfor you, Jane. Oops. Yeah, it's... okay. Okay. Go ahead.Jane: Hey, Mickey.Mickey: Hey, sweetie.(Jane sighs)Val: Oh, wow.Val: This is nice.Mickey: Oh my goodness.You own this? Yeah.Val: Aww. Wow, good for you. \u0000Looks like we made it. \u0000 (Laughs) Neil Diamond. So good. I think it's Barry Manilow. Huh? I get it... I get it, Jane. I get it. Get why you live all the way out here, away from everything. You know, good for you. Yeah.So, Valerie... Um, thank you for thinking of me, but I'm not interested. So...Jane: Would you guys like some tea? Sure. Yeah, while we talk? Yeah, let's talk about it. All right. I make a mean tea. Whoa, carefulthere.Jane: All right. Oh. Okay. Yeah. Watch it. You gotta be careful, Ivan. Sorry.(Chuckling)Val: See why I need you?Val: So, um, Jane, I know you said you weren't interested in doing a reality show again.Um, thankyou. But you know what, this is HBO, and they asked for you, okay? They know who you are. Yeah, I met with someone there when I was trying to get distribution for my documentary. Well, okay. Now maybe they'llrevisit distri-buting it. Okay? Get people to see it. Who knows what can happen? Yeah. Actually, yeah, some people did see it and then that happened.Val: Is that an Oscar? Is it real? Can I pick it up? (Jane chuckles)Yeah. (Val gasps) Yeah? Oh my. Ooh. Oh.Okay. Wow. \"Best documentary short: The Hidden Women of Treblinka.\" What is that? Uh, it's about lesbians in the holocaust. Oh. Important. Yeah. 'Cause it got you this. Wow,so, \"Jane Benson and Joanne Meyer\"? Yeah, Joan. That's my ex. Oh! Oh. I didn't know you were... what, that I was Jewish or a lesbian? Well, both, you know. Double whammy. Well, nice to meet you, Jane Benson:Jewish lesbian with an Oscar. Good for you. Good for you.(Sighs)Wow. Doesn't mean anything. \"Doesn't mean anything\"? (Laughs) It's an Oscar! Ooh, and I made banana bread. Oh. I don't eat that, but... I'll havesome. Tyler, make sure that you get me with the Oscar. You know what, Mickey? Here. Will you take a picture of me with the Oscar? Just wanna make sure. I want it on my phone. Yeah. Take another one for safety.And another one. Another one. Just one more. (Mickey laughs) Jane, taking pictures with your Oscar. I know, I'm right in the room. Oh. (Laughs) Couldn't see you, I was blinded by the gold. (Laughs) Oh, wow. Look atthat. Makes a good doorstop...Val: Doorstop. (Laughs) 'cause it doesn't matter. \"It doesn't matter\"?Jane: I still had trouble raising money for my next one. Oh. I have an unfinished movie about the Taiwanese boatwomen in my barn. Nobody even wants to know about it. Well, maybe HBO wants to know about it. Right? Oh, no can do. I'm a lightweight. Mickey? Oh, hello! Mm, that's right. Well... Oooh. Yeah, oh, no. Uh-uh. Sorry.Nope, not 21. You just work the camera, okay? I'm 25. Well, okay, I don't want the other kids to feel bad. All right. Yeah. Go ahead. Is this butter? It's goat butter. Is that a thing? Yeah. The horses like the goats. Youneed to... okay. Come up. Aww.Jane: That way. There you go. Yeah. They're rescue horses. They're, like, traumatized when they come in, and the goats are, like, entry-level. So the horses get comfortable with thegoats, and then they get comfortable with people, and so that's goat butter. Do you have anything in a pump or a spray? Mickey... trying to talk business with Jane. (Giggles) So, Jane, seriously, how 'boutit?(Sighs)Nothing? You're not gonna say anything? You were so uptight around Paulie. Uptight? I-I was... I wasn't uptight. Oh, were you just trying to get me to smoke that? Oh, fine. I will. I'll do it. I'll do it. You knowwhy? Because I'm not uptight. See? (Coughs) I'm not uptight at all, I'm... you know what? Paulie's changed. This is good stuff. (Laughs) It is. It is. You know, I don't know, Jane. (Teakettle whistling) Did you know...That he was, um... (Inhales) Doing heroin? When we were shooting \"room and bored.\" Yeah. I saw him shoot up once. You did? You didn't say anything. It wasn't about him. That's right. Yeah. Oh, sorry. I'm hoggingthe bogart. Mm, I forgot how good butter tastes. I feel bad enough about what I did to you on camera the first time.Val: Well, I'm fine. I'm fine. You were just doing your job, you know. And you're good at your job,Jane, that's why everybody wants you. I'm sorry. I just don't see the point of it all.Val: Oh. Okay. Well, all right. You don't see the point in anything. But, you know, um... How about people? Do people count? Youknow? I need you. I mean, I'm not a lesbian, and I'm not a Taiwanese boat person, but I need you. I need to feed the horses. Okay. That's... all right. I get it. So... I give up. We'll go.Jane: Oops. Wait a sec, I got it. Allright.Val: Oop.Mickey: Hup hup. I'm sorry that I couldn't help you. Oh, well, that's... thanks for talking to me. Are those the... is that the... those are the rescue horses? They're just so beautiful, you know. Just think ofhow many more you could rescue with the money that you'd make doing the show.(Dog barks)Did you answer and I missed it? No. Okay. Well, all right. I give up. That's okay. (Giggles) Okay. Oh, is that the barn? Isthat where you have the... Taiwanese boat ladies that you can't finish because you don't have the money? Is that where that is? All right, you're making me feel bad. Well, look... I mean, I'm sorry, but I just... all I hearyou say is that, you know, \"I don't have money to do the things that I really want to do,\" and I'm here offering you money to do those things and a do-over with me. Right? So...(Goat bleats)[SCENE_BREAK]Mr. Mark.Hello, Jane. Valerie?-Val: Mm-hmm? You have company.Val: Oh? Okay. Yeah.Mark: W-why are they here? I thought this was going to be different than \"The Comeback.\" It's completely different, Mark. This is about anactress on a TV show. They're just here to pick me up. Hi. Come on in. Hi, Jane. Where is she?Val: Oh, hi. Hi, hon. Hi, Tyler. Say hi to your Uncle. See? Kept him on the crew, and not just for me, it's a big deal for himtoo. Hey, Tyler. Learning a lot?Val: Well, of course he is. You know, Jane has an Oscar. Good. I don't want to be on this. Okay. Message received. Okay? (Laughs) He's so cute. Silly Mark. You're so cute. You're socute.(Chuckles)Hi. What's that? Oh, hi.Jane: Yeah, that's Nail.Val: Nail? Yeah. Hi.Jane: And hawk and chip.Val: I got it.Jane: Over there.Val: Hawk. Chip.Jane: Yeah, I got it. I got it.Val: Thank you. Yeah. Sorry. That'snice of you, but... (Jane laughs) ... Jane should do my mic.Val: Oh! Okay. I almost forgot the big news. Um... You know how you and I have been talking about how we wanna try having date night more? Okay. Well,you and I are going to the Golden Globes. What? Uh-huh. That's cool. (Laughs) That's a smile. Just me and you? Just me and you, and Mickey, and Billy, and... You know. Yeah. Just get your tux ready. Yeah. (Laughs) Iactually gasped. (Laughing) That's real. Jane, we're not gonna see that, are we?Jane: What? Me gasping. Well, she's not gonna use anything she doesn't need. Well, what does that mean? It means I'm late for thestylist, okay? They just came to pick me up, but then you started a conversation. I didn't start a conversation. So, let's go everyone. (Cellphone ringing) Oh, forgot my phone. Well, that could have been bad. Who's Dr.Jadra? Oh, um, that's not important. I can just call him back. (Ringing continues) I can call him back. Isn't he the guy... Yeah. You know, I'm just gonna... Get a little Botox. You know, everyone in Beverly Hills gets alittle Botox.Mark: All right. All right. Did you forget what happened the last time? With the fillers and the Botox and the... well, yeah. I was... I wanted to get surgery, 'cause it's safer, you know, but I only have aweek... All right. You want to see what happens? So I'm just gonna do this. What are you doing? Oh, no! Okay. No, no, no. No, that's not... oh, no! Jane, this... no, this is what happens with fillers. Okay. No. That's allright. I got it. Come on. Thank you. That's not necessary, Mark. Either you want to be on camera or you don't want to be on camera. You guys ready? He's filming his reality show, so that's happening. I know that show.Okay. Oh, no. This one only airs in China. China, smart. Yeah. Okay, everybody. Here we go.Val: Okay.Val: There he is.(Val laughs)Brad Goreski. Hello, Valerie Cherish. Hi. How are you? Goo... oops. All righty. Can'toperate cars either. Mickey, don't.(Whispers)Yeah, yeah. I got it. I got it. I got it. Um, should we try it again? Sure, yeah. Okay. In five, six, seven, eight...(Laughing)(Val laughing) Right? Brad Goreski! Hello, ValerieCherish!(Speaking Chinese)Who is this? Oh, this is Valerie Cherish. Nice to meet you. I'm Brad's assistant. Oh.Val: Yeah. Okay. (Laughs) I didn't... I didn't know. Let's take a look at the rack. That one, not this one.(Chuckles) Cute. Comedy doesn't translate. I think this would look really pretty with your hair. Uh-huh. You have to try this. Uh-huh. That's... it's a lot of feathers. Um, it's just not me, I don't think. Yeah, but you knowwhat I love about this one is that it's so modern, and I'd love to see you in something modern for a change. Sure. Yeah. Yeah. Okay. Great. Try that. Thank you. Okay. All right. (Softly) Even though I'd never wear it ina million years. It's a goodie.(Woman laughing)Val: No.Val: Oh, no.Val: No.Let's see it, Val.Val: Oh. Um... No, I don't... it's not right. You know, it's... no. No. Not me. Well, come on out.Val: Um, I'm good in here. Youknow.Val: I don't think... oh. Oh, I like it. Well, I... no. Yeah, I think it's worth seeing. It... you know what? Let's just move along, okay? 'Cause it's just... it's not me. Yeah, I know. You don't have to wear it to theGolden Globes, Val. We just need to see you in a couple of looks for this. You know the drill, you had a reality show. Yeah. Yeah. Just for fun. Yeah. Yeah. We're gonna have fun. Okay. Sure. Exactly. Yeah. Okay. Here Icome. Great. Okay. Well... This one's fun, huh? Look at that. (Laughs) Isn't that something?Brad: I love the idea. But it's not you. Well, yeah. That's what I said in there. You know, but... Look like I fell asleep in a birdsanctuary. Huh? Who's my prom date? Big bird? (Laughs) Okay. Try another one. Which... what's next, Brad? Actually, I have one that I'd love for you to see. It's a-mazing.Val: Is it normal?Val: That's pretty. Yeah, thatwill be fun.(Gasps)Somebody say, \"Golden Globes\"?(Doorbell rings)Housekeeper: Oh! Look at Mr. Mike!Hats off. Here we come. Those beautiful girls!(Val laughs)Uh, limo's here. Well, here we are, four on the town. Gotthe tickets, Mark? Yes, I do. Okay. Let's go.Jane: How are we getting in? Huh?Jane: How are you going to get us in? Oh, well, they don't need tickets, right? They're press. Everybody needs a ticket.Housekeeper:Uh-oh.(Chattering, cameras flashing)Mark: Wow.You know, Billy was pretty upset. Well, Billy's a publicist, and he should understand. What about Mickey, just rolling with it, huh? You were so cute though, telling him.I'll go this time, Mickey. You go next. Oh, I don't know. I felt bad. No, don't. Don't. You're my man, okay? You're my husband, my everything, and you got to come. Gotta have you, and Jane and the crew. May I seeyour tickets, please?Val: Oh. Uh, yes. Omar, could you take them to suite 806. Have a nice evening. What's 806? What is that? A viewing party. I'm sorry, the awards are in there. Where are we going? To a viewingparty in one of the suites. Right that way, ma'am. Well, we're guests of HBO. The HBO party is downstairs after. Oh, no. See, Val, it says, \"viewing suite\" right there. No, but I... what? Okay. I didn't see that, Mark. Ididn't know. Well, I mean, we can still see it, right? Yeah. Yeah, in the viewing suite. Let's see who else is in there. It could be fun. Okay, thank you. Okay. This is it. Okay. Yeah? Yeah. Oh, yeah. I'm ready. All right.Ta-da. Okay.(Indistinct chatter)Wow. Pretty.(Women speaking Russian)Well... Who are these people?(Speaking Russian)Val: I don't know.Val: Guests of HBO, I guess.Are they speaking Russian? Is that what that is?Yeah, probably. They look like Russian whores. And how would you know that? Huh? (Laughs) I think they are. Well, I need a drink. I'm gonna get you a drink, okay? I just saw Paulie G. so I should probably sayhi.Mark: Okay.Val: Right? Well, I don't have to say hi to him, do I? Well, why don't I get you a drink, and then you can say hi. Okay. All right. That'll help.Mark: Oh, and some cheese or something. Sure. Yeah. Thanks.Hello.(Speaks Russian)Don't understand.Man: Hi, what can I get you? Um... what should I have? Oh, you know what? Two of those. Thank you. Yeah. Coming right up.(Chattering, laughing)Hello, hello, hello. Hello,Valerie and her cameras. (Laughs) Yeah.Bartender: Ma'am. Oh, thank you.Bartender: Sure, enjoy. Thank you very much. So... Aye. What's Jane doing here?Val: Um... you didn't know?Paulie G: No. What is this, \"TheComeback\" comeback? Oh. You're not doing that to me again, are you? No. Absolutely not. No. HBO called. They wanted her. Right? Yeah. Yeah, but... You know what? Don't worry. We're in good hands, because... It'snot that same cheesy TV stuff that you hate, you know. I don't know if you know, but Jane, um, she does documentary films, and she has an Oscar. Wow. Yeah, I know. For a holocaust movie... or lesbians... lesbian"}
+{"doc_id":"doc_49","qid":"","text":"ACT ONE Scene One - KACLFADE IN Frasier is listening to a caller.Marie: [v.o.] Um, you see, Dr. Crane, there's this man I'd like to go out with, but he's forty years old and he's never been married. Do you think thatmeans something?Frasier: Well, it could mean he has a fear of commitment... or it could mean he's just been lucky!He laughs at his own wit, then realizes no one is laughing with him.Frasier: Marie, that was ajoke.Marie: [sighs audibly] Did I mention I'm calling from a pay phone?Frasier: Alright, alright, Marie, um... I would say give him a shot, but uh... I'd keep that caution bulb lit. Thank you for your call, Marie. [punches abutton] Who's next, Roz?Instead of handing him over to his next caller, Roz interjects with her own on-air opinion.Roz: If you ask me, it's divorced people you have to watch out for. Someone's never been married - itmight just mean they're a careful shopper. Whereas your divorcé will bite into any old piece of fruit without even giving it a squeeze first.Frasier: The preceding was an unbiased opinion from my never-been- marriedproducer, Roz, who, incidentally, has squeezed more fruit than Tropicana. [irritably] May we take another call, please?Roz: We could, but it's time for a station break.Frasier: [surprised] Oh. Oh well then, we'll be rightback after this.He punches a button and removes his headphones, then enters Roz's booth. She is already up and on the way out.Frasier: Roz, didn't we just take a break?Roz: The lot was full this morning - I had topark at a meter. I'll be right back.Frasier: Oh. Fine, just hurry.Roz pauses and turns back to Frasier. Neither of them notice Bulldog come into the hallway, then bend over to tie his shoe.Roz: [pausing] Do I haveheadphone hair? [off his look] Well, I may have to flirt my way out of a parking ticket!Frasier: Oh, just go!Roz: OK, OK!As Frasier re-enters her booth, Roz turns and runs - and flips, literally head over heels, overBulldog, and crashes to the floor. Frasier rushes back out to see Roz lying on the floor and Bulldog getting up.Roz: [clutching her ankle] Ow, ow, ow, ow!Frasier: My God! [hurrying over] Are you alright?Bulldog: I gotthe wind knocked out of me, but I guess I'm OK.Gil comes over.Roz: Ow, ow, my ankle!Frasier: Here, Roz. [bending down and touching her leg] Does this hurt?Roz responds with a deafening screech of pain.Frasier:Alright, there's no nerve damage at least.Gil: Still, one ought to have an X-ray.Frasier: Yeah, come on.They start to help her down the hallway, with an arm around each of their shoulders.Roz: Frasier, Frasier, theshow!Frasier: No, that's alright, Roz, I'll get someone to fill in for me.Roz: No, I mean right now! You've got dead air.Frasier: Oh, God!He lets go of her, almost dropping her to the floor again, and rushes back into thebooth.Bulldog and Gil help a moaning Roz into a chair by the side. The former sits next to her and the latter kneels by her leg.Bulldog: [to Gil] Take the shoe off.Roz: [in pain] Oh, oh...Gil: [on removing her shoe] Oh,dear.Roz: [worried] What is it?Gil: [distastefully] I see it's been a while since our last pedicure.Roz shoots a disgusted look at Bulldog.[SCENE_BREAK]BED AND BOREDScene Two - Roz's apartment The living roomshares the same space as the bedroom, and Roz is seated on the queen-sized bed, her injured ankle propped up on a cushion. She is trying to paint her toenails. The doorbell rings.Roz: [calling] Who is it?Frasier: [frombehind the door] It's Frasier.Roz: It's open.Frasier pulls open the door and enters. He is carrying a white box.Frasier: Hi, Roz. How were things at the emergency room?Roz: Frustrating. You know how it is - you'resitting there in complete agony and every crybaby with a gunshot wound waltzes right in ahead of you. How was it after I left?Frasier: It was OK. Weird Bruce from Engineering took over for you. [looking around] That'squite a boot collection. Wouldn't it be easier just to put notches in your bed post?Roz: Those are mine. You hate the way I've decorated, don't you?Frasier: No, no. Matter of fact, I admire your courage.Roz: [noticingthe box] Is that for me?Frasier: Oh, yes. [hands it to her] Freud said that there are only two things we need to make us happy: work, and love.Roz: Aw, thanks, Frasier! [opens the box] So you brought mework.Frasier: Well, I thought answering some of the fan mail that had been piling up would give you something to do. And remember, this time death threats don't get photos.Roz's patented death stare is interruptedby a knock on the door.Roz: Who is it?Bulldog: [from behind the door] It's Bulldog!Roz: Shh! Pretend we're not here.Frasier: Roz, you just said, \"Who is it?\"He goes to the door and opens it. We see Bulldog, clutchingsome white paper bags in his hands.Bulldog: Hey, Doc!Frasier: Hey, Dog.Bulldog: Hey, Roz! [noticing his surroundings] Wow! The whole place is a bedroom! [barks]Roz: What are you doing here?Bulldog: Well, I kindafeel responsible for you being on the disabled list. So I brought you some deli.Frasier: Nothing says I'm sorry like fatty meats.Bulldog: [walking into the kitchen] You got your pastrami, coleslaw... OK, where's the frenchfries? I ordered french fries!We hear him slamming his hand on a hard surface.Bulldog: THIS STINKS! THIS IS TOTAL B.S.! [comes out of the kitchen] That apron boy is gonna...! [notices another white bag on the E-Ztable next to Roz's bed] Oh, here they are.He grabs them and goes back into the kitchen.Frasier: To think he does it all without steroids.Bulldog: [coming back out] You want me to stick these in the oven?Roz: Actually,I'm not really very hungry.Bulldog: Oh. Then I guess you're not thirsty either? [pulls out a bottle of Wild Turkey]Roz: Glasses are on the top shelf.He heads back into the kitchen, bottle in hand.Frasier: None for me,Bulldog. I'm off to the opera.Roz: [desperate] You can't leave!Bulldog: [calling] Hey, no ice cubes!Roz: [calling back] Just chip whatever you can off the edge of the freezer. [whispering to Frasier] If you leave me, he'llhit on me!Frasier: Roz, with a sprained ankle?Roz: You know what it's like in the jungle - they always go after the sick and the lame.Frasier: Roz, I'd like to stay, but I'm meeting people at the opera. I've got thetickets!Bulldog: [entering with two glasses] Here we go. I'll get you more ice in a minute when the feeling in my forehead comes back.Frasier: Well, curtain's going up. [opens the door and turns back] Listen, Roz, if youneed anything, feel free to call me absolutely anytime. Well, except for the next three hours, of course. I'm at the opera. Oh, no, no, no... four hours, it's Wagner. Um... oh, then I've got a late supper, then right to bed,I've got an early squash game... tell you what, let's just say call me absolutely anytime after four tomorrow afternoon.He opens the door and exits, leaving Roz quite effectively in the doghouse.Bulldog: Hey. [clinks herglass with his] This is nice. You and me, having a drink together.Roz: [draining her glass] Yeah. It's been fun. Bye! [slams her glass onto the E-Z table]Bulldog: How come you only painted two toenails?Roz: [sighing]'Cause it hurts too much when I reach.Bulldog: You want me to finish them for you?He sits himself down on the bed, picking up the bottle of nail polish.Roz: No, please, it's OK.Bulldog: Hey, it's a nice colour. Goes withthe bruise.Roz: Bulldog, I mean it. Stop it.Bulldog: Hey, you got nice feet!Roz: Really? You don't think they're too big?Bulldog: You kidding? I could get this whole thing in my mouth, easy.[starts painting her nails]Roz:[semi-suspicious] You know, it's really nice of you to do all this for me. Kind of surreal... but nice.Bulldog: Oh, I figure if I'm nice to you... maybe you'll be nice to me.Roz: [pushing herself off the bed] I knew it, I knewit! You come over here acting all sympathetic, but you're still the same old horny, low-class slimeball you've always been!Bulldog: Hey, before you say something that ends up offending me... look, all I wanted to askyou is if, you'd be interested in producing my show.Roz: [shocked] What?Bulldog: Yeah, I'm not real crazy about the guy I got now. And let's face it - you're the best producer there is.Roz: You really think I'm thebest?Bulldog: Hey, that goes without saying.Roz: [obviously won over] Well, Frasier goes without saying it every day. [sits back down]Bulldog: Well, you don't have to answer right now, just take your time and thinkabout it. But I gotta warn ya, when I set my mind on something, I get it. I once wanted to interview George Foreman. He said no... but I got him. [starts painting again] I had to paint his toenails FOUR times, but I gothim![SCENE_BREAK]Scene Three - Frasier's apartment Roz is seated on the couch, her injured leg in Daphne's lap. Daphne is giving her a massage.Daphne: You've been wrapping your bandage too tight. You've got tokeep the blood flowing to the injured ligaments.Roz: Daphne, that feels great. Whatever Frasier's paying you, it's not enough.Daphne: Actually, I'll need a raise to get me to \"not enough.\"The door opens, and Martinenters, followed by Niles.Martin: Hey, Roz!Roz: Hey, Martin, what's going on?Martin: Oh, Niles bought me some new shoes!Daphne: [mock approvingly] Oh yes, look! They have tassels!Niles moves to hang up his coat,oblivious to Daphne's sarcasm.Niles: Aren't they exquisite? Those shoes were individually handmade by an artisan toiling in a hilltop village above Florence. [goes to the bar to pour himself a drink] The man is a herothere. It's an event when he completes a pair of shoes. They ring the cathedral bell and the whole town celebrates.Roz: There's a town that needs a bowling alley.Frasier now enters through the front door.Frasier:Evening, all!Niles: Hello!Roz: Hey, Frasier!Frasier: Oh Roz, Roz! Did you hear the show today? I was at the top of my form! I did a brilliant job of cutting a narcissist down to size!Niles brings him a drink.Frasier: Oh,thank you, Niles. So... He stops, noticing Martin's footwear.Frasier: Ooh, Dad! New shoes? Do I hear cathedral bells?Martin: Ring-a-ding-ding!He gets up and moves to the kitchen.Frasier: Oh, Roz, I also wanted toapologize for leaving you last night. I hope you didn't spend the whole evening fending off Bulldog's advances.Roz: Oh, no! Bulldog's not so bad! We actually had a good time!Frasier: [laden with sexual innuendo]Ohhh?Roz: What \"ohhh?\"Frasier: Well, I couldn't help noticing he came in to work this morning wearing the same clothes he had on yesterday.Niles: [laden with double sexual innuendo] Ohhhh??Martin: [walking backto his chair] What's going on?Niles: Roz slept with Bulldog last night.Roz: I did not! How could you think that?Frasier: Well, I mean - dropping by, bringing a little gift? It was obvious he was after something!Daphne:Well, that's not fair! Dr. Crane is always dropping by and bringing me little gifts and he's not after anything!Niles looks decidedly uncomfortable.Roz: [indignantly] I did not sleep with Bulldog - he didn't even hit on me.He did want something, though - he wanted me to leave you and come be his new producer.Frasier: [skeptically] Oh, well! I wonder why he said that!He trades a knowing look with Niles.Roz: Because he really wantsme.Frasier: Yes well, I think that goes without saying.Roz: For his show.Frasier: Oh Roz, Bulldog knows the blunt approach won't work with you, so he's being more subtle. But his ultimate goal remains to... well,to...Roz: [snappishly] To what?Niles: To play Aeneas to your Dido. [pause] Sorry you had to hear that, Daphne.Daphne: Oh, that's alright. As usual, I haven't the foggiest idea what you're talking about.[N.B. In anearlier draft, the line was, \"dip his biscotti in your latte.\" Also, for lay persons, Aeneas is a figure from classicalliterature: a hero of the Trojan War who escaped to Carthage, and had a passionate affair with the queen,Dido, before abandoning her to go to Italy and found the city of Rome (or so Virgil tells us).]Roz: You know, this is so insulting. You think Bulldog wants me to come work for him because he wants to get me into hisbed. It doesn't even occur to you that he thinks I'm a good producer.Frasier: Roz, don't you think you're being just a tad naive?Roz: I'll tell you what naive is. Naive is someone who thinks he can stand there and talk tome like that without getting a crutch up his butt!Frasier: Roz, I can see how he's manipulating you! I'm an expert in human behavior!Roz: Oh, really? [to Daphne] Excuse me. [stands up angrily] I've heard your expertadvice! The only mental disorder you've ever cured is insomnia!Martin laughs, and Frasier gets extremely riled-up.Frasier: Well, I'm surprised you had time to listen, what with being so busy with your ultra-demandingproducer tasks! Answering phones and pushing buttons! My God, a cockatoo with a strong beak could do what you do!Roz: Then hire one, because I'm taking the job with Bulldog!She picks up her crutches and stormsout - or tries to, but it's hard to do with a pair of crutches and only one good leg.Roz: [hobbling towards the door] That's it! I am outta here! [and hobbling...] Take a picture, 'cause I'm not in your life! [still hobbling]You have seen the last of me! [finally reaches the door and says triumphantly] Sayonara! [realizes] Oh damn, my purse.Roz starts hobbling pitifully back to the couch on her crutches, with everyone looking on.END OFACT ONEACT TWOScene Four - KACL Frasier is in his booth, as per normal, but he has a new producer in the form of Bruce.Frasier: Well Bruce, I see we are loaded with callers here. What line is next?Bruce: What's yourfavorite number?Frasier: [tolerantly] Three.Bruce punches a button. We hear a dial tone.Bruce: Damn. What's your other favorite number?Frasier: [annoyed] Why don't you just let me handle this?[He pushes abutton.]Frasier: Hello, you're on the line with Frasier Crane. I'm listening.Francesca: [v.o.] Hi, Dr. Crane. Um, my name is Francesca and I'm calling about my boyfriend. Well, he says he loves me, but I just can't getover this fear that I'm going to come home one day and he's not going to be there. I don't know. It probably stems from my childhood when my father left us.Frasier: Oh Francesca, you are suffering from a fear ofabandonment. But trust me, I'm here for you.Francesca: Thank you, Dr. Crane. I'm always so afraid that people I count on will just disappear and I'll be left with...Her voice is suddenly cut off, to be replaced by adisconnected dial tone. Frasier stares at Bruce with truly ferocious venom in his gaze.Bruce: Sorry!Frasier: [slightly panicked] Francesca, please... we had a little technical glitch there. But we were almost out of timeanyway. Please, if you'll call in tomorrow, I'll make sure you're the first order of business. Please call. Well, we're just about wrapped up here, folks... I'll see you tomorrow, Seattle.Frasier removes his head phones,then walks into the producer's booth slowly, menacingly.Bruce: [cheerfully] Good show, Dr. Crane.Frasier: You think so, Bruce?Bruce: Yeah!Frasier: Well, call me old-fashioned but when my show starts out with ascreeching noise that could shatter crystal, then moves on to an open mike while I'm eating a bag of potato chips, then disconnects two manic-depressives and a woman with a fear of abandonment, I don't think it's ashow we should be mailing off to the Smithsonian!Bruce: Don't worry, man - you'll do better tomorrow.Bruce gives Frasier a comforting, condescending pat on the back and leaves. Frasier is incensed. He begins to walkback into his booth just as Bulldog wheels his usual equipment in, with Roz following behind him with a clipboard.Bulldog: Yeah, it's going to be a great show, Roz. I can feel it.Roz: Yeah, I'm psyched. You've got about aminute to show time.Frasier: Hello, Roz.Roz: Hello, Frasier.Bulldog: Hey, Doc! Long week no see. Hope you haven't been avoiding me because I stole your chick.Frasier: Oh, Bruce and I are getting along splendidly!Roz:Yeah, I heard Bruce. What happened, the cockatoo want too much money?Frasier, unable to reply, smiles sardonically, and trades sarcastic goodbyes with Roz.Frasier: Bye, Roz.Roz: So long, Frasier.He just closes thedoor behind him when who should he run into but Gil Chesterton.Gil: Oh, a moment, Frasier, please! I'm sure word has reached your ear already about the frutti de mare party I'm throwing to celebrate our fair city'sgreat bounty from the sea.Frasier: Yes, yes. I'd love to come.Gil: Well, aye, there's the rub! You see, I've already invited Roz. With this rift between you two, well, the tension in the air will be thicker than mycioppino!Frasier: Well, Gil, I'm sure that rift will soon be over. Before long, Bulldog will prove that all he's wanted all along is just to get his hands on Roz.He looks into the booth.Frasier: Ooh... in fact that moment mayhave arrived.He peers eagerly into the booth to see Roz bending down to pick up some papers she's dropped.Frasier: Look, she's bending over! Oh turn around, Bulldog!Gil: Oh, yes! Isn't that what golfers refer to as\"teeing it up?\"Frasier: [excitedly] Alright, he moves in... and he... [dejectedly] ...helps pick up the papers!Gil: Oh, I'm so sorry, Frasier. I too entertained hopes for low comedy.Bulldog starts his show, with Roz in theproducer's booth.Bulldog: Attention, sports fans! [blows a whistle and hits his gong] You're back in the doghouse with Bulldog Briscoe!He barks twice, and Roz meows like a cat.Bulldog: Let's talk football, Sunday's lock:Broncos over the Raiders. Easy money, huh, Roz?Roz: Yeah, right! And men just want to cuddle. L.A. humiliated Denver last month!Bulldog: Wh-Wh-What? Hey, do I tell you how to cook and clean? Denver's doo! It's acomplete no-brainer.Roz: Well then, it's right up your alley!She toots a horn at Bulldog defiantly. Frasier and Gil lean back from the window.Gil: You know, I'm no sports fan - but they really are quite delicioustogether.Frasier: Yes well, enjoy it while you can. Bulldog can't keep his libido in check forever.Gil: [condescendingly] Well, of course you're right. And then Roz will come crawling back to you.Frasier: Yes. In themeantime, I have to find someone halfway competent to produce my show. How hard could that be?RUN: Frasier's question is answered by the short scene that follows - it is a montage of all the candidates Frasierauditions for the job of Producer, and is set to the song, \"They Call Me Mr. Pitiful.\"Frasier is seated in his booth in various stages of distress and disarray as the following people inhabit Roz's usual dominion:- an old ladywho smokes so much Frasier can barely see her through the haze;- a lady who obviously has a fetish for cats, having decorated the entire studio with pictures of cats and the control panel with a real live cat;- anEXTREMELY well-endowed blonde who is greatly distracting when she bends over;- an over-worked neurotic who gets too stressed by all the calls coming in, and eventually throws up his hands in despair;- and finally,an old man (Ed) who seems to have fallen dead asleep in his chair. Frasier is suitably worried. He removes his head- phones and gets up, slinging his coat over his shoulder. His shirt is un-tucked... something we don'toften get to see in a well-groomed man like Frasier.[SCENE_BREAK]NILES MEETS THE GOATBOYScene Five - Café Nervosa Niles and Frasier are standing at the counter, having coffee.Niles: You think you had a badweek? This morning, Maris and I woke to the sound of our gardener, Yoshi, hacking his way through our prize topiary!Frasier: Well Niles, I've never understood why you wanted your hedges to be sculpted into theshapes of animals.Niles: Well, we're both animal lovers. But Maris is unable to have pets. She, she distrusts anything that loves her unconditionally. Anyway, there was Yoshi, drunk as a lord, swinging hishedge-trimmer recklessly over his head. Before we could calm him, he had transformed Maris's prize stallion into some sort of obscene... goat-boy. The poor woman is inconsolable.Frasier: Well, thank you, Niles. You'vebeen a great deal of help. There are worse things than seeing one's career go down the toilet - I could have my hedges cut into unattractive shapes.Niles: It's always about you, isn't it?Frasier: Well, I'm sorry! But I'mjust the slightest bit panicky that I'm never going to get Roz back! I've been waiting for weeks for Bulldog to make his move, and against all natural laws, he hasn't!At this point, Daphne enters the café, talking to Martinover her shoulder.Daphne: Come along! [seeing the two brothers] Oh! Hello! I thought we might run into you two here.Martin: Yeah! Daphne and I have been out buying shoes. [to Niles] Oh, not that I don't appreciatethe ones that you bought me, but... I thought I'd save those for special occasions, when only tassels will do. But hey, get a load of these!He turns and walks a few steps off, showing he's now wearing new sneakers,with little pressure-activated blinkers in the heels.Martin: They light up when I walk away!Frasier: Doesn't everyone?Daphne: Well, I see Mr. Congeniality here is still spreading sunshine wherever he goes.Frasierremains standing while Martin and Daphne sit at a table.Niles: Apparently things didn't go very well on his show today.Martin: Oh, really? Well, you know these things go in cycles. I mean, take Bulldog's show - he's just"}
+{"doc_id":"doc_50","qid":"","text":"Karen: So do you want to see it or not?Jim: I don't know. Feel like... Friday night crowds...Karen: Oh my God, you're like, agoraphobic.Jim: Agoraphobic?Karen: Yeah.Jim: Really?Karen: Yeah! You would rather sit onyour couch and watch a Phillies game, than go out to a movie with your awesome girlfriend.Jim: Absolutely correct.Kevin: Later, Jim.Jim: Kev, have a good weekend.Karen: Bye. Ok, so this is what's gonna happen.You're gonna suck it up.Jim: Here we go...Karen: ...and we're gonna go to dinner.Jim: Ok...Karen: And then we're gonna go to the movies.Jim: Sounds good.Roy: Hey Halpert!Jim: Hey... [Roy lunges towards Jim]Pam:ROY!Karen: [shrieks]Pam: Roy don't! [Dwight pepper-sprays Roy]Roy: [screams in pain] Ahh God!Dwight: Pam, please call security![SCENE_BREAK]Dwight: Everyday, for eight years, I have brought pepper spray intothis office to protect myself and my fellow employees. And everyday, for eight years, people have laughed at me. Well, who's laughing now? [Dwight blinks and winces in pain from the pepperspray][SCENE_BREAK]Michael: No need for consternation, everything is under control.Jan: Michael, last Friday one of your employees attacked another employee in your office!Michael: It was a crime of passion, Jan,not a disgruntled employee. Everyone here is extremely gruntled.Jan: [sigh] Is Toby there?Michael: No...Toby: I'm... here, Jan.Jan: Ok, what... what is the situation Toby?Toby: Well, we fired Roy, obviously. And Jimwon't press charges against Roy or the company.Jan: Thank God.Toby: Yeah, um, but now apparently Darryl has some issue with his...Michael: No, he has been wanting a raise for a couple of months and he's justusing this Roy thing as leverage.Jan: All right, well are you gonna take care of this?Michael: Yeppers.Jan: What did I tell you about \"yeppers?\"Michael: I don't... remember.Jan: I told you not to say it. Do you rememberthat?Michael: Yeesh...[SCENE_BREAK]Pam: I really don't want to talk about it. I don't mean to be rude, but I just... I don't want to comment on what happened. It sucked.[SCENE_BREAK]Jim: I guess... all thingsconsidered, I was lucky Dwight was there. And Roy was lucky that Dwight only used pepper spray. And not the nunchucks or the throwing stars.[SCENE_BREAK]Jim: Hey man, I never got a chance to thank you... forstopping Roy. Thank you.Dwight: Thank you not necessary and thus, not accepted. I saw someone breaking the law and I interceded.Jim: Okay. Um... Got you something.Dwight: Don't want it.Jim: You don't knowwhat it is.Dwight: Don't want it. Won't open it. Don't need it. Won't take it. Citizens do not accept prizes for being citizens.[SCENE_BREAK]Jim: It was a little glass display case for his for his bobblehead. That wouldhave made us even, I think. He saves my life, I get him a box for his desk toy. Even Steven.[SCENE_BREAK]Dwight: No, don't call me a hero. Do you know who the real heroes are? The guys who wake up everymorning, and go into their normal jobs, and get a distress call from the commissioner, and take off their glasses and change into capes and fly around fighting crime. Those are the real heroes.[SCENE_BREAK]Oscar:Angela, Roy's check. He's coming in later to pick it up.Kevin: Man, I cannot believe I missed the fight.Oscar: It was crazy.Angela: You saw it? Describe it please.Oscar: Well, I heard some shouting. And I look over andRoy's by reception and you could just tell he's gonna punch somebody. Jim says something. Roy stomps over there. All of the sudden, BAM. Roy goes down, and Dwight's standing there like an action hero.Angela:Oh...Oscar: It was insane!Angela: [flustered] Well... good for Dwight.[SCENE_BREAK]Michael: Ok I want you to be Darryl and ask me for a raise, because I want to try out some of these negotiation tactics on you.Jim:Where'd you get that?Michael: Wikipedia.[SCENE_BREAK]Michael: Wikipedia... is the best thing ever. Anyone in the world can write anything they want about any subject, so you know you are getting the best possibleinformation.[SCENE_BREAK]Michael: Ok, Darryl, ask me for a raise.Jim: Hey, Mike. Since Roy left I've been doing a lot more work, and I need a raise.Michael: Hmm, well that's interesting Darryl. I think... [mumblingsoftly] that maybe you should... [mumbling jibberish]Jim: I can't hear you.Michael: What I'm saying is that, [continues to mumble jibberish]Jim: Still nothin'.Michael: Ok, see what I did?Jim: No.Michael: By leaningback, and by whispering, I established a dominant physical position.Jim: Nice.Michael: Ok, let's try another one. Um...Jim: Okay.Michael: Walking out of the room unexpectedly.Jim: And what happens in thisone?Michael: It's a surprise.Jim: Okay.Michael: Go ahead, ask me for a raise.Jim: Can I have a raise?Michael: [gets up and begins to walk out of the room]Jim: [softly] s*x, Steve Martin, Terri Hatcher.Michael:What?Jim: What?Michael: No, what did you say?Jim: I didn't say anything. I was waiting to see what happened.Michael: Oh it... sounded interesting... what you were gonna...[SCENE_BREAK]Dwight: I saw theperpetrator advance toward the victim at a high rate of speed. His head was thrown back, his shoulder and arm cocked indicating an attack position. Perp grabbed the victim. I removed my weapon from its securehiding place.Toby: Which is where?Dwight: Irrelevant. Discharged it at a distance of a little over a meter into the perpetrator's eyes, nose, and face area. Rendering him utterly and completely disabled. Then I contactedthe authorities. The end.Toby: Thanks Dwight.[SCENE_BREAK]Kelly: That is the bravest thing I have ever heard.Ryan: I can't imagine what I would have done.Kelly: I can. You would have left me to fend for myself.Like that time we were on the Ferris Wheel and that kid dropped a milk shake on me and you just laughed.Ryan: Well that was funny, that's why.Kelly: Oh it was?Ryan: Mm-hmm.Kelly: Okay, well the next time thatyou get scared, that you think a murderer's in your apartment in the middle of the night...Ryan: Okay.Kelly: ...and you call me, to calm you down...Ryan: You know what? I didn't---Toby: Can you stop...Kelly: ...youcan just call somebody else 'cause I'm not gonna do it anymore, Ryan. I'm not.Toby: There's a bunch of people back here, maybe...Ryan: Well, don't talk to me about calling people in the middle of the night...Toby:Guys...Kelly: I call you in the middle of the night to tell you that I love you![SCENE_BREAK]Toby: I don't think Michael intended to punish me, by putting Ryan back here with Kelly. But, if he did intend that? Wow.Genius.[SCENE_BREAK]Michael: [knock on door] Yeah.Darryl: You ready for me?Michael: Yes, yeah, absolutely. Have a seat.Darryl: Cool.Michael: You know what? Actually, let's go into the conference room.Darryl:Okay.Michael: No, you know what? Let's stay here. No let's go... Yeah let's go to the conference room.[SCENE_BREAK]Michael: Tactic number six. Change the location of the meeting at the last second. Totally throws'em off.[SCENE_BREAK]Michael: Number 14, declining to speak first. Makes them feel uncomfortable, puts you in control.[SCENE_BREAK]Michael: [long pause] I am declining to speak first.Darryl: Okay, I'll start. It'spretty simple really. I uh, I think I deserve a raise. I'm scheduled to get one in six months, but I'd like that to be moved up to now.Michael: Hmm. Ohh, Darryl. You are a good worker, and a good man. I just, you know,times are tight. And I just don't think corporate is going to go for this right now.Darryl: Are you wearin' lady clothes?Michael: What?Darryl: Are you wearin' lady clothes? Those look like lady... pants.Michael: No, this isa power suit.Darryl: That there's a woman's suit.Michael: [Darryl laughs] I do not buy woman's clothes. I would not make that mistake again.Darryl: I'ma call Roy, man.Michael: Ohh... kay.Darryl: This is gonna makehim feel better.Michael: All right.Darryl: This is too good.Michael: Alright, you know what? Pam, could you please tell Darryl that this is not a woman's suit?Pam: Oh my God, that's a woman's suit!Kevin: You're wearinga woman's suit?Michael: No, I do, I, I wear men's suits, OK? I got this out of a bin.[SCENE_BREAK]Michael: There were these huge bins of clothes, and everybody was rifling through them like crazy, and I grabbed one.And it fit! So I don't think that this is totally just a woman's suit. At the very least it's bisexual.[SCENE_BREAK]Kevin: Who makes it?Michael: Uh, [reading the inside of his jacket] MISSterious. And it is mysteriousbecause the buttons are on the wrong side... that's the mystery.Phyllis: Look, it's got shoulderpads, and did you see that lining?Michael: Okay.Phyllis: Did you see...Michael: Would you stop it, please?Jim: So, none ofthat tipped you off?Michael: It's European, OK? It's a European cut.Pam: Michael, the pants don't have any pockets.Michael: No, they don't. See? [Michael lifts his jacket tail, sticks out his back side and showsPam]Pam: [Laughing, covering her mouth]Michael: Italians don't wear pockets.[SCENE_BREAK]Pam: It's been a really rough couple of days... This helps a little.[SCENE_BREAK]Karen: Hey, maybe you want to comeover and raid my closet?Michael: No, I don't want to do that because I'm twice your size anyway.Darryl: Yeah, he look like Hillary Clinton.Michael: Um, let's just do this in 15 minutes.Darryl: Okay, can you just standright there? [snaps camera phone picture] I gotta send some e-mails.[SCENE_BREAK]Michael: Negotiations are all about controlling things. About being in the driver's seat. And make one tiny mistake, you're dead. Imade one tiny mistake. I wore woman's clothes.[SCENE_BREAK]Kevin: Karen, how do you feel that Roy tried to kick your boyfriend's ass over another woman?Karen: I feel great, Kevin. Thank you.Stanley: You musthave been scared out of your mind.Karen: Well, you know it happened so fast I didn't really have time to be scared.Angela: What happened, exactly? I wasn't here, so I haven't really heard the whole story.Karen: Um,well, Jim and I were talking and Roy walked in looking super angry.Angela: Mm-hmm.Karen: And he's a big dude, you know? And all of a sudden, Jim pushed me out of the way, and Roy cocked his fist, and then bam,Dwight sprays him and knocks him on his butt.Angela: [flustered] Goodness.[SCENE_BREAK]Karen: When I heard Jim and Pam had kissed, my reaction was to have lots of long talks with Jim about our feelings. Royjust attacked him. I'm not sure which one Jim hated more.[SCENE_BREAK]Michael: Let's get down to business. Why don't you tell me why you think you deserve a raise.Darryl: Well, it's simple Mike. I mean we mergedthese two branches right? So now we're shipping twice as many orders as we used to. With Roy gone we got a smaller crew. And I'm pickin' up all of his slack, so I think I should be compensated fairly, by gettin' araise.Michael: [mumbles jibberish]Darryl: What? I can't hear you.Michael: [mumbling softly] That was a very good point.Darryl: I can't--- what, Mike? Are you---Michael: [mumbling softly] You make a very compellingargument.[SCENE_BREAK]Pam: Sorry I almost got you killed.Jim: Yeah, that was nuts.Pam: He could have broken your nose or something. Crazy. It's just so stupid. I mean, getting back with Roy and everything. Imean, what was I thinking, right?Jim: No, I mean, you guys really seem to have a strong connection.Pam: Not anymore. It's, um... It's completely over now.Jim: We'll see. I'm sure you guys will... find you way back toone another someday.Pam: Jim... I am really... sorry.Jim: Oh, yeah. Don't worry about it.[SCENE_BREAK]Michael: I am going to give you a piece of paper. I want you to write down how much you want, and I want youto slide it back across the desk to me.Darryl: Why can't I just... tell you?Michael: Because, that is the way these things are done. In... films. [Darryl writes the amount and starts to hand the paper to Michael] No,slide--- slide it, yes.Darryl: There you go.Michael: Oh. [scoffs] Come on. Be serious.Darryl: I am serious, Mike. That's a 10% raise. That's what I want.Michael: I... I can't give you that, I--- I don't make thismuch.Darryl: Come on, be for real Mike.Michael: I don't. Want me to prove it to you? There is... a pay stub.Darryl: [laughs] Are you serious? You're earning this?Michael: Plus perks, yes.Darryl: Mike, this is barely morethan I make. You been here ten years, dog. [laughs]Michael: Fourteen years.Darryl: Ho-ho!Michael: No, please, please...Darryl: Oh, I'm sorry Mike, some of my folks got to hear about this one. [texting on cell phone]Ah. [laughs]Michael: Ok, let's take 15, again.[SCENE_BREAK]Michael: A boss's salary isn't just about money, it is about perks. It... for example, every year I get a $100 gas card... Can't put a price tag onthat.[SCENE_BREAK]Jim: Ok, if you don't want a gift, at least let me buy you a beer, or lunch or something.Dwight: When Han Solo returns to the Death Star in the Millennium Falcon, and shoots down the TIE fightersand saves the Rebel cause, do you think he does so for a free beer?Jim: Boy I---Dwight: No. And why are you so interested in buying me something Jim, what's your angle?[SCENE_BREAK]Jim: It's like when he annoysme and I want to screw with him to get him back, he never sees it coming. But now, I want to be nice to him, and actually give him something, and he's like an eel. I just can't grab onto him. It's infuriating.Karen:Maybe you just feel guilty about all the pranks.Jim: Well... yes, that's probably what it is. So what do I do?Karen: Hmm... I don't know. Maybe you should go back out there and sell paper so we can go on atrip.[SCENE_BREAK]Kevin: Michael, here's the, uh, $15 I owe you.Michael: Oh, thank you.Kevin: Yeah. I heard you might need it. So...Creed: Here's the $40 you gave me.Michael: I didn't give you $40.Creed: In a wayyou did.[SCENE_BREAK]Stanley: Yeah, I heard how much Michael makes. I still think he's way overpaid.[SCENE_BREAK]Darryl: [on cell phone] Fourteen years. Fourteen. I know. [laughing] Ok, alright. I gotta go.Later. [hangs up]Michael: Okay. Okay, here's the straight... dope. No tricks. No Wikipedia.Darryl: What?Michael: I talked to corporate, and they told me that I can only give you a 5% raise.Darryl: That's 'cause of you,Mike. They're not gonna give the workin' man more than the boss.Michael: Well what am I supposed to do?Darryl: Get your own raise. You gotta get out there and earn, son.Michael: I'm not gonna go out and ask for araise right now. That is ridiculous.Darryl: Well, when they merged the two branches together, they put you in charge. Okay, and we're shippin' more now than we ever have.Michael: [exhales] That's true.Darryl: Yeahthat's true. You gotta call your girl, and get paid. Show her who wears the pants in the relationship.Michael: You know what? I should.Darryl: Yeah, you should.Michael: I have been a loyal employee for a longtime.Darryl: Fourteen years long.Michael: You know what? I deserve a bump.Darryl: Make it happen, cap'in.Michael: I am makin' it happen, sergeant.[SCENE_BREAK]Creed: I remember it was very late at night, like11, 11:30. Big fella comes in screamin' about God knows what. I think maybe Halpert had stolen his car. [Angela rolls her eyes] Something like that. So the big fella pulls out a sock filled with nickels. Then Schrutegrabs a can of hairspray and a lighter---Angela: You're useless.[SCENE_BREAK]Jan: Why don't we talk next month, after the quarter ends?Michael: No, Jan. I've never asked for a raise in 14 years. This is long overdue.I wanna do it today.Jan: Today. All right, well, uh, if you want to do it today, we should meet in person, and uh, can you get here by five?Michael: Yshhyah. Um, yeah. I'll leave right away.Jan: Great. Uh, and listen.Because of our, uh, our... you know, situation, we're gonna need to have a third party present.Michael: Yes, I'm bringing Darryl.Jan: Da--- Darryl from the warehouse?Michael: Mm-hm.Jan: No, Michael. We, we need anHR rep. So, uh, I think you should just bring Toby.Michael: Hey, I'd rather kill myself.Jan: Michael, he's your branch's HR rep...Michael: [talking over Jan] No, Toby is terrible. Toby is the worst human being I've everknown.Jan: ...and we need someone else, in the room, because of our relationship. You know this. Michael, either Toby comes with you, or we don't do it.Michael: [sighs] Fine.[SCENE_BREAK]Kelly: You are somean.Ryan: I don't know what you're talking about.Kelly: Yes you do, Ryan Bailey Howard. You called me stupid.Ryan: No, I said your idea was stupid.Michael: Toby, come on. Let's go.Toby: Where?Michael: Where?I'm gonna smack you in the head with a hammer. Come on, let's go.Kelly: What is so stupid about wanting to name a baby Usher?Toby: Alright.Kelly: Usher Jennifer Hudson Kapoor.Ryan: Don't you see why that'sinsane?Kelly: Oh, so I'm crazy now?[SCENE_BREAK]Darryl: Comfortable, Mike?Michael: Yeah. Fine.Darryl: How about you, man. Comfortable?Toby: No.Michael: [imitating Chris Tucker] Don't ever touch a black man'sradio! ...Chris Tucker. Rush Hour. I won't touch yours, by the way.Darryl: Thank you.Michael: Well...Darryl: I haven't been to New York in a long time.Michael: Mm, the Big Apple.Darryl: Maybe I'll stay overnight. Got acousin lives down there.Toby: How would we get home?Darryl: Oh you could stay too. He's got a big place.Michael: Maybe I'll stay.Darryl: Mm, it's not that big.Michael: Well...Darryl: Busses, though. They get you homequick.Michael: [mouth full of pretzels] Oh, I...[SCENE_BREAK]Kelly: And all of a sudden, Dwight stood up and was like \"No!\"Angela: Then what'd he do? [Kelly's phone rings]Kelly: You should just read the report thatToby did. He took everyone's stories. [answering phone] Dunder Mifflin, customer service, this is Kelly. Oh yeah I could totally help you with that. Ok, let me just get the folder out. Okay, it seems here that you ordered12,000 reams of paper. Oh, 12 reams...[SCENE_BREAK]Hunter: Hey guys, Jan is ready for you.Darryl: Okay, bring it home now. And don't forget the new black man phrase I taught you.Michael: Pippity poppity, giveme the zoppity.Darryl: Yes sir. Remember that. I'll be right outside if you need meMichael: All right.[SCENE_BREAK]Darryl: Yeah, I taught Mike some new phrases. I want him to get the raise, I... just can't helpmyself.[SCENE_BREAK]Roy: [to Jim] Hey man, uh... I'm sorry. [Jim motions \"Don't worry about it\"] [Roy receives his check from Angela] Thanks. [to Pam] Can I, like, see you after work for coffee, or...something?Pam: I don't know.Roy: Please. I just got some stuff I gotta say to you. [Pam nods, meekly]Kevin: [as Roy is walking out] Jim--- Roy--- Look out!Jim: Thanks, Kev. I'm good though.[SCENE_BREAK]Jan:Thank you, Hunter. [to Michael and Toby] Hello. Come in. [exhales] Ah, Okay.Michael: Who's the boy toy?Jan: That's my new assistant.Michael: Were you going to tell me that you hired James Van Der Beek?Jan: I haveto call you the second I get a new assistant?Michael: Be nice to get a memo, we are lovers.Toby: Hi, Jan.Jan: Hi, Toby. [clears throat] First--- [Michael clears his throat] First off, Michael, this is a salary negotiation. Allmatters regarding our personal relationship have to be set aside. Are we clear?Michael: Pippity poppity.Jan: Right now we can offer you a 6% raise.Michael: Six percent? After all we've been through?Jan: Oh,God.Michael: I got you... jade earrings.Jan: Michael---Michael: No!Jan: Michael---Michael: No. You gonna play it like this? You give me a good raise, or no more s*x. [Toby begins to write] [to Toby] What are youwriting, perv-ball?Toby: Just preparing for the deposition.[SCENE_BREAK]Toby: This may be the first time that a male subordinate has attempted to get a modest scheduled raise by threatening to withhold s*x from afemale superior. It will be a groundbreaking case when it inevitably goes to trial.[SCENE_BREAK]Roy: I'm so sorry, Pammy. I really wasn't gonna do anything. But then I... kept thinkin' about you two together, and... Ijust thought you guys were really good friends, or... or maybe he was gay or somethin'... Not that that's wrong.Pam: I'm sorry too. I just, I think that we both made some bad choices.Roy: So you gonna start datin'Halpert then?Pam: Um... no. No, he has a girlfriend.Roy: Oh yeah... Wait a minute, you... broke off our wedding for the guy.Pam: No, there were a lot of reasons.Roy: But you're not even gonna try to go out with him?[Pam meekly shakes her head] I don't get you Pam.Pam: I know.[SCENE_BREAK]Dwight: What's this?Jim: What's what?Dwight: Certificate of Bravery, from the Scranton Police Department. \"Recognizing outstandingcitizenship from a very brave young man. Dwight K. Schrute\"Jim: Wow. I guess word got around. That's a nice... honor.Dwight: Please. They hand these out to little kids. Look. There's a teddy bear in a policeman'scap.Jim: [under his breath] Didn't think you'd notice...[SCENE_BREAK]Michael: Why don't you just take that pen and stab me in the heart. This is me, Jan. This is me!Jan: Okay, Michael. Please, why don't we just take"}
+{"doc_id":"doc_51","qid":"","text":"RESURRECTION OF THE DALEKSBY: ERIC SAWARDPart OneRunning time: 46:24[SCENE_BREAK]STIEN: Which way?GALLOWAY: Does it matter?MAN: Where are we?MAN: Run!STIEN: Where've they gone?GALLOWAY:Where'd you think. Come on.[SCENE_BREAK]LYTTON: That was a shambles.TROOPER: The escape was prevented?LYTTON: They got out of the warehouse. It should never have happened. And who ordered the use ofmachine pistols?TROOPER: Standing orders. Nothing anachronistic is to be taken to Earth.LYTTON: So instead we slaughter valuable specimens. Next time, stun lasers are to be used.TROOPER: It was an unfortunatemistake.LYTTON: Make it your last, otherwise the next execution squad will be coming for you.[SCENE_BREAK]TEGAN: Are you all right?DOCTOR: I can't free the TARDIS from the Time Corridor!TEGAN: Is thereanything you can do?DOCTOR: No, too much turbulence. Hold on. Things must stabilise soon.[SCENE_BREAK]STIEN: What if they're still in there, waiting?GALLOWAY: We must warn our ownpeople.[SCENE_BREAK]STIEN: Use the Time Corridor?GALLOWAY: You said you were a soldier. Have you no sense of loyalty?STIEN: I'm a Quartermaster Sergeant. I'm not combat trained. I can't afford your sort ofprinciples. Look at me, I'm not exactly in condition. I can't even run properly.GALLOWAY: You're pathetic.STIEN: That too.[SCENE_BREAK]TURLOUGH: Doctor, we're weaving in time.DOCTOR: Yes, yes, I know.TEGAN:Can't we materialise?TURLOUGH: No, not until we're free of the Time Corridor. We risk break-up.TEGAN: Is that true?DOCTOR: Not if I have anything to do with it.TEGAN: Oh, no.[SCENE_BREAK]GALLOWAY: They'vegone.STIEN: They could have closed the Time Corridor down. Let's get out of here. I'm scared.GALLOWAY: The entrance to the corridor is round here somewhere.STIEN: There's nothing there now. What wasthat?GALLOWAY: A rodent.STIEN: Wearing combat boots?GALLOWAY: Back to the stairs, quick.[SCENE_BREAK]STIEN: Can you see anything?GALLOWAY (OOV.): Get out of here!STIEN: Galloway?STIEN:Galloway!STIEN: Oh, Galloway.[SCENE_BREAK]TEGAN: What are we waiting for?DOCTOR: The right moment. The time stress on the TARDIS varies greatly. I'm waiting for the right moment to break out of the TimeCorridor.TEGAN: Can I get to my room? I feel sick.DOCTOR: Too late, Tegan. Hold on.DOCTOR: Hold on![SCENE_BREAK]TROOPER: Check list completed. All systems functioning.LYTTON: Raise the force shield. Alltroopers to battle stations. Battle speed![SCENE_BREAK]TEGAN: Doctor, I can't stand much more.DOCTOR: Hold on.DOCTOR: We're free.TURLOUGH: Is it over?DOCTOR: For the moment. Are you all right?TEGAN: Yes,I think so.[SCENE_BREAK]MERCER: I don't believe this. How long has the station been in this state?STYLES: Since regular inspections ceased.MERCER: This place is falling to pieces.STYLES: Huh. And you're seeing it ona good day. If you wanted to see everything spick and span, you shouldn't have asked for a transfer to a prison. Come on![SCENE_BREAK]MERCER: How'd you cope with that mess?STYLES: By ignoring it. My onlyconcern is the medical welfare of the crew and the prisoner.MERCER: Isn't that rather a narrow view of your responsibilities?STYLES: Oh, do shut up, will you? It's the only way to stay sane. You've only been here threedays. You know nothing.MERCER: I've been here long enough to learn that the morale on this station is appalling.STYLES: If the Captain doesn't care, why should I?MERCER: Why, indeed?STYLES: Look, my tour of dutyfinishes here in eight weeks. I'm dependent on a good report from the Captain for my next promotion.MERCER: I see.STYLES: Oh no, I don't think you do. If I don't get a good report, I could be here for another twoyears.MERCER: If Control were aware of the morale on this station, the Captain wouldn't be in command.STYLES: It's been tried before, usually by inexperienced new boys like you. And the way you're carrying on, youare going to end up exactly like the others.MERCER: Meaning?STYLES: Dead. You are the third security officer we've had here in two years. [/i][SCENE_BREAK]TURLOUGH: Doctor, we're travelling parallel to the TimeCorridor.TEGAN: Where are we going?TURLOUGH: Twentieth century Earth, it seems.[SCENE_BREAK]OSBORN: How long is your tour of duty?MERCER: Two years.OSBORN: Oh? The Captain normally allows newarrivals to settle in before subjecting them to the tedium of Officer of the Watch. What did you do?MERCER: I complained.OSBORN: Someone should have warned you.MERCER: I had every right. Have you seen thestate of the defence system?OSBORN: You fear an attack?MERCER: That's not the point.OSBORN: Oh, I wouldn't worry about it. The only ship we ever see around here is our own supply vessel.CREWMAN: I think youmay have spoken too soon. Sensors have picked up a ship in warp drive just enter the exclusion zone.MERCER: Inform the Captain.OSBORN: I wouldn't bother him. Not yet. It could be anything. Let the fighters check itout first.MERCER: What?OSBORN: They'll be grateful for the practice.[SCENE_BREAK]TEGAN: Have you calculated where we are?DOCTOR: Well, the instruments are still affected by turbulence, but I think it's 1984,London. Found it!TURLOUGH: Doctor, where are you going?DOCTOR: The Time Corridor. I want to find out what all this is about.[SCENE_BREAK]OSBORN: Fighter leader has made visual contact. It's a battlecruiser!MERCER: Go to Red Alert. Inform the Captain.CREWMAN: Sensors report we're being scanned, sir.MERCER: Red Alert at once![SCENE_BREAK]DOCTOR: Such neglect. A hundred years ago this place would havebeen bustling with activity.TEGAN: It might be again when we find out who's operating the Time Corridor.DOCTOR: Come on. Trouble with you, Tegan, you have no imagination.TEGAN: That's because I can't getworked up about a load of crumbling brickwork.[SCENE_BREAK]MERCER: Operate the deflector shield.CREWMAN: Power building.MERCER: Seal airlocks.OSBORN: The battle cruiser has attacked the fighters.MERCER:Can we give them any supporting fire?OSBORN: No, not at the moment.CREWMAN: All but airlock three is sealed.MERCER: Alert maintenance.CREWMAN: We've been hit!MERCER: What's happening?OSBORN:Engineering report.MERCER: What's happening?OSBORN: Engineering report damage to the generating plant.CREWMAN: Cruiser's closing in, sir.OSBORN: I've lost contact with the fighters.MERCER: Open fire. I said,open fire!CREWMAN: I can't! We don't have enough power for the laser cannon. We are defenceless.CREWMAN: Look, we should surrender!MERCER: No!OSBORN: But we can't fight. We don't even have a deflectorshield.STYLES: Mercer! How much longer is this slaughter to continue?MERCER: Where's the Captain?STYLES: Dead, along with half the crew.OSBORN: Battle cruiser preparing to dock.MERCER: Which airlock?OSBORN:Three. Maintenance team's still working on it.MERCER: I want every available man down there. Block the corridor with anything they can find.STYLES: More killing?MERCER: Your bile would be better directed againstthe enemy, Doctor.STYLES: How long before they dock?MERCER: Three minutes. We'd better go down to the airlock.STYLES: Right.MERCER: Should we be boarded, destroy the prisoner.OSBORN: Goodluck.[SCENE_BREAK]STIEN: Don't come in here. Soldiers.DOCTOR: What?DOCTOR: He'll be all right.TEGAN: Look at the way he's dressed.DOCTOR: He must have come down the Time Corridor.STIEN: You've got tohelp me.DOCTOR: What happened?[SCENE_BREAK]MERCER: Check how much longer the maintenance crew will be.STYLES: Right.MERCER: The cruiser's docked.STYLES: The cruiser's docked.MERCER: Get the shielddown!STYLES: Come on, pull!STYLES: Pull![SCENE_BREAK]STIEN: I must rest. I'm hungry. I haven't eaten since yesterday.DOCTOR: Who's controlling the Time Corridor?STIEN: I don't know. Have you got anything toeat?TEGAN: Where are you from?STIEN: Earth, but not all the prisoners are from the same period. Are you sure you haven't got anything to eat?DOCTOR: Relax. I'm going into the warehouse.STIEN: No! I told you,there are soldiers.DOCTOR: Perhaps they can tell us what's going on, hmm?[SCENE_BREAK]STIEN: The Time Corridor's on the next level. Be careful.[SCENE_BREAK]MERCER: Wait until I give the order.CREWMAN 2:Okay.MERCER: Fire!STYLES: Now. Now!DALEK: Under attack. Withdraw. Regroup.DALEK 2: Under attack.DALEK: Withdraw.DALEK 2: Withdraw.DALEKS: Withdraw. Withdraw. Withdraw.[SCENE_BREAK]DALEKS(OOV.): Regroup.LYTTON: Fools! I told you this would happen. They mined the corridor.BLACK: We do not want excuses. The attack must continue.LYTTON: Only this time, as I planned.DALEK: You will show morerespect for the Supreme Dalek.LYTTON: Your battle tactics won't work. Their position is too strong.BLACK: You may proceed. We shall try your plan. But should you fail, you will beexterminated.[SCENE_BREAK]TURLOUGH: Dark, isn't it.DOCTOR: Look around.STIEN: I can't see Galloway's body.TEGAN: Look, Doctor. Bullets.DOCTOR: Recently fired.TEGAN: Hardly alien.DOCTOR: Why advertisewho you are, hmm?TEGAN: Where's Turlough?DOCTOR: Turlough?TEGAN: Where's he gone?DOCTOR: Turlough![SCENE_BREAK]ARCHER: Did you hear that?CALDER: No, sir.ARCHER: I thought I heardvoices.[SCENE_BREAK]STYLES: How long before they try again?MERCER: Soon.STYLES: Can't we board, take the fight to them?MERCER: I think not.MERCER: Fire!MERCER: Masks down! Masksdown![SCENE_BREAK]MERCER: Move it! We're finished. It's every man for himself.CREWMAN: Oh, no, every man for himself?MERCER: Destroy the prisoner.OSBORN: It's not working! Come withme.[SCENE_BREAK]DOCTOR: Turlough!ARCHER: May I help you, gentlemen? This is private property.DOCTOR: Er, yes, I'm sorry about this. A friend of mine wandered in here by mistake, and we're looking forhim.ARCHER: I don't see him.LAIRD: What's going on?ARCHER: Precisely what I'm trying to find out.[SCENE_BREAK]OSBORN: Come on, come on![SCENE_BREAK]TROOPER: The bridge has been secured, sir.LYTTON:Good. We must join them.DALEK: The Doctor has been detained in the warehouse.BLACK: Despatch a Dalek. He must be brought to our ship at once.DALEK: I obey.[SCENE_BREAK]OSBORN: Oh, does nothing workproperly?OSBORN: Try here. What's that smell?MERCER: Well, it can't be the prisoner.[SCENE_BREAK]ARCHER: Time Corridors. Alien beings. Really.STIEN: You may not believe us but all we need is a minute or twomore. The entrance to the Time Corridor is on this level, somewhere.DOCTOR: Interesting. You don't disbelieve us, do you?ARCHER: Of course I disbelieve you. I've never heard such nonsense.DOCTOR: What have youdiscovered?ARCHER: Nothing. Take them away.LAIRD: Tell them, Colonel. They've guessed most of it already.ARCHER: Are you from the Press?DOCTOR: What have you found?ARCHER: Quiet.DOCTOR: Tell me! Alienobjects?ARCHER: You'd better inform HQ about what's happened.CALDER: Okay, sir.[SCENE_BREAK]OSBORN: Right, explosive charges primed. What is that smell?OSBORN: Keep back!MERCER: Help me!OSBORN:Stay away!MERCER: What's happening to me?TROOPER: Disarmed.LYTTON: Release Davros.[SCENE_BREAK]CALDER: It's heavy static. Can't get through to HQ.DOCTOR: A side effect of the Time Corridor.ARCHER: Bequiet.ARCHER: Who's that?DOCTOR: Don't harm her, please. She's a friend.[SCENE_BREAK]TEGAN: Sorry, Doctor. Look!ARCHER: What is it?DOCTOR: A Dalek. Take cover!DALEK: Exterminate. Exterminate.Exterminate! Exterminate! Exterminate! Exterminate![SCENE_BREAK]LAIRD: Where did they come from?STIEN: The Time Corridor.LAIRD: From the ship you were on?STIEN: Must be.LAIRD: What do theywant?TEGAN: I hope we never find out.DOCTOR: Aim for the eyepiece, the stalk at the top of the dome.DALEK: My vision is impaired. I cannot see. My vision is impaired. I cannot see.DOCTOR: Quickly!DALEK: I cannotsee. My vision is impaired. I cannot see. Warning. Warning.DOCTOR: Open the door!DALEK: I cannot see! I cannot see! Warning! Emergency!DOCTOR: Stand clear!LAIRD: She's all right. We should get herdownstairs.DOCTOR: While you're doing that, I'd like a hand with the debris outside.[SCENE_BREAK]DALEK: The Dalek sent to the warehouse has been destroyed.BLACK: How is that possible?DALEK: The Doctor wasaided by the Earth soldiers.BLACK: Seal the warehouse terminal of the Time Corridor. We will deal with the Doctor in due course.[SCENE_BREAK]STYLES: Where precisely are we going?MERCER: Keep your mask down.There could still be gas around.STYLES: So what. I'd rather die quickly than painfully of dehydration. Exactly how much longer are we going to wander around this place?MERCER: Look, as far as we know, there are onlyfour of us still alive. We can't fight the Daleks alone.STYLES: Only minutes ago you were prepared to fight till the bitter end.MERCER: And look where it got me. A dead crew.STYLES: Then don't let it be fornothing.MERCER: What can we do?STYLES: Have you forgotten? This station has a self-destruct system.[SCENE_BREAK]TROOPER: He's very still. Is he dead?LYTTON: I think not.[SCENE_BREAK]CALDER: Soon beready.LAIRD: We could all do with something a bit stronger. How's your friend upstairs?CALDER: He's dead.DOCTOR: How is she?LAIRD: She's sleeping naturally.CALDER: Tea, sir?ARCHER: Thank you.DOCTOR: Whodiscovered these cylinders?CALDER: Builders. They're converting the warehouse into flats. Thought they were unexploded bombs.DOCTOR: Have you tried to open one?LAIRD: They haven't even scratched thecasing.ARCHER: Do you think the Daleks have anything to do with this?DOCTOR: It would be an enormous coincidence if they didn't.[SCENE_BREAK]DAVROS: Who are you?LYTTON: Commander Lytton.DAVROS:Commander? My Daleks do not need troops.LYTTON: You'd still be in prison or dead if it weren't for my men.DAVROS: You speak as though my Daleks are no longer capable of war.LYTTON: A lot has happened duringyour imprisonment.DAVROS: The war with the Movellans is over?LYTTON: Yes, although casualties were very high.DAVROS: It is to be expected.LYTTON: I'm talking about Dalek casualties.DAVROS: Dalekcasualties?LYTTON: They lost, Davros. They were totally defeated.[SCENE_BREAK]CALDER: Zero three to HQ. Zero three to HQ. Over.ARCHER: Keep trying.DOCTOR: You must get reinforcements.CALDER: Zero threeto HQ.ARCHER: I can't conjure them out of the air. I have to find a telephone.LAIRD: I'll go. You're needed here.ARCHER: This is more than a military matter now. I have to speak to the Ministry of Defence. We'll need amassive troop involvement.CALDER: Zero three to HQ. Zero three to HQ. Over.DOCTOR: I'll come with you.ARCHER: You're the only one who knows anything about fighting Daleks. Your duty'shere.[SCENE_BREAK]BLACK: He is a companion of the Doctor.DALEK: He should be destroyed.BLACK: He would be better used as bait. The Doctor is sentimental and emotional. He will come after the boy. This will aidthe Dalek plan. Allow the boy to roam freely.[SCENE_BREAK]MERCER: We'll rest for a moment.STYLES: Don't you get funny ideas? I'd give anything for a glass of cool spring mountain water.MERCER: Quiet.Down!MERCER: Fire!STYLES: Careful.MERCER: Uniforms.STYLES: Uniforms.[SCENE_BREAK]LAIRD: Here, take these. It'll help your head.DOCTOR: I won't be long. I must get back to my ship.CALDER: Sir.DOCTOR: Imust find Turlough.CALDER: Yes, I understand how you feel, sir, but I must ask you to wait till the Colonel gets back.DOCTOR: No, no, no, no. There is isn't time. Turlough's on board the Dalek ship.CALDER: I'm surethe Colonel won't be long.STIEN: Let him go.CALDER: I can't.[SCENE_BREAK]SOLDIER: Help!CALDER: Are you all right, lad?DOCTOR: Be careful.STIEN: I was terrified it was a Dalek.DOCTOR: It was, or at least, theremains of one.CALDER: He's still alive.DOCTOR: We have to find it before it tries to kill again.[SCENE_BREAK]LYTTON: You all right?DAVROS: There are malfunctions in my life-support system. I require anengineer.LYTTON: We must board the Dalek ship.DAVROS: I must remain close to my cryogenic chamber. It may be necessary for me to be refrozen.LYTTON: There is a time factor. The space station transmitted adistress call.DAVROS: It will take days for a task force to arrive.LYTTON: Not if the signal's been intercepted by a patrol ship.DAVROS: Then you will shoot it down! I cannot be moved.[SCENE_BREAK]BLACK: Order anengineer to attend Davros.DALEK: We should leave here at once.BLACK: Without Davros, we have no future. He must be made to believe that we serve him.[SCENE_BREAK]STIEN: This is a waste of time. The mutantcould have escaped using the Time Corridor.DOCTOR: True, so why are you being so tentative in your search?STIEN: We don't know for certain.DOCTOR: Precisely. That's why we're searching the warehouse.CALDER:What's it look like?DOCTOR: Oh, you won't mistake it. The moment you find it, it'll try and kill you.[SCENE_BREAK]ARCHER: Gentlemen, you've saved my life. I'm Colonel Archer, Bomb Disposal Squad. I have to makean urgent call. May I use your radio?ARCHER: Please?ARCHER: Thank you. It's dead.[SCENE_BREAK]DAVROS: Tell be about the Dalek defeat.LYTTON: You already know most of it. The Daleks and the Movellans werelocked in an impasse. Each time their respective fleets attempted a stratagem, it was instantly anticipated and countered by their opponent's battle computer.DAVROS: Two totally logical war machines unable toout-think each other. Fascinating. If only I'd been there.LYTTON: Then the Movellans found the answer.KISTON: Sorry, sir.DAVROS: Quickly, tell me.LYTTON: They developed a virus which exclusively attacks theDaleks. The fleet was destroyed. Those who survived went to separate parts of the universe to escape the risk of further infection and work on a cure.DAVROS: Have they succeeded?LYTTON: Not yet.DAVROS: So, theyhave returned to their creator. Like an errant child, they have come home once more, but this time they will not abuse me. This time, I shall take my rightful place as their Supreme Being, and under my control, theDaleks shall once more become triumphant!LYTTON: Will you be able to find an antidote?DAVROS: Of course.LYTTON: A lot of research has already been done.DAVROS: I am Davros. The Daleks are my creation. Ifnecessary, I shall genetically re-engineer them. Have you finished?KISTON: Almost, sir.DAVROS: I will need a laboratory.LYTTON: There is one already prepared for you.DAVROS: I shall work here, on thestation.LYTTON: I've explained. There isn't time.DAVROS: I cannot risk an accident. If the virus were to escape on board the Dalek shipLYTTON: Every precaution has been taken.DAVROS: I work here! Or not atall.LYTTON: I'll see what can be arranged.DAVROS: Hurry. There is much work to be done.KISTON: I've finished, sir.DAVROS: Close the panel.[SCENE_BREAK]BLACK (OOV.): I order you to obey Davros.LYTTON: Andwhat happens when the task force arrives from Earth?BLACK (OOV.): We shall be gone. I have a plan that will force Davros to leave of his own free will. Until then, you must supply him with everything he demands.Allow him access to the Space Station's laboratory.[SCENE_BREAK]KISTON: As you command.LYTTON: What happened?DAVROS: A small accident.LYTTON: Are you all right?KISTON: I caught my hand. It's nothing,sir.[SCENE_BREAK]STIEN: It isn't here. We haven't found the entrance to the Time Corridor, either.DOCTOR: Temporarily disconnected, I would think.CALDER: Doctor.STIEN: What is it?DOCTOR: Nothing, nothing. Goon with the search.STIEN: So much for the conqueror of the universe. I told you it had gone.STIEN: Is it dead?DOCTOR: Would you care to take a look? How is he?CALDER: It's more shock than physical. Come on, lad.Let's get you downstairs. Come on, you'll be all right.LAIRD: What happened?DOCTOR: The Dalek wasn't quite dead, I'm afraid. Here, take this.CALDER: Give us a hand with him.LAIRD: Of course.DOCTOR: We mustget back to the TARDIS. I have to find the Dalek ship.STIEN: I'm not going back there. They'll kill me.DOCTOR: I need your help.STIEN: Help? Huh. You don't know how much of a coward I am.DOCTOR: Well, you cantake this opportunity to show me. Come along.[SCENE_BREAK]MERCER: Kill him!STYLES: Wait. At least question him first.[SCENE_BREAK]TEGAN: What happened? What was that shooting?CALDER: A small problem"}
+{"doc_id":"doc_52","qid":"","text":"113 - Le Morte d'Arthur \"In a land of myth and a time of magic, the destiny of a great kingdom rests on the shoulders of a young boy. His name: Merlin.\" Forest Arthur's hunting party sneaks through thewoods.ARTHUR: Merlin, spear. Merlin drops it on him.ARTHUR: Do you have any natural gifts, Merlin?MERLIN: No. Well, let me think. I'm not naturally rude or insensitive.ARTHUR: Just naturally irritating. They moveforward and hear growling noises. Arthur catches Merlin's expression.ARTHUR: It's probably more scared of you than you are of it. Arthur signals to his knights where to go. Questing Beast jumps out at them. Arthurdrops his spear and they all run. Merlin falls. Arthur and Sir Bedivere help him up. Bedivere subsequently falls and gets killed by the beast.MERLIN: Have we lost it?ARTHUR: Who's missing?MERLIN: Where's SirBedivere?SIR BEDIVERE: *scream* Castle - Council Chamber Of DoomGAIUS: The creature you describe has all the characteristics of the Questing Beast.ARTHUR: Surely that's a myth.GAIUS: According to the oldbooks, the appearance of the Questing Beast is supposed to foreshadow a time of great upheaval.UTHER: Gaius, it's an old wives' tale.ARTHUR: Look, whatever it is, it's spreading panic. The people fear it will enter thecity.UTHER: Then we must kill it. Arthur, gather the guard together. You ride at dawn.GAIUS: I beg you, Sire, do not dismiss this. The beast is an omen. I've seen it come before, the night your wife Ygraine passedaway.UTHER: I've told you not to speak of that night again. I have conquered the Old Religion. It's warnings mean nothing to me now. Arthur will destroy the beast and we will no longer suffer at its hand. Gaius'sChambersGAIUS: This is no ordinary beast, Merlin.MERLIN: Don't worry.GAIUS: No, listen to me, you don't understand. Uther may not respect the Old Religion, but it is very real. To face a beast such as this, you mustunderstand where it came from.MERLIN: What do you mean?GAIUS: At the very heart of the Old Religion lies the magic of life and death itself. The Questing Beast carries that power. One bite, you die, and there is nocure. Morgana's Chambers Morgana dreams of the dragon flaming, Merlin yelling \"NO!\", Arthur and Merlin running in the woods, Arthur lying sick in bed, and the Questing Beast. Morgana bolts up in bedscreaming.GWEN: Morgana? Morgana?! Wake up. Gwen struggles with flailing Morgana.GWEN: Wake up, it's me! It's Gwen! Stop it! It was just another dream.MORGANA: It was terrifying.GWEN: Oh, it's going to bealright. Gwen hugs Morgana. Castle - Main Square Arthur speaks to his knights.ARTHUR: You've seen the foe we face. It's a creature of nightmare, but you are the best knights in the realm. We can, and we will, kill itbefore it harms another citizen of our kingdom. Arthur draws his sword.ARTHUR: For the love of Camelot! The knights draw swords.KNIGHTS: For the love of Camelot! Morgana rushes out of the palace in hernightgown, hysterical.MORGANA: Arthur!ARTHUR: Morgana, what are you doing?MORGANA: You cannot face this! Morgana tries to grab him, Arthur struggles with her.ARTHUR: Morgana, go back to bed. There isnothing to be afraid of.MORGANA: Please, Arthur. I have seen terrible things! You cannot go!MERLIN: She probably had a bad dream, Sire. I'll take her to see Gaius.MORGANA: No! I will not let you go!ARTHUR: Please,Merlin, get her inside.MORGANA: No! Arthur hands her off to Merlin and motions for the guards to come down. Merlin guides Morgana up the steps.MERLIN: I will make sure he's safe, My Lady. I promise.MORGANA: No!Merlin hands her off to the guards.MORGANA: No! Guards lead her inside. Forest Arthur and knights sneak through the woods. Arthur finds gigantic paw print.ARTHUR: Let's follow the trail. They hear growling andheavy footfalls.ARTHUR: Keep close. They find and enter beast's lair. Merlin and Arthur split from the rest. they hear hissing.MERLIN: What is it?ARTHUR: Shh! Questing Beast sneaks up on them. Arthur pushes Merlinout of the way and takes on the beast. The beast claws him in the chest, throwing him to the ground. It moves in on Arthur. Merlin tries to distract it by waving his torch.MERLIN: Hey! Hey! Merlin uses magic to pick upArthur's dropped sword.MERLIN: Fléoge! Bregdan anwiele gefeluc! Merlin enchants the sword and magically throws it into the Questing Beast, killing it. Merlin goes to Arthur and shakes him.MERLIN: It didn't bite you. Itdidn't. Merlin sees blood on his hand.MERLIN: Arthur?! Somebody help me! Gaius's Chambers Merlin clears a table with one sweep. Guards place Arthur's stretcher on it.GAIUS: What's happened? Gaius looks at Arthur'swound.GAIUS: He's been bitten.MERLIN: I tried to save him.GAIUS: You must tell the King.MERLIN: There must be something you can do.GAIUS: I wish there was.MERLIN: I'll find a cure.GAIUS: Merlin!MERLIN: Trustme! Merlin bolts into his room.GAIUS: Can you hear me, Sire?MERLIN: Here. Merlin brings out magic book.GAIUS: The King'll be here any moment!MERLIN: He can't die. It is my destiny to protect him. We haven't doneall the things we're meant to do.GAIUS: That is a lament of all men.MERLIN: Gaius, he's my friend.GAIUS: Then save him. Merlin uses magic to flip through the book.MERLIN: Gestathole. Nothing happens. Merlin flipsthrough the book again.MERLIN: Thurhhaele. Nothing happens.MERLIN: Maybe the spells need time to take effect.GAIUS: The bite of the Questing Beast is a death sentence that no magic can overturn.UTHER: Where isthe Prince?! Where is my son?! Uther enters.UTHER: Arthur! Merlin magically closes his magic book.UTHER: Do something, Gaius!GAIUS: I am trying, your majesty.MERLIN: Gaius will find a cure. He will not let himdie.GAIUS: I will do everything in my power. Uther desperately picks up Arthur himself.UTHER: I'll bear him to his chamber. Castle - Main Square Uther walks through the Square with Arthur in his arms, Merlin andGaius following. Uther collapses in his grief. Four knights come to bear Arthur inside as the King weeps on his knees. Morgana opens a window and watches the scene below. Dragon's Cave Merlin rushes to the Dragon'sCave.MERLIN: I have failed Arthur, failed in my destiny.KILGHARRAH: And yet, you would not be here if that were true.MERLIN: He was bitten by the Questing Beast. He's going to die.KILGHARRAH: Does he stillbreathe?MERLIN: Only just.KILGHARRAH: Then there is still time to heal him.MERLIN: I've tried. I cannot save him.KILGHARRAH: You do not know how to save him.MERLIN: But you can tell me how?KILGHARRAH:Perhaps. It will not be easy.MERLIN: I will do anything.KILGHARRAH: Anything?MERLIN: Please, just tell me what I have to do!KILGHARRAH: Very well. The Questing Beast is a creature conjured by the powers of theOld Religion. You must use the same ancient magic to save him.MERLIN: But the Old Religion died out centuries ago.KILGHARRAH: The Old Religion is the magic of the earth itself. It is the essence which binds all thingstogether. It will last long beyond the time of men.MERLIN: But how can that help me save Arthur?KILGHARRAH: You must find those who still serve it. Those who hold dominion over life and death.MERLIN:Where?KILGHARRAH: Go to the place that men call the Isle of the Blessed, where the power of the ancients can still be felt. There you will discover Arthur's salvation.MERLIN: Thank you. Thank you.KILGHARRAH: AndMerlin, the young Pendragon must live, no matter what the cost. Gaius's ChambersGAIUS: Merlin, you're back. I need your help. You must get this to Arthur to ease his passing.MERLIN: No. We have to save him. Merlinstarts packing food.GAIUS: You've already tried.MERLIN: The beast comes from the Old Religion. The cure must come from there as well.GAIUS: There are not many left with such an art.MERLIN: You said yourself, theOld Religion is still alive, and there is an island beyond the White Mountains...GAIUS: No!MERLIN: The Isle of the Blessed...You know it?GAIUS: It was said to be the centre of the Old Religion, the focus of itspower.MERLIN: Why did you keep this from me?GAIUS: Because it was too dangerous, Merlin.MERLIN: It's our only chance! I have to find it!GAIUS: And once you are there, what will you ask?MERLIN: For Arthur to besaved.GAIUS: The Questing Beast chose Arthur. That means the Old Religion has decided his fate.MERLIN: Then I will convince them to change their minds!GAIUS: It is not that simple! The High Priests have the powerto mirror life and death, but there will be a price to pay. They will demand a life in return. Merlin, please, I beg of you.MERLIN: I'm sorry, Gaius. Whatever the price is, I will pay it gladly. Arthur lies dying in his bed.Castle - Gate Merlin prepares his horse to leave. Gaius approaches him.GAIUS: Here. Gaius hands Merlin rolled parchment.GAIUS: You'll need a map. And I'm going to give you this. My mother gave it to me. Merlinunwraps tiny package.GAIUS: It's a rabbit's foot.MERLIN: To keep you safe.GAIUS: It was said to protect you from evil spirits. It's rubbish. I don't believe in superstition. I don't know why I gave it to you. Gaius reachesto take it back.MERLIN: No. I want it. Thank you. (sigh) You've got to keep Arthur alive until I get back. Merlin mounts and rides off through the woods. Arthur's Chambers Arthur stirs in his fevered sleep. Uther watcheshim.UTHER: Shh. Sleep, Arthur. Countryside Merlin travels through the countryside with the map.KILGHARRAH (voiceover): You must travel to the place that men call the Isle of the Blessed. Beyond the WhiteMountains. Through the Valley of the Fallen Kings. To the north of the great seas of place name: Marador, you will find a lake. Arthur's Chambers Gaius is asleep in the chair next to Arthur's sick bed. Gwen enters andknocks on the door to wake Gaius.GWEN: Gaius? You should get some rest.GAIUS: He must not be left alone.GWEN: I will nurse him. Gaius leaves. Gwen takes the towel from Arthur's forehead, dips it in a bowl ofwater, and sits on the bed to tend to him.GWEN: You're not going to die, Arthur. I'm telling you. Because I know that one day you will be King. A greater king than you father could ever be. It's what keeps me going.You are going to live to be the man I've seen inside you, Arthur. I can see a Camelot that is fair and just. I can see a king that the people will love and be proud to call their sovereign. For the love of Camelot, you haveto live. Arthur's Chambers A crowd gathers outside Arthur's window holding candles. Uther watches from the Griffin Landing window. Gaius comes up behind him.GAIUS: Is there anything I can get yourmajesty?UTHER: The people have begun to say goodbye.GAIUS: He's not yet gone, Sire.UTHER: But he will not recover.GAIUS: Not without a miracle.UTHER: I don't believe in miracles. Lake / Isle Of The Blessed Merlinapproaches the lake, steps in a little boat.MERLIN: Astyre. The propels boat across the lake. Merlin steps out into the fortress on the island and looks around.MERLIN: Hello?NIMUEH: Hello, Merlin.MERLIN: You.NIMUEH:Do you know who I am?MERLIN: Nimueh. You can't be who the dragon meant.NIMUEH: And why is that?MERLIN: You tried to kill me.NIMUEH: Before I understood your importance.MERLIN: And Arthur.NIMUEH: Arthurwas never destined to die at my hand, and now it seems I will be his salvation.MERLIN: So you know what I've come to ask?NIMUEH: Yes.MERLIN: Will you do it?NIMUEH: I do not have the power to mirror life itself andyet give nothing in return.MERLIN: I know that a price will be asked.NIMUEH: To save a life, there must be a death. The balance of the world must be restored.MERLIN: I willingly give my life for Arthur's.NIMUEH: Howbrave you are, Merlin. If only it were that simple.MERLIN: What do you mean?NIMUEH: Once you enter into this bargain, it cannot be undone.MERLIN: Whatever I have to do, I will do. His life is worth a hundred ofmine.NIMUEH: The Cup of Life, blessed by centuries of powerful sorcerers so that it contains the very secret of life itself. If Arthur drinks water from the Cup, he will live. Merlin takes the Cup.NIMUEH: Tídrénas. Nimuehmakes it rain on Merlin for a moment. Merlin collects the water in the Cup. Nimueh takes the Cup and pours the water into a small, decorative canteen.NIMUEH: The bargain is struck. I hope it pleases you. Merlin ridesinto Camelot the next morning. Gaius's ChambersGAIUS: Merlin!MERLIN: We need to give this to Arthur. Merlin hands Gaius the decorative canteen.GAIUS: What is it?MERLIN: Water drawn from the Cup of Life. IfArthur drinks from it, he will recover. Please hurry. Gaius begins to walk out, but stops and faces Merlin.MERLIN: What are you waiting for?GAIUS: What price did you pay to redeem his life? Whose life did youbargain?!MERLIN: We don't have time.GAIUS: Merlin!MERLIN: Don't worry, Gaius! Everything's going to be alright. Gaius and Merlin giving Arthur the water. Uther enters.UTHER: What are you doing, physician? Whatare you giving him?GAIUS: It's a... It's a tincture made from the lobelia plant, an ancient remedy for poisonous bites.UTHER: A cure?GAIUS: We hope.UTHER: Do you really think it will have some effect?GAIUS: It's ourlast resort, Sire. Perhaps you should allow him to rest.UTHER: I will not leave him. Gaius and Merlin exit. Uther sits by Arthur's bedside. Castle - Central Corridor Gaius and Merlin head down the corridor. Morgana grabsMerlin's arm and pulls him into an alcove.MORGANA: Please, Merlin, you must beware. This is only the beginning. Merlin pulls away and continues down the corridor. Arthur's Chambers Gaius paces in Arthur'sChambers, Uther sleeps hunched over the bed. Arthur wakes. Uther wakes.UTHER: Arthur. Arthur looks around and puts his head back down. Gaius's Chambers Gaius enters in his chambers where Merlin ispacing.GAIUS: The Prince lives. Arthur's ChambersUTHER: I thought we'd lost you.ARTHUR: Don't worry, Father, I'm not going to die. I think there's someone watching over me, keeping me from harm.UTHER: Maybeyou're right. On your long journey to become King, you will need a guardian angel. I shall inform the court that their Prince lives. Gwen enters as Uther exits. she puts down the towels she's carrying and looks anxiouslyat Arthur. Arthur opens his eyes and turns to look at her. Gwen smiles in relief.GWEN: I knew it. I said you'd be alright.ARTHUR: I can remember you talking to me.GWEN: You can?ARTHUR: You stroked myforehead.GWEN: I was tending to your fever.ARTHUR: You never lost faith.GWEN: I was just talking.ARTHUR: Tell me again what you said?GWEN: I don't remember.ARTHUR: Yes, you do.GWEN: No, I don't.ARTHUR:Come on. Something about \"the man I am inside.\"GWEN: No, I never said that.ARTHUR: Guinevere...GWEN: I have to get these washed, Sire. Gwen exits hurriedly with the dirty cloths. Arthur grins inamusement.[SCENE_BREAK]Merlin's Chamber Merlin sits on his bed, waiting to die, while a thunderstorm whips through the night. A figure enters the Camelot on foot. A trembling diseased hand opens the door to thePhysician's Chambers. We see Morgana bolting awake screaming. Morning comes and Merlin is still alive. He rushes out of his room.MERLIN: Gaius! I'm alive! Gaius is crouching over a collapsed figure on thefloor.MERLIN: What is it? What's happened?GAIUS: Merlin, stay there!MERLIN: What's wrong?GAIUS: No, don't! Merlin walks over to see Hunith, covered in sores, struggling to breathe on the floor.MERLIN:Mother!HUNITH: Merlin.MERLIN: What's happened to her?GAIUS: She's gravely ill.MERLIN: Do something!GAIUS: If I could.MERLIN: Please, Gaius!GAIUS: Merlin, this is no ordinary illness.MERLIN: This cannothappen.GAIUS: Who did you meet at the Isle of the Blessed?MERLIN: Nimueh.GAIUS: Nimueh?!MERLIN: It was as you said. She demanded a price, but I bargained my life, not my mothers.GAIUS: Merlin. I wish therewas something I could do.MERLIN: I will make you better. I will. Dragon's CaveMERLIN: You knew this would happen! You had me trade my mother's life for Arthur's!KILGHARRAH: You said you would doanything.MERLIN: Did you know my mother would die?KILGHARRAH: I knew the price would be a heavy one.MERLIN: But you sent me anyway.KILGHARRAH: We need Arthur to live.MERLIN: I'm not one ofyou!KILGHARRAH: We are both creatures of the Old Religion. It is the source of your power.MERLIN: What's that supposed to mean?KILGHARRAH: Your destiny is to protect the young Pendragon until he claims hiscrown. And when he does, magic can be returned to the realm. Only then will I be free.MERLIN: Oh. So that's all you cared about? I thought you were my friend.KILGHARRAH: I am more than that, Merlin. I am yourkin.MERLIN: No. The only family I have is my mother, and you had me murder her.KILGHARRAH: Her life has not been taken in vain. We will achieve great things together, you and I.MERLIN: You will never be released!For what you've done, I'll make sure you never see the light.KILGHARRAH: Merlin! The Great Dragon breathes fire at him.MERLIN: Gescildan! Merlin blocks the flames.MERLIN: You won't see me again. Gaius'sChambers Merlin returns.MERLIN: Where is she?GAIUS: She's sleeping.MERLIN: I have to save her.GAIUS: You cannot.MERLIN: If the balance of the world needs a life, then Nimueh must take mine.GAIUS: No,Merlin.MERLIN: Yes. I will return to the island.GAIUS: You are young. Your gifts, your destiny are far too precious to sacrifice.MERLIN: My destiny? This is my mother. My powers mean nothing if I cannot save her. Youhave taught me so much. Taught me who I am. Taught me the purpose for my skills. Taught me that magic should only be used for great deeds. But most of all, you have always taught me to do what is right.GAIUS:Merlin.MERLIN (sniffle): I need to say goodbye to Arthur. Arthur's Chambers Merlin enters as Arthur is pouring himself a drink, his other arm in a sling.ARTHUR: Ah, Merlin.MERLIN: How are you?ARTHUR:Good.MERLIN: I'm pleased.ARTHUR: Yes. I owe it all to Gaius.MERLIN: I need to talk to you.ARTHUR: You still haven't got it yet, have you? I decide when we need to talk.MERLIN: Not today.ARTHUR: I sometimeswonder if you know who I am.MERLIN: Oh, I know who you are.ARTHUR: Good.MERLIN: You're a prat. And a royal one.ARTHUR (chuckle): Are you ever going to change, Merlin?MERLIN: No, you'd get bored. Butpromise me this, if you get another servant, don't get a bootlicker.ARTHUR: If this is you trying to leave your job...MERLIN: No. I'm happy to be your servant. Till the day I die.ARTHUR: Sometimes I think I know you,Merlin. Other times... *shakes head*MERLIN: Well, I know you. And you're a great warrior. One day, you'll be a great king.ARTHUR: That's very kind of you.MERLIN: But you must learn to listen as well as youfight.ARTHUR: Any other pointers?MERLIN: No. That's it. Just...don't be a prat. Merlin's Chamber Merlin enters his chamber where Gwen is sitting by Hunith's bedside.GWEN: Gaius had to go and get some supplies. Heasked me to keep an eye on her until you got back.MERLIN: Thank you.GWEN: I'm sorry.MERLIN: No, she'll get better.GWEN: I've tried to make her feel comfortable.MERLIN: You have such a good heart, Gwen. Don'tever lose that. Gwen leaves and Merlin goes to sit with his mother.MERLIN: I'm going to make you well again. I promise. You'll see.HUNITH: You're such a good son.MERLIN: But I don't want you to worry about me. Iknow that the gods will look after me, and that one day I will see you again.HUNITH: I will miss you.MERLIN: I will miss you, too. Merlin takes out the rabbit's foot and gives it to his mother. Gaius's Chambers Merlincomes out of his room and begins packing for his trip the next morning.MERLIN: Gaius? Merlin finds a note with his name on it. Merlin reads it while Gaius travels to the Isle of the Blessed.GAIUS (voiceover): DearMerlin, My life is already near to its end. There has, for the most part, been very little purpose to it, very little that will be remembered. In contrast, Merlin, your life is destined for greatness. Live by the tenets I havetaught you, and I believe you will, in time, become the greatest warlock ever. To have known you has been my greatest pleasure, and to sacrifice myself for you is but an honour. You are and always will be the son Inever had.MERLIN: No! Merlin rides out of Camelot. Isle Of The Blessed Gaius steps out of the boat onto the island.NIMUEH: I never thought I'd see you here again.GAIUS: My Lady.NIMUEH: It's a long time since youcalled me that.GAIUS: I come to ask for your help.NIMUEH: As you did once before for Uther? You did not like the outcome.GAIUS: I offer a chance for you to atone for the death of his wife.NIMUEH: I have saved thelife of her son. What more do you ask for?GAIUS: That this time, you take a just price. Merlin intends to offer his life for his mother's. I want you to take mine in his place.NIMUEH (laughs): With all my powers of"}
+{"doc_id":"doc_53","qid":"","text":"2.10 - The Bracebridge DinnerOPEN IN STARS HOLLOW[Lorelai and Rory are building a snowman in the center of town.]LORELAI: How do you like that mouth?RORY: Um, it's not very mouthlike.LORELAI: Oh, I think itworks.RORY: It's tilted to the side.LORELAI: Yeah, no, it was intentional. It gives her a unique expression.RORY: Like she had a stroke?LORELAI: Fine, I'll just use the Mrs. Potato Head lips.RORY: No, forget it, leavestroke-mouth. It's not like we're gonna win this anyway.LORELAI: Whoa, bad attitude.RORY: Mom, face it. That is the single most incredible snowman I have ever seen. [looks at a man working on an elaborate snowsculpture]LORELAI: I'm sorry, that snowman is way over the top, way too showy. It's screaming 'I'm incredible, I'm special, look at me.'RORY: Kind of the point of a snowman-building contest.LORELAI: Hmm, I hatethis man with every fiber of my being.RORY: He looks nice.LORELAI: He's a ringer.RORY: How do you figure?LORELAI: Someone recruited him, promised him a handsome sum, financed his theatrical snowmanaccoutrements, so he could snatch victory away from a deserving local in order to bag the contest prize for himself.RORY: Seems a little elaborate considering that the prize is a set of new US quarters.LORELAI: Oh,we're ignoring him now. So, what are we gonna do on your school break?RORY: A lot of nothing.LORELAI: Sounds good.RORY: Plus some homework.LORELAI: And a lot of movies.RORY: Oh, we have to rent Godfather3 on DVD.LORELAI: You're kidding.RORY: In the audio commentary, Coppola actually defends casting Sofia.LORELAI: Now that is fatherly love. What's all this homework you have to do?RORY: Just stuff for thepaper.LORELAI: What? Why?RORY: Because Paris wants the first issue back to be a double issue, so we have to prep over break and she says the news never sleeps.LORELAI: What about Paris, does she eversleep?RORY: I think she periodically makes a whirring noise and then just shuts down.LORELAI: Well, you can't work the whole time.RORY: I won't, I promise. Oh my God.LORELAI: What?RORY: He's powerbuffing.LORELAI: Aw, now that is just wrong.RORY: We're competing against the Michelangelo of snow.LORELAI: And we're Ernest Builds a Snowman.RORY: We shouldn't look at him anymore.LORELAI: Heads down,stay focused.RORY: We can do this.LORELAI: Absolutely.[their snowman's head falls off]RORY: Let's get some coffee?LORELAI: Right behind you.OPENING CREDITSCUT TO INDEPENDENCE INN[Michel is at the frontdesk on the phone. In the background, Rune is jumping up and down trying to dust a picture frame.]MICHEL: [oh phone] Yes, you can rent a car in Manhattan and return it in Hartford. That's that's no problem, sir. Yes.Yes, you can return it to Bradley International. That's that's very convenient. Or you you can um, you - hold please. [puts phone down, walks over to Rune and grabs his arm]RUNE: Ah!MICHEL: Stop that.RUNE: Stopwhat?MICHEL: Stop jumping like a Mexican bean.RUNE: Well, Lorelai asked me to dust the picture frames. How do you suggest that I clean the top, smartie? [Michel takes the picture off the wall] Well, I didn't knowthat you could do that.MICHEL: Yes, I am miraculously talented, aren't I?RUNE: I thought an alarm would go off like in The Thomas Crown Affair.MICHEL: That would be if this was a museum, and you were a manallowed in museums.LORELAI: Hey, no bickering in the lobby, guys.RUNE: Where are we allowed to bicker?CUT TO INDEPENDENCE INN KITCHENSOOKIE: You've got all the mushrooms? You double checked?JACKSON:I've triple checked. I've quadruple checked.SOOKIE: The shitake, the nameko, the chanterelle?JACKSON: Once again, I've got it all.SOOKIE: The matsutake? The makeniya?JACKSON: Uh wait.SOOKIE: What?JACKSON:I don't have makeniya.SOOKIE: You don't have makeniya?JACKSON: I don't have makeniya.SOOKIE: I made it up. [giggles] You passed the test.JACKSON: Don't test me.[Lorelai walks in the kitchen]LORELAI: Hey, theauditions are starting. You wanna come watch?SOOKIE: Ooh, yes!JACKSON: Auditions for what?SOOKIE: Musicians.LORELAI: For the Bracebridge Dinner.JACKSON: Geez, you guys are going crazy with thisdinner.SOOKIE: Jackson, I told you, this dinner is not just about food. We are recreating an authentic 19th century meal.LORELAI: The servers are all gonna be in period clothing, they're gonna speak period English.Here, look at the costumes.JACKSON: Nice.SOOKIE: We're talking seven courses here. Soup, fish, Peacock Pie, the Baron of Beef, the salad, then the Plum Pudding and the Wassail.LORELAI: And there's gonna be a bigraised platform where the Squire of Bracebridge is going to preside over the festivities.SOOKIE: Yeah, he tastes the foods and makes pronouncements. He's like the host of the evening, and his costume is thecoolest.LORELAI: Ah.JACKSON: It all sounds great.SOOKIE: Oh, it is, it is. By the way, you're playing Squire Bracebridge. Ready?LORELAI: Let's go.SOOKIE: Yeah. [they leave]JACKSON: Huh? What was that?CUT TOLOBBYSOOKIE: What are we looking at today?LORELAI: Okay, this is the last on our list. We've already got our trumpets, our madrigal singersJACKSON: Uh, sorry to interrupt but I'm not playing SquireBracebridge.LORELAI: We've got all our servers lined up. This is just for recorder players and harpists. Hi. Uh, lay some on us guys.[two recorder players play]SOOKIE: Hey, you cats really know how to blow thosethings.LORELAI: You've got the gig. I will call you later with the details. Thanks.[the recorder players leave]JACKSON: So are we clear on this? I'm not playing Squire Bracebridge. Sorry you were under the impressionthat I'd do this.SOOKIE: When do the guests arrive?LORELAI: Thursday at four - on their own jet.SOOKIE: After buying out the whole inn.LORELAI: Must be nice to have money.SOOKIE: Uh! Hey, you know what struckme today?JACKSON: Was it the fact that I'm not the Squire - did that strike you?SOOKIE: We are crazy for doing this.LORELAI: We're beyond crazy. We are 'Anne Heche speaking her secret language to God and lookingfor the spaceship in Fresno' crazy.SOOKIE: Oh Quiness, nokka don atta.LORELAI: Il ek notra doska donne.JACKSON: And springing this on me at the last minute too, I mean, that's just manipulative.[a chef comes outof the kitchen]CHEF: Sookie, fire! [leaves]SOOKIE: I gotta get back in the kitchen. You'll handle the harp?LORELAI: You got it.JACKSON: All right, okay, I'll do it. I'll play Squire Bracebridge if that's what you want.Geez.SOOKIE: Thanks Sweetie. [walks to kitchen]JACKSON: As long as it's not just because I fit the costume. It's because I fit the costume, isn't it? [leaves]LORELAI: [to harpist] Go ahead.[Lorelai's cell phone ringswhile the harpist is playing]LORELAI: [answers phone] Hi, it's Lorelai.CHRISTOPHER: Hey Lor, it's me.LORELAI: Oh, hi Chris, how are you?CHRISTOPHER: Good, good. You, uh, got a minute?LORELAI: Uhoh.CHRISTOPHER: It's not an uh oh, I just wanted to run an idea by you.LORELAI: Run it.CHRISTOPHER: Now it's totally your call and I don't want to step on any plans you've already made, but I know Rory has abreak in school coming up, and I was wondering if you'd be cool with her coming to visit for a couple of days.LORELAI: Uhh, a couple of days? You mean she'd stay the night?CHRISTOPHER: Yeah, it's totally your call.Where are you, heaven?LORELAI: Do you even have room for someone to stay?CHRISTOPHER: Not just room - a room. A designated guest room. Sherry fixed it up really nice.LORELAI: Aww, good forher.CHRISTOPHER: So what do you think?LORELAI: I don't know. It's awfully last minute.CHRISTOPHER: It's totally last minute. You can say no and there'll be no hard feelings.LORELAI: Well, it's really up to Rory tosay yes or no.CHRISTOPHER: So you're cool with it?LORELAI: Yeah, sure, if Rory is, yeah.CHRISTOPHER: Great, that's great. Uh, thank you. I'll let you run it past her and you can get back to me whenever. Nopressure.LORELAI: No pressure.CHRISTOPHER: Talk to you later.LORELAI: Yeah, talk to you later.CUT TO ELDER GILMORE RESIDENCE[Emily, Richard, Lorelai and Rory are eating dinner silently. Rory get Lorelai'sattention and gestures for her to say something.]LORELAI: So what are your travel plans Dad?RICHARD: Hmm?LORELAI: You and mom, you always go out of town this time of year.RORY: Last year it was theBahamas.RICHARD: Yes, that's right, it was.LORELAI: I remember you had fun too. You said the Bahama mians were real nice. The Bahamites? The Bahamamamamians?RORY: The Bahamians.LORELAI: Yes. They werenice.EMILY: They were nice.LORELAI: So, what are your plans?EMILY: We're not going anywhere this year.RORY: Why not? Oh, well yeah, it can be really nice just to stay at home sometimes because you can do funthings that you normally wouldn't have time for.LORELAI: Yeah, like play Running Charades, and get out that Slip 'n Slide.RICHARD: We'll see.EMILY: Yes, we'll see.RICHARD: Would you all excuse me? I have to makesome calls. Say goodbye before you leave, will you?LORELAI: Yeah, sure Dad.[Richard leaves]LORELAI: When is this awfulness with work gonna resolve itself?EMILY: I don't know. The man is so sensitive. He reads somuch into every little perceived slight.LORELAI: Yeah. I remember one time when I was a kid, Dad had put on some weight, and he bought a new suit to try to cover it up. And he wore it for us and he said, 'How do Ilook?' and I said, 'You look fat.' [pause] But I guess that wasn't really a perceived slight so, I'll think of another example.CUT TO INDEPENDENCE INN LOBBY[Sookie is lecturing to a group of people; Kirk is transcribingeverything she says on his laptop.]SOOKIE: Keep in mind during the Bracebridge Dinner, we are not just servers, we are performers, so any time you're with a guest, you must be in character and you must speak OldEnglish. It's a world we're creating here, so whatever we can do Kirk, you're driving me crazy!KIRK: Who me? [reads transcript] 'Whatever we can do to Kirk you're driving me crazy.' Yeah, me. Ah, sorry.SOOKIE: Okay,now guys, look at the materials I gave you, and tell me if a guest asks you how the food's coming, what would be the appropriate Old English response? Rune!RUNE: Greetings!SOOKIE: You just read the first thing onthe list, didn't you?RUNE: Maybe.SOOKIE: Guys, the correct response: Ah, oven's day with baked meat choke!RUNE: Question?SOOKIE: Yeah?RUNE: What color dress will I be wearing when I say this?JACKSON: Rune,don't be an idiot.RUNE: Well, this is stupid.JACKSON: Shut up and pay attention to Sookie. She worked very hard to bring this about.KIRK: Yes, but unfortunately we don't all share intimacies with her, so she doesn'tcut us any slack.JACKSON: She doesn't treat me differently.KIRK: She's called you Peaches three times. It's all in the transcript.RUNE: Sookie, instead of talking in Old English, can I just talk like an old man?SOOKIE:What?RUNE: Hey you kids, get off my lawn!SOOKIE: No, no you cannot just talk like an old man.[Lorelai walks into the lobby]SOOKIE: Hi, honey, what's the matter?LORELAI: They're snowed in.SOOKIE: Who's snowedin?LORELAI: The Bracebridge group. They're stuck in Chicago. The dinner's off.SOOKIE: No.LORELAI: Yes.SOOKIE: I'm gonna cry.LORELAI: I offered to fund the instant invention of a molecular transport device but theyjust didn't go for it.SOOKIE: Oh, that makes me so mad. And so sad. I'm smad!RUNE: Sookie, does this mean that my pockets wileth not with money get choked? That sounded like Old English. Cool, huh?CUT TOLUKE'S DINER[Lorelai, Sookie, and Rory are sitting at a table]SOOKIE: I've got thirty pounds of aged beef, trays and trays of trout, mountains of pruned tarts. I diced pumpkins until my hands turned orange. I've gotpumpkin hands.LORELAI: Take a sipSOOKIE: How can you stay so calm about this?LORELAI: There's nothing we can do about it.RORY: I can't believe they got snowed in.LORELAI: All that work, all that extra help wehired. Oh well. At least they paid for it already. We didn't lose any money.SOOKIE: Yeah I guess. You know, I could still make up the dinner for the three of us.RORY: Yeah, but then it would be like the three of us, allalone in the dining room.LORELAI: It would be like The Shining, except instead of Jack Nicholson, we have Rune.[Luke walks over to them]LUKE: You girls want anything besides coffee?SOOKIE: Hey, what aboutLuke?LUKE: What about him?SOOKIE: He eats, and Jess eats. Doesn't Jess eat?LUKE: What's she doing?LORELAI: I think she's inviting you for dinner.SOOKIE: Yeah, come on, join us. It'll be fun. You like PeacockPie?LUKE: I'm a hundred percent sure I don't.LORELAI: There'll be normal food too.RORY: And decorations.SOOKIE: And music.LORELAI: Come on, it'll be fun.LUKE: WellLORELAI: Hey, you know what? Let's inviteeveryone.SOOKIE: Everyone who?LORELAI: Everyone everyone.SOOKIE: Everyone everyone who?LORELAI: Everyone we know, everyone we like.RORY: And they could even stay in the inn. All those empty rooms, allthose uneaten pillow mints.LORELAI: An out of control, over the top slumber party!SOOKIE: I love it!RORY: Me too!LORELAI: Done! Spread the word.LUKE: I haven't said I'd come yet so I'm certainly not gonnasuddenly become your messenger boy. [Lorelai stares at him] Eight o'clock?LORELAI: Seven.LUKE: Right.CUT TO FRONT OF STARS HOLLOW HIGH[Dean walks out of the school, Lane walks over to him.]LANE:Deano.DEAN: Hey Lane. Are you going to this big shindig at the inn tonight?LANE: Yeah, I'm just trying to trick my mom into not going with me.DEAN: How's that coming along?LANE: How's that Pixies reunion comingalong?DEAN: Well, I'll see you and your mom there.LANE: Bye.DEAN: Bye.[Lane leaves. Dean sees Jess fighting with another kid and goes over to break it up.]BOY: Keep it up pal, you'll get hurt.DEAN: Whoa, heyguys! Guys, come on, break it up guys! Quit it! Hey, hold it man, get off me! [Dean tries to pull Jess away; Jess tries to punch him] Whoa, hey, get off me man, I'm not fighting you! Jess, knock it off man! What the hellis your problem?JESS: Nothing.DEAN: You saw it was me, Jess. Why'd you keep punching?JESS: Had momentum.DEAN: Well I was trying to help you.JESS: I don't need you help, but thanks for offering.CUT TOLORELAI'S HOUSE[Lorelai sits on the couch as Rory walks in with some drinks.]LORELAI: Hey, did Bootsy RSVP?RORY: Yeah, he's coming.LORELAI: Thanks. Is he bringing anybody?RORY: He's coming solo.LORELAI:Okay. I'm gonna put him in room 16 with Luke.RORY: You can't do that.LORELAI: Come on, let me have my fun.RORY: Luke's coming with Jess.LORELAI: Well, I'll put Jess in with Miss Patty.RORY: There will be no Jessleft in the morning.LORELAI: You stink.[Rory sits in the armchair and picks up a pile of cards]RORY: Are these last year's cards or this year's?LORELAI: This year's, of course.RORY: Don't scoff. Last year's set were stillsitting here 'til Halloween.LORELAI: Hey, if that's a crack at my housekeeping skills...well then, okay.RORY: Wow.LORELAI: What?RORY: This is one ugly looking baby. Whose baby is this?LORELAI: That's your secondcousin's Stan's. Poor kid.RORY: Ugh, he got Stan's everything.LORELAI: That's not even the ugliest baby in the bunch.RORY: You're kidding. [looks through the pile] Ouch!LORELAI: That's the ugliest baby in thebunch.RORY: I don't understand why people put pictures on cards.LORELAI: Do they not understand we are unapologetic mockers?RORY: There's an unexplained innocence in the world. Hey, I didn't see this.LORELAI:See what?RORY: Dad.LORELAI: Oh.RORY: And the woman I'm assuming is Sherry.LORELAI: Uh, did I not show you that? Huh.RORY: They've got a cute little puppy and everything.LORELAI: Oh, I must've put it in thestack and forgotten to tell you about it. Well, there it is.RORY: Nice looking lady.LORELAI: Mm hmm. Like a young Tammy Faye Baker.RORY: But prettier than that.LORELAI: Oh, I didn't mean not pretty. Hey, questionabout the room list.RORY: Yeah?LORELAI: Room 31 - why is it empty?RORY: Oh yeah, I wanted to run an idea by you.LORELAI: Run it.RORY: I thought maybe a certain depressed man and his wife could staythere.LORELAI: Woody and Soon-Yi?RORY: Grandma and Grandpa.LORELAI: Ugh, you've got to be kidding.RORY: But this could help to cheer him up.LORELAI: I'll send him a Def Jam Comedy tape. That'll cheer himup.RORY: It's a really good thing to do.LORELAI: We'll donate money to charity, that's a good thing too. We'll stop kicking dogs.RORY: Mom.LORELAI: All right, I'll pencil them in, but they'll probably say no.RORY: Yeah,but we're not gonna hope that they say no, right?LORELAI: Right.RORY: Right, because that would be really bad karma, especially on top of making fun of the ugly babies.LORELAI: Uh, I have a new year's resolution foryou: become more cynical and self absorbed.RORY: I'll work on it.CUT TO INDEPENDENCE INN[The night of the Bracebridge Dinner, Lorelai and Rory are in the lobby]RORY: Hey, how's Sookie doing in there?LORELAI:Ah, well, she's paper bagging it.RORY: What?LORELAI: You know... [Lorelai breathes into a pretend paper bag]RORY: Oh, so she's right on schedule.[Babette and Morey walk into the inn.]BABETTE: Hey dolls.LORELAI:Hey!RORY: Hi, welcome.MOREY: Are we the first ones here?LORELAI: Yes, you are.BABETTE: Now don't you freak out. Morey hates being the first anywhere. He thinks it hurts his street credibility.MOREY: Charlie Parkerwas late to everything.BABETTE: Charlie Parker had more drugs in him than a Rite-Aid. Forget Charlie Parker.RORY: You guys are in room 8. It's all ready for you.BABETTE: Thanks, doll. C'mon Morey. We can be latefor dinner if it'll make you feel better.MOREY: A little.BABETTE: Yeah.[they walk away as Lane walks into the inn]LANE: Hey!RORY: Are you alone?MRS. KIM: Lane!LANE: My wedding night's gonna be veryinteresting.RORY: Hi Mrs. Kim. I'm glad you guys could come. You guys are in room 12.MRS. KIM: Thank you. Hello Lorelai, thank you for inviting us.LORELAI: Our pleasure. Do you need help bringing in the rest of yourstuff?MRS. KIM: This is my stuff. Don't need any more stuff. People have too much stuff.LORELAI: You know you're right. People have too much stuff. Absolutely.[Mrs. Kim and Lane walk away]RORY: Says the womanwith 64 pairs of shoes.LORELAI: Thus proving my point. What is Paris doing here?RORY: She had to bring me the newspaper stuff tonight. She just couldn't wait.LORELAI: A robot, she's a robot. Hi! [walks away]RORY:Hey.PARIS: So here are the materials in the double issue. Some of the articles are gonna need complete rewrites.RORY: Drag.PARIS: Madeline's 500 words on test anxiety spends 400 of them arguing that stretchcorduroy is the best material for low-rise jeans.RORY: Well, let's see. Corduroy is a fabric, and the fabric of society is weakened when studentsPARIS: You can't get there.RORY: Yeah, it doesn't look like it. I'll get righton this tomorrow.PARIS: What about tonight?RORY: I'm busy tonight.PARIS: Doing what?RORY: Well, this.PARIS: Oh. What is this?RORY: It's kind of a big dinner party.PARIS: Oh. Okay, well, I'll get out of your way.Call if you need to talk things through, and oh - she uses the Prince version of writing. A letter U for you and a picture of an eye for an I.RORY: Wow.PARIS: Yeah.RORY: Hey Paris, do you have anything going ontonight?PARIS: What's that supposed to mean?RORY: It's supposed to mean, do you have anything going on tonight?PARIS: Well, my parents are out of town, so my Portuguese nanny will make dinner and then I'lleither get back to reading the Iliad or we'll play Monopoly. I crush her every time.RORY: Well I was just thinking, maybe you want to stay for dinner?PARIS: Here?RORY: Yeah. We have a ton of food, and it's like awhole big show and everything, and if you're not doing anythingPARIS: Rereading the Iliad a third time is not not doing anything. I'm not pathetic.RORY: I know you're not. I just thought it might be fun, that'sall.PARIS: Well, I'll have to make a call.RORY: Good, make it.PARIS: I just have to let Nanny know. [takes out cell phone and dials] Nanny? É Paris. Vou jantar com Rory hoje à noite. Eu telefono no caminho de casa.Tchau.[Dean and Clara walk into the inn]DEAN: Hey.RORY: Hello there. Hey Clara. Nice, is that a Stella McCartney?CLARA: It's a Wal-Mart.RORY: Well, it's very pretty.CLARA: My mom bought it for tonight.RORY: She'sgot good taste.DEAN: [sees Jess walk in] I didn't know he was coming.RORY: Who?DEAN: Jess.RORY: Yeah. Is that a problem?DEAN: Not really.RORY: Dean.DEAN: It's just that, he got into this fight with this guy atschool, and when I broke it up he started in on me.RORY: He hit you?DEAN: He tried.RORY: Why would he do that?DEAN: Don't ask me to explain that jerk. [Jess waves] He better not do that all night.CUT TO"}
+{"doc_id":"doc_54","qid":"","text":"[ INT. TARDIS ][SCENE_BREAK]( Clara and the Doctor come bursting through the TARDIS door, laughing and joking with each other. A bright light is behind them. )Clara: I told you it'd work!The Doctor: It very nearlyate you for dinner.Clara: Oh, admit it. I totally saved your life.The Doctor: It wasn't going to eat me.Clara: ( laughs ) I totally saved you from having to marry that giant sentient plant thing. That bit where I jumpedover the side? That was amazing! Hah! I knew you were impressed!The Doctor: The second most beautiful garden in all of time and space, and we can never come back here because you, Miss Oswald, decided...( TheTARDIS phone rings )Clara: Hello?Rigsy (O.C.): Clara? Finally. It's Rigsy.Clara: Oh. Rigsy. Hey. What's wrong?Rigsy: So I have this, er... It kind of looks like a tattoo.Clara (O.C.): Seriously? I gave you this number foremergencies.Rigsy: It's an emergency, trust me. Just...Rigsy (O.C.): Come and take a look at it. Please.The Doctor: Who said you could give out my number?Clara: Look, look, no matter how bad it is, we cannot takeyou back down your timeline just to fix a tattoo.Rigsy: That's just it. I didn't get a tattoo. And it's... It's counting down.Clara: Sorry, what?( Rigsy holds up a mirror and we see the number 538 on the back of his neck.)Rigsy: The tattoo - it's a number and it's counting down to zero.Clara: Hang tight. We'll be right there.Rigsy: Hurry. Please.( We see the number closer and it changes to 537 )VWORP! VWORP![SCENE_BREAK][ INT.Rigsy's apartment - Day ][SCENE_BREAK]( From outside the building, we see a flashing light in one of the windows and we hear the sound of the TARDIS materializing. Inside, we see a baby in a pink cot. )The Doctor:Did you make this human?Rigsy: Lucy? Yeah, she's mine.Clara: Hello. Oh, Rigsy, she's gorgeous.The Doctor: She's better than that. She's brilliant. ( The Doctor stands up and raises his voice. ) What are you doingrunning round getting tattoos when there's...Clara: Shh!Rigsy: Look, I didn't \"get\" anything. I woke up this morning and it was just there. Jen noticed it.The Doctor: OK, show me this tattoo you didn't get, then. It's atattoo. It's very boring.Rigsy: No, wait. Just keep watching.( The Doctor picks up a book and leafs through it. )Clara: What were you doing last night?Rigsy: That's just it - yesterday was a total blank. Jen said I left thehouse before dawn, I missed work, and I didn't get back till after midnight. No-one saw me all day.( We see the number change to 532. )The Doctor: Oh, that's not boring. That is very not boring.( The Doctor puts onhis glasses and they chirp and hum. )Clara: What? What is it?The Doctor: OK, Local Knowledge, you're coming with us. Bring the new human. ( The Doctor enters the TARDIS, then steps back out again. ) No! Don'tbring the new human. I'll just get distracted.[SCENE_BREAK][ INT. TARDIS ][SCENE_BREAK]( We hear some tones and a beam of light moves down Rigsy's body. )The Doctor: If you want your extremities to stayattached, stand absolutely still. If not, we can provide a small bag, you can take them home at the end.Clara: ( looking at a monitor ) Rigsy, your phone. It's like they've wiped it, but only the last day. No location data,no texts, nothing. You're sure the screen wasn't cracked before yesterday?Rigsy: Mm-hm.The Doctor: Oh, right, OK, here we go. ( looking at the scan results on a monitor ) Ah... Good. Weird. Good and weird.Rigsy:Can I...?The Doctor: Oh, yes, yes. Of course. ( snaps his fingers ) First off... in the last 24 hours, you've had significant contact with alien life-forms, right here in the centre of London.Rigsy: OK, so why don't Iremember anything?The Doctor: You've been retconned.Rigsy: Huh?Clara: What-conned?The Doctor: Amnesia drug. Your pre-frontal cortex is marinating in it. Oh, there's something else! Something... Er... not good.Weird.( The Doctor moves over towards Clara, while picking up some white cards from the console. He begins looking through them in front of Clara. )Rigsy: What's he doing?Clara: He's making an effort to be nice.TheDoctor: ( hushed ) There is no nice way to say you're about to die.Rigsy: What?!The Doctor: Rigsy...Rigsy: No, no, no, no, don't start using my actual name now! Call me Pudding Brain, call me Local Knowledge,whatever. Just don't call me Rigsy. You're going to save me. You're a doctor. That's what you do.The Doctor: OK. OK... Yes, OK, let's do this thing. First up, stop the countdown. 526 minutes, right! OK. Yes, you knowwhat, Local Knowledge, I don't know who did this to you or why. But I do almost certainly know... how to find them.( The Doctor pushes some buttons and pulls a lever. )[SCENE_BREAK][ Library - Day][SCENE_BREAK]( The TARDIS materializes on the pavement beside a stone building. The Doctor, followed by Clara and then Rigsy exit the TARDIS and walk away from us. Cut to: looking down a long, wide corridorwith high vaulted ceiling. The three walk towards us. )The Doctor: There have always been rumours. Stories passed from traveller to traveller, mutterings about hidden streets, secret pockets of alien life right here onEarth. Like a smuggler's cove, only not a cove, because it's right here. Right in the middle of the capital.Rigsy: The hidden places are in the Great British Library?The Doctor: No. The maps are. ( The Doctor indicates aroom with \"Map Room\" on the door and they enter. ) I never put stock in it. London streets that suddenly disappeared from human view? No. ( The Doctor unrolls a bundle of maps on a desk. ) You lot are alwaysoverlooking things, but whole streets? That would be excessive, even for you. If the stories are true, though, there should be a street on one of these old maps that no longer exists in the real world.Clara: Like a trapstreet, only not.The Doctor: What did you say?Clara: A trap street. You know, when someone's making a map, a, um... cartographer, uses a fake street, throws it into the mix, names it after one of his kids or whatever.Then if the fake street, the trap street, ever shows up on someone else's map, they know their work's been stolen. Clever, right?The Doctor: My God. A whole London street just up and disappeared and you lot assumeit's a copyright infringement.Rigsy: So we're looking for a trap street?The Doctor: We're looking for a trap street and we're not going to find it here.[SCENE_BREAK][ INT. TARDIS ][SCENE_BREAK]The Doctor: Theglasses are tracking your eye movements. Just keep looking straight down and...Clara: I know! Focus on the buildings directly below me.The Doctor: Whatever they're using, it only hides the street itself. It prevents youfrom noticing there's even something missing. They're somehow making our eyes skate right over it. Let's call it a misdirection circuit.( Rumbling )Rigsy: Clara!( She whoops and laughs )( She whoops )Clara: Hello,London!( She laughs )Clara: I'm good. I'm good.Rigsy: She enjoyed that...way too much.The Doctor: Tell me about it. It's an ongoing problem. Here. Keep it steady. Just move it slowly over the grid. When we're done,we'll have a map of the areas of the grid that Clara couldn't focus on.[SCENE_BREAK][ EXT. Pedestrian Precinct - London - Day ][SCENE_BREAK]Clara: So, these are the bits my eyes skated over.The Doctor: OK, wesplit up. Clara, that way. Local Knowledge... Forget the way you usually look at the world. This street's going to be hiding in plain sight.[SCENE_BREAK][ EXT. London Street - Day ][SCENE_BREAK]Clara: 22, 23...TheDoctor (O.C.): If you see something unusual or notable, dismiss it. Just keep walking. But if there's a bit of London so unremarkable that you don't even think about it... stop. You could very well be standing rightoutside a trap street. Count everything that you see.Clara: Four, five, six...The Doctor (O.C.): Because when you hit the area around a trap street, it's very likely you'll lose count.The Doctor: 79... 80... 81... 82.Youngboy: Huh?The Doctor: Remember - 82.Boy's Mum: Come along!Young boy: 82!The Doctor (O.C.): You'll lose count because the misdirection circuit is creating confusion in your mind. Details won't add up. Reality willhave glitches in it. Like when you try to read the same simple sentence three times over...Clara: One, two, three...The Doctor (O.C.): ..and the meaning just won't sink in.Clara: Got ya.[SCENE_BREAK][ EXT. LondonStreet Corner - Day ][SCENE_BREAK]The Doctor: Clara! Clara!Rigsy: Clara!Clara: It's off this street, I am certain.The Doctor: We're very close.[SCENE_BREAK][ INT. TARDIS ][SCENE_BREAK]The Doctor (O.C.): Weneed to distract our other senses. Clara, go back to the TARDIS. Pick up all my most annoying stuff.( Phone beeps )[SCENE_BREAK][ EXT. London Street - Day ][SCENE_BREAK]The Doctor: What happened to the stuff Iasked you to bring?Clara: Someone called you. Yesterday, 6am. Blocked number.[SCENE_BREAK][ Flashback ]Man: She's dead.[ End Flashback ][SCENE_BREAK]The Doctor: What is it? What are youremembering?Clara: Rigsy, what is it?Rigsy: You can't see it? There!Clara: I see it. You?The Doctor: 50 minutes left. Hoodie up, Local Knowledge. They know what you look like in there.[SCENE_BREAK][ EXT. LondonAlley / Courtyard ][SCENE_BREAK]Rigsy: How come I saw it when you guys couldn't?The Doctor: You were upset, weren't you? Something slipped through the retcon memory, something that took over your wholemind, something juicy. So the misdirection circuit lost its power over you.Clara: Surely people wander in here all the time, then, distracted, on their phones or whatever?The Doctor: Perhaps they do...( Alarm rings )(He growls )Man: Three at once. That's new.Rump: Hang about. ( sniffs ) This one don't smell human.Kabel: Name, species and case for asylum. Quick as you like.The Doctor: Asylum?Kabel: The reason you're here. Thereason you need sanctuary. Why didn't they use the protocol?Rigsy: I saw through the circuit again. I saw them. They're definitely not human.Rump: You do know this is a refugee camp?The Doctor: Yeah, ofcourse.Ashildr: Of course he does! Now that you've told him.Rump: Mayor Me.Clara: Ashildr!Ashildr: Ashildr?The Doctor: That's your name. I keep telling you that.Ashildr: Do you? Infinite lifespan, finite memory - itmakes for an awkward social life. You must be Clara Oswald. You're as beautiful as your photos.Clara: We met.Ashildr: Yes, I know. It's in my diaries. Oh, don't look like that! I enjoyed our conversations. I've read themmany times.Clara: OK, that's...slightly odd. But nice. Um, hang on, so this is where you've been. That's why he lost track of you. Oh, come on, please. It's really cute, he thinks I don't know. He's got this whole secretroom in the TARDIS where he collects mentions of you.Ashildr: It's not cute. It's surveillance.The Doctor: It's professional interest.Ashildr: Precautionary measure.The Doctor: Still saving the world from me,then?Ashildr: It's still here, isn't it?Clara: He lost track of you in the early 1800s. I wondered if you were...Ashildr: Oh, no. I let him know I was OK.The Doctor: I saw you.Ashildr: No. I got your attention.The Doctor:Yes, you did, and you have. Now we need your help. Someone in this place is in control of a Quantum Shade.Rump: ( snarls ) I knew I recognised that smell.Ashildr: Oh.Clara: Ashildr? What's going on?The Doctor:You.Ashildr: How do you know this man?Clara: Hang on. You did this to Rigsy?The Doctor: What have you done?Ashildr: This man committed a crime. I sentenced him.Clara: Sentenced him?Ashildr: I also gave himenough time to return home and say goodbye to his family.The Doctor: You flooded his brain with retcon! Till we showed up, he didn't even know he had to say goodbye.Ashildr: I'm afraid no intruder leaves this placewithout a memory wipe. With respect, that will include you.Clara: Oh, the hell it will!The Doctor: Ashildr, given we're all going to forget this conversation anyway, perhaps you could tell us what happened here yesterdayto necessitate a death sentence?Ashildr: Fine, I'll show you. Mr Kabel, Mr Rump. Permit them entry.The Doctor: No! You've already endangered one of my friends. I want your personal guarantee you will not endangeranother.Clara: Shut up, I can handle myself.Ashildr: I guarantee the safety of Clara Oswald. She will be under my personal protection. That is absolute.Kabel: If that's your wish, Mayor Me.Ashildr: This way.Rump:Murderer.Clara: What did you say?Rigsy: Murderer. He called me a murderer.[SCENE_BREAK][ EXT. Alley ][SCENE_BREAK]The Doctor: So you're still calling yourself Me, then?Ashildr: Me?The Doctor: MayorMe.Ashildr: Mayor is a title. I give myself a title for the same reason you do, Doctor - something to live up to.The Doctor: Difficult, isn't it? How long have you been here?Ashildr: Since Waterloo.The Doctor: Thebattle?Ashildr: No, the station. Really, Doctor. Tread carefully while you're here. Some of your greatest enemies are within a few feet of you. As far as you're concerned, this is the most dangerous street inLondon.Clara: Fascinating. Now, can we skip to the part where you want Rigsy dead for some reason?Woman: It's him! He's back!Ashildr: It's best we get him inside first.Man (O.C.): Murderer. You're not welcomehere.Rigsy: They look at me as if they want to kill me themselves.Man (O.C.): Don't want your kind round here.Man (O.C.): Murderer!( Hissing )Ashildr: Like I said, it's best we get inside.Woman (O.C.): Filthymurderer!Rigsy: Wait, Clara. Look.The Doctor: This misdirection circuit of yours is remarkable. The cloaking device that hides the street, makes everyone look like humans.Ashildr: It's no device. It's the Lurkworms.Quite something, aren't they? The light is a telepathic field. It normalises everything you see, places it within the compass of your expectations, your experiences. You can bypass them, of course.The Doctor:Aiyaah!Ashildr: Don't worry. We're perfectly safe.The Doctor: Yes, a phrase I find is usually followed by a lot of screaming and running and bleeding.Ashildr: I brokered a truce. We have strict rules against violence here.Rules every creature must abide by if they wish to remain on the street.Man (O.C.): Get away from us! Don't want your kind round here.Ashildr: What's better, that they're in here with me, peaceful and cooperative, orout there on Earth like the Zygons? We haven't had an act of violence on this street for 100 years, until yesterday, when your friend here attacked one of our most vulnerable residents.Clara: How did Rigsy even get in?I mean, we barely managed it...[SCENE_BREAK][ INT. House - Entrance Hall ][SCENE_BREAK]Clara: .. and we knew what we were looking for...Ashildr: She was found at the entrance of the street. No weapon on thescene, but the cause of death is likely the head wound. Seems she was knocked to the cobblestones.Clara: \"Seems\"? You've sentenced Rigsy to death yet you don't know exactly what's going on?Ashildr: He was foundover the body. My people were angry, frightened. I had to act.Clara: This is ridiculous, this is...The Doctor: What was her name?Ashildr: Anah. We're keeping her here until someone can take her home for burial.TheDoctor: She's a Janus!Ashildr: She escaped slavery. She fled here with her child.The Doctor: The child. A daughter?Ashildr: No. A boy.Clara: Is that bad?The Doctor: No, it's not bad, it's just unhelpful. A daughtermight've seen who killed her mother. The female Janus is psychic. One face sees into the future, the other looks behind her, into the past.Clara: I think we saw her son outside.Rigsy: Clara, what if I did do it? I mean, Iwouldn't have meant to hurt her, but... What if I wandered in and saw what she really looked like? What if I freaked?The Doctor: You didn't just wander in here. You were called here at 6am by a number from a mysteryphone.Clara: There is no way you did this.Ashildr: So, what then? You think someone called him here? Set him up?Clara: Yes!Chronolock Guy(O.C. outside): Mayor!Clara: Obviously! Which means one of your pet aliensout there is the real killer.( Banging on door )Chronolock Guy(O.C.): I just need to talk to her.Ashildr: Excuse me. I'm sorry.The Doctor: Yes. Please, go. It's not like we've got a ticking clock or anything.ChronolockGuy(O.C. outside): Mayor, I beg of you, please...The Doctor: 41 minutes.[SCENE_BREAK][ EXT. Courtyard ][SCENE_BREAK]Chronolock Guy: Lock me up, throw us out, anything but this. Please. I only took it to saveher.Ashildr: How many minutes left?Rump: Two, Madam Mayor.Ashildr: This man stole medical rations. He broke a rule of the street and he stole from all of you. And yes, I can remove the chronolock. But I won't. Ourrules keep us safe.Chronolock Guy's Wife: Give it to me. Please. Tell me I can have it. One word. Say it. Say yes.Chronolock Guy: I did this to save you, you silly old thing. You really think I could lose you now?Rigsy:What's happening?The Doctor: It's called a Quantum Shade. It's kind of a spirit. Once it's bound to a victim, you could flee across all of time and all of the universe, it would still find you.( Raven caws )Kabel: Don't run.Stay with her.( Raven caws )Chronolock Guy's Wife: Don't go!Kabel: Why do they always run?Chronolock Guy: Help me, somebody, please!The Doctor: At least give him a merciful death.Ashildr: Do you think aCyberman fears a merciful death?Chronolock Guy: Help me, please!Ashildr: Peace on this street depends on one thing. To break it in any way is to face the raven.Chronolock Guy: Please help me![SCENE_BREAK][ EXT.Alley ][SCENE_BREAK]( He pants )( He screams )( People gasp )( Raven caws )[SCENE_BREAK][ EXT. Courtyard ][SCENE_BREAK]Ashildr: I have no wish to harm your friend if he's innocent, Doctor. Question anyone.Examine the body. But it's not me you need to convince of Rigsy's innocence. It's them.( Crowd murmurs )Clara: OK, we split up. Cover more ground. I'm good cop, you're bad cop.The Doctor: No, no, we don't haveto... Can I not be the good cop?Clara: Doctor, we've discussed this. Your face.The Doctor: Oh, yes. Forget about cops. Forget about finding the real killer. You heard Ashildr. All we have to do is persuade these creaturesthat it isn't Rigsy. And fast.( Baby cries, on phone )Rigsy (on phone): Ssh! Ssh!Jen (O.C. on phone): She's been like this all day.Rigsy (on phone): Listen, you be good for your mum, OK? I'm doing my best to get hometo you guys.Jen (O.C. on phone): She won't stop crying.Rigsy (on phone): Yeah, I know. Yeah, she can probably tell you're upset.Clara: Rump? It's, em, Rump, isn't it? That man's wife. She said something. \"Give it tome, tell me I can have it.\" What did she mean?Rump: Two ways to survive a Quantum Shade. The Shade's master removes the chronolock... or you can give it to someone else.Clara: Give it? You can just...Rump: No,you can't just push it on someone. It's not that simple. It has to be taken willingly. The death's already locked in. You can pass it on, but... you can't cheat it.Rigsy: You're serious? You actually expect me to give you mydeath sentence?Clara: Ssh! Go on, I've always wanted a tattoo. You know, something small. Discreet.Rigsy: Clara. Cut it out.Clara: Weren't you listening? I'm under the Mayor's personal protection. And it's absolute,apparently. Look, she controls the raven, so I will never have to face it. This is clever.Rigsy: But this is putting you in danger.Clara: No, this is us talking the opposition into their own trap. This is Doctor 101. We'rebuying time. We get all the aliens on our side in the next half an hour, and then we reveal I've got the chronolock, not you, and boom! We buy ourselves more time to find the real killer.Rigsy: The Doctor would neverlet you do this.Clara: Doctor 102 - never tell anyone your actual plan. He'll have a tantrum when he finds out. And then, when we confront Ashildr, she'll want to take the chronolock off just to shut him up. Whathappens if you don't go home tonight to Jen and Lucy, eh? If you never go home? You really want your little girl growing up without a father just because he wouldn't take a risk? You trusted us to save you, so trust us.Come on.Rigsy: OK. All right. How do we do this, then?Clara: Well, I was kind of hoping that would be it. I say I want it, you say, \"You can have it\" - done deal. Hey, turn around, let me see.( Caws )Rigsy: So this isyour life, then? Bouncing around time, saving people?Clara: No, not every day. Sometimes Jane Austen and I prank each other. Oh, she is the worst. I love her. Take that how you like.[SCENE_BREAK][ INT. Ale House][SCENE_BREAK]The Doctor: Are you sure it wasn't someone from the street?Rump: I've told you already there wasn't anyone up that end of the street except Anah and the human.The Doctor: I've identified 27different species on this street so far, 15 of whom are known for aggression. Why is it so hard to believe one of them is capable of murder?Rump: Capable of murder? Yeah. Capable of killing Anah? No.The Doctor: Whynot? What's so special about her?Habrian Woman: It was the way she looked at you. Like she understood.Elderly Woman: One glance into your past and she felt it all. Every battle, every loss.The Doctor: So you just"}
+{"doc_id":"doc_55","qid":"","text":"Me. It's chubby chic. The wedding's not really happening, is it? - The wedding's off? - No. Ten minutes ago, you said you were engaged.- EMMA: Well, it's not happening - MOTHER: I mean, I don't - because she's gay! -Just stop interrupt (GULPING)MOTHER: We're going. David wanted to pop in and water the plants. He's got such a toxic energy. Dad's dead.(SOBBING)You sure it's true (SUCKS TEETH) but convenient? - Convenientthat his dad died? - Well Without her, you would have nothing. You barely have me and You probably won't be here much longer.(DAVID SOBS)(SEXUAL MOANING)- Mom? - Did anything happen last night?EMMA: OhGod. I'm sorry, I don't feel safe when she does that. Sally, let's go.(PANTING)- That was incredible. - Mm.(WHISPERING): Did you like it when I toe-fucked you? - Mm, yeah. - Yeah. - So tired. - Yeah. - I felt like I was,like - Pretty tired. pushing my toe into a little wet shoe. Tiny sticky shoe.(HUMMING)Little butterfly on your cheek. - Yeah. - Mm. Boop, boop, boop, boop, boop, boop-boo. Big fat butterfly. - Yeah, okay.- (BOTHLAUGH)- Meet the scratchy beetle.- (GRUNTS)Hello. Hmm, that's so nice. - I kind of like being still. - Mm.- (BUZZING)- Okay. Mr. Buzzy Bee! Maybe how about no more animals in my face for now?- (BLOWING)- Okay.Sorry. Was I too much? No, no. I can't get enough of you. You know, I miss you when you're asleep. I miss you at work. - I know. - Can we Skype again tomorrow? Um, it's really difficult for me because you know, I'vegot so much work on, and - It's no wonder you're tired. - Yeah. You know, if you want to go back to your place and get a change of clothes, that might be a good idea. God, no. I'm fine, honestly. I, um, found a reallycute pair of your knickers, actually. 'Cause I was, um turning mine inside out. I have to tell you, it kind of just reaches a point where, you know Mm. Well, normally, after two days, it's Well, yeah. Yeah. Mine yet really,really gloppy. Like, you know, like, crusty and have big pooh stripes. Oh, God.(KINGS OF CONVENIENCE'S \"TOXIC GIRL\" PLAYING)In the sky the birds are pulling rain (ELEANOR HUFFS) In your life a curse has got aname Makes you lie awake all through the night Hi, Nigel. She's intoxicated by herself Nigel. Every day she's seen with someone else EMMA: What are you looking at baby? Mustard pillows?(SPEAKINGINDISTINCTLY)(EMMA GIGGLING)KATE: Sally?- KATE: Hi!- DAN: Hi, Sal.SALLY: Hi.How are you? - Hi. I'm Dan. Hi, nice to meet you. - Hi. I'm Emma. Haven't seen you for ages. You never answer your phone. - I do.How are you? - I've been ringing you. - Where have you been? - Just here, in the shops.DAN: Doug, I'm in furniture hell, mate. How long did you stay at Wonky-Tonks? - Is that Dan Barrow-Felfe? - Yes, yes. Oh, myGod. That's amazing. - How do you know him? - He's my husband? Oh, God. Well done. So what's this about an engagement? Huh? This ? - Is David absolutely thrilled? - It's good to see you. We've got to We've got togo. Sorry. Um, I was wondering, can I be a real w*nk*r (LAUGHS) and give you my show reel? - Yeah, yeah, yeah, yeah. Great. Brilliant. - Thank you. - Are you an actress? - Yeah. Emma De Florentier. - Nice name. -Yeah. I'm such a big, big fan.- DAN: I'll check it out.- SALLY: We have to go. - Sorry? - I've got an appointment. - What appointment? - The thing that I was talking to you about. Okay. We should hang out! It's so greatto meet you guys. - So good. We've got to go. - You've got amazing eyes.DAN: I love you.SALLY: We've really got to go. - Stop it.- KATE: Easy tiger.(WHEELCHAIR MOTOR WHIRRING)- (THUDS)- (LAUGHSCOYLY)Great minds. I'm actually just trying to do a tiny bit of work, - and have a quiet little coffee, so - Oh. Lovely to, lovely to see you, Eleanor. Mmm. Yay. Thank you. Mmm. Mmm.(GLUGGING)Mmm,mmm.(GLUGGING)(RHYTHMIC GLUGGING)You okay? - Yeah. Help yourself, by the way. - I'm okay. - I'm fine. - No, I insist.(GIGGLES)- (CLICKS, WHIRS)- I'm okay, yeah.(CAMERA SHUTTER CLICKING)- Cake? - No,thanks. Okay, more for me.(GIGGLES)You've pimped up your pimped up your ride. Did I? - Amazing. - Just a bit of fun. May I get the bill, please?(ALARM CLOCK RINGING)SALLY: Hi.- Hey.- (PHONECLATTERS)(CHUCKLES NERVOUSLY)- Hey. - Hi. I just made lunch. - Thank you. - Little potatoes. - My little baby potato. - I've got to go to work. Oh, honey, please don't go to work. Why do you have to go to work? -I'm gonna miss you. - I've got to. Oh, my God. Okay? Emma, I've got to go to work now. We can't do that. What are you doing? God, I just My phone Come on, I can't be late for work again, Emma. I just really need totaste your pussy. - I need to taste your pussy. - Oh, my God.(PANTING)Please, Em. I can't be late for work.- (EMMA PANTING)- Oh, God. Oh, it tastes like the sea.- (MOANS)- Em.(EMMA PANTING RAPIDLY)Oh, yeah.Yeah! - f*ck! - Oh, yeah! - Oh, sh1t! - Yeah! - f*ck. - Oh, me, too. f*ck, sh1t, sh1t, sh1t! - f*ck. - Yeah, yeah, you're coming! Oh, my God! Jesus! It's f*cking 10:30!- (EMMA PANTING)- f*ck! Emma, I've got to go. -f*ck. I'm really sorry. - What the f*ck are you doing? I'm really f*cking late for work.EMMA: Jesus Christ, what is wrong with you? sh1t, sh1t, sh1t. - I'm so sorry, I've just - What is wrong with you? Sorry.I've got toSALLY: Ow! f*ck. - What? - Did you just kick me? What are you talking about? - I've got to go. - Why are you being so weird? You're really scaring me. We should get therapy.(ELECTRONIC MUSIC PLAYING)Bounce I'mso sorry. God.MICK: Ah, you've not missed much. Just a load of desperate dads perving at the waitresses. Nige' included. Mind you, he's hit the jackpot, there, lucky sod.- ELEANOR: Do you think?- MICK: Yeah. Shelooks very manly to me. You should come to one of my keep fit sessions. Maybe I will. Yeah. - Are you a widower? - Oh, no. No. - Just got one of them faces. - Right. Yeah. You got a nice, big body, though. Thank youvery much. - Should just tone up a bit. - Yeah, sure. Yeah, well, maybe I'll come to one of your classes. - Yeah, you should. - Yeah. I mean, I've got good upper body strength, but, um, my legs are quite weak. - Hmm.- Um, withered. Not withered, but quite - Do you lift much, Nigel? - Lift? - Yeah, actually lift. - Uh, just things around the house. So sorry, Deborah. All the clocks at home are wrong. Oh, yeah, right. I suppose the dogate your homework, as well. Honestly, you're clearly not taking this promotion seriously at all, Sally. Oh, no. No, thanks. Can I get one? Thanks very much. Evening. Glad you could make it. Ha, ha, ha. That's not funny.Deborah just gave me a bollocking. - Oh. - Who's your new friend? That's Roquette. Yeah, she's a fitness instructor. - Roquette. - Yeah. Like the leaf, you know, strong, peppery. The French twist. She does abounce-back class for people coming out of relationships. - Getting them back on the horse. - Mm-hmm. - This is the class. - Oh, hi. - Hi. - Hello, there.- NIGEL: That's for you.- BOTH: Thank you. - Cheers. - Oh, cheersto you. Yeah, you should come around. You know, for some mac and cheese one night.NIGEL: That sounds nice. Yeah. You can still eat nice food, but just Bounce it off? - I bounce it off every morning. - Yeah, me too.Mum, I need a sh1t. Little charmer, isn't he? - She's fun. - Yes. Yeah, she is. Full of beans. Legend. Did I just I'd be a little bit careful. - Why? - Yeah, she looks very aggressive. No, I mean, she's got a child.ELEANOR:But you like kids, though, don't you, Nigel? I love kids. Me too. Luckily, I, um, froze my eggs, so What about you, Mick? Do you ever fancy kids?(SCOFFS)If I did, it's not something I'd admit to.(GASPS)BELINDA: Areyou okay for drinks?I would love, um, a cortado. There's just water. Um, so, why don't we start by you telling me a little bit about, um, what's going on for you at the moment. - Um - Sorry, I can see that you've got ahot drink. Oh, yes, no, that's an herbal tea that I made in my own time, so It's fine. I think, um I don't think we really, um, need therapy. Yeah, I mean, you know, everything's pretty good, really. I think it's justteething problems. And just mopping up a few sort of - Stains? - Uh, yeah. Issues. Emotional stains. Right. Okay. I feel like when I first met - Emma, you know, she was really attractive. - Yeah. Really fun. Really, umsmart. And then, as the weeks went on, I think I saw another side of her - Sides of her that I really don't like, at all. - Mm. She actually she kicked me in the shin - when I was going to be late for work. - Mm-hmm. Sortof play, a playful ? - Yeah. - I didn't like it. I mean, I don't remember it, but I'm sure it would've been a It was either, you know, when you get that reflex in the knee - Yes.- EMMA: with a small hammer? Or it was aplayful tussle. - Yeah. - Like horseplay. So it's about perception. I imagine if it's new, there's a lot of Sally's body that you're wanting to really get your hands on, and explore. Absolutely. There's no bit that I don't wantto - Dig into. - Dig into. - Okay. - But Sally just has some real kind of blocks about (CLEARS THROAT) certain sexual things I'd like to do. What sort of things? I just really like exploring the body - using different parts ofthe body. - Mm-hmm. Just give me an example What sort of ? Well, I was trying, to, um I don't know if you've heard of nose f*cking - Mm-hmm.- EMMA: in the anus. - Right. - I tried that.- BELINDA: And whathappened? - I'm sorry, I'm not very comfortable talking about this. She just didn't really like it, um, or Mm-hmm. And what was it, Sally, that you found difficult? There's some tissues there if you want some. I think it'spartly she didn't know what was happening. - Okay. - I perhaps should have told her before. - But that's not very spontaneous, so - Mm-hmm. - Was it that, or ? - Yeah, I found it frightening. Frightening? Okay, uh Ionly knew she was really frightened when she broke wind. - Okay.- SALLY: I really didn't like it. You didn't like it? I'd love it if she did that to me. Would you consider that, Sally? No. - No? - I sort of almost tried - tomake her do that.- BELINDA: Popping around? Well, I was just, I tried to sort of sit on you, didn't I, one morning. Reversed myself onto her face, but Well, it's very sensitive of you to just start to try that out and gentlyum, encourage Sally. I pretended I was looking for something - Right. - on the bed, and just sort of - you know - Wiggled back. And that wasn't something that you wanted to No. I should have had a bath first, maybe,but Wonderful. Wonderful. - You okay?- BELINDA: Yeah, have a tissue. - I'm fine.- BELINDA: Are you sure? - Yeah. - Ba-ba-ba-da, ba-ba-ba-ba-dah Could you fill up my sippy cup? Yeah. Yeah. Sorry if I'm a bit hyper.Amazing weekend. - Really? - Yeah. Me and Nigel. Yeah, we went to this art exhibition. Amazing! He loves his cake. That's me feeding him.- SALLY: Yeah?- ELEANOR: Yeah.(GIGGLES)- You okay? - Yeah. I saw onDavid's Instagram that the engagement's on hold. Which I suppose means off? Honestly, ha Men! Ba-ba-ba-da, ba-bi-da-ba Ba-ba-ba-ba ba-ba - (CRASHING) - Ba-ba-ba-ba, ba-ba-ba-di-da-ba It's okay. It's fine. Baba, ba-da ba ba SALLY: No, I mean, I do want you to meet her. You know, she's my best friend.EMMA: Is Dan definitely going to be there?SALLY: Yeah, I'm sure.EMMA: Okay, cool. Do I look okay?SALLY: Umm.Yeah.KATE: Hi. Oh, thank you.- SALLY: Oh, hi.- KATE: Darling. - Aw, it's so nice to meet you properly. - And you. And you. There you are. Thank you for this. That looks lovely. Mm, it's quite expensive wine, so I hopeit's nice. Thank you, thank you. Me loves me booze.- ALL: Cheers. - To new friends. Yes, yes. Oh, yeah. So you're an actress? - Yeah. - And a musician.- KATE: Wow. - Yeah, I've actually, um - I've got my CD if youwant to pop that on. - Thank you. It's my 14th album, but, um, yeah - Pop it on. - Wow, I will do. Okay. - Thank you. - Yeah. Yeah. - I know Bryan Ferry really well.- KATE: Do you? Oh, should I get that? It's boilingover. Oh, God, thank you. I'm sorry! It's all just a bit much for me.EMMA: Oh, my God, it's only pasta. - Are you okay with that? - No, I don't eat gluten, actually. Uh, I've got I might have some gluten-free I don't likegluten-free stuff. It's horrible. It's really dry. There's salad, and I'm sure we can we'll get you something, I'm sure. - I could do a bit of this.- SALLY: Lovely.EMMA: That tomato was on the counter, just now. - I'll cut upanother one. - Just a bit paranoid about salmonella and stuff.- KATE: It's all very clean.- EMMA: Do you have a cleaner? - Yes, I do. Yeah, yeah. I just can't do everything. - You try, though, don't you. You know what, Ido. I do. You know, I'm constantly, you know EMMA: What do you do? Well, just, I'm a mom with the kids at the moment. Um - Is that everything? - Yeah. Oh, my God. Who is this?- KATE: Molly. You should really be inbed.- DAN: Hey.- EMMA: Hi.- DAN: Why is Molly still up?KATE: I was going to take her back to bed, but do you want to take her back to bed?DAN: I'm so tired. I've just got so much work on. Do you mind? Okay, fine.I'll do it, then. Will you just give them a bit of bruschetta or something? Bruschetta, it is.- KATE: I'll be a minute.- SALLY: Good night. - How are you doing? - Really good. - Good. How are you? - Yeah, good. So whatare you working on right now? Doing a movie, and, um, yeah, with, um, Marion Cotillard. Oh, I love Marion Cotillard. Yeah, she really is the best. She's amazing. - So you're an actress.- EMMA: Yeah. - Yeah. Right. - Imean, I do lots of things, don't I. Music, acting, dancing. But yeah, acting's my biggie right now. Anything I'd have seen? You can probably name the most recent movies and I've been in them. - Okay. - But I'm sort ofquite chameleon-esque. So It's possible you won't recognize me.DAN: Right. Okay. Yeah. I'm trying to think, my latest. What's the last film you saw? Um, Testament of Youth, which is, um - a wonderful film. Have youseen it? - Yeah, about the war? Yeah, I was in that one. - Who did you play in that? - I actually played a male soldier. Right. Why? Just 'cause I you know. Why not? - Right. Yeah.- EMMA: It's gender-ism. - And so she'splaying ? - She's playing an autistic baker. You got me at autistic baker.- (DAN LAUGHS)- I mean, wow. But I would love to be involved. Cool. Yeah, well, I mean, it's kind of We've sort of finalized casting, so - That sideis done. - Things change. Don't they, I mean Yeah, I mean, they can do. They can. And Marion, you just don't know if she's going to find it all too much. - At her age. - Yeah. Yeah. I mean Let's hope not. But, um Areyou guys good for food? - Yeah. - Well, no. It's just, it's, um Unfortunately it's just pasta - This must be the kids' food. - which I can't eat. No, your wife seemed to think that was what we were having, but Kate! Kate!Kate! What's happening with the food? Is this ? Well, who's the pasta for?KATE: I'll be down in a minute! Shall I go and see if she needs a ? No, no, no, no. She'll be fine. - Cherry tomato? - Please. - Thank you. Thanks,Dan. - Sal? Yeah. Sure. Thanks.KATE: So, Emma, where are you from? Wow, 20 questions!(LAUGHS)Um, kind of all over the place. It's like a really eclectic upbringing. Mm. All around Europe. - Wow. - I kind of I justdon't really like to talk about it, actually. - Sorry. - Is it painful? No, it's just that I've got really famous parents and I just - don't like to make a big deal out of it. - Have you? Who? Well, my dad um, is was Oh, God. It'sIs Stanley Kubrick.- KATE: What? - Stanley f*cking Kubrick? No f*cking way! - Kind of adds up, right?- DAN: Wow! You didn't you didn't say that. Yeah, I mean, sort of his brother, as well, 'cause my mum was never,you know, totally sure. But, um Did he have a brother? I thought he was, like, the classic only child. No, no, no. He did. He did. Yeah, it's really sad, actually, 'cause they kept the brother just locked away. Um, theykept him down in the cellar of the house - Oh, f*ck. - with a padlock, and they - He was kind of very deformed, very big.- KATE: Oh, God. He was, like, 40 stone, even as a child. - Oh, f*ck. - I think he had, like, extralimbs and stuff. - Oh, f*ck. - sh1t.- EMMA: I know.- KATE: sh1t. They would just throw meat and dead rats under the door.- DAN: Oh, f*ck.- KATE: sh1t.EMMA: I know. I mean, my mum still slept with him. You know,Stanley was the golden boy, and, um Derek was just, um not loved. But Mum said it was a pity f*ck.- (BABY CRYING)- Oh, sh1t.- EMMA: I know, it's so sad.- KATE: Sorry. - Do you want me to go?- KATE: No. No, it'sfine. Not unless you're secretly lactating. Oh, my God. You breastfeed. Yes, of course I do. Yeah. That will seriously ruin your tits. Well, I think it's bit game-over on that one. Isn't it, Dan? Hey. Tits are tits, um?(BABYSCREAMING)[SCENE_BREAK]EMMA: God bless her.Must be so hard when you've had a kid to still to even feel attractive, let alone look it. She looks so washed out. - Yeah. - Yeah. You look fine, but it must be reallyhard for you to sort of come home to that every night. It's pretty full-on at the moment. But we're in the bubble. We're right in the bubble. But yeah. Do you work out, or ? Yeah. I mean, I try to, yeah. What is it,Pilates, or ? Um, I do Pilates. I do rock climbing. I mean, rock climbing, that's my thing. Yeah. That's my go-to. It's like me and my parkour. - You do parkour? Wow. - Yeah. I like to go into urban areas and just jumpacross really high buildings. - Yeah. Yeah. - It's a big stress-buster for me. That's cool. So what is what is going on with you guys? - I mean, we're friends, really, first and foremost, aren't we? - Friends havings*x.SALLY: Are you sure Kate's all right, because I could go up there EMMA: It's always the quiet ones. Aw, you're so great. I feel like we're really connecting. Yeah, it's really good to meet you. Also, I noticed you wearcowboy boots. - Yeah. I do.- EMMA: That's amazing.DAN: Oh, wow.- EMMA: That's crazy!- DAN: Kate hates them. She's always, like, \"not the f*cking cowboy boots.\" - EMMA: It's like, f*ck off.- DAN: I f*cking lovethem. I got given them I did a movie a couple of years ago and I got given them on that, and I just can't take them off. - Same. - That's insane. This is one of the best dinners I've ever had. It really is. It's really goodfun, it really is. It's great. I'm loving this. I am f*cking loving this. I really am. - Is it hot in here? Really hot. - It is hot. It is quite hot, yeah. Kate! Kate. - Kate!- KATE: What? Could you turn the thermostat down? We'rebaking down here. - Kate! - It's fine.KATE: Don't tell Dan.SALLY: So you like her? Yeah. She seems really Yeah, yeah, she is, I think. Yeah, she's really She's so talented. She makes these, um smoothies in the morning.With like eight different vegetables. In the beginning they made me really, really sick. But I'm vomiting a lot less now, which is great. - Really. - They make you really buzzy for about 20 minutes. And then this kind ofwall of exhaustion hits, and you know, just floors me, but - You know, I feel good. - Wow. It's a purge thing. She's really into detox. You know, you've got to get all the old you out, and then replace it with vegetables.-EMMA: Hey. - Hey. - Sorry, is it okay to come in? - Come in. Yeah, yeah, yeah. - Wow, so this is your little secret hideout place. - Yeah. - Have a sniff around. - God, you've got so many incredible awards and stuff.Yeah, my trinkets and my baubles.(BOTH LAUGH)What's this little wooden driftwood heart? That was from the Congo. Um, and they had this incredible film festival there. They only have about a hundred people, butreally good films. Really special films. - Cool. - Yeah. Is that, like, Congolese wood? - It's Congalese wood, yeah, yeah. - I love Congo. - Yeah, if you've never been, go. - Oh, I've been. - Go. - I've been. - Well, go again,you know. - Well, okay. Oh, my God. What's this?DAN: Oh, wow. My Damon hat. That was given to me by Matt Damon. - Really? - Yeah, we did a musical together called The Orangutan. It's about an orangutan whobecomes a fireman. And he gave it to me on the last day. Look at this.(CHUCKLES)- Faster! Faster, Damon, faster!- (BOTH LAUGH)I mean, like, you literally were on a horse? If you met him, you'd love him. - Did youhave s*x with him? - No. He's a filthy fucker, yeah. Yeah, he really is.- EMMA: I love humor. - Yeah, me, too. Big fan. I've got to ask. You've always been gay, right? No, no. I've been kind of everything, really.- DAN:Okay. - How about you? - Well, you know, I've had my fun in the sun. - Yeah? But fun's over now? - I hope not.- MOLLY: Daddy! Molly, sweetheart. Go back to bed. Come on. It's okay. Let me put her to bed. I've noneed for the Hall of Radiohead. Why don't you have a little look-see at my show reel. I think you might kind of like the, um DAN: I'm liking this already.(EMMA MOANING WITH PLEASURE IN VIDEO)Night, Mobs. Ooh!Ooh! Ah! Ah!EMMA: You seriously need to go to sleep, okay, sweetheart? Got all those for later, okay? There we go.(MOANING CONTINUES ON VIDEO)sh1t. Sorry about that. - Don't apologize. - It's, um It's this WernerHerzog movie where he kept getting me to m*st*rb*t*. Wow. Nice bod. - Do you want to do some coke? - Always. Yeah. I shouldn't. I'm kind of NA, but what the f*ck? Just a little fat one. I should tell you I can"}
+{"doc_id":"doc_56","qid":"","text":"Originally written by Alexa Junge. Transcribed by Joshua Hodge.[Scene: Moondance Diner. Ross, Phoebe, Joey, and Chandler are sitting at the counter, Monica is working. Monica is wearing her costume, including bigfake breasts.]MONICA: So, I'll get candles and my mom's lace tablecloth, and since it's Rachel's birthday, I mean, we want it to be special, I thought I'd poach a salmon.ALL: Ohhh.MONICA: What?ROSS: Question. Whydo we always have to have parties where you poach things?MONICA: You wanna be in charge of the food committee?ROSS: Question two. Why do we always have to have parties with committees?JOEY: Really. Whycan't we just get some pizzas and get some beers and have fun?ROSS: Yeah.PHOEBE: Yeah, I agree. Ya know, I think fancy parties are only fun if you're fancy on the inside and I'm just not sure we are.MONICA:Alright. If you guys don't want it to be special, fine. You can throw any kind of party you want.[Joey is staring at Monica's breasts]MONICA: Joey they're not real. I start miles beneath the surface of these things, ok,they're fake. See [squeezes her breast] honk honk.CHANDLER: Wow, it's, it's like porno for clowns.OPENING TITLES[Scene: Central Perk. Chandler, Ross, Joey, Phoebe, and Monica are planning Rache's birthdayparty.]ROSS: I talked to Rachel's sisters, neither of them can come.MONICA: Ok, um so, I still have to invite Dillon and Emma and Shannon Cooper.JOEY: Woah, woah, woah, uh, no Shannon Cooper.PHOEBE: Why nother?JOEY: Cause she uh, she steals stuff.CHANDLER: Or maybe she doesn't steal stuff and Joey just slept with her and never called her back.MONICA: Joey that is horriable.JOEY: Hey I liked her, alright. Maybe, maybetoo much. I don't know I guess I just got scared.PHOEBE: I'm sorry, I didn't know.JOEY: I didn't think anyone'd buy that, ok.[Rachel enters]ROSS: Hi honey, how did it go?RACHEL: Agh, it was the graduation fromhell.CHANDLER: Ya know, my cousin went to hell on a football scholarship.RACHEL: Ya know, I mean this is supposed to be a joyous occasion. My sister's graduating from college, nobody thought she would. It's a truetestament to what a girl from long island would do for a Celica.MONICA: So what happened?RACHEL: My parents happened. All they had to do was sit in the same stadium, smile proudly, and not talk about the divorce.But nooo, they got into a huge fight in the middle of the commencement address. Bishop Tutu actually had to stop and shush them. But you know what, you know what the good news is? I get to serve coffee for thenext 8 hours.PHOEBE: Ok, so I guess we don't invite her parents.MONICA: Well, how bout just her mom?CHANDLER: Why her mom?MONICA: Cause I already invited her.PHOEBE: Ooh, ooh, did you ask StacyRoth?JOEY: Oh no, can't invite her. She also steals.[Scene: Monica and Rachel's apartment. Chandler, Joey, Monica, and Phoebe are setting up for the party.]PHOEBE: Ok, here are the birthday candles. Where's thebirthday cake?MONICA: Ok, we're not having birthday cake, we're having birthday flan.CHANDLER: Excuse me?MONICA: It's a traditional Mexican custard dessert.JOEY: Oh that's nice. Happy birthday Rachel, here'ssome goo.[knock at the door]MONICA: [answers the door] Dr. Greene. Oh my God it's Rachel's dad. What're you doing here?MR. GREENE: What? The father can't drop by to see the daughter on her birthday?MONICA:No no, the father can, but um, since I am the roommate I can tell you that she's not here and I'll pass along the message, ok. So bye-bye.MR. GREENE: Ohhh, you're having a parteee.MONICA: No, no, not a party. Justa surprise gathering of some people Rachel knows. Um, this is Phoebe and Chandler and Joey.MR. GREENE: I'll never remember all of that. So uh, what's the deal? Rachel comes home, people pop out and yell stuff, isthat it?CHANDLER: This isn't your first surprise party, is it sir?[knock at the door, Monica answers to see Mrs. Greene]MRS. GREENE: Hi Monica.[Monica slams the door back shut]MONICA: Chinese menu guy. Forgot themenus.CHANDLER: So, basically just a Chinese guy.JOEY: Uh, hey, Dr. Greene, why don't you come with me, we'll put your jacket on Rachel's bed.MR. GREENE: Alright, that sounds like a two person job. [they walkinto Rachel's bedroom]MRS. GREENE: Well, my goodness, what was that?MONICA: Sandra, I am so sorry, I thought you were Rachel and we just weren't ready for you yet.MRS. GREENE: You thought I wasRachel?CHANDLER: Yes because uh, you look so young.PHOEBE: And because you're both, you know, white women.MRS. GREENE: Oh, I missed you kids. Well, should I put my coat in the bedroom?CHANDLER: NO! No,I'll take that for ya.MRS. GREENE: Oh well thank you. Such a gentleman. Thank you. [Chandler takes the hot pink coat and grimaces at it] Ahh, it all looks so nice, so festive, all the balloons... [Chandler, rememberingthat Joey and Mr. Greene are in the bedroom, throws her coat in a cupboard] The funniest thing happened to me on the way here. I was...[Joey peeks out]PHOEBE: [cutting Mrs. Greene off] Ha-ha, that's great, ha-ha. Ican't wait to hear the rest of it, ya know, but I really have to go to the bathroom so... Hey, come with me. Yeah, yeah, it'll be like we're gal pals, ya know, like at a restraunt. Oh, it'll be fun, c'mon. [they go in thebathroom]MONICA: Oh my God, oh my God, oh my God.CHANDLER: Ok, think, what would Jack and Chrissy do?JOEY: [peeks back out] Ok, now that your coat is safely in the bedr-, [sees that the coast is clear] oh, okwe can come back out in the living room.MONICA: So uh, Joey and Chanlder, I, I think it's time that you take Dr. Greene over to your place.CHANDLER: Uhh, yes, absdolutely, um. Why again?MONICA: Because that'swhere the party is you goon. See this is just the staging area.JOEY: Right this is staging.CHANDLER: Yeah, this more than anything else, is the staging area.JOEY: [as they're walking out, Dr. Greene questioninglygestures at the Happy Birthday sign over the door] This is clearly in the wrong apartment. [they all walk across the hall][Scene: Later on in the hallway between the apartments. Chandler is showing people to theparties.]CHANDLER: Alright you guys are off to party number one [ushers 3 guys into Monica's apartment] and you, you are off to party number two [ushers four women into his apartment. Two guys try to follow andChandler blocks them and shoos them off to Monica's apartment] Alright fellas, let's keep it movin', let' keep it movin.MONICA: Chandler could you at least send some women to my party? [buzzer goes off] Alright that'sRoss.CHANDLER: Ok, they're coming, shhh. [Runs into Monica's apartment and grabs one last girl to take to his apartment]RACHEL: Ohh, thank you for the wonderful dinner.ROSS: Thanks for being born.RACHEL: Ohh,thank you for my beautiul earrings, they're perfect. I love you.ROSS: Oh, now you can exchange them if you want, ok.RACHEL: Now I love you even more.[they kiss and Ross backs her into her apartment and turns onthe lights]ALL: Surprise.RACHEL: Oh my gosh, wow. Monica. Oh my god. Mom. This is so great.MRS. GREENE: Happy birthday sweetie.RACHEL: Wow you, you. I had no idea.ROSS: Really?RACHEL: No, I knew.ROSS:All right.MONICA: Ok, everybody, there's food and drinks on the table. Go across the hall.ROSS: What?RACHEL: What?MONICA: Right now, Joey and Chandler's, go now.RACHEL: Why.MONICA: Just go.[they walkacross the hall]ALL: Surprise.MR. GREENE: Happy birthday sweetpea.RACHEL: Daddy.[Ad break. Time lapse. Still at party at Chandler and Joey's. Rachel is talking to Chandler and Ross.]RACHEL: Both of them are here,both of them, both of them are here?CHANDLER: Well, we could count again.RACHEL: I can't believe this is happening.ROSS: You know what, this is ridiculous, ok. This is your birthday, this is your party. I say we justput 'em all together and if they can't deal with it, who cares.RACHEL: I do.ROSS: That's who.CHANDLER: Look, are you gonna be ok?RACHEL: Well, I have to be, I don't really have a choice, I mean, you know, I couldlook at the bright side, I get two birthday parties and two birthday cakes.CHANDLER: Well, actually just one birthday flan.RACHEL: What?CHANDLER: It's a traditional Mexican custard dessert...Look talk to Monica, she'son the food committee.[Time lapse. Chandler runs out of the bathroom.]CHANDLER: Joey, Joey. Hey, some girl just walked up to me and said, 'I want you Dennis,' and stuck her tounge down my throat. I love thisparty.JOEY: Quick volleyball question.CHANDLER: Volleyball.JOEY: Yeah, we set up a court in your room. Uh, you didn't really like that grey lamp, did you?CHANDLER: Joey, a woman just stuck her tounge down mythroat, I'm not even listening to you.GIRL'S VOICE: Dennis.CHANDLER: Ok, that's me. [runs back]RACHEL: Listen honey, can you keep dad occupied, I'm gonna go talk to mom for a while.ROSS: Ok, do you have anyideas for any openers?RACHEL: Uhh, let's just stay clear of 'I'm the guy that's doing you daughter' and you should be ok.[Back in Monica's party]MONICA: Ok people, I want you to take a piece of paper, here you go,and write down your most embarassing memory. Oh, and I do ask that when you're not using the markers, you put the caps back on them because they will dry out.[Back in Chandler and Joey's party]ROSS: Hi Dr.Greene. So, uh, how's everything in the uh, vascular surgery....game?MR. GREENE: It's not a game Ross, a woman died on my table today.ROSS: I'm sorry. See that's the good thing about my job. All the dinosaurs onmy table are already dead.[Back in Monica's party]MONICA: Listen you guys, I don't mean to be a pain about this but, um, I've noticed that some of you are just placing them on. You wanna push the caps until youhear them click. [she demonstrates, Gunther starts to walk to the door] Gunther, where're you going?GUNTHER: I um, was sorta thinking about maybe...MONICA: No. No you can't go. No this is fun. Come on we're justgetting started. Here, here's your marker.PHOEBE: Listen if you wanna go, just go.GUNTER: No, she'll yell at me again.PHOEBE: Alright, I can get you out.GUNTHER: What?PHOEBE: Shh. In a minute, I'm gonna createa diversion. When I do, walk quickly to the door and don't look back.[Back at Chandler and Joey's party]MR. GREENE: I think I need a drink.ROSS: Oh, here, I, I'll get it for ya. Whad'ya want?MR. GREENE:Scotch.ROSS: Scotch. Alright, I'll be back in 10 seconds with your scotch on the rocks in a glass.MR. GREENE: Neat.ROSS: Cool.MR. GREENE: No no no, no no no, neat, as in no rocks.ROSS: I know.[Back at Monica'sparty]MR. GREENE: Oh hello Ross, where have you been?ROSS: Hi. Uh, I have been in the bathroom. Stay clear of the salmon mousse.MRS. GREENE: Oh, scotch neat. Ya know, that's Rachel's father's drink.ROSS: Oh,mine too. Isn't that neat, scotch neat. Would you excuse me? [walks out in the hallway, Mr. Greene is walking out of Chandler and Joey's apartment] Hey, hey, where you uh, sneakin off to mister?MR. GREENE: I'mgetting my cigarettes out of my jacket.ROSS: No. no.MR. GREENE: Whad'ya mean no?ROSS: No, um, see 'cause that, that is, that is the staging area. If you go in there, it'll ruin the whole illusion of the party. Yeah, Ithink you take your scotch back in there and I will get your cigarettes for you sir.MR. GREENE: Get my glasses too.ROSS: All righty roo. [closes the door] What a great moment to say that for the first time. [goes to getthe cigarettes and glasses]MONICA: Ok, the first person's most embarassing memory is, 'Monica, your party sucks.' Very funny.PHOEBE: Oh no, ooh, ooh, did somebody forget to use a coaster?MONICA: What? [sheruns over to where Phoebe is, Phoebe signals for Gunther to go] I don't see anything.PHOEBE: Great, I'm seeing water rings again.MRS. GELLER: Ross, whose glasses are those?ROSS: Mine.MRS. GREENE: You wearbi-focals?ROSS: Um-hmm. [puts them on] I have a condition, apparently, that I require two different sets of focals.MRS. GREENE: Did you know my husband has glasses just like that?RACHEL: Well those are verypopular frames.ROSS: Neil Sedaka wears them.GUY: [to Phoebe] I hear you can get people out of here.MRS. GREENE: Rachel, you didn't tell me your boyfriend smoked.RACHEL: Yeah, like a chimney.ROSS: Ohh, bigsmoker. [Packs the cigarettes and flings one on Mrs. Greene in the process. Finally gets one in his mouth and it look really out of place] Big big smoker. In fact I'm gonna go ou into the hallway and fire up this bad boy.[as he walks into the hall, he comes face to face with Mr. Greene]MR. GREENE: Are you wearing my glasses?ROSS: Yes. [pulls them off and hands them to Mr. Greene] I was just warming up the earpieces for you.MR.GREENE: Thank you. Is that one of my cigarettes?ROSS: [pulls the cigarette off his upper lip and hands it to Mr. Greene] Yeah, yes it is, I was just moistening the tip.[SCENE_BREAK][Back in Monica's party. Phoebe istalking to a guy and two girls at the party.]PHOEBE: Ok, ok, she's taking the trash out so I can get you out of here but it has to be now, she'll be back any minute.GIRL 1: What about my friend Victor?PHOEBE: No, onlythe three of you, any more than that and she'll get suspicious.GIRL 1: Alright, let me just get my coat.PHOEBE: There isn't time. You must leave everything. They'll take care of you next door.GIRL 1: Is it true they havebeer?PHOEBE: Everything you've heard is true.[Back at Chandler and Joey's party. Everyone is dancing and having fun.]MONICA: Could you guys please try to keep it down, we're trying to start a Boggletournament.[Chandler and Joey stop dancing and laugh at her]MONICA: You, and you, you're supposed to be at my party. And Gunther! What are you doing here?GUNTHER: Um [gestures to dance floor]PHOEBE:[enters with the three people she got out] Ok, welcome to the fu-oh.MONICA: Phoebe.PHOEBE: Alright, I'm sorry but these people needed me. They work hard all week, it's Saturday night, they deserve to have a littlefun. Go.MONICA: Ya know, my party is fun. I mean, maybe it's a little quieter, less obvious sorta fun but, you know, if people would just give it a chance... [volleyball hits her in the head from behind][Back at Monica'sparty]RACHEL: You want me to see a therapist?MRS. GREENE: Sweetheart, you obviously have a problem. You've chosen a boyfriend exactly like your father.RACHEL: Ok mom, you know what, fine, I'll make anappointment ok, but you know what, right now, I gotta go, I gotta go do a thing.[Chandler and Joey's party]MR. GREENE: Did you know your mother spent $1200 dollars on bansai trees. I felt like Gulliver around thatplace.RACHEL: Daddy, daddy, you know what, I really wanna hear more about this, I really do, but I just have, I just have to do a, some stuff.[Monica's party]MRS. GREENE: You work and you work and you work at amarriage but all he cares about is his stupid boat.[Chandler and Joey's party]MR. GREENE: You work and you work and you work on a boat...MRS. GREENE: He always ridiculed my pottery classs...MR. GREENE: ...andyou sand it and you varnish it...MRS. GREENE: ...but when all is said and done, he still drinks out of the mugs.MR. GREENE: ...and her yoga and her Bridges of Madison County...MRS. GREENE: ...the scotch and thecigarettes...MR. GREENE: ...and the bansai's and the chiuaua...MRS. GREENE: ...I may have only been in therapy for three weeks now dear but...MR. GREENE: ...what the hell does she want with half a boat...[Scene:The hallway after the party. Rachel is sitting there.]CHANDLER: [running out of his apartment after a girl] Ok, ok, you can be shirts and I'll be skins. I'll be skins. [sits down beside Rachel] Hey, how you holdin' up there,tiger? Oh, sorry, when my parents were getting divorced I got a lot of tigers. Got a lot of champs, chiefs, sports, I even got a governor.RACHEL: This is it, isn't it? I mean, this is what my life is gonna be like. My momthere, my dad there. Thanksgiving, Christmas. She gets the house, he's in some condo my sister's gonna decorate with wicker. Oh, Chandler how did you get through this?CHANDLER: Well, I relied on a carefullyregimented program of denial and, and wetting the bed.RACHEL: Ya know, I just, so weird. I mean I was in there just listening to them bitch about each other and all I kept thinking about was the fourth ofJuly.CHANDLER: Becasue it reminded you of the way our forefathers used to bitch at each other?RACHEL: It's just this thing. Every year we would go out on my dad's boat and watch the fireworks. Mom always hated itbecause the ocean air made her hair all big. My sister Jill would be throwing up over the side and my dad would be upset becasue nobody was helping and then when we did help he would scream at us for doing itwrong. But then when the fireworks started, everybody just shut up, you know, and it'd get really cold, and we would all just sort of smush under this one blanket. It never occured to anybody to bring another one. Andnow it's just...CHANDLER: I, I know. [Hugs her. Ross walks out and Chandler puts her in his arms.][Scene: Monica's party. She is seeing off the last of the guests.]MONICA: Ok, thanks for coming, I hope you guys hadfun.MRS. GREENE: Alright, Monica dear, I'm gonna hit the road. Now I've left my 10 verbs on the table. And you be sure and send me that finished poem.MONICA: Ok will do. So glad you came.MRS. GREENE: I think Isaw Rachel out in the hall.MONICA: Ok, let me go check. Your mom want's to say goodbye.RACHEL: Oh ok.MRS. GREENE: Happy birthday sweetie.RACHEL: Ok.[Mr. Greene opens the door to Chandler and Joeysapartment. Ross sees him and runs to the door forcing him back in then holds onto the door knob.]JOEY: Ahh, you drive safe.MRS. GREENE: Ross, what're you doing.ROSS: I'm getting ready for the water skiing. [Mr.Greene opens the door which pulls Ross in] How are you doing?CHANDLER: Well, uh, Dr. Greene, where are you going?MR. GREENE: To get my coat.GUYS: No no no.MR. GREENE:Alright, alright, I can get my owncoat.[the guys form a wall between Mrs Geller and Mr Geller and dance across the hall as he walks across]CHANDLER: Sorry, we're on a major flan high.PHOEBE: Oh no, you're not supposed to be here. This is thestaging area, you should, it's all wrong, you should leave, ya know, get out. [opens the door, the guys are right there] Or perhaps you'd like a creme d'menthe.MR. GREENE: I have to be heading to my chateau, thankyou.PHOEBE: Oh all right, then I guess we're going back into the hallway.JOEY: Thanks for coming Mrs. Greene. [grabs her and kisses her to distract her. She goes limp in his arms. Mr. Greene leaves.] Well, ok, youtake care.MRS. GREENE: Oh, you kids [she caresses his face and chest] Well, this is the best party I've been to in years.MONICA: Thank you.CLOSING CREDITS[Scene: Monica and Rachel's apartment. Close up of theflan on the table with birthday candles.]MONICA: Ok everybody, it's time for flan.CHANDLER: Yup, get ready for the gelatenous fun.JOEY: Kinda looks like that stuff you get when you get a bad infection.MONICA: Ok,that's enough.PHOEBE: Ok Rachel, make a special flan wish.RACHEL: Ok, I've got one. [blows out the candles. Somebody calls out 'heads up' and the volleyball lands in the flan] Wow, those things almost never cometrue."}
+{"doc_id":"doc_57","qid":"","text":"Narrator: Our nation is built upon a history of battles fought over honor, family, and power. These bloody and iconic chapters define what it truly means to be an American. These are Blood Feuds. At the height of theKlondike Gold Rush, Skagway, Alaska is America's last frontier.[Gunshots]Skagway is the entrée to the gold fields. Control Skagway, and you control the wealth of the Yukon.Narrator: Two men are locked in a powerbattle for the town. Put that rope down. One is \"Soapy\" Smith, a notorious criminal driven by greed. Soapy was the king of the frontier continent.Narrator: The other is Frank Reid, a vigilante bent on revenge. Reid killeda man because of his bad temper. Soapy Smith has too much control over this town. There was a tension. And this tension slowly built.Narrator: It's an epic feud that starts with money but will end in blood.Smith: Bringthem in, dead or alive... That statement guaranteed bloodshed in Skagway. I'm Soapy Smith. I've run the cleverest con games in the west. But now, I'm here in Skagway, Alaska to clean up on the Yukon Gold Rush.This is a town I mean to own. And Frank Reid ain't gonna stand in my way. Name's Frank Reid. The frontier is a place where a man can build something new. But Soapy Smith and his scams are making things hard forme. I mean to put a stop to it. You can't stop me. My God. Don't shoot.Narrator: Frank Reid's and Soapy Smith's fates collide in 1897, during the great Klondike Gold Rush. The front pages of newspapers screaming,\"Gold. Gold. Gold.\"Narrator: As news spreads, men from all over the west pack their bags and board ships bound for Alaska. They came from San Francisco. They came from Portland. They came from Seattle. TheYukon offered a get-rich-quick type of thing.Narrator: But most of the men have no idea what they're in for. What you saw from the boat was a forbidding landscape, towering mountains. It was cold.Narrator: There aretwo main harbors that lead to the Yukon trail where the gold is. Dyea is the most direct route, but it's through the notoriously treacherous Chilkoot Trail. The other longer but less rigorous path is via a desolate outpostcalled Skagway.Spangenberger: Skagway comes from an old Indian name meaning cruel, deadly winds coming down.Narrator: In the harsh early days, Skagway becomes the first place where many newcomers to theYukon would pitch their tent. Some of these men are here to try out their luck in the gold fields. Others see a chance to make money off the miners. And many are here to put their pasts behind them. There was apopular song during the Gold Rush which was called \"What was your name in the States?\" You could leave your entire past behind. You could start over again.Narrator: One man looking for a new start is a toughfrontiersman from the western states named Frank Reid. He's a land surveyor and former soldier who is trying to escape from a dark past. Reid had killed a man in Oregon.Spangenberger: He killed him because of hisbad temper. It was a neighbor that there was just some animosity brewing between them. The neighbor passed by him without acknowledging him. And that offended Reid's sense of honor.Hutton: The altercation was areal reflection of his demand for respect. He had a real edge to him.Narrator: Haunted by the killing, Reid yearns to put his demons behind him and contain his hair-trigger temper. He had a checkered past, but hewanted stability. He wanted something better.Narrator: Reid sees the Klondike as his chance for redemption. I don't think Reid was looking so much for the gold as for the opportunities that the Gold Rush was gonnacreate. He sees a new chance to remake himself 'cause that's what the west is all about.Narrator: When Reid arrives in Skagway in the summer of 1897, he's one of the early settlers. It's totally a sea of mud. Heavenhelp you if you fell 'cause you're likely just to drown in the muck.Narrator: The cold and the mud are only part of the problem. With no rules or oversight in this harsh environment, Skagway is a lawless place. But FrankReid sees promise. He teams up with some other settlers who share his vision to create a real town from the chaos and mud.Man: Where do we get started? Well, I was a surveyor down in the lower 48. I thought maybeI could help lay out your roads. He's looking for an opportunity. And, of course, he has the skill set, which no one else has, to lay out the town. He's rewarded with a secure place amongst the leaders ofSkagway.Narrator: Soon, there are primitive streets, a stable, and an inn to house some of the miners. Frank Reid's mission is now to tame this town and create law and order from the frontier chaos. He wants to be afounding father of something great.Narrator: Thus far, he's been able to keep his violent temper in check. But he's about to meet a foe who will ignite his fury and spark an epic battle for the town that soon turnsdeadly. One of the newer arrivals in Skagway is Jefferson Randolph Smith. He's a man on the run from his bad reputation. Jeff was the king of the frontier con men. That's what he's most well known for. Step right up.Who feels like trying their luck today? Three-card monte.Narrator: He's a slippery character, true to his nickname... Soapy Smith. You got the lucky streak in your eye. How about you step up there? Just a dollar to play,huh? This one right here. All right. I got the ace of spades. And they're dancing. They're flying.Narrator: Having just arrived in Skagway, this infamous con man keeps a low profile at first in order to scope out the town.With a history of organizing major cons and robberies all over the west, he's currently on the lam from Denver, Colorado, where he was the kingpin of a powerful crime syndicate and had been wanted for murder. Therewere several times where he was arrested for possibly killing people. But most of the time, it was swept under the rug. And he had enough power to get out of the charge and get out of a prison sentence.Hutton: Hebought and paid for protection from the police. He had been very, very successful. Oh. Better luck next time, all right? Who's next? Step right up!Narrator: But when Soapy's corrupt ways finally get him run out ofDenver, he's forced to find somewhere new. When he hears of the Gold Rush in Alaska, he arrives in Skagway with a singular mission... Take this town for all it's worth. As he always does in a new place, Soapy findssome accomplices and sets up shop by opening a saloon. The legend has it that Soapy arrived and right away began working the machinery behind the scenes, as he had done in all of his others towns, setting up thegang and setting up his various establishments.Narrator: The saloon has gambling tables, whiskey flowing around the clock, and ladies of the night. In this den of sin, Soapy and his gang run their scams and robberies.Soapy is about con operations, and he's about pickpockets and stealing people's money when they're in bed with a prostitute. This is the way he makes his money. And, of course, he's running crooked cardgames.Narrator: With all this debauchery and theft and the unsavory characters who come with it, crime and violence begin to emerge in this small frontier town.[Gun cocks, gunshot]Hutton: For Frank Reid and otherswho had come into Skagway hoping to establish something good, Soapy Smith was an incredible threat.Narrator: As legend has it, after hearing rumors of Smith's illegal ventures, Reid stops by Soapy's saloon toconfront him.And he seethes with anger over the depravity he discovers inside. Whoa! When Reid sees a drunk causing trouble at the bar, he snaps... Get the hell out of here. ... and throws the scoundrel out. Reid'sfocus quickly turns to Soapy, the criminal who threatens to destroy Skagway. Reid thought that Jefferson Randolph Smith was a scourge on the community, that he was bad for business, that they didn't need to havehis kind around.Narrator: Soapy knows Frank Reid is one of the town pioneers who stands for law and order, so he expected this visit would come eventually. But he doesn't like anyone putting a hand on his customers.I appreciate you trying to protect my place. But I don't mind a guy getting drunk. That's sort of the idea of the business. I want to see this place get built up, not torn down by a bunch of drunks. They weren'timmediately hostile to each other, but they certainly weren't friendly, either. And so there's a tension.Narrator: Soapy tries to determine how much of a threat this lawman might be.Soapy: So, what brings you up here?You ain't out hunting for gold in the fields. You aiming to stick around, settle down? It's the wrong place for that. I intend to stick around.Narrator: The men part ways, but both can see it's only a matter of time beforethe two collide.Hites: Frank Reid was trying to find an opportunity, trying to get Skagway built. Soapy just wanted to continue the old ways.Narrator: Soapy knows that Frank Reid could pose some serious problems forhim. Reid is dedicated to shutting down Soapy's illegal operations to prevent Skagway from falling into corruption and lawlessness like so many other old west towns had in the wake of the civil war. Reid had traveled allover the west to boom towns before. He knew the kind of people that lived there. And, of course, the arrival of Soapy Smith was just a nightmare. Here is exactly the sort of con artist that had been run out of all sorts oftowns. He's the last thing that they wanted in Skagway.Narrator: Determined to rid the town of gambling and thievery, Reid meets with the other founding fathers to sound the alarm and get organized. The group said,\"Okay. We're gonna take on the job of trying to keep some semblance of civilization here.\"Narrator: In this distant frontier town with no police force or militia, the men band together with one goal in mind... to establishlaw and order in Skagway. I'm here to propose Skagway is kept a safe city. Hear, hear. Somebody's got to keep order. The pioneers of Skagway have to make their own government and their own rule. I propose thatwe form a committee to deal with some of the welfare issues of this city.Narrator: The group calls itself \"The Committee of 101,\" named after the many members who joined the cause. For the Committee of 101, forFrank Reid, it's all about power, and it's all about money. We have a real opportunity here to become very, very wealthy. But to have money, you've got to have decency and safety and law and order. Let's makeSkagway into the jeweled city of the northwest.Narrator: But the new Committee of 101 knows there's one thing standing directly in their way... Soapy and his gang of thieves. They couldn't do much about it at thatpoint. It was too early on.Narrator: As a first order of business, a U.S. marshal is appointed. But deep down, Reid knows he may have to personally step in to keep Soapy in line. There's no question that Frank Reid isone of the few men in town with a real reputation. He certainly is one of the few men in town who everyone knew had killed someone.Narrator: Meanwhile, Soapy Smith is busy quietly building his criminal empire. Hehas already won over the more corruptible merchants in town to support his cons, promising he'll never fleece a local, just the miners passing through. Some merchants were behind him. As long as they weren't a partof the actual cons, they could look the other way and just profit from it. Soon, hundreds of men are on his payroll. And Soapy, ever the smooth talker, starts winning over the rest of the town, as well.Hutton: He's sucha charmer, he's soon got everybody in his pocket. Some of them are in his pocket 'cause he's filling their pockets. But a lot of folks are just won over by this guy. He's so charming.Narrator: Soapy Smith and his criminalsoap gang have big plans for Skagway. And he's not gonna let Frank Reid stop him. The battle for Skagway will soon be fought and will end in blood.[Gunshot]Narrator: It's 1897.In the wild frontier town of Skagway,Alaska, Frank Reid and other citizens have formed a committee to maintain the law. These men want to build a community, and they want to make money. But to have money, you've got to have law andorder.Narrator: Standing in Frank Reid's way is con artist Soapy Smith and his criminal soap gang. His method of making money is by scamming the miners who come through town. His newest business is a telegraphcompany to take advantage of lonely miners trying to reach loved ones back home. I'd like to send a telegram to my wife. Of course. Go in, \"want to send a telegram.\" The telegrapher would write down your messageand then hammer out your message right there on the wire. Louise, I arrived at this here place safe. So people would come in. They'd pay $5 and send a telegram. But, of course, it was all fake.Hites: There were notelegraph wires strung to Skagway in 1897. Okay. That'll be $5. Thank you, sir.Narrator: The money is rolling in. And this is just one of Soapy's scams. When Frank Reid hears rumors about Soapy's growing criminalenterprise, he's furious.Hites: If word gets out that Skagway is a dangerous place to bring your gold out through, all the gold for the entire Klondike is gonna go out through other port cities. Skagway will be destroyedeconomically.Narrator: According to legend, Reid decides to confront Soapy about his scams. But he has to be careful. Soapy's goons are everywhere. And Reid doesn't want his bad temper to get the best of him. Youknow, I don't begrudge a man for making a buck. But I don't like the way you're going about it. I'm not hurting anybody in this town. Me and my boys are only fleecing money off of these miners on their way out to theKlondike. Now, some of those boys don't even know how to survive out there anyways. I'm saving their lives.Narrator: Reid warns him, the Committee of 101 will no longer tolerate Soapy's scams.Hutton: Reid and hisfriends were determined to shut down Soapy's operations. You know, this little problem of yours will go away real quick if you just look the other way.Hutton: One of the ways you survived on the frontier as long asFrank Reid had is you don't allow people to push you around. I can't do that.Narrator: But Soapy won't be pushed around either. There's only one man in Alaska who can get me if I'm ever got. You'll be the man to do it.I know.Narrator: Soapy knows his interests are directly threatened by Reid and his committee. And he's not prepared to let that happen. So he recruits some of Skagway's roughest elements to be bodyguards. And hestarts to carry around his own formidable weapon wherever he goes... an 1892 Winchester rifle.Spangenberger: This 1892 Winchester was a handy gun and certainly good as a man killer.Narrator: But tough guy FrankReid remains unafraid. Everyone can feel a confrontation is coming. And, soon enough, it does. It starts with one of Soapy's men, a bartender in a popular saloon. It was a bartender by the name of John Fay and apatron who was drunk and angry that he had lost some money in the saloon. And he complained. Hey, bartender, I said I want my change.Narrator: John Fay has allegedly pocketed the drunk customer's change. It'sone of Soapy's common scams. It was done, usually, to people passing through. But it wasn't done often to people who were locals or local working men because it brought on bad business.Fay: You ain't gettingnothing back. Had enough of your damn... get the hell out of here. I'm... I'm coming back! Fay says, \"you do that, I'm gonna shoot you when you come back in,\" and threw him out of the saloon.Narrator: Undeterred,the drunk patron runs to get help outside the bar. And he runs into, by chance, deputy Marshal Rowan going by him in the streets.Narrator: The marshal agrees to go back with him to the bar to settle the dispute.Hites:They go back into the saloon. As they go through the door, Fay shoots both of them.[Gunshots][Woman screams]McGrath is dead instantly. And Rowan, the deputy marshal, is taken off to Doc Moore's office, wherethey lay him down. He dies there.Narrator: John Fay, one of Soapy's men, has now killed the deputy marshal and another Skagway citizen. The gunman runs to Soapy for help. Fay ran to him for protection. Now,Soapy, being the fixer, he grabbed Fay and hid him.[SCENE_BREAK]Narrator: News of the killings circulates through town and reaches the Committee of 101. There's been a shooting at the people's saloon. John Faykilled two men, and one of them was Marshal Rowan. Let's go! Yeah. Come on.Narrator: Enraged, the Committee of 101 knows that the time has come to take a stand against these criminals and is determined to findjustice for the innocent men shot down in cold blood. This is the first time since his new life in Skagway that Reid risks showing flashes of the temper that could lead to murder. The noose is grabbed.[All shoutingindistinctly]But Soapy isn't about to let one of his men get taken by this mob. He's gonna show his rival, Frank Reid, that he won't give up control of the town without a fight.Narrator: It's January 1898. In Skagway,Alaska, a lawless gold-rush town on the verge of chaos, John Fay, an associate of criminal boss Soapy Smith, has killed two men...[Gunshots]... in cold blood. Fay shot both men dead. Now, there was a mob, and theywere hungry for revenge.Narrator: Furious, the Committee of 101 rallies to seek justice for the murdered citizens. This could be their shot to take down Soapy, the criminal boss of Skagway. But Soapy Smith isn't aboutto let the committee get one of his men. Soapy, of course, got John Fay and had him protected by some of his friends. It's time we take the law into our own hands, gentlemen. You're a bunch of cowardly, rope-pullingsons of bitches.Hites: As legend has it, Soapy literally stands in front of the angry crowd and says, you know, \"if anybody tries to get to Fay, they got to come through me.\"Narrator: The standoff represents two verydifferent men... One on the side of law and order, the other, crime and corruption. Bring Fay out here, Soapy. You're protecting a murderer. He killed two men in cold blood and one, the only lawman in this town.[Allshouting indistinctly]Narrator: Soapy can see he's outnumbered, so he tries a different tack... his gift for persuasion.Put that rope down, Reid. We hold to the law here, not vigilante justice. No lynching is gonna go onhere tonight. Not many people can talk down a violent mob, one that wants to hang. But Soapy was so good at talking his way out of problems.Narrator: He convinces the crowd that he is the one who is standing up forthe law and a fair trial, and that the Committee of 101 is nothing but a group of reckless vigilantes.Hutton: Soapy's pretending to be a law-and-order man when, of course, he's leading the outlaws. It's so frustrating forReid, who sees Soapy for what he is. And yet, Soapy wins over everybody. Go home, now. I'll make sure Fay doesn't go anywheres until the law gets here.Narrator: For Frank Reid, it's a humiliatingdefeat.Spangenberger: The vigilantes and Frank Reid, I'm sure they thought, \"Okay, boys. This is our chance. Now we can get rid of Soapy.\" But it didn't work. And I'm sure they were very angry.Narrator: To makematters worse, in the days following, Soapy plays up the role of town hero. And many townspeople are won over despite the fact that Soapy is protecting a murderer. The con man uses his deep pockets to win overmore support. He helped start churches and helped people in need. If somebody was sick or in trouble, he would help them out.Narrator: But Soapy's public good deeds can't mask what Reid knows is really going on inSkagway. Crime and violence is spiraling out of control.Haydn: Skagway had become so notorious as a place where people got clipped of all their money that they didn't want to even go into the town.Narrator: OnMarch 7th, 1898, a young miner named Peter Clancy Bean is ambushed on a road outside Skagway. The same day, Skagway records a shocking 12 robberies.Hites: As the story goes, Skagway was a wicked place littlebetter than Hell on earth, probably the roughest place in the world.[Woman screams]Narrator: Reid blames Soapy and his goons for it all.Everything that he fought for is being destroyed. And he's being played for thefool. It's no longer enough to try and stop Soapy from pulling his scams in town. Now he wants the con man gone from Skagway for good. The day after the murder, the committee posts a public warning that all buncoand sure-thing men best leave town.Hites: Warning... All con men and other objectionable characters are hereby notified to leave Skagway on the White Pass road immediately.Narrator: There is only one objectionablecharacter the Frank and the committee are after... Soapy Smith. This broadside was literally published and nailed around town overnight.Narrator: But Soapy is undeterred.Hites: He responded with a flyer that said tothe Committee of 101, \"no vigilantes will be tolerated in this town,\" signed, \"The Law and Order Committee of 317.\" 317 was the address of his saloon.[Laughs]It was a joke. It was a response immediately showing"}
+{"doc_id":"doc_58","qid":"","text":"1.20 - P.S. I Lo...OPEN AT LUKE'S DINER(Lorelai and Rory are sitting at a table. Lorelai is in the middle of telling a story.)LORELAI: So then he starts ripping my twenty dollar bill into like a million pieces. And I'mthinking to myself, there is a store full of people, why am I the one on line with the crazy magician? (Rory yawns) Okay, I'll cut to the end. So he couldn't put it back together again and he had to pay me back inquarters.RORY: Very good story.LORELAI: You look tired.RORY: I just haven't been sleeping very well lately.LORELAI: How come?RORY: Just have a lot on my mind.L: Anything I can do?R: Flag down the coffee.L: Armgoing up now. Honey, you gotta wake up. Wanna play?R: One, two, three?L: I'll go first.(They both stare out the window.)R: And one.(Older man walks by.)L: Pass.R: Why?L: Because I'm not Anna Nicole Smith.Next.R: Two.(Teenage boy on a skateboard goes by.)L: Hmm, pass.R: Why?L: Because I'm not Mary Kay LeTourneau.R: Okay.(Luke comes to the table while they are staring out the window.)LUKE: What are youlooking for?L: My new husband.R: She's already passed up two perfectly good prospects.L: But I'm feeling pretty good about number three.LUKE: Do I want to know what you're doing?R: Hey, Luke came to the table,does that make him number three?LUKE: No.L: You don't even know what we're doing.LUKE: The safest answer in anything involving the two of you is no.L: We're playing one, two, three, he's yours.LUKE: I didn'task.R: You can take the first guy that walks by, or if you decide to pass, assuming there's somebody better out there, you can take the next guy that walks by, or if you don't take him, you're automatically stuck withthe third guy.L: Got it?LUKE: I'm not playing.L: Well of course not. Its still my turn.R: Okay, guy number 3 is crossing the street right now.(All three of them stare out the window.)LUKE: Why am I looking?L: Becauseit's like a train wreck.(They see Kirk walking towards the diner.)L: Aww, no!R: Daddy!L: Not Kirk!R: Maybe he'll buy me a pony.L: I wanna go back to the old guy.(Kirk walks in the diner. Luke walks over to him.)LUKE:Congratulations man.KIRK: Uh, thank you.(Lorelai and Rory start giggling.)KIRK: What?L: NothingKIRK: Okay, did somebody put the kick me sign on my back again?(Lorelai and Rory are laughing.)KIRK: It wasn'tfunny last week and it's not funny now! I have asthma.(Kirk leaves the diner.)R: Mom, quick he's leaving!L: Oh no, Kirk come back, I love you! Drat. All right, your turn.R: I don't know Mom. You already got Kirk, how'sa girl to top that?L: You're right, he's yours.R: And one.(They stare out the window. Dean walks by. Rory gets a sad look on her face.)L: Okay, so, we should order.R: Yeah, ordering's good.(OpeningCredits)INDEPENDENCE INN(Lorelai is sitting at a table in the lobby organizing folders. Michel, who is behind the counter, answers the phone.)MICHEL: Independence Inn, Michel speaking.MAX: Yes, is Ms. Gilmorethere?MICHEL: I'm sorry, she's busy, how may I assist you?MAX: Actually, I need to speak to Ms. Gilmore.MICHEL: Is this business or personal?MAX: Personal.(Michel walks over toward Lorelai and tosses the phone onthe table. Lorelai picks it up.)MAX: Is anybody there? Hello?L: Yes, Hello, hi.MAX: Lorelai?L: Max!MAX: Is this a bad time?L: No such thing. Where are you?MAX: I am in the teacher's lounge.L: Hmm, what are youwearing?MAX: Nothing.L: You must be very popular.MAX: And chilly.L: I thought we had a chat date tonight.MAX: We did, but I was thinking about something and I wanted to run it by you.L: Okay.MAX: So. .L: Ooh,hey, make a gorilla sound.MAX: Why?L: I want to play Wild Kingdom.MAX: I am not making a gorilla sound.L: I'll tell you what color underwear I'm wearing. (pause) Had you considering the gorilla sound, didn't I?MAX:Yup.L: I'm good.MAX: Okay, I need you to be serious now.L: Says the man with no pants.MAX: We've been having these very successful phone calls for a couple of weeks now.L: Yes we have.MAX: And I think that allthe talking has done us a lot of good.L: Yes it has.MAX: So I was thinking that maybe this weekend instead of a phone call, we should have a date. Let's have dinner.L: Hmm, at the same restaurant?MAX: At the sametable.L: Interesting idea.MAX: I think its time.L: You know what? So do I.MAX: Saturday night, 8 o'clock?L: Okay, wear some pants.MAX: I make no promises.L: Bye.CUT TO SIDEWALK(Rory is sitting on the curbreading a book. Lane walks over to her and drops a small bag of chips into her lap. Rory stands up and Lane hands her a small bag from the market.)LANE: Salt and vinegar.R: Thank you.LANE: Here's your gum, yoursoda, your New Yorker, and your dental floss.R: Aw, they didn't have the minty kind?LANE: They were out.RORY: Well, this is good too.(They start walking)LANE: He wasn't in there.R: What?LANE: Dean. He wasn't inthere.R: Oh.LANE: In case you were wondering.R: I wasn't.LANE: Okay, well I just thought you might be. So I mentioned it.R: Well, I'm not.LANE: Okay.R: Okay.LANE: I just thought you'd might like to know for futurereference that Dean is not in the store on Wednesdays so you can mark it down on that little list you're hiding from me that says where Dean is so that you can avoid him at any time.R: I was not avoiding themarket.LANE: Oh, my mistake.R: I wasn't.LANE: Okay. So what are you doing tonight?R: Well homework, and then homework, and if I get all that done in time, some homework. You?LANE: I have to meet my sciencepartner.R: Fun.LANE: Yes, science is fun.R: Call you later?LANE: Okay.R: Hey Lane?LANE: Yeah?R: You're sure he wasn't in there?LANE: I asked.(Rory pulls a small notepad out of her pocket and writes on it.)CUT TOSIDEWALK(Lorelai walks past a store as Luke walks out of the store.)L: Hey.LUKE: Oh hey.L: Doing a little shopping?LUKE: Yeah, I just had a couple things to pick up.L: At the cat club?LUKE: Yeah.L: You had a couplethings to pick up at the cat club?LUKE: Yeah I did, okay?L: Okay, I just never took you for a cat lover, a 97 year old woman, or. . . Hey what'd you buy?LUKE: Nothing.L: You've got a little bag there.LUKE: I knowthat.L: It's got a cat paw stamped on it and a little cat nip bow.(Luke hands her the bag.)L: Wise man. (Lorelai pulls a pot holder out of the bag.) Wow, pot holders.LUKE: Yes.L: Little kitty pot holders. (she pushes abutton that makes them meow.) They meow.LUKE: It's a present.L: For someone you hate?LUKE: It's Rachel's birthday okay. And don't say anything, she doesn't want anybody to know. She hates birthdays.L: Not asmuch as she's gonna hate these pot holders.LUKE: I don't know how to buy gifts, okay, I don't like to buy gifts. I don't like getting gifts. I mean, this whole give giving and getting process is completely insane.L: Therant begins!LUKE: I mean suddenly, on a certain date, the level of my affection for a person isn't measured by the way that I treat them or what we share.L: No!LUKE: I mean just because I didn't buy her furry slippersor a giant shoe tree, all of a sudden, I suck.L: Luke, stop. You know you cannot give her these pot holders.LUKE: Yeah I know.L: Why don't you go to the mall and walk around a little?LUKE: No, no malls.L: Luke.LUKE:I hate malls.L: Ladies and gentlemen, rant number two.LUKE: They underpay employees and overprice merchandise, they contribute to urban sprawl, they encourage materialism, and the parking's a horror. You drivein, you pay a buck, and even if you're only there for five. .L: Okay, Emma Goldman, I'll tell you what. I'll go for you.LUKE: You're gonna shop for me?L: I've got the day off tomorrow. I was gonna go anyway.LUKE:You're serious?L: I'll go get a bunch of stuff, all returnable. I'll bring it to you. You can pick what you want and the rest I'll return. I'll do all the work; all you'll have to do is point.LUKE: Point.L: One finger, preferablyyour index.LUKE: I don't know.L: Luke, this is the first special occasion you and Rachel have shared since she's been back. Don't you want to give her something nice?LUKE: Well I am taking her out to dinner.L:Luke.LUKE: Yeah, I gotta get her something nice.L: So then let me help.LUKE: All right, thank you.L: Oh, you're welcome.(Luke hands her his credit card.)LUKE: Nothing too out there, okay? She's not into all thattrendy stuff. She likes simple, clean nature, okay. Elephants, candles, okay. Oh hey, if you can find a candle shaped like an elephant, that would . .L: Okay, you know what, I've got it all under control.LUKE: Okay,thanks.L: Okay. (Lorelai hands him back the bag with the pot holders in it.) Get rid of these.CUT TO KIM'S ANTIQUES(Dean knocks on the door and walks in.)DEAN: Hello? Lane? Are you here?(Mrs. Kim suddenlyappears from behind a room divider, startling Dean.)DEAN: Geez.MRS. KIM: Who are you? Why you call Lane?DEAN: I Uh.MRS. KIM: How you know Lane?DEAN: Well. . .MRS. KIM: You date her?DEAN: No.MRS. KIM:You try to?DEAN: No.MRS. KIM: Then why you here?DEAN: I . . .MRS. KIM: Empty your pocketsDEAN: Okay, I'm gonna go now.(Lane comes running down the steps.)LANE: Dean! Wait, wait.MRS. KIM: Who'sDean?DEAN: I'm Dean.MRS. KIM: How you know Dean?LANE: We go to school together.MRS. KIM: You do?DEAN: Yeah, we're science partners.MRS. KIM: You don't talk!DEAN: Sorry.MRS. KIM: You're sciencepartners?LANE: Yes Mama, I invited him over to work.MRS. KIM: Work?LANE: On our science project.MRS. KIM: Reproduction?LANE: Spores, molds and fungus.MRS. KIM: Science project?LANE: Yes.MRS. KIM: Forschool?LANE: Yes Mama.MRS. KIM: You're not dating?LANE: No Mama.MRS. KIM: Okay, follow me. (leads them into the kitchen) You sit here. You sit here. I'm going over there, when I come back over here, thesechairs will be in same place. No moving, you understand?LANE: Yes mama.DEAN: Not you, him!DEAN: Uh, yes, I understand.MRS. KIM: I see all. (Mrs. Kim leaves the kitchen.)DEAN: So that's your mom?LANE: That'smy mom.DEAN: Has she seen Patton?LANE: She just gets uptight about boys.DEAN: I sensed something like that.LANE: Its nothing personal.DEAN: I know, I'm sure once she gets to know me she'll. . .LANE: Oh no,she'll hate you forever. It's just nothing personal.DEAN: Uh, we should probably get started.LANE: Chapter twelve?DEAN: Sounds good. (They both open their books and start reading.) Is this weird for you?LANE: Alittle.DEAN: Me too. I didn't know if maybe Rory told you to hate me or something.LANE: That's not Rory.DEAN: Yeah I know. How is she?LANE: Good.DEAN: Good?LANE: Good-ish.DEAN: Oh.LANE: Less good thanish.DEAN: Yeah? How much less?LANE: You know we're breaking our agreement.DEAN: What agreement?LANE: Out agreement not to talk about Rory.DEAN: We didn't have an agreement not to talk about Rory.LANE:Well it was an unspoken agreement.DEAN: Well it was really unspoken 'cause nobody spoke it.LANE: Well I just think that if we have to study together it would be better if we didn't discuss Rory.DEAN: Fine.LANE: Fine.(pause) You know, she can't go into the market.DEAN: Why not?LANE: Because you're there.DEAN: Not on WednesdaysLANE: Already noted.DEAN: [Sigh]LANE: Can I ask you a really personal question?DEAN: You canask, I might not answer.LANE: Do you think you and Rory will ever get back together?DEAN: Hey, how about we go back to the no talking about Rory agreement?LANE: Look, I'm just saying that I . . .(They look up andsee Rory standing in the doorway)R: I should've called. I'm sorry.(Rory leaves. Lane gets up and follows her outside.)LANE: Rory! I'm sorry I didn't tell you.R: It doesn't matter.LANE: I didn't think you'd want toknow.R: I got it.LANE: Rory stop. (Rory keeps walking.) Okay, that's the opposite of stop.R: Lane, forget it. You didn't tell me, now I know. Life goes on.LANE: Don't be mad.R: I'm fine. I have to go.CUT TO RORY'SBEDROOM(Rory is asleep in bed. Lorelai bangs on her door, then walks in and jumps on her bed.)L: Time to get up. Hey, I have a huge dilemma that I need your opinion on.R: What!L: Am I more beautiful today than Iwas yesterday?R: Oh boy.L: I'm just not sure. I mean at first I looked in the mirror and I thought, well yes, definitely, huge improvement.R: Can I have my pillow back?L: But then I thought maybe its not that I'm morebeautiful today. Maybe I was just as beautiful yesterday, only I lacked the self-esteem to recognize it.R: I'm gonna go take a shower.L: Well, hurry up and I'll drive you to school.R: No thanks. (Gets out of bed andwalks over to her bureau.)L: Why so charming this morning?R: I had an annoying visit from the Stars Hollow wake up fairy. Where's my tie?L: In your drawer.R: I'm looking in the drawer.L: Hmm. Check the livingroomR: Why would my tie be in the living room?L: Because it's been seeing the doily on the coffee table. I'm sorry, I did not want you to find out this way.R: Don't take this personally, but get out.L: Okay, you'recrabby. Do you know what the perfect cure for crabbiness is? A fabulous trip to the mall. Huh? What do you say? You can blow off school and come with me. We can shop, go to the movies, maybe talk a little.R: Nothanks.L: Come on, just this once. It might make you feel better.R: I feel fine and I don't want to shop.L: Honey, I know you've been in a funk over Dean, but you have to try not to dwell on it all the time.R: I'm gonnabe late for school.L: Okay, then just meet me in town around four, and we'll get some Indian food and spoil our dinner. What do you say to that?R: Whatever.L: Hey, love the enthusiasm. Hey, does \"Up With People\"know about you?CUT TO LUKE'S DINER(Luke answers the phone and takes an order while Lorelai walks into the diner carrying several shopping bags.)LUKE: Luke's. Yeah. Hang on. Okay. Cheeseburger. Fries well.Vanilla shake. Coke. Yes we have salad. One salad with cheese, one with ranch. Got it, 20 minutes. (hangs up the phone) What the hell is this?L: The results of my shopping trip all accomplished in two hours.LUKE:Impossible.L: I'm a savant.LUKE: And everything's returnable.L: Yes, yes, now sit down and relax. Let me show you what I got.LUKE: Can I have my credit card back?L: Fine. (Takes the card out of her purse and handsit you Luke.)LUKE: Looks tired.L: Where's Rachel?LUKE: She's out running some errands.L: Good. Okay, last week we were talking about Meryl Streep and the whole accent thing and Rachel said that she loved \"Out ofAfrica\" but she'd never read the book, remember?LUKE: Nope.L: Okay, so I was like, \"Are you crazy? Isak Dinesen is amazing, I love her.\" Which is kind of crap because I'd never read the book either, but Rory told meit was amazing, so I felt pretty confident in my recommendation of \"Out of Africa\". (Pulls the book out of a shopping bag and hands it to Luke.)LUKE: You bought her a book?L: No, you bought her a book, to be put inher brand new camera bag. (Pulls the camera bag out of another shopping bag.)LUKE: She's got a camera bag.L: It's nylon.LUKE: So?L: This one's leather. Beautiful leather. Feel it, smell it.LUKE: I'm not gonna smellthat bag.L: Fine, don't smell it, but trust me, she's gonna love it. Her old bag is falling apart so she was gonna get a new one eventually and now you will have beaten her to it.LUKE: So it's practical.L: And pretty!LUKE:Well, that seems right.L: You like?LUKE: Yeah thanks.L: Good.LUKE: What's all this? (gestures to the other shopping bags.)L: Well Luke, timing is a beautiful thing.LUKE: It is?L: It is. So I'm at the mall, and I've alreadyfound Rachel's gifts, and I've had two sugar cinnamon pretzels and I'm buzzed on the sugar and jazzed about the purchases and I decide to take a victory lap through Bloomingdale's, and it just so happens that therewas an amazing sale in the men's department. I mean gorgeous stuff. Look at this. (pulls a sweater out of a bag) Huh! Forty percent off! I got three different colors!LUKE: For who?L: For you.LUKE: For me?L: Yeah.(walks over to another bag and pulls out a pair of pants) And then of course, beautiful pants. So soft, I don't know what this fabric is but I think I wanna have its baby.LUKE: Okay, hold on a minute here.L: (walks overto another bag and pulls out a belt.) Also, I got this fabulous belt to go with the sweater and the pants. Simple. Black. But look at the buckle.LUKE: I don't need a belt.L: Great buckle! Sixty percent off, can you believeit?LUKE: No I cant. Look. .L: (walks over to another bag and pulls out some shirts) Oh and I also picked up a couple of shirty shirts in case you didn't have a nice one to go with your suit.LUKE: What suit?L: This one!(grabs a garment bag, holds it up, and unzips it)LUKE: Did no one at that mall notice that you were going through some sort of psychotic episode?L: This suit. 175 percent off.LUKE: You were not supposed to beshopping for me.L: Well I thought you might like a little something new to wear when you take Rachel out tonight.LUKE: Well thank you but take it back.L: Aw, just try them on.LUKE: No way.L: You might like how youlook.LUKE: I'm fine with the clothes I have.L: Okay, see this blazer? It was 175 thousand percent off.LUKE: Why the sudden need to dress me?L: I just thought you might look nice in some of these things and sincethey were 600 thousand percent off. .LUKE: No!L: Come on Luke, just try something on. How about this sweater?LUKE: No!L: Okay, how about the pants? Pretty pants!LUKE: I'm not trying anything on.L: Hey, its notlike the lumberjack look will ever go out; it won't. But just once wouldn't it be nice not to be dressed like an extra from \"Seven Brides for Seven Brothers\"?LUKE: Take it back.L: Come on. Just the jacket. Just once, betoo sexy for your shirt and do a little dance on the catwalk.(Luke walks into the back of the diner while Lorelai chases him with the suit.)LUKE: Get away from me you mental patient!CUT TO CHILTON(Max Medina islecturing to the class. Rory is staring out the window, not paying attention.)MAX: If we read his works in order we can see his progression from a narrative of clear simplicity to one of one of rich complexity. Now this isnot homework but I strongly urge you, if you have not already read \"The Art of Fiction\", read it. It's a remarkable manifesto that contains basic trues that still apply to fiction in any form.(Paris notices Rory not payingattention and points it out to Louise and Madeline.)MAX: All right, so Henry James, the man of the moment. Pick your book. Read it carefully. A full report on my desk one week from today. Any questions? Ms. Gilmore,any questions?(Paris pushes her book onto the floor to get Rory's attention.)PARIS: Oops.MAX: Ms. Gilmore?R: Yes?MAX: Did you hear the assignment?R: Um no, I'm sorry.MAX: Henry James. Pick your novel. A reporton my desk in one week. You got it?R: Yes. I got it.(Bell rings. Students get up to leave.)MAX: See you tomorrow.(Paris walks over to Rory.)PARIS: You didn't take one note. You resorting to the osmosis theory oflearning?R: Why do you care?PARIS: I don't, just making an observation.R: Great, we'll build a dome over you and jam a telescope in your head.MAX: Ms. Gilmore, can I talk to you for a minute?R: Oh, okay.LOUISE:Tootles.MADELINE: Ta.PARIS: I'll get working on that dome.(All the students leave. Max leans on his desk and talks to Rory.)MAX: So, how are you?R: Fine.MAX: Seemed a little distracted today.R: Oh. I didn't sleepwell last night.MAX: You've seemed to be a little distracted for quite a while now.R: My grades are fine.MAX: I'm not concerned about your grades. I'm concerned about you. Look Rory, I know that you've been goingthrough kind of a tough time lately and I just want you to know, if you want to talk, I'm here.R: Tough time?MAX: Breakups are really hard. We've all been there.R: How do you know about that?MAX: Your mom toldme.R: She what?MAX: Please, don't be upset at her. It just came out in one of our conversations. She was very concerned about you, very frustrated because. .R: You've been talking to my mom?MAX: Well yes.R:Since when?MAX: Its been a couple, 3 weeks now I guess.R: Are you dating?MAX: No, not really, I mean we were talking about possibly this weekend having dinner. You didn't know anything about this, did you? (Roryshakes head her head no) Well the look on your face makes perfect sense now. I'm sorry. I didn't mean to spring this on you like this.R: Its fine, don't worry about it.MAX: I'm sure your mom was gonna tell you soon.R:I'm sure too.MAX: Okay, so . .R: Bus.MAX: Excuse me?R: If I don't go I'm gonna miss it.MAX: Right, go ahead.R: Thanks for the talk.MAX: Any time.(Rory leaves)CUT TO LUKE'S DINER(Lorelai is sitting at the counter.Clothes and bags are spread all over one of the tables.)L: Come on!LUKE (from off camera): I hate you, very much.L: Save the sweet talk for Rachel. Get out here!(Luke walks out from the back of the diner wearingsome of the new clothes.)L: Excuse me sir, do you know where Luke is?LUKE: Very funny.L: Oh my God, Luke, is that you?LUKE: I feel ridiculous.L: That's because you don't have the belt on. (Takes the belt out of the"}
+{"doc_id":"doc_59","qid":"","text":"Kevin: I'm running to the bar to watch the games with the guys. Oh, no, no, no.Kevin: Why? Why? Where did that shirt come from? I don't know. Found it in the back. I figured I haven't worn it in a while... It needs togo way back, further. Why would I change? Yeah. Why would you change? Why would you wear that?Kevin: I don't know. Mommy, Daddy, look what I found in the toilet. Where did you get that, sweetheart? I made it.You made that? You made it? Yes, you did.Kevin and Jenny: Don't squeeze it. That was sh1t. She has sh1t in her hand. Mm-hm. Why is she picking up sh1t? I've read about this before. It's like fun with feces. Fun withfeces? I've taken dumps before. It's fun, you take a picture of it. Send it to friends. Disgusting. You don't whip it around your head like a churro. Just let her grow out of it. You're the mother, deal with this. Don't tellanybody. I'm not gonna tell anyone. Nobody knows about this poop situation. Obviously.Ellie: I'm putting it in the kitchen. Okay, honey... No, no, no, baby, don't. To two of my good friends. Mr. Frank Gore and Mr.Andre Johnson. Leading the Double Ent-Andres to victory. This is my worst nightmare. Losing to you. I was expecting a little bit of a challenge this week. But your team is so terrible. Oh, stop. This is like Freaky Friday.Like, Kevin has gone into Andre's body. The roles have reversed. Guess what. I'm your mother, but I'm cool now. What do you mean? You reversed roles and he's crushing you. I'm Jamie Lee Curtis, you're LindsayLohan. I'm cool, you're not. This is what I lost to?Pete: Wow. You know, I do talk a lot of smack, guys, but it's only because I can: [BEEPING] What does that mean?Andre: Back it up. I can back up my smack talk, myfriend.[PETE & ANDRE BEEPING]Okay, really? Stereo? When the guy's right, he's right. Knows what he's doing. Hi, I got off the phone with the out-of-towners. Vince would like me to give you the number for a shelter...because Andre beat your ass so bad. That's nice. All this can be fixed. All you have to do is win. I will win, okay, but there's something strange going on here. Can I just say, next week, I would like to extend aninvitation to you... to watch the games at my house and have a meal provided by my lovely wife. I have not been invited over since the arrival of The First Human Child. Have you been? I don't know if I have securityclearance. I don't. Do you? No, I haven't been through the scanners. We got a dog. Ellie can play with the dog. You've got a dog?Ruxin: Come over. Enjoy my home, watch the games. It will be lovely. That'd beexciting.Ruxin: Yeah, Sofia's excited. She's gonna be cooking some famous dish. That should be good. Oh, Sofia's gonna be there. Yeah, my wife's gonna be at my house.Taco: Oh, cool. I haven't seen her in a while.She's fun, she's cool.Andre: You want us to bring anything? Yeah. You know what you can bring is a condom... so that you can just go to town on Kevin like you did last week.[ANDRE BEEPING]Backing it up. It's allright, buddy. How's your lineup looking?Pete: It's not good. It is listed as questionable. Questionable, what does that mean? No one knows what that means. It's like if I start him, and he doesn't play... I have nothing inthe bank, got no backups.I'm screwed.Yeah, you have no outs. They know if they're playing. They know. They should tell us. We should have a direct phone line to these guys. Not to mention, I'm playing Andre thisweek.And rumor is, he actually beat someone last week.I mean, can you imagine losing to that guy? Are you happy now? Are you finished? You've really... You've done enough to my psyche. It could happen to anyone,all right? Gotta go. All right, bye. Hey, you. What are you doing here? What are you doing here? I had a couple meetings. I'm in between. Great to see you. Let's go grab a drink.Andre: I, um... You know what, I can'tbecause I have to do a house-call thing. You're a plastic surgeon. Yeah. Do you have, like, an emergency spider vein, or a tit popped or something like that? What happened? Good one. I'd love to hang out, but I gottado this. Kidding aside, I gotta say something. Uh, we break your balls about the league... but you're really doing well and I'm happy for you. Well, guess what. I've always been this good. I've always been a champion.And you know what I've been doing is I've been sowing and now I'm reaping. Planting the seed and then I've grown into a beautiful flower... and now everyone wants to smell me. So smell it?[SNIFFS]You smell that?What? It's bullshit, man. Oh, really? You're out there. I see you. You're out there. You got your games you're playing. You got people on the side you're paying to help you out. There's maybe even a dungeon. You got aguy down there. All right, I'm onto you. You know what I smell? Ah, yes, it's, uh, the smell of jealousy... with a tinge of admiration... and just a whiff of sadness.Good luck because I'm gonna: [ANDRE BEEPING] Oh,here we go. Back it up. Back it up. What's up, Dre? Oh, what's up, ballers?Jd: Dre. What's up, man? High-five.Jd: There he is.Robert: Oh, yeah, buddy. All right. Dr. Dre, you are killing it. You are dominating thisleague. Tell me something I don't know. Andre Potter and the Fantasy Zone is coming for you. All right, so watch out. This week I'm up against you. I know you're gonna beat me. I dominate the waiver wire. Andre, Ithought maybe this week...Andre: Whoa. What'd you call me? l... Andre.Andre: No, no, no. Here I'm Dre, okay? I'm sorry. Heh. I'm so sorry.Andre: All right? Hey, it's cool.Man: You accept my apology? Accepted. Wewere thinking of going to Hammer's house in Wrigleyville, just hanging. Watching all the games... No, guys. No Sundays. We'll do the weekend afterwards. No Sundays. How many times do I have to tell you? Wannatalk on Sundays, don't call me. Text me. We'll take it.Andre: There you go. Yeah, we're good. Let's all agree that we are The League of Extraordinary Fantasy Gentlemen. No, no, instead of The League of ExtraordinaryFantasy Gentlemen... I think that we should change it to The Fantasy League of Extraordinary Gentlemen. Oh, triple snap. Right? Boom, boom, boom! Boom, boom, boom!Pete: All right, LT. How's the ankle, bud?Questionable. Questionable. What does that tell me? All right. You wanna play it that way? All right, that's fine. Hi, this is Pete. I'd like to speak with Terry Bradshaw, please. Yeah, it's a personal matter so just returninghis call. Hey, is Bradshaw around? Yeah, Pete needs him. Hi, I have Peter calling for Mr. Bradshaw. Pete. P-E-T-E, for Terry. Yeah, it's Uncle Pete. Let me talk to Terry.Man: Hey, Pete, it's Terry. Hi, Terry. Hey, UnclePete, is everything all right?Is there a problem?Uh, no, no problem. But, you know, I was just...I was thinking about football...I was actually worried about IT this weekend. This is not my Uncle Pete. No, it's me, it'sUncle Pete. Come on. You used to sit on my lap, pony rides, Pete. No, my Uncle Pete had his larynx taken out. He talks through a hole in his neck now. It's a miracle. Cut the crap, buddy, all right? You think I've neverbeen pumped for some fantasy-football information? I once had a policeman... pull me over just to see whether or not he should start Kurt Warner... or Donovan McNabb. Just hook me up once, please. Is LT gonnaplay? You got some balls, kid. Two small ones but I'm trying to use them.I do admire that.I'll answer your question. Yes, definitely. Yes?Absolutely.Starting, good shape. I am sending you a fruit basket, sir. Thank you.You know this number? Yes, sir. Lose it. Thank you, sir, thank you. Bradshaw on the phone, LT on the field. Unstoppable.Ruxin: Oh...Sofia: Hi. Almost game time. Let's do it.Ruxin: Hold your horses. Hold your horses,okay? We gotta talk some ground rules. If you don't mind sanitizing your hands before you see baby Jeffrey. Don't ask these people, tell them. Cover yourself in this. Put it on the rug rat. Taco, take a bath in it. Can Idrink it?Pete: It's like holy water. Let us all anoint our hands before we touch the baby Jesus... for he has come to save the world. You joke, but it's true.Taco: Oh, hey.Pete: Oh, yeah. It's a baby. Look at the baby.Goodness. He's beautiful.Sofia: He is.Jenny: He's wonderful. Yeah. Beautiful? He's got the Ruxin face.[GROANING]We used to be two. Now we're a Holy Trinity.Taco: It's beautiful. How'd your mom like the christening?I told her the church was like a really progressive synagogue. Who did you go with for godparents? It was supposed to be Pete and Meegan until: [IMITATES EXPLOSION]Sofia: Yeah. Just because I'm single that doesn'tdisqualify me from being a godparent. Seriously, I have been a great godfather to Ellie. Have I not? Whoa, I thought I was Ellie's godfather.[JENNY CLEARS THROAT]Ruxin: Yeah.Yes, you know, you are. I was thinkingof something different, and you're a great godfather. Yeah, because when you guys die of cancer, car accident, whatever... I'm gonna move into your house. Bring my puzzles, my slingshot, my Sega Genesis. Gonnahang out with Ellie all day. It's gonna be awesome. Taco, I'm gonna be around a long time, okay? Yeah, but she probably won't. I'm standing right here. I'm just saying that... Unless the son of Ruxin starts spouting offthe scores, I think... All right, you're excused. Thank you.Sofia: Yes. Get all single men out of here. Anyone with communicable diseases. So, Jenny... Suck it, Ruxin. Hi, buddy. Hi, buddy. Yeah. Ellie, you wanna meetJeffrey?Kevin: Come here, sweetie. Step up and say hello. Hello. Ellie is such an angel.Jenny: Thank you.Sofia: She is so well behaved.Jenny: She is so smart. They pick up things at that age.Kevin: Oh, yeah. She pickseverything up. Picks it up and she moves... She's brilliant. I have some snacks for you guys, but please don't fill up. I have a very big, delicious lunch coming up. Sounds good. Nice TV. Need help in the kitchen? I do.Well, let's do it, girlfriend. All right, Taco, bring it on.Taco: What do we got here?Kevin: Easy does it, sweetheart. Be easy. Oh, look at this.Ruxin: Hey.Kevin: Oh, hi. Guys, everybody, this is Cale.Pete: What? I loveCale. Can I pet him? Ellie, go outside. You named your dog Cale? Yeah. I told you in confidence that we were trying to have another baby. If it was a boy, we wanted to name it Cale. It's a great name. We can share thename. No, we're not sharing Cale. No, I'm not... The dog looks like a Cale. I mean, look at him, he's a Cale. I hate you. You screwed me here. Because now, instead of Cale, we're gonna have to name him after one ofher uncles. What's that name? Moral. Moral MacArthur. He sounds like a Civil War general. Can you change your dog's name? This dog's real, your baby's hypothetical. And I think a mistake.Kevin: Dick. Sorry, I can'ttalk to you right now, bye.Kevin: Oh, God.[ALL BOOING]Hey, your week two champion has arrived.Kevin: Oh, stop, all right? It's week three. Get over it, sit down.Andre: Center seat for the winner. Sit down. There's acrack. You wanna sit there? Watch it.Jenny: Just go.Pete: Pick a nice seat there.Kevin: Get here on time. That's Cale's seat, but I'll let you sit in it. By the way, awesome name. Great dog.Ruxin: Thanks. Ruxin, why arewe watching a baby in picture-in-picture here? What's happening? I got Jeffrey on the baby cam there, so we can watch him... while the game is going on. Wait, that's baby Jeffrey? Yeah. I heard if you look directly athim, he'll blind you. The Ark of the Covenant, he melts your face. That smells delicious. You're a good helper, Taquito. Oh, merci.Sofia: Here, let me taste, let me taste. Mm-hm. Good? Good? Here. All it needs is for youto try it. Ahh. Weird to you at all? This?Sofia: You're so awesome. No. There's a man in your kitchen performing your husbandly duties with your wife. Doesn't bother you? Does it bother me... that Taco is in my kitchenblanching carrots... while I'm out here drinking beer and watching football? No. No, it doesn't bother me. I do not have a great butt. You do have a great butt. I have a theory. So in horse racing, oftentimes they'll bringin a lesser horse... get the mare all riled up, excited, feeling it. And right as he's about to blow, they yank him out... and bring in the breeding stallion. Hello. Heh, heh. You have a great butt. You got that Latin buttgoing on, seriously. So Taco's essentially your teasing stallion? Nailed it. Don't you spank me. Don't you spank me. Wait, I noticed that you're starting it this week. That's a bold choice, right?Jenny: You played it thisweek? Yeah, of course I did. How do you know he's gonna play? I feel pretty confident about it.[SCENE_BREAK][CELL PHONE RINGING]Sweet ringtone. You changed it from Limp Bizkit? Yep. Hey.[LAUGHS]Hey, hey,giggly, it's rude to talk on the phone in front of your friends. This is the third call.Andre: Hold on one sec? Are you dealing now? What's happening? Okay, I'm sorry, I'm sorry. He didn't know it was a bye week? Oh,dude, I am going to crush the Hammer. I gotta go, man. I can't talk to you, it's...[KEVIN CLEARS THROAT]Um, I gotta go. What you doing? Checking out these books. Yeah? Who you talking to? No one. I'm gonna askyou one more time. Who you talking to? I'm in another league. I knew it. How long have you been in it? Is this serious?Andre: I love it. I'm a king there, they love me. What? And it's been the best three weeks of mylife. They don't make fun of me. They like me. They think I'm funny... Settle down a bit, we're gonna... We're hearing you, and we're gonna try harder. You're gonna stop making fun of my teeth? No. Yes. You're notgonna keep on making jokes? You mean that the semen's dissolving all the enamel? I knew it. Go ahead, laugh. I know it's in there.Pete: Don't laugh. Yeah, laugh it up.Pete: That wasn't funny. You're right. It's hilariousto you guys. But I have a disease. A periodontal disease. I can show you the prescriptions I have for a special toothpaste. So does my grandfather. I'm sorry. That's exactly what I'm talking about. Those guys, you knowwhat they say? \"Oh, Andre, is that too hot for you? Oh, Andre, we care about your enamel.\" Do they say, \"Oh, Andre, can we shoot it in the back of your mouth\"?Pete: We're getting off track here. Sometimes we're notthe best at expressing our emotions. But that's why you belong. You're the glue that holds the whole group together. You're the centerpiece. You're like the honeydew in a fruit salad, you know. Nobody likes thehoneydew. But you need it because it fills up space. The point he's saying is this is less about you than it is about us. Without you, we'd eat our own, man. Can I bring maybe one of those guys? No, not a chance.No.Pete: We need you to take care of this. Want you to call those guys, break up with that league. Okay. Well, we'll see. You know what's important. Make that call. Yes, Maurice Jones-Drew, three touchdowns. Give mesome sugar. Yeah. Hey, where's Ellie? Seriously? Yeah. I put her down for a nap a half-hour ago. Oh, good thinking. Lunch is ready.Jenny: Awesome.Pete: Food.Jenny: It smells really good, Sofia. Fantastic.Kevin: Getsome food and head back to the table. Nope. Uh-uh. That's not lunch. Follow me. Where are we going? You guys are in for quite the treat. Lots of yum-yums for your tum-tums.Sofia: Ta-da!Andre: All right.Sofia: Havea seat. Is it just like grab a plate and then...Pete: Exciting. No, you sit down. Have a seat.Kevin: Great. This is Sunday, relax. It's a long lunch, and we have lots of food coming out. First course is shrimp cocktail. Enjoy.Thanks, Sofia. Looks great. Thanks. Thank you. First course? First course? What? Of how many? Don't know. Three or four. Goods not as advertised, Ruxin. Excuse me, I apologize if I wanted to bask in the reflectiveglow of my close friends. We wanna watch the football games. What are you doing? f*ck you, Ruxin!Kevin: Jesus, Andre. Look, guys, relax. Look, my wife is in the mood to cook a Sunday lunch. If I'm not allowed towatch the games, none of you can watch the games. That's very sweet, thank you. I have put the games on pause. All we need to do is respect the pause. That doesn't work. We just need to go on an informationlockdown. Doesn't work. I don't trust you. This one's a spy. Me? You don't trust me? I don't trust him, look at that shirt. I don't trust myself in my heart. I don't trust any of you, but I'm willing to try. Don't touch me.We need to police each other... like in Communist Russia. This is gonna be, like, football Gestapo. No, that's Germany. They both got it done.[TACO IMITATING AIRPLANE ENGINE]Salad plane, coming through.Sofia:You're so funny.Kevin: Yes.Ruxin: All right. Second part of course one, guys, let's get those greens. Sofia thought that maybe we should do this buffet-style.Pete: Good idea. Let's do it.Sofia: He had this great idea...How food like this has to be savored.Sofia: Yes.Taco: Gotta sit and enjoy it. Enjoy each other's company. That's what we were doing. In the other room, watching football. Yeah, right. Hey, dig in everyone. Allright.[SPEAKS IN ITALIAN]Taco: Mmm.Sofia: Mm.Taco: Let's do it.I'm done. Done. Done. Paella time. Beep, beep.Kevin: Aww! He means, oh, yeah.[PEOPLE CHEERING]They're watching the games next door. Whatgame is on now? We're missing everything. Abide by the pause. This is bullshit. Abide by the pause. This is lovely, thank you very much.Sofia: Thank you. I'm just gonna go to the restroom. Thank you very much. Oh,I'll show you where it is. I know where it is. No, we remodeled. I think I can find it. I insist. How far are you gonna take this? All the way. You wanna hold it? lf I have to. And here comes the soup. Watch out, it's pipinghot.Sofia: Awesome. Can we get one cool for Andre? He actually has really sensitive teeth. Yeah. Really? Absolutely, you do. You deserve that. Yeah, I do. Um, I gotta go make a call. You're not going anywhere. I haveto check in with a patient.Kevin: Let him go. Hey, you guys are unbelievable. But, um... there is another league. What is he saying to his patient? Something like, \"Hey, I heard this is an emergency. It's me, Dr. Andre.\"[IN WHINY VOICE] \"Oh, Dr. Andre, you know those calf implants you gave me? Well, it's making it hard to get... my bedazzled Ed Hardy skinny jeans up over my legs.\" I wanna be with you guys. I wanna be on theparty bus. But I can't. Because I already got a party bus. And those guys are great.Ruxin (in whiny voice): \"Oh, you wearing a stupid hat?\"[IN NORMAL VOICE]\"You know I am. I'm Dr. Andre.\" Just tell the rest of TheFantasy League of Extraordinary Gentlemen that I'm sorry. And tell Hammer I'll miss him most of all. Hey, you take care of business? Yeah, it's over. Thank you so much for coming to our lunch. Thank you, Taco. I hopeyou had a great time. Wait, so... Are we finished? Yes.Pete: Thank you very much, it was excellent.Kevin: Thank you. Guys, there's some dessert, guys.Pete: Finally. Jesus.Jenny: Wait, wait.Kevin: Hurry up, sit, sit,sit.Jenny: Stop.Pete: Go.Hello, everyone. I'm Terry Bradshaw from Fox Sports Studio.This NFL update: Star running back LaDainian Tomlinson of the San Diego Chargers... will not start today...What?...as the Chargershost the Miami Dolphins.Andre: I told you.You lie.[ANDRE LAUGHS]You lost, I win. Two weeks in a row.[CELL PHONE RINGS]Two for two. Could happen to anyone. Hello?Bradshaw: Hey, Pete, it's Terry Bradshaw. Hellothere. You think I'm gonna let you cheat your friends just so you can win? Man, I was kind of hoping you would.Ain't gonna happen.And one other thing, you hear me? What's that? I hated my Uncle Pete, you dickhead.Great. Who was that? That's my new mortal enemy. Andre? Meegan? The dude deep-dicking Meegan? Scintillating dinner conversation? Terry. It looks like you better sell your house, because only winners live here.Slam. Andre, that actually doesn't play. Try something else. I got a slam list. Oh, good, good, yeah. What?Andre: Slam list.Pete: Slam list. In case you have to battle-rap someone? Okay, this is a good one. Um...[INBRITISH ACCENT]You better be careful, my lady... because Jack the Ripper's slicing up losers.[IN NORMAL VOICE]Right?Pete: I can't even come back from that. And that's why I write it down. Cale, come here.[DOGBARKING]Cale? Cale's made a doodie. Some Bud Light Lime for Andre. How you doing, baby?Sofia: Mmm. This whole day has been amazing. Oh, yeah? Lunch turned out so delicious.Ruxin: Mm-hm. Oh, I had so muchfun. Good. And we're gonna have fun. Mm-hm. Oh, really? Well, good.[RUXIN CHUCKLES]I got the spoons and the cinnamon for the coffee.Ruxin: All right. He's such a good helper. He is. Looks like you kids got thisunder control. Hey, can you give my girl a foot rub if she needs one? Foot rubs are my specialty. Thank you, Ruxin. It's the least I could do. You have any peppermint oil? You know I do. All right, I'll take care of yourlittle footsies.Pete: Oh, he's not getting up. Oh, no. He hurt his ankle. Frank Gore's... Frank Gore's out, man. Who...? Who's got his backup? Glen Coffee? Yeah, who's got Glen Coffee? I don't know who's got GlenCoffee. I would think that it would be... Hey, give me. Ow, ow!Pete: Don't even.Ruxin: Refresh! Refresh. Refresh. Oh! Ladies and gentlemen, the newest member of the Double Ent-Andres... Mr. Glen Coffee. That was"}
+{"doc_id":"doc_60","qid":"","text":"[Scene: Manor. It's night time. Phoebe walks in. All the lights are turned off.]Phoebe: Hello? Anybody home? Sister witches, guess what?(Phoebe walks in the living room and turns on the light. Piper is there making outwith a guy on the couch. She jumps up.)Piper: Oh, oh. Are you nuts?Phoebe: What are you doing?Guy: Hi.Phoebe: Hi.(Piper freezes the guy and walks over to Phoebe.)Piper: Ooh.Phoebe: Hi.Piper: Sister witches? Ican't believe you said that. What's the matter with you?Phoebe: How was I supposed to know that you were gonna be here with anybody? Last I heard that you were meeting a banker friend about the loan. (She looksat the guy and then back at Piper.) Is this the credit check?Piper: It's not what you think. We were just... we-we... were just kissing, that's all.Phoebe: Piper, you don't have to justify it. You're single. You're responsible.You're way overdue in the s*x department. I say go for it.Piper: I'm not way overdue. Alright, maybe a little, but that's besides the point. I would never just sleep with a guy to get something. You know thatPhoebe:Piper, give yourself a break. You're going through a lot right now. No job, straining to buy the club, you haven't heard from Leo in weeks.(Prue walks in through the front door. She's on her phone.)Prue: Alright, well,the preview is at five and the auction Sunday at eleven.Piper: Oh no, Prue. Go back outside. Go on. Hurry!(Prue looks at them for a second, then goes back outside. Piper stands back next to the guy and heunfreezes.)Guy: So, you must be Prue.(He stands up.)Phoebe: Uh, no. Actually...(Prue comes back inside, still on the phone.)Prue: (on phone) Alright, great, yeah, I'll see you then.(Prue hangs up.)Phoebe: She's Prue.I'm Phoebe.Piper: Rob, can we take a rain check on the rest of the evening? It's getting kind of crowded in here.Rob: Okay, sure.(Rob grabs his coat and heads for the door.)Piper: Yeah. Okay, um, so I'll meet youtomorrow at the club at noon. Great. Thanks for dinner.Rob: Okay, alright. (They kiss.) Bye.Piper: Bye.(Rob leaves. Piper closes the door and turns to her sisters, who are grinning.)Prue: So, did you get the loan?Piper:Hopefully. I'll find out tomorrow.Prue: Well, my fingers are crossed.(Prue and Piper start to leave the room.)Phoebe: Wait, you guys. Where are you going?Prue: Well, I have an auction coming up. I have clients tocall.Phoebe: Wait, you guys. Don't you even know what tomorrow is? It's our one year anniversary of becoming witches. Hello?Piper: Tomorrow is? Really?Prue: So...Phoebe: So? So? It's a day to celebrate. And not justbecause it's our anniversary but because it falls on one of the most powerful wiccan days of the year. The autumnal equinox. Now, according to this witch that I met today at bookstore...Piper: Hold it. A witch?Prue: Youdidn't tell her about us, did you?Phoebe: Well, yeah, sure I did. Why not? I mean, I didn't tell her that we're magical witches, obviously. Look, I'm sorry but I think after everything we've been through it's important tolearn as much as we can about who we are. Forewarned is forearmed.Prue: And I think that we should leave well enough alone. I mean, we've been demon-free for over a month now, I'd like to keep it that away.Piper:Amen to that.(Prue and Piper walk out of the room.)[Scene: Manor. Attic. The next morning. The Book Of Shadows opens up by itself and the pages start to flip. Phoebe races in.]Phoebe: Prue! Piper!(Prue and Pipercome in.)Prue: What's going on?Phoebe: Uh, I don't know!Piper: Why does the book do that? How does the book do that?(They go over to the Book and look at the page it opens up to.)Phoebe: \"Rite of passage. Fight itwith the Power of one or else...\"(A vortex opens in the wall and a gust of wind blows through the attic. A demon is sitting in the vortex. Prue hesitates to use her power and the demon steals the Book. The vortexcloses.)Piper: What the hell was that?Phoebe: The Book Of Shadows? Where's the Book of Shadows?Piper: So much for being demon-free.Opening Credits[Scene: Manor. Attic. Prue, Piper and Phoebe are there. Prueand Piper are picking up pieces of paper that blew across the room. Phoebe is knocking on the wall where the vortex opened.]Piper: Did you find anything?Phoebe: Nothing. But whatever it was literally came out ofnowhere and disappeared into nowhere.Piper: Well, it took the Book of Shadows somewhere. And he's powerful too. No other demons been able to steal the book.Prue: But if he's so powerful, why didn't he killus?Phoebe: He probably didn't want to go up against you.Prue: Me? What do you mean?Phoebe: That's what the Book of Shadows says. Fight it with The Power of One. That's gotta mean your power. It's thestrongest.Prue: Says who?Phoebe: Says every demon or warlock we've ever gone up against.Piper: She's right, Prue. The power of one's gotta mean you, otherwise it would've said the Power of Three. The onlyquestion is how are we gonna find this demon. We don't know anything about him.Phoebe: Well, we better think of something fast because without the Book of Shadows, we're not the Charmed Ones anymore.(Thedoorbell rings.)[Cut to downstairs. Phoebe is coming down the stairs.]Phoebe: Coming. (She walks into the foyer and opens the door. A 16-year old girls stands there.) Uh, hi...Jenny: Can I use your phone,please?Phoebe: Uh, well, actually, we're...Jenny: Please? It's an emergency. Please?Phoebe: Okay. Come on in. It's right around that corner.(The girl walks in and picks up the phone. Prue and Piper walk in thefoyer.)Piper: (to Phoebe) Are you out of your mind?Phoebe: What was I supposed to do? Say no? Look at that poor girl.(They look at her.)Dan: (outside) Jenny? Jenny, come on. Talk to me.(A cute guy in his late 20'slet's himself inside.)Prue, Piper and Phoebe: Whoa!Jenny: (on phone) International Operator please. Saudi Arabia.Prue: Saudi Arabia?Dan: I'm sorry. We're moving in next door. Or at least we're trying to. Our phone'snot hooked up yet.Phoebe: So, you're our new neighbours?Dan: Name's Dan. Uh, Dan Gordon.Jenny: (on phone) I don't care if the circuits are busy. I have to talk to my mum.Dan: And that's my niece Jenny. Who'sobviously not talking to me. Jenny, sweetie, come on.(Jenny hangs up and storms outside.)Dan: I'm sorry. It's nice meeting you.Phoebe: You too. (Dan leaves.) I saw him first!Piper: Demons now, drooling later.Prue:Look, I have to meet my client before the preview.(Prue starts to leave.)Phoebe: Oh, wait a minute. The scariest demon we've ever run across opens up some portal in our attic, and steals the Book of Shadows and youwant to go into the office?(Prue nods and walks away.)Phoebe: Wh- (She turns to Piper) What's the matter with her?Piper: It's the first demon she's faced since Andy died. Maybe it's bringing up some badmemories.[Scene: On another plane. The demon that stole the Book of Shadows turns to the back of the Book and reads a spell backwards.][Scene: Park. Witches have gathered for the Equinox celebration. Piper andPhoebe are also there.]Piper: What are we doing here?Phoebe: Celebrating the Equinox. Can't you just feel it? The energy in this place? It's a convergence.Piper: It's a crock. I thought we were supposed to meet yourwitch friend.Phoebe: We are. This is where she told us to meet her. Now, please just relax.Piper: Relax? My life was a mess before our little wake up call this morning, remember?(Stevie arrives.)Phoebe: Oh,Stevie!(They go over to her.)Stevie: Hey, Phoebe. I'm so glad you could make it.Phoebe: Um, actually, we are not here for this. We needed to talk to you about something. This is my sister, Piper.Piper: Hi.Stevie: Hey,Piper, it's very nice to meet you. Are you witch too?Piper: Uh, sorta... maybe... I don't know. Uh, is everybody here one, also?Stevie: Oh, no. No, no, no... It's just a group of believers, women who know of this specialplace and who've come to celebrate. By the way, happy anniversary.Phoebe: That's what we wanted to talk to you about. Why did you say that today was gonna be a powerful day for us?Stevie: Because youranniversary falls on the Equinox. Which is a powerful day in and of itself for you, this convergence of powers is even stronger. The potential greater. All you have to do is connect. You wanna try it?Phoebe: Try it?How?Stevie: Let us begin.(Stevie joins the other women.)Piper: I don't wanna connect.Phoebe: We have to connect.Piper: I don't wanna try it.Phoebe: Okay, but we have to because...Piper: Why?Phoebe: What havewe got to lose, okay?(Piper and Phoebe turns around and notice all the women have taken off their clothes.)Piper: Well, apparently we've got our clothes to lose.Phoebe: I see that.(Phoebe pulls Piper behind a rock walland Phoebe starts taking off her clothes.)Piper: No. Whoa, Whoa. Wait. What are you doing?Phoebe: When in Rome.Piper: No-no-no! We're not in Rome, Phoebe. We're in California. And it's illegal here.Phoebe: It'stotally natural, okay? Go for it. Come on.Piper: God. This is ridiculous. Can I keep my shoes on?Phoebe: Yeah, but that's it.Piper: We've got absolutely zero, zero information.Phoebe: Everybody's naked, not justyou.Piper: And now we're naked.Phoebe: Shh, okay? Shh.Grams' voice: The Power of Three.Phoebe: Did you just hear that?Piper: Hear what?Grams' voice: The Power of Three.Phoebe: That. Grams?Piper: Grams?(Piper looks around and tries to cover herself up.) What? Where? I don't hear anything.[SCENE_BREAK][Scene: Bucklands. Mrs. Milton is looking at some items up for auction. Prue walks in the room.]Prue: Mrs. Milton.Hi. I'm sorry to keep you waiting.Mrs. Milton: Oh, no problem. I was just looking around.Prue: Well, I think that we'll have a great turnout for the preview. We've been getting an excellent response to your husband'scollection.Mrs. Milton: I'm not surprised.Prue: Now, the opening bid prices may look a little low, but don't worry. It should attract a lot of buyers, which should result in a bidding war. It's the best way to sell inventorylike this at top dollar. Is that all right with you?Mrs. Milton: I guess I'm having a little more trouble letting go of John's things than I thought.Prue: That's only natural. It's not easy.Mrs. Milton: I suppose that you dealwith death quite a bit in your line of work, don't you? I mean, like this, auctioning off some poor widows inheritance.Prue: This? Unfortunately, yes.Mrs. Milton: I just keep going over and over in my mind the last time Isaw him before the accident. And I keep thinking if only I'd done something or said something to stop him from getting in the car, maybe he'd still be alive.[Scene: Outside a large building that's up for sale. Piper pullsup in her car. She gets out and walks inside.][Cut to inside. Rob is there looking around. Piper comes down the stairs.]Piper: Oh, god, Rob. I'm so sorry I'm late. Uh, I got stuck at this thing and then my sister needed aride, and I'm so totally screwed on the loan now, aren't I?Rob: Don't be ridiculous. I'm just looking around, checking things out.Piper: It needs a lot of work, uh, I know that. But that's not a problem and just becausethe last two owners went bankrupt, doesn't mean it can't work. I've done three separate marketing studies and found a 68% interest in the target clientele.Rob: Piper...Piper: Plus, running a restaurant is very similar torunning a club.Rob: You've already shown me all this. I've got it. I've got everything, except for an understanding of why you wanna put yourself in a position to fail like this.Piper: Uhh...Rob: Clubs are an extremelyhigh risk business, Piper. You could lose your shirt.Piper: Well, it wouldn't be the first time today. Look, I know what I'm getting myself into. I know the risks and actually it's a lot less risk and a lot a less expensive thanstarting my own restaurant, which is what I really wanted to do. The point is, I'm tired of working for somebody else and helping them realizing their dreams. I wanna run my own place. This place. And I can do it, too.But not without your help.Rob: Well, at the risk of you never wanting to go out with me again... Congratulations.Piper: I got it?Rob: You go itPiper: Yay!(Piper hugs him and they kiss.)Rob: Hmm.Piper: Oh.(They startmaking out.)[Cut to Abraxas. He says another spell backwards. Jeremy appears wielding a knife.]Abraxas: Were you vanquished by the Charmed Ones?Jeremy: Yeah. Why?Abraxas: I'm giving you a second chance.[Cutback to Piper and Rob. They are still kissing.]Grams' Voice: The Power of Three.(Piper pulls away.)Piper: Did you hear that?Grams' Voice: The Power of Three.Rob: Hear what?(Piper looks around.)Piper: Grams?(Jeremyappears and knocks Rob unconscious. Piper screams and backs away.)Jeremy: You're dead, witch.(Piper freezes him.)Piper: Oh my God. Jeremy?[Cut to Prue's office. Prue's sitting at her desk. The phone rings.]Prue:Hello?Piper: Prue, thank god you're there. Jeremy...Prue: Piper, calm down...Piper: Just attacked me.Prue: Jeremy? That is impossible. We vanquished him a year ago.[Cut back to Piper.]Piper: Well, apparently he gotunvanquished somehow. And since we don't have the Book of Shadows, we're gonna have to remember the spell together. I'm conferencing Phoebe. (She presses a button on the phone.) Phoebe, are youthere?Phoebe: AT&T, the Power of Three.[Cut to Prue.]Prue: Okay, wait. Wasn't that it? The Power of Three will set us free.Piper: Grams...(Jeremy unfreezes.)Piper: Whoa!(She freezes him again.)Prue: What's thematter?Piper: He's...(Jeremy unfreezes and Piper freezes him again.)Piper: He's fighting through my freezes. He's adjusting or something.Phoebe: Uh, okay, put us on the speakerphone. We have to say ittogether.(Jeremy unfreezes.)Jeremy: (laughs) You're not getting away from me this time.(Jeremy attacks her with his dagger. She ducks and tries to get out of the way.)Piper: Whoa! Whoa!Phoebe: Piper!Piper: Hurry!Now! Hurry, now, now, now!Prue, Piper and Phoebe: \"The Power of Three will set us free.\" (They repeat it another three times.)Prue: Piper?Phoebe: Piper?Piper: Ow. Ow.Prue: Piper?Piper: It's okay. He's gone.Again.[SCENE_BREAK][Scene: Building. Rob is on a stretcher. Piper is crouching down beside him.]Rob: How can you not have seen who attacked me? How is that possible?Piper: I don't know. I guess I was blocked orsomething and then he just sort of disappeared, you know?Rob: I'm starting to understand why this place keeps going under.Piper: Oh, no. It's not a bad crime area. Not at all.Rob: Well, it's something I'm going to bechecking into. I can assure you of that.Paramedic: Excuse me, ma'am.(The paramedics carry Rob up the stairs. Prue walks past and looks at him.)Rob: Yeah, hi, how ya doin'?(Prue goes over to Piper.)Prue: Are youokay?Piper: Physically, yeah. I think my loan's on shaky ground. I couldn't exactly tell Rob, \"It was just a warlock. Don't worry about it\".Prue: Oh, it would be a shame if the loan didn't work out, I mean, this place isgreat. I used to come here. It has a lot of potential.Piper: Yeah? You think so?Prue: Mmm hmm.Piper: Care to loan me sixty grand?Prue: Hmm. Any ideas on where Jeremy came from?Piper: No, but I don't want to runinto any of the other demons we've already vanquished.Prue: Well, hopefully Phoebe can find some answers in those new books of hers.Piper: I sure wish she had our book to look it at. Feels kind of lost without it.Although...Prue: Although what?Piper: It was weird but right before Jeremy appeared, I swore I heard Grams.Prue: Grams?Piper: I was positive it was her. She said \"The Power of Three\". And Phoebe said she heard hersay it this morning. Maybe Grams was trying to warn me, warn us.[Scene: Manor. Living room. Phoebe is typing something on the laptop computer. She hears Kit meow and looks out the window. She sees Jenny sittingon the stairs holding Kit. Phoebe continues to type on her computer but changes her mind and goes outside.][Cut to Jenny. Phoebe walks over to her and sits down.]Phoebe: Hey there. It's Jenny, right?Jenny:Yeah.Phoebe: We didn't really get to say hello before. My name is Phoebe. Phoebe Halliwell. And this is Kit the cat. Get it? Kit Kat. Little play on words. So, shouldn't you be in school?Jenny: I'm taking a weekoff.Phoebe: Really?Jenny: For the move, you know.Phoebe: So you're moving in with your uncle?Jenny: Well, just for the school year. Until my mom and dad come back.Phoebe: From Saudi Arabia?Jenny: My dad's withthe state department. So, he gets transferred a lot.Phoebe: That sucks. So, did you ever get in touch with your mum?Jenny: It doesn't matter.Phoebe: If it matters to you, it matters. Your secret is safe with me.Jenny:Well, it's almost that time of the month, you know? And, well, I need some...Phoebe: Tampons?Jenny: Right, yeah.Phoebe: And you don't want talk to your uncle about it?Jenny: But I did. But he went out and boughtsanitary napkins...Phoebe: Ugh.Jenny: Like that's gonna work. This is so embarrassing.(Phoebe looks at Kit's collar, which has the triquetra symbol hanging from it.)Jenny: So, do you think maybe you could get somefor me instead?Phoebe: Uh... sure... but... a connection.Jenny: But what?(Piper pulls up in the driveway next door.)Phoebe: Uh, I'm really sorry, Jenny, but I have to go.(Phoebe picks up Kit.)Jenny: Fine.Phoebe: Look.I would love to help you out but I gotta believe that your parents wouldn't have left you with your uncle if they didn't think you could trust him at stuff like this. Ask him again. And if he still screws it up, remember,we're open 24 hours, 7 days a week, right next door, okay?(Jenny smiles. Phoebe goes back over to the manor.)Phoebe: Piper, wait up. I think I figured out how to find who the demon is. All we have to do is ask theBook of Shadows.Piper: What?Phoebe: It's been right in front of us the whole time.(She shows Kit's collar.)Piper: Kit's collar?Phoebe: No, the triquetra. The symbol of the Power of Three. Our symbol. Maybe that's whatGrams has been trying to tell us.Piper: Phoebe, you're rambling.Phoebe: No, Stevie said all we would have to do is find our connection, right? That if we did, we'd be able to tap into the Power of the Equinox. Well, thishas got to be it, the Triquetra. It's us. It's on the cover of the Book of Shadows.Piper: I still don't understand how can we ask the Book of Shadows for help when we don't have the book.(Phoebe pulls Piperinside.)Piper: Ugh![Cut to inside the manor. Conservatory. Piper and Phoebe are standing in front of the spirit board.]Piper: The spirit board?Phoebe: It told us how to find the Book of Shadows, didn't it? It can do itagain. All you have to do is believe. Now come on. We're stronger together.Piper: (sighs) OkayPhoebe: Come on. Okay. Close your eyes and feel it.(They touch the pointer.)Gram's Voice: The Power of Three.Phoebe:Did you hear that?Piper: Grams?(Piper looks around. The pointer moves.)Phoebe: A.Piper: B-R-A-X-A-S.Phoebe: Abraxas?(They look at each other.)[Cut to Abraxas. He turns to another spell in the Book of Shadowsand starts to read it backwards.][Cut back to the manor. Piper is sitting on the couch in the living room. Phoebe walks in, reading from a book.]Phoebe: Okay, I found it. \"Abraxas - A demon of the astral plane whodestroy witches by demonising their powers.\" Okay, but what does that have to do with the Book of Shadows?Piper: Well, that's where our powers come from, isn't it? Maybe Abraxas it turning it evil somehow.Phoebe:That would definitely undo our spells. And explain why Jeremy all of a sudden became unvanquished.Piper: And the Woogyman.Phoebe: When did the Woogyman become unvanquished?Piper: A couple of secondsago.(Phoebe looks behind her and sees the Woogyman. They jump up.)Phoebe: Freeze it.Piper: It doesn't freeze, remember? The spell. What's the spell? Spell, spell...Phoebe: \"I am light. I am one too strong to fight.\" Ican't remember the rest.Piper: Yes you can. Okay, we can. Uh, \"Return to dark, where the shadows dwell. You cannot have this Halliwell\".Piper and Phoebe: \"Go away and leave my sight. And take with you this endlessnight\".(The Woogyman is vanquished.)Piper: That wasn't so hard.Phoebe: It's a good thing we were together.Piper: Abraxas must be reading the book backwards. That's how he's turning it evil.Phoebe: How do youfigure?Piper: The spell to vanquish Jeremy was at the back of the book. And the spell to vanquish the Woogyman was right before that.Phoebe: Which means more are on their way.Piper: Uh-huh.Phoebe: We gottawarn Prue.Piper: Uh-huh. (They walk into the foyer and Phoebe touches a photoframe. She gets a premonition. In the premonition, Nicholas the warlock, is attacking Prue at Bucklands.) What? What happened?Phoebe:I saw the warlock Nicholas, killing Prue.[Scene: Bucklands. Prue is walking down the corridor. She stops when she sees Mrs. Milton. Prue's assistant approaches her.]Guy: Prue, your sister Phoebe's on the phone.Prue:Oh, uh, tell her that I'll call her back.Guy: She said it's important.Prue: She always says that it's important. Just tell her I'll call her back. It's okay. Thanks. (Prue goes over to Mrs. Milton.) Mrs. Milton.Mrs. Milton: Oh,"}
+{"doc_id":"doc_61","qid":"","text":"VERONICA VOICEOVER: Previously on Veronica Mars... Bonnie exits through the back of the Pi Sig house, much to Dick's disgust, in 308 \"Lord of the Pi's.\"DICK: What the hell, Bonnie?BONNIE: Another cute frat boy.What the hell?In the Food Court, Veronica assures Landry in 307 \"Of Vice and Men.\"VERONICA: I was never gonna tell anyone about your...situation with the dean's wife. In his bedroom, Logan explains to Veronicawhat happened in Mexico.LOGAN: The whole motel was going up in flames. We had to get out of there.VERONICA: You didn't stick around to try to help? You didn't see if everyone was okay?Logan drops his head inshame. In the Food Court, Veronica elects to ignore Logan's call which Logan watches her do it in 308 \"Lord of the Pi's.\" He's devastated. Elsewhere on campus, Keith and the dean speak to the \"rescued\" Selma HearstRose.SELMA: I'm on my way to vote. Fate of the Greeks in my hands and all.DEAN O'DELL: How are they faring?SELMA: Screw 'em. They're out of here.Veronica and Mac are awoken by Parker's scream in 301\"Welcome Wagon.\" Parker looks at her shaved head in the mirror in horror.PARKER: Someone raped me! Veronica reassures Keith in 308 \"Lord of the Pi's.\"VERONICA: The Hearst rapist has everyone on edge. Endpreviously.EXT - HEARST COLLEGE, PI SIG FRATERNITY HOUSE - NIGHT.Music: \"Right Here, Right Now\" by Fatboy Slim.LYRICS: Right here, right now Right here, right now Right here, right now Right here, right nowRight here, right now Right here, right now Right here, right now Right here Right here, right now Right here, right now Right here, right now Right here, right now Right here, right now Right here, right now Right here,right now Right hereThe Pi Sigs are having a party. Outside the house, a stage is set up outside the back of the house. People are dancing on the stage and on the lawns, most holding white plastic cups. The place ispacked as is evident as the camera swings around. It comes to a rest on the two people standing on the roof of the porch of the house. Holding a white cup and a red cup respectively, Piz and Mac are staring out at theguests. Mac is looking increasingly concerned.MAC: You seen Veronica? Piz, without ceasing his scan of the crowd, shakes his head.PIZ: Not in a while.INT - HEARST COLLEGE, BENES HALL - NIGHT.The music getslouder as the scene shifts to Veronica, running for dear life in the corridors of Benes Hall. She hits a wall, casts a terrified look back and then races on. She reaches stairs and runs up them, sobbing. She comes toanother corridor and hurries to the door of Wallace and Piz's room. She bangs on it desperately.VERONICA: Wallace, Piz, help! There's no response and she sinks down to the floor. Her nose is bloody and she has anasty gash over her left eye. She pants and looks over at the way she came. As she turns her head back, she becomes aware of a pair of legs coming to a stop next to her. Her eyes travel slowly up the body in fear. Endmusic: \"Right Here, Right Now\" by Fatboy Slim. Opening credits.LILITH HOUSE GIRLS: [singing offscreen] Na-na-na-na Hey, hey...White writing across a black screen states that it is two days earlier.EXT - HEARSTCOLLEGE - DAY.The Lilith House girls, led by Nish, Fern and Claire, are celebrating in a one-float parade. They have created the float with a dune buggy and a trailer, with a large pink pig in a diaper at the back of thetrailer. The pig wears a neck comprised of the Greek letters pi, sigma and sigma. A large poster for Lilith House is attached to the dune buggy, and one saying \"Good Bye!\" to the trailer. Some tipping polystyrenecolumns and glittering gold lengths of tinsel complete the decorations. The girls, standing in the trailer in front of the pig, are exuberant, clapping and singing \"Na Na Hey Hey (Kiss Him Goodbye).\"LILITH HOUSE GIRLS:[singing] Hey, goodbye Na-na-na-na, na-na-na-na Hey, hey, hey, goodbyeTheir song continues in the background. Reactions differ from the students they pass, some giving thumbs up and some giving thumbs downand booing. Veronica watches the float pass.VERONICA VOICEOVER: If the Lilith House's mission was to protect women on campus, I'm not sure this display is doing the trick. Sure, the Board of Trustees voted todismantle the Greek system, but there's still a rapist at large. That hasn't changed.LILITH HOUSE GIRLS: Hey, hey, hey, goodbyeDICK: Sponduly!Veronica turns and looks over her shoulder at hearing Dick's shout. Dickand Logan emerge from one of the college buildings, laughing and joking around. There is some conversation too faint to hear. Veronica observes their playfulness.VERONICA VOICEOVER: Ah. So the boy can still smile.Seems like a week since I've seen his teeth. She rises from her perch and walks towards them. Logan sees her and the smile fades.VERONICA: Hey, handsome.DICK: Shh. Not in front of the old man. He's the jealoustype.Logan is much more quiet and serious.LOGAN: Hey.VERONICA: Hello, Dick.Veronica looks over at the float, still circling the area.VERONICA: I can't believe they got such a perfect likeness. Did you actually modelfor them? Logan and Dick look over at the float.DICK: Yeah, you know, that reminds me. They left out one important detail. Excusez-moi.LILITH HOUSE GIRLS: [singing] Na-na-na-na Hey, hey, hey, goodbyeDick stepsup onto the low wall next to where they are standing. He drops his pants and moons the float. Veronica turns away in disgust with a gasp.DICK: [shouting] Take a picture, ladies. It'll last longer. Dick wiggles and slapshis bare bum to the cat calls of the girls. Dick pulls up his pants and jumps down.VERONICA: Great job, Dick. I'm sure you won that debate.LOGAN: Well, he's a master debater.DICK: You two kiss, hold hands, head tothe soda shop for some malts. I'm out of here.Dick waits to be persuaded to stay.DICK: Okay. Don't try and stop me. Dick backs away, still hoping for an invitation that is not forthcoming. Finally, Veronica and Loganare alone. Veronica leans in towards the again serious Logan.VERONICA: You weren't outside my criminology class. She intimately takes hold of his shirt, pulling him in ready for a kiss.VERONICA: I waited. Loganshuffles uncomfortably.LOGAN: Yeah.VERONICA: Something wrong?She smiles. Logan, on the other hand, is gearing himself up. He takes a moment staring down at the ground before getting it out. He finally looks herin the eye.LOGAN: I can't do this anymore, Veronica. Veronica stares at him in disbelief. Logan looks back at the ground frequently as he continues.LOGAN: You know, I've been thinking, and, uh...this isn't working. Youknow, I don't think I quite measure up to the person that you want me to be and...and I just can't take feeling like a disappointment anymore.VERONICA: Logan, I don't-LOGAN: Hey, let me get this out, okay? Theother thing...you told me you weren't built to let people help you.VERONICA: That's not exactly what I said.LOGAN: It's close. And you know what? I'm not built to stand on the sidelines.Veronica nods her head, hereyes glistening with tears.LOGAN: I don't know, I think we have a choice. And I think we can take a tough but survivable amount of pain now... Logan pauses, staring at her.LOGAN: Or stay together and deal withunbearable pain later. Veronica lets out a deep breath.LOGAN: So, I vote for the pain now. Having expelled her breath, Veronica nods imperceptibly. Logan himself is close to tears as he looks down on her.LOGAN: ButI'm always here...if you need anything. He steps forward, puts his hands on either side of her neck and kisses her on the forehead.LOGAN: [resigned] But you never need anything. Veronica can't speak. Logan looksdown at her in pain and then takes a step back. He turns and hurries away. Veronica takes a breath to hold herself together.INT - HEARST COLLEGE, DEAN'S OFFICE - DAY.Weevil is fixing the dean's television. Thepicture on screen of a woman addressing an audience is jerky and interrupted by static. Dean O'Dell is lounging on the small leather sofa in his office, watching him.WEEVIL: Yeah, but heavyweights weren't always afreak show, man. Ali, Frazier, those were fighters, you know? Just seems nowadays...DEAN O'DELL: All the talent's in the lower weight classes. You're so right. The average fight fan? He doesn't care.Weevil swivels theTV back into place, the picture now as it should be.WEEVIL: You should be good. You gonna test it? The dean uses the remote and flicks on a couple of channels, including one featuring Vincent Price.DEAN O'DELL: Hotdamn, I'm back in business. What would I do if you ever left me?WEEVIL: Call human resources and have them send a replacement?O'Dell shrugs.WEEVIL: It's just a guess. Listen, you don't have high-def yet. I'll swingby when the receiver gets in. Page me if it goes out again.DEAN O'DELL: Thanks, Eli.As Weevil leaves the office, he passes Mindy on her way in. She sees him lounging on the couch.MINDY: Oh, hard at work, Isee.DEAN O'DELL: This job is easy. To what do I owe the pleasure?MINDY: I brought you the minivan.She holds out some car keys, embellished with a furry ball. He takes them reluctantly.MINDY: You're gonna have tohaul around Gram's drums tonight. Just got called up to Sacramento to meet with Helm's people.DEAN O'DELL: Can't they send Wally?MINDY: Wally's going, too. I need the Volvo keys.She holds out her hand. O'Delldigs in his pocket.DEAN O'DELL: Gonna be bored. I may be forced to speak to our children. He hands over the Volvo keys.MINDY: Oh, remind them of how things used to be. She sits down on the couch next tohim.MINDY: They love that. She leans in to give him a quick kiss. The dean is more interested in something more substantive and pulls her back in for a longer one. She avoids it by presenting her cheek.MINDY: I'll behome tomorrow by noon. She pulls away, much to his disappointment and puzzlement.MINDY: Okay? You can order pizza, can't you?DEAN O'DELL: I'm sure someone will show me.Mindy chuckles. They are interruptedby a knock on the open door. Cora, the dean's (new? - what happened to Angela?) assistant, pokes her head around the door jamb.CORA: Dean O'Dell, I'm sorry for interrupting.DEAN O'DELL: What is it?Mindy takesthe opportunity to extract herself from the dean's arms and exits.CORA: I have a man waiting for you who doesn't have an appointment. He won't give me his name or put out his cigar.DEAN O'DELL: Is that so?Thedean gets up from the coach and goes to the door of his office.INT - HEARST COLLEGE, DEAN'S OUTER OFFICE - CONTINUING.A man is sitting on the couch seen in 306 \"Hi, Infidelity.\" He's reading a paper and puffingon a big fat cigar. He looks up at the dean, who looks a little stunned on seeing him.MEL: Cyrus, we need to talk.INT - HEARST COLLEGE, DEAN'S OFFICE - DAY.Cut to a few moment later as an ashtray is set down infront of the man, Mel, who is settled on one of the chairs in front of O'Dell's desk.DEAN O'DELL: So, Mel, what can I help you with?Mel has a deep, gruff voice.MEL: You know what I liked best about my days here atHearst, Cyrus? The dean shakes his head and takes a guess.DEAN O'DELL: A quality education? Mel chuckles long and loud at that.MEL: No. It was hanging out on the front porch of my frat, watching the girls go by,drinking beer. I had such a good time here at Hearst, in fact, that I've been very generous over the years. Wouldn't you say I've been generous? Mel makes it sound like a threat and O'Dell nods haplessly with furrowedbrow.INT - HEARST COLLEGE, FOOD COURT - DAY.A plate of pasta with a piece of garlic bread on the side is served up to Veronica.SERVER: Here you go. Veronica takes it unenthusiastically. She is in the queue withMac and Wallace next to her. They watch with concern as Veronica stares listlessly down at her food. Veronica doesn't move. Mac glances at Wallace, then back at Veronica.MAC: Veronica? Veronica looks up, as ifcoming out of a trance.VERONICA: I'm fine. Mac and Wallace speak simultaneously.MAC: I know. We know. But it's okay if you're not.WALLACE: Nobody said you weren't. You're Veronica Mars.Veronica hurries toreassure them.VERONICA: I'm fine, seriously. I just told the two of you 'cause I figured you should know. I'm not looking for a pity party.WALLACE: That's good. I always get stuck blowing up the pity balloons.MAC: Isthere anything that we can do for you?VERONICA: Nope. I...we're done with this topic. I just shared some info. Moving on.Veronica's smile doesn't reach her eyes. The three of them are joined by Piz who joins the endof the line.PIZ: Hey, gang. What's the word? Is it \"avuncular\"? All three stare at him. Piz is oblivious to the mood.PIZ: No? Just a shot in the dark. Hey, set your dials to K-Ruff tonight. I mean, we're already moving onas to what to do with the whole Greek Row ghost town next semester. He laughs.PIZ: I got this one guy coming on the show - wants to turn it into an ROTC training battlefield. Quality radio, people. Veronica is staringat the floor whilst the other two continue to stare at him as if he was from outer space. Piz's smile finally starts to fade in his confusion.PIZ: What?INT - MARS INVESTIGATIONS - DAY.Keith finishes pouring two cups ofcoffee in the small kitchenette. O'Dell is standing at the door to the kitchenette.KEITH: You say your wife doesn't kiss you like she used to?DEAN O'DELL: I know how it sounds, Keith.Keith hands one of the cups to thedean.KEITH: How long you been married?DEAN O'DELL: Six years.Keith moves out of the kitchenette, but O'Dell stays by the door, so Keith leans the other side of the door frame to face him.KEITH: Simply soundsnormal, Cyrus. I'm sure everything's fine. O'Dell takes a swig from his \"Life Ain't Fair\" mug.DEAN O'DELL: Still, I'd like to be able to shake this feeling. She's on the 4:30 to Sacramento. She is, as she usually is,travelling with her associate, Wally Wernkey. He's handsome, he's a bit more age-appropriate for my wife, and I've seen him wipe Ranch dressing from her chin at a faculty function. Keith nods sagely. The dean is alittle desperate.DEAN O'DELL: Will you take the case, Keith? Keith sighs.INT - MARS RESIDENCE - DAY.Keith is at the kitchen counter, writing a note to Veronica on a post-it, when he hears her enter the apartment. Hedoesn't look up.KEITH: Hey, there you are. Veronica sees his bag on the counter.VERONICA: Going somewhere? Keith does Charlie Chan, which slightly startles Veronica.KEITH: Oh, very good, number-one daughter.You might make a detective yet. He glances at her as she slouches against the counter.KEITH: I'm off to Sacramento. Husband thinks his wife is fooling around in capital city. Here's my hotel information. He passesover the post-it, sticking it on the counter in front of her. Veronica nods. He has picked up her mood and looks at her with concern.KEITH: You all right, honey?VERONICA: Logan and I broke up.KEITH: I'm sorry to hearthat. Are you okay?Veronica nods.KEITH: I can put off this assignment.VERONICA: No, you go. I'm fine. Just kind of unexpected.KEITH: You sure?Keith rubs her back. Veronica nods again and speaks softly.VERONICA:Go. Keith leans forward and kisses her on the forehead. He takes another look at her before walking around her and grabbing his bag. He looks back at her. She's staring into space. He pauses with his hand on thedoor.KEITH: Honey? Veronica turns to him with a smile.VERONICA: [firmly] Go. A little reluctant, Keith goes out the cut. Cut to later as Veronica steps into the shower. She takes a deep breath and turns to wet her hair.She turns back and is finally losing her composure. She starts to cry.INT - HEARST COLLEGE, RADIO STATION - NIGHT.The Food Court outside the station as seen through the large window is in full operation. Piz has acouple of guests - a conservatively dressed girl and a boy in combat gear.PIZ: We're back and we're talking about Greek Row. Jennifer?JENNIFER: Dean O'Dell refused to even read our proposal to turn one of thedeserted Greek houses into a residence for devoutly Christian students. Had I been lobbying on behalf of the African American students or gay students, would I have been dismissed out of hand like that? No way.PIZ:Uh...as always, we have an empty chair here for Dean O'Dell, should he ever accept We Were Just Talking's standing invitation to join us on-air and defend himself.Piz points to his other guest.PIZ: Lieutenant McGee,you have a radical plan for what should become of the Greek houses. They all turn around at the sound of the door to the studio opening. Dean O'Dell strides in. He points to the broadcast table and paraphernalia.DEANO'DELL: Which one of these is mine? Piz, somewhat surprised, indicates the empty chair next to him.PIZ: T-take that one. As the dean clears his throat, Piz gestures to his engineer to switch on the dean's microphonebefore returning to the broadcast. He claps.PIZ: And like magic, we have our illustrious dean here with us. Dean O'Dell, What do you got for us?DEAN O'DELL: I felt it was imperative to get this news out as quickly aspossible to the student body. It was recently discovered that one of our Board of Trustees members who voted to abolish the Greek system at Hearst owns property currently leased by several of the Greek houses. Dueto this conflict of interest, his vote has been nullified.A few people in the Food Court are starting to take an interest and gather at the window.DEAN O'DELL: Hearst Charter dictates that the dean of the university isallowed to cast the, uh, dissenting vote in just such an occurrence, and I voted to retain the Greek system. A couple of boys sitting at one of the tables stands and cheers. One of the girls gathered at the window does adisgusted \"What?\" Behind her, the boys high-five.DEAN O'DELL: Thank you for your time. That is all. The dean stands and exits as quickly as he arrived. Piz's guests are disappointed.PIZ: Uh, all righty, then. TheGreeks are back. Let's go to the phones. There are a few lines flashing on the telephone in front of Piz. He selects the first.EXT - HEARST COLLEGE - DAY.Music: unidentified. It's the turn of the Pi Sigs to celebrate. Beingtoo lazy/pissed/uncreative to make a float, they simply ride around in an SUV with big wheels. A few frat brothers, including a shirtless Dick, stand on the back seat, appearing through the sun roof. They whoop andcheer as they drive slowly around the campus.DICK: Yeah! Whoo! Yeah! What's up, girls? Ha-ha!Like the Liliths before them, they garner differing reactions from the students they pass. End music unidentified. Music:\"Have You Never Been Mellow\" by Olivia Newton-John.LYRICS: Have you never been mellow? Have you never tried-The dean is also driving through the campus, listening to his choice of music on the radio/CD player.He peers in astonishment at the sight of the Pi Sigs. End music: \"Have You Never Been Mellow\" by Olivia Newton-John. Music: Unidentified. Outside, Dick continues to cheer.DICK: Yeah! Whoo! The SUV slowly passesthe dean as he stares up at them. End music unidentified. Music: \"Have You Never Been Mellow\" by Olivia Newton-John.LYRICS: Have you never been happy Just to hear your song? Have you never let someone else bestrong? Running around as you do with your head up in the cloudsThe dean shakes his head and then carries on. He slows as he sees two small groups of girls hanging around the entrance to the parking area. Theystare at him as he passes the first group. In front of him, Fern emerges from behind a parked van. She walks into the road, blocking his path. In the empty parking space beside the van is another, larger group of girlswaiting. Dean O'Dell stops the car and stares at Nancy. He jerks back when an egg hits the windshield. It signals all the other girls to throw eggs and attack the car, rocking it in place, shouting as they do.ANGRYGIRLS: Rapist! Traitor! Pig! You're gonna pay for what you did to us!End music: \"Have You Never Been Mellow\" by Olivia Newton-John.INT - HEARST COLLEGE, DEAN'S OUTER OFFICE - DAY.The dean, clearly flusteredby events, bursts through the door from the corridor, heading for the inner sanctum of his office.DEAN O'DELL: Get me a roster of all the women of Lilith House.CORA: You have a guest.O'Dell pauses and turns to facehis assistant, seeing as he does Keith sitting in a chair in the corner behind her.CORA: I told him that without an appointment-DEAN O'DELL: Keith, come right in.INT - HEARST COLLEGE, DEAN'S OFFICE -CONTINUING.Keith follows O'Dell into the inner office.DEAN O'DELL: Have a seat.KEITH: Thanks.Both men take their seats. Keith gets out a notebook.DEAN O'DELL: So...what you got?KEITH: Only good news. You havenothing to worry about except, perhaps, your apparent lack of gaydar.DEAN O'DELL: I don't know what that is.KEITH: Wally Wernkey's gay.O'Dell leans back in his chair, surprised.KEITH: Your wife spent the night inher room alone, and Wally, on the other hand, visited, in succession... Keith reads off his notebook.KEITH: The Boathouse, Oilcan Harry's, and Taboo.DEAN O'DELL: Let's both just forget that I ever doubted my"}
+{"doc_id":"doc_62","qid":"","text":"[PREVIOUSLY_ON]Wynn: This is not what we discussed on the telephone.Raylan: I figure you're good enough that no one can link the hitters from last night to you.Wynn: Thank you.Raylan: Except, of course, for Gary.He seems like a bit of a loose end. I'd leave the country, but that's entirely up to you.Wynn: Are we finished?Raylan: As long as you understand that the next time we have this conversation, there won't be aconversation.Ava: Devil, you want sugar? [ Gasps ] Devil!Dickie: Hello, Ava.Ava: Oh!Dickie: It's the top of the 1st, Raylan. Hey, batter, batter, batter, batter, batter...Boyd: Cut him down. Now, God damn it.Dickie:Wait, Raylan! Come on. Listen to me. You ain't getting to Loretta without me, and you know it.Raylan: Boyd?Boyd: He shot Ava.Raylan: I'm gonna need him for a little bit.Boyd: What, are you asking me... Or are youtelling me?Raylan: Makes you feel better, you can tell people I asked.Winona: I want you to leave this alone. I want you to leave it to the authorities. This is not your problem, Raylan.Raylan: I promise you I will befine.Winona: Okay. Take me to work. And go to Harlan. But I can't promise you I'm gonna be here when you get back.Raylan: I need you and your boys to put your guns down.Doyle: And why would we do that?Raylan:Maybe you don't want to see your brother's brains fly Guys! Cease fire![ Siren chirps ]Winona: Was I speeding?Winona Hawkins?Winona: Yeah. Ma'am, this is a courtesy stop. Chief deputy Art mullen's been trying toreach you.[ Indistinct talking over P.A. ]Winona: Hi.Art: Hey.Winona: How is he?Art: He's sleeping right now.But he's gonna be all right. The bullet went right through his side, just under the ribs. Didn't hit any vitals.He's a lucky son of a gun.Winona: Look, Art, I, um... Um...Art: End of the hall, Winona. First door on the left.[ Monitor beeping ][ Gunshots ][ Shell casings dropping ]Raylan: [ Sighs ][ Exhales deeply ][ Whirring ][Whirring stops ][ Sighs ][ Grunts ][ Inhales sharply ]I even tried a cross-pull. I don't think I've done that since Glynco.Art: How'd that work for you?Raylan: Won't be doing it again.Art: [ Laughs ] Did you trylefty?Raylan: So I could shoot the side of a barn?Art: All right, we'll try one more week of medical restriction, and then I'll issue you some hand grenades. You're a lucky man, Raylan.Raylan: I got shot, Art.Art: Onlything that saved you was all that body fat you got going on there.Raylan: Starting to feel uncomfortable.Art: Why? We're alone. Crowder's here.Raylan: Didn't wear your suit.Boyd: Boy, you say that as if I've only gotthe one and not a whole closet full.Raylan: [ Chuckles ] I'm sorry. You didn't wear your black suit.Boyd: Well, I can see by the hitch in your step you're still not 100%.Raylan: Yeah. How's Ava?Boyd: She's moving notso different from you. She's healing. So was I right not to wear my suit?Raylan: Well, we don't have a strict dress code.Boyd: Well, it just occurred to me that Raylan Givens invites me up to Lexington. Chances are Imight find myself in front of a judge before the day is out.Raylan: Why? Did you do something you shouldn't have?Boyd: Well, that's a pretty low bar, Raylan.Raylan: [ Laughs ] Nah, trooper Tom Bergen, up there inyour world, he says within a day of Mags killing herself, all her marijuana-drying sheds got cleaned out.Boyd: I wasn't aware that marijuana interdiction fell under the marshals' purview.Raylan: He also said that thefloorboards in the sheds had been torn up, ceilings pulled down, walls opened up, like someone was looking for something, which does fall under the marshals' purview... Recovering ill-gotten gains. Mags' bank accountshave been seized along with her property, but there's still a sizeable amount of money missing.Boyd: How sizeable, Raylan?Raylan: Well over $10.Boyd: Well, now, if I found that kind of money, I'd be in Mexico bynow.Raylan: Boyd, I've been to Mexico. I don't think you'd like it.Boyd: How so?Raylan: There's a lot of Mexicans.Boyd: Raylan, if a book could only be judged by its cover, you'd be a best seller.Raylan: Hmm.Boyd: Arewe done?Raylan: Looks like. Sorry for wasting your time.Boyd: Never a waste of time to spend a moment with my good friend Raylan Givens. Tell you what. I'll ask around. See if I can't get a line on that money foryou.Raylan: I appreciate it.Boyd: In exchange for an apology.Raylan: I'm sorry. What?Boyd: I want you to apologize.Raylan: For the crack about the Mexicans?Boyd: By the time I got out of Wade Messer's house,Dickie Bennett was tuning you up like it was his birthday and you were his piñata, only I don't think there would have been candy pouring out.Raylan: You're saying you saved my life.Boyd: Are you saying Ididn't?Raylan: I would suggest what you're looking for is a \"thank you,\" not an apology.Boyd: Well, now, follow my logic, Raylan. I had my own plans for Dickie on account of his shooting Ava, but you said you neededhim, so I let you have him under the condition that you would return him to me once his services had been rendered.Raylan: [ Scoffs ][ Sighs ]I'm sorry. Did you see a creek out in the lobby? Some pretty green treesand cut-off mountains? Do you think we're in the \"har\"? I am a deputy U.S. Marshall, Boyd.Boyd: You're a Givens, Raylan.Raylan: And you think I'm gonna hand a man over to you to be murdered like he is, what, somepig I borrowed from you?Boyd: You gave me your word.Raylan: I got half a mind to kick...Boyd: [ Grunts ]Art: R-a-y-l-a-n.[ Grunting in distance ]Recovering from a GSW. That stands for \"gun...\"Boyd: No resistancehere, officer! There's no resistance here!Raylan: Hey, Boyd. Should have wore the suit.Boyd: [ Laughs ] No resistance, officer! I'll see you, Raylan!\u0000 On this lonely road \u0000 \u0000 trying to make it home \u0000 \u0000 doing it by mylonesome \u0000 \u0000 pissed off, who wants some? \u0000 \u0000 I'm fighting for my soul \u0000 \u0000 God get at your boy \u0000 \u0000 you try to bogard \u0000 \u0000 fall back, I go hard \u0000 \u0000 on this lonely road \u0000 \u0000 trying to make it home \u0000 \u0000 doing it bymy lonesome \u0000 \u0000 pissed off, who wants some? \u0000 \u0000 I see them long, hard times to come \u0000Mm, mm, mm. This is great country. Ooh![ Laughs ]First time, and I already love it here. The way the pastures roll off intothe distance. The horses... I have never seen such beautiful horses. Thank you. Thank you. May I sit? Please. Two coffees. Now, you want a little kick? Mr. Arnett likes a little kick. Oh, yeah, he'll have a little kick. No.He won't. Just black. Thank you. Mm-hmm. Thank you, Yvette. You can go now.[ Sighs ]You're banging her, aren't you? I beg your pardon? And now you've lost her respect. That's hardly your concern. Well, in a way itis. See, she's your public face, and she is not selling the same story as you are.[ Clears throat ]Uh... Who's he? Oh, Mr. Nix is one of my brokers. Could he sit where I could see him?[ Laughs ]That's good. Now, whydon't you state your business, enjoy your coffee, and then get the hell out? Detroit is concerned. Look, when you go back to Detroit, you just tell them that the properties that I'm holding are poised to rebound, andwhen they do, they're gonna be worth twice what I paid for them. Wow. So, what do you think they're worth right now, today? No, I don't really have a current assessment. That's okay. 'Cause I do. You picked a shittytime to get into commercial real estate, and now you're under water. Detroit did not make an investment, Emmitt. It made a loan, which you assured them that you would repay as per the agreement. 250 will bring youcurrent. I could have that in two weeks. Emmitt, you read the business pages. Things are getting...Tough all over. So, if you can't have the money here by tomorrow, I suggest you tell me right now.[ Sighs ]I'll have ittomorrow. That's great. I'll see you tomorrow. Said you were looking for work. Everybody's been wondering what happened to all that Bennett weed.Devil: And you get first crack at it, courtesy of Mr. Boyd Crowder.Just his way of showing his appreciation for a new business partner. Well, let's get to it, then.Arlo: There's more in the tractor shed out back. Lee! Go take a look! A-Ron. Get over here and help me.Arlo: Devil.Devil:Yeah?Arlo: Ava's here.[ Bird squawking ]Devil: Ava.Ava: Devil.Arlo throwing a party?[ Both chuckle ]Devil: No, we, uh, got a buyer for the pot.Rodney Dunham.Ava: \"Hot rod\" Dunham? Out of Memphis?Devil: Now,we're taking care of this, Ava... me, Arlo, and Johnny.Ava: Yeah?Devil: Yeah.Ava: I don't see Johnny.Devil: Well, he'll turn up.Ava: Yeah? You figure Boyd's locked up, you'll just go into business for yourself.Devil: Ah, itain't like that. Boyd allowed us how he might sell it. We're just acting on his behalf.Ava: Mm.Arlo: Dunham wants a word.Ava: Tell him to come on out.Arlo: Come on out, Dunham.Devil: I got this, Ava. Ooh! Aah, thatsmell can really take the wind right out of you.Arlo: Tell me about it.Ava: Mr. Dunham, Ava Crowder. I'm proud to know you, ma'am.Ava: Likewise. I've seen all I need to see.Devil: Oh, yeah? What's your offer? All I gotto offer is advice... next time you want to pull a big score like this, don't bag the plants wet.Devil: What, is there a problem? How long's this been sitting here?Arlo: About three weeks. You got mold, you got mildew,you got rats and mice eating on it out in the shed.Devil: Are you saying it's all gone to sh1t? That's not what I'm saying. [ Sighs ] I'm saying you can probably salvage...Two or three grand if you get to cleaning rightnow.Devil: No, this is 120 kilos of premium weed! Three weeks ago...Maybe.Ava: We were thinking that we might...Devil: I'm talking to the gentleman.Arlo: Let us handle it, Ava.Devil: Now, you as much as told me onthe phone that you was gonna take the whole lot. I told you I'd look at it.Devil: No, no, unh-unh, no, no, no, no. Here's how it works. You want to keep buying quality bud, you gonna have to take all this off ourhands.Ava: Devil!Devil: Stay out of this! Pull your head out of your ass, son. This is serious weight, and these are dangerous times. Now, you want this to get ugly? It can.Ava: Of course that's not what we want, Mr.Dunham. We appreciate you coming by. You're lucky I was already in Knoxville. If I'd come eight hours from Memphis for this , I'd be obliged to kick somebody's ass!Devil: Mm-hmm.Ava: Understandable, sir. Thankyou. Ma'am.[ Vehicle doors open, close ]Ava: [ Sighs ]That go about the way you expected?Arlo: I could use a drink.Devil: Amen to that.Ava: [ Sighs ]Winona: You know you got 21/2 bottles of whiskey on ice and nobeer?Raylan: That can happen. Wait. You can't drink any of that sh1t anyway.Winona: Well, I can have one.Raylan: Who says?Winona: My mom. She used to have a couple drinks a night when she was carrying me.She'd put her ashtray, balance it on her great big belly.Raylan: That explains a lot.Winona: [ Chuckles ] How you doing?Raylan: I've been better.Winona: Well, you still look good.Raylan: What do you mean,\"still\"?Winona: You are not getting any younger, kiddo.Raylan: I'm so glad you're here.Winona: You ready to get back in action?Raylan: Oh, Art said another week of light duty, and that was before the fight.Winona:That's not what I'm talking about.Raylan: [ Moaning, grunting ]Winona: You okay? Did that hurt?Raylan: I'll manage.[ Both moaning and grunting ]Raylan: [ Breathes deeply ]Winona: So, what's going on?Raylan: Whatare you asking?Winona: I just... it feels like there's something on your mind.Raylan: Do you know about the newborn baby in the delivery room?Calls his daddy over and says, \"how do you think that feels?\"Winona: Isthat what you were thinking about?Raylan: Maybe a little.Winona: You know the baby's the size of a walnut right now, don't you?Raylan: Mm-hmm. You know it's gonna get bigger, too, right?Raylan: W-well,yeah.Raylan: Mm. Maybe we need more room.Winona: [ Sighs ] After all the time I spent redecorating?Raylan: Well, much as I appreciate you putting lipstick on this particular platypus...Winona: [ Laughs ]Raylan:...Maybe we should... I don't know... start looking for a house or something.Winona: Mm...And leave all this?[SCENE_BREAK][ Doorbell rings ]Yeah? [ Shakily ] I got a large olive and eggplant. [ Chuckles ]Sorry, son, I didn't order a pizza. I did.[ Sighs ][ Clears throat ]Where would you like me to put them? Put them on the desk and sit. Mm, these are way nicer than the piece of sh1t I wear. But I'm not complaining.Keeps good time. You don't remember me, do you? Never seen you before in my life. Oh, you've seen me. You just didn't notice me. But I know you. You're Delmer Coates. You used to own that watch store over onClinton. Couple of kids tried to rob you. You shot them. Dumb asses didn't know you had a gun under the counter. Couple other guys tried after that, right? Yeah. You shot and killed four men. You're one tough son of abitch. But I come in here and ask you for the watches, and you just lay down. Yeah. What was I supposed to do? I was hoping you'd pull on me, give me some lip. You just hit the silent alarm and wait for the cavalry tocome. I know all about your security system. I'm the guy who put it in. When I ordered the pizza, I took your security system offline. Took me less than 30 minutes, which is more than I can say for you, slick. Youunderstand why I ain't paying for that pizza, right?[ Whimpers ]Now, I don't like wearing a mask. I'm too pretty. So I am gonna have to kill you. But I'll tell you what... There's this game I like to play. I'm gonna put thisgun between us and have the pizza man count it down from 10. When he gets to 1, we both go for it, so you got the same chance I got. That sounds fair, right? Start counting. I-I don't think I should be inv... beinvolved in this. Count.[ Inhales deeply ][SCENE_BREAK][ Shakily ] 8...[SCENE_BREAK][ Screams ]I win.[ Latches click] [ Gasps ]I didn't see anything. I'm not gonna say anything. I swear. Are you gonna eat thatpizza? No! Take it![ Breathing heavily ][ Knock on desk ]Raylan: What's up?Tim: Somebody killed a Mr. Delmer Coates last night along with a pizza delivery boy.They also emptied his safe.Raylan: I regret their passing.So?Tim: Well, whoever killed them took Mr. Coates' security system offline, which is not so easy considering...Raylan: I'm gonna stop it there. Were either Mr. Coates or the pizza delivery man federal fugitives?Tim: No,but Fletcher \"the ice pick\" Nix is. He's charged with interstate flight. The stab wounds on the victim's hands are consistent with an ice pick.Raylan: Can't help you. I'm on light duty. Maybe Rachel.Tim: Oh, yeah, I'drather take her, but, uh...Raylan: \"But, uh,\" what?Tim: Wynn Duffy's security system did the installation.Raylan: Is there a question attached to this?Tim: Well, Duffy's the only lead I got, and I thought you might helpme out.Raylan: Why would you think that?Tim: 'Cause you had that thing.Raylan: Had what thing?Tim: Where you two killed Gary together.Raylan: That's funny. That's funny. Excuse me. I'm out of staples, and I'mgetting a little light on paper clips.Tim: Come on, man.Raylan: \"Come on, man.\" Have you not been listening? I cannot leave my desk.Tim: Just say you're on lunch.Raylan: I can't talk to Duffy.Tim: Sure youcan.Raylan: No, I can't.Tim: Why not?Raylan: Last time I saw him I said our next conversation wasn't gonna be a conversation.Tim: Well, this is a different conversation.[ Car door closes ]Tim: What?He's not gonnaremember something you said that long ago.Raylan: [ Sighs ] [ Sighs ] He doesn't want to talk to you.Raylan: Well, that makes two of us.Wynn: Who don't I want to talk to?Raylan: [ Exhales deeply ]Wynn: Raylan. Towhat do I owe the pleasure?Raylan: Deputy Gutterson has some questions for you.Tim: Gentleman named Delmer Coates was murdered last night. Name ring a bell?Wynn: Not offhand. Should it?Tim: Well, youinstalled his security system about two years ago. It was a whispertech series \"c.\"Wynn: That's a good system.Tim: Whoever killed Coates disabled it first. Since you install so many of them...Wynn: I'm sorry, I justhave to ask. Are you two accusing me of being involved or are you just asking me for information?Raylan: Whichever applies.Wynn: I don't think it'd very good for business if I went around murdering my own clients,do you?Tim: Well, it might be worth it if they had a safe full of expensive merchandise.Wynn: All my clients have expensive merchandise. That's why they buy security sys...Raylan: Just answer the question, or shutyour mouth.Wynn: I can only imagine how frustrating this must be for you, Raylan. It'd be so much easier to just beat a confession out of me, wouldn't it?Raylan: That's still an option.Wynn: As a matter of fact, as Irecall, last time we met, you told me next conversation we had wasn't gonna be a conversation.Raylan: This is a different conversation.Wynn: Oh.Tim: You ever hire an installer named Fletcher Nix? Favorite toy's an icepick.Wynn: That's not exactly standard equipment.Raylan: That ain't exactly an answer.Wynn: Raylan, I am so sorry. I would love to be of more help, but I got to get back to watching women's tennis. Close the door,Mike.[ Exhales sharply ][ Door slams shut ]Raylan: [ Sighs ]Well, the man's a piece of sh1t, but I believe him.Tim: You do?Raylan: He didn't flinch when you mentioned Delmer Coates.Tim: No, but when I mentionedthat ice pick...Raylan: Yeah, he flinched a little.Tim: Well, maybe this one's above his pay grade. Who's he work for?Raylan: Emmitt Arnett. Dixie mafia shot-caller out of Frankfort.Tim: Okay, how about you go talk tohim? You drop me off at the corner. I'll keep an eye on Duffy.Raylan: Excuse me?Tim: Or, you know, you can go back to the office, get your paper clips, do the p-p dance, whatever makes you feel happy, Raylan.[ Cardoor closes ]Raylan: [ Grunts ][ Engine turns over ][SCENE_BREAK]Wynn: [ Sighs ]Emmitt, is there anything you want to tell me? What is this, 20 questions?Wynn: You hired one of my own guys to go after one of myclients? Where'd you get that idea?Wynn: Don't insult my intelligence, Emmitt! I'm talking about Fletcher, the ice pick. Hey, baby? Baby, pull that door a minute, will you? I didn't think he was still one of yourboys.Wynn: He isn't one of my boys. Do you know why? Because he's a federal fugitive, which means that anything he does points right back at me, which raises the obvious question, was that your intention, Emmitt?No! No, look. [ Sighs ] It d-didn't go as planned. I'm on my way into the office to meet him, and that'll be the end of it.Wynn: Well, let me know how that goes. And, by the way, Raylan Givens is on his way to talk toyou.[ Sighs ]Damn.[ Buzzer sounds ]Boyd: Oh, it sure is good to see you.Ava: You okay?Boyd: I'm fine.How are you?Ava: Well, it sucks talking to you through this glass.Boyd: They're transferring me to Tramble.Everything okay?Ava: [ Inhales deeply ] You know that cord of wood we got stacked behind Arlo's house?Boyd: I thought maybe we could sell some.Ava: Yeah, but your old buddy from Memphis came by, said hecouldn't use any of it.Boyd: Not a piece?Ava: Mnh-mnh. He said it was starting to rot. Didn't seem to have any good ideas about what we should do with it, either.Boyd: [ Sighs ] Well... [ Inhales deeply ] Burn it.Ava: Allof it?Boyd: All of it. I wouldn't want to attract any termites or any other pests.Raylan: [ Sighs ][ Cellphone rings ]Yeah? What's the problem? Uh-huh. Yeah. Small world.[ Elevator bell dings ]I'll tell you later. You wantme to handle it? All right. Have it your way.Raylan: Something I can help you with? I like your hat.[ Elevator bell dings ]Raylan: [ Sighs ]There much call for cowboys these days?Raylan: You would be surprised.Yeah?Raylan: Yep. Whoa. Hey. It's not your floor. Change of plan. See you again.Raylan: Emmitt? Marshal! [ Chuckles ] I didn't hear you come in.Raylan: Sorry. Looking for Mr. Arnett. Uh, he won't be coming intoday.Raylan: [ Sighs ] You know where I can find him? I can try to find out. Or maybe there's something I can do for you. My daddy had a hat kind of like yours.Raylan: Oh, yeah? Except the brim was smaller.Raylan:Businessman's Stetson. That's it. Can I be honest with you?Raylan: I'd like to think so. I don't think Mr. Arnett's in the real-estate business.Raylan: What makes you say that? Mostly just the people who come around. Imean, they don't look like real-estate folks. They don't even look like contractors or property managers or maintenance people. They're just sketchy.Raylan: Like Wynn Duffy. Exactly! And this new guy, Fletcher Nix. Heis super creepy. Ohh.Raylan: What do you know about him? Nothing. Except he was supposed to come into the office this morning for a meeting, but Mr. Arnett canceled at the last minute.Raylan: Why'd he cancel? Mm.They rescheduled.Raylan: Rescheduled for...? Can I just say... It is so nice talking to a man who's interested in what you have to say. I mean, none of Mr. Arnett's colleagues are very good conversationalists, to say theleast.Raylan: Must be difficult. They rescheduled for...? Tonight. But I don't have to be there. Thank goodness.Raylan: Do you know where? Um...Near a cab stand at Jefferson and Main.Raylan: Yvette, may I offer you"}
+{"doc_id":"doc_63","qid":"","text":"Act One.Scene One - Frasier's Apartment. It's the early evening. Frasier is playing a tune on the piano, Martin is looking through some old police work, and Daphne is busying herself in the kitchen. Frasier turns round tofind Eddie staring at him.Frasier: Dad, he's doing it again! Must this dog stare at me all the time?Martin: I don't know. Eddie - must ya? [Eddie carries on staring] Apparently he must.Frasier: [to Eddie:] What is sofascinating about me? What is it? Do you imagine I am a large piece of kibble? Am I some sort of canine enigma? Think about it, get back to me.Daphne enters carrying a tray of food.Daphne: Here we are, gents,dinner's up. [to Martin:] Can I give you a hand clearing up your papers?Martin: No, you better let me. I need to keep these in a particular order.Daphne: What is all this, anyway?Martin: Oh, it's an old case of mine fromthe police force - the \"Weeping Lotus\" murder.Frasier: Dad, I can't believe you're still trotting this old thing up. He's been trying to solve this case for twenty years.Martin: Yeah, and I'm not stopping until I do solve it.You adopt certain instincts when you're a cop. And my instinct tells me that this case can be cracked. There just must be one small thing I keep overlooking. [tidies papers]Frasier: There is - who the murderer was.[laughs]The doorbell sounds and Frasier goes to answer it as Daphne and Martin chat.Daphne: It's nice you feel so dedicated.Martin: It's a hobby. Some guys build a boat in their garage, I try to figure out why a maniacwould kill a hooker and try to stuff her entire body into a bowling bag. It's relaxing!At this point Frasier opens the front door to Niles who is carrying a bottle of wine. He enters and hands the wine to Frasier.Frasier:Hello, Niles.Niles: Sorry I'm late, Frasier. Just as we were leaving, Maris had a run-in with a rude directory assistance operator and it shattered her calm.Frasier: Have you ever considered that maybe Maris is a bit highstrung? Maybe she should see someone.Niles: She's seen everyone, why do you think she was calling directory assistance?Daphne: Evening, Dr. Crane.Niles: Hello, Daphne. It's so good to see you again. [she puts themeal down] What an enchanting scent you're wearing.Daphne: [smells herself] Must be the ranch dressing. Won't Mrs. Crane be coming?Niles: No, I'm afraid. And please, no more of this \"Doctor\" and \"Mrs. Crane\"formality. To you, it's Niles and... [stumped] er...Frasier: Maris.Niles: Yes, Maris.Martin: Glad you could join us, Niles.Niles: Oh, I wouldn't have missed it.Martin: Well, I guess the food's all ready: why don't we just goahead and start?Everyone sits down except Daphne who begins to take her food into the kitchen.Daphne: Well, enjoy.Martin: Where are you going?Daphne: I thought I'd have mine in the kitchen.Martin: Don't beridiculous.Niles: Yes, we can't have you eating by yourself in the kitchen. I'll join you.Martin: No. We're all eating right here, like a family, end of discussion.Daphne: Well, isn't this nice? Feels just like home.Niles: I'mfamished.Frasier: Me, too.Niles and Frasier begin to eat...Martin: You boys still say a prayer before you eat?They relent and pretend they do. All four close their eyes and hold their hands together. As Martin begins hisprayer, Niles stares at Daphne as Eddie stares at Frasier. Daphne does not notice with her eyes shut. However, Frasier notices Eddie's skin-creeping look.Martin: We thank you, Lord, for the food we're about to eat. Youhave blessed our table with your palm. And thank you, Lord, for bringing this family together and we also thank you for the other gifts you have given to us. And may we always be able to share with those lessfortunate...Frasier: [to Eddie:] OH, WILL YOU STOP STARING!Niles: [off guard:] I wasn't staring!Martin: [takes what he can get] Amen.They all settle down. Daphne looks at Niles a little suspiciously as he begins themeal conversation.Niles: So Frasier, did you happen to read Derek Mann's column today? You were mentioned.Frasier: No, I missed it.Niles: Just as well, it wasn't flattering.Frasier: I still would have liked to have seen itanyway.Niles: Oh, why didn't you say so? [takes it out of his pocket]Daphne: If I may ask, who's Derek Mann?Martin: He writes that \"Mann About Town\" column for the Times. The things that guys comes out with,sometimes he's really funny - what did he say about you?Frasier: [reading:] \"I hate Frasier Crane.\"Martin: [laughs, then:] Oh, sorry.Frasier: That's it. \"I hate Frasier Crane.\" That's it?Martin: Oh, don't let it botheryou.Frasier: Well, actually it doesn't, dad. I knew when I chose a career in the public eye that I'd be open to certain criticisms, it's the price I pay for my celebrity. Thank you, Niles, for bringing me the paper, and thankyou for highlighting it in yellow! Now, who would like some wine?Daphne: Oh, I'll have some.Frasier goes to pour some as Niles compliments Daphne.Niles: Daphne, this salad is exquisite.Frasier: [sitting down:] Nowwhy would he say that?Martin: Must be the carrots, he always did like them.Frasier: Not the salad, Derek Mann. I mean, why would he write a thing like that? I've never done anything to him, the attack is totallyunwarranted. I'm a healer, for God's sake.Martin: Oh, for crying out loud!Frasier: Dad, I have every right to feel upset about this - I will not enjoy my dinner until this is where it belongs - in the trash.Frasier goes to binit as Niles tries to stop him.Niles: Oh, oh, there was an article in there I wanted to save.Martin: On what?Niles: Nothing.Martin: Come on, I'm interested.Niles: Oh, let's drop it.Martin: Why can't you tell me?Niles: Allright, it was all about Margaret Thatcher's secret for growing prize-winning zinnias. Are you happy?Martin: [beat] Not really.[SCENE_BREAK]OH, YEAH...Scene Two - Radio Station. The following afternoon Frasier istaking a call on air in his booth as Roz listens.Frasier: All right, Lorraine. Now, calm down and try and listen to what I'm going to say to you. Will you do that?Lorraine: [v.o:] Okay.Frasier: All right, good girl. Now yourproblem...Lorraine: [beep] Oh my gosh, another call waiting - someone else is trying to get through. Do you mind if I take it?Frasier: No, no. Go right ahead. [she does] Well, certainly a very interesting situation she'sgot herself into. Don't you think so, Roz?Roz is busy eating and reading magazines. She has to quickly chew her food, put down her books just for the simple:Roz: Yes.Lorraine: Okay, I'm back.Frasier: All right,Lorraine. Now listen very carefully to what I'm going to tell you. Your problem seems...Lorraine: [beep] Oh, I'm sorry, I'll be right back.Frasier: For someone who's got so many problems she certainly is popular.[laughs]Lorraine: Okay, go ahead Dr. Crane. I'm here. [beep] Oh, I don't believe it - another call.Frasier: Hold it there, Lorraine. The reason why you want to take that other call is the same reason that you want tochange your career and break up with your boyfriend. You're obsessed with what you think you're missing. The better offer, the call on the other line. Well, you've got to take one call at a time from now on. Fullyexplore and experience each one in its turn and you'll be a stronger person for it. Do you follow me, Lorraine?Lorraine: Okay, I'm back!Frasier: Thank you for your call. [hangs up] Well, we've only got two minutes left,so I would like to end today's program on a personal note. As some of you may know, yesterday I was mentioned in Derek Mann's \"Mann About Town\" column. He said, and I quote, \"I Hate Frasier Crane\"... \"I HateFrasier Crane\". [sarcastic:] What trenchant criticism. Move aside Voltaire, step back in the shadows H.L. Mencken, there's a new kid in town. One can only wonder how many hours Derek Mann sat in the glow of hiscomputer screen before his trembling fingers sprang to life and pecked out this cheft'ouerve: \"I Hate Frasier Crane.\" A lesser critic would have wasted our time by presenting a well thought-out, point by point,constructive critique of this show. No, not our Mr. Mann. So dear listeners, when Mr. Mann's column arrives on your front doorstep - read it, enjoy it, but above all, treasure it. For one day this man will be joining thePantheon of the immortals. And if we're lucky... it'll be one day soon. I'm Dr. Frasier Crane. [signs off]Frasier presses the off air button, and twirls his microphone around before blowing on it as if it were his weapon,then \"holsters\" it in his belt.[SCENE_BREAK]YEAH!Scene Three - Café Nervosa. The following afternoon Frasier is drinking a coffee in the café with Roz when Niles enters and sits with him.Niles: Frasier, how funnyrunning into you here.Frasier: I'm always here.Niles: Yes well, you weren't here twenty minutes ago: have you seen today's \"Times\"?Frasier: [knowing what's coming:] No.Niles: Lucky for you I saved you this copy.Take a look at Derek Mann's column.Frasier: You know, this is the second time in as many days that you have given me a paper. Have you ever considered getting yourself a route?Niles: [to Roz:] Hello, I don't believewe've met.Roz: Yes we have, Niles, three or four times. Roz Doyle.Niles: Oh, of course. It was at the... it was during the... well, I'm far too successful to feel awkward. Where did we meet?Roz: The radio station.Niles:Ah, I'll take your word for it. Nice to see you again. [then, to Frasier:] Mr. Mann heard your program yesterday.Frasier: So I see. [reading:] \"Yesterday afternoon, Dr. Frasier Crane got on my case for not giving him apoint by point criticism of his radio show. Well, he asked for it, so here goes.\"Roz: [noticing:] Oh my god, his entire column is about your show.Niles: Not very flattering either. Towards the end he even attacks your\"dimwitted sidekick call screener.\"Roz: [appalled:] That's me!Niles: Oh, now I remember you!Frasier: [reading:] \"It's hard to say what I hate most about Crane's show - his pompous, sanctimonious style, his constantself- congratulatory references to his own life, or his voice: a mock- sympathetic tone so sickly sweet one wonders if the man graduated from medical school or from some mind-controlling cult.\"Niles: It's continued ontwelve.Frasier: I've read enough!Waiter: [asking:] Can I get you something?Frasier: [to Niles:] How can the man think something like that?Waiter: It's my job, I'm a waiter.Frasier: We don't want anything, thankyou.Roz: Frasier, I know this stinks, but in a couple of days it'll blow over.Frasier: Oh, perhaps you're right. As angry as it makes me, to retaliate would be to stoop to his level. So the best response is no response atall.[SCENE_BREAK]Scene Four - Radio Station. Soon after these comments he is already shouting into his microphone about the recent newspaper report.Frasier: [angry:] \"Pompous and sanctimonious,\" am I?! Well,this Mann character can't even write grammatical sentences! Every five words there's one of his precious \"dot, dot, dots.\" Must be because he likes writing all those dots with the crayon he writes this drivel in!Roz, wholooks like she has been listening to him rant for quite a while, tries to steer him back to the show.Roz: Dr. Crane, on line two we have Stewart who's having a problem with delayed gratification.Frasier: Well, he's justgoing to have to wait! I don't know who this Derek Mann thinks he is, but if he thinks he can hide behind his newspaper like some sniveling schoolchild cowering behind a tree, then I say let's expose this Derek Mannforwhat he is: not a man at all, but half a man! [to Roz:] Now what line did you say Stewart was on?Roz: He hung up.Frasier: Well, I'm leaving all sorts of bodies in my wake today. Let's see who's on line five. [hepresses button:] Hello, this is Dr. Frasier Crane - I'm listening.Derek: [v.o:] Good, because I was listening too.Frasier: And you are?Derek: Derek Mann.Frasier: [regretting:] I see.Derek: Look, nobody calls me half aman - especially some Ivy League twit. So what do you say we settle this like men?Frasier: Are you implying that you want to fight me?Derek: I'm not implying, I'm saying.Frasier: Fight, as in a fist fight?Derek:[sarcastic:] No, I thought we might throw pies at each other! So are you up to it, or aren't you man enough?Frasier: [thinks] We'll be right back after these messages.Frasier signs off for commercials as we fade out.EndOf Act One. (Time: 11:05) Act Two.Scene One - Radio Station. The scene resumes where we left off. The commercials have finished and Frasier gets back to his radio show.Frasier: And we're back. Well, we have asurprise caller on the line: Derek Mann.Derek: [v.o:] So what's it going to be, Crane, are you going to fight me or not?Frasier: Oh, you can't be serious.Derek: Just like I figured, you're chicken.Frasier: No, I just don'tthink that civilized people behave that way. You know, Roz, perhaps our listeners have an opinion about that subject? Who do we have on the line?Roz: Well, lines one through eight are people who think you'rechicken.Derek: You're chicken, Crane. Admit it!Frasier: I am not chicken!Derek: [squawks like a chicken]Frasier: We are mature thinking people, not cavemen!Derek: [squawks some more]Frasier: Alright, if you want afight so bad, I'll give you a fight! You just say the time and place!Derek: Kinsley square, right outside your office, by the old statue. Noon tomorrow. Don't back out!Frasier: I won't! Don't you back out either because Iknow where your office is too, and I know where you live, and I'll track you down! Now who else out there wants a piece of me?![SCENE_BREAK]ET TU, EDDIE?Scene Two - Frasier's Apartment. That evening Martin issearching through his old case as Daphne passes him.Daphne: Having a look at that old murder case again?Martin: Yeah, I've dug out the old crime scene photos.Daphne: Well, don't be a greedy guts - let me have alook.Daphne has a look at the photo of the girl. After a while her psychic powers kick in.Daphne: Her name was Helen.Martin: Yeah, it was. [knowing her trick:] Ah, you must have seen it on some of my papers I've hadlying around here.Daphne: No, I just got this feeling when I touched the picture.Martin: You're putting me on.Daphne: She had a lot of men in her life.Martin: No kidding: she was a hooker!Daphne: No, I mean she hadfour brothers.Martin: [surprised:] That's amazing. She did have four brothers. What else are you getting? Well, come on, tell me more.Daphne: I can't just turn it on and off like a faucet.Martin: Give it a try, will you?Please. What else are you getting?Daphne: Nothing. [suddenly:] No, wait. I see a man.Martin: Yeah?Daphne: A well-dressed man. He's wearing wing tips and a trench coat.Martin: Yeah? Yeah?Daphne: He's getting offan elevator... he's walking down a long hallway... she doesn't know he's coming... he's opening the door...At this moment, a well-dressed man enters the apartment wearing wing tips and a trench coat - it'sFrasier.Frasier: Hello, everyone.Daphne: Sometimes I get my signals crossed.Frasier: What's going on?Martin: Well - unless you killed a hooker when you were twelve - nothing much!Daphne: We heard your showtoday. I just loved the way you handled that Derek Mann.Martin: You made your old man proud. Yet the best part was when he challenged you to a fight and you stood right up to him.Frasier: [worried:] Yes I did, didn'tI?Martin: I can't wait to see that.Frasier: Oh, I'm not actually going to go through with it, dad.Martin: What are you talking about?Frasier: Well, I already won our little war of words. What would I stand to benefit bygoing through with actually going through with a fist fight?Martin: Frasier, maybe I'm misunderstanding here... he challenged you and you're backing down?Frasier: Well, mature people are supposed to use theirintellect to settle their differences.Martin: A man doesn't just turn his tail and run - that's not the way I brought you up.Frasier: Are you encouraging me to fight?Martin: You bet I am - you gave the guy yourword.Frasier: Yes, but I didn't even know what I was saying - I hadn't even had lunch yet.Martin: I might have known this would have happened. It's Billy Kreizel all over again.Frasier: What did you say?Martin:Something about a Billy Kreizel, I believe.Frasier: I can't believe you're dragging that up - that was thirty years ago.Daphne: Who's this Billy Kreizel?Frasier: Oh, he was this kid in fifth grade that used to tormentme!Martin: So one day Frasier made fun of Billy's crewcut.Frasier: Well, he started it by making fun of the elbow patches on my blazer!Martin: Well, the point is, they were supposed to meet for a fight after school. Only\"Patches\" here didn't show up!Frasier: I had a clarinet lesson!Martin: You don't need to remind me of that! Billy's old man was a cop, too. Boy, the guys rode me about that excuse of yours for years. Every time Icouldn't make it out for a drink they used to say, \"What's the matter? You got a clarinet lesson?\"Daphne: [wondering:] Couldn't you and Billy have met after the clarinet lesson?Frasier: Daphne, would you please excuseus for a moment!Daphne: [gets up:] I have a feeling I'm going to be excused quite a lot in this house.She exits to the kitchen.[SCENE_BREAK]Frasier: [sarcastic:] Dad, I am sorry if I embarrassed you for not fightingBilly Kreizel thirty years ago. But the situation is not the same now.Martin: It's exactly the same.Frasier: I am an adult now, I've been to medical school, I hold a certain position in this city - I do not settle mydifferences with brawling.Martin: The man challenged you and you accepted.Frasier: Dad, I can't believe this. You won't be happy until I come home with a black eye.Martin: I just want you to do what you said youwere going to do. You know, you can talk about your medical school, your intellect, your place in this city, but you know what? It's all one big clarinet lesson... I can't even look at you.Martin exits to the kitchen, angrywith his son. Frasier is left with little dignity and looks at Eddie for a little support. However, even Eddie turns his face away from him. Frasier can only sulk.[N.B. Billy Kreizel is the name of a boy who bullied directorDavid Lee in the sixth grade.][SCENE_BREAK]REQUIEM FOR A LIGHTWEIGHTScene Three - Café Nervosa. The next day, Frasier is preparing for the big fight whilst chatting with Roz.Roz: So, I step out of the shower, Ilook out of the window and I notice the garbage man looking right in at me. So I say, \"Did you get a good look?\" And he says, \"Not completely, turn around.\" Then he smiled, and he's missing a tooth, and that's whenthe romance went right out of it for me.Frasier: Roz, why are you telling me this story?Roz: I'm trying to take your mind of the fact that in five minutes you're going to walk right out into that square and get your clockcleaned.Frasier: Well, has it ever occurred to you that I might actually win this fight?Roz: Your shoe's untied. [Frasier checks his tied shoes] If you fell for that one, you're going down and you're going down hard.Niles:[enters] Frasier, there's quite a crowd forming out there. Secretaries with bag lunches, business men, children with balloons...Frasier: All that's missing is a mariachi band.Niles: They're setting up.Roz: Well, I better gofind a great place in the crowd. I'll be off to the left, Frasier, for when you tear his ear off and want to throw it to a beautiful senorita.She leaves the Café. Niles looks at Frasier.Niles: Frasier, as your brother and as yourfriend - why are you doing this?Frasier: It's Billy Kreizel.Niles: [looking around:] Where?Frasier: [shakes head] He's not here, Niles. It's just that I ran away from him when I was ten.Niles: I remember.Frasier: Youknow, I've been running ever since. You know, this is where it stops. I'm not running anymore.Niles: What is it that makes us Crane boys such targets?As he says this, he takes his nail file out of his coat pocket andbuffs his nails. He blows on them and offers the file to Frasier which he refuses.Frasier: [sarcastic:] Chalk it up to random violence! Niles nods in agreement and exits the café. Martin enters.Martin: Hey, there.Frasier:Dad? What are you doing here?Martin: Look son, I said a couple of things last night that maybe went over the line.Frasier: Look dad, if you were worried that you talked me into something that I wasn't ready to do -well, you're wrong. You can relax. I took this on for myself.Martin: Good.Frasier: Who told you that I was going through with it, anyway?Martin: Oh, let's just say a father knows certain things about his son.They smile.Daphne enters.Daphne: Good news, I parked in front of a broken meter. We're getting a freebie. Well, good luck, Dr. Crane, with the fight.Frasier: Thank you, Daphne. Any psychic predictions on the outcome?Daphne:Actually, yes. But don't worry, I'm frequently wrong.Frasier removes his jacket and tie. Niles comes in.Niles: Frasier, Frasier, there's something I want you to see. [points out of window:] There, the man standing to theleft of the statue - I recognize his picture from the newspaper, that's Derek Mann.Frasier: He's gigantic!Daphne: [looking out:] My God, you could show a movie on his back!Martin: Are you sure you want to go throughwith this?Frasier: Yes, yes I am.Frasier throws a few shadow punches to loosen himself up.Martin: Good, you'll be fine. Just remember this is a street fight and not a boxing match. So fight dirty and throw the first"}
+{"doc_id":"doc_64","qid":"","text":"[PREVIOUSLY_ON]Lou: I think starbright is a really good fit for her. (Quietly) Because it'll give her a chance to catch up. Catch up? Ms. Wadsworth doesn't think that Katie is ready. She's beautiful.Bob: She's nearingthe end of her pregnancy. I like you, Ty, you impress me. Ah, well, you know I already have a job. Well, with this grant I can match what Scott pays. You really gonna do this? You left me no choice. I saw the video,Amy. I saw you kissing Ahmed. I'm not working for Ahmed anymore. So come on, let's take it for a spin before I have to ship it back.(Truck roars)Ty: Whooo!Amy: I'll see you tonight?Ty: Absolutely. (Small laugh) Youknow, maybe you could just tell Bob Granger that you thought you start work tomorrow not today.Amy: Right?Ty: No... I gotta go.Amy: Okay. We'll see you tonight.Ty: Okay. See ya.Amy: Bye.(Truck doorshuts)(Engine starts and hums)(Ty honks)(Hooves thunder)Sandra: Okay. Go easy! That's it, Georgie! Okay. Not bad. Do you wanna work on your \"backward thunder\"?Georgie: Yeah sure. (Georgie clicks her tongue)(Grunts with effort) I messed up at the end. Can I go again?Sandra: Sorry, Georgie, you've run out of time. There's another girl signed up.But I only had a half hour. Can I just have ten more minutes? Please? I'm nevergonna get the practice time I need to audition for the extreme team.Sandra: I can't keep my students waiting. And you've still got plenty of time to get ready for that audition. Don't stress.(Gate clanks and squeaksopen)Olivia: Are you finally finished?Georgie: What are you doing here?Olivia: What do you think? I'm taking lessons just like you. Only, Sandra gives me private ones. She says I'm a natural.(Truck rumbles up)Tim:Hi.Casey: Hey Tim!Tim: I heard you were pulling out of town.Casey: Yeah. I got a string of rodeos from longview right through to Southern Montana. So... I'll be gone for a few weeks.Tim: Well, we never got that lunchwe talked about.Casey: Well, you never asked so...(Surprised laugh)Tim: This is me asking.(Laughs)Well, that sounds good.Tim: Okay.Casey: Name the date.Tim: Okay.Casey: No pressure. (Laughs) Bye!Lou: Surelythe doctor can see her before then? I mean, four months? That's crazy... No. I-I appreciate that you have a waiting list but... but what if there is a cancellation? Yes. No, please, please do let me know. Thank you. Fourmonth wait. Can you believe that?Peter: You know, just because some know it all principal at an overpriced preschool thinks she's not ready does not mean there is anything wrong with our daughter, sweetheart.Lou:Dr. Lauder is the best special education psychologist in the field, honey. I mean, there's no harm in checking, right?Peter: Okay. Yeah, absolutely. I won't mention it again.Lou: How was your class?Jack: Wrongquestion.Georgie: It sucked!Lou: Hey language...Georgie: Okay. Well, it did. And I barely had any time on Chaplin. And too many people signed up so there weren't enough horses. Oh, and guess who's taking privatelessons with Sandra?Georgie: Guess!Lou: I-I don't know.Georgie: Olivia!Lou: Olivia. Great.Georgie: Yep. She couldn't stand that I was doing something she wasn't. So she just had to signed up. And that was the onlyreason she signed up. Agh. I'm so mad! Hi Katie.Katie: Hi.(Phone rings)Lou: Grandpa, it might be the clinic...Jack: Hello. Hang on, is Amy...?Lou: No. She rode over to Ty's. She'll be back soon.Jack: No, I'm sorry she'sriding her horse back from Ty's place. But I'm sure she won't be that long.Right. Have a good one. Who was it? You will never guess.(Hooves thud)(Horse snorts)(Hooves thunder)Ahmed: Hello. I was hoping I would runinto you. You look beautiful.S08E04\u0000 And at the break of day you sank into your dream \u0000 \u0000 You dreamer \u0000 oh-oh-oh... \u0000 You dreamer \u0000 you dreamerAmy: What are you doing here? Why aren't you in Europe withthe rest of your team?Ahmed: It's a pleasure to see you too.Amy: (Scoff) I'm sorry it's just...Ahmed: I was compelled to come back. What else could I do? You were ignoring all my emails and texts. Well...Ahmed: Andthen the truck. I don't understand why you would return the truck. It was a bonus for all your hard work. It was too big of a gesture. I wasn't comfortable with it.Ahmed: It would have been valuable when we are backworking at Hillhurst. You wouldn't always be depending on other peoples' vehicles. I'm not coming back to work at Hillhurst. I told you that. No. You said you weren't coming back to the tour. That's not what I said. Nowyou're saying you don't want to be my head trainer here at Hillhurst? Not possible. Of course you are staying on. No. I'm not. I thought you understood. Why would you walk away from something you excelled at, thatyou enjoyed. Ahmed, you know why... All right. I admit the circumstances were slightly awkward... before you left France... You're just tired from the tour. When you have time to relax, rethink, you will see things moreclearly.Amy: Ahmed...Ahmed: Can I at least accompany you home? (Frustrated sigh) Sure.(Door creaks open)(Birds chirping, howling)Bob: I am freaking out here, man. Four new animals have been dropped off sinceyesterday! Four!A bear cub that turned up in someone's garbage. Two coyote cubs, and a porcupine that we gotta check for rabies.Ty: Absolutely. Yeah.Bob: Oh, and hey, see that feed shipment that just arrived? Takecare of that. Also the llama fence over there looks like the side is sagging. If it is, fix it.Ty: Yeah, I can handle that.Bob: Oh and on top of everything else, the pregnant wolf is about to pop. So take a look at her for me?Will do.Bob: Thanks, bud.Lou: Yes, but are you sure that's necessary? Because I'd really like to see Dr. Lauder not... I understand. Yes, thank you.Tim: Hi.Lou: Oh hi. Dad. Okay, so apparently she should see a specialeducation evaluator if we can't get an appointment with Dr. Lauder. What do you think?Tim: What?Lou: A special education evaluator. It's for Katie.Tim: Oh. Listen, you two, don't stress this. There is nothing wrongwith my grand daughter. Thank you, Tim. I couldn't agree more.Tim: That's gotta be a first, general.Tim: Lou.Tim: Ahmed is back.Lou: What?! Now that is a relationship worth nurturing.Lou: Yes, so you've said. Dad.Dad, come back here! Dad... Just wait a second.Tim: Ahmed! Good to see you! Congratulations on a successful tour.Ahmed: Our success was greatly due to your daughter's expertise. Well, I think it calls for acelebration. Why don't join us for dinner tonight? What's do you say? Is it okay, Lou?Ahmed: I would love to, but I will have to take... what do you call it? A rain check. Another evening would be wonderful. Huh.Ahmed:I will talk to you soon, Amy. Ha.Amy: Georgie is that a trick ridding saddle on Phoenix? There's no way. Phoenix is a great horse but he's not a trick riding horse. Phoenix can do anything. Including trick riding. So,Ahmed is back. That's just great, isn't it?Amy: Georgie! You are not trick riding on Phoenix!Georgie: Relax. I'm just getting him used to the saddle!Tim: Lou. Lou. I don't understand why you're ticked off with me forinviting Ahmed to dinner?Lou: Because, it's just...Tim: It's-it's what? It's not very hospitable.Lou: What? I'm not prepared to invite a prince to dinner at the last minute, okay?Tim: I don't-I don't think he'd care, okay?The guy- he's down to earth.Jack: Yeah. For a guy who owns a private jet.Tim: Let's not forget how kind he wad to Amy when she was injured. He was very, very generous. We should all remember that. So I don't seewhat the problem is.Georgie: Good boy, Phoenix. You like this saddle, don't you? (Phoenix snorts) Whoa! Oof!Amy: Georgie! Come on now, you said you weren't gonna do a trick! You could have really hurt yourself orPhoenix!Georgie: Okay! Okay!Amy: No. It's not okay! You need to learn to think before you make these crazy decisions!Georgie: You should talk.(Georgie clicks her tongue, Phoenix snorts)Amy: You know I'mright.Georgie: You have to talk to Sandra!Maybe she can give me some extra time on Chaplin after school or something.Peter: You got a lot going on after school already.Georgie: Well, I need to practice time or elseI'm not gonna make the extreme team. Please can I have private lessons, like Olivia?Peter: No. You can't because we can't afford it, Georgie, okay? And you have to understand that things aren't always gonna go theway you want them to, all right?Georgie: Obviously. (Bowl clanks on the floor) Peter: Oops!Katie: Can you pick up my plate, please!Ty: Sorry, I'm late, everyone.Lou: Honey, it's a bowl. Can you say, pick up my bowl? Ijust come straight from work, I didn't have time to change there.Amy: How did it go?Ty: It was great! The place is amazing! It's a little disorganized. Nothing we can't whip into shape. I got to baby-sit a bear cub today.Oh, that's what I'm smelling. (Laughs)Georgie: How is the wolf?Ty: She's about ready to have her babies. Yeah-oh, I forgot to look at the llama fence today!Georgie: What?Ty: Shoot! I have to do thattomorrow.Georgie: They have lamas?Ty: Yeah. They do.Georgie: I love lamas. They spit!(Laughing)Tim: So Amy, honey, what's your plan?Amy: What do you mean my plan?Tim: Well, Ahmed is back. So what-what'syour plan?Are you gonna head up to Hillhurst?Ty: Ahmed is back in town? I thought he was in Europe with his team.Lou: Does anyone want seconds on the salad?Amy: I'm okay.Tim: I tell you, the guy - he is sofriendly, huh? Wasn't he this afternoon?Ty: Oh, you saw him today?Amy: Uh, yeah, I ran into him on the way back from your place. You know what? I made pie. Who's up for coffee and pie?(Screen door creaksshut)Ty: So Ahmed... What was that about?Amy: (Heavy exhale) Take a guess.Ty: He came all the way back here to try and talk you out of your decision?Amy: Yeah. But I set him straight.Ty: That's my girl. Stick toyour guns.Ty: I'll call you tomorrow. I gotta work late so I might miss dinner.Amy: Okay.(SUV rumbles)(Knock on door) Jack: Come in.Jack: Ahmed. Welcome back!Ahmed: Hello. Thank you.Jack: Look who'shere.Hello. I'm on my way to an auction in Black Diamond. I would love you to come with me. Look over the horses I'm interested in. Give me advice.Jack: Amy's got a great eye that's for sure.Amy: Ah, it's just youknow, I can't. I have chores pilling up.Jack: Oh, I'll do your work for you. You should go. Catch up on the tour news. It's just-it's a little short-notice... You know, I'm not ready. Take your time. Okay. Uh, yeah. I'll justneed a few minutes. Ahmed, would you mind if Ty came?Ahmed: Not at all.Amy: He's just really good at auctions.Jack: Yeah.Ahmed: I'll wait for you outside.Amy: Okay. Nice to see you, Mr. Bartlett.Jack: You too. Havefun.Ahmed: Thank you.(Door shuts, dialing beeps)Ahmed: There's one animal in particular that is interesting to me. A belgian warmblood. Incredible lineage. I look forward to your opinion.Amy: Yeah, of course.Amy:So... did I tell you about the new business that Ty has started? He and a partner are buying rodeo prospect horses. and training them. They're actually really good at it. I've been helping train some of the horses.(Phonechimes)Excuse me. (Phone beeps on) Hello, Ty.Ty: I can't meet you. Bob just called. He's got called out on an emergency pick up. So I need to go into work right now. I'm sorry. But you can deal with him though,right?Amy: Yeah. Of course. Absolutely. I love you.Ty: Okay. Love you.Ahmed: Everything all right?Amy: Yeah, um, Ty just can't come. He got called into work.(Door slams shut)All I remember is it was crazy backthan.Casey: Well, you were crazy. You had partied and rodeoed and then partied some more. Thanks for this, by the way. This is so much better than a restaurant.Tim: From a restaurant.(Casey giggles)Casey: So thatyear... You just won your 3rd consecutive all round cowboy trophy, right?(Chuckles) Oh. Your 4th? Who's counting? Do you remember that big dance after stampede? And nobody went home until noon the nextday.Tim: Yeah, yeah. I don't remember that.(Casey chuckles)You know what I remember? And what I miss? It's the atmosphere. You know, once that gets in your blood...Casey: Well, if you really do miss it, maybe youshould come with me on my rodeo tour.(Chuckles)That atmosphere still exists. There's nothing like it. I don't know.Lou: There was a cancellation? Fantastic. No. Absolutely, we can make it. Thank you for letting meknow.Peter: Here we go. Dr. Lauder's office, there is a cancellation.Peter: I gathered that.Lou: They can see Katie in an hour. Honey, he is so hard to get into. You know he has a huge-Peter: Waiting list. Yeah, I knowyou told me. Um, I guess that's why he's the best.Lou: I'm just saying, he can give us a reliable opinion on Katie. I don't see why you're fighting me on this? He's a really good doctor.Katie: No doctor!Lou: Katie? Katie!Honey... (Katie slams the door)Ty: Oh great. They're out! C'mon, guys! Go this way! No. No. No. No! Here we go! Here we go! Come on! Come on! Come on! Come on! It's okay. (Llama spits) Oh! What was that?!Aghhh![SCENE_BREAK]Amy: Oh! Oh! You missed your turn. The auction is that way.Ahmed: We're going to make a small detour. I have something else I need your advice on.Lou: Come on, Katie, we really have to gonow.Katie: No, mamma.Lou: (Sighs) Okay. Honey, it's gonna be really, really fun. You can colour pictures and play with toys.Katie: No needles.Lou: No needles. I promise.Lou: Look. You can bring Mookie if you want.Do you wanna bring Mookie? Katie please.(Sighs)(Hooves thunder)Sandra: Nice work! All right, Georgie, you're up.Georgie: All right. (Clicks tongue)(Hooves thunder)Sandra: That was great! You're doing really well.Now with just a little bit more practice...That's the problem. I can't practice. It's not that I don't have the time. It's that I don't have a horse. Chaplin isn't available very often. I know. But what can I say? He's a popularhorse, Georgie. All the girls want their lessons on him.Olivia: Nice, huh? My dad just got him for me yesterday. His name is winner and that's just what I intend on doing.(SUV rumbles)(Buttons click)(Tires crunch)(Birdschirp)Amy: Wow. Is this a hotel?Ahmed: No. No. A private residence. What do you think?Amy: It's amazing... It's huge...Ahmed: Not really. Just over 13,000 square feet. I'm thinking of buying it. I'd be glad to get yourhonest opinion about it. You know I value it on everything... not just auction horses. Hmm?Come. I want to show you around. It's quite impressive.Amy: Yeah.Ahmed: 147 acres. Totally private. Took them years tolandscape it. Everything had to be brought in. Apparently in the summer this is a massive rose garden. The best in Alberta I'm told. And the views are spectacular. Don't you think?Amy: It's beautiful. I've really neverseen anything like it. Your house in France is incredible. It is. But I feel the need to put down some roots here as well. And I'll show you the inside too. And the stables. I think you will love the stables. I'm happy to seeyou're wearing my necklace. Well, this is from the team. No, it was from me. I bought it alone for you. You see, Amy. I want to give you things. I've never wanted to give anything to any other person in my life. Ahmed,please...Ahmed: No. Hear me out. I'm a man who has been accused of being... unfeeling. I'm not proud of it. It was simply the way I was raised. Emotion doesn't come easily to me. But I know it now. How it feels. AndI must tell you because I'm not sure I will ever feel this way again.Amy: Ahmed...Ahmed: No. It has to be said. You have to know. I'm in love with you. You see, Amy... I've been feeling this way for a very, very longtime. Amy, please, listen to me. You are the only woman ever in my life that I can be completely myself with. The only woman that will tell me the truth about myself. The only woman I have ever had feelings for insuch a strong undeniable way.Amy: Ahmed, I'm flattered. I really am, but this can't happen, okay? We can be friends, but-but that's it. I'm engaged. I'm in love with Ty.Ahmed: Are you?Amy: Yes!Ahmed: Then why didyou kiss me?Amy: I-I didn't kiss you. You kissed me. You gave me every reason to. I don't make a habit of kissing random girls.Amy: If I gave you that impression, I am sorry. But I thought I made it perfectly clearthat night how I felt. That we are friends and team mates, and nothing more. You know, Ahmed, I really enjoyed and valued our relationship, but given the circumstances, we need to end this. Look, I think it's fair toeither of us to continue. I need some distance. Some distance. All right. Of course. I understand.Amy: Do you?Ahmed: Yes. I will drive you home.(Wolf groans in discomfort)Ty: Whoa, whoa, easy girl. Easy. I'm notgonna hurt you.She's fighting me a bit. That's a good sign. She's got her strength back. She's hydrated. And she's looking a lot better than when I first saw her.Bob: I know. Well, that's why I hired you. Hey... goodgirl.(Panting)Lou: So you were pretty quiet the whole way home. What did you think?Peter: Uh, that it was a complete waste of time and energy to be honest with you. We did it, right? So... Good. Find out soon.Lou:Okay? Hey honey...(SUV rumbles)Ahmed: I want you to know I meant every word I said. Perhaps you should take some time to think.Amy: I am sorry, but there's nothing for me to think about.Ahmed: Amy, I thinkyou have to open your mind to life's possibilities.I know what I want in life. And I already have it. Goodbye Ahmed.Lou: He said that? He actually said that he loved you?Amy: Yes. He did!Lou: Oh Amy...Amy: Lou, Iknow I never gave him any signs that we were more than just co-workers, or friends... I don't think I did anything to lead him on. And I've asked myself that over and over again. Look, we were friends, okay? Justfriends. And I told him that the night of the party. And I didn't think he listen to me. I don't think he listened to me today! I don't know what to do, okay? I have no idea. And... do I tell Ty?Lou: No! Do not tell Ty, okay?You've tried that in the past and it didn't work out. I know, but Lou... Amy, just deal with this Ahmed situation as swiftly and smoothly as you can on your own. Be firm with him and he will go away. And then everythingwill go back to normal. I want that. I just don't wanna hurt Ty. You know, I love him so much. And I don't want... (Georgie sobs)Lou: You know Ahmed is just used to getting exactly what he wants. Don't worry,okay?Georgie: It's all my fault.Lou: No! Georgie!(Georgie slams door) Peter: What's that all about?Lou: Pour me a glass of wine and I'll tell you all about it.(Sobbing)Amy: Georgie. Hey... There's no reason to cry. It'snot your fault.Georgie: Yes it is.Amy: How?Georgie: Because I was the one who found the video.Amy: You did?Georgie: Yes, I followed your tour online. And it was on some stupid blog.Amy: But I thoughtLou...Georgie: I'm the one who showed her... And I should have kept it to myself! I am so sorry.Amy: No. You have no reason to apologize.Georgie: But I blamed you for what happened at that party. It was all thatstupid Ahmed's fault. I am so sorry. Will you ever forgive me?Of course. It's okay.(Birds chirp)Jack: So how did the appointment go?Lou: The doctor said he would let us know. He seemed pretty noncommittal.Jack:Hmm. See, it's my opinion that you know, people they look at this stuff and get all wrought up about it before they even know if there is anything really wrong.Okay, grandpa... I have a sore knee today, Lou. And I betif I looked up \"sore knee\" on the Internet I'd find a bunch of articles and opinions that end up making me think I have to have my whole damn leg cut off at the hip. I'm just arming myself, okay? In case... You'rescaring yourself, Lou. If there's a problem, which I very much doubt, you and Peter, you'll work it out. We all will. A word to the wise... take that Internet stuff with the grain of salt. It betrays as much as itenlightens.Lou: Were there any messages on the home line?Georgie: Just one. From guess who? Olivia.Lou: What did she want?Georgie: I don't know, I didn't call her back. But did I tell you that her parents bought herher very own trick riding horse?Lou: Really? Well, that will free up some time on Chaplin.Georgie: Not really. I mean, there's a line up of kids waiting to ride Chaplin. So, she's got her own trick riding horse when I don'teven have a trick horse to practice on.Lou: Honey...Ty: Hey there!Amy: Hey...Ty: Our mamma wolf is about to give birth tonight. So I might have to take off early.Amy: Oh, okay.Ty: This looks good.Amy: Uh... Hey,you don't happen to know a trick riding horse that's orphaned, do you?Ty: Hmm. I don't know. Maybe. I'll give Caleb a call. See what's he's got on the go.Georgie: Really? That'd be awesome!Tim: Hey, look who'scoming to dinner! Well, now that you have all that experience from the tour, Amy I think you can name your price when it comes to training, but you owe a lot of thanks to Ahmed here. He's the one who took the leap offaith. It wasn't a leap of faith. I was quite confident that Amy had the knowledge and the personality to excel at being a head trainer. And I was proven right. I do hope that it increases the quality of your clientele, I also"}
+{"doc_id":"doc_65","qid":"","text":"[Gilbert's House](Elena is in her bed but she can't sleep)(She's in the kitchen. Connor appears behind her)Connor: Can't sleep?(She turns herself but he's not here. She looks around. He reappears)Connor: You know...It makes sense. Guilty conscienceElena: You're not here. I'm... I've got to be dreamingConnor: Then how do you know that I'm not here?Elena: Because you're...Connor: Come on. Say itElena: Because you'redeadConnor: Yes. I am. Was that the first time that you've taken a human life?Elena: You're a ghost. It's got to be... You're a ghost. That's... that's what's happening right now. Jeremy. Jeremy!(He wakes up)Elena:You're a ghost. You're haunting me. You're a ghost. You're haunting meConnor: Can a ghost do this?(He strangles her from behind. She punches him with her elbow and then pushes him on the table. He gets up andcomes back toward her. She takes a knife and stabs him in the neck. She removes the knife. It was Jeremy)Elena: Oh my god! Oh! Jer! Jer!(He collapses)Elena: Jer! Jer! No, no, no! No! No. No, Jer! Jeremy!(Jeremy ison the couch, still dead. Elena and Damon are with him)Elena: I can't believe this happened. What... what am I going to say to him?Damon: Thanks for not ditching the family ring after it drove Ric crazy? You shouldhave called StefanElena: I don't want to talk to him. He's been lying to me, and hiding things from me. He compelled Jeremy to forget God knows whatDamon: In all fairness, I mean, I think you killing him kind oftrumps that. I mean, you should have called StefanElena: I don't trust him right now, Damon(Stefan enters)Stefan: HeyDamon: P.S... I called StefanStefan: What happened? Why didn't you call me?Elena: I just... Ineed to go upstairs and shower. Clean all the blood off my hands(She goes upstairs and Jeremy wakes up)Stefan: Welcome back. How you feeling?Jeremy: What happened?Damon: Long story. Buy the e-book(Stefangoes in Elena's bedroom. She's there)Stefan: Elena? Hey. Listen, I know you're still upset about yesterday, and I get it. Believe me. But just... let me help youElena: I don't want your help right now, StefanStefan: Butyou'll accept Damon's?Elena: Don't make this about Damon! You've been working with Klaus doing God knows what, and don't insult me by trying to deny itStefan: Listen, it's not what you think, ok?Elena: I don't knowwhat to think but I do know that I don't want to talk to you and I don't really want to be around you right nowStefan: Look, please, just...Elena: No. This is my brother's blood on my hands, Stefan. I stabbed him in theneck last night, so forgive me if I'm not in the mood to listen you try to talk your way out of this(She goes in the bathroom and slams the door)[Lockwood's Mansion](A hybrid pours alcohol to Haley. Tyler enters andshe looks at him, smirking)Tyler: You're still going? I drank enough last night. And then I slept, which is what you guys should have doneHybrid: We're just paying our respects to DeanTyler: That's great, Chris, butwould you pay them at a bar instead?Haley: Don't be mad. We're celebrating our fallen hybrid friend(She makes him drink but he doesn't want to. She wipes his mouth with her finger and then sucks her finger, lookingat him. Klaus enters)Klaus: Well, don't let me interruptTyler: I didn't know you were hereKlaus: Clearly. Thought I'd just pop 'round to celebrate Dean's successful retrieval of the vampire hunter. Yet when I arrived, Ilearned that not only was Dean unsuccessful, but that Elena killed the hunterHaley: Well, maybe if you had let Dean use force on Connor instead of sending him in on a suicide mission...Klaus: Maybe you should mindyour business, wolf girlTyler: What do you care if Connor's dead, anyway?Klaus: I have my reasons. They have ceased to matter. Cheers(He drinks. Someone knocks on the door. Tyler opens. It's Caroline. She giveshim a box)Caroline: Brought your stuff. Old laptop, your Jersey, the charm braceletTyler: Car... This isn't a good timeCaroline: Just take it(Klaus rejoins them)Klaus: Caroline. By the break-up drama unfolding beforeme, I assume you've met Haley. All right, come on, let's go. Let's leave them alone. Your talents are needed elsewhereTyler: For what?Klaus: I think you've got more important things to deal with, mate(He leaves, hishybrids following him. Caroline looks at Haley and closes the door. Then she smiles do does Haley)Caroline: Do you think he bought it?Haley: Hell, I bought itCaroline: Thanks for the head's up that he was here,HaleyTyler: You girls are good liars(Then he kisses Caroline and Haley looks at them)[Gilbert's House](Elena is in the shower. Suddenly, the water becomes blood. She looks at the water but it's normal. She looks ah theshower and there's blood. She takes a towel and gets out)(Damon is in the kitchen, cleaning. Stefan enters)Damon: Where'd Jeremy go?Stefan: School. Bonnie has him volunteering for some occult exhibitDamon: Ormaybe he didn't want to linger in a house where his sister just jammed a knife in his neck(Stefan's phone rings. He looks at it)Stefan: It's KlausDamon: Ooh, time to face the music, pay the piper, dance with thedevilStefan: You know, I'm glad you find this amusing. If he finds out I told you about the cure, he'll kill both of usDamon: Quit avoiding him. You're being shady. Shady people get outed(Stefan answers)Stefan: I don'twant to talk about itKlaus: Well, I can't imagine why, what with you ruining all my plans for a hybrid-filled futureStefan: Well, it wouldn't happened if you hadn't sworn me to secrecyKlaus: Life's full of ifs, Stefan. Let'sextenuate the positives, shall we? The hunter was one of five. We'll find another. It may take centuries, but we've got nothing but time, right?Stefan: You're using your calm voice today. Who's getting killed?Klaus: Notyou, if that's what you're worried about. But I am concerned about your beloved. Have the hallucinations started yet?(Stefan looks at Damon)Stefan: What do you know about that?Klaus: I'll tell you. Where youare?Stefan: I'm at her houseKlaus: How convenient. So am i(He arrives at the house and knocks on the door)(Stefan opens the door and goes out)Klaus: You know, this would all be a lot more civilized if I was justinvited insideStefan: Bad enough I'm out here talking to you. What do you know?Klaus: I killed the Original five hunters, remember? When one kills a hunter, there's a bit of a consequenceStefan: What kind ofconsequence?Klaus: Hunters were spelled by witches to kill vampires. If you prevent one from fulfilling his destiny, then he'll take you down with himStefan: What do you mean? Connor's deadKlaus: I mean, Connor'sdeath won't prevent him from making Elena his final vampire kill. She'll need to come with me now. I'll lock her up; keep her away from any sharp, wooden objectsStefan: She's not going anywhere with youKlaus: But ifwe leave her alone, she'll take her own life before the day is outStefan: She's stronger than thatKlaus: Is she? Believe me, it's for her own good(Elena is in her bedroom, dressing up. She looks at herself in the mirrorand then opens a drawer. Connor is behind her. She surprised and turns herself. He touches the blood on his neck)Connor: Would you like some? You seem to enjoy it when you drink from meElena: I wasn't myself. Iwas angryConnor: Were you yourself when you snapped my neck with your bare hands?Elena: You staked me!Connor: 'Cause you're a monster and you deserve to die. Admit it!Elena: No(She enters the kitchen.Damon's there but when he gets up, it's Connor)Elena: Damon...Connor: Decomposition starts in the first 24 hours. I'm rotting in an unmarked grave because of youElena: No!(She runs and Damon looks ather)Damon: What's wrong? Elena!(She gets out. Klaus turns himself. He takes her and disappears. Damon comes out and looks at Stefan)[Mystic Falls' High School](Jeremy looks at the tattoo on his hand. Matt rejoinshim)Jeremy: Hey, do you see anything on my hand? What if I told you I saw the beginning of a mark like Connor's?Matt: Are you serious?Jeremy: It showed up after he died. He told me that I was a potential; thatthat's why I could see his markMatt: So what does that make you, like the next chosen one or something?(April rejoins them)April: Hey, guys(She's holding a big roc)Matt: Hey April(Shane's there too)Shane: Way to lether do the heavy lifting. I found her wandering the hallways with this. Just teasing. I'm the guy who wrangles all the freaky stuff, Atticus Shane. Please, call me Shane, I beg you. Thank you guys for helping, I reallyappreciate it. Y'all get free admission to my free exhibit(He smiles and leaves. April look at them)April: Why does he look so familiar?Jeremy: No ideaApril: Hey, um, have you guys seen Rebekah? She said she wasgoing to help me look into what caused the explosion at my dad's farm, and then she just...Matt: Disappeared, yeah, I know[Gilbert's House]Bonnie: You lost her?!Damon: Well, \"lost\" is a very strong word. We justtechnically don't know where she isStefan: I'm more worried about what Klaus said about this hunter's curseBonnie: How does Klaus even know about this?Damon: How does Klaus know anything? The guy's like abillion year's oldStefan: He said it was a witch's curseBonnie: You know if I could do anything to help, I would, but I...Damon: But nothing. Wave your magic wand, hocus pocus, be gone, hunter, ghosts,whateverBonnie: The spirits won't let me do the magic I need to break the curse. But I can ask Shane for help. He knows everything about everythingStefan: Great. You two do your thingDamon: Where yougoing?Stefan: To get her back(He leaves)[Klaus' Mansion](Chris opens the door to a room and Klaus enters with Elena, holding her)Elena: Let go of me!Klaus: Certainly(He lets go of her)Klaus: I apologize for the lack ofwindows. It's to preserve the art. And, of course, to prevent you from taking off your daylight ring and burning yourself to death in the sunElena: I'm not going to kill myself. I would never do thatKlaus: Oh, but you'llwant to. I did. Problem is, I'm immortalElena: You went through this?Klaus: Yes, I did. For 52 years, four months and nine days. I was tormented... In my dreams. My every waking moment. Relentless, never-endingtorture. It was the only period of my life when I actually felt timeElena: So you knew that this would happen if Connor died. That's why you got involved. Did Stefan know, too?Klaus: All he knew was that the hunter hadto be kept alive. You should have listened to him when he said he had it covered, loveElena: What else does Stefan know?Klaus: Well, that's one of life's little mysteries, isn't it?Elena: How did you make it stop?Klaus: Ididn't. Eventually it just stopped. The hallucinations tend to appear in strange forms. Don't say I didn't warn you[A road](Stefan is on the phone with Caroline)Stefan: He's got Elena. I need Tyler to get the other hybridsaway so I can get her out. I know I'm probably asking the impossible, but...Caroline: Actually... You're not[Lockwood's Mansion](Stefan is in the living room with Tyler and Caroline)Tyler: Haley is the one that helpedme break the sire bond. She showed me what to do. How to help. When she showed up here, I thought it was just coincidence. But it turns out she's been helping one of them. Her friend Chris. And she came to help usget the rest of them out from under KlausStefan: So... Are you telling me that Chris isn't sired anymore?Caroline: That's exactly what he's telling you[Klaus's Mansion](Chris enters Elena's room with some stuff)Chris:Clothes, toothbrush. Klaus said you're going to be here until he figures out where to put youElena: Just please go away(Chris leaves but Connor appears)Connor: I can't. I'm going to be with you forever. A constantreminder of what you've become. So tell me. How did it feel to drain the life out of me?Elena: It was horrible. It was the worst thing that I've ever doneConnor: You're lyingElena: No, I'm notConnor: Yes, you are. Tellthe truthElena: I am telling the truthConnor: You're lyingElena: Fine! I liked it. I loved the taste of your blood. Are you happy?Connor: I'm not happy, Elena. I'm dead. Did you know I had a family? A brother?ParentsElena: I'm sorry. I'm really sorryConnor: Are you sorry about your parents? It's your fault they diedElena: Don'tConnor: They ran off Wickery Bridge with you in the car, but they weren't supposed to be there,were they? They died because of you. You know I'm not going to stop until you've taken your last miserable breathElena: I'm not going to let you do this to meConnor: Then get rid of me. Kill yourself. You never wantedto be a vampire in the first place. Now look at what you've become. A monster. And you deserve to die. You don't want to listen to me? Fine(Katherine appears)Katherine: Then how about you and I have a littlechatElena: Katherine?Katherine: Did you miss me?[SCENE_BREAK][Mystic Falls' High School](It's professor's Shane exhibit)Shane: You're looking at what people believe to be the world's first tombstone. This item wasdonated to Whitmore college last month(April, Matt and Jeremy are listening)April: Oh, I just remembered how I know him. Through my dadMatt: That guy knew your dad?April: Yeah. He taught a theology seminar atWhitmore last yearShane: ...belonged to a very powerful witch. A witch so powerful, in fact, that Silas... That was his name... Created a spell that would grant him... Immortality. Now legend says that Silas did the spellwith the help of a lady witch who loved him, a woman named Qetsiyah. Sadly for Qetsiyah, Silas wanted to give immortality to another woman. So Qetsiyah killed her and buried Silas alive, leaving him powerless,immortal, and alone. This might actually be the origin story of hell hath no fury like a woman scorned(Damon and Bonnie are here)Damon: You got this?Bonnie: Yeah. I'll bring him to youShane: Now it's said that Silaswants to rise again. Regain his power. Wreak havoc on the world. Maybe we should be afraid. Or maybe it's all a bunch of crap and that's just an old rock. All right, listen, enjoy exploring the exhibit. I'll be around toanswer any questions. Thank you for coming(He rejoins Bonnie)Shane: Hey. You made itBonnie: Nice cautionary tale. Qetsiyah sounds like a bad assShane: Nothing compared to Silas[Klaus' Mansion]Katherine: Ugh,don't you ever stop crying? Poor Elena, always the victim. Except now you're a killer. What does Stefan think of the new you?Elena: Shut upKatherine: The girl he fell in love with is gone, you know. You're like me now.Maybe worseElena: I made a mistake. I can do betterKatherine: No. You can't. You're a vampire. You'll kill again. It'll change you, and it'll keep changing you until you're just like meElena: I am nothing likeyouKatherine: I was you before you even existed. And when Stefan knew the real me... He hated me. Now he's going to hate you, too. Well, at least you still have DamonElena: Shut up![Mystic Falls' HighSchool](Damon is sitting in Alaric's classroom, at his desk. He takes a bottle in a drawer and drinks)Damon: You're missing all the adventure, pal(Bonnie and Shane enter)Bonnie: Shane, this is my friend Damon. He'skind of an expert on this stuff, tooDamon: I audited your class. It's very enlighteningShane: That's right, I remember you. What's your specialty?Damon: The origin of the speciesShane: Oh, I think Darwin would armwrestle you for that distinctionDamon: Not that speciesShane: You're into the monster stuff. All right, awesomeDamon: I was kind of hoping that you might have stumbled upon this at some point... Maybe(He gives hima paper. Shane opens him. Bonnie looks at him)Shane: This is the hunter's mark. Where did you get this?Damon: Came to me in a dream. You know anything about the hunter's curse?Shane: Why, you got a deadhunter in the trunk of your car or something?Damon: Metaphorically speakingShane: Legend says that if a hunter is killed by that which he hunts, then that person will be cursed to walk the earth and torment themtill...Bonnie: Until...Shane: Until a new hunter's awakened and their legacy's passed on. They're called \"potentials\"(Damon takes his phone)Shane: Listen, I have a bunch of research on it, why don't I go grab it foryouDamon: That would be great. Hey, thanks(Shane leaves)Bonnie: How are we supposed to find a potential hunter?Damon: Yeah, about that...(He's on the phone)Damon: Little Gilbert. Your services areneeded[Klaus' Mansion](Chris is in the living room with Tyler and Stefan)Tyler: Thanks for meeting usChris: Yeah, well, make it fast. Klaus will be back soonTyler: No, he won't[Mystic Grill](Klaus is at the bar, drinkingwine. Caroline rejoins him)Caroline: Place looks pretty good considering your hybrid got blown up in itKlaus: Caroline. To what do I owe the pleasure?Caroline: I want you to give Elena backKlaus: Ahh. They sent you tosweet talk me. Well, good form, but I'm afraid I can't do itCaroline: Why not?Klaus: She needs my help. Look, I'm not going to burden you with the gory details. I know you have enough on your plate alreadyCaroline:That's none of your business, actuallyKlaus: Yes, well, just know that if Tyler was still sired to me, he never would have hurt you. I wouldn't have let him. Can I at least offer you a drink?Caroline: Yeah. Thanks(Hesmiles)[Klaus' Mansion](Stefan and Tyler are still there)Stefan: All you need to do is give me access to Elena and I'll take it from thereTyler: Please, man. Help us, and then you can disappear. You'll be freeChris: Yeah,until Klaus sends one of his other hybrids after meTyler: Haley and I got your back. We'll make sure nothing happens(Elena has her eyes closed. Katherine has reappeared)Katherine: You were such a good girl whenyou were a human. Always willing to sacrifice yourself for your friends. Except, weren't they usually the ones that ended up getting hurt?Elena: I never wanted thatKatherine: Bonnie lost her grams because of you. Hermom almost turned into a vampire because of you. You know, she probably secretly hates you. Did you ever think of that? I bet she'd be relieved if you were goneElena: I'm not going to kill myselfKatherine: Why not?Your very existence brings people nothing but pain. I mean maybe it was worth it when you were worth it. But you're nothing now. You're a monster, Elena. You deserve to die(Chris rejoins the 2 hybrids guardingElena)Chris: Klaus said you two have to go to TylerHybrid: WhyChris: Something about his girl Caroline. I'll take over here(He looks at the hallway. Stefan rejoins him. Chris gives him the key)(Elena is sitting on thefloor. Stefan enters)Stefan: Elena. Hey(She sees Connor instead of Stefan)Elena: No. No, no, noStefan: Hey, it's meElena: No, stay... Stay away from meStefan: Let me help you(She breaks a post from the bed andrushes over him)Stefan: No, Elena, stop!(But she sees Connor instead. She pushes him against the wall and stabs him in the gut. She leaves)[Mystic Falls High School](Bonnie and Damon are in the cafeteria)Bonnie:How did I not know any of this stuff about Jeremy?Damon: The witch who loses her powers gets left out of the important conversations(Jeremy rejoins them)Jeremy: Is everything ok?! Is it Elena?Bonnie: We figuredout how to help her. You need to kill a vampireJeremy: Oh, great. Give me a stake. I'll kill Damon right nowDamon: Easy, van Helsing. We'll get you one. Don't worryBonnie: Before you do this, you need to know whatyou're getting yourself into(Damon's phone rings. He answers. It's Stefan)Damon: You can rest easy, brother. We figured out how to solve our little Elena problemStefan: Yeah, well, now we have a bigger one. I lostherDamon: What? Again?Stefan: She's in bad shape. I tried to help her, but she attacked me. Listen, you go find her, all right? Talk her down. She'll listen to you. Just tell me what I need to do to end this[MysticGrill](Caroline is at the bar, looking at her phone. She receives a text from Stefan)Caroline: So here's the thing. I didn't just come here to try to get you to release ElenaKlaus: You don't sayCaroline: I came here todistract you so that Stefan could go to your house and break her out, which he did. And don't get mad, but then he lost her(He gets up quickly)Caroline: Klaus!Klaus: Caroline. You're beautiful, but if you don't stoptalking, I will kill youCaroline: They figured out how to stop the hallucinationsKlaus: Okay. You have 10 seconds to tell me[Middle of Nowhere](Elena is walking, remembering everything that happened since hertransformation. Connor appears next to her)Connor: Are you ready to die yet? You know it's your only way out of this(Katherine appears on her other side)Katherine: You can't take back what you did. It can never beundone. You're a monster and you deserve to die(She's at Wickery Bridge but she seems surprised. Katherine and Connor both disappear. She looks around and seems upset but resigned. She gets closer to the edgeand looks at the water below. Her mother appears next to her)Miranda: It's ok, sweetieElena: Mom?Miranda: I know what you're going through. And it's ok. This bridge is... Where your life should have ended. Not just"}
+{"doc_id":"doc_66","qid":"","text":"[Rebecca riding bus and then running into a school. Meets up with Melanie]Melanie: Why are you late?Rebecca: You're not going to like the answer.Melanie: I already know the answer.Rebecca: I missed thebus.Melanie: I don't doubt it, no bus stops near Brad's. You spent the night, the alarm didn't work. Or maybe it did.Rebecca: I didn't sleep with him.Melanie: Girl, there's...[Interrupted]Rebecca: I missed thebus!Melanie: There's something either very wrong with you, or there's something very wrong with him.Rebecca: There's nothing wrong with him.Melanie: Please tell me you know that for a fact.Rebecca: Melanie, Igotta go.Melanie: You're lying aren't you?Rebecca: I wouldn't lie to you. [Turns to class of 5 year olds] Good morning guys!Class: Good morning Miss Rebecca!Rebecca: Everybody's in their seats?Class: Yes!Rebecca:Ok, Sidney, why don't you tell us what you did this weekend. Come on, Sidney, we know you're not shy.Sidney: How come we always have to tell you what we did, and you never tell us what you did?Class:[giggles]Rebecca: Ok, I had a really great weekend, but you can't tell Miss Melanie, ok?Sidney: What did you do?Rebecca: I made a new friend. It's so much fun to make new friends, isn't it?Class: Yeah, Yes, etc.Girl 2:Did you tell you mom and dad about your new friend?Rebecca: Absolutely! You should never keep anything from your parents. And I told them [gibberish]Class: [giggles]Rebecca: Wh..Class [more giggles]Rebecca:[gibberish]Class: [Laughs and giggles][Rebecca goes to the board and starts writing]Class: C, A, T, HSidney: \"The.\"Boy: We know that word, \"the.\"[Rebecca collapses, on the board the words \"call the nurse\" arewritten](Evil commercials...bane of my existence!)[House and Wilson are walking through the hallway. All you can see is their hands and legs, showing that House is using a cane and limping. Wilson is the only one ofthe two wearing a lab coat.]Wilson: 29 year old female, first seizure one month ago, lost the ability to speak. Babbled like a baby. Present deterioration of mental status.House: See that? They all assume I'm a patientbecause of this cane.Wilson: So put on a white coat like the rest of us.House: I don't want them to think I'm a doctor.Wilson: You see where the administration might have a problem with that attitude.House: Peopledon't want a sick doctor.Wilson: Fair enough. I don't like healthy patients. The 29 year old female...House: The one who can't talk, I liked that part.Wilson: She's my cousin.House: And your cousin doesn't like thediagnosis. I wouldn't either. Brain tumor, she's gonna die, boring.Wilson: No wonder you're such a renowned diagnostician. You don't need to actually know anything to figure out what's wrong.House: You're theoncologist; I'm just a lowly infectious disease guy.Wilson: Hah, yes, just a simple country doctor. Brain tumors at her age are highly unlikely.House: She's 29. Whatever she's got is highly unlikely.Wilson: Proteinmarkers for the three most prevalent brain cancers came up negative.House: That's an HMO lab; you might as well have sent it to a high school kid with a chemistry set.Wilson: No family history.House: I thought youruncle died of cancer.Wilson: Other side. No environmental factors.House: That you know of.Wilson: And she's not responding to radiation treatment.House: None of which is even close to dispositive. All it does is raiseone question. Your cousin goes to an HMO?Wilson: Come on! Why leave all the fun for the coroner? What's the point of putting together a team if you're not going to use them? You've got three overqualified doctorsworking for you. Getting bored.[Cut to Rebecca, into the nose, and up the blood stream. Cut to House looking through an MRI of Rebecca's head.]Foreman: It's a lesion.House: And the big green thing in the middle ofthe bigger blue thing on a map is an island. I was hoping for something a bit more creative.Foreman: Shouldn't we be speaking to the patient before we start diagnosing?House: Is she a doctor?Foreman: No,but...House: Everybody lies.Cameron: Dr. House doesn't like dealing with patients.Foreman: Isn't treating patients why we became doctors?House: No, treating illnesses is why we became doctors, treating patients iswhat makes most doctors miserable.Foreman: So you're trying to eliminate the humanity from the practice of medicine.House: If we don't talk to them they can't lie to us, and we can't lie to them. Humanity isoverrated. I don't think it's a tumor.Foreman: First year of medical school if you hear hoof beats you think \"horses\" not \"zebras\".House: Are you in first year of medical school? No. First of all, there's nothing on the CATscan. Second of all, if this is a horse then the kindly family doctor in Trenton makes the obvious diagnosis and it never gets near this office. Differential diagnosis, people: if it's not a tumor what are the suspects? Whycouldn't she talk?Chase: Aneurysm, stroke, or some other ischemic syndrome.House: Get her a contrast MRI.Cameron: Creutzfeld-Jakob disease.Chase: Mad cow?House: Mad zebra.Foreman: Wernickie'sencephalopathy?House: No, blood thiamine level was normal.Foreman: Lab in Trenton could have screwed up the blood test. I assume it's a corollary if people lie, that people screw up.House: Re-draw the blood tests.And get her scheduled for that contrast MRI ASAP. Let's find out what kind of zebra we're dealing with here.[Cut to House standing at the elevator, he sees Cuddy and presses the down button twice]Cuddy: I wasexpecting you in my office 20 minutes ago.House: Really? Well, that's odd, because I had no intention of being in your office 20 minutes ago.Cuddy: You think we have nothing to talk about?House: No, just that I can'tthink of anything that I'd be interested in.Cuddy: I sign your paychecks.House: I have tenure. Are you going to grab my cane now, stop me from leaving?Cuddy: That would be juvenile.[Both enter the elevator]Cuddy: Ican still fire you if you're not doing your job.House: I'm here from 9 to 5.Cuddy: Your billings are practically nonexistent.House: Rough year.Cuddy: You ignore requests for consults.House: I call back. Sometimes Imisdial.Cuddy: You're 6 years behind on your obligation to this clinic.House: See, I was right, this doesn't interest me.Cuddy: 6 years, times 3 weeks; you owe me better than 4 months.House: It's 5:00. I'm goinghome.Cuddy: To what?House: Nice.Cuddy: Look, Dr. House, the only reason that I don't fire you is because your reputation still worth something to this hospital.House: Excellent, we have a point of agreement. Youaren't going to fire me.Cuddy: Your reputation won't last up if you don't do your job. The clinic is part of your job. I want you to do your job.House: Well, like the philosopher Jagger once said, \"You can't always get whatyou want.\"[Scene of hospital from above, cut to hallway, Rebecca in wheelchair with Cameron, Chase, and Foreman around.]Rebecca: You're not my doctor. Are you Dr. House?Chase: Thankfully no. I'm Dr.Chase.Cameron: Dr. House is the head of diagnostic medicine. He's very busy, but he has taken a keen interest in your case.[Cut to MRI room, Rebecca is on the table]Foreman: We inject gadolinium into a vein. Itdistributes itself throughout your brain and acts as a contrast material for the magnetic resonance imagery.Cameron: Basically, whatever's in your head, lights up like a Christmas tree.Foreman: It might make you feela little light-headed.Nurse: Dr. Cameron. I'm sorry I have to stop you, there's a problem.[Cut to House, busting into Cuddy's office]House: You pulled my authorization.Cuddy: Yes, why are you yelling?House: No MRIs,no imaging studies, no labs.Cuddy: You also can't make long distance phone calls.House: If you're gonna fire me at least have the guts to face me.Cuddy: Or photocopies; you're still yelling.House: I'm ANGRY! You'rerisking a patient's life.Cuddy: I assume those are two separate points.House: You showed me disrespect, you embarrassed me and as long as I'm still work here you have...[interrupted]Cuddy: Is your yelling designedto scare me because I'm not sure what I'm supposed to be scared of. More yelling? That's not scary. That you're gonna hurt me? That's scary, but I'm pretty sure I can outrun ya.Cuddy: Oh, I looked into thatphilosopher you quoted, Jagger, and you're right, \"You can't always get what you want,\" but as it turns out \"if you try sometimes you get what you need.\"House: So, because you want me to treat patients, you aren'tletting me treat patients.Cuddy: I need you to do your job.[House comes out of Cuddy's office; Wilson and the ducklings are there]House: Do the MRI, she folded. [Ducklings leave, House turns to Wilson] I've gotta dofour hours a week in this clinic until I make up the time I've missed. 2054. I'll be caught up in 2054. [He walks into the clinic] You better love this cousin a whole lot.[Cut back to MRI room Rebecca is back on the table.She is pushed into the machine.]Cameron: All right Rebecca, [over intercom] we know you may feel a little claustrophobic in there, but we need you to remain still.Chase: [over intercom] Ok, we're gonnabegin.[Machine starts up and makes weird sounds]Rebecca: I don't feel so good.Chase: It's all right. Just try to relax.[Rebecca starts choking. Cool shot of inside her throat. You can see that it closes up]Cameron:Rebecca? [over intercom] Rebecca? [back in booth] Rebecca! Get her out of there.Chase: Ah she probably fell asleep; she's exhausted.Cameron: She was claustrophobic 30 seconds ago, she's not sleeping. We gotta gether out of there!Chase: It'll just be another minute.Cameron: She's having an allergic reaction to gadolinium. She'll be dead in two minutes.Foreman: Hold her neck.Cameron: Oh, she's ashen.Foreman: She's notbreathing. Epi point five.Cameron: Come on, I can't ventilate.Foreman: Too much edema, where's the surgical airway kit?Chase: Yep, coming.[Cool cutting into Rebecca's neck sounds, and real colored blood for achange. They get her bagged.]Chase: Good call.(And we're back to commercials...blah...)[Cut into hospital room, next day. Rebecca has a ventilator hooked up to her, and the ducklings are present]Chase: We'll getthat tube out of your throat later today.Cameron: Just get some rest for now.[They leave to hallway, House is there.]House: Told you, can't trust people.Cameron: She probably knew she was allergic to gadolinium,figured it was an easy way to get someone to cut a hole in her throat.House: Can't get a picture, gonna have to get a thousand words.Foreman: You actually want me to talk to the patient? Get a history?House: Weneed to know if there's some genetic or environmental causes triggering an inflammatory response.Foreman: I thought everybody lied?House: Truth begins in lies. Think about it.Foreman: That doesn't meananything,does it?[House walks away][House enters the clinic...dun dun dun!]House: 12:52 PM Dr. House checks in, please write that down. Do you have cable TV here somewhere? General Hospital starts in 8minutes.Cuddy: No TV, but we've got patients.House: Can't you give out the aspirin yourself? I'll do paperwork.Cuddy: I made sure your first case was an interesting one.House: Cough just won't go away, runny noselooks a funny color.Cuddy: Patient admitted complaining of back spasms.House: I think I read about something like that in the New England Journal of Medicine.Cuddy: Patient is orange.House: The color?Cuddy: No,the fruit.House: You mean yellow; it's jaundice.Cuddy: I mean orange.House: Well, how orange?Cuddy: Exam room 1.[Cut to House in exam room 1 with Orange Guy]Orange Guy: I was playing golf and my cleat gotstuck. I mean, it hurt a little but I kept playing. The next morning I could barely stand up. Well, you're smiling so I take it that means this isn't serious.[House takes out his pills]Orange Guy: What's that? What are youdoing?House: Painkillers.Orange Guy: Oh, for you, for your leg.House: No, 'cause they're yummy. You want one? It'll make your back feel better.[Guy nods and House gives him a painkiller]House: Unfortunately, youhave a deeper problem. Your wife is having an affair.Orange Guy: What?!House: You're orange, you moron! It's one thing for you not to notice, but if your wife hasn't picked up on the fact that her husband has changedcolor, she's just not paying attention. By the way, do you consume just a ridiculous amount of carrots and mega-dose vitamins?[Guy nods]House: The carrots turn you yellow, the niacin turns you red. Get somefinger-paints and do the math. And get a good lawyer.[House leaves the room][Cut to House in another exam room, this time with a little boy]House: Deep breath.Little boy: It's cold.House: Has he been using hisinhaler?Mother: Not in the past few days. He's, um, only ten. I worry about children taking such strong medicine so frequently.Little boy: What happened to your leg?[After saying this the little boy starts to wheeze alittle, and continues throughout the entire time that House is talking.]House: Your doctor probably was concerned about the strength of the medicine, too. She probably weighed that danger against the danger of notbreathing. Oxygen is so important during those prepubescent years, don't you think? Ok, I'm gonna assume that no body's ever told you what asthma is, or if they have, you had other things on your mind. A stimulanttriggers cells in your child's airways to release substances that inflame the air passages and cause them to contract. Mucus production increases, cell-lining starts to shed. But the steroids, the steroids...stop theinflammation. The more often this happens...[trails off and starts to leave the room]Mother: What? \"The more often this happens...\"what?\"House: Forget it. If you don't trust steroids, you shouldn't trust doctors.[Houseleaves][Cut to Rebecca's room]Rebecca: My mother passed away three years ago. She had a heart attack, and my father broke his back doing construction.[Cameron's pager goes off]Cameron: It's House, it's urgent.I'm sorry.[They go outside the room and see House waiting for them there]Cameron: You couldn't have knocked?House: Steroids. Give her steroids, high doses of prednisone.Foreman: You're looking for support for adiagnosis of cerebral vasculitus.Cameron: Inflammation of the blood vessels in the brain is awfully rare. Especially for someone her age.House: So is a tumor. Her SED rate was elevated.Foreman: Mildly.Cameron: Thatcould mean anything, or nothing.House: Yeah, I know. I have no reason to think that it's vasculitus except that it could be.If the blood vessels were inflamed that's gonna look exactly like what we saw on the MRI fromTrenton County, and the pressure's gonna cause neurological symptoms.Cameron: You can't diagnose that without a biopsy.House: Yes, we can, we treat it. If she gets better we know that we're right.Cameron: And ifwe're wrong?House: We learn something else.[Cut to overview of hospital, and then back into Rebecca's room]Rebecca: Why steroids?Chase: Just part of your treatment. You haven't had many visitors. Noboyfriend?Rebecca: Three dates. I wouldn't have stood by him if her were vomiting all day.Chase: Well, what abut work? You must have friends from work.Rebecca: Pretty much everybody I like is 5 years old. A nursesaid you're stopping my radiation.Chase: We're just trying some alternative medications. So, where's your family from then?Rebecca: Steroids aren't an alternative to radiation.Chase: The tests weren't reallyconclusive.Cameron: We're treating you for vasculitus, it's the inflammation of blood vessels in the brain.Rebecca: It's not a tumor? I don't have a tumor?[Cut to hallway with Cameron and Chase]Chase: You shouldhave told her the truth. It's a long shot guess.Cameron: [to nurse] Thank you. [To Chase] If House is right, no harm, if he's wrong we've given a dying woman a couple days hope.Chase: False hope.Cameron: If therewas any other type available I would have given her that.[Cut to classroom where Foreman is smelling the floor]Sidney: Why are you smelling Billy's pants?Foreman: I'm not.Sidney: Looked like you were.Foreman: Iwas smelling the floor.Sidney: Oh.Foreman: Do you have any pets in this class?Sidney: No, but we used to have a gerbil, but Carly L. dropped a book on it.Foreman: Careless.Sidney: Do you need to smell it?Foreman:No, I'm smelling for mold. I don't need to smell it.Sidney: You can smell our parrot.Foreman: You said you didn't have any pets in this class.Sidney: A parrot is a bird.[Cut to House and Foreman eating lunch with someSoap on the TV that has House's attention more than Foreman does]Foreman: Parrots are the primary source of psitticosis.House: It's not the parrot.Foreman: Psitticosis can lead to nerve problems and neurologicalcomplications.House: How many kids were there in the class?Foreman: 20.House: How many are home sick?Foreman: None, but...House: None, but you think that 5 year olds are more serious about bird hygiene thantheir teacher. You've been through her home?Foreman: She lives in Trenton. I can go up to her room tomorrow morning and ask her for the key.House: Would the police call for permission before dropping by to checkout a crime scene?Foreman: It's not a crime scene.House: Far as I know she's running a Meth Lab out of her basement.Foreman: She's a kindergarten teacher!House: And if I was a Kindergarten student I would trusther implicitly. [Sigh] Ok, I'll give you a for instance. The lady back there, who made your egg-salad sandwich. Her eyes look glassy, did you notice that? Now hospital policy is to stay home if you're sick, but if you'remaking $8.00 an hour, then ya kinda need the $8.00 an hour right? The sign in the bathroom says that employees must wash after using the facilities, but I figure that somebody who wipes snot on a sleeve isn't hyperconcerned about sanitary conditions. So what do ya think? Should I trust her? I want you to check the patient's home for contaminants, garbage, medication...[interrupted]Foreman: Whoa, oh, I can't just break intosomeone's house.House: Isn't that how you got into the Felker's home? [pause] Yeah, I know, court records are sealed, you were 16, it was a stupid mistake, but your old gym teacher has a big mouth. You should writea thank you note.Foreman: I should thank him?House: Well, I needed somebody around here with street smarts. Ok? Knows when you're being conned, knows how to con.Foreman: I should sue you!House: I'm prettysure you can't sue somebody for wrongful hiring.Foreman: But I'm pretty sure I can sue if you fire me for not breaking into some lady's house.[Foreman eats the rest of the sandwich][Cut to House sitting and reading\"Spring's hottest people' Magazine, Cuddy walks in]House: I'm doing research. People are fascinating aren't they?Cuddy: Why are you giving Adler steroids?House: Well, she's my patient that's what you do withpatients. You give them medicine.Cuddy: You don't prescribe medicine based on guesses. At least we don't since Tuskeegee and Mengele.House: You're comparing me to a Nazi? Nice.Cuddy: I'm stopping thetreatment.House: She's my patient.Cuddy: It's my hospital.House: I did not get her sick, she is not an experiment, I have a legitimate theory about what's wrong with her.Cuddy: With no proof.House: There's neverany proof. 5 different doctors come up with 5 different diagnoses based on the same evidence.Cuddy: You don't have any evidence. And nobody knows anything huh? Then how is it that you always assume you'reright?House: I don't, I just find it hard to operate on the opposite assumption. And why are you so afraid of making a mistake?Cuddy: Because I'm a doctor. Because when we make mistakes people die.[She walks offup the stairs]House: Come on.[House thinks about going up the stairs, but decides against it]House: People used to have more respect for cripples you know! [Turns to a guy in a wheelchair] They didn't really.[Cut toCuddy entering Rebecca's room. Rebecca is eating voraciously.]Cuddy; So, how ya feeling?Rebecca: Much better, thanks. Are you Dr. House? I thought he was a he, but...?Cuddy: No. Don't eat too much toofast.Rebecca: Thank him for me.Cuddy: Right.[Cuddy exits the room, and House is standing there, Cuddy is a bit surprised by him standing there.]House: Should I discontinue the treatment, boss?Cuddy: You gotlucky.[She walks off]House: Cool, huh?[Cut to the outside of the hospital, and back into Rebecca's room, it's now night and Wilson is there]Wilson: Ok, once again.[Rebecca takes a deep breath]Wilson: Good.Rebecca:Am I ever gonna meet Dr. House?Wilson: [scoffs] Well, you might run into him at the movies or on the bus.Rebecca: Is he a good man?Wilson: He's a good doctor.Rebecca: Can you be one without the other? Don't youhave to care about people?Wilson: Caring's a good motivator. He's found something else. [Has Rebecca grab his hands] Feel this?Rebecca: umhmmWilson: How about this?Rebecca: umhmmWilson: Ok squeeze. [Pause]"}
+{"doc_id":"doc_67","qid":"","text":"Int. Sydney's apartment. She looks at herself in the mirror with a weird/curious look, then walks over to the sink and sits down. Then, pushing the tap up to let the water run, she puts a kettle under the tap and fills itup. She walks over to the stove and let the water boil, while picking up a box and reading its contents of a sachet. A man runs across the translucent doors and he pushes them open. It's Vaughn, grocery bag in hishands.VAUGHN: Back! Sydney looks up, a smile growing on her face.SYDNEY: Hey. What took you so long?VAUGHN: Traffic light out on Venice. She still has a weird look on her face as he comes over and kissesher.SYDNEY: Would you look at something for me?VAUGHN: Yeah.SYDNEY: See an eyelash? (Widens her left eye with her hand) Something itches like hell.VAUGHN: (he looks) No.SYDNEY: Sure?VAUGHN: Yeah, maybethose contacts you wore on the Ireland mission irritated your eye. She doesn't look too convinced.SYDNEY: Yeah. Vaughn starts taking the groceries out of the bag and Sydney peers into the bag.SYDNEY: What'sthis?VAUGHN: What do you think about Orecchietti?SYDNEY: I don't think I've ever heard of it. Vaughn takes a cutting knife out. The sound made is loud and crisp, and Sydney has a weird look on her faceagain.SYDNEY: Wait a minute, don't tell me you cook.VAUGHN: (A smile on his face) There are a lot of things about me you don't know.SYDNEY: You clean, too? (She's still looking through the grocery bag)VAUGHN:I've been known to. Why, you thinking about hiring me?SYDNEY: Why would I hire you when I get you for free?VAUGHN: (small laugh) Are you taking a bath?SYDNEY: (She walks behind him) Maybe. (There's asomewhat cheeky look on her face) Maybe we're gonna take a bath. Close up shot of Vaughn cutting the broccoli. He accidentally cuts his finger.VAUGHN: Ah, damn it. Sydney rushes over immediately, a look ofconcern etched on her face.SYDNEY: You okay?VAUGHN: Yeah, I'm fine. (Sydney takes his hand to inspect the wound)SYDNEY: Let me see. (She applies pressure to it)VAUGHN: It's nothing.SYDNEY: Not nothing. (Theylook at each other and Vaughn looks pleased at her concern.) Scene changes. The background music now sounds like it's coming from the radio. We get another closeup of their hands, and this time Sydney is putting abandaid over the wound. Vaughn looks at her and smiles a little, and she puts his finger to her mouth and kisses it.SYDNEY: Here you go. All better.VAUGHN: You're gonna make a great mom.SYDNEY: Yeah, maybe.The statement seemed to have hit a raw nerve. She stands up, presumably to place the bandaid box to its place and in front of the mirror again.SYDNEY: Just that, my mom wasn't exactly the best role model.VAUGHN:Well the good news is that, you're nothing like your mother. Suddenly a warped voice in a voice over.VOICEOVER: You're not there yet, Sydney. She looks up in mild shock, then meets the eyes of Vaughn.SYDNEY: Didyou hear that?VAUGHN: What. (It was almost as if it was a statement and not an answer...)SYDNEY: Radio.VOICEOVER: You need to go further back. Follow VaughnVAUGHN: It's just the radio, Syd. If you don't like itwe can turn it off. She seems to like that idea a lot.SYDNEY: That's right. Vaughn switches off the radio, then smiles.VAUGHN: How about a nice bottle of wine with this bath?SYDNEY: That would be great. Vaughn walksaway, and Sydney looks in the mirror again. This time, she is shocked by what she sees. Something odd is reflected; a blue hue. Sydney sees herself being held on a chair with electrodes stuck to her forehead and shesquints. The scene changes into the actual scene of her being tortured for information. The camera view is now a mesh of colours which focuses slightly, and as it pans it occurs that we're looking through Sydney's eyes:She sees a doctor.SYDNEY: Who are you?DOCTOR: Shh. Syd, sit still. We're almost there, Sydney. He takes a syringe.DOCTOR: We almost have what we need. We just need to go a little further. Sydney squints andlooks utterly confused. She sees him sucking liquid into the syringe and asks.SYDNEY: What are you doing to me?DOCTOR: Nothing for you to worry about. I'm just trying to help you relax.SYDNEY: Why? What do youwant? (The doctor shushes her)DOCTOR: I just need to find a vein... A distorted voice fills the room.DISTORTED VOICE: Stop. Are you certain this won't harm the baby?DOCTOR: Quite certain.SYDNEY: (almost as ifgetting out of a stupor) Wait, the baby... don't...DOCTOR: (towards the one-side mirror) But if you want your answer you're going to need to let me do my job.SYDNEY: Who is that behind there? Who's behindthere?DISTORTED VOICE: Okay, you may proceed.SYDNEY: If you hurt my baby... (he sticks the syringe in) I swear to you... (tears stream down her cheeks) I will kill you. We see the view from Sydney's eyes again,and the doctor gets blurred. End of scene.SAN FR[A]NCISCO2 DAYS EARLIERExt. Rain is pouring down and camera pans to a woman serving noodles.WOMAN: You like? We see Peyton at the receiving end.PEYTON: Yes,I like very much!WOMAN: It's nice to see girl like you eating noodle. My granddaughter, she tell me, 'too many carbs!' Peyton smiles politely and barely eats two mouthfuls of noodles before the door rings open. A manin a suit walks through the door and she jumps on her feet.PEYTON: Thank you! I'm late for a date!WOMAN: Okay! Bye bye! She rushes off and catches up with the man in the suit through the rain.PEYTON: Excuse me,Mister! Thank god, I'm supposed to meet some friends in the [Mission?] district. My cab driver from Oackland just dropped me off here and zoomed off. I - I've been trying to find a cab, and no one here seemsto...MAN: There's a stand two blocks over the right.PEYTON: Thank you! He turns to walk away and she calls him again.PEYTON: Oh, do you know what time it is? He comes back and looks at his watch.MAN: Yeah, it's -(she stabs him and blood spews out from his mouth)PEYTON: Nice watch. (She pulls the knife out and places him against the wall, rummaging through his pockets and takes his watch off, looking furtively around(Because, like, there isn't anybody on that street, you know.) and walks away) She walks quickly through the same door and walks up the stairs, fiddling with the watch which is now on her wrist. Stopping at a door,she pushes three knobs up and gets green light, then placing the wristwatch on a sensor.ACCESSING...AGENT ZACHARY TURNERACCESS GRANTEDThe door opens and she enters the room, stopping at the nearestdesk. There is another agent at his own desk.AGENT: Again Turner? You'll miss your plane. Peyton types.AGENT MICHAEL VAUGHNAGENT: You missed that pickup in Cartagena, I'm gonna hear it from the Director.Shepresses enter while looking at the other agent, worried. Lots of technical effects before the screen stops at SERVER 4 SLOT 29. The agent turns around just as she walks towards server 4 presumably.AGENT: What didyou forget this time? He gets up and looks, while the camera pans to Peyton looking for the server - still - and finally reaching it. The agent looks at the computer (still beeping away) and Peyton takes a handdrill toloosen the screws of slot 29. He walks the way of server 4; and Peyton continues to loosen the remaining screws. The agent finally reaches the spot - Peyton isn't there anymore. He starts to walk away, then looks atslot 29: it's open, so he walks towards it... Peyton jumps from behind and strangles him with a cord, asphyxiating him. She kicks him in the calf and he goes down on his knees, and she tightens the cord. He struggles...then dies. Peyton retrieves the data, puts it in her handbag and leaves, taking a last look at the dead agent.Cut to outside. The first agent she killed is still propped up against the wall... Then slumps to the wet ground.Nice noodle woman comes around.WOMAN: Mister! You okay?! Peyton walks through that same door again, one ear against her cellphone.PEYTON: This is agent 4962 Bravo. Requesting for technician. Cuts to DeSantisin his office.DESANTIS: This is he.PEYTON: Dr. DeSantis, this is Kelly Peyton.DESANTIS (VO): Were you able to retrieve Agent Vaughn's files?Peyton: Yes. I'm exiting Chao Ke Street now. Camera pans to nice noodlewoman who exclaims in anguish as she pokes at the dead agent.(the background sounds of the woman screaming)PEYTON: I'll run the analysis in the attaché (?)DESANTIS: Excellent. I'll let our benefactors know.(Referring to the background sound) What is that noise?PEYTON: You know how it is. Rough neighbourhood.She clips the phone off. Off the camera, we see her walking away and the dead agent is still lying on theground; the background sounds still filled with screams and shouts...Cut to the Alias Theme(Or now is the time in Alias when we (used to, until the episode!) dance!)Camera pans over a nice shot of the skyscrapers ofLA.(camera cuts to the interior of a hospital. The doctor leads the way and Jack is in front of Sydney)(Voiceover) DOCTOR LYNN: After your initial triage and check-in, we'll bring you up here into the labouring anddelivery room.SYDNEY: So this is where I'll be getting my epidural.DOCTOR LYNN: Yes, it is. (she laughs lightly) If you want one.SYDNEY: I do. I'm - I'm not a big fan of pain.JACK: Are there any adjustments Sydneyshould be making to her life style? I'm sure her boss at the bank would be (he pauses slightly) happy to lighten her workload.DOCTOR LYNN: No, she's fine. I tell mothers staying active for as long as they can is a goodthing.They stop in the middle of the ward.DOCTOR LYNN: You must be excited. Won't be much longer now.SYDNEY: Oh no, the due date's still three weeks away.DOCTOR LYNN: Sure it is, but you never know. Yourbaby might be in a hurry. You're far enough along (camera cuts to Sydney's slightly shocked expression) if your water broke today we could expect a healthy delivery. (Sydney nods)SYDNEY: Wow, I, uh I didn't knowthat. (Doctor's pager beeps)DOCTOR LYNN: My service. I need to run. (she smiles at Sydney) I'll see you next week for your check-up. Sydney seems overwhelmed, but nods anyway.SYDNEY: Okay. They start walkingout of the ward. Cut to Jack's slightly humoured expression:JACK: So, any day.SYDNEY: Well she said it could be any day. (she shrugs it off, but her expression on her face remains slightly surprised) They stop at thenursery, and the camera pans on a baby. His father is looking at him lovingly, and the camera pans back on Sydney's forlorn expression. Jack looks at Sydney awkwardly, then reaches into his pocket.JACK: I havesomething for you.SYDNEY: What? He hands her a little wrapped gift and she looks surprised.SYDNEY: A gift?JACK: Technically, no (she starts pulling at the ribbon), it's already yours. I'm just... returning it. She opensit, all the while sharing a smile on his face. It's a little rattler.JACK: Your mother and I bought it when you were born. You wouldn't let it out of your sight 'til you're almost three. Reminds me of the time when I couldkeep you safe. (Sydney is full of gratitude, then of sadness)SYDNEY: It's beautiful, Dad, thank you. Scene cuts to APO. Marshall is doing some soldering work. Grace walks in.GRACE: You wanted to see me?MARSHALL:Oh, yeah, hey! Agent Grace! (he puts the soldering pen down and then takes his protective glasses on) Listen, I was doing some housekeeping: logging aliases, uh, safe house authorisation, family contacts. You know.The sucky part of my job. (Grace cracks a little smile) And I came across... a mistake in your file so I contacted Langley, turns out I don't have a proper clearance to my own job.GRACE: What did you find?MARSHALL:Marriage certificate from 7 years ago. Listen, if it supports just an outdated alias I probably ought to resend it sooner or later... you know.GRACE: (shaking his head a little) It's not a mistake. I was married.MARSHALL:Really. I'm sorry, I never heard you mention that.GRACE: For three years. Didn't work out.MARSHALL: Totally understand that. I mean, it's a - it's a struggle to -GRACE: (curtly) Hey do me a favour. Next time you havea question about my personal life, why don't you call me before Langley?MARSHALL: (stupefied) Absolutely. I - I'm really sorry. His computer starts beeping.MARSHALL: Uh oh. Camera pans to the computerscreen:Breached apx: Currenttime }{ - 0400 hoursDocuments Compromised: Agnet Mortality Logs Contact Protocol Database Audio Field Journals Biometries logs and tables >> additional undetermined docs.Perpetrator identified as [pf21] Prophet Five ...GRACE: I'll get Jack. (He walks away.) Cuts to APO briefing room. Jack is standing up while Sydney, Dixon, Grace, Marshall and Rachel sits around the table.JACK: Fourhours ago an agency facility storing closed matters was breached. (He presses on a button and the screen displays Peyton) Security cameras identifies the perpetrator as an operative of Prophet Five.RACHEL: KellyPeyton.DIXON: Do we know what she took?JACK: Among the archives, were files of all our agents killed in the line of duty. Their contact protocols, audio field journals biometric read-outs (Sydney *looks* athim)SYDNEY: They were Vaughn's files, weren't they? (He looks at her) You were going to have to say it eventually.JACK: (nods) Yes, that's right. Sydney looks at him then looks away.DIXON: Why would they wantVaughn's files?JACK: Isn't clear at the moment, which leaves us in a vulnerable position.SLOANE: Vaughn's investigations of Prophet Five were off-the-books; it's unlikely he kept those records on CIA files.JACK: I'vetasked Tom and Marshall on disabling all of Vaughn's official protocols. (he looks at Dixon) I'll like you to locate any of his old contacts to ensue a warning. Sloane will oversee Rachel in analysing the remainder of theintel.SYDNEY: Me? (She looks on, earnest)JACK: Though I would prefer to keep you close by, I know that's not an option. (There's a hint of a smile as he talks to Sydney. She gives him a \"Well, what can you do aboutme?\" look) Given her intimate knowledge of Prophet Five and her association with Vaughn, you should meet with Renee Rienne (Sydney nods) and see if she has any idea of what they may be looking for.SYDNEY: Yup,okay. (She collects the files and starts to leave. The others follow suit.) The camera pans to Sloane for a moment before moving back to Jack.JACK: Sydney. (She stops in front of him) You should know, when it comesto Vaughn... I take it quite personally. She nods.SYDNEY: I know, dad.JACK: We're gonna fix this. It's the expression of eternal gratitude again. She walks away abruptly, and the camera focuses on Jack... It's almostas if he has got something up his sleeves...Cut to some technician's place. It's Peyton's office. On someone's screen there are Vaughn's photos (the one the other man from Welcome to Liberty Village superimposed onthe diver's suit). Peyton strides across the office.PEYTON: (to a group of people) Anything?WOMAN: Listen to this. (Peyton walks to her cubicle)PEYTON: The location?WOMAN: Not quite. But I think Vaughn shared itwith Sydney Bristow. Peyton puts on the earphones.VAUGHN ON RECORDING: And I met this afternoon to discuss the protocol for her SD-6 counter-missions. I briefed Agent Bristow on the full scope of the operation.How far it reaches.PEYTON: Go back.VAUGHN ON RECORDING: I briefed Agent Bristow on the full scope of their operation. How far it reaches.WOMAN: She knows where it is. Cuts to DeSantis.DESANTIS (on thephone): And you're certain Agent Vaughn communicated this intelligence to her? Cuts to Peyton.PEYTON: Yes, according to his own CIA report. (she has a pleased look on her face) but it was several years ago. There'sno guarantee Sydney will remember.DESANTIS: (over the phone) That's of no concern. (Cuts to him) An associate of mine will be able to refresh her memory. I'll forward you the contact protocols of Doctor GonsaloBoris. He is going to ask for a lot of money. Tell him I will pay half. Have him waiting for me at the Athena facility.PEYTON: Then, you're suggesting that we abduct Sydney Bristow. (over the phone) Which you realisemight compromise our larger agenda.DESANTIS: We've been searching for more than 30 years and this is the closest we've come to retrieving Horizon. (over the phone) If Sydney Bristow can tell us where it is, wemust act immediately. It's a chance we have to take. Peyton switches off the call connection.MA[D]RIDExt. The busy streets of Madrid. The camera pans to a park, and a group of giggling school girls walk past Sydney,who is sitting on a bench. She looks around. Renee arrives.SYDNEY: Hello Renee.RENEE: You look beautiful. Sydney looks down at her stomach.SYDNEY: Doctor says it's my last week to fly.RENEE: (sits down besideSydney) Which means this is a special visit.SYDNEY: Prophet Five is targeting some of Vaughn's CIA files. I need to know, did he make a record of your investigation?RENEE: No. It was all in our heads. (Sydney looks alittle disappointed)SYDNEY: Then was there anything that Vaughn was working on, or - or any leads, or contacts that might be of value to Prophet Five now?RENEE: What's in the files?SYDNEY: Presumably everythinghe's worked on: SD-6, The Covenant, The Alliance...RENEE: Then, no. It's impossible. All he worked on SD-6 ...(Sydney notices two goons coming towards them)SYDNEY: (cuts in) Where did you park?RENEE: I walked.Why?SYDNEY: Let's move. (They get up and walk quickly)RENEE: There's a police station at the corner, you'll be safe.SYDNEY: Just take it easy, it might be nothing (re: Renee reaching into her pocket to take out herknives) The two goons get their guns out.RENEE: Go. Renee turns swiftly and throws her knives like daggers into their hearts and they stumble and fall. Sydney walks in front and screeching tires are heard. She isstopped by a van and two men clothed in black gets hold of her and injects her with a tranquilliser. She is rendered unconscious.RENEE: (shouts) Sydney! She sees two black vans driving away and takes out her gun,running after one of the vans. She shoots at the driver, and blood splatters up the windscreen. The van crashes into a car, then she takes out another gun (how many weapons does this woman keep in her pocketsanyway?) and starts shooting at the storage space. She opens it and sees Desantis.RENEE: You... Where are they taking her? (he doesn't answer, so she shouts) Where are they taking her?CUT TO BLACKDOCTOR: Ijust sedated her with a drug (?) cocktail which should take full effects within minutes. (it looks like he is speaking to whoever is behind the one way mirror) It's a chemical process of forced hypnosis which will effectivelynumb the body but leaves the mind partially lucid, allowing me to access any (camera pans to Sydney) part of her memory you'd like.He walks to his desk again.DOCTOR: Which means, it's now time to tell me what it isyou're looking for.DISTORTED VOICE: First I'd like some prove that this technique would work.DOCTOR: Of course. He fiddles with some buttons on the machine that Sydney is hooked up on, then facesSydney.DOCTOR: Tell me your name. Sydney doesn't respond, and the doc tasers Sydney on her chin. She reacts physically.DOCTOR: Tell me your name...SYDNEY: Sydney Bristow.DOCTOR: That's it, girl. Sydney, Iwant you to remember Michael Vaughn... He uses the taser on her, this time on her forehead, and she reacts physically again.DOCTOR: Find him. Sydney is now struggling with her tears and trying her hardest not tocry.DOCTOR: Find him and remember the time when you were both happy... A time that was meaningful... Go back, Sydney... Find him... Sydney seems to be resisting, yet the scene transits to flashes of Vaughn in theplane (Search and Rescue)SYDNEY: (whisper) Vaughn...[SCENE_BREAK]Cut to Sydney on the plane. She looks at her safety guard and a weird look is on her face; she adjusts the guard. Vaughn comes forward and sitsnext to her, just like it was in Search and Rescue.VAUGHN: I had it all planned out. (Cut to Sydney's bewildered face)SYDNEY: Vaughn...?VAUGHN: No, just, please; let me do this.SYDNEY: Do what?VAUGHN: I wasgoing to take you to the beach, Santa Barbara, go for a walk, maybe; maybe during a sunset. But now, now we're here, and I have no idea (cut to Sydney who is still feeling extremely confused) what we're about tojump into. He reaches into his pocket and fishes the ring box out, opening it for Sydney.VAUGHN: I don't know if I'll get another chance to do this.SYDNEY: But, Vaughn, we already did this. (She shows him her ring onher finger)VAUGHN: (frowning) I don't understand.SYDNEY: (as if a light dawns upon her...) I think I do. The people you were looking for. The people behind Prophet Five. I think they're holding me. (she looks aroundconspicuously)VAUGHN: How do you know about Prophet Five?SYDNEY: You told me and they shot you.VAUGHN: What, they shot me? No, I'm here.SYDNEY: I know... They injected me with something, they hypnotised"}
+{"doc_id":"doc_68","qid":"","text":"At Degrassi, Emma is walking into school as Jay is lifting up AlexAlex: Ow, stop.Amy: I love how mature your boyfriend is.Alex: Put me down. Great the first doctor's note I have that isn't a forgery and Mr. 'I can pick upa girl' has to make it look all suspicious.(Emma and Jay look at each other, so he kisses Alex.)Nate: Hey Emma, did JT say where we're supposed to leave our costumes?(Emma kisses Nate, as Jay, Snake and Manny allwatch shocked.)Nate: I've had more conversations with the janitor than I've had with you.Emma: I was acting. Just kissing all my nerves out pre-dress rehearsal. But don't worry Nate. I'll wait for my cue next time!Inthe library, Jay grabs EmmaJay: Are you hot for Dracula? Or are you trying to mess with me?Emma: Are you gonna be in the ravine again tonight? Are we gonna party? I think I need another bracelet.Jay: I don't likebeing messed with, okay?Emma: I know.Mr. Simpson: I need a minute with my daughter.Jay: Oh that's adorable, sir.Mr. Simpson: Cut the commentary Jason. Go.(Jay leaves.)Emma: And stand by for concerned fatherfigure lecture.Mr. Simpson: You come in at 3 in the morning hysterical, crying, wanting to talk about the shooting and now you're kissing random guys?Emma: It wasn't random.Mr. Simpson: Please Em. Let me, let mebe here for you. Let me talk to you.Emma: The bell's gonna go.At the hospital, Marco is taking a picture of Jimmy and a nursePaula: Thanks Marco. Taping this one right to my computer monitor. Take careJimmy.Jimmy: Poor nurse Paula. She's gonna miss me, but home has a full fridge and a wide screen.Marco: Craig and I can come, hang out, without visiting hours! We can play Kid Elrick as loud as we want!Craig:Yeah, your dad can tuck you in instead of nurse Paula!Jimmy: She's the only thing I'm gonna miss about this place.(Jimmy's dad knocks on the door.)Jimmy: Block the doorway pops! No time for speed bumps. Youready?Mr. Brooks: You look good Jim.Jimmy: I don't like you look good Jim.Mr. Brooks: The rails they're putting in at the condo, they're not done. Not yet.Jimmy: So?Mr. Brooks: So I'm all over the contractors.Jimmy:So?Mr. Brooks: One more week tops! Maybe sooner if I can string it.Craig: Mr. Brooks, Jimmy gets around well.Mr. Brooks: I know Jimmy's made great progress but I can't be with him 24/7 right now and I don't wantsomething happening. Something that's gonna trash all the progress that he's made.Marco: He really wants to go. What about Mrs. Brooks or a nurse?! I mean we could even help out!Jimmy: Forget it guys.Whatever.In the auditorium, Danny is on stageDanny: Sixteenth, May. Castle Dracula, his avital prison and die in it's prisoner. Worse. I fear I may be going mad! (He keeps talking and it cuts to Emma & Manny)Manny:If Nate was fifty and fat you could have caused cardiac arrest.Emma: Anything for the theatre!Liberty: Shh!Manny: I need complete teen girl details! Why, good, tongue, like it or not. Bring the answers overtonight.Emma: I have to go to the ravine tonight. I'm meeting some people.JT: Is it too much to ask for silence in the peanut gallery!Danny: There in the moonlight were three young women. Three...JT: Am I evergonna get three of them?Amy: Alex was at the doctor's. She should be back.(Alex and Jay come rushing in.)Jay: Lexy it was nothing. Come on!JT: Lexy is late for her scene!Alex: You want a scene JT?! Hey best friendAmy let's give JT a scene! *She smacks Amy nice and hard* Tell me about the ravine Amy! About how you went down on my boyfriend, Amy and the bracelets you got for it!Amy: I didn't sleep with him!(Manny seesEmma covering up her bracelets.)Alex: By who's definition?!Jay: Let's step outside Alex.Alex: Don't touch me. Don't talk to me. I'll deck your smug face too!At the hospitalPaula: Shake it off mopey Brooks.Jimmy: I'mnot mopey!Paula: You know a chair's only a prison if you let it be.Jimmy: Stop the inspirational quotes. I'm not buying it.Paula: What you shouldn't buy is your dad's attitude. You and I both know Jimmy Brooks can dowhatever he sets his mind to. At least I know it. Outside the schoolManny: It doesn't take Sherlock Holmes to figure it out. Why would you hook up with Jay? Are you in love with him?Emma: No! Of course not.Manny:So, what do you get out of it?!Emma: That's a really stupid question.Manny: No, what you're doing is stupid. You're letting a disgusting bottom feeder use you to serial cheat on his girlfriend!Emma: Should you really bepreaching to anyone about that?! We're not having real s*x.Manny: It's pretty close.Emma: But I'm not getting pregnant.Manny: Why are you trying to hurt me?Emma: Cause you won't leave me alone!Manny: You'rebetter than this! You're better than what you're doing!Emma: What do you know about who I am or what I'm worth or anything?! At the hospitalMarco: Special delivery from the sorry your dadda sucks pizzeria!Jimmy:Uh I'll hold out till tomorrow.Craig: What's tomorrow?Jimmy: Student council prez man gets you both out of school and then you come over here and bust me out.Craig: Sounds like trouble.Marco: (stuttering) I'm notgood with trouble.Jimmy: I need to see something beyond you two and these ugly ass walls.Marco: Tomorrow.Craig: You're Houdini on wheels!Jimmy: (Pulls out a newspaper) Okay and Houdini wants to see Kid Elricklive tomorrow night! Yeah! At the ravineEmma: Hey have you seen Jay?Some guy: Hang with me instead. You could use another friend right?Emma: Friends with benefits.Some guy: Hey we could all use a good benefittoo.Emma: Maybe next time.(Emma leaves and finds Jay's car.)Emma: Jay. Can I climb in? I went to the ravine, but you weren't thereJay: My day kind of sucked in case you didn't notice.Emma: So let's make you feelbetter.Jay: Alex is sick with some thing. She thinks I gave it to her and she won't talk to me so I don't feel like it tonight.Emma: Oh you gonna cry now?!Jay: You are one cold girl.Emma: There's a ton of guys whowould love a chance to be with me.Jay: Right now, I'm not one of them.At the hospital, Marco and Jimmy are wearing black hoodsJimmy: It's uh sweet of you to bring this incredible disguise. Hate to tell you but uh itdoes absolutely nothing to hide this enormous shiny mass of scrap metal that I'm sitting in.Marco: I though it'd be cool to look like ninjas. Hush! He's coming! Here he comes!(Craig walks in wearing a trench coat and ahat.)Craig: I'm here for Dr. Shinklehatin.Receptionist: I'm sorry?Craig: I mean Dr. Shpitzlehaven.Receptionist: Sir I'm afraid we don't have anyone here by that name.(The phone rings.)Receptionist: HS Rye RecoveryCentre. Good afternoon.Craig: Dr. Shpilkimishin?!?Marco: (On a cell phone) This is uh, This is uh, Dr. Smitgiztinsky. It's an emergency of the highest degree.(Craig starts breathing loudly and grabs hischest.)Receptionist: Are you okay sir?Craig: Go get Dr. Shunckenhoser!Marco: The man in front of you is uh extremely dangerous. I ask you to leave the area. Abandon it now!Receptionist: (As she's getting up to runaway) Could you uh wait here sir...Craig: Go get Dr. Shuckenhoser!(The guys quickly rush for the door.)Marco: Go! Go! Let's go![SCENE_BREAK]In the auditoriumEmma: Jay! Jay. Um...about last night.Jay: Youalright?Emma: Yeah. It's just a sore throat. That's all. I don't care about Alex or anything you know. Really I don't.JT: Raw egg, honey and lemon. DrinkEmma: JT! My voice is just tired. That's all.JT: Just drink okay?You told me you'd be able to do the show, so you're gonna do the show, period.Emma: Ugh. This stuff is so rude. In a classroomTeacher: Come on, take your seat the both of you!JT: Public health nurse? Oh goody.Another evil omen to put me at calm.Nurse: Show of hands. Oral s*x is safer than regular intercourse?(A few people put up their hands.)Nurse: Okay. We think there's been a mini outbreak. Here. At Degrassi. Ofthis.Manny: Gonorrhea!?!(Everyone looks at her.)Manny: Sorry. Did I just say that out loud...?Nurse: It's not a very nice word is it? Gonorrhea. And how do you know if you have gonorrhea? Well...some symptoms aregenital dischard, bleeding, burning, orally you might get a fever or sore throatJT: Hey Em. You got something to tell us?Emma: Shut up.Nurse: And sometimes those with the disease show no symptoms at all. Lucky,you might think. Think again. Untreated gonorrhea can cause arthritis, heart disease, infertility. Okay. Recognize this? (Picture of a condom) Good. If you've had any s*x without using one of these you are at risk. Thisapplies to oral s*x as well. Especially if you've had it with a bunch of people or if your partner has.At the concertJimmy: That was so incredibly stupid.Craig: You're here aren't you?! Breathing fresh bar air.(Two girlswalk by and smile at Jimmy.)Marco: Mr. mobility just got checked out.Jimmy: It was more like a 'what's with the gimp, drive-by'.(Jimmy backs his chair into a guy who spills his food.)Jimmy: Oh. Man, I'm so sorry.Theguy: Leave it.Jimmy: You sure? I'm really sorry. Okay guys lets go back. Now.Craig: Not unless the Kid is performing live in your hospital. Come on!Backstage at the schoolLiberty: I can't believe I have to be Alex. Tellme you're as nervous as I am!Manny: Is the Pope a Catholic? Does Jay have gonorrhea?Emma: Manny.Manny: Amy and Alex happen to be sick? What are you gonna do out there?Emma: I'm Emma. I play the part ofMina.Manny: If you have any conscience at all you will not kiss Dracula.(Emma gives her a dirty look and grabs her stuff.)Manny: Emma!Back at the concertJimmy: The Kid's gonna be on any second. I can't see athing.Marco: There aren't really any wheelchair seats. There aren't any seats.Craig: Maybe there's some down in front.Marco: Maybe there's a manager.Jimmy: You guys can't leave me here.Craig: Just two seconds, okbuddy?!(The show starts.)Jimmy: Excuse me! Excuse me! Excuse me! I can't really see.The guy: No problem man.(Jimmy wheels his chair to the front and he starts rocking out in his chair.)In the auditoriumNate: Thenmy brain says come to you. You shall cross land or sea to do my bidding and to that end...this!Emma: But no. I cannot. Dracula...(He leans in and doesn't kiss her.)Emma: What are you doing?!Nate: Keep going.Emma:What have I done? What have I done to deserve such a fate?! I have walked in meekness and righteousness all my days! God pity me!(He grabs her, the lights go out and people start clapping.)BackstageEmma: Youthrew the scene. That was completely unprofessional!Nate: I'd rather be that than diseased.Emma: What did you say?Nate: There isn't enough antibiotic in the world that would make me kiss you. And that little smoochin the hall the other day, who knows what I caught from that! Thanks so much!Jay: Screw him.Emma: Why did you do this to me?Jay: I didn't do anything!Emma: You gave me a social disease!Jay: You said you didn'tcare. Even this morning you said that!Emma: Just leave me alone okay!Jay: Look I never told Alex about you Emma. I liked how you had virtue or whatever.Emma: I don't. Not any of that.Jay: Come on. Who are youtrying to fool? Everybody knows. Everybody knows about the real you! Just-(Emma leaves and watches the play sadly from the side.)At the hospital, the guys are going back to Jimmy's roomCraig: Man we were soclose, the Kid was basically sweating on us!Marco: I am never gonna shower.Craig: What?!(The guys are laughing, and when they get to the room and Jimmy's dad is standing there waiting.)Mr. Brooks: Your nursecalled. Furious!Jimmy: So what are you gonna do? Ground me? Look. Today was an obstacle course okay? And I brought my A game. I had an A game!Mr. Brooks: James listen.Jimmy: No, I'm ready to come home!Now you have to be ready for it!Mr. Brooks: Will you be here tomorrow morning?Jimmy: Depends. What are you offering?Mr. Brooks: Find you a home care person to fill in the gap, be with you all the time.Okay?Jimmy: Okay. Thank you.At Emma'sSpike: She was so amazing. I couldn't believe it was the same girl.Mr. Simpson: Kate Hepburn was reborn.Spike: Did we wake you, Ms. Hepburn?Emma: I wasn't asleep.Mr.Simpson: Post show adrenaline. Probably feel fantastic right now, huh?Spike: And for the record Snake and me walking on egg shells around you is officially over. Our girl's back!Emma: I just wanted you to be proudbefore. How brave and perfect I was. And after everything happened and Rick died, I couldn't hold onto it anymore.Spike: You don't have to be brave or perfect ever. Just be you.Emma: But what if I don't like me verymuch right now? (Emma starts crying) I need somebody to take me to the clinic.Spike: Are you sick? Do you have a fever?Emma: I just need to go to the health unit. Tomorrow.Mr. Simpson: There's something goingaround the school right now, but it's a very specific group. And Em, if you're worried, there's a good chance you don't have to be.Emma: I have to be.Spike: Emma.Emma: Just say you'll take me. Just say. (Spike hugsher, as she's still crying) Scenes for next weekVoiceover: With Jimmy's return to school, Spinner must now face the truth.Spinner: I would have come, but things got crazy...Jimmy: I understand. I probably should havebeen there with you instead of at the hospital getting a bullet removed from my spine.Voiceover: And reveal what really happened that day.Jimmy: Rick put me in this chair for life!"}
+{"doc_id":"doc_69","qid":"","text":"Opening scene - Hospital - the first thing we see is a black screen with the sound of a siren, and what sounds like a dispatch message. I cannot make out the actual words sorry. we see the hospital doors open andparamedics rushing a stretcher inside, there is a bright light so its difficult to see everything - all the talking in this scene is very echoey, and distant. it's very reflective of the situation. there are also a few voiceoversfrom 224, which I think were done great!)Paramedic: I got a gun shot wound exited the right clavicle, punctured an artery(we see a close up of Trey, and the other paramedic is holding a breathing thing over his mouth.a doctor comes down the corridor, putting a gown on)Dr: he still aliveParamedic: not for longV.O Ryan: how could you man...I would'a done anything for you(we see Trey kind of moving his head a little, then we see theceiling of the hospital as if we are seeing what Trey is seeing. we then see Ryan & Marissa coming in through the hospital doors, they both look worried and scared)V.O Trey: look man, it was messed up, I wasstoned(an officer comes into the shot and walks over to Ryan and Marissa as they are coming in)Officer: we've still got some more questions for you(Ryan walks passed the officer and over towards Trey)Ryan: I've jusgotta see if he's gonna be ok(we see Trey, still with the breathing thing over his mouth, being pushed away. there is another voice over here but its at the same time as the next line so I cant tell what it is, its possibly ascream/cry from Marissa)Marissa: (worried, to a nurse) he's not gonna die, right(behind Marissa we see Seth and Summer enter, they both look worried as well, and they are looking in the direction ofMarissa/Ryan/Trey. behind them we can see the ambulance Trey came out of)V.O Ryan: it wasn't my idea Trey, I didn't wanna steal that car(we see another shot of Trey, which is a close up of his bloody face, and alittle of his chest. here we see a bit of the hospital roof and light, but also blended into it is the scene where Trey pulled the gun on Ryan at his apartment in 224. its been done similar to how we saw the Ryan/Marissa'who are you' scene during the Ryan/Lindsay car conversation of 208 . its a blink and you'll miss it deal :))V.O Trey: hey man I went away for it an uh you got the good lifeV.O Ryan: so you had to destroy it, you had tohurt her, huh(the last thing we see is Trey pointing the gun at Ryan, then we see the hospital light again and Trey being rushed down the corridor. Ryan comes around the corner, behind Trey, the doctor and theparamedics)Ryan: hey, he's my brother, is he gonna be okDr: he'd be better if someone hadn't shot him(the Dr and paramedics move the stretcher closer to the bed, nurses are also there)Dr: he's lost alot of blood so(turns around and sees Ryan) Jesus what the hell happened'a youRyan: (looks at Dr) nothing I'm fineDr: (yells) could someone look at this kid(Ryan turns away from the Dr and everything goes blurry)Officer: just assoon as we're done talking to him(we see a close up of Ryan, and he has a noticeable bruise, and bloody nose, he also looks out of it. he looks away from the officer and back at Trey. we see Trey being moved over tothe bed, then someone squeezing the breathing thing over his mouth. we then see Marissa and Summer standing together near the hospital doors, an officer is with them)Marissa: (yells) Ryan(Ryan turns to faceMarissa, she puts her hand out to Ryan helplessly)Officer: (holding the gun) did you discharge this weapon manMarissa: (looks at officer, frustrated) yes I already t-Ryan: (yells urgently) don't answer him, don't sayanything(the officer near Ryan looks over towards Marissa, shocked. Marissa looks at Ryan and shrugs. the background goes out of focus, Seth comes into the shot clearly on the right hand side)Seth: you ok (Ryanlooks at him)Dr: we're losing him(Ryan turns towards where they are working on Trey. we see a very quick flashback of Trey and Ryan, then we see them still working on Trey, squeezing the breathing thing. Ryan looksaway from Trey and back towards Seth, dazed. we see how Ryan is seeing, which is Seth as wavy, then squashed/ stretched)Seth: you alright(Ryan looks at Seth, blinking and breathing heavily. his vision is nowbordering on blurry. we can see Marissa out of focus in the background still. Sandy comes through the hospital doors)Sandy: Ryan (Ryan looks at him, still blinking and dazed) Seth...you ok(Ryan is now seeing Sandy asshort/fat, and wavy. we see Ryan looking at Sandy & Seth, growing more and more disoriented till he falls and passes out on the floor. we see what he is seeing as he falls, then we hear the thud and see Ryan on hisstomach next to Treys bed. - we then abruptly cut to the pool house where Ryan has jolted himself awake. he blinks and slightly lifts his head, we can see a bit of sun on his cheek. he looks freaked out. he then lifts hishead more and opens his eyes wider. he rubs his hand down his face, and sniffs. we then see Ryan sitting up on his elbow in bed, we can also see a silhouette at his door, and then we hear a knock. Seth opens the doorand walks in, in true Seth style, lol)Seth: hey man, I jus wanted you ta know that uh (stops and looks at Ryan worried) you okRyan: (looks at Seth, then looks away and sighs) I just had the worst nightmare (raiseseyebrows)Seth: yeah, I got some...bad newsRyan: it wasn't a dream (closes eyes) yeah, yeah I know (opens eyes)Seth: well that lawyer guys on his way over so...Ryan: (softly) thankyou(Seth turns and leaves. we seea close up of Ryan who looks worried)Cooper-Nichol veranda - we see an aerial shot of the pool, and Marissa and Summer sun-baking beside it. think 201. it then changes to a front on shot of them, but it's as if it's ontop of the pool water, half way through Summers line it changes to a close up of them. Marissa has her head back, with sunglasses onSummer: you know Coop, if you had of asked what we'd be doing the weekendbefore senior year (thinks) I probably would've said a road trip to Rosarito or rush week at SU with college boysMarissa: an waiting to get charged with manslaughterSummer: (shakes head) wouldnt'a made the list(looks at Marissa) mm-mm...(reassuringly) your gonna get through this Coop (looks at Marissa with one eye open, one closed from the sun) your innocent you were saving Ryan's lifeMarissa: (lifts head) try explainingthat to RyanSummer: he understands why you did it he's not mad (shakes head)Marissa: its jus like this... weird horrible thing (lays head back) hanging over us...like the elephant in the room...or an intensive careunitSummer: (frowns) before Trey I never actually knew anyone in a coma (shakes head) well I mean on the valley there's someone in a coma (Marissa frowns) like every week but I think they only do that so that whenthe person wakes up another actor can play the part (nods, confidently)Marissa: (raises eyebrows) unfortunately if Trey wakes up he's still gonna be Trey...if he wakes up (looks down)Summer: you've got'to admit Coop(Marissa looks at her) whatever happens, Ryan facing off with Trey to avenge your honour, god that is SO-FREAKING-HOT (Marissa doesn't say anything) ...in a mythic, biblical, Samurai Western kind of wayMarissa: Ireally wish that helped me sleep at night Summer (puts head back)Summer: (frowns, concerned) you're still not sleepingMarissa: I shot someone Sum (Summer looks at her, then away) an even if he lives, which...is abig if, I'm still gonna have'to live with that for the rest of my lifeSummer: (nods) oh (puts head back & closes eyes) senior yearMarissa: (scoffs) should be all time (half smiles)(we see the backs of the pool chairs and ashot of the house)CUT TO: Cohen kitchen - Sandy pours a whole pot of coffee into a tall mugDDA: thaaanks a bunch, SandySandy: if a pot'n a half isn't enough to get you through the morning (holds out mug) I canmake some moreDDA: that'd be great (drinks)(Sandy looks at the DA and then picks up the pot to refill it)Sandy: sorry for the mess, its ben a little hectic (looks over) Seth'll be right downDDA: (frowns) and Mr.AtwoodSandy: he's gettin' dressed, well the kids've ben through alot this summer with all this hangin over them, and now school is startingDDA: which is why the DA wants to get moving, we waited as long as we couldfor the other Mr. Atwood to wake up but I'm getting alotta calls from parents...DA's under alotta pressure ta prosecute (drinks)Sandy: except there's nothin ta prosecute, Marissa's protected under the defense of others(looks at DDA) of course your boss may not find that very sexyDDA: quite true...(looks at Sandy) DA's not lookin to go after MarissaSandy: (looks at DDA, annoyed) Ryan's innocent...you got his statement at the scenean hersDDA: look at the record Ryan's got, his history of violence...an Caleb Nichols daughters the one blowin away ex cons with a forty fiveSandy: (looks at DDA) she saved Ryan's lifeDDA: what was he doin over atTreys in the first place, his brother tried to rape his girlfriend (Sandy pours more coffee) we've got causeSandy: yeah, an ya got witnessesDDA: well the only people who saw the gun go off were Mr. Atwood Miss Cooperan the other Mr. Atwood, who (raises eyebrows) may or may not wake upSandy: (turns to face DDA) if you go after Ryan even if he's brought in on charges...social services could take him away from usDDA: whichexplains Miss Coopers motivation to cover for him (nods confidently) Mr. Atwood's got alot more to lose(Sandy glares at the DDA then turns back to the coffee)DDA: where is your wife anywaySandy: (sighs) she's outtatownCUT TO: Suriak Treatment Centre garden - we see a close up of Kirsten, as the scene goes on we see that she is in a group therapy session and Dr Woodruff is there leading itKirsten: my name is Kirsten an I'm analcoholicGroup: hi Kirsten(we can now see they are all seated on chairs around the fountain)Dr W: Kirsten your progress here at Suriak has ben...truly wonderful to watch (nods) your a model patient for...everyonehere(everyone looks towards Kirsten, however one patient near Kirsten looks more interested than the rest. a woman who is one person away from Kirsten, we find out later her name is Charlotte)Kirsten: (shy) well Idon't know about that...I mean Shelley is definitely better at poker (Shelley looks worried) she's cleaned me out(everyone laughs)Kirsten: (smiles, looks down) but...being here has given me the clarity tounderstand...why I turned to alcohol in the first placeDr W: an...do you feel comfortable sharing with the group uh why that wasKirsten: uh sure...I mean we're all in this together...I uh (thinks) I guess it begins andends with my dad (nods, frowns) he was (shakes head, closes eyes) an amazing man (shrugs) but controlling...and...I realised that I was living his life not mine (Dr W listens) after my mother died I did everything(Charlotte is listening intently) I could to please him (sighs) but I realised that no matter how hard I worked or how hard I tried-Charlotte: it was never enough (Kirsten looks at her) ...I'm sorryKirsten: (suprised) uh,no (looks at Charlotte) no its true it was never enough, became my mantra (smiles) ...I was never a good enough wife or a mom (raises eyebrows) because I wasn't a good enough daughterDr W: (points at Kirsten) thepower that comes with that kind of difficult realisation, will be invaluable after you leave usKirsten: are you trying'to get rid'a me (smiles)(everyone laughs)Dr W: well, it sounds to me like uh Suriak's work is done(Kirsten smiles, then looks unsure) you'll need ta get a sponsor...an attend meetings...but there's no reason you can't do that from your home(Charlotte looks at Kirsten, as if she knows Kirsten isn't ready yet)Kirsten:great (forces a smile)CUT TO: Cohen dining room - Ryan is sitting on one side of the table with his hands clasped together in front of him, and the DDA is sitting opposite him. Sandy is standing at the end of the table,close by. this scene changes between Ryan and Seth, kind of a blend of their 2 depositions so you'll know who's it was depending on who is talking, Ryan or SethDDA: Mr. Atwood (Ryan looks away) do you swear to tellthe truth an nothing but the truth so help you god-Ryan: (fed up) I do (sighs)DDA: well then you won't mind if I record this deposition (slides recorder across the table)Seth: sure, record it, release it on ITunes, I hopeit's a really big hitSandy: (not amused) just answer the questionsRyan: (looks at Sandy) I've already answered all of these questions (looks at DDA) I have nothing new'to say (looks down)DDA: well your previousstatement came at the hospital...it was traumatic its ben a couple'a months maybe you remember things differently nowSeth: I remember everything exactly as I told youDDA: well then you can tell me againRyan: ...I(leans forward) confronted Trey about what had happened and that's when he pulled the gun on meSeth: then we called Marissa to see if maybe she could stop RyanRyan: an that's when Marissa saved my lifeDDA: youmean, that's when Marissa shot Trey (Seth nods) an you witnessed the shootingSeth: well it was clear w- when we got there what had happenedDDA: just answer the questionRyan: (yells, fed up) no I did not (calmer)I didn't- (raises eyebrows) an-an an I didn't shoot him (Sandy looks at DDA)DDA: young fingerprints are on the gunRyan: yeah because I put the safety back on to make sure it didn't go off again(we see a close up ofthe recorder)Ryan: we-we (agitated, sighs) ...we weren't exactly thinking at the timeDDA: so one final question, what were you afraid (frowns) was going to happen between Ryan an his brother...why were you tryingto stop him(Seth doesn't say anything, Sandy looks down)DDA: you went to Treys that night to kill your brother (Ryan looks at him) didn't you Mr. Atwood(Ryan swallows and doesn't say anything. we see a close up ofthe recorder just as it stops recording)CUT TO: Cooper-Nichol veranda - Jimmy is setting the table and Julie is in front of him looking at herself in the reflection of a windowJimmy: (puts plate down) so what kind'a foodd'you think prosecutors likeJulie: (fixes hair) cause that's what's important here Jimmy (sighs, turns around) ok so (holds out hands) does this look like the outfit the mother of an innocent girl would wearJimmy: yeahwell at least somebody has their priorities in order...Julie: (sighs) I just hope Marissa listens to me, and our attorney, the last thing we need is her admitting ta the DA that she shot someoneJimmy: Jules (looks at Julie,confused) she already admitted itJulie: she wasn't in a right frame of mind when she spoke to the police...its not like she's a trained assassinJimmy: uh-huh so-so (frowns) what's our story, Trey shot himself...in thebackJulie: no, Jimmy, be reasonableJimmy: she's not gonna lie an say Ryan did it, they already have her statementJulie: nobody believes her, they all think she's protecting himJimmy: (looks at Julie) so you want Ryanto go away for thisJulie: ...all I know is that before he moved to Newport our lives were alot more normal, stableJimmy: (nods) uh-huh so it's his fault that I went bankrupt an nearly went to jail, an you married CalebNichol (raises eyebrows) only to watch him drown in a pool annnn Trey got shot (moves closer to Julie)Julie: (not amused) Jimmy, not everything I say is meant literally, I'm venting (faces Jimmy) look I wish none'athis ever happened but it did, an we have a chance to be a family again...I don't wanna lose that (Jimmy puts his hand on her shoulder) l w- put out some crudités' an the guda ill go see if Marissa's out of theshower(Julie goes inside and Jimmy turns around, looking worried)CUT TO: Pool House - Ryan comes out of the bathroom with a towel over his shoulder and Seth comes to the open doors from outsideSeth: (calls out)hey, you decent (Ryan shuts the bathroom door) thought maybe you could...use a post-depo-dipRyan: (holds up the towel) I just showeredSeth: mmm a fair point, then we'll stay away from aquatic activity somethingland locked maybeRyan: (thinks) I'm gonna visit TreySeth: I was gonna go with a movie, this bein the time when Hollywood dumps their crappy would be blockbusters which we could mock (touches his chest) an thusfeel better about ourselvesRyan: (ignoring Seth, stands) you got the keys (raises eyebrows)Seth: but (puts up finger) visiting your comatose brother in the I.C.U that's...also an excellent way ta relax an blow off steamso ill driveRyan: awesome(Seth turns around and goes out the doors. Ryan is behind him)CUT TO: Cooper-Nichol veranda - Jimmy, Julie, the DDA from earlier and Mr. Esbenshade are standing together near thetableJulie: (holding jug) Mr. Caldwell, would you like some more lemonade (smiles) Mr. Esbenshade(Mr. Esbenshade shakes his head and mouths 'no thanks' at Julie)Julie: oh come on its ok for a prosecutor an defenseattorney to have a glass of lemonade together (Mr. Esbenshade smiles) we're all human beings hereJimmy: (frowns) I'm not so sure about these guys(Julie turns around and looks at Jimmy. Marissa and Summer comeout the door)DDA: Miss Cooper(Marissa and Summer reluctantly walk over, they both look unsure)DDA: I'm Deputy District Attorney Chris Caldwell ill be conducting this depositionMarissa: hi (looks down) uh where doyou want us ta sitDDA: actually (looks at Summer) Miss Roberts cant be present (Marissa frowns) we wouldn't want you influencing her testimonyMarissa: (confused) she (points) knows what you know which is thetruth, which is what I already told you peopleDDA: Miss Roberts (raises eyebrows) if you could please wait inside(Summer doesn't know what to do. Marissa and Summer look at each other)Julie: Summer, we have HBOon demand, every season of s*x and The City, knock yourself out(Summer looks at Julie. Marissa looks down, sadly. the mean DDA guy from earlier takes out the recorder and puts it on the table)Summer: Mariss you'llbe ok, I'm jus gonna wait insideMarissa: (to Julie & Jimmy) look I already told everybody everything, I don't wanna have'to go through this again (Jimmy looks down) talk about all of it in front of these strangers(points)Esbenshade: Marissa I need to remind you this deposition is binding, your testimony in court can't waver from what is said hereMarissa: (frustrated) I already told the truth so what's the problemDDA: theproblem, Miss Cooper, is that your testimony lacks credibility(Summer Marissa and Esbenshade look at him, Marissa looks down. Julie looks at Jimmy)DDA: Miss Roberts please wait inside(DDA, Marissa & Mr.Esbenshade go to sit at the table)Jimmy: come on Summer(Jimmy puts his hand on Summers back and leads her inside)DDA: now Miss Cooper, I'm going to have'to swear you in(Marissa turns to look at Summer, wesee a close up of her face and she looks vulnerable. Summer looks at Marissa helplessly before going inside - i just have to say that you can really see how much Marissa/Summer need each other in this scene)Julie: it'llbe ok Marissa(Marissa glances at Julie before looking down, upset)CUT TO: The I.C.U - as the camera pans across we see through the blinds that Ryan is sitting next to Treys bed, we can also hear some hospitalannouncements faintly. the shot changes and we can now see that Seth is also in the room, leaning against the door frame. Trey is still in a coma and Ryan is leaning forward staring at himSeth: I kinda like him thisway he's a better listener (Ryan blinks and looks down) ...sorry, I get talkative around coma patients it's a (frowns) compensation thing, ill give you guys a minuteRyan: wait just uh(Ryan turns to Seth then back toTrey, he stands and leaves the room. the camera zooms in on Treys hand and after a few seconds his pinky finger very noticeably moves - out in the corridor Ryan and Seth are walking together)Ryan: sorry man (raiseseyebrows) I don't even know why I came here (Seth listens) that night I wanted to kill him now id do anything to take it backSeth: well you can't blame yourself an you can't change what happenedRyan: yeah but Imean Trey could'a tried to make it work, living in town I mean I had my brother here(Ryan and Seth are now outside near the ambulance bay)Ryan: now everything's screwed up an he's the only family I got leftSeth:(looks at Ryan) well that's not exactly true(Ryan realises and half smiles then looks down. back in Treys room we see the monitor that he's hooked up to, that goes out of focus and Treys head comes into focus, his eyessuddenly open and look around)CUT TO: Cohen living room - on the TV we see a video game of baseball being played. half way through Seth's lines we see that Ryan and Seth are sitting on the couch togetherSeth: ok Ijus have'to say that I still support the recent decision (Ryan looks at him) (swallows) in the wake of all the violence we've experienced to ban any games with ninjas or guns (frowns)Ryan: yeah, but?Seth: weeell it'sjust I don't understand any of the rules to this...\"baseball\" they call itRyan: (looks at Seth) you mean America's pastimeSeth: (looks at Ryan, unsure) eah, feels like more of a fad to me buddy I don't really see it catchin"}
+{"doc_id":"doc_70","qid":"","text":"Since you're in beach buggies, you will now drive to the beach at the northernmost point of Namibia, where it meets Angola. It's 1.000 miles away.Richard: We have got to find this road. This is not gonna be too cleverin the dark. Listen. I shall find the Southern Cross.Richard: Oh, this is a bad idea! We are now trusting our lives to an orangutang who thinks he's Patrick Moore.James: 24 hours of cold, misery, to achieve exactlynothing. I mean, it is exactly nothing.Richard: Oh, it's coming in!(JEREMY YELLS)This is the best desert I've ever been to. Holy sh1t!Richard: Oh!(YELLS)Jeremy: What it actually is is a big, orange killingengine.Jesus!(LAUGHS)Richard: (LAUGHS) Oh, my God!Please make it! Please! Just need to find a road now. This is not funny any more. I don't want another night in the desert. Oh, my God. I could go east, I could gowest.Richard: Whichever way you go, it goes somewhere. Yes! It is the road to freedom.(THUD)What the hell was that? What I'm driving here, or attempting to drive, is Apollo 13.Jeremy: It was morning by the time Inursed my wounded car into Windhoek, and my well-rested colleagues were full of admiration for how I'd pulled off such a feat. Is that the first thing you thought of? What? Tear a hole in it. What's that gonna do? Ineeded to get to the bleed valve on the radiator, which is there. Is it? And, to make life doubly difficult... I trod on my spectacles.(RICHARD LAUGHS)That is tragic, trying to fix it with one lens. I was trying to fix it. Andthe only eye I can close is this eye. You can't close your left eye? I can't close my left eye. Why didn't you put them on upside down? You'd have the lens over the other eye. That is logic there. Oh, yeah.(LAUGHS)Comeon, let's go. We've got a lot to do.Jeremy: No! The one thing we have established now is that, with the exception of Windhoek, which is the capital, Namibia is a tough and arduous place. Yeah. Have you bought maps?No. Have you got tenting equipment of any sort? Have you got somewhere to sleep other than the desert floor? No. So why don't we, today, get prepared for the next leg of the - big leg of the journey? That is a goodidea. We'll do that. That's not a bad idea. We'll grant ourselves a day of... shopping. Mm. First of all, would you permit me to chisel some of the cheddar that has grown in my underpants away? Well, not here.Jeremy:Having de-cheesed my body parts, we headed out to get the necessary supplies.Richard: The thing is, if we go mesh, it'll keep the sun off but it won't keep the light out. That will wake us up early. That's 1.5 kilograms.But- Hammond, the first thing you need to know before we start shopping in here is James and I are in charge.Richard: Well...James: Sorry, he's right. No, you're not. You don't know anything about camping.James,Jeremy: Exactly. How does that make you in charge? Because we know it's all terrible. If we leave it to you, we'll all end up sleeping in small green triangles. The camping you know about is in the Lake District, whereyou deliberately make yourself miserable. I'm sorry, he's right. It is possible, I think, with a bit of ingenuity and money, to make tenting bearable.Jeremy: Richard Baden-Hammond disagreed, so we went our separateways. Correct, incorrect. Exactly. Do you agree? But I'd go even more correct. Oh, yes! Perfect. Roll it out on the desert floor... you're home. Oh, James! Le Creuset! See, Hammond would hate this, because this weighsmore than a tent. Which it does, actually. A lot more. And it weighs more because it is a quality item. Exactly. Pocket trowel. Pocket soap. Here we go. Pasta spoon. Yeah, good idea. I find that bottle opener a bit...lightweight. Yeah, more expensive is what we're looking for. You see, look at this, James. This is the sort of thing Hammond would think is a chair. Ooh! That's all you need. That's your whole... stove. That's it. Is it gas?It is, isn't it? I presume so. For two, you could get a small chicken in there, or... a pheasant. We're getting there now. So that folds down to that. Yeah.Jeremy: The next morning, we headed out once more, with thecamping gear James and I had bought bringing up the rear. And besides stocking up with essentials, Hammond and I had used our day off in Windhoek to modify our cars. To solve my overheating problems, I've fitted aram-air scoop, which shovels refreshing, cooling air into the radiator as I go along. And, as you may have noticed, I've fitted a spoiler. My only complaint, really, about my beach buggy was its lack of performance inthird and fourth gears. Couldn't up power from the engine and I don't want to stress it, so I could lighten it. I've stripped away the superstructure here and the passenger seat, anything spare. That means this car is30-40 kilos lighter than it was before. Jeremy, why has your car sprouted a green moustache?Jeremy: Well, it's a spoiler for added downforce at the front end, which you need in a rear-engine vehicle. This thing will beunbelievable through the corners now, it really will. Like a 911. And I tell you what, even with your new lightweight buggy, you're no match for what I've got here this morning. Yeah, I'm sorry, mate. This is quicker. Itis not. It is. Right, Richard Hammond, I challenge you to a race. OK, you're on. Idiot.Jeremy: We shall find a race track and we shall do racing. Well, you carry on. I'm not doing any racing. That's utterlypointless.Jeremy: On the outskirts of the city, we found a rather excellent circuit where we could do timed laps, and James could try out his new vacuum cleaner.(VACUUM WHIRS)James: Oh, yes.Are you ready? No.Why not? Temperatures and pressures. This is a racing machine. Look at it. It's a plastic beach buggy parked near a V8. With aero. Really? In...(REVVING)...three, two, one, go!(REVVING STOPS)Yeah, I'm gonna do itin gear. Give it a shot. I'm gonna try that. In- No! Throttle's jammed. Yes. (STAMMERS) Jammed. In- No! You can keep saying \"in\" till the cows come home. The throttle...(VACUUMING, JAMES HUMSTUNES)(REVVING)Three, two, one, begin!(BOTH YELL)Why... Why have you stopped? Ah. Well, erm...(ENGINE STOPS)The throttle may have gone a bit open.(IGNITION FAILS)Yeah. My throttle is totally broken.Anyway, Hammond... Yeah? Any car which can wheelie off the line... is going to be able to beat yours, and would have done. So... Sorry. You're saying because your car started, well, 50 yards away over there,wheelied, was uncontrollable, slammed back down and broke itself, it's the best on the track?Jeremy: Yes. Well, much learned. Really useful. Glad we did it.Richard: With Jeremy's endlessly troublesome car fixed again,we scooped up James' Dyson and continued northwards towards the finish line at the border with Angola. The going was smooth and easy and eerily quiet, which begged a question. Now, apparently, Namibia is themost dangerous place in the world to drive. There are more accidents per head then anywhere else, and car accidents are the first and most common cause of death in young adults. How? How can that be so? I mean...the place is empty. In Britain, there are 250-260 people for every square kilometre. Here... it's two. Two! This makes the Australian outback look like Monaco. Monkey! Monkey! Huge anus! Did you see that thing'sanus?James: I, however, was not thinking about population statistics or monkeys' bottoms. I was just happy to be on a smooth surface in a car that wasn't filled with dust. I shall relax... with the lovely view. Sadly,though, a few miles later...(RATTLING)Ow! Ow! Oh, my nuts! Ow!(GROANS)Stop it! Ow! Ow! Agh! James May? Yes, I can hear you, but it's very uncomfortable and my car has... has cut out.James: Ow!Jeremy:Mercifully for James, we eventually arrived at a game reserve, which we decided would be an ideal place to set up camp for the night.(UNZIPPING)Richard: Right.(CHUCKLES)That's what we need.Jeremy: As Hammondbuilt his canvas hovel... James and I were looking forward to a more civilised evening in the tents we'd bought, and which had been erected by the butler we'd also bought.James: Thank you, Giovanni. Tuck your shirtin, man! It's not a bloody caravan site. Erm... I'm just thinking, dinner. Mm. Do you mind if I get changed? No, exactly. I'm gonna have a shower. Mm. Or I may have a bath, actually. Why not? Giovanni, could you runthe baths?Jeremy: Apparently, this place has got oysters. Really? Here? Yeah. I know, it's extraordinary. Who knew? Are you coming for some dinner?Richard: What do you mean, \"Coming for dinner\"? I'm cooking here.There's a restaurant just down there. A restaurant? Yeah, just down there. I don't want to go. I'm cooking this. I'm doing it properly, camping. Well, come and- I'll join you after dinner.Jeremy: Whatever.James: He'ssuch a peasant, isn't he?Jeremy: It's just unbelievable.(METALLIC CLANGING)Jeremy: That evening in the restaurant, Hammond never did join us.But James and I were not short of company. Oh, look, there's rhinos!There's actual rhinos! And they've been dehorned. They've had to take its horn out to stop poachers shooting it. But you know what the poachers are doing? They shoot the dehorned ones, because if they track for acouple of days, a rhino, and then it's got no horn, they shoot it, and then they'll never track it again, so it saves time. Do you know how much you get for a rhino horn now? On the... On the market? Yeah, in Vietnam.I'm guessing it's a lot.[SCENE_BREAK]So that's more expensive than gold. Good God. Even the nub that's left that he's got is still worth, I don't know, thousands of dollars. I was gonna say, no matter how carefully youdehorn it, there's still horn going down into its nose.Jeremy: That's such a tragedy, that, you know.James: Yeah. I want to do something about this while we're here. I'm sure we could come up with something. I'm surewe could.[SCENE_BREAK]Richard: The next morning, I woke to find I'd been recruited into the Clarkson and May Rhino Protection Squad.They were even convinced that our beach buggies would be ideal for tracking thepoachers. I can't deny, they do have a point about the whole rhino thing. It is ridiculous. Two rhinos killed every day in Africa by poachers, and then sold to a market that believes it's a cure for cancer, impotence, evenhangovers. But are we necessarily the right men to tackle it head-on in the field? Ow! (YELLS) Wouldn't we be better just popping a \u0000coin in a jar and letting somebody who knows what they're doing solve it? Well, I'vegot a tranquilizer gun from the place where we were last night, but... I can't see anyone to shoot.Jeremy: Figuring that the poachers probably didn't use the main road, we went off to look in the bush.James: Whatabout over there?Richard: No poachers. Tyre marks. It may be some poacher. Oh, no, wait. BF Goodriches. This is James May.Richard: Just so you know, this is stupid.Jeremy: What's stupid?Richard: How would yourecognise a poacher when you saw one? And when you find one, what are you gonna do? Shoot him. All we're doing on our journey is driving three beach buggies to the Angolan border. Yeah. Which doesn't further thecause of humanity.James: Exactly.Richard: And this does, does it? We've got a day, Hammond. Give us 24 hours. 24 hours. Then, I promise, we'll get back on the road.Jeremy: Once our sceptical colleague had agreed,I decided to change tack, abandon the cars and search from the air, using some beach-front parasailing equipment. Jeremy? Yes? If we don't make it, please know that I hate you. There's not a breath of wind, so don'tbe stupid. Oh, my parachute's been... Oh, hello!Richard: Goodbye.(JEREMY YELLS)Richard: sh1t!Richard: That's not worked at all.Jeremy: OK. Right, I'm not gonna do that.Clearly, my solution was too dangerous forus, so we sent Giovanni up instead.(FAINT YELLING)Look, he's going over there. He's gonna crash and die. No, he's been blown a bit sideways but- - And downwards.(YELLING CONTINUES)He didn't sign up for this, didhe?Jeremy: Giovanni failed to spot any poachers, so we told him to stop messing about and get back to camp to pour some drinks, whilst we had a rethink. Everything we've tried has gone wrong. So let's accept it nowand move on. We can go. No. I think the poachers only go out at night. Oh, for God's sake. We'll let the sun set, get some tactical kit. Rifles. Come on, Hammond. You gave us 24 hours before you took our guns andbadges.James: He did.Richard: OK. I think a couple more beers, head out there. I agree. Let it get dark. Be patient.Jeremy: Yes. Hunters are patient, aren't they? Exactly.Jeremy: Once darkness had fallen, we gotkitted out with tranquilizer guns and tactical kit and headed back into the bush with a very unsure Richard in tow. I mean, I'd like to stop poachers, but out here at night, what is the poacher-to-lion ratio? What am Imore likely to find?Jeremy: What you have to do is look for rhino tracks, cos that's what the poachers will be following. Literally the most manly thing I've ever done. (IN AMERICAN ACCENT) Grand Tour for men,splashing all over.(GUN FIRES)Richard: Ow!Jeremy: Bloody hell!Richard: You stupid bastards!Someone's shot me!Richard: Hammond? Hammond? Hammond?James: Clarkson, you moron.Jeremy: Hammond? Right,well, I have to be honest, yesterday was a total waste of time. We achieved nothing. All we did achieve was we seem to have wounded Mr Hammond, who er... well, we couldn't wake him up this morning at all. Andbecause we needed to get going, we've a long way to go, we've had to improvise.(HELICOPTER WHIRS)Aaargh! What the (BLEEP)? What the (BLEEP) is this? You bastards!(YELLS)Jeremy: Back on the ground, Jamesand I had our own problems.(RATTLING)Oh, God! Ow! Ow! This is very good for the gravel rash that I got... during my parachute accident yesterday. Oh, that hurts. What we could really do with is a rain shower todampen this dust down.James: I think it's unlikely. Yeah, there's no evidence that rain is on its way, I would say.Jeremy: Soon, word came over the radio that Hammond was on his way to rejoin us... and that he wasn'tin the best of moods. What was that? (GRUNTS) What was that about? We didn't want to leave you behind. You wouldn't wake up. No, obviously, you didn't want to leave me behind, so you did the logical thing, which issuspend me from a helicopter whilst asleep. Yes. Most people would arrive at the same conclusion. No, you didn't! You were having a laugh! Do you realise how rough the first road was that you haven't had to drive on?And you got a helicopter ride, which we haven't had. You wouldn't be laughing and sniggering so much if I'd fallen out of that thing, as I could have done. Well, it wouldn't be funny. No, it just wouldn't beinteresting.(JEREMY SNIGGERS)Jeremy: With the rhino fiasco behind us, we got back to the job in hand... which was to reach the Angolan border, and therefore prove that beach buggies are brilliant go-anywheremachines and not just frivolous toys.Today, however, that theory would be seriously tested. Oh, for God's sake!(GROANS)(GROANS) Ow! Ow! Ow! Ow! Ow! Ow! Ow! Christ on a bike! I hate to admit this, but I'm jealousof Hammond. I wish I'd fitted that suspension on my car. How is this car gonna stand up to this punishment all day? Well, since it had been designed by me and made from 40-year-old components, the answer wasdepressingly predictable. The alternator, as you can see, has come off its hinge. The bolt's supposed to go in there and it's just come off. And the bolt, well, that's somewhere back there, 100 miles. So, my alternator isnow held on with a screwdriver that I've hammered into place. And we're running well. Oh. I don't know what I'm gonna do about it, but I don't have a fan belt on there. I've got a problem. (SIGHS) Another five miles,another fan belt. I'm gonna need a pair of tights. And it wasn't just me. I've been through all of that, all of that, the ignition cut-out switch. I've got some weird gremlin.Jeremy: This road is just shaking these cars topieces.James: Naturally, Jeremy decided that the only way of keeping his car in one piece was to drive very quickly. My optimum speed is 2.800 rpm, that being my only dial, really. That way, I'm skipping over the topof the ridges. Unfortunately, at this speed, my V8 was emptying the petrol tank every 31 miles. And one of the items we'd forgotten to buy at the camping shop was a funnel. Right, wind's dropped. Here we go. Drink!(GROANS) This is completely safe. Some of the petrol is... Oh, my giddy aunt! The roads are getting worse. Even though the going was appalling... the beach buggies, amazingly, were, more or less, still in one piece.However, as the relentless pounding wore on, the same could not be said of James. Agh! Oh, my God! Honestly, my bones are going to shatter.(GROANS)I've had enough of this. What I'm doing is I'm trying to softenup the front suspension, and I'm gonna soften the tyres as well. I've done quite a bit under here. Now I'm going to let a bit of air out of the tyres.(AIR HISSES)James: This made a huge difference.(CLATTERINGCONTINUES)This is rubbish! Stop! But it didn't stop. It went on... and on. That day, I did 350 miles, and every single one of them was filled with pain, dust and misery. And that's why, the following morning, I came upwith a radical plan. Don't drive on the road, drive near it. I did a bit alongside the road. Admittedly only half a kilometre, but it was bliss by comparison. It was like driving on a freshly resurfaced Silverstone. We don'thave to stray miles from it. I agree, that would be foolish, cos we could just end up as skeletons. But, honestly, it's agony in mine. I've got neck ache, headache. I hate it. Right, I tell you what, Hammond. I tell you whyI like his idea. If it is smooth off-road, it's more comfortable for us. If it's hopeless out there, we can blame him. Fair enough.Jeremy: With that settled, we left the road and set out on Highway May. I'll give James onething, it is smoother than the road, but I am doing 3 mph. I mean, yeah, I like off-roading, I do, but... this isn't exactly quicker, is it?Jeremy: Sadly, a short while later, we didn't even have smooth going for us. Ow!(GROANS) Ow! Ow! Ow! Oh, spiffing. (GROANS) James, I hope you're happy with this. How bad must it have been for him if this is better? Oh, God al-bloody-mighty! What an idiot that man is! Yeah, this is a lot lessbumpy. Oh, Christ! Jesus! Is this better? Really? Stop moaning!(GRUNTS)Jeremy: Hammond, my entire throttle assembly has disintegrated.Richard: I can't see why. I'm sure this is all helping it.Jeremy: Perfectly allright on the road.Yeah, I don't know why more people don't drive their cars on the road. Stop blaming your failures on the scenery. Every bone in his crotch... that's what I'm gonna break. Every single one of them. Andthen, if it were at all possible, May Tours got even worse. Oh! Oh, God! The dust! Agh! What is this Star Trek special effect we've arrived in? Oh, my God! I am swimming through dust. I'm actually swimming in it. Oh,dear, oh, dear!James: We had driven into something called fesh fesh, a sand as fine as talcum powder. Oh, shite! And this had made Ali G even more cross.(REVVING)I can't see a bloody thing now. I've got to... I can'teven find James May to kill him.(GROANS)Jeremy: OK, the engine's boiling and I'm stuck.All my electrics have gone haywire My... It's still trying to turn the motor over. The battery's dead. Are you stuck, James? Er...(COUGHING FIT) (COUGHING) I think I'm stuck. Well done, James. Improved our lot no end. So the situation is... Hammond has broken his car, you're stuck, and mine's overheated. Are we going to say, James, thatyour idea was stupid? It was stupid.Jeremy: With even Sergeant Stubborn admitting defeat, it was time to throw in the towel. So we got ourselves sorted out, got a wash in the river and headed back to theroad.[SCENE_BREAK]There you go. Freshly ironed linen shirt with epaulettes that matches my beach buggy. Ironed by Giovanni. Despite everything, our beach buggies had covered 750 miles of our 1,000-mile journey,and we were now well into the tribal regions of northern Namibia... which is picture-book Africa. Well, this is all a bit too beautiful for words along here. Look at this. Tribal Namibia, I like it. Where we are now, it'sgenuinely... Well, what would you say, \"unspoiled\"? Yeah. People do live the lives they've led here for thousands of years. Oh, no! Oh, no! I'm dying! Annoyingly, the James May excursion had caused more damage thanI'd realised. Oh, now this is stuck on. Oh, bugger. Then, instead of the breakdown-recovery service, some topless ladies arrived...(SHRIEKING AND SINGING)Richard: Hello....which made knowing where to look a bitdifficult. Oh! Erm... Concentrate on the job, Richard. This is unusual. I mean, normally the AA would have done.(SINGING CONTINUES)Thank you! Very good.(SINGING CONTINUES)Oh, there's more.Jeremy: I, too, wasnursing wounds as a result of May Tours. I do seem to have lost...(ENGINE CHUGS)...one of my cylinders somehow. I'm driving a V7. Basically, this is now Spitty Spitty Bang Bang. So, at the lunch stop, Richard and I"}
+{"doc_id":"doc_71","qid":"","text":"THE TIME MEDDLERDENNIS SPOONER5:40pm - 6:05pm[SCENE_BREAK]1: INT. MONASTERY. MAIN HALL(STEVEN pulls the doors fully open.)STEVEN: We can get inside.(They crouch down and walk inside thesarcophagus.)[SCENE_BREAK]2: INT. MONK'S TARDIS. CONSOLE ROOM(They push open the doors and stand up straight as they find themselves in a familiar looking gleaming control room.)VICKI: (Totally amazed.)It's a TARDIS. The Monk's got a TARDIS!(STEVEN and VICKI walk towards the console which is similar to the DOCTOR'S but on a raised dais. They examine the controls.)[SCENE_BREAK]3: INT. MONASTERY.PASSAGEWAY(Sword still in his hand, the DOCTOR continues to interrogate the MONK.)DOCTOR: I repeat my question: Which fires and what are they for?MONK: All right then. They're a signal for King Hardrada andthe Viking fleet.DOCTOR: I see.MONK: They'll think it's a landing place. They'll come in unsuspecting! And then...DOCTOR: Well? Out with it!MONK: I'm going to destroy them!(The DOCTOR looksaghast.)[SCENE_BREAK]4: INT. MONK'S TARDIS. CONSOLE ROOM(VICKI runs her hands across the controls. Some feet away, STEVEN has found something of interest...)STEVEN: Hey, Vicki. Come and take a look atthis. He's...he's got a sort of fantastic private collection.(A small side room off the console room contains hundreds of pieces of art. Oil paintings hang off the walls, gilded statues clutter the floor area in betweenexpensive antique furniture.)VICKI: He's got something from every period and every place.(STEVEN spots something out of place in all these riches. He goes over to a box full of foot long futuristic rockets and kneelingdown, picks one up.)STEVEN: Hey, come and take a look at this.(He picks one up. VICKI has found a small notebook and she carries it in her hands as she walks over and crouches next to STEVEN.)STEVEN: It's likesome kind of neutron bomb, I think.VICKI: Pretty unpleasant looking things, whatever they are.(She reads the notebook.)STEVEN: Hey, do you know...these could be fired by that weapon we saw on the clifftop. Huh, Iwonder what he wants to do? Sink a ship?VICKI: He could sink a whole navy with that lot, I should think.STEVEN: Yes but the point is why would he want to?VICKI: Why has he done a lot of things? Listen tothis...STEVEN: Why? What have you got there?VICKI: A logbook. A sort of diary. Listen: \"Met Leonardo Da Vinci...\"STEVEN: Who?VICKI: Da Vinci - listen! \"Met Leonardo Da Vinci and discussed with him the principles ofpowered flight.\"STEVEN: What? Da Vinci lived in the...middle ages... I know he tried to build a...flying machine, a sort of aeroplane...VICKI: I know and according to this it was the Monk who put him up to it. And listento this: \"Put two hundred pounds in a London bank in 1968. Nipped forward two hundred years and collected a fortune in compound interest\"![SCENE_BREAK]5: INT. MONASTERY. PASSAGEWAYDOCTOR: So that's it!You're a time meddler! No wonder you wanted to get rid of me. And what are you trying to...get up to this time? Mmm?MONK: (Smiling.) I'm sure you'll approve Doctor.DOCTOR: Are you quite mad? You know as wellas I do the golden rule about space and time travelling - never, never interfere with the course of history.MONK: And who says so? Doctor, it's more fun my way! I can make things happen ahead of their time!DOCTOR:Is that so?MONK: Yes indeed. For instance, do you really believe the ancient Britons could have built Stonehenge - without the aid of my anti-gravitational lift?DOCTOR: And what mischief are you up to now?Mmm?MONK: Mischief? No, no. A master plan! A master plan to end all master plans!DOCTOR: Oh, is that so?MONK: The whole course of history changed in one single swoop.DOCTOR: By wiping out the Vikingfleet?MONK: Exactly, Doctor, exactly! Of course, obviously, I don't have to remind you that the main reason William the Conqueror won the Battle of Hastings, was because King Harold had to march to Stamford Bridgeand defeat the Vikings first.DOCTOR: So you plan to save him the journey? Hmm?MONK: That's right. Precisely! A fresh army, no desertions. Why King Harold will kick William back to Normandy before knows whathappened. It's quite a plan, eh?DOCTOR: (Gleefully.) Doh, yes! It's quite a plan! It's quite a plan, yes!(The DOCTOR paces round a column as the MONK smiles at his new \"ally\".)DOCTOR: I count myself a very fortunateperson indeed, to be here, in the time - (Suddenly angry.) to prevent this disgusting exhibition!(The smile disappears off the MONK'S face.)MONK: You haven't prevented it yet, Doctor.DOCTOR: Haven't I? Where is thismachine?MONK: I don't allow anybody in there?DOCTOR: (Holding the sword at the MONK'S face.) Where is it? Hmm?(The MONK pushes the sword to one side.)MONK: This way, Doctor.DOCTOR: Hmm!(The MONKleads the DOCTOR away.)[SCENE_BREAK]6: INT. MONASTERY. PASSAGEWAY OUTSIDE CELL(Holding the back of his head, SVEN staggers out of the DOCTOR'S former cell.)SVEN: Ulf? Ulf, where are you? Ulf?(Hestorms off to find his companion. ELDRED appears from around a column and wide-eyed, watches him go.)ELDRED: Vikings![SCENE_BREAK]7: INT. MONASTERY. PASSAGEWAY(SVEN finds ULF still bound and gagged.He undoes the gag.)ULF: Where've you been?SVEN: (Untying ULF'S hands.) The Monk tricked me into a cell...then knocked me out.ULF: Can't you even guard one old man?SVEN: You haven't done better yourself.Come on. We should get back to the forest.ULF: No, we'll stay here.SVEN: Here?ULF: Safer than being outside. Unless you prefer to meet the Saxons again.SVEN: They wouldn't take us so easily this time. Nor would webe hampered by the mead.ULF: Maybe not. But I'll choose the monks...and whatever treasure may be stored inside these walls.SVEN: (His eyes lighting up.) Treasure...![SCENE_BREAK]8: INT. MONASTERY. MAINHALL(Still at swordpoint, the MONK leads the DOCTOR into the main hall and towards the sarcophagus. The MONK looks uneasily at the sword.)MONK: Oh...(The DOCTOR laughs.)MONK: Well, here we are. that's mytime ship.DOCTOR: Oh, that's it eh? This horrible block of stone.MONK: This horrible block of stone, as you call it, is a perfect Saxon sarcophagus.DOCTOR: A Saxon what?MONK: Sarcophagus.DOCTOR: Yes...quiteso.MONK: And more in keeping with the period, I would say, than a modern police box? (Laughs.) What's the matter, Doctor? Can't you repair your camouflage unit?DOCTOR: Now, now, now, don't try and bamboozleme. It so happens that your \"machine\" fits into this monastery, but it's sheer luck.MONK: Luck? Luck? Oh no, there's no luck about it. I couldn't have picked a better place for my headquarters than this. A desertedmonastery right on the coast, gullible peasants who believe everything I say to them. Ha ha! No Doctor! No, I planned to materialise my ship right on this very spot, disguised as a sarcophagus and here it is!DOCTOR: Isee, and all this is part of your master plan? Hmm?MONK: Precisely!(The DOCTOR laughs.)MONK: There's nothing hit or miss about my machine.DOCTOR: Oh, isn't there now? Well, let's have a look at this greatwonder, hmm?(They walk round the sarcophagus.)DOCTOR: Yes, well, tell me, er, how does one exactly get into this, er, sarcophagus, hmm? (The MONK laughs.) Hammer and chisel?(The MONK'S laughs stops.)MONK:This way Doctor.(He ducks down to enter the door, then rises up again...)MONK: Oh, er, mind your head.(He ducks back down.)[SCENE_BREAK]9: INT. MONASTERY. ENTRANCE HALLWAY(ELDRED quietly makes hisway to the front door and pulls back the bolt. He opens the door and leaves.)[SCENE_BREAK]10: EXT. MONASTERY(Looking round and seeing that no one is near, ELDRED clutches his wounded shoulder and runsoff.)[SCENE_BREAK]11: INT. MONK'S TARDIS. CONSOLE ROOM(VICKI and STEVEN have found the scroll with the MONK'S ticklist on it.)STEVEN: ...Destroy Viking fleet, Norman landing, Battle of Hastings - Meet KingHarold? Well, it seems to tell the whole story.VICKI: Why Steven? Why is he planning to do it? What's his reason?DOCTOR: Ah, that's a very good point, my child, indeed, a very good point. I must ask him thatmyself!(The DOCTOR and the MONK have entered the TARDIS. VICKI runs over to the DOCTOR and joyfully hugs him.)VICKI: Doctor! You're safe!DOCTOR: Safe?STEVEN: Oh, are we glad to see you, Doctor.DOCTOR:Safe? Oh, my dear! Of course I'm safe. Good gracious me! I see you found the machine. (He passes STEVEN the sword.) Keep your eye on that, young man. I thought I'd told you to wait outside the TARDIS.VICKI: Oh,er, we...STEVEN: Yes...well, we, er...DOCTOR: (Looking at the console.) You know, all this is very surprising. That's a Mark 4!MONK: Yes, yes, indeed.VICKI: Is that later than yours, Doctor?DOCTOR: Hmm?VICKI:(Suddenly remembering.) Oh!...I forgot all about it.DOCTOR: (Examining the console.) Oh...forgot? Forgot what, child? Hmm?VICKI: Doctor...Doctor...DOCTOR: Hmm?VICKI: We haven't...got a time machine...anymore.DOCTOR: Haven't we now? Oh, I say! Well...well, I...I wonder what that's supposed to mean, hmm?VICKI: Well, you know...you know we left it on the beach.DOCTOR: Yes, I remember very well, yes. It sohappens that I was there at the time! My dear, I may appear a little half witted at times, but I...VICKI: (Trying to speak.) Doctor!DOCTOR: (Exasperated.) Oh!VICKI: The tide came in.DOCTOR: Oh is that all, mychild?STEVEN: Well, isn't that enough?DOCTOR: The water cannot affect the TARDIS. It won't wash away. It'll still be there when the tide goes down. Now stop fretting, my dear. (Turning to the MONK.) Well, I mustconfess, er, I do congratulate you. It's a splendid machine. Although I do note there's been quite a few changes?MONK: Oh, yes indeed, Doctor. In fact this one is fitted with the automatic drift control.DOCTOR: Oh, Isee, yes, of course. And, er, thereby you can suspend yourself in space with absolute safety.MONK: Precisely, Doctor. By the way, I tried to get into your police box but the door was locked. (Laughs.) What type's yours,Doctor?DOCTOR: (Curtly.) Mind your own business.(The MONK chuckles.)STEVEN: Look, I take it you both come from the same place, Doctor?DOCTOR: Yes, I regret that we do but I would say that I am fifty yearsearlier. (Turning back to the MONK.) Now when are you going to answer my questions, hmm?MONK: Which questions?DOCTOR: The reason for this deliberate destruction.MONK: I...I want to improve things.DOCTOR:Improve things! Hmm! Improve things, yes, that's good! Hmm hmm. Very good. (Snaps.) Improve what, for instance?MONK: (Almost to himself.) Well, for instance, Harold, King Harold - I know he'd be a good king.There wouldn't be all those wars in Europe, those...those claims over France went on for years and years. With peace the people'd be able to better themselves. With a few hints and tips from me...they'd be able tohave jet airliners by 1320! Shakespeare'd be able to put \"Hamlet\" on television...DOCTOR: He'd do what?MONK: The play \"Hamlet\" on television...DOCTOR: Oh, yes, quite so, yes, of course, I do know themedium!MONK: Yeah...STEVEN: We're you going to kill the Vikings?MONK: Yes...yes, I...I was. You see, if I didn't then King ...DOCTOR: What are we going to do with this fellow, hmm? What can we do with this man?He's utterly irresponsible. Hmm! (He paces round the console.) He wants to destroy...the whole pattern of world history. Hmm.(Whilst VICKI and STEVEN concentrate on the DOCTOR'S words, the MONK makes a run forthe door.)VICKI: Steven! Doctor!DOCTOR: Hmm?(They run after him out of the door.)DOCTOR: Oh, quick, quick![SCENE_BREAK]12: INT. MONASTERY. MAIN HALL(The MONK runs from the sarcophagus and straightinto the arms of SVEN and ULF.)MONK: Ah! Long live King Hardrada!(The DOCTOR, VICKI and STEVEN have come out of the MONK'S TARDIS. The little man points to them.)MONK: Those are your enemies, there!Quick![SCENE_BREAK]13: EXT. SAXON SETTLEMENT(A large group of noisy villagers have gathered outside WULNOTH'S hut. Sword in hand, WULNOTH addresses them, trying to convince them that they are in danger.EDITH stands by his side.)WULNOTH: The old man...the old man who journeyed here spoke of a Viking invasion descending on us!(The villagers look astonished and turn to each other with mutters of \"VikingInvasion?\".)WULNOTH: And the Monk asked us to light beacon fires on the clifftops.(The villagers all cry out. EDITH shouts over their clamour.)EDITH: The old man spoke the truth! He had no reason to lie.(There aremore cries.)WULNOTH: Fires on the clifftops would guide the ships in to land. Viking ships!(The crowd cries out again.)EDITH: We know and respect the monastery as a place of worship. But what of the Viking spy whopasses himself off as a monk?(The crowd cries out again. Suddenly, EDITH points.)EDITH: Look!(ELDRED staggers into the settlement. Various people say \"Eldred!\" in shock. The man himself is supported by WULNOTHand EDITH. HE is very weak.)ELDRED: The monastery...WULNOTH: What of it? What have you seen?ELDRED: Vikings...(The crowd repeat \"Vikings? in surprise\".)ELDRED: The Vikings...hiding there...(The crowd cryout.)EDITH: Is that enough? Do you need more proof?(The crowd cry \"No!\".)WULNOTH: Arm yourselves! We know how to treat the raiders!(The villagers run off to gather arms.)[SCENE_BREAK]14: INT. MONASTERY.PASSAGEWAY(SVEN and ULF are carrying the box of rockets through the monastery. The box is heavy and the two Vikings have to stop and rest.)MONK: Come along, come along, if we want to send signals to yourships, we mustn't delay like this, you know.ULF: What are these things?MONK: They are, er, they're charms, my son, to guide your ships to sheltered waters. (Laughs.) Come along.(The two Vikings look at each other,then pick the box back up and walk off with it.)MONK: I know you don't understand but, believe me, your ships will know they're there! (Laughs.).[SCENE_BREAK]15: INT. MONASTERY. MAIN HALL(His feet and handsbound, STEVEN hops down some steps at the back of the main hall and to the base of the sarcophagus where the DOCTOR and VICKI are sat - similarly bound. The DOCTOR seems to be asleep. STEVEN sits next toVICKI.)STEVEN: I can't find a sharp enough stone anywhere. Those Vikings sure know how to tie knots.VICKI: It looks as though that Monk's going to get away with it after all.STEVEN: Yes, but he can't, can he? Well, Idon't know much about history but I do know that William the Conqueror did win the Battle of Hastings.VICKI: Up 'til now he did. If the Monk changes it, I suppose...our memories will change as well.STEVEN: Whatabout the history books?VICKI: Mmm, that's all right. They're not written yet. They'll just write and print the new version.(STEVEN thinks about this.)STEVEN: But that means that...the exact minute...the exact secondthat he does it...every history book, every...well, the whole future of every year and time on Earth will change, just like that and nobody'll know that it has?VICKI: I suppose that's...what I'm trying to say.STEVEN: Well,there's more to this time travelling than meets the eye.(He looks over at the DOCTOR.)STEVEN: What's the matter with the Doctor? He's not gone to sleep has he?(VICKI shuffles over to him.)VICKI: Doctor, are youawake?(The DOCTOR'S eyes open. He is instantly alert.)DOCTOR: Wide awake, my dear. As a matter of fact, I was just turning over in my mind what we're going to do with this Monk fellow. He won't listen, he'sdetermined to have his own way. He's got to be stopped. He must be stopped![SCENE_BREAK]16: EXT. FOREST(WULNOTH, EDITH, ELDRED and the other villagers stealthily make their way through the forest towardsthe monastery. They are armed with staves and spears. They disturb some birds in the trees and pause to see if it has alerted any of their enemies who may be in hiding. After a second, WULNOTH moves themon.)[SCENE_BREAK]17: INT MONASTERY. ENTRANCE HALL(The MONK with ULF and SVEN arrive in the entrance hall with the box of rockets.)MONK: Come along, come along, yes, yes, they are rather heavy, aren'tthey, but they're a sort of special charm, you understand?ULF: And where are we taking them?MONK: To the clifftop. Now come along. I won't be stopped. Hurry - I'll open the door for you.(He does so.)MONK: There.Come.(ULF and SVEN carry the box outside.)[SCENE_BREAK]18: EXT. MONASTERY(They are immediately attacked by the Saxons. ULF and SVEN drop the box and run inside the monastery, pursued by thevillagers.)[SCENE_BREAK]19: INT. MONASTERY. ENTRANCE HALL(The MONK hides, unseen, behind the door as the pursued and the pursuers run past, all shouting. He thinks they have all come through the door and isabout to step out of hiding, but two more run in, making him dive for cover behind the door again. With a look of worry now that his plans are upset, he hitches up his habit runs outside themonastery.)[SCENE_BREAK]20: EXT. MONASTERY(He is not as safe as he hoped, as immediately behind him are the two Vikings followed by the roaring Saxons.)[SCENE_BREAK]21: INT. MONASTERY. MAINHALL(EDITH has found the three travellers and she is untying their bonds.)DOCTOR: Oh...ah...yes, thank you. Thank you indeed. Oh, it's a good thing for us that you decided to make a search, hmm?EDITH: Oh,without your help, we'd never have known the Monk was a Viking spy, would we?DOCTOR: Ah, yes, the Monk now - was he caught, hmm?EDITH: Now Wulnoth and the others will not let him escape nor the two Vikingsthat are with him.DOCTOR: Hmm, yes, yes, no doubt they'll catch up with him and, er , the rest of them. But, er, that Monk you know, still worries me. I think he's got some tricks left up his sleeve.EDITH: Hmm. Whereare you going to now?DOCTOR: Oh, we shall continue with our travels.EDITH: Oh you must come back to the village with us before you go...DOCTOR: Yes...EDITH: ...so we can bid you farewell.DOCTOR: Oh, yes,certainly, certainly, but we have one or two things to do here at the monastery first. But, er, we don't want to delay you, er, we'll follow on? Hmm?(EDITH picks up her spear and leaves.)DOCTOR: Ahh, what a charmingwoman! Hmm, charming! Well, now you two, come along, we've got a lot to do.STEVEN: Well, such as what?VICKI: Shall we go back to the TARDIS?DOCTOR: You know we can't do that, my child, not until we stop thistime meddler. Have either of you got a pencil and paper on you? Hmm?VICKI: No.STEVEN: No, 'fraid not.DOCTOR: Well now, be a good fellow and go into the machine and try and find one.STEVEN: (Stepping away.)Yes, OK Doc.DOCTOR: Hmm?STEVEN: (Stopping.) ...tor!(STEVEN steps behinds the sarcophagus.)VICKI: Who are you going to write to?DOCTOR: The Monk, of course, Hmm hmm! Who else?[SCENE_BREAK]22: EXT.FOREST(SVEN and ULF run into a clearing. They pause to gain their bearings, then run on. A second later, the MONK runs into the clearing. He sees the Vikings.)MONK: Here - this way.(They turn back.. The MONKpoints.)MONK: Behind that tree there, there's an old well. We can hide there, quick!(The Vikings run off to hide in the suggested place. The MONK runs off in another direction. The Vikings come back.)SVEN: There's nowell there...!ULF: Where's he gone?(The Villagers surround them and start stabbing them with their spears and staves...)[SCENE_BREAK]23: INT. MONK'S TARDIS. CONSOLE ROOM(The DOCTOR is now out of hismonks habit and back in his normal attire. He crouches underneath the console of the MONK'S TARDIS undoing a lead. He then gingerly pulls out a perspex electronic box. He puts his finger into the space in the consolepreviously occupied by the box and receives a small shock.)DOCTOR: Ooh! (Shouts.) Mr Taylor! Where are you with that string, dear boy?(STEVEN and VICKI run up.)STEVEN: Here you are Doctor. I foundsome.DOCTOR: Good gracious me, come along.(VICKI crouches under the console with the DOCTOR who starts tying the string round the lead which connects the perspex box to the console.)VICKI: What's that thingunder there, Doctor?DOCTOR: (Snaps.) Now keep your nose out, my child, never mind.(VICKI just looks closer.)DOCTOR: (Snaps again.) Did you hear what I said? Keep your nose away. Do you want to get a shock?This is a very dangerous business. Now keep still, all of you. Tie this in a knot.(The DOCTOR does so. He then stands.)DOCTOR: Now, the vibrations...ticklish...get back, get back!(Letting the perspex box danglecarefully from the underneath of the console, he backs towards the doors with the long length of string connected to the box in his hand. VICKI and STEVEN are behind.)DOCTOR: Now you two, go outside. I'll follow in a"}
+{"doc_id":"doc_72","qid":"","text":"Opening scene - Harbor school - Ryan and Seth are just arriving. Ryan is on his bike and Seth is riding his skateboardSeth: so Alex an I kissed, an you spent the whole night at the bus stop talking to LindsayRyan: Iknow somehow the double date worked out(Seth is now walking, and Ryan is pushing his bike)Seth: yeah, i'm proud'a you, so what's next for you two love birds huh, maybe chatting at the train station, whisperingsweet nothings at the (laughs) airport, Ryan i'm workin off the bus stop motif? Bro (puts his hand up for a 'hi five')Ryan: yeah I got it (Seth laughs) (unsure) I don't know what's next, i'm jus gonna take things slow, nopressureSeth: yeah? what about asking her to the big dance (points)(a big banner gets raised in front of them which blocks our view of them. the banner is blue and white with 'The SnO.C.' written in dark blue letters.on the far right corner is 'WINTER DANCE' in smaller writing)Ryan: oooh no, the winter danceSeth: yeah do it man listen i'm gonna take Alex so take Lindsay an then we can have the double date that we were supposeto haveRyan: (unsure) uh it jus seems a little soon, I mean what if she's had the weekend to think about it an just decides we should be lab partners, all we did was talkSeth: (closes his eyes) Ryan Atwood, are youscared of a girlRyan: no I just (shrugs) I might like her an...I don't know every time there's a big party to go to-Seth: something goes terribly arrayRyan: yyeeaahhSeth: yeah but usually to you (points) maybe this ismy year to shoulder that burdenRyan: (looks at Seth) you're not really the fist fighting type...Seth: well your not really the type to be scared of a girl (shakes his head) just ask her to the dance, it's the only way you'llknow how she feels(Ryan looks at the banner, then at Seth)Ryan: maybe ill jus go alone (unsure)(Seth looks at Ryan. Ryan looks at Seth then back towards the banner)CUT TO: Summer and Marissa in the halls, atSummer's locker.Summer: (off screen) Coop you cannot go aloneMarissa: why not (shrugs) it's just a school danceSummer: it is not just a school dance, it is the SnO.C. the one night where winter comes to Newportbeach (shuts her locker) and your first dance of the year as social chair(they are now walking away from the lockers. Zach moves next to Marissa)Zach: what happened to DJMarissa: oh I didn't ask him (Zach looks ather) my moms chairing the host committee, she'd (laughs) freakZach: your mom doesn't like himSummer: she doesn't know about it him (raises her eyebrows)Marissa: (looks at Summer but talks to Zach) it's not histype of thing anyway(Ryan and Seth walk over to them)Ryan: hey(Seth waves. Summer unenthusiastically waves back while Marissa is talking)Marissa: hey guys you still haven't bought your SnO.C tickets yet so can Iput you down for four?Ryan: yeah I don't know about thatSeth: ah you should take the misses(Zach looks at Seth, clearly not happy)Summer: hey Cohen you should invite that girl from Saturday night, yeah, oh god- Iforgot she totally pulled (Marissa is trying not to laugh) a Houdini on your ass (Zach closes his eyes, clearly not liking this side of Summer)Seth: oooh right, you must be talking about Lindsay not Alex the one I (clickshis fingers then makes a gun with his fingers) made out with (blows his finger like it's the tip of a gun)Summer: oh i'm sorry Alex my mistake, an here i'm feeling sorry for the wrong girlZach: I should probably get toclass (walks off)Summer: you know you just really should make sure she wears comfortable shoes so she doesn't twist her ankle when she's running awaySeth: yeah? like-like him (points to Zach walking out thedoor)Summer: uh (goes after Zach) (yells) Zach (runs between Ryan and Seth) waitSeth: (smiles) that worked out rather nicelyTheme Song - California by Phantom Planet Cohen kitchen - Sandy is on the phone tryingto get hold of CalebSandy: Caleb its me, I still haven't heard back from you about settin up another meeting with Renee Wheeler an her attourney (Kirsten comes in) (sighs) so do me a favor an call me back will ya(hangs up) (to Kirsten) how bout some eggsKirsten: (holding plans) you okSandy: yeah, how bout an omletteKirsten: I know i'm not spose'to ask about the caseSandy: honey even if I could talk about it, i'd have nothinto tell yaKirsten: my dads still not talkingSandy: w-what could he possibly have done that he'd rather go ta jail then admit to...unless...life with Julie Cooper is tougher then we thoughtKirsten: what're you gonnadoSandy: the only thing I can do, ask for a continuance...buy some time an...find out what he's hidingCUT TO: Harbor school - Ryan walks into a class room, and Lindsay is at a desk about to sit down. Ryan smiles thenwalks over to herRyan: (softly near her ear) hey, how you doinLindsay: (turns around) hi (smiles) uh good, i'm-i'm good um...I thought about what you said on the weekend an...you were so sweet...and sohonestRyan: i'm glad cause um...there's this danceLindsay: uh yeah um (Ryan has a huge smile on his face) actually I don't think so (Ryan's smile disappears) I mean I...would love...to go out with you but (Ryan looksat her, confused) we're lab partners, can you imagine...how awkward its gonna be if we break upRyan: (looks at Lindsay stunned) we haven't even gone out yetLindsay: it's already awkward, let's face it relationshipsalmost always end badly an this way...we can be friends for the rest of our livesRyan: ...so you just wanna be friendsLindsay: I think we should be(Ryan nods and walks away, disappointed. the lights go out in the classroom. Ryan looks over at Lindsay then takes his bag off and goes to sit down)CUT TO: Bell goes and we see kids coming out of class rooms. we hear a cell phone ring then see Marissa coming out of a classroom into thehallwayMarissa: (answers her phone) hello(we see DJ standing out in Harbor parking lot, the SnO.C. banner is in the background)DJ: hey is now a bad timeMarissa: (smiles) where are youDJ: i'm in the parking lot, doyou think you can get away for lunch (smiles)CUT TO: Marissa's bedroom at the mansion. - we see Marissa from about her waist up, fall back on her bedMarissa: I...really like our lunch breaks(we see DJ move into theshot, on top of her. he leans down and kisses her)DJ: (softly) so, what's the SnO.C.(they both laugh/smile)Marissa: it's just this dance (Marissa moves out from under DJ and leans on her elbow. he's sort of the same,their noses are almost touching) we never get snow here so we kind of have'ta make it (kisses DJ) ourselvesDJ: oooh, it sounds like fun (kisses Marissa's neck)Marissa: actually its very Harbor, you'd probably hateit(laughs)DJ: (stops kissing her neck) guess it's a good thing that no ones asked me thenMarissa: I would of...its just i'm kind of running it so I figuredDJ: you don't wanna be distracted by havin to...I don't know finallyintroduce me to your friendsMarissa: i'm sorry...but (shrugs) I figured id be so busy i'd be a bad date, if you-DJ: its cool (smiles) i'd rather be alone with you anywayMarissa: (smiles) well we could go out afterward, orwe could just stay in(Marissa kisses DJ and they go back to laying down, DJ moves on top of her. we hear a door shut and see Julie coming through the front door of the mansion, she walks in and picks up the mail. shebegins to flick through it then hears Marissa and DJ, I can make out Marissa saying 'that tickles, i'm serious'. - we then go back to Marissa's room and see them still making out heavily, Marissa moves so that DJ is nowunderneath, she's sort of leaning over him and undoing his shirt. once Marissa has it un done DJ sits up and Marissa lies back. Julie opens the door)Julie: Marissa...(Marissa gasps then sits up so she's next to DJ)Julie:(shocked) oh my god(Marissa sits up more and pulls her singlet down to cover her stomach/back)Julie: (frowns) the yard guyMarissa: m-momJulie: what're you doing home from schoolMarissa: i'm on my lunch break(moves off the bed) and now if you'll excuse me (picks up her things) I have'to get backDJ: I better get to workJulie: (to DJ) no you don't, your fired (points) (to Marissa) and you young lady, are groundedMarissa:(scoffs) like that's gonna keep me from seeing him, come on DJJulie: (to DJ as he walks passed) you stay away from my daughter you hear me(DJ looks at Julie then walks out. Julie glares at DJ)CUT TO: Newport group- Kirsten is talking to her secretary? Sandy comes inKirsten: oh thanks Michelle, did my dad call (takes messages)Michelle: no an i've tried him on his cell and at homeSandy: heyKirsten: hey (walks over to Sandy)how'd it go with the judgeSandy: well not only was my motion for a continuance denied, trials now ben fast tracked (Kirsten looks at him) we've got less then two weeks(now they are inside Kirsten's office. Sandy picksup her phone)Sandy: i'm callin Caleb again (dials)Kirsten: how could I of not see this comingSandy: oh honey come on, how could'ya havephone msg: your call has ben forwarded (Sandy hangs up)Kirsten: I've benworking with him side by side all this time, how could I of not known that he was bribing this woman from the city councilSandy: if that is what he was doing...?Kirsten: what'did she say at her depositionSandy: nothing(shrugs) her lawyer wouldn't let her answer any'a my questionsKirsten: ya can't talk to her without a lawyerSandy: well...I couldKirsten: that would be unethicalSandy: yeah, strictly speaking (Kirsten looks at him) butdesperate times... (Kirsten shakes her head) i'm just sayin if I happen to run into the womanKirsten: (worried) I don't want you getting yourself in trouble over thisSandy: oh honey (kisses Kirsten on the cheek) it's alittle late for that(Sandy leaves and Kirsten turns around and sighs, she looks worried)CUT TO: Harbor student lounge - Ryan is standing at the bench of the food/drink bit and Zach walks over to himZach: hey, Ryan,you know where I can buy my SnO.C. ticketsRyan: can't say I doZach: you're not goingRyan: uhhh noZach: no one to go with?Ryan: I had someone to go with, she jus...didn't...wanna go with me (frowns) uh what's upare you goin with SummerZach: definitely, its a given right...except of course for CohenRyan: ah I don't think he's askin SummerZach: I don't think...he has to, I mean even if he doesn't ask her somehow the nightsgonna end up about themRyan: ah I get that, believe me (raises his eyebrows) but uh I think it's really over, I mean Seth has a new girl nowZach: really (raises his eyebrows) so he's over SummerRyan: oh yeah,definitely (Zach nods) (not so confident) I think so...h-he wants to be...(Zach looks down)CUT TO: The Bait shop - a guy wheels some beer cartons in for Alex and in the background Seth comes inSeth: (sighs) helloAlex, how are we todayAlex: here finally, can you carry these to the storeroomSeth: the storeroom, sure, maybe you'd like ta show me where it is(Alex looks at Seth, and Seth winks at her sexily)Alex: alright, Cohen weneed to workSeth: ok, if by work you mean (coughs) make out uh-hmAlex: no, by work I mean workSeth: alright, no romance in the work place, that's fine I can respect that, but in that case Harbor schools annualSnO.C. balls comin up...wha'dya say, little dancing a little faux snowAlex: obviously you got the wrong idea Saturday night (shakes her head) because you an me it's... (laughs) not happening (walks away)Seth: ...ok,ok except you did kinda kiss meAlex: ah-huh (smiles) it was fun!Seth: (confused) it was fun...that's it, it didn't mean anything to youAlex: dude, it was just a kissSeth: ok then why didn't you just shake hands(Alexlooks at Seth then walks over to the beer guy and kisses him)Alex: thanks Homer, see ya ThursdayHomer: (smiles) thankyou(Homer walks away and Seth stands there stunned)Seth: ...you just kissed the beerguyAlex: so it is just a kiss, right Mandy(Alex turns and kisses Mandy, Seth stands behind them so we can see his face between theirs, Seth has his mouth open)Mandy: right (smiles, then walks off)Alex: so Saturdaynight was (shrugs) fun but...that's all (Seth nods, stunned) those...sodas aren't gonna carry themselves to the store room(Alex walks off and Seth frowns, still stunned by what just happened)CUT TO: Harbor parkinglot - Ryan and Seth pull up in the range roverSeth: d'you think its offensive ta say that like...all women are crazyRyan: probably to womenSeth: (frowns) it makes no sense man Alex kisses me an then she turns rightaround an she kisses HomerRyan: who's HomerSeth: (frowns) the beer guy, an he's not a looker either an then after that she turns right around and kisses MandyRyan: (frowns) Mandy's a girlSeth: yeahRyan:wowSeth: no, I couldn't even enjoy it so (emphasised) consumed was I with how crazy women areRyan: ugh believe me I know (gets out) I spent all night at a bus stop talking to Lindsay everything's great, next thing Iknow, she dumps me before we even go outSeth: crazyRyan: I knowSeth: I know (gets out) i'm tellin ya man, women are so freakin crazy I wouldn't be suprised if next time we see em, Alex is draggin me to thestoreroom an Lindsay's askin ya to the danceRyan: uh I don't think so (sighs)Seth: which part you an Lindsay or me an Alex gettin it on(we hear a car door slam, then see Marissa struggling to carry boxes and rolled upcardboard for the dance)Ryan: hey (Seth waves)Marissa: (smiles) heySeth: (walks over) how are you, you need a hand with somethinMarissa: sureSeth: alright (takes box from Marissa and passes it straight to Ryan{lol, typical Seth} Ryan be a gentleman, i've got class (walks off)Ryan: what'do you need me to grabMarissa: umm, in my car is a penguin {I have no idea how she managed to say that straight faced! lol)Ryan: (looksat Marissa) a penguin(the next thing we see is Ryan carrying a HUGE stuff penguin over his shoulder, the head is towards the camera, and the butt is behind him. he has to hold it with one hand cause he has thecardboard box under the other arm. you can tell he's struggling, lol. Marissa is walking next to him)Marissa: (sees) be careful!Ryan: oh don't worry, i'm fineMarissa: it's the penguin i'm worried about, he's veryexpensiveRyan: (out of breath) oh is he, well uh oh (the penguin tips forward and he starts to lose his grip on the box) oh oh ohMarissa: (panics) oh my god, no Ryan(Marissa takes the weight of the head so they areboth holding half. Ryan starts to muck around with Marissa, there is dialogue here, I think Ryan says (in a penguin voice) 'my legs went floppy my legs went floppy, then Marissa says 'that's not funny'. it's really nice tosee them laughing with each other. we see Lindsay on the stairs and she looks over at them. at this point Marissa has dropped the rolled up cardboard she was holding, and just has hold of the penguin. Seth standsnext to Lindsay who looks jealous)Seth: its not too late (points) you can still ask him to the SnO.C.(we see Ryan with the penguin held above his head, he's chasing Marissa with it. Marissa picks up one of the rolled upcardboards)Marissa: (laughing) you have no idea how hard it is to plan one of these events(Marissa whacks Ryan with the cardboard, Ryan smiles)Seth: Ryan? love's to danceLindsay: he's gonna think...i'm crazySeth:oh ho ho, he knows your a girl, he expects it (walks off)(Lindsay watches them more, we see Ryan running off with the penguin, and Marissa chasing him with the cardboard. we then go to a class room. Marissa andRyan walk in. it looks like Marissa is using it as 'SnO.C.' headquarters because there are decorations and things in there)Marissa: mm I have your tickets for the dance an no arguments ok, cause it's for charityRyan:(puts the box down) if I buy the thing do I have'to go i'm kinda dateless at the momentMarissa: yeah, me tooRyan: what about you an DJ, I thought you guys wereMarissa: we're hanging out but...it's a school dance anI think he'd feel weird about itRyan: hey it's my school, I feel weird about itMarissa: yeah me too an i'm the one throwing the thingRyan: guess you can't not go huhMarissa: I wish, both my parents are hosting (getsthe tickets out) hey you know what why don't we go together (Ryan looks at her) as friends of course but at least that way we wouldn't have'to be aloneRyan: uh that's trueMarissa: (smiles) great, so sevens good(Ryanpoints at her then leaves the room)CUT TO: Summer walking down the hall, Seth is standing near a locker and sees her, he thinks about going over to her and you can tell he's torn. Summer walks passed and he walksnext to herSeth: hello Summer, you look lovely today are those manolo'sSummer: what'do you need CohenSeth: well I need helpSummer: no argument hereSeth: see it turns out Ryan's good for some things ummmcomic books, bench pressing, engine repair but sometimes...a more feminine point of view is requiredSummer: you're asking me for girl adviceSeth: an I know its...really weird cause you know you an I are notanymore, the thing is Summer...truthfully you are the only person in my life that I... (closes his eyes) your right this is...really weird an bad, i'm sorry (walks away)Summer: no itsSeth: it's really its coolSummer: its ok,i'm listeningSeth: reallySummer: kind of (picks up a magazine)(they walk over to the couch and sit down)Summer: uh-hmSeth: ok, alright so you remember that girl from Saturday right, the one that I-Summer: youmade out with an were rubbing my nose in itSeth: so I thought y'know she likes me right so I asked her to the danceSummer: she said noSeth: right, an then she kissed two people...right infront'a me (raises hiseyebrows)Summer: damn, she's goodSeth: at what, besides kissing thoughSummer: well...she's playing you hot an cold and so far Cohen you've just ben hotSeth: SummerSummer: not that kinda hot, you need'a coolit down Cohen, you gotta go like...iceman on her ass, see how she likes itSeth: was that your first Xmen referenceSummer: topgun (smiles)Seth: topgunSummer: mm-hmmSeth: hey that's one of the greatest lovestory's of our time(we see Zach walk in, he looks over and sees Summer sitting with Seth, he's not happy. we see them close up, Seth says something about 'an F14 then Summer hits Seth on the head playfully withher magazine. Zach watches then turns away)CUT TO: Outside a law office, there is a sign but I couldn't make out the name - Renee Wheeler is walking towards her car, I assume her lawyer works there. just as Reneegets close to her car Sandy gets out of hisSandy: Ms. Wheeler (Renee turns around) Sandy Cohen, Caleb's attourneyRenee: Mr. Cohen you know I can't speak to you without my attourney presentSandy: with all duerespect Miss Wheeler ya didn't say a word to me when your attourney was presentRenee: I had nothing to say, i'm not the one on trial hereSandy: then why'd the DA indight you tooRenee: (looks at Sandy) ask mylawyer, your going to be hearing from him as well as the bar association, goodbye Mr. Co-Sandy: you're hidin somethin Ms. Wheeler we both know it, look whatever is goin on between you an CalebRenee: there isnothing going on between me an CalebSandy: oh ok well there was...wasn't there (Renee looks at him) so you had an affair so what its over, why not come forward...why risk both of ya goin to jail over-overnothingRenee: I have to go ill see you in court (gets in her car)(Sandy watches, helpless)CUT TO: Harbor classroom - Lindsay walks in, and over to Ryan who is already sitting at a table.Lindsay: (smiles) heyRyan:(indifferent) hey (writing in his school book)Lindsay: ...so iiiiv'e ben thinking aaannndd well (Ryan glances at her quickly) yes...I would love to go to the dance with youRyan: (suprised) you wouldLindsay: yesRyan:umm (frowns) i'm kinda goin with someone else nowLindsay: ohRyan: yeahLindsay: with Marissa...Ryan: (not looking at Lindsay) yeahLindsay: god, of course umRyan: but only because you said-Lindsay: no, no I knowan...I was right the first time (Ryan looks at her) really I don't...I don't even like dances soo (laughs) have fun(Lindsay starts her work, and Ryan goes back to his. Lindsay looks at him then looks back down, Ryan looksat her)CUT TO: Summer walking in the halls, she walks up to Zach who is at his lockerSummer: hey (touches Zach's back) missed you at lunchZach: yeah I was...in the library I had to finish a history paperSummer: uhlibrary god how can you work in there, it is like sooo quietZach: look I got world lit so I gotta go (walks away)Summer: well hey (Zach stops) um I was thinking maybe before the dance we could like go-Zach:yeah...about that (looks down) um...it turns out i'm not gonna be able to go (Summer nods, sad) I got family stuff, sorrySummer: ok well unless you're like grieving over the death of a family pet...we're going to theSnO.C.Zach: why don't you just ask Cohen...i'm sure he'd love to take ya(Summer doesn't know how to respond, Zach walks off. Summer sort of rolls her eyes then says ugh)CUT TO: The Bait shop - Seth comes in onthe top floor, Alex sees (shes also up top but over the side) and gets up to go over to himAlex: hey great your here, the floors need sweeping an mopping and I know how much you looovvveee cleaning the bathroom so"}
+{"doc_id":"doc_73","qid":"","text":"Rebekah (voiceover): My brothers and I are the first vampires in history, the Originals. Three hundred years ago, we called New Orleans home. Now, we've returned, drawn by a witch who seeks to use my brotherKlaus' unborn child as leverage in a brewing war. But his quest for power has turned brother against brother, leaving our family more divided than ever. Now that Elijah has returned, can our family unite to face thisnew threat?MIKAELSON MANSION[Klaus and Elijah sit opposite each other in the living room, both reading. Klaus is reading \"A Poison Tree\" by William Blake, and Elijah is reading one of his mother's grimoires. A deadgirl lays on the coffee table as they listen to classical music. After a moment, Rebekah enters]Rebekah: So, this is what you do the first time we're back together as a family? Vampire book club?Klaus: [continuesreading] Reading edifies the mind, sister. Isn't that right, Elijah?Elijah: Yes, that's quite right, Niklaus.Rebekah: And what's this business? [gestures to the dead girl on the table]Elijah: This is a...[gestures as thoughhe's searching for a word]...peace offering.Klaus: I presumed, after so much time desiccating in a coffin, that my big brother might be a bit peckish.Elijah: And I explained to my little brother, that forgiveness cannot bebought. I'd simply prefer to see a change in behavior that indicates contrition, and personal growth.[Klaus rolls his eyes guiltily, and Elijah gestures to the girl]Elijah: Not this nonsense.Klaus: Well, I couldn't very welllet her go to waste, could I? [grins]Rebekah: Well, I suppose I'll go fetch the rubbish bin, because she's staining a two hundred-year-old carpet.[Elijah looks up from his book to see the girl bleeding out onto the table,where the blood drips onto the floor]Elijah: Ah, yes.Klaus (voiceover): [recites \"A Poison Tree\" by William Blake]I was angry with my friend:[Klaus looks at Elijah]I told my wrath, my wrath did end. I was angry with myfoe:[Marcel walks into the Palace Royale Hotel, looking for Klaus]I told it not, my wrath did grow And I watered it in fears,[Cami brings flowers to her brother's grave, to find that someone spray painted \"MURDERER\"over the headstone]Night and morning with my tears; And I sunned it with smiles,[Father Kieran pulls wooden boards off the windows of the church, and waves to a group of men standing outside the door]And with softdeceitful wiles. And it grew both day and night,[Klaus looks at Elijah, and then to Hayley, who walks through the room, her hand on her pregnant belly]'Til it bore an apple bright. And my foe beheld it shine. And heknew that it was mine, And into my garden stole[Klaus watches Elijah set down the grimoire and follow Hayley into the kitchen]When the night had veiled the pole; In the morning glad I see My foe outstretched beneaththe tree.[In the kitchen, Elijah finds Hayley making herself breakfast, and rooting through the fridge. Elijah leans in the doorway]Elijah: [smiles] Good morning.Hayley: [smiles] Hey.[Rebekah enters through the backdoor, dragging a trashcan behind her]Hayley: Listen, I know I'm the only one in this house that actually drinks milk, but would it kill any of you to make sure it's on the grocery list?Rebekah: Speaking of, add bleach.[stomps through the kitchen and into the living room to clean up the mess]Elijah: [digs around in a cupboard as Hayley pulls ice cream out of the freezer] You know, I do hope my siblings were hospitable to you, in myabsence.Hayley: In your absence, as you like to call it, which is a way-too-polite way of saying that your brother put a dagger in your heart...[looks up to see Elijah bringing a bowl, a spoon, and a bag of cereal to thecounter] I have been attacked by French Quarter vampires, I've had to live in a house with a secret dungeon full of coffins, and I was nearly murdered by witches who are convinced my baby is Lucifer.[Elijah smilessympathetically as he pulls orange juice and milk out of the fridge, pours Hayley a bowl of cereal, and then fills it with milk]Hayley: [notices the milk] Oh...milk. [beat] They've been fine. Your siblings are weirdlyprotective, I know I have you to thank for that.Elijah: I'm just happy to see that you're in one piece. [smiles] So, back to the murderous witches. [hands her the bowl of cereal] I have some concerns.Hayley: They'reevil. And, my life is still magically linked to Sophie Deveraux, which is not comforting.Elijah: Yes, I think it's time we took care of that little problem.Rebekah: I am all for it. As soon as they're unlinked, we get to leavethis crap town. [drags the dead girl's body across the kitchen floor] Who do we have to kill?Elijah: [thinking] Probably no one.[Hayley looks at him questioningly]Elijah: Alright, potentially everyone. [turns toleave]TITLE AND OPENING CREDITSROUSSEAU'S[Sophie chops up vegetables and talks to Sabine, who is sitting on one of the tables]Sophie: [gestures to table and makes a face] I cook on that, you know!Sabine:Don't get cranky with me! I'm the only witch who still likes you.Sophie: [stirs gumbo] Yeah, it's not like I'm trying to save the witch heritage or anything. [turns to Sabine]Sabine: They'll come around. They're justold-school, and scared.Sophie: Scared of what? Your prophecy about the hybrid baby? Agnes and her freak-show minions had a real field day with that one.Sabine: I can't help what I see, Soph. [shakes head]Sophie:[smiles] Well, if you're psychic, I'm Martha Stewart! [walks toward table to grab some celery] Scootch![Sophie returns to her table, and Sabine hops down to join her. She sees a shadow in her peripheral vision and getssuspicious. Suddenly, two people in black masks come out]Sabine: What the...?[One of the masked people backhands Sabine across the face, and she as she falls, she hits her head on the table and falls unconsious.Sophie tries to fight the other two masked people off, but they blow some powder in her face that makes her pass out as well]MIKAELSON MANSION[Rebekah scrubs at the bloodstains in the carpet as Klaus continues toread \"A Poison Tree.\"]Rebekah: Poetry about poisoned apples from dead trees. Looks like someone's worried about impending daddyhood.Klaus: [shakes head] Nonsense. Elijah's back. In his presence, all problems turnto pixie-dust and float away![Rebekah side-eyes him and grins, and Klaus grins back. Elijah joins them in the living room]Elijah: Strange, I don't recall any pixie-dust from the darkness of the coffin I was recently forcedto endure.[Elijah opens Esther's grimoire and flips through it]Rebekah: What are you doing with Mother's spellbook?Elijah: Well, in exchange for my freedom, I promised the witch Davina that I would share a few pagesfrom Mother's grimoire. To help her learn to control her magic. I thought we'd begin with a little unlinking spell.[Rebekah and Klaus look at each other in confusion]Rebekah: [stunned] Wait, you want to use her tounlink Hayley from Sophie Deveraux?Elijah: Sophie brought us here under false pretenses! She doesn't just want us to take down Marcel and his minions, she wants to take Davina back. So, she yolked her own cause toours, with magic threats and half-truths! Well, no more. As of now, our deal with Sophie Deveraux is null and void.[Klaus and Rebekah grin]Elijah: Niklaus, I need you to come with me. I need five minutes alone withDavina, you need to make certain that I am not interrupted. [points to Rebekah and thinks for a moment] You stay here and watch Hayley.Rebekah: How did I get elected super-nanny?Klaus: More importantly, who puthim in charge? [follows Elijah out of the room]NIGHTWALKER BAR[Marcel sits alone, drinking a bottle of scotch, as various vampires around him feed on humans at the tables around him. Josh sees Marcel, andapproaches him]Josh: Hey. Is everything okay?[Marcel gives him a look]Josh: Uh, can I get you something?Marcel: Look, I know you want a daylight ring, kid. Little heads up? I got guys eighty years ahead of you.Josh:[nods nervously] Noted. Sorry.Marcel: [watches him walk away] Wait! You know Klaus Mikaelson. I asked you to give him a lift home a couple of times? To the Palace Royale Hotel, right?Josh: [stammers] Uhhh,yeah...the Palace Royale.Marcel: See, I stopped by his hotel, to say sorry about an argument we had. Turns out he lied about living there. Lied! Do you ever hear the phrase, \"Uneasy is the head that wears thecrown?\"Josh: Uhhh...Lord of the Rings?Marcel: No, Shakespeare. When I was a kid, Klaus taught me how to read with those plays. All about a king who gained the world, but lost his soul. But now, I get it! You see,when it's all said and done, and you look around at the empire you built, the only thing that matters is who you can trust!Josh: There's gotta be somebody, somewhere that you can trust? \"To stick to you, through thickand thin, to the bitter end.\" Sam and Frodo, The Fellowship of the Ring. [shrugs]Marcel: [nods slowly] Yeah, there is someone. We used to be best friends. [pats Josh on the arm as he leaves]DAVINA'S ATTICROOMDavina is sketching with charcoal on her easel when Elijah arrives and leans against the doorway and knocks on the door. Davina smiles]Elijah: [holds up pages of grimoire in a cloth] I made you apromise.Davina: [smiles] Come in!ST. ANN'S CATHOLIC CHURCH[Cami sits in the confession room with Father Kieran]Cami: Forgive me, Father, for I have sinned. It's been...oh, a year, since I've had a goodconversation with you.Kieran: Camille.Cami: You've been avoiding me, Uncle K.Kieran: My favorite niece? Never!Cami: Don't lie. This is a church! [beat] Besides, I came about professional advice. [beat] AboutSean.DAVINA'S ATTIC ROOM[Davina spreads a page of Esther's grimoire on her table]Davina: It's a spell of unknotting?Elijah: This is a sanguinum knot. The witches use it as representational magic. If you can unknotthis using that spell, you will have taken a step towards learning control. This is one of my mother's later spells. It requires much more power than you realize. Now, if you can perform this, then I shall return withanother page. [walks toward the door, then turns back to her] A spell of your choosing, next time. [smiles, then leaves]ST. ANN'S CATHOLIC CHURCH[Cami and Father Kieran are still in the confessional]Cami: I guesssince I'm a masochist, I went by Sean's grave today and--Kieran: Damn it, I was hoping to get that cleaned up before you saw it. I hope it didn't upset you too much.Cami: It didn't bother me at all. That's the problem.That's why I'm here. I slept like a baby every night this week. Even though my brother hacked nine priests to death, not two feet from this confessional. [beat] A guy I've been seeing, Marcel, has been blowing me off.Whatever, I've been on two dates with the guy, and I'm more upset about THAT than seeing \"MURDERER\" scrawled across my brother's grave.Kieran: [hesitates] It's called healing, Cami.Cami: For months, after themassacre, I couldn't think of anything else. And then suddenly...nothing. I need to feel that pain! Without it, I feel...broken! Empty! Like, there's someone to blame...and...I'm letting them get away with it.Kieran:Listen, if you have found a way to turn it off, don't question it! The only person that is responsible for Sean's behavior is...Sean.Cami: Do you really believe that?Kieran: Yes. I do.[Cami stares at her uncle through thescreen for a moment, before she gets up and walks out of the church. Kieran sighs. Up in the balcony, Klaus watches Cami leave, and frowns]LAFAYETTE CEMETERY MAUSOLEUM[Sophie is awake now, and strugglingagainst the grips of the masked people who knocked her out. The masked people shackle Sophie to chains hanging from the ceiling]Sophie: Let go of me![Agnes enters with a bag and sets it on a table]Agnes: Leave herbe.Sophie: Killing me to get to Klaus, or his baby is not the answer!Agnes: [roots through her bag] I'm not gonna kill you Sophie, I was there the day you were born. I am the last remaining Elder of our coven. It is myduty to protect our power, and our power means nothing if that baby grows another day. [turns to face Sophie] Sabine's omen was clear. That baby will bring death to us all.Sophie: [scared] What are you gonnado?[Agnes holds up a large, old-looking metal syringe with a long needle]Sophie: [terrified] No, no, Agnes, no. No, no, don't![Agnes holds Sophie's head down and stabs the needle into her neck]MIKAELSONMANSION[In her bedroom, Hayley yells in pain as she grasps her neck. When she pulls her hand away, she notices blood on her fingers. Rebekah hears her shout, and walks in]Hayley: AHH!Rebekah: What the hell wasthat?Hayley: Hell if I know, it felt like I was being stabbed.[Hayley and Rebekah get a dawning realization that something bad is happening]ROUSSEAU'S[Elijah and Klaus find Sabine on the floor of the kitchen and Elijahhelps her up]Elijah: [gruffly] What happened?Sabine: It was Agnes. [rubs head as she looks around] Her men took Sophie.Klaus: Day one with you in charge, brother, and already the witch linked to Hayley has beenabducted by zealots.Elijah: [to Sabine] Where is she?Sabine: If I tell you where Agnes is, you'll just kill her.Klaus: Isn't that obvious?Sabine: Look, I know she's a little...coo-coo, but she's our last living Elder. Thatmight not mean a lot to you, but it means plenty to us. The Elders are the one ones who can do important spells.Elijah: Like completing the Harvest ritual?Sabine: [confused] You know about that?Elijah: Oh, you'd beastounded by the things I know.Klaus: [to Sabine] Allow me to entertain you with today's list of priorities. One, unlink your friend Sophie so she no longer controls the fate of the woman carrying my child. Two, convincemy brother to accept my heartfelt apologies for some recently dodgy behavior. Three...there is no three.Elijah: I believe what my brother is attempting to communicate, here, is that neither the life of this Elder, nor theHarvest ritual, nor your coven's connection to magic are of any relevance to him, whatsoever. [beat] Now talk.THE GARDEN[Marcel walks through the gate to the Garden, and approaches Thierry's \"cell\" amid the groansof pain of the other \"inmates.\"]Marcel: Thierry.Thierry: [weak and groggy] Marcel. Come to punish me again?Marcel: Someone asked if there was anyone I ever trusted. I only came up with one name. You. So, Thierry,you and I are gonna have a little talk about Klaus Mikaelson. [grabs a sledgehammer and starts to break down the wall of bricks surrounding Thierry]MIKAELSON MANSION[Rebekah enters a room where Hayley issitting in an armchair]Rebekah: Time for the demon spawn to snack!Hayley: I really wish you wouldn't call her that.Rebekah: Oh, sorry, have you picked another name yet? [holds out basket of fruit] Take one, theplantation's lousy with them.[Hayley chooses an apple and grasps it in her hand]Hayley: I feel fine...which is weird. I'm sure it's Sophie-related.Rebekah: Then, do me a favor, and don't die on my watch! I'll never hearthe end of it.Hayley: You know, when I first met you, I thought you were a real bitch.Rebekah: [smiles] What changed your mind?Hayley: Oh, I still think you're a bitch! [smiles] I've just grown to like that aboutyou.Rebekah: [chuckles] Aw, well, that's sweet of you to say. [face turns serious] Remember it when I'm gone.Hayley: Gone? Where are you going?Rebekah: I only came to town to make sure everything was okay withElijah. He's fine, and he hasn't punished Klaus for daggering him, so...as usual, they'll be thick as thieves, and I'll be left to clean up the mess. [beat] It's time for me to fly the coop.Hayley: Oh...[goes to bite the apple,but then starts to feel woozy]Rebekah: [frowns] What's wrong?Hayley: [shakes head] I dunno, probably morning sickness...Rebekah: [places hand on Hayley's forehead] Oh, you're burning up, actually.LAFAYETTECEMETERY[Klaus and Elijah have found Sophie, and they break Sophie free from her chains]Sophie: [groans in pain as shackles break] Agnes stuck me with a needle. Cursed objects were created a long time ago. Weuse them so we don't get busted by Marcel for doing magic. The one she used is called the Needle of Sorrows. It was cursed in 1860 when...Klaus: Jump ahead a few decades and tell us what it does, love?Sophie: It hasonly one purpose: to kill a child in utero by raising her blood temperature.[Klaus and Elijah are both stunned and furious]Elijah: It's for a miscarriage.[Sophie nods]Elijah: So, how much time do we have to fixthis?Sophie: It will do what it's meant to by tonight's high tide. And believe me, it will work. I saw her use a similar object on a kid who went mad and killed a bunch of priests.Klaus: I'd like to have a chat with thisAgnes. Where can I find her?Sophie: You won't! There are a thousand places she could hole up to wait it out.Elijah: That's precisely why we need to unlink you from Hayley. No more danger toward her or thechild.Sophie: [shakes head in confusion] No, what? If I am not linked to Hayley, I lose my leverage on you. We had a deal!Elijah: We are not on the same side, Sophie Deveraux. Our deal no longer stands![Sophie isoutraged][SCENE_BREAK]THE GARDEN[Marcel hands Thierry, who is sitting on a step, a canteen of blood, and sits down beside him]Thierry: Does this mean you're pardoning me?Marcel: Aw, you know I can't do that.You broke my number one rule, you killed a vampire, T. I let that go, it'll make me look weak.Thierry: [chugs blood] I warned you about Klaus.Marcel: Yeah, I should've listened. This guy's been in my town for months,but hiding where he lays his head at night. What else is he hiding, is what I want to know! I didn't listen to you before, but I sure as hell am now. Tell me what happened the night that got you put in here, and youmight find yourself out by Mardi Gras.Thierry: The night of the Masquerade Party, you sent us rousting in the Cauldron to mess with the witches. So, when Max came in rousting, he went straight for Katie's throat. Now,you said to roust, you didn't say to kill. Now, he's a nightwalker. I'm a daywalker. I told him to stop, and he wouldn't. So I stopped him. That night's on endless loop in my head. I think Max was compelled.Marcel: No.All my guys are on vervain.Thierry: Not if Klaus drained him! Max went missing for a couple days before the rousting, right?Marcel: T, they found stuff you and your girl stole from me in her shop.Thierry: Have you everbeen in the Jardin Gris? You can't find your own hand in front of your face in there! And yet somehow, someone went in there, and after a couple minutes, found some stolen goods?[Marcel wipes at his face anxiously,but he is obviously considering Thierry's words]Thierry: Go there! See for yourself! But I'm telling you, besides Max, somebody else in the crew had to be compelled. Watch your back. [takes another swig from thecanteen]ST. ANN'S CATHOLIC CHURCH[Father Kieran has put up a \"Substance Abuse Anonymous\" sign in order to meet with some city officials]Mayor: So, a few tourists go missing. Okay, we can spin it, no problem.But do you know how hard it is to sell a gas leak story to the city council when a bunch of church windows magically explode?Father Kieran: Mr. Mayor, what is this, an electoral debate? Marcel overstepped, I will handleit.[Klaus enters through front doors]Klaus: Easier said than done. Marcel is quite the little warrior.[Police officer tries to stop him, but Klaus breaks his fingers]Mayor: Who the hell are you?Klaus: My name is Klaus. Andyou lot are the Faction. Pillars of the community who maintain the city's supernatural balance. Well, I should know. I created this group. Only, in my day, it was a bunch of pirates and corrupt politicians. [looks aroundat all the men] Looks like nothing's changed.Kieran: One thing has: it's exclusively human now. No vampires allowed, especially no Originals.Klaus: [laughs] I haven't come to join! I've come to ask this group to utilizeit's considerable resources to find a witch Elder called Agnes. All I need is an address.Kieran: And, uh, why would we want to help you?Klaus: What if I told you that Agnes was the answer to a question you've beenasking since you ran screaming from this town? That she is the witch who hexed your nephew, Sean?Kieran: We'd need some time to discuss--Klaus: I DON'T. HAVE. TIME.[Kieran chuckles]Klaus: Nor do I like beingasked to wait.Kieran: You may have all the vampires in this town cowering in fear, but right now, you are dealing with the humans. And unless you plan on killing all of us, I politely suggest you do as I say, and give ustime to discuss it. [gestures widely to the other men in the room]Klaus: [leans in and lowers voice] You know what I like about you, Father? Is you're aware of our reputation, and yet still, you stand tall against me.[beat] Admirable! You have one hour. [turns to leave]Kieran: [speaks once Klaus is gone] I want that witch. Cell phone records, our guys in the 9th.Mayor: For the vampire?Kieran: [sighs] No. For me.DAVINA'S ATTICROOM[Davina continues to work on the unlinking spell Elijah gave her. She holds her hands over the knot and reads from the page]Davina: Phesmatos omnio legares coldate sangorium.[Davina stares at the knot, which"}
+{"doc_id":"doc_74","qid":"","text":"Scene: A corridor at the University.Leonard: On the other hand, some physicists are concerned that if the super collider actually works, it will create a black hole and swallow up the Earth ending life as we know it.Raj:Psh, what a bunch of crybabies. No guts, no glory man. Leonard (looking at an orange notice on the noticeboard): Hey, check it out, the school of pharmacology is looking for volunteers.Raj: We are testing a newmedication for social anxiety, panic attacks, agoraphobia and obsessive compulsive disorder. Why would they be looking for test subjects here?Leonard: I don't know, Raj. Maybe the comic book store doesn't have abulletin board. (Sees crowds in the corridor) What's going on?Howard: Shhh! Hot girl in Sheldon's office.Leonard: Sheldon's office? Is she lost?Howard: Don't think so. I followed her here from the parking lot.Leonard:Maybe she's his lawyer.Howard: Well she's free to examine my briefs.Leonard: Howard...Howard: I know, I'm disgusting, I should be punished. By her, oh look, I did it again.Girl: Well, that should do it.Sheldon: Thankyou for coming by. (He rises from his desk. Everyone rushes to look nonchalant.) Hello.Leonard: Oh, hey buddy.Sheldon: Buddy.Howard: Sorry I'm late, I'm working on a project that may take me up on the next spaceshuttle.Sheldon: How can you be late, I wasn't expecting you at all.Howard: Nobody ever expects me, sometimes you just look and... BAM! (shakes girl's hand) Howard Wolowitz.Leonard: Sheldon, are you going tointroduce us?Sheldon: Oh, alright, this is Missy, Missy this is Leonard and Rajesh and you've already met Howard.Missy: It's nice to meet you.Leonard: You too, swell, also.Howard: Yeah.Leonard: So, how do you twoknow each other.Missy: Oh, he once spent nine months with my legs wrapped around his head.Leonard: Excuse me?Sheldon: She's my twin sister, she thinks she's funny but frankly I've never been able to see it.Missy:It's because you have no measurable sense of humour, Shelly.Sheldon: How exactly would one measure a sense of humour? A humourmometer?Howard: Well, I think you're delightfully droll. Or as the French say, TresDrole.Missy: Okay, so let me see if I got this. Leonard, Howard and... I'm sorry what was your name again. (Raj looks uncomfortable, turns and walks away, disappears round corner. He then reappears, takes theorange paper from the noticeboard and leaves again.)Sheldon: Rajesh. Credits sequenceScene: The same.Leonard: So Missy, what brings you all the way from Texas?Howard: Was it perhaps destiny, I think it wasdestiny.Missy: My friend's getting married in Disneyland tomorrow night.Howard: Destiny, thy name is Anaheim.Missy: And I had to drop off some papers for Shelly to sign for my dad's estate.Sheldon: The papers couldhave been mailed, Mom just sent you here to spy on me, didn't she.Missy: I guess that's why they call you a genius.Sheldon: They call me a genius because I'm a genius. Tell Mom that I currently weigh 165 pounds,and that I'm having regular bowel movements. Enjoy the wedding, goodbye.Leonard and Howard together: Woah, woah.Leonard: If the wedding's not until tomorrow, why don't you stay with us tonight?Missy: Oh, Idon't think so. Shelly doesn't like company. Even as a little boy he'd send his imaginary friends home at the end of the day.Sheldon: They were not friends, they were imaginary colleagues.Leonard: Look, you're here,we have plenty of room.Sheldon: No we don't.Howard: Come on, Shelly, she's family.Sheldon: So what? I don't issue invitations to your mother.Missy: Well it would be nice not to have to drive out to Anaheim in rushhour.Sheldon: And don't ever call me Shelly.Leonard: So it's settled. You'll stay with us.Howard: I'll walk you to your car. You're in structure 3 level C, right?Sheldon: What just happened?Scene: The apartment.Missy:So anyway, we're eight years old, and Sheldon converts my easy-bake oven to some kind of high-powered furnace.Leonard: Hee-hee, just classic.Sheldon: I needed a place to fire ceramic semi-conductor substrates forhome-made integrated circuits.Missy: He was trying to build some kind of armed robot to keep me out of his room.Sheldon: Made necessary by her insistence on going into my room.Missy: Anyway, I go to make thoselittle corn muffins they give you, there's a big flash, next thing you know my eyebrows are gone.Howard: Ha-ha, not your eyebrows?Missy: Yep. I had to go through the entire second grade with crooked eyebrows myMom drew on.Sheldon: Is that what that was? I just assumed that the second grade curriculum had rendered you quizzical. Penny (knocking and entering, holding up a pair of superman undershorts.): Hey, Leonard,you left your underwear in the dryer downstairs.Leonard: Those are not mine.Penny: Really, they have your little name label in them.Leonard: Yeah, no, I do, I use those... uh... just to polish up my... spear-fishingequipment. I spear fish. When I'm not crossbow hunting, I spear fish. Uh, Penny, this is Sheldon's twin sister, Missy. Missy, this is our neighbour Penny.Missy: Hi.Penny: Wow, you don't look that much alike.Howard:Can I get a hallelujah.Sheldon: Fraternal twins come from two separate eggs, they are no more alike than any other siblings.Howard: Hallelujah.Raj (running in): Hey, guess what. I've been accepted as a test subjectfor a new miracle drug to overcome pathological shyness.Penny: Hey, good for you, Raj.Raj: Yes, I'm very hopeful. Hello Missy. (He waves his hand. It keeps waving.) They mentioned there may be side effects.Scene:The same, later.Raj: So, Missy. Have you ever met a man from the exotic subcontinent of India?Missy: Well, there's Dr Patel at our church.Raj: Ah yes, Dr Patel, good man.Howard: Do you like motorcycles, 'cos I ride ahog.Raj: A hog? You have a two cylinder scooter with a basket on the front.Howard: You still have to wear a helmet.Raj: Have you ever heard of the Kama Sutra?Missy: The s*x book?Raj: The Indian s*x book. In otherwords if you wonder wonder who wrote the book of love, it was us.Penny (to Leonard): Hey, Sheldon's sister's pretty cute, I w....Leonard: I wasn't staring!Penny: I didn't say you were, I just said she was cute.Leonard:Oh. Huh, um, maybe, if you like women who are tall... and perfect.Penny: Sheldon, why are you ignoring your sister?Sheldon: I'm not ignoring my sister. I'm ignoring all of you.Leonard: I brought snacks.Missy: Oh my!Gherkins and....Leonard: Onion dip, it's onion dip.Missy: Oh.Leonard: We don't entertain much.Raj: Missy, do you enjoy pajamas?Missy: I guess.Raj: We Indians invented them. You're welcome.Howard: Yeah, well mypeople invented circumcision. You're welcome!Penny: Missy, I'm going to go get my nails done. Do you want to come?Missy: God yes. Thanks.Penny: You're welcome.Missy: Bye guys.Howard: Bye Missy.Leonard: ByeMissy, see you.Penny: Goodbye Leonard!Leonard: Uh, yeah, no, uh, bye Penny.Howard: Okay, you two have to back off.Raj: Why should I back off, you back off dude.Leonard: Excuse me, this is my apartment andshe's my roommate's sister.Howard: So what, you've already got Penny.Leonard: How do I have Penny? In what universe do I have Penny?Howard: So I can have Penny?Leonard: Hell, no!Sheldon: Excuse me, can Iinterject something. I'm ordering pizza online, is everyone okay with pepperoni?Leonard: Sheldon, can I talk to you in private?Sheldon: I guess. Don't worry, I was going to order you cheeseless.Leonard: Thankyou.Sheldon: That's okay. Lactose intolerance is nothing to be embarrassed about.Howard: I'm a fancy Indian man, we invented pajamas!Raj: Hey, look at me, I don't have a foreskin.Scene: Sheldon'sbedroom.Leonard: Sheldon, are you aware that your sister is an incredibly attractive woman?Sheldon: Hmmm? She certainly has the symmetry and low body fat that western culture deems desirable. It's noteworththat at other points in history, heavier women were the standard for beauty because their girth suggested affluence.Leonard: That's fascinating, but I...Sheldon: I didn't say it was fascinating, I said it wasnoteworthy.Leonard: Alright, noted. But my point is that Koothrappali and Wolowitz... they're hitting on your sister.Sheldon: Oh. Okay. You know, I don't want to criticise your rhetorical style but, we'd be a lot furtheralong in this conversation if you'd begun with that thought.Leonard: That's great, but I....Sheldon: What I'm saying is that we took quite an unnecessary detour from what I now understand to be your thesis.Leonard:Whatever. You have to do something about it.Sheldon: Why?Leonard: Because she's your sister.Sheldon: I don't understand. Yes, we shared a uterus for nine months, but since then we've pretty much gone our ownseparate ways.Leonard: Okay, uh.... oh, consider this. With your father gone, it is your responsibility to make sure that Missy chooses a suitable mate.Sheldon: I hadn't considered that. We do share DNA.Leonard:Uh-huh.Sheldon: So there is the possibility, however remote, that resting in her loins is the potential for another individual as remarkable as myself.Leonard: Exactly. And, you owe it to yourself and to posterity toprotect the genetic integrity of your sister's future offspring.Sheldon: You're right. If someone wants to get at Missy's fallopian tubes, they'll have to go through me.[SCENE_BREAK]Scene: The living room. Raj andHoward are on the floor, fighting.Raj: I am Shiva the destroyer, I will have the woman!Howard: I'm warning you, I was judo champion at math camp.Sheldon: Alright, that's enough juvenile squabbling, stop it, stop it Isay. I'm going to settle this right now. Neither of you are good enough for my sister.Howard: Who are you to decide that?Leonard: He's the man of his family, you have to respect his wishes.Sheldon: You're out too, bythe way.Leonard: Say what?Sheldon: It's nothing personal, I'd just prefer if my future niece or nephew didn't become flatulent every time they eat an Eskimo pie. Howard (to Raj, who is smiling): What are you sohappy about?Raj: I'm not happy, it's the medication, I can't stop smiling. (Waves hand at mouth. It keeps waving.)Sheldon: Now that Leonard's made me aware of how high the genetic stakes are, we have to face thefact that none of you are suitable mates for my sister.Howard: Wait a minute. Leonard made you aware of that?Leonard: We all make mistakes, let's move on.Raj: Excuse me, but I think you're missing a bigopportunity here.Sheldon: How so?Raj: Everybody knows genetic diversity produces the strongest offspring. Why not put a little mocha in the family latte.Sheldon: In principle you have a point, but as a practicalmatter, need I remind you that it takes experimental pharmaceuticals to simply enable you to speak to the opposite s*x.Raj (waving finger at him): I think you're focussing entirely too much on the drugs. (Finger keepswaving. Leonard has to reach out and stop it.)Howard: Is it 'cause I'm Jewish, 'cause I'd kill my Rabbi with a porkchop to be with your sister.Sheldon: This has nothing to do with religion. This has to do with the fact thatyou're a tiny, tiny man who still lives with his mother.Leonard: Sheldon, you are really being unreasonable.Sheldon: Am I? Here. Eat this cheese without farting and you can sleep with my sister.Missy (who has justentered): Oh really?Sheldon: Oops.Missy: Shelly, can I speak to you for a minute? Alone?Sheldon: Why does everyone suddenly want to talk to me alone? Usually nobody wants to be alone with me. Leonard (to Pennywho is standing next to him grinning): We all make mistakes, let's move on.Scene: Sheldon's bedroom.Missy: Okay. I'm not even going to ask why you're pimping me out for cheese. But since when do you care at allabout who I sleep with?Sheldon: Truthfully, I've never given it any thought, but it has been pointed out to me that you carry DNA of great potential.Missy: What on earth are you talking about?Sheldon: Let me explain.You see, I'm a superior genetic mutation, an improvement on the existing mediocre stock.Missy: And what do you mean, mediocre stock?Sheldon: That would be you. But residing within you is the potential for anotherme. Perhaps even taller, smarter and less prone to freckling, a Sheldon 2.0 if you will.Missy: Sheldon 2.0?Sheldon: Exactly. Now, I am not saying that I should be the sole decider of who you mate with. If you're notattracted to the suitor then the likelihood of conception would be reduced.Missy: You have got to be kidding me!Sheldon: Not at all. Frequent coitus dramatically increases the odds of fertiliziation.Missy: Okay Shelly, sitdown. Now I've lived my whole life dealing with the fact that my twin brother is, as Mom puts it, one of God's special little people.Sheldon: I always thought I was more like a cuckoo bird. You know, a superior creaturewhose egg is placed in the nest of ordinary birds. Of course the newly hatched cuckoo eats all the food, leaving the ordinary siblings to starve to death. Luckily for you, that's where the metaphor ended.Missy: I thoughtit ended at cuckoo. Now you listen to me, if you want to start acting like a brother who cares about me, then terrific. Bring it on. But you try one time to tell me who I should be sleeping with, and you and I are going togo round and round the way we did when we were little. Remember? (Sheldon hurriedly crosses his legs.)Sheldon: I have an alternate proposal.Missy: Go on.Sheldon: You donate eggs. We will place them in cryogenicstorage. I will find an appropriate sperm donor for your eggs, have them fertilized and implanted in you, that way everybody wins.Scene: The living room. Sheldon enters limping, holding his groin area.Sheldon:Correction. Missy can date whoever she wants.Scene: The same, later.Howard: Look, we have to settle this.Leonard: I agree. Sheldon's sister is hiding at Penny's because we've all been hitting on her at the sametime.Raj: She's not hiding. She needed privacy to call her grandmother who's apparently very sick. Oh, and then I believe she has to wash her hair.Howard: Oh, you poor, deluded b*st*rd.Raj: Don't start with medude.Howard: You want to go again? Let's go.Leonard: Sit down.Howard: Okay.Leonard: If we're going to fight over Missy, let's do it the right way. The honourable way.(Time shift. Sheldon enters to hear sounds offighting. It becomes apparent that the guys are playing a boxing game on a Nintendo Wii.)Leonard: And he's down!Howard: Come on, come on, get up.Leonard: Stay down, bitch. Yeah, ha ha, natural selection atwork.Sheldon: I weep for humanity.Leonard: Excuse me while I go tell Missy the good news. (Leaves and knocks on Penny's door.)Penny (answering): Ah, hey Leonard.Leonard: Hi Penny, how's it going. Listen, thatguy Mike that you were dating, is that still going on?Penny: Uh, pretty much, why?Leonard: Nothing, just catching up. By the way, may I speak to Missy please?Penny: Of course.Missy: Hi, Leonard, what's up?Leonard:Well, since you're leaving tomorrow I was wondering if you'd like to go out to dinner with me?Missy: That's so sweet. But no thanks.Leonard: Oh. You have other plans, or...?Missy: No.Leonard: Oh. Alright uh... enjoythe rest of your evening.Missy: Thanks. See you.Leonard (returning): Um, here's something we didn't anticipate.(Time shift. Penny opens door to Howard.)Penny: What do you want, Howard?Howard: I'm fine, thanksfor asking. I've come to call on Missy.Penny: Missy?Missy: Hi Howard.Howard: The amazing Howard. Do you like magic?Missy: Not really. No.Howard: Then you are in for a treat. Behold, an ordinary cane. (Taps againstdoorpost. While humming he tries to perform a trick, but the cane falls in half with a yellow handkerchief flying out. Howard has to retrieve the pieces.) Da-dah! (Emerges with the handkerchief, on which are written thewords \"will you go out with me?\")Missy: No.Howard: Okay. (Does something with hands, from which another yellow handkerchief emerges. This one reads \"are you sure?\" Missy closes the door.)(Time shift. Pennyopens the door to Raj.)Penny: Missy?Raj: Thank you. I apprec.... (looks panicked) apprec.... appreeee.... oh-oh.Penny: Oh, honey, is your medication wearing off? (Raj nods.)Missy: Oh, hi, cutie pie. I was hoping you'dshow up.(Raj attempts to speak. All that emerges is a high pitched wail. After a few more attempts he turns and leaves down the stairs, still making the same sound.)Missy: We had a dog who made a noise like that.Had to put him down.Scene: The stairwell. Missy and Sheldon are descending.Missy: Any news you want me to pass along to Mom?Sheldon: Well, she might be interested to know that I have refocused my researchfrom bosonic string theory to heteronic string theory.Missy: Yeah, I'll just tell her you said hey.Sheldon: Okay, well, it was pleasant seeing you, other than that business with my testicles. (Holds out hand toshake.)Missy: Come on, Shelly. (Hugs him. He looks uncomfortable, then hugs back half heartedly.) I want you to know I'm very proud of you.Sheldon: Really?Missy: Yup, I'm always bragging to my friends about mybrother the rocket scientist.Sheldon: You tell people I'm a rocket scientist?Missy: Well yeah.Sheldon: I'm a theoretical physicist.Missy: What's the difference?Sheldon: What's the difference?Missy: GoodbyeShelly.Sheldon: My God! Why don't you just tell them I'm a toll taker at the Golden Gate Bridge? Rocket scientist, how humiliating."}
+{"doc_id":"doc_75","qid":"","text":"ACT ONEON THE PLUS SIDE SHE DID LOSE TWO POUNDSScene 1 - Int. Frasier's Studio at KACL Frasier is seated in his booth. Roz stands beside him, sorting through papers.Frasier: Oh Roz, I managed to get some reservations at San Gennaro tonight. [standing] I thought we'd go celebrate your birthday.Roz: [looking up] Oh, that is so sweet, but I have a date. With that waiter we met at lunch yesterday.Frasier: [disbelieving] You're going out with that guy?Roz: I didn't have enough for a tip.Frasier: Keep in mind the service wasn't that good. [pause] Well, the reservation won't go to waste. I can always take Niles.Roz: Niles? Again? You know, your entire social life consists of going out with your brother. [pause] Don't you think you're getting into kind of a rut? You're still young! You need to go out and get drunk...Frasier walks around her toward the door of the booth.Roz: [cont'd] Wake up in some stranger's bed and not even remember how you got there.Frasier: [opening door] In other words, exchange my life for yours.Roz: Well, do what you want. But you know what? You could shake up your life every once in a while, do something spur of the moment. Once, I finished work on a Friday and hopped a plane to Acapulco, and I didn't pack anything but my toothbrush.Frasier: Oh, yes, yes, I do remember you calling in sick one Monday morning with a mariachi band in the background.Roz: Well, I was sick.Frasier: Mmm-hmmm. [closes door][SCENE_BREAK]Scene 2 - Int. Frasier's living room at the Elliot Bay TowersDaphne: [opening front door] Oh, Doctor Crane!Niles: Daphne.Niles walks into the apartment to place his coat on the sofa. Daphne closes the door after him. When he turns back toward her, she has turned her back to him. She is wearing a yellow sundress which is unzipped to her lower back.Daphne: Thank God you're here. My zip's stuck.Niles: Oh.Niles walks to her and reaches for the zipper, watching her lower back intently.Niles: Good thing I got here when I did.Daphne: Don't be afraid to grab hold and give it all you've got.Niles: [looking up at the back of her head] Okay.Daphne: Sometimes pulling it down a bit helps.Niles: [looking up again] Okay. [pause] Oh, dear. I've zipped my tie into your dress. It won't come loose.Niles leans down to examine his predicament.Daphne: Oh, let me see! Daphne turns to look, jerking Niles by the tie in the process.Daphne: Oh, I'm sorry! It is stuck, isn't it? Well, maybe some liquid soap from the powder room will loosen it up.Daphne walks to the bathroom, dragging Niles by the tie. He is leaned over, his face very close to her rear - most likely a delightful scenario for him. Just as Daphne has her hand on the knob to the bathroom, Frasier walks in the front door, taking in the scene before him. He stares skeptically for several moments as he closes the door behind him.Frasier: Niles, there's something on your tie.Daphne: [grinning] Doctor Crane was helping me with my dress, and now he's caught.Frasier: Yes, he is. [walks to Daphne, pushing Niles to the side slightly] Allow me. [frees the zipper] Ah, there. All right, there we go.Frasier walks over to hang up her coat, and Daphne walks toward the breakfast table.Daphne: What a relief. I was just about to step right out of this dress and embarrass poor Doctor Crane to death.Niles: Well, we all have to die of something. [gazing longingly]Frasier: Oh Niles, I managed to score some reservations tonight at San Gennaro. You up for a little Italian?Niles: Actually, I'm going out with Maris, so I guess you could say I'm up for a little Episcopalian. [laugh]Frasier: [laughs, walking toward wet bar] Like some sherry?Niles: Yes, thank you.Frasier: So, those counseling session must be going very well.[pouring sherry]Niles: They are! So, tonight, we thought it would be a kick to recreate our very first date.Daphne: [sitting at table] Oh, that's sweet.Martin walks in the front door with Eddie on his leash.Niles: Hey, dad. In fact, that day my car was in the shop, so I'm here to borrow Dad's car just like I did back then. [Frasier hands him his sherry] Just saying that makes me feel so young. \"Gee, Dad, can I borrow the car?\"Martin: You did that twice on the phone, and I didn't find it cute then. [reaching in pocket, pulling out keys] Here you go.Martin tosses his keys to Niles underhanded. However, they sail right by him and are caught by Frasier, who is standing behind him.Frasier: [handing Niles the keys] I just can't picture Maris in Dad's '82 Impala.Niles: Neither could she, at first. I'll never forget the look of wonder on her face at touching vinyl for the first time. She said it made her feel cheap and dirty, and she liked it.[proud] I was her first bad boy. [sits on couch]Frasier: Uh-huh. Yes, I remember the way you used to carry your inhaler around rolled up in the sleeve of your t-shirt. [gesturing to Daphne at the table and Martin coming out of the kitchen] Oh, how about you two? You guys want to join me for dinner tonight?Martin: Oh sorry, Sherry's cooking me dinner tonight.Daphne: And I have a date with Greg.Frasier: Greg? I don't believe I've met him yet.Martin: I have. He's gorgeous. [stares all around] Well, he is.Daphne: He's certainly the best-looking man I've ever been out with. Of course, he doesn't have a thought in that pretty little head of his. [distantly] Hmmm, this could be the one.Martin: [going to sit in chair] But you know, Frasier, maybe I can have Sherry cook for me some other time.Frasier: No, no. You don't have to put yourself out on my account, Dad. [notices answering machine blinking] Oh Dad, did you happen to check this message?Martin: No, I don't touch that thing.Message: [V.O.] Hi, it's Laura. We're getting an extra day of rehearsal, so I'm coming in tonight instead of tomorrow. American, Flight 11, 10:30. Can't wait. Bye!Frasier: Great news, Laura's in town!Niles: Who's Laura?Frasier: A stranger who called my machine by mistake.END OF ACT ONEACT TWOScene 1 - Int. the restaurant - San Gennaro Frasier stands at the maitre 'd's booth in the restaurant, his arm propped against it casually.Frasier: Reservation for Doctor Frasier Crane.Maitre \u0000: From the radio, yes?Frasier: Yes. Ooh, actually my date canceled, so it'll just be me.Maitre \u0000: I see, sir. [lowers voice] Table for one.Frasier: There is no need to lower your voice. I'm not ashamed to dine alone. eally, as a man of some celebrity, I can serve as a symbol to others who might otherwise be afraid to do so. I mean, really it's okay, it's actually even preferable to sit and dine alone rather than listen to someone who's too much in love with his own voice prattle on endlessly.Maitre \u0000: Well, you convinced me, sir. I'll see if your table's ready.The Maitre 'D leaves the room, and Frasier is left alone, looking decidedly less comfortable.Maitre \u0000: [loudly] Doctor Crane? Your table for one is ready.He holds a menu out for Frasier, who takes it and slinks to his table, which is positioned right in the center of the room.Frasier: Uh, listen, is it possible to move to... to have a table elsewhere? I feel just a bit conspicuous right here.Waiter: I'm very sorry, sir, but they're all reserved. But don't worry, most of our patrons only have eyes for each other.Frasier: Very well.Frasier sits. The waiter begins to fix the place setting, clinking glasses together very loudly. Other diners begin to look at the table.Waiter: I'm so sorry, sir.Frasier: Perfectly all right. Just because I'm alone doesn't mean I'm lonely. Perhaps I could have a glass of your house cabernet.A young boy approaches as Frasier fixes his napkin in his lap.Johnny: Hi.Frasier: Hello. What's your name?Johnny: Johnny. How come nobody's sitting with you?Frasier: Well, that's a bit complicated, Johnny.Johnny: My mom and dad said it's okay if you come sit with us.Frasier: Oh, well, that's a very... very sweet offer, and I know it's hard for a young boy to understand, but really, there's nothing wrong with someone eating by himself.Johnny: You know, one time I was really bad at school and the teacher made me eat lunch all by myself.Frasier: Oh, well that gave you an opportunity to think about your actions, didn't it?Johnny: Nope. I just cried.Frasier: [rolls eyes] Run along, Johnny.Johnny leaves. The waiter approaches.Waiter: Your glass of cabernet, sir.Frasier: Oh, thank you.Waiter: Oh, and I see your candle has gone out. [shouts] Enrico![claps loudly]Frasier: Please, stop! Tonight, I'd prefer to just... dine in the shadows, thank you.An attractive woman approaches.Woman: Excuse me. Are you here by yourself?Frasier: As a matter of fact I am, yes.Woman: I was hoping you'd say that! Would you mind if I -[gestures at the other chair at the table]Frasier: Oh, good Lord, yes. I've actually been sitting here hoping somebody would- [realization passing over him] make good use of that chair.As the woman takes the chair away...Amanda: AAAHHHH! [jumps up] Of course I'll marry you!The scream has startled Frasier, who spills his cabernet all over his shirt.Ethan: Oh, sorry for the commotion, folks. [notices spilled wine, walks over] Oh, gosh, is that our fault? Listen, let me pay for the dry cleaning!Frasier: Oh, not to worry, not to worry.Maitre \u0000: Congratulations, you two! Here's to young love!Husband: [standing with his wife] Well, as long as we're all sharing good news, my wife just told me that we're having twins.Ethan: Now that I've already interrupted all of your meals, I'd just like to share my joy with everyone here. [gazes at his fiance] To Amanda, my future bride, I will love you every day of my life, and I hope that, when we die, it's at the exact same moment so that neither of us will have to spend even one second alone again.Everyone applauds, including Frasier, but VERY grudgingly. He looks around, frowns, thinks a bit, and finally stands and walks over to Johnny's table.Frasier: Hi, um, Johnny said I could eat with you.[SCENE_BREAK]LOVE AMONG THE RUINSScene 2 - Int. Frasier's living room at the Elliot Bay Towers. Frasier walks in the front door of his apartment. Martin and Daphne are sitting at the breakfast table.Martin: Hey, Fras, how was your dinner?Frasier: [walking slowly behind the couch] Not since Quasimodo strolled the streets of medieval Paris have so many people uttered the phrase, \"That poor man.\"Daphne: I'm sure it wasn't as bad as all that.Frasier: Oh? [opens his overcoat to reveal his red shirt and tie]Daphne: Oh, dear.Frasier: [walks to hang up his overcoat] The height of the evening came when the entire staff of waiters delivered the birthday cake that I'd ordered for Roz and neglected to cancel. [pause] They sang to me. [walks over to lean against Martin's chair]Martin: It's not your birthday.Frasier: Staying right with the story as usual, Dad. Anyway, after dinner I took a long stroll, and it suddenly struck me: I'm single. I'd gotten accustomed to thinking of myself as recently divorced, but that was five years ago. I'm forty- three, and I'm alone.Martin: Hey! [stands and walks to kitchen] I have something that'll cheer you up. I brought you some of Sherry's mock apple pie. [comes out] It's called \"mock\" cause they uses crackers instead of apples.Frasier: Good! [doorbell; Frasier walks to answer door] Nothing spoils an apple pie like apples. [opening door] Oh, Niles.Niles: Frasier! Oh, what happened?Frasier: Well-Niles: No, let me guess. [leans in] Robust color, fruity bouquet. I'd say that's an amusing little merlot.Frasier: Cabernet. [closes door]Niles: [walking past him] Oh. Well, it's still amusing.Daphne: So, did you and Mrs. Crane enjoy recreating your first date?Niles: [standing behind chair at the breakfast table; very excited] Oh yes, my Maris remembered details that I'd forgotten. For example, when I brought her home after the restaurant, we took a stroll around the grounds. Suddenly, Marta appeared on the balcony playing the part of Maris's late father. She was liquored up on Rob Roys and firing Swedish meatballs at me from an antique blunderbuss.Frasier: [glances down at answering machine] Dad, am I the only one in this household who checks this machine?Laura: [V.O.] Hi, Molly. Laura again.Frasier: Again.Laura: [V.O.] Is that Tom on the machine? He sounds nice. Anyway, I just called to remind you I'll have my cello with me.Translation: you might want to clean out your car this time to make room. I know, toujours la grande souer. Anyway, I can't wait to see you guys. I've been on my own way too much lately. See you at 10:30, Flight 11. Love you. Goodbye.[N.B. French, \u0000lways the big sister.?/i>]Daphne: Too bad there's no way to call her back. She's gonna be stranded at the airport.Frasier: Oh no, she won't, she'll take a cab.Daphne: You know, that happens a lot. People leaving wrong messages. And after hearing a stranger's voice like that, it always starts me wondering what they must be like.Martin: Oh, you can't really judge what a person's like from the voice.Niles: [looking at Sherry's mock apple pie on the breakfast table] That's true. I was once told that I sound - imagine the impertinence - [enunciating] \"UP-TIGHT.\"Daphne: Well, she sounds to me like a very attractive woman. Intelligent -Niles: She speaks French.Frasier: I always loved the name Laura.Martin: Hey Frasier, you know, that was gonna be your name if you were a girl.Frasier: Really?Martin: Yeah! Your mother always wanted Priscilla, but I never liked the nickname \"Prissy.\"Niles: [cutting a slice] Mmmm, I never much cared for it, either.Frasier smiles at the irony and sits down on his couch.Daphne: You know, Doctor Crane, this Laura sounds like she might just be a perfect match for you. If you left now, you could meet that plane.Frasier: [laugh] Oh, please, Daphne, a couple phone calls and you're fixing us up already.Daphne: But think about it! She plays the cello. You'd like that.[stands and walks toward Frasier]Niles: She appreciates neatness. [following Daphne]Martin: She expresses affection easily. That's good. [receives stares from everyone] Well, pardon me for growing a little, okay?Daphne perches on the arm of the sofa. Martin sits in his chair. Niles stands between them.Niles: She did mention being on her own too much. So we know she's available.Frasier: Oh, sure it's fun to speculate, but, come on, you can't seriously be suggesting-Daphne: But why not? I can't imagine a more exciting way to meet. The woman of your dreams steps off a plane, and there you are to rescue her.Niles is watching her tenderly. Very sweet.Martin: Oh, yeah, you can't beat meeting somebody in a romantic way. That's the way it was with me and your mom.Niles: You met Mother over the chalk outline of a murder victim.Martin: So? It was romantic to us.Daphne: I met a boy in a cute way once. I was eighteen and visiting Stonehenge and this smashing young man came up to me and told me he was an actual descendent of the Druids.Frasier: Boy, is that the one place that line would work.Niles: I met someone once flying home from college. I got bumped into first class, found myself sitting there next to a positively ravishing woman. She was a bit older and I was trying desperately to be suave, so when she leaned over and suggested we join the Mile High Club, rather than admit I was unfamiliar with the term, I whispered back, \"I really don't travel enough to make that worthwhile.\" [pauses, takes a sip of sherry] God, that was twenty years ago. [starts to chuckle, then] Nope, still can't laugh about it.[N.B. For those of you unfamiliar with the term, an invitation to \"join the Mile High Club\" is an offer to have s*x on an airplane.]Frasier stands and walks back over to the message machine. He hits a button.Laura: [V.O.] Hi, Molly. Laura again. Is that Tom on the machine? He sounds nice. Anyw-Frasier stops the machine and turns around.Frasier: She likes the sound of my voice. She's called me twice today. That's already the best relationship I've had this year.Martin: So, are you going?Frasier: Maybe. Oh, I don't know.Daphne: There's nothing worse than when you look back on a missed opportunity.Frasier: What the hell! [runs to grab his overcoat]Daphne: Oh, I'm so excited.Frasier: I can't believe I'm actually doing this! [runs to the door]Niles: Frasier, before you go-Frasier: No, Niles, stop right there! Don't say another word to me! I'll never do something this impulsive if I stop to overthink it. Just let me get the hell out of here before I change my mind!He slams the door behind him. Several moments go by before he opens it again and dashes toward his room.Frasier: But not before I change my shirt.[SCENE_BREAK]Scene 3 - Int. airport People are de-boarding the plane. Several people hold signs. The first says, \"IBM.\" The second says, \"DR. THOMPKINS.\" Frasier, clearly nervous, stands with a sign with crude capital letters:\"LAURA.\"Then Laura, a beautiful woman in her thirties, appears, maneuvering her cello case with the help of a flight attendant.Laura: Thanks for all your help. I can take it from here.Frasier: [leaning forward, speaking hesitantly] Uh, Laura? Looking for Molly?Laura: Yes, I am. Molly sent a driver?Frasier: Oh, no, no, no. [sincere smile] I'm not a driver, I'm a psychiatrist, I'm here to help you.Laura: [long pause] Molly's having me committed?Frasier: No, no, no! I'm Doctor Frasier Crane.Laura: Oh, from the radio!Frasier: Oh, you know me!Laura: Yes, I've heard your show, it's great! But your knowing me is just - weird.Frasier: Well, actually... you left a couple messages on my machine today by mistake.Laura: Oh, no. I must've gotten my sister's new number wrong.Frasier: I didn't want you waiting around for someone who wasn't coming.Laura: So you came all the way down here? What're you, like the nicest guy in the world?Frasier: Yes. Yes, I am. Well, speaking of nice, I would be delighted to drive you to your sister's home.Laura: Oh, no, no, no, I'll take a cab.Frasier: Are you sure? It's no trouble at all.Laura: Well, she lives an hour away. But, uh, listen, could I buy you a drink just to say thank you?Frasier: Yes, I'd love that. [gesturing to the instrument case] May I take your cello?Laura: Aaahhhh... I checked my cello, this is my purse.Long pause; Frasier seems confused, totally at a loss as to what to say.Laura: [jokingly annoyed] I think that's funny. Why doesn't anybody laugh at that?Frasier: That is funny! Here. [takes case, leads them toward airport bar] So, are you with an orchestra? [puts cello case to the side]Laura: With a chamber music group, actually. We're based in LA, but we travel quite a bit. [sits] I grew up here, so it's always nice to come back. I miss it.Frasier: So, what'll you have?Laura: Um... I think I'll have a glass of sherry.Frasier: [pleasantly surprised] Two.Laura: Not that you can expect that much from airport bar sherry. [guiltily] Oh, goodness. Don't I sound like the perfect snob?Frasier: [dreamily] Yes... [catches himself] I mean, I agree with you about the sherry. So... um... why did you choose the cello?Laura: When I was around eleven, my father took me to the symphony. And this sounds a little silly, but when I heard the cello, it sounded sad, like it needed me.Frasier: [moved] That's not silly. It's lovely.Laura: I was always an odd kid. All my girlfriends had posters of David Cassidy. I had Pablo Cassall.Frasier: I had Sigmund Freud. [laughs]Laura: But did you kiss him every night before you went to bed?Frasier: Well, I... I was tempted to, but he just would've read too much into it! [they laugh; their drinks come] Oh, thank you.Laura: I don't think I've ever shared a drink with a psychiatrist. I'm worried that you must be analyzing me.Frasier: Well, if I am, my diagnosis so far is that I... I can't find a single thing wrong with you.Laura: [takes sip of sherry] Actually, it's quite good!Frasier: Yes. My second pleasant surprise this evening.Laura: Frasier, maybe I'm misreading you here, but - I'm married.Frasier: [slowly, very disappointed] Oh... somehow I jumped to the conclusion that you were single. Wasn\u0000 there something in your message about having been on your own too much, lately?Laura: Oh, I've been away on tour.Frasier: Oh... Well, I guess by now you've probably figured out that my coming down here wasn't entirely the act of a Good Samaritan. More like a lonely Samaritan. Guess it makes me seem sort of desperate.Laura: No... I think it makes you seem sort of romantic. I used to do things like this when I was single. It was fun.Frasier: Clearly, you were better at being single than I am.Laura: Oh, come on. Let me ask you a question. How did you feel, coming down here?Frasier: I felt... completely exhilarated. In fact, it's the most fun I've had in recent memory.Laura: Exactly. The anticipation, the excitement, the hope. Marriage is the death of all that.Frasier: I hope you didn't write your own vows.Laura: [laughs] I'm not down on marriage. It's just that marriage can be great, but so can not being married.Frasier: I suppose. [pause] Well, you're smart, lovely, talented, able to look at the bright side of things. I'm getting more disappointed by the moment.Laura: [sincerely] I'm sorry it didn't turn out the way you wanted.Frasier: Oh, don't be. Look, I really did have fun. You know, it's not very often that I do something impulsive.Laura: Well, maybe you should. [pause] Well, I really should be going.Frasier: Oh, no, here, allow me. Allow me. I'm the nicest guy in the world, "}
+{"doc_id":"doc_76","qid":"","text":"[Scene: Church. Brendan and a priest are there.]Brendan: I wake up at night, my heart pounding, a voice whispering in my head your a fraud, you can't fool God.Priest: These are not new fears, Brendan. I've watchedyou grow, wept for you, rejoiced in you, you are not a fraud. I know your heart.Brendan: You don't know my family, father. Generations of evil. Evil that's in my blood.Priest: The blood of the sacrament washes itclean.Greg: Hello, Brendan.Paul: Long time no see.Brendan: How'd you find me?Greg: Yeah, good to see you too. Didn't mean to interrupt your conversation. We'll wait outside for you so we can have a familyreunion.[Scene: Outside the church. Prue, Phoebe and Piper are getting stuff out of the van.]Prue: Hey, you know what? The next time the Quake does a food pantry why don't you call some guys.Piper: Yeah, I'll justgo through my handy guy rolodex.Phoebe: Which I believe now stops a 'J' for Josh or is it 'B' for boyfriend.Piper: I don't wanna talk about it.Phoebe: Why not Piper? You know you like him and he calls you all the time.Why don't you just go out with him?Piper: I told you because I'm too busy with work and my instincts are telling me to lay low.Prue: Always trust your instincts.Phoebe: Who's side are you on?(They see somenuns.)Piper: Now they have the right idea.Phoebe: Who, the nuns?Piper: Yep, nice safe environment.Phoebe: Yeah, if you like monks.Piper: Stress free, no need to worry about guys, no wardrobe.Phoebe: No wardrobe?Okay, now you're scaring me.Piper: Um, whose pen is this?Prue: Oh, it's uh, Brendan's I think, you know the cute guy that signed for the food, remember?Phoebe: I remember him, yes.Piper: Good, then you can take itto him. I think he's in the church office.Phoebe: Okay, just don't go taking any vows while I'm gone, alright? (Piper hands Phoebe the pen and Phoebe has a premonition.) Oh, oh, cute guy, I just saw him being attackedby a warlock. I think it was here somewhere.Prue: Alright, let's split up.[Cut to inside the church. Brendan and his brothers are there.]Greg: Give it up little brother. You're praying to the wrong deity. Aren't youBrendan. I mean after all, we can't deny who we are.Brendan: You don't scare me Greg.Greg: Sure I do. (He turns into a warlock.) We've come a long way to find you. We're not leaving until you join us.Paul: PleaseBrendan, we don't want to hurt you.(Greg hits Brendan and he falls to the floor.)Greg: Did you really think the church could save you?(Greg picks up Brendan up off the floor. He goes to hit him again but Prue entersthe church.)Prue: Hey! (She uses her powers and Greg flies across the room.) Piper! Phoebe!Greg: We'll come back for you. (They run off.)Phoebe: Prue?Prue: You guys over here! (to Brendan) Are youalright?Brendan: Yeah, thanks. (He runs off.)Prue: Wait, where ...?Piper: Hey!Phoebe: What happened?Prue: I don't know, but uh, I'm gonna go find out.Opening Credits[Scene: In a room. Brendan's brothers arethere. One brother is staring at a lizard.]Paul: Amazing reflex's. Check it out.Greg: Should've kept a closer watch on Brendan all these years. Shouldn't of left him alone.Paul: Seriously, you gotta see this, watch.Greg:I'm sick and tired of you and this freakin' lizard.Paul: Yeah? Too bad. (Greg goes to hit him.) No! I'm sorry, okay. Just stay away from my pet, that's all I ask. Maybe we should let Brendan go. I mean we don't reallyneed him. It's not like we don't already have our powers.Greg: Without his powers we can't complete our triangle, the whole prophecy of the royal coven. He must accept his heritage. He must be initiated as awarlock.Paul: Initiated how? We can't force him to kill an innocent.Greg: Well, maybe not, but we can store his inner nature. The part he thinks is suppressed. Make him wanna kill.Paul: By tomorrow? Not a chance.Once he's been ordained, he's safe. He can never become a warlock.Greg: In which case, we will have to kill him.[Scene: Halliwell house. The phone rings.]Phoebe: Hello? Oh, hello Josh, how are you?Piper: I won't callhim back.Phoebe: Yeah, she's right here, hold on a second. Oops.Piper: You're doomed. (She takes the phone.) Hello. No, it's alright I'm always up this early. What's that? My horoscope said that? Oh well, that's ashame 'cause I have to work Friday night. Yep, Saturday too.Phoebe: (to Prue) Okay, I have to go change the cat litter.Prue: Phoebe.Phoebe: What? What is the problem? She likes him, he likes her.Prue: The problemis it's none of our business.Piper: I, I've got to go now, but thanks for calling though. Yeah, well, I gotta go to work. I'll be there all day and all night. Yep, gotta go, bye.Phoebe: Okay, you know what? It's your life, ifyou wanna be a nun, God speed.Piper: Thank you. Now back to our warlock crisis. Why do we think they're after, what's his name again?Prue: Brendan, and I don't know, I couldn't find him. But I've seen him at thechurch before and I'm hoping that the parish priest can help.Piper: Yeah, well, you better hope Brendan doesn't tell anybody about your powers or else we got bigger problems than just warlocks.Prue: Yeah, but I don'tthink he will. There's something in his eyes, I don't know, it seemed like he wasn't surprised by it. Alright, um, I've gotta go. I'll call you guys if I find out anything.Piper: Do you want us to go with you?Prue: You haveto work remember. (She leaves. The phone rings and Phoebe gets up to answer it.)Piper: Don't you dare answer that. Sit down.[Scene: Church.]Prue: Excuse me.Priest: Yes.Prue: Father Austin?Priest: Yes.Prue: Hi. I'mPrue Halliwell. My sister helped co-ordinate the food for last night.Priest: Piper. Of course. I'm very grateful to her, it was a wonderful evening. Except for what happened in here.Prue: Actually, that's why I'm here. Doyou know someone named Brendan, i think he was one of the volunteers?Priest: I know Brendan very well. You don't think he had anything to do with this?Prue: No. No, no, no, no. Um, but I did see two other mentrying to hurt him. I mean he's fine, he got away alright but I don't think they're gonna stop trying.Priest: He always said they'd come.Prue: Excuse me?Priest: It's just something I know Brendan's been wrestling hiswhole life.Prue: Do you know where I might be able to help him?Priest: You? How?Prue: I can't really tell you that father, I'm sorry. It's kind of personal, I just have to ask you to trust me.[Scene: Quake.]Phoebe: Sothe lunch rush is almost over and you're closed till dinner right?Piper: Yeah, why?Phoebe: Just curious. Have you heard from Prue yet?Piper: No, not yet. (Phoebe stares at her.) What? Why are you staring atme?Phoebe: Because I'm worried about you that's why.Piper: Oh, Phoebe don't start.Phoebe: No, Piper something's up. You're turning down dates with a guy that you like, extolling the virtues of convent living, you'vebeen working double shifts three times a week, this is not the Piper I know and I'm worried.Piper: Don't be. Everything is fine.(Josh walks up behind them.)Josh: I would like a glass of Clara Jenson please. Ninety threeif you got it.Piper: Josh.Josh: Good start. You recognized me.Piper: What are you doing here? (quietly to Phoebe) Phoebe!Phoebe: (quietly) What?Piper: This is such a surprise.Josh: Well, I tell ya, I'm gonna cut right tothe chase here. You wanna get all hot and sweaty with me? I'm kidding, kidding. I'm on my way to the gym and thought since I can't buy you dinner, we could um, work out together.Piper: I'll be right back.Phoebe: Uh,so will I.Piper: I'm gonna kill you.Phoebe: Why? A little exercise, a nice steam, a trip to the juice bar, what could it hurt?Piper: My job. I'm at work. I can't just up and leave.Phoebe: Okay, well, I could baby-sit for youwhile you're gone.Piper: The restaurant? I don't think so.Phoebe: What, it's not like anything's gonna happen. You said it yourself, you're closed until dinner. Come on, it is just a work out. The worst case scenario,you're in better shape by the time you check into the nunnery.Piper: Okay, fine. But only if it will get you to shut up.Phoebe: It will.Piper: Good.Phoebe: Fine. (She gives Josh the thumbs up sign.)Josh: Thankyou.Phoebe: You're welcome.[SCENE_BREAK][Scene: Stables. Brendan is there with a little girl.]Brendan: Are you sure you've never ridden a horse before?Little girl: I've never even seen a horse before. Except ontelevision.Brendan: Well, you're a natural at it. Keep your grades up and maybe you could come ridingagain.Little girl: Promise? (He nods.) Ah, a spider! Kill it.Brendan: Oh, no. He's just trying to find his way homethat's all. Besides, all life's precious to God you know. (Prue walks up behind them.) Here, don't be afraid. Trust me. (He puts the spider in her hands.) There you go. (He sees Prue.) Ah, why don't you take him in thestables and set him free. (She leaves.)Prue: You're braver than me.Brendan: How'd you find me?Prue: Father Austin told me you would be here. We need to talk.Brendan: Look, uh ...Prue: Prue.Brendan: Prue. If you'reworried about me telling anyone about your secret, you don't have to. It's safe with me.Prue: Yeah, well, that's good to know but why? I mean most people would be pretty freaked out if they saw what yousaw.Brendan: I'm not like most people.Prue: Yes, I know. Most people aren't attacked by warlocks.Brendan: I don't wanna talk about that. (He gets on his horse.)Prue: Okay. Ah, hi, just can I borrow this for a minute.(She gets on a horse.)Man: Sure, go ahead.(They gallop off. Prue gallops past Brendan.)Brendan: Hey, wait up. (They slow down.) If you keep your grades up maybe you can come riding again too.Prue: Oh, youpromise?Brendan: Who are you anyway?Prue: Oh, well, that's not fair, I asked you first.Brendan: I'm not quite sure I know the answer to that I'm afraid.Prue: Well, as far as I can see you're too good to be true, I meanchurch volunteer, great with kids, loves horses, spiders.Brendan: Not all spiders. Hate black widows.Prue: That's a good thing.Brendan: What?Prue: Brendan, you're in danger, serious danger.Brendan: I know.Prue:What, how do you know? I can help you.Brendan: No you can't. You're lucky they didn't hurt you, they could of killed you last night.Prue: Who could of? Who are they?Brendan: It doesn't matter. After tomorrow I'll besafe from them forever.Prue: What happens tomorrow?Brendan: I become a priest.[Scene: Rock climbing place. Piper is half way up the wall.]Piper: (Angrily to herself) A little sweat, a nice steam, trip to the juice bar. Iwill kill you Phoebe. (Josh comes down the wall and stops where Piper is.)Josh: How ya doin'?Piper: (Does a fake laugh) Great. Never better.Josh: You're lookin' great. Come on, I can't believe you've never done thisbefore.Piper: Yeah, well, believe it.Josh: You want me to keep you company on the way up?Piper: Oh no, I'll meet you, I'll meet you down there.Josh: Alright, I'll see you in a few.(He goes down the wall. Piper starts toclimb the wall again but slips and falls but Josh catches her before she hits the ground.)Piper: Wow, talk about falling for a guy. (He puts her down and she freezes him. She gets out her phone and calls Phoebe.) I can'tbelieve I said that.Phoebe: Hello, Quake.(You see the sink overflowing and water is everywhere.)Piper: Phoebe.Pheobe: Hey, Piper, how's is going?Piper: Bad, real bad.Phoebe: Uh, really? Why?Piper: You wanna knowwhy? I'll tell you why. Because we shared the look.(You see Phoebe trying to stop the water from squirting out of the tap.)Phoebe: The look?Piper: You know, the look that proceeds the kiss. You look at each other thesame time, you smile at each other the same time.Phoebe: Well, that's great. I knew you'd have a good time.Piper: No, Phoebe, this is exactly what I did not want to happen. Is that water I hear running?Phoebe: Uh,water? I don't know, maybe just a little. Hey, you know, just out of curiosity, if you were the water shut off valve, where would you be?(Piper hangs up and Josh unfreezes.)Josh: Hey, uh, where'd you get thephone?Piper: Uh, Phoebe just called, there's an emergency at the restaurant. I gotta go. (She kisses him on the cheek.) Um, I had a really great time, thanks.Josh: You're welcome.[Scene: Church. Father Austin is onthe floor and is badly hurt. A warlock is next to him. Prue enters the church and sees what has happened. The warlock sees Prue and turns back into a human. It's Brendan.]Brendan: Prue. (He runs off. Two nuns seewhat's happened.)Nun: Dear God.Prue: Call 911. Hurry. (She runs after Brendan.)[Cut to outside. Prue trips Brendan by using her powers.]Brendan: Prue, wait. You don't understand.Prue: Don't I?Brendan: I didn't hurtfather Austin. I found him like that, I swear.Prue: Before of after you turned into a warlock?Brendan: After. When I saw what they did to him I was crazed. The rage turned me into a warlock. Look, don't believe me Idon't care. Just at least let me call the paramedics, please. Don't let him die. I'm begging you.Prue: They've already been called.Brendan: Thank you.Prue: Do you actually expect me to believe that you're a goodwarlock?Brendan: No. There's no such thing. I can explain it to you if you let me. I can make you understand. I won't hurt you. I need your help.Prue: For what?Brendan: To stop the other warlocks. To stop mybrothers.[SCENE_BREAK][Scene: Outside church. The paramedics are putting Father Austin in the ambulance. Andy and Morris are there.]Morris: I got an eye witness. A nun. Saw someone she ID'd as Brendan Rowe.Apparently Mr. Rowe lives in the rectory. You alright?Andy: No, I'm not. Father Austin's my priest. He gave me my first communion. What kind of animal would do this?Morris: You wanna follow him to thehospital?Andy: No. I wanna catch the scum that did this to him.[Scene: Quake. Piper gives the man that fixed the water a cheque.]Piper: (to a man) Thank you.Man: Thank you.Piper: (to Phoebe) You should of calledme.Phoebe: I know, I know. But you had a good time, right?Piper: Unfortunately.Phoebe: Do you confuse yourself when you do that?Piper: I just, I don't know Phoebe, it seems like every guy I've liked lately has beena warlock, a ghost, or otherwise unavailable like Leo. I was just trying to save myself some grief with Josh.Phoebe: But Josh is available, and human too ... I think.Piper: I just don't want to be disappointed again. I'mtired of falling for the wrong guy, human or supernatural.Phoebe: Well, I am sorry. If I had of known that you wanted to take a dating hiatus, I wouldn't of pushed so hard. Are you mad at me?Piper: No, I'mgrateful.Phoebe: Yeah?Piper: You followed my instincts. I don't know what I'd do without you.[Scene: Prue and Brendan are taking a walk.]Brendan: A warlock naturally comes from two warlock parents like Greg andPaul do. But they're just my half brothers, I had a different mother.Prue: A human mother?Brendan: Yes. A wonderfully, human mother.Prue: So then we have something in common. My father was human.Brendan:The only difference is he came from good. Mine came from pure evil. Descended from an ancient warlock line intent on furthering the Rowe coven. Three brothers destined to become the most powerful force of evil theworld has ever known.Prue: The evil charmed ones.Brendan: Only I went into hiding. I wanted to break the chain. Make amends for all that my family's done.Prue: By becoming a priest?Brendan: Embracing God in thatway is the only way to lose my power and my warlock nature forever. And with it keep the Rowe coven from ever being. I've been at war with myself all my life, Prue. Running from the evil inside me. I guess it finallycaught up.Prue: You can fight it. Fight them.Brendan: No I can't. My brothers are too powerful, they're relentless. They'll keep hurting the people I care about until I give in. They'll even hurt you.Prue: I can take care ofmyself. It's you I'm worried about.Brendan: Ahh, don't worry about me. I know what I have to do. I have to kill my brothers before they trick me into killing somebody else. You'll have to follow me to their place, andthen and your sisters will have to kill me.[Scene: Greg and Paul's place.]Paul: Everything's ready.Greg: Good. He's coming. This is amazing. Just as his approach my power quickens. It's as if I'm reaching out for him.For completion, do you feel it too? (Brendan enters the room.) Brother.Brendan: I'm here to kill you Greg.Greg: Well, I'm glad. Anything less, I'd be disappointed. But first you're gonna need this. (He gets a knife.)Paul:It's okay, Brendan, take it. (He does so.)Brendan: I know this wasn't your doing Paul. But I'm gonna have to kill you too.Greg: But me first. (Brendan and Greg start fighting.) Yes, come on, you're feeling it now. Comeon, I dare ya, you're almost there. In your blood, this is us, this is your birth right.(Brendan sees a woman tied to a table with candles around her.)Brendan: What the hell?Greg: Isn't the heat intoxicating? But you needto kill. Oh, yes, that's it.[Cut to Prue, Piper and Phoebe.]Phoebe: Got here as soon as we could, we just didn't have time to go to the house and get the Book of Shadows.Prue: Yeah, I don't wanna have to kill Brendantoo.Piper: But you said on the phone he's a warlock.Prue: Yeah, I know he is but if we can vanquish his brothers before he turns, we might be able to save him okay.[Cut back to the warlocks. Brendan is holding theknife just above the woman's throat.]Greg: One clean thrust and you're both a piece.(Prue, Piper and Phoebe barge through the door.)Prue: Brendan, no!(Prue uses her powers to untie the woman. Paul flings his handout and lightning flies out if his fingertips landing near them. They run into the other room.)Paul: Three witches. We can't defeat them without Brendan and we haven't got him yet. (They run away. Prue, Phoebe andPiper run back into the room.)Piper: (to woman) It's okay, you're safe.Prue: No, don't take the blind fold off she'll see us. We'll call for help.Phoebe: Prue, he's a warlock.Prue: I know.[SCENE_BREAK][Scene: Sameplace. There is now police and lots of people there.]Officer: (to Morris) I'll take that.(A man walks past Morris.)Morris: Minimal traffic.Man: See if he needs the photos.Morris: I'll give it to him. Victim's a little shaken upso give her some air okay.[Cut to Andy and the victim.](He gives her some tea.)Andy: Here you go.Woman: Thank you.Andy: You okay to talk a little more?Woman: Yeah, um, I just gotten to my car and I'm loadingthe groceries in the back and then they just came out of nowhere.Andy: Was this guy, Brendan Rowe, one of them? (He shows her a picture.)Woman: No. But I remember them calling one of the other ones that. I wasblind folded and I think they drugged me or something 'cause the next thing I remember I was here. I felt the tip of the knife. He was gonna kill me. But she made him stop.Andy: She?Woman: One of the women thatcame. Um, Prue, I think her name was Prue.Andy: Thanks. Stay with her. (He points to a woman officer. He walks up to Morris.) The bastards painted a cult symbol on her chest as a target. She's lucky to still bealive.Morris: Did she I.D. Brendan Rowe.Andy: Yeah, said two others blind folded her. Brought her here for him to kill her. (He starts to leave but Morris stops him.)Morris: Where you going?Andy: I'm gonna get to thebottom of this once and for all.[Scene: Halliwell house. Prue's room.]Prue: Hey, um, you can sleep in my room and I'll sleep with Piper.Brendan: Why?Prue: Because Phoebe kicks.Brendan: No, I mean why are youdoing this, why are you so kind to me after what I almost did?Prue: Yeah, but you didn't and that's what's important. You didn't come to your brothers will.Brendan: Only thanks to you. They had me Prue. Right wherethey wanted. I could feel the evil inside taking me over. It was so strong, so powerful. If you and your sisters didn't come in when you did.Prue: You would of stopped yourself. You wouldn't of hurt her.Brendan: Howcan you be so sure when I'm not even sure myself?Prue: Because you're a good person Brendan, I've seen it at church, Father Austin's words, at the stables with that little girl. Your good side is much stronger than yourevil side, you just have to keep fighting it until your ordination in the morning. And then you're home free. And we are gonna make sure you get there on time.(There's some silence and they stare into each other'seyes.)Brendan: How many temptations do I have to endure?(They move into a kiss.)Prue: Uh, okay, I'm gonna go. Night.Brendan: Night.[Cut to downstairs.]Piper: He was about to drive a knife in that woman'sheart.Phoebe: Yeah, you couldn't of missed that right?Prue: I didn't. I saw Brendan NOT punch the knife in her.Phoebe: Yeah, that's because we stopped him.Prue: Then why isn't she dead?Piper: Because we showedup.Prue: No, because we followed him. Because last night Phoebe had a premonition of Brendan being attacked. That makes him the innocent that we're suppose to protect.Phoebe: Not necessarily. I mean maybe wewere directed to him so that we could save the real innocent. The woman.Piper: Which we did and now you've brought her would be killer, a warlock no less in our house. How do you know he won't try to kill us? That's"}
+{"doc_id":"doc_77","qid":"","text":"MAWDRYN UNDEADBY: PETER GRIMWADEPart FourFirst Air Date: 9 February 1983Running time: 24:33[SCENE_BREAK]TEGAN: What do you mean?DOCTOR: I can only regenerate twelve times. I have already done sofour times.TEGAN: So?DOCTOR: Don't you see? Eight of them, eight of me.TEGAN: They want your remaining regenerations?DOCTOR: It's the only way to end their mutation.NYSSA: Is that possible?DOCTOR: With thisequipment, yes.BRIG '83: Let's get back to the TARDIS before they become hostile.TEGAN: Come on, Doctor, we've got to get out of here.MAWDRYN: We're scientists, not warriors. We have no weapons. The Doctorcan only help us of his own free will.TEGAN: What you want is murder eight times over.MAWDRYN: No. What we desire is our own death.[SCENE_BREAK]GUARDIAN (on scanner): Turlough, my plans are in hazard. Thisfriend of the Doctor'sTURLOUGH: The Brigadier?GUARDIAN (on scanner): He is present on the ship in two aspects.TURLOUGH: That isn't possible.GUARDIAN (on scanner): It is forbidden, but not impossible. He hastravelled through time in the TARDIS.TURLOUGH: But if the two aspects convergedGUARDIAN (on scanner): The instability could destroy everything. You must find the Brigadier who travelled with the Doctor'scompanions.TURLOUGH: Leave here?GUARDIAN (on scanner): You will obey me. The two Brigadiers must be kept apart.TURLOUGH: What about those creatures?GUARDIAN (on scanner): They are harmless. They onlythreaten the Doctor.[SCENE_BREAK]MAWDRYN: We did not know that our experiments would bring endless mutation.DOCTOR: You have the regenerator, the facilities of the laboratory. Continue your experiments, findhow to reverse the process.MAWDRYN: We have known for many years that the process is irreversible.MUTANT: We have experimented for centuries.MUTANT 2: We have tried to discover a remedy.MUTANT: There isno remission.MAWDRYN: Only you, as a Time Lord, can help us.[SCENE_BREAK]TURLOUGH: Hello, Brigadier.BRIG '77: Who the devil are you?[SCENE_BREAK]DOCTOR: I cannot do what you ask.MAWDRYN: You cannotrefuse.DOCTOR: I must.MAWDRYN: So be it, Doctor. Leave now, with your friends. But accept the consequences of your actions.NYSSA: What does he mean?DOCTOR: I don't know.BRIG '83: Back to theTARDIS?[SCENE_BREAK]BRIG '77: So you're Turlough? Yes, Tegan told me about you.TURLOUGH: I've come to take you to the Doctor.BRIG '77: The Doctor? You know where he is?TURLOUGH: Of course. Comeon.BRIG '77: Not so fast. Keep in the shadows. We have some disagreeable fellow passengers.TURLOUGH: They're harmless.BRIG '77: That remains to be seen.[SCENE_BREAK]MUTANT: The Doctor was our onlyhope.MUTANT 2: He must not be allowed to escape.MAWDRYN: My friends, do not despair. The Doctor will soon return. And of his own free will.[SCENE_BREAK]DOCTOR: You see, Brigadier, thanks to your imperfectmemory there is now a Lethbridge Stewart some six years your junior at loose in this ship.BRIG '83: Good heavens. You mean that I did go with Nyssa and Tegan in the TARDIS in 1977?TEGAN: And were we glad of thecompany.[SCENE_BREAK]BRIG '77: This Doctor, what does he look like?TURLOUGH: Older than me, younger than you.BRIG '77: No, I mean, is he normal?TURLOUGH: Of course.BRIG '77: So, that deformed creature inthe TARDIS was an imposter.TURLOUGH: Exactly.[SCENE_BREAK]TURLOUGH: Doctor, the Brigadier's here.BRIG '77: Doctor?BRIG '77: Turlough, what are you up to?[SCENE_BREAK]BRIG '77 (OOV.):Turlough![SCENE_BREAK]TEGAN: No sign of Turlough.BRIG '83: I never trusted that boy.NYSSA: He must be here somewhere.DOCTOR: Well, I hope so, because I've got to get the TARDIS away from here.NYSSA: Andseparate the two Brigadiers.BRIG '83: Ah, now, hang on a minute. I've been thinking about that.DOCTOR: There isn't time to think, Brigadier.BRIG '83: Doctor, we are talking about six years of my life.DOCTOR: Well,you're perfectly all right in 1983. Obviously your 1977 self came to no physical harm.BRIG '83: Well, maybe not, but I don't want to have spent a year or two in limbo on this ship.NYSSA: Look.DOCTOR: Stay here, all ofyou.[SCENE_BREAK]DOCTOR: Turlough, listen very carefully. We have a problem with the Brigadier.TURLOUGH: What is it?DOCTOR: The two time zones. The Brigadier did go with Tegan and Nyssa. There are now twoLethbridge Stewarts on this ship.TURLOUGH: I understand.DOCTOR: Now, I will take the Brigadier in the TARDIS back to 1983 Earth.TURLOUGH: And me?DOCTOR: You must find the other Brigadier and take him to thetransmat capsule. You'll be quite safe, the mutants won't harm you.TURLOUGH: But the transmat beam doesn't work.DOCTOR: It will. The capsule is locked into the TARDIS' homing device. It will transmat to the centreof the TARDIS. I wired the device myself.TURLOUGH: Of course.DOCTOR: Now, when you arrive, whatever you do, stay in the capsule. Don't let the Brigadier out until I give you the word. Now,quickly.[SCENE_BREAK]NYSSA: Will the mutants really travel for the rest of time?DOCTOR: I'm afraid so.NYSSA: That's terrible.DOCTOR: Sometimes you have to live with the consequences of your actions. Now, let'sget away from here.[SCENE_BREAK]MUTANT: The Time Lord has left us.MUTANT 2: Can we be certain he will return?MAWDRYN: He will return.[SCENE_BREAK]DOCTOR: It takes a remarkably cunning set of thecoordinates to clear a warp ellipse.TEGAN: Doctor?DOCTOR: This is a temperamental old thing, but I'm getting remarkably good at sortingNYSSA: Doctor, something's happening.DOCTOR: Not at all. We're on course forthe Brigadier's school. You see, there was a problem withBRIG '83: Doctor!NYSSA: Doctor, do something.BRIG '83: What on Earth is happening?DOCTOR: I don't know.BRIG '83: It's like Mawdryn in thelaboratory.DOCTOR: Mawdryn? That's it! They've been contaminated.TEGAN: Doctor, do something.DOCTOR: No, don't touch them. The transfiguration can be controlled.NYSSA: Stop!DOCTOR: Stop. That's it.Travelling through time is accelerating the degeneration.BRIG '83: You've stopped the TARDIS?DOCTOR: Well, more than that. We're going back to where we started. I just hope it induces a proportional remission.BRIG'83: It's working.DOCTOR: Are you two all right?NYSSA: I think so.TEGAN: Doctor, what went wrong?BRIG '83: Look at them out there. I'll bet they knew this was going to happen.[SCENE_BREAK]MUTANT: The TimeLord has returned, as you predicted.MAWDRYN: The Doctor is not with us yet. He will not give up so easily.[SCENE_BREAK]DOCTOR: You were infected when you carried Mawdryn into the TARDIS. The journey to hisship would have made it worse.TEGAN: Infected? You mean their mutation is a disease?DOCTOR: Well, it shouldn't be. I can only assume their constant experimenting to correct their error brought about a viral sideeffect.BRIG '83: Well, why haven't we got it?DOCTOR: I don't know.NYSSA: So we can't time travel.TEGAN: We don't need to. All we need to do is get the TARDIS back to Earth.DOCTOR: That won't work. I've got toprogramme a temporal deviation to escape the warp ellipse.BRIG '83: Are we stuck on this ship?DOCTOR: I wonder. If I reverse the polarity of the neutron flow[SCENE_BREAK]BRIG '77: So, you've stopped pretendingto be the Doctor.MAWDRYN: The Doctor is in the TARDIS.BRIG '77: What?MUTANT 2: This man also is in the TARDIS.MUTANT: He is a deviant.MUTANT 2: There has been temporal duplication.MAWDRYN: The TARDISwill soon return. The imbalance could be cataclysmic. For your own safety you must return to the Earth at once.BRIG '77: Without the TARDIS?MAWDRYN: Quickly.[SCENE_BREAK]BRIG '83: So far so good.DOCTOR:Oh, no.BRIG '83: But nothing's happening.DOCTOR: Oh yes, it is.[SCENE_BREAK]MAWDRYN: You will return to Earth immediately in the transmat capsule.BRIG '77: How the deuce do you expect me toMAWDRYN: Getin.BRIG '77: Look, if you think I'm trusting myself to this baubleMAWDRYN: The capsule is programmed for Earth. Quickly.[SCENE_BREAK]NYSSA JR: It's no good, Doctor.DOCTOR: We're travelling in the oppositedirection out of the ellipse. It's having a reverse effect.TEGAN JR: Stop! Stop!DOCTOR: Someone's trying to operate the transmat capsule. Must be Turlough taking your other half to the centre of the TARDIS.BRIG '83:Can the capsule do that?DOCTOR: Only when the TARDIS is clear of the ship. Until that happens, the transmat can't take place. The capsule will return to its terminal.DOCTOR: It's no good. I can't get clear of the shipwithout hurting Nyssa and Tegan.NYSSA: What are we going to do?[SCENE_BREAK]GUARDIAN (OOV.): You have failed me!TURLOUGH: No.GUARDIAN (OOV.): The Brigadier is still free.TURLOUGH: That's not myfault.GUARDIAN (OOV.): Why did you not transport him in the capsule, as the Doctor instructed.TURLOUGH: The Doctor? But I'm supposed to be working against him.GUARDIAN (OOV.): Imbecile! Why should you notprofit by the Time Lord's cunning?TURLOUGH: I'm sorry.GUARDIAN (OOV.): So near the annihilation of the Doctor and you risk all with your negligence and stupidity.TURLOUGH: I can still keep the two LethbridgeStewarts apart.GUARDIAN (OOV.): If you fail me again, I shall destroy you.[SCENE_BREAK]TEGAN: We can't stay in the TARDIS for ever.BRIG '83: Well, Doctor?[SCENE_BREAK]NYSSA: You knew that wouldhappen.MAWDRYN: Yes, Nyssa.NYSSA: You infected us. You passed on the mutative pattern.MAWDRYN: Yes, but not deliberately.TEGAN: What happens to us now?MAWDRYN: You will remain in the ship.TEGAN: Forthe rest of our lives?MAWDRYN: You're fortunate. Your journey will be short. Ours is without end.BRIG '83: We are not leaving them on this ship.MAWDRYN: Take them with you in the TARDIS and they will die.BRIG'83: Are you telling me that with all the facilities on this ship, you can't come up with some sort of antidote?MAWDRYN: We have no restorative for Tegan and Nyssa.BRIG '83: Doctor, have you got any ideas? ... Yousaid in the laboratory that the Doctor could help you through that machinery.MAWDRYN: That is true, but only of his own free will.BRIG '83: Well then, surely he can do the same for Nyssa and Tegan.MAWDRYN: That isa question you must ask the Doctor.BRIG '83: Well, Doctor?TEGAN: Doctor?NYSSA: Doctor?DOCTOR: Take me to your laboratory.[SCENE_BREAK]MAWDRYN: The Doctor chose to involve himself. Soon he will be a TimeLord no longer. That is his reward for compassion.[SCENE_BREAK]BRIG '77: Doctor! Where is he?[SCENE_BREAK]DOCTOR: You will activate the energy transfer, Brigadier. It will take several moments for the charge inthe machine to build up. You can read off the countdown to the moment of exchange. Are you all right?BRIG '83: Yes.MUTANT: Do not be afraid. When the moment comes, we will all share in the life force of theDoctor.MUTANT 2: Our mutation will end.MUTANT: You will no longer be contaminated.NYSSA: And the Doctor won't be a Time Lord any more.[SCENE_BREAK]TURLOUGH: Brigadier?Brigadier![SCENE_BREAK]MAWDRYN: My brothers in exile, we approach the ending.DOCTOR: Activate, Brigadier, now.[SCENE_BREAK]GUARDIAN (OOV.): So near the supreme moment! The Brigadiers must notconverge. Stop him, or I shall destroy you all![SCENE_BREAK]BRIG '83: Twenty seconds. Nineteen.[SCENE_BREAK]TURLOUGH: Brigadier! Brigadier, come back![SCENE_BREAK]BRIG '83: Thirteen, twelve, elevenBRIG'77: Doctor, Tegan. What the devil?DOCTOR: No, Brigadier, get out of here!BRIG '77: What do you think you're doing? Who on Earth?BRIG '83: I remember.[SCENE_BREAK]TURLOUGH (OOV.): It'scracked.[SCENE_BREAK]DOCTOR: Are you all right?NYSSA: I think so.TEGAN: What happened?DOCTOR: A massive discharge of energy exactly synchronising with the moment of transfer.TEGAN: Is the Brigadierdead?DOCTOR: I don't think so.NYSSA: Doctor.DOCTOR: It's all right, old friend.BRIG '83: Oh, sorry about that, Headmaster. Touch of vertigo. It won't happen again. What the devil's been going on?DOCTOR: Nyssa, Iwant you to take the Brigadier back to the TARDIS, right to the centre, and keep him there until I give you the all clear. You'll be quite safe.TEGAN: This one must be all right. He belongs in 1977.DOCTOR: Amazing. TheBrigadier's timing. A millisecond either way andTEGAN: And what?DOCTOR: At the moment of transfer, the power didn't come from me.TEGAN: Where did it come from?DOCTOR: Well, from the TARDIS, really. The twoBrigadiers just shorted out the time differential.TEGAN: You mean zap?DOCTOR: Yes, that's right. Zap.TEGAN: Can Nyssa and I still time travel?DOCTOR: You're as good as new.TEGAN: Can you stillregenerate?DOCTOR: I am a Time Lord.TEGAN: Look at Mawdryn.MAWDRYN: It is finished, Doctor. Can this be death?TEGAN: They're all dead.DOCTOR: They would have travelled for the rest of time, Tegan. Death wasall they wanted. Come on, we must get the Brigadier back to 1977.TEGAN: Before we go, Doctor, thank you. You were prepared to risk everything for us.DOCTOR: Come on.[SCENE_BREAK]BRIG '83: Look, what's beengoing on?NYSSA: The Doctor will explain later.[SCENE_BREAK]TEGAN: What's that noise?DOCTOR: The ship is dying with the mutants.TEGAN: It's come out of orbit?DOCTOR: Yes. Hurry.[SCENE_BREAK]RUNCIMAN:Brigadier?RUNCIMAN: Brigadier, what happened? I came as soon as I got your message.RUNCIMAN: You'll be all right.[SCENE_BREAK]BRIG '83: My word, you've been making some changes in here, Doctor.DOCTOR:One has to move with the times. How are you feeling?BRIG '83: Haven't felt so well for, for at least six years.DOCTOR: There we are, 1983. Back to school, Brigadier.[SCENE_BREAK]DOCTOR: Goodbye.BRIG '83:Goodbye, Doctor. If ever you're passing. Where's Turlough?DOCTOR: Turlough. He left in the capsule.NYSSA: He can't have done. If the Brigadier was still in the ship, he never used the transmat system.TEGAN: Theauto-destruct! We've got to get back to the ship. Come on![SCENE_BREAK]TEGAN: Oh, Turlough.NYSSA: You're safe.TEGAN: We thought you were on Mawdryn's ship.TURLOUGH: I'm not that easy to get rid of.TEGAN:So it seems.TURLOUGH: Doctor, may I join you?DOCTOR: I think you already have."}
+{"doc_id":"doc_78","qid":"","text":"A recap of 212 \"Army of Ghosts\".OPENING CREDITSINT. TORCHWOOD, SPHERE CHAMBERThe Daleks advance upon Rose, Mickey and Doctor Singh, with cries of \"exterminate! \".ROSE (shouts): Daleks!They fall silent,taken aback.ROSE (CONT'D): You're called \"Daleks\".The Daleks do not respond, seeming to simply observe her. Rose walks towards them.ROSE (CONT'D): I know your name. (Takes lab coat off). Think about it: howcan I know that? A Human... who knows about the Daleks. And the Time War. If you wanna know how, then keep us alive. That's all I'm asking. Me and my friends.MICKEY: Yeah, Daleks. Time War. Me too.The Dalek'seye-piece swivels around to look at Mickey.RAJESH: Yeah. And me.DALEK SEK (to Rose): You will be necessary. (to Dalek Jast): Report: what is the status of the Genesis Ark?DALEK JAST: Status: hibernation.DALEKSEK: Commence awakening.DALEK THAY: The Genesis Ark must be protected above all else.The Dalek turns to the Genesis Ark, which also emerged from the sphere. It clamps its suction arm to the side of theArk.MICKEY (to Rose, still pointing his gun at the Daleks): The Daleks, you said they were all dead.ROSE: Never mind that, what the hell's a Genesis Ark?INT. TORCHWOOD, RIFT CHAMBERJACKIE: What's down there?She was in that room with the sphere. What's happened to Rose?The Doctor is leaning against a wall.THE DOCTOR (abruptly): I don't know.Jackie starts to cry. The Doctor goes to her.THE DOCTOR (CONT'D): I'll findher. I brought you here, I'll get you both out. You and your daughter. Jackie, look at me. Look at me.Jackie looks up at him, eyes red from tears.THE DOCTOR (CONT'D) (sincerely): I promise you. I give you my word.ACyberman approaches Yvonne, who is sat at her desk.CYBERMAN: You will talk to your central world authority and order global surrender.YVONNE (without even a trace of fear): Oh, do some research. We haven't got acentral world authority.CYBERMAN: You have now. I will speak on all global wavelengths.The Doctor puts on his 3D specs.CYBERMAN (CONT'D): This broadcast is for human kind.INT. HOUSEA frightened family huddledin their living room watch this broadcast on the television.CYBERMAN (CONT'D): Cybermen now occupy every land mass on this planet. But you need not fear. Cybermen will remove fear.As the camera pans round, wesee that a Cyberman is standing over the family, guarding them. The marching of Cybermen can be heard outside the house.CYBERMAN (CONT'D): Cybermen will remove s*x and class and colour and creed. You willbecome identical. You will become like us.EXT. SUBURBAN STREETCybermen emerge from every house along a street in unison.EXT. BRIDGEChaos on a bridge, people running, screaming, the military shooting at theCybermen with no effect whatsoever. The Cybermen aim their own weapons, blowing up a truck, killing the soldiers. Finally one soldier manages to hit a Cyberman and it goes up in flames.INT. TORCHWOOD, RIFTCHAMBERThe Doctor, Jackie, Yvonne and one of the Cybermen observe the proceedings far below from the top of Torchwood Tower.CYBERMAN: I ordered surrender.THE DOCTOR: They're not taking instructions. Don'tyou understand? You're on every street, you're in their homes. You've got their children. (Angrily). Of course they're gonna fight.INT. TORCHWOOD, SPHERE CHAMBERDALEK SEK: Which of you is leastimportant?ROSE: What's that supposed to mean?DALEK SEK: Which of you is least important?ROSE: No, we don't work like that. None of us.DALEK SEK: Designate the least important!RAJESH: This is myresponsibility.ROSE (holding him back): No, don't!Rajesh ignores her and stands before the Dalek dejectedly.RAJESH: I er, I represent the Torchwood Institute. Anything you need, you... come through me. Leave thesetwo alone.DALEK SEK: You will kneel.RAJESH: What for?DALEK SEK: Kneel.Rajesh kneels. The surrounding Daleks direct their eye stalks onto him.DALEK SEK (CONT'D): The Daleks need information about current Earthhistory.RAJESH: Yeah well I can give you a certain amount of intelligence but nothing that will compromise Home Land security...DALEK SEK: Speech is not necessary. We will extract brainwaves.The three Daleksadvance upon Rajesh and position their suction arms around his head. Rajesh is showing the first signs of fear.RAJESH: Don't... I... I'll tell you everything you need. No. No!He shouts out in agony before the Dalekscrush his skull. Mickey makes towards him but Rose holds him back, knowing it's already too late.INT. TORCHWOOD, RIFT CHAMBERCYBERMAN 1: Scans detect unknown technology active within spherechamber.CYBERMAN 2: Cybermen will investigate.A Cyberman pushes two terrified members of staff roughly before him.CYBERMAN: Units 10 65 and 10 66 will investigate sphere chamber.CYBERMEN: We obey.INT.TORCHWOOD, RIFT CHAMBERThe Daleks let Rajesh's blackened corpse fall to the ground.DALEK SEK: His mind spoke of a second species invading Earth infected by the superstition of ghosts.ROSE: You didn't need tokill him!DALEK CAAN: Neither did we need him alive.DALEK SEK: Dalek Thay, investigate outside.DALEK THAY: I obey.INT. TORCHWOOD, CORRIDORTwo Cybermen march down a corridor to investigate the spherechamber.INT. TORCHWOOD, SPHERE CHAMBERDalek Thay leaves the sphere chamber.INT. TORCHWOOD, RIFT CHAMBERCYBERMAN: Units open visual link.INT. TORCHWOOD, CORRIDORThe two Cybermen clamp afist to the logos on their chests.INT. TORCHWOOD, RIFT CHAMBERA visual of the area occupied by the two Cybermen appears on Yvonne's laptop.CYBERMAN: Visual contact established.INT. TORCHWOOD, SPHERECHAMBERDALEK SEK: Establish visual contact. Lower communications barrier.A projection appears in the area previously occupied by the sphere, showing Dalek Thay's point of view. He meets with the twoCybermen.INT. TORCHWOOD, RIFT CHAMBERThe Doctor starts as he sees the Dalek for the first time on Yvonne's laptop.DALEK THAY: Identify yourselves.INT. TORCHWOOD, CORRIDORCYBERMEN: You will identifyfirst.INT. TORCHWOOD, RIFT CHAMBERDALEK THAY: State your identity.The Doctor is staring at the image on the laptop, like this is worse than he could have ever imagined.INT. TORCHWOOD, CORRIDORCYBERMEN:You will identify first.DALEK THAY: Identify!INT. TORCHWOOD, SPHERE CHAMBERMICKEY: It's like Stephen Hawkins meets the Speaking Clock.INT. TORCHWOOD, CORRIDORCYBERMEN: ...illogical, you willmodify.DALEK THAY: Daleks do not take orders.CYBERMEN: You have identified as Daleks.DALEK SEK: Outline resembles the inferior species known as \"Cybermen\".INT. TORCHWOOD, RIFT CHAMBERJACKIE (to theDoctor, scared of the answer): Rose said about the Daleks. She was terrified of them. What have they done to her, Doctor? Is she dead?The Doctor turns to her with frightening suddenness.THE DOCTOR (throughgritted teeth): Phone.JACKIE (whispers): What did you...?THE DOCTOR: Phone!Jackie surreptitiously hands the Doctor her phone so the Cybermen do not notice. The Doctor dials Rose's number and holds the phone tohis ear, obviously frantic with worry.INT. TORCHWOOD, SPHERE CHAMBERRose answers her phone, but cannot talk for fear of drawing attention to herself. The Daleks and the Cybermen are bantering all the while.INT.TORCHWOOD, RIFT CHAMBERTHE DOCTOR: She's answered, she's alive.Jackie claps her hands over her mouth.THE DOCTOR (CONT'D): Why haven't they killed her?JACKIE: Well, don't complain!THE DOCTOR: Theymust need her for something.INT. TORCHWOOD, SPHERE CHAMBERDALEK JAST: We must protect the Genesis Ark.INT. TORCHWOOD, RIFT CHAMBERTHE DOCTOR (hearing this through the phone): The GenesisArk?He puts on his 3D glasses and looks at the laptop again.CYBERMAN: Our species our similar, though your design is inelegant.INT. TORCHWOOD, CORRIDORDALEK THAY: Daleks have no concept ofelegance.CYBERMEN: This is obvious. But consider, our technologies are compatible. Cybermen plus Daleks, together, we could upgrade the Universe.DALEK THAY: You propose an alliance?CYBERMEN: This iscorrect.DALEK THAY: Request denied.The Cybermen immediately thrust their fists out, ready to shoot.CYBERMEN: Hostile elements will be deleted.They shoot at the Dalek, but the rays simply bounce off itsarmour.DALEK THAY: Exterminate!The Dalek aims at both Cybermen, one after the other, and they collapse onto the floor.INT. TORCHWOOD, RIFT CHAMBERCYBERMAN: Open visual link.INT. TORCHWOOD, SPHERECHAMBERThe Cyberman addresses the Daleks in the sphere chamber through the projection screen.CYBERMAN: Daleks, be warned: you have declared war upon the Cybermen.INT. TORCHWOOD, RIFTCHAMBERJackie's eyes widen in horror.INT. TORCHWOOD, SPHERE CHAMBERDALEK SEK: This is not war. This is pest control.INT. TORCHWOOD, RIFT CHAMBERCYBERMAN: We have five million Cybermen. How manyare you?INT. TORCHWOOD, SPHERE CHAMBERDALEK SEK: Four.INT. TORCHWOOD, RIFT CHAMBERCYBERMAN: You would destroy the Cybermen with four Daleks?!DALEK SEK: We would destroy the Cybermen withone Dalek. You are superior in only one respect.CYBERMAN: What is that?INT. TORCHWOOD, SPHERE CHAMBERDALEK SEK: You are better at dying. Raise communications barrier!The screen goes static.DALEK JAST:Wait!INT. TORCHWOOD, SPHERE CHAMBERTHE DOCTOR (clicking the phone off): Lost her.INT. TORCHWOOD, SPHERE CHAMBERDALEK JAST: Rewind image by nine rells.The Doctor is in frame in thebackground.DALEK JAST (CONT'D): Identify grid seven gamma frame.They zoom in on the Doctor.DALEK JAST (CONT'D): This male registers as enemy.Rose beams.DALEK SEK (turning on her): The female's heartbeathas increased.MICKEY: Yeah, tell me about it.DALEK SEK: Identify him.ROSE: All right then... if you really wanna know... that's the Doctor.The Daleks roll backwards sharply.ROSE (CONT'D): Five million Cybermen,easy. One Doctor? Now you're scared.INT. TORCHWOOD, RIFT CHAMBERCYBERMAN: Quarantine the Sphere Chamber. Start emergency upgrading. Begin with these personnel.Yvonne struggles and shouts as they dragher away.YVONNE: No, you can't do this! We surrendered! We surrendered!They begin to drag Jackie and the Doctor away too, but then :CYBERMAN: This one's increased adrenaline suggests he has vital Dalekinformation.Jackie screams back at the Doctor as she is dragged away and he shouts back over her, trying to reassure her.JACKIE: You promised me! You gave me your word!THE DOCTOR (as she is dragged out ofsight): I'll think of something!INT. TORCHWOOD, SPHERE CHAMBERDalek Thay enters the sphere chamber.DALEK THAY: Cyber threat irrelevant. Concentrate on the Genesis Ark.The black Dalek, Sek, presses itssuction arm to the side of the Genesis Ark.MICKEY (to Rose): Why are we being kept alive?ROSE (after a pause): They might need me.MICKEY: What? What is it?Rose is just staring at the Daleks, fear in her eyes.INT.TORCHWOOD, CORRIDOR / NEW OFFICESThe Cybermen have taken Yvonne and Jackie down to the curtained area. They are marching the personnel behind the curtains to be upgraded. The place is full of screamingand the sound of drills, sparks flying.JACKIE: What happens in there? What's upgrading mean? What do they do?YVONNE (looking and sounding slightly sick): I think... I think they remove the brain... sorry, um... Ithink they remove the brain and they put it in a suit of armour. That's what these things are. They're us.CYBERMAN: Next.Yvonne is dragged away.JACKIE (shouting after her): This is your fault! You and yourTorchwood. You've killed us all!YVONNE (shouting tearfully): I did my duty for Queen and Country.She wrenches her arm away from the Cyberman's grip and faces the area where the humans are being upgraded,steeling herself to walk in.YVONNE (CONT'D) (to herself): I did my duty. I did my duty. Oh, God. I did my duty.She walks in. Jackie winces at the sound of her screams and the sparks flying from behind the curtain.INT.TORCHWOOD, RIFT CHAMBERThe Doctor is sitting on the window sill in silence. A Cyberman approaches him.CYBERMAN: You are proof.THE DOCTOR: Of what?CYBERMAN: That emotions destroy you.THE DOCTOR:Yeah, I am. (Glances to the side). Mind you, I quite like hope. Hope's a good emotion. And here it comes.The Cyberman follows his gaze. A group of people dressed in black suits, wearing helmets and carrying gunsappear out of thin air. One of them shouts to the others and they shoot at a row of Cybermen, immediately destroying them. The Doctor rolls out of the way and crouches in a corner of Yvonne's office as the lastCyberman has his head blown off. The man responsible speaks to the Doctor in a familiar voice.JAKE: Doctor, good to see you again.He takes off his helmet, it's Jake. The Doctor's eyes widen.THE DOCTOR: Jake?!JAKE:The Cybermen came through from one world to another, and so did we.The Doctor stares at him, looking more concerned than pleased.INT. TORCHWOOD, CORRIDORA Cyberman drags a struggling Jackie along, butlets go of her as he speaks to one of his fellows.CYBERMAN 1: Cyber Leader One has been terminated.CYBERMAN 2: Explain, download shared files.Jackie takes this opportunity to sneak away.CYBERMAN 1: I will beupgraded to Cyber Leader.Jackie dashes down a back stair well as fast as she can.INT. TORCHWOOD, RIFT CHAMBERJAKE (to his group): Defend this room. Chrissie, monitor communications.The Doctor puts on his 3Dglasses, using them to look at the group.JAKE (CONT'D): Kill one Cyber Leader and they just download into another. Move!They hurry from the room to do as they're told, leaving the Doctor alone with Jake.THEDOCTOR: You can't just... just... just hop from one world to another. You can't.JAKE: We just did. With these.He chucks the Doctor what looks like a large yellow button on a chain, to be worn around the neck.THEDOCTOR: But that's impossible. You can't have this sort of technology.JAKE: We've got our own version of Torchwood. They developed it. Do you wanna come and see?THE DOCTOR: No!But too late, Jake's pressed thebutton and they both disappear.INT. PARALLEL TORCHWOOD, RIFT CHAMBERThey reappear in the same room, except it's considerably darker and looks as though there has been a recent struggle. There are wires andequipment strewn all over the floor.JAKE: Parallel Earth, parallel Torchwood. Except we found out what the institute was doing and the people's republic took control.THE DOCTOR (urgently): I've gotta get back. Rose isin danger. And her mother.PETE (walking in followed by two soldiers): That'd be Jackie.The Doctor looks up in surprise.PETE (CONT'D): My wife in a parallel universe. And as for you, Doctor, at least this time I knowwho you are.THE DOCTOR (running over to him): Right, yes, fine, hooray. But I've gotta get back. Right now.PETE (maddeningly calm): No, you're not in charge here. This is our world, not yours. And you're gonnalisten for once.The Doctor looks at him darkly, falling silent.INT. TORCHWOOD, SPHERE CHAMBERWhilst the Daleks are crowded around the Genesis Ark, Mickey shows Rose his own yellow button.MICKEY: I couldtransport out of here, but it only carries one and I'm not leaving you.ROSE: You'd follow me anywhere. What did I do to you all those years ago?MICKEY: Guess I'm just stupid.ROSE (squeezing his hand): You're thebravest man I've ever met.MICKEY: What about the Doctor?ROSE: Oh, all right. Bravest Human.They smile.MICKEY: Well, I can't think what the Daleks need with me. I'm nothing to them.ROSE: You could be...whatever's inside that Ark is waking up and I've seen this happen before.INT. DALEK CELLFlashback to 106. Rose, full of pity, places her hand on the Dalek's armour.ROSE (CONT'D) (voice-over): The first time I saw aDalek, it was broken. It was dying. But I touched it. The moment I did that... I brought it back to life.The Dalek wrenches free of its chains. End flashback.INT. TORCHWOOD, SPHERE CHAMBERROSE (CONT'D) (keepingher voice low): As the Doctor said... when you travel in time in the TARDIS, you soak up all this... um... background radiation. It's harmless, it's just there. But in the Time War, the Daleks evolved so they could use itas a power supply.MICKEY (gazing at her): I love it when you talk technical.ROSE: Shut up. If the Daleks have got something inside that thing that needs waking up...MICKEY: They need you.ROSE: You've travelled intime, either one of us would do.MICKEY: But why would they build something they can't open themselves?DALEK SEK (suddenly interjecting): The technology is stolen. The Ark is not of Dalek design.ROSE: Then whobuilt it?DALEK SEK: The Time Lords. This is all that survives of their Home World.The four Daleks are shuffling around the Ark.ROSE: What's inside?DALEK SEK: The future.Rose stares at the Ark and the surroundingDaleks with fearful apprehension.INT. PARALLEL TORCHWOOD, RIFT CHAMBERThe Doctor is pressed up against the white expanse of wall in the parallel Torchwood, squinting as if trying to hear something. Pete standsbehind him.PETE: When you left this world, you warned us there'd be more Cybermen. So we sealed them inside the factories.The Doctor steps away from the wall.JAKE: Except people argued. Said they were living. Weshould help them.PETE: And the debate went on. But all that time, the Cybermen made plans. Infiltrated this version of Torchwood, mapped themselves onto your world, and then vanished.THE DOCTOR: When wasthis?PETE: Three years ago.They stroll back down the room.THE DOCTOR: It's taken them three years to cross the void, but we can pop to and fro in a second. Must be the sheer mass of five million Cybermen crossingall at once.PETE : Yeah, Mickey said you'd rattle off that sort of stuff.THE DOCTOR: Oh, where is the Mickey-boy?PETE: He went ahead first. Any chance to go and find Miss Rose Tyler.THE DOCTOR: She's yourdaughter. You do know that? Did Mickey explain?PETE: She's not mine. She's the child of a dead man.Now they've reached the window. They look down at the scene below.PETE (CONT'D): Look at it. A world of peace.They're calling this \"The Golden Age\".THE DOCTOR: Who's the President now?PETE: A woman called Harriet Jones.THE DOCTOR (exhales): I'd keep an eye on her.PETE: But it's a lie. Temperatures have risen by twodegrees in the past six months. The ice caps are melting. They're saying all this is gonna be flooded. That's not just global warming, is it?THE DOCTOR: No.PETE: It's the breach.THE DOCTOR (irked): I've been trying totell you, travel between parallel worlds is impossible. Then the Daleks break down the walls with the sphere...PETE: Daleks?THE DOCTOR: Then the Cybermen travelled across, then you lot, those disks, every time youjump from one reality to another, you rip a hole in the universe. This planet is starting to boil. Keep going and both worlds will fall into the Void.PETE: But you can stop it, the famous Doctor...? You can seal thebreach?THE DOCTOR: Leaving five million Cybermen stranded on my Earth.PETE: That's your problem. I'm protecting this world, and this world only.THE DOCTOR (laughs softly, looks him up and down): Hm... PeteTyler... I knew you when you were dead. Now here you are, fighting the fight... alone... (Steps closer to him). There is a chance... back on my world... Jackie Tyler might still be alive.PETE: My wife died.THE DOCTOR:Her husband died. Good match.PETE: There's more important things at stake. (pleading). Doctor... help us.THE DOCTOR (backing away): What? Close the breach? Stop the Cybermen? Defeat the Daleks? Do youbelieve I can do that?PETE (confidently): Yes.THE DOCTOR: Maybe that's all I need. (grins). Off we go, then!INT. TORCHWOOD, RIFT CHAMBERThe Doctor, Jake and Pete appear. The Doctor rushes to the phone.THEDOCTOR: First of all, I need to make a phone call. You don't mind?JAKE (to the soldiers): You two, guard to door.Pete watches the Doctor as he hurriedly dials Jackie's number on the phone in Yvonne's office.INT.TORCHWOOD, STAIRWELLJackie is running down the stairs when her phone rings.JACKIE (answering the phone): Help me! Oh, my God, help me.INT. TORCHWOOD, RIFT CHAMBERTHE DOCTOR: Jackie, you're alive!Listen...He shushes her as she screeches hysterically down the phone at him.JACKIE : They tried to download me but I ran away!THE DOCTOR: Listen, tell me, where are you?INT. TORCHWOOD, STAIRWELLJACKIE (stillrunning down the stairs): I don't know! Staircase.INT. TORCHWOOD, RIFT CHAMBERTHE DOCTOR: Yeah, which one? Is there any... any sort of sign? Anything to identify it?JACKIE: Yes! A fire extinguisher!THE"}
+{"doc_id":"doc_79","qid":"","text":"THE SEEDS OF DOOMBY ROBERT BANKS STEWARTPART ONE6:00pm - 6:25pm[SCENE_BREAK]1, EXT: ANTARCTICA(The wind blows and the snow falls in the Antarctic region. Icebergs bob up and down within therough ocean. In blizzard-like conditions, a man with heavy-weather clothing is kneeling in the snow by a wall, digging with a small pickaxe. Another man joins him, wearing similar clothes. He kneels and communicateswith his companion, necessarily shouting because of the howling wind. The two men are Charles Winlett, and Derek Moberley, workers on an Antarctic research station.)MOBERLEY: Come on Charles, we've got enoughsamples, surely!WINLETT: This isn't ice - this is something else. Have a look.(He reaches down and extracts a small round object, frozen with ice and snow, but unrecognizable to both men.)MOBERLEY: What isit?WINLETT: Don't know! Let's get it back to camp.(They both stand up ready to leave.)[SCENE_BREAK]2, INT: RESEARCH STATION - LABORATORY(After an exterior shot of the research station, the round object isbeing examined on a table by the third member of the research team, John Stevenson. He scrapes away the excess ice to reveal a solid, rough, dark green pod or egg. Moberley and Winlett enter.)MOBERLEY: Animal,vegetable, or mineral?STEVENSON: Vegetable.WINLETT: Yes, that's what we thought.(Stevenson holds up the pod on a tray in front of them.)STEVENSON: The cutaneous creasing is unmistakable. When it's properlythawed out I can...confirm it with a cytology test.(Winlett is prodding the pod with a scalpel.)WINLETT: The skin looks as hard as iron.STEVENSON: Yes, it is a bit of a cannonball. How deep in the permafrost wasit?WINLETT: About the er... 9th layer.MOBERLEY: And that means it's been there for ooh...20 thousand years? What do you make of it, John?STEVENSON: Nothing at all yet.MOBERLEY (joking): Oh, and I thought youwere meant to be a botanist.STEVENSON: I've not seen anything remotely like it.WINLETT: It looks tropical to me, like a gourd.MOBERLEY: Oh rubbish Charles. If it's from the late Pleistocene period, it can't be tropical.It's a few million years since this part of Antarctica was rainforest.WINLETT: Oh that's the accepted theory. Discoveries like this have destroyed accepted theories before now. Isn't that right, John?(Stevenson is far lesscasual about the situation than the others. Without even listening to Winlett, he hesitantly touches the pod a few times with his finger. Winlett tries to get his attention but he seems distracted and confused.)WINLETT:...John?STEVENSON: ...hmm? Sorry.MOBERLEY: Is something wrong?STEVENSON: ...Don't you feel it?MOBERLEY: Feel what?STEVENSON: I don't know - there's something... odd...something...you don't feelit?MOBERLEY (laughing): It must be that rice pudding you had for lunch!(Winlett laughs, but Stevenson doesn't. He steps closer to Moberley.)STEVENSON: I'm not joking. ... It's alive. That's it. It's alive.MOBERLEY: Areyou serious?!STEVENSON: Yes.WINLETT: How can you tell?STEVENSON: I don't know - but I'm certain that this is a living organism.(Moberley breaks the intense atmosphere.)MOBERLEY: ...Yes well I think we shouldhave some coffee.WINLETT: Coffee and a game of three-handed crib. Come on!(He takes Stevenson around the shoulders and leads him off. Stevenson doesn't relax, and he turns back to look at the pod.)STEVENSON:I'll transmit pictures to London, they might have some idea.WINLETT: John, come on![SCENE_BREAK]3, INT: WORLD ECOLOGY BUREAU - OFFICE(A man in a suit is getting a file from a cabinet. He is Richard Dunbar ofthe World Ecology Bureau.)DUNBAR: Sir Colin insists that I show you these photographs which have just been received from my expedition.(As the camera follows him, it shows that it is the Doctor whom Dunbar istalking to. He is sitting on Dunbar's desk and he seems more interested in his yo-yo than what Dunbar is saying.)DUNBAR: Personally, I don't think you can help us.DOCTOR: Don't you? Well...(Dunbar reluctantly handshim the file. Dunbar looks around uncomfortably.)DOCTOR: Do sit down, Mr. Dunbar.(Unable to sit in his own chair as the Doctor would be almost on top of him, he walks all the way around the far side of the desk andsits in the chair usually provided for the visitors.)DUNBAR: These pictures have baffled all the experts. The only reasonable explanation seems to be that the pod is from some extinct species of plant.(The Doctor spinsaround to face Dunbar, he sits in Dunbar's chair and there is a bang as he rests his boots on Dunbar's desk. He doesn't look up from the file.)DOCTOR: Have you considered an alternative explanation.DUNBAR: Nameone.DOCTOR: Well...that it might have originated in outer space.DUNBAR (amused): My dear Doctor, if you've seen anything like that before, you must have a very powerful telescope.DOCTOR (unimpressed): Mr.Dunbar, how long is it since there was vegetation in Antarctica?DUNBAR: I thought you were the expert in these matters. Well as a matter of fact, that's one of the things our expedition is trying to discover. It wasfound fairly deep in the permafrost; say...20-30 thousand years under the ice...DOCTOR: Ssh. It might still be ticking.DUNBAR: What?(The Doctor suddenly seems interested and he stands up abruptly, walking aroundthe desk.)DOCTOR: A time-bomb, Mr. Dunbar, a time-bomb. Are you in contact with the expedition?DUNBAR: My superior, Sir Colin Thackeray has a daily video link. Ten minutes of satellite time.DOCTOR: Good. Tellthem to keep a constant guard upon the pod, and not to touch it until I arrive.DUNBAR: You're leaving immediately?DOCTOR: Why not? I've got my toothbrush.(He turns around and for some reason has a toothbrush inhis hand. He starts to leave but ducks back in for a few more words.)DOCTOR: Remember, no touch pod - could be dangerous.(He shuts the door. Dunbar stares incredulously after him for a while, then turns to his deskand picks up a phone.)DUNBAR: Sir Colin? Dunbar here. That chap you called in from UNIT - is he quite sane?![SCENE_BREAK]4, INT: RESEARCH STATION - LABORATORY(Stevenson measures the pod with a pair ofpincers. He looks worried about the measurement and mutters to himself. He gets up and goes to the door.)STEVENSON: Charles?WINLETT (oov): Yes?STEVENSON: Here a minute.(Winlett enters and they walk over tothe table to look at the pod.)WINLETT: What's up?STEVENSON: It's growing.WINLETT: Eh?STEVENSON: It's grown five centimetres since this morning.WINLETT: Are you sure?STEVENSON: Check it yourself if you don'tbelieve me.WINLETT: But it doesn't seem possible.STEVENSON: I knew there was still life there - I said so didn't I?WINLETT: But it's just a pod, I mean...no root system. How can it grow without feeding?STEVENSON:Sunlight, Charles - ultra-violet radiation.WINLETT: But plants need nitrogen.STEVENSON: I believe this is fundamentally different. ... We may be cultivating something that is going to...shatter all our ideas about plantgrowth.WINLETT: Yes, well er...don't get carried away John.(He gets up and starts to leave.)WINLETT: Remember what London said.STEVENSON: What do you mean?WINLETT: That we leave this thingalone.(Stevenson looks annoyed and walks over to Winlett.)STEVENSON: Until this Doctor character arrives, why should we? It's our pod.WINLETT: John, we're working for the World Ecology Bureau.STEVENSON: Ohhe's probably some old crank that Thackeray's dug up out of retirement! He'd have no more idea about the pod than we have.WINLETT: We'll soon find out, he's due in tomorrow.STEVENSON: And who needs him. It'sour discovery. The less said about it the better.[SCENE_BREAK]5, INT: CHASE ESTATE - NURSERY(There is a shot of a large mansion. Inside, a butler, Hargreaves, is showing a man into a nursery. The man is Dunbar.He carries a suitcase. They approach the main part of the nursery, where a small man in a suit can be seen with his back to them. Hargreaves announces Dunbar.)HARGREAVES: Mr. Dunbar, of the World EcologyBureau, sir.(Hargreaves leaves. Dunbar waits for the man to turn around. Harrison Chase, owner of the mansion, is a small eccentric man wearing a black suit and black gloves. Finally deciding to notice Dunbar, hewalks towards him.)CHASE: I don't think I've had the pleasure. And what is your bureau doing about bonsai?DUNBAR: Bonsai, Mr. Chase?CHASE: Mutilation and torture, Mr. Dunbar. The hideous, grotesque Japanesepractice of miniaturizing shrubs and trees. What is your bureau doing about that?DUNBAR: Well...I...CHASE: No answer. You are concerned about the fate of the blue whale, and the natterjack toad - and the loveliest,most defenceless part of creation; the great kingdom of plant life receives no protection at all.DUNBAR: We try to conserve all the endangered species.CHASE: I'm delighted to hear that, Mr. Dunbar. Of course you knowof my concern...my mission: to protect the plant life of Mother Earth?DUNBAR: I do, Mr. Chase - which is why I've come to show you something. A totally new kind of plant.(Dunbar opens his suitcase and retrievessome photographs.)CHASE (angry): Hybrids! A crime against nature!DUNBAR: No, not a hybrid. It's a mysterious unidentified pod recently discovered by one of our expeditions.(He hands the suddenly interested Chasethe photographs.)CHASE (excited): Where was this found?DUNBAR: There's a theory that it's floated through space from some other biosphere. The really important thing is, it may be still viable and able togerminate.CHASE: Mr. Dunbar. I asked you where this pod was found.DUNBAR: In the Antarctic. Now in our violent and uncertain world, Mr. Chase, anything could happen. Such a valuable specimen could easilydisappear...for a price?CHASE: Where in the Antarctic? I should want to know the precise location.(Dunbar gets an envelope from his pocket and hands it to Chase. Chase walks over and picks up a column-shapedobject, an intercom of some sort.)CHASE: Hargreaves?HARGREAVES (oov): Yes, sir?CHASE: You and Mr. Scorby please.HARGREAVES (oov): Certainly sir.(He puts down the intercom. He opens the envelope as Dunbarapproaches behind him.)DUNBAR: X marks the spot.CHASE: Forethought and initiative, Mr. Dunbar, two excellent attributes. We shall meet again very soon to discuss your...remuneration.DUNBAR: You're verykind.(There is a knock on the door.)CHASE: Come.(Hargreaves enters with a tall, tough-looking man.)HARGREAVES: Yes, sir?CHASE: Hargreaves, show Mr. Dunbar out.HARGREAVES: This way, Mr. Dunbar.(Theyleave.)SCORBY: You wanted to see me, Mr. Chase?CHASE: Yes, Scorby. I'm sending you on a little errand, and I want you to take Mr. Keeler with you.[SCENE_BREAK]6, INT: RESEARCH STATION - LABORATORY(Thepod sits in its place on the table. Winlett wakes up from a doze. He sips his coffee and puts the cup back down, resting his arm near the pod. He looks at it for a while, then slowly drops back to sleep. Suddenly the podstarts to crackle and it opens outwards. A long weed-like vine grows out from the pod and attaches itself to Winlett's arm! Winlett wakes up and is terrified. He struggles away from the table, seemingly in great pain,staggering and falling onto the ground.)WINLETT: Aaah...Derek...![SCENE_BREAK]7, INT: RESEARCH STATION - LIVING QUARTERS(Stevenson hears the scream and jumps off his bunk.)STEVENSON: Was thatCharles?MOBERLEY: What? What's happening?(They both hurry out to find Winlett.)[SCENE_BREAK]8, INT: RESEARCH STATION - LABORATORY(They find Winlett on the ground.)STEVENSON: Charles?(Stevenson rollsWinlett over onto his back, and alarmingly Winlett's face is now green and his skin is completely rough! His unconscious eyes stare out into nothingness.)[SCENE_BREAK]9, INT: WORLD ECOLOGY BUREAU - OFFICE(Inthe near future, Sir Colin Thackeray talks to Dunbar.)THACKERAY: This Telex from Stevenson, what do you make of it?(Dunbar picks up the piece of paper and reads it.)DUNBAR: 'Pod carries infection, Winlett seriouslyill, Medicaid needed urgently.' Could have been more informative, Sir Colin.THACKERAY: He probably doesn't know any more. I have ordered Medical Team to go to the base, but I understand the weather conditions arebad. It's bound to take at least a day or two.DUNBAR: The people from UNIT should be arriving now, perhaps they can help.[SCENE_BREAK]10, EXT: RESEARCH STATION(A helicopter begins to land near the base. Ashort time later, with heavy snow falling, Moberley comes out to greet the Doctor and Sarah. Moberley and Sarah are dressed heavily, while the Doctor has not changed his attire at all. Everyone has to shout over thewind and the noise of the helicopter.)MOBERLEY: Hello! So you made it! Welcome to the loneliest spot on Earth. You must be the Doctor.DOCTOR: Yes.MOBERLEY: We were expecting someone much older.DOCTOR:Well I'm only 749, used to be even younger!MOBERLEY: Derek Moberley.SARAH: Sarah Jane Smith. The young Doctor's assistant.DOCTOR: How many of you live here?MOBERLEY: Anything up to a dozen, but of coursewe're down to three at the moment. Let's get inside...SARAH: Yes.DOCTOR: Where are the others?MOBERLEY: Out at the South Bend (?) not 60 miles away, measuring the ice caps, if they're getting this kind ofweather they're welcome to it! Come on.(Much to Sarah's relief, they finally make it inside.)[SCENE_BREAK]11, INT: RESEARCH STATION - CORRIDOR(Sarah removes a glove and puts her frozen finger in her mouth towarm it up.)SARAH: How do you stand it?MOBERLEY: Oh, sometimes it gets quite warm. 10 degrees below freezing.SARAH: Crikey, I feel as though I've got frostbite already!MOBERLEY: I'll get you something hot todrink in a tick.(He turns to the Doctor.)MOBERLEY: Er, are you okay dressed like that, you don't seem to notice the cold.DOCTOR: I haven't come ten thousand miles to discuss the weather, Mr. Moberley; can I see thesick man?MOBERLEY: Yes of course, down this way.[SCENE_BREAK]12, INT: RESEARCH STATION - SICK BAY(The now almost unrecognizable form of Winlett is lying on a bed. The Doctor and Stevenson standnearby.)STEVENSON: He seems to be conscious, but he hasn't spoken a word since last night.DOCTOR: What's his body temperature?STEVENSON: Well that's the amazing thing. I've been trying to keep him warm butit's dropping hourly.DOCTOR: And the pulse rate?STEVENSON: His body temperature is 46; his pulse rate is 18 a minute. I'm no medical expert, but on those figures he should be dead, shouldn't he?DOCTOR: Iwonder.(The Doctor pulls back the sheet to reveal Winlett's body; no longer does he have human skin, and instead he is fully covered in green plant-like skin.)STEVENSON: Good grief! It wasn't like that an hourago.DOCTOR: Then it's accelerating. How long before a medical team arrives?STEVENSON: Well it's difficult to say in these conditions. Hopefully tomorrow.DOCTOR: I don't think that's going to be soon enough, Mr.Stevenson.[SCENE_BREAK]13, INT: RESEARCH STATION - LIVING QUARTERS(Moberley passes a cup of coffee to Sarah, who looks very cold.)MOBERLEY: There, that ought to warm you up.SARAH: Thanks.(She drinkssome coffee.)MOBERLEY: Better?SARAH: Mm. So you say you just found this pod lying there empty.MOBERLEY: Yes, and Charles in that state. Now does that make any kind of sense to you?(An alarm goes offnearby.)MOBERLEY: Would you excuse me? Radio.SARAH: Oh sure.(He gets up.)[SCENE_BREAK]14, INT: RESEARCH STATION - SICK BAYSTEVENSON: Have you any idea what it could be, Doctor?DOCTOR: Yes. That'swhy I came here.STEVENSON: I thought you came here to see the pod.DOCTOR: Exactly - before anything happened. Unfortunately it already has! Where's the lab?STEVENSON: I'll show you.(Theyleave.)[SCENE_BREAK]15, INT: RESEARCH STATION - LABORATORY(Moberley is on the radio.)MOBERLEY: Okay Mike, but try to get something moving, his condition is pretty desperate. Over.MIKE (radio): Understood.Out.(Stevenson and the Doctor walk in.)MOBERLEY: Bad news, John. That was Mike Wilson at South Bend. The medical team's turned back.STEVENSON: What about Charles? Did you tell them how bad heis?MOBERLEY: They were in white out conditions and their Snow Cat's fallen intro a crevasse. But Mike is in touch with the Royal Marine Survival Team - they might be able to help. They'll try again as soon as theweather lifts.STEVENSON: Well that'll be too late! He's dying! Isn't he Doctor?DOCTOR: No.STEVENSON: I thought you said in the sick bay...DOCTOR: It's more serious than death, Mr. Stevenson. He's changingform.STEVENSON: Changing form?DOCTOR: Yes. We need a blood test.MOBERLEY: I'm a zoologist - I could prepare a specimen slide if it'll help?DOCTOR: Yes it would help, thank you.MOBERLEY: Right.(He leaves. TheDoctor has only one word for Stevenson. He leans in closer and stares at him.)DOCTOR: Pod.STEVENSON: It's over here.(They move over and Stevenson picks up the tray with the opened pod on it. The Doctorexamines it.)DOCTOR (quietly, but furious): Why did it open? Why?STEVENSON: Well that...that could be my fault. It was frozen stiff when we took it out of the ice. I was certain there was still life there. I put in under alamp and it started to expand.DOCTOR: Mr. Stevenson, what you have done could result in the total destruction of all life on this planet.(Stevenson stares back in disbelief.)[SCENE_BREAK]16, INT: RESEARCH STATION- SICK BAY(Moberley takes the blood sample from Winlett. He puts it down and looks at the monster his friend has become. His condition is even worse than before.)MOBERLEY: Charles? We're trying our best Charles.Help's on its way.(He gets up sadly and with one final look back, he leaves.)[SCENE_BREAK]17, EXT: ANTARCTICA(A pickaxe is digging in the ice. It is the Doctor, covered in snow. Sarah and Stevenson watchnearby.)SARAH: Doctor? Doctor, what are we looking for?DOCTOR: Are you sure this is the place, Stevenson?STEVENSON: Yes, and if you told us what you were doing, perhaps we could help.(The Doctor doesn't evenbother to look up. He keeps digging until he finds something in the ice.)DOCTOR: Yes! Just as I thought!SARAH: Another pod!STEVENSON: How did you...Will there be any more?DOCTOR: No. They travel in pairs - likepoliceman.SARAH: What are we going to do with it - buy it a truncheon?DOCTOR: No. Take it into custody and keep it in the freezer.[SCENE_BREAK]18, INT: RESEARCH STATION - LABORATORY(Night time, Stevensonputs the pod into a big freezer.)STEVENSON: Well that ought to keep it cool.SARAH: Who sold you that, an Eskimo?STEVENSON: I know a freezer seems superfluous out here, but we do need it to keep snow sample in -until they're analysed.MOBERLEY (oov): Doctor?DOCTOR: Hmm?(Moberley is looking in a microscope.)MOBERLEY: Take a look at this blood sample.(The Doctor goes over to look.)DOCTOR: How's Winlett?MOBERLEY:Winlett. He's barely recognisable. It's as if he's turning into some sort of a hideous monster.DOCTOR: That's exactly what is happening, Moberley.MOBERLEY: Yes but there must be an answer.DOCTOR: You can justincrease the magnification...ah...yes! Take a look at that.(Moberley looks.)MOBERLEY: These aren't blood platelets?DOCTOR (to Stevenson): Do you recognise them?(Stevenson looks. He is shocked by what hesees.)STEVENSON: Schizophytes.DOCTOR: Exactly.STEVENSON: I don't believe it. It's not possible.SARAH: Would someone mind explaining what these schizophytes are please?STEVENSON: The smallest known livingorganisms. Plant bacteria.SARAH: Plant bacteria, in someone's bloodstream?DOCTOR: Interesting, isn't it. A human being whose blood is turning into vegetable soup.SARAH: Listen...(They hear the sound ofengines.)MOBERLEY: That's very low by the sound of it.STEVENSON: It's the medical aircraft. Quick Derek, get the landing strip (?) lights on.MOBERLEY: They won't see anything in this blizzard (?)(They go back intothe living quarters, their voices hard to hear over the engine noise.)[SCENE_BREAK]19, INT: RESEARCH STATION - LIVING QUARTERS(Moberley and Stevenson are getting dressed to go outside.)SARAH: Should wecome out and help you?MOBERLEY: No, John and I know our way around out there - it's easy to get lost.SARAH: Okay.MOBERLEY: You ready?STEVENSON: Ready.MOBERLEY: Right.(They leave.)SARAH: Will they beable to help that man?DOCTOR: I don't know Sarah. He's halfway towards becoming a Krynoid.SARAH: Krynoid?DOCTOR: Yes. A progression of the pod.SARAH: So you recognised it.DOCTOR: Yes, I was fairly certainwhen I saw the photographs. Now I'm sure.SARAH: Well, what is a Krynoid? I mean, what does it do?DOCTOR: I suppose you could call it a galactic weed. Except it's deadlier than any weed you know.SARAH: In what"}
+{"doc_id":"doc_80","qid":"","text":"THE ARMAGEDDON FACTORBY: BOB BAKER AND DAVE MARTINPart SixRunning time:25:09[SCENE_BREAK]DRAX: Over here, Doctor!DRAX: Doctor, over here! Look at that.DOCTOR: You shrank the wrong man,Drax.DRAX: No, I was aiming at you.DOCTOR: Why didn't you shrink the mute? The TARDIS door's open.DRAX: Right, I've got it. Now listen. One of us creates a diversion and you fly over there and shut thedoor.DRAX: Nasty. Yeah, and we can't use the dimensional stabiliser in here 'cos there's not enough room for when we get back to normal size. We'd just fill up the crack.DOCTOR: Like putty.DRAX: Do you mind? Yeah,you've got problems.DOCTOR: Yes. The door's open so the Shadow can go in there and take the Key to Time. Romana can't help and the time loop must be at breaking point by now.DOCTOR: When the countdownreaches zero, up goes Atrios, Zeos and all.DRAX: Life presents a dismal picture, you might say.DOCTOR: Yes, you might say that. And of course there's the Marshal.DRAX: The Marshal? He's on our side.DOCTOR:No.DRAX: No. Oh well. Where's he fit in?DOCTOR: He's in the time loop as well, making a rocket attack on Zeos. Unless, of course, Shapp and Merak get in contact with him.DRAX: Where are they?DOCTOR: Back onAtrios, I hope.[SCENE_BREAK]SHAPP: Atrios control to Marshal. Marshal? Come in, Marshal. Oh, it's useless. He either can't or won't answer. And this time loop device isn't going to hold things back for ever, isit.MERAK: No, not unless the Doctor can find the sixth piece, and the sixth piece is somehow connected with Astra.SHAPP: But she denies all knowledge of it?MERAK: All conscious knowledge, yes. But if she's the onlyone who knows then secret, and if the knowledge is implanted, then it must have affected her, made her different in some slight way that might just show up in analysis.SHAPP: Yes, but she's not here.MERAK: But herrecords are, on your computer.[SCENE_BREAK]MARSHAL: Fire![SCENE_BREAK]DRAX: Well, we've got one thing in our favour.DOCTOR: Oh?DRAX: Mobility.DOCTOR: Mobility.DRAX: Well, if we're only this high, we'repractically invisible, aren't we?DRAX: Except we daren't move.DOCTOR: Yes. If the Shadow gets the five pieces from the TARDIS, which he undoubtedly will, it's up to us to get the sixth piece.DRAX: Yeah, but you don'tknow what it looks like, do ya? I reckon you're banjaxed, my old son. End of the road. Finito.DOCTOR: The Shadow said I'd already seen it. It must be Astra.DRAX: Astra?DOCTOR: She must have it. Let's see where thiscrack leads, shall we?DRAX: It's better than getting the boot.[SCENE_BREAK]SHADOW: The Doctor has eluded me, but he has made his last mistake. See, the door is open! The Key to Time is mine! Enough!Bwahahahaha!ROMANA: He thinks we're just going to stand by and let him walk away with everything we've worked for. Come on, let's get out of here.ASTRA: In this place.ROMANA: What?ASTRA: My destiny is here,in this place. Not on Atrios, not on Zeos. Here.ROMANA: Astra, listen. You're not under the Shadow's influence any more. Now, let's get out of here before he comes back.ASTRA: No, I must stay. I am the sixth princessof the sixth dynasty of the sixth Royal House of Atrios.ROMANA: Yes, yes, but we must get out of here before the Shadow comes back!ASTRA: This is the time of my becoming, my transcendence.ROMANA: What areyou talking about?ASTRA: Metamorphosis.[SCENE_BREAK]DRAX: Yeah, here we are. Right, now, there's the T junction. Right down to the dungeon, left onto the Shadow's lair.DOCTOR: What? You mean there's a wayin he doesn't know about?DRAX: Well, it will be when it's finished, but a couple of midgets like us won't be much good on a pick and shovel, will we?DOCTOR: No. No, no. no. But if we get K9 up there, we won't need apick and shovel, will we. We can still give the Shadow a surprise.DRAX: Well, let's normalise then, shall we?DOCTOR: No, no, Drax, no. Small is lovely.DRAX: Big is better, though, innit?[SCENE_BREAK]SHADOW: Now,the moment I have waited for! Open the door.SHADOW: Light! Too much light! You, fetch me the Key. Hurry.SHADOW: When the Key is mine, I shall dispel the light, and darkness and night shall reign.SHADOW:Ah.[SCENE_BREAK]ASTRA: Destiny. My destiny is near.ROMANA: Astra, remember you're the sixth princess of the sixth Royal House of the sixth dynasty.ROMANA: And we're looking for the sixth segment of the Key toTime. Oh, you're in greater danger even than we imagined.[SCENE_BREAK]SHAPP: Have you found it?MERAK: I think so, yes.SHAPP: What is it?MERAK: A molecular anomaly buried in the genetic structure of the RoyalHouse of Atrios and passed from one generation to the next, until finally, Astra.SHAPP: What's it mean?MERAK: I imagine it means that her every living cell is part of this Key of Time, and that to save us, Astra must bedestroyed. You see?SHAPP: Hey, where are you going?[SCENE_BREAK]DOCTOR: Everything all right, K9?K9: Affirmative.DOCTOR: Control box in position?K9: Control box in position.DOCTOR: Batteries charged?K9:Affirmative.DOCTOR: Test the blaster, K9.DRAX: Ow!DOCTOR: Blaster working, K9?K9: Affirmative.DOCTOR: You all right, Drax?DRAX: Just about. That bit gets hot.DOCTOR: I'd sit somewhere else, if I were you.Ready, K9?K9: Affirmative.DOCTOR: Now remember, it's absolutely vital to convince the Shadow that you're still under his control. This whole plan depends on how well you can act. Got it?K9: Affirmative,master.DOCTOR: Keep it simple, K9.K9: The Doctor and Drax have been eliminated.DOCTOR: Okay, K9. Now forward. You're on.K9: Master.DOCTOR: Did you ever get to Troy, Drax? Little place in AsiaMinor.[SCENE_BREAK]MERAK: The third planet. Show me.[SCENE_BREAK]SHADOW: The fulfillment of that for which I have waited since eternity began.[SCENE_BREAK]K9: Preparing forblasting.[SCENE_BREAK]SHADOW: You see, Princess, you cannot escape your destiny.ASTRA: My destiny.SHADOW: It is for this that you were born. The sixth child of the sixth generation of the sixth dynasty of Atrios.Born to be the sixth and final segment of the Key to Time. Come, Princess, prepare yourself.ASTRA: I am ready.SHADOW: Ah!MERAK: Astra!SHADOW: What is this?K9: Apologies, master.SHADOW: You mechanicalidiot.K9: But there is an intruder here.SHADOW: I ordered her to eliminate him.K9: It shall be done.SHADOW: Wait. Where is the Doctor?K9: Ahem. The Doctor and Drax have been eliminated.SHADOW: Good. Thenthese two shall stay and witness my moment of glory, my apotheosis.K9: (quietly) Master.SHADOW: Mine at last!K9: Now, master.ROMANA: No, you'll break the time loop!MERAK: Millions will die!SHADOW: A smallbeginning. Bwahahahahaha!DOCTOR: The stabiliser, Drax, now!SHADOW: You interfering fool. No one can resist the power of darkness!DOCTOR: Quick, back to the TARDIS! Quick![SCENE_BREAK]DRAX: You go on,Doctor. I'll hold them off.DOCTOR: How will you get back?DRAX: The transmat shaft. See you on the TARDIS.[SCENE_BREAK]SHADOW: Stop him! He must be stopped! Stop him![SCENE_BREAK]DOCTOR:Good.ROMANA: Come on, Merak.DOCTOR: Come on, Romana. Merak, get inside!MERAK: No!DOCTOR: Quick, get inside, man!MERAK: No, Doctor, I'm staying here.DOCTOR: What!MERAK: I'm staying here to look forAstra.ROMANA: But what about the Shadow?MERAK: Astra! Astra!DOCTOR: No, Romana, come on.[SCENE_BREAK]DOCTOR: Set the coordinates for Zeos.ROMANA: We're murderers. First Astra and nowMerak.DOCTOR: Romana, it wasn't our idea to use the Royal House of Atrios as carriers, was it?ROMANA: No, but what happened to Astra was our fault. We're just pawns here to do the Guardian's dirty work.DOCTOR: Idon't like it any more than you do, but it's done. Have you set those coordinates yet?ROMANA: Is that all you can say? She was a living being, and now what is she? A component. And Merak thinks she's still alive. Nopower should have that right, not even the Guardians. We must do something!DOCTOR: Well, you could start by setting the coordinates for Zeos.ROMANA: Why?DOCTOR: Romana, you get carried away. If you don't setthose coordinates, millions of people will die and this time it really will be our fault. Have you forgotten the time loop?ROMANA: No, I hadn't forgotten the time loop. Can't you put the new segment in?DOCTOR: In lessthan a second?[SCENE_BREAK]DOCTOR: Quick, cutters. Cutters!DRAX: Here, what a mess in here.DOCTOR: Listen, Drax. Drax, don't just stand there. What colour?DRAX: Green, I think.DOCTOR: What?DRAX: Well,it's a long time since I done it. Er.ROMANA: Quickly, Drax.DRAX: Just a minute. Don't fluster me.ROMANA: Hurry!DRAX: I've got a diagram somewhere.DOCTOR: Drax!ROMANA: Drax!DOCTOR: Drax!DRAX:Right.ROMANA: Drax!DOCTOR: Drax!DRAX: Pyramid, green! I told you.DRAX: Well, you didn't have to make such a mess of it all.DOCTOR: Drax. You took your time. Where's K9?DRAX: We found young Merak lyingthere dead to the world. Carrying him slowed us right down.DOCTOR: Really. How is he?DRAX: Well, he'll live.ROMANA: Doctor.DOCTOR: Yes.ROMANA: Aren't we forgetting something?DOCTOR: I don't thinkso.ROMANA: The Marshal!DOCTOR: What? The Marshal.ROMANA: Come on!DOCTOR: Quick![SCENE_BREAK]MARSHAL: Fire!MARSHAL: Taste the moment of victory. Any second now, beautiful mushrooms will blossomand burst.MARSHAL: No! No, it's the wrong target![SCENE_BREAK]SHADOW: Sire. Sire. I have failed. The Doctor has accomplished his purpose. He has the Key to Time. I have failed.GUARDIAN: I expected no less ofyou, you whimpering wraith.GUARDIAN: But your death is already encompassed in my designs, for now the Doctor shall release the Key to me, and chaos shall break upon the universe![SCENE_BREAK]DOCTOR: Whata shot, Marshal! Ha, ha, well shot!ROMANA: Doctor, he hit the planet of evil and he was aiming at Zeos!DOCTOR: Well, I can't help what he was aiming at.ROMANA: What did you do?DOCTOR: A mere nothing. A meredeflective forcefield set up for a millisecond set up between the Marshal and Zeos, bounced the missiles smack onto the planet of evil.ROMANA: Is that all?DOCTOR: Yes.DRAX: Well, he might have told us, mightn't he,dog? We was expecting to get blasted into infinity.K9: Affirmative.DOCTOR: Well, I'm sorry about that. I don't know what I'm apologising for. I just saved your lives! Can I drop you somewhere, Drax?DRAX: No thanks.I've got a contract job on down there.DOCTOR: Contract job? No armaments, I hope.DRAX: No. Reconstruction, war damage, scrap and that. Me and the Marshal's going fifty-fifty.ROMANA: You and the Marshal?DRAX:Yeah, well, he's out of a job now, isn't he. I mean, no war, no job, so I took him on.DOCTOR: When did you arrange this?DRAX: In about half an hour's time, I should think.DOCTOR: I see. Fifty-fifty?DRAX: Well,sixty-forty, know what I mean?DOCTOR: Ah.DRAX: And if you ever want to get rid of that thing (the complete Key) just let me know, won't you.DOCTOR: I'll let you know. Bye, bye, Drax.DRAX: Right then. Byeall.ROMANA: Goodbye.DRAX: Remember me to Gallifrey.DOCTOR: Bye, bye, Drax.ROMANA: Goodbye.ROMANA: Right, I'll set the coordinates for Gallifrey, shall I?DOCTOR: Why Gallifrey?ROMANA: Well, that's wherewe're going, isn't it?DOCTOR: We have the power to do anything we like. Absolute power over every particle in the universe. Everything that has ever existed or ever will exist. As from this moment are you listening tome, Romana?ROMANA: Yes, of course I'm listening.DOCTOR: Because if you're not listening I can make you listen, because I can do anything.DOCTOR: As from this moment there's no such thing as free will in theentire universe. There's only my will, because I possess the Key to Time!ROMANA: Doctor, are you all right?DOCTOR: (normal) Well of course I'm all right. But supposing I wasn't all right. This thing makes me feel insuch a way I'd be very worried if I felt like that about someone else feeling like this about that. Do you understand?ROMANA: Yes.DOCTOR: What do you understand?ROMANA: That the sooner we hand this over to theWhite GuardianBOTH: The better!GUARDIAN (on scanner): My congratulations to you, Doctor.DOCTOR: Oh, thank you, sir, thank you.GUARDIAN (on scanner): You performed your task with admirable dispatch. Theuniverse has much to thank you for.DOCTOR: Well, it was a pleasure, sir. Wasn't it a pleasure, Romana?ROMANA: Doctor, that's not the President.DOCTOR: What's the President got to do with it?GUARDIAN (onscanner): I can change my form or shape at will, my dear child. I appeared to you as the President so as not to alarm you.DOCTOR: Just be careful who you're talking to.ROMANA: Sorry, IGUARDIAN (on scanner): Youhave the Key to Time, Doctor?DOCTOR: Ah. Oh, I have, I have indeed, sir. Do you like it?GUARDIAN (on scanner): Do I like it? Yes, yes, I suppose you could say that I like it.DOCTOR: Yes, we're very proud of it, sir.Aren't we, Romana, proud of it?ROMANA: What? Oh, yes, yes.DOCTOR: What happens now, sir? You said, if I remember in our first conversation, that once it was assembled it would stop the entire universe and enableyou to restore the natural balances of good and evil throughout the whole of the universe.GUARDIAN (on scanner): That is correct, Doctor. So, will you release the Key to me that I may do this?DOCTOR: Certainly, sir,yes, certainly, of course. Key to Time, I command you. Could I ask you something, sir?GUARDIAN (on scanner): Yes, Doctor?DOCTOR: It's just that, well, the Key is already assembled, sir. I mean, couldn't you restorethe balances now?GUARDIAN (on scanner): Yes, Doctor, but I must have the Key for safe keeping. It is an awesomely powerful key.DOCTOR: Oh yes, sir, yes, and mustn't be allowed to fall into the wrong hands. I quiteunderstand, sir, yes. Key to Time, I command. What about the sixth segment?GUARDIAN (on scanner): What about it, Doctor?DOCTOR: Well, I mean, as you know, sir, the sixth segment was in fact a human being, andI mean, if the pieces are maintained in their present pattern it means that she'll be imprisoned forever, sir.GUARDIAN (on scanner): That is, of course, regrettable.DOCTOR: Very regrettable.GUARDIAN (on scanner):But with the fate of the universe at stake.DOCTOR: Quite. You can't be too careful. I quite understand. Key to Time, I command that you stay exactly where you are!GUARDIAN (on scanner): Doctor! You have fullyactivated all the TARDIS' defences!DOCTOR: We can't be too careful, can we? And it would be a terrible tragedy for the universe if it suddenly turned out that I was colour blind.GUARDIAN (on scanner): Doctor, releasethe Key to me immediately!DOCTOR: Unable to distinguish between the White Guardian and the Black Guardian.ROMANA: Doctor, what do you mean?DOCTOR: Look.DOCTOR: Don't you see? The White Guardian wouldnever have had such a callous disregard for human life.ROMANA: Of course. Astra, the sixth segment. He would have dispersed it immediately.GUARDIAN (on scanner): Doctor, you shall die for this!DOCTOR: I thinknot. Remember, the Key to Time is still mine, rage all you like.GUARDIAN (on scanner): I shall destroy you for this! I will disperse every particle of your being to the furthest reaches of eternity!DOCTOR: Ah well, I wishI could stay and watch you try, but you know how it is. Places to go, people to see, things to do. Romana?ROMANA: Yes?DOCTOR: When I give the signalROMANA: Yes?DOCTOR: Dematerialise.DOCTOR:Now![SCENE_BREAK]ASTRA: Hello, Merak.MERAK: Astra? Astra, where are you?ASTRA: I'm here.MERAK: Astra.[SCENE_BREAK]DOCTOR: You see? I think of everything.ROMANA: Doctor?DOCTOR: Hmm?ROMANA:What exactly have you done with the Key to Time?DOCTOR: Key to Time? Oh, well, I just scattered it round through space and time.ROMANA: I see. So where are we going?DOCTOR: Going? I don't know.ROMANA: Youhave absolutely no sense of responsibility whatsoever.DOCTOR: What?ROMANA: You're capricious, arrogant, self-opinionated, irrational and you don't even know where we're going.DOCTOR: Exactly.ROMANA:What?DOCTOR: Well, if I knew where I was going, there'd be a chance the Black Guardian would, too.ROMANA: Oh.DOCTOR: Hence this new device.ROMANA: What is it?DOCTOR: Well, it's called a randomiser and it'sfitted to the guidance system and operates under a very complex scientific principle called pot luck.DOCTOR: Now no one knows where we're going. Not even the Black Guardian.ROMANA: Not even us."}
+{"doc_id":"doc_81","qid":"","text":"Bull: I'm Dr. Jason Bull. I'm not a lawyer. I'm an expert in what's called trial science. I study the jury's behavioral patterns. I know what they're thinking before they do. Everything my team learns gets plugged into amatrix, which allows us to assemble a shadow jury that is scary in its predictive efficiency. The verdict you get depends on me. And that's no bull. Don't tell me plane crashes are bad luck. You think that Malaysia flightjust disappeared? Statistically, flying is still the safest way to travel. It's a business, isn't it? They need to be held accountable. You have to trust the pilot, but... it's a leap of faith. You get on a plane without a secondthought. But you have no idea who's flying it.(thunder rumbling)(plane rattling)Flight attendant: Ladies and gentlemen, we'll be starting our descent into Albany in just a few moments.(crying)Flight attendants will becoming through the cabin to pick up any last-minute trash items. As a reminder, we're entering some rough air, so please remain in your seats with seatbelts fastened.(plane continues rattling)Ma'am.(sniffles)You reallyneed to take your seat. I'm so sorry. This needs to be up, sweetie.(rumbling grows louder, passengers gasping)(passengers screaming)Benny: It's a simple question, Mr. Stowman.Vince: In the world history of stupidquestions, that is the stupidest question.Marissa: Our client just torpedoed jurors two and eight.12 thinks he's a rebel. Lifelong fan, but I...Vince: w*nk*r.Marissa: There goes 12.Vince: No further questions. This is afterthree days of witness prep. We've seen worse. Maybe once. This is getting very tiresome, Dr. Bull. Hey, hey. I totally get it. You had a monster hit, and some one-hit wonder comes out of the woodwork and says youstole the hook to his song? It's your song. That's right. And it hurts, Dr. Bull. It hurts. I know it hurts. And that's why we're gonna prove that it took you ten years to write this song. And that it comes... (hits chest) fromyour soul.(quietly): I know it's about the collapse of your first marriage. And I'm sorry. But you see these people? They're the jury. They're normal, everyday folks who come home one day, open their mail, and theyhave a jury summons. They're like my fans? That's exactly what they are. They're the same people who throw panties on stage and cheer for you. And you got to see them like that. You got to talk to them likethat.Marissa: Bull? Rock on. Go get 'em.Marissa: Bull. All right. Sir Vincent needs a fresh jury. Thank you guys very much. Bull.News anchor: In the storm, Essence Airlines Flight 1372 went down approximately threemiles from Albany Airport. As you can see from the wreckage behind me, all 62 passengers are presumed dead. The president of Essence Airlines is on the line. Call back.(newscast continues)Hamilton-Sena and theusual airline litigation firms are calling to sign us up. Crash is less than an hour old, and the vultures are already circling, huh?Bull: Missing the runway does seem to inspire lawsuits. Sorry, I'm still the new guy, but...you handled aviation suits before? Every crash in the last ten years. And, uh, Bull's a pilot. Maybe it's because I'm a pilot. Just spoke with a former colleague from the FBI. Was it...? Wasn't terrorism. Tried to land in astorm with wind shear.News anchor: A shocking new development, a miracle perhaps. The nose cone of the plane was severed from the fuselage upon impact. Sources tell us that one of the pilots was pulled from thecockpit alive. Never heard of a pilot surviving a crash. On a crash like this. Before we sign any client... Victim or airline... We're gonna talk to this pilot.(sighs)Man: Essence Airlines and supporting industries have allbeen named in a separate wrongful death filing.The pilot is also being sued.(reporters clamoring)There are security concerns, because of death threats. What's the pilot's status? Thank you. That's all for today. If youneeded any convincing lawyers are overpaid, the firm owns 18 floors of prime New York real estate. Best behavior, Dr. Bull. It's a pleasure to meet you, Capt... Captain Mathison. I'm glad you fully recovered. Dr. Bull,thank you. I can't say the last four months have been easy, but I'm here. Oscar Weber. I'm her attorney.(chuckles): Oh! Gosh, yeah. I've heard so much about you, Oscar. Thanks for taking an interest in this case, Dr.Bull. Not sure there's a need here for what you do. Getting the truth? Winning? We may not even take this case to trial. Captain Mathison here has been charged with gross negligence. If she were to lose in court, shemay be facing criminal charges.Taylor: Dr. Bull, how did you know I was Captain Mathison and not him? Well, you don't bounce when you walk. So clearly you're former military, and you're wearing aviator sunglasses,so I figured... pilot. Plus, one look at Oscar, and... there's no way he's a pilot. All right, let's go hear this flight recording.Taylor (over computer): Passing outer marker, ILS Approach 1-6, good to land.Man: Radarcontact, cleared to land runway 1-6. Ceiling 2-0-0. Visibility one-quarter mile, wind one-niner-zero, variable 25 gust... Tower Albany to Flight 213...Electronic voice: Wind shear. Wind shear.Copilot: Wind shear, loss 20knots.Taylor: Cross-control 0500.(urgent chatter)Can't... What are you doing?Taylor: Throttle's up! On the go... got to take it around! Full power, full power... That's not protocol.Taylor: Clean it up, full power!Electronicvoice: Terrain... Pull up. Terrain... pull up.Taylor: Five more seconds! Brace! Brace!(sustained beep)Man: Tower Albany, I've lost them off-screen.You need a minute? I'm okay. Sounds like you did the best you could ina hell of a storm. I considered flying on to Boston early on, but the storm was worse there, so... We started our descent, and... (sighs) we hit a massive wind shear.Weber: The challenge is gonna be the NTSB report. Itsays... Captain Mathison failed to follow emergency protocol and lost control of the plane.Marissa: The NTSB says 80% of crashes are caused by pilot error.Bull: It's not exactly a fair fight when the pilots usually aren'taround to defend themselves.Weber: The flight recorder backs up the report. A jury is going to be inclined to believe it. Unless someone bothers to give them a credible alternative explanation. Her own copilotquestioned her decision. And you can read the mind of a dead man? Good for you, Oscar. Do you think you lost control? I don't remember. I wish I could tell you why I did what I did that day, but it just...Weber: To mypoint, the plaintiffs are gonna find that very convenient. She had six broken ribs. And a severe concussion. Memory loss does happen with head trauma. You were in the military? I flew 139 sorties over Iraq. Got over12,000 flight hours. So what's the last thing you do remember? The wind shear alarm. Then I woke up in the hospital. They told me everyone on the flight... And there were no survivors. And you feel responsible. Myplane went down and I lost 62 souls. Of course I feel responsible. I am responsible.Weber: Taylor, no one wants to see you endure a long, difficult trial. Let me work with the airlines. We can hash out a settlement forthese families. Lord knows what a jury is going to come back with. We'll know. Excuse me? We'll know what a jury's gonna come back with. We'll know because that's what we do. That's what trial science is. Andsomething to remember, Mr. Weber. Just because Taylor feels responsible doesn't mean she's to blame. Captain Mathison, I'd like to take your case. Huh. Okay, s-so what do we do next? My team and I go to work. Ididn't sleep for a week after that plane went down. I was lead mechanic on the gate that day. Couldn't help but wonder if I'd missed something. How you sleeping now? Eight hours a night. Look, I did all my preflightchecks. The NTSB was all up in here and they still cleared my crew. The plane wasn't ten years old. There was barely a grease spot on the repair log. So it was okay to fly. Waxed and ready to go. Well, that report saidthat the pilots did their own inspection before takeoff. Why is that? They're required to do a walk-around. But it wasn't both of them that day, it was just the copilot. Is that standard procedure? It's always the copilot.She did her walk-around like she was supposed to. What do you... what do you mean \"she\"? There are lady copilots. Well, the lady wasn't the copilot on that flight. She was the captain. I mean... Damn.Judge: Ladiesand gentlemen of the jury, have you reached a verdict? Guilty of gross negligence. Verdict. Guilty. Guilty.Marissa: We've questioned all of our mock jurors, and they've all found Captain Mathison guilty. Let me work onher image. Maybe we're sending the wrong message. I have some ideas that could balance her military edge. Worth a shot. We varied our emphasis on her military record, her stellar pilot rating, nothing's changed theoutcome.Judge: Mr. Foreman, have you reached a verdict?Foreman: We have, Your Honor. In the case of Berman et al. v. Mathison, we find the defendant not guilty. Not guilty? That's amazing. How'd he do that? It isamazing. All we had to do was adjust one basic assumption about the case. Which one? Meet our client, Captain Taylor Mathison. Uh, ladies and gentlemen, all this case needed was a man's touch.(clicks tongue)Sorry.I'm just the messenger. Not the misogynist.Benny: So, juries are finding her guilty because she's a woman.Marissa: But the data shows that when it comes to female pilots, there is a clear gender bias. Yeah, but it's not1977. There are women in power everywhere. Well, it's subconscious. Things people aren't even aware of, like getting the door for a woman.Bull: Benny's always been chivalrous.Cable: I don't get it. Is it really difficultto open a door? It's back to where women wore farthingales.(chuckles): Farthingales. What's a farthingale? It's basically like wearing an upside-down umbrella. All right, my point is we have to dial gender bias intoTaylor's defense. Which is? Which is... ...an unavoidable wall of wind tragically brought down Flight 1372, and not even the skills of a great pilot could save them. Okay. All right, I'm gonna play devil's advocate. How dowe prove she didn't lose control of the plane if she can't even remember what happened? Start with the flight recorder. Yeah, about that. You're aware that it only covers the last 30 minutes before the crash?Chunk: Myphone holds 1,000 hours of music, but a black box taps out halfway through a Wayne Newton album? I tap out halfway through a Wayne Newton album. Black box is only a piece of the puzzle. Okay, Danny, I want aplay-by-play in the 24 hours of Taylor's life before the crash. And, Cable, focus on the flight itself. Fill in the blanks. Danke schoen. That's a Wayne Newton reference for your benefit, Chunk.(sighs)Bull: Cute kids.I takeit you and your copilot were close. Yeah. Ken and I were best friends. Mary and the kids are like family to me. They miss their father. It's hard for them to understand why I came home and he didn't. And Mary's mad atme. Been sitting here over an hour, and she's barely said a word. I don't know, sometimes I think she... blames me for Ken's death. Or maybe I'm just a reminder of what happened. You know, those families, they actlike I don't care about the victims, but... I think about those people every day. The void they left. The futures they don't get to have.I just keep asking myself: did I panic? You know, did I, did I, did I take a maneuverthat was too risky? Taylor, something tells me you didn't. Women drivers. We've all heard the expression. Maybe even said it in the heat of the moment, even though female drivers have a higher safety record thanmen. Care to watch the mock trial? No, thanks. I'm, uh, looking for my client. You know, he really should be talking about her record as an Air Force pilot. He will, but first we need to call out the bias. Once people aremade aware, they tend to compensate. You did one mock trial and determined that the whole world has it in for female pilots? We did five. And it's not a conspiracy. Implicit bias literally means you don't know it's there.So, you strike all the male jurors? No, because women display as much gender bias as men do. Hmm. Can you scare me up a cup of coffee? No, it's fine. I was just about to grab myself a cup. Okay, great. Look, I knowDr. Bull has three PhDs in psychology, but he's not an attorney. And there are so many unknowns to overcome at trial. We're just getting started. By the end of this process, we will know which types of jurors we wantand which to exclude. All I know is, if Taylor is smart, she will settle with the plaintiffs and make this whole thing go away.Benny: Is a decorated Air Force fighter pilot, who flew 139 sorties over Iraq. Where's thedouche? Looking for Taylor. Did you spit in this? No. But don't drink it.Chunk: You're in the spotlight the minute you walk into the courtroom. Dr. Bull says I need to look strong, but not aggressive, confident, but notarrogant. Well, blue conveys confidence. And navy adds a sense of remorse. I like your style. Thanks. How did you end up here? I arrived via Vogue magazine. Really? Mm-hmm. Weren't you a defensive back forGeorgia? Well, I was that, too, before I was this. I knew it. You almost won the Heisman. Weren't you gonna go pro? Draft didn't work out too well for me. Why isn't she in her uniform? Oh, we can do that, if you wantto make this look like a military tribunal. In court, we want her to look like a human being, not a pilot. Mr. Weber, I heard you were in the office. Taylor, I know Dr. Bull has convinced you that he has some sort of magicformula that will make a jury see past the facts and exonerate you. Chunk, would you give us a second? And, uh, tell Benny I need to see him. Mm-hmm.Weber: While Dr. Bull has been searching for biases, I've been intouch with the airline, who are negotiating a settlement with the plaintiffs. A settlement? Yes. It's a very generous offer to the victims' family, as it should be, and it protects you from any financial liability. What do youneed from me? I need you to agree to the findings of the NTSB report.Bull: The report that finds her at fault. A-And if I do that, I'll be reinstated? Well...Bull: No. Fired. And unemployable and never able to fly again.She killed 62 people. No, Oscar. An airplane crash killed 62 people, not your client. Marissa mentioned you were pushing for a settlement. That struck her, because even though she's a woman, she's quite good withnumbers. So, she had Cable, also a woman, also good with computers, do some digging. It seems that your contract with Taylor stipulates the less the airline pays the families, the more your firm makes. That seemslike a conflict of interest, but then again, you have all that office space to pay for. That's why I hate lawyers. That's my... bias. So you have a financial incentive for me to settle? It's called a reverse contingency fee. It'show the airline controls damages. That, and by blaming you. Taylor. This is in your best interest. Do not let him twist this. Can I fire my attorney? Of course you can. Especially since he was supplied to you by theairline. You're relieved, Mr. Weber. See how easy that was? Dr. Bull, you're a piece of work. I like those glasses. Dr. Bull, I can't afford my own attorney. It's all right. We have someone. The best, really. Hey. What's upwith Weber? Looked pissed. Captain Mathison, meet your new lawyer. Is this normal? For you to sub in for a real trial? It's been about a year since I've been inside a real courtroom. What kind of law did you practice? Iwas a prosecutor in the D.A.'s office. Yale Law, Supreme Court clerkship. He was a pit bull. If I were on trial, Benny's the only lawyer I'd want. Why did you leave? I got fired. Wait till you hear why.(gavel bangs)Allright, prospective jurors have been sworn in. Mr. Dworkin, you may begin your voir dire. Thank you, Your Honor. Ladies and gentlemen of the jury, I'm going to ask all of you some questions to see if you can honestlyand fairly assess this case. This trial is a suit over...Taylor (quietly): How do you know who has this bias against female pilots? We ask them.Marissa (over earpiece): Okay, we have six strikes left. Who's up first? Thelovely Martha Plemmons. Martha Plemmons, 58. High school librarian. Crossword enthusiast.(quietly): The key is not to let anyone know what we're screening for, so our questions have to be a little off.Benny: Ms.Plemmons... what would someone say they didn't like about you? Your Honor, this isn't a job interview. What's the defense going for here? It's his nickel, Mr. Dworkin.(whispers): Please. I-I guess I can be a little pushysometimes.(laughs)I accessed the district's HR department. Martha's filed two complaints for equal pay against a male counterpart. I think she nailed \"a little pushy.\"Marissa: Yeah, and self-aware. That means she'd beopen to assess her own hidden bias on gender.Bull: Two complaints for equal pay sounds pretty aware of gender bias. She only has 47 friends. I don't think she's gonna win Miss Congeniality on this jury.Bull: We don'tneed her to. She'll have an opinion and stick with it.The question is: will her opinion help or hurt us?Cable: I'd say help. Her last book purchase was Sheryl Sandberg's Lean In. She gave it five stars. That is key. If wecan establish a gender bias against Taylor, Martha is gonna resent the airline big-time.Bull: Yeah, I've been watching her. Every time she looks at Taylor, she has admiration. She'll be on our side. Good for the defense,Your Honor. Okay, let's do an online search together. \"Three black teenagers.\" But if I change \"black\" to \"white...\" Your Honor, what is this? Race-baiting? Anybody surprised by this? That's just some PCnonsense.[SCENE_BREAK]Cable: This guy would win troll of the year for the things he posts online.Marissa: Mr. Varni is not what I would call enlightened. He's not gonna recognize gender bias if it was full frontal infront of him. I say bounce. Strike, Your Honor. All right, let's talk about Dave Lemanski.Marissa: Professional storm chaser. Should be respectful of the power of Mother Nature, but... also a self-described expert. Well, atleast he'll understand the effects of wind shear. Yeah, uh, he may not be afraid of a Tennessee twister, but he seems to run from the opposite s*x. Surprise, storm chasing's a total sausage fest.Bull: I'm looking at hisbody language. He's not a happy camper. He's antsy just sitting through voir dire. Okay, the data on Lemanski is mixed. On the plus side, he will pay attention to weather conditions during the crash, but it's unclear thathe'll recognize his gender bias. Who do we have if we bounce him?Cable: We get... \"Rod the Bod,\" trainer-slash-model-slash-vitamin salesman.Marissa: Uh, Rod's social media is loaded with narcissisticself-congratulatory dude speak. I saw him checking out a young lady in the gallery. The guy's here to find a date. Total lack of awareness. He's gonna be a huge problem for us. Okay. Into the storm we go. We've gotourselves a jury.Marissa: Seven women, five men.Benny: Good for the defense, Your Honor. I'm a high school librarian. I'm a high school librarian. I'm a single mom and teach fifth grade. I'm a single mom and I teachfifth grade. My favorite hobbies are Sudoku and model trains. My favorite hobbies are Sudoku and model trains. For every juror, we hire what we call a \"mirror juror.\" How can they be exactly the same? Well, Marissa'screated an algorithm that can track a person across 404 different variants. We put them in the courtroom for the entire trial.Marissa: They wear biometric watches that allow us to track their emotional responses toevents in the courtroom. And with an astonishing degree of accuracy, they respond just like the actual jury. Here we have a dermatologist, a Spanish teacher, and a Web designer. We've identified them asopen-minded. Lemanski is impulsive, a self-described expert... Could go either way. But these four are followers. They'll go with the wind. And what about those two? That's Frederick West, infantry soldier. All aboutpersonal responsibility. But if he senses you're making excuses, we'll lose him. Orville Maynard, on the other hand... retired English professor. Didactic. Despite a history of celebrated liberal causes, his personal syllabusreads like a tribute to dead white men. And he's spent his career lecturing, not listening. (sighs) So what do we do? We learn their habits, lexicon, everything about them. And then we connect with them, with the helpof our mirror jurors. One juror at a time.Dworkin: It is tragic that the lone survivor of this crash is the only one here to speak of it. It's even more tragic that she has no memory of what she did. Of losing control of aplane, before smashing it to the ground killing all 62 passengers.Marissa: We're getting good feedback from the biometric watches. So far, our mirror juror for number 11 is responding most favorably to opposingcounsel, particularly when they mention the number of victims.Benny: Captain Taylor Mathison is a decorated Air Force fighter pilot who flew 139 sorties over Iraq.Bull: Juliette Lee scratched her neck after she looked atTaylor. Something's making her uncomfortable. How's her mirror looking? She is clearly liking Taylor's military service. Looks like our best in with Juliette is to keep focusing on Taylor's experience as a fighter pilot. So"}
+{"doc_id":"doc_82","qid":"","text":"Outside the jailSean: Hey sight for sore eyes.(Sean walks out and hugs Emma.)Sean: Ah yeah.(They kiss.)Sean: I'm free all thanks to you.Emma: All I did was help you get a lawyer.Sean: You got me a hearing. Yougot my sentence reduced.Emma: And two years of probation.Sean: Whatever. I'm out. Now we can be together. The perfect girl and the guy who doesn't deserve her. Man I missed you.(Emma kisses him.)Emma: Imissed you too. A lot.Sean: Yeah? I also missed bacon double cheeseburgers with the works.Emma: I see jail hasn't turned you vegetarian.Sean: Sorry. Been dreaming about it for months.Emma: I guess I could putmy carnivorous objections aside just this once, but first it's present time.(She hands him the picture that Spike took of them on their first date.)Sean: Is that really us?Emma: Six uber long years ago.Sean: Sometimes Iwish I could stop time. Go back.Emma: To bad hair, braces and general pubescent awkwardness? No thanks.Sean: Back to a time when you were proud of me.(Emma runs her hand through his hair and touches hisface.)At Emma's houseMr. Simpson: So how was the sofa? Not too lumpy?Sean: No it was great. Thanks. I really appreciate you guys letting me crash here until I get back on my feet.Spike: What are your plans nowthat you're out?Emma: Already with the grilling?Spike: I know you two are more than just friends Em. A mother gets to ask.Sean: That's cool. Jay is hooking me up with his boss. Apparently they need a newmechanic.Mr. Simpson: What about school? Have you given any thought about coming back to Degrassi?Sean: I got expelled.Mr. Simpson: Well maybe I could talk to her.Sean: No. I mean no thank you. I really don'twant to set foot in that place again.Emma: Tell them about Cameron's Custom Cars.Sean: Someday I want to open up my own shop.Mr. Simpson: That sounds like a fine plan if you can find a bank manager who'swilling to lend money to a high school dropout.Spike: Couple that with your record.Emma: Mom it's his first day out of jail. Can you go easy, please?Spike: Sorry. We're really glad you're here Sean.Mr. Simpson: Andwe're sure you're gonna figure it all out. Your life I mean. You've got lots of time for that. In the hallway(Danny and Derek are running in the halls and they run right into Mr. Perino, spilling his drink and breaking hismug.)Mr. Perino: Hey! How many times have I told you guys no running in the halls?!Danny and Derek: Sorry Mr. Perino.Mr. Perino: Sorry? Look at me! Look at my shoes. They're ruined.Derek: (under his breath) Sobuy some new ones.Mr. Perino: Are you sure you want to use that tone with your teacher? Believe me you don't want me to make your lives difficult.Mr. Simpson: Guys go get the mop from the janitor. Clean this messup, capiche? Go.Mr. Perino: Smart asses, you know? They drive me crazy.Mr. Simpson: Just uh try to remember they're just kids. Right Dom?(He walks away without saying anything.)Mr. Simpson: Dom!At thegarageTony: Engine runs out.Sean: It's loose timing chain.Tony: Shimmy in the steering. You know how to fix it?Sean: Yeah. You machine the front rotors.Tony: Jay was right. You know cars.Sean: Cars are my life. Youknow, if you know how they work, they never let you down.Tony: Spoken like a true mechanic. Tell you what, we got a Lexus with a faulty AC. Go to work.Sean: You, you mean I got it? I got the job?Tony: Yeah not forlong if you don't get to work.Sean: Yes sir. Woo! I got it man.Jay: What'd I tell you? In Mr. Perino's classDanny: After years of fighting, the second world war came to an end with the bombing of Hiroshima. Once theThird Rake finally surrendered, the iron curtain divided Europe-Mr. Perino: I think it's time this presentation surrendered and by the way it's Reich, not Rake. You're done.Danny: But you cut me off.Mr. Perino: Theassignment was to summarize an event in your own words. Not bore everyone by copying the damn thing from your textbook.Danny: It's not my fault history's so boring.Mr. Perino: Well it might be to you, but I'llassure you history's a fascinating discipline.(Danny sits down behind Derek.)Derek: He was a teacher.Mr. Perino: Who said that? Mr. Higg you got something to say? Don't be a clown. Be a man and say it.Derek: Okay Iwill. Can't you give Danny a break? I mean he's trying his best.Mr. Perino: Tell you what instead of giving Daniel a zero for plagiarism, detention both of you and tomorrow I'll let you help him redo his presentation.Atthe garage(Emma tries to sneak up on Sean.)Sean: Hey gorgeous.Emma: How did you do that?Sean: You're a lousy sneaker and every car has at least three mirrors.(He kisses her.)Sean: Mwah!Emma: Based on thefact that your freshly pressed white shirt is now forgotten on the tool bench, you got the job?Sean: Your little pep talk helped. Thanks and a big shout out to Jay! He totally went to the mat for his bud, huh? My bestfriend and my girlfriend. The only two people I can count on.Jay: Girlfriend? Well I guess not even jail time can keep you two lovebirds apart, huh?Sean: We should all hang out, huh? Catch up on old times?Jay: YeahSean's not caught up on old times.Emma: Old times are overrated.Sean: Alright well uh, well I'm all done here. I'm gonna take my girl out for dinner.Jay: Go have fun. I'll lock up.Outside the schoolDanny: Detentionrocks. I'd take it over history class any day.Derek: Plus we got Perino off our backs for now. Hey later.Danny: Later.(Danny leaves and Derek sees Mr. Perino standing by the bus stop.)Derek: Hey Mr. Perino.Mr. Perino:Derek.Derek: Something wrong with your car?Mr. Perino: Why? Did you do something to it?Derek: No. I just thought...bus stop.Mr. Perino: What, no funny jokes? You're not much of a comedian outside of class, areyou?Derek: I'm sorry.Mr. Perino: Don't pull that innocent act with me.Derek: Uh I think I'm gonna walk home.(Derek starts to leave when Mr. Perino steps in front of him.)Mr. Perino: Let me make myself clear. Showme some respect or we've got a serious problem, understood?(Derek walks away.)At Emma's houseEmma: Where is my lucky bra? The one that gives me Manny boobs.Manny: What's the big deal? You're just going ona date with Sean.Emma: It's not a date. It's the date. The \"he's finally back in my life and everything has to be perfect\" date.Manny: And you're just trying to live up to the pedestal that he's putting you on.Emma:There's nothing wrong with having a boyfriend who thinks you're amazing.Manny: Unlike those shoes, nobody's perfect.Emma: Least of all me. I went by the garage today and Jay was there.Manny: Three's definitelynot company.Emma: Jay is Sean's best friend. How do I even begin to tell him what I did with Jay in the ravine?Manny: You were single. It was a crazy time. What were you supposed to do, sit home and knit?Emma:I'm not sure that Sean's gonna see it that way.Manny: If he really loves you then he should. After hours at the DotSpinner: Okay I will be back in an hour to lock up. Don't break anything.Sean: We won't. Thanksman.(Spinner leaves Sean and Emma alone.)Sean: It's not much, but jail does a number on a guy's savings.Emma: The place, the candles, the tofurkey...everything is perfect.Sean: It is perfect. You're perfect.Emma:I've still made mistakes.Sean: You're talking to the master of mistakes.Emma: So you won't hold them against me?Sean: Of course not. Why? Is there something you need to tell me about?Emma: No. It'sjust...stupid.Sean: Nothing you say is stupid Em. You're the smartest person I know.At the garageSean: Hey last night I thought Emma was dropping hints. Did something happen?Jay: No. It was probablynothing.Sean: If there was something, you'd tell me, right?Jay: Forget it. You're not hearing it from me.Sean: Jay come on. After everything I've been through, I can handle it.Jay: Fine, but I warned you. Alright whileyou were gone, Emma and I kind of fooled around.Sean: You had s*x.Jay: No. No, no, no. I mean not really. It depends how you look at it. I had more than she did.Sean: I can't believe this. You and Emma?Jay: Dudedon't overreact. Look you'd just broken up with Ellie. You and Emma hadn't been a thing for like years. It just kind of happened. Once. You said you could take it.Sean: Just shut up, okay? Shut up.Jay: Man I'msorry.Sean: I said shut up.(Sean walks away angry.)[SCENE_BREAK]At DegrassiEmma: Sean? What are you doing here? Shouldn't you be at work?Sean: Never mind. Did...did you and Jay have a thing lastyear?Emma: Who told you that?Sean: Wrong answer.(Sean tries to walk away, but Emma stops him.)Emma: Sean! It was two years ago. Right after I had a gun pointed at my face. To say I was super duper messed upwould be an understatement.Sean: How could you do that? And with Jay?! The thought of you two together makes me want to-Emma: What happened to \"I won't hold it against you\"?(Sean leaves and Peter walks byEmma.)Peter: Lover's quarrel?At the garage(Sean walks by Jay without saying anything.)Jay: Take it we're not cool?Sean: Don't talk to me.Tony: Jay get on the Lexus. Mr. Lane is my best customer.Jay: Uh you wannahand me that ratchet?Sean: Get it yourself.Jay: Look it was over a year ago man. Just let it go.Sean: I'm not gonna let it go, alright? You took something that was good and you ruined it. Just like you always do.Jay:Right, right make me the bad guy. Alright whatever helps you sleep at night.Sean: You didn't care about Emma. You used her! You took advantage of her.Jay: I didn't take advantage of anybody. The truth is she chasedme dude. She damn near begged me to let her do it.(Sean pushes Jay, he pushes him back and Sean tries to punch him, but misses and hits the wall.)In science classScience teacher: So each group is now holding adifferent part of the human body. I want you to explain in essay form the function of your part.Manny: Well this should be easy.(Emma stabs her pencil into the heart.)Manny: Em! You're killing Johnny Carcass-man! Hisheart's not gonna work with a pencil in it.Emma: I'm sorry. I was imagining it belongs to Sean, who found out about me and Jay from Jay.Manny: Ouch. Hope you had a soft landing when you fell off thatpedestal.(Emma starts stabbing the pencil over and over again into the heart.)Manny: Easy cuckoo bananas! This is one of the few classes that I'm not failing.Emma: What is it with guys and their ridiculous doublestandards? They can do whatever they want, but a girl makes one mistake and her rep is tarnished for life!Manny: Look I know your little visit with Jay in the ravine may not have been on the Emma Nelson highlightrail, but no guy has the right to judge you. Especially Sean.In Mr. Perino's class(Danny and Derek walk into the room.)Mr. Perino: Derek can I uh talk to you a minute?(They go into the hall.)Mr. Perino: Look I just wantto make sure there's no misunderstanding about last night.Derek: Well what you said Mr. Perino...was kind of threatening.Mr. Perino: Derek you're a smart kid. I hate seeing you waste your potential. I was just tryingto motivate you.Derek: More like you freaked me out.Mr. Perino: Look what do you say we just forget it even happened?Derek: Yeah. Yeah I guess.Mr. Perino: Good. Look go in there and knock that presentation out ofthe park, okay?At the garageMr. Lane: You remembered to change the oil?Sean: There's an oil change charge on the bill, isn't there?Mr. Lane: I've noticed a bit of pulling lately. Um how is the tire pressure?(Sean kicksthe tire.)Sean: Seems fine to me.Mr. Lane: Maybe I should talk to your boss.Sean: You have a problem with my work, then you take it up with me. So do we have a problem?Mr. Lane: I have a mechanic with anattitude.(Sean steps up to him threateningly and he takes a step back scared.)Jay: Hey Sean back off! Look I'm sorry sir. His problem, it's with me.Sean: Tell Tony I quit.(Sean leaves and kicks the tool bench over.)InMr. Perino's classDerek: And in late October 1945 the United Nations was formed.Danny: To promote human rights and prevent future world wars.Mr. Perino: Nice job you two. Okay, who's my next victim? Jackson?You ready?(He doesn't say anything.)Mr. Perino: Blank stare. Figures. Did anybody not stay up all night playing video games and looking at nudie pictures on the Internet? Take the zero.Derek: Why do you have to belike that sir?Mr. Perino: Do you have a problem Mr. Higg?(Derek doesn't say anything.)Mr. Perino: I didn't think so. Alright who's gonna butcher another presentation or do I have to keep handing out zeros?Hmm?(Derek takes his bag and walks out of the classroom.)Mr. Perino: Hey! Where are you going?!(Derek starts talking to Mr. Simpson in the hallway.)At Emma's, Sean is packingEmma: Classic Sean. When the goinggets tough, the Sean gets going.Sean: Not much to stick around for.Emma: So the minute you find out I'm not perfect you run away?Sean: Not perfect? I'd say!Emma: Well what do you expect Sean? I'm a real person!In three months I'll be old enough to vote, to legally drink in Quebec. I'm not the girl you knew in grade seven anymore.Sean: What happened to you?Emma: I grew up! Maybe you should try it.Sean: My parents kickedme out when I was twelve, alright? I grew up in a hurry. I needed to, to survive.Emma: All you did was build a wall between yourself and the world, to hide behind!Sean: You let me down. My parents let me down. Theschool system let me down. I'm just saving myself from more.Emma: So all your problems are someone else's fault, right?Sean: It's not my fault you did that to Jay.Emma: And you'll never let me forget it, willyou?(Sean starts walking away.)Emma: Okay little boy, I give up.At the bus station(Sean's ticket falls out of his pocket along with the picture Emma gave him and he watches a couple with their arms around eachother.)Outside Ms. Hatzilakos' office(Mr. Perino leaves angrily and Mr. Simpson walks over to Derek.)Derek: Did he get fired?Mr. Simpson: No, but uh Ms. Hatzilakos is launching an investigation.Derek: I should havekept my mouth shut.Mr. Simpson: No you did the right thing Derek. Ready to give your side of the story?Derek: Is it okay if I'm a little scared?Mr. Simpson: Don't be. Okay I'll be in there with you. Come on.(They goinside and Mr. Simpson looks back at Mr. Perino.)At Emma's houseSean: This isn't supposed to happen.Emma: Didn't have to, but you made it.Sean: When I came back here from Wasaga, Emma...it wasn't for school orto open a garage. It was none of that.Emma: Funny thing is you got what you came for. Then you blew it.Sean: Don't give up on me. Please.Emma: I can't be perfect Sean. I can't be everything you need all thetime.Sean: Good! I want you to challenge me. I want you to call me on my crap.Emma: Sure, but if we're gonna have a real relationship you need to save yourself from yourself sometimes.Sean: I'll ask Tony for my jobback, okay? I'll get my high school equivalency. I'll start looking for my own place.Emma: And what about us?(He kisses her.)Sean: I want to get to know you again Em.Voiceover: In 2007, the series that pushes thelimits is going there again.(A group of guys are shown walking outside. Ellie is shown with Jesse. Marco and Dylan are sitting together.)Dylan: Oh dear.Mia: I trusted you with my daughter!(Manny is crying at a hospitaland Sean is hugging her.)Manny: This is my fault.Sean: It's not.Voiceover: Someone will return.(Craig and Ellie are kissing and Ellie pushes him away.)Ellie: You b*st*rd. It's all gonna be lies!Voiceover: Someone willfall.(Derek looks upset.)Nic: Lakehurst has declared war on your school.JT: You want a war? You got it.(Emma and Sean look at each other, Manny is dancing with some guy, a party is going on, Toby is kissing Mia, Ellieis covering her mouth shocked, Toby is getting punched in the stomach, Jay is getting a drink splashed in his face, Emma is at the party, Nic is kicking someone, Craig is singing with a bloody nose, Emma looksshocked, someone is holding a knife.)Voiceover: And someone will die.Liberty: Somebody help!"}
+{"doc_id":"doc_83","qid":"","text":"Recap 311 \"Utopia\".The quiet of an alleyway is disturbed as the time vortex opens and the Doctor, Martha and Jack appear groaning.MARTHA: Oh, my head!DOCTOR: Time travel without a capsule. That's a killer.Jackcracks his neck before they leave the alley. They walk along a main street taking in their surroundings.JACK: Still, at least we made it. Earth, 21st century by the looks of it. Ha, ha, talk about lucky.DOCTOR: Thatwasn't luck, that was me.Back on Malcassairo, the Doctor uses his sonic screwdriver on Jack's vortex manipulator as he and Martha try and keep the Futurekind out.DOCTOR: Hold still! Don't move! Hold it still!JACK:I'm telling you, it's broken! It hasn't worked for years!DOCTOR: That's because you didn't have me. Martha, grab hold! (Takes Martha's hand and places it on top of the manipulator). Now!They disappear. The Doctor,Martha and Jack are sitting in an area in the middle of a pedestrian-only road.JACK: The moral is, if you're gonna get stuck at the end of the universe, get stuck with an ex-Time Agent and his vortexmanipulator.MARTHA: But this Master bloke, he's got the TARDIS. He could be anywhere in time and space.DOCTOR: No, he's here. Trust me.Looks around and sees Saxon campaign posters plasteredeverywhere.MARTHA: Who is he, anyway? And that voice at the end, that wasn't the professor.JACK: If the Master's a Time Lord, he must have regenerated.MARTHA: What does that mean?JACK: Means he's changedhis face, voice, body, everything. New man.The Doctor notices a homeless man tapping a repeating rhythm on an enamel mug.MARTHA: Then how are we gonna find him?The tapping echoes.DOCTOR: I'll know him,the moment I see him. Time Lords always do.MARTHA: But hold on. (Notices posters). If he could be anyone... We missed the election. But it can't be...The Doctor stands slowly, as does Jack. They walk towards a giantscreen showing the news. Martha follows.NEWSCASTER: Mr Saxon has returned from the Palace and is greeting the crowd inside Saxon Headquarters.The screen shows Saxon walking downstairs with an entourage,Lucy, his wife, at his side.MARTHA: I said I knew that voice. When he spoke inside the TARDIS. I've heard that voice hundreds of times. I've seen him. We all have. That was the voice of Harold Saxon.DOCTOR: That'shim. He's Prime Minister.PHOTOGRAPHER (on screen): Mr Saxon, this way, sir. Come on, kiss for the lady, sir.DOCTOR: The Master is Prime Minister of Great Britain. (Saxon kisses the woman at his side). The Masterand his wife.SAXON (steps forward to speak to the press): This country has been sick. This country needs healing. This country needs medicine. In fact, I'd go so far as to say that, what this country really needs, rightnow... is a doctor.Smiles into the camera.OPENING CREDITSSaxon is walking down a hall in Number Ten, Lucy beside him, clerks handing him files as he passes.CLERK 1: Finance report, sir.CLERK 2: Military protocol,sir.CLERK 3: EC directive, sir.CLERK 4: Annual budget, sir.CLERK 5 : ... recommendations.Saxon stops outside the door to the Cabinet Room.LUCY: I'm so proud of you, Harry.As they kiss, we see Tish Jones walkup.SAXON: Bless.TISH: Uh, sir... If you don't mind me asking... I'm sorry, but it's all a bit new. What exactly do you want me to do?SAXON: Oh yes, what was it, uh...?TISH: Tish. Letitia Jones.SAXON: Tish. Well then,Tish... You just stand there and look gorgeous. (Enters the Cabinet Room). A glorious day. Downing Street rebuilt, the Cabinet in session. Let the work of government begin. (Throws files into the air and the contentsscatter). Oh, go on. Crack a smile. It's funny, isn't it? Albert, funny? No? Little bit?ALBERT DUMFIRES: Very funny, sir, hm. But... but if we could get down to business, there is the matter of policy, of which we have verylittle...SAXON: No, no, no, no. Before we start all that, I just want to say... thank you. Thank you one and all, you ugly, fat-faced bunch of wet, snivelling traitors.DUMFRIES: Yes, quite. Very funny. But I thi...SAXON:No, no. That wasn't funny. (Stands). Hm, you see, I'm not making myself very clear. Funny is like this. (Exaggerates smile). Not funny is like this. (Exaggerates frown). And right now, I'm not like this... (smiles), I'mlike this... (frowns), because you are traitors. Oh yes, you are! As soon as you saw the vote swinging my way, you abandoned your parties and you jumped on the Saxon bandwagon. So... (sits) this is yourreward.Takes a gas mask from under the table and slips it on.DUMFRIES: Excuse me, Prime Minister, do you mind my asking... what is that?SAXON (muffled): It's a gas mask.DUMFRIES: I beg your pardon?SAXON(lifts mask): It's a gas mask.Puts mask back on.DUMFRIES: Yes, but, uh, why are you wearing it?SAXON (muffled): Well, because of the gas.DUMFRIES: I'm sorry?SAXON (lifts mask): Because of the gas.Replacesmask.DUMFRIES: What gas?SAXON (leans back): This gas.The speakerphones in the centre of the table pop up and emit a white gas. The Ministers start coughing and choking. They have no means of escape.DUMFRIES(points): You're insane!Saxon merely raises both thumbs. Dumfries collapses dead onto the table. Saxon, with the mask still on, begins tapping out a rhythm on the table with his fingers.Martha takes the Doctor andJack to her flat.MARTHA: Home.DOCTOR: What have you got? Computer, laptop, anything? (Jack tries to make a call on his mobile). Jack, who are you phoning? You can't tell anyone, we're here!JACK: Just somefriends of mine, but there's no reply...MARTHA: (hands Doctor the laptop) : Here you go. Any good?JACK (takes the laptop): I can show you the Saxon websites. He's been around for ages.Sits at desk.MARTHA: That'sso weird though. It's the day after the election. That's only four days after I met you.DOCTOR: We went flying all around the universe while he was here the whole time.MARTHA: You gonna tell us who he is?DOCTOR:He's a Time Lord.MARTHA: What about the rest of it? I mean, who'd call himself the Master?DOCTOR: That's all you need to know. (To Jack) : Come on, show me Harold Saxon.Martha checks her answering machine.There's one from Tish.TISH: Martha, where are you? I've got this new job. You won't believe it. It's weird, they just phoned me up out of the blue. I'm working for...MARTHA (shuts off machine): Oh, like it matters.Tishis following a reporter, Vivien Rook, through the office, trying unsuccessfully to turn her away.TISH: I'm sorry, but you're not allowed in...VIVIEN: Harold Saxon: A Modern Churchill. It's the definitive think piece on theman himself. (Hands a copy of the article in question to Tish). Oh, come on, sweetheart, you must've read it!TISH: Um, not really, sorry. I'm new.VIVIEN: Mr Saxon does like a pretty face. But I'm here to see MrsSaxon.TISH: You can't just go barging in!Vivien enters the sitting room where Lucy is alone, massaging her feet.VIVIEN: Mrs Saxon, Vivien Rook, Sunday Mirror. (Holds up press card). You've heard of me.LUCY: Oh,can't I just have an hour to myself? It's been a hell of a day.VIVIEN: Oh, strike while the iron's hot, that's what I say, Lucy. I can call you Lucy, can't I? Now, everyone's talking about Harold Saxon, but I thought \"Whatabout the wife?\" All I need is twenty minutes.LUCY: Oh, I think maybe we should wait.Looks nervously to connecting door.VIVIEN: The headline's waiting to print: The Power Behind the Throne.LUCY (intrigued):Really?VIVIEN: Britain's First Lady.LUCY: Gosh.VIVIEN: Front page.LUCY: Oh, well, I suppose... Oh, go on then. Twenty minutes.VIVIEN: Excellent! Thank you! Oh, oh, what was it? Oh, Tish. Now you can leave usalone. Hands Tish her coat.TISH: No, but I'm supposed to sit in.Looks to Lucy.VIVIEN: No, no. It's... it's only a profile piece. You know, hair and clothes and nonsense. There's a good girl. Out you go. That's it. (PushesTish out the door and closes it). Mrs Saxon, I have reason to believe... that you're in very great danger. All of us, in fact. Not just the country, but the whole world. (Lucy scoffs). I beg of you, hear me out.LUCY: Whatare you talking about?VIVIEN: Your husband is not who he says he is. I'm sorry, but it's a lie. Everything's a lie.A campaign commercial for Saxon plays with noteworthy supporters.SHARON OSBOURNE: I'm votingSaxon. He can tick my box any day.McFLY: Vote Saxon! Go Harry!ANN WIDDECOMBE: I think Mr Saxon is exactly what this country needs. He's a very fine man. And he's handsome too.Jack stops the commercial onthe website.JACK: Former Minister of Defence. First came to prominence when he shot down the Racnoss on Christmas Eve. (Turns to Doctor) : Nice work, by the way.DOCTOR: (sitting on couch arm) : Oh,thanks.MARTHA: He goes back years. He's famous. Everyone knows his story. Look. Cambridge University, Rugby blue, won the Athletics thing, wrote a novel, went into business, marriage, everything. He's got a wholelife.VIVIEN: All of it. The school days, his degree, even his mother and father. It's all invented. (Holds up photo). Look, Harold Saxon never went to Cambridge. There was no Harold Saxon. The thing is, it's obvious. Theforgery is screaming out and yet no one can see it. It's as if he's mesmerized the entire world.LUCY: I think perhaps you should leave now.VIVIEN: 18 months ago he became real. This is his first, honest-to-Godappearance, just after the downfall of Harriet Jones. And at the exact same time, they launched the Archangel Network.LUCY: Mrs Rook, now stop it.VIVIEN: Even now they say that the... the Cabinet has gone intoseclusion. I mean, what does that mean, \"seclusion\"?LUCY: How should I know?VIVIEN: But I've got plenty of research on you. Yes, good family, Roedean, not especially bright but essentially harmless. (Sits besideLucy). And that's why I'm asking you, Lucy. I'm begging you. If you have seen anything, heard anything, even the slightest thing that would give you cause to doubt him...LUCY: I think...VIVIEN: Yes?LUCY: There wasa time when we first met, I wondered... But he was so good to my father. And he said...VIVIEN: What? Just tell me, sweetheart.LUCY: The thing is... I made my choice.VIVIEN: I'm sorry?LUCY: For better or for worse.Isn't that right, Harry?Saxon has joined them, leaning on the connecting door.SAXON: My faithful companion.VIVIEN: Mr Saxon. Prime Minister, I-I-I was just having a little joke with poor little Lucy. I, I didn'tmean...SAXON (walks to centre of room): Oh, but you're absolutely right. Harold Saxon doesn't exist.VIVIEN: Then tell me... who are you?SAXON: I'm the Master and these (holds out his hands) are my friends.Foursmall metal spheres appear and float about him.VIVIEN: I'm sorry?SAXON: Can't you hear it, Mrs Rook?VIVIEN: What do you mean?SAXON: The drumbeat. The drums coming closer and closer.The spheres headtowards Vivien spikes now sticking out from their lower halves.SPHERE 1 (female voice): The lady doesn't like us.The spheres advance on Vivien, the spikes spinning.SPHERE 2 (male voice): Silly lady.SPHERE 3 (malevoice): Dead lady.Vivien screams. Lucy and Saxon exit the room and shut the door, deadening the screams. Saxon takes a breath and opens the door. The screams continue. Saxon winces and closes the door. He opensand closes the door again quickly, putting a fist to his mouth.LUCY (sighs): But she knew. Harry, she knew everything. You promised. You said Archangel was 100%.SAXON: Um, 99, 98?LUCY: But if she's askingquestions, then who else? How much time have we got?Saxon holds his arms out and pulls her into a hug.SAXON: Tomorrow morning, I promise. That's when everything ends.Jack is making tea in the kitchen.JACK:But he's got a TARDIS. Maybe the Master went back in time and has been living here for decades.The Doctor is sitting at the desk.DOCTOR: No.JACK: Why not? Worked for me.DOCTOR: When he was stealing theTARDIS, the only thing I could do was fuse the coordinates. I locked them permanently.From Utopia. The Doctor is holding out the sonic screwdriver and the TARDIS console sparks.DOCTOR: He can only travel betweenthe year 100 trillion and the last place the TARDIS landed. Which is right here, right now.JACK: Yeah, but a little leeway?DOCTOR: Well... 18 months, tops. The most he could have been here is 18 months. So how hashe managed all this? The Master was always sort of... hypnotic but this is on a massive scale.MARTHA: I was gonna vote for him.DOCTOR: Really?MARTHA: Well, it was before I even met you. And I liked him.JACK: Metoo.DOCTOR: Why do you say that? What was his policy? What did he stand for?MARTHA (dreamy): I dunno. He always sounded... good. (Fingers start tapping). Like you could trust him. Just nice. He spoke about... Ican't really remember, but it was good. Just the sound of his voice.DOCTOR: What's that?MARTHA (startled): What?DOCTOR: That! That tapping, that rhythm! What are you doing?MARTHA: I dunno. It's nothing. It'sj... I dunno!A tune plays from the website. \"SAXON BROADCAST ALL CHANNELS\" appears onscreen.DOCTOR: (turns on the TV) : Our lord and master is speaking to his kingdom.Onscreen Saxon is sitting in front of theornate fireplace in the Cabinet Room.SAXON: Britain, Britain, Britain. What extraordinary times we've had. Just a few years ago, this world was so small. And then they came, out of the unknown, falling from the skies.Clip from ALIENS OF LONDON. You've seen it happen... Big Ben destroyed, a spaceship over London. Clip from ARMY OF GHOSTS. All those ghosts and metal men. Clip from RUNAWAY BRIDE. The Christmas star thatcame to kill. Time and time again the government told you nothing. Well not me. Not Harold Saxon. Because my purpose here today is to tell you this... citizens of Great Britain... I have been contacted. A message, forhumanity, from beyond the stars.Nods to someone off camera. A video plays of one of the spheres delivering the message.SPHERE (female voice): People of the Earth, we come in peace. We bring great gifts. We bringtechnology and wisdom and protection. And all we ask in return is your friendship.SAXON: Ooh, sweet. And this species has identified itself. They're called the Toclafane.DOCTOR: What?!SAXON: And tomorrow morningthey will appear. Not in secret, but to all of you. Diplomatic relations with a new species will begin. Tomorrow, we take our place in the universe. Every man, woman and child. Every teacher and chemist and lorry driverand farmer. And every... oh, I don't know... medical student?The DOCTOR whips around to look at Martha before turning the TV around to find a bomb ready to go off. The Doctor grabs the laptop as they rush out intothe street just as the front window of her flat explodes.DOCTOR: All right?JACK: Fine, yeah, fine.DOCTOR: Martha? (Martha is using her mobile). What are you doing?MARTHA: He knows about me. What about myfamily?DOCTOR: Don't tell them anything!MARTHA: I'll do what I like! Mum? Oh my God, you're there.FRANCINE: Course I'm here, sweetheart. You all right?MARTHA: I'm fine. I'm fine. Mum, has there been anyoneasking about me?We see Francine is not alone. The same blonde woman from \"42\" is there listening in on the conversation.FRANCINE: Martha, I think perhaps you should come 'round.MARTHA: I can't! Notnow!FRANCINE: No, but it's your father. We've been talking and we thought we might give it another go.MARTHA: Don't be so daft! Since when?FRANCINE: Just come 'round. Come to the house, we cancelebrate.MARTHA: You said you'd never get back with him in a million years.FRANCINE: Ask him yourself.Hands phone to Clive.CLIVE: Martha, it's me.MARTHA: Dad? What are you doing there?CLIVE: Like your mothersaid, come 'round. We can explain everything.MARTHA: Dad? Just say yes or now. Is there someone else there?CLIVE (pause) : Yes! Just run!Gets up and heads for the door.FRANCINE: Clive!CLIVE: Listen to me! Justrun! (Is grabbed by two men). I don't know who they are!FRANCINE: We're trying to help her! Martha, don't listen to him!MARTHA: Dad! What's going on? Dad?Francine and Clive yell at each other as he is taken out ofthe house.MARTHA: I gotta help them!Runs to her car.DOCTOR: That's exactly what they want! It's a trap!MARTHA: I don't care!The Doctor gets into the front passenger seat while Jack takes the back. Clive is fightingas he's being taken to the waiting van.CLIVE: Get off! (Neighbours look to see what's going on). It's your fault, all of you! You voted Saxon! You did this!Francine watches from the front door. Martha drives recklesslydown the road.DOCTOR: Corner!Martha takes the corner tightly, tyres squealing.SINISTER WOMAN: Mr Saxon, we have Condition Red on the Jones plan. We're taking them in. All of them.A man grabs Francine by thearms.FRANCINE: But I was helping you!Martha is waiting for a call to connect on her mobile.MARTHA: C'mon, Tish. Pick up.Tish is walking downstairs at Number 10.TISH: Martha, I can't talk right now. We just madefirst contact. Did you see... (Two men take her by the arms and carry her backwards up the stairs). What are you doing?! (Drops phone). Get off! Linda, tell them!Martha, Jack and the Doctor hear it all.MARTHA: What'shappening?! Tish! (Glances at the Doctor). It's your fault! It's all your fault!FRANCINE: I was helping you! Get off me! (Martha comes around the corner and stops the car). Martha, get out of here! Get out!SINISTERWOMAN: Target identified.The police take position.DOCTOR: Martha, reverse.SINISTER WOMAN! Take aim...The police aim their weapons at the car.DOCTOR: Get out, now!Martha reverses into a 3-Point turn.SINISTERWOMAN: Fire!The police open fire.JACK: Move it!As they take off down the road, bullets shatter the rear window.SINISTER WOMAN: Take them away.Francine and Clive are locked away in the van. Francine watches herdaughter escape.MARTHA (upset and sarcastic): The only place we can go... planet Earth. Great.DOCTOR: Careful!JACK: Now, Martha, listen to me. Do as I say. We've gotta ditch this car. Pull over. Right now!Theyleave the car and head off on foot.DOCTOR: Martha, come on!MARTHA (on mobile): Leo! Oh, thank God! Leo, you gotta listen to me. Where are you?Leo is walking along a promenade with his girlfriend and theirson.LEO: I'm in Brighton. We came down with Boxer. Did you see that Saxon thing on telly?MARTHA: Leo, just listen to me. Don't go home, I'm telling you. Don't phone Mum or Dad or Tish. You've gotta hide.LEO(unbelieving): Shut up.MARTHA: On my life. You've gotta trust me. Go to Boxer's. Stay with him. (We see SAXON listening in from the Cabinet Room). Don't tell anyone! Just hide!SAXON: Ooh, a nice little game ofhide-and-seek. I love that. But I'll find you, Martha Jones. Been a long time since we saw each other. Must be, what, one hundred trillion years?MARTHA: Let them go, Saxon. (The Doctor wheels about). Do you hearme?! Let them go! Saxon only smiles.DOCTOR (takes the phone from Martha) : I'm here. SAXON (serious, takes phone off speaker) : Doctor.DOCTOR: Master.SAXON: I like it when you use my name.DOCTOR: Youchose it. Psychiatrist's field day.SAXON: As you chose yours. The man who makes people better. How sanctimonious is that?DOCTOR: So... Prime Minister.SAXON: I know. It's good, isn't it?DOCTOR: Who are thosecreatures? 'Cause there's no such thing as the Toclafane. It's just a made-up name like the Bogeyman.SAXON: Do you remember all those fairy tales about the Toclafane when we were kids? Back home. Where is it,Doctor?DOCTOR: Gone.SAXON: How can Gallifrey be gone?DOCTOR: It burnt.SAXON: And the Time Lords?DOCTOR: Dead. And the Daleks... more or less. What happened to you?SAXON: The Time Lords onlyresurrected me because they knew I'd be the perfect warrior for a Time War. I was there when the Dalek Emperor took control of the Cruciform. I saw it. I ran. I ran so far. Made myself human so they would never findme because... I was so scared.DOCTOR: I know.SAXON: All of them? But now you, which must mean...DOCTOR: I was the only one who could end it. And I tried. I did. I tried everything.SAXON: What did it feel like,though? Two almighty civilizations burning. Oh, tell me, how did it feel?DOCTOR: Stop it!SAXON: You must have been like God.DOCTOR: I've been alone ever since. But not anymore. Don't you see, all we've got is eachother.SAXON: Are you asking me out on a date?DOCTOR: You could stop this right now. We could leave this planet. We could fight across the constellations if that's what you want. But not on Earth.SAXON: Toolate.DOCTOR: Why do you say that?SAXON:: The drumming. (Drums fingers on table). I thought it would stop but it never does. Never ever stops. Inside my head, the drumming, Doctor. The constantdrumming.DOCTOR: I could help you. Please, let me help.SAXON: It's everywhere. Listen, listen, listen. (Taps table). Here come the drums. Here come the drums.A man leaning on a building by the Doctor begins"}
+{"doc_id":"doc_84","qid":"","text":"(Camera focuses on the water. Faces can be seen in the background, Derek looking into the tub, Cristina poking out from around her locker, Bailey in the ambulance bay, George at the crash scene, Alex with Jane Doe,Izzie with Rick, Ellis in her hospital bed, and Lisa walking away from the dock)MVO: Like I said disappearances happen. Pains go phantom, blood stops running, and people fade away.(Meredith is swimming and fighting.She emerges from the water and is trying to surface.)MVO: There's more I have to say. So much more. But I've disappeared.(Meredith sinks into the water and the water calms as bubbles appear)(Cristina is at anurse's station.)Nurse Kate: Did you check on Kramer in 2309 because his x-rays are done and I don't know what to do?Tyler: Higgins in 2312 needs diet orders before...Cristina: Done and done. I need you to monitorCollins in 2323. Page me if his systolic drops below 90. I gave him a low dose of dig to lower his heart rate. And have either of you seen Dr. Grey?Kate: Uh, I checked on her earlier but she's a little sedatetoday.Cristina: Not Dr. Ellis Grey. Dr. Meredith Grey.Kate: No.Tyler: Not since this morning.Cristina: Fine. Um, if there's anything emergent page me in the pit.(Carly's OR)Carly: George, did you find him? Is Chris ok? Ishe awake? Is he...?Bailey: Answer Mrs. Height, O'Malley.George: Chris is fine. He's glad you're ok and he'll be waiting for you after surgery. He's being very braveCarly: That's my Chris. That's my boy. Thank you, Dr.O'Malley. Thank you so much.(George goes to leave and Bailey walks with him)Bailey: Dr. O'Malley. Hold up a second. What happens when the happy mother in there wakes up and her son isn't there to greet her? Whatthen? How you gonna explain that? O'Malley?George: If she wakes up after surgery because of my lie, I'm ok with that Dr. Bailey.Bailey: Find that child.George: Yes, ma'am.(Jane Doe's room)Richard: Her echo'sshowed cardiac tamponade.Burke: So out first priority is stabilize the traumatic pericardial infusion.Addison: Keeping mom alive means keeping baby alive. I'll monitor the surgery while he operates.Burke: I'll notify theOR.(Burke leaves as Alex enters)Alex: Chief, we've got a mob scene in the clinic of people looking for missing family members and nothing but a two hour old list of patients.Richard: No one has any more informationthan you do. The police are asking us questions. Search and rescue can't track it. Well have to do it ourselves.Alex: Is there some kind of system that...?Richard: You're the system, Karev. Figure it out.(Richardleaves)Alex: How's she doing?Addison: Well, we won't know until we get her up to the OR. She's still a Jane Doe?Alex: Yeah.Addison: To be in that condition and have no one that even knows.Alex: What?Addison: She'sall-alone. It makes you think. I mean, if I went missing would anyone even know I was gone.(The accident scene)Friend: Do something.Izzie: He's still seizing, there's nothing more I can do.Vince: You're supposed toput something in his mouth so he can't bite his tongue. Aren't ya?Izzie: Nobody's putting anything in his mouth. We just have to just him ride it out.Vince: What are you gonna do? You can't just let him die.Izzie:They're gonna come soon, in a little while, and they'll get him out.Vince: You said we don't get much time.Greg: What if they don't get him out from there before he...Izzie: I don't know. I don't know, ok? I don'tknow.Vince: Please, you can't quit on us now. You just...you just gotta try something else.Izzie: I'm out of practice. I've been watching. For weeks, I've just been watching. And I...I'm sorry. I'm sorry.Vince: Youstopped the bleeding, that was good. Come on please. I...I know this guy. I believe in him. I believe he can make it. You gotta believe in it too. You gotta believe you can do this, please. Don't stop now.Izzie: Who's gota cell phone?(All three of them hand their cell phones to Izzie)(Derek is walking through the trauma scene)Derek: You guys good? You ok? Yeah, what do you got?Paramedic: Severely severed leg but he's got his arterytied off so...something.Derek: Yeah, who tied off the artery? (He looks at the coat on the business man and sees Meredith's name badge) Dr. Grey? This is her jacket.Paramedic: We found him like this. She must havemoved on.Derek: Yeah, ok.(Derek looks up and sees Lisa standing there all-alone.)Doctor: Doc?Derek: Yeah. What is it? Just stabilize the fracture and get him to the hospital as soon as possible. (He makes his wayover to Lisa) Hi. You ok? Did a doctor bring you here? Huh, Meredith? Meredith ok?(Lisa shakes her head no and the scene changes to Meredith under water. She is no longer swimming or struggling in any way. She ismerely sinking.)(George is in the clinic with the picture of Chris. He is walking around looking at the boys in the room. He stops at one little boy)George: Hi, my name's George. Is your name Chris?Boy: No.George: (Tothe man nearby) Is he...? Thank you. (To the boy) Thank you, very much.(George leaves the clinic as Alex enters. The people see Alex entering and flock to him.)Man: Do you have a new list?Alex: Uh, not yet.Man:Nothing? How can there be no new information?Angry Lady: Isn't there someone you can call? Someone who knows something.Alex: Uh, nobody knows anything right now. (The crowd begins yelling at Alex) Quiet! Allright, that list is all I have for you and it sucks but that's it.(The crowd is yelling again)Angry Lady: I can't believe you don't have some kind of a system. I mean...Alex: Give me a minute to think, I'll come up with adamn system.(The crowd disperses with the attitude that Alex should be more understanding)Sydney: I just want you to know that I understand you're under a lot of pressure. If you...if you just need to sit for aminute, or if you need a hand, or a hug.(Alex sees a Polaroid camera on the counter. He takes it and walks off. Sydney looks like she feels very useless)(Richard is in the gallery above Jane Doe's surgery when his cellphone rings)Richard: Chief Webber.Izzie: Oh, chief, I gotta guy here and we can't extricate him...Richard: Hold on, who is this?Izzie: ...and I've tried everything...Richard: Hold on. Who is this?Izzie: It's Izzie Stevens.I'm at the dock. I've got a patient with a depressed skull fracture and probably an inter-cranial bleed.Richard: Is he showing signs of increased pressure?Izzie: Yes, his left pupil is blown, he's gone limp, he's seizing andnow his right pupil is dilating.Richard: He could be herniating. What's your ETA to the hospital.(Richard is now in the hallway)Izzie: That's what I'm saying, we can't get him out. He's stuck under a car and we can't gethim out.Richard: Ok, first you've got to stay calm.Izzie: I can't stay calm. Calm was over minutes ago, calm is gone, calm is an impossibility. I've got his best friends here and I can't let him die. So, please just tell mewhat I need to do.Richard: You need to do some burr holes.Izzie: Burr holes? I can't do burr holes out here.Richard: Do you want to save his life, Stevens?Izzie: Yes.Richard: All right, I need a minute to checksomething out in the book and then I'll talk you through it.Izzie: You're looking it up in a book?Richard: I'm not a neurosurgeon, Stevens. And I want to make sure we get this right. (Loudly to the people around him)Somebody find me a copy of Boardman's Neurosurgery.(Mark walks up)Mark: Everything ok?Richard: You know anything about making burr holes?Mark: Done it a couple times.Richard: Good, don't go anywhere.Stevens, listen to me.Izzie: (To Vince and his friends) I'm gonna need a drill.Vince: There's one in my truck.Friend: What do you need a drill for?Izzie: I've gotta drill holes in your friend's head.(Vince and his friends alllook at Izzie like she is insane. Izzie looks rather nauseous.)(George is in the ER looking for Chris. He is looking over, under and behind everything. He looks behind the curtain that is near Cristina.)Cristina: Hello, I'msuturing here.George: Sorry.Cristina: You just get back?George: Yeah. Um, I'm looking...have you, uh, seen any lost children down here?Cristina: Is Meredith back too? Cause I need her it's really important. This kidsmissing, his mom's in surgery.Cristina: What kind of surgery?George: This kids lost. You didn't see it today, Cristina. You weren't out there.Cristina: I know.George: Have you seen any lost kids down here, ornot?Cristina: Not.George: Ok.Cristina: Do you know where Meredith is?George: I'm leaving.Cristina: Yeah, I know.(Alex is in the clinic tacking polaroids of the injured to the bulletin board)Alex: All right, if you canidentify the patient, please write their name on their picture.Sydney: I've got markers.Alex: These patients are in surgery and these patients are in the ICU.Man 2: This is Patina. Is she ok?Alex: Uh, yeah. She's in theOR, stable. Ok, all these people have been transferred from other hospitals.Sydney: And I have the details.Alex: (To Sydney) If it's ok, I've gotta a case I need to check on.(Alex starts to leave and is stopped by AngryLady)Angry Lady: My husband's not on that board.Man: Kelly Winters, she's not either.Angry Lady: What does that mean?Alex: It's...it's...they could be in shock or walked away from the site or...Angry Lady: Just sayit. A lot of people died. They're dead.Alex: We don't know that.Man: So, how can we know?Man 3: My wife? She wasn't in these photos either but she's pregnant. Is it possible you just didn't see her?Alex: She'spregnant?(Lisa and Derek are at the scene. She looks very frightened and is trying to look around for some familiar landmark or person. Derek is holding her hand.)Derek: What? It's ok. Just think. Where is she? Whichway did she go? It's ok. Take your time. Take all the time you need, you're doing great. What is it?(Lisa spots a red cross sign and walks toward it)Derek: Good.(They stop on the dock. Lisa stares out into thewater.)Derek: Ok, use your words. Where exactly is Meredith.(She points into the water and Derek looks terrified)(Meredith is still sinking and then the scene changes to Jane Doe's surgery)Burke: The leak in the heartis coming from the right atrium.Addison: Are you gonna put her on bypass cause that could compromise the baby.Burke: No, I can fix her heart while it's still beating. Push 40 milligrams of abizonole.(Alex enters)Alex:Found her husband. I found him. She's not a Jane Doe. Her name's Casey. Casey Clarke. (Addison gives him a look) What?Addison: How do you know?Alex: What?Addison: How do you know it's Casey Clarke?Alex: Wellshe's pregnant and...Addison: There were hundreds of people on that ferry, Alex. Hundreds. And chances are that more than one were pregnant. Now, do not give that man hope unless you are certain. Do not give himhope until you've checked every last body in the morgue.Alex: Dr. Burke can I, uh...(He holds up the camera)Burke: Yes, make it fast.(Alex leaves)Addison: I gotta tell ya, this group of interns...Burke:Emotional.Addison: Head strong.Burke: Hot headed, stubborn, they think they know everything. And you can only give them so much rope before they hang themselves with it. It's like they lose all rationality. Theywon't listen to reason.Addison: Geez Preston, don't hold back.(The monitor starts beeping)Addison: It's getting hypotensive. All right, I'm seeing some late decels in the fetal heart monitor. Baby is not getting enoughblood.Burke: Almost...just got one...more stitch. Got it, turn on the Echo.Addison: Baby's heart rate stabilized.Burke: Hmm, think we've seen the worst of it.(Alex enters the stairwell where George is squatting andlooking at a map of the hospital)Alex: What's the deal?George: Do you know how massive this hospital is? How many people, not just sick people, not to mention, if I'm a little kid, how many places can I hide. He'slittle. A little kid could hide anywhere.Alex: What you're looking for a kid?George: Yeah. His mom's in surgery and I um...if I don't find him Bailey will...well to start she'll change her son's middle name to Elvis orTupperware or...I'm not kidding, anything will be better than George.Alex: I know a place a kid might be.George: Really.(George and Alex are in the morgue. Alex is taking pictures)George: You could have warnedme.Alex: You didn't check down here, right?George: No.Alex: So, stop whining and tell me if you find a pregnant chick. You know, you're not the only one with a detail that sucks. You know, I'm supposed to deal withthese freaked out families. I'm not good with people; they should just let me stick to patients.George: Patients are people, especially kids.Alex: You know what I mean.George: He's face down. How does that...? Comehere and help me turn his body right.Alex: Dude.George: Don't tell me it doesn't matter. God, I swear to...Alex: Dramatic much?George: This doesn't bother you? Any of this? All this death, it doesn't mean anything toyou?Alex: I'm working, why would it?George: Yeah but I was working when...Caucasian female about 30 years old. She's...she's pretty. She looks about 7 months pregnant.(Alex takes a picture)(The scenes, Greg isholding the phone up)Richard: Now remember Stevens that drill just isn't going to stop like a neurosurgical drill. So, as soon as you feel the release in pressure, stop the drill or you'll pierce his brain.Izzie: Even if I don'tsee blood?[SCENE_BREAK](Mark and Richard are in an x-ray room)Mark: Trust your instincts Stevens, trust the feel of it.Izzie: I'm ready. No, wait, I need to clean the drill off, one more time.Richard: You've cleaned ita dozen times Stevens, it's as clean as it's gonna get. You ready?Izzie: Yes.Richard: Ok, place three fingers above the ear and two or three fingers in front of that on the side where the first pupil blew.Izzie: Gotit.Richard: All right, now use the scalpel to make a vertical scalp incision down to the skull.Friend: Jeez.Izzie: I see a lot of blood, a lot.Mark: Superficial bleeders, nothing to worry about.Richard: Are you at theskull?Izzie: Yes.Richard: Drill a hole in the middle of the incision.(Friend hands her a power drill)Vince: Oh, god.Izzie: Ok, that can't happen. Do you understand me? Sounds can't happen. Freaking out can't happen.Because if you freak out, I'm gonna freak out. And I'm the one holding a power drill to your friend's brain. So, if you're gonna vomit, if you're gonna make sounds, step away. If you're gonna stay here you have to pull ittogether, ok?Vince: I'm good, doc.Izzie: Ok, I'm ready.Mark: The temporal bones only gonna be a couple millimeters thick.Izzie: Ok, I'm in. But the dura looks fine.Richard: You're gonna have to go in again.Izzie:Frontal lobe, right?Richard: That's right. Just behind the hairline, a few centimeters off the midline.Mark: This bone will be thicker, about five times as think as the temporal bone.Izzie: Ok, got it. Second holedown.Mark: What do you see?Izzie: I think I see...blood. I see blood.Richard: Ok, now this is important. Drill around the hole to expand the opening. You have to try and relieve the pressure.Izzie: Ok. Ok. The hole isabout 2 centimeters around now. I see blood, I definitely see blood.Richard: Try to evacuate as much of the clot as you can.Izzie: With what? I don't have suction.Mark: Use your finger, gauze, anything.Izzie: I seeclotted blood.Richard: No arterial?Izzie: No.Richard: Good, now how does the dura look? Is it bulging or does it look lax?(Mark and Richard both look proud of Izzie)Izzie: Looks like it's pulsating regularly with theheartbeat. That's another good, right?Richard: That's great, Stevens. If it's pulsating that means blood and oxygen are entering the brain. Now, pack it with gauze so you can minimize the bleeding.Izzie: Ok, get therescue rig in here.Richard: Nicely done, Stevens.Vince: Is that it, is he gonna be ok?Izzie: We've relieved the pressure on his brain but he's still got a lot of other injuries.Friend: Hey, his eyes are open.(They all have amoment of relief)(Lisa is standing on the dock staring into the water when a coast guard officer walks up)Coast Guard: Hey kid! Kid! You ok? You need to come with me. Kid?(He picks Lisa up and starts to carry heraway. As he is walking you hear coughing and then Derek walks onto the dock with a very blue and very, very lifeless Meredith in his arms)(Derek is in the ambulance performing CPR on Meredith)Derek: 1, 2, 3, 4,5...1, 2, 3, 4, 5.Paramedic: ETA's five minutes.Derek: 1, 2, 3, 4, 5...1, 2, 3, 4, 5.(Derek continues CPR with no response from Meredith)(George enters Carly's OR)George: How is she doing?Bailey: Good, no intestinaldamage. Missed all her vital organs, she's almost done here. You find her son?George: I've looked everywhere. I've been in contact with the scene, with Mercy West, with Seattle Presbyterian, I've checked in the...he'slost. Or...Or, uh.Bailey: He's in the water. So, when she wakes up I get to inform her that she's not going to die, she's just gonna want to die.George: I'm sorry, I'll...I'm gonna keep looking.Bailey: Yeah, you dothat.(Izzie arrives at the hospital with Rick in the ambulance. Richard rushes out to greet her.)Izzie: His right pupils not dilating anymore. He's normal tensive but his pulse is still up in the 130's.Richard: Ok, what's hisneurological status?Izzie: GCS is eight. I'm sorry, I ran out of sterile drapes, I had to use some guys t-shirt. It wasn't sweaty or anything, he was a clean guy but...Richard: Ok, call the OR, tell them we're comingup.Izzie: I also dropped the scalpel in the field and by that time I had used all the alcohol swabs on the drill bit. So, I think we should load him up on antibiotics. Lots and lots of antibiotics.Richard: Stevens, you put adrill through a man's skull and didn't hit his brain. You saved his life. Get cleaned up and get to the OR, you've got work to do.Izzie: The OR?Richard: Yes, the OR, you're officially off of probation.(Izzie passes Cristina inthe hall)Izzie: Oh, Cristina! Oh my god, you are not gonna believe what I just did. I'm gonna tell you but you are not gonna believe it. You're gonna think I made the whole thing up.Cristina: You're back? Wait, isMeredith back?Izzie: I drilled a hole into this guy's skull.Cristina: What?Izzie: Several holes actually, with a drill I borrowed from a guy named Vince. Packed the whole with freaking tissue then brought him back hereand now I get to scrub in on his craniotomy.Cristina: So, you haven't seen Meredith.Izzie: It was like a ride, this crazy roller coaster ride with like adrenaline shooting out of my ears. You think that my hands would beshaking but they weren't, there was no shaking. Did I mention the drill?Cristina: Ok, Izzie, I get it. You are a hero, I am jealous. But I need to know where the hell Meredith is.Izzie: Ok...I don't know where the hellMeredith is but...she should be back here. I didn't see her at the scene. The scene where I was a rockstar, by the way. Did I mention I'm off probation?(Izzie starts to walk away and Cristina gives her a look)Izzie:Rockstar!(Alex is in the clinic and has the pictures of the dead people from the ferry accident)Alex: These photos are fatalities. I know it's difficult but please try to ID who you can.(The people go to the board and slowlytake the pictures of their loved ones. Alex is finally touched by the situation)(Rick's OR)Mark: We've agreed to let you do the honors. A few more burr holes to start the craniotomy.Izzie: Really?Mark: You saved his life,you might as well help finish what you started. After I strip off the periosteom you can see what a high-speed neurosurgical drill feels like.Izzie: Drill, please.(Izzie holds the drill smiling)(Alex is in the clinic and sees thedevestation of the crowd. He looks around and understands all of it finally. He walks up to the husband of the pregnant woman)Man 3: I have...we have two pregnant women. One of them is...she's in bad shape. She'spretty beat up. She might be hard to recognize.Man 3: That...I don't know. What color's her hair?Alex: Brown, reddish.Man 3: My wife is blonde, brownish but blonde.Alex: Well sometimes the blood makes it lookdarker like that, red. I know you can't tell from the photo but her eyes their pretty distinctive.Man 3: Casey's eyes are very distinctive.Alex: Brown but not that really dark, dark brown but golden and really warm.Man 3:It's not her. Casey's are blue, very, very blue.Alex: I'm sorry.Man 3: I thought you said you...had two pregnant women.Alex: Yeah, we um...the other one is um...she's...Man 3: Oh, god...oh no...Casey. Oh, Casey.(Alexsees the loss around the room)(The ambulance with Derek and Meredith arrive and Bailey is in the ambulance bay to get it)Bailey: What do we got?Paramedic: Jane Doe, hypothermic, drowning.Derek: She's not JaneDoe, it's Meredith Grey. It's Meredith.Bailey: Derek! Derek, Derek, how long she been down?Derek: I don't know. She's alive, she's alive.Bailey: Derek!Derek: She's alive.Bailey: Ok, look. I need you to help me get herinside. (Loudly) Clear a trauma bay, stat! Move it!(Burke walks up to Cristina who is in the ER still doing sutures)Cristina: How was your surgery Dr. Burke?Burke: Well, the patient is out of the woods now, Dr. Yang.Thanks for asking.(Cristina yanks the stitch she is doing)Patient: Ow!Cristina: You're numbed.Patient: Whatever. It looked harsh.Cristina: (To Nurse) Here, finish this please.(Cristina walks into an empty room and"}
+{"doc_id":"doc_85","qid":"","text":"VERONICA VOICEOVER: Previously on Veronica Mars... Veronica pops her head around the door of Keith's new office in the sheriff's department in 315 \"Papa's Cabin.\" Cut to the Mars residence and Veronica makingdinner as Keith arrives home.VERONICA: So it's true what they say. There's a new sheriff in town?KEITH: Until the special election, anyway.Cut to Mac and Bronson on his doorstep in 310 \"Show Me the Monkey.\"MAC:Do you like movies?BRONSON: Let's go.Cut to moments later as Mac surprises Bronson with a kiss. Cut to Veronica and Piz in the Food Court at Hearst College.PIZ: I know what I like. Why waste my time?VERONICA:Like, why bother with something not good just because it's something?Logan catches Veronica outside Tim's office in 315 \"Papa's Cabin.\"LOGAN: You know, I was thinking of asking Parker out, and I wanted to makesure it was cool with you. She puts on a brave face.VERONICA: Of course. Thank you for asking.LOGAN: Sure. I know we're friends.Veronica nods.VERONICA: Yeah. Veronica points to Tim's office.VERONICA: See ya.And good luck. End previously.INT - HEARST COLLEGE, FOOD COURT - DAY.Veronica is standing in a queue. She's pensive, playing with a strand of hair. There are three couples in front of her in the queue between herand the person at the front of it -- Logan.SERVER: What can I get you?LOGAN: Uh, coffee with cream.Logan looks back at Veronica. He turns back to the woman at the counter.LOGAN: Actually, could I get a couple ofthem?SERVER: Sure.She hands him the coffees.LOGAN: Thank you. Logan walks back to the end of the queue.LOGAN: Here. He slips one of the cups into her hand, almost surreptitiously.LOGAN: I hate to think of youunder-decaffeinated. She smiles as she takes it.VERONICA: Danke. They walk away from the counter together.VERONICA: It's 8am. Shouldn't you be in a wet suit somewhere? He shrugs and grins.LOGAN: Early PolySci.VERONICA: And you're actually going?LOGAN: Yeah. I even bought this amazing pen that accents text in neon colours.Veronica gasps exaggeratedly.VERONICA: A highlighter!LOGAN: Lots of advancements sincethe last time I buckled down. How 'bout you?VERONICA: Uh, \"Violence in Early Adolescence.\"LOGAN: Ah. Need me to autograph your textbook?VERONICA: Thanks, but...Veronica trails off and points to hercoffee.VERONICA: So, what do I owe you for the cup of joe?LOGAN: Nah, just pay-it-forward.Logan hesitates briefly before hurrying on nonchalantly.LOGAN: Hey, by the way, I'm throwing a birthday party for Parkerthis weekend. I was studying up; I watched My Super Sweet 16. Which reminds me, you don't know where I can get a dozen eunuchs, do you?VERONICA: Not offhand. I could make some calls.Veronica fakes a laugh tokeep up the mutually casual banter in which they are indulging.LOGAN: Hmm. Well, if you're not busy, I know she'd really like you to be there. We both would. Think about it. Logan walks away, leaving Veronica staringafter him.INT - MARS INVESTIGATIONS - DAY.The fish are swimming happily in the tank in Keith's office. Veronica finishes feeding them and walks back to Keith's desk. She checks some papers on which she is working.Footsteps sound in the outer office and an Arab woman, Sabirah Krimani, appears at the open door.SABIRAH: Is Mr. Mars in?VERONICA: No, sorry. We've shut down for a while.The woman is disappointed.VERONICA:You own Babylon Gardens, don't you? She nods.VERONICA: My dad and I get takeout there all the time. I went to high school with your daughter. Sabirah Krimani steps forward, disinterested in small talk.SABIRAH:Our restaurant was vandalised. Rocks through our window. They spray-painted \"Terrorist\" on our door. Is there someone who can help us? Veronica's eyes glint with determination and she smiles.VERONICA: I believethere is.INT - THE BREAK - NIGHT.The Break is a busy bar with loud music playing. The most prominent sign in the bar besides the one declaring the bars name is a notice declaring Thursday nights as \"College Night.\" Ayoung man is slumped at the bar counter. A hand pushes a pad of paper and a pen at him.MURPHY: Jimmy! The boy doesn't move. The bar owner, Mr. Murphy, slaps his arm to rouse him.MURPHY: Hey, your tab. Hey,come on. Jimmy lifts his head up.MURPHY: Sign it and hit the road. Jimmy grabs the pen and pad and signs it. He grabs the nearly empty glass of beer in front of him and drains it as he slides off the barstool. He pusheshimself away from the bar as Murphy collects the pad.EXT - THE BREAK - NIGHT.Jimmy staggers outside and crosses the road without looking. A car honks his horn, but Jimmy's slow and only action is to hold up hishands in front of his face. The screen whitens in the glare of headlights to the sound of the sickening thud as the car hits him.EXT - BABYLON GARDENS - NIGHT.From inside the restaurant, Sabirah turns the sign on thedoor from \"Come in, we're open\" to \"Sorry, we're closed.\"VERONICA VOICEOVER: Tomorrow I'll set the cameras. Tonight it's the old-fashioned stake-out. Veronica is in her car, parked opposite the restaurant on theother side of the street, watching the front of the building.VERONICA VOICEOVER: I took this case so I wouldn't have time to dwell on Parker's birthday party and now, here I am, sitting in a car with nothing but a wholelot of dwelling time on my hands. Veronica jumps slightly at the soft knock on the passenger side window made by the girl who has appeared at the side of the car. She looks over at the intruder and rolls down thewindow. The girl leans into the car.AMIRA: Veronica Mars? VERONICA: Amira. Long time, no see. AMIRA: Yeah. Like since my senior year, when you made my Pirate Points worth less. VERONICA: Wow. Good memory.The two girls share polite smiles.VERONICA: I heard you were at Hearst, but I haven't seen ya.AMIRA: Yeah, different circles, I guess. What are you doing out here?VERONICA: Your mom hired me to watch the place incase there are any more...incidents.Amira laughs in disbelief.AMIRA: My mom hired you? Veronica nods.VERONICA: Yep.AMIRA: Have a blast.Amira backs away from the car and Veronica closes the window with thetouch of a button.INT - THE BREAK - NIGHT.The bar is now empty but for Murphy, who is cashing up, and Keith who approaches the bar counter.KEITH: I just got off the phone with County. The kid's never going towalk again. Any idea what a nineteen-year-old was doing drinking in here?MURPHY: His ID said he was twenty-one.KEITH: Yeah, I saw it. It also said he was six three, two twenty, and blond.Murphy shrugs helplessly ina \"What you gonna do\" way. Keith is unimpressed.EXT - BABYLON GARDENS - NIGHT.The door of the restaurant bursts open and a man comes out, followed by Sabirah. This is Rashad, Sabirah's husband and Amira'sfather. He waves at Veronica in her car across the street, beckoning her. As Veronica opens the door to get out, he shouts to her.RASHAD: You can go home now. We will pay for the time that you put in. Veronicastrides towards them..RASHAD: But I can handle it myself. It was a mistake for my wife to hire you.SABIRAH: It was not a mistake.Veronica stands before them, a little uncomfortable as they argue.SABIRAH: You fallasleep out here in your car. You work too hard to be able to stay up all night.RASHAD: This is the Mars girl. Her father is the acting sheriff. Have you thought about Nasir? Besides, this is no job for a girl, a classmate ofAmira's.Amira is also outside, watching the debate quietly.SABIRAH: What choice did I have? I knew you would react this way. Surprise. In the street, there's a loud shout and the sound of a fast-approaching engine.Veronica looks up and to her left to see a yellow pick-up truck bearing down on them. A couple of the occupants are standing in the back, aiming at them with sights that have lights on them. Operatic-like music swells.Shots are fired. A laser sight and a splurge of red appears on Rashad's chest as he staggers at the impact. Sabirah screams. Amira turns to run but is hit in the back. Veronica dives out of the way of the speedingvehicle, landing hard on the pavement. Veronica looks down at her coat. She's been hit by yellow paint. She glares at the departing truck. Opening credits.INT - BABYLON GARDENS - NIGHT.Now inside the restaurant,Veronica groans at the pain in her shoulder where she was hit by the paintball. Amira passes behind her, staring at her now-removed sweater in regret.AMIRA: Ack. Cashmere! Rashad is angry and pacing.RASHAD: Whyis this happening?VERONICA: Not a great time to be Arab in America.RASHAD: Twenty years we've been in this country! Huh?He picks up a small flag from a set on the counter and waves it..RASHAD: Twenty years,we've been Americans. I make Yankee Doodle Damn Dandee. He gestures wildly at a poster on the wall, under another American flag. It's an Uncle Sam poster with Rashad's face PhotoShopped in under the message \"Iwant you for Babylon Garden's [sic].\"RASHAD: And now this?VERONICA: The license plate was removed, but I caught a glimpse of a bumper sticker. It should be enough to go on.AMIRA: [sceptically] Really? Unless itwas a \"Hello, my name is...\" sticker, how's that gonna do any good?VERONICA: The person who owns that pick-up has a child who's an honour student at Neptune Middle. Do you want me to track him down ornot?Rashad looks over at his wife and daughter helplessly before looking back at Veronica.INT - MARS RESIDENCE - NIGHT.Veronica enters the apartment. Keith is sitting at the kitchen counter reading anewspaper.KEITH: [with disgust] Look at these ads. Veronica shuts the door behind her and joins him at the counter.KEITH: \"Two for Tuesday,\" \"It's Raining Gin\"... Keith is looking at a page of advertisements for bars.Genski's promises a \"Suds 'n Study Sat\" with Mexican bottles and draft pints at $2 together with a \"Bucket 'O Beer Bonanza\"! The Sand Bar uses George Washington's portrait to advertise its \"Dollar Shots Night.\"KEITH:\"Dollar Shots Night\"...VERONICA: Let me change first. Man, you party hard.Veronica saunters off towards her room, ignorant or ignoring Keith's serious mood.KEITH: It's a college paper. Only a quarter of the studentsat Hearst are twenty-one. Veronica turns back to him and sags against the counter.VERONICA: [tiredly] I'm not sure where this rant is going.KEITH: A nineteen-year-old kid was drinking at a bar called The Breaktonight with a gumball-level ID. He stumbled out and a car hit him. It looks like he'll never walk again.Keith returns his attention to the ads.KEITH: \"Bucket 'O Beer Bonanza\"... You have any idea if they're known forunderage drinking? Veronica laughs.VERONICA: Famous for is more like it. It's nicknamed The Cake for how easy it is to get in but most of the campus area bars are pretty lax. Veronica clearly doesn't see this as anybig deal but notes Keith glaring at her.VERONICA: From what I've heard, 'cause the only buckets I order come in original and extra crispy. She heads for her bedroom. Keith stares after her.INT - SHERIFF'SDEPARTMENT - DAY.Deputy Sacks hands out sheets of paper to the other eleven deputies gathered in the main office. Keith is facing them, leaning back against the main counter.KEITH: I have it on good authority thatThe Break and other campus-area bars on the list you're receiving are knowingly serving underage students. I want surprise checks in every one of these bars tonight. Deputy Gills glances at the list.GILLS: Looks likemy credit card statement. The deputies laugh and Keith smiles indulgently.SACKS: What's the priority level, Sheriff?KEITH: Well, obviously if you get a call, take it, but otherwise, I want these bars scared straight.Thedeputies start to break away, less than enthused.KEITH: Gentlemen. Jim Wilson was nineteen. I want this taken seriously.DEPUTY: Yes, sir.The other deputies mutter their acquiescence. Gills heads for Sacks to have aquiet word.GILLS: You used to work for him. Is he always like this? Sacks folds his arms and glances at Keith.SACKS: I wouldn't test him. Gills looks over at Keith himself before wandering away.INT - NEPTUNE MIDDLESCHOOL - DAY.A teacher holds her hand up in front of a class of boys and girls, aged about twelve.MRS. HILLS: We have a guest in honours homeroom today. Miss Mars is doing a survey about gun awareness for hercollege criminology course. Veronica is standing at the front of the class next to Mrs. Hills. She gives a little wave.MRS. HILLS: I trust you will give her your full attention as honour points are in effect. Mrs. Hills steps tothe side of the room, leaving Veronica at the front of the class. One of the students raises his hand. Veronica points to him.RONALD: What does a criminologist do?VERONICA: Oh, grads usually go into work in lawenforcement. I'm considering pursuing a career at the FBI.RONALD: [scoffing] You're a girl.MRS. HILLS: [sharply] Ronald.VERONICA: Actually, Ronald, did you know that on average, girls develop faster than boys andhave higher levels of cognitive functioning, including math calculation, written language, and verbal fluency?Ronald isn't impressed and shrugs.RONALD: So? Veronica smiles and points towards him.VERONICA: Wellput, Ronald. We need fireman, too. The students in the class, particularly the girls, chuckle appreciatively.VERONICA: We all know guns are dangerous, but I also study the dangers and implications of the impact of toyguns, like pellet guns, BB guns, or paintball guns. Raise your hand if you have a family member who owns a pellet or BB gun. A number of the students raise their hands.VERONICA: Now, how about paintball guns? Fourstudents put their hand up.VERONICA: Okay, now, whose family has a big, yellow pick-up truck. Mrs Hills' smile disappears as she digests this. She looks over at Veronica quizzically.MRS. HILLS: Miss Mars? I'm sorry.I'm not sure I understand where this is going. Veronica ignores her until she gets a good look at the one child whose hand is in the air. The boy look Arabic.VERONICA: Yep. Me either.EXT - NEPTUNE STREET - DAY.Aschool bus drives off, having delivered the boy to a house outside of which stands the yellow pick-up truck. Veronica, pulled up on the other side of the road, watches him as he goes into the house. She pouts, confused.She grabs her stuff and exits the car, walking up the pathway to the house. She stops and looks around as if she's heard something but it's not until she starts moving again that we hear the distant sounds of thelaughter of game-playing youths.VOICES: Oh, ho, ho, man! You got hit again! All right! Okay, okay, it's cool. Shoot-shoot! There you go! Yes! Yes! Veronica follows the sounds of voices to a structure at the side of thehouse. There's a warning sign on the door and a window at the top. She peers in. She sees two guys watching a third play a video game. On the wall next to the door, she sees paintball guns. Inside the room (which hasanother Danny Mo poster decorating the wall), there's a fourth boy also watching the stoned-out gameplayer.VOICES: Oh, God, what are you doing, man! Watch out for-! Ohhh. Intent on the game, they notice nothinguntil a splatter of paint hits the television screen. They react in shock, jumping up and turning around to face Veronica, now armed with a paintball gun. An Arabic-looking boy of around seventeen confronts her.BRETT:Yo, bitch, what up? Veronica responds by firing the gun. He jerks back as a splodge of neon green paint hits him square in the chest.VERONICA: Stings. I know, because you shot me last night. Brett has the grace tolook abashed.VERONICA: I've got some bad news for you boys. I'm close with the local sheriff and he simply hates hate crimes. Self-hate in your case. Brett looks bemused. The stoned guy behind him has only justcaught up with events.TOWELIE: Dude, she shot you.VERONICA: Keep up, Towlie.BRETT: Self-hate? What?VERONICA: Spray painting the front of Babylon Gardens? Ringing any bells?BRETT: What?Veronica parrotsJules in Pulp Fiction.VERONICA: Say what again, I dare ya. I double dare ya.BRETT: What?Veronica shoots him again, this time in the shoulder. He grabs the spot with a groan.BRETT: Ah, God! Someone wrote\"terrorist\" at Babylon Gardens?VERONICA: [a la Jules] Check out the big brain on Brett! I'll give you a hint. It was you.BRETT: We didn't do anything like that!Veronica lifts the gun and takes aim.BRETT: [desperately] Ican prove it. Veronica lowers the gun. Cut to later. On the television screen are shots taken by a camera from the pick-up truck as the guys shoot random people in the streets.BRETT: Look! White people. On screen, acouple are targeted to the sound of whoops and hollars from the boys.BRETT: You see? Anyone's a target.VERONICA: So I'm straight. Your defence is that you shoot everyone, not just Arabs.Brett shrugs. Veronica'sattention is caught by something she sees on screen.VERONICA: Is that Mr. Clemmons? On screen, it is indeed Van Clemmons, attacked by them as he walks towards his car.CLEMMONS: [on the video] Ow, ow, ow,ow.TOWELIE: Yeah, nailing Clemmons was sweet.The two boys behind him are smirking. They all jump when Towelie is hit in the chest by a paintball. He's so out of it that it takes a couple of beats before he even reactsto the pain. The other boys laugh.BRETT: Do I look like someone who would spray paint \"terrorist\" on a Middle Eastern restaurant? Veronica gives him a hard look before accepting this. She still has the paintball gun atthe ready.VERONICA: Fine. Give me the DVD. Brett bends down to collect it from the player.VERONICA: Anymore drive-bys and that finds its way back to the sheriff. Now. Everyone grab their Visine. You have anappointment.EXT - BABYLON GARDENS - DAY.Brett looks up sullenly as he, Towelie and one of the other boys clean the pavement of paint immediately outside the restaurant. Rashad is standing over them.RASHAD:Hey, you! I still see some green by the door jamb. Towelie gets up and heads for the indicated area where the fourth boy is already working. Rashad turns and looks up at Veronica who is up on a stepladder, fixing acamera.RASHAD: Are you sure these aren't the same vandals who did the spray painting? Veronica climbs down the stepladder.VERONICA: Pretty sure. She carries on past him, and Sabirah comes out of the restaurant,carrying a small cloth banner.SABIRAH: Are you sure we should hang one on the door again? I mean, are we asking for trouble?RASHAD: I won't be intimidated, Sabirah.She's unconvinced and turns to Veronica, who ischecking out the playback from the cameras on her computer.SABIRAH: What do you think? They stole the last one we put up.RASHAD: Don't ask her. This isn't about her.Veronica turns to look at the banner as Sabirahshoos her husband to shut up. Veronica returns her attention to the computer as she responds.VERONICA: If it was me, I'd put one up twice as big. Rashad grins, as does Veronica. On her screen, the cameras she hasinstalled are working, showing the boys continuing in their work.RASHAD: You see? Two to one. Democracy in action. He takes the banner from his wife, who smiles.INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE -NIGHT.Dick is sitting on the couch, his laptop on the ottoman in front of him. Logan walks around the back of the couch. He glances down at Dick as he adjusts his necklace.LOGAN: Hey, I gotta run some errands for theparty. Thanks for all your help, by the way. Dick, oblivious to the complaint, leans back with satisfaction.DICK: Check it out. Two hot chicks I met on MySpace. Both in play. Both eager to meet the Dickster face-to-face.Question. And I need you to dig deep here. Which one do I invite? Logan, having put on his watch and grabbed his phone, leans down to get a better look at the screen. The page for the first girl is up. Dick adds thesecond page so pictures of both can be seen.LOGAN: Um...hmm. Lazy eye might work to your advantage.DICK: Ha! Trick question! Just goes to show how whipped you are. The correct answer is \"both.\"LOGAN: And ifthey both show?DICK: Then I do a quick heat check. Whichever's engine's running hotter gets Dick.Logan heads out as Dick continues to stare at the objects of his interest.LOGAN: You mean \"whomever's.\"DICK:Whatever.INT - SHERIFF'S DEPARTMENT - NIGHT.Keith and Deputy Gills talk quietly up at the counter in the darkened office.GILLS: What can I say? We hit them all, full sweeps. They were clean.KEITH: Deputy Gills,you don't find it strange? College towns, surprise inspections, and not one of my deputies issues a single citation?Sacks, working at his desk, glances up at them with interest, but firmly keeping his head down.GILLS:Not really. Those bars do a good job of keeping the minors out. I hate to say it but the kid who got hit? He's the exception.KEITH: [softly sarcastic] What are the odds?INT - MARS RESIDENCE - DAY.Veronica sinks ontoher desk chair and checks her computer.VERONICA VOICEOVER: So let's see how Babylon Gardens survived the night without me. She pulls up the video from the surveillance camera.VERONICA VOICEOVER: All seems"}
+{"doc_id":"doc_86","qid":"","text":"IMAGE OF THE FENDAHLBY: CHRIS BOUCHERPart ThreeRunning time: 24:22[SCENE_BREAK]LEELA: Doctor? What's the matter? Where is he? Doctor![SCENE_BREAK]LEELA: Doctor?DOCTOR: No, no.BOTH: Are you allright?LEELA: You are very heavy.DOCTOR: How did you find me?LEELA: Well, I just felt something was wrong so I followed the feeling.DOCTOR: Yes.LEELA: I did!DOCTOR: Yes, of course you did.LEELA: Hey.DOCTOR:What?LEELA: Have I saved your life?DOCTOR: Yes. I was careless. Come on, get up. Come on.DOCTOR: You're becoming a metracion generator, aren't you.LEELA: Is it alive?DOCTOR: Yes. It's using appropriate geneticmaterial to recreate itself.LEELA: What is it?DOCTOR: Shush. I think it's the Fendahl. It grows and exists by death.LEELA: Most creatures do. That is what you told me.DOCTOR: The Fendahl absorbs the full spectrum ofenergy, what some people call a life force or soul. It eats life itself.LEELA: That must be what the old woman saw.DOCTOR: What?LEELA: Huge and dark, she said. Hungry for her soul.DOCTOR: And she's stillalive?LEELA: Yes.DOCTOR: Take me to her.LEELA: What about that?DOCTOR: It's indestructible.LEELA: Well, what about the sonic time scan?DOCTOR: No, no, first thing's first. Fendelman can operate that before theimplosion for about a hundred hours, give or take a few minutes.LEELA: But he might already have used his hundred hours.DOCTOR: That's a risk I'll have to take. Come on, let's go.[SCENE_BREAK]COLBY: What's thatfor?FENDELMAN: That is a running log. Some of the scanner components have a limited life.COLBY: Ninety eight hours fifty six minutes forty three point seven seconds. You've been busy with thisequipment.FENDELMAN: It has been a joy.COLBY: A labour of love, even. If man really is descended from aliens like this, why haven't we found evidence of it before?FENDELMAN: Because we were not looking.COLBY:Oh, come on.FENDELMAN: No, we were not looking for this kind of evidence, and without the scanner we would not have found this. Adam, in all research there must be a single discovery. What is it the Chinese say?That a journey of a thousand miles begins with but a single step.COLBY: This isn't a step, it's a jump. And to rather an illogical conclusion.FENDELMAN: You shall see. I have already reprogrammed the computer. Thistime it will give a visual interpretation of what the scanner picks up. On this screen, Colby, you shall see the true genesis of homo sapiens.[SCENE_BREAK]STAEL: Thea.THEA: Max.STAEL: I'm glad you are awake, Thea.I want you to understand why I brought you here. You are the medium through which the ancient power of this place is focused.THEA: What are you doing?STAEL: The scanner awoke the power. You know about thescanner, of course. I've been watching you for some time, you see. Through you, I shall conjure and control the supreme power of the ancients.THEA: Oh, Max, don't be so ridiculous.STAEL: You will sleep now, while weprepare.THEA: Max! Max, you're a fool.STAEL: I shall be a god.[SCENE_BREAK]TYLER: Is this him? Is this your man? Oi, do you know what's going on? My Gran in hell of a state.DOCTOR: Come on, Mrs Tyler, wakeup.LEELA: Come on, old woman, wake up. Wake up now.TYLER: Oi, what do you think you're doing? Leave her alone.DOCTOR: Do you know what's wrong with her?TYLER: Well, no, butDOCTOR: I do. Make sometea.TYLER: Tea?DOCTOR: Tea. She does drink tea?TYLER: Well, yeah.DOCTOR: Off you go and make some. Use the best china. Four cups laid out on a tray. Off you go. Oh, and some fruitcake.TYLER: Anythingelse?DOCTOR: No.DOCTOR: I love fruitcake. Come on, Mrs Tyler. This is no way to behave when you've got visitors. We've come for tea.LEELA: And fruitcake.DOCTOR: And fruitcake.[SCENE_BREAK]FENDELMAN:There, Colby, do you see it?STAEL: Turn it off!FENDELMAN: Where have you been, Stael. I needed you here.STAEL: Turn off the scanner!COLBY: Doctor Fendelman, I think you have an industrial relationsproblem.FENDELMAN: What are you talking?FENDELMAN: Have you lost your mind?STAEL: The scanner.FENDELMAN: No.COLBY: Relax, Max. I'll do it.FENDELMAN: Why, Stael?STAEL: I am not yet ready. My followersare not yet here.COLBY: Followers? Well, that's impressive.STAEL: Shut up, Colby, or I will kill you now. Outside, both of you.FENDELMAN: Is this some sort of joke, Max?COLBY: Oh no, Max isn't famous for his sense ofhumour, are you, Maxie?STAEL: I shall not warn you again, Colby.COLBY: You're going to kill us anyway, aren't you?STAEL: That depends on whether I enjoy having you worship me.[SCENE_BREAK]DOCTOR (OOV.):Then you mix the peanuts with the treacle[SCENE_BREAK]DOCTOR: Throw in the apple cores very hard, put the lot in a shallow tin and bake in a high oven for two weeks. (quietly) It's too late. She's slipping away.Come on.MARTHA: Here, just a minute.DOCTOR: What is it?MARTHA: That ain't the way to make a fruitcake.DOCTOR: Mrs Tyler! (laughs)MARTHA: Here, well, if you'm going to stay, you may as well sit yourselvesdown. I'll have the tea ready in a jiffy.TYLER: It's here, Gran.MARTHA: But that ain't the best china, John. And there's fresh cake in the other tin. Why, I'm sorry. When did I ask you to tea? I ain't never seen you aforein my life.DOCTOR: You were slipping away, Mrs Tyler.MARTHA: Slipping away?DOCTOR: Yes, psychic shock. I needed something normal to bring you back to reality. How long have you lived here, Mrs Tyler?MARTHA:Why should I tell 'ee ought?DOCTOR: Tell her I'm trying to help.TYLER: He's only trying to help, Gran.MARTHA: You mind your place, John.TYLER: Oh, now, no, we won't have none of those games. Now, Ted Moss andhis cronies is up to something. It's something bad, and you're involved. Now, you tell him what he want to know.MARTHA: I ain't involved in anything. I were consulted. A lot of people consult me. You know I've got thesecond sight.DOCTOR: Yes. So you've lived in this cottage all your life, haven't you, Mrs Tyler.MARTHA: Why should I tell 'ee ought?DOCTOR: Well, telepathy and precognition are normal in anyone whose childhood wasspent near a time fissure, like the one in the wood.TYLER: He's as bad as she is. Here, what's a time fissure?DOCTOR: It's a weakness in the fabric of space and time. Every haunted place has one, doesn't it? That's whythey're haunted. It's a time distortion. This one must be very large. Large enough to have affected the place names round here. Like Fetchborough. Fetch. An apparition, hmm?MARTHA: How do 'ee know somuch?DOCTOR: I read a lot. What did you see in the wood, Mrs Tyler?MARTHA: I didn't see ought with my eyes.DOCTOR: Then with your mind. Did it have a human shape?MARTHA: No.DOCTOR: Mrs Tyler, I mustknow. Did it have a human shape?MARTHA: No, it didn't.DOCTOR: Mrs. Jack, do something for me.TYLER: If I can.DOCTOR: It could be dangerous.TYLER: How?DOCTOR: I want you to keep an eye on the Priory. I mustknow who comes and goes. We'll be back tomorrow sundown.TYLER: Right.MARTHA: Here, girl.LEELA: Yes?MARTHA: Take this. 'Tis a charm will protect 'ee.MARTHA: I cast it for Ted Moss, but 'tis too late forhim.LEELA: Thank you.MARTHA: John.TYLER: Yes, Gran?MARTHA: I seed that figure he spoke of in a dream. 'Twere a woman.[SCENE_BREAK]FENDELMAN: How long have you been planning this, whatever it is you'replanning?STAEL: Ever since Mrs Tyler's visions began to come true.FENDELMAN: Visions? Oh, come now, Max. You have a first class brain. Use it!COLBY: First class brain? He's an occult freak. One of those feebleinadequates who thinks he communes with the devil. Oh, is that it, Max? Gonna summon up the devil, huh?STAEL: Unlike you, I am not a crude lout, Colby. The grimoires do not impress me. Mrs Tyler's paranormalgifts and the race memory she draws on, these were the signposts on the road to power.COLBY: Spare us the after dinner speech.STAEL: I look forward to your terror, Colby.FENDELMAN: I trusted him.COLBY: I didn't,and I'm going to end up just as dead as you, if that's any consolation.FENDELMAN: But why is he doing this?COLBY: Fendelman, it doesn't matter why. What matters is he's doing it, to us, unless we can get free beforehis so-called followers arrive. Hey, what about the security guards?FENDELMAN: In my absence, they are to take their instructions from him.[SCENE_BREAK]DOCTOR: The fifth planet's a hundred and seven millionmiles out and twelve million years back, so we've no time to lose.LEELA: Do you think this thing, the Fendahl, comes from the fifth planet?DOCTOR: Well, it came from it a long time ago, before your species evolved onEarth.LEELA: How did it travel?DOCTOR: What?LEELA: Well, you said there's only one. It could not build a spacecraft. How did it get to Earth?DOCTOR: Well, it. Well, it probably used that enormous stockpile of energyto project itself across space.LEELA: Oh, you mean the way lightning travels.DOCTOR: No. Yes, well, something like that. Humans speak of astral projection, travelling psychically to different planets. That could be arace memory.LEELA: Race memory?DOCTOR: Yes. You see, sometimes people dream they've been to other places. It's, er, déjà vu. No? Leela is sleeping on the console room floor. She wakes and has her knife readywhen the Doctor enters.)DOCTOR: No, no, no. Put it away, put it away. It's a good thing your tribe never developed guns. They'd have woken with a start one morning and wiped themselves out.LEELA: There wassomething chasing me. I, I couldn't move. Just a dream, I suppose.LEELA: Hey, what's wrong?DOCTOR: I've been checking the old data banks. There's no record at all of a fifth planet.LEELA: Does thatmatter?DOCTOR: Well of course it matters! We Time Lords are a very meticulous people. You have to be when you live as long as we do. All information is recorded.LEELA: Perhaps there wasn't any.DOCTOR:What?LEELA: Information.DOCTOR: What?DOCTOR: Of course. That's why there's no record of the planet.LEELA: Why?DOCTOR: That impression's produced by a time loop.LEELA: Time loop?DOCTOR: Yes, a time loop.All memory of a planet's been erased by a circle of time, making data and its records invisible. Only a Time Lord could do that.LEELA: That's very clever.DOCTOR: That's criminal! We've been on a wild goose chase.We'd better get back. Let's hope we're not too far round that time loop.LEELA: Is there anything I can do?DOCTOR: Yes. No, no. I'll just set the coordinates and we're on our way.[SCENE_BREAK]MARTHA: The Tower,struck by lightning.TYLER: Still no sign of him. Sundown, he said.MARTHA: I didn't reckon he'd be reliable. Never trust a man as wears a hat.TYLER: Well, Granddad always wore one.MARTHA: And a wicked old devil hewere, too.TYLER: I wear one.MARTHA: Ah, but I give it to 'ee. That's different. Here, put this in your pocket.TYLER: More charms! Look, I'm not one of your punters, Gran.MARTHA: But 'tis Lammas Eve.TYLER: Look,you know that I don't believe in all that.MARTHA: Most round here do. And when most believe, that do make it true.TYLER: Most people used to believe that the Earth was flat, but it was still round.MARTHA: Ah ha, butthey behaved as if 'twere flat. Here, just for me.TYLER: All right, then, if it makes you happy.MARTHA: Oh, I want they two cartridges.TYLER: What, you going rabbiting, Gran?MARTHA: I'm going to fill 'em withsalt.TYLER: Salt?MARTHA: Salt's the best protection there be.TYLER: Evil spirits again, eh, Gran?MARTHA: You can laugh, John, but I know the old ways. Better than them up at the Priory, any road. You'd best get upthere. We don't want 'em meddling in things they don't understand.[SCENE_BREAK]CORBY: What is that?FENDELMAN: A remote control unit connected to the scanner.CORBY: He's linking up that old bone with yourscanner? Why?FENDELMAN: The power source! Colby, I think I know.[SCENE_BREAK]LEELA: We're going to be late.DOCTOR: Well of course we're going to be late! It's obvious we're going to be late! I'm sorry. I'msorry. The question is, where is it getting the power from? Inducted biological transmutation takes a lot of power. There isn't that sort of power available in the Priory.LEELA: What is it? Have you hurt yourself?DOCTOR:I've got it. It is available in the Priory. The skull's absorbing the energy released when the scanner beam damages the time fissure. Why didn't I think of that before?LEELA: Even you can't think of everything.DOCTOR: Ican't?LEELA: No.DOCTOR: No. Well, I should have thought it. I was frightened in childhood by a mythological horror.LEELA: Oh.DOCTOR: Too frightened to think clearly.LEELA: Tsk, tsk, tsk.[SCENE_BREAK]STAEL: Thewaiting is over. Prepare yourselves.FENDELMAN: Don't do it, Stael!CORBY: Shut up, you fool. Let him electrocute himself.FENDELMAN: He will kill us all. Listen to me, all of you! He is a madman!FENDELMAN: You muststop him! Stop him now, before he plunges everything into chaos and death!COLBY: I'll plunge you into chaos and death if you don't shut up.FENDELMAN: You don't understand. I see now what will happen.STAEL: Youdo?FENDELMAN: Max, listen. The Doctor asked if my name was real. Fendelman. Man of the Fendahl. Don't you see? Only for this have the generations of my fathers lived. I have been used! You are being used!Mankind has been used![SCENE_BREAK]TYLER: Ain't in here, either.MARTHA: Oh, the house is empty, then. Oh, I don't hold with all this. 'Tis agin nature.TYLER: That sounded like a shot. Here, are there anycellars?MARTHA: Oh, there are cellars all under here, but they haven't been used for years.TYLER: Yeah, well they're being used now.MARTHA: Come on, boy. Ow!TYLER: You all right, Gran?MARTHA: Well, what do youthink?[SCENE_BREAK]COLBY: You murdering lunatic.STAEL: The way to power is open![SCENE_BREAK]MARTHA: Oh, dammit, boy, that hurt.MARTHA: Listen, John. There's summat comin'. Can you hear it? Summatcomin'.DOCTOR: Are you all right?TYLER: Damn, I'm glad to see you. You're not a moment too soon.MARTHA: No, a moment too late. Listen.DOCTOR: Come on, let's get out of here.LEELA: Doctor!DOCTOR:What?LEELA: That dream! I can't move!TYLER: My legs. I can't move my legs!MARTHA: Look! Look!"}
+{"doc_id":"doc_87","qid":"","text":"The Space Pirates5:15pm - 5:40pm[SCENE_BREAK]1: SPACE(A huge beacon - a large decagonal structure made of eight pre-fabricated sections, a docking station and a power shield section - hangs in the blacknessand silence of space. The words on the side of the structure designate it as \"ALPHA 1\". A smaller black, pointed ship moves up next to and docks with the beacon.)[SCENE_BREAK]2: INT. SPACE BEACON ALPHA ONE.AIRLOCK(The pressure gauge in the airlock reaches normal and the doorway from the new ship buzzes opens to admit three men dressed in helmets and space armour. They carry various pieces of equipment. One ofthem is an older moustached man - DERVISH. He is dressed in a uniform and helmet of the same ilk. He watches as one of the other two men moves to the doorway which leads into the beacon itself and starts to openit.)[SCENE_BREAK]3: SPACE(Soon, outside the beacon, two men in helmeted spacesuits traverse along the hull. As they do so, they attach a small magnetic devices to the outside of the beacon along with a propulsionunit.)[SCENE_BREAK]4: INT. SPACE BEACON ALPHA ONE. PASSAGEWAY(CAVEN, the leader of the raiders, walks into the beacon from the airlock. He wears a ribbed and armoured uniform with a helmet which coversmost of his head but leaves his nose, mouth and cold eyes exposed.)CAVEN: Dervish... (Shouts.) Dervish!(DERVISH walks up to him from within the beacon.)DERVISH: We're nearly finished.CAVEN: Abouttime.DERVISH: Our men are just coming. We'll detonate by radio beam.CAVEN: Right, hurry it up.(The other two men return and they all re-enter their ship. The door to the airlock buzzes closed behindthem.)[SCENE_BREAK]5: SPACE(The ship moves away from the beacon. A radio signal transmits from the ship and, seconds later, a huge explosion takes place that breaks the beacon up into its componentsections.)[SCENE_BREAK]6: SPACE(A V-Ship, a large military cruiser with the registration number V41-LO, moves through space. It is flat with an small Eagle design on the front of the ship.)[SCENE_BREAK]7: INT.V-SHIP FLIGHT DECK(Inside the ship, the flight deck is on two levels. The upper level, whose front panel is decorated also with an Eagle insignia, is the command area whilst the flight technicians sit on the lower level. Alarge monitor screen dominates one of the walls of the lower level. All the occupants of the ship wear space-age military uniforms consisting of silvery suits with metallic interlocked diamond collar insignia. MAJOR IANWARNE, the young American second in command, walks into the room and past TECHNICIAN PENN, another young man with dark hair and a moustache, on the lower level.)MAJOR IAN WARNE: Everything all right,Penn?TECHNICIAN PENN: Fine, sir.MAJOR IAN WARNE: Fine.(WARNE makes his way up to the upper level by way of some steps at the back and approaches an older grey-haired man who sits in a command chairoverlooking the flight deck. The dais in front of the chair is covered by a large astral grid-map. At the back of the command level is a small monitor screen.)MAJOR IAN WARNE: You sent for me, sir?(GENERAL HERMACKlooks up and speaks in a rich clipped tone.)GENERAL HERMACK: Ah yes. Ian, sit down.(WARNE sits in the chair next to him.)MAJOR IAN WARNE: Thank you.GENERAL HERMACK: Any information on that beacon signalyet?MAJOR IAN WARNE: No sir. There's been no response to the secondary emergency circuits either.GENERAL HERMACK: No, there wouldn't be.MAJOR IAN WARNE: Sir?GENERAL HERMACK: What do you think hashappened to that beacon?MAJOR IAN WARNE: Well, it's difficult to say, sir. It could be a failure in the solar energy store.GENERAL HERMACK: No, the emergency power would operate and we'd get a May-Daysignal.MAJOR IAN WARNE: Well?(WARNE considers, then...)MAJOR IAN WARNE: Oh, you don't think this is a mechanical failure, sir?GENERAL HERMACK: No, no, I don't. These beacons are practically fool proof.MAJORIAN WARNE: You got any ideas?GENERAL HERMACK: Yes, I have. And I must be right - Argonite! These beacons are almost entirely constructed of Argonite.MAJOR IAN WARNE: Of course, sir! What are you going to doabout it?(HERMACK turns to the controls in front of his chair and switches on the ship wide communications. He picks up a microphone and speaks into it as all the personnel on the flight deck stop and listen to theechoing message...)GENERAL HERMACK: (Into microphone.) Attention all personnel. This is General Hermack. Your V-Ship is now fifty days and many billions of miles out from Earth. You're entering the fourth sector ofour galaxy. In this sector for some time now, Earth Government has been aware that a highly organised gang of criminals have been roaming the space ways, and preying upon defenceless cargo ships. The main targetof these criminals is Argonite, the most valuable mineral known to man, and so far only found on the planets of the Fourth Sector. A government space beacon marking the approaches to the planet New Sarum hasceased transmitting its navigation signal. These beacons, as you know, are constructed of Argonite. It is my belief that the criminals are attacking the government navigation beacons and plundering the Argonite. Therecan be no other explanation for its failure. This being the case, I have decided to...abandon our present mission and to investigate the missing beacon in the New Sarum sector. I want all section commanders on thebridge at twenty hundred hours, sector four, solar time. Resume normal duties until then.(He switches off and turns back to WARNE who gestures to the grid map.)MAJOR IAN WARNE: There are eighteen space beaconscra...scattered across this sector, sir.GENERAL HERMACK: Seventeen, Ian, until the one at New Sarum's replaced.MAJOR IAN WARNE: Seventeen. And they're millions of miles apart.GENERAL HERMACK: Mmmhmm.MAJOR IAN WARNE: So how can we be sure which one the pirates are likely to attack next?GENERAL HERMACK: (Smiles.) Ha ha! We can't.MAJOR IAN WARNE: Well exactly. The odds are seventeen to one againstus being in the right place at the right time.GENERAL HERMACK: Ah! With our speed, I think we can cut those odds a bit.(He also points to the map.)GENERAL HERMACK: Now, there are four beacons in the Pliny SolarSystem here. That is where we'll start our patrol.[SCENE_BREAK]8: SPACE(Beacon \"ALPHA 7\" is as seemingly as peaceful in the blackness of space as its recently destroyed counterpart. Again, the sleek, pointed shipdocks with the structure.)[SCENE_BREAK]9: INT. SPACE BEACON ALPHA SEVEN. AIRLOCK(Again the airlock gauge rises and the door to the newly arrived ship buzzes open. CAVEN and DERVISH both enter the airlockfollowed by the two space-suited pirates who again carry their equipment and start to ready it. CAVEN watches the two men impatiently.)CAVEN: (Urgently.) Come on! Speed it up.DERVISH: Caven, I don't likethis.CAVEN: Nobody's asking you to like it. Just get those scissor charges laid into position.DERVISH: If we attack any more beacons we'll have the whole of the Interstella Space Corps in this sector.CAVEN: Look. As ofthis moment, the Space Corps has its hands full of trouble. Brush fire wars in three different sectors . There's never been a better time for getting rich.(DERVISH opens the door to the beacon.)DERVISH: Right lads. Nowwe'll lay four charges along the main axle, then we'll attach booster charges around the hull. Okay.(The two pirates move into the beacon. DERVISH is about to follow but CAVEN stops him.)CAVEN: You're a goodengineer, Dervish. Just do your job and leave the Space Corps to me, eh?DERVISH: Okay, but I worked ten years for Earth Government.CAVEN: You should've stayed with them. They'd have given you apension.(CAVEN laughs.)DERVISH: Attacking Government property is one crime they make sure never pays.CAVEN: Sixteen hundred tons of pure Argonite pays all right, Dervish. To me this is like a floatingbank.(CAVEN laughs again and the two men step into the beacon.)[SCENE_BREAK]10: SPACE(The two space-suited pirates float along the outside of Beacon Alpha Seven, again placing charges and a propulsionunit.)[SCENE_BREAK]11: INT. V-SHIP FLIGHT DECK(WARNE is on the lower command deck and stops before the station of TECHNICIAN PENN.)MAJOR IAN WARNE: What range are the forward scanners set for,Penn?TECHNICIAN PENN: Fifteen hundred, sir.MAJOR IAN WARNE: Well, reset them at, er, two thousand. Right?TECHNICIAN PENN: Very good, sir.MAJOR IAN WARNE: And keep a sharp eye on that screen. There arelots of rogue asteroids in the Pliny System.TECHNICIAN PENN: Sir.(WARNE steps up to the upper deck where HERMACK is giving instructions to another part of the V-Ship through the tannoy system.)GENERALHERMACK: (Into microphone.) Oh and one thing more. Make sure the Minnow ships are fully fuelled, and put the detonation heads on their missiles. Report back as soon as that is done.(HERMACK finishes giving hisinstructions.)MAJOR IAN WARNE: We're approaching the Pliny system now, sir. We've made scanner contact with the four beacons. They're functioning normally.GENERAL HERMACK: Ah good.(He looks over the astralchart and indicates one point on it.)GENERAL HERMACK: Now this - the planet Ta here - is the main one in the system. We'll orbit here for a few weeks and see what happens.MAJOR IAN WARNE: So that's Ta,huh?GENERAL HERMACK: Ah, you've heard of it?MAJOR IAN WARNE: Yeah, that's the headquarters of the Issigri Mining Corporation. The most productive planet in the entire galaxy.GENERAL HERMACK: Hm hmm.Madeleine Issigri has built quite a place there. Which is one reason for basing ourselves in the Pliny system.MAJOR IAN WARNE: Why's that a reason, sir?GENERAL HERMACK: Well, if we're out here long, Ian, the menwill need somewhere for rest and recreation. Deep space sickness is the one thing we can't chance.(PENN calls up from his lower deck station.)TECHNICIAN PENN: Major Warne?MAJOR IAN WARNE: What is itPenn?TECHNICIAN PENN: I've got a contact sir. At...(He checks the radar scanner.)TECHNICIAN PENN: Beacon Alpha Seven.MAJOR IAN WARNE: Well hold on it. Any identification?TECHNICIAN PENN: No sir. Too faraway.(HERMACK studies PENN'S screen from the upper level.)GENERAL HERMACK: Ah, it's a space ship right enough. Check central flight information, Ian, and see if anyone should be out there.MAJOR IAN WARNE:Right sir.(WARNE walks off to check and HERMACK shouts our an order to his crew.)GENERAL HERMACK: Change course for Beacon Alpha Seven.(He then speaks through the ship's tannoy system.)GENERAL HERMACK:(Into microphone.) Bridge to Power Room, I want ten seconds main boost.(The rising sound of the engines echoes through the room. WARNE returns with his report.)MAJOR IAN WARNE: According to flight information,sir, there should be no ships in the area within the next seventeen days.GENERAL HERMACK: Ah, well whoever they are they've not yet reported to central flight information.MAJOR IAN WARNE: Do you think it's thePirates?GENERAL HERMACK: It could be. Though some of these commercial flights don't always like to report their whereabouts, er, for reasons of their own. Anyway we shall soon know.[SCENE_BREAK]12: SPACE(Thepirate ship moves away from Beacon Alpha Seven and off into space.)[SCENE_BREAK]13: INT. V-SHIP FLIGHT DECK(This movement shows on PENN'S radar screen.)TECHNICIAN PENN: She's backing off, sir.GENERALHERMACK: Keep track of her.(The blip on the screen gathers pace as they all watch.)[SCENE_BREAK]12: SPACE(The pirate ship moves further off.)[SCENE_BREAK]14: INT. V-SHIP FLIGHT DECKTECHNICIAN PENN:She's moving quite fast, sir.MAJOR IAN WARNE: Got a good turn of speed for a commercial.GENERAL HERMACK: Is Beacon Alpha Seven still functioning?(WARNE checks a reading.)TECHNICIAN PENN: Yes, sir. Verystrong signal.GENERAL HERMACK: Ah, well, that's something.MAJOR IAN WARNE: Maybe they were just picking up emergency supplies, sir. Some of these beacons do carry reserve medical and oxygenequipment.TECHNICIAN PENN: (Puzzled.) Sir, I've... got another signal coming in now. It's a UHF!MAJOR IAN WARNE: UHF? Well that's reserved for demolition teams.GENERAL HERMACK: Well, put it onaudio.TECHNICIAN PENN: Yes sir.(PENN does as instructed and the warbling signal is heard across the flight deck issuing from a loudspeaker.)[SCENE_BREAK]15: SPACE(Space Beacon Alpha Seven explodes, again notinto fragments but into its component pre-fabricated sections.)[SCENE_BREAK]16: INT. V-SHIP FLIGHT DECKTECHNICIAN PENN: Alpha Seven's broken up, sir!GENERAL HERMACK: (Angrily.) Argh! Right under ournoses. Main boost.(Again the sound of the rising engines is heard.)TECHNICIAN PENN: Lost the beacon, sir. No more signal.MAJOR IAN WARNE: No there won't be. It's probably in a dozen separate bits bynow.GENERAL HERMACK: Penn, hold contact with that pirate ship!TECHNICIAN PENN: Yes, sir.GENERAL HERMACK: At least we can be sure they don't get away. Ian give me a projected arrival, time.(WARNE checks aconsole.)MAJOR IAN WARNE: Three hours, sir. Maybe I can get a visual on the main scanner.(In place of the image of the radar signal, a picture of a pirate ship and the beacon fragments appears on the front viewscreen.)MAJOR IAN WARNE: There she is, sir. And that's what's left of the beacon.GENERAL HERMACK: (Pleased.) Oh we've got them cold, Ian! We'll be onto them long before they get rid of that salvaged scrap.MAJORIAN WARNE: Yeah, providing she doesn't see us approaching, sir.GENERAL HERMACK: They don't know...TECHNICIAN PENN: That ship looks fast...GENERAL HERMACK: They don't know we're in the samearea.(Suddenly the image on the screen starts to become less distinct.)GENERAL HERMACK: What's wrong with the scanner?MAJOR IAN WARNE: Seem to be losing visual contact, sir.TECHNICIAN PENN: The ship'smoving away, sir.GENERAL HERMACK: What?TECHNICIAN PENN: Just started to go...and the beacon debris's going with her.GENERAL HERMACK: Hold that contact, Penn!TECHNICIAN PENN: It's no good, sir. She'sgoing too fast.GENERAL HERMACK: They must have twice our speed.MAJOR IAN WARNE: Maybe the minnows can hold her?GENERAL HERMACK: Not at this distance. They haven't the fuel.TECHNICIAN PENN: Lostcontact, sir.GENERAL HERMACK: (Resigned.) Oh...hold the same course.TECHNICIAN PENN: Sir.GENERAL HERMACK: Keep searching.MAJOR IAN WARNE: They must have attached rocket units to the beacon, sir, theway it moved off.GENERAL HERMACK: Yes. They're very well organised. They cut the beacon into several manageable pieces by means of scissor charges, then shoot the bits off to some pre-arranged collection point.Very clever.MAJOR IAN WARNE: And quick. It cuts down the time they're at risk. And they just burn out the Argonite at their leisure.GENERAL HERMACK: Ian, we shall have to rethink our tactics. We shall never catchthem by normal patrol methods.MAJOR IAN WARNE: What else can we do, sir?GENERAL HERMACK: (Thinks.) Man the beacons.MAJOR IAN WARNE: Man them?GENERAL HERMACK: It's the only answer. We'll drop smallparties of four or five men on each beacon, and give them rations and supplies for two months. Well all these mark five beacons were designed as emergency survival centres.MAJOR IAN WARNE: Yes sir, but I don'tthink anybody has ever tried living on them. Some of these beacons are pretty primitive.GENERAL HERMACK: (Snaps.) I'm not interested in men's comfort, Major! Set course for the nearest beacon.MAJOR IAN WARNE:Yes, sir.[SCENE_BREAK]17: SPACE(Some time later, the V-Ship docks with another Space Beacon - Alpha Four, in order to carry out HERMACK'S strategy.)[SCENE_BREAK]18: INT. SPACE BEACON ALPHA FOUR.AIRLOCK(The airlock pressure rises and the hatch from the V-Ship opens to admit the dark-skinned LT. SORBA and four other men who carry their guns and rations for their protracted stay. WARNE follows them intothe airlock and small box-shaped communicator with a round aerial on top of it.)MAJOR IAN WARNE: Here's your radio, lieutenant. It's beamed automatically to main control. All you have to do in the event of trouble ispress this button, right?LT. SORBA: Don't worry, I'll press it.MAJOR IAN WARNE: Remember your main job here is to give us the earliest possible warning in the event of the pirate ship approaching right?LT. SORBA:And after that, we fight them.MAJOR IAN WARNE: After that, I think you'll have to, Joe. Good Luck.LT. SORBA: Thank you.MAJOR IAN WARNE: See you in about six weeks.LT. SORBA: I hope.(WARNE goes through theairlock and back into the V-Ship. The door closes behind him.)[SCENE_BREAK]19: SPACE(The V-Ship disconnects from the Beacon and moves off.)[SCENE_BREAK]20: INT. V-SHIP FLIGHT DECK(WARNE walks backonto the flight deck through the opening door as HERMACK gives the order to go onto their next destination.)GENERAL HERMACK: Set a course for Alpha Nine.TECHNICIAN PENN: Very good, sir.MAJOR IAN WARNE: Itold Lieutenant Sorba we'd be back in about six weeks, sir.GENERAL HERMACK: Or much earlier if the pirates raid Alpha Four. How's morale on the picket?MAJOR IAN WARNE: Oh, it's pretty high sir. I think they'rehoping for the chance of a party.GENERAL HERMACK: They understand they have to shoot on sight?MAJOR IAN WARNE: Yes sir, I told them. No, anybody poking their nose aboard Alpha Four will find plenty of troublewaiting for 'em.[SCENE_BREAK]21: INT. SPACE BEACON ALPHA FOUR. COMPUTER BAY(The TARDIS materialises in the middle of this potential battlefield. Its arrival point is a cramped computer bay in one of thesections.)[SCENE_BREAK]22: INT. SPACE BEACON ALPHA FOUR. COMPANIONWAY(Meanwhile, LT. SORBA is briefing three of his men in one of the narrow companionways of the beacon. As he does so, the fourth of hisSPACE GUARDS climbs down a ladder into the companionway.)LT. SORBA: Now we're going to be here for about six weeks. Settle down...(The SPACE GUARD pushes through him comrades.)SPACE GUARD: 'Scuseme.LT. SORBA: ...and keep your eyes open. Take care about...SPACE GUARD: (Interrupts.) Sir!LT. SORBA: What? What are you doing here? Why aren't you in the observation tower?SPACE GUARD: There's somethingin the computer bay, sir.LT. SORBA: Something? Well what do you mean by that?SPACE GUARD: I heard something in there, sir - a noise.LT. SORBA: All right, we'd better check it out then. Come on.(The men run offtowards the computer bay with their guns held.)[SCENE_BREAK]23: INT. SPACE BEACON ALPHA FOUR. COMPUTER BAY(The DOCTOR steps out of the TARDIS and looks round his darkened surroundings. The TARDIS isat the back of the small compartment on a raised platform. In front of the platform is a square piece of machinery.)DOCTOR: Oh dear.(ZOE, dressed in light-coloured hotpants and matching top, steps out of the TARDISbehind him.)ZOE: Well, what's wrong?DOCTOR: Well, I...well, I don't think we're...we're quite where I expected.(JAMIE mutters in no great surprise. The DOCTOR spots the piece of machinery and starts to look overit.)DOCTOR: But never mind. This looks very interesting.JAMIE: Interesting? A piece of old machinery?DOCTOR: Yes. I...I've never seen a computer quite like this before, Jamie.(ZOE starts to look round thecompartment.)ZOE: It looks like some sort of control room.DOCTOR: Yes, but what does it control?JAMIE: Ah, well I think we'd better get out of here before somebody catches us.ZOE: Good idea.(She indicates a doorto her left.)ZOE: There's a door here.JAMIE: No, Zoe, I meant in the TARDIS.DOCTOR: Jamie, stop worrying. There's obviously nobody here.JAMIE: Well, how do you know that?DOCTOR: Well, this machine isprogrammed to operate by itself.JAMIE: Eh?ZOE: Yes, but what does it do?DOCTOR: Well, I'm not sure Zoe, but I...I think we're on an unmanned spacecraft in a...in a fixed orbit. We're...we're too far away fromanywhere to be a...a weather satellite. Let's see what, er, what clues we can find through here, shall we?(They are about to leave the computer bay through the hatchway indicated by ZOE into the corridor when JAMIEsees a floor panel opening in the upper level of the bay.)JAMIE: What's that?DOCTOR: What?(Before JAMIE can answer, SORBA pops his head through and starts firing at the trio.)JAMIE: Doctor!ZOE: Oh Jamie,run!(The DOCTOR, JAMIE and ZOE bolt into the corridor, but away from the computer bay and the TARDIS. JAMIE slams the hatch behind him.)[SCENE_BREAK]24: INT. SPACE BEACON ALPHA FOUR. CORRIDORJAMIE:"}
+{"doc_id":"doc_88","qid":"","text":"EXT. CITY STREET, NIGHTStreetlights flicker and a few people mill about the park across from Sanderson & Grainger department store.INT. STORE, LADIES DEPARTMENT, NIGHTA young clerk, KELLY, and hersupervisor, SHONA, are serving the last customer of the night.SHONA: Thank you. (gives customer his bag)KELLY: I better cash up then? S'pose John-Joe can just wait for me? (doesn't move)SHONA: No, I'll do it, youhead off.The lights in the store flicker.KELLY: When's the council going to fix this? Last night my telly went off in the middle of Top Model.SHONA: John-Joe's waiting. I'll do the changing rooms, too.KELLY: Oh, thanks,Shona.KELLY leaves and SHONA looks at the lights nervously.INT. OWENS HOUSE, FRONT HALL, NIGHTThe hall light flickers as CRAIG and SOPHIE come down the stairs. SOPHIE has a coat on.SOPHIE: There's a list onthe fridge.CRAIG: I saw it.SOPHIE: And I've labelled the food And sort of numbered it.CRAIG: Sophie, you don't need to number food.SOPHIE: It's just a suggestion. Also, my mum might phone.CRAIG: Might?SOPHIE:And your Mum. And my Dad. And you know, just some people.CRAIG: I can cope on my own! Now, please, go and have a rest. You need it. I love you.SOPHIE: I love you, too. (hugs him) And thank you for this. And Ido know you can cope on your own. And I may have drawn some arrows in the fridge.CRAIG: You do really have to go.CRAIG picks up her bag and walks her outside.INT. STORE, LADIES CHANGING ROOMS,NIGHTSHONA walks into the changing rooms and sees clothes strewn about the floor as the lights continue to flicker.SHONA: Kelly!SHONA bends over to start picking up the clothes. The curtain over the last roomwaves.SHONA: Hello? Sorry, we need to close up? Two minutes, OK? (continues to pick up clothes)INT. OWENS HOUSE, KITCHEN, NIGHTCRAIG is sitting at the table talking on the phone.CRAIG: Mum, it's not just you.I'm phoning everybody. I'm texting the world. Craig Owens can do it on his own. No-one is coming to help me! (knock on the front door) Mum, I'm going to have to call you back. (shuts off the phone and rubs his eyesas the knocking continues) I'm coping, I'm coping on my own... I'm coping on my own! (walks to the front door)EXT. OWENS HOUSE, FRONT DOOR, NIGHTCRAIG: (opens door) I'm coping on my own!DOCTOR: Hello,Craig! I'm back!CRAIG: She didn't? How could she phone you?DOCTOR: How could who phone me? Nobody phoned me, I'm just here. (peers inside) You've redecorated! I don't like it.CRAIG: It's a different house, wemoved.DOCTOR: Yes, that's it.CRAIG: Doctor, what are you doing here?DOCTOR: Social call. Thought it was about time I tried one out. How are you?CRAIG: I'm fine.DOCTOR: This is the bit where I say. \"I'm fine, too\"isn't it? I'm fine, too. Good. Love to Sophie, bye!The DOCTOR turns and walks away but stops when the light at the front door begins to flicker.DOCTOR: Something's wrong! (goes inside)CRAIG shuts the door.INT.OWENS HOUSE, HALL, NIGHTThe DOCTOR is scanning with the sonic. He then goes upstairs.DOCTOR: On your own, you said. But you're not... you're not on your own!CRAIG: (follows) Just, shhh!DOCTOR: Increasedsulphur emissions. And look at the state of this place. What are you not telling me?CRAIG: Doctor, please!DOCTOR: Shhh!CRAIG: No, you shhh!DOCTOR: Shhh!CRAIG: Shhh!DOCTOR: No, you shhh! (goes to bedroomdoor)CRAIG: Doctor!INT. STORE, LADIES CHANGING ROOMS, NIGHTSHONA is still cleaning up when she sees the shadow of a pair of legs appear in the last changing room.SHONA: (walks closer) Hello, who's inthere?INT. OWENS HOUSE, HALL, NIGHTThe DOCTOR opens the bedroom door and rushes in.INT. OWENS HOUSE, ALFIE'S ROOM, NIGHTWe see the room is a nursery with stuffed toys and cloth hangings on the walls.The DOCTOR doesn't see any of this.DOCTOR: Whatever you are, get off this planet!ALFIE starts to cry and CRAIG goes over to the crib.CRAIG: Oh, you've woken him!INT. STORE, LADIES CHANGING ROOMS,NIGHTSHONA stops just outside the curtain.SHONA: Hello? You all right?SHONA opens the curtain and screams. Inside is a CYBERMAN, albeit one that is dirty and scratched.[SCENE_BREAK]Matt Smith Karen GillanArthur Darvill\"Closing Time\" By Gareth RobertsProducer Marcus WilsonDirector Steve Hughes[SCENE_BREAK]INT. OWENS HOUSE, KITCHEN, NIGHTThe DOCTOR closes the freezer door and turns to CRAIGDOCTOR: Sowhen you say on your own...CRAIG: (holding ALFIE) Yes, I meant on my own with the baby, yes. Cos no-one thinks I can cope on my own. Which is so unfair. Because...I can't cope on my own with him! I can't. He justcries. All the time. I mean, do they have off-switches?DOCTOR: (sits at table and flips through a pregnancy book) Human beings. No. I've checked.CRAIG: (puts ALFIE in high chair) No, babies.DOCTOR: Samedifference. Sometimes this works though. (puts forefinger in front of his lips) Ssh.ALFIE quiets.CRAIG: Can you teach me to do that?DOCTOR: (now looking at baby books) Probably not.CRAIG: Oh, please come on, Ineed something, I'm rubbish at this.DOCTOR: At what?CRAIG: Being a dad. You read all the books, they tell you you'll know what to do if you follow your instinct. I have no instinct! That's what this weekend's about,trying to prove to people I can do this one thing well.DOCTOR: (laughs at the book and closes it) So what did you call him? Will I blush?CRAIG: No, we didn't call him \"the Doctor\"!DOCTOR: No, I didn't think youwould.CRAIG: He's called Alfie. What are you doing here anyway?As CRAIG prepares tea, the DOCTOR leans over and listens to ALFIE.DOCTOR: Yes, he likes that, Alfie. Though personally he prefers to be calledStormageddon, Dark Lord of All.CRAIG: Sorry, what?DOCTOR: That's what he calls himself.CRAIG: How do you know that?DOCTOR: I speak baby. (stands)CRAIG: Of course you do! I don't even know when his nappyneeds changing. (sits) I'm the one supposed to be his dad.DOCTOR: Oh, yeah. He's wondering where his mum is? (massages CRAIG'S shoulders) Where is Sophie?CRAIG: Gone away with Melina for the weekend. Needsa rest.DOCTOR: (to ALFIE) No, he's your dad, you can't just call him 'Not-Mum'.CRAIG: Not-Mum?DOCTOR: That's you. Also, Not Mum, that's me. And everybody else is...(leans in front of ALFIE) \"peasants.\" That's a bitunfortunate. (tickles ALFIE's head)CRAIG: What are you here for?DOCTOR: I just popped in to say hello. (almost puts a piece of chalk in his mouth)CRAIG: I checked down stairs when I moved in. And next door, bothsides, they're humans. Is it the fridge? Are there aliens in my fridge?DOCTOR: I just want to see you, Craig! Cross my hearts. (each hand crosses a heart) I've been knocking about on my own. A farewell tour. One lastthing, popping in to see you, then I'm off to the Alignment of Exedor.CRAIG: The Alignment of Exedor?DOCTOR: 17 galaxies in perfect unison. Meant to be spectacular, I can't miss it. Literally can't. It's locked in a timestasis field, I get one crack at flying my TARDIS straight into it, if I get my dates right. (looks at newspaper) Which I have.CRAIG: Sounds nice.DOCTOR: (picks up the paper again) So this is me popping in and poppingout again. Just being social, just having a laugh. (slowly) Never mind that.CRAIG: Never mind what?DOCTOR: Nothing.CRAIG: (stands) No, you noticed something. You've got your noticing face on. I have nightmaresabout that face.The DOCTOR puts a hand over his face and spins around as CRAIG talks.DOCTOR: Nope, given up all that, done with noticing things. (lights flicker) Didn't even notice that, for example. Got to go. Goodseeing you, Craig. (shakes CRAIG'S hand) Goodbye, Stormageddon. (air kisses ALFIE on each cheek)ALFIE starts fussing as the DOCTOR walks away.CRAIG: No, no, wait, wait, could you do the shushing thing?Shhh.DOCTOR: No, it only works once, and only on life forms with underdeveloped brains.CRAIG: Hang on, you said farewell tour? What do you mean, farewell?DOCTOR: Ssh...CRAIG can't speak.EXT. OWENS HOUSE,STREET, NIGHTThe DOCTOR walks down the street talking to himself.DOCTOR: Just go. Stop noticing. Just go! Stop noticing! Just go. Stop noticing. Just go. Stop it! (sees the streetlight flicker) Am I noticing? No, no Iam not. And what I am not doing is scanning for electrical fluctuations. (scans with sonic) Oh, shut up, you! I'm just dropping in on a friend, the last thing I need right no is a patina of teleport energy, I'm going. Going!Not staying. Going. I am through saving them. (rests head on TARDIS door) I'm going away now.INT. STORE, TOY DEPARTMENT, DAYThe DOCTOR is demonstrating a remote control helicopter for a group ofchildren.DOCTOR: It goes up-tiddly up, it goes down-tiddly down-down! For only £49.99, which I think is a bit steep but then again it's your parents' cash and they'll only waste it on boring stuff like lamps andvegetables, yawn!CRAIG enters pushing ALFIE in a stroller. He's on his mobile with SOPHIE.CRAIG: Yeah, Soph... Just enjoy your holiday! Yeah, coping.DOCTOR: Nobody panic, but I appear to be losing control.CRAIG:Yeah, love you.The helicopter comes down behind CRAIG. The DOCTOR sits on the display table.DOCTOR: Oops. (kneels on the floor and gathers the children around him) Guys, guys, ladies and gentlemen, while I dealwith this awkward moment you go and find your parents/guardians! Try in lamps! (gives one girl a high five before they leave) Craig!CRAIG: What the hell are you doing here?DOCTOR: I'm the Doctor, I work in a shopnow. Here to help. They gave me a badge (points) with my name on in case I forget who I am, very thoughtful, as that does happen.CRAIG: You were leaving... the alignment of Exeter, what about that? One chance tosee it, you said.DOCTOR: Well, I was on my way, saw a shop, got a job, you got to live in the moment, Craig. (turns away) Mind Yappy.CRAIG: What?DOCTOR: Yappy. The robot dog. Not so much fun as I remember.(strokes YAPPY) You look awful!CRAIG: I haven't slept, have I? I still can't stop him crying. I even tried singing to him last night.DOCTOR: Yeah, he did mention that...he thought you were crying, too. He didn't get awink. Yappy, say goodbye to Craig and Stormageddon. (pretends to be the dog) \"Goodbye, Craig, goodbye, Stormageddon.\"As the DOCTOR sets Yappy down, something whizzes across the floor at the other end of thedepartment.DOCTOR: What was that? (heads down the aisle)CRAIG: You're here for a reason, aren't you? You noticed something, and you're investigating it.The DOCTOR gets down on his hands and knees.CRAIG:Because it's you, it's going to be dangerous and alien.DOCTOR: (stands) It might not be.CRAIG: Doctor, I live here, I need to know!DOCTOR: No, you don't.CRAIG: My baby lives here, my son.DOCTOR: Sheila Clark,went missing Tuesday. Atif Ghosh, last seen Friday. Tom Luker, last seen Sunday.CRAIG: (picks up newspaper) Why's that not on the front page?DOCTOR: Page one has an exclusive on Nina, a local girl who got kickedoff Britain's Got Talent. These people are on pages seven, 19, 22. (pushes the stroller) No-one's noticed yet, they're far too excited about Nina's emotional journey, which in fairness, is quite inspiring.CRAIG: And whatelse?INT. STORE, CHILDREN'S, DAYDOCTOR: These funny old power fluctuations... which just happen to coincide with the disappearances.CRAIG: That's just the council, putting in new cables. Isn't it?The DOCTORstops in front of the lift that is blocked by construction tape.DOCTOR: Oh, yes, that's it, mystery solved, oh, wasting my time, now you can go home and (uses sonic on lift) I can go to Exedor, goodbye, and here's alift.CRAIG: It says out of order.DOCTOR: Not any more. (pulls down tape) See? Here to help.The lift doors open and the DOCTOR starts to push the stroller inside. CRAIG takes over.CRAIG: It says, \"danger\".DOCTOR:Oh, rubbish, lifts aren't dangerous.CRAIG: Do I look like I'm stupid?ALFIE gurgles.INT. STORE, LIFT, DAYDOCTOR: Quiet, Stormy! Oh, all right, there's more. (enters lift and uses sonic on the panel) Just between you,me and Stormy, don't want to frighten my punters. Someone's been using a teleport relay, right here in this shop. Missing people last seen in this area. (places his finger on CRAIG'S lips) Before you ask, CCTV's beenwiped.CRAIG: A teleport? (stammers) A teleport? Like a beam me up teleport, (uses hand motions) like you see in Star Trek?DOCTOR: Exactly. Someone's been using a beam me up Star Trek teleport. Could bedisguised as anything.CRAIG: But a teleport? In a shop? That's ridiculous!The lights flicker again and they are no longer in the lift. CRAIG hasn't noticed.INT. CYBERSHIP, DAYCRAIG: What was that? Was that the lightsagain?DOCTOR: (squeaky) Yes, that's it. That's all, it's the lights.CRAIG: Why did you say that like that?DOCTOR: (high) Like what? (normal) Like, like what?CRAIG: Like that, in that high-pitched voice.DOCTOR: Justkeep looking at me, Craig. Right at me, just keep looking.CRAIG: Why?DOCTOR: Well, because, because, because... (CRAIG starts to turn around and the DOCTOR grabs his arms) I love you.CRAIG: You loveme?DOCTOR: Yes, Craig. It's you. It's always been you.CRAIG: Me?The DOCTOR puts his arms around CRAIG'S shoulders, trying to hide the fact he's taken out the sonic.DOCTOR: Is that so surprising?CRAIG: Doctor,are you going to kiss me?DOCTOR: Yes, Craig. Yes, I am. Would you like that? Bit out of practice, but I've had some wonderful feedback. (puckers up)CRAIG: Doctor, no, I can't, I'm taken... (turns around and sees theship) Oh, my God!DOCTOR: Or we could just hold hands if it make you'd feel more comfortable?CRAIG: What is happening?A Cyberman appears in the distance and sees them.DOCTOR: Well, first of all, I don't reallylove you, except as a friend.The Cyberman walks towards them.CRAIG: And what is that?With a scream, the DOCTOR uses the sonic on the machinery sending them back to the lift just as the Cyberman was about toreach them.INT. STORE, LIFT, DAYDOCTOR: Quick reverse!CRAIG: What the hell just happened?INT. STORE, CHILDREN'S, DAYThe lift opens and the DOCTOR strides out, followed by CRAIG pushing thestroller.DOCTOR: They must have linked the teleport relay to the lift, but I've fused it! They can't use that again. Stuck up there on their spaceship.CRAIG: What were those things?DOCTOR: Cybermen.CRAIG: Ship?Space ship? We were in space?EXT. CITY STREET, NIGHTThe DOCTOR and CRAIG look up at the sky as the DOCTOR scans with the sonic.DOCTOR: It's got to be up there somewhere, can't get a fix, it must beshielded.CRAIG: You fused the teleport. You sorted it. They can't come back.DOCTOR: I've just bought myself a little time. Still got to work out what they're doing before I can stop it.CRAIG: But if they've got theteleport and they're evil, why haven't they invaded already?DOCTOR: Craig... take Alfie and go.CRAIG: No!DOCTOR: No?CRAIG: No, I remember from last time, people got killed, people that didn't know you. I knowwhere it's safest, for me and Alfie. And that's right next to you.DOCTOR: Is that so?CRAIG: Yeah, you always win, you always survive!DOCTOR: Those were the days.CRAIG: I can help you, I'm staying!DOCTOR:Craig...(shakes head) Craig, all right, all right... maybe those days aren't quite over yet. Let's go and investigate... I mean, there's no immediate danger now.INT. STORE, JEWELRY, NIGHTThe DOCTOR and CRAIG walkin with the stroller. The DOCTOR greets an older woman behind the counter.DOCTOR: Good afternoon, Val.VAL: Hello.The DOCTOR starts to walk over to the counter, but CRAIG grabs his arm.CRAIG: Where am Iinvestigating?DOCTOR: Well, look round. Ask questions. People like it when you're with a baby, babies are sweet, people talk to you. That's why I usually take a human with me.CRAIG: So I'm your baby?DOCTOR:You're my baby! (hugs CRAIG)From the counter, VAL watches and smiles. CRAIG leaves with ALFIE. The DOCTOR tries on a pair of sunglasses.VAL: Hope you don't mind me saying, Doctor, but I think you look ever sosweet, you and your partner and the baby.DOCTOR: Partner. Yes, I like it. Is it better than 'companion'?VAL: Companion sounds old-fashioned. There's no need to be coy these days.DOCTOR: You've not noticedanything unusual around here lately, Val?VAL: Well...DOCTOR: Yes, yes?VAL: Mary Warnock saw Don Petheridge snogging Andrea Groom outside the Conservative Club on his so-called day off 'golfing'.DOCTOR: Yeah.Maybe this wasn't such a good idea after all.The DOCTOR air-kisses VAL on each cheek and starts to walk away.VAL: And then there's that silver rat thing.DOCTOR: (turns) What?INT. STORE, LADIES DEPARTMENT,NIGHTAs CRAIG walks through pushing the stroller, we see a \"silver rat thing\" zip across the floor. CRAIG stops to give himself a pep talk.CRAIG: All right, Alfie, you watch Daddy investigate. You look cute, I'll do thetalking.CRAIG approaches KELLY, who is holding bras up for size. CRAIG leans in a little close.KELLY: Good afternoon, sir, can I help you?CRAIG: Hiya! (holds out his hand) I'm Craig!KELLY: (ignores CRAIG'S hand)Yeah?CRAIG: Do you mind, if I just ask you some questions?KELLY: Y'what?CRAIG: Just between you and me, in confidence, have you noticed anything unusual? Interesting?KELLY: Y'what?CRAIG: Talk to me aboutladieswear.KELLY: (backs away) George!A large security guard walks over.CRAIG: Hi, George... nice uniform.INT. STORE, TOY DEPARTMENT, NIGHTThe DOCTOR is under a table scanning with the sonic. He has a largenet in his other hand.DOCTOR: A silver rat. (stands) Glowing red eyes.VAL: Yes, then it zizzed off. I wanted to get one for my nephew, but stockroom say there's no such item.DOCTOR: I bet they do. (puts awaysonic)VAL: Well, what was it then? Answer me that.INT. STORE, LADIES DEPARTMENT, NIGHTGEORGE: Can I help you, sir?CRAIG: Have you seen how cute my baby is? Look at his face. (backs away pulling stroller) I'mgoing to head off actually. All right, whoa..(knocks over a stand)INT. STORE, TOY DEPARTMENT, NIGHTThe DOCTOR and VAL hear the sound of stands falling over.VAL: What's all that hullabaloo?DOCTOR: Umm. That'llbe my partner! (hands VAL the net and runs off)VAL: Aww!INT. STORE, LADIES DEPARTMENT, NIGHTCRAIG is trying to pick up the items. ALFIE is crying.GEORGE: Make a habit of hanging round in womens' wear,sir?CRAIG: I'm sorry, oh, ssh, ssh, Alfie, come on. (rocks the stroller)KELLY: He's a pervert, look at him.The DOCTOR runs over.DOCTOR: Hello, everyone! Here to help.KELLY: Hello, Doctor.GEORGE: Hello,Doctor.DOCTOR: Hello. Has anyone seen a silver rat? No, OK. Long shot, I see you've met my friend, Craig. Nice uniform George. (gives him the \"OK\" sign and whistles)GEORGE: Thank you, Doctor. If he's with you,that's all right then.KELLY: Sorry. I thought he was hassling me, 'cause that's the last thing I need today. 'Cause Shona's not turned up, right, so I'm doing twice the work for the same money.DOCTOR: Ssh!KELLY stopstalking.CRAIG: Please teach me how to do that.DOCTOR: No hold on... Un-ssh! Shona?KELLY: My supervisor. She's meant to be in today but never showed up.DOCTOR: Where did you last see her?INT. STORE, LADIESCHANGING ROOMS, NIGHTThe DOCTOR and CRAIG walk along the changing room corridor.CRAIG: How do you do that? It's a power, isn't it, some sort of weird alien hypnotic power, I bet you excrete some sort of gasthat makes people love you.DOCTOR: Would that I could, Craig.The DOCTOR opens a curtain and a woman screams. He closes the curtain.DOCTOR: Sorry, Madam. (opens curtain) I'd try that in red if I were you.(closes curtain)CRAIG: I'm right though, aren't I?DOCTOR: (peers into another room) You love me, I've never excreted any weird alien gases at you.CRAIG: I don't love you! Don't start that again.ALFIEgurgles.DOCTOR: Yes, I know. Of course he does. Of course you do, we're partners.CRAIG: But I did exactly what you would have done, and I nearly got arrested!ALFIE makes some more noises.DOCTOR: Stormythinks you should believe in yourself more. (scans with the sonic)CRAIG: Great, now my baby is reviewing me.The DOCTOR steps into the last room.DOCTOR: Here. Right here Last night, a Cyberman tookShona.CRAIG: A Cyberman...I thought it was a little silver rat?DOCTOR: It's not a rat. It's a Cybermat!CRAIG: All right don't have a go at me just cos I don't know the names.[SCENE_BREAK]INT. STORE, LADIESDEPARTMENT, NIGHTThe DOCTOR and CRAIG walk through the department.DOCTOR: Cybermats are infiltrators. Very small, very deadly... they collect power like bees collect pollen. One of them's been sucking theelectrical energy from this area. But why a shop, you know, why not a nuclear power station?CRAIG: OK, why?DOCTOR: Let's ask it. We wait for the shop to shut, we stake the place out, and grab ourselves a"}
+{"doc_id":"doc_89","qid":"","text":"[Salvatore's House](Elena and Stefan are training)Stefan: And?Elena: That did nothing for me. How was it for you?Stefan: Again. Good. Now, focus on letting it goElena: Or we could skip the sublimating part and youcan tell me where she is so that I can rip her head offStefan: I don't know where Katherine is and even if I did, I wouldn't tell youElena: Stefan, you're the one who told me to channel all of my emotions into one singlefeeling.Stefan: I realize that. I just figured it would be love, or hope, or compassion. Not unwavering hatred for a ruthless vampire that's 500 years older than you. Give me 50 pull-upsElena: You wanted to kill Klauswhen you got your emotions backStefan: I know and I couldn'tElena: You don't think I can kill Katherine?Stefan: I don't think you really want toElena: Maybe you're right. Maybe I just want to feel the warmth of herchest cavity as I rip out her heart and watch her face as she realizes I took it from her. Nah, I just want to kill her. It's that simple. I'm gonna go shower[Mystic Grill](Rebekah is at the bar with Matt)Rebekah: So, let meget this straight. You send out a notice of your impending graduation, and people feel obliged to give you money?Matt: Pretty muchRebekah: Sounds brilliant. Why aren't you participating?Matt: I don't have a whole lotof familyRebekah: Well, that makes two of us. Besides, I don't think it was my mother's dream to see me in a cap and gown. How about your mom?Matt: Let's just say I'm not holding my breath for a graduationcheck(Caroline and Elena are sitting on a table outside)Caroline: Stamp, please. Thank youElena: You don't have to pretend to be nice to me, Caroline. I know this is just a ploy to keep me distractedCaroline: You'redone? I'm only on my second batchElena: We have family friends in Denver. Other than that, no one cares that I'm graduating. And to be honest, neither do ICaroline: You know, that's how you feel now, but once youget through this hating Katherine phase...Elena: Wait. Do you know where Katherine is?Caroline: No. Why would I know where she is?Elena: Yeah, but Caroline, if you did, you would tell me, right?Caroline: Elena,you're obsessingElena: Caroline, listen to me. If you know where Katherine is, you have to tell meCaroline: I don't. Elena... Chill.[The Woods](Bonnie and Katherine are in the woods)Katherine: Hello! Could you be anycreepier? Why are we here?Bonnie: You want me to make you truly immortal so that nothing can kill you. To do that, I need to talk to Qetsiyah, which means I need to lower the veil to the other sideKatherine: That stilldoesn't explain why you made me trudge through mud in $500 bootsBonnie: A few miles that way, 12 hybrids were killed at the Lockwood cellar. And a few Miles that way, 12 humans died at the Young farm. And this isthe site where 12 witches were killedKatherine: 13 if you don't get to the pointBonnie: It's the expression triangle. I need to charge all 3 points and channel the mystical energy from Silas's tombstone. Once thathappens, I can drop the veil inside the 3 points and just long enough to get what I needKatherine: And what exactly do you need?Bonnie: Silas has done nothing but torment my friends. Now he wants to unleash hell onearth. He's evil. In 2,000 years, only one person has been able to put him downKatherine: Let me guess. QetsiyahBonnie: If I can contact her, I can ask her how to do it. Now hand me the rockKatherine: You're gonnaflood Mystic Falls with dead, supernatural creatures so that you can ask a 2,000-year-old witch not one but two favors? Ha! I think I'll take my business elsewhere(She can't leave)Katherine: What the hell?Bonnie: Ilinked us. Which means you're stuck with me for the day. Silas can be anyone. If he gets in your head and figures out I don't need a full moon to do the spell, it's over. Now, about that tombstone[Mystic Falls'Hospital](Stefan rejoins Damon)Damon: You just missed the donutsStefan: Yeah, I was with Elena burning off a few thousand hate-filled calories. What happened to you helping me?Damon: Help? Yes. Prolonging theinevitable, waste of my timeStefan: Hmm. You're avoiding. How unexpectedDamon: I'm not avoiding. Elena's only goal is to end Katherine's life, and that's not gonna just magically disappear with Pilates and a juicecleanse(Liz rejoins them)Liz: Hey, guys. Thanks for comingDamon: Hey. Why were we invited?Liz: Well, the hospital has kept the blood banks empty ever since they were raided last month. We thought at the veryleast, it would help keep the vampire population awayStefan: And it didn't?Liz: See for yourself(They go to a room)Liz: There were 4 other victims in this wing. Each one almost completely drained of blood. You think it'sSilas?Damon: Or a doctor with some very questionable bedside mannerLiz: But 5 victims? It's a lot of blood and it's not like he can take it with himStefan: Unless he's fueling up for something bigLiz: Big? Any detailswould be helpful, considering I'm dealing with 5 grieving families out there and a psychic killer on the looseDamon: Silas wants Bonnie to do a spell to drop the veil from the other sideLiz: I have no idea what thatmeansDamon: It's an invisible wall that separates our plane from the plane of all dead supernatural creatures. Now, Silas wants that to go away so he can take the cure, die, and not have to spend an eternity in asupernatural purgatoryLiz: And when do you suppose Silas plans on doing this?Damon: Next full moon. Tomorrow night[Old Lockwood Cellar](Bonnie and Katherine arrive)Katherine: Ugh. That old Lockwood cellar reeksof wet dog. I'll be staying up hereBonnie: You obviously don't know how this works(They enter)Katherine: You realize I'm not just some wandering child in a supermarket, right? I'm a vampire that can kill youBonnie:Whatever happens to me happens to you. Do you really think I want you here?Katherine: And what is here? Oh. Right. 12 dead hybrids. This should be good[Mystic Grill](Caroline, Rebekah and Matt are at thebar)Caroline: Is it supposed to rain tonight?Rebekah: Do I look like a meteorologist?(They look at Elena)Caroline: Someone needs to do something, before she explodesRebekah: I got this(She rejoins Elena)Rebekah:Drink. You're putting everyone on edge. So. What's the deal? I'm new to this whole emotional switch situationElena: It's not complicated. See that dart board? All I can picture is Katherine's faceRebekah: So, youremotions are on, they're just dialed to rageElena: Look, Rebekah, I get that we had our Thelma and Louise thing back when I had my humanity off, but let me make one thing clear... We're not friends(Caroline rejoinsthem)Caroline: What about us? Are we still friends? All those things you said when your humanity was off, is that how you really feel?Elena: Caroline, I really don't feel like going down memory laneCaroline: Well, whatabout when you said, and I quote, \"you're a repulsive, blood-sucking, control freak monster\"? Did you really mean those things?Elena: If you're waiting for an apology, you're not gonna get one. I can't let myself feelbad, because if I feel bad, then I feel everything, and... We've all seen how well I handle that(The power's out. They go outside)Rebekah: The power's completely outCaroline: I'll call my mom! Maybe she knows what'sgoing on[The Young Farm]Bonnie: 12 humans burned to death here. They died in vain for SilasKatherine: What did you do?Bonnie: I linked the final hot spot. It's time to drop the veil[Mystic Falls' Hospital](Damon, Lizand Stefan are looking at a map)Liz: The power outages originated at 3 different places in town... the Young farm, the Lockwood estate, and a blown transformer off old Miller RoadStefan: These are the locations of theSilas massacres. It's the expression triangnle. Bonnie must be doing the spellDamon: So much for needing a full moonLiz: I know something else. One of the power company guys has a daughter who goes to schoolwith Bonnie. He saw her leaving the Young farm an hour ago with ElenaStefan: But Caroline's with ElenaDamon: Looks like Bonnie Bennett has a new doppelganger friendLiz: So, how do we find them?Stefan: Well, theymust be somewhere in the triangle. My guess is right in the middleDamon: And where exactly might that be?[Mystic Falls' High School](Damon and Stefan arrive. Elena rejoins them)Stefan: Where's Caroline?Elena:Inside looking for Bonnie. I think we should split up. Damon and I can look outside while you and Caroline look insideStefan: All right. Let me know if you find anything(He leaves)Damon: Someone's an eagerbeaverElena: Where's Katherine?Damon: Now I get it. One brother shoots you down, you ask the other one. GreatElena: You know, don't you?Damon: Do you not notice all the end of the world crap going on rightnow?Elena: Tell me that you don't want her dead. After everything that she did to you. Stringing you along for hundreds of yearsDamon: Elena, we don't need to list all the reasons that I hate Katherine. What we needto do is find Bonnie. Come onElena: I don't care about Bonnie. I care about killing KatherineDamon: They're together. Ok? So maybe you should do a little less threatening and a little more looking. Come on(Stefanrejoins Caroline in the cafeteria)Stefan: Hey. There you are. Any luck?Caroline: I searched the whole school. She should be here(They hear a noise)Caroline: What was that?(They go in the cold room)Stefan: Hmm. Iceis meltingCaroline: It just doesn't make any sense. This is the center of the triangle. If she's gonna do the spell, she has to do it here. This is where they should beStefan: Actually, I think we're in the right place. Justthe wrong elevation(Bonnie and Katherine are in the caves below the school)Bonnie: Ok. This is the center of the triangle. I'm ready. Now give me the tombstoneKatherine: The fact that this spell hinges on some crappyhunk of blood-rock does little to inspire my confidenceBonnie: It's filled with the calcified blood of Qetsiyah, one of the strongest witches in the world(Damon is on the phone with Stefan)Damon: If I remember correctly,I think there's an entrance in the basementStefan: Where's the basement?Elena: Off the boiler roomDamon: You hear that? I'll meet you there(He hangs up and looks at Elena)Damon: You're gonna have to stayhereElena: Are you kidding me?Damon: We really need to stop Bonnie from doing this spell, and if you get all murderous and screw it up...Elena: Is that really the reason?Damon: As self-righteous as Stefan is, he has apoint. Behind your rage, there is a tidal wave of feelings. All of your guilt, all your grief. Every emotion you've ever put off. And killing Katherine's gonna let it all in, and if you can't handle it, then we're back to squareoneElena: And if I can? What if killing Katherine takes away all that grief and guilt? What if killing Katherine finally lets me feel all the good things that I've lost? Damon, help me. As soon as I get over this hurdle, I'll beme. I'll be able to think clearly. I'll be myself and everything will go back to normalDamon: She's strong. And crafty. And you'll dieElena: Then at least I'll die trying(Bonnie is doing the spell)Katherine: What ishappening?Bonnie: I'm channeling the expression triangle. It's done. The veil is down(Damon Is lying on the ground. Alaric appears)Alaric: Need a hand?Damon: So, this is either really good or really badAlaric: It'sgood to see you, too, DamonDamon: I'd say the feeling was mutual, except a lot of people aren't exactly who they say they are around hereAlaric: You think I'm Silas? Are you kidding me?Damon: Uhh. See, this putsus in a bit of a pickle, 'cause that is exactly what Silas would sayAlaric: Now, would Silas know about locker 42?(Damon embraces him)Damon: Hang on. If I can see you, and I can touch you that means the little witchdid it. She dropped the veilAlaric: Well, not completely. It's only down inside the expression triangle. If I step outside of it, it's back to ghost worldDamon: Where's everybody? I figure with the veil down, it'd be likeghost-a-paloozaAlaric: Not every ghost has a reason to come back to Mystic Falls. Just the ones like me, looking out for their idiot best friendsDamon: I'm more worried about the ones looking out for theirenemies[Mystic Grill](Matt and Rebekah are alone)Matt: This wind is weird. One minute it was blowing like a hurricane. Now nothing, not even a breezeRebekah: Looks like something wicked finally cameMatt: Youknow, you don't have to be here. I mean, technically, one of us is getting paidRebekah: But it's fun. And kind of cozy. With the storm outside and the candlelight. And us(Someone enters)Rebekah: Oh, my God. KolKol:Greetings from the dead. So, who fancies a drink?Rebekah: I thought I'd never see you againKol: Spare me the waterworks, sister. I've already watched you grieve. Lasted a full 24 hours, remember?Matt: I'massuming this means Bonnie dropped the veilKol: Not completely, and not for long. But who am I to give up an opportunity for revenge? My killer's already dead, but his sister's just as culpable. So maybe you couldhelp me find herMatt: If you hurt Elena...Kol: Oh... I'm going to. But please, continue. I'm curious as to where you're going with thisRebekah: You've made your point, Kol. LeaveKol: First tell me where I can findElenaRebekah: She left here hours ago. We don't know where she is. Now get outKol: I see you finally got the quarterback to pay attention to you. How's the throwing arm, champ?[Mystic Falls' High School](Katherineand Bonnie are still in the caves)Katherine: Tick tock, BonnieBonnie: Stop talking. I can't reach out to Qetsiyah with you breaking my concentration every 5 secondsKatherine: Bonnie. Did you hear that? Someone'scomingBonnie: Will you be quiet?Katherine: I have vampire hearing, Bonnie, and there's someone here. Unlink me so that I can go stall them while we wait for Qetsiyah to show upBonnie: I'm not letting yougoKatherine: Then at least give me some slackBonnie: Fine. Go. Stop them(Katherine is in the tunnels)Katherine: Silas? Come and get me(Elena arrives)Elena: Hello, KatherineKatherine: I let you out of your cage andthis is how you thank me?Elena: No. This is how I thank you(Bonnie is screaming. Stefan and Caroline enter)Stefan: Bonnie. Bonnie, what happened?Bonnie: Katherine. Find Katherine. We're linkedCaroline: Then unlinkher. You go. I'll stay with Bonnie(Elena is still fighting with Katherine)Elena: You have done nothing but suck the happiness out of my life. Uhh. Well, now I get to kill youKatherine: No, wait, pleaseElena: Good-bye,Katherine(Stefan intervenes)Elena: Stefan!Katherine: Thanks for the save, handsomeStefan: Get the hell out of here before I kill you myselfKatherine: Really? I'm your biggest problem rightnow?[SCENE_BREAK][Mystic Grill](Rebekah is taking care of Matt)Rebekah: You know, I could just cure this for you easily, right?Matt: I'll be fineRebekah: Why won't you ever let me help you?Matt: It's not you, it's...Look, people in this town have a bad habit of turning into vampires and I'd like to graduate High School as a human. I think there's a first aid kit in the backRebekah: Ok(She goes in the back and findsCaroline)Rebekah: Caroline, how are you still here... Oh my godCaroline: I have to keep cutting[Mystic Falls' High School](Caroline is with Bonnie)Caroline: Bonnie, are you ok?Bonnie: Yeah, now that I unlinkedherCaroline: What are you doing down here?Bonnie: Waiting for QetsiyahCaroline: You might be waiting a while. Qetsiyah's not coming, BonnieBonnie: But... I saw Caroline. How? I thought you couldn't get inside myheadSilas: That's what I wanted you to think. I can make you see whatever I want you to see. Am I a disfigured monster? Of course not. A monster is what I wanted you to see. That's the beauty of all this. You have noidea who I am. Or what I look like. Or how deep I am inside of your head. You thought that you were more powerful than me? I'm stronger than you can imagine. I defeated the hunter's curse in minutes. You thoughtthat you could betray me. You can't. I will always be one step ahead(Stefan is still with Elena)Elena: How could you save her? She was as good as deadStefan: Yeah, and so was Bonnie. Bonnie used a spell to linkherself to Katherine, so if you killed her, Bonnie would be dead, tooElena: How do you know that?Stefan: Because I saw her, Elena. You almost killed your best friendElena: I don't believe youStefan: Really?Elena: Younever wanted me to kill Katherine. Why are you protecting her, Stefan?Stefan: Listen to yourself. Your rage is making you crazyElena: Do you still have feelings for her?Stefan: This isn't even about Katherine. This isabout Jeremy. What, you think that killing her will take all that pain away? It won'tElena: Oh, but beating up cinder blocks will?Stefan: No. It's a distraction. Just like killing Katherine, just like turning your emotions off.The truth is, there are no shortcuts. You are a vampire, Elena. Loss is part of the deal. Look, I've been alive for 163 years. I have lost more loved ones than I can count and it hurts me every single timeElena: So,there's no hope. You're saying I'm hopelessStefan: No. I'm saying you have to face your grief. But you don't have to do it alone. I can help youElena: Oh, of course you can. God, Stefan, always trying to help and yourconcern for me is just like...Stefan: You're transferring some rage on me. That's goodElena: I don't need to transfer anything. I can hate two people just fineStefan: Elena...Elena: Just like the cinder block.Nothing[Mystic Grill](Rebekah is trying to help Caroline)Rebekah: Caroline, hey. Snap out of itCaroline: I need to bleed. Silas wants me to bleedRebekah: Stop it. You're hallucinatingCaroline: Just let me do this. I needto do thisRebekah: You're going to cut your hand's off(Matt is on the phone with Damon)Matt: She's been here the whole time. That means Silas is with youDamon: PerfectMatt: Yeah, it gets worse. The veil's down. Kolcame by looking for Elena. Seemed a little pissedDamon: Do you have any good news for me, Donovan?Matt: We'll handle this. .Just watch your back[Mystic Falls' High School](Damon is with Alaric)Damon: Call Stefan.Tell him about Caroline. Tell him to keep an eye on Elena. God knows he'll do a better job than meAlaric: Stefan? Isn't she your girlfriend?Damon: Who knows? I know she was sired to me. I know her emotions were off.I know she's so full of rage she wants to rip Katherine's head off...Alaric: But you have no idea how she feels about you and now you're freaking outDamon: Call Stefan[Mystic Grill]Matt: Have you tried compellingher?Rebekah: I can't. She's on vervainCaroline: Let me go!Rebekah: Look, Caroline, you're graduating and Uncle Bob and Aunt Mary really want you to graduate with both your handsCaroline: I need to keep cutting. Ineed to keep cutting. I need to keep cuttingRebekah: Stop!Caroline: Bitch!Rebekah: That is the Caroline I know and loathe[Mystic Falls' High School]Bonnie: Stay away from meCaroline/Silas: Gladly. Once you finishthe spell. Then when the veil is dropped completely, I can take the cure. I just want to pass on, Bonnie. I'll even let you kill me. I'll be out of your life for goodBonnie: But every dead supernatural creature will beroaming the earthCaroline/Silas: Well, if you don't help me, I'll be roaming the earthBonnie: I was never gonna drop the veilCaroline/Silas: I'm curious. What was your plan? Pow-wow with Qetsiyah? Brainstorm ways toput me down? Qetsiyah's not coming. She wants me on the other side with her. For eternityDamon: Bonnie? Bonnie?Caroline/Silas: That sounds familiar(He takes Alaric's appearance)Alaric/Silas: Maybe Damon willconvince youBonnie: I won't let you...Caroline/Silas: You won't let me what? You feel that, Bonnie? The air. Thinning. Barely enough to breathe[Mystic Falls' Cemetery](Elena goes to Jeremy's grave)Elena: '\"Brother andfriend\"? What genius came up with that one? I give up, Jer. I really wanted to kill her for you, but... There's no point. Stefan's right. It's just a distraction. And... I can't. I can't do this. I can't... I can't move on, and Idon't want to. If that makes me weak, then fine, I'm weak. But I can't handle you... I can't handle you being gone... And I can't handle feeling like this anymore(Kol arrives)Kol: Hello, old friend. Pity about your brother.Guess it's just me against you now[Mystic Falls' High School](Bonnie can't barely breathe. Sheila appears)Sheila: Bonnie. This isn't real, Bonnie. Feel the air in your lungs. Break throughBonnie: Silas?Sheila: Would Silastry and save your life? Now, breathe, child. ThereBonnie: I was so worried about youSheila: I know but I'm okay. I've been watching over youBonnie: I messed up. I'm sorrySheila: You can still stop SilasBonnie: No, Ican't. Qetsiyah was able to immobilize him so he couldn't feed and get into people's heads. I don't know how to do that. I don't know how to put him downSheila: You can do that. Expression is the manifestation of yourwill. You can do anything. I don't like it, but sometimes, there are no choices. But you are strong enough. You can do this(Damon is in the caves and stumbles upon Alaric)Alaric: Whoa. It's just me. I called Stefan. He's"}
+{"doc_id":"doc_90","qid":"","text":"\"Wipe Out\" 29th Episode of RoswellProduction Code: 2ADA07[SCENE_BREAK](Episode begins with a tour bus heading towards Roswell)(At the Evans household, Diane Evans is trying out her cooking skills)Diane: It's afrijoles frittata. Martha Stewart serves it to her guests in the Hamptons. So. Um...Phillip! It's gonna get cold! Get in here!Max: Who needs a nice big glass of juice?Isabel: I'll get it.Max: I warned you about getting her asubscription to that magazine. How long are you gonna keep avoiding me?Isabel: I'm not avoiding you. We destroyed a race of people. I'm just trying to get past it. Juice?Max: You sure there's nothin' else?Isabel: I'msure. Thanks.(The tour bus keeps heading closer to Roswell)(Kyle and Sheriff Valenti are fishing. Kyle appears to have caught a fish)Kyle: Dad. Dad. There.Sheriff: Whoa, whoa, whoa, whoa.Kyle: Ohhh...Sheriff: Ok.Take it easy. Take...whoa, whoa.Kyle: It's, like, gonna break this thing.Sheriff: Just bring it in closer.Kyle: Ok, I'm tryin'. I'm tryin'. But I need your help. It's like...Sheriff: All right, a little closer.Kyle: There we go.There we go. There we go.(Sheriff Valenti gets the fish off of the hook)Sheriff: Whoo-hoo! Oh, man! Heh heh heh hoo!Kyle: Ok, look out.Sheriff: Whoa! The bagley bang-o-lure does it every time. Here you go. Get agood grip.Kyle: Whoa!Sheriff: We'll be eatin' like kings tonight.Kyle: That's gorgeous. That's beautiful!Sheriff: Ho! Ha ha!(Kyle releases the fish back into the stream)Kyle: Go, buddy.(Sheriff Valenti is dumbfounded bywhat Kyle just did. He was looking forward to eating that fish)Kyle: It's the circle, dad. The circle of life.(Switch to Liz and Maria in Maria's Jetta)Liz: Would you step on it, please? My dad is gonna implode if we don't getthis thing back by the lunch rush.Maria: It's your first day back in uniform. We have one break in an 8 hour shift, and the man sends us 30 miles out of town on an errand.Liz: Well, he let us stay on the clock.Maria: I'msorry, Liz. I love your father dearly. I do. But this is totally Kathie Lee.(We see a billboard sign for the UFO center. It's been defaced, with a glowing green rod stuck through it. A green pulse from the rod is shot atRoswell)(Back in Evans household, Mrs. Evans asks Max about Liz while everyone tries out her cooking)Diane: Max, how's that cute Liz Parker, honey? She hasn't called here in awhile.Max: Could I please have somemore fritatta?Diane: Oh, sure, honey! I'm so glad you like it!(Diane Evans goes to get another serving of fritatta for Max, when the plate that she was carrying drops to the floor. She's disappeared)Isabel: Mom?(Liz andMaria, who were outside of Roswell when the green pulse went off, arrive in town to find cars stopped in the middle of the road)Maria: Why are all these cars stopped?Liz: What's going on? Maria, w-what's goingon--Maria!(Maria swerves into a baby stroller)Maria: Oh, God! I didn't see it! It was just...it was just there, and I was going too fast.(Liz and Maria check the stroller, but there isn't any baby in it. Liz looks around andnotices a lawn mower going around in circles without a driver)Liz: What? What?! Oh, my gosh, look!Maria: What?!Liz: Where is everybody?(The bus arrives in Roswell. Tourists start stepping out, including Nicholas. It'sapparent now that the bus is full of skins)Skin Tour Guide: Welcome to Roswell, New Mexico, folks...UFO capital of the world and last stop on our tour. Everyone, remember their sunscreen while you're out andabout.Skin Tourist: Thank you.Nicholas: Let's find some aliens.(Opening credits)(We see Sheriff Valenti and Kyle driving back to Roswell. They stop at a billboard of the UFO Center that has been defaced)Sheriff (onradio): Deputy Hanson, we've got some property defacement up by the Chaparral Turnout. I need you to rustle up a ladder and, uh, take care of it.Sheriff: You could've told me you didn't want to go fishing.Kyle: No, Idid. I wanted to fish. I just...it's just now I enjoy it from a different perspective.Sheriff: Different seems to be the story of your life these days. The guys don't come over to watch games anymore. You hang wind chimesin my backyard, burn compost sticks in the kitchen.Sheriff (on radio): Hanson!Kyle: It's called ylang-ylang, and it opens the mind.Sheriff: You know what? If you laid off the mumbo jumbo, you might get a date everyonce in awhile.Sheriff (on radio): Hanson!Kyle: Any other areas where'd you like to point out my incompetency, dad, or is the list complete at fishing and dating?Sheriff (on radio): Hanson, if I get back to the stationand find you sipping a damn frappuccino...Sheriff: My one day off!(Sheriff gets in his car and starts driving into Roswell)(Meanwhile, at the Evans household, Isabel has searched upstairs and can't find either of herparents)Isabel: I can't find dad. Max? Max! Max!(Max opens the door and enters)Isabel: Where were you?Max: The neighbor's house is empty, too.Isabel: What's happening?Max: I don't know.(Isabel grabs the phoneand calls someone)Isabel: Oh, come on. Come on.(No one answers. Isabel slams the phone)Isabel: No! Mom and dad are missing! They're gone. Oh, God. Are we the only ones left?(At Michael's apartment, Courtneyhas successfully changed into the new husk in the bath tub)Michael: You put the husk on?Courtney: The fit is ok.Michael: Feels like real skin.Courtney: For now. The husk wasn't fully mature, and I don't know how longit's gonna hold up. You saved my life...by stealing this.Michael: Well, you saved ours in Copper Summit.(The telephone rings)Michael: Here's a towel, and here's a robe.Michael (on phone): Yeah?Max: It's me. Meet usat the Crashdown right away.(Scene shifts to the streets of Roswell. Maria and Liz are investigating)Maria: Look. Look, look. It's still warm.Maria/Liz: Ahh!Maria: Ok, let's just go back to the car, ok?Liz: Ok!Maria:Ok.(Liz and Maria head back to the car. Liz finds a piece of skin on the ground)Liz: Wait! This is not good.(At the Crashdown, Max, Michael, Isabel, and Courtney are searching around)Max: No one's back there,either.Isabel: Everyone's gone.Michael: Every human. Whoever's doing this is trying to single us out.(Liz and Maria arrive at the Crashdown)Courtney: Well, there goes that theory.Maria: Michael!Liz: Max, what...whathappened? We...we just got back from Dexter.Max: Our parents disappeared. It seems like the whole town is gone. All the humans, at least.Liz: Well, why not us?Isabel: I'm sorry.Liz: What is going on here? Everyone'sgone? They're gone, like dead?Max: We don't know that.(Maria calls Alex)Maria: Pick up the phone, Alex.Max: All we can do right now is focus on the fact that we have each other.(Maria finds a CD on the counter)Maria:Alex's band just burned a new CD, and he couldn't wait to show me.Isabel: First thing we need to do is figure out who did this.Liz: We know who did this. The skins.Maria: Yeah. We found one of those snake skin thingsoff of Elm street.Courtney: Nicholas.Isabel: This is our fault.Tess: No. It's her's. You led the skins straight to Roswell, Courtney!Michael: She's with us, Tess.Tess: What did your people do to the town?Courtney: They'renot my people.Max: Stop pointing fingers. We're the ones who destroyed their harvest. They're here to settle the score with all of us.(Isabel has been looking out the window. He sees people approaching)Isabel: Intothe bathroom. They're coming. Now.(Nicholas and Ida enter)Isabel: There's two of them...Nicholas and Ida. Hide us.Nicholas: Check in the back.(Nicholas walks to where the bathroom door was)Maria: Oh, please don'tlet me die like elvis.(Nicholas walks over to the wall and taps on the mirror that Tess has created in his mind to replace the bathroom door)Nicholas: Mom?!Ida: Don't pick. There's nobody back there or upstairs,sir.Nicholas: Look in the mirror. You're shedding.Ida: Ohh...it's the heat. Why couldn't those brats be from Seattle?Nicholas: Let's get you back to the moisture chamber. This haphazard searching is going nowhere.Ida:What's plan \"B\"?Nicholas: We'll search the town...street by street, building by building, inch by inch. I'm not stopping til we find them.(Nicholas and Ida leave. Everyone comes out of the bathroom. Tess weaklystumbles to the counter)Tess: I've never come up against power like that before. It feels like...someone took a sledgehammer to my head.(Liz leaves through the door to the kitchen. Max notices her and follows)Max:I'll be right back.(Max finds Liz in her room)Liz: My mom always listened to Elvis Costello on laundry day. I am so scared.Max: What happened to your family...to all the humans...it's our fault.Liz: We haven't lost themyet. We have to stay strong.Max: Yeah.(Max sees Liz's bed and the images from the other night return)Max: I should get back down.Isabel: Max!(Max and Liz rush downstairs. Courtney is on the floor. Her skin is verywrinkled)Isabel: She just collapsed.Michael: Max, you gotta help her.Max: Let's get her upstairs.(Everyone helps Courtney to the bathroom)Maria: Um...ok, maybe we should take her clothes off?Liz: Got her?(Isabelshuts the door on the guys)Liz: Ok.Isabel: What now?Liz: Um...you know, from what...from what she said, the husk is starving. It's looking at her thighs like they're 2 canned hams.Courtney: I heard that, you bitch.(Lizand Tess help Courtney into the tub)Liz: Uhh!Isabel: Well...what if we tempt it with food from...from outside the membrane...sort of like an all-you-can-eat buffet or something?Liz: Yeah. Yeah. I mean, it's worth a try.We need, like, some vitamins and minerals and...and nutrients.Maria: Ok. We've got ginko, bee pollen, echinacea, C, D, E, calcium, St. John's wort, and Pamprin. What? I was dating Michael Guerin.(Outside, Michaeland Max are scouting with Liz's telescope)Max: Main street looks clear. I just wish I knew where they were hiding.Michael: You think she'll be ok?Max: I don't know. You and Courtney have gotten close.Michael:Yeah.Max: How's Maria feel about that?Michael: Why do you care? You've never been interested in my social circles before.Max: You were never sleeping with the enemy before.Michael: And I'm not now.Max: Then whywas she at your apartment this morning?Michael: 'Cause she wanted to show me how the husk fit. That's it.Max: Good.Michael: Let me take a look.(Back in Liz's bathroom, Courtney seems to have recovered from thenutrient bath)Tess: Pretty quick recovery, don't you think? This \"I've fallen and can't get up\" routine seems a little too convenient. I think it's time for a Q&A. What exactly did the skins do?Courtney: I don't know.(Tesspulls the drain plug and the nutrient bath starts to go down the drain)Courtney: No.Isabel: What happened to our families?Courtney: Time exists in multiple subset dimensions on our planet. Nicholas must have atechnology to impose one or more of these here.Isabel: Speak English.Courtney: It's like being on Pacific and Eastern and Central and Mountain time all at once. Human bodies can't function. They simply disappear.Liz:To where? Where are our parents, our friends...Alex? Where is everyone? Are they dead? Wha...Maria: Water's getting low.Courtney: Somewhere! Another dimension, another plane of existence! I don't know where!They seem to have just...shifted.Maria: Well, can we get 'em back?Courtney: I don't know. Please.(Tess replaces the drain plug)Isabel: Why haven't Liz and Maria disappeared?Courtney: I don't...I don't know.Maria: Wewere out of town this morning. Thank God.Courtney: It probably bought you some time.Maria: Ok. So, what did she mean by \"buy us some time\"?Liz: Don't worry about it. She said we slipped through a window. We'llbe fine.(A skin sees them and goes after Liz and Maria)Liz: Oh.Maria: Run!Liz: Come on! Go! Go! Go!(Maria climbs through the counter window. Liz tries to follow but the skin grabs her feet)Maria: Go, go, go, go, go,go!Liz: Maria!(Maria pulls on Liz's hands, while the skin pulls on her feet)Maria: Go! Go! Go!Liz: Maria! Aah!(Sheriff Valenti appears and shoots the skin in the back)Skin: Unhh!Liz: Oh. Careful, Sheriff! He's a skin!Skin:Yaahh!(The skin knocks the Sheriff to the ground and makes a quick escape)Liz: Oh, my...oh...Kyle: Dad! Dad, you ok? You ok? You all right?Sheriff: Ohh!(A few moments later, in the Crashdown)Max: If guns don'twork, how do we kill them?Courtney: Take the heaviest thing that you can find...and smash this as hard as you can. It breaks the seal in the husk...permanently.Isabel: What about Nicholas? What can he do?Courtney:All the things you can...times a thousand. But the thing you should be the most afraid of...is this.(Courtney points to her head)Courtney: He can get inside of your head and take anything that he wants. Basically, herapes you of your memories and your thoughts.Sheriff: We've gotta get everybody to a safer location.Max: The UFO center. It's a former bomb shelter. There are no windows and fewer ways in and out. After we geteveryone situated, you, me, Michael, Isabel, and Tess will start picking them off one by one.Kyle: What about me?Max: You're not someone I trust. Let's move.(Everyone is in an alley across from the UFO Center)Max:There's not much cover, so we should split up into groups.Sheriff: Good idea.Max: You ok?Sheriff: Yeah. Michael, Kyle, take Courtney. You guys go first.Max: When you're in, we'll send the next bunch.Sheriff: All right,go.[SCENE_BREAK](Michael, Kyle, and Courtney make it to the UFO Center. Michael opens the door with his power)Sheriff: I'll take Tess, Liz, and Maria. You two OK bringin' up the rear?(Max nods)Sheriff: Ready?Tess:Ok.(Sheriff Valenti, Liz, and Tess move)Max: We're gonna be ok.Isabel: Max, if I ask you to do something, will you just do it, no questions asked?(Max nods)Isabel: You go. Make sure everyone else is safe. I'm gonnafind Nicholas.Max: No.Isabel: Max...you don't understand. He's after me.Max: Why, Isabel? What really happened in Arizona? We're stronger together than we are apart.Isabel: You're right. I'm sorry.Max: Don't worryabout it. I'm gonna make sure it's safe. And then we're up. Ok. The coast is clear. You go ahead, and I'll follow you. Ready?(Max turns around to find that Isabel has slipped away. He goes to look for her)(Isabel walksaround and finds the tour bus. Someone is playing with a remote-controlled car. As Isabel walks up to the bus, the car runs into her)Nicholas: Boo.(Inside the UFO Center)Michael: I brought you some water if you want.We're gonna pull together the ingredients for another bath. Ok?Courtney: It won't work. It's...I'm dying.Michael: No. No. No, that's not an option. Ok, there's...there's gotta be something that we can do. Courtney,what?Courtney: You won't want to do it.Michael: Just say it. What is it?Courtney: The granilith.(Inside Brody's office)Kyle: I can't call out of town.Liz: Kyle. Kyle. Um, do you see this jump on the graph? There was somesort of, like, electric disturbance that leveled off here.Kyle: When?Liz: Um...10:30 this morning.Kyle: Right about when everyone went poof.Liz: Kyle, if the energy field was turned on...Kyle: Maybe it can be turnedoff.Liz: Exactly. I mean, we just need to find the source. If we can shut it off, maybe we can bring everyone back.(Sheriff Valenti enters)Sheriff: Liz...will you excuse us for a second?Kyle: Don't worry, dad. I'm stayin'out of everyone's way.Sheriff: Kyle...do you remember what you did the night after your mom left?Kyle: I lent you Mr. Squishels.Sheriff: You were worried about me, and you didn't want me sleeping alone, so you didinstead. That was a brave thing for a 6-year-old to do, and I was...and I was proud of you.Kyle: Mm-hmm.Sheriff: I remember the first time you tied your own shoes...and when we, uh...we took the training wheels offof your bike.Kyle: Ok, pop, knock it off.(Sheriff stumbles)Sheriff: I...Kyle: You...dad. You all right?Sheriff: I'm in awe of you every day, son. And I apologize for not recognizing the man that you're becoming...becauseyou're a darn...you're a darn good one.(Sheriff Valenti disappears in front of Kyle's eyes)Kyle: No! Dad!(Max arrives at the UFO Center)Tess: Did you find her?Max: Where's Michael?Tess: He's in the back.(Maris pacesaround. She walks by an exhibit with a mannequin in a window. She turns around and walks back and notices the mannequin is missing now. A skin steps out and blasts Maria with an energy blast)Maria: Tess!(Tesssneaks behind the skin and kicks its seal self-destruct button)Tess: They found a way in. We've gotta go.Max: All right. We'll head for the school. It's our turf. Get your dad.Kyle: I can't. He disappeared right in front ofme.Liz: You know, the skins' time dimension must be catching up with those of us that are...Maria: Human. Who's next?(Kyle sees a UFO Center postcard and recognizes the sign in it. It's the one he and his dad sawearlier that was defaced)Kyle: That time field is coming from the billboard out by Chaparral Turnout. My dad spotted a green rod stuck through it this morning. We thought it was a prank. I'm heading out there.Max: No.We stick together.Kyle: Hey, I've been really nice about following your orders, Senor Presidente, but if I can do something to help bring some people back or ensure that Liz, Maria, and I live to see another day, I'mgonna do it.Max: Kyle. Look...take Bradford Alley all the way out of town. It's a straight shot. You can't get boxed in.Kyle: Thanks.Max: Good luck...to all of you.Kyle: I'll take care of her.(Kyle leaves and Liz follows himafter staring at Max for a brief moment)Maria: Um...I know how you hate when things get all goopy, so...Michael: Yeah. So I'll see you soon.Maria: Yeah.Michael: No. I will.(Maria leaves)Max: Ok. It's the four of us onfoot. If we stick to the side streets, we can...Tess: What's wrong?Max: Where's Courtney?(Inside the skins' bus, Isabel is handcuffed to the railing)Isabel: Uh...Nicholas: I knew it was only a matter of time before yourejoined our side, Vilandra.Ida: Tryin' to ambush my baby. I should pull out your filthy eyes and grind 'em into dust.Isabel: I came to make a deal.Nicholas: And what could you possibly have to offer us?Isabel:Me.Nicholas: You always were a flighty little princess. Jewels before studies. That's our Vilandra. We have you, you beautiful moron.Isabel: I think you're the one who doesn't understand.Nicholas: Leave us.Ida: Youcan't possibly think that this woman...Nicholas: Do you really want to finish that sentence? Leave. Now.Ida: All right.(Ida leaves)Nicholas: Go ahead.Isabel: The last time we were together, you awakened something inme. I remembered things from our past. You and me.Nicholas: Our forbidden meetings.Isabel: I came here for you. I know what's hiding behind that husk.(Nicholas motions with his hand and the handcuffsdisappear)(Isabel acts like she's going to kiss Nicholas, but at the last instant, she pushes him to the ground. She reaches for his fanny pack when Ida comes in and knocks Isabel out)Isabel: Uhh!Nicholas: Mom, whatare you doing?!Ida: Saving you, sir!Nicholas: She was no threat! Damn it, now she's no good at all! I'm sick of this!Ida: What do you want to do now?Nicholas: Kill every last one of 'em.(Liz, Maria, and Kyle are on theirway to the billboard)Maria: If we get out of this...Kyle: When we get out of this...Maria: Things are gonna change for me. I'm gonna start spending more time with my mother. I'm gonna...I'm gonna write more to mygrandmother. I mean, these are the people who gave me life, you know?Liz: No! I can't leave it like this!Maria: Excuse me?Liz: Max. No, I walked out on him without explaining what happened between you andme.Maria: Huh?Liz: I didn't even say good-bye!Kyle: Look, you've got a job to do. Max has got a job to do. When everybody's done with their job, you can make nice.Liz: He'll never know!Kyle: He's Max. He'll alwaysknow. Right?(Liz disappears)Maria: Liz? Ohhh...(Maria and Kyle arrives at the billboard)Maria: Not Liz. I need Liz.Kyle: Maria, Maria, look, look, look, look. She's coming back. They all are. All right. Now, Liz saidsomething about generators and electric fields.Maria: So how does electricity work?Kyle: Why are you lookin' at me? We were both in the same remedial science class for 3 years.Maria: Basically, we have to...um, blowits fuse, right?Kyle: That means we mess with the current. Do you have jumper cables?Maria: Yeah.(A skin appears)Kyle: Buddha, forgive me, but I'm gonna kick your ass!(The skin rushes Kyle and he flips him over.Kyle goes to the car to the get \"the club\". He knocks the skin with it and then knocks the seal self-destruct button)Kyle: Maria...(Kyle disappears)(Back in town, Nicholas finds Courtney who's lying on theground)Nicholas: When my soldiers told me what they had found, I had to see for myself. What's the matter, Courtney? Too weak to run?Courtney: Leave me alone.Nicholas: You always were the social butterfly,Courtney. Always the first to make new friends. But what I want to know is...where are yours hiding?Courtney: I think I see a chest hair, Nicholas. Way to go.Nicholas: Fine. We'll do this the hard way.(Nicholas grabsCourtney's head and starts draining her mind)Courtney: Ohh! Ohhh!Nicholas: Let's see...you had scrambled eggs for breakfast. Then you slipped into that husk that punk stole from us.Courtney: No! No.Nicholas:"}
+{"doc_id":"doc_91","qid":"","text":"[ The apartment ]Sheldon: What color would you like to be?Leonard: Well, I'd like to be green, but you know you always take it.Sheldon: That's not true. Any color's fine with me. Yeah, I could be a-a combination ofblue and yellow.Leonard: Blue and yellow make green.Sheldon: Well, then it's settled.Penny: Hi. Ready to go?Sheldon: Oh, good news, we ordered lunch, so we can all stay here and play Lord of the Rings Risk.Amy:Sheldon, we said that we would play games with you tonight.Sheldon: Oh, no, we'll still be playing it tonight, this game can easily take eight hours.Penny: Sweetie, you really thought I'd want to do this?Leonard:No.Penny: Well, did you tell him that?Leonard: Yes.Penny: Did you say it out loud with words?Leonard: No.Penny: I don't want to spend the whole day playing a board game.Sheldon: Yeah, well, you may change yourmind when you hear that this is the new expanded edition which contains a more complete map of Middle Earth, now including the Haradwaith Territories.Amy: I will literally race you to the car.Leonard: No, no, no,come on, don't leave. Just try it.Penny: No. We're always doing what you guys want. Just once, it'd be nice if you did something we wanted.Sheldon: You want to be green?Leonard: You know, they really have tried tolike a lot of the same stuff we're into.Penny: Yeah, we do game nights and video game nights and we watch movies with director's commentary.Amy: Oh, my favorite, George Lucas can talk all the way through StarWars, I say one word and I'm banished to the kitchen.Penny: Yeah, today Amy and I are deciding what we're all gonna do.Leonard: You got it, you girls are in charge.Penny: Thank you.Amy: Sheldon?Sheldon: Fine.Now that we're not playing, you can be green.Leonard: Thank you.Sheldon: And since you're green this time, I can be it next time.Penny: All right, let's see. What's something fun the guys would never take us to do?Oh, I know, we could go horseback riding.Amy: I actually can't. My hips don't open wider than 22 degrees. I rode a very thin pony once. On the first bump, just popped right off.Penny: All right, well, what do you wantto do?Amy: There's a craft and folk art museum on Wilshire.Penny: Well, that's Wilshire's problem. Come on, you know, there, there's got to be something fun we could do that the guys will hate.Leonard: Hang on, whydo we have to hate it?Penny: Three words, Doctor Who convention.Leonard: I did not force you to go to that.Penny: You walked out of the house in a fez and bow tie. I went so you didn't get beat up.Leonard: I wasn'tgonna get beat up.Penny: You were, but somehow I held myself back.Sheldon: You know what you could make us do? Ice-skating. The cold air will trigger Leonard's asthma and it plays right into my well-known fear ofgetting flattened by a Zamboni.Leonard: Now you're helping them find ways to make us miserable?Sheldon: Well, I'm sorry, Leonard, I'm a problem-solver, it's what I do.Amy: I actually can't go ice-skating. I haveunnaturally brittle ankles.Penny: Is there any part of your body that's normal? (chuckles)[SCENE_BREAK]\u0000 Our whole universe was in a hot, dense state \u0000[SCENE_BREAK]\u0000 Then nearly 14 billion years ago expansionstarted... Wait! \u0000[SCENE_BREAK]\u0000 The Earth began to cool \u0000[SCENE_BREAK]\u0000 The autotrophs began to drool, Neanderthals developed tools \u0000[SCENE_BREAK]\u0000 We built the Wall \u0000[SCENE_BREAK]We built thepyramids[SCENE_BREAK]\u0000 Math, Science, History, unraveling the mystery \u0000[SCENE_BREAK]\u0000 That all started with a big bang \u0000[SCENE_BREAK]Bang![SCENE_BREAK][ Howard and Bernadette's apartment ]Raj: Oh,my God, oh, my God, oh, my God.Howard: Will you please relax?Raj: I can't take it, dude.Bernadette: You okay?Raj: No, I'm not okay. I feel like I'm gonna jump out of my skin.Bernadette: I told you not to wax downthere. It's itchy when it grows back.Raj: I'm worried about the New Horizons space probe.Bernadette: What's he talking about?Howard: Nine years ago he was part of a team that launched a spacecraft to collect dataabout Pluto, and it's finally close enough, so this morning it turned itself on.Raj: We hope. The signal has to travel over three billion miles. So it's gonna be hours before we know if it even survived.Howard: Now we getto see him flip out because he's worried it was demolished by space ice.Raj: Space ice is no joke. I can't even watch Frozen anymore.[SCENE_BREAK][ The apartment ]Amy: Ooh, the philharmonic is playing Beethovendowntown.Sheldon: Before you say yes, it's not the movie about the big dog.Penny: How come we can't think of something we both want to do?Amy: Because you always pick what we do and I just go along withit.Leonard: Ah, interesting, we're being accused of making you do things you don't like, and here you are, doing the same thing to poor Amy.Sheldon: You should point out the hypocrisy of that.Leonard: That's what Iwas doing.Sheldon: Oh, that wasn't clear. Try it again, but this time drive it home with how do you like them apples, Missy?Penny: All right, keep thinking.Sheldon: You're making it too complicated. Why not stick to thebasics? Go shopping for clothes while Leonard and I sit in those uncomfortable chairs and hold your purses, hmm? I know I'd hate that. Leonard?Leonard: Well, yeah.Sheldon: Well, then, it's settled?Amy: What do yousay? Sounds kind of perfect.Penny: It does, somehow he managed to take all the fun out of it.Sheldon: Well, once again, it's what I do.[SCENE_BREAK][ Howard and Bernadette's apartment ]Raj: Oh, another two hoursto go. The wait is killing me.Howard: I know. I get it. When I was in the Soyuz capsule returning from the space station, plummeting toward Earth at 17,000 miles per hour...Raj: Before you finish, is this a story aboutpatience and waiting or just another reminder that you went to space?Howard: A story can do two things.Raj: Ugh, I feel like I'm gonna have a heart attack.Howard: You work in pharmaceuticals, don't you haveanything you can give him?Bernadette: All I have is our new urine flow drug. Won't help with his anxiety, but it's so strong, when he pees he'll fly around the room like he's got a jet pack.Raj: I can't stop thinking aboutit.Bernadette: You know, worrying won't have any effect on what happens.Raj: I know.Howard: Maybe you need to do something more productive.Raj: Okay. If I make this shot in the trash can, the probe will havearrived in perfect working order.Howard: So, in addition to being crazy, you're resting the fate of the mission on your athletic prowess.Raj: Yes.Howard: The man who crashed his stationary bike.Raj: I didn't crash it,okay? My playlist was too up-tempo, I got light-headed and I fell off. Okay. It all comes down to this.Howard: You happy? Now you can relax.Raj: What kind of scientist are you? Everyone knows you got to make twoout of three.[SCENE_BREAK][ Clothes shop ]Leonard: This isn't so bad.Sheldon: That's easy for you to say. Your chair's not facing the lingerie section. Boy, that's a lot of panties.Amy: You guys comfy? This might takea while.Sheldon: I don't understand why women insist on making a big production out of buying clothes.Penny: No, you're right, we should do what you do. Have our mom send us pants from the Walmart inHouston.Sheldon: They have a man there who understands my personal style.Penny: Bye.Leonard: Uh, I've got some bad news. There's no cell service in here.Sheldon: Oh. Well, that's all right. There were plenty ofways to pass the time before smart phones were invented.Leonard: That's true.Sheldon: I'll look them up. Son of a biscuit.Leonard: Sheldon, it's fine.Sheldon: No, it's not fine. What kind of store in the 21st centurydoesn't at least have Wi-Fi? I'm going to call their corporate office. Son of a biscuit.[SCENE_BREAK][ Clothes shop - later ]Sheldon: Let's see, my armies are going to attack the Shire from Buckland. And I roll a five anda three.Leonard: Okay. And to defend, I roll two sixes. I win.Sheldon: Boy, double-sixes again. You know, if I hadn't seen it with my own eyes, I wouldn't believe it. I wonder how long we're gonna be stuckhere.Leonard: I don't know, but the girls do a lot for us. It's the least we can do.Sheldon: Oh, that's true. I suppose it's only fair we make compromises.Leonard: Look at you, being all mature.Sheldon: I don't know whyyou're so surprised. If there's one thing I know about after living with you for so many years, it's how to compromise.Leonard: I, I'm sorry? You make compromises for me?Sheldon: All the time.Leonard: On Earth? Inour lives? That, that, that we're living?Sheldon: Oh, yes. I, just yesterday, you had a, a big piece of lettuce stuck in your teeth at lunch. Did I say anything? No. I compromised and kept my mouth shut. Like youshould've, because everyone was laughing at you.Leonard: That is not a compromise. A compromise is me driving you everywhere because you refuse to learn how.Sheldon: Oh, I learned how. Amy taught me.Leonard:What? Then. then why don't you do it?Sheldon: Uh, well, it's scary. And sometimes I get the pedals mixed up. But, more importantly, driving me to work is one of the things that gives your life purpose. I can't take thataway from you, so what do I do? Oh, come on, I'm practically feeding you the answer. I compromise.[SCENE_BREAK][ Raj's car ]Raj: Hey, uh, thanks for keeping me company.Howard: I'm happy to. I think getting outof the apartment will do you good. So, where we headed?Raj: If it's okay with you, I'd like to go to temple.Howard: Buddy, trust me, you don't want to convert to Judaism. I mean, I know I make it look cool, but it's notall briskets and dreidels.Raj: I meant a Hindu temple.Howard: Oh. Okay. It's not like Indiana Jones and the Temple of Doom, right? Some bald guy with horns isn't gonna rip my heart out.Raj: Dude, that movie's animperialist fantasy that makes the followers of a beautiful and peaceful religion look like a bunch of bloodthirsty barbarians.Howard: You love that movie.Raj: Yeah, it's pretty great.Howard: I'm surprised to see yousuddenly get religious.Raj: Why?Howard: Well, because I've known you for ten years and you've never gone to temple, you never talked about believing in God, and last Diwali I watched you eat two pounds of sacredcow at a Brazilian steak house.Raj: Religion is a very personal thing. I do go to temple, I just, I don't talk about it.Howard: Yeah, but you're a scientist.Raj: So?Howard: So, as a scientist, you believe the way tounderstand the universe is through facts and evidence, and now you're counting on some blue chick with a hundred arms to help you?Raj: That is so offensive. Does everything you know about Hinduism come fromIndiana Jones?Howard: No. There's also Apu from The Simpsons.Raj: Well, lots of scientists believe in God. Okay? Newton, uh, Faraday, uh, Pascal, all were believers. Even Einstein was famous for attacking quantumtheory on the grounds that God does not play dice with the universe.Howard: Well, of course he believed in God. he slept with Marilyn Monroe.Raj: Actually there's no proof of that.Howard: You believe in your religion,I'll believe in mine.[SCENE_BREAK][ Store changing rooms ]Amy: How's it going in there?Penny: Uh, not really a great outfit for work, unless something opens up in the hookers and whores division. Hey, can I ask yousomething?Amy: Sure.Penny: Do I really force you to do things you don't want to?Amy: Yeah, but it's okay.Penny: How is it okay?Amy: I promised myself, if I ever got friends, I'd do whatever they said. Really, I'mlucky you found me before a cult did.Penny: Well, you know, that was a long time ago. You're a different woman now. You're smart, you've got great friends, you've got a boyfriend, you're pretty, you have zero fashionsense, but, anyway, tonight we're gonna do whatever you want.Amy: Really?Penny: Absolutely. You name it, we're doing it.Amy: Basket weaving at the craft museum.Penny: Well, you named it.[SCENE_BREAK][ Thestore ]Sheldon: Oh, here's another one. I wish that the apple pancake mix was on the top shelf because it starts with an A, but I don't put it there because I don't want you breaking one of your little legs when you'resupposed to be making my breakfast.Leonard: Is it my turn to talk about the compromises I make?Sheldon: I wasn't done, but go ahead. He said, compromising.Leonard: Because of you, I'm not allowed to adjust thetemperature in my own home. I'm not allowed to whistle. I don't wear shoes that might squeak.Sheldon: Well, you're a physicist, not a circus clown.Leonard: Sheldon, do you realize I don't live with the woman I lovebecause of you? No other reason. Just you.Sheldon: Is that true?Leonard: Yes, it's true. The last time I brought it up, you had an emotional breakdown and got on a train and ran away.Sheldon: Well, given my historyon the subject, t seems a little reckless to bring it up now.Leonard: You have no idea how much you inconvenience the lives of everyone around you. It's exhausting.Sheldon: You know what? You think you're sotolerant, but the truth is you're mean to me a lot. Yeah, you think that I don't notice all those sarcastic comments and those eye rolls, but I do. Hmm? I have excellent peripheral vision. On a good day, I can see myears.Leonard: Sheldon, I, I'm sorry if I hurt your feelings. I've been holding a lot of this in for a while.Sheldon: Well, I'm sorry, too. And if you want to live with Penny, then I think you should.Leonard: Do you meanthat?Sheldon: Yes. Yeah, just put on your squeaky shoes and eee-eee-eee your way out of my life.Leonard: Come on, don't get upset.Sheldon: I'm not upset. I'm just imagining a world without my best friend init.Leonard: Sheldon.Sheldon: It's okay.Leonard: I'm not leaving your world. I'm just talking about living across the hall.Sheldon: I understand. Either way, I want you to know that I'm aware of how difficult I can be. SoI just want to say thank you for putting up with me.Leonard: Buddy.Penny: How are you guys getting along? What? Why are there tears?Leonard: Everything's fine. We just started talking about livingarrangements.Amy: Are you crazy? You know he's a flight risk.Sheldon: That's exactly what I told him.Penny: Sheldon, we know this is a sensitive subject, and Leonard's not gonna move out until you're ready.Sheldon:Well, what if you did it gradually?Leonard: All right. How about we start with two nights a week I live with Penny?Sheldon: How about one night and I let you whistle?Leonard: Okay.Sheldon: When I'm nothome.Leonard: You got it.Sheldon: There we go, compromising again. We really are the best.[SCENE_BREAK][ Temple car park ]Howard: Here we go, my first Hindu temple.Raj: You see behind the fountain, that towerthat looks like a pyramid? It's called a Sikhara. It symbolizes the, the connection between the human and the divine.Howard: Huh. I always thought it was mini golf.Raj: All right. Shall we?Howard: Yeah. Just, uh, isthere anything I should know before I go in?Raj: Like what?Howard: Like am I dressed okay?Raj: Really? So every other place you've been, you thought this was fine?Howard: I know you're under a lot of pressure, soI'm gonna let that pass.Raj: Sorry. You're right. I'm so stressed. But you know what, whenever I walk into that temple I realize that whatever happens, it's okay. We're all part of an immense pattern, and though wecan't understand it, we can be happy to know that it's, it's working its will through us.Howard: That's nice.Raj: Whether you call it God or the universe or the self, we're all interconnected, and that's just a beautiful...Son of a bitch, that guy just dinged my car. S, seriously? You were just gonna drive away? Like my life isn't hard enough right now. A space probe might be destroyed, my parents are going through an awful divorce,the guy who cuts my dog's hair just gave her bangs.Howard: Raj.Raj: You saw her. She looks like Jim Carrey from Dumb and Dumber.Howard: Raj, you just got a text. The probe turned on. It's fine.Raj: Oh, good.Namaste, Grandpa.[SCENE_BREAK][ Craft museum ]Leonard: I thought this was gonna be boring, but it's actually kind of fun.Penny: Don't tell Amy that. We'll be here every Sunday.Amy: Sheldon, that really is anexcellent basket.Sheldon: It's not a basket. It's a soldier's helmet from 16th century China.Amy: Very nice.Leonard: Yeah, it looks great.Sheldon: I saw that.[SCENE_BREAK][ Penny's bedroom ]Leonard: Well, roomie,it's only one night a week, but it's a start.Penny: I know. I'm really proud of Sheldon.Leonard: Yeah, I'm proud of him, too.Sheldon (in Penny's living room): Can you keep it down? Some of us are trying to sleep outhere."}
+{"doc_id":"doc_92","qid":"","text":"In the gymnasium, people are setting up for a blood driveMarco: So for tomorrow Ellie I need you to hand out stickers, okay? Craig I need you to pack the blood bags. And Alex, Alex!Alex: This I will not bewearing.Marco: It's for TV, Caitlin Ryan's community show? Look when people see Degrassi, I want them to think cute and cuddly.Alex: I'm going to clobber you.Marco: That's not cuddly. And as a president speaking tohis vice...Alex: Alright. Calm down. Everything has to be perfect.Ellie: She's right. What you've done for the school this year, ever consider running a second term?Alex: (dancing around in the mascot head) Four moreyears! Four more years!Marco: I can't. I was thinking of picking up a few extra credits this summer. This way, I can graduate after first semester's done, maybe even move in with Dylan before university. My boyfriend?Alright you guys know I'm gay, right?Ellie: Um I'm stuck on graduating early.Craig: I'm on move in with Dylan.Marco: Guys it's not that big a deal! Okay it's huge. Outside Degrassi, there's a sign that says 'blood drivetoday'Dylan: So you'll call before you come over for the party? Marco? Today's gonna go fine.Marco: There's been a bee in this car for the entire ride. Fear is my friend.Dylan: You know a year ago you would havejumped out of a moving vehicle.Marco: Yeah well, a year ago I wasn't with you.(They kiss.)Marco: Go. Back to your dorm. I'll see you tonight at the party.In the gymnasium, Spike is giving bloodSpike: It's likebreastfeeding, only out of your arm.Emma: I think it's faster if you're quiet.Caitlin: (on camera) So you inherited a school where a student died and another paralyzed.Ms. Hatzilakos: Not the best situation to assumePrincipal, I agree.Caitlin: And yet you've managed to turn it all around.Ms. Hatzilakos: Oh no. Not me! Marco is the hero here. Organizing the dances, the assemblies, that's where the work has been.Caitlin: You donatedyet Marco?Marco: Well I'm planning...(Alex jumps on him in the Panther suit.)Marco: Alex! Stop tackling me!Caitlin: Uh cut!Ms. Hatzilakos: So when is this gonna air?Caitlin: Eight tonight and I wanna add shots ofMarco donating, when you're recovered.At the dot, Spinner is working and Jay is tapping a spoon against a glassSpinner: If I'm still serving you ten years from now kill me, all right?Jay: Well study hard and stay inschool. Oh right! You got us expelled.Spinner: Here you go ladies. Uh Clare will be with you in a moment to take your order.Old lady: We asked for lemon with our water.Spinner: Uh, you can't bring a dog in here.Oldlady: I didn't hear complaints. Ladies? We'll have the lunch menu instead.Spinner: I'm going off shift, so Clare will...Old lady: And lemon for the water and a bowl for Baby Bear here. So she can have some too, yes!Back in the gymnasium, Marco is about to donateMarco: So if I pass out and start drooling, swear you'll stop filming?Nurse Davis: Mr. Del Rossi? Could you please ask them to stop filming for just a minute?Caitlin: Uhwe're not shooting the whole giving of blood. We're just gonna shoot a few frames of the President.Nurse Davis: I'm sorry Ms. Ryan.Marco: Is there some kind of problem?Nurse Davis: Uh there's a question here thatyou answered yes beside.Marco: It asks, if I'm male and if I've had...with another male.Nurse Davis: Yes, if you've had s*x.Marco: So?Nurse Davis: Well it's policy you have to understand, um but I can't let you be adonor. In the principal's office, Spinner is holding a flower potMs. Hatzilakos: You shouldn't be here Gavin.Spinner: I, I didn't make an appointment. I was afraid you wouldn't see me. I just want you to know this beingexpelled, I'm not taking it like it's a vacation. I've been keeping up in my textbooks.Ms. Hatzilakos: You were supposed to return those.Spinner: But I need them to write exams.Ms. Hatzilakos: You don't get to dothat.Spinner: So that's it? I just lose my whole year?Ms. Hatzilakos: I'm willing to offer summer school.Spinner: But that only gives me two credits. That's not even enough to graduate. I mean that's a whole year of mylife I have to do over. That's not fair!Ms. Hatzilakos: What's not fair is that Rick Murray is dead as an indirect result of your bullying.Spinner: I need to finish my year Ms. H!Ms. Hatzilakos: No.(Spinner throws the flowerin the garbage and leaves.)In the gymnasiumMarco: (On his cell) Dylan? Hey it's me. Look just please call me, whenever. I'm here.(He walks over to Ellie, Craig & Alex.)Craig: Why is your blood any more risky thanours?Ellie: Don't they test everything anyway?Marco: There's nothing wrong with me. I've only been with Dylan, he's only been with me. Even then we were totally safe!Alex: So stop whining. Start complaining. There'syour soapbox. Use it!Marco: Caitlin! Hey!Caitlin: Hey.Marco: How's this for a story? Prejudice and homophobia at local high school.Caitlin: I'd say we're on you.Marco: Nurse Davis? Hey.Nurse Davis: Yeah?Marco:Hi.Nurse Davis: Hi.Marco: I, I want, look I want to ask why blood management refuses gay people from giving blood.Nurse Davis: Um, um well it's policy. I'm not a spokesperson so I can't really commentfurther.Marco: Fine. (To the camera) My name's Marco del Rossi, Student Council President. Today a student was denied as a blood donor because of his sexuality.Nurse Davis: That's not the reason.Marco: Then whatis?Nurse Davis: Well there is, within the gay community, there is an increased risk of HIV infection.Marco: Saying that is lumping up all gay people as diseased. I listened in health class and anybody with a pulse can getHIV.Nurse Davis: Yes but...Ms. Hatzilakos: Marco? Please? (She stops the filming) Thank you. Thank you. Look this blood drive, you should be so proud of yourself for everything you've done. Look at all thesepeople.Marco: My whole point is that I'm supposed to be one of them!Outside Degrassi, Jay is trying to steal a bike and kicks itSpinner: Hey!Jay: You want a kick, too?Spinner: That's my bike, goof-bag.Jay: Yeah wellit's your fault I'm so bored!Spinner: So? I'm stuck with you! Haven't I been punished enough?Jay: Not yet.Spinner: Know what... bike stealing? It's kid's stuff. But real stealing from Degrassi... At Dylan's dorm, Marcowalks into his room and sees Dylan making out with another guy and boltsDylan: Marco! Marco wait!Marco: No.Dylan: About Eric, I meant to tell you. He's a friend from Psych class.Marco: There's other ways, betterways of breaking up Dylan!Dylan: Who's breaking up? Honey I'm in university now and there are people here, really interesting people that, that I really like.Marco: Oh yeah like Eric.Dylan: I love you and I don't wantto stop seeing you. What I'd like to do is open things up a bit. You know see other people.(Marco shoves Dylan and leaves.)Outside DegrassiMarco: (on his cell) He wants to open things up.Ellie: (on her cell) He's acolossal jerk.Marco: (Sees his friends and closes his phone) It's so humiliating. First I get rejected as a blood donor, now by Dylan. Maybe the blood people were right.(Alex smacks Marco on his head.)Marco: What iswrong with you?Alex: My ex, formerly known as Jay Hogart, screwed around with every girl at this school. It's not a gay thing. Promiscuity, it's a guy thing.Craig: Hey. Didn't I hear that you clocked Amy for beingequally trampy?Ellie: Oh and how's Ash, Craig? Or are you back with Manny? It's hard to tell, especially when you secretly dated them at the same time.Craig: Let's just call it a people thing.Ellie: Let's call it a choice.Monogamy wow, what a difficult concept.Marco: I just want my boyfriend back.Craig: He's got a party tonight right? Well then back is what we'll get him.[SCENE_BREAK]At night, inside Degrassi(Spinner and Jay werehiding in cupboards until the janitor left.)At Dylan's dormCraig: Girls and boys? I didn't think Dylan's dorm would be quite so co-ed.Marco: You see him yet?Craig: Who?Marco: Dylan!Dylan: Hey! I'm really happy youcame.Marco: Yeah? That's good...Craig: I'm gonna go uh see what they're stocking for pop. Gentlemen...Dylan: Come on. In Degrassi(Jay and Spinner are throwing toilet paper around in the gym, then stacking a bunchof chairs in the hall and just goofing around.)At the partyMarco: Craig um look. Everything's unfolding pretty good so if you don't want to you don't have to stay!Craig: Are you kidding?! It's eight o'clock.Dylan: What'seight o'clock?Marco: Oh Caitlin Ryan! Degrassi! Me at the blood drive. Can I? Thanks. (He turns on the TV)Caitlin: (On that TV) You inherited a school where a student died, another paralyzed.Ms. Hatzilakos: (On theTV) Not the best situation to assume Principal, I agree.Caitlin: (On the TV) And yet you've managed to turn it around.Ms. Hatzilakos: (On the TV) Oh no. Not me! Marco is the hero here. Organizing the assemblies, thedances, that's where the work has been.Marco: Ah tell me my head doesn't look that big.Craig: Your hair, that's what's big.Dylan: It looks great. You look great.Caitlin: (On the TV) And so Degrassi has risen from theashes of a tumultuous school year thanks to this week's local hero Marco Del Rossi.Marco: Wait. No wait. Wait for it. I think this is it.Caitlin: (On the TV) I'm Caitlin Ryan.Marco: That's it? No there's more. There's themnot letting me give blood and then I-Eric: Dylan? We're toasting to summer with kamikazes!Dylan: Wait a second.Marco: It's nothing. Go. Kamikaze. Whatever.Dylan: I'll be right back.Marco: Dylan got me out of thecloset last year. Yet here I was, my turn to make him proud. What I should be doing is making him jealous.Craig: Uh... Back at Degrassi, Spinner finds the yearbooksSpinner: What do we have here? Degrassi: A year ofmemories.Jay: I said something worth something. I always like counting how many times I'm in this thing. The way I see it the less, the better. Oh crap. One. The last thing I want to see is me smiling goofy andhanging off my bestest friend. No. Two. I'm a freak! A failure. Nothing compared to you though, I mean you're, you're all through this thing.(Spinner sees a bunch of pics with him and his friends and throws the bookdown.)Jay: You alright there, Spinster?Spinner: Follow me. Grab some more.At the partyMarco: Hi. Hi, I'm Marco.Mike: Mike.Marco: Mike! So uh Mike! I was thinking of coming here next year. I was actually thinkingabout residence. But so far the only room I've seen is Dylan's.Mike: You want like a tour?Marco: Yeah, no a tour would be great and maybe I could see your room? You know to compare.Mike: Okay, um it's two floorsdown, 403. Just give me a sec to clean up okay?Marco: Okay. I'll see you in a bit...Mike.Mike: Marco... At Degrassi, SpinnerJay: Yo where'd you disappear?Spinner: Science lab. I got fluid of the lighter kind.(He startspouring the fluid on the yearbooks and pulls out a lighter.)Jay: Seriously it's bonfire night? Look I know math wasn't your strongest subject, but yearbooks plus fire equals the whole school up in flames. Oh yeah and usin jail. Put the toy away, flip-head.Spinner: You're stopping me?(Jay smacks the lighter out of his hands.)Jay: Shocking but true.Spinner: You're a freak in the same way that I am.Jay: Yeah well at least I'm not torchingthe school.(Jay smacks the lighter away from Spinner and the guys start fighting.)Jay: You want your former friends to suffer?! Huh? Do you?Spinner: I want 'em back.Jay: Listen as your friend substitute, I'm tellingyou. This isn't the way. It's not.Spinner: I just want 'em back.Jay: Come on man we got to clean this up.In the stairwell at Dylan's dormCraig: You know you are a great guy. The most honest, down-to-earth, nicestperson that I know. You're a little short, but that just adds to the cuteness. That I would find you to be. If you were a girl or I was not a guy. (Points to himself) Is not gay. Just tell me this is helping.Marco: You're tellingme what I really want to hear. I appreciate it, thanks. If you want to help tell me I'm an idiot.Craig: You're an idiot?Marco: I can't go downstairs. I can't stay here. I can't talk to Dylan. What do I do?!Dylan:Marco?(Marco kisses Craig so that Dylan can see.)Dylan: I um, wow.Craig: So when in doubt you kiss Craig?!Marco: I gotta settle this with Dylan.Craig: Yeah you do! You really, really do!(Marco leaves and pulls Dylanout of the party.)Marco: I love you.Dylan: Likewise, but what was that?Marco: Dylan a lot of things aren't making sense right now.Dylan: So what do you want me to say?Marco: It made you jealous?Dylan: It wasCraig!Marco: I don't want you to see other people. I don't like it and I'm not gonna like it and I'm not gonna feel bad that it bugs me.Dylan: It bugs you?Marco: It bugs me.Dylan: It doesn't have to okay? How I feelabout you, this changes none of that.Marco: That's fine and okay. But you see it changes how I, how I feel about me.Dylan: My freedom. That's important to me right now. I can't give that up.Marco: Then you and me?I can't. And it's over.(Marco leaves crying.)In Ms. Hatzilakos' officeSpinner: Ms. H?Ms. Hatzilakos: Gavin I don't have time to argue.Spinner: You mentioned summer school.Ms. Hatzilakos: I offered. Youdeclined.Spinner: Uh then what if I take it at another school or by correspondence and make the credits up that way? Could I come back next fall? There, there are two things that I want: to finish school and to get myfriends back. But someone, someone's got to give me a chance. Please?Ms. Hatzilakos: Here are the forms and summer school schedule, aka your chance. Gavin? Don't screw it up. At the news stationCaitlin: HeyMarco!Marco: Hey! So the blood drive, it was a huge success. Thank you so much for covering it.Caitlin: My pleasure.Marco: I just had a question about the scene I started in the gym? Are you gonna air that at adifferent time or...?Caitlin: Actually some people here would rather bury that part of it.Marco: Oh. Okay.Caitlin: Uh no it's not okay, actually. I'm sick of seeing AIDS being viewed as a solely homosexual disease. I'vetried to do something about it before. Last year I even went to Africa. One word, educating. You know if you're interested in volunteering, I've got some friends we could talk to.Marco: Yeah sure! I'm interested.Caitlin:Interested enough in spending some time in Africa or the Caribbean?Marco: Yeah! Yeah, of course.Caitlin: It would mean giving up your entire summer. Any big plans?Marco: I did... have some. But you know how it iswith plans. They change."}
+{"doc_id":"doc_93","qid":"","text":"Act One.Scene One - Radio Station. Frasier is signing off for the show. Roz is in her booth.Frasier: Till tomorrow then, this is Dr. Frasier Crane wishing you...Roz knocks on the booth. Frasier looks around a sees agrumpy old man looking in through the screen.Frasier: Oh, yes. Be sure to tune in later for the final broadcast of KACL's loveable curmudgeon, Chester Ludgate. You know, most of us here at the station were surprisedto hear that he was retiring. I for one thought he'd never leave. [presses button]Roz: [enters] So, should we order a pizza?Frasier: Sorry?Roz: Those PSA's you promised you'd help me with are due tomorrow.Frasier:Oh gosh, Roz, I really am sorry. You know, it seems Mrs. Delafield's daughter is coming here to join us as an intern. I promised Kenny I'd show her around and take her to dinner.Roz: So, while I'm working late, eatingmy vending-machine dinner, you'll be out having a gourmet meal with some cute rich girl.Frasier: Oh, you can make anything sound unfair.Roz exits to her booth as Kenny and the cute rich girl, Poppy, enter the booth.Poppy is like a character out of \"Clueless\": Long blond hair, dressed totally in a red \"girly\" outfit with red high heels and red hand bag. She speaks with an annoying, ditzy accent.Kenny: Hey, Doc.Frasier: Kenny, andwho have we here?Kenny: Dr. Frasier Crane, I'd like you to meet Miss Poppy Delafield. Well, gotta run. [swiftly exits]Frasier: Poppy, what a pleasure to meet the daughter of our beloved station owner. So, what bringsyou to KACL?Frasier cannot get a word in throughout the following.Poppy: Well, I was in Paris last month - or was it Madrid? - No, Paris, and I said to myself, \"that's enough gallivanting for you, young lady, it's time toget a job.\" So I flew home and asked my mother, Minnie, if I could nose around and see if some job, you know, spoke to me at one of her radio stations, or TV stations or newspapers. But not her brewery, thank youvery much! So, here I am. Sleeves rolled up, ready to learn. Is this where you do your show? Of course it is, there's your mike right in front of me. Earth to Poppy!She laughs; Gil walks past the booth in thecorridor.Poppy: There's Gil, I met him earlier. Hi, Gil!She waves, Gil runs away. Frasier also waves and then wonders what he is doing and looks back at Poppy, who carries on.Poppy: Nice man. I think it's marvelouswhat you do. To really help people. Unlike the psychiatrists I've been to, both of whom had some sort of, I don't know, narcolepsy. I sympathize, but if you can't stay awake, don't be a psychiatrist!Behind her back,Frasier removes his cell phone, dials a number, and then hides it in his pocket.Poppy: To do what you do, to face that microphone day after day and know that for the next three hours you're going to have to talk andtalk and talk? I could not do it! I would freeze! Literally freeze!She laughs giddily. Then the phone on the console rings, stopping her.Frasier: Excuse me. [grabs the phone] Hello? Yes, Dad. All right, calm down, calmdown. Was there much blood?Poppy: Oh my gosh!Frasier: All right, Dad, I'll be there as soon as I can, hang on a second. [puts phone to chest, to Poppy] I'm terrible sorry, there's been a small emergency at home. I'mgonna have to pass on today, may I take a rain check?Poppy: Oh, and we were having such a nice chat.Roz enters.Frasier: This is Roz, my producer. You know Roz, I'll gladly do those promos if you would be so kind asto take Poppy to dinner and answer her questions.Roz: Sure, if you don't get bored listening to me drone on about radio.Frasier: Oh, I don't think there's much chance of that!Poppy whizzes Roz out of the booth,chatting to her on the way.[SCENE_BREAK]Scene Two - Frasier's Apartment. Frasier and Daphne are sitting at the dining table. Martin enters and hurries Eddie into the apartment, checking the hallway forpeople.Frasier: What the hell is happening?Martin: Well, remember last week when Eddie killed his first rat? And how proud I was? I told you that story, right?Frasier: Yes, Dad, you told us. If you had a guitar you wouldhave written a ballad.Martin: Well, we were just down in the basement and I saw another rat. I said, \"go get him, boy!\" So just as he picked him up, had him in his teeth, shaking the life out of him, and I hear this littlebell, ting-a-ling. And I thought, \"that's funny - rats don't wear bells!\"Daphne: Oh, little Robbie Greenberg's missing hamster!Frasier: Yes, I read that flyer. He was offering a ten dollar reward.Martin: Well, the most wecan claim at this point is about six-fifty.Frasier: You know Dad, this is actually your fault. You know if you hadn't encouraged him after he killed his first rat he wouldn't have moved on to murdering hamsters!Martin:Well, what are you talking about? We don't know it was Eddie who killed him. He might have had a heart attack, or some kind of seizure when he bounced off the boiler!The doorbell sounds. Frasier crosses the room andopens the door to Niles. He is carrying a magazine and two tickets. A smile is beaming across his face.Frasier: Niles!Niles: Prepare to whoop like a sweepstakes winner. Cancel our dinner! I've scored us two seats, frontrow for the event of the season.Frasier: You mean...?Niles: Yes.Frasier: But...?Niles: I know! [proudly holds up the tickets]Frasier: Niles!Martin: [aside to Daphne] I love it when they do it this way, I can pretend it's aSeahawks game.He sits in his chair as Frasier eagerly takes the tickets and scans them.Frasier: My God, it's for the Cecilia Bartoli concert! My God, they've been sold out for months. How on earth did you score thesetickets?Niles: I simply phoned the box office and said this is Niles Crane, the new arts critic for \"The Monocle.\"Frasier takes in a gasp of half delight for his brother and half jealousy as Niles slaps the magazine on thetable.Daphne: \"The Monocle.\" Isn't that that magazine they hand out to rich people in all the snootiest apartment buildings?Niles: And the snootiest hotels.Frasier: How could this happen, Niles?Niles: I was at a partythrown by the publisher, Olga Suerbread. The pretentious fop who had the job before me was there too, spouting sheer drivel about Leonard Bernstein. Being polite I kept my tongue sheathed. Until he referred toBernstein's conducting as \"overrated.\"Frasier: [indignant] I assume you pounced?Niles: [dignified] Like a ninja! By the time I had finished with him, Olga could see I was a far better critic than that arrogantposeur.Daphne: She fired him right there?Niles: Well, he was leaving anyway for his junior year abroad.Frasier: Well, it's a post. Congratulations are in order. You know, who would have thought my little brother aprofessional music critic?Niles: Oh, oh, and not just music. I can review anything I want. Theater, dance, art exhibits.Frasier: You don't say?Niles: Yes, from now on, wherever we go, I'll be armed with my trusty padand penlight.Frasier: Wherever we go? What fun.Niles: [takes some opera glasses from his pocket] I'll have to take a damp cloth to these opera glasses, although I don't know what will we use them for, sitting in thefront row? Unless it's to scan the faces of the jealous people behind us.Niles exits to the powder room.Martin: So, are you sure you're okay with Niles getting this critic job?Frasier: Why wouldn't I be, Dad?Martin: Oh,come on, I know what it's like with you two when one of you gets something the other one doesn't have. It's like when you were kids. Niles got a telescope, so you had to have a telescope. You got that funny littleguitar, Niles...Frasier: Dad, it was called a lute!Martin: Oh yeah, whatever.Frasier: Dad, believe me, I do not envy Niles his critic's job. As kids we would aggravate the situation by flaunting our toys in each other'sfaces. We're much more mature than that now, all right?Niles enters from the powder room.Frasier: Niles, you know, it's about time we got going. We don't want to be late for the curtain.Niles: [flaunting] Don't be silly,I'm press now. They'll hold it.Niles walks out with great esteem, his chin pointed up. Frasier grovels behind him, ignoring Martin's smug look.[SCENE_BREAK]HOW A POPPY BECOMES HEROINScene Three - CaféNervosa. Front stage, Frasier and Roz are having a coffee and a chat together. Meanwhile upstage, Poppy is telling a weary crowd around her (including Gil and Kenny) about her life.Poppy: So, that's how it ends: Bminus average, ten extra pounds and still no boyfriend.Front stage, Frasier and Roz watch on.Roz: I see Poppy's having a little party.Frasier: That's not a party, that's a hostage situation.Roz: Thank God today is herlast day. You know, this morning she cornered me by the coffee machine and told me her whole life story. I just wanted to grab her by the throat and say, \"What am I, your biographer? Shut up!\"Frasier laughs. Gilfinally gets out of the \"party\" and arrives at Frasier's table.Gil: Dear God! I thought I'd never break free. I feel like a mongoose at the mercy of a chatty cobra.Gil exits as Niles enters with a newspaper.Niles: Hello, all. Isee you all ready have the \"Times.\" I'm quoted there today.Frasier: In the \"Times?\"Niles: Yes, here, [shows Roz the bit] it's in an ad for \"St. Joan\": \"'Incandescent,' Niles Crane, 'The Monocle.'\"Roz: [stands] Wow!Excuse me while I go and tell all my friends I know you!Roz goes off to the counter as Niles takes her seat.Niles: [yawns] Forgive me. Olga and I were up till all hours at a party for the \"Royal Shakespeare Company.\"I'm rubbing pretty impressive shoulders these days. And to think it's all because I have a small column.Frasier: [keeping his eyes on his newspaper] That would certainly be the Freudian interpretation!Niles: If I were toreview that attitude I would say it was a chilling portrait of malice and envy.Frasier: Oh Niles, I'm not the least bit envious that you get to spout off in that glorified cat-box liner.Niles: You just can't stand it that myopinion means more than yours. That the arts community looks to me for my insight, my approval, my thumbs-up.Frasier: I think we both know what your thumb's up these days!Niles's temper flares, and he getsup.Niles: That's a good one, Frasier. Perhaps you should use it in your column. Oh, that's right - you don't HAVE one!He exits and Roz joins Frasier with their coffees.Frasier: That smug jackass!Roz: Frasier, you have aradio show. If you wanted to say what you thought of a play, what's stopping you?Frasier: It's not the same thing as being a real critic, Roz. You don't get free tickets... you don't get quoted... forget hobnobbing.Roz:My God, this competition between you and your brother is sick. Your obsessive one-upmanship. You're both going to end up bitter old cranks like Chester Ludgate.Frasier: You know, you do raise a good point, Roz.Roz:Thank you.Frasier: Chester's time slot is free, I could do my own arts show.Kenny passes, trying to hide from Poppy.Frasier: Kenny? Listen, Roz just had a wonderful idea.Kenny: Yeah, doc?Frasier: What do you sayabout yours truly hosting a bouncy little show about the arts in Seattle?Kenny: Culture? Wow! That's a great idea, let me chew on that and I'll get back to you.Kenny exits.Frasier: Great! You see, Roz, he loved yourideaRoz: That was not my idea.Frasier: It was too your idea.Roz: It was not...Kenny enters again.Kenny: Look, Doc, honestly, I feel kinda bad about what I just did. I let you think there was a chance that I might youlet you do this culture show and... there's not.Frasier: No chance at all?Kenny: No. I mean, come on Doc. You, culture, opera. Who's listening? Not me! [laughs]Kenny exits.Frasier: Damn! I think my show's a goodidea.Roz: Well, Kenny's the station manager and he doesn't.Frasier: You know what, frankly, I don't like his attitude. He acts as if he owns the station but he doesn't. Someone else does.Roz: Poppy!Frasier: The nextbest thing, her mother!Roz: No, Poppy.Roz points to Poppy who is coming over. Roz quickly picks up her bag and exits.Poppy: Hi, Frasier.Frasier: Hello, Poppy. Gosh, would you care to join?Poppy: I can't. Mummy'staking me shopping. She spoils me something horrible, I guess it's an \"only child\" thing. Anything I want, I just have to ask.Frasier: [getting an idea] Anything you want? Well, that's interesting. You know, Poppy, wecould join each other for lunch after your shopping spree.Poppy: Oh, I'd love it.Frasier: Would you really? You know, it just seems a shame you leaving the station and us never really getting to know one another.Poppy:Oh, it hasn't been easy. I mean, with you having those dental appointments everyday.Frasier: [guilty] Yes. Let me walk you out. [stands up]Poppy: You know, I should get the name of your dentist. I can't find one Ilike. They're always giving me Novocaine when I don't need it and then it's hours before I can talk again.Frasier: Oh yes, well, I can give you his number, although I'm not sure he'd be any different.Frasier and Poppyexit. End of Act One. Act Two.Scene One - Frasier's Apartment. Daphne is sat, irritated, on Martin's chair. Frasier and Poppy are sat on the sofa with wine and paté on the table. The last chords of a Beethoven piece isbeing played on the stero. Frasier is air- conducting as Poppy is laid back listening.Frasier: Divine Beethoven. Extraordinary, isn't it?Poppy: Oh, yeah. And do you know what makes it more amazing?Frasier:What?Poppy: [declares] He was deaf!Frasier reacts to this. Daphne just stares at her as if she's mad.Frasier: Daphne, more paté please.Daphne picks up the paté dish still staring at Poppy before she exits to thekitchen.Frasier: Poppy, I can't tell you how wonderful it is to meet someone who shares my passion for the arts. It's a rare thing to find in Seattle, believe me.Poppy: Is it?Frasier: Oh yes, sadly. If only more peoplewere better informed about our city's rich cultural treasures. [hinting] But what can we as mere radio folk do?Poppy: Well... [delayed reaction] What about a radio show all about the arts in Seattle?Frasier: Oh my God,Poppy, that's a wonderful idea. How do you do it, you just pull these things out of the air! Good Heavens, of course we'll have to find ourselves a proper host, but who?Poppy: Well someone very smart.Frasier: Oh,indeed.Poppy: And cultured.Frasier: [French] Bien Sur!Poppy: And with a lovely speaking voice.Frasier: [articulated] Oh, I don't think we need to look too far.Daphne enters with the paté.Daphne: Here you go. It's veryrich, so don't spread it on too thick!Poppy: Frasier, I'm so glad you're on board with this.Frasier: You know, my only concern is will Kenny go for it? You see, he's a bit of a Philistine. It might be better if the suggestioncame not actually from us but from... [no response] someone else.Poppy: Who?Frasier: Well, someone with more authority, power, influence... [no response] Someone older... [no response] A woman perhaps...[noresponse]Daphne: [fed up] Your mother! He means your mother!Poppy: Oh, what a great idea. I'll call her. [stands]Frasier: Here, use mine.Poppy: Thank you.Frasier hands Poppy his mobile, she sits and dials.Poppy:Hello, mummy. I'm with Frasier Crane and we think there should be an arts show on KACL. But I really like this idea! So, you'll call Kenny and tell him you want this, okay? Love you too, okay, bye. [hangs up]Frasiersmiles at Daphne, Daphne gives a sarcastic smile back.Poppy: And the first show should be?Frasier: Why don't we start tomorrow? But we'll need something to review.Poppy: That revival of \"A Streetcar Names Desire\"opens tonight.Frasier: Brilliant, let's go together. I'll see you at the theater.Poppy gets up to the door and is greeted by Martin who enters with Eddie.Martin: Oh, Poppy.Poppy: [to Eddie, loudly as if he is a baby]Hewwo, wittle Eddie, did you have a good walk? [Eddie runs off]Martin: Actually, we've just been to the vets.Poppy: [standing in door way] I had the cutest little dog when I was young, named Mr. Poops, every time wetook him to the vet\u0000s he...Martin slams the door on her, drowning out her ramblings.Daphne: You took Eddie to the vet, is he sick?Martin: No, it turns out the building security camera caught Eddie taking out RobbieGreenberg's hamster. So this Greenberg kid's trying to make Eddie out to be some kind of pit bull, he's organizing some petition to get him banned from the building.Frasier: [repressing glee] Oh Dad, that'sterrible.Martin: Yeah, it is. I don't know, I just wanted everyone to see what a nice, calm, friendly dog Eddie was.Frasier: Why did you take him to the vet?Martin: Tranquilizers. They don't even work anyway. I gaveEddie one of those pills on the ride home, they didn't do a thing to him. I don't know, I think maybe he needs something else.Daphne: Uh, Mr. Crane?Daphne points to Eddie laid, seemingly unconscious, on the upstagefloor. Martin looks.Frasier: Looks like all he needs is a lava lamp and some sitar music.The doorbell sounds. Frasier crosses to the door and opens it to Niles.Frasier: Niles!Niles: Well, I'm glad to see you're in a bettermood. I was hoping you'd lend me your Tennessee Williams biography. I have to review that revival of \"Streetcar\" tonight and I wanted to throw in some background stuff.Frasier: Well, I'm sorry Niles, you know,normally I would have lent it, but I'll be needing it myself for my own review.Niles: Oh. Well, in that case I'll... [realizes] What?Frasier: Oh, that's right, you wouldn't have heard. You see, starting tomorrow I'll be doingmy own little arts show on KACL, twice weekly.Niles: You envious reptile!Frasier: [picks up plate] Paté?Niles: I achieve one thing, one tiny distinction you don't have, and what do you do? You run whining to Kenny forextra airtime.Frasier: I did no such thing!Daphne: No, he went to that Poppy woman instead.Niles: Poppy?!Frasier: [to Daphne] Is this a panel discussion?Niles: You loathe Poppy!Frasier: I do not, I think she'sdelightful, [to Daphne] isn't she?Daphne: She's an idiot!Niles: You conniving copy-cat! You have to have whatever I have.Frasier: I don't have what you have. My audience is twice as large as yours is!Niles: Well, atleast my audience can read!Frasier: How dare you review my audience!Niles: I'll review anything I want to!Niles and Frasier, bickering, exit to the kitchen. Martin is laid back in his chair listening to them as Daphnewatches Eddie.Daphne: [referring to Eddie] I've never seen him like this. Eyes bulging, tongue lolling out...Martin: Oh, he always gets that way when he fights with Niles![SCENE_BREAK]Scene Two - Radio Station. Rozis in her booth getting ready for the show as Frasier enters.Frasier: Good morning, Roz.Roz: Hi.Frasier: Are you ready for our debut? I'm thinking of calling the show, \"Frasier Crane's 'I'll Say'.\" But with the \"I'll\" speltlike a theatre aisle.Roz: [sarcastic] That should work real well on radio! You better watch out for Kenny, I heard he's pretty mad at you for going over his head.Frasier: He can't be mad at me, the whole thing wasPoppy's idea. [Poppy runs by outside] Oh, here she is now, come to wish me luck.Frasier and Roz enter the main booth where Poppy also enters.Poppy: I was afraid I wouldn't get here in time.Frasier: Oh, here, here.[sits her down in his chair] We've got a few minutes to go before the show starts. Take a seat, catch your breath. Oh gosh, I'm really glad you made it. You know, it wouldn't be a proper debut without you.Poppy: Wow!All these buttons, how do you do it?Frasier: Oh, it's not that complicated, really. You know, I turn on the mike here, these are my call buttons. Oh, and I push this button here if I want to cough. [shows her]Poppy: Howdoes it make you cough?Roz and Frasier share a glance.Frasier: You know, Poppy, I hate to rush you, but we've just a couple of minutes before the show so...Poppy: [screams and stands up, only to sit back down againtaking a script out of her handbag] I better get a move on. [reads her script]Frasier: Poppy, what are you doing?Poppy: Getting ready for my show.Roz: [confused] One minute!Frasier: Your show?Poppy: Well, okay,our show. After all, it was your idea for me to do it. [shouts] Everybody, everybody come in here, please.Everybody from the corridors comes to the doorway to listen to her. Even Kenny and Gil stand by.Poppy: Before Ibegin my new show I just want to say a few words. Yesterday, I was ready to leave KACL. To run away like I have from so many other challenges. It was the support of one man, Frasier Crane, [Frasier looks horrified atwhat he's done] that helped me overcome this shyness many people may have observed in me, and to follow my dreams. [crying] Oh my God, I want to cry.Gil: We all do.Roz: [angry] Ten seconds!Poppy gives a littleshriek of excitement. Everyone exits apart from Poppy, who puts on the headphones. Roz to her booth. Kenny, Gil and Frasier to the corridor.Gil: How could you do this to us?Frasier: I had no idea she intended tostay.Kenny: That's not what her mother told me!Gil: And I thought I'd seen some cruel pranks in the army.Frasier: I assure you, she is way out of her depth here. Any moment she'll realize she's in over her head, she'llbe begging me to go in there and take over for her.Meanwhile, Poppy's show begins.Poppy: [slow, excruciating voice obviously reading from a script] \"A Streetcar Named Desire\" is a very powerful Broadway play. It was"}
+{"doc_id":"doc_94","qid":"","text":"(Fade to black. Cut to rolling coastline of beach houses. Cut to Sydney running through a park. This is not a leisurely run. She looks more as if she's pushing herself, perhaps running from the demons in her life. Sheslows and stops, removing headphones from her ears and bending over to take a drink from a water fountain.)Sloane (voiceover): Hello, Sydney.(Sydney looks up, shocked. Cut to see Sloane standing ten feet awayfrom her.)Sydney: What do you want?(She switches off her walkman radio. Sloane walks toward her, clutching a small bottle of water in his hand.)Sloane: The Covenant is about to make a move.Sydney: If you havesome intel, protocol is you pass it through Lauren Reed. She's your handler.Sloane: Well, Ms. Reed is very able, but I'm afraid she can't possibly comprehend the intricacies of serving two masters simultaneously. Youwere brilliant at it. The way you would walk into my office, look me in the eyes and lie to me. (He nods.) For me to succeed in my new work as a double agent for the Covenant, I'll need your help.Sydney: Your needsdon't concern me.Sloane: You'll find the details on toureurope.eu. It's encoded in a photo of the Vatican. The password is \u0000Credit Dauphine\u0000 for old time's sake.(Sydney looks away slightly, arms crossedimpatiently.)Sydney: Clever.(Sloane takes a swig from his water bottle, then dries his mouth with the back of his hand.)Sloane: Hmm I miss LA. I miss Emily. I miss the friendship with your father. (sighs) I miss yourconfidence and trust. Perhaps, I can get it back someday?Sydney: You will never have my confidence and trust or my father's friendship and respect ever.(Sloane just studies Sydney and then smirks slightly as if she'sjust said something funny.)(Cut to Vaughn dressed in full hockey gear, minus helmet, at the rink, skating hard across the ice surface.)Weiss (voiceover): You don't want any of \u0000Weiss on Ice\u0000 Come on,buddy!(Vaughn takes a shot that goes right by Weiss, dressed in full goalie gear.)Weiss: All right, I wasn't ready! Wait \u0000til I say the words, \u0000I'm ready.\u0000(Vaughn lines up about 15 feet away from Weiss and shootsfour pucks (wristshots) in quick succession at him. Weiss protests between each one.)Weiss: Whoa! Hey! Hey! Hey! Hey! Hey! Hey! Hey! . Dude, what's the matter with you?(Vaughn, skating backwards, resetting formore shots. His voice is brooding.)Vaughn: Nothing.(Vaughn takes another shot, which Weiss catches in his catching glove. He tosses it back out on the ice toward Vaughn.)Weiss: My brother used to do this.Vaughn(skating about restlessly): Do what?Weiss: Shut down like you're doin'. Get all quiet and \u0000tough guy'.Vaughn (taking another shot): That's not what I'm doing.(Vaughn goes back to skating restlessly.)Weiss: Yeah,he'd deny it, too. Then he'd brood and get mopey, like you're doin'. Finally, it got too much for him he'd have to come around and tell me what the problem was(Vaughn stops skating and lets out a large impatientsigh.)Vaughn: It's been three weeks since I learned that Sydney murdered Lazarey I've been lying to my wife for three weeks.Weiss: Vaughn, I know guys who've lied to their wives for a lot longer than that(Vaughngives Weiss a dirty look.)Vaughn: You understand that the reason your brother didn't like talking to you is because you say stupid things, right?(Vaughn fires an annoyed slapshot off the boards to the right (fromVaughn's angle) of the goal. It makes a loud noise and skitters away.)Weiss: Listen you were ordered not to say anything, right? This isn't your choice!Vaughn: Yeah, and she was ordered to figure out who murderedLazarey I mean, that's my point. I'm actively engaged in preventing her from doing her job. (He shakes his head and sighs with frustration again.) She's gonna find out, I mean, you know she is(Weiss nods with a littlesigh.)Weiss: and that you're protecting SydneyVaughn: Yeah See where I'm going with this?Weiss: Well This is why people from the CIA should not get married to people from the NSC, man. Don't poop where yousleep(This response is not what Vaughn is looking for; it only irritates him more.)Vaughn: Thanks a lot(Vaughn fires a wicked slapshot right at Weiss' right pad. It connects hard and Weiss collapses to his knees in thenet as Vaughn skates off.)Weiss: Oh! .Okay .You know what? That hurts(Cut to evening scene of a narrow European street. STRASSBURG. Cut to a dark nondescript van driving down the street. Cut to a Covenantmember, not one we've seen before, holding out a manila envelope.)Member: This is where Lang will be(Cut to Sark, taking the envelope.)Sark: I'll take care of it.Member: It must be done a certain way. There's an aextraction required.Sark: I assume you've stepped out the detailsMember: Yeah, your partner's been briefed.Sark: My partner!? I don't think so.Member: This is not a requestSark: Look, if you don't trust me by nowperhaps you should be in business with someone else and you can tell that to San'ko.(The Member just laughs as an unamused Sark looks on. Cut to an overhead aerial view of downtown LA by day. Cut to the JTFConference room.)Dixon: We've logged on to Tour Europe and downloaded Sloane's intel. The Covenant is after a device that will give them access to Russia's strategic arsenal. It was designed by this man (shows apicture on screen), Robert Lang, hardware engineer for a German security firm.Jack: Lang was approached by someone posing as a Russian defense official. They contracted him to design a test for security flaws intheir nuclear command and controls system.Marshall: This guy Lang created this really cool device. Basically, take it to any missile silo in all of Russia and it interfaces with the launch control console, bypasses allsecurity protocols: initiation codes, the commander's launch key irrelevant.Sydney: It's a skeleton key for Russia's nuclear weapons?Marshall: Yeah and to be honest, I'm just a little bit jealousLauren: Did they everdeliver it to the Covenant?Jack: No. He discovered that the man who hired him wasn't actually Russian defense, at which point, Lang went on the run to prevent the Covenant from getting what he'd invented.Dixon:This is a picture of what he used to look like. (Nods to picture still up on monitor.)Jack: According to Sloane's intel, Lang has surgically altered his appearance to hide from the Covenant.Dixon: We know that tomorrownight Lang is scheduled to meet this man (picture flashes up on screen) Heinrich Strauss at the Club Delphi in Milan. He's picking up new identity papers.Jack: Remember, Sloane's intel came from the Covenant, soobviously they're looking to grab Lang and this skeleton key.Dixon: Sydney and Vaughn you need to get to Lang before the Covenant does. You leave tonight. Marshall will go over op tech. Lauren, Sydney I need amoment. (They wait while the others file from the room. Dixon approaches them.) Given the current situation, I need to make a change. (Dixon looks at Sydney.) I want you to take over as Sloane's handler.Sydney(speechless for a moment and then): No, I'm sorry that is not a good idea.Lauren: While it's not my favorite part of the job, can I ask why I'm being replaced?Dixon: It's not an indictment. It's that Sydney is morefamiliar with the players(Sydney gives a confused look at Lauren and then to Dixon.)Sydney: What players? There's Sloane and Sark that's it.Dixon: No. There's another. (pause while realization starts to dawn onSydney's face) Sydney Allison Doren is alive.(Pain and shock appears on Sydney's face. She looks away. Then she looks up and asks in disbelief)Sydney: She's alive?(Cut to the back of a van door opening and Sarkbeing shoved out of it by the Covenant member he'd been talking to. Sark turns around to look at the man.)Member: You can thank me later(He closes the door. As the van starts to drive away, Sark turns around. Cutto a closeup shot of a high heeled shoe as it steps out from an open car door. We watch the door shut and the shoes walk toward Sark. The camera pans up: Black high heels, black stockings, black miniskirt, blackjacket. The woman is walking toward Sark (The camera is behind her.) Cut to Sark's reaction. His eyes widen in complete shock. Cut to who he's looking at. It's Allison Doren stopping in front of him. She leans in to kisshim, and then)Allison: You look like you've seen a ghost.(Cut to black. Alias theme. End of Act One.)[SCENE_BREAK](Cut to an external view of what is apparently a European hotel at night. Cut and pan across abedside table to Sark and Allison in bed, apparently naked. Sark is spooned behind Allison.)Sark: I truly thought you were dead the last two years. You'll have to start at the beginning or the end, after the last time Isaw youAllison: Will Tippin discovered what had happened that his girlfriend had been killed and I'd been doubled to take her place.(Flashback to the beginning of the fight scene between Allison and Will, when she triesto strangle him.)Allison (voiceover): He had to be eliminated.(Cut back to Allison and Sark in bed.)Sark: What happened with Bristow? When the Covenant found you, you were both unconscious.Allison: I can onlyremember that in bits and pieces. (Flashback to the scenes from \u0000The Telling\u0000 of the fight as she speaks). She came home I realized that she knew she aimed the gun at me (cut back to the present) The next thing Iremember, it was three weeks later and I woke up in a Covenant run hospital outside of Marseilles. Took me six months to fully recover. I've been working for them ever since.Sark: Were you behind them extracting mefrom the CIA?Allison: I wish I could claim credit for that. I only learned you were working for us recently.Sark: My tenure began shortly after my father's murder. They freed me in exchange for my inheritance.Allison:Who killed your father?Sark: I don't know but I intend to find out.(Allison turns in bed, her back more to Sark now. He fingers her shoulder.)Sark: Bristow should have to pay for these scars (Sark leans down and kissesher shoulder, presumably on her scars)Allison: She will.(Allison turns and Sark kisses her.)(Cut to an aerial view of the Observatory.)Lauren (voiceover): I'm no longer Sloane's handler. Dixon gave that job to SydneyBristow. (We see on Lauren's face that this still bothers her.)(Cut to Lauren sitting next to Lindsay on a bench. They aren't looking at each other, almost as if they are meeting secretly.)Lindsay: Good. That frees you upto focus on the Lazarey murder. We have a source working inside the Russian government who's agreed to help us out.Lauren: They have the assassin's identity?Lindsay: Not yet. But apparently they hold informationthat could lead us to it.Lauren: Then why aren't they using it? Lazarey was a Russian diplomat. You'd think they'd want that answer more than any of usLindsay: The Covenant doesn't want anyone to know they'rebehind the assassination.Lauren: And your source believes their reach extends so far within the Russian government that they can make that happen.Lindsay: You leave tonight. Any leak, and our source could becompromised and killed. That means no one at the CIA can know about this, including your husband.(Lauren reacts to this news. The dread forms in her eyes and she sighs heavily and looks away. She's not lookingforward to having to lie to Vaughn.)(Cut to two open suitcases on a bed. Slowly pan upward to see Vaughn packing. He's dressed in only a dark pair of pants. His boxer shorts peek out the top of the waistband, andwhat looks like it could be a gauze bandage can barely be seen under that. He puts a shirt inside his suitcase.)Vaughn: ViennaLauren: I know surprised me, too(Lauren walks out from presumably the bathroom carryingsome clothing, crosses behind Vaughn, around the side of the bed to the opposite side. She's dressed in skimpy black bra and panties and black high heels. She drops a black dress into the other suitcase and startsslipping her legs inside a black skirt.)Vaughn (continuing to pack): For how long?Lauren: Oh, you know how they go it's a NATO security briefing. Two days at the most.(I must mention here that even though Lauren isbarely dressed, Vaughn barely even looks at her. I don't know if that is supposed to mean anything here, but I mentioned it just in case it does.)(Vaughn looks up at Lauren suspiciously. There's a touch of doubt on hisface. He's not sure he believes her.)Vaughn (pauses, then): I'm surprised Lindsay reassigned you to cover a briefing(Lauren sits down on the bed. From our angle, we can see she's nervous and bothered about havingto lie.)Lauren (slightly breathless, trying to sound cheerful): I know but he said he needs me there couldn't exactly say no, could I?(Lauren bends forward a little; we see her grimace. She plays with her earringnervously. Vaughn gives her back another look of almost betrayal as if he knows she's lying.)Lauren (in a quiet voice): What about Milan?(Cut to Vaughn slipping on a navy blue button down shirt. His face says he's hurtthat she's lying to him, because he knows she is. He plays with the collar of his shirt and starts to button it.)Vaughn: Should be a quick turnaround. Be back in a day.(Lauren turns her head to the side and then standsup to face Vaughn.)Lauren: When we get back when we're done with this(Vaughn looks up to meet her eyes. He's tense; we can see it in the way his jaw is set.)Lauren: we need to go away.(Vaughn gives her a tinyknowing smile.)Vaughn: The desert?Lauren (shaking her head): Anywhere(They lock eyes. Vaughn smiles a little and then the smile fades slightly as he continues to stare at her.)(Cut to a car driving away from usbehind a row of warehouses. MOSCOW. Cut to Lauren and the contact inside one of the warehouses talking in hushed tones.)Lauren: My superior indicated, Mr. Tipucoff, that you have some information for us.Tipucoff:How does a British woman become an American spy?Lauren: I'm not a spy. And though I grew up in London, I was born in the United States. Now that you know my life story, I have some questions myself. Yourgovernment's running a probe into this. I would think you'd want to bring closure to your own investigation. Why come to us?Tipucoff: I already explained this to your superiors.Lauren: I want to hear it formyself.Tipucoff: Andrean and I were, um colleagues, since our time together at St. Petersburg University.Lauren: I'm sorry.Tipucoff: I have for some time now, suspected the existence of a mole whom I believe is stillloyal to the Covenant. (pulls his hand out of his pocket and hands Lauren a digital recorder) This is a file of digital recordings, which chronicles hundreds of phone calls made or received by our deceased diplomat,Andrean Lazarey. Perhaps the murderer can be traced to one of these calls. I trust that you'll see that justice is done for my murdered comrade.(He starts to walk away.)Lauren: Where can I contact you?(Tipucoff turnsand looks back.)Tipucoff: You can't. We never had this conversation.(Tipucoff walks away. Cut to black.)(MILAN. Push through the A. An overhead shot of a streetcorner at dusk. Cut to Vaughn, in black leather jacket,holding a Palm Pilot in what is apparently their surveillance van. Vaughn speaks louder than normal, as if speaking to someone in another room.)Vaughn (playful, joking): So that camera that Marshall gave us is aminiaturized X-ray camera What do you want to bet this thing's leaking radiation?(Cut to a sliding curtain door as it opens. Sydney emerges in costume: Chin length flip hairdo, blonde on top with dark hair underneaththe top layer; 60's style white sequin minidress and calf high white go-go boots, topped with a white suede coat with a fur collar. She steps out. He looks up at her, smile still touching at the corners of his mouth. Hiseyes widen as the smile slips off his face. His mouth gapes open slightly and he leans back in his chair, unable to stop staring at her. Sydney breaks eye contact first and looks away uncomfortably.)Sydney: So we'relooking for Lang(Vaughn takes the subtle hint and gets back in game mode. He looks away momentarily and then back, more in game mode.)Vaughn: Yeah the camera's supposed to ID his plastic surgery.(Sydneywalks over and sits next to Vaughn as he continues to explain.)Vaughn: It'll transmit images back to my PDA that Marshall programmed to identify fractures, scar tissue, implants anyone who's been under theknife.(Sydney looks down at her lap. She appears troubled. This doesn't escape Vaughn's notice.)Vaughn: You okay?(Sydney looks up, meets his eyes.)Sydney: Mmmhmmm.(Vaughn looks down, playing with thePDA.)Vaughn (not looking at Sydney): Is it Allison?(He looks up at her. He knows.)Sydney: Since I learned that she's alive I keep wondering Does she still look like her? Does she look like Francie?(Vaughn continues tomeet her eyes, his understanding and empathy plain.)Sydney: Because if she does? As much as I know I should keep her alive to maybe try to figure out the last two years of my life? All I'll wanna do is kill her.(Theireyes meet.)(Cut to Francie, dressed in black, apparently on the rooftop of the club. Sark walks toward her, handing her an envelope.)Sark: Heinrich Strauss he's the man providing Lang with identity papers. As wespeak, he's getting drunk in the club.Allison: I'll keep an eye on him.(Cut to Vaughn, picking up the necklace that Marshall made for the op.)Vaughn: The camera's in the stone.(He holds the necklace out.)Sydney(quietly): Do you mind?Vaughn (just as quietly): No.(Cut to closeup on Sydney's fingers unbuttoning her coat to slip it off her bare shoulders. We see the pendant appear on the front of her dress and then pull up. Thecamera pans upward to Sydney's face as Vaughn's hand rests against her shoulder as he does up the clasp of the necklace. It brings back memories for her. Slide over to Vaughn's face. He's just as affected by themoment, if not more. He pulls his hands away slowly and just as slowly pulls the fur collar back into place. Sydney looks down sadly.)Sydney (barely above a whisper): Thank you.(Cut to Allison pulling on fingerlessleather gloves. She opens a soft case, exposing a sniper rifle. She locks a silencer in place, lifts the rifle to look down the telescoping sight. She locks a clip in place and cocks it. She zips up her black leather jacket andsays, apparently to Sark )Allison: Let's go.(Cut to Sydney's go-go boot. She pulls aside her ankle length coat, exposing the calf high boots, wide expanse of leg, and a gun harness strapped on her upper thigh. She slipsa pistol inside it, saying)Sydney: Let's go.(Cut to inside the club, pan down from the ceiling to Sydney as she begins to work the crowd.)Vaughn (voiceover, on comms): Okay, we're looking for someone with massivefacial reconstruction. Lang's about 5' 10\u0000, 170 pounds.(Cut to a closeup of the necklace.)Sydney (voiceover): How's the camera working?Vaughn (on comms): Video's linking up now.(Cut to view of video coming up onVaughn's PDA. Cut to Vaughn on a balcony above the dance floor, surveying the scene.)Vaughn: Signal strength's at 100%.(Cut to view from above of Sydney making her way to the bar counter.)Sydney (voiceover):I'll start looking for Lang.Vaughn (on comms): Hey, check out that guy to your left.(Cut to Sydney as she looks over her shoulder at a young man in black wearing spectacles. She gives him a seductive smile, plays withher necklace and says)Sydney: Buy me a drink?(The man puts up a finger to attract the bartender's attention. Sydney looks around as she waits to hear from Vaughn. Cut to Vaughn looking at the PDA, then to theimage on the PDA. The program searches the man's face. He's not a match. Cut to Vaughn.)Vaughn: Nothing.(A new song starts to play. As the man holds out the drink to her, she waves her hand and starts to walkaway saying,)Sydney: I love this song.Vaughn (on comms as Sydney works the crowd): Okay, nothing there Keep moving Oh! Check out that guy with no rhythm(Sydney grabs both the man's hands and starts dancingwith him while Vaughn checks out his face. Cut to Vaughn.)Vaughn: No, only a nose job not enough to be Lang.(Cut back to Sydney. She dances for another moment, then moves on. Cut to a view of the crowd fromSydney's pendant.)Vaughn (voiceover): Chin implant at 3 o'clock(Cut to Vaughn looking at his PDA)Vaughn: Collagen lips straight ahead(Cut to Vaughn's PDA as he focuses in on a woman in a low cut white satin gownshimmying to the music. An X-ray interpretation of the shot reveals )Vaughn (jokingly sarcastic): Okay, those breasts are real(Cut to Sydney as she smiles at Vaughn's joke. Cut back to Vaughn.)Vaughn (joking): Whatdo you think? Should I get my nose done?Sydney (as she surreptitiously turns on her comm.): Maybe a little taperingVaughn (on comms): Get the bump removed?(Cut to Vaughn.)Vaughn: Whoa, wait, wait, wait goback. Go back to your left, 2 o'clock.(Sydney takes a step back, turning her pendant.)Sydney: Right there?(Cut to the man the pendant is pointing at.)Vaughn (voiceover): Yeah, yeah hold it just like that.(Cut to"}
+{"doc_id":"doc_95","qid":"","text":"[INT. GRISSOM'S PLACE - KITCHEN -- DAY](BLUR IN on a glassware pot on the stove.)Madeline Klein: (V.O.) Nobody knew he was coming, Conrad. Nobody knew his name.(Grissom is making soup.)Madeline Klein:(V.O.) Well, if you'd stop talking for a minute, you'd understand.[SCENE_BREAK][INT. COURTHOUSE - JURY ROOM - DAY](The large jury room is empty.)Madeline Klein: (V.O.) The investigation's been compromised.Lives are at risk.(CUT TO: A legal pad and file are placed on the conference table. Another set of paper and file is placed on the table.)(CUT TO: The jurors are sworn in. There's a board with crime scene photos up in thebackground.)Madeline Klein: (V.O.) How many people do the right thing anymore? Have a conscience? Don Cook didn't even know what he saw.[SCENE_BREAK][INT. POLICE DEPARTMENT - INTERVIEW ROOM](DonCook sits at the interview table.)Madeline Klein: (V.O.) El Matocho doesn't kill for the thrill or because he was abused as a child.[EXT. NIGHT](Emilio Alvarado walks away and under a lamppost. It's light enough toidentify him. The large tattooed letters on the back of his head are easily identified: L-A-T.)Madeline Klein: (V.O.) He kills because it's his answer to everything.(He walks away.)[SCENE_BREAK][EXT. NIGHT](A car is onfire, burning from the inside.)Madeline Klein: (V.O.) I had him eyewitnessed. It was enough for an indictment. No indictment, no trial. He goes free and La Tijera gets stronger. So don't patronize me by saying thismight be an accident.[SCENE_BREAK][EXT. NIGHT](Fire crew and other personnel are at the site, the car fire is out and smolders. It's covered with foam.)Madeline Klein: (V.O.) I'm not asking you for advice here, I'mtelling you: I want Grissom.(A black car pulls off the side of the road. The door opens and Madeline Klein steps out of the car. She's on the phone continuing her conversation with Conrad Ecklie.)Madeline Klein: (tophone) Maybe the reception sucks out here.(She closes the car door and heads for the site.)Madeline Klein: (to phone) I said I want Grissom. Say I asked for him personally.(She hangs up.)(She walks over to theforensic techs standing near the site drinking coffee and waiting.)Madeline Klein: I don't want anyone touching anything. Thanks for all your help, guys.Tech: (o.s.) Yes, ma'am.(She turns and walks over toBrass.)Madeline Klein: Case is reassigned to Grissom.Brass: He's home sick, Maddy.Madeline Klein: Yeah, I heard all about it from Ecklie. Blah, blah, blah. The point that he and you seem to be missing is that I have 18grand jurists sifting through evidence, trying to help me indict one of the deadliest gangs this city has ever ...Robbins: (shouts, interrupts) Who's in charge of the scene?!(Robbins, a coroner's assistant and David Phillipsare with the body. David is examining the body.)(Brass points to Maddy.)Madeline Klein: I am. (mutters) For God's sake.(Maddy and Brass head for the body.)Madeline Klein: Madeleine Klein, Deputy DA.Robbins: AlbertRobbins, Clark County Coroner.Brass: Talk to me, David.David Phillips: Confirms it's Don Cook.(David hands the wallet to Brass.)Madeline Klein: This is on us.Brass: What do you got, Doc?Robbins: Other than theobvious burns over the better part of his body, there's this.(David and the assistant roll the body to show the wound on the back.)Brass: He was shot.[SCENE_BREAK][INT. GRISSOM'S PLACE - NIGHT](Grissom is in thekitchen cooking soup. An aria plays over the sound system. Grissom coughs and it's obvious he's sick.)(Hank sits on the kitchen floor nearby.)(Grissom stirs the soup cooking on the stove. He tastes it with a woodenspoon. The phone rings.)(Grissom picks up his cell phone and looks at it.)4:00 AMCALL FROMECKLIE(Grissom turns the phone off.)(Hank makes a sympathetic bark. Grissom turns and looks at Hank. Hank looks back athim.)FADE TO END OF TEASER ROLL TITLE CREDITS[SCENE_BREAK][EXT. ROADWAY -- DAY](Two police cars are parked at angles on the road and a strip of crime scene tape is tied between them to block the roadway.Catherine is doing a walk-through on the road as she talks to Grissom on the phone.)Catherine: (to phone) Let me run it down for you. Isolated stretch of Route 2, burned car on the shoulder, burned male victim out ofthe car 20 feet away.(She walks past Greg, who is busy with a clipboard. A scarf is wrapped around his neck. She continues toward Madeline Klein, who is standing near her car.)Catherine: (to phone) Single gunshotwound to the lower back. Passing motorist called it in. Fire department arrived within 12 minutes. Fire burned so hot, they had to use foam to put it out, which, of course, is never good for us.Madeline Klein: Where ishe?(Maddy takes the phone from Catherine and walks as she talks. Catherine walks along with her.)Madeline Klein: (to phone) I've been waiting over an hour for you. What, are you walking here? (pauses) How manytimes have I gotten out of bed in the middle of the night for you, Gil? (pause) Yeah. Yeah, well, I'd like to phone it in, too. I left an AA meeting for this. That trumps walking pneumonia.(Maddy hands the phone back toCatherine.)Madeline Klein: Here you go, eyes-and-ears.(Maddy turns and leaves.)Catherine: We'll keep in touch.INTERCUT WITH:[INT. GRISSOM'S PLACE - DAY](Grissom pours a packet of powder into hisdrink.)Catherine: (from phone) So the Deputy DA got out of bed for you? Whose bed?Grissom: (to phone) Talk to me about the road.Catherine: (from phone) All right.(Catherine is on the road. Warrick is there snappingphotos.)Catherine: (to phone) The debris path starts approximately 100 yards from where the vehicle came to rest.(Warrick puts an evidence marker down on the road.)Grissom: (from phone) Show me what yousee.(Catherine takes photos of the road around her and e-mails the photos to Grissom. She heads for the burned car.)[INT. GRISSOM'S PLACE -- DAY](Grissom sits on the couch as he works on the laptop. Hank lies onthe couch behind him.)(He opens the first e-mail photo and looks at it.) Gil.Grissom @ lvpd.csi.com Catherine Willows(a)lvpd.csi.com Case #080403 - 1916 GG Crime Scene PhotosDate: 04/03/08Time: 8:13 AM)(Warrick notes Greg is wrapped with his scarf around his neck.)Warrick: What are you doing, a catalog shoot? Where's your matching hat with your pom-pom?Greg: Leave me alone. I have a cold. (looks at clipboard)So, based on the debris pattern, the victim was driving the car when the blaze started. Swerving all over the road. Probably because he was on fire.(Warrick and Greg look down the road.)START: VISUALIZATION(Thevictim's car zooms through the road. It is on fire as it swerves this way and that, tires screeching. It heads straight through Warrick.)(Greg turns and watches the car swerve off the side of the road and stop where thecurrent burned car is.)END: VISUALIZATION(Greg looks at Warrick.)Greg: What do you think?Warrick: Sounds about right.(Catherine approaches the burned car and takes a photo of the back end.)(She moves in closerand notes a discarded shoe on the grass near the closed driver-side door. She hears a loud sneeze.)Catherine: Gesundheit.(Nick sniffles. He's in front of the car)Nick: Thanks. Boy, I hope I'm not getting sick. I'm notfinding any pour patterns on the exterior. The hood and the front quarter panels are down to the primer and the front tires are burnt down to the rim. Think the fire probably started in the enginecompartment.Catherine: New car engines don't catch fire, not by accident.Nick: Now we'll have to get it back to the lab for a closer look.Catherine: And guys on fire don't stop to close doors.(Catherine snaps a photo ofthe closed door.)Nick: No, no, I talked to the battalion chief about that. He said the driver's side was open when his boys showed up, and that the pressure from the hose probably closed it.Catherine: Probably?(mutters) Hosers.(Catherine looks at the back of the car.)Catherine: Nick, come here.(Nick joins her. She points to the back of the car.)Catherine: Um. Clear that off, would you?(Nick wipes the foam off the bumper toreveal a tag: L-A-T.)Nick: \"L-A-T.\" That's La Tijera's tag.[SCENE_BREAK][INT. GRISSOM'S PLACE - DAY](Grissom is in his bathrobe as he goes to answer the front door. Maddy walks in carrying a file box.)MadelineKlein: Boy, you look like hell. I need sugar. You got a soda?(Grissom closes the door.)Grissom: Nice to see you, too, Maddy.(Maddy puts the file box down on the table. Grissom heads down the steps and toward thekitchen.)Madeline Klein: Six months' worth of investigation; two months working with the grand jury; five low-level indictments against the LATs. Why you? (mutters) 'Cause you're the only one who won't screw itup.Grissom: My team won't screw it up.Madeline Klein: Oh, right. Your team. Warrick Brown got mixed up with a crooked judge. Sanders ran down a civilian while on duty. Ms. Willows lied about being at a crime scene,among other things.(Maddy holds a disk and opens the file box.)Madeline Klein: And who can forget Stokes, your straight arrow? Suspected of killing his hooker girlfriend. (Grissom returns.) How does the song go? \"Youcall me up, I get 'em out of it\"? If it weren't for me, you'd have no team.Grissom: Are you done?(He opens the soda can and offers it to her.)Madeline Klein: Sorry. You have a ... ?(She holds up the disk. Grissom takesit from her and gives her the soda.)(Grissom goes to play the disk. Maddy sits down.)Madeline Klein: This was recorded two weeks ago. This guy had no idea that what he saw was the key to bringing down La Tijera andtheir leader, El Matocho.(Grissom picks up the remote and plays the disk as he settles on the couch. It's a video recording of Brass' interview with Don Cook date-stamped March 19, 2008, at 1:18 PM.)Don Cook: (fromdvd) Okay, I know this is my third violation, but I was not speeding. I-I blew past that light because I had a fight with my wife.Brass: (from dvd) Listen, you're not here for a traffic violation, okay? Now, after you ranthe red light, the street camera didn't pick you up at the next intersection. Where'd you go?Don Cook: (from dvd) Okay, look, I, I cannot have my license suspended. I have a vending machine business.Brass: (fromdvd) You're not here for a traffic violation. Let's get that straight. Now, did you see anyone in particular? Do you remember that night?Don Cook: (from dvd) Yeah, yeah, no. Um, yeah, there was, there was a guy whowalked past my car.Brass: (from dvd) Okay.Don Cook: (from dvd) I thought I was gonna get robbed on top of everything else.Brass: (from dvd) Can you identify him, hmm?Don Cook: (from dvd) Sure, yeah. He walkedunder a streetlight. I saw him. I saw him real clear. He, um ... He was Hispanic ... uh ... I don't know, bald, scary looking.(Maddy pauses the video and goes through the file folder.)Madeline Klein: \"LAT\" carved into thecheek of the victim is the signature of El Matocho, La Tijera's number one.(She hands Grissom a photo. On it is \"LAT\" carved on a man's cheek.)Madeline Klein: He killed gang leader, Little Gordo, but he was a ghost--noface, no name.INSERT: FLASHBACK[INT. CAR (PARKED) -- NIGHT](Don Cook is in his car and parks. He looks out and sees Alvarado walking away.)Madeline Klein: (V.O.) Until Don Cook ID'd Emilio Alvarado coming outof Little Gordo's house around the time of the murder.RESUME SCENE.(Grissom looks at the photos.)Madeline Klein: Turns out Alvarado was caught up in a gang sweep day after the murder. Parole violation. He got 30days. PD thought he was just another lowlife. Due to be released in 52 hours. Can't indict Alvarado with a dead witness. We need to prove conspiracy.Grissom: You need to prove that Alvarado ordered a hit on yourwitness.Madeline Klein: How long do you think it'll take you to bone up on these and put a suit on?[SCENE_BREAK][INT. POLICE DEPARTMENT - BRASS' OFFICE - DAY](Cody Cook, Don Cook's wife, takes out a cigaretteand looks at Brass. She sits on the couch in Brass' office.)Cody Cook: Can I smoke in here?Brass: Uh, no. It's a ... it's a government building.(She toys with the unlit cigarette. Brass pulls up a chair and sitsdown.)Brass: I'm very sorry for your loss. So when was the last time you saw Don?Cody Cook: Last night. We go to my folks' house every Sunday.Brass: Mrs. Cook, did you know that your husband was going to testifybefore a grand jury?Cody Cook: We talked about it. I told him I didn't want him to do it. But he found out about this girl, what the gang did to her.Brass: Did he confide in anyone else?Cody Cook: He said it was asecret.Brass: Did you tell anyone?Cody Cook: No. Well ... sort of. I told my mom and dad and my best friend, Jenny. She's my hairdresser. I tell her everything.Brass: I'm gonna need their phone numbers.Cody Cook:Did I do something wrong?[SCENE_BREAK][INT. CSI - FORENSIC AUTOPSY - DAY](The victim's partially burned body is on the table as David stands above it taking photos. Robbins stands behind the body, working onit. Catherine walks in.)Catherine: Oh, hey, Dave, nice haircut. What gives?(David steps down from the stepladder.)David Phillips: Oh, Mrs. Phillips. An extreme makeover.Catherine: Mm. Oh, make sure you get thosephotos to Grissom.David Phillips: I'm all over it.(David leaves.)Robbins: Sign of a good marriage. Wife still wants to change him. So your vic's burns are concentrated on the face, hands, knees and feet. It's consistentwith an engine fire.(Quick flashback to: Don Cook sits in the car behind the steering wheel when the dashboard in front of him catches fire. He puts his hand and arm up to deflect the fire, but it doesn't work.)(Hescreams.)(He grips the steering wheel and his hands catch on fire. He screams.)(End flashback.)(Robbins hands Catherine a small container with the bullet inside. She looks at it.)Catherine: Jacketed hollowpoint. Onecannelure. Looks like a .38.Robbins: Yeah. Entered through the right renal artery. That's COD.[SCENE_BREAK][INT. CSI - GARAGE - DAY](Nick is working under the hood of the car. He pulls out some wires. On the floorat his feet is a mat with various parts removed from the car.)(Nick coughs. He gets back to work. He coughs again.)(Greg walks in.)Greg: Wow. I bet it reeks in here.(Nick looks at him and shakes his head.)Nick: Iwouldn't know.Greg: Thank God for stuffy noses.Nick: Yeah.Greg: DA Klein asked Grissom, who asked Catherine, who told me to tell you that we need to figure out if the victim was shot before he got in the car, whilehe was in the car or after he got out.Nick: Okay ... uh ... there was no blood trail at the scene. Fire pretty much took care of that. And I doubt you're gonna find any trace of blood in that burnt-up driver seat.Greg:Wow, I've got to give her more than that.Nick: Be my guest.(Greg heads over to the car. He coughs and sneezes. Nick continues working under the hood.)(Greg looks at the front seat. Nick pulls out a piece inside theengine. He coughs.)(Greg examines the seat belt buckle.)Greg: Skin on a seat belt buckle. You know, if I got shot and I'm trying to get away, I'm not gonna take the time to put my seat belt on.Nick: Eliminates the firstscenario.Greg: So either the shooter kidnaps him and shot him while he was driving ...Nick: I don't know. Greg, I think we would have found evidence of somebody else inside the vehicle.Greg: Which leaves us with thelast scenario.(Quick flashback of: The car is burning. Don Cook is on fire and screaming as he staggers outside the car. Someone else is there holding a gun and fires. End flashback.)Nick: I think I just found my reasonfor getting out of bed this morning.(Nick pulls out a piece of burned cloth.)Nick: Check it out. The same guy that tampered with the car could have followed. Made sure the job was done.[SCENE_BREAK][INT.COURTHOUSE - JURY ROOM - DAY](Madeline Klein and Grissom break the news to the grand jury.)Marie Leahy (juror): Who killed him?Juror 1 (woman): Do you have evidence that the witness was murdered?RandomJuror (man): How did they kill him?Madeline Klein: One at a time, Miss Leahy.Marie Leahy (juror): Do you know who killed him?Grissom: We don't know yet. Our investigation is still ongoing.Juror 2 (man): What wasthe guy gonna tell us?Madeline Klein: Until Dr. Grissom can corroborate Mr. Cook's testimony, I can't tell you the content.Tim O'Shea (juror): Mr. O'Shea. We've been locked up in here ten hours a day, two months, allcloak-and-dagger. La Tijera doesn't know we're investigating them, so they couldn't know about the witness.Grissom: Well, we found their signature at the crime scene. So it's possible they do know.Tim O'Shea: If theygot to this witness, could they get to us? I have a family.Random Juror (man): (o.s.) So do I.Marie Leahy: I want to know how the gang found out about Don Cook.Tim O'Shea: Me, too. Or else I want off thisjury.(Grissom and Maddy exchange looks.)[SCENE_BREAK][INT. GRISSOM'S PLACE](Grissom opens the door and finds Brass in the hallway holding some files.)Brass: Hi. I ... uh ... brought some more files on thecase.(Grissom looks at Brass.)Brass: Got any coffee?Grissom: I got lots of tea.Brass: Good.(Brass walks in. Grissom closes the door. Brass heads inside.)Brass: You know, when we first asked Cook to testify he said no,and ... uh ... but ... you know, I couldn't let it go.(They stop at the counter where Grissom prepares the cup of tea as he listens.)Brass: So I called him up about a week later and ... uh ... took him to lunch and I showedhim a picture of ... uh ... of a girl that they had killed, you know. She was 16, innocent, beautiful. She was raped, shot, and urinated on. And when that didn't kill her, they slit her throat. So I had him on the hook. WhenI told him that ... uh ... you know, if he testified, I'd protect him and his family if the case ever came to trial. On Friday, he called Maddy, said he changed his mind, he'd testify. And on Sunday ... he was dead. I couldn'tprotect him.(Grissom hands him the cup of tea.)Brass: Thanks.[SCENE_BREAK][EXT. LAS VEGAS CITY (STOCK) - DAY][INT. CSI - GARAGE -- DAY](Nick is still working on the car. He picks up a heavy tray of car partsand groans. He coughs as he carries the tray to the counter. He drops the tray on the counter and quickly covers his mouth to cough. He looks at his gloved hands.)Nick: Oh.(He removes his gloves, tosses them asideand grabs the glove box only to find it empty.)(Warrick walks in.)Warrick: Hey, buddy.Nick: (turns around) Hey.Warrick: Oh, man, you look beat up.Nick: I feel beat up.Warrick: Why don't you ... uh ... take a break. Igot this.Nick: No, no, I'm cool. I can push through it.Warrick: Yeah.(Warrick chuckles.)Warrick: You're ... uh ... breaking the lab's budget for rubber gloves here, dawg. Listen, get some rest, man. You'd do the same forme.Nick: Yeah, okay. I processed the driver's side. I was about to get to the passenger's side glove box. (heads out) I owe you one, man.Warrick: Yeah, you do.(Nick sneezes as he leaves.)Warrick: Ooh.(Warrick opensthe passenger side door and gets to work. He picks up a crowbar and pries the burned glove compartment open. He sticks his hand inside and pulls out the bottom of the compartment.)(Warrick is at the worktable andchisels away at the melted hard plastic. He finds a revolver.)(Warrick cleans the base of the revolver and finds the registration number: CC89048Z.)(He runs the number through the ATF database:FIREARM SERIAL NO:CC8 9048ZMAKE: SMITH & WESSONMODEL: MODEL 36CALIBER: .38 SPECIAL (.38+P)(He finds a match:NAME: RICHARD P. O'MALLEYADDRESS: 26887 ROUTE 2, NORTH LAS VEGASFIREARM SERIAL NO: CC89048ZMAKE: SMITH & WESSON[SCENE_BREAK][EXT. ROAD / O'MALLEY RESIDENCE - DAY](Brass' car turns into the O'Malley driveway. He parks.)(Brass gets out of the car and heads for the front door.)Cue Sound:(PRE-LAP) DOOR KNOCKING[EXT. O'MALLEY RESIDENCE - DAY](Richard O'Malley opens the door.)Brass: Mr. O'Malley? Detective Jim Brass. Can I talk to you again?Richard O'Malley: Sure.Brass: Ballistics has confirmedthat your son-in-law was killed with your gun.Richard O'Malley: Wait a minute. You told me this morning he died in a car fire.Brass: I know what I told you, but why didn't you tell me about the gun?(Mrs. O'Malley walkspast carrying a laundry basket. She pauses to listen.)Brass: How did it end up in his car?Richard O'Malley: (to his wife) Go inside. (She walks away.) (to Brass) I gave it to him.Brass: Why?Richard O'Malley: Because heasked me for it.(Quick flashback to: Richard O'Malley shows the gun to Don Cook.)Richard O'Malley: All right, look, it's got five rounds in it. There's no safety on it.(He gives the gun to Don.)Don Cook: So all I got to dois just point it and shoot it?Richard O'Malley: Yeah. Now look, if you think you're being followed, don't be a hero. Call the police.(End flashback. Resume.)Richard O'Malley: Hey, look, I begged Donnie not to testify. Heand Cody had everything to lose. They were doing great with their vending machines. No grandkids yet, but that's probably 'cause their marriage was shaky already. Cody has her mother's temper. She loved him,"}
+{"doc_id":"doc_96","qid":"","text":"Ted (2030): Each architect has a building that changed his career. For me it was to my 31st birthday. It was not a museum or a concert hall or a skyscraper. It was something else.Man: We opened a restaurant calledthe Rib Town, we want it shaped... The band of friends is to McClaren's. Ted:... hat cowboy. Listen, I need this job. I have no other option.Robin: You can always do prof.Ted: I have not worked as hard to finish in acrappy job. Get me wrong, Lily.Lily: I was pissed 3 times this morning. I can not say.Ted: I pass this building, so I see you in three days. He leaves the bar to go home and get to drawing.Ted (2030): The next threedays, I worked as ever. And it led me... nowhere. Barney enters the apartment where Ted is still trying to design a building.Barney: What are you doing?Ted: A hat-shaped building.Barney: It's time to talk?Ted:No.Barney: What do you think of Robin?Ted: I have to really work, so...Barney: Awesome. Say that is a tailor and you have found a nice suit. A nice suit Canada. Superb chest. You try it, but it does not suit youperfectly. So you return it. Then I try it. I'm not too keen... a suit that you have caught the eye, but at the same time, I love this costume.Ted: Buy the costume. It is important to you. Tell him how you feel.Barney: ButTed, remember your answer, because... The costume is Robin. I know! Okay?Ted: I'm with you.Barney: Now. For I have explained.Ted: What... Ted Barney greenhouse in his arms.GENERICMarshall: Come on, man,you're on it for three days without stopping. This is your birthday. Come have a beer on the roof.Ted: Impossible, the presentation is tomorrow. These hats are not alone.Marshall: That's a big restaurant for tourists.Just put wide doors and chairs strengthened. Birthday beer on the roof. Let's go!Ted: Why do you want as I go on the roof? You made me a surprise party?Marshall: What? We brought you a surprise party, lastyear.Thou shalt have no surprises on two holidays. The fact that the world has come to the first was surprising. Not? Two surprises on Christmas! It is very strong! It is very strong! Great!(Marshall goes on the roof)Super... It still will not mount.Robin: Come on. This is boring! I knew it was a bad idea.Marshall: Yes, Robin, I know. This festival is... is... a disaster.It was my idea. I take responsibility. There is one thing to do.Lily:Marshall, no.Marshall: Lily, I have to! (He stands on the edge of the roof) It's useless to procrastinate.Ted (2030): I should explain. A few years earlier...Flashback Ted, Marshall and Barney are on the roof with aninflatable pool.Barney: Forget it. It really is not class. At best, it sucks.Marshall: You know who knows how to live? These people.Ted (2030): The terrace of the building next door. A paradise waiting for us behind a pitof 2 or 3 meters. And the best...Marshall: It looks to be a... sacred... spa.Barney: Owl. How do we go? We will do what? Jump? Marshall mounted on the edge of the roof.Marshall: I can jump it.Ted: Recently, you needtwo tries to get up from the couch.You can not skip it.Marshall: Really?Ted: Really.Marshall: Look.Ted (2030): But he did not jump. An hour later... Marshall is always on the edge of the roof while Ted and Barney are inthe pool.Barney: Actually, it's not bad.Ted: Right?Ted (2030): And the following years, he continued to try. But each time, without exception... He did not jump. End flashbackMarshall: Do not worry. If I can jumptonight, it will save the evening.Lily: Honey, come down here, please.Marshall: When Evel Knievel rode his rocket star on the shore of Snake River Canyon, you think his wife said \"Honey, come down here '?Lily: For thelast time, I'm not Linda Knievel! I will never be Linda Knievel!Marshall: No need to remind me. Ted is still on the drawing of his building.Lily: Marshall, do not do that. Do not jump, please.Marshall: Sorry, but I haveto.Lily: You can not.Marshall: Why?Lily: You want a reason? You're going to have one. I am pregnant.Marshall: My God! My God, really? I saw you look fat...Lily: I was lying, b*st*rd! Go ahead, jump! I hope u gonnadie!Marshall: This is the permission I needed.Barney: Look, Robin... I must tell you something.Robin: Wait. Before that, I must tell you something.Barney: What is it?Robin: I think I love you. Ted is a goat in herkitchen. Marshall is still on the edge of the roof when the phone rings from Lily.Lily: This is Ted. Everyone! Ted, are you?Ted: She's here, Lily. She looks at me.Lily: What?Ted: The goat.Ted (2030): I have already toldyou some of the history of the goat. Fash-backTed (2030): When Aunt Lily a farmer invited to speak to his class how he brought the goat, and told the class what he would do later. How Aunt Lily, in a fit of kindness,bought a goat to commute his sentence. End flashbackBarney: It's been an incredible thing. I was talking to Robin, I would tell him my feelings, but just before, you will believe what ever she said. FlashbackRobin: Ithink I love you. End flashbackLily: You said what?Barney: In your opinion? What we can say to that? FlashbackBarney: Robin, you're great listening. You're really great, but we're friends. This is not a good idea.Robin:You must be right. Have fun.Barney: You too, sweetie. End flashbackLily: What?Barney: Once she told me that, more than feelings. I'm more in love.Lily: You were in love with her, throughout the year and when shefeels the same, you love him more.Barney: It's not great? Ted draws again and again while the goat eats a cloth.Ted: It's a wuss. Not food. (He takes the mop in the bathroom and closes the door behind him) How...?On the roof, Marshall is still trying to jump from the roof terrace managed to go next door.Marshall: It is. It... is... go! It is.Barney: Tracey, tell Lily what you just said.Tracey: What I just arrived in New York?Barney: No,how you've arrived there.Tracey: I just get off the bus from Iowa.Barney: Come off the bus from Iowa! How lucky that apprentice... dancer off the bus from Iowa... meeting... the producer of the Rockettes?Tracey: Ibelieve in a classic story of showbiz.Lily: Honey, you're there. You're really there.Barney: You can make us one of those rum and beer, that your father loves so much?Tracey: Of course!Lily: Damn.Barney: What?Lily:Everyone always says, \"Do not tell Lily. Lily can not keep a secret. \"And, usually, they are right. But this time I kept the secret. And here you come with that crap and you force me to become the Lily will spill thebeans!Barney: What song? There was a piece?Lily: There was a song. FlashbackBarney: The costume is Robin. I know! Okay?Ted: I'm with you.Barney: Now. As I explained...Ted: What... Barney takes Ted into hisarms while Robin is in her room and heard everything.Robin: sh1t. Marshall, Lily and Robin are at the bar.Lily: He said that? My God! What an incredible surprise!Robin: You know since when? Lily is 8 months.Robin:And you've said anything since? Bravo.Marshall: Bravo, Lily. I mean, what a bomb. Who saw this coming?Robin: You know since when?Marshall: 7 months and 29 days.Robin: I will do what?Lily: I know. Are you gonnado?Robin: I'll marry Barney in a large church. We'll move to New Hampshire and open cottages.Marshall: Really?Robin: No! This is Barney. I mean... This is Barney. But it's Barney. I have to say no.Lily: Boy, you'regoing to break her... The thing that this black mud pump through his veins.Robin: You're right. For the first time he likes a girl, she pushes him away? And not just any girl. It's going to destroy it.Marshall: OK, first...Second, there is a trick you can try. It's risky, but it can pay off. Lack of anything better, I'll call it... The Mosby.Robin: The Mosby?Lily: No, she can not mosbyser.Marshall: It could squarely mosbyser.Robin: What is theMosby?Marshall: Do you remember your first time with Ted? You wanted to get on the train Ted, visit his yard.Robin: I was ready to jump the turnstile.Marshall: What changed everything? Ted and Robin dance.Ted: Ithink I love you.Robin: What?Robin: The Mosby! It's great! And... excuse me.Marshall: You're really pretty, but abnormally high and you will not believe in ghosts. End flashbackBarney: So... when she said love me, shemeant... otherwise.Lily: That's it. It worked well. You are back to normal.Barney: Yes. It's true. And it's great. It's great. (Tracey returns) So Robin does not like me.Lily: No.Barney: Why?[SCENE_BREAK]At theapartment...Ted: Mr. Goat? (He tries to open the bathroom but the door is closed) M. The goat? Enough. (He manages to enter) Crazy Goat. I do not understand your fascination with this mop. It should be normal witha brain the size of a... The goat runs toward him. On the roof...Lily: Marshall, you can pick up Ted?Marshall: I was about to jump. You've not heard saying \"OK\" loop?Lily: I'm sorry. Go ahead and jump.Marshall: It'sgood. Sorry, everyone. Lily does not want me jumping. (He descends from the rim) Thank God. Marshall found Ted lying on the ground and the goat on top of him.Ted: The hospital! At the hospital...Lily: What hashappened?Ted: It happened... you left a wild animal in our apartment. I've been attacked.Lily: This is the sweetest and adorable goat in the world.Ted: \"The sweetest and adorable goat in the world\"?Ted (2030): Ilacked sleep, it was certainly not like that, but that's how I remember it. Flashback Ted struggles with the goat. End flashbackDoctor: You're the one who wanted to be a goat?Ted: It's the goat jumped on me! Can Igo?Doctor: Yes. But remember, \"Bee\" means \"bee\".Ted: Great, I'm late for my presentation. Thank you, Mr. Goat.Lily: Mr. Goat? It's a girl. Her name is Missy.Marshall: You got beat by a girl. Ted leaves the roomfollowed by Marshall and Lily.Barney: So... You're in love with me?Robin: What? Yes. Much.Barney: You can stop. Lily told me everything.Robin: Damn, Lily!Barney: I can not believe it.Robin: It's just... You mean tome, Barney. And... This kind of stuff, the emotional side. This is not your type. I thought you avoid that.Barney: Maybe I will not avoid it. I am perhaps. I have not wanted for a long time. But with you, it does not lookso...difficult. I know not. I thought... you felt the same.Robin: Maybe. I know not. I am not good to face the feelings.There is clearly something... between us. Maybe my head said, \"stifles it in the bud\" because myheart said... something else. Listen... I feel for you. Maybe even that I love you.Barney: It's going pretty fast, do not you think?Robin: What?Barney: We're good friends. Why risk everything? Friends?Robin:Friends.Barney: My God. You just do it again. You've mosbysé!Robin: But no.Barney: But if, little flirtatious.Robin: You're right. I've just mosbyser.Barney: Why are you scared to try?Robin: Because I'm afraid of how Icould love you.Barney: Bad idea.Robin: You're right. There must be a mistake.Barney: No.Robin: I love you.Barney: Friends.Robin: Friends, then.Barney: I love you.Robin: Let's get married.Barney: No, you'resmothering me.Robin: OK, forget it. They kiss.Barney: You know what? We'll see later.Robin: Yeah, let's go. They finally come out of the hospital room.Ted (2030): It was a long and crazy night, but in the morning,against all odds, I made my presentation.Ted: There he is, gentlemen. Rib Town. Is it not? Is it not?Man: Ted, listen. You are great and you did a... great job, and you'll make other restaurants very happy one day,but... we...decided to go... in another direction.Ted: What?Man 2: Treat yourself with... Rib Town!Ted: Sven... At the apartment...Marshall: I'll tell you, I will eat more chops.Barney: Yeah, right.Marshall: I will not eat..never... chops! Before Ted!Ted: It's a disaster. How I will recover?Lily: OK, I'm just asking. You really want to recover?Ted: What does that mean?Lily: Architecture is killing you and it kills us to see her kill you.You'relike the goat with the mop. You want it so much, and whenever the world try to get the resume, it hooks you. But you know what? This is only a wimp. Why do you want?Ted: Because I have to be an architect. This is...That's the plan.Lily: In the crapper, the plan. I wanted to be a famous artist.Marshall wanted to be environmental lawyer. Robin wanted to be a TV reporter.Robin: I am a TV reporter. I am on the air at 4am.Lily: Itcontinues? Bravo.Robin: What someone looks, please.Lily: Barney wanted to be a violinist. Need not tell me. You can not draw your life as a building. It does not work like that. You must live it and draw it to itself.Ted:So what, I should do anything?Lily: Look what the world tells you to do and took the leap.Marshall: You're right. You're completely right. I love you, Lily.Lily: A metaphorical leap. A metaphorical leap!All: Do not do that.Not cool. Marshall arrives and jump off the roof on the terrace opposite.Marshall: I did it!Lily: Honey, you did it!Marshall: I can do anything!Lily: It's true!Marshall: I bought a motorcycle!Lily: No, not at all!Marshall: OK,sorry. Come on, guys. Robin jumps in turn, then Barney, followed by Lily and Ted.Ted (2030): This is the year that I was left at the altar. The year I was a bartender tared Knocked The year I got fired. The year I gotbeat by a goat. A girl goat, and more. Yet it was the best year of my life. Because if this had not happened, I never had the best job of my life. But most importantly, I would not have met your mother, because as youknow... It was in this class.Of course, this story is just beginning."}
+{"doc_id":"doc_97","qid":"","text":"3.09 - A Deep-Fried Korean ThanksgivingOPEN AT LORELAI'S HOUSE[Lorelai and Rory are on the couch watching television]RORY: I like these women.LORELAI: I love these women.RORY: Poor Edie.LORELAI: WhichEdie?RORY: Little Edie. She's just trying to sing and her mom won't stop talking.LORELAI: Big Edie was so beautiful in her day.RORY: They were both pretty.LORELAI: I can't believe they were related to Jackie.RORY:Well, the Kennedy's kind of hid them in the background for many years.LORELAI: Well, when you're a Kennedy, how do you even choose who in the family to hide?RORY: It's a tough choice.LORELAI: Somethingbeautiful about them though. They're cool, they're free.RORY: Yeah, and they're memorable. Most people are very forgettable. And they're happy.LORELAI: They had their cats.RORY: And their raccoons.LORELAI: Andtheir pretty house.RORY: And each other.LORELAI: Add a few years and they're us.RORY: Yeah. . .yeah.LORELAI: Yeah.[opening credits]CUT TO THE INDEPENDENCE INN KITCHEN[Sookie rushes around givinginstructions]SOOKIE: Rhiana, run it through the sieve again, I want it smooth as glass. Don't cut corners, people!LORELAI: Is she melting down?MICHEL: Like butter on a skillet.LORELAI: Sookie. . .SOOKIE: Just a sec,hon. How's your love life, Pete? A little frustrated, I bet. Wondering how I know that? \u0000Cause you're taking it out on my egg whites. Gently, fold them gently. Cheryl \u0000 you're slicing not dicing, I can hear it in the chop.Adjust, my friend.LORELAI: Sookie, whoa, whoa, whoa, whoa. Hey, let's talk.SOOKIE: I'm extremely lacking in time here.LORELAI: What's going on?SOOKIE: Uh, chaos? Uh, a travesty of cooking? It's a salmonellalaboratory in here!LORELAI: Sookie, the kitchen will be in good hands.SOOKIE: But not in my hands.LORELAI: It'll be in Bob hands. Bob has great hands.SOOKIE: No, you know what Bob has? Bob has two seconds toget the hollandaise off the flame before I break his neck!LORELAI: Sookie, listen, you hired Bob. You trained him in your image. He's great, and he's subbed for you before.SOOKIE: But this is Thanksgiving, he hasnever done Thanksgiving.LORELAI: He's ready, he'll sub for you seamlessly. Even Big Joe Newsanchor's have substitutes.SOOKIE: And that's the thing. They still say, \u0000And now the CBS Evening News with Dan Rather.'You see? Dan is still associated with it even though he's off snorkeling or something, just like I'm gonna be associated with the dinner because Bob is substituting for Sookie. Excuse me one minute.[Sookie startsrummaging through the trash can]MICHEL: Oh, this can only be good.LORELAI: Sookie, that's the garbage. Stop rooting through the garbage.SOOKIE: I will when people stop throwing away useful stuff!LORELAI: Drop,drop the, drop the tops, drop them, drop them. Come here, come here, come here. Now, Sookie, listen to me because you're torturing yourself here.[Emily walks in and stands behind Lorelai]SOOKIE: Emily,hi.LORELAI: Oh, that's nice. That's very high school. Stick with me here.SOOKIE: Good to see you.LORELAI: Yeah, ah, that's funny. You know who's behind you? It's Joseph Stalin, my good friend. What are you doingback from the dead, Joe?EMILY: Lorelai.LORELAI: Oh, Mom! Ah, geez, you scared me.EMILY: You heard Sookie greet me.LORELAI: Oh, I thought it was a joke.EMILY: Like comparing me to Joseph Stalin?LORELAI: Iwasn't comparing you to Joseph Stalin.EMILY: I'm in a hurry. Can we speak for a minute?LORELAI: Yeah, I guess, for a minute. So, were you in the area or something?EMILY: Not really.LORELAI: Then what are youdoing here?EMILY: I wanted to talk to you.LORELAI: Phone's out of order?EMILY: Let's not play games here.LORELAI: Games?EMILY: I've called several times the past few weeks and you've skillfully avoided everycall.LORELAI: No, that's not true. I've left messages on your machine.EMILY: Yes, messages. And then if I happened to pick up, you'd hang up. Or if the maid picked up, you'd ask for me, then claim you were drivingthrough a tunnel so you might get cut off, and then you'd make garbling noises and hang up.LORELAI: Fine, Mom, we're talking now. What's up?EMILY: Are you feeling well?LORELAI: You came all the way out here toask me that?EMILY: Well, you've been sick these past few Friday's for dinner, so I was concerned. That's why you didn't come, right, because you were sick? So are you better? You look fine.LORELAI: Oh, it's themakeup. I'm still. . .uh, these allergies really just hit me like a ton of bricks.EMILY: I've never heard you mention allergies before.LORELAI: I'm a silent sufferer.EMILY: Well, I certainly hope you're feeling better nowbecause I want you to come to dinner tomorrow night.LORELAI: Tomorrow? Tomorrow's Thanksgiving.EMILY: Yes, it is Thanksgiving. And before you sift through the dozen or so excuses you always have on hand, letme have my say. You've missed two dinners and avoided my calls because you're mad at us about what happened at Yale. But I want you and Rory at Thanksgiving this year.LORELAI: Mom \u0000EMILY: If you have plans\u0000LORELAI: We do have plans.EMILY: Alter them. Now, there'll be other people there, so the focus won't be on you, and you may even be able to get by without saying more than \u0000hello', \u0000goodbye', and \u0000pass thegravy'.LORELAI: We already have plans.EMILY: Your father and I are going out of town the next day and we'll be gone all of December, including Christmas, so it's the last chance for the family to be together for therest of the year.LORELAI: Look \u0000EMILY: And I want you to remember that I am not the one who set the meeting for Rory behind your back. I want you there, Lorelai. And if you're still sick, I don't want a doctor's note.I want your doctor himself to come to my house and convince me that it's true, got it?LORELAI: Got it.EMILY: See you tomorrow.CUT TO CHILTONTEACHER: The multi-layered membrane systems of the cytoplasm arethe smooth endoplasmic reticulum, the rough endoplasmic reticulum, and the golgi body. Now, the smooth endoplasmic reticulum is concerned with the manufacture of lipid molecules. [bell rings] We'll continue on thisnext week. Keep up on your reading please.MADELINE: That was really distracting.PARIS: Oh. Well, by all means, Madeline, you should point out to the faculty that their annoying custom of teaching is distracting youfrom more important things like nail filing and daydreaming about marrying Ryan Phillippe.LOUISE: Uh, he's already married.PARIS: Then whatever strawhead actor isn't.MADELINE: This was bad. For the last fiveminutes, every single thing she said sounded dirty.LOUISE: Yeah, same here.PARIS: Good God.MADELINE: I mean, reticulum? Come on.LOUISE: Plus, the golgi body. I mean, is it me or is that majorlypornographic?PARIS: My life with the Banger sisters.RORY: So, changing the subject. . .PARIS: Hallelujah.RORY: What's everybody doing for Thanksgiving?PARIS: I can't even talk about Thanksgiving.RORY:Louise?LOUISE: I\u0000m having dinner with my dad.MADELINE: Isn't he still in jail?LOUISE: Yes, but his company donated some treadmills for the inmates so he swung a special trailer for dinner that they're gonna set upfor us in the parking lot. We have it for about two hours and then one of the Manson girls gets us.MADELINE: You're lucky it's in that order.PARIS: My Thanksgiving is turning into a Wes Craven movie.RORY: Howso?PARIS: I called shelters to volunteer to serve food. It's Thanksgiving \u0000 you'd think they have needs. Nope. Every stupid soup kitchen in town turned me down because they have enough volunteers.MADELINE:Bummer.PARIS: I'm on a couple waiting lists, but it doesn't look good.RORY: I've never heard of too many volunteers.PARIS: Who are all these jackasses who volunteered anyway? They can't all be students like me.They're not all putting it on a college application. I get something out of it and these other people don't get a thing. Talk about selfish.LOUISE: Sore subject.RORY: What are you up to, Madeline?MADELINE: I've gotmore college applications to fill out. Backups, safety schools.LOUISE: I've got some of that, too. I'm so behind.PARIS: I told you guys to have those things done by now.LOUISE: Sorry, Mom.PARIS: It's not about beingsorry. It's about being prepared. I got Harvard and my backups in weeks ago.MADELINE: Okay, all you're doing is making me more nervous. I'll see you guys Monday.LOUISE: Same here.RORY: Yup, see you guysMonday.PARIS: Harvard is going to be expecting Thanksgiving shelter work. They'll know I called too late and it will totally impugn my organizational skills. By the way, you know I ultimately do all these things for thegood of mankind, right?RORY: Oh yeah.PARIS: Sometimes I don't think I come off that way.RORY: No.[Paris' cell phone rings]PARIS: [answers phone] Hello? . . . Yes, thanks for returning my call. . . nothing? But wait,wait, wait \u0000 just stick me at any old pot. I'm small, you won't even know I'm there, I'll even bring my own ladle. . . .Oh, now, come on, work with me here. I've got a slotted spoon. . . Well, what about coffee orcondiments? You got condiments covered? . . . I'm sorry, can I speak to your supervisor? . . . My attitude? What about your attitude? I'm trying to help people. It's Thanksgiving. . .CUT TO STARS HOLLOW[Lorelai andRory are walking down the sidewalk]RORY: So she coldcocked you, huh?LORELAI: She bit me, incapacitated me with her poison, and devoured me whole.RORY: But how are we going to go to four Thanksgivingdinners?LORELAI: It's not four, is it?RORY: Lane's house, Sookie's, and we always stop by Luke's. . .that's three, and Grandma and Grandpa is four.LORELAI: Ah, we're mad, Edie.RORY: We're us, Edie.LORELAI: Well,we've gotta go to my parents' or we'll be brought up on war crimes. Lane's is always super early, so that's easy to catch. Sookie's is mid afternoon.RORY: Luke's the toughie.LORELAI: Guess that's the one we'll have toskip.RORY: Bummer.LORELAI: I know, but he won't care. Holidays are nothing to him anyway.[Kirk walks out of The Chat Club with several bags]LORELAI: Hey Kirk. Discover a new freaky fetish?KIRK: What?LORELAI:Nothing. You buy a cat?KIRK: Yup. I'm very excited.LORELAI: You seem it. So what's all this?RORY: I'm assuming there's nothing left in the store.KIRK: Actually, there are a number of things left.RORY: No, I meant youseem to be buying a lot of stuff.KIRK: Oh, sorry. My excitement must be clouding my ability to judge comedic hyperbole.LORELAI: So where'd you get the cat?KIRK: A lady had a bunch of them at the grocery store andKirk seemed to take an instant liking to me.LORELAI: Kirk?KIRK: Yes?LORELAI: No, I mean, the cat's name is Kirk?KIRK: Yup.LORELAI: Weird coincidence or. . .KIRK: I named him Kirk.LORELAI: Isn't thatconfusing?KIRK: Not when you think about it.[Lorelai thinks about it]LORELAI: No, it's still confusing.KIRK: I like the name, and whenever I call Kirk's name, I obviously won't be calling myself.LORELAI: True.KIRK:Although when my mom calls for Kirk, that may be confusing. Maybe I can get her to say CatKirk when she's calling Kirk, and HumanKirk when she's calling me.RORY: That would keep it straight.KIRK: I'm glad I raninto you. See ya.LORELAI: See ya, HumanKirk.RORY: Bye HumanKirk.[Kirk walks away]RORY: He's always been a cat person, he's just never had a cat.LORELAI: Hm.CUT TO LUKE'S DINER[Lorelai and Rory walkin]LORELAI: Hey. Anywhere?LUKE: Anywhere.LORELAI: [to customer at table] Hm, would you mind moving?LUKE: I hate when you do that.LORELAI: It's my showstopper.LUKE: An empty table.LORELAI: Ah. You readyto order?RORY: I'm ready.LUKE: Don't bother, saw you coming, already ordered your Wednesday usual \u0000 the French dip, extra fries, the every-Wednesday cherry pie.RORY: Such service.LORELAI: Oh, and such a foodrut we're in.RORY: Thank you, Luke.LUKE: I gotta get back to stuffing my turkey.LORELAI: Oh, honey, do you have time to do that and prep your Thanksgiving food?LUKE: Stop it.RORY: Here, here.LUKE: It's a tediousjob.LORELAI: Well, what if we told you you could stuff one less?LUKE: What do you mean?LORELAI: We got jammed. Shanghaied by my mother and what with the other things we have going. . .well, too manycommitments, not enough us.LUKE: So?RORY: We can't make it tomorrow.LUKE: Oh, okay, fine.LORELAI: It was beyond our control.LUKE: That's fine, whatever. I'll be right back. [walks away]LORELAI: Um, okay, Imay be crazy, but he almost looked. . . .RORY: Disappointed.LORELAI: Yes, disappointed. We disappointed Luke.RORY: I didn't think it was possible.LORELAI: Our powers are greater than we know.RORY: He actuallylikes it when we come for Thanksgiving. All these years and we never knew.LORELAI: Hm, he's the Grinch and we're Cindy Lou Who.RORY: So Cindy Lou, what do we do?LORELAI: I got it.[Lorelai picks up her cell phoneas Luke walks over]LORELAI: [on phone] Oh, uh, perfect. That works great. Okay, bye now. [hangs up] Sorry, I'm just clarifying the schedule for tomorrow. As luck has it, we can make it. We'll definitely be here.LUKE:It's okay.LORELAI: No, it's all cleared. That was my mom, and, uh, the time's just gonna work out just fine.LUKE: Really, you don't have to. I already stopped prepping the last turkey.LORELAI: Well, start prepping itagain \u0000cause we are coming.LUKE: I don't want you to feel like you have to come.LORELAI: This is tiring.RORY: I can kneel behind him and you can push him over.LORELAI: It may come to that.LUKE: It won't be ahassle?LORELAI: It won't be a hassle.LUKE: You sure?LORELAI: We're coming, now go away and let us eat. Shoo, shoo.[Luke walks away]RORY: That was very nice.LORELAI: Well, I hate disappointing people.RORY:Okay, now, practical question. . . how are we going to eat four Thanksgiving dinners?LORELAI: How? Rory, what are we if not world champion eaters?RORY: It's too much food.LORELAI: It's not too much food. This iswhat we've been training for our whole lives. This is our destiny. This is our finest hour.RORY: Or final hour.LORELAI: No, no. Get inspired and tomorrow I guarantee you, we will be standing on the Olympic platformreceiving our gold medals for eating. We are not Michelle Kwan-ing this.RORY: Okay, okay, four dinners.LORELAI: Yeah, we'll skip the rolls.RORY: That'll help. You know, we might wanna consider not eating much nowin preparation for our finest hour. A little fasting so that we can enjoy more tomorrow, hm?LORELAI: Unnecessary.RORY: Yeah.CUT TO OUTSIDE[On Thanksgiving morning, Lorelai and Rory are walking toward themarket]RORY: What's on the list?LORELAI: Flowers for everyone we're visiting and cranberry sauce for the Kims.RORY: Tums.LORELAI: You mean amateur pills?RORY: Just in case.LORELAI: Okay, Tums.RORY: I'll dothe flowers.LORELAI: I'll do Doose's.RORY: Thank you.[Lorelai goes into the market. Jess walks up behind Rory]JESS: Hey there.RORY: Hey. [he kisses her, but Rory pulls away] Wait, stop.JESS: What?RORY:Stop.JESS: What are you doing?RORY: Come on. [Rory pulls him down the sidewalk a little, then kisses him]JESS: What was that?RORY: That was a kiss.JESS: What's with the relocation before the kiss?RORY: It's tooearly.JESS: Too early? Too early for what?RORY: For kissing like that.JESS: What's the rule, no kissing before noon?RORY: No, it's too early to do this here.JESS: Where, in the street?RORY: In the street, with peoplewatching...JESS: What people?RORY: In front of Doose's.JESS: Ah, Doose's.RORY: We shouldn't flaunt it.JESS: But I want to flaunt it.RORY: It doesn't feel right.JESS: He's a big boy Rory.RORY: I know.JESS: It's notthe first time a couple's broken up.RORY: It is for us.JESS: This is insane.RORY: Please, let's not flaunt it, please?JESS: For how long?RORY: Until it's comfortable.JESS: Before we're on Social Security?RORY: I promise,we can kiss secretly.JESS: Yeah, or we can wear Three Stooges masks all the time, that way no one will know who we are.RORY: I can be Curly.JESS: I'll be Moe.RORY: Probably too silly.JESS: Yeah, probably.RORY:This will get better over time, I promise. But until then, let's just play it cool.JESS: Hey, I'm Frank at the Sands.RORY: That's cool.CUT TO INSIDE DOOSE'S MARKET[Lorelai is shopping]LORELAI: Oh, hey, Kirk. Doingyour holiday shopping?KIRK: Well, shopping, yes, and it is a holiday, but my shopping isn't holiday related, so technically no.LORELAI: Oh, what happened there?KIRK: Oh, nothing, just a little scratch.LORELAI: Lookslike a big scratch. Wow, Bactine, Neosporin, Mercurochrome \u0000 what's with all the pharmacologicals?KIRK: Oh, well, Kirk and I are going through a little adjustment period, that's all.LORELAI: CatKirk?KIRK: It's nobiggie, and this looks a lot worse than it is.LORELAI: Yeah, I can see that. So how'd it happen? Were you playing or something?KIRK: We haven't actually played yet. This happened when I accidentally walked into theroom without announcing myself.LORELAI: Excuse me?KIRK: I've discovered Kirk likes my presence announced before I enter any room that he's in.LORELAI: You have to announce yourself?KIRK: Yeah, just a quick,\u0000Is it okay if I come in?' from the adjacent room. Otherwise, he gets a little testy.LORELAI: Hence the scratch.KIRK: It's just a small laceration. Again, no biggie.LORELAI: Kirk, he got your neck!KIRK: That was anothermistake of mine. I put his food bowl down in front of him. He doesn't like that. Or she doesn't.LORELAI: She? I thought Kirk was a boy.KIRK: That was just a guess. He actually hasn't exposed his underside to me yet.Or hers.LORELAI: Well, here's hoping your cat exposes itself to you soon.KIRK: From your mouth to God's ears. See ya.LORELAI: See ya.[Lorelai walks over to Dean]LORELAI: Hi there.DEAN: Hi.LORELAI: So you pulledthe Thanksgiving shift, huh?DEAN: Yeah, I get time and a half.LORELAI: Well, good, good. It's good to see you.DEAN: Same here. Um, so, I gotta work.LORELAI: Right, right. That Taylor's a dictator.DEAN:Yeah.LORELAI: Dean, wait. Um, look, we live in a teeny tiny little hamlet here. I mean, stick it in an envelope and we could mail the whole town for a buck-forty. It makes avoiding people tough anduncomfortable.DEAN: I know.LORELAI: I hate hiding from people, especially when I don't wanna hide from them. You were a pal. You were so good to Rory. You were the best first boyfriend a mother could've hopedfor.DEAN: Thanks.LORELAI: It's okay to keep avoiding me if you want. I just wanted you to know that you don't need to, okay? Just because you and Rory broke up doesn't mean we did.DEAN: Good. That's good tohear.LORELAI: Well, Happy Thanksgiving.DEAN: Yeah, Happy Thanksgiving.CUT TO OUTSIDE[Lorelai walks out of the diner with a bag. Rory is waiting with several bouquets of flowers]LORELAI: Aw, pretty!RORY: Yeah,good selection today. You get everything?LORELAI: And then some. Look.RORY: Chocolate turkeys, nice!LORELAI: I think they'll add a festive air.RORY: Definitely. So, was he in there?LORELAI: Yeah, he was.RORY:Good, good. I hope he's good. Did he seem good?LORELAI: He seemed good. He's getting time and a half.RORY: Good, good.LORELAI: So, let's go eat.RORY: And eat and eat.LORELAI: And eat and eat and eat.RORY:And eat and eat and eat and eat. . .LORELAI: And eat and eat and eat and eat. . .RORY: And eat some more.LORELAI: And eat and eat.CUT TO KIM'S ANTIQUES[Mrs. Kim opens the door; Lorelai and Rory are on theporch]MRS. KIM: Ah, the Gilmores. Happy Thanksgiving.LORELAI: Happy Thanksgiving.RORY: Happy Thanksgiving.MRS. KIM: Come in.LORELAI: She's in a good mood this year.RORY: Downright chipper.LORELAI: So,um, Mrs. Kim, we, uh, we brought gifts.RORY: Flowers.LORELAI: And cranberry sauce, our little Thanksgiving tradition.MRS. KIM: Thank you, can never have too much.RORY: That's what we say.LORELAI: Plus, achocolate turkey.MRS. KIM: What should I do with this?LORELAI: Oh, I don't know, let the kids share it.MRS. KIM: And then send a blank check to their dentist?LORELAI: They don't have to eat it, they can play withit.MRS. KIM: Play with chocolate? It's missing its head.LORELAI: Ooh, that one's ours. Here, this one has a head. There ya go.MRS. KIM: Okay. [walks away]LORELAI: My arms are too short to box with Mrs. Kim.RORY:The singing's already begun.LORELAI: Mm. Who's that playing guitar? He looks familiar.RORY: Oh my God, that's Lane's Dave.LORELAI: Oh, yeah, it is. He's all neat and tidy.RORY: He's gone corporate.LORELAI: He'sgone Korean.[Lane walks by and sees them]LANE: Oh, hey, hi.RORY: Hey yourself. Hey, how'd you get your mom to let you \u0000LANE: Come on, girls, let's get you some punch. [leads them to the other room]RORY:What's going on?LANE: That is not Dave Rygalski.LORELAI: Oh, intrigue.RORY: Who is it?LANE: I mean, not the one that I'm in a band with. That is Dave Rygalski, local Christian guitar player that my mom and I met"}
+{"doc_id":"doc_98","qid":"","text":"TREE HILL HIGH SCHOOLBrooke, Lucas, Peyton, Skills, Mouth are following Nathan and Haley, who is in labor, to the ambulance. Lucas receives a text message and leaves.TREE HILL POLICE STATIONDan walks inDAN :My name is Dan Scott. I killed my brother.TREE HILL HOSPITALKaren is in the operating room, unconsciousDOCTOR : Her heart rate's dropping.OB : Come on, Karen. Just breathe. Haley is in the labor room, withNathanOB : Come on, Haley, just breathe.NATHAN : You're doing good, baby. You're doing so good. I'm right here. Karen's operating room, Lucas is behind the window, watching.LUCAS : Come on, mom. I'm righthere.(we hear the monitor, her heart stops)DOCTOR : She's coded.LUCAS : Mom!KAREN'S DREAMShe is alone in a beautiful park when Keith arrivesKEITH : Karen?(She jumps in his arms and they kiss, then a little girlarrives)LITTLE GIRL : Yuck!KAREN : Who's that?KEITH : Don't you know?KAREN : She's our daughter.LITTLE GIRL : Mommy! Daddy! Come play with me!(Both join the girl)LITTLE GIRL : What flower is this,mommy?KAREN : This is a lily.(the girl goes play in the park)KAREN : Oh, she's beautiful.KEITH : Just like her mother.LITTLE GIRL : Mommy, come with me.KEITH : You should go watch over her. I'll wait for you. It'sokay. I'll be right here.(They kiss and Karen goes to see her daughter)LITTLE GIRL : Come with me, mommy!KEITH : Look for me in the lilies.KAREN : There's my girl. These are for you. It's a beautiful lily.TREE HILLHOSPITALBack in Karen's operating room, they shock her and we hear her heart beating againDOCTOR : Stats and vitals rising. We got her back.TREE HILL HIGH SCHOOLBrooke is still where the ambulance was, shefinds Haley's valedictorian speech and reads itBROOKE (voiceover) : Now is the time for us to shine, the time when our dreams are within reach and possibilities vast. Now is the time for all of us... to become the peoplewe've always dreamed of being. This is your world. You're here.\"TREE HILL HOSPITALHaley is giving birth to their childOB : It's a boy.BROOKE (voiceover) : You matter.NATHAN : Just relax.HALEY : You're adad!NATHAN : You did so good. You did so good. We have a son. We have a son.HALEY : I want to see him. (Haley takes the baby in her armsHALEY : Hi. Hi, baby.BROOKE (voiceover) : The world is waiting.HALEY :Welcome to the world, James Lucas Scott. Look, that's your daddy.NATHAN : He's so beautiful.HALEY : That's your daddy.SCOTT'S HOUSE, 2 WEEKS LATERNathan is holding his son, watching basketball and listeningrap music. Haley walks inHALEY : Unbelievable. He's only mellow when we play rap music? What happened to the classical music I played for nine months?NATHAN : I got a confession to make. Every time you fellasleep, I went to old-school hip-hop. That's my boy, isn't it? That's my boy. You like some old-school hip-hop, huh? Yeah.GRAVEYARDKaren is sitting in front of Keith's grave, holding their daughter.KAREN : Hi, Keith.It's us. Her name is Lily. Lily Roe Scott. Hi. I'm gonna be seeing you in her every day.SIDE OF A ROADPeyton is outside her car with the hood opened, Lucas arrives in his carLUCAS : You've got to be kidding me.Again?PEYTON : I guess.LUCAS : Doesn't look like anything's wrong. You sure it won't start? Peyton?(Lucas closes the hood, Peyton is sitting inside the car)PEYTON : Oh, the car's fine. I was just feeling sentimentalabout the first time we spoke.LUCAS : Feeling sentimental, or avoiding packing for your trip to Los Angeles with Brooke tomorrow?PEYTON : I don't want to go. I mean, I do want to go. I'm just... I'm gonna missyou.LUCAS : Come on, look. At least you know what you're gonna do.PEYTON : You still haven't decided yet?LUCAS : I just didn't see this other thing coming, you know?PEYTON : Can I help you?LUCAS : I don't thinkso. I just keep telling myself that... there will be some significant moment when I will know what to do. How about you? Can I help you?PEYTON : Yeah. Remember when your mom was in the hospital, and you askedme just to lie with you and heal you?LUCAS : Yeah.PEYTON : I think I could use some of that healing before tomorrow.LUCAS : I can do that.SCOTT'S HOUSENATHAN : So, you know, there's a big party tonight, kind ofa last hurrah for all the seniors.HALEY : I know, but what are we gonna do with the baby?(Deb walks in)DEB : Cue the crazy grandmother. And F.Y.I., if either of you ever calls me \"grandmother\" in public, I'll use mygun. Which is at the range, safe from the most beautiful baby boy in the world. Next to you, Nathan, of course. Oh, who am I kidding? You are the cutest. You, you, you. Go. I'll watch him.HALEY : Oh, I don'tknow.NATHAN : We're underage, mom, and there's gonna be drinking, alcohol, probably some drugs.DEB : You're going to the party, and you're going to have fun. We insist. Now go. Bring me home some drugs. Isn'tgrandma funny? Isn't she?PARTY HOUSE IN THE WOODLots of people are arriving at the partyBROOKE : Wow. So, what's the deal with this party, anyway?MOUTH : At midnight, the Tree Hill high computers changeover, and the juniors become seniors.BROOKE : So, what happens to us?CHASE : We're gone.BROOKE : I don't want to be gone.CHASE : Well, you got until midnight.MOUTH : Hey, let me ask you guys something. Doesit look like I'm wearing a blouse?BROOKE : I like it.CHASE : Uh, it's a little...MOUTH : Great. I'm the blouse man. It looks like I'm competing in men's ice dancing, doesn't it?CHASE : No, it looks like you're winningmen's ice dancing.BROOKE : Stop it. It's fine.CHASE : I'm just playing. As long as you don't have wine coolers in that bag, you're good.MOUTH : You know what? You guys go ahead. I'm gonna, uh, grab myjacket.(Mouth leaves)CHASE : Hey, listen. I'm gonna stay out of your way tonight 'cause you got a lot of people to say goodbye to before you leave tomorrow.BROOKE : Thanks.Lucas and Peyton arrive at thepartyPEYTON : Maybe I don't even have to go. I mean, what do interns do anyway? They, like, answer phones. I already know how to answer phones. Look... Hello?LUCAS : You're going, and you're gonna have fun.Haley and Nathan arrive at the partyHALEY : Okay, we'll have fun. I just saying, maybe I should give Deb one quick call just to check in.NATHAN : Hales, come on, I miss the boy, too, but we're not gonna be thosecrazy, obsessive parents. You need to enjoy one last night with all your friends.HALEY : Okay, I won't call.NATHAN : All right. Tonight's gonna rock. Brooke and Chase are walking all the way to the entranceBROOKE :Tonight's gonna suck. I can't believe they're gonna erase us.CHASE : No, I see possibilities in a night like this. It's your last chance to tell someone you love them, maybe apologize to an old friend, try something new.Tonight has greatness written all over it. I can feel it.BROOKE : Okay.GUY : Name.BROOKE : Brooke Davis.GUY : I'm sorry. I've got strict orders not to admit Brooke Davis.BROOKE : Excuse me? Whose stupid party isthis, anyway?RACHEL : Mine, bitch. And your fat ass isn't invited.BROOKE : Oh, my god. Rachel finds MouthRACHEL : Well, if it isn't the only guy to ever leave me in a hotel room before the s*x.MOUTH : Well, well.Come here. Where you been? What are you doing here?RACHEL : Well, where I've been's a long story. What I'm doing here's pretty easy. I missed you.MOUTH : I missed you, too.(Brooke arrives)BROOKE : Hang outwith her too long, you're gonna end up in Honey Grove. I need to borrow you. Come with me, boy and friend.MOUTH : Where to?BROOKE : Someone's playing spin the bottle.MOUTH : Spin the bottle? What are we...13?BROOKE : Shut up. God. Look, if you ask me, it's really stupid that we all ever stopped playing spin the bottle, so quit being so grumpy.MOUTH : Hey, you'd be grumpy, too, if a girl you had history with just showedup out of the blue.(They both walk inside the house and find Shelly, already playing spin the bottle)SHELLY (surprised) : Mouth.BROOKE (to Mouth) : You were saying?(Mouth leaves)BROOKE : Hi.Haley is alone, on thephoneHALEY : Hey, Deb, hi. It's... It's me. I... I'm sorry to bother you. I just wanted to... check in, yeah. Everything's great? Great. Okay, good, good. All right. Thanks. Oh, also, can you just not tell Nathan that Icalled this time... or last time? Thanks. Also, uh, before you go, he really likes his little... giraffe.(Rachel arrives behind her and flicks her in the back of her head)HALEY : Ow!RACHEL : That's for soaking me at the lastparty. The bitch slap, I deserved.(Rachel starts leaving, Haley throws her glass at her back)HALEY : That's for flicking me in the back of the head.(Haley leaves)RACHEL : I'm gonna miss this.Nathan is on the roof, Lucasjoins himLUCAS : Is that Nathan Scott, big-time college basketball player?NATHAN : Small-time college basketball player.LUCAS : Well, whatever, but... congratulations, man... on everything. How'sfatherhood?NATHAN : It's awesome. How's brotherhood?LUCAS : Awesome.(they exchange pictures)NATHAN : She's beautiful, Luke.LUCAS : Handsome kid. Looks like his uncle.(They stay in silence for a while)NATHAN: We got to go see him.LUCAS : Yeah, I know. But what do you say to your father the murderer?NATHAN : Whatever we say, we just get it over with. I'm tired of carrying it around and avoiding him.LUCAS : Let's do ittonight. Let's stop running from him.NATHAN : Okay. Okay, we'll go later tonight, then. May need a few drinks first.(Nathan starts leaving)NATHAN : Lucas... I'm sorry I didn't believe you.LUCAS : I'm sorry I wasright.Brooke is looking at her cell phone, Chase sent her a videoCHASE (message) : Brooke Davis, look to your right, and you'll see the hottest guy at the party.(Brooke looks at Chase, but Haley arrives)HALEY :Hey.BROOKE : Hi, tutor mom. How you feeling... you having fun or you worried about the kid?HALEY : Um, I am... worried... about you, too. I'm gonna miss you this summer.BROOKE : Okay, don't. Don't do that. Don'tmake me cry 'cause I'm barely holding it together as it is.HALEY : Nathan and I want you to be James' godmother.BROOKE : Okay, that's gonna do it. Haley. I would be honored to be his godmother, and I promise youthat, unlike my ungodly mother, I will so kick ass at this.HALEY : I know you will... as long as you don't say \"kick ass\" around him too much.BROOKE : Right, sorry.Shelly is alone, Peyton comes see herPEYTON : Likeyour leather. You're Shelly, right?SHELLY : Yeah. Uh, we had current events together, right?PEYTON : Yeah. Hey, I just want to tell you, I think Clean Teens is really cool.SHELLY : Thanks. I... kind of ended it.PEYTON :Well, it's still really brave of you. I totally would have joined if I didn't love s*x so much. That's a joke.SHELLY : Yeah.(Rachel joins them)RACHEL : Man, Clean Teen wardrobe sure has changed. I want back in.(Brookeand Haley arrive too)BROOKE : Look at this. It's like a Clean Teen reunion. All we need now is Chase, but... honestly, he's not that clean. He appreciates the art of a dirty text message.(Bevin arrives and grabs the girlsto dance)RACHEL : I don't suppose the Clean Teen dances much.SHELLY : Oh, please. I was doing the whole slut thing long before you, bitch.Skills is inside the houseSKILLS (singing) : \"If you wanna be my lover Yougot to get with my friends\"(Lucas arrives)SKILLS : What? It's catchy.LUCAS : You believe in miracles, Skills? 'Cause there's no way in hell a couple of vagabonds like us walked off the River Court and won the StateChampionship.SKILLS : Yeah. Hey, you know my joint ain't too far from U.N.C. this year, right? We gonna be boys for life.LUCAS : Hey, you guys play Nathan and Whitey next season?SKILLS : December 9th, 3:00, andI plan to score at 3:01, 3:02, and 3:03. You gonna be there, right?LUCAS : We'll see.SKILLS : \"We'll see\"? Kill all that \"boys for life\" talk, dog. Matter of fact, we ain't even friends right now.LUCAS : Right.SKILLS : Beright back.(Skills leaves when Nathan arrives)NATHAN : Hey, Skills. All right. Let's go see Dan.LUCAS : You sure?NATHAN : Yeah, I'm sure. Why? Aren't you?LUCAS : I don't know.[SCENE_BREAK]INSIDE PRISONDan isin his cellPOLICE OFFICER : Scott. Visitation.(Karen arrives in front of his cell)KAREN : I have a daughter. Her name is Lily. And someday, when she's old enough, she's gonna ask me where her daddy is... Who hewas... and how he died. And on that day, I'm gonna look into her beautiful eyes... eyes that don't know of malice... and jealousy... and evil... and I'm gonna say... \"Your father loved his younger brother very much, andthat brother took him from you for your entire life. He made sure you would never know your father.\"DAN (crying) : Karen.(Karen spits on the window and leaves)PARTY HOUSE IN THE WOODBrooke is watchingeverybody from a far, aloneSKILLS : You must be drinking, baby.BEVIN : No, I don't wanna drink. I just wanna be upside down. This isn't funny.(Lucas arrives)LUCAS : So, you ready to leave tomorrow?(He sees hercrying)LUCAS : Hey, what's wrong?BROOKE : I don't know. I just, um... I know moving on is a good thing. I guess I'm just scared. You know? High school's safe, and I'm not sure I'm ready for the real world.LUCAS :For the past few months, I've been writing this... I guess in part so I could remember it all. But, um... here.(Lucas opens his book and gives it to her)BROOKE (reading) : \"She was fiercely independent. Brooke Davis...Brilliant and beautiful and brave. In two years, she'd grown more than anyone I had ever known. Brooke Davis is gonna change the world someday, and I'm not sure she even knows it.\"LUCAS : You're gonna do great,Brooke. The world doesn't stand a chance.BROOKE : Thank you.Shelly is in the middle of the crowdGIRL : Hey, Shelly. Nice moves.SHELLY : Thanks.GUY : Hey, Shelly... nice skirt. So, you gonna let me slide you out ofthat at church camp again or what? Come on... slut.(Mouth arrives)MOUTH : What did you say?SHELLY : Mouth, it's okay.MOUTH : No, it's not okay.GUY : Oh, no? Whatever, geek.(The guy pushes Mouth)SHELLY :What are you doing?GUY : Do you believe this?(Mouth gets off the ground)GUY : You know, I was gonna take it easy on...(Mouth punches the guy in the face)MOUTH : Yeah, me, too.MOUTH (to Shelly) : He's sorry. Youlook great.Nathan is showing some pictures of his sonREESE : Oh, my gosh. Nathan, your baby is so beautiful.NATHAN : He is, isn't he?(Haley arrives)HALEY : Hi. Sorry. Can we just have a second?REESE :Congratulations, Haley.HALEY : Thank you, Reese.(The girls leave)HALEY : Um, we need to go home.NATHAN : Why? What is it?HALEY : I know we promised we wouldn't do this, but I called just to check in on thebaby, and Deb's not answering the phone, there's no busy signal, no answering machine, and she's not answering her cellphone.NATHAN : Okay, let's not freak out, okay? It doesn't mean my mom's not on top ofit.HALEY : Your mom the former drug addict, attempted murderer, who dropped a loaded gun in the café?NATHAN : It wouldn't hurt to check.HALEY : Right.Mouth and Shelly are sitting on a couchSHELLY : I thoughtabout calling you a million times. Are you mad at me?MOUTH : No. I just stayed away because you asked me to. No, uh, Clean Teen shirt, huh?SHELLY : No. It was time to end it. I was just trying to find my place, youknow?MOUTH : Yeah. You'll always be important to me, Shelly.(Mouth starts leaving)SHELLY : Mouth.(She hugs him)MOUTH : I like the skirt.Peyton finds Brooke alonePEYTON : Hey, you. What have you been upto?BROOKE : Flirting with Lucas.PEYTON : Oh, yeah? How'd that turn out?BROOKE : Meh. So, so. Love triangles are so high school.PEYTON : Seriously.BROOKE : We made it, didn't we? Through all the tragedy andjealousy and confusion... We made it.PEYTON : Yeah. Hoes over bros, right?BROOKE : I love you, P. Sawyer.PEYTON : I love you, too, B. Davis. Fergie, Junk and Mouth are sitting on the roof, Skills joins themSKILLS :Almost midnight... end of an era. Four years of high school and zero girlfriends for Junk and Fergie.JUNK : My girlfriend's canadian.SKILLS : Man, whatever. What you thinking about, Marv?(Mouth spins the bottle, whichpoint Brooke)MOUTH : I'll be right back.(Mouth jumps from the roof, walks toward Brooke and kiss her)JUNK, FERGIE, SKILLS (screaming) : Hey, Mouth, what's...SKILLS : Yeah, Mouth! That's my dog!MOUTH : I alwayswanted to do that.(Mouth leaves and passes Chase)MOUTH : Sorry.BROOKE : Um... did you...CHASE : I-I said you could hang out. I didn't say you could make out.BROOKE : Do you see what happens when you leaveme alone all night? I mean, seriously, thank you for letting me say goodbye to all my friends, but you're the one I want to finish the night with.CHASE : I was hoping you were gonna say that.BROOKE : How about youkiss me till I have to leave tomorrow?CHASE : It's a start. Come on.SCOTT'S HOUSEDeb is sitting with Jamie sleeping in her arms. Haley and Nathan walk in.HALEY : Deb?NATHAN : Mom? Mom, what happened to thephone?DEB : I unplugged it.NATHAN : Why?DEB : Because the two of you were driving us crazy.HALEY : The two of us?NATHAN : I might have called a couple of times.DEB : Six times.HALEY : You crazy, obsessiveparent.DEB : You called eight.HALEY : I missed him.DEB : He's fine. But go back to the party and have fun. You have the rest of your lives to worry about children. Trust me.(Deb leaves)HALEY : All right. You want to goback?NATHAN : Yeah. Hey, hold on a second. You're gonna be a great mom, you know that? Actually, you already are a great mother, and that's very sexy.HALEY : Really? We don't have to go back right away.NATHAN: You're absolutely right.PARTY HOUSE IN THE WOODBrooke and Chase are in a car, kissing. Brooke starts to get undressedCHASE : Did I mention this was the greatest night of my life?BROOKE : Well, you said it was anight to be great and to try new things, so I figured we'd do both at once.CHASE : You're gonna change the world someday, Brooke Davis.BROOKE : Yeah, so I've been told.CHASE : Be gentle with me. Lucas and Peytonare alone, sitting on a bench, far from the partyLUCAS : I don't want you to go.PEYTON : What?LUCAS : I'm sorry. I just... I've been trying to put a good face on. God, I love you so much, Peyton.PEYTON : So you wantme to stay?LUCAS : Yeah.PEYTON : Then I'll stay.LUCAS : No, you won't. I want you to stay. But I won't let you. And do you know why? Because I've told you before... You are destined for greatness. And it startstomorrow morning.PEYTON : It's not gonna matter anyway... whether I stay or I go... with us... 'cause I'm gonna love you forever, Lucas Scott.(Nathan an Haley join them)NATHAN : Yeah, so am I.PEYTON : Hey,where have you guys been?HALEY : I don't know. Around. Hey, um, you got a sec, Luke?LUCAS : Yeah.(Haley and Lucas go for a walk, Nathan sits with Peyton)PEYTON : All right, let me see that baby. Oh, god.NATHAN: Not bad, huh?PEYTON : Good work, buddy.NATHAN : I made that.Brooke and Chase are still in the carCHASE : So, tell me that was the greatest 60 seconds of your life.BROOKE : Stop. It was great.CHASE : So greatyou're gonna stay?BROOKE : Mmm... not really that great.CHASE : Suddenly I feel used. But it's okay, considering I've been used by Brooke Davis.BROOKE : Shut up. You know I'm lying. I am gonna miss you. Ialready do. You've become such a big part of my life, sometimes I think it's strange that I didn't know you till now.CHASE : It's okay. Put me in your heart and go see everything, Brooke. And then come back to me.Haley and Lucas are walkingHALEY : I'm sad. I am sad. I... It just hit me today that you and I have been together pretty much every day of our lives, and we're gonna have to say goodbye soon. We're notgonna...LUCAS : Hales.HALEY : Look, I just... I really want you to know that I love you and there's a reason why our son's middle name is Lucas. You had Keith, and James is gonna have you. And, um... Nathan and Iwould like for his uncle Lucas to also be his godfather.LUCAS : Thank you. I would love to.HALEY : Good. I just... I hope he learns how to follow his heart like you do. I'm really gonna miss you, Luke.LUCAS : No, you'renot.HALEY : What do you mean? What's so funny?LUCAS : Do you want to hear a secret?(Lucas whispers something to Haley)HALEY : Oh, Luke.Rachel is inside the house, Brooke comes to see herRACHEL : Hey. Whereyou been?BROOKE : Having s*x.RACHEL : You're funny.BROOKE : I have something for you.(Brooke gives Rachel her diploma)BROOKE : Turner gave it to me. Happy graduation.RACHEL : You told him the truth, didn'tyou?BROOKE : Maybe.RACHEL : You know, of all the schools I got suspended from... I'm glad I graduated from this one.BROOKE : Me too.Lucas joins Nathan who's aloneLUCAS : I've been thinking about Dan.NATHAN :Yeah?LUCAS : Why should we go see him?NATHAN : You mean tonight?LUCAS : No, I mean... I mean at all. I mean... he's had control over us since we were born. These are our lives, not his. I say we go on without"}
+{"doc_id":"doc_99","qid":"","text":"Act 1Scene 1 - Frasier's Apartment. Frasier is seeing a guest off the premises. Both are dressed in tuxedos, as are Niles, Martin and Bulldog who are also in the room. Roz and Daphne are decked out in eleganteveningwear.Frasier: [opening the front door as the guest walks out] Glad you came back with us. I hope you had a good time. Well, I can't tell you how much fun this has been. Listen, now that you know the way don'tbe a stranger. OK. Good night! [closes the door after the man] Who the hell was that?Niles: He's not from the station?Roz: I never saw him before.Daphne: He was table-hopping like crazy during the awards.Martin:That's 'cause he was our waiter.Frasier: Well, that's the last time I say, \"everybody back to my place!\"Bulldog: [holding up his SeaBea] Who cares about that guy? This is a great night.Roz: For you, maybe. The rest ofus lost.Bulldog: Hey, it's not important whether you win or lose. It's an honour just being nomin... [breaks into laughter] I couldn't get through that crap on stage, I can't get through it now!Roz: Frasier, do you mind if Iuse your phone?Frasier: No, not at all. Who are you calling? It's practically midnight.Roz: Oh, I promised my grandmother I'd leave her a message telling her how we did. [dials the number then starts speaking into thephone] Hey Gammy, it's Roz. Guess what? We won again! We're all here celebrating.Roz holds up the phone to indicate they make some kind of noise of celebration. All they can muster is a half-hearted \"YEAH!\"sounding completely unconvincing.Roz: Listen, I gotta go. It's getting crazy here but I'll talk to you tomorrow. Bye-bye.Niles: You lied to \"Gammy?\"Roz: Well, she's old and it makes her happy. She smiled for a weekwhen I won the Miss Seattle Pageant!Frasier: You know, Roz raises a very interesting philosophical question...Martin: [preparing for the worst] Oh, here we go. Buckle up!Frasier: Is it always morally wrong to lie? Weare taught that it is. Though obviously there are certain occasions when a lie would be acceptable.Bulldog: Yeah, like the lies you tell a chick in bed. \"You're the best I've ever been with\"; \"Your thighs don't look thatfat\"; \"Don't worry, I've had a vasectomy.\" [Bulldog notes the disgusted faces around the room] Hey, screw you guys! I'm an artist; we live by different rules.Niles: An argument can certainly be made that a lie is goodwhen it spares someone unnecessary pain. I'm reminded of Maris's brief flirtation with active wear when I assured her, \"You look fine, darling. Spandex is supposed to blouse!\"Frasier: You know, Lilith actually told methe other day that Frederick has taken to lying. Yes, he told all of his friends that Lilith is an alien. [laughs]Martin: Seems as good an explanation as any!Frasier: He also told them that she wears her hair in a bun to hidethe third eye in the back of her head. [laughs again]Roz: How did Lilith find out?Frasier: Well, apparently she was driving him and Toby to a Junior Mensa meeting, she looked in the rearview mirror and saw that theywere making faces at the other cars. So, never have the words \"I can see you!\" caused so much screaming and wetting of pants!Laughter all around.Daphne: I did my fair share of fibbing too. I once told my schoolchums I was born with a tiny embryonic twin attached to my hip. [Daphne laughs hilariously whilst the others look slightly perturbed] Of course they were horrified and it didn't help my social life at all. [sighs] But for awhile there it was nice having a sister.Niles nods his head in sympathy before subtly removing the glass of champagne from Daphne's hand and passing it to Frasier who nods his head in agreement.Niles: Oh.Remember in prep school when we were so desperate to avoid The President's Physical Fitness Test...Frasier: ...that we lit a match underneath the fire alarm and all the sprinklers went off.Niles: And we blamed thatdelinquent kid, John Rajeski.Frasier: Yes.Martin: [appalled] You did what?Frasier: What's wrong?Martin: You two swore up and down to me that you never set off that alarm.Frasier: [laughing] Well, of course we weren'tgoing to tell you.Martin storms off into the kitchen.Niles: For Heaven's sake, Dad, you can't be mad. We were kids.Martin: [turning back] You know, the headmaster said it was you two. I went down there and raisedhell with him. I said, \"My kids don't lie.\" Because of you that Rajeski kid got expelled!Frasier: [shocked] Expelled? If we'd have known that was going to happen we would have told the truth.Niles: [unrepentant] Notme. He was a brute and a meanie.Frasier: You're right. He used to make the most merciless fun of me, about how I always wore my gym shorts in the shower. He used to call me \"Shorts In The Shower Boy.\" You don'thave to be witty to be cruel.Martin: Well, I don't give a damn what that kid did. Getting him expelled was worse. [angrily] I'm going to bed. Good night, everybody.Everyone says good night as Martin goes through tothe bedroom.Frasier: Well, I guess that brings an end to our little debate. Apparently there are no good lies.Bulldog: Hey, hey, it's getting kinda heavy in here. We gotta liven this place up, huh? Hey, I know - partygames, huh? All right Doc, I'm going to need a blindfold, whipped cream and a glass coffee table. [everyone looks mystified] What? Nobody went to camp?Roz: [getting up] Forget it, Bulldog. These guys are no fun.[grabs his butt as she walks past] You know what? I know a great after-hours place where we can go get a few drinks.Bulldog: [rushing after Roz to the front door] Now you're talking. Hey, if things go well I know anafter after-hours place. And I got the keys.Roz: Mmm. You get the elevator; I'll get my coat.Bulldog: You're on.Bulldog rushes out and Roz closes the door behind him, firmly locking it.Roz: No good lies, my ass!Daphnelaughs and Frasier and Niles toast each other with their champagne.[SCENE_BREAK]Scene 2 - Café Nervosa. Niles walks in and sees Frasier sitting down. Niles hangs up his coat before sitting down. It is apparent thatboth brothers are wearing exactly the same suit right down to the shirt and tie.Niles: Good morning, Frasier.Frasier: Oh, good morning, Niles... [suddenly notices Niles's suit] Oh dear God - it's finally happened. This isthe thanks I get for introducing you to my personal shopper. I gave her specific instructions to write down every article of clothing that I had purchased so we could avoid this sort of calamity!Niles: I didn't use Renaldo.This suit just caught my eye while I was shopping for shoes.Niles and Frasier suddenly stop and stare tentatively at each other's shoes. They both reel back in horror as they realise they've got the same as well.Niles:[annoyed] Well, why didn't you also take my strong chin and swimmer's build?Frasier: Oh please.Niles: Obviously we have to sit apart.Frasier: Sit down! There's something I need to talk to you about. I doubt mostpeople are as tuned to these things as you and I are. I'm sure they won't even notice.At this point the waitress approaches with two coffees.Waitress: [to Frasier] Here you are, double espresso. [to Niles] I took achance and brought you the same thing. [leaves]Frasier: After our conversation last night I couldn't stop thinking about our getting John Rajeski expelled. I didn't sleep a wink.Niles: You can't be serious?Frasier: Youmean it didn't bother you? Where is your conscience?Niles: Perhaps it fell into the quad - along with my hall monitor beret when John hung me from the flagpole! He was going to be expelled sooner or later. You cannotguilt me into feeling bad.Frasier: Yes, well, no one hated him more than I did but I still think we owe him an apology. Can I borrow your phone, Niles?Niles: Certainly. [hands over phone then suddenly realises] You'renot going to call him?Frasier: I am.Niles: Are you insane?Frasier: [speaking into the phone] A number for a John Rajeski, please? [speaking to Niles] Niles, my conscience won't rest until the two of us have said we'resorry. [speaking into phone] Oh yes, connect me please.Niles: Leave me out of this. I'm not sorry. But don't tell him that. And if he asks, I'm living in Italy. No, no, France. No, Italy!Frasier: [speaking into the phone]Yes, hello. Is John Rajeski there, please? It's an old friend... Oh, I'm terribly sorry to hear that. Thank you. [hangs up] Niles, it's worse than we thought - he's in prison.Niles: [smug] Well... who's wearing shorts in theshower now?Frasier: Well, joke all you like. I still can't help thinking this is all our fault.Niles: How?Frasier: Well, he was always on the cusp. Maybe he couldn't get into another prep school. Maybe he had to go to public.Got in with the wrong crowd. Couldn't hold on to a job. He could turn to a life of crime.Niles: Frasier. Sometimes bad things happen to bad people. We did not set him on the path to prison.Frasier: Yes, well until I'msure of that fact my conscience will not rest. I have got to speak with him. [to waiter] Can I have the check, please?Niles: [incredulous] You're not going down to the jail?Frasier: Yes, I am. I invite you to join me.Niles:[sarcastic] Yes, that's a good idea, Frasier. The Crane boys going to a prison in matching outfits![SCENE_BREAK]DEAD MAN TALKINGScene 3 - The prison. Frasier is nervously walking round a room bare except for atable and two chairs in the middle of the floor. John Rajeski is brought in by a guard.[N.B. John Rajeski is actually the name of one of the show's producer's assistants. He appears as a Cafe Nervosa waiter in [3.24],\"You Can Go Home Again.\"]John: Frasier Crane?Frasier: John.John: [smiling and shaking his hand] Hey. How's it going?Frasier: Well, fine. And you?John: Eh... [shrugs and waves at his surroundings] What brings youdown here?Frasier: Well, I don't know if you get the alumni magazine, but I became a psychiatrist, and I'm currently conducting a study on men behind bars and how they got there... [notices John's fists] That's anawfully nasty bruise on your knuckles.John: [laughs] I caught some guy using my comb. I really hate it when people touch my stuff.Niles: Oh, yes. I remember my brother Niles once sat in your chair in the cafeteria. AsI recall you put him on a tray and ran him through the dishwasher.John: Yeah, class clown - that was me. [both laugh at this] How is Niles, anyway?Frasier: Ah, er... ah, he's abroad now.John: Really? Whoa, that musthave hurt.Frasier: No, no, I mean, er... yes, I suppose it did! Well anyway, it would be an enormous help in my study if you could perhaps pinpoint the moment or event in your life that led you to here.John: Ah, that'seasy. I'm doing time for passing a bad check.Frasier: Ah. [begins writing in his notebook]John: You see, I wanted to get my wife something nice. We're going through a rough time recently. I was scared she was goingto leave me, you know?Frasier: [relieved] Well, that was quick and painless. We've identified the point where you fell off the beam. [gets up to leave]John: Actually though, I was already on probation. I did some timeabout ten years back for driving a car that didn't belong to me.Frasier: And that was your first infraction?John: Yeah.Frasier: [getting up again] Well then, case closed, mystery solved. A young man yields to the lure ofa bright and shiny car. Is there anything more tragic?John: I did have a juvenile record.Frasier: [sitting down again] Apparently there is.John: I got in a high school fight.Frasier: You did say high school, not prepschool?John: Oh, yeah, yeah, yeah. This is way after you knew me. I went bad then. Always getting into fights. Of course I wouldn't have been there in the first place if I hadn't have gotten thrown out of that goodschool me and you were in. That had a big effect on me you know?Frasier: Yes well, perhaps we could continue our backward journey through...John: [getting up] No, no, no. That was a bum rap. Somebody pulled thefire alarm and they blamed me for it. They said I did it but I didn't do it.Frasier: [becoming visibly worried] Let's discuss your early childhood.John: [stamping his fist off the desk in anger] You know, the more I thinkabout it, this all started the day I got thrown out of prep school. Ever since then my life's been crap! CRAP![now banging the desk in rage]Frasier: [hurriedly gathering his notebook and getting up] I think I have all theinformation I need now.John: Sorry, I didn't mean to blow like that.Frasier: Well, that's all right, John. [shaking hands with John] Thank you for your time.John: I got plenty of it. I'll see you, huh?Frasier: [nervouslythinking as John knocks on the door to leave] No, no, John. There's just one more thing. [turns to the guard who's ready to take John back] One second, please. [turns to John] There's something I need to tell youabout, something that I did in school that I'm not very proud of...At this point a very large, very burly fellow prisoner covered in bruises and a neck cast appears at the door.Prisoner: Yo, John. Sorry I touched yourcomb, man.Needless to say Frasier looks frightened out of his wits as the prisoner scuttles off.John: So what did you do?Frasier: Er... well, I, er... I peeked over your shoulder once during an algebra quiz.John:[jokingly] And I'm the one who gets expelled?John is led away by the guard leaving Frasier wondering how he can break the news to John.End of Act 1[SCENE_BREAK]Act 2Scene 1 - Frasier's Apartment. Martin issitting back in his chair. Daphne opens the front door to a limping, leaning Niles.Daphne: Evening, Dr. CraneNiles: Hello, Daphne, Dad.Daphne: Something wrong with your back?Niles: I injured it this morning playingsquash. I had to make a dive to save match point.Daphne: Well, I've got just the thing to take care of that. You take off your jacket, I'll be right back. [goes to the powder room]Niles: You're too kind. You know, Ishould never even have attempted a move like that. It was sort of a cross between a pirouette and a flying scissor kick.Daphne looks suitably impressed before closing the door.Martin: You hurt yourself adjusting theseat in your Mercedes again, didn't you?Niles: Quiet!Daphne returns with a small tub of something.Daphne: All right, pull out your shirttails and lay facedown on the sofa. I can guarantee you within a minute you'll befeeling much better. [Niles lies down and mutters a moan of satisfaction] I haven't even touched you yet!Niles: I started without you.Daphne proceeds to rub Niles's back with some sort of liniment.Martin: [concerned]Hey, wait a minute. You're not gonna use that stuff on him, are you? She used it on me one time, it burned like hell!Daphne: Oh, hush up, old man. It helped you, didn't it?Martin: It nearly killed me!Daphne: Listen tothe big tough policeman. You don't hear your son complaining, do we, Dr. Crane?Niles: [in heaven] Not a bit! Frost me like a cake!Martin: Well, just wait a minute. It goes on cool but it then it turns into ablowtorch.Daphne: Well, I guess now we know who the real man in the family is, don't we?Niles: I should say we d...[winces slightly] Ooh!Martin smiles at him.Daphne: Is it starting to warm up?Niles: [wincing a littlemore] Ahh, yeah! It's a... refreshing heat, like those towels they give you on the airplane. [clearly feigning pleasure] Whoooo!Daphne: I'm not hurting you, am I?Niles: No, no. I'm just a little ticklish back there.He bitesdown on the pillow to muffle his screams.Martin: Well, I guess you are the tough one!Daphne: [getting up] There you go.Martin: Oh, no, wait a minute, Daphne - you missed a big spot right there.Niles: [hastily gettingup] No, that's OK! Because it's all done now! Thank you, Daphne! [in agony] A few minutes ago I was bent over in pain, [rushes for the kitchen bounding over the coffee table] but now look at me, I'm running!Nilesheads straight for the refrigerator, finds a bag of frozen peas and stuffs them down the back of his shirt, followed by the tub of ice cream. He turns around and desperately rubs his back against the fridge. Back in theliving room Daphne is talking to Martin.Daphne: How is that hip of yours, anyway?Martin: Back off, witch woman!The front door opens and Frasier walks in.Daphne: Evening, Dr. Crane.Frasier: Evening, Daphne.Martin:How did you get on at the jail?Frasier: Horribly! The man is convinced that getting thrown out of prep school was the beginning of his life of crime.Martin: Been thinking that all these years?Frasier: [disconsolate] No. Isort of connected the dots for him!Martin: You tell him it was you?Frasier: I intended to, but I became convinced that the man would be willing to perform unspeakable atrocities on the responsible party orparties.Martin: Well, you probably made the right call. Knowing you, you'd beat yourself up worse than he would anyway.Niles: [emerging from the kitchen] I hope you remembered to tell him I was anexpatriate.Frasier: I told him you were an ex-something. [Niles looks confused.] You know, I just feel so guilty. I have done this man a terrible injustice.Daphne: You know, Dr. Crane, I've always believed life has a wayof balancing itself out. Yes, you may have treated this man unfairly, but think of all the people you've helped on your show. Just yesterday you reconciled that couple on the brink of divorce and today you helped Mollyfrom Tacoma overcome her addiction to Swedes.Martin and Niles both stop what they're doing and look up confused.Frasier: That was sweets, not Swedes!Daphne: I thought it was strange when you told her to limitherself to one or two after meals.Frasier: You know, perhaps I just have an overactive conscience. It's not enough that I help other people, I want to help this man.Niles: Well, I hope you do, Frasier because then finallyyou'll stop torturing the rest of us with all your... [bends over and suddenly cries out in agony] Oh, pain's back!Martin: Not to worry. She's got more liniment.Niles: [suddenly standing upright still in agony] Oh, pain'sgone!Daphne: Come on now. Be brave. [drags Niles's behind her] Let's go into the loo and I'll give you a second coat.Niles stretches out his hand in a last-ditch bid to stay out of Daphne's clutches but Martin just smilesat him as he is dragged into the powder room.Frasier: You know, Dad, Daphne gave me a thought. I'm a skilled couples' therapist. John did mention that he was having marital problems...Martin: Oh, Jeez!Frasier:[heading for the phone] No, no, Dad. This is perfect, this is perfect. I may have ruined the last 25 years of this man's life but with my gift I could save the next 25. [speaks into the phone] Yes, a listing for a JohnRajeski, please.Martin: I'm telling you, Frasier, don't get mixed up with this guy. He's a felon.Frasier: Dad, just relax, please - I know what I'm doing. [speaks into the phone] Mrs. Rajeski? Hello, you don't know me butI'm...A piercing scream comes from the bathroom as the second coat is obviously being applied.Frasier: Why - well, that's remarkable. Yes, I am a friend of your husband's![SCENE_BREAK]Scene 2 - Susan Rajeski'sapartment. Frasier knocks on the door and Susan opens.Frasier: Mrs. Rajeski?Susan: Wow, it's really you - Frasier Crane!Frasier: May I?Susan: Oh gosh, I'm sorry. Please, please come in. [Frasier walks in] You know,you're kind of like a God at work. [Frasier looks a bit humbled] Please, please sit down.Frasier: [sitting down] Thank you. Let me cut right to the chase. John told me that you two were going through a bit of a roughpatch and I was wondering if there was anything I could do to help?Susan: Well, I love John. I really do, but there is a problem. It's just a little difficult talking about it, you know? I mean, it's a little embarrassing -especially face-to-face.Frasier: Well, I'll tell you what. Just pretend I'm on my radio show, [turns his back to Susan] and now you're just another caller.Susan: OK. Well, Dr. Crane, it's a sexual problem.Frasier:Ah.Susan: You see, I can only get really turned on when there's something that makes the whole situation sort of dangerous.Frasier: [turning round] Dangerous?Susan: You're looking at me.Frasier: [turning backround] Sorry.Susan: Like doing it in a car.Frasier: Well, that's not so dangerous.Susan: You must be some driver.Frasier: [realises] Oh. And you've never had an accident?Susan: No, I'm on the pill!Frasier: [back stillturned] So how long have you had this particular kink?Susan: [standing up starts playing with her buttons] Well, I don't know really. It kind of started around the time that I first met John. I was working in aconvenience store, I caught him shoplifting. Next thing I knew we were rolling around on the Slurpy machine and I'd already pressed the silent alarm so I knew that the cops were on their way...She rips off her dress toreveal a sexy black negligee. Frasier is still sitting on the couch, back turned, unaware.Susan: That's when I realised what really turns me on - knowing I could get caught at any moment. [leaps onto Frasier'slap]Frasier: [horrified] Oh, Dear God! He's out of jail, isn't he?Susan: He could walk in at any time.Frasier: He'll kill us!Susan: [writhing in pleasure] Ooh, touch me here and say that.Frasier: [struggling up with Susanstill attached] ARE YOU CRAZY?! He doesn't even let people touch his comb!Susan: I know. What's that all about?Frasier: [backing off] You might like to put your dress back on, straighten up before he gets home.As"}
+{"doc_id":"doc_100","qid":"","text":"[Up-tempo music plays.]You're alive As long as the streets are living I single you out I don't want to want to go home The sun will rise OSCAR: Jesus, Lester. What's the damn hurry, mate?TREVOR: [Laughs.] Not again,Trev. It just encourages him. want to go home He ain't saying it'll be easy You want to go there, do you, bro? Come on, boy. There.[Laughs.]Whoo! This broken bell will keep on ringing Boy, it's true Oh. Hello, Madison.Jean. Still come to see your mum, then?[Chuckles.]She expects it.MRS.MARLOWE: Oh, so many these days forgotten the moment they've gone.MADISON: Well, not Mum.She'd never stand for that sort of nonsense. -No. She wouldn't. - Mm. I think she'll be happy knowing I'm still right here where I belong.MRS.MARLOWE: Datura!Really. Hey. Hey. Come on, bro. Dig it in. - [Horn honks.] - Hey!CYCLIST: Hey! - Animal! - Let's go!Game on. Come on, lads. You're on, Lester.[Grunting.]Come on, Trevor. Not even sweating. Come on. Come on, Trevor, you loser! Whoo![Laughs.]TREVOR: Lester!Lester! Lester! Stay back![Cellphone rings.]- Mike. -Theoretically, do you think it's possible to train a bull to kill on command? Oh, you're still banging on about that? Well, you have to admit it's intriguing. That Collins guy was an idiot. I thought that was the officialverdict. Not in those exact words. But yeah. Essentially, yes.- SIMS: So? - [Sighs.] Maybe I'm being too optimistic about the human race, but I find it hard to believe that someone can be that stupid. Yeah, well, thereare some spectacularly stupid people - out there. - I know. But, in theory, do you think it's possible to train a bull to kill on command? Look, Mike, I have to go. It might be your day off, but it's not mine, and, actually,I've got a death to deal with. Should I be there? No, no. It's a middle-aged cyclist pushed it too hard. Heart attack. So why are CIB involved?SIMS: The uniform branch are stretched, so I stepped in. The good news is,Breen lost rock-paper-scissors, so I sent him to inform next of kin. Oh, so you've got time to talk about the bull thing. Uh [Imitates static hissing.] We're breaking up, Mike. I'll talk to you later. - [Cellphone rings.] - Oh,good Lord. Another one? - Yes, another one.- GREENE: Who? Lester Nyman. Heart attack yesterday. - Oh, dear.- MADISON: Will you come in, or do I send this out? Uh, no, no. I'll come in. Good. Everything will beready this afternoon.[Police radio chatter.]In theory, you can train any animal. I mean, they trained orcas, right? And that didn't turn out so well for both man or beast. But if you can train a big fish, you can train a bull,right? Orcas are mammals, not fish. But a bull is a mammal.- SIMS: Yes. - Here we go. Thank you. Got you a trim. Look, Mike, I'd love to dwell on your bull-as-assassin theory, but I have a dead cyclist to process here.Oh, on that note, when I told Mrs. Nyman about the death of her husband, she was a little weird.[Knocking.]- Yes? - Mrs. Tammie Nyman? - Yes. - Detective Constable Breen. Um, I-I have some bad news. Can I comein? Uh Wait. Did you say \"Nyman\"?BREEN: Yeah. Wife of Lester Nyman, the dead guy on the bike. The bull thing happened on the Nyman farm. I thought bull guy was Collins. Yeah, but the witness was a Trevor Nyman,the farmer. Trevor Nyman, Lester Nyman's brother, was the first man at the scene when Lester dropped dead. So, what are we thinking here? - A very good question, indeed. - [Cellphone rings.] Gina, what can I do foryou? Mike. It always makes me laugh when you answer your phone, \"Gina, how can I do you?\" That's not actually what I say, Gina. It's more \"what can I do for you?\" Same thing. No. What's up? Or perhaps down. Thisis a Mr. Lester Nyman. Ah. The cyclist. - Okay. - Yes. The face-first thing is unusual. Yes. Heart attack, wasn't it? Yes. I sourced his records, and given his medical history, a heart attack is most likely. But if he had aheart condition, what was he doing riding to the top of Whakamoho Mountain? Mm, because cycling is awesome? - It is? - Man. Machine. Fresh air. Gets the blood flowing. Feel the tingle of life in your extremities. Youdon't like cycling, Mike? - Never been a fan, no.- KADINSKY: Pity. I think Lycra brings out the best in men. Okay.[Clears throat.]Uh if it was a heart attack, what am I doing here? This. You see this rash? - [Remoteclicks.] - This reaction, it troubles me. I hear you on that. Not what I would expect. - Chafing? - No. No signs of friction. And chafing would be lower between legs. This is a reaction to something. - Poison? - Call itinstinct, but something is not right about this. I'll notify the coroner. I was hoping you would say that.BREEN: You know, instead of \"poison\" and \"bull,\" you could have just written \"stupid\" and \"death wish,\" right? Orjust not written anything at all, - because there's no evidence - Yet. Yet to suggest that either of these are anything other than what they are. - There's a rash.- SIMS: Maybe they changed their laundry detergent, andhe had a reaction to that. Meanwhile Manu Collins. Is there something to suggest there's anything out of the ordinary? Apart from everything? So, where's the bull now?TREVOR: We put it in another paddock. Thought itwas probably best. Are you saying Manu Collins just ran straight at the bull? Like I said, we were out here, talking, and You've heard of the festival of San FermÃn, right? - [Bull bellows.] - The running of the bulls? TheSpanish celebration of fleeing with soiled trousers? Yeah.MANU: Well, that's what I'm gonna do with my money. Yeah, see, I want to be one of those guys who gather where the bulls are released, and then, when theyemerge out onto the street, - run towards the bulls. - [Sighs.] But then, at the last minute, turn around and then run with them. Yeah. Yeah, that's what I'm gonna do.TREVOR: What are you doing? I'm so totally gonnabe that guy. Whoo-hoo-hoo-hoo-hoo![Laughs.]They stress the bull out, running at it like that. The bull just did what bulls do when they get stressed.[Manu laughing, bull bellows.]Maybe he would have made it. But -Ooh! Ooh! sh1t! - [Bull snorts.] But by the time I distracted it Oi! Phft! Phft! it was way too late.[Thud, Manu coughs.]Was Mr. Collins prone to doing things like that? You mean being an idiot? Yeah, I guess. I don'tknow. I only knew him a couple of days.[Gunshot.]That'll be Mrs. McTavish. She works here. She reckons once they've done something like this, you [Sighs.] you don't want 'em 'round. I see a candidate for a DarwinAward maybe, but not for murder.[Sighs.]Trevor Nyman has been a witness to or first on the scene of two deaths over, what, the last two months? Bad run of luck for Trev.BREEN: Yeah, and then some. It's not been agood year for the Nyman clan. Six months ago, Trevor's father, Karl Nyman, killed himself. Put a shotgun in his mouth out at the farm. Guess who found the body. And then, two weeks ago, a Jethro Nyman drownedwhile Jet-Skiing off the coast of Riverstone. Way off. Any mention of Trevor in relation to that? Nope. Missing for a week before the body washed up.SIMS: Anything to suggest foul play? Not as yet. You know, it couldjust be a run of really lousy luck for the Nymans. No one has that much bad luck. Come on. Oh.[Sighs.]SHEPHERD: This really is a great spot, isn't it?TREVOR: Yeah, it is.Look, is there some kind of problemhere?SHEPHERD: Not at all. It's just a routine follow-up about your brother Lester's death. Oh, there was nothing I could do. He was dead by the time I got there.SHEPHERD: I'm sorry for your loss. - Thank you. - Orlosses, actually. There's been a bit of a bad run for your family lately. Yeah, I suppose. Your father died a while back? He committed suicide, yeah. Bit of a shock, I imagine. No, not really. He was dying anyway. He justchose where and when. So it wasn't a surprise? Well, it wasn't pleasant walking into that barn, but no, it wasn't a surprise. And, um, now your brother.TREVOR: Lester knew he had a dodgy ticker. He took it as achallenge. In what way? He thought he could laugh in the face of death. Death won. Jethro Nyman Is he a relation?TREVOR: He was. A cousin. And Manu Collins also a cousin, you said.TREVOR: Sort of. Sort of? At myfather's will reading, we learned that he had a whole other family. - Over in Riverstone. - Oh. So less of a cousin and more of a half brother? - Yeah.- SHEPHERD: You learned this - upon reading of the will?- TREVOR:Yep. Look, what the hell has this got to do with my brother Lester - having a heart attack? - Oh! Just tell him. - He'll find out anyway.- TREVOR: [Sighs.] This is Mrs. McTavish. She kind of runs the house. No \"kind of\"about it. It's a will. It's a public document. Police want to find out, all they have to do is look. My father's will and the reading was somewhat of a revelation. Why all the chairs?MADISON: For all the people asked toattend the will reading. What, as witnesses? - No.- MRS.McTAVISH: Oh.Bloody typical. I have to bring in me own bloody chair. Take a seat, Trevor.[Mid-tempo music plays.]Madison. Been so long since we've spokenDon't even know what you would say Still I made some promises, and I keep 'em anyway 'Cause somewhere there's a place Where the light keeps shining through MADISON: Come in. I'll be talking with myself tonightStill no word from you There should be one more person. Magnus Nyman. Spoken to Dad lately? Haven't spoken to the old b*st*rd in I don't know two years. He didn't come to Dad's funeral either. His own brother, andhe didn't show. Okay, well, let's proceed without him. For those who don't know me, I'm Madison Mathers, a lawyer with the firm of Emerson, Bogart & Nash. Karl Nyman has appointed me to be the executor of his lastwill and testament. As part of this will, he stipulated that I assemble you all here for the reading of said will. Thank you all for coming. \"I, Karl Harald Nyman, being of sound mind and body, do hereby declare\" You don'tneed to bore them with the details, boy. Just get to the bit about Tonto.[Chuckles.]The tontine.MRS.McTAVISH: Yeah, that thing.My father, in his will, left this farm, the bank accounts, everything, to 10 people in theform of what is called a tontine. Uh, sorry. A what? I think we all better have a nice cup of tea. - Hmm?- TREVOR: [Sighs.] So, a tontine is named after a bloke by the name of Lorenzo de Tonti in the 1600s as a kind ofinsurance/investment thingy. But the guts of it A group of people share something of value. When one of them dies The surviving members divvy up the share between them. Something like that, yeah. So, where, once,10 people owned the Nyman farm, now there are - Seven.- SHEPHERD: Mm. Or six, depending on the whereabouts of Magnus Nyman. Okay, so, let's say there are seven. What was once a 10% share is now a BREEN:14.[SCENE_BREAK]I'm quite good at doing maths in my head. Okay, Mr. Maths Genius, what does the remaining person get?[SCENE_BREAK]- SHEPHERD: You are good.But does that include spouses?BREEN: No. Ashare in a tontine is a right of survivorship to only those within the original group. How apt.BREEN: But who are all these people? So Okay, so, we've got the sons, Lester and Trevor. Okay. And then there's the brother,Magnus, and the nephews, Jethro and Oscar. Got that. Uh, but then there's this other family? We learned he had kids to this other woman over in Riverstone when he was dying. Wasted on pills, he decided to tell us.First time I ever laid eyes on them was at the funeral. That added to the fun. The mother of this second family Is she still around? Dead. Years ago. Like most of the women in Dad's life. Okay, other family. I got that.But then, there's this half brother?SIMS: From yet another mother. Up north. Did you meet Dion Waters at your father's funeral, too? Nah. He didn't crawl out of the woodwork until the will reading.SHEPHERD: And he'sdefinitely your father's son? Yeah. Got the DNA tests and everything to prove it. And Dion's mother? Going back to that thing about my dad and the women he shacked up with She has passed away?BREEN: Andthen?SHEPHERD: Trusted family retainer. And one gets the sense that she wears the pants around the farm. Not unusual to reward someone like that in a will, I'd say. But then, what the hell did Reverend Greene do toearn it? That is a good question. Okay.[Clears throat.]I get that there's motive. Millions of dollars' worth of motive, if you wind up owning the farm. And, yes, there are some dead bodies and some missing people. Butwe still don't have any actual murders, - do we? - [Cellphone rings.] Or maybe we do. Gina? So, with Lester Nyman, it wasn't a heart attack? Yes, it was a heart attack. A big one. It basically exploded. But why his heartexploded It's interesting. - Which is? - Caffeine. Lester Nyman had extreme levels of caffeine in his blood. So the guy drank too much coffee?KADINSKY: No. We are talking off the scale. Also elevated levels ofsalbutamol. Asthma medication. - Lester was also asthmatic? - Yes. And he had no sense of taste. Is that a medical thing? Taste, as in taste, smell. No bad fashion sense. Well, you could argue that with the Lycra.There's nothing wrong with Lycra on men. He gets hit on the head as a boy. Loses the sense of smell and taste. It happens. How is this important? He drank some kind of energy drink from this bottle. So much caffeine.Anyone with the sense of taste, it would be way too bitter. Because Lester couldn't taste anything He drinks, and the asthma medicine, salbutamol, opens up the blood vessels, which allow the caffeine an easy runstraight to his heart. So he did drink too much caffeine.KADINSKY: Way too much caffeine. Well above anything you would expect. Second point He not only drank it. Remember the rash on his bottom? - Well, hard notto.- KADINSKY: An allergic reaction, most likely to caffeine in his shorts. - Sorry? - His padding in his shorts was soaked in a caffeine solution. So he's also absorbing through the skin and up through his bottom. Somuch caffeine invading system. Tick, tick, tick. Boom! Heart explodes. So this wasn't an accident? A caffeine solution must be made and then put in the shorts. How can that be accident? I think now we have ahomicide.[Mid-tempo music plays.]Yeah, but how can we prove number one? Especially since the murder weapon has been roasted and eaten with Yorkshire pudding. Good point. Sorry. That was a bad joke. No, Iknow. But it may not be number one. We need to look into that. - Another possibility. - Yes? Tammie Nyman, wife of Lester. As I mentioned, she was odd when I told her of Lester's death. Are you sure you don't wantme to come in? I'm happy to stay. No. Um No, I-I need to call people. - Thank you. - Right. Again, our condolences. Thanks.[Door closes.]Talk to her again, and we will start talking to the rest. Along what lines, exactly?Oh, let's just call it loose ends for now. What loose ends? Just routine. That's all. In the case of any unexpected death, there are always questions, I'm afraid. - Lester's death was unexpected? - Wasn't it? I'd beentelling him for bloody years to ease up, but no. Always had to keep on pushing it. You mean with his medical history? Yes, with his medical history. Well, some people deal with mortality by pretending it doesn't exist.No, it was more than that with him. He always had to meet it head on, challenge it. Survival of the fittest. It's what his ruthless father drilled into him. His father, who committed suicide? Yeah. Is that irony? Yeah, Iguess it is.TAMMIE: So, what are your routine questions? Or are you already asking them? The gear Lester was wearing - His MAMIL outfit? - Sorry? Middle-Aged Man in Lycra.[Chuckles.]Right. Well, there was a rash. Itmight have been a reaction to something in his shorts. A loose end, as I say, in determining the cause of death. And nothing to do with me. - I wasn't saying that it was. - No, I mean, it was literally nothing to do withme. All of his cycling gear, from his stinky clothes to his bloody bike I never touched any of it. It was his department. Right. Okay. Is that all your loose ends? Not quite. There were quite high levels of caffeine inLester's bloodstream.TAMMIE: That'll be his foul-tasting drink. You'll need to talk to his cousin about that. - Which cousin? - Oscar. Owns High Health in town. That's where he bought it from. It's horrendous stuff. But,of course, Lester had no sense of taste.[Sighs.]I hope that's the last of your loose ends, Detective, 'cause I've got other things I need to do.[Door closes.]Yeah, it hasn't been a stellar few months for our family. Startingwith your uncle's suicide. Oh, I guess. But Karl always preached controlling your own destiny. And then Manu Collins. I only met him a couple of times. Bit of an idiot was my take. And then your brother. Yeah. Well,that was his own bloody fault. Jethro liked two things in life getting pissed and hooning 'round on his Jet Ski. Not two things that should go together, in my book. And now your cousin Lester. Yeah, Lester knew the risks.Every time he came in here, I'd lecture him, and he'd just laugh it off. Not one to listen. So when he and Trev took off that day, it was typical. He never could back down from a challenge. You were on the ride that day?Oh, yeah. Like every other Sunday. You were not one of the riders spoken to at the top of the hill. Oh, I don't normally do that climb. Yeah, too much like hard work. No, I rode back to my car, packed up, and headedhome like usual. Am I one of these loose ends you're asking about? No. So, was there anything unusual about the ride that day? You mean apart from Lester dying? Yeah, apart from that. Actually, there was. Yeah,before we left. Lester and that meathead Dion, they were going at it big-time, and eventually that lawyer woman, she must have told them to pull their heads in. And what? What are you gonna do? - Sort him out. - Pissoff, mate. That bloody clown is gonna ruin everything if we don't get together and stop him. What exactly was it that was gonna be ruined? Lester's plans for the family farm. Which were? Parcel it up, sell it off. Andwhat did this Dion guy want? No idea. He shot past us on the road that day.[Horn honks.]- Animal!- OSCAR: Jesus! But I haven't seen him 'round since. No great loss. Is he one of these, uh, loose ends?[Breathesdeeply.]Maybe he is. Thanks very much.[Suspenseful music plays.][Snoring.]- Reverend? - Hmm? Yes? What? - Detective. - Morning. Communing with a higher power, were we? In a manner of speaking, Isuppose.[Sighs.]I had a terrible night's sleep last night.SHEPHERD: Well, it's good to see you back. I never really left. But I thought, with our dealings last time GREENE: No, no. The church is very accepting these days.One might go so far as to say progressive. And also short-staffed. How can I help?SHEPHERD: Lester Nyman. He died over the weekend. Yes, I'm aware of that. Madison Mathers, the lawyer acting for the estate,contacted me yesterday. About the tontine? It's, um It's happening, isn't it?SHEPHERD: What is? Someone's killing off the other members. What makes you think that?GREENE: Now every time Ms. Mathers calls me tosign the new distribution document Three times now. I can't help but wonder if I'll be next. - Hence the sleepless night? - Nights. To die for something you didn't want in the first place It plays on the mind. How did youbecome a part of the tontine? In the last few months of his life, Karl Nyman started attending services. He would sit at the back, making notes. Then, afterwards, he would I don't think \"interrogate me\" is too strong aterm about my sermon. Everything you say is propaganda for a God that doesn't exist. I'd like to think I gave people some semblance of hope. And when they die, they'll go to some magical kingdom in the sky?Hogwash! The life you make for yourself here on Earth is the only one you'll ever have! I must say, there were some days when he almost convinced me. So, why did he then leave you 10% of everything he owned? Iwondered that myself until I read his letter. What letter is this?GREENE: At the will reading, everyone received a letter from Karl Nyman.SHEPHERD: And what did this letter say? It repeated things Karl had said to myface that I was a snake-oil salesman for a false god and he hoped that, through the inheritance, I would come to understand the error of my ways. How exactly would it do that? At first, I thought it meant that I wouldbe tormented by guilt at receiving such an undeserved bequest. Then people started dying and I realized it was a death threat. It was Karl Nyman saying I would, one day, learn there is no heaven, there is no God. Oh.Not that Karl Nyman was ever going to get to meet him. There's another place for people like that. Not a big fan, Mrs. Marlowe? Oh, the whole lot of them. They were never any good. And the things that went on on thatfarm Such as? Oh, I couldn't possibly say. These four walls? No, I'd rather not say. But what I will say is that they both have a very dark streak. Karl and Magnus? Two peas in a rotten pod in my book. I'd keep as faraway from that mob as possible, if I were you. Thank you for the moral support, Jean. According to Reverend Greene, Karl Nyman didn't believe in God. I'm not sure that helps anything. Any luck with Jethro Nyman's"}
+{"doc_id":"doc_101","qid":"","text":"[EXT. LAS VEGAS CITY (STOCK) - NIGHT][EXT. CONSTRUCTION SITE -- NIGHT](A lone figure carries a body through the construction site. His feet stagger in the dirt under the weight.)VARIOUS DISSOLVES OF: Theman continues to carry the body through the construction site.(The man adjusts his hold on the barefooted body wrapped in a blanket. He starts walking across a board leading to the still drying concrete. He tosses thebody onto the concrete. The body lands with a splat, unrolls and the body comes to a halt.)(The man nearly loses his balance as he looks at the body out on the concrete. He rolls his eyes.)FLASH TO:[EXT.CONSTRUCTION SITE -- DAY](The man is stuck waist-deep in the concrete. Brass leads Catherine and Grissom to the man in the concrete next to the body.)Brass: Construction crew found him when they came intowork this morning. The woman's dead. The guy's still alive, but he's not talking. Wouldn't even give me his name, even after I gave him my name.(Catherine starts laughing as she heads over to look at thebody.)Grissom: Did you, uh, pull his wallet?Brass: No, everything is just the way I found it. I mean, I figure some knucklehead, you know, came in off the street, found him, figured he had a free pass, and picked hispocket.(The man in the concrete shakes his head. Catherine can't seem to stop laughing.)Brass: Anyway, I'm, uh ... I'm talking to people. I'll, uh, I'll let you know what we find out.Grissom: Catherine ... Do you need aminute?Catherine: Yes, I'm ... Yes, I'm ... (clears throat) I mean ... No, Gil. I'm good.(Catherine walks back to the man in the concrete.)Catherine: So, how's your day going?Max: Lady ... the best day I ever had isworse than the worst day you've ever imagined.Catherine: Oh, I doubt that.Grissom: Who's your lady friend?Max: Never saw that woman before in my life.Catherine: Uh, look, you're not going anywhere. It'll be a lotbetter for you if you just cooperate and tell us what happened.Max: You want to know what happened?Catherine: Mm-hmm.Max: Figure it out yourself.Grissom: That's the fun part.(Catherine chuckles.)FADE TO ENDOF TEASER ROLL TITLE CREDITS[SCENE_BREAK][EXT. LAS VEGAS CITY (STOCK) - DAY](Sirens wail in the distance.)[EXT. APARTMENT COMPLEX -- DAY](The residents wait outside. Nick and Warrick walk into thecomplex. They pass the guard posted at the gate. They meet up with Sofia.)Sofia: Hey.Warrick: Hey.Stokes: Que pasa?Sofia: One of the residents reported smelling a gas leak at 6:00 a.m.(She leads them up thestairs.)Sofia: He, uh, called the gas company. They arrived; they evacuated the building.Nick: I'm surprised anyone picked out a gas leak through the rest of the stench around here.(They reach the secondfloor.)Warrick: Yeah, smells like used diapers.[INT. IVANOVNA RESIDENCE - DAY - CONTINUOUS](She leads them into the apartment.)Sofia: The gas boys traced the leak to this apartment, and that was when theyfound ...(She leads them into the kitchen where someone has their head stuck in the open oven.)Sofia: -- this.Nick: Whoa.(Nick walks around the body and looks inside the oven.)Sofia: Alyona Ivanovna. Manager saidshe's lived here alone for 27 years.Nick: Head in the oven ... It's kind of a classic, huh?(Warrick sees a broken dish on the wash rack.)Warrick: Maybe not. I mean, this apartment is neat as a pin. A lady this tidywouldn't leave a broken dish in a rack like that, you know?(He snaps a photo of the dish.)Sofia: It doesn't necessarily indicate foul play.(Nick snaps digital pictures of the body while Warrick continues to take photos ofthe apartment.)Sofia: I checked the doors and the window. There's no sign of forced entry.(Warrick notes the broken phone, twisted on the wall.)Warrick: What do you make of this? A busted phone ...(Quick ZOOM to aCU of the gray hair on the phone.)Warrick: -- with gray hairs in it.(Nick looks at the old woman's hair.)Nick: She's definitely got gray hair.[SCENE_BREAK][EXT. CONSTRUCTION ISTE -- DAY](The paramedic squirtswater into Max's mouth and puts some goggles over Max's eyes.)Catherine: (o.s.) Okay, David. Let's roll her over together.(Catherine and David are with the body. They flip the body over. Max watches from the side.The paramedic is applying sunscreen to the top of Max's bald head.)David Phillips: Single stab wound, just below the sternum. It feels domestic. Crime of passion? CATHERINE: Maybe?David Phillips: Goodpoint.[SCENE_BREAK](The workers use a jackhammer on the concrete around Max. Catherine covers her eyes as the dust fills the air around them.)Catherine: Hey! Hey! Hey!(She motions for the worker to stop. Thejackhammer stops.)Catherine: You ready to give me a name?(Max doesn't say anything.)Catherine: You know, you are in a very deep hole, in every sense of the word, my friend. Think about that while we chisel youout. It's going to take a few hours ... assuming we're careful. See ya.(Max waves to her as Catherine gets up and leaves.)[SCENE_BREAK][INT. IVANOVA RESIDENCE - KITCHEN -- DAY](Warrick spreads the white sheeton the floor as Nick and David Phillips help get Alyona Ivanovna out of the oven. They place her on the sheet.)Nick: It's just a guess, but I'd say she's in rigor.(Warrick snaps photos of the body.)David Phillips:Blunt-force trauma on the forehead, and on the base of the skull.Warrick: I doubt very highly that those were self-induced.(Warrick shines his flashlight on the inside of the oven.)Warrick: Look at that: it'sdented.(Quick flash to: Someone shoves the old woman into the oven. End of flash.)Warrick: Looks like she may have been slammed into her own oven.Nick: Yep.David Phillips: She's been dead at least twelvehours.(Camera zooms in toward something behind her ear.)Nick: I've got a substance on her ... right ear. She doesn't really look like the hair gel type.(Warrick snaps photos.)Nick: Hang on a second, fellas. Look atthat.(Nick reaches in and takes out the woman's bottom teeth.)Nick: Her dentures ... they were in upside down.(Very strange.)[SCENE_BREAK][INT. CSI - HALLWAY - DAY](Grissom finds Greg in the hallway.)Grissom:Hey. You're coming with me. We got another 419 out by Nellis.Greg: Wow, busy night. Any details?Grissom: They tell me it tastes just like chicken.[SCENE_BREAK][EXT. MANNLEIGH CHICKEN -- DAY](Grissom andGreg walk past the officers as they head for the warehouse. Outside, there are moveable cages filled with chickens.)[INT. MANNLEIGH CHICKEN -WAREHOUSE - DAY](The plant is quiet. Grissom and Greg walk insideand meet up with Brass, who waits by the body. The body is in the basin in some water.)Brass: The dead guy in the bath is Raymundo Suarez. He works the night shift. He cleans the equipment from 8:00 p.m. to 4:00a.m. The day-shift guys came in, found him like this. The foreman here called it in.Grissom: This basin is designed to transfer an electrical current.Plant Foreman: Of course it does. It's a stun bath. We use it to stun thechickens before they go into the next room.Brass: Where they get their throats cut.Plant Foreman: Which is why we electrocute them first. It's humane.Greg: Was the current on when you found the body?PlantForeman: No, sir, it was off; it stays off all night. Hey, uh, how long is this gonna take?Brass: As long as it takes.Plant Foreman: I got a lot of birds piling up outside. They're gonna die out there in that heat.Brass: Well,it's not like they're gonna do any better in here. Come on, I want to talk to your crew.(Brass leads the plant foreman out of the area. Grissom looks up at the equipment.)Greg: Maybe he was high. Passes out and fallsin?Grissom: How does he end up face down in the middle of the bath?Greg: Kind of tough to drown in three inches of water.Grissom: Not impossible, though.(Quick flash of: Raymundo Suarez is face down in the water.He seizes and shakes from the electrocution.)Grissom: (V.O.) If he hit the water when the current was on, his muscles could've contracted, making it impossible for him to get out.(Someone comes and turns the switchoff.)Greg: (V.O.) But the machine's off at night, and it was off when they found the body.(End of flash.)Greg: Which means someone turned it off after he was dead.Grissom: Yeah. (beat) Who?[SCENE_BREAK][EXT.MANNLEIGH CHICKEN - DAY](Outside, the workers are being interviewed by officers. The chickens continue to sit in their cages.)(Brass interviews Ernie Dell.)Brass: All right, what's your name, and what do you dohere?Ernie Dell: Name's Ernie Dell. Maintenance man. I work 3:00 to 11:00.Brass: Mm-hmm. You see the victim last night?Ernie Dell: Uh, yeah, and Raymundo was just fine when I left.Brass: You and Raymundo getalong?Ernie Dell: Kept my nose out of his business; he kept his out of mine. Didn't have a problem with him.Brass: But you know somebody who did?Ernie Dell: Well, between you and me, the guy you ought to betalking to is Ike Mannleigh.Brass: Oh. You mean the guy who owns the company?Ernie Dell: Well, Raymundo's pretty far down on the pecking order.Brass: You think the big boss had a problem with him?Ernie Dell: No.Not unless you think a guy banging your wife is a problem.(Quick flash of: Raymundo and Mrs. Mannleigh kiss and undress among the clucking chickens. Ernie Dell sees them from behind the chicken cages. End offlash.)Ernie Dell: Can't blame him, though. Bubbles Mannleigh is a cheap whore.Brass: Did you and Bubbles take a tumble?Ernie Dell: Me? Nah. Reminds me too much of my mother. Besides, uh ... Bubbles likes thedark meat.[INT. MANNLEIGH CHICKEN -WAREHOUSE - DAY](Greg snaps photos of the body and surrounding areas while Grissom looks around.)(Grissom kneels in front of the electrical switch and moves it alittle.)(Greg finds something. He snaps a photo and picks up a used condom.)Greg: Unappetizing place to get your rocks off.Grissom: Not if you have a poultry fetish.(Grissom looks around and finds something. Heheads over to a box tucked away in the corner. Greg glances up at him.)Greg: You got something?Grissom: Yeah, I think so.(Grissom opens the box and finds a miniature plant replica complete with dead bodyinside.)Grissom: One more chance.WHITE FLASH TO:[INT. MINIATURE PLANT](Camera swoops around the plant basin and dead body face-down inside.)[SCENE_BREAK][INT. CSI - LAYOUT ROOM - DAY](TOP VIEWDOWN: One by one, the camera moves across the miniatures lined up on the table. First the most recent miniature of the Mannleigh Chicken Plant, then the Penny Garden room.)INSERT: SCENE FROM 7X07: POSTMORTEM(Someone smashes Penny Garden into the window. She falls on the glass and dies.)(Cut to: Grissom moves the pillow on the chair aside and finds the image of a doll on the pillow.)BACK TO SCENE.(Thecamera continues to move to the first diorama found of Izzy Delancy's kitchen.)INSERT: SCENE OF 7X02: BUILT TO KILL (2)(Someone comes up behind Izzy Delancy and hits him on the back of his head.)(Cut to:Grissom picks up the framed photo of Izzy carrying his baby. Behind the frame is a partial image of a doll.)BACK TO SCENE.[CU: PHOTOS](Pan over a XCU photo of the doll, then on the image of the doll on thepillow.)(Grissom turns around from the board full of photos of various views of the dioramas. He puts his glasses on and picks up the scope. He puts one end in the latest diorama and the other end up against hiseye.)SCOPE VIEW: Grissom looks through the diorama, covering a lot of ground. He sees the door and an image in one of the door's windows.(Grissom peels off the image and looks at it under a magnifying glass. Hesmiles. It's of a red-haired doll on the ground - partially on the grass and on concrete with blood spatter under the head.)Sara: (o.s.) You look like a kid who's just found the prize at the bottom of a Cracker Jacksbox.(Sara walks in the room.)Grissom: Definitely some kind of doll.Sara: It sure is.(Grissom turns around and indicates the other doll photos on the board.)Grissom: Three different views of the same dead doll. Maybethis is more than a signature. Maybe there's something these victims have in common.Sara: First two victims were white, third Hispanic, two men, one woman, one rich, two poor, one young, two old, one famous, twoobscure ...Grissom: Yeah.(He picks up a blurry photo.)Grissom: And unfortunately, this is the best lead we have for their killer.INSERT: SCENE FROM 7X07: POST-MORTEM. The killer delivers the box on the frontporch.(Sara takes the blurry photo.)Sara: This is the most that Archie could get off that video?Grissom: Yeah, well, with the equipment we have here.Sara: I'm getting Raymundo's cell phone records. I'm gonna see ifany of his calls are a match to the numbers that Penny Garden and Izzy Delancy had in common.Grissom: Whatever happened with that number we got off the disposable cell phone? Any luck with that?Sara: Disposablephone numbers are assigned by the carrier to the phone distributors. It took a little bit of legwork, but I did find the store where the phone was sold.Grissom: Let me guess. It was paid for with cash.Sara: Yeah. (Sarasees the information on the bottom of the photo.) Mannleigh Chickens.Grissom: What about it?(She picks up the file folder.)Sara: I'll let you know.(She heads for the door. Grissom looks at her. She looks back.)Sara:See how it feels?(Sara suppresses a smile and leaves Grissom there.)[SCENE_BREAK][INT. CSI - FORENSIC AUTOPSY - DAY](There are three bodies on exam tables. Catherine waits while Doc Robbins signs DavidPhillips' clipboard.)David Phillips: You know, we're getting kind of backed up in here.Robbins: The only one I hear complaining about it is you.(He gives the clipboard back to David. David leaves.)Robbins: Your cementlady's approximately 40 to 45 years old. COD is exsanguination due to laceration of the right ventricle. Wound seven centimeters long, five millimeters wide.Catherine: That looks like it could be a double-edged blade.It's pretty thick, too.Robbins: Well, it passed into the heart--(Quick CGI flash of: A blade pierces the heart and it bleeds out.)Robbins: (V.O.) with a, uh, point of entry midline just below the xiphoid process.(End of CGIflash.)Catherine: Upward thrust.Robbins: I just said that.Catherine: Okay. Any idea what the weapon might have been?Robbins: If I knew, I would've told you. I got to get to work. Taxpayers are getting their money'sworth tonight.(Robbins steps away to the next body. We hold on Catherine.)[SCENE_BREAK][CAMERA](Max holds the identification plate as his photo is taken. There is no ID number or name on the board.IDNO.DATELAS VEGAS POLICE DEPARTMENT. )(The camera flashes.)(Max blinks and turns to the side. The camera flashes again.)(Max steps out of camera frame.)[SCENE_BREAK][INT. POLICE DEPARTMENT -INTERVIEW ROOM - DAY](An officer leads Max into the room. Catherine dips his hands into a bowl)Catherine: Thank you.Max: Tingles.Catherine: You take them out, he puts them back in.Max: What is it?Catherine: It'sacetic acid.Max: Do you do feet? I got a bunion that could use some soaking.(Catherine takes his hands out and towel dries them.)Max: What's this do?Catherine: Takes your fingerprints.Max: Mmm.(She puts his handson the box.)Max: Good luck with that.(Brass walks in.)Brass: How's Mr. Hoffa?Max: Hey, Jim. Cathy and I are just getting reacquainted. Will Gilbert be stopping by?Brass: I take it we don't have a name yet.Catherine:No.Brass: I bet you ten bucks that I have you made by 9:00 p.m.Max: You're on.[SCENE_BREAK][EXT. OUTSIDE IVANOVNA APARTMENT -- DAY](Nick and Warrick step out of the apartment. Nick is on the phone.)Nick:(to phone) Okay, Hodges. What do you got?Hodges: (from phone) The green trace on your old lady.INTERCUT WITH:[INT. CSI - HALLWAY - DAY](Hodges walks through the hallway with the results while talking on thephone with Nick.)Hodges: Adipic acid, disodium phosphate, sodium citrate, fumaric acid, Yellow #5, Blue #1, BHA, a whole lot of gelatin, and sugar.Nick: Which is?Hodges: Oh, come on. There's always room for it.Nick:Just tell me what it is, Hodges.Hodges: Jell-O. Lime Jell-O.Nick: Lime Jell-O?Hodges: I tell you what. You tell me why.(Hodges hangs up.)[SCENE_BREAK][XCU: GREEN JELL-O](Through the green Jell-Osludge on thefloor, ants crawl all over it.)CAMERA ZOOMS OUT on the ant-infested green spot on the floor.[EXT. OUTSIDE IVANOVNA APARTMENT -- DAY](Warrick looks down and notices the green Jell-O spot on the ground. Hetakes his camera out and follows the trail of ants and Jell-O.)(He takes a photo.)VARIOUS DISSOLVES OF:(Warrick and Nick follow the trail. Warrick snaps photos and Nick puts down evidence markers.)(Dissolve to:Nick hands Warrick evidence marker 8. He puts it on the ground and snaps photos.)(Dissolve to: FAR SHOT. Nick and Warrick continue following the trail to the end of the floor.)(Dissolve to: Nick and Warrick follow thetrail to the next building.)(Dissolve to: Nick puts down evidence marker #39. Warrick snaps photos. Warrick puts the next evidence marker #16 down in front of the door.)(They look at the apartment door.)[INT.APARTMENT - DAY](The door bursts open. An officer and Sofia quickly check the apartment.)Sofia: Clear.(Warrick puts his gun away. He and Nick enter the apartment. He sees another spot of green Jell-O on thefloor.)Officer: (o.s.) Clear.(Warrick snaps photos of the Jell-O spots. Nick points them out as they head toward the kitchen.)(They enter the kitchen and see the smears on the floor.)Nick: Oh, boy. Looks like somebodycleaned up in a hurry. More green Jell-O.(Warrick continues to snap photos. Nick takes out a swab.)Warrick: Sofia, you get a tenant's name for this apartment?Sofia: According to the management office, thisapartment's a sublet, has been for years. He's not seen who lives here.(Nick tests the swab.)Nick: I got blood, too.(Warrick looks out the window.)Warrick: This place has a direct view of the old lady's apartment.(Sofiaand Nick join Warrick and look out the window as well.)Warrick: So, what, the guy's killing the old lady, --(Quick flash of: VIEW ON WINDOW. The curtains are closed and all we see are the shadows behind them. Theman on the other side pushes the curtain aside and looks out.)Warrick: (V.O.) -- he sees he's being watched, and he, what, comes back here and whacks the witness?(End of flash.)Nick: It's possible. But why get rid ofthis body and leave the old lady?[SCENE_BREAK][INT. CSI - A/V LAB -- DAY](Grissom and Sara are watching an IZZY DELANCY ad.)Izzy: (from video) Hi. I'm Izzy Delancy. And back in my bad old days, I'd do almostanything to sell albums.(The caption on the bottom of the ad runs: PLEASE DONATE! - 1-800-555-0199 -LITTLE CREATURES GREAT & SMALL - WE NEED YOUR HELP! )Izzy: (from video) People even accused me ofbiting the heads off live chickens on stage. I'm not proud of that. But I've worked hard to change. And with the help of the good Lord, fourteen years of therapy and two loving wives, I humbly believe I've madeprogress. But this story is not about Izzy Delancy. It's about something much, much bigger: cruelty. Did you know that every day in the United States, more chickens are killed than all the people in the Rwandangenocide? Now, you may argue, \"Izzy, African people are not a food source.\" Well, you're missing the point entirely. Cruelty is cruelty, whether the victim be a chicken or a malnourished African.(Sara pauses thead.)Grissom: Where did you find this?Sara: I like animals, and after the Delancy murder, I brushed up on my history. As it turns out, three years ago, Izzy Delancy had a midlife awakening and became an animal rightsactivist. He starred in and financed this PSA targeting Mannleigh Chickens as the epitome of everything that is wrong in the slaughter industry.(Sara continues the ad. This time, it's for MANNLEIGH CHICKEN. Thecaption on screen reads: MANNLEIGH CHICKEN TV COMMERCIAL.)Ike Mannleigh: (from ad) It takes a manly man to make a Mannleigh chicken.(On screen, Ike Mannleigh leans forward and crows like a rooster. Thecaption reads: IKE MANNLEIGH, C.E.O.)(The ad continues.)Izzy Delancy: (from ad) Now, perhaps you've purchased Mannleigh Roasters, Fryers or Assorted Parts at your local grocery store, and you believe you'reeating chicken. But what you're really eating is cruelty. Our undercover investigators secretly recorded workers at a Mannleigh processing plant throwing loose animals up against the wall, stomping up and down onthem, kicking them across the room.(Sara pauses the ad.)Grissom: How bad did Mannleigh get hurt by this?Sara: His sales dropped 60%. He launched a very expensive PR campaign to rehabilitate his image, includingretrofitting a plant with cruelty-free equipment. His business never recovered. He probably hated Delancy.(Grissom nods.)[SCENE_BREAK][INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY](Brass talks with Ike"}
+{"doc_id":"doc_102","qid":"","text":"Narrator: America's top ghost hunters relive their most extreme assignments.(Woman screams)This house is beyond haunted.Narrator: Hardened veterans of the paranormal, these are the cases that truly tested them.There was a evil presence in that house.Woman: Oh (bleep) what the hell?Man: Dude, I got goose bumps. It's in here.Narrator: In Colorado, a ghost causes havoc at a restaurant before turning its fury at the owner. Wefelt genuinely physically threatened.(Screams)Narrator: In Massachusetts, an investigator is forced to confront his own worst fear.It was a horrific nightmare.(Woman screaming)Narrator: And in the great lakes, animaginary friend turns out to be something much more sinister...Luke? ...And puts a boy in grave danger. Nothing is sacred. That's scary.Narrator: Some 30 miles northeast of Denver, Colorado, lies the small town offort Lupton. One of the town's most popular restaurants is wholly Stromboli, the passion project of owner Melissa Rickman. Wholly Stromboli's been a dream of mine since I was about 20. Just for years, it's all I couldthink about. I daydreamed about it. So when I got laid off from corporate America, my husband said, \"well, why don't you do it?\"Narrator: The restaurant opens in 2010, and not long afterwards, mysterious andconfusing things start to occur. I would walk in for the morning, set down my coffee, turn off the alarm. Come back, and my coffee was gone. And I thought, \"oh, I left it in the car.\" Then, go out, and it's not in the car,so come back, and... There's the coffee. Wow. Okay. There's no logical explanation for that. There's -- there's none.Narrator: The activity soon intensifies. Thank you so much.(Child giggles)Oh, my god! An apparition ofa little girl starts appearing in the restaurant. I hadn't had any experience prior to this with ghosts, but it's not my imagination. No, no, no, no, no.(Child giggling)Narrator: And soon, there would be no doubts.Rickman:I walked into the kitchen to talk to the sauté chef, and every pan comes just flying off the shelf.(Woman screams)And with such force. It was just foom! -- right on the floor. Oh, my god! Like, \"holy cow.\" The chef, shewas terrified.(Women screaming)It's scary.Narrator: Fearing for the safety of her staff and customers, Melissa contacts a group of paranormal investigators.Estep: Melissa called me out of her mind with worry. Shewanted to get to the bottom of some of the activity that was going on there. She wanted to be able to tell her staff that they had no reason to be afraid.Narrator: Richard Estep has spent over 20 years researchingclaims of ghostly activity.Estep: I've learned that 90% of claims of the paranormal have no grounding, so it's very easy to say that you don't believe in ghosts and you may never encounter one. But at some point inyour life, statistically, there's a chance that you will, and at that point, it's going to make you change your entire world view.Narrator: Melissa's experiences convince Richard to look into her case.Estep: I was satisfiedthat there was enough evidence there to merit us going on site at wholly Stromboli. Something clearly is going on.Narrator: First, Richard looks into the history of the property that houses the restaurant.Estep: Thebuilding was built in the early 1900s and owned by a local businessman named Edgar St. John.(Girl coughing)And he had a daughter named Julia who tragically is said to have died at the age of 7 ofpneumonia.(Coughing continues)Narrator: Could this be the little girl that haunts the dining room and is responsible for all the activity in the restaurant?Richard assembles his team and heads to fort Lupton to findout.Estep: Most of the activity, it's in the basement, which is where the voices have been heard. And that's where I want to direct my investigation. The sounds, the echoes, and the acoustics are very, very creepy andspooky. Even I am starting to feel that there is an oppressive atmosphere down in this basement. Melissa is the focus of a lot of the activity here, so we wanted Melissa with us.Narrator: Also present is Richard'sco-investigator, Robbin Daidone. I've been a paranormal investigator almost 18 years, so I've had a lot of experience. Pretty seasoned. I don't think there's much I haven't seen. There was definitely a sense when westarted the investigation that there was something present, perhaps. There was a feeling of being watched.(Girl laughing)Narrator: They don't have to wait long before their feelings are vindicated.(Girl laughing)Estep:The voice of a young girl is heard.This is a voice that's laughing out of the darkness.(Girl laughing)Oh, my god. And then we started to see equipment after equipment fail. We have EMF meters, thermometers, Geigercounter failing. We had several sets of cameras fail. Batteries were reading dead. And this is classic in the paranormal field. One set of batteries fails? oh, that's a shame. Twice? huh. That's kind of odd. Three times?There is something in here that is taking this juice and is using it for its own purposes. I was a little on edge. Melissa looked a little nervous. There was definitely a feeling in the air like this may be a time for somethingto occur.Narrator: Gaining an energy, the activity intensifies to become physical. Something just touched me. I saw that! I saw her hood get tugged. It was like physically somebody tugged her hoodie, but, you know,there was nobody there. Something just pulled my jacket! Something just pulled me. That sent a different kind of chill through the investigative team. So now you start looking out of the corner of your eye, you startlooking at every shadow with a renewed level of suspicion.(Tapping)We hear the sound of footsteps on the floor above, which would be the restaurant floor, coming down through our ceiling in thebasement.(Tapping)(Tapping continues)They're childlike footsteps running across the floor.Narrator: Richard leads the team upstairs, hoping to catch a glimpse of the little-girl ghost, Julia. But when they arrive, they'reshocked by what they see.Estep: This is a solid shadow figure. I've heard about them all my career. I'm seeing it. It's incredible. Genuinely taken aback. Suddenly, I see this shadow figure. I'm stunned.Rickman:Disbelief. Disbelief and \"oh, my gosh. I can't believe we just saw that.\"Narrator: The encounter forces Richard into a troubling realization. The ghost of Julia is not the only entity haunting the restaurant. Who knowswhat it is, and who knows what its intentions are?Narrator: Believing the shadow has moved to the basement, the team heads back downstairs.Rickman: Immediately, people were a little bit apprehensive. There'sdefinitely a creep factor.Estep: We start asking questions, very respectfully, \"we invite any spirit that might be present to make its presence known, to talk with us.\" If there's someone here, please present yourself.Who are you?! Are you attached to Melissa?!Narrator: The entity doesn't want to talk. It has other, more sinister plans. I started to feel pressure in my chest, just like heavy, weighted down. Oh, god. Oh, mygod.(Groans)Narrator: In a haunted restaurant in Colorado...Something just pulled my jacket! ...Paranormal investigator Richard Estep and his team have encountered an entity in the basement. Oh, god. Now ownerMelissa Rickman is overwhelmed by a sinister force. I started to feel pressure in my chest, just like heavy, weighted down. Oh, god. Um, and I can't really explain why, but suddenly, I began to cry, sobbing, just sobbinguncontrollably, just the most sad feeling I've ever had.(Crying)Daidone: I was mostly concerned for her emotional well-being.I could see that she was emotionally frayed. She was just one big bundle ofnerves.(Sobbing)And then that emotion transformed into anger. And suddenly, Melissa is getting very, very aggressive.(Growling)Melissa becomes someone else. (Breathing heavily) Melissa! During that time, I felttruly angry. I was -- I was pissed, and I couldn't -- I couldn't tell you why. And every time she said something, I retorted, although I didn't feel like it was me.Estep: So, as a paramedic for 14 years in emergencymedical services, I've seen a number of psychotic episodes. This wasn't that. This was something that presented very, very differently and had a very different vibe to it. You shut up, you (bleep) (bleep)(Growls)I wasfeeling threatened. It wasn't like I was choosing to say things. It just felt like they were just coming out of my mouth. And I felt horrible. I said some things to her that I would never say. I was terrified. I was reallyscared.Narrator: Richard is beginning to fear that Melissa is becoming possessed. We know that it's not Melissa herself that's doing this. We know that there is something that is goading her on, that is provoking her tothis type of behavior. It felt like all of the emotion in my body just welled up and exploded. And then I heard Robbin say, \"her fists are clenched.\" She's saying, \"I want to hurt you, and I want to hurt you bad.\" And, ofcourse, I'm becoming concerned. I'm watching her for any sudden movement. She's only a foot or two away from me. I am gonna kill you! And Melissa was getting ready to attack.(Melissa screaming)It's completelyunpredictable. It's completely out of character, and that adds an element of danger to our investigation, and we had to very quickly break that up.(Screaming)This is the first case my team has worked on where we feltgenuinely physically threatened by somebody present on the scene. Very concerning, absolutely. Absolutely. So, we actually decide that we're going to wrap up the investigation earlier than we ordinarily would and helpcoax her back to normal.Narrator: As soon as she leaves the basement, Melissa is released from the entity's grasp. I don't remember saying half the things I said. I don't. I would've told you that that wasn't me. Whenwords are just flying out of your mouth and you don't know why, it's pretty unnerving. My assessment of wholly Stromboli is that they have multiple entities there. We have one that appears to be a little girl. We havethis older male shadow figure. It's difficult to tell what the purpose is of whatever is haunting the restaurant. Is it simply seeking attention, or is there something darker and more sinister?Narrator: To protect her fromfurther attacks, they perform a blessing on Melissa. Out! out, demon! Begone! Whatever possessed her seems to have been removed. But the spirit of the little girl remains. Our line cooks still hear a little girl eithergiggling and playing or crying in the basement.(Girl giggling)I don't mind sharing the space with the tenants of the past. The building wouldn't be there if it weren't for them, so if they want to hang out, I'm all right withthat.Narrator: But Richard worries that the negative entity may yet return. Right now I'm content to just monitor and watch and wait for Melissa to call me if things should take a turn for the worse again. I'm notentirely sure yet, but I do know that the last chapter in the story of the wholly Stromboli haunting has not yet been written.Narrator: Coming up, when a child's imaginary friend turns out to be something much moresinister...(Boy screaming)...An investigator has to call in backup to save the boy. It was definitely demon-induced.(Speaking in tongues)Narrator: But first, when a young family is tormented by paranormal activity, oneinvestigator is forced to confront his worst fears.Something was gonna grab me.(Woman screaming)Narrator: The historic town of Medway, Massachusetts, is home to Greg and Lyla Pierson.Their lives should be full ofjoy and happiness after celebrating the birth of their first child. But recently, troubling things have started to happen.(Baby crying)They hear a child's voice coming through the baby monitor when their child is withthem. When the Piersons go to investigate... The baby's room is completely empty.(Baby crying)After establishing that they're not just picking up interference from a neighbor's baby monitor, they start to worry theirchild could be in danger and contact a paranormal investigator. Joe Cetrone is the founder of dark hauntings research and has been investigating the supernatural for over 15 years. He knows firsthand what it's like tobe haunted by a child's spirit.Cetrone: I recall when I was younger, was laying in my bed, a child ghost came up to my bed and just kind of walked toward me, and it just stared at me. Its face was pale. Eyes wereblack.(Child screams)After that, I was never the same, and ever since then, I've had a phobia of child spirits.(Child screaming)So when I received the e-mail from the Pierson family, it immediately sends a shiverthrough me.Narrator: If Joe agrees to help the Piersons, he will have to face his greatest fear.Cetrone: I don't want to know that if I refuse the case, maybe that child is gonna go on being terrorized by something. Iknow how that feels.(Child screams)It, uh -- it was gonna be an experience for me, but I was willing to take that chance.Narrator: Joe heads to Medway to begin the investigation.Cetrone: When I first arrived,everything appeared to be normal from the outside. Now the question was, what was happening inside?(Baby crying)(Knock on door)I first walked in the house. Everything was fine. Nothing unusual. I didn't feelanything. But at that point, I figured it was best to just proceed with an assessment and a walk-through. Ended up in the child's room. It was a regular, normal room -- Stuffed animals, toys, crib, everything in place. Iwasn't sensing anything at all.Narrator: Joe begins to think there's a more rational cause for the strange activity.Cetrone: There's many explanations as to a voice coming over a baby monitor, picking up differentfrequencies everywhere. Checked it, see if there was any short in the wire or something to just give me an indication that maybe there's a plausible reason why a voice is coming through that monitor, but I couldn't findanything.Narrator: Relieved he hasn't an encountered a child spirit, Joe tells the family he can find no trace of anything paranormal in the house. But that's when things changed.(Tapping)Narrator: In Massachusetts, ayoung family is being tormented by a child spirit.Investigator Joe Cetrone has agreed to help, despite his own fears. I've had a phobia of child spirits.Narrator: Now the activity has escalated.(Tapping)Cetrone: Out ofnowhere, I hear this sound of something walking upstairs.(Tapping)And it sounded like little feet walking across. Really quick. We all looked up. I was like, \"did you hear that?\" I was totally, like, \"what is going onhere?\"(Tapping continues)Then I hear a sound coming out of the baby monitor.(Child talking)We heard a child speaking through the baby monitor. But the only thing, it was -- it wasn't their child. I see the light... And Ijust see it turn off. Something turned that baby monitor off. I knew there was something happening. It definitely was creepy. It struck me and -- and brought me that fear. Took me back to when I wasyounger.[SCENE_BREAK]Boy: No! not again! It just made my skin crawl. I'm battling two things -- The fact that this family is dealing with something coming over that monitor. Simultaneously, I'm also dealing with myfears, just the fact that it might a child spirit.Boy: No! not again!Narrator: Forced to confront his own demons, Joe is rocked to the very core. But he refuses to abandon the Piersons and calls for immediatebackup.Cetrone: At that point, I had my investigator come to the case with me. He said could I come down. Right away I could sense fear in his voice. There's something that he doesn't want to deal withalone.Narrator: Steve sets up his camera in the baby's room. As I was filming the room, I sensed that darkness, that -- that feeling of something's going on, and I could feel something electric in the room.Narrator:While Steve is upstairs, Joe heads into the basement.Cetrone: I set the camera up, turned it on. And that's when I felt a sense that there was something there.(Tapping)I hear the footsteps going across. I startedfeeling that something was gonna grab me. I don't know if it was just because of my phobias. I just kept seeing a child's face. Just that frightening image. I was scared. I felt it was playing tricks with me, a game ofhide-and-seek. And at that point, I knew that it was following me. That fear escalated. That was, like, the first time that I got spooked by something I couldn't see or verify.(Child screams)(Breathing heavily)I knew itwas getting to me. I was afraid of it.Narrator: Rattled, Joe radios Steve for help. I heard Joe yell my name, \"Steve, come here!\" And I felt that urgency. I could hear it in his voice. All right. Be there in asecond.Narrator: Almost immediately, the spirit focuses its attention on Steve. Right when I turned to go walk towards the stairs, I had the chills.Narrator: On a case in Massachusetts, investigator Joe Cetrone is beingtormented by his own deepest fear, a child spirit. I felt it was playing tricks with me.Narrator: Now the entity is turning its focus on fellow investigator Steve pate.Pate: As I started heading towards Joe, there was astuffed animal, a giraffe. But I didn't think anything of it. Right when I turned to go walk towards the stairs... It came flying right at me. It flew off the shelf, hit my head. I had the chills. I could feelit.[SCENE_BREAK]I've watched a million horror movies, but that, to happen to you in real life, it's freaky. That was it. It freaked me right out.Narrator: Worried about provoking the spirit further, Joe and Steve leave thehouse to figure out what they're dealing with and how to get rid of it.Cetrone: I reviewed all the evidence that we possibly could. There were no orbs, there were no EVPS, there was nothing strange. Other than whathad happened to us while we were there and in real-time, there was no evidence that I can gather.Narrator: When Joe returns the next day, Lyla Pierson has some chilling news.(Baby crying)She's spoken with aneighbor who told her that a young boy who lived in the house years ago tragically drowned.Cetrone: Based upon my research, if a child died prematurely or a tragic accident happened, sometimes that energy, thatresidual, leftover energy, that child may not be ready to move on.(Baby crying)A lot of time, they'll cling to their home, they'll cling to something that resembled its family, whether it was a mom or another child. And Istarted to realize, that spirit of that boy was there to watch over that child, to be part of a family. I think the child spirit wanted to stay in the house. It's like with the stuffed animal. The child didn't want me to lea-- Wasletting me know he wanted to be part of that family.Narrator: Joe offers to cleanse the house, but Lyla refuses.Cetrone: She had sympathy. Her whole thoughts of it being threatening or anything dangerous to herself orher child just went away, and she says, \"you know, I'm okay. I feel validated by everything.\"Narrator: She sees the spirit not as a threat but as a guardian angel watching over her child. She was welcoming it in, andshe was okay with it.Narrator: The experience also has a profound effect on Joe. I think, for me, it did bring a little healing. I was always fearful of child spirits, but not every situation that comes up is always evil innature or negative. And when a child-spirit case comes up again, at least I know I can go into it in a different way and not have those fears that I had. Yeah, it did that for me.Narrator: Imaginary friends are usually aninnocent part of growing up. But sometimes they turn out to be something else, something evil that can threaten to take over the child completely. The quiet suburban neighborhood of Burlington, Ontario. It should bean idyllic place to grow up. But in one house, Karen Baines has become worried about her son.Luke: No! Luke? I didn't do that.(Speaking indistinctly)Luke, who are you talking to? It begins when Luke becomesobsessed with a mysterious imaginary friend that he refuses to talk about. In the basement, the family starts hearing strange footsteps and whispering voices.(Door creaking)Then Luke is beset by terrifyingnightmares.Luke: Mom! What's wrong? My door's doing it. He says there's something evil out to get him. Luke? Luke? Desperate and terrified for the safety of her child, Karen reaches out to a paranormal investigator.She was panicked, she was anxious, and she wanted us in as soon as we could get there.Narrator: Michelle Desrochers has been actively investigating ghosts since 2004. A founding member of Canada's most haunted,Michelle is a veteran of over 50 cases. What I've learned about the paranormal is that things are never what they seem to be. You never really know what you're getting yourself into.Narrator: Michelle needs nopersuasion to take on this investigation.Desrochers: This case was very personal to me. This was home base. This happened in my city of Burlington, literally one major street away from me.Narrator: As soon asMichelle enters the house, she senses evil.Desrochers: I felt something's not right. I felt anxious. Everything in my fiber was telling me that there was something a lot more malevolent in that house than just an"}
+{"doc_id":"doc_103","qid":"","text":"UNDERWORLDBY: BOB BAKER AND DAVE MARTINPart FourRunning time: 22:53[SCENE_BREAK]JACKSON: Cover him!TALA: Captain.JACKSON: Go on, Tala. Forward, Tala.JACKSON: Withdraw!JACKSON: Come on, pull!There we are.[SCENE_BREAK]DOCTOR: Quickly now. Stay calm. Everybody stay quite calm. Calm. K9, back to the ship. Check all the systems. We're leaving in a hurry.K9: Affirmative.DOCTOR: There must be anotherway back to the Oracle. Jackson? Jackson, can you and the crew hold them off?JACKSON: We'll certainly mount an attack, Doctor.DOCTOR: Good. Leela?LEELA: Hmm?DOCTOR: You come with me.LEELA: I'm staying tofight.DOCTOR: You'll come with me. Idas, you too. Have you got a sword?IDMON: Take care, son. Take care.DOCTOR: Jackson. Right, Jackson.JACKSON: Ready. Now![SCENE_BREAK]JACKSON: Forward.RASK:Security. They're driving us back.DOCTOR: This way.LEELA: No.DOCTOR: What?LEELA: Something's there.DOCTOR: What?DOCTOR: Where does that lead?IDAS: I don't know.[SCENE_BREAK]RASK (OOV.): They aretoo strong for us! I need reinforcements.TARN: Hold them. You must hold them.LAKH: I order you to stand and fight. We must protect the Oracle.RASK (OOV.): But Master, we cannot hold for very muchLAKH: Noexcuses! Stand and fight.HERRICK: There's no stopping us now. A hundred thousand years of searching, General. There's no stopping us now. I smell victory.ANKH: Wait. Let us consider which is more important, theOracle or these cylinders.LAKH: The Oracle.ANKH: Then should we not give them what they want and let them depart?LAKH: But what they want does not exist.ANKH: The Oracle will know. Why should we destroy eachother?LAKH: Very well.ANKH: These cylinders you speak of, tell us what they look like. If they are indeed here, you shall have them and take them to your comrades.HERRICK: You would set me free?ANKH:Yes.HERRICK: Well, there are two of them. Solid gold, stamped with the mark of Minyos, the length of a man's hand.ANKH: Good.LAKH: Tell Rask to arrange a truce.[SCENE_BREAK]LEELA: Doctor, we're here.Look.[SCENE_BREAK]ANKH: The intruders are defeating us. They will destroy us, destroy you, unless they are given these cylinders.ORACLE: Then shall not they be destroyed by that which they so desperatelydesire?ANKH: Can it be done?ORACLE: Cannot all things be done?[SCENE_BREAK]LEELA: They have given up without a fight.DOCTOR: Yes, it certainly seems like it.LEELA: Why?DOCTOR: I don't know.DOCTOR: Let'stake a look.[SCENE_BREAK]JACKSON: No return of fire. What's going on?ORFE: There are two of them.JACKSON: No, wait. Could be a trick. Be ready.RASK: I have been ordered to speak with you.JACKSON:Surrender?RASK: Truce.JACKSON: On what terms?RASK: The terms are that you take what you came for and depart, leaving us to our way. If not, your comrade will be executed.JACKSON: What comrade? Herrick isdead.RASK: You think so, Captain?HERRICK: I got them. The Quest is over. The Quest is over.HERRICK: The Quest is over.JACKSON: At last.[SCENE_BREAK]DOCTOR: Stay here.ORACLE: What is it that youwant?DOCTOR: The cylinders. The race bank of the Minyans.ORACLE: Have they not been given?DOCTOR: Well, that's what I'm asking.ORACLE: Who are you to dare question my word?DOCTOR: Well, who do I have tobe to dare question your word? I'll give you a clue, shall I? If it wasn't for my people, you wouldn't have seen the light of day.ORACLE: People? What people?DOCTOR: The ones the Minyans call the gods.ORACLE: Gods?There are no gods but me. Have I not created myself? Do I not rule? Am I not all-powerful?DOCTOR: Well, yes, here you are, yes, but nowhere else. You're just another machine with megalomania. Another insaneobject, another self-aggrandising artefact. You're nothing. Nothing but a mass of superheated junk with delusions of grandeur.ORACLE: Nothing? Am I not the keeper of the race bank?DOCTOR: What did yousay?ORACLE: I am the keeper.DOCTOR: Ah ha! Then you've still got them.ORACLE: I am the keeper.DOCTOR: Keeper? You're nothing but a box, and I've got the key. (to Idas) Give me that.ORACLE: Destroy!Destroy!ORACLE: No! Destroy!LEELA: Doctor, they're coming. Come on!ORACLE: Destroy!LEELA: Doctor, leave it! Come on!ORACLE: Destroy!LEELA: Doctor, hurry! Come on now!ORACLE: Destroy him!LEELA: Hurry,Doctor!DOCTOR: Almost there.LEELA: Hurry, they're coming.ORACLE: Destroy him!LEELA: Doctor!ORACLE: Destroy! Destroy! Destroy! Destroy! Destroy him!DOCTOR: No hard feelings.LEELA: Come on!ORACLE:Destroy him!ANKH: After them. They must not meet the others.[SCENE_BREAK]LEELA: Which way? Which way?DOCTOR: They know this place better than we do.IDAS: The tunnels! Through there. They'll never find usthrough there.[SCENE_BREAK]TARN: They've reached tunnel seven, Master.ANKH: Good. Close it down and collapse it.[SCENE_BREAK]IDAS: Quickly, through here. This was formed by the last skyfall. We should besafe in here.LEELA: Safe?LEELA: What are you doing?DOCTOR: I'm just wondering what they've given Jackson.[SCENE_BREAK]JACKSON: The Quest is over. Set course for Minyos Two. K9, how do we stand forlaunch?K9: Fuel absorption incomplete.TALA: We've enough to get away, but it'll be a slow journey.HERRICK: I say we go.ORFE: We've got what we came for.JACKSON: Right, prepare to launch.K9: Negative.JACKSON:What?K9: Personnel incomplete. Doctor and the mistress not on board.JACKSON: Find them. Tell them we're going. Now!K9: Affirmative.[SCENE_BREAK]IDAS: We're trapped. Don't you understand, Doctor? We'retrapped.LEELA: Yes, we're going to be here for ever.DOCTOR: No. They'll come and dig us out.LEELA: Who?DOCTOR: Well, whoever it was buried us.LEELA: Why should they bother?DOCTOR: Because we've gotsomething it wants. The Oracle, remember?[SCENE_BREAK]ANKH: The cylinders must be replaced. Order a party of slaves to tunnel seven.TARN: And the bodies of the intruders, Master?ANKH: Into thecrusher.[SCENE_BREAK]TALA: Five, four, three, two, one.ORFE: Secondary check complete.JACKSON: Third and final check. Commence countdown. Come on, Doctor, come on.ORFE: Forty tolaunch.[SCENE_BREAK]DOCTOR: What kept you, K9?K9: Gratitude is unnecessary. Speed is vital.[SCENE_BREAK]ORFE: Ten, nineJACKSON: Run up on drive.ORFE: Eight.TALA: Drive running.ORFE: Seven,six.JACKSON: Pressurise.ORFE: Five, four, three, twoJACKSON: Prepare to blast out.ORFE: One.DOCTOR (OOV.): Stop![SCENE_BREAK]DOCTOR: Here are your race banks.JACKSON: (coming down the stairs) Thenwhat are those?DOCTOR: That's what I intend to find out.DOCTOR: K9, what do you make of these?K9: Analysis indicates fission grenades.DOCTOR: What?K9: Do not proceed. Impossible to defuse. Explosive contentsin excess of two thousand megatons.DOCTOR: Two thousand megatons?JACKSON: How much time have we got?DOCTOR: I don't know.JACKSON: What are we going to do?DOCTOR: I think I'd better get rid of them,don't you?K9: Affirmative.LEELA: Doctor, wait![SCENE_BREAK]LEELA: Which way did he go?IDAS: I don't know.LEELA: He may have need of us. We'll try this way.[SCENE_BREAK]ORACLE: Why? Why have they notbeen found?ANKH: The slaves are digging.ORACLE: Shall they not be found? Are they not my purpose?LAKH: They shall be found. It shall be done.[SCENE_BREAK]IDAS: It's no good. We've lost him.LEELA: Comeon.[SCENE_BREAK]DOCTOR: Excuse me, I'm a stranger here myself. Could you direct me to the Oracle?RASK: Guards! I'll take those, Doctor.DOCTOR: What, those? I wouldn't if I were you. They won't do youanyRASK: Give them here. You, take care of him. And make sure you finish him off this time. Then bring this lot back to the Citadel.DOCTOR: You're making a terrible mistake. Those are the wrong ones.RASK: You cando better than that, Doctor.DOCTOR: Ah, well, er.DOCTOR: Look, getting rid of me isn't going to solve anything. Those cylinders were bombs. Why don't we just wait a few minutes and then we can all go together,hmm?LEELA: Doctor! Doctor, are you all right?DOCTOR: Yes, yes, I think so. Come on, let's get out of here. We've got no time. Tell them they've got no time.IDAS: Listen to me! The prophecy's being fulfilled. Our godhas come to save us. We can escape to the stars. Hurry!LEELA: We must hurry!IDAS: Yes, come on, come on.LEELA: Come on![SCENE_BREAK]TARN: You have found them. Well done, Rask. Quickly.ANKH: They havebeen found.ORACLE: Replace them, quickly.ORACLE: They must never leave my keeping again.[SCENE_BREAK]DOCTOR: Quiet! Quiet, everyone. Come on, here.DOCTOR: Now listen to me. I want you to stay calm, andwhen I say, go quickly but quietly. Ready? Take this little one. Off you go now. Come on. Come on.[SCENE_BREAK]DOCTOR: Come on, come on. Plenty of room for everyone. Everything's going to be all right. All right,all right.JACKSON: What's going on? Get off, all of you. Off the ship! Get out!DOCTOR: What are you doing? Never mind that!JACKSON: What are you doing? We can't take all these people!DOCTOR: No! Comeon.JACKSON: We can't. We're too low on fuel.DOCTOR: This planet's going to explode.JACKSON: Then get them off. Get off!DOCTOR: Why?JACKSON: I must safeguard the race bank.DOCTOR: Why?JACKSON: Why?The future of our people.DOCTOR: Listen, Jackson. This is your people. This is your race. Descendents of the people who came on the P7E.JACKSON: But we can't take the extra weight.DOCTOR: Look this planet isgoing to explode, Jackson. Your only hope is to go, and go now. Go, Jackson, go!DOCTOR: Right. Sit down, everybody. Sit down. Now, stay very calm.[SCENE_BREAK]HERRICK: Outer section sealed.JACKSON: Run upon drive.TALA: Drive running.JACKSON: Pressurise.ORFE: Check.JACKSON: Prepare to blast out.[SCENE_BREAK]DOCTOR: Get down. Right down, right down.[SCENE_BREAK]TARN: They've cleared the surface. Notlong now and they'll all be blown to bits.[SCENE_BREAK]ORACLE: These are not the cylinders! Get rid of them or we shall all be destroyed.ANKH: Where?ORACLE: Get rid of them! Get rid of them!ANKH: But where?There's no time.ORACLE: Get rid of them! Get rid of them!ANKH: We can't.ORACLE: Then defuse them!ANKH: How?[SCENE_BREAK]JACKSON: More power!TALA: I'm trying.ORFE: We're falling back.JACKSON: Morepower!TALA: There is no more.ORFE: The planet's gravity's pulling us back, sir.DOCTOR: Everything all right, Jackson?TALA: We don't have enough power to reach escape velocity.JACKSON: You know why, don't you,Doctor? It's the extra weight, isn't it, Doctor.DOCTOR: Oh, come on, Jackson, be brave. Sit down.[SCENE_BREAK]ANKH: It is not possible.ORACLE: Why? Why?LAKH: You made it so.ORACLE: Then I have failed in myduty, and deserve destruction.[SCENE_BREAK]DOCTOR: There she goes. If you wanted power, Jackson, get ready to ride out the blast.ORFE: We made it!JACKSON: Speed?TALA: Four sevenths light.JACKSON:Course?ORFE: One two zero, sir.JACKSON: How long to Minyos Two?HERRICK: Three hundred and seventy years, sir. That's nothing, is it?JACKSON: Doctor!DOCTOR: Yes?JACKSON: Aren't you coming with us to MinyosTwo?DOCTOR: No, no, no time. I'm very busy. Goodbye, Jason.ORFE: Goodbye.HERRICK: Goodbye![SCENE_BREAK]LEELA: Doctor?DOCTOR: Hmm?LEELA: Why did you call him Jason?DOCTOR: Who?LEELA:Jackson.DOCTOR: What? I called Jackson Jason?LEELA: Yes. Is Jackson Jason?DOCTOR: No, Jackson isn't Jason.LEELA: Well, is Jason Jackson?DOCTOR: No, no, no. Jason was another captain on a long quest.LEELA: Idon't understand.DOCTOR: Ah. He was looking for the Golden Fleece.LEELA: Did he find it?DOCTOR: Yes, yes. He found it hanging on a tree at the end of the world. Perhaps those myths are not just old stories of thepast, you see, but prophecies of the future. Who know? What do you think, K9?K9: Negative.DOCTOR: What did he say?LEELA: Negative.DOCTOR: Negative? Can he paint? Hmm? Negative.LEELA: Negative."}
+{"doc_id":"doc_104","qid":"","text":"Degrassi Community School(Toby and JT are heading in.)Toby: 28 hours, 14 minutes, 7 seconds. 28 hours, 14 minutes...JT: Would you stop with the countdown please?Toby: Sure, you've got Parents' Day in thebag.JT: What? Ok, you Einstein. Me, brain-dead.Toby: I mean, your parents aren't homesuidal maniacs.JT: I thought Kate and Jeff were getting along great.Toby: I'm not talking about Kate.JT: Whoa. Your mom'scoming tomorrow? Oh, man. I should sell tickets. Remember that time at camp when they both came to pick you up?Toby: Don't remind me.JT: Can't you just ask your mom not to come?Toby: Sure, if I want to start anuclear custody war.JT: Maybe they won't start screaming this time.Toby: Yeah. Maybe Mr. Armstrong will your parents about the \"D\" on your last math test.JT: How much time do we have left?Toby: 28 hours, 13minutes, and 17 seconds. 28 hours, 13 minutes, and 16 seconds. 28 hours, 13 minutes, and 15 seconds.HallToby: The way it works now is perfect. Every other weekend with my mom, the rest of the time with my dad.And as long as they don't have to talk to each other, everything's fine.JT: Sorry, man. I didn't know it was that serious.Toby: Yeah, well, it is that serious.JT: Hey, we could contaminate the water foundations with E coli,that way they'd have to shut down the school, right?Toby: There probably is E coli in the foundations.Mr. S: (as he's taking a drink) Actually, we test our water on a daily basis, boys. It's fine.(Bell rings.)Mr. Simpson'shomeroomMr. S: Ok guys, quiet down. (JT and Toby come in behind him) We don't have Ashley today, but we do have this week's News About Kids broadcast.Emma: Uh, NAK again.Mr. S: Em? Something you wannashare?Emma: No, Mr. Simpson. (She sits down)(Mr. Simpson turns on the tv. The NAK people appear on screen.)Ryan: Hi, I'm Ryan, and this is Nicole. And welcome to NAK: News About Kids. Today we'll be talkingabout that infests major cities everywhereNicole: And we're not talking cockroaches, we're talking squeegee kids.Ryan: Stalking street corners, waiting to pounce on un suspecting cars. (Shows footage as he talks).Hijacking your hard-earned cash to waste on drugs and tattoos. (Shows Emma watching.)Nicole: Are squeegee kids legit or lazy? Are they using their \"cool\" trend for today's media saturated youth?Mr. S: Rememberguys, you're here for media studies after lunch.(The students leave for class.)Manny: Em, it was just a TV show.Liberty: Squeegee kids are very annoying.Emma: No, squeegee kids are poor. They live on the street andwash windows. It's their living.Liberty: My father says that if another one of those ragamuffins tries to dirty up his window, he'll call the mayor. He knows the mayor.(Liberty walks away.)Emma: Last week NAK told usto join the army. What's tomorrow? A hole in the O-Zone is good because it makes a better tan? Imagine being a squeegee kid. Out in the cold, no school, no parents.Toby: No parents?Emma: Toby this isn't a joke.(Starts to walk backwards, so she bumps into Sean.)Manny: He stared right at you.Emma: Yeah, because I bumped right into him.Girls' Washroom(Ashley is at the mirror looking at her face. Paige and Terri comein.)Paige: Oh, here we go again.Ashley: Here we go what again?Paige: Every time NAK claims your airspace, you go all manic-depressive.Ashley: That is so not true. I just- look at this zit!Terri: That's a pore and Paigehas a point.Ashley: Terri...Terri: I don't get why you gets so bothered. Everybody loves your morning announcements. Even Heather Sinclair said you were better than those lame-o NAK hosts.Paige: Oh, yeah, bigaccomplishment. They're total freaks.Terri: Heather even has an agent. You could totally get an agent.Paige: Heather Sinclair has an agent? With that overbite?Terri: See? Ashley's got the look and tv experience. It'sperfect.Paige: Where would Ashley find an agent?Ashley: Guys, Toby is mom's a casting agent. Terri, you rock!(Ashley and Terri leave the bathroom. Paige stays behind to wash her hands. She is nothappy.)OutsideToby: JT, come on. We've got to come up with an anti-parents plan.JT: What does it look like I'm doing?Toby: Uh, playing the seeds for a massive heart attack?JT: To plot evil, I need energy (Ashley +Terri come up to them)Ashley: Hey. Just the person I was looking for. Your mom's a casting agent, right?Toby: Yeah, so?Terri: So, is she coming to Parents' Day?Toby: Thank you, for reminding me.Ashley: Is that ayes?Toby: Yeah, why?Ashley: No reason.(They walk away.)JT: What was that about?Toby: I have no idea.(They go to a table where Manny and Emma are.)Manny: It's not like people really think about it.Emma: That'sthe thing. They don't us to think. They want us to become brain-dead NAK robots.Toby: What's with her?Manny: NAK rage, kind of like road rage.Emma: And the announcements? They have commercials. They're tryingto buy our bran loyalty in homeroom.JT: Emma, who are you talking to?Emma: I could talk, or I could take action.(Emma leaves.)JT: Imagine being her for a day.Hall(Spinner is walking and talking with Paige.)Spinner:Ok, so then the guy goes, \"What are you going to do for a face when the monkey wants its butt back?\" (He laughs, but she doesn't.) What? You don't get it? The guy has a face like a monkey's butt?Paige: Spinner, doyou think Ashley's prettier than me?Spinner: What?Paige: Because she's thinking about getting an agent (they sit down).Spinner: Oh, Ashley's getting an agent? I could totally see her on TV.Paige: What? And youcouldn't see me?Spinner: I didn't say that.Paige: So you think that I could get an agent too, right?Spinner: Uh, yeah. Sure, why not? Ok, back to my joke. So then the guy goes...wait, is that the right word? Yeah, no,yeah, yeah. So, then the guy goes... (While he's talking, Paige isn't listening)Mr. Raditch's OfficeEmma: Mr. Raditch, could I talk to you about this morning's NAK broadcast?Mr. R: I'm all ears.Emma: NAK is totally bias.This morning they tell us squeegee kids suck, and then they tell us which running shoes to buy? It's wrong.Mr. R: How you seen the new computers in the Media Immersion lab? 18 computers thanks to NAK. Inexchange, we show their morning broadcasts.Emma: Whatever they want to report?(Mr. R nods.)Emma: But that's bribery.Mr. R: No, it's 18 new computers we wouldn't have otherwise. Parents voted for it. Andremember, not everyone at Degrassi has a computer at home. But, if you feel strongly about it, write an opinion piece. Make sure you get it in by 4:00. Make the Parents' Day addition.Emma: 4:00 today?Mr. R: Thinkyou can do it?(The bell rings. Emma nods as she leaves.)Hall(Ashley and Terri are leaving class.)Ashley: So, I signed us up for the welcoming committee, Teri. Which means, I'll be the first person Toby's mothersees.Terri: Great.Paige: Unless she sees me first.Ashley: What?Paige: Well, I am helping out tomorrow.Ashley: Since when?Paige: Ashley, you asked me like, 3 weeks ago to volunteer, remember? Anyway, see you twolater.Media Immersion.Manny: I can't believe the principal is asking you to do this. You're like, attacking the school.Emma: I know. It's very cool.(They go to sit down, but Sean's stuff is in a seat.)Manny: I'llstand.(Emma nods and sits down.)Emma: Ok, so let's try to imagine. You're a squeegee kid.Manny: Ok. I'm a squeegee kid.Emma: So how does it feel being compared to a cockroach?Manny: I'd say, \"Hey, preppy kids.Get off my case. We're people, too.\"Sean: Oh, please.Emma: Could... We need the chair.(Sean gets up and leaves.)Emma: Talk about negative energy.Another part of Media ImmersionToby: Emma's right. I couldwhine or I could do something about Parents' Day.JT: Ok, so, what are you going to do?Toby: Convince my parents there's no need to show up. Ok, I downloaded the logo from the Degrassi website. Then, I scanned Mr.Simpson's signature from the last newsletter he sent home. It's a masterpiece.JT: Masterpiece or insanity. OK, your parents don't have to come because of your exemplary performance in all of your scholastic pursuits.What?Toby: Translation: I'm acing school. It's all in the details, my friend. This'll work. It has to. Hall(Emma is running to the newspaper office to hand in her story.)Emma: (knocks on the door) Liberty, my NAKeditorial. I just finished.Liberty: (checking her watch) You're 17 minutes late.Emma: I'm sorry.Liberty: The Grapevine deadline is 4 P.M. I'm trying to run a professional operation.Emma: Even professional newspapersgive extensions. It's 17 minutes.Liberty: I suppose I could make an exception for you. But, please try not to get used to it. Remember, as editor, I'm only as strong as my weakest link.(Emma gives her the disk andleaves.)Kerwin House(Toby is in the kitchen with his dad.)Toby: I was shocked more than anyone. Who knew I was doing so well? You know, this transfer to Degrassi has really...Jeff: \"Uplifted Toby's grade classificationto a premium standard.\" Interesting choice of words from Mr. Simpson.Toby: Well, you know, he's a computer guy. Writing isn't really his thing.Jeff: Neither is spelling. Two E's in premium. What's going on?Toby:Nothing's going on.Jeff: You don't want me to go to Parents' Day?Toby: I didn't say that.Jeff: You didn't need to. Are you doing that badly in school or what? Talk to me Toby.Toby: Mom called, ok? She wants to gotomorrow.Jeff: And she didn't even tell me. That is so typical of your mother.Toby: See? You guys can't even be in the same room without freaking out.Jeff: Toby. We're on much better terms now. It's not like it used tobe. So, what you don't want to go?Toby: I want you to go and I want her to go. I just don't want the two of you to go there... together.Jeff: Hey, come on buddy. Everything's going to be fine. No fights. Promise. (Holdsup his hand)Degrassi's Parents' Day(As parents head inside, the camera closes up on a sign that says \"Welcome Parents to D.S.C Parents Day\".)[SCENE_BREAK]Girls Washroom.(Ashley and Terri are in there. Ashley istrying to put on eyeliner.)Ashley: Look at me. I'm shaking. You do it. (Gives it to Terri, but Terri pokes her in the eye) Ow! Be careful. It's my eye. It's what I see with.Terri: Sorry. I'm not good at this.Paige: Ladies.(She comes out a stall wearing a yellow sparkly top that's very short)Ashley: What are you wearing?Paige: It's Parents Day. I have the right to look fabulous, don't I?Ashley: For who, the parents? Or Toby'smom?Paige: See you out there.(Paige leaves, then Ashley and Terri follow.)Hall(Toby and Jeff are waiting for Toby's mom.)Toby: Guess she forgot.Jeff: You know your mother. We'll give her two more minutes. Hey,tobs, it'll be fine.Ashley: Mrs. Demcowski? Room 102.Man: Thank you.(Toby's mom comes up to them.)Terri: Hi, can I help you?Ashley: Uh, Terri, this is Toby's mom, the casting agent. Welcome to Degrassi, Ms.Issacs.Annemarie: Hi.Paige: Can I just say that that is a great outfit? So avante garde.Annemarie: Thank you. Wholt Rentthrough. On Sale.Toby: Hi, mom.Annemarie: Hey, tiger. I'm sorry I'm late.Jeff: Annemarie. Flattire?Annemarie: I could Toby that I might beheld up at work. Parents Day isn't over already, is it?Jeff: No, no. We'd better get moving though.Paige: Paige Michalchuk. It's very nice to meet you. I've heard so muchabout you.Ashley: Smooth, Michalchuk. I bet you're on the next flight to Hollywood.Paige: Hon, I'd re-think the eyeliner. You're looking a little washed out.Media Immersion.(Toby and his parents are in there, meetingwith Mr. Simpson.)Mr. S: Uh, there's no doubt Toby is a bright kid, but, uh, he has trouble with details, particularly his spelling, some of the basic points of grammar. This tends to bring down his marks. For example, inMedia Immersion, Toby could be at the top of his class if he just applied himself.Toby: \"Apply\" is such a relative term.Mr. S: Toby, come on. Your last media assignment was 3 days late. He's just not getting the resultshe should for someone so bright.Annemarie: 3 days late?Jeff: First I've heard of it. Toby?Annemarie: Jeff, I'm talking to you. This is Parents Day. You're the parent.Jeff: We're both the parents here and we'll discuss itlater, ok?Annemarie: We will discuss it now. Why aren't you helping Toby get his work in on time? Why is he under achieving?Jeff: Toby and I will work it out. Thanks for bringing it to our attention.HallSpike: I am soproud of you. Rave review after rave review.Emma: Mom, my editorial.(Tracker and Sean come out of a room.)Tracker: So you have to watch this video every morning? Free computers are free computers, man. Whatidiot wrote this?Emma: Excuse me, I wrote that.Tracker: Oh, sorry.Emma: Don't look at her. It's my piece and I'm right. Students shouldn't be force fed advertising while we're at school. If you don't get it, you're theidiot.Spike: Emma...Sean: Look, it's not that serious.Emma: What? Expressing my opinion isn't important?Sean: That's all my brother's trying to do.Emma: I could tell, and he's wrong.Tracker: I'm wrong? Tell meEmma, is it fair or is it wrong that Sean here is falling behind in school because we can't afford a computer?Emma: He can do his homework here.Tracker: What? Yeah, on the free computers.Emma: If you read theentire article, you would know...Tracker: That it's a piece of garbage.Emma: It is not garbage!Tracker: (crumples it up) Looks like garbage to me. Smells like garbage.Sean: Tracker, man...Tracker: All I'm saying isthere is two sides to every story. Try to remember that next time.(Tracker and Sean leave.)Media Immersion.Mr. S: It was only once, but still, skipping a class even once at this grade level.Annemarie: What is going onhere?Toby: One class. I got carried away in the computer lab.Annemarie: I thought moving in with you and June Clever was supposed to be good for Toby's grades, wasn't that the point?Jeff: What are yousaying?Toby: Dad, come on.Annemarie: I'm saying that maybe we need to reassess Toby's living arrangements.Jeff: Don't threaten me.Annemarie: Hey that's your game.Jeff: What? And breaking commitments isyours? That's why Toby lives with me.Mr. S: Mr. and Mrs. Issacs. These are common problems for many students.Annemarie: So it's my fault? Jeff, let's not get into the reasons why I left, ok?Jeff: Reasons why youleft? There's only one reason, Annemarie. Your career. Your career that meant so much more to you than we ever did. That's why Toby lives with me and he'll never....Toby: Mom! Dad! Yeah, my assignment was late!Who's to blame? Video games! I'm telling you, they're destroying my generation.Annemarie: Toby, this isn't a joke.Toby: I'm not joking, ok? I don't have an excuse, but Dad can't do my homework for me or make sureI go to class. It's my life, right? So, it's my problem. Stop blaming each other and then using me as another excuse to argue. It's not fair. I'll try harder. I promise.Mr. S: Moving on. All right then. Let's take a look atsome of the recent test results. HallAshley: Hey. How did it go in there?Jeff: Oh, it went okay. Toby just has to apply himself more.Annemarie: Yeah, we're gonna make sure he does his homework on time. But, it wentokay.Paige: Toby, hon, that's so great.Annemarie: Honey, listen. I've gotta run.Toby: Gotta get back to work, huh?Annemarie: Yeah. But, hey, listen. Your message came in loud and clear back there. Toby, I'm reallysorry. All this stuff between your dad and me, it's tough.Toby: I know.Annemarie: I love you so much. (They hug) Ashley, you have my permission to keep this monkey in line.Ashley: Oh, I will. Don't you worry. And itwas a pleasure to see you again. An absolute joy. By the way-Paige: (gives Annemarie a picture of herself) Something to remember me by.(Annemarie sees Terri and gives Terri her card.)Annemarie: If you'reinterested in acting, give me a call. You have an interesting look.(Toby's mom leaves. Paige isn't happy that Terri got the card.)Classroom(Sean is in there doing work. Emma comes in. He moves his stuff so she can sitdown. Emma sends Sean a message apologizing about what happened on Parents Day. The computer tells him he has a new message. He opens it and reads it.)Sean: I'm sorry too.Emma: I'm a little outspoken. It runsin the family.Sean: Maybe it's contagious. Did you hear my brother?Emma: \"Looks like garbage.\"Sean: \"Smells like garbage.\" It wasn't garbage.Emma: Thanks.Hall(Toby is walking when Mr. Simpson comes up tohim.)Mr. S: Toby. Can I speak with you for a minute? Listen, yesterday....Toby: I just want to apologize again for my parents' behavior.Mr. S: Oh, Toby, it wasn't your fault. Are they always like that?Toby: Only whenthey're together. Honestly Mr. Simpson, yesterday was good. It cleared a lot of air.Mr. S: I'm glad. Oh, listen, before I forget, next time you want to forge my signature, maybe you should spell my name correctly, anderase the file from the server.Toby: Mr. Simpson, I can explain.Mr. S: Good, why don't you start with a 10 page essay on why it's wrong to falsify documents, say by, um, tomorrow morning. And you know what? Onefinal thing. Good work yesterday. Your parents should be proud of you. I certainly was."}
+{"doc_id":"doc_105","qid":"","text":"You call it madness but I call it loveDerek: Shhh, shhh.Lucas: I guess I have my answerDerek: I can't believe he actually left. I would never give up on you that easily, you hear me ? Our love is forever.Nathan: So,when you took your boot off, was it all ... ?Haley: Ohhh, it was like Teen Wolf. Seriously I got to use three razor blades.Nathan: Nice. I'm proud of you Hales. My girl went strong to be rehap by prom.Haley: Yeah. Wellat least everything will be perfect tonight.Nathan: Ohhh we gotta stop saying that !Whitey: When did the chaperon's been prettier than the prom queen ?Dan: Thanks, but I'm with someone !Karen: Oh, hi Whitey. Youlook handsome.Whitey: Thank you.Karen: I'd better get to see if Principal Turner needs anything.Whitey: What the hell are you doing ?Dan: I'm making the rest of you guys look bad.Whitey: Years ago I watched youscrew up Karen's life. I'm not gonna allow history to repeat itself.Dan: And yet you've been trying to make that tux work since the seventies.Whitey: I'll be watching you Danny.Nathan: I think, I think the [...] snapped.Maybe it's the, the thingamajig.Haley: Can i please call Lucas now ?Nathan: Yeah.Haley: Ugh, I have no signal.Nathan: Oh great ! Well, there's a convenient store about a mile up ahead, I'll just walk there and call for aride I guess, you can stay.Haley: No, thank you, a pregnant girl in a prom dress with a broken down car is how urban legends get started I'm coming with you.Nathan: What about your leg ?Haley: It'll be a good testcome on !The Clerk: This is the final boarding call for flight 121, service to New Orleans.Derek: Oh good, good, you're awake. I'm sorry about the sedative but there were just so many last minute details. I missed youPeyton, so much. Oh God, I missed that smell ! You're probably wondering how I got out of jail. Miss Sawyer ? Detective Wilcox here. We just call and let you know we have your stalker in custody. Yeah ? You know I'vehad a lot of time to think about what went wrong with us last time. A girl like you needs romance. I get that now. So that's why you and I are gonna have our own private prom, just the two of us.GENERICBrooke:Hey.Lucas: Hey, I'm so sorry to hear about your dress. I had no idea.Brooke: It's ok I got most of it off now and when you blacklight me it just says 'who'.Lucas: Oh.Brooke: So, where is she anyway ?Lucas: I went overto her house to pick her up and she won't even open the door. I guess she's not coming.Brooke: Hey, I need to leave for a little while.Mouth: Sure, where are we going? Right, take it easy on the turns. My grandpa Mel[...] the suspension.Brooke: Ok. Hey I'll be back in time for my coronation .Mouth: Are they still voting for Prom Queen?Brooke: Yeah but, it's really just a formality.Derek: You know, the hardest part about the night webroke up, it wasn't your betrayal, it wasn't even falling out of a second story window, no. The hardest part was losing my photos and now I have to start it all over. Smile Peyton.Peyton:ARGHHHHHHHHHHHHHHHHHHH!Nathan: Thanks for picking us up mom.Deb: Just think I couldn't have done this a month ago, maybe, I just would have spent a lot more time on the sidewalk! Oh, pretend I'm nothere.Nathan: Sorry. This isn't exactly how I wanted to start our romantic prom night.Haley: It's ok, you know after everything we've been through in the past year, your mom taking us to prom feels prettygood.Nathan: Kinda like we're kids again?Haley: Yeah. You know maybe tonight we don't have to be married and pregnant, we can just be teenagers.Nathan: Well in that case, what's you curfew?Derek: Lucas!Peyton:You've reached Peyton's voicemail. Congratulations.Lucas: Hey Peyton, this isn't right. You're the one I wanna be with tonight, prom and all ... so call me ok? Please.Principal Turner: Miss Gatina! You know that you'renot allowed on school grounds?Rachel: What are you gonna do expel me?Principal Turner: Don't make me call the police.Rachel: Fine. All right, I've got a limo, and a fully stuffed mini bar, who's with me? This schoolsucks.Mouth: Rachel, wait. I'm coming with you.Rachel: What about Brooke?Mouth: If she were here she'd do the same thing, it's what friends do.Rachel: See you Turner! Oh, expect a call from my lawyer about thesexual harassment.Principal Turner: She's kiddingDan: Relax Turner. You need a drink and in fact I confiscated this flask from one of your students. Gimme a minute Karen.Derek: It's time for our first dance. This songis special. I made it from your podcasts. I hope you see now how much thought I put into tonight. It's why I couldn't have you going to prom with Lucas. And afterwards, giving yourself to him. I couldn't allow thatPeyton, you belong to me. We're gonna have the perfect prom, and afterwards we're gonna go up to your bedroom, and have the perfect prom night. Well another tex from Lucas, let's see what it says. Ohhh, I'm sosorry, please talk to me, prom sucks without you. Let's reply: sorry, running late, wait for me. Hugs and kisses. Is that emoticon too much you think? Ohhh, what the hell, semi-colon and close parentheses.Lucas: Hey,Glenda you look great!Glenda: Thank you! So I guess I'm not the only one alone at prom. Maybe Lucas Scott really is a Goth at heart.Lucas: ugh, Peyton is on the way, finally! But you know, I could use company untilshe gets here.Glenda: Good, cause I could use someone help me pretend I'm above of those prom stuff.Lucas: Ok.Nathan: Hey, good news. Nobody's using the DW not I car tonight so it's all ours.Haley: Sweet!Nathan:You're ready to dance?Haley: Definitely. Definitely not! I think I failed the test.Nathan: Ok. Sit down. It's alright.Haley: no, it's not ok. Aren't you the guy that always said at some point you just gotta deal with thepain?Nathan: Yeah, well, I'm an idiot. I'm gonna get you some punch ok? Here.Haley: Thank you. Ouhh honey, that ain't punch!Student: Noooot bad huh? Yeah... They [...] my flask when I came in, then I went to planB, so it's all [...]Nathan: You spiked the punch?Student: Dude, it's prom!Nathan: My wife is pregnant, you idiot!Student: Dude, it's prom!Haley: Dude, It's prom.[SCENE_BREAK]Glenda: Hey, you see that guy overthere? He's got the key to a room at the Holiday in, and a box of wine cooling in the mini fridge.Lucas: You do this a lot?Glenda: Helps killing time when you live on the sidelines. Ok it's your turn.Lucas: She's wonderingif she should forgive the guy for being an ass for the last seventeen years.Glenda: Your mom, right?Lucas: Yeah. And daddy.Brooke: Come one Peyton, your car is in the driveway I know you're home! Ok Peyton, yourcurling iron is still on so if you're tryna make it look like you're not here at least make it convincing! Great. Hide in your creepy basement because you know I hate it! Too bad, I'm coming down anyway. Oh myGod.Derek: Well, well, Brooke Davis. One kiss wasn't enough so you came by for a second?Brooke: Get of me!Peyton: Brooke!Mouth: What happened I thought you were leaving tonight?Rachel: My flight got delayed bya few hours. Just enough time to crash the bal.Mouth: Well we hang out and then I take you back at the airport.Rachel: You sure? I mean it's your prom night.Mouth: Yeah but it's your last night! Besides prom justmakes me think about Shelly.Rachel: Alright Mouth, talk to me.Mouth: I can't stop thinking about her. Her eyes, her smile, those little freckles on the small of her back...Rachel: Hang on? The small of her back? Theclean teen gave it up! Nice work!Mouth: Yeah, so nice she never wants to see me again.Rachel: You're welcome to the rest of your life. s*x changes everything.Mouth: You know what, let's not talk about Shelly. This isyou and I what do you wanna do?Rachel: I wanted to deflower you, but I guess I'm too late for that. I wanna do what you wanna do!Mouth: I wanna get Shelly back!Rachel: Except that! Shelly is nuts, and this iscoming from a girl who has seen a lot of nuts!Mouth: I know but, she made me feel dangerous you know? Like I was more than myself.Rachel: Mouth, quit talking about Shelly!Mouth: Yeah, I'm boring you.Rachel: No.you're making me jealous.Glenda: So, when do I get the next chapter of your book? Or is that your strategy? Get me hooked and leave me hanging?Lucas: No, that's not it. The truth is I'm stuck! On the day my uncleKeith died.Glenda: Sure it's hard to revisit that day. But telling the truth about it could help a lot of people, maybe even you.Lucas: You see that's just it, I have trouble with the details, there's a lot of things about thatday I can't remember, I kinda like blocked it up.Glenda: I tell you what, why don't you walk me through the things you can remember? Maybe it'll help to talk it through.Lucas: Alright.Derek: It's a good thing I broughtextra rope.Brooke: Untie me you freak!Derek: It's figures you'd be good with your mouth. Noone is gonna hear you.Brooke & Peyton: HELP!Derek: You know Peyton, you really shouldn't... the music so loud!Brooke &Peyton: HELP US !Haley: This is the weirdest prom ever, no Peyton, no Brooke, no Lucas, no Mouth...Nathan: No rachel.Haley: Good prom!Principal Tuner: Nathan, I need you to drive a student home.Nathan: What doyou mean?Principal Turner: You're the DW not I car don't you?Nathan: Yeah. I guess I do, who is it?Peyton: Why did you come?Brooke: We've been talking about senior prom since we are 8. I knew something waswrong.Peyton: So, you told someone you were coming?Brooke: No... at least I came!Peyton: You should have told somebody!Brooke: That is your problem you are so angry.Peyton: You're an idiot!Brooke: Don't call mean idiot bitch!Peyton: I hope he kills you first.Derek: That's a good idea. I know how much you hate her, Peyton. I was outside today, watching. I heard that you told Brooke that she was dead to you. Now I'm gonnamake it official.Peyton: Derek, wait.Derek; Don't you see, Peyton? I was serching for some way to show you how much I love you. I'm gonna hurt her as much as she hurt you.Peyton: Derek, hey, hey, look at me. Ifyou really, really love me, let me do it. This is my chance to revenge, you, well, you should know that. Look you were right about me, okay? Hey, listen, you were right. We are so much alike. I have all the same feelingsthat you do, and I have all the same desires.Derek: I don't believe you.Peyton: It's true. Hey, I just couldn't admit it before. I'm gonna prove it to you now, okay, just untie me.Derek: You're lying.Peyton: Come onDerek. You got the knife, and I'm half your size! Hey, baby.Derek: You better not be lying.Peyton: I'm not, baby. I promise. (she slaps Brooke) God that felt good!Derek: Do it again.Brooke: Why don't you make it hurtnext time bitch?Peyton: Alright, gimme the knife. I'm gonna finish this bitch off. Gimme the knife!Derek: I don't think I can trust you.Peyton: Let's talk about trust okay. See, you lied to me, you said you were mybrother, didn't you? You went about it everything all wrong Derek. God, you're ... you're such a beautiful boy! All you had to do was ask! Would you gimme the knife, and then when I'm finished with her, we'll goupstairs, ok?Derek: You wanna cut vertically. It's conter intuitive. I know.Peyton: All this time you said I was a backstarving bitch, you have no idea how right you were!Brooke: God you didn't have to hit me sohard.Peyton: I'm sorry, I'm so sorry!Brooke: Peyton, Peyton, he's moving, just get out of here!Peyton: No, I'm not leaving you.Derek: That was so disappointing! You know what? I changed my ming. I think I'll kill youfirst!Brooke: Peyton, run!Derek: Yeah, Peyton, run! You shouldn't have lied Peyton. It's not very nice!Lucas: She told me she loved me. I just figured it was because she lost a lot of blood. But at some level I knew itwas true. I was just too afraid to admit it because, it would've hurt Brooke.Glenda: You ever think maybe that's why you have trouble writing about that day? Maybe you block things out because you're afraid if you facethe truth, it could hurt the other people you love.Student: So, I heard about you and Brooke Davis. Hi 5! I guess that means you guys have like, an open marriage. That is so great!Nathan: Out!Student: What? But myhouse is like a mile...Nathan: Out.Student: That's cool. I'll see you at school.Nathan: You still wanna be a teenager?Haley: Oh my gosh! You know, I used to dream about how wonderful senior prom would be, the lastgreat party with all our friends before we graduate. This night? This is nothing like I predicted.Nathan: Yeah, well you gotta be careful about your predictions.Haley: Baby, the school's back there, where are wegoing?Nathan: It's a surprise.Haley: Okay.Derek: Open the door, Peyton! You already know I could break it down. You forgot to lock it.Peyton: I didn't forget! It doesn't feel so good, does it? I'm not gonna run from youanymore Derek, I'm not gonna run anymore purely now get up!Derek: You've been training.Peyton: It's right, with my real brother. He taught me this! And that is fro making me afraid to sleep, you creepy, and smellyson of a bitch !Derek: Shhhh. You really think you could beat me? A girl?Brooke: How about two girls?Peyton: Brooke get out! Get off !Brooke: Peyton, [...]Peyton: [...]Brooke: Peyton, be careful he's gonna lunge. Theyalways lunge.Derek: Arghhh!Brooke: I'm gonna call 911.Peyton: Brooke wait, gimme five minutes.Brooke: Look about earlier today, you were right. All those things that I said about your mom ...Peyton: No... we bothsaid [...] things today. Besides if you hadn't come right now, i'd be bitching my both mom about you in person. You saved me.Brooke: You saved me too. I guess now it's hoes over psychos.Peyton: Yeah.Brooke: Sowhere do we go from here?Peyton: Prom?Brooke: Ok.Rachel: you know, I lied you when I told you my flight was delayed. The truth is <i wasn't sure I was ready to get on it.Mouth: Why not?Rachel: Because i wantedus to have our last dance.Mouth: Let's have it.Rachel: You're gonna break a lot of hearts Mouth McFadden.Dan: So what do you think? Does this beat our prom?Karen: Oh let's see, the theme for our prom was 'Everyrose has its thorn', yeah.Dan: Thorn, right. I was out at the night i told you I was leaving to take the basketball scholarship. I want you to know that for the past seventeen years, I've been pretending that it was theright choice.Karen: For the last seventeen years, I've been pretending that choice didn't break my heart.Dan: I wanna ask you something, do you think it's impossible for you ever to have feelings for me again, like youonce did ?Karen: No, it's not impossible.Haley: What are we doing here?Nathan: Do you remember the last time i went up here?Haley: Yeah I do, it was when we were separated and I try to forget.Nathan: Well, youshowed me the predictions that you and Lucas make every year on the first day of school. And i made a prediction on my own that night, you remember? Here it is.Haley: Haley and I will be together again bygraduation. Did you really believe that?Nathan: I was in a pretty dark place back then but, I never stopped believing in us. My prediction came true Hales! As far as I'm concerned, that makes this a great night. So, youthink your leg's ready for a dance?Haley: Ohhh, I wish it were but it's still a little stiff. Sorry.Nathan: [...]Haley: Ohhh, it's my lucky night!The clerk: Attention, now flight 243 to New Orleans at gate 6. Attention, nowflight 243 to New Orleans at gate 6.Rachel: It's me.Mouth: Then I guess this is goodbye. I'm really glad you came back tonight Rachel.Rachel: Me too. Hey, you wanna come with me?Mouth: I can't, I'd miss finals, angraduation, it's suicide!Rachel: No, it's just dangerous. It's ok Mouth. See you later.Mouth: Rachel wait. I'm coming with you.Dan: So, it's you.Lucas: What do you mean?Dan: You lost your phone.Lucas: It's not myphone.Dan: Sure?Lucas: Yeah. What's wrong with you? And where's my mom?Dan: She's... I'm sorry, i just... What are you doing here Lucas?Lucas: I guess i just keep feeling like, i keep feeling like Keith's trying to tellme something.Dan: We already had this conversation, son.Lucas: I know, but...Dan: No! Keith's dead, ok? He's not coming back. Open your eyes. Flashback:Keith: Open your eyes Luke. Open your eyes!Lucas:Keith?Keith: Luke, I love you, now go.Peyton: Are you ready for this Brooke Davis?Brooke: Welcome to prom, P Sawyer.Bevin: Attention everyone! Get around the stage. It's time to announce our prom queen. Theenvelope please. Okay, and this year's prom queen: Brooke Davis!"}
+{"doc_id":"doc_106","qid":"","text":"Кога? After breakfast. The lights down so much you can do it yourself. I put `em up there. You have got to learn to mutter quieter, 'cause I heard that. That was the point! What the heck? Dear lord. Sherman? Call thepolice! What is that? Well, sure as sh1t it ain't Santa Claus. Phone's ringin´ Raylan. Thank you, Donny. Donny? It's from Lebowski Netflix it, you can be one of the cool kids. Givens. Deputy Givens, this is Sharon Evans.I do bail bonds in Knoxville. Okay. We met at a law enforcement expo in Miami a few years ago. Want another one? Not of that. Oh, I'm sorry, I remember you. We, uh, had a drink. Several. From my mini-bar. I believeI also remember you polishing off a $20 tin of macadamia nuts. Yes, the most overrated of the nuts. Is that why you're calling? You want me to pay my fair share? No, I like it better you owing me. But this isn't apersonal call, Raylan. I saw you're with the eastern district of Kentucky now. I need a hand up there. You interested?Raylan: I haven't hung up. Jody Adair, 41, charged with double homicide, out on a quarter-millionbail, skipped town two days ago. He's got an ex-wife in Lexington. You put eyes on him, I get Lexington P.D. To haul him in, and I'll make it worth your while.Raylan: Chuckles. Meaning? How about three grand?Raylan:Send me the address and a photograph. All right.[ Cellphones beep ]Raylan: You think you can manage the phones?I'm gonna go out for a bit.Rachel: Where you going?Raylan: Oh, I got a thing.Rachel: Don't getcaught, dude. Anything I should know?Raylan: No. No. Just a major prison break, the countryside's been overrun with fugitives. I got it.[ Knock at the door ]You show up before dawn with a bag of hamburgers? Theyget the toys that way. Come on *** let me in. Heck no. Why not, you've let me in every other time I've come by. No.Raylan: Hey, Sharon. It's Raylan. Yeah, he's here. Listen... Hold up. You dropped something. Pick itup if you want. Asshole.Raylan: Huh? No, not you. Won't let me in? Oh yeah I think you gonna let me in.Raylan: [ Taps window ] You can have the burgers if you want. sh1t! Let's go, out. Mine's bigger than yours. Bigenough to throw a bullet through this door, and you as well. Before I put one through your ear? You think this is the first time I've had a gun pointed at me? No. Could be your last though. I'm guessin' you know who Iam. I can guess who you are, at least which team you play for. All this indicates you're not gonna shoot me. No. *** There you go. Sharon. How much I just bring him in?\u0000 On this lonely road \u0000 \u0000 trying to make ithome \u0000 \u0000 doing it by my lonesome \u0000 \u0000 pissed off, who wants some? \u0000 \u0000 I'm fighting for my soul \u0000 \u0000 God get at your boy \u0000 \u0000 you try to bogart \u0000 \u0000 fall back, I go hard \u0000 \u0000 on this lonely road \u0000 \u0000 trying to makeit home \u0000 \u0000 doing it by my lonesome \u0000 \u0000 pissed off, who wants some? \u0000 \u0000 I see them long, hard times to come \u0000Boyd: So, you really have been saved. By the Lord Almighty and the word of his forgiveness.Boyd:So, what happened? You sit down and start reading the good book? Or was there a human component involved in this soul saving? I got to be honest now, Boyd. A lot of times, the way you say things, I can't make hidenor hair.Boyd: Well, were you saved on your own or in a church, hiram? Church. Last Chance Holiness.Boyd: Well, that's new to me. I don't believe I've ever heard of that collection plate. It's new to Harlan. Well, rightnow it's just a tent in the woods. But preacher Billy... he's the real deal, Boyd... old-school. Been healing lots of the afflicted... Addicts. That's why your Oxy sales have dropped off a cliff, 'cause people getting off drugs,getting hooked on Jesus.Boyd: Well, Hiram, receiving the Lord into your heart is a wonderful thing. But I do have to ask... when did your salvation occur? Last week.Boyd: Well, then, there you go. What we have is aproblem of arithmetics, 'cause you received a shipment of Oxy from us three weeks ago. Now, that gives you two solid weeks of selling before you saw the light. Now, by my count, Hiram, you got at least $10,000 of mymoney. I don't. I stopped selling before then.Boyd: Well, then give me my Oxy back. Can't. I flushed that poison down the shitter.Boyd: Poison? Why, you don't know your scripture. \"He makes wine that gladdens the\"\"hearts of man\"... psalms 104. And what are our goods but modern-day wine, albeit in a pill form? That's just you twisting the word of God for your own dark purposes. Where you going?Boyd: I'm getting away fromthe window.[ Screams ]Boyd: Now, hiram, saved or not, you don't have my money by the time tomorrow night rolls around, the next firecracker's gonna go off in here.[ Crickets chirping ]Hey! Shut that off beforeanyone sees the light. What are you doing? Might as well pull some wire while we're at it. Got to love these old places. $20 copper right here. What is that? Well, let's pull and find out.[ Siren wailing ]sh1t! What do wedo? We run, you dumb sh1t. Hey! I got dogs here! They're gonna rip your face off! Trained them to do it! God damn it![ Sighs ][ Floorboards creaking ]Can't be local, or you'd have identified yourself assuch.[SCENE_BREAK]Maybe you're federal. No bounty hunters allowed in the state of Kentucky.Raylan: If you're gonna keep talking, I'm gonna put you in the trunk. Can I ask you something?Raylan: What's that? Itmean anything to you that I ain't never had no priors?Raylan: Nope. That ain't none of my business. I just came to see my kids. She wouldn't let me see them. Can you fathom that?Raylan: You got kids? Yeah.Raylan:Do you get visitation? Huh?Raylan: Visitation. Sure, just Sundays, and supervised, on account of I ain't have a place suitable for children. One of the reasons I moved on down to Knoxville. I ain't gonna see them. Whystick around?[ Cellphone rings ]Raylan: Hold on.Only reason I'm in this jackpot was trying to get money for my kids.Raylan: Okay, I need you to be quiet now.[ Cellphone beeps ]Hello? Hey, uh, Raylan. Yeah, look, it'sBob. Constable Bob sweeney down in Harlan, yeah. Look, uh, I'm at your daddy's house.Raylan: Well, is it on fire? Only reason I can imagine you calling before dawn. Oh, sh1t. I think my arm's falling asleep.Raylan:Stop talking. Uh, I'm headed up that way. Come on, I'm not gonna stop talking.Raylan: I can stop by there. Hey, look, you gonna have to turn me in unharmed, or you gonna catch some sh1t.Raylan: You don't need todo that. Okay, then.[ Tires screech ]Ow! sh1t! Ow!Raylan: See you there. You know what your problem is? You got no self-awareness. You think trying to do right by your children excuses everything, even killing men.They were heroin dealers. If they'd just give up their money, none of this would have happened.Raylan: Any problem, that's someone else's fault. You ever hear of the saying, \"you run into an asshole in the\" morning,you ran into an asshole. You run into assholes all day, you're the asshole\"?[ Car beeps ]What?Raylan: This could be a little uncomfortable. Just be cool and go with it. I get out of these, I'll tear you to pieces smallenough to flush.[ Rooster crows ][ Knock on door ]Morning, sunshine. Look what I got for my girl. What is it? Well, open it and find out. You do that? With the paper? Watched a video on YouTube. Here. Wait, is it Oxy?No. Better. Not meth. I can't do any more of that. It's not meth. It's mellow. Oh, my God. Is this real? What? No, honey, there ain't no such thing as a million dollar bill. Are you sure? It's from a church. Got somereligious screed on the other side. Some kids were handing them out by the stop 'n go. I thought it was funny, using it as I did.[ Laughs ]Now, I got another surprise for you, but you're gonna have to keep your eyesshut for that one. I can't wait.[ Both laugh ][ Snorts ]Keep them closed. They're closed. All right, now... open![ Growls ][ Screaming ][ Groans ]Look at that... they busted the hinges. Still broke the lock. Would havebeen cheaper to break a window. You should put a sign up... \"You thinking of breaking in,\" please break a window. \"Thank you. The management.\"Raylan: You just happened to be driving by, huh? No, I put a motiondetector in. Sends me a text every time it goes off.Raylan: How much is that costing me? It's in your bill. I'm not hiding it.Raylan: Well, I ain't gonna cover that up with the smell of baking cookies.[ Chuckles ]I'll tell youwhat, though... Those wire-strippers are lucky. If I'd caught them, would have opened a Costco-sized can of whup-ass on them.Raylan: Mm-hmm. I guess I can fix the door. Can you hire someone to handle this? I can.You know, Raylan...Raylan: Hmm? I've been thinking. I'm gonna tell you something I haven't told a whole lot of people.Raylan: About that time you were in high school, living in Florida? How... how'd you knowthat?Raylan: Kid on the football team came at you at shop class. You took him out with a hammer. Ollie kemp. I tell you this before?Raylan: Once during senior year when we were down at the lake. Was Idrunk?Raylan: I think we all were. Then again two months ago when I hired to watch this house.[ Clears throat ]What's that?Raylan: I have not a clue. Ollie kemp... that was the guy. Size of a portable toilet. He comeat me, and I just went berserker red on him. Put him in a coma. He's still in it, as far as I know.Raylan: That's why your family moved to Evarts, if I'm not mistaken. Oh, what is that?Raylan: It's a driver's license. Waldotruth. Yeah, I know it's a joke.Raylan: What's that? Being a constable. You got to run for it. You only get $2,400 a year if you win, so nobody runs for it. Got to have your own car. Got to have your own everything. [Scoffs ] I had to pay for these lights myself.Raylan: $2,400 enough to live on? Well, I get $50 apiece for serving papers. State police got to charge $80, so everyone comes to me. You know, let them keep thinking I'm ajoke. That's what I say. [ Chuckles ] They underestimate me at their peril.Raylan: Just ask Ollie kemp. [ Scoffs ] If he could respond.Raylan: Hmm. Let me tell you something, Raylan. If sh1t gets serious, you give me acall, and I'll grab my go bag and be ready to jump.Raylan: Will do, Bob. You stay frosty.[ Car alarm chirps ]Raylan: All right.Here's the deal. I got to do one more thing. Stay quiet, I'll let you back up front.Ava: It was acostume. I know that now. See, Arnold's a furry. Usually he dresses up in, like, a bunny suit? But this one scared me. Plus I was on drugs, and it was a good costume. He gonna press charges?Ava: He's thejudge/executive. What's he gonna do? Tell everyone he was shot in a whorehouse wearing a bear costume?[ Laughs ]Ava: What the hell were you you doing with a gun?Everybody's got a gun.Ava: Why do you have agun at work? I been hit.Ava: One of these men beats you, you come to me, and I'll take care of it, you hear me? It's not just clients who hit.Ava: Oh, you still griping about that? Case you forget, I also saved your life.Yeah, I killed a man for you. I punched you once. You think that's something, you ain't never been beaten. Look, I know that, Ava. I ain't... I-I ain't forget. It's just sometimes I get real scared... Jittery and... When I'mlow, I just... [ Sighs ] I just feel so low, Ava.Ava: That's why I told you to get off the meth. Yeah.Ava: No coke, either. You can't do the jittery stuff, Ellen may. The comedown off that's worse than anything. Yeah.Ava:What was it Arnold gave you? He wouldn't say. Just that it wasn't... It wasn't Oxy.Ava: [ Sighs ] Well, you know there's gonna be consequences. What kind?Ava: I don't know. I'll talk to Boyd, and we'll figure it out.What is this? It's what Arnold had his drugs in. It's not real.Ava: \"Last chance holiness\" \"church.\"[ Sighs ]Whatever me and Boyd decide, you can't have a gun at work. I know that, Ava. I'm sorry. How's Arlo gettingalong? If you don't mind my asking.Raylan: He's in prison. I know. I was wondering about his mental state.Raylan: Well, like I said, Mike, he's in prison. Raylan, the last time he came in here, he stood over there by thepaints for five minutes. Did not move, just staring. Unnerved the hell out of me.Raylan: Hmm. You know, you see your old man, you say, uh... oh, hell. I have absolutely no idea what you should say to him.Raylan:Well, that's okay, Mike. I don't plan on seeing him. That's a good plan.[ Screws clatter ]You know, I've been told I got a screw loose, but this is just crazy.[SCENE_BREAK]You want one?Raylan: Want one what? A screw.[ Chuckles ]Raylan: How old are you? Old enough.Raylan: I think I got everything I came for. Thank you. Mike, you need a cleanup on aisle whatever. Hey, hold up a sec. I need your opinion. How are these? See, I'm alate bloomer. I didn't get them till just last year.Raylan: Patience is a virtue. Miss, you can't go out this way. Well... [ laughs ]Raylan: Mike, where'd that little girl go? She just flashed me her titties then scooted out theback. Why?Raylan: My car's gone. Oh.Johnny: Well, maybe what hiram told you is true.Ava: Our drug business is being squeezed by some backwoods preacher? [ Chuckles ] I don't buy it.Johnny: Maybe it's becausethe fda, they went and changed the formula for Oxy... makes it harder to get high.Boyd: Our supply's from before the change.Johnny: And they went down and changed the laws in Florida. That hasn't helpedmuch.Ava: You been watching CNN.Johnny: I tell you what I haven't been doing, and that's allowing one of my whores to shoot a customer.Boyd: I'll discuss Ava's failings when it's her turn in the barrel. Right now it'scousin Johnny's time. Now, all your talk of the fda and Florida laws didn't explain why my Oxy sales have dropped off in my voting district. And frankly, I'm nonplussed by your lack of motivation, Johnny, 'cause it ain'tjust my bottom line being affected.Johnny: All right. I'll check it out.[SCENE_BREAK]Ava: I got failings?Boyd: Well, clearly outweighed by your attributes.Ava: Mm.Boyd: How'd you handle Ellen may?Ava: As much astold her wait till daddy got home.Boyd: All right, well, we'll figure something out.Ava: Mm.Boyd: Confined to quarters, bread and water.[ Both laugh ]Who was the John?Ava: Arnold.Boyd: Well, he ain't gonna saynothing to nobody.Ava: Mnh-mnh.Boyd: [ Groans ] No one ever said running a criminal enterprise was gonna be this hard, huh?Ava: They left that part out on career day.Boyd: [ Sighs ]Ava: You want a drpepper?Boyd: Well, is it 10:00, 2:00, or 4:00?Ava: It is 9:21.Boyd: Never too early for a dr pepper.Ava: All right. One dr pepper.[SCENE_BREAK]Thank y. Mm-hmm. Is Boyd in? Who? Boyd crowder. He in? Don't knowanybody by that name.[ Pool balls clacking ]Johnny: Where you from, friend?Little town in Maryland. Bel air. It's the birthplace of John wilkes booth.Johnny: Well, what brings you to Harlan county? Boydcrowder.Johnny: Never heard of him. I knew this guy. He used to work with the military police, and he swore, if you ever ask someone a question like, \"where are you\" \"hiding those drugs?\" You just watch the eyes.More often than not, they'll point to the right direction. Yours, they stayed on the beam. But scooter over here... he just couldn't help himself.Johnny: I, uh... I think your time in this establishment has come to an end. [Chuckles ] I hear you.[SCENE_BREAK]Johnny: Hey! Hey! Hey! Hey!Ava: You need to leave now!Aah! Christ in heaven, you're a beautiful woman.Ava: Jimmy! Boyd! Boyd!Boyd: No! No![ Laughs ]Ava, Johnny, Jim, letme introduce to you, all the way from desert storm, by way of the Iraq and Afghan wars, first sergeant... no. Got knocked down.Boyd: Sergeant Colton rhodes, military police. Now, how many times did you jail my assin Kuwait? I say five. Am I low? Boyd, honestly, I lost count.[ Siren wails ]You call the police?Raylan: I called you. Wait, wait, you... you said \"they\" took your car?Raylan: Girl flashed me her titties. I assume it's not acoincidence. I know that scam. The female acts as a distraction. Her colleague steals the vehicle. It's happening a lot these days.Raylan: [ Sighs ] Pull on me.Raylan: Pull on you? Yeah, make like you're going for yourgun. Pull on me.Raylan: Bob, I really do need to... Raylan, just pull on me, man.Raylan: [ Sighs ][ Exhaling sharply ]Beef stew.Raylan: Wow. Yeah. And I can do it with both hands, too... Still deadly. I apply to the statepolice next year, they gonna take me. That bag back there?Raylan: That's your...? My go bag. Got everything in there in case I need to go.Raylan: Like toilet paper? God damn it, Raylan, not like toilet paper! I got aak-47 with a folding stock, I got body armor I bought off a police auction, I got MREs, I got bottled water. If this sh1t goes road warrior, man, I'm ready. You're gonna come to me.Raylan: [ Chuckles ] All right, let'scheck out the scrapyard first.Raylan: Scrapyard? Why? These metal thieves these days, man, they sell the cars for scrap... crush them, send them off...Raylan: They crush them? Yeah, it's 500 bucks a car.Raylan: Let'sgo, Bob, right now. All right.[ Engine turns over ]You know, it wouldn't...Raylan: I got sh1t in the car I don't want to be crushed. All right, well, you know, I can use my lights. I mean, legally, they don't haveany...Raylan: Use them. Lights going on![ Tires squeal ][ Siren wailing ]Hey! Crusher man! Crusher man! Stop that! Stop the thing! Crusher man! Can I help you? That better not be a late-model Lincoln town car you'recrushing.Raylan: It's not. It's not?Raylan: That's mine right there.[ Car alarm chirps ]Can I help you? Oh. Where are they? Who? The punks who brought this in. I was running the crusher. I didn't see anyone. The carbelong to you, you can take it. I don't mind.Raylan: It's not the car so much as what was inside the trunk I'm concerned about. I don't know anything about that. Are you really gonna play it that way? We all know youscrap stolen cars. What? Don't stonewall me, asshole. Everyone in the county knows. I know you? No, and it's not me you got to worry about, you sorry sack. That right over there is a genuine U.S. marshal.Raylan:Bob. You're a marshal?Raylan: Look, I ain't here on marshals' business. I just want to know about the man in the trunk. Or he can make it federal if you want to. Hell, he'll have a helicopter come down here and hoverfor an hour, freak your sh1t out, son. There ain't nothing federal about scrapping cars. If you are crushing stolen cars, you are destroying vin numbers, and that makes it federal. You had a guy in your trunk? I'm notrequired to ascer... Ohh! [ Chuckling ] That looks federal.Raylan: Where are they? Don't let him see you. You think you're up to killing him if it comes to it? You are? Yeah. You killed a man before? I killed two men.How's that? Oh, yeah? We killed 12 men just yesterday.[ Chuckles ]Week before last I killed two heroin dealers in Knoxville, Tennessee. Now, you get that angle grinder over there, cut my chain, I'll handle this. Why'dyou kill them? Because I had to. We are running out of time here, children. What, are you a junkie? No. I spot junkies, follow them to their dealers, and rob them. Now, either aim that peashooter at that door and pullthe trigger on whoever comes through, or cut my chain. What'll it be? How you spot junkies? I spot bicycle thieves, most bicycle thieves being heroin addicts. It's a fact. Try to avoid flesh. How you spot bicycle thieves?[Tool grinding ]One day, me and my friend Kenneth, we saw a skinny guy go up to an expensive bike... Specialized, giant... got a bag across his chest like he's a messenger, no one giving him a second look. He pulls outa Makita angle grinder, just like the one in your boyfriend's hands there. 20 seconds later, he's through that lock and on his way. Now we just watch the good bikes. Wherever there are rich kids, there are good bikes,junkies looking to grab them, and we follow them. sh1t! That really heats up the steel. Now give me that gun.[ Door opens ]Raylan: Am I interrupting something?I was wondering when you'd walk in.Raylan: Well, youcan stop wondering. I'm here now. Shoot him.Raylan: Jesus, girl, you just showed me your tits 45 minutes ago. Oh, he thinks he's funny. Don't listen to him. Shoot him.Raylan: Miss, I am a deputy U.S. marshal with aone-time offer... do as I say, you and your friend get a free pass for stealing my car. He's lying.Raylan: He's just saying that 'cause he's the one I'm after. I want you, son, up here, on your belly, hands in front. Miss,you're gonna hand me that gun, pistol grip first, right now. Let's go. I'm sorry, Raylan. You should see the sh1t in this bag.Raylan: God damn it, Bob. I asked you to do one thing... Watch him. What the hell happened?He asked me to pull on him. I punched him in the nose. He did it wrong!Raylan: Unh-unh-unh! Okay. I'm gonna make you a similar offer I made these two... Do as I say, and I'll let you skate on the vin numbers. Ain'tas good as his offer.Raylan: What'd he offer?[SCENE_BREAK]Raylan: Jody, you got $10,000 stuck up your ass?Hey, we ain't stupid. It's hidden up in Lexington.Raylan: He's just... you know... All right. Doesn't matter.I'm gonna sweeten the deal. The three of you go free, plus I'll give you whatever I got in my wallet. There's got to be at least $500 in there. Henry, check his wallet. He could be lying about that $500. Give me your"}
+{"doc_id":"doc_107","qid":"","text":"Scene 1: Hall Glee Club - Will and the entire castWill: 5,6,7,8, not one, we walked around, we change leg leg is changed, not one, you, you, you and bam bam bam! (He claps). A bit of nerves looks like a group ofsleepwalkers. Give me energy, it was the communal in two weeks.Mercedes: Sir! the commune is in the pocket.Will: Can be good, but if taking it easy to commune we'll get killed in the regional. We need to give thebest of ourselves.Kurt (laughs, looks wickedly M.Schuester): This is a funny video. Falls in weddings. (The bell rings).Scene 2: Staff room lunchtime - Will, Emma and SueWill (to Emma): This time I think theyoverestimate, they seem to have lost their flame.Emma: Well I'm sorry, you just ... You have a little mustard on your little Kirk Douglas dimple in the chin.Will: Where? (Trying to lick your chin) Here?Emma: Yes, wait,let me it. Wait! Here!Will: Thank youEmma: Uh ... So when will it all started?Will: Oh, there was one weekFlashback: the Glee Club Rehearsal Rachel is in controlRachel: 1, 2, 3, 4, 5, 6, 7, No. No. No. No. No. Will(coming from the back of the room): Good news I just saw the distribution of groups for communal and I think it was a good place. There are only two other teams. If they beat you access to regional.(The group is veryenthusiastic. Mercedes and Kurt look at a big smile and Puck makes a check to Tina ...)Rachel: And who are the other teams?Will: Drumroll Finn! The Dayton School for the Deaf and an establishment called JaneAddams Academy.Mercedes: Jane Addams? ! This is a rehabilitation center for girls coming out of detention!Tina: C C This is great!Arty: People who disagree sing and criminals who do not care too much it will be pieceofcake! Top there (he holds out his hand towards Britanny who prefers checker Santana) End of flashback and return to the staff roomWill: They think it is a foregone conclusion when there are no further effort. I'll haveto find a way to motivate them a little.Emma: O, then K um ... Let's see. Oh! an array of stickers, that's how my parents made me do chores when I was a child. Yes! While I was doing a chore and I had a star and then...Sue: Oh Lord I pray you, pity, stop talking. I try desperately to ignore the silliness of your conversation dripping unbearable but now that I have bile in my mouth I will not hold my tongue any longer. (Takes a listingon the table before her). You know what that is? This is a list of my daughters. I choose someone at random every week and I plug out.Will: Yes it works in the Glee Club in a different way.Sue: Will Really? ! How does itwork for you? You must remember one thing, we take care of children here. They need to be terrified. It is like milk without him their bones will not grow properly. If you want results with a kid find the animalcompetition that is in him and remove him his chains!Very good! Helen (Speaking to Emma) This blouse is insane (and Emma looks sighs) Emma (by digging into his salad) It amazes me that she can teach in thisschool.Will: You know what? I think she has not entirely wrong.Scene 3: Hall Glee ClubWill: The competition! All these people (he hung pictures on the wall) and all these elements have been champions in their field butthey have always competed with others to become even better.Kurt: I can not understand how a flash can compete with a wooden pool.(Compared to the pictures off the wall)Will: Remember what I say. You havebecome too sure of yourself and you were great but the presets you'll have to overcome if you seriously want to achieve the communal. (Finn and locker Quinn looks unkindly) OK, do you separate the boys left, girls onthe right. Go you move (the band broke up) Okay. Kurt! (He was heading the group of girls, Will motioned him to go with the boys) I'll explain: two teams, guys against girls. In one week you will have to stack all showme a mash up of your choice.Puck: What is a mash up?Will: A mash up is when you take two songs, you mixes together to make a great explosion of musical expression. Tuesday the boys present, girls the next day. Iwant you to go out all the stops right? Costumes, choreography and those who will win this competition we will choose the number to communal.Rachel: Wait! Who will be the judge? Your s*x wrong your judgment.Will:Ah! We will have a special guest as a judge!Tina: Who is it?Will: Oh we'll have to give their all to find.Mercedes: We're going to crash to the ground!Rachel: It's clear I'll make a storyboard of the choreographytonight.Will: So? ! I hope you are ready to compete! The girls recovered to block.Arty: Let's give them a slap worthy of God's hand!Will (heading Finn): Hey Finn's it going? You look elsewhere.Finn: Just a little tired.Puck (tapping on the shoulder of Finn): You come buddy? We're late for training.Scene 4: Office of Sue - Sue she wrote her diarySue (in thought): \"Dear Diary I'm still without power today. It started at dawn when Itried to make a smoothie with beef bones and I broke my blender. Then drive to my daughters: a disaster! \" Flashback on the training of Cheerios They are pyramid atop QuinnSue (always in his thoughts): \"It could notmiss, it was like spot the first crack in the hull of a boat ready to run (it fixes the knee of Quinn who just shake) A tremor, the tremor was cost us the national tournament and the championship if we lose I'll lose myshow and not my show I will never buy my hovercraft. \"Sue: It's going to Quinn?Quinn: I'm just tired because of the Glee Club. End of flashback and return to the office of SueSue: \"The Glee Club! Every time I try todestroy the handful of eating larvae arrears they come back even stronger as the wicked sexually ambiguous horror films. Here I am: ready to pass the milestone of 30 years. I have sacrificed everything in my life, allthat to me bamboozled by the machinations of a cabal of bisexual teens deformed and imbedded.Did I miss an episode journal? Is it just me? Of course not, it does not come from me. It is the fault of Will Schuester!What is wrong with it, diary? His little arrogant smile and then made his permanent home? You know, newspaper, I noticed something yesterday. Flashback to the conversation of Will and Emma at lunchSue: Of course,it becomes clear at once, if I can not destroy the club, I'll have to destroy mankind!Scene 5: House Will and Terri-Sue and TerriSue: Let me be honest. Your husband hides his chipolata in a basket which unfortunately isnot yours.Terri: What? With whom?Sue: The guidance counselor. A real bitch and a man-eater. She wears flashy pin like the one with which my Grandma is buried. Some tea! Terri (coming out of his thoughts): Oh, uh... Sorry.(She gets up to serve as Sue)Sue: It's always the same song: the woman begins to gain weight.Terri: Oh! I'm pregnant!Sue: Oh! This is not an excuse! I always thought that the desire to procreate was anexpression of great personal weakness! I've never wanted a child. I have no time and I have no uterus!Terri: Are you're sure?Sue: A woman always knows these things! Let me tell you my way. If it is not yet proven alink, it certainly takes the turn. It takes a machete to get through the thickness of envy that is created around them.Terri: Oh, Lord! What will I do?Sue: I think you should pack up and move! Unless you did not want toleave your husband a midget redhead mentally deranged lemur with beads?Terri: Are you absolutely sure about that? I mean, you have evidence?Sue: Break into the school and just sniff all its s*x pheromonesyourself.And then it falls rather well, the school nurse, Ms. Lancaster is in a coma.Oh, she made an incredible roll-ball stage on the stairs yesterday!Flashback to the fall Sue is tripped to the nurse and she falls. Back toShowTerri: But I'm not a nurse, I work at the \"Festival of Quilt\"!Sue: I am not an American citizen, I was born in the Panama Canal Zone, but I managed to have a passport, I applied twice. That's the advice I give toyou: if you do not want to lose your husband, be creative.Scene 6: Office Figgins - Terri and FigginsFiggins: Mrs. Schuester, I appreciate your interest in the nursing position.But your experience is limited to foldingtowels ...Terri: As an assistant to my swim \"Duvet Day\" in first aid. I've used a defibrillator.Figgins: Ah!Scene 7: Teachers' room-Emma Will and TerriEmma: (to Will): So what did you talk about?Will: Oh! Good news, Ifound a great way to motivate them. They will fight against each other in a tournament.Emma: Oh!Will: And guess who will be our judge superstar? You! Emma (putting his hand to his heart): Me? Terri arrives with herblouse and nursing remains at the door of the roomTerri: Well! This for a surprise! (Heading towards Will)Will: Hey! What are you doing here?Terri: (to Emma): Hello, I do not think we have been presented. I'm TerriSchuester, thewoman (she touches the belly) Will pregnant.Emma (with some surprise): Yes ...Terri: Someone left the lipstick on your mug. (She licks her finger and cleans the edge of the cup)Emma: No! No ohTerri:It's settled. It will serve coffee, Emma Will look with a frightened lookWill: Is that all right Terri? You never come see me here!Terri: Oh, I do not come to see you not! You were so stressed about our finances lately thatI had to participate by having a second job. I am the new nurse.Will: But ... You're not nursing, you have not been trained to ...Terri (interrupting him): I beg Will, this is a public school here. (She turns to Emma). It'snot great news? And that means that now I am all the time around.Scene 8: Changing the football stadium, Ken And the whole football teamKen: Know your paths (at the same time he emphasizes these words on theboard). This is the key to winning this game, gentlemen. The forwards you make your path to the enemy lines and you block for developing the game O, K? That everyone knows his role, it's not complicated!Finn (inthought): I completely derailed. I'm tired all the time! I can not keep my eyes open (he falls asleep and wakes up in the hall of the Glee Club). I know I'm lucky: captain of the football team, hunk of the Glee Club. Iknow I should be super happy with Quinn, she is very popular, she wears my baby and everything ... But I can not get out of Rachel's head. It makes me a little freaked out like Glen Close in \"Fatal Attraction\", but shecan sing and has a barrel body if you do not like breasts! (Flashback after his football training in the showers) My body me is anything! I had a hair in the ear, the other day and I have to spend oil spray pain on myshins several times a day because of growing pains. It smells really bad, but I mask the smell with lots of flavor. It's hard being a guy my age (flashback of the night: he plays to the console) between the Glee Club,football, my popularity, I'm like overwhelmed. Everyone expects something from me and I do not have enough energy for everything! I do not know how people are important as the chairs or presenters or JT Boss ofthe Mafia.My mother says I scatter, so I stopped doing my homework, but it did not help. All I know is that last night I popped in two. At level 2! I was completely H.S. Finn really wakes up in the hall of the GleeClubKurt: It drooling (his voice is attenuated as it is Finn who hears it and he is not awake)Puck (echoing): Oh! You wake up?Finn (half fried on): It looks great!Puck: I said we could not let them beat us!Finn: Sorry,sometimes, but when I concentrate, it helps me to close my eyes!Arty: Let's make a mash up of \"It's my life\" and \"Confessions\" by Usher.Puck: Should we add a little stomp with lids of garbage cans, right?Arty: Puck,with all due respect, you're more useful when ... (we no longer hear because Finn went back to sleep)Puck: Oh! What happened to you? Go see the nurse. Every day, I told her I've hurt my skull and I sleep for threehours. I've never been in math class actually me!Finn: Thanks guys! Keep up the great work!Scene 9: Ballroom - all girls club Santana plucks eyebrows and stretches BritannyRachel: O.K girls, we must begin.Santana:We gotta warms us!Rachel: Where is Quinn?Britanny: Surely the mall in search of stretch pants. all the girls laugh, except RachelRachel: Mr. Schuester is right girls, we must not rest on our laurels.Mercedes: Relax! Ialready have the songs: we'll do a mash up with \"Halo\" and \"Walking on Sunshine.\"Rachel: Yes, it was my idea!Mercedes: And then? We could do that with closed eyes. You really think these zozos will endanger us?One only has to improvise!Rachel: You can not improvise!Mercedes: So who is to improvise? (No one raises his hand) and who opposes it (Rachel raises her hand). Looks like the \"yes\" prevail!Scene 10: Infirmary - Terriand FinnTerri: Hello! What can I do for you?Finn: Hello, Mrs. Schuester. I'm Finn Hudson. I am in the Glee Club.Terri: Oh! Finn hello! Oh, one second! You're the one who is dating Quinn Fabray?Finn: Yes, why?Terri:You have really good bone structure!Finn: Yes. I am very tired lately and I wondered if I could lie down here?Terri: And if you sat? Tell me a bit about your sleep habits. About what time you go to bed?Finn: Oh, I knownothing! When the erotic channels recovering to go classic movies. I feel a little tired but now I can not fall asleep. As if my brain would not stop!Terri: And what are you thinking? Oh, you can be honest withme.Everything is kept confidential when you come here!Finn: Ok! Soccer games, girls, chores, not to, girls ...Terri: For girls? But you go out with Quinn Fabray!Finn: Yeah, but uh ... You think a guy can love two girls atonce?Terri: No! You know, flirting is wrong and revenge of a woman cocue, it is rather a ruckus!Finn: I can take my nap now?Terri: You want to sleep all your life, Finn?Finn: No, but I read that teens should sleep morethan children!Terri: When I was in high school I was captain of the cheerleaders, I had never less than 18 medium, I cultivated my popularity and I had engaged in a romantic relationship with my future husband!Whoa! I do not even know how I coped! Wait a minute! If I know!She rummages in his drawers and pulls out her bag she pulls out a box of medicine Pseudoephedrine! This is what they put in all decongestants to avoidsoporific effect. It is as if it was a bit of a vitamin! In your place I would take those two little blue things every morning to be all fired up all day!Finn: That risk anything?Terri: It is not prescribed; they put them next tocandy. Sweetie, I'm a nurse, I know what I do!(She holds up a glass of water to Finn to take the pills. He hesitates two seconds then swallow them all at once)Scene 11: Hall Glee Club - Will and the boys club Finnreturns in top formFinn: Hey, guys! So it rolls? Ah that's a wonderful day! How would you like that again! Ah, I can not wait to repeat! I'm ready, I'm too excited and you guys? (He pushes one of his friends) Come on,get up! Go, shoo, we will move all those big muscles!Arty (worried): Is it that you were captured by little green men under caffeine?Finn: No, I went to see the nurse and she gave me a great vitamin! There, I too wantto repeat! Besides, if we were rehearsing! And then we can build a big house for the homeless!Puck: What was that like vitamin?Kurt: Vitamin C! \"Vogue\" says it raises the energy level and it illuminates thecomplexion!Finn: Vitamin D! And I brought back for you guys! He launched the package in Puck It's my life / ConfessionWill: It's amazing, guys! It's crazy! I did not know you had it in you! Looks like someone pouredsomething in your apple juice. Wouh! Girls, you've got to give everything tomorrow, otherwise ... the communal already have their opening number!Scene 12: Corridor-Rachel and Quinn Quinn goes to his lockerRachel:I've not seen the rehearsals of the Club!Quinn: I'm not a superwoman. I know that the choir is all your life. I have the cheerleaders, the role of leader, I have friends!Rachel: You're not to be embarrassed, no one judgeyou in the club!Listen, I know everyone expects us to be two enemies in competition, but I have no hatred towards you!Quinn: Why? I was horrible with you.Rachel: That was before you know how it feels to be me: anoutsider.More and more people will notice it and you'll need friends who understand you.Quinn: How can you understand what I'm going through?Rachel: Do not you see that everyone whispers when I get to thecanteen that made pornographic drawings of me in the toilet?Quinn: That was me, actually ...Rachel: Look, I not agree with the decision you have taken, but you'll need the choir! He will still have seven months of youryouth, you should enjoy it. This is true in a few months, this uniform Cheeleader not you go any more and it will remain for us! So back to rehearsals; guys against girls is fun and we will be able to use your voice!You're a gifted singer Quinn, sometimes a little sharp but is that you do not have my years of practice!Quinn: I would have tortured if the roles were reversed, you know!Rachel: I know.Scene 13: Nursing and the Officestore The Feast of the quilt - Terri and Howard Terri is on the phone with Howard BambooTerri: Hello, this is Terri.Howard: Hi Terri, here Howard Bamboo.Terri: Yes, I know Howard! Ok, you know I moonlights as anurse, I need a service.Howard: Oh, ok. Terri Go to the drugstore to buy a few boxes of decongestant, I have a lot more and I want high school students McKinnley be happy and healthy!Howard: Uh ... How manyboxes?Terri: Well ... 36 Ken arrives and she hangs upKen: Hi Terri!Terri: Oh, hello Ken! What's the matter?Ken: We can speak frankly? Listen, we have a problem, I think my girlfriend is in love with your husband and Iwould not be surprised that this feeling is shared!Terri (nervous): And how long does it last?Ken: I do not know ... Few months. I see them all the time together, they laugh, they talk, all she does with me!Terri: I knewsomething was up! She has not taken her eyes one minute during the show grotesque Acaffelas.Ken: Look, do Will you talked about?Terri: Oh no! He is too smart for that! Finally, too, but still! Ken, I must be honestwith you: I have taken this job in order to keep an eye on him. It is imperative that we stop all this so I can leave here. You see, I am not made to work five days a week!Ken: I thought maybe if you and I began toattend could neutralize their stuff!Terri: Are you all right to bed because when it does most is that something is wrong!Ken: Actually, it has not ... It has not had s*x for the moment. She does not like being touched byme! I love her so much! (He begins to sob) Terri (she gets up and goes to him): Ok! I'll be fine (she comforted Ken).There, there!Ken: Look at us both. You, me and pregnant with my psoriasis and my testicle that is notdown. I do not know for whom I am most sorry ...Terri: Ok, good enough. You know what? Stop acting like the big baby! I can arrange that if you behave like a guy!Ken: Ok, I'm sorry!Terri: That's what you gonna do:you'll run into the nearest department store to buy her an engagement ring, then you will put on one knee and you'll ask her to marry this little doe-eyed whore!Ken: No! That I can not do it! And if she says no? It couldkill me!Terri (handing him his vitamins): You take two pills and nothing will make you more afraid!Scene 14: Hall Glee Club - The girls of the cast, Kurt, Will and EmmaRachel: I told you girls!Santana: We are aware! It'sabout an hour until you pass us a soap!Quinn: They were good at this point?Rachel: Excellent, Quinn! I agreed to make arrangements, choreography, staging free but we underestimated the boys. They will be thenumber of municipal and again I will be humiliated!Mercedes: How could we know they were going to tear up as? They are not good in general!Tina: C C How did they manage?Kurt: The real question is: what did theytake? Although I am in a group with boys, my allegiance to you to the girls. They declined my proposals we make braids and found all my artistic decisions too costly because qu'impliquant several varieties of exotic birdfeathers. It was in substance!Scene 15: Corridor - Will Finn and Rachel Finn (by typing in a player's hand): Dude! I developed all the upcoming matches! Yeah! Hey, Mr. Schuester, I introduced the paper on yourdesk.Will: That's in two weeks!Finn: Excellent I like the trend!Rachel (furious): Cheaters!Finn: Uh ... I do not know what you mean!Rachel: You have taken illegal substances before your mash up! This is Kurt told me.This is deplorable, despicable and it's really ugly! And that's cheating. From now on I'll call Finn Johnson!Finn: Hey, not attack me! I'm not Ben Johnson, I have never taken steroids. I heard that it softened the thing!Hear Rachel, you do not realize the pressure that I have!Rachel: We're all under pressure but you know how I manage? Naturally, with a strict diet and exercise everyday! Flashbacks of wakingRachel (voiceover): Iwake up at six o'clock every day, I drink a protein milkshake with bananas and flax seed oil and six ten I'm on my elliptical trainer. You know how I tick? Not with something artificial! I give myself a goal and I will notstop until I reach it! End of flashbackFinn: Yes, but it's personal pressure, if you succeed it does not look as you! I am a quarterback, lead singer and I have my pregnant girlfriend who only scream for ice cream! So yes,"}
+{"doc_id":"doc_108","qid":"","text":"The Massacre (of St. Bartholomew's Eve) by John Lucarotti first broadcast - 26th February, 1966[SCENE_BREAK]1: INT. PRESLIN'S SHOP(ANNE has spent the night alone in PRESLIN'S shop. STEVEN pounds on the doorstartling her until she hears his voice.)STEVEN: Anne! Anne, are you there? Anne!(ANNE answers the door and lets an exhausted STEVEN in.)ANNE: Oh, monsieur! I'd given you up for lost when you didn't come backlast night and I thought the guards must have caught you.STEVEN: (Breathless.) Yes, they nearly did. I managed to shake them off. I'm sorry, the curfew rang before I could get back last night. The guards were stilllooking for me this morning. That's why I've been so long.(He takes his sword off.)ANNE: Did you see Monsieur Muss and give him your message?STEVEN: Oh, yes. The warning was too late.(He puts his sworddown.)ANNE: What will you do now? Go back to your friend? The Doctor.STEVEN: (Despondent.) I can't Anne. He's dead.ANNE: (Shocked.) Monsieur!STEVEN: I saw his body lying in the street by the Abbot's house.Before I could do anything Roger Colbert saw me and sent the guards after me again. Heaven knows what I'll do now.(He thinks for a second.)ANNE: Return to England?STEVEN: I can't. I've got to find the key to theTARDIS.ANNE: What Monsieur?STEVEN: The Doctor has a special key. Without it I can't leave.ANNE: Well do you know where it is?STEVEN: No. If the Doctor had it with him then I'm lost. I...I didn't had time to look forit. My only hope is that it's still with his own clothes.ANNE: Could it be at the Abbot's house?STEVEN: Oh, no. No. He'd have had to change before he went there. The only other place I think he's been to is...is theshop.ANNE: Oh, but we've already searched here, monsieur, looking for clothes for you.STEVEN: Anne, we must do it again! Please help me. Open every cupboard, every box. I must find that key.ANNE: Right,monsieur.(They start to search.)[SCENE_BREAK]2: INT. THE LOUVRE(SIMON is reporting to MARSHAL TAVANNES.)MARSHAL TAVANNES: It may hinder the inquiry into the attempted assassination of deColigny.SIMON: Surely the King is insisting that de Coligny is avenged?MARSHAL TAVANNES: He is. But by blaming the death of the Abbot on the Huguenots we may be able to cover our tracks.SIMON: Will the King payany attention to the Abbot's death?MARSHAL TAVANNES: I don't know. Fortunately the Admiral himself is helping us. He doesn't want the inquiry yet so that may give us a little time.SIMON: Therefore the Englishmanmust be caught.MARSHAL TAVANNES: And killed. He must not be allowed to get back to the Abbot's house.SIMON: The men are searching Paris for him.MARSHAL TAVANNES: He must be found tonight. Tomorrow is St.Bartholomew's Day and it will be all too easy for him to evade us in the revelry.(A messenger knocks at the door and enters, giving a written message to TAVANNES. He reads it.)MARSHAL TAVANNES: The QueenMother. She commands me to go to her. No doubt she has thought of some further scheme to protect her good name.(He goes to the door.)MARSHAL TAVANNES: Wait for me here, Simon. I may have more instructionsfor you when I get back.(He leaves. SIMON picks up the message and reads it.)[SCENE_BREAK]3: INT. PRESLIN'S SHOP(STEVEN and ANNE have almost ransacked the shop in their search for the DOCTOR'S clothes.Items of clothing litter the floor. ANNE comes from another part of the shop after her search.)STEVEN: Well?ANNE: Nothing, monsieur. There's no sign of your friend's clothes anywhere.STEVEN: They must behere.ANNE: All I've found was this.(ANNE shows STEVEN the DOCTOR'S stick.)STEVEN: But... but this is his stick!ANNE: Your friend's?STEVEN: Yes. Well his clothes must be here somewhere! Where did you findit?ANNE: In the back, monsieur. But there are no clothes there.STEVEN: Are you sure?ANNE: Yes. I've searched everywhere!STEVEN: Then why the stick? He...he couldn't have pretended to be the Abbot dressed as hewas. So he must have changed somewhere. But where?ANNE: Perhaps he went away somewhere with the apothecary who used to live here?STEVEN: With Preslin? No he couldn't.ANNE: Why not?STEVEN: BecausePreslin is either dead or in prison.DOCTOR: He is not.(They turn round. The DOCTOR has entered the shop!.)STEVEN: (Shocked.) Doctor![SCENE_BREAK]4: INT. DE COLIGNY'S RESIDENCE(GASTON has come to visit astill weak DE COLIGNY.)GASTON: The Catholics will not rest until you are dead!ADMIRAL DE COLIGNY: (Weakly.) You are too impetuous, Vicomte.TELIGNY: The King is determined to prevent a further attempt. Whyelse do you think he's put so heavy a guard on this house?GASTON: A Catholic guard under a Catholic commander! The Admiral could hardly be in the care of a greater enemy.TELIGNY: He is under the protection of theKing.GASTON: And the Queen Mother.NICHOLAS: Gaston, you are tiring the Admiral. Doing yourself an injustice. You had better return to the Louvre.GASTON: No!(He goes over to DE COLIGNY.)GASTON: If I were toleave Paris it would be better for you and for us.NICHOLAS: The surgeons said the Admiral must not be moved.GASTON: Then may God protect you.(GASTON leaves the house.)ADMIRAL DE COLIGNY: (Weakly.) I hopeHenri of Navarre realises how dangerous it is to have such a hothead in his service.TELIGNY: He must be wrong. The commander wouldn't dare to disobey the King after what has happened.NICHOLAS: Let us hope so.Is there anything you need, Admiral?ADMIRAL DE COLIGNY: (Quietly.) Stay with me.NICHOLAS: Of course.TELIGNY: We must be grateful that the wounds are not poisoned. So that there is no fear of youdying.ADMIRAL DE COLIGNY: I do fear death. I only hope that we have nothing to fear from my staying alive.[SCENE_BREAK]5: INT. PRESLIN'S SHOP(STEVEN has told the DOCTOR of the recent events.)DOCTOR: Oh,my dear boy, had you stayed at the tavern all this mix-up could have been avoided.STEVEN: (Angry.) I did stay in the tavern, you didn't turn up!DOCTOR: Yes, well, I was unavoidably delayed. Never mind that now.Come along, we must go. Come along.ANNE: You can't now, monsieur. The curfew's rung.DOCTOR: What? Oh that wretched curfew is the start of so much trouble.ANNE: It'd be easy to leave Paris in the morning,monsieur. Tomorrow is St. Bartholomew's Day and everyone will be celebrating.STEVEN: Huh! With all the trouble that's going on I can't see what they've got to celebrate.DOCTOR: I told you not to getinvolved.STEVEN: Look, I tried not to but the Abbot did look like you. If I hadn't found out about Admiral de Coligny being the 'Sea Beggar' then...DOCTOR: (Interrupts.) What's that?STEVEN: I tried to tell you before.Admiral de Coligny is one of the Huguenot leaders. The Catholics tried to shoot him.DOCTOR: (To ANNE.) Did you say tomorrow was St. Bartholomew's Day, child?ANNE: Yes, monsieur.DOCTOR: What year is this, myboy?STEVEN: I don't know. What difference does it make?DOCTOR: What date is it, child?ANNE: Date monsieur? August the twenty-third. As I said, tomorrow's...DOCTOR: Yes, yes, yes, I know that. The year, theyear... hmm?ANNE: (Smiles.) 1572, monsieur. But surely you know that?(The DOCTOR, worried at this information, thinks, then...)DOCTOR: Go home, Anne. You must leave here at once.ANNE: No, I've got nowhere togo!DOCTOR: Where were you working?ANNE: At the Abbot's house.DOCTOR: You go back there.ANNE: (Shouts.) I can't! They'll kill me!DOCTOR: You must leave this shop, child.STEVEN: Doctor, what'shappening?DOCTOR: Oh please don't interfere. (To ANNE.) Now, my dear, there must be somewhere you can stay in Paris?ANNE: No, there's only my aunt's place, and they'll kill me there.DOCTOR: Oh, nonsense.Tonight, you will be quite safe. Now you go carefully through the streets, hmm?ANNE: Well, what about the curfew?DOCTOR: Well you've been out in the curfew before haven't you?ANNE: Yes, but theguards...DOCTOR: Then you know how to avoid the patrols. You go back to your aunt; you'll be quite safe. And you take my advice and stay indoors tomorrow. Now do you understand? It's too dangerous for you tostay here. Now off you go, child. Come along, off, off, off!STEVEN: But, Doctor, I don't think it's...DOCTOR: Ah, shh, shh, shh!ANNE: Goodbye then, Steven. Safe journey.STEVEN: Doctor, I don't think she shouldgo.DOCTOR: Now out you go, my child. Off you go.(ANNE leaves.)STEVEN: Bye. (To the DOCTOR.) Look, are you sure she'll be all right? The guards are waiting for her.DOCTOR: My dear Steven, the Catholics will haveother things on their minds tonight. She will be quite safe. Now then, you and I must leave Paris at once. Come!STEVEN: Look, Doctor, what is going on?DOCTOR: There is no time for me to explain. Come along, boy.Come along![SCENE_BREAK]6. THE LOUVRE(The Queen Mother enters the study of TAVANNES where he is writing a paper. He does not look up.)MARSHAL TAVANNES: Simon?CATHERINE DE MEDICI: The QueenMother.(TAVANNES gets quickly to his feet.)MARSHAL TAVANNES: Madame, I apologise, I thought...CATHERINE DE MEDICI: Never mind. I have it here - the order signed by the King. Our plans for tomorrow can goahead.(She passes him a document which he quickly reads.)MARSHAL TAVANNES: Thank God!CATHERINE DE MEDICI: God had very little to do with it.(TAVANNES in turn passes her the paper he has beenwriting.)CATHERINE DE MEDICI: What's this?MARSHAL TAVANNES: The list, madam. When those Huguenots are killed we need have no further fear of a Protestant France.CATHERINE DE MEDICI: We have no need oflists, Marshall. The good people of Paris know their enemies. They will take care of them.MARSHAL TAVANNES: (Shocked.) The good people...? Madam, if you rouse the mob the innocent will perish with theguilty.CATHERINE DE MEDICI: Innocent? Heresy can have no innocence. France will breath a pure air after tomorrow.MARSHAL TAVANNES: And,... Navarre, madam? Your son-in-law? Is he to be slaughtered with theothers?CATHERINE DE MEDICI: Tomorrow Henri of Navarre will pay for his pretensions to the Crown.MARSHAL TAVANNES: Madam, we must not kill Navarre.CATHERINE DE MEDICI: Must not?MARSHAL TAVANNES:Protestant Europe will merely shed a pious tear over the death of a few thousand Huguenots. The death of a prince will launch a Holy War.CATHERINE DE MEDICI: (After a thoughtful pause.) If one Huguenot lifeescapes me tomorrow, we may both regret this act of mercy.MARSHAL TAVANNES: Not mercy, madam. Policy.CATHERINE DE MEDICI: (Considers.) Very well, Marshall. Then you must get him out of Paris. Aftertomorrow, even I will not save him.MARSHAL TAVANNES: I will see to it, madam.CATHERINE DE MEDICI: And, Marshall - close the gates of the city now.(The Queen Mother leaves the room. SIMON enters.)SIMON:Well, my lord?MARSHAL TAVANNES: The order has been given. You may begin.SIMON: My men are ready. Where is the list?MARSHAL TAVANNES: There is no list.SIMON: But I thought...MARSHAL TAVANNES: We areto unleash the wolves of Paris. None are to be spared.SIMON: (Pleased.) Even better, my lord.MARSHAL TAVANNES: Is it? I wonder...Simon, when you have passed on the order I have a special charge for you.SIMON:My lord?MARSHAL TAVANNES: Henri of Navarre.SIMON: I am to have the honour?MARSHAL TAVANNES: Yes. But not of killing him. You will escort him out of Paris.SIMON: (Cries out.) But, my lord...MARSHALTAVANNES: Did you not hear me? You will be responsible for his safety. You will have to leave tomorrow's work to others. Now get out.(SIMON leaves.)MARSHAL TAVANNES: At dawn tomorrow, this city will weep tearsof blood.[SCENE_BREAK]7: EXT. THE STREET OUTSIDE OF DE COLGINY'S RESIDENCE(Two soldiers are on guard.)FIRST GUARD: Oh well, it's nearly dawn.SECOND GUARD: How many more nights have we got to watchover this Huguenot's house?FIRST GUARD: Till the King decrees otherwise.SECOND GUARD: But why does it have to be us?(Out of sight of the GUARDS, the DOCTOR and STEVEN can see that their way isblocked.)DOCTOR: We shall have to get past them to get back to the TARDIS.STEVEN: Can we make a run for it?DOCTOR: Oh no, no, no. It's far too dangerous.STEVEN: What do we do?DOCTOR: For the moment wejust wait.(The GUARDS continue their conversation.)FIRST GUARD: Won't be sorry to see the night over.SECOND GUARD: Hello, what's this?(Some more soldiers are marching towards them.)FIRST GUARD: Moreorders I expect.OFFICER: You're relieved. Go back to your quarters.FIRST GUARD: Relieved, sir? It's not due for an hour or more.OFFICER: Don't argue. Go quickly!(The two GUARDS depart. The others take theirplace.)STEVEN: Look, Doctor, soon it'll be light.DOCTOR: I know, I know. Just keep quiet.(The curfew bell begins to sound.)DOCTOR: There's the Tocsin! The curfew's been lifted.(He and STEVEN skirt round the soldiersand dash through the concealing gate and into the TARDIS. the soldiers begin battering at the door of DE COLIGNY'S house.)OFFICER: Open up! In the King's name! Open this door!(The TARDIS dematerialises. Thesound can now be heard of the Paris mob rampaging through the streets slaughtering Huguenots. The massacre has begun...)[SCENE_BREAK]8: INT. TARDIS. CONSOLE ROOM(Within the TARDIS, STEVEN broods onwhat has happened, then...)STEVEN: Surely there was something we could have done?DOCTOR: No, nothing. Nothing. In any case, I cannot change the course of history, you know that. The Massacre continued forseveral days in Paris, then...then spread itself to other parts of France. Oh the senseless waste. What a terrible page of the past.STEVEN: Did they all die?DOCTOR: Yes. Most of them. About ten thousand in Parisalone.STEVEN: The Admiral?DOCTOR: Yes.STEVEN: Nicholas?DOCTOR: (Quietly.) Probably.STEVEN: (Angry.) You had to leave Anne Chaplet, there to die!DOCTOR: Anne Chaplet?STEVEN: (Shouts.) The girl! The girlwho was with me! If you'd brought her with us she needn't have died. But no, you had to leave her there to be slaughtered.DOCTOR: Well, it is possible of course she didn't die, then I was right to leave her.STEVEN:(Shouts.) Possible! Look, how possible! That girl was already hunted by the Catholic guards. If they killed ten thousand how did they spare her? No, you don't know, do you? You can't say for certain that you weren'tresponsible for that girl's death.DOCTOR: I was not responsible.STEVEN: Oh no! You just sent her back to her aunt's house where the guards were waiting to catch her. I tell you this much, Doctor, wherever thismachine of yours lands next I'm getting off. If your... 'researches' have so little regard for human life then I want no part of it.(The ship travels on in uneasy silence for a few moments more, then starts to materialise.The DOCTOR checks the controls. On the scanner appears an image of woodland.)DOCTOR: We've landed.(He activates some more controls.)DOCTOR: Your mind is made up?(STEVEN opens the TARDIS doors and turnsto leave.)STEVEN: Goodbye.DOCTOR: My dear Steven, history sometimes gives us a terrible shock. That is because we don't quite fully understand. Why should we? After all, we're all too small to realise its finalpattern. Therefore, don't try and judge it from where you stand. I was right to do as I did. Yes, that I firmly believe.(STEVEN walks out of the TARDIS without a word. The DOCTOR is totally alone.)DOCTOR: Even afterall this time he cannot understand. I dare not change the course of history. Well, at least I taught him to take some precautions. He did remember to look at the scanner before he opened the doors. Now... they're allgone. All gone. None of them...could understand. Not even...my little Susan...or Vicki ...and yes ... Barbara and Chatterton... Chesterton! They were all too impatient to get back to their own time. And now... Steven.Perhaps I should go home, back to my own planet. But I can't. (Upset.) I can't.[SCENE_BREAK]9: EXT. WIMBLEDON COMMON(Outside, a young GIRL, looking very anxious, runs down the lane beside the TARDIS. Shepasses a woman bystander, sees the police box and bursts inside.)[SCENE_BREAK]10: INT. TARDIS. CONSOLE ROOM(Breathlessly, she stares around her. The DOCTOR spots her.)DOCTOR: Who are you?GIRL: Where'sthe telephone?DOCTOR: What did you say?GIRL: The telephone, I've got to ring up!DOCTOR: Oh, pull yourself together, child. I... I think you've made a mistake.GIRL: Who are you? Are you the police?DOCTOR: Ohgood gracious of course not, hmm.GIRL: Well, this is a police box. It says so outside.DOCTOR: Yes, yes. I, I know. But it isn't, if you know what I mean. Now run along and find another police box. In any case, child,what do you want to do with the police?GIRL: There's been an accident. A little boy's been hurt and I've got to 'phone the police.DOCTOR: Oh well, I'm afraid I can't help you. No, you must run along and 'phone thepolice somewhere else. And the same time 'phone for an ambulance.GIRL: Wait a minute, if this isn't a police box, what is it? And who are you?DOCTOR: Well, my dear, er, I'm a doctor of science, and this machine isfor travelling through time and relative dimensions in space. Now you...GIRL: Come again?DOCTOR: Oh never mind, my dear. Never mind, run along. (He laughs.)GIRL: There's something odd going on.DOCTOR:(Exasperated.) Oh please, child...(The DOCTOR is interrupted by STEVEN charging back into the TARDIS.)STEVEN: Doctor, quick! You've got to take off.DOCTOR: Oh, so you've come back, my boy!STEVEN: Yes, yes,I've come back. We can't go into that now. There are two policemen coming over the common towards the TARDIS.DOCTOR: Policemen? Coming here? Good gracious me! They'll want to use the telephone or, orsomething like it.(The DOCTOR closes the TARDIS doors and dematerialises the ship.)STEVEN: Oh, that was close.DOCTOR: Well, tell me, young man, what made you change your mind?(STEVEN ignores the DOCTORas he suddenly notices the GIRL.)STEVEN: How did you get in here?GIRL: On me feet, the same as you did.STEVEN: Look, do you realise what's happening? We've taken off! We could land anywhere!GIRL: Are we reallytravelling? Where to?STEVEN: We're travelling in time and space. We're not on Earth any more. We could land anywhere in any age.GIRL: (Laughing.) Tell us another one!STEVEN: Doctor, how could you?DOCTOR:What else could I do, dear boy? You don't want a couple of policemen aboard the TARDIS do you? You know you're the most inconsistent young man? Just now you were telling me off for not having that Chaplet girlaboard!STEVEN: Ah, that was different!(STEVEN returns his attention to the GIRL.)STEVEN: This is no joyride you know. You may never get home again!GIRL: I don't care!STEVEN: What about your parents?GIRL: Ihaven't got any. I live with my great aunt. And she won't care if she never sees me again.DOCTOR: Oh, now, there you see! All this fuss about nothing! Hmm, hmm, hmm! Don't you think she looks rather like mygrandchild Susan?STEVEN: You forget, I've never met your granddaughter.DOCTOR: Oh, no, no, no. No, of course not! No. Yes, but she does you know. What is your name, child?DODO: Dodo.DOCTOR: What?DODO:It's Dorothea really. Dorothea Chaplet.STEVEN: (Shocked.) Chaplet?! Yes, but you're not French are you?DODO: Don't be daft! Me granddad was though.STEVEN: Doctor, it's not possible is it? Chaplet? Anne's greatgreat...DOCTOR: Yes, yes, it is possible, my boy. Very possible. Welcome aboard the TARDIS, Miss Dorothea Chaplet.DODO: Dodo!DOCTOR: Ah, my dear! My dear!(The DOCTOR laughs.)"}
+{"doc_id":"doc_109","qid":"","text":"[Scene: Joey and Rachel's, Joey is eating breakfast as Rachel enters, having just woken up.]Joey: Morning!Rachel: Hi! Oh, how was your date last night?Joey: Pretty good.Rachel: Oh good. (She walks to the closedbathroom door, opens it, and finds a naked woman wrapped in a towel.) Ahhh! My God, sorry! (She closes the door and confronts Joey.)Joey: Okay, really good. Anyway I gotta go; I'm late for work.Rachel:What-what?! You're gonna leave this person with me?!Joey: Yeah-Hey, don't worry, she's a terrific girl. And hey listen, could you do me a favor? When she comes out could you just mention that I'm not looking for aserious relationship; that'd be great.Rachel: Why?! What?! Are you kidding?!Joey: Just casually slip it in, y'know lay the groundwork. Tell her uh, I'm a loner-No! An outlaw! Tell her she doesn't want to get mixed upwith the likes of me.Rachel: Y'know what? That's a lot to remember, can't I just tell her you're a pig?Joey: Hey, I'm gonna call her later! Honest! Oh come on, Chandler used to do it! He'd even make the girl pancakes!Plus, he'd make extras and leave 'em for me.Rachel: Well forget it, I'm not telling that girl anything. That is not my responsibility.Joey: Fine! (Pause) Now, where'd we land on those pancakes? (She chases him out thedoor as his date emerges from the bathroom.)Joey's Date: Hi!Rachel: Hi.Joey's Date: Sorry about that, but I couldn't get that lock to work on the door.Rachel: Yeah, Joey kinda disabled it when I moved in.Joey's Date:You must be Rachel, I'm Erin.Rachel: Hi.Erin: Hi. I don't mean this to sound like high school, but did he say anything about me?Rachel: (pause) Would you like some pancakes?Opening Credits[Scene: N.Y.U's UniversityLibrary, Ross is entering with Chandler.]Chandler: ...Come on! Why are we here?!Ross: Okay, okay take a guess.(An old woman pushes a cart full of books past.)Chandler: The hot chicks?Ross: Okay, okay, I was typingnames into the library computer earlier, y'know-y'know for fun, and I typed mine in and guess what came up? My doctoral dissertation! It's here! Yeah, it's right-it's right down here! In the biggest library in theuniversity! (They start heading that way, towards a secluded section behind the racks.)Chandler: Wow that's actually pretty cool.Ross: (stopping quickly) Oh umm, there's also a book here by a woman named WendyBagina. (They both laugh, but stop when the hear moaning coming from the next aisle.) What is that?Chandler: Sounds like two people are really enjoying the Dewey decimal system.(They go around the last row ofbookshelves and find a couple doing what college coeds do in secluded corners of university libraries. For those of you who don't know what I'm talking about, let's just say that clothing is undone. Ross gasps and thecouple gets up and runs away.)Female Student: (as they are moving past Ross) I'm so sorry!Male Student: Sorry!Chandler: You didn't bring me here to do that, did you?[Scene: Monica's Restaurant Kitchen, Monica iscooking as a waitress enters carrying a plate of food that has been sent back.]Monica: She sent the chicken back again?!The Waitress: She says it's too dry now and she wants to come back here and explain to youexactly how she wants it.Monica: Well fine! I want to meet this chicken expert! Send the Colonel in!(The waitress lets her in as Monica is about to throw a lobster into a pot of boiling water (Although, she hasn't takenoff the rubber bands that hold the claws, so she can't be that good a chef). Anyway, guess who the Colonel is by the following phrase.)The Colonel: OH...MY...GAWD!!!! (Yep, it's Janice.)Monica: (to the lobster) Luckyb*st*rd! (Throws the lobster in and turns around to face the planet's most annoying woman, next to Dr. Laura and Kathy Lee Gifford of course. She's the most annoying female TV character however.) Janice.Janice:How are you Ms. Hot Shot chef with the big fancy restaurant with the best chicken ever! (Does the laugh.)Monica: I'm fine.Janice: (notices Monica's engagement ring) Ohh! What is that on your finger?! I'mblind!Monica: Oh... Uh...Janice: So, who's the lucky guy?[Cut to Monica and Chandler's just after Monica has finished telling Chandler what happened.]Chandler: OH...MY...GAWD! I am so sorry sweetie, are you okay?You didn't tell her we were getting married, did you?Monica: Well, she saw the ring.Chandler: Did she freak out?Monica: Well, she was shocked when I told her, but then again so were most people.Chandler:Right.Monica: Well, she actually has a boyfriend y'know herself, named Clark. Uh, she also kinda invited herself to our wedding. Clark too.Chandler: (laughs) You said no, right?Monica: Huh?Chandler: You said no,right?!Monica: Well, she cornered me! She asked if the wedding was in town! I mean, what was I supposed to do?!Chandler: Lie!!! How hard is that?! The check's in the mail! Oh your baby is so cute! I can't wait to readyour book, Ross!!Monica: Come on! So she comes to the wedding! I mean it won't be so bad.Chandler: What do you think, she's just gonna sit there quietly? You don't think she's gonna want to make a toast? You don'tthink she's gonna want to grab the microphone and sing Part-time Lover?!Monica: Oh my God, she's not gonna like the chicken that night either, is she?!Chandler: Y'know what? It's gonna be okay. Y'know what? She'sprobably not gonna even want to come.Monica: Really?Chandler: No! That was a lie! See how easy that was?Monica: So-so you would've just lied?Chandler: Yes!!Monica: Would it really have been that easy?Chandler:Yes!!!Monica: Good, so do it Saturday night because we're going to dinner with her and Clark.[Scene: Joey and Rachel's, Joey is coming back from work to find Phoebe, Rachel, and someone else with her back turned,are there.]Joey: Hey! What's up?Phoebe and Rachel: Hey!Joey: Hey-hey, who's your friend? (Erin turns around to face Joey, startling him) Hey!!Erin: Hey Joey!Joey: Erin! Still here!Rachel: Yeah, we ended up spendingthe day together and had such a great time!Joey: Why wouldn't ya? Erin is great! Then-then there's you guys.Erin: Ohh, listen. I've got to get going. Today was great, thanks!Rachel: I know!Phoebe: Okay!Erin: ByeJoey. (Kisses him.) Last night was fun.Joey: Yeah. I'll uh, I'll call ya.Rachel: Oh and I'll call ya too!Erin: Or I'll call you!Phoebe: And call me!Joey: (to Erin) Okay, good to see you again.Erin: Bye.Joey: Bye-bye.Rachel:Bye!(Joey closes the door behind her.)Joey: So, system kinda broke down huh?!Rachel: Oh Joey, I'm sorry I just couldn't tell her all those things you wanted me to tell her. And y'know we got to talking and I...Phoebe:We want you to marry her!Joey: What?!!Phoebe: She is so amazing! You have no idea.Joey: No idea? Who do you think brought her here?Rachel: Cupid.Phoebe: Joey, she's so cool. She speaks four languages.Joey:Man, do you know what guys want!Rachel: Look Joey, come on, she's so perfect for you! I mean, she's sweet, she-she likes baseball, and she-she had two beers at lunch.Joey: My beers?! Look you guys, she's a verynice girl. Okay? We had a good time, but I just-I don't see it going anywhere.Phoebe: Yeah, but you always say that.Rachel: Yeah, maybe if you gave this girl a chance it would go somewhere.Joey: Look, I'm sorry youguys, I-I just don't think so.Phoebe: Whatever.Rachel: Fine. (They start to walk away.)Joey: Hey, don't start judging me! (To Rachel) Huh? You're the one who's in love with her assistant! (To Phoebe) Huh? And you,you're the one having the affair with the guy who keeps the pigeons on the roof!Rachel: Phoebe!Phoebe: Secret affair![Scene: Central Perk, Rachel and Joey are there as Ross enters.]Ross: People are doing it in front ofmy book!Rachel: I'm sorry?Ross: My doctoral dissertation is in the library at school, I went to see it, and there were students makin' babies right in the middle of the Paleontology section!Rachel: Oh my God! Did youget to see anything good?Ross: Let me ask you something, at your school was there a like uh a place on campus where students went to uh, fool around.Rachel: Yeah, there was. It was-there the corner of the librarywhere-where all these dusty books that nobody ever read-Yes, there was.Ross: Great! Because people kept showing up, I think it's like uh-a thing!Joey: Now hold on a second, fifth floor against that back wall?Ross: Ohfor cryin' out loud! (He storms out.)Joey: All right, so we should go catch our movie.Rachel: Well now what's the rush?Joey: I like to see the previews. (Rachel looks at him.) The candy.Phoebe: (entering with Erin) Oh.Hey!Rachel: Well look who's here!Erin: Hey!Joey: Hey!Erin: Joey.Joey: Erin.Erin: Hey Rachel.Rachel: Hi! Well, we were just about to take off and see a movie. Oh no!Erin: What's wrong?Rachel: Oh Phoebe, we forgotthat party we have to go to.Phoebe: Oh no.Joey: (skeptical) What party?Phoebe and Rachel: A birthday party.Joey: Who's birthday party?Phoebe and Rachel: Alison's birthday party.Joey: (still skeptical) Oh, and howold is Alison?Phoebe and Rachel: 32. (Joey's not buying it.)Rachel: (does a retching sound) Wait a minute! Why don't you guys do something?!Joey: (still skeptical) Yeah, look how that workedout.[SCENE_BREAK][Scene: The Library, Ross enters and heads to the desk to talk to the male librarian on duty.]Ross: Excuse me. Hi, I'm a professor here. Do you know the Paleontology section, fifth floor, stack437?The Librarian: Well, yes! Just give me five minutes, I just have to find someone to cover my shift.Ross: No! No!! No! Can I speak to someone in charge please?! (The librarian brings his boss over.)The HeadLibrarian: How can I help you?Ross: Hi, I was wondering if it is possible to increase security in the Paleontology section? See I-I wrote a book up there and instead of reading it people are-are-are well, rolling around infront of it.The Head Librarian: We are aware of the problem you are referring to. (He turns to look at the previous librarian.) But as far as increasing security, I'm afraid the library is very understaffed. I, I can't helpyou.Ross: Well, fine. Fine! If-if I'm the only person with any appreciation of the sanctity of the written word, I'll go up there and defend it myself! (Starts to do so, but stops and to the previous librarian) And don't youfollow me![Scene: Joey and Rachel's, Rachel and Phoebe are doing dishes as Joey enters.]Joey: Hey.Phoebe: Hey!Rachel: How did it go with Erin?Joey: Oh, unbelievable! We had the best time!Phoebe: Yay!! Oh so,you're not, you're not mad at us anymore?Joey: No! No! No! You guys were totally right! This is so much better than the first time we went out. Y'know? That was so awkward, we were really nervous.Phoebe: Didn't yousleep together?Joey: Yeah, that really calms me down. And! We have so much in common! She loves sandwiches, sports, although she is a Met fan, not much of an issue now but if we were ever to have kids, well that'sa...Rachel: (gasps) Oh my God! Listen to you talkin' about having kids. Oh my Joey. (She goes over and hugs him.) Oh, please don't get married before I do.Joey: Okay.[Scene: A Restaurant, Monica and Chandler areon their date with Janice and Clark, however Clark is a no show and Janice is crying the Mississippi River about it.]Janice: Oh. Oh I just cannot believe Clark stood me up!Monica: He might still show up.Janice: Oh, whatare you, stupid? It's been three hours.Monica: Is that all?Janice: I should just go on to happier things, okay? Umm, why don't you tell about your lovely wedding?Chandler: Well actually uh, there was something wewanted to tell you about the wedding. Um, it's going to be a small ceremony. Uh, tiny! We're not even sure why we're having it.Monica: It's actually going to be just family.Janice: Oh...wait...you two think of me asfamily?! Oh, I have to ask you something now and be honest; do you want me to sing Careless Whisper or Lady In Red?[Scene: Central Perk, Joey is entering and arguing baseball with Erin. Phoebe and Rachel arealready there.]Joey: How can you say that?! The Mets have no closer!Erin: What about Benitez?Joey: What about Game 1 of the Series?Erin: What about shut up?Joey: You shut up! (To Phoebe and Rachel) I lovearguing with her. (To Erin) I'll be right back.Erin: Okay. (Joey goes to get some coffee and Erin sits down.)Rachel: So how's it goin' with Joey?Erin: Uh, okay.Rachel: Okay? Wait okay, tell-tell me that you like him,please? I mean tell me that you like him.Erin: Look, he's a really great guy and I know that you really want this to work out, but I just don't see this having a future.Rachel: But you said that you liked him! I mean whathappened?! Did ya just change your mind?!Erin: Kinda.Phoebe: Then change it back!Erin: I'm sorry I... It's just there's no real spark.Phoebe: No spark? Didn't you sleep together?Erin: Yeah.Rachel: Ugh, tramp!Phoebe:Does Joey have any idea?Erin: I really don't think he does. And y'know what? Maybe you guys could help clue him in. Y'know, tell him I'm-I'm not interested in a serious relationship or something.Phoebe: Yeah, youmean like that you're kind of a loner.Erin: Yeah! That would be great!Phoebe: Yeah, and maybe that you're a real (She says something in Italian, and it doesn't matter what she said. It's not important so I don't needeveryone who speaks Italian telling me what she said.)Erin: I'm sorry?Phoebe: Oh well, I guess Italian isn't one of the four languages you speak.Joey: (returning) Hey! You wanna go?Erin: Yeah, let's go.Joey: Okay.See you guys later.Erin: Bye guys.Rachel: Yeah, see ya.Joey: (whispers to Phoebe and Rachel) Hey, thank you so much. (They both exit.)Rachel: Wow. Well, I guess it was Cupid who brought her here.Phoebe: No, justa regular old flying dwarf.[SCENE_BREAK][Scene: The library's Paleontology section, Ross is patrolling as a couple walks up.]Ross: Yes? Yes?! How can I help you?Guy: Yeah, we were...we were just lookingaround.Ross: Oh-oh, you're-you're fellow scholars. What exactly were you looking for, hmm? Perhaps, (Grabs a book from the shelf behind him) perhaps Dr. Chester Stock's musings on the Smiledon Californicus?Guy:Uhh....Ross: Ah... Ah...Get out of here! (The couple retreats. Ross starts looking through the previously mentioned book as a beautiful woman walks into the section.) Uh, meeting someone? Or-or are you just here tobrush up on Marion's views on evolution?Woman: Uh, actually I find Marion's views far too progressionist.Ross: I find Marion's views far too progressionist.Woman: I'm sorry, who are you?Ross: I'm a professor here uh,Ross...Geller.Woman: Ross Geller, why do I know that name? It's uh-Wait! (Grabs his book off of the shelf.) Did you write this?Ross: Yes! You're the person who checked out my book?!Woman: Y'know, you look nothinglike I would've thought. You're...you're so young.Ross: Well I uh, I skipped forth grade.[Time Lapse, Ross and the woman are now in a state of partial undress and are standing in front of the head librarian with twosecurity guards watching them.]Ross: I am very...very sorry.[Scene: Joey and Rachel's, Phoebe and Rachel are watching TV as Joey enters.]Joey: Hey!Phoebe: Hey!Rachel: Hi!Phoebe: So how was, how was yourdate?Joey: Oh, it was great! I mean we walked all around the village. We went to this ice cream place, split a milkshake, 70/30 but still... And guess what, I'm thinking about taking her upstate to one of those bed andbreakfasts.Phoebe: Oh really? She said she wants to go away with you?Joey: No-no-no-no-no! It's a surprise, but it's gonna be tricky though because she said she was gonna be pretty busy at work for a while.Phoebeand Rachel: Oh no, yeah.Rachel: Jo-Joey, look honey we-we need to talk okay? Umm, I kinda got the feeling from her today that uh, she's not lookin' for a serious relationship.Joey: Where are you gettin' this?Rachel:Well, she told me. She said she's kind of a loner.Joey: Oh. Oh.Rachel: Joey...Joey: No hey Rach, it's cool okay? Y'know I'm a loner too! (Heads for his room.) Right?Phoebe: Hey Joey, y'know what? You are way toogood for her.Rachel: Yeah and honey I promise next time that I will just say good-bye and tell 'em you're not looking for a relationship.Joey: No! No. Don't do that, just next time make sure she really likes me.Rachel:Well that too. (Joey goes into his room.) Joey?Joey: Yeah?Rachel: Do you want some pancakes?Joey: (coming back out) Finally![Scene: Monica, Chandler, and Phoebe's, Chandler and Monica are sitting at the kitchentable and are still trying to decide what to do about Janice.]Monica: What are we gonna do?Chandler: I say we go with Careless Whisper.(There's a knock on the door and Janice enters.)Janice: Chandler?Chandler: (ToMonica) Did she see us yet? Did she see us?Monica: Janice, what umm, what are you doing here?Janice: Well umm, I thought I was going to go back to my apartment but then I just felt I couldn't really be alonetonight. (Joey walks into view of the open door behind Janice, sees her, gets a terrified look on his face, and flees in horror.) I was wondering if I could maybe stay here with you, just I really feel that I need to be withfamily.Monica: (To Chandler) Our kids are gonna call her Aunt Janice aren't they?Janice: Please, it's because otherwise I really don't know what I might do.Chandler: Aren't you just a tinsy bit curious?Janice: (starting tocry) Do you have any tissues?Monica: Yeah, in-in-in the bathroom.Janice: Okay! (She runs for the bathroom)Monica: We'll just...we'll just let her stay.Chandler: No-no-no-no, if we let her stay, she will stayforever!Monica: Kinda like your barcalounger.Chandler: Is that what you're thinking about right now?Monica: I never stop thinking about it.Janice: Hey you guys, umm do either one of you want to get in there before Itake my bath.Chandler: Janice, I'm sorry but umm, you can't stay here tonight.Janice: Why not?Chandler: Honestly? Our apartment is a hotbed for electromagnetic activity. Now Monica and I have been immunized, butsadly you have not.(And she does the laugh.)Janice: Okay, I'm going to need a comforter, but did you have a hypoallergenic one because otherwise I get very nasal. (Makes some weird sound) Do you have a cat?'Cause it's already happening. (Makes a nasal sound) Do you hear that? (She keeps making the nasal sound.)(Chandler does the same nasal sound to Chandler.)Monica: Oh my God! Oh my God! You have to go!Janice:Why?Monica: Because Chandler still has feelings for you!Janice: He does?Chandler: Say again?Monica: That's right. That's right. And that is why you can't stay here tonight. And probably why you shouldn't come to thewedding.Chandler: Feelings, such strong feelings.Monica: I mean, I realize that his feelings may never completely go away, but you can.Janice: Oh...my Gawd, I-I understand. I-I am so sorry, I'll go. (Starts for thedoor.) Good-bye Monica (hugs her), I wish you a lifetime of happiness with him. Chandler, (hugs him) you call me when this goes in the pooper. (Hurries out.)Ending Credits[Scene: The library's Paleontology section,Ross is on patrol and stops a security guard through the stack of books.]Ross: (to the guard) Don't sweat it, I've got this section covered. Yeah, in fact I've got this little baby (Turns on a mini-flashlight) to shine inpeople's eye-(The guard walks away)-Okay, see you later.(Ross resumes his patrol when his best friend and sister walk up and start to take off their coats, but they stop when they see him.)Chandler: I just wanted toshow Monica your book. (Ross just glares at him.)"}
+{"doc_id":"doc_110","qid":"","text":"Story by Mark J. Kunerth Teleplay by Richard Goodman[Scene: Monica and Rachel's erm, Chandler and Joey's, Chandler is watching TV, and we hear Mr. Treeger in the bathroom.]Mr. Treeger: Ohhh, man!!Joey:(coming in from his bedroom) What is that?Chandler: Treeger's snaking the shower drain.Mr. Treeger: What in the name of hell?Joey: Maybe he found you flip-flop.(Joey sits down and changes the channel, and we seetwo people making out.)Chandler: Hey!Joey: Whoa! Is this p0rn? What did I do? I must've hit something on the remote.Chandler: Do we pay for this?Joey: No, we didn't even pay our cable bill-maybe this is how theypunish us.Chandler: Maybe we shouldn't pay our phone bill-free phone s*x.Joey: Maybe we shouldn't pay our gas bill? (Stops and thinks about what he just said.)Mr. Treeger: (coming in from the bathroom) Whoa, hey,that lady's all kinds of naked.Chandler: Yeah, Joey just pressed something on the remote and it just, came on!Mr. Treeger: Yeah, it happened to me once. I was just flipping through the channels and bam! It was likefinding money.Chandler: Like finding money with naked people on it!Mr. Treeger: Then I made the mistake of turning off the TV, I never got it back again. And I'm sad. (Exits.)Joey: (to Chandler) Why would he turn offthe TV? (Chandler shrugs.)OPENING CREDITS[Scene: Monica and Rachel's erm, Chandler and Joey's, later that morning. The p0rn is still on, there are three women getting ready to shave the chest of some guy. Joeyand Chandler are wondering why that guy is letting them shave his chest, and Monica and Rachel are eating breakfast at the foosball table.]Rachel: All right, y'know what, come on, do we really have to watch this whilewe eat? (She makes a move for the remote.)Joey and Chandler: (stopping her) Oh no-no-no-no!Chandler: We don't know what could make this go away.Joey: Yeah, so no one touches the remote. And no one touchesthe TV!Chandler: And no one touches the air around the TV!Joey: Imagine a protective p0rn bubble if you will, okay?Monica: Well at least, I'm going to mute it.Joey and Chandler: Oh no-no-no! (Monica mutes the TVand they tentatively look behind them)Chandler: We still have p0rn.Joey: Hey.Phoebe: (entering, carrying her massage table) Hi!Monica: Hi!Rachel: Honey, what are you doing? That's too heavy.Phoebe: Yeah.Rachel:Give it here. (She takes the table.) Oh, God. (And gives it to Monica right away.)Monica: Okay.Phoebe: Ohh, I'm getting too pregnant for this, lugging around a stupid massage table. Y'know, I have to find a job where Icarrying a smaller table. (She goes over and stands in front of the TV.)Chandler: Or a job where you don't have to carry a table.Phoebe: You mean like a doctor?Joey: Pheebs! You're blocking the p0rn! Look out!Phoebe:Ohh! (She moves.) Oh my. Oh, that reminds me, I have to see my OB-GYN today.[Scene: Chandler and Joey's erm, Monica and Rachel's, Ross is entering.]Ross: Hi.Monica: Hi.Ross: So uh, Emily just went to theairport.Monica: Oh. Why didn't you take her?Ross: Eh, her-her uncle already had planned on doing it. And y'know, we-we said our good-byes this morning, so...Monica: You must feel horrible. Hey! The guys have freep0rn!Ross: (Thinks about it.) Nah.Monica: Hey, cheer up! You're gonna see her again, right?Ross: Well I, that's the thing, I don't know! I mean, whenever I brought it up with her she said, (In a British accent.) \"This isso fantastic! Why do we have to talk about the future? Let's just enjoy...\"Monica: (interrupting him) No-no-no, don't-don't do the accent. You've got to see her again.Ross: And why do you care so much?Monica:Because! You could get to live out my fantasy!Ross: You had fantasies about Emily?Monica: No! Y'know, the fantasy! Meet someone from a strange land, fall in madly love, and spend the rest of your livestogether.Ross: Is that why in junior high you were the only one that hung out with that Ukrainian kid?Monica: Yeah that, plus his mom used to put sour cream on everything!Ross: Ahh.Monica: Do you love her?Ross:We said it was only going to be two weeks, y'know?Monica: You love her!Ross: What-what is love really?Monica: Ohhh, I knew you loved her! Then you need to go to the airport and tell her. You're probably just gonnacatch her just as she's about to go to the gate. You're gonna call out her name and say, \"I love you!\" And she's gonna say, \"I love you, too!\" And you guys are going to have the most amazing kiss, everyone at the gatewill applaud.Ross: I am a good kisser.Monica: Then you two can, can sneak into the cockpit, and things will start to heat up, and then a stewardess comes in... (Ross looks at her.) I've been watching too muchp0rn.[Scene: Beth Israel Medical Center, Phoebe is at her OB-GYN doing an ultrasound, Rachel is with her. We here the baby's heartbeat.]Rachel: Is that the heartbeat?The Doctor: That's it.Phoebe: Oh my God!Rachel:Oh wow! This is so cool.(The heartbeat changes, and we hear a different one.)The Doctor: Have we talked about the possibility of multiple births?Phoebe: Why don't take care of this one, and should I get pregnantagain, I'll hold onto your card, okay?The Doctor: No, I'm getting three separate heartbeats.Phoebe: Three? You guys were worried I wouldn't even have one!The Doctor: Doctors are wrong all the time.Phoebe: Well,yeah.Rachel: Well, so, are-are you sure that there are three?!The Doctor: Definitely. (Points out each head on the ultrasound.)Phoebe: Oh my God! Oh my God! Oh my God!! So I-I mean so in a few months I'm going tohave three full grown babies just walkin' around inside me?! Oh! Oh! And it's gonna be one of those log rides where they just come shooting out!The Doctor: Actually, giving birth to three babies isn't that different fromgiving birth to one.Phoebe: What do you know?![Scene: Central Perk, Phoebe is there, waiting to tell Frank and Alice the news.]Alice: (entering) Oh-oh, Phoebe!Phoebe: Ooh! Hi!Alice: Hi! (She runs over and hugsPhoebe's stomach.) So, how did it go at the doctors?Phoebe: Oh well, okay, hey, y'know how when you're umm, you're walking down the street and you see three people in a row, and you say, \"Oh, that's nice?\"Frank:Yes.Phoebe: Okay, yeah well, good news, you're going to have three babies.Alice: Three babies?Frank: I finally got my band!Alice: We're gonna have a big family, I've always wanted a big family!Phoebe: Oh God, I'mso glad you guys are happy, I was so afraid you were going to be all freaked.Frank: Why would we be freaked?Phoebe: No, no maybe 'cause it's harder to raise them, and the added expense, and...Frank: (They're lessthan happy now) Oh.Alice: Right.Phoebe: No, back to happy. Back to happy!Alice: No-no-no, no, it's going to be fine. Because umm, because I teach Home Ec, and uh, I can have 30 kids making baby clothes all yearlong. Y'know it'll-it'll be like my very own little sweatshop.Frank: Yeah, I've been thinking ever since you said we were having triplets, the best thing for me to do is to drop out of college and get a job.Alice: No,Frank.Phoebe: No you can't quit college! No! You're in college? Really?Frank: Yeah, refrigerator college.Alice: Yeah.Frank: Yeah, y'know when we found out we were going to have a baby, y'know I figured y'know like Ishould y'know have like a career-and I love refrigerators!Phoebe: You can't give up on your dream.Frank: No, it's okay. We're-we're gonna have three kids! And that's-that's a different kind of dream. Three kids and nomoney.[Scene: The airport, Emily is getting ready to board her flight to London.]Ticket Agent: (On the P.A.) This is the boarding call for Flight 009.Ross: Emily! (Runs up.)Emily: Oh my God! What are you doing here?(They hug)Ross: I just, I had to see you one more time before you took-off.Emily: You are so sweet. (They kiss.)Ross: That's, that's, that's a big candy bar. (She's holding one of those huge Toblerone bars.) I had themost amazing time with you.Emily: Me too.Ticket Agent: This is the final boarding call for Flight 009.Emily: Well, that' me. (They kiss again.) Here, have this. (She gives him the candy bar.) I'm only allowed one piece ofcarryon anyway. (She starts towards the jetway.)Ross: (stops her) Wait uh, listen. I-I, I have to tell you something. Umm, I've been thinking, I'm just gonna come out and say it. Okay? I-I-I ah, I-I think I loveyou.Emily: Oh. (She's shocked and hugs him.) Thank you. (She boards the plane.)Ross: That's no problem.[SCENE_BREAK][Scene: Monica and Rachel's erm, Chandler and Joey's, Rachel is singing some kind ofsong.]Rachel: What's that song? It has been in my head all day long.Chandler: It's the theme from Good Will Humping.Rachel: Y'know who doesn't even like dirty movies? My new boyfriend Joshua.Joey: Yeahright.Rachel: No, he told me. He prefers to leave certain things to the imagination.Chandler: Oh-oh, yeah, and did he also say that ah, some of the dialogue was corny and that he actually found it was funny and notsexy?Rachel: Yes!Joey: Yeah, he likes p0rn.(Rachel starts to leave.)Monica: Where ya going?Rachel: I'm going to find out if he really thinks supermodels are too skinny. (As she exits, Phoebe enters.) Hey,Pheebs!Phoebe: Hey.Joey: Hey!Monica: How did it go with Frank and Alice?Phoebe: Well, Frank has to quit college because his super fertile sister is having three babies! I need to make a lot of money really fast, and Ihad an idea that I want to talk to you (Points to Chandler) about, 'cause you work for a big company. Okay, insider trading, what information is there that you can give me.Chandler: They don't really talk to us aboutthat kind of stuff. I can get you some free white out though.(Ross enters.)Monica: Ohh! Did you do what I said? Did-did-did you tell her?Ross: I did.Monica: And well, what did she say?Ross: Thank you.Monica: Oh,you're totally welcome! What'd she say?Ross: She said, \"Thank you.\" I said, \"I love you.\" And she said, \"Thank you.\"Chandler: Whoa-whoa, wait a minute, did you say, you love her?Joey: Yeah, what were you trying toget her to do?!Ross: What do I do now?Joey: You play hard to get.Ross: She already lives in London.Joey: Then you go to Tokyo.Chandler: All right look, forget it, forget it. You told her you love her, it's over.Monica: Itis not over! You're over!Chandler: What?Monica: You know!Chandler: Okay. (Pause) Good one.Monica: It is not over because she is going to call you and tell you she loves you. And the reason why she couldn't, isbecause her feelings were so strong, it scared her. Now you go home and wait for her call, she could be calling you from the plane! Come on now go! Go! (Tries to push Ross out the door.)Ross: Okay! Okay! But if shedoesn't call, it is definitely over! No, wait. Wait. Unless, eventually, I call her, y'know just to she what's going on, and, and she says she'll call me back, but then she doesn't. Then it's over.(Joey holds his fist up, andChandler gives him two thumbs up.)Joey: Way to be strong, man!(Ross leaves, and after the door closes, Joey gives him the loser sign.)[Scene: Chandler and Joey's erm, Monica and Rachel's, Chandler and Joey enterhaving just woken up.]Rachel: Hey!Chandler: Hi! Listen, can we watch cartoons on your television? We need a p0rn break. We spent the last two hours watching In & Out & In, Again.Rachel: Well, so, why don't you justturn it off?Chandler: Because then we would be the guys who turned off free p0rn.Phoebe: (entering carrying a case) Ooh, good, you're hear! Okay.Monica: Hey!Phoebe: Hi!Rachel: Well, what-what 'cha gotthere?Phoebe: Oh this, well I'm glad you asked. (She opens the case and removes a knife and an soda can.) Now, don't you hate it when you have to cut a tin can with an ordinary steak knife? (She efficiently cuts it inhalf.) Ahh! Now, I know what you're thinking...Chandler: Pregnant Woman Slays Four?Monica: Phoebe, they didn't make you pay for those knives, did they?Phoebe: No!Monica: Are you sure?Phoebe: No!Rachel: Honey,you're not gonna make enough money to help Frank and Alice just by selling knives.Phoebe: No-no, I know that, but I just have to make enough money for the second part of my plan.Chandler: What's the second partof your plan?Phoebe: My Saturn dealership.[Scene: Ross's bedroom, he has fallen asleep waiting for Emily to call. He is awaken by the phone.]Ross: (Answers the phone.) Hello?Emily: Ross.Ross: Emily, hi! Uh,how-how was you flight?Emily: It was dreadful. I felt terrible about how I acted when you said those wonderful things.Ross: No, no, that-that, that's all right. Umm, I'm just glad you called.Emily: Ross umm, there'ssomething that I've got to tell you, there's-there's someone else.Ross: Does that mean the same thing in England as it does in America?[SCENE_BREAK][Scene: Monica and Rachel's erm, Chandler and Joey's, Ross isrelating his recent conversation with Emily to the gang.]Ross: She doesn't know which one of us she wants, me or this Colin guy.Monica: This isn't how it's supposed to go, there can't be another guy.Ross:Well...Monica: Of course there's another guy!! This is even more perfect! Now you have to prove your love!Ross: I'm not proving anything. Okay, I'm done listening to you. If I hadn't let you talk me into going to theairport in the first place, I never would've put my fist through the wall!Chandler: You put your fist through the wall?Ross: No, I missed and hit the door. But, it opened really hard!Monica: You have to go to London!Ross:What?Monica: Yeah, you have to go fight for her!Joey: Oh yeah, sure, that makes sense. Yeah. 'Cause you already told her you love her and she didn't say it back, then she called you and told you that there's anotherguy, so yeah, go to London that'll scare her!Monica: When Rachel was with Paulo, what did you do?Ross: I made fun of his accent.Monica: You sat back and let him have her, you didn't fight at all. Am I right? Do youwant the same thing to happen with Emily?Ross: No.Monica: All right then, go fight for her! Go to London! I mean, that could be you and Emily! (Points to the TV.) That, but-but nicer. Just, go to London!Ross:Really?Monica: Come on! Surprise her! Show up at her doorstep! Don't let her go without a fight!Ross: All right. All right, I'm gonna do it!Monica: All right.Ross: I'm gonna, I'm gonna go to London and I'm going to fightfor her.Monica: Okay, good luck!(Ross starts to leave.)Joey: Ross! Ross! If you're going to the airport, could you pick me up another one of those Toblerone bars? (Chandler nods his head no.)[Scene: Chandler andJoey's erm, Monica and Rachel's, Monica, Joey, and Chandler are sitting and talking as Phoebe and Rachel enter.]Rachel: Hey!Phoebe: Ooh-Ooh! I did it! I did it! I figured out a way to make money! I'm gonna open upmy own massage place and Frank's gonna help me! And! We can work it around his schedule so he doesn't have to quit school!Monica: That's sounds great, but how are you going to afford it?Rachel: Well, we werewalking down the street and we saw that van that you guys used for catering and we realised...Phoebe: I'm telling it! I'm telling it!Rachel: Okay.Phoebe: Okay. You know how people need transportation, but they alsoneed massages to help them relax so I just figured we could combine the two, okay, I give the massages and Frank drives! I can fix up the van, bolt the table in the back, and you know what I've got?Chandler: A placewhere no one will ever get out alive?Phoebe: No! Think about it, it's a taxi that people take when they need to relax, it's...Rachel: (interrupting) Relaxi-Taxi!Phoebe: The name was my favourite part!Rachel: Well, well Ican up with it!Phoebe: YOU DID NOT!!!! Oh! No! You came up with Relaxi Cab! That's not good.Rachel: Well, I...(The phone rings and Monica answers it.)Monica: Hello.Ross: (on phone) Hey.Monica: Oh my God! Ross,are you in England? Was Emily surprised?[Cut to Ross in one of those British phone booths.]Ross: No, because she hasn't come home yet. And she hasn't been home all night! She's obviously staying with that otherguy, and I'm the stupid moron who spent the whole night outside her apartment!Monica: All right. When is, when is the next flight out?Ross: About four hours.Monica: Okay, just stay there a couple more hours and ifshe doesn't show up by then, then just come on home.Phoebe: Hey, tell him about Relaxi-Taxi, and-and ask him if he thinks that's better than Relaxi Cab.Rachel: Okay, it's not Relaxi Cab. It's Relaxicab, liketaxicab.Phoebe: Oh, that is better.[Scene: Monica and Rachel's erm, Chandler and Joey's, later that same night. There is a knock on the door and Chandler answers it to reveal Emily standing behind it.]Chandler: Arewe in London?Monica: What are you doing here? You can't be here!Emily: I've uh, I've come to talk to Ross.(She sets her bag down on the foosball table and Joey sees the Toblerone bar sticking out of it and gazeslongingly at it.)Emily: What?Joey: (pause) Nothing. No, nothing.Emily: I was going to call him, but...Monica: Oh, you came to tell him you love him! I knew it! (Points at Chandler) I was right! (Points to Emily) I'm right,right?Emily: I'd really rather talk to him.Monica: Oh.Emily: I uh, I've been to his apartment and he wasn't there, and uh. I need to talk to him, so do you have any idea where he is?[Cut to London, we sit Ross sittingoutside Emily's apartment. We hear Emily's phone ring with amazing clarity. Apparently, sound travels quite easily through the walls of British buildings. Anyhoo, Ross looks around for the ringing phone and in themeantime Emily's answering machine picks up and once again with amazing clarity we hear Emily say...]Emily: Ross, are you there? Ross, I don't know if you can hear this but... (Ross has moved to the window,apparently so that he can hear better.) I'm gonna talk anyway, uh, I'm in the States with you sister and your friends and it's all over with Colin. I came here to tell you that, and to tell you-Yes, Joey you can have all thechocolate you want, just take it! Uh, I came here to tell you that I love you.Ross: (yelling, thinking Emily can hear him through the answering machine all the way to New York.) I love you too! I'm, I'm gonna call youright now from the phone booth! (Realises) You can't hear me. (Goes to make his call.)Emily: I wish I could know if you'd heard any of that. I suppose I've either just told you I love you or given my neighbours a goodlaugh. Mrs. Newman if you're listening, bugger off this in none of your business. I suppose there's not much chance you did heard that, and there's the call waiting so, I should go. Oh well. (Answers the call waiting.)Hello.Ross: Hi.Emily: Ross, I love you!Ross: Ohh! Thank you.CLOSING CREDITS[Scene: Monica and Rachel's erm, Chandler and Joey's, Joey is still watching the p0rn as Chandler enters.]Chandler: Hey.Joey:Hey.Chandler: I was just at the bank, and there was this really hot teller, and she didn't ask me to go do it with her in the vault.Joey: Same kind of thing happened to me! Woman pizza delivery guy come over, givesme the pizza, takes the money, and leaves!Chandler: What, no, \"Nice apartment, I bet the bedrooms are huge?\"Joey: Noo! Nothing!Chandler: Y'know what, we have to turn off the p0rn.Joey: I think you're right.(Goesover and picks up the remote.)Chandler: All right, ready?Joey: One.Chandler: Two.Both: Three.(Chandler turns off the p0rn and sets the remote down.)Joey: That's kinda nice.Chandler: Yeah, that's kinda a relief.Joey:Yeah.(Pause.)Chandler: You wanna see if we still have it?Joey: Yeah.(Chandler turns on the TV and...)Chandler: FREE p0rn!!!Joey: Yeah!!Chandler: We have free p0rn here!!!"}
+{"doc_id":"doc_111","qid":"","text":"44th Episode of RoswellProduction Code: 3ADA01[SCENE_BREAK]Max: Are you ready?Liz: Yeah, I think so.Max: Liz, you don't have to do this.Liz: No, max. We are in this together. That's what we said. Together till theend.Liz: Down! Down! Now! Whoa! Down! Get down!Max: Do what she says. She's crazy.Liz: Face on the floor! Now! [East coast accent] yeah. I, uh...I wanna report an armed robbery in progress. At Sam's quick stopon highway 65. Yeah. Hurry.Clerk: I have a family.Liz: Hurry. We've only got a few minutes.[Siren approaches]Liz: just keep your face down! Keep your face down! The cops are coming. We gotta get outta here. Comeon, let's go! Come on, let's go! Hurry up![Max, now in the room below the store sees the spaceship. He holds up a large diamond, and the ship begins to glow]Liz: Come on. How'd they find us so fast?Max: I don't know.All right, hold on!Liz: Max, they can't find out about the diamond.Officer: Hands! Let me see hands!Liz: You got any powers for this?[PREVIOUSLY_ON]Max: Liz, there's something I need to tell you about Tess and me.Our relationship is, uh-- something happened. Liz, Tess is pregnant. I'm going back.Liz: Just tell me one thing. Do you love her?Max: Not like I love you.Max: This was all some kind of plan to get pregnant and go home,wasn't it?Max: This isn't over, tess.Isabel: What happens now, max?Max: I have to save my son.[Telephone rings]Max: So I was wondering if you wanted to, you know, see me.Liz: You mean, like, on a date?Max: Justsomewhere we can talk. I just want to try to start over, liz. You look amazing.Liz: They're my favorite. Thank you. So where are we going?Max: It's a surprise.Liz: It's kind of dark.Max: Liz, i just want to put everythingthat happened behind us.Liz: Yeah, you know that I would, too, if i had impregnated an alien killer who murdered one of our best friends and then left the planet with my unborn child.Max: So you're still holding on tothat?Liz: It's hard not to, max. See, you slept with tess, and then you got her pregnant. I don't know how to just move past that. You hurt me, you know?Max: Liz, meeting someone, someone like me,Liz: it attractedme. I admit that. It was something I had to find out about, and now I'm over it.Max: It's not that simple. Liz, i'm here. I'm not going anywhere. Isabel, michael, and I, we've lost our only way home. There's no wayback. You're the only or me to-- you're my only reason. I want to be with you.Liz: Tess is pregnant with your child. What about your son?Max: There's nothing i can do about that. He's gonna be born in a... In anotherworld, a world that i have nothing to do with. I've accepted it. Liz, you've paid a lot to know me. You've been hurt and you've been put in danger. Now I want to make that up to you. I want to make your dreams cometrue. Will you let me do that?Max: In the neighborhood?[Sighs]Mr. Evans: son. If you want to get out of here while you're still a young man, don't say anything to anyone unless i'm present. I'm not your father rightnow, I'm your lawyer.Mrs. Evans: Oh, my god. Max.Max: It's all right, mom. It's all right.Mrs. Evans: Look at you. What is going on? Who are you? Why are you under arrest for armed robbery?Mr. Evans: Now tell uswhat the hell are you doing in utah?!Mrs. Parker: Jeff, stay calm. Calm?!Mr. Parker: How am i gonna stay calm? [Ms]Honey, i know it isn't you. I know this is not something that you would do, but--but if you did do it,maybe it's because somebody put you up to it.Liz: They put meup to it. Right, mom.Mr. Parker: Ok. That's enough! Now tell us what the hell happened.Liz: I'm not gonna speak to anyone until they let me talk to max.Liz:Liz: So I've broken, like, 12 of my mom's rules already.Max: Rules? She has rules? Well, yeah. Yeah, since I told her that you broke my heart, without any of the alien details, of course. She thinks that we shouldjust take things slow. Just dinner, then straight home, no plans for future dates. No making out.Max: So i suppose skinny dipping would be against the rules, too.Liz: Uh-huh. What are you doing, max? No. No, this isnot happening. Ok, you've made your point. It's not that funny. You can stop now. What--no, max. Max. I can't believe you're gonna do this!Max: Whoo! Come on in. It's beautiful. No, it's not. It is obviously freezing.Come on, liz. This is something we'll tell our grandchildren about. Come on in, liz. Come on.Liz: Fine! Ok? Fine. Grandchildren. What are they gonna be, 3 feet tall and green? But, hey. I am not taking my underwear off.And if my mother, like, ever, ever t about this, you are, like, so dead. Ok? Do we have a deal? Max. Oh, max! Is that a deal, max? Huh? Max! Max, oh, my god!Isabel: Max! Michael Just tell us what happened. Feel freeto leave out the lurid details.Liz: Look, I told you already. He was just, like, laying there in the water and he woke up in the car. But he hasn't said a single word. You guys, isn't there d of cure for this? You guys are thealiens. Do something here. Michael Maxwell! Hey, Maxwell! Maxwell! Hey, what the hell's going on?Max: Something happened. I had this vision. It was my son. He's been born. He was reaching out to me. He's introuble. Michael now if I'm to have any chance of graduating this year, I need to get into your bio 101 class.Teacher: Why didn't you come to my bio 101 class when you were in it? Michael I'm turning over a newleaf.Teacher: Excuse me while I take a moment to chuckle within. Michael Ok, lookit, plans changed. I thought I was moving out of Roswell, but as it turns out, I'm stuck here for good.Teacher: And how far away didyou plan to move that you didn't think that your high school records would've been sent to your new high school? Michael Actually, pretty far. Mr. Seligman, I know you hate my guts. Personally, I hate yours,too.Teacher: This is how you ask a favor? Michael But if you help me graduate this year, then you won't have to see me next year.Teacher: Well, you do have a point there. Ok, Mr.. Guerin, I will let you in to my biology101 class if you make a sacred vow to me right now that you won't miss a single session.Isabel: Michael, there you are.Teacher: Miss Evans, I thought you graduated.Isabel: I did, mr. Seligman, but I just can't seem tocut the cord. Too many fond memories. I need to talk to you. Michael I got class.Isabel: It's important. Michael I will be one minute.Teacher: I'm sure you will. Miss Evans, love the hair.Isabel: Well, thank you. MichaelSo, what's going on?Isabel: Max and Liz got arrested in Utah for armed robbery. We have to go.Michael: So much for ever getting out of this school. What were they doing in Utah?[In Utah]Isabel: Mom!Mrs. Evans:Isabel. Your father and i have been going crazy. Oh, hi. Philip!Isabel: So what's going on?Mrs. Evans: Well, we're still trying to figure out what happened with your brother and Liz.Isabel: Hi, dad.Mr. Evans: Hey. This isJesse Ramirez from my office.Isabel: We met at the company--Jesse: picnic, that's right. Nice to see you again.Isabel: Nice to see you again.Mr Parker: So what have you found out, Philip?Mr. Evans: A detentionhearing has been set up for tomorrow with the judge. Max and liz are first-time offenders, no physical evidence has been produced, so we're hoping they get a slap on the wrist and get sent back home.Mrs. Evans: Well,what about jail?Mr. Evans: They can only go to jail if the case is transferred to the criminal court system and they get tried as adults. But so far that seems unlikely.Jesse: Ok, they haven't found a gun, and there are nowitnesses other than the nutcase behind the counter who claims to have seen an otherworldly yellow light.Isabel: So as long as there's no evidence, max and Liz will be ok, right?Mr. Evans: Yeah. Yeah, we certainlyhope so.Michael: Can we see them?[Door opens]Isabel: max! You idiot. What are you trying to do to our poor, clueless human parents?Michael: So what's the deal? You running low on cigarettes?Max: There's anunderground government storage facility under the convenience store.Michael: Well, that's a surprise.Max: Our ship's there.Michael You mean our spaceship?Max: It's been reassembled. I saw it with my owneyes.Michael: I can feel biology 101 slipping from my grasp.Isabel: So, reassembled that means it works?Max: Possibly.Isabel: I thought we made an agreement to let go of the other world and live here.Max: That wasbefore my son tried to contact me.Isabel: Max, a little reality check. This ship you're talking about...Sucks. It's a lemon. It crashed to begin with. That's why we're stuck here. Michael She's got a point.Max: Look, I needyou to find something for me. I had to toss it before we were arrested.Isabel: No. No, we are not helping s absurd plan to find a spaceship, ok? This is ridiculous.Max: This isn't about getting to a spaceship. Liz and Istole it. It's a diamond.Isabel: You stole a diamond?Max: It's not actually a diamond. It's the key to our ship. It's alien, and if we don't find it before the police do, we'll be linked to another crime. We'll never get out ofhere. Michael So what does it look like?[Scene switches to the past, Max and Liz looking at Tess' things]Liz: Hey, i've been for you.Max: Yeah. Yeah, I was just, uh--Liz: looking through tess' stuff. What's that?Max: Itwas buried among tess' things. It's a letter Nasedo wrote to her before he died. It says, \"I am your one and only protector on this planet. \"I'll protect you until the end. \"If I ever die, this is our only way to communicatewith our home.\"Liz: And?Max: I have to contact my sonLiz: So i guess this part of your life isn't over after all.[Michael is in a field looking for the diamond- a man with a gun confronts him]Michael Mandatoryattendance, I understand. Yeah. An attitude improvement? I'm already on that. And a respect for authority, yeah, absolutely. Mr. Seligman, I gotta call you back.Man: Who was that? Michael It's my science teacher. I'mtrying to graduate high school.Man: Why don't you just get a G.E.D.? Michael No one hires anyone with a g.E.D.Man: I got a G.E.D. I'm doing fine. Michael Yeah, you're on a nice career path there.Man: I got a messagefor your friend max. Stop looking. The person i work for will do whatever is necessary to stop him. Whatever is necessary. Michael Whatever, dude.[Gunshot]Man: don't be such a smart ass. Maybe that's your problemin school, too. Don't make me come back to Utah.[Maria arrives in Utah]Maria: Why can't these aliens ever get in trouble somewhere decent? Like Graceland or Tahoe or New Orleans. No, Utah. Mormons andmountains.Liz: Oh, my god, Maria. I can't believe you're here.Maria: Who am i, liz? Of course I'm here.Liz: Ok, thanks. Now give me some sugar.Maria: Hi. Mmm. Hi. Ok, first of all, I have some fresh green lime piefrom the Crashdown.Liz: Oh, Maria, you-- you are a goddess. You know, if you were a boy, I would--Maria: ok, no, don't go there, girlfriend. All right, now i talked to everyone involved, and I got the total unadulteratedscoop. The judge and D.A. of this town are, like, totally sweating it because they have to go before council next month for reappointment and they haven't caught a criminal in, like, a decade, so they're basically out foryour scalps. Ok, that's all i have. Now it's your turn. Spill. Last i heard, you and max were trying to take it slow.Max: What? Mmm. What's going on, liz?Liz: Do you love me?Liz: Yes. How much do youMax: who areyou?Liz: Look at this.Max: How'd you find this?Liz: I spent 16 hours at the main branch of the library in Albuquerque. The diamond's owned by Delores Browning, one of the 10 wealthiest women in the world.Max:Where is it?Liz: It's on permanent loan at the Tate museum in London. But it's gonna be the main event in a traveling exhibit. It'll be in Santa Fe in two weeks.Liz: No, no, no, no, no. I want to do this with you, max.Together.Max: Why?Liz: Because if i had lost a child, I would want you to help me find him. But that's only part of the reason. The other part is that i don't want you to slip away from me. I know what it's like to be withyou, and I know what it's like to be apart from you. And I would rather be with you.Max: I don't know if i could live with myself if anything ever happened to you.Liz: Max, you're an alien king. What could ever happento me?[In the present], Isabel knocks on Jesse's doorIsabel: thank you for this meeting, Mr.. Ramirez.Jesse: No problem, Isabel.Isabel: Mmm! Why didn't you tell me you were here?Jesse: I was working all night withyour father. I couldn't call.Isabel: Oh, I just wish this could all be out in the open.Jesse: I'm still not sure why it can't be.Isabel: Well, there's the fact that you're 26 and I'm barely legal.Jesse: you're an old soul. Youhave clearly lived before.Isabel: You have no idea. So, what were you and my father holding back from us before?Jesse: What do you mean?Isabel: I saw the look between the two of you earlier. Clearly you're nottelling us the whole story. Jesse...Jesse: Last year there was a robbery in the county. A kid died. No one was ever charged, and the local prosecutor got a lot of heat for it. So... This town is looking for someone tohang.Jesse: Max and liz picked a bad place to play bonnie and clyde.[Telephone rings]Jesse: hello? Philip. Oh, just, uh, working on some research. Ok, I'll be right over. That was your dad. They found evidence.[Sceneswitches to the past, and the museum]Max: The honor's mine. So you're the Delores Browning?Mrs. Browning: Well, I don't usually put an article before my name but, yes, I am.Max: So what's it like to actually own allthese diamonds?Mrs. Browning: I only own some of them. Well, most of them, actually. So you're-- max. And you're not really ly a waiter. You're really an aspiring artist or actor or--Max: no. I'm just a waiter.Mrs.Browning: A waiter? [Laughs] god bless you.Liz: What the hell are you doing?Max: Oh, liz.Liz: What the hell are you doing?Max: Nothing.Liz: Nothing. I can't believe you. How many times have i stuck my neck out foryou, and you are standing here obviously flirting with a woman obviously-- come on, she's, like, twice your age.Max: Liz, calm down.Liz: : Calm down!Max: I better be going. I'm sorry.Liz: Oh, my god! You'reapologizing to this bimbo?!Mrs. Browning: Excuse me?Max: Liz, let's just walk away and forget it.Liz: Forget it. You think that's your answer to everything, isn't it, max? Forget everything, ignore everything.SecurityGuard: Excuse me, ma'am. Could you come with me, please?Liz: Can you please not touch me?! Listen, this is what he does, ok? You, you're not special. He does this to everyone. You are a little bit too desperate to seewhat is really going on here!Max: Liz, will you just stop it?Liz: Why?!Mrs. Browning: Young lady, I don't think you have any idea who you're speaking to.Liz: Oh, I don't, huh?Mrs. Browning: Ohh!Max: Don't touchher![Max pushes a guard, the diamond falls, and Max does a somersault and catches it][Alarm bell rings]Max: I believe this is yours. I'm sorry.Liz: Get me out of here.Max: Liz--Liz: you have humiliated me again. Nowget me out of here. Did you get it?Max: Of course i did. We did it.Liz: You were brilliant.Max: No, you were brilliant.Liz: That was so exhilarating.Max: I know.Liz: You know, just the fact that we, like, pulled it off.everything. It's just, like, anything's possible right now. And then throwing that champagne at that woman, it was so cathartic. Look, and, max, I know what we did is totally... Totally wrong and completely illegal, but Ijust loved it. You know? In a million years, in one million years did you ever think? Yeah. So, now that the diamond, we have to find the spaceship, right?Max: Well, not right this second.Liz: Ok.[Giggles][SCENE_BREAK][At Liz's home]Mr. Parker: Liz! It's 2:00 in the morning. Where the hell have you been?Liz: Upstairs.Mr. Parker: Where were you?Liz: Nowhere.Mr. Parker: And what are you wearing?Liz:Clothes.Lawyer: That's just the way things work here. She'll be fine.Mr. Evans: Nancy, Jeff, hi. Mr. McGregorLawyer: Nice to see you again, Mr.. Evans.Mr. Parker: Mr. McGregor here was just giving us the inside scoopon the Salina court system.Mr. Evans: Ah, how generous.Lawyer: Well, nice to meet you folks. Nancy, Jeff. You're good people. Your daughter deserves her best shot.Mr. Evans: What was that about?Mr. Parker: He'strying to put our kids in jail.Mrs. Evans: Mr. McGregor just feels that we'd be better off pleading guilty.Mr. Evans: Well, he'd certainly be better off. He's a prosecutor. His job is to get a guilty plea.Mr. Parker: But he saidthat if we plead not guilty, it could provoke the judge and he'd be that much more likely to transfer the case to a criminal court.Mr. Evans: Jeff, if we plead guilty to a felony, then there's a case against them in criminalcourt. We can't give them that option. Believe me, I know what I'm doing.Mrs. Parker: No, it's just this isn't personal, Phil. It's just that you're a corporate lawyer and this is not your area of expertise.Mr. Evans: Nancy,Jeff, that man you were talking to wants a guilty plea, and he'll say and do anything he has to to get it. If we plead guilty, I guarantee you this case is going to criminal court. Look, our children are in this together.We're all in this together. Believe me, I am doing right by your daughter.[Scene switches to court]Judge: Do you understand the charges against you?Max and liz: Yes, your honor.Judge: How do you plead?Max: Notguilty.Liz: Not guilty.Judge: All right, then, you can have a seat. Now, mr. Mcgregor and Mr.. Evans, I've reviewed the material you've submitted--Mr. Evans: your honor, before you make a ruling on this, I haveadditional material that i feel is critical to this case.Judge: All right, let's see it, Mr.. Evans.Mr. Evans: Thank you. These are 4 recent rulings in Utah state courts, all of which disallowed dna matches from hair follicles tobe submitted as evidence. Uh, your honor, in consideration of the fact that these few strands of hair are the only physical evidence in this case and there are no priors on eitherr defendant who are both standoutstudents and members of their community, I ask that this matter be dismissed.Judge: All right. Well, thank you, Mr.. Evans, I'll take that under consideration.Judge: Max evans. It's the decision of this court that you bereleased to the custody of your parents, that you be returned to your home state of New Mexico if you will agree not to return to the state of Utah until your 21st birthday. Do you agree with that, Mr.. Evans?Max: Yes,your honor.Judge: Very good. Have a seat. Elizabeth parker. Now, your voice and your height match the description of the person in possession of the firearm. Armed robbery's one of the 10 crimes punishable underUtah's serious shooter offender act. Therefore it is my decision to transfer your case to the criminal court system.Mr. Evans: But, your honor, there was no gun found. The only mention of a gun was from the testimonyof a clerk whose credibility--Judge: I've made my decision, Mr.. Evans. This is for another court to consider.Mrs. Parker: Oh, my god!Mrs. Parker: You can't do this!Mr. Evans: Your honor, this girl has never so much asjay-walked. She's one of the best students in Roswell high.Judge: Well, you're not in Roswell, counsel. This hearing's adjourned.Mrs. Parker: Oh, my god, no! No, you can't take her! You can't--no!Mr. Evans: It'll be ok.Liz-- liz, we'll talk, ok?[Later in the courthouse]Lawyer: liz, i've reviewed your case with your parents, and my advice as your attorney is to try to make a deal.Liz: What kind of deal?Lawyer: You're a good kid, liz. Honorstudent, clubs, activities. Maybe you fell in with a bad crowd, met a guy with a problem. Maybe max dragged you into this.Liz: You want me to sell max out?Lawyer: He sold you out when he made you walk in thereholding that gun.Liz: We're in this together.Mrs. Parker: Not anymore. Honey, you could go to jail for 20 years.Lawyer: Let's talk about the gun. Did max convince you to hold it? How'd you get it to begin with?[Sceneswithces to the past]Liz: So, why do we need this?Max: Road trip.Liz: Where?Max: I did some research at the UFO center. There are 5 government storage facilities large enough to hold the ship. It's gotta be in one ofthem.Liz: I don't see a government facility , do you?Max: Let's take a look.Max: Don't worry. It won't be loaded.Liz: To go in there with a gun, that's a felony. Why can't I just distract the clerk?Max: That's not enoughtime. I need at least 5 minutes to get downstairs, see if the ship's there, and if it works.Liz: And what if it works? I mean, you go off to Antar and what? I mean, what if you never come back?Max: I will come back. AndI'm not leaving yet. First I have to see if this is even a possibility. I'm gonna have to figure out how to navigate it.Liz: We can't get caught.Max: We won't.[In the present, Max opens Liz's cell]Max: Let's go.Liz: What doyou mean?Max: Let's get out of here.Liz: Max, and then what? Just be on the run the rest of our lives? We'd never be able to go home again.Max: That's not as bad as it sounds.Liz: No, max, i'm sorry, but that's justtoo far for me. I'm not ready to give up my home or my family.Max: I wish we could trade places.Liz: No. No, no, no, max. Ok, I don't. You're free. We came here for a reason because your son is in trouble. Now you"}
+{"doc_id":"doc_112","qid":"","text":"Buffy is napping in Angel's bed. Angel is watching her sleep. He smiles at her as she wakes.Buffy: (smiles) What? Do I have funny bed hair or something?Angel: Or something?Buffy: I guess we got a little carried awaywith the whole post-slayage nap thing. (feels her hair) Ohhh, not good. (sits up)Angel: Where you going?Buffy: To go kill a cat on my head.Angel: No mirrors.Buffy: You know, this place really isn't girl-friendly. Nomirrors, no natural light.Angel: I think you look perfect.Buffy: Oh yeah, I really like... Okay! (lays down) Maybe we should think about getting a few mirrors. And maybe a drawer, you know, for some of my stuff.Because that's what couples do, they have drawers.Angel: Mmmm, that's right.Buffy: You know, I-I figure, that way sometimes I could spend the night. Like, after the prom, it would be nice to be able to just come backhere and spend some time together.Angel: The prom?Buffy: End of high school rite of passage thingy. Think cotillion with spiked punch and electric slide.Angel: Right.Buffy: Oh, don't worry, it's at night. And lots of girlshave older girlfriends. You'll blend.Angel: I think maybe you should go, hunh?Buffy: Noo.. must be a few more hours before sunrise. Buffy gets up and walks to the window. When she pulls back the blackout curtain, itlets in a blast of sunlight directly onto the bed. With an exclamation, Angel rolls out of bed away from the light, apparently unharmed. Buffy pulls the curtains closed suddenly.Buffy: Ooh, sorry. I guess it's later than wethought. Angel has a worried look. Opening credits.[SCENE_BREAK]Daylight outside Sunnydale High. Xander is walking slowly when Anyanka intercepts him and walks beside him.Anya: Xander!Xander: Well, hey, it'sdemon Anya, punisher of evil males. Still haven't got your powers back? (serious) You haven't right?Anya: No. I will, though. It's just a matter of time.Xander: So now, how did that work? Women would wish horriblethings upon their ex-boyfriends. You'd show up and make it happen.Anya: That's right. The power of the Wish made me a righteous sword to smite the unfaithful.Xander: Well, hey! Good luck with that. Hope it worksout for you.Anya: You know, you can laugh, but I have witnessed a millenium of treachery and oppression from the males of the species and I have nothing but contempt for the whole libidinous lot of them.Xander:Then why you talking to me?Anya: (averts her eyes) I don't have a date for the prom.Xander: Well gosh. I wonder why not. It couldn't possibly have anything to do with your sales pitch?Anya: Men are evil. Will you gowith me?Xander: One of us is very confused, and I honestly don't know which.Anya: You know, this happens to be all your fault.Xander: My fault?Anya: You were unfaithful to Cordelia so I took on the guise of atwelfth-grader to tempt her with the Wish. When I lost my powers I got stuck in this persona, and now I have all these feelings. I don't understand it. I don't like it. All I know is I really want to go to this dance and Iwant someone to go with me.Xander: Be still my heart. Oh wait, it is. How come I got the short straw?Anya: You're not quite as obnoxious as most of the alpha males around here. Plus I know you don't have a date.<!-- implying Xander is an alpha male? -->Xander: I haven't settled on anyone yet.Anya: Fine. Look, I know you find me attractive. I've seen you looking at my breasts.Xander: Nothing personal, but when a guy doesthat, it just means his eyes are open.Anya: Whatever. Look, do you wanna go with me or not? Silence.Cut to a picnic table outside the school, still daylight. Oz, Willow, Buffy, and Xander.Oz: Anya, huh? Interestingchoice.Xander: Choice is kind of a broad term for my situation. See, it's either Anya or the sock puppet of love for this boy. (holds his right hand in puppet shape, speaks in silly voice) I love you, Xander. I'll never leaveyou.Willow: Well, if Anya tries to get you killed, put me down for a big 'I told you so.'Xander: (puppet) Who's this Anya? Is she prettier than me?Willow: She just better not try to cross me. That's all I'm saying.Buffy:Well, at least we all have someone to go with now. Some of us are going with demons, but I think that's a valid lifestyle choice. More importantly, I have the kick dress.Willow: Ooh, the pink one?Buffy: Angel's gonnalose it. But not his soul. He's gonna lose it. His it.[SCENE_BREAK]In Angel's mansion. He picks up one of Buffy's notebooks and sees a doodle, \"Angel & Buffy 4 Ever!\" There is a knock at the door. He opens it, careful toavoid the sunlight, and lets Joyce inside.Angel: Mrs. Summers.Joyce: I'm sorry to, uh... Well, I would have called, but, you know.Angel: Please, you're always welcome.Joyce: My goodness, your place is amazing.Angel:Yeah, I like a lot of space. I don't get out much during the day.Joyce: No, you wouldn't. (Her gaze pauses on a set of manacles that are fastened to a wall.)Angel: Can I get you something? I don't have any coffee.Joyce:Oh, no thank you, I, uh... You don't drink? Beverages, I mean?Angel: No, I do. It's just the caffeine. It makes me jittery.Joyce: Oh. I understand Buffy spent the night.Angel: I'm sorry about that. We came back afterpatrol.Joyce: I, I'm not interested in the details. That's not why I'm here.Angel: Okay.Joyce: I'm here because I'm worried about you two. In general.Angel: What happened before, when I changed, it won't happenagain.Joyce: That's not all I'm concerned about. I don't have to tell you that you and Buffy are from different worlds.Angel: No, you don't.Joyce: She's had to deal with a lot. Grew up fast. Sometimes even I forget thatshe's still just a girl.Angel: I'm old enough to be her ancestor.Joyce: She's just starting out in life.Angel: I know. I think about it more now that she's staying in Sunnydale.Joyce: Good. Because when it comes to you,Angel, she's just like any other young woman in love. You're all she can see of tomorrow. But I think we both know that there are some hard choices ahead. If she can't make them, you're gonna have to. I know youcare about her. I just hope you care enough.[SCENE_BREAK]In the library. Willow, Oz, Buffy, and Xander.Buffy: So it was blue and sorta short.Willow: Not too shore, medium. And it had this weird, sorta fringey stuff onits arms.Giles: (walking in) What's that, a demon?Buffy: A prom dress that Will was thinking of getting. Can't you ever get your mind out of the hellmouth?Giles: I'd be delighted to. However, the day of the Mayor'sAscension is fast approaching and we don't know what to expect.Xander: Well, what about the pages that Will stole from the Mayor's book? Look, she put her life on the line there, pal. Don't tell me they're useless.Giles:On the contrary, no, we, uh, we know the Ascension refers to a human transforming into a demon, the living embodiment of an immortal. And Graduation Day, our Mayor Wilkins is scheduled to do just that. Wesleyenters, followed closely by Cordelia.Wesley: (enters) Trouble is, we don't know which demon he is going to become.Giles: There are thousands of species.Wesley: So, it's safe to say we shouldn't waste any time of suchtrifling matters as a school dance.Cordelia: Well, that's too bad, because I bet you would look way 007 in a tux.Wesley: Except, of course, on the actual night, I will be aiding Mr. Giles in his chaperoning duties.Giles:What? Excuse me? Fine, fine, fine.Buffy: (to Willow) We'll get you a dress. You know, we should check April Fools.Cordelia: Don't go there! I shop there.Xander: I myself am dipping into my road trip fund to procure ashiny new tux, so look for me to dazzle.Giles: And I myself will be wearing pink taffeta as chenille would not go with my complexion. Can we *please* talk about the Ascension?Buffy: Giles, we get it. Miles to go beforewe sleep. But especially if we're all gonna vaporize or something on Graduation Day, we deserve a little prommy fun. One night of glory, not to much to ask.[SCENE_BREAK]Daylight. Exterior shot of a dingy suburbanhouse. Inside. A hand loads a videotape into a VCR. Pan to a snarling creature, roughly humanoid, in a wire cage. The creatures struggles are warping the cage sides. One corner has already comeloose.[SCENE_BREAK]Daylight. Exterior shot of a cathedral. Inside. Angel and Buffy in wedding clothes stand at an altar before a priest.Priest: Into this holy estate, these two persons present now come to be joined. Ifany man can show just cause why they should not be lawfully joined together, let him speak now, or else, hereinafter, hold his peace. The priest's voice fades under the swelling music. The camera pans around thecouple until it looks from the priest's viewpoint. Behind them, the chapel is empty. The doors at the back are open, and the sunlight is bright against the interior darkness. They exchange rings. They kiss. They walk tothe exterior doors, hand in hand. The music turns darker. Buffy looks very happy, but Angel looks apprehensive. As they leave the church, they separate and stand a few feet apart at the top of the steps. Angel squintsup at the sky, but does not burst into flame.Buffy: Angel? A flame appears on Buffy's exposed skin and rapidly engulfs her. Angel looks on in shock. Buffy burning body crumbles to ashes. Angel wakes up from thenightmare.Fade to commercial.[SCENE_BREAK]In a sewer tunnel. Buffy and Angel enter through a manhole in the roof of the tunnel and start walking.Buffy: I always say patrol's not complete without a trip to the stinkysewers.Angel: I'm sure I saw him come down here.Buffy: Couldn't we just let this be the vamp that got away? We could say he was this big. (Holds hands apart, like a fish story.)Angel: What can I say? I needclosure.Buffy: You need clothes. You don't have a tux, do you?Angel: Since when did patrolling go black tie?Buffy: For the prom, silly.Angel: We have more important things to think about right now than a dance,Buffy.Buffy: Sorry, Giles. I'll just be quiet.Angel: Come on, don't be that way. A vampire drops from the roof, growling.Buffy: Not now. Buffy casually stakes the vampire and turns to Angel.Buffy: I'm not being thatway. Every time I say the word 'prom', you get grouchy.Angel: I'm sorry. I'm just worried that you're getting too...invested in this whole thing.Buffy: What whole thing? Isn't this the stuff that I'm supposed to getinvested in? Going to a formal, graduating, growing up.Angel: I know.Buffy: Then what? What's with the dire?Angel: It's uh, it's nothing.Buffy: No, you have 'something' face.Angel: I think we need to talk, but not nowand not here.Buffy: No. No, if you have something to say, then say it. (silence) Angel, drop the cryptic. You're scaring me.Angel: I've been thinking... about our future. And the more I do, the more I feel like us, you andme being together, is unfair to you.Buffy: Is this about what the Mayor said? Because he was just trying to shake us up.Angel: He was right.Buffy: No. No, he wasn't. He's the bad guy.Angel: You deserve more. Youdeserve something outside of demons and darkness. You should be with someone who can take you into the light. Someone who can make love to you.Buffy: I don't care about that.Angel: You will. And children.Buffy:Children? Can you say jumping the gun? I kill my goldfish.Angel: Today. But you have no idea how fast it goes, Buffy. Before you know it, you'll want it all, a normal life.Buffy: I'll never have a normal life.Angel: Right,you'll always be a Slayer. But that's all the more reason why you should have a real relationship instead of this, this freak show. (Buffy is stunned.) I didn't mean that.Buffy: I'm gonna go.Angel: (grabs her arm) I'msorry. Buffy, you know how much I love you. It kills me to say this.Buffy: Then don't. Who are you to tell me what's right for me? You think I haven't thought about this?Angel: Have you, rationally?Buffy: No. No, ofcourse not. I'm just some swoony little schoolgirl, right?Angel: I'm trying to do what's right here, okay? I'm trying to think with my head instead of my heart.Buffy: Heart? You have a heart? It isn't even beating!Angel:Don't.Buffy: Don't what? Don't love you? I'm sorry. You know what? I didn't know that I got a choice in that. I'm never gonna change. I can't change. I want my life to be with you.Angel: I don't.Buffy: You don't want tobe with me? I can't believe you're breaking up with me.Angel: It doesn't mean that I don't ...Buffy: How am I supposed to stay away from you?Angel: I'm leaving. After the Ascension, after it's finished with the Mayorand Faith. If we survive, I'll go.Buffy: Where?Angel: I don't know.Buffy: Is this really happening?Fade to a cityscape showing the moon hanging in the night sky. Switch to Buffy, alone and miserable. Switch to Angelstaring into his fireplace.[SCENE_BREAK]Daylight. Exterior shot of the Summers house. In Buffy's bedroom, Buffy and Willow sit cross-legged on the bed.Willow: So, that's it?Buffy: That's it. Assuming we survive thisAscension thing, he's gonna leave town.Willow: Well, he's a fool. He's just a big, dumb, jerk person if you ask me. And he's a super-maxi-jerk for doing it right before the prom.Buffy: It's not his fault. He's 243 yearsold. He doesn't exactly get the prom.Willow: But he should, if ...Buffy: Will, it's okay. You don't have to make him the bad guy.Willow: But that's the best friend's job, vilifying and grousing.Buffy: Usually, yeah. But he'sright. I mean, I think, maybe in the long run, that he's right.Willow: Yeah, I think he is. I mean, I tried to hope for the best, but... I'm sorry. It must be horrible.Buffy: I think horrible is still coming. Right now, it'sworse. Right now, I'm just trying to keep from dying. (her face contorts in pain)Willow: Oh Buffy. Buffy leans over into Willow's lap and starts sobbing.Buffy: I can't breathe, Will. I feel like I can'tbreathe.[SCENE_BREAK]Exterior shot of the dingy house. Inside, the creature in the cage is struggling violently against its chains. The cage sides bend and finally it escapes. It scrambles out of theroom.[SCENE_BREAK]April Fools dress shop. Xander is walking on the sidewalk and sees Cordelia inside. He enters. Cordelia is admiring the same dress he saw in the previous episode (Choices).Xander: Okay, how longdoes it take you to buy a damn dress?Cordelia: Xander! I, uh, I'm considering things a little more carefully nowadays. I don't want to get stuck with another dud.Xander: Well this should work for you. It positivelyscreams nympho.Salesgirl: Is this a customer or a friend?Xander: Neither. Just stopped by for my daily helping of bile.Salesgirl: So you better get back to work and quit goofing. Mrs. Finkel so has it in for you. Quickshot of the supervisor glancing back at Cordelia.Xander: You work here?Cordelia: Yes. Yes, I work here.Xander: But, uh, why?Cordelia: I'm trying to buy a dress.Xander: But don't you already have all thedresses?Cordelia: I have nothing, okay? No dresses. No cell phone. No car. Everything's been taken away because Daddy made a little mistake on his taxes. For the last twelve years. Satisfied? Are you a happy Xandernow? I'm broke. I can't go to any of the colleges that accepted me. And I can't stay home because we no longer have one.Xander: Uh, wow.Cordelia: Yeah, neato. Now you can run along and tell all of your friends howCordy finally got hers. How she has to work part time just to get a lousy prom dress on layaway. And how she has to wear a name tag. Oh, I'm a name tag person. Don't leave that out. The story just wouldn't have thesame punch. The escaped creature from the dingy house bursts through the front window of the shop. Xander pushes Cordelia out of harm's way and attempts to grapple the creature. It pushes him down and jumps ontop of him. Then it sees a man wearing a tux and attacks that man, rending and tearing savagely.[SCENE_BREAK]In the library. The Scooby Gang (including Wesley) sit around the table watching a surveillance tape ofthe attack.Xander: Right there. See, it's, it's like he just realized he forgot to put money in the meter or something.Cordelia: You know the part that totally weirded me out? That thing had good taste. I mean, he chucksXander and went right for the formal wear.Xander: That's right. He left behind his copy of Monsters Wear Daily.Cordelia: I'm serious. Look at the outfit that Xander's wearing. Now look at the kid that the monster wentafter. Very smooth lines, 'til he was shredded.Buffy: I don't want to see it again. Giles: Buffy, I know it's horrible, but if you're going to hunt this creature, you should study it.Buffy: Think I got it.Willow: She's right. Imean, you've seen one big hairy bringer of death, you've seen 'em all.Wesley: If I'm not mistaken, this is a hellhound.Giles: Yes. It's particularly vicious. It's sort of a demon foot soldier bred during the Machash Wars.Trained solely to kill. They feed off the brains of their foes.Cordelia: Look! Right there, zoom in on that.Xander: It's a videotape.Cordelia: So? They do it on television all the time.Xander: Not with a regular VCR theydon't.Wesley: Perhaps we could stay on the topic for once. What were you doing this afternoon?Cordelia: What? Um, I was...Xander: Burning a hole in daddy's wallet, as usual. I just bumped into her during my tuxedohunt.Oz: What's that? Pause it.Xander: Guys! It's just a normal VCR. It doesn't... Oh wait, uh, it can do pause. When the picture is paused, a male teen can be seen peering through the shop's broken window.Xander:Hello, hellhound raiser.Cut to a closeup of a class yearbook.Oz: Tucker Wells. He's in my chem lab.Wesley: Let me guess. He was quiet, kept to himself, but always seemed like a nice young man.Oz: He didn't seem themurderous type anyway. Something must have happened to him.Xander: How's it going over there, Buff?Buffy: Fine.Xander: Well, I just wanted to say that your impersonation of an inanimate object is really comingalong.Buffy: Thanks.Willow: Ooooh! I got into Tucker's e-mail account. Listen to this message Tucker sent to this kid David Metz at school last week. The Sunnydale High lemmings have no idea what awaits them. Theirbig night will be their last night.Giles: So, we have a threat against the students on their big night, a hellhound trained to attack people in formal wear...Cordelia: Oh, are we all catching up now?Giles: Tucker is planningto attack the prom tonight.Oz: Once again, the Hellmouth puts the special in special occasion.Xander: Why do I even buy tickets for these things, I ask you?Willow: Wonder if I can take my dress back?Buffy: (wakes up)Don't you dare.Willow: But Tucker is going to...Buffy: No! You guys are going to have a prom. The kind of prom that everyone should have. I'm going to give you all a nice, fun, normal evening if I have to kill everysingle person on the face of the earth to do it.Xander: Yay?Fade to commercial.[SCENE_BREAK]Still in the library.Buffy: Okay, Wes, why don't you go to Tucker's house. He's probably not there, but it's worth ashot.Wesley: Alright. Perhaps strength in numbers would be ...Buffy: You can take Cordy.Wesley: If that's your plan, alright, alright. What about the others?Buffy: Oz, you said you know this David kid that Tuckere-mailed? Why don't you and Will track him down? See what he knows, if he's involved?Willow: We're on it.Buffy: (to Wesley) And you know what? Could you two check the magic shop?Wesley: Magic shop?Buffy: Yeah.It's right next to the dress store on Main.Xander: I can swing that one. What's the mission?Buffy: See if anyone's been in, buying supplies to raise a hellhound.Xander: Gotcha. Or check and see who's been stocking upon hellhound snausages. I hear those pups will do anything for a tasty treat.Buffy: Giles, you said this thing eats brains. Any brains?Giles: Um, I suppose.Buffy: Then Tucker must be feeding it, right?[SCENE_BREAK]Cutto a meat packing plant. Buffy is walking next to hanging carcasses with a guy in a white coat and a hard hat.Packer: Yeah, yeah. This kid orders cow brains a couple of times a week. Goes to this address. (hands her anote) Good luck. He's a weird kid.Buffy: Thanks. Thanks a lot.The packer walks away. Buffy looks up to see Angel nearby, paying another packer for a plastic bag. He sees her.Angel: What are you doing here?Buffy:Hello to you too.Angel: Sorry. I'm just surprised.Buffy: Me too. I don't know why though. Where did I think you get your blood, McPlasma's?Angel: How are you?Buffy: Right as rain, whatever that means. Don't look atme like that. I can lie to you if I want to now. We're ex, remember?Angel: If it means anything, I miss you.Buffy: Could we not, please? When I think about us, I have this tendency to sort of go catatonic. And I reallycan't afford to do that right now. Gotta stop a crazy from pulling a Carrie at the prom.Angel: You still planning to go?Buffy: Strictly in the chaperon capacity. But it's fine. I mean, the... I'm cool with going stag. I'm overthe whole Buffy gets one perfect high school moment thing. But I'm certainly not going to let some subhuman ruin it for the rest of the senior class.Angel: Let me help you.Buffy: I'm okay.Angel: If you ever need myhelp...Buffy: Look, I got it! (pause) Thanks. (leaves)[SCENE_BREAK]In the dress shop. Cordelia is leaving work.Salesgirl: Hey! Don't forget your dress. Aren't you wearing it tonight?Cordelia: As much as I hate to admit"}
+{"doc_id":"doc_113","qid":"","text":"THE SUN MAKERSBY: ROBERT HOLMESPart FourRunning time: 24:57[SCENE_BREAK]COLLECTOR: That noise, Hade. Can't something be done about it? We shan't hear her.HADE: It's vibration in the exchanger, yourMagnificence.COLLECTOR: I know what it is. I don't want my pleasure ruined by it.MARN: Her cries will be clearly audible, your Honour.COLLECTOR: What's that? The subtleties will be lost. The deeper notes of despair,the final dying cadences. The whole point of a good steaming is the range it affords.HADE: Marn. Er, no. I'll see if the discriminator can be adjusted, your Immensity.[SCENE_BREAK]MANDRELL: Doctor, can you hearme?[SCENE_BREAK]MANDRELL (OOV.): I can't give you any longer.[SCENE_BREAK]MANDRELL: The exchanger's going to blow any second.[SCENE_BREAK]MANDRELL (OOV.): Get out, Doctor. Get out ofthere!COLLECTOR: What was it?HADE: I thought I heard someone say Doc-Tor, your Sagacity. It wasn't the girl. There hasn't been a peep out of her.COLLECTOR: Precisely, Hade. Something has gone wrong. Order theguards to investigate.HADE: Immediately, your Omniscience. Come along, Marn![SCENE_BREAK]SYNGE: Flow valves open.MANDRELL: Main pumps in.SYNGE: Sixty atmospheres, still rising.MANDRELL: Plug auxiliariesin. Quick!SYNGE: Auxiliaries in. She's cooling, look.MANDRELL: We've made it. Unless the air plates have buckled, Synge.SYNGE: Let's hope they haven't.CORDO: Do you think the Doctor got out in time?BISHAM: If hedidn't, he wouldn't have known much about it.MANDRELL: We gave him his two minutes. More than his two minutes.CORDO: Listen. In the vent! He's made it!CORDO: Leela!DOCTOR: Who was making all thatnoise?MANDRELL: I was, Doctor.DOCTOR: I told you not to use that radio link.BISHAM: We had to tell you that your time was up, Doctor.DOCTOR: You told the Collector, too! That fish-blooded sadist had Leela's casketwired for sound.LEELA: What's happening? What's he doing here?CORDO: We've sired a revolution, Leela. Down with the Company, eh, fellas!DOCTOR: Ah, ah, Cordo. We've got a great deal to do yet.BISHAM: It'sgoing well, though, Doctor.DOCTOR: Is it?BISHAM: The PCM is clearing from the air faster than I expected. It's down ten points already.MANDRELL: All my men are out putting some fight into the work units. If just oneDistrict joins the resistance the word'll spread through the whole City.DOCTOR: Shush. Where's the public video system controlled from?MANDRELL: The Collector's Palace.BISHAM: Yes, he runs everything from theComputer room. Why, Doctor?DOCTOR: If the public video system announced there'd been a successful rebellion, think of the effect.LEELA: Everyone would believe it.DOCTOR: Right.BISHAM: Yes, but the Palace isguarded by his Inner Retinue.DOCTOR: He's guarded by his Inner Retinue, and most of them are down there with him. Come on, Leela, let's go.LEELA: MegroGuards! MegroGuards coming this way!DOCTOR: Everybodykeep calm, keep calm. Keep quiet. You two back there. You three over there. Leela, behind the door.SYNGE: What do you want here?CORDO: All right, drop your guns.DOCTOR: All right, tie them up.DOCTOR: Prettysoon the whole place will be under siege here. K9? (to Bisham) I want you to hold out as long as possible.BISHAM: Yes, Doctor.CORDO: We'll do it, Doctor.DOCTOR: Of course you will.CORDO: Now we have moreweapons, we can hold the corridor.DOCTOR: Good man. K9?LEELA: K9?DOCTOR: K9?ALL: K9?DOCTOR: K9, where are you?K9: Master.DOCTOR: Ah, there you are. Now, listen. I want you to give my friends all the helpthey need. You understand?K9: I am at full offensive capability, master.DOCTOR: You're a good dog. Come on, Leela. Gentlemen, good luck.BISHAM: Thank you, Doctor.MANDRELL: Right,Doctor.[SCENE_BREAK]COLLECTOR: An unprofitable operation, Hade.HADE: Your Supernal Eminence, I simply can't understand it. No one has ever endured a steaming without vocalising in the most gratifyingfashion.COLLECTOR: A complete waste of time. And we've lost point oh four seven percent in production. Unpaid overtime to be introduced immediately for all work grades. See to it!HADE: Without fail, Monstrosity,without fail.COLLECTOR: What is it?COMMANDER: Your Excellence, sir. Some minor disturbances. It may not be wise to travel in the subways until the trouble has been suppressed.COLLECTOR: Whattrouble?COMMANDER: It appears that some of the work units are refusing to leave their dormers, Excellency.HADE: Refusing to leave? I've never heard of such a thing.COLLECTOR: This situation must be normalised.Any sustained unrest among the workforce will adversely affect Company profitability.HADE: Sing adoration to our Company!COMMANDER: I have dispatched a division of the retinue, Excellency. The account will beswiftly settled.COLLECTOR: With interest, Commander. They must be made to pay.HADE: I will introduce a swingeing output linked penalty tax in my next monthly budget, your Corpulence.COLLECTOR: The Doctormust be behind it. I sense the vicious doctrine of egalitarianism, Hade.HADE: Everyone knows your senses are infallible, your Promontory.COLLECTOR: Have the guards reported from Main Control yet?HADE: No, yourOmnipresence. My underling Marn is investigating.COLLECTOR: Not good enough, Hade. Not good enough. I am noting your work rate.HADE: I will instigate action myself, your Aggrandizement. Instantly.Immediately.[SCENE_BREAK]CORDO: You'll never believe this, Bisham, but I'm really beginning to enjoy myself.BISHAM: The air's better without PCM, isn't it.SYNGE: Yes, we'll never pay breathing tax to the Companyagain.MANDRELL: Oh, we'll pay no more taxes, brother. The Gatherer's got his last talmar off of us.CORDO: I feel so good, like a new man!MANDRELL: Keep an eye on the corridor, Cordo, or you'll be a dead newman.CORDO: All right, Mandrell. I know. K9's got it covered.SYNGE: I wonder what's happening in the subways and dormers?BISHAM: Theoretically, the dispersion rate of the PCM should be slower down there, butthere should be something happening by now.MANDRELL: If the work units turn, the guard'll really have their hands full.[SCENE_BREAK]GUARD: Come on, move yourselves. Report for work at once. Work!Work!GUARD: Collector's orders.GOUDRY (OOV.): Strike, brother. Join us, or get out.GUARD: Who said that? Who was it?GOUDRY: Me. Nobody works today.VEET: Nobody works today.GUARD: That's mutiny againstthe Company. You've just earned yourself an early death day, Citizen.[SCENE_BREAK]DOCTOR: No, no, no.LEELA: Why not?DOCTOR: No, don't kill him. He hasn't done you any harm.LEELA: Then I shall kill him beforehe does.DOCTOR: No. Get up. Come on, get up.LEELA: Doctor, the last one I spared got away and warned his comrades. That is why I was captured.DOCTOR: Then we'll make sure this one doesn't get away. Here, lookat me. Look at me! Now listen. It's your sleep time. Sleep time. You're feeling very sleepy. Very sleepy. It's your sleep time. You will go to sleep and stay asleep until I tell you to wake up. Until I tell you to wakeup.DOCTOR: Come on. Come on.DOCTOR: Wake up.LEELA: How did you do that?DOCTOR: What, that? Poof, it's just a knack. You've either got it or you haven't.LEELA: Doctor!DOCTOR: What is it?LEELA: This is wherethe grey one, the Collector, sat.DOCTOR: What, like a spider in the middle of a web?LEELA: Yes, yes.DOCTOR: I understand all this. He has a computer feeding and analysing the daily returns from each Megropolis.Suppose. Suppose he wants to broadcast some pleasing bit of news, hmm? Like the imposition of a double vision tax on people with more than one eye. Well, then, he feeds it into there.LEELA: He fed it intohere.DOCTOR: He did?[SCENE_BREAK]HADE: I fear the situation is worsening, your Grossness.COLLECTOR: Laxity, Hade, laxity and weakness. You have shown them too much kindness. A grave error of judgment.Grinding oppression of the masses is the only policy that pays dividends.HADE: Your Oratundity, my MegroGuards are outnumbered by the rabble. If I could have two divisions of the Inner Retinue?COLLECTOR: The soletask of the Inner Retinue is to protect my person. You've mishandled the situation, Hade. As for your ambition to become Tax Master General. After this, forget it!MARN: Your Honour.HADE: What is it, Marn?MARN: I'vejust heard that some of the work units have gone to the roof of Block Forty to look at our sun.HADE: Outrageous! Sacrilege! The work units are absolutely forbidden to see the light of the sun. It's far too good for them.I'll soon deal with this.COLLECTOR: A combat situation is escalating. Those idiots have let it get out of hand. It is imperative that I return to the Palace to implement my contingency plans.COMMANDER: But Excellency,there's fighting in theCOLLECTOR: Quiet! The Inner Retinue will march around me in close order. Their bodies will shield me. Now hurry.[SCENE_BREAK]LEELA: Doctor, come here.DOCTOR: That should do it.LEELA:Doctor! What is this?DOCTOR: What, that? It's a safe. Company vault.LEELA: Doctor, is thereDOCTOR: Shush.LEELA: Is there something behind the door?DOCTOR: What was that?LEELA: I heard nothing.DOCTOR:Neither did I.LEELA: Then why are we whispering?DOCTOR: I always whisper when I'm opening safes. What is it?LEELA: What are you doing?DOCTOR: I don't know. It always looks so easy.LEELA: Why was itlocked?DOCTOR: I don't know.[SCENE_BREAK]DOCTOR: Why won't you listen to me? Why don't you girls listen to me?[SCENE_BREAK]BISHAM: The PCM in the atmosphere has fallen to three parts in athousand.COMPUTER: Attention all Citizens. Attention all Citizens. Stand by for an important public bulletin. Megropolis One is now under the management of the Citizen's Revolution. The Director, the Tax Gatherer andall other Company officials are to be arrested on sight.MANDRELL: It's happened.[SCENE_BREAK]COMPUTER: All guards are ordered to lay down their arms and join their fellow Citizens in peaceful cooperation.CORDO:There! Stop or we fire. Get her!MARN: Citizens, I'd like to join the Revolution.[SCENE_BREAK]COMPUTER: The rule of the Company is ended. All work places will remain closed until further notice. Long live theRevolution.CORDO: Whee!CORDO: It's over!BISHAM: Cordo!CORDO: We've won!BISHAM: We haven't.CORDO: What?BISHAM: That bulletin was fixed. It was the Doctor trying to push things on a bit.MANDRELL: That'llbring the whole city onto our side. I don't know why you're hesitating.CORDO: Yes! We've got the guns, we should get out and help them.MANDRELL: What do you think, Bisham?BISHAM: Cordo's right. The fight hasmoved on from here.MANDRELL: Synge. You can run things down here.SYNGE: I suppose so, but leave K9 guarding the corridor, just in case, eh?BISHAM: Yes, of course.[SCENE_BREAK]HADE: You there! What are youscum doing up here? This is an abominable crime. An outrage! Leave at once, do you hear me?VEET: It's the Gatherer. It's the Gatherer!HADE: I order you to leave. You'll pay dearly. Keep back! Don't you dare! I'm anofficial of the Company!VEET: And we'll do the same for the Collector when we find him, won't we, Citizens.ALL: Yes![SCENE_BREAK]COLLECTOR: Kindly make less noise.DOCTOR: Oh, I was just checking thebooks.COLLECTOR: Your appearance is not unexpected.DOCTOR: I'm not the Auditor, I'm the Doctor.COLLECTOR: I know.COLLECTOR: If you intend to kill me, as you see, I'm unarmed.DOCTOR: No, I won't kill you.Just close you down.COLLECTOR: An idle boast. Other competitors have tried. Would you care to see our prospectus?DOCTOR: Oh, delighted, delighted.DOCTOR: Hmm. Company solidly based. You've a widelydiversified operational field. Yes.COLLECTOR: You're a fool, Doctor. I shall have you steamed for your interference.DOCTOR: Yes, I cut the answering service not to interrupt our little conference.COLLECTOR: Very well.I see I underestimated you. What are your terms?DOCTOR: Tell me about the Company.COLLECTOR: Ah, you're interested.DOCTOR: Yes.COLLECTOR: Oh, an excellent outfit to work for, Doctor. Progress from mediumto senior management level can be remarkably rapid for the talented executive.DOCTOR: Yes, cut the sales talk. Where's the Head Office?COLLECTOR: Usurius.DOCTOR: Ah. I might have guessed from your squiddylittle eyes. Hmm.COLLECTOR: You are acquainted with our species?DOCTOR: Oh yes, oh yes. The Usurians are listed in Professor Thripsted's Flora and Fauna of the Universe under poisonous fungi.COLLECTOR: I don'tentirely like your attitude. If you want to get on in the Company you have to what? What? Are you mad?DOCTOR: Quite mad. Mad as a hatter.DOCTOR: Tell me, how did you get control of humanity?COLLECTOR: Anormal business operation. The Company was looking for property in this sector, Earth was running down, it's people dying. We made a deal.DOCTOR: Go on.COLLECTOR: Yes. We moved them all toMars.[SCENE_BREAK]COLLECTOR (OOV.): After our engineers had made that planet habitable for their species.[SCENE_BREAK]DOCTOR: And then taxed the life out of them. I mean, to recover your capitalcosts.COLLECTOR: Quite so, quite so. Then, when the resources of Mars were exhausted in their turn, we created a new environment for them here on Pluto.DOCTOR: Phew. What about the four interveningplanets?COLLECTOR: They weren't considered viable by our engineers.DOCTOR: So then you really put the screws on. I mean, the running costs must be very high.COLLECTOR: Six suns to be fueled andserviced.DOCTOR: Six suns. Six! My, my. And so when this planet's exhausted you can move your slave labour force elsewhere?COLLECTOR: Alas, no. There is nowhere else that is economic. This branch willclose.DOCTOR: Leaving the humans to die.COLLECTOR: When the suns have run down, yes. A matter of a few years without fuel. They're not a good workforce in any case. Many of our other operations produce a muchhigher return with less labour.DOCTOR: You blood-sucking leech! You won't stop until you own the entire galaxy, will you. Don't you think commercial imperialism is as bad as military conquest?COLLECTOR: We havetried war, but the use of economic power is far more effective.DOCTOR: YouDOCTOR: Ah. The revolution's getting nearer. What's the Company policy on that?COLLECTOR: It will be quelled. Business will continue asusual.DOCTOR: Oh, wake up. Wake up. Look at the facts.COLLECTOR: I know the facts.DOCTOR: You and a handful of bureaucrats won't put the people back in chains now.COLLECTOR: Then they will die.DOCTOR: Oh,it's you again. What did I say?COLLECTOR: Our conference has gone on too long, Doctor. It is time to implement contingency plan A.COLLECTOR: This switch controls the sprinkler valves throughout the City.DOCTOR:Rain stops play. I don't think that'll damp down this revolution.COLLECTOR: The sprinklers will release dianene, a deadly poison. Within ten seconds, everyone in the City will be dead.DOCTOR: Except you.COLLECTOR:Exactly. I do not breathe air.DOCTOR: No, but this chap at my shoulder, he breathes air.COLLECTOR: Kill him!DOCTOR: Don't be a fool.COLLECTOR: Guard, kill him!DOCTOR: Good throw! Good throw.DOCTOR: What'scontingency plan B?COLLECTOR: Nobody understands business is business.LEELA: What do we do now, Doctor, kill him?DOCTOR: You'll like this bit. You'll like it.COLLECTOR: Nine zero nine! A mistake in the MegropolisSix analysis. Recheck!COMPUTER: Nine zero nine. Recheck. Megropolis Six analysis confirmed correct.COLLECTOR: Commander! Arrest these idiots. I have a problem. Nine zero nine. Megropolis Four analysis. Mistake.RecheckCOMPUTER: Nine zero nine.CORDO: Collector, in the name of the work units, I orderLEELA: People, Cordo.CORDO: Yes. In the name of the people I order you to be tried byDOCTOR: Cordo, I don't think he'slistening.COLLECTOR: Negative surplus. Inflationary spiral uncheckable. Negative growth! This branch is no longer viable.COLLECTOR: We are bankrupt. Business failure. Closure imperative. Cut losses. Liquidate.Immediate liquidation.BISHAM: I'm sorry I'm late. What happened?MANDRELL: Well, I don't know.DOCTOR: I do. He's gone back to his natural form. He was only held in that state by particle radiation. That's why henever left that machine.LEELA: You mean he's in there now?DOCTOR: Oh, yes.LEELA: Well, we could make a hole in it.CORDO: Do you think he'll come out again?DOCTOR: Well, you could put the plug in if youwant.COMMANDER: I don't understand. Why was it necessary for him to make himself look human?DOCTOR: Well, if you'd seen a Usurian you'd know what I mean. They look like sea kale with eyes. I mean, would youtake orders from a lump of seaweed? Huh? Hmm? Cordo?[SCENE_BREAK]DOCTOR: Leela, let K9 in the TARDIS. Goodbye, Cordo.CORDO: I wish you could stay, Doctor. There is much to do.DOCTOR: Well, I'll pop backand see you again when you've settled again on Earth.BISHAM: That'll be hard work.DOCTOR: Well, you're used to hard work. This time, you'll be free.LEELA: Goodbye, Veet.VEET: Goodbye.LEELA: Till the next time?Come on, K9. Come on.BISHAM: You really believe we can colonise the Earth again?DOCTOR: Well, I do, I do. The Earth will have regenerated itself since you left. Get back to your place under your own sun.ALL:Goodbye, Doctor.MANDRELL: Can the star freighters make that journey?DOCTOR: Course they will. Three hundred million of you can't go wrong. Goodbye everyone!ALL: Goodbye.[SCENE_BREAK]K9: King to Bishopfour, mistress.DOCTOR: Which is more than I can say for the TARDIS.LEELA: Eh?DOCTOR: Nothing. I was just finishing a thought. Now, where were we?K9: Mate in six moves, master.DOCTOR: Oh, be quiet, K9.LEELA:I wonder why the Collector gave in so easily? I thought he would fight.DOCTOR: He got a bit of a shock. You see, I fed two percent growth tax into the computers. Index linked. Blew the economy and he couldn't takeit.LEELA: I do not understand. You did something clever?DOCTOR: Well, I. What do you think, K9?K9: Affirmative.DOCTOR: K9 thinks it was clever.DOCTOR: I am so sorry, K9.K9: Apologies are not necessary.DOCTOR:No, shut up while I apologise. I am so. Listen. As soon as I've reset the coordinates, we'll finish that game of chess."}
+{"doc_id":"doc_114","qid":"","text":"(Flashback: Sydney sits on a stool, tears in her eyes, staring numbly at nothing while a trainer wraps her hands with gauze. He slaps at her hands to feel if they're wrapped.)TRAINER: Good.(SD-6. Sydney sits at herdesk. Jack approaches.)JACK: I heard about Noah... I'm sorry.(She just sits there, staring at nothing.)(In the weight room, Sydney hits the punching bag.)TRAINER: Come on, come on. Hit the bag!(In the blood donorvan parked on campus, Sydney and Vaughn chit chat.)SYDNEY: I killed a man... someone I cared about.VAUGHN: Noah Hicks was an assassin. If you hadn't killed him, he would have killed you.SYDNEY: Maybe. But Iwas the one who forced the fight.VAUGHN: Hicks was a bad guy.(Sydney works out, hitting the bag even harder.)TRAINER: Work that jab! Work it! That's it, work that thing! That's it! Nice combination! Work thatjab!(Sydney kicks the bag and the trainer stumbles back from the force.)(Blood donor van.)SYDNEY: But the truth is, it affects me. Never knowing who to trust, learning to expect betrayal, plotting in secrecy and hatredand anger.(Punching.)TRAINER: That's it!SYDNEY: (voice over) It's becoming a part of me. I am becoming what I despise.(Blood donor van.)SYDNEY: I tell myself I got into this to bring Danny's killers to justice. Thetruth is, I'm more interested in revenge.(Sydney is starting to lose it; punching the bag without much control.)SYDNEY: (voice over) I thought I could stay in control. It's just gotten so twisted.(Blood donor.)SYDNEY:Like with Khasinau. The one tangible goal is to find him so that I can find my mother. But if I do that, if I can find his trail and track him down, it'll strengthen SD-6.(In the training room, Sydney is now breathing hardand sweaty. Hair is stuck to her face with sweat. She takes off her glove to see that blood has seeped through the bandage. Bright red blood soaks through the white bandage.)SYDNEY: (voice over) I got into this tobring them down and now I feel like I'm on their side.(In the blood donor van, Vaughn looks at Sydney for a moment, not knowing how to explain. He suddenly gets up and moves to the counter. He gets out the map herevealed to her in episode two and spreads it out in front of her once again.)VAUGHN: This is the world of SD-6 when we started. Remember?(Sydney can only nod with tears in her eyes. Vaughn flips over a transparentcover that reveals who's been taken out since he first showed it to her. Little red circles with a slice through it are over the map.)VAUGHN: And here is what it looks like today. And this doesn't even take into accountthings like Badenweiler or stealing page forty-seven from Sloane's vault. Or the way you kept Khasinau from getting his hands on that ampule. Sydney, these are incredible accomplishments.SYDNEY: Khasinau is outthere somewhere.VAUGHN: Yes.SYDNEY: My mom is out there.VAUGHN: (sighs) We will find them.SYDNEY: I have to go to class.(She smiles helplessly and gets up to leave. When she walks by him, he stops her bytaking her hand.)VAUGHN: Wait.(He gets up and takes out a first aid kit from one of the cupboards. He takes out an ice pack, breaks it up to react it, and places it on her bruised and bloody knuckles.)VAUGHN: Takecare of yourself.SYDNEY: Thanks...(Francie and Sydney's house. Will is on his hands and knees in the kitchen while Francie stands back at the counter.)WILL: Where was it?FRANCIE: Behind the fridge.WILL: You sayyou saw it?FRANCIE: No, I didn't see it. I heard it. Scratching.WILL: Okay, I'm going to go to the hardware store. I'll go get some traps.FRANCIE: No, no, no. We need a professional. We need a hit man. If there's one,there are a thousand. Rats breed hourly.(Will's cell rings.)WILL: Hello?DEEP THROAT: You disappoint me, Mr. Tippin.WILL: (to Francie) It's Litvack. Uhh...(He walks outside through the patio doors for someprivacy.)DEEP THROAT: You have enough to publish. You have nothing to fear.WILL: I was kidnapped! The lives of the people I care about were threatened!DEEP THROAT: It's a bluff to scare you off the story.WILL:Well, you know what? It worked. I'm off it.(Will hangs up and looks in at Francie, who is flipping through a phone book innocently. The cell rings again.)WILL: Just go away! Don't call me again!DEEP THROAT: Mr.Tippin--WILL: Don't call anyone else again unless you want more people to die!DEEP THROAT: It was Jack Bristow.WILL: What? What? Wait, what's Jack Bristow? Hello? Hello?(Sydney comes home after herclasses.)FRANCIE: We have rats.SYDNEY: What?WILL: Hi.(Tape screwed up.)SYDNEY: Hi. Mice are better than rats.FRANCIE: There's no way that they're mice. They're rats, and they're huge. The exterminator iscoming between noon and three. Think you can be here?SYDNEY: No, I've got work.FRANCIE: Well, I have to cater a lunch for thirty.(They both look at Will.)WILL: I don't live here.SYDNEY: Then why are you alwayshere?FRANCIE: Yeah, I mean, it's not like you pay any rent.WILL: What is this, attack on Will? My God.SYDNEY: Please, just do this for us.(She smiles at him.)WILL: Okay, fine, I'll do it.FRANCIE: See, the thing aboutrats is they're clever. You have to out think them. You can't really just leave out cheese. You have to leave the good stuff. The heavy-duty stuff. The stuff that they want. It's the only way they're going to come out.Otherwise, you're just wasting your time.(Self-storage. Sydney and Vaughn have a pow-wow.)SYDNEY: I can't believe I didn't think of this before. We can make Khasinau come to us.VAUGHN: What are youthinking?SYDNEY: The vial of liquid. The Rambaldi solution.VAUGHN: The one the CIA now has?SYDNEY: That's why Khasinau had a team to break into SD-6. He wants that solution.(Director Devlin's office at the CIA.Vaughn enters.)VAUGHN: Sir, with respect to Alexander Khasinau, I'd like to suggest a course of action.DEVLIN: Quickly. I've got a meeting with the senior review team from NIC.VAUGHN: Remember the ampule? Thevial of liquid we got from SD-6 that allowed us to read page forty-seven of the Rambaldi manuscript?DEVLIN: Uh-huh.(Back to self-storage.)SYDNEY: What I'm suggesting is a black market sale. Third party.VAUGHN:Hold on. Khasinau still thinks that vial is in the SD-6 vault.SYDNEY: Yes. So we say there's another one.VAUGHN: What? You think we can make Khasinau believe that?SYDNEY: Yes.VAUGHN: You're going to have tomake it sound pretty legit.SYDNEY: I think I know how to do that.(Flashback: Sydney, Dixon, Sloane, and two unidentified agents sit in the conference room. Sloane gives the two unknown agents folders for amission.)SYDNEY: (voice over) Last year, Sloane sent a team of agents into the Carafu Art Museum in Algiers after an Opec minister donated a collection that Sloane believed might contain Rambaldi artifacts.(Selfstorage.)VAUGHN: Wait. Why don't I know about this?SYDNEY: Because the mission failed. The agents were caught.(Flashback: The two agents are being dragged, handcuffed, to another van for transport. A car drivesby and a masked man -- who, IMO looks kind of like Jack -- leans out the passenger side with a machine gun and blasts away.)SYDNEY: (voice over) Before they could even be questioned, SD-6 had themkilled.(Self-storage.)SYDNEY: Say there was a break-in at that museum this week. It would be widely publicized. Khasinau would start to hear rumors of what was taken.VAUGHN: Including rumors of an existing secondampule.(Devlin's office.)DEVLIN: Are you suggesting that I approve the theft of priceless works of art?VAUGHN: You see, sir, we would just be borrowing them.(Self-storage, continuing.)SYDNEY: We'd return everythingwe steal through back channels, but not until after we've made contact with Khasinau. The whole point is to get noticed.(Devlin's office.)DEVLIN: \"We\"? You're proposing to go with her?VAUGHN: I-I know I'm not a fieldagent, but SD-6 isn't in on this and Agent Bristow will need backup. She trusts me. Now, the plan is to go in as insurance agents offering to lower their premium. Naturally, we would have to inspect their securitysystem thoroughly before we commit any coverage.(SD-6 archives. Sydney sits a laptop, typing.)SYDNEY: (voice over) I downloaded the mission specs from the SD-6 archives. Alarm types at the museum, action point,blueprints...(Self-storage.)SYDNEY: ...Everything.(Devlin's office.)VAUGHN: Sir, this is our best shot at Khasinau.DEVLIN: Do it.(Self-storage.)SYDNEY: You'll deal with the op tech.VAUGHN: I'll take care of it.SYDNEY: Ihave to stop by the hospital. Emily. She's not doing well.VAUGHN: Yeah, she's sick from the chemo.(Sydney looks at him.)VAUGHN: We heard that from the bug in Sloane's study. I'm sorry.SYDNEY: Yeah.Thanks.(Francie and Sydney's. Will's alone and on the phone.)WILL: Can I get the number for Druzinsky's Pest Control? Sure, yeah. D-R-U--Yeah. Hold--let me just get a pen.(He opens a drawer, looking for apen.)WILL: Hold on. Yeah, hold on just a sec.(He pulls out a black marker.)WILL: Okay, got it. Yeah. 323--(Knock.)WILL: Naturally the guy shows up. Right, sorry.(He hangs up and answers the door.)WILL: Hi.PESTCONTROL: How you doing?WILL: Good. Good.PEST CONTROL: Where's the problem?WILL: Uh, well, we got rats over here. Behind the refrigerator.PEST CONTROL: Let me see your rats.(In the kitchen, he bends downand takes out a flashlight.)PEST CONTROL: Not wood... droppings...(Will looks at the open drawer and sees a picture of Jack in there. It's an old picture.)PEST CONTROL: Yeah, these are rat droppings.WILL: Well, uh,kill 'em. Please.PEST CONTROL: You got kids?(Will opens another drawer to find the aluminum foil and plastic wrap. He opens the wrap and rips off a sheet.)WILL: No...PEST CONTROL: Household pets? Dogs, cats?Hello?(Will's busy. He puts the sheet of plastic wrap over Jack's picture and then takes the black marker he had. He draws a mask with the marker over Jack's face.)WILL: What? No. I don't have any pets.PESTCONTROL: Then I'd skip traps and go right to bait.(Will stares at the finished product -- and has a flashback of his kidnapper.)MAN: This will be your only warning.(Will looks at Jack's covered face, and the eyes. They'rethe same as his kidnapper.)WILL: Holy...(Emily's hospital room.)EMILY: Sydney...SYDNEY: I don't know if you feel well enough to eat these but... total contraband.(She shows a box of chocolates and sits down.)EMILY:Thank you.SYDNEY: I'm so sorry you have to go through this.EMILY: Oh, Sydney, tell me something happy.SYDNEY: Happy.EMILY: Yeah.SYDNEY: Well... I've got the week off from work. Which is nothing, consideringyour husband owes me, like fifty comp days. But I've been working really hard lately, so...(Emily covers Sydney's hands with her own.)EMILY: Can I give you some advice?SYDNEY: Please.EMILY: When you look back...family, your friends... that's what matters. Work, your job. It wouldn't seem that important.(Sydney nods a little, curious.)EMILY: Even your job... even working for SD-6.(Sydney's shocked.)(In a control room at thehospital -- clearly this is the SD-6 hospital Dixon was admitted to -- an agent sits behind a counter with monitors everywhere. He watches the monitor on Emily's room.)EMILY: Sydney, I know you can't talk about it andI wouldn't have mentioned it except I know how easy it is to lose perspective on things...(Back in the hospital room.)EMILY: And I don't want to see that happen to you.SYDNEY: When... when did Arvin tell you?EMILY:He didn't. Over the years, I'd overhear things. Find clues that he never really left the world of intelligence. And I know he... he keeps me from the truth to protect me. To keep me from worrying. My only regret is notbeing able to tell him how... how proud I am.(In the control room, the agent starts typing.)(Conference room at SD-6. Jack sits alone. Sydney walks in and sits down next to him. Jack takes out his magic pen -- thefrequency jammer -- and flips the lid.)JACK: We're good for two minutes.SYDNEY: Dad, it's Emily. She knows about SD-6. I'm just worried about her.JACK: I know. It's too late. Your coversation was recorded.SYDNEY:The Alliance knows?JACK: Yes.SYDNEY: And?(Sloane's office. He sits behind his desk when the phone rings. He answers.)JACK: (voice over) Information about SD-6 must be treated like a virus.SLOANE: (on phone)Who?JACK: (voice over) There is only one response: containment.SLOANE: (on phone) What did you say?(Conference room.)SYDNEY: Sloane won't let this happen. They won't kill Emily.JACK: The final decision will notbe made until after Sloane has met with the head of Alliance security. He is the only one who can save her now.(Sydney walks out of the conference room and looks in at Sloane's office. He looks depressed. She walksin.)SYDNEY: The time off I asked for last week... I'd still like to take it. Would that be all right?SLOANE: Where are you going?SYDNEY: The desert.SLOANE: Yeah. Yes. Of course.SYDNEY: Thank you.SLOANE: Thedesert... (sighs) Hmm.(She turns and leaves.)(Algeria. Sydney and Vaughn who both harbor French accents, walk with two museum officials and a translator.)SYDNEY: To make a risk analysis, we will need to test yoursecurity system.(He translates into Arabic.)SYDNEY: ...See how it operates during a shutdown of your primary generator, heating, electircal, and ventilation system.(He translates.)(Flashback. On the plane to Algeria,Sydney and Vaughn go over the plans.)VAUGHN: Once we're in, we'll need to separate. You'll go inspect the alarm grid in the exhibition space. I'll handle the shutdown from the control room with this frequencyjammer. It'll keep the security cameras off for three minutes. A hundred and eighty seconds is all you got.(In the control room, Vaughn is with the translator and one of the museum heads.)VAUGHN: Please shut downthe primary generator.(Translates into Arabic. They shut it down. Vaughn takes out the jammer. The cameras go down as well. He starts timing it on a digital watch he wears while the men start questioning why thecameras went down.)TRANSLATOR: He says he can't understand what happened. The second generator has always kept the security monitors online before.(Plane.)VAUGHN: And when I close out the ventilationsystem--SYDNEY: The turbine in the shaft will shut down, allowing me to gain access to the vault room on \"E\" level.(Control room.)VAUGHN: Now shut down the ventilation.(Translates.)(In a hallway somewhere in themuseum, Sydney is walking with the other museum head. She throws her briefcase at his neck and he stumbles back. She kicks him twice. The man goes down. Sydney runs. She takes off her jacket and pulls out apower screwdriver from the briefcase and starts taking off the vent cover.)(Vaughn checks his watch nervously -- twenty seconds has gone by.)(Sydney takes off the vent cover. She takes out a shooter, arms it, andpoints it skyward. The shooter's wire flies up. At the end of the wire, it has a series of prongs on it. The wire attachs itself to the fan blades high above. Sydney, down below, feels the tension, knows it's tight, andattaches it to her belt. She looks down. It's a long way down the shaft. She jumps out into the shaft and hangs on as the cord attached to the fan blades lets her dangle way below. She hits a switch on her belt andstarts dropping down.)(In the control room.)VAUGHN: And now keep the heating system offline.(Translates. Vaughn looks at his watch -- forty-nine seconds.)(Sydney drops down, looking at a meter on the wire in frontof her that tells her how many feet she's going down.)(Plane.)VAUGHN: The vault room is located through a shaft on the east wall, sixty-seven feet below the main level.(The meter beeps at sixty-seven. Sydney stopsdropping and kicks the vent cover in. She stands in the hallway outside the vault room, loosens the wire to get some slack so she can walk in the vault room and still remain tied up to the fan.)(Plane.)VAUGHN:According to the document you gave me, the vault is a third-generation Handvalova.(Sydney reaches across him and picks up a cell phone.)VAUGHN: Careful with that. It's full of plastique explosives in case this doesn'twork.(He picks up a silver bracelet and puts it around Sydney's wrist.)VAUGHN: Now, in theory, not only should this crack the safe...(Sydney puts it on the vault door.)VAUGHN: (voice over) It should short the circuitryfor two minutes, giving you enough time to get back to the main level before the alarm goes off.(Sydney opens the vault door and starts taking stuff and putting it in her bag.)(In the control room, Vaughn looks at hiswatch -- a hundred and twenty seconds.)VAUGHN: And electrical.(Translates. All of a sudden, a man bursts into the room shouting in Arabic.)VAUGHN: What is going on?PRESIDENT: I agreed to a systemanalysis...TRANSLATOR: Mr. Algazabia is the president of the museum.PRESIDENT: ...Not to a shutdown.VAUGHN: We are testing the security system. So far, everything is okay.TRANSLATOR: He has ordered thepower restored.VAUGHN: No, no, no, wait, wait, wait. My partner and I flew in from Paris because we were assured the possibility to make a complete offer! Now, to do that, we must run a thorough analysis! Si vousalliez pas nous laisser faire notre travail, il fallait nous le dire avant qu'on fasse tous les préparatifs pour venir venir, hein!PRESIDENT: When the system is offline, essential services go down, including fire protection.That is a risk I cannot take!(In the vault, Sydney takes a few more things.)[SCENE_BREAK](Control room. Vaughn is panicked.)VAUGHN: I'm warning you, I will file a formal complaint with the legaldepartment!PRESIDENT: (speaks Arabic) Take him. Find his partner. Show them the way out.(Angrily, Vaughn grabs his things and is escorted out. The president orders the man sitting at the desk to restore the power.In the shaft, the fan blades start to whir. Sydney, in the vault, turns when she feels tension. As the fan starts up, the cord that was attached starts tightening around the blades and Sydney is pulled in the shaft by herwaist because she is still attached as well. She flies in the shaft and bangs against the shaft wall. She looks up, terrified, to see that she'll be heading toward the fan blades because she can't stop it when the power ison. She sees the opening is coming up where she entered the shaft. As she is pulled up, she grabs on to the edge of the entryway while she is still being pulled up. She hits a button and the belt lets go. Sydney bangsinto the wall, still hanging on to the ledge. Her hip hits the wall of the shaft and the phone riddled with explosives falls from her belt and falls to the bottom of the shaft. It explodes. The fire is hurdling up the shaft withSydney still hanging on inside. She finally gets inside and falls into the hallway of the museum as the fire goes up the shaft. She grabs her jacket and her things and leaves.)(In the lobby of the museum, Vaughn isbeing escorted out as Sydney meets up with them, back in her costume.)SYDNEY: What's going on?VAUGHN: We're being kicked out. I didn't have time to finish my system analysis. Did you?(The alarms gooff.)SYDNEY: Barely.(In the newspaper offices, Will's friend Abby types on her laptop while listening to some music from her stereo next to her. Will walks up, and turns up the music.)ABBY: Excuse me!WILL: (whispers)Listen to me, listen to me. I really need your help, okay?(Outside the newspaper, Will holds a manilla envelope.)ABBY: Wait a minute. You've got to give me more details than that!WILL: No, no, no, no details.ABBY:You were kidnapped?WILL: Here, just--ABBY: By a man who turns out to be someone you know's father?WILL: Yes, yes--ABBY: What is this?(She takes the envelope.)WILL: This is an article I've written. Abby, you'vegot to do this for me. Make sure you keep it sealed, and don't mention this to anyone. And you got to promise me you're not going to open it, unless something happens to me. And if something happens to me, you gotto publish it.ABBY: Why would something happen?WILL: Because I'm going to see my kidnapper.ABBY: Oh, Will, you've become insane!WILL: I have enough information that maybe I can write a story that might raisesome questions, but I don't have anything that's going to put this guy away!ABBY: Well, publish the story now. That's your insurance policy!WILL: Yeah, but then I'll never get his cooperation! I mean, there's got to bea bigger story here. I want to find out what it is. Abby... you got to promise me you're not going to open it.ABBY: Promise me I won't have to.(That night, Jack comes out of Credit Dauphine and walks to his car. Willstarts up his truck.)(At a fancy bar, Jack sits and takes a drink. Will sits down next to him.)WILL: (sighs) There are a few things we need to talk about and, quite frankly, you scare me, so I'd rather talk about them in apublic place. Can I have a beer, please?JACK: You want to talk to me? About what?WILL: Let's start with Sydney. Does she know?JACK: I don't know what you're talking about.WILL: Does she know that you kidnapped"}
+{"doc_id":"doc_115","qid":"","text":"Renaissance(2x08 : Carrier)Written by CRAIG SWEENEY Directed by NICK GOMEZ**Previously on the 4400** Diana reads Maia's journal and reports to NTAC.Nina: As far as this department knew, Maia wasn't havingvisions anymore.Diana: She was keeping them secret from me. Writing everything down in a diary. Diana receives some mail.Diana: It's a subpoeanaMaia: What do they want?Diana: Your diary Collier warns Shawnaway from liv.Collier: Don't reveal your healing ability, because if you heal one of them, you'll have to heal them all. Shawn heals Livs boyfriend.Collier: One day, all of this will be yours. The paperwork's been drawn up.The lawyers know what to do. The sniper prepares to shoot Collier.Collier: Everything's in place. Collier is shot.Shawn: He had a vision to save the future and now he won't be here to see us achieve it. But we willachieve it. Shawn stands by Collier's casket. Tom enters the room at the museum.Alana: None of this is real to me either. This is where they altered us. Gave me the ability to create the world we've been living in. Alanaand Tom renew their marriage vows.Alana: Thomas **Present Time** Tom and Alana return home and speak with Kyle as they eat dinner.Kyle: So let me see if I've got this straight. You two met, fell in love and spenteight years together in some kind of alternate reality. And now you're here with eight years of love and marriage under your belts in what to us was no time at all.Tom: Yeah, that, that, that about sums it up, yeah. Kylelaughs.Kyle: I'll play along. If you two start calling each other honey bunny, I'm SO outta here.Alana: I told you he'd try, Thomas.Kyle: How'd you know that?Alana: Well you might be meeting me for the first time, but Iknow all about you. Your smart, your favourite writer is Alan Moore and your favourite meal is meatloaf.Kyle: Well I can't be exactly the same. You said there was no 4400, so that means no coma. No time lost.Tom: Nomajor problems, that's right. You were happy. Successful.Kyle: Meaning what?Tom: Nothing. We used to talk about medical school, remember? Over there, you went to Stanford.Kyle: How'd I do?Tom: You graduatedwith honours. You became a neurologist.Kyle: Must have made you proud.Tom: I'm always proud of you.Kyle: Right. But Doctor Kyle Baldwin in that world you were vacationing in, came from your mind, right?Alana:Uh, actually it was my mind.Kyle: Right, but you created it using his memories.Tom: Kyle! I'm just as proud of what you've accomplished here! Prouder. Diana is in the office when Marco enters.Marco: Hey.Diana: Youwanna know why all lawyers are jerks? Cos they spend a lifetime reading this crap. He sits on her desk.Marco: What kind of crap specifically? I'm a pretty good interpreter.Diana: I have 24 hours to turn Maia's diaryover to NTAC and not one legal option to get out of it.Marco: What are you going to do?Diana: Well, what NTAC wants, NTAC gets. But I have a nine year old daughter at home who's counting on me to protecther.Marco: Is there any way I can help?Diana: Yeah, you can slap me upside the head for mentioning the diary in the first place. It didn't save Collier's life and now it's making mine hell.Marco: How about I just makesome fresh coffee instead.Diana: Thanks.Marco: Yeah. He leaves the office. Back at the Baldwin house and Kyle is sat on the sofa reading the newspaper which has a story on Collier's murder. Alana enters theroom.Alana: Do you think they'll find the man who did it?Kyle: By they, you mean, Thomas? Yeah, probably. Dad always gets his man. You heading out?Alana: Yes, I have to keep reminding myself I don't live hereanymore. Kyle looks at her and then turns his head away.Alana: Look Kyle. Your father and I love each other.Kyle: That's great. There's not enough love in the world. But I just met you. Give me a few day's before Istart calling you Mom, ok?Alana: Uh, you've got one of those already. I'd settle for being a good friend. And I'll keep bribing you with meatloaf until you give in. She leaves the room. The scene shifts to a diner. All thecustomers and staff lie dead. Outside, people lie on the pavement and in cars. A woman, Jean Delynn Baker, an abductee who disappeared on Oct 27th 1999, stands among the dead and is visibly upset. She walksthrough the many bodies littering the street. A limo arrives at the 4400 centre. A few men rush to greet the man who steps out of the car.Man: Hello Mr Ross. Did you have a good flight?Matthew: Yeah, thanks.Man:Now would you like me to show you around, or do you wanna get some rest.Matthew: Neither. Take me to Mr Farrell.Man: Yes sir. Right this way. Shawn and Lucy are in his office.Lucy: They've been waiting threeday's.Shawn: Tell publicity I'm not sure yet.Lucy: They're saying we're past our deadline. We have to release this press statement. He reads the statement.Shawn: This is supposed to be coming from me? I don't evenunderstand half of what it say's. It doesn't sound like me, Lucy.Lucy: So change it. You're the boss. Oh, and legal needs signatures now or no-one get's paid. Including legal.Shawn: I can only do one thing at atime.Lucy: So let's start with the statement. Matthew enters the office.Lucy: Why don't you dictate something to me?Matthew: No press statement! If the press wants to know what Mr Farrell is thinking, they can watch60 minutes along with the rest of America. I've already booked an exclusive interview with our new face at the 4400. That's all for now. He hands Lucy back the file.Matthew: Thanks. Lucy looks at Shawn andleaves.Matthew: I'm sorry to just jump in like that. I thought you could use a hand. Matthew Ross.Shawn: Yes. Yeah. What are you doing in Seattle?Matthew: I go where I'm needed.Shawn: You've come to the rightplace.Matthew: It's no coincidence, Shawn. Jordan made it clear that in the event of his death, I was to step up front and center to help you out.Shawn: Well, another in a long line of plans that Jordan neglected toshare with me. But I'm glad you're here. Jordan talked about you a lot.Matthew: You're gonna have to hire yourself a new lobbyist. I'm moving to the home office for the time being.Shawn: Pick any office you want. Youstart right away. Uh, these letters. Everyone knows I can heal, now.Matthew: Jordan had every intention of revealing your healing ability to the public, but he was planning on doing it in stages. We don't have thatluxury anymore. We'll deal with it.Shawn: I can't go outside anymore. There's sick people, press, they follow me everywhere!Matthew: And they will for the rest of your life. The ground just shifted under your feet. Youeither find your balance or you fall on your ass. This center's the new Lourdes. Nobody's gonna be calling us a cult, anymore. We're turning away people faster than we can sign them up. In ten years, this movementsgonna be one of the most dominant faiths on the planetShawn: Stop. I'm glad things are going so well, I am, but a week ago I was just some guy trying to beat the last level of Doom. I wasn't the Pope then and I'm notthe Pope now.Matthew: Yes you are and you need to start getting used to it. Back at NTAC.Nina: The FBI is spearheading the hunt for the man who killed Jordan Collier. Oh, but we are still in the game and NTAC ismaking this collar. I'm not having someone else clear up are mess for us.Agent: Then we'd better get moving. We all know there's an expiration day on these manhunts. Trail starts getting cold after 48 hours.Tom: Iwanna have a look at employee sign in sheets for every office building and parking garage within a ten block radius of the center.Agent: We've already cross examined everyone on those books.Diana: Well then wehave to look OFF the books. This guy shot a public figure in broad daylight. There has to be an eyewitness.Nina: And so far Tom, the only one who has seen this killer, is you. April and Maia are at a newstand. April isscratching lottery cards.April: Loser. Pathetic loser! Sweetie, whatever you do, never, ever gamble. It's wrong and it's stupid.Maia: Then why do you do it?April: Because unlike your Mommy, your Aunt April doesn'thave a steady income. She's an artist and artists always need cash. Which is where the stupid part comes in, because I always lose. So, this whole see the future thing? It doesn't just apply to Earth shattering events,huh?Maia: Not always.April: So, if I were to ask you which card I....Maia: That one! Maia points to a card.April: I'll take this one right here. Thanks. She scratches the card and is a winner.April: Baby girl. You are mynew lucky charm. Tom and Diana go into Nina's office.Nina: I'm pulling you off the Collier case.Tom: What are you talking about? We still have half that neighbourhood to canvas.Nina: Well, it's gonna have to wait. Sheruns a tape.Nina: 10.37am Pacific Standard. The Federal Emergency Management Agency sent in a task force to the town of Granite Pass Oregon, population 273, where there's been an outbreak of a lethal, highlycontagious and as yet unidentified virus.Diana: Airborne?Nina: Yeah, likely.Tom: Man made?Nina: Unknown. All we do know is, if you went to sleep in Granite Pass last night, chances are, you're filling out a body bagthis morning. There's only one resident that FEMA hasn't accounted for yet. Jean Delynn Baker, aged 30. Returnee 0188. Disappeared in '99.Tom: Divorced, no kids. Psych profile say's she's a loner.Diana: Looks likethings have been pretty grim for her since she got back. Hasn't been able to hold down a job. Unemployed four times in the last year.Nina: And now she's the only resident of Granite Pass Oregon, who can't beaccounted for. So we've got two possibilities.Diana: Either she's immune to this virus, in which case we could study her. Look for a cure.Tom: Or else, she's the carrier.Nina: Either way, your job is the same. Usewhatever resources you need and find her. Jean get's a lift in a truck.Truck Driver: So, you gonna tell me where you're headed? Jean is crying and doesn't answer.Truck Driver: I never could stand the sight of a womanin tears. I guess that's why I never got married. You in some kind of trouble? Run off from your family? Law on your tail?Jean: Seattle. I'm going to Seattle.Truck Driver: It's a big city. You want me to just drop you onthe edge of town?Jean: I'm going to the 4400 center. I gotta get there. Jean's hands are covered in blisters.Truck Driver: What the hell for? You joining up?Jean: Just get me as close as you can, please!Truck Driver: Ifyou're looking for salvation, you're not gonna find it there. What you wanna do is give yourself over to your true Lord and saviour. Purification day is coming. The signs are everywhere. Pestilence, plague's.Jean: Tell meabout it. I woke up in a town full of dead people this morning. My mother, my father, everyone.Truck Driver: Yeah? How come you survived?Jean: I think maybe I caused it.Truck Driver: You? Now I know you'remessing with me. Ok, go ahead. Laugh at the Jesus freak! But I'm telling you. The whole world will be wiped clean soon enough.Jean: Look, I don't think you're a freak at all, Mr. Matter of fact, I believe everythingyou're saying. Diana and Tom arrive in Granite Pass. They both are wearing hazmat suits. Diana takes a look at one of the bodies lying in the street.Diana: The eyes and fingernails show only slightdiscolouration.Rigormortis has barely set in. What do the autopsy's show?Agent: Nothing we have a name for. Their internal organs are pretty much liquified. This thing works fast.Diana: So you just took your helmetoff. You got a death wish?Agent: This virus get's released, dissipates and then disappears within a half hour. Seen enough?Diana: Plenty. Diana and Tom take their helmets off.Tom: So everyone died this morning,because they were within the virus' original radius.Diana: Right. and if you'd drove through town an hour later, you would have been fine.Tom: That's something, anyway. But Orson Bailey and Trent Applebaum. Whena 4400 manifests an ability, they get more intense, quickly.Diana: Which means, if Jean Delynn Baker, is transmitting the virus.Tom: Yeah, she might be just warming up. Shawn is reading some letters from peoplebegging for his help.Letter 1: Doctors say they can't stop my cancer from spreading...Letter 2: I'veworked hard all my life. Tuberculosis is eating up my life savings. My beloved wife of 40 years...Letter 3: Grandma toldme to pray, so when I saw you on TV, I knew....Letter 4: Help me. Shawn is upset and throws the letters onto the floor. Someone knocks on the door.Lucy: Shawn, it's Lucy. You're scheduled for the new key's address.Everybody's waiting. Shawn? Lily is pushing Isabelle through a hallway at the center. Matthew walks alongside her.Lily: I'm flattered. I'm just not sure I can take a job, right about now.Matthew: Richard's going to betravelling quite a bit. The daycare here is first rate and completely free.Lily: Well for one thing, I'm not sure I'm qualified. I mean, Assistant Director of Human Resources. I had my first daughter right out of college. Youcould fit my entire resume on half a page.Matthew: You're a 4400. It's like an advanced graduate degree, around here. Besides, Jordan talked about you.Lily: Oh, I'm sure he did.Matthew: He said you had the gift ofempathy. That you were a natural born organiser and that you had a knack for bringing out the best in people.Lily: Jordan said that about me?Matthew: You're a returnee. You're smart. We empower people like youaround here. Tom and Diana go to Jean's house and find Marco there.Marco: Wipe your feet.Tom: A killer airborne virus has been released and you're worried about muddy footprints. He waves his finger at him.Marco:It's still somebody's home.Diana: So this is where Jean Delynn Baker, lived.Marco: Until she hit the road, yeah.Tom: Did she keep a schedule or any kind of daily planner?Scientist: Yeah, but I think it went out thewindow when she realised her entire home town had been wiped out.Diana: Anyone get in touch with her parents?Scientist: This was her house. They were sleeping upstairs when the virus hit.Tom: Ok, you guy's aren'tleaving this house, until you've gone through everything. Letter's, phone bills, grocery lists. Marco, listen to me. Find me a pattern. The way she thinks. She's on the run, I want to beat her to wherever she's headed.Marco takes a picture of Diana as she leaves the room.Scientist: Flirt!Marco: You heard the man. The 4400 center switchboard room.Operator: 4400 center. How may I direct your call.Jean: I didn't mean to do it. Ididn't mean to kill them. I, these, these blisters. Jean is calling from a motel room.Jean: They itch so bad.Operator: Killed who?Jean: I need you to help me, please!Operator: Who is this?Jean: I'm a 4400 and there'ssomething wrong with me. Everybody that I'm around dies and I don't know how to stop it. I don't know how to stop it. The operator calls for a supervisor.Operator: Tell me your name and where you are. Matthewarrives when the call ends.Matthew: How many people dead?Operator: She said, hundreds. But there's nothing about it on the news.Matthew: Could be they're trying to keep it quiet. And there is a 4400 named JeanBaker?Operator: She said she's staying at a motel near the squirrel hill exit on the 64. Matthew turns to Lucy.Matthew: Get me NTAC on the phone. Maia is sat in front of a mirror putting on make-up. April comes incarrying a laptop.April: Yes! You were right! Philadelphia creamed them!Maia: How much did you win?April: $200 for Aunt April. All because of you. My little genius. Now, I'm looking at Chicago versus New York, evenup. Chicago's the home team, which gives them some advantage, but New York is coming off a three game winning streak. So who's your pick?Maia: How much are you betting?April: The whole 200 bucks. Which won'twin me enough to retire on, but a girls gotta start somewhere. So, you getting anything?Maia: Do you like me?April: What kind of question is that?Maia: I mean, like me for myself. Or because I tell you stuff that'sgonna happen.April: Honey, listen. I love you for who you are, not what you can do. Always. Ok? Maia nods and smilesMaia: I'd go with Chicago.April: Chicago it is. Now come on! Aunt April is gonna take you out forpizza. Go wash up and take your Mom's stuff off. You know she get's kind of uptight about.... April takes Maia's hand and looks at some rings on her fingers.April: Oh yeah. This is my Mother's engagement ring. Wheredid you get this?Maia: I always play with it.April: This is a very valuable ring. Which means it is not for little girl's to play with. Now wash good or I'll order anchovies. Go! Maia leaves and April looks at the ring. Alana isin the kitchen preparing dinner. Kyle runs in.Kyle: Hey!Alana: Hey!Kyle: Don't take this the wrong way, but how did you get in here?Alana: Ah, your Dad gave me a key.Kyle: A little early for dinner, isn't it?Alana: Alittle early for eating. Not for preparing. Can you cook?Kyle: Sorry, I'm a world class brain surgeon, not a chef. But I can empty a grocery bag with the best of them though. But I have to warn you. You're ignoring thenumber one rule of Dad.Alana: Which is?Kyle: The longer and more carefully you prepare for a family event...Alana: The more likely it is he won't show.Kyle: Guess you do know the man. Which means, I guess, youalso know me, which I'm sorry, is really weird.Alana: You have to admit, it's a little strange for me too. We have this eight year relationship and I have to keep reminding myself that it doesn't really exist.Kyle: So tellme. Was I like number one in my class at medical school?Alana: Does it matter Kyle? You're not in competition with yourself.Kyle: I'm just curious!Alana: Well you keep bringing it up. It's more than curiosity.Kyle: Sowhat if it is? If you knew that there was some parallel universe, where a better, smarter version of yourself was walking around. How would you feel?Alana: He wasn't better and he wasn't smarter. He was you.Kyle: Hejust had options I'll never have. No 4400, no coma. He got to go to medical school.Alana: Who say's you don't have that option?Kyle: I'm 21. I'm a freshman in college.Alana: So you started a little late. You keepthinking I know two Kyle's. I don't. I just know you. You wanna be a Doctor? I know for a fact that you can pass your MCAS Tom and Diana make their way in the car to Jean's motel.Diana: Jean Baker is in a motelabout 10 miles ahead.Tom: Right now, half of NTAC is headed for that place. Mortimer and Felconi should be there already.Diana: It's weird huh? Responding to a tip that came from inside the 4400 center.Tom: WellShawn did tell me he wanted to cooperate with us. Guess he mean't it. They arrive at the motel to find many cars already there. Tom show's his ID to a sheriff manning a roadblock.Tom: Excuse me. We're NTAC. Weneed to get through here.Sheriff: I'll open it for you.Diana: So what's going on down there?Sheriff: A dead trucker. Look's like it came on sudden. They make their way over to the truck which has veered off the road.The trucker is lying over the steering wheel, dead. It's the same man that gave Jean a lift. They return to the car and head to the motel. Jean is sat on the bed reading, when tear gas is thrown through the window. Menin hazmat suits burst in and grab her.Man: Jean Delynn Baker!Jean: No, no, no! What are you doing? I called you for help!Man: We know! Come with us!Jean: No, you're scaring me! Please stop, they start to itch whenI get scared! Please! Get away from me! The two men fall to the ground.Jean: God! She runs out of the room. Her hands are bleeding and the sores are weeping. As she runs outside, other men fall to the ground. Sheget's into a car and drives away. Back in the car with Tom and Diana.Diana: That trucker died not more than three hours ago.Tom: He couldn't have picked up Jean more than two hours before that.Diana: Which meanshe was exposed, infected and killed in like what, 20 minutes. That's faster than any virus I've ever seen. Tom's phone rings.Tom: Mortimer and Falcone. Look's like we're playing backup.[Into the phone] Baldwin!Jean:It's not my fault.Tom: Who is this? Jean is in the car.Jean: I called you for help! You tossed tear gas into my room!Tom: Jean Baker. How did you get Mortimer's phone?Jean: How do you think I got it? They scared me.They came barging into my room!Tom: What did you do to them?Jean: I guess you thought those suits they had on would keep them safe, huh? Well you were wrong, ok? Nobody's safe! That's why I'm warning you.You stay away from me, ok? Just keep everyone away!Tom: Where are you?Jean: I'm driving.Tom [To Diana]: I think she took their car. Call Jarvis. Get a beat on it. [To Jean] Jean, where are you? Where you're going.We wanna help you.Jean: No, I tried that! No-one can help me. No-one ever could! Why should it be any different now!!Tom: I know you don't wanna kill anyone, but listen to me. There's a virus that's growing insideyou. It's incredibly lethal.Jean: I've always been toxic. I've poisoned every relationship I've ever had!Tom: This is different.Jean: Yes! They made it real! My parents always thought I was a walking disaster. They never"}
+{"doc_id":"doc_116","qid":"","text":"Teleplay by: Peter TibbalsStory by: Judd Rubin[SCENE_BREAK][Scene: Chandler and Monica's]Chandler: Hey!Monica: Good morning, Tiger! I'm making you a nice big breakfast so you can keep up your strength fortonight. You're gonna get me good and pregnant.Chandler: I've got nowhere to go this morning. I'm unemployed! I don't know what I'm gonna do with my life.Monica: Well, I just lost my erection.Chandler: I mean,what am I supposed to do with myself?Monica: You're supposed to find your passion in life. You can be whatever you wanna be now. It's exciting.Chandler: But it's all so overwhelming. I don't know where tostart.Monica: Hey, wait a second. I can help you with this. You just need to be organized. We can make a list of your qualifications, and categorize jobs by industry. There could be folders and files!Chandler: Hey! This iswhere your hyper-organized-pain-in-the-ass stuff pays off!Monica: I know!!! My erection is back! Opening Titles[Scene: Central Perk]Joey: (To Gunther who comes over with coffee and a muffin) Thank you!Phoebe:Joey, can I have a sip of your coffee and a bite of your muffin?Joey: Okay.Phoebe Thank you. (Pours his coffee in a thermos and puts his muffin in her purse.) Thank you!Joey:: Pheebs, have you ever been bitten by ahungry Italian?Phoebe: I'm sorry, it's just, I'm a little short on cash.Joey: If you want I could loan you some money?Phoebe: Oh no, no, no. I learned never to borrow money from friends. No, that's why RichardDreyfuss and I don't speak anymore.Joey: Oh, hey, how about this? Wanna be an extra on my show?Phoebe: You could do that?Joey: Yeah, yeah. The pay is pretty good and you could do it for as long as youneed.Phoebe: Oh my god, I'm gonna be on TV!Joey: Okay, now. I gotta tell you, being on TV isn't as glamorous and exciting as you think.Phoebe: Oh, really?Joey: No it is awesome!(Rachel and Ross enter withEmma)Ross: Hi guys.All: (Adlib hellos)Phoebe: Wow! Hey, why are you all dressed up?Ross: Rachel and I are bringing Emma to Ralph Lauren today to introduce her to everyone. Doesn't she look cute?Joey: She suredoes. Why does she have a pink bow taped to her head?Rachel: Well, because if one more person says \"what a cute little boy\" I'm gonna whip them with a car antenna!Ross: I think she's gonna be the hit of the office,huh? She's gonna be hotter than peasant blouses and A-line skirts. Can I get a blue bow?[Scene: Chandler and Monica's]Monica: (Flipping through bunch of folders as Chandler enters from bathroom) Okay, I havelooked through a bunch of career guides, photocopied and highlighted key passages and put them into alphabetical folders so you can make an informed decision.Chandler: How long was I in there?Monica: Okay. Let usstart with the A's. Advertising.Chandler: Wait. Advertising! That's a great idea!Monica: Don't you want to look through the rest?Chandler: I don't think I have to hear the rest. Advertising makes perfect sense. Sorry youhad to waste all this time, though.Monica: You call eight hours alone with my label maker wasted time? Ooh, now I get to use my shredder!Chandler: I mean, I can write slogans. I mean, how hard can it be, right?\"Cheese. It's milk that you chew.\" \"Crackers. Because your cheese needs a buddy.\" \"A grape. Because who can get a water melon in your mouth?\"Monica: I got one. \"Socks. Because your family's feet deserve thebest.\"Chandler: Honey? Leave it to the pros.Monica: I actually know someone in advertising. I grew up with this guy who is a vice president at a big agency. Maybe I can get him to meet you? Give me thephone.Chandler: \"The phone. Bringing you closer to people...who have phones.\"Monica: \"Marriage. It's not for everybody.\"[Scene: Ralph Lauren]Rachel: That went well. Almost everybody knew that she was a girl.Ross:Yeah, after you punched that one guy who got it wrong, word spread.Rachel: I'm just gonna go in my office and pick up some stuff . (To the guy behind her desk) Who the hell are you!?Guy: Who the hell areyou?Rachel: I'm the hell person whose office this is!Ross: Good one, Rach.Guy: I'm Gavin Mitchell, the person who's taken over your job.Rachel: Excuse me?Gavin: Oh, your baby's so cute. Why did you put a pink bowon a boy?[Scene: DOOL set]Phoebe: Joey, look at me! I'm a nurse!Joey: Yes you are. I think it may be time for my sponge bath. Sorry, I'm just so used to hitting on the extras. So, are you excited about yourscene?Phoebe: Yeah! But I'm a little shaky and nervous.Joey: Oh, relax. Don't be. You'll be fine, you'll be fine. They'll probably just make you stand in the back.Director: Okay, okay, okay! (To Phoebe) You. Here, comehere, here. You're gonna take this tray, you're gonna stay on this yellow mark. You're gonna move on \"action!\" You're gonna walk over to the operating table. You're gonna stop on that blue mark, you're gonna put thetray down. Don't walk too fast! But don't doddle.Phoebe: Okay, now. What?Director: And...Action!!(Phoebe starts walking toward the operating table. Her hands are shaking like crazy, causing the tray torattle.)Director: Cut! Cut!Phoebe: I'm sorry, I'm sorry, I'm sorry. I'm just a little nervous.Director: Well, don't be.Phoebe: Okay, that helps.Director: And...Action!(Phoebe starts walking towards the table again. She'seven more shaky than before and almost drops the tray.)Director: Cut!Joey: Hey, you know what? Don't worry, Pheebs! It usually takes me three takes too! (Off the director's look) Alright, eight.Director:And...Action!(Ok, here we go again. Phoebe starts walking toward the operating table, but stops every time the tray starts to rattle. She eventually drops it on the floor, but finishes the scene anyway by putting the nownon-existent tray on the table.)[Scene: Central Perk]Interviewer: So, do you have any other question about advertising?Chandler: No, no. But let me show you what I can do. \"Bagels and donuts. Round food for everymood.\"Interviewer: Monica warned me you might do that. I actually think we might have something for you at the agency.Chandler: Really? That's great!Interviewer: It's an unpaid internship.Chandler: It's funny. Whenyou said \"unpaid\" it sounded like you said \"unpaid.\"Interviewer: Come on now. Monica has a good job. And it's not like you have a family to support.Chandler: Actually, we're trying, and I don't think Monica's gonnawanna postpone it. We're supposed to have s*x tonight. Actually, she's probably at home naked right now. I tend to keep talking until somebody stops me. I can just picture her on the bed right now.Interviewer:Stop!Interviewer: Okay.[Scene: Ralph Lauren]Rachel: Wait a minute! What do you mean, you're taking over my job?Gavin: Well, while you were on your baby vacation I was doing your job.Rachel: A vacation? My ideaof a vacation does not involve something sucking on my nipples until they are raw.Gavin: Clearly you've never been to Sandles Paradise Island.Rachel: Alright! Don't get too comfortable there, because I'm back in twoweeks! And I want everything back to the way it was. I can't say that I care too much for the way you've rearranged my office.Gavin: I can't say I care too much for that smell you've brought in with you.Rachel: Excuseme?Ross: Rach we have a code brown situation.Rachel: Can you please, please take care of it for me?Ross: Alright, but you have to do one sometime.Rachel: Let me just get this straight! So I go have a baby and theysend some guy in to do my job?Gavin: Well, there was talk of shutting down Ralph Lauren all together.Rachel: That's right. You're very cheeky for a temp.Gavin: I'm not a temp. I was transferred here from anotherdepartment.Rachel: Oh yeah, what department was that? The Jerk department?Gavin: Oh, they didn't tell me about your quick wit.Rachel: Did they mention that I'm rubber and you're glue?Mr. Zelner: (Enters) Gavin,Ralph loved your ideas.Rachel: Oh, hi Mr. Zelner.Mr. Zelner: Rachel, I see you've met Gavin. I must say, when you left us we weren't sure what we were gonna do. But then, Gavin to the rescue. Super Gavin!Rachel:That's great. So now, Super Gavin, when I come back where are you planning on flying off to?Gavin: Well, that's up to Mr. Zelner. I'm sure he will make the right decision.Rachel: (To herself) Oh, wow. Superass-kissing power.Mr. Zelner: Incidentally, when are you coming back?Rachel: Today.Gavin: You said two weeks.Rachel: No, I said today! See, for a superhero, not so much with the listening.[Scene: DOOL set]Joey:Hey.Phoebe: Hey. So, what did he say?Joey: Well, he can be a little rough around the edges, so I'm gonna replace a word he used a lot, with the word \"puppy.\" Okay, so he said: \"If your puppy friend doesn't get herpuppy act together, I'm gonna fire her mother-puppy ass.\"Phoebe: I'm sorry, I can't do this. I'm not an actor.Joey: That's right, you're not. You're a nurse. You're Nurse With Tray.Phoebe: Joey.Joey: No, no. Nurse WithTray doesn't know Joey, she doesn't have time for friends. She gets in that operating room and she carries that tray to the doctor, because if she doesn't, people die!Phoebe: Who dies?Joey: (Points to man on operatingtable) Man With Eye Patch! You get in there and you do your job.Phoebe: Yes, doctor.Joey: Okay.Director: Okay, let's try this one more time.Phoebe: Hang in there, Man With Eye Patch, your tray is coming!Director:And...Action!Phoebe: (Does the scene) Yes, I did it!!! I nailed it!!! Yay! What's next?Director: The rest of the scene.Phoebe: Okay, from the top, people![Scene: Ralph Lauren]Rachel: Listen. Sudden change of plans. Mymaternity leave just ended. They told me that if I didn't come back today, they were gonna fire me.Ross: What? No, that's illegal. I'm gonna have the labor department down her so fast they won't even...Rachel:Alright, alright. Calm down Norma Rae. They didn't actually say that. I'm just afraid if I don't come back right now this guy's gonna try to squeeze me out.Ross: What about Emma? We don't have a nanny.Rachel: Iknow. You know, we're just gonna have to figure out a plan tonight. Can you please just take care of her for today?Ross: Absolutely. Just give me your breast and we'll be on our way.Rachel: Come on, I don't knowwhat else to do.Ross: Fine, fine. (To Emma) We'll have fun, won't we? Yes, we will, yes we will. (Gives her a kiss, and the pink bow tapes itself to his head.)Rachel: Ross?Ross: Huh?Rachel: You're pretty.[Scene:Chandler and Monica's]Chandler: Whatever I decide to do, I'm gonna be starting a career from scratch. It's gonna be a while before I make a living at it. Maybe now is not the right time to be starting a family.Ross: Soyou have to tell Monica you don't want to have a baby right now?Chandler: Yeah.Ross: (Hugs Chandler) Good-bye.Monica: (Enters) Okay, it's baby time. Pants off Bing. (Sees Ross) Didn't see you there Geller.Chandler:Yeah, Ross is here so...Ross: Yeah, and I was really hoping that I could hang out. What do you feel like doing?Monica: We're gonna have s*x.Ross: I don't feel like having s*x. Maybe we can watch a movie orsomething.Monica: Let me put it this way. We're having s*x whether you're here or not.Ross: Pants off Bing![Scene: Ralph Lauren]Rachel: Alright. Now that I'm back, why don't you just fill me in on what you've beenup to?Gavin: Well, I've changed your screensaver from that picture of *Nsync.Rachel: Hey, they were popular when I left!Gavin: Also, I've just been working on this big presentation for tomorrow.Rachel: Well, I shouldbe involved in that, so why don't you get me up to speed?Gavin: That's gonna take weeks. Why don't just let me take care of the presentation?Rachel: Oh, no no no no. I see what you're doing here, alright, listen, thisis my job buddy. Okay, I've had it for five years, and I know how it works, so why don't you justcatch me up!Gavin: Fine.Rachel: (Sits down in her chair) Oh god. You've totally messed with the back support of my chair.How do you fix this?Gavin: Hey, you've been here five years, you figure it out.Rachel: Fine, I will. (Pushes that button thing on the chair that makes it \"collapse\") Alright, fill me in![SCENE_BREAK][Scene: Chandler andMonica's]Ross: Hey.Chandler: Hey.Ross: You have a blue tie that would go with this? Emma spit up on mine.Chandler: Oh, yeah. But you have to give it back if I get a job. Of course, by that time in the future ties willbe obsolete and we'll all be wearing silver jump suits.Monica: (Enters from the bedroom) Hi, good morning lover. I gotta say after last night, I'm a little weak in the knees.Ross: Here's an idea. You walk into aroom...take a quick scan!Monica: (To Ross) Sorry. (To Chandler) But I kind of have this feeling that we may have made a baby last night.Chandler: Oh god, I have to tell you something. You're not pregnant.Monica:What are you talking about?Chandler: That thing that I have to do to make a baby. I faked it.Monica: What!? You faked it?Ross: You know what? I don't need a tie. I mean, it's better, open collar. You know, it's morecasual (He leaves.)[Scene: DOOL set]Phoebe: Joey, listen. I can't do this, it doesn't make any sense. Yesterday I was a nurse, and today I'm a waitress at a cafe?Joey: Oh, sometimes we use the same extras fordifferent parts. It's okay.Phoebe: Well, it's not okay, because I gave a very memorable performance as the nurse. And now suddenly I'm the waitress? That's gonna confuse my fans.Joey: Maybe you are a nurse, butyou moonlight as a waitress.Phoebe: Uhuh. Because I'm a single mother, supporting my two children.Joey: Nice.Phoebe: Wait a minute. Dr. Drake Ramoray and I work at the same hospital. Wouldn't I come over to sayhi to him?Joey: No, no. See, you and Drake are having a fight.Phoebe: About what?Joey: He slept with you and then never called you.Phoebe: And I just wanted a new daddy for Davy and Becky.Director: Okay, okay,from the top. And...Action!Man: So, I'm surprised you agreed to have lunch with me.Joey/Drake: I'm surprised to, but yet here I am.(Phoebe walks by and slaps him.)Director: Cut, cut! What are you doing!?Phoebe:Yeah, well, I'm very angry at him, because he slept with me and never called me back.Extra: Me too!Another extra: Me too!Joey: Oh, calm down! She means on the show! We need some new extras aroundhere![Scene: Chandler and Monica's]Gavin: (Enters) Wow, you're here already.Rachel: Yes. Emma and I came in a little early to do research on the presentation. I actually made a few changes, but I think I'm caught upon everything. So ask me anything!Gavin: How do you fix the chair.Rachel: Except that! (Mr. Zelner enters) Oh, hello, Mr. Zelner. We're all ready for our presentation this afternoon.Mr. Zelner: Good, because it's in tenminutes.Rachel: What? I can't do that! I have the baby, and Ross is not gonna pick her up for another hour.Mr. Zelner: Well, then Gavin can give the presentation, okay, we have to do it now. Ralph needs to leave earlytoday. He's going helicopter shopping.Rachel: Well, there you go. You win, you win. You get to do the presentation, you'll knock 'em dead, no one will ever remember that I worked here, and then Ralph will buy hishelicopter, and Super Gavin will just fly right along side of him!Gavin: You can do the presentation.Rachel: No, I can't, I have a baby.Gavin: I'll watch her.Rachel: Why would you do that?Gavin: Because you've workedreally hard, and it's your job, and you're a little crazy.Rachel: That's really nice.Gavin: I should tell you that crying women make me very uncomfortable.Rachel: Then you're not gonna like what's coming. (Starts crying)I'm sorry, I'm sorry, I'm sorry. Thank you, thank you.Gavin: I'm really fine, don't worry, I'm great with children. (To Emma) Gavin Mitchell. Pleased to meet you.[Scene: DOOL set]Joey: Please don't fire my friend. Justlet me talk to her.Director: Okay, okay. But this is her last chance.Joey: Thank you, thank you. How about I do something for you? Tomorrow, I'll bring you a hat, cover up the bald?Joey: Hey, listen Pheebs. I was justtalking to the director, and he was thinking, maybe this time you don't hit Drake, you just wait on the tables?Phoebe: I can't do that. I'm an actor. I have a process.Joey: You're a masseuse. You have a table with a holein it.Phoebe: Wait a minute, I see what's happening here. You're threatened.Joey: What?Phoebe: Yeah, I'm so good in this scene that I'm stealing focus from you. Well, rise to the challenge Tribianni 'cause I just raisedthe bar. Come join me up here!Joey: (To the director) Yeah, you can fire her, but I would call security, she won't go easy.[Scene: Chandler and Monica's]Monica: You faked it? You couldn't have faked it!Chandler: Ohyes you can. You just make the faces and the noises.Monica: Guys can fake it? Unbelievable. The one thing that's ours! Besides, why would you fake it when we're trying to have a baby?Chandler: That's actually why.Look, I'm starting a whole new career now, and I'm not saying that I don't want to have a baby, I'm just saying maybe we could wait a little while.Monica: Like a month?Chandler: Or a year?Monica: Really, you want towait a year?Chandler: It could be less than a year. I mean, you've heard my stuff. \"Pants. Like shorts, but longer.\" (Pause) It'll probably be more than a year.Monica: I really wanna have a baby.Chandler: Yeah, me too.Look, I'll just get my old job back.Monica: No, I want you to have a job that you love. Not statistical analysis and data reconfiguration.Chandler: I quit and you learn what I do?Monica: It's just, I think, there's nevergonna be a right time to have a baby. I mean, now you're unemployed and in a little while you'll find a new job that'll keep you really busy. There's always gonna be a reason not to do this, but I think once the babycomes, forget about all those reasons.Chandler: I guess. It's always gonna be scary when we have a baby.Monica: It's gonna be really scary. I mean, god. When we have a baby, there's gonna be so much that we'renot able to control. I mean, the apartment's gonna be a mess, I won't have time to clean it. What if the baby gets into the ribbon drawer? Messes up all the ribbons?! What if there's no room for a ribbon drawer,because the baby's stuff takes up all the space!? Where will all the ribbons go!?!Chandler: Should we go make a baby right now before you change your mind?Monica: Yes, please!Chandler: Oh, and I promise, I will notfake it this time.Monica: I wish I could say the same. I'm a little shook up! Closing credits[Scene: DOOL set]Joey/Drake: I know you botched that operation on purpose. I can't prove it yet, but when I do, you'll be goingto jail for murder. I don't care if you are my brother.Man: I'm not your brother.Phoebe/Waitress: What about my children Drake?! Huh!? (She starts running around on the set with a security guy chasing her) No!! No!!No! God!"}
+{"doc_id":"doc_117","qid":"","text":"[Scene: Rodriguez's place. He's looking at pictures of Prue, Piper and Phoebe. Tempus appears in a ball of flame.]Rodriguez: Tempus...Tempus: I never expected to see me. Of course not. You are not worthy beforenow. What is the name you are using?Rodriguez: Rodriguez.Tempus: Ah, yes. I have been sent to you, Rodriguez. As a gift.Rodriguez: Sent? By who?Tempus: I think you know who and why.Rodriguez: I can defeat theCharmed Ones on my own. I don't need any help.Tempus: Really. What makes you think you have actually found the Charmed Ones?Rodriguez: Are you kidding? After so many of my colleagues have mysteriouslyvanished in San Francisco this year. It can only be one reason why. I posed as a cop as I believed that one was covering for them. I was right, he was. That's how I found them. Of course, you already know all that don'tyou. That's what makes me so worthy now, right?Tempus: Watch your tongue, Rodriguez, lest I split it for you. It's one thing to have found the Charmed Ones, it's quite another to defeat them as those who have gonebefore you have already discovered. Tomorrow is Wednesday. I want you to get all three witches together in one place by midnight and give it your best shot. But if you fail ...Rodriguez: I will not fail.Tempus: Well, ifyou do, I'll be there to help you learn by you failures. Trust me. Now, how do you expect to get them together?Rodriguez: Trudeau.[Scene: A paperboy rides along the road, a car honks and he waves. He throws thepaper on the Halliwell's lawn. Inside the manor.]Weather Girl: (on TV) Good morning, San Francisco. Well, it looks like it's going to be a beautiful Wednesday.Phoebe: (on the phone) Piper, what are you doing at Quake?It's 8:00 in the morning.(Prue enters the kitchen.)Prue: Morning.Phoebe: Morning. (to Piper) Yes, alright, I'll be there in an hour.(You can see Kit on the bench and he knocks over a pepper shaker.)Prue: You'll be wherein an hour?Phoebe: Ah, Quake. Piper's doing that thing for the food network and she needs me to bring her another dress because she spilt marinara sauce over the one she's wearing.Prue: Just stay out of mycloset.Phoebe: Oh, don't worry, I don't think she'd want to ruin another one of yours.Prue: (Reading the paper) I don't believe this.Phoebe: I'm kidding. Don't have an aneurysm.Prue: No, I'm talking about the paper.Did you see the front page? (Phoebe shakes her head. They hear a crash outside.) Where did you park my car last night?Phoebe: In the driveway ... I think.(They run to the window.)Prue: Mrs. Henderson's car.Phoebe:Oh, thank God. I mean, that your car's in the driveway and I'm not in the dog house. Is she okay?Prue: Yeah, just a little fender bender, no big deal. Phoebe, Andy's in trouble.Phoebe: What? Why? (Prue shows her thepaper. Written on the front page is \"Inspector Suspected In I.A. Murder.\") They think that he killed that Internal Affairs cop? No way.Prue: Maybe it's a setup, trying to force him to reveal our secret.Phoebe: Let me seethat. (She takes the paper off Prue and has a premonition.)Prue: What is it?Phoebe: I saw Andy, Prue. He was dead.Opening Credits[Scene: Halliwell Manor. Continued from before.]Prue: Wait, you said that you didn'tsee a demon or a warlock in your premonition, right?Phoebe: No, but the way he was hurled across the room, there had to of been one.Prue: This room here.Phoebe: Right here, yeah.Prue: Okay, and you're positivethat it was Andy.Phoebe: Prue.Prue: I just want to be sure, alright, this isn't just anybody that we're talking about, you know.Phoebe: I know, and I care about him too.Prue: I know you do. I'm sorry. Um, right, whydon't you fill in Piper and I'm gonna go warn Andy.Phoebe: How? He said it was too risky for you to be seen with him.Prue: Yeah, well, I don't care. Let Internal Affairs find out that we're witches. Andy's life is a lot moreimportant.Phoebe: Okay, just please be careful. You don't know what kind of demon we're up against.[Scene: Police station. Andy is in a room with Darryl.]Darryl: If you ask me, I wouldn't be surprised if Rodriguez wasthe one who whacked his own partner.Andy: I.A. already cleared him.Darryl: I.A. cleared an I.A. Go figure.Andy: Yeah.(Rodriguez enters the room.)Rodriguez: What are you doing here, Morris?Darryl: Backing mypartner, Rodriguez, something you wouldn't know anything about.Rodriguez: This is between him and me.Andy: It's okay, Darryl. (Darryl leaves the room.) Just for the record, I'm not saying anything without mylawyer present.Rodriguez: You don't need a lawyer, that's if you're willing to help me.Andy: You want me to help you? (He laughs.) What, you can't frame yourself, Rodriguez?Rodriguez: Look, Andy ...Andy: Oh, it'sAndy now.Rodriguez: I don't think you had anything to do with my partner's murder. That's right. But what I do think is completely off the record. And I think you'll understand why. (Rodriguez shows Andy a photo.)That's my partner. Or at least what's left of him. No human could of done that to him. I think he was killed by something supernatural. And I think you can help me figure out who or what it is.Andy: Really. What makesyou think that?Rodriguez: Come on, I know all about those unsolved cases of yours, and I know who's behind them too. Who you've been covering for. It's very noble. You must care about her very much to give upyour career for her. Prue Halliwell ... is a witch.Andy: A witch, huh? You wait here, I'll go warn the Wizard of Oz. (He stands up.)Rodriguez: I don't have time to screw around, Trudeau. I want you to arrange a meetingbetween her and me. It has to be tonight. She can help me find who killed my partner, I'll drop all charges against you. I won't tell anyone about her. You think about it, but not too long. (He leaves and Darrylenters.)Darryl: You alright?Andy: I'm not sure. I gotta go see Prue.Darryl: That's funny. She called and said she had to see you too.[Scene: In the street outside a clock shop. Tempus is waiting there. Rodriguez walksup to him.]Tempus: Well?Rodriguez: I'm sure I made Trudeau suspicious of me. She'll have no choice but to meet with me.Tempus: But you have to get all three of them together.Rodriguez: Trudeau cares about her.He won't let her risk meeting me alone. He'll insist she have the power of three there with her for protection.Tempus: And you think you have the power to defeat them all.Rodriguez: You don't think I do, do you? Youthink I'll fail.Tempus: Time will tell.[SCENE_BREAK][Scene: Quake. Phoebe has another dress for Piper.]Piper: Phoebe, over here. (She gives Piper the dress.) Thank God. The segment producer's gonna be here anyminute and I am a complete and total wreck.Phoebe: Piper ...Piper: I thought I was gonna have to pull a Celine Dion and wear my dress backwards.Phoebe: Piper, you have gotta listen to me. I had a premonition ofAndy dying.Piper: When?Phoebe: This morning. Don't you check your voice mail? I called and said it was important.Piper: Oh, know. Where's Prue?Phoebe: She's warning him. But in the mean time we have to figureout who the demon is.(A woman enters Quake. Piper stands behind Phoebe to cover the marinara stain.)Woman: Piper? Piper Halliwell? I would recognize you anywhere, you have not changed a bit. You don't recognizeme do you? It's Joanne. Joanne Hurts, Baker High, class of '92.Piper: Oh, sure, of course. Joanne, what are you doing here?Joanne: I'm the segment producer.Piper: You're the segment producer? (to Phoebe) She's thesegment producer.Phoebe: I heard.Piper: Wow, what a small world. I thought you moved to New York.Joanne: I did. And that's where I met my fabulous husband who had this crazy idea of starting this little cable showand putting me in charge of everything. And here we are, the food networks most popular show. Talk about dreams coming true. Anyway, enough about me, what have you been doing?(Piper freezes Joanne.)Phoebe:Why'd you do that?Piper: What am I suppose to say? That I'm a cash strapped, single restaurant manager, who still lives in the same house I grew up in with my sisters?Phoebe: And the cat, don't forget our cat.Piper:Phoebe, this isn't funny.Phoebe: Look, I don't know why you're getting so upset. She is a freak. I'm sorry, but no one is that successful at the age 26. Besides, you are successful, you're talented, you're creative, andthe food network is here to see you. Not me, not her, you. Feel better now?Piper: Very little.Phoebe: Good. Unfreeze that bitch in heels, you've got a segment to shoot and we've got a demon to find.[Scene: Park. Andyand Prue are there.]Andy: Has Phoebe ever been wrong about her premonitions before?Prue: No. But the good news is every other time we've been able to affect the outcome. Stop the demon or warlock before...Andy: Before I get killed. Can I get that in writing?Prue: Andy, you just have to be extra careful until we figure out who this demon is, okay? (Silence.) Andy.Andy: I was just thinking ... what if the demon wasRodriguez.Prue: Why would you say that?Andy: He pulled me in the station house this morning. I thought he was gonna arrest me. What he really wanted was a meeting with you.Prue: Meet with me? Why?Andy:Because he thinks his partner was killed by a supernatural being and somehow, I don't know how he knows you're a witch.Prue: How would he know that unless ...Andy: Unless he was the demon.Prue: Alright, uh, tellRodriguez to meet me at the manor at 6:00.Andy: It's too dangerous, Prue.Prue: I don't have a choice. If I don't meet with him, he'll try to frame you and try to expose me.Andy: But if he is a demon and it turns out tobe a trap.Prue: And I'll have Piper and Phoebe there to back me up, the power of three.Andy: Plus one.Prue: No. You can't be there, Andy. That's where you were in Phoebe's premonition when ... just promise me you'llstay away.Andy: I can't do that, Prue.Prue: I mean it. Don't make me use my magic on you. (They smile.) I don't want anything to happen to you, Andy. You know how much I care for you.Andy: Okay, Ipromise.[Scene: Outside the manor. Andy's sitting in his car. Rodriguez arrives in front of the manor. Andy ducks. Kit growls at Rodriguez. Inside the manor.]Prue: Alright, let's go over the plan again.Phoebe: Yeah,let's, because I wanna know why I'm the one answering the door.Prue: 'Cause you're the one who knows martial arts, alright, that way if Rodriguez shows up and tries something right off the bat, you can knock himdown.Piper: And then I can come in from the living room and freeze him.Prue: And then I can come down the stairs and send him flying.Phoebe: I still feel like cannon fodder.(The doorbell rings.)Prue: What time isit?Piper: Just before six. (He rings the doorbell a couple more times.) That's a little too anxious, that's not a good sign.Phoebe: Which means if he doesn't want to kill Prue, he wants to date her.(Prue and Piper stare athere.)Prue: Come on, let's get this day over with.Phoebe: Okay. (She walks towards the door.) Alright already. (She opens it.)Rodriguez: Inspector Rodriguez. I'm here to see Prue Halliwell.Phoebe: Yeah, no kidding.Prue! Piper! Company!(Rodriguez's eyes glow red and his power throw's Phoebe against the wall and she rolls down the stairs. Piper enters the room.)Piper: Phoebe!(Lightning stuff comes out of Rodriguez's handtowards Piper but she freezes it just in time.)Prue: (Running down the stairs.) Phoebe! (Prue uses her power and the lightening stuff hits Rodriguez adn he explodes and vanishes.)Piper: Oh my God.Prue: Oh,God.Piper: Prue, is she okay?Prue: She's dead.Piper: What? Phoebe. Phoebe![Scene: Rodriguez's place. Tempus is there holding an hour glass. He pours the sand out into a saucepan. You see out the window that itgoes from night to day in seconds. Rodriguez appears.]Tempus: Hurts to die, doesn't it? Especially at the hands of a witch.Rodriguez: What happened? Where am I?Tempus: Exactly where you were when you first metme. Time has been reset, or other I have reset time.Rodriguez: But they killed me.Tempus: That was Wednesday night. This is Wednesday morning all over again. This is why I have been sent to you, to keep resettingtime until you learn from your failures. Only you will carry with you the memory of what has happened before. And each time you fail, you will learn more until ultimately you will kill all of them.[Scene: A paper boyrides along the road, a car honks and he waves. He throws the paper on the Halliwell's lawn. Inside the manor.]Weather Girl: (on TV) Good morning, San Francisco. Well, it looks like it's going to be a beautifulWednesday.Phoebe: (on the phone) Piper, what are you doing at Quake? It's 8:00 in ... the morning.(Prue enters the kitchen.)Prue: Morning.Phoebe: Morning. Wait a minute. (Kit knocks over the pepper and meows.)Whoa. I am freaking out. (Into the phone) Okay. I'll be there in an hour (She hangs up.)Prue: Be where in an hour?(Phoebe pauses a little.)Phoebe: Okay. Pinch me.Prue: What?Phoebe: No. I mean it. Pinch me. I wantto make sure I'm awake because if I am, I am having one killer déjà vu.Prue: So it's just a déjà vu. Everybody gets them.Phoebe: Not like this they don't. Look Prue ... something weird is going on here.(Prue sees thefront page)Prue: I don't believe this.Phoebe: No. I'm...trust me. This has happened before. Everything.Prue: I'm talking about the paper. Did you see the front page?Phoebe: See. Like that. Right there. You said thatbefore. I know it. (Car crashes.) And that has happened before too.Prue: Where did you park my car last night?Phoebe: In the driveway and I told you that already the last time you asked me. (Prue leaves. Phoebesighs. Then whispers the next line.) I think I'm having an aneurysm.[Cut to Prue looking out the window in the living room.]Prue: Mrs. Henderson's car. Just a little fender bender, no big deal.Phoebe: Prue, I am notnuts. Okay, maybe just a little but that's irrelevant here.Prue: Phoebe, Andy's in trouble.Phoebe: What? (Prue shows her the paper.) Let me see that. (She takes the paper off Prue and has a premonition.) You know,that was the premonition which I had before.Prue: Of what?Phoebe: Of Andy, here, being killed by a demon.[SCENE_BREAK][Scene: Police station. Rodriguez barges in the room where Andy and Darryl are.]Rodriguez:What the hell are you doing here?Darryl: I'm backing my partner, you got a problem with that?Rodriguez: Get out now!Andy: It's okay, Darryl, I got it. (Darryl leaves.) Just for the record, I'm not saying anythingwithout my lawyer present.Rodriguez: Forget your lawyer, Trudeau. I'm not screwing around this time.Andy: This time? What are you talking about?Rodriguez: Bottom line, I know my partner was killed by asupernatural being and I think Prue Halliwell can help me figure out who did it.Andy: Really? Well, I'll just get the commissioner to signal Batman and then I'll get right on it.Rodriguez: Do you think I'm joking? I knoweverything, Trudeau, everything including the fact that Prue Halliwell is a witch. Now you're gonna arrange a meeting with her tonight, you understand, or else I'm gonna bust you ass and expose hers. (He leaves theroom and Darryl enters.)Darryl: What was that about?Andy: I'm not sure.[Scene: In the street outside a clock shop. Tempus is waiting there. Rodriguez walks up to him.]Tempus: Well ...Rodriguez: Trudeau is sent tomeet. But what I need to know is how to avoid the pain of getting vanquished again.Tempus: It depends on whether you learned enough to vanquish them first. What do you remember?Rodriguez: Last time I killed theyoungest one, Phoebe, without a fight. But then when I turned to kill Piper, I think she's the one who has the power to freeze.Tempus: Adjust, simply anticipate where she's coming from earlier before she has a chanceto freeze you. Then kill Prue.[Scene: Quake.]Piper: Andy dies? Are you sure that's what you saw?Phoebe: Even worse, I know that I've had that premonition before. I mean, before I had it earlier today.Piper: You meanlike yesterday?Phoebe: Yes ... I mean, no. It's not just the premonition that I've seen before, it's everything. And don't tell me that it's just deja vu because I know it's not.Piper: Alright, then what is it?(Joanne entersQuake.)Joanne: Piper? Piper Halliwell, I would recognize you anywhere. You have not changed one bit. You don't recognise me do you?Phoebe: It's Joanne. Joanne ... Hertz, right? I'm right aren't I?Joanne: I'm sorry,have we met?Phoebe: Yes ... sort of before. Uh, Baker High, class of '92. Although I wasn't in that class.Piper: Oh, sure, of course, Joanne. Phoebe, how did you ...Phoebe: (Whispering) That's what I've been trying totell you. I think we're in some funky time loop here.Piper: (Whispering) Phoebe ...Phoebe: (Whispering) Freeze her. I'll show you. (Piper freezes Joanne.) Okay, Joanne here, is the food networks segment producer.She's about to brag how she's happily married to some rich guy, how she's following her dream, how she's had a really bad nose job. Okay, I added the last part, but this is all gonna make you feel like you're wastingyour life away in comparison. Unfreeze her, go ahead, see for yourself.(She unfreezes Joanne.)Piper: Are you the segment producer?Joanne: Why, yes, I am.Piper: Following your dreams are you? Happily married?Stinkin' rich?Joanne: Well, I don't mean to brag, but ...(Piper freezes her again.)Piper: Alright Phoebe, spill it.Phoebe: Okay, the best I could figure is some demon has cast a spell, and I'm the only one who could sort ofsee it because my power let's me see things that have happened in different times. Do you have a better explanation?Piper: No. Alright, so if you're right, do you think this has something to do with Andy bekilled?Phoebe: I don't know, but we're never gonna find who the demon is unless we get to ...Piper: Book of Shadows, I'm right behind you.[SCENE_BREAK][Scene: Park.]Andy: What if he is a demon and it turns out tobe a trap?Prue: I'll have Piper and Phoebe there to back me up. The power of three.Andy: Plus one. Me. (Andy sees Prue thinking about something.) What is it?Prue: This seems a little familiar to me that's all, kinda likedeja vu. Never mind. Um, Andy, you can't be at the meeting and Phoebe's premonition that's where you were when ... Just promise me that you'll stay away.Andy: Prue, I can't do that.Prue: I mean it. Don't make meuse my magic on you. (They smile.) Andy, I don't want anything to happen to you. You know how much I still love you.Andy: No, I didn't.(They hug.)[Scene: Outside Halliwell manor. Andy's sitting in his car. Rodriguezarrives in front of the manor. Andy ducks. Kit growls at Rodriguez. Inside the manor. Prue, Piper and Phoebe are looking at the Book of Shadows.]Piper: Is there anything in there about time loops?Phoebe: There's aspell to accelerate time but that's about it. I'm telling you, this is all part of his evil plan. I just haven't had enough time to figure it out yet.(The doorbell rings.)Prue: What time is it?Piper: Just before six.Phoebe: I'll getit. (The doorbell rings a couple more times.) Alright already. (The door flies open and the lightening out of Rodriguez's hand hits Phoebe and she hits the wall.)Piper: Phoebe!(The lightning then hits Piper and shecrashes through the glass door. He then tries to get Prue but her power makes the lightning fly back into him. He explodes and vanishes.)Prue: Oh my God, no. (She runs over to Piper.) Piper. (She's crying.)[Scene:Rodriguez's place. Tempus turns back time again. Rodriguez appears.]Rodriguez: Son of a bitch!Tempus: Failed again, I see.Rodriguez: Yeah, but I learned. This time I got two of 'em. Third time is thecharm.[SCENE_BREAK][Scene: Wednesday morning. A paperboy rides along the road, a car honks and he waves. He throws the paper on the Halliwell's lawn. Inside the manor.]Weather Girl: (on TV) Good morning,San Francisco. Well, it looks like it's going to be a beautiful Wednesday in the Bay area.(Phoebe's on the phone. She turns off the TV.)Phoebe: Don't tell me. I already know. You spilt marinara sauce on your dress,right? Am I right? Think Piper, think. Doesn't all of this seem awfully familiar to you?Prue: (Entering the kitchen.) Morning.Phoebe: Freeze. No, not you, Piper. (Kit's on the bench.) Kit knocks over pepper. Meows. (Kitdoes so. Prue looks at Phoebe as if to say \"how'd you know that?\") Hold that thought. Okay, Piper, you need to get home as soon as you can, okay, we've got major demon hunting to do. Oh, and if you run intosomeone named Joanne from high school, just tell her to go stick it. I will explain later, just hurry.Prue: Okay, what's going on?Phoebe: Quick, follow me. (They go to the window.) 5, 4, 3, 2, 1. Car honks ... (a carhonks) skids ... (a car skids) crashes ... (a car crashes) Mrs. Henderson's car. A little fender bender. Good thing I parked your car in the driveway last night, huh?Prue: How did you know that?Phoebe: Because this hasall happened once before, Prue, maybe even more than once. The day keeps repeating itself. I know it and every time it happens I think I figure it out just a little faster. It must be my power of premonition. Premonition"}
+{"doc_id":"doc_118","qid":"","text":"[PREVIOUSLY_ON]FlashbackHaley : Nathan don't!Nathan : I love youHaley : Nathan! Nathan! Nathan! Help me!Nathan : Haley! Haley! Haley! You okay? Oh, my God. Okay. Breathe, Haley. Just breathe.AT THEDOCTORHaley : I was just trying to feel something. Like... alive, I guess.Doctor : And did that make you feel alive?Haley : No. But it made me want to.AT BROOKE'S HOUSEBrooke : Julian, I thought we agreed weweren't gonna hang posters out here.Julian : I didn't hang a...AT CLAY'S BEACH HOUSEQuinn : What are you up to?Clay : I love your back. You know where we should go? Julian's movie premiere. Maybe we could talkNathan and Haley into going. Might be good for her to get away. And then we... could...Quinn : Ski.Clay : Girls that can spell are sexy. Then we could stay up all night and...Quinn : F... U... Are terrible.Clay : I'm justinsanely in love with you. As promised.Voice over : I wish I could tell you there was a magic cure, Haley. But depression is a singular struggle. Some people just wake up one day and feel a little better than the daybefore.AT SCOTT'S HOUSEJamie : Hi, mama. How you feeling?Haley : Come here. What was that you were saying the other day about wanting to see snow?Jamie : Well, aunt Brooke says it's snowy in Utah, and that'swhere Julian's movie is playing. And everyone's going.Haley : Everyone, huh?Jamie : Yeah.Haley : Maybe you should try this on. Yeah, I don't... I don't want your ears to get cold in the snow.Jamie : You mean we cango? Oh! I got to tell dad.Haley : Jamie.Jamie : Yeah?Haley : I love you.Jamie : I love you, too. Dad, we're going to Utah!IN UTAH'S HOUSEJamie : Do you think there's rooms for all of us?Skills : Oh, yeah. I think there'sroom.Jamie : There's trees in the house and moose antlers.Julian : There's 12 of us. Only six bedrooms and a couple of couches.Skills : Dibs.Brooke : You had them lock the master, right?Julian : Don't worry. We'regood.Skills : Hey, uh, you need some help drinking that? Lauren told me what you said about us being boys and all. I know we never really talked about it, but... It meant a lot to me.Mouth : Thanks, but... I just wantto get back to the way we used to be, you know?Skills : Yeah, I feel that. Anyway, this trip 'bout to be insane. Plus, I get to rock my new coat I just got in L.A. Check this out.Mouth : Dude. No.OUTSIDE IN THE UTAHSNOWJamie : Hey, everyone! Dad! Come on! Doesn't anyone want to play? Ugh. I think I got some in my mouth.Nahtan : As long as it's not yellow, I think you'll be fine.Jamie : Hey, dad, can we build a snowfort?Chase : I can build you a snow fort, buddy.Jamie : Okay, cool. Wait... how do we know you, again?Chase : I'm Chase. The bartender at Tric?Jamie : Whatever. You're no Grubbs.Guys : Retreat! Retreat!Brooke :Oh, you guys are so dead!IN THE HOT TUBBrooke : Are you excited about tomorrow night?Julian : Yeah. My dad says three things have to happen at this festival. The audience has to love the movie, we have to sell it,and I have to decide what's next.Brooke : Well, not to sound naive, but maybe you should just enjoy it.Jamie : Yeah. I'd just enjoy it. It's a good life.IN FRONT OF THE NIGHTCLUBAlex : Alex Dupré.?Man : Right. Maybetwo rehabs ago. Back of the line. Hey, hold up. I like that coat, man.Skills : Oh, that's what I'm talking about, baby. Okay... him, him, and the ladies, they with me. Thanks. Not him.Man : Back of the line. Let's go.Skills: Nah, I'm just kidding. He with us, too.Man : All right. Come on, man. Hurry up.Skills : People love the coat, baby! Oh. Dang.ON THE FLOORClay : Stop worrying about her.Quinn : What?Clay : You're worrying aboutHaley. All right, look... she's with Nate. She's fine. Besides, I got you a few things. White wine.Quinn : Thank you.Clay : And a kiss, because my baby looks amazing tonight. And, last but not least, a spare key to thehouse, because you lose things.Quinn : I do not lose things.Clay : Look, just put it outside somewhere.Quinn : You know what? I'm gonna keep my white wine. And you can have your kiss back. But I don't need thekey, because I don't lose things.Skills : Who want to dance?Quinn : I do.Chase : Where's your, uh, \"boyfriend\" tonight?Alex : I'm looking at him.Chase : You're the devil, aren't you?Alex : Why?Chase : Because youknow I just broke up with Mia.Alex : So?Chase : So I'm taking off, devil Dupré. And I'm locking my door.Skills : She was sexy until she started dancing.Quinn : Lose the beat?AT RED BEDROOM RECORDSMia : How youdoing?Grubbs : I gave this flower to Miranda. It's just another thing she left behind.Mia : Doesn't mean she doesn't miss you.Grubbs : There's just so much that I wish I would have said the last time I saw her.Mia :What did you say?Grubbs : Nothing.Mia : Then say it in here. You know, write one more great song. Let's finish this record.Grubbs : Then what?Mia : Well... if I was you... I'd start my tour in London. And I'd water thatorchid. Grubbs. I know it feels bad now... but it's gonna get better. One more song.IN CLAY & QUINN'S ROOMClay : It was a good night tonight. Whoa And now it's a better night.Quinn : I think you were right about melosing stuff. I seem to have, uh, lost my clothes.Clay : Where you going?Quinn : Now I've lost my way to the bed. Guess I'll just have to sleep somewhere else.Clay : No. She's good. She's good.IN ALEX & JOSH'SROOMJosh : I made a place for you on the floor.Alex : Right. Shut up and scoot over.Josh : I thought maybe you'd end up in Chase's room.Alex : I tried. He locked the door.Josh : I know. I tried, too.Alex : Do you everthink about coming out?Josh : My dad's a football coach, Alex. And my mom... my mom's a football coach's wife. She loves this version of me... the leading man. So...Alex : Well... For what it's worth, if I was a mom, Idon't think there could be any words that would ever make me stop loving my child. Unless, of course, those words were \"mom and dad, I secretly made a s*x tape.\"Josh : It's amazing how much I hate you.IN NATHAN& HALEY'S ROOMNathan : Jamie had a blast today. The guys built him a snow fort. I know that you came here just for him. I do. And I love you for that, Haley.Haley : Please don't think that I take that for granted. I'mso grateful for... who you've been through all of this. And how you've been.Nathan : There's no other way for me to be. You've saved me so many times. I worry that I've been selfish with you. That I've takenadvantage of your strength and your selflessness... And that I've... I've broken you somehow.Haley : No, no. You haven't. You didn't. I just have a weight in my heart now that I didn't have before. It was lighter today,though.OUTSIDEQuinn : It's beautiful, isn't it?Haley : Yeah. It makes me think of mom.Quinn : She would have liked it.Haley : Yeah.Quinn : Well, you know mom believed in reincarnation, right?Haley : So I think we'llsee her again. What do you think she'll be?Quinn : Different. I think she'll be an owl. A beautiful, majestic, sarcastic owl.Haley : I just wish she could be here again.IN THE SKILIFTAlex : I can't believe you actuallylocked your door last night.Chase : I can't believe you actually tried to get in.Alex : Would that be so bad?Chase : Says the girl who just wants someone normal and reliable. You said that at Tric.Alex : You werelistening.Chase : Of course I was listening. I'm a bartender... manager.Alex : And almost pilot. I was listening, too. I'd crush out on you, and then you'd be gone.IN THE SNOW FORTJamie : Hi, mama. Come on in. Youlike it?Haley : Oh, I do like it. This is great, buddy! Oh, my goodness. What do you like about it?Jamie : I like that it's quiet. It feels kind of safe in here.Haley : That's smart, kiddo. So, listen... I was thinking about goinginto town and buying a dress for tonight. What do you think? You want to, uh, get a suit for Julian's premiere?Jamie : Can I pick it out myself?Haley : Yes.Jamie : Okay.Haley : Okay. It's a really cool fort, Jame.Jamie :Yeah.IN UTAH HOUSEQuinn : Clay? \"No cellphone coverage. Went to lunch at the diner on main. Come by, unless you've lost your appetite.\" Hot tub. Oh... beers... Key.AT THE RESTAURANTClay : Why? Uh... Whathappened?Quinn : Key.Clay : She loses things.MAKING SHOPPINGJamie : Mama, I found my suit.Haley : Well, that is quite a suit of clothes.Jamie : I really like it. Can I get it?Haley : Yes. Absolutely. And you knowwhat?Jamie : What?Haley : Your grandma would have loved you in this suit. Just no bullfighting, okay?Jamie : No problem. Bullfighting is caca del toro.Haley : Okay.Jamie : Hey, mama. You're pretty when you smile. Imissed it.Haley : Thanks buddy.IN THE HOUSE ROOMBrooke : Are you ready?Julian : My whole life, my hair's been out to get me, like it resents my forehead for taking up too much room.Brooke : Stop. You looknice.Julian : Maybe I should wear a hat. Like a beret. Or a fez.Brooke : Hey. The movie is great. And you are great. And you look so handsome that we need to get out of this bedroom, or you're gonna miss yourpremiere.Julian : What would I do without you, Brooke Davis?Brooke : Well, for starters, you'd wear a fez. Not okay. Come on. Your dad and your destiny are waiting.AT THE PREMIEREPaul : Thank you. Welcome. Uh,when my son Julian called me and asked me if I wanted to make a movie with him, I thought it might be a nice chance to reconnect. But that was that was wishful thinking on my part, because I was gone so often whilehe was, uh, growing up that we never really connected in the first place. And that's a shame. Whenever I finish a movie, I... I have this expression... \"Let's kick it out of the nest... and see if it flies.\" Well, son, we kickedyou out of the nest. And it has been a pleasure watching you soar. I hope you all agree.Julian : I'll see you in a bit.OUTSIDEAlex : Julian. It's starting.Julian : Yeah, I know. I think I'm just gonna wait till it's over.Alex :Those were some nice things your father said about you.Julian : Yeah.Alex : You sure you don't want to come back inside?Julian : Yeah, but you should go watch it with an audience. I want you to see how good you areas an actor and a writer.Alex : I was in good hands. And everything's gonna be okay. You know why? Because it already is.Nathan: Opened with a s*x scene. Nice work, Polanski. Good luck explaining that one to thekid.Jamie : You're not watching it either, huh?Julian : Nope.Jamie : Were you grossed out, too? Come on. We should go get a drink.AT THE BARJamie : I don't get it. You made a movie with no animation, no stunts, nocars that transform into stuff, no aliens, and no rabbits.Julian : Yes, I did.Jamie : What the heck else is there?Julian : Romance?Jamie : I don't think anyone wants to see that.Julian : Yeah. I'm not sure anyone wants tobuy it, either.Jamie : Here. It helped my mom. It's good luck. You're gonna need it.Julian : What do you know? You're 6, and you're drinking at a bar.Jamie : 7.Julian : Nice. Nice work, el borracho.AT THE PREMIEREAlex: I'll tell you something I am sure of. We're all afraid. Some of us find ways to hide that fear, and some of us don't. But we've all got \"it,\" you know? And it's always there.Josh : And what's your \"it,\" Elise? What are youafraid of?Alex : I'm not afraid of anything. I have you.Josh : You were good in that scene. I'm tired of being afraid.OUTSIDEJamie : It's still packed in there, so at least nobody left. That's good, right?Julian : What'shappening on-screen?Jamie : Hold on. I'll check. They're kissing. They've been doing a lot of that. Seriously, you could have used a robot or something. I think it's almost over.Julian : It is. Right about... Now.Jamie :They're clapping! They liked it! Come on!IN THE LIVINGPaul : Good news. The screening went great, and we have buyers interested. The best of the bunch are on their way down. I got you a beer. Now, look... nomatter what their initial offer is, I think we can get them up to $4 million.Julian : That sounds great.Paul : Just let me do the talking, all right?Julian : I won't say a word.Man : $2.5 million.Julian : Deal!Paul : 3. And ahaircut for the kid.Man : Deal.Woman : Josh, this movie firmly establishes you as a leading man. You and Alex have amazing chemistry. Is it because you're together in real life?Josh : Well... actually, there's somethingeveryone should know. We're not together. The thing is... I... I'm just excited about how many hot single women are gonna love this movie.OUTSIDE IN UTAHGuys : Jump! Jump! Jump! Jump!Nathan : Nice!IN THESNOW FORTBrooke : Is this the V.I.P. snow fort?Haley : You don't have to check on me. I'm fine.Brooke : I'm not. I needed fresh ice... For my cocktail.OUTSIDE IN UTAHGuys : Jump, jump, jump.Skills : What's up?Damn, it's cold. Anybody seen my coat?Jamie : Bear! Do you think it's hibernating?Skills : Nah. I think it's just passed out. Okay, here's what you're gonna do. Take this ski pole and jab it real hard.Jamie : I don't wantto hurt it.Skills : It's too dumb to get hurt. Trust me. Go ahead.Mouth : Ow! Son of a...Jamie : It talks! Aw, man.IN THE HOTEL ROOMAlex : You leaving?Josh : Yeah. Thought I'd fly to Denver.Alex : What's inDenver?Josh : My parents. We need to talk.Alex : I think that's a really good idea.Josh : I hope so.Josh : Anyway... I'll see you, Dupré?Alex : It's \"Whitehead.\" Alice Whitehead.Josh : Alice Whitehead? That's a horriblename.Alex : Shut up. Anyway, I guess we all have our secrets. Believe it or not, I'm really gonna miss you.Josh : I'm gonna miss you, too... Alice.OUTSIDE IN UTAHJulian : It's pretty magical, isn't it?Brooke : It's sobeautiful. This whole trip has been perfect.Julian : Well, I have to admit, I had a little help. Last night at the bar, Jamie gave me a gold star for luck. You want to see it?Brooke : Yeah.Julian : Oh, wait... that's not it.That's the engagement ring I got for you. Where did I put that thing? Everyone says that the next thing I do, the next choice I make is going to define me... my career... my life. Well... The next thing I want to do is askyou to be my wife and tell you how much I love you and how nothing else matters. When I look into your eyes, Brooke, I see the rest of my life. And I see it with you. Marry me, Brooke Davis.Brooke : Yes. Okay. I wantto so much.Julian : I was hoping you were gonna say that.ON THE SNOW FORTHaley : Come here.Jamie : Oh, mom, you're squishing me.Haley : Oh, I'm sorry for squishing you. Let's go sledding. Do you want to?Jamie: Totally. I'll go tell everyone.Haley : Okay.Jamie : Dad, we're going sledding!Nathan : All right. You okay?Haley : No. But... I will be.IN THE HILLNathan : What do you think, Calvin? It's a long way down.Jamie : Pieceof cake, Hobbes. Let's do this.Jamie : It sure is a long way up, mama.Haley : No, it's just a hill. Come on. We'll climb it together.AT THE HOTEL ROOMChase : You know, I don't think you're actually supposed to replacestuff in your hotel room.Alex : Oh, whatever. I'll be out of here soon, anyway. Think I might get a place of my own... maybe stick around a while.Chase : Sounds kind of normal and stable.Alex : There. Perfect. Well...almost. Say you'll go out with me, and then it will be.Chase : Okay. Yes.AT BROOKE'S HOUSEBrooke : You know what I like best about the movie?Julian : What's that?Brooke : You get the sense that they're all gonnalive happily ever after.Julian : They are.AT SCOTT'S HOUSENathan : You okay?Haley : These aren't sad tears. They're happy tears.Nathan : All right, well, how about from now on, we do smiles for happy instead? Whatis it?Haley : I'm pregnant. I think it's gonna be a girl.Nathan : Oh, my...Haley : Nice work, daddy.AT CLAY'S BEACH HOUSEClay : You're falling asleep. Why don't you go to bed?Quinn : I like it here.Clay : Yeah, I like ithere, too. But you sleep like a rock, and you're too long to carry.Quinn : You're mean. You say I'm too long, and you say I lose things.Clay : But I also love you. And the truth is that without you, I'd be the one who'slost.Quinn : Nice save. I love you.Clay : I love you, too."}
+{"doc_id":"doc_119","qid":"","text":"[OPENING CREDITS][SCENE_BREAK][EXT. DOWNTON VILLAGE - DAY][SCENE_BREAK][Daisy walks her bike through the village towards the church.]Spring, 1920[SCENE_BREAK][INT. DOWNTON CHURCH -DAY][SCENE_BREAK][Mary and Matthew stand next to each other at the altar in plain clothes. Mary has a white train sticking out under her coat.]Matthew Crawley: Is there any news of Sybil?Lady Mary: She's still notcoming. She insists they can't afford it.[Matthew raises his eyebrows with an understanding frown and nods.]Archbishop: Mr Travis, can we move forward?Reverend Travis: If I could just ask you to come down the aisleagain.[Matthew and Mary nod pleasantly to Rev. Travis and smile at each other as they turn toward the door.]Reverend Travis: Can we get the troops organized?Robert, Earl of Grantham: That means me.[Robert risesfrom the pew.]Cora, Countess of Grantham: It seems rather hard on poor old Travis when he's doing all the work but the archbishop gets the glory.Mary: Papa was the one who wanted a prince of the church. I'd havesettled for Travis.Robert: Mm.Mary: Is there really no way we can get Sybil over? It seems ridiculous.Robert: On the contrary, it's a relief. Branson is still an object of fascination for the county. We'll ask him here whenwe can prepare the servants and manage it gently.[Robert and Mary walk to the back of the church.]Isobel Crawley: He's making a problem where none exists. No one could care less were Branson at the wedding ornot.Matthew: You must think country life more exciting than it is if you imagine people don't care when an earl's daughter runs off with the chauffeur.Isobel: Well, the fact remains she has run off with the chauffeur andthey'll have to get used to it.[The archbishop calls down the aisle.]Archbishop: Mr Travis, are we ready?Reverend Travis: Er, any moment, Your Grace, any moment.[Travis walks back up the aisle.]Reverend Travis: Canwe, please?[Mary and Robert stand ready and take each other's arm before starting down the aisle.][SCENE_BREAK][EXT. DOWNTON GROUNDS - DAY][SCENE_BREAK][Daisy rides toward the house on herbicycle.][SCENE_BREAK][INT. SERVANTS' HALL - DAY][SCENE_BREAK][The servants sit down to eat.]Mr Carson: That treacle tart just hit the spot, thank you, Mrs Patmore.Mrs Patmore: So, Mrs Hughes and Anna aregetting the place ready to let?Mr Carson: That is the plan.[Mrs Patmore nods and leaves with a tray.]Thomas Barrow: I'm surprised Anna held onto that house. I thought they confiscated the profits of murder.MrCarson: Mr Bates had the wisdom to transfer it to her before the trial.Thomas: I don't think I'd have allowed it, Mr Carson.Mr Carson: Then we must all be grateful you were not the presiding judge.Thomas: I still thinkit's funny given that he's a convicted murderer.Mr Carson: May I remind you, Mr Barrow, that in this house Mr Bates is a wronged man seeking justice. If you have any problems with that definition, I suggest you eat inthe yard.[Carson leaves. O'Brien gives Thomas a unpleasant look as he smirks at her.][SCENE_BREAK][INT. THE DOWER HOUSE - DAY]Isobel: I suppose you agree with Robert.Violet, Dowager Countess of Grantham:Then, not for the first time, you suppose wrongly. The family must never be a topic of conversation.Cora: I'm afraid Sybil's already made the Crawleys a permanent topic.Violet: All the more reason. If we can show thecounty he can behave normally, they will soon lose interest in him. And I shall make sure he behaves normally, because I shall hold his hand on the radiator until he does.[Cora smiles at the half-serious remark.]Isobel:Well, I don't know this young man aside from \"Good morning\" and \"Good night,\" but he strikes me as a very interesting addition to the family.Violet: Oh, here we go.[Violet shakes her head.]Isobel: And why should hebe \"normal,\" as you call it? I say he should come here and fight his corner.[Violet looks sharply to Cora for sympathy, but Cora keeps a neutral expression.]Isobel: I like a man of strong beliefs. I think I'll send them themoney.Cora: Please don't. Robert's expressly forbidden it. He'd be furious.[Violet looks between her two guests with a surprised expression.][SCENE_BREAK][INT. FRONT HALL - EVENING][SCENE_BREAK][Robertspeaks on the telephone dressed in his tails.]Robert: But it can't be as bad as...[Robert listens.]Robert: Look, I'll come and see you. Tomorrow. No, I insist. Right, goodbye.[Robert hangs up the phone just as Maryenters dressed for dinner.]Mary: Papa? What's the matter?Robert (unconvincingly): Nothing's the matter. What should be the matter?[Robert exits and Mary watches him leave, wondering what's botheringhim.][SCENE_BREAK][INT. SERVANTS' HALL - EVENING][SCENE_BREAK][Anna and Mrs Hughes enter and Carson and the other servants who were sitting at the table stand.]Mr Carson: How was London?Anna Bates:We got it all done. But I couldn't have managed without my helper.Mrs Patmore: Have you eaten?Mrs Hughes: We had a bite on the train.Mrs Patmore: Oh, sit down anyway, have a cup o' tea.[The other servants sitdown and Daisy and a maid leave.]Mrs Hughes: I'll start on the final lists for the wedding tomorrow morning.[Thomas holds Mrs Hughes chair for her and then sits down, too.]Mr Carson: I've got the last of the winedeliveries coming on Tuesday.Mrs Hughes: How will you manage without a footman?Mr Carson: I agree, but I haven't time to find one now.Miss Sarah O-Brien: I've had a letter from my sister asking after a job for herson, and--Mr Carson: Miss O'Brien, we are about to host a society wedding. I have no time for training young hobbledehoys.[A bell rings.]Mr Carson: Her Ladyship is ringing.[O'Brien pauses for a moment, then gets upto see to her duties. Mrs Hughes and Mr Carson share a look.][SCENE_BREAK][INT. LADY GRANTHAM'S BEDROOM - EVENING][SCENE_BREAK][O'Brien fixes Cora's hair as Cora sits in a dressing gown.]Cora: Well, Idon't see why not. I'll ask His Lordship when--[The door opens and Robert enters in his dressing gown.]Cora: There you are. So, I'll ask you now.Robert: Ask me what?Cora: Carson's in need of a footman and O'Brienhas a candidate.O'Brien: Alfred. Alfred Nugent, milord. He's a good worker.Cora: I think it sounds perfect.[Robert stares into space.]Cora: Robert?[Robert snaps out of his reverie.]Robert: Whatever you say.[Cora andO'Brien smile at each other.]Robert: My dear, I have to go up to London tomorrow. I'll be catching the early train.Cora: That's very sudden. Do you want me to open the house?Robert: No, I'll come straight back.Cora:What are you going for?Robert: It's nothing to bother you with.[Cora accepts his answer happily and Robert goes back into his thoughts.][SCENE_BREAK][EXT/INT. PRISON - DAY][SCENE_BREAK][Anna pauses to braceherself outside of Bates's prison before entering.]Anna: It's all there, every entry.John Bates: Where did you find the book?Anna: Behind the bureau. We moved it out to clean and there it was. Vera must have droppedit or something.Bates: So, what do you want me to do?Anna: Make notes on all the names: close friend, relation, workmate, tradesman, and so on. Then I'll copy those and I'll send them with the book to MrMurray.Bates: Haven't you anything better to do?Anna (smiles): I have not. Because I'd rather work to get you free then dine with the king at Buckingham Palace. So, what news have you got?Bates: And what newscould I have in here? Oh, I've acquired a new cellmate. To be honest, I'm not sure about him.Anna: Well, just remember what my mother used to say: never make an enemy by accident. Now, do you think you can getthe notes done before my next visit?Bates: I don't see what can come of it.Anna: Probably nothing. And my next idea will probably lead to nothing, and the next, and the next. But one day, something will occur to usand we'll follow it up, and the case against you will crumble.Bates: Do you never doubt? For just one minute?[Anna smiles softly.]Bates: I wouldn't blame you.Anna: No. I don't doubt that the sun will rise in the easteither.[SCENE_BREAK][INT. SERVANTS' HALL - DAY][SCENE_BREAK][Mr Carson inspects Alfred with furrowed eyebrows, frowning up at him.]Mr Carson: You're too tall to be a footman. No footman should be oversix-foot-one.[Thomas, Mrs Hughes, Daisy, and O'Brien stare at the other end of the room.]O'Brien (proudly): That can't be, can it? Since he's already been taken on.Mr Carson: But what have you done?Alfred Nugent: Iwas a hotel waiter after I was discharged from the army. [?] got back.O'Brien: I think to get a job as a waiter shows real initiative.Mrs Hughes: I suppose he can speak for himself?O'Brien: Why? Is he on trial? This isn'tan interview, is it? Not when he's already got the job.Mr Carson: No, it is not an interview, Miss O'Brien, but he is on trial, and if he cannot match our standards, he will be found guilty.Alfred: I mean to try, MrCarson.Mr Carson: As long as you do. Right, go upstairs and get settled in. Your aunt will hopefully find you a livery that fits.[O'Brien nods and Alfred follows her out.][SCENE_BREAK][EXT. DOWNTON GROUNDS -DAY][SCENE_BREAK][Mary and Matthew go on a walk together.]Mary: Just at the start, so we've a place to sleep after the honeymoon. You can't object to that.Matthew: No, it's nice of them. Though I doubt I'll getused to taking you to bed with your father watching.Mary: (chuckle) He's so relieved we're getting married, he wouldn't mind if you carried me up naked.Matthew: (chuckle) Careful, I might try it.[Theychuckle.]Matthew: I don't want to move to London or anything. I'm not kicking against the traces.Mary: Just testing their strength.Matthew: I want us to get to know each other..to learn about who we both are withouteverybody being there.Mary: Well, it's quite a big house.Matthew: It's a lovely house. It's your home, and I want it to be my home, too. Just not quite yet.[Mary looks at him and then nods.][SCENE_BREAK][EXT. TRAINSTATION - DAY][SCENE_BREAK][Robert exits the station and walks up to a cab. A paper boy is selling papers that read \"Bolshevik Menace.\"]Paperboy: Paper! Russia [?]!Robert: Chancery Lane.Cab Driver: Yes,sir.[Robert gets in the cab and it takes off.][SCENE_BREAK][INT. MR MURRAY'S OFFICE - DAY]Mr Murray: I have spoken to Frobisher and Currant and since I am a trustee, should the estate ever need one, we felt Iought to be the one to tell you.Robert: You make it sound very serious.Mr Murray: I am expressing myself badly if you think it is not serious.Robert: Why did we invest so much.Mr Murray: Lord Grantham, it was youwho insisted we should. If you remember, we advised against it.Robert: But war would mean a huge expansion of railways everywhere. Every forecast was certain. Rail shares were bound to make a fortune.Mr Murray:Many did, but your principle holding, which was very large, indeed, was in the Canadian Grand Trunk line.[Robert stands up, getting upset.]Robert: It was the main railway in British North America, for god's sake! Itwasn't just me. Everyone said we couldn't lose! We knew hard times were coming for estates like Downton, and this investment would make it safe for the rest of time.Mr Murray: Charles Hayes was the presidinggenius, and since he died, the management has not...the fact is, the company is about to be declared bankrupt...[Robert leans forward on the chairback.]Mr Murray: And the line will be absorbed into the CanadianNational Railway scheme.[Robert leans harder into the chairback as the news sinks in.]Robert: Are you really telling me that all the money is gone?Mr Murray: I'm afraid so.Robert: The lion's share of Cora'sfortune.[Murray responds only with a look and Robert turns away to process the blow as Murray observes him.]Robert: I won't give in, Murray. I've sacrificed too much to Downton to give in now. I refuse to be thefailure, the earl who dropped the torch and let the flame go out.Mr Murray: I...hate to state the obvious, but if there's not enough money to run it, Downton must go. Unless you break it up and sell it offpiecemeal.Robert: I couldn't do that. I have a duty beyond saving my own skin. The estate must be a major employer and support the house, or there's no point to it. To any of it.[SCENE_BREAK][EXT. DOWNTONVILLAGE - DAY][SCENE_BREAK][Workers drape strings of white flags across the street and houses.]Worker: Morning.[A worker tips his hat to a woman passing by. A car drives down the street, passing the postoffice.]Sir Anthony Strallan: Lady Edith![The car slows to a stop and Edith approaches with a smile.]Edith: Hello!Strallan: Hello!Edith: What are you doing here?Strallan: I'm meeting a train, but I'm too early.Edith:Oh.[Edith opens the car door and steps in. Strallan is surprised.]Strallan: Oh, I mustn't hold you up.Edith: Oh, I'm not doing anything.Strallan: Oh.Edith: I thought I'd get away from wedding panic.[Theychuckle.]Strallan: Don't you like weddings.Edith: Oh, don't be silly. Of course I do. Only, I've talked of clothes and flowers, and food and guests until I'm blue in the face.[They chuckle.]Strallan: Yes, weddings can bereminders of one's loneliness, can't they? Sorry, I don't know why I said that. So, how's it going? Is your grandmother coming over from New York for it?Edith: She is.[Chuckle.]Strallan: And Sybil, is she here yet?Edith:As a matter of fact, she wasn't coming, but I think she is now. Mary had a letter this morning. Papa doesn't know yet.Strallan: He will be pleased.Edith: I do hope so.[SCENE_BREAK][INT. CRAWLEY HOUSE, MATTHEW'SDRESSING ROOM - EVENING]Mr Molesley: So, you'll live at the big house when you're back from honeymoon?Matthew: Not live. Stay. We'll stay there until we decide where to go. It'll be on the estate, I should think,or in the village.Mr Molesley: Not here?Matthew: No. I shall expect you and Mrs Bird to look after Mrs Crawley.[Molesley looks up in surprise.]Mr Molesley: Y--you'll not be taking me with you, sir? Only, I thought you'dbe needing...a proper valet once you're married.Matthew: I've always thought of you as more of a butler who helps out as a valet and not the other way around.Mr Molesley: Oh, I'd be happy to be a valet, sir, especiallyin the big house.Matthew: We won't be in the big house for long. To be honest, Molesley, I want to live more simply after the wedding.[Molesley is clearly disappointed.]Matthew: And besides, Mother absolutely relies onyou.Mr Molesley: Well, that's very nice to hear, sir. Thank you.[SCENE_BREAK][INT. LORD GRANTHAM'S DRESSING ROOM - EVENING][SCENE_BREAK][Thomas helps Robert dress for dinner.]Thomas: You must beexhausted, milord. You can't have spent more than two hours in London.Robert: It was sufficient.Thomas: The new footman arrived while you were gone.[Robert starts.]Robert: What?Thomas: Yes. He got the cable thismorning and came straight over. Very eager. And very tall.Robert: But when did--? Never mind.[SCENE_BREAK][INT. GREAT HALL - EVENING][SCENE_BREAK][Robert catches up to Cora on the staircase.]Robert: Didyou know about the new footman?Cora: Of course. He's already here.Robert: Why did no one tell me?Cora: What do you mean? We talked about it last night...in my room.Robert: Well, nobody else must be taken on.Absolutely no one...until things are settled.Cora: What things?[Robert hesitates.]Robert: How's the wedding going? I suppose it's costing the earth.Cora: Mary was never gonna marry on the cheap.Robert: Oh, no.Nothing must be done on the cheap.[Cora stares after Robert as he leaves.][SCENE_BREAK][INT. SERVANTS' CORRIDOR - EVENING][SCENE_BREAK][O'Brien checks her nephew's livery.]Alfred: I feel quitenervous.O'Brien: Don't be. You've got the skill, and you've got the willingness.[Thomas passes by.]Thomas: But he hasn't got the experience.Alfred: He's right.O'Brien: Pay no attention. (towards Thomas) You've a nicemanner, Alfred. You're not vain like Thomas. (to Alfred) They'll like that.[SCENE_BREAK][INT. KITCHEN - EVENING][SCENE_BREAK][Daisy works with rough, angry motions.]Thomas: What's the matter with you?Daisy:I'm fed up. They promised me promotion. She said they'd get a new kitchen maid and I'd be Mrs Patmore's assistant.Thomas: Well, if they really promised, you should withdraw your services.Daisy: What do you mean?Like go on strike?Thomas: But don't say I put you up to it.[Daisy considers his suggestion hesitantly.][SCENE_BREAK][INT. DINING ROOM - EVENING]Violet: But what was in the letter?Mary: Just that Sybil's comingafter all. She'll be here on Wednesday in time for dinner.[Matthew smiles.]Isobel: Will she be coming alone?Matthew: Don't make trouble, Mother.[Isobel gives Matthew a wide-eyed look. Alfred begins serving Violet'sdinner himself.]Violet: Can I do it?Alfred: If you wish, my lady, of course.[Alfred puts the serving utensils in the dish so Violet can serve herself.]Violet: Are--Are you really that tall?Alfred: Yes, my lady.Violet: I thoughtyou might have been walking on stilts.[Edith chuckles.]Mary: When does Grandmamma arrive?Cora: She gets into Liverpool on the fifteenth, so she'll be here the day before the wedding.Violet: I'm so looking forward toseeing your mother again. When I'm with her, I'm reminded of the virtues of the English.Matthew: Isn't she American?Violet: Exactly.[Matthew gives a sidelong look at Violet's insult.]Robert: Can I...help myself?[Alfredstops trying to dish out Robert's dinner.]Alfred: Oh, you want to as well, my lord?[Alfred puts down the serving utensils.]Robert: To be honest, I think you'll find that we all want to do it as well.Mr Carson (harshwhisper): What do you think you're doing? You're not in a hotel now.Isobel: Did you train in a hotel?Alfred: I did, ma'am.[Alfred is about to pick up the utensils, then leaves them and lets Isobel serve herself. Carsonglares at Alfred.]Isobel: That will be useful, won't it, Carson?[Carson avoids her look.]Isobel: Are you all set for the wedding?[Carson gives a smile.]Mary: Of course he is. Carson's motto is \"Be prepared.\"Violet: I'mafraid Baden-Powell has stolen it.Cora: But you have all the help you need?Mr Carson: Well, I wouldn't fight the idea of a second footman, my lady.Matthew: I don't know about the rest of you, but I sometimes think it'stime we lived in a simpler way.Isobel: I agree. Much cattle, much care.Robert: Always supposing we have the choice.Violet: Oh, don't say that. It's our job to provide employment. An aristocrat with no servants is asmuch use to the county as a glass hammer.[Violet and Edith chuckle.][SCENE_BREAK][INT. SERVANTS' HALL - EVENING][SCENE_BREAK][Anna and O'Brien are already seated when Thomas and Molesleyenter.]Thomas: I knew this would happen. Typical.O'Brien: What's typical?Thomas: That I'd wind up looking after Mr Matthews. That's all I need.Mr Molesley: He hasn't thought it through. I'm sorry to say, but hehasn't.Anna: Are you worried for your job, Mr Molesley?Mr Molesley: Me? Oh, heavens, no. No, no, no, I'm essential to Mrs Crawley. She relies on me. That's what he said. \"Essential.\"[The servants are irked by hispompous attitude.]O'Brien: Oh, yes. We're all essential. Until we get sacked.[Carson enters and the servants stand.]O'Brien: How was it?Mr Carson: Alfred was confused. He thought he'd been transported to the HotelMetropole.Anna: Cheer up. You'll get the hang of it.Alfred: Will I?[The servants sit. Mrs Hughes enters and gives Molesley a friendly greeting.]Mrs Hughes: Oh, you're still here Mr Molesley.Mr Molesley: I know. I onlywalked over for a cup of tea and a chat. But I've outstayed my welcome.Mrs Hughes: Nonsense. Why not have a bite with us? They won't be leaving for a half hour or more.Mr Molesley: No, I better get back. I wouldn'twant them to get home and me not be there to let them in.[O'Brien makes fun of him.]O'Brien: No, you wouldn't. Not when you're essential.[SCENE_BREAK][INT. GREAT HALL - EVENING][SCENE_BREAK][The familywithdraws for the evening.]Mary: Then why is he coming all the way here? Why not say it on the telephone?Matthew: I have no idea.Mary: If Mr Swire's lawyer wants to see you and it's urgent, it means he's left yousomething.Matthew: I doubt it. I would have heard long before this. Anyway, I hope not.Mary: Why?[Matthew gives Mary a look.]Isobel: Matthew! Do come on![Isobel wraps herself tightly in her coat.]Isobel: Thechauffeur's freezing to death and so am I.[Matthew looks back to Mary.]Matthew: Are you looking forward to the wedding?[Mary smiles.]Mary: What do you think?[Matthew smirks.]Matthew: I'm looking forward to allsorts of things.[Mary smirks back as Matthew leans in.]Mary: Don't make me blush.Isobel: Matthew![Matthew looks back at Isobel, then kisses Mary on the cheek and leaves.][SCENE_BREAK][EXT. DOWNTON VILLAGE- DAY][SCENE_BREAK][A car drives through the village.][SCENE_BREAK][EXT. FRONT DOOR - DAY][SCENE_BREAK][The car approaches the house and the family and some servants wait to greet Branson and Sybil."}
+{"doc_id":"doc_120","qid":"","text":"MEREDITH: To make it... really make it as a surgeon, it takes major commitment. We have to be willing to pick up that scalpel that may or may not do more damage than good. It's all about being committed. Cause ifwe're not, we have no business picking up that scalpel in the first place.[SCENE_BREAK]CHRISTINA: We'll book OR 2 tomorrow at 10. Usual scrub team. And get rid of his valve replacement at 2, that's no good.INTERN:Yang. Brought you a mocha latte.CHRISTINA: You're not scrubbing in.INTERN: But Burke always lets me scrub it.OTHER INTERN: Hey, Yang can I get in on...CHRISTINA: No, no residents. Too crowded. Go away. (To anurse) Make sure you put the instrument tray on his left hand side. He needs the elbow room. And OR 2, no gallery. Burke was specific.NURSE: Dr. Burke has become very specific since coming back to work, hasn'the?CHRISTINA: Do you want me to tell him you said that?GEORGE (who is looking on from above with Meredith and Alex): Burke's back and suddenly Christina's running his board. Who does she think she is,Bailey?MEREDITH: She's helping him.ALEX: She's taking advantage. She gets out of rounds, she scrubs in on every surgery Burke does, she's ordered around 3'rd year residents...MEREDITH: You'reoverreacting...(Christina grabs the pen from the nurse's hand and starts writing on the board.)GEORGE: She's writing on the board!ALEX: Maybe I should sleep with Burke...[SCENE_BREAK]MEREDITH: You've beenbusyCHRISTINA: YeahMEREDITH: Derek hast called yet. I told him I broke up with Finn a week ago, he still hasn't called. Hey, do you wanna go get a drink, catch up?CHRISTINA: No, I can't. I have to study up forBurke's surgeries tomorrow.MEREDITH: She's busy.[SCENE_BREAK]GEORGE: Callie. Hey, talk to me. And how about talking to me instead of ignoring me?CALLIE: George!GEORGE: Well that's talking That's a goodstart.[SCENE_BREAK](Derek walks out of the shower, and screams upon seeing a woman on his bed.)NANCY: Well hey there stranger.DEREK: Nancy you don't call first?(Meredith enters.)MEREDITH: Hey, I...DEREK:Meredith... Meredith, let me explain!(But of course she takes off.)NANCY: I take it that was the slutty intern you cheated on Addison with?DEREK: She's not slutty. What are you doing here?NANCY: You bailed onThanksgiving, then Christmas, you're living in a trailor, and you're getting a divorce,and then there's the slutty intern.DEREK: I really don't like you.NANCY: You love me.[SCENE_BREAK]IZZIE: I'm feeling reallygood.GEORGE: Good.MEREDITH: Good.IZZIE: First day back, it feels good. Big. Kind of nervous. I feel good. Do I look alright?MEREDITH and GEORGE: Great.IZZIE: I want to get on the right foot, get my ID renewed,new time card, sign some papers with legal then I'm back...really back.MEREDITH and GEORGE: Yeah.(Izzie leaves the elevator.)IZZIE: This is me. Human resources.. See you guys on the floor.BOTH: Yeah.GEORGE:I'll be Christina for you if you'll be Izzie for me.MEREDITH: Deal.(George stops the elevator.)MEREDITH: Derek had a woman in his trailer last night. She was ugly, very ugly. Except she was tall and beautiful...and hewas naked.GEORGE: Oh uh, McDreamy was doing the McNasty with a McHottie? That McBastard. How was that?MEREDITH: That was good! Channelling Izzie... go.GEORGE: OK... Callie... she won't forgive me, shewon't talk to me. She dumped me...which I dont...care about...at allMEREDITH: Good because you deserve better, 'cause you are George. I mean seriously. Seriously. Was that Izzie optimistic?GEORGE: That was veryIzzie...MEREDITH: What has happened to us?GEORGE: We are now the people the people we want to be with avoid.MEREDITH: We have careers to think about. We don't need attention from men with perfecthair.GEORGE: We should make a pact. No more dating.MEREDITH: No more Derek. No more Callie.GEORGE: Just 100% focused on our work.MEREDITH: They are dead to us.GEORGE: They are freaking corpses tous.(They butt knuckles.)[SCENE_BREAK]MRS. BYRD: Preston Burke, what a pleasure. I have read so much about you.BURKE: Well thank you.CHRISTINA: Pruitt Byrd. Medivac brought him in this morning. He presentswith a primary cardiac tumor.MRS. BYRD: We've been told Pruitt needs a cardio autotransplantation.BURKE: A cardio autotransplantation?CHRISTINA: A humpty dumpty surgery.BURKE: Yes I know what it is. Mrs.Byrd, this is a very complicated surgery. You'll need thorough testing.CHRISTINA: Already done.BURKE: You understand what the surgery intails? We have to..CHRISTINA: We have to remove his heart, cut it open,scrape out all the tumor, then put his heart back together again.BURKE: Which is risky.CHRISTINA: But possible.MRS. BYRD: Which is why we're here I want the very best for my husband.BURKE: The best.CHRISTINA:She means you.BURKE: I know that.CHRISTINA: Oh I scheduled Mr. Byrd for surgery this afternoon. Just trying to be as efficient as possible.[SCENE_BREAK]CHIEF: Legal cleared Stephens. Explain her perameters andmake she understands.BAILEY: Stephens is being assigned to me again?CHIEF: She's your intern.BAILEY: Well wouldn't it be better for her to start fresh with another resident?CHIEF: You don't want her.BAILEY: I wanther to succeed.CHIEF: There's still a good deal of fallout after the Duquet M&M. There's talk. I don't need to tell you that there are doctors in this hospital who have concerns about your judgement.BAILEY: Concernsabout my judgment.CHIEF: Stephens was your mistake.BAILEY: Do you, sir, do you have concerns about my judgement?CHIEF: Do you? You're not going to put those concerns to rest by avoiding taking responsibilityfor Stephens. She's your intern... again.[SCENE_BREAK]GEORGE: Transfer from Mercy West. Noelle LeBatt. 32 weeks along, pregnant with twins. One appears to be developing more slowly than the other.GREG:Hi.ADDISON: Hi there.GREG: Greg Stanton. This is my lovely fiancé. The future Mrs. Stanton. Noelle.NOELLE: Greg, I promise you you're the only person who cares if we're married or not.GREG: They said we had tocome here because her condition could be serious. Is it serious?ADDISON: I gotta say, you don't seem emergent enough for Mercy to send you over here in a ambulance. You're not in labor, you're not bleeding, yourvitals are fine.NOELLE: They said I had to come here because of my thing.GEORGE: Two uteruses!? Ms. Lebatt was born with two uteruses. Uh, UteriADDISON: Uteruses.GEORGE: Uteruses. That's very rare.IZZIE: I'mhere. Hi. Hello. That paperwork took forever, but I'm here now. And can I just say how greatful I am to be back?BAILEY: You understand there are rules to your probation. Rules to follow?IZZIE: Oh yeah, legal took methrough all that stuff. The mandatory counseling, the extra lab hours. The extra work with the transplant patients.BAILEY: That's the stuff you're doing with the chief. I'm talking about what you're doing for me.IZZIE:Okay. What am I doing for you?BAILEY: OK, lets start with what you don't get to do. You will not interact with any patients, you will not be alone with any patients. You will be seen and not heard. No procedures. TheOR is off limits. No pre-op. No post-op. Anything having to do with an op. You have no authority. You have no opinions. You have no choice in this matter. Am I understood?IZZIE: Is there anything I can do? I want tobe useful.BAILEY: I cant use you. You've got to earn back the right for any of us to trust you again. Until then, you will be shadowing a differend Dr. every day.IZZIE: Okay, who am I with today? Dr. Montgomery?You?MEREDITH: Dr. Bailey, you paged?BAILEY: Dr. Grey.IZZIE: Meredith...BAILEY: You are to make sure that Stephens observes only.MEREDITH: You want me to?IZZIE: Wait Meredith? Meredith is the boss ofme.[SCENE_BREAK]MEREDITH: I'm sorry about this.IZZIE: Hey you want me to get you some coffee? Rub your feet maybe?MEREDITH: I did not ask for this assignment.IZZIE: It's fine...I'm fine with it. Oh, I'm sosorry (She's bumped into people who are talking to Derek.)DEREK: Dr. Stephens. Welcome back. Meredith? Meredith...IZZIE: Sorry it's not like I can leave. I gotta stay by my bosses side.NANCY: Okay, the trailersucks, but in the light of day the land is nice. Seattle's pretty in the daylight. Plus you have your thing for ferries.MEREDITH and DEREK: Ferry boats.NANCY: Right, whatever.DEREK: Meredith, this is my sisterNancy.MEREDITH: Sister? You're one of Derek's sisters?NANCY: Well I knew you didn't think I was the wife, seeing as how you already ran her off.DEREK: Nancy is visiting from Connecticut. She's on her way home...now. Straight back home.MEREDITH: Well it was nice to meet you.NANCY: Okay...(Meredith and Izzie walk off as Derek grabs Nancy's arm scornfully.)IZZIE: McDreamy's sister isMcBitchy...[SCENE_BREAK]CHRISTINA: You put me in charge of your schedule.BURKE: To make sure that I didn't get a surgery like this one.CHRISTINA: Only a handful of people do humpties Burke. And you're thebest one on the west coast.BURKE: Then he can go to Houston.CHRISTINA: You want to tell the Chief that? Pruitt needs the surgery, he'll die without it.BURKE: You didn't tell me. You told the patient we were doing thesurgery. but you didn't tell me.CHRISTINA: I have been doing that all week.BURKE: Are you up on a humpty? Do you realize what this entails?CHRISTINA: I have done my research. Stop worrying. We are a well-oiledmachine.[SCENE_BREAK]BAILEY: Uh Dr. Burke.BURKE: Yeah.BAILEY: I understand there are some doctors in this hospital that have doubts about my judgement since DennyBURKE: Everyone loves a scandal.BAILEY:So you think it's just gossip? It's not actual concern about me being a doctor?BURKE: Sure, sure.[SCENE_BREAK](Meredith pulls gauze off a young girl's burnt hand.)MEREDITH: Ow. Iz, set me up for debriedment, anddressing.GRETCHEN: It's stupid. I know better. When I'm setting up for the bar... I'm a mess. I can't focus on anything for weeks, but tourts and real property and constitutional law.MEREDITH: Uh the Biosyntheticones.IZZIE: We never use those.MEREDITH: We do now. Sloan changed the burn protocol last week.GRETCHEN: I was about to start a practice test. I wanted something to drink. So I put on some tea. So I put on a potof water and forgot. Half an hour into my section on contracts and the smoke alarm was blaring...and well you know the rest.MEREDITH: So you're going to be a lawyer?GRETCHEN: All I have to do is pass the bar exam.I failed last time...but this time I'm ready. I'm going to pass.IZZIE: Good for you.[SCENE_BREAK]DEREK: That was just mean.NANCY: Kathleen called and asked me to find out why the slutty interns panties werehanging on the bulletin board.DEREK: Four sisters... four sisters and not one brother. And you wonder why I don't call more.NANCY: You can answer about the panties at any time.DEREK: Nance, it's good to see you.Really great to have you here. But I have a job you know? I have patients.NANCY: I have a mother with twins at 35 weeks...where is her OB?DEREK: Well her OB should be on a plane back to Connecticut where shebelongs.NANCY: Okay, so we've covered the trailer, we still have to cover the slutty intern and the divorce.DEREK: You know what? You sound more and more like mom every day.NANCY: Take itback.[SCENE_BREAK]GEORGE: So two uteruses. That's pretty cool. And you're engaged...also cool.NOELLE: Greg talked me into itGREG: From the first moment I saw noel I knew I was ham.GEORGE: Did you sayham?NOELLE: Oh here we go again.GREG: You're either ham or eggs. You gotta ask yourself in every situation, are you the pig of chicken?GEORGE: Sir it's just a pig or chicken.GREG: Look you got to play the ham andthe eggs. You see the chicken is involved in the meal. But the pig is committed. So the question is...are you committed? Or are you involved?GEORGE: Ham or eggs?GREG: Ham or eggs.[SCENE_BREAK]MARK: Karevyou free?ALEX: Absolutely sir.MARK: Great. Take this. I'm on hold with the DMV. Some mess up about switching my license and registration to Seattle. Take care of this for me?ALEX: Thanks for thinking of me sir.O'Malley...how's it feel to be the new gynie grunt?GEORGE: I've got a patient who was born with and is pregnant in two uteruses. Two uteruses...jealous?ALEX: No, I'm on hold. Important business. For Sloan.GEORGE:Right... Super important, I'm sure. Noelle LeBatt...room 2413.ALEX: Hang on, can I see that? (referring to the chart)(Nancy walks up.)NANCY: Did I just hear him say two uteruses?ALEX: You must be...MARK: Nancypants?NANCY: Hey loser.MARK: I wish Derek had told me you were visiting.NANCY: Oh like he tells you anything these days?MARK: Well I'm working on that.NANCY: What are you doing here Mark? Are you trying totorture him?MARK: He's my family Nancy. Plus I needed a change of pace. Plus I slept with my tennis partners wief and he went out and bought a gun.NANCY: There it is!ADDISON: Oh! Nancy! Let me guess, did momsend you out?NANCY: Let me guess, he's trying to ban you from Seattle?ADDISON: Did he also tell you he's living in a trailer?(Derek walks up and sees them talking, and walks away.)NANCY: Derek. Derek? (She goesafter him.) I want to see the two uteruses.ADDISON: Yeah, find me later.MARK: I miss her.ADDISON: Yeah me too.[SCENE_BREAK]GREG: The Diesel pushes past quarterback Don McNeil. He's at the 30. He's at the 20.He's at the 10. Touchdown Washington!NOELLE: Sorry, one of the twins gets rowdy, and Greg gets carried away with talking to the baby. He's decided that the baby is into sports of all things.GREG: Well she's daddy'slittle girl. See when I talk to her...ALEX: Yeah, your voice, it helps calm her down. Yeah, I read a couple aricles on that recently.ADDISON: Dr. Karev...I didn't know you secretly missed my service.ALEX:Right.ADDISON: Greg, Noelle, I have good news for you. According to our tests, the babies are both perfectly healthy. But they are substantially different sizes for a very unique reason. The babies have two differentdue dates.GEORGE: According to our calculations, the larger baby, your son was conceived a whole six weeks before your daughter.NOELLE: Oh God.GREG: I don't understand. That's impossible.ADDISON: Actually outtests are extremely accurate at predicting due dates.GREG: But we broke up. Yeah, see she got pregnant. I wanted to get married, she didn't. I gave her an ultimatum, and she left me.NOELLE: Greg I am sosorry.GREG: We were barely speaking, six weeks after the conception, let alone having s*x. Or at least I wasn't having s*x.NOELLE: It was one night, Greg, it was one night. I didn't think this could happen. It wasnothing.GREG: I can't believe you did this. I can't believe you didn't tell me. I can't believe this.(He storms out.)GEORGE: He's not the father of both babies.[SCENE_BREAK]ADDISON: I just accidentally broke the newsof my patient's infidelity to her husband.BAILEY: And yet no one is questioning your competence as a surgeon.ADDISON: No, what?CHIEF: I need a button. I'm on my last clean shirt and I'm missing a button. Adelealways handled my buttonsCHIEF: Adele...no. I wouldn't want to bother her with anything as trivial as a button. I don't suppose either of you would want to...ADDISON: I'm sorry, I have two uteruses I need to dealwith.BAILEY: I have many skills. Surgical skills. Your button ruptures an oesophagus, I'm your woman... otherwise...MARK: I hear you burned your hand because you were studying?GRETCHEN: Can't be allowed towarm soup within five days of taking the bar.MARK: So you burned your hand...GRETCHEN: While I was burning the soup.MARK: You grabbed the potGRETCHEN: Dropped it, obviously it was red hot...MARK: Must haveheld onto it for a while though. This burn's extremely deep.GRETCHEN: Oh yeah, that's right. I held onto it then I dropped it.MARK: There are some deep partial thickness burns here. Give her a gram of Cephazol and atetanus.GRETCHEN: It's too bad really. I did this to my hand. I'm supposed to be taking the bar again on Friday.MARK: This burn is bad, but we'll get you fixed up. You'll be fine to take the test on Friday.GRETCHEN: Iwill?IZZIE: She's lying. Something's off about Gretchen's story.MEREDITH: Izzie, you're only supposed to be observing.IZZIE: I am observing. I'm observing closely. Did you see her reaction when Sloan told her she'dbe okay to take the test again. That was not relief. That was panic.MEREDITH: It's okay to be nervous...about being back here at work, about failing. But you haven't been here a whole day yet and already you'repushing to bend the rules.IZZIE: MEREDITH: This is so not about me. This is about our patient. I'm worried about our patient. And get off your high freaking horse.MEREDITH: This is my patient. Try to rememberthat.IZZIE: Fine, whatever.BAILEY: A humpty dumpty surgery. Burke's doing a humpty today? I've never seen one of those first hand before.CHRISTINA: Yeah, me neither. What are you doing?BAILEY: Scrubbing in.You'll let Burke know?CHRISTINA: Sure. (She doesn't want Bailey in there because sit would give the game away.)[SCENE_BREAK]GEORGE: I know you're not talking to me any more, but there's something I'd like toexplain. All you have to do is listen. You and me, we're like ham and eggs. I was the chicken and I just want you to know that I know I was the chicken. You put yourself out there and you were committed. I just put theeggs on the plate. Not the ham 'cause you were the pig. I was involved but now I'm committed.CALLIE: Did you just call me a pig?GEORGE: It's a metaphor.CALLIE: Calling me a pig.GEORGE: The point is you're not thepig any more. I am the pig. Now...I am the pig. (She walks away.)(Izzie walks past a room where the gang is sitting eating their lunch.)IZZIE: I've been waiting for you guys for half an hour in the cafeteria. Since whendo we eat in a patient room?GEORGE: Izzie, meet really old guy. We found him a couple of days ago. He sleeps all the time.CHRISTINA: It's quiet. No one bothers us. What are you doing.IZZIE: I'm not doing anything.Turns out I'm literally not allowed to do anything. I knew coming back would be an adjustment. But this...CHRISTINA: No, what are you doing now?IZZIE: Eating my lunch.CHRISTINA: Okay, if you want to socialize, ortalk about your day or get in a quick therapy session, go do it over there.IZZIE: Seriously?CHRISTINA: Goodbye Izzie.IZZIE: Okay...ALEX: So O'Malley, your two uteruses...GEORGE: You're on scut. Glorified plasticsscut. You're in no position to mock me or my uteruses.ALEX: Any cervical changes on the ultrasound?GEORGE: Why do you care?ALEX: I don't.IZZIE: I am so glad to be back. Yay! I'm not complaining about you...youand I are fine, boss.(The old man groans in his bed and moves slightly and everyone looks around at one another.)GEORGE: I called Callie a pig.ALEX: To her face?MEREDITH: What happened to the whole corpsething?IZZIE: I can't get over how much everything around here has changed.MEREDITH: How many times?GEORGE: Just one time.MEREDITH: I get one too then, Gin(They're playing cards. Meredith gets up andleaves.)IZZIE: What was that... with Meredith?GEORGE: We have a thing.IZZIE: You have a thing with Meredith and I don't now about it? I live with you, I see you every day.GEORGE: It's work thing.CHRISTINA: Youknow the point of hanging out with really old guy is that he doesn't talk. The man is sedated. This is supposed to be a quiet place. (She storms out.)IZZIE: See...change. She's changed. Everything'schange.[SCENE_BREAK]MRS. BYRD: I gave the other nurse a list of his medications this morning. My husband needs his pills, he needed them hours ago!CHRISTINA: Okay, why don't you go check on his meds?NURSE:I have checked on them.CHRISTINA: Meds. Pharmacy. Now. Just...MRS. BYRD: I'm sorry. I'm sorry.CHRISTINA: It's fine.MRS. BYRD: I was never a yeller before. I've become this horrible person who yells at peoplewho are just trying to do their job.CHRISTINA: You are just looking out for your husband. You do exactly what it takes to protect him. That does not make you horrible. That makes you smart.[SCENE_BREAK](Christinaerases Bailey's name off the board when no one is looking.)[SCENE_BREAK]GEORGE: She's hyperventilating. And the baby's had some brachicardia.ADDISON: Noelle I need you to get back into bed.NOELLE: Is Gregout there? Did he leave? Like really leave?GEORGE: Noelle, take deep breaths.NOELLE: I always give him such a hard time about everything. I mean, he likes weddings, I hate them He loves kids, they scare me todeath.ADDISON: Have you had any cramping, any contractions, anything at all?NOELLE: I can't do this without him. We'll get past this right. I mean, we'll get past this. AH!ADDISON: All right, Noelle, I need you to get"}
+{"doc_id":"doc_121","qid":"","text":"[PREVIOUSLY_ON]Clay : Where to?Quinn : Your place.Nathan : Clay, Quinn is Haley's sister. She has a lot going on right now. Stay away from her.Brooke : You were a huge hit last night. They think you'reamazing.Millicent : You don't think I look like \"a frumpy whore on bingo night?\"Brooke : No! If I did, would I ask you to model full time?Brooke : Honey, I'm home. Let's do this.Alex : I told you it was realistic.Julian :Hey, honey. Alex and I worked everything out.Alex : Isn't that great?Dan : \"Nathan Scott: a basketball star's love child.\"Rachel : Like father, like son, huh?Haley : She's just so certain. You don't remember meeting herat all or...?Nathan : You're actually starting to believe her, aren't you?Dan : I heard about your problem. I was wondering if I could...Nathan : You could what, help? You save your help for people who don't know youand stay away from me and my family.Renee cell phone : You've reached Renee. Leave a message.Dan : I trust you had a nice flight. I have a proposition for you.AT THE RECORDING STUDIODirector : Okay, folks.That's a wrap!Nathan : Hey, whoa, whoa, whoa, whoa. Um, we, uh... we haven't even shot anything yet.Director : You might want to call your agent, son.Nathan : You're serious? Hey! Whoa.Kylie : What a pity. I justfound my motivation.Nathan : Okay.AT BROOKE'S HOUSEBrooke : Hey.Julian : Mm.Brooke : This hot body of yours has just inspired me to do something that I've never done before.Julian : Oh, yeah?Brooke : Yeah.And it's gonna take a lot of hard work, and it's gonna take a long, long time. And I'm gonna need you to start by taking your pants off.Julian : Oh, that sounds amazing. But Alex is coming over to work.Brooke : Ugh!You two were up half the night.Julian : It's all business, Brooke. I don't know. She seems to have really come around. IBrooke : don't buy it. Once a ho bag, always a ho bag.Julian : Now, as I recall, you...Brooke : Youmight want to consider what you are about to say very carefully. Now come kiss me till ho bag shows up.ON THE BEACHQuinn : Hey.Clay : Hey.Quinn : You're up early.Clay : My shot at peace and quiet... the west coastwakes up in three hours, and my phone starts ringing.Quinn : Nice.Clay : Did you come down for a swim?Quinn : Yeah, I tried but, uh, couldn't. I've been afraid of the ocean since I was a little girl.Clay : Mm.Sharks.Quinn : Immensity. You know, I thought if I just threw myself in and... Well... it didn't quite work out.Clay : You should start smaller, like a toe. Work up to an ankle, maybe even a shin. Who knows?Quinn :Yeah, I'm more of a \"yank the band-aid\" kind of girl.Clay : Wait.Quinn : Go. It's fine.Clay : Hey, man. Oh, just relax, all right? I... Okay, I'll get into it. Yeah, fine. I'll meet you at your place. Oh...Quinn : Time to find aphone booth and change into that super-agent costume.Clay : Yeah, if only it were that easy. Um, I hate to run, but...Quinn : Go. Save the day.Clay : Okay. See ya.AT ALEX HOTEL ROOMMillicent : Oh, no. Oh... no. Oh,no. Oh, no. Oh, no. Oh, no. Oh, no. I never called Marvin!Alex : Keep it down, Giselle. I'm trying to write. Besides, I thought you were mad at him.Millicent : I was \"ignore him for a couple of hours\" mad, not \"disappearfor the second night in a row\" mad.Alex : Well, you can thank me later, but you were way drunk, so I texted him from your phone and let him know you were safe.Millicent : \"Melvin... got my drink on with Alex. Ifyou're done being a tool, you should come rock out with your co...\" Oh, my God.Alex : Nope, just little old me. But I do work in mysterious ways.AT THE CHANGING ROOMRenee : So you want me to go on your showand tell the world my story?Dan : That's right.Renee : And you're gonna be on my side? Why would you do that? Nathan's your son. It could ruin him.Dan : But you're the one telling the truth.AT SCOTT' S HOUSEHaley: You're not telling the truth.Nathan : About what?Haley : Renee. You said you didn't know her and you didn't remember her.Nathan : I don't. Haley, we've been through this. Why can't you just believe me?Haley : Hernumber is all over your old cell phone bill. Nathan! Excuse me... why aren't you explaining yourself?Nathan : Because I shouldn't have to. But if you insist... I'm a professional basketball player. Girls get a hold of mye-mail, my telephone number. They try to contact me. And when they do, I reply to them and tell them to stop because I'm happily married to a woman who loves and trusts me. So I guess I did lie, Haley... but onlywhen I told them that my wife trusts me.AT THE APPARTMENTMillicent : Marvin.Mouth : Don't you mean \"Melvin\"?Millicent : Please don't be mad even though you have every right to be. Alex called me after she leftJulian's, and I was kind of already drinking because I thought you didn't think I was pretty enough to be a model.Mouth : When did I say you weren't pretty enough? Of course you're pretty enough.Millicent : Thenmaybe we could skip the whole fight and you could just be really excited for me, because... it's official... you're looking at the newest face of Clothes Over Bros! Oh, well, not this face. But once it's cleaned up with alittle makeup...Mouth : Congratulations, Millie. I just wish I was the one you wanted to celebrate with. Anyway, you'll understand if I can't stay and rock out with my...Millicent : Marvin! That was Alex.Mouth : Of courseit was. Well, at least she texted me. I got to go.AT SCOTT'S HOUSEClay : This situation's like a war, Nate. We're gonna lose a few battles.Nathan : Just stop with the metaphors and tell me what the hell happened thismorning.Haley : Simile. What? Similes use \"like\" or \"as\"... \"like a war.\"Clay : Guys. We lost the rainstorm body spray campaign, And it looks like the shoe deal's going away.Nathan : What?Clay : Temporarily.Nathan :This is unbelievable.Clay : I know it feels like the sky is falling, but when something like this goes down, marketing executives distance themselves to protect their brands. All right, almost always, they come back assoon as the air clears.Nathan : \"Almost always\"?Clay : Look, we knew there was a risk when we decided not to deal with Renee, but it has become a bit of an issue with the Bobcats.Nathan : They don't want meback?Clay : No, you are far too talented for that, but they're using it to their advantage, and negotiations have slowed. Again, like I said, we expected this. More importantly, Nate, the whole agency's on this, all right?Everybody respects your decision to fight this, and we've got your back. You just got to have some faith in us... and in each other.Haley : Clay. He's gonna have a career when this is over, right?Clay : Haley, I'm notgonna let anything happen to him.Haley : Because you didn't see how dark he got the first time.Clay : Look, this is a staring contest. Our best chance at having her blink first is if the press gets tired of this and nobodymakes this story any bigger than it already is.AT THE TV BROADCASTDan : I'm gonna make this story huge. But you don't trust me. I'd have to hate my son to tell your story, right? You're smart. I like that. That meansmy grandchild will be smart. Well, I was in Nathan's situation once. I refused to recognize a child that I'd fathered, and it was the second-worst mistake I ever made, but I made it in part because nobody forced me tolook at the consequences of my actions. By coming out in support of you and allowing you to tell your story, I'll be forcing Nathan to take responsibility... if not emotionally, then at least financially.Renee : He'll neverforgive you.Dan : Hmm. I've made my peace with that.AT CLOTHES OVER BROSMillicent : There she is. I know... I'm late again, and we still haven't finished...Calliope : The inventory. I also found that shipment thatwent missing in New Mexico, balanced the register from yesterday, and took the liberty of ordering some Bellissimo fabrics from Milan. You're gonna love them.Brooke : I can't wait. Isn't she amazing?Millicent : Um, Iguess, but that's my job.Brooke : Not anymore, miss thing. The fashion blogs are still buzzing about you. You are officially a model. Your only job now is to worry about being pretty. You... you might want to worry justa smidge more.Millicent : I know. I was out late. And, Brooke, I am excellent at multitasking, and I'd be happy to keep my administrative responsibilities.Brooke : Nonsense. I am not gonna have the new face of mycompany doing dirty work. Now off you go. Do whatever models do in their spare time. Just be back this afternoon for a swimsuit fitting.Millicent : Swimsuits?Brooke : Mm.Millicent : Wow. Okay. I mean... great!Brooke: Oh... Welcome to Clothes Over Bros.AT MOUTH'S WORKMouth : Hey, man, how you doing?Man : I'm doing better than Nathan Scott. I mean, that dude can't catch a break.Mouth : What do you mean?Man : Youhaven't checked the board. Oh, God, Mouth... He's losing his endorsements. Sports is breaking the story tonight at 6:00.Mouth : If Charlie asks for me, tell him I'm... I'll be back later.ON THE BEACHQuinn : Clay!Hey.Clay : Hey.Quinn : What, did you run into some kryptonite? You need a friend?Clay : You have no idea.Quinn : Come on.AT BROOKE'S HOUSEAlex : Seriously, you've been reading forever. Look, some of it'ssupposed to be funny. You're not laughing. You're not even smiling.Julian : Maybe I'm laughing on the inside.Alex : Are you? You're not. You're like, \"wow, does she suck,\" on the inside. You're like, \"she...\"Julian : Thisis good.Alex : Like \"I hate it, But there's a story in there somewhere\" good?Julian : No. These scenes are genuinely good... sweet, subtle, funny. Where did this come from?Alex : Well, I woke up, and I was watchingMillicent sleep. And she was, like, totally busted. So I asked myself what it would be like if I was that tragic, with, like, no self-confidence. And then I just added a boy.Julian : Who are you?Alex : Stick around. Maybeyou'll find out.Julian : Unfortunately, I can't stick around, because you are three hours late, and I have to meet Brooke for lunch.Alex : Oh! Come on. Tell her we're on a roll.Julian : Um, no. She's already a little jealousof our working relationship, but maybe we can meet back up tonight.Alex : It's a date.Julian : No.Alex : Date-ish?Julian : Work.Alex : Work... date.AT SCOTT'S HOUSEHaley : We can still pay her.Nathan : For what? Thestory's already out there.Haley : For a retraction. The money she wants is a drop in the bucket compared to the rest of your career.Nathan : It's too late for that.Haley : Nathan, you're being stubborn, and I know I wasagainst it at first, but if she were to get out there and say that this whole thing has been a lie...Nathan : We're not paying her, Haley! We're not giving this woman a dime of our money.ON THE BEACHQuinn : You'rereally worried about this.Clay : There's just so much riding on it. Quinn, I'm not in Tree Hill for a vacation. A while back, I went off the rails a bit... emotionally, and... luckily I had earned enough capital with the agencythat they didn't fire me. They just scaled back my client roster and suggested I spend the summer here... pull myself together.Quinn : And then Nathan's scandal happened. So the calm, cool exterior...Clay : ... is kindof a lie.Quinn : Just when I was beginning to wonder if we had anything in common.Clay : Quinn, I shouldn't be here. Nathan doesn't want us hanging out, and I, uh, I have to respect that.Quinn : No, look, Clay...Clay :I'm sorry. Uh, thank you for this. I mean that. You're really great.Quinn : Stick around.AT CLOTHES OVER BROSBrooke : Chase... What brings you in?Chase : Hey. Uh, just doing a little shopping for Mia.Brooke : Ohh.You guys have been together a long time.Chase : Mm-hmm. What about you? I heard Julian moved here. That must be... awesome.Brooke : Uh-huh.Chase : Or not so awesome?Brooke : No. It's amazing. I'm just alittle annoyed because at first I had him all to myself, and lately he has been working with one of my models.Chase : Mm. Well, I wouldn't worry. I'm sure it's harmless. I mean, guys, you know, don't even really...like... models.Brooke : What are you doing today?Chase : That depends on why you're looking at me like a piece of steak.AT SCOTT'S HOUSEMouth : I would have offered to spot you, but I max out at like 180...ish.Nathan : You know, I don't believe in killing the messenger, Mouth, but every time I've seen you lately, it's been bad news.Mouth : They're running a story at 6:00 that says you're losing your endorsements. Is ittrue?Nathan : Yeah.Mouth : I'm sorry, Nate.Nathan : Yeah, me too. I heard about your demotion. How long are they gonna keep you locked up in the basement?Mouth : The truth? Till I do a story on you.Nathan : Thendo the story, Mouth.Mouth : Nate...Nathan : I'm serious, Mouth. You've already done far more than I could ever ask. Take care of your career.AT THE BARAlex : And then he finally looks up, and he's like, \"after readingthis, I think we should be in a relationship.\"Millicent : He said that... \"relationship\"?Alex : Well, I mean, he put \"working\" in front of it, but a relationship is a relationship.Millicent : Except in a working relationship, younever, under any circumstances, no matter how tempted you are, have s*x with the other person. You're aware of that, right?Alex : I think that's sort of a gray area.Millicent : It's actually black-and-white, crystal-clear,written in stone.Alex : Fine, crabby. Whatever!Millicent : Sorry. It's just Brooke's my friend, even if she did give my job to Calliope.Alex : Tell me you are not regretting your decision. This modelling stuff is awesome. Imean, it's hard work, but it's \"pretty people\" work.Millicent : I don't know. I was good at my job.Alex : Administrative work is for fatties, Millicent, and you are not a fatty. You... are a plus-size model.ON THESTREETRenee : I take it you looked at Nathan's phone bill.Haley : If I pay you, what do I get?Renee : I go away.Haley : No, I'm sorry. That's not good enough. I want a retraction. I want a public letter that says thiswhole thing has been a lie.Renee : Fine, if that's what will help you sleep at night, but it won't be the truth. And the price has gone up... $250,000.Haley : That's crazy.Renee : Actually, that's the estimated price ofraising your husband's child until the age of 18. Do we have a deal? I'll tell you what. You can have until 8:00 tonight to decide. After that, I have other options.AT CLOTHES OVER BROSJulian : Brooke! Hello!Brooke :One sec. Got it.Julian : Can I borrow you?Brooke : Mmm.Julian : Want to tell me why you were mounting your ex-boyfriend in the back room?Brooke : Because you weren't available.Julian : Very funny.Brooke : I'mserious. This morning I looked over at this big, sexy body, and I thought to myself, \"why aren't you making men's clothes, Brooke Davis?\"Julian : Mm-hmm. Clothes for Bros?Brooke : Ka-ching! But in order to makemen's clothes, you need a fit model for measurements. You were my first choice, but, alas...Julian : I was busy with Alex. I get it. Well, I'm here now, and I'm all about taking my clothes off for you in the back room, soyou can send your little boy toy packing.Brooke : You're very sweet, but I think I'm gonna stick with Chase. I'm already halfway through his measurements. But don't worry, baby. We're all business. Hey, Chase,break's over! Drop your pants.AT MOUTH'S WORKMouth : I want back on the air. I obviously have an opinion, but at the end of the day, I work for you.CEO : You are aware of what's on the board for tonight?Mouth :Yeah, Nathan Scott's losing his endorsements. I took the liberty of getting a quote from him.CEO : Nice work. Glad to hear you've come around.AT SCOTT'S HOUSENathan : Don't. It's the press. They've been calling allday.Quinn : Beat it, nerds.Nathan : Thanks.Quinn : You're welcome. And as a favor, it would be great if you wouldn't give Clay such a hard time about hanging out with me. I'm not a child anymore, Nathan.Nathan : Areyou sure about that?Quinn : What's that supposed to mean?Nathan : I don't know. Running away from your problems just doesn't seem very adult.Quinn : Says the guy who's afraid to answer the telephone.Nathan :Look... if you want to sleep around, I'm sure there's plenty of guys in Tree Hill who aren't responsible for my career that could probably help you out with that.Quinn : You ever hear the one about people who live inglass houses?Nathan : Yeah, I have. And if you don't like living in mine, you'll welcome to move back in with your husband.Quinn : Nice, Nathan. You know, speaking of running away from your problems, maybe youshould try answering one of those, coward.AT CLOTHES OVER BROSAlex : I know you love to say zero is not a size, but technically zero is my size, and those are granny panties.Brooke : These are a zero.Alex : Really?My diet pills must be working.Millicent : Your vitamins?Brooke : What?Alex : Oh, right. Vitamins.Brooke : Okay. Whatever. I'll... see if I can take these in.Alex : Great. Oh, and speaking of my perfect ass, I understandfrom Julian you might be a little concerned about our relationship.Millicent : Working relationship.Alex : You have nothing to worry about... Seriously. I mean, I stripped naked, and that boy didn't even flinch. He isclearly so in love with you.AT THE BARMia : Well, you're not Chase.Julian : If onlyMia : I asked the waitress if there was a tall, dark, and handsome boy waiting for his date. She pointed me here.Julian : Sorry todisappoint, but your \"tall, dark, and handsome\" is getting naked with my \"short, hot, and bossy.\"Mia : Huh?Julian : He's doing some fit modeling for Brooke at Clothes Over Bros. It's harmless. I hope. Hey, can I askyou something?Mia : Lose the shirt.Julian : I'll go get a tape measure. No, actually, it's about being a songwriter. Do you ever meet people on tour that surprise you with their talent? I mean, uh... You know, somebodywho seems simple or goofy or even ditzy, and then... bam... All of a sudden, they write this amazing song?Mia : Hi. I'm Mia.Julian : No, you're not like that at all.Mia : Maybe not, but I used to be really shy. And I thinksometimes all somebody needs is someone to look a little deeper... unlock their potential, like Haley did with me.Julian : Hmm.Mia : Was that answer worth lunch? 'Cause I'm kind of starving.Julian : On me.AT TVBROADCASTRachel : Baby, you are a genius. The interest in the interview with Renee is off the charts.Dan : You're not having second thoughts, are you?Rachel : Dan, Nathan had a chance to take responsibility for thischild, and he chose not to. Giving this girl a voice is the right thing to do.Dan : Well, we don't have a show unless Renee agrees, and I haven't heard from her since this morning.Rachel : Mm. You just leave that up tome.Dan : It doesn't matter where I go, you always seem to find me.Rachel : I just follow all the other girls. They lead me right to you.Dan : It hasn't been easy lately.Rachel : Then I guess it's a good thing I'm here.Dan: How'd you like to stay the night tonight? Like old times.Rachel : Well... that's up to you, isn't it?AT SCOTT'S HOUSEHaley : I called Renee.Nathan : What?Haley : She said for $250,000, she would sign aretraction.Nathan : Amazing... The economy's crumbling, and the truth keeps getting more expensive.Haley : Well, she's willing to say this whole thing was a lie, so...Nathan : You willing to believe it?Haley : I didn'tcome out here to ask for your permission, Nathan. I came here to tell you that I'm paying her.AT CLOTHES OVER BROSChase : Are you okay?Brooke : No, I'm not okay! Ho bag got naked in front of Julian!Chase : \"Hobag\"?Brooke : Alex \"my butt is the size of a kumquat\" Dupre.Chase : She is so manipulative and materialistic and self-serving and naked and... Brooke-ish?Brooke : What did you say?Chase : Nothing.Brooke : Funny, Icould have sworn that I heard you speak.Chase : I meant she just seems a little bit like you were in high school.Brooke : Huh.Chase : She always wanted high-school Brooke. Can I put my pants back on now? I'll takethat as a yes.AT CLAY'S BEACH HOUSEGirl : You blame yourself for Nathan's troubles.Clay : I wasn't a great influence... the girls, the parties.Girl : Do you think he did it?Clay : No.Girl : Then stop blaming yourself andfix it.Clay : Stay the night. I miss this.Girl : Is that what you want?Clay : That's what I need.AT TVMouth : Nathan Scott is Tree Hill local who overcame injury and adversity to achieve a dream he had since childhood...a dream to play professional basketball. But lately Nathan's career has taken a backseat to allegations of an affair that led to the pregnancy of a fan. In my opinion, continuing to report on these allegations without anyfurther evidence of their validity is a reckless attempt on the part of this network to boost ratings. Now, I'm not saying athletes are above the law. I'm saying it's up to science to determine the validity of these claims,not the evening news. To date, there has been no new evidence to suggest that Nathan Scott is guilty of these allegations, and yet he looks guiltierthe more that we report on him.AT ALEX'S HOTEL ROOMMillicent :Sorry. I think I left my camera in your bathroom. For my part,Mouth : I got into sports news because I think reporting on athletes inspires people to be exceptional. And while I've never been an exceptional athlete, I"}
+{"doc_id":"doc_122","qid":"","text":"[Scene: Joey and Rachel's apartment. The scene starts where we took off in the last episode with Ross seeing Joey and Rachel kissing. Rosss tares at them.]Joey: Okay, Ross, I realise that you didn't expect to walk inand see that, but.. Let me explain, okay?Rachel: We weren't doing anything!Joey: Rach, he just saw us.Rachel: Shhh.Joey: But what you saw, that is the extent of it, okay? One kiss.Rachel: No, come on, that is a lie.We also kissed in Barbados.Joey (to Rachel): Dude, chill! (to Ross) Okay, we also kissed in Barbados, but we didn't plan it, okay? And the only reason that that happened was because I saw you kissing Charlie.Rachel:Yeah, you started it! I've got to chill.Joey: Look, we probably should have talked to you about this before it ever happened, but..Rachel: We feel so terrible about this, Ross.Joey: Yeah, but it did happen, so...(Ross looksshocked and says nothing.)Joey: Ross?Rachel: Ross? (to Joey) Can we just close the door?OPENING CREDITS[Scene: Joey and Rachel's apartment. Continued from earlier.]Rachel: Ross, say something. Anything.Ross:So you two are..?Joey and Rachel: Yeah.Ross: And have you .. ed?Joey: No, no, no!Rachel: No, no, no!Ross: But if I hadn't walked in here, would you..?Joey: Probably.(Rachel looks at him.)Joey: No, no!Rachel: Ross,this is not how we wanted you to find out about this. You have every right to go nuts.Ross: I'm not going nuts. Do you see me go nuts?Rachel: No, but you know what I mean.Ross: Hey, hey, hey... If you two arehappy, then I'm happy for you. (Squeaky.) I'm fine!Joey: Really?Ross: Absolutely. (Very Squeaky.) I'm fine! Totally fine. I don't know why it's coming out all loud and squeaky, 'cause really, (deep voice) I'm fine. I'mnot saying I wasn't a little surprised to see you guys kissing. I mean, at first I was like.. (Screams.) But now that I've had time to absorb it; Lovin' this.Joey: Ross..Ross: It's all working out! Me & Charlie, and you two.You know what we should do?Rachel: Calm ourselves?Ross: No. We should all have dinner. Yes, we'll do it tomorrow night. I'll cook!!Joey: Look, don't you think that will be a little weird?Ross: Weird? What? What'sweird? The only thing weird would be if someone didn't like Mexican food, because I'm making fajitas!! (Storms off.)Joey: I do like fajitas.[Scene: Central Perk. Monica and Chandler are there. They have lots ofbrochures about adoption in front of them.]Monica: God, this adoption stuff is so overwhelming. There's inter-country adoption, dependency adoption.. There are so many ways to go, and this is like the biggest decisionof our lives.Chandler: There's a hair in my coffee.(Phoebe enters.)Phoebe: Hey guys!Monica: Hey.Phoebe: Hey, have you seen Frank Jr., 'cause he's meeting me here with the triplets.Chandler: You know, it's funny.Every time you say \"triplets,\" I immediately think of three hot blonde 19-year olds.(Monica glares at him.)Monica: That's sweet. Drink your hair.Phoebe: Hey, what's all this stuff?Monica: Oh, they're brochures fromdifferent adoption agencies.Phoebe: Ooh, babies! Oh, this one is so cute, get this one!Monica: That's not really how it works.Phoebe: Oh, how does it work?Monica: I don't know!Phoebe: Well, if you're having a hardtime, you should talk to my friends, Bill and Colleen. They adopted a kid. I'm sure they'd help you.Monica: Thanks, that would be great. Hey, honey, wouldn't that be great?(Chandler looks like he did the time heswallowed the toy in 605 TOW Joey's Porsche. It's the hair in his coffee.)(Frank Jr. and the triplets enter.)Frank Jr.: Alright, alright, alright. Remember what we talked about. When we're in a public place, there arecertain rules.(The triplets scream and run amok in the coffeehouse.)Frank Jr.: That's not what we talked about!!Phoebe: Hey!Frank Jr.: Hey.Phoebe: Good to see you.Frank Jr.: Good to see you, too.Monica: HiFrank.Frank Jr.: Hi, how you doin'?Monica: Oh, my goodness, they've all gotten so big!(Little Chandler is pulling Chandler's sweater, while Leslie is throwing bagels at him.)Monica: Which one is which again?Frank Jr.:Oh, that's Frank Jr. Jr. pulling the tampons out of the lady's purse. And that's Chandler climbing on Chandler, and that's Leslie throwing bagels at him.Monica (reads a form in her lap): \"Willing to adopt triplets?\"No![Scene: The hallway in Ross's building. Joey and Rachel are on their way to Ross's dinner.]Joey: Ah, can I just say I know we're doing this for Ross, and that's cool, but if it was up to me, this is not what we'd bedoing on our first date.Rachel: Well, what would we be doing?Joey: I'd take you out for a romantic night. Some champagne, fancy dinner, feel you up on the carriage ride home...Rachel: Feel me up?Joey: In acarriage!(Charlie walks up to them.)Joey: Hey, Charlie!Rachel: Hey.Charlie: Hi, hi. So.. Dreading this?Rachel: Oh, you bet.(Joey sees that she's carrying a small red bag.)Joey: So, did you bring a little something forRoss?Charlie: Actually.. It's stuff you left at my apartment.Joey: Oh. Oh, thanks.Charlie: And you know, you can just give me my stuff whenever you want.Joey: Yeah, I didn't throw any of that out..(They enter Ross'sapartment. Ross is already quite hyper.)Ross: I thought I heard voices! Hi Charlie! (Kisses her.) Hi Joey. (Hugs him.) And.. Oh! You're gonna have to introduce me to your new girlfriend. (Laughs.) I'm just kidding, Iknow Rachel, I know. (He squeezes her hand.) Come, please come in. Come in.Rachel: Okay, well, we brought you some wine.Ross: Oh! That is so thoughtful. (To Joey.) She's a keeper. And what did you bring me?(Grabs the bag that Charlie brought for Joey.)Joey: Uh, actually, that's..Ross: Underwear, a toothbrush, and Van Halen CD. I can use all these things!!Charlie: Gosh, Ross, you know, you seem a little...Ross: What?Fine? Because I am! Aren't you? Aren't you? Aren't you? You see? Who else is fine?Joey: Okay, listen, hey, Ross. Why don't you try to relax, okay? Maybe have a drink.Ross: You know what? That is a very good idea.I'm gonna go make a pitcher of Margaritas.(Does a Mexican dancing-thing before going to the kitchen.)[Scene: Central Perk. Frank Jr., Phoebe and the triplets are there. The triplets are now sleeping on top of eachother on the couch.]Phoebe: Oh, god. So adorable. Look at them sleeping there like angels.Frank Jr.: Yeah, I really cherish these moments, 'cause before you know it, they're gonna be awake again.Phoebe: Well, theymay be a handful, but they're so cute.Frank Jr.: Yeah.Phoebe: Oh, god, the last time I babysat them, they did the funniest thing..Frank Jr.: I haven't slept in four years!Phoebe: That's a, that's a long time.Frank Jr.: Youjust don't know how hard it is, Phoebe. There's just so many of them. You know, two I can handle. Two's great. You just hold one in each hand, but what do I do when the third one runs at me with his bike helmet on.I've got no more hands to protect my area! There's three of them, Phoebe, three!Phoebe: Yeah, I know, Frank. I counted them when they were coming out of my area.Frank Jr.: Sometimes I think that.. Oh, no, no, no,I can't say it, it's too horrible. No.Phoebe: What?Frank Jr.: No, I can't.Phoebe: Oh my god, Frank, are you thinking of leaving? Because I didn't have those triplets so you could just run out on them!Frank Jr.: Oh, no! Iwould never do that. No. I just was thinking that, you know, maybe you could take one.Phoebe: What?! You can't separate them! That's terrible. Which one?[Scene: Bill and Colleen's apartment. Chandler and Monicaenter.]Monica: Thank you so much for seeing us. Phoebe has told us such great things about you guys.Colleen: Oh, please, we're happy to help.Bill: We went through the same thing when we were adopting.Chandler:So, a lot of malfunctioning wee-wees and hoo-hoos in this room, huh?(Bill and Colleen look shocked.)Chandler: I mean, you have a lovely home.Monica: Well, we appreciate anything you can tell us.Colleen: Well,actually, I think this might help.(She gives Monica a big binder that's perfectly in order.)Colleen: It's pretty much all the information you need.Monica: Oh my god!Colleen: Everything is broken down into categories, andthen cross-referenced, and then colour-coded to correspond with the forms in the back.Monica: Thank you. (To Chandler.) I think I just had a tiny orgasm.Bill: I know the process is frustrating, but it's so worth it.Adopting Owen was the best thing that ever happened to us.Chandler: That's great. (To Monica.) Can I see the book?(Monica looks at him.)Chandler: You want me to wash my hands first, don't you?Monica: It's.. It'sjust so pretty and white.Colleen: The bathroom is down the hall, to your left.(Chandler leaves.)Colleen: I would have told him to do it too.Monica: Can I adopt you?(Cut to the hall. Owen is wearing his scout-uniform andis looking through a box when Chandler walks up to him.)Chandler: Hey, you must be Owen.Owen: Yeah.Chandler: I'm Chandler. Hey, I was in the scouts too.Owen: You were?Chandler: Yeah, in fact my father was aden-mother.Owen: Huh?Chandler: You know how to use a compass?Owen: I have a badge in it.Chandler: You do? That's fantastic!Owen: You wanna see it?Chandler: I'd love to, but I gotta get back to talking to yourparents. They're telling us all about how they adopted you.Owen: What?!?Chandler: What?Owen: I'm adopted?(Chandler tries to come up with a good answer.)Chandler: I got nothing.[Scene: Ross's apartment. Ross istotally wasted, but he's still drinking all the margaritas.]Ross: The first batch of margaritas was not so great, but the second batch is gooooood.Rachel: Well, maybe the next batch, we could all get some.Ross: Oh, guys,this is fun, isn't it? You know? Just the four of us. Just hangin'.Joey: Dude, are you okay? And when are the fajitas gonna be ready?Ross: I'm fine! Hey, I'm great! I'm just.. I'm just proud of us. There's no weirdness, notension.Rachel: No awareness.Ross: We make a great foursome. We should do more stuff together. Ooh! Let's take a trip. Okay, where do you think we - we can go?(The oven timer pings in the kitchen.)Ross: Myfajitas!!(He runs off to the kitchen.)Rachel: Look, Charlie, I just want you to know. Ross is just having a little trouble adjusting to the thought of Joey and me. You know, he normally doesn't drink like this.Charlie: Oh,you know what? This is nothing. My father is a raging alcoholic.(Joey and Rachel don't know how to respond to that.)Charlie: Oh, I'm sorry, have I made this evening uncomfortable?(Ross enters carrying a frying panwith fajitas - without any oven mitts.)Ross: Fajitas! Be careful, very hot plate, very hot plate!!Rachel: Ross, you don't even have oven mitts on!(Ross laughs.)Ross: That is gonna hurt tomorrow![Scene: Central Perk.Frank Jr., Phoebe and the triplets are there. Continued from earlier.]Phoebe: Okay, well, this is crazy. Can't seriously be talking about me taking one of your kids, can we?Frank Jr.: No, of course we're not.Phoebe:Insane.Frank Jr.: I know.Phoebe: Alice would never go for it, right?Frank Jr.: Oh, I don't know, she's pretty tired, too, I think we've got her onboard.Phoebe: Well, just you know, for argument's sake, you know,hypothetically. Which one would you be willing to give up?Frank Jr.: Huh.Phoebe: Frank Jr.Jr.?Frank Jr.: Oh, you'd be getting a really good one. I mean, you know, he's really funny. Like, the other day he made up thisjoke.Phoebe: Uh-huh.Frank Jr.: What's green and says \"hey, I'm a frog\"? A talking frog! (Laughs.) Oh, no, you can't have him, he's too funny.Phoebe: Well, alright, that's fine. What about Leslie?Frank Jr.: Oh, no, no.Not Leslie. No, she's, she's the only one that knows how to burp the alphabet.Phoebe: Alright, so that leaves Chandler.Frank Jr.: Oh, no, no, you can't have Chandler, no. No, no. She's my little genius. I got big hopesfor her. She's gonna be a doctor or a realtor..Phoebe: Wow, Frank. I think we just ran out of kids.Frank Jr.: Oh, I think you're right. Oh, wow. Phoebe, I don't think I can give one of them up. I mean, you know, theydrive me crazy, but they're my babies.Phoebe: I'm sorry, Frank. I didn't realise things were so bad. You know, I'll help out more. I can - I can babysit any time you want. You name the day, and I'll be there.Frank Jr.:How about tomorrow?Phoebe: Well, that's not good. But you know, I can move some stuff around, and I'll be there. You and Alice just take the whole day together.Frank Jr.: You'd do that for us?Phoebe: Are youkidding? That's what sisters are for.Frank Jr. (looks at the triplets): Look at them! Aw. I love you so much. (Strokes Leslie's hair, and she moves a little.) Oh crap, don't wake up, don't wake up![SCENE_BREAK][Scene:Bill and Colleen's apartment. Chandler comes running into the living room. Monica is the only one there.]Chandler: Where are Bill and Colleen?Monica: They're in the kitchen getting something to eat. Can you believehow nice they are?Chandler: We have to leave!!Monica: Why? What did you do in the bathroom?Chandler: I didn't get to the bathroom. I bumped into Owen on the way, and he didn't know he was adopted. And there'sa slight chance I may have told him.Monica: Oh my god, where's my purse? No, you know what? I can replace everything in there. Get that binder, and let's go!(Bill and Colleen enter.)Colleen: Hey.Bill: Some littlesnacks for everybody. Oh, you don't have to eat the sour worms. Those are for Owen.Colleen: I'll go get him in a second. By the way, you should know we haven't told him he's adopted yet.Chandler: But kids are sointuitive. Don't you think on some level he already knows?(Owen comes running in.)Owen: I'm adopted?!Chandler: See? Intuitive!Bill: What? Where did you hear that?Owen: He told me! And he paid me 50 dollars notto tell.Chandler: Which technically now you should give back!Colleen: You told him he's adopted?Chandler: I'm so sorry, but you should have a sign out there or something. Or at least whisper it to people when theycome in the door. \"Owen doesn't know he's adopted, and he also thinks that Santa is real.\"Owen: He isn't?!Chandler (to Monica): We have to get out of here, baby![Scene: Ross's apartment. Rachel, Joey and Charlieare eating fajitas when Ross enters from the kitchen.]Ross: Everyone? I would like to make a toast to Rachel and Joey.Rachel: Ooy.Ross: And to love. Ah, love. L-O-V-E, love. L is for life. And what is life withoutlove?Rachel: Oh my god, are we supposed to answer?Ross: O is for \"oh, wow!\" The V is for this very surprising turn of events, which I'm still fine with by the way. E is for how extremely normal I find it. That you twoare together. And now one day you might get married and have children of your own.(Ross chokes up and pauses. Rachel and Joey look at him.)Joey: Dude, are you okay?Ross: Totally.Rachel: Ross, you don't seemokay.Ross (on the verge of tears): I'm sorry, it must be the pressure of entertaining. I think everyone would feel better if we had some flan.Charlie: Wait, Ross. Ross. I - I have to take off.Ross: No!Charlie: I'm sorry, Ihave a really early class in the morning, but this has been lovely.Ross: Wasn't it? And you thought it would be awkward with Joey and that you never really liked Rachel.Charlie: You're on fire! I'll call you in the morning,okay?Ross: Okay.Charlie: Alright.(Ross goes to the kitchen.)Charlie: God, Rachel, what Ross just said that is just so..Rachel: Oh, that's okay, girls tend not to like me.Charlie: Bye.(Ross enters from the kitchen withthree plates with flan.)Ross: Okay, I guess it's just flan for three! Hey, hey, that rhymed!Rachel: You know what, Ross? I think we're gonna take off too.Ross: Oh, oh. Of course. God, I'm so stupid. You guys are acouple now. I mean, you probably just want to be alone.Rachel: No, no, it's just that it's getting late...Ross: Hey, hey, it's fine. It's totally fine. We've got plenty of margaritas. It's all good.(The oven timer pingsagain.)Ross: I don't even know what that's for.(He goes back to the kitchen.)Joey: You know what? I think I'm gonna stay here and make sure he's okay.Rachel: Yeah, that's probably a good idea.Joey: Yeah. I'll seeyou in the morning.Rachel: Uh-huh. Okay. You know what, Joey, I don't think he's ever gonna be okay with this.Joey: It doesn't look good, does it?(They kiss each other on the cheek, and Rachel leaves.)[Scene: Ross'sapartment the next morning. Ross is very hung-over on the couch as Joey enters with a cup of coffee for him.]Joey: Morning. Here you go.Ross: Thanks. Did you stay here all night?Joey: Yeah.Ross: So you took off mypants and shoes?Joey: No, no, no. You actually did that when you were dancing to the Chicago-soundtrack. Look, Ross, about, about Rachel and I. Listen, you don't have to worry about that, okay? Because nothing isgonna happen.Ross: What do you mean?Joey: Well, she and I said from the beginning that we weren't gonna do anything unless you were okay with it. And clearly..Ross: Hey, what are you talking about? I'm fine!Joey:It's okay, Ross, alright? I totally understand. Of course you're not fine. You're.. You're Ross and Rachel.Ross: Except we're not. I mean, we haven't been a couple in like, six years. Oh my god, is that right? Has it beenthat long?Joey: That's what I hear, yeah.Ross: This is crazy. I mean, six years? And because of me you guys aren't gonna be together? Can I ask you something? Really, what is this thing with you and Rachel?Joey:Come on, I mean, you know me, you know...Ross: Joey.Joey: I'm crazy about her.Ross: And she feels the same way?Joey: I think so.Ross: Well, then, maybe it's time we all moved on.Joey: Yeah, but, Ross, I mean,you're not okay with it.Ross: No, but I wanna be. Hey, I will be. Besides, I'm with Charlie, right? Oh my god, I'm still with Charlie, aren't I? I mean, she didn't see the dance, did she?Joey: No, no, no, no, that was - thatwas just for me. Are you sure about this?Ross: Yeah, I'm sure.Joey: And we're okay?(Ross smiles and holds up his hand for a high-five, but he has forgotten about his burnt hands. He gasps in pain as Joey grabs hishand.)ENDING CREDITS[Scene: Central Perk. Monica and Chandler enter to find Phoebe there with the triplets.]Monica: Hey, PhoebsPhoebe: Hey.Monica: Uhm, we just wanna give you a heads-up. Bill and Colleen hateus.Chandler: Owen didn't know he was adopted, and Monica told him.Monica: What?Phoebe: Still, he had to find out sometime.Chandler: Yeah, but how would you like it if someone told the triplets that you gave birthto them?(The triplets stare at him.)Chandler: I'm gonna go tell Emma she was an accident. (Runs off.)"}
+{"doc_id":"doc_123","qid":"","text":"Toby: I really didn't think I was going to have a good time, but I did. Totally did.Meredith: I love camping. [in a singing voice] Anything can happen.Toby: Oh, it wasn't camping, it was more of a wilderness retreat.[Michael walks in]Michael: Morning.Toby: Michael.[SCENE_BREAK]Pam: Ryan invited some of the branch managers and Toby into the woods for a \"get to know you\" weekend. Michael wasn't invited. Apparently theyalready knew everything they needed to know about him.[SCENE_BREAK]Pam: Did you sleep in cabins?Toby: Under the stars. It was really beautiful, you should come.Phyllis: Bob and I took rock climbing lessons once.[Michael laughs][SCENE_BREAK]Phyllis: Michael wasn't invited on Ryan's camping trip. Toby went, but Michael didn't go. He wasn't invited.[SCENE_BREAK]Pam: Who went?Toby: Me, Dan from Buffalo, Mark Chisholm,Jeff from Albany and Ryan, obviously. Made so many s'mores, that I finally had to say, \"No more s'mores, no more s'mores.\" [everyone in room but Michael laughs, Michael exits break room][SCENE_BREAK]Toby: Ryaninvited me to go on his wilderness adventure retreat. It was this amazing, beautiful experience [Michael knocks on the window behind Toby from outside]Michael: [from outside] Hey, nobody cares. Nobody cares. I needthat room at some point, so just, wrap it up.Toby: Michael wasn't invited.[SCENE_BREAK]Michael: Hypothetically, if I were to ask you to go camping, and you know what hypothetical means? [Jim makes a face] Notreal.Jim: Got it.Michael: So if I were to hypothetically ask you to go camping with me, would you go?Jim: Absolutely, yes.[SCENE_BREAK]Jim: When Michael plays the hypothetical game, I always sayyes.[SCENE_BREAK]Michael: Really?Jim: Yeah?Michael: Oh, you wanna go today?[SCENE_BREAK]Jim: And I am always busy.[SCENE_BREAK]Jim: Oh, can't go today, 'cause I'm donating blood.Michael: How often canyou actually donate blood?Jim: Is there a limit?Michael: Your body only has a certain amount.Jim: Well, is that it? Or?Michael: Yeah, just this whole Toby, camping thing, uh, seems a little lame.Jim: How so?Michael: Abunch of guys, in a tent? Making s'mores? [makes a noise and gestures with his hands]Jim: What's that?Michael: Hello, I'm Broken Mountain. You know, here's the thing. That's not how you go camping. I think you gocamping by yourself---Jim: Right.Michael: In the wilderness. It's not with a group of guys frolicking around in tents. It's one guy, or two guys, if your plans change.Jim: Not gonna change.Michael: I wanna do it myself.You know, I want to go and, and find out something about myself, I wanna get outta here. All the cliques, and the office politics. Fluorescent lights. Asbestos.Jim: I thought we had that looked at.Michael: I'm sick of itJim. I'm sick of this place.[SCENE_BREAK]Michael: When Jan and I had satellite, we used to watch a reality show called \"Survivorman.\" And, it was interesting because it was about a guy who would go out in the middleof no where and just try not to die, try not to get eaten by an animal, or be overexposed.[SCENE_BREAK]Michael: OK, I will only need two things. Roll of duct tape and a knife.Dwight: [winks] I'm on it. [leavesroom]Michael: OK. Thirty minutes or less, please come back. Save the receipts. [Dwight comes back with set of knives] Hey, what...Dwight: Let's see if any of these will work. [clears the front of Michael's desk]Michael:Hey, hey hey! Dwight. [Dwight rolls out an assortment knives]. Dwight.[SCENE_BREAK]Dwight: I keep various weaponries strategically placed around the office. I saved Jim's life with a can of pepper spray I hadvelcroed under my desk. People say, \"Oh, it's dangerous to keep weapons in the home or the work place.\" Well I say, \"It's better to be hurt by someone you know accidentally, than by a stranger onpurpose.\"[SCENE_BREAK]Michael: Dwight and I are going out. He will return later, but I will not. I will also be taking a personal day tomorrow, and perhaps the next day.Pam: Do you want me to ask where you'regoing?Michael: No.Pam: Great.Michael: Dwight will be driving me deep into the Pennsylvania wilderness.Pam: Oh.Michael: Where he will then leave me to either die or to survive. The choice is yours.Jim: Hmm, no, thechoice is actually yours. Are you sure you want to do this?Michael: Yes, and I am leaving you in charge of the office for the rest of the day and for the next several days. Do not try to follow me.Jim: OK, great.Michael:This is a very personal, private experience in the wild, that I wish to share it with me, myself and I.Jim: Yup.Michael: When I return, I hope to be a completely changed human being.Jim: That'd begreat.[SCENE_BREAK]Dwight: Do I believe that Michael possesses the skills to survive in a hostile environment? Let's put it this way[/b]: no, I do not.[SCENE_BREAK]Michael: This is what a true survivor man does. Yousimulate a disaster, like a plane wreck. You could only wear the clothes that you have on, and you could only use the stuff you have in your pockets. Now, in this case, this disaster is a serial killer. Creepy guy who'sabducted me and is taking me out into the wilderness to leave me for dead.Dwight: No, I would never leave you for dead. You would never escape.Michael: Well, yes I would. And I would survive.Dwight: I would makesure that you were dead.Michael: Well...Dwight: First, I would remove your teeth and cut off your fingertips so you could not be identified.Michael: You...Dwight: And they would call me the Overkill Killer.Michael: You...you are as creepy as a real serial killer. For real. [blindfolds eyes with tie] OK.Dwight: What are you doing?Michael: I am putting this on so I have no familiarity with my surroundings. Now this way, I can't retrace mysteps. I don't know what streets we've been--- [Dwight whacks Michael with his shoe] Ow! What are you doing?Dwight: It would be better if you were unconscious.Michael: No! Gosh! Dwight. [Dwight tries to hit Michaelwith his shoe again] Stop it, stop it! Stop it.Dwight: Do you want to do this right or not?Michael: Just, please allow me to have one cathartic experience in my life?[SCENE_BREAK]Angela: Jim, we need to order a cakefor Creed's birthday.Jim: Oh, wasn't it just someone's birthday?Angela: Yes. Kelly's was last week, remember?Jim: I do remember, yeah.Angela: It's birthday month. Creed's is today. Oscar's is week after next.Meredith's is at the end of the month. [Jim exhales deeply] Michael usually goes with red and white streamers...Jim: You know what, I have an idea. Why don't we just do one big shared party?Angela:What?[SCENE_BREAK]Jim: There are thirteen people working in this office, so thirteen times a year Michael gets a cake and balloons, and some sort of joke gift and makes a toast. There are two types of toasts. One isa joke about how old you are.[SCENE_BREAK]Michael: [flashback to Stanley's birthday] Look at those wrinkles. Blacks do crack! Not crack the drug.[SCENE_BREAK]Jim: And the other is something inappropriate. Orhorrible. Or both. What else? He only sings the high harmony to \"Happy Birthday.\" And he's a very big believer in surprise parties. Maybe even, arguably, possibly to a fault.[SCENE_BREAK]Michael: [flashback to Kelly'sbirthday, hiding in the elevator] Happy Birthday!Kelly: Ahhh!! [drops the papers she was holding][SCENE_BREAK]Michael: [flashback to Oscar's birthday, hiding in the break room] Happy Birthday!Oscar: Ahhh! [runsinto door and Michael laughs][SCENE_BREAK]Michael: [flashback to Phyllis' birthday, sneaking up on Phyllis' car] Happy Birthday!Phyllis: Oh! [Michael laughs][SCENE_BREAK]Jim: So... I think, yeah, I think gettingthese out of the way might be productive.[SCENE_BREAK]Jim: We can just have one big fun party. Everybody's happy, nobody wastes their time.Angela: I don't like it. [Angela leaves]Pam: Wow! You're shaking thingsup a bit, huh?Jim: It's a pretty good idea, don't you think?Pam: Do you think it's a good idea?Jim: No... I think it's a great idea.Pam: [smiles] Hmm.[SCENE_BREAK]Dwight: We're here. [gets out of the car]Michael:Dwight will take my blindfold off when we are deep in the forest. Just the two of us from this point out.Dwight: [leading Michael from car] Here we go. Just the two of us [gestures for camera crew tofollow][SCENE_BREAK]Dwight: Here we go, into the wild. Mighty forest. Can you smell the trees and the nature?[SCENE_BREAK]Dwight: Keep going, you're fine. Just some bushes and some thickets [leads Michael intosome tall grass] Keep going. You wanted wilderness, you got it.[SCENE_BREAK]Jim: You know, try sending them another invoice.Oscar: Ok.Jim: Alright. [starts walking away, but returns] Oh, did you see my memo bythe way?Oscar: [picks up and reads memo] \"Let's be honest, as fun as birthdays are we could all use a break from the constant cake, so let's celebrate birthday month in style today.\" This is really cool.Jim: Right? I wasjust thinking...Oscar: No, totally, totally. This way we get it all out of the way at once and it could actually be fun.Jim: Right! Exactly. [pats Oscar on the back and walks away] Knew I could count on you. [Oscar rolls hiseyes][SCENE_BREAK]Dwight: Good a spot as any. [They stop and Dwight starts spinning Michael around in circles]Michael: What are you doing? Stop. Dwight, Dwight. Just --Dwight: I'm just --Michael: Stop.Dwight:Spin. I'm trying to confuse your sense of direction. [stops spinning and takes Michael's blindfold off] Behold.Michael: Alright, good. Thank you, Dwight.Dwight: Here's your knife. Here's your duct tape.Michael: Alright,very good. Ahh, OK. [Dwight gives Michael a hug]Dwight: Good luck, Michael.Michael: Thanks for the ride. OK. Leave me be, Dwight. [Dwight runs off][SCENE_BREAK]Meredith: Hey, Jim, can I have my own cake?Jim:What's that?Meredith: I really prefer devils food cake.Jim: Oh, sure.Meredith: Yes!Jim: OK. [Meredith leaves]Pam: Wow! That was easy.Jim: Yeah, people like me I guess.Creed: [knocking from outside window in breakroom] Jim.[SCENE_BREAK]Creed: I hate devils food.Jim: Well I think Meredith was just --Creed: Screw Meredith, I don't think it's fair to let someone else pick the cake on my birthday.Jim: Everybody's birthday.Creed:Today is actually my birthday and I want to pick the cake.Jim: What do you want?Creed: I want pie. I want peach pie.Jim: You want a birthday pie?Creed: I want a nice cobbler.Jim: Well, I'm gonna to talk to Angela andwe're gonna see what we can do about a pie.Creed: I don't care who you talk to. Just make it happen.Jim: It will be Angela.Creed: You tell her it's for Creed. She'll know what that means.[SCENE_BREAK]Michael: [toown camcorder] Day One. I'm in the interior of the vast Pennsylvania wilderness. I've brought with me only the bare essentials. A knife, roll of duct tape, in case I need to craft some shelter or make some sort of watervessel. It's hot today. The sun is in the two-thirds easterly quadrant, which would make it about [looks at watch] 2 o'clock in the afternoon. It's really beating down on me now. I think that I want to get a little morecomfortable because the sun is depleting my resources. [cuts pants with knife] OK. OH, there we go. Watch that I don't hit my corroded artery here...[SCENE_BREAK]Dwight: I lied to Michael. I said that I would leavehim alone, but I will not. I will remain close by to provide unseen moral support, but I will never help him. I will let harm befall him. I will even let him die. But I will never let him lose hisdignity.[SCENE_BREAK]Michael: There we go. [standing with short sleeves and short pants] Much better. Now everything I brought with me can be used. My sport coat here, can be fashioned into a backpack of sorts[ties jacket around neck].[SCENE_BREAK]Michael: I'm going to wear what was once one of my pant legs. [puts pant leg on head like a hat][SCENE_BREAK]Michael: See, this is a beautiful piece of material [rips otherpant leg in half] This could be used for all sorts of things.[SCENE_BREAK]Michael: Some sort of kerchief to keep my neck nice and comfortable.[SCENE_BREAK]Andy: Tuna. [rolls in chair to Jim's desk]Jim: Andy.Andy:Me likey the ice cream cake, okay? Fudgie the Whale.Jim: Not your birthday.Andy: Well, I'm just saying, you know, if you want to make people happy, namely me, you will have a Fudgie the Whale.Jim: Alright, I'll lookinto it, but the answer's no.Andy: Wow, OK, harsh. Just don't expect me to show up.Jim: Hey, Andy, I have some calls to make.Andy: Loud and clear. [rolls in chair back to desk]Jim: Alright. [Andy rolls back]Andy:Pizza rolls.Jim: OK, I'm gonna go into this office here [gets up and walks into Michael's office] to do some work. So I will be in here.Andy: Mushroom caps.[SCENE_BREAK]Michael: I am totally alone right now, with onlymy thoughts. I love it. I'm loving it. I can literally say anything I want. No one is gonna here me. [screams] Wish I could have gone with Ryan on that cool retreat! Jan has plastic boobs! I HAVE HEMORRHOIDS! Doesn'teven matter.[SCENE_BREAK]Dwight: Michael is a man of great depth and passion. I don't know what he's searching for out here. [pulls a nest from a tree] I hope he finds it. [picks up some bird eggs]Lunch.[SCENE_BREAK]Michael: Well it is a little chillier than I had thought, so I have fashioned my hat back into my pants. Several hours in, time for me to find some nourishment. Now, these woods are full ofcreatures that can sustain human life. Things like, uh, squirrels, nice juicy rabbit would be delicious.[SCENE_BREAK]Dwight: About two more minutes [cooking bird eggs].[SCENE_BREAK]Michael: I have made thisspear, with which I will impale my dinner. And it couldn't come a moment too soon because I have been without food for a good three hours or so. I'm startin' to feel it a little bit. Ohh... It's Creed's birthday. [singing]Happy Birthday to you. Happy Birthday to you. Happy Birthday to Creed. Happy Birthday to you. Happy birthday, buddy.[SCENE_BREAK]Meredith: What is Jim thinking? It's a birthday, so what if there's a lot ofthem?Kevin: Yeah, I work hard all day. I like knowing that there's going to be a break. Most days I just sit and wait for the break.Stanley: I took an extra shot of insulin in preparation for this cake today. If I don't havesome cake soon, I might die.Oscar: Why don't you just have an apple?Stanley: Why don't you mind your business?Creed: Listen, I figured this out. Jimmy had his birthday three weeks ago, so he doesn't care.Oscar:Probably went to his head.Creed: Yeah. [Jim enters room]Oscar: Hey, Jim.Jim: Hey guys, what're we talking about?Creed: Nothing! Nothing going on. We're talking about nothing. C'mon gang.[SCENE_BREAK]Michael:Well if you take a look at this, I tented my pants. I've made myself a nice pants tent shelter. And this little guy [pats a large tree trunk] may be Dunder Mifflin paper some day.[SCENE_BREAK]Dwight: Nothing to worryabout. Just using the scope. Safety is... [clicks rifle into safety mode] on.[SCENE_BREAK]Toby: [knocks] Hey Jim.Jim: Toby.Toby: Hey, I just got the word on the communal birthdays. Great idea.Jim: Oh, thanksman.Toby: Yeah...Jim: Is there anything --Toby: My birthday was two months ago.Jim: Oh, OK.Toby: There was no party.Jim: What?Toby: Well, it... there was. But Michael scheduled it for 4:58 on a Friday. You know,people sang in the parking lot.Jim: I remember that.Toby: I don't know, I just thought you could include me.Jim: Seriously?Toby: I just though you could add me. I don't see the harm in that.[SCENE_BREAK]Jim:Toby's great. He's great, but sometimes he can be a little bit much. [in Toby voice] I don't see the harm in that. Well, it's a cake Toby, so, c'mon.[SCENE_BREAK]Jim: OK. Yeah, you know what, we're just gonna throwyou in. Because more the merrier, right?Angela: No. No way. I am not a machine, Jim. You can't just change plans willy nilly and expect these little magic party elves to do your bidding. We already have devils food,peach cobbler, Fudgie the Whale, mushroom caps.Toby: I'm allergic to mushrooms.Jim: That's a bummer. OK, then we need to...[steps outside office] Hey everybody. Hi, how you doing? Can I have your attentionplease? 'Cause we have to talk about this birthday thing.Pam: [raises hand] Conference room?Jim: Yes, conference room in five minutes... No. No. We're gonna solve it right here. We're actually gonna talk about it outhere. So, who has problems with the birthday thing? [everyone raises hands] One, two, three, everybody. OK, so then we just shouldn't do it.Angela: What am I supposed to do with two cakes and a pie?'Kevin: Oh, I'lltake 'em.Creed: Well nobody's touching my cobbler.Phyllis: [raises hand] Hey, Michael. I mean Jim.[SCENE_BREAK]Jim: Yup, Phyllis called me Michael. And I will always and forever be haunted by thatfact.[SCENE_BREAK]Michael: Under this tree, I think I struck the mother load. Those [points camera to mushrooms] are nature's best mushrooms. Wild, and I have to say these little buggers are damn tasty as well.[puts them in mouth]Dwight: Stop! No, no Michael! Nooo! Nooo! [runs up to Michael and knocks him over] Nooo! Arghh. Get, get them out. [picks out mushrooms from Michael's mouth][SCENE_BREAK]Everybody:Happy Birthday to you. Happy Birthday to you. Happy Birthday [Michael joins in with high note] to Creed. Happy Birthday to you. [Creed blows up candles on pie]Michael: Yeah! [everybody clapping] Alright, skip aroundthe room. Skip around the room. We want -- OK, alright. Yeah, don't do that. You're gonna break something.[SCENE_BREAK]Michael: Man became civilized for a reason. He decided that he liked to have warmth, andclothing, and television, and hamburgers, and to walk upright, and to have a soft futon at the end of the day. He didn't want to have to struggle to survive. I don't need the woods. I have a nice wood desk. I don't needfresh air, because I have the freshest air around, A.C. And I don't need wide open spaces. Check it out. [shows off computer screen scenery] I can also make it the sky.[SCENE_BREAK]Michael: Hey, buddy.Jim:Hey.Michael: What up?Jim: Sure glad you're back.Michael: You are relieved.Jim: You have no idea.Michael: So what did I miss?Jim: Well, I tried to put all the birthdays together at once.Michael: Oh.Jim: So, terribleidea.Michael: Yeah, okay, I did that. Rookie mistake.Jim: You did do it?Michael: Uh huh. Yeah, just wait. Ten years, you'll figure it out.Jim: Well, I don't think I'll be here in ten years.Michael: That's what I said. That'swhat she said.Jim: That's what who said?Michael: I never know. I just say it. I say stuff like that, you know, to lighten the tension. When things sort of get hard.Jim: That's what she said.Michael: Hey! Nice. Reallygood. Bravo, my young ward."}
+{"doc_id":"doc_124","qid":"","text":"[Scene: Central Perk. Rachel is getting a cup of coffee as Joey and Phoebe enter and sit down.]Phoebe: Oh! Hey, Rach!Rachel: Hi! Hey, Happy Valentine's Day!Phoebe: Oh, you, too.Joey: Hey, so, uh, how's it goingliving over at Ross'?Rachel: It's good. Except he makes us watch the Discovery Channel all day long. Did you know that something really boring happened to someone really ugly in the Middle Ages? (to the waitresshanding her a cup of coffee) Oh, thank you. I'll see you guys later.Phoebe: Okay.Joey: Bye.(Rachel exits with coffee)Joey: There's one lucky to-go cup of coffee.Phoebe: (sighs) Honey, I wish you would get over her. Ihate seeing you like this. Is there anything I can do for you? Do you want to look down my top?Joey: Thanks. But maybe later.Phoebe: Oh, Gunther, can I get a scone?Gunther: (to Joey) You want anything?Joey: Youknow what I want? I want a lot of things! I want to be with the woman I love on Valentine's Day! And I want her to love me back! And I want just one moment of relief from the gut-wrenching pain of knowing that that'snever going to happen!Gunther: We have red bagels.Joey: Oh, okay.Opening Credits[Scene: Monica and Chandler's. Phoebe and Ross are sitting in the living room talking.]Phoebe: So, how does Mona feel about youand Rachel living together?Ross: Oh, I'm actually on my way to tell her right now. Yeah, she's been away all week visiting her parents, but she'll be cool. I mean, she's been so supportive. She-she even got the baby atiny T-shirt that says, 'Fossils are my friends.'Phoebe: Ugh. Come on, Mona, don't kiss ass.Ross: Uh, I'm going to take off.Phoebe: All right. Oh! Shoot! Oh shoot! Uh, Rachel wanted to see this tape!Ross: What isit?Phoebe: It's a video of my friend giving birth. Could you just bring it back to your apartment?Ross: All right. (reading the label) 'Candy and Cookie?'Phoebe: Yeah. Candy's the mother, Cookie's the daughter. Thefather's also Cookie. Why am I friends with these people?Monica: (entering with something behind her back) Phoebe, c'mere. I want to show you something in the bathroom.Phoebe: Oh, Monica, grow up!Ross: Hey,what's behind your back?Monica: Nothing. Just something I want to get Phoebe's opinion on for Valentine's Day.Ross: You don't want my opinion?Monica: Not really.Ross: Come on, I'm your older brother, askme!Monica: All right, big brother. (holds up two erm...revealing articles of clothing) Which of these do you think would make your little sister look hotter, so your best friend would want to do her?Ross: (quietly) The redone.[Scene: Joey and...wait...just Joey's. Joey is sitting at the counter eating a pizza.]Phoebe: (knocking and entering) Hey. Look, I know you've been really depressed lately, so I brought someone over to cheer youup. Right outside this door is a real, live, furry playmate.Joey: No, I'm not sleeping with your friend Jane again.(Phoebe goes into the hall and brings a dog inside!)Phoebe: He-hee!Joey: Hey! A dog! Hi! Who, you got toadmit, looks a lot like Jane.Phoebe: This is the happiest dog in the world. I borrowed him from my friend Wendy. Now, you can only keep him until he cheers you up. And he will cheer you up!Joey: Thanks so much,Pheebs! (to the dog) We are going to have so much fun, yes we are! (the dog sticks his head between Joey's legs) Oh! Not that kind of fun.[Scene: Monica and Chandler's. Chandler enters with a bouquet ofroses.]Chandler: Happy Valentine's!Monica: (from her bedroom) Okay! I'll be right out. I'm slipping into something a little less comfortable, and a little more slutty.Chandler: (picking up a video from the table) 'Candyand Cookie'. 'Candy and Cookie?' Monica got me p0rn?! Girl-on-girl p0rn?! She really must love me!! (Chandler runs over to the TV, puts the tape in, and sits down to enjoy some \"p0rn\")(A woman on TV breathshard)Man on TV: Yeah, just relax.Chandler: I love you, St. Valentine.(The woman groans, moans, grunts, and screams. Chandler's eyes get huge!)Chandler: Woah, woah, that's not pretty!Man on TV: Now,push!Woman on TV: Ow! Ow! Ooh! That hurts!Chandler: Worst p0rn ever! Worst p0rn ever! (Chandler starts to press buttons on the remote control, frantically.)Woman on TV: Ohhh! Make it stop!Chandler: I amtrying![Scene: Joey's. Joey is playing fetch with the dog.]Joey: Get the ball, ready? Get the ball, get the ball! (Joey pretends to throw it, but really doesn't, and the dog goes running off.) Well, you're cute, but you're nottoo smart!(The dog returns with a ball that looks exactly like the same one Joey has.)Joey: (looking at the ball the dog brought back) Did I just throw this?Rachel: (entering) Hi.Joey: Hi.Rachel: I accidentally packedthese with my stuff. (looks at the dog and gasps) Who is this?Joey: Oh, that's, uh, that's Phoebe's friend's dog. I don't know what his real name is, but I call him Mozzarella.Rachel: (talking with a higher voice, andpuckered lips...kind of like you do to a baby or...well...a puppy...it's hard to explain. Just use your imagination!) Oh, well, you are so cute! I wish I could play with you more, but I've got to go to work! I hope I stoptalking like this before my marketing meeting, yes I do. Yes I do. (still talking like that) Bye-bye, Joey. Oh, I seriously can't stop it. (exits)Joey: (to the dog) C'mere. Hey. C'mere. That's Rachel. She's the one who usedto live here. Might as well be honest with you-we love her. But we can't have her. I really miss her. Well, hey, you understand, right? You're a guy. (thinks about it and picks up the dog and looks) Well, you used tobe.[Scene: Monica and Chandler's. Chandler is sitting on the couch staring at the tape on the coffee table with his eyes huge and his mouth wide open.]Monica: (entering from her bedroom) So what do you think?(referring to her outfit)(Chandler glances up at Monica with his mouth still wide open and his eyes still huge)Monica: (to herself) I've still got it!Chandler: (pointing at the video) Why did you get me this?Monica: What isit?Chandler: It's yelling...bleeding...dilating. Oh, the dilating...Monica: Is this the video of the baby being born? Sweetie, this is Phoebe's. Why were you even watching it?Chandler: I thought...maybe...you got me p0rnfor Valentine's Day.Monica: Chandler, if you thought I was going to get you p0rn for Valentine's Day... (pulls a video out of a basket) you were right! Apparently, it's about a young girl who moves to the big city, youknow, in search of stardom, but ends up having s*x with a lot of guys! Yeah, it got four starts! (looks closer) Oh, wait a minute. Those aren't stars. Anyway, you want to take a look?Chandler: Well, I'm not really in asexy mood right now.Monica: Honey, what's going on?Chandler: Well, remember the first time we saw Jaws?Monica: Mm-hmm.Chandler: How long it took to go back in the water?Monica: Chandler, we can't let thistape wreck Valentine's Day!Chandler: You don't know. You didn't see it.Monica: Child-birth, it's a natural thing! It's beautiful.Chandler: Oh, beautiful? Really? Beautiful? You think this is beautiful? (picks up the remoteand presses a button, and he immediately makes a face that just looks like he's going to throw up!)Monica: Oh! Oh, my God! No wonder my mother hates me!Chandler: See, honey, there's-(puts his hand on herleg)Monica: Don't touch me![Scene: Central Perk. Ross is sitting on the couch reading a magazine as Mona enters.]Mona: Hi!Ross: Hey! (they hug) So, how was Atlantic City?Mona: Good.Ross: Yeah?Mona: I broughtyou back a present.Ross: Wha-? Oh, come on. You didn't have to-saltwater taffy?! (Mona laughs) Thanks! This is interesting. You know, most people think this is made with sea water, but it's actually made with, uh,salted fresh water. That's not interesting.Mona: I think it's interesting.Ross: I do too! I missed you!Mona: I missed you, too! So, how was your week?Ross: Oh, it was good! It was good. Actually, the baby startedkicking!Mona: How exciting!Ross: Yeah! I know! It was. Oh... the only sad thing is I wasn't around when it happened for the first time.Mona: Oh no.Ross: Yeah, I'm missing out on all this other stuff, too. So, Joeysuggested Rachel move in with me.Mona: (laughing) Yeah right!Ross: What?Mona: Joey cracks me up! It's like, 'Yeah, why don't you have your ex-wife move in with you? That wouldn't be awkward at all!' (she laughsagain)Ross: (not amused) Huh...uh-huh.Mona: Huh, could you imagine. I go away for a few days, and come back, and my boyfriend is living with some woman he got pregnant! (Mona laughs...yes...again!)(Ross fakelaughs, obviously not finding this funny, and he's starting to panic, so he shoves the whole saltwater taffy he's eating in his mouth)Mona: So, what'd you tell him?Ross: (with his mouth full) Just a second! (he fakelaughs, but turns his head and starts to break down)[SCENE_BREAK][Scene: Central Perk. Ross and Phoebe are sitting on the couch.]Phoebe: How could you not tell Mona that Rachel is living with you?Ross: I don'tknow, she seemed to think it was such a crazy idea! Um, plus, she, uh, she got me taffy!Phoebe: Taffy, really? I've never had any.Ross: Ever?!Phoebe: Well, I think my mother was too busy planning her suicide toprovide saltwater treats. (Ross hands her one) Thank you! So what, you're just never going to tell her?Ross: Oh, no, no, no, I will! I just want to butter her up, first! You know, I'm going to take her to an amazingValentine's dinner. Do all this romantic stuff, and then, just when she thinks I'm the best boyfriend in the world, then I'm going to tell her that my pregnant ex-girlfriend is living with me.Phoebe: If I haven't said itbefore: she's a lucky, lucky lady! So, where are you going to-what the mother of crap is up with this stuff? (Referring to the taffy, which she's been chewing this whole time.) Oh, God. Is it gum, is it food? What's thedeal? (she swallows it, finally) Oh, it's nice! May I try a pink one?[Scene: Joey's. Joey is laying on his recliner, depressed, and the dog is laying on the footrest.]Joey: So, between her and me being friends, and herhistory with Ross, it just isn't going to happen. It would be like you falling in love with a cat.Phoebe: (entering) Hey!Joey: Hey.Phoebe: Hey, buddy. How's my favorite dog, huh? How's my favorite dog? (the dog doesn'tmove) You're subdued. (to Joey) Did you give him a beer?Joey: No.Phoebe: Will you excuse us, we need to talk for a moment.Joey: Yeah, sure. Go ahead. (pause) Oh, me, right!(Joey follows Phoebe into thekitchen)Phoebe: He's miserable! What happened to him?Joey: Nothing. We just talked about stuff.Phoebe: What stuff?Joey: Rachel stuff.Phoebe: Oh...Joey, you bummed him out! This was the happiest dog in the world,and he spends half a day with you, and look at him!Joey: He's breathing!Phoebe: Okay, I'm going to take him back to Wendy's.Joey: No, no, no, no! He's fine! Look, look, look! (picks up the ball) Here's your ball! Getyour ball! Get your ball! (he throws the ball and it bounces right next to the dog) Get your ball! My God, what have I done to you, huh? I broke the dog! Pheebs, I broke the dog![Scene: Ross and...Rachel's...I guess Ihave to call it that now. Rachel is reading on the couch as Ross enters.]Ross: Well, I'm, uh, going to pick up Mona. What have you got going tonight?Rachel: Oh, I've got big Valentine's plans! I've got my Chinese foodon the way, and the rest of your saltwater taffy!Ross: Y'know, it's interesting! Most people think that's made with seawater, when in fact-Rachel: Ross, we actually watched the documentary together.(There is a knockon the door.)Rachel: Ooh! My Chinese food! Let me get my cash! (runs to her room to get her money)Ross: (opening the door to see Mona standing there) Mona? What are-hi! What are you doing here? I'm, um,supposed to pick you up!Mona: Change of plans, I made you a special Valentine's dinner! Surprise!Ross: (he makes some really weird noise hear that sounds kind of like...)Ayyyayyyy!Rachel: (entering) Oh, hey,Mona!Mona: Hi! Hi. Hi, Rachel! (to Ross) What's she doing here?Ross: I have no idea!Rachel: I'll be watching TV if anybody needs me. (exits to her room)Mona: Seriously, what is she doing?Ross: Uh...lately, she justlikes hanging out here.Mona: Why?Ross: I think she's lonely.Mona: Okay, but it's Valentine's Day!Ross: I know.Mona: Can't we just ask her to go?Ross: No, no. She's way to emotional. And by emotional I meancrazy.(Doorbell rings)Rachel: I'm not here! That's just my Chinese food!Mona: Oh, my God! She has food delivered here?Ross: Mm-hmm. She's-she's emotional, but, but ballsy.Rachel: You know what I'm going to do?I'm going to get in my sweats, and eat this in bed! (exits)Ross: And you thought she was going to be in our way! So, why don't you, uh, open the champagne, and I'll be right back. I've got a surprise for you.Mona: Yougot another ex-wife back there?Ross: (fakes a laugh) Please start drinking! (exits)Rachel: (entering) I'm just going to grab the phone.Mona: Oh, Rachel! Wait! Hey, I hope you don't take this the wrong way, but, but,um... what are you doing?Rachel: Oh, I'm sorry! Do you need the phone?Mona: No, no. Listen, Ross is too nice to say anything, but this is his apartment, and, and, we gotta have some boundaries, so why don't you goback to your place and give us some privacy?Rachel: (as Ross enters with a present) But, but, Mona, I live here.Ross: (handing Mona the present) Happy Valentine's Day! ...Or something to remember meby.[SCENE_BREAK][Scene: Monica and Chandler's. Monica and Chandler are sitting on the couch still staring at the screen.]Monica: How long has it been this time?Chandler: 90 seconds.Monica: That's better. 90seconds is a long time not to think about it...except all I did was think about it.Chandler: You know, it haunts me? Up 'til now, the worst thing I ever saw, was my father doing tequila shots off the naked houseboy. Afterthis, I would gladly make that my screensaver!Monica: Okay, well, we have to get past this! Why don't we get rid of the tape and pretend it never existed?Chandler: I can do that.Monica: Okay.(Chandler takes the tapeand sticks it under the chair cushion)Chandler: Okay. Now all we've got to do is get rid of this chair.(Chandler crawls over to Monica and they move in to kiss, but they can't do it and back up. They move in to kiss again,and kiss very awkwardly for a second, until someone knocks on the door.)Monica: Oh, thank God!Chandler: Oh, I know!Monica: Come in!Rachel: (entering) Hi! I'm so sorry to barge in on your Valentine's, but I had toget away from all the yelling. Mona is dumping Ross.Monica: Oh, my God.Chandler: Poor Ross.(Monica and Chandler both look at each other and run over to the window to watch the action in Ross' apartment)Chandler:Oh, great. We have to watch him do yoga in his underwear, but for this he closes the drapes!Monica: Rach, you know that birthing tape you wanted to see? It's here.Chandler: Oh, and we should warn you, before youwatch it: don't watch it.Rachel: Why? You saw it? Is it scary?Chandler: Well, let's just say it's ironic how footage of someone being born can make you want to kill yourself.Rachel: Well, now, wait. Now I'm all freakedout. Come on, you guys will watch it with me.Monica: No, but I will leave a sweater that smells like me right next to you!Rachel: C'mon, seriously, you guys, you're not going to make me watch this alone!Monica: She'sright...of course not. Honey, get the tape.Chandler: (with his arm all the way under the cushion, moving it around) This reminds me of a very specific part of the tape. (Chandler puts the tape in, and they all sit down)Okay, here we go.Rachel: Okay. (watching the tape) Ooh, my! (Rachel jumps when the woman starts screaming) Woah! Why is that baby torturing that woman?!Chandler: Why have I seen this thing threetimes?!Monica: It's...still beautiful.Rachel: Uh! It's horrible!Monica: I know! I know, I'm so sorry for you!Rachel: Oh, my God!(Monica and Rachel both cover their eyes)Chandler: Wait, you guys, look!Rachel: What? Didher ass explode?!Chandler: No, the baby's out! Look, look!Monica: Oh, look at those little fingers and toes!Chandler: And look how happy the mom is now!Monica: Oh...Rach!Rachel: Oh, screw you guys, you don't haveto do it![Scene: Central Perk. Ross is getting coffee as Joey comes from...God knows where! Some back area of Central Perk around the corner that we've never seen! Weeeiiirrrddd....]Ross: Hey, hey, man!Joey: Hey,what's up?Ross: Uh...Mona just dumped me.Joey: Oh, man, I'm sorry. Why?Ross: Well, with everything that's been going on lately, I haven't exactly been the perfect boyfriend. You know, I, uh, I didn't tell her I gotRachel pregnant. I gave her a key to my apartment, and then had the locks changed! And then I lied to her about Rachel moving in with me. In a way, I actually judge her for not breaking up with me sooner, youknow?Joey: Still, that really sucks, man. Especially on Valentine's Day.Ross: Yeah. Wait a minute. What are you doing here? Joey Tribbiani without a date on Valentine's Day? What's going on, huh? Girl trouble?Joey:Sort of.Ross: Really?!Joey: You don't have to seem so happy about it.Ross: Oh, sorry. Well, look, maybe I can help you with it.Joey: Oh, I...I d-Ross: Hey, whatever it is, I am sure it has happened to me. Y'know,actually once-once I got dumped during s*x.(Two girls sitting at a table next to them look up in disgust, and Ross and Joey move away)Ross: Anyway, so, uh, so what is it?Joey: Forget about it. It's no big deal.Ross:C'mon! Joey! What is it?Joey: It's nothing.Ross: Hey, hey, it's me. Why can't you tell me?Joey: Okay, uh...sit down. (they do) Um... there's this woman that I like. A lot. But, uh...it can't happen.Ross: She's not aTribbiani?Joey: No!Ross: I knew it. So, is she someone from work?Joey: Yes.Ross: Well, uh, does she like you?Joey: Sometimes I think maybe she could. But it doesn't matter, because I can't do anything about it.Ross:Why not?Joey: Well, it's complicated. She's with this other guy. For a long time. Someone from work, too. And I could never do that to the guy, because we're really good friends.Ross: So, uh, this guy, she used to goout with, is, uh... is he still in love with her?Joey: No. I don't think so.Ross: Okay. Um... is he a good guy?Joey: Yeah, he's the best.Ross: Then talk to him! He might be fine with it.Joey: Oh, I don't know.Ross: Joey, it'sworth finding out. I mean, if you really like her.Joey: I do! So much! I can't stop thinking about her! I can't sleep, I-Ross: Okay, Joey, you know what? You have to go for it. How often does this happen to you, huh? Youowe it to yourself.Gunther: (placing a cup in front of Ross) Here's your warm milk.Ross: I'm going to...uh...I'm going to, um, put the bourbon in it at home.Joey: Oh, yeah.Ross: Anyway... seriously, uh...just...just talkto the guy, okay? And tell me how it goes. (walks towards the door until...)Joey: It's Rachel.(Ross just stands in the doorway, for like a minute...Ahh! What's going to happen next??!!! I can't make it all the way throughthe Olympics!!!)Closing Credits[Scene: Ross and Rachel's. Rachel is standing in front of the TV holding a video.]Rachel: (thinking) You're going to have a baby, and you need to be prepared. Now, you're going to makeyourself watch the whole thing. Just do it! (Rachel puts the tape in the VCR)Woman on TV: I came to the big city to become a star! I'll do...anything to make that happen!Man on TV: Anything?(Music startsplaying...yes...you know what kind of music...)Rachel: (thinking) Hmm...maybe it starts with how she gets pregnant."}
+{"doc_id":"doc_125","qid":"","text":"[EXT. VARIOUS LAS VEGAS CITY (STOCK) - DAY](The temperature sign on the hotel shows that it's 109 degrees.)[XCU: BEE](A bee is in flight. It flies up to a woman on the sidewalk.)FLASHES OF VARIOUS PEOPLE ONTHE SIDEWALK.Rev. Alistair Rhodes: (V.O.) You may believe that you have to die before the judgment comes.(A one-legged man drops the bottle of liquor he's drinking from. The glass shatters on thesidewalk.)(Another man is sitting on the sidewalk, his back up against the wall. He's stoned.)Rev. Alistair Rhodes: (V.O.) But I say the fire is not around the corner.(A man with the left side of his face beaten makes hisway past the church.)(The church bells chime.)[INT. CHURCH - DAY]Rev. Alistair Rhodes: (V.O.) The fire is not a-waitin'.(The congregation sits in the pews, listening to the reverend.)Rev. Alistair Rhodes: (V.O.) The fireis not a-wantin'. The fire has already come.[EXT. BUILDING - DAY](A woman stands on her fire escape as she fans herself in the heat.)(Down below, the man with the left side of his face beaten makes his way past herbuilding. He's holding a plastic bag.)Rev. Alistair Rhodes: (V.O.) As we mortals drink, gamble and fornicate our way through this world, --[INT. CHURCH - DAY]Rev. Alistair Rhodes: -- death to Hell's bells thundering toll.The clock of damnations already struck midnight.[CU: BEE](The bee bumps into the window, falls to the ground and dies.)Rev. Alistair Rhodes: We gonna die. Stick a fork in the ass of the human race and turn us overon Satan's spit because we all are not going to Hell,FLASH TO:[EXT. SIDEWALK - DAY](The man with the left side of his face beaten staggers along the sidewalk and stops.)Rev. Alistair Rhodes: Surely as we stand inLas Vegas, Nevada.(He falls to his kneels near the rubbish along the wall. He falls backwards onto some garbage bags and passes out.)Rev. Alistair Rhodes: I say we are in Hell. Now.FLASH TO:[EXT. STREET -NIGHT](Someone steps on the dead bee. Officer cars are lined at the end of the alley, their lights flashing. Catherine and Warrick carry their kits.)Catherine: Why are we parking in an alley two blocks from the crimescene?Warrick: You know sanitation's flushing out a sewer line. We don't want to block their trucks.(Warrick sees the body on the garbage bags, a newspaper covering the man's face.)Warrick: Whoa, what we got here?Hey, guy! Hey!(Warrick moves the newspaper and sees the man's eyes clouded white.)Warrick: We've got a male DB.Catherine: Call it in. You got it, Mitch?Officer Mitchell: I'll tape the scene.(Catherine and Warrickleave Officer Mitchell with the dead body and they continue their way to their crime scene.)[EXT. RANCHO CENTER MOTEL -- NIGHT](They enter the motel parking lot. Officers are on the grounds. Catherine and Warrickmake their way to the room. They pass by a man and woman on the steps. In one of the rooms, a man and a woman are on the bed. They continue toward the scene.)(The officer removes the tape across the door andthey walk inside.)[INT. RANCHO CENTER MOTEL ROOM - CONTINUING](Grissom is in the room waiting for them. There's a dead body on the floor at the foot of the bed. On the bed is a second dead body of the woman,her arms and legs tied spread-eagled to the bedposts.)Grissom: The man was shot execution style--22 to the back of the head.(Warrick kneels and looks at the blood-soaked carpet under the man's head.)(They look atthe woman on the bed.)Grissom: Woman was shot as well, bound and gagged. The guests next door complained about the noise, manager finally called the point. Unis found this.(Catherine looks around.)Catherine: Idon't see any luggage. Wedding rings still on the fingers. Probably rules out robbery, but not infidelity. One gets to watch the other one die?(Quick flashback to: The man and the woman are both alive. The man is at thebase of the bed, kneeling on the floor while the woman is tied to the bed. Someone shoots the man in the back of the head while the woman watches. End flashback.)(There's a bullet casing on the floor near evidencemarker 1. Warrick picks up the casing and looks at it.)Warrick: Maybe someone was trying to teach them a lesson.Grissom: Did you guys happen to see the Fitzgerald's thermometer on your way over?Warrick: Ohyeah, 109. Hot as hell.Catherine: Anything under 110 is manageable. Above that, crime rate goes way up.(A police siren wails nearby.)Grissom: Sounds like it's getting hotter.SMASH TO END OF TEASER ROLL TITLECREDITS[SCENE_BREAK][EXT. RANCHO CENTER MOTEL (STOCK) -- NIGHT](A police car turns into the alley behind the motel. Officers are looking in the pool. Warrick is at the trash bin. He jumps inside to sift throughthe garbage bags. He lifts up a bag and finds a bloodied shirt.)(He checks the shirt and notes the sleeves are clean and that there are no buttons at the cuffs. He checks the label and sees its ANTIQUE SHIRTINGS SEWNFOR 17 1/2-36.)[SCENE_BREAK][INT. RANCHO CENTER MOTEL ROOM - NIGHT](Grissom cuts the rope off the woman's wrist. He helps David Phillips turn the body)David Phillips: Well, there's no wallet or ID on this oneeither.(Grissom notices the bedspread.)Grissom: This looks like a wet spot.(Grissom looks at it under the ALS.8Grissom: Semen.David Phillips: There's no indication she was re-dressed. It doesn't look like sexualassault.(David takes his clipboard and goes to the second body. Catherine walks up to the bed.)Catherine: So ... middle-class couple ...(She notes the BURGER GIANT cup and packaging in the trash bin.)Catherine: ...takes a walk on the wild side, checks into this dump for ... some fine dining and romance. Somebody breaks in, kills the man, and tortures the woman. For what?David Phillips: Maybe it's a drug thing.Catherine: Well,wouldn't be the first time some nice folks from Henderson came east of Fremont to score.Grissom: Did you find any drug residue or paraphernalia?Catherine: Not yet. Maybe Tox'll find it in them.(Grissom looks downand sees a white Bible under the bed partially hidden by the covers. He picks it up and looks at it. He checks the bedside table drawer and finds the standard Bible in it.)(He shows Catherine both Bibles.)Grissom: Wehave one too many Bibles.Catherine: I don't think they helped.[SCENE_BREAK][EXT. RANCHO CENTER MOTEL - PARKING LOT - NIGHT](Brass interviews the motel night manager.)Brass: So you didn't hear or seeanything suspicious?Night Manager: This job -- you kidding me? That's all I see and all I hear.Brass: Is that the register? Give it to me, give it to me.(The night manager gives the clipboard to Brass.)Night Manager: Oh.Room 106. Paid for the week, cash in advance, signed 'em in myself.Brass: We got a problem.Night Manager: What's the problem?Brass: Your handwriting sucks. What the hell does this say?Night Manager: Oh ... uh ...oh, that. That's the name here and that's, that's a, well, that's an \"A.\" Uh ... and the license plate ... uh ... that's an \"N\" and -- oh-- that's a \"V.\" That's \"Nevada.\"(He shows the form to Brass.)Brass: (duh) Youthink?[SCENE_BREAK][EXT. LAS VEGAS CITY (STOCK) - DAWN][INT. ALLEYWAY -- DAY](CSI Ronnie Lake takes photos of the dead man found in the alley among the garbage bags while Sara looks at the bugs on it.Officer Mitchell stands nearby watching them.)Sara: Green bloat stage. He's been here at least 18 hours.Ronnie Lake: Do you ever wonder why ants don't crawl up the nose, eat the brains? I would. Protein.Sara: Antsare scavengers; they tend to stay on the surface.Ronnie Lake: You think dead skin tastes better than brains?Sara: Well, they will go for brains late in decomp, after all the skin is gone.Ronnie Lake: Do ants have tastebuds?Sara: Ronnie ... I'm going to have to limit you to twenty questions per case.Ronnie Lake: Really?Sara: (amused) Nineteen.Brass: (o.s.) Hey, Sara.(Sara gets up as Brass walks toward them.)Sara: Hey ...Jim.Brass: So ... enjoying the sunshine?Sara: Not really. (She turns to the body.) DB is a derelict. I'm kind of surprised to see you investigating this.Brass: Oh, I'm not working this. I'm working the double homicideover at the Rancho Center Motel. We're just doing a neighborhood sweep for suspects. (He sees Ronnie.) You're new. I'm Jim Brass.Ronnie Lake: Yeah. Ronnie Lake.(They shake hands.)Brass: Right. Ronnie Lake. LikeVeronica. You know, the actress? \"Sullivan's Travels\"?Ronnie Lake: I think that's my dad's favorite movie.(Sara smiles.)Brass: Right.Dispatcher (over radio): Two-zero-three-Charlie, Control. We have a few hookers whoused the motel. They're willing to talk.Brass: Yeah, 203-Charlie, I'm on my way. Got to run. Okay.Ronnie Lake: Bye.(Brass waves and leaves.)[SCENE_BREAK][INT. CSI - HALLWAY -- DAY](Mandy reports her findingsto Catherine as they move through the hallway.)Mandy: So I got a hit off of the print on the motel room's \"Do Not Disturb\" sign.(Catherine looks at the results.)Catherine: Drug dealer with priors for assault--nice.Mandy: Yes, well, don't get too excited because I got another hit off of the telephone-- pedophile-- and I got one off of the dresser-a rapist-- and another one off of the bed frame-- a prostitute, a pimp, and anotherprostitute.Catherine: Is that it?Mandy: For felonies, yes. You want misdemeanors, too?[SCENE_BREAK][INT. CSI - LAYOUT ROOM -- DAY](Wendy goes over her findings on the shirt with Warrick. The shirt and photos ofthe shirt are spread out on the table.)Wendy: So the blood on the shirt belongs to your victims. The high velocity spatter on the front is a mixture of both and the blood drops on the left sleeve appear to solely belong tothe woman.Warrick: Probably cast-off from the beating.Wendy: Now, the pattern on the sleeve has a straight line on the outside, and then a matching band of spatter on the inside. So the killer rolled up hissleeves?Warrick: He had a lot of work to do.Wendy: Speaking of which -- the wet spot. (She looks at the results.) The s*x stain was a male-female combo, both unknown, but the female shared alleles at all loci withboth of the victims. It's their daughter.Warrick: The parents weren't that old. The girl would be a teenager at most. So the killer caps Mom and Dad, rapes the girl, and takes her with him.(Catherine walks into the roomwith print information.)Catherine: If you've got a missing kid, I've got a pedophile.(Warrick looks at the information.)Warrick: Alistair Rhodes. Busted in August '94 for child molestation.Wendy: That's pre-CODIS, sothere's no DNA on file to match.Warrick: Alistair Rhodes. I remember this guy. He was a lounge singer, called himself \"Three Miles of Bad.\" It was all over the news.Catherine: Well, according to the sheet, he served fiveyears and made parole. A registered s*x offender. We know where he lives.[SCENE_BREAK][EXT. CHURCH - FRONT STEPS -- DAY](Rev. Alistair Rhodes talks with two kids sitting on the front steps. He offers them a bagof burgers. The kids take the food.)Rev. Alistair Rhodes: You think those are your fingers itching to pick up the spike? Your hands injecting your veins? \"Satan finds mischief still in idle hands.\"Brass: (o.s.) AlistairRhodes.(Brass and an officer walk up to him.)Alistair Rhodes: Most people around here just call me \"Reverend.\"Brass: (to the kids) Hey, why don't you guys go super-size those?(He offers the kids a bill. They take itand leave.)Brass: So, Reverend, I hear that confession is good for the soul. You have anything to tell me?Alistair Rhodes: The man you're looking for no longer exists. If you'll excuse me, I have some chores todo.(Alistair Rhodes turns and enters the small church. Brass follows him inside)[INT. CHURCH -- CONTINUING]Brass: You ever been to the Rancho Center Motel?Alistair Rhodes: Plenty of times--with hookers, addicts,drug dealers, pimps, wife beaters, runaways. I save people.Brass: You ever save these two?(Brass shows him the crime scene photo of the two bodies in the motel room. Alistair Rhodes is quiet.)Brass: You know them,don't you?Alistair Rhodes: There's nothing I can tell you.Brass: These people have a daughter, and she's missing. And due to the fact that you're a convicted s*x offender, that means that you better come up with a lotmore than these corny priestly homilies and you better come up with them fast.Alistair Rhodes: I don't answer to you. I want to talk to my lawyer.Brass: That's a good idea because you're underarrest.[SCENE_BREAK][INT. CSI - A/V LAB -- DAY](Warrick enters the A/V Lab where he finds Archie struggling with some equipment.)Warrick: Yo, Rambar, I have some documents to ...Archie: Sh ... piece ofjunk.(Archie puts the equipment down.)Warrick: Where's Rambar?Archie: Where all state employees go when they fail repeatedly.Warrick: FBI Lab?Archie: Sucking down taxpayer dollars in Quantico as we speak. Me, Ilike to think I'm broadening my horizons.Warrick: Yeah, along with your pay grade.Archie: Oh, happy coincidence indeed, sir. What you got here?(Warrick gives Archie the motel registration form.)Archie: Wow.Somebody needs to switch to decaf.Warrick: In there somewhere is a Nevada plate number and a name. Can you dig it out?Archie: I could try.(Archie puts the motel registration form on the scanner.)Warrick: The platenumber is \"something, something, something, D, seven, something, something.\"(Archie runs the plate number, * * * D 7 * *.)Archie: Okay, well, it's a fairly new model. The four letter, three number configuration hasonly been standard a couple years.(The computer beeps with 54,756 results.)Warrick: Ooh.Archie: Well, uh ... it's a start.Warrick: Well, can yoy cross-reference these records against the characters in the vic's lastname. It's \"M, A, blank, blank, blank, I, blank, blank.\"(Archie runs another search with, \"M A * * * I * *.\")(The computer beeps.)Warrick: Now that's a good start.[SCENE_BREAK][EXT. LAS VEGAS CITY (STOCK) -NIGHT](The lights go out in a section of the city.)[EXT. MACALINO RESIDENCE -- NIGHT](Warrick and Nick head up the front walk. An officer is behind them.)Warrick: Alvin and Girlie Macalino. Let's do it. This makeswhat, the third power outage since summer?Nick: Fourth, actually. If I didn't know any better, I'd say the city was trying to get rid of us. That's a hundred dollar fine right there.(He notes the sprinklers on in theyard.)(They approach the open front door. Nick and Warrick exchange looks.)Nick: That's not good.[INT. MACALINO RESIDENCE - NIGHT -- CONTINUING](Warrick opens the door.)Warrick: Las Vegas PD. Is anybodyhome?(He takes his gun out. Nick enters behind him. The officer follows them inside. They note the framed religious pictures on the wall and the cross on another wall.)(They enter in further and note the wooden crossdisplayed on the dining room table.)(Nick stops.)Nick: It smells metallic.(Nick takes his gun out. He turns to check the kitchen.)(Warrick continues through the living room. There are clothes on the chair and a whiteBible on the side table.(Nick sees a pot is on the lit gas stove. He turns the stove off.)(Nick also finds something fleshy and red on the counter.)Nick: Oh, man. What the hell is that?Warrick: That looks like balut. It's thisFilipino delicacy. My grandmother's best friend is from Manila.Nick: Bet it tastes like chicken.Warrick: The Macalinos must've been in quite a hurry to leave their dinner out like that.(Warrick and Nick start down thehallway. Nick checks the little girl's room. He finds the little girl in bed, a trickle of blood coming from her head. Warrick steps in after Nick.)Warrick: Oh ... so much for the daughter.[SCENE_BREAK]FADE IN;[INT.MACALINO RESIDENCE - ELIZABETH'S BEDROOM -- NIGHT](Warrick snaps photos of Elizabeth Macalino. When he finishes, David Phillips pulls the plastic sheet over her head. Some self-powering lights have been setup in the room.)David Phillips: No visible signs of sexual trauma ... if it's any consolation.Warrick: It's not.[INT. MACALINO RESIDENCE -MASTER BEDROOM -- NIGHT](Grissom finds BURGER GIANT cup on thefloor.)Grissom: Burger Giant to go. They were eating it at the motel and someone had it here.Greg: Possible connection?(Greg notes the padlock on the top drawer is open and dangling.)Greg: Hey, maybe we can addrobbery to the list.(Grissom walks over. Greg opens the drawer and finds a Wi-Fi card inside. He picks it up.)Greg: Wi-Fi card but no laptop.(Grissom notes the family photo on the dresser.)Grissom: Mom, dad ... andtwo girls.Greg: They have another daughter?(Grissom listens and in the silence he hears muffled buzzing. He looks up. Greg also noted the sounds.)Greg: Okay, so it's not just the ringing in my ears.(They walk over tothe ceiling hatch to the attic. Grissom motions with his head that Greg should open it.)(Greg pulls the ceiling hatch open and a ladder slides out. Grissom and Greg exchange looks. They both look up at the atticdoor.)[INT. MACALINO RESIDENCE - ATTIC -- CONTINUING](Grissom climbs in. He looks around and sees that it's another bedroom. The muffled buzzing sounds are louder. Greg enters the attic. They both lookaround.)(There's a plate of half-eaten food on the floor and some food and a discarded potato chip package on the bedside table.)Greg: One girl gets My Little Pony, the other one ends up here.Grissom: That doesn'tseem fair, does it?(Grissom looks over at the overflowing dresser drawer. A bee buzzes across his face. He looks over at the source of the buzzing sounds and sees a bag and box covering the opening.)(He nudges a beewalking on the cooler bag. The bee flies away. Greg is snapping photos. Grissom moves the cooler bag away and looks at the hole in the wall.)Grissom: Greg? Do you have any allergies?Greg: No. Why?Grissom: Giveme a hand.(He moves the box away to expose the hole, then removes the insulation blocking the hole. More bees fly out.)(Grissom lies on his back and looks up into the hole. His eyes widen.)(PULL BACK on a colonyinside the attic walls.)[SCENE_BREAK][INT. POLICE DEPARTMENT - INTERVIEW ROOM - NIGHT](Brass questions Alistair Rhodes while his lawyer sits next to him.)Brass: The Macalinos had two daughters-- Amy andElizabeth. Elizabeth is dead, and Amy is missing.Lawyer: That is tragic, but it has nothing to do with my client.Brass: Your fingerprints were found at the motel where the Macalinos were murdered.Lawyer: My client hasalready explained that.Brass: You know, back before you were saving souls, when you were just molesting children, you had a partner ...Lawyer: Who died in prison eight years ago.Brass: We found male DNA on thebedsheets at the Rancho Center Motel. You got yourself a new partner, just like old times.(Quick flashback to: [MOTEL] Alistair Rhodes holds Amy down on the bed while his partner unbuckles and unzips his pants. Endof flashback.)Brass: Only, this time, the parents busted in on you. That was bad for you, but worse for them. And now that mom and dad are never going to come home, you get yourself a whole new playpen to party inand a new buddy to party with.Lawyer: The DNA at the motel -- was it my client's?Brass: No.Lawyer: Then why is he still in custody?(Brass sits down.)Brass: Because he's still lying. You're not an ordained minister.You're not a part of any recognized church. You got nothing to hide behind. So avoid the death penalty -- give us your partner, we get the girl, and you get ... redemption.Lawyer: Six years ago, I was an alcoholic and acrackhead. This man pulled me out of the gutter and saved my life. My firm is doing this pro bono. I guarantee he will not do another day in jail.Alistair Rhodes: My partner ... is the Lord.Brass: Well, I'm sure it's not HisDNA on those sheets.[SCENE_BREAK][INT. CSI - HALLWAY OUTSIDE FORENSIC AUTOPSY -- NIGHT](Bodies on gurneys line both walls. The doors open. Sara and Ronnie walk in.)Ronnie Lake: So anyway, when Igraduated I got offers from both the labs in New York and Miami. Know why I picked Vegas?Sara: I know you have nine questions left.Ronnie Lake: Crime rate's growing faster here.(Ronnie follows Sara into the autopsyroom.)[INT. CSI - FORENSIC AUTOPSY -- NIGHT](Sara snaps photos as Ronnie removes the shoe off the old man's foot. We see the size 7 sticker still stuck to the underside of the sock.)Ronnie Lake: All of his ... um ...valuables in a rubber-band wad. No ID.Sara: Check the shirt pocket.Ronnie Lake: I was getting there.(She finds the ID in the shirt pocket.)Ronnie Lake: Hah. Driver's license. Expired. Edward Kaye, born 1-28-51.Sara:New socks. Happy face sandwich wrapper. It's got to be handouts from a shelter. Make some calls. You get to ask some questions, Ronnie.[SCENE_BREAK][EXT. LAS VEGAS CITY (STOCK) - DAY][INT. RHODESRESIDENCE -- DAY](Nick and Warrick search Alistair Rhodes' place. They go through the bookshelves and the sheets on the bed.)Warrick: You know, if I had to gauge it by his apartment, I'd say that Alistair Rhodes is aregular guy.Nick: Yeah, I'm sure that's what he wants everybody to think, too.(Nick checks under the mattress. Warrick checks the closet. Nick opens the flip-down ironing board. Warrick checks the shirts in the"}
+{"doc_id":"doc_126","qid":"","text":"1: EXT. STREET IN LOP(TEGANA takes the phial of poison from his ally and stares at it.)TEGANA: I will use it well...on all but the first of Marco Polo's water gourds, for tomorrow, the caravan sets out to cross the GobiDesert. Now, you will follow us...and on the third night, I will walk back to you...then we're gonna ride back here to Lop, wait for two days...and then...return to the caravan...to collect the...thing of magic...that willbring the mighty Kublai Khan to his knees![SCENE_BREAK]2: MARCO POLO'S JOURNAL(The map illustrates the next stage of the journey of MARCO POLO'S caravan.)[SCENE_BREAK](Again, POLO writes and narrateshis journal. His words are illustrated by the image of the TARDIS once more on the back of a horse-drawn wagon with attendant Mongol bearers.)MARCO POLO: (OOV.) I have taken charge of the travellers' unusualcaravan, and set out into the Gobi Desert. The journey across this vast ocean of sand is slow and hazardous. To make matters worse, the old Doctor continually shows his disapproval of my action by being both difficultand bad-tempered. For three days now, during which time we have covered no more than thirty miles, I have had to endure his insults.[SCENE_BREAK]3: EXT. GOBI DESERT (NIGHT)(The tent has been erected on thesands of the desert.)[SCENE_BREAK]4: INT. MAIN TENT (NIGHT)(Inside the main tent, IAN and BARBARA are with MARCO POLO and TEGANA. SUSAN sits quietly nearby. The three people from the TARDIS are nolonger in their own clothes but, not allowed access to the TARDIS, wear Chinese clothes. SUSAN wears a two-piece robe which reaches down to the floor, the upper part of which has flower decorations, while IAN wearsa jacket which is decorated in Chinese letters. BARBARA'S top is plainer in style. The DOCTOR is absent from the meal which they have just finished. PING-CHO, again carrying out her serving duties, pours some waterfor IAN.)IAN: Thank you, Ping-Cho.(He drinks.)IAN: How much water does a caravan like this use crossing the Gobi Desert, Marco?MARCO POLO: We will use one barrel every five days, Ian. I have allowed for eightgourds to carry us across to the other side.TEGANA: The bones of many men who thought they had enough lie bleached in the desert sand.(He holds up his bowl to nervous PING-CHO and gives a curt order...)TEGANA:More.MARCO POLO: I think we should exercise some restraint, Tegana.(With some relief, PING-CHO moves off. POLO turns to an upset SUSAN.)MARCO POLO: I'm sorry the Doctor wouldn't eat with us thisevening.SUSAN: Yes, so am I, Messr Marco.(Near to tears, she picks up the DOCTOR'S plate.)SUSAN: I'll take him his food.(SUSAN takes the plate behind a partition into the DOCTOR'S section of the tent. MARCO POLObrings out a chessboard from one of his travel bags.)MARCO POLO: A game of chess, Ian?IAN: Oh, well I'm not very good, but I'll give you a game.MARCO POLO: I gladly accept your challenge.(MARCO POLO sets upthe chessboard. BARBARA is intrigued by the intricately carved wooden pieces.)BARBARA: What magnificent pieces!MARCO POLO: Yes, I purchased them in Hormuz, on my first journey to Cathay. Now they go with meeverywhere. Do you, er, play...?(At that moment, SUSAN, still upset, returns with the untouched plate...)SUSAN: I'm sorry, Messr. Marco...(She suddenly starts to rush from the tent. BARBARA watches her go butbefore she can do anything, TEGANA, seemingly oblivious to what has happened, speaks to BARBARA with unusual courtesy...)TEGANA: Do you play chess, lady?BARBARA: Not very well, Tegana.(BARBARA, concernedwith SUSAN'S sudden departure, decides to follow the girl.)BARBARA: Excuse me.(She walks from the tent. IAN and MARCO POLO prepare for their game of chess. TEGANA watches them with interest.)TEGANA: I find ita fascinating game of...strategy of war. Two equally balanced armies deployed upon a field of battle, and each commander determined to be the one who cries \"Shahmat\".IAN: (Puzzled.) Shahmat?Checkmate?TEGANA: (Quietly.) It means the king is dead.[SCENE_BREAK]5: EXT. MAIN TENT (NIGHT)(BARBARA finds SUSAN standing outside the main tent. She is still clearly upset. There is a strong wind starting toblow.)BARBARA: We'll get the TARDIS back, Susan.SUSAN: Yes, but at Kublai Khan's Court, when it's too late.(She stares sadly up into the stars in the night sky.)SUSAN: We should be up there - another time, anothergalaxy.BARBARA: Oh, we'll think of something.SUSAN: How? Ian playing chess with Marco? Grandfather being rude and sulking by himself?BARBARA: Oh, I didn't know he's sulking, is he?SUSAN: Well, he won't eat. Hewon't even talk to me.BARBARA: Well, you know him better than I do. But I'd have said he was just feeling defenceless. He has a wonderful machine, capable of all sorts of miracles, and it's taken away from him by aman he calls a primitive. Look, TARDIS is the only home we have at the moment, and when we're in it, we feel safe and secure. But when we're out of it...(She looks out across the desert and sighs.)SUSAN: Will he talkto me? Confide in me?BARBARA: Oh, he's like a rubber ball. He'll come bouncing out of there soon full of ideas.(SUSAN stares back at the sky.)SUSAN: One day, we'll know all the mysteries of the skies...and we'll stopour wandering...BARBARA: Then you and I will say good-bye.SUSAN: (Surprised.) Hum? Oh, not yet. Not for a long time!BARBARA: Well, I think we should say goodnight anyway.SUSAN: Are you coming?BARBARA: No,not for the moment.SUSAN: Goodnight.(SUSAN runs back towards the main tent.)[SCENE_BREAK]6: INT. MAIN TENT (NIGHT)(SUSAN appears in the tent. The chess match is in progress and IAN, POLO and TEGANAstare intently at the board...)SUSAN: Ping-Cho?MARCO POLO: Shh! She's gone to bed.SUSAN: Oh, well...I'll go too then. Goodnight.IAN: Goodnight, Susan.MARCO POLO: Sleep well.(As SUSAN leaves to go to herroom, MARCO POLO turns back to the chessboard.)MARCO POLO: Now, what was I about to do? Ah yes...(He moves a piece.)IAN: Ouch![SCENE_BREAK]7: INT. TENT. PING-CHO AND SUSAN'S ROOM (NIGHT)(SUSANenters the room she shares with PING-CHO and sees that the young girl is not yet in bed but staring out of a side-flap in the tent.)SUSAN: Not asleep yet?PING-CHO: No, I was thinking.SUSAN: What about?PING-CHO:How peaceful it is in the desert.(SUSAN joins her and looks out.)[SCENE_BREAK]8: EXT. MAIN TENT (NIGHT)SUSAN: Oh, it's a lovely night!PING-CHO: The moon will rise later. That is the time to see the desert. It islike a great silver sea.SUSAN: (Almost to herself.) The metal seas of Venus...PING-CHO: Where?SUSAN: Oh, a long way from here. I've never seen a moonlit night. How long before the moon rises?PING-CHO: Two orthree hours. I'll call you then.[SCENE_BREAK]9: INT. MAIN TENT (NIGHT)(In the main tent, the sight of the Gobi Desert at night has also captivated BARBARA. She returns to the three men and their chessgame.)BARBARA: Night in the desert is very beautiful.MARCO POLO: Don't be deceived by it, Miss Wright. The desert is always dangerous.(IAN is concentrating on the chess game.)IAN: Like my Queen!(He moves apiece, still watched intently by TEGANA.)IAN: Check!TEGANA: Oh, Marco, can you save your King?MARCO POLO: I think so, Tegana.(MARCO POLO studies the board carefully before making a move.)MARCO POLO:Check.[SCENE_BREAK]10: EXT. MAIN TENT (NIGHT)(Later on that night, when the rest of the camp is silent, SUSAN and PING-CHO emerge through the flap from their room in the tent. The moon has risen, and the twogirls view the illuminated desert in amazement.)SUSAN: (In wonder.) Oh crazy! Hey, Ping-cho...!PING-CHO: Shh! The guard will hear you. (Puzzled.) Crazy?SUSAN: Hmm? It means I dig it. You know - likeit.PING-CHO: This language of yours is very strange.(At that moment, TEGANA emerges from the main tent. He has a brief conversation with one of the Mongol bearers, and then moves off into the desert.)PING-CHO:Tegana!SUSAN: Let's follow him.PING-CHO: He will be angry!SUSAN: You're not afraid?PING-CHO: No, I am not. Come.(They follow TEGANA into the desert.)[SCENE_BREAK]11: INT. MAIN TENT (NIGHT)(IAN andMARCO POLO are sleeping in the main area of the tent on makeshift beds. Outside, the sounds of the horses becoming restless can be heard. The whinnying of the horses eventually wakes MARCO POLO. He gets up andmoves to the doorway. IAN also wakes.)IAN: What is it, Marco?MARCO POLO: The horses are very restless.(IAN gets up and the two of them move outside as the horses whinny again.)[SCENE_BREAK]12: EXT. MAINTENT (NIGHT)(They peer across the desert.)MARCO POLO: There's a sandstorm coming, Ian.IAN: How do you know?MARCO POLO: Notice how still it is - as if everything were waiting.(There is another whinny.)MARCOPOLO: They sense it too.IAN: Will it be a bad one?MARCO POLO: Bad enough. I must attend to the horses.(He moves off.)[SCENE_BREAK]13: EXT. DESERT (NIGHT)(SUSAN and PING-CHO continue following TEGANAthrough the desert. They are finding it difficult to keep up with the pace TEGANA is setting over the high dunes and deep furrows of sand, and are beginning to lose the warlord.)SUSAN: He walks so quickly. Can you stillsee him?PING-CHO: Yes. There he is, over there.(PING-CHO points out into the desert. Suddenly, SUSAN sits on the ground in exhaustion.)SUSAN: Oh, let's give up.PING-CHO: Who is afraid now?SUSAN: No, I'm notafraid. It's...it's just that it's so hot. I can hardly breathe.PING-CHO: Yet it was most pleasant when we left the caravan.(SUSAN gets up.)SUSAN: Oh, come on, let's go back.PING-CHO: All right.(They start to clamberback over the dunes.)PING-CHO: Susan, listen!(SUSAN does so, and manages to hear the faint sounds of swirling wind. SUSAN suddenly sees something.)SUSAN: What's that?PING-CHO: Where?(SUSAN points towardsa hazy mist on the horizon as the wind starts to get louder.)SUSAN: That cloud on the horizon.(PING-CHO sees the ominous clouds of billowing sand.)PING-CHO: Susan, it's a sandstorm!SUSAN: What! It's coming thisway! Ping-Cho, we must get back before it reaches us!PING-CHO: No, the caravan is too far away!(SUSAN tries to drag her away.)SUSAN: (Shouts.) No, come on! We must get back. We can't stay here!PING-CHO:(Shouts.) No, we'll get caught in it - and we'll never find our way!SUSAN: (Shouts.) Ping-Cho, come on!PING-CHO: (Shouts.) No, we must shelter here.SUSAN: (Shouts.) No!(The wind begins to fiercely swirl aroundthem.)PING-CHO: (Shouts.)[SCENE_BREAK](The two girls hold on to each other as they are caught in the sandstorm.)SUSAN: (Shouts.) Ping-Cho![SCENE_BREAK]PING-CHO: (Shouts.)[SCENE_BREAK](Their cries andthe sound of the blasting wind mingles with the noise of the \"singing\" sands which manifests itself as a series of shrieks and babbles.)[SCENE_BREAK]14: INT. MAIN TENT (NIGHT)(Back at the main tent, BARBARA iswoken by the sounds of the approaching sandstorm, and appears from her section of the tent. IAN and MARCO are back inside. They have to shout to make themselves heard over the shrieks of the storm.)BARBARA:(Shouts.) Ian, what is it? What's happened?IAN: (Shouts.) Don't be afraid, Barbara. It's a sandstorm.BARBARA: (Shouts.) But the...IAN: (Shouts.) It sounds as if all the devils in hell were laughing!MARCO POLO:(Shouts.) It's the wind shifting the sand!BARBARA: (Shouts.) It's terrifying!MARCO POLO: Not always, Barbara. Sometimes it sounds like musical instruments being played - the clashing of drums and cymbals. I'veheard it sound like a great many people talking as they travelled across the desert. It can also be like a...like a familiar voice calling your name. You're not the only one to be afraid. Travellers of the Gobi Desert havegood reason to fear the singing sands, Barbara.(MARCO walks off. IAN looks towards the DOCTOR'S room in the tent.)IAN: (Shouts.) It's fantastic that the Doctor's still asleep!(MARCO rushes back.)MARCO POLO:Tegana's not here! His bed's empty!IAN: (Shouts.) What?!MARCO POLO: Has anyone seen him?IAN: Well, he can't be out in this!MARCO POLO: He must be!BARBARA: Well, what will happen to him?MARCO POLO: If hefinds shelter, he'll be all right!BARBARA: Well...well, can't we do anything?MARCO POLO: Nothing.(IAN and MARCO POLO listen helplessly as the sand swirls outside.)BARBARA: I think I'll see if the girls are allright...(She goes towards the girl's room.)[SCENE_BREAK]15: INT. TENT. PING-CHO AND SUSAN'S ROOM (NIGHT)(She sees that the room is empty.)BARBARA: Ping-Cho![SCENE_BREAK]16: INT. MAIN TENT(NIGHT)MARCO POLO: (To IAN.) Tegana's no fool. He can look after himself. Don't worry...(BARBARA runs back from the girl's room in a hysterical condition.)BARBARA: (Shouts.) They're gone...they're not there!IAN:(Shouts.) Gone?BARBARA: (Shouts.) Their beds are empty!(BARBARA rushes for the door. IAN and MARCO POLO hold her back and she struggles in their grasp.)IAN: (Shouts.) Wait!MARCO POLO: (Shouts.) No!IAN:(Shouts.) Barbara!MARCO POLO: (Shouts.) Barbara, you can't go out there!BARBARA: (Shouts.) Let go!MARCO POLO: (Shouts.) Barbara, you'll be lost in seconds!BARBARA: (Shouts.)[SCENE_BREAK]IAN: (Shouts.)Calm down, Barbara! Marco is right - there's nothing we can do!BARBARA: (Shouts.) The girls!IAN: (Shouts.) We must wait until the storm blows itself out!MARCO POLO: (Shouts.) There's nothing we can donow!(BARBARA rounds on POLO, sobbing.)BARBARA: (Shouts.) Oh, it's all your fault anyway! If you hadn't kept us prisoner here, none of this would have happened!(The babbling and shrieking of the storm reaches anew crescendo.)[SCENE_BREAK]17: EXT. DESERT (NIGHT)(SUSAN and PING-CHO huddle closer to one another as the sandstorm billows around them. SUSAN thinks she can hear her name being called with thechatters and shrieks. The voice she hears is deep and booming...)VOICE: Ssuuuuuussssaaaaaaaannnnnnnn!SUSAN: Ping-Cho, what's that?VOICE: Ssuuuuuussssaaaaaaaannnnnnnn!SUSAN: (Shouts.) There it isagain...It's Ian...I can hear him!(An insane monkey-like babble echoes through the storm.)VOICE: Ssuuuuuussssaaaaaaaannnnnnnn!SUSAN: (Shouts.) It's Ian!PING-CHO: (Shouts.) Susan, it isn't! It's the desert sayingit!SUSAN: (Shouts.) It is! It's Ian! Ian!(SUSAN pushes PING-CHO away and tries to scramble up a dune.)SUSAN: (Shouts.) Ian! Ian, we're here! Ian!(She suddenly sees a shadow looming over her from out of the sand.She screams...)[SCENE_BREAK]18: INT. MAIN TENT (NIGHT)(IAN waits impatiently for the storm to pass.)IAN: How soon can we go and look for them?MARCO POLO: Not until it's light.IAN: Let me go as soon as thestorm's over!MARCO POLO: Ian, you'd miss them in the dark. You must wait till it's light![SCENE_BREAK]19: EXT. DESERT (NIGHT)(SUSAN recognises the figure as TEGANA. The warlord looks down at the two coweringgirls.)[SCENE_BREAK]20: INT. MAIN TENT (NIGHT)(The storm has passed. IAN, BARBARA and MARCO POLO wait in the main tent. BARBARA is frantic with worry and impatience.)BARBARA: (Shouts.) We can't just goon sitting here!(IAN looks towards the DOCTOR'S room.)IAN: Shh! The Doctor's still asleep. We don't want him to know about the girls.MARCO POLO: Barbara, I give you my word that until we find the girls, we will notleave this place.(The group looks up, startled, as TEGANA, SUSAN and PING-CHO enter the tent. BARBARA jumps up and rushes to SUSAN.)BARBARA: Susan! Do you know you had us half-worried to death. Where'veyou been?SUSAN: (Quietly.) We went for a walk.BARBARA: A walk!MARCO POLO: (Furious.) Without asking me?! Don't you dare do that again! Do you understand? That also applies for you, Ping-Cho.SUSAN: I'm sorry,Messr Marco. Has...has Grandfather been very worried?IAN: Luckily for you, he's been asleep the whole time.MARCO POLO: And we don't want him to know anything about this.(He looks at the Mongol warlord.)MARCOPOLO: I'm surprised that you'd encourage such a venture, Tegana.TEGANA: (Surprised.) Ahh...they weren't with me! I found them - crouched behind a sand dune.MARCO POLO: (Puzzled.) You were alone?TEGANA:(Nonchalantly.) Ah, well, it was a pleasant night. I decided for a walk. I told the guard - he knew all about it.MARCO POLO: (Sternly.) In future, the guards will be told to notify me immediately if any of you wish to leavethe camp.(He looks at the bedraggled girls.)MARCO POLO: Now go and change, we have to break camp soon.SUSAN: Yes, Messr Marco.(SUSAN and PING-CHO walk off. BARBARA approaches MARCO POLO who isstarting to pack his things.)BARBARA: This has been a terrible experience for us all, Marco. Couldn't we spend one more night here?MARCO POLO: I'm sorry, Miss Wright.BARBARA: But surely one day can't make all thatmuch difference?MARCO POLO: One day without progress is one day's water wasted. And in the Gobi Desert, that could mean the difference between life and death.(Behind them, TEGANA walks back outsideunseen...)[SCENE_BREAK]21: EXT. MAIN TENT (NIGHT)(Outside, he removes the phial of poison from his pocket. He studies the poison carefully.)[SCENE_BREAK]22: MARCO POLO'S JOURNAL(MARCO POLO writes inhis journal. The map illustrates their place in the desert.)MARCO POLO: (OOV.) Progress today has been good, although we were all very tired after a sleepless night. How can I ever repay Tegana for saving Ping-Choand Susan? We covered fifteen miles before I gave the order to set up camp for the night.[SCENE_BREAK]23: INT. TENT: PING-CHO AND SUSAN'S ROOM (NIGHT)(SUSAN is frantically brushing her hair as PING-CHOenters.)PING-CHO: Susan! Susan!(SUSAN continues brushing.)SUSAN: I can't get this sand out of my hair.PING-CHO: Last night there were moments when I was sure I would never be here again.(PING-CHO settlesdown in her bed. SUSAN finishes her hair and lowers her voice...)SUSAN: Ping-Cho, did you believe Tegana last night, when he told Messr Marco about going for a walk?PING-CHO: Why not?SUSAN: Well, I don't thinkTegana's the kind of man who goes for a walk just because it's a nice night. I think he goes because he has a reason to go.PING-CHO: Susan, why would he lie to Messr Marco?SUSAN: I don't know!PING-CHO: He's animportant man - the special emissary of the great Mongol leader who has been at war with Kublai Khan. Tegana is to arrange a peaceful settlement between them. Would a man like that lie about walking in thedesert?SUSAN: No! No, he wouldn't. That's what's so strange...PING-CHO: What?SUSAN: The fact that he did.[SCENE_BREAK]24: INT. MAIN TENT (NIGHT)(In the main tent, TEGANA is polishing his sword, whileMARCO POLO writes in his journal.)TEGANA: What is that you do?MARCO POLO: I keep a journal.TEGANA: Why?MARCO POLO: Because it interests me.(MARCO POLO continues to write. Suddenly, TEGANA yells outPOLO'S name...)TEGANA: Marco!(...and lunges at MARCO POLO with his sword. POLO reacts quickly to parry the blow.)TEGANA: (Admiringly.) That's excellent, excellent! But it's better a man keeps the blade of hissword clean...than its edge sharp. You continue your writing, Marco. I'll see to the horses tonight.(He heads for the door.)TEGANA: I'll, er, I'll give the guard his instructions.MARCO POLO: No! Send him to me.(TEGANAhesitates.)MARCO POLO: Please.(TEGANA leaves.)[SCENE_BREAK]25: EXT. THE WATER WAGON (NIGHT)(Once outside the main tent, TEGANA walks towards the wagon containing the water gourds. There is a guardthere. TEGANA whistles and this draws the guard away. TEGANA then moves to the back of the wagon and stabs each gourd with his sword. The precious water splashes all over the ground.)[SCENE_BREAK]26: EXT.THE WATER WAGON(The next morning, IAN, MARCO POLO and BARBARA survey the damage caused to their water supply.)IAN: All of them, Marco?MARCO POLO: Yes, except for the one we're using.(They walk roundthe wagon and look over the gourds.)IAN: How much is there left?MARCO POLO: Without rationing, enough for today.IAN: And with rationing, how long will it last?MARCO POLO: Three - four days.BARBARA: Is thereenough to get us back to Lop?MARCO POLO: If we're very careful with it, yes.IAN: But who could have done it?MARCO POLO: Bandits, Ian.BARBARA: (Surprised.) Bandits? In the desert?MARCO POLO: Yes, this hashappened before, but not to me. The bandits follow a caravan out into the desert. Then one night, this happens. The caravan is forced to turn back. Then, when everyone is weak through lack of water, the banditsattack.IAN: So if we turn back, we're bound to be attacked.MARCO POLO: Yes.(TEGANA silently joins the group having heard this exchange.)TEGANA: Then we shall fight.IAN: There must be somewhere else we can go"}
+{"doc_id":"doc_127","qid":"","text":"ACT IScene 1 - KACL Frasier is finishing a segment.Frasier: And we'll be right back after this short news break. Gil enters.Gil: Frasier...I'm here to give you an advance tip.Frasier: Really?Roz enters from the booth.Roz:Hey, Gil.Gil: Roz! I'm about to review a divine new Italian trattoria I've discovered called \"Bella, Bella.\"Frasier: Ah-ha.Gil: I'm alerting you now because once I review it, reservations will be impossible to comeby.Frasier: Well, thank you, Gil, it's always gratifying to be a few minutes ahead of a trend.Gil: They make an osso bucco that's so divine I call it the \"Veal Shank Redemption.\"They give Gil a courtesy laugh. Kennyenters.Kenny: Hey, guys.Frasier: Hello, Kenny.Kenny: Show's going great, Frasier, uh, only one thing missing, of course...Frasier: I know, I know, a new theme song. I'm sorry, I just haven't gotten around to ityet.Kenny: Well, Mrs. Delafield's been hounding me on this. She really thinks each show having a theme song will help hook the listeners. Gil's got his.Gil: My first choice was \"Food, Glorious Food\" from the showOliver!Frasier: Ooh, that's a perfect match. Haute cuisine and a chorus of starving orphans.Gil: But then, a composer friend of mine came up with this little ditty for me [He sings:] Whether choosing a wine Or the bestplace to dine-- It's all a matter of taste (Yes, sir!) It's all a matter of taste!Kenny: Great, huh?Frasier politely nods. The tune is as lame as the lyrics.Gil: And the nicest thing is, he didn't take a penny for it!Frasier: Well,at least he has a conscience.He chuckles. Gil leaves, somewhat miffed.Frasier: You know, Kenny, I'm sorry for procrastinating this thing. I-I tell you, I'll get one as soon as I possibly can.Kenny: Well, you better comeup with something here. I'm sorry to be a hard-ass. It's the part of my job I hate the most, but I need this thing on my desk by Monday...ish.Kenny smiles and leaves.Frasier: You know, Roz - hearing Gil's little dittyputs me in mind that maybe we should just do - ah, an original song.Roz: Well, my new boyfriend Leon is in a band. He could write one for you.Frasier: Well, actually, I was thinking of composing it myself. I am notwithout musical ability, you know.Roz: Could you at least hire Leon to accompany you?Frasier: I take it he's desperate for work?Roz: Hasn't had a gig in months. Music is all he knows. He's not good at anything else -except in bed. It's what he does best.Frasier: Yeah. How long did it take you to find that out?Roz: [about the show] Ten seconds, Frasier.Frasier: Oh, longer than usual.She returns to her booth and he replaces hisheadphones.[SCENE_BREAK]Scene 2 - Frasier's apartment He opens the door to Niles.Niles: Frasier.Frasier: Oh, Niles. Oh, dear. We had dinner plans tonight, didn't we?Niles: Yes. Don't tell me you're canceling.Frasier:Well, I have to. I have a little project this evening.Niles: Oh. Would this have anything to do with this new theme song you promised your listeners?Frasier: As a matter of fact, it does. I've got to have something byMonday, and I thought I'd take advantage of a nice quiet evening at home.The loud sound of a vacuum is heard.Frasier: Oh. Daphne - Daphne! Would you please turn off that vacuum cleaner?Daphne enters with afancy steam cleaner.Daphne: It's not a vacuum cleaner. It's the \"Dirt Scourge 2000.\" A total cleansing system.Martin: [from his chair] Is it new?Daphne: Yeah. I got it this afternoon. You see, this water traps all of thedirt particles instead of recycling them back into the air. I got all that [indicating] from Dr. Crane's pillow.Niles examines the dirt.Martin: Ew.Niles: I've been begging you to switch to a more abrasive loofah.Daphne:Well, it would be the same for anyone. Dead skin, dust mites... that's what we're all sleeping on, only we don't know it.Martin: We do now. Geez.Martin rises and exits toward the kitchen.Daphne: This is the chance I'vebeen waiting for.She turns on the machine and begins to apply it to Martin's chair. The machine begins to audibly struggle, and the water in the tank immediately turns black and brackish. Niles and Frasier watch withconcern. She has barely started when it suddenly shorts out, sparks flying in an electrical explosion. When the smoke clears, Daphne walks back to the main part of the cleaner.Frasier: Well. Apparently the \"DirtScourge 2000\" is no match for the \"Dirt Pile 1957.\"Daphne: Well, this is going back. On the commercial they clean all the mud off a hippopotamus.[She exits.]Frasier: Well, at least now I can get down to work. Youknow, Niles, I'm sorry again about dinner, but can I buy you a sherry?Niles: Oh... thank you. About this theme song of yours... why don't you just use a standard?Frasier: Actually, I want to compose one myself. I'vealways had an affinity for music, and I've often wondered what I might achieve if I just rolled up my sleeves and gave it a try.Martin: [re-entering] Didn't you write some kind of musical back in prep school?Frasier: Yes,I did, Dad. Niles was in it. You know, the whole school came out humming my opening anthem.Niles: They went in humming it. It was Beethoven's Ninth Symphony note for note.Frasier: [over Niles] It was not.Niles: Itabsolutely was.Frasier: It was not at all.Niles: [singing to the tune of the \"Ode to Joy\" theme from the finale of Beethoven's Ninth:] We are valiant men of honor Wenching, brawling sons of...Frasier: All right, all right,well, I suppose I may have borrowed a Note or two as a launching pad.Niles: [moving to the third, contrasting phrase of the Beethoven theme] Prancing, leaping, laughing...Frasier: All right, point taken.Niles: Over hilland...Frasier: Stop it!Niles: I'm just teasing. Actually, it was a wonderful show. I was very proud to be acting in it.Frasier: You know, Niles, you were wonderful in it as well.Niles: Well, thank you, I thought so.Frasier:Mm-hmm.Niles: I often thought if I'd kept at it, I could have been a professional actor.Frasier: Ah, you see, we all have a road not taken, some unfinished business worth exploring.Martin: Yeah, I always wanted to be atoe dancer, but a bullet ended my dream.Frasier and Niles shake off the sarcasm.Niles: Well, Frasier, if you need any help with this, I'm right here.Frasier: Thank you, Niles. You know, I'd rather handle the composingchores myself, but I could use a sounding board.Niles: Fair enough, let's put our heads together.Frasier: All right.Niles: Figuratively speaking, of course. I saw what came out of your pillow.They head back toward thepiano.[SCENE_BREAK]A BRIDGE TOO FARScene 3 - Later that night Niles plunks out some notes on the piano. Frasier is standing.Niles: You know, I think this new bridge is the best thing you've written.Frasier:Really?Niles: Oh, absolutely.He sings to a jaunty tune, beginning with the notes he had plunked and accompanying himself:Niles: Claustrophobia Nymphomania He will probe ya He'll explain t'ya It's brilliant.Frasier: Youknow, it does have a Cole Porter-y, Stephen Sondheim-y flavor, doesn't it?Niles: Oh, absolutely. Sondheim-y would have killed to have written this.Frasier: You know what? I'm a little nervous. It just may be a bit tooconventional. Perhaps instead of a regular bridge, I could substitute it with a dramatic monologue spoken against a musical background.Niles: [after a beat] I like it.Frasier: Of course, I would have to hire anactor.Niles: Yes, I suppose you could squander a lot of money on some so- Called professional... someone who doesn't know a thing about psychiatry. [reaching] Who doesn't understand the whole Gestalt.Frasier: Ormaybe you could do it.Niles: I think so.Frasier laughs and taps him on the shoulder.Frasier: I will write you a speech that will challenge your entire histrionic range! This is so exciting! Let's play the chorus again.Martinenters from his bedroom.Martin: Hey, hey, Fras! I just got an idea for your little jingle. It came to me while I was brushing my teeth. [He sings:] What's new? I'm listenin' Feelin' blue? I'm listenin'... Cause, you know,that's what you say on your show. Feelin' sad, feelin' mad, feelin' glad, feelin' bad I'm listenin'!Daphne: [who has been seated at the dining table] Bravo! That's wonderful.Martin: Thanks, you know, it's catchy. That'swhat counts in a jingle.[N.B. Of interest: John Mahoney appeared on the Cheers episode \"Do Not Forsake Me, O My Postman\" as Sy Flembeck, a hapless jingle composer.]Frasier: [politely] Uh-huh, well, that's very, verynice, Dad, it's just that, well, you know, I did promise my listeners that I'd compose this myself. It's no fair cheating.Martin: Oh, well, it's not cheating, technically...Frasier: [cutting him off] Very good, Dad, very good,but thank you, and off you go.Martin: Okay, all right.He exits.Niles: Hey, um, Frasier, are you sure you want to modulate here? That may just complicate things.Frasier: Perhaps. You know, I'm just trying to make itinteresting. To my ear, there's still something lacking, some tiny ingredient that's missing. I'm not sure what.Scene 4 - DISSOLVE to a rehearsal hall, where a full orchestra is tuning their instruments. Frasier stands onthe conductor's podium.Frasier: [tapping his baton] All right, everyone. Let's try this again. We still have a few minutes before the choir gets here.He raises his baton and prepares to cue theopening.[SCENE_BREAK]END OF ACT IACT IIScene 5 - The rehearsal hall The choir has arrived.Frasier: Well, finally, the choir has deigned to join us.Director: Sorry, our bus broke down. We had to walk two miles to gethere.Frasier: Ah, then I suppose we can dispense with the breathing exercises I was going to recommend. Please, if you would. [indicating the choir's risers behind the orchestra] Off you go.Niles, who has been sittingin front of the orchestra, rises.Niles: Uh, Frasier... did you mean to cut paragraph five of my monologue?Frasier: Gosh, I might have, Niles. I've just been so busy. What was the gist?Niles: A lighthearted lampoon ofmental health care abuse.Frasier: Ah, yes, I did. I was afraid that some fussbudget might take offense at my jape about lobotomies.Niles: Well, I suppose it's best to play it safe, although I did Like the way youindicated manic depression with a slide whistle.Frasier laughs. Niles looks back at the orchestra.Niles: Do we really have to use so many musicians?Frasier: For the sound I want, yes.Niles: Whatever happened to theconcept of \"less is more\"?Frasier: Ah, but if less is more, just think of how much more \"more\" will be.Niles stares at him quizically.Frasier: You may be seated. Niles takes his seat.Frasier: Ladies and gentlemen, if I mayhave your attention, please, I'd like to take a few minutes to explain my artistic vision.Timpanist: Take as long as you want, we're all on the clock.Frasier: Point well taken, moving right along...Roz enters quickly withher boyfriend Leon.Roz: Frasier...I'm sorry we're late. We got stuck in traffic. Some stupid bus broke down. This is Leon.Leon looks like a starving folk-type musician, with long hair and a scruffy beard.Frasier: Ah, hello,Leon.Leon: Hey, Dr. Crane.Frasier: [shaking his hand] Lovely to meet you. Listen, why don't you help yourself to the refreshment table there. I need to have a few words with Roz.Leon moves away.Frasier: Roz, we'vegot a problem! In scoring this, I had to eliminate the guitar part.Roz: Well, put it back.Frasier: Well, I can't. I'm afraid another instrument might make Things sound cluttered... unless, of course, Leon can play thebagpipe.Roz: The bagpipe?Frasier: Yes! Our show deals with a whole range of human emotion from euphoria to despair, and nothing says despair so quickly as the skirl of a bagpipe.Roz: Nothing says \"Turn off theradio\" so quickly either. Isn't there something else he can play?Frasier: Well, uh... yes, yes! Actually, our triangle player called in with a touch of tinnitus. Here we are.Leon returns.Frasier: Leon, I have some good newsfor you. I had to eliminate the Guitar part, but I'm promoting you to first triangle.He hands him the triangle and its beater.Leon: Uh, I've never played one of these. It looks tricky. Frasier stares agape at Roz.Roz: I'llwork with him.Frasier: Yes, off you go.They move to the percussion section.Frasier: Well, then, now people, before we start, are there any questions?The principal violist raises her hand.Frasier: Yes, viola.Tiffany: Myname is Tiffany.Frasier: No, no no. I'm calling you by your instrument name, so as to avoid confusion.Tiffany: Oh, well I have a question about measure 34...Frasier: Ah... I thought you might. Yes, you see, I'veaccelerated the tempo there in order to depict the yearning of the superego. Very perceptive of you to spot that.Tiffany: No, I meant, are these eighth notes or what?Frasier: [miffed] Yes... eighth notes. Anyoneelse?The timpanist raises his hand.Frasier: Yes, timpani?Tiffany: You just answered my question.Frasier: Not Tiffany, timpani.Timpanist: What are we rehearsing this for? Are we going to record it?Frasier: Yes, actually,we are waiting for the final go-ahead from my station manager, and then we will be recording it, yes. Anyone else?Niles raises his hand.Frasier: Yes... actor.Niles: I'm just wondering how my monologue is going to beaudible over all these instruments.Frasier: Oh, that's a good point, Niles. [beat] You may be seated. [after Niles sits] It is imperative that everyone play [pianissimo] during the spoken portions - very, very softly. Thatapplies particularly to brass and timpani.Tiffany: Why me?Frasier: [incredulous at her dimness] To the drums, Tiffany.Martin and Daphne enter.Frasier: Oh, Dad, Daphne, I'm so glad you came! He embracesthem.Daphne: Oh, well, after all, it is the world premiere of your theme song.Frasier: Now, I don't have to search you two for any hidden recording devices, do I? The last thing I need is some bootleg CD's flooding themarketplace.Martin: Boy, you really got everything here!Frasier: Oh, it's not a time for stinting, Dad. I've got everything from the African rain stick to the Javanese tam-tam.Martin: [at the refreshment table] Are thetam-tams the long ones with the cream in the middle?Kenny enters.Frasier: Oh, Kenny, Kenny! I'm so glad you made it. Listen, I think you're in for a bit of a surprise.Kenny: Well, I gotta tell you, I don't surprise easily.[seeing the orchestra] Whoa!Frasier: Our little ensemble. Heh-heh.Kenny: So many musicians... all working on a weekend.Kenny checks his watch.Frasier: Now, listen, I realize that we are a bit over budget, and Ipromise, I will pick up the difference myself.Kenny sits.Frasier: All right. The time has come to unveil my magnum opus. Just Let me do a little fine-tuning on the opening fanfare.He moves to the podium.Frasier: Uh,brass, if you will please, in four, the first measure?Frasier beats out a preparatory measure in 4/4. The trumpets play a very conventional fanfare flawlessly.Frasier: Well, you see, that's fine as far as it goes, but thistime I want you to do it with a bit more... grandeur. With some majesty and a soupcon of awe.The trumpets play the fanfare exactly as before. Frasier turns to Kenny, Martin, Daphne, and Roz, who are seated behindhim.Frasier: There, you see. That's what good conducting can do. Kenny gets a puzzled, concerned, incredulous look on his face.Frasier: All right, everyone. The time we have been waiting for is at hand. And with asimple bow of thanks to the muse Calliope, let us begin. And...The four audience members exchange a look of incredulity, not knowing what to expect. The maestro raises his baton, and we hear his magnum opus.Heconducts a preparatory measure again, and the trumpets play the fanfare. This is followed by the strings, who settle into a conventional broadway-style vamp that doesn't seem to \"fit\" the preceding fanfare. After aharp glissando, the first chorus is then presented by three soloists and the choir.CHORUS 1Soloist 1: (tenor) Who can you turn to for prompt diagnosis?Soloist 2: (soprano) A fetish or fantasySoloist 3: (bass) s*x orpsychosisSoloist 1: No problem at all, let us handle your callChoir: (unison) On our show! On our show!Prominent drum beats accompany \"On our show!\" Martin exchanges a glance with Daphne and Roz.CHORUS2Soloist 2: Bring us your traumas, your latent neurosisSoloist 1: Erectile disfunction (the \"r\" prominently rolled)Soloist 3: Bed-wetting narcosisSoloist 1: There's no need for shame, you can use a false nameChoir:(unison) On our show! On our show!Frasier is delighted with the performance thus far. The orchestra now settles down to a suspenseful and quietly sustained chord. The musical material of the choruses is very clichédBroadway/Disney-style fare, so the suspenseful film-score background chords and the overly dramatic delivery of Niles's following monologue is extremely incongruous:Niles: [rising] Who dares enter the dark labyrinthof the human mind?A percussion player draws a string bow across a metal object, producing an unpleasant whining sound. The orchestra changes harmonies to a higher chord. Frasier marks time with dramatic batongestures as he prepares to cue the harmonic changes.Niles: What festering secrets are buried in the recesses of the subconscious?Another percussionist drags something across a gong, producing another unpleasantsound.Niles: Lurid images!Another harmonic shift upward comes with Niles's words, which are followed by the shaking of a circus-style rattle/whistle.Niles: Lewd desires!Yet another chord shift with Niles's line, followedby a slide whistle, which presumably illustrates the \"lewd desires.\"Niles: Guilty pleasures!A chord shift with Niles again, and a \"grunting\" sound from the orchestra.Niles: Strange compulsions!One more harmonic shiftwith Niles, followed by a dissonant trombone splat. Niles, startled, stares at the trombone player. The strings then play a quick rising transitional passage, leading to a suspenseful high note.Niles: The whole catalogueof human behavior from the aberrant to the monstrous lurks behind a locked door to which one man holds the key!A huge beat of the gong (tam-tam), which startles the others, Particularly Martin... and then a harpglissando leads us back seamlessly to the broadway-style chorus music. Niles sits, grinning broadly.CHORUS 3Soloist 1: (tenor) So if you are stymied to find a prognosisSoloist 2: (soprano)And ask yourself, just likeFreud:Soloist 3: (bass) \"Himmel, was los ist?\"Frasier is particularly delighted with the German line.Soloist 1: Stop scratching your head, let us cure it instead Daphne and Roz chuckle.Choir: (unison) On our show! Onour show!The little instrumental riff before \"On our show!\" is different in the three choruses. The following coda sounds as if it has been directly lifted from \"Supercalifragilisticexpialidocious\" from \"MaryPoppins.\"CODAChoir: (single note)Now here is the man to explain The tortured terrain of your brain The man who feels everyone's pain... Dr. Crane! Dr. Crane! Frasier Crane!!The choir finally harmonizes on the last\"Crane.\" Leon's triangle has been featured prominently in the last shouts of \"Dr. Crane.\" The final chord is drawn out in another broadway cliché, and after the cutoff, Leon provides a final triangle beat. Frasier lowershis baton, extremely proud of his opus.[N.B. The piece can be heard on the \"Frasier\" soundtrack CD.]Roz: [the only person applauding] Way to go, Leon!Daphne begins to applaud with hesitation. Martin is mystified.Kenny has an indescribable look of amazement and sits motionless.Frasier: Well, Kenny. What's your reaction?Kenny's facial expression remains frozen and he is motionless. Finally:Kenny: [hushed] Wow.Frasier: Takesyour breath away, doesn't it?Kenny: [again] Wow.Frasier: I thought as much, and in anticipation of your approval, I had the forethought to order in a little bubbly. Niles, if you would help me, please?Niles joins Frasierand they run toward a backstage room, delighted.Frasier: [to Niles] Oh, you were wonderful!Niles: Thank you, the trombone frightened me.They exit.[SCENE_BREAK]Kenny: [again, the same] Wow.Martin: Well thatwas sure something, wasn't it?Daphne: I'll say. Sort of like Gilbert and Sullivan - only frightening.Kenny: A little jingle, that's all we wanted. Yeah, ten seconds to start the show.Roz: [trying to mediate] Well, maybeFrasier can cut this down...Kenny: [cutting her off] He gives me harps and drums and... people speaking German. All we wanted was a simple little jingle.Martin rises and gets some refreshments.Daphne: Probablymore like the one you came up with. Tell him yours, Mr. Crane.Martin: No, no, no, it was nothing. I can't even remember how it goes.Daphne: Well, I do. [singing:] How are you? I'm listen...Martin: No, it doesn't go likethat.Kenny: Well, then you sing it, Mr. Crane.Martin: Well, all right... but it's really nothing.He moves in front of them and sings his jingle:Martin: What's new? I'm listenin' Feelin' blue? I'm listenin'... Feelin' sad, feelin'mad, feelin' bad, feelin' glad I'm listenin'!Kenny: That's exactly the kind of thing we're looking for!Frasier and Niles re-enter over Kenny's speech.Kenny: You know, it sets the mood, it - it says it all. Did that just popinto your head?Frasier: [coming up behind him and handing him a glass] Hardly. It was gut-wrenching, but you know, it's nice to know that I made it look easy.He continues to hand out glasses of champagne.Kenny:"}
+{"doc_id":"doc_128","qid":"","text":"Act 1 Scene 1 - An Airliner[Fade in. Lilith is sitting in first class reading a magazine. The man next to her (Albert) glances nervously at the window, then reaches across her to close the shade.]Albert: Sorry. I'm anervous flyer.Lilith: Yes, I see. Oh, you're white as a sheet.Albert: No, actually, I'm always this pale. My ex-wife used to say she could tell when I was embarrassed because I'd turn off-white.Lilith: I can empathize.Sometimes after a late night, I covered my under-eye circles with Liquid Paper. So are you traveling to Seattle for business or pleasure?Albert: Both, hopefully. I'm relocating for work. How about you?Lilith: I need toask an old friend for a favor.Albert: It's a long trip just to ask for a favor.Lilith: It's a big favor.Albert: Well I hope your friend complies.Lilith: It'll take some work, but I'll get what I want.[A flight attendant comesup.]Attendant: Oh, dear, you two look awfully pale. Can I bring you something?Lilith: Not unless you have any extra melanin lying around.[She leaves as Albert laughs.]Albert: You should be a comedian.Lilith: I'vethought about it.[She goes back to her reading. Fade out.]Scene 2 - Frasier's Apartment[Fade in. Martin is walking from the kitchen to his chair. When he hears keys in the door, he sets his beer down and hurriestowards the bedroom. The door opens and Frasier comes in.]Frasier: Dad? Dad, Dad! What? Are you hiding?Martin: I heard the key in the door, I thought Lilith might be with you. What's she coming for anyway?Frasier:Well, I don't really know. She said she was flying across the country to ask me about something that was important. She's being very mysterious about it.[He hangs up his coat as the doorbell rings.]Martin: Is thather?Frasier: Well, no. No, Dad, I'm not seeing her until tomorrow.Martin: Well, let me know when she's coming, will you, so I can come up with an excuse to clear out. Because I'm not good at winging it.[Frasier opensthe door. It is Lilith.]Frasier: Oh, Lilith. Hi. Look who's here, Dad.Lilith: Hello, Martin.[Martin smiles nervously, then glances at his watch.]Martin: Oh, time to go... practice my signature.[He heads for thebedrooms.]Frasier: Please, come on in, Lilith. So, I didn't think I was going to be seeing you 'til tomorrow.Lilith: Yes, I know that was the plan, but I just had to stop by on my way to the hotel. What I'm here to talk toyou about is not something one just drops on another person. [gesturing for him to sit] Please.[He sits down.]Lilith: [sitting beside him] Frasier, recently a subconscious yearning has tunneled its way to the surface andI now know what it is I need in order to make my life complete.Frasier: Well, that's wonderful news. How can I help?Lilith: You can give me your sperm.Frasier: I beg your pardon?Lilith: I want to have anotherbaby.Frasier: Well, you certainly don't need me for that. Surely... someone in Boston must have sperm.Lilith: I came to you first so that Frederick could have a full sibling.Frasier: So, just like that we're going to haveanother baby together.Lilith: No, not just like that. I mapped out our dominant and recessive traits on a genome square, applied Mendel's laws, allowed for anomalies and concluded that you are the best biologicalchoice.Frasier: I see. Well, as enticed as I am by your honeyed words, I'm gonna need some kissin'.Lilith: Frasier, don't misunderstand, I'm not proposing any change in our relationship.Frasier: Would we... sleeptogether?Lilith: I thought we'd freeze your sperm.Frasier: Is that a \"yes\" or a \"no\"?Lilith: Natural fertilization is impractical. I'd have to fly to Seattle every time I ovulate.Frasier: [getting up] Right, okay. So, then yourplan is for me to visit some local doctor, freeze my essence and then bring it home with you.Lilith: Correct. I'll take mine to go.[Frasier sits on the arm of Martin's chair.]Frasier: I don't know. I'm going to have to thinkabout it.Lilith: [rising] Yes, of course, absolutely. Think about it, and you can give me your answer tomorrow.[She heads for the door, Frasier follows.]Frasier: Okay.Lilith: You can come back from around the cornernow, Martin.Martin: [from around the corner] Good night, Lilith.Lilith: Good night.[She leaves.]Frasier: You were eavesdropping?[Martin comes into the living room.]Martin: It was an accident and I only heard the partabout her wanting to have another baby with you.Frasier: She completely threw me.[Martin settles into his chair.]Martin: Well, I don't know why you're so surprised. She's seen what the Crane genes can do and she'scoming back to the well.Frasier: How does one respond to something like that?Martin: Well, I bet if you say \"No\" she'll go to Niles.Frasier: Really, it's just so self-centered. I mean, she's got this all figured out for herselfwithout the slightest consideration for my life.Martin: And Niles'll say \"No\" for sure. Which means only one thing. [He gets a worried look.] She'll come to the source. Me. The fountainhead.Frasier: What?Martin: Can youimagine? Lilith's and my kid would be brother to you and Niles AND Freddie.Frasier: What are you talking about?Martin: And if you and Lilith got back together, you'd be his step-father and his brother and Niles wouldbe your son and his own uncle. It's almost worth doing just so that I can tell the story.[Frasier just waves this off as he heads to his room. Fade out.]Scene 3 - Cafe Nervosa[Fade in. Frasier is sitting at a table. Nileswalks in.]Frasier: Oh, hi, Niles. Did Daphne and her mom get off okay?Niles: [sitting down] Yes. They picked up Roz and Alice an hour ago. Although, how they're going to get all the way to Canada without killing eachother, I don't know.Frasier: Why did they have to go so far?Niles: Well, that was my idea. I read that Canadian Fun Country is one of the best amusement parks in southeastern British Columbia.Frasier: Well, I'm justsaying Daphne's mom should be careful, you know. If you're here on a temporary visa, you know sometimes people have a hard time getting back into the country.Niles: [deadpan] That hadn't occurred to me,Frasier.[N.B. Niles no doubt recalls the family trip in [1.21.], \"Travels With Martin,\" in which the Cranes strayed over the border before Daphne's green card had come through, and they had to smuggle her back posingas an American.]Frasier: Well, seeing as how you're single, I'd invite you to join me for dinner, but I'm meeting with Lilith tonight on a matter of some delicacy.Niles: Dad told me. Now listen, don't feel obligatedbecause she's buying you dinner.Frasier: Truth be told, Niles, I hadn't ruled it out entirely. It would be nice to have another child. And Lilith is a wonderful mother. It's just that, well, is it right to create a human beingwith a woman to whom you couldn't stand being married?Niles: Well, I'm behind you whatever decision you make, the right one or the crazy one.Frasier: Thank you.[Niles calls out to the passing Barista.]Niles: Excuseme, may I have an espresso?[The waiter nods and heads off. Frasier notices an envelope Niles brought in.]Frasier: What have you got here?Niles: Oh, some snapshots from last summer at the beach. Daphne finally gotthem developed.[He shows them to Frasier who starts chuckling.]Frasier: Oh, there's Dad eating that hot dog he dropped in the sand. And you, in your linen beach ensemble.Niles: Very nice, yes. Well that's strange.Daphne said I'd particularly like the last picture on the roll but what is it?Frasier: It's hard to tell, it's too dark and blurry.Niles: Looks like the eye of Jupiter.Frasier: Or a slice of pepperoniNiles: Is it a flyingsaucer?Frasier: Yes, Niles, it's a flying saucer. Mystery solved, well done.[The Barista brings Niles's coffee over and sees the photo.]Barista: Hey, where'd you get the nipple shot?Frasier: Good lord![Frasier and Nileslook again in shock, then Niles clutches the photo to his chest.]Niles: You are to erase that from your mind.Frasier: Is it Daphne?Barista: Nice.Niles: You're not erasing! Erase![The Barista heads off as Niles points awarning finger at Frasier. Fade out.]Scene 4 - Daphne's Car[Fade in. Daphne is driving, with Roz next to her and Alice and Gertrude in the back.]Roz: I need to stop again.Daphne: We just stopped. I told you not to getthat Big Gulp.Roz: But it was only ten cents more.Alice: Punch buggy blue![She hits Gertrude on the arm.]Gertrude: Ow! Dammit!Daphne: Language!Gertrude: Why does she keep doing that?Roz: It's a game.Gertrude:It hurts.Daphne: All right, mum.Roz: There's a gas station right there, I really need to stop.Daphne: I can't get over, you'll have to wait.Roz: But according to this, my bladder is holding \"Thirsty-Two\" ounces ofsoda.Daphne: It's only forty miles.Alice: Punch buggy red.[She hits Gertrude on the arm.]Gertrude: Oh! Son of a...!Daphne: Language!Roz: Alice, honey. Stop hitting Mrs. Moon. She can't take the punch buggygame.Gertrude: Oh, really? Punch buggy white![She knuckles Roz on the shoulder.]Roz: Ow! It was a Jeep!Gertrude: I play the Jeeps. And Ford. Punch buggy Ford.[She whacks Roz on the head.]Roz: Ow![Roz turnsaround to get her back.]Daphne: All right, that's enough. You stop it or no one's going to Canadian Fun Country. And this time I mean it![They go for a minute in silence, then Gertrude screams and points, startlingscreams from everyone else.]Gertrude: I'm sorry. I thought you were on the wrong side of the road. I will never get used to the crazy way you drive over here.Daphne: Mum, you have to stop doing that.Roz: Daphne,you seem stressed. Do you want me to drive for a while?Daphne: Maybe once we get out of Seattle.[SCENE_BREAK]Scene 5 - A Restaurant[Fade in. Frasier and Lilith are sitting at a table looking over menus.]Lilith:Frasier, I don't want to rush you, but the suspense is too much to bear. Have you decided?Frasier: I'm thinking about the linguini.Lilith: I see. It's \"No,\" then, isn't it?Frasier: I'm sorry, Lilith. This was a very difficultdecision for me and I am touched and flattered that you came to me, but I'm not sure I'd be doing it for the right reason. You understand, don't you?Lilith: Yes, I do. And I appreciate your taking the time to think aboutit. It's that kind of consideration I was hoping to pass on to our second born. Oh, well. So, the pasta is good here?Frasier: Oh, the best.[She glances at the menu some more, then begins to quietly sing to the tune of the\"Ode to Joy\" chorus of Beethoven's 9th.]Lilith: My dad is the gweatest dad because he cooks me Cweam of Wheat...Frasier: [glaring at her] Lilith, what are you singing?Lilith: Was I singing?Frasier: You were singing\"My Dad Is the Gweatest Dad.\"Lilith: Oh, you mean that song Frederick wrote for you when he was four.Frasier: That video is one of my prized possessions. Of course I haven't looked at it in some time.Lilith: Iremember the night we surprised you with it. He crawled up in your lap and said \"Why is Daddy cwying?\"Frasier: I see what you're doing, you know.Lilith: What?Frasier: You are attempting to manipulate me byinvoking powerful emotional memories.Lilith: I assure you, nothing could be further from the truth.[A waiter comes up.]Waiter: Are you ready to order?Lilith: Yes. I'll have the basgetti and beatmalls.Waiter: Mmm. Verygood Miss.Lilith: That's what our son used to say when he was three.Waiter: Excellent.Frasier: And I'll have the veal.Waiter: Bravo, sir.[He takes the menus and heads away.]Frasier: Lilith, I'm afraid you're idealizingparenthood. Do you remember colic, teething, changing mountains of diapers?Lilith: Do you remember that time in the bath when he tried to eat the bubbles? We told him to stop, but we kept laughing so he thought itwas funny and kept doing it.Frasier: You know, I'd forgotten that. Oh, I wish we had that on video.[She grabs his hand.]Lilith: You can, Frasier. We can have those days back again. Please, I just need is a couple ofteaspoons.Frasier: Lilith!Lilith: Just think about what Frederick has meant in our lives.Frasier: I think about it every day.Lilith: Frasier, we're always seeking ways we can leave a legacy. Well, forget my research andyour work, this is it! What better gift can we bestow on the world but another person as wonderful as Frederick?[Frasier signals the waiter passing by.]Frasier: Excuse me, I've changed my mind. I've decided that I toowill have the basgetti and beatmalls.[Lilith looks up at him, grateful. Fade out.]End of Act 1[SCENE_BREAK]Act 2 Scene 1 - Cafe Nervosa[Fade in. Niles is sitting at a table, Frasier is getting juice at the counter.]Frasier:Thank you.[He comes over to join Niles]Frasier: Gosh, that coffee smells so good. Lilith won't let me have any caffeine until I've made my little donation.[He sits down.]Niles: Of course.Frasier: So, have you heard fromDaphne?Niles: No, we keep missing each other. I'm just glad I have our little... pictorial memento to keep me company.Frasier: I can't believe you're so taken with that blurry, over-exposed photo of a...Niles:Shh!!Frasier: Of what you first mistook to be a flying saucer!Niles: I just think it's sexy that she even did it. Just imagineit: she saw that there was one picture left on the roll, and in a spontaneous moment of brazenexhibitionism, she threw open her blouse and didn't even bother to adjust the f-stop. Yes indeed, I am married to one spicy meatball.[He opens his jacket and checks the picture.]Frasier: Good lord! Don't tell me youcarry it around with you.Niles: Well, I didn't want the housekeeper to find it and think we were pornographers.[Frasier just takes this in stride. Fade out.]SOME MAGAZINES, A SPECIMEN CUP,AND A RECORDINGOF\"TRISTAN UND ISOLDE\"Scene 2 - The Fertility Clinic[Fade in. Frasier and Lilith are checking in.]Nurse: Just fill out these forms and I can show you to one of our donation suites.[Fraser takes a clipboard and he andLilith sit. As he fills out the form, the man across from him glances up.]Man: Will this be your first?Frasier: No, I've been doing this since I was twelve.[Lilith kicks him gently.]Frasier: You mean baby. No, no, this is oursecond.Man: We've got number four on the way.Lilith: And we're thrilled for you, but perhaps we could chat some other time when we're not trying to create life. [to Frasier] Sign and date.Frasier: Right.[He finishes upthe form and Lilith takes it back to the window.]Man: This process can be hard on a relationship, but she'll relax and things'll get better.Frasier: We're already divorced.Man: Good, 'cause she'll never change.[The man'swife slaps him on the shoulder at this. Lilith comes back.]Lilith: Up and at 'em.[He gets up.]Nurse: Follow me, sir.[She leads him to a room.]Nurse: Just go in and make yourself comfortable. You'll find everything youneed in the cabinet.Frasier: Thank you.[He starts in, but Lilith stops him.]Lilith: Oh, wait Frasier. It probably doesn't matter, but try to think positive thoughts.Frasier: Thanks for that. I was going to think about theplight of the American Indian.Lilith: I'm just saying we should put the welfare of the sample first.[He goes into the room and closes the door. Lilith turns away, then turns back and taps on the door.]Frasier: [frominside] Yes?Lilith: And don't fall asleep afterwards, I want to get these puppies on ice ASAP.Frasier: Goodbye now.[She starts away, but turns back again, tapping on the door.]Lilith: Just a hint...Frasier: Lilith! If thereis ONE thing I can do BY MYSELF, this is it! Now go away.[She heads back to the seats.]Nurse: Right this way.[She leads the other couple off as Lilith sits down and dials her cell phone. A cell phone rings in Frasier'sdonation suite. He yanks the door open, furious.]Frasier: What?!Lilith: I just remembered a special method which supposedly increases the likelihood of having a boy.Frasier: I see. Is there something I can do toincrease the likelihood that we won't have a meddling control freak?Lilith: No, but perhaps you can use a method that will give us a baby that can take other people's advice.Frasier: I would settle for a method where itwon't turn out to be a sarcastic prig!Lilith: Oh, just do it!Frasier: Fine!Lilith: Wait, I don't want you to do it when you're mad. Why don't we just take a minute to sit down and breathe?Frasier: It's your dime.[He comesout and sits down beside her.]Frasier: Oh, dear God. What if this child inherits all of our flaws instead of our strengths? We could create a real nightmare.Lilith: That's not going to happen. It's going to be exactly theway it was the first time.Frasier: Is that what's going on here? Are we trying to create a baby or just trying to recreate the past? I mean, Frederick's almost grown now, it's only natural to feel a sense of loss.Lilith:Frasier, don't be simplistic.Frasier: No, Lilith, I know what you're going through. You want to feel needed and loved as you were when you were a new mother. The past can be very seductive. I mean, I've fallen intoittoo: I'm trying to relive Freddie's childhood. You can't use the past to fill what's missing in the present. It's gone.Lilith: Frasier, I've done a lot of thinking and this feels right to me.Frasier: But it's not right for me. I'msorry.Lilith: I'm sorry too.[They get up and hug.]Frasier: You all right?Lilith: I'm fine. If I can't make anther little Frederick with you, there's always cloning.[Frasier's jaw drops.]Lilith: And you still don't know when I'mjoking.Frasier: I, well, I...[He grabs his coat.]Frasier: Lilith, what are you going to do now?Lilith: Well, I'm going to go home and give Frederick a very big hug.[She opens the door.]Lilith: And maybe swab the inside ofhis cheek.Frasier: Oh, stop that![They head out. Fade out.]Scene 3 - Frasier's Apartment[Fade in. Martin is in his chair, eating a snack. Niles comes in the front.]Niles: Oh, you already ate. I was gonna take you toBogart's.Martin: Bogart's? [putting the dish down] Oh, don't worry about that, I was just eatin' it because it was here. I wasn't eatin' it to get full. Just give me two minutes.[He gets up and heads for his room. As Nilessits on the couch his cell phone rings and he answers.]Niles: Hello?Daphne: [voice over] Oh, Niles, darling.Niles: Daphne![Cut to - Daphne and the others in her car.]Daphne: I thought I'd never reach you. We werebooted from the park and are coming home. It seems someone put out a cigarette on a stuffed moose.Gertrude: I didn't know it was stuffed, I was defending myself.Niles: [v.o.] I loved those pictures you left forme.[Cut to - Niles on the couch.]Niles: More specifically, the last one.[He pulls it out of his pocket.]Daphne: [v.o.] Something a little different, eh?Niles: Indeed it is. I can't even believe you took it.[Cut to -Daphne.]Daphne: I didn't take it, your father did.[Cut to - Niles.]Niles: No, I don't think so. I'm talking about the last picture on the roll, the close-up.[Cut to - Daphne.]Daphne: Yeah. You're father was trying to get apicture of Eddy, but instead he got a picture of his own chest.[Cut to - Niles looking troubled.]Niles: This is Dad's...?[Cut to - Daphne.]Daphne: That's his nipple.[Cut to - Niles looking horrified. Martin comes in as Nilesslowly rises.]Martin: Oh, I can't wait to get to Bogart's. I know just what I'mgoing to get: the barbecue chicken breast. They have the juiciest one in town. Or, or the lamb. They serve an enormous rack.Niles:[flustered] Great.Martin: You might want to get an overcoat of Frasier's out of there. It's supposed to be pretty nippy tonight.[Niles, troubled, grabs the coat. Frasier comes in.]Frasier: Oh, hi Dad. Where are yougoing?Martin: Oh, Niles is here. We're just going out for a bite. You want to join us?Frasier: Sure.Martin: So, how's Lilith?Frasier: I just dropped her off at the airport. She's disappointed, but she knows that we're doingthe right thing.Martin: Well, for what it's worth, I think you are too, son.Frasier: Thanks, Dad. I just hope she finds what's missing in her life.[Dissolve to - Lilith on the airplane, looking out the window. Someoneapproaches.]Albert: Hey, pasty.[She looks up and sees the man who was sitting next to her when she flew in to Seattle.]Lilith: Oh, hello.Albert: May I?Lilith: Yes, certainly.[He sits down.]Lilith: What happened? Ithought you were relocating to Seattle.Albert: Oh, it wasn't a fit. I'm going back to Boston. I don't know, call me neurotic, I just can't work in a lab that's not immaculate.Lilith: You work in a lab?Albert: Mm-hmm. I'm aphysicist.Lilith: Really?[She looks at him speculatively.]Lilith: My name's Lilith.[They shake hands.]Albert: Ah, the demon-goddess. Are you like the independent fireball that was your predecessor?Lilith: I make her looklike a vacillating cream puff.Albert: Albert.[They shake hands again.]Albert: What happened with your friend? Did you get your favor?Lilith: It's a long story.Albert: Well, it's, it's a long flight.[She smiles at him andsettles in to talk. Fade out.][SCENE_BREAK]Niles is at Frasier's apartment, glancing around furtively. He pulls the photo out of his pocket and reels from the image of what he's been fantasizing over, falling into Martin'schair, then reeling away from it. He does an antsy little dance, then tears the photo up. He walks into the kitchen and throws it away. Martin is busy at the counter and turns around, holding up two plates with whitescoops of ice cream with cherries on top. He offers one to Niles who just turns and marches away. Martin shrugs reflectively and turns back with a \"more for me\" smile on his face."}
+{"doc_id":"doc_129","qid":"","text":"1.16 - Star-Crossed Lovers and Other Strangers teleplay by John Stephens and Linda Loiselle Guzik story by Joan Binder WeissOPEN IN STARS HOLLOW(Miss Patty narrates a story in the background as the camera pansaround town as locals prepare for a festival.)MISS PATTY: This, boys and girls, is the story of true love. A beautiful girl from one county; a handsome boy from another. They meet and they fall in love. Separated bydistance and by parents who did not approve of the union, the young couple dreamed of a day that they could be together. They wrote each other beautiful letters. Letters of longing and passion. Letters full of promisesand plans for the future. Soon the separation proved too much for either one of them to bear. So, one night, cold and black with no light to guide them, they both snuck out of their homes and ran away as fast as theycould. It was so dark out that they were both soon lost and it seemed as if they would never find each other. Finally, the girl dropped to her knees, tears streaming down her lovely face. 'Oh, my love. Where are you?How will I find you?' Suddenly, a band of stars appeared in the sky. These stars shone so brightly they lit up the entire countryside. The girl jumped to her feet and followed the path of the stars until finally she foundherself standing right where the town gazebo is today. And there waiting for her was her one true love, who had also been led here by the blanket of friendly stars. [Camera stops on Miss Patty's dance studio, where sheis telling the story to a group of children.] And that, my friends, is the story of how Stars Hollow came to be, and why we celebrate that fateful night every year at about this time. Now, we still have a little time left inour story hour. Who wants to hear about the time I danced in a cage for Tito Puente?KIDS: [raising hands] Me!MISS PATTY: It was the summer of 66 ..(Opening Credits)CUT TO BUS STOP(Dean is waiting on the benchas Rory steps off the bus.)RORY: So?DEAN: It's depressing.RORY: It's beautiful.DEAN: She throws herself under a train.RORY: But I bet she looked great doing it.DEAN: I don't know. I think maybe Tolstoy's just a littleover my head.RORY: No, that's not true. Tolstoy wrote for the masses, the common man. It's completely untrue that you have to be some kind of genius to read his stuff.DEAN: Yeah butRORY: Now I know it's big. ..DEAN: Very big.RORY: And long. . .DEAN: Very, very longRORY: And many of the Russian names tend be spelled very similar, making it confusingDEAN: Every single person's name ends with 'ski'. Now how is thatpossible?RORY: But it's one of my favorite books. And I know that if you just give it a try you...DEAN: All right. I'll try again.RORY: Really?DEAN: Yeah.RORY: You won't be sorry.DEAN: Coffee?RORY: Please.DEAN: Man,I thought Christmas was a big deal around here.RORY: Well, this is a town that likes the celebrating. Last year we had a month long carnival when we finally got off the septic tank system.DEAN: A month long? You'rekidding.RORY: No. There were rides and a petting zoo and balloon animals and a freak show.DEAN: Uh huh. Okay, you almost had me going there for a second.RORY: Well we did have a ribbon cutting ceremony.DEAN:So what are you doing Friday night?RORY: Well, I've got the usual Friday night grandparents' dinner. But I thought maybe if we get back early enough you and I should go watch the bonfire together. I mean, it's kind ofcorny, but it's really pretty. And they sell star-shaped hot dogs.DEAN: How about if you get out of dinner at your grandparents' this week?RORY: I don't think so.DEAN: Well, what if it's for a really specialoccasion?RORY: Well, that special occasion better include my being relocated to a plastic bubble if my grandmother's gonna let me out of dinner.DEAN: There must be some other excuse that you could use.RORY: Likewhat?DEAN: Like it's your three-month anniversary with your boyfriend.RORY: It is?DEAN: Yeah. Three months from your birthday. I mean, that's when I gave you the bracelet and that's when I figured this whole thingkinda started.RORY: Wow. Three months.DEAN: Actually, technically your birthday was on a Saturday, so really it should be Saturday, but I work Saturday and I planned out this whole big thing so I thought maybe wecould do it on Friday.RORY: What whole big thing?DEAN: Just this once. Miss dinner. Please. Don't make me throw myself under a train.RORY: I'll see what I can do.DEAN: Thank you.RORY: You're welcome. It's ourthree-month anniversary.DEAN: Yeah it is.RORY: I feel kind of stupid that I didn't even know about this.DEAN: That's quite all right.RORY: I mean, I feel really bad that I missed our two-month anniversary.DEAN: Quiteall right too.RORY: How was it?DEAN: Pretty good.RORY: I'm glad.CUT TO LORELAI'S HOUSE(Lorelai is sitting at the kitchen table reading a box of Hamburger Helper. Rory walks in.)RORY: No, put that away.LORELAI: Iwanna cook.RORY: You can make soup.LORELAI: No. I wanna really cook like on the Food Channel. I wanna sauté thing and chop things and do the BAM, and I wanna arrange things on a plate so they look like a prettylittle hat. I wanna be the Iron Chef!RORY: Fine.LORELAI: Really?RORY: Yeah, I'll help.L: Okay. I need a pan.R: And a fire extinguisher.L: Funny, funny girl. Now, if I had only bought some hamburger.R: You didn't buyhamburger?L: Yes I bought hamburger. I just like saying things like that so you look at me like I'm crazy.R: So, tell me, why the sudden need to be domestic?L: Ah, I don't know. I'm in like a funky mood.R: Why?L: Toomany stars, too much love, it makes me cranky.R: I take it you haven't heard from Mr. Medina?L: Hmm, no. I haven't.R: Maybe that's why you're cranky.L: Okay, new subject please.R: You know, you have a phonealso.L: How's it coming with that pan?R: Cleopatra, queen of denial.L: The pan, Chucky. Please.R: Okay fine. New topic.L: Thank you.R: I have this huge favor to ask you.L: Oh, something I can hold over your head.Let's hear it.R: Friday night is Dean's and my three-month anniversary.L: Three months? Wow.R: And Dean apparently has some big fancy evening planned for us.L: Very classy of him.R: Yes it is. But for me to actuallypartake of the foresaid fancy evening, I have to get out of Friday night dinner.L: Ah.R: Yeah.L: Good luck with that.R: Mom!L: Do you know how much Emily Gilmore will not care about your three-month anniversary?R:I was thinking you could talk to her.L: If there was a runoff between what Emily Gilmore would care about less, a two-for-one toilet paper sale at Costco or your three month anniversary, your anniversary would win,hands down.R: So you're not even gonna try to help me?L: Oh no, I'm gonna try to help you, because I care. Emily Gilmore, however. .R: Phone please.L: Okay. [Lorelai walks over to the phone. She laughs.]R:What?L: Nothing. It's just, 'Oh, hey Mom, uh, Rory and Dean are having their three month anniversary on Friday.' 'Really Lorelai? Why that's wonderful. I'm thrilled.'R: Stop.L: 'Three months. Well, woohoo. Hold on, I'mgoing to cartwheel.'R: Forget it.L: Oh, no wait. She's telling my dad now. Why, I think they're cabbage patching.R: That's it. Find your own pan.EMILY: Hello?L: Mom?EMILY: Lorelai?L: Uh, yes, hi.EMILY: Hello.L: Hi.How are you doing?EMILY: I'm doing fine.L: That's good.EMILY: I'm pleased.L: How's Dad?EMILY: What do you want Lorelai?L: Um, I was just calling to say hello.EMILY: And now you have.L: Okay, good.EMILY: Wasthere anything else that you wanted to add to that hello?L: Well, as a matter of fact, there is.EMILY: Ah ha.L: Um, you know Rory.EMILY: Yes, I believe I do.L: She wanted to say hello too.EMILY: Lorelai, I'm late for ameeting. I'd love to know why.L: Mom, just hear me out, okay, and don't say anything. Um, see Friday night is Rory and Dean's three-month anniversary, and while that might not seem like a very big deal to you, it isto them. And I'm gonna ask you to do something you are so not gonna wanna do. But I am begging you to look at it from her point of view and maybe, just maybe let her, just this once, not come to dinner onFriday.EMILY: All right.L: What?EMILY: Since this is a special occasion, I suppose it would be fine if Rory missed dinner on Friday.L: It would?EMILY: YesR: Mom?L: Are you sure?EMILY: I believe I am.L: Noarguments?EMILY: No.L: Well, she wont be there.EMILY: I understand.L: At all.EMILY: I heard.L: All night long.EMILY: I assumed as much.L: Okay.EMILY: Okay.L: All right.EMILY: Anything else?L: Uh, you know, she'sgonna need some help getting ready for the big night Mom, so I should probably.EMILY: We'll see you at seven.L: Okay. Right. Bye.R: So?L: The world is officially coming to an end.CUT TO CHILTON(Tristin and Summerare kissing in front of some lockers.)MADELINE: And they're off.PARIS: The bell just rang three seconds ago. How did they get lip locked so fast?MADELINE: I want a boyfriend to make out with.LOUISE: Ty Tolson likesyou.MADELINE: I want to different boyfriend to make out with.PARIS: I can't get to my locker.LOUISE: I'm sure they'll move if you ask nice. You know, dangle a hotel key in front of their faces.PARIS: This is a school.You don't do this in a school.LOUISE: Not unless you've got a boyfriend like Tristin. Then you do it anywhere you can.MADELINE: Street corner.LOUISE: Shopping mall.MADELINE: Phone booth.LOUISE:Starbucks.PARIS: Thank you for the \"where to make out\" list, I just need to get my books.LOUISE: Hell hath no fury.PARIS: [walks over to her locker] Excuse me. You're in my way. Hey, spawn in front of somebodyelse's locker please.RORY: I'm assuming your locker's in there somewhere also.PARIS: Yup. Right behind Belle Watling.RORY: Have you tried to get their attention?PARIS: Sure have.RORY: No luck?PARIS: Nope.RORY:God, look at that. It's like he's eating her face.PARIS: Okay, that's it. I'm getting the fire hose.RORY: Let me try first. Hey, could you two just move this whole thing down to the left a little?TRISTIN: What?RORY: You'restanding in front of the lockers.PARIS: Our lockers.TRISTIN: Oh sorry. Just got a little carried away.RORY: Right.TRISTIN: Hey Paris.PARIS: Hey.SUMMER: You should get bangs.PARIS: Thanks for the tip.SUMMER: Youhave a long forehead. Bangs would hide that.MADELINE: Hey, party at my house Saturday.LOUISE: Dress to impress please.MADELINE: Come? (hands flyer to Rory)RORY: Oh, I don't know.MADELINE: You can bringyour boyfriend.RORY: I'll see.SUMMER: So, meet me after biology?TRISTIN: And if I don't?SUMMER: You will.TRISTIN: Oh, yes I will. Ah. To be young and in love.PARIS: What a shame Elizabeth Barrett Browningwasn't here to witness this. She'd put her head through a wall.CUT TO INDEPENDENCE INN(Lorelai walks through the lobby into the kitchen where Jackson and Sookie are kissing.)LORELAI: Oh, now people, this is akitchen. At least wear some hairnets.SOOKIE: Lorelai, hello. Uh, we were, uh. . .JACKSON: Just discussing jam making.SOOKIE: Jackson's gonna start making jam and preserves.JACKSON: Maybe tomatosauce.SOOKIE: Yeah, there's a whole world out there beyond growing vegetables.LORELAI: No coffee?SOOKIE: Sorry.LORELAI: That's okay. Resume smooching.SOOKIE: Thank you.CUT TO INN LOBBY(Michel talkingon phone)MICHEL: No cherie. I can't wait either. Very soon. You are? Ohhh. Don't tease me. I promise all this waiting will be worthwhile. I'll see you then. Goodbye darling.LORELAI: So how's mom?MICHEL: And whilenormally I would look forward to a good verbal sparring match, today I say no. My heart is light, the world is fine and I have a date for Saturday night. Your turn.LORELAI: What I need now is lots and lots of coffee.CUTTO CENTER OF TOWN(Lorelai walking through Stars Hollow while locals prepare for the festival.)MAN: Heads up!(A large papier mache star falls in front of Lorelai)LORELAI: Agh!MAN: Hey, you okay?LORELAI: Yeah, I'mfine.MAN: Man, that has never happened before!LORELAI: Really? How about that.CUT TO LUKE'S(Lorelai walks in and sits at the counter.)LORELAI: I was almost crushed by a papier mache star. How's your day?LUKE:Well, it's looking pretty good now.LORELAI: Coffee please, no shot of cynicism.LUKE: So, why so cheery?LORELAI: I don't know. I'm just in a mood. I don't know why.LUKE: But there's no particular reason for thismood?LORELAI: No.LUKE: Uh huh.LORELAI: You don't believe me?LUKE: No, I believe you. If you say there's no reason for the mood, then there's no reason for the mood. You're simply nuts.LORELAI: Or bipolar. That'svery big nowadays.(Miss Patty and Taylor are arguing at a table behind Lorelai.)TAYLOR: No, no, Patty, you're wrong. They built the fire to throw themselves on it when their families found themMISS PATTY: Tayloryou're crazy! They built the fire so that they could stay warm their first night here.TAYLOR: Patty, I am the recording secretary for the Stars Hollow City Council, I think I know how my town was founded!LORELAI: Ugh,can nobody talk about anything else but this stupid festival? [pause] That came out a lot louder then it was supposed to, didn't it?LUKE: Yup.LORELAI: Yup.TAYLOR: This festival is commemorating the founding of ourtown, young lady.LORELAI: I know Taylor. I'm sorry.LUKE: She's bipolar.MISS PATTY: Really? But you're so young.LUKE: Uh, can I get you two anything else?MISS PATTY: Oh, no thank you, sweetheart.LORELAI: Idon't know what is wrong with me. This is a beautiful festival. People should be enjoying it.LUKE: It's a crazy festival based on a nutty myth about two lunatics, who in all probability did not even exist. And even if theydid, probably dropped dead of diphtheria before age 24. The town of Stars Hollow probably got its name from the local dance hall prostitute. Two rich drunk guys who made up the story to make it look good on aposter.LORELAI: You are full of hate and loathing, and I gotta tell you, I love it!LUKE: Oh, it's so good to have somebody share this hate with.LORELAI: My pleasure.LUKE: More coffee?LORELAI: Yeah please. Hey,tomorrow, if you have time, I'm planning on despising everyone who says 'Hey, how's it going?'LUKE: You're on.RACHEL: Hey, how's it going?LORELAI: Oh, now that' s just too easy.LUKE: Rachel.LORELAI: Rachel?Your Rachel? You're Rachel?RACHEL: Yup. I'm Rachel.LUKE: What are you I mean, I thought you were in the Congo or Philadelphia or something.RACHEL: Actually, though very similar to both the Congo andPhiladelphia, I was in the Mideast.LUKE: Oh. Guess that postcard must've gotten lost.RACHEL: Yeah, yeah, well things pretty crazy over there, not a lot of writing time. But I finished up my assignment, and I flew backto Chicago and I was walking through O'Hare, and I look up and there's a plane leaving for Hartford in like 20 minutes, and all of a sudden, I'm on it.LUKE: Nice story.RACHEL: I should have called.LUKE: No. You it'sfine.RACHEL: You look good.LUKE: Thanks. You um, you look, you, you uh lookLORELAI: He thinks you look good too. Right?LUKE: Right.LORELAI: And you do.RACHEL: Thank you.LORELAI: I'm Lorelai.LUKE: Oh yeah.She's Lorelai.LORELAI: I'm Luke's friend.LUKE: Yeah. She uh, uh, works at the Independence Inn.LORELAI: I run it, actually.LUKE: Sorry, she runs it.RACHEL: Wow, I love that place.LORELAI: Oh!RACHEL: That must bea pretty big job.LORELAI: It is! It's crazy. There's always something happening. Like, we just put these coffee makers in all the rooms, but only half of them work. They just like shake and gurgle, like they're havingsome kind of a fit. Why were you in the Mideast?RACHEL: I was doing a photo story, on how Palestinian and Israeli families have been affected by the violence.LORELAI: Uh huh, well, so you understand about the jobpressure.RACHEL: Yeah.LORELAI: I'm gonna go.RACHEL: Please, don't let me drive you away.LORELAI: That's okay, you're not. I have to go sit in a closet or something. So, it was really nice to meet you.RACHEL:Yeah, you too.LORELAI: Okay, bye. (Lorelai leaves)RACHEL: So. . .hi.LUKE: Hi.CUT TO LORELAI'S HOUSE(Lorelai is combing Rory's hair in Rory's bedroom.)LORELAI: 'Oh, we got new coffee makers.' Ugh! What was Ithinking?RORY: Well, you spent a lot of time picking out those coffee makers.L: Oh yeah, I'm Mrs. Coffee.R: Ow! Okay, I'm still attached to the head.L: Okay, sorry. I'm a little worked up.R: Mom, it just Luke'sex-girlfriend.L: I know. I just hate that I made myself look so stupid in front ofR: Luke?L: No, Rachel. She was standing there, fresh off a plane, and she had no plane hair at all might I add.R: And what exactly is planehair?L: You know, it's all big and all bah.R: Got it.L: And he's staring at her like she's Miss September and she's looking at him like he's Johnny Depp, and I was just babbling like a moron, what is wrong with me?!R:Ow! Ow! Okay, you are now officially off hair duty.L: Aw, I'm sorry. I justR: No, it's okay. I just think it's a little early for Dean to see me completely bald.L: Right, that's more a six-month thing.R: So what's going onwith you?L: I don't know. It's just all this love in the air, you know. I miss Max. There's just been so much going on with your Dad coming home and family stuff and your constant existenceR: Thanks for the love.L: Anytime. So I haven't had a lot of time to focus on it and I miss Max.R: I know.L: I had a dream about him the other night.R: Really? Dirty?L: No, absolutely not. And when you're 21, I'll tell you the real answer. Anyway,it's put me in a funk since then.R: I'm sorry.L: Me too. We could talk about me for years, and believe me, we will. But let's focus on you, the lady of the evening. No hooker reference intended.R: Glad to hear it.L: Now,what are you gonna wear with that?R: Um, you tell me.L: Uh, where is he taking you?R: Why?L: Well, you don't want to clash with the decor. A lady plans ahead.R: Well, if you must know, he's taking me toAndoloro's.L: Oh, well isn't that romantic?R: I know!L: Wow, it's gonna be just like Lady and the Tramp. You'll share a plate of spaghetti, but it'll just be one long strand, but you won't realize it until you accidentallymeet in the middle. And then, he'll push a meatball towards you with his nose, and you'll push it back with your nose, and then you'll bring the meatball home and you'll save it in the refrigerator for years and. . .R:Mom?L: Uh, neither. Just wear your coat.R: Okay.L: But your flower's just a little smushed.LANE: (calls from front hallway) Rory?L: There you go, you're all set.LANE: Is anyone here?R: You all right?L: Oh yeah, youlook beautiful. Go.RORY: Lane?LANE: Oh my God!CUT TO FRONT HALLWAYLANE: I just can't believe it!RORY: I know!LANE: I mean, three months, that's like one sixty-fourth of your life!R: I know!LANE: I have to stophanging out with you. I mean, you're just making my life seem too pathetic.LORELAI: Join the club.R: Are you going to the festival? 'Cause maybe we could meet you there later.LANE: Oh yeah, that would beromantic.R: Lane.LANE: Yes, I'm going to the festival. And would you like to know why?L: Uh oh!LANE: My mother has once again set me up.R: Another future doctor?LANE: A future chiropractor. I think she's losingconfidence in my prospects.R: Maybe he'll be nice.LANE: Oh, it's not just him. We're going with his parents, his grandparents, two sisters, three brothers and at least one maiden aunt.(A car honks from outside)R:That's Dean.LANE: Remember, you have to tell me everything.R: Okay. You too.LANE: Oh yeah. After the walking, the silence, the sitting and the 'buh bye', that's when the fun will begin.R: I wanna know anyhow. ByeMom.L: Bye honey, have fun.R: Okay.L: Don't forget the meatball.LANE: The meatball?L: It's a mother-daughter thing. (Rory leaves)LANE: So, think I can hang out with you for awhile?L: Oh, uh, not unless you wannago to Hartford. Besides didn't anyone ever tell you, it's not polite to keep fifteen prospective Korean in-laws waiting.LANE: You can run over me on your way out. Maybe my mother wouldn't make me go if I was in thehospital.L: I wouldn't count on it.LANE: Yeah, you're right.CUT TO ELDER GILMORE RESIDENCE(Lorelai is on the front porch finishing her coffee. Emily opens the door before Lorelai rings the doorbell.)EMILY: You'relate.LORELAI: How did you do that?EMILY: What?LORELAI: Answer the door before I even rang the bell.EMILY: I thought I heard something, I came to the door, you were there. Come in please. (Lorelai walksin.)LORELAI: You thought you heard something?EMILY: Yes.L: Mom, that door is like ten feet thick.EMILY: So?L: Well, so, it wasn't like I was standing out there with a band of jackals, I was just drinking coffee.EMILY:Lorelai, what is it that you want to hear? That I was standing by the window, staring out at the driveway, waiting to pounce the moment you arrived.L: Yes, because believe it or not, that would be less creepy.EMILY:Get yourself a drink, please.(Lorelai walks into living room. Richard is on the couch reading the newspaper.)L: Hey Dad.RICHARD: Lorelai.L: Sorry I'm late. I was helping Rory get ready for her big date, and well, you"}
+{"doc_id":"doc_130","qid":"","text":"SCENE: The loft, Jess is trotting by Schmidt's room carrying lot's of science stuff.SCHMIDT: Jess!JESS: (Stops in Schmidt's doorway) Yeah?SCHMIDT: (Pacing back and forth) Can I ask you something?JESS: You wan'tmy help? Sure.SCHMIDT: You consider me a sexy man, correct?JESS: I don't know how to answer that question.SCHMIDT: Okay look, I'm meeting a girl for drinks tonight, and I'm probably going to bring her backhere, for s*x.JESS: I have to get to school cause it's astronomy day and I'm dressing up like Galileo, so I have to put on my beard.SCHMIDT: I get that, but as a lady, where in the room do I look sexiest? You know like,like where am I best on display? Here? (Sits in armchair, legs crossed holding head) Here? (Sits on arm of armchair) Or (runs over to bed) here? (lies on bed on his side)ENTER NICKNICK: Hey, what is going on outhere?JESS: Um, Schmidt wants to know where in his room he looks the sexiest.NICK: Well it's a big room. What are your choices?SCHMIDT: Ok, I'm glad you asked. Alright, (waves hand across bed) here? (runs overand sits in armchair) Here? (sits on arm of armchair again) Or here? You know, maybe just reading a book or something.NICK: It's a lot of options. Could you do them again really fast?SCHMIDT: You wanna see themagain?NICK: Please.SCHMIDT: Ok. Here? Here? Here?JESS: (Smirking) Wait, what was the first one again?NICK: (Also smirking) Yeah.SCHMIDT: (Angrily) OK. I get it. All laugh at Schmidt, great. Here?Here?...[SCENE_BREAK]OPENING CREDITS[SCENE_BREAK]SCENE: The loft, Jess is spreading cream cheese on a bagel in the kitchen area.JESS: I'm so excited to meet him...NICK: (Walking towards her) No, Jess he'ssleeping. He flew in late last night, we took him straight to the bar, took a bunch of shots, got drunk, screamed I love America. (Sits down) Now he's happily passed out. (Slurps coffee) Let's let him sleep.JESS: GuessI'm not the new kid anymore, I'm just one of the guys.NICK: You're still the new kid, Winston lived here before Coach did.JESS: (Carries on preparing breakfast) So Coach said, (shot of Schmidt walking by, takingearphones out) that they used to play basketball together at college, but then Winston went pro...SCHMIDT: In Latvia, okay? He went pro in Latvia, there's a big difference. (Nick turns around to look at him) Well theteam logo, is a fig. Just a.. just a one single fig.JESS: Oh, you're jealous. (Turns around) That's so cute. (Turns back)SCHMIDT: (Smirks) Of Winston? No no no. Look, I'm not jealous of Winston. Ok, it's been two year,he's gonna have to recognize, I'm a lot flyer now. Wanna see me flex my base? (Starts to take off shirt)NICK: Naw naw naw naw. Put your shirt on.SCHMIDT: (Takes off shirt) Let me flex my base. Let me flex my base,man.NICK: Put your shirt on.SCHMIDT: Baboom.NICK: It's the morning.JESS: (Whispers whilst carrying the breakfast tray) He's gonna love it.NICK: Jess, what are you doing? (To Schmidt) What is she doing?(Jesskicks opens the door, walks in and places the tray on the floor, loud enough to wake Winston. Winston wakes with a start.)WINSTON: What the.. what the.. (points at Jess) who?JESS: I'm Jess.(Back in thekitchen)JESS: (From the kitchen you can hear her singing) I'm Jeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeessssss!WINSTON: (Shouting) What's happening?! Why are you doing that?![SCENE_BREAK]SCENE: Nickand Jess are in the bathroom brushing their teeth, whilst Schmidt is in the shower.JESS: I can't believe you didn't tell me he was hungover!NICK: I totally told you he was hungover. I said he was drunk at the bar andnow he's passed out.(ENTER WINSTON)JESS: Hi, Winston. Hey, I apologize for what happened before... not cool, bad call. I've been talking to the guys about boundaries, so I totally get it.WINSTON: Perfectly fine, noproblem.JESS: Do you have a tank top I could borrow? You look like you're about my size. It's just that I'm really low on clothes right now cause I broke up with my boyfriend. And I caught him cheating and... I just likegrabbed whatever I could and...SCHMIDT: (Steps out of the shower) Jess, you know what? I'll let you check my lost and found. It's where I keep all the things the girls leave behind in my room after we've founicate.I've got sizes 0 through 10. (Jess and Schmidt leave)WINSTON: What have you done to me Nick?NICK: I am so happy you're back.[SCENE_BREAK]SCENE: Schmidt and Jess are sitting on the bed, with a box in front ofthem.JESS: (Rummaging through the box, she pulls out stiletto) You have made love to a lot of forgetful women.SCHMIDT: (Taking shoe off her) Ah man, look at these, wow. (Sees Jess taking out hair extensions fromthe box) Oh, look at that, Rochechana 06. Yeah, nothing orthodox about what we did that night.JESS: Winston seems nice...SCHMIDT: Did he say anything to you about the room?JESS: What room?SCHMIDT: The bigroom, I kinda took it from him when he left, I used to be in the small room. (Pulls out shirt from box that says 'I AM CLAIRE'.) This happened in the small room. (Looks at it) Twice. Never going back there again,Jess.[SCENE_BREAK]SCENE: Winston and Nick are tossing a basketball back and forth between then in the main living area of the loft.NICK: He's never gonna give you that room back.Winston: Psshhhh, come on man,it's Schmidt. You know they have a saying in Latvia. 'That guy is so stupid we could easily take things away from him'.NICK: (Laughs) That's a saying?WINSTON: (Laughs) Yeah, it is.NICK: That's a weird saying.(Bounces ball and throws to Winston who shoots and scores)ENTER JESSJESS: (Wearing borrowed clothes) What d'ya think?NICK: Jess, I've been telling you this for weeks but you gotta call Spencer and you gotta getyour stuff back. Unless, you know, unless you're scared.JESS: No, I'm not scared, it's just complicated. That stuff was... that stuff was ours and I miss him. (Starts to get upset.)SCHMIDT: Jess, look, it's a ball. (Throwsball to Jess)JESS: Oh, a little b-ball huh, (laughs). (Whilst bouncing ball) You know, I'm actually pretty good. I used to play with my mom. (Half-singing and still bouncing ball) Defense! Defense! Watch out for thedefense! Sneaky sneaky wah wah.NICK: (To Winston) You get used t`o it.JESS: Hey, Schmidt! (Bounces ball really hard in Schmidt's general direction and smashes the TV)NICK: Ah, come on!JESS: (Puts hands overher face) Uh!SCHMIDT: Wow! (Sarcastically)JESS: (Removes hands from face) Oh! (Breathes heavily) My bad!NICK: (Holding the bridge of his nose) Uuuuuuuuurgh.[SCENE_BREAK]JESS: I'm sorry, you guys.NICK:That was my TV, Jess.SCHMIDT: Kinda all he had.JESS: I'll get you a new one I just can't it afford it right now.NICK: If ya don't mind me asking, what's the plan?WINSTON: You don't know me like that but I need aTV.NICK: Do you have a TV at Spencer's?JESS: Yeah, I do, it's just really big and thin and brea...NICK: Go get it!JESS: No, I can't, I haven't spoken to Spencer since he cheated on me with that hoe! Actually, that's notfair, she might be a really nice hoe. I just don't wanna get in a big fight with Spencer, I want to be friends with him eventually.NICK: Why do you wanna be friends with your ex? I don't wanna be friends with Caroline,and all she did was rip me open and tear out my heart out with her perfect, perfect hands.JESS: He has this power over me, like he's a wizard and I'm his mage and I think it's his hair, he has like this really beautifulhair, and whenever I see it I get the 'woowoos'.NICK: Oh my god, I hate my life!SCHMIDT: Ok guys just.. Jess look, I know, closure, ouch, am I right?JESS: I don't know at all what you're saying right now.SCHMIDT:Ok Jess, think about it...NICK: Ok Schmidt, it's not that complicated, Jess just get the TV back!WINSTON: I need a TV.NICK: It's important! It's a television! It's what brings all of.. Just get us the TV!JESS: Okay, it's nota big deal. I'll do it. I'll call Spencer, and I'll talk to him, and, I, will talk, to, him. So, yay.SCHMIDT: Yay.[SCENE_BREAK][JESS SITTING ON A BENCH, WATCHING SPENCER RIDING TOWARDS HER ON HIS BIKE]JESS:Hi Spencer.SPENCER: (Takes his helmet off and shakes his hair out in slo-mo, movie style) Hi, Jess-jess.[SCENE_BREAK][THE GUYS IN A CAFE, AT A TABLE, EATING BREAKFAST]WINSTON: Wow, I miss this place.How's your yoghurt thing, Schmidt?SCHMIDT: Oh, the parfait? It's parfait.NICK: Come on, don't...SCHMIDT: (To the hot waitress) Oh, hello. You look beautiful today. You look smart.HOT WAITRESS: Stop talking to me,Schmidt.WINSTON: So, you're making all the calls now, Schmidt?SCHMIDT: Sure...WINSTON: This must mean, you're the top dog?SCHMIDT: Yeah?WINSTON: (Exchanging glances with Nick) That's cool...SCHMIDT:You know, i'm glad you guys think that, cause... you know I think that too.WINSTON: One hundred percent, I mean, when I moved out, obviously there was a power vacuum.NICK: Yeah, I needed a leader, I didn'tknow which end was up.SCHMIDT: Yeah, Nick's the bottom if you know what I mean.NICK: Absolutely, say Winston, do all top dogs need the biggest room or, I dunno, is that knida cheesy, a little over kill?WINSTON:No no no no no. Though I definitely see what you're saying though, definitely. Uh, every top dog is differt, every top dog is different. Hey, Schmidt, what uh, what kind of top dog are you?SCHMIDT: ...the kind with thebig room.[SCENE_BREAK][BACK TO JESS AND SPENCER ON THE BENCH TALKING]SPENCER: I'm so glad we're talking, last time I saw you, you were so mad.JESS: How is, um...?SPENCER: Rochelle.JESS:Rochelle...fancy name.SPENCER: She's great.JESS: Rochelle like a mermaid.SPENCER: Yeah.JESS: (Puts on weird voice and picks up parts of her hair) Hello. I'm Rochelle and I eat fish.SPENCER: Yeah, we have a lot incommon, see we both love bikes...JESS: I love bikes...SPENCER: Not enough.JESS: Um, Spencer. I need my stuff back. My TV, all my winter clothes.SPENCER: Yeah, of course. I would have brought it today but I rodemy bike here. You know, without the basket.JESS: Ok. Well, when will it be a good time for me to come over...?SPENCER: (Interrupting Jess and changing the subject) It's so good to see you Jess.JESS: Spencer, Ireally need my stuff..,SPENCER: Shuuuuuuuusshhh. I need something too.[SCENE_BREAK][JESS IS DRIVING ROCHELLE TO THE AIRPORT FOR SPENCER WHILST IN THE BACKGROUND 'BUST A MOVE' ISON]ROCHELLE: Thanks for taking me to the airport, Jess.JESS: (Monotone) Of course, all you have is your bike, Rochelle.SPENCER: Hit it!SPENCER AND ROCHELLE: (Singing) YOU WANT IT, YOU GOT IT, YOU WANT IT,BABY YOU GOT IT. JUST BUST A MOVE, UH. YOU WANT IT.[SCENE_BREAK][JESS IN A PAWN SHOP TRYING TO BARGAIN WITH THE OWNER FOR A TV]JESS: $550 for the TV? Seems a little steep. I'm gonna write downa figure and this is as high as I go. (Draws something on a piece of paper)PAWN SHOP OWNER: You drew a smiley face.JESS: I'm a teacher. Do it for the kids.PAWN SHOP OWNER: For the kids, $550.JESS: I can't gohome without a TV, I thought pawn shops were about helping people and frankly, right now, I feel taken advantage of. I just got out of a long relationship and I don't know what I'm doing emotionally or lets be honest,sexually. (Picks up her bag to go) I'll just, I'll just get out of here. (Tries to steal the TV but fails miserably.)PAWN SHOP OWNER: Are you trying to rob me?[SCENE_BREAK][BACK IN THE LOFT, NICK IS WATCHING TVON HIS PHONE]SCHMIDT: Hey, where's Winston, MM?NICK: Yeah, I think he's in his room, Schmidt.SCHMIDT: (Sits down) Do you really think I'm top dog?NICK: YesSCHMIDT: Do you think I'm head baller, shotcaller?NICK: Yes Schmidt, I feel that way.SCHMIDT: (Moves next to Nick) You see that man? It's my new thumb ring. Hot choice is that. Little skull. It's so nectar.NICK: Did you just make up nectar?SCHMIDT: Nah, it'sa volleyball term. What is Winston doing in there? He can't hang out in there, it's too small.[ENTER JESS AND CECE]NICK: What's up?SCHMIDT: Yo, what up, Cec?NICK: You alright?JESS: I'm sorry, I didn't get theTV.SCHMIDT: What happened?CECE: Urgh, terrible roommates. I mean seriously, you guys told her to call Spencer? That is not your job, that is my job!NICK: Alright, so what happened?JESS: Urgh, he needed a ride tothe airport.NICK: What?!JESS: For his new girlfriend.NICK: Are you kidding me?!SCHMIDT: Are you serious?CECE: What? You didn't tell me that!JESS: And, I'm supposed to pick her up next Sunday.NICK: OMGJess!SCHMIDT: Wow.JESS: What's wrong with me?NICK: I figured it out. This guy is your kryptonite. You need to stand up and you need to fight him.JESS: I want to fight him but I can't. I'm powerless.NICK: Causeyou're not ready to let him go. I think you know, deep down, once you get your stuff back, you know, it's over over.CECE: I can't believe I'm actually gonna say this, but, I agree with him.JESS: No, you guys are wrong.I really, I really wanna move on.NICK: Then you gotta fight.JESS: Alright, I wanna fight.NICK: Then get mad!JESS: I wanna get mad!NICK: (Stands up and pick up cushion from sofa) Alright, then do this. Pretend thisis Spencer's face. Punch it. (Jess prepares herself for a showdown with the cushion) Get. (Punches cushion) Come on, do it again. (Punches a little harder) Alright, punch it like a man. (Punches a little harder.) Harderthan that! (Punches harder)CECE: Come on, Jess.NICK: Come on Jess, get angry. (Punch) Good!CECE: (Punch) Get angry. (Punch) Get real angry.NICK: (Starts punch dancing) That's dancing. That's punch dancing. Hebroke your heart! He did terrible things to you, you hate him.JESS: (Still punching) I'm mad!NICK: Good.CECE: There you go.NICK: Good.JESS: I'm bad!NICK: You're ready, go get your stuff.JESS: (Starts walkingtowards the door) I'm gonna go get my stuff!NICK: Go get it.SCHMIDT: Go on, Jess.JESS: I'm really mad!NICK: I'm proud of you.JESS: I'm gonna go get it!NICK: Go get your stuff.JESS: I'm gonna face the facts! I'mgonna ask you guys, right now, to come with me. Seriously guys, cause I can't everything alone and I can't be alone.[SCENE_BREAK][THE WHOLE GANG ARE IN THE CAR WITH JESS AT THE WHEEL TO GO GET JESS'STUFF. SHE IS DRIVING REALLY FAST AND HAD VERY LOUD MUSIC ON IN THE CAR.]JESS: Yeah! Loud music! Loud. Loud. Loud.WINSTON: Ok, you're ruining my pre-game mence.JESS: What am I gonna say?NICK:Hey Spencer, give me my TV back.JESS: Hi Spencer, give me my TV back, buddy.NICK: Hey, no buddy. How about jerk or idiot.JESS: Mr. Crabs.WINSTON: Mr. Crabs is an option.CECE: (To Schmidt) Your hand is onmy leg.SCHMIDT: Your hand's on my leg.CECE: No, it really isn't.SCHMIDT: Classic he said, she said.CECE: Ok, Jess, just pull over right here. (Jess almost stops but at the last second steps on the gas again and drivesoff) Woah!JESS: Ok, you know what, just one more shot.NICK: Ok, one more time around Jess, and then we're good. You got this.JESS: Yeah. (Tries to pull up again but carries on driving again)SCHMIDT: Really? Comeon.JESS: Just one more time, gonna... (breathes)NICK: Alright, this is the time, this is the time. Wow.CECE: Woah!JESS: Ok one more shot, one more shot, just one more, just one more.SCHMIDT: (To Winston) Youknow I'm onto you.WINSTON: What do you mean?SCHMIDT: You told me that I'm top dog but secretly you think that you're top dog. Alright, now you are just trying to out top dog the top dog.CECE: Jess, can youplease take these doors off child lock so I can kill myself.SCHMIDT: Men are working. Look things are different now man, you're not top dog anymore. I am.WINSTON: Okay, you know what you are absolutely correctyou are the top dog. (Puts hand up to head as if taking off imaginary crown) Here. (Puts it on Schmidt)SCHMIDT: (Taking off the imaginary crown) What are you doing? There is no top dog crown. Are you trying tomake me look stupid. Look man, this is about respect, I'm a lot flyer than I used to be.WINSTON: Yeah, much flyer, I respect you Schmidt.SCHMIDT: No, you don't because if you had, you would have told me that the(song changes to a more calm love song) small room is the top dog room. (Jess begins to slow down)JESS: (Singing along)WINSTON: What? I own this song.JESS: (Still singing) YOU GO AND SAVE THE BEST FOR LAST(Finally pulls up out side Spencer's house)SCHMIDT: What's happening?WINSTON: What's happening if that is a great song.JESS: (Gets out of car and walks towards the house)CECE: I'll be out here if you need me,Jess. (Jess rings the doorbell continuously until it opens)SPENCER: Hi, Jess-jess.NICK: That's the wizard? He's wearing a scrunchie.WINSTON: It looks like he juggles clubs on the beach.CECE: Yeah, like he'd ever havea job.SCHMIDT: Didn't you just kinda assume he'd have a handlebar moustache.NICK: Come on Jess, just go in there and get that TV.SPENCER: (Pulls Jess into a hug) I missed you Jess.CECE: Don't hug him back...(Jess hugs him back) ALL IN CAR GROANSCHMIDT: Ugh. That's not healthy.JESS: (Notices withered plants) I told you to water the plants! (Pulls away from hug)SPENCER: Huh? Oh, you know that's not my thing. (Triesto hug her back but she pushes him away)JESS: I told you to water the plants. (Pick up flowerpot and throws it onto the lawn, smashing) ARRRRGGGHHHH!NICK: What is she doing?ALL: OHHH!!SCHMIDT: What amess.JESS: ARGGGHHHH! I'M GOING IN!! (Runs into house)SPENCER: Jess, take your shoes off, we keep an Asian household. (Runs after her)WINSTON: Didn't see that coming.NICK: Is she gonna be ok in there?[ALOT OF CRASHING AND BANGING]JESS: (Stumbles out of the house wearing tons of clothes and carrying bags and the TV) I got it! It's really heavy, but I got it!SCHMIDT: Oh my God, we created a monster.NICK: Shelooks like hell in bomb crudder.WINSTON: Oh guys, she's gonna drop. uh Jess, soft hands Jess.SPENCER: (Comes running out after her) Come on Jess. we'll share, you know, work out a system.JESS: (Turns aroundand notices she is wearing her shirt) Hey, hey. That's my shirt.SPENCER: No, this is my t-shirt.JESS: No, that is my shirt. It has my name on it. (Wobbles around)WINSTON: Don't drop it, Jess, don't, don't drop it,don't...CECE: Come on, everybody out. Now! (All rush out of car)ALL: Nonononono!!! (Jess drops the TV and it makes an unsatisfying sound)JESS: Give me my shirt! (Attacks Spencer)NICK: (Runs over and grabs holdof Jess) Hey Jess, nonononono, stop stop, sorry don't mind her we're just here for the TV.SPENCER: Who are these guys?JESS: They are my room-mates.SPENCER: Cece! Hi.CECE: (Walking towards the house) I gottago in and get the rest of your stuff, Jess.SPENCER: (To Cece) Hey. (To Jess) Let's just talk about this, okay, rap it out.JESS: No! We can't rap it out, we're not together anymore, it's not the same.SPENCER: Doesn'tmean we can't talk about things.JESS: There's nothing to talk about. Give me my shirt back.SPENCER: No, you gave this to me, I want to keep it.NICK: Give her, her t-shirt, man.SPENCER: No, I don't want to, youknow and I gave her this hat too so I'm going to take it back. (Bends down to reach for a red hat)NICK: You mean this one? (Picks it up and waves it in front of Spencer)SPENCER: Yeah. (Reaches for hat)NICK: Youwant that? (Carries on waving it)SPENCER: Yeah.NICK: (Puts on hat) Then I dare you, come take it off my head, pal. (Long pause whilst they all glare at Spencer) I dare you!SCHMIDT: (Walks over and outs another haton)WINSTON: You guys looks ridiculous. (Smirks)NICK: Look dude, give her the shirt back, (motions at shirt) I bet she worked hard on that 'JAM-boree'.JESS: Yeah. Play on words. Jam. Boree. Jam!NICK ANDSCHMIDT: Jam!SCHMIDT: We all made a lot of jam, Spence. You know how time consuming that can be? You need a jar funnel, a canner, some fresh fruit; strawberries, raspberries, maybe a tayberry, maybe aripe...NICK: No more fruit.SPENCER: You live with these people Jess?! Seriously?! You can stay here until you can find a better place to live.NICK: You know what, I don't like you stretch. I don't like anything about you.And I'm not afraid to...JESS: (Touches Nicks shoulder, to Nick) I got this. (To Spencer) I've got a place to live, Spence. It's over. I spent six year trying to figure you out. All you are is a guy with really beautiful hair. I'mhappy you cheated on me, thank you. Because if you hadn't, I would have ended up marrying you and then you would have hurt me all over again. (Sigh) And yeah, I was scared to start over, I didn't know what to do.And yeah, I'm living with three guys I met on the internet. And yeah, stranger danger is real, but I love these guys, I barely know them, I just met him, but I love them. All of them!GUYS: Just take it easy on the lovestuff...WINSTON: (Bends down to pick up a hat) Give her the shirt back, man. (Puts hat on)SPENCER: What happens if I say no?SCHMIDT: You know what happens? Schmidt happens! (Slaps Spencer)SPENCER: Ow."}
+{"doc_id":"doc_131","qid":"","text":"-[Storybrooke]-(Mr. Gold knocks on the door to Mary Margaret's apartment. Emma answers.)Mr. Gold: Ready to go, Miss Swan?Emma: Almost.(Mr. Gold enters the apartment, and Henry enters the room with a suitcaseand his coat.)Henry: Do you think we'll be cold where we're going, or warm?Emma: I think layers are always a good idea.Mr. Gold: I thought the terms of our agreement were quite clear. You owe me a favour - youalone.Emma: I'm not leaving Henry here with Cora lurking about, so either we both go, or we both stay.Mr. Gold: Then, we'll have to purchase another plane ticket, won't we?(Mary Margaret enters and helps Henry puton his jacket.)Emma: Wait. We're flying?Mr. Gold: Don't worry, I'm covering expenses. Even the new ones.(David overhears the conversation as he comes down the stairs.)David: You're a real gentleman, aren't you?Alright, Gold, you're going out there with my family. Just know, if anything happens to them...Mr. Gold: Then you'll what? Cross the town line? And David Nolan will hunt me down in his animal rescue van?David: I'll bedevastated. This isn't a threat. It's a request. Take care of them.Mr. Gold: I promise no harm will come to your family. After all, we have a deal.[SCENE_BREAK](Mr. Gold, equipped with the shawl around his neck, isdriving. Emma is in the passenger seat, and Henry is in the back seat. They are heading down a deserted road in Mr. Gold's car.)Henry: So... Where are we going?Mr. Gold: Logan International Airport.Emma: I think hemeant after that.Mr. Gold: Let's just take things one step at a time, shall we?Emma: You really think that shawl's going to work?Mr. Gold: Well, if it doesn't, and I revert to my cursed self, we're all going to have someproblems. It'll work.(They pass the 'leaving Storybrooke' sign and a wave of magic passes over Mr. Gold. There is a brief pause.)Emma: So?Mr. Gold: My name is Rumpelstiltskin. And we're going find myson.[SCENE_BREAK](At Mary Margaret's apartment, Mary Margaret is in the kitchen when David enters wearing two gun holsters.)MMB: You like the holster, huh?David: I miss carrying a sword.MMB: Well, it looks goodon you.David: Come on. Leroy has the dwarves on Cora watch. They've got eyes everywhere, but they could use our help.MMB: Really? How hard can it be to find a powerful sorceress in a small town?(They go to leave.When they open the door, they find Regina, who was just preparing to knock.)David: Apparently, not very hard.MMB: Regina. You're back.Regina: I know you think I'm responsible for poor Dr. Hopper's death.David:He's... Alive.Regina: What?MMB: You were framed.Regina: Who would do that?MMB: Your mother. She's here.Regina: But... But that's... That's... Not possible.MMB: When we found a way back, so did she. We werewrong... And we're so sorry.Regina: I know. But, if Cora's here, then we're all in danger. Please, you have to let me see my son. I can protect him.MMB: He's not here.Regina: What?David: Mr. Gold asked Emma to helphim find his son. They left town about an hour ago with Henry.Regina: And no one told me?MMB: We didn't know where you were. And, to be honest, Regina, I don't think Emma has to run anything by you.Regina: No,I suppose she doesn't.(Regina exits.)MMB: That went well.David: With her, it doesn't get much better. Come on. Let's go find Cora.MMB: Where?David: No idea. But I know who to ask.(David hands a quiver of arrowsand a bow to Mary Margaret, and the two of them leave.)[SCENE_BREAK](David, Mary Margaret, Leroy, and Hook are at the docks. Hook walks with an obvious limp.)Hook: You didn't even ask me about myrecovery.MMB: How are you feeling, Hook?Hook: Come closer and feel for yourself.(David hits Hook.)David: You want to lose the other hand? Where's the ship? Come on. Archie told us. It's shielded somehow, isn't it,mate?Hook: Aye... That it is. Follow me. I don't know what you expect to find. Cora won't be there.David: Well, maybe she left something behind that will tell us where she went. Let's go.Leroy: No funny business. I'mwatching you, pirate.Hook: Yes, Dwarf. That should deter me from any maleficence.MMB: Oh, don't worry, Leroy. He'll help us.Hook: What makes you so sure?MMB: Because you're a pirate. You know which way thewind blows, and, right now, it is gusting towards us.Hook: Oh. I see where your daughter got her gumption. Follow me.(They arrive at the pier where the ship is anchored. Hook walks up the invisible stairs anddisappears behind the shield. The rest of them follow suit.)Leroy: You sailed this ship from our land. Can you sail it back?Hook: My ship? She's a marvel. Made from enchanted wood. We weathered many a stormtogether, seen many strange, glittering shores. But, to travel between lands, she must go through a portal.David: Yeah. What do you know about Cora's plans?Hook: Cora's not the most communicative of lasses. I willtell you this - whatever malice she has in mind, her weapon of choice is in here.(Hook gestures to a tarp covered box. Leroy and David pull back the tarp, revealing a cage. Inside, is the shrunken giant from thebeanstalk. He is unconscious/sleeping.)MMB: Who's that?-[Fairy Tale Land - Past]-(At the giant's castle, the giants have gathered for dinner. One of them rings a bell to summon Anton. Anton enters.)Arlo: Ah. You'relate, Tiny.Abraham: Missed you out in the fields, Tiny.Anton: It's Anton.Abraham: But you're just so damn tiny, Tiny.Arlo: Alright, enough squabbling. Now, today, we celebrate. After a century of hard labour, the timeof the bean harvest has finally arrived.(The giants, save Anton, pound their fists into the table and cheer.)Anton: ...Yay.Arlo: But is a blossom more than its root? Is a harvest more important than a hard day's work?No. Each has value. Just as each of us has value. Hear, hear.Group: Hear, hear.(The giants stand up to toast, but are interrupted by a loud bang. They look over at Anton. A human-sized harp has slipped from hissleeve onto the table.)Arlo: You've been spending time in the treasure room again, haven't you?Anton: No. Maybe. So say that I was. So what?Arlo: Your fascination with the humans and their artifacts is misguided. Nogood can come of it.Anton: How can you say that, when you've never even been to their world? And you won't even let any of us go down there.Arlo: Have you forgotten what the humans did? Why we no longer tradebeans with them? They weren't content merely traveling between the realms. They had to conquer and pillage.Anton: Because a few humans did some bad stuff, doesn't make them all evil.Arlo: They don't abide by thesame laws that we do, Anton. We giants foster life. They destroy it. That is why they must never know that we still exist, or that we still grow the beans.Anton: But why do we keep growing them... If nobody ever usesthem?(There is an awkward silence at the table.)Arlo: It's what we do.Anton: We don't do anything with them!Arlo: It is the labour that makes us who we are. Not the fruit that it yields.Abraham: What is this? A humantoy?(Abraham picks up the harp and inspects it.)Anton: Put it down.(He crushes the harp in his hand and drops it to the floor.)Abraham: Not much fun, is it?Arlo: Abraham, that is enough.(Anton gets up from the tableand runs out of the room. Arlo calls after him.)Arlo: Tiny!(Anton exits the castle until he comes to the beanstalk. He looks down and ponders. He then decides to climb down to earth.)-[Storybrooke]-(David andcompany are still on Hook's ship. They are gathered around Anton's cage.)Leroy: So, Cora used magic to make him travel-sized.Hook: Whatever she intends to do with him, it's important.David: Oh, I think you knowexactly what she intends. You're holding out.Hook: Well, either have your lovely wife torture it out of me, which I promise will be fun for both-(David grabs Hook by the throat and shoves him against the wall.)David:Why don't you and I have some fun?Hook: I don't know what she's planning. Why don't you wake the bloody giant and ask him yourself?(Hook extends the key to the cage. Mary Margaret takes it and unlocks the door.She crouches down and touches Anton on the shoulder. He startles awake.)MMB: Hey... It's alright. You're safe now.(Anton crawls out of the cage.)MMB: What's your name?Anton: Anton. Where's that witch?MMB:She's gone.Anton: What did she do? She made me small.David: Come on. Let's get you out of here.Anton: You.David: Me?Anton: You!(Anton punches David in the face, causing him to fly backwards.)MMB:David!Leroy: Hey! Hey, over here, you big-(Leroy attempts to distract Anton, but is thrown down the stairs of the ship. Anton lunges at David, who has drawn his gun. He easily hits it out of his hand. Suddenly, MaryMargaret shoots an arrow past Anton's head.)MMB: Step away from my husband.Anton: You may have me outnumbered, but this isn't over. You think I forgot what you did? I didn't. You'll pay for your evil. I promise!You'll pay!(Anton flees the ship.)[SCENE_BREAK](Belle is watching television in a common room at the hospital. Ruby enters with a basket of items.)Ruby: Hey. You don't remember me, do you?Belle: Sorry, no, I... Idon't.Ruby: I'm Ruby. You used to come into my Granny's diner a lot. Before. I thought you could use some comforts from home. You were always telling me about Jules Verne, so I brought you my favorite - TheMysterious Island.Belle: Thank you. Were... Were we really friends?Ruby: Yeah, we were.Belle: Then tell me the truth. Before I was brought here, I was hurt. I was bleeding, and then this man came. And he... Hehealed me. Then, I saw him hold a ball of fire in his hands. How... How is that possible?!Ruby: The nurse said that the tranquilizers can give you wicked nightmares.Belle: No, I know what I saw. And I don't need anymore tranquilizers or-Ruby: Belle...Belle: Don't call me that. Why does everyone keep calling me that?(A nurse enters to restrain Belle.)Belle: I don't... I'm telling you, I don't...Nurse: Take it easy. Take it easy.(Thenurse sits her down in a chair and injects a sedative into her Belle's arm.)Ruby: Has she been like this the whole time?Nurse: More or less. We've had to keep her heavily sedated. Okay, let's get you back to bed.Belle:No...Nurse: Here we go. There.(The nurse escorts Belle out of the room. Meanwhile, Greg has entered and has seen the outburst.)Greg: Everything okay in here?Ruby: Everything's fine, Mr. Mendell. She's alright. Howare you?Greg: Much improved.Ruby: Well, then, rest up. The sooner you're better, the sooner you can be out of our quiet little town.[SCENE_BREAK](David, Mary Margaret, and Leroy are sitting in a booth at Granny'sDiner.)MMB: David... Did that giant just say he'll make you pay? For what?David: I have no idea. I've never seen that guy before.Leroy: Well, he sure knows you.David: No. It's not about me. He just thinks it is.-[FairyTale Land - Past]-(At his castle, James and barely-clothed Jack are having a make out session.)James: You are a true wonder.Jack: I know.(James picks her up and carries her to the bed. He drops her onto it, and thetwo of them resume where they left off. However, King George enters and interrupts.)King George: I didn't know you had company, James.James: Father. This is my father, the King. Father, this is-King George: I don'tcare. The kingdom is teetering on bankruptcy. The name of your latest dalliance is of little concern to me.Jack: Pleasure to meet you, too, Your Majesty.King George: Good day.James: Care for a drink, Father?(Jamesgoes over to a side table to pour himself a drink.)King George: There'll be time for that later. Right now, there's trouble afoot. I just received word that there's a giant running amok in the outer village.James: I thoughtgiants were extinct.Jack: I'd love the chance to battle one.King George: No. No killing. Not yet, anyway. This giant could be of use to us.James: Just tell me what needs to be done.-[Storybrooke]-(The trio is still atGranny's.)MMB: Your brother. That's who he thinks you are.David: It's the only thing that makes sense. Come on.MMB: Where are we going?David: To find out just what kind of trouble my brother got himself into.Leroy, get your head looked at and gather the dwarves. We need to keep an eye out for this giant.-[Fairy Tale Land - Past]-(Anton has successfully climbed down the beanstalk. He comes to a tavern, where he leansdown and peers inside the window. Seeing as he can't fit, he gets up and turns to leave. However, James and Jack have noticed him and chase after him.)James: If you want some ale, you should ask! They'll serveanyone who can pay, my friend. I'm James - Prince of this realm. I wanted to make sure you received a warm welcome.Anton: I'm Anton. I'm a giant.James: Yeah, I can see that. What brings you to our land?Anton:I've always been fascinated with your customs. I just... Wanted to see it for myself.James: Well, we would be more than happy to show you around. Of course, there's the matter of your size.Anton: I'm too small forback home, I'm too big for here.Jack: Don't despair, Anton. I have something that may help you.Anton: What is it?(She pulls out a small piece of mushroom.)Jack: Magic. A piece of mushroom from a far-off land. I onceslayed a Jabberwock that was terrorizing a village, and they... They couldn't pay me in gold, so they paid me with this, instead. If you eat it, it will change your size. Its effects are temporary, but we have more.(Antonreaches down and Jack drops the mushroom piece into his hand.)Jack: I'm pretty sure this one makes you smaller.Anton: Pretty sure?Jack: Well, I haven't had the occasion to try it, but... The wise woman who gave itto me swore by its power.James: Go on, Anton. Give it a try.Anton: I have no way to repay you for your kindness.Jack: No need. If it makes you happy, that's all the payment that we desire.Anton: Well, then at leasttell me your name.Jack: Jacqueline. But... Most people call me Jack.Anton: Nice to meet you, Jack.-[Boston]-(Emma, Henry and Mr. Gold have arrived at the airport. They pick up their boarding passes from the desk,and then enter the line for security.)Henry: Have you ever been outside of Storybrooke before, Mr. Gold?Mr. Gold: No.Henry: Are you nervous?Mr. Gold: No.Henry: Are you worried about meeting your son?Mr. Gold:No, Henry, I'm fine.Emma: How about we talk about all this later, kid? We're next.(Henry and Emma begin taking off their shoes to put in the boxes.)Henry: It must be really hard not to use magic - being like everyoneelse.Emma: You've got to put your shoes in.Mr. Gold: How terribly uncivilized.(Mr. Gold takes off his shoes and Henry goes through the metal detector.)TSA Agent: Uh, scarf and the cane go in the basket.Mr. Gold:What?TSA Agent: Scarf and cane go in the basket.Mr. Gold: I can't.Emma: You have to.(The man behind them interrupts.)Man: It ain't rocket science, buddy. You ever been on a plane before?Mr. Gold: Have you everbeen impaled upon a cane before?Emma: My... Father's a little nervous. We're headed to a family reunion. Sorry.Mr. Gold: Father?Emma: Just put your shawl in the bin. I'll help you get through.Mr. Gold: If I let this go,I could forget who I am.Emma: I'm not going to let that happen.Mr. Gold: Okay.(Mr. Gold takes the shawl off and puts it in the box with his cane. When he does, his hearing becomes distorted and he stumbles. He goesthrough the metal detector in almost a trace-like state, until Emma has a chance to grab his shawl out of the box on the other side of security. She puts it around his neck and his hearing and mind go back to normal.Mr. Gold gives a slight nod and the two of them begin to put their shoes back on. Henry is there waiting for them.)Henry: Guys, there's a Cinnabons here!-[Storybrooke]-(Hook enters a deserted alley near the docks. Heplaces a card - the Queen of Hearts - onto the ground. When he turns around, Regina has appeared behind him.)Regina: Hello, Hook.Hook: Regina.Regina: Expecting my mother? The one you were supposed tokill?Hook: Oh, that. Well, I didn't want to deprive you of a happy reunion.Regina: Well, it's your lucky day. She and I have made amends.Hook: And you're here to thank me? How sweet.Regina: She wants to know ifthey've found the ship.Hook: Well, you can tell her, she can ask me herself.Regina: She decided it wouldn't be prudent for her to be out and about.Hook: Well, then it is my lucky day. And you can tell her they found theship.Regina: Well, did you get her things off it?Hook: I've been tied up in bed - not in the good way.Regina: She needs her things.Hook: Oh, I'll bet she does. Well, there's good news, then. A giant got loose from thehold.Regina: You lost a giant?Hook: Well, a shrunken giant.Regina: How is that good news?Hook: Because, when he got free, he took one look at the Prince, and became extremely murderous.Regina: Hm. A giant intown who wants to kill the Prince. This is just the distraction we need.Hook: That it is, dear.[SCENE_BREAK](Elsewhere, Anton is attempting to navigate the streets of Storybrooke. He dodges cars as they honk athim.)-[Fairy Tale Land - Past]-(Anton, who is now small, James, and Jack enter the tavern. James pulls out a chair for Anton, and the three of them sit at a table.)James: Much better to be on the inside, huh? Please.You're the guest of honour.Anton: No fighting for a seat at the table. If my brothers could see me now...Jack: I'm not so sure about this family of yours, Anton. It doesn't sound like they appreciate you.Anton: They'renot so bad. Except for the... Making fun of me. And the pushing me around. And the harsh words. Well, yeah, it's sort of bad.James: Sometimes, you have to leave home to find the people you...truly belong with. Yourreal family.Jack: It's like you were always meant to be here, Anton.James: Now, make sure our Anton has all that he needs.(James gets up and heads to the other side of the pub. In the corner, a group of people areplaying music. One of them is playing a harp.)Anton: I had one of those once. I never knew it made such beautiful music. My brothers are so wrong about humans.(Anton overhears James arguing with anotherman.)James: It's unacceptable! Go back there and tell him what I said. Promise them anything. I don't care-Anton: Is there a problem?Jack: He didn't tell you, did he? The royal coffers are empty. James and his fatherare deeply in debt to a neighboring kingdom.Anton: I don't understand.Jack: If James can't pay back what he owes, they'll plunder this realm, and burn it to the ground.Anton: Now I understand.Jack: It's bad.Anton:Will the other kingdom only accept gold coins?Jack: Well, it depends. A magic bean, for instance, would be worth a thousand coins, but... You don't have any of those back home. ...Do you?Anton: No. No beans. We dohave treasure. Enough to pay off your debts, I bet.Jack: You would help us?Anton: Without question. If I'm going to stay here for good, might as well make sure it's a nice kingdom and not, you know - burned to theground.Jack: You are our hero.-[Storybrooke]-(In the woods, Anton is sitting on a log and looking forlornly at the river. Regina approaches him.)Anton: Get away from me!Regina: I'm here to help you.Anton: No. You'rehuman. I hate humans.(Regina continues to walk towards him.)Anton: Don't come any closer! Or I'll kill you.Regina: Look, I hear you're in town cause you want to kill someone. I can help. I have no love for this Prince,either, and if you want to destroy this town to get to him... Well, I'm happy to do my part. This will make you bigger. It will return you to your former glory.(He takes the proffered mushroom and takes a bite. In a puffof blue smoke, he returns to his former giant size.)Regina: Now, get to work! As I'm sure you're aware, that mushroom won't last forever.-[Boston]-(Emma, Mr. Gold and Henry are waiting by their gate. Mr. Gold ispacing back and forth.)Emma: Do you want something to eat?Mr. Gold: No.Emma: Is something wrong?Mr. Gold: Stop asking me that! I'll be right back.(Mr. Gold leaves and enters the public washroom. He enters oneof the stalls and locks the door. Still anxious, he starts to pace back and forth, until he suddenly drops his cane and begins violently punching the toilet seat cover dispenser on the wall. Afterward, Mr. Gold leans againstthe wall and looks down at his bloodied hand. He waves his hand over the wounds, but nothing happens. He tries again with the same result. Henry enters the washroom and calls out for him.)Henry: Mr. Gold? Mr.Gold? We're boarding soon. Are you coming?(He ignores Henry.)-[Fairy Tale Land - Past]-(Anton has returned to the castle and is gathering treasure. Arlo finds him there.)Arlo: Anton. Anton, where have you been? Wewere worried.Anton: I needed to get away for a little while. So, I went down below to see things for myself.Arlo: You went to the human world? Do you have any idea how dangerous that could be?Anton: I met friendsthere - friends who understand me. Who like me. And I plan to go back for good.Arlo: Anton... I know we tease you. But we love you. You're our brother. You know that. You expect these humans to just welcome you"}
+{"doc_id":"doc_132","qid":"","text":"Produced by: Robert Carlock & Wendy Knoller Final check by Kim[Scene: Joey's place. Rachel and Joey are talking]Joey: All right, all right, all right, let's play one more time, ok? And remember, if I win you do not moveto Paris.Rachel: Ok! Can't believe I'm risking this again, but you're on! All right Joe, you remember the rules! Heads I win, tails you lose.Joey: Just flip!Rachel (she flips the coin): Ha, tails!Joey: Damnit!(Chandler andMonica enter the room)Chandler: Hey!Joey: Hey!Chandler: So we thought we'd throw you little going away party around seven.Rachel: Oh, that sounds good!Monica: Hey, Rach, you're leaving tomorrow, shouldn't yoube packing?Rachel: It's all done!Monica: Oh, yeah, right! And after I took a shower this morning I just threw my towel on the floor! Oh God, it hurts to even joke about it.Rachel: I know... Honey, seriously, I did it all.The luggage that I'm taking is in the bedroom, this is Emma's Paris stuff, these are the boxes that I'm having shipped, and that's the sandwich that I made for the plane...Monica: Ok, so you've done some good work!(pause) What about your carry-ons?Rachel: Oh, well. Everything that I need (she takes her bag) is in here and my travel documents are on the counter organized in the order that I will be needing them.Monica: Oh myGod! I have nothing left to teach you! (they hug)Chandler: Where's your passport?Rachel: It should be right next to my plane ticket.Chandler: Well, it's not.Rachel: What? Maybe I put it in here (she opens her bag). Oh,oh, it's not in there! Oh, no! I must have packed it in one of these boxes!Monica: Here, let me help you. (they both start opening boxes)Rachel: Shoot. Oh, I can't believe I did this!Chandler (to Joey): At what point didit stop being funny that I took her passport?OPENING SEQUENCE[Scene: Monica's apartment. Monica and Erica are talking about the baby, and Monica is rubbing Erica's tummy.]Monica: Oh, wow, can you believeyou're like three weeks away?Erica: I know.Monica: You don't mind me touching your belly, do you?Erica: No, I don't mind you touching my belly, but right now your hand is kind of blocking the part where the baby isgonna come out.(She takes her hand off Erica. Ross enters the room)Ross: Hey!Erica: Hi.Ross: Hey Erica, welcome back to town! (pause) Wow, look how big you've gotten.Erica: That's because I'm pregnant!Ross:Right, no, I understand.Erica: Oh, ok. I'm just always afraid that people think I'm just fat with big breasts.Ross: No, no, I knew (he stares at her breasts).Monica (to Ross): Okay, well, stop staring at them.Ross: Shebrought them up! (pause) I didn't realize you were coming back so soon!Erica: Hey, well, in a couple of weeks I won't be able to travel.Monica: Yeah, and I wanted her to get to know the doctors and get settled into thehotel.Ross: Hotel? Why isn't she staying with you guys?Monica: Because we're moving in a couple of days and it just didn't make sense.Erica: Plus hotels are fun! My room has this little fridge full of free snacks!Ross:Erica, those things aren't free. In fact they have one of the highest mark-ups of any consumer product...Monica: Ross! She's giving us her baby. She can eat you if she wants.Erica (standing up): I'll be right back.Ross:Oh man, I can't believe you guys are leaving this place.Monica: Oh, I know. I know. Hey, you know, you can take it if you want! The lease is still in Nana's name.Ross: No, no. This will always be your place. It would betoo sad. Plus, how much a month does it cost to feed Joey?Monica: Yeah, it takes two incomes.Ross: Hey, is Chandler here? We talked about catching a movie.Monica: Oh, no. He doesn't have time for that. But if youwant, you can go help him and Joey pack up the guest room.Ross: Mhm, (he balance things) packing - sexy cheerleader comedy.Monica: Mhm, helpful brother - creepy loner at teen movie.(Ross takes the tape roll she'shanding him and walks to the guest room while mocking Monica's voice)[Scene: Guest room. Joey has his head wrapped in bubbled wrap and Chandler is punching him. Ross enters the room.]Ross: What are you guysdoing?Joey: Try it, I can't feel a thing! (Ross starts punching him too)Monica (enters the room): Are, are you kidding? This is packing?Chandler: We're taking a break!Monica: From?Chandler: Jumping on thebed?Monica: All right, Rachel's party is in a couple of hours and there's a lot to do. Now, Ross, you got Geller blood, you're in charge of these yahoos!Ross: You got it! (Monica leaves, Ross closes the door). All right,she's right, we gotta get serious. (He grabs a bag of styrofoam peanuts) Let's put styrofoam peanuts down his pants and kick him!Chandler: No, no, no, guys. She's right. We should get to work. I'll take stuff out of thecloset, Joey you pack 'em and Ross you re-pack whatever Joey packs.(Joey takes the bubble wrap off his head)Joey: You guys hear a ringing?Chandler: (holding a pair of furry handcuffs) What the hell is this?Joey: Hey!Handcuffs! And fur line, nice! I didn't know you guys had it in ya!Ross: Chandler, you don't have a sister so you can't understand how much this bums me out.Chandler: I didn't know Monica had these!Joey: Mhm,maybe she used them with another boyfriend. Maybe Richard!Chandler: Why would she use them with Richard and not me? I can be kinky! I once did a naked dance for her... with scarves!Ross: Bumming hard, guys,bumming hard.[Scene: Monica's apartment. Phoebe and Ross enter the room.]Phoebe: Hey!Monica: Hey! Where's Mike?Phoebe: Oh, he has a gig. I kinda like being married to a rock star, you know. My husband has agig.Ross: Yeah? Yeah, where is it?Phoebe: Oh, he's playing organ for a children's roller-skating party.Ross: Rock on!Phoebe (watching the food on the table): Wow, this is quite a spread! (pause) What is all thisstuff?Monica: Well, I thought this would be a great opportunity to use up all the food that I don't want to move to the new house with me! So, enjoy: smoke oyster casserole with a breakfast cereal crust, kidney beansin their own juices, and for dessert, a questionable orange.Joey: (entering the room) Hey.Chandler: Hey.Ross: Hey, where's Rach?Joey: Oh, she's putting Emma down, she'll be over in a second.Ross: Great.Joey: Nowit just hit her that she's leaving and she's kind of emotional so no one say anything to set her off, ok?Monica: Yeah.(Rachel enters the room)Everybody: Hey Rach, hey you.Ross: Here she is!Rachel (crying): Hi youguys!Joey: What did I just say?Rachel: No, no, no. It's ok. I'm gonna be fine.Monica: Come here, I'll make you a drink.Ross: Oh, man! I can't believe she's actually leaving. How am I gonna say goodbye toRachel?Chandler: I know, she's been such a big part of my life. And it feels like when Melrose Place got cancelled. (Ross and Joey looks puzzled) I mean... oh, forget it. I miss Melrose Place!Joey (to Ross): You know, Ihad a chance to stop her too!Ross: Yeah?Joey: Who loses fifty seven coin tosses in a row? Head she wins, tails I lose. (he stops and starts realizing something) Wait a minute...Chandler: Yes, Joe?Joey: I forgot to pickup my dry cleaning!Phoebe (to Rachel): You doing ok?Rachel: Well, I've been better.Phoebe: Uh-hmm.Rachel: You guys are gonna come and visit me, right?Phoebe: Yes! You know, in six months the Statute ofLimitations runs out and I can travel internationally again!Rachel: I'm gonna miss you so much.Phoebe: I know.Rachel: You know what? Uhm, I have some goodbye stuff that I wanted to say to each of you and I wasgonna save it until the end of the night, but come here (they go into the guest room).Ross: Hey, what do you think they're doing in there?Joey: Huh, if I had to guess I'd say Rachel is putting on the bubble wrap andPhoebe is doing the punching.[Scene: Guest room. Rachel and Phoebe are sitting on the bed.]Rachel: Oh, Pheebs, I don't even know where to start.Phoebe: Ok well, before you do, I know we weren't supposed to getyou going away presents, (she takes something out from her pocket) but I do have something for you.Rachel: Oh, oh. (she's holding the present, a transparent bag with a white stick in it). What is this?Phoebe: It's acotton swab with a bit of my saliva on it, so that if they perfect the cloning process while you are over there, you can use the DNA to create your own Pheebs!Rachel: I'm gonna throw this away, but thank you so muchfor the gesture![Scene: Monica's apartment. The living room.]Monica: Chandler? I was just in our bedroom and I found these (she holds the furry handcuffs) on my pillow.Chandler: Oh, yes. I decided to leave these outfor you in case Richard stops by and you wanna engage on a little light bondage and moustache play!Monica: What are you talking about? These aren't mine.Chandler: Oh yeah, right! Good luck getting another scarfdance from me!Monica: That would be a terrible punishment. But, I'm serious, I've never seen these before.Chandler: Really? Then what are they doing in our guestroom?Monica: Rachel used to live in thatroom.Chandler: Rachel... with handcuffs! Interesting! (he looks excited)Monica: Joey's bare ass!Chandler: (he doesn't look excited anymore). Well played.(Phoebe and Rachel enter the living room.)Rachel: I love youPhoebe.Phoebe: I love you too. (they hug) Please don't... Don't turn into... you know... French bitch! (they hug again)Rachel: All right. Well, if I gonna do this, I'd better keep going.Phoebe: Ok.Rachel: Ok.Monica?Monica: Yeah?Rachel: Can you come here with me for a minute?Monica: Sure.Phoebe: (to Monica) Are you wearing waterproof mascara?Monica: No.Phoebe: Oh, you're so screwed. (Monica goes into the guestroom)Ross: (to Phoebe) Hey. What was that all about?Phoebe: She's gonna say goodbye to each of us individually.Ross: Are you kidding? Oh my God...Phoebe: Yeah, I know, it's gonna be even worse for you... God...Ross, get ready to do some serious crying.Ross: Oh, man, I'm not going to be able to handle this. (pause) Now I know how my students feel at the end of each year. And why they act out by giving me such badevaluations.[Scene: The guest bedroom. Rachel and Monica are talking to each other.]Rachel: Mon... Okay... I've gotta... just say what it is I'm gonna say... None of the amazing things that have happened to me in thelast ten years, would have happened if it wasn't for you. No-one has been more like a sister to me...Monica: I know what you mean. You're like a sister to me too.Rachel: (starts crying and speaking at the same time,making it almost impossible to understand what she's saying) I wouldn't know what I'm gonna do without you...Monica: (having the same problem) You're the best friend I ever had.Rachel: (says something that cannotbe understood)Monica: What?Rachel: I... I... I... (again saying something that cannot be understood)Monica: That is so sweet. (they hug)[Scene: Back to the living room. Monica and Rachel enter and hug each other.The guys see this.]Ross: (to Joey) Oh no, she took down Monica... And I'm the crier in the family. Oh God! I could be next. Maybe she won't talk with me if it looks like we're deep in converstation. Oh, so that thing yousaid about the thing. It really made me think about that other thing.Chandler: Uh, Rach?Ross: Well it's okay. Chandler is talking to her.Joey: I really made you think about that thing uh?Chandler: (to Rachel) Uh,Rach... I think I have something that belongs to you. (shows her the cuffs)Rachel: (laughs) Oh, I'm sure gonna miss pretending to laugh at your weird jokes that I don't get.Chandler: No, no, no... They're really yours.We... found them in your old room.Rachel: Well, these aren't mine. Maybe Monica used to use them with...Chandler: Don't say Richard! Well, if they're not Monica's and they're not yours, then whose are they?Rachel:Well, I think you're forgetting the kinkiest former resident of that room.Chandler: Pheebs!Phoebe: (from the other side of the room) Yeah!Chandler: I think these are yours.Phoebe: These are not mine... Look howflimsy they are, come on! Good God! You try to hang a guy from a waterpipe with these, they'll snap like a piece of licorice.Rachel: (to Chandler) Can I talk to you alone for a minute?Chandler: Sure. (to Phoebe) Youdon't really handcuff guys to waterpipes do you?Phoebe: Where do you think Mike really is? (she giggles, Chandler looks aghast)[Scene: The guest bedroom. Chandler and Rachel.]Rachel: Oh honey...Chandler: Let mejust say something... Because once we get into this, I'm gonna get all uncomfortable and probably make some stupid joke... I just want to say that I... I love you... And, I'm gonna miss you. And I'm so sad that you'releaving.Rachel: (all mushy) Oh, you know what? Let's not say anything else. I love you. (they hug)Chandler: Ooh, not so tight... (blows raspberry, and the hug ends) I'm sorry, just give me one more chance.Rachel:Okay. Oh...(Chandler blows raspberry again)Rachel: Oh!Chandler: I'm sor... Just go. Just go. I can't, I can't.[SCENE_BREAK][Scene: Monica's living room. We look outside to the balcony where Rachel is saying goodbyeto Joey.]Monica: (to Ross) So, I guess you're next. You're ready?Ross: I don't think so.Chandler: Oh, you're definately not. I haven't cried like that in years.Monica: You cried yesterday at the six o'clock news.Chandler:That old woman was being scammed by her mechanic.Ross: God! I can't believe she saved me for last. (looking out to the balcony) Why are they taking so long?Phoebe: I don't know. But, God, Joey seems to behandling it suprisingly well.(Rachel and Joey hug, and Rachel turns to enter the apartment through the side window again. At that moment Joey tries to climb over the edge of the balcony.)All: No, no, no, no!(Rachelrushes back and pulls Joey back onto the balcony, and takes him inside.)Ross: Okay, here we go...Rachel: Oh... (holding Ross's shoulder) Well...Ross: Yeah...Rachel: I think I'm gonna take off. (pats Ross on his back,but he looks very surprised)Ross: Huh?Rachel: Oh, you guys. This was an amazing night. Thank you so much. I love you. Good night.(She leaves the apartment and they all stare at Ross)Ross: What? I don't get agoodbye?Joey: (still very emotional) Lucky b*st*rd![Scene: Monica's apartment continued... Phoebe, Chandler, Monica and Joey are sitting down and Ross is pacing up and down.]Ross: Unbelievable. She says goodbyeto everyone but me.Monica: Well, maybe she thought that with all of your history it could be, you know, implicit.Ross: Well, it needs to be plicit.Joey: All right, let's think about this. I mean, there's got to be anexplanation. Uh... did you do anything to make her mad?Ross: No, I don't think so.Phoebe: You know, maybe she was just really spent from our talk. It was pretty intense.Monica: Yeah. Mine too.Chandler: Mine was ahumdingerRoss: (annoyed) O-kay... I mean, don't I deserve anything? I mean, a few tears, a cursory hug? (Joey gives Ross a hug) NOT FROM YOU! (Joey lets go)Phoebe: Ross, if you're this upset, you should go andtalk to her.Monica: And say what? \"You owe me a goodbye\", I mean, he's got more pride than that.Ross: THE HELL I DO!(Ross takes big steps leaving for Joey and Rachel's apartment, where Rachel is going through herpapers.)Ross: I don't get a goodbye?Rachel: What?Ross: (talking agitated and angry) Everyone gets a goodbye but me? What have I got to do to get a goodbye, huh? Be best friends with you? Uh, go out with you?Have a baby with you? Oh wait a minute, wait a minute, I did all those things.Rachel: Ross...Ross: Oh no, maybe it's me, I'm just not giving you enough credit. Uh, I mean it is difficult to say goodbye to five people. Uh,goodbye, goodbye, goodbye, goodbye, good... (makes choking noises) IT'S PHYSICALLY IMPOSSIBLE. You know what? After all we've been through, I can't believe this is how you want to leave things between us. Havea, have a good time in Paris. (He leaves the apartment. Rachel looks kind of desperate.)[Scene: Monica and Chandler's apartment. The others are still there.]Monica: I hope Ross isn't too upset.Joey: I'm sure he's notmore bummed out than I am.Phoebe: Tell me about it.Chandler: Well, you can't say we don't know how to throw a party.Phoebe: All right, I think I'm gonna head out.Monica: Uh, where do you think you'regoing?Phoebe: I thought I was going home to go to bed, but I'm sensing there's something less fun for me to do here.Monica: We're moving in a couple of days and we've got a lot of packing to do. It would be great ifyou guys could pitch in.Chandler: Joey and I can finish up in the guest room.Joey: Oh, yeah, yeah, good idea. (he mimes hitting his head with his fist)Monica: Oh no! You and Phoebe are gonna help me inhere.Chandler: (to Joey) You couldn't be cool. (he goes to the guest bedroom)Monica: Okay, we're gonna start in the kitchen. Plates get put into plate protectors and stacked ten to a box. The silverware gets bundled inrubber bands and then bubble wrapped. Got it?Phoebe and Joey: Yeah.Monica: Good! Now I need you to be careful and efficient. And remember, if I am harsh with you, it is only because you are doing itwrong.Chandler: Hey Mon, I think I figured out whose handcuffs they are.Monica: You did? How?Chandler: Well, I was cleaning out the closet and I found some pictures of them... being used.Monica: Oh my God! Letme see. (they all look at the pictures)Joey: Who's that dirty old lady?Chandler: Monica's grandmother.Monica: Nana liked it rough!(Erica, the pregnant girl, enters)Erica: Hi!All: Hey!Joey: Come on here, have aseat.Phoebe: How was your night?Erica: Oh, it was okay. I went to a movie with my cousin and then out for dinner. We went to this place that had... Ooh... (she looks likes she is in pain, holding her belly) Hoo... ooh...Anyway, they had these really amazing cheeseburgers.Monica: Erica, are you okay?Erica: Yeah, you know, maybe I ate too much. I keep getting these stomach aches. They come and go like every few minutes.Monica:Oh my God!Chandler: Relax! We just get her some antacids.Monica: She doesn't have a stomach ache, she's in labor.Chandler: Oh my God!Phoebe: Yeah, you got to get to the hospital.Monica: All right, Chandler getthe coats. Erica let's go. Phoebe and Joey, keep packing! Oh my God we're gonna have a baby. All right. We're gonna have a baby! OH MY GOD, WE'RE GONNA HAVE A BABY! Oh God, oh God, I got to sit down, I got tosit down. Ooh! (she's hyperventilating)Chandler: Honey, it's gonna be okay.Erica: You can do this. Just breathe.Monica: Okay, okay... Okay, I feel a little better.Erica: (in pain) Ooh! Are you sure?Monica: Oh... Yes, I'msure. Oh honey, let's go. Okay bye everyone.(there's a lot of supportive cheers from all. Erica, Monica and Chandler leave.)Joey: Chandler, wait, wait, wait...Chandler: What?Joey: If you get a second, find out where shegot that cheeseburger.[Scene: Ross's apartment. Rachel bursts in.]Rachel: You really think I didn't say goodbye to you because I don't care?Ross: That's what it seemed like.Rachel: I cannot believe that after ten years,you do not know ONE thing about me.Ross: Fine, then why didn't you say something?Rachel: Because it is too damn hard Ross. I can't even begin to explain to you how much I'm gonna miss you. When I think aboutnot seeing you every day, it makes me not want to go... Okay, so if you think that I didn't say goodbye to you because you don't mean as much to me as everybody else, you're wrong. It's because you mean more tome. So there, all right, there's your goodbye... Oh!Ross: Rach!Rachel: What?Ross: You keep, you keep... You can't...Rachel: WHAT?(Ross walks over to her and starts to kiss her passionately. After a while Rachel backsout. She thinks a while and starts kissing him back.)[SCENE_BREAK][Scene: Chandler and Monica's apartment.]Joey: A little more.Phoebe: Okay. (she starts to stuff styrofoam peanuts down the front of Joey'spants.)Joey: A little more, a little more. (she stuffs some more down his pants and Joey's assesses the how many there already are in there.) A little more... All right. Okay, all right, let's do this.Phoebe: All right,ready?Joey: Yeah. All right, now give me your best shot.Phoebe: All right, here it goes...(she knees him in the crotch. He jumps up a bit)Joey: (in pain) Doesn't work... (he falls down on on his knees with his head onthe floor)"}
+{"doc_id":"doc_133","qid":"","text":"Act 1Scene 1 - Café Nervosa Fade in. Frasier is just getting to a table. Niles comes in.Niles: Just the man I wanted to see. Coffee, please.Frasier: Niles, Niles...Niles: You would not believe the morning I...Frasier: Niles,would you be terrible offended if I asked you just not to not talk about it and sit quietly?Niles: Can I at least tell you...?Frasier: Shhh, shhh, please, I do not have time for your folderol today. I am meeting Charlotte forlunch and I'm planning my strategy on how to win her over.Niles: I thought you said she has a boyfriend, this environmentalist fellow.Frasier: Yes, Frank.The waiter brings Niles' coffee.Niles: Thank you. So, what's yourplan to get around him?Frasier: I'm merely going to present myself as the anti-Frank.Niles: Ah. So you're going to be not rugged and not handsome? Interesting.Frasier: No.Niles: You're also going to be not passionateand not committed.Frasier: Very funny.Niles: Maybe she'd like you if you were not interesting and not informed.Frasier: Niles!Niles: Well you said my day was folderol!Frasier: Sometimes it is!CUT TO: Roz and a mantalking at the window table.Roz: I don't believe you.Steve: It's true. My roommate and I used to listen to your show Every day just for you. We fell in love with your voice.Roz: Really? [in a dusky tone] It's just avoice.Steve: Well, all the guys on my floor listen to you.Roz: To our show?Steve: Yeah.Roz: Boy, things sure have changed since I was in college.Steve: Well, it wasn't exactly college, more like prison.Roz: So wasmine. So where'd you go?Steve: Prison.Roz: Oh. So... you fell in love with my voice?CUT TO: Niles and Frasier as Charlotte walks in.Charlotte: Hi. The boys rise.Frasier: Charlotte, hi. You remember my brotherNiles.Niles: Yes, Charlotte, how are you?Charlotte: Oh, hello. Well, frustrated. Been selling this guy all over town, but no one's buying.Niles: [sitting] Well, perhaps if you threw in a toaster.Charlotte: I just have to callFrank before we head out.Frasier: Oh, right. So everything's settled between the two of you?Charlotte: Oh, yeah. He came over last night, I don't even remember what we were fighting about.She walks back to thepayphone as Frasier grumpily turns to Niles.Frasier: You know what THAT means, don't you? [sitting] They had a long night of acrobatic make-up s*x.Niles: I just thought of another way you could be theanti-Frank.Frasier glares for a moment, then gets a gleam in his eye.Frasier: Niles.Niles: Mmm?Frasier: Keep an eye out for her, will you?Niles: What are you doing?Frasier: Research.Frasier opens Charlotte's purse andbegins looking through it.Niles: Frasier, Frasier? Foul play!Frasier: Yes, all is fair in love and war. That's interesting. An anthology of Irish plays. Perfect!Niles: What do you know about Irish plays?Frasier: Nothing. Butnot for long. There's one area where no manhas ever bested me, Niles: homework!Charlotte comes back and Frasier gets to his feet.Frasier: Charlotte, listen, I was just beeped by a patient who's desperate to see me,so do you mind if we just switch lunch for dinner?Charlotte: Actually, that's better for me. I have four new clientscoming in. Just think: the woman of your dreams may be sitting in my office this afternoon.Frasier:Indeed she may.Frasier smiles, then turns and hurries out.[SCENE_BREAK]Scene 2 - A Restaurant Fade in. Frasier hurries up to the Maitre D', Georges.Georges: Ah, Monsieur, so nice to see you again. Your specialtable is ready for you.Frasier: And the wine?Georges: As you requested, monsieur.Frasier: Right. And the roses?Georges: I'm so sorry, monsieur, I felt that the scent would distract from the wine's distinctivebouquet.Frasier: You forgot them, didn't you?Georges: Yes, forgive me.He hangs his head.Frasier: For God's sake, Georges. All right, send a busboy out to pick some wild flowers, please.Georges: Very good sir.Heheads off as Charlotte comes in the front.Charlotte: Gee. You kinda sprinted ahead of me, there.Frasier: So sorry. I just wanted to make sure that we could get a table. Here, come and sit.Charlotte: This place is kindafancy for a working dinner.Frasier: Yes, well, after the rigors of your camping trip with Frank, I thought you deserved a little elegance.Charlotte: Thank you. [She gets her notebook.] So, good news: I met this greatwoman today. How do you feel about dating someone a little taller than you?Frasier pours the wine.Frasier: How much taller?Charlotte: I don't know exactly, but I did have to turn off the ceiling fan.Frasier: Well, let'sjust put her in the maybe pile, shall we?Frank comes in and over to the table.Frank: Hi, sweetie.Charlotte: Hi.Frank: Sorry to interrupt. I know you're working.Charlotte: Frank, you know Frasier.Frank: Yes.Frasier: Yes,yes, good to see you, Frank.Frank: I just need the key to your apartment. I left my blue field notebook there and I want to double-check some whale songs I copied down.Charlotte: Oh, sure.Frank: We were in a boatall day, recording whale songs. I think we may have had a really big interpretive breakthrough.Frasier: Oh, you should tell us about it sometime.Frank: That's a great wine. Can I steal a glass?Charlotte: Yeah, here. [toFrasier] You don't mind, do you?Frank sits.Frasier: No, no, not at all. Although as the Irish say: \"A man takes a drink, the drink takes a drink, the drink takes the man.\"Frank: That's very good. \"As the old cock crows,the young cock learns.\"Frasier: Yes, well, wasn't it O'Casey who once wrote: \"The Irish treat a serious thing as a joke, and a joke as a serious thing.\"?Charlotte: You'd really have to ask Frank about that. He's the onewho loves Irish literature. He lent me an anthology, but I haven't made much of a dent in it. I'm sorry, honey, I'm trying.Frank: I know you are, baby.He kisses her cheek as Georges brings a vase of wild flowers to thetable.Georges: Your flowers as requested, monsieur. [noticing Frank] I'm sorry, I thought you were to be deux.Frasier: Yes, well now we are trois. Thank you, Georges, could you bring us another glass, please.Georges:[knowingly] Yes, I understand, monsieur. It is most sophisticated of you.He walks off.Charlotte: Frasier, you ordered these flowers?Frasier: Well, the table just looked so bare.Frank: These are great choices, man. Theseare Washington wild flowers, remember from our hike? Foxglove, fine toothed penstemon, harsh paintbrush. Ah, remember this one?Charlotte: Oh, it's on the tip of my tongue...Frank: Monkey-flower.Charlotte:Monkey-flower!Frasier: Yes, often confused with the chimp-pansy.They all laugh.Charlotte: Frank made the same joke this morning.Frasier: Oh.Frank: Great minds.Frasier: Yes, yes.George brings the menus, Frasierspeaks to him in French.Frasier: Just two menus, Georges. This fellow is only staying for a drink.Frank: [in French] No, no. I'll take a menu. We're having fun. And to tell you the truth, I'm starving.Frasier: Oh,terrific.As Frasier glares at his menu in frustration, the word \"Merde\" appears in the subtitles.[N.B. Georges is meant to be French, but if you listen carefully you hear a hint of a Cockney accent.][SCENE_BREAK]Scene 3- Frasier's Apartment Fade in. Niles and Daphne are on the couch. Martin opens the front door for Roz.Martin: Hi, how ya doin'?Roz: Hi. Hey, look at you, Mr. Handsome.Martin: Thanks. I'm gonna go hear Ronee sing atthe Rendezvous. And then afterwards I am going to give her her engagement ring.He shows it off with a flourish and Daphne takes the box.Daphne: Oh, Martin, it's beautiful.Roz: She's gonna love this.Martin: Thanks. Iforgot I had it. I bought it years ago for Sherry, but then we broke up.Daphne: You can't give Ronee a used ring!Martin: Sherry never touched it.Roz: Well, it doesn't matter. Ronee deserves something you picked outjust for her.Martin: Well, she'll think I picked this out just for her.Daphne: But you didn't.Martin: But she'll think I did.Daphne: But you didn't. You'll have to sell that and buy Ronee a new one.Martin: Oh, what's thedifference? Niles, come on, back me up here.Niles: You can't be serious!Martin: Oh, geez.He heads for his room.Martin: Fine, back in the vault.Daphne: Some vault. It's an old cigar box with a bunch of silver dollars andEddie's baby teeth.[N.B. See [5.11], \"Ain't Nobody's Business If 'I Do.'\"]Frasier comes in from his room and grabs his jacket.Frasier: Oh, hey, Roz. What are you doing here?Roz: Oh, hi. I was just shopping around thecorner, thought I'd stop by.Frasier: Oh, gosh, well unfortunately I have a date.Roz: That's okay, I have one myself. With Steve.Frasier: Oh, yes, your convict friend. Do you think that's wise?Roz: The man made onemistake. Besides, I don't know any guy who's not a little fascinated by fire.Frasier: Yes, and a felon now knows where you live.Roz: I'm not a total idiot.Her cell phone rings and she answers it.Roz: Hello? Oh, yeah, hi,Steve. I'm grabbin' my coat, I'll be right down.She walks past an outraged Frasier to the door.Frasier: You...?! She leaves.Niles: So, you have a date tonight.Frasier: Yes, yes, actually Charlotte and I have been outthree times this week. We've been wine tasting, beach-combing, and we actually shared a blanket in a horse-drawn carriage.Daphne: I take it Frank's off in the mountains again?Frasier: Oh, no, he was there, too.Martincomes back out.Martin: Let's go. The others get up.Niles: You mean, it's been the three of you all week?Frasier: Well, it's not exactly how I wanted, but the more time I spend with them, the less time they spend alonetogether.They follow Martin out the door.Daphne: It doesn't bother Frank, you tagging along on their dates?Frasier: Frank? No. In fact, he's quite taken with me. It doesn't even occur to him that I might be a rival.Galling, yes, but it does give me more time to work my magic on Charlotte.CUT TO: the hallway as they wait for the elevator.Frasier: In another week, you can kiss Frank goodbye.The elevator opens to reveal Frankand Charlotte in a passionate embrace.Niles: Maybe we'll wait until there's not a line. Frank and Charlotte come off the elevator.Frank: Hi, guys.Niles: Hello.CUT TO: the living room as he passes Frasier in thedoorway.Frank: Gangsta!Frasier: What it is.Charlotte comes in as Frank plops down on the couch.Frasier: So, uh, what's going on? I thought we were meeting downtown.Charlotte: I know, I'm sorry, but can we stay intonight? I've got to get up early and catch a flight to Chicago for some divorce stuff, and Frank's beat.She sits next to him.Frank: Yeah, I was at the beach all day cataloging the stomach contents of a dead elephantseal. It was like all you can eat down at the Lobster Pot. I'm sorry, the collapse of our coastal fisheries is no joke. I'm just punchy.Charlotte: We brought some movies. We couldn't agree on which one to watch, so youbreak the tie.She holds out the DVDs and Frasier sits on the coffee table to look at them.Frasier: Hmm... \"The Perfect Storm\" or \"When Harry Met Sally.\" I guess I'm going to have to go for \"When Harry MetSally.\"Frank: YES! He'll have what I'm havin'!Frasier just shrugs with his \"I can't win\" expression.[SCENE_BREAK]MENAGE A HUH?Scene 4 - Frasier's Apartment Fade in. Charlotte is waiting in the hallway. When theelevator opens, Martin and Ronee get off. They notice that Charlotte's hair is unkempt.Charlotte: Oh, hi. We keep passing each other.Martin: Yeah. We got some dessert here, if you wanna stay.Charlotte: Oh, nothanks. I've got to catch an early flight, but tell Frasier I'll call him?Martin: Sure. Bye.Charlotte: Bye-bye.The elevator closes.Ronee: Do I know her? He unlocks the door.Martin: Yeah, she's the woman Frasier's beenafter. She has a boyfriend already, but maybe somethin' happened.Ronee: I'll say. You don't get that hair-style sitting up.CUT TO: the living room as they come in and Martin turns on the light. Frasier is asleep on thecouch, Frank is asleep and curled against his shoulder.Martin: Oh, geez! He heads off to his room.Ronee: Well, so long as he's happy.[SCENE_BREAK]End of Act 1 Act 2LORD OF THE RINGScene 1 - Frasier's ApartmentFade in. The doorbell rings and Martin answers. It is Niles and Daphne.Martin: Oh, hi guys.Niles: Hey, Dad.Frasier: Hey, Daphne, Niles. Listen, the opera tickets are right there by the phone. Wish I could use themmyself.Daphne sits down, Niles hangs up his coat.Niles: You know, if you'd gotten a third, you could take that couple you're dating.Frasier: Yes, that's very droll. Frank injured himself on our hike, so I've got Charlotteall to myself this evening. I'm not going to waste this opportunity. I'm going to make her a romantic dinner and then tell her how I feel about her.Martin: Wow, really?Niles: Are you sure she's ready for that?Frasier:Well, I don't know, but I can't stand this ridiculous threesome anymore. You know, the worst part is how completely unthreatening Frank finds me. As if I'm some sort of a harem eunuch.He grabs some bags and hiskeys and gets ready to leave.Daphne: How'd he hurt himself, anyway?Frasier: Well, he strained his back carrying me over a brook.Niles: You wounded him and you're stealing his woman in the same day?Frasier: Well, Ididn't ask the man to carry me! He simply hoisted me over his shoulder before I could stop him. That's not something you get used to, no matter how many times it happens.Martin: Don't you worry about it. You just dowhat you gotta do.Frasier: Thanks, Dad. Wish me luck. I'm making her beef bourguignon from a new recipe.All: Good luck.Niles: Flour the beef.Frasier takes spirit from this, then closes the door behind him.Daphne:You're looking very sharp.Martin: [getting up] Oh, I got the new ring.Daphne gets up and Niles crowds in.Daphne: Oh, let's have a look.Martin: I sold the old one and got this new one this morning.Daphne opens thebox and Niles reels back a little.Niles: Dad, it's huge.Daphne: Oh, it's beautiful, Martin.Martin: Yeah.Ronee comes in the front.Ronee: Hi.Martin: Hey.Ronee: What's goin' on?Martin: Nothin'. Oh, you look lovely tonight.But you know, I think your hand is kinda underdressed.He holds the ring out to Ronee who takes it excitedly.Ronee: Oh, my God! Marty, it's gorgeous. I love it and I love you, in that order.She hugs him.Ronee: Oh,thank you. Listen, I've got to go wash my hands. I was eating Cheetos all the way over.Martin: I love this lady.Ronee hurries off, Daphne takes the ring again.Daphne: Oh, let's have a look. Oh, it's brilliant. Oh, you hadit inscribed!Martin: I did?Niles: \"Lil' Cupid. Til Def Do Us Part.\" What is that?Martin: Let me see that.Daphne: Isn't \"Lil' Cupid\" that obese rapper? The one they arrested for drugs?Niles: Where did you get thisring?Martin: At an auction! [off their looks] A police auction.Niles: You can't give that to her!Martin: Well I can't take it back, she loves it.Daphne: Well, what are you going to tell her?Martin: Well, just relax, I'll handleit.Ronee comes back in.Martin: Well, there's my lil' cupid. All beautiful and clean. All you need is a bow and arrow, Lil' Cupid.Ronee: Why are you calling me that?Martin: I always call you that.Ronee: No, no youdon't.Martin: Well, uh, maybe I mostly say it when you're not around.He looks at Niles and puts the ring on her finger.Niles: Oh, yes. It's always \"Lil' Cupid said this.\" or \"Lil' Cupid did that.\"Daphne: It looks beautiful onyou.Ronee: Thank you.Martin: Now, promise me you'll never take it off, Lil' Cupid.Ronee: Okay, okay. I promise if you'll stop calling me that.Martin: Deal.They kiss.Ronee: I'm gonna go look at this in the mirror. Shegoes to the powder room.Daphne: How did you get it to fit her? Lil' Cupid's as big as a house.Martin: Keep your voice down. It was a toe ring.He smugly sits back in his chair with a beer.[SCENE_BREAK]Scene 2 -Charlotte's Apartment Fade in. Charlotte is sitting at her table, Frasier comes in with two plates.Frasier: Here we are. Beef bourguignon with sautéed fiddlehead ferns and walnut chutney.Charlotte: It's exactly what Ineed after the day I've had.Frasier: Well, maybe I could give you a neck rub while it cools.He starts giving her a massage.Charlotte: Oh... oh, you're the best. You know, I am so sorry you've had to put up with all thisbusiness with me and Frank.Frasier: What business?Charlotte: Well, you know, all this tension between us.Frasier: There's tension?Charlotte: He's a great guy, we just seem to be... I don't know...Frasier: Fighting?Growing apart? Not clicking?There is a knock at the door.Frank: Darling. Charlotte gets up quickly, snagging her hair.Frasier: Oh, gosh, I'm sorry, it's my watch. It's caught.Charlotte: Oh, got it?She turns around in hisarms, while he reaches up and tries to release her hair. Frank comes in while they're in this compromising position.Frank: Shoulda known. The minute I'm laid up, you're over here making my lady dinner. You're trueblue, buddy.He walks over and kisses Charlotte on the cheek.Frank: Hi, baby.Charlotte: Hello, Frank.He snatches a bite from Frasier's plate.Frank: Mmm, walnut chutney, that's daring. Frasier finally gets untangled andhelps Charlotte to her seat.Frank: Were you giving her a back rub?Frasier: Uh, was I? Yes, I suppose I was, yes.Frank: Would you mind doing me? I took an aspirin after the hike, and my neck's still a little tight.Frasierstarts massaging Frank's shoulders.Frank: So, tell me all about Chicago. How was it?Charlotte: I'll tell you later.Frank: Oh, that's nice.Charlotte: Frasier, stop rubbing his neck. Sit down.Frasier does.Frank: Why can't herub my neck?Charlotte: Because when you came in, we were just sitting down to dinner. You could've called first.Frank: Well, I didn't know I needed to get clearance. Geez, you're as touchy as a hermitthrush.Charlotte: This is typical of you. You come in here, you expect me to change my plans because you're suddenly available. It's insensitive.Frank: Oh, I'M insensitive. I've been tracking a pod of humpback whalesfor a week and they've been talking their asses off, but have you once asked me what Bonnie has to say? Or Robert? Or Grace?Charlotte: They're WHALES!Frank: They're my friends!Charlotte: Stop yelling. You'reupsetting Frasier.Frank: I didn't do anything. I came in here, kissed you hello, and you jumped down my throat. What the hell is your problem?Charlotte: You are! You are driving me crazy!Frank: Do you believeher?Charlotte: Don't you drag him into this! Oh, you know what, I can't deal with this tonight.She gets up.Frank: Well, when can you deal with it? I'll call ahead and make an appointment.Charlotte: I think you shouldleave.Frank: Fine!He gets up.Frank: Come on, Frasier, let's go.He heads for the door while Charlotte heads for the bathroom. Frasier just looks confused.Frank: Times like this, a guy really needs his buddy. Giving up,Frasier tosses down his napkin and follows Frank out.DISSOLVE TO: later. Charlotte is on the couch, slumped down and drinking wine. Frasier knocks on the door and comes in.Frasier: Hi. Just wanted to see how you'redoing.Charlotte: Tip-top. How's your friend?Frasier: He went someplace dark. I couldn't follow.He sits down next to her.Charlotte: Him and his moods.Frasier: No, no, he climbed some kind of pine tree.Charlotte: Look,I'm, I'm sorry about all that. I think this is it for Frank and me.Frasier: Really?Charlotte: It's just not working. I think I was always attracted to the idea of him more than him.Frasier: This may seem inappropriate, butI'm not entirely sad to hear you say that.Charlotte: What do you mean?Frasier: I would think my feelings were obvious by now. All the time we've been spending together.Charlotte sits up and puts down herglass.Charlotte: I just thought it was because you were hitting it off with Frank.Frasier: Are you kidding? The man smells like a chum boat. You, you're the one I wanted to be with. Look, uh, I realize you're in avulnerable state and you probably need some time to process this, so I'll just, uh...He gets up.Charlotte: Don't go. I've been thinking a little about you, too.Frasier: Really?He sits back down.Frasier: Well, then. He leansover and kisses her, laying her back on the couch.Charlotte: Oh, God, I'm uncomfortable.Frasier: I'm sorry, I'm rushing things.Charlotte: No, no, it's just I'm lying on a wine bottle.She puts it aside and they start kissingagain.[SCENE_BREAK]Scene 3 - Charlotte's Apartment Fade in. Charlotte is in bed, rain can be heard outside. Frasier comes in with two mugs.Frasier: Good morning. Charlotte sits up with a worried look on herface.Charlotte: Oh, dear God, please tell me nothing happened last night. Frasier is dumbstruck.Charlotte: I'm kidding! I'm kidding!Frasier, relieved, sits on the bed and gives her a kiss. She takes one of themugs.Charlotte: I'm glad you stayed.Frasier: Me too.Frank comes in the front door, wearing a bandage.Frank: Hey, guys. You're in my robe. Guess you got caught in the rain, too, huh?Frasier: Yes, I did.Frank sits onthe edge of the bed.Frasier: What happened to your hand?Frank: Ah, I was so mad last night, I punched a raccoon. God, I'm a b*st*rd. You're a good guy to come check on her. Never understand why women don't likeyou. [to Charlotte] Can we talk?Charlotte: Yeah, I think that's a good idea.Frasier: My clothes should be dry by now.He grabs them from the floor beside the bed and hurries to the bathroom. Charlotte puts on her robe"}
+{"doc_id":"doc_134","qid":"","text":"[PREVIOUSLY_ON]Jamie : For you, Miss Lauren.Lauren : Thank you, Jamie.Jamie : They're from my uncle skills. He thinks you're cute.Lauren : Antwon \"Skills\" Taylor crashing a 5-year-olds' dance?Skills: I was hopingto see you.Bobby : I'm moving Nino to shooting guard, and I'm keeping you at the point.Nino : With me at the point, you're gonna get more chances to score.Nathan : All right? I'll get you the ball. Cause if you can dothat, the scouts will come.Brooke : I have a letter for you from your birth mother. You've been going to that coffee shop for months. You must want something from her, even if it's just closure.Lucas : Peyton has acondition called placenta previa.Brooke : Lucas, come on, what if everything doesn't go perfectly?Lucas : She could die, and... and the baby, too.AT LUCAS'S HOUSEPeyton : The honorary title, Matthew Ryan, the cure,Audioslave, Haley James Scott. They're all in here. It's music to set your life to. And music always helps, no matter what you're going through. So, if you flunk a big test or you have a really bad break-up. Or you justmiss someone so bad, it hurts...Then listen to my playlist -\"100 songs to save your life\" and it should help. Oh, and there is this new artist that is really special, and her second album is just about to come out. So youshould check her out. Her name's Mia Catalano.**This road is anything but simple twisted like a riddle** **I've seen high, and I've seen low** **so loud the voices over my doubts** **are telling me to give up** **topack up and leave town** **but even so, I had to believe** **oh, impossible means nothing to me** **so, can you lift me up?**Peyton : A best friend ... okay, this one is so important. Choose wisely, okay? I gotreally lucky with mine. My best friend is funny, intelligent, creative, beautiful and successful and very kind. And she's also impulsive, frustrating, um...complicated, childish. But I would not have her any other way. Andthe best part about Brooke Davis is that she always puts friends first. So...if you are ever in any kind of trouble, now you know who to call. I can't think of anyone I would rather have watching over you.IN THESTREETVictoria : It's been a month, Brooke. You've got to stop spying on them like this.Brooke : Thank you, concernicus. How would you know what I've been up to?Victoria : 'Cause I've been watching the both of you.Iced coffee with skim milk it'll change your life.Brooke : She's eating pecan pie. She doesn't even like pecan pie.AT LUCAS'S HOUSEPeyton : Being a kid without a mom really sucks. And I know this because I've beenthere... twice. And if you're watching this, then it means that you're in that place, too. And I'm so sorry for that. But if you ever need a mom-and-dad fix, you have Nathan and Haley for that.AT SCOTT'S HOUSENathan :Gotcha! I gotcha now!Jamie : No! No!Haley : Okay, easy. If he pees his pants, you're on laundry duty.Jamie : You look pretty, mama.Haley : Oh, thanks, buddy. I got to go. I'm late. I got to pick up Mia from the studioand go over to Peyton's for her baby shower. Do you think you can drop him off on your way out of town? Lucas is gonna watch him.Nathan : Sure, no problem.Haley : Thank you. I'm gonna miss you so much. Call meafter the game, okay?Nathan : Yeah.Haley : Okay Bye. I'll see you later. Peyton's waiting.Nathan : Bye.Haley : Bye!Jamie : Bye. Love you.Haley : I love you, too.Jamie : Again?Nathan : Again?!**'Cause I haveovercome more than words will ever say** **and I've been given hope that there's a light on up the hall** **and that a day will come when the fight is won and I think that day has just begun** **oh, oh, justbegun** **lift me up** **ooh, yeah, yeah, yeah yeah, yeah, oh** **oh, oh, lift me up** **lift me up, lift me upAT LUCAS'S HOUSEPeyton : I really hope that we get to share all these things together. But just in case,it's all right he. Now, there is just one thing... that I need from you. Please... take very special care of your father ... because if I'm not around... he's gonna need you to take care of him, just like my dad needed me.So, love him ... and take care of him ... and be kind to him. Just please ... Do that for me.Lucas : Peyton, what is this?Peyton : I just thought I should.Lucas : No. No, you... You said everything was gonna be okay. Yousaid that.Peyton : Okay, but, Luke, if it isn't, I want our child to be able to remember me. It's just in case.Lucas : Our child's not gonna have to remember you. Our child's gonna know you. We're not doing this,Peyton.Peyton : Lucas.Lucas : A death video? A sad box of stuff? I'm not having any of this, Peyton. I mean, what's next?Peyton : I want to get married ... now.Lucas : Absolutely not. You're supposed to be taking iteasy. Okay, look, after you have this baby and you're all better, then ... then we'll get married.Peyton : I want to get married.Lucas : Why? Why is it so important to do it now?Peyton : Because...Lucas : We're not doinganything just in case, okay? I'll be in the garage. You should be in bed.Peyton : Thank you! I love you, too, by the way.AT WALMARTBrooke : Remind me again what we're doing here?Victoria : Know thy enemy, Brooke.Suit yourself, but this is our competition and they're cutting into our market share with these hideous things.Brooke : Yeah, the appropriate word being \"hideous\".Victoria : Don't be so dismissive. Maybe you should paya visit to the manufacturer, get some inspiration.Brooke : I have Sam, and Sam has school, so I'm not going anywhere. Besides, I need to be here while she's meeting with... you know who.Victoria : You mean thebiological mother with the pathetically low credit score?Brooke : What are you talking about?Victoria : So, I had business affairs run her credit report. Don't hate me because I'm resourceful.Brooke : You didwhat?Victoria : Brooke, we have to be able to make a case against the woman.Brooke : We are not building a case against anyone. Do you think that I can't see what you're doing? There is no running from this. Samhas every right to know her ... real mom.Victoria : Suit yourself. Red is really your color. What do you think?Brooke : Do you think we're shopping right now?Victoria : Absolutely not. This is strictly R&D for our newline.Brooke : You are so trying to shop with me!IN THE GARAGELucas : Hey !Nathan : Hey !Jamie : Uncle Lucas, can I help you fix aunt Peyton's car?Lucas : Hey, sure, buddy.Nathan : Careful. Sure this is no problem,him hanging out with you?Lucas : Yeah, I could use the company anyway.Nathan : Everything okay?Lucas : It's Peyton. I-I-I found her putting together a time capsule, or a ... a \"just in case\" capsule. That's what ithought.Nathan : I know, yeah.Lucas : It's just, you know, weird that I'm approaching what's supposed to be the most exciting moment of my entire life with nothing but... complete and utter fear.Nathan : You want tohear a secret? Day Jamie was born, I was...petrified.Lucas : No, you know, it's different, though, you know? I mean, what if something happens to Peyton? I don't know how we got this far.Nathan : Well, you got thisfar 'cause it's what she wanted. You know? It's like when Karen let you play basketball with your HCM. She knew how bad you wanted it, so she just held her breath and let you play. We all did, you know? Maybe ...maybe this is the time you have to hold your breath for Peyton.Lucas : She wants to get married.Nathan : So do you. You proposed, remember?Lucas : She wants to get married right away. It all just worries me.Nathan: Well, as worried as you are, think about how scared she is. Look, if you had one more day to spend with Peyton, would you rather spend it arguing or just being married?AT BROOKE'S HOUSEBrooke : You ready?Sam :For what?Brooke : Peyton's baby shower. You didn't forget, did you?Sam : Sure she wants me there?Brooke : Of course I'm sure. The invitation was addressed to both of us, you knucklehead.Sam : Yeah.Brooke : Areyou okay, Sam?Sam : Yep, I'm good.Brooke : Okay. So, everything's going okay with, you know...Sam : My mom?Brooke : Yeah.Sam : Yeah.Brooke : What do you got there?Sam : It's her house. you know, she gaveme up when she was my age. How weird is that?Brooke : Yeah.Sam : She said she didn't want to, but her parents made her do it.Brooke : well, I can relate to having crummy parents who make bad decisions.Sam :Yeah. You know, it's funny. I've always... wanted to live in a house with a white picket fence.Brooke : Well, we can have a picket fence if you want. You can have any kind of fence you want. I'll just wait for you to getdressed.Sam : You know, if it's okay, can I just meet you there?Brooke : Yeah. I'll see you at Peyton's.AT THE GYMNASIUMMouth : So, the stage is set for the Charleston chiefs, who can move into sole possession offirst place with a win tonight. And with the season coming to a close and possible NBA call-ups hanging in the balance, coach Bobby irons will be looking for explosive performances from his two leading scorers, NinoJones and point guard Nathan Scott.Nino : I can't believe anybody out there would want your autograph.Nathan : Are they are than would want it from you.Nino : Look, just 'cause you're the starting point guard don'tmean you can show up late. I had you going for a second. And don't worry. I covered for you, man.Bobby : Well, well, you guys go on an eight-game winning streak, and suddenly it's a love fest in here.Nathan : Iwouldn't go that far.Bobby : I'll tell you what, Scott ... I'll waive your fine for being late if you and your new best friend here can do two things.Nathan : And what's that?Bobby : Win the game tonight... and impress theNBA scout who's here to watch you guys play.Nathan : Scout?Bobby : Word is the clippers are looking for some backcourt help.Nino : All right, then. Yeah.Bobby : Good luck, guys.Nathan : Thanks.Nino : Hey, uh,Scott, I think you might want to sit this one out.AT CLOTHES OVER BROSSam : I'm so not wearing this.Victoria : Sam, it's a baby shower. You can't show up like you just walked out of a Brazilian favela.Sam : Okay,well, this makes me look like Kermit the frog.Victoria : Okay. So, how goes it with... the waitress?Sam : Her name is Rebecca, thank you. And for your information, things are kind of going okay.Victoria : Yes, well... I'msure your conversations are just riveting. I mean, you have so much to talk about, what with 16 years of pure neglect to hash over.Sam : Don't be mean.Victoria : Sorry. It's just that she left you. So, you know... it'snot like that.Sam : I mean... I thought that way at first. I thought she'd be this evil person, you know, this bad person that gave me up, but she's not. You know, she's got her problems, but she's okay. I mean, in away, she's ... she's kind of like...Victoria : like what?Sam : Like me.Victoria : Did she say she wanted you back?Sam : Doesn't matter. I'm happy here.Victoria : And that's what we want for you, Samantha ... to behappy here.Sam : Yeah, I know. It's just, I don't want to hurt Brooke's feelings, but part of me wants to know her, you know? My real mum?Victoria : Do you want to live with her?Sam : No.Victoria : Of course youdon't. That's my girl. Now let's see if we can't find a beautiful dress for you, worthy of the Davis name.AT SKILLS'S APPARTMENTSkills : Oh, man. Hey, man, don't you guys got somewhere else to be?Junk : Dude, I amkilling this game right now.Skills : Yeah, well, I got a date with Lauren. So y'all gonna have to be getting y'all asses up out of here.Junk : Hey, isn't this like the third date?Skills : You know what that means. Yeah. That'sJamie's teacher you're talking about.Junk : This from the guy who dropped down granny deb.Skills : Look, it's a date, man - nice, classy, refined. But just in case, you two be gone by the time I get home, all right?ATLUCAS'S HOUSEPeyton : Okay, it's official. I look like a lemon-meringue pie.Brooke : Shut up. You have that whole glow thing going.Peyton : If by \"glowing\" you mean \"growing,\" then maybe. I really do love the dress,Brooke. It was a great gift. Thanks. Although I am just stuck in the house.Brooke : Well, then you'll be stuck in the house for a month looking fabulous. It was Sam's idea.Peyton : Oh, clearly she's learning from thebest. Where is she, anyway? I thought she was coming.Brooke : She'll be here.Peyton : You're doing an amazing job with her, Brooke Davis. Hey, she loves you.Brooke : Well, let's hope so... 'cause I'm thinking ofmaking it official. I'm thinking of adopting her.Peyton : No.Brooke : Yeah. I just got all the papers in the mail.Peyton : Oh, my god, that is such good news. Come here. Sit down. Tell me everything. All right, um ... well,I mean, how's it going with her birth mother?Brooke : It seems like it's going okay. I'm just trying to be supportive. What if Sam likes her better than me?Peyton : Okay, take it from someone who was adopted. Ihappen to know that Sam just became the luckiest girl in the whole world.Brooke : Thank you, P. Sawyer. You always making everything better for me. Don't. Don't. We are not gonna ruin today crying. You're gonnaget out of that dress and clean yourself up because we have a party to go to out there. Come on.IN THE GARAGEJamie : There's an IPod in here. Awesome! This is the night you and daddy won the statechampionship.Lucas : Do you know where you were that night?Jamie : In mom's tummy.Lucas : That's right.Jamie : So, mom and dad didn't even know me then.Lucas : Well, none of us did, but we were all reallyexcited to meet you.Jamie : Hey, look!Lucas : Waouh! Now, that was a really important night.Jamie : Because you won the state championship?Lucas : Yeah, but, um... it was also the night I realized I wanted to marryPeyton.Jamie : This is cool. What else is in here?Lucas : Yeah, what is in there?AT THE GYMNASIUMMouth : Hey, Nathan, I got a question for you.Nathan : Yes, we're gonna win tonight.Mouth : Okay, but, uh... how areyou dealing with this long-distance thing? It's killing me.Nathan : Yeah. Me, too. And if you figure that one out, let me know. Hey, you see that guy over here talking to Bobby? He's an NBA scout.Mouth : Good lucktonight, Nate.Nathan : Luck has nothing to do with it.AT LUCAS'S HOUSEPeyton : Look at all of these presents! All right, I'm gonna open the first one. It's from Mia. What did you get me? You got me... ...pictures ofyou.Mia : Okay, yeah, but the gift is that you get to pick the one that goes on the cover of our new record.Peyton : Good Save. All right, what do we got? What do we got? I want to see. I want to see. Um, sexy. Pretty!Ooh, pretty and sexy. Mm, girls, I think we found a winner.Mia : Yay!Peyton : Wow, I ... I guess this means the record's nearly finished, huh?Haley : Speaking of \"wow\"... !AT LAUREN'S HOUSE / MINI GOLF &KARTINGLauren : Antwon.Skills : You ready?Lauren : Uh, we have a slight problem.Chuck : Hey, coach Skills!Skills : What the ... Chuck?Lauren : His mom had an emergency, and she couldn't pick him up from school.So, I promised I'd watch him for a little while. I'm so sorry. I guess we should probably cancel?Skills : Nah. I mean, I...guess he could come.Lauren : You wouldn't mind?Skills : Yeah. Why not?Lauren : Great. I'll get mycoat.Chuck : Sweet! Where we going?Skills : Yeah, so, peewee basketball is just how I give back to the kids. But you would be surprised at how profitable the baby-proofing industry is. Yo, chuck!Chuck : Sorry!Lauren :Yeah, he's doing well.Skills : He don't look too bad.Skills : You know, you don't know how few guys would be up for a night like this. I'm so glad we didn't cancel, Antwon.Skills : Really? How glad?Chuck : Come on!Man: Whose freaking kid is this? Damn it!Lauren : Uh, mine! Sorry! I'll be back.AT THE GYMNASIUMMouth : That's the end of the first half, chiefs leading by 10,IN THE GARAGEJamie : Hey, it's mama as a cheerleader.Lucas: Yeah, and there's, uh, aunt Brooke and aunt Peyton.Jamie : They've been friends for a long time.Lucas : Oh, yeah, a long time.Jamie : Who's in that one? Let's see. That's Uncle Keith, aunt Karen, and who'sthat?Lucas : That's me.Jamie : You were a funny-looking baby, uncle Lucas.Lucas : Hey !Jamie : Just kidding. You're kind of my Uncle Keith, aren't you?Lucas : Well, I'd like to think that's exactly who I am.Jamie : AuntPeyton's a cool angel. Is aunt Peyton gonna be okay?Lucas : I don't know, bud.Jamie : I think everything's gonna be okay.AT LUCAS'S HOUSEPeyton : Oh, wow, what is it?Haley : It's a baby memory book, and you putphotos and journal entries and all that stuff in it. When you look at it five years from now, you'll never believe they were that small.Brooke : You know, Victoria almost got one of those for me.Brooke : Peyton.Peyton :yeah.Haley : You okay?Peyton : I love it. Thank you. And ... I just want you guys to know... I love you so much.Brooke : I love you, too.Mia : Okay, hold on. I'm taking a picture ... no crying for the picture. Yeah? Okay.Okay? Get in here. Ready? One, two, three.AT THE GYMNASIUMBobby : All right, let's bring it in. It's \"chiefs\" on three.Mans : One, two, three. Chiefs!Bobby : Let's go. Let's go, dawg. Bring it home. Nate. So far, you'vedone a terrific job making Nino look good. Just make sure you make yourself look good, too, okay? If you get an open shot, take it.Nathan : The scouts are here to watch everyone. And that includes you, coach. We'regonna win this game.AT BROOKE'S HOUSEBrooke : I'm not angry. But I would appreciate you talking to me first before you start lavishing Sam with fancy clothes.Victoria : I thought she looked nice.Brooke : Not thepoint. What are you doing here?Victoria : I wanted to talk to you about Sam.Brooke : What about Sam?Victoria : I know you care for her deeply, as do I. But I think that you should consider letting her spend time withher birth mother on a more permanent basis.Brooke : And what makes you think that?Victoria : Honey, I've been talking to her.Brooke : Don't \"honey\" me. You talked to her about this? This is not your business! Youhad no right! I should have known that nothing good was gonna come of the two of you spending time together.Victoria : What can I say? We get along. Unlike some people that's shall remain nameless.Brooke : Youcan't do this.Victoria : Do what?Brooke : Try to be the mother to her that you never were to me.Victoria : Last time I checked, I was still your ...Brooke : Don't say it. Anyone who ever wanted to be in my life, Peyton,boys, anyone, you tried to push them all away. You tried to push everyone away, and now you want Sam to leave?Victoria : I don't want Sam to leave.Brooke : Yes, you do! It's why you're lying to my face right now!You're jealous because she wants to be with me. Well, she's not going anywhere.. ...not if I having anything to say about it.Victoria : What's that?Brooke : Adoption papers.Victoria : Brooke ... be careful. I don't wantyou to get hurt.Brooke : All my life, you have avoided being a mother to me. Do not think for one moment that you get to start now.Sam : What's going on?Victoria : I don't know. Maybe you should ask yourmother.Sam : What was that about?Brooke : Sam, I want to talk to you about something -- something...important. You're happy here, right?Sam : Yeah. What's going on?Brooke : I want to adopt you -- for real. I wantto make it official and forever. I've given this a lot of thought. I want us to be a family. I know that it's your dream to have that, and I want to give that to you now. So, what do you say?Sam : Yeah. Yeah.Brooke :Okay. What?Sam : I can still see my real mom, right?AT THE BARSkills : Dude, save some for the second half.Lauren : So, you know, you never really talk about your past relationship. Was it a bad break-up?Skills :Yeah, kind of. I mean, in the end, it was mostly a lifestyle thing. We just didn't see eye to eye on some stuff.Chuck : She was a grandma.Skills : Let's just say she was mature.Lauren : Hey, look, that's cool. It's just,um so we're clear, I prefer younger guys ... younger, bald, athletic guys who like kids.Skills : Yeah, well, you know, that's funny, because my last relationship didn't work because I was too young, bald, athletic. But I dolike kids.Chuck : Mom says I shouldn't eat dairy.Skills : Some kids. I do like some kids.Lauren : Oh, no.AT THE GARAGEHaley : All right, Jim-Jam, come on, buddy. We got to go.Jamie : Do I have to?Haley : Yes.Chop-chop. If we hurry, we can call your dad before your bedtime. This is what you guys have been working on?Jamie : Don't tell. It's a surprise for aunt Peyton.Haley : Sorry.Lucas : So, uh, how was the shower? Isshe okay?Haley : Yeah. Yeah, I think she really enjoyed herself. How are you doing? You're holding up okay?Lucas : Better now.Haley : Good. Glad to hear it. All right, buddy let's go call your dad.Jamie : Thanks, uncleLucas. That was fun.Lucas : Yeah, it was.Jamie : Your whole life's in that box. I wish I had one.Lucas : See ya.Haley : Bye.IN THE CAR IN FRONT OF LAUREN'S HOUSELauren : He's cute. And you are sweet. Look, Iknow it wasn't the night you planned, but you were really great with chuck.Skills : Yeah. Well, maybe next time it could just be the two of us.Lauren : I'd like that.Skills : Yeah?Lauren : Yes.Chuck : Naughty,"}
+{"doc_id":"doc_135","qid":"","text":"72 HOURS EARLIERAt the shopping centerSummer: I'm not buying you lingerie for your birthday. That's just weird.Taylor: Okay, that's fine. I told you, you don't have to buy me anything. You and Ryan are throwingme a birthday party and that's enough.Summer: Look, I know you've never had a birthday party before, let alone been to one, but usually people get presents for their birthday, so will you please tell me what youwant?Taylor: Okay, honestly, I want Ryan to ask me to go to Berkeley with him next year.Summer: Okay, I was thinking more along the lines of a cute top.Taylor: I know, I know, it's just, I'm a planner, and I'vealready seeing that day six months in the future when we all go our separate ways. And I just know that if Ryan goes to Berkeley and I go to... Harvard or Princeton or Oxford, then it's over.Summer: Don't you have toapply to Berkeley first in order to... You already applied to Berkeley? Does Ryan know this?Taylor: No.I applied before we even started dating. I just got back from France and I figured, well, I had to go somewhere, so Ireapplied to Princeton, Oxford,Yale, Harvard and the Sorbonne, and I figured why not throw Berkeley in?Summer: Um, hi. Can we get two coffees, please?Man: Uh, yeah.Summer: Okay. So you want to get Ryan to tellyou that he wants you to go to Berkeley, without knowing that you already got in to Berkeley?Taylor: Exactly.Summer: And how're you going to do that?Taylor: Easy.I just need to get him to tell me that he lovesme.Summer: Mm-hmm, Ryan talking about his feelings. Now that would be an earth-shattering event.Man: Careful, they're hot.Summer: Thank you.Taylor: Thanks.Summer: Did you see this about earthquakeweather? You know, it's exactly this kind of voodoo science that lets politicians deny global warming.Taylor: Oh, my God, I know. And how many times have they predicted the big one, and it never happens. It almostmakes you wish that it would. Generic Cohen's gardenRyan: Good morning. What's the occasion?Taylor: Just you're being so sweet throwing me a birthday party, and I wanted to thank you, so... Oh, my gosh, did Iever tell you about...Ryan: How you've never had a birthday party and you've always spent every birthday alone in your room watching Sixteen Candles and talking to a gypsy on the psychic hot line?Taylor: Yeah, Iknow, I'm a broken record. Just, you know, it really means a lot to me that you're doing this for me.Ryan: Well, Taylor, I'll tell you, planning your birthday party is not easy. I expect something in return.Taylor:Oh.Ryan: I expect to have my way with you.Taylor: Ryan!Ryan: Well, all that time and energy. Clowns, balloons, a magician...Taylor: Oh, oh, well, if there's a magician. It's kind of strange to think about all of thisending isn't it?Ryan: Hmm?Taylor: You, going off to Berkeley, me, whichever way the wind blows.Ryan: Well, it's still six months away.Taylor: Right, yeah. If only I had a crystal ball, huh? Maybe I should call Esmereldafrom the psychic hot line.Ryan: This a really good croissant.Taylor: Don't you have the feeling that we're on the cusp of something and we just need to leap into the void?Ryan: Did you get these at Joe's?Taylor: Ryan,don't you have that feeling?Ryan: What?Taylor: That life is telling us to take a wild, impulsive jump into the unknown?Ryan: Not really.Taylor: So, you're good? You don't have a need to just let something explode outof you, consequences be damned?Ryan: What are we talking about?Taylor: Well, I was... I guess it's just my birthday and I'm getting sentimental.Ryan: All right, well, don't worry. It's going to be great. Okay? All right,I've got to go. Thanks for this. Hey, tonight, you want to do something? See a movie?Taylor: Yeah, sure, okay.Ryan: All right, great. At Roberts'Kaitlin: Oh, my God.Julie: Oh, hi, honey. Sorry, I didn't hear you comingdown.Kaitlin: Mom, do you mind? Because I still have to eat in here.Julie: What can I get you?Kaitlin: You want some scrambled eggs or I could whip up some pancakes.Frank: You cook, too? That's amazing.Julie: It'sjust a talent I have.Frank: Yeah, one of many.Kaitlin: I'm seriously never going to stop barfing.Julie: Kaitlin, don't be gross.Kaitlin: Me? Gross? What's gross is Frank's dirty... germy convict bag is sitting on the counter.I mean, what, did the warden give that to you as a going-away present?Julie: Kaitlin...Frank: It's okay. It's okay. It shouldn't be on the counter. Though I actually got it at REI.Kaitlin: Well, why bother with a bag? Youcan just move in. You spend enough time here anyway.Julie: Young lady, apologize.Kaitlin: I'm sorry, Frank. Feel free to have as many conjugal visits as you'd like.Frank: You know, I... I should get going. I've got a jobinterview.Julie: I'll walk you out.Frank: Okay.Julie: And we'll talk later. At the gymHolly: Mrs. Cohen? Holly. I went to Harbor with Seth.Kirsten: Oh, hi.Holly: Hi, are you here for prenatal yoga?Kirsten: Oh, yes, I am.And you?Holly: Yes. I just found out. How far along are you?Kirsten: Oh, not-not very. I just found out, too.Holly: Well, this class is great. I told Missy, the instructor, I have worked way too hard for this body to just letit turn into some dumpy baby factory. I mean, who says I can't have a baby and a six pack?Kirsten: I should probably stretch before class.Holly: Well, hold on just a second. Hey, hos, come here. This is Mrs. Cohen.She just found out she's pregnant.Girl: Oh, my gosh!Other girl: Congratulations. And you're not even showing.Holly: So... should we let her in?Girl: Oh, yeah.Other girl: Totally. She's ripped.Holly: We formed a club.Promised ourselves we wouldn't turn out like Molly the Mammoth over there.Girl: In nine months I'm wearing my bikini. I don't care what anyone says.Other girl: And I told Jerry if I get too big, I'm inducing at eightmonths. It's much easier to lose the weight.Holly: So do you want in? We call ourselves the Six-Pack Pack. Isn't that like so cute? Don't you just want to barf?Kirsten: All the time. At Ryan's workplaceRyan: Summer,what's up?Summer: Hey. I am just picking up Seth. Taking him to an art exhibition, sponsored by GEORGE, the Global Environmental Organization regarding Greenhouse Emissions.Ryan: Seth's going to an artshow.Summer: Well, yeah, I mean, he's going to art school, and I like the environment,so I thought it was the perfect date.Ryan: Sure.Summer: So are you ready for Taylor's party?Ryan: Oh, yeah, party's all set. Evengot her a present.Summer: Really. Mind telling me what it is?Ryan: Well, you know, she likes translating those French love poems? I collected a few. Had them bound for her.Summer: Atwood, that is so romantic. Youknow, nothing is as romantic as the first time you tell someone you love them,though, huh?Ryan: I, uh... haven't told Taylor I love her.Summer: You haven't?Ryan: Has she said something?Summer: No. No, I-I justassumed. You guys have been together for a while and you seem pretty happy. I thought,\"Why wouldn't you have said I love you?\" I have an idea. Why don't you?Ryan: What?Summer: For her birthday. You should,because... the book of poems is awesome, but add that special little \"I love you. As as girl,I don't know, me personally, I got chills.Ryan: Does Taylor expect me to tell her that I love her on her birthday?Summer:What? No. I don't know. I've got to go. At the shopping centerKaitlin: I can't stay, okay?Frank: Well, thanks for meeting me.Kaitlin: I wanted to talk to you alone. You're not going to do anything pervy are you?Frank:Kaitlin... I care about your mom. And considering my past, I understand why you're suspicious.Kaitlin: Look, I really don't care that you went to prison, all right? I mean, the Bullet went to prison and he was awesome.You're just boring.Frank: I'm sorry, but it's just the way it is. Well, I have to say I don't think that's fair. You hardly know me.Kaitlin: Then say something funny.Frank: What?Kaitlin: Make me laugh.Frank: Fine. I don'tknow what interests a 15-year-old girl, but your mother doesn't think I'm boring.Kaitlin: Well, that's because you're sleeping with her.Frank: Can you not say that kind of thing?Kaitlin: Well, what do you want me tosay? I mean, is it true in prison on your first day, you got to make someone your bitch? Or what about the whole dropping the soap thing? I mean, really,why don't you guys just install soap dispensers?Frank: Hey, Imake your mom happy. I'm just asking for a chance here, Kaitlin.Kaitlin: Of course. If it makes my mom happy. At Roberts'Julie: Oh, my God. Oh... my God. Art's expositionSummer: It's so beautiful. Just forget howthe ocean ties us all together. You know, he's so right. If we aren't good custodians for our planet, what right do we have to be here? Don't you think that was amazing?Seth: Mm-hmm. I give it a three.Summer: Athree? He put a radio transmitter in a piece of trash, threw it into the ocean, followed it around for six years just to show how pollution travels. And you're giving it a three?Seth: I'm gonna give it a three-and-a-half,then.Summer: What about the part where he followed it through the oil fires in the Persian Gulf, and he got third-degree burns on his arms?Seth: I know, but the camera work was terrible, and what kind of film stockwas he using? The oranges and reds totally bled together.Summer: He was just making a point to show the health of our planet.Seth: Yeah, but he's also making a movie,and as a movie, it sucks.Summer: Well, whatabout that one? Where the turtle adopted the hippo who was lost in the tsunami?Seth: Mm-hmm. That's pretty much the nature film equivalent of a chick flick.Summer: Okay. What about that? Where the family giraffeshabitat was destroyed.Seth: Yeah, shot like a perfume ad.Summer: God, what is your problem,Seth? I just want you to get excited about something.Seth: I am, about things that are good. But I could do one of thesedoughnuts with both hands tied behind my back.Summer: Really?Prove it.Seth: What?Summer: Make a movie.Seth: Are you serious?Summer: Yeah. I want see you do it better. I want to go watch the penguins again,and don't you dare say anything. At Sandy's officeSandy: Hey, I didn't know you were coming by. I was just at Spitzy's office. You should have called. Is everything all right?Kirsten: The people in Newport areawful.Sandy: Honey, you're a little late to the party. I've been saying that for 20 years.Kirsten: Has it gotten worse? I mean, I know Julie and some of the othersare bad, but...Sandy: What happened?Kirsten: I was atthis prenatal yoga class and these young women they're monsters. They wanted me to join the six-pack pack.Sandy: The what?Kirsten: And then they talk about inducing labor at eight months so that they don't haveto gain weight. Can we raise another child around this?Sandy: Oh, honey, Newport's always had that element, and still we managed to have life. And not everybody's like that. You know what? Spitz has been wantingus to meet his wife. How about we do dinner tomorrow? Restore your faith in humanity.Kirsten: All right.Sandy: But more importantly, do you think they'll let me join the six-pack pack? I've been doing my sit-ups.Come on, hit me with your best shot. Go ahead, come on, wind up. I'm not a beast! At Cohen'sTaylor: Oh, God, he really loves her. And she is never going to know how he feels, because he can't tell her. Isn't thattragic?Ryan: Yep.Taylor: I mean, how could you do that? How could you just let the love of your life slip away because you were too afraid to tell them how you really felt?Ryan: Well, maybe she's better off.Taylor:Uh-huh. Did you get that from the scene where she was about to be burned at the stake?Ryan: No, she's a beautiful woman, he's a hunchback who lives in a bell tower. The chances of it working out...Taylor: Yeah, buthe doesn't know that. If he at least told her how he felt, then maybe there would be a way to work things out. You know, they could have a life together. Or you know, at least four more years. Why did you saveme?Ryan: But the archbishop...Taylor: Ryan, I'm not talking about the movie. It's... There's just moments in everyone's life, and if you just let them slip away, then... then they're gone forever. And that's the tragicthing about life. Don't you feel that way?Ryan: Taylor.I...missed the last part of the movie Would you mind rewinding it a little?Taylor: Sure.Ryan: Thanks.Taylor: Lonely, huh? Better get used to it, buddy. AtRoberts'Summer: Good morning.Taylor: If you say so.Summer: What's that?Taylor: This is the obituary for mine and Ryan's relationship. A rose, plucked before its time.Summer: Uh-huh, English?Taylor: I wrote aletter to the Dean of Berkeley, telling him that I must respectfully decline the scholarship, and he should offer it to the next candidate.Summer: So you're saying no? What happened with Ryan?Taylor: I tried, Summer, Ireally did. The moment was upon us. We were staring into each other's eyes,and... And he just didn't say it. You know, sometimes I just want to grab him and tie him to a chair and shoot him full of sodium pentatholand see what spills out.Summer: Why don't you?Taylor: You don't think it's too crazy? Because I was thinking if the two of us just tackled him and then we could tie him down...Summer: I wasn't talking literally.Taylor:Oh.Summer: Do you love him?Taylor: Yeah, I really do.Summer: Do you think he loves you?Taylor: Well, sometimes he grabs my handand he squeezes it for no reason. I mean, what else could that mean?Summer:Okay. So we just need to loosen his tongue a little.Taylor: But how are we going to... Summer Roberts, you bad thing.Summer: Okay, you know what, a trip to the Robert's wine cellar is in order. At Cohen'sSandy:What the hell is he doing?Ryan: Morning.Sandy: Morning. Hey, are y all right?Ryan: Yeah, it's just a cramp.Sandy: How far did you go?Ryan: Mm, nine, ten miles.Sandy: Oh. Wouldn't it be easier if you just said,\"Sandy,there's something bothering me. Can you give me some advice?\"Ryan: Yes, it would,but where's the fun in that?Sandy: Let me guess. You're trying to decide if you love Taylor so you can tell her on her birthday.Ryan:Huh?Sandy: You've been dating for a while, things are good, birthday's tomorrow. Bingo.Ryan: Yeah. You're good.Sandy: So? Do you love her?Ryan: Uh, honestly I'm scared.Sandy: Good, you should be.Ryan: That'sreassuring.Sandy: Well, it might be the most powerful thing you can say to another person. It changes everything. Now for heaven's sake, if you don't feel it,don't say it.Ryan: Yeah, it's just I think she's expectingit.Sandy: And to not say it... It's like saying you don't love her.Ryan: Exactly.Sandy: Well, do you care about her?Ryan: Of course.Sandy: Do you enjoy being with her?Ryan: More than with anyone.Sandy: Tell her that.It won't be exactly what she wants to hear,but it'll be honest.Ryan: All right.Sandy: Can you tell me something?Ryan: Sure.Sandy: Do you have any idea why Seth is filming the pool?[SCENE_BREAK]Seh: Hey, check itout, man. Summer challenged me to make this pretentious art film, so I'm making one called Six Hours In The Pool.Ryan: Sounds great.Seth: Yeah, I'll tell you about it later. Uh, Taylor called. She wants you to go overthere for dinner.Ryan: Oh, okay.Seth: Yeah. Okay. Ah, it's perfect.At Roberts'Julie: Look, Frank, I get that men have urges, and I imagine prison is one of those places where those urges get twisted, but...Frank:Julie...Julie: I've never even heard of clown p0rn. I mean that photo where they're all stuffed into the little car...Frank: It's not mine.Julie: Oh, really? It was just in your bag, along with... this? I mean, which one of usis supposed to wear this?Frank: Julie, none of this is mine.Julie: So someone just went into your bag, planted a wig and some really bad clown p0rn. Who would...? Oh... Kaitlin.Frank: Julie, it's all right.Julie: No, Frank,it's not. My daughter is trying to sabotage this relationship. And where would she get her hands on clown p0rn?Frank: She's just hazing me, you know? It'll be good for me to show her that I can take it. It'll blow over.It's not serious.Julie: Did you see p.50? At Cohen'sSummer: How much more of this is there?Seth: Five hours and 58 minutes. What are you doing?Summer: I'm not going to sit here and watch six hours of the pool. Itold you to become engaged in something. Instead, you just set up a tripod.Seth: It's a satire. It's a comment on the lack of artistic rigor...Summer: No, it's you being lazy. How many naps did you take while you madethis?Seth: I took two to res... Do you feel like you're overreacting a little bit? I mean, what does it really matter?Summer: That's the problem, Seth. You did this because you chose the path of least resistance. Youknow, you could have made a movie about anything in your life, and instead you chose this.Seth: So what am I supposed to do? Follow Ryan around with a camera until he punches someone?Summer: Yes, anythingthat engages you in the world.Seth: What is the point?Summer: Well, if nothing else,it's important to me. Yatch clubSandy: Thanks. Mr. Spitz.Jason: How are you? Kirsten, how's it going?Kirsten: Hello, Jason.Jason:Listen, you guys, I want you to meet my wife, com.Carrie: No way, really? Well, then what did she say?Jason: Honey, honey.Carrie: Oh, my God. What a complete ho-bag.Jason: Honey.Carrie: I got to go. Call me back.Love you, bitch. Hi. I am so sorry.Jason: Kirsten and Sandy Cohen, this is Carrie, my wife.Carrie: So nice to meet you.Sandy: You, too.Carrie: That was my girlfriend. She's having trouble dating this guy, and the guy'swife is all like, uh, \"I'll kill you.\"Sandy: Wow, I imagine that could be a little hard to handle.Carrie: Oh, whatever. Not my problem.Kirsten: So, Carrie, you're from Newport?Carrie: Oh, yeah, born and bred.Kirsten:Really. Interesting.Carrie: Oh, now, Sandy, let's get to it. How can we convince Jason here to get out of that soup kitchen he calls an office and get a real job? At Roberts'Ryan: Oh, thanks, that's good.Taylor: Forluck.Ryan: Uh, actually, I'm not that big a wine drinker.Taylor: I know, you can't have coq au vin without the vin.Ryan: Well, that's true.Taylor: Okay.Ryan: You know, I feel kind of bad, you making dinner the daybefore your birthday.Taylor: No, it's my pleasure. Absolutely. Oh, sorry.Ryan: It's okay.Taylor: I'm nervous 'cause I've never cooked for you before. Okay, cheers.Ryan: Oh, yeah.Taylor: Whoo, bottoms up. Mmm.Tasty.Ryan: So, uh...Oh, that's... So, Taylor, there's something I want to talk to you about.Taylor: No, let's save all the serious conversation for after dinner. We don't want it to get cold.Ryan: Okay.Taylor: Hmm, Ithink I need another sip. Wow, do you detect a hint of blackberries?Ryan: Mm, no, I don't.Taylor: Try it. It's fun, come on.Ryan: Uh... Okay. Mm. Nope, no blackberries.Taylor: I think you need to take a bigger sip.Yatch clubSandy: You still go to your sorority rush?Carroie: Sandy, sisterhood doesn't just end with graduation. A Tri-Delt once, a Tri-Delt forever. Oh, but last year,I got so sick. Totally embarrassing.Kirsten: I can onlyimagine.Carrie: And I thought,\"Carrie, what gives?\" Can't you hold your liquor anymore? Ugh! And then I realized it was just morning sickness. Was that a relief.Sandy: You know, I'm afraid it's getting a little late forus.Carrie: Oh, no, no,no, no. You are not running away. This great bar just opened up on Ocean. When was the last time you two did tequila poppers?Sandy: Maybe another time.Carrie: Oh, tell me you're not bailingbecause you're pregnant. I mean, no offense, but that is lame.Jason: Carrie, no.Carrie: What?It's lame.Kirsten: Actually, I'm an alcoholic.Carrie: Oh, God. Me, too. Hey, after you have that thing, we should totally goout. You know, without the two dish rags. Oh, God! Can you just take that thing outside? Oh, don't freak. I'm not a psycho.It's our baby.Jason: When we go out with the baby, Carrie likes to have the nurse sit nearby,afew tables away.Kirsten: Oh, you know,Sandy, I'm-I'm, uh, suddenly... I'm, I'm not feeling well.Sandy: I'd better get you home. Thank you both for an unforgettable evening. Jason, I'll talk to you Monday.Jason: Yeah.Well,good night,and...Carrie: Hey, Kirsten,uh, remember,you can call me for baby advice anytime.Kirsten: Sure.Carrie: Losers.[SCENE_BREAK]At Roberts'Taylor: I don't understand how you're not drunk.Ryan: Oh, it'sthe Atwood genes. We're built to withstand massive quantities of alcohol.Taylor: Ooh. Here we go. Here's the bed. Okay, all right. Now we're just gonna... Whoa. That's good.Taylor: But if I can't get you drunk, you'llnever tell me you love me.Ryan: Oh, Taylor.Taylor: I know, I know. Bad Taylor. I shouldn't have tried to get you drunk. Just like I shouldn't have pretended to be your sleep therapist, or rented Roger the homosexual,or stalked you wearing a Groundhog costume, or... What else did I do?Ryan: I-I think that's it.Taylor: I'm going to go to sleep now. Oh. Good-bye, Ryan. It was nice.Ryan: Taylor. Taylor? Are you pretending to go tosleep, thinking I'll tell you I love you while you're unconscious?Taylor: Maybe. Don't laugh at me.Ryan: I'm not.Taylor: It's hard dating someone who doesn't tell you how they feel and always having to interpret hand"}
+{"doc_id":"doc_136","qid":"","text":"(Open: Booth's apartment. There is a rapid knocking at the door. Booth is asleep in bed)BOOTH: Yeah. Aww (he groans as he awakes and stumbles out of bed).(knocking continues)BRENNAN: Booth?BOOTH: Yeah.Unhh. (He cracks his toes, then gets out of bed, pulling on his robe, still making groaning noises. He cracks his back as he heads into the bathroom. Still sighing and pulling on his robe, he looks at himself, bleary-eyed,in the mirror. He continues walking, cracking his neck, and his back again, then his fingers). Oof.(more knocking)BRENNAN: Booth? Are you there?(Booth is still walking towards his front door)BOOTH: No, I'm in SouthBeach, working on my tan (he opens the door, still grunting and groaning. Brennan is standing there, enthusiastic and eager to get going).BRENNAN: You need Sweets to sign your post-Afghanistan fitness for dutyreport. Did you forget?BOOTH: Me? (He turns to go back into the apartment)BRENNAN: Well, generally, you wear more clothing, and you've been avoiding this for weeks (she shuts the front door).BOOTH: Well, Icouldn't sleep. Hannah got up at the crack of dawn (he continues walking, cracking more joints as he goes). Ooh.BRENNAN: Do you always have this pronounced a release of gas in the morning?BOOTH: (turns to faceBrennan) Is it that bad?BRENNAN: Synovial gas, that's what the cracking is.BOOTH: Synovial gas, what's that mean?BRENNAN: well, there comes a point when your body can't hide all the abuse it's taken.BOOTH: Whatdo you, what do you mean a certain point?BRENNAN: Booth, you've been shot, and beaten, and jumped out of airplanes. The skeletal damage alone...BOOTH (groans and turns): Oh God, I'm falling apart.BRENNAN:You're fine. It's your skeleton that's falling apart.(Cut to: FBI building, Booth and Brennan are rounding a corner).BRENNAN: The compression fracture to your T3 alone should have incapacitated you years ago, thenthere's the fracture to your sternum from when that obese girl shot you, fractures from your metatarsals from when you were tortured, rib pitting from when you foolishly tried to act as a human shield...BOOTH: Ribpitting?BRENNAN: And that's before we even get to your compromised ligaments, both intertransverse and anterior longitudinal.BOOTH: How do you have room in your brain to remember all this?BRENNAN: I careabout you, Booth, and the more abuse a body takes, the sooner it degenerates.BOOTH: That's it? That's all you've got for me? (they enter the elevator)BRENNAN: Well, it can be a good thing. In tribes, men like you areelders. They don't have to hunt anymore.BOOTH: Well, I want to go hunting.BRENNAN: (reaching forward to press the button) Well, perhaps you'll feel better after you get your form signed.(Cut to: Sweets' office,sounds of giggling are heard. Booth and Brennan have stunned looks on their faces as they behold two pairs of feet hanging off the edge of the couch)DAISY: Oh I will! (giggling)BRENNAN: Oh!SWEETS: AgentBooth!DAISY: (pops up over the back of the couch, arms clutched to her chest for modesty's sake) Dr. Brennan!BRENNAN: You should be at work, Ms. Wick! It is a very important day.BOOTH: (hands form to Sweets)Can you sign this?SWEETS: Are you serious?BOOTH: Sign. (He hands Sweets a pen and the form) Just sign and get back to your fun. (Sweets signs the paper)(Cut to: Jeffersonian Medico-Legal Lab. Brennan is walking,and Daisy is tagging behind her, trying to catch up)DAISY: Dr. Brennan, about this morning.BRENNAN: What about it?DAISY: I don't want you to think that Lance and I are dating again, because we're not. That waspurely accidental intercourse.BRENNAN: You had intercourse accidentally? What were you trying to do, Ms. Wick?DAISY: I was returning a book.BRENNAN: And your pants fell off?(Workers are bringing in large artifactson rolling tables, Cam and Angela are supervising)CAM: All of the pieces of ship without remains attached, straight to the early American workroom. Door on your right.WORKER: Where do you want this?CAM: Take itup on the platform.WORKER: Got it.(Brennan and Daisy approach and come to a stop beside Cam)CAM: Okay. (turns to Brennan) How much of this is there?BRENNAN: I have no idea.CAM: So, when you said oldremains, the ship part of it just slipped your mind?BRENNAN: No, of course not.ANGELA: This is incredible. I can't believe this is an actual slave ship. Where did they find it?BRENNAN: Off the coast of Maryland. Thiscould shed enormous light on the slave trade.CAM: Or give me nightmares. One or the other.(Hodgins enters with more parts of the ship)HODGINS: Mytilus edulis, blue mussels. Wow. Hey, they said this was for you(he hands Angela a sheaf of papers).BRENNAN: The Jeffersonian Board of Directors wants us to try and identify the remains.CAM: How? These people have been dead for nearly 150 years.ANGELA: Yeah, well this mighthelp. It's a copy of the outgoing manifest, and it lists all the slaves they were transporting to New Orleans. There's age, and race, and degree of color. This is really detailed, in a totally horrible, disgusting, sucky kind ofway.HODGINS: Slaves were considered property. They were as carefully catalogued as livestock or silverware.(Brennan grimaces and shakes her head slightly, Cam looks uneasy and tilts her head down, avoiding eyecontact. Angela looks disturbed, glances at Cam and Brennan, then makes eye contact with Hodgins, who turns his gaze to the remains).(Cut to: Platform, Brennan is leaning over a set of remains, Angela is standingnext to her, taking notes)BRENNAN: Male child, under ten years old. One hundred and thirty centimeters. The marine mussels compromised the bone, but the skull shows a mix of Negroid and Caucasoid characteristics,suggesting that he would be listed as mulatto.ANGELA: Got it, Pollodore Nelson.DAISY: Symphyseal rim well defined, partial ectocranial suture closure, female, forties, five feet tall.ANGELA: Ok, there's only one womanthat small.(Cam is looking down at something)CAM: Over here, now. Uh, not kidding, even a little bit. Dr. Hodgins. (Daisy, Brennan and Anglea make their way over to Cam's table)HODGINS (rushes over to where Camis): Yeah. Yeah.CAM: That. What the hell is it? HODGINS (bending down for a closer look): Wow, it's some kind of organism anchored to the bone. Interesting.CAM: Alien sea-life hitchhikes in on a slave ship and that'sall you can say? Interesting?BRENNAN: Well, I think in this context, interesting is a way of acknowledging life forms beyond Dr. Hodgins' expertise.HODGINS: Temporary condition, I assure you. All right, listen up! Pullany other bones with pink slime and bring them over here. It's possible that alien is an appropriate adjective. We may be looking at NTI here. (Another squint brings over more remains and hands them to Daisy, whoplaces them on the table)CAM: What's he talking about?BRENNAN: I have no idea.HODGINS: NTI? As in, non-terrestrial intelligence?ANGELA: Oh no.HODGINS: If alien life forms were going to exist somewhere onEarth, the ocean floor would be it.CAM: Please tell me you're kidding.BRENNAN: Judging by weight and texture, all the affected bones appear to belong to the same skeleton. (Brennan picks up the skull and observes itas the others look on). Something is very wrong.(Cut to: FBI building meeting room)BOOTH: C'mon Bones, I really gotta look at these images?BRENNAN: Yes. (She pulls up images of the x-rays) Penetrating trauma tothe cribriform plate and palatine bones.BOOTH: Ok, you mean that jaggedy looking hole there?BRENNAN: Yes. The puncture would have extended upwards, into the anterior base of the brain, resulting in immediatedeath. This man was hooked through the mouth like a fish. (She demonstrates on Booth, by hooking her finger up against the roof of his mouth. He does not appreciate this and grabs her hand, removing it and makinga face of displeasure).BOOTH: Ok, got it, thank you. Very much. I just don't know how I can help you with a murdered slave though.BRENNAN: They may have found him in a slave ship, but given the condition of hiscartilage, this man died less than a month ago. And, this is murder.(Opening credits)(Cut to: Platform at the Medico-Legal Lab. Daisy is working on a skeleton, Brennan joins her)BRENNAN: Abrasions to the pisiform. It'slikely this person was wearing manacles. Why are you working on remains from the slave ship when you know our recent murder victim has priority?DAISY: Because Dr. Hodgins is still trying to remove the unidentifieddeep sea life forms. Maybe we should discuss the murder victim's x-rays instead? (They go over to a computer, where Daisy pulls up the images)BRENNAN: Incomplete epiphyseal fusion - he was at most twenty yearsold.DAISY: Chipping on the zygomatic arch. Hairline fractures to the mental foramen. All heavily remodeled. Metaphyseal fractures to the left tibia and right ulna. Never properly set.BRENNAN: I've seen these before.They happen when someone has their extremities wrenched over and over again at a very young age.DAISY: Suggestive of child abuse?BRENNAN (nods slightly): We have to identify him. What is taking Dr. Hodgins solong?(Cut to Hodgins' lab area. He is peering through a magnifying lens, Angela is standing next to him.)HODGINS: We are looking at what could be a clue to the origin of life itself.ANGELA: The origin of life looks like apink Chia pet?HODGINS: According to one theory, billions of years ago, organic molecules hitchhiked to Earth on comets that plummeted into our oceans, forming the seeds of life as we know it.ANGELA: Ok, now you'velost me.HODGINS: Look at this. Organism operates like hair follicles. Anchors its root system to the bone.ANGELA: You know, it's actually kind of attractive up close.HODGINS: Yeah, for a mucus-excreting underwaterinsect.ANGELA: (laughs) Well, let me scan the skull and then I can build a facial reconstruction from it.HODGINS (placing the skull on the dais for Angela to scan): Do you realize these guys could be harder to identifythan a decomposed murder victim?ANGELA: How can you compare a murder victim to ocean snot that looks like something Barbie wore to the prom?HODGINS: You compared it to a Chia pet.ANGELA: Yeah well, it's notthe same thing.HODGINS: You're right. Because if these guys are new, and I get to identify them, then I get to name an entire species. Angelonicus montenegris.ANGELA: Really?HODGINS: Really. (Hodgins rises,Angela chuckles, and they embrace).(Cut to: Booth's office. Sweets and Booth are having a conversation. Sweets is pacing Booth's office, Booth is sitting at his desk).SWEETS: So the dead guy got caught in a fishingnet and the fishing net got caught in the slave ship?BOOTH: Yeah, the net gets lost, floats around for years - they call it a ghost net.SWEETS: Wow. Ghost net caught a ghost. That's...BOOTH: Something likethat.SWEETS: That's ironic.BOOTH: 'Kay, why are you still here?SWEETS: I'm weak. I'm weak, Agent Booth. I broke up with Daisy, but I can't keep my hands off her.BOOTH: What's new? Alright, you're a guy. Life goeson.SWEETS: Yeah, that's the problem. We broke up. But it just goes on. It's, it's like she's a magnet. Should I just let it happen?(Booth reaches for something and plonks it down in front of Sweets - it is a magic8-ball)BOOTH: Here. Pick it up.SWEETS: (picks up the magic 8-ball, shakes - the ball comes up reading \"yes definitely\") Yes, definitely. You think?BOOTH: I don't know, how am I supposed to know?SWEETS: Years ofexperience? The perspective of age?BOOTH: (groans, puts his head on his arms on his desk) Age. How is it that I went to sleep Han Solo and I woke up Obi-Wan Kenobi?SWEETS: I have no idea what you're talkingabout.(Booth's computer beeps)BOOTH: Oh. Looks like Angela finished the victim's facial reconstruction. (He opens the attachment) Oh! There is our ghost.(Cut to: Booth's SUV. Booth and Brennan are driving tointerview a suspect. Brennan is looking through some papers)BOOTH: He wasn't on the missing person's database, but I got a hit from the FBI's facial reconstruction software.BRENNAN: Mike Casper.BOOTH: Yeah, hiswife lives in uh, Calvert County.BRENNAN: He's married?BOOTH: Yeah, he's got a kid, and a dog, and a cushy aerospace job.BRENNAN: No, that's not possible. He's nineteen, twenty, twenty-one at most.BOOTH:Alright Bones, he's twenty-eight.BRENNAN: No, there's no way. Booth, you really need to double-check these things.BOOTH: Ok, look, the battle scars are to the body, not to the brain, ok?BRENNAN: You're being verytouchy.BOOTH: I'm not being touchy. This is Casper's driver's license, it's the same face Angela drew, right there (he points emphatically to the paper Brennan is holding, which is of Mike Casper's DMV registrationinformation).BRENNAN: Okay. It's possible he had cerebral palsy. That could retard bone development.BOOTH: Or, you're just wrong.(Cut to: Front door of an apartment. Booth and Brennan are still arguing)BRENNAN:I'm not wrong.(Booth rings the doorbell)BOOTH: You're wrong.BRENNAN: Not wrong.(Door opens)MRS. CASPER: Yes?BOOTH: Mrs. Casper?MRS. CASPER: Yes?BOOTH: (he pulls out his badge) Special Agent Booth, thishere's my partner, Dr. Brennan.MRS. CASPER: How can I help you?BOOTH: Mind if we come in?MRS. CASPER: Um, I'm actually in the middle of something right now (she flips her hair).BOOTH: It's about yourhusband.BRENNAN: We believe we've found his remains off the coast of Maryland.BOOTH: Any reason to believe that he might have been on a boat recently?MRS. CASPER: Ask him yourself. (she turns to call herhusband) Mike?(Mike comes to the front door)MIKE CASPER: Yeah?(Cut to: FBI interview room, Booth and Sweets are interviewing Mr. and Mrs. Casper. Booth lays down the DMV sheet in front of them.)BOOTH: Victimgot a driver's license with your name and his picture, used it to charge up a fortune in credit card debt.MIKE CASPER: Yeah, I get it. The guy who got killed is the same guy who stole my ID, but it's got nothing to dowith me. Not exactly a violent guy.MRS. CASPER: Mike's very easy-going. (She flips her hair again in a nervous gesture)SWEETS: This is a conversation between you and your credit card company, Mr. Casper. Youknow how you say they record calls for quality control? Well, turns out it's true.(He presses a button on the laptop to begin playing the recording)CUSTOMER SERVICE REP: I'm sorry sir, but because you failed to notifyus within the time...MIKE CASPER: How could I tell you when I didn't know?CUSTOMER SERVICE REP: You should have contacted the credit reporting agencies. In the future, if you place a fraud alert on yourcredit...MIKE CASPER: You wanna know what I'm going to do in the future? I'm gonna find the scum who stole my ID and I'm gonna kill him.(end recording)MIKE CASPER: What did you expect me to say? They froze mycards, our credit was ruined. That piece of dirt cost us the house we were trying to buy.MRS. CASPER: If we need to have a lawyer...MIKE CASPER: No, we don't need a lawyer, Claire, we haven't done anything.MRS.CASPER: My husband's telling the truth, he's not a violent man.BOOTH: Eh, Sweets, tell 'em what you told me.SWEETS: According to the latest clinical data, identity theft can cause serious maladaptive psychologicaland somatic symptoms.MIKE CASPER: Yeah, no kidding, I haven't slept in two months.SWEETS: Those symptoms aren't limited to insomnia.MIKE CASPER: (agitated, banging on the table) The hell is that supposed tomean?SWEETS: Okay, that would be one of the maladaptive psychological symptoms. Uncontrolled rage.MIKE CASPER: How could I kill him when I didn't even know who he was?BOOTH: I noticed that you have a boathitch on the back of your car - you got a boat?MIKE CASPER: Yeah, I fish, so what?BOOTH: You have any big hooks on that boat?MIKE CASPER: Why?BOOTH: Well, body was found about a mile off the coast - I'mthinking maybe you're doing more than just fishing on that boat?MIKE CASPER: All right, I want that lawyer. Now.(Cut to: Jeffersonian - Hodgins' lab. Daisy is standing watch over the victim's remains)DAISY: Dr.Brennan really needs these. I don't understand why you can't just pluck.(Hodgins appears from behind the shelves with a large device in hand)HODGINS: If I pluck them off one by one, it's going to take a week, Ms.Wick, so what you need to do is stop telling me how to do my job.(Hodgins bends over the remains with the device, which turns out to be a light)DAISY: I don't see how this is going to hurry things up.HODGINS: If Ifigure out what they are, I can figure out how to get them off. Any more questions? (He bends down, peering at the bones)DAISY: Not at this moment.HODGINS: Aha! Yes! It's a type of benthic worm! See?Progress!(Cam enters)CAM: Okay, the only way I can get DNA to ID our ID thief, is by using bone marrow, but your alien organism has sucked it dry.HODGINS: Ok, contrary to popular rumor, it is not my alienorganism. Not yet, anyway. But, I have narrowed it down to a type of benthic worm.CAM: How can you not be able to ID a fluffy pink worm? How many of those could there possibly be?HODGINS: Oh, you'd besurprised.(Cut to: Royal Diner, Booth and Brennan are eating and discussing the case)BOOTH: How'm I supposed to figure out who killed him when I can't even figure out who he is.BRENNAN: All I can tell from thex-rays is he had multiple fractures that were never properly set. He also sustained repeated facial trauma between the ages of two and fourteen.BOOTH: So, child abuse?(Brennan nods in affirmation)BOOTH: He wasn'ton a missing person's database, so means no-one was missing.BRENNAN: You have a very strange tendency to state the obvious.BOOTH: If you were a kid who got the crap beat out of him over and over again, whatwould you do?BRENNAN: You'd think about running away, or you do run away. But he wasn't a kid anymore, Booth, he was nineteen or twenty when he died.BOOTH: Doesn't mean he didn't run away before. And whena kid runs away, someone reports him missing. A school, a neighbor, someone.BRENNAN: We were looking at the wrong database.(Cut to: Angela's office, Brennan and Angela are talking. The image of the victim isblown up on the computer screen)BRENNAN: We need to reverse the cranio-facial growth patterns and run the results against the missing children's database.ANGELA: Send him back to childhood, huh?BRENNAN:Retain the cranial proportion, but reduce the jaw, narrow the neck, and raise the ears. Change the proportion of the head to one part facial mass to two and a quarter parts cranial mass. Decrease the size of the upperand lower jaw. Done. (Angela adjusts the proportions per Brennan's suggestions)ANGELA: It's hard to believe that ten years from this, he's going to be stealing IDs and getting himself killed. (she runs the imagethrough the database and a match pops up) Ok, that's him. We found him.(Cut to: Booth's office. A TV clip is playing on the computer, and Booth and Sweets are watching)TV ANNOUNCER: Nine year old Liam istonight's Thursday's Child.LIAM: I like all kinds of sports, but mostly basketball, even though I'm kinda short. But maybe I'll grow, right? And I'm really good at math, 'cause I like numbers.TV ANNOUNCER: If Liam canfind a family, all those numbers are sure to add up to one very bright future.BOOTH: 'Kay, that sounds a little like puppy adoptions if you ask me.SWEETS: Well, when I was in the foster system, we used to think thatthe kids who got on Thursday's Child won the lottery, you know? One day, they're on TV, next day, big car pulls up to take them to the suburbs. Every single time.BOOTH: Yeah, well, Liam didn't get adopted, would'vesaved the juvie system a whole helluva lot of time if he had. Court unsealed his records because of the murder (Booth picks up and drops back down on his desk a thick set of manila files); he was busted two years agofor b&e with another foster kid by the name of Hunter Lang (he opens the file to Lang's charge sheet), we're trying to track him down now.SWEETS: Oh? Why?BOOTH: Well, Liam testified against Hunter in exchange fora suspended sentence.SWEETS: Oooh. That's not good. Rule number one, foster kids stick together.BOOTH: Huh. Well, is that the kind of thing a guy would kill for?SWEETS: Depends on the guy. I know these kids, I'lltalk to 'em, let you know.(Cut to: Platform of the Medico-Legal Lab - Angela is recording information, Daisy is speaking as she approaches Angela from behind)DAISY: Has anyone else noticed this is like a giant jigsawwithout the edge pieces?ANGELA: One person gets killed, and it's murder, millions get killed and it's history.DAISY: I'm trying to just think of them as bones. It's easier. Female, approximately 25.ANGELA: Right here,Hany Beaufort. (she pauses in thought) Yeah, but they're not just bones.DAISY: What does that mean?ANGELA: I'm going to need to borrow these skulls.(Cam enters the platform area)CAM: Why does no-one seem to"}
+{"doc_id":"doc_137","qid":"","text":"(THUNDER CRASHING)Oliver (voiceover): The day I went missing... was the day I died. Five years in hell forged me into a weapon, which I use to honor a vow I made to my father, who sacrificed his life for mine. In hisfinal moments, he told me the truth... that our family's wealth had been built on the suffering of others. That he failed our city, and that it was up to me to save it and right his wrongs. But to do that withoutendangering the people closest to me, I have to be someone else. I have to be something else.EXT. ROOFTOP - NIGHTArrow is standing on the roof as men start running at him.Marcus Redman: Who's that?Man 2:Where'd he come from? Arrow fights three men and wins, while three others watch.Man 3: What's going on here?(SHOUTING)Arrow shoots an arrow at one of the three men.Marcus Redman: Get the chopper back now.Arrow shoots an arrow at one of the original four men.Marcus Redman: Who's this guy? Arrow shoots another man, and then punches him with the bow.Marcus Redman: Whoa, whoa, whoa! Please, wait, wait! Arrowbacks Marcus Redman against the edge of the building and throws him to the lower roof, on top of the ventilator fan.(Marcus Redman SCREAMING)Arrow jumps onto the ventilator fan next to Marcus Redman and kicksopen the grate covering the fan. Sparks explode from the fan.(Marcus Redman GROANING)Arrow grabs Marcus Redman and forces his head toward the fan.Marcus Redman: No? No, please! No, please, please!Arrow:Marcus Redman, you failed this city.Marcus Redman: Please! No, please, no! Don't hurt me, please!Arrow: Cell phone, inside pocket, call your partner. Tell him to give those pensioners back their money.MarcusRedman: Oh, please don't!Arrow: Do it now.Marcus Redman: Okay. Arrow jumps off of the ventilator fan and walks into the camera.INT. QUEEN MANSION - DAYOliver walks into the sitting room where Moira Queen issitting on the couch with Walter standing behind the couch and Thea Queen standing next to the couch.Newscaster (voiceover): Over the past 15 years, Mr. Redman has withdrawn more than 30 million dollars from theplant's account. Mr. Redman claims refunding the Halcyon pension plan has always been his intent. But sources say Redman was coerced by the vigilante. Sketch of the Arrow appears on the television with the captionreading MYSTERIOUS HOODED VIGILANTE. Oliver extends his arm in disbelief toward the television.Oliver: This guy gets more air-time than the Kardashians, right?Thea: Five years on an island and you still know whothey are.Oliver: I've been catching up. It's nice to see how much our culture has improved while I was away.Moira: No, the city used to be different. People used to feel safe.Thea: Oh, what's the matter, Mom? Afraidwe're gonna be next?Walter: Do you have any questions about today, Oliver? It's a simple proof-of-life declaration. Moira stands up and Walter straightens his suit jacket.Walter: Just read out a brief, preparedstatement to the judge, and then your death-in-absentia judgment will be voided.Oliver: It's fine, Walter, I've been in a courtroom before. Tommy enters.Tommy: Four times by my estimate. You know, there was theDUI, the assault on that paparazzi douchebag, stealing that taxi, which was just awesome, by the way, and who could forget peeing on the cop?Moira: I wish everyone would.Oliver: I'd hang, but we're headed tocourt.Tommy: I know, that's why I'm here. My best friend is getting legally resurrected, I wouldn't miss this for the world.Oliver (whispering): Right. Okay. (normal volume to Thea) What about you?Thea: Oh, I thinkthe first four times of you in court was enough for me.Oliver: Fair enough. Thea walks out of the room. Diggle enters.Diggle: Mrs. Queen? Car's ready. Diggle, Moira, Walter exit.Tommy: Walter.EXT. COURTHOUSE -DAY(PRESS CLAMORING)Man: Mr. Queen, can we get a comment, sir?Woman: ...return to civilization after five years on a deserted island.Man 2: Can you tell us what happened on that island, Mr.Queen?FLASHBACKOliver and Sara on are thrown from the bed as the boat starts to sink. Sara screams.END FLASHBACKMan: Tell us about the accident, Mr. Queen.(CAMERAS CLICKING)Woman: 5 years on anisland.FLASHBACKOliver watches Sara slide away. Oliver reaches for Sara's hand.Oliver: Sara!(Sara SCREAMING)END FLASHBACKINT. COURTROOM - DAYOliver: There was a storm. The boat went down. I was the onlysurvivor.FLASHBACKThe boat is sinking and rain pours from the sky. Oliver, his Father, and another man are on a life raft.Oliver: She's out there!Father: She's not there!Oliver: Sara!END FLASHBACKOliver: My fatherdidn't make it.FLASHBACKFather holds a gun to his head.Oliver: No!(GUNSHOT)END FLASHBACKOliver: I almost died, I... I thought that I had, because I spent so many days on that life raft before I saw theisland.FLASHBACKOliver (voiceover): When I reached it, I knew...Oliver crawls onto the island, coughing.Oliver (voiceover): I knew that I was gonna have to live for both of us.END FLASHBACKOliver: And in those fiveyears, it was that one thought that kept me going.Lawyer: Your Honor, we move to vitiate the death-in-absentia filed after Oliver's disappearance at sea aboard the Queen's Gamut five years ago. Unfortunately we willnot be requesting that the declaration of death filed for the petitioner's father, Robert Queen, be rescinded. The Queen family is only entitled to one miracle, I'm afraid.INT. COURTHOUSE - DAYMoira: Now, onto theoffices. Everyone is waiting to meet you there.Oliver: Uh, Mom, that was, uh...a little bit heavier than I was expecting it to be. Can we do that tomorrow? Please?Moira: Of course.Oliver: Thank you.Walter and Moirawalk away.Tommy: Last week, you couldn't wait to get to the company.Oliver: Tommy, I'd just spent five years away from civilization. I wasn't exactly thinking straight. Oliver and Tommy run into Laurel.Oliver: I...Hi.Tommy: Hi.Laurel: What are you doing here?Oliver: Oh, they were bringing me back from the dead. Legally speaking. What are you doing here?Laurel: My job.Oliver: Right.Lawyer: More like the D.A.'s. Oliverextends his hand to Emily, standing to the right of Laurel.Oliver: Hi, Oliver Queen. Emily shakes his hand.Emily: Emily Nocenti.Laurel: Oliver just got back from five years on an uncharted island. Before that, he wascheating on me with my sister. He was with her when she died. And last week, he told me to stay away from him. It was really good advice. Excuse me. Laurel walks past Oliver and Tommy.Emily: It was nice to meetyou.Lawyer: Yeah. Let's go. They walk past Oliver and Tommy to follow Laurel.Tommy: Come on, buddy, shake it off. Let's go.EXT. COURTHOUSE - DAYReporter: Mr. Somers, one question, sir.Somers: I don't knowwhat I've done to earn this witch-hunt from Miss Lance and her bosses at the CNRI. But I can tell you this. I am an honest businessman, and I will fight this slander to my last dime and breath. That's all I have to say,thank you.(REPORTERS TALKING INDISTINCTLY)Reporter 2: There's Mr. Queen!(REPORTERS TALKING INDISTINCTLY)Reporter: Tell us what happened inside, Mr. Queen...Diggle walks with Oliver and Tommy to thecar.Diggle: Step back everybody, please.Reporter: Can you give us a couple comments about the island, Mr. Queen? Before you go, sir, please. Couple of comments about the island, sir.Reporter 2: What happened inthere?Diggle: All right. Everybody step back. Diggle shoves the reporters away.Diggle (angrily): Hey man, I'll make you swallow that Nikon! Back!(CAR DRIVING AWAY)Diggle and Tommy watch the car leave.Tommy:This happens to you a lot, doesn't it? Diggle is obviously frustrated.INT. COURTROOM - DAYLaurel: How much is a life worth? A life of a man, a good man, a stevedore on the docks of the city in which welive.FLASHBACKSomers is standing while two men drag Victor Nocenti toward him.Laurel (voiceover): A father.END FLASHBACKLaurel: A man with a daughter. The plaintiff will prove by a preponderance of evidencethat Victor Nocenti learned that his boss, that man sitting right there, Martin Somers, was taking bribes from the Chinese Triads to smuggle drugs into our city.FLASHBACKLaurel (voiceover): And when Victor Nocentithreatened to tell the police,Man slits Victor's throat. (CHOKING) Martin Somers had him killed.END FLASHBACKLaurel: Mr. Somers is very well-connected, and has friends in the District Attorney's office. Which is why, ifEmily Nocenti is to get justice for her father's death, if Martin Somers is to get justice for his crimes, then someone is going to have to do it for them.INT. WAREHOUSE - DAYOliver is shirtless, showing all of the scars hehad gotten on the island, and starts climbing a thick rope. The camera pans to several green arrowheads on a table.Oliver (voiceover): Martin Somers. Laurel's targeted the worst of Starling City, so it's no surprise hisname is on my father's list. Camera pans to father's list. Camera pans to Oliver practicing sword skills on metal bars.Oliver (voiceover): The city's police and the D.A. can't stop him, or won't. Laurel thinks she's the onlyone willing to bring him to justice. She's wrong.INT. SHIPPING DOCK WAREHOUSE - NIGHTSomers: You, listen up. The longer this goes on, the more likely the media is gonna crucify me. You shut this trial down, doyou understand me?(ELECTRICITY CRACKLING)Man: Yes, sir.(LIGHTS FLASH ON AND OFF)(BLOWS LANDING)(MEN GROANING)(MUTTERS)Somers looks around as the light come back on. The two men in thewarehouse are lying on the ground, face-down.Somers: What... What... Somers is pulled away by a quick rope around the neck.(CHOKING)EXT. SHIPPING WAREHOUSE ROOF - NIGHT(GRUNTS)Camera opens withSomers' upside-down view of the Arrow. Camera flips right side-up.Arrow: Martin Somers...Somers: Who the hell are you?Arrow: ...you've failed this city. Arrow lodges an arrow in his bow and aims at Somers.Somers:No! No, no, no, no, no! Arrow shoots next to Somers.Arrow: You're gonna testify in that trial. You're gonna confess to having Victor Nocenti killed. Camera shows upside-down view of the Arrow.Arrow: There won't be asecond warning. Arrow shoots an arrow that grazes Somers' right cheek.(SCREAMING IN PAIN)(MUTTERING)Camera pans out and Arrow is gone.INT. QUEEN MANSION - NIGHTMoira: I hired you to protect my son.Now, I'm not a professional bodyguard, but it seems to me that the first requirement would be managing to stay next to the man you're hired to protect.Diggle: With all due respect, ma'am, I never had a client whodidn't want my protection.Moira: I hired you. That makes me the client. Now where do you think my son is going on these chaperone-less excursions?Diggle: Ma'am, I truly do not know.Oliver walks into theroom.Oliver: And he truly doesn't.Moira: Then perhaps you'd like to share with me, you know, where it is you run off to.(Oliver CHUCKLES)Oliver: I've been alone for five years.Moira: I know that, Oliver.Oliver: Mom...Alone.Moira: I see.Oliver: I promise to introduce her if it ever gets to the exchanging first names stage...Moira: No, I'd rather you promised to take Mr. Diggle with you on your next rendezvous. It's not safe, you'vealready been abducted once. There is a maniac out there, hunting the wealthy.Oliver: That maniac saved my life.Moira: This isn't a game. I lost you once. And I am not going through that again.Oliver: Okay. Dig's myguy.Moira: Thank you.Moira walks out of the room, leaving Oliver and Diggle alone.Oliver: Sorry to give you so much grief.Diggle: I served three tours in Afghanistan, Mr. Queen. You don't even come close to mydefinition of \"grief.\" But I tell you what... You ditch me one more time, no one will have to fire me. Diggle walks away, passing Thea dressed in a red dress.Oliver: Where you going?Thea: Uh... Somewhere loud andsmoky. And don't bother trying to pickpocket my stash this time, because I'm gonna go get drunk instead.Oliver: Thea, do you think this is what Dad would want for you?Thea: Dead people don't want anything. It's oneof the benefits of being dead. Oliver:I was dead. And I wanted a lot.Thea: Except for your family. You've been home a week, and all you do is avoid Mom, ignore Walter, and judge me.(Oliver SIGHING)Thea: Don't waitup.Thea walks out of the house.INT. SHIPPING WAREHOUSE - DAYQuentin, Somers, and a group of policemen are in the warehouse. Quentin is pacing.Quentin: Well, I owe you an apology, Mr. Somers. We come all theway down to your docks, and it turns out, you don't need the police after all.Somers: Which is exactly what I've been saying.Quentin: Yeah. So I guess that 9-1-1 call that we got last night from your stevedore, sayingthat you were getting attacked by a guy in a green hood and a bow and arrow... I-I guess...I guess that, well... Hmm. Was that a practical joke?Somers: These guys like to fool around.Quentin: Yeah.(QuentinSCOFFING)Quentin: Well, you know, I'd be very much inclined to believe an honest, upstanding businessman like yourself, except, well, one of my men found this at your docks.Quentin pulls a green arrow out of anevidence bag and shows it to Somers.Quentin: You see, there's this vigilante running around. He thinks he's some kind of Robin Hood. He's robbing the rich, he's trying to teach them a lesson I guess. I don't know, Idon't know. But the point is... the man's a killer. And nothing, and no one, is going to stop me from bringing him down. But like you said... Quentin sticks the arrows into a slot in the desk. It's a perfect fit. Somersfrowns, obviously hiding something.Quentin: Hmm! ...clearly, nothing happened here last night.Somers: Isn't this a conflict of interest, Detective? After all, your daughter is suing me.Quentin: I'm pretty good atkeeping my emotions in check.Somers: I'm not. Somers stands up and threateningly gets in Quentin's space.Somers: You and your daughter don't want to find out what I'm capable of when I get emotional.(QuentinSCOFFS)(Quentin SIGHING)Quentin walks and the other policemen walk out. Somers looks nervously at the arrow in his desk.INT. QUEEN CONSOLIDATED - DAYWalter walks off of the elevator, followed by Moira,Oliver, and Diggle.Walter: As you can see, Oliver, we've modernized quite a bit.(Oliver WHISTLING)Oliver: Ooh. Hi.(CHUCKLING SOFTLY)Moira: Are you enjoying yourself?Oliver: Yes, I am.Walter: I remember whenyour father used to bring you here when you were a boy. You always were so excited.Oliver: Dad let me drink soda in the office.Moira: Ah, so that's why you enjoyed coming.INT. OFFICE - DAYWalter: The QueenConsolidated's success of late is a result of its targeted diversification. We have been making impressive inroads in cutting-edge fields like bio-tech and clean energy.Oliver: That's neat. (to secretary) Excuse me? Can Iget a sparkling water, or something cold, please?Moira: Sweetheart, Oliver, Walter and I have something to discuss with you. Come, please sit.Oliver: Mom, it makes me nervous when you ask me to sit down.Walter:The company's about to break ground on a new site for the Applied Sciences division, and we would like to honor your father by dedicating the building in his name.Oliver: Nice.Moira: And we'd like to make anannouncement at the dedication that you will be taking a leadership position in the company.Oliver: No.Moira: No, your... Your company.Oliver: No, I don't want to lead anything. Besides, Walter is doing a very goodjob here.Moira: You said that you wanted to be a different person. You are Robert Queen's son.Oliver: I don't need to be reminded of that.Moira: Well, obviously you do.Walter: Everyone here understands that thistransition is really difficult for you.Oliver: Thank you, Walter. Which part, though? Everyone fantasizing that I got my MBA while I was on the island? Or the fact that my father's CFO now sleeps down the hall fromme?Moira starts walking away, but turns around and looks at Oliver.Moira: You know, five years ago, your irresponsibility was somewhat charming. It is a lot less so now. Moira walks out and Walter goes after her.EXT.QUEEN CONSOLIDATED - NIGHTDiggle walks out of the building ahead of Oliver to keep him from the press.Reporter: There he is!(CAMERAS CLICKING)(PRESS CLAMORING)Diggle escorts Oliver through the horde ofreporters. They both get into the backseats of a car.Diggle: The driver will be here in a minute.Oliver: Okay.Diggle: You know, I spent the first 27 years of my life in Starling City, and the next five in Afghanistan. Youwant to know what I learned?Oliver: There's no place like home?Diggle: No, just the opposite. Home is a battlefield. Back home, they're all trying to get you. Get you to open up, be somebody you're not sure you areanymore. Oliver seems to be far away and deep in thought.Diggle: Or I could be wrong. Maybe after five years alone, you're not as messed up in the head as you have every right to be.FLASHBACKOliver is lying on theground.(SEAGULLS SQUAWKING)Oliver: Hey!Seagulls are swarming around the life raft that had washed onto the shore.Oliver: Hey, get away! Oliver starts running toward the raft.Oliver: Hey!(COUGHING)There is anorange bag holding a body in the raft.Oliver: Dad? Oliver kneels by the raft and takes the hand of the dead man. He jumps up and starts throwing up, collapsing on his hands and kneels.(SEAGULLS GET LOUDER)Oliverscrambles back toward his father.Oliver: Hey! Hey, stay away from him!(COUGHING)Oliver lifts his father's body over his shoulder.(GRUNTING)Oliver starts walking away with the body.END FLASHBACKINT. LAW FIRM -DAYLawyer, Laurel, and Emily are walking together.Lawyer: Well, we anticipate that Somers' attorney will try and paint you as blinded by grief or looking to make a buck.Emily: This isn't about the money. I just wantjustice for my father.Laurel: Emily, there are a lot of people who don't want this trial to proceed. Dangerous people.Emily: My mother died when I was a baby, and my father has been the only family I've ever knownand they slit his throat. They are going to have to kill me if they want me to give this up.Laurel: Well, let's hope it doesn't come to that. Quentin walks into the room with three police officers.Quentin: And itwon't.Laurel: What's going on?Quentin: What's going on is that the three of you are getting around-the-clock police protection. Okay? Get used to their faces, because they're going with you everywhere you go. Noarguments.Laurel: I'm a lawyer. I live to argue.Quentin: I'm your father. I live to keep you safe.Lawyer: Um, Emily, let's go grab a cup of coffee, okay?Quentin: Yes, why not do that? Thank you. (to officers) Please, gowith them. (to last officer)Stay there.Laurel: Protective custody? I seem to recall you trying that once I discovered boys. It didn't work then either.(Quentin SIGHING)Quentin: This isn't a joke, Laurel. Martin Somers gotattacked last night.Laurel: What?Quentin: Yeah.Laurel: By who?Quentin: It doesn't matter. Point is, you have whipped up a storm with these guys, and until the dust settles you'll be protected, okay? End ofdiscussion.Laurel: That might have worked when I was eight. But it's not gonna work anymore.Quentin: End of discussion, Laurel! You're insistent on doing your job. That's great. But this is me doing mine, okay? Andnot just as a father, but as a cop. These people, they are more dangerous than you are willing to admit. And you've made them angry.INT. SHIPPING WAREHOUSE - NIGHTSomers sitting at his desk. Woman walks inwearing red dress.Somers: Thank you for coming.Woman: Anything for a friend.Somers: We're not friends. You smuggle drugs, I let you use my port.Woman: For which you're paid a lot of money.Somers: I don't getpaid enough to have arrows shot at me. You need to take this guy seriously. He is a bigger threat to your operation than Nocenti ever was.Woman: Except now it's Nocenti's daughter who's the problem. Unlike yourfriend with the hood, we know where to find her.Somers: Don't be an idiot. You take out Emily Nocenti, and Laurel Lance will never let this go. She won't stop until she burns you, me, and then the entire Triad to theground.Woman: Then we kill Miss Lance. Somers looks clearly nervous.INT. OLIVER'S ROOM - DAYNewscaster: Attorney for shipping magnate, Martin Somers,Oliver walks into the scene. His shirt is off, showing thescars in his back, sides, and arms.Newscaster: has confirmed his client has no intention of testifying, maintaining his innocence in the wrongful death of Victor Nocenti. Nocenti's body was found four weeks ago. We'llkeep you updated as more information becomes available.Thea walks into the room and sees Oliver's scars as he puts a shirt on.Thea: Wait, how did you get those?(Oliver SIGHING)Oliver (frustrated): Don't youknock?Thea pulls back his shirt to get a better look at his scars. Oliver frowns at his sister's insistent behavior.Thea: No, wait... Mom said that there were scars, but... I-I'm... Oliver, what happened to you out"}
+{"doc_id":"doc_138","qid":"","text":"Michael: Oh hey, Kevin, nice of you to join us, where were you?Kevin: My tire blew out on the way here, Michael.Michael: Huh?Kevin: I almost died. I... I went into this skid---Michael: Pop quiz.Kevin: ...What?Michael:Why is today a special day?Kevin: I almost died.Michael: Today's a special day, because I am being honored as a... visiting... professor, special lecturer, emeritus... how did you, how did you...Ryan: You will be a guestspeaker... in my Emerging Enterprises class.Michael: In business school, Kevin. Business school.Kevin: Wow.[SCENE_BREAK]Ryan: If you bring your boss to class, it automatically bumps you up a full letter grade. So...I'd be stupid not to do it, right?[SCENE_BREAK]Michael: A boss is like a teacher. And I am like the cool teacher. Like Mr. Handell. Mr. Handell would hang out with us, and he would tell us awesome jokes. And heactually hooked up with one of the students. Um... and then like twelve other kids came forward. It was in all the papers. ... Really ruined eighth grade for us.[SCENE_BREAK]Michael: Here we go. College Roadshow.Gotta bring our... A game. What was the most inspiring thing I've ever said to you?Dwight: \"Don't be an idiot.\" Changed my life.[SCENE_BREAK]Dwight: Whenever I'm about to do something, I think, \"Would an idiot dothat?\" And if they would, I do not do that thing.[SCENE_BREAK]Michael: Will they throw their hats, you think?Ryan: What?Michael: A lot of times, at a... school, or naval academy, after a rousing speech, the crowdwould throw its hats high into the air.Ryan: Y-You understand nobody's graduating.Michael: Yeah, I know, I know. I'm just saying if they did throw their hats I've got a great line for that: \"May your hats fly as high asyour dreams.\" ... That was a pretty good line.Ryan: ...It doesn't apply.Michael: I understand! Wow. Relax, spazzy boy. Sometimes you're such a little spaz! [pokes Ryan] Whoa, hey!Ryan: Quit it!Michael: We havefun.[SCENE_BREAK]Roy: I can't for your art show tonight.Pam: Okay, just so you know, it's just the students from my class in a little studio.Roy: I-I wouldn't miss it for the world.Pam: Thanks.[SCENE_BREAK]Pam: I'mreally happy to be back with Roy. I think it shows maturity. Maturity and dignity. ... Is that braggy? I don't mean it to be braggy.[SCENE_BREAK]Roy: Love ya.Pam: You too.[SCENE_BREAK]Jim: Pam's with Roy. I'mwith Karen. And, uh, Brangelina is with Frangelina. Movin' on.[SCENE_BREAK]Kelly: I can't believe you're back together with Roy!Pam: Oh, yeah! We have such a solid foundation, you know.Kelly: Oh my God. You're soin love now.Pam: Yeah. Oh, you should come to my art show, by the way.Kelly: Oh, art show!Pam: I mean, it's not a big deal, but I think a lot of people from the office will be there.Kelly: ...Oh... yeah. Definitely... I'llbe there. For sure.[SCENE_BREAK]Michael: Campus. Brings back so many memories. ... That I would have made. Hey. Frisbee. Check that out. Aww! What do you say we get our Fris on before class? [runs over, throwsfrisbee] Whoo!College Student: ....Dude.[SCENE_BREAK]Dwight: ...Oh my God. Animal stool. [jumps on desk]Pam: Dwight, what are you doing?Dwight: Solving a mystery, if that's quite alright with you. [opens ceilingtile] Come to Papa. Okay, ladies and gentlemen, what we have here is a bird that has been trapped in a vent. Fortunately I have found it befo--BAT! BAAAT! BAT!Karen: Oh my God!Dwight: BAAAAT! BAT! NO!EVERYONE REMAIN CALM! There it goes!Stanley: Goooood bye.Angela: [on ground] ... Please don't let that stupid thing near me...[SCENE_BREAK]Michael: Okay, this is it. Ryan is doing my intro right now.Ryan:...Dunder-Mifflin can't compete with the modern chains, and management is unwilling, or unable, to adapt. Their customers are dying off...Michael: I can't hear what he's saying, but he looks like he's really intoit.[SCENE_BREAK]Dwight: We have... a bat... in the office.[SCENE_BREAK]Toby: The simple solution would be to open a window... if we had... windows that could open.[SCENE_BREAK]Angela: Poop is raining from theceilings. Poop![SCENE_BREAK]Jim: Okay. Thanks. [hangs up phone] Animal control will be here at six.Dwight: At Six?! No, that is unacceptable. Okay, Jim, you are the number two in this office. You need to step up andshow some leadership.Jim: I'm sorry what did you say? So wierd...Dwight: What? What's so wierd?Jim: The bat, I mean, I know I felt it bite me, but look. There's no mark. I feel so... tingly... so strangely powerful...[shrugs] Oh well.[SCENE_BREAK]Ryan: And now, without further ado, I present the regional manager of Dunder Mifflin, Scranton, Michael Scott.Michael: Hello everyone, I am Michael Scott. And I would like to starttoday by inspiring you. May I borrow someone's textbook, please? Thank you. What have we here? Ooh. Economics. Very, very interesting. [rips pages out of book] You cannot learn from books. Replace these pageswith life lessons, and then, you will have... a book... that is worth its weight in gold. [gives book back] I know these are expensive, um, but the lesson is priceless. Good. Alright. I think you're inspired. Shall weproceed? There are four kinds of business: Tourism. Food service. Railroads, and sales. And hospitals slash manufacturing. And air travel.[SCENE_BREAK]Dwight: [sighs] This is your job, Halpert.Jim: Ow!Karen: Oh,what happened?Jim: That bread on your desk? I just picked it up. It's white hot.Karen: But Jim, this garlic bread is cold.Jim: What? ... No. It burned me. I... bizarre.Dwight: No... no. One crisis at atime.[SCENE_BREAK]Dwight: If a vampire bat was in the U.S., it would make sense for it to come to a \"sylvania.\" Like PENN-sylvania. Now that doesn't mean that Jim is going to become a vampire. Only that he carriesthe vampiric germ.[SCENE_BREAK]Michael: So, you wanna start a business. How do you start? What do you need? Well, first of all, you need a building. And secondly, you need supply. You need something to sell. Nowthis could be anything. It could be... a... thingamajig. Or a... a whosi-whatsi. Or... [pulls out a candy bar] a Whatchamacallit [throws bar]. Now, you need to sell those in order to have a PayDay [takes out a PayDay,throws it]. And, if you sell enough of them, you will make a 100 Grand [throws 100 Grand bar]. [pulls out a Snickers] Satisfied?[SCENE_BREAK]Toby: Oh, this looks great. I'd, I'd love to be there, but my daughter'splay is tonight. ... Damnit! You know, one of the other parents will probably videotape it.Pam: Oh! No, you should go.Toby: Well, it's important to support local art, you know. And what they do is notart.[SCENE_BREAK]Michael: Okay, I'm seeing some confused... faces out there. Let me slow down a little bit. Break this down. Okay. The more stickers you sell, the more profit, fancy word for money, you have to buyPlayStations and Beanie Babies.Ryan: Michael.Michael: ...And products!Ryan: What we normally do here is more of a question and answer thing.Michael: Well... okay, I was just kind of getting it going. Um, alright.Well, okay, we can do questions. Okay. Very good. First hand up.Business Student #1: Sir, as a company that primary distributes paper, how have you adapted your business model to function in an increasinglypaperless world?Michael: We can't overestimate the value of computers. Yes, they are great for playing games and forwarding funny emails. But real business is done on paper, okay? Write that down. [everyone typeson their laptops][SCENE_BREAK]Karen: Hey Jim, here's the aspirin you wanted.Jim: Oh, thank God. I have such a headache from that glare.Karen: What glare?Jim: The glare off Angela's crucifix? It'sblinding.[SCENE_BREAK]Dwight: I don't have a lot of experience with vampires, but I have hunted werewolves. I shot one once. But by the time I got to it, it had turned back into my neighbor'sdog.[SCENE_BREAK]Dwight: Extraordinary events call for extraordinary actions. We form an allegiance--Creed: Sure.Dwight: --to use sudden violence.Creed: Okay.Dwight: Do you have the tools to turn a wooden mophandle into a stake?Creed: What size?[SCENE_BREAK]Business Student #2: What do you say to a customer who wants to leave you for the convenience and savings of a nationwide chain?Michael: ...I say you will missour service, and I absolutely guarantee you'll come back.Business Student #2: Has anyone ever come back?Michael: ...We don't want them back, 'cause they're... stupid.Business Student #3: How far has yourHerfindahl index declined since the merger?Michael: Nice try, how's your Pollack-says-what index?Business Student #3: ...What?Michael: Thanks, Kowalsky. Um, can we get on track here?Business Student #1: By yourown employee's calculation you'll be obsolete in the next five to ten years.Michael: ...Wait, Ryan said that?[SCENE_BREAK]Kelly: What are you doing? You'd better not hurt that little bat.Creed: Animals can't feelpain.Kelly: Don't hurt that bat, Creed! It's a living thing with feelings and a family!Dwight: Flush him towards the door. On my go... NOW!Kelly: AHH! KILL IT! KILL IT! KILL IIIT!Kevin: [locks bat in break room] I... am ahero![SCENE_BREAK]Michael: Yeah sure, you know business, sitting up here in your ivory tower. And your ebony tower. You know what? Tell you one thing, Dunder-Mifflin is here to stay.Business Student #2: But howcan you compete against a company with the resources of a nationwide chain?Michael: David will always beat Goliath.Business Student #1: But there's five Goliaths, there's... Staples, Officemax...Michael: Yeah, yeah.You know what else is facing five Goliaths? America. Al-Qaeda, global warming, s*x predators... mercury poisoning. So do we just give up? Is that what we're learning in business school?Business Student #1: But in thebig picture...Michael: Dunder-Mifflin is the big picture! Can't you understand that? No, you can't. You're too young. Ryan... has never made a sale. And he started a fire trying to make a cheesy pita. And everybodythinks he's a tease. Well you know what? He doesn't know anything, and neither do you. [walks out] SO SUCK ON THAT![SCENE_BREAK]Ryan: ...It wasn't personal.Michael: Business is always personal. It's the mostpersonal thing in the world. When we get back to the office, pack your things.Ryan: Pack my--?Michael: You heard me, pack your things.[SCENE_BREAK]Meredith: I really want to come out!Creed: Good night, MaryBeth![SCENE_BREAK]Jim: So... you're cool to just wait here for animal control?Dwight: Animal control? I've been controlling animals since I was six.Jim: Cool. Okay. I'm gonna go home and lie down, draw the shades...there's just so much sun in here... bye Dwight.Dwight: Goodbye Jim. And good luck.[SCENE_BREAK]Dwight: Jim is on a path now. An eternal journey, and I wish him well. But I have a destiny in this realm. Specifically,in the kitchen.[SCENE_BREAK]Pam: ...And it's all from the same series.Woman: Oh.Pam: Called 'Impressions.'Woman: Oh.Pam: Not that I call myself an impressionist, per se.Woman: Maybe one day.Pam: I hopeso.Woman: Mmm.Pam: I still need... you know, my breakthrough, or whatever. [Woman leaves, Roy enters] Hey, babe, how are you?Roy: Good. Alright I brought my brother, huh?Pam: Hey, Kenny.Kenny: HeyPam.Roy: How 'bout this, huh? I show up with my brother, and, no one from work is here? That's... pretty cool, huh?[SCENE_BREAK]Dwight: Magic time. Gyeeeaahhh! [puts bag over Meredith's head]Meredith: Ahh!Ahh! Ahh! Get off! Get off me! Get off me!Dwight: Hold still, woman!Meredith: Get off me! Get it off! Ahhhh!Dwight: ...[captures bat in bag] ... You're welcome.[SCENE_BREAK]Roy: It's cool if I go, right? I mean, Ilooked at all of them.Pam: Yeah, I'll just, I'll drive myself home.Roy: To my place?Pam: Maybe, I'm a little tired.Roy: Your art.. was the prettiest art of... all art.Pam: Thank you.[SCENE_BREAK]Ryan: Look, I'm sorry,okay? I was just trying to do my presentation, and... of course, I was wrong to suggest that Dunder-Mifflin might ever go out of business. But you don't have to fire me.Michael: Fire you? No, no no. You are moving... tothe annex.Ryan: To the annex? Where... Kelly is?Michael: A good manager doesn't fire people. He hires people and inspires people. ... People, Ryan. And people will never go out of business.[SCENE_BREAK]Oscar:You're the one who said we needed more culture.Gil: This is culture to you?Oscar: It's her first try.Gil: Yeah, on Van Gogh's first try, he drew the hands of the peasants.Oscar: Meaning what?Gil: Meaning, real art takescourage, okay? And honesty.Oscar: Well, those aren't Pam's strong points.Gil: Yeah, exactly. That's why this is... motel art.[SCENE_BREAK]Artist: Thanks for coming.Michael: Pam-casso! Sorry I'm late, I had to raceacross town.Pam: Oh, Michael.Michael: Wow! You did these... freehand?Pam: Yep.Michael: My God, these could be tracings! Ohh! Look at this one. Wow! You nailed it. [sighs] ... How much?Pam: What do youmean?Michael: I don't see a... price.Pam: Um... you wanna buy it?Michael: Well, yeah. Yeah, we have to have it for the office. I mean, there's my... window, and there's my car! That your car?Pam: Uh-huh.Michael:That is our building... and we sell paper. ... I am really proud of you.Pam: [hugs Michael] ... Thank you.Michael: What?Pam: Do you have something in your pocket?Michael: ...Chunky. Do you want half?Pam: No thankyou.Michael: Okay.[SCENE_BREAK]Michael: It is... a message. It is an inspiration, it is... a source of beauty. And without paper, it could not have happened. Unless, you had a camera.[SCENE_BREAK]Kelly: Oh my God,oh my God, oh my God, oh my God, oh my God, oh my God, oh my God, oh my God, oh my God, oh my God, oh my God, oh my God, oh my God...Ryan: It's only temporary, okay? Don't get excited.Kelly: I won't, Iwon't, I won't, I won't, I won't, I won't, I won't, I won't, I won't, I won't, I won't, I won't..."}
+{"doc_id":"doc_139","qid":"","text":"ACT ONE Scene One - KACL Frasier's on air at KACL and he's running out of time. But Roz still hands him over to his next caller.Frasier: Well, we've got about thirty seconds. I think we've got time for one quick call.[presses button] Hello, Marlene, I'm listening.Marlene: [v.o.] Oh my God, I'm really on?Frasier: Yes, your problem, please...Marlene: [dog barking] Lucky, Lucky, get down. George, get the dog! [Roz points urgently atthe clock] Oh my God, this is so exciting! [baby crying] Honey, honey, get the baby. George, get your son! OK, OK, here it is, Dr. Crane: if my husband and I don't find some time to have s*x soon, I think I'm gonnaburst. I may even have to go to a department store and pick up a stranger. [man calling \"Hello!\"] Oh, kids! Look who's here without calling first, Nana and Pop Pop! [sighs] I'll call you back. [hangs up]Frasier: Well, toall you Marlenes out there, may I suggest that s*x with a stranger is not the answer. Why don't you just pack the kids off with Nana and Pop Pop, lock Lucky downstairs in the basement, grab your husband, take him tothe sturdiest kitchen table you have, and let the postman ring twice! Now, to the rest of my listeners, I'll be off on vacation for the next week, so please tune in to my replacement, the noted podiatrist, Dr GarrethWooten, who'll be discussing the virtues of his new book, \"Bunions and Blisters and Corns,\" Oh My!He pushes the off-air button; Roz enters the booth.Roz: I hate it when that weird foot freak subs for you. Couldn't youjust have Frederick come and visit you here?Frasier: Sorry Roz, the taxi's waiting outside to take me to the airport.Roz: Oh well, have a great time.Frasier: Oh, thanks. [hugs Roz]Roz: And don't forget to bring me apresent!Frasier: I'll get you a nice T-shirt from Colonial Williamsburg.Roz: You're taking Frederick to Williamsburg? Eeew!Frasier: No, it's a wonderful vacation spot! We're going to dip candles, tan leather, churnbutter...Roz: Hey, Frederick Crane, you just finished the first grade, what are you going to do now? [with wide-eyed innocence] I'm going to Butterworld!Frasier makes a face and leaves.[SCENE_BREAK]Scene Two -Frasier's Apartment. Martin is reading the paper in his Armchair and gets an idea when Daphne comes in with the laundry.Martin: Hey Daphne, bring that laundry over here, will you?Daphne: What for?Martin: Well, Iwas just reading about an intelligence test you can give your dog. You throw a towel over its head and see how long it takes him to shake it off. [calling] Eddie!Eddie scampers in. As Daphne watches with amusement,Martin takes a small dish towel and throws it over his head.Daphne: Oh, and the faster he takes the towel off, the smarter he is?Martin: [sarcastic] No, the faster he folds it. All right, they ranked all the dogs and thesmartest was a border collie; he did it in seven seconds. [starts timing] All right, come on boy, take it off. [Eddie doesn't move] Six... seven. OK, the next fastest one was a poodle, I know he's as smart as a poodle.[counts off on his watch] OK, so he's no poodle... he's not a beagle either... or a German shepherd... or a Labrador. Oh, for God's sake, Eddie!Daphne: Yes, well, if you ask me, he's refusing to do that trick because heknows if he does it right, you'll have him doing it every time we have company.Martin: Hey, I'll bet you're right! [takes the towel off and shakes a finger at Eddie] Nice going, Eddie!The doorbell rings. Daphne opens it toNiles.Daphne: Oh, hello, Dr. Crane.Niles: I appreciate the false cheer, Daphne. But I'm sure you've seen this? [holds up newspaper] Today's society page?Martin: [covering his ears] Don't tell me, don't tell me, don't tellme! I'm saving it for after dinner!Niles: Apparently Maris is going on a three-week cruise. Her friends threw her a bon voyage party. Look at the photo. It's Maris on the arm of Pierson Broadwater.Daphne: Oh, Dr.Crane, look! She's just standing there, barely touching him, with only the tiniest bit of a smile on her face!Niles: I know, you can practically hear the zing zing zing of her heartstrings!Daphne: [sympathetically] Oh, DrCrane... [goes to the kitchen]Martin: Sorry, Niles.Niles: Oh, it gets worse. This morning I spoke to Marta, my ex-maid and current mole. She reports that Broadwater is just the latest in a parade of escorts. The gigolosare swarming around Maris like ants on a Snickers bar!Martin: Well, wait a minute, that's good news. If she's seeing a whole bunch of people, that means she's not serious about any one of them.Niles: Youthink?Martin: Yeah, sure! They're probably just her escorts. You know how she loves going to parties.Niles: Yes, and she never liked going anywhere alone. Except to bed.Martin: More good news. And Niles, it wouldn'thurt you to go out a little bit every once in a while too.Niles: If you're suggesting that I start dating, you can save your breath. Women don't exactly find me irresistible.Martin: Oh, come on, Niles, you've had lots ofgirlfriends.Niles: Oh, let's count. There's Maris... oh no, Dora, my childhood pen pal from Costa Rica... I seem to recall a little girl in the fourth grade who lured me to a stairwell to show me her underpants.Martin: Youknow, Niles, I think your problem is you still picture yourself as the same geeky kid you were in high school. But you've come a long way since then. And you're not doing yourself any favours sitting home every night.Now just think about it.Niles sinks back in the couch and whines pathetically. Daphne enters from the kitchen with a bottle of wine in hand.Daphne: Wine, Dr. Crane?Niles: Well, wouldn't you?[SCENE_BREAK]HE WAS ABAND LEADER MARRIED TO CHAROScene Three - Apartment Daphne and Martin are going up in the lift. Eddie is on leash. Martin's a little frustrated after some park trauma.Daphne: Oh, give it up, the man had everyright to be proud of his dog.Martin: Well, I just don't like show-offs, OK? [sarcastic] \"Ginger, catch the frisbee. Ginger, roll over. Ginger, do my taxes!\"Daphne: Just because Eddie's not good at tricks...Martin: The hellhe isn't! He just likes the kind that gives him a chance to use his brain! Eddie's a thinker!The lift doors open onto their floor. Martin and Daphne step off.Martin: Just watch this. Open the door for him. [Daphne does]Now, I've been teaching him the names of all his chew toys. [gives the command] Eddie, get your banana.Eddie stays in the elevator, staring.Martin: Now he's thinking, \"which one's the banana?\" [still not moving] Nowhe's thinking, \"what the heck did I do with my banana?\"The elevator doors slide shut.Daphne: Now he's thinking, \"which one's the emergency button?\" Martin frantically punches the lift button; the doors open.Martin:Come on!Eddie scampers off, and follows Martin and Daphne into the apartment. Niles is standing in the living room with a glass of wine.Daphne: Oh, Dr Crane!Niles: Hello. I let myself in, I hope that's all right.Martin:Fine. What's up?Niles: Oh, I just stopped by to ask you a question. Are you free Saturday night?Martin: Sure!Niles: [gleefully] Well, I'm not! I have a date!Martin: Oh!Daphne: Oh! Bravo, Dr. Crane!Martin: Good foryou! Who is she?Niles: Marjorie Nash, the \"Fruit On The Bottom\" yogurt heiress. I bumped into her at the Frye museum. Before I knew it, your advice was thundering in my ears. I found myself asking her out. We'll beattending our club's annual winter dance, the \"Snow Ball!\"Martin: Good for you!Daphne: What's she like?Niles: Well, she's terribly haughty and rumours persist about her husband's death. But still, a date's adate!Daphne: Snow Ball? Sounds very glamourous.Martin: I didn't know you could dance!Niles: Oh, I can't.Martin and Daphne look at him, alarmed.Niles: Oh, dear. You don't think she'll want me to? I've taken Maris todozens of these things, she's never once asked to dance... of course, Maris dislikes public displays of rhythm. Oh, this is terrible! My first date's a miserable failure before it even begins. [reaches for his phone] I'll justhave to cancel.Daphne: All you need are a few dancing lessons. Why, I'd be happy to give you some.Niles: You would?Daphne: Yeah! Growing up, I used to practise all the time with my brother Billy - the ballroomdancer?Niles: I couldn't prevail upon you like that, it would be too much trouble. [beat] We'll have to move this!He slides the coffee table against the couch.Niles: OK, now push the chair back [shoves ineffectively at it]Or not.Daphne drags it easily out of the way. As they take their positions, Martin settles at the dinner table to watch them.Daphne: Alright, we'll start with the box step.Niles: Box step...Daphne: It's very simple. Takemy hand like so, and your other hand goes around my waist. [Niles does] Now, start with your left foot.Niles: OK, which one?Daphne: Oh, hush! Step towards me, then bring your right foot forward-and-over, and slidethe left over to meet it. Then the right foot goes back, the left back-and-over, and the right slides next to it. And that's it! All right, once again. A one-two- [he steps on her foot] Oh!Niles: Sorry.Daphne: -three, atwo-two-three, a three-two-three, a four-two three...Niles: [struggling and staring at his feet] This is boring yet difficult.Martin: Aw, there's no trick to dancing. It's just a matter of coordination. Hell, if you can ride abike, or skip rope, or kick a ball, you can certainly...He pauses, looks at Niles, gets up and leaves. Niles rolls his eyes.Daphne: Alright, once again. A one-two-[he steps on her foot again] Oh!-three...The scene FADESOUT...Scene Four - Apartment ...and fades back in later on in the evening. \"Isn't It Romantic,\" is playing on the stereo and Niles and Daphne are dancing a slow waltz, with his head resting on her shoulder. Niles seemsto have gotten the hang of it.Daphne: You're really doing very well, Dr. Crane. Earlier you seemed a bit tense. You've really relaxed now though, haven't you?Cut to Niles's face: he's in a dream world of his own. Martincomes in.Martin: Hey, you two are looking pretty sharp. The music ends, and Niles finishes by giving Daphne a graceful twirl.Daphne: Well, I think we're ready to move on to the samba. [to Eddie] Eddie, fetch me asamba tape. Xavier Cougat. [Eddie just stares] Now he's thinking, \"the later Hollywood stuff, or the early New York recordings?\" [Niles and Daphne laugh]Martin: Now guess what I'm thinking.Daphne: I'll get it myself.[runs off to her room]Martin: [moving off] Well, I'm going to hit the hay.Niles: [in a rhythm, he acts out his verbs] Good-night -- bend-and- turn - see-you-in-the-morning - spin-and-dip -- [cell phone rings]there's-my-phone -- flip-and-push - Niles-Crane. [loses rhythm into the phone:] Oh, Marjorie. How are you? Oh, what a shame. Well, er, no no it's alright, there'll be other dances. No, no, I understand completely. Takecare. [flips his phone shut] Guess I won't be needing those dancing lessons.Martin: [sympathetically] I guess not. I'm sorry, son.Martin leaves for his room, Daphne comes running back in with a tape.Daphne: I couldn'tfind any Cougie, but this'll do! She pops the tape into the stereo. A fast Latin beat plays.Daphne: Alright now, in the samba you have to hold me a little closer. You ready?She grabs his hand and starts moving back andforth against him, as if it were almost sexual.Niles: Daphne, there's one thing I wanted to mention...Daphne: Yeah? [dancing more against him]Niles: [entranced] I'm a dancer, a dancer dances!He sways with her withgusto.END OF ACT ONEACT TWOWHERE ELSE WOULD CORONERSGET TOGETHER?Scene Five - Cafe Nervosa Niles is at a table, Martin & Daphne come towards him. Daphne and Niles greet each other with their \"pet\"names.Daphne: Here's my dancing partner. Hello, Fred!Niles: Hello, Ginger!Daphne: [to Martin] It's a little joke we have!Niles: Look Daphne, I got two new CDs today. Tonight we master the mambo and the conga. Ican feel myself growing a pencil-thin moustache just saying that.Martin: You're having more lessons tonight?Daphne: Oh, yes! He's going to be the best dancer at the ball. I'll just go get us some coffees.She goes to thecounter. Martin crosses his arms.Martin: Why didn't you tell her your date had cancelled? You don't need more lessons.Niles: I wanted to, but she's just having so much fun!Martin: Come on, Niles, you think I don't seethe way you look at Daphne?Niles: What are you implying?Martin: You know damn well what I'm implying. Take my word for it, you're sticking a fork in the toaster here.Niles: Well, my muffin's stuck! Besides, what'sthe harm in a few dance lessons?Martin: It's nighttime. You're alone. The music's on. You've got your arms around her. You'll end up saying something you can't take back.Niles: I have no intention of sayinganything.Martin: No one ever does. Take my word for it. When I was separated from your mother, there was this pretty coroner in the city morgue. I always had a bit of a crush on her. So whenever we'd find a deadbody, I'd yell out, \"OK boys, I'll take it from here!\" So one night, I invited her down to the corner bar.Niles: Coroners have their own bars?Martin: [exasperated] No, corner, Niles, the corner bar! Anyway, we had a fewdrinks, the lights were low, Sinatra on the jukebox. Before I knew it, it just all came pouring out of me. I told her how I felt. I mean, I knew the second it was out of my mouth that it was a mistake. She let me downeasy but we still had to go on seeing each other all the time. It sure was no fun going to the morgue after that!This story seems to have the right effect on Niles. Daphne returns to the table with coffees inhand.Daphne: So, what time are we starting your lessons tonight, Dr. Crane?Niles: Actually, that won't be necessary. I just got a call from Marjorie. Something's come up. I won't be going to the ball.Daphne: Oh. Well,I'm sorry.Niles: It's quite all right, and thank you for all your help.[Martin puts a comforting arm on his shoulder]Daphne: [thoughtfully] It seems such a shame to waste all that hard work... I hope you don't think I'mbeing too forward, but what would you say about our going to the dance together?Martin: Now, now, he's already taken up too much of your time, Daphne, he couldn't ask you to do that.Daphne: No, but it would be asmuch fun for me as it would be for him! I'd love an elegant evening out! What do you say, Dr. Crane?Martin: [sure Niles will say no] Tell her what you say, Dr. Crane.Niles: Pick you up at seven?Daphne: [excitedly]Ooh, yes! [claps her hands] Great!Niles looks decidedly contented whilst Martin is appalled.[SCENE_BREAK]Scene Six - Frasier's Apartment A few nights later, Eddie comes bounding in, handing Martin one of his chewtoys.Martin: No, Eddie that's not your banana, that's Mr. Pig. Listen tothe difference: pig, banana! Pig, banana! Pig, banana! [Eddie shows no reaction] Ah, I still love you, you little pinhead. Go sit down.The door opens:Frasier is back from his vacation.Martin: Oh Frasier, am I glad you're back! Listen, all sorts of....Frasier: Dad, please, please! I have just spent the most wonderful six days with Frederick. I am technically still onvacation till ten a.m. tomorrow.Martin: Yeah, but listen...Frasier: [waving off Martin's protests] Bup-bup-bup-bup-bup! Dad, I do not care to know how hard Daphne made you exercise, or about the boring foreign filmNiles made you sit through, or about the progress of Eddie's on-again, off-again romance with the ottoman!Martin: But you don't understand...Frasier: Dad, please! For all intents and purposes, I am not here.Thedoorbell rings. Daphne rushes out of her room in a ravishing red evening gown.Daphne: [excitedly] That'll be my date! Ooh, I'm so excited, this is me first ball! Oh, I hope he likes my dress...Frasier: Daphne?Daphne:[rushing by Frasier] Hello, Dr. Crane, welcome back!She opens the door to Niles, dressed in a tuxedo and carrying a red rose.Daphne: Hello!Niles: [captivated] Wow!Daphne: Ohhh, [giggles] you! [takes therose]Frasier: [mystified] Niles?Niles: Oh, Frasier, you're back! [to Daphne] Well, our carriage awaits.Martin: And you'd better get her home at a decent hour, I'm gonna be waiting up for you!Daphne: [laughing] Oh, Mr.Crane!The two leave.Frasier: [dumbstruck] What the hell was that?Martin: [looking around curiously] Eddie, did you hear sumpin'? [heads off towards the kitchen] Can't be Frasier, he's still on vacation!Frasier:[following Martin doggedly] Dad, what was that? Dad, will you stop kidding around? Was that a date? Dad![SCENE_BREAK]Scene Seven - Ballroom And so, Niles and Daphne, arrive at the elegant \"Snow Ball.\" Softromantic music is being played by the orchestra as the Beautiful couple enter.Daphne: Oh, Dr. Crane, it's so beautiful!Niles: Just for tonight, could you call me Niles?Daphne: You know, when I was at school I knew aboy named Niles. I called him Niley.Niles: [pause] Just for tonight, could you call me Niles?He steers her toward an empty table.Niles: You're a vision... everyone's staring at you!Daphne: Well, you look awfullyhandsome yourself... Niles.[sniggers]He sits her at a table.Niles: Would you like some champagne?Daphne: Oh, that would be lovely.Niles: Be back in a moment.He goes to the bar. A haughty woman, Lacey, and herhusband, Andrew, are standing there.Niles: Two champagnes, tout de suite.Lacey: Niles, dear! How are you!Niles: Just fine, thanks.Lacey: Andrew, say hello to Niles.Andrew: Haven't seen you for ages. Feel just terribleabout you and Maris.Lacey: Oh yes, we were just devastated. Positively everyone's talking about it.Niles: Oh, and how is positively everyone?Daphne comes up behind Niles and listens to the conversation.Lacey:Devastated. We were just saying that to Maris, when we ran into her and Bradley Paxton at the Breever's Cup.Andrew: No, she was with Calvin Oldi at the Breever's Cup.Lacey: Well, it's so hard to keep track anyway.[laughs] Niles, if there's anything we can do to cheer you up? Just let us know...She leaves with Andrew.Niles: [muttering to himself] Perhaps a murder-suicide pact.Daphne: [takes their champagnes from thebartender] Well, they weren't very nice!Niles: Well, everyone in our set seems to have this idea that while Maris is out living the high life, I'm sitting at home, crushed and lonely.Daphne: Yeah, well, never mind thosegossipy twits. Tonight, you're all mine. [puts the glasses on the table and opens her arms] Now take me in your arms, Niles, and let the music carry us away...She leads him out onto the dance floor and just as theyassume the right position, the conductor turns around.Conductor: Thank you, we'll be back in ten minutes. Sheepish, Daphne and Niles join in the light applause.[SCENE_BREAK]Scene EightTen minutes' later: Niles &Daphne are waltzing together. As the music ends, he dips her.Daphne: [laughing] I can't remember when I've had a better time. I'm on Cloud Nine!Niles: I'd have to look down to see Cloud Nine! [leads her back to thetable] Daphne, I must tell you again, that is an exquisite gown.Daphne: Oh, thanks! It was way out of my price range, but did you ever see something and say, \"I just have to have it?\"Niles cannot help but gazelongingly at her. Then, out of breath, he starts to sit down.Niles: Where's my chair?The orchestra begins a tango just as Niles sinks into his chair thankfully.Daphne: [gasps] A tango! [stands and grabs his hand]Niles:Oh, you never taught me a tango!Daphne: Oh, you'll love it! It's perfect for you! This is a passionate, full-blooded dance that rose up from the slums of Buenos Aires.Niles: Well, the parallels between me and anunemployed gaucho aside, I think we probably should just sit this one out.Daphne: Oh, nonsense! There's only one rule in the tango: our bodies must be in continuous contact, with not a sliver of daylight between us.[she presses her body close to his]Niles: [overwhelmed] I can do that.She starts to lead him onto the floor, but he hesitates.Daphne: Stop! Don't be afraid! Daphne won't let anything happen to you.Niles: I don'tthink-Daphne: [grabs his face] Don't think! Just feel. [holds his lapels and seductively pulls him forward] You're an Argentine slum- dweller. You have no house, no car, you don't know where your next meal is comingfrom. But none of that matters. Because tonight... [they join hands and cast their eyes toward some imaginary moon] we have the tango!Niles: [dips her; in an Argentine accent] Oh mama, I've got it all!They proceedto cross the dance floor in an eye-catching tango step. The conductor notices them and smiles.Daphne: That's it! You're dazzling! You're brilliant! But I feel you're holding back!Niles: I am.Daphne: Oh, this is no time forinhibitions!Niles: I know.Daphne: Oh. let it out Niles. Let everything out!Niles: [passionately] Oh Daphne, I adore you!He spins around so he can't see her and slaps a hand to his mouth in shock. Oops. He spins backaround to face her.Daphne: [eyes closed in rapture] I adore you too!Niles: What?!?!?Daphne: I adore you too.Niles: [thrilled] Oh, how I've longed to hear those words!Daphne: Oh, how I've longed to say them!Niles:You're beautiful! You're a goddess!Daphne: I don't ever want this moment to end!Niles: Then let's not let it!By now everyone is watching them and the music is nearing its end. He spins her back and forth across the"}
+{"doc_id":"doc_140","qid":"","text":"\"TAMARA'S RETURN\"CastDawson: James Van Der BeekGrams: Mary Beth PeilJoey: Kaite HolmesTamara: Leann HunleyPacey: Joshua JacksonMitch: John Wesely ShippJen: Michelle WilliamsGail: Mary-MargaretHumesAndie: Meredith MonroeJack: Kerr Smith*Dawson and Joey are making out outside on a blanket*Joey: Dawson...Dawson: What? *Joey sits up*Dawson: What?Joey: What are we doing?Dawson: What does it looklike we're doing?Joey: It's just not working. I mean, I'm freezing and there's bugs. Can't we go somewhere else?Dawson: W...Well...we can't go to my house and we can't go to your house so our options are kind oflimited.Joey: I know but I feel too Swiss Family Robinson. I mean, I'm a 20th century girl. We should make out in some music, mood lighting and climate control.Dawson: Where's your sense of romance? We've gotgorgeous moonlight shimmering in the water. We've got stars overhead...crickets chirping...we have plenty of trees and if you get cold you've got me to keep you warm.Joey: Dawson...Dawson: What?Joey: You are socheesy.Dawson: You don't like it?Joey: Are you kidding? I find it unbearably sexy. *They start making out again*[Opening Credits]*Cut to Mitch and Dawson walking down a sidewalk in Capeside*Dawson: I wasbeginning to think this whole restaurant idea of yours was just a [missed phrase].Mitch: Not if I can find the proper location. And this woman swears that I'm not going to find a better deal than her warehouse.Dawson:Where are you meeting her?Mitch: Right here. She said she'd meet me at 8. *Dawson looks up and sees Tamara Jacobs heading towards them*Tamara: Dawson.Dawson: *surprised* Miss Jacobs.Tamara: Well, I'm notyour teacher anymore, Dawson, you can call me Tamara.Mitch: Tamara Jacobs, I'm Mitch Leery. We spoke on the phone.Tamara: Yes, Mitch. Hello.Dawson: Are you moving back into town?Tamara: No, I'm just inCapeside for a few days to sell this property.Dawson: Well, I...I should get going to school.Mitch: Yeah.Dawson: Bye Mis--*catches himself* Tamara. *Tamara laughs* *Cut to Capeside High. Dawson catches up toPacey*Dawson: Pacey, hey! I need to talk to you.Pacey: Let me guess. You and Joey are having another love spat and you want my opinion. Well, here it is. Joey is being sarcastic and oversensitive and you, my friend,are being self-absorbed and self-catering.Dawson: This has nothing to do with Joey and me this has to do with you.Pacey: What? Do I owe you money again?Dawson: No, my dad and I were walking downtown todayand we ran into somebody.Pacey: Who? *Andie walks up to her locker*Pacey: Hey look who the cat dragged in.Andie: Nice to see you too Pacey. Don't worry. I'm just here to get a few books out of my locker then I'llbe on my merry way.Pacey: Tell me Dawson, who was it?Dawson: You know we should really talk about this in private.Pacey: God, you know what? I've got to go. If I'm late to Mr. Matick's class again he's going tohave an aneurysm. I'll catch up with you after school.Dawson: No, I've got to meet Joey for this art thing.Pacey: Ah, the sacrifices we make for young love, huh? Listen, man, just talk to me later! *Cut to Joey andJack*Joey: Hey, Jack.Jack: Hey Jo.Joey: Bad news. Suder(?) called and cancelled on Bessie so we can't open this afternoon but the good news is you have the day off.Jack: Okay, but we could open anyway.Joey: Well,I'd love to but Bessie's at home with the baby and I've got to go to an art lecture after school so there's really no one to cover all the tables.Jack: Well, there's me. I could do it.Joey: You? Inspecter Kleso(sp?)?Jack:What? You don't think I could handle it?Joey: Jack, every since we hired you it's been nothing but a slapstick comedy. I mean, you drop dishes, you misplace orders, you fall all over yourself.Jack: Then why don't youjust terminate me if I'm such an incompetent moron?Joey: We don't want to terminate you, Jack. *thinks about it* Alright, you can open. Bessie will be relieved and it will be like a test run. Just, uh, don't set thekitchen on fire or anything...okay?Jack: Yeah, well, thanks for that unqualified vote of confidence. *Cut to lunch. Jen is sitting when Abby comes up and holds money in front of her face.*Jen: Oh, Abby. Would you getthat out of my face? *Abby laughs then sits down*Abby: Oh come on. It's allowance time and I feel a major buying binge coming on. So tomorrow get your pocketbook and a sensible pair of shoes and let's go blowsome major dough.Jen: You know, I really don't feel like shopping.Abby: Don't feel like shopping?!Jen: No.Abby: You don't feel like shopping and you call yourself a woman!Jen: I'm just not feeling all that festive,alright? My plan is to spend the weekend in bed...counting my ceiling tiles.Abby: Please, don't tell me this has something to do with your ludicrous Dawson Leery fixation. *Jen looks at her.*Abby: Jen, damn it! You'resuch an ass!Jen: Shhh!Abby: I mean what is so great about Dawson Leery? He's just a guy with a motormouth and a limp billy(?) club. Turn over a rock and find yourself another guy. The whole world's crawling withthem.Jen: Look, it's not that easy, okay? I mean, I got rejected. It hurts. And to make matters worse...that whole Dawson-Joey-Pacey troyca(sp?) I just hate being on the outskirts of it, you know? I mean I used to fitin.Abby: Count your blessings. Those people are boring.Jen: Yeah. Yeah, well, I guess I just need a few days to nurse my narsocistic wounds.Abby: Jen, you've had a few days. You're practically in hibernation. Winter isover, Jen. Come out of your cave. And I need you with me.Jen: What could you possibly need me for? All I'm going to do is rain on your parade.Abby: Well, shopping for me is like deep sea diving. It's dangerous andexciting, and if I do it alone I may never come up for air. Please don't let me go by myself. I could drown in a sea of dresses and hair gel. *They laugh* *Cut to a classroom. Andie drops some movies*Pacey: *pickingthem up* McPhee. I didn't know you were a closet movie freak. I just thought you were a freak in general. *reads titles* Ghost, The Way We Were, pardon me as a gag, oh my god, Dumbo.Andie: Okay, so I have agrade school mentality when it comes to movies. Get off my back.Pacey: No, no, I love Dumbo.Andie: You love Dumbo?Pacey: Are you kidding? It's my pantion(?) of all time favorites. I cried when I saw it as akid.Andie: You cried during Dumbo?Pacey: Are you joking me? I bawled my head off. I mean, the way those elephants made fun of him for those fat, floppy ears and then he loses his mother. Oh my lord, that's one ofthe saddest movies ever.Andie: This is really strange.Pacey: What is?Andie: Well, just when I've written you off for good you drop this whole Dumbo bomb on me.Pacey: Hey, look, uh, I'm outta here and I got no plansso uh what do you say we walk around downtown or something?Andie: Yeah, right, what's the joke?Pacey: No joke. I got no plans. And, believe it or not, I'd rather spend the afternoon exchanging barks with a brightlike yourself than flying solo so pinch yourself, it's your lucky day. So you in?Andie: Yeah, I mean, might as well.Pacey: Unless you have your heart set on watching Dumbo.Andie: Nah, I've seen it like 500 times. You'renot going to throw me in front of a bus or anything?Pacey: Interesting idea. Hadn't thought of that. *Cut to art lecture.*Laura: I'd like to close with this piece, \"Winter Mist\". It's Jarvis' most famous work. No one candeny after looking at this exquisitely tuned surface that this picture that the positions of color and shape.. *Dawson has a skeptical look on his face. Joey looks like she's concentrating and interested.*Laura: (cont.) theintensity of his lines...that Jarvis was in complete control of his new technique. Sadly, three weeks after Jarvis completed \"Winter Mist\" he died from alcohol poisoning. Despite his untimely death, Jarvis left a lastingimpression on the art world and his title of one of the abstract expressionists of the 20th century...will live on.*Audience claps.* *Cut to Dawson and Joey walking outside*Joey: The art lecture was great wasn'tit?Dawson: It was certainly...prolonged.Joey: You hated it.Dawson: No, not at all. I just don't think abstract impressionism is really my thing.Joey: Your thing?Dawson: Yeah, I don't know it just seemed sounresolved.Joey: Unresolved?Dawson: Yeah, I mean it's just a blob of paint that offers up more questions than answers.Joey: A blob of paint, Dawson?Dawson: Well, like \"Winter Mist\" for example. What was theultimate emotion expressed in that painting?Joey: Dawson, newsflash. Just because a painting does not have a beginning, middle, and an end like some summer release, popcorn movie doesn't mean it's not chargedwith emotion, okay?Dawson: I guess I like my art with a verdict. Specific, coherent, and to the point. Like romanticism. I can totally get into romanticism....if you know what I mean.Joey: Yes, I know what you mean.*Laura walks up.*Laura: Hey guys.Dawson: Hey Laura! Great lecture.Laura: Did you really like it?Joey: It was awesome.Laura: Tomorrow I'm teaching an art class so if you two are interested in auditing(?) you'redefinitely welcome.Dawson: I've got to work.Laura: Joey?Joey: I'm afraid my artistic skills peaked in the 3rd grade.Laura: Ah, it's a beginner's class. You don't have to be Picasso, just willing. *Joey considers it* *Cut toPacey and Andie walking downtown*Andie: This truck literally came out of nowhere and I didn't see it so now my Saab's back in the shop.Pacey: Another accident? You are officially the world's worst driver. *Pacey seesTamara*Andie: Pacey? Pacey what's wrong?Tamara: Hello Pacey. Aren't you going to introduce me to your friend? *Pacey just stands there.*Tamara: Tamara Jacobs.Andie: Nice to meet you. I'm Andie.Tamara: Paceywas a former student of mine.Pacey: Yeah, I was her teacher and she was...no, I was her student and she was my teacher.Tamara: Well, I'm late for an appointment. It was really nice to see you, Pacey.Pacey: Yeah,likewise.Tamara: And nice to meet you, too, Andie. Take care. *She walks off.*Andie: Pacey what's the matter? You look like you've seen a ghost.Pacey: No I haven't seen her for awhile and she was my teacher anduh...Andie: Your teacher. Did she flunk you or something?Pacey: Uh, no, no. Uh, you know what, Andie? I think I'm going to have to take a raincheck on this. Um, I'm really sorry, but I've got to go, okay?Andie: What?Are you serious? *Cut to Pacey watching Tamara enter a warehouse.* *Cut to art class.*Laura: I'm on to you, Joey.Joey: What do you mean?Laura: How many other talents have you been hiding from me?Joey: Please,it's an apple and a banana. It's hardly the second coming.Laura: You can be as self-depreciating as you want. It doesn't change the fact that you're a natural. You, my friend, have a gift. Do you draw much?Joey: Uh,when I was little, I did. I wanted to be like my mom was.Laura: Was? Why did she stop?Joey: She, uh, she didn't. She...she died.Laura: Oh, I'm so sorry, Joey. That must have been incredibly difficult. When?Joey: Afew years ago. She had breast cancer.Laura: She was an artist?Joey: Sort of. I mean, she taught herself. She wasn't a professional...like you. She just kind of did it for fun. I remember she used to draw pictures frommy favorite stories and hang them in my room.Laura: So, art must be in your genes.Joey: I don't know. I guess.Laura: Well, if you enjoy this, Joey, I think that you should really pursue it. I could recommend somegreat classes. *Joey looks at her.*Laura: Okay, why the look?Joey: Are you serious?Laura: I'm very serious, and you know what? You should take yourself a little more seriously. I mean, I may not be a great artist, butI like to think I have an eye. And my eye says you're good.Joey: Why, when you say that, do I suddenly feel overcome with anxiety?Laura: Because with talent comes responsibility, and you owe it to yourself not to letthis talent go to waste. *Cut to Dawson's house. Andie knocks on Dawson's door*Dawson: Be right there. *He opens it.*Andie: Hey Dawson.Dawson: Andie. Hey, come on in. I'm just having a domestic spell. What areyou...what are you doing here?Andie: Uh, what am I doing here? I was in the neighborhood, and I was wondering what the english assignment is for Monday, so I thought you might know, and....here I am.Dawson: It'sthe first chapter of Gulliver's Travels.Andie: Cool. Great. I'm going to go home right now and read it. Thanks.Dawson: Andie? Andie? Are you sure that's why you came by? *Andie hesitates*Andie: I don't really knowyou, Dawson, but if I ask you something, do you swear that you'll keep it in the strictest of confidence.Dawson: Yeah, absolutely.Andie: Has Pacey said anything to you about...possibly liking someone?Dawson: Likingsomeone? Liking who?Andie: Liking, oh, I don't know...me?Dawson: Uh, not that I recall.Andie: Oh.Dawson: But that doesn't mean he doesn't like you. He could very well like you. He just doesn't say anything to me.Why? Do you...do you like him?Andie: Me? Like Pacey? No way...well...maybe....possibly.Dawson: Why don't you just tell him?Andie: I could never, EVER tell Pacey that. I mean, he's a pig. He's obnoxious. There's justno way, and you have to swear to me that you will not tell him either.Dawson: Why do I feel like I'm in 2nd grade?Andie: Dawson, please.Dawson: Okay, I won't say a word. I swear. But...I've know Pacey a long time,and that obnoxious pig behavior is sometimes his attempt at flirtation.Andie: Really?Dawson: Yeah.Andie: Okay! Thanks! I'll see you around! *She walks away and then turns around and hands him back the boxers shehad picked up and been holding of his.* *Cut to Abby and Jen sitting down at a table in a restaurant.*Abby: Now, that was what I call a shopping spree. I can't believe I blew my entire monthly allowance in less than 20minutes. That is a record for me...I think.Jen: How are you going to explain it to you parents?Abby: The usual....I got mugged.Jen: In Capeside? You are crazy.Abby: You love me, right? I mean, this morning you hadthat whole hung-jawed, woe-is-jen thing, but now look at you. You're smiling, you're laughing, you've got new lipstick. Aren't you glad you met me?Jen: You know what? I am. I mean, I left New York because I couldn'thandle being the bad girl anymore, but, I tell you, if being the bad girl means not walking around in a perpetual state of loneliness and depression, then bad girl it is.Abby: I'm glad I'm getting you back to your roots. Ohmy God! Jen, don't look now, but the biggest babe I've ever seen in my life is sitting right behind you. *Jen turns around and looks.*Abby: Mine. I called him.Jen: No way, Abby. Look at the guy. He's, like, twice yourage.Abby: Perfect. That means he's almost mature enough to handle me. I'm so sick of these little boys. I need a real man with chest hair and body odor and illegitimate children scattered across the country. *towardsthe guy* Excuse me! Hi, uh, what's your name?Jen: *to Abby* Shut up!Vincent: Vincent.Abby: Hi, Vincent. I'm Abby, and this is my friend Jen. So, you're eating alone? *Vincent nods*Abby: Well, you're welcome tocome join us. We don't bite, unless we're asked to.Vincent: I'd love to join you ladies, but I have to get to the docks.Abby: The docks? What do you do there? Sunbathe?Vincent: I'm a fisherman. Got a 2-month stint ona long-liner, hauling swordfish.Abby: Oh, so you're not from Capeside? Well, if you ever want somebody to show you the sights, give me a call. Abby Morgan, 555-0142.Vincent: Thanks for the offer. *to Jen* I didn'tcatch your name.Jen: Jen.Vincent: Jen. It's nice meeting you, Jen.Jen: You too. *Cut to Joey sitting sketching when Dawson walks up.*Dawson: Hey you! *Joey closes her sketchpad.*Joey: Hi.Dawson: What's up?Joey:Nothing.Dawson: *pointing to the sketchpad* That's not nothing. What is it?Joey: It's a sketchpad. I was just doodling. It's no big deal.Dawson: Well, what were you doodling?Joey: Well, if you must know, a bowl offruit. It was something I was working on in Laura's class.Dawson: A bowl of fruit? You're really getting into this whole art thing. Well, let's see it.Joey: No!Dawson: Come on!Joey: I don't think so.Dawson: Why not? Ilike this new art interest. You know, Joey Potter: Artist extraordinaire, empress of all impressionism, *getting on top of the table* master of all still life. I hereby declare myself a full-fledged, madly enthusiastic fan ofyour new hobby. *They kiss.*Joey: Dawson, why is it your obsession with movies is your life passion, while my interest in art is a hobby?Dawson: Ah! I knew, I knew as soon as I said \"hobby\" that it was the wrongword, but by the time I said it, it was already *noticing Joey getting her things together* it was gone, and there was no getting it back.Joey: You know, I really have to finish up, so I'll see you later.Dawson: Well, soyou're just going to leave it like this?Joey: Like what? Unresolved?Dawson: Yeah.Joey: Why don't you just consider me a nonspecific, incoherent, expressionistic painting? *kisses him on the cheek then slaps him on theback* Have a GREAT day, Dawson.[SCENE_BREAK]*Cut to Pacey at Tamara's*Pacey: Hi.Tamara: Hi.Pacey: I was debating whether or not I should actually do this, uh, the \"this\" being coming out to see youbecause...you know, when we said hi yesterday it was, uh, a little.....awkward. And I don't know, I just thought that I should come--Tamara: Pacey?Pacey: Yeah?Tamara: It was supposed to feel awkward.Pacey: Howabout this? Is this supposed to feel awkward, too?Tamara: M-hm.Pacey: And if we were to see each other a third time?Tamara: Still awkward.Pacey: Oh, good. Well, at least there's a science to this thing.Tamara: Yes.It's what we ex-English teachers call a classic \"Pinter\" moment, where everything is said in silence because the emotion behind what we really want to say is just too overwhelming.Pacey: And, uh, that's what we'rehaving? A \"Pinter\" moment?Tamara: Yes.Pacey: That's okay with you?Tamara: Well, silence is an acquired taste. The more complicated life becomes the better it is to learn to say nothing.Pacey: Okay. Then, uh, maybewe could have just a couple more seconds of silence?Tamara: Sure.Pacey: Who is this Pinter guy?Tamara: Stay in school, Pacey. *Pacey starts walking away.*Pacey: Yes, Miss Jacobs. *Cut to Mitch and Dawson in theLeery's kitchen.*Mitch: Want some breakfast?Dawson: No. I'll just have some juice. I gotta go find Joey.Mitch: How are the two lovebirds?Dawson: Um, good...I think. This art obsession is making Joey a little crazy. Ican't do or say anything right. I made the mistake of teasing her about this art lecture. She went sybil on me.Mitch: Well, in my experience, Dawson, erratic behavior of the female orientation usually means the root ofthe problem is something unexpected. It's probably not about art. Go find out what it is.Dawson: Is this your father knows best moment?Mitch: Have one every now and then. FInd her. Talk to her.Dawson: Alright,thanks. *Pacey walks in and Mitch leaves*Pacey: Hello.Dawson: Hey Pacey! The man, the myth, the legend.Pacey: Listen, Dawson, that little secret you had yesterday...Tamara? You really should've told me.Dawson: Itried to tell you. You were off and down the hall before I could get it out.Pacey: Well, you see, we got a situation here, now, because I realized last night that I'm not entirely over her.Dawson: Oh, boy. Um, Pacey, I'myour friend and I want to be supportive, and helpful, but the only thing I can think of to say to you in good conscience is stay away. You haven't even fully recovered from the gossip fallout of your last completely illegalinterlude. There are girls your age, there are girls who like you. Would it be so terrible if you fell for one of them?Pacey: Like who?Dawson: Like the one who came to my house yesterday and told me that she likedyou.Pacey: Who?Dawson: I'm not supposed to say.Pacey: Dawson, I'm not in the mood. Who?Dawson: Andie. Andie likes you.Pacey: Andie hates me.Dawson: When a girl hates you the way Andie hates you, it reallymeans that she likes you. That's basic kindergarten psychology.Pacey: Yeah, but that's different, Dawson. Andie's a girl, okay? And Tamara...Tamara's a woman.Dawson: Exactly. Pacey, you should be with a girl. Okay,look, I gotta go and I'm really sorry, but I'm begging you, as your friend, don't go there. *Cut to Icehouse*Joey: Hey Bessie! You think I could have the day off since there's nobody here and there's this huge art exhibitat the college I'm dying to go see?Bessie: Sure. I'll hold down the fort.Joey: You are, without a doubt, my favorite sister.Bessie: I'm your only sister.Bessie: And hey, Joey, this place is dead. Why don't you take Jackwith you?Joey: There's priceless art at this exhibit. He could do some serious damage.Bessie: Just take him. I feel sorry for him. He just sits around looking dopey.Joey: Hey, Jack! Do you know what an art exhibitis?Jack: Yeah...Joey: Do you want to go to one?Jack: Sure.Joey: *to Bessie* This should be entertaining. *Cut to Mitch and Tamara in the warehouse.*Mitch: It's a great space. Location's ideal, with a little work, of"}
+{"doc_id":"doc_141","qid":"","text":"(Theme music playing)(Campers clamoring)(Panting)(Sighing)Emma: Excuse me, sir. Can you have these delivered to my room?Gladys: Geez! You don't shave your legs for one month, and suddenly you're a\"sir.\"Emma: I haven't even looked at your legs yet. Ravi Ross, a pleasure.Ravi: You must be Ms. Gladys, the proprietor. Thank you for letting Mrs. Kipling come to camp. (Mrs. Kipling groaning) I assure you, the odds ofher eating any campers are very remote.Zuri: I would still hide the bite-size kids.(Mrs. Kipling groaning)Gladys: Aren't there supposed to be four of you?Zuri: Our brother, Luke, got stuck in summer school. Probablybecause he can't spell either of those words.Gladys: Check cleared, don't care. Sign in with my niece. (Campers cheering) Hazel, these are the Rosses. I met your parents right here when we were 16. Your dad was astone-cold fox.(Growling)Zuri: Could've gone my whole life without hearing that.Hazel: My aunt's always talking about your mom. (Chuckles) She hates her.Gladys: With every bone in my body, including my artificialhip. I loved your father, but your mom stole him from me. Plus the title of \"Best Counselor,\" and any chance I ever had at having a happy life!Emma: No offense, but you guys are the worst welcoming committee ever.Note to self, start digging escape tunnel tonight.Gladys: By the way, phones aren't allowed at camp. Hand it over.Emma: (Scoffing) No! Back off, mister![SCENE_BREAK][ INT. Woodchuck Cabin ]Emma: Oh!Tiffany:(Shushing) I'm studying for the national spelling bee! If I don't win, my mom won't let me come home. My brother lost last year, and I haven't seen him in 10 months.Lou: Welcome! I'm Lou, camp counselor and headWoodchuck in charge!(Chitters)(Emma grunting)(Bones cracking)Emma: I'm Emma. I'd hug you back, but you just separated my shoulder.(Bones cracking)Lou: Oops! My bad. We'll make you a sling in arts and crafts.So, you're my new counselor in training? Let the training begin. (Yelling) Sit! JK! (Laughing)Emma: (Sighs)Lou: No, seriously. Sit, or you're goin' in the crate! JK again! I'm all about the JKs! LOL! (Nervousgiggle)Emma: OMG!Lou: So, how many years of camp experience do you have?Emma: None.Lou: But you like kids, right?Emma: Not really. They're sticky.Lou: So why do you want to be a camp counselor?Emma: Oh,I don't. But my mom thought it would be good for me. I guess she was some sort of super counselor, so now she expects me to live up to that.Lou: Good luck! Christina Ross is a legend around here. They say she couldassemble a s'more in two seconds flat, and her dreamcatchers actually caught dreams!Gladys: She caught mine!Emma: And mine! I should be in Milan for Fashion Week, but instead I'm stuck here picking bugs out ofmy teeth!Lou: (Snaps fingers) Nature's popcorn. Speaking of fashion, I hate to brag, but I'm a cover girl.Emma: Really?Lou: Yep! Four-H Digest. The big fall flea and tick issue.Zuri: If we run fast enough, we might beable to catch the limo.[SCENE_BREAK][ INT. Grizzly's Cabin ]Ravi: Greetings, bunk mate!Xander: Hey! Uh... Whoa! (Mrs. Kipling groaning) Uh, I think that alligator thingy ate your pet.Ravi: That alligator thingy is mypet.Xander: Oh, that explains the cage. I just thought we were getting a really creepy kid.(Mrs. Kipling groaning)Ravi: Ravi Gupta Balasubramanium Ross, your new CIT eagerly reporting for duty, sir!Xander: I'mXander.Ravi: Oh. So what are the cabin rules?Xander: I'm not really big on rules. Except always wear shower shoes. I once got fungus so bad, I lost a toenail. But it's cool, 'cause now I use it as a guitar pick.Ravi: Youknow those cost, like, five cents, right?Jorge: Hey, dudes! I'm Jorge. Mind if I take this bunk?Ravi: Actually, that is my...Jorge: Dude, trust me. You want me to sleep downwind! Especially on burrito night. I once had a23-minute fart!Ravi: That seems medically impossible.Xander: Although handy if we go hot-air ballooning.Jorge: That's why the aliens abducted me. I'm special.Ravi: Well, parts of you clearly are. So let me guess. Thealiens probed you?Jorge: Of course not! They just invited me for brunch. You're weird.[SCENE_BREAK][ EXT. ](Xander playing guitar)(All applauding)Hazel: Xander, that was awesome! Can I have your pick?Xander:Sure.(Retches)Lou: Then during free time tomorrow, we can dive for mud dabs, and connect your mosquito bites to see what shape they make! Look, mine make Abe Lincoln!Emma: (Gasping) Whoa! That supes cuteguy is here and you led with mud dabs?(Halting scratch)Lou: Where did that wind come from?Xander: Whoa! I think I'm in love.Hazel: Finally! Let's get married after the tetherball tournament!Xander: Hi, I'mXander.Emma: I'm Emma. I'm nauseous.Lou: Ooh! Looks like Cupid just shot an arrow.Hazel: I hope it goes in her eye and out her ear.Lou: Little Woodchuck wisdom, don't go to the archery range with her.(Blowingwhistle)Gladys: Campers, welcome to Camp Kikiwaka! Except for you, Timmy. Your parents' check bounced. You can sleep by the front gate. Hopefully, they'll pick you up in the morning. (Tribal drums playing)Ki-ki-wa-ka!All: Ki-ki-wa-ka! Ki-ki-wa-ka! Ki-ki-wa-ka!Ravi: Okay, this is a cult. Taxi!Gladys: We pay homage to Kikiwaka, the giant, ravenous demon beast who roams these woods!Zuri: Say what now?Gladys:Ki-ki-wa-ka! Hear me and leave these campers in peace!Emma: Did she just say \"in pieces\"?Gladys: With the blessing of Kikiwaka, our summer revels commence! Remember to pick up your trash.Zuri: Tiffany, aren'tyou scared of the Kikiwaka? Nope. Nothing's scarier than my mom if I don't get an A.Hazel: Listen, cheekbones, Xander is mine.No, I'm not. So you should go back to New York before one of those long legs ends up in abear trap. See you at the friendship circle.(Sighs)Lou: She's not really good with new people. Or old people. Or any people.Gladys over PA: Attention, campers! Time for the obstacle course. The winning cabin gets tohave a pizza party, while I just continue the obstacle course that is my life.(Arrow released)(Gasps)Emma: Is archery part of the obstacle course?Lou: Nope.(Whistling)Jorge: Ravi, what are you doing?Ravi: Obviously,as your counselor-in-training, I am demonstrating what not to do.Jorge: Dude, you're embarrassing Grizzly Cabin! And men in general!Xander: I think Ravi's doing great, considering he could barely pick up his egg forthe egg race.Ravi: It was a jumbo! What do they feed those chickens?Zuri: Whoo-hoo! That was fun.TIffany: Fun? Forget fun! Focus! Thanks to your pathetic performance on this bouncy house, our cabin is behind!Zuri:Tiffany, it's just a game. Who cares?Tiffany: I care! Because if we don't win \"best cabin,\" then I can't win \"best camper,\" and if I don't win \"best camper,\" I won't get into Harvard, which means I won't get into HarvardMedical School, which means I'll never become a top doctor, which will kill my mother! Do you want to kill my mother?Zuri: No, but I do want to talk to her about her parenting skills.Hazel: So Woodchuck Cabin islosing, Your campers are turning on each other... (Gasps) Great leadership, Emma!Lou: She is a good leader! Just ask our campers.Tiffany: Which one's Emma again?(Laughs mockingly)Hazel: You should just go homenow. As a CIT, you're DOA.Lou: She is not! She has legendary counselor Christina Ross' blood running through her veins!Emma: And I'd like to keep it there, so let's not get the girl with access to arrows angry. Ah!Look, I'm doing it!Lou: That's my bunk buddy, people!Hazel: Hey, Emma, catch!(Screams)(All laughing)Let's see how Xander likes Little Miss Perfect now.Xander: Emma! (Panting) Emma, are you okay?Emma: Well,I'm better than those worms I just fell on. Oh!Lou: A pretty girl covered in mud, and you thought he wasn't going to like that? What's next? You hand her a tray of hot wings and have her turn onfootball?[SCENE_BREAK][ INT. Woodchuck Cabin ](Sharp violin playing)Emma: I can't believe there's still mud in my ears.Zuri: Lucky you. At least you don't have to listen to Tiffany's violin. Give it a rest!Tiffany: Stopscreaming at Violet! She's very high-strung!Emma: Today was a disaster. Instead of being a super counselor like Mom, I'm the lamest CIT ever.Lou: You are not! You're much better than my last CIT, Tammy. She tookthe kids to pet the hibernating bears.Emma: Bears don't hibernate in the summer.Lou: Exactly! It was a lot of paperwork.Emma: Okay... But I was humiliated in front of the whole camp. Plus, Hazel's never going to letXander near me.Lou: At least not while you're still breathing. Sorry, that sounded much more supportive in my head.(Gasps)Emma: Yay! Xander sent me a text on paper!Lou: Think that's called a note.Emma: He wantsme to sneak out tonight and meet him at The Spot!Lou: Whoo-wee! The Spot is the place in the woods where the kids go to... You know.Zuri: Get electrocuted?Tiffany: You can't sneak out! That could give our cabindemerits!Lou: So?Tiffany: So, that goes on my permanent record!Zuri: (Groans) It's camp! The only permanent records they keep are how many kids get diarrhea from the lousy food! (Stomach rumbling loudly) Uh-oh!I think it's about to be one more.[SCENE_BREAK][ EXT. The Spot ]Emma: Would you please go back to the cabin?Zuri: Not happening! I don't know what's more toxic, Tiffany's attitude, or what I left in thattoilet!(Exclaims)Emma: Are you okay?Zuri: What made this giant footprint?Emma: Uh, a giant foot, duh.(Snarling)(Shrieks)I'm really hoping that's your stomach.Zuri: Nope.(Snarling)Emma: Do you think it's theKikiwaka?Zuri: I don't know. Why don't you stay here and ask it?(Both groaning)(Grunts)Jorge: Yes! I win!Ravi: No, you do not. You moved the table.Jorge: Hey, all's fair in love and pool.Ravi: That is not asaying.Jorge: It is on planet Zorb. Dude, why are you such a buzzkill?Ravi: I am not a killer of the buzz! As your counselor-in-training, it is my duty to teach you to follow the rules!Xander: Bro, you just defined\"buzzkill.\"Hazel: Hey, Xander. I made you hot wings. Want a bite?Xander: I don't think she's talking about the wings.Lou: Come on! Come on!Tiffany: Lou, I don't have time to play foosball! I need to finish my collegeapplications!Lou: That's seven years from now!Tiffany: I'm applying really early admission.Lou: Xander? You're supposed to be with Emma. Why are you here?Hazel: Because he'd rather be with me.Xander: I neversaid that! Did anybody hear me say that?Lou: Emma went to The Spot because you sent her that note telling her to meet you there.Xander: I didn't send her any note.Lou: Uh-oh. This Woodchuck... (Chitters) (Sniffs) ..Smells a rat.Ravi: Oh, that is Jorge. He refuses to shower.Lou: Gee, who would want to send Emma out into the woods? I'm looking at you, Hazel. Right where your soul should be!Violet: Emma's not alone. She's withZuri. That's right, Violet. That mean little girl is gone.Hazel: Why don't you all leave, so Xander and I can play a little nine ball? Rack 'em!Xander: No! There will be no racking! We have to go find Emma and Zuri!Hazel:(Sighs) Oh, okay. Let's use the buddy system. I pick Xander![SCENE_BREAK][ EXT. The Spot ]All: Emma! Zuri!Jorge: Uh-oh. I see something really scary!Tiffany: Is it my mom?Jorge: No. It's a giant footprint.(Rustlingin bushes)Xander: Shh!(Growling)(All screaming)(Both screaming)Lou: (Exhales) Wow, you are lighter than a chicken, and their bones are hollow!(Louder growling)(All screaming)Xander: Ow! Emma!Emma:Xander!Hazel: (Flatly) Yay, we found her.Ravi: I still cannot believe you sent my sisters off into the woods to become Kikiwaka kebabs.Zuri: You sent Emma that note?Emma: (Scoffs) So, first you shoot an arrow at me,then you knock me into the mud, and then you send me off into the woods to die? (Scoffs) I'm starting to think you don't like me.(Growling)Xander:It's coming! Get up the tree!(All shouting)All: Ahh!Hazel: (In asing-song voice) Xander and Hazel sittin' in a tree.Lou: G-A-G-G-I-N-G.Tiffany: No one told me there was gonna be a spelling bee!(Growling)(All screaming)Jorge: (Speaking Spanish) Don't take me now god! I am soclose to puberty!Tiffany: (Speaking mandarin) I should have told my mom to back off!Ravi: (Speaking Hindi) We are doomed!Emma: Ugh, Ravi, we are not doomed!Xander: You understood him?Emma: Ravi panics alot, so I've picked up a little Hindi.(Growling)(All screaming)Emma: Okay, look, everyone needs to calm down. I'm going to get us out of this!Hazel: Why should we listen to you, you boyfriend snatcher?Emma: Becauseeverything you've put me through has taught me I'm tougher than I thought. Now, let's scare this thing off!Lou: Good idea! Hazel, go down and ask it for a date.Hazel: Xandy, are you going to let them talk about melike that?Xander: Yes. I would high five them if I weren't so afraid to let go of this branch.Emma: Okay, we know animals are scared of bright lights...Ravi: Oh! We all have flashlights!(Ravi gasps)Emma: Oh!Ravi: Youall have flashlights!Emma: We also know they hate loud, annoying noises.Zuri: Like Tiffany's violin! Sorry.Lou: And sometimes offensive odors will drive animals off!All: Jorge's farts!Jorge: I'm on it!Emma: Okay, all infavor of attacking this thing, instead of just sitting here waiting to be eaten, say \"Aye!\"All: Aye!(All screaming)Tiffany: (Violin screeching)Jorge: (Loud, extended fart)(Creature yowling)(All coughing)[/i]Jorge: Is itgone?Lou: (Gagging) After that fart, there's nothing alive within 100 miles.Ravi: I cannot focus my eyes!Tiffany: That was superior screeching, Zuri Ross.Zuri: Thanks, Tiff. And your violin never sounded better.Xander:Emma, your plan worked!Lou: Way to be a leader, Woodchuck. I think your mom would be really proud of you.Emma: Thank you, Lou.Lou: Don't you agree, Hazel?Hazel: Maybe. But don't get cocky. Remember, I'mthe head counselor here, so what I say goes. Follow me!Lou: Camp's the other way.Hazel: I knew that!Gladys: Geez, you try to have a little fun by terrorizing some campers, and you get a pinecone to the head.(Grunts) I hate kids![SCENE_BREAK][ EXT. Camp Kikiwaka ]Emma: Okay, I think I've got it. (Chittering rhythmically)Lou: Perfect! (Chittering rhythmically) Aww! My little Woodchuck's all grown up!Emma: You know,my mom was right. I think this is going to be a pretty good summer.Lou: Wait till I teach you how to give a porcupine a French braid. Hurts like heck, but they look so darn adorable!Gladys: Attention, campers! I havebeen informed that there was a Kikiwaka close encounter last night.All: Whoa!Gladys: I haven't had a close encounter since last July 4th at the Moose Lodge. I'm so lonely! Oh!Zuri: That was one unlucky moose.Ravi:We encountered the Kikiwaka! That was us.(All applauding)Gladys: And for the last ding dang time, it is one thing to pee in the lake, but it is completely unacceptable to leave a number two in a canoe!Jorge: What? Thesigns around here are really confusing.Gladys: So instead, we'll be racing inner tubes today. Last person to the lake has to clean the canoe!Xander: \u0000 Here we go \u0000 \u0000 We're leaving the city behind right now \u0000 \u0000 Let'sgather by the campfire light \u0000 \u0000 And sing this song \u0000All: \u0000 Kikiwaka \u0000\u0000 Hanging out with someone new \u0000 \u0000 Then falling out of a camp canoe \u0000 \u0000 What's that smell? It's on your shoe \u0000All: \u0000 Kikiwaka \u0000\u0000 Got as'more in my hair \u0000 \u0000 Mosquitos in our underwear \u0000 \u0000 Shower's broke but we don't care \u0000All: \u0000 Kikiwaka \u0000\u0000 This is our home away from home away from home away from home \u0000 \u0000 But watch your back A bearjust ate my phone \u0000All: \u0000 Kikiwaka, Kikiwaka \u0000 \u0000 Kikiwaka, Kikiwaka \u0000 \u0000 Kikiwaka, Kikiwaka \u0000(All cheering and applauding)Uh, Hazel, three's a crowd.Hazel: Oh, did you hear that, Emma? Get lost.Emma: Youalready tried that last night, remember?Lou: Wow, last time the bonfire was this big, Gladys had dropped her canteen in it.Zuri: That's because I threw in all of Tiffany's flashcards.Tiffany: What?Zuri: I'm going to makesure you have fun this summer, if it's the last thing I ever do.Tiffany: If my mom hears about this, it will be. Although it might be nice to have a little fun for a change. Great!Zuri: Tonight, I'll teach you how to hollowout your mattress to hide stuff. With your book smarts and my street smarts, we're going to rule this camp!Ravi: Oh! Jorge, move back! You are supposed to melt the marshmallow, not your face.Jorge: Hey, comparedto what the aliens did to me, that would be nothing. After brunch, it got ugly.Zuri: Hey, guys, do you think the Kikiwaka's gonna come back tonight?Ravi: Not if he knows Jorge had burritos for dinner.Gladys: Ha! Dopeykids. They'll believe anything.Campers: \u0000 Kikiwaka, Kikiwaka \u0000 \u0000 Kikiwaka, Kikiwaka \u0000 \u0000 Kikiwaka, Kikiwaka \u0000(Growling and snarling)"}
+{"doc_id":"doc_142","qid":"","text":"\"Be Careful What You Wish For\"CASTDawson: James Van Der BeekJoey: Katie HolmesPacey: Joshua JacksonJen: Michelle WilliamsAndie: Meredith MonroeALSO STARRINGGail: Mary-Margaret HumesMitch: John WeselyShippBessie: Nina RepetaAbby: Monica Kenna*Dawson's room - Pacey walks in*Pacey: Dawson, what's up? I came over as soon as I got your message.Dawson: I'm freaking out. *grabs clock*Pacey: Why? What's theproblem? *Dawson tosses the clock to Pacey*Dawson: It's almost midnight.Pacey: Yeah...it's your birthday. In a couple of minutes you're going to be 16. Congratulations, man, this is a major turning point.Dawson:And I am eternally lost as a species on this planet.Pacey: Oh, this is going to be bad...Dawson: I'm about to be 16 in a matter of minutes and I'm still....me. The same whiny, adolescent, big-talking, small-doing loserthat I was a year ago.Pacey: C'mon, Dawson, that's not true.Dawson: It's completely true! I mean, think about it. Every single person that I know is growing up and moving forward in some way. I mean, Joey is busyfinding herself. You've got this whole stable, do-gooder, boyfriend thing. Jen is....not necessarily moving forward but at least she's moving. Even my parents are getting new lives! But me, I'm in the exact same place Iwas one year ago.Pacey: Yeah, but you're turning 16, Dawson. Rejoice. This is a good thing. You're getting older.Dawson: But there doesn't seem to be anything ahead of me. More of the same. I'm stagnet. No wonderJoey dumped me. I mean, the only thing I accomplished last year was realizing my feelings for her and I couldn't even hold on to her. She dumped me. For a gay guy. *laughs* Can we talk about this wholegay-man-straight-woman thing? There's got to be something going on there that we're not seeing.Pacey: You're right, Dawson. It's all part of the evil gay plan to keep the species from repopulating.Dawson: I wouldkeep an eye on Andie if I were you.Pacey: C'mon, Dawson. You need to stop looking to movies for all the answers to life's questions. Okay? What you need to do is figure out what it is in life that you want and make ithappen! Okay? Be definitive!Dawson: You're right. I need--I need definitive answers. Joey's the answer. I had her, I lost her, and now I'm going to get her back. How's that for definitive? *Dawson walks out hisbedroom door and shuts it leaving Pacey in the room. Pacey sighs.* *Cut to Mitch cooking pancakes in the Leery house and Gail walks into the kitchen and is surprised to see him.*Gail: Mitch?Mitch: Hey! You remembermy tradition of cooking Dawson breakfast on his birthday, right?Gail: Well, of course, but I just thought that-- *Dawson walks in*Dawson: Dad?Mitch: You didn't think that I would forget, did you? The usual for ourfavorite customer.Dawson: Thank you. It's nice to have a bit of tradition this morning.Mitch: Um, speaking of which, I have to talk to your mom in private for a second. About birthday stuff, strictly confidential. *Theywalk out onto the porch.*Mitch: Look, uh, I know we haven't discussed it...in the events of the past year, but we usually give joint birthday presents and I had an idea...Gail: You know, you're a little late for this, Mitch,I already bought Dawson a present. I'm giving Dawson his first car tonight. An Explorer.Mitch: Well, that's a big decision, Gail. Don't you think it's one we could of made together? *Cut to Dawson eating his breakfastlooking out towards the door which was left open slightly and he can see his parents arguing. Gail says something about how she's paying everything, the bills, etc. Cut back out on the porch.*Mitch: Look, I know that Ishould contribute more financially, but I put the restaurant plans on the back burner and I have looked into substituting at the high school. *Cut back to Dawson listening to them arguing. Cut to the Icehouse. Joey'ssitting on the counter and Pacey is sitting on a stool next to her.*Joey: Let's go over this one more time.Pacey: Okay. I invite Dawson out to dinner with Andie and me tonight. I'll keep him occupied until about 9 o'clock, and which point, we'll make up some lame ass excuse about how we have to call it an early night. Then, we'll drive back to his house where...Joey: I'll have set up the most fabulous surprise party ever. Ihope.Pacey: I'm sure it'll be fantastic. Testimonial to true friendship. The party to end all parties. From now on, the Leery house is going to be known as the Delta house of Capeside.Joey: Thanks. I don't know why I'mso nervous. I've never organized a party before. *Jack walks in. Joey doesn't say anything to him. He notices and turns back around and leaves.*Pacey: Listen, Joey, not to pry or anything, how are you doing? I mean,now that you've had time to process.Joey: God. Everyone keeps asking me that in these solemn tones. Like I've just come down with some terminal disease. I mean, Jack's the one who's going through something. Imean, yeah, I admit, at first it was obviously a shock but I mean, I'm fine. Really. It's just... *Joey makes facial languages that convey that it's nothing. Cut to Jack, outside of the Icehouse by all the tables. Abby andtwo friends walk up.*Abby: Jaaccckkk, are you serving lunch yet?Jack: Um, yeah, in about 10 minutes. Hey, here's some menus you can look at in the meantime.Abby: Great, we're completely starving.Kelly: Aren't youthat guy?Jack: What?Kelly: The first guy to ever come out of Capeside? He was the one who wrote the poem.Jaycee: Oh my God! You're the gay guy!Abby: In the flesh.Jack: *uncomfortably* Yeah..Abby: Jaycee, Kelly,this is Jack McPhee. Capeside's no longer ambiguous resident.Kelly: You know, I think it's so great that you came out and you're only 16. You know, I totally watched Ellen through that whole tulmultuous year and, well,she didn't come out until she was, like, 40.Jack: Um, can I get you guys something to drink while you're looking over those menus?Jaycee: You know what I just realized? You're the first actual gay person that I've evermet.Abby: It is such a total waste because I mean, you're a total babe.Jack: You know, I'd take that as a compliment if it wasn't coming from Satan. *Jack walks off and Abby follows him*Abby: Jack, you have got meall wrong. I am not even one of his helpers.Jack: Well, then, I guess I should compliment you on that clever disguise you've been wearing for the last couple of months.Abby: We got started off on the wrong foot. True,I may have been flawed in the past but, I mean, sometimes people can surprise you. You should know a little bit about that yourself. *Cut to Andie in therapy.*Therapist: It sounds like you've had a lot on yourshoulders for a 16-year-old girl.Andie: Yeah, well, after Tim died and Mom, you know, it seemed like there needed to be someone to be the glue to hold the family together and I guess I was the most-likelycandidate.Therapist: Well, I'm not surprised that you started to feel a bit overwhelmed.Andie: Yeah, um, I felt like I was juggling all these balls in the air, you know? And if I dropped one, they'd all come crashing down,and, um, then I'd start thinking about everything all at once and I'd get these panic attacks when my heart was racing and I couldn't breathe...Therapist: Andie, Andie. Tell me something. Forget about saving everyoneand even forget about your family for a minute. What is it that you want? What do you wish for? For yourself?Andie: I wish I could get rid of all my worries. You know? And be one of those people who just sails rightthrough life. You know? And they do what they want to do, whatever makes them happy and they don't care what other people think about them.Therapist: Well, then, why couldn't you? I'm going to give you aprescription, Andie, but not for a drug. I prescribe for you one night of imperfection. *Cut to the Icehouse. Bessie hands Joey something.*Bessie: Here. You can get out of here early. I'm sure you want to get changedbefore going to Dawson's.Joey: Believe me, Bess. It's not going to take me very long to get dressed. It's not like I have to get all gussied up for anybody seeing as though I've turned Jack off from womencompletely.Bessie: Joey, you know that's not true.Joey: I know. It's not true. I mean, intellectually, I know that it has nothing to do with me. It's--Bessie? What am I supposed to do now?Bessie: You paint. Youconcentrate on your art and yourself. I mean, you broke up with Dawson because you wanted to find yourself...and then you went straight into a relationship with Jack. Now's your chance to do what you set out to do. Imean, look. Any girl would be acting the way you do right now under the circumstances. I mean, I think you're handling it with an amazing level of maturity. *They hug. Dawson enters.*Dawson: Joey, hey. I need totalk to you.Joey: Sure... *Joey gets her coat and heads out of the Icehouse with him..*Joey: What's up? *Cut to Ty putting ribbon on Dawson's present.*Jen: Well, looks like you can add arts and crafts to your list oftalents. *Ty laughs. Jen walks behind him by the sink and turns around and looks at him.*Ty: I can feel that.Jen: What?Ty: You. Watching me. I mean, you think you're crafty, but I know. I can feel your eyes onme.Jen: You can not.Ty: Sometimes. Can't you?Jen: Nah, I don't know. I've never really tried.Ty: Close your eyes. *Jen closes her eyes and Ty looks at her.*Ty: There. Can you feel me looking?Jen: No. Not yet. *Tyleans in closer.*Ty: Now?Jen: No... *They kiss. They break apart and laugh.*Jen: I was peeking.Ty: Uh huh... *They start kissing again, Ty breaks away.*Ty: Uh, morning? Kitchen...Grams. *Jen looks at him confused,kind of suspicious. Cut to Dawson and Joey walking along a pier.*Joey: Oh, it's freezing out. I just wish it would snow already.Dawson: I know.Joey: Hey, remember what we used to do when we were kids?Dawson:What? Make a wish on the first snowfall?Joey: Uh huh. And it always came true. *They stop at a roasted peanut vendor*Dawson: Two.Joey: Well, except for the time we wished for a horse, a million dollars, and atrampoline all in the same year....I was greedy, what can I say? *They laugh. They pay for their peanuts.*Joey: Thanks.Vendor: Enjoy it. *They walk off.*Dawson: Snow is just so...hopeful, you know?Joey: Yeah. Hopeis good. So...what are you hoping for?Dawson: I'm hoping that we can get back to the way we were.Joey: Me too. And I've been trying to get our friendship back on track--Dawson: I'm not talking about just ourfriendship, Joey. Look, I can't deny the truth which is plainly and simply, I want more. I want you back.Joey: (shaking her head) Dawson...Dawson: I was so confused last night but then I realized that the only thingthat makes sense in my life is you and I know that it's still there between us. I felt it during the whole Jack saga and I know that you feel it, too, because we're soulmates. Joey, you and I were meant to be. Period. Theend. Cue happy ending music.Joey: No...look, Dawson. Do you remember why we broke up in the first place? It wasn't about you at all and it certainly wasn't about Jack, it was about me. How I had things I needed tofigure out.Dawson: Things that you were willing to figure out with Jack but not with me.Joey: No, Dawson! We can't talk about this, you know why.Dawson: Joey! If you and me aren't meant to be together than I don'tknow anything. I wouldn't count on snow today. *He walks off. Cut to Joey, later that night, at the Leery house, stirring punch. Bessie walks in the kitchen.*Joey: I can't believe I'm throwing a surprise party forsomeone who hates me right now.Bessie: Just relax. I'm sure everything will work itself out. I mean, Dawson's out right now with Pacey, enjoying his birthday, by the time he gets here, he'll probably be in a greatmood. *Cut to Dawson staring gloomily out of the window of the patrol car Pacey's driving. Andie's in the back seat.*Andie: I have always wanted to sit in the backseat of a cop car. Hey! I know! Let's turn on thesirens!Pacey: I don't think that's the best idea, Sweetie.Andie: (making siren noises) Whoo-whoo-whoo-whoo-whoo-whoo! Book 'em, Dann-o! So this is what it's like when they cart you off to prison, huh?Dawson:Depends. There's different types. There's the state-regulated ones and then the ones that you're trapped in when your life is going nowhere and everyone else is moving forward.Pacey: Took a happiness pill thismorning, did we, Dawson?Dawson: No, just a dose of bleak reality. No offense, but have you noticed my only birthday plans are to play third wheel to my friend and his girlfriend?Pacey: Okay, listen, buddy, on anyother day of the year, I'd be more than happy to talk to you about this, but since today's your birthday, why don't we try to concentrate on the positives, alright?Andie: HEY! STOP THE CAR! *Pacey slams on thebrakes.*Pacey: What? What'd we hit?Andie: Nothing. Just make a U-turn I saw a really cool place back there.Pacey: Uh, Andie? Could we please keep this impulsive streak that you're trying to indulge tonight fromkilling everybody in this car? Please, honey?Andie: Um, doctor's orders! 'Member, Pacey? You promised I could cut loose tonight.Pacey: Yes...I did, didn't I? Okay. *Pacey backs the car into a parking lot and makes aU-turn. Cut to Jack outside of the Leery house fixing his new front-part-slicked-up-by-gel 'do. He enters the party and Abby and her friends are standing next to the door.*Kelly: Oh my God! Jack...youlook...amazing.Abby: Wow. It's like a transformation from John-boy to John-John, all in a sharp, dippity-do.Jack: It's no big deal. I put a little gel in my hair. That's pretty much the extent of it.Abby: I guess when youget gay, you get style. I wish I would have nabbed you one sexual preference ago. *Jack just looks at her funny and walks off. Cut to Jen taking Dawson's presents into a room. Ty walks in behind her.*Jen: Hello,Ty.Ty: Excellent, you're learning.Jen: Uh huh. *They kiss. Ty pulls away.*Jen: Okay, explanation.Ty: What?Jen: First this morning and now? That's two kisses that you've bailed out on.Ty: Okay, it's just that we've beengetting closer, you know?Jen: I know. It's called dating.Ty: I realize that but when does it stop?Jen: You're kidding, right?Ty: Jen...you...you turn me on and the closer we get the more you turn me on.Jen: Is that sucha bad thing?Ty: All I'm saying is that it's possible that things could get out of hand.Jen: Really? How out of hand?Ty: I'm serious.Jen: We've barely made out and you're already worried about things going out of hand?Sweet...in a very 1956 sort-of way.Ty: Yeah? Well, how 1956 is this? *They start kissing again. Cut to Andie, Dawson, and Pacey at a club. Andie slips off her coat revealing a red spaghetti-strap dress. Paceynotices.*Pacey: Wo! Who are you and what have you done with my girlfriend?Andie: She's been here all along. Just trapped beneath the bondage of Gap clothing and a good-girl complex.Pacey: Well, the good-girlcomplex was part of your charm.Andie: Part of my charm. Not all of it. Remember we're having fun? Besides, (missed name of therapist) said I need to let my 'it' out to breathe some fresh air for an evening.Dawson:What exactly are you letting out for an evening?Andie: It's what (therapist) calls your 'it'. It's the part of you that holds your purest impulses and desires. It doesn't care what anyone thinks. It just wants what itwants.Dawson: And what do you think it wants?Andie: Well, I think it's about letting go of all your pre-conceived notions of how you're supposed to talk or how you're supposed to behave and just letting loose foronce.Dawson: I could certainly learn something about letting loose. I mean, look at me. I'm sitting in a bar and I'm drinking a straight Coke. *Pacey raises an eyebrow.*Andie: We could do it together if you want. Imean, it might be good for both of us to get a little...wild tonight.Pacey: Try not to get to wild while I'm away at the washroom, alright? *Pacey walks off and the waitress comes to their table.*Waitress: Can I get youguys anything else?Andie: Yeah, um, I'll have another Coke and could you tell the bartender to put a little more rum in it this time?Dawson: Yeah, me too, I could barely taste the rum in mine.Waitress: Oh, sorry aboutthat! I'll have him double up on the shots the next round to make up for it.Dawson: Thank you. *She walks off.*Andie: (excited) Ahhh! I've never drank before!!Dawson: Never. *Andie excitedly turns back and watchesthe stage. Cut to Jack out on the porch. Abby comes out.*Abby: So..how does it feel to be the one who set this little (missed word) on it's heels?Jack: Why do you keep talking to me? I don't like you, Abby.Abby: Well,that's because no one likes me. I'm an outcast. Welcome to the club. *Jack laughs and walks back towards the door to go inside.*Abby: This whole thing is just ridiculous. There's no such thing as gay anyway. *Jackstops.*Abby: It's just the name people came up with to persecute the normal inclination to go both ways.Jack: What do you--What do you mean?Abby: Well, we're all bisexual, don't you think? We're all just sexualanimals under God. This pure atomical society would think our natural impulses are something to be ashamed of when it's really those kind-of attitudes that are the embarrassment.[SCENE_BREAK]*Cut to Pacey,Andie, and Dawson at the bar, Andie and Dawson are obviously drunk.*Waitress: How are we doing?Dawson: I think we're ready for another round.Andie: Sounds good to me!Waitress: Okay, two more coming right up.*She walks off.*Pacey: How many Cokes are you guys going to swill tonight? *Dawson and Andie both shrug drunkedly.*Employee: Well, alright, as you can probably tell, it's open mike night tonight so who wants tocome up here and sing the blues for us?Dawson: I know a little something about the blues.Andie: Alright! C'mon, then! Let's go!Pacey: Uhhhh...I don't think that's the best idea, don't you, sweetheart?Andie: Sure it is!*Dawson and Andie walk up on stage.*Pacey: Ohh boy... *On the stage.*Dawson: Alright, boys, the blues! *The band starts playing the blues and Andie starts dancing and Dawson adjusts the mike and laughs. Then,he starts singing.*Dawson: (singing) My name is Dawson Leery. I'm feeling kind of weary. Today is my birthday. You all look a little blurry. The girl I cared for, Left me and ran away, Straight into the arms of, A GUYTHAT TURNED OUT TO BE GAY! I got the blues! Yeah! Today I woke up feeling like I was born to lose! Yeaaah I got the bluuuuueeesss. Somedays you're born to lose! (stops singing) Here's my friend Andie, she's goingto sing you a song because she's got the blues!!!!Andie: (singing) My name is Andie. And my brother's the one that's gay. My other brother died. And my daddy ran away! But I'm still Andie. And my boyfriend makesme randy His name is Pacey, AND MY MOM'S GONE COMPLETELY CRAZY!!!! Yeaaaaaaaaaaaah I've got the bluesssssssss!Dawson: Sing it sister!Andie: (singing) Sometimes you swear you were born toloooooosssssssseeeeeeee!Dawson: (singing) Oh, we got the bluesss! Now it's time to put on my dancing shoes! Whoooooo! Yeaaaaaaaaahh! Alright! Oh, I've been restless, hopeless and confused, This girl that I toldyou about, She's been on the move, She's at my surrrrprise party where everyone I know is at right now, And when I show up late they're GONNA HAVE A COW! Yeaaaaaaaaahhhhhh I got thebluuuuuuuueeeeeeeesssss! I swear sometimes we were born to lose!Andie: No, brother man, WE got the blues.Andie & Dawson: (singing) We got the bluuueeeessss!Dawson: (singing) Sometimes you're, you were bornto lose! Ohhhhh yeah. *Everybody claps. Andie and Dawson walk back to their table. Pacey gets up and gets Andie's coat.*Pacey: Well, what do you say we end this evening on a high note and get off to that not-sosurprise party.Dawson: I think we're having a dirty, no-good time right here.Andie: Hear, hear!!! *Pacey sits back down.*Pacey: What's gotten into you two tonight?Andie: Well, it's his birthday!Dawson: That'sright!Andie: So what do you want to do next? *Pacey takes a drink of Andie's Coke.*Pacey: So you guys have been drinking!Dawson: Excuse me, waitress! Make it a double this time with just a splash of Coke. Youknow what, I think a splash is too much, make it just a spla. No shhhhhh at all.Andie: No sh.Waitress: Before I bring you anything else the bartender asked me to check your IDs.Andie: *laughs* Check our IDs?! Youshould of done that, like, 5 drinks ago because you know what? We are 16 years old!! *Dawson laughs and puts his finger to his lips \"shush\"ing Andie.*Andie: No, we are! And you know what? You, Little Missy, havejust broken the law! You could lose your job over this! Not only could you lose your job but you guys could lose your liquor license! And, you know what, this is my boyfriend and his father is the town sheriff and howwould--Pacey: No, no. *He taps Dawson on the shoulder, who's been laughing this whole time, to get up.*Pacey: Hey, she's kidding. It's a joke. It's a joke. *Pacey's dragging them out of the bar.*Andie: No, I'm not! I"}
+{"doc_id":"doc_143","qid":"","text":"At the store(Marco is playing online poker while his dad installs an alarm system.)Spinner: (To a customer) Hey and receipt's in the bag. Sale's on all week. Spread the word.Mr. Del Rossi: 1637. You have 20 seconds topunch it in. You got that Marco?Marco: Huh? Yeah. Yeah I got that pop. Thanks.Spinner: Getting robbed once was enough, you know? And the new signage looks great Mr. D.R.Mr. Del Rossi: Yeah.Spinner: Cash only,right?Mr. Del Rossi: Hey you can't trust banks. The service fees, low interest. Talk about getting robbed. Hey uh me and Uncle Louie are gonna play the ponies. You boys want to come when you close up?Spinner:Yeah!Marco: No, not tonight.Mr. Del Rossi: You know sometimes you worry me Marco. This is life. You've got to live it.(He leaves and Spinner walks over to Marco.)Spinner: Dude, come on. You've been JohnnyLong-Face all week.Marco: Oh so it's been a week since Dylan left. 'Cause you know with constant phone tag and no e-mails, it's like poof! My boyfriend just disappeared off the face of the earth.Spinner: Last I heard,Sweden was still on earth.Marco: For the last time Spinner, Switzerland!Spinner: Whatever. Look Dylan's got practice every day, road trips with the team, workouts with the team-Marco: Long hot showers with theteam.Spinner: Dude you have an actively gay imagination.Marco: Spin do you have any idea how hard it is to go from always having somebody there to being totally alone?Spinner: Look when Dylan was here, nobodyever saw you. You two just played house 24/7. Don't hermit out with your laptop now that he's gone.(Marco wins his online game.)Marco: Hah! Whatever buddy. I just won 200 bucks! Are you finished with yourlecture?At Marco, Paige and Ellie'sMarco: (On the phone) Hey Dylan. It's in the middle of the night your time. Calling you, so call me back. Love you. Bye.(Paige walks in.)Paige: Hey Marco, Spin. How's Fortress SquatchDesigns?Marco: The alarm's armed and ready. What's with the hush-hush?Paige: Well when Ellie gave me the green light to date her ex, I'd say she was just a touch colour-blind.Ellie: I heard that!Paige: If Jessie calls,I'll be hiding in my room.Spinner: Oh fun times at the Del Rossi, Michalchuck, Nash, Tenako, Uchi abode.Marco: Spin this is driving me nuts.Spinner: Dude come on. You're coopered up inside. It's cold, wet, winter yuckout there. You need a change of scenery.Marco: You know what, bud? You're right. You're right! What's the opposite of cold, wet, winter yuck?Spinner: Hot, dry, summer yum?Marco: Exactly. So I'm thinking va-cay!Me, you, Daytona Beach.Spinner: Daytona?Marco: Yeah!Spinner: I would have expected Sweden! Switzerland, to visit your swister-mister.Marco: So what? It's a long distance relationship Spin, emphasis on distance.He's having fun. I just, I want to have mine.Spinner: Spring break, eh?Marco: Yeah!Spinner: Hotties on top of hotties. That my friend is yum.(Spinner's excitement fades.)Marco: What?Spinner: Dude every cent I hadwent into the store.Marco: No, no don't worry. I have a plan.(They're shown playing online poker.)Spinner: Wait this is your plan? Playing online poker?Marco: You got a better one? Oh yes. Yes she folded! I win again.Yes!Ellie: I'm reading Chekhov over here.Marco: Sorry Ellie! Hey man, guys let's hit a club. Come on, it's on me.Spinner: Wait, what about our trip money?Marco: I'll win more. It's what I do!At a clubMarco: Oh thanksguys for hanging out tonight. I needed this.Jimmy: Ah no prob, man. Me and Spin can study for our test next week.Jay: Yo gangsta's. What's the haps?Spinner: Just celebrating Marco's big online poker score.Jay: Youmust be quite the shark, Del Rossi.Marco: Well I used to play with my boyfriend.Jay: Yes you're gay. Super. If you want to make some real coin, me and the guys at work have a little something going on.Marco: Definea little something.Jay: Texas Holdem. $20 gets you in the door, $100 gets you in the game. At Friendship ClubDarcy: Our charity turkey dinner gave over 100 people a hot, tasty meal.Kim: And we're organizing anotherevent for the end of semester dance. So suggestions, anyone?Nackman: Um used glasses drive?Peter: Great idea, Nackman. Darcy, my mom's asking for you. It's actually kind of important.Darcy: I better not keep theboss lady waiting.(Kim rolls her eyes as Darcy leaves.)Peter: I lied.Darcy: Oh really?Peter: Screw my mom's 'no girlfriend' policy. I've been thinking about you all week.Darcy: Someone might see us.(He gives her anecklace with a key on it.)Peter: It's the key to my heart. Don't say where you got it. It can be our secret.Darcy: It's adorable, Peter. Thanks.(She kisses him on the cheek.)At Marco, Paige and Ellie'sEllie: Lots morecloset space in my room.Paige: Ellie I know you had your eye on Dylan's room, but he gave it to me.Ellie: Well we should have a had a vote.Paige: Not a big fan of democracy hon. Marco, tell her you don't mind if I takeDylan's room.Ellie: Don't let 'Princess Always Gets Her Way' bully you...or manipulate you! She has a way with men.Paige: You and Jesse broke up.Ellie: Yeah just! Marco, tell her...Marco: Shut up! I'm not going toreferee your catfight about the room, or Jesse, or anything! Just work it out yourselves.(They leave and Marco closes his laptop.)Marco: Get me out of here.In media immersionMr. Simpson: Okay Monday minds. Lastweek we started talking about online community moderation. Any thoughts? Is it good, bad?Peter: It's censorship.Kim: It's about keeping the internet safe for everybody.Peter: Yeah well who gets to decide what's safeand what's not, Kim? You?Darcy: I'm not surprised you'd say that. You only care about yourself.(Peter looks shocked, but Darcy gives him a wink.)Peter: Yeah well you only care about what people think aboutyou.Darcy: At least I have a conscience.Peter: At least I can think for myself. Submit to peer pressure much?Mr. Simpson: Guys.Darcy: Submit to ugliness much?Peter: Can you tell through all that eye fat?Darcy: Eyefat? That is so pathetic.Mr. Simpson: No seriously enough. Thank you.OutsideMarco: Here. Blow our poker dreams on this.Spinner: And if we lose?Marco: We won't. I know what I'm doing.Spinner: Dude it's not moneyin the bank. Jay's friends are poker ninjas.Marco: Yeah exactly. That's what makes it fun. High risk, high reward.Spinner: Coming from you? That's bonkersMarco: Spin, you and Jimmy opened up a store, right? Elliehooked up with her boss. Even flame-out Paige is starting over and Dylan...Dylan is off on his European hockey adventure. What have I done?Spinner: Kept your marks up.Marco: Oh wow! Whoop-de-do. I'm mashedpotatoes, man. I'm boring and I'm bored and I just, I need a rush. Come on. At DegrassiDarcy: How'd you get in here?Peter: Tell you a secret? It's never locked.(They start kissing.)Peter: Oh next time we're fakefighting, can you tone down the 'you're ugly' stuff?Darcy: You said I have eye fat.Peter: It was all I could think of. Your eyes are beautiful.Darcy: And you're not ugly, stupid.Janitor: Peter Stone! I wonder if your momwould like to hear about this.At the garageSpinner: Fold.Jay: Ah me too. Can't lose what you don't put in, right?Marco: Yeah can't win much, either. Raise 100.Jake: Going Vegas on me, boss? Alright let's doubleit.Marco: Impressive. I'm in.(They keep playing.)Marco: I'm all in. You with me?Jay: Well if you can't spot the sucker, you are the sucker.Jake: The question is what's his tell.Marco: When you figure it out, you let meknow.Jake: It's all yours, boss.Spinner: Yes! Money for nothing.Jake: Hey this is how it works. We get a chance to win it back. Tomorrow.Marco: Alright, if you want to keep giving me your money, I'm gonna gladly keeptaking it.Spinner: Daytona![SCENE_BREAK]At a clubPaige: Oh uh hello. Marco left a message. Some urgent need to rage?Ellie: Oh there's been raging.Marco: Hey, hey! Fun patrol's here. No cat-fighting tonight, ladies.Promise?Paige: Yeah fine. What is up?Marco: I am, babe. Tonight I am so wired.Spinner: He pretty well bankrupted these hardcore poker dudes.Marco: I had them eating out of my hands.Paige: Look at you, Mr. HighRoller.Marco: Next stop: The Matador. Come on!Ellie: Woah, the after hours club? I can't. I have an essay.Marco: Ellie! Ellie you can't find love in an essay. You got to live!Spinner: And I've got a test. Come on. Put itaway.Marco: Spin we're rich. We're celebrating. I'm happy. What's the problem here?Spinner: You dude. You're being an ass.Marco: Spin this is the first time I've had fun in ages and it's all thanks to my triple P, perfectpoker partner. Come on man, let's just roll with this. Let's see how much money we can make. Please! At the poker gameSpinner: Fold again. Surprise.Jay: Raise it 50. Shark boy?Marco: Funny thing about poker. Youknow nobody remembers how you built your fortune, just how you lost it.Jake: We're making memories tonight, right boss? Call.Jay: I think I'm gonna go in another 50. Marco?Marco: I'm all in.Spinner: Dude that'severything.Jake: Yeah not this time bluff-maestro. I'll see you. Let's have 'em.Jay: You are toast shark boy! Yes!Marco: Okay it's fine. It's fine. I um...I just, I need a loan to buy back in and I'll win it back.Jake: Yeah,how much?Marco: Um...Tony: What the hell is going on?Jay: Hey Tony you want in?Tony: Don't get smart. You guys want to keep your jobs, this ends now. Everybody out.(Marco and Spinner are walkingoutside.)Marco: Look everybody goes bust, okay? My luck will turn. Just trust me.Spinner: Trust you? Marco you just lost $1100. Kiss it goodbye. I did.Marco: What? What about our trip, man? The hotties?Spinner:Dude it's over. Go home, watch TV with your dad. Maybe he can talk some sense into you. You just got to stop.At the Del Rossi houseMarco: Hey pop.Mr. Del Rossi: Hey son. Can't stay away from your mom's cooking,eh?Marco: How'd you and Uncle Louie do at the track?Mr. Del Rossi: We had fun.Marco: Did you guys win any money?Mr. Del Rossi: We had fun, Marco. Why?Marco: No, I'm just making conversation.Mr. Del Rossi:Yeah? Well you know what goes good with that? Some of your mom's homemade cannelloni. She put some in the freezer before she went to bingo. No sit.(Marco sees his dad's wallet and takes out all the cash.)AtDegrassiDarcy's IM: How sneaky can you be?(Peter starts typing back when Kim walks over to Darcy.)Kim: E-mailing your boyfriend?Darcy: Very funny Kim.Kim: I'm just kidding. All set to work on our drama projectafter school?Darcy: Oh. Um I have a grandma's birthday thing. Can we reschedule?Kim: Fine. That's the last time I cancel majorettes for you.In the parkPeter: Anyone see you?Darcy: No. Not that this is the perfecthiding place. How sneaky did you have to be?(They hug.)Peter: Darce I'm sorry it has to be like this...sneaking around, lying.Darcy: What we're doing isn't really bad. It's kind of fun. You're fun.Peter: So are you. Somuch fun.(Kim walks by with her dog and sees them kissing.)Kim: Darcy?!Darcy: Kim?Kim: Wish your grandma 'happy birthday' for me.(She walks away angry.)Darcy: Sugar...At the store, during the poker gameJake:If I win this hand, I'll buy everyone a t-shirt.Jay: I must say Mr. Del Rossi, you have some nice digs here, no girlfriends, no grease monkey bosses. This could be a regular gig, huh?Marco: Yeah right. If anybody findsout we're using the store, I'm dead. Call.Jay: Oh!Marco: Raise a hundred.Jake: There's no way you got the straight flush, bluff-maestro.Jay: Well beautiful thing is, there's no such thing as a locked hand.Marco: SoJake, you in or you out?Jake: I'm in, boss.Police officer: What's going on? We got a break and enter call.Marco: No, no, no, no. There must be some mistake. I work here.(The cop starts arresting Marco.)Marco: No justlet me finish this hand.Police officer: Game's over, fellas.Marco: What? Are you kidding me? Don't you guys have some kind of murder you could be solving?Police officer: You're under arrest for trespassing.AtPeter's(Darcy is at his window.)Peter: What are you doing?Darcy: Maybe if you answered your phone or returned my messages.Peter: Kim tattled to my mom!Darcy: Kim should mind her own beeswax. There's nothingwrong with us being together.Peter: Yeah well we're not going to be together. My parents are talking about sending me to boarding school.Darcy: What?! She can't.Peter: She also said that if you know what's good foryou, you'd keep your distance.Darcy: Your mom can't keep us apart, Peter. Do you believe that love conquers all?Peter: I don't think it's gonna be enough. There's always something in our way.Darcy: I'll be at oursecret place tomorrow. Prove to me that you're not the type to give up.At the storeMarco: Spinner! Spinner thank god. Tell her, tell her that I-Spinner: What is going on here, Marco?Marco: Dude I pressed the alarmcode and it didn't even go off.Spinner: It's a silent alarm, idiot.Police officer: Is this a friend of yours?Spinner: He's a part-time employee.Police officer: With permission to be here?Spinner: No.Police officer: I'm gonnahave to take him in. Come on. At Degrassi(Darcy is about to leave when Peter walks in.)Peter: If they're sending me away, I have nothing to lose except you.Darcy: Peter you've got me.(They kiss.)At Marco, Paige andEllie'sMr. Del Rossi: Ellie let me in. Uncle Louie talked to his cop buddy at 54. You had trouble at the store?Marco: Yeah I was hoping you wouldn't find out about that.Mr. Del Rossi: Yeah well Uncle Louie mentioned apoker game.Marco: The police confiscated the money so I have a bunch of mechanics for enemies now, but Spinner dropped the trespassing charges. It's fine.Mr. Del Rossi: I guess you're lucky. So do you knowanything about the $600 I'm missing?Marco: Uh...I was in the hole dad.Mr. Del Rossi: Marco! How could you?Marco: I needed it! Come on. You know how it is. You gamble every weekend.Mr. Del Rossi: Marco you stolefrom family. Are you in trouble or something, Marco? Is there something you're not telling me?Marco: No! It's Dylan, dad.Mr. Del Rossi: Well how is Dylan the problem, Marco?Marco: I feel empty without him dad. I'mlost. He's my boyfriend.Mr. Del Rossi: You think I'm stupid?Marco: No, of course not.Mr. Del Rossi: You have used your friends and your family because playing cards was more important. No matter what Dylan is toyou, he is not a part of this and you know that.Marco: I'm done. I'm done with it, okay? I promise. I understand if you hate me for it.Mr. Del Rossi: Marco, you're my son. I'm gonna watch you. Just go to school and ifyou have any honour, you'll come and see me at the shop to work off what you stole. People leave Marco. You have to live your own life."}
+{"doc_id":"doc_144","qid":"","text":"Andy: Good morning, Pam.Pam: Oh, welcome back, Andy.Andy: Drew. I'm Drew now.Pam: Oh. Drew. Sorry.Andy: Apology not... accepted. Because it wasn't even necessary in the first place.[laughs][SCENE_BREAK]Andy: Several weeks ago, Andy Bernard had an incident. [cut to shot of Andy punching a hole in the wall] But after five weeks in Anger Management, I'm back. And I've got a new attitude. Anda new name. And... a bunch of new techniques for dealing with the grumpies.[SCENE_BREAK]Andy: Mornin' Jim.Jim: Hey, Andy. How are you, man?Andy: Good. Drew.Jim: What's that?Andy: Dr--- You can call meDrew.Jim: No, I'm not gonna call you that.Andy: Cool. I can't control what you do. I can only control what I do.Jim: Andy.Andy: Drew. [walks to Dwight] Dwight. How's it goin' man?[SCENE_BREAK]Dwight: Yes, I havedecided to shun Andy Bernard for the next three years. Which I'm looking forward to. It's an Amish technique. It's like slapping someone with silence. I was shunned from the age of four until my sixth birthday... for notsaving the excess oil from a can of tuna.[SCENE_BREAK]Dwight: Jim, could you please inform Andy Bernard that he is being shunned.Jim: Andy, Dwight says welcome back, and he could use a hug.Dwight: Ok, tell himthat's not true.Jim: Dwight says that he actually doesn't know one single fact about bear attacks.Andy: You guys...Dwight: Ok, no. Jim, tell him that bears can climb faster than they can run. Jim! Tell him!Jim:[half-heartedly] Andy! Nah, that's too far.Dwight: Damn you.[SCENE_BREAK]Michael: Today is Safety Training Day. Toby is leading ours upstairs. Yeauck. But, I am giving everyone a little bit of a treat. We are going tolisten in on Darryl's presentation to the warehouse. And if I know Darryl, it gonna be zoppity.[SCENE_BREAK]Darryl: Now, this is the forklift. You need--- [Michael rattles it] You need a license to operate this machine.That means the upstairs office workers can't drive it. ... Quiz! Mike.Michael: Hmm.Darryl: Should you drive the forklift?Michael: I can, and I have.Darryl: No! No no no no no! I said should you. You should not drive it.You should not drive the forklift, you understand?Lonny: You're not allowed to drive the forklift.Darryl: It's not safe, you don't have a license.Michael: Guys, I'm not the only one who's driven the forklift. [points] Pudgehas driven the forklift.Madge: Madge.Michael: I thought your name was Pudge?Madge: No, it's always been Madge.Michael: Okay. Um, her.Darryl: Her. Yes, \"her\" is qualified to work a dangerous machine. You are not.Okay?Michael: Ah, fine.Darryl: Do you understand that?Michael: Yeeesh.[SCENE_BREAK]Darryl: We do safety training every year, or after an accident. ... We've never made it a full year. This particular time, I wasreaching for a supply box on the top shelf, when one office worker, who shall remain nameless, kicked the ladder out from under me and yelled...[SCENE_BREAK]Michael: [barely keeping his composure] \"Hey Darryl,how's it hangin'?!\" [laughs][SCENE_BREAK]Darryl: And I fell and busted my ankle. I'm legitimately scared for my workers.[SCENE_BREAK]Darryl: The baler can flatten a car engine. It can cut off your arm and crushyour entire body without skipping a beat.Dwight: Yeah!Andy: It's on!Darryl: How many people a year do you think get their arms cut off in a baler?Michael: Bail'er? I hardly know her.Lonny: Dammit, Michael. Payattention, man.Darryl: Anybody wanna take a guess? Anybody?Kevin: Five bucks says it's over 50.Jim: You really wanna bet?Darryl: Anybody?Kevin: Ever since March Madness ended, I am so bored.Guy: Howmany?Jim: Ok, you're on.Darryl: Ten people, Michael. Ten people. Would you like to be one of them?Kevin: [mouths] Damn...Darryl: [in background] You have to be alert, and calm. And always careful...Jim: No, don'tworry about it. We'll just got double or nothin'.Kevin: On what?Jim: I don't know, we'll figure somethin' out.Kevin: Nice.Oscar: What are you guys talkin' about?Darryl: These are very dangerous machines down here,and the upstairs workers, Michael, should not go anywhere near them.Michael: Yes, yes. But it wouldn't be the worst thing in the world... if somebody...Darry: It would be the worst thing in the world! It would! Verymuch so.Lonny: What the hell is wrong with this man?Michael: It's a big red trash compactor!Lonny: What are you---Darryl: It's not a trash compactor! It's a baler!Lonny: Don't disrespect the baler!Michael: Okay, okay!I got it. I got it. ... Only on the rarest of occasions...Darryl: No do not touch it!Michael: ...would I go near---Darryl: There is no occasion for you to go near this stuff, okay?[SCENE_BREAK]Michael: Toby now has thefloor... and he is going to try not to screw this up, like everything else in his life. Let me rephrase that. I believe that you can do safety training and make it sound just as good as Darryl. Here we go!Toby: Ok, um, onething that you're gonna want to look out for is carpal tunnel syndrome. It's recommended that you take a ten minute break from typing every hour. For your circulation, you're gonna want to get up out of your chairsand uh, and move around about ten minutes every hour.Michael: Yes, good. Fine. Like stretching and...Toby: Um, yeah. You're computer screen can be a big strain on your eyes, so uh, it's also recommended that youstep away for about... about ten minutes every hour.Michael: Wow, that is... that time really adds up. That's like... a half an hour, every hour?Darryl: Take them at the same time.Michael: Ok, you know what? You'remaking it sound kind of lame. So, skip ahead to the really dangerous stuff. Like sometimes computers can explode, can they not?Toby: No, no. Um, you always want to keep a sweater or cardigan of some sort, in caseit gets drafty.Ryan: What about a long sleeve T?Toby: Well, that'll work.Kevin: Long johns? A shaw?Toby: You know, anything that warms you.Michael: Ok, you know what? I think that everybody is going to vomit dueto boredom. [to warehouse guys] Sorry, he is very lame. [takes book from Toby] Um, let's see. \"Seasonal affective disorder! A depression that includes weight gain, fatigue, irritability, brought on by the low light ofwinter.\"Darryl: Thank God we only had a baler to deal with.Lonny: Yeah, that dim light is a bitch, ain't it?Michael: Ok guys, you know what? I didn't--- I didn't interrupt when you were having your presentation.Darryl:Actually, you did.Michael: Yes. Okay, let's do another one. This is a good one. \"A particular concern for office workers is a sedimentary life style, which can contribute---\"Toby: Sedentary.Michael: Yes. \"Which cancontribute to heart disease.\" Heart disease kills more people that balers.Lonny: That's called having a fat butt, Michael.Michael: Mmmm, no, no, it's... sedentary...Lonny: Yeah, yeah. That's, that's fat butt disease.That's what you suffer from?Michael: No.Lonny: Fat butt disease, Michael?Kelly: Excuse me, sea monster, you weigh like a thousand pounds.Lonny: Yeah? I bet you'd like to swim with this sea monster, wouldn'tyou?Kelly: Ryan?Lonny: Dude, tell your girl to shut up.Kelly: What?!Ryan: Kelly, you insulted the gentleman. Please apologize.Kelly: Are you kidding me?Darryl: Alright, we outta here.Michael: Darryl, I did not walk outin the middle of yours. So, I---Lonny: Yeah, but ours was real, Michael.Darryl: That's what I've been trying to tell you, Mike. It's serious down there. We do dangerous stuff, man. This is shenanigans, foolishness,Nerf-ball. You live a sweet, little, Nerf-y life. Sittin' on your biscuit. Never havin' to risk it.Michael: Okay. ... What, Nerf isn't cool anymore?[SCENE_BREAK]Michael: Darryl thinks he is such a man because he works in awarehouse. I worked in a warehouse. Men's Warehouse. I was a greeter. I'd like to see Darryl greet people. Probably make 'em feel like wimps. Not me, I... \"Hello, I'm Michael. Welcome to Men's Warehouse. We have aspecial on khaki pants today.\" ... This is one example.[SCENE_BREAK]Kevin: [Pam is holding a jar of jellybeans] Ten.Oscar: Really, ten? That's your guess? You're a professional accountant.Jim: There's like ten greenones.Oscar: Forty-two.Jim: I'm gonna say fifty.Karen: Fifty-one.Jim: Oh, don't be that person.Kevin: That is lame.Karen: It's a strategy!Pam: It's called being smart.Karen: Thank you.Kevin: Oh,geeze.[SCENE_BREAK]Pam: I don't know how the whole betting thing started, but it's fun.[SCENE_BREAK]Pam: Ten...Jim: Kev's out.Kevin: Damn it.Pam: 47, 48, 49! Jim wins!Everyone: Oooh! [Jim claps]Kevin: That isnot fair. He has spent hours up here at reception with you. Hours and hours.Jim: Okay, okay.Kevin: No, constantly. Like, for years.Jim: Okay.[SCENE_BREAK]Michael: Pam, depression is as scary as a baler, right?Pam:I don't understand the question.Michael: Working in an office can lead to depression. Which can lead to suicide. I mean this is really serious stuff.Pam: Yeah...Michael: I--- I--- Nobody commits suicide because theywork with a baler, and yet those guys are makin' fun of me, calling me a Nerf, that...Pam: It's really hard to demonstrate depression. Their safety training had visuals.Michael: Yeah... you are... ah, so right. They hadvisual aids. And all we had were the facts. You don't go to the science museum and get handed a pamphlet on electricity. You go to the science museum and you put your hand on a metal ball, your hair sticks upstraight... and you know science.Pam: So, you're okay?Michael: Indubitably.[SCENE_BREAK]Michael: They use props. They use visual aids, and they just made us look like dopes.Dwight: Idiots! God, what are we gonnado!?Michael: I don't know, I don't know. Because you know what our killer is? Depression---Dwight: Wolves.Michael: Nn--- Depression.[SCENE_BREAK]Dwight: Visual aids.Michael: Yes.Dwight: A quilt. Depressionquilt?Micheal: No time to sew a quilt. ... I got it. Give me the number for the Giant Big Box Toy Store.[SCENE_BREAK]Michael: You may be asking yourself, \"What am I doing on a trampoline?\" Well, I thought I'd bouncehere for a while, relieve some stress, and then move on with my day. Not! Here's the plan. Dwight, is going to gather all of the office workers and all of the warehouse guys, we're going to have another safety seminar.Only this time, where's Michael? Oh my God! He is on the roof! Now I have got their attention. I... tell them, about the cold hard facts of depression. And then I say, \"Hey! You ever seen a suicide?\" And I jump. And theyfreak out. And they get to see... the dangers of depression with their own eyes. Nice side note[/b]: They might think \"Hey, I should have been nicer to Michael.\" But that's... not why I'm doing this... Then, I land on thetrampoline, take a couple extra bounces for fun. I climb off, walk around the corner... Ta-freakin'-da! [Dwight nods][SCENE_BREAK]Kelly: So then the next movie moves to the top of the queue. So number fivebecomes number four, number six becomes number five, [Ryan checks his watch]number three becomes number two, etc, etc. And let's just say that I just sent back Love Actually, which was awesome. [Karen laysmoney down on the desk next to Ryan] And they sent me Uptown Girls, which is also awesome. But guess what, now I want to see love actually again, [Phyllis throws her money down] but it's at the bottom of the que!Oh no, what do I do!? [Creed throws his money down] What I do, is this. I go online, I go click, click, click. And I change the order of the que, so that I can see Love Actually [Pam throws her money down] as soon as Iwant to. It's so easy, Ryan. Do you really not know how Netflix works? [Jim throws his money down]Ryan: I guess I forgot. [kisses Kelly, gathers up all the money]Kelly: You're such a ditz.Kevin: Ryan, well done. Twominutes, forty-two seconds. Additionally, Pam, you win ten because she said \"awesome\" 12 times, and Jim, you win five because she mentioned six romantic comedies.[SCENE_BREAK]Dwight: [on the roof] Okay, let'sdo this thing! I'll go summon the troops!Michael: Maybe we should test it first. Letterman-style. Throw a TV over, or...Dwight: We measured it once...Michael: Go buy some watermelons.Dwight: Seedless?Michael:Just...[SCENE_BREAK]Toby: [Creed takes a bite of an apple] Creed is eating an apple. I found a potato.Pam: Hey Creed.Creed: Hey!Pam: Hey.Creed: Hello. [Jim replaces Creed's apple with a potato][Creed takes a biteof the potato]Pam: Yes!Kevin: Here you go. [hands money]Toby: Nice.[SCENE_BREAK]Karen: I don't know this place as well as I thought I did. I'm getting cleaned out.[SCENE_BREAK]Dwight: Ready?Michael: Let's doit! Drop that sucker.Dwight: [drops watermelon, watermelon bounces off trampoline, onto a car, bursts, car alarm sounds]Michael: BINGO! WHOA WHOA WHOA! Oh... crap. Deactivate the car alarm. Clean up themess.Dwight: Okay.Michael: Find out whose car that is. If it's Stanley's, call the offices of James P. Albini, see if he handles hate crimes.Dwight: Got it.Michael: Also, take apart the trampoline, stick it in thebaler.Dwight: We're not allowed to use the baler.Michael: Have Pa--adge do it, or... the sea monster.Dwight: I'm on it![SCENE_BREAK]Dwight: I'm temporarily lifting the shun.Andy: Thank you.Dwight: It meansnothing. I need you to do something for me.Andy: Anything.Dwight: Okay, calm down. I need you to acquire an inflatable house, and/or castle.Andy: You mean a moon bounce.Dwight: What do you think? You've gotan hour.Andy: I'm gonna need... I'm gonna need petty cash.Dwight: Shunning resumed.Andy: Do you, do you want a drawbridge?Dwight: Un-shun. Yeah that sounds good. Re-shun.[SCENE_BREAK]Dwight: Oh yeah,this is much better. Safer. Excellent decision.Michael: Yes, thank you for seeing that.Dwight: When you land, try and land like an eight year-old. These bouncy castles are not designed for adults.Michael: I don't know ifI wanna do this.Dwight: Do you wanna do another test? I got plenty of watermelons in my trunk!Michael: No. No more. The tests are going terrible. If we keep doing it, we're not gonna want to jump. This is aboutdoing, not thinking.Dwight: That's right! Doing! Totally doing! It's rock n' roll!Michael: Rock n' roll!Dwight: Yeah!Michael: That's right! I am not thinking.Dwight: [imitating the sound and playing an air guitar] Near nearnear near near!Michael: Yes! Yeah!Dwight: [singing] Michael is awesome! Jumpin' off the roof!Michael: Woo!Dwight: [singing] Bouncin' on the bouncy bounce! Show 'em who's boss!Michael: Woo!Dwight: [singing] Rip ahole in the suuuuuuun!Michael: I am ready to do this! I am ready to make a point! [Dwight continues air guitar][SCENE_BREAK]Dwight: [out of breath] Guys! Listen up! Michael is up on the roof, and actingstrange!Andy: Whoa! What's the situation?Dwight: [hesitates] Un-shun. I think he's suffering from depression. Re-shun.Andy: Ok, when's the shunning thing gonna end?Dwight: Un-shun. Never. Re-shun. I think hewants you all to come out to the parking lot and watch him die!Stanley: Is it nice outside?Dwight: It's gorgeous. Let's go!Stanley: Do I need my jacket?Dwight: No really, it's, it's very nice. Come on!Ryan: Will I be toowarm in a long sleeve T?Dwight: Everybody's gonna be fine in exactly what they're wearing, let's go! Let's go![SCENE_BREAK]Dwight: [outside] Come on, hurry up you guys!Michael: [on the roof] My life! Oh, mylife...Dwight: [on megaphone] Michael, what's wrong?!Michael: Everything's wrong. The stress of my modern office, has caused me to go into a depression.Dwight: Depression? Isn't that just a fancy word for feelingbummed out?Michael: Dwight, you ignorant slut. Depression is a very serious illness. Over 32 thousand people commit suicide every year! According to a 2004 study!Dwight: Is that the last year the data wasavailable?Michael: Yes! My head is in such pain! And turmoil!Dwight: Don't do anything rash!Michael: Wait, where are the warehouse guys?Dwight: I didn't... [Dwight runs up to the side of the building] I didn't thinkyou needed them for this part.Michael: Okay... that's...Dwight: you said to just...Michael: That's the whole point, dummy.Dwight: Okay, I'm on it!Michael: Okay.[SCENE_BREAK]Dwight: Attention blue collarworkers![SCENE_BREAK]Pam: What are the odds that this is in any way real?Jim: I'd say like... 10,000 to 1?Kevin: Okay, I'd like ten bucks on those odds.[SCENE_BREAK]Kevin: If someone gives you 10,000 to 1 onanything, you take it. If John Mellencamp ever wins an Oscar, I am going to be a very rich dude.[SCENE_BREAK]Dwight: Michael's up on the roof and he's acting strange!Michael: Oooooh, my life!Dwight: Michael!What's wrong?Michael: Everything is wrong, Dwight. The stress of my modern office, has made me depressed.Dwight: Depressed? Isn't that just a fancy word for feeling bummed out?Michael: Dwight, you ignorantslut.[SCENE_BREAK]Jim: Well, you know, the first performance was a little off. But I really think they hit their stride, in the second show. Um, might even bring my parents tomorrow, to the matinee.Michael: And that iswhy, I am going to jump off this roof!Jim: Oh, excuse me. It's my... favorite part.[SCENE_BREAK]Angela: This is just offensive.Ryan: At least we're outside.[SCENE_BREAK]Creed: [zipping up his pants] Hey, check itout, there's a... there's a castle over there.Jim: Oh my God, there is a castle.Dwight: No, there's nothing to see over there, people! There's nothing to see. ...They found the castle, Michael.Michael: Damnit.[SCENE_BREAK]Pam: Oh... God. Oh my God, he's gonna jump.Jim: Oh. He's going to kill himself, pretending to kill himself.Pam: Yeah...[SCENE_BREAK]Jim: Hey uh, Michael. Don't jump on the bouncy castle. Youcan't do that, because you're going to get horribly, horribly injured.Pam: Hey Michael! I have a present for you, but you have to come down and get it.Michael: What is it?Pam: Come down and... open it and you'llsee.Michael: Dwight, find out what the present is.Dwight: Okay, uh... I don't see anything. She might be bluffing.Jim: Dwight...Pam: Dwight, what are you---Dwight: Oh... It's uh, a Repliee Q1 Expo female robot,they're only available in Japan.Michael: Dwight, you are such a liar. Pam, really, what is it?Darryl: Mike, this is the opposite of safety. You jump, you're gonna serious hurt yourself.Michael: You told me, that I lead a...cushy, wimpy, Nerf life.Darryl: Yeah, but I never said you had nothing to live for.Michael: What do I have to live for?Darryl: A lot... of things. Uh, you, uh... What about Jan? Lovely, lovely, lovely Jan, man. It's goin'good, right?Michael: It's complicated with Jan. And I don't know where I stand, or what I want. The s*x isn't nearly as good as it used to be.Darryl: Mike, you're a very brave man. I mean, it takes courage just to beyou. To get out of bed every single day, knowing full well, you gotta be you.Michael: Do you really mean that?Darryl: I couldn't do it. I--- I ain't that strong. And I ain't that brave.Michael: I'm braver than you?Darryl:Way braver! You Braveheart, man.Michael: I Braveheart. I am.Darryl: Come down, okay?Michael: Okay. Pam, I'm coming down to get my present.[SCENE_BREAK]Michael: An office... is as safe as the people in it. Andsometimes those people can drive you to do crazy things to show the dangers of the office. That's the danger I found myself in today. I saved a life. My own. Am I a hero? I really can't say. But, yes."}
+{"doc_id":"doc_145","qid":"","text":"\"Soccer Mom in the Mini Van\"[SCENE_BREAK]TEASER(A minivan approaches a field where kids are playing soccer. A woman gets out of the car, throws her coffee cup away in a nearby trashcan and looks at the childrenplaying. She then touches her locket, smiles and heads back towards the car. In the car, she tucks a note inside her bag. She backs out of the space and as she puts her car into drive, it explodes)[Cut to: Crime scene afew hours later - crawling with FBI agents. Booth and Brennan get out of the car and approach the mini van]BOOTH: Look, Bones, all I'm saying is that Caroline went though a lot of trouble to get you private visitationwith your father, now you don't want it.BRENNAN: The federal detention facility already has visiting areas.BOOTH: Yeah, behind 2 inch glass. Now you'll be able to give your old man a hug.(he demonstrates onBrennan)BRENNAN: I didn't ask for special treatment, Booth.BOOTH: That's because you don't have to because you are special. And you are gonna tell me - whoa - what happened to whatever the hell is melted to thatsteering wheel and everything else.BRENNAN (looking at the remains): Female. Mid 40's to late 50's. Pelvis indicates she's given birth.BOOTH: Hey, Bones. Look at that. (points to a finger with a ring on it) Married,right?BRENNAN: Wedding ring. Possibility. (to another FBI Agent) Don't just focus on the ground (she points to a leg in a nearby tree then to Booth) Why do you care about my relationship with my father, Booth? Youwere only too happy to arrest him and put him in prison.BOOTH: Alright, look Bones. Ya know what, it's not about being happy, okay. It's about doing my job.BRENNAN: Do we know if it was a bomb that caused theexplosion?BOOTH: Well, let's see. The roof is peeled back and the doors-BRENNAN: I was asking him. (she points to another FBI Agent)FBI AGENT: We found explosive residue all over the van and metal fragments inthe bushes.BOOTH: What is that? A Pipe bomb?FBI: I can't really be sure until the explosives unit gets the van back to the lab.BRENNAN: No, they can't have the van. There are remains seared all over the inside of thevehicle and they can't be compromised.FBI AGENT: I have to call-BRENNAN: This van will be brought to the Jeffersonian - your bomb techs can look at it there.FBI AGENT: I'll....make the call?BOOTH: That's - that'salright. You go, go make that call. Bones, come on . You're a little harsh there, maybe you want to talk it out.BRENNAN: (pulls a necklace from the car) Look, Booth.BOOTH: It's a locket. Ugh, probably herdaughter.BRENNAN: Who would want to blow up a soccer mom?ACT I(Cut to: Jeffersonian: Forensics area)ANGELA: Hey, you have a skull for a facial reconstruction?ZACK: Help yourself.ANGELA: Oh, great. Is this all Ihave to work with? I always hated puzzles.BRENNAN: Hodgins, before we take that hand from the wheel, you might want to check the fingernails for particulates.HODGINS: You know I do.ANGELA: Oh. My. God.ZACK:Shouldn't you wait for the bomb tech before you gather the explosive residue?HODGINS: Hey, just getting enough to verify his results. Remember, he's a government bureaucrat.ANGELA: Hey, you're a governmentbureaucrat, babe.HODGINS: In name only. I am a passionate, dedicated scientist who will not be cowed by authoritarian pressure.CAM: Stay out of the van until the bomb tech comes, Hodgins.HODGINS: But... CAM:Out.HODGINS: Fine. I have to check the fingernails anyway.CAM (to Angela): How close are we to ID'ing the victim?ANGELA: Well. This is the skull. I'm good, but I'm not that good.BRENNAN: Perhaps you could usethese. There's a portion of tongue, hair and brain matter?ANGELA: Okay. If anybody needs me, I'm gonna go throw up, then do some paper work.(As Angela turns to leave, Booth enters with a female agent)BOOTH:Okay, this is Special Agent Frost from the bomb unit.AGENT FROST: Booth pulled me out of an important lunch. It took me months to set up that meeting. It better be good, Booth.BOOTH: She'll be working with you,Hodgins.HODGINS (starting at Frost): Yes, please. What? No, no. Um, hmm? Ja..Hodgins. Doc - Doctor. Okay.AGENT FROST: I beg your pardon?HODGINS: It's Ho-ANGELA: He's Dr. Jack Hodgins. Angela. Montenegro.I do facial reconstructions - and him.AGENT FROST: Please to meet you. (she walks over to where the stuff is ) I'm gonna need you to recover all the metallic particulates then I'm gonna need a chemical traywith-FROST & HODGINS: Aqueous buffer solution.HODGINS: Yeah. I know.HODGINS: You wanna perform capillary electrophoresis?FROST: We can do that?HODGINS: Oh yeah. (Angela coughs in the background) Andit will save time so Angela and I can have dinner. Alone.ANGELA: Hm (she turns and leaves)BOOTH: License plate was destroyed when we traced the VIN number on the van. It was registered to Jeremy Nash inCulpepper, Virginia.BRENNAN: He looks familiar.BOOTH: Man, our victim was traveling with a lot of stuff - clothes and personal items.BRENNAN: Photo album. Most of the pictures were burned, but the man in this photocould be Nash.CAM: She packed herself up, keepsakes and all, and took off in the van? Looks like Mrs. Nash was leaving Mr. Nash.BOOTH: Ah, god. I hate domestic cases. Alright, so let's got talk to thehusband.BRENNAN: I can't. I'm seeing my father.BOOTH: Now?BRENNAN: You and Caroline went to a lot of trouble setting this up. I would hate to appear ungrateful.BOOTH: But - (he starts to follow after her, butstops then - to Cam) I'll go talk to, um, the husband by myself.(Cut to: Prison - Day. Max is escorted into a private visiting room to meet with Brennan)PRISION GUARD: Alright, Max. There ya go.MAX: Ooh, gee. Realchairs. It's nice to have an important daughter (he goes to kiss her but she moves away)BRENNAN: This is Booth, not me.MAX: Well, you thank him for me. I always liked Booth. Nicest guy that ever arrestedme.BRENNAN: Touching.MAX: Well, you must like this. Me in here. I finally have to follow the rules.BRENNAN: So that makes me less than you because I think people should follow the rules?MAX: You'reupset.BRENNAN: Yeah, of course I'm upset. My father's a criminal.MAX: No, outlaw. There's a difference.BRENNAN: Subtle distinctions like that are lost on me and, I imagine, your victims.MAX: I know you want somesort of, uh, nice, neat story that puts my life into perspective for you but it doesn't work that way.BRENNAN: You could try. Don't I deserve that?MAX: I guess I always had a problem with authority. I just always sawmyself fighting the system. Kinda like Robin Hood.BRENNAN: Do you realize how ridiculous you sound? You're here for murdering the Deputy Director of the FBI.MAX: He was a crook. He was a killer and he was going tokill you.BRENNAN: And you walked out on Russ and me when I was fifteen!MAX: But that was to protect you, people were after us.BRENNAN: Because you were a criminal.MAX: Outlaw. See, I knew you weren't gonnaunderstand.BRENNAN: Ya know what? You're right. This is my fault for expecting we could get past-MAX: We can get past this. We can. The court, they're gonna decide how to punish me but now, here - we'll make thiswhatever we want.BRENNAN: (She reaches in her bag and pulls out a deck of cards) Here are the cards you asked for. I gotta go.MAX: Wait. These are for us.BRENNAN: What?MAX: Come on. You remember that gamewe used to play when you were five years old?BRENNAN: Blitz.MAX: Blitz. Blitz. Come on. Let's play a couple of hands.BRENNAN: You always beat me. I remember that too. A good father would occasionally allow hischild to win.MAX: I don't believe in encouraging all that, ah, that self esteem crap. You wanna win? Earn it. That's why you're so good at what you do now cause you know that nobody is gonna hand youanything.BRENNAN: (sarcastically) So you were a great father.MAX: Well, maybe just not as bad as you think. How 'bout this, one hand? Come on.BRENNAN: (gets up and heads towards the door) Let me know if youneed anything else.MAX: Oh, oh, oh. Socks. Socks. You know the, uh, with the arch supports? I gotta stand on that chow line forever.(Max watches her as she leaves the room without saying anything)(Cut to: NashResidence. Booth is questioning Jeremy Nash)JEREMY NASH: A bomb?BOOTH: Yeah, I'm sorry. Were you and your wife having any problems?JEREMY NASH: What? What kind of problems?BOOTH: Well, she wastraveling with a lot of personal stuff: I mean, photo albums and more clothes than she -JEREMY NASH: That \"stuff\" was for Celia's new dorm room. She was bringing her clothes, thing to help her decorate - You're FBIfor God's sakes. You have no idea who did this? What is this your first case?BOOTH: Just relax, okay? I'm just here to help, Mr. Nash, that's all.JEREMY NASH: How do I tell Celia? How do I - tell my daughter-(Cut to:Medico Legal Lab - Room. Focus on a clear box with flesh eating beetles inside.)ZACK: Dermestes maculates. They clean the bones by eating the charred flesh.HODGINS: But they leave behind pieces of shrapnel youmight need.AGENT FROST: Fascinating and very weird.ZACK: (with pride) They're mine.AGENT FROST: Not a surprise.(BRENNAN enters.)HODGINS: (to Brennan) Hey! Hi. How as your visit with your-BRENNAN: Notgermane to the investigation, Hodgins. (While Brennan is talking, Hodgins is looking at Agent Frost) Zack. Her left shoulder was badly shattered but still shows evidence of old trauma. I need the clean bones as soon asthey're ready. I also would like you to look at the manubrium. These shadows look like pitting. Have you determined what kind of bomb was used?AGENT FROST: I'm still sifting through the debris and waiting forwhatever goodies these bugs leave behind.BRENNAN: And Dr. Hodgins is just keeping you company?HODGINS: What? No. I'm - working. Hard. (Brennan and Zack just look at him) I'm gonna go right now and work.Hard. Some-someplace else. So - (he turns to go - Brennan and Zack still staring at him and Agent Frost looking at the beetles)(Cut to: Medico Legal Lab - Basement/Storage. Angela is at a computer trying to figure outsome symbols for the Widows' Son case.)HODGINS: Hey. What are you doing down here?ANGELA: Oh, analyzing the iconography for the Widow's Son case until somebody needs me for the bomb victim.HODGINS:Look, Angie, Um- Agent Frost is a colleague and I am a professional. Okay, so all that stammering and stuff - I mean that's not - that isn't - you know that's involuntary - it's a bodily thing. Yeah. That didn't come outright. Look, I'm not gonna deny that she is attractive -ANGELA: Oh, totally hot.HOGDINS: What?ANGELA: The bombshell from the Bomb Squad. She's totally hot.HODGINS: Yeah, I know. I mean -ANGELA: Look, Jack. Ireally don't care what's going on in your pants as long as it stays in your pants.HODGINS: You know who's totally hot? You. You are totally -ANGELA: Okay, save it. What have you got?HODGINS: (he hands her somesinged pieces of paper found in the van) These were in Any Nash's bag.ANGELA: There's writing on them.HODGINS: Yeah. Yeah, Cam needs you to restore them.ANGELA: Well, I'll give it a try.AGENT FROST: (O.S.) Dr.Hodgins! I need your samples for the spectrometer.HODGINS: I - I - I - I have to uh - so I love you and - (he kisses her on the cheek)ANGELA: Go.HODGINS: Okay.(Cut to: Medico Legal Lab - Hallway. Booth & Brennanare walking)BOOTH: Nash is gonna pick up his kid, tell her in person. I mean, I don't know how you do that. Tell your kid that your mother just got blown up?BRENNAN: I would think a direct approach would bebest.BOOTH: What? As opposed to what? Sugar coating it? 'Hey, what do you say we go to the park oh and by the way, your mom just got blown up?' How's your dad? You haven't mentioned him.BRENNAN:Apparently, his feet hurt.BOOTH: You know, I mean his spirits.BRENNAN: Well, he's a con man, Booth. He's always cheerful.BOOTH: What? That's it?BRENNAN: It's not like I ever really had a father. Max was absent foryears.BOOTH: Well, here's what I know. I know that Nash girl would give anything to spend one more day with her mother. I'm sure you'd feel the same way if something happened to your father.(Hodgins approachesthem)HODGINS: I confirmed triphenylmethane dye and iron sulfate embedded in the manubrium and the flesh. (Booth looks at Hodgins, confused.) Both are found in ball point ink.BOOTH: AH! It's a home madetattoo.HODGINS: Angela's working on recreating the design.(Cut to: Medico Legal Lab - Angela's Office. The computer is trying to render a design of the tattoo)ANGELA: This tattoo appears to have been crudelyexecuted.BOOTH: Hm, you mean like a prison tat.CAM: No record of her being in prison.HODGINS: In Russia, prisoners made tattoo ink by burning the heel of a shoe and mixing it with soot and urine.BRENNAN: Thiswas a ball point pen, rigged with a sewing needle, pushed down so deep it penetrated her periosteum.BOOTH: Ah! You mean - bone.CAM: Doesn't seem like a very soccer mom thing to do.ANGELA: And...here we go.(the computer starts to finish the rendering)CAM: An inverted pentagram? Devil worship.HODGINS: Mom had a little thing going on the side with Satan? Oh, the burbs.ANGELA: There is a design in the center that Ican't quite get.HODGINS: Wait, wait, wait. Is that a fist?BRENNAN: A fist?BOOTH: A fist.ANGELA: Yeah. Oh my God. It is a fist.HODGINS: So she wasn't Satan's old lady - she was in the NLA.ANGELA: NLA?BOOTH:National Liberation Army.HODGINS: Student radicals in the 70's. Thought they could change the world. Set off bombs in army recruiting offices, torched cop cars-BOOTH: Yeah, real visionaries. They also shot and killeda cop in '75.HODGINS: That was the burglary. They broke into house of a defense contractor to rip off his safe- said it was the people's money. Here. June Harris and her boyfriend, Neil Watkins were charged with themurder, but never found.BOOTH: The FBI's been looking for them for 30 years.CAM: And there they are.ANGELA: And our victim? (she does a side by side comparison of June Harris & Amy Nash) It's the samewoman.BRENNAN: So, our soccer mom - was a killer.ACT II(Cut to: Medico Legal Lab - Forensics Platform.)CAROLINE: People! Please tell me that all your fancy ass equipment is wrong.BOOTH: Oh! (He covers his earsas she sets off the alarm as she enters the platform and a security guy swipes his card.)BRENNAN: You're not supposed to be up here.CAROLINE: Booth can shoot me later. (she looks at the remains laid out on thetable) This can not be June Harris.BRENNAN: But the dentals match. Angela's reconstruction matches.BOOTH: Amy Nash was June Harris.CAROLINE: Por qui moi? She couldn't have waited 4 days to turn herself into acharcoal briquette?BRENNAN: I - don't understand.BOOTH: Caroline? Why are you here?CAROLINE: June Harris was turning herself in. I arranged with her attorney for the surrender. He was gonna deliver her onThursday after she said goodbye to her family.BRENNAN: What was the deal?CAROLINE: 9 years.BOOTH: 9 years for killing a cop?CAROLINE: For turning herself in and laying this all to rest. And since she stillmaintained her innocence, this was going to be a tough case to prosecute.BOOTH: Sam Reilly was the lead on this case for 30 years. He was okay with 9 years?CAROLINE: He doesn't know. Part of the deal. He wasn't tobe consulted.BOOTH: Well, you know what? It's okay to tell him now. I know Sam. He deserves that much after 30 years.CAROLINE: Up to you, you're the lead now, Cher. You should bring in Huntzinger. He was herattorney. He might know something.HODGINS: Love Huntzinger. Real old time lefty. Worked the Chicago 7 Trial. Sued Nixon, the CIA, Bush -BOOTH: That's great, let's get out of here before Hodgins gives him thepinko medal of honor. (to Brennan) Are you coming?BRENNAN: I can't. Zack and I have to pull the rest of the shrapnel for the bomb tech and then I have to buy some socks for my dad.CAROLINE: Leave her be, Cher.Absence makes the heart grow fonder.BOOTH: (turning back to Brennan as Caroline drags him out) Socks?(Cut to: FBI - Agent Sam Reilly, Booth & Caroline are coming out of a conference room - and start to walkdown the hallway.)AGENT SAM REILLY: I have worked this case for 30 years and you don't think I deserve a phone call?CAROLINE: It was part of the deal.SAM: And you Booth. I trained you. You think this is right? Toblow me off like this?BOOTH: I just got thrown the case, Sam. Don't go wailing on me.SAM: Damn lawyers. Working the case for 30 years and you don't think it deserves a damn phone call. Hey. I'm talking to you.(Booth and Caroline turn around)CAROLINE: No. You're yelling at me and my ears are starting to ring. Now I'm sorry after 40 years, as an agent for the FBI, you're still a little girl but I'd like to find out who killed JuneHarris. So how 'bout you stop whining and help. Okay, Cher?(Caroline leaves)BOOTH: So. How have ya been , Sam?SAM: Shut up, Booth.(Cut to: FBI - Observation Room. Sam watches as Caroline & Booth interrogateLeonard Huntzinger)CAROLINE: So what's in the bag, Lenny.HUNTZINGER: Toothbrush, change of underwear. You guys always find some reason to toss me in the can. No belt. No laces. I'm ready.BOOTH: Yeah. Great.Well, we just want to ask you a few questions about June Harris's death.HUNTZINGER: I loved June Harris. I loved what she stood for and what she did with her life. Nobody has her balls anymore.CAROLINE: Exceptmaybe, Neil Watkins.HUNTZINGER: Yeah. You'd love that, wouldn't you. Blame another revolutionary.BOOTH: Do you know where Watkins is?CAROLINE: They were partners in crime. I don't think he would want to riskJune turning him in.HUNTZINGER: You ever hear of attorney/client privilege?CAROLINE: Ever hear of Obstruction of Justice?BOOTH: Ya know, a woman is dead. She's not a martyr to her family, just someone theyloved.CAROLINE: If you can understand that.HUNTZINGER: Cooperating with that system (Sam leaves the observation room) perpetuates that system..BOOTH: Yeah, yeah.HUNTZINGER: If the system'scorrupt-BOOTH: Blah, blah, blah. So what's next, Leonard? Are ya gonna warn Watkins that we're on to him?(Sam bursts through the door and goes after Huntzinger)BOOTH: Sam. Sam. Sam. Sam.SAM: You son of abitch. Watkins are Harris are not heroes. (Booth holds Sam back) You want to know how they changed society? Ask the kid who's father they killed.HUNTZINGER: I know that kid. He became a cop just like his father.Very touching.(Sam goes to go after Huntzinger again and Huntzinger pushes him back.)SAM: You son of a-HUNTZINGER: Get out of here.(Booth steps in again and holds Huntzinger back.)BOOTH: Hey. Hey. Hey.Hey.CAROLINE: You just hit a Federal Agent, Mr. Huntzinger. Good thing you brought your toothpaste.HUNTZINGER: What a surprise. Lock me up to shut me up. You should be talking to that kid, Valenti, instead ofbusting my ass. The pig comes to me the other day, he wants to know where June is. He said he got a letter from her, as if she's write him or I'd give her up. Hey. (He lifts up his shirt) See these bruises? A gift - fromyour noble son of a cop.(Cut to: Prison - Day. Max is in the visitors room with Brennan.)MAX: Nice and soft. I'll be the best dressed on cell block 8. Thanks.BRENNAN: Sure.MAX: (sighs) Honey. I'm sorry.BRENNAN: Forwhat?MAX: For- for being such a disappointment as a father. You deserve better. And I should have told you sooner. (Brennan says nothing) Well, that's it? Nothing?BRENNAN: Well, what were you expecting? I agreewith you.MAX: I was expecting some tears or a hug or something. I did apologize. That's what you wanted, isn't it?BRENNAN: Well, you didn't mean it?MAX: Of course I meant it. Listen. Under any objective standardyou have a horrible human being for a father but I'm trying to move on. I got caught so that I could be with you. I was hoping you'd meet me half way.BRENNAN: I'm here, aren't I? (after a pause) I - (she reaches intoher bag) got you shampoo. Soap isn't good for your hair.MAX: Oh, nice. I - I don't want to smell to good, that could be a problem around here.(Brennan smiles) There, see. That's better. Thanks.BRENNAN: Sure.MAX:So the prosecutor's gonna want to talk to you about me. It wouldn't hurt if you, uh, had some good things to say about your old man. Might even offer to testify on my behalf.BRENNAN: Is that why you finallyapologized?MAX: What?BRENNAN: To use me? Maybe you'd like me to alter evidence now. That way I could join the family business.MAX: How could you think that?BRENNAN: I don't know, Max. Maybe because I seemto pass in and out of your life when it's most convenient. Maybe because you built a whole career using your considerable charm to manipulate people?MAX: Wait, listen. I know that it's hard to trust me, I know, and it's"}
+{"doc_id":"doc_146","qid":"","text":"Police and SWAT cars pull up in front of a mansion, and the SWAT team runs inside. They approach a locked room - we see the key is still in the door on the inside. They break in to find Jared sitting crying on the bednext to a dead girl. Both are in their underwear.ONE YEAR LATERA prison complex. Jane shows his ID and is allowed into the yard where Jared is sitting in his orange prisoner's clothes.Jared: Thank you for coming.Jane:You said you had information about Red John.Jared: Yes, I do. Killed your wife and daughter, huh? Heard a lot about you. They say you can tell when people are lying.Jane: Do you have information about RedJohn?Jared: I have dynamite information about Red John. Enough to catch him.Jane: How do you come by this information?Jared: Red John is a friend of a friend of mine.Jane: Is that friend of yours in prison too?Jared[laughs]: I have friends from all walks of life.Jane: Tell me.Jared: I am currently doing 25 years to life for a crime I didn't commit. My last appeal just failed. You get me out of here and I will give you Red John.Jane:You raped and murdered your family housekeeper's daughter. If you do know a lot about me, you know that I'm not a real magician.Jared: I didn't do it.Jane: I read the case file. The physical evidence, the testimoniesof all the witnesses including your own family says you did.Jared: I didn't kill her.Jane: What happened?Jared: I don't know. We were partying, I did some blows of meth, we had s*x, I fell asleep. And it's morning,Andine's dead, cops are busting in.Jane: The door was locked from the inside. There were bars on the windows.Jared: Yes.Jane: How is it physically possible that anyone else could have committed the murder?Jared: Idon't know. But I didn't, ergo someone else did. Someone you can find. You see me. Am I lying?Jane: You seem to be telling the truth, but you're a very clever, unprincipled narcissist in a desperate corner. Even if youare innocent, doesn't mean you have information on Red John. Yeah, it's a tough call. [Pauses to think.] I'm gonna have to say no. [Starts to walk away.]Jared: Your wife. Red John painted her toenails, yes? Paintedthem with her own blood. Police didn't make that public, did they? She's the only instance he did that, huh? Touch of elegance, for you alone.Jane: How do you know that?Jared: I told you. Red John is a friend of afriend of mine.Jane: What is this friend's name?Jared: His name is get me out of here and I will tell you. That and much more. I'll sing like a bird.Jane: Okay.Jane, Lisbon and Minelli are in Minelli's office.Minelli: No! Isaid no and I mean no. It's not that I don't want to help you. I want to help you. It's just it's not physically possible. Jared Renfrew was tried and convicted. It's a closed case. I have no authority to re-open it withoutcause.Jane: There is cause.Minelli: For you there's cause. Not for the State of California. We can't touch it.Jane: Ah, but we could touch it if...Minelli: Closed case! Nothing to be done. The Justice Dept doesn't go aboutundoing its own work.Jane: I understand. No problem. If we can't touch it, we can't touch it.Minelli: I'm sorry.Jane: No. The law's the law. My desire for revenge doesn't outweigh the rules. I have to accept that.Minelli:Glad you understand.Jane: Thanks for your time. (Jane leaves the room.)Minelli: He's lying through his teeth, isn't he?Lisbon: Yes.Lisbon comes out of Minelli's office into the bullpen where Jane is.Lisbon: Jane. I knowbetter than to try and stop you from doing what you think you have to do.Jane: No, I'm fine about it. I can see Minelli's point. I can't be chasing every nutbag with a good story, can I?Lisbon: Yeah, sure you're fine withit. Just do me the favour of listening to me for a minute, so I can say 'I told you so' later.Jane: Sure.Lisbon: Jared Renfrew was found hugging the corpse of Andine Kopecki in a room locked from the inside, holding abloody butcher knife in his hand. His semen was inside of her. He'd been stalking her for weeks. He's got a history of violence going back 15 years.Jane: What's your point?Lisbon: He's guilty. You're being conned.Jane:Possible, but I don't think so. But I've got to find out one way or the other.Lisbon: Even if he's telling the truth about the murder, he could still be lying about Red John.Jane: Also possible, but I've got to take thechance. What else can I do?Lisbon: Minelli wants me to keep a watch on you.Jane: What are you going to do?Lisbon: Well, I'm not going to follow you around. Let's compromise. When you get into trouble, call me firstso I can try and minimise the damage.Jane: Deal.Lisbon: And don't use your CBI card. The Bureau finds out you used it without authorisation, you're done.Jane: I hear you.Outside the Renfrew's imposing gates. Janepresses the intercom.Maid [through intercom]: Hello.Jane: Hi, my name's Patrick Jane. I'd like to speak to Gardner Renfrew about his brother Jared.Maid [through intercom]: One moment, please. [Pause] Mr Renfrewsays no thank you.Jane: Tell Mr Renfrew I can prove his brother is innocent and I know who really committed the murder. Jane holds out his arms like he's doing a magic trick and the gates begin to open.Jane is ininside with Gardner Renfrew and his wife, Breck. The maid has given Jane some water.Jane: Thank you very much. [He points to a photo.] Is that your father?Gardner: Yes. What's this all about, Mr Jane? Who are youand what do you mean by this?They all sit down.Jane: Do you think your brother is innocent?Gardner: You said you could prove he's innocent. You said you know who really did it.Jane: No. That was just to get insidethe house. I have no idea who might have done it. Might have been Jared. Hope not. He seems to be telling the truth. What do you think?Gardner: I think you had better leave. Right now, Mr Jane. I don't have the timeor the patience for tom-foolery. [He and his wife stand up.]Jane: So you think he's guilty. I'm wasting my time.Gardner: We're done talking.Jane: Suppose I could prove he was innocent. Wouldn't you want that?Wouldn't you want that blot on your name expunged?Breck: Of course he would.Gardner: Nothing would make me happier, but my brother is guilty. He violated the poor girl , he violated this house, he violated thisfamily.Jane: That's all I needed to know. Thank you for your time. Your mother lives here in the guest house, doesn't she?Gardner: You leave my mother alone.Jane: Well, that's not your call to make, is it? [He gets upand walks further into the house.]Gardner: Breck, call the police.Jane: Be sure and tell them I'm unarmed.Jane ducks down a corridor with an annoyed Gardner behind him. He comes running out into the garden whereMrs Renfrew is.Gardner [calling]: Go inside, Mother! Go inside!Jane approaches Mrs Renfrew.Jane: My name's Patrick Jane. I want to speak to you about your son, Jared.Gardner: I'll deal with him, Mother. The policeare on their way. Just go inside.Mrs Renfrew: Don't order me about. And don't be so hysterical. [To Patrick] What's your interest in Jared.Jane: I'm a friend of his. Trying to prove his innocence.Mrs Renfrew: Come andsit down.Jane: Thank you.Gardner: Mother, you're being childish.Mrs Renfrew: Go away, Gardner.Gardner: Mother!Mrs Renfrew: Go away! [Gardner leaves. Mrs Renfrew and Jane sit at a table in the garden.] Tell mewhy you wish to prove my son's innocence.Jane: Oh, I can promise you, I'm not up to anything sinister, Ma'am. My motives are pure. Tell me about Jared.Mrs Renfrew: He was a troubled child. Charming and bright, buta bully and a liar and something of a sadist.Jane: Qualities you rather liked in him, I expect.Mrs Renfrew [laughs]: Yes, I did. I found him rather amusing, at first. One doesn't want a wimp for a son. But there must be asense of proportion and moderation. As he got older, he got worse. Fell in with bad people. It was one scandal after another, in and out of prison. A common criminal.Jane: But he turned himself around, didn't he?MrsRenfrew: He gave up the drink and the drugs and the gallivanting. Made peace with his brother and came home to help run the family businesses.Jane: The prodigal son.Mrs Renfrew: Yes. George, his father, wasoverjoyed. I was sceptical. Pleased, of course, but sceptical. As my mother always said, you are what you are.Jane: I guess she's right.Mrs Renfrew: Yes. Poor George dropped dead a week after the murder. Broke hisheart, people said. George didn't really have a heart, in that sense. He died of embarrassment. A Renfrew in the pokey for murder. Quelle horreur.Jane: Can you show me where it happened?Jane and Mrs Renfrewinside the house, walking to the room where the murder took place.Jane: Who else was in the house?Mrs Renfrew: I had a small dinner party. Probably 10 people all told. After they left, it was just family. Gardner andBreck, George and I, and Jared, of course. [She gets the key from the top of the doorframe and unlocks the door.]Jane: Not Mariska, the housekeeper?Mrs Renfrew: No. She lived out. [She opens the door.] Andine wasonly here to help the cook with the dinner party. [Jane looks around the room.] She was a lovely girl, full of life and promise. Her mother, Mariska, had been with us 20 years. Part of the family.Jane: Jared told me thathe and Andine were having an affair. That he loved her and he'd never hurt her.Mrs Renfrew: She told her mother that he was stalking her, that she was scared of him. She didn't go to the police out of respect for thefamily.Jane: Hmm. I'd like to speak to the mother.Mrs Renfrew: She left our employ, I'm afraid. It was too difficult for both of us.Jane: Where is she now?Mrs Renfrew: I have an address somewhere.Jane: Can you getit for me now?Mrs Renfrew: As you wish.Jane: Thank you.Mrs Renfrew leaves. Jane peers into a hall closet and sees some fishing line. He closely examines the door of the room and the key. Gardner arrives with acouple of policemen and his wife.Policeman: Sir, would you come with us?Jane: Why?Policeman: You're trespassing here.Jane: No, I'm not.Policeman: Okay, sir, this man here says he's the homeowner and says you'retrespassing, so let's go.Jane: Officer, it's the other way around. I'm the homeowner, that man is the intruder.Gardner: That's a lie! He...he's lying.Jane: Listen to the madness in his voice. Will you please take himsomewhere he can get some help.Mrs Renfrew comes back in looking at a piece of paper in her hand.Mrs Renfrew: Here you are. I don't know that she'll still be there, but...Jane: Thank you so much. [She sees theofficers.]Mrs Renfrew: For heaven's sake, Gardner! Policemen! How ridiculous! Send them away.Policeman: Ma'am, this man here is...Mrs Renfrew: Yes, yes, it's quite all right, officer. You can go.The policemen start toleave.Gardner: Thanks.Jane: Well, goodbye, Mrs Renfrew. I expect we'll speak again soon.Mrs Renfrew: Good day to you. [Jane raises his eyebrows at Gardner as he leaves.]Jane, Lisbon and Minelli once more inMinelli's office.Minelli: Gardner Renfrew is a player in this town. You can't go to his house and screw around with him.Jane: Why not? It's a free country. I didn't use my ID. I didn't even mention the CBI.Minelli: Yougave your real name.Jane: It's my name!Minelli: Well, you should have lied as you so often do, because now I have to give you an official reprimand and order you in the strongest possible terms to leave the Renfrewfamily alone and drop the matter.Jane: Sorry, can't do that.Minelli: You have to. This is straight from the AG's office.Jane: Jared Renfrew didn't kill Andine Kopecki.Lisbon: Do you have evidence of that?Jane: Not yet. Ihave pieces that I'm piecing together. He's innocent.Minelli: Wake up, Dorothy. You're not in Kansas anymore. There are innocent men in jail. It happens. Is he one of them? I don't know. I doubt it. In any case, wecan't re-open his case.Jane [with a naughty smile]: If I'm Dorothy, then who are you?Minelli: It doesn't matter who I am. [Lisbon looks amused.] We will find other ways of making Renfrew talk to you. There's a lot thatcan be done to make a prisoner's life easier if he co-operates.Jane: It's not going to work. He's innocent.Minelli: Okay. Here it is. If you pursue this any further, I'm going to have to throw you out of the CBI. We can'ttake the liability. I very much do not want to have to do that.Jane [standing up]: I know you don't, so I'll spare you the trouble. [He puts his CBI ID on Minelli's table.] I quit.Lisbon: Don't do that.Jane: No, it's okay. It'sbest this way. [He goes over to her.] You are the good witch Glinda, obviously. Thank you. [He puts his hand on her shoulder.] I learned a lot.He smiles at her. She looks upset. He leaves.Lisbon walks into her office andfinds Cho, Rigsby and Van Pelt waiting for her.Lisbon: Don't bother. I know. I feel the same way. Nothing to be done.Rigsby: So now when he really needs our help, we're letting him down.Lisbon: I want to help him justas much as you do. Our orders state that we must stay away from this case.Van Pelt: I don't care what our orders say. It's not right.Lisbon: We closed cases before he came, we'll close cases after he's gone.Cho: Yeah,just not so many.Rigsby: Cases are not the point. It's not that we need him. He needs us.Lisbon: Yeah, he needs us on a fool's errand. Renfrew's a conman. He doesn't know anything about Red John.Van Pelt: Supposewe found a connection between Renfrew and Red John?Lisbon: It would... Wait, what's in the file? Let me guess, a connection between Renfrew and Red John? Van Pelt [smiles and hands her the file]: Seven years agoRenfrew was serving time on a narcotics conviction. He shared a cell in Lompoc with a man by the name of Orville Tanner. Tanner claimed in his 1998 trial for murder that he had only been an accomplice, that the realkiller was a man by the name of Red John. Nobody believed him.Lisbon: '98. That's the beginning of Red John's career. Where's Tanner now?Van Pelt: He died of heart disease in prison hospital.Lisbon: Of course. Ourluck.Van Pelt: It's a connection.Lisbon: Slim. Likely nobody believed him for a reason.Rigsby: But it's a connection.Lisbon: Okay. Check out Tanner's background, find the autopsy report, see if there's any credibility tohis story. I mean, obviously we can't do that, but that's what I would tell you to do if we weren't ordered to stay away from this case. [They all grin conspiratorially.] The bullpen. Rigsby is on the phone, Cho is lookingat a file, Van Pelt is on her computer.Rigsby [on the phone]: Okay, then let me speak to the assistant to the deputy records officer.Van Pelt: Why do people say 'Eureka' when they do something good?Cho: It's Greek for'bingo'.Van Pelt: Well, so, Eureka. I found the autopsy reports and they back up Orville Tanner's story. The body of the alleged victim - cut up Red John style.Rigsby: Which means that Renfrew is telling some kind oftruth about his Red John connection.Rigsby and Cho see Minelli approaching and try to look busy and innocent. Van Pelt doesn't notice him coming up behind her.Minelli: Van Pelt! [She jumps.] What's that you'reworking on?Cho: Sir, I asked her to...Minelli: I'm talking to Van Pelt.Van Pelt: Sir, I'm doing research for Jane. No excuses, sir.Minelli [looking at the other two.]: You too, I suppose?Lisbon comes into the room.Lisbon:Hey, boss.Minelli: I gave this unit a direct written order and they have flagrantly disobeyed that order. Did they do that with your knowledge?Lisbon: I ordered them to do it. I told them you countermanded your earlierorder. They had no knowledge whatsoever that they were doing anything irregular.Minelli: Nice try, Mother Teresa, they already gave themselves up.Rigsby: We never said a word!Lisbon: I stand by my story. Theydidn't know they were out of line.Cho: Sir, the opposite is true. We forced Agent Lisbon to let us do this.Minelli: Very touching. My ex-wife would have loved this scene in a movie. I'm giving you all formal notice. Anyfurther infractions will result in immediate suspension.Lisbon: Sir, you might as well suspend me now because there will be further infractions. Jane needs our help and he's going to get it. I'm not going to lay offbecause some fat cat's putting on the pressure.Cho and Rigsby: Me too.Van Pelt: And me.Minelli: Moving. Eloquent. Two thumbs up. You shall have your wish. You're all suspended, starting right now, for grossinsubordination. [He walks out.]Lisbon: I'm sorry.Lisbon walks into Minelli's office.Minelli: Oh, hi. Lisbon. [Sarcastically.] Still here?Lisbon: That was more of a rhetorical stand we were taking back there.Minelli: You takeit back then?Lisbon: Well no, but I wanted to talk...Minelli: This is the, um, the suspension paperwork right here.Lisbon: Look, I...Minelli: I have to go and visit my sister in Hawaii for a week. She's sick. Meanwhile, thispaperwork is going to sit on my desk. For a week. Is that clear? One week.Lisbon: Yes, sir. Thank you.Minelli: Yes, be very grateful. Do not contact me. I do not want to know anything. And please do not dig the holethat you are standing in any deeper than you have already dug it.Lisbon: No, sir.Minelli: That hole is the grave of your very promising career.Lisbon [mischievously]: You should put a flashlight underneath your chin,just to complete the effect.Minelli: I'm not kidding.Lisbon: I know. [She leaves, and Minelli gives a small smile of amusement.]Jane, sitting on a step next to some garbage, looking defeated. He's holding the piece ofpaper that Mrs Renfrew gave him with the housekeeper's address on it. Flashback to him finding the note on the door and the smiley face the night his family was killed. His phone ringing brings him back to the present.He answers.Jane [on the phone]: Hey Lisbon. [Listens] Oh yeah fine. Uh, just, uh, out... investigating stuff. [Listens] Uh, sure, yeah. Pepperoni or plain? [Listens] Okay. [Listens] Uh, hey, Lisbon, um, thankyou.[SCENE_BREAK]The bullpen. Night. Jane, Lisbon, Cho, Rigsby and Van Pelt are sitting around a table eating pizza.Jane: Renfrew couldn't dispute the physical evidence. The core of his defence was that he lovedAndine deeply and he would never hurt her. Andine's mother testified that was a lie. I went to go speak with her but she'd moved, left no forwarding address.Van Pelt: Mariska Kopecki, right? [She starts typing on herlaptop.]Jane: Yeah.Lisbon: How does the brother look?Jane: He had motive. There's a moral turpitude clause in the family trust. Once convicted, all Jared's shares in the family business went to Gardner. But he wouldhave also go the shares if Jared had died.Rigsby: So why not just kill Jared? Why kill Andine?Jane: Exactly. Why kill Andine?Cho: Wanted to see Jared suffer, maybe. Or had a thing for Andine himself.Van Pelt [lookingat her computer]: Eureka. I input Mariska Kopecki into the secure search engine. I get an IM link to a healthcare database that documents Mariska Kopecki's notification that she's changing her name to Vanna Clooney.I input the new name and get a hit. Four months ago someone named VK Clooney bought a condo in Marin.Lisbon: Nice work.Van Pelt: Yeah, weird thing though. The original IM came from a civilian. Dr Joe in NewHampshire. He couldn't have been logged onto the DOJ secure network, so how did he know what I was asking about and how did he have access to the healthcare database? Nobody is allowed to do that.Jane: Whenyou say Dr Joe in New Hampshire, do you mean DR JOE N.H.? [He changes the letters to read RED JOHN.]Van Pelt: Yeah. Oh, my god. Oh, my god.Jane: Ask 'Who are you?' [She types this and gets a response \".....: -)..... Is Jane there?\" The smiley is in red.] Yes. [He types \"This is Jane.\" And gets a response \"Keep up the good work.\"] Keep up the good work. [He types \"Why?\" and tries to trace the IM, but it fails.]Van Pelt: He'sgone.Rigsby: What the hell was that about?Van Pelt: He somehow tapped into the DOJ secure network. He's been spying on us.Lisbon: Can we find the source of the IM?Van Pelt: There's a self-destruct code built intothe uplink. It dead ends at the secondary server. There's no way to trace it back.Jane: He wants us to succeed. He wants Renfrew out of jail.Rigsby: Out where he can get at him to silence him.Jane: Yes. Which meansRenfrew is telling the truth, which means he has the goods on Red John.Lisbon: Slow down. We don't have anything yet.Jane: Yes, we still have to get Renfrew out of jail first.Lisbon: That's all?Jane: An we will and thenRed John will go after him. He has to break cover, he has to, and we'll be waiting for him.Vanna Clooney's apartment. Lisbon knocks on the door and takes out her badge.Jane: Uh.Lisbon: Damn. [She puts her badgeaway.]Jane: How are you going to get us in there without your magic badge?Lisbon: You do the talking.Jane: No, you try.Lisbon: Don't be childish, I'm not... [the door opens]Vanna: Oh, I thought it was Harry. Who areyou?Lisbon: Hi. Vanna Clooney?Vanna: Yes.Lisbon: I'm Teresa and this is Patrick. Can... can we come in for a moment? [Jane is watching Lisbon with amusement.]Vanna: What do you want? [Lisbon looks pleadingly atPatrick.]Jane: It's to do with Harry.Vanna: What about him?Jane: Well, it's best not to speak out here in public.Inside Vanna's apartment, Jane and Lisbon sit with Vanna in her living room.Jane: Okay, I lied just now."}
+{"doc_id":"doc_147","qid":"","text":"\"The Finger in the Nest\"[SCENE_BREAK]TEASER(Open: Special Agent Seeley Booth and his son, Parker, are walking through a park, talking. Booth has a football in his hands.)BOOTH: You know what the most beautifulthing in the world is?PARKER: Mom says a sunset.BOOTH: Okay, well, one of the most beautiful man-made things.PARKER: Mom says the Mona Lisa.BOOTH: Okay, look, all due respect to your mom, buddy, but aperfectly thrown spiral is way better than any of that stuff, okay, so let me show you how you do this. You put your hand up here like that, spread your fingers wide.PARKER: My hand's too small.BOOTH: It'll grow,alright? Okay, hand there to steady the ball. Lift it up to your ear.(Parker lifts the football up near his chin.)BOOTH: No, your ear, not your chin, silly. Alright.PARKER: What's it saying?BOOTH: It's saying, \"Throw yourold man a deep pass for a touchdown!\" Hey!(Booth runs out to catch the football then runs back to tackle Parker.)BOOTH: What? What you got? Whoo!(They both go down and Parker looks up into the tree they'replaying beneath.)PARKER: Hey, there's a bird's nest.BOOTH: Where?PARKER: There.BOOTH: Cool, huh? Hey, you want me to lift you up so you can see inside?PARKER: How about I knock it down with a perfectspiral?BOOTH: No, no, no... don't do that, you don't want to do that. That's somebody's home, okay, buddy? Something could be alive in there, okay?(Parker nods understanding.)BOOTH: So you want me to boost youup so you can see?PARKER: Sure.BOOTH: Alright, you ready?PARKER: Yeah.BOOTH: One, two, three and up.(Booth lifts Parker so he can see into the nest.)BOOTH: What do you see up there?PARKER: Higher, a littlehigher.BOOTH: Higher? Okay.(Parker looks into the nest.)PARKER: I see something.BOOTH: Well, if it's an egg, don't touch it because if the mommy bird comes back... PARKER: It's not an egg.BOOTH: What isit?(Parker lifts something out of the nest and looks at it.)PARKER: It's somebody's finger.(Cut to: Dr. Temperance Brennan driving in her car talking on her cell phone to Dr. Camille Saroyan who is in the Medico- LegalLab platform, with Brennan on speakerphone, she's there with a new grad student, Mr. Scott Starret.)BRENNAN: He pulled the finger out of a bird's nest.CAM: Did he completely freak out?BRENNAN: Booth said Parkerwanted to put it in his pocket and take it home.(Cut to: Medico-Legal Lab platform.)STARRET: When it comes to boys, that \"snips and snails and puppy dog's tails\" thing is pretty accurate.CAM: You have ason?STARRET: I have four.BRENNAN: (heard over the speakerphone) Mr. Starret is my oldest grad student.(Cut to: Brennan driving.)BRENNAN: Can you get a fingerprint?CAM: (heard over the speakerphone) Uh, notenough flesh.(Cut to: Medico-Legal Lab platform.)STARRET: There are scrapes on the bone and a jagged appearance here where it was severed.BRENNAN: (heard over the speakerphone) Well, it was probably chewedoff by a wild animal.(Dr. Jack Hodgins enters the platform.)HODGINS: The sticky stuff on the finger turns out to be sap from a flowering Japanese Cherry.(Hodgins looks at Mr. Starret strangely, and then shakes a fingerat him.)HODGINS: I know you from somewhere.(Mr. Starret looks Hodgins over and nods agreement.)STARRET: Right. I sold you a vintage '50s hot rod back in the mid-90s. You were clean shaven backthen.HODGINS: Because I was a kid.BRENNAN: (heard over the speakerphone) But you drove a hot rod, Hodgins?HODGINS: No, I did not. The lemon he sold me broke down after a week.CAM: Body parts in park,mystery needs solving.HODGINS: (turns toward a computer and begins typing) The nest was made by a corvus brachyrhynchos. The American crow.(Cut to: Image of a black crow on a computer screen.)HODGINS: Acrow will seldom stray more than twelve miles from its nest.STARRET: There's a spectacular copse of Japanese flowering Cherry at the Jefferson Memorial.HODGINS: How do you know?STARRET: Career number two:Parks supervisor.CAM: The Jefferson Memorial is eight miles from where Parker found the finger.BRENNAN: Good work, guys. (Hangs up her phone)HODGINS: I'd say \"King of the Lab\" but... that just depressesme.(Hodgins exits and Starret looks confusedly at Cam. She shakes her head.)CAM: Don't ask.(Cut to: Booth's office at the FBI building. Parker is sitting in Booth's chair at his desk and Booth and Dr. Lance Sweets arestanding outside the office watching him.)SWEETS: A human finger?BOOTH: Yeah, a human finger, alright? Look, is my son going to be suffering from some kind of post-traumatic stress, you know like suppressedfeelings, memories, all that hooey?SWEETS: Well, a child's brain can't process death as an end. You know, that's why we tell children that their deceased loved ones are looking down on us from heaven.BOOTH: Whichthey are.SWEETS: Yeah, it's an excellent coping technique. You know, grandma isn't worm food, she's simply moved on to a better place.BOOTH: Which she did.SWEETS: Yeah. Parker looks good to me.(Cut to: Parkerplaying with a baseball and glove.)BOOTH: So, you talk to him?SWEETS: \"Hi, Parker, I'm Dr. Sweets. I'm a psychologist and I'm here to talk to you about the human finger that you found.\"BOOTH: That's great. Couldyou do that?SWEETS: No. That could introduce issues that don't currently exist. Just call me if he displays any symptoms of distress.BOOTH: Okay, any symptoms of distress. Like um, killing cats?SWEETS: Yeah,sure.(Cut to: Booth and Brennan, Booth is sitting in the SUV while Brennan leans against it. Lights are flashing around them, obviously at a crime scene near the Jefferson Memorial.)BRENNAN: When I was five yearsold, I went next door to visit our neighbor, Mrs. Walkey, and she was dead; sitting at the kitchen table. And I'm alright.BOOTH: You spend your life with skeletons. It's just a matter of time. He's just a kid. He's gonnarealize that he had a dead finger in his hand. He's gonna freak out.BRENNAN: Are you afraid you're going to get into trouble with Rebecca?BOOTH: There's a chance that he might not say anything to her.BRENNAN: So,yes.FBI AGENT: Agent Booth?BOOTH: Yeah?FBI AGENT: We found something.(Booth gets out of the car and shuts the door.)(Cut to: Booth and Brennan with flashlights walk into a copse of trees.)BOOTH: Okay, whathave you got?(Cut to: An opossum chewing on a corpse.)BOOTH: Whoa!BRENNAN: Aww, it's an opossum.BOOTH: Eating a body. Should I shoot it?BRENNAN: No. No, no, no. Opossums are scared of humans. Here!(Walks toward the opossum, tucking her flashlight under her arm, and starts clapping her hands.) Shoo, shoo, shoo. Shoo, shoo. Go, go, go, go. Go, go, go. Shoo, shoo. C'mon, shoo, shoo, shoo, shoo, shoo, shoo,shoo. (Opossum walking slowly off.)BOOTH: Yeah, they're terrified.(Brennan returns to the corpse and looks down at it.)BRENNAN: A number of body parts are missing. We'll have to grid the vicinity.BOOTH: Okay, we'llre-calibrate the search, and we'll call this ground zero.BRENNAN: Fanny pack, PDA clip.BOOTH: Well, if you can identify this person, I can subpoena the PDA's contents.BRENNAN: Partial skull.BOOTH: (Shines hisflashlight around the area and lands on the opossum.) Oh, look at that. The possum's dead. (Eyes brighten with an idea.) I got it! The victim was poisoned, the possum ate the victim, got poisoned and died. That'sit.BRENNAN: (walks over to the opossum while explaining to Booth) A stressed-out opossum can go into a false sleep, lasting up to four hours. (Picks up the opossum by the tail, and it starts moving shortlyafter.)BOOTH: Oh. So the possum was faking it?BRENNAN: Uh-huh. (Puts the opossum down and it walks off.)BOOTH: Wow. Yep, there it goes.BRENNAN: Uh, you should go get him.BOOTH: What do I look like, RangerRick?BRENNAN: He could have evidence in his digestive tract.BOOTH: C'mon, Bones.BRENNAN: Booth, evidence.BOOTH: Fine, I'll go get your possum.BRENNAN: Opossum.BOOTH: Possum.BRENNAN: Opossum.ACTONE(Open on: Medico-Legal Lab platform. Mr. Starret and Cam are examining the remains found near the Jefferson Memorial.)STARRET: The sternal rib end indicates the victim was between 35 and 40 years old. Thelength of the long bones suggests he was between five-foot-eight and five-ten.CAM: He?STARRET: Bone density and skull indicators suggest male.CAM: Time of death... approximately four days ago. Lividity indicatesthat he died somewhere else and was then dumped. Deep puncture wounds to the trachea pierced the jugular. He bled to death.STARRET: I'll make an impression of the wounds, and see if we can't specify a murderweapon.CAM: First we look for particulates.(Cut to: Hodgins looking in a microscope, Sweets is standing nearby.)HODGINS: Bull pen1s.SWEETS: Beg your pardon?HODGINS: The fanny pack had dandruff-sized flakes ofbull pen1s in it. (Sits back from the microscope and looks at Sweets) Why are you spying on me?SWEETS: Could it be because I'm the dupe of an organ of the shadowy forces that secretly run this country?HODGINS:You got the dupe part right. (Looks back into the microscope) Freeze dried bovine phallus.SWEETS: You know where to find me if you wish to discuss anything.HODGINS: Yeah, the problem isn't finding you-it's avoidingyou. Hm.SWEETS: Okay.(Sweets exits.)(Cut to: Angela's office. Angela is at the computer while Starret and Cam look over her shoulders.)ANGELA: The skull was badly mangled, so I was only able to construct a partial.But I cross-checked physiological markers against the missing persons database and it yielded three possibilities. Okay. Robert Sanchez, 24... STARRET: Too young.ANGELA: Michael Minden, former basketball coach,thirty-nine.STARRET: Too tall.ANGELA: That leaves Dr. Seth Elliot, veterinarian, thirty-seven.CAM: Any objections to Dr. Elliot?STARRET: He falls into the parameters. Plus, dog trainers use freeze dried bull penises asrewards. He was a veterinarian.ANGELA: H-how do you know about the bull pen1s stuff?CAM: He's middle-aged and he's held every possible job.STARRET: Four boys, seven dogs, fourteen guinea pigs, one reticulatedpython... you get the point.ANGELA: I got it.(Cut to: Conference room at the FBI building. Booth and Brennan are questioning the ex-wife of the victim, Alice Elliot.)ALICE: Oh, God. I've always hated that fanny pack.That's blood on it, isn't it? What happened?BRENNAN: Mrs. Elliot, when did you last speak with your husband?ALICE: Ex-husband. On Thursday, we made arrangements for Seth to pick up Brando. We have jointcustody.BOOTH: And Brando is... (A small dog pokes it's head out of a bag on Alice's lap) your cat.BRENNAN: That's a dog, Booth.BOOTH: I... Thank you. So, uh... Seth Elliot never picked up Fido.BRENNAN:Brando.BOOTH: The dog?ALICE: Seth's dead, isn't he?BOOTH: I'm afraid so.(Alice starts to cry and hugs the dog.)BRENNAN: May I hold your dog while you cry? (Alice hands over the dog and Brennan grins.) Oh, he'sso compact. (The dog is making small yipping and growling noises.)ALICE: Brando adored Seth. So did I.BOOTH: Wow, not so many ex-wives speak so fondly of their former husbands.ALICE: I never wanted to divorceSeth.BRENNAN: Then why did you?ALICE: You know, Seth had a serious gambling problem. He would either lose our car payment, or he would come home with diamond earrings. And when he lost our house, filing fordivorce was supposed to be a wakeup call.BOOTH: And he never woke up.ALICE: No.BOOTH: Listen, do you have the bookie's name?ALICE: No, ask Karen.BOOTH AND BRENNAN: (Together) Who's Karen?(Cut to: Dr.Elliot's office. Booth and Brennan are talking with Karen Landrew, Dr. Elliot's assistant.)KAREN: (Crying) I've been Dr. Elliot's assistant, receptionist, whatever, for like eight months. Murder?BRENNAN: His remains werefound in the Jefferson Memorial park.KAREN: Oh my God, poor Seth. I don't know what'll happen to this place now.BRENNAN: Was it doing well?KAREN: We made barely enough to pay the rent, cover his salary, mineand... and the kid who sweeps up.BRENNAN: So no, not very well.KAREN: Seth didn't tell me everything, but I could sense he was under a lot of pressure. He tossed and turned all night.BOOTH: So you slepttogether?KAREN: He's divorced, I'm single. There's nothing enervating about it.BRENNAN: Oh, for future reference, that word doesn't mean what you think.BOOTH: Look, are you aware that Dr. Elliot had a gamblingproblem?KAREN: That was Seth's one fault.BOOTH: We'd like to talk to his bookie, if you know where he is.KAREN: I don't think that's how Seth gambled.BRENNAN: How did he gamble?KAREN: Online poker,mostly.BOOTH: Can you think of anything else?KAREN: Well, just after I started here, Seth caught a guy stealing drugs. He-He wrestled him to the ground, called the cops. Everyone said Seth was a hero.BRENNAN:What kind of drugs?KAREN: Ketamine. It's an animal tranquilizer. An-and the guy went to prison. Do you think he killed Seth for revenge?BOOTH: You know, thank you for your help. We're really sorry for your loss.Come on, Bones.KAREN: Without Seth, I'm paralyzed. I don't know how I'll find the energy to go on.BRENNAN: Now that is what \"enervating\" means.BOOTH: Bones.BRENNAN: What?(They exit.)(Cut to: Booth andBrennan driving. Brennan has a laptop open on her lap, Booth is driving.)BRENNAN: Okay. Tucker Payne. He was found guilty of stealing drugs from Dr. Elliot's vet clinic. Sentenced to two years and he was paroled onemonth ago.BOOTH: I'll have the drug thief's parole officer bring him in for questioning. Okay?(Brennan's phone rings and she answers it.)BRENNAN: Brennan.(Scene cuts back and forth between the Medico-Legal labwhere Cam, Starret and Hodgins are and the car where Booth and Brennan are.)CAM: Dr. Brennan, Hodgins found saliva.BRENNAN: (Heard over the speakerphone) Where?CAM: On the victim.BRENNAN: But why wasHodgins looking for saliva?HODGINS: I wasn't looking for saliva. I found it. (Hodgins heard over the speakerphone.) Giant difference.BOOTH: Whoa, easy pal, watch your tone.BRENNAN: I don't care about tone, I justcare about results.(Cam holding up a finger to quiet Hodgins while she speaks.)CAM: Dr. Hodgins was looking for particulates on the mandible and vertebrate that might lead to a murder weapon when he foundsaliva.HODGINS: There was enough saliva in the wounds to run a DNA profile.BOOTH: Well, it had to be the possum, right?STARRET: Uh, the puncture wounds indicate something larger.BOOTH: Hey, who'sthat?HODGINS: (Heard over the speakerphone.) A fraudulent used car salesman.CAM: Booth, meet Mr. Starret.HODGINS: (Heard over the speakerphone.) I ran the standard eight nuclear markers for canids... BOOTH:Canids? What's that, like some kind of bug?STARRET: Not a bug, Agent Booth.HODGINS: Canis lupus familiaris. See how annoying that interrupting know-it-all used car salesman thing can be?BOOTH: I'm sorry,w-what is a can-ass familiar-ass... BRENNAN: Domestic dog.CAM: Seth Elliot was killed by a dog with filed teeth.ACT TWO(Cut to: Conference room in the FBI building. Booth interrogating Tucker Payne who isaccompanied by his pit bull, Schatzi.)BOOTH: Tucker Felix Payne. You really must hate your parents for naming you that.TUCKER: It's a good name. Felix means \"lucky.\"BOOTH: Assault, possession of various restrictedweapons, various drug offenses. You don't seem so lucky.TUCKER: You should see the stuff they didn't get me on.BOOTH: Was it good luck that got you taken down by a veterinarian?TUCKER: I was so high I couldhave been taken down by a florist.BOOTH: Yeah, the vet is dead. You get paroled, vet turns up murdered. You see where I'm going with this? Make your dog bark?TUCKER: You told me to bring Schatzi so you couldhear him bark?BOOTH: Schatzi?TUCKER: It means \"treasure\" in German.BOOTH: Yeah, I want to hear Schatzi bark.TUCKER: Gib laut!(Schatzi barks twice.)BOOTH: I can't see its teeth. Want to show me his teeth?(Booth takes his gun out and places it on the table. Tucker shows Booth the dog's teeth, Shatzi growls.) Why do you file its teeth down to points?TUCKER: I'm a drug dealer. You people catch me with a gun, I go awayforever.BOOTH: Shatzi your choice of weapon?TUCKER: Never had to use him yet. Were you really going to shoot my dog?BOOTH: I got nothing against your dog. (Booth picks up his gun and puts it back in his holster.)I was going to shoot you. See, I'm going to take your dog. (Hands Tucker a warrant.)TUCKER: Aww, man. You got a warrant for my dog?BOOTH: Mm hmm.TUCKER: That's cold.(Cut to: Medico-Legal Lab platform. Camand Starret are going over results.)STARRET: Per your instructions, I microsiled the lethal bite mark. See here? (Points to bite marks on a bloody mandible.)CAM: An irregularity in the wound track.STARRET: Yes. I tookan impression of Shatzi's bite.CAM: Who's Schatzi?STARRET: (Schatzi barks in a cage behind them.) Drug dealer's dog. (Turns to the dog and points.) Sejet sch n brav! (Turns back to Cam.) He responds to Germancommands.CAM: Very intimidating.STARRET: The dog that killed Dr. Elliot has a pronounced crack in its canine tooth. And the neighboring bicuspid shows a slab fracture. Very distinct.CAM: So Schatzi's not ourkiller.STARRET: Schatzi is innocent.(Shatzi barks again and the phone rings, Cam picks up.)CAM: Hey, Hodgins.(Scene cuts back and forth between the lab and the examination area where Hodgins and other FBIforensic crewmen are examining a car.)HODGINS: City police found the vet's car. A forensics crew is going through it now. Booth wanted me to make sure they didn't screw things up. (A forensic crewman gives Hodginsa look, and Hodgins shrugs.) Hey, deal with it.CAM: (Heard over the speakerphone) Well, I hope you find something, 'cause this puppy's innocent.HODGINS: (Heard over the speakerphone.) Yeah, well we're findinggobs of dried blood.CAM: It's a vet's vehicle-could be from one of his patients.STARRET: It's not.HODGINS: (Heard over the speakerphone.) Don't listen to him. You'll end up buying this blood-soaked heap for threetimes its value.STARRET: I worked as a vet's assistant in college when I was studying to be and EMT. We were as careful with blood as any human doctor.HODGINS: You ever think this vet didn't live up to your highstandards?STARRET: (Heard over the speakerphone.) Most likely, the car was used to transport the victim's body, and then dumped.CAM: (Heard over the speakerphone.) That does make more sense.HODGINS: Ifound... (the forensic crewman clears his throat and gives Hodgins a look) Excuse me. The crack FBI team found a prescription bottle of arithromyacin.CAM: That's not an animal drug. That's a macrolide antibiotic usedfor a number of conditions.STARRET: Including acne and STDs. (Cam nods and gives him a questioning look. He holds up his hands.) Four boys.CAM: (Heard over the speakerphone) Maybe we got lucky and the bad guydropped his prescription.HODGINS: Bottle reads \"Donald Timmons.\"STARRET: (Heard over the speakerphone.) We should track him down.HODGINS: Wow, that is an absolutely wonderful idea that could only havesprung from a time-tempered mind of a man with your life's experience ripping off unsuspecting car enthusiasts.FBI FORENSIC CREWMAN: I feel better. You treat everyone like crap.(Cut to: Booth and Brennan drivingup to a run-down shack with lots of machinery. Two dogs are sitting outside.)BOOTH: Wow, look at that pit, huh? Muscles like cantaloupes. (Pit bull starts barking.)BRENNAN: (Goes for the door handle to get out of thecar.) Is that why we're not getting out?BOOTH: No, it's the country, Bones. They got a different way of doing things.BRENNAN: You're afraid of the dog.BOOTH: No, I'm not. What you do in the country is you sit in yourcar and you wait. It's rural-polite. Parker had a nightmare.BRENNAN: About severed fingers?BOOTH: No, it was a singing frog.BRENNAN: I don't see the connection. But then I'm one of those people who thinks that ifyou dream about a banana, it's probably just a banana.BOOTH: He's acting up in school, he's talking back to his mom, he's not flushing the toilet.BRENNAN: He's a boy.BOOTH: Okay, yeah. I get it. You saw a wholelady's corpse when you were a little girl, and you were fine.BRENNAN: Yes. Although, for some reason that I do not understand, I kept staging my own death. Pretending that I drowned in the bathtub, faking electricalshock. It really freaked my parents out. And then once when Russ found me hanging he had to go see the school psychologist.BOOTH: But otherwise you were fine?BRENNAN: Yeah.BOOTH: Yeah, okay. Do you dreamabout bananas a lot?BRENNAN: Why? (Booth shrugs and a man comes out of the building. Brennan nods toward the man.) Can we get out of the car now?(Booth and Brennan get out of the car.)BOOTH: Quiet. Don"}
+{"doc_id":"doc_148","qid":"","text":"[Scene: Central Perk, Chandler and Joey are there. Joey is looking at a National Geographic and giggling.]Chandler: Are you looking at naked tribe's women?Joey: No, look. (Shows him the magazine.)Chandler: That's apig.Joey: I know, I know, but look at the knobs on her.(Ross enters and his hair is a mess.)Chandler: Hey! (Joey quickly hides the magazine under the couch.)Ross: Emily's cousin kicked me out!Chandler: What?!Joey:Why?Ross: Well, when you're subletting an apartment from your wife's cousin and then you get a divorce, sometimes the cousin suddenly wants his apartment back.Chandler: How can he do that? Didn't you sign alease?Ross: Who needs a lease when it's family!Joey: Hey, you can stay with us! We'll take care of ya!Chandler: Oh, yeah! Absolutely! Anything you need man! But you have to promise me the second you are feelingbetter so that we can make fun of your hair!Joey: Yeah.Ross: You got it.Joey: Okay.Ross: Thanks you guys, I really appreciate this. All right, I'm gonna get packing again. Man, I've been moving around so much I'mbeginning to feel like a nomad.(Joey starts giggling.)Ross: What?Chandler: He thought you said gonad.(Joey busts out laughing.)Opening Credits[Scene: Monica's restaurant, she is getting inspected by the healthdepartment, Phoebe is watching.]Health Inspector: Wow, Monica, if every restaurant is as clean as yours, I'd have a tough time making a living.Monica: Oh, Larry.Phoebe: Umm, do health inspectors work oncommission?Larry: No, bribes.(Phoebe laughs.)Phoebe: It's okay to laugh right?Larry: Yeah, I was just kidding.Phoebe: Okay. (She laughs harder.)Larry: I'll check the kitchen floors.Monica: Okay, knock yourself out,Larry.(He goes into the kitchen.)Phoebe: Yum-my!Monica: Larry?Phoebe: Oh yeah! I'd let him check out my kitchen floors.Larry: (entering) A 98. I deducted 2 points because you are not wearing your chef's hat, andthat is a Section 5 violation.Monica: Uh, look, Larry honey, umm, I wrote the book on Section 5 and I know that you don't have to wear your hat unless you're in the kitchen.Larry: And where is your hat?Monica: It's inthe kitchen, I'll go get it.(She heads for the kitchen door and just after she goes through the door...)Larry: Ahh that's the 2 points.Phoebe: Hey, you should really read that book you wrote. (To Larry) Wow! You saw thehat in the kitchen and knew that she'd have to go in there hatless to get it. You can have your own health inspector detective show!Larry: Oh, I don't know about that.Phoebe: Yeah, but then I can be you sidekickVunda.Larry: Maybe uh, Vunda could give me her number and I can ask her to dinner sometime.Phoebe: Okay, she would love that! Y'know, 'cause you know all the clean places to eat.Larry: I-I'll call ya.Phoebe:Okay.(Larry goes to leave but heads the wrong way and makes a quick sidestep to go out the right door.)Phoebe: He's so funny! (She imitates what he just did.)[Scene: Central Perk, Gunther is serving Monica andRachel.]Monica: Thanks.Rachel: Thank you. (To Monica) Mon?Monica: Hmm?Rachel: How's Ross doing? Y'know since all the Emily stuff.Monica: He's not great umm, but he's dealing with it. Oh wait a minute, you're notgonna try...Rachel: Oh, honey, please, no, I can't get started with all that Ross stuff again. I mean, he's gonna screwed up for a looong time. And besides y'know, I don't, I don't go for guys right after they getdivorced.Monica: Right, you only go for them 5 minutes before they get married.(Danny enters.)Danny: (To Gunther) Two pounds of Moca Java please.Monica: (To Monica) Danny. Are you guys ever gonna go outagain?Rachel: I don't know! He hasn't called me since that one time when we went out. I see him in the hallway, we flirt, I'm all ha-ha-ha-ha, and nothing.Danny: (To them) Hey!Rachel: Hi Danny! (Notices his box ofliquor he's carrying.) Wow! Thirsty huh?Danny: Uh, actually, actually, I'm having a party at my place on Saturday, it's sort of a house warming kind of thing.Monica: Ohh, fun!Rachel: Ohh, great!Danny: Yeah, I'm reallylooking forward to it.Rachel: Yeah.Danny: Okay, see ya. (Heads out.)Monica: Well, I guess we won't be warming his house.Rachel: (laughs) Okay. All right, I see what he's doing! He's not asking me out, because hewants me to ask him out.Monica: And you're not gonna do that.Rachel: That's right! 'Cause that would give him the control! So now he's all ooh, coming up with this whole I've got a party thing y'know, trying to get meto hint around for an invitation. Blew up in his face, didn't it?Monica: So-so there is no party.Rachel: No, there's a party. There's a party. But the power, that is still up for grabs. You follow me?Monica: I think so. Se,he-he's not inviting you to his party because he likes you.Rachel: Exactly.[Scene: Chandler and Joey's, they're entering to find boxes strewn about the apartment.]Joey: Ross?Ross: (entering from the bathroom) Heyroomies!Chandler: Love what you've done with the place.Ross: Oh, yeah I know, I know, it's a lot of boxes, but again I really appreciate you guys letting me stay here.Joey: Not a problem. And listen, hey! Since you'regonna be here for a while, why don't-I was thinking we uh, put your name on the answering machine.Chandler: Oh yeah!Ross: Oh, I uh, hope you don't mind, I kinda uh, jazzed it up a little. Check this out. (He playsthe greeting, and We Will Rock You starts to play and Ross's voice comes over it.) We will, we will, call you back!Joey: Hey, all right!Ross: Pretty cool, huh?(They both laugh as Ross heads back to the bathroom.)Joey:(To Chandler) You're fake laughing too, right?Chandler: Oh, the tears are real.[Scene: A restaurant, Phoebe and Larry are having dinner.]Larry: You look beautiful this evening.Phoebe: (smiles) Show me the badgeagain.(He looks around and flashes her his badge and she laughs.)Phoebe: Shiny.Larry: Oh, will you mind if I wash up? Because I came straight from work and who knows where these babies (Holds up his hands) havebeen.Phoebe: (laughing) You are just nonstop!(He goes to the bathroom and Phoebe puts some pepper and salt on her food. With the salt she takes a bit and throws it over her left shoulder as she faces us.)Larry:(coming back) We're outta here!Phoebe: Why?!Larry: Just walking past the kitchen I saw 10 violations! I'm shutting this place down!Phoebe: (awed) You have the power to do that?Larry: This does. (Shows her hisbadge.)Phoebe: (excited) Shut it down.[Scene: Chandler and Joey's, Chandler is entering. As he closes the door, Joey pokes his head up from a box enclosure built using the 2 chairs.]Joey: Hey.Chandler: What are youdoing?Joey: Nothing.Chandler: You built a fort didn't ya?Joey: (smiles) Kinda.Chandler: (notices something) Oh my God, the air purifier! Ross's air purifier! All I heard through 4 years of college was (makes a hummingnoise.)Joey: Dude, you should've gone out once and a while.Chandler: I hate this thing!Joey: Come on, Chandler, Ross is our friend. He needs us right now, so why don't you be a grown up and come and watch someTV in the fort![Scene: Monica and Rachel's, Rachel is opening the door.]Rachel: Oh, hi Danny.Danny: Hey guys, I just uh, wanted to invite you to the party tomorrow night.Monica: Oh, thanks! We'll try to stopby.Rachel: Uh, actually, I think I'm gonna be busy.Monica: You are?Rachel: Yeah! Remember I got that uh, gala.Danny: Yeah, what's the gala for?Rachel: It's a uh, regatta gala.Danny: Really! You-you sail?Rachel:No-no, but I support it.Danny: Okay, (To Monica) hope I see you tomorrow night.Monica: Okay.Danny: Take care. (Leaves.)Rachel: Okay. (Closes the door.) Walked right into that one didn't he?Monica: What one? Youwanted him to invite you to the party and he did it!Rachel: Yeah, but he waited until the last minute! So if I said yes, he would know I had nothing better to do than wait around for an invitation to his stupid party. Isaid, \"No!\" Which puts me right back in the driver seat.Monica: Great. So the ball is in his court?Rachel: Ball? There is no ball.[Scene: Chandler and Joey's and Ross's, Ross is working on his computer and Joey is makinga lot of noise.]Ross: (glaring at him) Joey, please! (Motions to his computer.)Joey: Sorry.(Joey starts playing with a toy alligator and has it attack him.)Joey: Ahhhhhhhhhh...(Notices Ross looking at him and stops. Rossgives him his 'quiet down' maneuver. Okay, this may take a while to explain, so center this on you screen and place your hands about a foot apart with your fingers together and pointing straight up. Now take youfingers and point them at the other hand and making a 90-degree angle with each of your hands and the first knuckle counting up from the wrist. Now take your right hand, no your other right (that was for thedyslexics), and lower it a couple of inches, so that the fingers are pointing at your wrist. Now take your arms and keeping the elbows bent and your hands in front of you spread out your arms, kinda like making a bird'swing. Now hunch your shoulders over and move you hands up and down as if you are trying to tell some one to turn it down. That's Ross 'quiet down' maneuver. Well, there is an accompanying face, but I don't want totry and describe it as well.)Chandler: (entering) Hello children!Joey: Hey! Wanna play some foosball? Please?Chandler: Okay. (Starts to head for where the foosball table usually is.)Joey: No-no, no! We have to movethe table into my room, yeah! 'Cause of all the boxes. Come on!(They go into his bedroom.)Joey: All right, I have one question. What is the deal with this? (Imitates Ross's 'quiet down' maneuver, but does move hishands up and down he just flaps his hands as if he's waving good-bye.)Chandler: Bye-bye little puppet Joey hand?Joey: No, the quiet down thing!Chandler: You mean this. (Does the maneuver perfectly.)Joey:Um-hmm! Look, I-I-I don't know how much more of this I can take! Did you know he taped over my Baywatch tape with some show about bugs! My God! What if that had been p0rn?Chandler: (gasps) All right look,y'know, this maybe tough but come on, this is Ross! I survived college with him!Joey: All right, I guess I can hold out a little longer. Let's have a game.Chandler: Okay.(They start playing.)Chandler: No-no-no-no!Joey:YES!!Ross: (entering) Uh fellas, (Does the maneuver and gives them a double thumbs up, which Chandler returns as he closes the door.)Chandler: Okay, so he's out of here.Joey: Um-hmm.[SCENE_BREAK][Scene:Monica and Rachel's, Monica, Rachel, and Phoebe are there.]Joey: (entering) Hey!Monica: Hey!Joey: You guys got anything to eat? I just went down to Johnos for some chicken and it was closed!Phoebe: Oh, I tookLarry there to eat but it was all violated. So we shut it down!Joey: Pheebs, if this guy keeps closing down all of our favorite places, where are we gonna eat?!Monica: I don't know, clean places?Joey: Umm, yum!(There'sa knock on the door and Monica answers it.)Monica: (looking through the peephole) It's Danny.Rachel: Don't let him in! I'm supposed to be at a regatta gala.Monica: (to Danny) We'll be right there! (To Rachel) Can'tyou just say it starts later?Rachel: What? What kind of a regatta gala starts at night?!Monica: The fake kind!(She opens the door and Rachel hides behind it.)Danny: Hey, hi, I need a ladle. You got a ladle?Monica: Wehave a ladle. (Gives him one.)Danny: Thanks, see you at the party.Monica: Okay, great!(He leaves and she closes the door.)Phoebe: Hey, guys, you know what Larry would say? He would say, \"See you ladle.\"(Laughs.)[Scene: Central Perk, Chandler, Joey, and Ross are there. Chandler and Joey are looking through the paper.]Chandler: Well, I-I-I'm done with this. You want anything Ross? Sports? International? Apartmentlistings?Ross: I'll take sports.Joey: Mine! (He grabs it.)Ross: All right. Uhh, international.Joey: Oh that's mine too! (Grabs it and Ross looks at him.) I'm Italian!Ross: Well, I guess I can check out those apartmentlistings, even though there's never anything in here.Chandler: Not even on page 7?Ross: (looks) Oh yeah! You're-hey, you're right! Here's an affordable place, (reading ad) two bedroom, close to work, ooh, it'savailable in five weeks!Chandler: What about that circled one?Ross: Oh, I-I don't know, it's kind of expensive for a studio.Joey: But it's available now! Isn't it?Chandler: Yes, it is.Joey: Hey, let's go look at it! (They bothjump up.)Ross: Okay, let's go.Joey: Okay!Chandler: There we go!Ross: Oh-oh-ooh, hey guys, I was wondering if you guys would uh, maybe chip in on some new air filters for the air purifier? I mean after all, we all areusing it.Chandler: Let's go quicker.Joey: Yeah![SCENE_BREAK][Scene: The apartment in the listing, the guys are checking it out. There's one problem though, it's roughly the size of this computer screen. As they enterJoey lets out a whistle.]Ross: Oh my God! (Looking around, which doesn't take him long.)Chandler: Yeah, well look at this kitchen, slash bathroom. Well that's great! Y'know so you can cook while in the tub.Joey:Somebody was using his head. Hey, let's check out the rest of the place.(They don't move, just look all around them.)Ross: I think this is it. I don't know, maybe we should keep looking.Joey: But hey, Ross, this place isavailable now!Chandler: Yeah, you don't want to be stuck with us for the next five weeks.Joey: Yeah.(He looks at them.)Ross: (To Joey) So, you-you think I should go ahead and take this place?Joey: Oh, it'sperfect!Ross: (To Chandler) How about you?Chandler: It's a kitchen slash bathroom.Ross: All right, I see what you guys are saying. I'll uh, I'll go downstairs and fill out an application.(He exits.)Chandler: We are badpeople.Joey: He knew we were trying to get rid of him. He knew! (Pause.) You think we could get a bathtub in our kitchen?[Scene: Central Perk, Phoebe is there waiting for Larry.]Larry: (entering) Hey, ready fordinner?Phoebe: Ooh, absolutely!Larry: Great! How about you wanted to go the Italian place down on Bleaker Street right?Phoebe: Ooh, I love that place! (Thinks about it.) So, no.Larry: How about MamaLisettie's?Phoebe: Enh. Sure!Larry: (notices something) I wonder how long that milk (on the counter) has been setting out.Phoebe: Oh, no-no, this place is totally healthy! That-this milk is mine. I bought this today,'cause I was thirsty for milk, y'know. (She takes a swig of it, but has to turn away from him as she makes a face to show that it has gone bad.) Okay, let's go!(Just as they're about to leave, Gunther comes out of theback carrying two garbage bags. Larry sees this and stops him.)Larry: Hey, buddy! (Flashes his badge.) Are you familiar with Section 11-B of the Health Code that requires all refuse material out the back exit?Gunther:But then I'd have to go all the way around the dry cleaner place.Larry: Oh, so you're saying you'd choose convenience over health?!Phoebe: Okay, stop! Larry, okay, can't you just be Larry and not Larry the healthinspector guy? Y'know I mean it was really exciting at first but now it's like, okay, so where are we gonna eat ever?Larry: Well, I suppose I could give him a warning.Phoebe: Thank you. (To Gunther, who's standingthere frozen) Okay, go! Go! Go! (He runs off.) (To Larry) Now, if after dinner you still really need to bust someone, I know a hot dog vendor who picks his nose.[Scene: Chandler and Joey's, Chandler and Joey arelamenting about how they kicked Ross out.]Joey: Maybe, maybe we did a good thing, helping Ross get back on his feet!Chandler: Yes that was a nice place!Joey: Yeah!Chandler: Not a lot of closet space, but he can justhang his stuff out the window in a bag!Joey: Yeah!(Pause.)Chandler: What are we gonna do?Joey: I don't know. Maybe pizza?Chandler: About Ross!Joey: Oh! Oh!(The phone rings and Joey answers it.)Joey: Hello!(Listens.) Oh yeah! (To Chandler) It's the apartment manager; Ross put us down as references. (To the apartment manager.) Ross is the greatest guy you'll ever meet! Yeah, he's very reliable.Chandler: (grabbing thephone) Of course he has this big huge dog! That uh, barks into the night. (Listens.) Well, who doesn't love dogs? (Thinks.) Ah, he's a tap dancer! (Listens.) Yes, some would say that is a lost art. (Thinks.) He's a pimp!(Listens.) There you go! Yes, he's a pimp. He's a big, tap dancing pimp! (Pause.) Hello?(The apartment manager hung up on him and he hangs up the phone and throws in on the chair. Joey motions, \"What the hell wasthat?\" Chandler makes a face to say, \"Think about it.\" Joey tries to divide 136 by 13; he's confused. Suddenly, light dawns on yonder dunder head. He gets it.)Chandler: Ohhhhh!(Joey motions, \"Now, that'sthinking!\")[Scene: Downstairs at Danny's party, Monica and Rachel are coming down the stairs and Rachel has on a coat to make it look as if she's just getting back. But just as they reach the landing they see Dannyout in the hall talking to a guest, Rachel then quickly pulls Monica back up the stairs.]Rachel: Shoot, shoot, this is never gonna work! He's right there!Monica: Just go over and say hi.Rachel: No, I have to go downstairsand come back up as if I'm coming home from the regatta gala. Okay? So just go distract him. But don't be sexy.(Monica obeys.)Monica: Hey, Danny!Danny: Hey! What's going on?Monica: (turns his back to the stairs)Oh, it's a great party! Great food. Y'know, most parties it's all chips and salsa, chips and salsa. (As she's saying this Rachel tries to head downstairs but is blocked by people coming upstairs. She quickly retreats back upthe stairs.) (Sees that she has to keep him distracted longer.) So umm, what's this? (Points to his plate.)Danny: Salad.Monica: Ooooh! (Rachel now succeeds in getting downstairs.) And-and-and what-what's this?(Points again.)Danny: Bread. Aren't you a chef?(Rachel returns.)Monica: (upon seeing Rachel she points) Oh.Danny: Hey! Rachel!Rachel: Hey! Oh right, tonight was your party.Danny: Oh wow, you look great! Glad youcould make it.Rachel: Oh well, y'know, the gala had to end sometime.Danny: Don't go anywhere, I'll be right back. (He heads off.)Rachel: Yeah, sure. (To Monica) All right, whose court is the ball in now?Monica: Ithought there wasn't a ball?Rachel: Oh, come on! He's glad that I came, he doesn't want me to go anywhere, balls flying all over the place!Danny: (returning, with a friend) Rachel, this is my friend Tom. (To Tom) Thisis the girl I told you about.Rachel: Oh, go on! You telling people about me?Danny: You two could really hit it off! I'm gonna go mingle. (Leaves.)Tom: So you work at Bloomingdale's, huh? My mom calls itBloomies.Rachel: (laughs) Yeah, okay, at ease solider!Tom: I'm sorry?Rachel: No, it's all right, you can just drop the act Tommy. I know what's going on here. Your Danny's wingman right? You guys are best buds. Fratbros!Tom: I'm gonna go talk to uh, a friend.Rachel: Yeah, yeah, you go talk to your friend. You tell him, \"Nice try.\"(He walks off.)Rachel: Man! He just keeps lobbing them up and I just keep knocking them right out ofthe park!Monica: I think I need a drink.Rachel: Yeah!(They go get a drink.)[Scene: Chandler and Joey's, Ross still has boxes all over the place. Joey is wearing a football helmet, and Chandler is spinning him around inone of the chairs and counting.]Chandler: 98. 99. 100. Okay, go!Joey: (getting up) Dude, I'm telling ya! I'm fine! (He tries to take a step and falls flat on his face.)(He tries to get up again and starts falling backwardsand Chandler catches him.)Chandler: Here we go! Here we go!(Ross enters.)Joey: Hey!Chandler: Hey!Ross: Hey. So I uh, I didn't get that apartment. Some problem with my application.Joey: You're kidding!Chandler:You're kidding, no!Ross: Yeah. But, the good news is that Phoebe said that I could stay at her place for a while. So...Joey: But you can't stay with Phoebe, Ross! We're-we're roomies!Ross: Look, you guys don't need mehere taking up your space.Joey: Well, we got plenty of space! There-there's still some over there (Points to where the window is but sees that there isn't any space there and points towards his door.) by-by thatspeaker. Please, just stay!Chandler: Yeah!Ross: Are you guys sure about this?Joey: Definitely!Chandler: Yes! Ross, you have to stay!Ross: All right.Joey: All right!Chandler: All right, buddy!Ross: So I'm a pimp huh?It's okay! Look, I know that sometimes I can be a pain in the ass, but you just have to talk to me. Tell me if something is bothering you. Okay? And for my part I will do everything I can to keep my annoying habits just(Does the 'quiet down' maneuver).(Chandler and Joey smile, but when Ross turns away look at each other with looks of horror.)Ending Credits[Scene: Chandler and Joey's and Ross's, Chandler is entering and when hecloses the door Joey pops his head out of the fort like before, but this time he's wearing a cowboy hat.]Chandler: Well, I see you've had a very productive day. Don't you think the cowboy hat is a little much?Ross:(popping up behind Joey wearing an Indian headdress) Come on, it's fun!Chandler: All right! (He joins them in the fort and comes up putting on a bonnet.) Isn't this a woman's hat?Joey: Dude, stop talking crazy and"}
+{"doc_id":"doc_149","qid":"","text":"[Scene: Manor. Foyer. Prue and Leo are there looking at a teen picture of Piper when she had glasses and braces, stuck on a board along with other people's photos for the 10-year reunion.]Prue: Alright, I know that itseems like she's being a little neurotic, but high school was hard for her. Really, really hard. You know, she was kind of like Jan Brady, the middle sister, not quite sure where she fits in.Leo: Jan who?Prue: Hmm.Piper:(from upstairs) Okay, ready or not, here I come.Prue: Okay, no matter what, just be supportive. (Piper comes down wearing a very weird black and gold feathered dress.) Wow! Um, you look great.Leo: Really, really,really great.Piper: Leo, two really's would have been plenty. I look ridiculous.(Prue and Leo look at each other.)Prue/Leo: No!Leo: Uhh...Prue: Feathers and...Leo: Really...Prue: Yeah.Piper: Great, I'm going to my10-year reunion and win most likely to scare people away at the door.(Piper walks over to the mirror and starts removing her make-up. Prue motions for Leo to follow. He walks over to her.)Leo: Come on, Piper, isn'tthis supposed to be a fun thing, you know, going back and seeing all your old friends?Piper: You weren't by any chance popular in high school were you?Leo: Well, I was I mean, is there a right answer to thisquestion?(Leo looks back at Prue and she shakes her head.)Piper: Leo, I didn't like high school, not even a little bit. I was nobody in high school.Prue: Piper, you were not a nobody.Piper: Prue, you were class president.You have no idea what it's like on the other side.Prue: Yeah, you're right. I'm sorry.Piper: I just, I had this stupid idea that I'd go back in 10 years and show them, and all I'm gonna show them is that I'm a big hairedfreak.Prue: Alright, you do not look like a freak. You just, you don't look like yourself.Piper: Well, if I could go as myself, I wouldn't be having this problem.Leo: Wait, so you mean this is like a costume party?(They walkinto the living room.)Piper: What I mean is I'm this super powerful witch who's engaged to a Whitelighter saving the world from evil on a daily freaking basis, and all these people are going to see is the same pitiful loserwho still lives at home with her sisters and her unemployed boyfriend.Prue: Did you put a lot of hairspray on that hair?Piper: No.Prue: Well, then all is not lost. By the time I'm done with you, you are going to be thehottest chick at the reunion.Piper: Really?Prue: Mmm hmm. Who do you think helped Phoebe go blonde?Leo: Hey, uh, speaking of Phoebe, maybe you guys should invite her to join you, she's been kind of distantlately.Piper: Leo, when you find out your boyfriend is a demon and then you have to vanquish him, a little alone time is in order.(Piper leaves the room.)Prue: Besides, I think she's kind of avoiding me. You know, Imean, I never really liked Cole, and then I tried to warn her. I think it's a whole wounded pride thing.Leo: What do we do?Prue: We double team. You help Phoebe with her demons and I will help Piper with hers.[Scene:An alchemist's lab. He smashes some glass test tubes with his hand. He holds up his bleeding hand. A woman (Terra) is standing in front of him.]Kierkan: (shouting) I made you from my own blood, found you a flawlessbody and housed you in it. You were supposed to be my...Terra: Masterpiece? I'm not a painting, Kierkan. That blood gave me your powers. You lust for life, yet you hold me captive in this hole and you expect me to begrateful?Kierkan: Belthazor was more powerful than either of us. Where is he now? Vanquished by the Charmed Ones.Terra: Is that fear I'm sensing? Is Kierkan, the dark and powerful alchemist afraid of three littlewitches?Kierkan: Perhaps I should suck you into your little mixing bottle and start again. There's always room for improvement.Terra: I have a better idea.(She picks up a dagger and stabs herself with it.)Kierkan: No!(Blue gas rises from her body and floats out the door.) I will find you, Terra. You belong to me![Cut to outside a building. A man in a suit is there talking on his cell phone.]Man: I don't care, it has to be huge. And done.And done before the stock IPO's. And, uh, and please tell the music guy that I don't wanna hear anymore of that '90s techno crap. Okay, this is a computer game for the new millennium and I want it to freakin' soundlike that. (Blue gas rises out of the drain and enters the man. She possesses him.)Man/Terra: Bye now. (He hangs up.) Well, I've never been a man before. (He feels his crotch.) Walking should be interesting.(The manlooks into the reflection of the building and sees his non-possessed self.)Man's reflection: What the hell is going on?Man/Terra: I want you to take me to the Charmed Ones.Man's reflection: What?Man/Terra: Thewitches, you fool. They go by Halliwell.(The man's reflection sees someone walk by and calls out.)Man's reflection: Hey, hey, help me!Man/Terra: Nice try, but nobody can hear you. You're just a trapped soul now. OnlyI can see you.Opening Credits[Scene: Manor. Piper's room. Prue and Piper are there. There are clothes all over her bed. Piper is dressed in a suit and is looking in the mirror.]Piper: I don't know, maybe we should'vegone back to the Betsy Johnson. You know, the cool club chick look as apposed to the classy club owner look.Prue: Yeah or we could just wrap you in a sheet and send you as a Hare Krishna all right? What do you thinkabout that? Since we already tried everything else.Piper: I'm sorry. I just don't think I can do it. I can't go there and face all those horrific people.Prue: I mean, come on, why do you even care what these peoplethink?Piper: Only a former cheerleader could ask that question.Prue: Alright, look, I realise high school was very hard for you, but you are just not that shy awkward girl anymore.Piper: But...Prue: No! Now, you aregoing and you are going to have a great time, young lady.Piper: You are not the boss of me.Prue: Oh, I am too. Besides, nothing could be worse than my date last night.Piper: What do you mean? I thought he wasnice.Prue: Oh, I have one word for you: halitosis. And he only scored a two.Piper: Oh, Prue, please don't tell me you're making lists again.Prue: Of course I am. Lists are good. Why waste your time if it's not gonna workout?Piper: Well, maybe I can look around the reunion for you. I'm sure there's lots of eligible ex-football players for the head cheerleader.Prue: Younger men are not on my list.(Phoebe walks in.)Phoebe: Hey, have youguys seen my glasses?Prue: No.Piper: Sorry.Phoebe: Oh, damn.(Phoebe walks back out. Prue and Piper follow her.)Piper: Uh, Pheebs, are you sure you don't want to come tonight? You could work the bar and mixsome yucky drinks for some ex-cheerleaders. (Prue elbows Piper.) Ugh!Phoebe: As much fun as that sounds, I have a ton of school work that I need to catch up on, so I'm gonna be at the library all night.Prue: Phoebe,look, we just want you to know that if you need to talk at all, we're here.Phoebe: I know that. I'm okay.Piper: Really? \u0000Cause you haven't spent like five minutes in the same room with us for over a week.Phoebe: I'msorry. It's just there's some things, some answers, that I need, and I sort of need to find them for myself, you know?Prue: Soul searching?Phoebe: Definitely... searching, yeah. But I'm okay, don't worry about me. (toPiper) You look beautiful.Piper: Thanks.Phoebe: Have fun tonight.(She walks away.)[Time lapse. Prue, Piper and Leo are carrying stuff for the reunion out to Piper's car. Someone in a car pulls up in front of thehouse.]Justin: Piper Halliwell? You still living at home?Piper: Justin Harper, is that you?(Justin gets out of the car and Piper walks over to him.)Justin: Hey.(They hug.)Leo: (to Prue) Uh, so who's this?Ex-boyfriend?Prue: Oh, don't worry about him, Leo. He's just a friend from school. Besides, he had a really big crush on me. He used to follow me around like a puppy dog.Piper: (to Justin) Are you going to thereunion?Justin: Oh, yeah, nostalgia struck. Thought I'd drive around the old neighbourhood. Ten years. It's unbelievable.Piper: Yeah. We were just actually heading to P3 for the planning committee. We have a lot morefood than we have room for. Would you mind...Justin: Absolutely.(Piper walks back over to Leo. Prue carries a try of food over to Justin.)Prue: Great! Here you go. Look at you, Justin, all grown up.Justin: Yeah, you,too. Phoebe isn't it?Prue: Hmm. Prue.Justin: Prue, right. Sorry.(Prue goes back inside.)Leo: (to Piper) Well, it looks like you've got all the help you need, which is good because \"they're\" calling.Piper: No, you can't cutout on me. I need you tonight.Leo: I'll be back in time for the reunion, I promise.Piper: Double extra promise.Leo: I wouldn't miss it. I'm gonna have the prettiest date ever.[Cut to Man/Terra sitting in a car near bywatching them. The non-possessed self appears in the rear vision mirror.]Man's reflection: Please. Look, you've found them. Why don't you just get out of me?Man/Terra: I have to get one of them alone. The transfer'sa little, huh, messy. I can't do it just anywhere.Man's reflection: Look, I'm begging you. I can't stand this anymore. I can't breathe. I feel like I'm suffocating.Man/Terra: That's because your soul is dying. It'll be easier ifyou don't fight it.(Piper and Justin drive off and Man/Terra follows.)[SCENE_BREAK][Scene: Mausoleum. The same mausoleum where Phoebe faked Cole's death. Phoebe's there looking at the hole in the ground whereshe burnt Cole's shirt.]Phoebe: Cole, if you can hear me. I can't stand lying anymore. I have to tell my sisters that you're alive, that I let you go, and that you would never do anything to hurt us and, that you love me. Ijust don't know how to do it. I need...(She leans against a coffin and has a premonition of the past. In the premonition there is Cole's mother, father and baby Cole. The mother pushes the father and she zaps him withher power. The premonition ends and Phoebe looks at the coffin. She wipes off the dust and sees \"Benjamin Coleridge Turner 1859-1888\" carved on it.)[Scene: P3. Prue and Piper come down the stairs carrying plates offood.]Prue: Now just remember, even if you can't tell them that you're super witch, you can still act like it.(Piper spots a blonde woman standing across the room.)Piper: Oh, my god, Missy Campbell, homecomingqueen.Prue: Oh, please, it's ancient history. You can do this.(Piper walks over to her. Prue goes up to the bar where Justin is sitting.)Piper: Uh huh. Missy, is that you? (Missy looks confused.) Piper. Piper Halliwell. Uh,we had chem. together and Miss flower for English.Missy: Right, Piper. You used to sit in the back of class drawing pictures on your jeans.Piper: Yes! Yeah, that, yep, that was me.Missy: Wow, your skin has reallycleared up. Accutane?Piper: No, n-no, I guess, you know, ten years. Is there anything I can do to help or...Missy: Do you know what would be great? Can you get this trash out of here?(She points to a pile of trash onthe floor.)Piper: Absolutely. I, yeah. I can, I can totally do that. I know where the dumpster is and everything.[Cut to the bar where Prue and Justin are sitting.]Prue: Alright, that's it, she needs me.Justin: She's gottafind her legs on her own sometime.Prue: Sorry?Justin: Remember when she ran for freshman class secretary? She got so nervous that you had to go up on stage and finish her speech for her.Prue: See, I knew that youremembered me. Why did you call me Phoebe?Justin: Listen, you plagued my high school existence. I pretend not to remember your name. I mean, a guy's got to turn the tables every, you know, ten years orso.(Man/Terra walks down the stairs and spots Piper cleaning up the trash.)Prue: I plagued your high school existence?Justin: Please, I was your willing slave and you know it. You did me a favour though.Prue: Idid?Justin: Oh, absolutely. Yeah, see, I don't go for women like you anymore.Prue: Women like me?Justin: Well, number one on my list, no women can make me drool. They hold way too much power. (Prue smiles.)What?Prue: You have a list? (Prue sees Piper picking up the trash.) Oh! (She goes over to her.) Piper, what are you doing?Piper: Uh, Missy asked me to take out the trash, so...Prue: So, you own this place, alright? Tellsomebody else to take out the trash.Piper: Prue, I can't, look, I can't explain it, but being around these people make me feel like exactly when I was 16, invisible and inferior.Prue: You want me to beat them up?\u0000Cause I-I-'II beat them up one-by-one.Piper: No. Look, it's not them. It's just me.Prue: Alright, so what are you going to do about it?Piper: Take out of the trash?Prue: Piper.Piper: Okay, I'm going to take out thetrash and try and get a grip. And then I'm going to come back in here and do something about these streamers and balloons. Because, what, are we still at the prom?Prue: Hmm.(Piper picks up the bags of rubbish andtakes them outside. Prue sits back down at the bar. Man/Terra picks up a knife.)[Cut to outside. Piper puts the rubbish bags in a dumpster. Man/Terra walks outside. Piper turns around and gets a fright. He jabs theknife in his chest.]Piper: Oh my god, oh my god.(The man falls to the ground. Piper kneels in front of him and the blue gas rises out of him and into Piper. She stands up.)Piper/Terra: Thanks for the lift. (She covers theman with an old sheet. She looks into some broken glass and non-possessed Piper's reflection shows up.) You'd better be as powerful as they say you are.[SCENE_BREAK][Scene: P3. Piper/Terra walks in P3. She looksinto a mirror.]Piper/Terra: Uh, help me out. What is our sister's name?Piper's reflection: If you get out of my body now, I might not have to vanquish your sorry ass.Piper/Terra: Not as weak as you seemed after all.That'll change.[Cut to Prue and Justin at the bar.]Prue: Wow. You only scored a four. That is just so sad.Justin: Well, excuse me, but you only scored a five out of ten on my list.Prue: Right, so I got an F but, dude, yougot an F-minus.Justin: Ouch. That's a bad high school flashback.(Prue sees Piper gulping down shots of alcohol. Prue runs over to her.)Prue: Uh-oh. Hi! Okay, hi. Don't really think that that's the best way to deal withyour reunion jitters, okay.Piper/Terra: What? Oh, okay.(Missy comes up to them.)Missy: Piper, can you move your hors d'oeuvres to the other table? Heather wants to use that one for the \u0000Then and Now\u0000photos.Piper/Terra: Uh, sure, whatever you say.(Missy walks away.)Prue: No. You stand up to her. You can do it.Piper/Terra: I can?Prue: You can do it.Piper/Terra: Okay. (to Missy) Hey! Bitch! Move the traysyourself.Prue: Alright, um, that was great, although the bitch part might have been a little much, but...(Piper grabs Prue's arm.)Piper: Prue, help me!Prue: Alright, what's wrong?Piper/Terra: Uh, nothing. I just don'tfeel very well, um, I should go home.Prue: Oh, no, you don't. I'm not letting you skip your reunion, alright? You did great just now.Piper/Terra: I just need to rest. I'll be back.Prue: Now, you get back here by 6:00otherwise I'm gonna come and get you and it won't be pretty. Got it?Piper/Terra: Mmm hmm.Prue: Uh-huh.Piper/Terra: Okay.[Cut to outside P3. Kierkan is there. He finds the man and removes the sheet. A bright lightcomes out of Kierkan's hand and shines into the man. He chants. The man comes back to life.]Man: What... what the hell?Kierkan: The spirit who possessed you, with whom did she replace you?Man: What? (The mansees the knife sticking out of his chest.) Oh, god, she stabbed me.(Kierkan pins the man to the wall.)Kierkan: Focus!Man: She's a woman. Uh, brown hair. We followed her from Prescott Street. The pink house onPrescott Street.(Kierkan lets the man go.)Kierkan: What was her plan?Man: She was saying something about wanting to kill some guy. Uh, something about revenge.Kierkan: Predictable. After all, it's exactly what Iwould do.Man: How, how am I still alive?Kierkan: Oh, no. Not still, again. My specialty, along with this.(He kills the man again and covers him up.)[Scene: Historical Society. Phoebe's there standing in front of a deskwhere a woman sits looking at an old newspaper.]Woman: Benjamin Coleridge Turner died in 1888, although there's no date of death for his wife. That's odd. There should be some record of that.Phoebe: Um, they hada baby though, didn't they? I think.Woman: Yes. A son. Cole Turner. Born in 1885. Never got to know his father, unfortunately.Phoebe: Cole Turner. It can't be.Woman: That's strange. There's no date of death for himeither. Must be another clerical error. I can't imagine he's alive and kicking at 115.Phoebe: No. Can't imagine that.[Scene: Manor. Piper/Terra walks inside. She looks into a mirror.]Piper/Terra: Don't you get it? He'sgoing to find us.Piper's reflection: Okay, I'll say it again slowly. Try to follow this time. I'm not going to tell you what my powers are.(Piper/Terra walks into the living room and looks out the window.)Piper/Terra: I can'tfigure out if you're stubborn or stupid. If I can't fight him, he's going to kill us. He's looking for me. I can feel him. He's getting close.(She looks in another mirror.)Piper's reflection: Well, get out of my body and I'll helpyou fight him.Piper/Terra: I can't survive without a body, and I'd much rather your soul die than mine.(She walks into the conservatory.)Piper's reflection: My sisters will figure out what you've done and...Piper/Terra:And what? What do you plan to do? Wave to them from the mirror? You're nothing but my reflection to them.Piper's reflection: I controlled my arm at P3. I used my voice. I'll get stronger and when I do...Piper/Terra:Wrong. You'll get weaker, and in a few hours you'll die. And there's really nothing you can do about it.Piper's reflection: Well, then you better watch your back. Because if I die, my sisters will make you wish you diedwith me.Piper/Terra: Hmm. Care about you a lot, these sisters of yours. (She walks into the kitchen.) Think they'd come running to help you fight off an angry demon? (She picks up the phone and dials a number.) (intophone) Hello. I'd like the number of P3, please,Piper: Ugh. What do you think you're doing?Piper/Terra: Well, you may have a death wish, but I don't. And if you won't help me, I know someone who will.[Cut to P3.Prue's behind the bar. Missy comes up to the bar.]Missy: Are you almost finished with that? Because I need you to help the DJ set up.(Prue pretends to scratch her nose but really uses her power to make dozens ofballoons fall down from the roof.)Prue: Oh.Missy: That's the third time that's happened.Prue: That's too bad.Missy: Oh, man! (She starts to pick up the balloons.) Okay, guys, just don't panic, there's plenty oftime.(Prue smiles and looks pleased with herself. Justin comes up to the bar.)Justin: Man, I think Missy's gonna have an embolism.Prue: Yeah, uh, can you hand me those glasses?(He does so.)Justin: It's weird though,right? I mean, those balloons. She used like three pounds of tape.Prue: Scotch tape. Hardly sturdy.Justin: Yeah, I still think you might have a poltergeist.Prue: A what?Justin: You know, a ghost that plays tricks.Prue:Yeah, I know what a poltergeist is but do you really believe in that stuff?Justin: Yeah, absolutely. Makes life interesting..Prue: Huh.Justin: What?Prue: Nothing. It's just that, um, believing in the supernatural shoulddefinitely be on my list. (The phone rings. Prue answers it.) P3.Piper/Terra: Prue? It's me.Prue: Piper, what's wrong?Piper/Terra: I-I-I got home and there was a demon in the house.Prue: Are you okay? Did you freezehim?[Cut to Piper/Terra in the manor.]Piper/Terra: (to herself) Freeze him? That's good. (in the phone) No, he-he got away and he had this wild hair and these intense bulging eyes and he said he was gonna comeback.Prue: Uh, alright, look in the Book Of Shadows for a vanquish and I'll pick up Phoebe and we'll meet you at the house, okay?Piper/Terra: Okay, but hurry, because he could come back any minute.Prue: Alright,bye.(She hangs up.)Piper/Terra: Where's the book?Piper: You just made a big mistake calling my sisters home.Piper/Terra: Is that what you think?Piper's reflection: That is what I know.Piper/Terra: Well, here's what Ithink. When your precious sisters come home, I'll kill you and possess one of them. And if that one won't help me, I'll simply repeat the process. So, what do you say, Piper? One dead demon or three deadwitches?Piper's reflection: The Book of Shadows is in the attic.Piper/Terra: Good choice.(She heads for the attic.)[Scene: Historical Society. Phoebe's there reading an old newspaper. Her cell phone rings and sheanswers it.]Phoebe: Hello?Prue: Hey, alright, don't panic, but Piper found a demon in the house, and I'm on my way...Phoebe: Was it... uh, wait, wh-who was it? What demon?Prue: Well, he had wild hair and bulgingeyes, and said that he would be back. Anyway, I'm on my way to the library to pick you up, alright? So just meet me out front. Phoebe?Phoebe: Uh, actually, Prue, I'm not at the library.Prue: Well, where areyou?Phoebe: Downtown at the Historical Society. I needed to do some research for a project.Prue: Alright, it's fine. I'll come and pick you up. Just meet me out front. Bye.[Scene: Outside the manor. Kierkan is"}
+{"doc_id":"doc_150","qid":"","text":"Scene of Adam the demon Frankenstein cyborg exiting tunnels.Engleman: \"The project, it escaped.\"Narrator/Giles: Previously on Buffy the Vampire Slayer. Scene of Buffy talking.Buffy: \"The Initiative created this thingand they can't stop it. But we will.\" Scene of Faith opening eyes in hospital bed.Buffy: \"It's Faith, she's awake.\" Buffy and Faith on the campus.Joyce: You all right.Faith: Five by five.Mayor: Open the box. Scene of Faithopening box.Mayor: Surprise. Scene of Buffy and Faith's hands are clasped and glowing.Joyce: You sure you're ok.Buffy: Five by five. Scene of Buffy looking at unconscious Faith.Note: For simplicity, Buffy's body iscalled Buffy, even when occupied by Faith. Faith's body is called Faith, even when occupied by Buffy.PROLOGUEThe front of Joyce Summers home. An ambulance is on the lawn A police car with lights flashing is parkedon the street. A plainclothes police officer with his badge visible on his breast.Plainclothes officer: \"It's good you called. We've been looking for this girl since she broke out of the hospital.\"Joyce: What's gonna happen toher?Plainclothes officer: Well, get her checked out. She's in stable condition, she goes to jail, pending trial.Joyce: I just hope she gets some kind of help.[Rattling.]Plainclothes officer: The first thing is to keep her fromhurting anybody else.Faith is wheeled on a gurney to ambulance. She looks up at Buffy and Joyce but her vision is blurry.Faith: No.Personnel lifting her into ambulance: __ One two __Plainclothes officer: Well, you guyswill be safe now. We may have a couple of questions in the morning. The emergency personnel close the rear doors on the ambulance.Joyce: Oh, uh, of course.Plainclothes officer: Thank you. Both. I'm glad we finallygot the kid.Buffy: She's not a kid! I just mean that she's very strong.Plainclothes officer: Yeah. This Faith chick-- definitely dangerous. Ambulance leaves. The officer walks away. Joyce goes toward the front door.Buffy:She truly is. Roll creditsACT 1Joyce's living room, Buffy is holding her hands and cracks her knuckles. Joyce closes the door.Joyce: Faith. Buffy spins around.Joyce: Why do you think she's like that?Buffy [shrugs]: Youknow. She's a nut job. Heh.Joyce: I just don't understand what could drive a person to that kind of behavior.Buffy: Well, how do you know she got drove? I mean, maybe she likes being that way.Joyce: I'll never believethat. I think she's horribly unhappy.Buffy: Well, could be things are looking up. I mean, a little stint in the pokey, show her the error of her ways. I'm sure there's some big old Bertha just waiting to shower her ripe littleself with affection.Joyce: Buffy!Buffy: I'm sorry, mom. [Sighs] It's just ufff when I think about how she might have hurt you, I just, uff I can't stand it. Joyce hugs Buffy. Buffy is uncomfortable and shrugs lose.Joyce:Sorry.Buffy: No, I'm just, uff, sore from the fight.Joyce: I've missed you.Buffy: Cause I haven't visited, right? I knew it.Joyce: I know how it is. You have so much in your life now.Buffy: I'm a busy little beaver. Collegeand all.Joyce: Of course. But um, maybe we could spend some time together soon? Some... night when I'm not being held hostage by a raving psychotic.Buffy: Count on it. [Pause] I'm gonna take a bath.Cut to Buffy ina bubble bath. She sighs. She looks at her arms and fingers. She stretches her leg and caresses it. She blows some bubbles cupped in her hands.Cut to Buffy looking in mirror. She turns her head to the side, thenwrinkles her nose to look at it. She pulls her eyebrows back to look at her eyes. She sticks out her tongue to look at it. She pulls her upper lip back to look at her teeth.Buffy: Why, yes, I would be Buffy. May I helpyou?Buffy [sounding]: Buffy.[She sticks out her tongue again. She adjusts her hair.][She shakes her finger.]Buffy: You can't do that. it's wrong.[She shakes her head slightly.]Buffy: You can't do that because it'snaughty.Buffy: [louder] Because it's wrong.[She tilts head.]Buffy: [softly] Because it's wrong.[She points very aggressively.]Buffy: You can't do that. It's wrong. I'll kick your ass.I'm gonna kill you.[mental laughing]Cutto hospital room.[A hospital worker falls back into furniture.]Faith: Let me go! Let me go![Faith is struggling in a hospital bed. There are three other hospital personnel, a uniformed officer and a plainclothes officerholding her down.]Doctor: Get me a sedative now!Officer: Hold her!Faith: I have to go home! She's with my mother.[Doctor puts needle to Faith's arm.]Faith: No!Doctor: Just lie still.Faith: You don't understand.Officer:Keep holding her.Faith: She's taken my...my body.[Faith loses consciousness.]Cut to Tara's room.[Willow lying down on a bed. Tara is sitting crosslegged near her feet.]Willow: I wonder where she is.Tara: Who?Faith?Willow: Yeah. I wish she would make a move. she's making my stomach all acidy.Tara: But you think Buffy can handle her.[Willow sits up.]Willow: I think so. but that doesn't mean Faith won't hurt someoneelse.Tara: Well, you should be safe. nobody knows you're here.I mean, uf, they don't even know I exist, right? I know all about them, but...[Willow puts her hand on Tara's knee for a second.]Willow [softly]: Hey.Tara :I-I mean, t-that's totally cool. It-it's good. It-it's better.Willow: Tara, it's not like I don't want my friends to know you.It's just... well, Buffy's like my best friend, and she's really special. And there's this whole bunch ofus, and we sort of have this group thing that revolves around the slaying, and-and I, I really want you to meet them. But I kind of like having something that's just, you know, mine. And I, I usually don't se so manywords to say stuff that little, but do you get that at all?Tara: I do.Willow: [sighs] I should check in with Giles, get a situation update.[She gets up and walks behind Tara.]Tara: I am, you know.Willow: What?[Tara turnsand looks up at Willow.]Tara: Yours.[Willow smiles.]Cut to Joyce's bedroom.Buffy is adjusting a black camisole/baby tee in the mirror.Buffy: Not too bad.[Buffy opens a drawer and finds a wallet.]Buffy: Score.[Buffy issitting on the bed, holding a credit card. and is on the phone.]Buffy: 6-4-4-7. [Pause] Uh, expiration, 5-0-1. [Pause. Buffy puts the card back in ther purse.] Unh huh. [Pause] Yeah. [Pause. Buffy takes cash out of thepurse.] 10 a.m.'s your earliest flight? I'll take it.[Joyce enters.]Joyce: What are you doing?Buffy: Oh, just getting my mail.[Buffy holds up the letters.]Joyce: Oh. Um, that was, um, Giles on the other line.He wanted youto meet your friends there. Said he had news.Buffy: Yeah. I got some time to kill. [Buffy gets up.] I'll go see the gang. All my friends. [Buffy picks up a lipstick.] You don't mind if I steal this, right?Joyce: Is that theHarlot?Buffy: Yeah.Joyce: That's the same one Faith picked.Buffy: Burn it.[Buffy tosses it to Joyce who catches it.]Cut to Faith in the back of a police car with a uniformed officer driving and a plainclothes office ridingshotgun.[Faith moans almost inaudibly.]Policeman: She's coming to.Uniformed Policeman: Yeah.Policeman: Man, I want this kid's constitution.Faith: Faith.Policeman: Let's move it. I want to get her in before she's100%.[The uniformed policeman nods.][A red armored car/truck cuts off the police car which crashes into it. Two men in black clothing jump out of the back. One uses a gun to cover the two police officers, who seemto be stunned. Another uses an ax to smash the back window. The one with the gun breaks remnants on the sides with the gun. The ax one drags Faith out the window.]Weatherby: By order of the Watcher's Council,you are being taken into custody until such time--[They both drag her to the back of the armored truck.]Collins: Skip the speech.[They pull her in the truck.]Collins: Let's go.[The doors close.]ACT 2[Buffy enters Giles'home.]Giles: Buffy. good.Buffy: The scooby gang's all here.Willow, Xander, and... [looks at Anya] everybody. What's up?Giles: It's about Faith, not surprisingly.Buffy: Didn't Joyce tell you? I already kicked thatass.Xander: I feel a high five coming on.Willow: Where is she?Buffy: On her way to the big house. Cops took her off my hands about an hour ago. Poetic justice.Anya: How's that?Buffy: Well, she did all those crimes,and now she's being arrested.[Silence.] I guess that's just regular justice. [Willow smiles.]It's cool, anyway.Giles: Unless I'm mistaken, Faith is no longer in police custody.Buffy [stands]: What are you talkingabout?Giles: Watcher's Council. They uh sent a retrieval team to capture Faith.Buffy: Well, yeah, I mean, 'cause it worked so well when Wesley tried it.Giles: This is a special operations unit. They, uh, handle thecouncil's trickier jobs - smuggling, interrogation, wetworks.Willow: What's wetworks?Xander: Scuba-type stuff.Anya: I thought it was murder.Xander: Well, yeah, but there could be underwater murder, withsnorkels.Buffy: So they're taking her to England?Giles: It'll be a long, long time before she returns.Buffy: Heh heh heh. ahhh Hah hah. Hah hah. ohhh I'm sorry. It's just...I'm happy. Faith is evil.Willow: Yeah. I hopethey throw the book at her.Giles: I'm not sure there is a, a book for this.Willow: They could throw other things.Buffy: I forgot how much you don't like Faith.Willow: After what she's done to you? Oh, I wish those councilguys would let me have an hour alone in the room with her, if I was larger and had grenades.Buffy: I bet I know what Faith would say to that. Buffy springs forward with a knife and sticks it in Willow's stomach in thesame place Faith was stabbed. She pulls the knife out and stabs Willow again. Buffy lifts her head from her revery. She did not spring forward.Anya: So what you're saying is that everything's fine?Giles: Oh, um,yes.Anya: Well, I'm glad you called us all here because that information could never be conveyed by telephone.Willow [to Buffy]: What's up?Giles: Well, I just thought it was, uh, best to convene, in case there were anyloose endsBuffy [to Willow]: I'd never let her hurt you.Giles: or things that we might have forgotten.Willow [to Buffy]: I know.Giles: But if you're, uh, keen to go, then, please, by all means, go.Xander: We kind of havea romantic evening planned.Anya: We were gonna light a bunch of candles and have s*x near them.Buffy: Well, we certainly don't want to cut into that seven minutes.Anya: Hey.Xander: I believe that's my hey.Hey!Buffy: Lighten up. We're out of danger. Everything's good.Giles: We still have Adam to take care of.Buffy: Yeah. Adam. What's up with him?Giles: I wish we knew.Buffy: Well, don't worry about it. I'll patrol tonight,as long as it takes. You guys have your fun, I'll be out there doing my job.Cut to Buffy dancing in the Bronze to rock band.Buffy: Whoop.Spike: Oh, you.Buffy: And you.Spike: What, are you keeping tabs on me? You'regonna give me a hard time now?Buffy: Um, do I usually give you a hard time?Spike: Very funny. Well, you don't have to worry about me drinking. Unless you're here to protect innocent beers. [He holds up abottle.][Spike walks away a little and Buffy follows.]Buffy: You're a vampire.Spike: Was. And as soon as I get this chip out of my head, I'll be a vampire again. But until then, I'm just as helpless as a kitten up a tree.Sowhy don't you sod off?Buffy: Ok.Spike [angry]: Oh, fine! Throw it in my face! Spike's not a threat anymore. I'll turn my back. He can't hurt me.Buffy: Spike? [Gets it.] Spike. William the Bloody with a chip in his head. Ikind of love this town.Spike: You know why I really hate you, Summers?Buffy: 'Cause I'm a stuck-up tight-ass with no sense of fun?Spike: Well, yeah, that covers a lot of it.Buffy: Cause I could do anything I want, andinstead, I choose to pout and whine and feel the burden of slayerness? I mean, I could be rich, I could be famous, I could have anything. Anyone.[Buffy moves closer and puts her hands on Spike's chest.]Even you,Spike. I could ride you at a gallop until your legs buckled and your eyes rolled up. I've got muscles you've never even dreamed of. I could squeeze you until you popped like warm champagne, and you'd beg me to hurtyou just a little bit more. And you know why I don't? [She moves closer and looks up at him pursing her lips.] Because it's wrong. Humh humh. [She moves off.]Spike: I get this chip out, you and me are gonna have aconfrontation.Buffy: Count on it.[Spike throws his bottle into the wall and walks off. He shoves someone and clutches his head.]Cut to the sewers.Four vampires are walking in vamp face.Vampire: It was too crowded.We gotta hold out for a few hours, pick up a straggler, some drunk. Can't be calling attention to [He sees Adam and stops.] ourselves.Adam: I've been thinking. About vampires.Vampire: This is my place.Adam: You'replace. Yes. The sewers. You hide from them, Crawl about in their filth. Scavenging like rats. What do you fear?Vampire: Kill this guy already.[One vampire charges Adam and Adam grabs it by the throat and holdsit.]Adam: You fear the cross. The sun. Fire. And, oh, yes...[Adams puts his other hand on the vampire's shoulder and he lifts the vampire's head from its shoulders. The body falls and he drops the head on it and theyturn to dust.]Adam: I believe decapitation is a problem as well.Vampire: You can have the place. I mean, we don't have to stay here anymore.Adam: You fear death. Being immortal, you fear it more than those towhom it comes naturally. Vampires are a paradox.Vampire: Ok, we're a paradox. That's cool.Adam: Demon in a human body. You walk in both worlds and belong to neither.I can relate. Come. We have a lot to talkabout.Cut to workshed interior? In the back of the armored truck, Faith wakes up and finds she is chained.Weatherby: Well, it's awake.Faith: Who are you?Weatherby: Council. We're taking you back to the mothercountry. Seems you've been a naughty girl.Faith: Listen to me. Y-You've made a mistake. I am not Faith. I'm Buffy Summers. Faith performed some kind of spell, she switched our bodies.[Standing outside thetruck.]Collins: Congratulations. No one's ever actually tried that one on me before.Faith: You have to find Faith. C-call Giles. J-just get him here.Collins: Giles doesn't work for the council anymore. For that matter,neither does Buffy Summers. And what you are, miss, is a package.I deliver the package. I don't much care what's inside. [To Weatherby.] Come on.Weatherby: He may not care, but I do. The Watcher's Council usedto mean something. You perverted it. You trash. We should have killed you while you were asleep.[He spits in Faith's face. He gets out of the truck and closes the doors.]Cut to the Bronze.Willow: I can't believe you'venever been here. The Bronze is the coolest place in Sunnydale. Of-of course, there's not a lot of competition.I think the vending machine at Bergen's came in second.Tara: Y-you used to come here a lot?Others: Chugchug chugWillow: I lived here. Me, Xander...Buffy & others: Chug, chug, chug.Willow: Buffy.Buffy & others: Chug, chug, chug.Buffy: oooh oooohOthers: Chug, chug, chug!Others: Woo hoo hoo.Willow: Wow. I-I didn'tthink she'd be here. Come on, [holds Tara's hand] I want you to meet her.Buffy: Back off. [Pushes someone away.] You're nothing but a disappointment.[Tara crosses her arms.]Willow: Hey, Buffy.Buffy: Willow and -uhWillow: Buffy, this is Tara.Tara: Hi.Buffy: So we've never met. [Tara shakes her head.]Cool. Just have a thing with names.Willow: Tara was in my wicca group.Buffy: Unh-huh. [Buffy walks away and theyfollow.]Willow: So, what's up? [Buffy plops herself on a couch.] Patrol a no go? [Buffy throws her legs up in the air and on a table.]Buffy: Got tired. You know, the whole Faith thing. I let off some steam.Willow: Good foryou. You shouldn't work yourself too hard.Buffy: That's my philosophy. [Buffy throws her arms behind her head.]Willow: Anyone want a soda?Tara [looks at Willow]: Water.[Buffy shakes head. Willow walks off andBuffy notes Tara looking back at Willow. She sits up and leans forward.]Buffy: So you guys been hanging out a lot lately, hunh?Tara: Yeah. she's, um, she's really cool.[Buffy nods and blinks slowly.]Buffy [grins]: SoWillow's not driving stick anymore. Who would have thought?I guess you never really know someone until you've been inside their sking. And Oz is out of the picture? Oh, never seen two people so much in love. Shejust couldn't get enough of old Oz.Tara: She, um, said he, uh, uh, w-w-w-w-w-wentBuffy: He w-w-w-w-what? You gonna get that sentence out sometime tonight?[Tara lowers her head.][Willow returns.]Willow: Buffy,guy in the corner.[Buffy looks at a guy leading a girl.]Buffy: Yeah. Good call.Tara: What?Willow: Vampire.Buffy: Wicked obvious. [She leans back and realizes Willow is waiting.]So I should slay him. [She getsup.]Willow: You want help?Buffy: Nah, I got it.[Buffy picks up a pool stick as she walks. She enters a back area where the vampire is feeding on the girl from behind, making slurping noises and holding the girl's arms.The girl is gasping. Buffy breaks the pool stick in two and drops one end. The girls arms flail. Buffy hits the vampire in the back using the stake as a club.]Buffy: Hey![The vampire lets the girl fall and turns. Buffy blocksa right and a left. She kicks it in the leg and spins the vampire around and holds it. She stakes it and throws it to the side just before it dusts. Buffy exhales and looks down at the girl. She is squatting and she looks upat Buffy.]Buffy: You'll live.Girl: Uh he was so strong, uhBuffy: Yeah, well, he's gone now. [Buffy turns and the girl grabs her hand.]Girl: Thank you. **Thank you.** [Expressions flash across Buffy's face.]Buffy: Yeah.[Shrugs.] It's cool. [Shrugs.][Buffy walks off and drops the stake.]Willow: Everything poofed?Buffy: All's well in the world.Willow: Tara's not feeling well. I'm gonna walk her home.[Willow looks back at Tara.]Buffy:Yeah. You give her whatever she needs.[Buffy smiles for a second.]Willow: Are you gonna be in later, or you going over to Riley's?[Buffy blinks several times and then smiles.]Cut to workshed/barn.Banging sounds in aworkshed or barn. Smith walks toward the armored truck with a syringe.Smith: This'll bloody keep you quiet. [Smith opens the back of the truck and goes in. Faith grabs him and gets him in a chokehold with thechains.]Smith: Uh.Faith: How about this? I'll be quiet, and you can scream.Smith: Aaahh.[Weatherby and Collins look in from the back of the truck.]Faith: Now you unchain me - very slowly And! politely, or I kill thisguyCollins: When we go on a job, we always put our affairs in order first, in case of accident.Smith: Collins...Collins: Sorry, Smithy. [They walk off.]Collins: She's starting to bother me.Weatherby: Getting her across theborder is gonna be a lot more trouble than it's worth.Collins: If the council can even get us passage. I'll call them.It's time for a contingency plan.[Smith flies out the back of the truck and falls, groaning.]Cut to Riley'sroom.[Riley is sitting at his desk and hears a sound and turns, smiling. Buffy is standing in the doorway.]Buffy: Hi, baby.ACT 3Cut to Tara's room.Willow: I'm sorry you're feeling all blechy. But we'll get together withBuffy another time. Sometime soon. I think you'll really like her.[Tara sighs.]Tara: She's not your friend.Willow: I may have overestimated the \"you liking her\" factor.Tara: No, no. I mean, I don't... [sighs] I don't thinkshe's...her.Willow: You lost me.Tara: Well, umph, a person's energy has a flow, a unity.[sigh] Buffy's was [sigh] was fragmented. It-it grated, like something forced in where it doesn't belong. Plus, she was, um, [sigh]she was kind of mean. [heh]Willow: So you think Buffy's not herself? Like she's been possessed or something?Tara: [sigh] I'm not sure.Willow: You didn't sense a hyena energy at all, did you? Because hyenapossession is just...unpleasant.Tara: [umph] Do you have anything of hers?Willow: Of Buffy's? Uhhhh. Oh! This ring.Tara: I-I think there's a way we can, hmm... [reaches for book] The passage to the nether realm.There-there's a ritual. If you can find Buffy there, you should be able to see.Willow: If it'll help her.[Tara sighs.]Willow: What?Tara: Well, the nether realm exists beyond the physical world.Accessing it is... I-it-it's kindof like astral projection. It's very intense. I'd have to be your anchor, keep you on this plane.Willow [nods]: I trust you.Tara: It-it's not like anything that we've ever--Willow [smiles]: I trust you.Cut to Riley'sroom.Buffy: You miss me?Riley: I did, actually. Everything's ok?Buffy: Everything's great. [walks forward]Riley: What about Faith?Buffy: Faith has a won a fabulous trip to England, and I [sits on Riley's lap, straddlinghim] got the consolation prize, which is you.Riley: So I don't have to worry about Faith showing up? Though I have to admit, I was kind of curious to meet her. Buffy holds Riley's hands and leans back, still straddlinghim.Riley: Or I was until about 30 seconds ago. [Buffy sits up.]Buffy: Oh, you wouldn't have liked Faith. She's not proper and joyless, like a girl should be. She has a tendency to give in to her animal instincts.[Shekisses Riley and nips his lip.]Riley: Door's open.Buffy: So?Riley: So my fantasies don't tend to include a bunch of marines staring in at me.Buffy: Oh, maybe they could learn something.[She kisses his neck and Riley"}
+{"doc_id":"doc_151","qid":"","text":"THE TRIAL OF A TIME LORDPART THREE (THE MYSTERIOUS PLANET)Run time: 24:18[SCENE_BREAK]Tunnel entrance[SCENE_BREAK]Balazar: It's beautiful!The Doctor: Hmm? Oh. Oh, I knew she wouldn't still be here.That girl can't obey an order.Peri: Doctor!Balazar: Who are they?The Doctor: Peri! Hurry!The Doctor: Back inside, quick.The Doctor: In you go.The Doctor: Come on![SCENE_BREAK]Tunnel[SCENE_BREAK]Glitz: Ialways knew exercise was bad for you.The Doctor: I shouldn't lie there if I was you. Not unless you want to be killed with a spear in your back.Glitz: What? Did you do the job, my boy?Dibber: Ofcourse.[SCENE_BREAK]Underground station[SCENE_BREAK]The Doctor: We've got to get out of here!Peri: But how?The Doctor: This way.The Doctor: Oh, no. Back.Peri: Well, now what?The Doctor: I don't know. Ireally think this could be the end![SCENE_BREAK]Underground station[SCENE_BREAK]Balazar: I know him. It's Broken Tooth.Glitz: Then why doesn't he fire at you?Balazar: Broken Tooth, it's Balazar!The Doctor: Fireat the robot!Balazar: The Immortal One.Dibber: Squeeze the trigger, don't pull it.[SCENE_BREAK]Drathro's castle[SCENE_BREAK]Drathro: What is happening? Reactivate!Humker: We are trying.Tandrell: It doesn'trespond.Drathro: You must make it work. I must have the Doctor here. My black light system is failing.[SCENE_BREAK]Underground station[SCENE_BREAK]Balazar: I can't believe it. You're alive! They said you'd beenculled.Broken Tooth: I owe my life to Merdeen.Balazar: I too.The Doctor: Well, I hate to break up this happy reunion, but I have to find the aerial to Drathro's black light converter.Dibber: No need to hurry. It'sgone.The Doctor: Gone? Where?Dibber: I blew it up.The Doctor: What?Glitz: It'll put the L3 out of action.The Doctor: More likely start a chain reaction. Drathro's black light system's highly unstable. Blowing it up isabout the worst thing you could have done. I have to shut the black light system down now.Broken Tooth: You will all return to our village. Our queen has unfinished business with this person.The Doctor: No!BrokenTooth: You will come with us, and you will come quietly.Glitz: And you had to tell him how to use the gun.Dibber: Oh.[SCENE_BREAK]Trial room[SCENE_BREAK]Inquisitor: Valeyard, are these unpleasant scenesnecessary to your case? I find primitive physical violence distressing.The Doctor: So do I, ma'am. Especially when I'm on the receiving end.Valeyard: I too find it repugnant to witness, my lady, but the Doctor has awell-known predilection for violence.The Doctor: That is a foul slur!Inquisitor: Do not interrupt, Doctor.The Doctor: I'm sorry, ma'am, but I'm not given to violence as the Valeyard here suggests. Occasionally I mighthave to resort to a modicum of force...Inquisitor: Please be silent.The Doctor: As a means of self defence.Inquisitor: Doctor, you will have ample opportunity to put your case at a later point.The Doctor: But...Inquisitor:Valeyard, I would appreciate it if these brutal and repetitious scenes are reduced to a minimum.Valeyard: My lady, it is certainly not my wish to cause you any unnecessary affront, but the accused offences are suchthat a certain amount of graphic detail is unavoidable.Inquisitor: Very well. Continue.[SCENE_BREAK]Subway[SCENE_BREAK]Grell: You seem lost.Merdeen: Not I, although you seem to have mislaid your train,Grell.Grell: Stealth is better achieved on foot. Especially when we hunt dark secrets.Merdeen: I thought we hunted the Doctor.Grell: Him too.Drathro (O.C.): Merdeen.[SCENE_BREAK]Drathro'scastle[SCENE_BREAK]Merdeen (on screen): Immortal?Drathro: I have urgent work for Balazar, but I can not find him.[SCENE_BREAK]Subway[SCENE_BREAK]Merdeen: I will search for him at once.Grell: Where are yougoing?Merdeen: Continue your search for the Doctor.[SCENE_BREAK]Drathro's castle[SCENE_BREAK]Tandrell: I did it! I did it, I reactivated the robot.Humker: I think you'll find that I did it.Tandrell: I beg your pardon,I did it.Humker: I did it.Tandrell: I did!Humker: I did!Drathro: Silence! You drain my energy reserve with your constant infantile bickering.[SCENE_BREAK]Katryca's hut[SCENE_BREAK]Katryca: So, my hospitality wasnot to your liking?Glitz: Just needed to step out for a breath of fresh air.Katryca: And who is this?The Doctor: Ah, how do you do? I am known as the Doctor. Now, there has been a terrible mistake. I shouldn't be hereat all.Katryca: Another star traveller?The Doctor: Well, in a manner of speaking.Katryca: And are you interested in the Great Totem of Haldren.The Doctor: I beg your pardon?Glitz: She means the light converter.TheDoctor: Ah, yes, indeed. Now how can you possibly have known that?Katryca: Have you searched him for guns?Broken Tooth: He has none.Katryca: That makes you very unusual for a star traveller who is interested inthe Great Totem.The Doctor: Well, I've come to repair it.Katryca: Then you are very prompt, considering your friends have only recently damaged it.The Doctor: Oh, these are not my friends. Well, with one...TheDoctor: And your Great Totem is not what it seems.Katryca: Then please explain.The Doctor: It's function is to convert ultraviolet rays to black light.Katryca: Interesting, though I do not understand what you aresaying.The Doctor: Well, Drathro, er, the Immortal, depends on black light to function. He is a robot.Katryca: Fascinating, since your friend just told me that it was a navigational beacon.The Doctor: He lies.Katryca: Acommon complaint among star travellers.Glitz: I am not a liar!Katryca: How shall I know who speaks the truth? All I am certain of is the gods are angered at your coming to our world. I shall read their wishes in theflames.The Doctor: Er, I don't wish to appear discourteous, but I'd better get back to Drathro.Katryca: Remain where you are!The Doctor: You have no quarrel with us. They destroyed your beacon.Katryca: You are astar traveller. Star travelling is forbidden by the gods. The underground dweller shall remain with our tribe. The others, remove from my sight.[SCENE_BREAK]Drathro's castle[SCENE_BREAK]Humker: All thatunpleasant green.Tandrell: It is vegetation.Humker: Why was it not burned, Drathro?Drathro: Only part of the planet was enveloped by fire.Humker: What is its function?Drathro: It supports primitive life.Tandrell:Primitive life is unnecessary.Humker: So vegetation in unnecessary.Tandrell: Syllogism is also unnecessary, Humker.Humker: It was not a true syllogism, Tandrell. It contained only the major and minorpremise.Tandrell: Still unnecessary, like so much that you say.[SCENE_BREAK]Hut[SCENE_BREAK]Dibber: Thought we'd seen the last of this place.The Doctor: Look, you've got to help us get out of here.Balazar: I darenot, Doctor.Broken Tooth: The queen will burn us in your place.The Doctor: If I don't get out of here, we'll all burn.Glitz: You're the Time Lord. Haven't you got a ring you can rub? A magic lamp? Something for thesesort of emergencies?The Doctor: Hardly. More your style I'd have thought. Anyway, what does bring you here?Glitz: Purely a private enterprise, Doctor, to collect a few moldering files of no value except to scholars suchas myself.The Doctor: Oh, you're a scholarly philanthropist, are you?Glitz: Exactly the description, Doctor.The Doctor: That goes around blowing up black light converters.Glitz: A small expediency if I am to endow alibrary on my home planet of Salostophus.The Doctor: In the constellation of Andromeda?Glitz: You know of it?The Doctor: Hmm.Peri: What we don't know is the name of this planet.Glitz: You mean he hasn't told you?A man of your learning, Doctor? Tut tut. This, is Earth of course.Peri: I said so, didn't I?The Doctor: But it is in the wrong position.Glitz: Only by a couple of light years.Dibber: That's why the lost expedition missed.TheDoctor: What lost expedition?Dibber: Andromeda bunged off these robots in a relief ship...Glitz: Don't prattle, Dibber. All that was a long time ago.Balazar: The word Earth is mentioned many times, by the great writerH M Stationery Office.Dibber: Thought we'd seen the last of him as well.Glitz: Shut up and stand in front of me where I can keep an eye on you.The Doctor: Keep calm and stay still. It's looking for me, but I think it'sconfused.Glitz: Well, can't you shake its hand or something?The Doctor: How do you do? I am known as the Doctor.Glitz: Now's our chance, Dibber.Peri: We've got to help the Doctor!Glitz: He'll be all right. He's in goodhands. Come on!Peri: No![SCENE_BREAK]Katryca's hut[SCENE_BREAK]Katryca: Escaped? I told you to guard them!Balazar: Well, the Immortal came and took them.Broken Tooth: We both saw him, Katryca. He walkedthrough the wall.Katryca: Get the guns![SCENE_BREAK]Drathro's castle[SCENE_BREAK]Drathro: Habitations.Tandrell: Only man makes habitations.Drathro: All life perished in the fire. If men now live on the surface,they must have come from my biosphere.Tandrell: How can that be possible?Humker: It is forbidden.Tandrell: All work units obey you orders.Drathro: Some must have escaped. Helped to escape. That is what hashappened.Humker: Is it important?Drathro: They're out of control, outside the plan.Tandrell: They're outlaws.Drathro: Now my existence is threatened. They have destroyed the source of my energy. Take measures,create a defensive system, identify and destroy the traitors.[SCENE_BREAK]Trial room[SCENE_BREAK]The Doctor: All this is irrelevant and hypothetical.Valeyard: Background testimony.The Doctor: What possible valuedoes the Farmyard here think there is in listening to some half-incapacitated robot, and a couple of diminutive nit-wits who might as well be robots?Inquisitor: You're allowing your disrespect to show again, Doctor.TheDoctor: I'm sorry, ma'am, but the question still stands.Inquisitor: As prosecutor, the Valeyard has the right to include any evidence he considers to be relevant, provided he can justify its inclusion.The Doctor: But anyrecord relating to persons not in my presence must be sheer conjecture.Valeyard: The accused is clearly ignorant of the latest methods of surveillance, my lady.Inquisitor: This evidence is taken from the Matrix, aknowledge bank fed constantly by the experiences of all Time Lords, wherever they may be.The Doctor: Yes, yes, yes, yes, yes, ma'am. I know that. My whole point is that I'm not.Inquisitor: Not what?The Doctor: Notpart of the scenes being shown by the Scrapyard here. I'm sorry, Valeyard. Force of habit, I apologise.Valeyard: Doctor, the experience of third parties can also be monitored and accessed if needed, as long as they arein the collection range of a TARDIS.The Doctor: Oh. But my TARDIS is an old model. Are you telling me it's been bugged without my knowledge?Inquisitor: Bugged?Valeyard: It is a reference apparently to the newsurveillance system, my lady. The expression derives from an Earth term.Inquisitor: I see. I think we are wasting time on an unimportant issue. Continue the evidence,Valeyard.[SCENE_BREAK]Ravalox[SCENE_BREAK]Katryca: Stop, Immortal!Peri: They'll kill the Doctor!Glitz: We've all got to go sometime, Peri.Peri: You're all heart!Glitz: The supreme sacrifice. What a person. If I havetime, I'll compose the eulogy for his funeral.[SCENE_BREAK]Drathro's castle[SCENE_BREAK]Drathro: They have guns. From where?Humker: Guns can be manufactured.Tandrell: Though manufacturing requiresadvanced technology, Humker.Humker: Yes, but the fact that they have guns also means that they possess advanced technology.Tandrell: False reasoning again, Humker. These are savages. Their guns must havebeen supplied from without.Drathro: The Doctor.Humker: The L1 robot has ceased to function.Tandrell: From the present data that we have, that would seem a logical presumption.Humker: It is obvious. It has ceasedtransmitting signals.Tandrell: I was replying to Drathro.Drathro: The Doctor is from Gallifrey. He has been sent to recover the secrets left by the Sleepers. To do that, he has armed the outlaws. Therefore his intention isto ferment a rebellion against my authority.Tandrell: (quietly) And with nothing left but power from the few backup storage cells he's quite likely to win.Humker: Then what will happen to us?Tandrell: I dread tothink.[SCENE_BREAK]Subway[SCENE_BREAK]Merdeen: Are you following me?Grell: Like you, I'm looking for a lost man. It simply occurred to me that it might prove more productive if we searched as a team.Merdeen:What makes you think the Doctor and Balazar will be together?Grell: Events.Merdeen: Meaning?Grell: I don't think the Immortal's orders are always carried out, especially when it comes to culling.Merdeen: I alwayssupervise the cullings myself.Grell: I know.Merdeen: Then what do you mean?Grell: I think you send people outside.Merdeen: Then they are destroyed by the fire. Does it really matter how they die?Grell: Dependswhether you really believe that the surface of the planet still burns.Merdeen: I believe what the Immortal tells me.Grell: Then you are a liar. The Doctor is with Balazar, isn't he? And both of them have left thesubways.Merdeen: Then why does the Immortal instruct us to search for them?Grell: I don't know. But I think we should talk about it. Unless you would prefer that I took my suspicion to theImmortal.[SCENE_BREAK]Ravalox[SCENE_BREAK]Balazar: Is the Immortal dead at last?Katryca: The Immortal's reign is ended.Broken Tooth: Katryca the Great One! Long live Queen Katryca!Villagers: Long live QueenKatryca!Balazar: Now the Immortal is dead, how shall men live?Katryca: In the tribe of the Free we had no need of the Immortal. We shall live as we always lived, except now, the Immortal's secrets shall beours.Broken Tooth: How?Katryca: Do you not see, Broken Tooth? They are ours for the taking.Balazar: The Immortal's castle?Katryca: Yes, Balazar. It is ours now. All the tools are metal. All the strange materials thatbend and do not break, All the mysteries and treasures of our ancient forefathers that we shall learn to use again. Do you not agree?Villagers: Yes!Katryca: Then let us attack!Peri: Doctor!Peri: Oh, Doctor, please.Glitz:He's a goner. You can tell by his colour.Dibber: Definitely a stiff, Mister Glitz.Peri: Help me get this thing off him.Glitz: I shouldn't bother. He's probably got horrible injuries.Dibber: Yeah, those ensign guns can blow youto bits.Glitz: Talking of guns, Dibber, we need the heavy artillery. Which, if memory serves me, are hidden not a more than a million miles from this very spot.Dibber: Good idea of mine to bring the multiblaster, eh,Mister Glitz?Glitz: I'll teach that two-faced harridan and her ignorant peasants to trifle with Sabalom Glitz.Dibber: But they've gone down the tunnel.Glitz: So? We'll blow them out through the roof. That is, if the robotdoesn't get them first.Dibber: So let's fetch them, then.Glitz: No, you fetch them, Dibber. I'll meet you at the entrance.Dibber: But those multiblasters must weigh at least a hundred...Glitz: Exactly. That is why Iemploy you to fetch and carry. Now, cut along, there's a good lad.Peri: Doctor!The Doctor: Keep your head down! Beware the hand! Keep your head down!Peri: You're alive, I knew it.The Doctor: Oh! My head hurtsabominably, Sarah Jane. Where are we?Peri: I'm not Sarah Jane, I'm Peri.The Doctor: Eh?Peri: And you're lying under the remains of a robot.The Doctor: Yes, I remember now. Get this thing off me!Peri: I've beentrying to.The Doctor: Where are Katryca and the others?Peri: They've gone to the tunnels.The Doctor: Eh? Why?Peri: From what I could hear, now they've killed the Immortal, she's planning a takeover.The Doctor: Butthis isn't the Immortal, this is just. How long have they been gone?Peri: A few minutes.The Doctor: I've got to get after them.Peri: Why?The Doctor: They've got to be stopped. The situation's worse than youimagine.Peri: It always is.[SCENE_BREAK]Underground station[SCENE_BREAK]Katryca: How does the great door open?Broken Tooth: You turn this.Katryca: Then open it.Katryca: Balazar, you and Broken Tooth havelived in this blackness. You will lead the way.Broken Tooth: I know a tunnel that passes Marb Stati on and leads straight to the Immortal's castle.Katryca: Then forward![SCENE_BREAK]Drathro'scastle[SCENE_BREAK]Humker: They look very fierce, Drathro.Tandrell: Naturally. They live as wild creatures.Humker: They are coming towards us.Tandrell: Humker, you have a gift for the obvious.Humker: Surely theywill not attack us.Tandrell: That is their intention.Humker: I do not understand the logic. We have not harmed them.Drathro: It is a rebellion.Humker: What shall we do if they break in?Drathro: I shall killthem.Tandrell: Their guns destroyed the L1, Drathro.Drathro: My plating is stronger. My circuits are protected. Their guns will kill only you.Humker: But if we die, who will look after your research?Drathro: TheDoctor.[SCENE_BREAK]Subway[SCENE_BREAK]Broken Tooth: Halt. I fear the worst.Katryca: What is wrong? We are lost?Broken Tooth: Marb Station is back this way.Balazar: It is forward, and from thence the home ofthe Immortal.Katryca: We have no need for indecision in the tribe of the Free. Long we have waited for this moment. The Immortal is dead, and we shall plunder his castle. The spoils of triumph are ours. Now think,which is the way.Balazar & Broken Tooth: This way.Katryca: Am I to be surrounded by fools? We go forward.Broken Tooth: But Katryca...Katryca: Forward, I say. I have read it in the flames many times. We goforward.[SCENE_BREAK]Drathro's castle[SCENE_BREAK]Humker: That is not correct.Tandrell: Clearly there is a mechanical defect, Humker.Humker: An electronic malfunction.Tandrell: Perhaps the Doctor caused theproblem.Humker: Have you seen this, Drathro?Drathro: I do not need to observe, my condition tells me of the movement failure of the black light system.Humker: What could have precipitated it?Tandrell: Thereweren't any warning signs.Drathro: The destruction of the converter's aerial.Tandrell: Destruction?Drathro: The service robot monitored the fact as it entered the village.Tandrell: Can we repair it?Drathro: No. Soon theblack light system will collapse in upon itself, and we shall all cease to function.[SCENE_BREAK]Underground station[SCENE_BREAK]The Doctor: Trouble is, his refraction dipoles are worn out. Nothing for it now but toshut the black light system down.Peri: That sounds easy enough.The Doctor: Oh, it is, but if I shut the black light system down I must shut Drathro down as well. I can hardly see him agreeing to that.Peri: Well, whathappens if he won't let you?The Doctor: Then the black light system will implode and destroy everything in these tunnels.Peri: Oh great, so that's why we're going in, is it?The Doctor: Peri, I can't let people die if there'sa chance of saving them.[SCENE_BREAK]Outside the tunnel entrance[SCENE_BREAK]Glitz: You got the guns, then.Dibber: Well, it looks like it, Mister Glitz.Glitz: I'll tell you something funny, Dibber. We was wrongabout the Doctor. He's bunked off.Dibber: He hasn't bunked off. He's gone down there.Glitz: What?Dibber: I saw them as I came up. He had Peri with him.Glitz: So, he is after what we are.Dibber: Well, could be.Glitz:Course he is. I knew it all along. He's got no more interest in the scientific side of things than I have.Dibber: Well, you didn't fool him, telling him you're a philatelist, did you, mister Glitz?Glitz: Philanthropist, youignorant dink. Didn't you learn nothing in that remand home?Dibber: Well, whatever the word, he guessed that you weren't one.Glitz: Don't I look like a philanthropist?Dibber: Well, how do I know? I've never seenone.Glitz: A philanthropist, my son, is someone who gives away all their grotzits out of the simple goodness of their heart.Dibber: Oh, you mean they're stupid? Oh yeah, you probably do look like one, then.Glitz: Getdown that hole.Glitz: Oh dear, they are heavy, aren't they.[SCENE_BREAK]Underground station[SCENE_BREAK]Glitz: Oh, please, Dibber!Dibber: You always did despise muscle.Glitz: Not at all, lad. Not when there arethings to carry. Anyway, Dibber, if we should run into the Doctor again...Dibber: We shoot him.Glitz: Not a bad idea lad. But whatever you do, don't open your big pie-hole and let him know that we're after thestuff.[SCENE_BREAK]Trial room[SCENE_BREAK]Valeyard: The remainder of that evidence has been excised, my lady.Inquisitor: Excised? Why?Valeyard: By order of the High Council.Inquisitor: This is a judicial enquiryappointed by the High Council but independently conducted. It is my duty, Valeyard, to decide what evidence is relevant.Valeyard: Of course, my lady. The High Council simply felt that certain areas of testimony shouldnot be revealed.Inquisitor: Why not?Valeyard: Against the public interest, my lady.Inquisitor: I cannot conduct a proper and searching enquiry without full access to the evidence.Valeyard: Naturally, Inquisitor, their"}
+{"doc_id":"doc_152","qid":"","text":"[PREVIOUSLY_ON]Mike: [grunting]Wynn: Aah![gunshot]Mike: Aah!Wynn: Mikey! [crack]Katherine: [gasps]Raylan: Your ladyfriend is dead. Went pretty badly, as I understand it, in the confines of a motor coachbelonging to Wynn Duffy.Boyd: Baby?[grunts]What disappoints you, Raylan Givens? The fact that you weren't the one who got to shoot me? Where is she goin'?Boyd: Well, you wheel me outta here, I'll take youstraight to her. [chuckles] That's funny.Boyd: Sooner or later, one way or the other, I'm gonna get out of here, and when I do, I'm gonna go get that money.Zachariah: Now, this Grubes guy we're going to see ... yousure he knows his way around?Ava: He knows the trails blindfolded. Boyd knows Grubes.Zachariah: Ah.Ava: If he's alive ...Zachariah: If he's alive, the marshals got him, and if he ain't, the more, the better.Grubes?[yelling] Ava: Nooo!Carl: How we gonna get you out past the nurses' stand without anybody noticing?Boyd: [sighs] It shouldn't be too hard with all the chaos.Carl: What chaos?[gunshot]Art: You got 48 hours,Raylan.Raylan: 48 hours, bullshit.Who you got coming after me? Everybody?Art: Everybody's out looking for Boyd.I'll be the one coming after you.[car door chiming][chiming stops]Boyd: Evening, sir. Where youheaded tonight?Hagan: Headed home.Boyd: You got any kin waiting on you?Hagan: No, sir, I don't.Boyd: That won't be necessary.Hagan: Well... What can I do for you, officer?[gun cocks]Boyd: You can give me aride.[music][chiming][chiming stops]Art: This the shitbag?Tim: It is.Art: Hello, shitbag.Tim: Him there's the good news.Art: I don't want to hear the bad news.Tim: No, sir, you do not.Art: Jesus Christ, Raylan.Raylan:[sighs]Cope: Don't suppose you remember my name.Raylan: I remember you had aim to throw me down a mine shaft.You're a long way from home, are you not?Cope: I am. Slurry pond fouled the spring. No water onthe other side of the mountain. No water ... nothing to hunt. Well, I reckon it was hard to move on.Cope: Was. They'll take the mountaintop year's end, I heard. I'd have had to move on regardless. Wouldn't mind if yousat a spell.Raylan: I got urgent matters. My advice ... keep moving on. There's a fugitive at large hereabouts. Give my best to Cousin Mary if you see her.Cope: Unh-unh. She passed.Raylan: Condolences. Stand up. Tell'em to come out, guns pointed at the ground.Cope: [whistles]Raylan: [sighs] If that ain't all of 'em, you're the first one who gets shot.Cope: That's all of 'em.Raylan: Lay your guns down. Every second I spend on yourbullshit, the man I'm hunting gets further away. Now, tell 'em to do it before I lose my temper. Now, walk down that hill, and keep walking ... about an hour. He'll catch up with you soon if he don't do somethingstupid.Ava: No sign.[panting][clinking]I bet they ran off after Grubes died. And I bet they starved to death.Zachariah: We got no guide, and you're worried about the horses?Ava: That's one bad omen on top ofanother.Zachariah: I ain't superstitious.Ava: Well, it doesn't take a damn ouija board to see that our plan is as dead as the man that used to live in that house.You'd notice if you weren't playing in the dirt!Zachariah:I'm digging a grave.Ava: For us? Huh?Uncle Zachariah, we gotta get out of here. Oh, is that the way it is? Leave the dead to bury their own? That's something you learned from Boyd, huh?Ava: You don't know me. You... You want to be all high and mighty? Let's see how that saves your ass.Zachariah: I know you don't want to hear me preach, but I'm gonna tell you right now, there's six months' worth of food in that cabin, plenty ofwater, and a lot of firewood for the cold. Wait a minute. If that's your idea of a plan... Oh no, little girl. I like your idea... we just roam around these goddamn mountains not knowing what the hell we're doing, lost,hauling 300, 400, 500 pounds of money? Oh, you're real smart, girl.Ava: I can't keep this up.Zachariah: Yes, you can, and you will. 'Cause that's who we are, born in these godforsaken hollers in this goddamnbroken-down world. We're survivors.Ava: Okay, you want to stay? We can stay. But we're gonna fight.Zachariah: Won't have to fight. After two weeks, they'll think we're somewhere over in Virginia. They'll just movethat search on over there.Ava: I'm talking about Boyd. He knows this place. He will come.Zachariah: Boyd is dead. And if he ain't dead, he's in jail. We'll be safe here for a while. Grab that shovel and help me get thisman in the ground.Cope: I don't see any badge.Are you still a federal? This guy you're chasing... he personal business?Raylan: You met him. You put me in a box with him. He's now a federal fugitive.Cope: So youshould've let me kill him at the time, then, huh?Raylan: Thought has crossed my mind.Cope: So I'm right. Gotta be you, the one that does him. Had a coyote like that. Ate near 10 of my chickens... one every night.Dogs couldn't catch her, avoided the traps like she'd set 'em herself. You know, what I decided to do was ...Raylan: I don't care what you did. I need you to shut your mouth and get up that hill.Cope: You know, afterwe tangled, Cousin Mary told us all about you. Turns out, I remember your daddy. He's a son of a bitch.Raylan: You'll get no argument there.Cope: You know what he did?Raylan: Historically or on a specific day?Cope:He used us. Used our blood ties to your Mama to have us move his drugs up and down our mountain ... the way you're moving me right now. The way I see it, that makes you a son of a bitch, too.Raylan: Guilty aschar...Cope: [grunts]Raylan: I let you go, you gonna get your people, come back after me?Cope: Got any good reason why I shouldn't?Raylan: With what purpose in mind?Cope: You saw 'em. They got nothing. They'llkill you for your boots.Raylan: Give me that. In a couple days, you're gonna come to Arlo Givens' place, he's in the book. I'm signing it over to you.Cope: Y-You're giving me your house?Raylan: He did you people dirt.This is payback.Been using that place as a bullshit excuse.I don't need the money from selling it. I need to find Boyd and get to Florida.Cope: [grunts] What's this?Raylan: A note... bequeathing the property to you......case I don't make it down.[music][title music]\u0000 On this lonely road, trying to make it home \u0000 \u0000 doing it by my lonesome, pissed off, who wants some? \u0000 \u0000 I'm fighting for my soul, god, get at your boy \u0000 \u0000 you tryto bogard, fall back, I go hard \u0000 \u0000 on this lonely road, trying to make it home \u0000 \u0000 doing it by my lonesome, pissed off, who wants some? \u0000 \u0000 I see them long, hard times to come \u0000Markham: I always scoffed atpeople talking to... loved ones who'd moved on. Seemed impractical to me. Can't hear you. They're gone. And I'm a practical man. Except when it comes to you, it seems. Revenge, Katherine. What did you in? Damn it,I told you I would get Duffy! Why didn't you trust me? For once, why couldn't you just do what you were told to do? I'll always love you, Katherine, but you need to know. I may be talking to a ghost, but I am still apractical man. I'd love to gut Wynn Duffy from nose to tail, but I have got to go and get my goddamn money. Wynn Duffy. Hey, you've got a damn good lawyer, Wynn, And I ought to know, because I'm a damn goodlawyer.Wynn: I'll pass along the adulation. Are these the personal items from my motor coach?Vasquez: Yeah, I had to call in a lot of favors to get you transferred to federal custody. And now ... well, it seems now I gotto let you go. Billie Jean King.Wynn: A pioneer.Vasquez: We took the liberty to freeze your bank accounts...Wynn: It's prescription. I have... sensitive gums.Vasquez: ...pending the results of the investigation. You'refully cleared, [i]should be able to get most of your assets off ice. Oh, look at this. You are an eagle scout.Wynn: It belonged to a dear friend.Vasquez: Mm. 'Course, KSP's gonna want to keep your winnebago a bitlonger, but if you want that, you can stick around for another week or two.Wynn: That they can have.Vasquez: Bad memories?Wynn: Raylan Givens, Boyd Crowder, and Avery Markham are soon to converge, Mr.Vasquez. Like the aligning of the planets if those planets carried guns and hated my guts. I don't ever plan on returning to Kentucky. May I?Vasquez: I just have one last question.You know, for me. Off therecord.Wynn: Sounds sexy.Vasquez: You know, I have a-a stack of files this tall. Sits on my desk. It's got all kinds of witness interrogation and, um, surveillance records and info from snitches about who killed SimonPoole 14 years ago. And it all adds up to... jack sh1t. So I just want to know, between you and me, who really did it? Who killed my boss?Wynn: Between you and me, Mr. Vasquez, I really and truly don't know.Woman:Air unit East to Evarts.Possible fugitive sighting. Please confirm. Over.Man: Copy. Which fugitive? Over.Woman: Uh, Boyd Crowder ... possibly in police uniform. Considered armed. Stolen police vehicle recovered.Possible hostage situation.Zachariah: God damn.[Ava chuckles nervously]Oh, god... Of course. Of course![laughing]Zachariah: What the hell you laughing about?Ava: It's a joke. Don't you get it? We're dead!Zachariah:No, we got to do something.Ava: We're gonna run. Hell yeah! Let's run!You know your way around this goddamn mountain, little girl? 'Cause I sure as hell don't.Ava: Forget about the mountain. We got to go backdown! We got to ... we got to ... I don't know ... find one of them abandoned houses and ... and hide out.Zachariah: Federals kicking in every goddamn door, dogs running around, sniffing around, they'd find us in notime.Ava: You got a better idea? Else we're dead.Zachariah: Yeah, I got an idea. We're gonna sit right here, we're gonna wait. And when he shows up, we're gonna kill him. The end.Ava: That's not gonna be our end.'Cause staying here is suicide.Boyd: I'm gonna need you for a little while longer. I'd rather take your time than take your truck.Hagan: You can have her.Boyd: Yeah, well, I don't want her. I'm just looking to get frompoint \"A\" to point \"B.\" Look, Mr. Crowder, I done helped you out. I gave you my son's clothes.Boyd: You know my name. You know what I done. God damn right I know your name. And which time you talking about?Well, I do have a rather long résumé.Hagan: Yes, sir. They put out your greatest hits, it'd be a double album.Boyd: sh1t. Double live, man, from Japan.Hagan: Hell yeah. All killer, no filler.Boyd: [laughs]Hagan:Konnichiwa, bitches. sh1t.You nearest thing we got to Billy the Kid around here.Boyd: Well, I don't know about all that.Hagan: sh1t, son, you're smart. Articulate, strong. The way you look, the way you talk, ain'tnobody expect nothing from you. Then you unleash, and they cannot deny. [clicks tongue] It ain't too much to call you a hero. Well, if you insist.Hagan: Go on. Be proud to give the outlaw Boyd Crowder my truck.[keysjingle]Boyd: Thing is, they're looking for me. They ain't looking for you.So I'm gonna need you to drive.Derrick: Man, this sucks.Loretta: I ain't paying you to whine.Derrick: Yeah? And I didn't come for the money. Well[chuckles]... not just the money.Loretta: Look, I got people maybe out to kill me, Derrick. You came just to get back together, you're a damn fool.Derrick: Loretta... [clank] ...why you got to be talking ...[mangroans]Got him.Loretta: Hold up. I can't see.Derrick: Here, let me look. [door opens]Boon: Hey, Loretta. I been looking everywhere for you.You know, one way in and out of this place ...I snap one of your traps, andyou both take your eyes off the door? You're a smart girl, but I got a thing or two to teach you yet. I reckon I could see you both better if you stepped out this way.Yes, you, son. Come on, now. Giddyup.[clickstongue]Now, how about you put down them toys? I'm not here to start a ruckus. Who the hell are you?Derrick: Just her boyfriend.Boon: Oh, yeah? You want to save your girlfriend?Loretta: He ain't my boyfriend.Boon:Loretta, girl, a boy doesn't become a man until he can make his own decisions.You want to raise up that gun, try and shoot me?Or you afraid I'm too fast?[gun cocks]I am, by the way.[gun clicks]Good news ... Jennyhere, you got to leave her firing chamber empty, avoid an accidental discharge. Bad news ... her chamber's full of promise now. How about we try that again, huh? You not having to clear that holster, boy, that fastapproaches a fair...[gunshot] [thud]Derrick: [groaning and panting]Boon: Aw, sh1t. He's still kicking.Derrick: [coughs]Boon: That's the risk you run going for a head shot, Loretta.Derrick: [crying]Boon: Well, I figure...you never know when one of these pussies are wearing kevlar, right?Always go for the brain. Best bet.Derrick: [panting][coughing][groaning]Boon: Don't worry. I'll forgive you.Vasquez: Where is she? Where'sArt?Who's running this sh1t show? Where is everybody?Nelson: Gee, I don't know. The manhunts? Plural?Vasquez: And they left you to what? Do your nails?Nelson: Well, if it's any of your business, Vasquez, I'mcoordinating.Vasquez: Oh, well, that's fantastic. Maybe you can coordinate an explanation for this bullshit bulletin.Nelson: Chief called it in. Looks pretty serious.Vasquez: You were saying?Nelson: Having a bad day,David?Vasquez: Yeah.Nelson: Hey, Tim, maybe you can help out ...Tim: Dude, I just came in.Nelson: He's asking about the bulletin.Tim: [sighs] Well... when a marshal's life is in danger, we put out a bulletin saying so.Hoping a fellow L.E.O. will bring him into protective custody.Vasquez: You think I don't know that Givens has gone rogue and that you're closing ranks to avoid a P.R. nightmare? You and everybody in this office isgonna be writing thank-you notes to Art Mullen from the federal penitentiary.Tim: Your attitude is not helpful.Vasquez: Open your ears!Tim: So negative. We're not talking about a write-up. Everybody in here is anaccessory to ... to a $10 million heist! Aiding and abetting a fugitive!Vasquez: Never mind. There's no point.[dialing]Vasquez: Get me S.A.C., uh, Les Levay at the FBI.Art: Mullen.Tim: Oh, hey, Art. What's up?Art: Holdon. You're breaking up.See if I can get a signal. Uh, say that again.Tim: Oh, hey, Art. What's up?Art: Oh, you know, scouring the countryside for a dumbass. You?Tim: Well, I just had Vasquez pissing in my ear aboutthe bulletin. So, it looks like we can't keep the whole \"Raylan Givens gone rogue\" thing in-house.Art: Well, he sniffed that out sooner than I'd thought.I think he just trashed Nelson's desk, too.Art: Well, how'd you leaveit?Tim: Well, he's on the phone now.Vasquez: Yeah, I'm gonna need a bolo issued for Raylan Givens.Tim: Fact, I just heard him tell the FBI ballsack to issue a bolo.Art: Well, sh1t!Tim: Wait one.Vasquez: The plan is assoon as I get him, I'm gonna indict him.Tim: I just heard him say he wants Raylan indicted.Art: Double sh1t.Bob: Raylan, if you get this, just letting you know I heard the FBI bolo for you on the scanner. I know you'rein trouble, and I'm ... I'm on my way.[SCENE_BREAK][garage door squeaking][gasps]Raylan, d-d-did you steal my Crown Vic? D... sh1t![sighs][music][grunts]All right, where are you? Aw, there you are. I'm coming foryou, Raylan.[music]Raylan: You ain't Boyd.Zachariah: Neither are you.Appreciate you not shooting me.Raylan: Likewise.Zachariah: Seen the crown of your hat through the window. Boyd don't wear no hat.Raylan:Where's Ava?Ava: [panting] If you get this, call this number. [panting] You better make it fast, though. I'm running out of time.[panting]Wynn: I need a vehicle, a gun, and two passports.I want the vehicle to have acompartment, well-hidden, and I mean top-shelf hidden, not some 20-year-old Astro with a false bottom.Lorna: How much space you need?Wynn: Enough room for two or three very large duffel bags.Lorna: Your guycoming, too?Wynn: No, Mikey's not gonna make it. You know what'd be great? One of those dog-grooming vans. Mobile dog groomers use them.Lorna: We can paint one up like that, sure.Wynn: No. A used one.Lorna:It's not easy. [sighs]Wynn: By tomorrow. Triple what you paid last time.Wynn: Fine.Lorna: Up front.Wynn: [sighs] Keep the change.Lorna: Anything else?Wynn: Yeah, actually... a topographical map of Harlan Countywould be great.Raylan: Do you not see how we want the same thing?Zachariah: That may be true. But if Boyd ain't been here yet, why you going off looking for Ava? Why don't you just stay here, and we'll take thatson of a bitch together?Raylan: We don't know for sure if he's coming. He's only coming if he thinks she's here!Zachariah: And he does think she's here!Raylan: But if he don't, if he somehow gets wind of her... before Iget to him. I hear what you're saying, but I'm sticking here for the fight.Raylan: Well, I'm taking the fight to him. Now, where is she?Zachariah: I don't know. Maybe she slipped through cranks gap by now. She mightbe halfway to Jonesville ... maybe Ewing. I don't know. Who she knows in Virginia? Did you set her up? I don't know nobody in Virginia. I don't know where she is, and she didn't tell me. So I can't spill my guts in caseyou plan on roughing me up again.Raylan: You're a waste of space. You're of no help.Zachariah: Let me tell you something, you son of a bitch! You ain't no better than Boyd! God damn you! The way the two you justscrambled that poor girl's brains! Pull her this way and that way. You used her, god damn you! Ain't no wonder why she burnt the two of you and lit out on her own.Raylan: I'm trying to protect her.Zachariah: Yeah,that may be part of the story, but I bet that ain't the whole goddamn story.Raylan: Yeah, you're goddamn right. Where's the money?Zachariah: [scoffs]Raylan: Where is it? It ain't here. It had to weigh a ton. No wayshe drug it up and over. She went down.Zachariah: She's gone.Raylan: Not as long as I'm looking.Ava: [panting][grunts]Oh, god.Bob: Ava Crowder...Ava: Aah!Bob: Step away from the car.Ava: [panting]Bob: Stepaway from my Crown Vic.Take that backpack off. Slow.Ava: [breathing heavily]Bob: And, hey, don't reach in.No, put it on the ground! On the ground! Ava, don't test me. All right, now get down on your knees. On yourknees. [sighs] Sorry if that ... that sounds untoward. Holy sh1t! Holy sh1t. Where ... Where's Raylan?Ava: I don't know.Bob: Did you kill him?Ava: What? No!Bob: Ava, you're a fugitive from the law. I know you shotyour fiancé and I know that Raylan took my Crown Vic. And I tracked it up here. Now, for the last time ...Ava: The answer to the question is \"no!\" I ain't even seen him.Bob: I hope for your sake, and for the sake of theCommonwealth of Kentucky that you are telling the truth. Now... lace your fingers behind your head. Behind your head! Okay. Let's get up slowly. Come on. There you go. Walk this way with me. And I'm quick with thisgun, case you're getting squirrely. You got that?Ava: Bob, you know there's a lot more money where that came from, don't you? I mean ...Bob: I'm gonna take mercy on you.I'm not gonna \"attempting to bribe anofficer of the law\" to your long list of offenses.And before you try to seduce me, just know it's been tried before. All right, now, get yourself in the Gremlin there. Open the door. Open the door. All right. Sit yourselfdown. And when Raylan comes back with my keys, we're gonna make the change, and it's nice in there. I got an air freshener smells like a mocha latte.[engine shuts off]Ava: You hear that?Bob: Uh, no, I di... Yes, Idid.Ava: It's Boyd.Bob: Ava, that could be anybody, okay?I want you to calm down, all right? Just calm down. Just sit down for a sec.Ava: Listen to me. Please. He's gonna kill us!Hagan: Cold out here. Can feel it.Boyd:Yeah, I was just thinking the same thing.[exhales slowly]Hagan: I appreciate the lie, Mr. Crowder.But we both know what you was thinking. Loose end and all.Boyd: You know my mind? Now, maybe I was gonna takeyour keys, let you walk.Hagan: [scoffs] So you could shoot me in the back? You're gonna have to look me in the eye, you pull that trigger.Nah, I knew the minute you stepped in my cabI was gonna be staring down theblack hole of your gun ... cut me down like the plague you are.Boyd: Well, I got to say, you did do a pretty good job ... all that smoke you were blowing up my ass.Hagan: Ain't no smoke. But I will say this. Stories ofoutlaw legends, they ain't passed down by the families of the murdered. Well, I don't give a sh1t about \"the Ballad of Boyd Crowder.\" I'll be dead and gone when that song gets sung.[exhales slowly]Hagan: Old boy bythe name of Hut McKean mean anything to you?Boyd: Let me guess ... I killed him, my men killed him, my dope killed him, or my daddy killed him?Next thing that comes out of your mouth is, \"how do you sleep atnight, Boyd Crowder?\"Well, do you know how?'Cause I know who I am. Do you? You're a slave, disenfranchised ... don't even know it. You drive your shitty truck to your shitty house, live out your shitty life. You thinkyou're better than me 'cause you play by the rules? Whose rules? My life is my own.Hagan: You ain't even heard a word I said.Boyd: I don't give a sh1t about what you said. I'm an outlaw.[gunshots]Bob: Stay here."}
+{"doc_id":"doc_153","qid":"","text":"FLASH IN.[VARIOUS EXT. LAST VEGAS CITY LIGHTS (STOCK) - NIGHT]CUE SONG: \"Mad World\", Gary Jules[SCENE_BREAK][INT. CLUB -- NIGHT](Men and women drink. One man smiles as he's flanked by two women -one woman busy kissing his neck.)(Across the room, a blonde-haired woman stares worriedly at her cell phone.)[EXT. STRIP - NIGHT](Outside, a limo passes by. In the back seat of a car, a young Vietnamese man sitsand watches the limo pass by. His face is bruised and there are tears staining his cheeks.)(The cab he's sitting in drives away.)[INT. TAXI POV](The young man looks out the windows as the taxicab drives around thestrip. The bright lights from passing motels and other establishments reflect back through the rolled-up window.)(The taxi driver's sweating.)(The young man in the back seat glances over at the taxi driver.)[START:SPLIT SCREEN](Top half: [INT. CASINO] The man from the bar leaves with two women.)(Bottom half: [TAXI CAB] The taxi stops and parks. The driver engages the brakes and sees the young man leave.)Taxi Driver:Hey! Where's my money?(The young man turns around and yells back to the taxi driver.)Young Man: You wait here!(Top half: Cameras flash as photographers snap photos of the man walking through the casino;several women follow him.)(A young woman in red snaps a picture of the man walking by. He notices her and turns back to look at her as he passes.)Man: You want to come with us?(A man standing in the back glaresat the man walking by.)(Bottom half: The taxi driver waits. The fare changes from 7.20 to 7.40. The taxi driver continues to wait.)(Top half: The blonde-girl in red turns to her friend standing next to her.)Tally Jordan(woman in red): Oh, my God. Come on.(The two head out, following the man.)(Bottom half: The taxi driver takes out his log and writes in it: 270 7888OAKEY ST.)(Top half: The party has moved outside to thepool.)(Bottom half: The taxi driver continues to wait. The fare changes from 8.00 to(Top half: The blonde-haired woman in red and her friend are now sitting on either side of the famous dark-haired man. He pays herspecial attention.(Bottom half: The taxi driver continues to wait. The fare changes form 8.20 toFLASH CUT TO WHITE: END OF SPLIT SCREENCue Sound: GUNSHOTFADE IN FROM WHITE[EXT. 7888 OAKEY STREET -NIGHT](Police cars with their flashing lights are at the site. Officers mill about the area.)(Camera moves into the car and we notice the fare is now at 24.00. The taxi driver is slumped forward against the driver's wheel,his eyes closed. We note the blood coating the shirt covering his right shoulder.)(Sara turns on her flashlight and looks at the driver's wound.)Sara: Gunshot wound to the neck. No visible GSR.(She looks up and noticesthe visor. She flips it down and sees the money.)Sara: Money on the visor. It wasn't a robbery.(Grissom is looking in the back of the cab.)Grissom: Dirt clods on the floor mat look undisturbed. Could be from the lastfare. I don't see any shell casings, though.Sara: Partition's closed. Bullet-proof glass. He was not shot from inside.(Grissom walks around the cab as Sara snaps photos of the dead body.)(He sees the bullet holes in thepassenger door.)Grissom: Well, I got two bullet holes in the passenger door.Sara: That's a weird side of the car for a drive-by.Grissom: Maybe he wasn't shot here. Maybe he just ended up here.(Grissom looks aroundthe area. He sees the detective talking with someone in uniform. Grissom calls out to him.)Grissom: Excuse me?(The man from the Transit Board looks up.)Grissom: Are you with the Transit Board?MTB Rep:Yeah.Grissom: Do you have the dispatch log?(He hands the log to Grissom. From what we can see, the log shows:270 2549 LAS VEGAS ---270 465 LEXINGTON 10:01270 3900 LAS VEGAS 10:45 1040270 2112WESTERN BL. 11:01 420270 4500 W. TROPICANA 11:30 780270 20 FREMONT 12:10 980270 7888 OAKEY ST. 12:55. {BLANK} )(Grissom hands the log back.)Grissom: Thanks.(Grissom turns and leaves.)MTB Rep:Why's he leaving?(Sara takes a photo, then puts her camera down to answer the man's question.)Sara: Well, that's kind of what he does.(Sara leans forward into the cab and notices the camera.)Sara: Is this cameraalways on?MTB Rep: Only on HBO. It takes stills for ten seconds when the door opens, and then for the first ten seconds of the fare.Sara: We're gonna need the pictures.(Grissom is walking away from the site anddialing his cell phone.)Catherine: (from phone) This is Catherine.Grissom: (to phone) It's Gil. How you doing?Catherine: (from phone) I'm busy. Checking up on me?Grissom: (to phone) Why would I need to dothat?Catherine: (from phone) You tell me.Grissom: (to phone) Look, I know you tend to get a little territorial about your crime scenes, and I don't want there to be any tension between us, so I'm giving you fairwarning.(Grissom stops when he sees the tire treadmarks on the asphalt.)Catherine: (from phone) Fair warning for what?(cc) You're at 7888 Oakey Street. Am I right?[SCENE_BREAK][EXT. PARKING LOT -NIGHT](Catherine is kneeling down next to a dead body in the parking lot.)Grissom: (from phone) Hi.(She looks up and sees Grissom. He smiles and waves his cell phone at her.)(Jaw dropped open, Catherine closesher cell phone.)[SCENE_BREAK][INT. -- NIGHT](Julian Harper's dead body rests against the cushions as Robbins takes his liver temperature. Warrick snaps photos of the body.)Robbins: Julian Harper. If it weren't forthe cyanosis, I'd say he was doing a photo shoot for GQ.Warrick: Yeah, I'm sure he wasn't ready for this photo shoot.Robbins: Body temp's 95.(Warrick snaps more photos. Robbins glances at his watch.)Robbins: Thatwould make TOD approximately 3:00 A.M.(Warrick snaps photos of the bedside table with a couple of champagne bottles, a hotel room VIP card key, a rolled-up bill and some white powder on the blacktabletop.)Warrick: Well, there's plenty of drugs around here. You think he OD'd?(Robbins checks the victim's mouth and eyes.)Robbins: Yeah, no edema. Some petechia. Could be suffocation or strangulation. But noligature marks or bruising. However ...(Camera zooms in for an extreme close-up of black fibers on the victim's neck.)Robbins: ... some fibers under the chin.(Robbins puts the sample in a bindle. Warrick continuessnapping photos.)(Robbins takes a digital camera out.)Warrick: What are you doing?Robbins: It's for my scrapbook. I've got a perfect spot for him -- a place of honor between Tupac andEntwhistle.[SCENE_BREAK][EXT. MOTEL PARKING LOT -- NIGHT](Close-up of the victim, his head in a pool of blood. Grissom and Catherine kneel down next to the body. Catherine snaps photos of the victim.)Grissom:The taxi's last drop-off was this address. This guy's got dirt on his shoes and pants. There was dirt in the cab. He's got to be the last fare.Catherine: So, somebody killed them both. And if it's about money, doesn't looklike this guy has much.Grissom: Well, I guess it's relative.START: SPLIT SCREEN(Top screen: Robbins raises the digital camera to snap a photo of Julian Harper.)(Bottom screen: Catherine raises her camera to snap aphoto of the victim.)Grissom: It depends on who you are.WHITE CAMERA FLASH TO: END OF TEASER ROLL TITLE CREDITS[SCENE_BREAK][EXT. MOTEL PARKING LOT -- NIGHT](Catherine checks out the victim'sidentification.)Willows: Samay ... Samay Thao. 15527 East Charleston Road. That's a long way from here.(Grissom notes the wounds on the victim's chest.)Grissom: I count six shots in his chest. There were two in thecab, one in the cabbie. If the math is correct, that's nine.Catherine: Suggests semi-automatic, but I don't see any shell casings here.Grissom: Yeah, there were none in the taxi, either.Catherine: Killer could have pickedthem up.Grissom: To shoot a guy six times in the torso, you either have to be very close, or a hell of a shot.David Phillips: It's okay if I roll him?Grissom: Yeah.(David rolls the body onto its side and pushes up the shirtas Catherine snaps more photos of the victim's wounds.)David Phillips: Well, no through-and-throughs. We should be able to recover some bullets from the body.Grissom: Hang on. (points) What do you make ofthat?(He points to the markings on the victim's bloodstained shirt.)David Phillips: Looks like he rubbed up against something.(Catherine looks around.)Catherine: Could be transfer from that railing. There's some paintflaked off of that railing.(Grissom turns and looks at the railing on the second floor.)(Quick flash of: Samay Thao is on the second floor. Someone uses a semi-automatic weapon and shoots Samay Thao. The impactform the bullets pushes him up and over the railing.)(End of flash. Resume to present.)(Grissom and Catherine make their way down the second floor hallway. Grissom checks the concrete floor along the way and findsa lot of blood spatter.)Grissom: We got blood drops.(Catherine looks over at the metal gate. Grissom looks down over the railing at the body below.)(Catherine sees metal cut.)Catherine: Gil. This looks fresh.Grissom:Hey, Brass?SHORT CUT TO:(An officer kicks the door in and rushes into the apartment. A second officer and Brass follow. A man sitting on the floor starts shouting in Laotian.)Brass: Las Vegas Police! Put the gundown!Keo Vipraxay: (shouting in Laotian)Brass: (firmly) Put the gun down! (softer) Put it down.(The man puts the gun down. Immediately, officers push him to the floor and handcuff his hands behind his back.)KeoVipraxay: (shouting in Laotian) (then, in English) I shoot ... burglar![SCENE_BREAK][EXT. LAS VEGAS CITY (STOCK) - NIGHT][INT. PALMS HOTEL - HOTEL ROOM - NIGHT](Nick and Warrick stand at the base of the bedlooking down at the body as they both put on a pair of gloves.)Nick: Julian Harper.(Warrick nods.)Nick: Wasn't he supposed to be like, uh ... (very quietly) the next Brad Pitt or something?Warrick: Yeah. Now he's thenext River Phoenix.(Warrick turns as he looks around and walks into the next room where Sofia Curtis is interviewing Gerald, also known as \"Blinky\". He stops and stands next to her.)Sofia Curtis: All right, Gerald.Blinky(Gerald Allison): Uh, they call me Blinky.Sofia Curtis: And what was your relation to Julian Harper?Blinky (Gerald Allison): Best friends since kindergarten. Now I work for him.Sofia Curtis: What did you do forhim?Blinky (Gerald Allison): Pretty much everything. You know, bought his stuff, hooked him up. Drove him to meetings.Warrick: Did you find the body?Blinky (Gerald Allison): I ordered room service. I wanted to see ifhe was hungry. Boom, there he was.Warrick: Did you touch or move the body in any way?Blinky (Gerald Allison): Uh, no way. No. I watch those murder shows, you know? I know to just keep my hands to myself, and,uh, call the cops.Sofia Curtis: What is with the robe?(Warrick looks at the officer standing nearby.)Warrick: Did you pat him down?Officer: He's packing a small, friendly weapon.Warrick: Would you mind standing up forus, sir?Blinky (Gerald Allison): Nah, bro, I-I-I ... kind of got the angle of the dangle going. The boing, boing, boing.Sofia Curtis: Stand up.(Uncomfortable and awkward, Blinky stands up.)Blinky (Gerald Allison): I, uh,took a Prevalis on the plane over. I been pitching a tent for, like, eight hours. Yeah, I-I think I need to consult a physician.Sofia Curtis: It's called a priapism. Just in case you were wondering.Warrick: What else are youon, man?Blinky (Gerald Allison): Oh, uh, nothing. I mean, uh, I smoked a little herb at the club, but that's it.Warrick: What about Julian?Blinky (Gerald Allison): Oh, Jules? Oh, no, he, uh ... he won't even take aspirin.You know, he's organic. You know, treats his body like a temple.Sofia Curtis: Well, we're gonna need a list of everyone who was here worshipping the temple.(She hands him her notebook and pen.)Blinky (GeraldAllison): Can I sit down?Sofia Curtis: Yeah.(In the background, we hear the shower water running.)Warrick: Did someone turn a shower on or something?Sofia Curtis: You cleared that room, right?(The officer takes outhis gun and heads for the bathroom.)(Warrick and Sofia both follow. They both draw their weapons as they head into the bathroom.)(In the shower, a young woman in her underwear is on the floor in a fetalposition.)Warrick: Hey! Are you okay?(Warrick tries to help her sit up. She immediately throws up.)Sofia Curtis: (calls out) Hey! We need a medic!(The young woman continues throwing up.)Warrick: And a bag forstomach contents.[SCENE_BREAK][EXT. MOTEL - HALLWAY OUTSIDE APARTMENT -- NIGHT](The officer escorts Keo Vipraxay out of the room. They head downstairs past Catherine and Grissom. Brass steps out of theroom.)Brass: His name is Keo Vipraxay. He barely speaks English. He's south Asian, I think. Anyway, it's all clear.Catherine: Thanks, Jim.(Grissom and Catherine enter the room.)SHORT TIME CUT TO:[EXT. MOTEL -APARTMENT -- NIGHT](Catherine looks at the end of the shot.)Catherine: Double *** buck. Standard shot is nine pellets.Grissom: That would account for all the hits.Catherine: So you're saying that a single shotgunblast, through a security door, took out two separate victims in two separate locations?Grissom: Weird, huh?(Quick flash of: [NIGHT] The cab pulls up.)Grissom: (V.O.) The cab drops Samay Thao in front of thisbuilding.(Cut to: The cab door slams shut and Samay Thao heads toward the building.)(End of flash. Resume to present.)(Grissom stands in front of the door as Catherine turns the laser on through the small hole cut inthe wire door. A red dot appears on Grissom's chest.)Grissom: And the position of the blood drops gives us a pretty good idea of where Samay was standing when he was shot. He was a little shorter than me.(Catherineadjusts the laser light.)Catherine: Shots were centered on his chest, about there.(Quick CGI visual image: A blue light visualization of Samay Thao stands outside the door near the railing. He's shot and the imagevanishes, leaving just the red laser pointing in the direction of the shot.)Grissom: My guess is, the cab was parked down there.(Grissom points behind him.)(Quick CGI visual image: A blue light visualization of thetaxicab down on the parking lot. A gunshot fires and the taxi takes off.)Grissom: The driver peeled out when he got shot.(End of CGI visual image. Resume to present.)(Catherine takes out a measuring device andplaces it on the laser.)Catherine: Vertical deflection down to the cab is roughly 60 degrees. Standard shot won't spread that far.Grissom: The pellets must have come through the screen.(Quick flash of: Keo Vipraxayraises the gun and fires. The pellets go through the screen, then hit Samay Thao in the chest. Some of the pellets miss him and go on to hit the taxi driver.)(End of flash. Resume to present.)Grissom: The old billiardball effect.Catherine: The cab driver was collateral damage.Catherine: Okay, but the man with the shotgun said he shot a burglar. What's here to steal?[START: SPLIT SCREEN](Bottom half: Grissom looks around theroom and notes the various items in the sparsely furnished room.)(Top half)[INT. PALMS HOTEL - HOTEL ROOM - DAY](Nick puts on his protective eye gear and turns on the ALS.)Nick: Semen on the bed sheets, as wellas every other flat surface in here.Warrick: (chuckles) Yeah. I've got vodka, champagne, cocaine ...Nick: Hey, hey. Pantyhose.[END: SPLIT SCREEN](Nick picks up the pantyhose. Warrick pushes the curtains aside andlets the light into the room.)(He looks at the glass windows.)Warrick: I've got some smudges over here.(Nick steps up to the window and looks at it. Warrick kneels down to look at the floor.)Warrick: I've got somefootprints.(Warrick looks at the footprints and visualizes a body standing in front of the window. End visualization.)Warrick: I think someone was standing right there.Nick: Was this guy just doing it all over the hotelroom?(Quick flash of: Julian Harper presses a woman flush up against the window glass as he kisses her neck. They're both laughing. End of flash.)Warrick: If those are his footprints ... where are hers?Nick: Or her feetwere up ... in the air. You tell me -- you just had your honeymoon.Warrick: You want to swab this?(Warrick hands Nick a swab.)[SCENE_BREAK][INT. BAR -- DAY](Sofia Curtis interviews Eva, Julian's ex-wife, as shenurses her drink at the bar.)Eva: I just don't understand. I mean, who would want to kill Julian? I mean, he'd had some weird fan mail, but I don't think any of those kinds of people would be able to get in his suite.SofiaCurtis: Were you in his suite?Eva: The ex-wife isn't exactly the best person to have around when you're looking to get laid.Sofia Curtis: Was that your choice or his?Eva: It was mutual. I'm strictly his manager now.SofiaCurtis: So if you weren't in his suite, where did you go?Eva: I was taking care of business. Checked the boys in, made sure the suite was copasetic, had a drink at Skin, and played Pai Gow until hotel security came toget me.Sofia Curtis: So how did you get to be his manager?Eva: When I was with him, he was broke. Then after the divorce, I still ... did his laundry, paid his bills, read his scripts. After a while, I wanted to get paid.Now I get ten percent of everything. Look ... I need to make some calls. Julian's parents, the studio ... can we talk about this later?Sofia Curtis: Sure. But I need your prints and your DNA now.[SCENE_BREAK][INT. CSI- FORENSIC AUTOPSY -- DAY](Robbins reports his findings to Warrick.)Robbins: Tox shows low levels of cocaine, alcohol and Prevalis. Rules out overdose.Warrick: Really? I guess he was just acting about theclean-living part. COD?Robbins: Asphyxia.Warrick: Asphyxiated how?Robbins: I don't know. No broken hyoid. That and the absence of ligature marks or bruises makes strangulation unlikely.Warrick: Did you find anyfibers in his nose or mouth?Robbins: Nope.Warrick: That doesn't rule out suffocation. Killer could have used something that didn't shed fibers.Robbins: Or maybe they came from whoever he was rolling around with inbed. Found, uh, lubricant on his genitals, probably from a condom, and minor abrasions on his pen1s, indicative of vigorous, prolonged activity.Warrick: s*x, drugs and movies: the American Dream.Robbins:Mm-hmm.[SCENE_BREAK](COMMERICAL SET)[SCENE_BREAK][CGI EFFECTS: STOMACH CONTENTS DRAINED][INT. HOSPITAL ROOM -- DAY](Warrick and Sofia Curtis interview Kate, the young woman found in JulianHarper's bathroom shower.)Warrick: Your stomach contents contain alcohol and traces of Triazolam.Katie: Try-as-a-what?Warrick: It's a sleeping pill, has you reading the inside of your eyelids for a week.Katie: I didn'ttake any pills.Warrick: We also found cocaine in your bloodstream. I guess you didn't take that, either?(She shrugs and rolls her eyes.)Katie: So I did a couple of lines, but I didn't take any pills. If I was gonna take apill, I would've popped e or a perc.Sofia Curtis: Miss Villa, we found you in Julian Harper's suite. Were you ever in his bedroom?Katie: (shrugs) Who knows? I don't even know how I ended up in Blinky's room. (groans)Oh, my ... I swear, if that guy slipped me something ...Sofia Curtis: Tell us what you do remember.Katie: Um ... me and my girls were at Skin, and, uh ... Blinky came over and said he was partying with JulianHarper.(Quick flash of: Julian Harper and the woman in red are in the pimpy booth kissing.)Katie: (V.O.) And he said they had this pimpy booth, so we went over. It didn't turn out the way I hoped.(Kate turns aroundand sees them. Blinky is sitting next to her and offers her a drink. She reaches for the drink.)(End of flash.)Katie: And the next thing I know, Blinky's on top of me.Sofia Curtis: We could assist you in reporting a daterape.(She shakes her head.)Katie: Thanks, but no.Warrick: It's not an offer, it's our job.Katie: There's this Stuff Magazine party at Ghost Bar tonight. I'm not gonna make it harder for me to get in because I tattled onJulian Harper's best friend. I mean, if I run into them tonight ...Warrick: Julian Harper will not be there.Katie: Trust me, he will.Warrick: The coroner finished the autopsy early this morning.Katie: He's dead?Sofia Curtis:Yeah.Katie: I was in Julian Harper's suite when he died? You're kidding me, right?Sofia Curtis: And being in his suite makes you a suspect.Katie: I am?Warrick: Yes. So we're going to need to take a sample of yourDNA.Katie: Oh, man.(She thinks about it and starts to smile.)Katie: I am so getting into that party tonight for sure.[SCENE_BREAK][EXT. LAS VEGAS CITY (STOCK) - DAY][INT. - DAY](Sara interviews a conveniencestore owner.)Store Owner: Yeah, I remember that guy. He's, like, Chinese or something, real spun out.Sara: He was on meth?Store Owner: Well, he was on something. He was acting all shady. Downed a bottle of sodabefore he even paid for it.Sara: And that's how you knew he was on something?Store Owner: There ain't nothin' out here. People here act messed up because they are messed up.Sara: The Metro Transit Board said"}
+{"doc_id":"doc_154","qid":"","text":"[PREVIOUSLY_ON]Mary: We have confirmed reports that the Black Death has returned once more to plague our lands.Francis: I understand all the reasons. I do. I just can't. I won't let you take my son from me. I willrise until I am rich and powerful. But I will never be yours again.Greer: Is that your daughter with Leith?Mary: Eduard Narcisse. How may we help you?Eduard: There's someone I thought untouchable. I'd like him to dieof plague. Food for survival... in exchange for one life.Mary: Every life matters! We will find grain elsewhere. You murdered an entire household!Eduard: Why make an enemy out of those you need most?Mary: Justice.Take him away.Eduard: My father will free me!Mary: No, he won't. Because he'll never find you.Eduard: (coughing) No! Mary! No! (screaming) No!(bird caws)[SCENE_BREAK]\u0000 They won't know \u0000[SCENE_BREAK]\u0000Who we are \u0000[SCENE_BREAK]\u0000 So we both can \u0000[SCENE_BREAK]\u0000 Pretend... \u0000(groans)\u0000 It's written on the mountains... \u0000Sebastian: There's 12 corpses. All adults. No... no shovels, no hooks. Keep your gloves onand wrap them with care.Guard: You should get some rest, my lord. It's not your job to handle the dead. It's ours.Sebastian: No, we have to give them proper burial. So their souls can find rest.\u0000 And the pieces broke\u0000 \u0000 And people wanted more \u0000 \u0000 And the \u0000 \u0000 Rugged wheel \u0000 \u0000 Is turning \u0000 \u0000 Another round \u0000Mary: I knew he was alive. I could feel it in my heart.Catherine: Thank God you were right. Please don't tell Francisthat I mistook my illness for the plague. It's embarrassing.(crowd clamoring)\u0000 Dorian... \u0000Francis: Mary.Mary: Where is Lola? Is she all right? (baby cooing)Lola: Mary.Mary: Lola. The... the child, is it... ?Lola: I have ason. (baby crying) (women cooing) (shushes)Francis: Bash, oh, thank God you're all right. We have to talk soon. I need an advisor I can trust. I want you on my council.Sebastian: You're already talking politics.Francis:Because I am already king.Sebastian: I'm no politician, Francis. I don't belong on a privy council. It's a liar's job. \u0000 Dorian, carrion \u0000Francis: Mary? I'd like you to meet the man that saved our lives. My cousin. Louis ofConde.Kenna: Oh, he's easy on the eyes, isn't he? \u0000 Will you ever let... \u0000Mary: Thank you for bringing them home safely. Thank you so very much.Louis: It was an honor. As is this.Francis: You and your men mustrest here before you leave. (women laughing) Your kisses are more easily attained than your words. I left impulsively.Mary: You did.Francis: And now I have returned with Lola's child. I held him and... I don't knowwhat role he'll have at court, but I want to be a part of my son's life. Of this child's life, but we will have others. Mary, my father's indiscretions were blatant, but out of respect for his wife, he gave Bash no title orstanding. It hurt him. And it hurt me to see it.Mary: The eyes of the world are watching to see if we will... If I can bear an heir. Not just for France. For Scotland. And for England as well. I know this has nothing to dowith the role you decide to have in your son's life...Francis: Well, perhaps it should.Mary: Those who are close to us... even here at court will know the truth. Your mother has guessed it already. Spend time with yourson absolutely, but...Francis: But don't claim him. Officially, you mean.Mary: Yes.Catherine: Thank you. I'm surprised to see you. My deepest sympathies for the loss of your son Eduard. Can I get you anything? Somelemonade?Narcisse: I thought this castle would be the safest place for him. Why wasn't it?Catherine: Bring us some whiskey.Nostradamus: Lord Narcisse is here. Asking a lot of questions about his son's death. Iexplained that he showed symptoms of plague, high fever, rash.Mary: You are good to cover for me. Lord Narcisse will never know. His son did die of plague. His body will tell the tale. Eduard murdered an entirehousehold to kill one foe. Since he cared so little for people, it's fitting that he died among the lowborn. I have asked much of you... not the least that you betray your very dangerous friend Catherine. She was mortifiedthat she overreacted to her symptoms. She hates being vulnerable. But it is hard not to enjoy it. We tried to save lives. I owe you. And I will protect you.Catherine: So many people died here. Nobles, servants alike. Iwas in my chambers when your son took ill. But Nostradamus, he...Narcisse: Yes. I've already spoken with your court physician. A... a father can't help but wonder about his son's final days. I survived by fleeing to thecountry. I feel that I should've sent for him.Catherine: There was nothing you could do.Narcisse: : I need to go see him now. You do understand, don't you? (groans) When was this room sealed?Guards: Two weeksago, my lord.Narcisse: Most nobles died in their chambers. Were many nobles sent here by mistake?Guards: Couldn't say, sir. It was a living hell. Do you see him?Narcisse: Not yet. That is my son. Wrap him. Carefully.(moaning nearby) Who's there? This one is still alive.Guards: How could anyone still be alive? He must be immune.Man: Water.Narcisse: That is my son. Were you with him? Did you see him die? We will get you somewater and something to eat. And then you are going tell me all about what happened to my son. (laughter, clamoring)Catherine: Ah, this is nothing compared to what we'll do for your coronation. But your safe return iscause for celebration.Francis: It's nice to see some joy in this castle after so much grief. I hear you had a hand in our new chambers as well.Catherine: One bedroom for husband and wife. Good luck to both of you withthat. I thought Narcisse was leaving with his son's body. Why is he back with so many nobles?Narcisse: King Francis.Francis: Narcisse. My lords. I'm pleased to see you're all alive and well. In the wake of the plague, Iwill be calling on all of you to enforce my laws. Together you control vast regions of France. Some of you will be valued additions to my royal council.Narcisse: Of course, King Francis. But we're here to ask something ofyou as well. Justice.Francis: What's this about exactly?Narcisse: My son Eduard... was murdered. Here in your castle while you were away. By Nostradamus, the court physician. I don't know what grudge you heldagainst my son.Nostradamus: I had no argument with him.Narcisse: Then why did you make false diagnosis?Why did you condemn him to death?Francis: These are serious allegations.Narcisse: My son was healthywhen he was thrown in with servants riddled with plague. I know this because a witness, a survivor, has told me this tale. My son was deliberately infected.Mary: I assure you, if a mistake was made, Nostradamusintended no harm.Narcisse: Assure us all... your loyal nobility, that we are still safe under your rule. We who collect your coin, we who grow your food, we who provide your soldiers, we who uphold your laws. Hold themurderer of my son accountable to these same laws. And show us that no life, especially one of our own, may be taken with impunity. (gasping, murmuring)Francis: Take Nostradamus away for questioning.Mary:Eduard murdered an entire household... men, women and children. I did what I had to.Francis: And Narcisse knows it was you who killed his son?Mary: I was the one who forced Eduard into the plague room against hiswill. If there was a survivor, he would have witnessed everything.Catherine: There was another survivor of your crimes, Mary. Me. You drugged me, didn't you? You were so adamant to stand up to the nobles, and I gotsick just when you needed me out of the way.Mary: I had to stop you.Catherine: Oh, you wouldn't delve into my poisons without help. It was Nostradamus. Your actions spared no one, saved nothing and cost us alldearly. Narcisse wants the guards who brought his son to the catacombs executed as well.Mary: We don't have to accede to his demands. You and Henry might have bowed to the nobles, but we won't.Catherine: Wekept the nobles happy. If they feel betrayed, they can rise up against you. I've seen revolts firsthand, a full-scale rebellion could mean the end of your reign.Francis: I know that you want to do things differently, but I'mnot sure that this is the time. The plague shortages have given too much power to Narcisse. The nobles follow him now, and they are watching our every move.Mary: Then let them watch you, and that you be abovereproach. This was my mistake and I'll fix it.(indistinct conversation, hammer clinking) (horse whinnies)Man: Whoa.Leith: Oh... Lord Castleroy.Castleroy: Wasn't this enough for you? A kitchen boy, given some of thebest lands in the region. You had to have my daughter, too?Leith: Lord Castleroy, I am so sorry. Yvette was kind and...Castleroy: She was everything you told Greer you wanted. Rich and innocent and my daughter.How Greer would have suffered to see your rise, and what a close view she'd have had.Leith: I can assure you that I didn't realize who she was until after we...Castleroy: If my daughter had never met you, she wouldbe alive!Leith: I would never have hurt her.Castleroy: I don't know that, and neither do you. Given the proximity you would have had to the woman I know you love.Leith: Look, please, just... look, wait...Greer: Leith,no! (Grunts)Castleroy: Stay away from my family. Or I will destroy you.Narcisse: Queen Mary. Where is your husband?Mary: I would prefer it if we settled this matter privately. I think you know who's truly responsiblefor Eduard's death.Narcisse: You are. But, as you are a queen, you're nearly untouchable. Nearly. But those that lied for you, I can reach easily enough. That is how I will punish you.Mary: Your son was a monster. Heasked me to murder his enemy, and when I refused, he poisoned an entire household.Narcisse: Why didn't you arrest him?Mary: I let my anger get the best of me. And my outrage.Narcisse: Hand what of mine? He wasmy son! He was loyal and obedient and he had his whole life ahead of him. He was to marry an archduchess, gain one of the most prized farming regions in France...Mary: He was to marry into land? He told me he wasalready married. That Voland had slept with his wife. Why did he really want Voland dead? You also said he was obedient. Was he following your orders? I am queen. You will answer my questions. Why did you wantVoland dead? I command you!Narcisse: No, you command nothing! I don't fear you, I don't fear your husband! Because without me, without the other nobles, your power disappears. We are the outside world, and wesurround you. There is a consensus amongst the other nobles, given my son's station, that an example must be made. So when the dawn comes, Nostradamus and your guards will be drawn and quartered.Mary: That isa horrific and agonizing death.Narcisse: This is what they want. This is what will satisfy them. And you will learn never to cross me again.Francis: My mother's been negotiating to spare Nostradamus, but it's no use.Narcisse wants retribution, and he has the nobles on his side.Mary: Murdering innocent men to teach me a lesson. He's more wicked than his son.Francis: Why didn't you wait? You could have had him arrested.Mary: IfI had, Narcisse would have pressured us to release him. We'd be in the same position we're in now with him trying to force your hand.Francis: If his son were alive, Narcisse wouldn't be consumed with revenge. It wasreckless, Mary.Mary: I saw an entire family be murdered. My rage took hold. It might not have been the best decision, but it was justified.Francis: It was a choice that you made alone. What is it?Mary: I know I told youto go to Lola, but then the plague came and you knowingly abandoned me to a nightmare. You are the king who deserted his castle, and I am the queen who was left behind, alone. Alone because of your mistakes. Outof all the people you could have slept with, did it have to be one of my ladies?One of my closest friends?Francis: We can't afford to do this now.Mary: If you bow to Narcisse now, you'll be doing it for the rest of yourrule. What kind of king do you want to be?Francis: I've been trying to figure out what kind of king I can be. Whether there is a way to stop this execution without destroying my relationship with some very powerfulnobles.Mary: If only we had something to leverage against Narcisse, we could force him to back down.Francis: Conde suspects Narcisse of murdering families to take their lands. I'll send my brother to the villageswhere he acquired property during the plague.Mary: You're looking for evidence of murder. Something to blackmail him with.Francis: Anything. What is it?Mary: I believe Eduard was acting on his father's orders. I don'tknow why Narcisse wanted Voland dead, but I'm going to try and find out.Francis: The execution is at dawn.Mary: I promised Nostradamus my protection. One way or another, we have to find something.Maid: Theseare Lord Voland's chambers.Mary: Leave me. Thank you.Lola: Mary.Mary: Lola, what are you doing here?Lola: Francis explained your situation with Narcisse. I wanted to help.Mary: Francis shared that with you?Lola: Iwas with Francis when we met Narcisse on the road. It gave me chills to see him here at court. I could see Francis was troubled and I asked him what was wrong.Mary: When was this?Lola: When he asked me how thebaby was doing. Mary, I know our situation is painful...Mary: And for you, too. Does he have a name yet?Lola: I call him Robert, after my youngest brother. If Francis claims him, he may choose another name.Mary: Isuppose it would be best for you, if he did. You'd rise above speculation and gossip. You would both gain status and respect.Lola: I just want to be with my child. The more time I spend with him, the less anything elseseems to matter.Mary: It's all right to take joy in being a mother. You don't have to hide that from me.Lola: What is it?Mary: It's from the privy council, to Lord Voland. \"In response to your urgent request... \"Lola: Itsays Voland was desperately seeking an audience with the king before he died.Mary: Well, you said you want to help. I need you to find out whatever you can about Voland's final hours. He wanted to tell Francissomething... I need to know what it was.Leith: It is you. When they announced that you were here, I, uh... I didn't believe it.Greer: I feel as if I betrayed you. I didn't mean to tell Lord Castleroy what you said. Whatyou said in anger. But at the time...Leith: You thought it was true. That I would steal the heart of another just to wound yours.Greer: I was upset when I saw you and Yvette together. I realized how jealous I sounded toLord Castleroy, so I told him your words. As if it was just my concern for his daughter. I did it to protect myself.Leith: You're good at that, aren't you?Greer: Not really. I've poisoned everything. There's little but hateand mistrust between all of us. (sighs) I wish I could turn back time, but I can't. I'm sorry. I'm sorry and... I pray the day will come when I no longer regret that I loved you. Please don't blame yourself for Yvette'sdeath. If I'd let you go to her...Leith: Never tell your fiancé that. Let it be, Greer. What's done is done. Don't cause him any more pain. Let that be a vow that we both keep. You should go. Don't come back.Sebastan:I'm investigating Lord Narcisse. I've heard many of the dead lost their lands to him.Gravedigger: They were murdered. He plucked the deeds to their lands from their stiff, cold fingers. Or so I'm told.Sebastian: Do youhave any proof?Gravedigger: There's proof of murders, theirs and plenty of others, if you want to dig it up. It's all under there, buried with the rest of the unfortunates.Sebastian: In the same mass grave with all theactual plague victims. Corpses came by the cartful, the sick and the murdered. And once they're tossed in... who's going to ask questions? (sighs) Don't take it too hard, my lord. Same thing happens every plague.Justice suffers and dies with the rest of us.Woman: Deesh-kin... aarin kir mograndee.Sebastian: Who are you? Why are you doing that?Woman: From the castle, now, are you? I am. I hear the nobles locked themselvesin with cakes and fine wines, while we watched our loved ones rot and turn black before our eyes.Sebastian: There were many deaths at court as well.Woman: Bury them well, mind you. So many. Wickedly mistreated,not just in life, but in death. Do people really expect them to go?Sebastian: What do you mean?Woman: It's hard enough to get spirits to leave us, but now? There's a door between the dead and the living, and theplague kicked it down. And if the dead aren't guided through... the door stays open. The door is open. They'll get to us before you know it. There will be...Sebastiab: A reckoning.Mary: So we have no proof to useagainst Narcisse unless we want to dig up mass graves and release the plague?Sebastian: If Narcisse is using the plague to cover his crimes, he's not the only one. Neighbours, Catholics, Protestants... they're killingeach other. Even a cardinal's body was found in an alley with his throat slit.Francis: A cardinal? Who?Sebastian: Cardinal Morosini, killed for the gold in his vestments, they say. (Door closes)Lola: I'm here to seeMary.Mary: What did you find?Lola: I spoke with a castle page. Before Lord Voland joined his family in their chambers, he insisted on taking confession. I had to bribe a few altar boys, but I got the priest's name. FatherLucien.Mary: Where do we find this priest?Francis: You look troubled, Brother. I know you call Nostradamus friend.Sebastian: I do. And he's a friend we may need.Francis: What do you mean?Sebastian: He has certainskills . And I know that you don't believe in them or the occult. But something has changed out there. There's talk in the village that the dead are still with us.Francis: People feel guilty for surviving. They torturethemselves.Sebastian: No, a guard heard screams of the dying from an empty room. Servants claim that old castle ghosts have returned. And a woman in the village claims that all this death and injustice has left adoor open between this world and the next and some of the dead are on the wrong side of it.Francis: Still here among the living?Sebastian: And that they stay because they were treated wrongly. Either not given properburial or cut down unjustly.Francis: Murdered. What does this woman think the dead want?Sebastian: The truth revealed.Francis: You mean revenge.Catherine: I loved Henry. But he was a terrible husband and a worsefather. What kind of a father do you hope to be?Francis: Nothing like him.Catherine: Really? Then what will you do about Lola's child? Will you claim him?Francis: I haven't decided.Catherine: You must be worried hemight be your only child. I'm speaking to you as a mother. As your mother. I can tell you that if you do not claim him, there will be a distance between you and that boy for the rest of your lives. He will never be king.But he might be your only chance at being a father. And I can promise you that raising him will be the singular joy of your life.[SCENE_BREAK](door creaks)Greer: Aloysius. I was just going to change and meet youdownstairs.Castleroy: Your servants said you went into town.Greer: Yes, I bought some things for the children.Castleroy: You were gone a long while.\u0000 When it's all falling apart \u0000 \u0000 I'll be the one... \u0000Greer: I went tosee Leith. I know you are in pain, but there's no need for such animosity. Leith is racked with guilt. I am, too. You must know I'm loyal to you. \u0000 And you can't find the spark... \u0000Castleroy: I have been wondering aboutyour loyalty of late. Leith's vow...Greer: Was said... in the moment, in anger. I chose you.Castleroy: You chose the life I could give you.Greer: I chose you, and you chose me knowing that I'd loved another, that I haddone ruinous things for that love. You knew that about me.Castleroy: I didn't know how it would feel. \u0000 It's all gone... \u0000Castleroy: I have business that will take me away for some time.Greer: How long?Castleroy: Idon't know. I'll be seeing my younger children as well. I need to be the one to tell them that their sister is dead.Greer: Will you be back?Castleroy: I don't know.\u0000 Together \u0000 \u0000 I'll be there. \u0000Father: I'm not afraid ofbreaking my vows, Queen Mary. What I do fear is Lord Narcisse.Mary: I will stand against him. Father, I made a mistake a few weeks ago, and now innocent men could pay for it with their lives. Whatever Voland toldyou could save them. Please help me.(crickets chirping)Father: Lord Voland worked with Narcisse. They collected money for the Vatican, but greed interfered, and they kept some of the Church's gold for themselves.Cardinal Morosini discovered their crime.Mary: Cardinal Morosini? He was found dead in a neighboring village.Father: Protestants were blamed but never identified. I know the truth. It was Narcisse and Voland whokilled him. Voland's heart filled with remorse. Narcisse knew his resolve was weakening, so before Voland could confess to your king or to the Church...Mary: He had him killed. Along with his entire family. (sighs) Youunderstand we could destroy Narcisse with this. The Vatican would strip him of his power. You must testify to the king and to the assembled nobles at court.Father: But what I've told you I can never repeat. I'm just a"}
+{"doc_id":"doc_155","qid":"","text":"Michael: Ughh... Blech.Dwight: OK, where does it hurt?Michael: Just... all over. I don't want to do anything... I'm dying...Dwight: No, that's not how it works. You have to point to a specific part of the body.Michael:Right there. [Michael points to computer screen.]Dwight: [reading from screen] \"Abdomen. Menses.\"Michael: Maybe.Dwight: \"The uterus contracts after your egg passes through it.\"Michael: Not it. I don't haveeggs.[SCENE_BREAK]Pam: About 40 times a year, Michael gets really sick, but has no symptoms. Dwight is always gravely concerned.[SCENE_BREAK]Dwight: Oh, is it possible you ate food that contained animalwaste?Michael: That's possible.Pam: Michael?Michael: Uh-huh?Pam: David Wallace is on line one.Michael: The CFO? Ohh...Michael: OK, everybody out. Out. Out. Out. OK.[SCENE_BREAK]Michael: To what do I owe thisgreat honor, David Wallace?David: [on phone] Michael, I am calling---Michael: And Gromit. [David sighs] Jan? Is Jan there?David: Jan is out of town right now.Michael: Oh, you sigh like Jan. I broke Jan's heart, David,and it was awful. It was... It was never my intention to ruin a life. But you know what? Sometimes...David: Michael?Michael: ...you just gots to get your freak on.David: Michael?Michael: Yeah.David: Michael?Michael:Hmmm.David: I am calling to see if you can come down and interview for a job we have opening in corporate.Michael: Really?David: Week from today. Bring your first quarter stats and your recommendation for whowould take over the Scranton Branch.Michael: Wow. I wish I had prepared something to say.David: That's not necessary.Michael: May God guide you in your quest.David: Yes.[SCENE_BREAK]Michael: OK, everybodyhave their towels and swim suits? We have about an hour and half. I suggest that you all go potty now and then we will be congregating on the partay bus.[SCENE_BREAK]Meredith: Oh I'm excited. Today is Beach Day!And Michael is taking the whole office to the beach. So I'm wearing my bathing suit underneath my shirt [lifts up shirt, definitely not wearing anything underneath] Oh, yeah... I packed it in mypurse.[SCENE_BREAK]Michael: Oscar, you brought your Speedo, I assume?Oscar: I don't wear a Speedo, Michael.Michael: Well, you can't swim in leather pants. [laughs] I'm just yankin' your chain. Notliterally.[SCENE_BREAK]Toby: Anybody need sun block? Got SPF 30.Michael: Oh, you know what? Uh, you're not going.Toby: It's Beach Day...Michael: Yeah, I know. I'm sorry, Toby. We... um... Somebody has to stayhere.[SCENE_BREAK]Michael: I want today to be a beautiful memory... that the staff and I share after I have passed on to New York. And if Toby is a part of it... then it'll suck.[SCENE_BREAK]Toby: Hey, want my sunscreen?Pam: Oh, great. I forgot mine and I'm wearing a two piece.Toby: Uh-huh.Pam: Thanks Toby.Michael: Hey Pam, I have a very important job for youPam: I thought we were just having fun at the beach.Michael:We are. We are. But, I would like you to take notes. And I want you to find out about people's character. Not their hotness, per se, but their humor, and their charisma, and the indefinable quality that makes you allglad to follow me.[SCENE_BREAK]Michael: What happens to a company if somebody takes their boss away? I will answer your question with a question. It's like what happens to a chicken when you take its head away.It dies. Unless you find a new head. I need to see which one of these people have the skills to be a chicken head.[SCENE_BREAK]Pam: You want me to write down people's indefinable qualities?Michael: I want you towrite down everything that people are doing all day. And then type it up, in a way that is helpful. Alright?[SCENE_BREAK]Pam: I have the most boring job in the office, so... why wouldn't I have the most boring job onbeach day?[SCENE_BREAK]Michael: This way to the partay bus.[SCENE_BREAK]Kevin: I just want to lie on the beach and eat hot dogs. That's all I've ever wanted.[SCENE_BREAK]Kevin: [singing] [Angela mouthing thewords next to him] And the night got deathly quiet, and his face lost all expression. Said, \"If you're gonna play the game, boy, ya gotta learn to play it right.\" [rest of office joins in at varying times] You got to knowwhen to hold 'em, know when to fold 'em, Know when to walk away and know when to run. You never count your money when you're sittin' at the table. There'll be time enough for countin' when the dealin'sdone.[SCENE_BREAK]Michael: Everybody, may I have you attention please? Today, we are not just spending a day at the beach.Stanley: Oh, sweet mother of God.Michael: If you don't like it, Stanley, you can go to theback of the bus.Stanley: Excuse me?Michael: Or the front of the bus. Or drive the bus. Just, we are all participating in mandatory fun activities. Funtivities! And there is a special secret prize for the winner!Dwight: Yes!Funtivities! I knew it wasn't just a trip to the beach.Michael: Okay, you know what? Your enthusiasm's turning people off.Dwight: I hope there will be management parables.Michael: Well, [whispering] Hey Pam, did youget that down?Pam: Like what?Michael: Like everything I said and everything they did and... Just don't...Pam: Well... no, I don't... exactly... what?Michael: Well write it down before you forget it. That's... You've justbeen drawing pictures. [sighs] Rrrr. I can't stay mad at you.[SCENE_BREAK]Michael: Here we are ladies and gentlemen. Everybody ready? Last one down is a rotten egg. [Gets off bus] Watch out forsnakes![SCENE_BREAK]Angela: Everyone put on sunscreen.Michael: Alright, find a cozy spot. Everybody settle in. [everybody sits down on beach] OK, everybody up! Circle 'round. [motions for circle to form] Let usplay some games. We are situated on the northeast corner of scenic Lake Scranton. America's eighth largest indigenous body of water. It is here that a group of Americans will undergo the ultimate challenge. One day,14 strangers who work together, but only one survivor.Oscar: What?Michael: Just words. Inspiring words. [under breath] Not a contender. [out loud] For the competitions, you will be divided into four tribes. Each tribewill have a leader that I will pick randomly off the top of my head without thinking. Jim, Dwight, Andy and Stanley.Dwight: Yes!Michael: Choose your tribes. Except for Pam. Not Pam.[SCENE_BREAK]Michael: JimHalpert. Pros: smart, cool, good-looking. Remind you of anybody you know? Cons: not a hard worker. I can spend all day on a project, and he will finish the same project in a half an hour. So that should tell yousomething.[SCENE_BREAK]Dwight: I choose Michael!Michael: I'm not playing.Dwight: OK, temp.[SCENE_BREAK]Michael: Dwight is an obvious candidate for my job. He has the best sales record in the office. He lovesthe work. He is, however, an idiot.[SCENE_BREAK]Michael: We are going to choose team names. Dwight?Dwight: We will be called Gryffindor.Jim: Really? Not Slytherin?Dwight: Slytherin are the bad guys, Jim.Jim: Iknow. Okay, we will be Voldemort.Dwight: He-who-must-not-be-named? I wouldn't do that.Jim: [starts chanting] Vol-de-mort, Vol-de-mort ...[Kevin and Karen follow] Vol-de-mort! Vol-de-mort! Vol-de-mort!Dwight:OK, seriously. You really shouldn't be saying that.Michael: Hey, hey, hey. Ok, Ok... Stanley, your team name?Stanley: I don't care what you call my team.Michael: Then I will name your team the Red team.Stanley: No[crosses arms], the blue team.[SCENE_BREAK]Michael: I am also considering Stanley because of all the good that black people have done. For America.[SCENE_BREAK]Andy: We will be team U.S.A.Michael: Very good.Pam, please take a note that Andy is patriotic.[SCENE_BREAK]Michael: Andy Bernard. Pros: He's classy. He gets me. He went to Cornell. I trust him. Cons: I don't really trust him.[SCENE_BREAK]Michael: It is time forthe great spoon and egg race. This one is with a little twist.Stanley: There's already a twist, you're carrying an egg on a spoon.Michael: Shh... The person carrying the egg will be blindfolded. Please put on yourblindfolds. That person carrying the egg will go down, circle a torch, come back, deposit their egg in the pail. First team back is the winner. Alright. Ready? Set. Go! [contestants start walking]Oscar: Come on Phyllis,you can do it. [Phyllis' egg falls off spoon] Ahh...Stanley: Thank you so much. [Stanley sits down and pulls out his crossword puzzle]Andy: Phyllis is out. Yes! [to Kelly] Follow my voice. Follow my voice. Yeah, keep itmoving. Keep it moving. Right this way. Looking good. [Cheers]Kelly: I don't want to hit the big rock!Andy: Don't worry. You're not...Kelly: I know I'm near the big rock. I just know it.Andy: No where near the bigrock.Kelly: [takes off blindfold] I just don't want to get hit by it...Andy: What're you doing? No! See, now we're disqualified.[SCENE_BREAK]Andy: I am okay if I lose every single contest today. Honestly. Because I seethese contests as an opportunity for me to demonstrate what a good sport I am. Mallard! [throws a stone][SCENE_BREAK]Jim: [to Karen] Woah, stop, stop, stop. There's a hole. Step over the hole.Karen: Hole?Jim:Yup. [Karen takes a big step] Perfect, oooh, just made it. OK, turn left.[SCENE_BREAK]Dwight: [to Ryan] Come on! Come on! Andale! Arriba! Arriba!Ryan: Can you just stop this right now, or I'm not gonna do thisanymore.Dwight: What are you saying?Ryan: You have to stop yelling at me or I'm not gonna do the egg race.Dwight: OK, I apologize for yelling at you.Ryan: That's what being a good captain is about. It's aboutlistening to the members of your team.Dwight: I am trying to bring team spirit.[SCENE_BREAK]Jim: [to Karen] Woah, stop, another hole. Take a big step. [Karen steps into lake] Yes!Karen: [lifts up blindfold] Oh myGod! You ass! [chases Jim and throws egg at him] [both laugh][SCENE_BREAK]Pam: There's nothing better than a beautiful day at the beach, filled with sun, surf, and uh... diligent note-taking. [holds up notes]Michael:[off screen] Pam...you're missing things. [shakes off hand and starts writing in notebook][SCENE_BREAK]Dwight: [at Ryan holding egg in spoon] Let's go! Let's go! Come on! Mush! Mush! Come on you b*st*rd! [Ryantakes off blindfold and throws it to ground along with egg and spoon] What the? Damn it temp!Andy: [begins to clap] Great job everyone, that was fantastic. [Michael sighs][SCENE_BREAK]Michael: Okay Pam, I haveanother little project for you.Pam: Does it have to do with these shopping bags filled with hot dogs?Michael: Smart as a whip! Yes! [holds up hot dog packages] These are pre-cooked, so it's not absolutely necessary,but I would appreciate it if you could heat up 800 hot dogs for a little contest I'm going to be having. I would greatly appreciate it.Pam: When's the contest?Michael: Like umm...[looks at watch] ten minutes?Pam: Howam I supposed to... get...Michael: Thanks a bunch.[SCENE_BREAK]Michael: A good manager has got to be hungry. Hungry for success.[SCENE_BREAK]Michael: OK, who's hungry [Kevin starts to put hot dog in mouth]No, no, no. Do not touch the food. Please. Not yet. That is our next event. A hot dog eating contest. [sighs at the table] For those of you who are curious, the world record is 54 and one half hot dogs. Wow! And youknow what? I personally have cooked up enough so each and every one of you could break that record. So shoot for the stars, OK? Alright, the team that eats the most hot dogs in ten minutes will be declared thewinner. On you mark. Get set.Kelly: Can I have a turkey burger?Michael: No, I have the only one. I claimed it. Ready?Oscar: Turkey is a healthy meat.Dwight: It's very good for you. [overlapping talk from all attable]Michael: Guys, guys, guys. Come on! Pleeeeease... Let's just... OK, it's very important that you all try to eat as many hot dogs as you can. On your mark. Get set. Eat!Phyllis: Is there any mustard?Michael: Nomustard, no mustard. Just eat it, eat it, Phyllis. Dip it in the water so it'll slide down your gullet more easily.Michael: Come on, the winner gets a big, big prize.Meredith: [eating hot dog] What is it?Michael: I can'tsay.Jim: You can't say, or you can't pronounce it?Michael: The winner gets a regional manager's salary for a year, and a Sebring, and the feeling that they are making a difference in the world.Kelly: Can we just takethose first two things?Michael: The winner of today gets my job. Ok? I'm interviewing for a job at corporate. And they're only interviewing a handful of people and I'm the most qualified and I'll probably get it.Alright?Dwight: You're leaving?Michael: I didn't want to tell anyway. I didn't want to cast a pall over our fun beach day. But you know what? I don't know who to recommend because frankly nobody is stepping up.Andy:[slams fist onto table] I am so hungry! [starts eating hot dog real fast]Stanley: Do you expect me to believe that you're truly making your recommendations on this basis?Michael: [points at Stanley] Word. [Stanleystarts eating hot dog] There we go. Let's see it.[SCENE_BREAK]Stanley: I would rather work for an upturned broom with a bucket for a head than work for somebody else in this office besides myself. Gameon![SCENE_BREAK]Michael: Four. Three. Two. One. Stop your eating! And the winner is Andy Bernard, with 14 hot dogs!Kelly: Team U.S.A.!Andy: One came up.Michael: 13 hot dogs, everybody!Dwight: Damnit![SCENE_BREAK]Creed: [holding a fish with all the meat stripped off] Nobody told me we were going to have hot dogs![SCENE_BREAK]Dwight: Sabotage.Angela: What? What are you saying? Did you saysandwich?Dwight: No. I was saying that before. Not now. Now I am saying sabotage. The ancient Dutch art of screwing up your own team.Angela: I knew you were saying sabotage. I was giving you an example of it. Iwill misunderstand everything that Andy says until he goes insane.Dwight: If Michael organizes some kind of group hug, stand next to me.[SCENE_BREAK]Michael: It's very simple. There are only three rules. You mustnot touch the ground. You must not step outside of the ring. And you must always wear the safety mittens.Stanley: Uh, we don't have any safety mittensMichael: Probably left them in the trunk of my car. It's alright.It's alright. Here we go.Karen: Get 'em big boy!Michael: Aaaaaand, go!Karen: C'mon, Jim!Stanley: [growly noises, Jim looks terrified]Jim: What are you doing?Michael: Nice, Stanley!Stanley: [to Jim] Sorry about that.It's all about taking points away from Dwight.Jim: Yeah. No. Good.[SCENE_BREAK]Jim: Oh, my God. I have never seen that look in a man's eyes... ever. I thought that I might die. On beach day.[SCENE_BREAK]Oscar:If either of these guys are put in charge of the office I will transfer to Albany. Gil can come if he wants. I'm kinda looking for a way out of that relationship anyway. I think I might try girls for a while. Angela thinks I cancross over. We'll see.[SCENE_BREAK]Dwight: [Andy and Dwight sumo wrestle] Gaaaaa....Michael: One. Two. Three.Dwight: Yaaaaa! Yaaaaa!Michael: Excellent!Dwight: Gryffindor! Gryffindor![SCENE_BREAK]Andy: Ididn't win. But the only reason I didn't win is because I recently learned that it's better to work thing out with words.Dwight: That's not why you lost.Andy: Yeah it is. I totally could have kicked your butt so bad.Dwight:Yeah, right.Andy: Yeah, right, c'mon! C'mon! [Dwight and Andy wrestle]Dwight: [bouncing off of Andy] Aaaagh! Uggggh! How do you like that?[SCENE_BREAK]Andy: [Trying to wet bandana, falls in water] Oh, God!Waaa! Guhh! Wuuuh! Help! Angela! Angela, hey! Oh, thank God! Please tell somebody!Angela: What, Andy? Andy, what should I tell them?Andy: Go tell them I'm floating away, obviously!Angela: I don't understandwhat you want from me.Andy: Angela, it's pretty simple! Look at what I'm doing and go tell somebody about it!Angela: Sorry! Bye, Andy!Andy: Angela![SCENE_BREAK]Michael: I knew that finding a successor would bedifficult. I did not know that it would be impossible. Thus far the candidates have been wildly disappointing. Uh, Jim is not taking it seriously. Uh, Stanley is having a stroke. And Andy, where is he? Where the hell isAndy? Where is he, Pam? Do you know? Ah... who's ahead in points?Pam: I think they're even. At various times you gave Jim ten points, Dwight a gold star, and Stanley a thumbs up. And I don't really know how tocompare those units.Michael: Check to see if there is a conversion chart in that notebook.Pam: I really doubt it, Michael.Michael: Please just check.[SCENE_BREAK]Jim: [on cell phone] Great. Yeah, I'll see you nextweek. Thank you, and here is Karen Filipelli. Bye.Karen: Hello? Yeah, hi David. Yes, I would like to be considered for the corporate position in well.Jim: In well?Karen: As well.Jim: How would that work in well? I justwant to know.Karen: Yes. uh, huh.Jim: Wait a minute.Karen: That would be fine.Jim: If this job is in a well, I don't want it.Karen: [whispering] Cut it out!Jim: I don't![SCENE_BREAK]Michael: What does a greatmanager need most of all? Courage.Stanley: How so? I mean... sure thing, that sounds smart... I can't do this anymore! I'm goin' to sit in the bus.Michael: Your loss, Stanley. Meanwhile the rest of us will have a superfun time defeating our fear and creating a lasting memory. Walking through FIRE![SCENE_BREAK]Michael: Who among you has the guts to replace me? Let him walk across these coals.Kevin: Are you going to tryit?Angela: I'm not going to talk through the fire after your disgusting feet have gone through.Kevin: Angela, it is a million degrees.Pam: I'm gonna do it. And I fully expect to burn my feet and go to the hospital. That'sthe right spirit when doing a coal walk, right?Michael: No. No, not you, Pam. You have to keep score.Pam: I'd like to try it.Michael: Pointless.Pam: But I'm not kidding. I really want to do it.Michael: Blah, blah, blee blup,blup, okay? This is about guts. It takes guts to be a regional manager. Jim, you're up.Jim: Nope.Michael: Ji.. why not? C'mon.Jim: Oh, 'cause I don't want my feet to get burned.Michael: You do not have what it takes tobe a regional manager.Jim: That's harsh.Michael: Who's next? Andy? Where's Andy? Andy is never here today.[SCENE_BREAK]Andy: [lying in water, car lights light up his location] Hello? Who's there? My name isAndrew Bernard, I was with a group called Dunder Mifflin. Hello?[SCENE_BREAK]Kevin: Why don't you go Michael?Michael: Because I already did. Remember? I burned my foot on a George Foreman grill.Jim: And thatis not the same at all. If you're going to ask other people to do it, you should do it yourself.Michael: Alright. Okay. Alright. Fine. 'kay. [clears throat, breathes noisily] The mind has to wrap around the foot. [exhales]Okay.Pam: Do you want us to count to three?Michael: Yes. Count to three, please.Group: Three. Two. One.Michael: Count the other way. Count... no, no, count one, two, three, not three, two, one.Group: One. Two.Three! Go! Do it! Go, Michael.Michael: Wait! Am I going on go? Or am I going on three?Creed: On the go that's after three.Michael: Okay.Group: One, two, three, go!Dwight: No! It's okay. I will do this Michael.Michael:Don't, don't.Dwight: [walking on coals] I will walk and stand on these coals until you award me the position of regional manager!Group: Wow. Go, Dwight. Keep moving.Dwight: [standing still, on the coals] GIVE METHE JOB! GIVE ME THE JOB!Michael: I'm not going to give it to you.Dwight: [falling on his knees, then on all fours] Aaagh, aaagh!Group: [yelling excitedly for Dwight to get off the coals]Pam: Michael, dosomething!Dwight: Aggggh, that stings![SCENE_BREAK]Michael: Being the boss is also about image. I've never looked like that. That was gross. I just, I don't see the connection between a firewalk and management.Worst seventy-five bucks I ever spent. You know what, if I had to pick my replacement based on today, it would be Mr. \"Outside Hire.\"Angela: Or Mrs. \"Outside Hire.\"Michael: Yeah. Ummm, hmm... True. Look, I don'twant to leave this branch that I love to an outside hire therefore we are going to have a one hundred point winner take all sudden death tribal council round. To test the aspect of my job that I think is the mostimportant, something I call the Bob Hope factor.Kelly: Who's Bob Hope?Michael: God! He's a comedian.Kelly: Oh, like Amanda Bynes.Michael: Who's Amanda Bynes?Kelly: She's from \"What a Girl Wants.\"Michael: Oh, Ilove that movie. Yes, Kelly is right, the person to replace me has to have a great sense of humor and they have to possess the leadership qualities of a Bynes or a Hope. So without further ado, Jim and Dwight show uswhat you got.Jim: Hey, I know what you're looking for, but um, I got to be honest, I really don't think I should be considered as your replacement.Michael: You are being too modest.Jim: Michael, on Thursday I'm goingto drive down and interview with David for the open position in New York.Michael: Hhhh... okay. That is not funny. I am deducting sixty points from Voldemort for false pretenses. Okay, Dwight your turn. Wow"}
+{"doc_id":"doc_156","qid":"","text":"[Scene: The School Hallway. Dawson and Jack are walking down the hallway, when a student runs out in to the hall calling for people to follow him into the pool room.]Student: Everybody! The swimming pool! You'vegot to see what they did to the swimming pool.Student2: My!Joey: You don't see this every day.Mitch: What the hell is this?Principal: That's my boat... And my dog.Jack: Who could have possibly?Dawson: [Laughing] Ishould have thought of this.Joey: Dawson, while we do recognize your talent as a witty practical joker, I think that this is even out of your league.Principal: Chester. Come here.[Some students pull the boat to the edgeand the dog hops off and walks up to Jack and sits down. Jack looks nervously down at the dog.]Principal: Do you know that dog, Mr. Mcphee?Jack: No. No.[SCENE_BREAK][Scene: The School Hallway. Anannouncement comes over the PA and as the students are called they walk out into the hallway.]Principal: [Over the P.A.] Will the following students please report to Principal Peskin's office immediately. Jack Mcphee,Zack Estrin, Dawson Leery, Dave Bussan, Pacey Witter.[Scene: The Principal's Office. There is a montage of Jack, Dawson and Pacey being questioned by the Principal and Mitch.]Principal: Process of elimination hasmade you one of the lucky 3 that I still consider to be a suspect in this crime. Now ,there's an easy way to do this, Mr. Witter, and there is a hard way.Pacey: Well, seeing as I have absolutely no idea what crime you'rereferring to, I'll probably take the easy way.Dawson: What, are you guys accusing me of something?Mitch: You know that you're the last person I would suspect of being responsible for a stunt like this, but you can alsounderstand why we would have no choice but to bring you in.Jack: [Laughs] yeah. The dog fingered me.Mitch: We're on your side, Pacey, but we got to get to the bottom of this mystery. And circumstances require thatwe at least consider you as a possible suspect.Dawson: What circumstances would those be?Mitch: Well, given that you're my son, it, uh, follows that you would have access to my master keys to the school, therebyplacing you on a rather short list.Principal: Mr. Witter, everyone in Capeside is aware of the rather sad fate of the late vessel true love, which, I believe, gave you access to the marine storage facility in the yacht clubwhere my boat resided at the time of its boat napping, if you will. [Cut to Jack] Chester was taken sometime between 10:00 in the morning, when Mrs. Peskin let him out after breakfast, and noon, when she realized hewas gone. So all you have to do is tell us where you were and who you were with yesterday morning.[Scene: Gram's Front Porch. Jack is outside the porch door banging on it and calling to Jen.]Jack: Jen! Jen, come on.Jen! Open the door.Jen: Oh. Oh. I'm still asleep. And this is a dream in which you're heterosexual.Jack: Yeah. These are for grams. Can you open the door, please? I got something way better for you.Jen: Really?Jack:Yes.Jen: What could possibly be better than a dapper, young lad bearing a floral arrangement?Jack: I talked to the guidance office. You know that community service, manual-labor thing you're supposed to bedoing?Jen: Oh, yeah.Jack: I asked them if it was possible if you could fulfill your commitment by assisting me with my soccer team.Jen: And what'd they say?Jack: They said, \"providing that kind of guidance for a kid \"isexactly the kind of rehabilitating activity that your kind needs in order to mend her evil ways.\"Jen: Jack, I think I'm more qualified to pick up trash on the highway than mold impressionable young minds.Jack: Aw, comeon. Look, I need you here. Every since Andie left, I've been barely getting by. I mean, the soccer parents have been completely unhelpful. And if that weren't enough, my star goalie broke his leg yesterday trying tojump off the roof of his house into his swimming pool.Jen: Ok. All right. You've sufficiently plucked my heartstrings. I'll do it.Jack: You're a goddess. Give these to grams when she gets back from church.Jen: Ok.Jack:Hey, I'll be back at 12:45 sharp to pick you up.Jen: Where are you going? I--I can make eggs. Um-- I got to, uh, I got to meet Drue at the hardware store.Jack: Why are you meeting Drue at the hardware store? Longstory. It's a karma thing. Hey, I gotta run.[Scene: The Principal's Office. Mitch and the Principal are questioning Pacey to tell his tale.]Principal: You say you didn't pull this stunt. Fine. Convince me. Tell me everything,every single thing you did yesterday.Pacey: Yesterday. Now, let's see. Where was I?[Scene: Outside the Capeside Police Station. Joey and Pacey are standing together by her truck talking while waiting for Doug to comeout.]Pacey: Where was I? Oh, yes. Right here.Joey: Hey, pace.Pacey: Mm-hmm?Joey: You are a pushover. You gave in.Pacey: No, I am not a pushover. I just felt the need to explore my options.Joey: Pacey, for 5years, your brother has been nagging you about spending a day with him observing police policies, and you've always told him to just stick it. Then you take some meaningless career aptitude test, and suddenly you'rewatching the lost episodes of cop rock and taking him up on his dubious offer.Pacey: Well, don't you think I'd look sexy in a uniform? Hmm?Joey: Beside the point.Pacey: Oh, I don't think so at all. [Doug comes outwaiting for him] Well, kiss me good-bye before I hit the rough-and-tumble asphalt jungle.Joey: I'll pray for you, sweetheart.Pacey: [Sighs] hi, Doug.Doug: Hey.Joey: Take care of this punk for me, will ya? See if maybeyou can't straighten him out a little bit?Pacey: Straight isn't a really big part of Doug's vocabulary, you know.Doug: Yeah, that's funny. Hurry up. We gotta get going.[Scene: The Principal's Office. The Principal andMitch are questioning Dawson about his whereabouts.]Dawson: Why are you staring at me like that?Mitch: When I got up yesterday morning, you weren't at the house.Dawson: Which proves that I kidnapped Chester?Aren't you guys working this whole, like, NYPD Blue angle a little hard? All right, um, in the morning, mom gave me a ride.[Scene: Outside Mr. Brook's House. Gale drive Dawson up to his house and Dawson gets out ofthe car.]Gale: Now, listen, get home as quickly as possible. I need you to find the keys to your dad's car, which I know you lost.Dawson: No, I had them. I had them here last night. After I went to the movies andbefore I went out, I took them with me. I think.Gale: Whatever. Just find 'em before he knows they're gone.Dawson: Bye.Gale: Have fun.[Mr. Brooks opens the door and looks out at Dawson.]Dawson: You summonedme.Mr. Brooks: I have a study where I keep my archives, all my papers. Needs to be cleaned out, sorted through.Dawson: Ok, but you're gonna have to pay me.Mr. Brooks: Excuse me?Dawson: I fulfilled my debt toyou. I painted your house. I painted your fence. Your boat is fixed. We're even. It's over. So, I'll do this, but I'm gonna need some compensation.Mr. Brooks: No.[Dawson turns and begins walking away.]Mr. Brooks: Allright. I'll pay you what you're worth. Very little.[Scene: The Principal's Office. The Principal and Mitch are questioning Jack about his Whereabouts and he begins his tale.]Jack: I was doing a project for chem. with Druevalentine. You know him. We had to go to the hardware store to pick up some supplies.[Scene: The Hardware store. Jack and Drue are walking down the aisle getting some of the pieces that they will need for theirChem. project.]Drue: I can't tell you how touched I am by the way you've reached out to me lately, jack. So moving. To be honest, I felt sure you held me at least somewhat responsible for that whole mess with yoursister.Jack: Huh, whatever. Hey, you wanna go grab that paint?Drue: What paint?Jack: The paint. You know, for the project that we're doing. Come back to me, Drue. Look, all you gotta do is go get the paint and, um,and take this up to the register for me.Drue: Why can't you do it?Jack: Uh, one of the soccer goals on the field's falling apart. I gotta get some net, and if I don't fix it, nobody else will.Drue: Must be weird.Jack:What?Drue: Being selfless.[Scene: The Principal's Office. The Principal and Mitch are still trying to find out what they can from Pacey.]Principal: Where did you go with deputy Witter?Pacey: You mean my brother?Where do you think?[Scene: The local Donut Stop. Pacey and Doug are seated eating, yep, that's right, donuts.]Pacey: I'm shakin' my head in disbelief.Doug: Don't judge a book by its prologue, wise-ass. There's plentymore coming up fast, more than any episode of cops could teach you, believe you me.Pacey: Really?Doug: Mm-hmm.Pacey: Well, lemme brace myself for that.[Scene: The Principal's Office. Dawson is finishing upexplaining what he was doing earlier in the day]Dawson: And that's it. I spent the rest of the morning alone in the study.[Door hinges squeak][Inside Mr. Brook's house, he is looking through some of the stuff andcomes across his yearbook, and as he pages through it he comes to Mr. Brook's picture in it and reads]Dawson: \"Arthur Isaac Brooks. \"Newspaper. Track and field. Aspiration to become a great Hollywood filmmaker.\"Oh, my god.[Scene: The Principal's Office. Dawson is still being questioned by Mitch and the Principal]Mitch: Dawson, I think it's time we discussed your infamous ninth-grade senior pact for a minute.Dawson: Dad, thatwas 4 years ago.Principal: Wait, what pact?Dawson: When I was in ninth grade, um, the seniors pulled a particularly lame prank. I think they graffitied the lockers and trashed the parking lot or something. It wasembarrassing. And, uh, Pacey and I made a pact that when our time came, we would do it right-- the prank to end all pranks. We talked about it for years.Principal: So it was you!Dawson: No, it wasn't me. In case youhaven't noticed, Pacey and I aren't exactly butch and Sundance these days. I didn't remember the pact until you sa\u0000Principal: well? What is it?Dawson: I can tell you I didn't do it. I can't speak forPacey.[SCENE_BREAK][Scene: The Principal's Office. Jack is back in the hot seat. Mitch and the Principal are back to questioning him again.]Mitch: so, you picked up Jen at 12:45.Jack: Mm-hmm. I think so. Did I saythat?Mitch: What time did you get to the park?Jack: Um, I don't know. It was, like, 1:35-ish.[Scene: The Capeside Soccer Field. Jack is trying to set up the net as Jen is watching him to see what he is doing, but gettingin the way at the same time.]Jack: Would you get your foot off the net?! Put your little doohickey\u0000Jen: I got it. I got it. I got it. All right, piece of cake.Jack: All right, I gotta take care of something. [He walks off] Molly!Double time. Over here.[Jen tries to set up the net and gets herself tangled up and falls.]Jack: [Chuckles] jeez.Jen: I'm just fine.Molly: What'd I do?Jack: Nothing, nothing. Relax. Deflate.Molly: What do you want?Jack:Well, I've got some good news. After a careful review of all the players on the team, I have decided to offer you the position of goalie left vacant by Kip's injury.Molly: Offering? Like, take it or leave it?Jack: Yeah. Well,it's, uh, I mean, you know...Molly: In that case, thank you, but no, thank you.Jack: W-w-whoa. No, thank you? Wha\u0000Molly: I'd really rather not.Jack: Yeah, but goalie is--is\u0000Molly: I'm left halfback. I like left halfback.I'd like to stick with left halfback, ok? Please?Jack: Ok.[Molly goes off and Jen comes up to stand with Jack.]Jen: I like that kid.Jack: Funny.Jen: You know, she reminds me of me at that age.Jack: No, she knows if I puther in goal, boys are gonna torture her out of spite.Jen: Well, that's because kids like molly and myself tend towards the easier alternative, the one with the least opportunity for embarrassment rather than glory. Yeah.Unless, of course...Jack: Unless, of course, what?Jen: You get us really pissed off.[Scene: The Principal's Office. Now it is Pacey's turn to be grilled some more. Mitch and the Principal are still at it trying to figure outwho did it.]Principal: Now, let's cut to the chase, shall we? My boat was quietly removed from the storage warehouse behind the yacht club sometime between 12:30 P.M. And 5:15. Records indicate that you are theonly senior who had access to that particular warehouse.Pacey: And just what records might those be?Principal: I'll be asking the questions, Mr. Witter. Ok.Pacey: All right, I'll talk. But I gotta warn you, it's gonna bedeathly boring.[Scene: Inside the squad car. Pacey and Doug are sitting silently on the side of the road as Joey drives by them and honks the horn.]Pacey: Doug?Doug: Yeah?Pacey: Do you ever find yourself sittin' outhere at the edge of the highway in your squad car, you got your radar gun in hand, been out here for 4 hours in which only 3 cars have passed, all going under the speed limit, and wonder just what the hell happened toyour life?Doug: Pardon me?Pacey: Well, seriously, man. Look at you. For all your Elliot Ness dreams and Harry Callahan aspirations, you're nothing. I mean, nobody. At best, you're the barney fife of this little podunktown. What's that?Doug: Does this diatribe have a point, Pacey?Pacey: I--no. No, not really. I'm just a little disconcerted by it all.[Scene: The Principal's Office. Once again Dawson is in the hot seat. They are still tryingto find out everything he did the day before.]Principal: So, at 12:00, you were still at the Arthur Brooks estate?Dawson: Yes, I was. By 12:30, I was more than ready to get out of there.[Scene: Mr. Brook's House.Dawson is still going through the stuff stached in the study when there is a car horn from outside. Dawson grabs his coat and heads for the door.][Car horn honks]Mr. Brooks: Where do you think you're going?Dawson:Oh, uh, home. I'm done for the day.Mr. Brooks: The hell you are. If you think you can take my money and wander off to spoon with your girlfriend, you're sadly mistaken.Dawson: She's not my girlfriend.Mr. Brooks: Ifyou're not back here within 3 hours, you can forget about being paid.[Outside Gretchen is in the car waiting for Dawson. He goes and gets into the car with her.]Gretchen: Your mom was stuck at the restaurant. Sheasked me to get you.Dawson: Oh, so I'm a favor.Gretchen: I didn't say that. [Chuckles] so, what was that about?Dawson: Oh, it's about what a complete and total jerk he insists on being.[Scene: The Capeside SoccerField. Jack is telling about the soccer practice from the day before.]Jack: [Voice Over] Jen's insight into the 10-year-old psyche seemed valid. And even though practice was ending and the kids had 2 hours of freedombefore the game, I still wasn't ready to give up on molly playing goalie.Jack: Molly. Molly, come here. You get any orange wedges?Molly: One. Billy took the other one and smashed it into the ground.Jack: Yeah, Billy's ajerk.Molly: Just wait until I'm 17 and hot. He'll regret messing with me.Jack: Look, molly, it doesn't matter if you're 17 or you're 45. These guys aren't gonna respect you unless you make them.Molly: How do I makethem respect me?Jack: Look, molly, you gotta prove it to yourself. Ok? If you do that, if you believe that you're just as good as they are, I guarantee you the rest is just gonna take care of itself.Molly: You find a goalieyet?Jack: Nah.Molly: Can I still have it?Jack: Yep.Molly: Fine. Bring it on. You know, you just totally pulled a fast one on me. But I'm gonna let it go because you're right. But that doesn't mean that I don't understandexactly what you just did. Just bring it.[Scene: Dawson's Back Yard. Gretchen and Dawson pull up to the house to see Drue sitting on the steps waiting for him.]Gretchen: Whenever I see that guy, I can't help buthearing the Darth Vader theme.Dawson: Ha ha ha. I'm making an effort.Gretchen: Not to be cruel, but why?Dawson: Kind of a karmic decision. Thank you for the ride.Gretchen: Just doing your mom a favor.Dawson:Ha ha. Right.[Dawson gets out of the car and she leaves. Dawson goes up to Drue.]Dawson: Well, speak of the devil.Drue: The devil appears.Dawson: So, Drue, what brings you to my humble abode?Drue: First I justwanted to extend my gratitude for last night.Dawson: Oh, well, you know... We met at the movie theater. Common decency dictates I lend you 5 bucks for popcorn and ask you to sit with me. The burger afterwardswas your idea.Drue: Small to you, but significant to me. I'm just grateful to finally find at least one ally in this strange and eclectic hamlet. You may be my first.Dawson: Well...Heh. I appreciate the thought, but youdidn't have to come all the way down here just to tell me that.Drue: Right. That's not why I'm here. You left these in my car, man.[He hands Dawson the missing keys]Dawson: Ah. Thank you. Thank--I-- you just savedme from, like, a solid hour of paternal lecturing.Drue: It was the least I could do. And as I said, you know, you reached out to the new kid. What goes around comes around.Dawson: That is so true.[Scene: Sidewalk inthe middle of town. Pacey is walking behind Doug as they are walking to someone's house.]Pacey: Would I be out of line if I asked what we're doing?Doug: Somebody stole a dog.Pacey: How do you know it didn't justget lost?Doug: We don't. The owner found some footprints in the dirt. It might be the gardener, but either way, we have to find this dog because it is a very important dog.Pacey: So, wait, hold on. Hold on. Hold on. Isthis what you meant when you told me that I'd learn more from watching you than from any episode of cops? Wh--oh, come on. Don't tell me you're still angry at your little brother for that whole \"wasting your life\"shtick. I only sort of meant it. Honest.Doug: I want you to listen to me very closely because I'm only gonna say this one time. If you ever in your life care about anything as much as I care about being an officer in thistown, I will be shocked. If you ever in your life are as good at anything as I am at being an officer in this town, I will be shocked. If you ever in your life presume to judge me again, so help me god, I will beat the uglyright out of you.[Scene: The Principal's Office. Pacey has just finished telling his tale to Mitch and the principal.]Mitch: So what you're telling me is that you were looking for the very same dog that you're suspected ofhaving taken?Pacey: Mitch, you are a sane and reasonable man, and it is obvious that I'm not responsible for this whole fiasco, so why are we still here?Mitch: We're still here because a certain fresh detail has come tolight which suggests that we must, at the least, account for all of your whereabouts yesterday.Pacey: You discussed my ninth-grade pact with Dawson.Principal: Oh, you remember the agreement, too, I see.Pacey:Well, of course I remember it. It was my idea. But did it ever occur to you that my not-so-close acquaintance-slash- former best friend has hinted or possibly even implicated yours truly only to divert suspicion fromhimself?Principal: Mr. Witter, justice is blind. If Dawson is responsible, we'll nail him... Just as we'll nail you.[SCENE_BREAK][Scene: The Principal's Office. Dawson is being questioned about so much that he is beginningto question why he is still there.]Dawson: How is it possible that we're still doing this?Principal: I'll tell you how. Capeside high, a facility to which you have had intimate access, must've been trespassed upon sometimeafter 5:30 P.M. When the cleaning crew went home. There were no signs of forced entry, which implies an inside job.Dawson: Dad, I was home last night. You saw me.Mitch: At 10:00. Uh, just tell us about the prior 5hours-- afternoon and evening, where you were, who you were with-- and I promise you we'll be done with this.Principal: We'll be done with this when I've got my man.[Scene: Mr. Brook's House. Dawson comes intothe house to find Mr. Brooks sitting at the table eating his dinner.]Mr. Brooks: Well, well, well, I'm surprised to see you here.Dawson: Uh, you shouldn't. I work here.Mr. Brooks: I don't think so.Dawson: I thought wehad an agreement.Mr. Brooks: We did. You broke it. You're fired.Dawson: On what grounds?Mr. Brooks: You were playing footsie with your floozy when you're supposed to be doing a job. I guess I forgot you're just ahormonal adolescent.Dawson: What do you possibly hope to gain by insulting my friend?Mr. Brooks: I don't give a damn about you or your lady, but I do care about having my generosity taken advantage of.Dawson:Look, just because you are alone and your life is full of abandoned dreams does not give you the license to inflict your pain on me.Mr. Brooks: How dare you presume to understand me-- who I am, where I've been,what I've done? Now get the hell out of here.Dawson: Fine.[Scene: The Principal's Office. Jack is back telling his tales of the day before.]Principal: Well, you can go.Jack: I can?Principal: Mm-hmm. Just as soon as youtell us where you were between 5:30 last night and 8:00 this morning. Let's just stick to last night after 5:30.Jack: Once again, as I've already told you, we had a game. It was our first playoff game.[Scene: The Soccerfield. Jack is getting everything going for the practice before the game. Jen comes up to join him.]Jen: hey, jackers.Jack: Hmm?Jen: Militant peewee parents at 2 o'clock.[Some soccer dads come over to him and Jen"}
+{"doc_id":"doc_157","qid":"","text":"OPEN AT ELDER GILMORE RESIDENCE[Lorelai, Rory, Emily, and Richard are eating dinner]EMILY: It's simply disgraceful.RICHARD: For years, we've had peace in the neighborhood.EMILY: I knew the Richmonds weregoing to be trouble when they missed the block party last month.LORELAI: I don't understand. They gave out full-size candy bars for Halloween. So what?EMILY: Not full-size candy bars, Lorelai - king-size candybars.RICHARD: We've been giving out full-size candy bars for years now.EMILY: And then those people move in and throw the entire balance of the neighborhood off. They made everybody look ridiculous.RICHARD: It'svery embarrassing.EMILY: I think we have to do something about this - maybe go to the homeowners association.LORELAI: Two Halloweens ago, someone painted the Duprees' Chihuahua orange and nobody went tothe homeowners association then.EMILY: Well, everybody hated Taco.LORELAI: I think you're making a little too much of this.EMILY: I saw Mae Richmond at Bay Wellington's two weeks before Halloween. She hadample time to bring it up then, and nothing - not a word. I think it might be time to go after their ball machine.RORY: Their ball machine?RICHARD: They have a ball machine on their tennis court that is extraordinarilyloud and unpredictable.EMILY: Flying, thumping balls all over the place.LORELAI: Flying, thumping what all over the place?EMILY: Balls.[Lorelai giggles]EMILY: You are four.LORELAI: And balls are funny.RICHARD:Don't worry, Emily. If the homeowners association doesn't do anything, we'll take this to the neighbors, get a petition going.LORELAI: Or if that doesn't work, you could throw some hoods on and burn a full-size Marsbar on their front lawn.EMILY: King-size, Lorelai - king-size.RORY: So, how's work, Grandpa?LORELAI: Look how smoothly she changes the subject.RICHARD: Work is lovely, Rory. How's school?RORY: Crazy.LORELAI:She's taking too many courses.RORY: I am not.EMILY: How many are you taking?LORELAI: Five.EMILY: Is five a lot?RORY: It's not a lotLORELAI: It is a lot.RICHARD: I took five courses when I was a freshman. Rorytakes after me.RORY: I like to be busy.RICHARD: Idle hands are the devil's playthings.LORELAI: That's actually the title of one of her classes.RORY: Please don't worry about me.LORELAI: She says to the mother andthe grandmother.EMILY: Are you done?RORY: Oh, yes, thank you.EMILY: Good, because we have mini lemon bundt cakes for dessert.LORELAI: Oh.EMILY: What?LORELAI: Well, they're serving full-size bundt cakes overat the Richmonds' house.EMILY: She's done.LORELAI: Oh, no, I have a carrot.EMILY: She's done.LORELAI: Bet the Richmonds would have let me eat my carrot.[opening credits]CUT TO ELDER GILMORERESIDENCE[Emily walks into Richard's study, where a photographer is setting up to take a picture of Richard and Jason]EMILY: All right, this should do it.RICHARD: May we please get this over with?EMILY: Patience is avirtue, Richard.RICHARD: And time is fleeting, Emily.EMILY: You're starting a new partnership. You need new photographs, especially with that new look.JASON: I thought I'd give a beard a try.EMILY: Well, I like it. Allright, Helmut, we're all set here.HELMUT: Okay. Important men doing important things. [takes a picture] Good. Oh, one more time. We're going to sign, and. . .[takes another picture] We're done.EMILY: Thank you,Helmut. That was wonderful.RICHARD: And now we sign the real papers.JASON: I'm feeling historic. You?RICHARD: Oh, yes. It's Gettysburg all over again. Thank you.JASON: Important men doing importantthings.RICHARD: Now that makes it official. Jason.JASON: Let's give 'em hell.RICHARD: You bet.EMILY: Oh, I should have had Helmut get the handshake.RICHARD: The signing was fine, Emily. Sorry about the photosession.JASON: Oh, no, that's okay. I think it's a cute idea.EMILY: Yes, and when the financial papers call for an official photo, it'll be downright darling.RICHARD: I learned long ago, Jason, when it comes to things likethis, Emily is always right.JASON: I am sure she is.EMILY: Thank you both. Jason, how's your time? Would you like to join us for dinner?JASON: Oh, I'd love to, Emily, but I should get these papers up to my lawyer'soffice. Next week?EMILY: Consider it an open invitation.JASON: Thank you. Richard, I'll see you tomorrow morning.RICHARD: Yes, you will.[Jason leaves]EMILY: \"I think it's cute.\"RICHARD: He's young, Emily.EMILY:Yes, well, a good smack on that scruffy face of his would age him up a bit. All right, let's discuss the launch party. Do you have any sort of particular feel in mind?RICHARD: Well, I'll leave that to your discretion. Justmake sure it's dignified.EMILY: We probably shouldn't go too fancy. Maybe we'll do one of those vodka bars - caviar, a Russian theme. I love that it's okay to be Russian again.RICHARD: It sounds lovely.EMILY: How'sthe 23rd?RICHARD: Perfect.EMILY: And I want you to get a new suit.RICHARD: I don't need a new suit.EMILY: And find out what Jason's going to wear. I don't want the two of you showing up looking like the Bobbseytwins.RICHARD: Oh, yes, that would be embarrassing.EMILY: I'll need a guest list.RICHARD: Uh huh.EMILY: A Russian theme. I like that.CUT TO YALE CLASSROOM[Rory is in one of her classes]PROFESSOR: Theconquering peoples impose their own values on the subjugated peoples through education, and quite often through the appointment of a priesthood from among their own ranks. This means we should not assume thatthe system of values has in some way evolved in a region. It is almost always imposed with the explicit purpose of keeping power in the hands of the powerful. Something to think about until next week, when we willburst more of your illusions. . .which brings me to a bit of bad news. There was an error in the syllabus you received. The dates were wrong, which means that all of your reading has been pushed up one week. Iapologize for this cruel little life experience, but what can I do? I just found out my in-laws are moving back to town. None of us are immune. I'll see you all Tuesday.CUT TO THE DRAGONFLY INN[The construction crewis working on the inn. Lorelai and Tom walk over to the barn.]LORELAI: So, we were thinking maybe two horses to start with. See, it's so charming with the overhang here.TOM: You want me to turn this intostables?LORELAI: Yes.TOM: Without a magic wand or some sort of fairy dust?LORELAI: Preferably, yes.TOM: Let me take a look inside.LORELAI: We'd like to keep the existing structure, please.KIRK: Lorelai, I'm all setup as soon as you're ready.LORELAI: Be right there, Kirk.KIRK: Okie dokie.TOM: How attached are you gonna get to these horses?LORELAI: What?TOM: You gonna name 'em, feed 'em apples, braid their tails?LORELAI:Why, Tom?TOM: Well, the roof's about to cave in so I can stay within our budget, but then I'd just call 'em all Trigger.LORELAI: Just tell me how much more it's gonna cost.TOM: Okay.[Sookie arrives]SOOKIE: Hey,you're here.LORELAI: I'm always here.SOOKIE: Listen, I want to talk to you about something very exciting.LORELAI: Ooh, very exciting. I love very exciting.SOOKIE: This morning I got a call from yourmother.LORELAI: This is the very exciting?SOOKIE: Yes! She's doing a launch party for your father's new business and she wants us to do the catering.LORELAI: Us?SOOKIE: Us!LORELAI: Did you say us?SOOKIE:Yes.LORELAI: To her. Did you say \"us\" to her?SOOKIE: Yes.LORELAI: So she knows about us?SOOKIE: Yes, she knows about us, I think. What does she know about us?LORELAI: That we have a cateringbusiness?SOOKIE: Yes.LORELAI: Oh, man!SOOKIE: What? Did I do something bad?LORELAI: No, nothing, nothing. It's my fault. I forgot to tell her.SOOKIE: How could you forget to tell her?LORELAI: Well, I've onlyseen her forty or fifty times since we started the business. Now what did she say exactly?SOOKIE: Well, she asked me to cater, and I said we'd love to, and then she said, \"we?\" so I said you and I had started acompany, so it'd be the both of us together, and she said fine.LORELAI: Was there a pause before \"fine\" or was it just \"fine\"?SOOKIE: I don't remember. I just remember the \"fine.\"LORELAI: She's mad.SOOKIE: I swearshe didn't sound mad.LORELAI: Okay.SOOKIE: Good.LORELAI: Now let's talk about how much I can't do this.SOOKIE: Look, I knew it would be a thing working for your mother, but it's perfect timing. This is probablythe last job we'll be able to take before I have the baby.LORELAI: Something else will come along.SOOKIE: Not that pays like your mother does.LORELAI: You know why she pays so much? So she can torture you andyou won't throw knives at her.SOOKIE: Look, you already know the house. Decorating, planning - it's gonna be a snap for you. I bet you can spend ninety percent of the evening in the kitchen, then we get to take homethe pretty, pretty money.LORELAI: Sookie.SOOKIE: Pretty, pretty money. Aren't you a big fat wad of pretty money?LORELAI: Fine.SOOKIE: Really?LORELAI: Shouldn't ask again.SOOKIE: Accepting and movingon.KIRK: Excuse me, Lorelai.LORELAI: Oh, my God, Kirk, I forgot you were here.KIRK: If I had a nickel for every time I heard that.LORELAI: I'm very, very sorry. You have my full attention.SOOKIE: I'm gonna go. Um,we'll talk tomorrow about the details.LORELAI: Okay. All right, Kirk, show me what you got.KIRK: If you'll just follow me, I would like to present you with my new line of one-of-a-kind mailboxes.LORELAI: Wow. Theylook very nice, Kirk.KIRK: And whimsical. They say to the world, \"I'll take my mail with a smile.\"LORELAI: Yes, they do say that.KIRK: And since you are one of our preferred customers, with the purchase of one of ourmailboxes, I'll throw in a carved-duck doorstop and a garlic peeler.LORELAI: Wow, that's quite an offer, Kirk, but I think it's a little early for me to pick a mailbox. We haven't even settled on a color for the inn yet.KIRK:Well, whimsy goes with everything.LORELAI: Kirk, I promise, just as soon as. . .is that Condoleezza Rice?KIRK: Yes, it is. I'm a fan, and her big mouth is perfect for shoving mail in.LORELAI: Ha. Uh, I'll have to thinkabout it.KIRK: Fair enough. So, I hear you're running a catering business now.LORELAI: Oh, yeah, just temporarily.KIRK: You guys any good?LORELAI: Not bad.KIRK: And how much would one have to pay for yourculinary services?LORELAI: It depends, the type of food, number of people, kind of venue.KIRK: Simple food, two guests, my mother's living room.LORELAI: Really?KIRK: I have a visitor coming in from out of town andI thought it would be nice to serve her a catered meal.LORELAI: Her?KIRK: Actually, she was my brother's ex-girlfriend - Lulu.LORELAI: Good name.KIRK: I had sort of a crush on her for a while, and she's coming hometo visit her mother, and she called me.LORELAI: Kirk, you have a date.KIRK: No, just an appointment to take Lulu to dinner.LORELAI: That's a date.KIRK: I don't have high hopes for it, if that's what you'rethinking.LORELAI: Kirk, it's very sweet, but are you sure you want to have dinner in your living room?KIRK: Well, the breakfast nook doesn't seem festive enough.LORELAI: Right, but while you're having dinner in yourliving room, where will your mother be?KIRK: Probably in the living room.LORELAI: Is that what you really want? To have dinner with your mother watching?KIRK: I could ask her to face the wall.LORELAI: Or you couldtake Lulu out to a restaurant.KIRK: Which one?LORELAI: Well, what does she like?KIRK: I don't know. Should I call my brother and find out?LORELAI: I think if he knew, she'd probably still be with him.KIRK: I justreally want it to be nice.LORELAI: Just take her someplace where you're comfortable. It doesn't have to be fancy. If you like it, she'll like it.KIRK: Okay.LORELAI: Just not one attached to a bowling alley.KIRK: Thatnarrows it down a bit. I'll figure something out.LORELAI: Good. You'll see - it'll be great.KIRK: Do you think I could stop by tomorrow with some wardrobe choices for you to pick out?LORELAI: Kirk, you can dressyourself. Just look nice. You know, not too fancy. Clean. No jeans. Oh, maybe a sport coat. Eleven sound good?KIRK: Perfect.LORELAI: Okay.CUT TO YALE DORM[Rory walks into her suite. Janet is jogging on atrampoline in the common room]RORY: A trampoline. That's new.JANET: Helps with my shin splints.RORY: Huh. Wow. Squeaky.JANET: Yup. Phone.RORY: Thanks.[Rory walks into her bedroom. The phone is ringing.Paris is ignoring it]RORY: Paris, can you get the phone? Paris?PARIS: Don't answer it.RORY: Why not?PARIS: It's Jamie and we're fighting.RORY: Well, does he know you're fighting? 'Cause he's not hanging up.PARIS:Oh, he knows. Trust me, he knows.RORY: Okay. You're seriously not gonna answer that?PARIS: Nope.RORY: Paris, come on.PARIS: Fine. [picks up the phone, then hangs it back up] There.RORY: Why are you andJamie fighting?PARIS: Because he's wrong.RORY: Oh, okay.[the phone starts ringing again]PARIS: He won't listen to me. [picks up the phone] You won't listen to me! [hangs up] He's in love with the sound of his ownvoice. You'd think he was already president and I don't want to be Hillary. I don't want to wait for a hundred years while he does his thing so by the time I get my chance, I'm too old to enjoy it.RORY: Well, I don't thinkHillary's too old to enjoy it.PARIS: Fine. Be on his side.RORY: I'm not on his side. I'm on her side.[the phone starts ringing again]PARIS: Don't answer it.RORY: Paris, I have to study!PARIS: Go ahead.RORY: Ican't!PARIS: Why not?RORY: The phone.PARIS: Don't, Rory! I mean it!RORY: [answers the phone] Hello? Hi, Jamie. Yes, she is here.PARIS: No.RORY: Paris, you're acting stupid, okay? You love Jamie, so just get onthe phone and work it out so that I can study, okay?PARIS: [takes the phone] What? No, I haven't thought about what you said. Because I'm very busy, Jamie, and contrary to your beliefs, I have better things tooccupy my time with than thinking about you. Or what you said. Or what you meant or what you want or anything about you or concerning you. [Rory grabs the phone from her] Hey!RORY: Have him call you back onyour cell phone. Then you can talk to him outside. It's nice outside. There are birds and trees.PARIS: My cell phone is dead.RORY: Then take mine.PARIS: What's your phone plan?RORY: Why?PARIS: 'Cause I'm notgonna borrow your phone and get slammed with a massive charge because your phone plan sucks.RORY: Paris!PARIS: [on phone] Jamie, I'm going to call you back on Rory's cell. Yes, I am. Yes, I am!RORY: Yes, sheis!PARIS: Okay, bye. [hangs up]RORY: Here.PARIS: I'll be back.RORY: Take your time.[Paris leaves. Rory sits down to study, but is distracted by the sound of the TV. She walks to the common room]RORY: Tanna, I'mtrying to study.TANNA: Okay.RORY: I can hear the TV through the wall.TANNA: Okay.RORY: It's distracting.TANNA: Are you telling me to turn it off?RORY: I'm not telling -TANNA: You can, you know, because yourgrandma paid for the TV.RORY: I'm not telling you to turn the TV off.TANNA: Because you can.RORY: The TV belongs to all of us.TANNA: If it's a matter of volume, I could press my ear to the speaker and then I couldturn it really low.RORY: Never mind.TANNA: The problem there is that the speakers for the TV are mounted up in the corner of the ceiling, but perhaps if I got a ladder.RORY: Never mind, Tanna.TANNA: Are you sureyou don't want me to turn it off?[Rory leaves]CUT TO LORELAI'S HOUSE[Sookie takes a pan of broccoli tarts out of the oven. She picks one up and holds it out toward Lorelai]SOOKIE: Try this one.LORELAI: Sookie, Ilove you, I love your cooking, but I swear if you make me eat one more bite of broccoli tart, I will beat you to death with it.SOOKIE: Your mother is the pickiest woman I have ever catered for. She has impeccable taste,the highest standards, and she can smell an inferior tart a mile away.LORELAI: Well, depending on how long it's been left out, we all can.SOOKIE: You know, she still hasn't called yet.LORELAI: She will.SOOKIE: But shewas supposed to call about the details a couple of days ago.LORELAI: She will, Sookie.SOOKIE: But it's coming up and we still don't know if she wants a fish course or a cheese course.LORELAI: We'll make a fish-cheesecombo course just to be sure.SOOKIE: Lorelai.LORELAI: Why do I have to call her?SOOKIE: Because technically you're doing the organizing, and I've got batter hands. Oh, ask her about the foie gras. Is it too expected?'Cause I can make it with a, you know, cherry compote. Okay. You know. . .you know what to say.LORELAI: [on phone] Hello, Mom.EMILY: Lorelai, hello. How nice to hear from you.LORELAI: How are you doing?EMILY:Well, I'm just fine, thank you for asking.LORELAI: Good, I'm glad to hear it.EMILY: And I'm glad to report it.LORELAI: Uh, so the reason I'm calling is we haven't heard from you yet, and we really need to nail downsome of the details of the party.EMILY: \"We\" haven't heard from you yet?LORELAI: Yes, we - me and Sookie.EMILY: Ah, yes, the Independence Catering Company.LORELAI: Uh huh. So, anyhow -EMILY: You know, afew years ago, there was a company called Independent Catering. They were all the rage until they catered the Kirov benefit for diabetes that sent 300 people to the hospital with a vicious case of food poisoning. Well,needless to say, they went out of business immediately, and I believe one of them left town without packing.LORELAI: Oh, well, that's a good story. Hans Christian Anderson?EMILY: You know, some people couldmistake the Independence Catering Company with the Independent Catering Company, and that would just be a shame for you, wouldn't it? Now if I'd known what you were going to name your company, I could havewarned you.LORELAI: Mom, I swear, I tried to tell you.EMILY: You did?LORELAI: Yes, I did. I sent you a flier. Didn't you get my flier?EMILY: No, I did not get your flier.LORELAI: Oh, well, I sent it, and to be, um, honestwith you, I was a little hurt that you didn't call to congratulate me, but now that I know you didn't get it, I forgive you.EMILY: When did you send a flier?LORELAI: Last week.EMILY: What did it say?LORELAI: Oh, youknow. . .come and get it.EMILY: You wrote \"come and get it\" on your business flier?LORELAI: Well, no, it was your basic \"Introducing the Independence Catering Company\", uh, flier. You know, it had our phonenumber, our address, and an amusing caricature of us.EMILY: Well, that sounds like a very nice flier.LORELAI: Oh, it was.EMILY: Do you have an extra one? You can bring it with you on Friday night.LORELAI: Uh,sure.EMILY: Because it's very unusual these days for things to get lost in the mail. You don't think you got the address wrong, do you?LORELAI: Mom, the party?EMILY: All right. I'm going to want a mixture of white,off-white, and cream-colored linen. A simple bone china with a gold or deep-blue stripe will work.LORELAI: Okay, got it.EMILY: I'm going with tapers cut in half so that people can see each other across the table. We'llneed white and sterling roses, but not too high or formal. Do you have a florist?LORELAI: I have a florist.EMILY: Does he have a flier?LORELAI: Do you want clear or silver vases?EMILY: You must think I'm a completeidiot.LORELAI: No, Mom, I don't.EMILY: There is no flier. You're making it up to cover for the fact that you once again neglected to tell me about an important event in your life.LORELAI: Mom, I swear there's aflier.EMILY: Shame on you for swearing there's a flier. That's the worst possible thing you could do.LORELAI: Liv Tyler grew up her entire life thinking Todd Rundgren was her real father. You think that might knock thisout of first place?EMILY: I tell you, if I saw this kind of behavior from some other company I was hiring, I would fire them on the spot.LORELAI: Then fire us, Mom.EMILY: Excuse me?LORELAI: You are not hiring yourdaughter and her friend, you are hiring a professional catering company. This is not a favor, it is a business transaction, and I must insist that you treat us exactly as you would any other person off the street.EMILY: Asyou wish.LORELAI: Thank you. Now I'm sorry, but we're very busy with preparations for your event, so I'm gonna have to hang up now. Goodbye, Mother.EMILY: Goodbye.[they hang up]LORELAI: Aah! Horriblewoman!SOOKIE: You, uh, forgot to ask about the menu.[Rory walks in]RORY: My dorm room has turned into a \"Three Stooges\" movie. Shove Pop Tarts under the door in two hours please.LORELAI: Uh, honey. . .[Theywalk into Rory's bedroom, which is filled with trays of broccoli tarts]RORY: You quiched my room.SOOKIE: They're not quiche. They're broccoli tarts.RORY: Well, then you tarted up my room.LORELAI: I'm sorry, honey,I didn't know you were coming home today. Sookie's just trying some things out for Grandma's party.RORY: How am I supposed to study when it smells like broccoli?LORELAI: Well, study in the living room.RORY: This"}
+{"doc_id":"doc_158","qid":"","text":"[EXT. LAS VEGAS CITY (STOCK) - NIGHT][INT. WAREHOUSE](A young woman is held captive with her wrists tied high above her head. Off screen, she hears faint slicing, and gurgling. She screams.)(Blood squirts onher face and in her mouth. She coughs. Yuck.)(Behind her, a man hacks off a dummy's head.)Zack Putrid (director): (o.s.) Cut!(She continues to cough.)Zack Putrid: (o.s.) Cut! Damn it!(The bell rings and overheadlights turn on. The director, Zack Putrid, gets out of his chair.)Zack Putrid: Can somebody please get her a glass of water?! (He walks up to the actress.) What happened? Babe? What are you doing? Are you choking onthe blood?(She nods.)SFX Guy: I did what you told me to.Zack Putrid: Yeah, but this time, get it on her face, not in her mouth.SFX Guy: The mouth is part of the face.Zack Putrid: Yeah, I know, I know. But hit her fromthe side, from the side. And get plenty on the rack.(The SFX guy turns and leaves. We hold on the two actors dressed as doctors - one giant man and Dickie Jones.)Giant Doctor: We're dying here.Dickie Jones: I'mgoing to go ring it.Giant Doctor: All right. Hey, grab me a bear claw.(Dickie Jones heads off the set. He walks past Zack Putrid talking with the cameraman who is wearing a red baseball cap.)Zack Putrid (director): Howlong have I known you, huh? This is you and me. Get the shot -- not too tight. Wide enough to fit in the fun bags.(The director turns back to the actress, who is still tied up with her arms over her head as the fake bloodis being wiped off her. Her make-up is being retouched.)Zack Putrid (director): Baby-cakes ...(The actor playing the killer interrupts them.)Killer Actor: (to the director) Where was I? Want me to laugh?Zack Putrid(director): Don't laugh. You were scary. Get away.(The killer leaves.)Zack Putrid (director): Honey, this time, don't inhale the blood, okay? All right, let's get her cleaned up. Let's shoot this bitch.(He heads back to hischair. The actress gasps loudly.)Actress: (o.s.) Oh ...Zack Putrid (director): Not you, baby. The shot. The shot's a bitch. I love one-ers. And you know what else I love? I love sushi. Me, too. Do you want to go forsushi?(In the background, Stanley Vespucci leads Brass through the set. Nick follows them.)Stanley Vespucci: Our lead actress, Weatherly Adams, had her dressing room violated last night.Brass: So she's the one yoususpect is missing?Stanley Vespucci: She missed her call this morning. The woman is nothing if not professional. She's predictably precisely 35 minutes late every day. You could set your watch to it. She's already ...three hours late and still no sign of her.(He looks at his watch.)(A light blows out as they pass.)Stanley Vespucci: Nothing to worry about, gentlemen. It's just a bad bulb. If you will, please, follow me.(He leads themout.)[INT. WEATHERLY ADAMS' DRESSING ROOM - CONTINUOUS](He opens the dressing room door.)Stanley Vespucci: Here we are.(They walk in.)Stanley Vespucci: Check out the flowers in the vase.(Nick looks at thenote on the flowers.)Nick: \"Congratulations on your last film.\" Any idea who sent her these, Mr. Vespucci?(A framed photo of a pretty blonde-haired woman is on the dressing table next to the flowers.)Stanley Vespucci:(shrugs) Stalkers, creeps, cranks, nut balls, degenerates -- we get them all here. Weatherly attracts them like flies.(He shows them a stack of letters.)Stanley Vespucci: These are ... uh ... some of the guys we've hadtrouble with in the past.Brass: I'll take that.(Nick continues to look through the dressing room.)Brass: When was the last time you saw her?(Vespucci takes his phone out and dials.)Stanley Vespucci: At wrap yesterday.We shot all night, finished about 4:00 in the morning.Brass: Did anyone see her leave the building?Stanley Vespucci: Her car's still parked out back.(Nick holds a purse.)Nick: This hers?Stanley Vespucci:Yeah.Weatherly Adams: (recording) Hi, it's Weatherly. Leave a message or I'll scream. (giggles)(Nick turns the bag over, the contents spilling out onto the sofa.)Nick: Wallet, keys, and cell phone still in there.StanleyVespucci: Still no answer on her home phone.Brass: I'll send a patrol car to her house. You said there was a break in. Why don't you show me?[SCENE_BREAK][INT. REPULSION PICTURES -- BASEMENT](Down in thebasement, various items are stored - dress dummies, rolled-up carpets and a VORTEX OF EVIL movie poster hangs on the wall just below the ceiling light.)Stanley Vespucci: Ah, Weatherly ... how has she died for us, letme count the ways.(Stanley Vespucci leads Brass and Nick down through the basement.)(They walk past posters of the movies Weatherly made - NIGHT SHIVERS, INTO THE MOUTH OF HELL, and CAN I LICK THESPOON?.)Stanley Vespucci: Bludgeoned, boiled, filleted, defenestrated, decapitated, disemboweled, oh, yeah, and strangled with her own intestines. Autopsied while still alive.(They walk into the large storagearea.)Stanley Vespucci: Made to eat her own liver, fed slowly through a tree chipper, roasted and served on a bed of Belgian endive. When Weatherly Adams dies, it's money in the bank.(He shows them the openwindow.)Stanley Vespucci: Here you are, gentlemen.Nick: Looks like somebody broke the glass, reached in, unlocked it and opened it.(Nick looks around the area.)Stanley Vespucci: Yeah, that's the way I found it whenI got here this evening.(Nick finds some blonde-haired stuffed dummies on the furniture. Among the dummies, he finds the real Weatherly with an axe stuck in her back. Flies buzz around the dead body.)Nick: Uh, Jim... I got her.(Nick kneels to look at the body. Jim and Stanley Vespucci join him. Vespucci gasps.)Nick: And I believe she's died for the last time.FADE TO END OF TEASER ROLL TITLE CREDITS[SCENE_BREAK][INT.REPULSION PICTURES -- BASEMENT](A movie poster, I HAVE TO AXE MY MOTHER, hangs on the cement post. The main photo is of Weatherly in red with an axe stuck in her head.)Nick: Whoever stuck her under thisposter was trying to send a twisted message.(Weatherly's dead body is also in red with an axe stuck in her back.)Catherine: Either that, or the killer's got a wicked sense of humor.(Catherine puts her gloves on. Nicksnaps a photo as David Phillips turns the body to look under it.)David Phillips: Lividity is fixed along the anterior aspect, and ... she is still in full rigor.(Nick checks his watch.)Nick: She was last seen alive about 15 hoursago.David Phillips: No panties. I'll do an SAE kit.(David pauses and looks up where he sees the movie poster.)David Phillips: (inflecting) \"The horror.\"(He chuckles and looks at Catherine and Nick. He does itagain.)David Phillips: (exaggerating) The horror ...(Catherine smiles.)David Phillips: Huh? Huh? Bra-Brando? (normal voice) Brando from Apocalypse Now?Catherine: Oh, yeah, yeah. I know, Dave. Everybody knowsthat.David Phillips: (deflated) Oh. I'll get the gurney.(David leaves. Catherine notices Weatherly's broken shoe.)Catherine: Looks like the Lady lost a heel.Nick: There's a whole lot of something here, but it doesn't reallylook like blood to me.(Nick indicates the blood under the body. Catherine dusts the axe handle.)Catherine: No, it's ... uh ... it's the wrong color. It's too red.Nick: Smells sweet. Karo syrup and food coloring -- it's propblood.Catherine: And I am not seeing any prints. It's been wiped clean.Nick: The question is, where does the fake blood end and the real blood begin?[SCENE_BREAK][INT. REPULSION PICTURES - MOVIE SET](Theactress in pink wails and cries. The actor playing the killer cries.)(Brass talks with the cast and crew.)Brass: Now, I know this may come as a shock to most of you, and I'm sorry for your loss. I understand thatWeatherly Adams was a long-time member of this company ...(The midget, Dickie Jones, looks around, then turns and hugs the pretty actress in pink.)Zack Putrid (director): Well, do you have a suspect?Brass: Uh, sir,we just found the body about an hour ago.(Dickie Jones hugs the actress, then squeezes her butt.)Brass: We're just beginning our investigation.(The actress pushes Dickie Jones away.)Zack Putrid: Yeah, I get it, I getit. I mean, it could be anyone.(He turns and looks around - just as the other cast and crew members look around at each other.)Brass: Now, I'm going to have to look at your IDs and I'm going to take statements andfingerprints from all of you. And I thank you in advance for your cooperation.Stanley Vespucci: Anything we can do to help.(Brass turns and heads up the platform stairs.)Zack Putrid: So what am I supposed to dotoday?Stanley Vespucci: Edit.(Stanley Vespucci catches up with Brass.)Stanley Vespucci: Excuse me, Mr. Brass. Do you think that it would be all right if we were to ... continue to shoot ...Brass: No.Vincent Lafoon: Iwant that little twerp Zarco found and locked up.Brass: Uh, who are you?Vincent Lafoon: Vincent Lafoon. This is my brother Mason. We own this place.Brass: Who's Zarco?Vincent Lafoon: Oliver Zarco. He used to workhere. He had a thing for Weatherly, and then he got hurt, blamed it on us, went a little nuts.Mason Lafoon: He was the one who got ...Vincent Lafoon: (interrupts) He was the one who sent the flowers and thenote.Brass: So he's done this before.Mason Lafoon: Yeah, like, three times.Vincent Lafoon: (irritated) Would you shut it? (to Brass) Three times. He's your guy.Brass: Do you have video surveillance by anychance?Vincent Lafoon: Yeah, only on the exterior, but the video system's been on the fritz lately.Stanley Vespucci: I had it repaired three days ago-- I'll get the tapes.Vincent Lafoon: Oh, good. (Vespucci leaves.) (toBrass) Look, just find Zarco, okay?(Vincent leaves. Mason lingers.)Killer Actor: Everyone come together.Mason Lafoon: Um, I can't, I still can't believe she's gone. I mean ... she was a ... she was a real beautifullady.(Everyone gathers on the set.)Killer Actor: Let's form a circle and touch hands with someone you care about.(Mason turns to join the others.)Killer Actor: Yea, though I walk through the valley of the shadow ofdeath, I will fear no evil, for thou art with me. Thy rod and thy staff, they comfort me ...[SCENE_BREAK][INT. REPULSION PICTURES -- BASEMENT](Nick swabs the \"blood\" and tests it. It doesn't work.)INTERCUTWITH:[INT. REPULSION PICTURES - DRESSING ROOM](Catherine is in Weatherly's dressing room. She dusts the green vase.)(She stops when she doesn't find any prints.)[INT. REPULSION PICTURES --BASEMENT](Nick goes over to the window. He sees the security camera outside and measures the distance. He notes it on the sketchpad.)[INT. REPULSION PICTURES - DRESSING ROOM](Catherine snaps photos ofWeatherly's dresser and open drawer.)(She opens the top drawer and snaps a photo of it. She takes out a notebook and looks inside. She finds dates, times and numbers.)(Nick walks in.)Nick: How's it going inhere?Catherine: The vase is clean. I've got a spiral notebook filled with dates, times and weights. Looks like she was a bit concerned about her size.Nick: Actors.[SCENE_BREAK][INT. CSI - FORENSICAUTOPSY](Robbins and David are working on removing the axe from Weatherly's back.)David Phillips: (appalled) You really don't recognize her?(David holds the body down while Robbins pulls on the axe.)Robbins:(grunts) No.David Phillips: You've ever seen Chop Chop, Fizz Fizz?Robbins: No.David Phillips: Can I Lick The Spoon?Robbins: Please, David.David Phillips: They're classics.Robbins: Those are not classics.(The axe popsout.)Robbins: The Exorcist. The Shining. Rosemary's Baby. Those are classics.(David washes the body.)David Phillips: You know what I loved about her? She really made you feel the terror. When she was scared for herlife, I was scared, too.(Robbins holds the axe cut open as David washes it out. He sees something.)Robbins: Interesting.[SCENE_BREAK][EXT. LAS VEGAS CITY (STOCK) - DAY][INT. POLICE DEPARTMENT - INTERVIEWROOM - DAY](Brass talks with Oliver Zarco.)Brass: Mr. Zarco ... tell me about you and Weatherly Adams.Oliver Zarco: It was the happiest time in my life. I had realized my dream.FLASHBACK TO: The set is busy.OliverZarco: (V.O.) I was working in the movies. Though I was only in an entry-level position, Weatherly and I were already an item.(Weatherly and Zarco are kissing in the back.)Oliver Zarco: (V.O.) Just like ...ENDFLASHBACK.Oliver Zarco: ... Julia Roberts and what's his name.FLASHBACK TO: They're filming on the set.(Weatherly takes the burning meat out of the oven and puts it on the table. The meat is smoking.)Oliver Zarco:(V.O.) We were in love.Weatherly: (smiles) Hi.(Zarco is on the side with a smoke machine, adding to the smoke. He blows her a kiss. Filming continues.)Oliver Zarco: (V.O.) And then it was all over in an instant.(Thesmoke machine blows up and bursts into flames in his face. Zarco screams.)Oliver Zarco: Oh, God!(Zarco's face is on fire. He gets up and runs around the set.)Oliver Zarco: Oh, my God!(Finally someone with a fireextinguisher puts the fire out.)END FLASHBACK.(Zarco's face is scarred.)Oliver Zarco: I was in rehab for six months. That slime ball Lafoon convinced me not to file a Worker's Compensation claim. He said that he'dtake care of me.Brass: And you trusted him?Oliver Zarco: Yes. And then, when the deadline passed to file my claim, Vincent offered me two grand, take it or leave it, and then he fired my ass. And I could have livedwith that, but ...Brass: But what?Oliver Zarco: Weatherly ... dumped me. She felt we were no longer compatible. The truth was, she couldn't stand to look at me. She cried when she told me. Actresses can do that. Thesmell of her skin ... like fresh lemon poppy seed scones baking in the oven. Gold flecks that danced like Valkyries in the emerald depths of her eyes. Her hair-- oh, God ... Her hair ...Brass: So you started stalkingher.Oliver Zarco: I brought her gifts from time to time, to let her know that I still loved her. Is that against the law?Brass: It is if you break in to do it.Oliver Zarco: They wouldn't let me in the front door.Brass: So youcame in through the window. Only this time, you got caught. You argued. She told you where to shove your flowers, and you thought to yourself, \"You know, do I really need this aggravation?\" So you killed the bitch. Ithink you killed the bitch.Oliver Zarco: Why would I kill her?Brass: How should I know?Oliver Zarco: Do I know you?Brass: Listen, Zarco, you whack job, you'd better focus! You focus.Oliver Zarco: I'm trying to explainto you. I haven't been near that place in over a year. You got the wrong guy. I don't do that anymore. I'm in therapy now. Lots of therapy. Freudian, Jungian, Gestaltian -- all that crap. I've let go of myanger.[SCENE_BREAK][INT. CSI - GRISSOM'S OFFICE](Grissom is in his office when Wendy appears in the doorway. She's carrying some test results.)Wendy: Have you seen Catherine around?Grissom: No,why?Wendy: 'Cause I just got the DNA results for Weatherly Adams, and the skin under her nails and the semen from her SAE, they both belong to Vaughn Krunty.Grissom: Who?Wendy: Vaughn Krunty, aka \"ZackPutrid.\"Grissom: Who's that?Wendy: (amazed) The Titan of Terror, The Sultan of Slash. He's the movie director. I just ... I found him in CODIS for a statutory rape charge in Laughlin when he was 18 and the girl was16. Can you believe that?Grissom: What's the matter with you?Wendy: Nothing.Grissom: Go tell Catherine what you found, make sure that you pull all the old evidence out of storage in case she needs it.Wendy:Okay.(Wendy looks at the results, turns and leaves the office.)[SCENE_BREAK][INT. REPULSION PICTURES - EDITING ROOM](Zack Putrid is reviewing the footage shot that day.)Zack Putrid: Please. That looks prettystupid, doesn't it?Editor: Well, you could cut out earlier, maybe go to a wide exterior shot, you could carry the scream over a big flock of birds taking off.Zack Putrid: Yeah?(Putrid kicks the editor's chair.)Editor: Or ...yeah ...(He picks up the golf club and hits the table, smashing whatever is on it.)Editor: (mutters) Or not. Or not, just ... bad idea. All right, okay.(Putrid turns around and sees Brass leaning against the door framewatching him. Putrid chuckles.)(Putrid chuckles)Zack Putrid: Detective Brass.(He points to Brass, turns and chuckles at the editor.)Zack Putrid: Man, I love that. Detective Brass. You're a detective, and your name isBrass. I mean, I can use that. That's like a cop named Officer Copper. Or a tin horn sheriff named Sheriff Tin. You cannot write that stuff.Brass: Listen, buddy ...Zack Putrid: Dude, I know why you're here, okay?Weatherly and I, yes, we were knocking boots, man.Brass: So, you acknowledge having s*x with her?(Brass walks in and heads toward the editor's table where he looks at the latest \"star\" covered with fake blood.)ZackPutrid: Well, yeah, I just said I had s*x ... Why would I deny it? Hey, I bang all my stars. It builds trust. It's part of my process.Brass: We found traces of your skin under her fingernails. Maybe she wasn't into your\"process,\" so you raped her.(Putrid chuckles.)(Brass turns and looks at him.)Brass: You find that funny?Zack Putrid: Dude, you gotta see this. You're gonna love it. (to the editor) Bring up Double D.Editor: Yeah. Heregoes.(The editor switches tapes and shows a recording of Weatherly wearing a pink dressing gown in her pink dressing room.)Weatherly Adams: (on tape) Hi, baby. Hi.(On the tape, she blows a kiss to the camera. Aman off screen laughs.)(Putrid whacks Brass on the arm and indicates the monitor.)Zack Putrid: Check it out.(On the tape, Weatherly opens the dressing gown and shows the camera her boob job.)Zack Putrid: (ontape) Money. Money.(On the tape, she giggles.)(Putrid turns and looks at Brass.)Zack Putrid: Oh, yeah.Zack Putrid: (on tape) You're a star. WEATHERLY ADAMS: (on tape) Oh, ba-by. Oh, ba-by.Editor: (groans) I can'tbelieve this is my life.Zack Putrid: (on tape) Oh, man, oh, man...Weatherly Adams: (on tape) Come over here, baby.(On the tape, they start kissing as the camera rolls.)(Zack Putrid puts a hand on Brass's shoulder andsmiles proudly. Like a little kid, he points excitedly to the monitor.)Brass: This what you do all day?Zack Putrid: Look, does that look like a woman being taken against her will?Brass: That still doesn't explain how yourskin got under her fingernails.Zack Putrid: Weatherly was ... how can I put this delicately? She was an ass-scratcher, man. She liked to scratch my ass. She wasn't pushing me away, man, she was pulling me in.(Putridputs his pants down.)Zack Putrid: Brass, look at my ass.(He shows Brass his ass.)Zack Putrid: Freaking claw marks.Brass: Are you trying to make me throw up, Mr. Putrid?(Putrid purrs.)(HOLD onBrass.)[SCENE_BREAK][INT. UNKNOWN HALLWAY](A woman walks down the hallway. She glances over her shoulder and continues walking quickly down the hallway.)(We see the woman is WENDY SIMMS. She glancesbehind her again and speeds up a little. She turns the corner and glances behind her. She starts running.)(The camera follows her.)(She comes to the end of the hallway and tries opening the doors. The first one islocked. The second door is locked. She hurries to the third door. It opens.)[INT. UNKNOWN ROOM - CONTINUOUS](Wendy enters the room and shuts the door. She cowers and waits.)(A chainsaw engine revs. Thedouble doors open and a bearded man in a hooded raincoat carries a bloodied chainsaw.)(Wendy screams.)REVEAL:[INT. CSI - BREAKROOM](Henry Andrews, Hodges, Sara and Wendy are watching a video.)(On themonitor, Wendy runs and the man with the chainsaw cuts her. She spits out blood and some really bad EFX has her top half fall to the floor while her bottom half remains in a standing position. After a beat, the bottomhalf falls to the floor as well.)(Henry laughs.)Henry Andrews: Oh, my God. No way!(Hodges jaw drops.)(Sara closes her eyes.)(Wendy smiles and pauses the tape.)Henry Andrews: That is so cool. I can't believe youworked for Repulsion Pictures.Wendy: Well, I did it on a whim. I was supposed to be an extra, but then they liked me, so they gave me this whole featured bit. I got 600 bucks for that. What? What? I was fresh out ofcollege. I really needed the money.Ronnie Lake: I don't get it -- what's the thrill here? It's always hot babes with huge breasts falling out of their shirts, getting hacked up ...Wendy: I don't have huge breasts. Mine arekind of ... medium.Hodges: But perfect ...(Wendy turns and glares at Hodges.)Hodges: --ly adequate. Better, in fact.(He turns and looks at Sara.)Sara: Okay. Uh, I'm out of here.(Sara leaves.)Henry Andrews: Hey, let'swatch it again.[SCENE_BREAK][INT. CSI - FORENSIC AUTOPSY](Robbins shares his findings with Nick.)(TOP VIEW DOWN of the BACK with an IMAGE of the AXE.)Robbins: (V.O.) When I removed the axe, --(The AXEvanishes and CGI VIEW of the inside of the WOUND.)Robbins: (V.O.) I noticed that the dermis along the margin of the wound showed no vital response, except in a small area on both sides of the center of the"}
+{"doc_id":"doc_159","qid":"","text":"[PREVIOUSLY_ON]Ihab: This act will be remembered as the first great act of defiance.(crowd chanting)Jamal: Ihab Rashid is behind all this.Samira: I'm done wishing for change.I am making it happen.Jamal: Thewedding night is very special. It's important to be pure.Molly: It's not safe for you to be there.Barry: It's not safe for anyone there.(thumping)Jamal: Run them down!Leila: Go!Jamal: Tomorrow, there will be onlypigeons in the square.Barry: What is it you want me to do?Fauzi: I want you to get your hands dirty, to go against your family.Barry: I asked Fauzi Nidal to set up a meeting with Ihab Rashid.Jamal: The man who wouldhave all our heads?Barry: You can go down in history as one more brutal dictator, or you can be remembered as the leader who had the courage to listen to his people.Who do you want to be?Ihab: Jamal has asked meto gather you, the leaders of the various factions who fill the Plaza, to meet with his American brother. This is the second time the Palace has come to me. The agitation in the Plaza, the galvanizing of the people, ooh,has them running scared. It's poker. Right now we have the winning hand. Why negotiate? Hmm? Nobody negotiated with Mubarak. No, no, no, no, no, no. When this Amriki walks in, I'm going to tell him exactly what itwill take for us to clear the Plaza: his brother's resignation. Jamal Al Fayeed... he can, uh, take his blood money, go to... go to Paris. (laughter) Or go to London. Spend the rest of his days writing his memoirs.Farah:But what if he's actually willing to offer us something?Ihab: No. His father betrayed my father. I'm not about to let him do the same thing to me. The only offer we will take is for Jamal Al Fayeed to leave Abbudin.Fauzi:You sure about this?Barry: I'm sure of one thing. A narcissist with a messiah complex is not about to negotiate with me. Look, I'm betting Ihab told everyone in earshot that an Al Fayeed asked to sit down with him. Hesaid yes so quickly, 'cause he wants to tell me where to go in front of an audience, but now he's gonna have to explain why he's sitting at the table alone. For my plan to work, I have to take him down a notch. Make thecall.Samira: Father, where are you? Everyone's here, and they're... Okay. Okay. It's my father.Ihab: You are late. What do you mean you are not coming?! That is bullshit!(chuckles)(engine stops)(Barry sighs)Barry:Thank you, my friend.Fauzi: You know, I'm worried for you, Bassam.Barry: (chuckles) Been a while since anyone called me that.Fauzi: You know this game you're playing, it's a dangerous game.Barry: I don't seeanother option.I have to clear the Plaza before Tariq does.John: The garage meet. Classic. This is insane. Why set a meet with Ihab so you can stand him up?Barry: Ihab's having his moment. He was never gonnabargain. So I had to take the wind out of his sails. Ihab's a boy. I want to see his father, the man who almost made peace with my father. I was here, Tucker, okay? I saw it. The people adored him. I need an hour withSheik Rashid.John: So, you want to use Sheik Rashid to do an end run around Ihab? I mean, what... what happened to the nice family doctor from Pasadena?Barry: Don't screw me around, John. The U.S. brokeredSheik Rashid's asylum 20 years ago. I need to talk to him, and you know where he is.John: Does your brother even know you're here?Barry: I didn't say anything, because he'd never give me this much rope.John: Well,if you want to hang yourself with it, be my guest. Don't expect me to build the gallows.Barry: Tucker, I'm just trying to keep America's ass from landing on the wrong side of history.John: Uh-huh. Which doesn't involveturning you into another Daniel Pearl. My job is to protect American citizens, not serve them up. You end up dead in the desert in a trail that leads back to the U.S. Embassy...Barry: What do you want? In return, whatdo you want? An inside seat? A heads up on what's happening as it happens? (John sighs)John: Are you offering to spy on your brother?Barry: I have 24 hours. You have less.Tariq: I need to speak to thepresident.Secretary: Uh... But he-he isn't... Shall I leave him a, um, message?Leila: Who drowned your puppy?Tariq: Have you seen your husband?Leila: I'm not his keeper.Tariq: At least tell me why he ordered me tostand down. I was about to send two brigades to the Plaza, and all of a sudden, he changes his mind with no explanation. He won't take my calls. He's cancelled his meetings for the day.Leila: The president isn'trequired to consult with his wife on every decision he makes.Tariq: But as his wife, you should know. If Jamal isn't prepared to defend the regime, there are others who will.Leila: I hope, for your sake, you're notthreatening my husband.Tariq: On the contrary, I'm trying to protect him.(crowd clamoring over video)(rapid gunfire over video)Ihab: Now these Al Fayeeds, they want to give us platitudes.Leila: He's a parrot.Hismouth moves, but other people's words come out. La Boétie, Guevara and his father, the Sheik.Ihab: As men and women of...Leila: But you, you are in the position to make your own history.Jamal: Start with acompliment, end with an ask. What do you want?Leila: Yesterday in the Plaza, they nearly killed you.Jamal: You exaggerate.Leila: No, I was there, Jamal. Three weeks, and the people are already questioning yourleadership. Now is the time to be firm, to show them that you are in control. Why are you holding back Tariq?Jamal: Why? For you.Leila: For me?Jamal: If I move against the Plaza, ten times as many will rise up againstme, against my family. This is certain, Leila. So what do I do? I wait until tomorrow. Maybe these clouds will bring a storm. Or maybe something will happen to clear them.Leila: Is this you talking? Or is it Bassam?Maybe Ihab is not the only parrot in this country.Jamal: Don't make the mistake of getting between me and my brother.Molly: Reema, what are you doing?Reema: I was just straightening up.Molly: Hold on. Let me seewhat's in your pocket.Reema: I'll be in the servants' quarters until the police arrive.Molly: Just wait. First tell me why you need Vicodin.Reema: Not me. My brother Salam.Molly: What's wrong with him?Reema...Reema: He broke his arm. He was fixing the roof and he fell.Molly: Well, if his arm is broken, he needs a doctor to set it. You have to take him to the hospital.Reema: No hospital.Molly: Why not?Reema: Please,ma'am.Molly: Okay, tell you what... You take me to see your brother, and this stays between us.Reema: You will tell no one?Molly: No.Ahmed: Where's the fire?Nusrat: You smell like tequila. I have to help yourgrandma with seating arrangements, okay?Ahmed: Baby, it's been a month and we still haven't... I didn't get married to take care of my own needs!(door slams)Jamal: Mother, this is really beautiful.Amira: Not nearlyas beautiful as your daughter-in-law.Jamal: Yes, Ahmed is a lucky man.Is this my grandson I feel in there? Bassam is waiting for me.Amira: Your father would be so happy to see his two sons working together likethis.Jamal: He would have been.Amira: Are you all right, Nusrat? The ambassador is deaf in his left ear, so I'm going to put you on his right side.Jamal: So... when am I sitting down with this asshole?Barry: I'm stillworking out the details.Jamal: What details? He shows up when and where we say!Barry: Yeah, it's not... it's not quite as simple as that.Jamal: It is simple. Who's the president, me or him?(groans)What aren't youtelling me?Barry: Nothing. He's just, uh... the guy's playing hard to get.Jamal: Hard to get? Maybe he will play nicer with electrodes on his balls.Barry: Can you please just give me a little more time?Jamal: How muchtime do you think I have? I've already got Leila crawling up my ass. While you are out buying flowers for this shitball, I'm starting to look like some pussy who can't pull the trigger.Barry: Jamal, I'm working on it.Jamal:Working on it? Well, stop working on it and get it done.(crowd clamoring)Ihab: Abbudin!Crowd: Abbudin!Ihab: He humiliated me.Mohammed: Relax, relax.Ihab: No, no, no, no, no! I'm not going to relax.He can't dothis. It makes me look like a fool. That was the point, wasn't it?Mohammed: Take the mic, paint him as the liar he is!Ihab: Oh, and look like a child who dropped his ice cream, huh? No, no, no, no, no, no, no. What isthe game he's playing?Samira: Same game as you are. You were only there to tell him off to his face.Ihab: You... you knew all along Bassam was going to blow me off.Samira: What?! No! No!Ihab: You set the location,set the time.Samira: Ihab, stop! You're letting your anger get the best of you at a time when the people need your leadership. People are trusting you with their lives. People I know! My friends!Ihab: You don't think Iknow that, little girl? Hmm? I am not here by accident.Crowd (chanting): Free Abbudin! Free Abbudin! Free Abbudin! Free Abbudin!Ihab: Abbudin!Barry: Jamal's given me 24 hours to see if I can clear the Plazapeacefully.Molly: What are you gonna do?Barry: Tucker is reaching out to Ihab's father, the Sheik, to try and arrange a meeting. Before my father launched the attack on Ma'an, he and the Sheik sat down for peacetalks. Rashid was prepared to negotiate a peaceful solution.Molly: Yeah, and then he bombed the Palace.Barry: An army barracks. And it was his followers, not him. Look, 20 years ago, Rashid was prepared to negotiatewith my father. Despite what happened, me sitting down with him now is the only hope we have to stop this blowing up in our faces.Molly: Who's going with you?Barry: I don't know all the details yet, okay? Tucker'sgonna call me back. Until then, I'm going to go for a run, okay?Molly: So it's a suicide mission.Barry: That's blowing it out of proportion. And Molly, really, I don't have another choice here.Molly: Of course you haveanother choice. You also have two kids and a wife. I mean... you're gonna get yourself killed, Barry.Barry: Honey, we're not at home listening to this on NPR, we're in it. And I can do something my father couldn't... Ican end this peacefully.Molly: That's Jamal's job, not yours. Why are you putting your life on this line for this?Barry: 'Cause my name's not Smith or Jones!(Molly scoffs)Molly: If I didn't know you better, I'd say youwere starting to get off on this.Ahmed: Hakim, I know Nusrat is here.Hakim: Now is not a good time. She's upset.Ahmed: Which is why she should be with her husband and not run to her parents like a child!We had athing this morning, now she's not returning my calls.Hakim: I swear I'll talk sense into her. You have my word. Do have any idea what position you are putting our family in? Everything we have, it's all from AlFayeeds!Nusrat: I want a divorce.Hakim: Don't be stupid. Why did you agree to marry Ahmed if you don't love him?Sofia: Tell him.Hakim: Tell me what? Tell me what?Nusrat: It's not Ahmed. It's Jamal.(phonevibrating)Barry: Yeah.John: Barry, it's Tucker.The person you wanted me to reach out to agreed to meet.Barry: Okay. I'll go back and tell Molly...John: You can call Molly from the road. I'm about to jump in the car.Meet me outside the gate.Barry: I'm on my way. All right, guys, that's it for the day.[SCENE_BREAK]John: Thank you for arranging this meeting with your father. Namir Rashid... Bassam Al Fayeed.Namir: Okay, comewith me. Oh, no, no... you stay here.John: No, no, no, no, that wasn't the arrangement.Namir: I told my father we should kill him right here, but this is his wish. Turn around, Al Fayeed.Barry: It's okay.Namir: Doit.Ihab (recorded): When this, uh, Amriki walks in here, I'm going to tell him exactly what it will take for us to clear the Plaza: his brother's resignation.Tariq: Our security forces track Ihab Rashid's movements. Imaginetheir surprise and my embarrassment upon learning he was meeting with your brother.Jamal: Bassam is working for me. He is meeting Ihab Rashid on my orders.Tariq: Bassam's been nowhere near Ihab in the last 24hours.Jamal: That is wrong. That is wrong! I spoke to Bassam right after their meeting. He looked me in the eyes and told me they are ironing out details.Tariq: Then he lied to you! He's had no contact with Ihab. As amatter of fact, Bassam ditched his security. He is nowhere to be found.Leila: This is why you refuse to clear the Plaza? Bassam... doesn't keep his promises.Jamal: How the hell would you know?Barry (recorded): Hi,you've reached Barry Al Fayeed. Please leave your name and...Tariq: Sir, at least allow me to move my forces into position.(Jamal sighs)Jamal: Fine.But they stand down until I give the order.(coughing)Sheik Rashid:My lungs...(clears throat)A souvenir of the day your father gassed Ma'an. You met my son, Namir.Barry: Yeah, he, uh... he drove me from the border. The hood kind of limited the conversation.Sheik Rashid: Youunderstand our precautions.Barry: Yes.Sheik Rashid: I have always been curious about Khaled's American son.(gunshot)Man: Death to the Al Fayeed!(grunts) Death to the Al Fayeed! Death to the Al Fayeeds!SheikRashid: I apologize for his actions, but his anger is understandable. His family was wiped out by yours. Bassam Al Fayeed, yesterday you were my enemy, but today you are my guest.Barry: Sheik Rashid, I need to talkto you about...Sheik Rashid: That's not the way it's done. First, we eat.Hakim: Mr. President, you are too kind, taking time away from important issues of state to deal with a personal matter.Leila: To what do we owethis pleasure?Hakim: Marriage... it's a complicated proposition, and Nusrat has always been... fragile. Overly emotional. My wife and I are to blame. We coddled her.Jamal: Cut to the chase.Hakim: We ask for nothing,just a quick and quiet dissolution of the marriage.Leila: Divorce? On what grounds? Tell me, Hakim. We have welcomed your daughter to this family as one of our own. Ahmed is my son. I demand to know what this isabout.Hakim: Please, ma'am, are the details really important?(Jamal groans)Jamal: Will you wait for me outside?Hakim: Sure.(door closes)Jamal: I will fix this.Leila: You'd better.We can't afford anotherhumiliation.Jamal: I said I will fix this.(gunshot)Your turn.Hakim: I'm no match for you.Jamal (chuckles): Yeah. That's true. So, tell me, Hakim, what is this nonsense about a divorce? Your daughter has everything awoman could want. Why you don't talk sense to her?Hakim: Believe me, Mr. President, I have tried.Jamal: \"Tried.\" Well, not hard enough. My father gave you the telecommunication franchise in this country. Now, yourfamily has everything it has because my family gave it to you.Hakim: And I'm forever in your debt.Jamal: Then act like it.Hakim: Please, I beg you. There is no talking sense with a sleepwalker. She's in a doctor's care.He prescribes therapy, medication. My daughter is weak, and your son did his best.Jamal: \"Did his best\"? Are you saying this is Ahmed's fault?Hakim: No, of course not.Jamal: Then what are you saying? What reasondid she give?(chuckles)Hakim: I swear, she will go to the grave with her secret.Jamal: Tell me what she told you.Hakim: Uh, it doesn't matter.Jamal: You know what, you are right.It doesn't matter.(muffledscreaming)There will be no divorce, Hakim.(Hakim groaning)Your whore of a daughter is going to crawl back into my son's bed! She will bear him children. As many as he wants.Hakim: Mr. President, please! Please,sir!(gunshot)(screaming)Molly: It's not just his arm.He fractured multiple ribs when he fell. His pulse is racing and weak. He's anxious. (sighs) Reema, with this kind of injury, he could be bleeding on the inside. It'sokay, it's okay. We're gonna get you to a hospital.Reema: I said no hospital.Molly: He wasn't fixing a roof, was he?Reema: He was in the Plaza. When the president's motorcade came, people, they start pushing. He isinnocent, but the camera, they saw him. If he seeks help now, they'll arrest him.Molly: He'll die if he doesn't.Reema: Better to die here than live through what they will do to him. His friends in the Plaza, they tagged astreet sign with \"free Abbudin\" and were arrested. When their father went to the police, begged for his children, he was told to make new ones. Salam is my only family. Please, help us.Emt: What's his name?(indistinctradio transmission)Reema: Salam.Salam Halabi.Molly: Radial fracture, multiple broken ribs, suspected hemothorax from intercostal hemorrhaging. We need to throw in a chest tube.Emt: I'm sorry, but you can't takethis man. He is wanted by the authorities. We have to alert the police...Molly: He'll die if you wait.Emt: Before we admit him to the hospital. Then he'll die.Molly: No, he won't. I won't let him.Emt: And who areyou?Molly: Dr. Molly Al Fayeed.Emt: We were just following the law. A thousand pardons.Molly: You don't... you don't need to apologize to me. Just get him to the hospital. You know what, why don't I come with youand make sure no one else makes the same mistake.Namir: Bless Allah for protecting us and for all that we have.Sheik Rashid: Alhamdulillah.All: Alhamdulillah.Sheik Rashid: I see you are anxious to talk.Barry:Yes.Sheik Rashid: Walk with me.(Sheik Rashid coughs)You made a long trip to avoid the more obvious choice.Barry: Ihab doesn't want to talk. He wants his turn, and that's not going to happen.(Sheik Rashidlaughs)Sheik Rashid: You must be worried.Otherwise, you are not here.Barry: I'm worried about the price we'll have to pay for either side to win. There's a book I-I read about apartheid in South Africa. A white mansays about the blacks, \"my greatest fear\" \"is that by the time we have come to love,\" \"they will have come to hate.\"Sheik Rashid: Have you come to love?Barry: I've come to talk. You and I have more in common thananyone else in this. We're both exiled... for different reasons... by force or by choice. But we both have the advantage of an outsider's perspective.Sheik Rashid: You came back. Why?Barry: To try and keep my brotherfrom making my father's mistakes. Finish with my brother what you started with my father. Negotiate a political solution.Sheik Rashid: This is a young man's fight.Barry: And I need an old man to be my partner.Someone who wants nothing for himself.Sheik Rashid: You think that's me?Barry: Well, I think we both have a second chance here to make this right. You and I both know history. If we don't try, then your son or mybrother and so many people along with them will be consumed by this. Imprisoned, exiled... or dead within a year.Sheik Rashid: Death doesn't scare me... Bassam Al Fayeed. I've seen too much of it.(Sheik Rashidcoughs)Barry: I don't believe you. w After 20 years, you're still alive.I'm a doctor. I believe that life itself is hope. And I think that you do, too.[SCENE_BREAK]John: You didn't close the deal.Barry: Thought it was goingin the right direction.He... just said he needed to sleep on it. But when he woke up...John: Well, you may have failed, but, uh, the reach... It was impressive. Get in. I'll take you back to the Palace.(crowd clamoring overvideo)(rapid gunfire over video)Jamal: General... (sighs)Clear the Plaza.(crowd clamoring) (whistle blowing)Ihab: They're moving into the Plaza.Mohammed: After your speech, there's a van waiting for you.Samira:Ihab.So, when they start shooting, you won't be standing with the people?(whistle blowing)Crowd (chanting): Free Abbudin! Free Abbudin!(chanting, clamoring continues)(helicopter hovering overhead)Fauzi:Samira.Let's go before it's too late.Samira: I'm not leaving.Fauzi: You would die for him?Samira: Ihab may be trying to replace one tyranny with another. But the people... they won't let him. And I'm standing here withthem.Fauzi: I'll stand with you.Leila: Thank you for coming.Sofia: How can you do this? You're feeding her to the wolves.Hakim: It's not like we have a choice.Sofia: She's our daughter.Amira: Hakim. What happened toyou?Hakim: It's nothing. A hunting accident.Amira: And yet you're here. What one does for family. Nusrat.Leila: Beautiful as ever. It's all for you. Everything here... Is all for you.Ahmed: Nusrat.Nusrat: Everything'sgoing to be okay.Ahmed: Come. Let's greet everyone.Nusrat: Okay.Leila: Enjoy the party.(Jamal sighs)Jamal: Look at the newlyweds.Leila: What a persuasive man.(both sighing)Barry: You were right.Why did I think Icould come here and do something my father couldn't? Thank you... for putting your life on hold for me. Being here with me.Molly: I think I really needed to hear that.Crowd (chanting): Free Abbudin! FreeAbbudin!Ihab: Raise your phones! Record this moment in history! As long as we have a camera, the revolution continues!(crowd cheering)And if... if we are the first martyrs to liberate Abbudin, then so be it!(crowdcheering)I stand with you, my brothers and sisters.Crowd (chanting): Free Abbudin!Ihab: I stand with you, united... united... unite...(crowd quiets)[SCENE_BREAK](applause)Sheik Rashid: Brothers... and sisters.20years in exile, but I have come home. (crowd cheering)Tariq: Your brother is back.Jamal: Excuse me. Liar. You told me you were going to meet Ihab Rashid. I trusted you. You are my blood, and you betrayed me.Molly:"}
+{"doc_id":"doc_160","qid":"","text":"•I do not own the characters or situations of BTVS, and I claim no credit for the content of this episode. I have merely transcribed what appeared on my screen, with help from the closed captions. •I prefer that you linkto this transcript on the Psyche site rather than post it on your site, but you can post it on your site if you want, as long as you keep my name and email address on it. Please also keep my disclaimers intact. •You canuse my transcripts in your fanfiction stories; you don't have to ask my permission. (However, if you use large portions of episode dialogue in your fanfic, I recommend you give credit to the person who wrote theepisode.) •I apologize in advance for my lame transcription of the fight scenes. I don't know the names of different punches and kicks. Use your imagination.[SCENE_BREAK]GILES VOICEOVER: Previously...Buffy andSpike against the wall kissing in \"Smashed.\"SPIKE VOICEOVER: Last night changed things.BUFFY: The only thing that's different is that I'm disgusted with myself. Dawn and Willow walking down the street.DAWN: Isthis the way to the movies? Dawn and Willow coming through the walls into Rack's place.DAWN: What is this place?WILLOW: I'll just be a minute. Willow suspended inside a ball of magic.BUFFY: Willow's intosomething. Her and Dawn have been missing for hours.DAWN: Do you know how long I've been out here?WILLOW: (with black eyes) Let's get outta here. Dawn in the car. The car crashing. Spike and Buffy leading aninjured Dawn.WILLOW: Dawnie, I'm sorry! Dawn slapping Willow. Willow crying.BUFFY: You could have killed her!WILLOW: I need help! Willow and Buffy in Willow's bedroom.WILLOW: No more spells. I'm finished.Warren stealing the diamond from the museum.WARREN: Got it.JONATHAN: It's beautiful.WARREN: Congratulations, Phase One of the plan is now complete.[SCENE_BREAK]Teaser[SCENE_BREAK]Open on a tablecovered with magical stuff: tarot cards, candles, little bowls and boxes of herbs, etc. A pair of hands comes into the shot and sweeps everything into a cardboard box. Pull back to reveal Buffy. She begins removing pillarcandles from the table and putting them in the box too. Reveal Dawn standing by the bookshelf looking at books. Her left arm is in a sling. She puts a book in a box, looks over at Buffy.DAWN: Candles?! We can't havecandles?BUFFY: Dawn, it's magic clearance. Everything must go. Buffy looks over at Willow, who is sitting cross-legged on the bed. Willow nods.DAWN: B-but they're just candles!BUFFY: (sighs, stands up) Well, yeah,you know, to you and me they're just candles, but to ... witches they're ... like bongs. Willow nods sadly. Dawn sighs.BUFFY: So, no candles, no charms ... (walking toward the door to the bathroom) no-WILLOW:Bird.BUFFY: (stops walking) No bird?WILLOW: That peacock on the table. (looks at the side table near Buffy) It has two crystals in it. Buffy picks up the small statue of a bird. She opens it and finds two crystalsinside.WILLOW: Tara, she... (Buffy looking at her) she left them. (Dawn looking at them)BUFFY: I'll make sure she gets them. Willow nods.Cut to downstairs. Buffy walks into the living room carrying a cardboard box.She begins walking around, picking up things and putting them in the box. Dawn follows.BUFFY: (over her shoulder) Dawn, do me a favor, can you grab the fertility god statue on the desk over there?DAWN: Kokopelli?!No! I love him! And he was Mom's. Buffy puts hands on hips and just looks at Dawn.DAWN: (upset) Why do we have to get rid of so many things I like?BUFFY: Dawn, I explained this to you. Willow has a problem. Thenext few weeks are gonna be ... crazy hard on her as it is. Buffy turns away as she continues talking. Dawn rolls her eyes and turns to pick up the statue.BUFFY: (on the sofa, moving cushions around) Any reminder of,of what it is that she's trying to stay away from, you know, could cause her to ... give in to temptation. Buffy digs among the sofa cushions and finds something. It's a cigarette lighter. She flips it open and stares at it.Flash to Buffy and Spike in the abandoned building, kissing and slamming each other up against the walls. Flash back to the present. Buffy still stares at the lighter.BUFFY: And that would be bad. She turns and tossesthe lighter into the cardboard box.Cut to a closeup of the stolen diamond seen through a magnifying glass. A hand takes it out of its black-velvet-lined case and holds it up. Cut out to reveal Warren, wearing safetygoggles and sitting at a workbench. A device of some sort, vaguely machine-gun-shaped, is on the bench in front of him. He puts the diamond into a space on top of the device, in the middle of a star shape formed bysix metal spikes. He places a glass cover over the diamond.WARREN: (triumphant) Okay, that's it. It's finally done. Jonathan and Andrew come up behind him to look.WARREN: I mean, it still needs a trial run, butit's-JONATHAN: Kind of clunky-looking.WARREN: What?!ANDREW: I pictured something cooler. More ILM, less Ed Wood.WARREN: (gets up angrily) You wanna see cool? I'll show you cool. Warren picks up the device.Jonathan and Andrew look alarmed, back away. Warren points the device at them for a moment, then turns away, fiddling with the controls. The device makes a whirring noise as the star-shaped bit on top spinsaround. A bolt of reddish light shoots out and hits one of the leather chairs on the platform. The chair disappears. The Geeks stare in awe. Andrew pushes past the others and goes over to where the chair was. Jonathanfollows slowly.JONATHAN: Mama! Warren watches with a smirk. Andrew and Jonathan stand on either side of where the chair was. Andrew makes gestures like he's feeling around in the air.JONATHAN: Did it ... isit...ANDREW: Yeah. Jonathan grins excitedly, turns and very carefully sits down on the invisible chair. He spins around a few times, giggles crazily. Andrew stares in awe.JONATHAN: (laughing, to Warren) I'd call that asuccessful test.WARREN: Well, that's just half the test. Warren begins flipping switches again. The diamond begins to whirl.JONATHAN: Hey! Hey! Andrew leaps for cover and Jonathan pulls his arms and legs up toshield himself as Warren zaps him again. The chair reappears. Jonathan looks nervously at his arms, making sure he's still visible, then gets up angrily.JONATHAN: You pen1s!WARREN: Oh, cheer up, Frodo. Becausethanks to my brains, and our mystical gem, we got ourselves an invisibility ray. (shoulders the weapon) And I'd say that makes us pretty much unstoppable. Wolf howl. Opening credits. Guest starring Danny Strong,Adam Busch, Tom Lenk, Daniel Hagen, and Susan Ruttan. Written and directed by David Fury.[SCENE_BREAK]Act I[SCENE_BREAK]Open on Buffy in the kitchen, yelling toward upstairs.BUFFY: Dawn, come on, yougotta eat breakfast! Xander's gonna be here any second. No response. Buffy sighs, turns back into the kitchen.BUFFY: She's gonna be late for school again. Willow is at the stove cooking, wearing pajamas. Buffy looksover at her. Close shot of Willow's hands putting bits of ham into a cooking omelet.BUFFY: How are you doing?WILLOW: I'm okay. Not 'ready to head back to classes, face the world' okay, but ... the shakiness is onlysemi now. I thought I'd spend the day fishing the net, for more poop on the, uh, stolen diamond. Dawn enters, her arm still in a sling.BUFFY: I called you before.DAWN: (sullen) Didn't hear you. Dawn pours herself aglass of orange juice.WILLOW: Hey Dawnie, uh, I'm making you a nice omelet.DAWN: Not hungry. (drinks juice)BUFFY: Dawn, you need to eat something.DAWN: Thanks for your concern. Dawn slams her glass downand leaves.WILLOW: Okay, I deserve the wrath of Dawn, but ... why is she taking it out on you?BUFFY: Because I let it happen.WILLOW: Buffy, I was the one who-BUFFY: Who was drowning. My best friend. And I wastoo wrapped up in my own dumb life to even notice. Suddenly the door from the back porch bursts open. Willow and Buffy look over in surprise as a blanket-covered shape enters, slams the door shut and throws off theblanket, revealing Spike. He straightens up, smoothes down his hair, looks at them.SPIKE: Morning.BUFFY: What are you doing? And, here? (Willow returns to cooking)SPIKE: Just, uh, took a stroll. Found myself inyour neck of the woods.BUFFY: Couldn't find a less flammable time of day to take a stroll?SPIKE: Yeah, well, the fact is my lighter's gone missing. Thought it might have, uh, dropped outta my pocket the last time I washere.BUFFY: Haven't seen it. Buffy turns to the sink. Willow takes the omelet pan and puts it on the counter next to the sink.WILLOW: I'm, uh, gonna head back to my room, get dressed.BUFFY: Oh, I... Buffy starts tofollow Willow out, but stops. She leans one hand against the island, watches Willow go. Then she turns to Spike with a resigned expression.BUFFY: Lame.SPIKE: What?BUFFY: You. Making up excuses. (goes back to thesink)SPIKE: Oh, don't flatter yourself, luv. (walking toward her) Bloody fond of that lighter. Buffy turns away from the sink, glares at him.BUFFY: Stop trying to see me. And stop calling me that.SPIKE: (walks over toher) So, um ... what should I call you then? Pet? Buffy just looks at him as he leans right up in her face.SPIKE: (grinning) Sweetheart? My, uh ... (fondling a piece of her hair) little goldilocks? He toys with her hair for amoment with one hand, then the other.SPIKE: You know I love this hair. The way it bounces around when you- Buffy suddenly lifts her hand out of the sink, holding a spatula on trajectory toward Spike's face, but hegrabs her wrist and stops it.SPIKE: Ah-ah-ah! This flapjack's not ready to be flipped. His other hand is on her shoulder and now drops down out of shot.BUFFY: What the hell is that supposed to- Buffy breaks off with asmall sigh of pleasure, closing her eyes.BUFFY: (whispers) Stop that. Spike looks downward, but we still can't see what his hand is doing.XANDER: Good Godfrey Cambridge, Spike! Spike and Buffy look over to seeXander standing in the doorway. Buffy quickly shoves Spike's hands off her, drops the spatula into the sink.XANDER: Still trying to mack on Buffy? Wake up already. Never gonna happen! (Spike and Buffy glaring athim) Only a complete loser would ever hook up with you. (Buffy looking insulted) Well, unless she's a simpleton like Harmony, or a, or a nut sack like Drusilla-BUFFY: Hey! You really need to get Dawn off to school. Let'sgo, go fetch her, okay? Buffy walks over to Xander, takes his arm and guides him toward the hallway.BUFFY: (not turning back) You can let yourself out, right Spike? Spike watches them go with a smirk.Cut to Buffyand Xander emerging into the foyer.BUFFY: (calling) Dawn! You better get going, Xander's here!DAWN: Here. Dawn appears from upstairs.BUFFY: Okay, you have everything you need?DAWN: (interrupting) Yep.BUFFY:And after school, you-DAWN: Yeah yeah. Let's go, Xander. (walking toward the door)BUFFY: (intercepting her) You will come straight home.DAWN: (sarcastic) Sure. Maybe we can find some time for you to (Buffy opensdoor) get me into another car accident. As the door opens we find a middle-aged woman standing on the front step holding some papers. Buffy gives Dawn a sour look, then notices the woman.MS. KROGER: (removingher glasses, smiling at Dawn) Oh, good morning. You must be Dawn. (Dawn nods)BUFFY: Can I help you?MS. KROGER: I'm Doris Kroger, from Social Services. (displaying her ID badge) We had an appointment?BUFFY:Oh, for Wednesday.MS. KROGER: This is Wednesday. Buffy looks at Xander, who nods.BUFFY: Right! Well ... Dawn, you better... Dawn rolls her eyes in utter adolescent disdain and leaves, pushing past Ms.Kroger.BUFFY: (sighs) And, and Xander, you'll drive safely?XANDER: Yes ma'am. Xander follows Dawn out. Ms. Kroger enters the foyer.MS. KROGER: (smiles at Buffy) Little bit on the tardy side, isn't she?BUFFY:(closing door) Yeah, well, uh, it's been one of those mornings, you know. (notices that Ms. Kroger has already gone into the living room) Hey, come on in. Ms. Kroger stands in the doorway to the living room, lookingaround. Buffy walks up beside her.BUFFY: Sorry about the mess, you know, doing a little house-cleaning. In foreground we see Spike sitting slouched in an armchair.SPIKE: So, we gonna chat this out, or what?BUFFY:(nervous) Uh ... now's really not a-a good time. Um, I have company. (indicates Ms. Kroger)SPIKE: (making himself comfortable) No worries. I'll wait.MS. KROGER: Um, Miss Summers, if you and your boyfriend wouldlike to-BUFFY: He is NOT- Spike looks over with a scowl.BUFFY: (clears throat) Not my, my boyfriend, he's, um, just ... a... Spike looks over at her, waiting to hear what she'll say.BUFFY: Spike ... this nice woman is,uh, (meaningfully) from Social Services?SPIKE: Oh, right! (gets up) Uh ... hey! Buffy's a great mom. She takes good care of her little sis. (Both Buffy and Ms. Kroger smiling) Like, um, when Dawn was hanging out toomuch in my crypt, Buffy put a right stop to it.MS. KROGER: (frowning) I'm sorry, did you say-BUFFY: Crib! (fake laugh) He said crib. You know kids today and their buggin' street slang. Ms. Kroger isn't convinced. Buffywalks over to Spike, takes his arm and turns him around.BUFFY: Uh, Spike, didn't you have to go now, you know, because of that thing?SPIKE: Uh, thing, yeah. Uh, my blanket. Buffy scowls, picks up the blanket andthrows it at him. He catches it, scowls back at her. Faceoff. Shot of Ms. Kroger observing all this with raised eyebrows. Spike turns, still scowling, and exits into the kitchen. Buffy watches him go, looking conflicted.Then puts on a bright smile and turns back to the social worker.MS. KROGER: He sleeps here?BUFFY: What? No! No. Oh, uh, the, the, the blanket. That's, um, uh, it's a security thing, you know. He ... has issues. Nope,just me and Dawn living here.WILLOW: (OS, calling from upstairs) Buffy, I'm not feeling hot, so uh, I'm gonna take a quick nap, okay?BUFFY: (calling) Okay, Will! Buffy looks nervously at Ms. Kroger, who gives her aquestioning look.BUFFY: That's Willow. She, uh, she kind of lives here too, actually.MS. KROGER: Oh, so you live with another woman.BUFFY: Oh! Oh, it's not a, a gay thing, you know, I mean, well... Ms Kroger hasnoticed the box full of magical stuff to be thrown out. She picks up a plastic baggie containing some herbs.BUFFY: ...she's gay, but, but we don't ... gay. Not that there's anything - (notices Ms. Kroger looking at theherb) Oh! Wrong with... (rushes over) You know, I know what that looks like, but I, I swear, it's not ... what it looks like. (Ms. Kroger looking shocked) It's *magic* weed. Buffy realizes that came out wrong, grabs theplastic bag from Ms. Kroger and tosses it back in the box.BUFFY: It's not mine.MS. KROGER: I think I've seen enough. She turns to leave. Buffy hurries after her.BUFFY: No, a-actually, I really don't think that you have.It's just ... i-it's been kind of, kind of a, a bad time.MS. KROGER: It's been a bad time now for a while, hasn't it, Ms. Summers? Your sister's grades have fallen sharply in the last year, due in large part to her frequentabsences and lateness.BUFFY: But there-there are good reasons.MS. KROGER: Oh, I'm sure there are. But my interest is in Dawn's welfare. And the stability of her home life, something I'm just not convinced that anunemployed young woman like yourself can provide.BUFFY: I can. I, I do!MS. KROGER: Well, we'll just have to see about that then, won't we? She goes to the door, stops and turns back.MS. KROGER: Oh, and I'm, uh,going to recommend immediate probation in my report.BUFFY: What does that mean?MS. KROGER: It means that I'll be monitoring you very closely, Ms. Summers. And if I don't see that things are improving, well, I'llbe forced to recommend that you be stripped of your sister's guardianship.BUFFY: You can't do that.MS. KROGER: (opens the door) I do what is in Dawn's best interest ... as should you. Have a nice day. She goes outthe door. Buffy stares after her for a moment, then sighs and closes the door, stands leaning with one hand on the door frame.SPIKE: Didn't go well, huh? We see Spike standing in the foyer. Buffy turns to face him,leans against the door jamb, sighs.BUFFY: (quietly) Why won't you go?SPIKE: (surprised) I just thought you'd want-BUFFY: (harshly) Get out of here! Spike looks surprised, then angry. He lunges forward and pins Buffyagainst the wall, one hand on the wall beside her head. Their faces are inches apart. Spike does something with his other hand out of shot and Buffy closes her eyes, breathes heavily. Close shot of Spike's hand insideBuffy's front jeans pocket, moving around. Then he pulls out his lighter and holds it up in front of her face.SPIKE: Just getting what I came for, luv. He moves in closer as if to kiss her, but then turns away and stridesoff down the hall toward the kitchen.SPIKE: (not looking back) So long, goldilocks. Buffy sighs, stands there breathing a little heavily and looking upset. After a moment she moves away from the wall.Cut to Buffy'sroom. She walks in, slams the door and leans against it, looking upset, whimpering a little. She puts her face in her hands, then walks forward, shaking her arms and moving her shoulders around. She paces a bit, sitsdown in front of her vanity table, puts her head in her hands again. Then she lifts her head, looks at herself in the mirror. She turns to open a drawer, searches through it, closes it, opens another drawer, takes out apair of scissors. She grabs a fistful of her hair and chops it off with the scissors. She drops the hair on the floor and starts cutting off another piece, looking angrily at her reflection. Shot of the locks of hair lying on thecarpeted floor.Cut to close shot of a woman with a wild \"tousled\" hairdo.CLEO: Well, I-I think I can work with this. We see that she's standing behind Buffy who sits in a barber's chair, both looking at Buffy in the mirror.Buffy's shorn hair is about shoulder-length and all uneven.CLEO: What exactly would you like me to do?BUFFY: Just make me ... different.Cut to the street, day. Warren emerges from the rear of the Geeks' black van,closes the door and walks around the side of the van, carrying something covered by a cloth. Andrew and Jonathan appear on either side of him, walking. We see that they're in an alley.ANDREW: I'm scared, what if weget caught?JONATHAN: No way, we'll be invisible. Plus their security's gotten lax.WARREN: (chuckles) You should know. You've cased this joint enough. They emerge from the alley onto a main street, turn the cornerand approach a large storefront. The sign in the window reads: \"Spa, Women Only. Bikini Wax Wednesdays\" and a cartoon picture of a woman.WARREN: Okay, this is it. The Geeks stop walking. Warren faces theothers.WARREN: Remember... Warren removes the black cloth, revealing the invisibility ray gun.WARREN: ...we're professionals. The others nod uncertainly. Andrew looks away. Long shot of Buffy emerging from thehairdresser's across the street. Her hair is now neatly styled at shoulder-length. She begins to walk across the sidewalk.ANDREW: (nudging Jonathan nervously) Uh, Slayer!WARREN: What? Wh-where?ANDREW: There.Headed this way. Warren turns to look, fearfully. Buffy walks between some parked cars (one minivan with bumper stickers reading \"God Bless America\" and \"United We Stand\") and begins to cross the street. Cut backto Warren staring at her. He lifts his hand and suddenly realizes the invisibility ray isn't in it. He turns and realizes that the other two geeks aren't standing behind him any more.JONATHAN: (OS) Give it!Cut to the alleyjust around the corner. Andrew and Jonathan are fighting over the ray gun. Warren runs around the corner and finds them.ANDREW: No, I need to be invisible!JONATHAN: I need it more, Buffy can't see me!WARREN:Hey, watch it, don't you- Warren runs over and tries to get the ray away from them. The bit on top is spinning and the whirring noise intensifies. Suddenly the red light bursts out of the invisibility ray. It hits Buffy asshe walks past the mouth of the alley. It also hits a tree, a fire hydrant, some traffic cones, and a Dumpster, all of which immediately disappear. The Geeks stare in dismay. Zoom in on Andrew.ANDREW: Oopsie.Blackout.[SCENE_BREAK]Act II[SCENE_BREAK]Open on a close shot of Xander in the magic shop, staring at something.XANDER: What happened to Buffy? She's gone.ANYA: She's right here. We see that Xander andAnya are studying a diagram of seating arrangements.ANYA: (points) Table four. I put her with your family.XANDER: Great. Except, we don't hate Buffy. Shot of the magic shop door opening but there's no onethere.XANDER: (OS) Let's put her back at table one. (The door closes again and the camera pulls back into the shop)ANYA: (OS) Well, where do I put D'Hoffryn?XANDER: (OS) We're not inviting D'Hoffryn.ANYA: Wehave to, he's my ex-boss! You're inviting your work buddies. The camera continues pulling back and then swings around to face Anya and Xander again. We hear Buffy's voice but we don't see her.INVISIBLE BUFFY:"}
+{"doc_id":"doc_161","qid":"","text":"FLASH IN.[EXT. VARIOUS LAS VEGAS CITY (STOCK) -- DAY](Sirens wail in the distance.)[EXT. LAS VEGAS STREET - DAY](A black Caprice zooms down the street. Two officer cars are pursuing it, their sirensblaring.)(The black car crosses an intersection, nearly hitting a white car crossing it at the same time. The white car's horn blares.)(The black car turns the corner. The officer cars continue their pursuit, sirens blaring.The intermittent sounds of automatic guns firing are heard during the chase.)(In one of the cars, Brass is driving; Sofia sits in the passenger seat.)Sofia Curtis: These guys are hard core. Who are they?(The car chasecontinues.)(In the second car are two officers. The older officer, Sergeant Adams, is driving; the younger officer in the passenger seat is Officer Bell.)Officer Adams: Tell Control these guys have automatic weapons!Probably A-Ks!(Officer Bell doesn't respond. He's just amazed by the car chase.)Officer Adams: (shouts) You with me!(Officer Bell shakes himself out of it and makes the call. Gun shots are fired from the black car infront of them. The windshield from one of the cars smashes from the impact of the bullets.)Officer Bell: (to radio) Three-David-34, be advised subjects are firing automatic weapons, possibly AK-47s.(In the third car areOfficer Davis and Sergeant Carroll.)Officer Davis: (to radio) All right, we're coming up on a T-intersection. Get ready.Sgt. Carroll: Three-boy-seven, pursuit approaching a t-intersection on Jefferson and Third.(Gunfirecontinues from the black car in front.)(Car 2's windshield is hit; glass shatters in the car.)Officer Bell: We're going to get killed!Officer Adams: Not if you do what you're supposed to do.(Gunfire continues.)(The black carhits the side and flips over.)(Car 2 stops. Both officers get out.)Officer Bell: (to radio) Three-David-34, suspect Caprice has T/C'd. Intersection Jefferson and Third.Officer Adams: When you get out, keep your headdown.(The two officers open their doors and use it as shield as they prepare for more gunfire.)(The occupants of the black Caprice crawl out of the overturned car. They're both carrying handguns and open fireimmediately.)(Behind them, a second officer car arrives. Officers Davis and Carroll immediately open their doors and use it as shields and return fire.)(The gunmen from the car crawl out and fire to get to cover behindthe overturned Caprice.)(It's complete chaos as gunfire is fired from both sides. Bullets are everywhere - sides of cars, windows, tires - richoceting off metal bins.)(Brass and Sofia's car arrives. Sofia gets out of the carand starts firing.)(Gunfire continues between the cops and the gunmen.)(Brass gets out of his car and starts firing from behind the car door.)(A bullet hits one of the officer car's tires and flattens.)(A gunman in theblank tank top, Salvator \"Stuckey\" Rosario, stops to change cartridge.)(Gunfire continues.)(Salvator Rosario puts his gun aside. He intends to run for it.)Salvator Rosario: Guys! Go! Go!(Rosario uses the automaticweapon and fires at the officers.)(He tosses the rifle aside when he runs out of bullets.)Officer Adams: They're out of rifle ammo!(Rosario takes out a handgun. An officer sees him and shouts out a warning.)Officer:(o.s.) No! Get down! They've got more!(Rosario fires.)(Brass returns fire.)(We hear the pinging of bullets off metal.)(Officer Bell stands up to fire and is hit with a bullet square in his chest. He falls backward and hits theground. We see he's bleeding from his neck)(Salvator Rosario stands up to run. Leandro Chavez follows. A shot is fired and he is shot in the thigh. He falls to the ground.)(Salvator Rosario takes off running up aresident's front drive.)Officer: They're running. I'm going left. You go right. Going to take these guys. You guys, move on up.(Brass moves forward to provide cover as Officer Adams checks on Officer Bell. The otherofficers scramble to chase after the running gunmen.)Officer: (to radio) Three-boy-seven in foot pursuit of two male Latinos. One east, one west on Third Street. Requesting backup.(Officers chase after the gunman.Salvator Rosario jumps over a wall.)(Officer Adams calls for assistance.)Officer Adams: Three- David-34, officer down. Requesting immediate backup and paramedics. (to Sofia) I'll take care of it. I'll stay withhim.(Brass and Sofia both leave to help pursue the gunmen.)(Additional backup arrives.)(Sofia runs up to Leandro Chavez, who was shot. She stands over him, her gun on him. She kicks his gun out of his reach.)(Aneighbor steps out into his yard and looks over at Brass.)Neighbor: Que paso?Brass: Nada. Haciente. Adentro, adentro.(A second officer approaches Sofia.)Sofia: Cuff him.(The officer takes out his handcuffs to cuff theman in the white tank. Sofia turns and starts running to help catch the other gunman.)Leandro Chavez: Dame una ambulancia, puey.Officer: I don't speak Spanish.(Sofia runs to help Officer Davis as they head to thewest of the alley behind Third.)(Brass rushes alongside the building to the east of the alley behind Third, his gun in hand. He reaches the back of the building.)(He hears a noise and whirls around. He sees a womanopen the door and step outside. He motions for her to get back inside.)Brass: (to the woman) Back inside, back inside.(In the distance, gunshots are fired. Brass makes his way toward the sound.)VARIOUS FLASHESOF:(Officer Davis and the gunman exchanging gunfire as the gunman tries to escape down the alley.)(Officer Davis runs out of bullets, his gun clicking.)(Salvator Rosario turns around and steps closer to the officer tofire. Sofia turns the corner and sees the gunman. She fires several shots, hitting the gunman in the shoulder.)(Salvator Rosario goes down.)(They both approach the gunman.)Sofia Curtis: You okay?Officer Davis: Yeah.You?Sofia Curtis: Yeah.(Officer Davis reaches the gunman first. He picks up the gun.)Sofia Curtis: What are you doing? Put it down.(He puts the gun back down on the ground.)Officer Davis: Yeah, sorry. I was justtrying to secure his gun.Sofia Curtis: He's not going to use it anymore.(Meanwhile, the third gunman, Ricardo Estevez, is near the top of a fence when Officer Carroll turns the corner and stops him.)Officer Carroll: Stop!Police! Stop! Police!(Ricardo Estevez jumps back down to the ground, his hands raised high above his head.)Officer Carroll: Don't move! Don't move!(Officer Carroll hears a sound behind him and turns to look. Brassrounds the corner, his gun raised.)(Ricardo Estevez suddenly finds himself with a gun in his hands.)(Someone fires and hits Ricardo Estevez several times in the chest.)(Officer Carroll steps forward. Brass kicks the gunoff to the side.)(Brass takes out his radio.)Sofia: (from radio) Brass, suspect's in custody.Brass: (to radio) Copy. Control, this is Brass. Situation here is code 4. We have three suspects in custody. One is on therun.[SCENE_BREAK][EXT. STREET (MAIN CRIME SCENE) -- JEFFERSON AND THIRD - DAY](The ambulance pulls away. Grissom and Catherine approach the scene.)Catherine: You know it's going to be a long shift whenyou get the call to respond to a command post.Grissom: Yeah. (to phone) Warrick ... we need everyone from grave. But park on Wall Street. Jefferson's taped off all the way back to Lincoln.Vartann: The suspect waslast seen running south.Officer: These buildings have been searched and cleared.Vartann: Okay, move south one block. Check each apartment. This guy's armed and dangerous.Cavaliere: You got a lot of witnessesclaiming to have seen what happened.Vartann: Okay, good. Let's get some vans down here, bring them all to the station.(They walk over to Sofia and Brass leaning up against the SWAT van.)Catherine: What happenedout here?Brass: I was one of the shooters. So was Sofia, so you know the deal. That's really all I'm allowed to say.(Brass notices Detective Nestor Ortega standing nearby.)Brass: I see, uh, Detective Ortega, thathard-head from IA, is handling the case. Just our luck.(Vartann joins them.)Vartann: Caprice full of shooters opened up on two of our guys. One's down.Grissom: Is Bell going to make it?Vartann: (shakes his head) He'sDOA. Three suspects are dead. Fourth outstanding.Nestor Ortega: (interrupts) Excuse me ... guys, hang tight. I'm going to get some rides. Take you down to the station, okay? I want to get your statements.Brass:Yeah ... yeah.Nestor Ortega: Good, good. Excuse me.(Ortega leaves.)Catherine: (quietly to Grissom) I'll stay with them. I'll collect their firearms and ammo.Grissom: All right. (to Brass) Good luck.Brass: Thankyou.(Grissom walks past Brass and Sofia. He walks past an officer standing nearby.)Officer: (under his breath) Hell of a day, man.Grissom: It's just beginning.FADE TO END OF TEASER ROLL TITLECREDITS[SCENE_BREAK][EXT. STREET -- DAY](Detective Chris Cavaliere rushes down the street with the gun in his hand in pursuit of the final gunman. He turns the corner and sees the body on the street. The otherofficers rush forward.)Officer: GSW victim matches the suspect.Chris Cavaliere: You shoot him?Officer: No, sir. Found him this way.(Detective Cavaliere notices the bike strap still around the kid's ankle.)Chris Cavaliere:Bike strap ... this isn't our suspect. This is a kid on his way to school. Where's his bike?Officer: There was no bike.Chris Cavaliere: Put out a broadcast. Suspect may be on a bicycle. (to radio) We need medical transport.Code three ...[SCENE_BREAK][EXT. STREET (MAIN CRIME SCENE) -- JEFFERSON AND THIRD - DAY](Grissom hands out instructions.)Grissom: Okay, everybody around here has got a video camera or a cell phonecamera. They'll all be taking pictures.Warrick: I think we all know how to operate in front of a camera.Nick: Don't be caught picking your nose.Grissom: Catherine's back at the station collecting the officers' guns. This isthe main crime scene. So Nick, you and Sara take this. There's two additional crime scenes down the alleys behind Third. Warrick, you take the west alley, I'll take the east.Greg: And what do I get to do? Go back to thelab and wait for a phone call?Grissom: This is a running gun battle that started twenty blocks back. You get that.Greg: That's got to be, like, a mile? Who's with me?Sara: A bunch of pissed-off locals with shot-upcars.(Sara picks up her kit.)Greg: Awesome.Warrick: You'll be all right.(They all pick up their kits and head in the direction of their assignments.)[SCENE_BREAK][EXT. ALLEY BEHIND THIRD (EAST) - DAY](Grissomarrives at the alley and puts his kit down. David Phillips is already there with the body. The coroner and an officer stand nearby.)(Grissom puts evidence marker #12 down next to the bullet casing and snaps aphoto.)David Phillips: Grissom?(Grissom picks up his kit and moves to the next casing.)David Phillips: Heard anything about Bell?Grissom: He died, David.(Grissom puts his kit down and puts evidence marker #13 nextto the gun.)Grissom: (to the officer) Is this gun in its original position?Officer: The arresting officers kicked it clear of the suspect.(Quick flashback to: Ricardo Estevez and standing in front of the fence is holding a gunin his hand. He's shot several times and drops the gun. Brass kicks the gun aside.)(End of flashback. Resume to present.)Officer: Nobody's touched it since I've been here.(Grissom snaps a couple of photos.)DavidPhillips: Well, there's no bullet holes in the back. That's always good.Grissom: How many times was he hit?David Phillips: I don't know. Officer, can you remove these handcuffs?Officer: Sure.(The officer steps forwardto remove the handcuffs. Grissom picks up the gun and looks at it. He removes the gun's cartridge.)Officer: (to David Phillips) You have anything I can wipe these off with?David Phillips: Yeah.(David hands the officersomething.)Officer: Thanks.(The officer stands up and walks over to the side. Grissom gets up and walks over to David Phillips, who is rolling the body over.)David Phillips: Looks like three went in.Grissom: All right,leave him here, David. Warrick's DB's in the other alley just over there.(Grissom looks up and sees a couple of people peering through their second floor window from a building nearby.)[SCENE_BREAK][EXT. LASVEGAS CITY (STOCK) - DAY][INT. POLICE DEPARTMENT - HALLWAY -- DAY](Sofia sits in the hallway chair, nervously wringing her hands together. Brass enters at the end of the hallway and sees her. He walks over toher.)(Undersheriff McKeen intercepts Brass.)Undersheriff McKeen: You did a hell of good job out there.Brass: Yeah, not good enough. Has Bell's wife been notified?Undersheriff McKeen: The sheriff's on his way to thehouse now.Brass: You know, she's pregnant with their third kid.Undersheriff McKeen: We all know the risks.(Undersheriff McKeen leaves. Brass walks over to Sofia.)Brass: Hey ...(He sits down next to her andsighs.)Brass: (softly) I remember my first shooting ...Sofia Curtis: (interrupts) I appreciate the sentiment. We're not supposed to talk to each other till we give our statements.Brass: You're right, you're right.(An officerwalking down the hall points to Brass.)Officer: You're up. Curtis, make yourself comfortable.Brass: Okay.(Brass stands up.)[SCENE_BREAK][INT. POLICE DEPARTMENT - CONFERENCE ROOM - DAY --CONTINUOUS](Detective Ortega turns the tape recorder on and puts it in the middle of the table. Catherine is in the room as they interview Brass.)Nestor Ortega: This is Detective Nestor Ortega. I am in PDinterrogation taking a statement from Captain James Brass regarding the officer-involved shooting that occurred around 0643 hours this morning. CSI Catherine Willows is present to document and collect CaptainBrass's firearm as evidence.(Brass puts his gun on the table. Detective Ortega pushes the tape recorder forward.)Nestor Ortega: Ready?Brass: Yeah.Nestor Ortega: You're not a patrol unit. Why did you get involved inthe pursuit?Brass: Detective Curtis and I were just closing a robbery case and, uh, we stopped for a bite to eat.(Quick flashback to: [HOT DOG VENDOR - DAY] Sofia and Brass are getting their hot dogs when they hearthe dispatch on the radio.)Dispatcher: ... All units in the vicinity. Three- David-34 is in pursuit of a dark Chevy Caprice southbound of Paradise toward Desert Springs.(Brass looks around.)Brass: That's right nearhere.(They run to their car and get in.)(End of flashback. Resume to present.)Brass: We joined the pursuit on Desert Springs.Nestor Ortega: So you elected to back up the officers.Brass: Yes.Nestor Ortega: Were thesuspects shooting at the time?Brass: Yes.Catherine: Could you tell the types of firearms they were using?(Quick flashback to: [THE CAR CHASE] Gunfire erupts from the dark Caprice in front of them. End offlashback.)Brass: Well, the two guys in the back had rifles, maybe AK's. The other two had handguns. I'm not sure what type.[SCENE_BREAK][EXT. LAS VEGAS CITY (STOCK) -- DAY](A news helicopter fliesoverhead.)Reporter: (V.O.) We're flying over Third Street where just this morning police were involved in a deadly shootout.[SCENE_BREAK][EXT. STREET (MAIN CRIME SCENE) -- JEFFERSON AND THIRD - DAY](Saraand Nick are putting plastic rods in the bullet holes of one of the police cars, C9538.)Nick: Looks like a porcupine.Sara: There's not enough room between rods for a human being to fit.Nick: No, Bell and Adams musthave really been swerving and weaving.(Quick flashback of: [THE CAR CHASE] The officer car is weaving left to right as it chases the dark Caprice. End of flashback.)Sara: Seventy-eight bullet holes.(She looks down atthe bloodstain on the road.)Sara: And Bell wasn't hit until he was outside the car.Nick: I heard Bell was a rookie, barely off training. It was just his time, I guess, huh?(Nearby, the coroner walks past Vartann.)Coroner:Suspect will be getting a ride with the coroner.Vartann: A little street justice. Civilians okay?Coroner: Some old lady's going to need stitches. The kid on the bike's critical in surgery.(The coroner leaves. Vartann looks atSara and Nick.)Vartann: You guys okay here?Nick: I'll call and have the suspect's vehicle towed to CSI.Sara: I'm going to start digging bullets out of people's houses.[SCENE_BREAK][INT. POLICE DEPARTMENT -INTERVIEW ROOM -- DAY](Brass continues.)Brass: I was just reloading and continuing firing. I don't know what hit him.(Quick flashback to: [SHOOTOUT] Brass is firing. He shoots and hits Leandro Chavez in the thigh.Leandro Chavez goes down, his gun on the ground. End of flashback.)Brass: Bullets were flying. There were multiple rounds. It was chaos.Nestor Ortega: At what point did Carroll and Davis go in foot pursuit after thetwo suspects?Brass: After the driver went down, the other suspect, I guess he felt it was getting too hot back there.(Quick flashback to: Salvator Rosario yells for the others to go. End of flashback.)Catherine: And theywere shooting the entire time?Brass: Oh, yeah. I mean, it was like, you know, those movie guns; they never run out of bullets.Nestor Ortega: I don't go to the movies.Brass: Oh.Nestor Ortega: What happenednext?Brass: The next thing I remember ... the next thing I remember is Bell. Bell went down.(Quick flashback to: Officer Bell is hit in the neck and falls backward. He hits the ground. End of flashback.)Brass: He was ...he was just a kid.[SCENE_BREAK][EXT. LAS VEGAS CITY (STOCK) -- DAY](A news helicopter flies overhead.)[EXT. STREET (MAIN CRIME SCENE) -- JEFFERSON AND THIRD - DAY](A loud crowd of neighborhoodresidents shout angrily from the crime scene tape.)Man In Crowd: (shouts) (in Spanish)(Nick turns around.)Nick: Are they saying what I think they're saying? (He repeats the phrase to Detective Cavaliere inSpanish.)Chris Cavaliere: Yeah. They claim this other cop shoots the suspect in the back. And not to mention there's a news leak in the hospital.Man: See! Another one got killed! Where's ...Chris Cavaliere: Hey! Let usdo your job here, okay?Woman: Mi hija vio a sus policias disparle a un nino en la espalda.Nick: Senora, donde esta su hija, huh? Queremos hablar con ella.Woman: La policia se la llevo.Nick: Usted vio algo de lo quepaso? No? (to Cavaliere) Nobody saw anything. (looking at the automatic weapon he's holding) I don't think this is police issue.Chris Cavaliere: Look, these folks were suspicious of the cops long before this happened.Now this is how your circle stories get started.(Nick checks the automatic weapon.)Nick: The story keeps changing till you don't know what the truth is or whose story it was to begin with.[SCENE_BREAK][INT. POLICEDEPARTMENT - INTERVIEW ROOM -- DAY](Brass continues.)Brass: So, uh, so the suspects saw that we were kind of distracted helping Bell, and they took the opportunity. I went on foot pursuit, you know. They, uh ...I can't run as fast as I used to, I mean, so I lost them. But that's when I heard the two shots. I think ... No, I heard shots coming from ... the east.Nestor Garcia: How many?Brass: Three.(Quick flashback to: Brass is inthe alley. He hears four gunshots, turns and heads in that direction.)Officer: (o.s.) Get down!(End of flashback. Resume to present.)Brass: Four. And they sound a lot louder than a nine-millimeter.(Quick flashback to:[EXT. ALLEY BEHIND THIRD (EAST) - DAY] Brass enters the alley. Officer Carroll has his back to the suspect, Ricardo Estevez, who suddenly has a gun in his hands. Four shots ring out. End of flashback.)Catherine: Thesuspect had a gun in his hand.Brass: Oh, yeah, definitely. I kicked it away when I cuffed him.Catherine: Did you fire any shots in the alley?Brass: I didn't have to.Nestor Ortega: Captain, hand over your firearm to CSIWillows.(Brass takes the gun out of his holster and gives it to Catherine. She checks the gun.)Catherine: Any magazines?(Brass looks at his empty holster.)Brass: Uh ... I must have used them..(One bullet pops out ofthe chamber.)Catherine: Captain Brass's service pistol was received with an empty magazine and one live round in the chamber.Brass: Well ...Nestor Ortega: It'd be smart to have ammo before you go running into agunfight.(Brass shakes his head and wisely stays quiet.)[SCENE_BREAK][EXT. ALLEY BEHIND THIRD (EAST) - DAY](Grissom holds up the bagged gun and shows it to Vartann.)Grissom: I didn't find any cartridgecasings in this alley from the dead guy's gun. Just these three nine-millimeters from our cop.(Quick flashback to: Officer Carroll fires three times. Ricardo Estevez is hit and falls back against the wire mesh fence. End offlashback.)Vartann: So he must have been out of ammo.Grissom: Yeah, but he had to know that he'd get shot holding a gun whether it was loaded or not. Why didn't he just toss it?Vartann: Maybe he didn't know hewas out. Heat of the battle. I mean, we're not talking rocket scientists.Grissom: That doesn't make him suicidal, though, does it?[SCENE_BREAK][INT. CSI - HALLWAY / FORENSIC AUTOPSY - DAY](David Phillips andRobbins push the gurney with the dead body into the forensic autopsy room. Robbins looks up and sees Sergeant Adams walking toward them.)Robbins: Sergeant Adams, I'm sorry for your loss. If you'd like a few"}
+{"doc_id":"doc_162","qid":"","text":"[EXT. LAS VEGAS CITY (STOCK) - DAY][EXT. DESERT ROAD - DAY]CU: LIZARD ON A ROCK(A lizard is on a rock in the middle of the road.)(Officer cars rush down the road and are headed toward the lizard. Sirens blare.The lead car suddenly turns right and smashes through the wooden fence. The other cars follow.)[EXT. CONNORS RESIDENCE - DAY](The officer cars rush down the long driveway and stop in front of a house completewith pigs in a sty out front. Car doors open and officers with their guns out take position behind the doors. The SWAT team moves out toward the house. Brass gets out of the car and yells through the bullhorn.)Brass:Hank Connors, Las Vegas Police. Come out with your hands above your head. Come out slowly.(Gunfire erupts from the house. Officers duck as bullets shatter car glass.)(The officers return fire.)(A couple of SWATmove in closer and take cover behind an old tractor.)(The gunfire from the house continues.)(The two SWAT officers move in closer to the house. One of them is hit.)Brass: Officer down!(They continue to exchangegunfire.)Hank Connors: (shouts) Go back where you came from! You're not taking me!(He continues to fire on the officers outside.)(He stops and looks outside.)SLOW MOTION: Three SWAT officers move in toward thehouse.(Hank Connors takes a moment, then he runs into the house.)(The officers reach the front porch.)[INT. CONNORS RESIDENCE - HALLWAY - CONTINUOUS](Hank Connors makes his way through the hallway tothe door in the back.)[EXT. CONNORS RESIDENCE - FRONT PORCH -C ONTINUOUS](One of the officers kicks the front door in.)[INT. CONNORS RESIDENCE - BACK DOOR - CONTINUOUS](Hank Connors stops in front ofthe back door and turns around to look inside, his back to the door.)[INT. CONNORS RESIDENCE - LIVING ROOM - CONTINUOUS](SWAT officers enter the house and head for the hallway.)REVERSE VIEW(The SWATofficers appear in the hallway entrance and make their way toward the back door.)(Hank Connor appears to stand in front of the back door.)(SWAT officers continue to make their way toward him.)(Hank Connor grabs agun, puts it under his chin and --BANG!(Blood spatters on the back door window.)[SCENE_BREAK][INT. CONNORS RESIDENCE - LIVING ROOM / HALLWAY - CONTINUOUS](The guns found in the house are on the table.Nick walks in and heads for the hallway where Hank Connor's body is slumped up against the back door.)(Along the hallway walls, Nick notes the guns and ammunition stacked on the side. He stops in front of the bodyand notes the handgun in the victim's grip. He also notes the large water bottles in the room beyond the back door.)(Brass enters the hallway.)Brass: MREs, automatic weapons, ammo, water -- this guy Connors wasready for the end of days.Nick: Which, in his case, was today. Bomb squad find any booby traps?Brass: No, he liked it mano a mano.Nick: Any sign of Chyna De Vere?Brass: Not yet.[SCENE_BREAK][EXT. CONNORSRESIDENCE - FRONT YARD -- DAY](Grissom and Warrick walk along the side of the house where the pigs in the pen are.)Warrick: You know, there's some food, you just shouldn't see where it comes from.Grissom: Didyou know that pigs are very intelligent animals, right behind chimps, dolphins and elephants?Warrick: Ahead of dogs?Grissom: And certain politicians.(Warrick chuckles.)(They look around.)Warrick: I don't see Connors'truck anywhere.Grissom: Let's look in the barn.(They head for the barn.)[SCENE_BREAK][INT. CONNORS RESIDENCE - BARN -- DAY](The cat runs down the steps and out the door as it opens. Grissom and Warrickwalk in.)Warrick: There's the truck.(Warrick steps up to the area where the blue truck is parked. He and Grissom look at the truck. They find bloodstains in the bed.)Warrick: If this is Chyna De Vere's blood, we'regetting warmer.(Warrick snaps photos of the blood. Grissom turns and looks around the barn. They note the items on the desk and the stuffed animals on the side.)Warrick: Looks like he had a hobby -- stuffedanimals.(Warrick stops near the table and looks at the items on it while Grissom continues toward the other side of the barn. He looks at the various stuffed animal heads up on the wall.)Grissom: Hey, Warrick.Warrick:Yeah?Grissom: I feel like Marco Polo.(Warrick heads over toward Grissom.)Warrick: Why's that?Grissom: I just discovered Chyna.(Chyna's head is mounted up on the wall.)FADE TO END OF TEASER ROLL TITLECREDITS[SCENE_BREAK][INT. CONNORS RESIDENCE - BARN -- DAY](David Phillips is standing up on a chair and looking at Chyna's head up on the wall.)David Phillips: This is a career first.(Warrick is working on thetable in the back.)Warrick: A little tip for you: The new Mrs. Phillips doesn't need to hear about this.David Phillips: Are you kidding me? She'll want to hear every detail. Why do you think I marriedher?[SCENE_BREAK][EXT. CONNORS RESIDENCE - FRONT YARD -- DAY](Sara walks around the house and finds Nick in the sty with the pigs and the mud. He's trying to round them up.)Nick: Come on, pretty girl, comeon.(The pigs squeal. Sara watches him.)Nick: Come on.Sara: Hi.Nick: Hey.Sara: What are you doing?Nick: Well, I read about this farmer in Canada who killed a bunch of women and fed them to his pigs.Sara: Oh.Nick:Yeah, their health department had to put out a bulletin that said, \"Warning: your pork may be contaminated with human.\"(Nick pushes a pig toward the container opening.)Sara: I'm so glad I'm a vegetarian.(The pigsnorts as Nick grabs him and pushes him through the opening.)Nick: Get through there!(The pig goes through the opening.)Nick: Well, no one has seen or heard from the victim's husband, so ... I kind of figured he mayhave been dessert.(Nick herds another pig to the opening.)Sara: I think the fat one likes you.(Nick smiles and sighs at Sara.)Nick: They always do.[SCENE_BREAK][EXT. LAS VEGAS CITY (STOCK) - DAY][INT. CSI -GARAGE -- DAY](Greg and Catherine walk into the lab.)Greg: We went to Connors' ranch because a week ago, Chyna De Vere went missing. She just separated from her husband, got her own place.(They stop in frontof a large piece of carpeting on the floor.)Greg: This is a large section of her living room carpet -- wet to the touch, pheno confirmed a blood pool.Catherine: Well, it's certainly enough blood to suggest foul play.(Greglooks through the file.)Greg: There were also traces of perchloroethylene, phosphates, alcohol, ethers and sodium hypocholorite.Catherine: Used a steam cleaner. Would've denatured any DNA.(She stands up and walksaround the carpeting.)Greg: Yeah, we checked all the local places that rent them. Connors' name didn't come up.Catherine: How about the husband's?Greg: Nope. And he's still missing.Catherine: So what's this?(Shepoints to a circle on the carpet marked GS 102.)Greg: That is a single, distinct blood drop -- not from the victim, not from the husband. They didn't clean the whole carpet. Unknown female. We also found soil trace,identified as scheelite, a tungsten ore. Apparently, Connors' ranch is near old tungsten mines by McCade.Catherine: (shakes her head) How is Connors, this pig farmer, connected to the victim?Greg: Oh, he's in kind ofa club with the victim's husband.Catherine: Kind of a club?[SCENE_BREAK][INT. CONNORS RESIDENCE - BACK ROOM -- DAY](Grissom flips through a book of drawings of aliens, UFOs and other unidentified creatures.He closes the book to look at the title, \"To Walk Among Us.\")(He puts the book down. The next book on the bookshelf is, \"Serpents of the Universe: A Comprehensive Account of the Reptilian Conspiracy.\")(He turns andlooks at the various items on the table - UFO magazines, a photo, tin foil, tape. He picks up the photo of two men and a woman. He puts the photo down and opens a magazine to a yellow flyer. It reads:APRIL 15,2006FRIENDSHIP AUDITORIUM McCADE, NEVADASPECIAL PRESENTATIONBASED ON THE WORK OF DR. SIDNEY BUCKMANWE ARE NOT ALONE. COME HEAR THE TRUTH. )(He picks up the flyer and looks at it.)[INT.CONNORS RESIDENCE - LIVING ROOM / BACK ROOM -- DAY](Sara walks into the house as the coroners are wheeling out the body. She walks through the hallway and into the back room where Grissom is.)Sara: Wantme to take the living room? Looks like Armageddon came on a Thursday.Grissom: Do you believe that intelligent life exists on other planets?Sara: I'm not sure there's intelligent life on this planet.(He gives her alook.)Sara: I'll get started.[SCENE_BREAK][EXT. LAS VEGAS CITY (STOCK) - DAY][INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY](Brass walks in and talks with Shannon Turner.)Brass: Ms. Turner.ShannonTurner: I already went through this a week ago.Brass: You know, you're right. But let's go through it again. Chyna De Vere is dead. And her remains were found on your boyfriend's ranch.Shannon Turner: Yeah, not myboyfriend -- my friend. And furthermore, I never knew Chyna De Vere.Brass: She wasn't a member of your club?Shannon Turner: No. If she was, I would have known her, and I didn't.Brass: Her husband was. And he'sMIA. You know, the club's getting smaller and smaller by the minute. This morning, Hank Connors died.(Shannon Turner appears shocked and upset by the news.)Brass: When we went up there to arrest your friend, heshot himself. And I'm getting the feeling that you're going to be missing a meeting, too. Look, Shannon, you alibied a killer. You're already an accessory to one murder. If Hank Connors killed Chyna's husband, too...Shannon Turner: Oh. Oh, is that what you think happened?Brass: Tell me where he is. Hmm? You know, this can work in your favor with the DA.Shannon Turner: Oh, you know what? I'm not really worried aboutthat.[SCENE_BREAK][INT. CONNORS RESIDENCE - BACK ROOM -- DAY](Grissom is looking at the notices and clippings pinned to the bulletin board. He looks around and notices the pull-down projector screen up on theceiling. He pulls down the projector screen and looks around for the projector.)(At the end of the room, the projector is set up in the closet. Grissom turns the closet light on and switches on the projector.)(The image ofDr. Sidney Buckman appears on the screen.)Sidney Buckman: Adam and Eve were not only the first humans on the Earth, they were bait ... for intelligent life forms elsewhere in the cosmos, refugees from planets thatcould no longer sustain them. But why Earth? Deoxyribonucleic acid. DNA. The blueprint of human life is the key to their survival. Without it, they will perish.[SCENE_BREAK][INT. POLICE DEPARTMENT - INTERVIEWROOM - DAY](The door opens and Greg walks in with his kit.)Greg: Hi, Ms. Turner. My name's Greg Sanders; I'm with the Crime Lab. I have a warrant to take a sample of your DNA.(He puts his kit on the table andgives the warrant to her.)Shannon Turner: You're not touching me.Greg: Well, ma'am, this is standard procedure.(Greg opens his kit and takes out a swab.)Shannon Turner: I know who you are.Greg: I'm just going toswab the inside of ...(He approaches her with the swab. She stands up and violently pushes him away from her.)Shannon Turner: Hey! Not!(The woman officer grabs her and holds her as she struggles.)Officer: Calmdown.Shannon Turner: Get off of me!Officer: Calm down, ma'am. Calm down.Shannon Turner: All of you get away from me! Get him away from ... !Officer: Calm down.(They force her to sit down on the floor.)ShannonTurner: No!Greg: Let's try this again.(He tries to get the swab in her mouth and she bites down on his hand.)Officer: Let go of his hand! Let go of his hand, ma'am.(Greg looks at the bite mark on his hand.)Greg: Thatbitch bit me.(Greg turns and swabs her saliva from his hand.)Greg: I got my sample.(He turns and heads back to his kit.)[SCENE_BREAK][INT. CONNORS RESIDENCE - BACK ROOM -- DAY](Grissom continues to watchthe film.)Sidney Buckman: (on film) The first encounters between humans and extraterrestrials took place over a hundred thousand years ago in Atlantis, and in its sister civilization in the Pacific, Lemuria. Ancientcivilizations on every continent have recorded evidence of these encounters. These visitors were highly advanced and did not appear in human form. Now, the Mayans called them Chanes -- people of the serpents-- andin Hebrew legend, the snake represented knowledge. Of course it did. It was not human. Not of this Earth.[SCENE_BREAK][INT. TURNER RESIDENCE - DAY](Catherine and Brass walk into the living room. Catherineputs her kit down while Brass looks at the books on the shelf.)Brass: Shannon sure has a lot of books.(There are titles for 'Foundation for \"A Course in Miracles\"', 'Flying Saucers: Top Secret,' 'The Handbook of ArtificialIntelligence,' 'Astronomy: The Cosmic Journey,' and A Different Approach to Cosmology. )Brass: UFO's, alien abduction ...(Catherine is looking at the mail on the desk. She flips the card over. The address on the otherside is to:SHANNON TURNER1654 HILLIS AVELAS VEGAS NV 89101 )Catherine: Chyna was a dealer at the Palermo. Looks like Shannon was a player. Gold level.(The card is for PALERMO PLAYER'S CLUB, LOOSESTSLOTS IN VEGAS.WORLD-CLASS BUFFETGOLD LEVEL MEMBERS - ½ OFFEARN POINTS FOR CASHGOLD LEVEL MEMBERS - EARNDOUBLE POINTS ON TUESDAYSEXCLUSIVE OFFER ONLY FOR GOLD LEVEL MEMBERS LIKEYOU! )Brass: Yeah, tell me they never met. We'll check the Palermo security.(Catherine opens the desk drawer and takes out a sketchbook. Brass walks over as Catherine flips through it. She sees sketches of variousdesigns and reptilian creatures.)Catherine: Reptiles ... UFOs ...(She turns the page over to a sketch of a warrior woman.)Brass: Xena, Warrior Princess.[SCENE_BREAK][INT. CONNORS RESIDENCE - BACK ROOM --DAY](Grissom continues to watch the film.)Sidney Buckman: (on film) History is replete with stories of the heroic destruction of serpents: Perseus and Medusa, St. George and the Dragon, St. Patrick and the Snakes ofIreland.(Sara walks in and stops to watch the film with Grissom.)Sidney Buckman: (on film) But these are not merely legends ...Sara: What is this?Grissom: I think their UFO club is based on the teachings of thisguy.Sidney Buckman: (on film) ... and the natural form of these invaders is not human. They are described in ancient accounts as serpents and dragons. And man's weapon against them is the sword. Cut off the tail,the serpent lives. Cut off its head, and it dies.Sara: So Connors cut off her head because he thought she was a serpent from outer space?(Grissom turns and looks at her. The film ends.)[SCENE_BREAK][INT. TURNERRESIDENCE - DAY](Catherine continues to flip through the sketchbook to show more reptilian creatures. Brass is in the kitchen.)Brass: Catherine ... check this out.(Catherine heads for the kitchen. Brass shows her amug with a photo of Preston De Vere and Shannon Turner. The caption reads: Chillin' in Cabo.)Brass: Chyna De Vere's husband, Preston.Catherine: What's Shannon doing with him?Brass: \"Chillin' in Cabo.\"(Catherinesees something black like a handle up on the top cabinet shelf. She takes the stepladder out to see what it is.)(A brown cat trots into the kitchen.)Brass: Aww. Well, while Mommy's in custody, I guess the kitty's hungry;I'll call Animal Control.(Catherine climbs up the stepladder and finds a long blade sword.)Catherine: Oh, Jim ...Brass: Well, hello, Xena.[SCENE_BREAK][INT. CONNORS RESIDENCE - FRONT YARD -- DAY](The pigs aresunning in the mud on one half of the pen. On the other side of the pen, Nick digs through the mud and finds what looks like a human bone.)Nick: Oh, boy.[SCENE_BREAK][EXT. LAS VEGAS CITY LIGHTS (STOCK) -NIGHT][INT. CSI - FORENSIC AUTOPSY - NIGHT]VARIOUS CUTS OF:(David Phillips and Robbins use a drill to unscrew Chyna's head off the mounting board.)(They remove the board and cut the wire holding the sides ofthe head together.)(They unwrap the skin and hair from around the skull, which was padded with dry straw.)Robbins: Look what he used on the incision.[SCENE_BREAK][INT. CSI - FORENSIC AUTOPSY -NIGHT](Robbins shares his findings with Grissom.)Grissom: Duct tape?Robbins: Yeah, he used it to close up the laceration from a sharp force perimortem wound. Corresponds to the indentation in the skull.(He picks upthe skull and shows Grissom the mark.)Grissom: Could that be the fatal wound?Robbins: Give me the rest of the body and I can tell you.Grissom: Nick's working on it.(Robbins peels back the duct tape.)Grissom: Almostthree inches, smooth-edge blade; you know, Catherine found --Robbins: (interrupts) Yeah, I heard. A sword -- everyone's talking about this one.(He glances over his shoulder at Hank Connors on the table behindhim.)Robbins: Why would anybody want to taxidermy a human head?Grissom: I'm still working on the \"how.\"Robbins: That, I can tell you. Mounted one myself. A deer-- Dad was a hunter. First, our guy had to separatethe head from the body. For that, he used a serrated-edge knife.(Robbins shows Grissom the pattern on the bottom of the skin.)Robbins: Dad used a carving knife, same one we used at Thanksgiving. When mom foundout, she almost killed him with it.Grissom: Heartwarming.Robbins: Yeah, so then ... he had to flesh the skin away from the underlying muscle.(Quick flash of: Hank peeling the skin off the muscle. End of flash.)Robbins:Next, he would've stretched the skin out on a board, --(Quick flash of: Hank rubs rock salt into the skin.)Robbins: (V.O.) -- rubbed it with rock salt ...(End of flash.)Robbins: ... then waited two days. Then he tanned theskin to preserve it,(Quick flash of: Hank working on the head.)Robbins: (V.O.) -- hydrated it with a borax and water solution to keep the bugs off.(End of flash.)Robbins: Next, he cleaned the skull, filled theimperfections with clay, sawdust, anything at hand. Popped in two glass eyes, and then ...(Robbins puts the skull back in the skin.)Grissom: And he's got the best-looking wall mount in the neighborhood. (smiles andnods.) We're going to need to process that toolmark.Robbins: Yeah, I'll get it over to CSI.[SCENE_BREAK][INT. CSI - LAB -- NIGHT](Catherine dusts the blade for prints. She finds several. She takes a print lift of theprints.)(Mandy walks in and finds Catherine in her chair.)Mandy: Oh ... nice sword. Mm-hmm! I dated a guy on the fencing team. His thighs were incredible. (She takes a lift of a print on the hilt.) Did you want to showme something?Catherine: Yes, the, uh, tip has been wiped clean. Negative for blood. But I did find a couple of partials on the blade just above the hilt.(Catherine takes her gloves off.)Mandy: Okay.Catherine: And acouple of full prints on the handle.(She takes her coat off.)[SCENE_BREAK][INT. CSI - FORENSIC AUTOPSY -- NIGHT](Nick measures the length of the bone he found.)Nick: The femur measures 461 millimeters. (Hechecks the height chart.) Gives us a height for a white female of 5'6\".Grissom: Exactly Chyna's height. How about for a male?Nick: 5'7\".Grissom: Preston De Vere is too tall. Did you measure the head of the femur?Nick:No, sir, I was just about to.(He measures the head.)Nick: 41 point s ... point five millimeters.Grissom: It's a female.Nick: You want my theory?(Grissom listens and Nick ticks off the items on his fingers.)Nick: This littlepiggy went to market. This little piggy stayed home. This little piggy had Chyna.Grissom: Yeah. (He looks at the markings on the bone.) Human teeth aren't strong enough to leave these marks.Nick: And it is consistentwith Connors chopping off her head and tossing his \"girls\" a bone.Grissom: (sighs) Okay ... go back to the ranch. See if you can find the rest of her.[SCENE_BREAK][INT. CSI - LAB](Greg is in the lab when Catherinewalks in with her sword. Greg's hand is bandaged.)Catherine: Hey, Greg. You up for a bite?(Greg laughs like it's the funniest joke ever. He pounds on the table as if unable to control his laughter.)(Catherine watcheshim as she takes her jacket off.)(He continues laughing, then stops.)Greg: No. I am on antibiotics, I had a tetanus shot-- I'm having a pretty bad year.(Catherine puts her lab coat on.)Catherine: Oh, it's only a bad yearif you do a bad job, Greg. You're having a great year.(She winks at him.)Greg: (suggestively) I got that gel ready for you.(Catherine picks up her sword and starts cutting into the gel.)VARIOUS DISSOLVES OF:(As Gregworks on one side of the table, Catherine cuts impressions into the gel on the other side of the table. She makes several cuts working her way down the sword.)(Meanwhile, Greg prepares the cast and makes animpression of the marking in the skull.)(Catherine stands the gel impression on its edge and makes a cast impression of the sword cuts.)(Greg removes the cast from the skull. He puts it under the scope.)(Catherinepeels off the impression from the sword cut and gives it to Greg, who puts it under the second scope to compare. He looks under the scope and finds a MATCH.)Greg: Voila!Catherine: We have our weapon?Greg: Yeah,"}
+{"doc_id":"doc_163","qid":"","text":"LORELAI'S HOUSE - LIVING ROOM[Lorelai is packing a bag, Chris and Paul Anka are sitting on the couch, Chris looks bored]LORELAI: Okay. Toothbrush, hairbrush, hypoallergenic pillow, chenille blanket... ooh, comfortshoes. Got them.CHRISTOPHER: Those are your comfort shoes?LORELAI: Not mine -- Paul Anka's.CHRISTOPHER: We're staying in tonight. You can probably get away with flats.LORELAI: He loves, loves, loves chewingon these. They remind him of a squirrel carcass.CHRISTOPHER: Yummy.LORELAI: Don't judge. You eat jerky like it's going out of style.CHRISTOPHER: So, all this stuff is for Paul Anka?LORELAI: No, not all. Thetoothbrush is mine.CHRISTOPHER: Lorelai.LORELAI: What? It's his first night staying at your house. I want him to have all the stuff that makes him comfortable. Ooh -- tennis balls!CHRISTOPHER: I actually have tennisballs.LORELAI: Penn or Wilson?CHRISTOPHER: You're joking.LORELAI: Paul Anka's must be Penn. They must be new, they must be green -- not orange and green, just green. And FYI, you might want to watch thatsarcastic tone of yours because dogs are very attuned to tone. It's kind of like Chinese, in that respect, dog language. It's very tone based. And you are stressing him out right now with your tone.CHRISTOPHER: Thedog is stressed?LORELAI: Look at him. And when he gets like this, you need to talk to him in sweet and dulcet tones. [High-pitched voice] Hi, Paul Anka. Ooh, hi, boy! Hi! [Normal voice] Get it?CHRISTOPHER: Gotit.LORELAI: Good. Sunglasses. [goes to get them]CHRISTOPHER: [To Paul Anka] This is not normal. I want you to know that. [To Lorelai] The dog wears Ferragamos?LORELAI: Oh, please. Don't give him any ideas.These are mine. All right, let's go. You take this, this, and this. Come on. What are you waiting for?[They go out and close the door, Paul Anka whimpers a little, then Lorelai comes back]LORELAI: Oops. Here, PaulAnka. [Claps]OPENING CREDITSHALLWAY TO LOGAN'S APARTMENT[Rory's phone rings]RORY: [answers cell phone] Hey.LOGAN: Hey, you watching it?RORY: What?LOGAN: The meteor shower.RORY: What meteorshower?LOGAN: It's on the news the BBC said there's some huge meteor shower tonight. I thought we could watch it together.RORY: Uh, Logan, I have been in the library for the past nine hours. I don't know anythingabout any meteor showers. But I could use a regular shower, though.LOGAN: Go up on the roof and check it out.RORY: Now?LOGAN: Yes, now! It's supposed to start in like two minutes.RORY: But...LOGAN: Ace! This isonce-in-a-lifetime celestial event. Get going.RORY: Okay, okay. I'm getting. I'm going.LOGAN: Are you running?RORY: I'm running! I'm running! Who knew you were such an astronomy buff?LOGAN: Hurry!RORY: Whathas gotten into you?[Rory makes it to the roof]LOGAN: Nice night.RORY: Oh, my god! You're here! What are you doing here?LOGAN: [Chuckles] Happy to see me?RORY: Beyond happy! [They hug] Ecstatic! I can'tbelieve you're here! And look at me -- I'm covered in highlighter ink and I smell like Fritos and ginger ale.LOGAN: It's an aphrodisiac.RORY: You're here and you did all this?LOGAN: You like?RORY: I love, but you didn'thave to do this. I mean, you're here. It's enough. It's more than enough.LOGAN: Could you shut up now so I can kiss you?[They Kiss]RORY: So there is no meteor shower?LOGAN: No meteor shower.RORY: So you usedthe entire cosmos to trick me?LOGAN: I like to think big.RORY: So, what is going on? What, Why are you here?LOGAN: I'm kissing my girlfriend on the roof. Mmm.RORY: But why?LOGAN: The Fritos and Ginger Alething. I told you, huge turn-on.RORY: [Sighs] Explain yourself.LOGAN: I'm just here for a quick business trip.RORY: How quick?LOGAN: Too quick.RORY: How quick is \"too quick\"?LOGAN: I have 10:00 flight back toLondon tomorrow night.RORY: Oh, that is too quick.LOGAN: That website my team has been trying to buy -- the owners finally agreed to sit down, talk to us tomorrow over breakfast.RORY: Logan! That's great, right? Imean, three weeks ago, they weren't even taking your calls.LOGAN: It is great. However, not as exciting as kissing my girlfriend on the roof.RORY: Um, so, what's that amazing smell?LOGAN: Food from Ibiza.RORY:The island?LOGAN: The Tapas plAce downtown.RORY: Ooh, did you get the duck?LOGAN: I did.RORY: And the short ribs?LOGAN: Yes. And...RORY: [Gasps] Ooh! A 2003 red something. Oh I bet it's very oaky and corkyand full of fruity legs.LOGAN: Know a lot about wine, do you?RORY: Not so much, but the label's pretty.LOGAN: There's also gazpacho, that cheese-pie thing you love, plus flan.RORY: Ooh, flan! You got meflan?LOGAN: Doesn't take much to make you happy, does it?RORY: Not when you're on this continent.LOG: Okay, why don't you open this wine? I want to taste those fruity legs, and I'll make you a plate with extraflan.RORY: Okay. [starts to open the bottle but then runs to Logan] Ooh, I'm so glad you're here!LOGAN: [Sighs]CHRIS' APARTMENT - LIVING ROOM[Lorelai is on the couch, playing with the Tivo remote, Chris walksin]CHRISTOPHER: Ha-ha! You're killing my Tivo.LORELAI: I'm not killing it. I'm composing on it, I'm composing a symphony. Finally, an instrument I can play.CHRISTOPHER: Give me that.LORELAI: No, no,no!CHRISTOPHER: Give me!LORELAI: Not until you explain your choices.CHRISTOPHER: What?LORELAI: \"The View\"? \"Girlfriends\"? \"S*Bado Gigante\"? Who controls this thing, you or Pedro Almodóvar?CHRISTOPHER:It's the nanny.LORELAI: Sure, it's a likely story.CHRISTOPHER: Give me, give me, give me.LORELAI: Did Gigi Get to sleep okay?CHRISTOPHER: She did. I tried to skip to the end of \"Cinderella,\" but she wouldn't let me.It's my own fault. My wicked stepsister voice kills.LORELAI: She's amazing, you know?CHRISTOPHER: That reminds me.LORELAI: Oh, no! You're not gonna show me some of her art, are you? I never know what to sayin those situations. I mean, even when it was Rory's art, you know? Three blue finger smudges and some construction paper. It's not precocious. It's just messy.CHRISTOPHER: Here. This came a couple of days ago.It's from Sherry.LORELAI: From Sherry?CHRISTOPHER: Yeah, it's the first I've heard from her since the divorce was final. Go ahead and read it.LORELAI: Wow, how \"Dangerous Liaisons\" of her. She doesn't call. Shedoesn't e-mail. Then she sends you a letter with a wax seal that weighs roughly the same as a porterhouse.CHRISTOPHER: Well, she had a lot to say.LORELAI: Gosh. It's a lot of sorry.CHRISTOPHER: Yeah, 15 pagesworth. Believe me, I was not expecting this. Humility is not a side of Sherry I've ever seen before. I don't know if it's the yoga or the yoga instructor or...LORELAI: Yoga instructor?CHRISTOPHER: Yeah, she's dating heryoga instructor, Jean-Claude or Jean-Pierre -- one of those names that always sounds fake. Anyway, it sounds like she's really changed. She feels awful about what happened, run away like that and she wants to find away to be part of Gigi's life again.LORELAI: Honey, that's great.CHRISTOPHER: Right?LORELAI: Yeah... So, you got this two days ago and you're showing it to me now.CHRISTOPHER: Well I was gonna show it to you, acouple of days ago but I figured you were coming over so...LORELAI: No, I'm not criticizing.CHRISTOPHER: You're not?LORELAI: No, I'm complimenting -- badly, obviously. But I'm complimenting. You shared it withme.CHRISTOPHER: Well I kind of thought that was how the whole adult-relationship thing worked. You know, openness, honesty.LORELAI: Interesting. And you're sure you don't want to stash it away somewhere andthen I find it -- accidentally, of course -- months from now, and I get all weird and insecure about why you didn't show it to me sooner?CHRISTOPHER: I'm good with the sharing.LORELAI: All right. It's another way togo.[They sit back to watch TV]CHRISTOPHER: [Evil voice] That glass slipper will fit my foot. [Normal voice] That was my wicked stepsister voice.LORELAI: Yeah, I figured.[Lorelai looks happy]ROOF TOP[Rory and Loganare laying on the floor]RORY: I'm so happy.LOGAN: Me too. [Kisses Rory on the head] You know you can't do this in London? The city lights are so bright, you almost never see the stars.RORY: Yeah, but it'sLondon.LOGAN: Ah.RORY: Wait, are you tired of London?LOGAN: I'm tired of not being around you.RORY: Yeah, but you can't be tired of London. Samuel Johnson said, \"when you're tired of London, you're tired oflife.\"LOGAN: Obviously, the man was never in a long-distance relationship.RORY: That's true. Boswell did keep quite close.LOGAN: [Smooches] What are you doing?RORY: Nothing.LOGAN: You're trying to sneak a peekat my watch.RORY: Well, I just can't believe it. I can't believe you're here. And I-I can't believe that you're leaving in only 26 hours and 45 minutes.LOGAN: Come on think positive -- that's an entire lifetime to a fruitfly.RORY: Actual you're thinking of a mayfly. Fruit flies can live for up to a month. So what do you think, can you stay for a month? I mean what if your meeting tomorrow goes really, really well?LOGAN: I hope itdoes.RORY: It will. It's a great idea.LOGAN: It's basically MyspAce.RORY: But by invitation only. And it'll be like an online version of the Algonquin group, like throwing a party in your head where everyone you've everwanted to talk to is there -- Ira Glass, Sofia Coppola, Flaubert, Danger Mouse.LOGAN: The deal's not done yet. Far from it. These guys aren't just gonna hand over their website because we buy them breakfast.RORY:They might. Tell them that they can order pancakes and eggs. Don't make them choose. Sausage, bacon, fruit, potatoes -- let them get the whole combo. 'Cause Then they will have to sell it to you. It'd be rude notto.LOGAN: You are a business genius, Ace.RORY: Well, I'm taking econ with my grandpa.LOGAN: Whatever happens, we'll be ready. We've been working our asses off on this one -- Nick, Bobby, Phillip.RORY: Oh, yes --Phillip, Nick, Bobby. The team. Starting lineup.LOGAN: It is a classic win-win. They give us a foothold in new media. We give them a huge influx of capital, which they need. Believe me when it comes to debt versusequity, they're screwed. They have no liquidity, huge expenses, zero revenue. I mean, the target advertising potential alone -- what? What are you staring at?RORY: You, \"Mr. Debt versus equity.\"LOGAN: Are youmocking me?RORY: Yeah, but I like it. Tell me more about this um, targeted advertising potential.LOGAN: What do you want to know? There's pay-per-click, pay-per-lead, banner ads, pixel tagging.RORY: Oh, stop. I'mgetting weak at the knees.[They kiss]LOGAN'S APARTMENT[Next morning, Rory is still in bed]RORY: [reaching for Logan] Logan?LOGAN: Shh. Go back to sleep. It's only 6:00.RORY: In the morning?LOGAN: Yes, in themorning. Go back to sleep. I'm sorry I woke you.RORY: Hey, where you going? Come back here.LOGAN: I can't I promised Nick, Bobby, and Phillip I'd meet up with them for breakfast before the pitch.RORY: I thoughtthe pitch was at breakfast.LOGAN: It is, but we can't walk in there unprepared. We got to go over our notes, talk strategy. It's a pre-breakfast breakfast.RORY: Work dork.LOGAN: Did you just call me a workdork?RORY: Admit it, just admit that you're a work dork.LOGAN: I'll admit that I'm a work dork, if you admit that you love I'm a work dork.RORY: Done. [they kiss]LOGAN: Now I really have to go.RORY: Hey, I haveways of making you stay, you know.LOGAN: I know, I know, but take pity on me, please. After work, I promise I'm all yours. Dinner?RORY: Is it a pre-dinner dinner or a real dinner?LOGAN: As many dinners as youwant.RORY: Aw, man, I can't believe we've wasted 4 1/2 hours on sleep. What are we down to now, like 15 hours?LOGAN: Rory, I'm actually gonna need both arms for this pitch.RORY: Okay, I'll let go. Just one morekiss.LOGAN: I don't believe you.RORY: Try me.[Logan moves in to kiss, then doesn't and walks off.]RORY: [Gasps] Hey! No fair!LOGAN: I'll call you later.RORY: Work dork!LOGAN: Work dork lover.DRAGONFLY INN -RECEPTION AREAMICHEL: [Sniffs] Gah. [Sniffs]LORELAI: You need a tissue? Oh, god, what is that?MICHEL: I don't know, but it's horrible.LORELAI: Oh, it is. It's foul. It's like rotten cabbage.MICHEL: Or with dense butsubtle undertones of olives.LORELAI: There's nothing subtle about it. It's like a sledgehammer to the nose.SOOKIE: Oh, my god! What is that?LORELAI: It's not coming from the kitchen?SOOKIE: Bite your tongue. Arewe having heart attacks right now? Isn't smelling something strange the first sign of a heart attack?LORELAI: I don't think we're having a communal massive heart attack.MICHEL: Carcasses.LORELAI: What?MICHEL:Those strange, angry-looking guests -- I'm sure they are traveling with decaying animal flesh.LORELAI: Yeah, 'cause that's the most logical explanation. Gonna open a window, see if we can air it out a little bit. [opensthe window] Gah! No, no, no!SOOKIE: Close it! Close it! Close it!LORELAI: Ugh!MICHEL: So glad we tried that.LORELAI: All right, I'm going out there to see what's causing this.SOOKIE: Out there?!MICHEL: Are youcrazy?!LORELAI: Maybe, but the sooner we can find out what's causing this, the sooner we can run like hell to less stinky ground.SOOKIE: Well I'm coming with you!MICHEL: Me too! Let's hang for a minute. If shemakes it to the end of the block, we'll join her.SOOKIE: Michel!MICHEL: What? Fine. Ugh! [Coughs]STARS HOLLOW - TOWN SQUARE[They whole town is out covering there noses]LORELAI: Kirk, where's everybodygoing?KIRK: Taylor called an emergency town meeting. Not sure why.SOOKIE: The smell, Kirk. The horrible, horrible smell.KIRK: Really? [Sniffs] I just don't think it's that bad.SOOKIE: Ugh. Well, come on, let'sgo.LORELAI: No. You know what? On second thought, I'd rather smell this smell for the rest of my life than see Luke at a town meeting.SOOKIE: Oh, honey.LORELAI: It's okay. I'll go back to the inn. I'll be fine. Just callme when you want me to pick you up.MISS PATTYS - TOWN MEETINGGYPSY: Finally!MISS PATTY: It's about time, Taylor! We're dying here.TAYLOR: I assure you, no one is dying. The substance causing this odor is nottoxic in any way, shape, or form. It's pickles.[The crowd begins to groan and continues to for most of the meeting]SOOKIE: That's no pickle!KIRK: Pickle? Like one giant pickle?TAYLOR: Order! As those of you who takean interest in civic events may recall, three days ago a train derailed just east of town -- luckily, no one was injured. However, 3 1/2 tons of pickles and pickle brine were scattered along the tracks. And due to someinevitable delays in cleanup, those pickles have been baking in the sun for three days.[The crowd groans]MISS PATTY: And you knew about this?GYPSY: It's a cover-up.BABETTE: We got picklegate!MISS PATTY: Ha haha!TAYLOR: I did know about it, but it wasn't a problem until this morning when the wind shifted. And instead of wafting easterly toward our neighbors in Woodbridge, the smell seems to have settled on stars hollow.Now, there's no telling how long it will last.[The crowd groans again]GYPSY: What?! People are suffering here.SOOKIE: How long does it take to pick up a few measly pickles?TAYLOR: Picking up the pickles is not mymain concern at the moment. Now, this is a matter of pride, people. A huge principle is at stake. There's absolutely no reason why we here in stars hollow should take responsibility for this mess. The pickles themselveshail from Ohio.LUKE: Ohio?TAYLOR: The railroad company is incorporated in the state of Delaware. And since all the pickles are on the Woodbridge side of the tracks...LUKE: Just pick up the damn pickles,Taylor![Indistinct shouting]TAYLOR: Easier said than done. Even if we wanted to do the wrong thing and assume fiscal responsibility for this fiasco, the cost is astronomical. $2,500 for...LUKE: Sold!GYPSY:Done!BABETTE: Pay, you big cheapskate![The crowd starts yelling \"yeah!\"]TAYLOR: Fine! All those in favor of stars hollow taking a swift kick to the tush and shouldering the entire cost...[The crowd raise the hands andsay \"aye!aye!\"]TAYLOR: Very well. Motion carried. Pickle smell gone in 48 hours... along with everything good about stars hollow.[They crowd leaves]PARK[Children playing on different play ground equipment]LORELAI:Breathe that in. Isn't that fantastic? Forgot what fresh, pickleless air smells like.CHRISTOPHER: Oh, so, you coming over to my neck of the woods for lunch is really no reflection on how desperately you needed to seeme?LORELAI: Hmm...10% desperate need to see you, 90% pickles.CHRISTOPHER: [Chuckles]LORELAI: You know, I'm actually looking forward to Friday night dinner. Because, as you well know, the Gilmore house, likevery expensive vodka, is completely odorless.CHRISTOPHER: And you still want me to come with?LORELAI: Yes, you, me, Rory, numbers, babe.CHRISTOPHER: Gigi, No. Skirt down! Gigi!LORELAI: You may want to lookinto the whole skort concept.CHRISTOPHER: Hey, so, I spoke with Sherry this morning.LORELAI: Oh, yeah. What's the deal with her?CHRISTOPHER: Well, first she and Gigi Spoke for almost half an hour.LORELAI:That's as long as you can do anything when you're 4.CHRISTOPHER: And then she and I talked. I thanked her for the letter. She said everything in it was true. She's totally serious about this new life thing. No moreworkaholic ways. She's gardening and meditating, all kinds of stuff. She's very self-actualized -- her words, not mine.LORELAI: Good for her.CHRISTOPHER: And the big news is, she wants me to send Gigi To Paris tostay with her for a couple of months.LORELAI: Wow.CHRISTOPHER: Yeah wow, I mean, I know it seems kind of sudden, but Sherry's taken this huge leave of absence from work, and Gigi Got so excited. Why not, right?She's not in school, yet, just preschool, and she needs to get to know her mother sometime. [To Gigi] No, hey! Gigi, That's too high! Careful!LORELAI: So, what -- would you go to Paris with her?CHRISTOPHER: No, Iwas thinking the nanny could take her. She's dying to go. I mean, it's Paris, right? She's 25 years old. It's a chance of a lifetime.LORELAI: Yeah, sure.CHRISTOPHER: No, hey! Gigi, No, don't pick that up! I'll be rightback.LORELAI: [Sighs]YALE NEWS ROOMBILL: You can't put Paris in charge.PARIS: She can and she should.RORY: Guy's I just need someone to get the paper out tonight. Doesn't matter who. I want the chain ofcommand to be clear.BILL: When the editor in chief isn't here, the managing editor's in charge. That's standard operating procedure at every newspaper in the country.PARIS: Yes, but I've done this 1,000 times, andyou've never done it, bill. Experience.BILL: Experience that led to a mutiny. It's not like anyone ever gave Captain Bligh another ship after the Bounty.PARIS: Of course they did, multiple ships, and by the time he died,they promoted the guy to rear admiral. Do you think the British royal navy ruled the world in the 19th century by letting that much natural talent and leadership capability go to waste just because a few whinycomplainers wanted more breadfruit and less scurvy?BILL: [To Rory] Tell me you're not seriously considering this. The bunker. Do you not remember the bunker?PARIS: I hardly see how my choice of workplace isrelevant.BILL: There was an insurrection, a revolt, an uprising. She was deposed.PARIS: See how wordy he is? He overwrites. Plus, he's always been weak with gerunds.RORY: [Sighs and then her cell phone rings]Sorry. Look, could you guys take this somewhere else?BILL: Fine. Let's go to my desk.PARIS: Your desk? Right, like I'm actually going to cede home-court advantage.RORY: Oh, for god's sake.RORY: [Answering thephone] Hey!LOGAN: We did it, Ace! We bought the company!RORY: What?LOGAN: It's crazy we were just supposed to have breakfast. Next thing I know, we're sitting there with lawyers going over contracts.RORY:Logan, that's amazing.LOGAN: I know!RORY: Was it all because of my breakfast-combo idea?LOGAN: I'm pretty sure that's what sealed it. So will you come celebrate with me tonight?RORY: I already cleared myschedule.LOGAN: Great! I'll send a car. Tonight, you'll be dining with a captain of industry.RORY: Wow, do you get to wear a uniform?LOGAN: I'll have to check the fine print. Go home, get dressed. I'll see yousoon.RORY: Aye-aye, captain.DRAGONFLY INN - RECEPTION[Michel is on the phone]MICHEL: Cancel? Well, I would say that depends. What exactly is your feeling about pickles? Uh-huh, yes, pickles -- gherkins, dills.For instance, if all the air around you smelled like pickles and there was no place to run, no place to hide, would you find that bothersome?LORELAI: Michel, help. Let me in. [The door is chained to keep the smellout]MICHEL: [On the phone] No, that is not a metaphor. Yes perhaps it would be better if you checked in tomorrow night. Uh-huh. Goodbye.LORELAI: Michel, it's getting in my pores! My pores are pickling!MICHEL:"}
+{"doc_id":"doc_164","qid":"","text":"[Salvatore's house](Caroline is sitting on the couch. Damon gives her a glass of blood)Damon: HereCaroline: I'm still shaking(She drinks. Stefan arrives)Stefan: What happened?Damon: go ahead, tell him. You'regonna love thisCaroline: I saw Katherine todayStefan: Where?Caroline: At the grill. I just stopped by to gawk and... 'cause I stuck Matt[Mystic Grill](Caroline tells them the story. She's looking at Matt)Matt: Do youneed a table?Caroline: No, I'm not staying. I just needed to use the little girls' roomDamon: Skip the teen drama and getCaroline: Then I had to pretend to use the bathroom even though I didn't really have to gobecause I'm defies(Caroline is in the bathroom. She's washing her hands when Katherine arrives. She poses as Elena)Caroline: Elena?Katherine: Hey, I saw you with Matt, are you okay?Caroline: Yeah, you know...whatever(She rushes over Katherine. Katherine smiles)Katherine: You're good. What gave me away? Was it the hair? Or was it my clothe?Caroline: I know Elena is... I know Elena's at homeKatherine: I need you todeliver a messageStefan: What was the message?Katherine: Tell Damon and Stefan that I want the moonstone or I will rip this town apart until it rains bloodDamon: Tell him the rest of itKatherine: Tonight, at themasquerade ball[Salvatore's house]Stefan: She wants to do it in public. Killing Mason threw off her guardDamon: She's running scared. What she did to Jenna was desperate. She's out of tricksStefan: We can'tunderestimate her. We have to play this smarter than herCaroline: Can we just give her the moonstone so she'll leave?Damon: No, Katherine's not getting dick. I'm gonna go to the masquerade ball and I'm gonna killher, tonightStefan: You're not gonna kill herDamon: Don't give me that goody goody crapStefan: You're not gonna kill herDamon: Really?Stefan: Because I am[Gilbert's house](Jenna is coming from the hospital.Jeremy, Matt and Elena are helping her)Matt: Easy. Grab the door JerJenna: Hey, stop fussing, I'm fineElena: The doctors said that you have to take it easyJeremy: Yeah, you don't want to rip your stiches, hemorrhageand die, alright?Jenna: yeah, the only thing I'm gonna die from is embarrassmentMatt: NoJenna: I walked into a knife. How does somebody do that?Elena: It is a freak accidentJeremy: Yeah, it happensMatt: Yeah, Imean I've done it like 20 times at the grill(Jenna laughs)Matt: Okay, I'm being nice(They put her on the couch)Matt: What should I do with this?Elena: I got it(He gives her a bag with food. Matt stays with Jenna. Elenagoes in the kitchen. Jeremy follows her)Jeremy: So what are we gonna do?Elena: Make lunchJeremy: No, about KatherineElena: We're not gonna do anything, JeremyJeremy: She tried to kill Jenna. We can't let her getaway with thatElena: yes we can. If it keeps us safe then we canJeremy: And what if she tries something else?Elena: She won't. Katherine hurt Jenna because I didn't do what she said. I'm not doing it now, me andStefan are over. She wins, the endJeremy: You are being naïve and you know it(He leaves)Elena: Where are you going?Jeremy: Out. I'll be back[Katherine's bedroom](Katherine enters the bedroom. She's carrying ashopping bag. Mrs. Flowers is helping her)Mrs. Flowers: Where should I put these?Katherine: Right there. Thank you, Mrs. Flowers. You've been such a wonderful helpMrs. Flowers: Oh, it's my pleasure dear. Let meknow if there anything else I can doKatherine: I will(She takes a dress from one of the bags. A woman is in the bedroom. Katherine rushes over her and pushes her against the wall)Lucy: Oh, Kat, chillKatherine: Do notsnick up on a vampireLucy: Don't attack a witch. It's good to see you girl(Katherine embraces her)Katherine: I'm glad you made upLucy: You called, I cameKatherine: Like you had a choiceLucy: Don't get all boss ladyon me. You know I love you(She takes a mask from one of the bag)Lucy: Now, where does one where this?Katherine: To a masquerade ball. Tonight. You want to be my date?[Salvatore's house](Caroline opens thedoor to Bonnie)Caroline: Hey, come on inBonnie: I got Stefan's messageStefan: Hey, you brought the grimoire, thank you(She sees Damon and Alaric talking and she sees that there is a lot a weapon on thetable)Bonnie: What's going on?(Jeremy arrives)Jeremy: We're gonna kill KatherineStefan: I can explainBonnie: PleaseStefan: We're gonna kill Katherine(Alaric shows the weapon to everybody)Alaric: This works withcompressed air. The trigger mechanism is up here. I have two of these in a different size. For you I recommend this. It feats nicely under the jacket sleeve. You use the trigger when you're ready(He fakes killingvampire. Damon and Stefan look at each other)Alaric: He wanted me to show him how to kill a vampire[Katherine's bedroom](Katherine is smoothing down her hair)Lucy: What's with the hair?Katherine: I'mimpersonating my dullest dishwater doppelganger Elena. She has the worst tasteLucy: Except in man. Isn't a risk pretending to be her in front of the entire town?Katherine: I've gotten quite good at it actually andeveryone's gonna be in masks. It's for some fid, something charity. It's for a good cause LucyLucy: Hum, okay. Well, have you actually seen the moonstone before? I always thought it was some made uplegendKatherine: I have seen it and I need you to help me get it backLucy: Oh yeah? What are you gonna do with it?(Katherine looks uncomfortable)Lucy: you want me to break the curseKatherine: Let's just get it first.All i need from you is for a backup. I can't imagine that Damon and Stefan are just gonna hand it over without putting up a fight[Salvatore's house](Bonnie is talking with Stefan)Bonnie: I know you love Elena and youwant to be with her but it's risky. Too many people could get hurtStefan: Look, I want Elena back, yes but it's more than that. What Katherine did to Jenna crossed the line. She has to be stopped before it happensagainBonnie: I don't know, StefanStefan: Look, Katherine knows me, right? She knows that I'm not gonna try something in a crowd full of innocent people so that gives me an edge. I could get to her by surpriseBonnie:I could do a spell to trap her, like the tomb spellStefan: Right. We can isolate her, away from the others. Please BonnieBonnie: Okay[Gilbert's house](Elena and Matt are talking. Matt is leaving)Elena: You're welcome tohang out. Alaric's coming over. It's gonna be pizza and bad TVMatt: I'd love to but I'm going to the masquerade party at the Lockwood's, aren't you?Elena: Uh, no... not with what's going on with me and StefanMatt:I've got to go, there's something I got to doElena: What?Matt: Just something, I can't talk about it but I've got to goElena: Okay. Well, have funMatt: Yeah. Me and a suitElena: You look good in a suitMatt: You andStefan are working it outElena: I don't think so, Matt. There's so much about me and Stefan that'll never workMatt: You know I'm here for you always(She embraces him)[Salvatore's house](Everyone is in the livingroom)Alaric: Are you sure you guys don't want me there tonight?Stefan: No, I need you to stay with Elena. I don't want her to know about thisAlaric: Okay. Well, I'll make sure she doesn't leave my sideStefan: Alright,if anyone wants to back out, I'll understandDamon: Yeah. Cold feats speak now. I don't want this going wrong with someone chicken's out. Caroline?Caroline: I won't. Look, she killed me. Fair's fair. As long there's nowerewolf running aroundDamon: Oh, I took care of MasonJeremy: As long as Tyler doesn't kill anyone, he won't turnStefan: Bonnie? Are you with this?(Long pause)Bonnie: But no one gets hurtDamon: ExceptKatherine. Tonight Katherine gets a stake through her heart[Lockwood Mansion](It's the masquerade ball. Everyone is wearing masks. Tyler is in his father's office. Carol rejoins her)Carol: It's already packed out there.You know, we need to keep that door shot. Your father would be very unhappy if I let gests in here(Tyler gets up. He's wearing a suit)Carol: Oh, look at you! So handsomeTyler: Thanks. You look pretty good toomomCarol: Oh a compliment. I think I'll fall overTyler: Listen, I'm sorry I've been a dick lately... a jerk lately. It's just... Have you heard from Mason?Carol: No and I don't think we're going to. He's coming, he's going,it's just his way. He's the exact opposite of your fatherTyler: We should have cancel this partyCarol: This all masquerade theme was his idea. I don't know what it has to do with helping the homeless but once he madeup his mind, he could really be a dick, a jerk. But I loved him and I know you did too. It's natural to feel abandoned. I just don't want you to feel aloneTyler: Come on, put your mask on. Let's just go out there andpretend to have some funCarol: I think I need a cocktail first(Katherine and Lucy arrive. They're going to different ways. Katherine takes a strawberry from a plate and falls into Matt)Matt: Elena?Katherine: Matt? Youlook dashingMatt: I thought you said you weren't comingKatherine: I couldn't miss it. You really are hot in a suit. I would love to just... Okay, here's the deal(She compels him)Katherine: Do you know what you have todo?Matt: I'm gonna get Tyler Lockwood really drunk. I'm going to start a fight with him and I'm gonna beat him until he snapsKatherine: and then?Matt: I won't stop until he kills meKatherine: God, you're hot. Now goawayMatt: Thank you(He leaves)(Damon and Stefan are outside. They look around)Damon: Do you see her?Stefan: Nope. You're sure you can do this?Damon: Who are you talking to?Stefan: Oh, I had the chance tokill her and I hesitatedDamon: Well that is the forkenate road between you and me my friend. I don't hesitateStefan: You spent 145 years loving her, it could happenDamon: I won't hesitateStefan: Okay(Matt and Tylerare in his father's office with Aimee and Sarah. The girls are dancing. The boys are drinking)Tyler: We're really not supposed to be hereMatt: Yeah, I know but we really need to turn this party up. Another shot?Aimee:Hey, I want a shotSarah: Me too and then we have to danceAimee: YesTyler: You know, usually it's me corrupting you. I like this(They drink)Aimee: Okay, let's go party. Come on(Aimee puts her mask on. They leavethe office)(Jeremy is carrying a bag. He and Bonnie are going upstairs. They enters into an empty room)Jeremy: I thought this room could workBonnie: It's perfect(Jeremy takes a weapon from the bag. Bonnie seatsdown and takes the grimoire)Jeremy: Is that the spell book I read about in my family's old journal?Bonnie: it's my ancestor, Emily's. The spell I'm doing here is similar to the one that sealed the vampires into thetomb(She opens it. Jeremy puts the bag in the closet)Jeremy: Can you do all the stuff that's in there?Bonnie: I mean it takes practice. I've worked on some small spells. Spells that only do good. I don't want to knowtoo much. I don't particularly enjoy any of this, in case you haven't noticedJeremy: Yeah but you're 100% witch, that is so coolBonnie: it's anything but cool. Did your family's journal tell you what happened to Emily?Or what about my gram's? It never ends well for people like meJeremy: If you feel that way, why help?Bonnie: Because I don't want anyone else getting hurt and I don't know how to stay out of it[Gilbert'shouse](Jenna is on the couch. Elena is with her)Jenna: I feel like an invalidElena: That's because you are invalid. Where's Jeremy? Isn't he hungry?Jenna: He already left for the Lockwood partyElena: He went tothat?Jenna: Yeah, I'm glad. He needs to have more fun. Lose some of that emo thingElena: I'm gonna get some napkins(She goes into the kitchen and rejoins Alaric)Elena: what's going on?Alaric: What do youmean?Elena: I haven't heard from anyone all day. It's like everyone's been avoiding me and now Jeremy's supposedly at the party? He hates stuff like thatAlaric: I don't know what to tell you, Elena(His phone rings.She tries to catch it but he catches it and puts it in his pocket)Elena: So then it'll be okay if I just head down, try to meet up with everyoneAlaric: Wait, wait, waitElena: What are you hiding, Rick?Alaric: Stefan askedme to keep an eye on you, just in case Katherine showed up while he was at the partyElena: So Stefan's at the party too? He would never go to the party for himself; he did that stuff for meAlaric: Just let this one go.Okay Elena?[Lockwood Mansion](Bonnie and Jeremy are going back to the party)Bonnie: We need to let Stefan and Damon know the room's ready(Suddenly she stops)Bonnie: Do you feel that?Jeremy: What's thematter? Are you cold?Bonnie: No(She sees Lucy and goes toward her)Bonnie: Excuse me, do I know you?Lucy: No, I'm a plus one, I know no one but it's a great party though(She leaves. Bonnie rejoins Jeremy)Jeremy:Are you okay?Bonnie: I just got a weird vibe. Let's find Damon(Stefan is on the dance floor, alone. He sees Katherine going down the stairs)Katherine: Dance with meStefan: NoKatherine: Fine then tell me who I shouldkill. Him? Hum, she looks delicious(She eats a strawberry. Stefan offers her his arm. She follows him and they dance)Katherine: It's a beautiful nightStefan: Why all that charade?Katherine: How's Jenna? I certainlydidn't expect her to survive that. Lucky girl. Clumsy. How does one stabs oneself?Stefan: Katherine?Katherine: Uh?Stefan: I don't want anyone to get hurt tonightKatherine: Okay. Then give me the moonstone andnobody willStefan: Well, you see, I don't have the moonstone on me. So, you and I will have to go get it togetherKatherine: Hmm. I have a better plan. You go fetch it and I will try not to kill anyone in themeantimeStefan: My way or you don't get it(Aimee arrives)Aimee: Hey Stefan, I can't find Matt. Oh my god Elena! You look so pretty. I love that dress. You look gorgeKatherine: Thank you. I love your necklaceAimee:Oh, thanksKatherine: Oh it's twisted. Let me, here we go(She goes behind Aimee and she broke her back)Katherine: Paralyzed from the waist down and dead(She kills her and throws Aimee's body in Stefan'sarms)Katherine: The moonstone, Stefan. Tic-tac[Gilbert's house]Elena: Hey guys, I'm gonna go to bed. You're good over there?Jenna: Good nightElena: Good night(She takes her car's keys and leave)[LockwoodMansion](Stefan and Damon are in an empty room)Stefan: I put the body in the trunk for nowDamon: We'll dump her when we get backStefan: This is exactly why I didn't want it, DamonDamon: Stefan, it's a collateraldamageStefan: Right, which is why we need to cut it offDamon: What? Who's hesitating now? Hey! Don't do this to me! This woman ruined our lives, she destroyed us! Tonight it ends. We can do it together. I got yourback. Alright?Stefan: Alright(Bonnie and Jeremy are waiting for the signal)Jeremy: So can you use like a hocus pocus to pass a test?Bonnie: I don't know that spellJeremy: It'd be like the first one I'd learn or maybe likea spell s*x or something. I don't know. Do you want to dance or something while we're waiting?Bonnie: No! I mean no thank you(Jeremy receives a message from Damon telling him that it's his turn)(Katherine iswalking. Lucy rejoins her)Lucy: You didn't tell me there was another witch hereKatherine: Didn't i?Lucy: No, you didn't. No one is supposed to know I'm involved. This changes things, KatherineKatherine: This changesnothing. You're here because you owe your dear friend a favor. You wouldn't want to lose my friendship now, would you?(Jeremy arrives)Jeremy: Elena(He removes his mask and looks at Lucy)Jeremy: Hey sorry, couldI talk to my sister?(She leaves)Katherine: What is it Jeremy?Jeremy: I have a message from Stefan(She looks surprised)Katherine: Oh?Jeremy: He and Damon want you to meet them at the edge of the lake by thewoods. They brought the moonstoneKatherine: And why are you their little messenger?Jeremy: Because they know I'm not afraid of youKatherine: Hmm, you Gilbert men, so courageous. How's John by the way? Werethey able to sew his fingers back on?(She touches his tie, looks at him and leaves. Jeremy is texting to Damon but Elena catches his arm)Elena: What the hell is going on?(Caroline is inside. She sees Matt with Sarahand Tyler. He stops, looks at her and leaves with them. She receives a text from Jeremy telling her that it's her turn. She's walking in an empty part of the manor. She's going to open a door but Katherine arrives,catches Caroline's wrist and pushes her against the wall)Katherine: What are Stefan and Damon up to?Caroline: What do you mean?Katherine: I've got Jeremy Gilbert luring me into the lake. What's going on?Caroline:I don't know... nothing(She strangles her)Katherine: Don't lie to me, Caroline. They're up to something, what is it?Caroline: I...(She strangles her stronger)Caroline: Wait, no, no, no! Okay. They're trying to killyouKatherine: I wouldn't have guessed. Where is the moonstone?Caroline: Bonnie has itKatherine: and where is Bonnie right now?Caroline: I don't know(She strangles her again)Caroline: Okay. She's upstairs, she'supstairs!(She releases her)(Elena is with Jeremy and Bonnie)Elena: You guys are trying to kill her here?Jeremy: We saw an opportunity and we knew we had to take itElena: Okay, stop with the \"we\", are you guyscrazy? You're gonna get yourselves killedBonnie: We know what we are doing, ElenaElena: And how am I supposed to feel if one of you guys gets hurt because of me?Jeremy: It's not just you anymore, Elena. She'smessed with all of us, she has to be stopped(Katherine is dragging Caroline upstairs)Caroline: Why you keep dragging me into this? I don't want any part of itKatherine: Shut up!(They are in front of a door)Katherine:Which room is it?Caroline: It's that one(She goes into the room. Caroline stays outside)Katherine: Where is she?(Caroline laughs)Caroline: I did it. I really didn't think that I'll be able to fool you but I did it(Katherinerushes over but she can't leave the room. She's trapped)Katherine: What the...? Stefan?(He's in the room too. He has a stake in his hand)Stefan: Hello KatherineCaroline: Goodbye Katherine(She leaves)Katherine: Youdon't really think that you can kill me with that now, do you?Stefan: No but he can(Damon is coming out the closet, he has the compressed air weapon is his hands. He shots Katherine. The stake goes in her back. Atthe same time Elena screams. She's hurt like Katherine. Stefan rushes over Katherine and drive the stake through her arm. Elena screams, she's hurt too)Jeremy: What's going on?Bonnie: Jeremy, it's Katherine. She'slinked to Katherine, get them to stop! Now!(He leaves. Stefan and Damon are fighting with Katherine. She tries to stake Damon but Stefan catches her by behind, fall in the floor with her and strangles her by behind.She can't move. Damon arrives and is about to kill her but Jeremy arrives)Jeremy: Stop! You're hurting Elena! Everything you're doing to her is hurting Elena(Damon stops. He's surprised. Katherine smiles and getsup)Katherine: You think you two are the only ones with a witch on your side? Wrong and something tells me that my witch is better than your witch(She takes the stake from Damon's hands. Damon and Stefan look atJeremy)Stefan: Jeremy, go shake on Elena. Make sure she's okay. Go!(Jeremy leaves)Katherine: Let's all make sure poor Elena is okay. Just a little bit of pressure(She cuts her hand with the stake. Elena is hurt too.She screams. Stefan hits Katherine's hand and throws the stake on the floor)Elena: Bonnie, it hurtsBonnie: I can't break the spell, Elena. I'm sorry but I can try to take some of the pain away. Okay?(She takes Elena'shand into hers and makes a spell)Bonnie: Ascinda, mulaf, hinto, ascinda...(Katherine takes the stake and is about to drive it through her stomach)Katherine: This is really gonna hurtDamon: Wait!(She sits down on thecouch)Katherine: Okay. So, how about that moonstone?(Bonnie is trying to take Elena's pain away. Jeremy arrives)Jeremy: Are you okay?Elena: Are they?Jeremy: They're stuck in there with her(He looks atBonnie)Jeremy: You were right; Katherine had a witch that linked Elena to herBonnie: The girl I saw, the one inside! Stay with her, keep pressure on her shoulder!Jeremy: Where are you going?Bonnie: There's anotherwitch here, I'm gonna find her!(She leaves. Jeremy removes his magical ring and gives it to Elena)Elena: NoJeremy: Take itElena: No, Jeremy...Jeremy: Elena listen to me: you need this more than I doElena: NoJeremy. What I need is for you to be safe[SCENE_BREAK](Katherine, Damon and Stefan are trapped in the room)Katherine: The three of us together just like old times. The brother who loved me too much and the onethat didn't love me enoughDamon: And the evil slut vampire who only loved herselfKatherine: What happened to you Damon? You used to be so sweet and politeDamon: Oh that Damon died a long time agoKatherine:Good. He was a boreStefan: Oh, why don't you two stop antagonizing each otherKatherine: Where is the moonstone?Stefan: What do you want with it?Katherine: Does Elena enjoy having both of you warship at her"}
+{"doc_id":"doc_165","qid":"","text":"\"In a land of myth and a time of magic, the destiny of a great kingdom rests on the shoulders of a young man. His name... Merlin.\"[SCENE_BREAK]Plains of Denaria (day) A cloaked figure struggles to pull a horse cartalong a dusty road. Four nights approach on horseback.Sir Leon: Halt! The cloaked woman stops.Sir Leon: Stay where you are. The woman sets down the cart handles a as the knights dismount, Sir Elyan amongthem.Sir Leon: Where are you headed?...Morgana: The Seas of Meredor.Sir Leon: What's in the cart?... Morgana says nothing. Sir Leon motions for the spare knights to search it and Morgana turns around.Sir Leon:Lady Morgana. Morgana uses magic to throw each of the knights to the ground. She looks around, pulls off her hood and pulls back a blanket in the cart.Morgana: You're all right?Morgause: Yes, thank you, Sister. Butwe must hurry. Night is nearly upon us... Morgause turns her face towards Morgana, revealing a hideous deformity to the right side of her face.Morgause: ... And we still have far to go. --- New Opening Credits ---Castle Square Merlin runs through knights and servants and into the Castle. Servants are decorating the castle with vines and Merlin ducks under one of them as he bolts up the Griffin Stairway.Merlin:Sorry.[SCENE_BREAK]Castle Kitchens Merlin bumps into more servants and nicks some food off a passing plate. The head cook accosts him with a ladle.Head Cook: What are you doing in my kitchen?Merlin: Uh, theprince's shirt. The cook motions to the line above the stove where the pots are hanging.Head Cook: Keep your dirty fingers off my food, d'you understand? Merlin grabs the shirt and a hook on a string drops down infront of his face. He looks up, confused. Sir Gwaine and Sir Percival are peering down at him with eager and mischievous grins. Gwaine puts a finger to his lips and Merlin laughs. Merlin attaches the hook to one of theroasting chickens and pulls on the string. The knights pull it up to them as Merlin exits hastily.Head Cook: Oi![SCENE_BREAK]Castle corridors Merlin weaves through bustling servants. A servant with wine pitchersbumps into him and spills it all over Arthur's newly washed shirt. Merlin picks up the stained shirt and stares at it.Sir Lancelot: You could try a bit of salt.Merlin: Arthur is going to kill me.Sir Lancelot: Let's see... SirLancelot looks at the shirt.Sir Lancelot: ...You've faced far worse, Merlin.Merlin: He needs it for tonight.Sir Lancelot: I'm sure a man of your talents can think of something. Lancelot lifts his eyebrows knowingly. Lancelotkeeps walking and Merlin checks to see no one's looking.Merlin: *spell*Fordwin wamm! Lancelot stops and turns around. Merlin shows him the clean shirt and Lancelot opens his arms as if to say \"See, that was easy.\"The both continue on their way.[SCENE_BREAK]Arthur's chambers Arthur's leaning against his desk and writing, as Merlin enters with his clean white shirt.Merlin: You're dressed.Arthur: Yes, Merlin. I'm not an idiot.Arthur turns around to walk behind his desk. He didn't manage to pull his shirt all the way through his belt in the back and his skin is showing. Merlin sniggers.Merlin: Are you sure about that?Arthur: I beg yourpardon?Merlin: It's just that...Arthur: Merlin!Merlin: But you...Arthur: I am trying to write a speech.Merlin: D' you want help?Arthur: No.Merlin: You won't want this, then? Merlin holds up a scroll and Arthur looks upfrom his desk.Merlin: ... I spent all night working on it. Arthur takes the scroll and looks over it with exaggerated scepticism.Merlin: ... What do you think? Arthur hands it back to Merlin.Arthur: It needs a polish.Merlin:I'll add it to the list. Arthur tosses the speech he was working on.Arthur: Merlin, there aren't many servants who get the chance to write a prince's speech. Obviously it would be too much for you to say, \"Thank you.\"Merlin stares at Arthur for a moment and walks out with his laundry without deigning reply. Arthur smiles.[SCENE_BREAK]Seas of Meredor Morgana helps Morgause limp out of the cart in the foggy wood.Morgause: TheIsle of the Blessed. Morgana helps Morgause to the dock. A ferryman waits for them by a longboat. He holds out his hand. Morgause places a coin in it.Morgause: You know where we wish to go. The sisters huddle in theboat, the ferryman at the helm, as it glides across the sea.[SCENE_BREAK]Uther's chambers Uther's hand shakes badly as he lowers his goblet to the table in front of his chair. Gwen enters and watches him with apitying expression before she approaches him.Gwen: You've not eaten, Sire. Sire? Uther doesn't seem to hear her, lost in his own misery. Gwen takes the tray of untouched food and meets Gaius on her way out. Shelooks at the potion in Gaius's hand.Gwen: It doesn't seem to make any difference.Gaius: I'm not sure it ever will but at least it gives him peace.Gwen: It's been a year since Morgana betrayed him.Gaius: (nods) Hisheart is broken and his spirit is gone. Are you joining us for the feast tonight?Gwen: I don't think so. I need to stay with the King.Gaius: You're very good to him, Gwen.Gwen: I don't do it for him; I do it forArthur.[SCENE_BREAK]Seas of Meredor Morgause and Morgana continue across the sea with the ferryman.[SCENE_BREAK]Council Chamber Sir Leon and Sir Elyan ride into the square and report to Arthur and theCouncil.Sir Leon: The reports are true, Sire. We caught up with Morgana on the Plains of Denaria.Arthur: Was she alone?Sir Elyan: (shakes head) There was someone else.Arthur: Morgause?Sir Elyan: I couldn't besure.Agravaine: Where was Morgana heading?Sir Leon: The Seas of Meredor.Gaius: Isle of the Blessed. Agravaine steps into the light.Agravaine: I will send out patrols at first light.Arthur: Thank you, Agravaine.SirLeon: Sire, you should know her powers have grown. Sir Bertrand and Sir Wontague are both dead.Arthur: Keep me informed of any developments. The councilmen exit. Agravaine remains.Arthur: For months, nothing.Why now?Agravaine: We knew she couldn't stay hidden forever. Today, tomorrow, does it matter? We mustn't live in fear, Arthur. Camelot is strong. If Morgana were to act, we'd be ready for her.Arthur: You're right, ofcourse. I don't know how I'd've got through these last few months without you. Thank you, Uncle.Agravaine: I made a promise to your mother. I'll always be there for you. Arthur nods with a smile andexits[SCENE_BREAK]Isle of the Blessed (night)[SCREECHING]Wyvern shriek as they fly around the fortress as Morgana's boat continues to the isle.[SCENE_BREAK]Banquet Hall Arthur and Agravaine sit on either side ofthe king's chair at the feast. Arthur stands and the laughter dies down.Arthur: Samhain... It is the time of the year when we feel closest to the spirits of our ancestors. It is a time to remember those we have lost, and tocelebrate their passing.[SCENE_BREAK]Isle of the Blessed - AltarMorgause: Samhain is almost upon us. We must hurry.Morgana: I can't do this.Morgause: Sister... Remember what I've told you. It is the only way.What you are about to do will affect everyone, even you. But most importantly, it will bring our enemies to their knees. You must be strong, remember that. Morgause presents Morgana with a dagger.Morgause: ... Donot be scared. Morgana takes the dagger.Morgause: I am not long for this world. There is nothing left for me here now. Morgause weakly climbs onto the altar stone and takes Morgana's hand.Morgause: Please, sister,let my parting be my final gift to you. Morgause lies down on the altar.[SCENE_BREAK]Banquet Hall Arthur raises his glass in a toast.Arthur: To the king. Everyone stands to toast.[GONG CHIMES][SCENE_BREAK]Isle ofthe Blessed - AltarMorgana: *spell*Eala leofu sweoster, paem gastum befaeste ic pe. Alys pa peoster pe inne onwunap. Morgana poises the dagger to strike, her eyes glow and she plunges it into Morgause's chest.Morgause gasps.[METAL STRIKES STONE]Morgause: Uh![SCENE_BREAK]Banquet Hall Merlin senses the magic and everything goes into slow-mo. Image becomes fuzzy and voices are distorted.Gaius: To theKing!Agravaine: To the King! The knights toast their glasses as Merlin freaks out.[SCENE_BREAK]Isle of the Blessed - Altar Morgana is blown off her feet.[SCENE_BREAK]Banquet Hall Merlin sees a dead-looking womanin a black, hooded cloak with a staff standing in the middle of the banquet hall.The Cailleach (whisper): Emrys. Emrys. Emrys.[JUG CLATTERS]Merlin drops his empty serving pitcher and the whole hall goes quiet andstares at him. He swoons. Lancelot rushes to his side. Arthur rolls his eyes. Merlin shivers on the floor.[SCENE_BREAK]Isle of the Blessed - Altar The Cailleach strokes Morgana's cheek and Morgana wakes. She sits upand sees the cloaked woman standing in front of the rift.Morgana: Who are you?The Cailleach: I am the Cailleach, the gatekeeper to the Spirit World. You have torn the veil between the worlds.[SCREAMING]TheCailleach: The Dorocha. They are the voices of the dead, my child, and, like the dead, they are numberless.Morgana looks around in fear.The Cailleach: You are right to be afraid, Morgana. Your enemies will rue this dayand all the destruction it brings, but you must be aware... Tearing the veil between the worlds has created a new world... and you will not walk through it alone. The one they call Emrys will walk in your shadow. He isyour destiny... and he is your doom... Emrys.[SCENE_BREAK]Merlin's room Lancelot lays Merlin on the bed.Sir Lancelot: What happened?Gaius: I don't know. I've never felt anyone so cold before.Sir Lancelot: Will hebe all right?Gaius: I'll need Hawthorne to improve the blood flow... and blankets... lots of blankets.[SCENE_BREAK]Gaius's chambers Gaius is grinding something as Merlin steps out of his chamber wearing a blanket.They sit together.Merlin: When she spoke, her voice...it was as though it came from the depths of the Earth, and her eyes...they were so sad. So much pain in them. (He's shivering) Who is she?Gaius: The Cailleach...the gatekeeper to the Spirit World.Merlin: Why is she there?Gaius: It was on the stroke of midnight of Samhain's eve. The moment when the veil between the worlds is at its thinnest. It cannot be a coincidence.Merlin:Why was I the only one to see her?Gaius: You have great power, Merlin. For someone so gifted, such visions are not uncommon.Merlin: But you don't understand. It wasn't a vision. She knew who I was. She called meEmrys. Gaius ponders.Merlin: What is it? What does it mean?Gaius: I'm not sure. But if someone has torn the veil between the worlds, then God help us all.[SCENE_BREAK]Arthur's chambers (morning) Merlin brings ina breakfast tray and sets it noisily on the table while Arthur's still in bed.Arthur: Merlin! Merlin opens the curtains, making a lot of noise.Arthur: Merlin!Merlin: What?[KNOCK AT THE DOOR]Arthur puts a pillow over hisface. Someone knocks at the door.Arthur: (muffled) Merlin!Merlin: That's not me. Arthur takes off the pillow and Sir Leon enters.Sir Leon: Excuse me, Sire. You're needed in the Council Chambers as a matter ofurgency.[SCENE_BREAK]Council Chamber[GIRL CRIES]The Council is gathered around her.Arthur: What's happened to her?Agravaine: Her village was attacked.Arthur: By who?Agravaine: It's not entirely clear,Sire.[SOBBING CONTINUES]Arthur: What's your name?Drea: Drea.Arthur steps closer and the girl tenses. Arthur puts a comforting hand on her shoulder and speaks tenderly.Arthur: Drea. She uncertainly makes eyecontact.Arthur: I'm Arthur. Don't be frightened. Tell me what happened.Drea: My mother, my father, my litter sister, they're... She starts weeping again.Arthur: It's all right. It's all right... Someone attacked them.Drea nods.Arthur: Who?Drea: There was no one... just...shapes.Arthur: You didn't see their faces?Drea: They had no faces. Arthur looks uncertainly at a few councilmen. Merlin turns at the sound of something behindhim. He seems to hear some kind of screeching.Drea: I... I keep telling you. They were there, but...they weren't there. They moved so quickly... It was as if they weren't real, but...they must've been. I could hear thepeople screaming. And then...silence. They were all...dead.[SHE SOBS]Arthur: Hey. Thank you.Arthur turns her to cry on Gaius's shoulder.Arthur: Where is this village?Agravaine: Hawden. to the east of the WhiteMountains, no more than half a day's hard ride.Arthur: Ready the men.[SCENE_BREAK]Forest The Round Table Knights ride out of Camelot. Merlin is startled by the sound of a woodpecker.Arthur: Merlin... you needyour comfort blanket?Merlin: What do you mean?Arthur: You're making ME edgy. [HORSE WHINNIES] Merlin jumps.Arthur: That's a horse.Merlin: Maybe it sensed something.Arthur: Yes, that you're a clot pole.Merlin:That's my word.Arthur: Yeah, and it suits you perfectly. The knights look at a deserted village from the top of a hill.Arthur: It's too quiet.[SCENE_BREAK]In the village (night) They enter the village on foot, night hasfallen. All is silent. A door creaks loudly and they freeze until a goat bleats and wanders out. They split up in pairs to search. [CRUNCHING] They all jump.Sir Gwaine: Sorry.Sir Elyan: Here! Gwaine drops the apple andthey all run to Elyan. Inside one of the houses, they stare at frosted corpses. They all turn as something whips past behind them.Arthur: You saw it?Sir Gwaine: We are literally chasing shadows.Arthur: Come on. Theyexit the house and search the village at night, bearing torches.[DISTANT WAILS]Merlin splits off from Lancelot when he hears a door shut in a barn. [RUSTLING] He walks around cautiously [SQUAWKING], a chickenjumps out at him. He sighs in relief. Something shrieks quietly behind him and he sees a wisp of it as it exits the barn. Merlin chases the shrieking wisp and loses it. [DISTANT SCREECHING] [GROWLING] Screaming isgetting louder.Merlin: *spell* Leoht! Merlin shines a light from his hand. The light fades.Merlin: *spell* Leoht! Leoht The light shines briefly and disappears.Merlin: Leoht Nothing happens. Screams echo around him. Awisp shoots straight for him.Merlin: *spell* Fleoh nu on moras! Merlin's eyes glow, but nothing happens.Sir Lancelot: Merlin! Lancelot uses his torch to repel the wisp.Sir Lancelot: What happened?Merlin: (tears in theeyes) My magic...I couldn't use it. The others come running.Sir Lancelot: There's something out there!Arthur: You saw it?Sir Lancelot: When it saw the light, it fled.Sir Gwaine: It scared the horses.Merlin: It's notsomething you can chase or something you can kill.Arthur: We need to get out of here.[DISTANT WAILING][SCENE_BREAK]Castle Square (night)[BELL RINGS]People are screaming and running into the Castle. Gwenrushes down a hallway with blankets and a torch.Agravaine: Gwen! Warn Gaius there are more victims by the western gate. Agravaine continues down another hallway and Gwen rushes on until a window behind hersmashes in right behind a knight. The skull wisp rushes in and the knight screams. Gwen takes cover behind a column and brandishes her torch at the skull wisp. The skull wisp leaves and she crouches to check on theknight. He's frozen solid.[SCENE_BREAK]Morgue Guards exit with a stretcher and Gaius pulls a cloth over the face of one of many victims.Merlin: Gaius.Gaius: Merlin...You saw them. Merlin nods.Gaius: Here, help me.Give me some more sheets. Merlin's still acting strangely.Gaius: Merlin?Merlin: My magic is useless against them. I've tried. I have never felt so powerless. Something deep inside... When it came for me, I felt thisemptiness. I couldn't breathe... I'm scared.Gaius: Merlin, it's all right. It's not your fault.[SCENE_BREAK]Agravaine's chambers (morning)Agravaine: We've suffered fifty dead, maybe more. Mainly in the LowerTown.Arthur: And there's no way of fighting them?Agravaine: No, our only weapons are torches. And the light doesn't kill them, it only repels them.Arthur: What are they?Gaius: The Dorocha, Sire. The Spirits of thedead. On Samhain's eve in the time of the Old Religion, the high priestesses would perform a blood sacrifice and release them.Agravaine: But who would do such a thing now?Gaius: Morgana.Arthur: You see her hand inthis?Gaius: We know she was travelling to the Isle of the Blessed.Arthur: How do we defeat these creatures?Gaius: I don't know, Sire. No mortal has ever survived their touch.[SCENE_BREAK]Arthur's chambers (night)Merlin lights candles.[CREAKING]He drops his basket of candles; one rolls near the curtains. Arthur looks up.Merlin: I thought I saw something.Arthur: What was it, a spider? Merlin sees the curtain move and stares atthe candle on the floor. Arthur watches Merlin's hesitation. They both look at the candle on the floor.Arthur: Just pick it up. Merlin doesn't move, they both stare at the curtain.Arthur: Do you want me to get one of themaids to do it for you?Merlin: It's not a joke.Arthur: Yeah. Arthur approaches the curtain, uses his sword to whip it open. Nothing's there. Merlin sighs in relief.Arthur: You see, Merlin, I could never be like you. I couldnever let myself look so spineless.Merlin: Oh, you see I'm different. I could never let myself look heartless.Arthur: What?Merlin: All right. Thoughtless.Arthur: Never.Merlin: Definitely humourless.Arthur: That's becauseyou're not funny. Arthur hands Merlin the candle.[SCREAMING]Merlin: You're not scared?Arthur: Oh, I am, Merlin. Maybe more than you.[SCENE_BREAK]Camelot (night) The guards light fires in grates all over the city.The Dorocha sweeps past some candles in the Gaius's Chambers and blows out some of them. Gaius snaps up from his work.[SCENE_BREAK]In the lower town. Knights patrol the streets with torches. Sir Percival lagsbehind when he sees/hears something. He walks over to some barrels and finds three small children huddling behind them.Sir Percival: Hey, hey, hey. It's all right. It's all right, you're safe now. Percival hears theDorocha and checks to see the knights walking in the distance. Percival leaves the torch and runs through the street with the children in his arms. The Dorocha streaks right for them and Elyan jumps in with a torch justin time. Elyan takes one of the kids and they bring them to their parents in a house.Sir Percival: Thanks.Sir Elyan: Couldn't let you have all the glory, could I? They grin at each other.[SCENE_BREAK]Castle square(morning) The square is packed with refugees carrying their belongings. There is a huge line of people waiting to get some help.[SCENE_BREAK]Council ChamberGaius: They're coming from across the kingdom. They'relooking to Camelot for protection.Arthur: And we will give it to them.Agravaine: We cannot house them all.Arthur: We have to try.Agravaine: How? We cannot live like this forever, Arthur. We must find a way tovanquish these creatures.Arthur: Somewhere in all your books, Gaius, there must be something. All I'm asking for is a way to fight them.Gaius: I fear the Dorocha cannot be defeated by swords and arrows, Sire. If I amright, and the veil between the worlds is torn, then there's only one path open to us... To travel to the Isle of the Blessed and repair it.Arthur: And how do I do that?Gaius: I'm not sure. But for the tear to be created itwould have required a blood sacrifice. To seal it... will require another.Arthur: We ride before nightfall.Gaius: And who will be the sacrifice?Arthur: If laying down my life will spare the people of Camelot, then that iswhat I must do.[SCENE_BREAK]Forest Agravaine rides through the woods.[SCENE_BREAK]Morgana's cave Agravaine enters without knocking. She puts a dagger to his back.Agravaine: My lady?Morgana: My lord... Itrust you bring me good news. She lowers the dagger and walks further into her home.Morgana: Tell me.Agravaine: The kingdom is on its knees.Morgana: How terrible.Agravaine: (chuckles) Indeed.Morgana: What ofthe poor people?Agravaine: More fall every night.Morgana: Such a shame.Agravaine: You should know that Arthur intends to vanquish these creatures.Morgana: (scoffs) Impossible.Agravaine: He makes ready to go tothe Isle of the Blessed as we speak. And if the Dorocha don't kill him on the way, our brave little lamb intends to sacrifice himself to repair the veil. Morgana thinks it over and turns away.Agravaine: Something'stroubling you... Morgana!Morgana: Something the Cailleach said. She spoke of someone called Emrys. Called him my doom.Agravaine: Your doom? What did she mean?Morgana: I don't know.Agravaine: Morgana, weshould be celebrating. Arthur will be dead within the week, leaving the throne open for Camelot's rightful heir. Morgana smirks.[SCENE_BREAK]Uther's chambers Arthur sits by his father.Arthur: There are many things Ihave to thank you for. You've taught me so much. Most of all, you have taught me what it is to be a prince. I hope that this time you'll be proud of me. Arthur cries as Gwen walks in the doorway. Arthur stands up, cupshis father's chin and kisses his forehead. Arthur turns to leave and Uther grabs his arm.Uther: Don't leave me.Arthur: I have to, Father.Uther: Please. Arthur squeezes his father's hand, then wipes his tears and leaves."}
+{"doc_id":"doc_166","qid":"","text":"Still not far from Pentos, Your Grace. You'd be more comfortable there. I have no interest in hospitality or comfort. I'll stay with Drogo until he fulfills his end of the bargain and I have my crown. I have something foryou.First lesson: Stick them with the pointy end. 17 years ago you rode off with Robert Baratheon.And now you're leaving again.I have no choice.There's great honor serving in the Night's Watch. The Starks havemanned the Wall for thousands of years.And you are a Stark.Daenerys Targaryen has wed some Dothraki horselord. What of it? Tell me we're not speaking of this. I'll kill every Targaryen I get my hands on. Rapers. Notimpressed by your new brothers?Lovely thing about the watch ...You discard your old family and get a whole new one. Welcome. I don't think Bran fell from that tower. I think he was thrown. No! Someone tried to killhim twice. I would stake my life the Lannisters are involved. Lord Stark must be told of this.I will go myself.What is the meaning of this?Joff told us what happened.You and that boy beat him with clubs while you setyour wolf on him.That's not what happened!Ahh! We found no trace of the direwolf, Your Grace. We have another wolf. As you will. He doesn't mean Lady, does he? Lady didn't bite anyone! She's good!King's LandingPage : Welcome, Lord Stark. Grand Maester Pycelle has called a meeting of the Small Council. The honor of your presence is requested.Eddard Stark : Get the girls settled in. I'll be back in time for supper. And, Jory,you go with them.Jory Cassel : Yes, my Lord.King's Landing Page : If you'd like to change into something more appropriate...Jaime Lannister : Thank the gods you're here, Stark. About time we had some stern northernleadership.Eddard Stark : Glad to see you're protecting the throne.Jaime Lannister : Sturdy old thing. How many kings' asses have polished it, I wonder ? What's the line ? The King sh1ts and the Hand wipes.EddardStark : Very handsome armor. Not a scratch on it.Jaime Lannister : I know. People have been swinging at me for years, but they always seem to miss.Eddard Stark : You've chosen your opponents wisely then.JaimeLannister : I have a knack for it. It must be strange for you coming into this room. I was standing right here when it happened. He was very brave, your brother. Your father too. They didn't deserve to die like that.Nobody deserves to die like that.Eddard Stark : But you just stood there and watched.Jaime Lannister : 500 men just stood there and watched. All the great knights of the Seven Kingdoms. You think anyone said aword, lifted a finger ? No, Lord Stark. 500 men and this room was silent as a crypt. Except for the screams, of course, and the Mad King laughing. And later... When I watched the Mad King die, I remembered himlaughing as your father burned... It felt like justice.Eddard Stark : Is that what you tell yourself at night ? You're a servant of justice ? That you were avenging my father when you shoved your sword in AerysTargaryen's back ?Jaime Lannister : Tell me... If I'd stabbed the Mad King in the belly instead of the back, would you admire me more ?Eddard Stark : You served him well when serving was safe.Varys : LordStark.Eddard Stark : Lord Varys.Varys : I was grievously sorry to hear of your troubles on the Kingsroad. We are all praying for Prince Joffrey's full recovery.Eddard Stark : A shame you didn't say a prayer for thebutcher's son. Renly ! You're looking well.Renly Baratheon : And you look tired from the road. I told them this meeting could wait another day, but...Petyr Baelish : But we have a Kingdom to look after. I've hoped tomeet you for some time, Lord Stark. No doubt Lady Catelyn has mentioned me.Eddard Stark : She has, Lord Baelish. I understand you knew my brother Brandon as well.Petyr Baelish : All too well. I still carry a token ofhis esteem from navel to collarbone.Eddard Stark : Perhaps you chose the wrong man to duel with.Petyr Baelish : It wasn't the man that I chose, my Lord. It was Catelyn Tully. A woman worth fighting for, I'm sureyou'll agree.Grand Maester Pycelle : I humbly beg your pardon, my Lord Stark.Eddard Stark : Grand Maester.Grand Maester Pycelle : How many years has it been ? You were a young man.Eddard Stark : And youserved another King.Grand Maester Pycelle : How forgetful of me. This belongs to you, now. Should we begin ?Eddard Stark : Without the King ?Renly Baratheon : Winter may be coming, but I'm afraid the same cannotbe said for my brother.Varys : His Grace has many cares. He entrusts some small matters to us that we might lighten the load.Petyr Baelish : We are the lords of small matters here.Renly Baratheon : My brotherinstructs us to stage a tournament in honor of Lord Stark's appointment as Hand of the King.Petyr Baelish : Mmm, how much ?Eddard Stark : 40 000 gold dragons to the champion, 20 000 to the runner-up, 20 000 tothe winning archer.Grand Maester Pycelle : Can the treasury bear such expense ?Petyr Baelish : I'll have to borrow it. The Lannisters will accommodate, I expect. We already owe Lord Tywin 3 million gold. What'sanother 80 000 ?Eddard Stark : Are you telling me the Crown is three million in debt ?Petyr Baelish : I'm telling you the Crown is six million in debt.Eddard Stark : How could you let this happen ?Petyr Baelish : TheMaster of Coin finds the money. The King and the Hand spend it.Eddard Stark : I will not believe Jon Arryn allowed Robert to bankrupt the realm.Grand Maester Pycelle : Lord Arryn gave wise and prudent advice, but Ifear His Grace doesn't always listen.Renly Baratheon : \"Counting coppers,\" he calls it.Eddard Stark : I'll speak to him tomorrow. This tournament is an extravagance we cannot afford.Petyr Baelish : As you will. But still,we'd best make our plans.Eddard Stark : There will be no plans until I speak to Robert. Forgive me, my Lords. I had a long ride.Varys : You are the King's Hand, Lord Stark, we serve at your pleasure.Cersei Baratheon :Please, it's nearly healed.Joffrey Baratheon : It's ugly.Cersei Baratheon : A King should have scars, you fought off a direwolf. You're a warrior like your father.Joffrey Baratheon : I'm not like him. I didn't fight offanything. It bit me and all I did was scream. And the two Stark girls saw it, both of them.Cersei Baratheon : That's not true. You killed the beast. You only spared the girl because of the love your father bears her father.When Aerys Targaryen sat on the Iron Throne, your father was a rebel and a traitor. Someday you'll sit on the throne and the truth will be what you make it.Joffrey Baratheon : Do I have to marry her ?Cersei Baratheon: Yes. She's very beautiful and young. If you don't like her, you only need to see her on formal occasions and when the time comes, to make little princes and princesses. And if you'd rather f*ck painted whores, you'llf*ck painted whores. And if you'd rather lie with noble virgins, so be it. You are my darling boy and the world will be exactly as you want it to be. Do something nice for the Stark girl.Joffrey Baratheon : I don't wantto.Cersei Baratheon : No, but you will. The occasional kindness will spare you all sorts of trouble down the road.Joffrey Baratheon : We allow the northerners too much power. They consider themselves ourequals.Cersei Baratheon : How would you handle them ?Joffrey Baratheon : I'd double their taxes and command them to supply 10 000 men to the royal army.Cersei Baratheon : A royal army ?Joffrey Baratheon : Whyshould every lord command his own men ? It's primitive, no better than the hill tribes. We should have a standing army of men loyal to the Crown, trained by experienced soldiers... Instead of a mob of peasants who'venever held pikes in their lives.Cersei Baratheon : And if the northerners rebel ?Joffrey Baratheon : I'd crush them. Seize Winterfell and install someone loyal to the realm as Warden of the North. Uncle Kevan,maybe.Cersei Baratheon : And these 10 000 northern troops, would they fight for you or their lord ?Joffrey Baratheon : For me. I'm their King.Cersei Baratheon : But you've just invaded their homeland, asked them tokill their brothers.Joffrey Baratheon : I'm not asking.Cersei Baratheon : The North cannot be held... not by an outsider. It's too big and too wild. When the winter comes, the Seven gods together couldn't save you andyour royal army. A good King knows when to save his strength... And when to destroy his enemies.Joffrey Baratheon : So you agree... The Starks are enemies ?Cersei Baratheon : Everyone who isn't us is anenemy.Septa Mordane : Enough of that, young lady. Eat your food.Arya Stark : I'm practicing.Sansa Stark : Practicing for what ?Arya Stark : The Prince.Septa Mordane : Arya, stop !Arya Stark : He's a liar and a cowardand he killed my friend.Sansa Stark : The Hound killed your friend.Arya Stark : The Hound does whatever the Prince tells him to do.Sansa Stark : You're an idiot.Arya Stark : You're a liar. And if you told the truth,Mycah would be alive.Septa Mordane : Enough !Eddard Stark : What's happening here ?Septa Mordane : Arya would rather act like a beast than a lady.Eddard Stark : Go to your room. We'll speak later. That's for you,love. The same dollmaker makes all of Princess Myrcella's toys. Don't you like it ?Sansa Stark : I haven't played with dolls since I was eight. May I be excused ?Septa Mordane : You've barely eaten a thing.Eddard Stark: It's all right. Go on. War was easier than daughters.Arya Stark : Go away !Eddard Stark : Arya, open the door. May I come in ? Whose sword is that ?Arya Stark : Mine.Eddard Stark : Give it to me. I know this maker'smark. This is Mikken's work. Where did you get this ? This is no toy. Little ladies shouldn't play with swords.Arya Stark : I wasn't playing. And I don't want to be a lady.Eddard Stark : Come here. Now what do you wantwith this ?Arya Stark : It's called Needle.Eddard Stark : A blade with a name. And who were you hoping to skewer with Needle ? Your sister ? Do you know the first thing about sword fighting ?Arya Stark : Stick 'em withthe pointy end.Eddard Stark : That's the essence of it.Arya Stark : I was trying to learn. I asked Mycah to practice with me. I asked him. It was my fault.Eddard Stark : No, sweet girl. You didn't kill the butcher'sboy.Arya Stark : I hate them ! I hate all of them. The Hound, the Queen and the King and Joffrey and Sansa.Eddard Stark : Sansa was dragged before the King and Queen... And asked to call the Prince a liar.Arya Stark: So was I ! He is a liar.Eddard Stark : Darling, listen to me. Sansa will be married to Joffrey someday. She cannot betray him. She must take his side even when he's wrong.Arya Stark : But how you can let her marrysomeone like that ?Eddard Stark : Look at me. You're a Stark of Winterfell. You know our words.Arya Stark : Winter is coming.Eddard Stark : You were born in the long summer. You've never known anything else. Butnow winter is truly coming. And in the winter, we must protect ourselves, look after one another. Sansa is your sister.Arya Stark : I don't hate her. Not really.Eddard Stark : I don't want to frighten you, but I won't lie toyou either. We've come to a dangerous place. We cannot fight a war amongst ourselves. All right ? Go on. It's yours.Arya Stark : I can keep it ?Eddard Stark : Try not to stab your sister with it. If you're going to own asword, you'd better know how to use it.Old Nan : Don't listen to it. Crows are all liars. I know a story about a crow.Bran Stark : I hate your stories.Old Nan : I know a story about a boy who hated stories. I could tell youabout Ser Duncan the Tall. Those were always your favorites.Bran Stark : Those weren't my favorites. My favorites were the scary ones.Old Nan : Oh, my sweet summer child. What do you know about fear ? Fear is forthe winter, when the snows fall a hundred feet deep. Fear is for the long night, when the sun hides for years and children are born and live and die all in darkness. That is the time for fear, my little Lord, when the WhiteWalkers move through the woods. Thousands of years ago there came a night that lasted a generation. Kings froze to death in their castles, same as the shepherds in their huts. And women smothered their babiesrather than see them starve, and wept and felt the tears freeze on their cheeks. So is this the sort of story that you like ? In that darkness, the White Walkers came for the first time. They swept through cities andkingdoms, riding their dead horses, hunting with their packs of pale spiders big as hounds...Robb Stark : What are you telling him now ?Old Nan : Only what the little Lord wants to hear.Robb Stark : Get your supper. Iwant some time with him. One time she told me the sky is blue because we live inside the eye of a blue-eyed giant named Macomber.Bran Stark : Maybe we do.Robb Stark : How do you feel ? You still don't rememberanything ? I've seen you climb a thousand times. In the wind, in the rain... A thousand times. You never fall.Bran Stark : I did though. It's true, isn't it... what Maester Luwin says about my legs ? I'd rather bedead.Robb Stark : Don't ever say that.Bran Stark : I'd rather be dead.Rodrick Cassel : Fewer eyes back here, my Lady. But still too many.Catelyn Stark : It's nine years since I've set foot in the capital. And no one knewwho I was the last time I came either.Rodrick Cassel : My Lady.Guard : Welcome to King's Landing, Lady Stark. Would you mind following us ?Catelyn Stark : I would. We've done nothing wrong.Guard : We've beeninstructed to escort you into the city.Catelyn Stark : Instructed ? I don't know who's providing your instructions, but...Guard : Follow me, Lady Stark.Petyr Baelish : Cat ! Go on. Go upstairs.Catelyn Stark : You littleworm ! You take me for some back-alley Sally you can drag into a...Petyr Baelish : I meant no disrespect to you of all people.Catelyn Stark : How dare you bring me here ! Have you lost your mind ?Petyr Baelish : Noone will come looking for you here. Isn't that what like you wanted ? I'm truly sorry... about the locale.Catelyn Stark : How did you know I was coming to King's Landing ?Petyr Baelish : A dear friend told me.Varys :Lady Stark.Catelyn Stark : Lord Varys.Varys : To see you again after so many years is a blessing. Your poor hands.Catelyn Stark : How did you know I was coming ?Varys : Knowledge is my trade, my Lady. Did youbring the dagger with you, by any chance ? My little birds are everywhere. Even in the north. They whisper to me the strangest stories. Valyrian steel.Catelyn Stark : Do you know whose dagger this is ?Varys : I mustadmit I do not.Petyr Baelish : Well well, this is an historic day. Something you don't know that I do. There's only one dagger like this in all of the Seven Kingdoms. It's mine.Catelyn Stark : Yours ?Petyr Baelish : At leastit was, until the tournament on Prince Joffrey's last nameday. I bet on Ser Jaime in the jousting, as any sane man would. When the Knight of the Flowers unseated him, I lost this dagger.Catelyn Stark : To whom ?PetyrBaelish : Tyrion Lannister. The Imp.Alliser Thorne : Grenn, show him what you farm boys are made of. If that were a real sword, you'd be dead. Lord Snow here grew up in a castle spitting down on the likes of you. Pyp.Do you think Ned Stark's b*st*rd bleeds like the rest of us ? Next ! Next ! Lord Snow, it appears you're the least useless person here. Go clean yourselves up. There's only so much I can stomach in a day.TyrionLannister : A charming man.Jeor Mormont : I don't need him to be charming. I need him to turn this bunch of thieves and runaways into men of the Night's Watch.Tyrion Lannister : And how's that going, CommanderMormont ?Jeor Mormont : Slowly. A raven came for Ned Stark's son.Tyrion Lannister : Good news or bad ?Jeor Mormont : Both.Grand Maester Pycelle : Lord Stark. I meant to give you this earlier. So forgetful thesedays. A raven from Winterfell this morning.Petyr Baelish : Good news ? Perhaps you'd like to share it with your wife ?Eddard Stark : My wife is in Winterfell.Petyr Baelish : Is she ?Petyr Baelish : I thought that she'd besafest in here. One of several such establishments I own.Eddard Stark : You're a funny man. A very funny man.Catelyn Stark : Ned !Petyr Baelish : The Starks... Quick tempers, slow minds.Grenn : You broke my nose,b*st*rd !Jon Snow : It's an improvement.Grenn : If we threw you over the Wall, wonder how long it'd take you to hit.Pyp : I wonder if they'd find you before the wolves did.Grenn : What're you looking at, Half Man?Tyrion Lannister : I'm looking at you. You've got an interesting face. Very distinctive faces. All of you.Rast : What do you care about our faces ?Tyrion Lannister : It's just I think they would look marvellous decoratingspikes in King's Landing. Perhaps I'll write my sister, the Queen, about it.Grenn : We'll talk later, Lord Snow.Jon Snow : Everybody knew what this place was and no one told me. No one but you. My father knew and leftme to rot here at the Wall all the same.Tyrion Lannister : Grenn's father left him too... Outside a farmhouse when he was three. Pyp was caught stealing a wheel of cheese. His little sister hadn't eaten in three days. Hewas given a choice: his right hand or the Wall. I've been asking the Lord Commander about them. Fascinating stories.Jon Snow : They hate me because I'm better than they are.Tyrion Lannister : It's a lucky thing noneof them were trained by a master-at-arms like your Ser Rodrik. I don't imagine any of them have ever held a real sword before they came here. Your brother Bran. He's woken up.[SCENE_BREAK]Petyr Baelish : Themere suggestion that the Queen's brother tried to kill your boy would be considered treason.Catelyn Stark : We have proof. We have the blade.Petyr Baelish : Which Lord Tyrion will say was stolen from him. The onlyman who could say otherwise has no throat, thanks to your boy's wolf.Catelyn Stark : Petyr has promised to help us find the truth. He's like a little brother to me. He would never betray my trust.Petyr Baelish : I'll try tokeep you alive, for her sake. A fool's task, admittedly, but I've never been able to refuse your wife anything.Catelyn Stark : I won't forget this. You're a true friend.Petyr Baelish : Don't tell anyone. I have a reputation tomaintain.Cersei Baratheon : How could you be so stupid ?Jaime Lannister : Calm down.Cersei Baratheon : He's a child... 10 years old. What were you thinking ?Jaime Lannister : I was thinking of us. You're a bit late tostart complaining about it now. What has the boy told them ?Cersei Baratheon : Nothing. He's said nothing. He remembers nothing.Jaime Lannister : Then what are you raving about ?Cersei Baratheon : What if it comesback to him ? If he tells his father what he saw...Jaime Lannister : We'll say he was lying. We'll say he was dreaming. We'll say whatever we like. I think we can outfox a 10-year-old.Cersei Baratheon : And my husband?Jaime Lannister : I'll go to war with him if I have to. They can write a ballad about us : \"The War for Cersei's c**t.\"Cersei Baratheon : Let me go.Jaime Lannister : Never.Cersei Baratheon : Let me go.Jaime Lannister :The boy won't talk. And if he does, I'll kill him. Him, Ned Stark, the King... the whole bloody lot of them, until you and I are the only people left in this world.Catelyn Stark : I wish I could see the girls.Eddard Stark : It'stoo dangerous.Catelyn Stark : Just for a moment.Eddard Stark : Until we know who our enemies are...Catelyn Stark : I know they did it, Ned. The Lannisters. In my bones, I know it.Eddard Stark : Littlefinger's right. Ican't do anything without proof.Cersei Baratheon : And if you find the proof ?Eddard Stark : Then I bring it to Robert... And hope he's still the man I once knew. You watch yourself on the road, huh ? That temper ofyours is a dangerous thing.Catelyn Stark : My temper ? Gods be good, you nearly killed poor Littlefinger yesterday.Eddard Stark : He still loves you.Catelyn Stark : Does he ?Eddard Stark : Off with you.RobertBaratheon : It's been a long time. But I still remember every face. You remember your first ?Barristan Selmy : Of course, your Grace.Robert Baratheon : Who was it ?Barristan Selmy : A Tyroshi. Never learned thename.Robert Baratheon : How'd you do it ?Barristan Selmy : Lance through the heart.Robert Baratheon : Quick one. Lucky for you. Mine was some Tarly boy at the Battle of Summerhall. My horse took an arrow so Iwas on foot, slogging through the mud. He came running at me, this dumb high-born lad, thinking he could end the rebellion with the single swing of his sword. I knocked him down with the hammer. Gods, I was strongthen. Caved in his breastplate. Probably shattered every rib he had. Stood over him, hammer in the air. Right before I brought it down he shouted, \"Wait ! Wait.\" They never tell you how they all sh1t themselves. Theydon't put that part in the songs. Stupid boy. Now the Tarlys bend the knee like everyone else. He could have lingered on the edge of the battle with the smart boys and today his wife would be making him miserable, hissons would be ingrates, and he'd be waking three times in the night to piss into a bowl. Wine ! Lancel. Gods, what a stupid name. Lancel Lannister. Who named you ? Some halfwit with a stutter ? What are you doing"}
+{"doc_id":"doc_167","qid":"","text":"\"The Man in the Mud\"[SCENE_BREAK](Teaser)(An all-terrain vehicle pulls to a stop in the woods. CHANDLER [Alicia Ziegler] and her boyfriend, TIM [Andrew Lawrence] alight from the vehicle.)TIM: The GPS says it'sright up here.CHANDLER: You don't even know how to use that thing!TIM: The hell I don't! (The GPS device in his hand beeps.) We're here.CHANDLER: We just drove an hour through the woods to find more woods thatlook just like the woods we drove through.(They come upon a bubbling puddle of thick ooze.)TIM: Eureka!CHANDLER: Ew! That's mud.TIM: No, this is like, um...(close up of the bubbling mud) yeah, it's pretty muchmud.CHANDLER: And it smells like rotten egg.TIM: Mmm, sulfur. Very therapeutic. (TIM starts to strip.)CHANDLER: And you expect me to believe you've never been here before.TIM: A friend of mine told me about thisplace and swore me to secrecy. But this is my first time. In mud.CHANDLER: (laughs nervously as the Soft Misdirectional Piano of Romance starts to play in the background.)TIM: (from off-screen) Come on in; it'snice.CHANDLER: All right. (CHANDLER strips down and slips into the hot spring. The two begin kissing.) Mmmm--what, are you poking me?TIM: This mud is reputed to have amazing romantic properties.(They bothgiggle and resume making out)CHANDLER: Mmm...I think I got it.TIM: No, I think I'd notice if you got it.CHANDLER: (gasps as she pulls a muddy, skeletal arm from the hot spring, to the accompaniment of an AbruptMusical Sting. The camera focuses on the hand for a long moment before CHANDLER and TIM freak out and jump out of the hot spring.)(The camera focuses in on the hot spring, and pulls back to reveal BOOTH's handreaching toward the mud.)BOOTH: Whoa, sheesh! (BOOTH jumps backwards from the mud. A camera pan reveals that he is with BRENNAN and a PARK RANGER [Christopher May].)PARK RANGER: This hot springaverages a temperature of 105 degrees, but it can spike to near boiling, which is why we discourage bathers. (addressing a chagrined TIM and CHANDLER, who are sharing a muddy blanket and not much else, with ascolding tone of voice) Especially those who illegally drive four-by-four vehicles into a national park.BOOTH: So someone was boiled to death?PARK RANGER: Or had a heart attack or passed out, et cetera etcetera.BRENNAN: The remaining flesh will have to be macerated.PARK RANGER: What's that?BOOTH: Ugh...don't ask.BRENNAN: The flesh either has to be boiled off, or eaten by Dermestid beetles.BOOTH: Bones, whycan't you just say \"cleaned\"?BRENNAN: (indicating several long bones.) The sulfur encrusted the bones--do you see the staining?BOOTH: So it's been there a long time?BRENNAN: Not necessarily.BOOTH: So why'd youhave to even bring it up then?BRENNAN: (lifting the skull, which is severely pitted) Signs of blunt force trauma.PARK RANGER: What's that mean?BOOTH: That means he didn't pass out and boil to death on hisown.BRENNAN: I'm going to need all of the mud.PARK RANGER: Excuse me?BRENNAN: Get a tanker truck out here and suck it up so we can filter it back at the Jeffersonian. (Long shot of the PARK RANGER exchanginga flabbergasted glance with BOOTH, who shrugs.)BRENNAN: (squatting, lifts up the arm) Humerus is thirty-six point five centimeters. Medium build, late twenties early thirties--he's broken this bone before.PARKRANGER: Is she serious about the mud?BRENNAN: Serious as a gas attack.BOOTH: Heart attack, Bones. Serious as a heart attack.(Medico-Legal Lab. CAM is just swiping her card to enter the Platform in a tracking shotthat brings us over to the remains.)CAM: The description's too general to get anything from a missing person's report.ZACK: A triangular depression in the calvarium, interior longitudinal 1 fracture, grazed cortical boneand C1; there's a patterned impression in the bone. (As he's speaking, ZACK indicates each particular instance of trauma on a magnification camera screen.)CAM: How many times was he hit, and by what?ZACK: Morethan once, by a (questioningly) square pipe? Does that exist?CAM: In my experience, people hit people with anything that they can pick up and swing. (pauses) He was attacked from behind?ZACK: Mmmm....CAM:(annoyed) What?ZACK: There's a vertical impaction fracture to his glabella and frontonasal suture.CAM: Same weapon?ZACK: It doesn't seem so. . . . I have seen this before.CAM: Great. Where?ZACK: From sharpenedstone weapons, in Neanderthal skeletons.CAM: I'm thinking not so relevant in this case.ZACK: The blow to the front of the head would cause a severe laceration.CAM: There were no bloodstains around the mudbath.ZACK: Indicating that the body was dumped there postmortem.CAM: Zack, regarding the Neanderthals-ZACK: (correcting) Neanderthals.CAM: ...What was the context of those killings? (the Heavy Musical Tones ofPlot Import arise in the background, and will continue onward to carry us into the credits.)ZACK: Accepted scenarios indicate a single individual attacked by two or more assailants.CAM: Then we're looking for two ormore murderers.(End Teaser.)(Credits.)(Act One)(Fade up on the outside of SWEETS's office building.)BRENNAN: (v.o.) We're not sure about time of death yet.BOOTH: (v.o.)It was definitely a murder.(Now inSWEETS's office; the Plinky Piano of Zany Hijinks arises in the background. SWEETS, for the record, could not look more bored, and is constantly shifting positions so as not to fall asleep.)BRENNAN: Definitely. Probablyby two assailants.BOOTH: What a shock for that couple, huh? (gesturing) You know, they slide naked, into the hot mud bath...and a skeleton hand pokes her in the BRENNAN: (finishing) Anus.BOOTH: (shocked)Bones!BRENNAN: What? It's a clinical term for that part of the body, Booth. (SWEETS is now either sporting a hilarious, wide-eyed shock face, or trying so hard to keep his eyes open that they've bugged out of hisface.)SWEETS: Dr. Brennan, Agent Booth...would it be fair to say that you use work to avoid confronting personal issues?BOOTH: Oh, what, because I don't want to talk about...BRENNAN: The anus.BOOTH: You reallylike that word, don't you?SWEETS: Do you two ever discuss anything that's not attached to work?BOOTH: Well, it's better than talking about, y'know...SWEETS: The anus?BOOTH: What is it with you two?BRENNAN:Well, Sweets could be right; I mean, we talk a lot about work.BOOTH: I talk about my kid.SWEETS: Because he was almost kidnapped during a case.BRENNAN: (raising a single finger) Ah, my father. We talk a lot abouthim.SWEETS: Because Agent Booth arrested him for murder.BOOTH: Mm...okay, what are you trying to get at here?SWEETS: Your inability to share your personal lives. I thought that was obvious.BOOTH: Okay, thatwas snotty. (snottily) I don't respond well to snotty.BRENNAN: (laying a hand on BOOTH's arm) After a case, sometimes, we have a drink, or coffee, Booth has pie. I don't...like pie.BOOTH: Aw...you really should justgive it a chance.BRENNAN: I find it too sweet.BOOTH: Okay, there. We talked about pie. Nothin' to do with work.BRENNAN: It...is better when we discuss murder.SWEETS: I'd like to see you guys in a social situation. Asituation where work is a taboo subject.BOOTH: What, are you gonna send us to a restaurant and watch us through a one-way mirror?BRENNAN: I'm still not having pie.SWEETS: No, an evening out with my girlfriendand me.BOOTH: (laughs, then, to BRENNAN) They need someone to buy them beer.BRENNAN: You want us to go on a double date?BOOTH: Why don't you go on the internet like all the rest of the kids?SWEETS: Okay,if it goes well, I'll withdraw my concern. I'll release you back into your environment.BOOTH: What are we, brook trout?BRENNAN: (pouts briefly, then) Fine.BOOTH: (Sighs heavily and plays with thestress-sumo-wrestler.)SWEETS: Agent Booth? (BOOTH looks away.) Unless, you think that's too much to prove.BOOTH: (pulls a face, then) Fine. I'll show 'em I have nothing to prove. Bring it on, Sweets.(He flings thestress sumo wrestler at SWEETS, who catches it one-handed and gives it a squeeze.)(Medico-Legal Lab; Jeffersonian. HODGINS is running the mud from the hot-spring through some sort of strainer; ZACK is examiningsomething small.)HODGINS: Ugh...(Pulls a greenish aluminum can from the strainer) So far I have three old beer cans, an Indian Arrowhead, (he lifts a coin out of the strainer and casually tosses it on the table; in thebackground you can hear CAM swiping her card to enter the platform) seventy-three cents in change, and a partially-melted Sharpie.CAM: The victim was braised like osso bucco. The flesh was falling off the bone. I puttime of death between ten days and two weeks.ZACK: (crosses to a bank of x-rays) I found stress fractures and degenerative changes in the fascid joints.CAM: Fits with the hypertrophy of the cervical muscles. I foundmicroscopic tearing but he had to sustain this (she extends her neck forward) position to cause that kind of wear and tear.HODGINS: Death by yoga?ANGELA: (enters) Is that skull ready for me yet?ZACK: It should beready, you can take it out of the boiler any time.ANGELA: Or, you could do that for me, because I will never, ever do that.ZACK: (indicating the injuries on a bank of x-rays.) There are fractures of the pelvis,compression fractures of thoracic and lumbar vertebrae, multiple metacarpal and metatarsal fractures...ANGELA: What was he, crash test dummy?ZACK: The injuries to the vertebrae, tibia, femur are consistent withlanding on the feet after falling from ten to twenty feet.HODGINS: What, like jumping out of a tree?ZACK: The damage to the scapula and the acromion resulted from a low fall but forward movement from betweensixteen to twenty miles per hour.ANGELA: Falling off a bicycle.ZACK: These injuries are more recent. Fractured and scored patella, and torn retinaculum.HODGINS: Okay, even I didn't get that one.CAM: Why wouldanyone want to kill him? It seems like he was doing a good enough job on his own.(CUT to the exterior of the FBI building.)BRENNAN: (v.o.) Yes. Okay, Dr. Sweets, yeah, I'll ask him.(Now in the elevator, we seeBRENNAN covers her phone) How's Wednesday night, are you free?BOOTH: oh, what, to have our big double date with our psychiatrist?BRENNAN: Just one more evening, and maybe we won't have to see himanymore.BOOTH: Fine. Wednesday's FINE, I can't wait, does he want me to get you a corsage?BRENNAN: (into the phone) Wednesday's fine. We'll meet you there. Yeah, I'm looking forward to meeting her.BOOTH:(scowls as he pushes open the doors of his office)BRENNAN: Okay. Bye. (hangs up with a beep.) This might be fun. His girlfriend works with tropical fish.BOOTH: (skeptically) Tropical. Fish.BRENNAN: Yeah.BOOTH: Thisis just weird. Where are we meeting?BRENNAN: At their ceramics class.BOOTH: What? No, you're kidding.BRENNAN: Why would I be kidding? He said it would be a good idea to have a common activity.BOOTH:Ceramics? I thought the whole point of therapy was to give us peace of mind, not drive us crazy. (BOOTH's computer starts beeping; we inset to a video chat invitation on BOOTH's monitor, which reads\"JEFFERSONIAN/ANGELA\") Hey, it's Angela. (BOOTH clicks his mouse, and answers her video chat invitation.) Hey, Angela.ANGELA: Hey! I did a rendering of our victim's face. We're checking him against any reports ofmissing persons.BOOTH: Wait a second, that's Tripp Goddard.ANGELA: Tripp Goddard?BOOTH: He's a motorcycle racer.BRENNAN: (looks nonplussed)BOOTH: Oh, I forget sometimes that I'm talking to girls.BRENNAN:That would explain the wrist and neck injuries on Zack's report. Have him confirm with dentals.ANGELA: Yeah, (CUT to ANGELA in the holographics suite at the Jeffersonian) I don't appreciate the \"girls\" comment.(CUTBACK to BOOTH and BRENNAN in BOOTH's office.)BOOTH: Uh...Tripp won a huge motorcycle race about two weeks ago.BRENNAN: That fits time of death.(CUT to ANGELA in the Holographics Suite at theJeffersonian)ANGELA: That would've been the Super Grand Prix, out in Virginia. Tripp won in the final two laps after some kind of accident took out the frontrunner. (cheekily) Girls, huh?(ANGELA terminates theconnection, and we see an inset screen with the Jeffersonian logo and the text \"Video Conference Connection Terminated.\")(Slam Bolt Racing, Exterior shot of motorcycles in bright blues and yellows rounding a curve tothe sound of vehicle exhaust. Racing journalist GARTH JODREY [Chris William Martin] begins a voiceover as the racers cross a finish line and the checkered flags are waved.)GARTH: It's not about the machine, it's aboutthe man. (We cut to an interior shot at Slam Bolt Racing as he continues speaking.) I mean, sure you need a great bike, but a great rider on a crap bike? Still going to win. (We see that GARTH, who uses a wheelchair,has been conversing with an attractive brunette in a leather jacket, PHILIPPA FITZ [Abigail Spencer].)PHILIPPA: Riders say it's about the rider, mechanics say it's the machine, you know what I say? It's about whoeversigns the paychecks.GARTH: (as BRENNAN and BOOTH come around a mechanic's station into the background of the shot) Ah, yes, and that would be you.PHILIPPA: (teasingly) Yes, it would; don't forget it.BOOTH:Excuse me. (flashes his badge) FBI Special Agent Booth, this here is Dr. Temperance Brennan of the Jeffersonian. We're looking for someone who might be able to tell us a little bit about Tripp Goddard.PHILIPPA: Well,I'm Philippa Fitz, and Tripp rides for our family team, Slam Bolt.GARTH: What did Tripp do?BOOTH: Who are you?GARTH: Garth Jodrey, I'm a journalist. (Opens his leather jacket to show a logo on his t-shirt)Motokneescrapers.com.BRENNAN: What does that mean?BOOTH: Racers, when they--they lean real low on the corners, their-their knees, they scrape the asphalt.BRENNAN: That would explain his kneeinjuries.PHILIPPA: No one has seen Tripp since after the Super Grand Prix.BRENNAN: Well, where did he go?PHILIPPA: After a big win, he usually takes off in his truck and climbs mountains, swims oceans, no one reallyknows for sure. Can I help you?BOOTH: Mr. Goddard's dead.GARTH: What? What happened?BRENNAN: We believe he was murdered.(CUT to a conversation with LENNY FITZ [Wings Hauser], PHILIPPA's father.)LENNY:Who would kill Tripp? I don't know.GARTH: (as he crosses the room.) Well, the fans loved him. Everybody else hated him.LENNY: Get lost, Garth.PHILIPPA: Daddy, please.LENNY: No. I want him out of here,Philippa.(GARTH looks up at PHILIPPA for a tense moment. She finally jerks her head, indicating that he should leave. He departs.)BOOTH: Garth doesn't seem to think that Tripp was the good old boy that youdo.LENNY: His got his reasons.PHILIPPA: The wheelchair, for one.BOOTH: Tripp put him in that wheelchair?LENNY: It was an accident. During a race, a couple years ago.PHILIPPA: You can't honestly believe that Garthhad anything to do with this. I mean, how? He's in a wheelchair.BRENNAN: With help, obviously.BOOTH: When was the last time you saw Tripp?PHILIPPA: The victory party, after the race.LENNY: I saw him get him histruck and leave, about midnight.BOOTH: Great, I'm going to need to know the make, model, the year, license plate of the truck.LENNY: Anything you need, we're here. Just find the b*st*rd who did this to him.(End ActOne.)(Begin Act Two. \"Skinny Penny\" by the Stereotypes plays as footage of the Super Grand Prix rolls. #66, DANNY FITZ [Channon Roe] is in the lead, with #1, TRIPP GODDARD [John Edward Lee] hot on his trail. Thefootage cuts to a crowd shot, and back to footage of DANNY followed closely by TRIPP. More crowd shots, then it is revealed that BOOTH, BRENNAN, and GARTH are watching this footage on an LCD screen in the FBIConference room. When we cut back to the LCD screen, the leader-board on the footage shows that TRIPP is in the lead, followed by D.J. COPPS. TRIPP crosses the finish line, and we cut to TRIPP holding the trophy,surrounded by pit crew, laughing triumphantly. DANNY tries to approach TRIPP, but is held back by pit crew.)GARTH: (v.o.) Okay, that's Danny Fitz. (On the screen, DANNY breaks free of his pit crew and grabs TRIPP bythe front of his racing jacket. The footage pauses, but judging by their facial expressions, there is clearly an ugly altercation in the making.) I tell ya, I would've loved to have decked Tripp like that after our race, only Iwas in a coma for a few days.BRENNAN: Another Fitz?GARTH: Lenny's son, Philippa's twin brother... Alright, watch this. (GARTH uses a remote to manipulate the footage.) Danny's got the race in the bag. Final lap,Tripp does that. (On the tape in extreme close-up, we see TRIPP's front wheel bump DANNY's back wheel; we pull back to find that DANNY has wiped out.) Classic inside-out block pass.BRENNAN: Is he allowed to dothat?BOOTH: Only if it's an accident.GARTH: Slam Bolt would've taken first and second against Flame Spark if Tripp hadn't of clipped Danny.BRENNAN: (laughs) There's someone named Flame Spark?BOOTH: Yeah;Flame Spark Spark Plugs. It's Slam Bolt's rival team.TRIPP: (on the tape) I saw a little daylight. Looked like Danny was gonna go wide, so I went for it. I mean, it is a bummer when somebody loses the front of theirbike like that, but, um...(TRIPP shrugs) Whaddaya gonna do?GARTH: Danny had that race in the bag.BOOTH: Tripp did the same thing to you, didn't he?GARTH: (a beat) Yeah. Well, I guess Tripp didn't learn anythingfrom the time he did it to me.BOOTH: Danny Fitz, was he at the victory party?GARTH: Yeah, absolutely. Put on a face for the press.BRENNAN: Did Danny leave before, or after Tripp?GARTH: About the sametime.BOOTH: How about you?GARTH: I took off right after.(On the videotape, TRIPP and DANNY are engaged in a shoving match.)BOOTH: You're good friends with Danny, aren't you?GARTH: You mean, are we goodenough friends to kill Tripp together? You know, I'm pretty sure I don't have to say anything without a lawyer. (BRENNAN and BOOTH exchange a look.)(MEDICO-LEGAL LAB; the JEFFERSONIAN. A metal bar falls on thefloor between two feet, which we see are ZACK's, as ZACK is carrying in an armload of potential murder weapons. ZACK bends down to pick up the bar. HODGINS looks over at him before going back to examining thenow extremely clean skull. As ZACK finally corrals the first bar he dropped, he loses control of another bar.)HODGINS: (testily.) It's not going to work...ZACK: What?HODGINS: Dropping loud pieces of metal to hurry meup.ZACK: I need the skull so I can compare tool marks to potential murder weapons.HODGINS: Just going to have to wait.ZACK: (frowns and walks further into the room.)HODGINS: (zooms in to an extreme close-up ofthe skull's surface on a monitor. A computer program isolates particulates on the screen.) Titanium, magnesium, and heat-treated boron particulates are embedded in the skull fractures.ZACK: Mmmmm....HODGINS:What?ZACK: That's a unique and exotic combination of metals not found in any of these...(A bunch of the aforementioned \"these\" go sliding out of ZACK's arms, and he bends down to collect them.)HODGINS: It ispossible that these particulates aren't from the tool, I mean, not from the tool alone.ZACK: I don't understand.HODGINS: Hand-made racing motorcycles are made from these metals.ZACK: So the particles could'vegone from the bicycles to the tools to the victim.HODGINS: It's-it's not a bicycle. It's a motorcycle.ZACK: (irritably) Bi-cycle. Two wheels. The term applies. (He drops another group of the metal bars, and bends down tocollect them.)HODGINS: Drop those. (off his look.) Drop them. I mean it Zack, bombs away. (ZACK drops all the weapons to the floor.)ZACK: I don't know what that proves.HODGINS: It means I don't handle irritationas well as I'd like.ZACK: Can I pick these up now?HODGINS: (forcefully) No. (ZACK looks at him quizzically, and HODGINS crosses the room towards him.) You can pick one up. Most likely culprit.ZACK: A narrowinstrument, no more than an inch, caused the injuries.HODGINS: Okay...(HODGINS bends down and proceeds to pick up more than one bar.)ZACK: Strain, the crushing, tearing, shearing, equals a change in dimensiondivided by the original dimension.HODGINS: I do bugs and slime; I don't do arithmetic.ZACK: An elongated rod, with (he selects a shiny, square-shaped pipe from the group HODGINS has selected) this cross-section, isthe most likely culprit.HODGINS: Good. Good job, Zack.ZACK: (confused) Am I...King of the Lab?HODGINS: We both are. (HODGINS drops the remaining crowbars.) Let's go tell Cam.(FBI Conference room. BOOTH isreplaying the footage of DANNY FITZ wiping out over and over again and giggling. A slow pan reveals an unamused DANNY.)BOOTH: Ooohhhh....ouch....Okay, now that, that's gotta hurt. Wait, here it comes again, I"}
+{"doc_id":"doc_168","qid":"","text":"[PREVIOUSLY_ON]Mr Yikumura: Kira, you forgot all the research you did for that boy you like.Derek: We're not leaving without it.Peter: Somebody really doesn't want our hands in there.Chris: We're gonna need a lotmore help.Stiles: Lydia's got sort of a talent.Lydia: I'm psychic.Deaton: You opened a door. It will draw them here, like a beacon.Agent Mccall: Bring him around back. And keep it quiet. No one needs to know except forthe people who absolutely need to know.Melissa: Oh, here we go.Sheriff: Hey. He is not coming in.Agent Mccall: This is the only hospital that will take him.Sheriff: What about County?Agent Mccall: You'd be surprisedhow fast things fill up when a guy like this needs surgery.Melissa: They turfed him to us?Sheriff: Yeah. If County doesn't want to operate on himAgent Mccall: Then someone has to.Melissa: Somebody needs to do hispre-op interview.Agent Mccall: Who usually does that?Melissa: Me.Stiles: Get your ass down here now. We have a job to do.Scott: Dude, I'm already in bed. And aren't we getting a little old for this?Stiles: We do thisfor Coach.Scott: I thought we did this to Coach.Stiles: Whatever, okay? You know he needs this. He lives for this stuff. He loves it.Scott: But it's the middle of the night.Stiles: Which means it's after midnight andofficially Mischief Night/Day, and, by perfectly awesome coincidence, it's also happens to be Coach's birthday. So if you are not down here in five seconds, I will destroy you. Okay? And I mean five, four, three, two-Scott: One.Stiles: I hate you.Agent Mccall: Try to keep in mind exactly what this guy's capable of. He's a former electrical engineer who decided to walk onto a school bus with a shrapnel bomb. He left four studentsdead and a fifth with no legs.Melissa: Just out of curiosity, have any of his psychiatrists made any progress?Agent Mccall: I'm told this is the same thing almost every day. When he gets out, he's going to do it again.And next time, he's going to get it right.Melissa: Mr. Barrow, do you understand that scar tissue has formed around a piece of shrapnel that remains in your body from a previous injury and that it is now blocking vitalfunctions?Barrow: Yes.Melissa: Do you understand that we must put you under general anesthesia tomorrow morning in order to remove the obstruction?Barrow: Do the kids still pull pranks the day beforeHalloween?Melissa: You mean Mischief Night?Barrow: Where I'm from, we called it Hell Night. Hmm. And, yes, I understand.Melissa: Do you have any allergies to any medications?Barrow: No.Melisssa: Are you takingany medications other than the ones listed here? Temazepam. Divalproex.Barrow: I just take what they give me.Melissa: I'm going to need to listen to his heart.In And out. In. In.Barrow: Why don't you just ask thequestion you really want to ask?Melissa: Why did you do it?Barrow: I saw their eyes. Their eyes were glowing. I saw them. I saw their eyes! Their eyes were glowing! Their eyes were glowing! Their eyes wereglowing!Scott: You're back in school?Ethan: No, just to talk.Stiles: Oh. That's kind of a change of pace for you guys. Usually, you're just hurting, maiming, and killing.Aiden: You need a pack. We need an Alpha.Stiles:Yeah. Absolutely not. That's hilarious though.Aiden: You came to us for help. We helped.Stiles: You beat his face into a bloody pulp. That's not helping. In my opinion, that's actually counter-productive.Scott: Whywould I say yes?Aiden: We'd add strength. We'd make you more powerful. There's no reason to say no.Isaac: I can think of one. Like the two of you holding Derek's claws while Kali impaled Boyd. In fact, I don't knowwhy we're not impaling them right now.Aiden: You want to try?Scott: Sorry, but they don't trust you. And neither do I.Ethan: What now. No. No way.Aiden: We never finished.Ethan: And we don't have to.Aiden: What ifI want to?Ethan: You You seriously want to go back to high school? Is this about Lydia?Aiden: This is about getting Scott to change his mind. We're not just Betas anymore. We're Omegas. The bitches, remember?When everyone we've screwed over finds out we don't have a pack anymore, what do you think's going to happen? We're dead on our own.Ethan: That's still better than being back in high school. I'm not doing it. Noway. What? I'm not taking math.Aiden: I'll take it for you.Stiles: All right, that's my face! Hey, dude, good decision, buddy. Good Alpha decision.Scott: I hope so.Stiles: No, you know so. than I can take What are youlooking at?Scott: Me?Stiles: You. You looking at her?Scott: Her? Who her?Stiles: Her her. Kira. You like her?Scott: No. I mean Yeah, yeah, she's okay. She's new.Stiles: So, ask her out.Scott: Now?Stiles: Yes,now.Scott: Right now?Stiles: Right now. Scott, I don't think you get it yet. You're an Alpha. You're the apex predator. Everyone wants you. You're like the hot girl that every guy wants.Scott: The hot girl?Stiles: You arethe hottest girl.Isaac: What?Scott: I'm the hot girl.Isaac: Yes, you are.Coach: Peek-a-boo! That's all you got? That's it? Son of a bitch! Mischief Night, Devil's Night. I don't care what you call it. You little punks are evil.You think it's funny every Halloween my house gets egged? A man's house is supposed to be his castle. Mine's a frickin' omelet. Oh, this? We're gonna do this again? I don't think so. \"Happy Birthday.\" \"Love,Greenberg.\"Danny: What are you doing?Lydia: There's a fly.Doctor: Anybody else here think I should make a minor slip and let this b*st*rd bleed out on the table? That's just a little surgical humor, Melissa. Relax.Clamp, please. Suction. Let's see what we have here. Oh! Okay, that's That's That's not shrapnel. Uh, 10 blade. What's the problem? You're missing your 10 blade?Melissa: Doctor Doctor, I think you should see this. Ireally think you should see this. Ah! Move! Move!Melissa: He's gone. Barrow's gone. He's going to be okay. Stay with me.Peter: Ow! Don't you have any anesthetic?Derek: Yep.Peter: Well, are you at least going to tellme what I risked life and digit for?Derek: I'm going to show you. After the fire, that's all that was left of her.Peter: Talia. I can't decide if that's touching or morbid. I guess the real question is, what are you planning ondoing with them?Derek: I have to ask her something. And from what I've heard, this is the only way it's possible.Peter: You gotta be kidding me.Derek: Why do you think I sewed your finger back on?Melissa: Sheriff?Sheriff.Sheriff: Hey.Melissa: These dead flies everywhere? They came out of Barrow. Out of his tumor.Sheriff: Is that even possible?Melissa: Maggots can come from the body. It's called myiasis. But from the stomach?It's not likely. And there's something else. Last night, he told me why he killed those teenagers.Sheriff: Yeah, I know. I read the report. Glowing eyes.Melissa: We know a few kids that fit that description.Agent Mccall:Listen up, everyone. The stolen ambulance has been spotted. Corner of Truman and Spaulding.Sheriff: That's three blocks from the school. Let's go. Go!Lydia: Oh, no. I don't think so. There's no way you come backhere after two weeks of nothing, with your cute little smile, the dark eyes, the brooding forehead, the muscles, and suddenly we're ripping each other's clothes off in Coach's office. No way. It's not gonna happen.Aiden:Guidance office?Lydia: Okay.Stiles: Wait a minute, wait a minute! The William Barrow? The Shrapnel Bomber? Spotted nearby?Sheriff: A little closer than nearby, actually.Agent Mccall: How do we get down to thebasement? I need to know where every entrance is. I don't want anybody coming in or out of the school.Stiles: Dad, what's really going on here?Isaac: Barrow went after kids with glowing eyes? He said those exactwords?Stiles: Yeah. And no one knows how he woke up from anesthesia. Just that when they opened him up, they found a tumor full of live flies, which in any other circumstance would be all kinds of awesome.Lydia:Did you say flies?Allison: Lydia?Lydia: All day I have been hearing this sound. It's like This buzzing.Allison: Like the sound of flies?Lydia: Exactly like the sound of flies.Mr Yukimura: All I'm saying is, I don't understandwhy you're sitting here with me instead of in the cafeteria with the other kids.Kira: Maybe I want to keep you company.Mr Yukimura: You should be embarrassed to be seen with me. Not keeping me company. Kira? Youmust have some friends by now.Kira: I don't know what's wrong with me. I had a lot of friends back home. But here it's like every time I open my mouth, I just start rambling like an idiot.Mr Yukimura: Try again. Failagain. Fail better.Kira: Are you quoting Samuel Beckett to me?Mr Yukimura: I thought that was Yoda. Someone will show an interest. You're a beautiful girl. How could they not?Kira: The only one who's shown anyinterest in me is a rabid coyote.Mr Yukimora: Maybe you could date the coyote?Kira: I don't want a date. And I definitely don't need a boyfriend. I just want to make a few friends.Stiles: Sorry...Hey, dude, where thehell have you been?Lydia: The police are leaving. Why are they leaving?Scott: The police?Stiles: They must have cleared the building and grounds, which means he's not here.Scott: Who? What are you guysLydia: Hehas to be here. That sound The buzzing I've been hearing? It's getting louder.Stiles: How loud? Dad! Dad!Sheriff: Yeah?Stiles: You can't leave yet.Sheriff: We got an eyewitness that puts Barrow by the trainstation.Agent Mccall: Let's go, Stilinski.Stiles: Whoa, whoa. Dad, please just Lydia said that he's still here.Sheriff: Did she see him?Stiles: Not exactly. No. Well, not at all actually. But she has a feeling. A supernaturalfeeling.Sheriff: Lydia wasn't on the chessboard.Stiles: She is now.Sheriff: Kanima?Stiles: Um, Banshee.Sheriff: Oh, God.Stiles: I know. I know how it sounds. But basically it means that she can sense when someone'sclose to death.Sheriff: Can she sense that I'm about to kill you?Stiles: I don't know.Sheriff: All right, look, I'm not saying I don't believe, but right now, I'm going with eyewitness over Banshee. We're leaving a fewdeputies here. The school's on lockdown till 3:00. Nobody comes in, nobody goes out. Buddy, that's the best I've got right now. That's the best I can give you, Stiles.Stiles: You're leaving me here, that is not That is theworst.Scott: You got it?Melissa: Promise me you'll be careful. I looked right in this guy's eyes, and it was terrifying.Scott: Yeah. Okay, Mom, I promise. Okay? Melissa:Okay.Scott: Lydia thinks that he's still here eventhough the cops searched the whole school. But they didn't have one thing Our sense of smell.Allison: The Bestiary is literally If I'm going to find anything about flies coming out of people's bodies, it could take me allnight.Lydia: And remember, the word in archaic Latin for fly is musca.Allison: Got it.Lydia: Where do we start?Stiles: Upstairs. We gotta go.[SCENE_BREAK]Isaac: So this is how it's gonna be now? We trust them?Scott:Just because I'm letting them help, doesn't mean I trust them.Isaac: Yeah, well, I don't trust them either. Or like them. In fact, I hate them and just want them to die.Scott: Well, if Barrow's actually here and he's got aplan, you might get what you want.Aiden: You got something?Ethan: Oh, really?Lydia: Scott and Isaac are in the basement, right?Stiles: Yeah, with Ethan and Aiden. The plan is they meet in the middle, in the boilerroom.Lydia: All of the wolves All of the ones with glowing eyes are in the basement at the boiler room?Stiles: Oh, my God! An engineer could use a boiler room to blow up the whole school.Lydia: We have to get themout of there.Stiles: We have to get everyone out.Lydia: How do we do that?Coach: Wow. Pulling a fire alarm on Mischief Night is one thing. Doing it when there's a mass murderer spotted nearby is insane! If I was fouryears younger, I'd punch you.Stiles: What? Coach, that doesn't make sense.Coach: Oh, well, it does to me!Stiles: There.Aiden: We didn't find anything.Scott: Not even a scent.Stiles: It's 3:00, so school's over. If therewas a bomb, wouldn't he have set it off by now?Aiden: Does that mean everybody's safe?Lydia: I don't know. I just I don't know.Coach: How loud are you playing that thing? Let's go! Get the hell out of here!Peter: Youknow, there's always an element of danger to rituals like this. I'm not particularly fond of them. Unless they somehow benefit me.Derek: What do you want?Peter: I want to keep them. Sentimental value. She was yourmother, but she was also my sister. What? Am I not allowed a little bit of sentiment?Derek: Too long.Peter: No! No, wait!Mr Yokumura: Kira? Get ready for dinner. And put on something nice.Kira: Why would I need towear something nice?Mr Yokumura: I invited a guest for what I like to call the. \"Thank You for Saving My Daughter from Becoming a Coyote Dinner\" dinner.Scott: Hey.Kira: Oh, God.Ms Yokumura: So, Scott, I'm surethat as a native Californian, you've eaten at some pretty impressive Japanese sushi restaurants. But I have to tell you that my husband is a superb chef.Mr Yokumura: Okay, we have hamachi, uni, ikura, and hirame.MsYokumura: You've never eaten sushi before, have you?Scott: Is it all raw?Mr Yokumura: Not the rice.Kira: Oh, my God, guys. We were supposed to have lasagna tonight.Mr Yokumura: I was trying to impress him. Ididn't want to bring out the You know what? I'll make lasagna.Scott: Oh, no, no! It's okay. I can try anything. Really. Okay.Kira: Uh Here. Try holding this one like a pencil. And this one goes under it, like this. Then youjust move the top one, - like, like this - Yeah.Scott: Thanks.Ms Yokumura: Sushi?Lydia: What do the different colored strings mean?Stiles: Oh, just different stages of the investigation. So green is solved, yellow is to bedetermined, blue's just pretty.Lydia: What does red mean?Stiles: Unsolved.Lydia: You only have red on the board.Stiles: Yes, I'm aware. Thank you.Lydia: Did you get detention for pulling the alarm?Stiles: Yep. Everyday this week. It's okay, though. We were onto something.Lydia: Even though we couldn't find any proof of Barrow being there?[SCENE_BREAK]Stiles: Hey, Lydia. You've been right every time something like this hashappened, okay? So don't start doubting yourself now.Lydia: No scent. No bomb. And I got you in trouble.Stiles: Okay, look. Barrow was there. All right? You knew it. You felt it. Okay? And look, if you wanted to, I'd goback to that school right now and search all night just to prove it. Get up. Get up now. We're going to the school.Isaac: Electrified the windows?Allison: Yep.Isaac: Didn't wanna say anything about it?Allison:Nope.Isaac: Okay.Allison: What are you doing here?Isaac: I figured you could use an extra pair of eyes.Allison: Can you read Latin?Isaac: No. But I can look at pictures.Peter: That's not exactly my color. This is going tobe excruciatingly painful.Derek: Just do it.Peter: Oh, I'm going to. I just wanted you to know we all have our petty revenges.Scott: So you guys moved here from New York?Ms Yokumura: I have family ties here.Several generations.Scott: Yukimura is Japanese, right?Ms Yokumura: Mmm-hmm.Mr Yokumura: Yes. Yes, but I'm actually Korean. When my wife and I married, I took her name, as she was the only surviving memberof her family.Scott: You didn't want to take both names?Mr Yokumura: We were married in Japan, where the law says that the couple must share the same name. To belong to the same koseki. My wife's lineage is quiteunique. I was actually going to discuss it in class.Kira: Please don't.Ms Yokumura: Kira. You should be proud of your heritage. It was a profound honor to join your mother's family.Kira: Scott? What happened to yourwasabi?Scott: I thought it was guacamole.Lydia: So what are we looking for? That was supposed to be locked.Stiles: Yeah. I know. Notice anything else?Lydia: It smells like chemicals. They wouldn't have been able tocatch his scent.Stiles: He was here, performing very minor surgery on himself. You were right.Lydia: Then why don't I feel good about this?Stiles: Probably because he was here to kill somebody.Lydia: But who?Stiles:That's what we gotta figure out. We could spread out, start looking for Anything. Lydia, what are those?Lydia: Atomic numbers.Stiles: Is it a formula?Lydia: Not really. 19's potassium. The first two make potassiumiodideStiles: Potassium is K?Lydia: From kalium, the scientific neo-Latin name.Stiles: What's radium?Lydia: R-A.Stiles: Kira.Scott: Yes, Mom. I ate sushi.Melissa: I didn't even know that you could use chopsticks.Scott:Mom, can I ask you something?Melissa: Yeah.Scott: Why didn't you How come you never changed your name back to Delgado?Melissa: Do you mean, why did I keep your father's name?Scott: Yeah.Melissa: Yeah.Because it's your name, too, honey. I gotta go, sweetheart, okay? I love you.Scott: Oh, thank God. No offense to sushi.Kira: Yeah, we probably should have started you out on California rolls.Scott: Mmm-hmm.Kira:Mmm.Isaac: You find anything?Allison: There's a reference about flies being able to carry messages to the dead. What about you?Isaac: Oh, just Beelzebub, the Lord of the Flies.Allison: Are you serious?Isaac:What?Allison: You were just trying to kiss me.Isaac: No, I wasn't.Allison: Then what were you trying to do? Head-butt me?Isaac: All right, maybe I was trying to kiss you.Allison: Are you completely, totally out of yourmind? You actually think that I would want to kiss you? Or Or any other werewolf again? Because trust me on this, I would never kiss you. Ever.Isaac: Never.Allison: Never.Isaac: Okay. All right, fine. I won't kiss youeither.Chris: Allison. Can I see you in my office?... Where I keep my guns. ...Another werewolf?Peter: Did you see her? What did you ask her? Did she say anything about me? Well, that doesn't look good.Scott: Thanksfor dinner.Kira: For the sushi or the pizza?Scott: Uh The pizza was good.Kira: You seem like a really nice guy. And not just because you kept me from getting eaten by a coyote.Scott: Did I do something else?Kira:Yeah. You remembered my name.Stiles: Scott! Scott? Scott!Scott: Barrow, he took Kira!Stiles: We know. He was after her the whole time.Isaac: No, nothing. Just stuff about flies and the dead. Nothing else.Scott: Allright, thanks. We have to think of something. He's going to kill her.Lydia: I knew he was there. How did I know that?Stiles: Because you heard the flies, right?Scott: What do you hear now?Lydia: Nothing. I feel like Ican do this. But I don't know what to do. It's like it's on the tip of my tongue, and I don't know how to trigger it. I just I swear to God, it literally makes me want to scream.Stiles: Okay, then scream. Lydia,scream.Lydia: It's not flies. It's electricity.Stiles: Wait a second, Barrow was an electrical engineer. He worked at a power substation.Scott: What substation?Kira: What are you doing?Barrow: Right now? Ah. Right now,I'm gonna take your picture. Hmm. Just a little proof of our time here together. A little proof for all of those people who never believed.Kira: Okay, you got your picture. You want to let me go now?Barrow: Oh Did youever see a movie called Village of the Damned? The original. Not the remake. Nobody cares about crappy remakes. I'm talking about the 1960 black-and-white masterpiece. Huh? It's about this group of children.Blonde-haired, beautiful children who can make their eyes glow. And they do terrible, terrible things. The tag line on the poster read, \"Beware the stare that will paralyze the will of the world.\" Now, when I told everyonethat I saw children with glowing eyes, they wouldn't believe me. I tried to get them to do something. But they wouldn't budge. They wouldn't move. As if they had been paralyzed. I am going to shake them out of theirparalysis. I'm going to get them moving. I'm going to I am going to galvanize them.Stiles: Okay. Wait here, all right? Just wait for the cops to come.Lydia: Me? Wait, why?Stiles: I only got one bat.Kira: Scott! No! Lookout!Scott: Don't She's not She's not the one you want. No Don't. Stop! No!Allison: Isaac! Isaac!Chris: Isaac! Isaac, come on, open the door!Allison: Isaac!Chris: Isaac, open up!"}
+{"doc_id":"doc_169","qid":"","text":"[PREVIOUSLY_ON]Angel to Darla: \"You're never gonna be alone again.\" Door burst open, Dru walks in.Lindsey: \"How did you think this would end?\" Dru bites Darla.Lilah: \"For God's sake, help us!\"Holland: \"People aregonna die.\"Angel, closing the door: \"I just can't seem to care.\" Darla bites Holland.Wesley: \"Right now the three of us are all that are standing between you and real darkness.\"Angel: \"You're all fired.\" Angel throwsdown his cigarette and flames engulf Darla and Dru. Darla and Dru sit underneath the water spray from the fire hydrant.Darla: \"Who was that?\" Los Angeles, Hyperion Hotel, night. Angel steps up to the glass doorsleading to a balcony and looks out over the lights of the city. Cordy takes down a box of papers from a shelf. Wesley is kneeling on the floor of their new office looking through another stack of papers. The place is amess. There are papers strewn everywhere.Wesley: \"When they went out of business they just left these here?\"Cordy: \"Yup. Also the desk. We'll share.\"Wesley: \"And when we go out of business we can just leave ourstuff for the next guy.\"Cordy: \"Hey, hey, negative energy boy, with all of our money pooled together we can stay here a long time.\"Wesley: \"Hmm. 20 minutes.\"Cordy: \"At least.\"Wesley: \"Angel Investigations withoutthe angel. - You think we can do it?\"Cordy: \"Well, we better. I mean, what else can we do? And I still have the visions. That'll keep us busy sometimes.\"Wesley: \"We're gonna need a lot more than that. A steady,outside clientele.\"Cordy: \"It'll happen. This is our future, you know? And, personally, I think it is pretty bright. Ow! (Hits her head on a planter hanging from the ceiling) Dead plant! - *Not* symbolizing our future.Really!\"Gunn comes in: \"Okay, everyone parked within ten blocks has a flyer on their windshield. We just slightly irritated almost a hundred people. (Wrinkles his nose) Does it smell funky in here to you?\"Cordy: \"It'll airout. And good job with the flyers. Now we can just sit back and let the calls roll in.\"Gunn trying the phone: \"They better roll in through a bull horn. We've got no dial tone.\"Cordy: \"What?\"Wesley: \"Perhaps it's thewires.\" Wesley crawls under the desk while Cordy checks the phone.Cordy: \"They said it would be on by now!\"Gunn: \"One desk? We're sharing?\"Wesley from under the desk: \"Aha! Things are looking up. I think I foundthe right wire. Ah!\" All the lights go out.Gunn: \"I'm so glad I met you guys. It's entertaining. Really.\" Angel lies down in his bed - and wakes up to the sounds of someone singing the star-spangled-banner. He frowns,then gets up. Comes down the stairs into the lobby of the Hyperion, stops on the landing, crossing his arms. The Host sees him and interrupts his song.Host: \"Hey, big fella. You're gotta be singing all the time in here,am I right? Come on, with these acoustics? (sings) 'and the rockets red glare!' - Do you hear that resonance?\"Angel: \"What I hear, and maybe, hopefully, I'm still dreaming, is the star-spangled-banner being belted outby a loud green demon.\"Host: \"We're all brothers under the skin, mi amigo. Although the garden hue and the horns have kept me out of some key public performances. Just once I'd love to ring in a Lakers game withour national anthem. Is that so much to ask?\"Angel: \"Yes! Is there a reason you're here?\"Host: \"There is. What's today? Thursday? Tomorrow night - the world's going to end. I thought you might want to know.\"IntroAngel: \"So the world's gonna end.\"Host: \"Brings you right down, doesn't it? - Don't feel the need to offer your guest a frothy cappuccino or a hot cinnamon roll.\" Angel sitting down in a chair with his arms crossed:\"I don't.\"Host: \"Man, you just get darker and darker. And the weird thing is, your aura? Beige.\"Angel: \"I don't have coffee.\" Host runs a finger across the top of a desk: \"Or a duster, buster. I don't know why you firedthose three plucky kids. They were good company. Not to mention, Cordelia? Uh! Hot-o-rama! In the 'oh my sizzling loins' sense of the word, if you know what I mean. And the British boy? He's gonna be playing a*huge* - well. \"Angel: \"Are you gonna get to the world ending or are you just gonna chat until it does?\"Host: \"All right, all right! Although my buoyant good will falling on your deaf ears is something we'll need to look atin the future. The world ending? Huh, it's kind of a funny story. I'm at the club last night. Fairly typical Wednesday crowd. A Torto demon and his parasite were *murdering* the Everly Brothers...\" We see the scene thehost is describing. There is a horned demon singing a duet of 'Bye, bye Love' with the head sticking out of his belly for a crowd of assorted demons. At one table sits a young human male, with curly brown hair andglasses. The Host is accepting a drink from the bartender.Host: \"...which is nothing compared to what Elian had done to my sea-breeze!\" We see the host take a sip and grimace.Host to bartender: \"Is this a difficultconcept? Were we absent the day they taught sea-breeze in bartender school? Vodka, cranberry, *fresh* grapefruit juice. Which requires a real live grapefruit. One you must cut and squeeze, not pour from a can.\"Host:\"...Oh. The man is *such* a moron. You have no idea how I'm suffering since Ramone left.\"Angel: \"Oh, I have an idea. Can you just get to the point already?\"Host: \"Yes, I can, if you'd let me get a word in edgewise,Mr. Get-to-the-point-y-pants. - So this guy I've never seen before - gets up to sing. Usually I love it. You know, they sing, I read their futures, their auras, I see into their souls...\"Angel: \"So this guy...\"Host: \"The thingthat was remarkable about him was there was absolutely nothing remarkable about him...\" The human gets up and goes up to the mike: \"This is a song that I like, because...\"Host: \"...Just your average Joe about tomangle a tune and bore me with some bland vision of his bland future...\" Gene sings 'All By Myself' up on the stage, not outstanding, but not bad either.Host: \"...But when he started singing - man, he knocked meout!\"Angel: \"He was good?\"Host laughs: \"No, Angel-face, he knocked me *out*.\" We see the host dropping to the floor in front of the bar.Host: \"...When I came to he was gone.\"Angel: \"He didn't wait to hear what yousaw on him?\"Host: \"Nope-ah.\"Angel: \"So what knocked you out?\"Host: \"I looked into this guy and I saw - he has no future after ten o'clock tomorrow night - and neither does anybody else.\" Angel gets up from hischair, arms still crossed: \"Let's say I do believe you.\"Host: \"Oh, honey, let's say a lot more than that. We've got to find this guy. This is the big blackout we're talking about. This guy is gonna do something between nowand tomorrow night. I don't know what, but it's gonna cancel *everybody's* summer plans. We got to find him and stop him.\"Angel: \"Why'd you come to me?\"Host: \"Isn't it obvious? You're a champion. A unique forcefor good in a troubled world. - Also, all the other champions I know are currently out of town or - dead. Why? You don't want to work with me? - Is this because I sent you on a couple of missions that turned out to be alittle...\"Angel: \"Pointless and deadly?\"Host: \"As for example. But I sent you on those missions in good faith. And we interrupt this broadcast to inform you: world ending? Kind of an emergency situation here. You mightwant to get on board.\"Angel: \"So why did this guy leave the club before you had a chance to tell him what you saw?\"Host: \"People get scared. They come in for a reading, then they don't wanna know. Especially whenthe psychic faints and, uh! - a teeny bit of vomit... Lets-lets *not* dwell.\"Angel: \"Maybe he's just a guy who likes to sing Karaoke. Maybe he doesn't know anything about you.\"Host: \"That'd make more sense. - So whatwe should do is to start with the other local Karaoke bars, see if we can get a lead on him. That is if you're not to busy getting lawyers killed and setting girls on fire. Outside of a college or university campus, day. Geneis standing in front of a dry erase board contemplating some equations written on it. Two students watch him through a glass window from above.Mike: \"Someone forgot to wind time-boy.\"Val: \"He's thinking.Something *you* ought to try.\"Mike: \"Very funny. He's really not that much smarter than the rest of us.\"Val: \"I guess that's why *his* work on the time paradox earned Professor Orfalla a Nobel nomination and yourwork on carpet mold was promptly forgotten by everyone?\"Mike: \"You know what you are?\"Val: \"Yes. I do, Mike. And if you say it I'll put your face in liquid nitrogen.\" Val gets up and knocks on the glass door leadingdown into Gene's lab. Gene turns around and goes up the steps to open the door for her.Val: \"Hey. What's the good word?\"Gene: \"Entanglement.\" Val following him down the stairs: \"How's that again?\"Gene: \"InNewton's world space and time are separate entities, in Einstein's their entwined.\"Val: \"Einstein's entwined. Can you say that ten times really fast?\"Gene staring at his equations: \"So how is it that altering one particle ofan entangled pair causes the other particle to be affected - without any communication between the two.\"Val: \"Because space and time are one.\"Gene: \"So how do you separate an entwined pair? You don't. You can't.In fact you probably shouldn't even try.\"Val: \"I never do.\"Gene: \"What you should do is carve out - one (writes another equation on board) instant - at a time.\"Val: \"Look, I like the theory of freezing time as much asthe next Star Trek nerd...\"Gene: \"It's not freezing time, although that is what it would look like to an outside observer. I'm talking about removing one infinitesimal space-time aggregate of from all that surroundsit.\"Val: \"A tiny event horizon.\"Gene: \"Sort of. And then growing that event into something measurable and controllable. Your dog and his favorite bone preserved forever - in his own impenetrable little bubble.\"Val: \"Andwho's gonna clean up that bubble?\"Gene: \"If I could just get the math right, I should be able to prove it (walks over to some other equipment) by generating a focal point with the accelerator's beams here and passingliquid mercury - through that point.\"Val: \"Suspending the mercury. Snatching it out of our time-space continuum - and freezing the moment.\"Gene: \"Forever.\" A red head enters the lab.Val: \"Denise. Thank god you'rehere. Your boyfriend was just coming on to me with the old Einstein-Podolsky-Rosen correlation.\"Denise smiles: \"That's what got me - out of physics and into theater.\"Gene: \"Hi, sweetie.\"Denise: \"Hi.\"Gene: \"How areyou?\"Denise: \"Good. You?\"Gene: \"Good. So, what's new? (Denise shrugs) - I guess we're on for tomorrow night.\"Denise: \"Uh-huh, we are.\"Gene: \"Big night.\"Denise: \"Yeah. One year anniversary and all.\" All threestand around for a moment.Denise: \"Well, we-we should, ah...\"Gene: \"Oh, you guys are gonna take off?\"Denise: \"Yeah.\"Gene: \"Okay. Well, I guess I - I'll see you tomorrow night then.\" Leans in to give her a quickkiss.Denise: \"Don't work all night.\"Val: \"You know he will.\" The Host and Angel enter a dingy bar. One of the customers is slumped asleep at a table, wrapped around a bottle. A boy is singing 'Greensleeves.'Angel:\"Nice.\"Host: \"Hmm, it's not that bad. Nothing a couple bottles of lysol can't cure.\" They walk over to the bar.Host watching the singer: \"Interesting choice. Too bad about the cuisine art tomorrow. You know, if we stopthe world from ending tomorrow the scar won't even be that noticeable. (Angel looks at him) Sorry. Occupational hazard.\"Angel: \"Is he here?\"Host: \"Nope.\" Angel drops down on a barstool and rubs his forehead.Angel:\"Seventeen Karaoke bars. You know, I need to lie down and scrub out the inside of my head.\"Host: \"Well, maybe we're wrong. Sniffing a cold trail.\"Bartender: \"We don't get your kind much.\"Host: \"Excuseme?\"Bartender: \"Demons. We get a couple now and then but they're usually vampires passing for human.\"Host: \"Well, I never pass on anything, mister, especially when it comes with a little umbrella in theglass.\"Angel: \"You worked here long?\"Bartender: \"Eleven years now. It used to be a regular bar. But then they put in one of these Karaoke machines. Thought it would bring in the customers. It drove most of themaway. We got a few steadies that make up for it.\"Angel: \"Steadies?\"Bartender: \"A lot of students. They're grad students.\"Host: \"Fits the descrip.\"Angel: \"We're looking for a guy, early twenties, medium build, maybeone of your steadies, sings sad songs like 'All By Myself.'\"Bartender: \"Sounds like the kid.\"Angel: \"Name?\"Bartender: \"I don't know his name but he comes in every few weeks. Runs with the whole broken heartsongbook. First time I thought somebody died. But after a couple of weeks I figured he was just one of those manic depressants.\"Host: \"Hey, Goliath, you got a good picture of this grad student in your head? (Bartendershrugs) Well, how about singing a few bars of 'For He's a Jolly Good Fellow', hmm?\" Bartender looks over at Angel.Angel: \"Oh, you know, he's a demon. You better do what he says or he might - talk your earsoff.\"Bartender: \"For he's a jolly good fellow, for he's a jolly good fellow...\"Host: \"Yeah, it's him. It's our boy. Fabulous tone by the way, really nice vibrato. And you keep plugging away on that novel, F. Scott. Art is itsown reward. (Aside to Angel) Got to give the people hope. (To bartender) Now this grad student, which university would that be?\"Cut to the university at night. We scan past his desk and a picture of Gene and Denisetogether to find Gene still working on his equations.Gene: \"Nine to the eleventh where 'P' is invariant. X, y and z are zero and time is orthogonal to the other three axis. Given 'A' and 'A' slash zero - equals momentumand mass energy... (goes over to enter some stuff on his laptop) and the conservation of p-x, p-y... and p-z - here goes nothing.\" He watches as his machine forms a field where the four emitted beams intersect.Watches the mercury droplet fall - through the field. Turns the machine off.Gene: \"There went nothing. (Throws something small at the dry erase board) This is never gonna work.\" Walks up the steps and out of his lab.A gray skinned, pointy-eared, raccoon-eyed demon comes out from behind some barrels and speaks in some foreign language.Demon (subtitles): \"He's the one. He doesn't know it yet, but he's the one. (Walks over tothe dry erase board) From nothingness the human pestilence came, into nothingness it goes.\" The demon causes the crystal on top of his staff to glow red. The red glow shines on a part of Gene's equation and changesit. Break Cordy is setting out armfuls of candles in their dark office.Cordy: \"There. See? We'll work without the harsh glare of flourescents, or all that distracting computer information.\" Gunn and Wesley are sitting nextto each other behind the desk, not moving.Gunn: \"Cordelia - stop trying.\"Cordy: \"Really?\"Wesley: \"Join us.\" Cordy sits down beside Gunn with a sigh.Wesley: \"Sometimes you need to wallow. Just let the depressionsettle in - silently.\" The door opens and Virginia walks in carrying a gift basket and a bottle of champagne.Virginia: \"Hey! Wow. This place is great. I brought champagne. You guys must be so excited (takes in theirlooks) in that really dry, suicidal way.\" Wesley gets up and greets her with a quick kiss.Wesley: \"Sorry, sweetheart. You just caught us in a moment of... Well...\" Cordy taking the bottle of champagne from Virginia:\"Reality.\"Virginia: \"Oh - that. I avoid that.\"Gunn: \"How do you avoid reality?\"Virginia: \"Money. It cures everything but boredom (holds up the basket) and food cures boredom, so there you go. Imported chips andpackets of cheese.\"Gunn: \"Thanks.\"Wesley: \"We'll enjoy them huddled around our pathetic candles.\"Cordy: \"We'll make pathetic nachos.\" Cordy pops the cork and takes a sip from the bottle.Virginia: \"You guys arereally down.\"Gunn: \"Yeah. And don't try to tell us there is no way to go but up, because the truth is - there is always more down.\"Virginia: \"Oh! And that was very well said by the way. But I found a case for you. Aclient. A rich one.\"Wesley: \"Really?\"Cordy: \"And this isn't the first thing you say when you come in the room?\"Virginia: \"Well, I got distracted by your waves of desperation. But it's true. My friend Patricia, her family,they've got like this big guy that's been harassing them, hanging around the house getting scary, and they'd be really grateful if someone got rid of him.\"Gunn: \"That sounds easy.\"Cordy: \"Uh, wait. By 'big guy' do youmean demon?\"Virginia: \"Yeah. And by 'house' I mean palatial estate, and by 'grateful' I mean they'll give you big tubs of cash. Really rich family. They invented, uhm, I don't know, like - chairs, or something.\"Cordy:\"We'll do it! We'll do anything.\"Virginia: \"Oh, that's so sad. Anyway, he's a Wainakay demon, and he got the eldest son already.\"Cordy: \"So there's been a death? (Virginia nods) You just let these facts kind of dribbleout, don't you?\"Virginia: \"I'll call Patty and tell her you'll take the job.\"Wesley: \"Uh, sweetie, no phone.\"Cordy: \"Also no lights.\"Gunn: \"And there's a funky smell.\" The three of them start to leave the office.Virginia: \"Iwasn't gonna say anything.\" The university, day. Gene enters his lab, sees the equation on the board.Gene: \"Nine to the seventeenth. Where C squared and E squared are obtained by differentiating them... fourvelocity! Four velocity termination?\" Quickly takes off his jacket and enters the changes in his laptop. Turns to watch as the mercury drops into the field and - remains suspended within it.Gene: \"I did it. - Oh, this is ayee-ha moment. I - I definitely think this is a yee-ha moment!\" Runs out of the lab.Gene: \"Yee-ha-ha!\" Gene runs across the campus past the Reynolds Library. Angel and the host enter the library through a door with a'basement access' sign on it.Angel: \"Where did you learn how to drive?\"Host: \"Just now in your car. Not bad for a beginner, huh?\"Angel: \"What? You nearly got us killed - four times.\"Host: \"Someone had to drive. Youweren't exactly qualified, huddled under a blanket in back, hiding from the sun. (Turns to face the shelves as a student passes them) I better stick to the shadows and think of something to say should we happen upon acomely co-ed.\"Angel: \"Tell her you're the new school mascot. Wait here.\" The host pulls out a book and opens it to hide most of his face behind it as he watches Angel walk up to the information desk. A girl walks by,glancing at the host and he quickly raises the book to duck behind it completely. Comes back up to see the guy behind the desk handing Angel a stack of books. Angel hands half the stack to the host.Angel: \"Studentyearbook/faculty publications going back past five years. Lets see if we can't find your little madman bent on destroying the universe.\"Host: \"I like to think of him as *our* little madman. That's just me, team player,you know?\" As the host puts the book back on the shelf and turns to follow Angel, we see one of the raccoon-eyed demons standing on the other side of the stack. Denise and the girl from the physics lab are sittingoutside on a bench.Val: \"You alright girl?\"Denise: \"Huh? - Yeah. Fine. I'm good. You know, I'm - not - perfect. Oh, god.\"Val: \"Come on, spit it out. You're among friends.\" The camera pans past the banister behind thebench they're sitting on to show Gene coming up the steps behind them. Gene hears Denise voice and slows to a stop.Denise: \"This has to stay among friends. You can't repeat this to anybody.\"Val: \"I won't.\"Denise: \"Ijust - I just don't think that it's gonna work out with me and Gene.\" Gene freezes behind them on the steps.Val: \"Oh. And tonight is your guy's one year anniversary!\"Denise: \"You think I don't know that?\" Gene justkind of sags.Val: \"Oh, honey.\"Denise: \"I mean, Gene's a wonderful guy.\"Val: \"Yeah?\"Denise: \"But he's just sort of - hollow, or something. When I'm with him I feel - I feel lonely.\"Val: \"Maybe that's because *he* is. Youknow I love him, but he *is* an energy sucker.\"Denise: \"I have to break up with him.\"Val: \"Uh. Not to be a massive bitch or anything, but couldn't you figure that out *before* the big anniversary do?\"Denise: \"He's gotthe whole thing planned. He's making me dinner at his place.\"Val: \"What are you gonna do? (Denise just looks down) Oh, my god. You're gonna give him the sympathy bone, aren't you? It's gonna be dinner, sympathybone, and adios Gene. I'm totally right, aren't I?\"Denise: \"Well, we've been together for a year. I can't just - walk out on him! It just wouldn't be right. Not after all we've...\"Val: \"No, you're right. Thepost-sympathy-bone-walk-out is you're only escape hatch now.\"Denise: \"It was really sweet there for a while. Really sweet. But it's just - it's just not the kind of love that lasts.\" Gene turns around and walks back downthe steps. The host and Angel are looking through the yearbooks at a table at the library.Angel: \"This him?\"Host: \"It is not.\" Angel drops his book and picks up another one.Host: \"Oh, got him. - He's a physicist - and apretty good one according to this.\" Angel grabs the book from him: \"I'll find out where the lab is.\" Angel shows the picture in the book to the guy behind the information desk.Angel: \"Hi. I'm just trying to get a hold of -"}
+{"doc_id":"doc_170","qid":"","text":"This is the address for Luke Cafferty. Where does he really live? East Dillon. You're gonna have to pack up your stuff. Starting tomorrow, you're going to be going to school at East Dillon High. What? Kind of looking for aplace. I do have this trailer.Cheryl: I am going to give my daughter a call.Hey. Don't want you to scare her.(stammering)I'm your new intern. Yeah, I got a bunch of crap in here. I need you to start moving it. Why didyou forfeit the game? You just quit on us? I have got shame and I apologize to you. Who wants to finish this fight?Dallas: Let's do this, fellas! Let's finish it. Let's finish it.( Park where the Lions are gathered around anold red car, Stan sits inside. )Eric: Hey, listen! Ten of you are gonna push the car. Once we get out there and everything, the rest of you hold the helmets and collect the money. Understood? Be careful, don't get yourfeet run over while we're out there. Any questions?Tank: Matter of fact, I do have a question.Eric: What is it Tinker?Tinker: Why are we pushing this damn car?Eric: One, you need to watch your language. Two, nexttime I see you I want whatever that is on your upper lip shaved off. And I tell you why we're pushing the car, cuz it's a fun football fundraiser. And we're all gonna have fun so we're all gonna put smiles on our facesright about now. Team comes out, town comes out, money gets exchanged. It's a good thing. Understood?Tinker: Got it coach!Eric: Let's be kind and courteous out there. Let's go.( The team starts pushing the car outof the parking lot. )Stan: (into his megaphone) Hello neighborhood! We're the Lions! (he roars) Let's hear it guys! (roars)[EXT. Dillon Church]( Tami and Julie exit the church, headed to the car. Tami is holding Gracie.)Tami: Even at church, everyone is really not being nice to me about this whole Luke Cafferty thing?Julie: Yeah, well, that's our congregation. All sweet and holy inside the church. Then as soon as they get out the door,bitchy and judgmental.Tami: Well, welcome to the world, honey.Julie: It's not gonna be my world.Tami: What's not gonna be your world?Julie: Going to church with a bunch of hypocrites.( Tami starts to load Gracieinto her car seat. )Tami: Honey, hypocrites are everywhere. It has nothing to do with church. That's no way to think about it. There's always going to be some bad apples but church is about you and God and thingsother than just people..Julie: So if it's just about me and God, why can't I just worship at home?Tami: I mean, I think church is also about community and family and you know, there's just a lot to it.[EXT. Streets ofEast Dillon]( The team is pushing the car down the street while Stan yells out. )Stan: We need your quarters, your dollar bills, your good wishes in monetary fashion! Let' hear it boys!Tinker: (to Vince as they push thecar) I feel the love. You feel the love?Vince: Shut up, stop sweating on me and push this piece of junk, okay?Stan: We got forty bucks, people! Thank you, good people of the street!Eric: (to people donating money)Good to see 'ya! Thank you very much! Thank you very much!Stan: We are the East Dillon Lions! Speed up! Speed up! Feed us! Roar!!!( Tim walks up to Coach. )Tim: I'm out.Eric: What do you mean you're out?Tim:I'm out of money.Eric: What do you mean you're out of money?Tim: I'm out of money.( Eric pulls some cash from his pocket. )Eric: (handing it to Tim) Listen to me. This is all I got left. That's about a hundred bucks.Don't give it all to one person.Tim: AlrightEric: Spread it out.Tim: I'm trying, some are taking it.Eric: Well, give it to people who won't take it.Stan: Look at these boys pushing this car for ten miles![EXT. RichardSherman's studio]( Matt grabs a rusted tricycle and takes it into the studio where loud music is playing while Richard welds. )Matt: Hey! Here's the tricycle.Richard: What?Matt: Tricycle!( Richard stops working to look atit. )Richard: That's great. Listen, I need you to drive me to Clearwater on Tuesday. I need to pick up some metal so I can finish this piece of crap.Matt: Why do you call everything you work on 'crap'?Richard: Because itis all crap. I call the Mona Lisa crap. In fact, the Mona Lisa is crap. There are better things I call crap.Matt: Alright, well, Clearwater is like 200 miles away.Richard: Just about.Matt: Right. And I gotta shift I gotta do soI... I mean, I can't take the whole day and chauffer you up there.Richard: Yeah, yeah, you're here to learn about art from an artist! You can't take a day off because you gotta a shift to deliver pizza?( Matt has nocomeback for this so Richard just gets back to work. )[EXT. East Dillon High School]( Eric is walking with the Principal Levi. )Levi: We already have uniforms. Why do we need new ones?Eric: Cuz I burned theuniforms.Levi: Taylor---Eric: I burned them. That's what you do. They're damn thirty years old. It's not like I just burned them for no reason. You end the old cycle, you start the new, Levi. You know, you get rid of thepast.Levi: Uh-huh.Taylor: Fact of the matter is, the team and I we went out and we made up a good amount of money it's just that...Levi: That's good.Eric: We're just... we're just a little shy of what we need and all I'masking is you and the school, is if you help us with the down payment. Hell, we can pay for the rest of them.Levi: I don't think you understand the financial situation here. We ain't close to talking about more money forfootball.Eric: Listen Levi, it's expensive to start up a new football program...Levi: Starting up a new football program is a little premature. Let's see if we can finish up some games before we start writing somechecks.Eric: What the hell is that supposed to mean?Levi: You can't finish games, I can't keep this program going. I can't have no students getting hurt. I don't want no jokes down at the school board meetings. I'mtired. Either you turn it around or we're gonna shut it down.Eric: What do you mean shut it down? You're gonna shut down a football program?Levi: Taylor! You weren't even supposed to take this job! You weren'tsupposed to be here. So you're the only who didn't get the joke. Okay?( CREDITS )[EXT. Tim Riggins' trailer]( Becky is knocking. )[INT. Tim Riggins trailer]( Tim is crawling out of bed. )Tim: Yes? Yeah![EXT. TimRiggins' trailer]Becky: Morning! I made you toast.Tim: Are you serious?Becky: Yeah. It's worth it, eat it.Tim: What time is it?Becky: Morning. Hey, and since you're up, can you give me a ride to school?Tim: No.Becky:Come on. Put some pants on.( She starts to close the door. )Becky: Watch your head. Watch your head.( She closes the door. )Becky: Hurry up! I'll be waiting in the truck.Tim: What's wrong with you?[INT. TaylorKitchen]( Tami is feeding Gracie Belle. )Tami: Here you go, sweetheart. There. Here's your sippy.Julie: Good morning!Tami: Hey, Honey.Jule: Good morning, Grace.Tami: You know yesterday in church, all that stuff youwere saying... Do you feel like we're making you go to church?Julie: It's not like you're making me go to church it's just... you know, something we all do as a family. It's like a tradition but if you stop going than I don'tthink I'd probably keep going.[INT. Restaurant with the West Dillon coach and boosters.]Joe: Coach Taylor at half-time: We're done! We're beat up! We can't play anymore!( Laughter all around when Buddy enters therestaurant. )Joe: I couldn't believe it!Buddy: Hey, guys.( It's quieter now. )Booster: Hey, Buddy.Buddy: Well, you're waiting on me. You're backing up.Booster: We missed you at the game Friday night, Buddy.( Buddystarts to sit down and Joe is just sitting there smiling like a Prince on his throne. )Buddy: Yeah, I had to listen to it on the radio. I was really sick, it's terrible.Joe: Anything you feel like sharing with us, Buddy? Anythingabout a certain mailbox or an old friend of yours named Eric Taylor?Buddy: Oh, no. I don't think so. I don't know what you're implying. (all eyes focus on Buddy) I think this Luke deal has made everyone go a littlecrazy. (he twists his State Ring) You know, Joe, I was a Panther before everybody here. So, I'll just pretend you didn't say that. Go ahead with the agenda, Joe.( Joe has *that smile* on his face. )Joe: Alright then.Gentlemen, there is a 13-yr old quarterback in a Pop Warner League down in Little Tree that needs a closer look at. Who's gonna go down there for me?[INT. East Dillon Locker Room]( Team just hanging out. Vince iseyeing Luke as he chats with Landry. )Player: Lions in the house. Let me hear you say, \"Oh yeah!\"Vince: (to his friend, referring to Luke) What the hell that dude so happy about?Player: I don't know what he happyabout. I guess he think he gonna come down here and kick our asses or something.Vince: Something.Tinker: He's all, I'm a Panther.Player: We the Lions.Eric: Let's go, guys. Let's go! Let's go.Stan: Come on boys!Execute!( Vince lingers until Luke walks by. )Vince: You're a long way from home boy.Luke: I guess so.[EXT. East Dillon Football Field]( Practice. Tim is there helping out. )Eric: Come on, get after him. Pick him up. Pick-- come on, Vince. What are you doing, man? You're dancing out here. Dancing. Don't start my day off like this. Why is it I'm always talking to you? I spend half my day, my practice, talking to you. Get in the front. Doit again. Get in the front. Let me see it. Luke come here. I want you down at the defensive backs.Luke: I don't play D, coach.Eric: If I tell you to get down to the defensive backs you do. Get on the defensive backs. Tim,you wanna take him down? If you'd like to hurry that up, that'd be just fine.Tim: Riggins.Luke: I knew that. It's a pleasure, man.Eric: (focusing back on practice) Do it again. Let me see it again. Get after him! Movehim! Come on, let me see some of the speed!Tim: How you doing?Luke: I mean, I'm alright 'cept I don't play DB.Tim: It's alright.Luke: What are you doing here? Coaching now?Tim: I'm helping out when I can.Luke:Nice.Tim: Yeah.Luke: I saw you win State.( Luke raises his hand to either high-five Tim or maybe as a gesture to see Tim's ring. Either way, Tim ignores it. )Tim: Yeah, here. You go DB it up.Luke: Alright.[EXT. PantherPizza]( Matt is exiting with his deliveries while Julie reads something to him. )Julie: His last installment at the Austin Museum of Modern Art is nothing short of mind bending. A violent fusion of metal and artistry thatinvokes somehow both anger and beauty through a complex interplay of architecture and light. Brilliant, visceral, and ultimately, ethereal, this work is not to be missed.Matt: Are you sure you got the right RichardSherman?( Julie opens up the hatchback to Matt's station wagon so he can load the pizza. )Julie: Yup, it's him.Matt: \"Brilliant and ethereal\"?Julie: That's what it says.Matt: The dude is like an angry, abusive idiot. I don'tunderstand how he can get described as ethereal.Julie: I don't know. Maybe it's his evil twin.Matt: Yeah, maybe. Clearwater and back. This is going to be 400-miles of Hell.[INT. East Dillon Locker Room]( Coach isworking on fixing the lights when a man enters. )Man: Hey, coach.Eric: Hey, Doug, how you doing?Doug: I'm good.( Eric finishes with the light. )Doug: Nicely done.Eric: How is everything?Doug: Good. Good. Theuniforms are look great, they're coming along, look beautiful. You're going to be real happy.Eric: Look, I know... I know I'm late on payment and all this but...Doug: Nah, look I know things are rough here right now. It'sjust we're gonna deliver on Friday.Eric: I understand we've had a few little hiccups with our fundraising and uh...Doug: Sure, sure. Well, look Coach. You've been a friend of Under Armor for a long while and that's whywe're doing this at our cost and I'm gonna throw in some hats and polos for your staff cuz you helped me out when I was starting off, you know. So I won't forget that.Eric: I appreciate that, I appreciate the...Doug: ButI'm gonna need a little something to, uh, take back to Baltimore.Eric: I understand. How much? How much is it that you need - today?Doug: Five.Eric: Five thousand?Doug: Alright, um, you give me three now and twomore on delivery and we'll let it go at that.Eric: Alright.( Eric pulls out a personal check. )Eric: Alright. That's good, thank you.Doug: Yeah, absolutely.( Eric writes out the personal check and hands it to Doug. )Doug:Let me get that for you.Eric: Listen, I appreciate that very much. I appreciate your understanding.Doug: This, uh, a personal check, Coach?Eric: Yes, it is.Doug: This gonna be okay with you?Eric: If it's okay with you,it's okay with me.Doug: Oh, yeah. Alright. I'll get it going.Eric: Thank you. Thank you very much.Doug: Thank you.( Doug leaves. )Doug: Alrighty!Eric: Alright.[INT. Coach and Mrs. Coach's bathroom]( Tami is applyingher make-up. )Tami: Julie the other day was talking about how she doesn't want to go to church anymore. I think she's questioning her faith or something.Eric: Well, you know what? She's a teenager. You give her aweek and she'll turn around. Be a hundred and eighty degrees.Tami: Yeah but who knows where she'll go from there.Eric: Well, I don't think she's going to hell anytime soon so I don't think you have to worry about it.Listen, I gotta go meet with Buddy tonight. I'm gonna try and figure out how in the hell you're supposed to beg money from the Boosters.Tami: Ugh, I hate that. Alright. Hey, listen, did you write a check and not put itin the book because there's a check missing.Eric: Oh yeah, it's uh, for Reds. It's for the Dry Cleaners. It's for $45.Tami: Honey...( Eric starts to leave. )Eric: Sorry.Tami: You've got to put that stuff in the book.Eric: Iknow.Tami: I can't keep track.Eric: Alright.[EXT. Richard Sherman's Studio]( Matt drives up in his station wagon when Richard exits acting like he's been waiting all day. Matt starts to get out when Richard gets in.)Matt: Well, I'm here.Richard: Come on, let's go. We got 200 miles to cover.Matt: We're taking my car? I hope you're paying for gas.Richard: So I'm teaching you the meaning of life and I'm supposed to cover for gas,too?Matt: Meaning of life, yeah.Richard: Maybe I should get you a lunch and how about a damn souvenir?Matt: I'm just saying this is a non-paying internship, okay.Richard: Smells like old pizza in here, man.Matt: Well,that's how I pay for gas. Glad you're masking it with cigarette smoke.Richard: That's cool. That's cool.[INT. Coach's Office]Eric: Landry!Landry: Yes, sir!Eric: Come here.( Landry walks in with his helmet put funnily onhis face. )Landry: Yeah, coach?Eric: I want you on special teams today working on bunting.Landry: Yeah. I'd love to catch some punts.Eric: Good.Landry: That's uh...Eric: I don't want you catching. I want youpunting.Landry: You want me, like, um, kicking the ball? I don't know if I've ever...Eric: Yeah, that's what you do when you punt the ball.Landry: No, I, uh understand...Eric: You work on it.Landry: I know what itis.Eric: Special teams punting. Can you do that for me?Landry: Yes, sir. I just, I'm only...Eric: I appreciate it.Landry: Always considered myself kind of a...hands man.Eric: I need a punter! So if you would consider hangtimes and coughing corners, I'd appreciate that. Thank you very much.Landry: Yes, sir. I'll got start practicing right now. Thank you, Coach.( Landry leaves and Eric rubs his head when Luke knocks. )Eric: Yeah?Luke:Coach, can I have a word please?Eric: Yeah, sure. Come on in.Luke: Coach, I think we got off on the wrong foot and I just wanted to clear everything out. I just want to say, I don't hold anything against you. Everythingthat happened between me and your wife over at Dillon. And I'm not here to give you a hard time. I'm here to play football.Eric: Well, good. I'm glad. I'm glad.Luke: Okay.Eric: Cuz I don't think you should be holding itagainst me. As far as my wife is concerned, my wife wasn't the one who caused these problems for you. You caused these problems for yourself, isn't that about right? You were doing something knowingly wrong andyou got caught. Yeah? That lands yourself right on a plate of responsibility so why don't you take that responsibility. And as far as the rest, we'll see what you got when you're out there.Luke: Alright. Thanks,coach.[EXT. Junkyard]( Matt and Richard are loading metal into the back of the station wagon. )Richard: (holding up a piece of metal) You see stuff like this, okay? Get that, too.Matt: Alright. You know, when you'relooking at all this rusty, metal stuff, you know, it's all dirty and stuff, do you see something in it?Richard: Do I see something in it?Matt: I mean, like something, like you know, like, for your art.Richard: (picking up apiece of safety glass) Oh, oh... shh. Oh my, oh, oh, I see the face of God.( He drops it. )Matt: Alright.Richard: I don't know, man! I don't know. You ask too many damn questions. Questions.Matt: It was onequestion.Richard: Gonna take a little break. Not you but... Let's get the rest of that stuff in there, alright?Matt: Yeah.[INT. Bartender's House]( Tim exits the bathroom with a toothbrush in his mouth and heads to theliving room where he sees Girl. )Tim: Hey. I had to borrow your bathroom cuz mine's not working.Becky: Okay.Tim: I talked to your mom about it. She said it's cool, so...Becky: (laughs) Okay, I don't care. Hey, whichone do you like better? (she holds up two dresses) The red one or the pink one?Tim: For what?Becky: I have a pageant coming up and these are kinda old but I don't think they're too short. What do you think?Tim:Yeah, I don't think I'm qualified. I think it's best to ask your mom about this kind of stuff.Becky: She's not here. And you don't need to be qualified, it's just a dress. Which one do you prefer?Tim: Where's yourmom?Becky: She's working.Tim: Every night? She can't help out with this ever or what?Becky: Yeah. It's not a big deal. Okay, I can try it on for you if that's easier?Tim: What?Becky: I can try them on for you.Tim: Idon't know. (he starts walking out) I don't think I....Becky: Wait! Which one?Tim: Just, you're good. Pink for sure! Get the pink! You'll win with that. Good luck.( And with that, he leaves. )[INT. BAR in Clearwater](Richard is playing shuffleboard. )Richard: Dah!Matt: Alright, so how about I just throw my last two pucks and then we just take off?Richard: What's your hurry?Matt: I got stuff to do. I got people I got to take care of.It's not like we're doing anything here. We're just playing shuffleboard.Richard: Alright, let's talk then.Matt: You want to talk now?Richard: I can talk. You know, I'm not a dick all the time. So talk. Talk.Matt: I don'tknow what to say.Richard: Start anywhere.Matt: Fine. What would you say is the most important tool for an artist to have?Richard: What's with you and all these questions?Matt: You just told me to talk.Richard: Imeant, you know, talk about yourself while I secretly mock you inside my head.Matt: Oh, okay, alright, you know what? How about I just settle up our tab and then we'll take off.( Matt sits down at the bar when Richardsits down next to him. )Richard: Alright. Okay. Watch out. The most important tool an artist can have is selfishness.Matt: Selfishness?Richard: Yeah. It means you're gonna spend your life trying to express some quietdark corner, deep, deep inside you. You will put aside love, God, life! In order to follow this craving. So my advice to you is to just screw everybody else and maybe you got a chance.[EXT. A bar elsewhere...]( Eric andBuddy are sitting at a bar. )Eric: I wrote a personal check. I've got to get that money together and I've got to get it quick. I don't know how to talk to a boosters, you do. I don't know how to ask for money. You're getat asking for money. All I'm doing is asking for your help.Buddy: I know and I'd like to Eric but I got Joe McCoy and the other guys breathing down my neck. I mean, they think I'm the one who told you about themailbox.Eric: You are the one who told me about the mailbox.Buddy: I know! But I've got to unknow that right now. I mean, they may be having me followed! They probably got my phone tapped or maybe bugged forall I know. You know these guys, they're crazy!Eric: Yeah, they're crazy all right. Let me tell you something: Levi, now, Principal Burnwell, has informed me he's willing to shut down the football program at the highschool if need be. That's what I'm up against. I'm asking you for your help.Buddy: That's terrible. And I'm sorry to say this but I cannot help you right now. I just can't.Eric: You know what, Buddy?Buddy: What?Eric:You need to polish that ring of yours. It's looking a bit tarnished.( Eric gets up and leaves Buddy looking at his ring. )[INT. Taylor Bathroom]( Julie is brushing her teeth (are we sure we're not sponsored by Colgate???)while Tami stands nearby holding Grace, trying to put on the little girl's shoes. )Julie: An earthquake in West Texas?Tami: Yeah, they have 'em. Odessa. Odessa's on the permian basin and that's a fault line, honey.They have 'em. What would you do? Would you pray?Julie: Well...Tami: (to Grace) One more, one more.( Julie spits. )Julie: I'd probably check on you and Gracie and Dad and then I'd stand under a doorway.Tami:Alright, I know, I hear you. That's great. That's all good but would you pray?Julie: How 'bout next time there's an earthquake in West Texas I'll let you know?[EXT. East Dillon Football Field]( Usual suspects plus Tim."}
+{"doc_id":"doc_171","qid":"","text":"Michael: Yeah! Everything! Oh it's all good, it's all good. Phyllis!Phyllis: Dancing babies!Michael: Dancing babies! I love it! I love it![SCENE_BREAK]Michael: We are making a commercial for Dunder Mifflin today. Our firstad ever. Corporate purchased some air time in local markets to spread the word about Dunder Mifflin Infinity and they are even sending up a professional ad company to help us make it later so... it's uh, not tooshabby.[SCENE_BREAK]Andy: Best ad ever. [sings in the tune of the \"Kit Kat theme song\"] Gimme a break, gimme a break, break me off a piece of that... I am totally blanking. What is the thing?Jim: Nobody tellhim!Andy: What? No, why?Jim: You got it, you're so close!Andy: [singing] Break me off a piece of that... huh huh huh... br- applesauce.Jim: Break me off a piece of that applesauce, I don't think...Andy: Break me off apiece of that Chrysler car.Jim: Nope.Andy: Football cream. Grr!Michael: Okay, it's football cream. It's football cream. Alright! So, anybody else?Pam: I'm taking a computer animation class so I could try to do alogo.Michael: Look at that. Even the receptionist is getting in on the creativity. Very good, very good.[SCENE_BREAK]Michael: Hello hello!Ad guy 1: Hey, how ya doin'?Michael: Michael Scott.Ad guy 2: Hey,Michael.Michael: Regional manager.Ad guy 2: Hey Michael, nice to meet youMichael: Excited to talk ideas.Ad guy 1: Let's do it, man.Michael: You know, I want this to be cutting edge. I want it to be fast, quick cuts, youknow, youthful, sort of a MTV on crack kind of thing.Ad guy 1: That sounds great.[SCENE_BREAK]Michael: All right, good, well this is what we have to work with.Michael: I would like you to meet Andrew Bernard. The'Nard Dog. Who let the 'Nard Dog out?Andy: Hoo hoo hoo-hoo!Michael: He gives the best back rubs in the office.Andy: It's true, I give a mean backrub. I also do good aromatherapy [makes farting noise]. Not! You justgot 'Nard dogged!Michael: Now this gentleman right here is the key to our urban vibe.Stanley: Urban? I grew up in a small town. What about me seems urban to you?Michael: Stanley is hilarious. Phyllis is like our Mrs.Butterworth. Kind of a less urban Aunt Jemima.Michael: These are our accountants. And as you can see they are very different sizes. What you might want to do is kind of a Papa Bear, Mama Bear, Baby Bear thing. Thatmight be kind of fun.Kevin: [looking at Oscar] Mama Bear!Michael: Who else?[SCENE_BREAK]Jim: I think it's great that the company's making a commercial because not very many people have heard of us. I mean,when I tell people that I work at Dunder Mifflin, they think that we sell mufflers, or muffins, or mittens, or... And frankly all of those sound better than paper, so I let it slide.[SCENE_BREAK]Jim: You playing that gameagain?Dwight: Second Life is not a game. It is a multi-user virtual environment. It doesn't have points or scores, it doesn't have winners or losers.Jim: Oh it has losers.[SCENE_BREAK]Dwight: I signed up for SecondLife about a year ago. Back then my life was so great that I literally wanted a second one. In my Second Life I was also a paper salesman and I was also named Dwight. Absolutely everything was the same. Except Icould fly. [shot of Dwight's avatar flying around][SCENE_BREAK]Michael: [reading off piece of paper] Little girl in a field holding a flower, we zoom back to find that she's in the desert and the field is an oasis. Zoomback further the desert is a sandbox in the world's largest resort hotel. Zoom back further the hotel is actually the playground for the world's largest prison. But we zoom back further---Ad guy 1: Okay I can tell thatyour time is valuable---Michael: Actually I don't get paid by the hour anymore, but thank you, I get paid by the year, so...Ad guy 1: That all sounds really, really ambitious.Michael: Yeah, I know.Ad guy 1: Why don't weshow you what we did with the Nashua branch?Michael: Mmm. Okay. [commercial plays on laptop, peppy music in background]Michael: That's what Nassau came up with? That sucks! [chuckles] Whoa.Ad guy 1: That'swhat we came up with.Michael: Well we can do better than that.Ad guy 2: Well the main part of the ad has to stay the same, actually.Ad guy 1: Yeah, it's the last five seconds where we have some leeway.Michael: Thewaving?Ad guy 1: Well, no, no. You don't have to be waving. That was just what they did. You guys can be clapping. Sitting. Standing outside, inside, whatever. This is where you really get to becreative.[SCENE_BREAK]Andy: I need some advice. I've been spending a lot of time making out with Angela lately. But we've been necking, but only necking. Right? Not actually kissing, our mouths, just the neck onneck. It's just like rubbing slash nuzzling our necks together. It's hot, I'm not going to lie to you , but it's a little weird, but you seem like a guy with answers, so how do I fast track this to get to first base?Dwight: Wecannot talk about this... because, someone might hear us.Andy: We'll use code names.Dwight: Angela can stay the same, but we'll change Andy to Dwight.Andy: That's not different enough.Dwight:Dwike?[SCENE_BREAK]Receptionist: You have a call from Eddie Murphy.Ryan: Hello?Michael: [on speakerphone, Eddie Murphy voice] Shrek! Shrek, I'm a donkey! I'm a donkey, Shrek! [laughing] I'm just kidding. It'sme. Hello Ry.Ryan: What?Michael: Okay, calm down. I have a small problem.Ryan: I told you not to call about small problems.Michael: Yeah, well when I call about big problems you don't like that either, so make upyou mind, kiddo. Here is the deal, the ad guys that you sent are locking me in a creative box, and sort of ignoring my ideas.Ryan: That's good. They're creative, you're not.Michael: I'm creative, Ryan.Ryan: It's not partof your job, it's like, maybe you can cook but it doesn't mean you should start a restaurant.Michael: Well actually I can't cook, and I am starting a restaurant. Mike's Cereal Shack. I'm thinking we'll have as manyvarieties as you can buy in the store.Ryan: Okay, I'm not really interested in that right now. I'm delegating creativity to creative professionals. It's a different skills set. Look, I wasn't good at sales, right?Michael:Yeah!Ryan: But I'm good at managing people who do sales .Michael: Are you? I don't think you're doing such a good job here, suppressing ideas and creativity.[SCENE_BREAK]Michael: All right, let me ask you this, tellme if you think this is creative. When I was five, I imagined that there was such a thing as a unicorn. And this is before I had even heard of one, or seen one. I just drew a picture of a horse that could fly over rainbows,and had a huge spike in its head. And I was five, five years old. Couldn't even talk yet.[SCENE_BREAK]Michael: Hey guys, um, you know what, we cannot shoot this ad today.Ad guy 2: Okay, when should we comeback?Michael: How about never hundred hours, sir.Ad guy 2: We were sent here to help out.Ad guy 1: Okay I'm not going to argue with this guy. Let's go. Good luck dude.Michael: Hey thanks. Thankyou.[SCENE_BREAK]David Wallace: [on phone] Michael, David Wallace. What is this about dismissing the ad people?Michael: Yeah, I'm glad you called. Ryan is being a little bitch again.Ryan: I'm on Michael.Michael:What's up my brotha? Listen, David, I would like to do this ad in house. I want to use only the creativity that we have right here in the office. And I will send it to you tomorrow morning, take a look at it, and if you donot think that it's ready to air, send the ad agency back down here, and we'll do it on my dime.David Wallace: This is weird.Michael: I'm willing to stake my entire reputation on it.David Wallace: Okay, I'll see ittomorrow.Michael: Okay. [hangs up phone] And thus, Michael Scott sealed his own destiny. In a good way.[SCENE_BREAK]Michael: Has anyone ever come up to you and said, \"You're not creative\"?Dwight: Yes.Michael:Well they're wrong. You are creative. You are damn creative. Each and every one of you. You are so much more creative than all of the other dry, boring morons that you work with.Jim: Who are you talking to,specifically?[SCENE_BREAK]Kevin: I kind of know what it's like to be in commercials. My nickname in high school used to be Kool-Aid Man. [makes squinty face][SCENE_BREAK]Oscar: When I was younger I alwayswanted to be an actor in commercials. Then I realized I had a brain.[SCENE_BREAK]Meredith: I'm excited about doing the ad, but I'm not really used to doing videos with so many peoplearound.[SCENE_BREAK]Michael: We have three scenes to film, big scenes. We have a song to write. So let's get cracking. Kelly, I want you to do makeup. Oscar, I would like you to do costume design, obviously.Phyllis, I'd like you look around town and see if we have any celebrities in our local area.[SCENE_BREAK]Phyllis: [gasps] Sue Grafton is at the Steamtown Mall. She's doing a book signing right now.Michael: Okay, okay,Phyllis this is what I want you to do. I want you to go down to the mall. I want you to get in line. I want you to get her to be in this commercial. This would be a huge coupe people. All right? Do not take no for ananswer.Phyllis: Okay.Andy: Does anyone actually know what Sue Grafton looks like? I mean, is she hot or-?Creed: She's crazy hot.Andy: Well then maybe we should just use Angela and say she's Sue Grafton. Wouldanyone notice?Angela: That's not happening.[SCENE_BREAK]Angela: I find the mystery genre disgusting. I hate being titillated.[SCENE_BREAK]Phyllis: Bye everyone.Michael: Line it up Phyllis.Creed: Get herPhyll.[SCENE_BREAK]Darryl: [singing] Out of paper, out of stock, there's friendly faces around the block, break loose from the chains that are causing your pain.Andy, Creed, Kevin, Kelly, Darryl: Call Michael orStanley, Jim, Dwight or Creed. Call Andy and Kelly for your business paper needs.Darryl: Dunder Mifflin.Andy, Creed, Kevin, Kelly: The people person's paper people.Darryl: Dunder Mifflin.Andy, Creed, Kevin, Kelly: Thepeople person's paper people.Michael: Time out, time out, time out, time out, time out. I thought... I was under the impression that this was going to be a rap.Darryl: What's rap?Michael: Okay, Darryl, wow, you needto learn a lot about your own culture. I'll make you a mix.Darryl: Great.[SCENE_BREAK]Andy: News flash. I got some juicy updates on Operation Fallen Angel. Remind me to tell you later.[SCENE_BREAK]Jim: Hey.Pam:No talk, I'm animating.Jim: Why don't we take a quick ten second break from that so I can show you what's going on here. [pulls up Dwight's game] Okay, this is Dwight's Second Life. He's on it all the time. So much sothat his little guy here has created his own world. It's called Second Second Life, for those people who want to be removed even further from reality.Pam: Are you serious?Jim: Yeah.Pam: Oh my God, he's really inpain.Jim: [sighs]Pam: Who's that?Jim: Oh, it's just my avatar guy. Whatever.Pam: He looks a lot like you. How much time did you spend on that?Jim: Not much, it's just for tracking Dwight so---Pam: Right... you're asports writer in Philadelphia? Nice build too.Jim: Yep.Pam: You have a guitar slung on your back. I did not know you played guitar.Jim: I... why don't we go back to this animation.Pam: No no no, I want to see more ofPhilly Jim. I want Philly Jim.Jim: Ah, show me how this works.Pam: Oh boy.[SCENE_BREAK]Darryl: [singing in different tune] Out of paper, out of stock, there's friendly faces around the block, break loose from thechains that are causing your pain. Call Michael, Stanley, Jim, Dwight or Creed. Call Andy and Kelly for your business paper needs. Call Dunder Mifflin.Andy, Creed, Kevin, Kelly: The people person's paper people.Darryl:Dunder Mifflin.Andy, Creed, Kevin, Kelly: The people person's paper people.Michael: Stop. Stop stop stop stop stop stop. This is not me. This is not my music.Darryl: You're right, it's better than you! It's us! [sings]Dunder Mifflin.Andy, Creed, Kevin, Kelly: The people person's paper people.Michael: No, I hate it! I hate it! ...I don't hate it, I just don't like it at all. And it's terrible.Darryl: You're on your own, Mike. [gets up and startsto walk away]Michael: Okay, you know what. Hold on, hold on Darryl.Darryl: You just said you hated it.Michael: No. I said I hate the, the style.[SCENE_BREAK]Andy: [singing] Break me off a piece of that lumber tar.Snickers bar.Michael: Okay, wow. Wow, this looks uh, terrible.Andy: Break me off a piece of that Grey Poupon.Michael: Andy, Andy, this is a pivotal scene in the ad. And if we don't get this, if we don't nail it, we'regoing to lose the whole triumph of the moment. The triumph of the will. Now, God, what? What Phyllis?Phyllis: [crying] Well, I got in line to buy Sue Grafton's book and when it came to my turn I asked if she wanted tobe in the ad and she said no thank you, but I wasn't supposed to take no for an answer.Michael: That'a girl.Phyllis: So I kept on asking and they finally threw me out of the store in front of all my friends.Michael: Didyou, or did you not get Sue Grafton?Phyllis: [sobbing] No.Michael: Ugh, can somebody give her a tissue please? [Kevin hands her piece of tape][SCENE_BREAK]Jim: I hope you're not killing yourself on this, because I'msure it's good enough for Michael's ad that will probably be seen by no one.Pam: Maybe, but it's not good enough for me yet.Jim: Okay. Do you want me to stay?Pam: No no, you can go home. I'mgood.[SCENE_BREAK]Jim: Pam is staying late tonight to uh, achieve her dreams. So I'm pretty proud of her, unfortunately she was my ride home.Meredith: You comin'?Jim: I, ah...Meredith: Piss or get off thepot![SCENE_BREAK]Pam: Dunder Mifflin, this is Pam.Jim: Good morning. [Pam sees breakfast sitting on her desk] Yeah I'm sorry, I looked away for a second and Creed snatched your hash browns.Pam: Thank you.Jim:You're welcome.[SCENE_BREAK]Pam: I worked until about 2:45 AM. And then I had to decide if I wanted to spend the night with Michael editing in his office, and Dwight watching Michael edit in his office, or drive homeand probably fall asleep at the wheel and die in a fiery car wreck. I passed out on my keyboard trying to decide.[SCENE_BREAK]Andy: Let me pour you some bubbly because somebody got to a whole new level lastnight.Dwight: Andy, I can't hear this right now.Andy: No, no no no, this is good. You know how we haven't really gotten anywhere that I want to get to physically yet? Well, last night, that changed. We're makin' out,I'm kissin' her neck, and cheek and her ear lobe, and she's not really kissing me back. But she closes her eyes and she's like, \"Oh D, oh D.\"Dwight: She called you D?Andy: Yeah. D for Andy.Dwight: Oh D.Andy: OhD.Dwight: [whispers] Oh D.Andy: Oh D!Both: Ohhhhhh D! [laughing] Ohhhh D![SCENE_BREAK]Michael: I'm about to send the ad to corporate... and it is sent. They'll probably watch it right away. I know I would. Okay.[dials phone]Pam: [on phone] Yes?Michael: Pam, please clear my phone lines.Pam: Certainly. [makes beeping noises] Okay, clear.Michael: They could call at any second now. [sighs] Oh God...I bettercall.[SCENE_BREAK]Michael: [Ten days later] Well, it's been tough. The uh, geniuses at corporate rejected my commercial and tonight they are airing the brain dead version. So welcome one and all to the worldpremiere of Corporate Crapfest![SCENE_BREAK]Everyone: [watching ad] Oh! [clapping and cheering]Bartender: Hey it seemed like a big hit.Michael: No, it was stupid. People like waving, waving sells. It's not art. Yetwe made our ad, the real one was full of humor, and full of depth, and full heart and it was real.[SCENE_BREAK]Jim: Hey, could you do me a favor? Could you put that in the DVD player?[SCENE_BREAK]Jim: Heyeverybody! Just want to welcome you all to the premiere of the real Dunder Mifflin commercial, the Michael Scott director's cut. Hope you like it.[SCENE_BREAK]Michael's Ad: [Chariots of Fire theme plays] It all startswith an idea. But you can never tell where an idea will end up. [people passing a Corporate Memo around to each other] Because ideas spread, they change, grow. They connect us with the world. [Kelly catches paperairplane that says \"I love you\"] And in a fast moving world, where good news moves at the speed of time [newspaper with Andy saying \"Hometown Boy Wins Race\"], and bad news isn't always what it seems. [Dwighthands Phyllis paper that says \"You have a son, and it's me\"] Because when push comes to shove we all deserve a second chance. [Stanley finds paper that says \"Turn your life around. Now hiring at Dunder Mifflin\"] Toscore. [Jim throws paper in basket, Michael retrieves it; it says \"World's Most Creative Boss\"] Dunder Mifflin. Limitless paper in a paperless world.[SCENE_BREAK]Everyone: [claps and cheer]Jim: Animation? All her bythe way. [points at Pam]Bartender: Really?Jim: I just thought you should---Bartender: The animation was cool.Pam: Thanks.Bartender: Hey listen, you ever been on a motorcycle?Jim: Ahh. [puts his arm aroundPam][SCENE_BREAK]Kevin: Michael, that was fun.Michael: That was fun. Next round of drinks is on me, people![SCENE_BREAK]Andy: [singing] Claude Van Damme, Hair for Men, poison gas, NutraSweet. [speaking]It's gotta rhyme with \"piece.\" Fancy Feast! [sings] Break me off a piece of that Fancy Feast! It's the cat food. Nailed it."}
+{"doc_id":"doc_172","qid":"","text":"EXT. WOODS - VIEWFINDERWILLIAM MOORE: (V.O.) I am here in Shenandoah State Park. Oh, that's beautiful. Wow!(CAMERA PANS POND AND HILLSIDE THROUGH VIEWFINDER)(ACTION CONTINUES AS MOORETUMBLES DOWN THE HILL)(MUSIC OUT)(THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT)[SCENE_BREAK]INT. SQUAD ROOM - DAYKATE: (V.O.) He did that? Yeah? (INTO PHONE) You're kidding.Well, I wouldn't put it in my romantic column, Deb. Definitely kinky. Maybe affectionately odd. But I mean, I don't find anything romantic about having s*x with...I'll call you back later.(HANGS UP PHONE)TONY: s*xwith a what?KATE: None of your business.TONY: Another woman?KATE: Go back to your desk.TONY: Another man?KATE: I told you.TONY: Some kind of root vegetable?KATE: You're disgusting.TONY: Wasn't me havinga conversation about kinky s*x, Kate.KATE: It was a private conversation, Tony, something you seem to have a difficult time with.TONY: If I'd been having that conversation, you'd accuse me of being aNeanderthal.KATE: Well, that doesn't require a conversation, Tony.TONY: You know what I think, Kate? I think there's a secret side to you. A Spike Steele video kind of side. Keep it hidden under your mattress.KATE:Leave now.TONY: Ah, you're a Spike Steel fan, aren't you, Probie?MCGEE: What, the p0rn star?TONY: No, the physicist.MCGEE: Oh, no not really. He looks kind of sleazy.KATE: Actually he looks a little bit likeTony.TONY: Oh, you have no idea how much he looks like me. Kate, how do you know what he looks like?KATE: I saw him on the news when he was arrested a few years ago.TONY: Really. Spike Steel's real name isJay McMann. And according to the National Crime Database he's never been arrested. Ever.(SFX: KEYBOARDING B.G.)GIBBS: What're you waiting for, DiNozzo?TONY: Uh...GIBBS: Gas the truck.TONY: I knewthat.GIBBS: McGee, get Ducky.MCGEE: What am I telling him, Boss?GIBBS: We have a dead Marine in Shenandoah River State Park. Come on! Let's go![SCENE_BREAK]EXT. STATE PARK - DAYKETT: (V.O.) SergeantWilliam Moore. Call came in from his wife.GIBBS: The friend?KETT: Sergeant Roger Caine. All camping together. This morning they were going to hike this trail. Sergeant Moore went ahead early to film the sunrise.When they couldn't find him, they called us. Early in the morning, it's really slippery up here. Sergeant lost his traction and slipped.GIBBS: Are you a trained investigator, Ranger Kett?KETT: Been working this park fiveyears, Agent Gibbs. It's as treacherous as it comes up here. Seen a lot of hikers go over.GIBBS: This hiker was a Marine.KETT: Yeah, well, this Marine slipped and fell to his death.GIBBS: You said he was filming.KETT:That's what his wife said. No sign of the camera.GIBBS: Me and my team can take it from here.[SCENE_BREAK]INT. TRAIL - DAYKATE: I wonder what happened to McGee?TONY: Probably passed out on the side of thetrial sucking his thumb.KATE: He joined a gym, you know.TONY: Is that right?MCGEE: (SHOUTS) Wait up!TONY: He should get his money back. Where the hell have you been?MCGEE: Ducky needed some help with hisgear. How much further is this?KATE: It's another quarter of a mile.TONY: Uphill. Stamina, Probie. It's very important in our profession. As it is in Spike Steel's profession.KATE: You relate to him, don't you,Tony?TONY: Oh, we have a lot in common.KATE: Stamina?TONY: For one.[SCENE_BREAK]EXT. CREEK - DAYDUCKY: What are your preliminary findings, Mister Palmer?JIMMY: Ah, lacerations, bruises, contusionsconsistent with a fall of this kind.DUCKY: And?JIMMY: And uh... I would imagine that the victim has sustained fractures of several limbs.DUCKY: Cause of death?JIMMY: Impossible to say until we get him back, but fromthe looks of his head wounds, I would say that he probably struck a rock.DUCKY: Cause of death?JIMMY: Shock.DUCKY: That would be my supposition as well.JIMMY: But what I don't get is the flesh trauma. What kindof wounds are these, Doctor?DUCKY: They're Coyote. They would eat the exposed tissue first.JIMMY: What's second?DUCKY: If what I suspect is true, the abdominal cavity has been chewed open. The liver and kidneyare a rich source of nutrients for these creatures.JIMMY: That's gross, Doctor.DUCKY: Well actually, Mister Palmer, we're quite lucky here. In some cases they chew off the head and carry it away so they won't have tofight other coyotes for it. My coroner friend in Los Angeles says coyotes take it \"to go.\" They're very strange in Los Angeles.GIBBS: Anything unusual, Duck?DUCKY: Not really, Jethro. I'll know more when I get ourMarine back on the table.MCGEE: Boss! I found the camcorder![SCENE_BREAK]EXT. CAMPGROUND - DAYJUDY: He was obsessed with the stupid camera. I gave it to him on his birthday. Maybe if he hadn't, he wouldn'thave slipped.GIBBS: Anybody else at this campsite while you were here.CAINE: No, Sir. Just the drunk. He was nothing to worry about. He was in a trailer over there. Scruffy guy. He was drinking too much. He gotloud. We asked him to keep it down.GIBBS: He didn't keep it down?CAINE: No, Sir. So we went over there and tried to reason with him. That's when he took a swing.KATE: You took a swing back?CAINE: No, Ma'am. Billput him in a head-lock 'til he calmed down and then he just took off.GIBBS: I don't suppose you got a license number?CAINE: No, point, Sir. The guy was harmless.JUDY: Bill spends eight months in Iraq and diesfilming a sunrise in Virginia.[SCENE_BREAK]INT. LAB - DAY(SFX: DOORS SLIDE OPEN)ABBY: That's not the way it works, Gibbs. This thing has been in water for hours. You don't just spray a little Four-Oh-Nine on thetape and off you go.GIBBS: Tape?ABBY: Yes. It's digital video tape.GIBBS: I thought everything was a chip these days.ABBY: No, they kind of married the old school with the new. You know like new hip-hoppers will goback to old-school rappers like Sugar Hill Gang.GIBBS: How long?ABBY: I have to separate the cartridge. I have to submerge the wheels in a cleaning solution with the heads up against it. I have to remove the siltcontaminants so they don't shred the tape...GIBBS: How long Abby?ABBY: Um... three, maybe four hours.GIBBS: Let me know when you got it.ABBY: Hey Gibbs, do you have a camcorder?GIBBS: Yeah. Digital,okay?ABBY: Good, Gibbs! Way to go! Did you make the jump to CDs yet? Because if you didn't, it's cool because all the hot D.J.s, they use vinyl these days anyway.GIBBS: Just get it to me.ABBY: Hey Gibbs! Gibbs!Gibbs! Gibbs! Gibbs! Gibbs! Gibbs! Peace out, man.[SCENE_BREAK]INT. AUTOPSY ROOM - DAYDUCKY: Indiscriminate predators; coyotes, fish, cats, garbage. They'll eat anything they can chew, unlike my mother whocan no longer chew anything. I assure you, Mister Palmer, it is a beastly sight.JIMMY: Yes, it is, Doctor.DUCKY: I was speaking of my mother.JIMMY: Right.DUCKY: Have you ever seen a rib-eye steak that's beenreduced to baby food by a Cuisinart?JIMMY: Not recently.DUCKY: It's remarkably similar to her burritos and her pizzas. Not to mention the Sunday dinner treat sushi through a straw. Give me a pair of tweezers, MisterPalmer. There's something peculiar here.JIMMY: What is it, Doctor?DUCKY: I haven't a clue. That's why you will take it directly up to Abby. I was thinking, Mister Palmer...JIMMY: Yes, Doctor?DUCKY: Perhaps it abouttime you came over to the house one evening.JIMMY: Came over?DUCKY: Join us for dinner.JIMMY: Ah... that'd... that would be great.(SFX: DOORS SLIDE OPEN)[SCENE_BREAK]INT. LAB - DAYABBY: Northern WhiteAsh. Ash trees are not indigenous to this area. And even if they were, you know any that have kiln dried wood and a lacquer coating?GIBBS: Lacquer?ABBY: Yep. Clear coat.GIBBS: Baseball bat.ABBY: Wooden bats aremade out of either maple or ash. Ash is more popular, but it tends to splinter more easilyGIBBS: Especially when they come in contact with somebody's skull.ABBY: Somebody did a Barry Bonds on Sergeant Moore'shead, Gibbs.(MUSIC OUT)[SCENE_BREAK]INT. SQUAD ROOM - DAYKATE: (V.O.) Sergeant William Moore, transferred from Camp Lejeune to Quantico two months ago. (ON CAMERA) He was serving as an E-I for allnewly commissioned Marine Officers.MCGEE: E.I.?TONY: Enlisted instructor, Probie.MCGEE: Uh... what did he teach, Kate?KATE: Well, according to his records, MOUT.TONY: MOUT stands for militaryoperations..MCGEE: Yes, I know what it stands for, Tony.TONY: Well, excuse me for trying to help junior agents!MCGEE: Trust me, when I need help you will be the first person I ask...where Gibbs or Kate is.(TONYLAUGHS)KATE: Are you two done?TONY: For the moment.KATE: These are the last two people to have seen our Sergeant alive. His best friend, and his wife.MCGEE: Hey!TONY: Now I'm done. Continue.KATE: Do youthink that one or both of them could have murdered the Sergeant?TONY: Well it is kind of weird a single guy hanging out with a married couple.MCGEE: I agree.KATE: Why is that?TONY: Well, because he's a single guyhanging out with married people.KATE: I do that all the time.TONY: Yeah, but you bring a date, right?KATE: Not... always.MCGEE: Are you related to them?KATE: No. (LONG BEAT) What?TONY: Well, who usually invitesyou ...?MCGEE: The man or the woman?KATE: I don't know, I guess usually the guy. Okay, a lot of my friends are from the Secret Service, and most of them happen to be men.TONY: What about your ... girlfriend whocalled yesterday morning?KATE: Well, Deb is married to one of my buddies, Rick.(TONY AND MCGEE GIGGLE)KATE: Okay, so what you're trying to say is that all of my married male friends secretly want to sleep withme?TONY: Pretty much. Yeah.KATE: That's very mature, Tony. And for your information, men and women can just be friends. Isn't that right, McGee?(TONY AND MCGEE GIGGLE)MCGEE: Technically.KATE: What do youmean technically?TONY: He means she'd have to be pretty ugly first.(TONY AND MCGEE GIGGLE)MCGEE: I didn't say that.KATE: I swear I do not get paid enough for this.GIBBS: For what, Kate?KATE: Nothing. We arejust discussing potential suspects.TONY: Focusing on the Sergeant's wife and best friend, Boss.GIBBS: Yeah. Well, come on. We've got one more.(TONY AND MCGEE GIGGLE)KATE: You guys are four years old,honestly.[SCENE_BREAK]INT. LAB - DAYTONY: Uh... nice hat.KATE: Attractive.MCGEE: In a weird way.GIBBS: Why?ABBY: Well, I had to set up a clean room in the ballistics lab to work on the damaged videotape. Andjust throwing the hats away seemed sort of wasteful. So I decided to recycle. What do you think?GIBBS: I think it suits you. Now what's on the tape?ABBY: Oh, I haven't finished cleaning it up yet, but I have aP-O-I.TONY: Person of interest.GIBBS: Let's see it.ABBY: The following program has been edited for time and content. It may not be appropriate for younger viewers.GIBBS: Abby!ABBY: Right.JUDY: (ON TAPE) Thisisn't a good idea, Bill.MOORE: (ON TAPE) I've asked this guy three times to turn his music down.CAINE: (ON TAPE) Yea, now we make him.MOORE: (ON TAPE) And if he has a gun or something in there?CAINE: (ONTAPE) I film it and we get the redneck arrested.MOORE: (ON TAPE) Way to encourage him, Roger.CAINE: (ON TAPE) Oh, come on, honey. It's not that big of a deal. We'll be right back.ABBY: Okay, this next part is likean outtake from Deliverance.RUNION: (ON TAPE) I thought I told you guys to leave me the hell alone!MOORE: (ON TAPE) Sir. We will once you turn the music down.(SFX: DOG BARKS B.G.)RUNION: (ON TAPE) What?Do you think I'm afraid of you or something?MOORE: (ON TAPE) I'm not here to fight you. We just want you to lower the music...(SFX: STRUGGLE)MOORE: (ON TAPE) Hey hey hey!RUNION: (ON TAPE) I'll kill you! I'llkill you!MOORE: (ON TAPE) No. What you just did, you just assaulted me on camera. Now either you leave or we're going to call the cops.RUNION: (ON TAPE) All right. Just let me go.MOORE: (ON TAPE) Huh?RUNION:(ON TAPE) All right.GIBBS: We need to I.D. this guy.ABBY: Oh, I'm way ahead of you, Gibbs. I got a shot of the license plate. It is registered to a David Runion. His last address is an R.V. campground in Manassas. He'ssince moved.GIBBS: Find him. That's good work, Abby. Tony, head back to Shenandoah State Park. Take McGee.TONY: For what exactly, Boss?GIBBS: I want to know where the Sergeant was killed before he wastossed off that cliff.TONY: Oh. Get the sedan ready, Probie. I'll meet you out front.ABBY: So Kate, you really like my hat?KATE: Uh... it's different.ABBY: Cool, because I made you one!KATE: Abby, I don't know what tosay.ABBY: Put it on!KATE: Okay.MCGEE: She bet me twenty bucks that she could make you wear that today.(MCGEE WALKS O.S.)ABBY: Your cut.KATE: Pleasure doing business with you, Abs.ABBY:Totally.[SCENE_BREAK]EXT. STATE PARK - DAYTONY: Hurry it up, McGee.MCGEE: I mean, you could have helped.TONY: I did. I carried the camera. Moore was a Marine, a combat veteran. Probably not the easiest guyin the world to sneak up on.MCGEE: Unless he knew his attacker.TONY: Or was ambushed. It's pretty wide open space. Let's check out the tree line.[SCENE_BREAK]EXT. TRAIL - DAYMCGEE: Blood drop.TONY: Surelooks like it. Okay, we're going to have to search in there. You're going to want to watch out for--MCGEE: Yes, I know how to search a wooded area, Tony. I'm not an idiot.TONY: I didn't say you were.MCGEE: Then whydo you always treat me like one?TONY: Just trying to impart a little wisdom, McGee.MCGEE: Look, I graduated top of my class at FLET-C. So I think I can handle it.TONY: Be my guest. Give me a call if you findanything.MCGEE: I will.[SCENE_BREAK]INT. SQUAD ROOM - DAYKATE: I found David Runion, Gibbs. He checked into another campground twenty miles from the Shenandoah State Park. Also ran a background checkon him. He's served time.GIBBS: For what?KATE: Assault and battery. He nearly beat a man to death with a pool cue in ninety three.GIBBS: Looks like this time he might have succeeded.KATE: We getting awarrant?GIBBS: We need evidence for a warrant, Kate. Right now I just want to talk to him.[SCENE_BREAK]EXT. WOODED AREA - DAYMCGEE: Tony! I found it!(PASSAGE OF TIME)TONY: Not bad. Not bad at all,McGee.MCGEE: Thanks. Hey, I'm sorry about that there.TONY: Don't mention it. Besides, that's a pretty brave thing to do.MCGEE: What do you mean brave?TONY: Well, crawling around back here in all this poison ivy.I don't know if I would have done it.MCGEE: You're... you're kidding, right?TONY: Leaves of three let them be, McGee. A little something I picked up during my first year. Don't touch me, by the way.MUSICAL BRIDGETO:EXT. CAMPGROUND - DAYKATE: Is that a rat or a dog? Hey, buddy. Hey. Oh. Sorry. I wouldn't do that if I were you, Gibbs. One day you're going to have to tell me how you do that.(SFX: DOGGROWLS/BARKS)GIBBS: Easy. They can sense sarcasm. (SFX: DOG GROWLS/BARKS)(GIBBS AND KATE WALK TO THE CAMPER)GIBBS: (SHOUTS) Runion! Special Agents Gibbs and Todd, NCIS! I'd like to ask you a fewquestions! (KNOCK ON DOOR)(DOOR OPENS)[SCENE_BREAK]INT. CAMPER - DAYGIBBS: Clear. What do you think?KATE: The word disgusting comes to mind.GIBBS: You smell that?KATE: Ah, if you're referring to theurine, yes.GIBBS: No, I meant this.KATE: Marijuana?GIBBS: Yeah, it's recent too. Ah...KATE: Well, it's enough to bring him in and hold him for a while.GIBBS: Oh, yeah.(SFX: DOG BARKS)[SCENE_BREAK]EXT.CAMPGROUND - DAYKATE: (SHOUTS) Runion! Federal agents! Stop! (SFX: DOG CONTINUES BARKING)(MUSIC OVER ACTION/KATE AND GIBBS CHASE RUNION)RUNION: Idiots.GIBBS: Put your hands behind yourhead.RUNION: How did you...?GIBBS: Sneak up on you like that?RUNION: Yeah.GIBBS: I used to do it for a living. Back then you'd be dead instead of under arrest. Any other questions?RUNION: Uh-uh.GIBBS: I didn'tthink so.(FADE TO BLACK)[SCENE_BREAK]INT. OBSERVATION ROOM - DAYRUNION: I know you can hear me out there. I'm telling you for the last time.[SCENE_BREAK]INT. INTERROGATION ROOM - DAYRUNION: Igotta use the bathroom.[SCENE_BREAK]INT. OBSERVATION ROOM - DAYRUNION: Okay, have it your way. It won't be the first time I had to do this.KATE: Maybe we should.TONY: He's bluffing.KATE: Tony, you didn'tsee the inside of his camper.TONY: That bad, huh?KATE: Picture the most disgusting public restroom you've ever been in, covered in puss and vomit. I would still rather live there than this guy's place.TONY: That's nice,Kate.KATE: You should thank me. Eating that crap will kill you.TONY: I'm more concerned about what Gibbs will do if this redneck takes one in our interrogation room.[SCENE_BREAK]INT. INTERROGATION ROOM -DAY(DOOR OPENS/ CLOSES)RUNION: I gotta use the bathroom.GIBBS: Hold it.RUNION: I can't.GIBBS: Good, we can do this quick. Why'd you murder Sergeant William Moore?RUNION: What? Who the hell isthat?GIBBS: That's right. You probably don't recall his name.MOORE: (ON TAPE) Sir, I'm not here to fight you. We just want you to lower the music.(SFX: DOG BARKS B.G.)(STRUGGLE)(ON TAPE) Hey heyhey!RUNION: (ON TAPE) I'll kill you.MOORE: (ON TAPE) What you just did was assault--GIBBS: He was found yesterday lying at the bottom of a cliff.RUNION: Is that what this is all about? You think I killed somejarhead? No way, man. Nice try.GIBBS: Why'd you run?RUNION: 'Cause of the pot in my trailer. I got a medical condition.GIBBS: What? Stupidity?RUNION: Oh, man. I was really drunk that night. I barely evenremember the guy. I sure as hell didn't kill him.GIBBS: Where were you yesterday between five thirty and seven thirty a.m.?RUNION: Sleeping. Yeah, at the rest stop off Two Eleven. I didn't even wake up until after teno'clock.GIBBS: Witnesses.RUNION: Oh, sure. I mean, there were lots of other cars and trucks when I pulled in.GIBBS: I need names.RUNION: I don't have any names.[SCENE_BREAK]INT. OBSERVATION ROOM -DAYKATE: There are two rest stops on that road, Tony.TONY: Check if they have any video surveillance or attendants.KATE: On it.[SCENE_BREAK]INT. INTERROGATION ROOM - DAYTONY: (V.O./FILTERED) Running it,boss.RUNION: So what happens now?GIBBS: You've got a violent past, your alibi's weak. And I've got you on tape threatening the victim. You tell me, Runion?DAVID: It's been this way my whole life. It's always beenlike this. One freakin' nightmare after another. But I swear to you, Agent Gibbs, I didn't kill anybody.GIBBS: We found your bat.DAVID: What bat?[SCENE_BREAK]INT. LAB - DAYMCGEE: Hey, Abby. You gotsomething?ABBY: Well, I've got good news and bad news. This is definitely our bat. The splinter from Sergeant Moore's head fits perfectly.MCGEE: Bad news?ABBY: It's been wiped clean of any prints. The only thing onit is urushiol oil. That's the stuff found in ... aah!MCGEE: What?!ABBY: You... you have to see this for yourself.MCGEE: Whoa! This is going to hurt, isn't it?ABBY: Yes.MCGEE: I look like a circus freak! Abby, what do Ido?ABBY: Um... well, you could use Calamine lotion. Or perhaps just wear some sort of mask.[SCENE_BREAK]INT. SQUAD ROOM - DAYKATE: (INTO PHONE) And can you mark it \"Special Agent Todd.\" Thanks, SheriffLester. Dinner? Aren't you married? Well, it does to me. (TO TONY) My mother wonders why I'm not married.(HANGS UP)TONY: So does mine.KATE: Could you stop doing that?TONY: I'm practicing, Kate.KATE: What?Annoying me?TONY: No, the creepy way Gibbs used to sneak up on us.KATE: What do you mean used to?TONY: The old man's been wearing Ben-Gay lately. I can smell him coming a mile away.GIBBS: Is that a fact,DiNozzo?TONY: Knee feeling better, Boss?GIBBS: Much.TONY: Great.GIBBS: What about Runion's alibi?KATE: I've got the local sheriff pulling the security tapes from the rest stops on Route Two-Eleven.TONY: And wehave a description of his pickup and trailer circulating with the state cops who worked the area that night.KATE: Do you think he did it, Gibbs?GIBBS: Oh, yeah. And Tony is cleaning up. (INTO PHONE) Janitorial, don'tworry about interrogation. DiNozzo is gonna handle it. (TO TONY) You still here?TONY: Are you serious? ...You serious? Oh. In my defense, I did use the word creepy in the most... affectionate way. Right.KATE: Youmight want to use gloves.GIBBS: Where's McGee?[SCENE_BREAK]INT. NCIS AUTOPSY ROOM - DAYDUCKY: Oh, let's see what we're dealing with here, Timothy. Ah, the dreaded Toxicodendrom radicans... the PoisonIvy plant. You seem to be particularly allergic to it. Usually it takes several days for this sort of reaction to develop.MCGEE: I'm lucky that way.DUCKY: The last time I encountered a case of this magnitude, two young"}
+{"doc_id":"doc_173","qid":"","text":"Ted and Stella joined the others at McClaren's.Ted: Hi.Lily: Hi. How are you? Stella (taking the glass of Barney): I'll just finish this.Ted: It was just dinner with her sister Stella and her boyfriend.They married beforeus.Stella: You know, you dream of the perfect wedding since you been little girl.Lily: Yeah.Marshall: Bluntly.Stella: My sister steals my dream wedding. So every little detail on Shelter Island, the sun managed tosleep... Flashback Stella and Ted are the restaurant's sister Stella and her boyfriend. Sister Stella:... near the beach in the old family home. This is my dream wedding.Stella (Ted taking the glass): I'll finish it.Ted: Itseems that the lamb is great here.Nora: I'm vegan. I wish I could silence that voice in me that says eating animals is murder, but I guess I'm not as strong as you.Ted: Did you need protein. I take the lamb. EndflashbackTed: New objective: Our marriage is to kick the ass of hers.Our marriage is to take the head of his, press it down the toilet and flush 20 times.Lily: Ted, in high school, his marriage was you, right?Stella: Youknow, she always wants to overtake. I like it, but there is a part of me that would like it all falls apart. Stella is the restaurant with his sister and Ted.Nora: I hate it! I hate him. God, this steak is good. 4 days before andhe fled with a consultant from Whole Foods? I do my make-up more for him. I do not shower more for him. I shave armpits more for him.Ted: Hard to know where is the problem.Nora: Now, so close to the wedding...Got some bacon or something in the sauce. I love it. I would not be refunded. I will lose thousands of dollars.Ted (2030): Children in a relationship, you develop as a telepathy with your partner.Stella: You think aboutwhat? It might help.Ted: No, Stella, it should help. Pay for dinner. Do not worry.Taking Charge.Stella: It's true. Recovering your marriage, we reimburse you all that you paid for. Ted and I are getting marriedSunday.GENERICTed: We get married on Sunday? It is sure to be ready for this?Stella: I've wasted years waiting for the father of Lucy decides to be \"ready\" for it, but it has ever been. That's why we had nevermarried. Come on, must be spontaneous, I dreamed that Tony is spontaneous like that.Ted: I'm leaving. And I'm also... spontaneous. (He throws a glass of water on his face) I would not have done that.Ted (2030):Children, morality often happens at the end of the story, but this one is too important, I will say now: Never, never, invite ex to your wedding. If I was given this advice, it would have changed everything.Ted, Barney,Marshall and Lily are at the bar. Ted phone.Ted: We need you to come, this is my marriage.Robin: I can not. I am in Tokyo. This is my first week. I can not leave like this. In addition, I am finally serious information.Ted(2030): Robin was serious information. Flashback A man brings a fan on the set of information.Ted (2030): It was the first English news channel in Japan. Of course, the info was a little different there.Robin: The boardof the Fed voted not to change the... rates. End flashbackTed: This is my marriage. You gotta be there.Robin: OK, I'll be there. I gotta go. Good evening. And I'm Robin Scherbatsky. The talks have been arrested in theMiddle East. Despite a promising start in the final negotiations, the talks foundered on security.Ted: It is.Barney: Okay, burial of bachelorhood. Tonight, I have three exotic dancers most flexible physically and mentallythat you've ever seen...Ted: No time.Barney: I'll tell you. Marshall and Ted leaves the bar.Ted: Do we really have to rent the cars for tomorrow.Barney: What?Lily: No \"You not married, Ted?\" No \"You're making a bigmistake, Ted?\" Have you stopped the fight against marriage?Barney: No, I recognize a lost cause, when I see it. That's why I'm not recycle. In addition, Ted getting married, it is my interest. You know... FlashbackBarney is in his office.Barney: I worked on an issue of utmost importance. I admit I was baffled. Until I decided to take the bull by the horns.(Barney written on a board: how to lie down again with Robin) Then, finally, Idécryptais code. \"GIVE THE MARRIAGE OF TED. \" End flashbackLily: So you come back to Robin.Barney: Let's hope. This weekend is my best chance to start with it.Lily: You'll never there. Too many opportunities. Thefirst bridesmaid drunk, you'll have your head under the dress as a photographer of yesteryear.Barney: Lily, kidding. I want to look cutesy and romantic, but this weekend, Robin will be the only girl that I will draw.Stella and Ted are on a boat.Ted (2030): And the day before the wedding, Stella and I made the trip to Shelter Island. With others not far away. Marshall, Lily and Barney are also on board. Marshall, Lily and Barney arein a bar.Lily: It's not really the place I imagined for the wedding of Ted.Barney: \"The Collective Namaste Yoga and Meditation.\"Marshall: I know about you, but I will not namaster here too long.Lily: Honey, will see thedirty hippie to the reservation there, we, we'll take to drink.Barney: You have anything like Scotch?Bartender: In the center, we have a strict anti-alcohol.Marshall: Super, meals included, right?Woman: Yes, and theyare all 100% vegan.Barney: I need alcohol. I'm not gonna do that stuff with Robin.Look at that. Berry cocktail, conditioner meninges. I dream, these drinks could make a girl smarter. What hell Ted brought us?Marshall:There's no meat.Lily: There's no alcohol.Marshall: Even worse, I'm 90% sure that this kind in which you spoke was the lead singer of Spin Doctors. Ted joined them.Ted: Guys, Stella and I have a little problem.Flashback Stella is sitting on the bed and watch the programs, while Ted packs his things.Stella: The programs are great. It is not our names on it, but otherwise it looks nice.Ted: Actually, I spoke to Robin. It is a littlelate, but it will be there on time.Stella: You're invited Robin?Ted: Yes, of course.Stella: You gave me no warning. I'm not sure what to think.Ted: Can I help you? Are you happy. You like him.Stella: Yes, but it's your exgirlfriend. It's weird.Ted: But no.Stella: It's weird. Not what you imagine is to see her boyfriend's ex marriage. Stella imagine the scene.Robin: Your new husband dismounted me out three times a day.Stella: When theformer are present, I dunno, it brings back...things unresolved. Close with your ex, do you know that the flame will not turn back?Ted: Come on, we're friends. In addition, we already had our Thanksgiving last relapse,it is not old.Stella: Have you bet money against you in this quarrel?Ted: She already has his ticket.Stella: It's important to me. I would have never invited the father of Lucy.Ted: It would not bother me. Tony is great.Invite him too.Stella: No, Tony is the last person I want to see here, OK? And Robin is the penultimate. FlashbackTed: Robin will soon get on the plane. In addition, it unleashed a lot of work for that. Robin has theinformation, while a monkey sits next to her and slap on the desktop.Robin: Driven by concerns about the environment and oil prices, sales of hybrid vehicles rose 11% over last year. Back to the place of marriage ofTed and Stella.Ted: What should I do?Marshall: I know. I understand something is \"no ex\". Why would we want that history failed to come see one successful?It's like inviting the Seattle Mariners World Series. It'sembarrassing for everyone.Barney: What? No. Robin must come.Ted: That's true, this is my best friend. Girl friend. My best friend girl.Lily: I do not care, why do such.Barney: Dude, Robin has to be there.Marshall: Itshould not come.Barney: What are you parl...Ted: Aldrin Justice, the last word.Lily: OK, this would be weird without Robin. But not contradict the bride.Ted: I will not tell him to come.Marshall: It's the rightdecision.Ted: It's gonna be the worst phone call of all time.Barney: Co-witness, I'll handle this. Robin picks up the telephone.Robin: Hello?Barney: Robin, where are you?Robin: I'm off to the airport.Barney: OK, in a fewhours. Have a good flight. Bad news. I can not have it. Robin is gone.Ted: OK, Robin arrives. You know, I'm fine. The former should be able to go to weddings. I'll tell Stella to do with.Lily: You should be more delicatewith Stella about Robin.Ted: What do you mean by \"delicate\"?Lily: The brides are very stressed before a wedding. Well, of course, I was under control.Marshall: Do not you remember? Flashback In 2006, Lily arrives atthe apartment in tears.Lily: The florist told me that roses are medium pink pale pink that means. Medium pink pale! All're done. Our wedding hall uses a boiler instead of a forced air heating. This is the thing thatconcerned me. Why are we still married? End flashbackMarshall: After a while, is that the waffle.Lily: Poor Stella must be the crazy one month in three days.Ted: What do I do?Lily: You wait for the next crisis, the rulesyou, you're a hero.After, you dealt with on about Robin, but this time she will say yes.Ted: And if there is no other crises?Lily: This is a bride. There will be another crisis. Four minutes later...Ted: There is a newcrisis.Lily: Great! What is it? Flashback Stella and Ted are in their rooms.Stella: My daughter, my daughter does not come to our wedding.Ted: What?Stella: Tony was the lead here tomorrow, but cash hurt mymarriage, and he will not take him. It's been 5 years. Why not turn the page? End flashbackTed: So, first thing tomorrow I'm going to talk to him, convince him to let me take Lucy, then boom, crisis solved. Stella ishappy. Robin comes to marriage.Nora: You are Barney?Barney: Yes.Nora: I heard you were a real b*st*rd, so listen. Tomorrow night, I want to do things so nasty and depraved that I forget that it was supposed to bemy wedding.Barney: I'm here with someone.Nora: Bring her.Lily: You'll never get there.[SCENE_BREAK]Ted is by car.Ted (2030): So the morning of my wedding, I made the way home Tony, to take Lucy. Ted hitsChez Tony.Ted: We did a little karate? Tony makes a decision.Tony: Sorry, sorry dude. You have my alarm activated defense. You must remember these things. Stay alert, rest life.Ted: OK.Tony: What brings you here?I thought you'd be in a bridal suite with my wife.Ted: Not yet. Soon.Tony: That's right, tonight is the big night. Oh, man, you gonna make love to the mother of my daughter.Ted: Actually, I've already had s*x manytimes. Why I always corrects people?Tony: You and Stella. You're lucky. I could just... I am very happy for you.Ted: Look, here's the thing...Tony: You can not take it.Ted: Tony, stop. It is also a great day for Lucy.You'll have to put your problems aside and think about what is best for her.Whether you like it or not, it really should be the wedding of his mother. I take Lucy with me. He shakes Ted in his arms.Tony: You're right,man. You're right. I'm sorry. I'm sorry. It's just... You see all... made me realize what I had.Ted: Let's cuddle.Tony: I'm sorry. Lucy is everything to me. I will lose it with this family, I am not one.Ted: But you're partof.Tony: I have not been invited to the wedding.Ted: You are now. Ted is in a car with Tony and Lucy.Tony: \"Road Trip\" OK? (They are on a boat) \"Road Trip 2, back in the car.\" Stella's sister comes to see Barney.Nora:This is the big day. You hydrate?Barney: Dear wife, thank you for the interest you have for Barney Stinson...Nora: Your back will look like a Jackson Pollock.Barney: I regret to inform you that at this time...Nora: I havebeen vegan for 2 years. I need meat.Barney: There are currently no positions available.Nora: I am a teacher of Yoga. All positions are possible. Your room in 20 minutes. No preliminary.Barney: I will not do, huh?Lily:No chance. Ted, Lucy and Tnny arrive.Ted: Let me talk to Stella first.Lucy: Mom! Ted invited Dad!Stella: Hi, my heart. You've missed. Just one second, OK?Tony invited you? At our wedding? This was discussed. No exat our wedding. Why did you do that? Robin comes up behind Ted.Robin: What did Ted this time? Ted and Stella are isolated in their room to talk.Stella: What does Robin here? I thought I was clear. No ex at ourwedding.Ted: To be fair... your ex is here.Stella: You've invited!Ted: Come on, it's not weird.Stella: It's weird. It is as if it was not over between you. Tony and... I can not look after him. Will you tell him to leave? Youcan say it's my fault. I'll talk to Robin, she knows it's not personal.Ted (2030): The children, if I had left Stella talking to Robin, this story would have ended differently. Stella speaks with Robin.Robin: I understand. Tedtalks to Tony.Tony: I get it.Man: For the first time, Ted and Stella Mosby. In 2030...Ted (2030): And now, how I met your mother.Stella: Your father has finally finished drooling? Who wants ice cream?Ted (2030): But Ihave not done.Ted: You can talk to Tony? Robin made the trip from Tokyo. I should talk to him.Stella: Of course. Ted goes to talk to Robin.Ted: Sorry to have run away like that.Robin: It's OK. Can you imagine nottraveling I did. I was on a plane, a whole day. But it was worth it to see you get married.How I would have missed it...Ted: You can not come to the wedding.Robin: thank you God!Ted: What?Robin: It's weird.Ted: It'snot weird.Robin: It's weird. You know how it feels to be one of the former married? Robin imagine the scene.Stella: Take that, bitch! I won!Ted: It was broken, there is more than a year.Robin: Yes, but it's not that longago. See you marry another woman is not really something I look forward to. I just thought if I changed my mind about marriage and children, it was nice knowing you were there.Ted: So, I was your backup plan. It'sflattering.Robin: That's not it. It's just...Ted: Why do you mention that? There was nothing between us.Robin: Maybe so. I mean, of course it does. The kind of thing that leaves no one fell swoop. I'm not a guestover.Ted: It's true. We went out together, but... we have moved on.And we got what we wanted. I marry, You have the job of your dreams in Tokyo. And they lived happily...Robin: I quit my job.Ted: You what?Robin: Ireturn to New York. I thought I wanted this job, but...Getting back to my real life. And you should go back to yours.Ted: What does that mean?Robin: You married. Listen, this is precipitated. It's as if you started a bookby the end. You are the most romantic. You stole a blue horn for me. You tried to make rain.Ted: I did the rain.Robin: It was a coincidence. After all this is how your romantic quest comes to an end? You hide in thewedding of another in his house in his life, without thinking twice. This is not the end spectacular than you deserve. It's not Ted Mosby.Ted: I love Stella. This is good. If you feel it all... I think it is good that you come tothe marriage.Bartender: Big fight?Robin: Yes.Barman: There you go. It is for me.Robin: You stop it. (Robin drinks the glass of a sudden) My God, so, stop. Robin knocks on a bedroom door. Barney opens halfnaked.Robin: I spend a very bad day. I've stolen scotch at the duty free. It tells you?Barney: Let's go to your room. Far from it. And can be the whistle.Robin: I have no room. In fact, I thought I could stay withyou.Barney: No problem. I just need to tidy up a little. Of clothes on the floor and...Robin: And a girl naked, tied to your bed.Barney: The towels in the bathroom, a real mess. So, give me 10 minutes... to restoreorder...Robin: In addition, Barney. Robin takes his suitcase and leaves. Nora arrives at that time.Nora: OK, let's go. Who's that?Barney: The girl on reception.Ted (2030): Children, sometimes you think you live a story,but the truth turns out to be quite different. (Robin is on board a boat, Ted is in his room and read a map and Stella is also on board) In those days, I thought it covered only the presence of Robin marriage. (Stella Tonycovers his coat) If only I had understood what it was about. Flashback Ted and Stella discuss.Stella: Have his former close... it reveals unresolved problems. End flashback Lily and Ted joined Marshall in the room.FlashbackStella: With your ex not far, which tells you that the flame will not turn back? End flashback Barney joined them in turn. FlashbackStella: It's as if it was not over between you. Ted and Stella are in therestaurant.Stella: I've wasted years waiting for the father of Lucy decides to be \"ready\" for it. Tony is in the arms of Ted.Tony: You see all... made me realize what I had. Back at the restaurant...Stella: I dreamed thatTony is spontaneous like that. End flashbackTed (2030): Seriously, kids, do not invite your ex to your wedding."}
+{"doc_id":"doc_174","qid":"","text":"Provided by TVTDB.com(Seattle Scenes)MVO: There's this thing about being a surgeon...(Callie wakes up on the couch)MVO: maybe it's pride or maybe it's just about being tough...but a true surgeon never admits theyneed help unless absolutely necessary.(Cristina and Meredith are in her bed)Cristina: What are your other symptoms?Meredith: Okay, there's the father thing...the mother thing, the sister thing...mmm, the dying andcoming back to life thing.Cristina: You have too many things.Meredith: I can't sleep. I can't sleep without the dreaming.Cristina: And the panic attacks.Meredith: One. One panic attack.Cristina: Okay, still.Meredith:What's wrong with me?Cristina: As far as I can tell, severe abandonment issues.Meredith: That's crap. Psych is crap. Issues?Cristina: I mean, it's...it's in the book. The book said it, not me. Have you considered maybeyou and Derek should...stop having breakup s*x? Ok.Meredith: The more available he gets...the more I pull away.Cristina: What do you mean?Meredith: Nothing. It's a Derek thing.MVO: Surgeons don't need to ask forhelp(Derek's trailer)MVO: 'cause they're tougher than that. Surgeons are cowboys rough around the edges, hard-core.(Richard walks out and hands a cup of coffee to Derek)MVO: Least, that's what they want you tothink.Derek: Ah, good morning.Richard: Oh, perfect timing. Trout for breakfast.Derek: Mm-hmmRichard: Again.Derek: Yeah, don't start. I let you live on my land, so don't...don't start.Richard: I'm older than you. I'vejust seen life from both sides now.Derek: You gonna start singing?Richard: I'm just saying that a man who is up fishing at 3:00 every morning is a man in pain over a woman.Derek: Oh, good. A country-westernsong.Richard: I'm pointing out it's a thing we have in common, Derek. You know, what we need is something to take our mind off of everything. What we need...is a gentlemen's evening.Derek: A what?Richard: A good,old-fashioned gentlemen's evening...tonight.(Izzie is in an on-call room with George)Izzie: This is absurd. You shouldn't be sleeping in the on call room.George: It's not always an on call room. Sometimes it's a gurneyin the tunnels and the...Izzie: It's absurd...when I have a perfectly good bed. And I know that we said we would wait and berespectful, and we have been very respectful. But now I want s*x.George: Right now?Izzie:No. Tonight. Tonight we will have...hot, perfect s*x. You in?George: Yeah, I'm obviously in.Izzie: I gotta go. I got patients to check on, Erica Hahn to impress. I'm gonna go kick some cardio ass. Oh, god. I gotta shavemy legs.George: It's okay if you don't, you know, have a chance to shave your legs.Izzie: No, it's not. It is not okay, George. I have to shave my legs. I will be shaving my legs. Hot, perfect s*x requires shavedlegs.George: Okay.(Richard, and Derek walk up to the nurse's station where Erica is standing)Richard: Erica Hahn...first day.Erica: Oh, first day indeed, and a mountain of paperwork to prove it.Richard: DerekShepherd, you know Erica Hahn.Derek: You're the new Burke.(Mark walks up)Richard: And this is Dr. Mark Sloan, head of plastics. Erica Hahn.Mark: Ah, the new Burke.Derek: Welcome. Excuse us.(Mark and Derek stepaside)Erica: Interesting guys, and by \"interesting\" I mean ridiculously attractive. Do you hire on looks alone, or is actual skill a factor?Richard: Good to have you here, Erica.Erica: Good to be here, Richard.(Derek andMark)Mark: What exactly is a gentlemen's evening?Derek: I don't know. It's an evening with gentlemen.Mark: And strippers?Derek: No, I don't...I don't think the chief meant strippers.Mark: Sure sounds like strippers.Dr. Bailey? What's the first thing that comes to mind when I say the words \"gentlemen's evening\"?Bailey: Tassels. Shiny, sequined tassels and $1 bills.Mark: See? Strippers.Derek: There will be no strippers. I'm almostpositive.Mark: So you don't know what this thing is either?Derek: No, but you're in?Mark: Why not? I like to be surprised.(Cristina and Meredith are at a nurse's station)Cristina: Okay. Oh, heads-up.Mr.Incredible,12:00.(Derek walks by)Derek: Hi.Meredith: Hi.Cristina: What the hell was that about?Meredith: That was about a date we have later in the on call room. It's nothing.Cristina: Well, you sure seem to belosing sleep over a whole lot of \"nothing.(Meredith and Cristina enter the ambulance bay)Cristina: This is it...Hahn is in the hospital, freakin' Izzie is on her service again. I'm gonna ride this trauma train straight backinto cardio.Callie: Okay, what do we got?Meredith: Uh, two ambulances, multiple traumas.Alex: Any chance you need a resident's help, Dr. Torres?Callie: As long as you want to smash bones into dust while peoplecry.Alex: Sweet. What do you got?Cristina: Chest pain, tamponade, ruptured aorta?Ambulance Driver: Uh, more like a clown car. Jackie Escott, 25 years old, dislocated shoulder, lac to her thigh, vital signs are stable.And Helena Boyd, 26 years old...also stable with obvious nasal fracture, facial lacs and a chunk of missing scalp.Helena: She ripped out my hair.Jackie: She ripped out my shoulder!Helena: You ripped out your ownshoulder when you were trying to push me off of the platform!Fiancé 1: Who let go of the dress? Did anybody let go of the dress?Fiancé 2: Hang in there, honey. Don't let her psych you out, all right?Callie: Okay, whatthe hell's all this?Judge: It's a store contest. I'm the judge. Last one to let go of the dress...Helena: Wins the wedding of my dreams.Jackie: Of my dreams.Callie: All right, enough. You two are injured, okay? You needto get your priorities straight and let go of the...let go...let go of the dress so we can treat you. All right, let go now. Now.Helena: Yeah, that's not gonna happen.Callie: All right. Fine. Let's move.Cristina: Oh, please letthis be something good, something cardio good. Please.Ambulance Driver 2: 33-year-old male discovered unconscious but stable having survived a 12,000-foot free fall.Cristina: A what?Ambulance Driver: Hisparachute didn't open.Cristina: Wait, he fell 12,000 feet without a parachute? Thank you.(In the ER)Bailey: What's his name?Rick: Rick. I'm Rick Jacobs.Bailey: He's talking?Cristina: You'd think after 12,000 feet, he'dhave at least a punctured lung.(A woman runs up)Sally: Where is he? Where are you? Oh, my god. There you are. How is he? How is he? Is he okay? Is he dying?Rick: No, I'm not dying, Sally.Bailey: Okay, ma'am, youneed to calm down.Meredith: Is this your wife?Rick: My skydiving instructor.Bailey: Well, ma'am...Sally: I watched the whole thing. I...I couldn't do anything. I was just...I was just in the clouds floating,watching whilehe...while he...while he...you...you fell to your death. His chute didn't open.Bailey: Ma'am, okay, we need to do our jobs, and you're making that difficult by hovering over the patient. Please have a seat andbreathe.(Richard enters)Richard: I heard we have a skydiver who fell 12,000 feet.Rick: That'd be me.Richard: Uh, hello.Rick: Hi.Richard: He's talking?Bailey: Clearly he's in shock, can't feel the extent of hisinjuries.Derek: Let's get him down for a C.T.Meredith: Cristina, where are you going?Cristina: Multiple injuries means multiple surgeries. I'm going to get me some cardio.(ER)Callie: Okay, do you see that you'rebleeding all over the dress?Jackie: It's not about the dress.Alex: I can't, uh, I can't...there's too much blood down here. Which one of your legs is bleeding?Helena: I don't know. I can't really feel anythinganymore.Mark: I hear you have a broken nose down here. What's with the dress?Jackie: It's not about the dress.Callie: Can't they...can't they just split the prize?Judge: I offered. I offered that 14 hours ago.Jackie: It isa $100,000 wedding package, and I am not splitting it with anyone.George: Oh, you're bleeding on your dress.Everyone: It's not about the dress!Callie: Uh, uh, I'm gonna have to stabilize that shoulder somehow.Alex:I'll go grab a sling.(Mark and Callie step aside)Mark: Well, this is cozy.Callie: This is hell. I assigned O'Malley to you to keep him away from me, and now our patients are connected to each other.Mark: You're notlooking at this like the opportunity it is.Callie: Meaning?Mark: Meaning he's an intern. It's, like, half my job, torturing interns.Callie: Thanks. That's...that's almost sweet. But torturing George is not gonna make any ofthis any better. Torture him how, exactly?(Izzie is with Mr. Arnold)Mr. Arnold: My hands always get so sweaty in hospitals. It's the weirdest thing.Izzie: It's pretty common, actually. If it makes you feel any better, Dr.Hahn has done this procedure hundreds of times.Mr. Arnold: And she's really gonna thread a catheter up my leg, all the way to my heart?Izzie: Trust me, you are in excellent hands.Mr. Arnold: But, um, I...I'll be out,right?Izzie: Oh, yeah, you'll be asleep. You won't remember a thing.Mr. Arnold: Ivory-billed woodpecker.Izzie: I'm sorry?Mr. Arnold: Ivory-billed woodpecker...that's what's getting me through this. I'm a, uh, lifelongbirdwatcher. And when I get through this, I am finally going to scout the ivory-billed woodpecker.It is so rare. You know, we...we thought it was extinct. But it's not. It lives in Arkansas...in this one little patch ofswamp. Do you have any idea how incredible it is to see a bird like that in person?Izzie: I'm sorry.(Cristina enters)Izzie: Uh, I'll be just one second. Why are you hovering?Cristina: Guess what just came into the pit. No,no, don't guess. I'll tell you. Skydiver. Skydiver whose chute didn't open, who fell 12,000 feet and landed in some shrubbery.Izzie: Poor guy. He probably broke every bone in his body.Cristina: No, the point is not poorguy. The point is amazing surgery. And it could be yours for the low, low price of a humdrum, everyday cardio cath.Izzie: Yeah, forget it. I'm not giving up Hahn's service.Cristina: Hey, hey, Izzie, you know what?Cardio is my thing.Izzie: No. I like this patient, I like Hahn, and I like cardio.Cristina: No, you are...you are flirting with cardio. I am married to cardio. You will marry general surgery or, you know, okay, perhaps neuro.But you, you are nowhere near hard-core enough to commit to cardio.Izzie: So you are telling me to stop flirting with your husband. I get it. That's cute. But if you're gonna ask me for a favor, insulting my personal lifeis probably not a great tactic.Cristina: No, no, no, wait. I am not talking about your s*x life. I could not care less about your s*x life.It's a skydiver, Izzie. Skydiver.Izzie: Oh, yeah. Sounds really cool. Enjoy it.(CT scanroom for Rick)Richard: If his intestines look like I think they will, that's gonna take first priority.Derek: He could have delayed paralysis.Bailey: This is not a contest, gentlemen. But since a perfed bowel could kill the guywhether or not his spine's in working order, my money's on the chief going first.(Cristina enters)Cristina: Hey, what'd I miss? Any cardiothoracic concerns? I'd be happy to page Dr. Hahn.Richard: Scan's comingup.Bailey: Here it is. Wait for it. Wait.Cristina: Wait.Meredith: Oh, that can't be right, can it?Bailey: I'm not seeing any free fluid, any intraperitoneal gases.Derek: Does anybody see anything?Richard: There! Rightthere. A hematoma...Cristina: In the right lower quadrant.Meredith: It's the appendix.Bailey: We're saying this guy fell 12,000 feet, and basically all he needs is an appendectomy?(Alex enters the closet where Lexie issitting on the floor)Alex: You're charting... in a closet.Lexie: I get a lot of work done in here. It's quiet and nice.Alex: And a closet.Lexie: Look...when I'm out there roaming the floors, okay, I am the other Grey that Dr.Yang likes to humiliate and kick around. And...and in here, I'm...I'm not. You know, in...in here, I'm...it's just...it's...it's my place, okay?Alex: It's...it's a closet. You know, every intern class has its runt of the litter. Youkeep this up, this year it's gonna be you. Get up.Lexie: Oh, sorry. You probably need to get in here.Alex: No, grab...grab a sling from the box and come with me.Lexie: With you?Alex: Well, if you'd rather sit like a loserin a closet doing charts, you can. Or you can come help me on ortho today. Your choice.(ER)Jackie: No way. No frickin' way.Calie: It's the only solution if neither of you will let go of the dress.Mark: It's very simple. Dr.Torres needs to treat Jackie's shoulder and leg, so, Jackie, you need a proxy.Helena: What?Fiancé 2: Think about it, babe. This gives you an advantage. You get to rest your hand and come back refreshed. Give me thedress. I'll be the proxy.Fiancé 1: No way. This isn't fair. You think this is fair?Mark: Dr. O'Malley's the proxy.George: What?Mark: He'll hold on to the dress.George: Hold the dress? You just want me to...stand here andhold a dress?Mark: No one ever said internship was easy.Fiancé 1: Dude, you're job kinda sucks, huh?Jackie: Hello? Watch the shoulder.(Alex and Lexie enter)Alex: Oh, check it out. Bambi's a bridesmaid.Callie: You'reright. This did cheer me up.(Trauma room)Bailey: You've got no lung injuries, no spinal injuries, no broken bones. You're just a lucky man.Rick: Holy crap.Bailey: The only thing we found was a little bleeding in yourlower abdomen.Meredith: Which means we have to remove your appendix.Rick: How's that even possible?Bailey: Uh, the body's an amazing thing. You know, sometimes these things, they just happen.Sally: If you haddied... God.Rick: I didn't though. I lived. It's just the most amazing feeling. I feel like I could do anything right now. I mean, anything in the world because I faced death and I...I survived.Meredith: It changes aperson.Rick: It does. It so does. Sally...Sal, I have to...I want to, um...Sally: Don't worry. The minute...the minute we get out of here, I am so destroying that video. You will never have to...to relive that horrible...infact, where's your helmet? I'm gonna destroy that video right now.Rick: Sally. Sal...wait.Cristina: Did she say \"video\"?(Mr. Arnold's surgery)Erica: The trick is to envision the artery like a spaghetti noodle...pliable, butnot too fragile.Richard: Good morning.Erica: Oh, this is an unexpected surprise, chief. You need something?Richard: Oh, first day. Just wanted to see how you were settling in.Erica: You see that?Izzie: It's a blockage,left main coronary artery. It's totally closed off.Erica: There's no way I'm getting a stent in there. We're gonna have to open him up.Izzie: B.P.'S dropping to 58 over 20.Richard: His heart's racing.Erica: And his temp'srising. Muscles are rigid. All right, let's bring him off anesthesia and start him on 100% o-2. He's got malignant hypothermia.Izzie: So he's allergic to the anesthesia?Richard: He'll never be able to endure the cabg.Izzie:So what are our options?(MR. Arnold's room after he wakes up)Mr. Arnold: That's just, uh...I mean, it sounds like you're telling me...you're not actually telling me I'm... I'm gonna die?Erica: The blockage we found inyour heart needs surgery, extensive surgery. Angioplasty won't work. And since you're allergic to the anesthesia...Mr. Arnold: So I'll just, uh...I'll be like this. I'll be sick...and exhausted...and like this...until one daywhen I'll...just, uh...die. It would've been wonderful...to see that bird. It would've been wonderful.(ER)Mark: You're crowding me, O'Malley.Fiancé 2: Hey, hey, I think he just let go. You just let go of the dress, didn'tyou?George: No.Judge: I wish to god he had.Fiancé 1: I swear, if you let go and lose this contest after my Jackie almost died to win itFiancé 2: Dude, a busted shoulder does not mean she almost died. Okay?Fiancé 1:Whatever. I'm watching you.Helena: I know you all think this is stupid. If I were you, I would think this is really stupid.Mark: I've never been married myself, so I'm not one to judge, but George here knows all aboutwhat it takes. Don't you, O'Malley?Helena: You're married? For how long?George: Not very long.Helena: Newlyweds, congratulations.George: Thanks.(Trauma room)Callie: Now, Jackie, Dr. Karev and I are gonna dothis on the count of three, okay?Jackie: I should totally win over that Helena girl. I am way more injured than she is. I should just win by default.Callie: One...two...three.Jackie: Is it in?Alex: It popped back out.Callie:She's gonna need surgery.Jackie: Hey, no. I gotta get back to my dress. Just wrap some bandages around it or something.Callie: You would rather hold on to a dress with a dislocated shoulder than let me repair it insurgery for you right now?Jackie: I can have surgery anytime. I can only win this wedding once.(ER)Cristina: So what, he just stands there and holds a dress?Meredith: I know. I thought it was gonna be more exciting,too.Cristina: A monkey could hold a dress.George: Actually, this is a lot harder than it looks.Helena: Don't let them get to you. Tune them out, all of them. It's the only way to get through it.Fiancé 2: Sweetie, he's yourcompetition. Don't help him.Judge: You ever give morphine to people who aren't patients?Cristina: This kinda blows.Alex: It's more fun when you heckle.Meredith: Don't heckle, George.Cristina: Yeah, whatever. I gotsomething way better than this.Alex: Something that tops O'Malley playing bride?Cristina: Skydiver video.(Cristina, Alex, Izzie and Meredith are in an office)Izzie: What are we doing?Alex: Video from the helmet of askydiver without a chute.Izzie: You guys are sick.Cristina: Oh, it's not a snuff film. The guy survives.Alex: Holy...Cristina: Oh, is he...oh, no, he's going for it. He's going for the chute. Oh, and it doesn't open.Meredith:Now he's flailing.Alex: He's going for his second chute.Izzie: Oh, jeez.Cristina: Oh, also doesn't open.Izzie: You'd think there'd be more screaming.Meredith: Oh, ok how close the ground is getting.Alex: What's he doingnow?Cristina: Peeing his pants.Meredith: Is he saying something? Turn it up.Rick: God, I wish would've told you. I am so in love with you. I love you. I love you. I love you, Sally. I...All: Ohh!Izzie: Who's sally?Meredith:His skydiving instructor.Izzie: Sad.Cristina: Hey, what are you even doing here? Aren't you supposed to be in surgery?Izzie: The guy is allergic to anesthesia. The surgery was canceled.(Meredith and Cristina are in anexam room)Meredith: I drowned. I was sinking...I died. And you know what I realized? I realized how stupidall of my issues are.Cristina: I'm waiting for how this applies to me.Meredith: It doesn't.Cristina: Of coursenot.Meredith: Well, that man fell, and all he wanted was one last chance to tell sall how he felt about her. And I got one last chance. I got my chance. And what have I done with it?Cristina: You know, being aware ofyour crap and actually overcoming your crap are two very different things.Meredith: I know.Cristina: Okay, found it.(Cristina is in the hall with Erica)Cristina: Dr. Hahn, I know how you can do the surgery on the patientwho is allergic to anesthesia.Erica: Well, no anesthesia means no ventilator. No ventilator means no cabg. Not a whole lot of wiggle room there.Cristina: You can operate on him while he's awake.Erica: Yang...Cristina:You can use a high thoracic epidural to numb him from the chest down. Let him breathe on his own the entire time. I mean, they pulled it off in India last month, and then again in...(Izzie walks up)Izzie: Dr. Hahn, youwanted to sign the discharge papers for Mr. Arnold?Erica: Not quite yet.(Mr. Arnold's room)Mr. Arnold: Wide awake? You want me to let you slice open my chest while I'm wide awake?Erica: It is your best option.Mr.Arnold: Uh, how...how long would I have to be lying there, uh, on the table with my chest open, uh, like that?Erica: The surgery can take up to five or six hours. Maybe more.Mr. Arnold: Uh, six hours...awake...with youoperating on my heart. I...Izzie: The ivory-billed woodpecker.Erica: What?Cristina: What?Izzie: The ivory-billed woodpecker. Mr. Arnold, you want to live to see it, don't you? This is your only chance.Mr. Arnold:Ivory-billed woodpecker.Erica: Excellent. Stevens, we will scrub in as soon as an OR is free.Izzie: Uh, but the surgery was Cristina's idea.Erica: Either you want in or you don't. Which is it?Izzie: I do.Cristina: Uh,but...Erica: I'm sure there'll be standing room in the gallery, Yang. Stevens, book the OR.Derek: Uh, chief.Richard: Awake open-heart surgery?Derek: I want to talk to you about tonight.Richard: Have you heard aboutthis awake open-heart surgery?Derek: I've invited Sloan and, um, well, I'm wondering what I should tell him to expect.Richard: Mm, tell him to expect a good time.Derek: Okay, so what is that, poker, cigars, whiskey?I mean, what kind of things?Richard: A good time, Shep.[SCENE_BREAK](Jackie's room)Jackie: You know? You have no idea the kind of stamina it takes to stand in a display window for two days. It's the hardest thingI've ever done, like, ever.Callie: You're risking permanent damage to your shoulder over a contest.Lexie: What does your dress look like?Jackie: Strapless, sweetheart neckline, crystal beading...so pretty.Lexie: Butyou're gonna wear your hair down, though, right? You know, to cover the hunchback?Jackie: The what?Lexie: Oh, it's just, since you're ignoring Dr .Torres' advice about getting the surgery, you know, your shoulder isprobably gonna be pretty swollen and purple...you know, kind of like a hunchback? But your hair should totally cover it. I mean, probably, with the right veil.Jackie: You didn't tell me that. How soon can we have the"}
+{"doc_id":"doc_175","qid":"","text":"Pan over a mountain to a remote compound. A helicopter flies toward it. Inside are four armed guards and a prisoner in blue drab uniform with a black head covering over his/her head. Cut to helicopter flying overbarbed wire fence and landing in a courtyard. Guards climb out and bring prisoner, hands and feet chained, with them. They walk into the facility, apparently some kind of jail. One soldier shows his badge and they arebuzzed inside. The prisoner is brought through several locking doors. At the end of a hallway of jail cells, the prisoner's hood is released. It's Sydney. She looks at the prisoners in their cells as she is walked to the veryend of the hallway and shoved into the end cell. They remove her cuffs and lock her in. Close up on Sydney's face. She looks stricken and lost.Cut to flyover of LA by day. Cut to Lindsey followed by several NSC officersentering the JTF Center.Lindsey: (to man on his left) If you find anything, you let me know Lauren! Pan across room to Lauren on telephone.Lauren: I'll call you back. She hangs up telephone and falls into step withLindsey.Lindsey: Dixon spoken with the DCI?Lauren: Yes.Lindsey: Good. I want to make sure we have access to all computer accounts, emails, and correspondence seen in this office in the last two years.Lauren: Yes,sir. I've already put a request in through Langley.Lindsey: Who'd you talk to over there?Lauren: Brandon. I'm on it. Lauren and Linsdey enter Dixon's office. Dixon stands behind his desk. Vaughn and Weiss stand infront of it. All turn toward Lindsey and Lauren as they enter.Lindsey: I understand the Director of Intelligence has already conveyed his desire to transfer authority over this task force from your agency to mine. I expectyou to cooperate fully.Cut to Vaughn giving Lauren a really upset \u0000How could you do this!?' look.Dixon (voiceover): No. Not exactly.Cut to Lauren giving Vaughn a stubborn look and then addressing her eyes towardDixon.Dixon: I explained to my superiors that the decision was mine to withhold information from the NSC regarding Sydney Bristow's involvement in the Lazarey murder.Cut to Vaughn and Weiss as they turn to assessLindsey and Lauren's reaction to this news.Dixon: And that the members of my staff in question were acting working under direct orders from me.Lindsey: I see.Dixon: My staff will remain on active duty and cooperatein any investigationLindsey: They're not your staff, Mr. Dixon. Not anymore.Cut to Dixon's defiant stone face.Lindsey (voiceover): I'm pulling your clearance until further notice.Dixon: Mr. Lindsey, I would expectnothing less from you.Lindsey: One of my men will escort you to a facility for questioning.Cut to Dixon. He removes his badge and places it in a small manila envelope on his desk and walks toward Lindsey, anticipatinghis next statement:Lindsey: In the meantime, you'll need to surrender all credentials and access cards Dixon hands Lindsey the envelope and walks out of the room, taking the steam out of Lindsey's sails in his speech.Vaughn gives Lauren another dirty look. She still looks defiantly back, her arms crossed. Lindsey moves to stand behind Dixon's desk to address Vaughn and Weiss.Lindsey: Well, of course, you'll be questioned as well.Let's not make this any harder than it has to be.Vaughn: It's too late for that. Vaughn turns to leave saying to Lauren as he walks out:Vaughn: I need to talk to you right nowCut to Lauren and Vaughn walking down ahallway. Vaughn is in front and Lauren is walking behind him, trying to catch up.Lauren: Before you start, know that I did what I thought was right, given the information that I Vaughn turns back toward her and getsright in Lauren's face, obviously agitated.Vaughn: Sydney is in Lindsey's custody because of you!Lauren: The Lazarey murder was my assignment! Sydney murdered a Russian diplomat!Vaughn: Okay, stop! Don't actlike this is your first day on the job!Lauren: Sydney is in NSC custody not !Vaughn (cutting her off): No, she is in Lindsey's custody.Lauren: You think Lindsey's unaccountable!?Vaughn: Lauren, his operation is fundedby black money. What the White House expects from him is resultsLauren: What you're suggesting is that I willfully participate in an orchestrated cover up!Vaughn: No, but I would have hoped you'd be a person aboutthis!Lauren: While you clearly underestimate not only my ability to do my job but also, apparently, my humanity, you should know that not only do I believe I did the right thing, but the more you talk, the moresuspicious I get! (beat) You're the one who got her out of the country, aren't you?Cut to Vaughn. He doesn't answer, but she reads it on his face. Lauren (not as angry, more worried for Vaughn): Do you know whatwould happen to you if it becomes known that you helped a fugitive evade the Federal Government?Vaughn (very snarky): I'm not concerned about myself right now Lauren sighs and looks down before looking back upwith a bit of new defiance.Lauren: If what you're suggesting is right, that to learn what happened to Sydney over the past two years Robert Lindsey intends to have surgery performed on her which will render her braindead why would he have me write the White House brief? Vaughn looks shocked and worried by this new development.Vaughn: What!? Lauren (more confident she's right now): He's asked me to go with him as anobserver of Sydney's interrogation. This information disturbs Vaughn. Instead of being relieved, it's clear he's more worried.Lauren (voiceover): Clearly, he's got nothing to hide Vaughn looks up to meet her eyes. It'sclear he's disbelieving of her outlook on the matter.Lauren: Michael for whatever reason, you're overreacting to this.Cut to Vaughn. He's got that stubborn, annoyed face back in full force.Lauren: I don't know how longI'll be gone So I guess I'll see you Lauren turns and walks away. Stay on Vaughn's face, worried, annoyed, determined. Cut to slo-mo of Jack walking across a hallway entrance leading to the main rotunda. He's staringintently at someone. He stops walking. Cut to Lindsey leaning over another agent at a desk. Pan to closeup of Lindsey's face as he realizes someone's eyes are upon him. He looks up and makes eye contact with Jack.They stare each other down for a long moment. Jack's stare is cold, and downright scary it says something akin to \u0000You mess with my daughter and I will kill you \u0000 Lindsey tries his best to stare back, but just hint ofapprehension is in his expression. Jack coldly dismisses him, turns his head and walks away.Cut to Jack walking down the hallway. Vaughn hurries behind him to catch up to him.Vaughn: Jack, I wanna be a part of it.Vaughn falls into step with Jack. Jack (with a hint of his classic sarcasm): If I knew what you were talking about, I'd refuse anyway.Vaughn: Come on I've thought of a half dozen scenarios to help Sydney Lindsey has tobe shut down! He Jack suddenly stops and turns toward Vaughn.Vaughn: Did your scenarios take into account that helping Sydney at this point will require breaking at least a dozen federal laws?Vaughn (in an intensehalf-whisper): Just the fact that you're telling me this means you have something planned! Damn it, let me help!Cut to Jack. He looks like he's undecided as to whether to accept Vaughn's offer. Cut back to Vaughn,looking more determined than ever.Vaughn (still intense): If anything happens to Sydney (he shakes his head) Jack stares at Vaughn for a second, blinks, and then says:Jack: Meet me in the parking garage in threeminutes. Vaughn nods slightly as Jack walks away.Cut to pan up of Sydney's cell. She's walking around, feeling for any crack, indent, anything she might be able to use to eventually escape. Another prisoner who cansee her from his cell 90 degrees addresses her.Prisoner: Whatcha doin'? Sydney looks up at him, surprised.Prisoner: Were you lookin' for somethin'? Sydney stares at him for a moment. She's wary of him.Sydney:Maybe The prisoner crawls to the end of his bed to speak at her through the bars of his cell.Prisoner (whispering): Hey if you find any I'll have some. If it's candy God, I'd love candy. Sydney looks at him almostpityingly for a moment and then gives a hint of a smile.Prisoner: I'm Campbell.Sydney: Sydney. She smiles again. Campbell seems like he's a bit slow, or else is so broken from torture that he's become almostchildlike.Campbell: Syd ney (as if trying out the sound of it) Campbell crawls along the bars to stand close to her.Campbell: Hey Hey Don't leave, okay? Please? Been a long time without someone to talk to Sydney justlooks at him.Cut to an overpass over a drainage canal. Pan to Jack and Vaughn on the side of a road.Vaughn: So this contact we're meeting Former NSC? Jack gives Vaughn a sideways glance, his arms crossed.Jack:No. He turns to look at Vaughn and then back at the road.Vaughn: How are they gonna help us locate Sydney? Jack looks back at Vaughn.Jack: We're waiting for Sloane. Vaughn's surprised and a bit annoyed by thisnews. He crosses his arms across his chest.Vaughn: You called Sloane on this!? Jack doesn't answer, he just turns to look down the road. So does Vaughn. Cut to a black sedan driving toward them. Cut back to Jack andVaughn.Jack: You and I will be the prime suspects behind any intent to free Sydney from NSC custody. Sloane has agreed to make it seem as if it were the work of the Covenant. Do I trust him on this? Not necessarily.They both turn toward Sloane's car as he gets out and walks toward them, hands in his pockets.Sloane: Gentlemen. According to my sources, Sydney is being held at Camp Williams. Off Jack's reaction, we cut toVaughn.Vaughn: Camp Williams is a Naval training facility, why would Lindsey take her there?Jack: Because it's home to an unacknowledged NSC detention center used for the interrogation of suspected terroristswhose captivity the government won't admit to.Sloane: So to help her, we'll need a tactical team. At least eight men, transportation, weapons, specialized backup I would suggest Brill.Jack: I thought he was inFreetown?Sloane: Oh no, not since the government fell. If he's available, Domier would know.Jack: We'll need to get a hold of blueprints to Camp Williams Vaughn (cutting in, both men turn to look at him): The FEMACentral Office downtown. They should have a set of blueprints on file.Jack (impressed): Good. We'll prep infiltration into the FEMA building. Meet back here in three hours.Cut to Sloane. He suddenly looks amused bysomething.Sloane: I told you, Jack We'd work together again. This statement seems to really burn Jack. He gives Sloane a look of death, and walks away, Vaughn following him. Pan over to Sloane, still amused.Cut to ahallway in Camp Williams. Pan to Sydney, being rolled along on a stretcher, bound hand and foot. Cut to another helicopter flying towards Camp Williams. Cut to Lindsey and Lauren inside the copter. Lindsey looks outthe window, Lauren surveys Lindsey as if trying to figure out which version of this man is the real truth, hers or Vaughn's.Lindsey: Just so we're clear It's in all our best interests to make sure that no one on the Hillquestions our ethics, Lauren. That's why I'm counting on you to write a thorough report chronicling our investigation to date, and our fair treatment of Sydney Bristow. Understood? Lauren stares at him.Cut to Sydneybeing wheeled into what appears to be a cross between an emergency room and a torture chamber. Cut to the \u0000doctor' who looks decidedly creepy. The guards start to remove her restraints and Sydney starts to fightagainst them, but they keep her overpowered and transfer her to a table in the room and restrain her to it.Cut to Lauren in the helicopter.Lauren: But Sydney's made it very clear she doesn't rememberanything.Lindsey: But when we searched her flat in Rome, we found a coded message taped to the underside of her desk. Now, if she can decode that message, it may help us infiltrate or even take down theCovenant.Lauren: What if she doesn't recognize the code?Lindsey: As long as she demonstrates a willingness to cooperate, that surgery will be nothing more than a threat.Cut to Sydney in the midst of being givenelectroshock by the evil doctor. The treatment stops. She takes in deep, gasping breaths. The doctor holds a sheaf of papers in front of her face.Doctor: Ms. Bristow, we know you know how to read this code Do yourecognize your handwriting?Sydney (panting): No I draw little hearts over my Is smiley faces sometimesDoctor: What you're feeling now? The pain from shock therapy? It's nothing There's another procedureneurostimulation We could use it to find out where you've been the last two yearsCut to Sydney, still panting with pain. His barb does affect her a little.Doctor: Decypher the text and we won't have toSydney: Don'tbother negotiating with me! You better make sure I'm a vegetable when you're done with me The doctor turns his head and looks toward a slatted window where Lindsey stands watching, his arms crossed, not happy.Pushing a button to broadcast his voice into the room, he says:Lindsey: Try a higher setting The doctor turns up the setting and shocks her again. Smash cut to black. End of Act One. Closeup on Sydney's shackled righthand as the evil doctor undoes the cuff after apparently more electroshock.Doctor: The human body is an amazing thing. A couple of hours you'll almost feel human again.Cut to Sydney's face. Her eyes are closed, herface clammy and sweaty. She's obviously weak, in pain and exhausted. She opens her eyes and then we see a sudden determined look cross her face. The camera follows her gaze to the sheaf of papers the doctor hadshoved in her face earlier. It's held together by a large paper clip.Doctor: You have a strong heart, though. You could survive another five six sessions. Sydney takes a sideways glance at the doctor. When his back isturned, she reaches out and palms the paper clip off the sheaf of papers.Doctor: That'll be a new record for both of us The doctor turns and Sydney just gives him as nasty a look as she can currently manage.Cut toLindsey exiting the torture area. Lauren comes up from behind him.Lauren: I thought I was supposed to be observing? Lindsey turns around to face her and plasters a humoring smile on his face.Lindsey: And you will asmuch as possible. But my interrogation of Agent Bristow includes a discussion of classified material.Lauren: How can I report on an investigation I'm not part of?Lindsey: We can talk about it Come on; I'll brief you onwhat I can Lindsey reaches out a hand to Lauren's arm as if to invite her to walk with him. She's having none of it.Lauren: No, I'm sorry but if I'm going to chronicle our treatment of Sydney Bristow, I need to see howshe's being treated. Lindsey's face immediately loses the patronizing smile and hardens.Lindsey: How do you suppose it was that Sydney Bristow knew to flee the country before she was even aware the NSC wanted totake her into custody?Cut to Lauren's reaction. She's definitely afraid of where Lindsey is going with this line of discussion.Lindsey: With plane tickets? Fake passport? I doubt you want me looking into who it was thataided and abetted the escape of a wanted fugitive. Lauren looks shocked, betrayed. Her eyes are opened to Lindsey's true character for the first time. She shakes her head slightly, as if she can't believe she didn't see itbefore.Lauren: That's why you asked for me. Legally, you needed a witnessLindsey: Get to your office. You have a report to write. Lindsey turns and walks away, leaving Lauren to stare at him, wondering what the heckto do with the mess she's in.Cut to Sydney being slammed down upon the mattress in her cell. She's gasping and her body twitches involuntarily as an aftereffect of the shock treatments.Campbell (whispering): Sydneythey didn't give you one Sydney looks up to see Campbell holding out a wool blanket to her through the bars of his cell.Campbell: It's cold at night. Sydney takes the blanket.Sydney (whispering): Thank you. She wrapsthe blanket around herself.Campbell: This is not the best place. Sydney snickers at the extreme understatement. She lies back down, this time on her stomach. Her body still twitches.Campbell: They wanted to knowabout Iran when I was there assigned. What do they wanna know about you? Sydney looks at Campbell with almost tears in her eyes but doesn't answer. Campbell (in a whispering determined voice): Don't give it tothem! Sydney nods and then lies down on her side, facing away from Campbell. She opens the palm of her hand and we see she's still holding the paper clip. Her body still twitches. She touches it with her other handand then clutches it tightly, as if it were a lifeline.Cut to a chessboard complete with timer clocks. A black man's hand moves a piece on the board, taking a white piece. Cut up to the man's face. He's probably in his50's, mustache, wearing a cap and a green army jacket, smoking a cigar.Man: That's checkmate in three moves. Do you wanna give me my 50 bucks now or do we go through the motions? I got all day.Cut to hisopponent, a young white man in his early 20's. He looks down at the board, disgusted and then pulls the money out of his pocket and throws it on the table. As the man gets up to walk away the winning man asks:Man:That's not tuition money, is it? The man snickers as the young man gets up and leaves. The black man starts to reset the pieces on the board. He's almost finished when we see a 100 dollar bill laid onto the center ofthe board.Jack (voiceover): I'll put you in checkmate in ten moves. The man looks up at him assessingly and then answers:Man: Yeah if I play with my eyes closed.Cut to wider angle. Jack sits down opposite the man;Vaughn sits in a chair to the side of Jack. Jack starts resetting the pieces on his side of the board.Jack: Long timeMan: Chile, '73. Should've never helped overthrow Allende.Jack: Thomas Brill, Michael Vaughn. Vaughnand Brill make eye contact. Vaughn nods once at Brill. Brill leans back in his chair a little, assessing Vaughn. Brill (a little bit of surprise in his voice): You Bill Vaughn's kid?Cut to Vaughn's reaction. He's surprised thisman apparently knew his father.Vaughn: Yeah, he was my father.Brill: He was a good man.Vaughn: Thank you.Jack: You interested in a high-risk extraction? Jack makes a move on the chessboard and clicks the buttonon his timer.Brill: Always. Paint me a picture.Jack: Camp Williams Detention Center.Brill: Blind?Jack: Blueprints. Sloane's designing the op.Brill (amused): Well, look who's putting the band back together? Vaughn givesJack an annoyed look.Brill: Rules of engagement. Brill makes a move on the chessboard and pushes his timer button.Jack: The facility is protected by two dozen DoD personnel. Lethal force is not an option.Brill: Well, ifwere going to use tranqs, I'm gonna need another 5 freelancers. It's not gonna be cheap, Jack: 250K per hire another 9 for the chopper Brill moves a piece on the chessboard and clicks his timer button.Brill: and for thenon-lethal gunmetal? Add another 6.Jack: Done. Meet me at this address it two hours. Jack places a business card down onto the table. He moves another piece on the chessboard.Jack: Checkmate. Jack smiles at Brill,who looks surprised. Cut to Vaughn and Jack walking away from the table.Vaughn (apprehensive): You just agreed to pay him 2 million dollarsJack (unperturbed): Three.Cut to the inside of a dark room as Jack opens asliding metal door, shedding light into it. He hits a light switch illuminating the room and enters. Vaughn walks in behind him looking around. There's a large stockpile of automatic weapons, bombs, flak jackets, medicalsupplies, etc.Vaughn: What the hell is this?Jack: Storage. Jack drops an empty black backpack onto the table and then bends down to type in the combination on a safe. Vaughn closes the door behind them. Jack opensthe door to the safe to reveal huge stacks of cellophane wrapped cash. Jack starts grabbing the cash bundles and depositing them on the table behind him in front of Vaughn, who picks up the first couple of bundles tolook at them and then starts to load the money into the backpack.Vaughn: The fact that you're letting me see this place means it's not your only one, is it? Jack deposits more money on the table and gives Vaughn aglance. Jack (with the barest hint of amusement): You're smarter than you look Vaughn half smiles and continues to load money into the backpack.Cut to an external view of Camp Williams through the fence. Cut to acomputer screen as the words \u0000I, Lauren Reed\u0000 are typed onto it and stop. Cut to Lauren. She's still obviously torn and not sure what she should do. She's pretty sure now that Vaughn was right about Sydney'streatment, seeing that she isn't being allowed to view it, and that she's being blackmailed to write a whitewashed report. But at the same time, she doesn't want her husband to get in trouble. She leans her elbows onthe desk and leans her mouth into her hands, closing her eyes.Cut to Sydney's gurney pushing through a set of doors. Again, she's shackled to the gurney. As she's wheeled into the \u0000interrogation room\u0000, the doctor"}
+{"doc_id":"doc_176","qid":"","text":"Stanley: This is ridiculous.Phyllis: Do you have any idea what time we'll get out of here?Michael: Nobody likes to work late, least of all me. [to Jim] Do you have plans tonight?Jim: Nope I don't, remember when you toldus not to make plans 'cause we're working.Michael: Yes I remember. Mmm, this is B.S. This is B.S. Why are we here? I am going to call corporate. Enough is enough, I'm - God, I'm so mad! [on phone] This is MichaelScott, Scranton, well we don't want to work. No we don't! It's not fair to these people. These people are my friends and I care about them! We're not going to do it! [hangs up] Everybody I just got off the horn withcorporate and basically I told them where they could stick their little overtime assignment. Go enjoy your Friday.Dwight: Thank you Michael.Michael: All right, happy Friday. [to Jim] Well I think we dodged a bulletthere.Jim: I think you did.Michael: I think we should celebrate. How about you, Pam, mi casa, a little dinner, dancing, drinks?Jim: Oh, I-Michael: You said you didn't have plans. That's what yousaid.[SCENE_BREAK]Jim: Michael has asked Pam and me to dinner at least 9 times. And every time we've been able to get out of it. But I've got to give him credit, he got me. Because I'm starting to suspect that therewas no assignment from corporate.[SCENE_BREAK]Dwight: Michael, what time should I be arriving?Michael: Dwight, it's couples only. And besides, I only have six wine glasses, so it will be me and Jan, and Pam andJim, and Angela and Andy.Andy: Hey-o![SCENE_BREAK]Dwight: Does it bother me that I wasn't invited to Michael's dinner party? [breaks down crying][SCENE_BREAK]Jan: Hi.Michael: Hello.Jim: Hi.Jan: How areyou?Michael: Come on in. Good to see you.Jan: Chilly huh? So glad we finally got to do this with you guys. You wanna take their coats babe?Michael: Yes I would. So, what have you been doing?Jim: Let's see, since Isaw you an hour ago?Michael: Yeah.Jim: I have been getting ready and then driving over here.Michael: Well we have been doing pretty much the same thing.Jim: Really?Michael: Except driving.Pam: We got you this.[gives a bottle of wine]Jan: Oh well Pam, thank you, this will be great to cook with.Michael: Well have a seat, or come on in, or, I don't know, make yourself to home. This is our casa.Pam: It's really nice.Jan: So whatdo you guys think, should we do the tour first or the appetizers first?Jim: Tour, let's do the tour first.Michael: Okay.Jan: Do you have a preference babe? Upstairs first?Michael: Totally your call babe.Jan: Alright, well,let's go then, I say upstairs.Jim: Oh, you guys doing a little construction?Michael: Oh, just redoing the sliding glass door.Jan: Yeah, so sorry about this God-awful carpet, we're still a work in progress here.Michael: Well,thats...[SCENE_BREAK]Jan: This is my office.Michael: Yep, never been used.Jan: Not super exciting.Michael: No.Jan: And this is my workspace.Michael: This is it, check that out, can you smell that? [the room is filledwith candles that say \"Serenity by Jan\"]Pam: Uh-huh.Michael: As you can smell there's a lot of different odors going on in here.Pam: So you have an office and a workspace?Jan: I do, I cannot create in the same spaceI conduct business, I'm sure that you're the same with your doodles. [puts a candle to Jim's nose] Smell.Jim: It's fire.Jan: Uh-huh, Bonfire.Michael: Bond.Jan: Men love this one.Michael: James Bond Fire. I am Bondfire, James Bond Fire. Michael Scarn. [clicks tongue]Jan: When I get frustrated, or irritated or... angry, I come up here and I just smell all my candles and it just -poof- goes away.Jim: Just like that.Jan: Just likethat.Jan: So this is the master bedroom, and these walls used to like white, like an asylum. So I wanted it to be softer, So I had it painted in eggshell white.Michael: Guess what, white and eggshell white are exactly thesame color.Jan: [puts away video camera facing the bed] Babe I thought you said you were going to tidy things up.Michael: Well, I-Jan: Shame on you.Pam: What a cute bench.Michael: Thanks, that's my bed. Jan hassome space issues, so I curl up on that puppy.Jim: Really? 'cause... seems pretty narrow... and short.Michael: It's actually a lot bigger than it seems. Look at this. [Lies down]Jan: See, he fitsperfectly.[SCENE_BREAK]Michael: I finally broke down and bought myself a plasma TV. Check it out. [reveals a tiny TV] I actually hung this on the wall myself. I want to show you something . A lot of people in theroom, need more space? [moves TV back a couple inches] Voila, right in the wall.Jim: Wow.Michael: Sometimes I will just stand here and watch television for hours. I love it, I love this TV. Oh and I also built thistable.Jim: What is that chestnut?Michael: No, I think that is either pine, or nordic cherry.Jan: It's pine.Jim: Michael, I'm just terrible at all this stuff, so that's really cool.Jan: Really?Pam: Yeah, he tried to set up myTIVO for me but then I didn't have audio for a week.Michael: If you ever need any help, I am just a phone call away.Jan: I bet you are.Jim: Well, I saw - oh your Dundies. I'm surprised they're not out on the coffeetable for everybody to see.Jan: It was between the neon beer sign and the Dundies so I said \"Honey keep the trophies.\"Michael: Oh honey, I have the best trophy right here, aside from my Dundies.Jan: [doorbell] Oh,excuse us just a second.Michael: I'll get it.Jan: [Andy and Angela enter] So glad you're finally able to be here.Angela: [Michael tries to hug Angela] No, no.Michael: Okay.Andy: Tuna! What's up Tuna, we having tuna fordinner? [to Pam] I bet you're sick of tuna right? You probably have tuna every night. Tuna! [to Jan] These are for you. [hands flowers]Jan: Oh, how thoughtful.Michael: Very nice.Andy: Except for one flower, which isfor... my flower.Jan: Aw.Angela: What am I supposed to do with this?Jan: How 'bout we do the short tour and then I'll start dinner?Pam: Oh I can help starting dinner if you need it.Jan: Oh no no no, it's just the ossobuco needs to braise for about three hours, everything else is done.Pam: Three hours from now or three hours from earlier like 4:00?Jan: You know Pam, in Spain they often don't start eating until midnight.Michael:When in Rome.Jan: Do you have a preference, upstairs first?Michael: Whatever you say babe.Jan: Follow me.Michael: All right.[SCENE_BREAK]Michael: How 'bout a toast. Shall I? Here's to good friends.All:Cheers.Michael: Kinda sorta an oaky afterbirth.Jim: What was that?Jan: So music, should we turn some music?Michael: Yeah that sounds good.Jan: Do you guys remember my old assistant Hunter? He is an excellentsongwriter.Hunter's CD: You took me by the hand, Made me a man, That one night, You made everything all right, So raw, so right, All night, all right, Oh yeah, Oh yeah, So raw, so right, All night, all right, Ohyeah.Michael: You know what, Hunter was a terrible assistant, that is why Ryan fired him.Jan: Well I think he's probably just about as reliable as Pam being that it usually takes you an afternoon to get back tome.Angela: Sometimes I think she holds on to faxes.[SCENE_BREAK]Pam: [To camera] I don't care what they say, I just want to eat. Which I realize is a lot to ask for... at a dinner party.[SCENE_BREAK]Andy: [playingcharades] No it's a... hump. There's a hump.Jan: Joe Camel!Andy: Okay yes, first name of that animal and the second name is the state where Helena is the capital.Pam: Montana.Jan: Oh!Pam: Joe Montana!Andy: Yes!Yes.Pam: Why didn't you just say 49ers quarterback?Michael: All right, [rhythim clapping] my my my my turn, my my my my turn, my my my my turn.Jan: Babe can you just like really, woah, could you just simmerdown?Michae: What, no, I'm just making people laugh.Jan: No.Michael: Yes, I was watching Jim's face.Jan: I was watching Jim.Michael: And he was laughing.Jan: No smiling.Michael: Look at him, he'slaughing.[SCENE_BREAK]Jim: Michael and Jan seem to be playing their own separate game and it's called 'Let's see how uncomfortable we can make our guests' and they're both winning. So I'm going to make a run forit. [holds cellphone][SCENE_BREAK]Jim: You'll never guess, I just got a message from my landlord apparently, my apartment flooded, something with a sprinkler. Pam, we should probably get going and see thedamage.Pam: Oh okay.Michael: Well you don't need two of you to do that.Jim: That's true. Um... dinner sounded delicious. Pam I'll see you at home, thank you so much.Pam: Oh Jim, I don't think you're going toabandon this party here all by itself.Jim: I don't know because I everything I own is there.Pam: You can buy new stuff but you can't buy a new party.Michael: That's true, that's a great point. Come on down here. Sitdown on that couch and be amongst friends and we are not going to think about all your stuff being destroyed, all right.Andy: Michael, you're up.Michael: All right here we go, this is going to be fun, ready. All right firstname is Tom-Jan: No no no, no names, no names, no rhyming, no soundalikes.Michael: All right, Okay, okay, you're getting inside my head. First name is blank and he goes on a cruise, he goes on a CaribbeanCRUISE.Angela: I don't know.Jim: Katie Holmes.Michael: No, Baah! But he's married to her!Jim: Oh, Dawson's Creek.Michael: No! It has to be a real person Jim, come on. Okay, no no, I'm gonna pass, I'm gonna pass.Okay, rhymes with Parnold Schporzenegger.Jan: No rhyming!Jim: Not really a rhyme.Angela: Another clue, another clue.Michael: Okay, he is the governor of California, he is the Terminator.Angela: Those aren'thelpful.Jim: Tom Cruise!Michael: No!Andy: Time!Michael: God, does anybody read the paper?![SCENE_BREAK]Pam: [Michael offers his coat to Pam, who is shivering] Oh, thank you.Michael: You're welcome.Jan: [eyesPam] I'm so, so sorry for the temperature in here. The um, sliding glass door shattered. It's actually a really cute story. Do you wanna tell it babe or should I tell it?Michael: I don't like that story babe.Jan: Come on, it'sa cute story, Michael ran through the sliding glass doors because he thought he heard the ice cream truck!Michael: Stop, stop it! I mean, I like ice cream. Okay? Sue me. Oh, no, don't. I shouldn't say that jokinglybecause she will sue me. She loves to sue, loves lawsuits. You know honey, that door was extremely clean and it looked invisible.Jan: You are so right, you're so right because before I lived here, the glass was alwayscovered in smudges, and then I moved in and I cleaned it so I guess that makes me the Devil.Michael: Ha ha, you are! She is! She is the devil! I'm in hell! Aaahhh I'm burning, help me!Angela: You shouldn't joke aboutthat.Pam: Is there more wine in the kitchen?Jan: I will get it, I will get it, what kind of hostess would I be if I didn't get. It's okay, I don't mind. In fact you know what, girl's trip, Angela come on. Girl'strip.[SCENE_BREAK]Jan: [checking the oven] Uh, not even close.Angela: So you keep a very tidy house.Jan: You should see our bathroom after Michael takes a bath, whew. But I don't have to tell you Pam.Pam: No,yeah. What?Jan: Oh well don't tell me that he's really changed since you guys dated.Pam: Oh, are you joking?Jan: Well, Michael told me a little bit about it, but I see the way you look at him.Pam: I have never, everdated, or wanted to do anything resembling dating Michael, ever. Not ever, not now, not then, not now, not ever, ever.Angela: I've noticed how you look at him at the office.Jan: Mmhmm.[SCENE_BREAK]Michael: [inthe garage] So I spend most of my time right here. Have a hand [the chairs are shaped like hands]. So Jim I noticed you checking out Jan's candles.Jim: Oh no she just put it in front of my face.Michael: Yeah, did youknow that candles are the number one fastest-growing product in the scent aroma market? $2 billion dollar a year industry. And for only $10,000, you could become a co-owner of \"Serenity by Jan\" What do you thinkabout that?Andy: Thought about it, I'm in.Jim: I'm sorry, are you really trying to get us to invest in Jan's company?Michael: I'm sorry. [doorbell rings] What now?[SCENE_BREAK]Jan: Coming! [Dwight and a woman areat the door holding wine glasses and a cooler]Dwight: Hello.Jan: What are you doing here?Dwight: We came here to eat dinner and to party, this is a dinner party right?Pam: [whispering] Awesome.Jan: What is hedoing here?Angela: Yes, What are you doing here?Michael: Dwight is my friend.Woman: We weren't invited?Michael: You said that I could not invite Dwight because he was not part of a couple, and because we didn'thave enough wine glasses. Dwight brought glasses and a person.Jan: Fine, whatever you want, just like always, whatever you want.Michael: Whatever I want? It's never whatever I want. When I wanted to see Stomp,and you wanted to see Wicked, what did we see?Jan: We saw Wicked.Michael: When I said that I wanted to have kids, and you said, you wanted me to have a vasectomy, what did I do? And then when you said thatyou might want to have kids and I wasn't so sure, Who had the vasectomy reversed? And then when you said you defintely didn't want to have kids, who had it reversed back? Snip snap! Snip snap! Snip snap! I did.You have no idea the physical toll, that three vasectomies have on a person. And I bought this condo to fill with children.Jan: I am so sorry that I don't want to bring kids into this screwed-up world, okay? But look if youwant to have kids, then fine you win. Let's have a [bleep]ing kid.Michael: Do you mean it? You want to have a kid? [Jan walks away]Jan: I hate my life.Dwight: So can we come in?[SCENE_BREAK]Dwight: Hmmm...Mmm... great turkey leg.Jan: [crying] I'm just gonna check on dinner. [Jan gets up from the table]Dwight: Angela, would you like some of my beet salad?Angela: I hate beet salad.Woman: It's actually reallygood.Dwight: Hey hey hey hey. [to Angela] I know you love beet salad. I've seen you eat it many times.Angela: The thought of popping one of your beets into my mouth makes me want to vomit.Michael: [leans acrossto Pam whispering] Pam... I hope she didn't do anything to the food.Pam: [whispers] Like... like what?Michael: I can't prove it but I think she might be trying to poison me. [Jan serves the food] Hey, looks greatbabe.Andy: Yeah it does.[SCENE_BREAK]Pam: I know Jan didn't poison the food. I know that. But if she was going to poison the food of someone at that table wouldn't it be me? Michael's formerlover?[SCENE_BREAK]Jan: [Michael dips his steak into his wine] Can you not do that? It's disgusting.Michael: You know I have soft teeth, how can you say that?Jan: Oops.Michael: Excuse me for a second. [gets upfrom the table]Jim: [to babysitter] So... how do you guys know each other?Woman: I was his babysitter.Pam: And now you guys are dating?Dwight: Purely carnal and that's all you need to know.Jim: Would you writedown your e-mail because I have just so many questions...Woman: E-mail?Jim: Nevermind.Michael: Ok... alright... here we go. [takes down huge painting behind his seat and puts up a neon beer sign] There. [plugs itin] Oooookay.Jim: That's nice.Michael: Everybody enjoying their meal?Jan: Hey babe?Michael: Yeah?Jan: How about we take the beer sign down until our guests leave and then we can discuss it.Michael: No. No. I'mgonna leave it up. I think it ties the whole room together.Jan: Ok. [gets up and goes over to the stereo and turns on Hunter's CD really loud]Michael: [to the guests] Jan thinks Hunter is very talented. You know what? Idon't think he's that good.Jan: At least he's an artist.Michael: BFD. I'm a screenwriter.Jan: [shouting] AND I'M A CANDLEMAKER BUT YOU DON'T HEAR ME BRAGGING ABOUT IT!Michael: NO ALL YOU DO IS YOU GET METO TRY TO WORK ON MY RICH FRIENDS!Jan: FOR AN INVESTMENT OPPORTUNITY!Michael: MAN! I WOULD LOVE TO BURN YOUR CANDLES!Jan: YOU BURN IT. YOU BUY IT!Michael: OH GOOD. I'LL BE YOUR FIRSTCUSTOMER!Jan: AND YOU'RE HARDLY MY FIRST!Michael: [yells] THAT'S WHAT SHE SAID! [Jan gets an evil look on her face and picks up Michael's dundie and throws it into his plasma screen tv] THAT IS A 200 DOLLARPLASMA SCREEN TV YOU JUST KILLED! Good luck paying me back on your zero dollars a year salary plus benefits, babe! [Jan goes upstairs crying.]Woman: I'm gonna get going.Dwight: Fine. Get outta here.Jim: It'sgetting late.Michael: You know what guys, she'll be out of the bathroom soon.[SCENE_BREAK]Jim: [Jim and Pam head out the door and there are policemen at the door] Of courseDwight: Get out of my way, I'll takecare of this. OK.[to police] Uhhh what seems to be the problem officers?Officer 1: Not now Dwight, We got a call about a disturbance?Michael: Nope. Nope. Nothing disturbing here. Just a couple of friends having anawesome dinner party.Officer 2: The neighbors said they heard some shouting.Michael: Oh... yes. There was some screaming but... um... my girlfriend... threw a dundie at my TV. Plasma.Officer 1: You wanna presscharges?Michael: Would she get into trouble?Officer: Yes. She'd be charged.Michael: I will take the fall. I did it.Officer 2: You know you don't have to press charges, you could just try to be more quiet.Jan: [running outthe door)] Michael! [pleading] Michael. What are you doing to him?Officer 1: Sir, do you have any other place you can stay? Maybe with one of your friends here?Dwight: [puts his hand on the Officer's shoulder] Michaelcan come home with me.Michael: Jim? Pam?Jim: Oh... my apartment's on firePam: [whispers] Flooded.Jim: Flooded.Dwight: You people. [to Michael] Come on. You're sleeping with me.Michael: No.Dwight: I'm gonnatake you home Michael.Michael: Nope.Dwight: Alright. [leads Michael away]Jan: Bye Babe![SCENE_BREAK]Pam: [Pam and Jim are sitting in Jim's car in front of Detroit Coney Island Chili Dogs] This is the best burgerI've ever had, babe.Jim: You know, babe, I should have told you but... I did something bad.Pam: Hmm?Jim: [holds up Hunter's CD] I stole this. [Pam laughs] For you babe.[SCENE_BREAK]Pam: [Hunter's voice startssinging, Pam joins in] One night...[SCENE_BREAK][Cut to Michael holding his head out of Dwight's car][SCENE_BREAK][Cut to Andy and Angela in Andy's car eating Ice cream. Andy tries to steal a bite of Angela's. Sherolls down the window and smashes it against his car][SCENE_BREAK][Jan is watching Michael's cracked plasma screen TV and tries to fix his Dundie.][SCENE_BREAK][Michael and Dwight slow at a red light and see thewoman at the bus stop, she waves to Dwight, who passes her by.]"}
+{"doc_id":"doc_177","qid":"","text":": The university cafeteria.Raj: Okay in Avatar when they have s*x in Pandora they hook up their ponytails, so we know their ponytails are like their junk.Howard: Yeah, so?Raj: So, when they ride horses and fly on thebirds, they also use their ponytails.Howard: What's your point?Raj: My point is, if I were a horse or a bird, I'd be very nervous around James Cameron.Sheldon: It amazes me how you constantly obsess over fictionaldetails when there are more important things in the real world to worry about. For example, why wasn't William Shatner in the new Star Trek movie?Leonard: Hey, Sheldon, I was up in the administration office, and Ihappened to overhear the name of the winner of this year's Chancellor's Award for Science.Sheldon: And you want to rub my nose in the fact that my contributions are being overlooked again? I am the William Shatnerof theoretical physics. All right, I'll play. What self-important, preening fraud are they honouring this year?Leonard: Oh, I'm so glad you asked it like that. You.Sheldon: I won?Leonard: You won.Sheldon: I won! This isastonishing. Not that I won the award, no one deserves it more. Actually, I guess I misspoke. It's not astonishing, more like inevitable. I'm not sure what to do first. Maybe I should call my mother. Wait! I know, I'mgoing to conduct an interview with myself and post it online.Raj: Well, good for him.Howard: Yeah, the one thing the William Shatner of theoretical physics needed was an ego boost. Credits sequenceScene: Theapartment. The guys are watching Avatar in 3D. All are wearing 3D glasses except Raj.Howard: Didn't it look like that spear was going to go right through your skull?Raj: No.Leonard: Hey, you didn't want a Slurpee at7-Eleven, you don't get glasses.Sheldon (phone rings): Oh, that will be another congratulatory call for me. Uh, mute, please.Howard: Uh, hang on, flaming arrow.Sheldon: Hello? Oh, Chancellor Morton, how are you,sir? Yes, I was expecting your call (aside) three years ago. I see. Wait. What happens if I choose not to give a speech? Uh-huh. And if I don't want to forfeit the award? Well, you've got that tied up in a neat little bow.All right. Thank you. (Hangs up) Problem.Leonard: What?Sheldon: They expect me to give a speech at the banquet. I can't give a speech.Howard: Well, no, you're mistaken. You give speeches all the time. What youcan't do is shut up.Raj: Yeah, before the movie, you did 20 minutes on why guacamole turns brown. It turned brown while you were talking.Sheldon: I am perfectly comfortable speaking to small groups. I cannot speakto large crowds.Leonard: What, to you, is a large crowd?Sheldon: Any group big enough to trample me to death. General rule of thumb is 36 adults or 70 children.Penny: Sheldon, congratulations. Brought youcheesecake from work. You know, 'cause of your award, not because a busboy sneezed on it.Sheldon: I'm not accepting the award.Penny: Why not?Howard: Turns out the great Sheldon Cooper has stage fright.Penny:That's no reason to back out. You know, I once got a pretty big honour in high school, and I was terrified about appearing in front of a big crowd, but I went through with it, and you know what? The world looked prettydarn good sitting on a haystack in the back of a Ford F-150 as a member of the Corn Queen's court.Sheldon: Thank you. Yeah, I'll bear that in mind if I'm ever nominated for the Hillbilly Peace Prize.Leonard: Sheldon,you're being ridiculous.Sheldon: Am I? Let me tell you a story.Howard: Where's 70 children when you need 'em?Sheldon: I was 14 and graduating summa cum laude from college. Summa cum laude is Latin for withhighest honours.Penny: I just love how you always skip over the part where no one asks.Sheldon: I was valedictorian and expected to give an address. Even now, I can remember that moment when I walked up to thepodium and looked out at the crowd. There must have been thousands of people. My heart started pounding in my chest. I began to hyperventilate. My vision became blurry, and before I knew it... oh, dear. (Hefaints.)Penny: Oh, my God.Leonard: Sheldon? Sheldon, are you okay?Sheldon: Don't trample me.Scene: The stairwell. Sheldon is on the phone.Sheldon: Come on, Mother, you know why I can't accept the award. Withall due respect, I don't think praying will help. No, I have not heard the song, Jesus, Take the Wheel. No, no, no, no, no, no, no, you don't need to start singing it. Yes, I'll buy it on the iTunes, Mother. Good-bye, Mother.(Enters apartment. The others are sitting as if waiting for him.) Hello.Leonard: Sit down, we want to talk to you.Sheldon: Am I in trouble? Did my mother call you?Penny: Just sit.Leonard: We think we can help you withyour stage fright.Sheldon: Oh, I doubt that. I haven't figured out a way, and I'm much smarter than all of you.Penny: Yes, but you're not smarter than all of us put together.Sheldon: Oh, I'm sorry, that is what Imeant.Penny: Okay, your problem is, you're trying to do this all by yourself.Leonard: We can help you. We can be your team. Like, uh, Professor Xavier and his X-Men.Sheldon: I do like the X-Men.Penny: Did I seeX-Men?Leonard: Yeah, we watched it last week. You said you liked it.Penny: Oh. I say a lot of things, sweetie. So, how about it, Sheldon?Sheldon: I don't know. If you're my X-Men, what are your powers?Penny: Okay.Well, I am going to take you shopping, get you a nice suit. Might give you more confidence.Sheldon: That's not exactly a mutation that would get you into Xavier's School for Gifted Youngsters, but go on.Leonard?Leonard: I thought I could try to analyze you and get to the root of your anxiety.Sheldon: What qualifies you to attempt to understand my mind?Leonard: My mother is a highly regarded psychiatrist, and I'vebeen in therapy ever since she accused me of breast-feeding co-dependently.Howard: Raj says he can teach you, what did you call it? I don't know, some Indian meditation crap.Sheldon: I see. Well, I assume, since therest of you have set the bar so low, you're saving the most impressive contribution for last. Go ahead, Howard. Dazzle me.Howard: My power is the ability to pretend like I give a damn about your piddly-ass problems.And that's 24-7, buddy.Sheldon: And I appreciate the pretence.Penny: So, what do you say, Sheldon? Are we your X-Men?Sheldon: No. The X-Men were named for the X in Charles Xavier. Since I am Sheldon Cooper,you will be my C-Men.Howard: Oh, that's not a good name.Scene: The apartment. Raj is lighting candles. Indian music is playing.Raj: Okay, Sheldon. I'm going to be leading you through a series of meditationexercises. These methods come from the ancient gurus of India and have helped me overcome my own fears.Sheldon: And yet, you can't speak to women.Raj: True, but thanks to meditation, I am able to stay in thesame room with them without urinating. Now, close your eyes.Sheldon: Okay, but don't punch me.Raj: What?Sheldon: When I was little, my sister would say to me, close your eyes, you'll get a surprise, and then she'dpunch me.Raj: I'm not going to punch you.Sheldon: That's what my sister used to say.Raj: Do you want to do this or not?Sheldon: I'm sorry. Proceed.Raj: All right. Imagine yourself in the one place you feel most athome. Where is that?Sheldon: Sim City. More specifically, the Sim City I designed, Sheldonopolis.Raj: Okay, you're in Sheldonopolis.Sheldon: Where exactly? Sheldon Square? Sheldon Towers? Sheldon Stadium, homeof the Fighting Sheldons?Raj: Whatever you like.Sheldon: I thought this was supposed to be a guided meditation.Raj: Fine. You're in Sheldon Square.Sheldon: Really? This time of year? It's a bit nippy.Raj: Then, put ona sweater.Sheldon: Suppose I could run downtown and pick up something at Shel-Mart.Raj: Yeah, whatever. Just go buy a sweater.Sheldon: You know, the nice thing about Shel-Mart is I own it, so I get a 15%discount.Raj: You own the damn thing. Just take a freaking sweater!Sheldon: Look, I didn't turn a profit last quarter by taking product off the shelves willy-nilly.Raj: All right. You've paid for a sweater, and you're inSheldon Square.Sheldon: Hang on. It's a cardigan. I have to button it. Oh, no.Raj: What now?Sheldon: A Godzilla-like monster is approaching the city. I have to get my people to safety. People of Sheldonopolis, this isyour mayor. Follow me. If the children can't run, leave them behind. Oh, the simulated horror! (Sound of door slamming) Raj? Just as I suspected. Meditation is nothing but hokum.[SCENE_BREAK]Scene: A clothingstore.Sheldon: I question your premise. How is a new suit going to prevent me from passing out in front of a ballroom full of people?Penny: It'll give you confidence. You know, sometimes when I'm feeling all stressedout about something, I go out and buy a cute top or a fun skirt and I have a whole new outlook on life.Sheldon: Don't you eventually realize you're just the same stressed out person in a cute top or a fun skirt?Penny:Yeah, that's when I buy shoes. Now, let's see what we've got. Ooh! This is nice.Sheldon: It's only one colour.Penny: Yeah, so?Sheldon: That's a lot of money for only one colour.Penny: Fine. Why don't you pick out whatyou like.Sheldon: Hmm. (Cut to Sheldon exiting changing room in a loud check suit). This is pretty sharp.Penny: No, you're wrong. Sheldon (now in a sparkly green suit with rhinestones): This is great. I had a suit likethis when I was six. (Cut to Sheldon exiting in a white dinner suit with tails) Okay, I think we have a winner.Penny: Where the hell d'you find that?Sheldon: In the prom department.Penny: It's ridiculous.Sheldon: Saysthe former member of the Corn Queen's Court.Penny: Please just try this one on.Sheldon: Okay. But anything I put on now is only going to suffer in comparison. (Goes into changing room. Comes out in black suitlooking terrific.) This is absurd. I look like a clown.Scene: The apartment.Leonard: So, Sheldon, how you doing?Sheldon: That's how you start a psychotherapy session? How am I doing? I was promised a riverboatjourney into the jungles of my subconscious. Instead, I get the same question I hear from the lady who slices my bologna at Ralph's.Leonard: I'm sorry, I'll start again.Sheldon: Would it be helpful to you if I told youabout my dreams?Leonard: Um, I don't know, maybe.Sheldon: I recently had a dream that I was a giant. But everything around me was to scale, so it all looked normal.Leonard: How did you know you were a giant ifeverything was to scale?Sheldon: I was wearing size a million pants.Leonard: Why don't we just talk?Sheldon: Ah, the talking cure. Classical Freudian, good choice. If it will help speed things along, uh, my answers tothe standard Rorschach ink blot test are A, a bat, B, a bat, C, a bat, and D, my father killing my mother with a hypodermic needle.Leonard: Why don't I just start? Sometimes people have trouble accepting accolades if,on a subconscious level, they don't feel they deserve them. Do you think maybe that's what's happening here?Sheldon: Really, Leonard? You're just going to try to recycle Adler's doctrine of the inferiority complex? Icould probably get that from the woman at Ralph's. And she'd let me taste some pieces of cheese for free.Leonard: But it could be part of your problem. Let me give you an example. When I was eight, I won a ribbon atthe science fair for my project, \"Do Lima Beans Grow Better to Classical Music.\" But my mother pointed out that it was just a rehash of my brother's earlier \"Do Lima Beans Grow Worse to Rock 'n' Roll.\" I felt so guilty, Igave the ribbon back.Sheldon: And how did that make you feel?Leonard: Terrible. I worked really hard on that project. I stayed up all night singing the clown's aria from Pagliacci to a lima bean sprout.Sheldon: Goon.Leonard: It wasn't my fault. I had never seen my brother's project. And my mother could've told me before instead of at the ceremony in front of everyone.Sheldon: So, I hear you saying you're angry with yourmother.Leonard: Damn right, I'm angry with my mother. For God's sake, I was eight years old. She humiliated me. That's when the bed-wetting started again.Sheldon: Thank you, Leonard.Leonard: For what?Sheldon:If someone as damaged as you can find his way to crawl out of bed each morning, I think I can face a simple award ceremony.Leonard: Wait, that's it? I thought we had a whole hour!Scene: The awardceremony.Leonard: Good evening, ladies and gentlemen. My name is Dr. Leonard Hofstadter, and it is my very great honour to introduce the winner of this year's Chancellor's award for Science and my good friend, Dr.Sheldon Cooper. But before I do, I'd like to share with you a letter from Sheldon's mother, who couldn't be here tonight. Isn't that nice? His mother sent him a letter. She's proud of him. I wonder what that feels like.Dear Shelly. That's what she calls him. Shelly, it's a pet name. You know what my mother's pet name for me is? Leonard. But I digress. Dear Shelly. I am so proud of... (continues as background noise)Sheldon: Oh,dear.Penny: What's the matter?Sheldon: I'm getting dizzy.Raj: Don't worry. You're surrounded by your C-Men.Sheldon: I can't do this. I'm going to faint.Penny: Here, drink this. It'll relax you.Sheldon: Alcohol? I don'tdrink alcohol.Penny: Fine, faint.Sheldon: I don't feel different, this alcohol's defective.Penny: Here, see if this one works.Leonard (still talking): First of all, the projects were totally different. I was showing that classicalmusic nurtures lima beans and makes them grow, but my mother didn't hear me. If you'd like to look at the relationship between nurturing and growth, I'd like to point out that my brother is eight inches taller thanme.Sheldon: I'm ready.Leonard: Oh, right. Ladies and gentlemen, our guest of honour, Dr. Sheldon Cooper.Sheldon: Thanks, shorty,I'll take it from here. All right, you people ready to have some fun? You have a basicunderstanding of differential calculus and at least one year of algebraic topology? Well, then here come the jokes. Why did the chicken cross the Mobius strip? To get to the same side, bazinga! All right, a neutron walksinto a bar and asks, how much for a drink? The bartender says, for you, no charge. Hello? I know you're out there. I can hear you metabolizing oxygen and expelling carbon dioxide. Looks like we have some academicdignitaries in the audience. Dr. Randall from the geology department, only man who's happy when they take his work for granite. Ba-da cha! I kid the geologists, of course, but it's only 'cause I have no respect for thefield. Let's get serious for a moment. Why are we all here? 'Cause we're scientists. And what do scientists study? The universe. And what's the universe made of? I am so glad you asked. (Singing) There's antimony,arsenic, aluminium, selenium, and hydrogen and oxygen and nitrogen and rhenium, and nickel, neodymium, neptunium, germanium... Everybody! And iron, americium, ruthenium, uranium, europium, zirconium,lutetium, vanadium... Just the Asians! And lanthanum and osmium, and astatine and radium...Scene: The apartment.Sheldon: Penny, Leonard. Would you be able to answer some questions I'm having about the eventsof last night?Penny: Sure.Sheldon: Question one, where are my pants?Leonard: You might want to check YouTube.Sheldon: What do I search?Leonard: It's already loaded. Just hit play.On-screen Sheldon: All right,people, let's get down to the math. It is only three dimensional thinking that limits our imagination. Can I take my pants off over my head? Of course not. My body's in the way. But if we had access to higherdimensions, we could move our pants around our bodies through the fourth dimension and our days of dropping trousers would be over.Sheldon: Oh, Lord, this couldn't be any more humiliating.Leonard: Uh-uh, give it aminute.On-screen Sheldon: Now, for the astronomers in the audience, get ready to see the dark side of the moon. And here's Uranus."}
+{"doc_id":"doc_178","qid":"","text":"OPENING CREDITSFLYOVER CARDIFF. Shot pauses and zooms in on an area of the city.CUT TO EXT. STREET - NIGHTHeavy rain pours down, it is dark. Floodlights come on and a body can clearly be seen lying in thestreet, SOCO (Scene of crime officer) and police officers are milling around the scene.[SCENE_BREAK]Two police officer's standing in the rain, a male and a woman. The male is holding a cup of coffee.GWEN : Oh, hot.Gwen takes the coffee.PC : Gwen, there's not enough. You didn't order. Gwen walks away towards another police officer.PC (off camera) : What do I do now ?GWEN (calls back) : Well I've only just arrived so tough.Who is it ?PC ANDY : I dunno, some bloke. You going to stop over on Friday ?GWEN : I dunno, what is it ? Drinks ?PC ANDY : A bit of pizza I think.GWEN : Might do, yeah. Police Officers move SOCO, \"SOCO leavingscene\" can be heard from the police radio.PC ANDY : Ay ay, what's happening here then.POLICE OFFICERS : On you go. Come on now.PC ANDY : Move back if you could, thank you. He starts moving people back,moves away from Gwen who is left to watch on her own.GWEN : Hey what's going on ? Gwen speaks in general to anyone then walks up to SOCO.GWEN : Excuse me sir, what is it, what's happening ?SOCO : Buggeredif I'd know, it's orders from above.GWEN : But the body is still there though, isn't it though. You can't just leave it.SOCO : Move back they said. Clear the site. Special access they said.GWEN : For who ?SOCO :Torchwood. A black SUV pulls into the site. Four people get out, Jack, Suzie, Owen and Toshiko. They walk past the police and stand by the body, rain still pounding down.GWEN : Who's Torchwood ?SOCO : Special op'sor something. He glances at Gwen's coffee.SOCO : That hot ?GWEN : Huh ? Oh yeah, have it. But they're not allowed in there, they could contaminate the evidence and all sorts. I mean how can they...SOCO : Don't askme. There's no procedure anymore. It's a f*cking disgrace. The SOCO walks away with Gwen's coffee. Gwen stares after him and then looks at the Torchwood team. Jack turns in her direction but does not appear to belooking at her. Gwen tries to see what they are doing. She looks up and sees a multi story car park.INT. FLIGHTS OF CONCRETE STAIRSGwen runs up the stairs and into the car park a few floors up. She goes to theedge of the car park floor and leans over the balcony, and starts to watch and listen to them. Gwen overlooking body and Torchwood team.EXT. ALLEY NEXT TO THE BODYTorchwood around the murder victim.JACK :There you go, I can taste it, oestrogen. Definitely oestrogen. (He looks up slightly, dripping with rain). You take the pill flush it away, it enters the water cycle. Feminises the fish. Suzie pulls a gauntlet from a crate andputs it on.JACK : Goes all the way up into the sky and then falls all the way back down onto me. Contraceptives in the rain. Love this planet. Still least I won't get pregnant. Never doing that again. Jack looks atSuzie.JACK : How's it going ?SUZIE : Nothing yet, its got to connect. I just gotta feel it.OWEN : Then hurry up and feel it. Freezing my arse off here.SUZIE : I can't just flip a switch ! It's more like access, it, it grants meaccess.OWEN : Whatever that means.SUZIE : It's like, oh, oh, oh, oh. The glove starts to glow, working.JACK : Positions...OWEN : If I get punched again, I'm punching him right back.JACK : Just concentrate. Suzie...Jack nods at her and then Suzie places her hand under the corpse's head. The rain stops around them and the lights get brighter. The corpse breathes out. Gwen looks down, she is shocked.BODY : There was, I was, Iwas, I was... oh my god what's goin' on ?TOSHIKO : Listen to me, we've only got 2 minutes so it's important that you listen, ok...BODY : Who are you ?TOSHIKO : Trust me. You're dead.BODY : How am I dead ?OWEN: You were stabbed.BODY : I'm not dead, I can see you.TOSHIKO : We've brought you back, but we haven't got long. I'm sorry but you've got to concentrate. Who did this to you ? What did you see ?BODY : But whyam I dead ?TOSHIKO : Who attacked you ?BODY : I don't want to be dead !SUZIE : 60 seconds.TOSHIKO : You've got to think, just focus on me. What was the last thing you saw ? Jack sighs, clearly frustrated.BODY : Ididn't see anything. I dunno.TOSHIKO : Who killed you ? Did you see them ?BODY : I dunno. There was something behind me.OWEN : Police said one stab wound in the back.TOSHIKO : So you didn't seeanything.BODY : No. There is a long pause, each Torchwood member looks at the body.BODY : What happens now ?SUZIE : 30 seconds.TOSHIKO : But he didn't see anything.SUZIE : Don't waste it.TOSHIKO : Whatelse do I say ?JACK (crouching down) : What's your name ?BODY : John. John Tucker.JACK : Ok John. Not long now.BODY : Who are you ?JACK : Captain Jack Harkness. Tell me what was it like when ya died ? What didya see ? (Pause) John, tell me what you saw.SUZIE : 10 seconds.BODY : Nothing... I saw nothing... Oh my god there's nothing. John stops breathing, his head falls back into Suzie's hands, dead once more and the rainresumes falling heavily. Gwen stares at them from above.SUZIE : sh1t !OWEN : I said it was stupid telling him he was dead.TOSHIKO : Well you try it.OWEN : Trust me. Like that's gonna work.JACK : Told the lastcorpse he was injured and he wasted the whole two minutes screaming for an ambulance. Maybe there's no right way of doing it. Jack looks up, straight at Gwen and calls out.JACK : What do you think?[SCENE_BREAK]Gwen standing at the car park wall looking over. Gwen leans back shocked when Jack sees her. She runs across the car back and back onto the street. She bends down breathing shallow, shocked andconfused.[SCENE_BREAK]ARIEL VIEW OF CARDIFFINT. GWEN'S FLAT - LATER THAT NIGHTGwen enters pauses in the entrance and then goes upstairs and walks towards the sofa. Rhys, her boyfriend, is sitting watchingTV.GWEN : Still up ?RHYS : In 'ere. They said on the news murder in the city centre. Were you there ?GWEN : No. I dunno, nothing to do with me... How come you're still up though ? Gwen sits next to Rhys and kisseshim on the forehead. Clearly they are an established couple.RHYS : Oh, Banana Boat came round. He was saying he's got plans. He's off again next summer.GWEN : How come you're not pissed then ?RHYS : Ooo, wellwe 'ad a cup o' tea. He's read this thing about diabetes. Me and him 'avin tea, that's middle age that is. There's some Chinese in the fridge.GWEN : No I'm not hungry. You coming to bed ?RHYS : Just finish here. Thisman's found his sister.GWEN : I'll see you in a minute. Gwen walks away.[SCENE_BREAK]GWEN'S BEDROOM - NIGHTGwen lying awake in bed unable to sleep.ARIEL CARDIFF - DAYINT. POLICE OFFICE - CARDIFF -DAYGwen enters and sees a colleague walking down the stairs carrying files.GWEN : Yvonne, can you do me a favour ? Can you a search for me ?YVONNE : Join the queue.GWEN : It's a Captain Jack Harkness, can youcheck him out ? Gwen passes Yvonne and starts to walk up the stairs.YVONNE : I'm busy. See's there's proper channels, Gwen. What sort of Captain ?GWEN : Dunno, just a Captain.YVONNE : If I get time.GWEN (callsdown stairs) : Thanks.INT. POLICE MURDER INVESTIGATION ROOM - CARDIFFPolice officers are looking at crime scene photos pined to a wall and discussing the facts of the case. Gwen enters carrying a tray of tea andcoffee.OFFICER : Sarah Palaster, 72. Murdered in her front room. Rani Ghosh, 45. Murdered in Robin Tree Alley and now John Tucker, 19, murdered in Sangavalith Lane. There's absolutely nothing linking these threevictims. Apart from the way they died. As far as we can tell, all with the same weapon. A blade, approximately 8 inches long, 3 inches deep.YOUNG COP : The two women were stabbed from the front but John Tuckerwas stabbed from behind. What does that tell us about the killer ?OFFICER : That he's a coward.EXT. A STREET - DAYGwen and Andy exit police car and walk towards a pub.GWEN : But those people last night. Thepeople in the car. Who were they ? What's Torchwood ?PC ANDY : I dunno, special ops.GWEN : Yeah but what does that mean ?PC ANDY : Bet you ten quid they're DNA specialists. It's all DNA these days. Like that CSIbollocks. CSI Cardiff, I'd like to see that. They'd be measuring the velocity of a kebab. Gwen and Andy enter the pub. A bar brawl is in progress. Gwen and Andy enter and try to separate the combatants.ANDY : Thankyou very much. Thank you... Gwen is pushed aside and knocked over, she bangs her head on a pillar and appears to be in pain.INT. HOSPITAL - CARDIFF - DOCTORS ROOM - LATER THAT DAYA doctor is treatingGwen's head injury. Gwen walks out of the doctors room holding her head, she sees a man running up the stairs, she believes him to be Jack. She follows him up the stairs, running. Upon reaching the top of the stairsGwen finds a plastic-sealed doorway and Jack has disappeared. She hears a door bang open below her and looks over the stairs to see a porter.GWEN : 'Scuse me. Sorry. It's all sealed off up there. Who did that ? Gwenindicates the sealed door.PORTER : I thought it was you lot.GWEN : But what's it for ? What's happened.PORTER : I dunno. 9 o'clock this morning it was all sealed off, they never said. Chemicals or something. Theporter walks off, Gwen enters through a gap in the plastic of the sealed off door.GWEN : Hello ! Gwen walks forward and sees a figure at the end of the corridor.GWEN : Sorry I'm just looking for someone... Gwencautiously approaches, talking to the figure.GWEN (to self) : Yeah, right, clever... A weevil remains motionless except to tilt it's head at her.GWEN : Anyway I dunno if you saw a man come through here. A tall man, inone of those big sort of military coats. Ok. If you could answer, this is official business. Gwen notices the man appears to be wearing a mask.GWEN : You alright ? That's good. That's a good mask sort of thing... LookI'm sorry if I'm interrupting something, but we can stop this now, ok ? It's all very well playing silly buggers but I'm busy, alright. Now I'm looking for a man in a big grey coat. I said we can stop being silly. The weevilopens its mouth and hisses. The porter enters the corridor and walks towards Gwen.PORTER : Ah, there you are. I did ask but I saw Doctor Mahieb cos I thought it was him said about the police, but he said no and thenI said about the chemicals and he said don't be so stupid, \"what chemicals ?\" So I dunno, could be anything. The porter walks towards Gwen and notices the Weevil.PORTER : Who've you got with you there then ? Somuch for sealing it off. Oh, ha, there's a face, nice one, oh tell ya mate you should try plastic surgery. Not on the NHS mind. The Porter glances from the weevil to Gwen.PORTER : You alright ?GWEN : Yeah.PORTER :Bloody hell that is brilliant. That's like, erm, Hellraiser ! That's first class that is ! The porter stands close to the weevil and indicates the teeth.PORTER : Look at that ! It's just like real teeth. The weevil grabs thecaretaker's head and bites into his neck, blood spurts from his pierced jugular. Enter Jack, Owen and Suzie. Jack grabs Gwen and runs down the corridor with her.JACK : Go, go, go, go, go, go, go, go, go ! INTERCUTWITH : Shots of Owen and Suzie subduing the weevil and putting a black plastic bag over it's head. Jack stops at the end of the corridor. Gwen continues running out of the corridor and down the stairs. She stopsrunning in the hospital entrance hall. Gwen goes into the hospital car park sees the Torchwood SUV. The SUV leaves the car park at speed, honking the horn to move her from their path. Gwen begins to run after it andthen gets into a police car and pursues. PC Andy, eating, sees her drives past.ANDY : Oi !EXT. OVERVIEW - CONTINUOUSThe police car follows the Torchwood SUV along the motorway.GWEN (VO) : Registration, CharlieFoxtrot 06.INT. POLICE CARGwen driving and speaks into the police radio.GWEN : Foxtrot Delta Uniform.OFFICER (over radio) : Charlie, Foxtrot 06, Foxtrot Delta Uniform. Erm, hold on I think Yvonne wants aword.INTERCUT WITH INT. POLICE STATION CONTROL ROOM - CONCURENTYvonne stands in front of a bank of screens showing CCTV footage and speaks into the radio.YVONNE (over radio) : No sign of a Captain JackHarkness.GWEN : Did you search outside Cardiff ?YVONNE : No that never even occurred to me. Course I did ! I went nationwide. There are about 15 Jack's and John's with that surname, none of them a captain.GWEN: S'pose he could've made it up.YVONNE : The only Captain Jack Harkness on record was American.GWEN : That's it, he's American.YVONNE : Which you forgot to tell me.GWEN : So who is he ?YVONNE : Americanvolunteer, Royal Air Force 133 squadron. 'Cept he disappeared. Vanished off the records, presumed dead.GWEN : When was that ?YVONNE : 1941 at the height of blitz. The morning of January the 21st 1941, CaptainJack Harkness failed to report for duty. Never seen again until now. What's going on Gwen, you seeing ghosts ?EXT. IN FRONT OF MILLENNIUM CENTRE - DAYGwen following the SUV in police car. The SUV pauses, Jack,Suzie, Owen and Tosh exit the vehicle and the SUV departs. Gwen parks in the middle of the square and exits the vehicle and shouts after Torchwood.GWEN : You lot. Oi Torchwood ! The Torchwood team ignores herand continues walking. Gwen starts to follow and is approached by a security guard.SECURITY : Oi ! You can't leave that there !GWEN : Police !SECURITY : I can see that love and you're still not leaving it there. Gwenlooks over at the Millennium Fountain and notices the Torchwood team have vanished. Gwen walks towards the fountain.SECURITY : I'm talking to you ! Excuse me ! Move your bloody car ! Gwen wanders around thefountain trying to see how they could have disappeared.INT. POLICE CAR - A SHORT TIME LATERGwen is speaking into her radio.GWEN : Did you get anything on that registration ?OFFICER (over radio) : No suchnumber.GWEN : What does that mean ?OFFICER (over radio) : It doesn't exist, double checked for Swansea, triple checked. There's nothing, no such vehicle. But Temple's been asking 'bout you Gwen. You in trouble ?PC Andy enters Gwen's vehicle.PC ANDY : I have walked ! I have bloody walked ! They share a glance, Gwen appearing apologetic.EXT. MILLENNIUM FOUNTAIN - SHORT TIME LATERGwen stands next to the MillenniumFountain.GWEN : They were here and then they were gone, and look there's nowhere to hide, they just disappeared ! Andy stands near, arms folded.PC ANDY : Temple's not just livid he's doing his nut.GWEN : Therewas a man I'm telling you. There was this porter, he was in a porter's uniform and he was killed,or at least he was injured, he must have been injured ! Right in front of me ! This man in a mask sort of lashed outand...ANDY : I've told you, all hospital staff present and correct.GWEN : I saw it.PC ANDY : That's sick. Gwen, sweetheart think about it, what sort of story is that ? You're not well, come with me I'll take youhome.GWEN : They were here...PC ANDY : Come on. Andy puts his arm around Gwen's shoulder and guides her to the car.[SCENE_BREAK]CCTV footage of Gwen and Andy returning to the car.SHOTS OF CARDIFFINT.GWEN'S FLAT - LATER SAME DAYGwen enters the living room / kitchen and sees Rhys cooking.RHYS : Look at me, cooking. Hot pot ! Or as ze French call it, 'ot pot. Gwen smiles fondly and kisses Rhys.GWEN : Ishould've phoned. I've gotta work.RHYS : You should be off sick.GWEN : I know. But they were short and there's a match on tonight. I said I'd take another shift, I'm sorry. Forgive me, go on, forgive me, say youforgive me.RHYS (smiles) : Yeah... Gwen kisses Rhys.GWEN : I gotta go.ARIEL CARDIFFEXT. MILLENNIUM FOUNTAIN - NIGHTGwen is walking round the millennium square fountain, trying to see how Torchwood couldhave got away earlier. She notices a pizza delivery bike drive past.[SCENE_BREAK]CCTV footage of Gwen, on hub computer screen.INT. JUBILEE PIZZA - SAME NIGHTGwen enters the pizza shop. A young lad worksbehind the counter.GWEN : Scuse me, Gwen Copper, CID. I'm making some enquiries 'round the bay. I need to check some people out on your list if that's ok. I don't supposed you deliver to a Captain JackHarkness.PIZZA LAD : Ah, I dunno.GWEN : Well could you 'av a look ? The man behind the counter checks the computer.PIZZA LAD : No. He's not a regular anyway.GWEN : J. Harkness or just Harkness. The pizza boychecks the computer again.PIZZA LAD : No.GWEN : Ok, never mind. Thanks anyway. Gwen starts to leave Jubilee Pizza then turns back to the counterGWEN : I don't suppose you've got a Torchwood ?PIZZA LAD : Ohaye ! We do them all the time. They're good customers.EXT. CARDIFF BAY - NIGHTGwen walks along the bay carrying pizza boxes.INT. TOURIST INFORMATION OFFICE - LATER THE SAME NIGHTGwen enters thereception area and looks around. A man enters through a beaded curtain behind the desk and smiles at Gwen.GWEN : Oh hiya. Sorry I'm late. Someone ordered pizza.IANTO : Who's it for ?GWEN : I think it's a MrHarkness. Gwen flinches as the door she entered through closes behind her. Ianto presses a button behind the desk and a part of the wall opens to reveal a passageway. Gwen looks surprised.IANTO : Don't keep 'emwaitin'. Gwen goes to the doorway and glances back at Ianto. He inclines his head in encouragement. Gwen walks cautiously down an ill lit brick passageway. A door opens at one end of the corridor, Gwen walkstowards it and enters a lift. She goes down several storeys. She exit's the lift and goes through a large cog shaped door ahead of her. Camera pans right, around the Hub. The cog door and some bars slide shut behindGwen. She glances at them and then notices a cylindrical container in which a hand is held in pale blue bubbling liquid. The Torchwood members working at their stations.[SCENE_BREAK]Someone welding, the mask isremoved to reveal Suzie.[SCENE_BREAK]Jack on the balcony walk down the stairs and into his office. Gwen walks towards Jack's office door past Toshiko and Owen who are on the computers. Gwen approaches slowlyand they start laughing, Owen turns round on his chair to face Gwen.OWEN : I can't do this, I'm sorry. I'm rubbish. I give up.TOSHIKO (pointing) : He set me off.SUZIE : Well that lasted nought point twoseconds.OWEN : Mmm, she's actually carrying pizza.JACK : Come on ! She was gonna say here's your pizza and I was gonna say how much ? And she says oh, whatever, 20 quid and I say ooo... I don't have anymoney. I was working on a punch line, I'd have got there, but it would have been good.GWEN : There's your pizza, I think I better go.JACK : I think we've gone past that stage.SUZIE : You must have been freezing outthere, how long you walking round ? Three hours ?GWEN : You could see me ?SUZIE : Mhmm.JACK : And before we go any further. Who the hell orders pizza under the name of Torchwood ?OWEN : Err, yeah, thatwould be me. Sorry I'm a twat.GWEN : That man at the hospital ? That porter ? What happened to him ? That was real wasn't it, he was attacked ?JACK : He's dead.GWEN : But there's no one gone missing.TOSHIKO : Itook the body, retrospectively changed the work rota. Planted a false witness who saw him leaving the hospital, giving him an alibi for the next 48 hours so that when his body is pulled out of the docks next Tuesdaynight, he's only been missing for three days.GWEN : He was murdered.TOSHIKO : Yeah.GWEN : And you covered it up.TOSHIKO (shrugs) : It's my job.GWEN : And that other man, John Tucker. Last night in thealleyway, I saw you...JACK : And what did you see ?GWEN : You revived him.JACK : No. What did you see ?GWEN : You resuscitated him.JACK : No. What did you see ?GWEN : You brought him back to life.JACK :Yeah.GWEN : Who are you ?JACK : Torchwood.GWEN : What's Torchwood ?JACK : This is Torchwood, all around you. Jack indicates the Hub.GWEN : And what happens to me ?JACK : Ohh...GWEN : I'm police. ConstableGwen Cooper. You can't do anything.JACK : Alright PC Cooper. Do you want to come see ?GWEN : See what ?JACK : You saw the murder. Come and see the murderer. Jack walks away, expecting Gwen to follow. Gwenpauses and Suzie notices her expression.SUZIE : Go with him. Gwen puts the pizza down on a sofa and follows Jack.GWEN : What is Torchwood ? Who are you ? What is this place ? Something screeches above Gwenand she ducks.GWEN : What was that ?TOSHIKO (bored) : Pterodactyl.JACK (off screen) : Are you coming ?[SCENE_BREAK]INT. TORCHWOOD CELLSJack opens the cell block door and enters followed by Gwen. The lineof cells are dark, the paint on the wall flaking off. The cells have one clear wall, facing the corridor, with air holes. They walk to the end of a line of cells and Jack switches on the light to the end cell. Gwen looks in and"}
+{"doc_id":"doc_179","qid":"","text":"THE REIGN OF TERRORby DENNIS SPOONER first broadcast - 5th September, 1964[SCENE_BREAK]1. CHURCH CRYPT(IAN looks around and moves inside. A figure appears from the shadows behind him; IANturns.)IAN: Leon?LEON: Yes. You must be Ian.IAN: That's right.LEON: Are you alone?IAN: Yes. Jules said you might be able to help.(IAN hear sounds behind him, and turns to find two SOLDIERS behind him. They areboth aiming muskets at his chest.)IAN: Soldiers!(He turns back to face LEON. The Frenchman has drawn a pair of ornate pistols, and also points them at IAN.)LEON: Yes, I know. You walked right into my trap, didn'tyou, Ian?[SCENE_BREAK]2. PARIS SQUARE(The episode credits are shown over a representation of a square in Paris. Sounds of cheering crowds are heard as the guillotine falls and claims yet anothervictim.)[SCENE_BREAK]3. CHURCH CRYPTLEON: You can put all ideas of escape out of your head. And as for your rescue - well no-one will come here, you can take my word for that.IAN: If I don't go back, Jules isgoing to get suspicious.LEON: By the time that happens, my friend, we shall have left. And afterwards we'll take care of him.(LEON clicks his fingers, and the SOLDIERS grab him and drag him against a pillar with ironrings set into it. They secure his wrists with heavy chains, which they attach to the rings. IAN struggles as they do so.)IAN: You never know who your friends are!LEON: My association with Jules was bound to come toan end. He already suspected that... a traitor, if you want to use those words, was working in the organisation. But it's no matter. We're ready now to close in on him too.IAN: So what do you want with me?LEON:Information.(IAN scoffs.)LEON: You will cooperate, Ian. Think about it. We have plenty of time.(He stares at IAN for a moment, then turns and exits, leaving the two SOLDIERS to guard the prisoner. One talks toIAN.)SOLDIER: He's giving you time to consider.IAN: I don't need time, I have no information.SOLDIER: We'll decide that when you talk. And you'll talk, you'll talk!(He flashes IAN an evil smile.)[SCENE_BREAK]4.LEMAITRE'S OFFICE(BARBARA and the DOCTOR have just been reunited.)BARBARA: Oh, Doctor, I thought we were never going to see you again!DOCTOR: You should know by now, young lady, that you can't get rid ofthe old Doctor as easily as that.(They both chuckle.)[SCENE_BREAK]5. CORRIDOR(Just outside the office, LEMAITRE is listening through the door to every word of the conversation.)BARBARA: (OOV.) Tell me, how didyou get out of that burning farmhouse?DOCTOR: (OOV.) Oh, never mind about that now.[SCENE_BREAK]6. LEMAITRE'S OFFICEDOCTOR: What happened? Where's Susan? How is she?BARBARA: She's here. We werearrested together.DOCTOR: She's here?BARBARA: Yes.DOCTOR: Is she well?BARBARA: Yes, she's fine. She had a slight fever, but she's recovered now.DOCTOR: Good. Well now, we must find Chesterton and try andget back to the ship.BARBARA: Oh, I know where he is!DOCTOR: Mm?BARBARA: I know where he is.DOCTOR: Oh yes?BARBARA: We were all in hiding at a house owned by a Jules Renan...[SCENE_BREAK]7.CORRIDOR(LEMAITRE still listens intently. He notices the JAILER waddling down the corridor towards him, and turns to face him. He speaks to the JAILER in a hushed voice.)LEMAITRE: Not now, Jailer!JAILER: ButCitizen...LEMAITRE: Later!JAILER: But...LEMAITRE: I said, not now!JAILER: I've just had a message from the First Deputy, Citizen!(LEMAITRE moves away from the door.)LEMAITRE: Well, what is it?JAILER: Robespierresays 'e wants to see you immediately. It's a matter of the utmost importance. Robespierre said immediately, Citizen.LEMAITRE: Yes, yes.(He turns to leave, exasperated.)LEMAITRE: Has the young girl been lockedaway?JAILER: She has. I saw to it myself, just as you ordered, Citizen.LEMAITRE: Good. She shall remain in her cell, do you understand? Under no circumstances is the door to be opened.JAILER: Just as you say,Citizen.LEMAITRE: And if that order is disobeyed... I'll have you guillotined.(He exits, leaving a very worried looking JAILER behind him.)[SCENE_BREAK]8. LEMAITRE'S OFFICE(The DOCTOR has just had a brainwave.)DOCTOR: Yes, that's it! That's it!(BARBARA is not listening.)BARBARA: Oh, I should never have taken Susan to see that physician.DOCTOR: Oh, don't blame yourself, Barbara. As it happens, everything hasturned out very well. Might have taken us ages to find each other.BARBARA: Do you think we stand a chance of getting out of here?DOCTOR: Well, my voice seems to carry some weight, hm?BARBARA: Yes, well I'm notsurprised in that get-up.(The DOCTOR preens himself.)DOCTOR: Yes, it's rather impressive, isn't it? Now, listen. I'm going through that door. Give me a few minutes, then I want you to go through the door and straightout of the prison.BARBARA: Are you serious?DOCTOR: Absolutely serious, but I've no time to explain. Just do as you're asked.BARBARA: What about Susan?DOCTOR: Well, I'll look after her and follow youlater.BARBARA: But Doctor, you...DOCTOR: Now now now, there's no buts, don't argue. You know my plans always work perfectly. Hm?(BARBARA decides against making the obvious comment.)DOCTOR: In a fewminutes, then.(He leaves, closing the door firmly behind him.)[SCENE_BREAK]9. JAILER'S ALCOVE(The DOCTOR enters to see the JAILER sitting at his desk.)DOCTOR: Ah, tell me. Is Lemaitre here?JAILER: He's, uh, leftto see Citizen Robespierre.DOCTOR: Oh dear dear dear, how irritating, and I did want him so urgently.JAILER: Well, I'm sure he'll be back shortly, Citizen.DOCTOR: No no no, this matter can't wait, it's urgent! I've justbeen interrogating that young woman, and I'm convinced she's a member of that dangerous Traitor's Party.JAILER: Oh, I see, I see.DOCTOR: And do you know, she could tell us the names of every traitor in thiscountry!(The JAILER believes every word.)JAILER: Perhaps we should make her talk?DOCTOR: No, no chance of that. No, she'd rather die first than betray her friends. No, I think, if there's only some way of using her...if only we could get, through her, to her friends...(He waits expectantly for the JAILER to have a brain wave.)JAILER: Perhaps...DOCTOR: Mm?JAILER: Perhaps...DOCTOR: Perhaps what?JAILER: Well, if she were toescape, she could be followed. She'd meet these traitors, then we'd arrest them. Lemaitre once did this.DOCTOR: My dear, what an excellent idea! What an excellent idea! Yes, of course, now why didn't I think of that?Yes, that's what we'll do, and Lemaitre will be delighted! Now look here, Mr Jailer, I want you to open those prison doors, keep out of sight.JAILER: Oh, but er...DOCTOR: Tch, tch, tch, no buts, no! And sooner or later,that young woman will come through those doors and we can grab her! Go along, quickly!(He sends the JAILER off to the prison doors, then disappears down to the cells, a satisfied grin on his face.)[SCENE_BREAK]10.RENAN'S SITTING ROOM(JULES enters and looks around frantically.)JULES: Ian, Barbara, Susan? Ian? Ian?(He calls upstairs and looks around.)[SCENE_BREAK]11. CHURCH CRYPT(IAN rattles his wrist chains. TheSOLDIER standing by him laughs.)SOLDIER: Getting impatient, are we? That's a good sign. Citizen Colbert really knows how to make pigs like you talk. He leaves 'em alone, makes them think. Now me, I have otherways.(He raises the butt of his musket, ready to hit IAN in the face, but is interrupted by a call from the entrance to the crypt.)LEON: Stop that!... I'm sorry - I'm afraid my men are very bad-tempered. Ian, I don't wantanything to happen to you really, but I think you have the information that will help the cause I believe in.IAN: You're wasting your time with me. I'm very small fry.LEON: Surely you don't expect me to believe that?Well, we learned of the existence of James Stirling two months ago. We've been searching for him ever since.IAN: We?LEON: Yes. I've been loyal to the Revolution from the beginning. If you'd known what France waslike six years ago, before the Bastille, you'd understand.IAN: I do understand, but I can't help you.LEON: Or you won't! France will never be anything until we're rid of these high-born leeches who've been sucking thelife-blood of France for so long.IAN: You must believe me, I can help you in no way...LEON: Ian! You can save yourself a lot of trouble and suffering by talking. This is your only chance! Do you realise that when I'vefinished with you I'll transfer you to the prison, and then the guillotine? Now if you were to talk, I have the power to set you free!IAN: Jules must have told you all I know.LEON: Ah yes, what did Jules say? That Webstergave you a message to give to Stirling.IAN: Yes, that's right. Only I can't recognise Stirling - that's why I'm here.LEON: Oh, that I accept. But you must have known of their organisation. You were in it with Webster! Hewould never have trusted you otherwise. Now. Who sent you from England? How did you get here, and who helped you?IAN: (Sighs.) What's the use?LEON: I really don't understand what you hope to gain! If I don't getthe information from you, I shall find it elsewhere! Now be sensible. Save yourself from the guillotine.IAN: You wouldn't believe my story anyway.LEON: Suppose you let me be the judge of that. How did you get toFrance?IAN: You really want to know, eh?LEON: The truth?IAN: Oh yes, it's the truth all right.LEON: You swear it?IAN: Yes, I swear it! I flew here with three friends in a small box. When I left England it was1963.(LEON steps back, furious, and signals to the nearer SOLDIER, who strides forward, musket and bayonet pointed towards IAN. IAN braces himself for the blow, then hears a yell from the entrance.)JULES: All right,Leon! Release him!(JULES is standing in the entrance, a pistol pointed at LEON's back. The second SOLDIER swings his musket around, but JULES is faster and shoots him dead. LEON reaches for his pistols, but JULEShurls his now spent weapon at LEON's face. LEON falls back with a cry, dropping his guns. The SOLDIER by IAN has cocked his musket and swings it round to aim at the now unarmed JULES. IAN gathers his strength,hauls himself up by his wrist chains, and kicks the SOLDIER on the side of the head - he falls. LEON recovers and grabs his pistols; IAN shouts a warning.)IAN: Jules!(JULES grabs the falling SOLDIER whom IAN has justkicked, and hold him up as a shield, just as LEON fired. The two bullets ring out simultaneously, and both hit the SOLDIER. As JULES drops the lifeless body, LEON steps back towards the discarded musket. JULESwatches as he steps nearer, then casually reaches into his coat and draws a second pistol.)JULES: You traitor! It's you who's the enemy of the people!(LEON makes a desperate lunge for the musket, but JULES firesfirst. LEON collapses, dead. JULES turns to free IAN.)IAN: I thought I was going mad when I saw you here! Why did you come?JULES: Bad news for you.IAN: Oh?JULES: Barbara and Susan were arrested at thephysician.(JULES fiddles with the iron rings, and IAN pulls his wrists clear.)IAN: Yes, I feared that as soon as Leon turned up here. We must get to them.JULES: I think it's best to go back to my hide-out.IAN: What? Thesoldiers will be there already!JULES: Well, if I know Leon, he will have wanted the satisfaction of arresting me himself. And anyway, we'll just have to risk it. Come on.[SCENE_BREAK]12. CELLS(SUSAN is sitting on awooden bed board. She hears a tapping at the cell door, and looks through the bars. She can make out a figure dressed in official uniform.)SUSAN: What is it? What d'you want?DOCTOR: Susan, Susan, it... it's me,child! Me!(SUSAN rushes to the door.)SUSAN: Oh, grandfather! Oh grandfather, you've found us! Well how'd you get away from the farmhouse?DOCTOR: Oh, I can't explain that now, child, it'd take too long.SUSAN:Oh, Barbara's here somewhere.DOCTOR: Yes, well I've taken care of that. She should be out of the prison and well on her way now. And I...(He stops and listens. Faint footsteps are approaching.)DOCTOR: Sh! There'ssomeone coming! Quiet! See you later. Sh!SUSAN: Be careful!DOCTOR: Sh!(He leaves in a hurry.)[SCENE_BREAK]13.JAILER'S ALCOVE(The DOCTOR bumps into the JAILER, who reacts with a shock.)JAILER: ButCitizen!DOCTOR: Mm?JAILER: Didn't you collect the soldiers and follow the released prisoner?DOCTOR: Me? Certainly not!JAILER: But... whatever... why not?DOCTOR: But I was under the impression, my dear man,that you were doing so! I'm hardly dressed in the proper clothes to go skulking after people, now am I?JAILER: I couldn't have gone! I can't leave the prison!DOCTOR: Well why didn't you say that in the first place?Well, did you?JAILER: No, Citizen.DOCTOR: No, and what do you think Lemaitre will say? He's bound to want to know whose idea it was.(The JAILER hangs his head in misery.)JAILER: It was mine. Citizen, you musthelp me!DOCTOR: I'll try. Now don't worry, I'll cover up for you. But you know, I have a feeling that this young girl is tied up in this somehow. Now I think if we let her go, I personally could follow, and then arrest all ofthem! All I need from you is the key to that child's cell.JAILER: Citizen, Lemaitre was very clear with his instructions. If that door is opened, I lose my head. That's what, what Lemaitre said just before he left, that'swhat he said!DOCTOR: Lemaitre, Lemaitre! Why can't you use your own initiative, my man, hm?JAILER: Aye, well you must see him when he returns, Citizen. I'm just a humble servant. If his orders arecountermanded, well then...DOCTOR: I demand you open that door!(The JAILER is almost panicking, but stands firm.)JAILER: To lose one prisoner is bad enough, to lose two would be the end of me! Especially after myorders. Lemaitre will be returning soon. We'll do as he says - until then, that door remains closed.[SCENE_BREAK]14. ROBESPIERRE'S OFFICE(ROBESPIERRE paces nervously up and down. He sees LEMAITRE arrive inthe ante chamber.)ROBESPIERRE: Ah good, Lemaitre.(LEMAITRE enters, and ROBESPIERRE addresses the GUARD on the door.)ROBESPIERRE: We are not to be disturbed.(The GUARD exits and shuts thedoor.)ROBESPIERRE: The news is serious, Citizen, and there is not much time.LEMAITRE: I am at your service. You have only to give the order.ROBESPIERRE: There is a meeting of the Convention tomorrow.LEMAITRE:Yes, I know, Citizen.ROBESPIERRE: I have been warned that certain influential Members - traitors, all of them - are planning to bring an indictment against another Member.LEMAITRE: You have theirnames?(ROBESPIERRE ignores the question.)ROBESPIERRE: Oh, I realise they are forever plotting. But this latest information suggests that more and more of the Paris Commune are taking sides. The plan is that evenI shall not be allowed to speak! They're out to destroy me!LEMAITRE: All is not lost, Citizen. You still have many friends sitting in the Convention.ROBESPIERRE: But can I trust them? If this motion gets underway, theywill turn against me to save their own necks. Mark my words, Lemaitre. If this plot is successful, tomorrow, the 27th of July 1794, will be a date for history!LEMAITRE: Tell me the leader of this group, Citizen - he will beimmediately executed!ROBESPIERRE: Patience, Lemaitre. This is no lone voice we are fighting against. If they are to hold power, they will need the Army on their side. Meetings must have been arranged.LEMAITRE: Bywhom?ROBESPIERRE: It is my guess that Deputy Paul Barrass is at the forefront of the rebels, but I must be certain before I strike. I shall not get a second chance, Lemaitre.LEMAITRE: Tell me what I mustdo.ROBESPIERRE: I understand that Barrass is leaving Paris tonight. I assume it must be for a meeting. With the position as it is, it can be for no other reason. I want to know who with, and the decision. Given that, Ican still defeat my enemies.LEMAITRE: What if he's just a decoy?ROBESPIERRE: That is my worry, Lemaitre. Tonight my men will be everywhere. Barrass is your responsibility.LEMAITRE: I shall not fail you... Againstwhich Member is the indictment being brought, Citizen?ROBESPIERRE: Against me, Lemaitre! Against me, Robespierre![SCENE_BREAK]15. RENAN'S SITTING ROOM(Footsteps can be heard approaching the outsidedoor. The door opens slowly, then closes again, and IAN and JULES enter cautiously.)JULES: Leon was right... Leon was right. He did not tell me about this place. We're safe here for the moment. But I shall have to giveup this house very soon. It's becoming too dangerous.(IAN moves into the room, and sees BARBARA lying on the sofa, hidden from view of the entrance.)IAN: Barbara! We thought you'd been arrested!BARBARA: Yes,we were. But when we got to the prison, the Doctor was there.IAN: What!BARBARA: Yes, he's dressed up as if he was running the revolution! From what I could gather, half the people there take orders from him!IAN:That sounds like the Doctor, alright.JULES: The Doctor? You mean Susan's grandfather?BARBARA: Yes, that's right.IAN: And where's Susan?BARBARA: Oh, she'll be along later with him. I just walked out.IAN: Walkedout? But... (Laughs.) I don't know how he gets away with it half the time. What did he say?BARBARA: Well not very much - we didn't have a chance. But he'll be here soon, so no doubt we'll get the whole story, severaltimes.(They laugh wryly, then BARBARA notices IAN's bandaged wrists.)BARBARA: What have you done?IAN: Oh, it's nothing much... Let's just say I... fell into the wrong hands, and Jules arrived in time.BARBARA: AndLeon?JULES: He's dead, Barbara. I killed him.BARBARA: Killed him?JULES: Yes. He was the traitor we were looking for.(BARBARA is shocked and aghast.)IAN: It was the only way, Barbara.JULES: (Coldly.) He deservedto die. He was a traitor.BARBARA: What do you mean, \"he was a traitor\"?IAN: When I got to the church, he turned on me. He was going to kill me.JULES: He betrayed us, Barbara.BARBARA: He was a traitor to you - tohis side he was a patriot.IAN: Barbara, we've taken sides just by being here. Jules actually shot him. It could just as easily have been me.JULES: And what about Robespierre? I suppose you think...BARBARA: Well justbecause an extremist like Robespierre...(IAN cuts in angrily.)IAN: Oh Barbara, Jules is our friend! He saved our lives!BARBARA: I know all that! The revolution isn't all bad, and neither are the people who support it. Itchanged things for the whole world, and good, honest people gave their lives for that change.IAN: Well I think he got what he deserved.BARBARA: You check your history books, Ian, before you decide what peopledeserve!(She storms out of the room, leaving IAN staring angrily after her. JULES looks very perplexed at the end of the argument.)[SCENE_BREAK]16. CELLS(The DOCTOR appears outside the locked door of SUSAN'scell, holding the JAILER's bottle of cognac.)SUSAN: Oh, grandfather! I thought you were never coming!DOCTOR: I shall have you out of here soon, but I must have your help! Now look, I want you to get down onto thefloor, behind this door, and don't move, whatever you do!SUSAN: But grandfather...DOCTOR: Do it now, child, don't argue! Do it now! And don't make a sound! Stay there!(SUSAN ducks down. The DOCTOR hearsfootsteps approaching.)DOCTOR: There's someone coming.SUSAN: Be careful!DOCTOR: Just... just don't fuss.(The DOCTOR moves into the shadows as the steps get nearer. Soon the JAILER appears, muttering tohimself. The DOCTOR steps out, and the JAILER looks up.)JAILER: Oh, it'll be the end of me, this business. I don't know what Lemaitre will say.DOCTOR: Oh, he's not back yet then, eh?JAILER: Oh, we can expect himany minute!DOCTOR: Hmm...(He looks at SUSAN's cell.)DOCTOR: Jailer! Jailer! That girl, she's gone!JAILER: What?DOCTOR: She's gone!(The JAILER rushes to the cell door, looks through the bars, sees the cellapparently empty, and exclaims in panic.)JAILER: She's gone!(He fumbles for the keys and eventually manages to put the correct one in the lock and open the door. The DOCTOR produces the bottle from behind hisback and whacks the JAILER over the head, knocking him out. SUSAN stands up from just inside the door.)DOCTOR: Come along, child, quickly! Quick...(He hurries her out of the cell, only to walk straight intoLEMAITRE, who reacts instantly.)LEMAITRE: Guards! Guards!(Two prison GUARDS come running, and grab hold of the DOCTOR and SUSAN. The JAILER groggily staggers to his feet and looks at LEMAITRE.)JAILER: Hetricked me, Citizen. He tricked me!LEMAITRE: Lock her away.(The GUARDS throw SUSAN back into the cell, and the JAILER locks the door.)JAILER: He did as you said 'e would, Citizen. He tried to get the young girlreleased, and he let the other prisoner go!DOCTOR: Oh, spare your breath, please! I'm quite capable of explaining the situation myself.LEMAITRE: Alright, Jailer.(He turns to the DOCTOR.)LEMAITRE: I think it's about"}
+{"doc_id":"doc_180","qid":"","text":"BASEBALL FIELDA man remakes the field.JAMIE (Voice-over): The outlook wasn't brilliant for the Mudville nine that day. The score stood four to two, with but one inning more to play. Ian is on the field, thinking.JAMIE(Voice-over): So upon that stricken multitude grim melancholy sat, for there seemed but little chance of Casey getting to the bat. Kids, Nathan, Clay and Julian prepare for the game.NATHAN: Whoo! Okay. Everybodysettle down, listen up. Coach Baker has something he wants to say.JULIAN: Uh, so I know this is our first game, but it's the last game for me. You see, Brooke and I are moving to New York, so...UMPIRE: Play ball!(Kidsleave)JULIAN: I know this is gonna hurt some...Some of you.FLASKBACK, BRULIAN'S HOUSEJulian looks at video when he and Brooke are going to get their baby.JULIAN (at video): Where are we, BrookeDavis?BROOKE (at video): We're at the hospital.JULIAN (at video): What are we doing here?BROOKE (at video): We're getting our baby.(Knock on door, it's Nathan)JULIAN: Dude, what's up?NATHAN: I screwedup.JULIAN: Why? What happened? It was so obvious, and I didn't see it.NATHAN: Is this yours?JULIAN: Yeah.NATHAN: Ginger ale?JULIAN: I like ginger ale. It settles the stomach. What's going on, Nate?NATHAN:When the Wagoneer hit Lauren's S.U.V., where was it coming from, north or south?JULIAN: It was coming from the south, heading north.NATHAN: We got the wrong Kellerman. It wasn't August. It was Ian.FLASHBACK,CLINN'S HOUSENathan explains the story to Clay.CLAY: But he confessed. You said Professor Kellerman came to the Rivercourt and said that he did it.NATHAN: He lied. The bottle I found in the Wagoneer was Phidian's.And then tonight at the bar, Ian ordered shots of bourbon to toast Lydia.CLAY: Phidian's.NATHAN: Said it's all he drinks.CLAY: All right. So, maybe it's a family thing. It doesn't really prove anything.NATHAN: There'smore. At the Rivercourt, when Kellerman confessed, he said he was coming from a dinner that night in Raleigh.CLAY: So?NATHAN: So, he was coming from the south. Raleigh's north.CLAY: All right, well, look, don'tbeat yourself up over it just yet. I mean, you could still be wrong.NATHAN: Maybe. But if I'm right, August Kellerman just ended a 30-year career because of me.CLAY: Yeah. And his son let him. And he's ourclient.BASEBALL FIELDIan practices. Then, he leaves and August walks on the field. Nathan joins him.NATHAN: Professor Kellerman? We need to talk.ONE TREE HILL - OPEN CREDITSBRULIAN'S HOUSEBrooke makesher stuff to go in New York. She sees the panel of Karen's Cafe.CHASE'S BEDROOMChase and Alex are in bed. They slept together.ALEX: So much for baby steps.CHASE: You played guitar. Wasn't fair. Oh-ho-ho! I'mgonna go ahead and need you to play guitar again right now. Quickly.ALEX: Man.BASEBALL FIELDKids play. Quinn supports Jamie's team. Julian talks with Clay.UMPIRE: Strike one!QUINN: Yeah! Let's go, Sharks!CLAY:There we go! Nice one! Go, Sharks!QUINN: Let's go, Sharks!JULIAN: Uh... What happened to Quinn?CLAY: Uh, she's just busy. She'll be here. Attaboy! Two more just like that! Way to go, Sharks!QUINN: Yeah, way togo, Sharks!FLASHBACK, CLINN'S HOUSEQuinn announces a good new to Clay.QUINN: Baby! Guess where I'm going?CLAY: Please don't say South Africa.QUINN: I got an offer to shoot a job in Puerto Rico. We're sayingat the El Conquistador. It's next week. Do you want to go?CLAY: I would, but I have training camp.QUINN: Oh. That's too bad. I guess I'll have to do the whole supermodel bikini shoot without you.CLAY: Puerto Ricosounds awesome. I mean, pfft. Supermodels in bikinis? Have you seen my baby?QUINN: Nice try.CLAY: Yeah. But I do have camp. Uh, maybe you can invite the girls? Haley can't go, but Brooke and Alex.QUINN: MaybeI will. By the way, I leave the day after Jamie's game, so you might want to come straight home because it's my last night, and my man is looking very sexy.CLAY: Careful, I'm sweaty.QUINN: Yes, you willbe.BASEBALL FIELDClay finds his mind. Jamie's team defends.CLAY: All right, here we go, Sharks! Three up, three down! Let's go, let's go! Moving right along!JULIAN: Attaboy, Jamie!CLAY: Yes! Very nice! Now hustlein! Real quick! Real quick! Nathan announces who plays for their game.NATHAN: All right, first up we have Chuck, which seems like a bad idea. Then it's Madison, Jamie, and Daniel. All right, let's get some hits.CLAY: Allright! Let's go, Sharks!NATHAN: Chuck! Come on, buddy. You're up.CHUCK: Whatever.AERODROMEChase waits someone.FLASHBACK, CLUB TRICChuck is with Chase. He wants him to ask something.CHUCK: Ahh. Oh,I meant to tell you we have a game on Friday. Think you could come?CHASE: What time is the game?CHUCK: 4:00. It's okay if you can't. I just thought it might be cool if you could.CHASE: Hmm. I've got some stuffgoing on, but I'll be there. 4:00. Wouldn't miss it.AERODROMEChase waits yet.NALEY'S HOUSEBrooke visits Haley with a surprise.BROOKE: Hello! I have come to offer you a trade. Last remnants of Karen's café forLydia straight up.HALEY: Oh, I don't know. That's tempting.BROOKE: I'll throw in my car. And my sunglasses. Car has new tires, but that's it.HALEY: Hmm. What do you say? Say \"no deal.\"BROOKE: Say yes!HALEY:\"No deal! I like it here!\" Sorry.BROOKE: Fine. You can have the sign anyway. I know Karen's meant a lot to you, too.HALEY: Oh, thank you so much. I always wanted that.BROOKE: Yeah. Hi!HALEY: I'm getting so sadtoday.BROOKE: Why?HALEY: I was thinking about the Rivercourt, and now this sign. I just feel like it's the end of something really good, you know? Makes me sad.BROOKE: Well, on the upside, Lydia and I talked, andshe told me that she wants to spend every weekend in New York, shopping and seeing plays...And hanging out with her Aunt Brooke.HALEY: Ohh.BROOKE: Huh? Yes.HALEY: I am gonna miss you, Brooke Davis, like youcan't imagine.BROOKE: Of course I can. I'm gonna miss you the same. I love you.HALEY: You too.BROOKE: What if I throw in Julian's truck?HALEY: Not gonna happen.BROOKE: Ahh, it's a good deal. Tell your mommyshe didn't even have you a week ago.HALEY: Oh, no!BROOKE: She didn't even have you a week ago! Ohh! I know!FLASHBACK, BASEBALL FIELDNathan talks with August.NATHAN: It wasn't you. It was Ian.AUGUST: Itdoesn't matter. I resigned.NATHAN: To cover for your son. Why?AUGUST: Because he's my son.NATHAN: But your career. 30 years, Professor Kellerman.AUGUST: Well, Mr. Kellerman now. And you asked why I did it,not whether or not he was worth it. I haven't had a drink since my wife died. We're fathers, Nathan. This is what we do for our sons. It just is.BASEBALL FIELDIt's to Madison to hit the ball.UMPIRE: Strikethree!NATHAN: All right, buddy, here we go! It's to Jamie to hit the ball.JAMIE(Voice-over): It knocked upon the mountain and recoiled upon the flat, for Casey, mighty Casey, was advancing to the bat. There was easein Casey's manner as he stepped into his place. There was pride in Casey's bearing and a smile on Casey's face.UMPIRE: Strike one!NATHAN: That's all right, Jamie. You can do it! Make sure it's your pitch,buddy.QUINN: Let's go, bud! This one's yours!UMPIRE: Strike two!QUINN: That's all right! Good cut, buddy!NATHAN: It's okay, Jamie. Keep your eye on the ball, buddy.UMPIRE: Strike three! Jamie joins others.CHUCK:Wow, Jamie. You bat like my mom.JAMIE: Really? How about we ask her? Oh, wait she's not here, is she?FLASHBACK, CLUB TRICAlex joins Chase and Chuck.CHASE: There she is Alex Dupré. I want you to meetsomeone.ALEX: Oh. You must be Chuck. I've heard a lot about you.CHUCK: And you're Alex. I saw pictures of you on the Internet. Naughty, naughty.CHASE: Hey!CHUCK: So are you guys, like, doing stuff?ALEX: Whatkind of stuff? You mean like going to the movies, talking on the phone, and holding hands? 'Cause we totally do that kind of stuff.CHUCK: Gross. Or maybe awesome. I don't know. I got to go to the bathroom.CHASE: Itold you about that root beer. Don't make me tell Alex about the camping trip.CHUCK: Shut up! Stinking drag-leg Laura!(Chuck leaves)ALEX: What?CHASE: Sorry.ALEX: No, it's okay. He's cute. Kind of. So, what'sup?CHASE: I need a favor. You ever taken a drug test?ALEX: Why, are you taking one?CHASE: Have you?ALEX: Dude, if they drug-tested me, I would never work again. I'm kidding. I know everything there is to knowabout drug tests. Ask me anything.CHASE: All right. How long does it take for a couple hits off a joint to clear your system?ALEX: When did you get high?CHASE: Um, I didn't, really. Not on purpose. You remember theKid Cudi show?FLASHBACK, CLUB TRICChase enters in the Kid Cudi's room.CHASE: More beers for you guys. Have a good show.MAN: No one leaves without hitting this.CHASE: Is he serious?MAN: Yeah.FLASHBACK,CLUB TRICAlex is laughing.ALEX: That's amazing.CHASE: How long?ALEX: I don't know. I mean, it's different for everyone. Can you risk it?CHASE: No. I need a favor.ALEX: Huh?FLASHBACK, CLINN'S HOUSEQuinn is inbikini.CLAY: Quinn? Hey, Quinn! Holy cow.QUINN: Don't say cow.CLAY: I want to go to Puerto Rico. I mean it. Forget about training camp. Puerto Rico is absolutely the only place I can possibly be this weekend.QUINN:You're sweet, and I love you. Maybe on our date after Jamie's game, I can wear this in the hot tub. Or...Not wear it. Hurry home. Hurry home.BASEBALL FIELDClay finds his mind.CLAY: No extra innings! Three up, threedown. Three up, three down. Four up, three down. Stay in front of those, Madison!FLASHBACK, NALEY'S HOUSENathan talks to Haley about August.NATHAN: I saw him as Dan. I thought Ian Kellerman was like me andhis father was like Dan. I guess I'm still not past it.HALEY: Your father.NATHAN: Yeah. I'll never be able to understand or accept what he did, so I guess I just...avoid it. Because if I don't avoid it, what's left is so dark.It's like... It's like Lydia growing up and someday standing a few feet from Jamie and taking his life. And that's impossible and horrible...HALEY: Mm.NATHAN: And that's exactly what my father did. And then I feelguilty... For keeping Jamie from seeing his grandfather and for making it to the NBA and knowing that I never could have done it without my father. And for letting him live alone and die alone because that's what Ihave to do.HALEY: Maybe you should just go to that diner and tell Dan everything that you're thinking and feeling all of it.NATHAN: You think he deserves that?HALEY: No. But I think you deserve it.FLASHBACK,CLINN'S HOUSEQuinn practices sport. Clay sees her.CLAY: Hey, didn't you already work out today?QUINN: Yep. I'm doing two-a-days.CLAY: Oh. You're worried about being around all those models.QUINN: Mm,actually, that's not it. I'm worried about security at the airport.CLAY: What?QUINN: You know those TSA machines show you naked? I got to look good for that.AERODROMEChase still wait.FLASHBACK, CLUBTRICChase's cellphone rings.CHASE(at phone): Hello?WOMAN(at phone): Hi, Mr. Adams. I'm calling from the clinic. We need you to come back in and retest as soon as you can.CHASE(at phone): Why? Is there, uh, aproblem?WOMAN(at phone): Yes. Actually, it looks like the lab had a mix-up with your urine sample.CHASE(at phone): Okay. Are you sure?WOMAN(at phone): Well, unless you're pregnant, we're prettysure.AERODROMEAlex joins Chase.ALEX: Hey. What's wrong? You okay?CHASE: We need to talk.BASEBALL FIELDIt's to Madison to hit the ball.UMPIRE: Ball four. Take your base.QUINN: Yay, Madison! Let's go,Sharks!NATHAN: Dude, what happened to Quinn?CLAY: Uh, she had a few last-minute things to take car of. I think she wanted to get a spray tan. She'll be here. Nice one, Madison!QUINN: Way to go!FLASHBACK,BEAUTY ROOMQUINN: I'd like the panther, please.WOMAN: Actually, the panther is our darkest shade. I really wouldn't recommend that for you.QUINN: Oh, that's okay. I'll be fine. Just one panther, please.WOMAN:Okay.BASEBALL FIELDCLAY: She'll be here. But you know who won't be here? Ian.FLASHBACK, CLINN'S HOUSENathan and Clay must to find a solution to punish Ian.CLAY: We got to talk to Ian.NATHAN: I know. I'll doit.CLAY: It'd probably be better if I talk to him.NATHAN: Why?CLAY: 'Cause you're bad cop and I'm good cop.NATHAN: Why am I bad cop?CLAY: Real it, okay. Might be the, uh, the bar fights, the shouting matches inpublic, the murderous father.NATHAN: Weak. Maybe Julian should talk to him.CLAY: Why not me?NATHAN: Because you're not good cop. You're more like officer friendly. Julian nearly lost Brooke. He should talk to him,if he wants to.FLASHBACK, CLAY'S CARJulian, Nathan and Clay are with Ian.IAN: Where we going, anyway?CLAY: Just taking a little drive.JAMIE(Voice-over): They saw his face grow stern and cold, they saw hismuscles strain.BASEBALL FIELDIt's to Jamie to hit the ball.JAMIE(Voice-over): And they knew that Casey wouldn't let that ball go by again.UMPIRE: Strike three. You're out. Nathan, Clay and Julian give the lastrules.NATHAN: All right, this is it. We need one run to tie, two to win. I say we win it right here. No extra innings.CLAY: No extra innings. Definitely no extra innings.JULIAN: Now, you all know I'm moving to New Yorkand this is gonna be my only game.UMPIRE: I need a batter, coach!JULIAN: So I just wanted to express...NATHAN: All right, that's it. Top of the order. Chuck, Madison, Jamie. Let's go.CLAY: All right, Sharks, we gotthis. Come on! Whoo! Come on, Chuck. Look alive, buddy! Chase and Alex are coming. Chuck joins them.CHASE: There he is, Chuck Skolnick!ALEX: These are for good luck. Yeah, nice. Nice. You got this, buddy.CHASE:Let's go, Skolnick! Free root beer for a hit!ALEX: Yeah! Whoo! Come on, Chuck!CHASE: Let's go, Skolnick! Whoo! Come on, Chuck! Let's go, Skolnick! Chuck touches the ball.CHASE: Whoo!CHUCK: Yes!Clay: Nice,Chuck! All right! Ha ha! We're having fun now! But we're having it fast. Madison, you're up. Come on, Madison. Boop, boop. Fast fun, fast fun. Let's go, Sharks! Quinn joins Clay.QUINN: Hi, handsome.CLAY:Ohh!QUINN: I'm so tan, right? Do you love it? Mm-hmm. Don't forget about our date later.CLAY: Mnh-mnh. Madison. Madison, take your time, okay? You wait for your right pitch, and you tie this thing up for us. I'mtalking extra innings. Free baseball, Sharks! We like that. Meanwhile, Ian passes test in front of scouts.FLASHBACK, GABEL BRIDGEGuys go to the place of this accident.NATHAN: So, how's your dad doing, Ian? I mean,now that he's resigned.IAN: I don't know. However, I guess. He mostly spends time on that stupid boat.JULIAN: You know what's good about boats? They float. Cars, not so much.IAN: Where are we going, again?CLAY:Right here. We're going right here.NALEY'S HOUSEHaley sees the panel and finds an idea.FLASHBACK, GABEL BRIDGEJULIAN: I'll never forget this place. I was standing right about here when I saw Brooke. And shelooked so relieved, like maybe... For a moment, everything was gonna be okay. I was proud of her, you know? For staying to help Jamie. I mean, he's just a kid. Just a scared kid who wanted to believe that everythingwould be okay, and that adults would make it okay and be heroic and strong and everything they're supposed to be for a boy like that. And then the Wagoneer came from right there. They're lucky to be alive!IAN: Yeah,man, I'm so sorry. You know, my dad, he...NATHAN: He hasn't had a drink since your mom died.IAN: That's not true.NATHAN: He was also coming from Raleigh that night. And he wouldn't have been coming from thatdirection.IAN: So maybe he got turned around in the storm. I don't know.NATHAN: Maybe it was you, Ian. It was, wasn't it?IAN: Come on, guys. He told you he did it. He resigned.JULIAN: And you let him! You gotdrunk, nearly killed my wifeand Nathan's son, and then just drove away and let your father take the blame! Look at me! You probably didn't even say \"thank you.\"IAN: You know what? You guys are my agents. You'reshould be thrilled that we dodged a bullet, that everyone's okay, everything's been dealt with.NATHAN: Thrilled... That you drove drunk, left our families to die, and your family to pay for it? What the hell is wrong withyou?IAN: Guys, I got scouts coming to see me. I am this close to being someone. I couldn't stay here. I couldn't. I didn't have a choice.JULIAN: Oh, you had a choice.IAN: Whatever. This is ridiculous.(Clay pushes Ian inwater)NATHAN: Clay! Clay!IAN: Are you out of your mind?!CLAY: You had no choice?! You chose to be a coward!IAN: You know what? You guys are fired! I might even sue you for this! Get off me!JULIAN: Comehere!IAN: Get off!JULIAN: You like that?! How does that feel?!IAN: Stop! Stop!JULIAN: Don't you wish there was somebody here to help you now?!IAN: Go on!JULIAN: Go throw your ball and be whoever it is you thinkyou're gonna be!NATHAN: My son said to give that to you.IAN: I couldn't stay! I just couldn't!JULIAN: Well, now maybe you can stay and think about it. Enjoy the walk.BASEBALL FIELDIt's to Madison to hit theball.JULIAN: All right, Madison, come on! No outs!CHUCK: We only need one, Madison! Don't mess it up!QUINN: Yeah! Go, go, go, go, Madison!NATHAN: You're safe here. Stop, stop. Alex and Chase join Quinn.QUINN:All right! Come on, Jamie, you can do this!ALEX: Quinn? Is that a spray tan?QUINN: Yeah. It's the panther.CLAY: Nice and slow. Take your time.FLASHFORWARD, JACUZZIQuinn and Clay are dating.QUINN: Hey. Letdate night begin. Here I come.CLAY: Babe?QUINN: Now, then... Oh, no!CLAY: I think if we dunked you, we could make tea.QUINN: Oh, my God! No! No, no, no!CLAY: Well, maybe some of it'll stick to me. I could usethe color. Can I interest you in a hot shower?QUINN: Yes.BASEBALL FIELDIt's to Jamie to hit the ball.NATHAN: All right. Come on, Jamie, you got this. Let's get a hit.FLASHBACK, AUGUST'S BOATNathan and August talktogether.NATHAN: Thanks. So...I owe you an apology. I was so sure you were like my dad, I couldn't see you any other way.AUGUST: Well... Then that makes us even. I was so sure you were like my son that I couldn'tsee you as the \"A\" student you turned out to be.NATHAN: \"A\" student? Really?AUGUST: \"A\" minus. I understand you're no longer representing my son.NATHAN: That's right.AUGUST: Admit it - when I asked you not to,you thought it was because I felt you weren't good enough for him. But maybe I thought he wasn't good enough for you and that agency you have with your partner, the Muppet.NATHAN: Clay Evans.Fortitude.AUGUST: Integrity as a mission statement. Not bad. I promised my wife, Catherine, I'd do this someday sail off to nowhere. No lectures, no papers, no clocks. Actually, I promised her we'd do it together. Timegets away from you.NATHAN: You know, I don't speak with my father. Sometimes I feel guilty about that, but I know in my heart that's the way it has to be. So, one of these nights, when you find your corner of heavenor your sliver of peace and you're feeling guilty about the distance between you and your son... I don't know. Maybe it just...helps to know that you're not the only one going through something like that.AUGUST: Well,there's no time like now to start the rest of your life.NATHAN: Thanks for the beer, profes... um, Mr. Kellerman.AUGUST: Call me August.NATHAN: Where's Dogust, by the way?AUGUST: He's here. Dogust! Hey! Lookwho's here to see you! Yes. Look at this. Every Captain needs a first mate.NATHAN: There he is. Hey, pal. Good to see you again. All right.AUGUST: Take care. All the best. Come on. Let's go sailing. Come on, Dogust.Come on, my boy. Mr. Scott. They still developing those condos at that basketball court of yours?NATHAN: The Rivercourt. Yeah.AUGUST: Two words, Snipey Plover. It's a bird. Okay, Catherine, here we go. You too,Dogust. You too. Yeah.BASEBALL FIELDIan practices. Meanwhile, It's to Jamie to hit the ball.UMPIRE: Strike one.NATHAN: Time! Time! How you doing?JAMIE: Okay, I guess.NATHAN: Yeah? Feeling nervous? Yeah, Ialways felt nervous at the free-throw line. But listen, there's something I forgot to tell you about today that I should have. It's just a game, okay? Grandpa Dan always used to make me feel like it was life or death, butit's not. Now, you got a couple good strikes coming, so just give it your best shot. You're a good hitter. You can do this. No matter what, we're both getting ice cream, so either way we're good. All right?UMPIRE: Okay,coach, let's go.NATHAN: All right. Go get 'em, Jamie Scott.JAMIE: Okay.FLASHBACK, CAFETARIANathan wants to see his father but he backs off.FLASHBACK, NALEY'S HOUSENathan explains to Haley what it'shappened.NATHAN: I couldn't do it. I drove to see Dan, but I couldn't go in.HALEY: Maybe one day.BASEBALL FIELDJamie tries to hit the ball, he thinks.JAMIE(Voice-over): The sneer is gone from Casey's lip, his teeth"}
+{"doc_id":"doc_181","qid":"","text":"Jessica: You promised this was only gonna be for a few weeks.Sean: Look, just because we're in a trailer does not mean we're trailer park trash.Jessica: Exactly. We're worse. We don't even have enough money to be ina trailer park.Sean: Don't have a meltdown, okay? It's probably just the generator.Jessica: You mean the thing that runs the electricity and water. I'm sorry. I'm just tired of feeling slightly terrified all the time. It's notlike I wanna be.Sean: Hey, look, it's going to get better.Jessica: Sean?Jessica: Noooo!Allison: If Jackson doesn't know what he's doing, then he probably doesn't know that someone's controlling him.Scott: Or hedoesn't remember.Stiles: What if it's the same kind of thing that happened with Lydia when she took off from the hospital?Allison: A fugue state?Scott: He'd have to forget everything. The murder -Allison: Getting rid ofthe blood.Stiles: Yeah, he had help with one thing tough - the video. And someone else helped him forget that.Scott: Whoever's controlling him.Allison: Are you sure Jackson has no clue about any of this?Stiles: Hethinks he's still becoming a werewolf and that being with Lydia somehow delayed the whole thing.Allison: So do we try and convince him he's not?Scott: If it helps us find out who's controlling him, then yeah.Allison: Doyou think he'll talk to us after what we did?Stiles: Yeah, it's us. He'll talk to us. Right?Sheriff: You will not go within 50 feet of Jackson Whittemore. You will not speak to him. You will not approach him. You will notassault or harass him physically or psychologically.Stiles: What about school?Sheriff: You can attend classes while attempting to maintain a 50 - foot distance.Stiles: Bu - okay, what if we both have to use the bathroomat the same time and there's only two stalls available and they're only right next to each other? I'll just hold it.Sheriff: Do I need to remind you how lucky we are that they're not pressing charges?Stiles: Oh, come on, itwas just a joke.Sheriff: It was a joke?Stiles: Yes, I didn't think it would be taken this seriously. Dad, humor's very subjective, okay? I mean, we're talking, like, multiple levels of interpretation here.Sheriff: Uh -huh.Stiles: Uh - huh.Sheriff: Okay, well, how exactly am I supposed to interpret the stolen prison transport van, huh?Stiles: We filled the tank!Melissa: Move! It's not just this. Although, a restraining order is a new lowthat I didn't think that you would reach quite this soon. It's everything on top of it. The completely bizarre behavior, the late nights coming home, having to beg Mr. Harris for you to make up that chemistry test thatyou missed.Scott: I missed a chemistry test?Melissa: Really, Scott? Really? I have to ground you. I am grounding you. You are grounded.Scott: What about work?Melissa: Fine - Other than work. And no TV.Scott: MyTV's broken.Melissa: Then no computer.Scott: I need the computer for school.Melissa: Then no, uh - no Stiles.Stiles: What - no Stiles?Melissa: No Stiles! And no more car privileges. Give me your keys. Give 'em to me!Oh, for the love of God.Scott: Mom, you want me to -Melissa: No.Scott: Mom, come on, let me just - mom. Mom!Melissa: What is going on with you? Is this about Allison?Scott: Do you really wanna know?Melissa:Yeah. Is this about your father? It is, isn't it? Okay, you know what, um - We'll talk about this at home. I'm gonna go get the car.Scott: I'm the worst son ever.Stiles: Well, I'm not exactly winning any prizes either.Mr.Whittemore: Dammit! You give him a restraining order, and he's mocking you! He was mo - and what do I do about going to the bathroom? What the hell -Isaac: So why do we need their help?Derek: Because it'sharder to kill than I thought and I still don't know who it is.Isaac: And they do?Derek: They might. Which is why I need one of you to get on their good side.Erica: Mm. Scott or Stiles?Derek: Either.Isaac: You know, thefull moon's coming, Derek.Derek: I'm aware of that.Erica: Oh my, these look comfortable.Isaac: You said you were gonna teach us to change whenever we wanted.Derek: There hasn't been time.Isaac: But if you haveto lock us up during the full moon, that means - that means you're alone against the Argents.Derek: They haven't found us.Isaac: Yet! So how about we forget the kanima?Derek: We. Can't! There was something aboutthe way Gerard looked at it. He wasn't afraid - at all. I don't know what he knows or what he's planning. But I'm sure about one thing. We have to find it first.Allison: It's everything Lydia can translate. And trust me,she was very confused.Scott: Yeah, what'd you tell her?Allison: That we were part of an online gaming community that battles mythical creatures.Stiles: I am part of an online gaming community that battles mythicalcreatures.Allison: O - oh. Great.Scott: Okay, does it say how to find out who's controlling him?Allison: Not really. But Stiles was right about the murderers.Stiles: Yes!Allison: It calls the kanima a weapon of vengeance.There's a story in there about this South American priest who uses the kanima to execute murderers in his village -Stiles: All right, see? So maybe it's not all that bad.Allison: Until the bond grew strong enough that itkilled whoever he wanted it to.Stiles: All bad, all very, very bad.Allison: Here's the thing, though. The kanima's actually supposed to be a werewolf. But it can't be -Scott: \"Until it resolves that in its past whichmanifested it.\"Stiles: Okay, if that means that Jackson could use a few thousand hours of therapy, I could've told you that myself.Allison: What if - It has something to do with his parents? His real parents.Scott: Yeah,does anybody actually know what happened to them?Stiles: Lydia might.Scott: What if she doesn't know anything?Allison: Well, he doesn't have a restraining order against me, so - I'll talk to him myself.Scott: Okay,what do I do?Allison: You have a make - up exam, remember? Promise me.Scott: If he does anything, you run the other way.Allison: I can take care of myself.Scott: Allison, if you get hurt while I'm busy with somestupid test, someone's going to need to take care of me. If he does anything -Allison: Like?Scott: Anything - Weird or bizarre - anything.Stiles: Anything evil! Ah - Ow!Teacher: Jackson? Did you still want to discuss yourpaper?Harris: You have one hour, Mr. McCall. Begin.Melissa: Really, Scott? I can't. Oh - Am I gonna do this? Am I gonna do this? No, I am gonna go to work. I am gonna go to work. I am just gonna straighten up. Justa little bit. Just a tad. He won't even know I was here.Matt: Oh, you just scared the hell out of me.Allison: Sorry, I wa - I was just, um, I was - nothing.Matt: Ah, that's a - nice heels.Allison: Oh! Yeah, uh, my feet werehurting, so I -Matt: Same reason I never wear mine.Allison: What?Matt: Uh, forget it. Hey, did you hear about the underground show? Apparently, they've got some big name spinning.Allison: Oh, you mean like arave?Matt: Oh, is it still a rave if you don't roll? I just call it a party. But hey, I got a friend who can hook us up with tickets if you're down. Want me to get you one?Allison: Yeah. Yeah, great.Matt: Yeah? All right, cool.Um, it's Friday, so - Looking forward to it.Allison: Yeah.Lydia: I'm not supposed to tell anyone.Stiles: Come on, anyone who ever says \"I'm not supposed to tell anyone\" is always dying to tell someone, so tell me!Lydia:Why do you wanna know?Stiles: I can't tell you that.Lydia: Then I'm not telling you.Stiles: But you are telling me that you could tell me something if you wanted to tell me?Lydia: Was that a question?Stiles: It felt like aquestion.Lydia: Well - Tell me if this feels like an answer. No.Allison: Jackson?Jackson: In here. Is something wrong?Allison: Y - you could've warned me.Jackson: You're the one that walked into the boys' lockerroom.Allison: I thought I heard you - I th - forget it.Jackson: Did you wanna talk about something?Allison: We can talk later.Jackson: No. Let's talk now.[SCENE_BREAK]Stiles: Lydia! Lydia, come on! Ly - wait! Ow! Ah,ah, hey, Erica.Erica: Why are you asking Lydia about Jackson's real parents?Stiles: Why are you bringing out the claws on camera? That's right. You wanna play Catwoman? I'll be your Batman.Erica: If you're wonderingabout Jackson's real parents, they're about half a mile from here. In Beacon Hills cemetery.Allison: I - I have to get to cl -Jackson: Oh, no, no, you don't. No, you have perfect grades. You can skip one class. Are youokay? Your heart's beating like crazy.Scott: Allison.Stiles: Do you know how they died?Erica: Maybe. If you tell me why you're so interested.Stiles: Um -Erica: It's him, isn't it?Stiles: What? Who? Him who?Erica: Thetest didn't work, but it's still him. It's Jackson.Harris: What do you think you're doing?Scott: The hour's up.Harris: You're not leaving till every single one of these bubbles is filled in.Jackson: I thought you wanted totalk.Allison: I - I - I changed my mind.Jackson: You sure? Because you look a little stressed. Is it Scott? Is it that whole thing? I still can't believe you actually think your little Romeo and Juliet story is gonna last. Youknow he's eventually just gonna run to Derek and join up with him and his little wolf pack. If you don't realize that, then you gotta be the stupidest bitch in this town. Well, other than Scott since he's a pretty stupidbitch himself.Allison: Stop. Just stop!Jackson: What are you gonna do, Allison, hmm - when your stupid bitch of boyfriend turns on you? They kill your aunt. They almost kill Lydia. Who do you really think's gonna benext, hmm? Not you. No, no, it can't be you, because you're in love. Is that what you tell yourself, hmm? \"Scott's different and everything's gonna work out because we're in love.\" Well, if that's what you believe, thenyou're already dead. I just - I just hope your dad has been teaching you moves to protect yourself.Allison: Actually, he has.Jackson: Allison? What are you doing here?Allison: I - I'm fine. I'm fine. Scott, I'm fine.Scott!Jackson: I have a restraining order!Scott: Trust me, I restrained myself.Stiles: You can't tell Derek, okay? There's a lot more to this that you don't know about. And just because you got the Alpha bite makeoverdoesn't give you a license to go around destroying people.Erica: Why not? That's all anybody ever used to do to me. I used to have the worst crush in the world on you. Yeah, you, Stiles. And you never once evennoticed me. Exactly how you're not noticing me right now.Stiles: Scott, Scott, Scott! Guys!Harris: What the hell's going on? Hey! Enough! Enough. What do you idiots think you're doing? Jackson! Calm down! Mr.McCall, you wanna explain yourself? Stilinski!Matt: You dropped this.Harris: You and you - actually - all of you - Detention. Three o'clock.Melissa: Hi, there.Victoria: Oh, I'll make an announcement, have Scott broughtto the office.Melissa: Um, actually - I came here to talk to you.Victoria: Me?Peter: Busy after school?Lydia: Always.Peter: Well, unbusy yourself. I wanna talk to you. Actually, I want to show you something.Lydia: Ithought we'd gotten past the slightly rapey language.Peter: And - Bring the flower.Jackson: Oh, uh - we can't be in detention together. I have a restraining order against these tools.Harris: All of these tools?Stiles: No,just us tools.Harris: Fine. You two, over there.Scott: I'm gonna kill him.Stiles: No, you're not. You're going to find out who's controlling him and then you're gonna help save him.Scott: No. You were right, let's killhim.Stiles: Oh - No.Matt: Kanima.Victoria: I was under the impression they were no longer dating.Melissa: Me too, but it looks like they are. And more. A lot more.Victoria: How do you know it's not some otherimpressionable young girl - with severely low standards?Melissa: Because I know Scott. And Allison is the only one that he's ever talked about like that. I just wanna make sure they continue to be safe.Victoria: Icouldn't agree more.Stiles: Hey. What if it's Matt? I mean, this whole thing comes back to the video, right?Scott: Danny said that Matt was the one who found the two hours of footage missing.Stiles: Exactly! He's tryingto throw suspicion off himself.Scott: So he makes Jackson kill Isaac's dad, one of Argent's hunters, and the mechanic working on your jeep?Stiles: Yes!Scott: Why?Stiles: Because - he's evil.Scott: You just don't likehim.Stiles: The guy - Bugs me. I don't know what it is. Just look at his face.Scott: Any other theories?Matt: You okay?Jackson: I have to go to the bathroom.Harris: Are you all right? Hey, you don't look sogood.Jackson: I just need to get some water.Harris: No one leaves their seats.Scott: Stiles says you know how Jackson's parents died.Erica: Maybe.Scott: Talk.Erica: It was a car accident. My dad was the insuranceinvestigator, and every time he sees Jackson drive by in his Porsche, he makes some comment about the huge settlement he'll be getting when he's 18.Stiles: So not only is Jackson rich now, but he's getting evenricher at 18?Erica: Yep.Stiles: There's something so deeply wrong with that.Erica: You know what? I could try to find the insurance report on my dad's inbox. He keeps everything.Speaker: Scott McCall, please report tothe principal's office.Harris: Jackson!Jackson: I'm fine, just give me a minute.Lydia: Perfect.Stiles: Whoa, look the dates.Erica: \"Passengers arrived at the hospital DOA. The estimated time of death - 9:26 P.M., June 14,1995.\"Stiles: Jackson's birthday is June 15th.Harris: Oh, no, I'm sorry. Uh, yes, I'm leaving. But none of you are. You may go when you're done with the re - shelving. Enjoy the rest of your evening.Scott: The principalwanted to see me?Victoria: No - I did. I'm concerned about the detention today. How Allison ended up in there with you and Mr. Stilinski. A sink was ripped off the wall. You're lucky I'm here to explain that to peoplesomehow. You realize that?Scott: Yeah. I do now.Victoria: Good. Are you having s*x with my daughter?Scott: Uh - No. I'm not having s*x with your daughter.Victoria: I certainly hope not.Lydia: Hello?Stiles: It meanshe was born after his mom died - by c - section. They had to pull him out of her dead body.Matt: You okay, dude?Allison: So was it an accident or not?Stiles: The word all over the report is \"inconclusive.\"Scott: Then hisparents could have been murdered?Stiles: If they were, then it falls in line with the kanima myth. You know? It seeks out and kills murderers.Allison: But for Jackson? Or the person controlling him?Scott: We have totalk to him. We have to tell him.Allison: He's not gonna l -Scott: Erica!Erica: Unh!Stiles: Whoa, hey, hey, hey, hey! I think she's having a seizure.Allison: He's alive.Stiles: Hey, we need to get her to a hospital.Erica:Derek - only to Derek.Scott: When we get her to the hospital -Erica: To Derek. To Derek.Allison: Go.Stiles: Hey, Scott!Scott: I'm staying here with you.Allison: He can't take her alone. Not like this. And Matt - I've gotto call an ambulance for him, just go.Scott: This doesn't feel right.Allison: It's okay.Scott: No, it's not. No, it's not right.Allison: It doesn't - it doesn't mean anything.Scott: But it feels like it does.Allison: Scott, go.Go.Scott: Okay.Lydia: Hello?Peter: Over here.Lydia: Is this your house?Peter: It was. I'll tell you all about it. But first - did you bring the flower?Lydia: I couldn't find it.Peter: That's okay. But since you don't have it, I'mgonna need that kiss.Peter: Is - Something wrong?Derek: Hold her up.Stiles: Is she dying?Derek: She might, I - which is why this is gonna hurt.Stiles: You broke her arm!Derek: It'll trigger the healing process. I stillgotta get the venom out. This is where it's really gonna hurt.Erica: Stiles - you make a good Batman.Scott: You know who it is.Derek: Jackson.Scott: You just wanted Erica to confirm it, didn't you? I'm gonna help youstop him. As part of your pack. If you want me in, fine. But we'll do it on one condition. We're gonna catch him, not kill him.Derek: And?Scott: And we do it my way.Melissa: Thank you, Jenny. Thanks, you guys. Iappreciate it.Jessica: Please - you have to tell 'em.Melissa: It's okay, the baby's fine.Jessica: Not - The baby.Melissa: Okay.Jessica: He killed Sean.Melissa: Honey, the police know.Jessica: They don't - They didn't see it.It wasn't human.Melissa: Okay. All right.Jessica: Please - no -Peter: I'm so sorry, Lydia. All of this must be terribly confusing. But at least you know that you're not actually crazy. Well - not completely. There's bound tobe some residual effects, but you're a strong girl. Personally I think that you're gonna pull through with a minimal amount of post traumatic stress. And maybe - a few years of profoundly disturbing nightmares. I had aplan, you know. It was a good plan. But if there's one thing that I've learned in life, it's to always have a backup. That would be you. Your immunity makes you a perfect plan b. You wouldn't turn from the bite. Youwouldn't die. But you would be able to do - One very important thing. Do you know what that is, Lydia? Lydia!"}
+{"doc_id":"doc_182","qid":"","text":"[PREVIOUSLY_ON]PEYTON : You saved me.BROOKE : You saved me, too.NATHAN : I borrowed some money from these guys, so they asked me to shave a few points in the last game.JIMMY : Everyone get away fromthe door.MOUTH : Oh, Jimmy, what did you do?JIMMY : Go.DAN : What are you doing here, Lucas?LUCAS : I don't think Jimmy killed Keith.DAN : Keith's dead, okay? He's not coming back. Open your eyes.KEITH :Open your eyes, Luke. Open your eyes.LUCAS : Hey, Skills. You know this girl?SKILLS : Yeah, that's Abby. She was in the tutor center. Jimmy let her go.OUTSIDE ABBY BROWN'S HOUSEIt follows the end of the lastepisode, Lucas knocks at the doorLUCAS (voiceover) : Sometimes, I wonder if anything is absolute anymore. Is there still right and wrong... good and bad... truth and lies? Or is everything negotiable... left tointerpretation, gray?LADY : Who is it?LUCAS : My name's Lucas Scott. I was wondering if I may talk to Abby.LADY : There's no Abby here. You have the wrong address.LUCAS : Well, no, no, no! I was just...(She shutsthe door)LUCAS : Thanks for nothing.(Lucas leaves but looks upstairs and see someone behind the curtains)LUCAS (voiceover) : Sometimes, we're forced to bend the truth... transform it... because we're faced withthings that are not of our own making. And sometimes... things simply catch up to us.OUTSIDE TREE HILL HIGHWhitey arrives in his car, reporters are waiting for himREPORTER : Coach Durham, can you address theallegations of point-shaving and illegal activity within the Ravens?WHITEY : Look, I'm gonna say this one time and one time only. This is the best group of boys I've had in 35 years of coaching. These are not cheaters.They're champions... every one of them.RIVERCOURTNathan and Haley are sitting on the tableNATHAN : There's only three things I'm afraid of losing in this world, Haley... you, our son, and the game.HALEY : How badwill it get if they find out about you and Daunte?NATHAN : They'll take my scholarship for sure. And I probably won't play anywhere... ever.THE APARTMENTPeyton is taking a shower and she suddenly has vision ofDerek.OUTSIDE TREE HILL HIGHBrooke is arriving at school, Chase shoves herCHASE : Sorry.BROOKE : It's fine.CHASE : Hey, Brooke. I heard about that stalker thing. I tried calling you, but I never heardback.BROOKE : Yeah, it's... Where's your Clean-Teen T-shirt?CHASE : Things change, you know?BROOKE : Yeah, I know.(She leaves)INSIDE TREE HILL HIGHPeyton is in front of her locker, Brooke joins herBROOKE :Hey. Do I have any blood on me?PEYTON : No, why?BROOKE : 'Cause I just saw Chase, and it feels like I got my heart ripped out.PEYTON : I think you'll be okay. Do I look insane?BROOKE : No, why?PEYTON : I sawhim again. This time in the shower.BROOKE : Peyton, you got to stop doing this to yourself, okay? Fake psycho Derek... whatever the hell his name is... he's locked up. You know that.PEYTON : Yeah, that's what theysaid last time... or what he said. I don't know. Maybe if I just see it with my own eyes that he's actually behind bars...BROOKE : Maybe. Come on.(They start walking and Peyton has a vision of Derek again)PEYTON :Hey... You know what, I'm gonna have to catch up with you, okay?BROOKE : Okay.INSIDE PRISONPeyton comes to see Derek in his cellDEREK : Hi, baby. I knew you'd come. Well, they said that you wouldn't, but... Iknew that you would.PEYTON : I want to know why. Why me? Why did you pick me?DEREK : You love me.PEYTON : No. I don't. I hate you. Don't you get that? You're just a deranged, pathetic psycho, and I never, everwant to see you again, okay?DEREK : Then why'd you come? Have I been in your head? You asked me to come into your life, Peyton. You got undressed in front of your webcam because you knew it would make mewant you. You posted those pictures online.PEYTON : You are wrong.DEREK : Am I? Is that why you're dressed like that today? Are you a tease, Peyton? Dressing sexy... wearing that perfume, making me... ache foryou, and then saying no?PEYTON : Stop.DEREK : Are you a tease, Peyton? Because that would really be disappointing.PEYTON : I did not do this. You did this.(She leaves)DEREK : No, you did this! You did this to me,Peyton! It's all your fault! You did this to me! You did this! Tease!DAN'S HOUSEDan is looking at his gun and hides it when Nathan walks inNATHAN : Thought you'd look a lot worse, considering the walls are closingin.DAN : What do you mean?NATHAN : The point-shaving, dad.DAN : Right. What are you hearing?NATHAN : Nothing. You think it's Bear?DAN : No, no. If it was Bear, he'd have pointed them right to us. Sounds like thewhispers of someone who lost a lot of money but isn't close enough to know the details.NATHAN : They're asking questions about Lucas now, and it's not right. He only missed those free throws because of me.DAN :Okay. But that's the only time I ever want to hear you say that out loud. Look, first, you won the state championship and every postseason game that Lucas played in, so they're grasping at straws.NATHAN : You don'tthink it's serious?DAN : No, it's serious... because if they find proof, your future's in jeopardy. But I don't think they're gonna find any proof.NATHAN : So, what do I do?DAN : You stay cool. Deny everything. And prayno one uncovers the truth.ABBY BROWN'S HOUSELucas is watching from his car. When the mother leaves, he goes inside the house and find AbbyLUCAS : I'm sorry. I'm sorry. I... I didn't mean to scare you. I didn'tmean to scare you. My name's Lucas Scott. We... We go to school together at Tree Hill. Do you know me?(Abby shakes her head)LUCAS : My uncle was Keith Scott, and I know that you were in the tutor center that day,and I know that Jimmy let you go. So... Listen... I have to know what you saw, Abby. Okay? You got to tell me. Did Jimmy Edwards... kill Keith?(Abby shakes her head)(Then her mother enters the room)ABBY'S MOM :What is this? What the hell is this?LUCAS : Look, Mrs. Brown, I can exp...ABBY'S MOM : Get out. Get the hell out of my house, or I'll call the police!LUCAS : And tell them what, huh? That your daughter knows the truthabout my uncle's death?ABBY'S MOM : Your uncle was Keith Scott? I'm very sorry for you, but my daughter has been traumatized since then. She hasn't been to school. Her life has become very difficult, and that is whyI lied to you last night.LUCAS : Listen, Abby told me that Jimmy Edwards didn't kill my uncle Keith.ABBY'S MOM : Did she? Honey, is your name Abby?(Abby shakes her head)ABBY'S MOM : Am I your mother?(Abbyshakes her head)ABBY'S MOM : Are you sure?(Abby shakes her head again)ABBY'S MOM : Now, I'm very sorry for your loss. That day changed all of us... and none of us for the better. But I'd like you to leave. AndLucas, don't come back. Abby has been through enough.INSIDE LUCAS'S BEDROOMHaley is waiting, Lucas entersLUCAS : Hey.HALEY : Hey.LUCAS : Jeez, you look worse than I do.HALEY : Yeah. Um, listen, uh, thething is that, uh... Nathan said this whole gambling thing's just gonna go away, and I don't real know, uh, how much I believe that, and I just wanted to know what you thought ... if you think that he's right or... or doyou think he's right?LUCAS : No. It's not going away.HALEY : 'Cause he said that they're just focusing on you, and then they're not gonna find anything, and nothing's gonna happen.LUCAS : Yeah, but, see, that's theproblem. You know, yeah, I mean, I missed a couple free throws, but I'm a sub. I played half a season, 15 minutes a night. No gambler's gonna build a point-shaving scheme around a reserve.HALEY : Okay, so, what isgonna happen, then?LUCAS : Well, I think that after they're done looking at me, that they're gonna start taking a look at Nathan. I hate to say it, Hales, but when they do... it's gonna end up really bad.HALEY : Okay.Okay, um... How bad is... is really bad?LUCAS : Well, Nathan's not gonna go to jail. But he's not gonna go to Duke, either.THE APARTMENTPeyton is sleeping but she is awake by Derek's voiceDEREK (voiceover): It's allyour fault!(She turns her head and sees a vision of Derek right beside her)DEREK : Tease.(Brooke enters the room)BROOKE : Peyton? Hey, what's wrong?PEYTON : I went to see him.BROOKE : Who? Oh, no.Derek?PEYTON : Ian. His name is Ian.BROOKE : I know.PEYTON : You do?(Brooke take a field from a drawer)BROOKE : Been hiding these from you. There's been a lot of articles about the attack.PEYTON : I thoughtyou were clipping coupons.BROOKE : I know, honey, but I hate coupons.(They ear the front door opening)PEYTON : Did you leave the front door unlocked?BROOKE : No.(They look scared and Haley enters theroom)HALEY : I'm sorry. I'm sorry. I have a key. I... I didn't know if you were sleeping. Sorry.BROOKE : It's okay. You locked the door, right?HALEY : Yes, I did.PEYTON : I used to love my room, and he took it fromme. Psycho Derek. It's like I... I really thought if we just fought back, like, if we attacked our attacker, that he would go away, but he hasn't.HALEY : It's really gonna take some time, Peyton. You guys went throughsomething really traumatic.PEYTON : Yeah, but what if you have finals and you can't sleep and you don't have time?BROOKE : Well, then, hopefully, you have a friend who's gonna tell you that life kicks you aroundsometimes. It... It scares you, and it beats you up. But... there's a day when you realize that you're not just a survivor. You're a warrior. You're tougher than anything it throws your way. And you are, Peyton. You are.And so are you, Hales.HALEY : Thank you. And so are you, Brooke.BROOKE : Thanks.BROOKE (to Peyton) : Come here.OUTSIDE WHITEY'S HOUSELucas knocks at the doorWHITEY : I was hoping for a booty call.LUCAS: Sorry, coach.WHITEY : What's so important it can't wait till a decent hour?LUCAS : It's the investigation. It was me. I missed those free throws in the semifinals on purpose, and I just wanted you to hear it from mebefore I hold a press conference tomorrow. I'm sorry, coach.WHITEY : You know, I only took a chance on you because Keith asked me to.LUCAS : I know.WHITEY : He would be ashamed of you right now... just like Iam.(Whitey shuts the door)[SCENE_BREAK]RIVERCOURTNathan is playing alone when Whitey arrivesWHITEY : Keeping in shape?NATHAN : Yes, sir.WHITEY : Duke's gonna be pretty rough, especially if you're not inshape.NATHAN : Yes, sir.WHITEY : So, there's, uh... some reporters asking questions about, uh... gambling... point-shaving... that kind of thing. You know anything about that?NATHAN : No, sir.WHITEY : Well, yourbrother's name's not going to be worth a damn when this whole thing comes down.NATHAN : What do you mean? Lucas didn't do anything wrong.WHITEY : Not what he says.NATHAN : What?INSIDE LUCAS'HOUSELucas is watching a picture of Keith when Nathan enters the houseNATHAN : What the hell is wrong with you?LUCAS : You're welcome.NATHAN : Screw that, Luke. We said we weren't gonna say anything. Weagreed.LUCAS : So what?NATHAN : So what did you do?LUCAS : I went and saved your stupid ass so you could play college basketball and have everything you've ever dreamed about.NATHAN : You know what? That'sa bunch of crap. We could have beat this thing, man.LUCAS : Sounds like you're feeling a little guilty to me.NATHAN : Yeah, of course I'm feeling guilty, but you shouldn't have said anything to Whitey, man. That was astupid thing to do.LUCAS : You know what? I don't care. I'm not going to college to play basketball anyway. It doesn't matter.NATHAN : It doesn't matter that for the rest of time, people are gonna talk? They're gonnasay you disgraced the game, Luke. That doesn't matter to you?LUCAS : Let them say what they want to say about me. It's what they say about Jimmy Edwards. That matters to me. And what they say about Keith. Butthis? At least I know the truth about this.NATHAN : Peyton thinks I'm a martyr. I can't stop this, Luke. I just... I'm this close, man, and I got the baby. I can't. You shouldn't have said anything.THE APARTMENTBrookeopens the curtains to awake PeytonPEYTON : What's going on?BROOKE : It's a new day. Move your scrawny butt. I checked the shower, and psycho Ian's not in there, so you need to be, because, no offense, you'rekind of rank.PEYTON : Thanks a lot.BROOKE : Well, I just call them likeI smell them. Choppity-Choppity.PEYTON : What are you doing?BROOKE : I told you. We're warriors. We kicked that idiot's psychotic ass, so a newday dawns, P. Sawyer.PEYTON : Yeah, but when I went to go see him... Brooke, he said I led him on... that I led him on with, like, my podcasts and my webcam and the way that I dress.BROOKE : Peyton. So you'resaying that every girl who wears a little bit of lipstick and a short skirt is asking to be assaulted and raped?PEYTON : No, of course not, but... I did give him full access to my life, and now he knows all this stuff aboutme. And he uses it, you know? He uses it to get in.BROOKE : Okay. Then it's time we start learning a little bit about him. Get up and fight, warrior. And take a shower.GUN ROOMCLERK : Just the ammo today, sir?DAN :Yeah, just the ammo.CLERK : The only reason I ask is, we just got this baby in today. .45 automatic, and if you've got your handgun permit, you can be shooting her today.(Dan hold the gun and start aiming, then alittle girl sees him, she get scared and drops the doll she was holding)CLERK : How'd that feel?THE APARTMENTBrooke and Peyton are looking on the computerBROOKE : Jeez. Who knew there were so many IanBanks?PEYTON : Maybe we should add \"stalker\" to the search.BROOKE : Really.PEYTON : So, where's your head at with Chase these days?BROOKE : I don't know. I think about him a lot. You know how it is. Startwondering if he ever thinks about me, and if he does, is it the same? Did he leave 'cause of the videotape, or was he just looking for an out? You know... same old self-doubt. Oh, wow. This is him. He's not from St.Flora. He's from Texas.PEYTON : What?BROOKE : Oh, my god. His girlfriend looks just like you, if you...PEYTON : If I what?BROOKE : If you were dead.ABBY BROWN'S HOUSEAbby comes to see her momABBY : I wantto tell someone, mom.ABBY'S MOM : Abby.ABBY : I'm tired of lying about what I saw, and I'm tired of hiding out and pretending I'm crazy. I want to go back to school, mom.ABBY'S MOM : Honey, you can't. As soon asI make enough money, we'll go someplace different. We will, but for now, we have to do it this way.ABBY : Why?ABBY'S MOM : Because I say so. That's why.ABBY : So what, then? We just hide from our lives?ABBY'SMOM : At least we have lives.ABBY : Not really, mom. And you might be afraid of this, but I'm not.ABBY'S MOM : Abby. Abby. Abby!(Abby starts leaving and opens the front door. Dan is there)ABBY'S MOM : You needto get out of here.DAN : I want to talk to you.ABBY'S MOM : I said get out!DAN : Calm down! Just shut up! Will you shut up?! Just... Okay, look. I need you to sit down. Just... Just go sit down.(They go to thecouch)DAN : Sit down. You're Abby Brown. Look, I don't know what you think you might have seen.ABBY'S MOM :She didn't see anything.DAN : Shut up! Just... You made a mistake.ABBY : No. I saw you. I saweverything. ABBY'S MOM :Abby. She's not well.ABBY : I know what you did. And so do you.DAN : My brother Keith was always better than me. He had a better heart. People liked him more. No, they loved him. Karenloved him. But... Karen was mine. She was supposed to be mine. ABBY'S MOM :She was just a girl who went to school that day. She's just a girl.ABBY : I hope you burn in hell.DAN : So do I.(Dan put the little girl's dollon the table and leaves)INSIDE PRISONPeyton and Brooke come visiting Derek/IanIAN : Well, if it isn't tease one and tease two. Did you come back for another kiss?BROOKE : Not really, Derek. Or should I call you\"Ian\"? Yeah, we know your real name. Actually, we know a lot of things about you. We spoke to all your teachers at the Alton Academy and the girls you used to date.IAN : You don't know anything about me.PEYTON :Really? Susanna Gold ring a bell? You know, a lot of teenage boys have performance anxiety.IAN : I know a lot of teenage girls who are teases, too.BROOKE : Is that really the best that you've got? 'Cause we have a lotmore than some podcasts and a few webcam photos, Ian Banks.IAN : Whatever.BROOKE : Boyfriend of Maggie Watterson. Or should I say former boyfriend?IAN : You shut your mouth, you whore.PEYTON : Hey, whathappened to Maggie, Ian?IAN : I don't know what you're talking about.BROOKE : Really? 'Cause the accident... you were driving. It was prom night.IAN : No, it wasn't my fault!PEYTON : What happened, Ian? Ian?IAN :We were just messing around... driving fast. My father never let me drive that car. He loved that car.PEYTON : The road was slippery. You lost control.IAN : I tried to wake her up. There was just... blood. There was justso much blood. Her parents said it was my fault. They... They all said it.PEYTON : I can't be Maggie, Ian. I'm not Maggie.IAN : We were gonna be together forever. She loved me. She... She trusted me.BROOKE : Sheforgives you.PEYTON : She forgives you... I forgive you, too.IAN : I'm sorry. I'm so sorry.(Ian starts crying)PEYTON : I'm not gonna be seeing you anymore. You're not gonna see us, either... ever. Ever. Goodbye, Ian. Ihope you find peace.SCOTT'S HOUSEHaley and Nathan are in bed.NATHAN : We talked about not saying anything. Lucas... he was supposed to do nothing.HALEY : He's really just trying to help out.NATHAN : It's just soLucas, you know? Trying to be the hero. I'm not gonna feel guilty about it. Nobody asked him to do this.HALEY : That's not exactly true. He's doing this for me because I asked him to. And if you're not gonna feel guiltyabout it, then I sure as hell will, because he is my best friend and he's your brother and he's doing this for all of us. For you and me and our son, and, um... it just really sucks.NATHAN : Damn it. I'm sorry, Hales. I'msorry I put us through this. I'm sorry I made you ask Lucas to take the blame. I'm sorry I've been so weak about all this.HALEY : You are about to make every dream you've had come true. Everybody understandsthat.NATHAN : No, it's not worth it. I mean, what the hell was I thinking? We're gonna be parents soon. What would we want our son to do? What would make us proud? And what am I gonna say to him someday whenhe asks about this? That I was Dan? That I put what I wanted in front of everything else?HALEY : Nathan... you're gonna lose it all... your scholarship, the game that you love.NATHAN : I won't lose it all. I'll still haveyou, and we'll still have our son... and we'll have that feeling that in the face of all this, we didn't lose our way. We still know right from wrong.HALEY : I'm just... scared for you. I love you for this, but... but it's justnot... it's not my dream that's dying. It's yours.NATHAN : It's gonna be hard. I know that, but... the people I admire are the people that carve a life for themselves after their dream dies. My father could never get pastit, Hales. He could never let go of what he wanted when he was 17... and look what it did to him.LUCAS' BEDROOMLucas is dreaming of him a the rivercourt, seeing AbbyABBY (voiceover) : Open your eyes, Lucas. Openyour eyes.(He wakes up and Abby is there, in his room)LUCAS : Abby?ABBY : I need to talk to you. I know what my mom said, and I'm sorry she lied, but I need to tellyou some things.LUCAS : You were hiding in thehallway.(We start seeing some flashbacks from the shooting episode)ABBY : I got scared, and I ran, but I was worried about the others and Jimmy, too. I saw it in his eyes when he let me go. He was just scared,too.LUCAS : You came back. And what happened after that? Huh? Abby? Come on, you got to tell me.Please.ABBY : Your uncle Keith... he tried to help Jimmy.(KEITH : Please. )ABBY : But he couldn't. AndJimmy...LUCAS : Jimmy what? Jimmy what?(KEITH : No!)LUCAS : Was my uncle Keith still alive when Jimmy shot himself?(Abby nods)LUCAS : Who shot him, Abby?ABBY : I thought once he realized someone knew thetruth, he'd come forward, so I stalked him with messages and threats. I thought he'd turn himself in. I thought I'd be safe. But he found me.LUCAS : Who?! Who killed... Who killed my uncle?ABBY : Your father. It wasyour father... Dan Scott. He killed Keith. He was there... and he picked up the gun... and you know I'm right, don't you? You know it in your heart.LUCAS : You have to come forward. You got to tell somebody,Abby.(She starts leaving)LUCAS : Abby, you have to tell somebody!ABBY : I did. I told you. I'm sorry.(She leaves)TREE HILL HIGHThe reporters are there for the press conference. Nathan comes to see Whitey, inprivateNATHAN : Coach.WHITEY : I don't know how you can look your brother in the eye, Nathan. This is a damn disgrace.NATHAN : Coach, I lied to you on the River Court yesterday and during the playoffs. It wasn't"}
+{"doc_id":"doc_183","qid":"","text":"(Continuing. Sydney walks out of the meeting, goes down a hallway. Jack comes out and runs after her.)JACK: Sydney! Wait!(She turns around. They stand in the hallway.)JACK: You can't lose control overthis.SYDNEY: You know what, Dad? This is not the best time to start lecturing me.JACK: I know how this feels.SYDNEY: Not exactly. You've had a lot longer to make sense of this than I have.JACK: There was a timewhen this was news to me, too. Your mother was sent to the United States to steal secrets from a ranking officer of the C.I.A. How she and I happened to meet, how she supposedly fell in love, I thought it was all true.But it was just a set-up.SYDNEY: Even her wanting to have a family? Was that just part of the plan, too?(Jack doesn't say anything. Sydney leaves.)(In her house, Sydney looks through her hat box full of pictures andmemories. She sees the newspaper article about her mother and the FBI agent dying in the car accident. Takes out a framed picture. She finally finds the picture of Sydney as a little girl and her mother.)SYDNEY: (voiceover) There's something that happens when you discover the truth about someone. I know a little about this.(She wads up the picture in a little ball.)SYDNEY: (voice over) The truth changes everything.(She throws it inthe fire.)(In the self-storage facility, Sydney talks to Vaughn.)SYDNEY: There's this woman, her personality like a collage I've put tlogether from the photographs, the few memories I have, scraps of stories I've heard,the clothes of hers I've got... her books. And none of it's real. She wasn't that woman at all. She was... she was a horrible person... who killed your father.(She stands in front of him, crying.)SYDNEY: Vaughn, I justwanted to say... that I'm so sorry.(He hugs her and cradles her head against his shoulder while she cries.)(Credit Dauphine parking garage. A van with 'McTiernan Air Conditioning' written on the side drives up. Thedriver stops at the security gate and wires it up to a machine he has that unlocks the gate. The gate doors open and the van goes inside. They stop once they're inside and cut the wires of a surveillance camera.)(Insidethe control room, two agents sit and watch the various camera angles.)AGENT1: We've lost coverage on the off-site garage.AGENT2: Any signs of forced entry?AGENT1: Negative from gate control. I'll check itout.AGENT2: Hey, while you're at it, grab me a black coffee, will you? Two sugars.(Agent1 leaves.)(In the parking garage, McTiernan gang starts welding off the air vent. Inside the van, the rest of the goons startpacking their guns and loading them. Agent1 walks in the garage and sees the van. He talks on his transmitter to his buddy from control.)AGENT1: You know about any AC repairs?AGENT2: Negative.(The goons havealready started to make their way inside the building using the air conditioning vents. Agent1 pulls his gun out. Near the van, one of the goons comes behind him and hits him over the head. Agent1 falls to theground.)(Back in the self-storage facility.)SYDNEY: I don't want this job anymore.VAUGHN: Sydney, that's why you're doing what you do. You're helping to bring an end to SD-6.SYDNEY: Not anymore.VAUGHN:Sydney--SYDNEY: I need someone in my life to be real.VAUGHN: This right here. What we do is real.SYDNEY: Look where we are. I mean, this isn't real. This isn't what we should be doing. I want out.VAUGHN:Out?(Sydney nods.)VAUGHN: You want to enter the protection program.SYDNEY: No. I'm not going into hiding.VAUGHN: If you don't, Sloane will kill you.SYDNEY: I don't think he will.(She stands up, hesitant.)SYDNEY:You like hockey, right? The Kings?VAUGHN: Yeah, how'd you--SYDNEY: The pen you keep in your briefcase. It's a Kings pen.VAUGHN: Yeah, I got that--SYDNEY: They're playing the Islanders next week. We shouldgo.(Vaughn brightens with hope. Then his face falls as he realizes what she's doing.)VAUGHN: Sydney, you can't do this.(Will's desk at the newspaper. He has his headphones on. Jenny stops at his desk.)JENNY: Okay,here's the appeal filed by McNeils' lawyer last year and I found out that SD-6 is an ingredient in artificial sweetener, but that's probably not the SD-6 you're talking about.WILL: Is my voice annoying?JENNY: Yourvoice?WILL: Yeah. I was just going over this interview with Eloise Kurtz and I started thinking about McNeil. How he had this look in his eyes when I was interviewing him. His lawyer the same thing. Just... trying to getaway from me.JENNY: Will, you're a journalist for God's sake. You get paid to be annoying.WILL: So you're saying I'm annoying?JENNY: Not to Danny or Eloise Kurtz.WILL: Oh, so I don't annoy dead people?JENNY: Will,you're their champion.WILL: What am I doing if I'm hurting the people I'm writing about? Look, if I could bring back Danny Hecht and Eloise Kurtz, I would, but I just... I can't. And if championing them is going to causeDavid McNeil's daughter to be in danger, I can't live with that. I don't think I can do this anymore. This SD-6 story. I'm out.(The goons burst through the vent and make it to a hallway off of another hallway where redsecurity beams are illuminated. The female goon - FGOON - has a heart beat detector in her hands. It beeps, and an agent comes into view.)FGOON: We're right on time.(He checks the corridor. The security red beamsgo off. They bust in. One of them breaks the agent's neck. They run through the hallway while the beams aren't there. The lead goon - Cole - motions for one of the last goons to hurry up as the red beams startappearing from the back, coming up. Not enough time left, the last goon slides down the rest of the hallway and makes it. Cole strips off his jumpsuit while FGOON pours him a cup of coffee from a thermos. Underneaththe jumpsuit, Cole is wearing a suit. He takes a swig of coffee and spreads his arms out.)COLE: How do I look?(In the parking garage, Sydney drives up in her SUV. She takes out a card and slides it into the securitypanel that the goons had unlocked with their machine earlier. She passes through and the gate doors buzz and then open. She drives through.)(In SD-6, Cole walks through. Nobody recognizes because, since he'swearing a suit, he blends right in. Cole walks by Sloane's office. Inside the office, Sloane is on the phone, rubbing his temples.)SLOANE: Yes, will you get me my wife's doctor on the phone please?(He looks at monitoron his desk. It's a security camera monitor. He sees Cole walk by. The monitor scans for facial recognition. Sloane's face freezes because he knows who he is.)VOICE: Dr. Medlesohn is on line one.(Sloane stares as thesecurity monitor scans through the files, trying to identify Cole.)VOICE: Sir?(Sloane isn't paying attention. He stares at the monitor.)VOICE: Sir?(In the garage, Sydney parks her SUV and gets out. She sees theMcTiernan van. The driver leers at her.)DRIVER: Hey there, beautiful! Why don't you turn that frown upside down?(She doesn't run over there and kick his ass. She keeps walking. Pissed, the driver takes out his gunand puts the silencer and laser on. He points the gun at Sydney while she walks away, into SD-6. The red beam of light is aimed right on her head. She walks, having no idea. Suddenly, tires screech and he puts thegun away. Sydney turns. Jack pulls up and gets out of his car, running after her.)JACK: Sydney! Sydney!(He catches up to her. She keeps walking to the elevator.)JACK: This is suicide!SYDNEY: I don't think it is.JACK:What exactly is your exit strategy? Politely asking Sloane to let you out of SD-6?SYDNEY: Based on Sloane's behavior toward me -- protecting me at Donatti Park, asking Rusik to get me to talk--JACK: Sloane answersto people. People who don't know you or care about you. If he lets you go, those people will kill him and you.(She goes inside the elevator. He follows.)(Sloane still has the phone up to his ear as he waits for the securitypanel to indentify Cole. A picture flashes up on the screen: McKenas Cole.)SLOANE: Cole.(He presses a button on his desk with his finger. The monitor flashes \"FAILSAFE ACTIVATED\".)(In the elevator.)JACK: Thosepeople Sloane works for - the alliance - if they believe you've abandoned them, they will kill anyone they think you have talked to. Your roommate Francie. That reporter friend. Anyone.(Control room. Agent2 is still bythe monitors, waiting for his coffee. Cole enters behind him, holding a gun.)AGENT2: Let me guess. You forgot the two sugars.(He turns around. Cole shoots him twice. In his office, Sloane scrambles for the phone andcalls the control room. Cole answers the phone.)SLOANE: We have a physical breach! Start lockdown procedures now!COLE: Sure thing, Arvin. Whatever you say.(Cole hangs up.)(Elevator.)SYDNEY: I felt this waybefore I found out about my mother. This life has to stop.(Instead, the elevator stops and the lights go out.)(Inside SD-6, Dixon looks up as gas starts hissing down from the ceiling vents. Agents start to pass outaround him. In his office, Marshall sees the gas coming down and covers his mouth with his sweater vest. Making two or three steps, he falls to the ground beside his inflatable chair. Out in the main part of SD-6, moreagents fall to the ground. Dixon falls. In Sloane's office, a vent of gas is pouring down right on top of Sloane. He's slumped over his desk, his head down.)(In the elevator, the lights come back on. Jack tries thephone.)JACK: Dead. But a blackout wouldn't shut down security.(At the newspaper, specifically in the bathroom, Will flushes a urinal, takes off his glasses, and washes his hands at the sink. His cell phone rings.)WILL:Tippin.DISTORTED VOICE: Go to your desk.WILL: I'm off the story.DISTORTED VOICE: Leave the bathroom and then go to your desk.(Will looks around all, \"How the hell did they know I was in the bathroom?\" Hecomes out near his desk and looks around for anyone suspicious lurking about. A yellow manila envelope sits on his desk chair. The telephone rings at his desk, but Jenny rushes in and answers it.)JENNY: Will Tippin'soffice. Um, yeah, he's right here.(She passes the phone to him.)JENNY: Some guy. Totally nasal. Clips on the housing story, Litvack wants two thousand words by noon tomorrow.(She walks out.)WILL:Hello?DISTORTED VOICE: There is something inside the envelope that will make McNeil talk.WILL: I don't want to make him talk.DISTORTED VOICE: You said you didn't scare easily.WILL: Well, if you're so brave, whydon't you lose the voice box and tell me your name?(Silence.)WILL: Don't call me again.(He hangs up, and throws out the envelope in his nearby garbage can.)(Cole and his goons, wearing gas masks, walk in SD-6 withvarious guns. The gas stops. Cole takes off his mask and looks around.)COLE: Five minutes ahead. Get 'em wrapped up, baby!(FGOON starts tying up everyone's hands while they're unconscious. Cole looks to anotherguy with a gun.)COLE: Chopper, secure the elevator. You got the scanning room door code?CHOPPER: Got it!(Cole approaches FGOON who is at a computer typing.)COLE: You jammin'?FGOON: I'm jammin'.(He kissesher head.)(Vaughn's office. He's twirling a silver dollar in between his fingers over and over again. Weiss enters.)WEISS: Want to get a pizza? That new place?VAUGHN: Ah, no thanks.(Weiss comes in and looks atVaughn, silently telling him to just tell him what's up.)VAUGHN: Sydney wants to quit SD-6... which she knows she just can't do.(Weiss nods.)VAUGHN: It's a weird thing. You know, when you're learning how yourfather died. I... it's always been this intellectual idea I had, knowing he died, just not having any details.WEISS: You really want some space, or are you and I going to go get drunk? 'Cause there's this bar, you won'teven remember it tomorrow.(They laugh. Vaughn's face falls when Haladki enters.)HALADKI: Hey, what a day, huh?VAUGHN: Why do you say that?HALADKI: Come on. Bristow's mom, your dad. It's not like a secretaround here. Vaughn, that really sucks.WEISS: Well put.HALADKI: You know what? I think Barnett's gonna be good for you.VAUGHN: I'm not seeing Barnett.HALADKI: Oh, yeah you are! She wants to see you. I mean,come on. You're Bristow's handler. You find out her mom killed your dad? She's a shrink, she lives for crisis management! I think she'll be good for you. I like thick crust, in case you wanted me to come.WEISS: Oh,hey, we don't.(He leaves.)VAUGHN: Did you know about Barnett?(Weiss shakes his head. Vaughn sighs.)(In the elevator.)SYDNEY: Still can't get a signal.JACK: Whoever's doing that could be jamming thefrequencies.(Elevator starts.)JACK: Emergency lockdown procedures.(He hits a button.)JACK: The elevator is returning to SD-6. The doors will automatically open.(He gives Sydney a knowing look.)(Out in the whitearea where the agents stand to get cleared by security outside the elevator, Chopper stands in front of the elevator with a gun pointed, ready to shoot whoever's inside the elevator. The bell dings. No one's there.Sydney and Jack are on top of the elevator, looking down.)CHOPPER: Elevator secure.(Jack and Sydney climb down the stairs from the elevator shaft and jump down. Jack takes out his gun. They walk down thehallway, getting to a door. Jack comes out, gun in hand. Sydney next. She closes the door. Jack comes around a corner with Sydney and sees the agent that was punching in the code in the red beam hallway, dead. Thered beams are up. Jack and Sydney go in the hallway and he punches in a code. The red beams disappear.)JACK: The advantages of high-level clearance. Let's go.(Jack and Sydney enter an underground control room.There are cables and monitors and some sheets up on a wall. Jack starts tearing off the outside on the wires, getting to the core of them.)SYDNEY: How could K-Directorate overpower fifty trained agents?JACK: IfK-Directorate attacks SD-6, they know SD-6 will return the favor. This team that's invaded SD-6, isn't working with any organization we know. My guess is they're working for a group, clearly unpredictable anddangerous. Hand me that cable.(She does.)JACK: Now plug it in.(They hook up a nearby monitor to the camera wires. Jack starts flicking through the wires, going from camera angle to camera angle. The conferenceroom is empty, various rooms are empty.)JACK: There are six hundred cameras hidden through SD-6.(They finally spot the group of agents, everyone at SD-6, gathered together on the floor outside Sloane's office.They all have their arms tied behind their backs. A couple of men with guns watch them.)SYDNEY: Oh, my God. Look at that hardware.JACK: Latest military specs.SYDNEY: Extended magazines, compensators, lasersights...JACK: I see four.SYDNEY: There's a fifth.(Cole walks in. Dixon stares. Marshall looks scared. Sloane sits with everyone else, his back against the wall. Cole swaggers in, coming closer to Sloane.)COLE: I want totalk to you. That's the sick part. Catch up and stuff. You know, so much has happened in the last five years. This place... it hasn't changed. But you. You look... older. But that's good. Your hair... looks good. You knowwhat the worst part is? Being left for dead in Grozny, Arvin? Well, you're going to learn the worst part. But another part that sucks is seeing guys you worked with, guys you thought were tougher than deer jerky,tortured to death. That's no good. The most ironical part for me is... we did the damn job. We blew that pipeline to hell first night we landed. But you know me, Arvin...[SCENE_BREAK](In the control room, Sydney andJack still watch.)SYDNEY: Do you know this guy?JACK: I know the operation. Sloane in '96 sent a team to Chechnya to destroy the Shelhemil pipeline. There were complications. The team was captured by theRussians.(Back to Cole.)COLE: And if that chopper had have been where the hell you know it should have been--(He kicks an agent out of the way and sits down.)COLE: My whole life would have taken a differentdirection.SLOANE: What do you want?COLE: I got this really kick ass new job. See, I'm working for this gentleman they call The Man. And you will learn about The Man. What The Man wants is a certain littlesumthin'-sumthin' you got in the SD-6 vault.SLOANE: Well, you initiated lockdown. Not only is the vault secure, the vault access room is locked now, too.COLE: Well, don't worry about the vault access room, we'retaking care of that. What I need is the combination to the vault.(Sloane laughs. Cole laughs.)SLOANE: Not a chance.(Cole sits back and claps his hands a couple of times.)COLE: That's cool.(He stands up and kicks hischair he was sitting on. It slides across the room.)COLE: You still got that room downstairs, right? The \"conversation room\"? That's what you used to call it, right? The torture room's like you really got to admit what thehell you do down there. So, Arvin. Let's go to the conversation room!(Will's newspaper. He talks to Jenny.)WILL: Check this out.JENNY: Yeah?WILL: People victimized by the developer who's using his politicalconnections to have their homes condemned by the city. Now we go in, shed a little light on this, protect the little guy and no one gets hurt. I'm going to go interview the developer right now.JENNY: No moreMcNeil?WILL: Nope.JENNY: Hmmm. Interesting.(She walks away. Will turns around and sees the envelope in his trash can. He shakes his head no and walks away.)(Dr. Barnett's office. Vaughn knocks andenters.)VAUGHN: Hi.BARNETT: Hi!VAUGHN: Michael Vaughn. We've met.BARNETT: I remember. Judy Barnett. Have a seat.VAUGHN: Thanks.(He sits down on the couch. She sits in her chair.)BARNETT: You got myvoice mail?VAUGHN: Yeah, yeah. (pause) I just want you to know, I've got nothing against shrinks.BARNETT: Well, good.VAUGHN: But, I-I think this might be a waste of time. You wanted to see me because we'velearned that Sydney Bristow's mother was a KGB operative who killed my father, among others.BARNETT: Yes.VAUGHN: Which is not ideal news, obviously, and yes, it's emotional, but I already knew he was killed andit happened almost twenty years ago. You know? So I really don't think I require crisis management. There's-there's no crisis.BARNETT: Everything you say to me I will keep confidential.(Vaughn seems to relax alittle.)VAUGHN: Okay. (smiles)BARNETT: I wanted to talk to you about your relationship with Ms. Bristow. How often do you meet with Sydney?VAUGHN: Uh, a couple of times a week. Three or foursometimes.BARNETT: Only about operations?VAUGHN: Uh... we have met on occasion when Sydney wanted to talk to me about what was happening within SD-6 or regarding her father, when she believed he was aKGB agent and not her mother.BARNETT: You and Sydney... have a friendship?VAUGHN: She needs someone to talk to. I think you'd appreciate that. I'm the only person she can confide in.BARNETT: So you feel thatyour relationship with Ms. Bristow is fully appropriate, that it falls within the guidelines of agent and handler?VAUGHN: What are you asking me?BARNETT: I have gotten some reports about your behaviorrecently.VAUGHN: Reports from who?BARNETT: After the incident in Tuscany when you sent in an extraction team--VAUGHN: Hey, hey, SD-6 issued an order to have Sydney killed!BARNETT: --to protect Sydney, I'vebeen following your work. Mostly very good.VAUGHN: Thank you. That's very nice.BARNETT: Did you purchase a Christmas gift for Agent Bristow?(Pause. Vaughn looks around.)VAUGHN: Uh, I'm not familiar, Dr.Barnett, with the regulations preventing officers from celebrating with their co-workers, a fairly widely recognized holiday such as Christmas.BARNETT: May I ask you what the gift was?VAUGHN: I'd like you to tell mewho's been reporting me.BARNETT: I can't tell you that.VAUGHN: Then I'm just going to have to guess.(Two guys, one who is called Endo, drill through the vault access room. Cole talks to them through atransmitter.)COLE: Endo! What's up? Where are we? I need status!ENDO: Almost done drilling. Then we'll start packing explosives.(Jack flicks from cam to cam.)JACK: Those other two. Where the hell did they go?(Theysee them in the vault room.)(Vault room.)ENDO: We should be in the vault within ten minutes!(Jack and Sydney.)SYDNEY: Ten minutes? What are they going for in the vault?JACK: Could be anything. Sloane wasplanning on sending you to Taiwan, did you know about that?SYDNEY: FTL acquired some scud launchers. He wanted me to scramble their launch codes.JACK: Marshall's working on a scrambling device for that op.Have you seen it?SYDNEY: He showed it to me last week.JACK: What does it look like?SYDNEY: Why?JACK: Sloane must have activated the emergency failsafe. There are five hundred pounds of C-4 strategically placedwithin the substructure of this building. Opening the vault will trigger that C-4. All underground levels will collapse, burying any evidence that the Los Angeles cell of SD-6 ever existed.SYDNEY: You want to scramble the"}
+{"doc_id":"doc_184","qid":"","text":"-[Real World]-(Mary Margaret, who has escaped from her cell, has fled to the woods. Meanwhile, Henry sits on a bench reading his book at the station. Emma and Mr. Gold see him.)Emma: Henry. What are you doinghere?Henry: I came to congratulate you.Emma: For what?Henry: Your genius plan.Mr. Gold: And what plan's that, Henry?(Henry doesn't respond.)Mr. Gold: Right.(Mr. Gold leaves Emma and Henry alone in thehall.)Henry: Sorry. I thought Mr. Gold was in on it, now that he's Miss Blanchard's lawyer.Emma: In on what?Henry: The escape plan.Emma: The what?(Mr. Gold calls out from the other room.)Mr. Gold: Sheriff, couldyou join me, please?(They join Mr. Gold and see Mary Margaret's empty cell.)Mr. Gold: She's gone.Emma: Henry, what did you do?Henry: Nothing. She was gone when I got here.Mr. Gold: Her arraignment's tomorrow.If she's not there...Emma: She's a fugitive. Doesn't matter if she's convicted for Kathryn or not - she's screwed. I have to go find her before someone notices she's missing.Mr. Gold: Oh, you mean Regina?Emma: Thearraignment's at eight A.M. I'm sure she'll be here bright and early to celebrate her victory.Mr. Gold: Well, you have until eight A.M., then.Henry: Uh, what about me? How can I help?Emma: Go home.Henry: Emma, ifshe leaves Storybrooke...Emma: Not now, Henry. Come on.Mr. Gold: Miss Swan, I know time is of the essence, but if Miss Blanchard doesn't return... Her future's in jeopardy. And if you're caught helping her, so isyours.Emma: I don't care. I'd rather lose my job than my friend.[SCENE_BREAK](Emma gets in her car and drives down a deserted road near the woods. In the fog in the distance, a figure can be seen. Emma doesn'tnotice in time, and narrowly avoids hitting a man. He jumps out of the way and falls down an incline. She gets out of her car to assist him.)Emma: I'm so sorry! Are you okay? I didn't see you there.Jefferson: Uh, I thinkso.Emma: Are you sure?Jefferson: I'm fine. I'm not used to sharing the road with cars so late. You're the Sheriff, aren't you?Emma: Yeah.Jefferson: What brings you out here in the middle of the night?Emma: Oh,nothing to worry about. I'm just looking for a lost dog.Jefferson: Well, I hope you find it.Emma: Thank you.(Jefferson tries to walk, but has an obvious limp.)Emma: Oh, you are hurt.Jefferson: No, I just twisted myankle, I think. I live just a mile down the road. I'll make it okay.Emma: No, let me drive you. I insist.Jefferson: Thank you. I'm Jefferson.Emma: Emma.(The two of them get into Emma's car.)-[Fairy TaleWorld]-(Jefferson runs through the woods, seemingly trying to escape from something. He stops to rest by a tree, but is caught by his daughter, Grace.)Grace: Papa, I found you.Jefferson: You certainly did. You mustbe part bloodhound, my dear Grace.Grace: Now it's my turn to hide, and you seek.Jefferson: I'm afraid playtime's over. Though, you can still use that nose of yours to hunt mushrooms. Enough to sell at markettomorrow. Do you think you can do that? Ready or not, here we come.(They head back to their house, where the Evil Queen's carriage is parked outside.)Jefferson: Wait.Grace: Whose carriage is that?Jefferson: TheQueen's.Grace: In our house? Do you know her?Jefferson: Of course not. Now, listen carefully. Hey. I want you to stay hidden in the woods. Like our game. I'm going to find out what she's doing here.(Jefferson entersthe house, while Grace runs off into the forest. Inside, the Evil Queen is waiting.)Evil Queen: I'd like to say you're looking well, Jefferson, but I'd be lying. Poverty doesn't suit you.Jefferson: What are you doing here,Regina?Evil Queen: I have a job for you.Jefferson: I don't do that anymore.Evil Queen: Yes, I heard you hung up your hat. Why? Is it because of your sweet daughter Grace?Jefferson: Because of my work, she lost hermother. I don't want her to lose her father, too.Evil Queen: So, now you're foraging for fungus. What kind of future does your daughter have here with you? Do this one last favour for me, and you can give her the lifeshe deserves.Jefferson: That's why I'm staying. You don't abandon family. That's... What she deserves. Now, please leave.Evil Queen: All I need is your special skills to get me somewhere. Somewhere you've beenbefore. Do it, and I can change your life.(She hands him a piece of paper.)Jefferson: What business could you possibly have there?Evil Queen: Something of mine was taken and found its way over there. I want itback.Jefferson: Then, find someone else to get it.Evil Queen: I see. Hard living has strengthened your resolve. Well, I'm sorry I couldn't convince you, but I understand. There's nothing more important thanfamily.-[Real World]-(Emma and Jefferson pull up to a large house on a hill. The two of them get out.)Emma: Wow. This is your house? It looks more like a hotel. You must have a huge family.Jefferson: Nope. It's justme.(Emma sees Jefferson struggling to get up the stairs, and goes to help him inside.)Emma: Here. Wait.(Inside, Emma is waiting in the living room when Jefferson enters with a tea tray.)Jefferson: Here we go. Ithought you might want to warm up for your search. It's cold out there.Emma: That is kind of you, but I think I should get back to it.Jefferson: I know. That's why I brought this. I'm a bit of an amateur cartographer -mapping the area is a hobby. Maybe, this will help you track down your dog.(He lays out the map on a table.)Emma: Wow.Jefferson: What's his name?Emma: Spot.Jefferson: Cute.(Emma looks over the map while shesips her tea. She begins to act drowsy.)Emma: Well, Route Six runs the boundary of the forest, so... So, if I just follow that, I should... Be able to...Jefferson: Is something wrong?Emma: I'm just, uh... Feeling alittle...(Jefferson catches Emma and drags her over to the couch.)Jefferson: Oh. Let me help you.Emma: Dizzy.Jefferson: Let's just lie you down here. There you go. Let me get you some air.Emma: Yourlimp...Jefferson: Oh. That. I guess you caught me.Emma: Who are you?-[Fairy Tale World]-(Jefferson and Grace are at an outdoor market. They come to an old woman, who is selling toys.)Grace: The toy cart!Woman:Come.(Grace picks up a stuffed rabbit.)Grace: Wouldn't this make the perfect guest for our tea parties, Papa? Can I have him? Please?Jefferson: Excuse me. How much for the rabbit?Woman: That costs onesilver.Jefferson: Would you take it for eight coppers? It's all I have.Woman: Oh, you are good father. Your last coppers for your little girl's happiness, ah?Jefferson: Thank you.Woman: Oh, I did not say I accept. Alas, Icannot take less than one silver. The economy. You understand.Grace: It's okay, Papa. Come on - people are waiting.Jefferson: I will not take no for an answer.Grace: Papa, please. I don't need it.Jefferson: Come on,sweetie.(The old woman walks away from the crowd to a mirror.)Mirror: Well, that was awfully cruel. You could at least let the girl have her toy.Evil Queen: Where's the fun in that?(The old woman's face briefly morphsinto the Evil Queen's.)-[Real World]-(Emma wakes up bound and gagged on the couch. She looks around and sees that Jefferson is gone. She sits up and notices her fallen teacup on the floor. Emma throws a pillowover the cup to muffle sound, and then breaks it with her feet. She manoeuvers herself onto the floor, grabs a shard of the broken cup, and cuts through her binds. She tries to open one of the windows, but discoversthat they're all locked. By the windows, there is a telescope pointed at the Sheriff's station. Emma hears a noise coming from the room across the hall. She peeks in and sees Jefferson sharpening a pair ofscissors.)-[Fairy Tale World]-(At their home, Jefferson finishes making a stuffed rabbit. He places it on a chair next to Grace, who is having a tea party.)Jefferson: I know it's not the same as what you wanted.Grace: Ilove it, Papa. Thank you.(Grace pretends to pour tea.)Grace: Mm. This is really good. Don't you think so, Mr. Tortoise? Papa, do you like your tea?Jefferson: Grace... I want you to go to the neighbours' for the rest ofthe day. There's work I have to do.Grace: Can't I come with you? I like being with you in the forest.Jefferson: I'm not going to the forest, sweetie.Grace: This has to do with the Queen's visit, doesn't it? Whatever shewants you to do, don't do it.Jefferson: Grace, I have to. I want you to have what you need.Grace: All I need is you, Papa. Please, stay.Jefferson: Come here. I know. I'm sorry, baby. I have to go.Grace: Just promiseme you'll come back. You have to promise.Jefferson: Of course.Grace: For our tea party. Promise?Jefferson: I promise. I won't miss it for the world. Go.(Grace leaves. Jefferson opens a locked chest, and pulls out a hatbox.)-[Real World]-(Emma slows edges out into the hallway. She slowly creeps down the hall, but steps on a creaky floorboard. Panicking, she quickly enters the closest room. Inside, Mary Margaret is gagged and tiedto a chair. Emma starts to untie her.)Emma: What is going on?MMB: Emma, thank God.Emma: What are you doing here?MMB: I was in the woods, trying to get away. Then, this man appeared out of nowhere andgrabbed me. Why are you here?Emma: I've been trying to find you. You escaped, remember? How did you get out?MMB: There was a key... In my cell, under my pillow. Someone put it there.Emma: Who?MMB: I don'tknow. I'd like to know just as much as you.(Once Mary Margaret is free, they both head for the door. Emma checks the hall and sees that it's clear. The two of them start down the hallway, but are stopped by Jefferson.He's armed with a gun.)Jefferson: I see you found Spot.Emma: I've already called for backup. They'll be here any second.Jefferson: You haven't called anybody. For the same reason you didn't tell me about her. Youdon't want anybody to know you're here, which means, nobody does. So, now tie her back up.(Emma ties Mary Margaret to the chair, again.MMB: Emma...Emma: It's going to be okay.(She gags her.)Emma: Yourtelescope - you've been watching me. Why?Jefferson: I need you to do something.-[Fairy Tale World]-(Jefferson meets with the Evil Queen at her castle. He enters with the hat box and is escorted by severalguards.)Evil Queen: Jefferson. So good to see you looking more like yourself. I assume you're here because you've reconsidered my offer?Jefferson: I want your guarantee. That, if I do what you ask, my daughter willwant for nothing.Evil Queen: You have my word. Now, let's open that box of yours and see what it can do.(He pulls a top hat out of the box.)Evil Queen: I do so like a man who dresses for the occasion.(Jefferson placesthe hat on the floor and spins it. It begins to spin on its own.)Jefferson: Step back.(The hat forms a purple vortex.)Jefferson: After you!Evil Queen: Together!(They link arms.)Jefferson: Hold on!(They both jump into thevortex and are transported elsewhere.)-[Real World]-(Jefferson brings Emma to a room with several top hats lining the walls.)Emma: I don't know what you think you're doing, but if you hurt my friend, I swear I'llmake you regret it.Jefferson: Hurt her? I'm saving her life.Emma: How do you figure that?Jefferson: Don't play stupid. We both know what happens when people try to leave Storybrooke.Emma: What are you talkingabout?Jefferson: The curse.Emma: What curse?Jefferson: The one keeping us all trapped. All except you.Emma: Have you been reading Henry's book?Jefferson: Henry? You mean the Queen's father?Emma: Henry, themayor's adopted kid.Jefferson: Oh, Henry. Your Henry. And his book of stories. The ones that you choose to ignore. Maybe, if you knew what I know, you wouldn't.Emma: Why have you been spying on me?Jefferson:Because, for the last twenty-eight years, I've been stuck in this house. Day after day, always the same. Until one night, you, in your little yellow bug, roll into town, and the clock ticks, and things start to change. Yousee... I know what you refuse to acknowledge, Emma. You're special. You brought something precious to Storybrooke - magic.Emma: You're insane.Jefferson: Because I speak the truth?Emma: Because you're talkingabout magic.Jefferson: I'm talking about what I've seen. Perhaps, you're the one that's mad.Emma: Really?Jefferson: What's crazier than seeing and not believing? Because that's exactly what you've been doing sinceyou got to our little hamlet. Open your eyes. Look around. Wake up. Isn't it about time?Emma: What do you want?Jefferson: I want you to get it to work.(Jefferson sits Emma down in front of a table of sewing suppliesand materials.)Emma: You want me to get what to work?Jefferson: You're the only one that can do this. You're going to get it to work.-[Fairy Tale World]-(Jefferson and the Evil Queen end up inside Jefferson's hat.There are several different coloured doors lining the walls.)Evil Queen: I forgot how magnificent you are.Jefferson: I'm not here to relive the past. I'm here for my daughter.(He points toward a door made ofglass.)Jefferson: Here - this is the entrance. It's important that we stick together. Same amount of people that go through have to come back. No more, no less. It's the hat's rule, not mine.Evil Queen: Iunderstand.(They enter through the mirrored door and arrive in Wonderland. Along the path, they encounter the Caterpillar.)Caterpillar: Who are you? Who? Who?Jefferson: I hate Wonderland.-[Real World]-(Emmaand Jefferson are still in the sewing room.)Jefferson: Make one like that.Emma: You want me to make a hat? You don't have enough?Jefferson: Well, none of them work, do they? Or else you wouldn't be here. Now,make a hat, and get it to work.Emma: I don't-Jefferson: You have magic. You can do it.Emma: The hats, the tea, your psychotic behavior... You think you're the Mad Hatter.Jefferson: My name's Jefferson.Emma: Okay.You've clearly glommed onto my kid Henry's thing. They're just stories. The Mad Hatter is in Alice in Wonderland - a book. A book I actually read.Jefferson: Stories. Stories? What's a story? When you were in highschool, did you learn about the Civil War?Emma: Yeah, of course.Jefferson: How? Did you read about it, perchance, in a book? How is that any less real than any other book?Emma: History books are based onhistory.Jefferson: And storybooks are based on what? Imagination? Where does that come from? It has to come from somewhere. You know what the issue is with this world? Everyone wants some magical solution fortheir problem, and everyone refuses to believe in magic. Now, get it to work.Emma: Here's the thing, Jefferson - this is it. This is the real world.Jefferson: A real world. How arrogant are you to think yours is the onlyone? There are infinite more. You have to open your mind. They touch one another, pressing up in a long line of lands. Each just as real as the last. All have their own rules. Some have magic, some don't. And someneed magic. Like this one. And that's where you come in. You and your friend are not leaving here, until you make my hat. Until you get it to work.Emma: And then what?Jefferson: Then I go home.-[Fairy TaleWorld]-(In Wonderland, Jefferson and the Evil Queen come to a hedge maze.)Jefferson: You want to go in there?Evil Queen: What I want is a short walk through.Jefferson: A short walk? You know who this belongsto.Evil Queen: The Queen of Hearts. She's not one for subtlety.Jefferson: This wasn't part of our deal. You know what she does to anyone that crosses her.Evil Queen: Indeed. Better than most. You can't leaveWonderland without me. Two go through, two go back. You're not going to let the Queen of Hearts keep you from returning to your daughter, are you?(Jefferson says nothing and begins to follow her.)Evil Queen: That'swhat I thought.Jefferson: Wait.(He picks up a branch from the ground and throws it towards one of the walls. The hedge grabs the branch and pulls it into the wall.)Jefferson: Stay away from the walls.Evil Queen: I'vegot a better idea. The walls should stay away from me.(The Evil Queen magically creates a fireball, and blasts a path through the maze. The two of them proceed until they reach they reach a vault containing a wall ofhearts like the Evil Queen's. She pulls a drawer open and takes out the box.)Jefferson: Okay? You got what you need. Shall we?(The two of them go to leave, but are suddenly ambushed by several of the Queen ofHearts' guards.)Guard: Trespassers! Halt!(Jefferson and the Evil Queen begin to run through the hedge maze. The guards follow and try to stop them, but are thwarted by the Evil Queen's magic. They run back to theburned path, where the Evil Queen magically causes the hedges to reform. They end up back at the mirrored door they entered through.)Jefferson: The Looking Glass! There it is!(Jefferson sees that the Evil Queen hasstopped.)Jefferson: C- What are you doing? We can't stop now. We got to get out of here.Evil Queen: There's something I need to do first.(She breaks off a piece of mushroom.)Evil Queen: A little snack.Jefferson: Areyou mad? Do you know what the food here does?Evil Queen: I'm well aware.(The Evil Queen sets the opened box on the ground and places the piece of mushroom inside. Purple smoke emerges from the box andmaterializes into Henry I.)Evil Queen: Oh, daddy!Jefferson: This is what she took from you? Your father?Evil Queen: The Queen of Hearts has always seen me as a threat. So, she wanted some leverage. I got itback.Henry I: The Queen's soldiers - we must hurry.Jefferson: You knew only two can go through the hat... Which is why you didn't tell me about your father.Evil Queen: It was the only way to make sure you'd helpme.(Jefferson tries to chase after them, but his feet are swallowed by the ground.)Jefferson: Wait! Wait! Wait, please. My daughter... My Grace... She's... She's waiting for me. I promised her I'd... I'd be home fortea.Evil Queen: A promise which you now have broken. If you truly cared for your daughter, you never would've left her in the first place. You were right, Jefferson. You don't abandon family.(The Evil Queen and herfather go through the mirrored door.)Jefferson: No! No...(The Queen of Hearts' men finally catch up to Jefferson. Two of the guards drag him away.)Knave of Hearts: Take him to the Queen.[SCENE_BREAK](The guardsbring Jefferson before the Queen of Hearts and several other citizens of Wonderland. Her face is covered by a veil and uses a tube to speak through.)Knave of Hearts: Her Majesty says she knows you're responsible forhelping to steal from her.Jefferson: The Queen, she tricked me-Knave of Hearts: That woman's name is Regina. There is only one Queen - the Queen of Hearts.Jefferson: Yes, of course. My apologies. Now,please...Knave of Hearts: Her Majesty wishes to know how you got to this world. How did you come to Wonderland?Jefferson: If I tell you, will you let me go home to my daughter?Queen of Hearts: Off with hishead.(One of the guards decapitates Jefferson with an axe. However, he does not die. Another guard holds up his head.)Jefferson: I'm alive? I'm alive!Knave of Hearts: If you wish your body back, then answer. How didyou get here?Jefferson: The... The... The hat. My hat. We used my hat.Knave of Hearts: Where's the hat now?Jefferson: She took it - Regina.Knave of Hearts: If all you require to travel to your homeland is this magichat, then surely, you could make another.Jefferson: I can't. A hat without magic is just a hat. It won't work.Knave of Hearts: Then, there's your task. Get it to work.-[Real World]-(Emma and Jefferson are still in thesewing room. Emma has made a top hat.)Emma: I can't make it work. What you're asking me is impossible.Jefferson: No! It has to be. If it's not, I'm never going home. I'll be cursed to live in this house forever.Emma:What is so cursed about your life? Look at this place. It's beautiful. It doesn't seem cursed to me.Jefferson: It's cursed because, like everyone else here, what I love has been ripped from me. Take a look.(He gesturesfor Emma to look through a telescope. She sees a little girl and her family eating dinner at home.)Jefferson: Her name is Grace. Here, it's Paige. But it's Grace. My Grace. Do you have any idea what it's like to watch herday in and day out, happy, with a new family? With a new father?Emma: You think she's your daughter?Jefferson: I don't think - I know. I remember. She has no idea who I am. Our life together, where we come from.I do. That's my curse.Emma: To remember.Jefferson: What good is this house, these things, if I can't share them with her?Emma: If you really think she's your daughter, why don't you reach out to her? Why don't youtell her?Jefferson: And destroy her reality? I'm trapped by knowledge. How cruel do you think I am? You think I'd inflict that awareness on my daughter? It's hard enough to live in a land where you don't belong. Butknowing it, holding conflicting realities in your head...will drive you mad.Emma: That's why you want me to make the hat work, isn't it? You just want to take Grace home - to your world.Jefferson: It's the one world"}
+{"doc_id":"doc_185","qid":"","text":"SCENE: Neverland. Present. Felix escorts the prisoner (Neal) through the jungle.[SCENE_BREAK]Felix: Feels like just yesterday I welcomed you to Neverland the first time, Baelfire. Gotta say, hoped I'd never see youagain.Neal: Then maybe Pan shouldn't have taken my son.Felix: Maybe you should've left well enough alone.Neal: I'm gonna get him back.Felix: You really believe that? You were a lost boy. You know Peter Pan's notbe to trifled with. You know how long he's been searching for the heart of the truest believer. Do you really believe he'll just... give him up?Neal: Maybe, if I ask nicely.(Chuckles)Felix: You may have grown up, Baelfire,but it would appear you have grown up stupid.Neal: I have grown up. I don't know if I'm stupid or not, but I do know I know how to tie an overhand knot.Felix: Uhh!(Panting)Neal: I'm not a boy anymore, Felix. I sureas hell ain't lost.[SCENE_BREAK]SCENE: The Enchanted Forest. Before the first curse. Rumplestiltskin's hovel.[SCENE_BREAK]Rumplestiltskin: Bae. A present. Something to sharpen your coal with.Bae: Where did youget it?Rumplestiltskin: Oh, from a man who no longer needed it.Bae: You mean taken from a man who couldn't pay you.Rumplestiltskin: Bae...Bae: Papa, I told you, I don't want any more gifts from the people youterrorize.(Thud)Rumplestiltskin: Then what do you want? Tell me, son. What would make you happy?Bae: Leaving this place. I'm tired of staying in this hovel all the time.Rumplestiltskin: Well, that's easy to fix. Howabout a castle, huh? I could build you a palace so magnificent its shadow would blanket the countryside.Bae: That's not what I mean. I wanna go out, have friends, see the world beyond these four walls. Papa, whycan't you just trust me to do that?Rumplestiltskin: I do trust you, Bae. It's... It's others that I can't. You see, I have many enemies beyond that door. And once you leave, any one of them could hurt you.Bae: You surethat's the only reason? Maybe what you're really worried about is if I leave, I might never come back.Rumplestiltskin: No, no. I... I... I'm worried about your safety. This is the best place for you. I don't know what I'ddo if I ever lost you.[SCENE_BREAK]SCENE: Neverland. Present. Rumplestiltskin puts on war paint.[SCENE_BREAK](Scraping)(Fire crackling)Belle: You always felt more comfortable behind a mask.Mr. Gold: You werethe only one who could ever see past it, past the mask of the monster.Belle: Then why put it back on now?Mr. Gold: I need the monster, Belle. It's the only way I can save him. And that's what I've decided. I'm gonnasave Henry.Belle: The prophecy states that Henry will be your undoing. To save him, you ensure your own death.Mr. Gold: You don't think I can do it?Belle: I think your intentions are good. But a lifetime of cravenself-interest is a nasty habit that you've never been able to break.Mr. Gold: Things are different now.Belle: How? What... what's different?Mr. Gold: Because I have nothing to live for.Belle: What about me?Mr. Gold:You're not real. Just a vision.Belle: But I'm... I'm back in Storybrooke, waiting for you.Mr. Gold: You shouldn't be. When I said good-bye to you, Belle, we both know it was for good.Belle: Well, maybe I think you'll comeback.Mr. Gold: Even if I did, eventually you'd leave me because you can see me for what I really am. You think you see a good man, but in time, you'd see the monster. My son is dead. The only way I can redeemmyself is by saving his son and giving my life.[SCENE_BREAK]SCENE: Neverland. Present.[SCENE_BREAK]Emma: This is where they're keeping Henry. Pan's compound. According to, uh...Tinkerbelle: TinkerBell.Emma: Yes, I know. Still weird to say.Tinkerbelle: \"Tink\" is fine.Emma: Not sure that's any better. Anyway, she says that there are sentries positioned across the front, which is why we are gonna come in throughthe back entrance here. She's gonna talk her way in. Once she makes sure the coast is clear, then we are going to sneak on in.Tinkerbelle: You'll still have to deal with any lost boys once you're inside.Regina: I think wecan handle a few children with pointy sticks.Tinkerbelle: It's not the sticks you need to worry about. It's the poison they're dipped in.Mary Margret: Dreamshade. Hook warned us.Tinkerbelle: Good. Because one nick,and you'll spend the last of...David: Poison sticks equal death. We got it. Now when can we put this rescue mission into action?Tinkerbelle: I'm ready to go, just as you tell me the exit plan. You do have an escape plan,don't you?Emma: It's... it's more of a last-minute trip.Tinkerbelle: If you don't have a way off this island, then none of this matters.Regina: We'll figure it out.Tinkerbelle: You'll figure it out? No one comes and goes fromthis place unless he allows it. This is a waste of time.David: Hey, when it comes to family, we always find a way.Tinkerbelle: You don't get it. Here. Let me show you something. You know what this is?Emma: Yeah, awatch.Tinkerbelle: I got it from the people who brought your son here for Pan.Emma: Greg and Tamara? Where are they? Why'd they give you that?Tinkerbelle: I got it off the girl's body. Spent half the night cleaningthe blood off it. And the other guy... Well, there wasn't enough left of him to find anything useful. This is what Pan does to people he employs. What do you think he's gonna do to you? I'm not sticking my neck on Pan'schopping block without a way off this island. When you figure that out, you know where I live.Mary Margret: Where the hell is she going?David: I'll get her, bring her back.Emma: Don't. She's right. If there's one thingI've learned, you never break in somewhere unless you know the way out.Regina: And where'd you get that, in bail bondsperson school?Emma: Neal taught me that.David: What about you, Hook? You got off this islandbefore.Hook: Yes, aboard my ship, which would require some form of magic to create a portal, which... I got from Pan in a deal I don't think he's ready to repeat.Regina: So no one's ever left the island without Pan'spermission.Hook: One man. Her partner in crime Neal.Emma: How?Hook: Maybe we can find out.[SCENE_BREAK]SCENE: Neverland. Present.[SCENE_BREAK](Lost boys speaking indistinctly in distance)(Foliagerustles)Lost Boy: Stop by order of Pan!(Whoosh)(Grunts and groans)Mr. Gold: I don't take orders.(Rustling)(Grunts)(Whispers)Mr. Gold: Bae?[SCENE_BREAK]SCENE: Neverland. Present.[SCENE_BREAK]Mr. Gold:You're not real. You're dead.Neal: What? Of course I'm real. What the hell's going on?!Mr. Gold: You're a vision, just like Belle.Neal: No. No, hey. Listen to me. It's me. I was shot. Okay? But I survived. See? I'malive.Mr. Gold: My son is dead! You're just here to remind me of my failure!Neal: That's not why I'm here.Mr. Gold: My weakness.Neal: Put the spear down.Mr. Gold: You're here to question my resolve. But you won'tsucceed. I will sacrifice my life for Henry. And nothing will stand in my way!Neal: (Whispers) Please, papa.(Gasps)(Whispering)Mr. Gold: Bae? Is that really you?(Whispers)Neal: Yeah.(Spear thuds)Mr. Gold: I thoughtI'd lost you forever.[SCENE_BREAK]SCENE: The Enchanted Forest. Before the first curse. Rumplestiltskin's hovel.[SCENE_BREAK]Rumplestiltskin: I was thinking... Only a king should live in a castle. So why don't youtry this on for size? Bae?[SCENE_BREAK]SCENE: The Enchanted Forest. Before the first curse. The village of Hamelin.[SCENE_BREAK]Man: All right, now listen. We'll start organizing search parties rightaway.Rumplestiltskin: You think you can hide him from me?(Woman gasps)Rumplestiltskin: Where is he? Where's my son?!(Murmuring)Man: He's not here, Dark One. I swear!Rumplestiltskin: Don't lie to me! Magic hasled me to this rathole of a town! His trail ends here, in Hamelin. I know you're hiding him from me.Man: No. No, we're not. Many of our children went missing last night, lured from their beds by some unholymusic.Rumplestiltskin: What kind of music?Man: From the Piper. Only the children could hear it. Some of them tried telling their parents, but no one believed them. They were sent back to bed. And this morning, theywere gone.Rumplestiltskin: And who was playing it?Man: No one saw his face. O... only a figure hidden by a pied cloak of multicolor patches, leading the children from their homes and into the forest. Don't you see? It...It has to be the same man that has taken your son.Rumplestiltskin: Then whoever this Pied Piper is, he's about to play his late note.[SCENE_BREAK]SCENE: Neverland. Present.[SCENE_BREAK]Mr. Gold: How is itpossible?Neal: It's kind of a long story. Let's just say that the debt Robin Hood owes you has been paid.Mr. Gold: You were back in our land?Neal: Yeah, but I made it here. The only thing that matters now is that I helpEmma save Henry. Where is she?Mr. Gold: I left her and the rest of them aboard Hook's ship. As noble as their intentions may be, they don't have the stomach to do what needs to be done.Neal: Like what you did tothese boys? They're not, uh...Mr. Gold: No, they're just sleeping. For now.Neal: Let's leave it that way, okay?Mr. Gold: You don't have the stomach either.Neal: I'll do what needs to be done. But killing lost boys? Wedon't have to do that.Mr. Gold: We shall see.Neal: So I take it you have a plan? The whole \"sacrifice your life\" thing was just you being dramatic.Mr. Gold: Well, it's the only way. Pan's too powerful. You can only beathim if you're willing to die, which I am.Neal: What if I told you there was another way?[SCENE_BREAK]SCENE: Neverland. Present.[SCENE_BREAK]Mr. Gold: So what exactly is your plan?Neal: You know how if you holda shell up to your ear you can hear the ocean? Certain shells, the ocean can hear you.(Plays conch)Mr. Gold: Why would we need the ocean to hear us?(Note continues)Mr. Gold: What have you done?Neal: Give me thespear.(Squid growling)(Grunts)(Squish)(Roars)(Both grunting)Mr. Gold: A squid?Neal: That's right. I believe you know how to extract ink from one of these bad boys.Mr. Gold: Squid ink. So this is your plan?Neal: It canimmobilize the most magical of creatures. At least for a little while...(Water lapping)Neal: Even Pan.Mr. Gold: I have some experience with it.Neal: Can you get it out?Mr. Gold: Indeed. But how do you plan on gettingclose enough to use it?(Sighs)Neal: I don't need to get close. All I need is one clean shot to get Henry back.Mr. Gold: Well, leave that to me.[SCENE_BREAK]SCENE: Neverland. Present.[SCENE_BREAK]Regina: What isthis supposed to be?Emma: So... what, Neal swung out of Neverland on a vine?Hook: Well, if someone would be kind enough to lend me a hand... What do you say, savior?David: I'll do it.(Lowered voice)Hook: Youdon't look so hot, mate.(Lowered voice)David: It's a hundred degrees in this damn jungle. And I'm plenty hot.(Stone scraping)Hook: Ladies first.David: How much longer do you think you can keep up this charade?Don't you think your family deserves to know you're gonna die?David: What do you care?Hook: Why don't you?David: What is the good in telling them when there is nothing I can do to stop the poison, when there is nohope?Hook: Well, if there's one thing I've gleaned from you hero types, it's that there's always hope.David: Is there something you're not telling me, mate?Hook: Alas, hope and reality are most often worlds apart. Itold you the truth. You'll never make it off this island alive.David: Well... Then this is between us. The only thing they need to worry about saving is Henry.Emma: Hook! What is this place? What are we doinghere?Emma: Neal. This is where he lived.Hook: Aye.(Sets down flint)Hook: Baelfire spent some time in Neverland as a boy. This was his home.Snow: So you think he may have left a clue as to how he escaped fromhere?Hook: Well, let's hope so, or we'll be lost just like he was.[SCENE_BREAK]SCENE: The Enchanted Forest. Before the first curse.[SCENE_BREAK](Pipe in distance playing melody)(Pipe continues playing)(Boyswhooping and laughing, drums playing tribal beat)(Whooping and music continue)Rumplestiltskin: Bae!(Whooping continues)(Pipe playing)(Whooping and music continue)Rumplestiltskin:Bae![SCENE_BREAK](Whoosh)Rumplestiltskin: Where is my son, Piper?Pan: Is that what they're calling me? We both know who I really am. Been a long time, laddie. Glad you could make theshow.[SCENE_BREAK]SCENE: The Enchanted Forest. Before the first curse.[SCENE_BREAK]Pan: You surprised to see me, Rumple? I don't blame you. I'm a little surprised myself. Look who's all grown up and becomeThe Dark One! Good for you.Rumplestiltskin: What are you doing here?Pan: It's lonely in Neverland. The only friends I have are the children who visit in their dreams. But they can't stay. The boys I take back with mewill.Rumplestiltskin: You're here for my son.Pan: I am.Rumplestiltskin: It's gonna take a lot more than a magic pipe to take my son.Pan: The only thing magic about this pipe is that only certain boys can hear it... boyswho feel unloved, boys who feel lost. I guess that's why you can hear it, Rumple. Isn't it?Rumplestiltskin: Don't pretend to know me. You don't. Not anymore.Pan: Oh, I think I do. Beneath all that power, you're nothingmore than an unloved, lonely, lost boy. Hey, I like the sound of that. That's what I'll call my new group of friends. The lost boys. It has a nice ring, don't you think?Rumplestiltskin: You can call them whatever you like.Baelfire will not be part of it.Pan: Oh, he's already a part of it. The question is, what are you willing to do to get him back?Rumplestiltskin: I'm gonna make you regret ever asking that question.Pan: Oh, I understandyou're upset. Most parents' worst fear is that their child will be taken away from them. But that's not yours, is it, Rumple? No. You're not afraid Baelfire will be taken from you. You're afraid he'll leave. After all, beingabandoned is what you're good at, isn't it? Everyone you've ever known has left, haven't they? Like Bae's mother Milah. Not to mention your own father. Why should Baelfire be any different?Rumplestiltskin: You'rewrong.Pan: Am I? Well, let's find out, shall we? You ask Baelfire if he wants to come to Neverland with me or stay here with you. If he wants to stay, I'll leave and never return. Deal?Rumplestiltskin: I don't have tomake any deals with you.Pan: But why wouldn't you, if you're so sure he'll stay?[SCENE_BREAK]SCENE: Neverland. Present.[SCENE_BREAK](Lost boys whooping, drums playing tribal beat)Pan: You don't want to join inthe celebration, Henry?Henry: Nothing to celebrate.Pan: Nothing to celebrate?(Chuckles)Pan: Henry, this whole party is to celebrate you.Henry: Me? Why?Pan: Because you've come to save magic, of course. And I, forone, can't think of a reason more deserving of celebration than that. Just look at them.Henry: I'm not like them. Or you.Pan: Sure you are. You're still a boy. Maybe a song will get you on your feet.(Blows air)Henry:Sorry. I... I don't hear anything.Pan: Interesting. You see, this pipe's enchanted, Henry. It can only be heard by certain children.Henry: Like who?Pan: You'll find out soon enough, I promise.Pan: What? I know thatlook. What happened?Felix: Baelfire. I'm afraid he got away.Pan: Well, then why didn't you get him back?Felix: I tried. I followed his trail and found two of our sentries knocked out... By a sleeping spell.Pan: The DarkOne. So father and son have been reunited.Felix: They'll be coming for the boy. We should move him somewhere safe.Pan: Now, now, Felix. Where's your sense of adventure? We can't end the party when the real funis about to begin.[SCENE_BREAK]SCENE: Neverland. Present.[SCENE_BREAK]Hook: Anything important?Emma: I can't tell yet. I didn't know he liked drawing.Hook: He got it from his mother.Emma: I'm hoping Nealleft something useful in the details of one of these. Maybe a map? Some kind of clue. Hand me that candle. What about you? Any luck?Hook: No potted bean plant or swirling vortex under the rug, if that's what youmean. There may be no rug at all. There are other drawings on the far wall, but as far as I can tell, that's all they are. Probably just a way to pass the time and keep occupied.Emma: You knew him pretty well, didn'tyou?Hook: We spent some time together. You all right there, Swan?Emma: I'm fine. Looks like you're right. They're just a bunch of pictures. What's all this?Mary Margret: Uh, just some cups and bowls he fashionedfrom things he found here.David: Don't know how great a cup this coconut could make. It's filled with holes.Mary Margret: Uh, maybe it's a tiny colander.Regina: Yes, because preteen Baelfire probably made lots ofpasta.Emma: Hold on. Hook, snuff out that torch.Regina: Am I supposed to be impressed that he made a night-light?Emma: Look up.Mary Margret: Stars.Hook: It's a map.David: To where?Emma:Home.[SCENE_BREAK]SCENE: Neverland. Present. Pan's camp.[SCENE_BREAK](Lost boys yipping and grunting)(Wind blowing)Pan: We have a guest! No doubt someone who knows how much I like guessing games.Who could it be? I guess...(Fire whooshes)Pan: The Dark One. Come to save Henry, have you, laddie?(Whispers)Pan: How exciting. The Dark One ready to sacrifice his life for his family. Speaking of family...(Firewhooshes)Pan: You can come out now, Baelfire.Neal: Name's Neal now.Pan: New name, but the same old tricks. It's heartwarming to see father and son working together, especially after you abandoned him, Rumple.This is a real family reunion.Mr. Gold: What are you waiting for?Neal: I got this.(Whoosh)(Panting)Pan: Clever. But we've been through this before, Baelfire. Have you remembered nothing?Neal: I rememberplenty.(Arrow clatters)Neal: That's why I didn't coat the tip.(Whooshing)Mr. Gold: Grab Henry.Pan: Well, how about that? I'm impressed. But are you sure you're really saving him, Bae?Neal: What could be worse thanleaving him here with you?Pan: Why don't you ask your father? Sometimes the people we should fear the most are the ones closest to us.Neal: W... what's he talking about?Mr. Gold: Don't listen to him.Pan: You meanyou haven't told him?Neal: Told me what?Pan: Why, about the prophecy, of course.Neal: What prophecy? What's he mean?Pan: The prophecy that says you've been tricked. Your father isn't here to rescue your son.He's here to murder him.[SCENE_BREAK]SCENE: Neverland. Present.[SCENE_BREAK]Neal: What the hell was he talking about?Mr. Gold: Oh, don't mind him.Neal: He said you were gonna murder Henry!Mr. Gold: Heplays games. Mind games. The important thing is we got the boy and we got away.Neal: Where are we?Mr. Gold: The other side of the island. We're safe here for the time being.Neal: Hey. Hey, Henry. It's me. Hey, it'syour dad.Mr. Gold: No, he... he can't hear you.Neal: Then wake him up.Mr. Gold: Pulling him out of the spell could be dangerous. He'll wake naturally in a few hours. He'll be fine.Neal: All right. Then you can explain tome what the hell Pan meant. This prophecy that he's talking about, why would he say that you'd kill Henry?Mr. Gold: Oh, I don't know, to create a wedge between us.Neal: That's not a denial.(Sighs)Neal: No, this hasto do with what happened when I found you. You thought I was a hallucination. You said that you had to do the right thing and save Henry! What did that really mean?Mr. Gold: Baelfire...Neal: it's Neal! Now stopdodging and tell me what's going on!Mr. Gold: There was a seer, and she told me of a prophecy... that boy would help reunite me with you. And that boy... Would be my undoing.Neal: Henry.Mr. Gold: I didn't know itwas gonna be my own grandson, till I found you in New York and discovered you were his father.Neal: You were planning on getting rid of him, whoever he was, weren't you? To try and cheat fate? To get around theprophecy? You cold-blooded son of a bitch. You were gonna kill him.Mr. Gold: Yes.Neal: Get back. You stay away from him!Mr. Gold: That was then. Things have changed. I... I didn't come here to Neverland to hurtHenry. I came here to save him.Neal: After what you just told me, I'm supposed to believe you?!Mr. Gold: I won't lie to you, Bae. Self-preservation has been a nasty habit I've had my whole life, but I came here tobreak it, to do the right thing and to save your son. Even if that meant sacrificing my own life.Mr. Gold: (Whispers) You have to trust me.Neal: (Whispers) How can I?[SCENE_BREAK]SCENE: The Enchanted Forest.Before the first curse.[SCENE_BREAK](Drums playing)(Boys whooping)Pan: You don't even recognize him, do you, Rumple?Rumplestiltskin: Well, how could I when he's wearing a mask?Pan: Well, he might be wearinga mask, but that's not the reason. Look at him... Playing with to boys, out in the world. He's happy, Rumple. That's why you don't recognize him.Rumplestiltskin: Bae.(Panting)Rumplestiltskin: Baelfire. Are you allright?Bae: I'm fine. Why are you here?Rumplestiltskin: I know you think I don't care about you, son, but I do. And I'm here to prove it.Bae: How?Pan: Go ahead, Rumple.Bae: Papa! What are you"}
+{"doc_id":"doc_186","qid":"","text":"Act One.Scene One - Apartment Martin is sat in his Armchair reading the paper, Daphne is sat at the table writing a letter. Daphne notices something.Daphne: Oh dear, your chair's got another big rip in thebottom.Martin: [looks] Where? [spots it] Oh! Hand me my re-upholstery kit, would you? [She slings him a large roll of duct tape] Thanks.He kneels down to patch the rip. Frasier comes out of the hall dressed in his bestsuit.Daphne: Oh, Dr. Crane, don't you look smart.Frasier: Well, I don't feel smart. I let Roz set me up another one of her blind dates.Daphne: Who's the lucky woman?Frasier: Oh, a friend from her aerobics class. Oh,perhaps it won't be so bad. She's thirty-two, has a terrific body, and apparently thinks I'm God's gift to broadcasting.Martin: Well, at least you have one thing in common.Frasier grimly watches his father repairing hischair.Frasier: Dad, when are you going to stop blighting the environment with this atrocity? [doorbell] My God, can't you see that it wants to die? Let it go!Martin: [sits back down] You know, I keep having this dreamwhere you say the same words. Only I'm in the hospital and you're slipping the nurse a twenty.Frasier: Dad, that will never happen.Martin: Thank you.Frasier: I have medical power of attorney, it won't cost me athing.He answers the door to Niles and Girl, his Maris-like dog.Niles: Hello, Frasier. We were in the neighborhood for a pedicure and a seaweed wrap and we thought we'd stop by. Of course, the pedicure wasfor...Martin: Stop right there! There's no way to finish that sentence that'll make me proud.Niles: I have some wonderful news. I just signed a lease for an apartment in one of the most exclusive buildings inSeattle.Frasier: You don't mean?Niles: I do. As of next week, I'll be a resident of... [holds out his lease] the Montana.Frasier: Niles, why would you want to live in such a stodgy building? When I applied there theytreated me as if I was riff-raff.Niles: Well, if you're going to answer your own questions, what do you need me for? The best part is, I'll never have to give my address again. From now on, I'll simply be, \"Dr. Niles Crane,The Montana.\"Daphne: That's a lovely building. I've only been there once, applying for a job.Niles: I can't imagine anyone turning down a chance to hire you.Daphne: I hope you're right, I haven't heard yet. Well,goodnight!She leaves to her bedroom. The three Crane men look unsettled.Martin: Hey, Frasier, you don't...Frasier: Oh, just relax, dad. It's just her way of angling for more vacation time.Martin: What if sheisn't?Frasier: Well, they'd still have to call me for a reference. Either way, she's not going anywhere.Niles looks suddenly at Girl, who is not moving.Niles: Gosh, that's uncanny, dad.Martin: What is?Niles: The way she'staken with you. She's absolutely mesmerized.Martin: She is not.Niles: Oh, she is. She's just playing hard to get. [pushes Girl toward Martin] Go to Grampa. Isn't she warm and cuddly? [Martin reluctantly takes her onhis lap] Oh, I see I'm going to have a tough time tearing you two apart!Frasier: You know, I'm going to go out on a limb here. The Montana doesn't accept pets, does it?Niles: On the contrary, they welcome them. Justnot cats or dogs.Martin: Well, then you're in luck, because I don't know what the hell this thing is!Frasier: There is no way that dog is moving in here with us!Niles: Oh please, at least if she's here I'll be able to comeand visit her. I cannot turn her over to strangers. [whispering confidentially] She worships me.Frasier: Oh pul-eeze, you must realise that dog has no genuine affection for you. [Niles looks confused] You only pretendthat she does because she's a canine substitute for Maris!Niles: That is the most absurd psychobabble I have ever heard.Frasier: She is highly strung, cold to the touch and ignores you. My God, stand her upright, taketen pounds off her, put her in a Chanel suit, whatcha got?Niles: I'm sorry, that's ridiculous.Frasier: Oh, is it really? Do you remember that little pilbox hat that Maris wore to the the Duchamps' wedding?Niles:Absolutely.Frasier takes a small dip bowl and puts it at a cocked angle on Girl's head. As Martin nods in agreement, Niles staggers backward against the couch.[SCENE_BREAK]JUST CALL ME STINKYScene Two - KACL.The next day, Frasier enters his booth. Roz is waiting with a clipboard.Roz: Hi, Frasier. So how did it go with Rita last night?Frasier: She didn't quite take to me.Roz: Oh, you're just being hard on yourself like you alwaysare.Frasier: You tell me. Over appetizers, she suddenly remembered that she had a very early morning meeting, so she suggested we skip the jazz club after dinner.Roz: People have meetings.Frasier: Mmm-hmm.When the waiter suggested a soufflé for desert that would take an extra thirty minutes she said, \"Oh Dear God, no!\"Roz: She was probably on a diet.Frasier: After I dropped her off at home, I noticed she had left hersuede jacked in my car. I called to offer to swing it by and she said, and I quote, \"Just keep it.\"Roz: What did you do to her?Frasier: Nothing! God Roz, I have had it. In the past six months I have done everything a mancan possibly do to meet a woman. Singles bars, blind dates, lecture series at the museum. I've even spent hours in the grocery store trying to look helpless in the produce department! That's it. I'm taking myself off themarket. Frasier Crane has thumped his last melon.Roz: You know, Frasier...Frasier: Roz, Roz, please. I know what you're going to say. I should climb back on that horse, I'm too great a catch to give up now.Roz: No, Ithink you should give up.Frasier: [startled:] What? I don't really want to give up. I don't really want to give up, I was just saying that to get your sympathy.Roz: It happens sometimes. When you get into a really badstreak, you start to get desperate. Women can smell it.Frasier: Smell it?Roz: Mmm-hmm. As soon as the man begins to get overeager - you know, like complimenting you too much, or laughing too hard at all yourjokes - you just want to turn and run!Frasier: I don't do that!Roz: Oh honey, wake up and smell... well yourself! You just have to air it out a little bit. And in my experience, the minute you stop looking, the perfectperson falls right in your lap.Frasier: Well Roz, as much as I appreciate you comparing me to a dead squirrel in a heating duct, I think you're wrong.Christine, an employee, enters with some files.Christine: Hey,Roz.Roz: Hey.Christine: I got those pictures you were looking for. Hey, Dr. Crane.Frasier: Hey, you look really lovely today, Christine. It is Christine, isn't it?Christine: That's what it says on my driver's license.Frasier:[laughs hard] Very charming. [Roz and Christine leave] Oh God, I reek, don't I?[SCENE_BREAK]Scene Three - The Montana Niles is completing the tour of his new, stylish apartment with Daphne and Martin. The decorand furniture are as expensive and classy as Frasier's, but the style is a little older. They end up on the small balcony overlooking the main room.Niles: ...inlay of Philippine mahogany. And we conclude our little tourback here in the living room.Daphne: It's very posh. [doorbell]Martin: Niles, why a bed in the living room?Niles: That's not a bed, dad. It's an antique fainting couch.Daphne: My goodness, they had furniture foreverything back then, didn't they!Niles answers the door to Frasier.Niles: Ah, I'm glad you made it.Frasier: You know, Niles, this precious little building of yours isn't as exclusive as you think. Your doorman waved meright through.Niles: Oh, that's because he knows you.Frasier: Oh, fan of my show?Niles: No, he lives in your building.Martin: So Niles, what did you do about the dog?Niles: Oh, I found a wonderful family to adopther.Daphne: Well, I'm sure it won't take you long to adjust to being alone again.Niles: Well, actually I won't have to. Follow me, there's someone I'd like you to meet. It was love at first sight! She's very exotic, onlyeats every other day, and she's so white she's almost blue! [exits to the kitchen]Martin: Wow, I'm getting nervous. That's what he said just before he introduced us to Maris!The gang enter Niles's kitchen, where acockatoo is perched on his shoulder.Niles: Everybody, meet Baby.Baby: I love you.Frasier: You bought a bird?Niles: Well, I started to think how quiet it would be around here, and she is lovely and she is soaffectionate.Baby: I love you.Niles: Ah! She says that all the time. I love you too, baby.Baby: I love you, grandma.Niles: She's still in transition from her last owner.The door buzzer sounds, causing Baby to squawk anddig her claws into Niles's shoulder.Niles: Ow, ow! Let go of my shoulder! You don't like that noise, do you, baby? Go to your food. [she does] Oh, good girl. Excuse me.He leaves the kitchen to answer the door.Daphne:Oh you know, I've always been fascinated by these birds that can actually learn how to talk.Martin: [walks to Baby] Aw, they can't talk. They just a drill a few words into them at the pet shop and they never learnanything else after that.Frasier: It is attractive, though.Martin: Yeah well, that's the way they are: Cute but stupid.Baby: Cute but stupid!Martin straightens up, surprised. Baby mimics him. Martin nods his head, Babydoes the same. He starts bobbing up and down...Frasier: You know Daphne, I think we should leave these two alone. I sense a real battle of wits shaping up.Martin carries on. Frasier enters the living room as Nilesshuts the door with mail in hand.Niles: Well, I'm off to an auspicious start in the building. One of my neighbours got my mail by mistake. Look at those bills, what must she think of me?Frasier: But Niles, everyone getsbills.Niles: Not at the Montana. They all have people. Their bills go to their people. I want them to think I have people too. I used to have people... only they were Maris's people.Frasier: Niles, if you keep this up youwon't even have the people who don't care you don't have people.Niles: Well, it just shows how essential it is to make a good impression when moving into a new building, which is why I'm throwing a dinner partyFriday night for a few select residents. I'll show them such a good time there'll be no question that I belong here.Frasier: Am I invited?Niles: Yes you are, but I'm afraid you can't bring a date. You know how I hate acrowded table.Frasier: It's alright. I've taken myself off the dating circuit. I'm afraid I was getting a bit desperate.Niles: Well, I was a bit concerned when you called to ask if Gloria was our first or second cousin.Martinsticks his head out of the kitchen.Martin: Niles, you gotta see this, your bird's eating peanut butter! It's even funnier than when Eddie does it!Niles: Dad!As Niles gets up, the door buzzes again.Niles: Frasier, would youget that? And pretend you're my people.Niles rushes into the kitchen to stop Martin whilst Frasier answers the door to a woman; Stephanie Garret.Stephanie: Oh, I'm sorry, I was looking for Dr. Crane. I found somemore of his mail.Frasier: Well, I'm a Dr. Crane. I'm Niles's brother.Stephanie: Oh my gosh, you're Frasier Crane from the radio, aren't you? Oh, I love your show.Frasier: Thank you.Stephanie: Oh, StephanieGarret.Frasier: [shakes hands] Stephanie.Stephanie: You know, em, you are not going to believe this but when I was a freshman at Harvard, I saw you perform the pirate king in a production of \"Pirates OfPenzance.\"Frasier: Oh my God.Stephanie: No, no, you were great. You were so good, I brought my husband back to see you the next night. Well, he wasn't my husband then. Well, actually he's not my husbandnow.Frasier: Glad to hear that. No, glad to hear you came for a second time, not that you have an ex-husband. You know, I have one too. Not a husband, ex-wife. I mean a woman... is it getting hot in here?Stephanie:Yeah, a bit! [flustered laugh] Well, it was nice to meet you.Frasier: Wait, you know, Niles is having a little party on Friday for some of his enchanting new neighbors. [Niles appears listening in] Is there any chance youcould join us?Stephanie: Yes, I think I could, if Niles has room.Niles: [faked:] The more the merrier!Stephanie: I'll look forward to it. [leaves]Frasier: As will I.She leaves. Frasier closes the door, excited.Frasier: Roz wasright! As soon as I stop looking for the perfect woman, she falls right in my lap!Niles: Well, I hope you'll be comfortable with that arrangement, because that's where she'll be seated Friday night!End Of Act One. (Time:10:20) Act Two.GET A GRIP[SCENE_BREAK]Scene One - The Montana In his apartment, Niles is setting the table with Baby on his shoulder.Niles: Bon Appetite, Bon Appetite. Now, you try it, Baby. Bon Appetite.Baby:Bon Appetite.Niles: What a quick little study you are. Bird-brained indeed! You already know more French than my father.The door buzzer sounds, making Baby dig her claws into him.Niles: Ow! Boy, if you don't getused to that doorbell we're going to have to give you a serious manicure. [sounds again and she digs in] Ow! I'm coming, I'm coming, stop ringing!He opens the door to Frasier.Frasier: Oh, good evening, Niles. Orshould I say, \"avast ye, matey!\"Niles: I don't have time for your badinage, I'm only just putting out my place cards.Frasier: [picks up card] Place cards, how elegant. Who is Peter Soutendeck?Niles: He's on your right.He's an investment banker from Amsterdam, and apparently he handles a lot of Bill Gates's money. So don't say anything derogatory about the Netherlands or Microsoft.Frasier: Oh, damn. There goes my opening jokeabout the Dutchman trying to install Windows '95. [looks] Stephanie's over here, I'm not sitting next to her.Niles: I know, you see, Peter's bringing a date so I thought it would be better... [spots Frasier re-arranging:]What are youdoing?Frasier: Putting Stephanie next to me!Niles: And throwing off my whole seating arrangement?Frasier: Niles, surely you realise I've spent a long time looking for a woman like Stephanie.Niles:Yeah.Frasier: Now, listen. I'm afraid if you want to impress these people you've got to get a little more atmosphere here in the room. You know, I'll light the fire while you dim the lights a bit.Niles: [runs to lights] Oh,that's a good idea. By the way, be careful with that fireplace, it can be a bit...It's too late and Frasier causes the fire to flare up suddenly, causing Baby to jump onto Niles's head and dig her claws in. The flame shrinksimmediately, but Baby stays put.Niles: Holding on a bit tight there, Baby, aren't you? Go to your perch. Go to your perch. [Baby doesn't move] Frasier, this bird's holding onto my scalp. [tries to move her but she won'tbudge] I can't pull it off.Frasier: Niles, after that jaunty beret you wore to brunch last Sunday, you can pull anything off.Niles and Frasier attempt to pull it off. Frasier begins pulling sharply which only causes distress forNiles.Niles: Get the lighter. Put fire near my head. Fire will frighten her off. Try that.Frasier tries this but Baby simply digs in deeper.Frasier: Oh here, the phone.He hands the phone to Niles who holds it next to his headand tries to get the bird to perch on the aerial. Frasier is surprised.Frasier: Niles, call for help!Niles: And who do you suggest we call, a Fez rental? Go on, Baby, go to your perch. [panicking:] Go to your food, go to yourbed!Frasier: Niles, don't panic! Try to stay calm.Niles: How can I stay calm? I have six dinner guests arriving in exactly...The door buzzer sounds making Baby dig in even deeper.Niles: Ah, ow!Frasier: You go call thevet and I'll go and take care of things out here.Niles rushes to the kitchen whilst Frasier answers the door to Stephanie.Frasier: Oh, hello.Stephanie: Hello.Frasier: Please come in.Stephanie: [looking around] I'm notearly, am I?Frasier: No, not at all. May I get you a drink?Stephanie: Ah, yes. White wine, please. [they head to the wine desk where Frasier pours] What a lovely table! [points to dining area]Frasier: Yes, I notice wehappen to be sitting next to one another.Stephanie: Good, now I won't have to change the place cards around.Frasier: Well, [lifts glass] to the girl next door.Stephanie: Well, actually it's a little further down thehall.Frasier: Well, if you need a ride home tonight don't hesitate to ask.The door buzzer sounds creating painful noises from the kitchen.Stephanie: What was that?Frasier: Oh, I'm afraid Niles probably burned himself onsomething. Don't worry, he'll be fine.He answers the door to three more guests, an elderly couple and a younger woman.Frasier: Hello, please do come in. I'm Frasier Crane, Niles's brother.Carol: I'm Carol Larkin, myhusband Alfred, this is our niece, Wella.Frasier: Nice to meet you. Please make yourself comfortable, I'm just going to run into the kitchen and check on the bird.Frasier enters the kitchen where Niles is on the phone tothe vet. Imagine the sight.Niles: [on phone:] Uh-huh, uh-huh, so you've seen this thing before. I see. Alright, well, thank you.Frasier: What did he say?Niles: Well, he thinks she was traumatized by the fire and she hada shock. He said we shouldn't try to force her off, we need to relax her.Frasier: Fine, you take care of that, I've got the future Mrs. Crane out there in the other room.Niles: Well, wait, wait, wait, wait, how am Isupposed to relax this bird?Frasier: I don't know. Oh, try delivering that keynote you gave at the psychiatric association last spring.Frasier enters the room again where all are sitting.Frasier: Everything alright outhere?Alfred: Will Dr. Crane be joining us soon?Frasier: Oh yes, I believe so, any minute now.The doorbell sounds again, which causes more audible distress for Niles.Carol: Oh dear, something wrong?Frasier: I keeptelling him, get yourself a decent oven mitt, but you know...He answers the door to Peter and Elaine.Frasier: Hello, please come in. I'm Frasier, Niles's brother.Peter: Peter Soutendeck, nice to meet you. This is ElanieHensley.Elaine: Actually your brother and I are well acquainted. Maris is a dear, dear friend of mine.Frasier: Really?Elaine: Yes, [looks] so where is he?Frasier: He's in the kitchen, savoring for you tonight a lovelypheasant.We hear bird squawks from the kitchen.Frasier: As you know, he's a stickler for freshness!Frasier runs to the kitchen where Niles is standing with Baby still on his head, but with a towel over her. Try andimagine the sight.Frasier: Oh, what now?Niles: I'm trying to pretend like it's night so it'll fall asleep.Frasier: Well, you look very cute.Baby: Cute but stupid!Frasier: Listen Niles, I really can't stall them any longer,they're starting to ask questions. The Dutchman's date even knows Maris.Niles: What? What's her name?Frasier: Elaine somebody.Niles: Which Elaine? Maris knows three Elaines.Frasier: I don't know, she's very thin,she's exquisitely dressed, and dripping with attitude.Niles: Oh, like that narrows it down!Frasier and Niles pop their head round the door spying on Elaine taking a sip from her drink. They go back to the kitchen.Niles:Damn! I was afraid of that, it's the bad Elaine, Maris's oldest friend. Nothing would delight her more than to report back to Maris that I threw a soiree with a cockatoo on my head!Baby: Bon Appetite!The guests in themain room hear Baby's first French word.Elaine: What was that?Frasier: [entering with crab puffs and covering up:] Bon Appetite! Crab puff, anyone? Bon Appetite!Later on, Frasier is acting like host, telling the guests ajoke.Frasier: At which point, the woman said to Churchill, \"Sir, if you were my husband I would put poison in your coffee.\" To which Churchill sorely replied, \"Madame, if you were my wife I'd drink it!\" [laughs on hisown] Perhaps you've heard that story.Alfred: Yes, from Churchill.Frasier: Well, can I freshen anyone's drink?Everybody holds up their empty wine glasses.Frasier: Perhaps I'll just bring the bottle around. As he goes tothe bar, Stephanie comes over to him.Stephanie: I didn't realise that you were going to play host all night. I mean, we've hardly had a chance to talk, and I'm afraid I'm going to have to make it an early night. Yes, I'mleaving to Paris first thing in the morning and I was really hoping that we could spend some time alone.Frasier: And so we shall. As of this moment, it's just the two of us, you'll get my complete attention.. [sees Elainewalking to kitchen and he runs to block her] ...just after this. Oh Elaine, would you like a fill up?Elaine: Well actually I was seeing what Niles is up to in there, perhaps I can be of some help.Frasier: Well, you know youcould pour the wine...Niles pulls Frasier into the kitchen, he still has the towel over his head.Frasier: You are totally ruining my chances with Stephanie!Niles: [sarcastic:] Yes, that was my first concern too. Toss.[Frasier begins tossing salad] You can't abandon me just because you're hoping she is just as horny as you are.Frasier: The first thing you've got to do is go to the vet and have that thing removed!Niles: Oh, are youmad? I can't walk through there with this thing on my head, I'd be the laughingstock of the Montana.Frasier: You can't spend the night in the kitchen!Niles: Frasier, these people live for gossip. I've only been here threedays and I already know that Peter's a letch and Carol's a lush. What do think they'd say about me?Frasier: You know, I've spent the last forty-five minutes with these people. I think they are kind and understanding, I"}
+{"doc_id":"doc_187","qid":"","text":"\"The Pain in the Heart\"[SCENE_BREAK](Open: Flash back to final scene of previous episode \"The Wannabe in the Weeds\". Booth has just been shot by Pam Nunan and Brennan is leaning over him telling him he's goingto be fine - as if she's reliving the moment.)BRENNAN: Booth, you're gonna be fine. Really. Come on. Come on, Booth. It's gonna be fine. Come on, Booth. Come on, Booth. No! Oh, come on...(Fade into: Medico LegalLab - Forensic Platform. Brennan and Zack are going over remains from Limbo)BRENNAN: The carbon isotopic composition of the collagen, shows a value of minus 16%.ZACK: Supporting the theory that the deceasedwas born in Provence, France.(Hodgins, Angela, Cam and Sweets join them on the platform, all dressed in dark colors)BRENNAN: In the 16th century...HODGINS: It's time, Dr. Brennan.BRENNAN: (ignoring Hodgins)The metacarpal phalangeal joints are smooth, showing dexterity. Perhaps a musician..CAM: That's enough. We're going. Now.BRENNAN: I have remains to identify. He could have a family.ANGELA: He's 500 years old.They've probably adjusted by now.BRENNAN: I'm not going. I've already made that clear.SWEETS: It's Agent Booth's funeral, Dr. Brennan. Losing a loved one is -BRENNAN: A partner, Sweets. I lost a partner.SWEETS:Someone close to you. The funeral allows you to grieve so you can come to terms with his death.BRENNAN: The Arunta Aboriginal tribe in Australia grieve by burning down their village and - and moving to a new one.That seems no crazier to me than gathering around a hole in the ground.SWEETS: Being hostile won't -ANGELA: Brennan...a word.SWEETS: Excuse me? Professional psychologist.(Angela pulls Brennan aside and holdsup a finger to Sweets - indicating to give her a minute)ANGELA: Look. I know how you see things, and I respect that, but I need to ask you a favor.(She holds up Booth's funeral card)ANGELA: I have to go to thefuneral. I'm not going to be able to get through this alone. I've been crying for, like, days. I really need your shoulder here. I need my best friend.(Cut to: Arlington National Cemetery. Everyone is gathered around acasket and Caroline is giving the eulogy. It's Booth's funeral.)CAROLINE: I knew Seeley Booth. He was a good man who earned my respect and affection. And I don't like many people. Booth had a selfless commitmentto his work, first in the military and then the FBI. Two weeks ago, he made the ultimate sacrifice - giving his life to save his partner. And in the brave act, he showed us what greatness we are all capable of.BRENNAN:(loudly, to Angela) That woman was aiming at me and I would have happily taken that bullet.ANGELA: I know.CAROLINE: May God's mercy and love shine on Seeley Booth as he takes his place beside theLord.BRENNAN: (loudly, to Angela) If there were a merciful God, why wouldn't he have saved Booth.(Drums start playing as the officers prepare to fire their weapons)OFFICER: Standby.(Camera pans to one of theofficers and it's revealed that it's Booth.)OFFICER: At ease.(A man starts to walk towards the coffin, as the rest of the officers continue to follow commands)OFFICER: Aim.(Booth pushes through Zack and Sweets andpunches the man, knocking him to the ground)ANGELA: What the hell is going on?(The casket is pushed to the ground and it opens up, revealing a dummy body inside.)ZACK: They appear to be fighting.(The man andBooth fight on the ground and Brennan watches. The man punches Booth and Brennan runs over to the casket to grab the dummy's arm and uses it to knock out the man. She immediately starts to move towards Booth- looking extremely angry)BOOTH: Bones! Nice shot. (He notices her anger) What?(Brennan punches Booth in the jaw and then stops off. Booth groans)(Cut to: Medico Legal Lab - Booth and Brennan are walking out ofBrennan's office.)BOOTH: After I got shot, the Bureau faked my death so I could finally get that guy.BRENNAN: I don't care.BOOTH: Look, I drove him underground. He said the only way that we would ever see himagain would be at my funeral, so...BRENNAN: I don't care.HODGINS: Who is he?BOOTH: What part of \"National Security\" don't you understand, Hodgins?HODGINS: \"National Security\": catch-all phrase for \"we can doanything we want\"BRENNAN: I knew I shouldn't have gone to that funeral. It was a complete waste of time, just like I said.BOOTH: Wait a second, you thought that my funeral was a waste of time?CAM: I thought itwas a lovely service, Booth.BOOTH: Thank you. You know, I expected to see more people though.HODGINS: I always imagined a lot of ex-girlfriends crying.BOOTH: Yeah, me too.ANGELA: You guys arepathetic.BRENNAN: Just know I won't be attending your next funeral.BOOTH: Bones, I'm telling you. You were supposed to know that I wasn't really dead. I swear! That's why I thought you weren't crying!CAM:Informed by who, exactly?BOOTH: I gave a list of people to the bureau to inform that I was not really dead. You know what? They didn't tell you, it's not my fault.SWEETS: Dr. Brennan's actually upset because she hadto face strong emotions that she'd rather deny. Striking Agent Booth, indicated the depth of your feelings for him. It was a very passionate act.BOOTH: (to Sweets) Thank you! (to Brennan) Did you hear that?Passion!BRENNAN: Yes, passion, because anger is a passion! Anger at being manipulated!ZACK: Dr. Brennan?BRENNAN: Pretend to be dead-BOOTH: Aw forget it. I'm outta-ZACK: Someone left a package for you.(Hehands her a package wrapped in plain brown paper - with \"Dr. Temperance Brennan\" written on it in marker. She opens it to find a box. Inside that box contains a mandible and 2 silver screws)BOOTH: Oh!BRENNAN:It's a mandible.BOOTH: Look at that, huh. Two silver screws.HODGINS: Silver screws as in...ANGELA: Silver skeleton?HODGINS: As in..CAM: Gormogon?BRENNAN: That's speculation.(She examines the mandiblecloser.)ZACK: Tooth marks.BOOTH: Someone's been snacking on that.CAM: Snacking? As in cannibalism?BRENNAN: Evidence of cannibalism does not necessarily mean-BOOTH: Bones, it's Gormogon. Has to be.CAM:Oh, god. Who has he eaten this time.(Opening Credits)(Cut to: Medico Legal Lab - Platform. The team is gathered around a television watching Sweets on TV)SWEETS: (On TV) This is the fifth known victim in theGormogon murders, all of which have been subjected to ritualized cannibalism.FEMALE REPORTER: He has apprentices?SWEETS: Yes. One at all time to help perform the murders, dispose of the bodies, eradicateevidence. His mission, it seems, is to construct a complete skeleton out of the bones of his victims.CAM: I've seen enough. (She turns off the TV)BRENNAN: (turning to the platform) Booth?BOOTH: Bones, I'm thinkinghere.BRENNAN: Thinking about what exactly?CAM: Well, it's a pickle. The platform's a crime scene but we need to access it to investigate the crime.ANGELA: A \"cake and eat it too\" situation.ZACK: Is it a cake or apickle?HODGINS: It's Schrodinger's Cat.ZACK: That I understand. Cakes and pickles mean nothing to me.BRENNAN: Are you paralyzed by the paradox, Booth?CAM: I'll make this easy. What do you need first?BOOTH:Identity.CAM: Let's go people.(The rush up the stairs, past Booth, and start getting to work on the platform)BOOTH: Whoa. Hey, easy! Alright, you can't...alright. There ya go.(The team huddles around hemandible.)CAM: Okay, the tooth sockets may contain enough tissue to check DNA.BRENNAN: Zack, there are markings on this bone that need to be checked out.ZACK: It appears to have been boiled.HODGINS: I'll seeif I can pull any mineral traces that can help us determine the water he used.(The disperse and go about their tasks)BOOTH: Okay. I, uh, give you all permission to do whatever it is that you squints do. I'll, uh, just...(he brakes the crime scene tape on the stairs and starts backing down) Call me. (to the FBI agents at the bottom of the stairs) Let's go.(Cut to: Booth's Bathroom. Booth is lounging in the tub, sipping beer from his beerhelmet when Brennan barges in.)BRENNAN: I need to talk to you!BOOTH: What the hell, Bones! I'm in my house, in my bathroom, in my bathtub! (Brennan walks over to the record player and turns it off) How the helldid ya get in here anyway?BRENNAN: Well, that fake rock by your front door wouldn't fool anybody. Why are you wearing a hat that dispenses beer?BOOTH: Hot tub, plus cold beer equals warm beer. Hat? Equalssolution. So why are you -BRENNAN: And that cigar? Very unhealthy.BOOTH: Okay, what the hell do ya want now, Bones? Okay? Cause I'm not really feeling too relaxed.BRENNAN: You should have told me that youweren't dead.BOOTH: I already explained this to you. The bureau has to vet everyone when there is a security issue. I was just following protocol.BRENNAN: Protocol!?BOOTH: Yes!BRENNAN: We've been partners forthree years, Booth, and you've broken protocol before - sometimes putting my life in danger. Which makes sense because you clearly don't have any real concern for me.BOOTH: (standing up) I took a bullet foryou!BRENNAN: Once! That only goes so far (realizing that Booth is standing there, naked) Would you like a towel?(He sinks back into the tub)BOOTH: Fine. What is it that I should have done, Bones? Wha- what did youwant me to do?BRENNAN: Well, you could have called me. Did you really think I needed to be vetted by your boss? I mean, don't you trust me?BOOTH: Of course I do.BRENNAN: Then why wasn't I told. It must havebeen something that you said.BOOTH: No. I don't know why you weren't told.BRENNAN: But you - you said that I should be. I mean, aren't you curious why I wasn't?BOOTH: Yes! Do you want me to find out why youweren't told?BRENNAN: If it's important to you.BOOTH: Fine. I will. The next time I die, I promise that I will tell you.BRENNAN: I'll look forward to that.BOOTH: Me too.(He opens up a \"Green Lantern\" comic book andstarts reading)BRENNAN: What are you reading?BOOTH: A novel. (She looks at him) It's a graphic novel.BRENNAN: Just so you know, I find your lack of Puritan modesty very refreshing.(Booth lowers the comic book tocover himself and Brennan leaves the room, turning the music back on as she walks out the door.)(Cut to: Medico Legal Lab - platform)ZACK: The marks on the mandible definitely indicate that the bones have beengnawed on.HODGINS: But, but not with teeth.ZACK: The markings were made by someone wearing dentures.CAM: Well, a toothless cannibal just can't cut it in todays competitive serial killer climate. How do you knowhe wore dentures.HODGINS: Zack found traces of polymethylmethacrylate monomer tetrasalisic floramicha on the mandible. (9:41)CAM: I'm gonna go out on a limb here and assume that's what dentures are madeof.(Cam picks up her phone and dials)ZACK: But not normal commercial dentures you get from the dentist.HODGINS: Main ingrediant is polymethyl methacrylic.ZACK: These dentures were homemade.CAM: (intophone) I got our victims DNA results back.(During the conversation, camera cuts between Booth - in the bathtub and Cam - in the lab)BOOTH: Is it the Lobbyist?CAM: Yup. Gormogon's last victim.BOOTH: I waswondering when some part of him would show up.CAM: (hears the water going down the drain) What's that sucking sound?BOOTH: You know what? This is MY house. Okay? You come into my house there's not tellingwhat you're gonna hear. (he hangs up abruptly. Cam wonders what that was all about.)ZACK: Dr. Saroyan. (Cam hangs up her phone) Regarding the denture medium, if we recreate the process-HODGINS: Could tell usa lot about Gormogon's resources.CAM: If you want to do one of your experiments, just say it.HODGINS & ZACK: (in unison) We want to do one of our experiments.CAM: Go! (she points towards towards the door,smiling.) Make plastic, cannibal dentures.(Cut to: Basement of the Jeffersonian - Sweets, Brennan and Booth are there)SWEETS: You should place the jawbone in the skeleton.BRENNAN: Why?SWEETS: Cause it keepsalive an interactive relationship with the killer. That's why he provided the screws. You know, we give him something, he reciprocates. Did you see me on TV? No one has mentioned that I was on TV.BOOTH: Alright,look. How would he know if we added the jawbone to the skeleton?SWEETS: Well, it's his obsession. He has some way of finding out, which is another reason to do it. Okay. Both of you are purposely not mentioning myappearance.BRENNAN: Well, for all we know, Gormogon is dead and we're not on the list of people who get to find that out.(Brennan heads for the stairs, the guys follow)SWEETS: There's s cry for attention.BOOTH:Bones broke into my house last night, all angry-BRENNAN: (talking over Booth) There was a key!BOOTH: because no one told her that I was dead. And I was just following protocol.SWEETS: Broke into yourhouse?BRENNAN: There was a key.BOOTH: And barged into my bathroom.SWEEETS: (laughs) What were you doing?BRENNAN: He was drinking beer and reading a comic book.BOOTH: I was taking a bath.SWEETS:You read comics and drink beer naked?BOOTH: Wait a second. Bones bursts into MY bathroom, alright, and I'm weird for being naked?(Cut to: Medico-Legal Lab - Hodgins and Zack are preparing for theexperiment)ZACK: This thermoplastic has a melting point of approximately 1800 degrees Fahrenheit. This would work better if we created a paste from the monomer and polymethylmethacrylate powder HODGINS:That would entail the complicated use of cosolvents to allow copolymerization without substantial phase separation. Monomers melting point is far below the polymethylmethacrylate.(Cut to: Medico-Legal Lab - Booth,Brennan and Sweets are walking near the Forensics Platform)SWEETS: So you didn't tell her to leave? You just sat there, naked?BOOTH: It was my own bathroom, okay? What do you wear in the tub? Floaties?(Cut to:Medico-Legal Lab - Hodgins and Zack are still preparing for the experiment)HODGINS: Ready for the monomer?ZACK: Yes. I believe so. The mold is over there on the side table.HODGINS: Why don't you get the moldand I'll mix in the monomer?ZACK: No. I'll mix it in. Please hand me the monomer, then the mold.(He goes to hand Zack the monomer, but then pulls it back)HODGINS: Since when did I become the assistant?ZACK:Since I became the uncontested \"King of the Lab\".(Hodgins hands Zack the monomer and then walks away. Zack puts the monomer into the pot - which causes an explosion. The alarms sound and Booth, Brennan andSweets run toward its source.)SECURITY GUARD: Move to the exits, now!(They see Hodgins on the floor)BRENNAN: Hodgins!HODGINS: I'm alright. I'm alright. I'm okay.(They see Zack, his hands are still through thePlexiglas and badly burned. He's breathing heavily. Booth tries to move the debris away from him.)BRENNAN: Oh my god. Zack?CAM: Okay, a medical teams on it's way. Oh my - I'll get the burn kit.BRENNAN: Is heokay?BOOTH: He's in shock, Bones. Look at his hands.BRENNAN: Zack? (cut to shots of them all looking at Zack, in shock) Zack.(Cut to: Regional Medical Center - ICU- Brennan is sitting in a chair next to Zack's bedwhile Booth is standing behind her.)ZACK: Is Hodgins okay?BRENNAN: He's fine. Just a few minor cuts.BOOTH: Yeah. Don't worry about it, Zack. Alright? We're gonna fix ya up. You're gonna be as good as new.ZACK:That would be impossible, Agent Booth. The damage is-BOOTH: We'll make sure we get you the best doctors.BRENNAN: The cartilage is destroyed, Booth.ZACK: In addition, the trapezoid and hamate on my left handare-BOOTH: Hey. Hey, how about a little optimism here, huh?ZACK: I know that I can still be quite useful. Mentally, I\"m still exceptional and with prosthesis-(Hodgins enters the room, followed by Angela andCam.)HODGINS: Hey. How are ya, Zack?ZACK: Quite severely injured. Are you alright?HODGINS: I'm okay, man.ANGELA: Hey, anything you need, Zack. Just ask.CAM: Do you know how this happened?ZACK: I justadded the 3 grams of monomer.HODGINS: But that doesn't make sense. There are no dipoles like amide or carbonyl in the monomer. Were there?ZACK: No. Just simple phenylethene.HODGIND: That's what I thought.And the PMMA was just-BOOTH: Hodgins. He has third degree burns.BRENNAN: The doctor said you should rest, Zack.HODGINS: She's right. Hey. We're gonna figure this out, okay?CAM: And you won't be alone, Zack.One of us will be here all the time.ZACK: Well, that's not necessary.ANGELA: Yes it is. Because we - love you. (Hodgins puts his hand on Zack's forehead) I'll take the first shift.CAM: And I'll write us aschedule.BRENNAN: I'll get you whatever you need to keep your job. We'll get through this.ZACK: Thank you, Dr. Brennan.(Brennan gets up and kisses him on the forehead, then leaves - leaving Angela and Zackalone)(Cut to: Medico-Legal Lab. Hodgins and Sweets are by his desk)HODGINS: A simple monomer wouldn't explode. It just wouldn't happen.SWEETS: Isn't the FBI handling the analysis of the explosiveresidue?HODGINS: Excuse me if my faith in the bureau isn't absolute.SWEETS: So you don't trust Agent Madison?HODGINS: I'm just getting my own results to double check. I'm sure he's - fine - but I'mindependent.SWEETS: You suspect that there could be a conspiracy within the bureau?HODGINS: Do I hear a little 'tude, young man?SWEETS: No, no, no. Why would there be a conspiracy in this case? Totally 'tudelessquestion.HODGINS: Prominent public figures being murdered and eaten. Evidence that secret societies are being targeted - societies that have great influence in the halls of power - like the bureau.SWEETS: You don'tthink that's a bit extreme.HODGINS: You went on Larry King to talk about this case. And TMZ because you know how big it is and to get your piece of it.SWEETS: I'm a doctor. I'm merely studying the case likeyou.HODGINS: Right. (he brings up results on the computer screen) Oh, man. I should have known.AGENT MADISON: What?HODGINS: You expect me to tell you the answer, Agent Madison?AGENT MADISON: It'stricyclic acetone peroxide.HODGINS: He's not bad.AGENT MADISON: It reacted with the molten thermal plastic and - (he makes an exploding noise) Boom.HODGINS: The containers must have been switched. Zackthought he was adding a monomer he had made himself but it was actually a volatile explosive.(Cut to Medico-Legal Lab. Sweets is on the phone in the hallway near Brennan's office.)SWEETS: (into phone) Yes. I'mbusy. Cancel all my patients. You don't have to tell them anything-(Booth comes up behind Sweets and starts dragging him towards Brennan's office.)SWEETS: What are you doing?BOOTH: A word?SWEETS: I'm on thephone.BOOTH: Well, hang up.SWEETS: (into phone) Okay, I'll talk to you later. (he hangs up and puts the phone in his pocket. Then to Booth.) Ah, tight grip you got there..BOOTH: And it could get tighter. So goahead. Tell her.SWEETS: Tell her what?BRENNAN: Tell me what?BOOTH: Tell her now.SWEETS: What?BOOTH: Fine. I'll tell her. Okay? I sent my list to the bureau. They sent it to Sweets. You were the one who decidednot to tell Dr. Brennan that I was still alive. He's the one that you should have slugged, so do it. Go ahead and do it now.BRENNAN: What? You choose not to tell me?SWEETS: Yes, it's true. Technically.BOOTH:Technically?SWEETS: Okay, I reviewed the list and decided, knowing Dr. Brennan as I do, that she was in fact able to handle your death.BOOTH: (to Brennan) Slug 'em.SWEETS: It was a National Security issue. Thefewer people that knew Agent Booth was alive, the safer he would be.BRENNAN: I think that was a good choice.SWEETS: Awesome.BOOTH: You do?!BRENNAN: Yes. You knew that Booth's death was something that Icould deal with because I can compartmentalize.BOOTH: Woah. Wait a minute. Now why are you mad at me then?BRENNAN: Because you should have told me, personally.BOOTH: Oh, I should have just ignoredNational Security concerns, broken the law and told you.BRENNAN: Yes. You know I'm very trustworthy.BOOTH: Yeah, but Sweets...BRENNAN: Sweets made a professional decision. He knew I could process your deathand move on - which is precisely what I did.SWEETS: That's right.BOOTH: There's gotta be other stuff going on here, right?SWEETS: What?BOOTH: Transference. Uh, paranoia. Come on! I mean, when I offer her apiece of pie you say it has deeper meaning.BRENNAN: I don't like pie, Booth.BOOTH: Well, apple pie. She doesn't like baked pie.BRENNAN: I don't like my fruit cooked.SWEETS: Okay, changing the subject is a way toavoid your feelings.BOOTH: My feelings. Okay, now you're attacking my feelings?(Cam appears in the doorway)CAM: Hey. There's something in the Gormogon vault I think you should see.BOOTH: (moves past Sweets"}
+{"doc_id":"doc_188","qid":"","text":"[Scene: Chandler and Joey's, Chandler and Joey are playing with the duck and the chick.]Joey: Hey, wouldn't be cool if our duck and chick had a little baby? We could call it Chuck.Chandler: Or... Dick.Ross: (entering)Hey.Chandler and Joey: Hey.Ross: Listen, I-I need a favor. Umm, I was in the shower, and as I was cleansing myself, I ah, I-I, well I felt something.Chandler: Was it like a sneeze only better?Ross: No, no, I mean, Imean a thing on my body.Joey: (with a disgusted look) What was it?Ross: Well, I don't know, it's-it's kinda in a place that's not... It's not visually accessible to me, and I was hoping maybe you guys could-could helpme out. (starts to take off his pants)Chandler and Joey: Whoa!!!Chandler: No!!Ross: Come on you guys, it's no big deal! (He turns around and shows him his thing.)Chandler: Whoa-heeeiiiiii-iiiii-ah!! (sees it) Huh.Ross:Well what is it? Is it a mole? (He moves closer to them, and they jump back.)Joey: No, it's too wrinkly to be a mole.Ross: Well, eww. What? Is it a pimple?Chandler: No, it's... fancier than a pimple. Look Ross, why don'tyou just go see a...Rachel: (entering, interrupting them) Hey guys! What's... (sees what they're doing and stops, the guys are stunned)Chandler: Okay, well, it's definite, two more weeks of winter.Ross: Ahhh.Joey:Yeah, right.(Rachel backs out with a confused look on her face.)Opening Credits[Scene: Central Perk, Chandler, Joey, and Rachel are there, as Phoebe enters with her date.]Phoebe: (to her date) Okay, and then this isthe coffee house. This is where I play my music. (points to the stage)Vince: Good deal.Phoebe: Yeah, and these are my friends. People. This is Vince, Vince the people.Rachel: Hi!Chandler: Hey!Vince: Hey!Phoebe:Vince is a fireman.Rachel: Wow! Have you ever rescued anyone from a burning building before?Vince: 98 hot saves, highest in the force.Chandler: Well, y'know if Joey and I played with matches we could get you up toan even hundred.Vince: (dead serious) Fire safety is not a joke, son.Chandler: You're right, I know.Vince: (to Phoebe) Look, I gotta go. I'm on call tonight. (kisses her) See you Saturday. (leaves)Phoebe: Okay.(watches him leave)Rachel: Wow, he's cute, Pheebs! But I thought you just started dating that Kindergarten teacher.Phoebe: Oh, Jason? Yeah, uh-huh, we're seeing each other tonight.Rachel: What-Pheebs?! Two datesin one day? That's so unlike you.Phoebe: I know, I know! I'm like playing the field. Y'know? Like, juggling two guys, I'm sowing my wild oats. Y'know? Y'know, this kind've like y'know oat-sowin', field-playin'juggler.Joey: So Pheebs, do they know about each other?Phoebe: Does a dog's lips move when he reads? (Joey makes an `I don't know' face, and looks to Chandler and Rachel, who're also stumped) Okay, no theydon't.Ross: (entering) Hey guys!Joey: Hey.Rachel: Hi!(He goes over and sits down at the counter, all depressed.)Joey: (going over to him) Well?!Chandler: (joining them) Okay, how'd it go at the doctor's?Ross: Well,he said there's definitely nothing to worry about, it's totally benign.Joey: Well what is it?!Ross: He couldn't even tell me! He said it was just some sort of skin... abnormality. And the worst thing is he-he-he said, he said,without being able to identify it, he was reluctant to remove it.Chandler: Y'know what? You should go to my guy, because when I went in there with my third nipple. He just lopped it right off. Y'know? So I guess I'mlucky. I mean not as lucky as people who were born with two nipples.Ross: At least they knew what yours was. Y'know, yours had a name.Joey: Oh! Maybe they'll name yours after you! Y'know, they'll call it, The Ross.And then people would be like, \"Awww, he's got a Ross.\"Ross: (sarcastic) Yeah, that'd be cool![cut to Phoebe and Rachel as Monica returns from the bathroom]Monica: Pete's breaking up with me.All: What?!Monica: Ijust checked my messages, and he said that when he gets back from Atlanta, we need to talk.Rachel: And?Monica: Well that's it. People never say `We need to talk' unless it's something bad.Joey: Whoa, that doesn'tnecessarily mean that he's breaking up with you.Monica: Really?!Joey: Yeah, maybe he just cheated on you.[Scene: A Street, Phoebe is walking with her second date, Jason.]Jason: ...and I know I'll never miss doing it,but I gotta tell you, it's pretty cool knowing that you're making a difference in a kid's life.Phoebe: That is so great! Oh, I... (sees that a parked car near them has caught on fire) Oh my God!Jason: Whoa!Phoebe: (thefire has worsened) Oh my God!!!Jason: Ahh-ahh, we'd better call the fire department!Phoebe: (stopping him) No! No!Jason: No, no?Phoebe: Well, we don't n-n-n-n-need a fireman, we'd, we'd like a good mechanic.(hears the sound of approaching sirens) Oh my God, here they come! Well, we gotta get out of here!Jason: W-w-w-wait! Why?!Phoebe: Well look, if I wanted to see a fireman, I would date one. Okay? (she drags himaway)[Scene: A Doctor's Office, Ross is having his thing looked at by Dr. Rhodes.]Ross: Th-th-that's all it is, a third nipple. Y'know? Just your run-of-the-mill third nipple. Y'know? You can take it off. Just slice that babyright off!Dr. Rhodes: Take your shirt off, and let's see what we're dealing with here. (Ross starts to take off his pants) What are you doing?Ross: Just showing you my run-of-the-mill-slice-it-right-off third nipple.Dr.Rhodes: Well that's not a third nipple.Ross: No?Dr. Rhodes: First of all, it's on your ass.Ross: Well then, what is it?!Dr. Rhodes: Wait a minute, hold it. (He goes to the door and opens it.) Johnson! Will you come in herea moment?Dr. Johnson: I'm with Hamilton!Dr. Rhodes: He's good with rear things, bring him in too.[Scene: Central Perk, Chandler, Monica, and Joey are there.]Monica: (starting to get up) I gotta go water Pete'splants. (stops) Y'know what, if he's gonna break up with me, maybe I won't water his plants.Chandler: Well, if he's gonna break up with you, maybe Joey and I should water his plants. If y'know what I mean.Joey: Orha-ha, we could go over there and pee on them.Phoebe: (entering with Rachel) ...and I-I can't take it! Y'know? I'm just, always afraid one of them is gonna catch me with the other one. It's making me crazy.Rachel:Well honey, then why don't you break up with one of them?Phoebe: (disgusted) Uh.Joey: Whoa-whoa-whoa. What ah, what happened to playing the field?Phoebe: Well, it just, it doesn't feel like playing anymore, itfeels like work. It's like I'm working in the field.Rachel: So Pheebs, pick one of them.Monica: Yeah. Which one do you like more?Phoebe: Well, Vince is great, y'know `cause, he's like a guy, guy. Y'know? He's so burly,he's sooo very burly. (giggles)Joey: Okay, good, so there you go. Go with Vince.Phoebe: Yeah, but Jason's really sensitive.Chandler: Well sensitive is important, pick him.Phoebe: Yeah.Joey: Oh sure, go with thesissy.Phoebe: Jason is not a sissy!Joey: Oh no-no-no-no, I meant Chandler.[Scene: Dr. Rhodes's Office, a rather large group of doctors has now gathered to take a look at Ross's thing. Ross is none too pleased with thedevelopments, he has a disgusted look on his face.]Ross: Y'know I have dinner plans!!Dr. Rhodes: Thank you soo much for coming on such a short notice. Ladies and gentlemen, I've-I've-I've been practicing medicinefor twenty-three years, and I'm stumped.(He removes the blanket covering the thing.)All: Whoa. (they all lean in to get a closer look, Ross isn't pleased)[Scene: Pete's apartment, Monica is there to water the plants,and is showing the gang around.]Monica: Okay, this is the den. All right, check this out. Lights! (the lights turn on automatically, but are very bright) Whoa! All right. Less lights! Bad lights! Lights go away! (they dim)Oh, see you just need to find the right command.Ross: Yes, and the dimmer switch.Joey: Whoa! For a rich guy he's got, that's a pretty small TV.Monica: No-no-no, that's a video-phone. But hey guys you're notsupposed to be here, so please, do not touch anything.Chandler: (sitting down on the couch) I-kea! This is comfortable.Rachel: (entering with Phoebe) This place is amazing.Phoebe: God, that is the nicestkitchen.Monica: I know.Phoebe: No! But it's the nicest kitchen, the refrigerator told me to have a great day.Joey: Look at this! A millionaire's checkbook.Monica: Joey, put that down! (the phone rings) Oh my God! It'sPete. Okay, get out!! How the hell do you answer a video-phone! (steps in front of it, and automatically answers it)Pete: Monica? (the gang ducks and hides)Monica: I guess that's how.Pete: Hey Monica, how's itgoing.Monica: Oh it's umm, good! It's umm, it's good, just here watering the plants.Pete: Well don't forget that fiches over there by Rachel.Rachel: (standing up) Ahh... Chandler's on the couch!!Pete: I see him, youguys are just the worst hiders ever.All: (standing up) Hey Pete.Joey: Hi, how ya doing?Monica: Ahh, Pete, the other day when you said you needed to talk, umm, just so I know, is it good news or bad news.Pete: Oh,it's good news. No, it's definitely good news. Hold on a second, I have another call. (clicks his remote) (to his other call) Hey, how's it going?Monica: Oh no-no-no, it's still me.Pete: Ah, no it's not. I've gotpicture-in-picture here. (to other caller) Yeah. (listens) Yeah, okay. I'm gonna have to call you back later. (pause) Monica? You. I'm gonna have to call you back.Monica: Oh, oh, okay umm, so I'll see you soon.Pete:Okay, I love you.Monica: I love you.All: I love you, love you.Monica: Okay. Well, it's good news. It's good news.Chandler: So, what do you thing the good news is?Joey: (looking at the checkbook) Wow! Look at this! Hewrote a check for 50,000 dollars to Hugo Ligrens Ring Design. (Monica is stunned) Oh, sorry, what do you think the good news is?[pause]Monica: Oh my.Rachel: Monica's gonna marry a millionaire!!!Ross: Hey, yougotta get Mom on the phone. Call Mom! Call Mom!(Pete's computer automatically calls Mom, Pete's Mom.)Pete's Mom: Hello.Monica: And that's Pete's Mom.(The gang quickly hides again.)[SCENE_BREAK][Scene:Monica and Rachel's, the gang is returning from Pete's.]Rachel: Mon you definitely have to make it a theme wedding, and the theme could be, \"Look how much money we've got!\" Y'know, I mean you could put, youcould put money in-in the invitations! You-you could have like little money place settings. And ah, you could start with a money salad! I mean it'll be dry, but people will like it.Monica: Would you stop? We've only beengoing out a couple of weeks, I mean we don't even know if he's gonna propose.Chandler: Yes, but this is Pete. Okay? He's not like other people, on your first date he took you to Rome. For most guys that's like a thirdor fourth date kinda thing.Monica: Well if-if that's what it is, then it's-it's crazy.Ross: Monica's right. We're talking about getting married here. Okay? She-she can't just rush into this.Rachel: Oh please, what do youknow! You married a lesbian!(Joey laughs, Ross glares at him, and Joey stops.)Phoebe: All right. I gotta go. I have break up with Vince.Chandler: Oh, so you're going with the teacher, huh?Phoebe: Yeah, I like Vince alot, y'know? But, it's just Jason's so sensitive, y'know? And in the long run, I think sensitive it's just better than having just like a really, really, really nice (pause) butt. (Her eyes glaze over thinking about the butt.)(pause) Jason! Definitely Jason! Okay, wish me luck!All: Good luck!(pause)Rachel: OH MY GOD!!! (She holds her hands up in triumph and the gang all look at her.) Sorry, I was just imagining what it'd be like to catchthe money bouquet.[Scene: A Fire House, Phoebe has gone to break up with Vince.]Phoebe: Excuse me. Umm, is Vince here?Fireman: Oh sure. Vince?!Vince: Yo!! (slides down that pole that fire station's have)Phoebe:Wow! I didn't know you guys actually used those.Vince: So, what's up?Phoebe: Umm, wow. This-this isn't gonna be easy. Umm, I don't think we should see each other anymore.Vince: Uh-huh. G-good deal.Phoebe: I'msorry.Vince: No-no it's okay. It's just that ah, I thought we had something pretty special here. And y'know I-I felt like you were someone I could finally open up to, and... (starts choking up) That there's so much in me Ihave to share with you yet.Phoebe: Oh my God, I didn't...Vince: (starting to cry) I'm sorry, I can't talk. I'm gonna go write in my journal. (walks away)Phoebe: (running after him) Wait-wait-wait! Wait!![Scene: CentralPerk, Phoebe, Ross, and Monica are there.]Phoebe: (to Ross) I'm telling you, if you want to take care of that thing, you should go to my herbal guy.Ross: Thank you, but I want to remove it Pheebs. I don't want tomake it savory.Monica: Y'know when girls sleep with guys with weird things on their body, they tell their friends about it.Ross: Gimme this. (Grabs the herbalist's card and leaves.)Rachel: (entering) Hi! Okay, don't bemad at me, but I couldn't resist.Monica: Brides magazines?Rachel: Yes, and I know that you'd say no if he asked you, but I'm sorry; how great would you look walking down the aisle in this Donna Carin. (shows her thepicture.)Phoebe: (gasps) Oh, you so would! Oh, you should get that anyway. (They both look at her.) Like for clubbing.Monica: It is so weird, I know what I said, but uh, this morning, I was lying in bed I was, I wasimagining what it would be like to say yes. (Rachel slams the magazine shut in amazement.) I know it's a little sudden, and it's a little rushed, and it's totally not like me to do something like this, but that doesn't meanI can't. Right? I mean I'm-I'm crazy about Pete, and I know that we want the same things, and when I thought about saying yes, it made me really happy.Rachel: Oh my God. (starting to cry)Monica: I know. (pause) Ineed more pie. (goes and gets some)Phoebe: Hey Mon umm, if you do get married, can I bring two guests?Rachel: You didn't break up with that fireman?Phoebe: No, that was my way of telling you. Well, it turns outhe's incredibly sensitive, he keeps a journal and he paints. He even showed me charcoal drawings that he drew of me.Rachel: Wow!Phoebe: Yeah, well he'd prefer water colors, but y'know, he has easy access to a lot ofcharcoal.Monica: So then, are you going to dump Jason?Phoebe: Well, yeah, because I have to break up with someone, and... Okay so Jason is sensitive, (holds up one finger) but now so's Vince (holds up one finger onher other hand) Plus, Vince has the body y'know? (holds up two more fingers on the Vince side) So... It's really just about the math.[SCENE_BREAK][Scene: Jason's apartment, Phoebe has gone to break up withJason.]Phoebe: (knocks on the door) Jason?Jason: Yeah, come on in.(She goes in, and sees Jason without his shirt. It turns out that he has a great body too, and is at a loss for words.)Jason: So Phoebe, you ah,sounded kinda serious on the phone, is ah, is anything wrong?Phoebe: Nah-ha![Scene: Phoebe's Herbal Guy's office, Ross is there about his thing. Ross is looking around the exam room, and he goes over to a largebank of drawers, pulls one out and almost spills it as the herbalist, Guru Saj, enters.]Guru Saj: You must be Ross.Ross: Hi.Guru Saj: I am Guru Saj. (takes the drawer back and replaces)Ross: Listen, I got to tell youI've-I've never been to a guru before, so...Guru Saj: Well, relax. If it makes you feel better, I've attended some of the finest medical schools in Central America. Well then, let's take a look at this skin abnormality ofyours. (motions to the table) Come on, have a seat. (looks at it) Eeh, huh. As I suspected, it's a koondis!Ross: What's a koondis?Guru Saj: I don't know, what's a koondis with you? (starts laughing as if that joke wasfunny, Ross only looks at him, and he stops) Please, lie down! I've got a sav that oughta shrink that right up.Ross: I guess it's worth a try.Guru Saj: Oh sure, we should see results-Whoa!! Clearly not the way to go!!(quickly wipes it off)Ross: What?! What?!Guru Saj: We appear to have angered it.Ross: We?! We angered it?!Guru Saj: Oh, I think I see the problem. And I'm afraid we're gonna have to use a much stronger tool. (Rossgives him a 'What?' look) Love.Ross: Oh God!Guru Saj: (He starts moving his hands around in circles above the thing.) Ross, there is absolutely no way this is going to come off unless you start to...Ross: Ow!!Guru Saj:Oops.Ross: What was, what was that?Guru Saj: Well it's gone.Ross: What?! How's that?Guru Saj: It got caught on my watch.Ross: Hey! (congratulates him)[Scene: Pete's apartment, Pete and Monica are coming backfrom a date.]Pete: Lights. (The lights turn on, once again they're too bright.) Uh, romantic lights. (The lights dim.)Monica: Ooh, nice.Pete: So ah, there was this thing I wanted to talk to you about.Monica: Oh, right! Icompletely forgot about that.Pete: Well ah, I've been doing a lot of thinking, and I look at my life...Monica: Yeah?Pete: And I feel like I've conquered the business world, and I feel like I've conquered the intellectualworld, and now I-I have the most beautiful woman in the world.Monica: Wow.Pete: There's one thing missing.Monica: What's that?Pete: It's time for me to conquer the physical world.Monica: Okay. (not sure ofherself)Pete: Monica, I want to become (pause) the Ultimate Fighting Champion.Monica: You wanna what?!Pete: I want to become the Ultimate Fighting Champion! It's the most intense physical competition in theworld, it's banned in 49 states!Monica: What are you talking about?Pete: Okay, my trainer, Ho Chi, is teaching me a combination of Gee Koon Doe and Brazilian street fighting, I've even had my own octagon trainingring designed.Monica: And I suppose you used a ring designer for that.Pete: Yeah. Monica, I want you there in the front row when I win. I want you close enough to smell the blood. What do you think?Monica: Myparents will be so happy.[Scene: Central Perk, Phoebe's singing, Vince is also there.]Phoebe: (singing) \"Crazy underwear, creepin' up my butt. (Jason enters) Crazy underwear, always in a rut. Crazy under-(seesJason)-wear...\" (In her head) Oh No! What is he doing here? All right, just keep playing, just keep playing. You'll get through this; you'll be fine. (She tries to continue the song, but she has lost the ability to pronouncewords, and the lyrics come out as gibberish.) (giving up on the song) Okay, thank you. And, as always no one talk to me after the show.(They all applaud her.)Jason: (going up to her) Hey. I was...Phoebe: Hey!Jason: Iwas passin' by and I saw that you were playing tonight, it's kinda cool seeing you up there. (kisses her)Vince: (running over) Whoa! Hey-hey! What's going on here? Who is this guy?Phoebe: I don't know, he juststarted kissing me. Get him! Get him, Vince!Vince: What?!Jason: What?!Phoebe: Yeah, okay, I've-I've been dating both of you, and it's been really horrible. 'Cause y'know it's been a lot of fun, for me. Umm, but I-I likeyou both, and I, and I didn't know how to chose, so... I'm sorry, I'm just, I'm terrible, I'm a terrible person. I'm terrible.Vince: Phoebe, Phoebe relax, it's okay. I mean we never said this was exclusive.Jason: Yeah, andneither did we. Give yourself a break.Phoebe: Really?!Jason: Yeah. I mean y'know, we haven't been going out that long. Come on, we haven't even slept together yet. Huh.Vince: You haven't?Jason: You have?Phoebe:Well, this is none of my business. (starts to walk away)Jason: (to Phoebe) I-I can't believe this! You-you've slept with him?!Phoebe: Well, I made you a candle light dinner in the park.Jason: Y'know Phoebe, I'm gonnamake this real easy for you. (walks out)Phoebe: (to Vince) Well, that could've been really awkward.Vince: You made him a candle light dinner in the park?Phoebe: Yeah, but I-I-I-I can do that for you, I'm gonna do thatfor you.Vince: Uh yeah, I can't believe I ever went out with somebody who would actually have an open flame in the middle of a wooden area. (walks out)Closing Credits[Scene: Guru Saj's office: Joey and Chandlerhave taken the duck to see the guru.]Chandler: (comforting the duck) Everything's gonna be all right. Okay, Dick?Guru Saj: (entering) Hello, I am Guru Saj-(sees the duck)-Whoa!! (to Joey) That's supposed to be aduck right? 'Cause otherwise, this is waaay out of my league.Joey: Yeah, yeah. He's got a, he's got a really bad cough, and our vet, he can't do anything about it. Is there something you can do?Guru Saj: Hmm, let mesee. Let me see. Do you think you could get him to eat a bat?(The duck starts to frantically flap his wings, while Joey is holding him, in an attempt to get away.)"}
+{"doc_id":"doc_189","qid":"","text":"(Cut to a strange congomeration of strangely colored winged birds and a strange angel statue, holding a bowl. Bells ring. Then a bright white light flashes and then dims to show a surgical light. We pan down to Sydney,waking on a stretcher in what could be something like an emergency room. She's dressed only in a white hospital gown and underwear. She sits up groggy, then stands up gingerly. She walks over to the door and triesto open it. It's locked. She bangs on the door with her hand.)Sydney (hoarsely): Hello!(She turns away from the window and starts to walk, looking around, then stops as a wave of pain hits her. She looks down.There's blood seeping through the hospital gown in the spot where her scar is now. She leans against a counter and lifts the hospital gown to reveal an angry seeping wound. She sticks her fingers inside the wound,pulling out the end of a thin plastic tube (think, the kind of thin plastic tube often used for aerators in aquariums) She holds up the end of the tube, shocked, her hand covered in blood. She starts pulling and moretubing comes out. It's freaking her out. She starts pulling faster and faster, but the tubing doesn't end. Blood is splashing everywhere, covering her, splashing the walls. She holds up a fistful of tubing and screams. Wecut to a scene farther out. There is a pile of tubing at Sydney's feet in a puddle of blood. Blood is spattered all down her side, on her hands, her face, the wall behind her.)(Cut to Sydney, sitting up suddenly in bed,gasping and sweaty. She's had a nightmare. She's really freaked out, can barely breathe. She pulls up her tank top to reveal her healed scar. She fingers it, gasping and crying. She lies back on the bed, pulling thecovers up to her neck, crying and gasping in anguish.)(Cut to Sydney walking through a set of double doors. US STAFFORD NAVAL HOSPITAL. She approaches the doctor who runs the \u0000lost time\u0000 peer group. Henotices her standing next to him as he hands a nurse a medical chart he's just signed.)Doctor: Oh, Sydney. (to nurse) Thank you.Nurse: Thank you, doctor.Doctor: Nice to see you.Sydney: I know that I haven't been togroup in a while.Doctor: That's okay We have another session here tonightSydney: I actually came here to talk to you about something else.Doctor: Is it your dreams?(Sydney nods.)Sydney: I've heard about aprocedure used to recover lost memories: neurostimulation therapy.Doctor: Oh, Sydney before we discuss this, let's give group a chanceSydney: Some of those people have been that group for ten years, and none ofthem seem to be any closer to finding out what happened to them.Doctor: Well the point is to accept what's happened, that you may never remember, and in so doing, free yourself to move on.Sydney: With all duerespect, the one thing that you don't know is what it feels like. You have clearance, so I can tell you that unlike anyone else in that group, there's a terrorist organization trying to find out the one thing that I can'tremember. My point being, I don't have the luxury of waiting for acceptance.Doctor (walking): Come with me.(Sydney follows. Cut to look into the window of a padded cell. A man with a shaved head wanders aroundinside in a straitjacket.)Doctor: This is Kenneth Blake. He joined Central Intelligence in 1981. He was missing for five years finally turned up in a South Korean hospital with severe injuries and no memory whatsoever.Blake volunteered for the same procedure you're asking for. The procedure was carried out. Blake soon learned that he'd been in custody of the North Koreans all that time, exposed to torture so intense, so prolonged,that his conscious mind blacked it out. The invasive nature of the surgery left him with permanent brain damage. You should know, Sydney, that the National Security Council considers Blake a successful test case forneurostimulation therapy. (starting to get choked up) I'd consider death an option before this procedure.(Off Sydney's look, we cut to NOGALES, MEXICO. Children play soccer in the dirt street. Suddenly shootingbreaks up the scene. Cut to a pair of feet running in the street. Pan up to a man's back as he runs by. Cut to reverse angle; we see two police officers chasing the man, shooting at him. Police cruisers block off the otherdirection and the man raises his hands. It's Javier Perez. He kneels while they handcuff him. Cut to Javier, sitting in a jail cell.)Police Chief (offscreen): You've been a busy man, Javier Perez.(Cut to Chief leaning againstthe wall of the cell, accompanied by another armed officer. He is looking in a file folder.)Chief: Epidemology lab in Cannes; Disease Control Ministry in Spain; Genetic engineering facility in Cuba(Cut to Javier as he sighsand leans his head wearily against the wall, closing his eyes. Cut back to Chief.)Chief: Do I turn you over to Cuba, to Spain, to France? To me there is no difference. For you, there is at least one significant difference:France and Spain do not believe in the death penalty.(Cut to Javier, worried and nervous. Cut back to Chief.)Chief: So here's where we help each other. You provide me with a bigger fish, say who commissioned you, forinstance and I allow you to choose to whom I place my call.(Cut to Javier.)Javier: What if I told you that I had information that would be very interesting to the Americans? Regarding a Central Intelligence agent and amurder.(Cut to Chief, who laughs and looks at the other officer also laughing.)Chief: A CIA agent committing murder Hardly newsworthy.(Chief starts to walk away.)Javier: It is when its done on behalf of aninternational terrorist group and the target is a Russian diplomat.(Chief stops walking and looks back at Javier.)(Cut to aerial scene of LA by day. Cut to Dixon walking through the JTF.)Dixon (loudly): People, listen up!We've got non-cleared personnel en route! Deactivate the wireless network and put all secure servers on lockdown. I don't want to see anything on these screens more revealing than a weather map!(Cut to armedagents escorting a handcuffed man with a black drape over his head. Cut to an officer inside the JTF.)Officer: Level three security procedures in effect. All computer monitors and LCDs on safe mode. Routing PDX toadministration.(Cut to hooded man and guards entering elevator. Cut to computer monitors as they all go to safe mode. Cut to the feet of the man and his guards entering the JTF. They're walking and enter the mainrotunda area. Dixon stands waiting for them. Other agents gather also. Dixon nods, and the officers remove the man's hood, who's no longer hand cuffed. It's Arvin Sloane. Dixon walks toward him. They spend severalmoments staring each other down.)Sloane: I always knew you were destined for great things.(Dixon's only reaction is a tiny grimace and he swallows.)Dixon: Follow me.(They turn and enter the conference room,where everyone but Lauren and Vaughn are seated.)Sloane: Marshall (said kindly, smiling, as if happy to see him)Marshall: Mr. Sloane hi. It's been a while and a lot has happened. I mean, at first you were evil, nowyou're good so you claim not that I don't..trust you, it's just How are you?Sloane: Very happy to see you, Marshall. (He shakes Marshall's hand and sits down.)Dixon: Given the sensitive nature that Arvin Sloane isabout to present to us, I thought it best if he did so here.Sloane: So, is everyone here?Dixon: Agents Vaughn and Reed are prepping a separate assignment under the direction of the NSC.(Cut to Jack and Sydney asthey give each other curious looks.)Sloane: Ten hours ago, I had a meeting with Mr. Sark(cut to flashback)Sloane: I assume we're here because the Covenant requires something of me?(Sark pulls a mini disc case outof his coat and holds it out to Sloane.)Sark: Your new assignment(end flashback)Sloane: Seems the Covenant is no longer satisfied with using my organization merely as a front for their illegal activities. They've nowtasked me an operation.(cut to Sydney's reaction then back to Sloane)Sloane: I presume you know what a maser isMarshall: You mean a microwave laser? Well, yeah(Both Sloane and Dixon turn to look athim.)Marshall (looking at Sloane): You, uh want me to explain ?Dixon: Marshall: Sloane has no authority in this room.Marshall: Sorry. I didn't mean to offend you, sir. I know you're definitely the main do you want meto ?Dixon: Yes.Marshall: It's a microwave that gets focused into a pinpoint beam, very similar to how light gets focused into a laser.Sloane: Tomorrow night, I'm scheduled to attend a charity function held by theChinese Government at one of their Ministries The Covenant has acquired intelligence that China has designed a working maser unit, the prototype of which is held there. China intends to mount a maser array on one oftheir defense satellites. It is an assassination program.Weiss: Wait are you saying this weapon is capable of killing from space!?Jack: Pulse microwaves are capable of causing tissue damage, heart failure even brainhemorrhage. This weapon could make it appear as if the victim died of natural causes. You could imagine the potential threat if the Covenant were to acquire this technology.Sloane: I've been tasked to steal the maser'soperating system, which is in the Chinese Defense Minister's office.Dixon: I want Strategic Services to review your plan, and I'll assign an agent to go along.Sloane: I'd presumed that would be the case. Therefore, Ipropose that Sydney accompany me to the function posing as my assistant, and then together we acquire the operating system, corrupt the maser, and pass along the faulty data to the Covenant That is, assuming theCIA still intends to use me as a double agent.Sydney: Why me?Sloane: Because this mission cannot be done alone. I will not risk my life unless I am going in with the best.Jack: Do you really imagine, given your historywith Sydney, we would ever order ?Sydney (cutting Jack off): I'll go. (to Sloane) You know I don't trust you, and that I believe you have an endgame beyond this operation. But I also know that if we're caught, we'll bestanding side by side in front of a Chinese firing squad, which means this time our interests are in line and if you betray me? I will just kill you myself.(Cut to Sloane's satisfied smirk. Cut to Black. End of ActOne)[SCENE_BREAK](Cut to Vaughn, arranging a file on his desk. Jack approaches him.)Jack: I understand you've been loaned out to the NSCVaughn: Yeah. I leave for Mexico in an hour. Lauren requested me; she'sbriefing me en route.(Vaughn and Jack start walking)Jack: A contact of mine in Nogales informed me that Javier Perez was apprehended by Mexican authorities.(Vaughn stops walking and turns to face Jack.)Jack: I'msure you remember him as part of the freelance team that Sydney infiltrated several weeks ago.Vaughn: Yeah, sort of He almost killed me.Jack: He's offered to trade information to the NSC in exchange for leniency.Our problem is this: He knows about Sydney that she murdered Andrian Lazarey under the alias Julia Thorne. You can imagine the consequences if he were to share this information with your wife. I think, AgentVaughn, that you should tell her that you know the identity of the man you've been sent to interview and that conflict of interest requires both of you to remove yourself from this case.Vaughn: Are you asking me tointerfere with my wife's investigation?Jack: Yes.Vaughn: No. I've kept the truth about Sydney from Lauren because Dixon ordered me to; a situation you orchestrated.Jack: You understand the consequences to Sydneyif this information leaks out?Vaughn: Yes, of course I doJack: The NSC will subject her to invasive brain surgery.Vaughn: Okay, stop. I don't need a lecture from you on the risks she faces.Jack: Then I don't understandyour resistance.Vaughn: Because the NSC will send other operatives! Either way, they're gonna find out.Jack: It'll provide us the time to plan our next move.Vaughn: Look, I think it's safe to say that I know my wife alot better than you do.Jack (dripping with sarcasm): I would hopeVaughn: Lauren may be our best chance of keeping this information from the NSC.Jack: And, Mr. Vaughn What if you're wrong?(Cut from Vaughn'sreaction to Jack's reaction.)(Cut to Marshall, holding up what appears to be a retooled Matchbox car.)Marshall: Okay, it's the latest in cloaking technology. It's called optical camouflage. Now basically, if you take a lookright here, it's surface is covered in microfilaments, which interpret the UV waves generated by its surroundings, which means that (places the car on his desktop and starts driving it across the top of his desk using thecontrols) once you drop it off in the Chinese Ministry, I will be able to guide it undetected past the security cameras to the central alarm controls, which I'll then deactivate, using the internal modem.(Cut to Sydney'sreaction. She's amazed and impressed.)Sydney: So, once you disable the alarms, I'll be able to access the Minister's office where the maser is being kept.Marshall: Right. Once you get to the maser, you will access themotherboard, and then you will attach this (Holds up a cellular phone.) to the EPROM chip. Now, press one and you'll be connected to me, and I will access the maser's operating system and corrupt it and then (takingoff the back of the phone's case to show Sydney the inside), a copy of the corrupted version will be stored onto this. (Holds up a small memory card.)Sydney: Which I will give to Sloane to pass on to theCovenant.Marshall: Right. (Stops, looks around) Actually where did the car go?(Puts down the cell phone and starts looking around the desk.)(Cut to black. BEIJING. Push through the N. A night pan of the city. Cut toSydney dressed in a long black evening gown (could be a two piece skirt/shirt set, hard to tell) and Sloane in a tux, waiting in line to pass through a metal detector.)Sloane: By the way you look beautiful.Sydney (givingSloane a dirty look): Spare me!(Sydney and Sloane walk through the metal detectors. Sydney's goes off. She immediately hands her small black purse to the guard, who opens it to reveal a metal makeup case. He zipsit back up and hands it to her.)Sydney (in Chinese): Thank you.Guard (in Chinese): Thank you.Sloane: I would encourage you to take my arm if we are going to bluff our way through this(Sydney's face says it all. Shefinds that idea about as appealing as having teeth extracted forcefully. Very reluctantly, she takes his arm and smiles at a passerby. Cut to Sloane and Sydney entering the ballroom. Cut to the orchestra, cut to dancers,cut to Sydney as she surveys the guards in the room. Sloane looks at Sydney and then at a Chinese man wearing a tux and a sash, who waves at Sloane. Sloane and Sydney approach him.)Minister: Mr. Sloane, we'rehonored you could attend.Sloane: The honor is mine, Minister Woo. And this is my Executive Assistant, Christina Myers.Minister: A pleasure. (nods his head toward her)Sydney: Pleasure (she smiles at him)Minister (toSloane): Your organization's compassionate work is the model of humanitarian achievement.Sloane: Thank you. Thank you. (turns to Sydney) Ms. Myers, would you give us a moment please? I have a private matter todiscuss with the Minister?Sydney: Certainly.(She flashes the Minister a big smile. He nods and smiles at her and she turns and walks away. The Minister watches her leeringly as she leaves.)Minister: Your assistant islovely. I presume she does more for you than type?Sloane: Oh, our relationship is strictly professional.Minister (doesn't believe him): Of course.(Cut to Sydney, entering the bathroom. She takes out the metal makeupcase while she waits for another woman to finish primping. The other woman leaves and we see Sydney opening a lipstick tube and rolling it up. The door closes behind the woman, and Sydney pulls the top off thelipstick to reveal the camera lens for the Invisicar. She opens the make up case, removes the top and underneath is the rest of the Invisicar. Cut to Sydney leaving the bathroom. She takes a champagne glass and sitsdown in a chair on the edge of the room, near the hallway. Surreptitiously, she leans down to place the Invisicar onto the rug next to her chair. She speed dials a number on her phone and waits.)Marshall (overtelephone): Hello!Sydney: You're on.(Cut to Marshall and Dixon on comms in Marshall's office.)Marshall: Ladies and gentlemen, start your engines!(Marshall starts moving the joystick. Cut to the car as it starts to moveand we see it blend into its surroundings. All we can see are the wheels moving underneath the shield because the camera's at floor level. Cut to Marshall's view from the cam attached to the side of the Invisicar as hesteers through the feet of people in the hallway.)Marshall (steering the car): OkayDixon: Promise me again that they won't hear it.Marshall: The noise output is .04 dbs, which is inaubible to the human ear, sir. Acockroach thinks louder than this car.(Marshall continues to steer the car, finds a pair of military boots walking and follows behind them.)Marshall: Looks like a nice party All right we'll follow this guy. It looks like heknows where he's goin. Security.(Cut to Sydney, sitting in a chair with her champagne glass, checks her watch. Sloane approaches her and sits in the seat next to hers.)Sloane: Are you all right?Sydney: As long asMarshall can shut down the security system.Sloane: You know, Sydney we should dance?Sydney: Like hell.Sloane: The minister assumes we're sleeping together. Despite my protests, he remains unconvinced.Sydney:I could care less.Sloane: Well, neither would I if he wasn't constantly looking in my direction Normally I would suggest we remain discrete. I suggest we feign an argument on the dance floor that will give you sufficienttime to slip away. And, Sydney, given the way you feel about me (he smirks) I doubt it would take much acting on your part.(He stands and puts his hand out to her.)Sloane: So, my dear Shall we?(Sydney reluctantlyputs her hand in his and stands.)(Cut to the security guard the Invisicar is following as he walks down a hallway.)Dixon (voiceover): We have to get to the security room.(Cut to Marshall and Dixon.)Marshall: All right.Following him.(Cut to guard, turning a corner. Cut to video from the car as it fails to negotiate the turn and bumps into the wall.)Marshall: Oooh sorry, sir.(Marshall makes the turn. The guard is now several feet aheadof the car.)Dixon: Hurry up.(Cut back to Sloane and Sydney as they begin to waltz around the dance floor. Cut back to the view from the Inviscar as the guard turns another corner ahead of it.)Dixon: Marshall followthat guard. Turn to the right.Marshall: Okay, you got it.(The Invisicar gets to the end of the hallway and turns to see the guard about to access a door.)Dixon: Good. He's approaching the security control room.(Dixonsits down next to Marshall, watching the monitor.)Dixon: Hurry!Marshall: Petal to the metal, sir.(The car whizzes forward as we see on the monitor that the door is opened and the guard starts to step inside. The door isstarting to close it looks close, but the car makes it inside before the door shuts.)Dixon: Eaaaassssyyyy .Marshall (as the car makes it through the door): Piece of cake, sir.(Dixon nods as Marshall moves the car aboutthe room. Cut to the security guard as he greets the other one who is watching the monitors. The guard sits also. Cut to the Invisicar as it stops near a desk.)Dixon: Hurry Marshall under the desk!Marshall: Yeah, yeah,I got it.(The car backs up and turns and then slides under the desk.)Dixon: Well done.Marshall: Okay, now I will activate the RF modem and hack into the security system.(Screens pop up on the monitor, as Marshallworks.)Marshall: Okay, alarms are down surveillance is off.(Cut to security guards as their monitors show nothing but static.)Guard: The security is down. Give me a minute.(Tries to fix the display to no avail.)Marshall:Should take them weeks to get back online maybe even months.(Cut to Sloane and Sydney waltzing. Sydney's cell phone rings. They stop dancing as she answers it.)Sydney: Hello? (pause, listening) Thank you.(Sheturns off her cell phone and puts it away.)Sydney: Marshall says the security system is shut down.Sloane: Well, then I propose you make this fight look real.(Sydney screws up her face and then slaps Sloane hardacross the face. Sloane holds his face as Sydney stalks off. The Minister was watching and appears amused.)(Cut to a jeep driving down a dirt road. MEXICO. Cut to reveal Vaughn driving. Pan to Lauren in thepassenger side. They slow and stop the jeep as they see a boy on the side of the road. He appears unconscious, his bicycle lying on top of him.)Lauren: Oh, God It's a boy.(Vaughn and Lauren get out of the jeep andbegin to approach the boy. Suddenly the boy jumps up, gets on his bike and starts to ride away. Vaughn realizes suddenly this is a set up.)Vaughn (urgently): Get back in the car!(Suddenly men from every directionappear from the brush, brandishing guns. The leader of the group walks forward.)Leader (in Spanish): Hands up. Now!(The members force Vaughn and Lauren to kneel in the street with their hands up.)Vaughn (in"}
+{"doc_id":"doc_190","qid":"","text":"Ted (2030): Why do they fight? What is it hidden in us that drives us to settle disagreements with our fists? (In Lily's class, two boys fight) Whatever it is, this is from the beginning.Lily: Stop fighting!Boy 1: Why?Lily:It's stupid and childish.Boy 2: It has been six years. It is stupid and childish.Ted (2030): Children, I fought just once in my life. And that's how it happened. You know I have recently been abandoned at the altar. Andthe worst when it comes to us, apart from being abandoned at the altar, is what happens after. A steady stream, persistent and unbearable pity. At McClaren's, Wendy brings drinks to Marshall, Lily, Barney, Ted andRobin.Wendy: Cranberry Vodka, gin and tonic. Scotch and soda.Ted: Thank you. Can I see the menu?Wendy: Ted, I'll get you a menu... but I promise I will return.Ted: We'll have to go elsewhere. In this bar, I willalways be the guy left at the altar. It sucks!Barney: Good times.Ted: We lost Barney.Robin: What?Lily: There's a girl there in a sweater wrap. He does not listen to a word they say. Hein, Barney?Barney: Leave mealone!Ted: He understood, there is little time, he could hold a conversation with just the titles of sitcoms \"black\" of the 70s and 80s.Barney: What's going on?Lily: Barney, you wanna go and get my stuff does notMarshall?Barney: Diff'rent Strokes.Man: What is this?Ted (2030): I spoke to Doug, children? Not? Well... Flashback In McClaren's...Ted (2030): Doug Martin was in McClaren's bartender. He was always in thecorner.Barney: You... Been to Ted?Ted: It is not play \"You know Ted.\" Barney (a pencil in his nose): I'm dead? (Doug misses and laughs) I'm dead? (It is disguised as a woman) Tonight... I am a lesbian.Ted (2030):There are three things to know about Doug. The first is that Doug is a bit violent. Doug:... collapsed, so he's down. And it hits him! He made this face, trembling. What we did is that we left it there. I ressers?Ted(2030): The second is that he was weird about her hair...Doug: What?Ted: What?Doug: You look at my hair?Ted: No, sir. Not at all.Doug: That's a dummy. It's funny? Want to laugh? It's funny?Why you do not tearout?Ted: What?Doug: Go ahead, tear it out of my head. Go ahead. Want to pull? Go. Go, go and pluck it out. You want to tear my head?Pluck my hairpiece my head. I love you, guys!Ted (2030): But the third is that hewas very faithful with its regulars. Ted, Lily Marshall, Barney and Robin arrive at the bar.Doug: There they are! You want your table?All: We will be well by then.Doug: Yes? Yes?Ted (2030): Maybe a little toofaithful.Doug: No, that's right, all right. (He goes to the usual table where Ted and his friends are) Lovebirds! Put it elsewhere, this table is reserved. Here we go! Now! Go! We move, my Father. Here we go. OK, guys,here! End flashbackTed (2030): So that's Doug.Doug: What is this?Ted: Some guys are sitting at our table. But you know, it's good.Doug: Let's go, I take care of that.Lily: Damn, there goes.Doug: Ladies, if you will joinyour table. Gentlemen, I need your help out.Ted: Our help?Doug: We're going down the aisle and fight with these guys.Barney: What's going on?GENERICTed: Sorry, you just said...Doug: These guys areoff-handedness. So we go outside and they fit in, OK? It's gonna be fun!Doug part.Ted: He wants to be fought? As with our hands and stuff?Marshall: And your feet maybe? I do not know the rules.Ted: A fight. We gottago?Barney: No, I would fight for three things, the closing of a stubborn bra, accusations of sexual harassment... 9 of 9! And wanted to vomit when I see someone wearing brown shoes with a black suit.Marshall: Thefighting is for dummies. We are civilized people, civilized people not fight. Except with a lightsaber, but that's in for 3 or 5 years...Robin: That's not true.Marshall: I'm on the forums every day. In 3-5 Thanksgiving, Idécouperai turkey with my saber green.Robin: No, I say there are plenty of legitimate reasons to fight, it is perhaps not beautiful, but sometimes you gotta do what you gotta do.Ted: Yes, I forgot. She is sexyfights.Robin: No, it's true! I love it! I have a culture of hockey. If a guy is a fighter, it is rather sexy. And scars, seriously! If a guy has one, it has a Robin. And if he lost a tooth, I lose my panties.Barney: I lost mywisdom tooth. Without surgery. Local anesthesia. Frankly, it's nothing.Ted: We should go.Lily: I can not believe that we have this discussion. Ted, you're 30, you're too old to act like that.Ted (2030): I was 30. And ofthose 30 years, I was struck once. Flashback Ted is in a bar.Ted: There is an explanation very simp... A man gives him a punch. End flashbackTed (2030): There was this thing in colo. Flashback Ted is in the forest withchildren.Ted: Today we are going to braid friendship bracelets. A pat on the boy's private parts and they run off.Ted (2030): In college, I studied Kung-Fu. And some other stuff. For the goat, it would be a few monthsafter. End flashbackTed (2030): The idea is that I had never beaten.Ted: I'm going.Lily: No!Marshall: Listen to me, trust me, I fought hard. There is no pride to be learned.Ted: With which you fought?Marshall: Mybrothers.Barney: Yeah, it was surely the ruckus in the playroom of Eriksen. Flashback Marshall horseplay with his two brothers.A brother: I love the squabbles between brothers!Marshall: That's the monster ofguilis!Brother 2: Patrol Commies!Marshall: Wait! Go! Go! Cocoa break. End flashbackTed: Break cocoa. OK, it's time to fight.Lily: Ted, do not do that, you're a good guy. This is your greatest quality.Ted: Oh yeah? Iseem to remember that this guy was well dumped by his girlfriend for a Taekwondo teacher. It might sound crazy, but... I need that. I think it's an experience I do. I go there. Ted part.Barney: Me too! (Followed byBarney) Guys... watch what face. The next time you see it, it will be distorted as the sexiest possible. Because that's what I am: a real man. I like to fight and do battle in the dirt. You find me a wooden hanger for that?Ted and Barney arrive in the driveway but Doug already has to KO the other guy.Barney: It's been what?Doug: I know, huh! Who do now eyeing more my hairpiece?Look what they did!Ted: \"We\"?Doug: Yes, \"on\".Come on, we made a great team. Well done guys! We did it!Ted: No, you did. There was nothing we.Doug: OK, yes, it is clear, I have beaten three types alone. You and you, free drinks for life. Doug enters the bar.Ted:He thinks he fought with him.Barney: We fought with him. So we will go and tell everyone the legendary story of how we beat types. And everyone will find it great and everyone goes back to bed with me.Ted: Come onman, no one will believe we fought, we look at.Barney: Oh, it's good... Barney gives a blow to itself.Ted: What are you doing?Barney: What I should have done there is a lease.Ted: What?Barney: I dunno, I typed theeye! I even know what I say! I have a great right, either. You ready?Ted: To go home?Barney: No, for that. Barney gives a blow to Ted.Ted: You hit me in the nose!Barney: Are you crying?Ted: Yes, I cry! You hit me inthe nose!Barney: It's going to swell to death. You're going to look like Owen Wilson. Come on, we go.Ted: Ok, but we do not add too. I do not want it to catch proportions. Barney enters the bar, followed by Ted. Dougsays the fight to include Ted and Barney.Doug: Can Ted arrives, takes off her shoe hit him in the mouth... A, they are! The guys who supported me! Everyone applauds. Always at the bar, but at their usualtable...Marshall: So you fought. Seriously.Ted: No, Barney hit us head to pretend. Without in December ', Marshall!Robin: Just look at that eye. You look like a bad boy. I did not know you had it in me. You. That youhad it in you.Barney: You... want to touch? It affects the eye of Barney.Robin: My God, it's hot!Doug: The pot of victory! Blackjack! Blackjack! Blackjack!Blackjack! $ 7 50.Marshall: Why should I pay?Doug: Becausethou hast not supported. They supported me.Marshall: You know what, Doug? I will gladly pay. And why?As adults do. They pay their glasses, and they fight it. You know what I did when you were kids? That's what Idid.Barney: Your nails?Marshall: I was...Ted: The quiz of love in the last Gala?Marshall: No. I was...Barney: your best to not cry when Big came to Carrie at the end of the film s*x and the City?Marshall: You spoiles?No. I'll tell you what I did...Robin: Tips to captain the football team because he gave you his ring and you were so cute in your evening gown?Lily: I'm sorry. Lily and Marshall are in their beds.Marshall: I hate them!They behave like guys the most virile of the universe, as Crocodile Dundee and David Hasselhoff.Lily: It's the guys the most virile of the universe?Marshall: I know why they are given all the attention. In fact, it's me,the real hero.Lily: Yeah, it's you.Marshall: I'm serious, woman. Put it in your pants.Lily: You're the man every boy should be and every girl should marry. You know what? I have two boys under way that will not stopfighting. If you come to school tomorrow to tell them your story of choice of the path of nonviolence, it could put them right. And avoid me getting up early to prepare lessons.Marshall: Okay. OK. Irecadrerai.[SCENE_BREAK]Lily's class...Boy 1: wimp!Marshall: What? No! The panda and the koala Mahatma Luther King tell you that story to show...Boy 2: Show that you're a wimp?Boy 1: Why hast not beaten? Youwere afraid?Marshall: What? I was not afraid! I did a lot of fights, OK?Boy 2: You're great! You have to weigh almost 500 pounds.Marshall: First, I wear a sweater off, which has horizontal stripes. And I also... I atesalty... So I... You know what? Shut up!Boy 2: wimp! Wimp! The two boys fight while others cry. Barney and Ted are in the bar and talk with two women.Woman 1: So you've just beaten?Barney: Just?Ted: Amanda,was it that simple? You know, the fight in melee, it is more than using force against his opponent, huh B?Barney: Exactly!Ted: It is an art. The noble art, as it were.Woman 2: But I do not understand, what they did todeserve this?Barney: It may seem insignificant, but they got to our table.Ted: At our table.Barney: And...Ted: No one. Barney:... no one sits at our table. 2 men are sitting at the table.Amanda: You will beat them up?Robin arrives at that time.Barney: Let's beat them up. Ted, come on. You two. Our table.Go. Now!Ted: What are you doing?Barney: Relax, it was Doug. Doug supports us.Ted: He's not here tonight.Barney: I offer youwhat? A drink? Money? These two girls over there?Man 1: It's you, Ted Mosby.Ted: Yes.Male 2: And you're Barney Stinson?Barney: They know who you are. All right, guys. It lets you go without kick your ass. This time.Okay? Both men are given two envelopes.Ted: That's... What is it?Man 2: You are summoned.Man 1: You are charged with assault. Enjoy it. The two men leave the bar.Barney: That was close. Barney, Ted and Marshallare at the apartment and watch the invitations.Ted: Assault! They continue to attack us!Barney: What is the penalty for assault? I'll have a fine?Picking up garbage on the highway? Because I already did that.Marshall: Iknow.Ted (2030): In fact, he knew they risked a small community service, surely no criminal charges. But he was furious against us.Marshall: You could have a good time in prison.Barney: The Prison?Ted: I can not goto jail! I could read a bunch of books, writing short stories. Drag me all the time. Seriously, if I get lost really hefty...Barney: You can not go to jail! They are dying in the hallways!And meals are really heavy.Marshall:You should have thought before beating them.Ted: And if we have not done?Marshall: No what?Ted: beaten. And if Doug had beaten them all alone and we had done nothing?Marshall: I knew it! You have not evengiven a single shot.Barney: I hit Ted and me, so...Marshall: Who's the wimp now? Answer: you.Ted: You can spin us a hand?Marshall: You know the old saying: \"If you can not assume, do not pretend to have done, donot laugh and refuses glasses blackjack and not defend your friend, who, coincidentally, lived full of fights with his brothers. \"Barney: You gotta help us, Marshall. We're the Three Musketeers! If I let Ted I how long?Robin entered the apartment.Robin: Barney? I was looking for you. I have tickets for the hockey game tonight. It's stupid. Want to go? It can run late, we could go see a drink after.Marshall: Listen to this. You know,this fight? The guys were pretending. And he left the apartment.Robin: Oh, I forgot! Tonight, it is not possible. I can not go to hockey tonight, I have this... This... This... She goes into the room. Back at thebar...Marshall: Good news, I talked to the guys.Ted: What guy?Marshall: The ones you do not beaten. They will not go to trial.Lawyer.Barney: What? They dropped?Marshall: Yes, I just told them you were wimps. It hasmade us laugh. Poilade good, actually. I said that you did manicure every month.Barney: Weeks, Wolverine... Some are careful.Marshall: And you played the harp in the dance club of the pre-reform in college.Ted:You're at least they said we were one of the best medieval music group of the academy?Marshall: Sure. We were all agreed that it was a guy who had beaten and that you had nothing to do with it...Ted: Wait, so... theyattack Doug.Marshall: Affirmative.Ted: The angry, irrational, violent Doug, who now knows, you pushed under a bus.Doug (on phone): They what? Marshall, Barney, Lily and Robin are in the driveway withDoug.Barney: We can tell you...Doug: Explain what? How you have me stabbed in the back just under my eyes?Lily: Robin, I'm afraid.Robin: Yeah, Doug sees someone?Lily: You visit? You really should.Ted: Look, youdo not understand, you beat these guys all by yourself.Marshall: It's true. They have nothing to do with it. Look at them.Barney: It's Ted's fault! Barney runs off.Marshall: Look at him.Ted: Yes, look at me!Marshall: Itwould not 5 minutes in combat.Ted: I could hold at least 5...Marshall: It is as limp as spaghetti.Ted: Yes, spaghetti with meatballs... Mate it. Look!Marshall: No.Doug: OK, maybe it was... than me. In fact, it makessense. I have many black holes. In short, I have always supported. I expected much from you. And you did what? Nothing. We can not count on you. No wonder your girlfriend has dumped you.Ted (2030): And here,children, the only fight I've ever had.What can I say? For starters, a punch to the face, it hurts...very badly. And what hurts more? Ca (Doug gives him a punch too) All I remember is waking up. Barney comesrunning.Barney: OK, I'm hot. Let's go.Ted: A fight was not a good idea, actually. And that's my story. Ted tells his story to the class of Lily.Lily: And what did you learn?Ted: I learned that it is not right to fight and mustnever do.Lily: Questions?Boy 1: Where you find them?Boy 2: I know! Was a big sale at the market for wimps?Children: wimp! Wimp! And both boys are still fighting.Ted (2030): I have not told them what had reallyhappened. Flashback Barney comes running.Barney: OK, I'm hot. Let's go. What has happened?Marshall: CaTed: Damn!Marshall: Apparently, Uncle Marshall and his brothers did more than fight.Robin: Marshall lookslike. He lost weight?Lily: S *****, do not even think about. End flashback Ted and his friends at the bar.Ted (2030): Children, I would tell you that fighting is malet need to do it, but it's useless. So I tell you this: doyou ever fight with Uncle Marshall. It's a big tared. Thanksgiving day, 3 to 4 years later... Marshall is with his family at the table.Marshall: It's so good to be home. Mom, Lily, good job. \"Good meat, good food, goodLord, to the food. \"No? OK, let's go. Put your glasses. (Everyone dons glasses and takes out a sword Marshall Green) Okay, pass me the plate. Lily, white or red meat?Lily: Red! Honey, be careful."}
+{"doc_id":"doc_191","qid":"","text":"Opening scene - Seth's bedroom - Summer and Seth are in there together. Summer is wearing a winter parka, and pulls another one out of a boxSummer: (calls) Cohen come out I wanna seeSeth: alright(Seth comesout wearing red longjohns, he doesn't look happy about it either,lol)Seth: (frowns) I feel like Paul KettleSummer: (looks Seth up and down) not bad (smiles, holds out parka) try this onSeth: (raises eyebrows) oh wowyou got us matching parkasSummer: mm-hmm (turns back to the box) an matching hats an matching scarves, we're gonna be the warmest most coordinated couple at BrownSeth: yeah, you think your jumpin the guna little bit we wont get our acceptance letters till tomorrowSummer: oh please with your dorked out grades an my NASA level SAT's we are so getting inSeth: its Brown (holds out hands) everyone's got good grades anSAT's its very possible that neither of us could get in or that one of us couldSummer: uh-huh, an which one of us would that be CohenSeth: it's just as likely you'll get in an I wontSummer: (turns around) an you reallybelieve thatSeth: yeah, an then where would you be (Summer looks at him) be stuck in Providence with one half of a his an hers parka setSummer: (screws up face) yeah like id go if you didn'tSeth: what (looks atSummer)Summer: Cohen, duh, I applied ta Brown so that we could be together I'm not going without youSeth: ...Summer Browns one of the top universities in the world people dream about going thereSummer: no,you dream about going there (moves closer) I dream about being with the one I love(Seth looks down, Summer lifts the hood of Seth's parka onto his head and brushes the fluffy edging. Seth sniffs)Summer: aww evenall padded up you still look so scrawny (frowns)Seth: I'm gonna go get some water I'm sweating so much I'm getting dehydrated(Seth heads towards the door and Summer kind of waves it off and goes back to herbox)CUT TO: The pool house - Ryan and Sadie are on Ryan's bed making out pretty intensely. Ryan is on top of Sadie and he pulls her leg to his, we're seeing this from behind and then we see a close up of theirfacesSadie: I thought you were making me dinnerRyan: an I didSadie: yeahRyan: mm-hmm (kisses)Sadie: (shakes head) you didn't let me eat it (smiles)Ryan: well no ones stopping youSadie: (kisses) reallyRyan: mm(kisses)Sadie: ok (sits up) well in that caseRyan: no ooo (gently pushes Sadie back down) no (kisses)Sadie: whatRyan: mm(Ryan stops kissing Sadie and lies next to her)Ryan: so with the ninety day escrow (thinks)that means you'll be in town foooooorSadie: ninety more days Einstein (smiles)Ryan: right (Sadie laughs) that makes senseSadie: (rubs Ryan's chest) until you get accepted to whatever college you applied toRyan:yeah (sits up)(Sadie sits up slowly)Sadie: ok, should I not have mentioned it (looks at Ryan)Ryan: no no its fine (looks at Sadie) your rightSadie: your letter should be arriving like tomorrow rightRyan: yeahSadie: I'msorry but I've found ignoring the future never makes it go awayRyan: (nods) well whatever happens we'll make it work (kisses Sadie) (frowns) umm we should eat before the burgers get cold ill-ill grab somewater(Ryan leaves and Sadie watches him - the next thing we see is Ryan coming into the kitchen from outside. he sighs and we see the back of Seth standing at the fridge with the door open)Ryan: hiSeth: hey, youwant a waterRyan: sure(Seth takes 2 bottled waters out of the fridge and hands one to Ryan)Seth: I was jus (points) coolin myself off (Ryan nods, drinks) all this time I thought gettin inta college...would makeeverything so much easier (drinks)Ryan: yeah (looks at Seth) not gonna happenSeth: (looks at Ryan, swallows, frowns) there's a cold front comin through(Seth looks away and pulls the fluffy edging down over hiseyes. Ryan looks away as well)Theme song - California by Phantom Planet Roberts' backyard - Summer is sitting at the table for breakfast and Marissa comes over and sits down, she has a bowl of dry cerealMarissa:pass the milk(Summer holds up a small jug of something white)Marissa: that's cream, I said milk (looks at Summer)(Summer puts the jug of cream down and hands Marissa a taller jug with milk in it)Summer: eatingbreakfast are we (Marissa pours milk over her cereal) does this mean we're actually going to school today or d'you (frowns) just need the extra strength for all the small children you an Volchok plan to mug (raiseseyebrows)Marissa: (fake laughs) hahaha (looks down)(Julie comes out)Julie: big day girls, college letters arriving, are you excited (smiles)Marissa: yeah, deliriousJulie: (sits) don't be nervous Marissa your getting intaBerkeley (looks at Marissa) I feel it in my bonesMarissa: (stands) I gotta get ta schoolJulie: oh Marissa, your friend who dropped you off last night (Marissa looks at her) his motorcycle kind of woke up Neil you mightwant to apologiseMarissa: why, incase Dr. Roberts changes his mind (raises eyebrows) about marrying into our trailer park family (thinks) that's not really my problem (leaves)Julie: Marissa, well she's really outdoneherself again (Summer looks down) listen Summer how worried do I need to be about herSummer: ...I don't know (looks at Julie) she's not exactly confiding in me right now(Summer and Julie look at each other. Neilcomes out)Neil: morning everybodySummer: hi dadNeil: hey sweetheart, feelin lucky (kisses Summers head)Summer: um yes (closes eyes) my aura is greenNeil: oh that has'ta be good, where's MarissaJulie:she-Summer: (looks at Julie) went ta school early (looks at Neil) cause she's nervous with all the college letters an stuffNeil: oh Berkeley would be lucky ta have her (Julie smiles) an just think it's just a short motorcycleride away(Julie raises her eyebrows at Neil. Summer looks at Julie while eating, Julie raises her eyebrows again)CUT TO: Henry Griffin's tennis court - we see Henry hitting tennis balls from an automatic ball serverthing. he hits three over the net and then Sandy walks overSandy: wow that's a hell of a forehand, imagine that connecting with somebody's headHenry: hey Sandy I didn't know you were comin by (holds outhand)Sandy: (points) yeah the gate was unlocked, you should be more conscious'a securityHenry: well I'm assuming these are somewhat subtle references to what happened to Matt, hope he's okSandy: listen lets justskip to the part where you tell me you had (shakes head) nothin to do with itHenry: is he implying that I didSandy: Matt hasn't said anything, this is me talking, I want this hospital built more than anything...but if youhaven't resigned within forty eight hours (Henry looks at him) I'm gonna do everything in my power to take you down (Henry looks away then down) an I was lying (looks at Henry) your forehand sucks(Sandy leavesand Henry watches him before turning away)CUT TO: Harbor school - in the student lounge a banner is being put up as Taylor looks on. the banner is maroon and black with a picture of a sweatshirt in the middle, theword SWEATSHIRT is in solid yellow with white edging, and then in the right corner is BONFIRE in black with yellow edging. at the top on the right is SCHOOL in a yellowy orangeTaylor: I-I- I don't know about that, thatjust doesn't look right to me(Seth, Summer & Ryan walk up the stairs near where Taylor is)Taylor: (notices) oh you guys, I'm so glad to see you (Seth waves)Summer: oh, hey what's upTaylor: have you spoken toMarissa latelySummer: well if you count pass the milk an don't be so skanky(Ryan and Seth look from Summer to Taylor)Taylor: well I need to talk to her about the college sweatshirt bonfire, oh, you guys are comingrightSeth: (Ryan looks at him) is that the thing where all the seniors wear the sweatshirts (Taylor nods) of the colleges there going to, cause that always struck me as incredibly lameTaylor: oh an I need your helppassing out these fliers (hands fliers to Summer)Ryan: I gotta get to class (leaves)Seth: I gotta too (follows Ryan)(Summer looks at Seth and Ryan, poor thing)Summer: w- (sighs)Taylor: I know you guys are justmaking an excuse (holds Summers wrist so she cant follow) to get away from me, its ok it's cute (waves it off) anyway about MarissaSummer: yeah, I wouldn't count on herTaylor: (scoffs) well that's great she'ssuppose'ta get the food for the party, this is so typical (Summer raises her eyebrows) you know people join social committee they think its all fun an games (takes out cell phone) then who ends up doing the work whensomeone (dials) decides to go all Last Exit To Brooklyn, hm (looks at Summer) Taylor that's whoSummer: no, I think she's just going through something right nowTaylor: Seung Ho its Taylor, hi listen how much(whileTaylor is talking on the phone Summer looks over and notices Marissa come in. Marissa looks at Summer then looks away. Summer does the same)Taylor: Kimchi can you get me by tomorrow night (leaves and takesSummer with her) you are saving my ass Seung Ho you are really saving my ass(Marissa's cell rings and she looks at who is calling then answers)Marissa: hey, I'm glad you called(we now see Volchok at what I assumeis where he lives, its like a loft)Volchok: that's the first time anyone's ever said that (smiles) what's upMarissa: nothing, well college letters are arriving today an my moms been pressuring me about it...an Summer an Iare fighting (sighs) so I guess maybe everythingVolchok: well um (sits on the couch) some'a the guys are gonna party on the beach tonight, maybe you should come y'know, take the edge offMarissa: (smiles) can youpick me upVolchok: yeah ill be there in a half hour (hangs up)(Marissa hangs up, she raises her eyebrows and looks almost happy!)CUT TO: Johnny's house - we hear a knock and then Ryan walks in. Sadie is foldingbath towels on the floorSadie: hey youRyan: hey, thought id stop bySadie: well I'm flattered (smiles) taking time outta your busy day to come see me when you have a very important (Ryan sits) letter waiting for youat homeRyan: (leans forward) can I say I couldn't help myself (kisses Sadie)Sadie: ah-huh (kisses) you know I could probably tell you if you got inRyan: yeah (raises eyebrows, nods)Sadie: I could, I never mentioned Icould read palmsRyan: no, must've slipped your mind (smiles)Sadie: must have(Sadie takes Ryan's hand and sits down next to him on the couch, we see a close up of her running her fingers gently over Ryan'spalm)Sadie: well (looks at Ryan) your gonna be richRyan: well that's nice to knowSadie: (looks) oh whoops sorry, I read it upside down so flip thatRyan: well, easy come (smiles)Sadie: this is important, it's warningagainst (looks at Ryan) dark haired beauties who walk into your lifeRyan: (raises his eyebrows, looks down) really, what'does it saySadie: says if your not very very careful (looks at Ryan) they'll steal your heart(Ryansmiles a huge smile at Sadie and then they kiss. Ryan puts the folded towels on the floor and moves closer to Sadie)Ryan: an in all that there's-there's nothin about collegeSadie: yeah yeah, you got in (nods)(Ryan hasa wide eyed expression and then he closes his eyes as they continue kissing)CUT TO: Roberts' house - Volchok and Marissa ride up on his motorcycle. Marissa gets off and Volchok takes his helmet off, Marissa hands herhelmet to VolchokMarissa: alright I just need to grab a jacketVolchok: um, any chance you could get some beer money, I'm a little shortMarissa: sure, ill be right back(the next thing we see is Marissa coming down thestairs as she puts her jacket on. she un-tucks her hair from the jacket and goes over to Julies purse sitting on the side. she looks around and then unzips the purse and pulls out a wad of cash. Marissa shoves the moneydown the side of one of her boots and then zips Julies purse back up, as she does she notices the envelope from Berkeley. she picks it up and looks at it for a few seconds before turning it over and opening it. she pullsout the contents and starts reading, we see a close up of the letter, the parts we can see read Dear Marissa, Congratulations on your acc Of California, Berkeley. Ther Berkeley, anywhere, and you h are now challengedwith makin of selecting which major cour pursue. We know that this can we then see Marissa's reaction to the news of her acceptance! she raises her eyebrows and looks pleasantly suprised and slightly relieved. shelooks down at the letter for a few seconds and then looks up then back down almost as if she cant believe it, all of a sudden her happiness/confidence disappears and she throws everything in the trash, aww we thenhear the door open and close as she leavesCUT TO: Cohen house - the angle of the shot is inside their letter box looking out, we see as Seth opens the door and looks inside, he pulls out the stack of mail and thencloses the door. the next thing we see is him come back into the house. he takes off the elastic band and then lifts up Ryan's Berkeley letter and puts it to the bottom of the stack, he looks down at his Brown letterwhich is now at the topCUT TO: Roberts' house - Summer picks up her Brown envelope and looks at it and then turns it over and opens it. we see a shocked expression from Summer then part of what the letter sayslike before with Marissa. it reads Dear Summer, I hope you are as pleased to receive this admitted to the 243rd class to enter The Admission has selected from nearly 18, members of the class of 2010, will give classever. You will be one of 1,440 fre remarkable diversity of strengths and in we believe you can contribute to our ac from the wonderful opportunities that d we then see Summers reaction, she makes a fist and sort ofbounces excitedly on the spotSummer: oh my god (laughs, smiles)CUT TO: Cohen house - Ryan comes in the door and grabs the Berkeley envelope from the side. he rips it open and pulls the letter out, we see what itsays. it's identical to Marissa's except for Dear Ryan,Ryan: oh my god (smiles) (we then see Seth with his Brown envelope. he sits on his bed and opens the envelope, he starts reading the letter. we then see a close upof part of it, and it reads ission has completed it it is with real regret that ong our acceptances. T sible for the decision as the camera zooms in to emphasise the words real regret. we then see Seth's stunnedexpression)Seth: oh my god(Seth looks up - downstairs Summer comes in the front door)Summer: (calls) hello(Ryan is in the kitchen with the Berkeley letter)Ryan: (calls) Summer(Summer rushes in excitedly with asmile on her face)Ryan: heySummer: I got in! (huge smile)Ryan: what! yeeeaaahhh, alright(Ryan excitedly picks Summer up in a hug and spins her around, aww)Ryan: ah congratulations, that's amazingSummer:thanks, did youRyan: yeah (nods)Summer: really (claps)Ryan: yesSummer: oh congratulations!Ryan: thankyouSummer: where's CohenRyan: uhhh I I don't-(Seth comes down the stairs)Seth: heyRyan: heySeth: soyou guys both got inRyan: yeah, you(Seth looks from Ryan to Summer)Summer: (worried) oh my god(Ryan looks at Summer, Summer looks at Ryan then Seth)Seth: ...pack your muffler (smiles) we're goin to Brown(arelieved Summer hugs Seth)Ryan: yeahSummer: oooooohhhSeth: (kisses Summers head) mwaRyan: oh man (touches Seth's shoulder)Seth: yeah yeahthat's awesome dude (shakes Seth's hand)Seth: (to Ryan) an I'mproud'a youSummer: sooo happyRyan: hey hey hey(Ryan hugs Seth and Summer so its a group hug, aww. we see a close up Seth's worried face)CUT TO: Seth's bedroom, next morning - Seth is on the phone in hisrobe and PJ's, he's pacing while talkingSeth: hello, hi, I've been on hold since five in the morning so I- here's my question, is there some sort of possibility that a mistake was made cause I mean mistakes can happen(scratches head) right even at Brown (later) no no I'm not tryin'a be sarcastic at all, let me ask you this is there some sort of appeals process or um (later) next year (raises eyebrows, laughs) lady my girlfriend is is is isg- hello(Seth rubs his neck and hangs up, then screws up his face)Seth: (frustrated) yaaaaahhhhh (later) (frowns) oooohhhCUT TO: Cohen kitchen - Sandy is in there looking out the window, distracted and Kirstencomes inKirsten: SandySandy: (looks) oh heyKirsten: good morning (kisses Sandy) mmm (wraps arms around Sandy's neck) whatever problems your thinking about right now let them go (smiles) our kids got intacollege its a big daySandy: (smiles) oh your right, we did it (raises eyebrows)Kirsten: we did it (smiles)Sandy: we did it(Seth comes in)Seth: I see the self congratulation has begunKirsten: aah (runs over to Seth) oh,we are (hugs Seth) so proud of youSandy: a Cohen in the Ivy Leagues, you did the work but I think our genes deserve some'a the credit (hugs Seth)(Seth seems to be uncomfortable with all the attention he'sgetting)Seth: thanksSandy: we knew you could do it (rubs Seth's back)Seth: oh hey there's Ryan, he got inta college to (points) give him some hugsKirsten: congratulations (hugs Ryan) ooh (Ryan smiles)Sandy: ournext generation Berkeley man, congratulations (hugs Ryan)Ryan: thankyou(Seth drinks his water)Kirsten: we're so proud, both of youSandy: an you know what we should have a celebration dinner (Seth raises hiseyebrows) tonight, please invite your ladiesRyan: yeahSeth: (frowns) I don't know, you think we're makin too big a deal though (Ryan frowns at him)Kirsten: your fathers right seven thirtyRyan: sure sure (touchesSeth's arm) thanksSeth: no more hugging though physical contact freaks me out(Ryan and Seth leave. Kirsten laughs)Kirsten: feeling betterSandy: (raises eyebrows, smiles) yeah(Kirsten kisses Sandy)CUT TO:Roberts' backyard - Julie is leaving a message for MarissaJulie: Marissa I don't know where you were last night or what you think your doing but you call me as soon as you get this, I've had it young lady(Julie hangs upand sighs. Neil comes out holding Marissa's Berkeley letter)Julie: oh, Neil your up, can I get you some coffeeNeil: no (sits)Julie: Summer just left, she's so excited about Brown, she wanted to stop by REI on the way toschool something about a sub zero sleeping bag (Neil picks up Marissa's Berkeley letter) Marissa must of left super early this morning (sits) I'm worried she didn't get in an maybe is embarrassed to tell me (frowns)Neil:(looks at the Berkeley letter) she got inJulie: excuse meNeil: (holds out Berkeley stuff) I found this in the trash when I got home last nightJulie: (looks at letter) oh my godNeil: Julie we both know she didn't spend thenight here (Julie looks at him) I don't know what's goin on but we have'ta stop pretending that it's not happening (looks at Julie) (Julie looks at him) you've gotta talk to her(Julie looks down)CUT TO: Volchok's loft -Volchok and Marissa are on a mattress together with the covers over them. Volchok has one of his arms draped on Marissa. Marissa stirs and looks over at Volchok, after a few seconds she sits up and then sits on theedge of the bed while she puts her dress on. we see this first through a red mesh curtain thing which you cant see through very clearly, then it changes to a clearer blue one as she pulls the dress down. as Marissawalks away from the bed Volchok reaches his arm over to where Marissa was and stirs when he realises she's not there. Marissa sits down on the coffee table and puts her socks onVolchok: you late forsomethinMarissa: I figured id make an appearance at Harbor, its only fourth period (smiles)Volchok: so what're you doing tomorrowMarissa: my schools having this party thing I have'ta go to, all the seniors wear thesweatshirt to the college they got into, itsVolchok: the gayest thing I've ever heard (looks at Marissa) (Marissa looks at him then down) so your really thinkin about going to collegeMarissa: why, you don't see it(smiles)(Volchok raises his eyebrows and then sits on the edge of the bed)Volchok: so uh me an some'a the guys are going to Baja for the weekend, you know surf, smoke some Mexican green (smiles, looks at Marissa)wanna come (Marissa looks at him) or can't you miss your gay sweatshirt party(Marissa looks as though she's thinking)CUT TO: Harbor school - Ryan is in the student lounge and Summer goes over to himSummer:hey, Atwood, have you seen SkeletorRyan: uh no whySummer: well I bought us thermal face masks for Providence an I wanted him to try his onRyan: oh, well why don't you just bring em to dinner tonight (Summerlooks at him, clueless) Sandy an Kirsten the uh celebration thingy (raises eyebrows) I'm sure he meant ta tell youSummer: oh (nods) well yeah, probablyRyan: probably (smiles uncomfortably)Summer: (looks down)um, when you see him will you give him this(Summer yanks Ryan's head down by the front of his hair and then walks off. Ryan screws up his face and then turns around, he notices a foot that looks alot like Seth's. wesee someone slouched on the couch reading, with his foot up on the table. Ryan pulls the calculus book down and we see that it is indeed Seth)Ryan: hey man (sits next to Seth) um, Summer was lookin for you (looks"}
+{"doc_id":"doc_192","qid":"","text":"[PREVIOUSLY_ON]IAN: What the hell? I knew you guys couldn't be complete dorks.CLAY: Complete dorks and officially your agents.NATHAN: You got a bathroom in this place?IAN: There's one in the back of the housepassed the kitchen.BROOKE: Julian!CHLOE: I want two people who are gonna love this baby, and that's the reason why I want you guys to be the parents.BROOKE: Well, since we don't know the s*x, I like yellow.Julian likes green.JULIAN: She just changed her mind, Brooke. She held her in her arms, and she just couldn't go through with it.HALEY: Quinn? It's time.NATHAN: It's a girl.QUINN: Yay!HALEY: This is Lydia BobScott.NALEY'S HOUSEHaley puts Lydia in her crib.BRULIAN'S HOUSEBrooke arranges the businesses of the baby.KELLERMAN'S HOUSENathan, Julian and Clay looks at car which is the garage.NATHAN: Was that the carfrom the bridge that night?FLASHBACK, GABEL BRIDGEJULIAN: No, stop! Stop! Stop!BROOKE: Julian!JULIAN: No, Brooke!CLAY'S CARJulian is with Clay.JULIAN: What the hell is wrong with people? How do you justdrive away from an accident like that?CLAY: Nate said he found an empty bottle of Phidian's in the front seat.JULIAN: Bourbon? No wonder his son's a douche bag. This guy is an educator, a teacher who talks aboutethics in business every day, and he just gets drunk, nearly kills Jamie and my wife, and just drives away. Ugh! Brooke nearly drowned that night, and he just leaves her there and gets away with it.CLAY: Not for long.Hey, by the way, I'm sorry about the baby and the adoption. How's Brooke doing?JULIAN: She's devastated. You know, she's trying, but she's a mess.CLAY: Well, for what it's worth, she didn't die on that bridge. Youknow, she's alive. You two have each other. And take it from me that's a hell of a lot to have. Kellerman's class is about to start.KELLERMAN'S CLASSThe class is starting. August sees Jamie in a seat.AUGUST: Goodmorning. Take your seats. Stop talking, and let's begin. Well, it seems my class gets younger every day. You must have done exceedingly well on your advanced placement exams. What's your name, son?JAMIE: JamieScott.AUGUST: Jamie Scott. Of course. And your father is...JAMIE: Nathan Scott. He's sitting right there.AUGUST: Mr. Scott. Is it because you couldn't afford a sitter, or did you bring your son to match wits with me,like your so-called business partner, who, frankly, looked to be about the same age?NATHAN: Nothing like that. He just wanted to see you again. AUGUST; But I don't believe we've met.NATHAN: You have, briefly. Weran into each other the night of the big storm. Well, actually, you ran into Jamie. You were in your Wagoneer.AUGUST: You're sure it was the night of the storm?NATHAN: Absolutely. You were in your Wagoneer, andyou were with your friend, Mr. Phidian. And you were in a hurry, so we really didn't get a chance to talk.AUGUST: Well, we should do that perhaps after class in my office.NATHAN: We know where to find you. Come on,Jamie. We're holding up class.(Nathan and Jamie leave)AUGUST: You know... You won't get another today. Go enjoy it. Class dismissed.STUDENTS: Whoo!ONE TREE HILL - OPEN CREDITSRED BEDRROMRECORDSQuinn sees a microphone and starts to sing \"Eye of the tiger\".QUINN: \"It's the eye of the tiger, it's the thrill of the fight risin' up to the challenge of our rivals and the last-known survivor stalks his prey in thenight and he's watching us all in the ey-y-e\"(She sees Alex)QUINN: Of the tiger. Hey.CLUB TRICMillie asks to Mouth to find a new topic for the new show.MOUTH: Drugs -- more specifically, drug stores.MILLICENT: I doa story on drug stores? What's the angle?MOUTH: The angle is how drug stores are the new coffeehouses. Remember when there was a new coffee shop on every block? Well, now it's drug stores. They're everywhere.It's like caffeine used to be the drug of choice, but now people are skipping the coffee and going right for the actual drugs.MILLICENT: They could wash it down with the coffee. What else you got?MOUTH: How 'bout theairlines? We keep bailing them out with more money, and they keep sucking. You could do an expose on the worst airline on the planet. They have those planes that don't ever leave the airport.MILLICENT: I shouldprobably keep it more general than that.MOUTH: Okay, so talk about how the airlines charge for everything now snacks, bags, that ratty scrap of disease they call a blanket.MILLICENT: Not bad.MOUTH: And they lie.They're such liars. They know when your flight's gonna be three hours late, but instead of telling you, they say your flight's on time. Then they change the status every 20 minutes to give you 9 times' worth of falsehope, as if that somehow makes it not as bad. Oh, how 'bout when they tell you to turn off your phone for safety reasons? If the safety of the plane could be affected by cellphones, do you really think they'd let youbring them on board?MILLICENT: I never thought of that.MOUTH: In this day and age, considering all their restrictions, we're really gonna trust first-time-flyer Carl back in 14C to turn off his cellphone so we can all landsafely? I mean, considering he boarded with the wrong group, reeks of cologne, and laughs out loud at his own jokes, that's the guy we're gonna trust to do the right thing?MILLICENT: You're kind of angry, MarvinMcFadden.MOUTH: About flying? Yeah, a little. Some idiot tries to light a bomb with his stinking sweaty feet, and now I got to take my shoes off to walk through the foot rot of a million travelers every time I fly. Theyshould have sentenced that guy to stand near the security check at every major airport, and we should get unlimited kicks.MILLICENT: My baby is cranky.NALEY'S HOUSEHaley tries to deaden Lydia. Jamie comesin.HALEY: Who's a fussy baby? Who's a fussy baby? No, there's no reason to fuss. No, there's no reason to fuss, baby. Oh. Shh, shh, shh, shh, shh.JAMIE: Mom, Chester's a little upset with you.HALEY: Oh, boy, a baby,and a bunny. Well, the cute factor's high. Why is Chester upset?JAMIE: Well, I kind of told him that Lydia's middle name was Bob after of grandma's cat, and he was a little hurt by it.HALEY: Oh. Gee, I'm sorry. Well, hedoes have a good point. Lydia Chester Scott -- I don't know. It doesn't quite have the right ring to it, does it? Does it?JAMIE: I guess. But if I ever have a kid...Their middle name's gonna be Chester.HALEY: I supposethat's fair. So, what do you got going on today, kiddo?JAMIE: Not much. Dad's gonna take me to the Rivercourt every day this week as a reward.HALEY: A reward for what?JAMIE: For going to his class and messingwith his teacher.HALEY: August Kellerman?JAMIE: Yeah, I think that's him. He has the bulldog, right?HALEY: Yeah, Dogust.JAMIE: I wonder if his son's middle name is Dogust. She's pretty awesome, mom.HALEY: Yeah.I think so, too.RED BEDROOM RECORDSAlex imitates Quinn.ALEX: \"It's the eye of the tiger, it's the cream of the fight rising up to the challenge of our rivals\"QUINN: Very funny. By the way, it's \"thrill,\" not\"cream.\"ALEX: Oh, I thought it was \"cream.\"QUINN: Why would it be \"cream of the fight\"?ALEX: Good point. \"Thrill\" is better.QUINN: What are you doing here, anyway?ALEX: I was just gonna ask you the samething.QUINN: Well, Haley asked me to help out for a couple of weeks since Lydia was born, which happens to be very good news for you.ALEX: Why? Because I get free studio time?QUINN: No. How many songs do youhave?ALEX: Uh, I don't know. A bunch.QUINN: Good. How would you like to open for Olin & The Moon?ALEX: Oh, my God! Are you kidding me?! Yes, absolutely!QUINN: Perfect. It'll be this weekend.ALEX: Thisweekend?QUINN: Yeah.ALEX: I'm opening?QUINN: Mm-hmm.ALEX: For Olin & The... who?QUINN: The moon, yes. I hope.ALEX: Wait. No, no, no, no, no. Why you hope so?QUINN: Well, I mean, I have you. I just haveto get Olin & The Moon.ALEX: Damn it.QUINN: No. No \"damn it.\" Besides... I know something you don't.KELLERMAN'S OFFICENathan has a conversation with August.AUGUST: Whatever you think you know, you'vemade a mistake.NATHAN: I saw the car in your garage.AUGUST: First of all, my home and my vehicle are my own business. Beyond that, I had an accident. So what? So what?NATHAN: So you nearly killed my son anda good friend.AUGUST: You're wrong. I swerved to miss some deer, and I hit a light pole.NATHAN: You hit a car, Kellerman, on the Gabel Bridge, and then you drove away and left two people drowning in the river whenthe levee broke.AUGUST: I didn't...NATHAN: You didn't what? You didn't do it, or you don't remember doing it, considering the empty bottle of bourbon I found underneath your front seat?AUGUST: You're making amistake.NATHAN: Okay. Okay. So, you had an accident the night of the big storm, you smashed the front of your late-model maroon Grand Wagoneer, and then you drove away without anybody seeing. Meanwhile, adifferent late-model maroon Grand Wagoneer crashed into my son's car on the same night at around the same time, and then also drove away. And the eyewitness is mistaken.AUGUST: I have nothing else to say toyou.NATHAN: Well, I have something to say to you. My son was trapped inside that car. He was scared, and he was alone, and you left him there. His godmother nearly died that night in front of his eyes. And you couldhave helped them, but instead, you slipped into the shadows like a coward. Well, I'm about to shine a light into those shadows because I know what you did, and you know what you did. And this is going to be maderight by you or by me. You think about that.BRULIAN'S HOUSEBrooke is sad for she couldn't have the baby.JULIAN: Brooke, it's okay.BROOKE: I know.JULIAN: I don't want you to worry about this stuff. I'm gonna paintthe wall, and we're gonna send these things back, and we're gonna be just fine.BROOKE: I know. I'm all right. I can do it.JULIAN: Hey. It's gonna be okay.NALEY'S HOUSEQuinn sings a song for Lydia.QUINN: \"Mahnamahna, doo doo-doo doo-doo mahna mahna, doo doo-doo-doo mahna mahna, doo-doo doo-doo-doo doo-doo-doo doo-doo-doo Dee Dee-Dee-Dee Dee-Dee-Dee mahna-mah, mahna mah ma mahna mahna mahna mahmahna mah. »(Haley comes in)QUINN: Hey!HALEY: Okay. Let's take the baby from insane Aunt Quinn.QUINN: Oh, she likes her Aunt Quinn.HALEY: Oh. Come here. Come here, baby.QUINN: Besides, insane Aunt Quinnjust booked Olin & The Moon to play Tric this weekend.HALEY: Oh. Get out of here.QUINN: Yeah.HALEY: No, let's get out of here. She needs to sleep.QUINN: Yeah. Yeah.BRULIAN'S HOUSEBrooke and Julian are readyto paint the room. Phone rings.JULIAN: You want it?BROOKE: Depends. Who is it?JULIAN: It's... Clothes Over Bros.BROOKE: Hello?CLUB TRICAlex joins Chase in the Tric.ALEX: Hello.CHASE: Hey, is that world-famousactress Alex Dupré or world-famous singer Alex Dupré?ALEX: Not world-famous yet, but someday. So, check it out.CHASE: Well, well. How much more handsome do I look?ALEX: Same, which is very. Just thought youmight want to see the baby steps.CHASE: Very badass. How we doing on the booze and boys front?ALEX: Well, I don't know how you're doing with booze and boys, considering you gave my job to mouth after he tied acherry stem with his tongue. But I'm doing quite well, actually.CHASE: You are. You're doing great. I'm proud of you for it.ALEX: Baby steps.NALEY'S HOUSEHaley plays with Lydia.COFFEE BARVictoria joins Brooke inthe coffee.VICTORIA: Hi, honey.BROOKE: Hi.VICTORIA: So, how are you?BROOKE: Clothes Over Bros offered me a job.VICTORIA: Well, it's about time. Let me guess -- the line doesn't work without the talented girlwho spins the straw into gold.BROOKE: I suppose.VICTORIA: Vice President?BROOKE: How'd you know?VICTORIA: It's what I would have done. Then they get your taste and your talent, and the higher-ups don't gettheir egos bruised. How's the money?BROOKE: It's good. Maybe it's better than good. I get all influence creatively, and they still own my apartment in New York.VICTORIA: You'd come back to New York, full time? Howdoes Julian feel about New York?BROOKE: He wants to go. We both do.VICTORIA: I'm sorry about the adoption.BROOKE: Me too.VICTORIA: But if the money is better than good, you'd be crazy not to take it.BROOKE:Do you think so?VICTORIA: It's New York. It's lucrative. It's what you love to do. And it's your baby.RIVERCOURTNathan and Jamie come to play basketball.JAMIE: So, dad, today, I thought we could play a game withLydia.NATHAN: Yeah. Then, maybe after, we can work on your left hand.JAMIE: Hey, where'd the baskets go?NATHAN: \"Future home of: The River View Condominiums.\"JAMIE: What does that mean for theRivercourt?NATHAN: There won't be a Rivercourt.(Nathan calls Mouth)NATHAN(at phone): Hey, Mouth, do you know about the Rivercourt? Yeah, there's a sign up here that says they're turning it into condos somethingcalled the River View Condominiums. Yeah. Hey, uh...I'm gonna have to call you back. Okay. See you.August comes in and wants to talks with Nathan.AUGUST: Just the man I wanted to see.JAMIE: I believe I owe youan apology.AUGUST: It's okay. That's gracious of you, Jamie, but it's certainly not okay. Do you mind if I speak to your father for a minute?JAMIE: Well, we can't play anyway.NATHAN: Jamie, why don't you go aheadand wait in the car for a minute, okay?JAMIE: Okay.NATHAN: Thanks, buddy.JAMIE: Hey, Professor Kellerman, can your dog actually ride a skateboard?AUGUST: He can.JAMIE: Cool.AUGUST: I've been \"ProfessorKellerman\" for nearly 30 years. I'm a senior academic with tenure. Do you know what that means?NATHAN: It means they can't fire you.AUGUST: It means they can't fire you without cause, usually stemming fromsevere misconduct. You mind if we sit?NATHAN: I'd rather stand.AUGUST: I'll sit. Academic tenure is primarily intended to guarantee the right of academic freedom. It protects teachers when they dissent fromprevailing opinion, openly disagree with authorities, or spend time on unfashionable topics. It does not, however, allow you to drive drunk and flee the scene of an accident, which is what I did. I was having a dinner inRaleigh, and I-I didn't want to wait out the storm.NATHAN: So you drove home drunk, with an open bottle of Phidian's in the car.AUGUST: And that was wrong. So, as of today, I'm no longer Professor Kellerman. I'veresigned my position. And I'll pay for any damages to the vehicle, hospital bills -- all of it. I'd appreciate that the authorities not be involved, but I'll understand if you feel it's necessary. And one more thing. I'm sorry.It's a good system, tenure... Except when teachers fail to use their freedom for the common good. Condos. It's a shame. Parks are important to a community, for families, fathers and sons. It's a shame.CLUBTRIC/NALEY'S HOUSEHaley can see the Tric by the TV.QUINN: Hey-y-y...testing. Testing. Hales?HALEY: Awesome! There you are.QUINN: See, this way, you can be here for the show and be home with Lydia,too.HALEY: That's so cool. Thank you. You look like you're on TV.QUINN: I've always wanted to be on TV.HALEY: Well, sing or dance or entertain me or something.QUINN: Um... \"It's the eye of the tiger, it's the thrill ofthe fight not the cream to the challenge of our rivals and the last-known survivor stalks his prey in the night\"(The band come in)HALEY: Quinny, uh...QUINN: \"And he's watching us all with the eye\". Um... Hey.BARCOFFEEIan joins Nathan and Clay.IAN: Hey.NATHAN: Hey.CLAY: Thanks for coming.IAN: First off, congrats on the baby. Very strong. Tell her to come and see me in about 17 years.NATHAN: Wow.IAN: Second, uh...Idon't know what to say. My dad is, um... Well, as you know, we're not very close, and, um...I just hope that what happened doesn't affect us you know, the three of us.CLAY: We represent you, Ian. We don't representyour father.IAN: Well, I appreciate that. I mean, the truth of the matter is, I feel bad for the old man, but at the same time, I got a showcase coming up.NATHAN: And that's what you should be focused on. That's whywe wanted to talk to you today. That workout's a big deal.CLAY: Yeah, there's gonna be some big-time scouts there. Now, you just need to do what you do and just close the rest of it out.NATHAN: It's like you told methat night on the mound he cannot touch you out there. You throw the ball, you strike them out, and that's it. We'll do the rest.IAN: Okay. But before that, we need to get some drinks celebrate that baby.CLAY: Whatare you guys doing tonight? I'm going to Tric. Olin & The Moon, Alex Dupré. If you guys want to roll through, I can put you on the list.NATHAN: I'm gonna try to make it. It'll probably be a late night, though.IAN:Perfect. I'm gonna get a workout in, and, um, I want to avoid Alex Dupré. I was kind of working that, but she totally blew me off.CLAY: Smart girl.NATHAN: All right, I got to go. Clay, I will see you tonight if you can getin. Ian, why don't you ask Clay why Alex Dupré knows he can see the ocean from his bedroom? I've never asked him.IAN: So?CLAY: Uh... I'm thinking pancakes.NALEY'S HOUSEBrooke has come to see Lydia and talksabout her new offer.HALEY: I can't believe they're gonna tear down the Rivercourt. It's gonna be so weird not to have it here.bIt's sad. Like...Reminds me that we're not who we used to be anymore.BROOKE: I got anoffer to go to New York.HALEY: What?BROOKE: A job offer to move to New York and design.HALEY: For who?BROOKE: Clothes Over Bros.HALEY: Is that something that you'd consider?BROOKE: Victoria thinks I should.Maybe it's good that the Rivercourt will be gone. When we see it, it just reminds us of what's gone of who we thought we'd be someday.RIVERCOURTSkills, Mouth and Millie discover the new project.SKILLS: \"Futurehome of: River View Condominiums\"? Former home of a river view condominiums sign.MOUTH: I can't believe it. We've spent most of our lives out here.SKILLS: Yeah, every night and I mean every night.MOUTH: Wecalled every game here me and...Jimmy.MILLICENT: Maybe there's something we can do find out if it's definitely happening and how soon.SKILLS: A lot of living done right here, bro the end of an era.CLUB TRICChasejoins Alex in her loge.CHASE: How you doing, devilish?ALEX: I need a drink... And a boy. I need a drink and a boy.CHASE: So much for baby steps.ALEX: Mia was right. I'm not a musician. I'm just an actress pretendingto be one.CHASE: No, you're not. I've heard your songs. They're great. And so are you. Don't drink that.ALEX: Fine. Cheers. Mmm. Boy with a booze chaser. Yum. Okay. Quinn introduces Alex.QUINN: Ladies andgentlemen, please welcome the very beautiful and very talented Alex Dupré. Alex starts to sing. Quinn joins Chase in the bar.QUINN: She's good, huh?CHASE: Yeah.QUINN: And sexy and single. I'm just saying.NALEY'SHOUSEJamie and Nathan plays with Lydia.BRULIAN'S HOUSEBrooke drinks alcohol to forget her pains.GABEL BRIDGEJulian goes back in the accident place.FLASHBACK, GABEL BRIDGEJamie and Brooke wedged in thecar.JAMIE: What's happening?JULIAN: It's the levee! I got to get you out now!BROOKE: Julian...JULIAN: I can do it.BROOKE: Help him.JULIAN: I can do it.BROOKE: Julian, he's just a boy.JULIAN: I can get you out,Brooke!BROOKE: Julian, save him, and then save me. Please? He's just a boy. Go.CLINN'S HOUSEClay has fun to play the cow-boys.RIVERCOURTMouth ans Millie dance and Skills plays basketball around them.CLUBTRICAlex finishes her song.NALEY'S HOUSEJulian looks at picture of the family. Nathan sees him.NATHAN: Want a beer or something?JULIAN: No, thanks. I'm good.NATHAN: So, Kellerman came to see me yesterday.He admitted that it was him. He resigned his teaching position, and he offered to pay any costs associated with the accident, and he apologized.JULIAN: He apologized?!NATHAN: I'm not defending him, Julian. I justwanted you to know what happened. He said that he was hoping we wouldn't go to the cops, but if we did, he would accept whatever happens.JULIAN: You see, this is what I'm talking about, Nate so now it's on us? SoI got to feel guilty if we turn in Kellerman for getting drunk and driving like an idiot? Great! That's on me now.NATHAN: And me. What do you think?JULIAN: I don't know. What do you think?NATHAN: I thinkKellerman's life was academia, and he just lost that.But if you want to turn him in, I'm completely fine with that, too. This has nothing to do with Ian or Fortitude.JULIAN: I know that, but I want to talk to him.NATHAN:Ian?JULIAN: August Kellerman. I want to look him in the eye and hear his side of things.NATHAN: I think that's fair.CLUB TRICQuinn introduces the next group.QUINN: First off, I want to say \"hi\" to my sister Haley.She's home tonight but, uh, watching on her webcam. So, let's all turn around and say, \"hi, Haley!\"PUBLIC: Hi, Haley! Hi, Haley! Hi, Haley! Hi, Haley!HALEY(at webcam): Hi! Say \"hi,\" Lydia. Hi!QUINN: Perfect. Now let's"}
+{"doc_id":"doc_193","qid":"","text":"Becca: Vernon and I just want to thank you all for coming. Ever since I was a small girl, I've dreamt of this day.Vernon: Me, too.(laughter)Becca: Sure, in my fantasy, it took place at Fraggle Rock. (laughter) I wasmarrying Johnny Depp.Vernon: Me, too.(laughter)(Becca clears her throat)Becca: But in all seriousness, it is so amazing to be surrounded by so many people who care about us. We really feel... so much love from youguys. And as the Beatles said, \"All you need is love.\"And a Vera Wang dress.(Becca chuckles)(laughter)Vernon and I are looking forward to seeing you at our 50th wedding anniversary.(Becca laughs)(crying): Promisedmyself I wasn't gonna do this.Uh, Jimmy, are you having a-a good time?Jimmy: Absolutely. Just so glad you invited me.Becca: Really?Jimmy: Of course. Sometimes, well, you just want to witness the beginning of adisaster, so later, when the house is engulfed in flames, you can say, \"Yup, I was there when they installed the faulty wiring.\"Becca: Unbelievable.Jimmy: Just admit it. You only invited me here so you couldpassive-aggressively rub my nose in your happiness. At least I would have had the decency to rub your nose in it directly.Becca: Oh, yes, your commitment to honesty is so refreshing. It must be so hard being the onlyone who sees people for what they actually are.Jimmy: It is. It's incredibly hard.Becca: Well, it's also gonna be what keeps you alone, because you are ugly and unpleasant and honestly, Jimmy, you're not the originalyou think you are.Jimmy: I'm not original? Wow! That is hilarious, coming from such a... No, you're right. This day isn't about me, is it?Becca: What were you gonna say?Jimmy: Forget it.Becca: No, I'm serious. I reallywant to know what does (in British accent): the brilliant Jimmy Shive-Overly think about me?(Jimmy grunts)Vernon: You talk to her again, and me and my boys will mess you up.Jimmy: Who talks like that?Vernon: I'mserious, Jimmy.Jimmy: Fine, not a problem.Enjoy your sham of a marriage!Vernon: I will!Gretchen: You got another one of those?Jimmy: Pretty expensive.Gretchen: Good job in there.Jimmy: Getting married doesn'tremove you from the burden of having to act like a human being.Gretchen: Totally. Those two are doomed.Jimmy: Right? Has any couple ever had a more dishonest start to a marriage? I mean, the balls to have atraditional Catholic ceremony.Gretchen: When she's already had two abortions.Jimmy: And can only orgasm through a**l.(people gasp and mutter)Jimmy: Mr. and Mrs. Cottumaccio.Man: Let's go inside.Jimmy: OldCottumaccios.(man mutters)You're pretty.Gretchen: Thanks?Jimmy: How do you know her?Gretchen: I'm friends with the sister.Jimmy: Friends with Fat Lindsay?Gretchen: Yeah, me and Fat Lindsay are hellaclose.Jimmy: So, uh, what you heard about me?Gretchen: Nothing, just that you're the worst.Jimmy: Says the girl who just stole a blender from a wedding.Gretchen: No. Really? Oh, man! I thought it was a foodprocessor.Jimmy: Who's the worst now?Gretchen: Yeah, well...Gretchen: I don't know what I'm doing here. I'm not even attracted to you.Jimmy: What does that have to do with anything?Gretchen: Yeah. \u0000 Don't lookahead There's stormy weather... \u0000Jimmy: What? It's L.A. Who doesn't drive?Gretchen: DUI. I occasionally see this movie director guy.Jimmy: Gross.Gretchen: One time, he booty-texted me from some awards show. Iwas already at the bar, so I drove over to his house, and then he texted me he was going to be late, so I idly drove around his neighborhood...(chuckles): until I kind of sideswiped an off-duty cop.Jimmy: Do you know,I'm glad this is a one-night thing, so we can reveal all this awful sh1t about ourselves.Gretchen (chuckles): Totally. High five. I'll get that. Okay, I like that.Jimmy: All girls do.Gretchen: Don't call me \"all girls.\" Damn it.That's good, too. \u0000 Don't look ahead There's stormy weather... \u0000Jimmy: You know, right before Becca broke up with me, I started reading her e-mail.Gretchen: Oh, I've done that.Jimmy: So even though I hadwarning, when she broke up with me, it kind of... just kind of knocked me out. Even though she's clearly a ridiculous human being, you know?Gretchen: Yeah. Break-ups hurt. I've heard. I don't really dorelationships.Jimmy: Me, neither. Anymore.Gretchen: So, what, are you one of those creepy foot guys?Jimmy: No. I have nervous hands, and they have to stay busy.(moaning)Gretchen: Yeah, that's good.Oh, don'tstop, you son of a bitch. Oh, yeah...(Jimmy spits)You just spit on it?Jimmy: Yeah.Gretchen: You just spit on my v*g1n*.Jimmy: So?Gretchen: Don't!Jimmy: Why?Gretchen: Why don't spit on my v*g1n*?Jimmy: It'ssaliva. It's gonna get there anyway.Gretchen: Hmm. And that's how I got crabs from my guidance counselor.(Gretchen chuckles)Jimmy (softly): Hey.Gretchen: Hey.Jimmy: Right.Uh, I should get some sleep,so...Gretchen: Right. Good night.Jimmy: Wait. What?Gretchen: Oh, relax. I'm just lazy. I'll sneak out in the morning.Jimmy: No, there are no sleepovers.Gretchen: Oh, too bad.Jimmy: I have sleep apnea. I have towear a CPAP machine.Gretchen: Don't care. I'm a log.(CPAP machine beeps, whirrs)(Gretchen laughs)You look like Top Gun.Jimmy: Shut up.Gretchen: I'm so glad I'm not gonna remember any of this in themorning.(machine whirrs rhythmically)\"Never leave your wingman.\"(both laugh)Jimmy: So stupid.(Jimmy sighs)Edgar: Good morning.So, I've been thinking about ghosts.Jimmy: Oh, the things that don't exist becausethere is no soul?Edgar: Mm...Jimmy: What a great use of your time.Edgar: You know my great-grandfather Baldemar on my father's side, right?Jimmy: What? No. How could I possibly know your great...?Edgar: Oh, hewas this crazy adventurer guy who owned a ranch in Zihuatanejo, and he sold arms and was a matador. Jimmy: What was his name? Voldemort? Never mind.Edgar: The coolest guy. Because I was thinking, he soundslike he had it all worked out, and maybe if I could learn his secrets, then I could fix my problems.Jimmy: How would meeting your dead relative help you move out of my house?Edgar: No, I'm talking about my realproblems. Like, the nightmares and the crying, and how I want to do heroin all the time. So, anyway, what do you think?Jimmy: What do I think about what?Edgar: If I should hold a seance to contact great-grandfatherBaldemar.Jimmy: No.Edgar: I think I'm gonna do it. Thanks.Gretchen: Why did you let me sleep so late? I'm famished. Nice place.Edgar: Hi. I'm Edgar.Gretchen: Mmm. Gretchen. This is dynamite.Edgar: Oh,thanks.Gretchen: So, how do you guys know each other?Edgar: Uh, we met in college.Jimmy: No, we didn't.Edgar: Well, he was in college, and I sold weed to college kids. Then he started giving me books to read,'cause he saw untapped potential in me.Jimmy: I gave you books that I stole from Borders because I didn't have money for weed.Edgar: Semantics. Have you read his book yet?Gretchen: No.Edgar: Sales were flatterthan expected, plus he blew all his money on this house. That's why he has to do more magazine work, but you should read it. It's real good.Gretchen: Okay.Jimmy: At least buy your own copy.Gretchen (laughs):Right. So, which one of you is giving me a ride to work?Edgar: I can't drive because I have PTSD and mild to medium battlefield-induced psychosis.Gretchen: Bummer. Jimmy, you're up.Jimmy: My car's at thereception. We took a cab.Gretchen: We did? Damn.Lindsay: I can't believe it.Gretchen: Drive faster. I'm late.Lindsay: You slept with Jimmy.Gretchen: Apparently.Lindsay: Who used to date my sister.Gretchen: Yeah, Iknow.Lindsay: And on the night of her wedding?Gretchen: Why are you crawling up my ass about this, Lindsay?Lindsay: You know what a jerk he is. I told you all the time how he swallowed her up. She disappeared herlife into his and was never the Same.Gretchen: Oh, that's 'cause Becca doesn't have a personality to begin with.Lindsay: Well, that's true. Ugh! Oh, Jimmy's the worst. Did he say anything about me?Gretchen:Nope.Lindsay: You're not gonna see him again, are you?Gretchen: No way. We did have fun, though.(Lindsay groans)Oh, God, I hope he doesn't think it was, like, an actual thing.Lindsay: No kidding. Um, get... Can yoube careful where you're putting your makeup, and can you take your feet off the dashboard? This is a lease.Gretchen: Okay.(phone buzzing)Stop the car.Lindsay: What?Gretchen: Stop the car! I'd rather walk than drivein this sterile, suburban, piece of sh1t car with my best friend being shitty and judgmental to me 'cause I had s*x with a guy at a wedding. How many guys did you blow at our five-year reunion?Lindsay: Four.Gretchen:Four? You told me three.Lindsay: I might have left out Tor Borgfeldt.Gretchen: Ew! I'm seriously nauseated right now.Lindsay: Oh, God. We used to have so much fun.Gretchen: Yeah, we did. Why'd you have to getmarried?Lindsay: I know. I'm sorry. Do you like my new haircut?Gretchen: No, you look like Ellen Barkin. If you get your real estate license, I will stab you in the tits.Jimmy: Brilliant. Absolutelybrilliant.[SCENE_BREAK]Killian: Hi.Jimmy: What?Killian: I just moved in... over there.Jimmy: Of course you did.Killian: Why do you say that?Jimmy: Because the death of any interesting neighborhood is the influx ofwhite procreators.Killian: Oh, that's cool. My nutritionist is gay, too.Jimmy: I'm not gay. I'm English.(Jimmy sighs)Killian: What's that?Jimmy: A royalty check for my book for... $17.43.Do you know, if there was anydoubt that the book industry was dead, it is here in my hand. R.I.P., literature. 2000 BC to this moment.Killian: You want to hang out sometime?Jimmy: What? What are you even talking about? I'm an adult. Do youknow what that means? It means that I am beset upon at all times by a tsunami of complex thoughts and struggles, unceasingly aware of my own mortality and able to contemplate the futility of everything and yet stillrage against the dying of the light. So do you see how monumentally stupid you, a child, asking me \"do I want to hang out sometime\" is?Killian: My dad designs video games. We get all the new ones early.Jimmy:Come over around 8:00.\u0000 As rumor has it still \u0000 \u0000 I followed the rules \u0000 \u0000 Of Frank Abagnale \u0000 \u0000 So catch me if you can \u0000 \u0000 There ain't people... \u0000Gretchen: What the crap?!Sam: You know I get nervous at thesesh1ts.Gretchen: You are paying a guy to take your photograph, and you trash his studio?Sam: You weren't here! Unprofessional as sh1t! A publicist who can't show up at publicity events? Don't even know what I'mpaying you for, Gretchen!Gretchen: The label pays me.Sam: You know it all gets charged against my end, bitch! Label is villains. From now on, I'm just gonna drop free mix tapes and Vines of my guinea pigs!Gretchen:You need to apologize to Nestor so he doesn't sue you.Sam: Let him. I'll lawyer the hell up!Gretchen: Nestor is a great photographer. We need him.Sam: Anyone's a good photographer now. Shitstain take amazingInstagrams.Shitstain: No filter.Honey Nutz: Yeah! @Shitstain!Sam: Anyway, bitch, this is your fault. You need to apologize to him for being such a no-showing-up bitch!\u0000 Get down, get down \u0000 \u0000 Get down, get down\u0000 \u0000 Get down, get down \u0000 \u0000 Get down, get... \u0000Sam: We're sorry we broke your sh1t.Gretchen: Okay, good. Nestor, we'll talk about restitution? Hey. You okay?Sam: Yeah. Hell were you doing anyway?Gretchen:Nothing worth talking about.Sam: You still need to make it up to us. I'll fire your ass, and it won't mean sh1t to me.Gretchen: Yes, it will.Sam: I'm serious. You owe me, Gretch.Gretchen: Okay, Sam. What do youneed?Sam: You need to kiss my quarter-Chickasaw ass! Then you need to get me some cocaine. I'm too famous to get it myself. I'm not playing. You on probation now. Yo! Ooh! Wait now. Hold on! High five. Put herthere. She's hot.(door unlocks)Edgar: I got your car towed back here.And look who I found getting out of a cab.Gretchen: Don't worry. I forgot my purse. Not on purpose or anything.Edgar: I'm gonna leave you twoalone.Gretchen: He's sweet. It's nice that you let him live here.Jimmy: You know your purse had food in it. It was covered in ants. Who keeps food in their purse?Gretchen: Whoa. What's your problem?Jimmy: Well, I'vehad a really shitty day. And then I come home to find that my bedroom is a goddamn '50s sci-fi movie. And why would you stay over, huh? That's amateur hour.Gretchen: Here I was worried you were gonna get thewrong idea about last night. So thank you for saving me the speech.Jimmy: You were gonna make a speech?Gretchen: Okay, forget it.Jimmy: Yeah, no kidding. Save your breath.Gretchen: I don't know what planetthat you're from, but on my planet, someone like you does not just get... this! Congratulations, you bagged a weakened gazelle. That's right. I'm still stupid-hooked on someone else who is eons further than you in theevolutionary scale in all categories except maybe unearned ego and back fat. What? You so value honesty, you had to chew a bride out on her wedding day in the name of it? Well, why don't you face this giant hunk oftruth, Jimmy? There is a fat asterisk next to my name on your skank-ridden little bone list and it reads, \"She probably would've gone home with anyone that night!\" So thank you! Thank you for my wake-up call, JimmyStupid-Three-Names. You are officially my bottom. Hey, you.Ty: Kiddo. What a surprise.Gretchen: I was just in the neighborhood.Ty: Uh, I have an early call time. But... Yeah, come in. Last time you said you werecoming over, you never showed. I thought you'd grown sick of me.Gretchen: Nah, you're all right.Ty: You're so beautiful, Gretchen.(hip-hop music playing)Edgar: Hi.Killian: Hi.Edgar: You busy, Jimmy?Jimmy:Yep.Edgar: Well, could you, like, pause it for a second?Jimmy: No.What's wrong with you? Give me the controller.Edgar: No. I've watched you for two years now get girls to come home with you, and they're alwaysgone in the morning.Jimmy: Sorry, I can help it if she refused to leave? Give me my controller.Edgar: No.Jimmy: Fine.(video game character screams)Edgar: I'm sorry I have to do this.Now, I don't mind you beingjerky with me because I know you care.Jimmy: What the... No, I don't.Edgar: Yes, you do.Jimmy: You're just an animal living in my house.Edgar: But Gretchen stayed, okay? You say she forced you, but we both knowthere's not a person on this planet that's ever had a good outcome trying to force you to do anything. She stayed, man. And that means something, whether you want to admit it or not. I'm gonna let you gonow.Jimmy: Why would I even listen to you, eh? You're a mental case. You're on, like, a billion medications that all say \"Take for batshit craziness.\"Edgar: I was defending our country.Jimmy: Oh, please. You weren'tdefending anything except for the business interests of evil men.Edgar: Jimmy, our country is the business interests of evil men.Jimmy: That may be the most intelligent thing you've ever said.Edgar: Thanks.Jimmy:You're still a goddamn lunatic.Edgar: Hey, wait. Come on, man. W-Wait. Where are you doing?Jimmy: To a bar, where I can drink in peace. Come on, Killian. All right, call the police.Edgar: On me?Jimmy: Someone'sstolen my car.Edgar: No, Gretchen took it, remember?Jimmy: Gretchen took my... Sorry, Gretchen took my car?Edgar: Yeah. I saw her driving it away earlier. I figured you loaned it to her. Come to think of it, I didthink that was kind of weird.Jimmy: She doesn't have a license!Edgar: Huh. She must've stolen your keys from the counter. You got to admit, that's kind of a baller move.(chuckles)Killian: You guys arefun.(grunting)Gretchen: Um, hey.Ty: Yes, Gretchen?Gretchen: Can we just take a little break?Ty (chuckles): Sure.(sighing)Gretchen: So... what's the worst thing you've ever done?Ty: Gretchen, you know ever sincelndia I don't dwell on negativity.Gretchen: I set my high school on fire to get out of a math test.(chuckles)Ty: What?Why are you telling me that? That's horrible.Gretchen: Never mind. Kidding.(moans)Ty: Oh, you're amarvel.(pants)Ooh, that's terrific. Yeah.(Gretchen spits)Did you just spit on me?Gretchen: No. Yes. Sorry.Ty (chuckles): Oh, Gretch. Mmm. That's delicious.Gretchen: Do you still have cocaine?(sighs)(snorts)(phonerings)(exhales)(sniffs)Gretchen: Hello?Jimmy: What are you doing?Gretchen: Nothing. Just...(sniffs) reading.Jimmy: Hey, you won't believe this. Someone stole my car.Gretchen: Oh. God, that's... awful.Jimmy: Yeah, Ihave to file a police report in the morning.Gretchen: I may have borrowed it.Jimmy: I know.Gretchen: Oh. Well, sorry. I told you I'm the worst.Jimmy: Actually, no, you said that I was the worst and that I was lucky toget you.Gretchen: Yeah. About that...Jimmy: No, don't apologize. It was a great speech. It was funny and true and mean. My favorite kind.Gretchen: I set my school on fire to get out of a math test.(Jimmylaughs)Jimmy: That's genius.Oh, and... I... lied to you before. I do have a foot thing.Gretchen: Seriously?Jimmy: Yeah. In fact, I was just trying to find the right clip online to, you know... s-so that I could fall asleep.But... nothing's quite right.Gretchen: Oh. Do you want me to try?Jimmy: What?Gretchen: Shh. Let me think.Jimmy: Come on, this is stupid.Gretchen: Shut up. I have been walking around all day in these new shoes,and they are just so... hot and tight.Jimmy: Oh, yeah?Gretchen: And my socks are so... sweaty.Jimmy: That happens.Gretchen: I think I might just have to take them off.Jimmy: You do that. Hey, you're, uh... verynice for doing this.Gretchen: I am very nice. Jimmy... I'm scared of this sh1t, you know? I don't like it.Jimmy: I don't believe in it anymore, so...Gretchen: So if we both know that it can't work, then there's no harm.Right?Jimmy: Right. What kind of socks?Gretchen: Mmm... knee-high basketball socks. Orange and green stripes.Jimmy: You're amazing. You're 19 types of trouble but... amazing.Gretchen: Yeah, so are you. 19 types.Well, it's late. Did you finish?Jimmy: I think the moment's gone, isn't it?Gretchen: All right. Have a good night. Call me.Jimmy: I will."}
+{"doc_id":"doc_194","qid":"","text":"[Scene: Manor. Dining room. Phoebe, Paige, Jason and Richard are there. They have just finished dinner.]Paige: Okay, this has been really fun, guys, but Phoebe actually brought us here tonight to say something,didn't you, Pheebs?Phoebe: No, no, I-I-I just think that we don't get to see enough of each other, that's all.(She laughs nervously.)Jason: Might be a little longer too, seeing as we're off to Paris in the morning.Paige:Yeah, about that French merger...Phoebe: Oh, Hong Kong, Rome, gay Pa-Ree, it's enough to send a girl's head spinning, you know.Paige: But wasn't there something you really wanted to say about...Richard: Ah, youmust have great business karma.Jason: Oh, karma? I don't believe in that stuff.Richard: Not at all?Jason: Well, I mean, you know, if somebody cuts me off on the road, I'd like to think that they're gonna get what'scoming to them, if that's what you mean.Richard: That's karma, the great cosmic justice system. You reap what you sow.Paige: Great, fabulous, anyway, Phoebe.(Paige kicks Phoebe under the table.)Phoebe: Ah! Uh,okay, alright. Uh, Jason, there is something that I want to share with you right now, and, uh, that would be... a toast. A toast to your new merger.Paige: Pheebs, could you help me with the cobbler.(Phoebe and Paigeleave the room.)Jason: Am I missing something?[Cut to the kitchen. Phoebe and Paige walk in.]Paige: Okay, that was a three course meal, not including the fruit and cheese plate, I gave you a million openings. Whatdo you want? A drum roll?Phoebe: Actually, that's not a bad idea.Paige: You are going with him to France tomorrow. You've been putting this off for too long, you have to tell him you're a witch.Phoebe: I'm just thinkingmaybe we should wait until we get there to tell him, you know. And then if there's an emergency you can orb us back, okay?Paige: You've probably been caught almost like a million times. You can't keep taking thatrisk.Phoebe: I know. You know, maybe I should wait until tomorrow until after the big banquet so I don't upset his big day.Paige: I think that you have a big problem with avoiding conflict and one day, missy, it is gonnacome back and bite you in the ass.(Richard walks in.)Richard: Hey, he's getting a little antsy in there.Paige: And you, what is it with this whole karma thing? You're supposed to be making it easier for her.(Leo orbsin.)Leo: Piper's under attack, she needs your help fast.Phoebe: Saved by the orb. Great. Keep Jason occupied.(Phoebe and Paige orb out.)[Cut to dining room. Leo walks in holding a pot of coffee and a dish of dessert.Richard walks in behind him.]Jason: Leo? What are you doing here?Leo: Uh, just bringing dessert. You want some?Richard: The girls are just tidying up.[Cut to a tunnel. Piper is there. She blows up a demon andanother one appears.]Piper: Crap.(The demon throws a fireball at Piper and she dives out of the way. Phoebe and Paige orb in.)Phoebe: Piper.Piper: About time.(They help her up and Piper blows up the demon.)Phoebe:It wasn't easy to find you in these catacombs.Paige: You were supposed to wait until after dinner so I could help.Piper: Well, I thought I could handle it. Except I must have missed something in the book.Phoebe: Iguess so.Piper: Look, every time I hit one, two more show up.(Piper looks around the corner and sees two more demons. She tries to blow them up but they duck and she misses. They throw two fireballs.)Phoebe:Okay, back up. (Phoebe walks around the corner.) Hey, boys!(They throw a fireball each at Phoebe and she channels them straight back at them, vanquishing them. Four more shimmer in. Piper and Paige pull Phoebeback behind the wall.)Piper: Okay, new plan. Blast and then bail.Phoebe: Okay.[Cut to the manor. Kitchen. Jason walks in with Leo and Richard following.]Jason: Hey, Phoebe, what's taking you so long? Wh-Where'dthey go?Richard: Uh, must be an emergency or something.Jason: It's always some emergency or some phone call or some marathon pee-break. What's going on?(Piper, Phoebe and Paige orb in, in front of Jason. Hefaints.)Piper: Oh.Opening Credits[Scene: Manor. Foyer. Phoebe watches Jason drive away in his car. She closes the door and walks into the living room where Leo is healing Piper's wound on her forehead.]Leo: I'dbetter go check on Wyatt.(Leo leaves the room.)Phoebe: I've never seen him like that. He looked at me like he had no idea who I was.Paige: He doesn't know you. Not the witch you, anyway.Piper: He's just gonna needsome time.Phoebe: Why didn't I just tell him? And no I told you so's.Paige: We all make little mistakes, honey.Phoebe: This was a very big mistake. I can't imagine how he's feeling right now, what he's goingthrough.Paige: The good news is it's out in the open now and, uh, you know, you guys have no more secrets.(Richard walks in.)Richard: Food's away, table's cleared, anything else I can do?Paige: No, thankyou.Richard: Hey, I feel awful. I'm sorry about what happened.Phoebe: It's not your fault.Richard: Well, actually, it is.Piper: Why? Did you shove Jason into the kitchen?Richard: No, but my karma did. I'm serious, I'mconvinced I'm carrying around the burden of my family's karma. We did so much bad with magic, now magic's doing bad to me, and those I care about.Paige: Now that is completely ridiculous.Richard: The feud haslasted for decades in my family, and so many people were hurt in the crossfire. Somebody's gotta inherit that bad karma, right?Piper: Not really how karma works.Phoebe: You live a double life with your boyfriend, andyou pay the price. If anyone's karma made this happen it's mine.Paige: That's true. You had the chance to clean this up tonight and you didn't.Phoebe: See, there's that 'I told you so', huh?Paige: Only to make apoint.Phoebe: No, you're right. I've been avoiding conflict my whole life.Richard: And it just happened the night I was here? It's all I'm saying.Piper: Hey, you guys, this mea culpa game is real fun and all but we're notgonna solve anything. Um, there's multiplying swarm demons on the other hand.Paige: That's right, we riled them up, didn't we?Piper: Yeah, and if they attack right now we won't know how to deal with them. So whydon't you two hit the book and I'll catch up after I check on Wyatt.Phoebe: Uh, would you guys mind if I sat this one out? I kind of feel like I need to go see Jason.Piper: Well, maybe after we...Paige: No, we can handleit.[Cut to Wyatt's room. Leo lays Wyatt down in his crib. He covers him with a red blanket. Piper walks in.]Piper: Leo, no, no, no.Leo: What? What? What? What is it?(Piper pulls off the red blanket.)Piper: This, this.Leo:What, my grandmother's quilt.Piper: Her red quilt. The colour of anger and violence and all things bad.Leo: Bad? I used that quilt.Piper: Well, you can have it back. Wyatt is now using the powder blue baby blanket. Didyou turn off the serenity Mozart CD? Look, we need to bathe Wyatt in goodness and nurture peace and serenity. Happy things.(She plays the Mozart CD on the CD player.)Leo: Piper, don't you think you're overreactinga little bit?Piper: Leo, there's no such thing as overreacting when it comes to the future of our child.Leo: Okay, but aren't the swarm demons the last on the list of threats?Piper: Yes, but...Leo: Okay, and when they'regone, are you gonna stop worrying a little bit, right?Piper: No, because I've sent Chris to suss out if there's any new threats.Leo: Okay, not to press a point but didn't you just have an epiphany about not focusing allyour energy on Wyatt?Piper: Yes, well, that was before Chris informed us that our child is going to grow up to be the future of all evil. Besides, it's not all I do. I have the club, I have friends.Leo: Wow.Piper: Look, it'sjust that Wyatt still comes first. Which is why you're going to take him up the Elders so he's safe while we figure out how to deal with the swarm demons. And while you're there, can you ask them if there's anythingthey can do to ensure goodness in Wyatt, you know, pull a few strings.Leo: Piper, we don't need any strings pulled. We can protect our son ourselves.Piper: Well, in the future apparently we don't. Okay, so look, thereare blue booties in the bag in case it gets cold, so don't be afraid to use them, okay?(Piper leaves the room. Leo picks up Wyatt.)Leo: Don't ask me, she's your mother.[SCENE_BREAK][Scene: Manor. Attic. Paige andRichard are there.]Richard: Look, you and I both know in order to make this work you can't repress yourself.Paige: I'm not. Look, practising magic.Richard: Yeah, but you don't want me to.Paige: Every relationship isgonna have its challenges, right? Look at Phoebe and Jason.Richard: I'm telling you, that was me.Paige: No, that was them not being truthful with each other, and as long as we are, we're gonna be fine.Richard: Finewould be if I could start over with a clean slate.Paige: You just be the wonderful person that you are and it's gonna make up for all the bad things your family ever did.Richard: Not in this life time. I wanna startover.Paige: It's not possible. If it were, everybody would do it.Richard: Okay, everybody's not a powerful witch.Paige: Look, karma is the DNA of the universe. It's what balances everything out. You start screwing withthat, you could mess up the entire cosmic order of things.Richard: Maybe you can help me cast a spell.Paige: What part of no shortcuts are you not you getting? There's an aura cleanse, a chakra cleanse, but no karmacleanse. If it were possible to be cleansed, it would be in there. But there's no spell, it can't be done.(Piper walks in.)Piper: Got anything?Paige: Yeah, let's see. (Piper and Paige look at the open book.) They are distantrelatives of kazis and vampires, which means they come from a hive. Did you even read this?Piper: I skimmed it. So they were drones that we were killing. Well, no wonder they just kept coming back. It says you haveto kill the king to kill the hive which requires a power of three spell. I'll call Phoebe.(She heads for the door.)Paige: Hey, just slow down there, okay? Take it easy.Piper: Okay, you orb out and get Phoebe and I'll start onthe potion.Paige: Why don't we just track the leader down. You and I. That way Phoebe and Jason can have a little bit of time alone, yeah?Piper: Well, what if the swarm attacks before... (Paige gives her a look.) Okay,fine. We'll locate the ruler first.Paige: Brilliant idea. (to Richard) Hey, can I orb you anywhere?Richard: No, it's okay. I drove my car here.Paige: Okay. I'll see you soon.(Piper and Paige orb out. Richard walks over to theBook of Shadows and starts flipping through it.)[Scene: The Bay Mirror. Jason's office. Jason is there. Phoebe walks in.]Jason: You stay away.Phoebe: We need to talk.Jason: No, no, I don't wanna talk. You're, this isyour... this-this is-is-is so beyond, this is so far beyond my reality, you know. I-I-I I'm just still trying to figure out how-how you could... fifteen months I didn't know.Phoebe: I wanted to tell you. I really did, but Icouldn't. And you know now, so can we talk about this please?Jason: Oh, okay, fine, let's talk. Alright, what was this, huh? The Godiva girls. Was that magic?Phoebe: Yeah.Jason: Okay, what about that-that funnylooking little cousin of yours, cousin Shamus. What the hell was he? One of the seven dwarves?Phoebe: Uh, no actually, he was a leprechaun. And not really my cousin. Look, Jason, I know how you feel.Jason: How do Ifeel, Phoebe? Huh? Tell me because I don't know. But you, you always seem to know. So tell me, how's it gonna feel when I crash? 'Cause I-I-I see one coming. Is it gonna feel like when you said 'I love you too'?Because that, that was magic, wasn't it?Phoebe: But I do love you.Jason: I-I-I don't have time for this.Phoebe: I didn't want you to find out like this, believe me.Jason: I, uh, I have to concentrate. I'm speaking in frontof a hundred share holders celebrating the, uh, second biggest French media merger of the decade, okay? So, I need to, I need to focus.[Scene: Tunnel. Piper and Phoebe are walking around.]Piper: Hey, you're the onethat wanted to look for the swarm king in the first place, remember?Paige: Yeah, that's when I thought it was a hive, not so much a maze. Oh, no. (She spots some footprints.) Is this starting to look familiar? Arewe...?Piper: Going around in circles?Paige: Let's just orb home.Piper: Why are you in such a rush to go home all of a sudden?Paige: It's Richard. Anytime he's alone for too long bad things start to happen. (They hearfootsteps. Piper gets ready to blow up whoever's about to walk around the corner.) No. (Paige takes her around the corner out of sight.) It only attracts them more, remember? (A dozen swarm demons walk past.)Should we follow them?Piper: Good idea. (They start to follow the swarm demons but more appear behind them.) Now?Paige: Yeah.(Piper blows them up.)[Cut to the manor. Attic. Richard has the Aura Cleanse spellopen in the Book of Shadows. He is writing down a spell on a piece of paper. He picks up the paper and grabs a pinch of sand and walks over to some lit candles. He sprinkles the sand on the floor.]Richard: \"I call tothee, pure witch's fire, through vortex flow the heavenly mire, cleanse brackish karma of debris, from dark to light sweep history.\"(A bright light circles Richard.)[Cut to downstairs. Phoebe walks in through the frontdoor.]Phoebe: Hello? Anybody home? (She hangs up her coat. The light disappears from Richard and reappears downstairs, hitting Phoebe. She gets a vision of French soldiers firing at a target. Phoebe is thrownbackwards.) Qu'est-ce que c'est?[SCENE_BREAK][Scene: Manor. Foyer. Piper and Paige orb in. They look tired and sore.]Piper: How many did we get? Fifteen or sixteen?(Paige yawns.)Paige: I don't know. I stoppedcounting at dawn. I'm gonna go crash. Actually, I'm gonna go check on Richard and then go crash.Piper: But wait, we know where the king is now. So we gotta get Phoebe so we can go back and get him.Paige: No. Iam taking a hot bath and curling into a nice warm bed.Piper: You know, living at Richard's mansion has made you soft.Paige: Oh, shush.Piper: I'm serious. What if this is the demon that gets to Wyatt?Paige: Well, thenit's all the more reason for us to be well-rested, right?(Piper sees a broken vase on the floor.)Piper: What happened here?(Phoebe comes down the stairs wearing very little.)Phoebe: Bonjour! Bonjour!Paige:Bonjour?Piper: What the heck are you wearing?Phoebe: Oh, just a little something to help me win my boyfriend back. Showing a little skin never hurt.Paige: Oh, I'll file that away.Piper: I guess it didn't go so good withJason last night?Phoebe: No, unfortunately. Je ne sais pas pourquoi.Paige: Since when do you speak freedom fry?Phoebe: I don't know actually, it's kind of weird considering I hate the French.Piper: No you don't. Youlove everything about France.Phoebe: I do? Oh, then maybe I just hate being dumped. All the more reason to go get him.Piper: Uh, just there's one thing. See, we kind of need the power of three for a vanquish, youknow, to save your nephews future and all.Phoebe: Yeah, sorry, I can't. (She heads for the door.) Au revoir.(She leaves.)Piper: Please tell me she didn't...Paige: Cast a spell on herself? I think she did.[Scene: Tunnels.The swarm king and dozens of swarm demons are there.]Swarm King: I can feel their pain. This is where they fought and died. Correct me if I'm wrong but this was your division.Swarm Demon #1: I'm afraid itwas.Swarm King: Remember, this is going to hurt me much more than it hurts you. (He vanquishes Swarm Demon #1.) It is time to bring the fight to them! Let the Charmed Ones feel our pain![Scene: Manor. Attic.Piper and Paige are there looking at the page the Book of Shadows is open to.]Piper: I'm confused. How does cleansing her aura get Jason back?Paige: No, Phoebe didn't cast the spell, Richard did.Piper: Richard wantsJason back?Paige: No, Richard wants to cleanse his karma. Oh my god, that's what he used the book for. Damn it, I shouldn't have left him alone.Piper: Wait a second, what does this have to do with Phoebe?Paige:Karma is not something you mess with. Especially not magically. Whatever Richard did could have gone wonky and affected her somehow. I mean, there's all this unfinished karma just floating around out there waitingto complete its cycle.Piper: What the hell are you talking about?Paige: I'm talking about Richard screwing with the karma wheel and Phoebe getting smacked down by it. She said it herself, she's been lying to Jason,living a double life, if that doesn't attract bad karma, I don't know what does.Piper: Someone's unfinished bad karma?Paige: Exactly. Except who's?Piper: Well, I'd guess a French hooker by the way she's beenacting.Paige: Or worse. Okay, you go get Phoebe, I'll go get Richard.Piper: But what if he's infected too?Paige:Well, I'll save him and then I'll kill him.(Paige leaves the room.)[Scene: Richard's house. Study. Richard isthere. Paige storms in.]Paige: Cast any spells lately?Richard: No. Alright, yeah, one. It didn't work though.Paige: How do you know?Richard: Because... Alright, I was cleansing my soul...Paige: Yeah, yeah, skip down tothe bottom. What happened when you said the spell, exactly.Richard: Energy and light came down from the ceiling, it surrounded me...Paige: And hit Phoebe.Richard: No, I was there alone.Paige: Oh, yeah, you werealone. Okay, then how do you explain my sister suddenly walking around like she's in the nudie version of La Miz.Richard: I don't know. I don't know why it affected her and not me.Paige: Maybe because your family issurrounded by so much bad karma that there's no room for anybody else's. What were you thinking?Richard: I was thinking about us.Paige: Us?Richard: Yeah. I don't want my past to hurt you.Paige: Richard, I knowthat you mean well, I really do. And I get that it must be so hard to not practise magic when you can, but you can't...Richard: How can you be with a guy that's got a problem with the very thing you're all about? I havean idea. I have a potion that'll help Phoebe.(He heads for the door.)Paige: Richard.Richard: What?Paige: Stop.Richard: I can't. I did this. I need to fix it.Paige: No, hey. Please. Just no more magic.[Scene: Office.Steve's there. Richard walks in.]Richard: Hey, bro.Steve: Richard. Man, how the hell have you been?(They hug.)Richard: Good, good, you know. Wow, you look good, and you got your hair cut.Steve: Yeah, for court.I'm doing pro bono now.Richard: A do-gooder. Wow, you.Steve: Yeah, I needed a change in my life. So, mum's been worried. No one's heard from you. Staying out of trouble I hope.Richard: Yeah, more or less.Steve:So, uh, you still seeing Paige?Richard: Absolutely. I can't imagine life without her.Steve: It sounds serious.Richard: I hope so.Steve: Well, here, man, take a seat.Richard: Actually, I can't, I gotta go. Listen, I've beengoing through some of the old potion books just for the hell of it, and I can't find that one dad used to use to banish spirits. Do you know where it is?Steve: I thought be both agreed not to mess with that stuffanymore.Richard: I'm not. Not really. It's hard to explain. Do you know where it is?Steve: Richard.Richard: Look, save the speech. Can you help me or not?Steve: Why? What'd you do?Richard: Nothing.Steve: Arepeople hurt? Do you need...Richard: Damn it, Steve! Can you help me or not? Please.[Scene: Outside a building. Phoebe is waiting on the sidewalk. Jason pulls up in a limo. He gets out.]Jason: What are you doinghere? And what are you wearing?Phoebe: I'm looking for you. (She pulls him closer.) Mon petit choux.Jason: Look, I don't have time for this. (He pulls away.) This is crazy.(She grabs him.)Phoebe: You have every rightto be very upset with me, I know I've been a very, very bad girl. Please let me make it up to you.Jason: I don't think so.Phoebe: What do you mean you don't think so?Jason: Hey, take it easy, Phoebe, we'll talk about itlater, okay? Right now I'm running late.Phoebe: There's always time for l'amour.(She tries to kiss him.)Jason: Whoa. Uh, listen, this is, I, this merger is very important to me, okay? I need to keep a clear head if that'sat all possible.Phoebe: Are you saying you don't want me?Jason: Not right now.Phoebe: Cochon. You pig. Quel est ton probleme? Fils de pute!.Jason: You're crazy.(He walks towards the building.)Phoebe: You think youcan just walk away from me? You think I'm crazy? You think this is crazy? Just wait.[Cut to inside. Jason is standing up on a stage talking to a room full of people in suits. There is a table full of food in the centre of theroom.]Jason: In the climate of this world economy, diversity is essential. And that is why this merger is essential if we want to grow as a company. Combing resources will allow us to tap into markets that would haveotherwise remained beyond our reach. (They applause.) And so today we celebrate a new Franco-American business community, in which bilateral trade is not only encouraged... (The microphone makes a high-pitchednoise. The people split in two groups to make a clear path down to the stage. Phoebe is standing near the back and walks down the clearing the people have made. She walks up onto the stage.) What the hell are you"}
+{"doc_id":"doc_195","qid":"","text":"[Scene: Monica, Chandler, and Phoebe's, everyone is there and they are finishing watching the first episode of Mac and C.H.E.E.S.E. Joey is of course Mac.]Mac: (on TV) Well, if we learned one thing today C.H.E.E.S.E.is that cheerleaders and high explosives don't mix. (Cut to Joey laughing while Rachel, Chandler, and Monica aren't amused.)C.H.E.E.S.E: You can say that again Mac.Mac: Well, I couldn't have done it without youbuddy. You're a genius.C.H.E.E.S.E: Oh yeah? Well then how come I can't get my VCR to stop blinking 12:00?(They both break into a huge laugh and do that stop-motion thing they had at the end of ChiPs.)Joey:(laughing and turning off the TV) So, what did you guys think?(They all make happy faces as they are unable to express their feelings verbally. Finally, the phone rings and the race to answer it is won byMonica.)Monica: (on phone) Hello? (Listens) Hold on please. Joey, it's your mom. (Hands him the phone.)Chandler: It's your mommy. It's your mommy.Ross: Ohhhh...Rachel: That's nice.Joey: (on phone) Mom, sowhat did you think? (He walks away allowing the gang a chance to figure out what they're gonna say.)Rachel: Well that was umm...Okay.Ross: It wasn't the best.Chandler: That was one of the worse things ever. Andnot just on TV.Monica: Wh-what are we gonna tell him?Ross: Well, the lighting was okay.Rachel: Ohh no you don't! You got lighting last time, lighting is mine!Monica: And I have costumes.Ross: Oh great! That meansI'm stuck with, \"So, we were watching you in there (Points to the TV) and you were sittin' right here! Whoa!\"(Phoebe gets up.)Rachel: What are you gonna do Pheebs?Phoebe: I don't know. I don't know. I can't lie tohim again. Oh no I-no! I'm just gonna press my breasts up against him.Chandler: And say nothing?Phoebe: Uh-huh, yeah that's right.Joey: (hangs up the phone) Wow! Well, my folks really liked it! So what-what didyou guys think? (Phoebe smiles, walks up to him, and presses her breasts against him.) It wasn't that good.Opening Credits[Scene: Central Perk, Phoebe and Monica are reading on the couch.]Monica: Phoebe, do youthink that your favorite animal says much about you?Phoebe: What? You mean behind my back?Rachel: (entering, excitedly) Oh! Hi you guys, oh my God! You'll never gonna believe what happened to me today! I amsitting in my office and...Joey: (entering from bathrooms excitedly) You guys! You guys! You're not gonna believe what my agent just told me!Rachel: Joey! Kinda in the middle of a story here!Joey: Ooh, sorry. Sorry.You finish, go.Rachel: Okay, so anyway I'm sittin' in my office and guess who walks in.Joey: I'm gonna be on two TV shows!Monica and Phoebe: Oh, that's great!!Rachel: Joey!Joey: Oh, you weren't finished?Rachel:Yeah! Guess who walks into my office is the end of my story. (To Monica and Phoebe) It was Ralph Lauren! (Monica and Phoebe gasp) Ralph Lauren walked into my office!Joey: Uh Rach, if you're gonna start anotherstory, at least let me finish mine.Rachel: It's the same story.Joey: (groans in disgust) Wow, it's really long.Rachel: (ignoring him) Anyway, Ralph just came in to tell me that he's so happy with my work that he wantsme to be the new merchandising manager for polo retail.Monica: Still get a discount on wedding dresses?Rachel: Yeah!Monica: I'm so happy for you!Joey: Well, these really are the days of our lives.Monica: What?!Joey:Well, since you ask. They want me back on Days of Our Lives!Phoebe: (gasps) Oh God!Rachel: I got-I get a big pay raise!Phoebe: Oh hey!Joey: I'll be playing Drake Ramoray's twin brother, Stryker!Monica:Oooh!Rachel: I get to hire my own assistant!Monica and Phoebe: Ahhh!!Joey: (jumps up) Well-I got a head rush from standing up too fast right there.[Scene: Rachel's New Office, she's interviewing a potential newassistant, Hilda.]Rachel: (reading the resume) And you were at this job for four years?Hilda: That's right.Rachel: Okay, well this is all very impressive Hilda, um I just have one last question for you. Uh, how did I do?Was this okay?Hilda: What?Rachel: I've never interviewed anyone before. I've actually never had anyone work for me before. Although when I was a kid, we did have a maid, but this is-this isn't the same thing.Hilda:No dear. It's not.Rachel: No. Yeah, and I know that. All right, well thank you so much for coming in, it was nice to meet you.Hilda: Thank you! Good meeting you.Rachel: All right. (Hilda exits) I'm a total pro!(There's aknock on the door and a handsome man enters.)Man: Hello?Rachel: (seeing him) Wow! H-umm! Hi! Yes, uh I'm sorry the models are actually down the hall.Man: Actually, I'm here about the assistant job.Rachel:Really?! (Taking his resume) Okay well then, all right, well just have a seat there. Umm, so what's-what is-what's your name?Man: Tag Jones.Rachel: Uh-huh, go on.Tag: That's it. That's my whole name.Rachel: That'syour whole name, okay of course it is! Okay, well let's-let's just have a look-see here. (Looking at his resume)Tag: I know I haven't worked in an office before, and I really don't have a lot of experience, but uh...Rachel:Oh come on, what are you talking about? You've got three years painting houses. Two whole summers at T.G.I. Friday's, come on!Tag: It's lame, I know. But I'm a goal-oriented person, very eager to learn...Rachel:Okay, hold on just a second. (She grabs a camera out of the desk and takes his picture.) I'm sorry, it's for human resources, everybody has to do it. Could you just stand up please?[Scene: Central Perk, Chandler issitting on the couch when some unknown guy comes in and sits in their easy chair.]Chandler: No-no-no-no. (Waves him away as Monica and Phoebe enter whispering to each other.) Hey! (Monica shushes him.)Phoebe:(To Monica) Anyway, I should go. Okay, bye.Monica: (To Chandler) Hey sweetie.Chandler: Hi sweetie. So, what was with all the whispering?Monica: I can't tell you. It's a secret.Chandler: Secret? Married people aren'tsupposed to have secrets between one another. We have too much love and respect for one another.Monica: Awww. (Kisses him.) But still no.Chandler: No I'm serious, we should tell each other everything. I do nothave any secrets from you.Monica: Really? Okay, so why don't you tell me what happened to Ross Junior year at Disneyland?Chandler: Oh no-no, I can't do that.Monica: If you tell me, I'll tell you what Phoebesaid.Chandler: Okay.Monica: Okay.Chandler: So, Ross and I are going to Disneyland and we stop at this restaurant for tacos. And when I say restaurant, I mean a guy, a hibachi, and the trunk of his car. So Ross hasabout 10 tacos. And anyway, we're on Space Mountain and Ross starts to feel a little iffy.Monica: Oh my God. He threw up?Chandler: No, he visited a little town south of throw up. (Monica laughs hysterically.) So whatwas Phoebe's secret?Monica: Oh, Nancy Thompson from Phoebe's old massage place is getting fired.Chandler: That's it?! I gave up my Disneyland story for that?Monica: That's right! You lose sucker!! (Pause) Pleasestill marry me.[Scene: Monica, Chandler, and Phoebe's, Chandler, Rachel, and Phoebe are there.]Rachel: Chandler, you have an assistant right?Chandler: (angrily) Did she call? You-you told her I was sick right? Alwaystell her I am sick!Rachel: No, I-I just don't know how you decide who to hire. I mean I've got it narrowed down to two people. One of them has great references and a lot of experience and then there's thisguy...Chandler: What about him?Rachel: I love him. He's so pretty I wanna cry! I don't know what to do. Tell me what to do.Phoebe: Come on you know what to do! You hire the first one! You don't hire an assistantbecause they're cute, you hire them because they're qualified.Rachel: Uh-huh. No, I hear what you're saying and-and-and that makes a lot of sense but can I just say one more thing? (Takes out his picture.) Look howpretty!Phoebe: Let's see. (Looking at the picture) Oh my God! Oh... But no! No! You can't-you can't hire him, because that-it's not professional. Umm, this is for me (The picture) yes? Thanks. (Puts it in herpocket.)Rachel: Okay you're right. I'll hire Hilda tomorrow. Dumb old perfect for the job Hilda!Chandler: Let me see this guy. (Phoebe hands him the picture.) W-H-Wow! Don't show this to Monica! And don't tell herabout the W-H-Wow![Scene: The Days of Our Lives producer's office, Joey is entering to find Terry there.]Terry: Hey-hey-hey Joey!Joey: Hey Terry!Terry: Good to see you again!Joey: It's been a while, huh? Wow, it'sfunny these halls look smaller than they used to.Terry: It's a different building.Joey: So! Stryker Ramoray huh? When do you want me to start?Terry: Why don't we start right now!Joey: Okay.Terry: Here are theaudition scenes. (Holds out the script.)Joey: (looking between the pages and him) Audition? I thought you were gonna offer me the part.Terry: Why would you think that?Joey: Well, I was Dr. Drake Ramoray, Stryker'stwin brother. I mean, who looks more me than me right?Terry: Everybody has to audition.Joey: Y'know Terry, I-I don't really need to do this. I got my own cable TV series, (Pause) with a robot.Terry: I'm sorry Joeythat's...that's the way it is.Joey: Well. I guess you think you're pretty special huh? Sittin' up here in your fancy small hall building. Makin' stars jump through hoops for ya, huh? Well y'know what? (Throws the scriptaway) This is one star who's hoop... This is a star that the hoop-this hoop-I was Dr. Drake Ramoray![Scene: Rachel's office, she's there as Tag knocks on the door and enters carrying a plant.]Rachel: Hi! Tag. What areyou doing here?Tag: I just wanted to come by and thank you for not laughing in my face yesterday. And I noticed there aren't any plants in your office so I wanted to bring you your first... (Notices her plant) There is aplant in your office.Rachel: Kinda.Tag: Right. So I guess I shouldn't put \"good at noticing stuff\" on my resume. (Sets the plant down on her desk.)Rachel: Oh-ohh, thank you.Tag: Anyway, I'm guessing you hiredsomebody.Rachel: Well...Tag: Gotcha. Thanks again for meeting with me. (Starts to leave.)Rachel: But I hired you!Tag: What?Rachel: Yeah! You-you got the job! You're my new assistant!Tag: I am?!Rachel: Yeah!Tag:I can't believe it!Rachel: Me either. Umm, all right, first thing I need you to do is go downstairs and find a women named Hilda and tell her to go home.[Scene: Monica, Chandler, and Phoebe's, Monica is setting thetable for dinner as Chandler enters.]Chandler: Hey.Monica: Hey! Good, you're home!Chandler: Oh it's always nicer to hear than, \"Aw crap! You again!\"Monica: Hey baby. (Kisses him.)Chandler: Hey.Monica: I made youa surprise.Chandler: Oh yeah?Monica: Yeah, tacos! Ever since you told me that story I've had such a craving for them.Chandler: Did you not understand the story?Ross: (entering) Hey!Chandler: Hey! What'sup?Monica: Ross!Ross: Oh, nothin' much. Just trying to figure out what I'm gonna do for dinner.Chandler: Huh.Ross: (notices the table) Hey-Ooh! What's-what's that, dinner stuff? You making dinner?Chandler: No!(The oven dings.) Shhh!Ross: What you got over there? Tacos?Monica: No! No. They're umm... They're just uh...ground beef smileys. (Holding up one of the shells.)Ross: Uhh, those are tacos.Monica: Excuse me Mr.Mexico.Ross: Eh, either way I'll pass. (Quietly to Chandler) I still can't eat those. (Monica is getting something out of the fridge and starts laughing.) What's so funny?!Monica: (trying not to laugh) I'm notlaughing.(Ross and Chandler move closer to her and she starts laughing again.)Ross: (To Chandler) You told her!Chandler: Nancy Thompson's getting fired! (Monica slaps him on the shoulder.)Ross: (To Monica) Look,okay-okay I had food poisoning! It's not like I chose to do it! It's not like-It's not like I said, \"Umm, what would make this ride more fun?!\"Monica: You're right. I mean I'm sorry. Yeah, I shouldn't be laughing. I shouldbe laying down papers for you! (Runs off laughing which gets Chandler laughing.)Ross: (To Chandler) How could you tell her?!Chandler: I had to okay?! We're getting married! Married couples can't keep secrets fromone another!Ross: Oh really? Well I-I guess Monica should know about Atlantic City.Chandler: Du-ude!Monica: (running up to Ross) What happened in Atlantic City?!Ross: Well, Chandler and I are in a bar...Chandler:Did you not hear me say, \"Du-ude?!\"Ross: And this girl is making eyes at Chandler, okay? So after awhile he-he goes over to her and uh, after a minute or two, I see them kissing. Now, I know what you're thinking,Chandler's not the type of guy who just goes to bars and makes out with girls, and you're right, Chandler's not the type of guy who just goes to bars and makes out with...girls.Monica: (To Chandler) You kissed a guy?!!Oh my God.Chandler: In my defense, it was dark and he was a very pretty guy.Ross: Oh Mon, I laughed so hard...Chandler: Ho-ho, so hard we had to throw out your underwear again?Ross: Whatever dude, you kisseda guy.[SCENE_BREAK][Scene: Joey and Rachel's, Phoebe is giving Joey a massage as Rachel enters.]Rachel: Hi!Joey: Hey.Phoebe: Hey-Ooh, how's Hilda? Is she working out?Rachel: Ohh, my new assistant is workingout, yes.Joey: Was she happy you gave her the job?Rachel: Oh, my-my new assistant was very happy that I hired my new assistant.(The phone rings and Joey answers it.)Joey: (on phone) Hello? (Listens) Oh hey! Canyou, can you hang on a second? (To Phoebe and Rachel) It's the producers over at Mac and C.H.E.E.S.E. can you excuse me for a minute? (On phone) Hey, funny you should call. I was just looking over next week'sscript. (Listens) Canceled?! (Listens) Like they're taking it off the air? (Listens) Ohh. (Listens) All right, see you Monday. (Listens) We're not even shootin' them anymore?!! (Listens) All right, bye! (Hangs up) Theycanceled Mac and C.H.E.E.S.E!Phoebe: Sorry.Rachel: I'm sorry Joey.Joey: Why would they do that?! It was a good show right?!(Phoebe and Rachel both pause, look at each other, and go press their breasts againsthim. Which Joey doesn't mind, of course.)[SCENE_BREAK][Scene: Monica, Chandler, and Phoebe's, Chandler, Monica, and Ross are still giving away all of their secrets.]Chandler: You wanna tell secrets?! Okay! Okay!In college, Ross used to wear leg warmers!Ross: All right! All right! Chandler entered a Vanilla Ice look-a-like contest and won!Chandler: Ross came in fourth and cried!Monica: Oh my God! (Laughing)Ross: Oh, is thatfunny?! Oh, you-you find that funny?! Well maybe Chandler should know some of your secrets too!Monica: I-I already told him everything! (Threateningly) You shush!!Ross: Once Monica was sent to her room withoutdinner, so she ate the macaroni off a jewelry box she'd made.Monica: Ross used to stay up every Saturday night to watch Golden Girls!Ross: Monica couldn't tell time 'til she was 13!Monica: It's hard for somepeople!Chandler: (To Monica) Of course it is. (Mouths to Ross) Wow-whoa!Monica: Chandler one time wore my underwear to work!Chandler: Hey!!!Monica: Ohh, I'm sorry I couldn't think of any more for Ross!Ross:Ohh! Ohh! In college, Chandler got drunk and slept with the lady who cleaned our dorm!Chandler: That was you!Ross: Whatever dude, you kissed a guy.[Scene: Joey and Rachel's, Joey is still bumming aboutcancellation of Mac and C.H.E.E.S.E.]Joey: How could this happen to me?! Yesterday I had two TV shows! Today, I got nothin'!Rachel: Well wait a minute, what happened to Days of Our Lives?Joey: Uh, well they mightbe a little mad at me over there.Phoebe: What happened?Joey: Well maybe I got a little upset and maybe I told them where they could go.Rachel: Joey, why would you do that?Joey: Because they wanted me toaudition!Phoebe: You! An actor?! That's madness![Scene: Rachel's Outer Office, Tag is sitting at his desk as Rachel walks up. She stops and watches him pick up the phone.]Tag: Rachel Green's office. (Hangsup.)Rachel: Tag? (He turns and looks at her.) Hi, who was that?Tag: (shyly) Nobody. I was just practicing.Rachel: Really? (Giggles.)(Phoebe rounds the corner.)Phoebe: Hi!Tag: Hi! Rachel Green's office.Phoebe: Youmust be Hilda.Rachel: Yeah, this is Tag. Tag, this is Phoebe. Phoebe, can I see you for a second? (Goes into office.)Tag: Phoebe! That's a great name.Phoebe: Oh, you like that? You should hear my phonenumber.Rachel: (grabbing Phoebe) Okay. We'll be right back. (They go into her office and she closes the door.)Phoebe: So you hired yourself a little treat did ya?Rachel: All right I know, I know how it looks Pheebs, butI'm telling you...Phoebe: But-but you know you cannot get involved with your assistant.Rachel: Yes, I know that. I know that. And I know that hiring him was probably not the smartest thing that I've ever done. But I'mtelling you, from this moment on I swear this is strictly professional. (There's a knock on the door.) Yes?(Kathy enters (Because she's listed in the credits).)Kathy: Hey Rachel!Rachel: Hi!Kathy: Cute assistant! What'shis story? Is he...Rachel: Gay? Yeah. (Kathy leaves dejectedly.)[Scene: Terry's office, Joey has come to beg for a second chance.]Joey: Hey! Terry.Terry: Joey Tribbiani! I'm surprised your big head could fit through oursmall halls! (Gets up) I gotta go Joey.Joey: Wait! Terry! Wait-Look-Wait I-I... Look, I'm really sorry about before. I was an idiot thinking I'm too big to audition for you. You gotta give me another chance.Terry: I can'thelp you Joey.Joey: Wait! Terry! Please! Look, I just lost my other job. Okay? You have no idea how much I need this. Please, help me out, for old times sake.[Cut to a hospital room set on the Days of Our Lives stage.Two nurses are standing next to a bed with a man whose face is completely covered in bandages and reading his chart.]Nurse #1: This poor guy's been in a coma for five years. It's hopeless.Nurse #2: It's not hopeless!Dr. Stryker Ramoray's a miracle worker. Look, here he comes.(Stryker enters, only it's not Joey playing him.)Dr. Stryker Ramoray: Good morning. (He walks over to the bed, leans down, and whispers to him.) Drake,it's your brother Stryker. Can you hear me?The Director: And cut!Joey: (jumping up and removing the bandages) I'm back baby! Ha-ha-ha![Scene: Central Perk, Chandler, Monica, and Ross are sitting there and nottalking to each other.]Monica: Y'know, in my defense, umm there was no glitter on the macaroni and very little glue.Ross: And in my defense, the cleaning lady came on to me!Chandler: (To Monica) You have notrouble telling time now right?Monica: No!Chandler: Quick! What time is it?! (Holds his watch in front of her face.)Monica: I don't know! Time to kiss a guy maybe?! (Ross laughs.) What are you laughing at Pampers?(He stops laughing and glares at her.)Chandler: Y'know when I said that because we're getting married that we should share everything and not have any secrets?Monica: Yeah?Chandler: Yeah that was stupid. Let's notdo that.Monica: Ohh, absolutely.Ross: And! We should keep all the stuff uh, we told each other secret from everybody else.Monica: Yeah, definitely!Ross: Okay, (gets up) if you'll excuse me, I-I'm gonna go hang outwith some people who don't know the Space Mountain story.Monica: Then, I'd steer clear of Phoebe.Ross: Man! (Monica mouths, \"I'm sorry.\")Chandler: Yeah, and not that you would, but I wouldn't hang out with...allthe guys in my office.(Ross storms out.)Ending Credits[Scene: Rachel's office, she's looking at a picture of Tag when he knocks and enters.]Rachel: (noticing him) Hi! (Puts the pictures away.)Tag: Do you have aminute?Rachel: Well yeah, sure, what's up?Tag: I got asked out twice today when I was at lunch...by guys.Rachel: Oh really?!Tag: Yeah. Did you tell someone that I was gay?Rachel: Oh, did you not want people toknow that?Tag: But I'm not gay. And I especially wouldn't want you to think I was gay.Rachel: Why's that?Tag: I don't think I should say.Rachel: Ohh, you can say. Come on, I don't want you to feel like you can't tellme things. (Motions for him to sit down.)Tag: Okay.Rachel: 'Kay.Tag: Well...Rachel: Yeah.Tag: I'd love to ask out your friend Phoebe.Rachel: (Pause) Yeah, she's gay."}
+{"doc_id":"doc_196","qid":"","text":"[Scene: Manor. Kitchen. Piper is there talking on the phone while holding a crying Chris. Wyatt is sitting in a highchair.]Piper: Yeah, I get that, Rex, but I need you at the club. You're supposed to be there. Valentine'sDay is gonna be a very busy night. Can't you ask her to marry you another night?(Phoebe walks in.)Phoebe: Get off that phone.Piper: You know what, I'll handle it. Good luck. (Piper hangs up.) I hope she saysno.Phoebe: Take a look at this. This is the new face of evil. (She shows Piper a newspaper.) His name is John Normand. He owns the phone company, and he's been stealing from us for months. Doesn't that just makeyou angry?Piper: Not really.Phoebe: Wait, he's been stealing from us, and he's probably gonna get away with it due to some loophole or something.(Piper puts Chris down on the change table.)Piper: Phoebe, I'm a littlemore worried about the actual demons in the world, you know, the ones we almost got rid of.Phoebe: Yeah, there's nothing we can do about them. We tried to save the world, it didn't work. The demons are gonnaattack when they're gonna attack.Piper: And when they do, we're just gonna be right back to the same old... (Piper takes off Chris' diaper.) Wow!Phoebe: Whoa! You're not kidding. Wow!Piper: Okeydokey. (Piper puts anew diaper on Chris.) Speaking of which, could you do me a favour and watch the boys tonight? I need Leo to help me set up at P3, and apparently my manager is busy proposing.Phoebe: Yeah, sure, of course. It's notlike anyone's proposing to me, or like anyone's sending me flowers or reciting me poetry. So much for the little girl I saw in my vision.Piper: Well, Phoebe, just because the Avatars are gone doesn't mean that you won'tstill find love.Phoebe: Easy for you to say. You have Leo.Piper: Yeah, but do I really? It's only a matter of time before the Elders punish him for becoming an Avatar, which they practically drove him to anyway withGideon and everything.Phoebe: They made Kyle a Whitelighter, and that's good, right?Piper: Yeah, but it took him away from Paige. And believe me, they got their cosmic jollies off that one.Phoebe: Where isPaige?Piper: At Magic School, where else? Why?Phoebe: Just worried about her, that's all.[Scene: Magic School. Paige and Miss Donovan are there.]Paige: It really is another great application.Miss Donovan: A muse?No, no, no, no. You can't hire her as the next literature professor. She'll inspire them to write novels instead of reading them.Paige: Oh, that's a good point. I hadn't thought of that.Miss Donovan: Well, I did. And that'swhy you should hire me.Paige: What? You want to be a teacher?Miss Donovan: Well, isn't it time I moved up? Besides, I had a great rapport with the last literature professor.Paige: You hated that little gnome, arguingwith him five minutes before he was killed.Miss Donovan: Well, that was our way. Besides, if the truth were told, he'd want me to have the job. I'm very well-read.Paige: It takes more than that, though. It takes beingable to really connect with the students.Miss Donovan: I can do that. In fact, I've got some tricks you don't even know about.(Miss Donovan suddenly disappears and she sits up on the couch near by.)Paige: Did youastral project?Miss Donovan: Mrs. Winterbourne taught me before she went on sabbatical. Don't worry, I'll get used to it. Trust me. I am the best candidate for this job.(The hear a motorbike.)Paige: What the hell...(Aguy on a motorbike suddenly appears and he skids across the floor and slams into a table.)Drake: That's gonna leave a mark. Sorry about the table.Paige: Are you okay?(He turns off the motorbike.)Miss Donovan: Whoare you?Drake: I'm the new teacher.Opening Credits[Scene: Magic School. Continued from before.]Miss Donovan: You ride in here and nearly kill us, and now you want to teach here?Drake: If I wanted to teach parallelparking, you might have a point, but I'm here for literature.Miss Donovan: And what do you know about literature?Drake: Plenty. (He clicks his fingers and a sheet of paper appears in his hand.) My resume.(He hands itto Paige.)Paige: Drake. Huh. Well, maybe you should have sent this in so you didn't waste your time.Drake: Oh, I never waste my time. For life is but a walking shadow, the poor player who struts and frets his hourupon the stage and then is heard no more. It is a tale...Miss Donovan: Tale told...Drake: Take it, sister.Miss Donovan: By an idiot, full of sound and fury, signifying...Drake: Nothing.Paige: You two are not gonna makethis easy for me.Drake: Come on, what are you talking about? No contest. It's right there on the resume. I studied at Juilliard, performed on Broadway, and I was penning a memoir that I intend to finish on mydeathbed.Miss Donovan: Oh, I look forward to reading that.Drake: Well, thank you very much.Paige: Why aren't any of these credits more than a year long?Drake: Simple really. Before that I was a demon.MissDonovan: What? A demon?Drake: Was a demon. Now human.Paige: Okay, and how exactly did that happen?Drake: Personally, I hate exposition, but if... All right. Fifty weeks ago I made a deal, the Sorcerer made mehuman.Paige: Just like that?Drake: There were a few minor stipulations. First of all, I get to keep my powers, and if I use them in any offensive manner, he gets them, and I burn for all eternity.Miss Donovan: What areyou waiting for? Vanquish him!Drake: Vanq... Lady. Vanquish. I just want a chance to make up for my demon days. If you don't believe me, research me, look into my history. I've got almost nothing to hide.MissDonovan: We'll see about that.Paige: Miss Donovan, where are you going?Miss Donovan: To prove that he's dangerous.(Miss Donovan leaves the room.)Drake: If that is safety, then I am dangerous. Boy, is she gonnabe sorry when I get the job.Paige: Not so fast, Mr. Pompadour Motorcycle Guy. I don't know what to make of you.Drake: Why don't we consult the Book of Shadows? Want a ride?[Scene: P3. Piper and Leo are there.Piper slaps a cardboard heart onto the wall.]Piper: Okay, next.Leo: That one's ripped.Piper: So? The crowd will be too. Actually, this is taking far too long. Where's my staple gun?Leo: Staple gun? Since when do youstaple decorations? Don't you want everything to be perfect?Piper: What's the point? It's all gonna be torn down tomorrow anyway.Leo: The point is not to worry about what's gonna happen tomorrow. The point is tostop and enjoy Valentine's Day.Piper: Well, some people can't forget. Some people would rather see the rips and the flaws so that they're not totally devastated when they're all torn down suddenly tomorrow.Leo: We'renot talking about decorations anymore, are we?Piper: Look, Leo, I'm sorry, but I can't just stand here and pretend like everything is not falling apart again. We both know the Elders are not gonna be easy on you.Leo:When you change the world, you gotta expect consequences.Piper: Says who? The Elders brought this on themselves. It's just as much their fault as it is ours, maybe even more so.Leo: Well, I'm the one that chose tobecome an Avatar. I betrayed them.Piper: Because they drove you to it, with Gideon, what he did to Chris and what he tried to do to Wyatt.Leo: I don't think they'll see it that way.Piper: You need to make them see itthat way, or else this may be the last Valentine's Day we spend together.[Scene: Underworld. Cave. A Sorcerer and a bounty hunter are there.]Sorcerer: Your leads are worthless, bounty hunter!Bounty Hunter: I'm notthe one who lost Drake in the first place. That was you, Sorcerer.Sorcerer: Well, I never dreamt I'd need to keep tabs on him. By now, I thought he would have used his powers for sure.Bounty Hunter: And yet hehasn't.Sorcerer: He's stronger than I thought, which is why you must find him so I can force him to give in to temptation.Bounty Hunter: But we are running out of time.Sorcerer: In more ways than one, Mr. Rathbone.Zankou is moving in to take over the Underworld. If I expect to stop him and to seize the throne for myself, I must have Drake's powers! I'll double the bounty, but find him.(Three demons walk in. Two of the demonsare holding onto Miss Donovan and she is struggling to get away.)Demon: Sir, excuse me, sir. We have a new lead.Bounty Hunter: A woman? You call that a lead?Demon: We caught her in the Underworld asking aboutDrake. She may know where he is.Sorcerer: Ah, is that so?Miss Donovan: I don't know anything. Let me go!(The Sorcerer holds up a knife.)Sorcerer: Think harder, my dear.[Scene: Manor. Conservatory. Phoebe, Wyattand Chris are there. Phoebe is on the phone.]Phoebe: No, you can not put me on hold again. When are you gonna send me a refund for my phone bill? What do you mean, never? Look, this is... You know what? Forgetit. I have call waiting anyway, which you're probably overcharging me for, right? (She presses a button.) Hello?Darryl: Hey, Phoebe, it's Darryl.Phoebe: Darryl, shouldn't you be out arresting that thief John Normand?Did you read the paper today? It says that...Darryl: We got bigger things to worry about. Sheridan's back.Phoebe: What? Oh, no. Any more good news?Darryl: Your friend Brody came to visit me last night and told methat he brought her out of the coma. Didn't you say he died?Phoebe: Yeah, well, I never said it stuck. He became a Whitelighter.Darryl: The point is he did some mumbo jumbo on her where she doesn't rememberanything that happened.Phoebe: Well, does she remember us?Darryl: I don't know yet. He told me to tell her that they went on some undercover mission and that he died and she wound up in a coma. Just how long doyou expect her to buy that?Phoebe: I don't know. But as long as we don't trigger her memory, we should be fine.Darryl: What do you mean, trigger?Phoebe: Her memory could come back is she's reminded of us. Youhave to keep her away from us.Paige's Voice: Phoebe, I need you upstairs.Phoebe: Okay. Coming! Darryl, I'm sorry, I gotta go. You'll have to deal with this like the rest of us.(Phoebe hangs up.)[Cut to the PoliceStation.]Darryl: Phoebe...(Darryl turns around and Sheridan is standing there.)Sheridan: Phoebe. Do I know her?Darryl: I don't know. Do you?[Cut to the Manor. Attic. Paige is there with Drake. She is flipping throughthe Book of Shadows.]Drake: See? Right there. You have nothing to fear.Paige: What are you talking about? It says that you have the power to fire a thermal blast that can knock out ten demons at a time.Drake: Yeah,but I told you. If I use them, then the Sorcerer gets them, and that would be bad. It also says that I can be vanquished by the Power of Three. Hello. See? Right there. (He touches the Book.) What?Paige: You touchedit.Drake: What?Paige: You touched the Book.Drake: Oh my god, so I did. I guess that means I'm good.(He touches the Book again.)Paige: Stop it. Maybe it does, and maybe it doesn't. The Book has been trickedbefore. So have we. Just recently, as a matter of fact.Drake: All right, then, that explains it. So what did this mistake cost you? A colleague? A friend? A lover?Paige: Actually, all of the above.Drake: No wonder you're soindecisive.Paige: I'm not indecisive. You think I'm indecisive?Drake: Paige, making mistakes is what makes us human.(Phoebe walks in.)Phoebe: Hey, sorry. I put the boys down for a nap. Who are you?Drake:Hi.Phoebe: Hi.Paige: Drake, Phoebe. Phoebe, Drake. Yeah. He's an ex-demon.Phoebe: What? Excuse me?Drake: I thought you guys had lots of experience with demons who were human. You married one, didn'tyou?Phoebe: Yes, and divorced. How did you know that?Drake: Gossip around the office cauldron. Anyway, the point is, girls, you don't know what it's like to be judged simply by the way you were born. (He clicks hisfingers and suddenly he's wearing a French costume.) (in French accent) Look well at me and tell me with what hope this vile protuberance can inspire my heart?(Phoebe laughs.)Paige: He's very dramatic.Phoebe: I seethat. I don't know why Cyrano's here but he should probably leave because we have our own problems.Drake: But, my dear Roxanne, feel'st thou my soul, here?Phoebe: You know, then again, I don't have a date forValentine's Day. He's kinda hot.Paige: He's hot until you figure out how many people he's killed.Drake: Wait a minute. I never killed anyone. (He clicks his fingers and returns to his normal clothes.) Except demons.Killed plenty of them.Phoebe: Join the club. It sucks, doesn't it?Paige: You're telling me in your whole demonic career, you have not killed one innocent?Drake: That's because since the day I was hatched, I've beenreading books, and they taught me about feelings, human feelings, love, sadness, death. Since then I could never harm an innocent. I always found a way around doing that.Paige: (to Phoebe) What do youthink?Phoebe: I kind of believe him. You?Paige: I don't know. I'm gonna ask Piper.Drake: Come on, Paige, tell her I'm the right man for the job.Phoebe: Job? What job?Paige: Fill her in. I'll be back.(Paige orbsout.)Drake: So you like Gene Kelly movies?Phoebe: Love 'em. Why?[Scene: On top of Golden Gate Bridge. Leo is waiting there. Two Elders orb in.]Leo: Thanks for coming.Sandra: Of course. After all that's happened,it's the least we could do.Kheel: Oh, please, don't apologise. If anything, we've been far too lenient with him.Leo: Lenient? You tried to kill me.Kheel: You left us no choice.Leo: Funny, I feel the same way.Sandra:Gentlemen, neither side is without blame. Perhaps we could put the past behind us.Kheel: And we will... once he's done the penance for his betrayal.Leo: That's why I brought you here. I should be able to defendmyself before you issue judgment.Kheel: Really? And what would you say?Leo: That what I did was for my family. I was trying to create a better world for them, for all of us.Kheel: Too bad you failed.Sandra: Perhaps itwould be best if Leo and I spoke alone, if you don't mind. (Kheel orbs out.) It hasn't been easy arguing on your behalf.Leo: Thanks for trying.Sandra: One word of advice, Leo. Stay out of magical affairs. Or you justmight make things even worse for yourself.[Scene: Manor. Parlor. Drake is there dancing. Phoebe walks down the stairs.]Phoebe: Wow, let me get this straight. You do musical theatre as well?Drake: Oh, I'm full ofsurprises.(He clicks his fingers and Phoebe is suddenly dressed in a white dress and black vest.)Phoebe: What's this?Drake: Another surprise. (He takes her hands and they start dancing.) Happy Valentines Day.Phoebe:And to you.(They lean in to kiss but Piper and Paige walk in and interrupts them.)Piper: Get your paws off of her!Drake: So much for romance.Phoebe: Piper. (Phoebe giggles.) We were just having fun. You know,fun.Piper: With the demon? Phoebe, how many times have I told you not to play dress up with the demons.Paige: I'm sure it's harmless.Drake: Incidentally, Piper, I am an ex-demon.Piper: Look, buddy, we're notgonna let a demon or an ex-demon teach at Magic School. It's ridiculous.Paige: Maybe you're right. Drake, I'm really sorry. It's just not a real feasible thing for you to do. It could cause too many problems.Drake: Oh,no, you're making a terrible mistake. As an ex-demon, I can get through to these kids, I can keep them from going down the path of evil. Phoebe, talk to them, make them see reason.Phoebe: I can't. Look, I appreciatewhat you're trying to do, but it just... it's not really practical. I'm sorry.Drake: This is all wrong. The problem here isn't me. It's you three. You're shaken by the core by what's happened with the Avatars. (to Paige) You,you just lost faith in yourself, (to Phoebe) and you, you've been disheartened by the fight. (to Piper) And you, sweetheart, are just plain mean.(Piper laughs.)Piper: Watch it.(Paige giggles.)Drake: You're mean becauseyou closed down your heart. You're petrified it's gonna get broken again, aren't you? You know, there's only one man I know who can solve all of these problems. (He clicks his fingers and Piper and Paige are suddenlydressed in leather, Phoebe is dressed in a white gown with long red hair, and Drake is dressed as Robin Hood.) Well, come on, Robin Hood.Paige: You, I'm gonna hire you just so I can fire you.Piper: Do we look merry toyou?Drake: Well, perhaps you should see the world as Robin Hood would have. He believed in himself, also loved the thrill of the fight. And despite the threat of imminent death, he found love with his dear MaidMarian.(He kisses Phoebe's hand.)Phoebe: That's very sweet. Isn't that... You should probably change us back.Drake: Very well.(Drake clicks his fingers and they change back to their normal clothes.)Piper: Kitchen,now, let's go.(The girls head for the kitchen.)Phoebe: (to Drake) You just give me one second.(The Sorcerer shimmers in behind Drake.)Drake: I thought they'd never leave.[Cut to the kitchen.]Phoebe: Vanquish him?Are you sure?Piper: Well, if he doesn't leave, we don't have a choice.Phoebe: But his heart is in the right place.[Cut back to the parlor.]Sorcerer: Now, let's see those powers, demon.[Cut to the kitchen.]Paige: On theother hand, he still has his demonic powers.Piper: Hi, waffle much?(They hear a crash from the other room.)[Cut to the parlor. Drake falls to the floor. The Sorcerer is standing over him with his arms outstretched.Drake is glowing red.]Sorcerer: \"Darkness within cannot be undone. Embrace your true self.\"(Piper, Phoebe and Paige run in.)Piper: Here we go again.(Piper tries to blow him up and he flies across the room and hits thewall.)Sorcerer: Damn it!(He shimmers out.)Phoebe: Drake. Are you okay?(She runs over to him.)Drake: Drake? Who's Drake? I'm Robin... of Locksley.Paige: Of course you are.[SCENE_BREAK][Scene: Manor. DiningRoom. Drake jumps around the corner wielding a bow and arrow.]Drake: Stand and deliver! (He aims for an apple but the arrow misses and hits a pillow.) Excellent. (He reaches for another arrow. Piper walks in.) Johnwill be no match for me.Piper: Robin, you missed. And if you put a hole in my wall, you'll have me to answer to, not some prince.Drake: My apologies, my good woman, but my aim must be true if I am to right John'swrongs.Piper: Right. Just be careful. (Piper walks into the conservatory where Phoebe and Paige are sitting at a table. Phoebe is flipping through the Book of Shadows.) Please tell me you found a way to fix Robin inthere.Phoebe: Not yet. Can't you just freeze him?Piper: Nope. Not freezing.Paige: I'm sorry, you guys. Another big mistake bringing him here.Phoebe: No, it's just our lives. Anything that can go wrong will gowrong.Paige: Yeah, but I don't understand why it went wrong. Why does the Sorcerer want to turn Drake into Robin Hood, of all things?Piper: I don't think he meant to. I think he meant to bring out Drake's innerdemon so he could use his powers. But then I blasted him mid-spell, so instead we got his inner Robin Hood.Drake: Royal hound! (He shoots another arrow and it smashes a vase of flowers.) Sorry, my fault.Paige:Another mistake for the Charmed Ones.Piper: It was an accident.Paige: Either way, we messed up.Phoebe: Okay. I found a vanquishing potion for the Sorcerer, but of course, there's no way to find him.Paige: How isfinding the Sorcerer even gonna fix Drake anyway?Piper: Actually, I think it will because, if we vanquish the Sorcerer, then it should reverse his magic.Drake: Saxon dog!Paige: Okay, well, I'll go to the Magic School,and I'll ask Miss Donovan to look through things and see if she can find something that helps us find the Sorcerer.Phoebe: Or you could just do it yourself.Paige: Yeah, well, I don't know the archives that well. And,knowing me, I'd probably mess up.(Paige orbs out.)Phoebe: What are we gonna do with her?Piper: We'll fix her later. Right now, we need to deal with him.(They hear a crash and Drake slides along the dining roomtable. He picks up a sheet of paper.)Phoebe: What is he doing with my phone bill?(They rush over to him.)Drake: Marian, these taxes are outrageous. Prince John has gone too far.Phoebe: Okay, I'm not Marian, I'mPhoebe, remember? And give me that!(She snatches the phone bill off him.)Piper: Prince John has been dead for centuries. He's not taxing anyone anymore.Phoebe: Yeah. The phone company is owned by a differentJohn, and he's, well, a really swell guy.Drake: Nonsense. The evidence of his misdeeds is right there on the parchment.(He points to the newspaper.)Piper: You left that out?Phoebe: Who knew?Drake: I think it's hightime I paid John a visit. My steed! (He clicks his fingers and a motorbike appears.) Horsepower.Piper: What kind of Robin Hood rides a motorcycle?Phoebe: Forget that. What are we gonna do? We can't just let him goout there. Especially not with Sheridan back.Piper: Sheridan's back?Phoebe: Did I forget to mention that?Piper: Go with him.Phoebe: What?Piper: You're the Marian person. Go with him.Phoebe: Robin, wait. (Phoebesits on the bike behind Drake.) Here we go. (He hands her his bow.) Oh, okay.Piper: Helmets please, people.(Helmets suddenly appear on their heads.)Drake: Hold on, milady.(The front doors fly open and they ride out"}
+{"doc_id":"doc_197","qid":"","text":"Opening creditsJACK HARKNESS (v.o.) : Torchwood. Outside the government, beyond the police. Fighting for the future on behalf of the human race. The 21st Century is when everything changes... and Torchwood isready.EXT. MALL - DAYOwen stands in the middle of the walkway. The world around him moves... backward. In rewind. Everyone is walking quickly backwards.OWEN (v.o.) : My name is Dr. Owen Harper and this is mylife. MONTAGE OF CUTS : Owen is running.OWEN (v.o.) : A life that is full of action...[SCENE_BREAK]Owen pulls out his gun with a silencer attached and shoots the lock off the door. Ianto turns around.OWEN (v.o.) : ...and violence...[SCENE_BREAK]Owen is in the autopsy area back in the hub. He's holding a syringe and looks at the needle as Jack sits behind him and waits.OWEN (v.o.) : ... and work,...[SCENE_BREAK]Owen lookingat the slab of meat.OWEN (v.o.) : ... wonder.[SCENE_BREAK]Owen sprays on some alien pheromone at the bar. The blonde woman grabs him and kisses him.OWEN (v.o.) : Secrets, s*x...[SCENE_BREAK]Owen danceswith Diane.OWEN (v.o.) : ... and love and heartbreak...[SCENE_BREAK]Owen is shot. He hits the ground.OWEN (v.o.) : ... and death.[SCENE_BREAK]Owen is on the table. Martha pulls back the sheet covering him asshe prepares to do his autopsy.OWEN (v.o.) : My death. Owen sits up suddenly, panting.OWEN (v.o.) : The death I survived.EXT. MALL - DAYOwen stands in the middle of the walkway. The world around him moves onpast him. Everyone is walking past him as life continues.OWEN (v.o.) : The death I am now living through.INT. OWEN'S PLACEREVERSE VIEW : OWEN'S REFRIGERATOROwen opens the refrigerator door and reaches fora bottle of something to drink.OWEN (v.o.) : Except... this isn't living. Then, he remembers that he can't drink anything. He puts it back.OWEN (v.o.) : Every day it's the same. THE NEXT DAY : Owen opens therefrigerator door and looks at the bottles of things he can't consume.[SCENE_BREAK]In the bathroom, Owen lathers up some shaving foam in his hands.OWEN (v.o.) : I get up, get ready for work the same as everyoneelse. Then, he remembers that he no longer has facial hair to shave. He looks at his reflection in the mirror and swallows.INT. THE HUB - CONTAINMENT CELLSOwen stands in front of the weevil cage.OWEN (v.o.) : Thething is, I'm not the same. The weevil cowers in the darkness, lifts its head and howls.WEEVIL : Aaaahh !INT. THE HUB - OUTSIDE THE COG DOOROwen stands outside the cog door.OWEN (v.o.) : I get to work andeveryone's doing the same old thing. The lights flash and the door rolls open. He turns to go inside. Jack, Toshiko and Gwen are up at the workstations.OWEN (v.o.) : Babbling away about aliens and weddings. Heenters the hub.INT. UNDER WATER - DAYOwen is under water.OWEN (v.o.) : I'm not real. Three days ago, I died. He looks at his hand.OWEN (v.o.) : And they think I'm fine,... but they're wrong. Owenscreams.[SCENE_BREAK]EXT. BUILDINGS - NIGHT (PRESENT)PULL UP to the tallest building where we find Owen and a blonde-haired woman sitting side-by-side on the edge, their legs dangling off the side.OWEN : So,are you ready to jump ? Opening creditsEXT. ROOFTOP - NIGHT (PRESENT)Owen and Maggie sit side-by-side on the edge, their legs dangling off the side.MAGGIE : Would you just piss off. Get off my roof.OWEN : Yourroof ?MAGGIE : I'm going to jump, so just leave me alone.OWEN (sighs) : Look, darlin', you know, I'm not here to stop you. Seriously. (He unzips his jacket). You think you've got problems ? (Scoffs). What, did yourman dump you ?MAGGIE : Sorry, love, are you talking to me ? It's just, you know, I'm a bit busy right now. I'm not really interested in listen... (She stops when she sees his bullet wound in his chest). What is that?OWEN : I got shot.MAGGIE : Yeah, right. He looks at her, half smiles and nods. She sticks her finger in his bullet wound. Now, she's freaking.MAGGIE : Oh, my God. She climbs down from her perch on the wall andsteps back just to put some distance between them.MAGGIE : What the hell are you ? Owen climbs down off the wall. Maggie is still backing away from him.OWEN : I'm dead.MAGGIE : That's not... Look, you can't bedead, you're... you're standing here. You're talking. You're moving. You're... you're not dead. Wha... ? You're... You're dead ?OWEN : Yeah, I was brought back... like Jesus really, but without the beard, you know.(Realizes). sh1t, I'm never gonna have a beard. Not that I wanted one you understand, but you know, one day I...MAGGIE : Yeah. Okay. Okay. You're dead and that's... that's clearly a bit sh1t and I'm sorry andeverything but, if you are dead, then why are you here ? You can't be wanting to jump. You can't die twice.OWEN : Sorry, are you an expert ?MAGGIE : Sorry, are you an idiot ?OWEN : Yeah. I'm a dead idiot.MAGGIE :So, come on then, what's it like ? She sticks a cigarette in her mouth and lights it.OWEN : What ?MAGGIE : Well, being dead. What delights have I got to look forward to ?OWEN : Darkness. Nothing.MAGGIE : Cheery,thanks. Look, why are you here ? Owen looks at her.JACK (PRE-LAP, v.o.) : Dr. Owen Harper, Torchwood Officer 565, I'm relieving you of your position.INT. THE HUB - JACK'S OFFICE - NIGHT (EARLIER)Jack is at hisdesk as he delivers the bad news to Owen. Ianto is near the doorway.OWEN : Bollocks. I'm sorry, Jack, this is bollocks !JACK : Hand in your weapon and your security pass.OWEN : But why ? I'm fine.JACK : Three daysago, you died. We need to examine you. We need to find out what you are. We need to be certain you're okay.OWEN : Yeah, well it almost sounds as if you care, well done.JACK : Until I'm confident you're fit for duty,Martha Jones will replace you as Torchwood's new medical officer.OWEN : She's doing all right out of this, isn't she ?JACK (stands up) : She's worked out a series of tests and examinations.OWEN : And what if I refuse?JACK : You'll be confined to the cells, the tests will be done, and if the results show that you're a danger to the team, appropriate steps will be taken. Ianto steps in closer. Jack also steps in closer to Owen.JACK : I'masking you, Owen. Please, let us help you. Let us make sure you're safe. Owen doesn't look at him.IANTO : I'm gonna need your gun. Owen turns and looks at him. He takes his gun out and reluctantly gives it toIanto.IANTO : And your security pass. (Owen looks at Ianto). Please... Just behind them and through the glass in the wall, Martha is in the workstations. He glances at her, then takes his security pass out and gives it toIanto.OWEN : And how long are Dr. Jones' tests going to take ?JACK : As long as they need to.OWEN : And what the hell am I supposed to do in the meantime ?JACK : We always need someone to make coffee.OWEN :Oh, no.[SCENE_BREAK]CLOSE-UP : COFFEE MACHINEIanto is at his area at the base of the spiral stairs as he fills up the coffee cup. Owen sits in the chair nearby.IANTO : Voila. Fresh and strong. (He smells itappreciatively). Mmmm. Owen gets up. Ianto steps aside and hands the cup to Owen.OWEN : And, uh... we couldn't just have a jar of instant, no ?IANTO : I thought you liked your coffee.OWEN : Have you seen whathappens when I drink these days ?IANTO : Yeah. Thank you, Owen. Ianto takes the cup away from him.IANTO : Do you want a go ?OWEN : Ooh, please. Owen turns to try his hand at the machine. Owen grabs thehandle. The cups rattle as he tries to get it to work, but it doesn't.OWEN : Come on. What's wrong with this ?IANTO : You, um... Owen grabs both handles and shakes it. The cups and dishes rattle loudly. Some soundas if they break. He turns and sees Jack and Martha on the stairs watching him. He rests his chin on the machine in humiliation.IANTO (quietly) : You okay ? OWEN (sighs and turns around) : What do you think ? I betyou're loving this, aren't you ? It's like you've finally won.IANTO : I didn't realize we were in competition.OWEN : Oh, come on ! Even Tosh had more of a life than you used to. And now you're always out on missions,you're shagging Jack and I'm stuck here making the coffee.IANTO : It's not like that. Me and Jack. Ianto goes to the machine and fixes a cup of coffee.OWEN : Yeah, yeah... You and Jack. Gwen's getting married.Martha's got her bloke. God, even Tosh had Tommy. This is really sh1t ! Ianto goes about his business.IANTO : We've all gone through sh1t. I've seen you dissect alien corpses. I've seen you save so many lives. Areyou really going to let this beat you ? He leaves Owen with that.[SCENE_BREAK]INT. THE HUB - AUTOPSY AREAOwen is on the treadmill. His image is up on the monitor as Martha tests him. The machine beeps. Owenstops it. He smiles.OWEN : So, you're choosing me over the boyfriend ? Owen steps off the treadmill and picks up the barbells. He starts lifting them. Martha goes to the treadmill to check the readings.MARTHA : Yeah,that's it. You really don't need to worry, you know, I don't want your job.OWEN : Yes, I know. You just find me irresistible.MARTHA (rolls her eyes) : Oh, yeah, that's it. Every morning I wake up and think of ways to getyou alone like this. (She goes back to the computer). There is no sign of any muscle decay. You're in great shape, as ever.OWEN : Hmm, no use coming onto me, Jones. I'm a changed man.MARTHA : And... um, nostiffening anywhere ?OWEN : Well...MARTHA : Just answer the question.OWEN : No, no signs of rigor mortis. Owen puts the barbells down.OWEN : So, if I keep up the exercise, I won't atrophy ? She appears with thehand-held monitor and scans him.MARTHA : Yep. And bonus, definitely looks like you're not going to age either. There's no further sign of cell mutation. You're a hundred percent human. (She turns the monitor off). Ahundred percent Owen. Owen nods. The intercom beeps.GWEN (from speaker) : Hi, Martha. Meeting in the boardroom. Can you come down ?OWEN : You'd better go... Doctor.MARTHA : What about you ?OWEN :Cappuccino with chocolate sprinkles.MARTHA (smiles, confused) : What ?OWEN : That's what you drink, isn't it ? Suddenly, it's very awkward. Martha turns and leaves. Owen's smile fades.[SCENE_BREAK]INT. THE HUB- CONFERENCE ROOMEveryone except Owen is there.JACK : Henry John Parker. He used to be a looker. Now he's 80-odd and even I have my limits. The door opens. Owen walks in with a tray of coffee.JACK : Yourbasic millionaire collector of alien hoo-hah.OWEN (quietly) : Didn't we file him in the \"mostly harmless\" category ? He puts a cup down in front of Ianto.MARTHA : So, what's the problem ? Owen continues setting coffeecups down on the table.TOSHIKO : I detected this at 5:17 this morning. Parker's house. There's an energy spike coming from it. I've never seen anything like it before.GWEN : Okay. So, the big question is, what's ourMr. Parker gone and found this time ? Gwen and Ianto quietly switch coffee cups as Owen heads to the back of the room.MARTHA : Why ? Do you think he's a threat ?GWEN : Well, he hasn't been up until now. (Owenwipes his tray as he listens). He's a bit Howard Hughes. We know he's there, we know he's not a threat. But as the story goes, he hasn't left the house since his wife died. Nobody's seen him since 1986.OWEN : We'vebeen monitoring Parker for ages. There's nothing to be scared of is there ? Owen quickly sits down at the table with the others. There's a brief awkwardness with him being there when he's not supposed to.IANTO :Unlike, say, Tintin ?OWEN : Okay ! I never liked Tintin. What ? He's weird. He's got a funny face and his hair is just, he's horrible.IANTO : I always loved Tintin.OWEN : Yeah, well you would. And he never had agirlfriend did he, just the dog. Yeah, so I reckon he was actually shagging the dog.GWEN (interrupts) : Okay, meanwhile, back at Torchwood. Alien energy pulse. (to Jack) We've got to check this Parker out, okay ?(Jack nods. Gwen gets to her feet). Tosh, can you get me a complete schematic of the house ? Ianto, find out exactly what he's got. Get me an inventory of everything that he's bought over the last ten years. Martha,can you get a hold of his medical history ?MARTHA : Sure.GWEN : Okay, let's get to it, guys. As everyone gets to their feet, Jack levels a look at Owen. He then gets to his feet to leave as well. Owen is left sitting at thetable.JACK (o.s.) : Hey, Gwen, any news on Banana Boat ?GWEN : Can you believe it ? Best Man, arrested in Lanzarote.JACK : What for ?GWEN : Ah, dodgy Cds.OWEN (PRE-LAP v.o.) : Worldwide, nearly a millionpeople kill themselves each year. The door closes behind them.[SCENE_BREAK]EXT. ROOFTOP - NIGHT (PRESENT)OWEN : That's almost three times the population of Cardiff. Makes you think.MAGGIE : What are you ?Some sort of suicide geek ?OWEN : No, just a doctor. In fact, I'm not just a doctor. I'm a bloody brilliant doctor.MARTHA (PRE-LAP, v.o.) : I know you are.INT. THE HUB - AUTOPSY AREA (EARLIER)Owen sits on thetable while Martha is working on the computer.OWEN : So why are you doing my job ? He absently plays with a scalpel, flipping it and catching it. Martha turns to look at him.MARTHA : Because Gwen asked meto.OWEN : That's not what I mean.MARTHA : Because you died. And because you need help. That's not a bad thing. Well, it's a bad thing that you died obviously, but it's not bad that you need help. If you know what Imean.OWEN : You're kinda cute when you babble.MARTHA : And you're kinda cute when you're not chucking a scalpel about.OWEN : But I'm making the sodding coffee ! (He stands up. Martha goes back to typing onthe computer). I mean, come on, won't your bloke be missing you ? How about Jack ! Has he seen Jack ? They always get jealous when they meet Jack.MARTHA (irritated) : Owen, I don't want your job. I just want todo mine.OWEN : Okay, I'm dead, but I am one hundred percent human. I'm fine.MARTHA : You've sliced your hand open. Owen drops the scalpel as he opens his hand. It clatters on the floor. He is sufficiently freaked.TIME CUT TO : Owen sits on the table as Martha tends to his hand.MARTHA : The wound's not going to heal, so, you're going to have to re-stitch it every week or so. At least you don't need anesthetic.OWEN : Yeah,can't feel anything. I can't feel the needle or thread. I can't feel your hands on mine. Yet, I can touch things. I can hold 'em, I know they're there. But I just... can't feel anything. I'm numb.MARTHA : Do you see whyJack's worried ? Bruises won't heal. Bones won't mend. You're... fragile. Owen takes a breath.OWEN : Yeah, well, I'd better get used to doing things myself. He takes the needle and thread from her to stitch up his ownhand.MAGGIE (PRE-LAP, v.o.) : So she offers to help you and you push her away ? Charming.EXT. ROOFTOP - NIGHT (PRESENT)Maggie takes another cigarette out of the box.OWEN : Yeah, hole in the chest. Sorry if Idon't follow social niceties any more. Owen climbs up on the wall to take his seat next to her.MAGGIE : You mean you did before ? She lights the cigarette.OWEN : God, you're a pain in the arse, aren't you ? Is that whyyour man dumped you ? (She looks at him). Ooh, I hit a nerve ? What, did you get your heart broken ?MAGGIE : No, actually. He died.OWEN : I'm sorry.MAGGIE : No you're not. You couldn't care less about me and Idon't care about you. Just because we're both planning on jumping, it doesn't mean we have some sort of special connection.OWEN : You don't know the half of it.INT. THE HUB - WORKSTATIONS / JACK'S OFFICE(EARLIER)Gwen is at her workstation going through some papers. Owen walks up to her and puts her cup down. His hand is bandaged up. She glances at him.[SCENE_BREAK]Owen talks with Jack.OWEN : Give mesomething to do.JACK : You know I can't. Rules and regulations. Owen takes Jack's cup and plate.OWEN : Fine. I might as well go home then.JACK : Okay. Owen turns toward the door. He turns back.OWEN : Whatexactly do I do when I get there ?JACK : Watch TV... chill.OWEN : Jack, I'm dead. I'm permanently chilled. You know, you get to live forever. I get to die forever. It's funny that. Owen turns andleaves.[SCENE_BREAK]INT. OWEN'S PLACE - DAYOwen is back at home, sitting on the sofa with the television set on.MAN 1 (from tv) : I'll look into it myself.MAN 2 (from tv) : Can I arrange something for later?RANDOM MAN (from tv) : Yep.HOST (from tv) : Oh, hello ! And welcome to To Buy Or Not To Buy, the property show that lets you indulge in your... Owen turns the sound off. He sits on the sofa for a moment, puts theremote down and rubs his eyes. He gets up and looks at his place. He picks up a large trash bag, walks over to the refrigerator, turns the iPod on and opens the refrigerator. He clears out the foodinside.[SCENE_BREAK]In the bathroom, he throws away the toilet tissue. He opens the medicine cabinet and tosses all the shaving and grooming products on the bottom shelf. CUT BACK TO : Owen clears off the itemson the refrigerator door. CUT BACK TO : In the bathroom, Owen tosses all the products on the top shelf in the medicine cabinet.[SCENE_BREAK]Owen takes the garbage bag and closes the refrigerator door. He picks upthe brand new loaf of bread on the table and looks at it. He tosses it in the garbage bag. He then throws away all the food on the table. He throws away the food on the counter, including a bowl of fresh fruit... and ahandful of rotting bananas. He stops.[SCENE_BREAK]Owen is back to sitting on the couch.VARIOUS CUTS OF OWEN BEING BOREDHe stands in the bathroom. He looks at his empty refrigerator.) More Owen beingbored. His eyes drift shut. Suddenly, his doorbell is ringing. It takes him a moment to realize that his doorbell is ringing. Owen opens the door and finds Toshiko there. She smiles at him.[SCENE_BREAK]Toshiko burstsin. She's carrying a box of pizza.TOSHIKO : Do you mind if I eat, I'm starving ? She heads into the kitchen.OWEN : No, help yourself. So, Jack asked you to come round did he ? \"Talk to Owen. Get him to open up,goddamn it\". He sits at the counter.TOSHIKO : You haven't changed, have you ? It's all about Owen. (She grabs her bottle of drink and looks around). I've had a hell of a morning, you know. Do you have a... ? Shemotions opening the bottle.OWEN (points) : Top drawer. She turns to get the bottle opener.TOSHIKO : So, Jack calls me in at 5:00 this morning. (She opens the bottle). He could've waited until I got in, but no, strangeenergy spike, and it's \"Let's get Tosh in.\" Oh, and when Gwen got in, first thing she did ? Say sorry for not asking me to be bridesmaid. (voice fades) I mean, me, a bridesmaid ? Toshiko eats and continues talking.Owen drowns her out, not paying attention to her.MAGGIE (v.o.) : You sound like an old married couple.EXT. ROOFTOP - NIGHT - PRESENTOwen and Maggie talk.MAGGIE : Brian used to say I talked too much.OWEN :Tell me about him.MAGGIE : Today's my wedding anniversary.Quick flashes of : Maggie exiting the church in her white wedding dress. She and her husband leave.MAGGIE (whispers) : My perfect day...Quick flashes of: Maggie is walking along the road, her white dress drenched red with blood. She staggers, then sits on the side of the grassy hill.MAGGIE : It was an accident.Quick flash of : Maggie in her blood-stained wedding dress.She heads toward the overturned car. She sits on the grass and touches her dead husband's hand. She looks around for help.MAGGIE : We'd been married less than an hour.Quick flash of : Maggie climbs up the grassyhill to the road. Her face is cut. She makes her way along the empty road.MAGGIE : I was picking confetti out of my hair when it happens.OWEN : sh1t. I'm...MAGGIE : Sorry, yeah. I know.OWEN : You've waited untilyour wedding anniversary to kill yourself ? Why ?MAGGIE : Does it matter ?OWEN : Why have you waited ?MAGGIE : Because I believe people. I... I believe them when they said it would get better. So, what do youthink, Doctor ? Do you... do you really think it's going to get any better ? They lapse into silence. Maggie inhales from her cigarette, then tosses it off the side of the building.[SCENE_BREAK]INT. OWEN'S PLACE - DAY(EARLIER)Owen is in his kitchen, staring at nothing. He closes his eyes. PAN slowly around Owen to REVEAL that Toshiko is still there and talking. We can't hear a word she's saying as Owen has tuned her out. Owen'sbrows furrow as something occurs to him. We hear Toshiko's voice now, mid-conversation.TOSHIKO (fades in) : ... bounced a message from the stars. Guess what... It's Croatian. I ran it through the language translatorand it's flipping Croatian.OWEN (interrupts) : Why are you here, Tosh ?TOSHIKO : I want to help you. He nods.OWEN : And how are you going to do that ? How are you going to help me ? I mean, am I going to be anew special project ?TOSHIKO : Come on, Owen, I just...OWEN : That's not why you're here is it ? For some reason you want me. You know I don't know why, but you always have... always looking at me, watching me"}
+{"doc_id":"doc_198","qid":"","text":"MUSIC IN:(SFX: CAR BRAKES TO A STOP)TONY: Lieutenant Lara Hill. Stop number forty six on the boredom express.ZIVA: Cheer up. This could be fun.TONY: If I wanted to knock on doors all day, I would have joinedUPS.ZIVA: Trust me. Brown is not your most flattering color.TONY: You're actually enjoying this, aren't you?ZIVA: We're looking for a mole in the Pentagon, Tony. Espionage just so happens to be one of myspecialties.(KNOCK ON DOOR)TONY: We're interviewing code geeks. They're not even sure there is a mole.ZIVA: Don't you find it a bit coincidental that every time the Navy breaks a Venezuelan code, it changes almostinstantly?(SFX: TONY YAWNS)ZIVA: All right. I'm trying the back door.[SCENE_BREAK]EXT. BACK YARD - DAY(SFX: GATE OPENS)TONY: Relax, Ziva David. We're dealing with a Naval Officer. Not Doctor Evil.ZIVA:Well, she didn't show up for work or her interview with us. No one has been able to reach her by phone.TONY: She probably overslept.ZIVA: I believe in being prepared.TONY: So do Boy Scouts. Why didn't you bringWebelos McGee with you?ZIVA: I tried. He was busy.TONY: I've got an idea. How about if I shove you right through here? Huh?(F/X: CAT SCAMPERS FROM THE HOUSE)(SFX: ZIVA LAUGHS)ZIVA: Don't tell me you'reafraid of a little pussy - cat, Tony?TONY: (BEAT) It looks like blood.(MUSIC UP AND OUT)(THEME MUSIC UP OVER OPENING TITLE/ SCENES/ CREDITS AND OUT)MUSIC IN:INT. LIVING ROOM - DAYTONY: I knewsomething was wrong the minute I got out of the car, Probie. Instinct. Pure and simple. Either you got it or you don't.MCGEE: Yeah, well I heard you squealed like a little squirrel when the cat jumped out at you.TONY: Iwas saving this for Ziva, but since you volunteered... find the little beast. Got blood on his paws. It's evidence.MCGEE: I'm allergic to cats.TONY: Oh, I'm sorry. I had no idea. Try holding your breath.DUCKY: OurLieutenant suffered a single gunshot wound, Jethro, to the right temple...GIBBS: Through and through.DUCKY: Yeah.GIBBS: Impacted here. Round's still in the book, Duck.DUCKY: Sadly, one less reader in theworld.JIMMY: Who committed suicide. Or maybe she was just cleaning her gun too close to her head.GIBBS: DiNozzo.TONY: NCIS investigates all suicides as homicides until proven otherwise, Palmer.JIMMY: Gotit.GIBBS: T.O.D., Duck?DUCKY: Nine, nine thirty this morning. What time was her interview scheduled for today?GIBBS: Ten hundred.ZIVA: Gibbs.[SCENE_BREAK]INT. BEDROOM - DAYZIVA: I found it tapedunderneath the bureau.GIBBS: Hundreds and fifties. Non-sequential. Maybe fifty, sixty grand.TONY: Looks like we found our mole, Boss. Knew she was cornered. No way out. NCIS closing in.ZIVA: She could have run,Tony. Suicide is only for when you know you're going to be captured.TONY: For you, maybe. This doesn't exactly look like the bedroom of a hardcore super secret agent chick.ZIVA: I have stuffed animals. Okay, I wastwelve. But still, I mean...GIBBS: She could have been coerced.ZIVA: To be a mole?TONY: He means to kill herself.GIBBS: I mean both, DiNozzo. How many suicides you know make their beds before they offthemselves?TONY: Want me to inform Lieutenant Hill's Command about her death, Boss?GIBBS: Nope.TONY: He wants to tell him himself. That way he can gauge the response.GIBBS: DiNozzo.TONY: On your six,Boss.[SCENE_BREAK]INT. LIVING ROOM - DAYGIBBS: Get the couch, bookcase, and carpets to Abby.TONY: Oh. On it.GIBBS: McGee!MCGEE: Yeah, Boss?[SCENE_BREAK]INT. HALLWAY - DAY(SFX: MCGEESNEEZES)(MUSIC OVER ACTION/MCGEE CHASES THE CAT)MCGEE: He's really quick, Boss.TONY: (INTO PHONE) All right, I'll hold. McGee, you go that way. I'll go this way. We'll corner the guy. You've got to be verycareful with animals. They're... tricky.(SFX: CAT B.G.)GIBBS: Hey!(MUSIC OVER ACTION/CAT WALKS INTO THE CARRIER)TONY: Or you can just do that.GIBBS: With me. We're going to the Pentagon.MCGEE:Cryptology unit?GIBBS: I need you to translate.TONY: He needs you to speak the geek for him, McGeekle.GIBBS: DiNozzo, find a home for that thing!(SFX: CAT B.G.)[SCENE_BREAK]INT. CRYPTO UNIT - DAY(SFX:VOICES B.G.)DORN: Agent Gibbs. I understand you've got an investigation to run, but I'd appreciate a courtesy call before you show up here to interview any more of my people.GIBBS: We're not here to interview yourpeople today, Captain Dorn.DORN: What happened?GIBBS: Lieutenant Hill.DORN: Well, what? She didn't show up for her interview at NCIS today?GIBBS: Nope.DORN: Well, if she's running late, I can tell you there's agood reason. She's one of my--MCGEE: We know the reason.GIBBS: She's dead.DORN: How?MCGEE: Appears to be suicide.DORN: Let's continue this conversation in my office.[SCENE_BREAK]INT. OFFICE - DAYDORN:These... cryptographers. They're not like us. Their lives are by patterns and numbers. To tell you the truth, I don't understand half of it. But they're pretty tightly wound and Lieutenant Hill was no different.GIBBS:You're saying she was suicidal?DORN: I'm saying that she was withdrawn. She was socially awkward, had obsessive-compulsive traits.MCGEE: Well none of that was in her medical record.DORN: No, and it wouldn't be!These people are recruited based on their abilities, and sometimes it's a thin line between genius and...GIBBS: Insanity.DORN: Look, a lot of these people tend to be naturally paranoid, and this mole hunt hasn't helped.My entire section's on edge.GIBBS: They should be.DORN: If there's a leak, I am telling you right now it is not coming from my people.MCGEE: We found sixty thousand dollars hidden in Lieutenant Hill's home.GIBBS:She ended up dead instead of attending the interview she had today. What does that tell you?DORN: (INTO PHONE) Lieutenant Hall?HALL: (FILTERED) Sir?DORN: (INTO PHONE) We are now in lockdown. I want all thework secured and the section restricted to quarters until further notice.HALL: Yes, Sir. (V.O./OVER INTERCOM) Attention! Initiate emergency Plan Alpha. Shut down your systems and secure classified material. Whencomplete, report to your quarters until further notice.DORN: Okay. What now?[SCENE_BREAK]INT. LIVING ROOM - DAYTONY: Hey, buddy. Look what I got! Who found your favorite little carrot toy? Come here. Comehere. Here. Yeah. Good kitty. (SFX: CAT MEOWS B.G.)(SFX: CAT SCREECHES/ HISSES)TONY: Yah!(SFX: LAUGHTER)TONY: You think that's funny, Probies? Huh? Did I hear a little chuckle back here in the peanutgallery? Is that it? You want to know how the blood got there? Hm? You think that's funny? I'll tell you how it got there. Garfield over there. We found that animal feasting on this woman's face. Doctor Mallard thinksthat this kitty cat is rabid. Me? I'm of the opinion that it's a man eater. He likes the taste of human flesh. It starts with the cheeks. Then it moves to the lips. Soft lips. Then it works on the tongue a little bit until it's justa little nub. A lot of blood in the tongue. Guys, there was blood spewing from this poor woman's maw. Get a kick out of this now? You think this is funny, Chuckle Head. That's what it was feasting on when we found it.It took four tranquilizers and three--ZIVA: That's very dramatic, Tony. Can we get back to work now?TONY: You heard the lady, probies. And careful with that because it is evidence. (LAUGHS) I never get tired of it.What'd you find out?ZIVA: The neighbors were at work. The woman next door - she was actually there, but she didn't hear anything.TONY: I wish I had a neighbor like that. The old bat that lives next to me complainsevery time I bring a date home. Want to know why?ZIVA: Shouting of, \"No means no!?\"TONY: Huh. That's a good one, but not even close.ZIVA: I was actually kidding.TONY: Oh.ZIVA: I have the same problem at myplace, Tony.TONY: Really? You have a surround system too?ZIVA: No. I'm what you Americans like to call a screamer, yes?(SFX: ZIVA CHUCKLES)(PHONE RINGS)TONY: Answer it.ZIVA: Well, what do you want me tosay?TONY: I don't know. Scream something.HILL: (RECORDED VOICE) This is Lara. Leave a message.BOB: (V.O./FILTERED) Hi, Miss Hill. This is Bob calling with a special offer.TONY: (INTO PHONE) Hello, this is SpecialAgent Anthony DiNozzo. You called a crime scene. We're wiretapping this phone, so please be advised that we will be contacting you at your home.BOB: (V.O./FILTERED) My home?TONY: (INTO PHONE) Anytime day ornight. Probably during the weekend, early in the morning.BOB: (V.O./FILTERED) All right.TONY: That was fun. Telemarketers. You can't escape them even when you're dead.ZIVA: Ooh, speaking about escape?TONY:Nobody move![SCENE_BREAK]INT. AUTOPSY ROOM - DAYDUCKY: To assume is to make an enemy of exactitude, Mister Palmer.JIMMY: Because it makes an ass out of you and me?DUCKY: Is this the best time for anattempt at humor?JIMMY: Um, no.DUCKY: We must strive for excellence, Mister Palmer. Go the extra mile.JIMMY: I understand.DUCKY: Do you now? Oh, that's good. What exactly was your assumption?JIMMY: Well,the Instant Gunshot Residue Test came back positive.DUCKY: Yeah.JIMMY: She had a pistol in her hand. She has a hole in her head. It would seem reasonable to conclude suicide, Sir.DUCKY: There's nothing reasonableabout a lovely young girl like this taking her life in such a grotesque fashion. It's true firearms are the most common instrument of suicide. However, women tend to avoid the proximity of the face when pulling thetrigger. Vanity, Mister Palmer. Simple vanity.JIMMY: We're not finished with the external exam, are we, Sir?DUCKY: Well, you're not. You're so sure that the cause of death was suicide. Why don't you work out how youwould prove it?JIMMY: You want me to...DUCKY: Finish the external exam. Clean, measure - you know, the usual. You think you can do that?JIMMY: Absolutely, Doctor!DUCKY: Then work through the procedure, itemby item. Make whatever notes you can.JIMMY: Right. Oh, thank you, Doctor.DUCKY: Have her ready for autopsy two o'clock tomorrow.JIMMY: Yeah.[SCENE_BREAK]INT. SQUAD ROOM - DAYTONY: That's why I neverhad pets.ZIVA: You've never had any pets?TONY: Well, I had sea monkeys once.ZIVA: What's a sea monkey?TONY: Basically brine shrimp swimming around in green water. I know. I thought the same thing.ZIVA:What happened to them?TONY: My mother got their sea castles confused with her mint julep.ZIVA: Your mother drank your monkeys?TONY: It was the seventies.GIBBS: It explains a lot, DiNozzo.GIBBS: Hey boss? Iwent through Lieutenant Hill's background.ZIVA: Her phone records, credit card bills, personal habits. There's no discernible patterns.TONY: Yet. She's a cryptographer, Ziva. We could be dealing with a real pro here,Boss.GIBBS: Well, DiNozzo, if she was a pro, she wouldn't have killed herself.MCGEE: (V.O.) You should have heard the guy, Abby.[SCENE_BREAK]INT. GARAGE - DAYMCGEE: I mean, just because you (ON CAMERA)have an aptitude for math and science, it does not make them some kind of suicidal freak.ABBY: A little higher, McGee.MCGEE: Is that what people think about us?GIBBS: Ask me later, McGee. Oh, this better be workrelated.ABBY: Oh, it is. And you're just in time for the show and tell portion. McGee, if you will. So Lieutenant Hill sits down on the couch, puts the gun to her head, and bang! I said \"bang,\" McGee.MCGEE: Bang.ABBY: Imatched the bullet found in the book to the Kahr nine-millimeter in the victim's hand. Looks like a suicide, right?GIBBS: Except.ABBY: When a weapon is used at this close of range, there's extensive blood splatter fromthe exit wound. But blow-back also creates a fine mist of blood which lands here. Imperceptible to the human eye, but not to the magic of modern science. You're still dead, McGee.GIBBS: And?ABBY: Two steps away...voila!GIBBS: Footprints.ABBY: Exactly. Which means....GIBBS: Somebody else was in the room.(MUSIC UP AND OUT)MUSIC IN:INT. SQUAD ROOM - NIGHTTONY: No evidence of forced entry. No bruises or marks toshow that she was forced to pull the trigger or unconscious when she died. All we have is this... the Rorschach test from hell.ZIVA: You believe Abby may be mistaken?TONY: Well, I believe it's going to be tough toprove the suicide was faked when all you got is two partial footprints.ZIVA: She could have been drugged. The killer could have placed the pistol in her hand and pulled the trigger.TONY: The initial tox screens all cameback negative.ZIVA: Some narcotics are hard to trace. And as for no evidence of forced entry, we could be dealing with a trained assassin.TONY: Or she knew her killer, Ziva. Probie, it's about time! I'm starving like LeeMarvin!MCGEE: Well, then you shouldn't have sent me for the world's greatest barbecue because I had to wait in line for an hour.TONY: It will be worth it.MCGEE: You're welcome. Hey, Boss. Did you want somethingtoo, because, well, it's just that you never order.... I can... I can go back. I'll go back.GIBBS: Sit down. No one has earned dinner yet!ZIVA: I agree, though I doubt this qualifies as dinner. In fact, I'm not even surewhat this is. A Sea monkey?TONY: Goat. I'm pretty sure it's kosher.ZIVA: Maybe. But... still disgusting.GIBBS: There is a mole in the Pentagon and our only lead lies dead on a slab in Autopsy. I want answers!MCGEE:Boss? We ran the serial number on the murder weapon found in Hill's apartment. We just got a match. Purchased six months ago by this woman.ZIVA: Lieutenant Keira Napleton? We just...TONY: Interviewed her lastweek. She's in the same crypto unit as Hill.ZIVA: Looks like we didn't do such a good job.TONY: We'll bring her in.GIBBS: DiNozzo!TONY: We'll bring her in now. We'll eat dinner later.GIBBS: (CHEWING) Goodgoat.MUSICAL BRIDGE TO:INT. INTERROGATION ROOM(DOOR OPENS/ CLOSES)GIBBS: I'm Special Agent Gibbs.NAPLETON: Keira Nap - I mean, Lieutenant Keira Napleton, Sir. Middle name, IngBall. Family name onmy father's side. Most people would find it --GIBBS: You're not here because of a middle name, Lieutenant.[SCENE_BREAK]INT. OBSERVATION ROOMZIVA: This woman is a total turd! (BEAT) A geek, yes?TONY: Theterm is nerd.ZIVA: Whatever. I'm just saying it's hard to picture her as a killer.TONY: Remember the time that we Super Glued McGeek's face to his desk?ZIVA: (CHUCKLES) Yes. That's a goodpoint.[SCENE_BREAK]INT. INTERROGATION ROOMNAPLETON: Am I to assume I'm in some form of legal trouble? I only ask because no one has informed me of my Article Thirty One rights yet, Sir.GIBBS: Want me toread them to you?NAPLETON: Actually I have them memorized.GIBBS: Good. That'll save time.NAPLETON: I was interviewed by NCIS, Sir. I am not a... a traitor to my country.GIBBS: Hm? What about her?NAPLETON:You think Lara was the mole?GIBBS: Tell me about her.NAPLETON: Well, she was Catholic, liked to play softball. Her left leg was longer than her right.GIBBS: I'm more interested in her being dead,Lieutenant!NAPLETON: I don't know, Sir. Perhaps she was depressed?GIBBS: Enough to blow her head off?NAPLETON: She... she shot herself?!GIBBS: With this.[SCENE_BREAK]INT. OBSERVATION ROOMGIBBS:(FILTERED) A Kahr nine millimeter. Yours. What was that doing at her house?NAPLETON: (FILTERED) The real estate market being what it is--[SCENE_BREAK]INT. INTERROGATION ROOMNAPLETON: ... Being what it isand the forecasted projections over the next several--GIBBS: Lieutenant!NAPLETON: I have orders for Norfolk, Sir. So I sold my townhouse. Lara let me stay with her until I shipped out.GIBBS: Convenient.NAPLETON:Most people would think so, but the commute really wasn't that much better...GIBBS: Meaning, she wasn't alone when the trigger was pulled.NAPLETON: You think I was .... I was there with her? Sir, if I was...I wouldhave stopped her.GIBBS: Where were you?NAPLETON: At... I was at Alphonse's last night. My boyfriend.[SCENE_BREAK]INT. OBSERVATION ROOMNAPLETON: (FILTERED) I went straight to work from his house.TONY:I don't believe it.ZIVA: She appears to be telling the truth.TONY: No, I mean the part about her having a boyfriend.ZIVA: Oh.TONY: Come on.[SCENE_BREAK]INT. INTERROGATION ROOMGIBBS: I need his number andaddress.NAPLETON: I would appreciate it if you kept this quiet, Agent Gibbs. My parents... they still think I'm a virgin.[SCENE_BREAK]INT. SQUAD ROOM - DAYDORN: How much longer is this going to take, AgentMcGee?MCGEE: Ah, hard to say, Captain. Agent Gibbs doesn't like to be interrupted during interrogation.DORN: It's almost zero two in the morning.GIBBS: Oh, we're just getting started here, Skipper.DORN: AgentGibbs, do you think Lieutenant Napleton's the mole?GIBBS: She's staying here until we check her alibi.DORN: Alibi? For what?GIBBS: It's too soon to say.DORN: Well, we have another problem now. Our security mayhave been compromised.GIBBS: May have?DORN: After you left today, I conducted a thorough inventory of our section. Every piece of technology was scrutinized. Do you know what this is?MCGEE: Oh, it's...GIBBS:(OVERLAP) Oh, yeah. That's one of those... uh... memory doodah things for a computer.DORN:DORN: Yeah, basically we use it to transfer data between terminals. At the end of the night they're checked in. They'rekept in a vault. (CONT.) They never leave the section. I found this today in its proper place. The only problem is... someone took the memory cartridge out.GIBBS: Who has access to the vault?DORN: Two people.Lieutenant Hill and Lieutenant Napleton.GIBBS: What was on it?DORN: Could be anything. It holds over two gigs of information.GIBBS: McGee, bag it. Get a hold of Ziva and Tony. Tell them we're heading out.MCGEE: Igot it. Ah, where to, Boss?GIBBS: To look for the other doo-dah that goes inside that one.MCGEE: On it.DORN: Agent Gibbs, this is my fault. I've already offered my resignation to the Admiral.GIBBS: Don't fall on yoursword yet, Captain. Like I said, we're just getting started here.[SCENE_BREAK]INT. LIVING ROOM - NIGHTMCGEE: The flashcard could be anywhere. If you find it, though, try not to touch the contacts.ZIVA: Mossadtraining does not include food service.(SFX: MCGEE COUGHS)MCGEE: This thing hasn't been cleaned in years.TONY: It's a heating duct, McGee. Nobody cleans heating ducts... except for you guys.ZIVA: Oh, god! Itsmells like it's been here for a month!MCGEE: That's exactly why I don't have a roommate.GIBBS: Roommates are never a good idea.MCGEE: Did you ever have one, Boss?GIBBS: Three, McGee. They're calledwives.(MUSIC OVER ACTION/ALL SEARCH THE KITCHEN CABINETS/HOUSE FOR THE CHIP)(PASSAGE OF TIME)(SFX: ZIVA SNORES)GIBBS: Pack up. I found it. It looks like they're putting decoder rings in cereal boxesagain. (BEAT) What?TONY: Ah, it's a little before our time, Boss.[SCENE_BREAK]INT. LAB - DAYZIVA: Find anything, Abby?ABBY: I pulled a partial print off the flashcard. I'm running it now. Rough night?ZIVA: Is thereany other kind with Gibbs?ABBY: It could be worse. It could be Saturday.ZIVA: It is Saturday, Abby.ABBY: See? It just got worse. Thanks.TONY: Do you have any Super Glue, Abs?GIBBS: What did I tell you about that,DiNozzo?TONY: His skin might not grow back.GIBBS: What do we have?ABBY: The partial print didn't match anyone in the crypto unit, so I'm running it through AFIS and other databases.GIBBS: McGee.MCGEE: Uh... Idumped the contents of the flashcard. It's encrypted so we're going to need someone from the crypto section to have access to their codes.GIBBS: Captain Dorn is coming in later.ABBY: Well, not so fast, Gibbs. I got ahit. It's from the Office of Foreign Missions.[SCENE_BREAK]INT. SQUAD ROOM - DAYTONY: Name's Simon Roca. He's the Protocol Officer at the Embassy of Venezuela.ZIVA: He's got an apartment in the Watergate.Been on station since last June.TONY: Well, if Lara Hill was selling code, Roca could be the source of the money we found.TONY: Killed her because he was afraid she wouldn't hold up under questioning.MCGEE: Webringing him in?GIBBS: We can't.MCGEE: Can't? He murdered a Naval Officer, Boss!TONY: He has a license to kill, McGee.ZIVA: He's got full diplomatic immunity.(MUSIC UP AND OUT)[SCENE_BREAK]INT. MTAC ROOM- DAYLEVINSON: (ON MONITOR) What can the State Department do for NCIS at seven thirty on a Saturday, Agent Gibbs?GIBBS: I've got a dead Naval Officer who might be a mole. Evidence connects her to a foreigndiplomat.LEVINSON: What country?GIBBS: Venezuela. His name is Simon Roca.LEVINSON: (ON MONITOR) Bad choice. Pick another.GIBBS: I want to question him.LEVINSON: (ON MONITOR) You are aware of ourcurrent relations with Venezuela.GIBBS: They are about to get worse.LEVINSON: (ON MONITOR) They've already accused us of meddling in their internal affairs. The Venezuelan Petroleum Minister has threatened to"}
+{"doc_id":"doc_199","qid":"","text":"Scene: The CafeteriaSheldon: It's not what it looks like. It's not what it looks like.Leonard: What are you grinding about?Sheldon: Penny's brain teaser this morning. She and Koothrappali emerge from your bedroom.She is dishevelled, and Raj is dressed only in a sheet. The sole clue, it's not what it looks like.Leonard: Just let it go, Sheldon.Sheldon: If I could, I would, but I can't, so I shan't. Now, knowing Penny, the obviousanswer is, they engaged in coitus. But, since that's what it looked like, we can rule that out. Let's put on our thinking cap, shall we? (Mimes doing so) Raj is from India, a tropical country. Third World hygiene. Parasiticinfections are common, such as pinworms. Mm-hmm. The procedure for diagnosing pinworms is to wait until the subject is asleep, and the worms crawl out of the rectum for air. (Leonard spits out food) Yes, just likethat. Penny could have been inspecting Raj's a**l region for parasites. Oh, boy. That's a true blue friend.Leonard: They slept together, Sherlock.Sheldon: No, you weren't listening. She said, it's not what it lookslike.Leonard: She lied.Sheldon: Oh. Well don't I look silly sitting here wearing this? Credits sequence.Scene: The CafeteriaHoward: Hey.Raj: Hey.Leonard: Hey.Sheldon: Hey. Leonard, is it awkward for you knowing thatone of your dear friends had sexual intercourse with a woman you used to love in the very place you lay your head?Leonard: No, I'm fine with it.Sheldon: That sounds like sarcasm, but I'm going to disregard it, becauseI have an agenda. Paintball. Specifically, the interdepartmental tournament this weekend. Now, in order to function better as a fighting unit, I thought we should establish a chain of command. Now, it goes withoutsaying that I would outrank the three of you, but the question remains, by how much? Now, I don't see me as some four-star general, back at HQ riding a desk and playing golf with the Secretary of Defence. But I alsocan't be Sergeant Cooper, because that might lead you to think of me as just a regular Joe. This might take some thought. As you were.Leonard: What the hell is wrong with you?Howard: Yeah, how could you dothat?Raj: What is it to you?Howard: I got his back.Raj: Yeah, right. You're just jealous because it turns out I'm Penny's number two choice after Leonard.Howard: Hey, if I wasn't engaged to Bernadette, that totallycould have been me.Leonard: Please. Sheldon would have been before you, and he might not even have genitals.Raj: Why do you care so much? You're dating my sister, and Penny and I are in love.Leonard andHoward together: What?Sheldon: Gentlemen, if I may interject, I've decided my rank will be captain. If it's good enough for Kirk, Crunch and Kangaroo, it's good enough for me.Howard: You're not in love withPenny.Raj: Yes, I am. The god Kamadeva has shot us with his flowery arrows of love.Howard: Who?Raj: He's the Hindu version of Cupid, but way better, because he rides a giant parrot.Leonard: Raj, come on. You fallin love with any girl who smiles at you. A month ago, you were writing poems about his fiancee.Howard: I'm sorry. What?Raj: Rubbish. He's talking rubbish.Leonard: Oh, Bernadette, please play my clarinet.Raj: Thatcould have been about anyone. Besides, you have nothing to worry about, because now I'm the dusky half of Koothrapenny.Sheldon: For the record, I do have genitals. They're functional and aestheticallypleasing.Scene: Penny's apartment. Penny has a bottle of wine. She can't find a glass. Finds a measuring jug and uses that instead. There is a knock on the door.Penny: Coming. Yup, that's good. Wine glasses shouldhave handles.Amy: Keeping accurate track of your alcohol intake. Smart idea considering how trampy you get when you've had a few.Penny: You heard what I did?Amy: Well, I heard who you did.Penny: Oh, my God, Iscrewed up everything. I hurt Leonard, I hurt Raj, I mean, what is wrong with me? I feel like two totally different people, Dr. Jekyll and Mrs. Whore.Amy: Don't be so hard on yourself. Do you know the story ofCatherine the Great?Penny: No.Amy: She ruled Russia in the late seventeen hundreds, and one night, when she was feeling particularly randy, she used an intricate system of pulleys to have intimate relations with ahorse.Penny: I'm... I'm sorry. What does this have to do with me?Amy: She engaged in interspecies hanky-panky, and people still call her great. I'm sure your reputation can survive you shagging a little Indianboy.Scene: Raj's apartment. There is a knock on the door. He opens it.Bernadette: You jerk face! What did you tell Howard? Did you say there was something going on between us? Because he thinks there is. He'scompletely freaking out!Raj: Please, come in.Bernadette: What the hell is wrong with you?Raj: Well, you were always so nice to me, I thought maybe you liked me.Bernadette: I'm nice to everyone.Raj: I'msorry.Bernadette: Damn right, you're sorry. And you tell Howard there's never been anything between us.Raj: I will. Hey, Bernadette?Bernadette: What?!Raj: Do you think I have a shot with Penny?Bernadette: Ofcourse you do. You're a cutie pie. Any girl would be lucky to have you.Scene: Penny's apartment.Penny: You know, I've done this before. In kindergarten, I was supposed to marry Jason Sorensen at recess, but by thetime my class got out there, he was already engaged to Chelsea Himmelfarb. So what did I do? Hung upside down from the monkey bars, let all the boys see my underpants.Amy: You can't blame yourself. When yourprefrontal cortex fails to make you happy, promiscuity rewards you with the needed flood of dopamine. We neurobiologists refer to this as the skank reflex.Penny: You know what? Let's get out of here.Amy: Where arewe going?Penny: Somewhere where no one's seen me naked. We may have to drive awhile. (Opens door. Sees Leonard and Sheldon. Slams it shut again.)Sheldon: Subtlety isn't her strong suit, is it?Penny: Can I stayat your place for a few nights?Amy: Really? A best friend sleepover? Yay.Penny: Yeah, sure. Yay!Amy: We'll make popcorn, stay up all night and I'll teach you my secret language, Op.Penny: Sounds great.Amy: Nope.Sounds Gop Rop E A Top.Penny: Yeah, I'm gonna go pack a bag.Amy: No, you're not. You're gonna Pop A Cop Kop A Bop A Gop.Scene: The apartment.Leonard: Do we really have to wear this camouflage crap to playpaintball?Sheldon: Who said that? Leonard, I can hear your voice, but I can't see you.Leonard: I'm not in the mood, Sheldon.Sheldon: Oh, there you are. Leonard, I know you're upset about recent events, and I havesomeone here to help. (Showing laptop screen)Leonard: I don't want to talk to Amy.Sheldon: No, it's not Amy.Dr Hofstadter: Hello, dear.Leonard: You called my mother?Sheldon: Oh, Leonard, is it really necessary tocaption the obvious?Dr Hofstadter: He's been like that since he was a toddler. Look, Mommy, a butterfly. Maddening.Leonard: What's going on? What do you want?Dr Hofstadter: Sheldon informed me that you'reexperiencing an emotional upheaval, and I'm here to help.Leonard: That's so nice.Dr Hofstadter: And we're back to the obvious. Now, what's up?Leonard: Well, uh, okay, um, I don't want to get back together withPenny. We tried it, it was crazy, it didn't work, but I can't deal with the fact that she slept with my friend Raj. And then I find out that Raj's sister Priya, who I've been going out with for eight months, is moving back toIndia. So I'm just completely confused and alone.Dr Hofstadter: I understand.Leonard: Got any advice?Dr Hofstadter: Yes. Buck up.Leonard: Excuse me. You're a world-renowned expert in parenting and childdevelopment, and all you've got is buck up?Dr Hofstadter: Sorry. Buck up, sissy pants.Leonard: Thanks, Mother. I feel much better.Dr Hofstadter: If you need any more help from me, my books are available onAmazon. Logging off.Scene: Amy's apartment. Amy is brushing Penny's hair.Amy: Ninety-nine, one hundred. It's like a waterfall of liquid gold. My turn.Penny: You know, I don't even know what the point of me stayingin L.A. is. I haven't gotten a single acting job since I moved out here. The closest I came was last month, I got a callback for a hemorrhoid commercial.Amy: Oh, I could so see you being the face ofhaemorrhoids.Penny: I know, right? Maybe I should just move back to Nebraska.Amy: No, I can't let you do that.Penny: Why not? (There is a knock on the door)Amy: For the first time ever, I have a thriving social life.And no pressure, but it kind of lives and dies with you.Raj: Hi, Amy. Can I talk to Penny?Amy: A guest in my trundle bed and a boy at my door? I wish I could tell 13-year-old me it does get better.Penny: How did youknow I was here?Raj: It's all over her Facebook page.Amy: I'll take your stuff to the bedroom and clear out a drawer.Penny: Thanks.Amy: No problem. Try and keep it in your pants, okay?Penny: So, hi. What's up?Raj:I was wondering if you're free Friday. They're having a Totally '80s Night at the Greek. Hall & Oates, Katrina and the Waves and three-fifths of Kajagoogoo.Penny: Oh. Gee, that's really sweet, but the thing is...Raj: Aw,there's a thing.Penny: Look, honey, I was really drunk and made a huge mistake last night. We should've never slept together. It's what ruins friendships.Raj: You can't ruin a friendship with s*x. That's like trying toruin ice cream with chocolate sprinkles.Penny: Come here. Just listen to me. I want to go back to the way we were before. You know, friends. No sprinkles.Raj: Oh. All right.Penny: Thank you.Raj: Well, uh, as yourfriend, you might like to know that, um, we didn't have s*x in the conventional sense.Penny: Oh, God. Did you pull some weird Indian crap on me?Raj: No, no. After we got undressed and jumped in bed, you, you askedif I had protection.Penny: Oh, you did, didn't you?Raj: Of course. I'm always packing. Anyway, um, I had trouble putting it on and you tried to help and, that was all she wrote.Penny: So, we didn't actually...Raj: I did.It was beautiful.Penny: Oh!Raj: Penny, please, please promise me you won't tell anybody about this.Penny: Of course I won't. No, I won't.Raj: Oh, good. Um, can I tell people that our love burned too bright and tooquickly? Kind of a Candle in the Wind deal?Penny: Sure.Raj: Cool. Can I say it fell apart because you were all, I want to have your babies, and I was like, I'm too rock and roll to be tied down?Penny: No.Raj: Can I say Iruined you for white men?Penny: Also no.Raj: Okay, just the candle thing.Penny: Yeah.Raj: Cool. All right friend.Penny: Hmm.Raj: I'll see you around.Penny: Okay. Raj, wait. Thank you for being my friend. (She hugshim.)Raj: Penny?Penny: Mm-hmm?Raj: It's getting beautiful again.[SCENE_BREAK]Scene: A shed on the paintball range.Sheldon: All right, this is a Google Earth view of the field of battle.Howard: I don't seeanything.Sheldon: Give it a second to load. Whenever you're ready, AT&T! Okay, here we go. This is us here. To the south is Professor Loomis and the Geology Department. According to their Twitter feed, they're out ofsunblock, which means they'll have to hug the tree line or risk melanoma. That's our edge. All we have to do is move quickly over this ridge, the rock-worshipping pasty-faced bastards won't know what hit them. Allright, let's move out.Leonard: Hang on, Sheldon. How could you not tell me your sister was moving back to India?Howard: Maybe he was too busy writing clumsy pen1s metaphors about my fiancee.Raj: Screw you.That was a beautifully written pen1s metaphor.Leonard: You know what, guys, I'm not in the mood for paintball. What do you say we just bag it?Howard: Fine with me.Raj: Sure, whatever.Sheldon: You can't quit.That's a court-martial offence. That's punishable by... You can't quit.Leonard: Sorry, Sheldon, it's just not a good time for playing games.Sheldon: This is a game to you? Uh, was the Battle of Antietam a game? Huh?Was the sack of Rome a game?Leonard: Yes, no and no.Sheldon: Wait. I just want you all to know that I forgive you. This mutiny isn't your fault, it's mine. I haven't earned these bars. Although what I lack inleadership, apparently I more than make up for in sewing.Howard: Let it go, Sheldon. I'll get you a Jamba Juice on the way home.Sheldon: No. Jamba Juice is for heroes. And that's what we're going to be.Leonard:What are you doing?Sheldon: Following in the footsteps of Kirk, Crunch and Kangaroo. (Walks outside) Geology isn't a real science! (Gets hit by countless paintball pellets)Howard: Damn those sons of bitches!Leonard:Let's get 'em!Sheldon: If there's ever a Church of Sheldon, this will be when it started. Ow!Scene: The apartment.Leonard: I'd like to propose a toast to the man whose noble sacrifice inspired our victory, CaptainSheldon Cooper.Howard and Raj: Here, here.Sheldon: Excuse me. It's Major Sheldon Cooper. With my last breath, I awarded myself a battlefield promotion. It's kind of a big deal.Penny: Hi. You guys have aminute?Leonard: Uh, yeah, sure.Penny: Okay. Um. Well, I already talked to Raj, but I wanted to apologize to the rest of you for, you know, everything.Raj: Please, Penny, let me. We've decided to let our crazy,wonderful night together be just one of those memories you have and can call to mind when you're feeling blue or you're in the shower.Penny: Hey, what you doing, Quick Draw?Raj: Sorry. Go on.Penny: Anyways, Iwanted you guys all to know that I've been taking a really hard look at things and come to the conclusion I have to stop kidding myself. I suck at acting. It's time for me to move back to Nebraska.Leonard: You'releaving?Penny: Yeah.Howard: What are you going to do in Nebraska?Penny: I don't know, maybe teach acting. (Phone rings) Oh, sorry. Hold on. Hello?Leonard: Penny, Penny, listen, I hope you're not doing this 'causeof you and me, because I have a girlfriend, and you're a single woman.Penny: Shh! It's my agent, it's my agent. You're kidding. Oh, my gosh. I can't believe it! Really? Oh, I'm so excited, thank you, thank you so much.Okay, bye. I got the haemorrhoid commercial! I start Monday.Sheldon: What about Nebraska?Penny: Oh, hell with Nebraska. I'm gonna be a star!Sheldon (to Leonard): Have you ever thought of teachingphysics?Scene: The apartment. Penny's ad is on the television. She is at a stables.Actress: Ready to ride?Penny (on screen): I don't think so, Mom. Not today.Actress: Oh, sweetie. Haemorrhoids acting up again?Penny(on screen): You don't know the half of it.Actress: Oh, yes, I do. Try a dab of this.Penny (on screen): Rose-scented Preparation-H for women?Actress: Now, the H is for Her.Leonard: I'm proud of you.Penny: Shh! Herecomes my joke.Actress: How are you doing?Penny (on screen): Sittin' pretty."}
+{"doc_id":"doc_200","qid":"","text":"Principal v*g1n* here don't let the name fool you. I'm very much in charge reminding you that tonight is our annual flu season dance. I don't know how many times I have to say this, but if you have the flu, stay home.Hey. The flu season dance is about awareness, not celebration.Morty: [sighs] you don't bring dead babies to passover.Morty: Okay. Here we go. H-hey, Jessica. Uh... what's up, Morty? [Sneezes] What are youdoing?Morty: Um... wait, wait. Were you about to talk... to her?Morty: Well... I mean, I was thinking about it. Dude, stay in your league. Look at how hot she is. You don't see me going to a bigger school in a wealthierdistrict and hitting on their prettiest girl. Gee, thanks, brad. I throw balls far. You want good words? Date a languager.Jerry: Try not to worry about it, Morty. You're a good kid, and there's not a premium on that rightnow, but you'll be getting girls sometime after brad's out of shape.Morty: [sighing] you're missing the point, dad. I don't want girls. I want Jessica.Jerry: Ah, well, I remember feeling that way about a young lady named\"your mom,\" and that's not an urban diss. Your mom was my Jessica. I remember the first time I saw her.I thought Rick: \"i should get her pregnant, and then she'll have to marry me.\"Jerry: I beg your pardon, Rickinappropriate.Rick: Sorry, please proceed with your story about banging my daughter in high school. I'm not sure you want to take romantic advice from this guy, Morty. His marriage is hanging from a thread.Jerry: Mymarriage is fine, thank you.Rick: Jerry, it's your house whatever you say it is is how it is but I think a blind man could see that Beth is looking for the door. I barely have a reason to care, and even inoticed.Morty: Comeon, Rick! Don't talk about my parents like that.Rick: Listen, Morty, I hate to break it to you, but what people call \"love\" is just a chemical reaction that compels animals to breed. It hits hard, Morty, then it slowly fades,leaving you stranded in a failing marriage. I did it. Your parents are gonna do it. Break the cycle, Morty. Rise above. Focus on science.[Slurps]Morty: All right, well, I'm gonna go get dressed for the dance.Jerry: Yeah,I'm just going to... check on your mom.Rick: Morty, hand me that screwdriver, huh?I'm almost finished making my ionic defibulizer, Morty. It's gonna be great.Morty: Hey, listen, Rick. Y-y-you know how you said that,you know, love is a chemical and all that stuff from earlier? Well, I was thinking, you know, w-w could you make some sort of chemical thing happen inside of Jessica's mind, you know, so where she falls in love with meand all that sort of thing? You know, like, maybe make some sort of love potion or something?Rick: Morty, that's such a poor use of my time. It's beneath me. Hand me the screwdriver.Morty: You know what? No, Rick!I'm not gonna hand you the screwdriver. I-I'm not gonna hand you anything ever again, Rick! I'm always helping you with this and that and the other thing. W-w-w-w-w-what about me, Rick? W-w-w-w-why can't youjust help me out once once for once?Rick: [groans] you're growing up fast, Morty. You're growing into a real big thorn straight up into my ass. [Clears throat] Listen, this is called oxytocin. I extracted it from a vole. Doyou know what a vole is, Morty? You know what a vole is? It's a it's a rodent that mates for life, Morty. This is the chemical released in a mammal's brain, you know, that makes it fall in love. All right, Morty, I just got to[burps] combine it with some of your dna.Morty: Oh, well, okay.[Zipper opens]Rick: A hair, Morty.I need one of your hairs. This isn't \"game of thrones.\"Morty: Ow!Rick: All right, Morty. Whoever you smear this stuff onwill fall in love with you, and only you, forever. Are you happy now, Morty?Morty: Heck, yeah! Thank you, grandpa Rick. Hey, there's no... dangers or anything, or side effects, right?Rick: W-w-w-what am i, a hack? Gonuts, Morty. It's foolproof. Eh, unless she has the flu.Jerry: Beth, do y-you still love me?Beth: Ugh, what kind of question is that?Jerry: The \"yes or no\" kind?[Laughs nervously]Beth: Jerry, do you want homeless peopleto have homes?Jerry: Yes.Beth: Are you gonna build them?Jerry: No.Beth: Then what good was the \"yes\"?Jerry: Wait, i-is loving me the house or the homeless people?Beth: Loving you is work, Jerry hard work, likebuilding a homeless shelter nobody wants to say no to doing it, but some people put the work in.So, what do you say? Do you see me working here? Does this conversation seem tedious to me?Jerry: Sort of.Beth: ThenI obviously sort of love you, don't I? [Cellphone chimes] So stop asking, and maybe I'll love you more. Crap, they need me at the horse hospital.Jerry: Puh! This late?Beth: The racetrack had a starlight derby. There wasa seven-horse collision, and davin's there alone.Jerry: [thinking] Davin. Davin. Davin! Davin. Davin! Davin! Davin! Davin![Rapping]\u0000 flu, yo \u0000 \u0000 you got to be aware \u0000 \u0000 aware of all the flu \u0000 \u0000 up in the air \u0000 \u0000I'm-a get me a shot \u0000 \u0000 and make the flu go away \u0000 \u0000 flu-hating rapper \u0000 \u0000 just rapping away \u0000 \u0000 yo, yo, flu-hating rapper \u0000 \u0000 it's a flu-hating rapper \u0000Morty: Hey, there, Jessica. Whoa! Oh, whoopsie! Oh, mygod. Morty. You look really nice tonight.Morty: Wow, thanks. I love you, Morty! I love you so much it burns!Morty: Oh, man! I-i love you too, Jessica! [Spits] is this punk bothering you, Jessica? Leave him alone, jerk!I'm in love with him! He is more man than you will ever be![Sneezes][rapping]\u0000 this is about flu awareness \u0000 \u0000 got to be aware of the flu in the air-ness \u0000 \u0000 yo, I'm a flu-hating rapper \u0000 \u0000 oh, man, Morty.\u0000[Sighs]I'm really sorry.Morty: Oh, well, n-no problem, brad. There's something special about you, Morty so special. Mmm, yeah.Morty: Whoa, take it easy! Get your hands off of him! Back off! I'm trying to be with myman! That's enough, bradley! We don't want you injuring your ball-throwing arm. Oh, come on, principal v*g1n*. I just... never leave me, Morty. Never!Morty: Uh, sure. I mean, o-of course not. W-what do you thinkthat was all about? Who cares? Just hold me. Let me go! I love you, Morty! [Sneezes] let go of me![Sneezes]Morty!Jerry: She's gonna be alone with that guy all night.Summer: Yeah, dad, digging around the insides ofhorses. It's not a very romantic setting.Rick: Well, Summer, there's always the possibility that she made the whole work thing up. Maybe davin's digging around in herinsides.Summer: Grandpa, so gross! You're talkingabout my mom.Rick: Well, she's my daughter, Summer. I outrank you. Or family means nothing, in which case don't play that card.Jerry: She's not responding to my texts!Summer: Careful, dad. Jealousy turns womenoff.Jerry: Well, isn't that convenient?Rick: Not for the men they cheat on, no.Jerry: Okay, I'm... going to go out... for some ice cream. And maybe stop by the hospital... to support my wife... with my confidence.[Doorcloses]Summer: God, grandpa, you're such a dick.Rick: I'm sorry, Summer.Your opinion means very little to me. How come you're not at this stupid dance everyone loves so much?Summer: Screw that. I don't want toget sick. It's flu season.Rick: It is?Summer: Yeah.Rick: Uh-oh.[Hip-hop music plays]Morty: Please just let this work out.[Moans] Do it, Morty. Do it. Rip my clothes off and mate with me for life![Growls]Morty: Um... canwe maybe go somewhere more private?Jessica, get a hold of yourself![Grunts]You don't deserve to carry Morty's genes.[Rapping]\u0000 I love Morty \u0000 \u0000 and I hope Morty loves me \u0000 \u0000 I'd like to wrap my arms aroundhim \u0000 \u0000 and feel him inside me \u0000Morty: Oh, crap.[Indistinct shouting]Morty!Rick: Morty, come on! We got to get you out of here. You're not gonna believe this because it usually never happens, but I made a mistake.[Both panting] come on, Morty. We got to get out of here. Come on. Morty!Morty: [wails] are you okay?Morty: I'm fine! Oh, good. If anything ever happened to you, I would kill myself. I love you bad, mo-mo![Allpanting][indistinct shouting]Morty, the principal and I have discussed it, a-a-and we're both insecure enough to agree to a three-way!Rick: I didn't realize when I gave you that serum that Jessica had the flu you know,t-t-t-t-t-t-t-that might have been valuable information for me, Morty.Morty: What the hell is going on, Rick?Rick: What does it look like? T-t-t-the serum is piggybacking on the virus. It's gone airborne, Morty.Morty: Oh,crap. What are we gonna do, Rick?Rick: It's gonna be fine, Morty, relax. I whipped up and antidote. It's based on praying-mantis dna. You know, praying mantises are the exact opposite of voles, Morty. I mean, theythey mate once, and then they, you know, decapitate the partner. I mean, it's a whole ritual. It's really gruesome and totally opposite. There's no love at all. I-i-i basically mixed this with a more contagious flu virus. Itshould neutralize the whole thing, Morty. It'll all be over very shortly.[SCENE_BREAK][Indistinct shouting]Uh, by the way, Morty, I know you didn't ask or anything, but I'm not interested in having s*x with you. Theseserums, they don't work on anybody related to you genetically. Morty![All groaning]Rick: Okay, well, sometimes, science is more art than science, Morty.A lot of people don't get that.Jerry: [gasps][tires screech]Comeon. Are you kidding me? Hello! Morty! You're not Morty! Bring us Morty![Gun cocks]Jerry: Nobody's killing me until after I catch my wife with another man.I had s*x with billy. But you were already pregnant! Yeah, sowhat's the worst that could happen? We interrupt \"pregnant baby\" with breaking news.Summer: [groans] Come on. This just in Morty smith's whereabouts are still unknown.Summer: What the hell? The only thing thatis known is... how cute he is. I love him so much, I want to make love to him and then eat his head. I love him more than you do, harold! You wish, you stupid bitch! Morty's mine! Morty's mine! Meant to betogether![Speaking arabic]Morty![Speaking arabic][banging on door]Where is Morty?Summer: [screams][conversing in native language]Morty: Oh, my god, Rick.The whole world is infected!Rick: Yeah, it's pretty wildhow fast that spread. I've really outdone myself.Morty: Outdone yourself?! W-w a-are are you kidding me, Rick? This is not okay! Not only do they all want to have s*x with me, but, you know, now they want to eat meafterwards!Rick: Yeah, I don't know what I was thinking. Mantises are they opposite of voles? I mean, obviously, dna's a little more complicated than that. You know what, though, Morty? This right here's gonna do thetRick, baby. It's koala mixed with rattlesnake, chimpanzee, cactus, shark, golden retriever, and just a smidge of dinosaur. Should add up to normal humanity.Morty: I don't that doesn't make any sense, Rick. How doesthat add up to normal humanity?Morty: What, Morty, you want me to show you my math? I'm sorry a-are you the scientist or are you the kid that wanted to get laid? [Exhales deeply] Well, I'm glad we saved all thosehorses, but I'm almost sorry we're finished.Beth: Yes, it's satisfying work. Unh-unh-unh, it's, uh it's more than the work. I love being in that sterilized room, sealed off from the world. It's the only time I can reallythink... and feel.[Slow music plays]Beth: Hmm, uh, what are you doing?I'm playing african dream pop. What do youdo after a long night?[Click]Beth: Oh, ha, um, hey, I b I'd better get going.Um, Jerry's been textingsome pretty high-maintenance stuff. Beth...Beth: What is it, davin? Just once, I'd like to know [sneezes] ...w-w-what it was like to give your son a bath.Beth: What?! What does Morty's skin smell like? How soft...[grunts] How soft are his privates?Beth: Let go of me, davin![Glass shatters][roars] Take me to Morty.Jerry: [grunts] You're not Morty.Jerry: No. I'm mr. Crowbar, and this is my friend, who is also a crowbar. That's...stupid.Jerry: [grunting] Yeah? Well, look where being smart got you.Beth: Jerry! Thank god!Jerry: God? God's turning people into insect monsters, Beth. I'm the one beating them to death. Thank me.Beth: Thank you,Jerry. Thank you.Rick: Take a good look down there, Morty, and soak it in, because, you know, once I pull this lever, it's all back to normal.Morty: Just do it already.Rick: Well, technically, Morty, there's no rush. Imean, you know, o-once it's fixed, it's done. It's fixed. You know, we could we could just enjoy it for a little bit. I mean, l-l-l-look at how crazy it is. I mean, Morty, w-w-when's the next time you're gonna see somethinglike this? I mean, soak it in, you know? It's it's pretty neat. It's pretty interesting.Morty: That's it, Rick! I'm pulling the lever.[Grunts]Rick: W-what do we have here, Morty?Looks like I was right and you were wrong,huh? I-i-i-i-i-i-i bet you feel pretty stupid right about now, huh? I-i-i bet you feel like the world's smallest man that you were doubting me about this whole thing, Morty.Morty: Oh, Rick, something's not right.Rick:[sighs] Yeah, you. You're not right ever.Morty: No, no! Look, you idiot![All screaming][all speaking native language][all groaning][all ululating]Rick: Bet you're loving this, Morty.This must be the best day of your life.You get to be the mayor of I told you town.[Slurps]You're welcome.[Slurps]Jerry: Hold on.Beth: [whimpers][engine revs, tires squeal][gun cocks]Jerry: I wish that shotgun was my pen1s.Beth: If it were, you could callme ernest hemingway.Jerry: I don't get it, and I don't need to.[Both moaning]Summer: Mom! Dad!Both: Summer!Beth: [sighs]Jerry: Where's Morty?Summer: I don't know.Do you think grandpa Rick had something todo with this?Jerry: It's not fair to assume that, Summer.Beth: Oh, not fair? Give me a break. He is a selfish, irresponsible ass, and he left my mother. A real man stands by his woman.[Both moaning]Summer:Tchoo.Tchoo-tchoo-tchoo. Tchoo-tchoo.Rick: Boy, Morty, I really cronenberged the world up, didn't i? We got a whole planet of cronenbergs walking around down there, Morty. A-at least they're not in love with youanymore, though. That's a huge step in the right direction.Morty: Oh, my god! It's a living nightmare! How could you be so irresponsible, Rick?Rick: Me irresponsible?! You all I wanted you to do was hand me ascrewdriver, Morty! You're the one who wanted to be wanted me to buckle down and make you up a... roofie-juice serum so you could roofie that poor girl at your school. I mean, g w-w-w-w-w w are you kidding me,Morty? You're gonna try to take the high road on this one? Y-y-y-y-you're a little creep, Morty. Y-you're a you're you're you're just a little creepy... creep person.Morty: All right, fine. I should have just listened to youwhen you refused to make the serum. I'm willing to accept my part of the blame for this, Rick. But I'll tell you something you know what? You got to accept your part of the blame! I'm not the one who fouled up theserum! I'm not the one who who who who haphazardly, you know, mixed a bunch of nonsense together and created a bunch of cronenbergs! You got to fix this, Rick!Morty: All right, all right, Morty. You know,w-w-w-we are in a pretty deep hole, here, but I do have one emergency solution that I can use that'll kind of put everything back to normal, relatively speaking. Here, Morty, put this on while I do a little bit ofscouting.[Birds chirping]Morty: Wow, Rick, I got to say you really pulled a rabbit out of your hat this time.I mean, i-i really thought that the whole place was gonna be messed up for good, but here, you did it y-y-youyou you figured out that crazy solution, like you always do. Whoo! That's some great luck.Rick: Come on, Morty. Luck had nothing to do with it. I'm great. That's the real reason. Now, Morty, what do you say, buddy?Will you hand me a screwdriver so I can finish my ionic dis defibulizer?Morty: Sure thing, Rick. Here's a screwdriver.Rick: All right, Morty. Thank you very much. We got one screw turn... and two screw turns... and... allright, Morty, here we are.Morty: Oh, my god, Rick! Is that us?! W-w-w-we're dead! What is going on, Rick? I'm freaking out!Rick: Calm down, Morty! Look at me! Calm down, Morty!Morty: No, I can't deal with this!Rick:Calm yourself, Morty.Morty: I can't deal with this, Rick!Rick: Calm down, Morty.Morty: This can't be real!Rick: You got to calm down, Morty.Morty: W-w-w-w-we're ripped apart!Rick: Shut up and listen to me! It's fine.Everything is fine. There's an infinite number of realities, Morty, and in a few dozen of those, I got lucky and turned everything back to normal. I just had to find one of those realities in which we also happen to both diearound this time. Now we can just slip into the place of our dead selves in this reality and everything will be fine. We're not skipping a beat, Morty. Now, help me with these bodies.Morty: This is insane.Rick: Look,Morty, I'll grab myself, you grab yourself, okay? I mean, t-t-t-that seems fair to me I mean, that seems like a fair way to divvy it up.Morty: Rick, what about the reality we left behind?Rick: What about the reality wherehitler cured cancer, Morty? The answer is don't think about it. It's not like we can do this every week, anyways. We get three or four more of these, tops. Now, pick up your dead self and come on. Haste makes waste.I-i-i don't suppose you've considered this detail, but obviously, if I hadn't screwed up as much as I did, we'd be these guys right now, so, again, you're welcome.\u0000 look on down from the bridge \u0000 \u0000 there's stillfountains down there \u0000 \u0000 look on down from the bridge \u0000 \u0000 it's still raining up here \u0000 \u0000 everybody seems so far away from me \u0000 \u0000 everybody just wants to be free \u0000 \u0000 look away from the sky \u0000 \u0000 it's no differentwhen you're leaving home \u0000 \u0000 I can't be the same thing to you now \u0000 \u0000 I'm just gone \u0000 \u0000 just gone \u0000 \u0000 how could I say goodbye? \u0000 \u0000 how could I say goodbye? \u0000Summer: You know, the thing about a shark...he's got lifeless eyes... black eyes, like a doll's eyes. When he comes at ya, he doesn't seem to be living until he bites ya, and then the the blood, and the red, and the water...Jerry: [sighs] You ever wonder whathappened to Rick and Morty?Beth: Sometimes. But, I'm ashamed to admit, now that they're gone, I'm finally happy.Rick: Here we are, cronenberg Morty a reality where everyone in the world got geneticallycronenberged. We'll fit right in, cronenberg Morty. It'll be like we never even left cronenberg world.Morty: Yeah, cronenberg Rick, but, you know, I'm gonna miss cronenberg world, because everyone was cronenbergedall along like us from the beginning, you know? I mean, i-i wish we hadn't genetically ruined cronenberg world beyond repair like we did, you know, and turned everyone into regular, normal people just walkingaround.Rick: Don't you worry about that sort of thing, cronenberg Morty. Let's go make ourselves at home, huh?"}
+{"doc_id":"doc_201","qid":"","text":"[EXT. VARIOUS LAS VEGAS CITY (STOCK) -- NIGHT][EXT. HOME - STREET - NIGHT](A stream of liquid hits the ground. The empty can follows and hits the asphalt with a clang. TWO MEN, one carrying a crow bar, walkpurposefully toward the house.)[EXT. FOSTER RESIDENCE - BACKYARD - NIGHT - CONTINUOUS](The two men jump over the backyard fence. They use the crowbar and pry the backdoor open.)[INT. FOSTERRESIDENCE - NIGHT - CONTINUOUS](They walk into the house.)Intruder 1: Hey, this place is a dump.Intruder 2: I'm telling you, this bitch is loaded and no one's seen her for weeks.(They walk through the passagewayand into the living room. The place has been trashed.)Intruder 2: (alarmed) What the hell.Intruder 1: This place is trashed. Hey, man, you trying to make me look stupid?Intruder 2: No, man. I swear. Somebody musthave beat us to it.(Looking around the room, they see a closed closet door with a chair wedged under the knob.)Intruder 2: What the hell is this?(Outside, there's a short, abrupt siren sound of a cop carapproaching.)Intruder 1: I'm out, man.(They both turn and head out of the house as fast as they can.)[SCENE_BREAK][EXT. FOSTER RESIDENCE - BACKYARD - NIGHT - CONTINUOUS](The two INTRUDERS run out tothe backyard, through the same way they came in. They jump over the fence. On the other side, they are greeted by two OFFICERS with their guns drawn and pointed at the two men, headlights shining straight atthem. They look up and see various police cars waiting for them, blocking their escape route.)Officer: (overhead) Gentlemen, put your hands on your heads, please.(They two INTRUDERS put their hands on the back oftheir heads.)[SCENE_BREAK][INT. FOSTER RESIDENCE -- NIGHT](GRISSOM examines the doorknob and the chair.)(Camera pulls back to show both GRISSOM and WARRICK dusting the chair for prints. There's notelling how long they've been there, but no matter, they're thorough and are still working on the chair.)(Behind them, an OFFICER stands guard watching them work.)Warrick: Smudges. Nothing but smudges. Doesn'tanybody use formica anymore?Officer: First thing we did when we saw this was call you guys. Didn't touch a thing.(WARRICK and GRISSOM continue to work on dusting the chair for prints.)Officer: So you going to openit?Grissom: Eventually.(They're through with the chair. GRISSOM looks at the door knob. Both he and WARRICK get to their feet. They each take a hold of the chair and pulls it away from the doorknob.)(WARRICK putsthe chair aside.)(GRISSOM steps forward and starts dusting the doorknob. He finds one print. He takes out a tape lift and carefully gets the print.)(The OFFICER sighs and mutters to himself.)Officer: This is going totake all day.Grissom: Sun Tzu once said, \"If you wait by the river long enough, the bodies of your enemies will float by.\"(He hands the tape lift with the print to WARRICK. They're ready to open the door.)(GRISSOMreaches out and opens the closet door.)(Inside, they find the mummified figure of a dehydrated woman on the floor.)Grissom: But those were brutal times.HARD CUT TO END OF TEASER ROLL TITLECREDITS[SCENE_BREAK][EXT. FOSTER RESIDENCE - YARD -- NIGHT](The DAVID PHILLIPS pushes up a gurney through the yard and up the walk to the front door. He picks up his paperwork and opens the door.)[INT.FOSTER RESIDENCE - CONTINUOUS](Inside, WARRICK is just beyond the door blocking it from being opened.)Warrick: Hey, hold up.(He pushes the door shut.)(The mail hole opens up and DAVID peers through theopening.)David Phillips: Warrick?Warrick: Hey, David. Give me a minute and let me clear a path here, okay?David Phillips: All right, I'm not going anywhere.(WARRICK picks up the mail in front of the door on thefloor.)Warrick: All right.(He looks down at the postage mark on the mail: LAS VEGAS / SEP 06 '03 / NV.)Warrick: There's at least four weeks of mail here, Grissom.(GRISSOM is still kneeling down just inside the closetlooking at the body.)Grissom: Four weeks of 100 degree days, zero percent humidity. Eventually, the body tissues sublimate ...(Quick CGI flashback to: MADELINE FOSTER is in the closet, just barely alive, just barelydead.)Grissom: (V.O.) ... cell fluids vaporize ...(MADELINE FOSTER dies. CGI takes over and the body slowly decomposes and mummifies, the flesh hardening on her body.)Grissom: (V.O.) ... and all that's left ...proteins, fats and minerals.)(End of CGI flashback. Resume to present.)(WARRICK continues to leaf through the mail.)Warrick: Turns a grape into a raisin.Grissom: Well, the desert was making mummies long before theEgyptians.(GRISSOM looks at the body and notices her hands. He looks up at the door and sees something.)Grissom: Take a look at this.(GRISSOM shines the light on the door. WARRICK moves in closer for a look. Onthe lower edge of the door, there are fingernail claw marks with flesh and blood smudged into the markings.)Grissom: And look at her fingers.(They both look down at her damaged fingertips.)(Camera zooms in for aclose up of the pieces of wood embedded in her broken and ravaged nail bed.)Warrick: She tried to claw her way out.Grissom: Yeah. Which means she was alive when she was entombed.(GRISSOM looks up and aroundthe closet.)[SCENE_BREAK][EXT. FOSTER RESIDENCE -- NIGHT](Outside, BRASS questions the INTRUDER who broke into the house.)Intruder 2: She was supposed to be, like, this old widow, right? Like, always goingout to dinner and coming home with shopping bags. Bitch had insurance money and word was that she kept it in a box hidden under her bed.Brass: A retired grade-school teacher living on a pension ...Intruder 2:Listen, man, we didn't kill her.Brass: (simply) No, I know that. What I want to know is, other than the back door, did you or your partner touch anything in the house?Intruder 2: No. There was nothing left to touch,man.(BRASS nods.)[SCENE_BREAK][EXT. LAS VEGAS CITY (STOCK) - SUNRISE][INT. FOSTER RESIDENCE - KITCHEN -- MORNING](WARRICK walks around and looks through the small kitchen. He sees a small daintytea set out on doilies on a serving tray. Next to it on the counter, he finds a piece of chocolate cake with a huge bite in it.)Warrick: Hey, Griss.(GRISSOM walks into the kitchen.)Warrick: Don't you think this is kind ofodd? A woman who spends the time making tea like this leaves a chunk of chocolate cake on the counter.Grissom: With a big bite out of it?(WARRICK picks up the plastic container. The label on it reads: LAVISHCAFÉ.)Warrick: Yeah. Some crack head brutalizes an old lady, leaves her in a closet, and grabs a snack on the way out.Grissom: Hopefully. Take it back to the lab.(GRISSOM turns and walks back into the living room.He opens the closet door, walks inside and closes the door behind him.)[INT. CLOSET - CONTINUOUS](Inside the small closet, GRISSOM looks around. He looks down. He looks up. He sees the light above, reaches upand taps the bulb.)(He turns off his flashlight.)(Quick flashback to: [INT. CLOSET] The door opens and the WOMAN is pushed inside.)Madeline Foster: Oh!Male Voice: Shut up! Get in!Madeline Foster: Oh!(Cut to: CLOSEUP: A chair is wedged under the door knob.)(Cut to: MADELINE FOSTER reaches up and turns the closet light on.)(End of flashback. Resume to present.)(GRISSOM stands in the exact spot the woman was in when sheturned the light on. He looks around the closet, then focuses on the markings on the door.)(Quick flashback to: MADELINE FOSTER struggles with the doorknob, trying to get it open. The chair won't budge. She hits herhands on the door trying to push it open; she grabs and jiggles the doorknob.)(End of flashback. Resume to GRISSOM. Continue sounds of MADELINE FOSTER struggling inside the closet.)(GRISSOM stretches out hishand and places it on the door imagining MADELINE FOSTER clawing the door with her fingernails.)(Quick flashback to: MADELINE FOSTER desperately claws at the door. She grabs at the doorknob.)(End of flashback.Resume to GRISSOM. Continue sounds of MADELINE FOSTER struggling inside the closet.)(Quick flash of MADELINE FOSTER inside the closet struggling to get out. She slowly slides to the floor. She curls up into a fetalposition on the closet floor. The light burns out. In the darkness and by the light coming through the crack under the door, MADELINE FOSTER looks up at the closet ceiling. End of flashback. Resume toGRISSOM.)(Camera holds on GRISSOM.)[SCENE_BREAK][INT. CSI - FORENSIC AUTOPSY -- DAY](MADELINE FOSTER'S body is out on the autopsy table as ROBBINS goes over his findings with GRISSOM.)Robbins:Fluoroscope showed no bullet or stab wounds, and apart from multiple fractures of her fingers and hands, no other apparent injuries.Grissom: So whoever boarded her up in the closet maybe didn't intend to killher.Robbins: (shrugs) Yeah. They must have thought somebody'd find her -- a friend or relative.Grissom: She lived alone. Only relative was a nephew. Brass is looking for him.Robbins: Live alone, die alone. In thiscase, from massive dehydration. Rule of threes: Three minutes without air, three days without water, and three weeks without food.Grissom: Three days must have felt like three years.Robbins: Warrick said you founda possible print at the scene. Need to rule hers out?Grissom: Yeah. Also need a dental impression.Robbins: Well, that'll be easy.(ROBBINS reaches out and removes the dentures from her mouth. He drops it into themetal bin on the side table. GRISSOM watches as ROBBINS cuts off the tip of her finger.)[SCENE_BREAK][EXT. LAS VEGAS COMMUNITY (STOCK) - DAY][EXT. TIMMEL RESIDENCE - BACKYARD -- DAY](The OFFICERleads CATHERINE out to the backyard.)Catherine: So, what do we have here?Officer: Well, boy was out playing, found the weapon, fired one shot, dropped the weapon. No one's touched it since.Catherine: Hmm.(Shelooks down at the gun on the ground.)Catherine: Okay, thanks.(The OFFICER leaves.)(CATHERINE puts her bag down and kneels to pick up the gun. She looks at it and checks the cartridge. She sees something redinside the trigger guard and takes it out.)(Camera zooms in for a close up for the red piece.)[SCENE_BREAK][EXT. TIMMEL RESIDENCE - BACKYARD - DAY -- CONTINUOUS](MRS. TIMMEL holds NATHAN on her lap asCATHERINE walks over to them.)Catherine: Hey, Nathan. How's your foot?Nathan Timmel: I got a rocket ship band-aid.Catherine: Hmm. Yeah, I see that. Mrs. Timmel, does the gun belong to someone in thehouse?Mrs. Timmel: No, absolutely not. My husband and I don't believe in guns. We moved here from the city because it was supposed to be safer.Catherine: Nathan, where did you find the gun?Nathan Timmel:Seymour found it.Catherine: Seymour?Mrs. Timmel: (whispers) His imaginary friend.Catherine: (to MRS. TIMMEL) Oh. (to NATHAN) So, you were playing with Seymour, and he found the gun where?Nathan Timmel:(points) Over there.Catherine: Well, where exactly?Nathan Timmel: In the backyard.Catherine: Was it buried? Did you dig it up?Nathan Timmel: Nope.(Quick flashback to: NATHAN walks out into the backyard and picksup the gun from the base of the tree. He points it downward ... and fires. End of flashback. Resume to present.)Catherine: Will you ever play with guns again?Nathan Timmel: Nope.[SCENE_BREAK][INT. CSI - HALLWAYOUTSIDE MORGUE](GRISSOM leans against the wall as BRASS talks with him.)Grissom: We don't need an I.D ...Brass: Oh, the nephew said he wanted to see her. Insisted on it. Made me curious.(A young man walksslowly toward them.)Brass: You Connor Foster?Connor Foster: Yeah. I'm sorry I'm late. I got lost. (He looks around.) This is the morgue, huh?[INT. MORGUE](A small group gathers around the door to the morgue bodystorage unit. DAVID PHILLIPS opens the door and pulls out the table with the body on it.)Grissom: You have to prepare yourself for this. Your aunt was found in an advanced state of decomposition.(DAVID pulls backthe sheet. CONNOR FOSTER looks at the body and turns away.)Connor Foster: Oh, this is messed up. This is really messed up.(He turns back and glances at the body, then jumps.)Connor Foster: Whoa! She justmoved. Did you see that?(BRASS and GRISSOM glance at each other at CONNOR'S bizarre behavior.)Connor Foster: I'm telling you, she just moved.Brass: Sometimes, when you see the body of someone you know,someone you've seen move before, you want them to move.Connor Foster: That's not her. This lady's too thin. That's not her skin, either. My aunt always wore sunblock.Grissom: Dry mouth. Diaphoresis. Red eyes,dilated pupils.Connor Foster: Huh?Brass: It means you're high.(CONNOR looks at BRASS and GRISSOM.)Connor Foster: I got to go.Brass: We'd like you to stay.[SCENE_BREAK][INT. CSI - INTERVIEW ROOM](BRASSand GRISSOM interview CONNOR FOSTER. CONNOR takes a sip of his drink.)Brass: Where are you living these days, Connor?Connor Foster: At the YMCA off industrial, near the underpass.Brass: Nice. How'swork?Connor Foster: I don't have a job. I used to.Brass: Yeah. Yeah, two years ago, your aunt reported a pearl necklace stolen. You were busted trying to hock it at a pawn shop.Connor Foster: She dropped thosecharges.Brass: Oh, sure. Anything for her favorite nephew. And what have you done for her? She was lying in a coat closet for over a month. You didn't call. You didn't stop by.Connor Foster: (interrupting) I don't callher much. We only have dinner on holidays. Whenever she sees me, it makes her kind of sad.Grissom: Do you get the munchies?Connor Foster: When?Grissom: When you're high.(When CONNOR doesn't answer,GRISSOM leans forward intently.)Grissom: Do you like cake?Connor Foster: (laughs) No, I go for burgers. Sonic.Grissom: How would you like to make a dental impression for us?Connor Foster: I'll do whatever you guyswant.[SCENE_BREAK][INT. CSI - BALLISTICS LAB -- NIGHT](CATHERINE walks into the lab. RICH has his back to the door.)Catherine: Hey, Rich.(RICH turns around.)Rich: Whatcha got for me?Catherine: Found thissomewhere where it didn't belong.(She takes the gun out and hands it to him.)Catherine: Unregistered. No prints.(He checks the gun out.)Rich: Huh. Sweet piece.Catherine: Mm-hmm.Rich: .32 beretta tomcat.Titanium frame, stainless steel barrel and slide. Super lightweight.Catherine: Yeah, light enough for a five year old to use.Rich: Ouch.Catherine: He's okay. Thank god.Rich: Good.(RICH walks over to the cabinet to getsome bullets for the gun.)Rich: .32 caliber. Not many of these in circulation.Catherine: Well, that's a good thing.Rich: Potentially.(He finds the bullets.)Rich: Okay. Here we go.(He walks over to the table and loads thegun. CATHERINE grabs a set of goggles and ear phones and puts them on.)Catherine: Okay.(RICH picks up the gun.)Rich: (shouts) Two shots!(He fires twice.)SHORT TIME CUT TO:[BALLISTICS LAB][SCOPE VIEW] ofthe bullet.(RICH does a computer comparison of the bullet just shot with the database while CATHERINE waits and watches.)(Various cuts of the database running the comparison.)(There's a match to a bullet attachedwith the following crime:Type: D.B.STATUTE: ***Description: MurderCode: DOC# 1773621-43CRIME SCENE REPORTInvestigating Officer: W. Brown 0012542 <Ballistics>ID TYPE: Bullet <32 Automatic>WEAPON:N/A0013837 <CORONER'S REPORT>TYPE: DEAD BODYNAME: FRANK MADDOXLOCATION: MASLOW PARKRich: There's showing up for work and there's doing your job. Warrick brought in a .32 auto coroner's bullet lastweek. D.B. in Maslow Park. You just found the murder weapon.[SCENE_BREAK][INT. CSI - TRACE LAB -- NIGHT](CATHERINE looks at the photos for the MADDOX case. WARRICK is in the lab supplying additionalinformation. Camera shows various photos of FRANK MADDOX.)Catherine: Frank Maddox. 47-year-old white male. Professional bounty hunter. Single .32 round in the side of his head. Bruises on his face andchest.Warrick: Autopsy ruled those premortem. At least a day old. It was a close shot, non-contact, downward angle. No primer residue on the hands. T.O.D. was approximately 2:00 A.M. No one found the body until7:00 A.M. A lot of wind ...Catherine: Warrick, your notes are great. Let the case speak for itself.(WARRICK turns and heads out of the room.)Warrick: I got to go see my mummy.[SCENE_BREAK][INT. CSI - DNA LAB --NIGHT](Camera opens on a dish with the thumb in it. GREG picks it up and looks at it closely.)Greg: (to WARRICK) You know, I could've sworn I heard Grissom telling you to do this.Warrick: Yeah? You know what rollsdownhill?Greg: Apparently bloated fingertips.(GREG inks the fingertip.)Warrick: Come on, you got a lot of new skills to master. Field work's a little messier than your test tubes and your GCMS.Greg: Yeah, and a lot lessaccurate.Warrick: One continuous motion, nice and easy.(GREG takes a print from the fingertip.)Warrick: That's not bad. Keep practicing. Nine more to go.(WARRICK leaves the lab.)[SCENE_BREAK][INT. CSI -HALLWAY -- CONTINUOUS](WARRICK walks down the hallway and runs into NICK and SARA on their way out.)Sara: Hey.Warrick: Hey.Sara: I heard about your mummy in the closet. Very cool.Nick: Yeah, and we get a406 in Henderson. Want to trade?Warrick: (no way) Nothing spells excitement like a B and E.[SCENE_BREAK][EXT. KIRKWOOD RESIDENCE -- NIGHT](NICK and SARA walk up the front walk accompanied by anOFFICER. The OFFICER knocks on the door.)Michael Kirkwood: (through door) Who is it?Officer: Las Vegas police, sir.(The door opens.)Michael Kirkwood: Hey.Officer: We received a phone call from a neighbor about abreak in.Michael Kirkwood: Yeah, yeah, (He glances behind him.) I'm, uh, sorry, officers. There's been a misunderstanding. (He motions to his daughter. SARA looks past him inside the house.) My daughter, she hadsome friends over tonight without my permission, and, um, they started drinking.(SARA sees LINDA KIRKWOOD cleaning up the broken glass on the floor and behind her is their daughter, SUZANNA KIRKWOOD, visiblyshaking with her arms wrapped around her body. She looks, sees SARA watching her, then leaves the room.)Michael Kirkwood: They got out of control. They broke some stuff. A couple of windows, but, uh, you know,we got it under control, we're cleaning it all up. So I apologize for the trouble.Officer: No trouble at all, sir. You have a good night now.Michael Kirkwood: Thanks.(The door closes.)(NICK, SARA and the OFFICER turnaround and leave. NICK sighs.)Nick: \"To protect and serve.\"(NICK chuckles and turns to the OFFICER. SARA heads back to the car.)Nick: Are you boys ready for softball on Sunday?Officer: Ready to kick your ass,Stokes.Sara: See you back at the lab.Nick: All right. You're ready to kiss my what?Officer: You heard me.(NICK and the OFFICER continue talking. SARA gets into the car. She puts her kit down and closes thedoor.)(She reaches up and adjusts the rear view mirror. She finds SUZANNA KIRKWOOD sitting in the back seat of the car.)Suzanna Kirkwood: (softly) I need to go to the hospital. Please.[SCENE_BREAK][INT.HOSPITAL - EMERGENCY ROOM -- NIGHT](SARA tries to talk with SUZANNA as they wait for the doctor. SUZANNA sits on the examination table with her back to SARA.)Sara: Suzanna, if you were sexually assaulted...Suzanna Kirkwood: It was a party. It just got out of control. All I need is an AIDS test and a morning after pill.Sara: Date rape is still rape.Suzanna Kirkwood: (flatly) Thank you for clearing that up.(The doctor walksinto the room.)Doctor: Hey.Sara: Hi.(SARA looks at SUZANNA and notices the bruises and bite marks on her shoulders.)Suzanna: (to the DOCTOR) Does she ... ? Does she have to be in here for this?Doctor: No.(TheDOCTOR looks at SARAH.)Suzanna: Bye. Thank you.Sara: Okay.(SARA turns and leaves the room.)Doctor: (to SUZANNA) Go ahead and put this on, okay?(The DOCTOR turns to follow SARA out of the room. She pullsthe curtain close as she leaves. SUZANNA starts to change into the gown.)(Cut to: [OUTSIDE EXAM AREA NEAR DOOR] SARA speaks with the DOCTOR.)Sara: We're going to need full-body photographs. If she can'ttalk, the kit's going to have to do it for her.Doctor: Okay.(The DOCTOR heads back into the examination area. SARA turns and leaves to wait.)[SCENE_BREAK][INT. CSI - LAB -- NIGHT](GRISSOM opens a box and takesout the chocolate cake. He sprays it. GREG walks into the lab.)Greg: Your, uh, mummy prints.(GREG puts the print card on the table in front of GRISSOM. He looks at it, then glances up at GREG.)Grissom: Warrick'sgetting sloppy.Greg: Yeah, someone should really have a talk with that guy.(GRISSOM swabs the chocolate cake. GREG watches him.)Greg: What's that?Grissom: Dessert.[SCENE_BREAK][EXT. LAS VEGAS COMMUNITY"}
+{"doc_id":"doc_202","qid":"","text":"[Scene: The building where Max and Cindy work. Cupid is there leaning against a pole.]Max: Cindy.Cindy: Max.Max: Hi.Cindy: Hi.Max: Working late, huh?Cindy: Yeah, so what else is new, right?(They walk down thestairs. Cupid's ring glows.)Cupid: It's a match.Max: Did you guys survive Y2K alright?Cindy: Sure. If you ask me it's all just a bunch of hype.Max: Exactly.Cindy: I guess I'll see you around?Max: Okay. Take care.Cindy::Yeah, you too.(Cupid's ring glows and Cindy and Max walk in slow motion.)Cupid: Cindy, I know those last few loves of yours didn't work out. You've been hurt and you're scared. But you've gotta take a risk if youwanna find the real thing. And Max is real. Open up to him. And Max, Cindy's love and compassion awaits you, but she's afraid that you're still in love with your ex-wife. You've got to reassure her. Life's short you two.So, have a better one together, okay?(Cupid's ring glows and they stop moving in slow motion.)Max: Listen, you wanna grab a cup of coffee or something?Cindy: Yeah, sure, I'd like that.Max: Great.[Scene: Cupid iswalking along in an alley. Drazi, the demon of hate, grabs Cupid and holds him up against a dumpster.]Drazi: Hello, friend. I've been looking everywhere for you.Cupid: Drazi.Drazi: I knew I'd find ya.Cupid: Yeah, listenDrazi.(Drazi throws Cupid into some wooden boxes.)Drazi: Couldn't leave it alone could ya? You just had to get in the way.Cupid: You crossed the line.Drazi: Crossed the line? I am the line. You're the one that went toofar and now you're gonna pay.Cupid: No, wait.(Drazi reaches into Cupid's chest and squeezes his heart.)Cupid: Ahh, you're killing me.Drazi: I could do a lot more than that. A lot more. How does it feel, huh? I can tellya, I know. Thanks to you, I know what it feels like to have your heart ripped out. You don't want to feel that pain do you? (He throws Cupid on the ground and stands on his arm.) No, I gotta better idea and you'regonna just hate it. (Drazi takes Cupid's ring.) Your little magic ring you use to slip in there between the heart beats, plant your little thoughts of love and I'm gonna borrow it. I'm gonna use it to tear apart some of yourmore recent unions.Cupid: No, Drazi, no.Drazi: I'm gonna turn love into hate and that hate is going to slowly and painfully kill you. And in the end, you're gonna wish I had ripped your heart out.(He walks away.)Cupid:Drazi![Scene: Outside the movie theatre. Prue, Jack, Piper, Dan and Phoebe walk onto the sidewalk. Prue and Jack are holding hands and Dan has his arm around Piper.]Phoebe: Fifth wheel cutting in.Piper: Oh, wouldyou stop that.Phoebe: Well, it is a double date.Prue: It would have been a triple date if Kevin hadn't cancelled.Phoebe: I know. It seems to be an epidemic lately. Guys canceling on me.Piper: You know what happenswhen they cancel.Prue: Ooh, back to square one.Piper: Do not pass go.Phoebe: And all accrued nookie credits are thrown out.Jack: There's a penalty?Prue, Piper, Phoebe: Oh yeah!Jack: You know this glimpse intofeminine mystery frightens me to no end so allow me to change the subject. What did you think of the movie?Piper: I liked it.Prue: Loved it except for the bellbottoms.Dan: It was okay, I guess.Piper: Who are youkidding? I heard you sniffle.Dan: Fighting a cold.Piper: Liar.Prue: Jack?Jack: As far as classics go, it was no Dirty Dozen.Phoebe: I slept through it.Jack: You slept through Dirty Dozen?Phoebe: No, Love Story. The lastthing I remember is the hockey game.Piper: That was the very beginning.Phoebe: Okay, let me guess. Boy meets girl, grim reaper swipes girl, and boy's left with his hockey skates?Jack: That's the review.Dan:Anybody want a coffee?Jack: I hope so because I am buying.(Prue, Jack, Piper and Dan walk into a coffee shop laughing and giggling. Phoebe walks in and stops, feeling left out. Prue notices her standing there.)Prue:Hey, you're gonna come get coffee, right?Phoebe: I'm just gonna get a cab, call it a night. I'm pooped.Prue: I'm sorry that Kevin backed out on you.Phoebe: His loss.Prue: It is so his loss because you are beautiful, mysister.(Prue hugs her.)Phoebe: You're so beautiful. Alright, go see your man. Have some coffee.Prue: Okay. I love you.Phoebe: I love you too.(Prue walks over to the others. Cupid comes up to Phoebe.)Cupid: I needyour help.(He grabs her.)Phoebe: Let go of me.Cupid: Hate will destroy me and everything else if you don't help me.Phoebe: I am warning you, buddy.Cupid: Phoebe, you gotta believe me. I know why you can't findlove.Dan: Hey, you, let go of her.(Cupid runs away. Prue and Piper run up to Phoebe.)Piper: Are you okay?Phoebe: Uh, yeah.Prue: What was that about?Phoebe: I'm not sure.Opening Credits[Scene: Manor. Phoebewalks out of her bedroom and walks over to Piper's room. She knocks on the door.]Phoebe: Piper, you still asleep? (She opens the door and walks in. She notices Piper's bed hasn't been slept in. She walks out and overto Prue's room.) Hey, Prue, guess who got lucky last night? (She opens the door and notices Prue's bed hasn't been slept in either. She walks downstairs and the phone rings.) I'll get it. (She picks up the phone.)Hello?Prue: Morning.Phoebe: Hey, Prue. Did that coffee keep someone up all night?Prue: Believe it or not, all we did was talk.Phoebe: Yeah, right.Prue: No, I swear. We just talked about everything, it was reallygreat.Phoebe: Really? How's he react to the witch part?Prue: Cute. Alright, where's Piper?Phoebe: Oh, she's still at Dan's. Hey, if only I'd bagged Mr. Creepy, we could have scored a Halliwell hat trick last night.Prue:Don't be mad.Phoebe: No, I'm not mad. I'm thrilled for you both. I mean, it's been a long time. You deserve to be happy.(Cupid walks up behind Phoebe.)Cupid: You're gonna need a new lock on that back door.(Phoebedrops the phone, turns around and kicks Cupid in the mouth. He falls onto the stairs.)[Cut to Prue.]Prue: Phoebe? (Prue hangs up and runs out of Jack's place.)[Cut back to the manor.]Cupid: I'm getting rather used toyou kicking love in the teeth.Phoebe: Okay, who are you and what do you want?Cupid: More importantly I know who you are Phoebe. And that's why I'm here. I need your help. Charmed Ones kind of help.Phoebe: I willask again. Who are you?Cupid: You wouldn't believe me if I told you.Phoebe: Try me.Cupid: Well, for lack of a better name, Cupid.[SCENE_BREAK][Scene: Dan's house. Piper's laying on Dan's bed. Dan comes incarrying a tray with breakfast on it.]Piper: Oh, my.Dan: All eggs over, bacon crisps, a box of jewellery and dried toast.Piper: A box of what?Dan: Would you like the morning paper with that?Piper: What did you do?Dan:It's not a big deal. It's not a ring or anything. But just because it's jewellery, I don't want you to feel like you gotta keep it. If you wanna take it back, you can.Piper: I get it, I get it.(Piper picks up the box.)Dan: Yougonna open it?(Piper opens it and there's a diamond necklace in it)Piper: Oh.Dan: \u0000Cos if you want to you can take it back. (Piper kisses Dan passionately. Phoebe looks around the corner and tries to get Piper'sattention. Piper opens her eyes and sees Phoebe. She stops kissing Dan.) Hey, is something- (Piper freezes Dan.)Piper: Phoebe, what are you doing in here? How did you get in here?Phoebe: We have got a very bigproblem. (Phoebe pulls Cupid into the room.) Piper, Cupid. Cupid, Piper.Cupid: Hi, sorry to interrupt. Glad to see things are working out for you and Dan.Piper: What?Phoebe: You have to come home really fast.Cupid:Yeah, a demon of hate stole my ring and he's gonna use it to find all the loves that I've put together so he can destroy them, which will in turn destroy me.Piper: Wait a minute.Phoebe: He's telling the truth. Thedemon's name is Drazi. He's in the Book of Shadows.Cupid: Yeah, Phoebe's already started working on the potion that will vanquish it.Phoebe: And Prue's on her way home.Piper: From where?Phoebe: From Jack's.Okay, hurry. Kiss very fast.(Cupid and Phoebe leave. Piper sits back on the bed in front of Dan.)Piper: Okey dokey.(Dan unfreezes.)Dan: -the matter?Piper: Yes. Um, there is but not with you. There is absolutelynothing the matter with you. But I do have to go. (She gets off the bed.)Dan: Hold it. What happened? I don't understand.Piper: It has nothing to do with you.Dan: Then what does it have to do with?Piper: It's, uh,complicated. (She picks up her clothes.) Thank you for this and you'll see it on me tonight at the club. (She kisses him and leaves.)[Scene: A cafe. Max and Cindy are sitting at a table drinking coffee. Drazi is standingnearby watching them. The ring on his finger glows.]Drazi: Hello, young lovers.[Scene: Manor. Living room. Prue, Piper, Phoebe and Cupid are there.]Prue: So we're actually supposed to believe that you'reCupid?Cupid: You believe in warlocks and demons but you can't believe in me?Piper: Where's the chubby baby?Phoebe: Guys.Prue: And the bow and arrow?Cupid: Where's the warty chins, hooked noses and pointyhats?Prue: Alright, show us something supernatural.Cupid: Drazi took my ring. It's my powers, how I get in.Prue:; Get in?Cupid: People's hearts, to waken love. See, but Drazi's all about hate and he's gonna use thering to get in the same way.Piper: You're still gonna have to back up the Cupid claim.Cupid: Okay, fine. (He points to Piper.) Dan, (points to Prue) Jack, (points to Phoebe) Clay (points to Prue) Andy. My sincerestcondolences. Eric in London, Alec in college, (points to Piper) Not Jeremy the Warlock, Joe in college, Barry in high school, Tim in eighth grade, (points to Phoebe) Ken, Kyle, Steve, Mike, Ken again, Brian, Joel, Martin,Peter, Paul, Tony.Phoebe: Okay, you know I didn't love all those guys, right?Cupid: Yeah, well, they wanted to love you but you're closed hearted. That's what sent them away.Phoebe: My closed heart? I do not have aclosed heart.Cupid: Look, if people get the feeling that there's nothing there, then eventually it's hasta la vista, Phoebe. That explains the recent rush of cancelled dates.Prue: Okay, so wait, our past relationships, youmade those happen?Cupid: Well, actually, my assignment here's only two years old. I helped you two meet Jack and Dan but most of your prior loves were work from fellow agents.Piper: Agents?Cupid: Oh, yeah. I'mjust one of many. We work in secret all over the world making connectionsPiper: Did you connect me and Leo?Cupid: Uh, no. That was the work of you two. Those connections were forbidden to make for obviousreasons.Phoebe: Um, can we go back to the hasta la vista remark please?.Cupid: We don't have time right now to debate the topic of your closed heart, Phoebe. We gotta finish the potion so we can vanquish Drazibefore it's too late.Prue: Okay, so how are we supposed to find him?Cupid: The same way he can find me. We can sense each other. We're connected in a cosmic way. There's a fine line between love and hate.Piper:Oh, brother.Cupid: Hey, don't take Drazi lightly. You guys are in danger as well you know.Phoebe: We're in danger every day. We're used to it.Cupid: Look, if Drazi succeeds, eventually he'll kill the ability to love. Andbelieve me, it's a fate worse than death.[Scene: At the markets. Max is buying some flowers for Cindy. He walks over to her.]Max: Sorry, they didn't have any roses.Cindy: You're too good to be true. I still can't believethis is all happening.Max: Believe it.(They kiss. Drazi appears.)Drazi: Touching. Really touching. Cindy, could you be a bigger fool? He's still sleeping with his ex-wife. He looks at you as a desperate, lonely woman. Easys*x. Max, she's nothing but a gold digging tramp, who wants to hit your big fat wallet, just as soon marry ya and kill you for the insurance. Bye bye. (He disappears.)Cindy: You pathetic...Max: Bitch!Cindy: Take yourdamn flowers. Give them to your ex-wife.Max: The bank's closed, baby. You're not laying one finger on this guy's money.Cindy: Screw you.(Max walks on the road.)Max: Up yours!(A car horn beeps and a car hitsMax.)[Cut to the manor. Cupid clutches his chest in pain. Piper walks in the foyer.]Piper: Prue, Phoebe.(Prue and Phoebe walk in.)Prue: What's the matter?Piper: I don't know.Phoebe: What's wrong?Cupid: It's Drazi.He's killing love.[SCENE_BREAK][Scene: On the street where Max got hit. Max is on a stretcher and a policeman is talking to Cindy.]Cindy: He just walked into the traffic. Dumb ass. Is he gonna die?Policeman: I can'tanswer that.Cindy: Because he should you know. I don't think I've known anyone who deserves to be hit by a car more than that guy.(Prue, Piper, Phoebe and Cupid pull up in the car. They get out and walk over toMax.)Cupid: It's Max.Piper: Is he one of yours?Cupid: Yeah, I matched him up with Cindy last night. She was afraid to risk love too.Phoebe: Are you picking on me?Cupid: Phoebe, I'm...Phoebe: Do you think it's easyfinding love with all the demon hunting we have to do?Cupid: Well, your sisters don't seem to be having any problem.Phoebe: Alright, you know, let's stay focused. We have things to do.Prue: Are you sure Drazi didthis?Cupid: Positive. He's still here too. I can feel him?Phoebe: Where?Cupid: There. (Cupid points to him and you can see him standing near by.)Prue: Do you think he knows who we are?(Drazi walks off.)Piper:Apparently.Cupid: He's getting away. Do you have the potion?Phoebe: Yes. (They all start running after him.) We're not gonna catch him.Prue: Piper, freeze him.Piper: He's too far away.Cupid: Well, someone better dosomething fast.(They approach some steps and Prue sits down. She astral projects.)[Cut to Drazi. Astral Prue appears in front of him.]Drazi: What?Prue: Surprise. (She tries to use her power but it doesn't work.) Uh,whoops, that didn't work. (She grabs a piece of wood and hits him. He falls to the ground. Prue astral projects back into her body.) Ah, ah.Phoebe: Are you back with us?Prue: I think so. Wow, I really gotta get a handleon that.Cupid: I don't understand.Piper: She astral projected.Phoebe: Did you get him?Prue: No, I just slowed him down but you guys go get him, hurry. (They run off while Prue sits on the step recovering from astralprojecting.) God, I love this new power.[Cut to Drazi. Phoebe, Piper and Cupid run up to him. Drazi stands up.]Drazi: Hiding behind witches skirts?Piper: Stealing things that don't belong to you? (She freezes him.)Okay, go.(Phoebe throws the potion on Drazi and he unfreezes.)Drazi: What the...?(He starts melting and turns into black stuff. Prue arrives.)Prue: Did you get him?Piper: Did we?Cupid: Sure looks like it. Though, Idon't know what happened to my ring. It shouldn't have been affected by what we did to Drazi.Phoebe: So that's it right? We're done? You can just move on.Cupid: In a hurry to get rid of me, Phoebe?Phoebe: Look,Cupid. I know you're just trying to help but did you ever think that I may not be ready for love right now?Cupid: No, you're more than ready.Phoebe: Don't start. Just go.Cupid: Well, I need the ring to get back. I mean,unless you can get me another one but the problem is I need it to get back to them.Prue: Wait, you're stuck here?Cupid: No, actually, you can help me get back home. One more potion, some well-chosen words fromthe Charmed Ones and I'm on my way. (to Phoebe) Care to help me with that potion?Phoebe: Me? Why me?Cupid: Because you're free tonight, they have dates.Piper: Hey, how'd you know... never mind, scratchthat.(Prue and Piper walk off. Cupid stands there smiling at Phoebe.)Phoebe: What are you smiling at?Cupid: You.(They walk off. The black stuff on the ground turns back into Drazi.)Drazi: Well, it looks like you can'tkill love after all. But you sure can screw with it.[Scene: P3. Dan, Piper, Prue and Jack are at the bar. Prue's looking at Piper's necklace.]Prue: Very nice. So you like it?Piper: I love it.Dan: Well, thank your sister. Shehelped me pick it out.Prue: Hey. Okay, guilty.Piper: Well, thank you both and (to Dan) I'll thank you again later.Jack: Wow, if that's all it takes, when can I buy one?(Dan and Piper laugh.)Prue: Okay. (She walksaway.)Jack: You know what? Why don't we find a table and get some food.[Scene: Manor. Kitchen. Phoebe and Cupid are making the potion.]Phoebe: So this will send you back?Cupid: When I drink this, you and yoursisters say the magic words and I'm gone.Phoebe: I can not believe I am stuck here doing the grunt work while they're...Cupid: Twisting the night away? Don't blame them.Phoebe: No, I'm not blaming anybody. It'sjust... I'm here...Cupid: Stuck with me.Phoebe: Um, I'm sorry, but did you do something specific to tick Drazi off? Or did he also find your honesty to be a complete and total pain in the ass?Cupid: Drazi fell in love witha mortal woman. I redirected her love towards a mortal man away from Drazi. She's married now, very happy. But Drazi blames me for denying him love. (Phoebe starts stirring some stuff in a bowl really fast.) Ahundred slow strokes there.Phoebe: So are you telling me that demons love?Cupid: Uh huh. Frightening stuff. Love of evil, love of fear, sometimes love are the very things they hate. In this case a human being. Youknow, if a demon can open his heart, there's hope in you too, Phoebe.Phoebe: Okay, you know, my heart is not closed. Okay, it's open, just not to everybody.Cupid: Your heart is closed.Phoebe: I'm picky.Cupid: No,you're terrified.Phoebe: Of what? What am I terrified of?Cupid: You tell me.Phoebe: I don't want to play this game.Cupid: Well, then at least stir correctly. (He stands behind her, puts his arms around her and stirs thestuff in the bowl.) Like that.Phoebe: So, how does this work?Cupid: It's a travel potion with an aphrodisiac.Phoebe: Really? An aphrodisiac?Cupid: Lavender, oysters, rosemary and chocolate and basic caris compound.The key ingredient is desire.Phoebe: Desire?Cupid: Desire to go home. 'Cos home...Phoebe: Is where your heart is.Cupid: Are you afraid of loss?Phoebe: No, I swear if you barf up, it's better to have loved and loss thannever to have loved at all, I might just have to... (She smells the potion.) Mmm, it smells really good.Cupid: So tell me, what has not loving gotten you?Phoebe: It's kept me safe.Cupid: Safe from what?Phoebe: Frompeople leaving.Cupid: Your mother?Phoebe: Yeah.Cupid: And your father?Phoebe: And you.Cupid: Are you falling for me?(She walks away from him.)Phoebe: No, I am not falling for you, thank you very much.Cupid:Ladies and gentleman, Phoebe Halliwell - running away from love.Phoebe: You are, Cupid. You're the one that's leaving me.Cupid: Look, Phoebe, what I am is the potential for true love. That's all. Because once you'velet love in, it'll never leave. Don't confuse the message with the messenger, Phoebe. It's what you're always done. See, messengers make mistakes, they get lost, they run away, they even die. But the message, openyour heart, it comes from life itself. Hear it. For my sake and yours.[Scene: P3. Prue, Piper, Jack and Dan are sitting at a table.]Jack: Having an in with the owners of one of the hottest clubs in town does have itsbenefits.Dan: Free chicken wings.Jack: Name one.Piper: In pleasure of our company.Dan: And to name two more.Piper: Thank you.(Dan kisses her forehead.)Prue: Bathroom break. Piper.Piper: Alright, yes ma'am. Seeyou boys in a minute.Jack: Alright.[Cut to outside the bathroom. Piper and Prue arrive there.]Prue: God, I have to pee. (Prue looks at Piper's necklace.) You're okay with that aren't you?Piper: Okay with what?Prue:This. I don't really want you mad at me.Piper: Why would I be mad at you?Prue: Because I let Dan buy it for you.Piper: No, Prue, it's okay. It's great.Prue: And you don't wish that it came from Leo?Piper: No, I don't.Really.Prue: I feel strange.Piper: What do you mean?Prue: Well, I mean we have these guys out there waiting for us, who care about us. Correct me if I'm wrong but things are going pretty well right now, right?Piper:Yeah, nothing like a night on the town after a hard day of demon killing.Prue: Yeah, I'm serious. I mean, you know, think about it. I mean, we did great today and now tonight it's like we're just...Piper: Finding abalance in our lives?Prue: Exactly.Piper: I do feel pretty good.Prue: Yeah, I think we're gonna be okay.Piper: Except there's still our little secret.Prue: Oh, Piper, everybody has little secrets including Jack and Dan.Piper:Yeah, unless they're transvestite, Nazi, war criminals with great face lifts, then I think we've got them beat.Prue: Okay, so we're never gonna have normal lives.Piper: Not ever.Prue: That doesn't mean we can't trysometimes.Piper: With someone like Dan perhaps?Prue: With whoever, sweet girl, I just want you loved.Piper: Thanks.Prue: You're welcome.(Someone comes out of the bathroom.)Piper: About time.(They runinside.)[Cut back to Jack and Dan.]Jack: Dan, I will never understand the tandem pit stop thing that women do.Dan: Yeah. Hey, Jack, speaking of mysteries...Jack: Yeah.Dan: You know, Piper has this strange habit ofsometimes just sort of...Jack: Vanishing?Dan: Yeah!Jack: Prue does it too.Dan: I figured that. Does it bug you?Jack: A little, but I'm not gonna give her the third degree about it.Dan: No, it's like time just stands still for"}
+{"doc_id":"doc_203","qid":"","text":"[PREVIOUSLY_ON]NCIS THEMEBlack-and-white snapshot of Jenny.In her office, Jenny is asleep. She dreams of her father and attends his suicide. She awoke roughly when her father shot. She closes a drawer whichcontain a gun.In La Grenouille's limoJeanne: My father knows everything about you.La Grenouille: Only what my daughter tells me.Jeanne: And I tell hil everything.Tony laught nervously followed by Jeanne mostnaturally.Tony: That's great. So here we all are, on aour way to... Where exacty are we headed?La Grenouille: I dont' know. Breakfast? A chance for us to get know each other.Jeanne nodds.La Grenouille: I'm sure youhave lot of questions. I know I do.Jeanne: My apartment first, papa. You wouldn't believe the night we've had.Tony squirms on the seat and tries to quietly take his phone while Jeanne continues to speak. He cannot.Jeanne: I was very frightening.Tony: Yes, your daughter is very impressive with a scalpel, Mr Benoit.La Grenouille: Please, Rene.Jeanne (to Tony): You never told me you could shoot.Tony: Well I can't, clearly. ImissedJeanne: On purpose.René Benoit: There was a shooting in the hospital?Tony: It's a long story Rene.René Benoit: We have all week-end.Tony: Well, it's really more of Jeanne's long story than mine.Jeanne: Therewas this crazy young guy who tried to smuggle heroin into the country and he got hit by a car...Tony tries to quietly take his phone under the suspicious gaze of René.Jeanne: .... one of the bags in his stomach burstbut we didn't know until it was too late. And then ...She is interrupted by the ringing of his topper.Jeanne: I forgot to sign the death certificate to release the body. Sorry Papa.René Benoit (to his driver): Henry, back tothe hospital.Henry: Yes sir.Tony: Well, I guess breakfast is gonna have to wait.René Benoit: And all those intriguing questions.The elevator doors opened, Ziva is inside. She starts to step out but McGee is before thegates.Ziva and McGee (in the same times): What're you doing here?Ziva: I asked first.McGee: Well, technically, Ziva, I think that if we were to put that to a test, you'd find that it was too close to call. But since myparents raised a gentleman, and yours raised a killer, I was deffraging my computers.Ziva: Liar.She goes to the office talking.Ziva: Have you heard from Tony?McGee: You came into the office on a Saturday morningbecause you're worried about Tony?Ziva (Seeing the remains of food on McGee's desk): You have been here all night?McGee: Is that a question or a statement?Ziva: Question.McGee: It sounded more like astatement.Ziva: Demands a answer.McGee: Yes, I've been here all night.Ziva: Fragging the computers?McGee: \"Deffraging\". You need to work your inflections when you're asking a question. For example, why are youworried about Tony?Ziva: He was supposed to meet us at the bar last night. He did not arrive, did not call. He's not answering his home phone or his cell phone. Do you have the number to his second cellphone?McGee: The one he uses for his private calls?Ziva: Yes.McGee: No.Ziva sees Gibbs' desk with food on it.Ziva: Gibbs was here all night too. Are we a team McGee?Gibbs' voice: Morning Ziva.He arrives.Gibbs:Nothing better to do on a Saturday morning?Ziva: Teams do not have secrets Gibbs. And if you do not tell me what you were both doing here last night, McGee know he will...Ziva smiles.Ziva: ... eventually.Hospital'sparkingThe limo parks. Jeanne goes out followed of Tony.Jeanne: Won't be long.Tony: I can come with you if you wantJeanne: No need. He won't bite.It starts, Rene out of the limousine from the other side and Tonybeeps Jenny on her cell phone.René Benoit: Coffee?Tony: Coffee would be great.René Benoit: Good. While we wait, you can tell me how you stole my daughter's heart.They move away from the limo.Abby's labThedirector enters, Abby is asleep on the floor. Jenny sees that the research she had given to Abby has a result. The analysis reveals that the fingerprints taken on glass is one of Jasper Shepard, her father. Jenny erases allthe results and Abby wakes with a start.Abby: I'll get it. I'll get it. Director.Jenny: I'm sorry for keeping you here all night Abby.Abby: You know what, that's okay. It's not the first time I've woke up on the floor. And notjust his floor. Not that I make it a habit of passing out on floor. And not that this isn't a really comfortable floor. If I had to... I'm awake now.Jenny's phone rings. It is the cell coverage of Tony, but she did not have timeto respond.Jenny: Thank Abby, you can go now.Abby (looking at her computer): Did we have a match.Jenny: No.She leaves the lab.Abby: Poor guys. Humming away all night and for nothing.She taps on his keyboardand context \"delete search\" appears.Abby: What search result?Jasper Shepard's photo appears.Abby: This is not good.Ziva: Why would the CIA come after the director?Gibbs: You tell me.Ziva: Protecting theirasset.McGee: La Grenouille.Ziva: Does the director know?Jenny's voice: Know what?She comes.McGee: That it's Saturday, and we are all here on our day off, because we love our jobs.Ziva: Except for Tony who ismissing.Jenny: McGee, I want you to triangulate a cell number: 202-555-0177.Gibbs: DiNozzo in trouble?Ziva: I knew it.McGee is tapping on his keyboard, Gibbs looks over his shoulder.Jenny: The woman Tony hasbeen seeing, Jeanne Benoit, is la Grenouille's daughter.McGee: He's been on assignment?Gibbs has came himself in front of Jenny.Gibbs: You did plan to tell us at some point?Jenny: If it led us to her father, yesGibbs:Yeah, did it?Jenny: I don't know.Gibbs: You wanna tell us what you do know director?Jenny: Tony just contacted me unsing his alias's cell. It was a prearranged signal using only in emergency if he thought his coverhad been blown.McGee: Triangulating.He displays the result on the plasma.Ziva: Anthony DiNardo, cute.Jenny: I want this fed to MTAC and I want satellite coverage.McGee: On its way.Before hospitalTony and ReneBenoit take cafes.René Benoit: So, what did Jeanne tell you about me?Tony: Oh, everything. World's greatest dad.René Benoit: Children want to believe the best of their parents. I'm sure you believe your father is agood man?Tony: He was.René Benoit: Still, love has a way of blinding us to the imperfections.They walk.Tony: It's still liveRené Benoit: True. And we both love Jeanne .Tony: Yes we do.René Benoit: Are you going tobreak my daughter's heart?Tony: No, sir, not if I can help it.René Benoit: Sometimes we lie to the people we love in order to protect them, true?Tony: You've lied to Jeanne?René Benoit: Well, have you?Jeanne leaveshospital.Tony: Here she comes.Tony grabs him by the waist.Jeanne: Done. Now let's get out of here before they remember something elseTony: I have to move my car, because...Jeanne: They'll tow you for sure. Theyare murder around here.René Benoit: We wouldn't want that. Stay close. Wouldn't want to lose you.Tony: No chance of that.Everyone goes to his car.NCIS, MTACThe street plan of the city is displayed, a diamondmarks the position of Tony.McGee: He's on 22nd Street Northwest outside Monroe University Hospital.Jenny: He's on the move.McGee: He must be in car.Jenny: How long until get satellite coverage?McGee: At least 15mins.Looking annoyed Gibbs sat in a chair, coffee in hand.McGee: Or we could patch into D.C's traffic-cam system. See if we can locate him on the traffic-cam management.Gibbs: Do it.Jenny (to Ziva on the phone):Anything?Ziva: Still not answering. Shall I try his undercover cell phone?Jenny: Put it on speaker. (Tony messaging, music of 20th Century Fox): Hi, you've reached Professor Tony DiNardo. Leave a message and I willget back to you. I promise.Jenny: His cover is teaching film online at American University.Ziva (to McGee): Tony, a teacher?McGee: No wonder he's been compromised. Whose bright idea was that?Jenny: Mine.McGee'scomputer beeps .McGee: We're in.Jenny: Bring it up.Images of the movement appear on the big plasma.McGee: Got it. Overlaying the cell-phone signal.Ziva: Tony's car.McGee: Tony DiNardo's car.Gibbs: How deep ishis cover?Jenny: Deep enough to withstand the sort of scrutiny la Grenouille can bring to bear.Gibbs: You better hope so.McGee: West on M Street.Jenny: No one else is in the car with him.She tries to call him.McGee:He's turning north onto 29th Street.Ziva: trafic speed. No sign of dureless.Jenny: His cell phone is still of.Ziva: No one seems to be tailling him.Gibbs: Maybe he's the one doing the tailling.McGee: Still on 29th.Tony'scar exploses. The whole team was surprised.Jenny: Oh my God!Black and white snapshot: GibbsThe staff and the director arrived at the place where Tony's car has explosed. Firefighters deviate to let the team work.We see a charred body bent over the wheel of the car.Gibbs: McGee.McGee looks at the car and can not be detached.Gibbs: McGee!McGee out of its torpor and takes pictures of the particular weapon and the phonewhile Jenny looks at Tony's body and found an object.Jenny (to McGee): Hey, that some of timer device?McGee leans over and takes the object photographed.McGee: Ten bucks in most electrical stores. Probablyactivated when the ignition turned on.Ziva took the car photo.McGee: ... Count down however long you need it to. When it reached zero...Jenny gets up and walks to Ducky who examined the body, Gibbs by hisside.Ducky: Shock wave would have killed him before the fire. Death would have been instantaneous. Small mercies, my dear boy.Jenny: Identification?Ducky: The general build, height, weight are about right. Most ofthe epidermis and dermis on the hands and fingers have been burned off, so no fingerprints. We need to get his dental records for positive identification. And there is any chance that it's not Tony?Jenny: None that I canthink of.She walks away.Ducky (to Gibbs): She blames herself.Gibbs nodded.Ducky: Should she?Gibbs: Let me know when you finish, Duck.He goes in turn. Ziva on his side the badge photograph of Tony. McGee is withher.McGee: You believe in miracles, Ziva?Ziva: Not part of my training.McGee: That might be not Tony.They both look the car silently.Abby's lab.It removes the evidence found at the scene of the accident. Gibbs is alsothere.Abby: Tony is not dead Gibbs. Not until Ducky says it's him. Until then, he's just... he's not here. And I don't care what the evidence says. Even if everything here belongs to Tony, it's still not him until Ducky saysthat it's him. And don't try to tell me anything different, because I'm not gonna believe you.She freezes.Abby: Tell me it's not him Gibbs. Tell me it's not him.She takes Gibbs in his arms.Gibbs: I wish I could Abby.Shedeparts from him and goes to his computer.Abby: I need to be alone right now with the gang. I've got work to do.Gibbs sees the bottle of scotch and glass that gave Jenny the analysis. He takes gloves.Gibbs: Abby,how did these get here?Abby: Director Shepard swore me to secrecy when she brought those in and asked me to run them for the prints, so I can't tell you.He took off the gloves and approached her.Gibbs: Any othersecrets you can't tell me?Abby: No. It's just that one. Because when director Shepard said that there wasn't an AFIS match, and then tries to hide the results from me, she actually didn't swear me to secrecy, so that isnot a secret.Gibbs: Who was the match?Abby: Her father.Gibbs: Her father has been dead for 12 years, Abby.Abby: No, not according to AFIS.She taps on his keyboard and displays the results.Abby: That is a ten-pointmatch, Gibbs. These are new prints. There's no way Director Shepard's father is dead.Director's Shepard officeJenny looks out the window. Gibbs is in his office.Jenny: I burried my father Jethro. I know he's notcomming back. But someone is going to great lenghts trying to convince me he's alive.She turns and faces Gibbs.Gibbs: We've got a polygraph test Monday.Jenny: Routine.Gibbs: They're targeting someone.Jenny:Me?Gibbs: So I've been told.Jenny: I've never failed a polygraph. I'm not abour to start.Gibbs: And if they asked you about your father?Jenny: He's dead.Gibbs: Any doubt, any hesitation will raise a red flag.Jenny:There is no doubt.Gibbs: I saw his fingerprints.Jenny: My father's dead.Gibbs: Subject displayed emotional instability suggesting delusional belief her father isn't dead. Next question. We just put her on medical leave orwe fire her?Jenny defies Gibbs.Gibbs: Opération Lodestone, you know it?Jenny: Should I?Gibbs: Black op, focused on weapons control and arms proliferation.Jenny: Not one of ours.Gibbs: CIA.Jenny: My father's job atthe Pentagon was in a field of arms control. He was under investigation for accepting a bribe when he was killed.Gibbs: Coroner says he took his own life.Jenny: He was murdered.Gibbs: Proof?Jenny: None, but I knowwho's responsible.Gibbs: The same guy you sent one of my agents after?Jenny: One of my agents. A deep undercover operation that I ran on a need-to-know basis.Gibbs sighed and headed toward the exit.Jenny: AndJethro if you think I'm obsessed with la Grenouille because of what's happened to my father, you're wrong.Gibbs: You may wanna skip this polygraph test Monday.Gibbs leaves.McGee looks again the images of theexplosion of the car. Ziva is at her desk.Ziva: Must you keep doing that?McGee: Just checking something Gibbs said. Tony wouldn't have carried it with him, you know. His shield and ID, not if he was undercover. Andhe would have stashed it in the car, maybe under the seat. Just because we found his ID doesn't mean it's Tony.Ziva: His car, his ID, his weapon, both of his cell phones, McGee?McGee sits on the edge of the office ofGibbs and rewinds the video. Ziva gets up and comes near him.Ziva: What was is that Gibbs said that you thought needed checking?McGee: He thought Tony might be talling someone.They will view the video.Ziva(outstretched hand to the screen): Stop it there. Take it back.McGee rewinds. A limousine is displayed.Ziva: It's a limousine. It was on the previous camera. It's on every camera.McGee: He was following thatlimousine.He goes to his computer.Ziva: Where is Gibbs?Ducky's autopsy roomDucky is currently disequations lung. Palmer is at his side, winning in a small jar that is Ducky.Ducky: Another shrapnel, lower left lobe.Heputs it in the little jar. A bell rang.Palmer: Blood test are back.He take the paper.Ducky: What type?Palmer: A+Ducky: And Tony's?Palmer looks into the computer.Palmer: A+Ducky sighed.Ducky: Yes, well, 34 percentof the nation's population share the same blood group, let's not go drawing any conclusions. Well, await the dental records before making a positive ID. in the meantime,....It begins to dictate his report, Palmer is takingnotes.Ducky: ...the lungs: penetratives shrapnel damage, middle and lower left lobes. Otherwise, heathly tissue. Non-smoker, minimal scarring.Palmer (writing): Minimal scarring.Ducky: Minimal scarring.Palmer: I gotthat doctor.Ducky: Yes but Mr Palmer, how could he?Palmer: How could he what, sir?Ducky: Have minimal scarring in both lung.He takes a knife and cut the lung.Palmer: Healthy living?Ducky: Yersinia pestis, ypestis.Palmer: The pneumonic plague?Ducky: Yes, the plague Mr Palmer. This man has never had the plague.They smile. Ducky starts from.Ducky: He's never had the plague.Palmer: No, he has never had theplague.Ducky: He never had this damn plague.He took off his gloves and threw them in Palmer. Palmer laughed.Ziva, McGee and the director are before the plama. Gibbs stands a little further.Ziva: The limousine isleased to a shell company. The parent company is EuroFreight.McGee: Head office is in Luxembourg.Ziva: The principal behind the company is Rene Benoit.McGee: Tony could been followed la Grenouille.Ducky arrivesand goes to Gibbs.Ducky: I'm sorry to differ Timothy but he wasn't. (To Gibbs) Look, Tony contracted pneumonic plague, I'm sure everyone can remember.Ziva: Before my time.McGee: He almost died.Ducky (to Ziva):From severe pneumonia. (To everyone) As a result, his lung would have been extensively scarred. Unlike the almost pristine lung of the man currently in autopsy. The body on which I am performing an autopsy is notTony's.All smiles.Jenny: If it's not Tony, then who is it?Gibbs: And where is DiNozzo?Black-and-white snapshot of JennyJenny is in front of the plasma, McGee and Ziva to their office. Gibbs looks over the shoulder ofMcGee.Jenny: I wanna know everything about this company. Bank statements, telephone records, personnel.McGee: Hard drive's spinning up now.Jenny: Everything Tim. If la Grenouille is in D.C, this could lead us tohim.Gibbs: Or DiNozzo.Jenny: Well, obviously DiNozzo is our first priority.Gibbs: Ziva, start with the hospital. Find out when DiNozzo left and with whom.Ziva: And who was driving his car. Got it.Trent Kort arrives.Kort:Director Shepard.Jenny: Mr Kort. An unannounced visit by the CIA usually means someone's in trouble. I trust it isn't you.Kort watching everyone.Kort: Where is he?Jenny: It depend on who \"he\" is.Kort:DiNozzo.McGee rises.Jenny: I honestly don't know. And even if I did, I wouldn't tell you until you explain to me why you're looking for me so urgently.Kort: Le Grenouille flew to D.C this morning. He didn't arrive at hissafe house...Gibbs rises of his office.Kort: ... and his satellite phone has stopped transmitting.Gibbs: Mislaid your arms dealer? That's gonna be embarrassing.Kort: I don't know what NCIS is up to, but I want a privatebriefing in your office now.Jenny: I'll decide what briefing you get and where you get it, Mr Kort, and if we have a problem with that, why don't you have your director give me call.Kort: You are jeopardising one of themost important long-terme covert operations the agency has ever conducted.Gibbs: Operation Lodestone.Kort: You're not read in on Lodestone.Gibbs: Ok, so read us in.Jenny: Unless the CIA just believes in one-waytrafic.Kort: This is not going to end well for you.He heads toward the elevator followed by everyone.Gibbs: Special agent DiNozzo's car was bombed this morning but I guess you know that.Kort: He wasn't in it.Jenny:Thanks for sharing.Kort: The agency has nothing to do with it.Gibbs: Is that when you mislaid your frog, in all that confusion?The elevator doors opened on Tony who laught when he see Kort.Tony: Hey, my car blew upthis morning. Did you do that?Kort took him by the collar and the plate against the wall.Kort: Where did you go with la Grenouille?Tony turns his head and it means the team all weapons out and pointed at Kort. He letsTony.Tony: Actually he prefers René. Arms dealers get very touchy about their code names...The team lowers his arms.Tony: ... \"The Frog\" has a kind of slimy overtone to it. Maybe you should keep that in mind fornext time. You could use it yourself.Kort: We will find him, DiNozzo.Tony: You may wanna take the stairs. I had a little upset tummy this morning.Kort enters the elevator.Tony: Happy frog-hunting. (To the team).What, no balloons?[SCENE_BREAK]In director's officeTony, Jenny and Gibbs watches the video of the explosion of the car.Tony: That was more exciting live.They all sit around a table. Tony in front of Gibbs.Jenny: Yousaw it? You were there?Tony: Saw it, heard it, felt it.Jenny: You can start whenever you're ready.Tony: He was waiting when I left the hospital this morning with Jeanne. She'd arranged it. It was her little surprised, Iguess. Meet the parents: Part 2. I hat sequels...Gibbs smiles.Tony: ... Figured my cover was blown as soon as saw him. Turned out he'd know for months.Gibbs: Kort?Tony: Probably. I tried talking my way out ifit.[SCENE_BREAK]Tony gets into his car in the garage of the hospital.[SCENE_BREAK]Tony: Made it as far as my car.[SCENE_BREAK]René Benoit: Tony!Tony: Crap!René Benoit: These's no need to take your car. Henriwill drive it. You come with Jeanne and me.Tony: Oh, that's really nice of you. I gotta go, I really ... I need to go home and change...René Benoit: I will have to insist, agent DiNozzo.Tony gets out of the car.Tony (toHenri): Be careful with the second. It tends a stick a little.Henry: Your cell-phone?Tony gives it to him.René Benoit: Both of them.[SCENE_BREAK]Jenny: Did la Grenouille tell Jeanne who you were?Tony: They didn'tmiss a beat. Pretended everything was fine. That didn't last long. I could see this guy driving my car a few car lenght behind us when...boum.[SCENE_BREAK]Back in the limo. Behind her, Tony's car explodes.RenéBenoit (to Jeanne): Stay down. (To the driver) Allez!!![SCENE_BREAK]Tony uses a drink of water.Jenny: What was la Grenouille's first reaction?Tony: That he was the target.He drinks, sighs.Tony: I'm not sosure.Gibbs: You think it was you, Tony?Tony: It was my car, boss. And we have certainely pissed off the agency a lot lately. Well, the director and I have pissed off the agency a lot lately. Although, mainly me.Gibbs:For what it's worth, Kort denied the agency involvement.Tony: That's because Kort doesn't play by agency rules. The guy's got a hair trigger.Jenny: Where did la Grenouille take you?Tony: Well, kind of blew away the"}
+{"doc_id":"doc_204","qid":"","text":"Scene: The apartment. Leonard is laying out wine and napkins in front of his laptop.Sheldon: What are you doing?Leonard: Oh, uh, Priya's calling in a few minutes on Skype, and we are gonna have a dinnerdate.Sheldon: It's eight o'clock in the morning in Mumbai. How can she have dinner?Leonard: Fine, whatever. Priya will be having breakfast.Sheldon: All right, so technically it's not a dinner date. I suppose you couldcall it a, uh, dinfast date. But if you did, you'd open yourself to peer-based mocking, such as, Hey, Leonard, how was your dinfast with Priya last night?Leonard: That doesn't sound like mocking.Sheldon: You didn't letme finish. Dinfast (rolls eyes). Are those soy-based candles?Leonard: I don't know. Why?Sheldon: Paraffin candles may contain carcinogens. Unless lung cancer is the ambiance you were going for at your dinfast.Dinfast (rolls eyes).Leonard: Listen, I don't want to be rude, but Priya's gonna be calling any minute, so...Sheldon: Oh, yes, Priya. Leonard, you know I make a point of never interfering in your personal affairs.Leonard:Yes, I've always admired that about you.Sheldon: As well you should. But I'm going to make an exception here.Leonard: Oh, good.Sheldon: Priya has moved back to India to pursue her law career. Instead ofdesperately trying to keep this intercontinental relationship alive, you could use that time to take up a hobby.Leonard: A hobby?Sheldon: Yes. I read recently about a fellow in Kansas with an enormous ball of twine. Ibet you could give him a run for his money.Leonard: You know, some people might say that it's great that we're trying to make things work long distance. They'd say things like, love is stronger than the miles betweenyou.Sheldon: When I rise to power, those people will be sterilized.Leonard: You video-chat with Amy all the time. How is this different?Sheldon: Don't you like Amy?Leonard: Of course I like Amy.Sheldon: Well, there'sthe difference. (Skype tone rings)Leonard: Excuse me, that's Priya.Priya (on screen): Hi, Leonard.Leonard: Hey, honey.Priya: I miss you.Leonard: Oh, I miss you, too.Sheldon: I miss the old days when your romanticpartners could be returned to the video store.Scene: Penny's apartment.Sheldon: Thanks for letting me stay here while Leonard Skypes with his girlfriend.Penny: Oh, it's no problem. It's actually kind of nice. Youreading, me reading. We're like an old married couple.Sheldon: If we were an old married couple, the wife would serve iced tea and snickerdoodles.Penny: I don't have iced tea and snickerdoodles.Sheldon: A good wifewould go to the store.Penny: I want a divorce.Sheldon: Good. On the way to see the lawyer, pick up some tea and cookies. I must say, I am enjoying your new chair.Penny: It's great, isn't it?Sheldon: It is. Aligns thelumbar, cradles the coccyx, balances the buttocks. This is a chair worthy of the name.Penny: What name?Sheldon: Chair.Penny: Oh, all right, well, I'm glad you like it. I mean, I still can't get over the fact someone justthrew it away.Sheldon: What?Penny: Yeah, it was just sitting on the street. I paid a homeless guy ten bucks to help me get it up here.Sheldon (jumps up): Oh, dear. Oh, dear. Oh, dear. (Starts stripping offclothing)Penny: What is wrong?Sheldon: I've been sitting in garbage!Penny: Sheldon, take it easy.Sheldon: You take it easy! I need to use your shower.Penny: I went into this marriage with so much hope.Sheldon:There's a wet Band-Aid on the shower floor. (Runs out of apartment). Credits sequence.Scene: Howard's workshop.Raj: This is fun. I've never used a hydraulic thermoforming press before.Howard: Pretty sweet, huh?This little baby set the university back 175 grand.Leonard: That's three minutes. Should we see what we got?Howard: Hang on.Raj: Oh, yeah. This is one good-looking panini.Howard: Hand me the tuna melt.Leonard:Yep.Howard: Thank you. How's it going with the long-distance love affair?Leonard: Not easy, but we're making it work.Howard: When you say making it work, does that include doing the cyber nasty?Leonard:What?Howard: You know, the virtual pickle tickle. The digital bow-chicka-bow-bow.Raj: Come on, dude. This is my sister you're talking about.Howard: Hey, Leonard jiggling his junk at her through a webcam has got tobe easier for you to deal with than him actually touching her with it.Leonard: There's no junk jiggling. We just talk.Howard: Are you insane? With high-speed Internet, you have at your fingertips the greatestadvancement in the field of s*x since the invention of the washcloth.Leonard: I can't do that.Howard: Well, if you don't, you're gonna lose Priya to some fancy guy in a turban who grew up with Kama Sutra coloringbooks.Raj: How can you be so racist?Howard: Oh, come on, tell me I'm wrong.Sheldon (entering): Oh, Leonard, good. There you are. I need you to check my head for chair lice.Leonard: I did it last night, I'm not doingit again.Howard: Just his head, right?Leonard: I don't want to talk about it. You didn't catch bugs from Penny's chair.Sheldon: Yes, I did. And now they're cavorting at the base of my hair follicles like dancing hippies atthe Redwood National Forest.Leonard: Sheldon, you do this all the time. You fixate on some crazy idea and then blow it way out of proportion.Sheldon: Name one time I've ever done that.Leonard: How about when youput GPS trackers in your garbage because you were convinced North Korean spies were stealing your doodles? The chicken nuggets you were sure were human nuggets. The strangely-shaped cloud that was followingyou around town. The time you put on my shirt by mistake and were convinced you'd started growing again.Sheldon: I said, name one. You really need to work on your listening skills.Scene: Penny's apartmentdoor.Sheldon: (Knock, knock, knock) Penny. (Knock, knock, knock) Penny. (Knock, knock, knock) Penny.Penny: Yello.Sheldon: You need to remove that chair from the building. It's a health hazard.Penny: Okay, relax.I took off the slipcovers, had them dry-cleaned and then fumigated the cushions.Sheldon: Really?Penny: Yeah. It's cleaner than my couch. Found half a Hot Pocket in there.Sheldon: It certainly looks okay. Has a strongtoxic chemical smell. That's reassuring.Penny: Why don't you give it a try, Sheldon?Sheldon: All right. It is a comfortable chair.Penny: Why don't you just admit you overreacted?Sheldon: No, thank you. (Sees insect.More appear and swarm all over him. He jumps out of a daydream on his own couch. Jumps up and runs out to Penny's apartment.Leonard: It's like living with a Chihuahua.Sheldon (at Penny's door): (Knock, knock,knock) Penny. (Knock, knock, knock) Penny. (Knock, knock, knock) Penny.Penny: What's up, buttercup?Sheldon: You have to get rid of the chair.Penny: Nope. (Closes door)Sheldon: (Knock, knock, knock) Penny.(Knock, knock, knock) Penny. (Knock, knock, knock) Penny.Penny: What's the word, hummingbird?Sheldon: For your safety, please wait in my apartment as I call the authorities so they may remove the chair ofdeath.Penny: No. (Closes door)Sheldon: (Knock, knock, knock) Penny. (Knock, knock, knock) Penny. (Knock, knock, knock) Penny.Penny: What's the gist, physicist?Sheldon: Under my authority as a self-appointedmember of the Centres for Disease Control street team, these premises are condemned. (Penny tries to close door) As a man with a keen sense of style, I must tell you, that chair does not work with the room. (Pennycloses door). (Knock, knock, knock) Penny. (Knock, knock, knock) Penny. (Penny opens door and waves seat cushion at him. He screams and runs off. She closes door. He sneaks back) (Knock, knock, knock)Penny.Scene: Leonard's bedroom.Leonard: So, here we are. Back in bed together.Priya (on laptop screen): Yep, here we are.Leonard: Okay, so I, I, I guess I'll just jump right in.Priya: All right.Leonard: Uh, you're anaughty girl. And, and, uh, I, I want to punish you with my love?Priya: What?Leonard: Not good?Priya: That's terrible. Try again.Leonard: Okay. Uh, uh, you're not naughty. Uh, you're, you're, you're dirty. You're,you're a, a dirty girl?Priya: Oh, yes. Yes, I am.Leonard: Yeah, yeah. Uh, okay. You're a, you're a, you're a, a dirty, disgusting, revolting girl. Ugh!Priya: God, Leonard, stop talking.Leonard: Why don't you just give mefive minutes? I'll Google how to do this. I'll call you right back.Priya: Shh-shh-shh. Just be quiet and do what I tell you.Leonard: Okay, like usual. Good.Priya: Take off your shirt.Leonard: All rightie. Shirt coming off.Ta-da! Man nipples.Priya: I said be quiet.Leonard: Yes, ma'am.Priya: Now take off your shorts.Leonard: Taking shorts off. There we go. Naked, naked, naked!Priya: Wonderful. Now I'll take off my clothes.Leonard:Cool. (computer screen bugs out) Uh-oh!Priya: Here I am, baby. You miss these?Leonard: Oh, damn it!Priya: Oh, Leonard! Already?Leonard: No, no! No-no-no! The screen froze. It's probably just buffering, just give ita second.Priya: Fine.Leonard: So, how are your mom and dad?Priya: Yeah, I really don't want to talk about my parents now.Leonard: Yeah. Sure, sure.Sheldon (calling from outside): If your video's frozen, try resettingthe TCP/IP stack.Leonard: Oh! I didn't even think of that. Thanks.Sheldon (still off): You're welcome. Please let me know when you and your girlfriend are done hogging the bandwidth for your self-abuse. I'm trying tostream a movie on Netflix in here.[SCENE_BREAK]Scene: Amy's apartment. Amy is playing a harp.Amy: Five, six, seven, eight. Tall and tan and young and lovely, the girl from Ipanema goes walking, and when shepasses, each one she passes goes...Sheldon: (Knock, knock, knock) Amy. (Knock, knock, knock) Amy. (Knock, knock, knock) Amy.Amy: Oh... You are aware that your ritualistic knocking behaviour is symptomatic ofobsessive compulsive disorder?Sheldon: Is not. Is not, is not.Amy: Denial. Denial, denial. Come in.Sheldon: Thank you.Amy: Would you like to hear me play a bossa nova standard on the harp?Sheldon: No.Amy: Howabout the theme song to the classic television show Diff'rent Strokes? Now the world don't move to the beat...Sheldon: No.Amy: Well, that's every song I know. What's up?Sheldon: You're good friends with Penny,right?Amy: Best friends, besties, BFFs, peas in a pod, sisters who would share travelling pants. Go on.Sheldon: I was hoping she might listen to you about the dangers of owning unhygienic furniture.Amy: For generaleducational purposes, or has she acquired a bar stool dipped in cholera?Sheldon: Cholera is water-borne. You're mocking me.Amy: Yes, I am.Sheldon: Penny has dragged a chair in off the street whose unknownprovenance jeopardizes the health and welfare of every resident in our building.Amy: Sheldon, just because you have a focus on cleanliness bordering on the psychotic doesn't mean I have to participate.Sheldon: Allright, name your price.Amy: Kiss me where I've never been kissed before.Sheldon: You mean like Salt Lake City?Amy: Never mind. I'll talk to Penny.Sheldon: Thank you.Amy: Will you listen to me play my harpnow?Sheldon: No. I dislike the sound of the harp. Its overuse in classic television sitcoms always makes me think I'm going to experience an episode from my past. (Amy plays glissando) I'm sorry, Mommy. Don't bemad at me. Don't do that!Scene: Howard's workshop.Leonard: I don't know about this, Howard.Howard: What? You're having trouble with the long-distance lovemaking. This is your answer. There are two interfacesthat simulate a human mouth. You have one, Priya has one in India. When you move your lips and tongue on yours, it transmits exactly what you're doing to hers. See? Internet kissing. (Howard kisses device) Give it atry.Leonard: I don't think so.Raj: I'll try it. Like this?Howard: Almost. Really get your tongue in there, to activate the motion sensor.Raj: Like this?Howard: Close. Really French it.Raj: Better?Howard: Yeah, you got it,you got it.Raj: I'm impressed. This is very lifelike.Howard: Whoa! You just bit my tongue!Raj: I, I nibbled. I was being playful.Howard: Why do you have to make everything weird?Raj: Sorry. Better?Howard: Oh,yeah.Scene: Penny's apartment.Penny: Pretty cool, huh? Probably would cost, like, two hundred bucks in a store.Amy: I do appreciate a bargain. This entire ensemble once belonged to my dead grandmother.Penny:You're kidding.Amy: Everything except bra and panties. And they're a leopard-spotted secret I share with Victoria.Penny: And now me.Amy: I just have one question about the chair.Penny: And what's that?Amy: Aren'tyou worried about it being unhygienic?Penny: No, it's completely fine. Hmm. I get it. Sheldon sent you. He put you up to this.Amy: No, he didn't.Penny: Really?Amy: Yes, he did. He absolutely did.Penny: My God, Amy,that's really crappy of you.Amy: It is?Penny: Yeah! Letting Sheldon use you to manipulate me? I thought you were my friend.Amy: No, I am your friend. Please don't be mad at me.Penny: I can't even believe this. Youknow, maybe you should just go.Amy: No, no, I'm sorry, I'm so sorry. I take it all back. Look. I'm, uh, I'm sitting in your chair. There's nothing wrong with it. It's a great chair. Please let me continue to be part of yourworld. Ow!Penny: What's wrong?Amy: Something in the chair's biting my tushy. It's not important. Ow!Penny: Wait. Get up, get up! (She does. Something is moving in the seat cushion. They both run out of theapartment screaming.) Swear you won't tell Sheldon what happened!Amy (between screams): I swear! Can I tell my doctor? I'm probably gonna need shots!Penny (also still screaming): Yeah, sure!Scene: Leonard'sbedroom.Leonard: Oh, hey, babe, I think I figured this thing out.Priya (on screen): Oh, Leonard, listen...Leonard: No, you listen. You're my woman, and I'm gonna make you feel things you have never felt before.Priya:Leonard...Leonard: That's right, say my name, and beg me for more, 'cause, I'm gonna give it to you.Priya: My parents are here.Dr Koothrappali: Hello, Leonard, if I may also say your name.Scene: The street outsidethe apartment block.Howard: Check it out. Free chair.Raj: Yeah. Hey, you know, if this was in Sheldon and Leonard's apartment, I wouldn't wind up sitting on the floor all the time.Howard: On three?Together:Three!Raj: What kind of idiot throws away a terrific chair like this?"}
+{"doc_id":"doc_205","qid":"","text":"Ryan: [catching Jim looking at him at Pam's desk] What?Jim: Oh, nothing.[SCENE_BREAK]Jim: Pam's on vacation and she gets back tomorrow, so it'll be nice to see her. It'll be nice, and, uh, she set a date for thewedding with Roy. Uh... June. Summer. So, that'll be nice. And that's that.[SCENE_BREAK]Ryan: [again catching Jim looking at him] What?Jim: Oh, nothing.[SCENE_BREAK]Ryan: Jim's been looking at me kind of a lotall week. I would be creeped out by it, but it's nothing compared to the way Michael looks at me.[SCENE_BREAK]Michael: Spamster!Pam: Um, Pam plus Spam plus...?Michael: Hamster.Pam: Right.Michael: Welcomeback! How was your vacation?Pam: It was great.Michael: Yeah?Pam: Mm-hm.Michael: Did you get lucky? Oh! Boink![SCENE_BREAK]Pam: Roy and I just got back from the Poconos. I get ten vacation days a year, and Itry to hold off taking them for as long as possible, and this year I got to the third week in January.[SCENE_BREAK]Michael: I am Pam. Spicoli guy. Oh, God. Names, numbers. Okay. [walking into office] Whoa! God!Yuck, yuck. Yuck. Yuck!Pam: What?Michael: Wow! What happened in there?Pam: I don't know.Michael: There is stink in there, my God! What is... what is that?Pam: [looking at pile on Michel's carpet] Oh... I don'tknow.Michael: Is it a bird?Pam: No, I don't think it's a bird.Michael: Oh, God! How could that happen? How could... right in the middle of the carpet.Kevin: What's goin' on?Michael: Um, somebody vomited right in themiddle of the carpet in my office.Kevin: [taking a look] I don't think that's vomit.Michael: Check it out.Kevin: Me?Michael: Check it out. Don't be a wuss, just get... no, I'm not holding your coffee.Kevin: Oh, that'sridiculous.Michael: What is it?Kevin: Michael. [tapping on door]Michael: What is it? No, just tell me what it is.Kevin: [pounding on door] Michael, I ... I ... I gotta get outta here. I can't hold my breath that long.Pam:Open the door up![SCENE_BREAK]Kevin: It smelled terrible.[SCENE_BREAK]Pam and others: [after going in to check out the smell] Phew. Oh! No, mm-mm. [leaving quickly]Michael: I cannot believe a pipe burst andleft that in there.Toby: That's no burst pipe.Michael: How do you know that? What is it, then?Creed: Hi guys. Somebody makin' soup?[SCENE_BREAK]Michael: [as cleaning lady with mask leaves] Here she comes. Allcleaned? Great. [walks into office]Dwight: [coughing] It's still stinky.Michael: That is worse.Dwight: She probably scrubbed it into the fibers of the carpet. Total permeation.[SCENE_BREAK]Michael: [while in his reekingoffice] I am a big Fear Factor fan. I'm a big fan of anything Joe Rogan does, actually, so this is sort of like my audition tape. Um... [clearing throat] I can't stand it [gets up to leave], I can't stay in here another second.No![SCENE_BREAK]Jim: Hey! Welcome back!Pam: Thanks!Jim: So, how was the resort? Did you ski a lot?Pam: A little.Jim: Good! What's goin' on here?[SCENE_BREAK]Jim: What? I did not do that. That soundsdisgusting.[SCENE_BREAK]Ryan: [barely stifling laughter] It wasn't me. Um... it wasn't me. [regaining composure] It was not me.[SCENE_BREAK]Jim: [smelling the stink] Oh. Wow.Pam: [giggles at Roy]Michael:[sitting at Jim's desk] Hey Jim. I thought that we would be desk buddies while they changed my carpet.Jim: That might be a little difficult with the one computer.Michael: Oh... It's ...Jim: But there's definitely a deskopen in the back.Michael: [reluctantly] Yeah ...Jim: ...which I guess I'll be taking.Michael: No, no, no! Seriously, I don't mind sharing.Jim: No, no, no, seriously, I'll be in the back.[SCENE_BREAK]Jim: Hey, Kelly.Kelly:Are you moving back here?Jim: Um, just for the day while Michael's at my desk.Kelly: Because Toby used to sit there, but he had to move over there because of an allergy.Jim: Allergy to... the desk?Kelly: [shakinghead] Weird.[SCENE_BREAK]Michael: [putting his feet on desk] Yeah, yeah, yeah. Old bullpen.Dwight: [putting his feet on desk] Ha ha ha... the old bullpen.Michael: Don't ape me.Dwight: Okay.Michael: This isgreat.Dwight: Yeah!Michael: The pressures of my office are insane.Dwight: [agreeing] Mm.Michael: I just... you couldn't understand, but man, you guys have it so easy out here, you know? I used to sit righthere.Dwight: No way!Michael: Yeah.Dwight: And who had your office?[SCENE_BREAK]Michael: Ed Truck. [exclaiming is disgust] Ed Truck was the manager before me. Horrible. He hated fun. It was like, \"Oh, Ed Truckis walking toward us. Stop having fun. Start pretending to do work.\" What a jerk. He's... You know what? I swore to myself that if I ever got to walk around the room as manager, people would laugh when they saw mecoming and would applaud as I walked away.[SCENE_BREAK]Kelly: [to Jim] I'm serious. My closet doors will not shut. I mean, it only takes so long to measure to make sure that clothes will hang up because aren't allhangers like that big? So I don't understand why the closet engineer didn't think of that. So now I'm doing this new thing where I just leave piles of clothes on the floor and then I walk around the piles to get anoutfit...[SCENE_BREAK]Michael: You know who used to sit at that desk?Dwight: That guy Miles who quit to form his own company?Michael: Mm-mm. Todd Packer.Dwight: No!Michael: Yeah.Dwight: I thought he wasout on the road.Michael: He was, but, uh... that desk was empty. He'd come in and sit there sometimes.Dwight: Ah.[SCENE_BREAK]Michael: When I was in training, many years ago... not so long ago... I workedside-by-side with a fellow named Todd Packer, and together we rocked the office [picture behind Michael falls]. Packer and I once spent the whole day with our pants off, and when people noticed, we convinced themthat they were crazy.[SCENE_BREAK]Michael: I will gladly pay you Tuesday for a hamburger today.Stanley: [on phone] Excuse me one second, please. [to Michael] What is it that you need right now that you can't waituntil I'm off the phone with a customer?Michael: Oh, a customer, well, sound the alarm. [laughs] Okay.[SCENE_BREAK]Michael: Another time, Packer held this guy's head in the toilet for like a minute. Guy had nosense of humor about it. Probably why he wasn't hired.[SCENE_BREAK]Creed: [after Michael punches him in the arm] What did you hit me for?Michael: Charley horse!Creed: What?Michael: Charley horse!Creed: Youshouldn't have hit me, Michael.Michael: Oh, okay. Gah.[SCENE_BREAK]Michael: Once, as a joke, Packer banged every chick in the office. [giggles] It was hysterical.[SCENE_BREAK]Kelly: [to Jim] Beyonce, pink thecolor, Pink the person, hot dogs, basically anything that is awesome. Snow cones...Ryan: Hey Jim, Michael wanted me to ask you how to raise your desk chair.Jim: It's the lever on the side.Ryan: That's what I told him.Thanks. [leaves]Kelly: Oh my God, he is so cute! Would you talk to him for me and see if he likes me?Jim: No, I don't think I can...Kelly: Oh, please Jim? Please, please, Jim. Please, please, please? He's so cute. I likehim so much. And I would do it, but I'm too shy. Please, Jim, please, please, please, please, Jim. Please, please, please...[SCENE_BREAK]Michael: [whispering] Dwight.Dwight: [whispering] Michael.Michael: Let's sendup Accounting.Dwight: What?Michael: Old fashioned raid. Sales on Accounting. Yeah. Follow my lead.[SCENE_BREAK]Michael: Hey guys.Oscar: Hey, Michael.Michael: Ahem. What's up?Oscar: Hey, Dwight.Michael andDwight: [as they throw accountants' files and supplies around] Ahhhh! Whoo hoo! Come on, come on, come on, come on! Sales rules!Dwight: Yeah! [laughing]Michael: Yeah! Oh ho ho [laughing]Dwight: Should we help'em pick up their stuff?Michael: No, no, no, no. We don't do that. We don't do that.Dwight: Okay.Michael: Watch out, Pam. You're next!Pam: You're gonna throw my things on the ground?Michael:Maybe![SCENE_BREAK]Oscar: What happened in Michael's office was wrong. I understand it [chuckles], it makes sense [regains composure] But it... it was still wrong.[SCENE_BREAK]Michael: Why would somebodyruin a perfectly good carpet? I don't know. It could be done out of hate. It could be done out of love. It could be completely neutral. Maybe somebody hates the cleaning lady. And, well, she doesn't do a very good job,obviously, because my office still reeks like you would not believe. I hate her.[SCENE_BREAK]Michael: You know what? I am beginning to think that what happened to my carpet was an act of terrorism against theoffice. The only thing that makes any sense.[SCENE_BREAK]Dwight: [on phone] Hello, am I the 107th caller? [hangs up, dials again] Hello, Rock 107. Am I the 107th caller? [hangs up and dials again] Hell , Rock 107.Am I the 107th caller? [hangs up and begins to dial again] I'm totally gonna win us that box set.Michael: Stop.Dwight: Jethro Tull...Michael: Stop it. [Dwight hangs up] Stop. It. [Dwight beings to dial] Don't.Don't.Dwight: I need to make a sales call. Please?Michael: All right.Dwight: [on phone, whispering] Am I the 107th caller?[SCENE_BREAK]Pam: [to Roy in Jim's earshot] ...back so soon.Roy: We can go back in, like, acouple of weeks maybe.Pam: Yeah, right.Roy: Okay, maybe another month, like, maybe for, like President's Day or something.Pam: Yeah, that's right. We could do a three-day weekend. I wonder if I could, like, call insick on the Friday. Then I get a four-day weekend.[SCENE_BREAK]Kelly: [to unseen co-worker] But it's so weird to fall asleep. And I just hate it. 'Cause I try to go to bed at, like, 9:30.[SCENE_BREAK]Pam: [to Roy asJim escapes into bathroom] Are you kidding?Roy: No.[SCENE_BREAK]Michael: Hi, guys.Angela: We haven't finished getting things in order from your last visit.Michael: I'm just walking around.Angela: Wereyou?Michael: Well, yeah.Oscar: It's just that we're really swamped over here, Michael.Michael: Oh, and I'm not? Why would you say that? Because I'm having fun? You guys just are workin' for the weekend, aren't you?I'm workin' for the week. Sales team, listen to me. This is what we're gonna do. I'm gonna up the ante a little bit literally. Right here, I'm gonna put a crisp one hundred dollar bill. The person with the most sales at theend of the day gets to keep the cash. Sound good?Dwight: Yeah!Michael: [counting cash] Seventy, eighty, one, two three. Eighty-three dollars. Still a lotta money and I'm going to ... [moves money after seeingworkmen walk by] ... I'm gonna leave it right over here where everybody can see it. I will be taking Jim's clients today because he is not here and out of sight, out of the contest. Let's see who winds up with the cash,shall we?Phyllis: You're gonna compete against us?Michael: Oh, it is on, Phyllis, it is so on!Dwight: It is so on!Michael: God, this is gonna be fun.Dwight: Michael is gonna wipe the floor with us![SCENE_BREAK]Michael:[on phone] So you have 40 boxes going out, and I will deliver those personally in a Sebring. Very good, nice doing business with you. Thank you. [hangs up] Yes! [chuckles] Oh, yeah! Read it and weep. Oh! Oh, look atthat! [puts post-it on Phyllis' forehead] Look at me, Phyllis! Oh, what is that? That's my sale! [humming then dancing victoriously]Darryl: [walking by with new carpet] What... What's that? Whatcha doing?Michael:[stops dance] Nothing.Roy: [laughing] I think he's dancing.Michael: No. Just ...Darryl: That was definitely not dancing.Michael: You know what, guys? It's none of your concern. It was official business, so just...Darryl:Paper business.Michael: Yeah, paper business. Is this done?Roy: Nope.Michael: Extreme Home Makeover puts together a house in an hour. If you were on that crew, you would be fired like that.[snaps][SCENE_BREAK]Pam: Somebody did something bad to Michael's carpet. Maybe that's all we need to know.[SCENE_BREAK]Creed: [to Oscar] Who do you think did it?Oscar: Are you kidding? I thought it wasyou.Creed: Really? I thought you. [both laugh in Michael's earshot][SCENE_BREAK]Michael: This was no act of God. A person did this. A person who works in this office. Maybe all of them.[SCENE_BREAK]Michael: Youknow what? Today is not a good day for a sales contest. We're... we're not... we're not doin' this today.Pam: That doesn't seem fair.Michael: You wanna talk about fair? Does anyone need to smell my old carpet? Youexplain to me how that was fair, and I'll explain to you how this is fair. Plus I just... I think that picking today was sort of taking advantage.Dwight: But you're the one who picked today.Michael: I am a victim of a hatecrime. Stanley knows what I'm talkin' about.Stanley: That's not what a hate crime is.Michael: Well I hated it! A lot! Okay, I... you know what? If the guilty person would just come forward and take their punishment,we'd be done . [no one comes forward] Very well. Then you are all punished.Pam: What's our punishment?Michael: You're all on a time out. Just sit there quietly. [phone rings, Phyllis reaches to answer] No. NO! [phonecontinues to ring][SCENE_BREAK]Jim: Hey!Ryan: What's up?Jim: Nothing much. Let me ask you something. It's actually little awkward.Ryan: What?Jim: What do you think of Kelly?Ryan: I don't know. Depends if youlike a little junk in ... [notices camera] Umm... She's really cool.Jim: Are you interested in her?Ryan: Yeah, totally.Jim: Really?Ryan: Did she say something?Jim: She said lots of things.Ryan: Do you know if she'slooking for a long-term thing or if she'd be cool just hangin' out?Jim: I have no idea.Ryan: Can you find out?Jim: Yeah. Sure.[SCENE_BREAK]Kelly: [to Jim] Oh, long-term, definitely. Fall in love, have babies, spendevery second together... but don't tell him that, okay? Just tell him I'm, like, up for anything. I mean, I'm not a slut, but who knows?[SCENE_BREAK]Michael: Do you remember Ed Truck?Creed: Sure. He hired me.How's he doing?Michael: How would I know?Creed: I thought you might.Michael: My biggest fear is turning into him.Creed: Michael, you should have much bigger fears than that.Michael: [sighs] I wasn't talkingliterally, Creed. Yeah, being buried alive would be worse. Happy? Why am I talking to you?[SCENE_BREAK]Michael: [meeting Ed Truck in parking lot] Ed? Hi. Thanks for meeting me. Must be kinda neat comin' back.Ed:Yeah. Should we go upstairs?Michael: Uh, well, honestly Ed, I really don't wanna be up there right now.Ed: So, what's the problem with my pension?Michael: Oh, no, no, no. You're good. It was clerical. You're good.Um, well, somebody did something in my office, and I now think that they did it on purpose and it was directed at me.Ed: Well, what was done?Michael: I didn't get a good look at... it, but it smells horrible.Ed: Yeah,somebody once did that in my office.Michael: Really?Ed: Yeah.Michael: Well, that figures. So how did you deal with people not liking you?Ed: You can't expect to be friends with everybody.Michael: Well... s-sure Ican.Ed: No. They'll always think of you as a boss first.Michael: Not necessarily. You can love a boss like you do a father.Ed: I'm not sure that ever happens.Michael: Well, okay. Different management styles.Ed: Whycan't your workers be your workers, family be your family, your friends be your friends?[SCENE_BREAK]Michael: Last week I would have given a kidney to anyone in this office. I would have reached right into mystomach and pulled it out for them. But now, no. I don't have the relationship with these people that I thought I did. I hope they ask, so they can hear me say, \"Uh... no. I only give my organs to my real friends. Go getyourself a monkey kidney.\"[SCENE_BREAK]Jim: [on phone] Hey, Brenda. This is, uh, Jim Halpert from the boat. And I got your number from the corporate directory and, well, I was assuming that you probably gave itto them because you wanted me to ask you out, right? Um, so gimme a call back. You can get my number from said directory, um, or just check your e-mail 'cause I just sent you one. Yikes. Uh... give me a call back, Ihope. I'll talk to you later. Bye.Kelly: You just asked a girl out on the phone!Jim: Yep.[SCENE_BREAK]Michael: [on phone] Yes.Todd Packer: Hello, yes. I'm looking for a gay nerd named Michael Scott.Michael: Who isthis? How did you get this number?Packer: Your mom, you gay nerd!Michael: Oh my God. Packer. Packster. Whacky Pack. How you doin'?Todd: Hey, did you get that package I left for you?Michael: Uh... no. Didanybody see a package here today? No. How big was it?Packer: It was pretty big.Michael: Really?Packer: Yeah.Michael: Did you see a big package? Where did you leave it?Packer: Left it in the middle of youroffice.Michael: Really? Guys, did you see a big package in my office?Roy: You mean the thing?Packer: [laughs uproariously]Michael: Are you kidding me? Oh!Packer: Special delivery!Michael: That was Packer! Oh,you're... you are dead. You are dead, my friend! That is hilar... Oh, God! Of course it was you.Packer: Sit on the throne, Michael.Michael: Oh. [laughs and claps] Yeah, yeah! Oh my God. It wasPacker![SCENE_BREAK]Michael: It takes an advanced sense of humor. I don't expect everybody to understand. It was done out of love, just like I thought. It's ah... God, these people are so... these are good people.We have fun. [giggles] We just have fun! Oh, I'm just so sorry that I threw the thing out.[SCENE_BREAK]Jim's voicemail: You have seven unheard messages.Pam: [voicemail message for Jim] Hey, Jim. It's Pam. I keeplooking up to say something to you and then Michael's there and it's horrible. Anyway, I'm bored. Come back![SCENE_BREAK]Pam: [voicemail message for Jim] Hey, guess what? I moved my computer so I can't seeMichael's head. It's working. I think I can have a career as a very specific type of decorator.[SCENE_BREAK]Pam: [voicemail message for Jim] Sudoku. Level moderate. 18 minutes. Suck on that,Halpert.[SCENE_BREAK]Pam: [voicemail message for Jim] I'll transfer you. Dunder Mifflin, this is Pam. Hold, please. Dunder Mifflin, this is ... okay, sorry. Michael was standing at my desk, and I needed to be busy orwho knows what would've happened, so thank you.[SCENE_BREAK]Pam: [voicemail message for Jim] Hey, what's that word we made up when you have a thing stuck in your shoe? Anyway, I have a thing stuck in myshoe.[SCENE_BREAK]Pam: [voicemail message for Jim] Hey, I have a chance to sneak out of here early, and I'm not messing this up, so I'll see you tomorrow.[SCENE_BREAK]Pam: [voicemail message for Jim] Callingfrom my cell phone. I don't know if you guys figured out who did that to Michael's carpet yet, but I have a theory that involves an inter-departmental conspiracy. Everybody in the office. We need to talk."}
+{"doc_id":"doc_206","qid":"","text":"\"In a land of myth and a time of magic, the destiny of a great kingdom rests on the shoulders of a young boy. His name...Merlin.\"CAVE - DAYNimueh (spell): Berbay odothay arisan yeldo (\"Command thee ariseancient\").Nimueh places a magic egg into water. It travels through underground waterways to a manmade cavern. She watches Camelot from her water basin.Nimueh (spell): Bebiede þe arisan ealdu (\"I command you,ancient one, to come forth\").LOWER TOWN - DAYGaius and Merlin look over a corpse in the street.Merlin: Aren't you scared?Gaius: Of what?Merlin: That you might catch whatever it is.Gaius: I'm the court physician,Merlin. This is part of my job. Most of the time there's nothing really to be scared of. Gaius turns over corps to reveal white skinned, white eyed face.Merlin: You were saying?Gaius: People mustn't see this. They'llpanic.GWEN'S HOUSE - DAYGwen and her father get ready at home.Gwen: Dad, here's your sandwich.Tom: Ooh. Mmm, what's in it?Gwen: It's smoked pigeon. But I'd say there's more smoke than pigeon.Tom(laughs): You're such a good girl to me.Gwen: And I've done you some watercress soup tonight.Tom: Don't tell me, with more water in it than cress? Gwen laughs and they hug.Gwen: I'll see you later.Tom: 'Kay.Bye.KING'S PALACE, DRAWBRIDGE - DAYMerlin and Gaius wheel the body over the castle drawbridge. Gwen approaches carrying the flowers she had at home.Gwen: What are you doing?Merlin: Er...just movingsomething.Gwen: Looks heavy.Merlin: Er, it's nothing really. Er...someone got you flowers?Gwen: Oh! No (giggle) Would you like one? A purple one. Purple suits you. Not that I'm saying red doesn't suit you.Merlin:Thanks. Well, er... Merlin sticks the flower in his scarf.Gwen: Aww.Merlin: Er...see you.Gwen: Bye.KING'S PALACE, MORGANA'S CHAMBERS - DAYGwen enters with flowers.Morgana: You look happy.Gwen: I pickedthese for you.Morgana: Oh, that's so sweet.Gwen: Something to cheer you up. I know you're not sleeping well.Morgana: You cheer me up.Gwen: Would you like me to put them in water for you?KING'S PALACE,PHYSICIAN'S CHAMBERS - DAYMerlin and Gaius looking at body with magnifying glass.Gaius: I've never seen anything like this before.Merlin: Do you think it could be some kind of plague?Gaius: No. I fear thatsomething like this could never come from nature. But who has this kind of power?Merlin: You think it's caused by magic?Arthur: Merlin! Merlin opens door before Arthur can come in and see the body.Merlin: Erm...I'mon my way. Sorry I'm late.Arthur: Don't worry. I'm getting used to it. Arthur furrows his eyebrows when he sees the flower in Merlin's scarf. Merlin looks down at it.Merlin: Oh, er...Gwen, she gave it to me.Arthur: TellGaius my father wants to see him now.Merlin: Okay. Merlin closes the door.Merlin: Gaius...Gaius: I heard.Merlin: Wait, why couldn't he just tell you himself?Gaius: 'Cause that's the way it is. You're a servant.Merlin:Wha...if he knew who I was, what I've done...Gaius: You'd be a dead servant. Right, get this covered up.Merlin: Hey, I'm not your servant.Gaius: No, you're my dogsbody. Come on, hurry up.KING'S PALACE, COUNCILCHAMBER - DAYGaius examines a magically dead servant on the floor.Uther: What's happened to him?Gaius: I don't know, Sire. It's the second case I've seen today.Uther: Why didn't you report it to me?Gaius: I wasattempting to find the cause.Uther: What did you conclude?Gaius: I don't think it's time to hurry to conclusions. A scientific process is a long one.Uther: What are you concealing from me?Gaius: Sire, I have seennothing like it. The victims are dying in 24 hours, and it's spreading fast.Uther: What is the cause?Gaius: I think you should say that the cause, the most likely cause, is sorcery. Uther pulls Arthur aside.Uther: We mustfind who did this.Arthur: I will, father.Uther (scared whisper): Conduct door to door searches. Increase your presence in the town. Double the guards on all the gates. And lend the physician your servant.Arthur: Merlin?But...Uther: I'm going to need Gaius to find a cure. He needs all the help we can give him. If Gaius is right, believe me, this city will be wiped out. This is the kind of magic that undermines our authority, challenges allwe've done. If we cannot control this plague, people will turn to magic for a cure. We have to find this sorcerer, and quickly.Arthur: Yes, father.TOWN - DAYArthur and guards search the city. Merlin and Gaius walkthrough town. Merlin sees a sick personMerlin: Gaius? Gaius. He's still alive.Gaius: I'm afraid there's nothing we can do for him.Merlin: But we haven't tried.Gaius: If we don't know what a disease is, then how can wecure him?Merlin: With magic.Gaius: Have a look. They're suspicious of everyone.Merlin: This is not the time to be using magic. Science will lead us to the source of the disease.KING'S PALACE, PHYSICIAN'SCHAMBERSGaius heats a vial of liquid.Merlin: What are you doing?Gaius: I'm examining the contents of that man's stomach.Merlin: Will that tell you who did it?Gaius: No, but it might tell us how it's spread. One thing Ido know, this is magic of the darkest kind.Merlin: Why would someone use magic like that?Gaius: Magic corrupts. People use it for their own ends.Merlin: But not all magic is bad. I know it isn't.Gaius: It's neither goodnor bad. It's how you use it. Arthur and guards burst inArthur (to guards): Over there (to Gaius) Sorry Gaius, we're searching every room in town.Gaius: What for?Arthur: A sorcerer.Gaius: But why would he behere?Arthur: I'm just doing my job.Gaius: We've nothing to hide. Go on, then. Search.Arthur: All these books and papers?Gaius: My life's work, dedicated to the understanding of science. You are quite welcome to readthrough them if you wish.Arthur: What's this room up here?Merlin: Er...it's mine.Gaius: And what do you expect to find in there?Arthur: I'm looking for material or evidence suggesting the use of enchantments.Gaius:What've you done with the magic book I gave you? Merlin looks worried. Arthur enters his room.Arthur: Merlin, come here. Look what I found. Merlin runs into his messy room expecting Arthur to be talking about themagic bookArthur: I found a place where you can put things. It's called a cupboard. Merlin spots book on the floor and magically covers it with his bed sheet. Arthur looks under the bed, but misses the book and exitsMerlin's room.Arthur: How long do you think it may be before you find a cure?Gaius: It depends on how many interruptions I get.Arthur: Of course, I'm sorry (to guards) We're finished here. They exit. Gaius closes thedoor.Gaius: We have to hide that book.Merlin: No. We must use it.Gaius: Don't be stupid.Merlin: If I have this legacy then what is it for? You keep telling me it's not for playing tricks.Gaius: You want to practice magicwhen the King is hunting for sorcerers? Are you mad? Merlin, your life is destined for more important things.Merlin: But if I don't practice, then how will I get to be this great warlock?!Gaius: There will come a time whenyour skills will be recognised.Merlin: When?! How long do I have to wait?Gaius: Patience is a virtue, Merlin.Merlin: Sitting by and doing nothing, that's a virtue?Gaius: Your time will come.Merlin: I could cure that manwe saw.Gaius: I know it's tempting to use the way you find easiest, Merlin...Merlin: It is when it would save a life.Gaius: It's no good just saving one person. We have to discover how this illness is spreading.Merlin:Arthur is out there right now looking for the sorcerer!Gaius: A sorcerer who's powerful enough to do this will never be found searching the town.Merlin (sigh): So what can we do?Gaius: Hope that science can find theanswer before it kills us all.CAVE - DAYNimueh watches the beast she has sent in her stone basin. A woman draws water from the spout in the Lower Town. covered bodies are lined up in the courtyard.KING'S PALACE,COUNCIL CHAMBER - DAYArthur enters. Uther is here.Arthur: We searched everywhere, the entire city.Uther: Nothing?Arthur: I don't know where else to look.Uther: I want you to impose a curfew. No one is to beallowed onto the streets after the great bell.Arthur: Father?Uther: And cordon off the lower townArthur: Why?Uther: Because that's where most of the victims are. Let's isolate it, stop this disease fromspreading.Arthur: What about the people who live there?Uther: Don't you think I haven't considered it? What else can I do? I have to protect the rest of the city. Arthur bows and exits.KING'S PALACE, PHYSICIAN'SCHAMBERSGaius and Merlin examine another corpse.Gaius: What's different about this victim?Merlin: Er...she's a woman.Gaius: Sometimes I do wonder whether you're a magical talents were given to the right person.Anything else?Merlin: Erm...she's a courtier.Gaius: Ah.Merlin: How does that help us?Gaius: Courtiers seldom go down to the lower town. So what does that mean?Merlin: Erm....that, that she hasn't spoken to anytownspeople.Gaius (looks pained): Yes, it suggests that the disease is not spread by contact.Merlin: Oh, and they probably ate different food.Gaius: Good. Anything else?Merlin: Erm...I doubt they breathe the sameair.Gaius: So what's the only thing they do share?Merlin: Water. Water? You think the disease is spread through water?Gaius: Merlin, you're a prodigy. Gaius hands Merlin a bucket. Merlin walks to Lower Townwell.GWEN'S HOUSE - DAYGwen ties her cloak.Gwen: It's time to get up, Dad...Dad? She turns him over.Tom: Gwen. Tom is magically sick. Gwen panics and runs to the castle crying, passing Merlin at the well.Merlin:Gwen? Gwen! Merlin grabs the bucket of water and runs after her.KING'S PALACE, PHYSICIAN'S CHAMBERS - DAYGwen enters.Gaius: Gwen!Gwen: Gaius.Gaius: You have the sickness?Gwen (shakes her head): Myfather! Please, Gaius, he's all I have.Gaius: Gwen, I have no cure.Gwen: I am begging you!Gaius: I wish there was something, anything, but so far the remedy is beyond what I can achieve (takes her hand) I'm sorry,Gwen. She runs out of the room.Merlin: There must be something we can do.Gaius: My best. Let's hope that this can provide some answers.Merlin: But that'll be too late for Gwen's father.Gaius: I fear you may be right.Gaius puts some of the water in a jar, and places a flower in it. Merlin goes to his room.KING'S PALACE, PHYSICIAN'S CHAMBERS - NIGHTMerlin checks on snoring Gaius, pulls out his magic book, and sneaks past theguards.Guard 1: What about over...in there?Guard 2: Certainly, Sir. Guards poke spears into haystacks. A guard approaches Merlin's hiding spot.Merlin (spell): Onstyrian, onbregdan. The door across the street creaksopen. A guard nears and the door hits him in the face. Merlin goes to Gwen's house. Gwen and Tom are sleeping. Merlin puts a poultice under Tom's pillow and performs a spell \"þu fornimst adl fram guman\" He exitsand watches them outside the door. Tom wakes and touches Gwen's head, which is resting on his bedside.Gwen: Father?Tom: Gwen.Gwen (realizes Tom is well): What's happened? I can't believe it! She hugs herfather.CAVEMore covered bodies are laid out in the Square. Nimueh continues watching in her stone basinKING'S PALACE, COUNCIL CHAMBER - DAYArthur reaches for the glass vial containing the tainted water with aflower in it.Gaius: Don't touch it! I had this in the water for no more than a few hours.Uther: Where's the water from?Gaius: The pump from where the people take their daily supply.Arthur: We have to stop the peoplefrom using it.Gaius: The city cannot survive without water.Uther: We have to find this sorcerer!Arthur: I don't believe that they're inside Camelot.Uther: Then extend the search to the villages!Arthur: We've started, butI can't search the entire kingdom.Uther: And I can't stand by and watch our people dying. Arthur nods and exitsKING'S PALACE, MORGANA'S CHAMBERS - DAYMerlin enters. Gwen hums as she gathers Morgana'sclothes.Merlin: How's your father? Is he feeling better?Gwen: Yeah, it's incredible. It's a miracle.Merlin: His skin's clear, back to normal?Gwen: YesMerlin: Great. He beams and turns to leave.Gwen: You don't seemsurprised.Merlin: No, no, I am. It's a miracle.Gwen: But how did you know he was well?Merlin: Er...because you're smiling.Gwen: That's really weird because I haven't told anyone, but you know. How could youknow?Merlin: Yeah. Alright. You finally found out, I'll tell you (swallows) I'm psychic.Gwen (giggle): No you're not.Merlin: It's true.Gwen: Alright, what am I thinking?Merlin: That I'm not psychic.Gwen (giggle): You'restrange. I, I don't mean that in a nasty way. You're just funny. I like that.Merlin: Erm, er, I 'm pleased for you.Gwen: Thank you.Merlin: What for?Gwen: Don't know...just for asking.Merlin: I didn't like to see you upset.I have to...get on. Merlin waves awkwardly. Gwen waves back. Merlin leaves. Gwen smiles.BLACKSMITH'S - DAYTom works at his forge. Townspeople watch him. Arthur approaches with guards.Arthur: The story is youwere sick.Tom: Not anymore.Arthur: Perhaps you were suffering from some other ailment?Tom: Oh, you're joking. I felt like death itself, not enough strength in me to stir the air.Arthur: Then...what happened?Tom:Oh, I don't know. Suddenly it was gone. I'm fitter than I was before.Arthur: That's remarkable. Was anybody with you when all this happened?Tom: Just my daughter, Gwen. Arthur leaves and Tom goes back to work.Arthur and guards search Gwen and Tom's house. Guard finds glowing poultice.KING'S PALACE, MORGANA'S CHAMBERS - DAYGwen hums as she carries away a vase full of dead flowers. Arthur and guardsenter.Arthur: Seize her!Gwen: No!Arthur: Guinevere, I'm arresting you for crimes and contraventions of the laws of Camelot, that you did practice enchantments. Morgana enters.Morgana: Gwen?Gwen: But what haveI done? I haven't done anything! Help me, please!Morgana (to Arthur): What are you doing?Arthur: I found a magic poultice in her house.Morgana: Oh, that's ridiculous.Arthur: Then how else do you explain her father'srecovery?Morgana: Well, she's innocent! I know she's innocent.Arthur: What can I do? I can't turn a blind eye! Arthur exits and Morgana scoffs.KING'S PALACE, UPPER CORRIDOR - DAYArthur and guards drag Gwendown the corridor.Gwen: No, please. You've got to listen to me! Please, I haven't done anything wrong! You have to listen to me, please! I am innocent, I swear! Let me go! I swear to you! Gwen turns her head andsees Merlin approaching her.Gwen: Merlin! Merlin, please help me! (to guards) Why won't you listen to me?! Gaius takes Merlin's arm and escorts him out.Gwen: Please listen to me!KING'S PALACE, PHYSICIAN'SCHAMBERS - DAYMerlin and Gaius enter and Gaius slams the door.Gaius: What've you done?!Merlin: What?Gaius: I warned you! Oh, I understand. You thought you were doing good.Merlin: I couldn't let her father dieknowing I could cure him.Gaius: Didn't you think it might look a bit suspicious, the curing of one man?Merlin: Well then, all I have to do is...I'll cure everyone! No one will ever have to know it was magic.Gaius: It's toolate! They think Gwen's a sorceress! They think she caused the disease!Merlin: But she didn't! (rushes to leave).Gaius: Oh, and how are you going to prove that?! Merlin stops to think, then leaves.KING'S PALACE,COUNCIL CHAMBER - DAYGwen is brought before Uther on the charge of witchcraftGwen: Please listen to me I have done nothing, please! I swear I haven't done anything! Guards drop her on the floor.Uther (toArthur): Well done.Gwen: Why will no one believe me?! He got better, he just recovered. I didn't do anything! Morgana enters.Morgana: I believe you. Perhaps this is a disease that is not always fatal. Have you thoughtof that? Perhaps he recovered naturally.Uther: And what of this poultice that was found?Gwen: What poultice? I don't know anything about a poultice!Uther: It was found in your house. Undo this enchantment. Put anend to this contagion.Gwen: I can't!Uther: I will show you no mercy.Gwen: I am not a witch. I don't know how to stop the illness!Uther: If you will not undo your sorcery, you force my hand and I must find youguilty...Gwen: But I told you, I...Uther: It is therefore my duty to pronounce judgment. And under the circumstance I have no choice but to sentence you to death.Gwen: No!Uther: I can only hope that when you die,this evil plague dies with you.Gwen: No! No!Uther: Take her away. Guards drag Gwen backwards out of the room.Gwen: Please, no! I'm innocent! Please, please, no! Please help me! Please, I beg you! No! The courtiersleave. Morgana watches Gwen get dragged off, then turns to Uther.Morgana: I know Gwen. She's my maidservant, not an enchantress.Uther: Have you ever seen an enchantress? Believe me, they bear no sign, nomark. There is no sense of evil in the eye.Morgana: I've seen the way the girl works. Her fingers are worn, her nails are broken. If she was a sorceress, why would she do this? Why would she kneel on a cold stone floormorning after morning when she could make these things happen with a snap of her fingers? Like an idle king!Uther: You have no right!Morgana: You have a right to cast a judgment on that girl!Uther: I have aresponsibility to take care of this kingdom! I take no pleasure in this!Morgana: But you're sentencing the wrong person!Arthur: She's right, Father. You hear the word magic, you no longer listen.Uther: You saw it foryourself. She used enchantments.Arthur: Yes, maybe. But to save her dying father, that doesn't make her guilty of creating a plague. One's the act of, of kindness, of love, the other of evil. I don't believe evil's in thisgirl's heart.Uther: I have witnessed what witchcraft can do. I have suffered at its hand. I cannot take that chance. If there is the slightest doubt about this girl, she must die or the whole kingdom may perish.Arthur: Iunderstand that.Uther: One day you may become King. Then you will understand. Such decisions must be made. There are dark forces that threaten this kingdom.Arthur: I know. witchcraft is an evil, father. So isinjustice. Yes, I am yet to be King, and I don't know what kind of king I will be, but I do have a sense of the kind of Camelot I would wish to live in. It would be where the punishment fits the crime.Uther: I fear you'reright. She's played with fire, and sadly she must die by fire. Morgana leaves. Arthur paces the Council Chamber.KING'S PALACE, PHYSICIAN'S CHAMBERSMerlin: I thought I was doing good and that curing Gwen's fatherwould help her. I thought I was saving a life. It seemed so simple.Gaius: An easy solution is like a light in a storm, Merlin. Rush for it at your peril, for it may not always lead you to a safe harbour.Merlin: I can see thatnow.Gaius: How many times have I warned you about the responsibilities of being a warlock?Merlin: I must see her.KING'S PALACE, DUNGEONSMerlin goes down stairs to the dungeon, passes a weeping Morgana onwrought iron stairway.Merlin: Gwen. Gwen tries to get to the cell door, but her chains don't stretch that far. She's been crying.Gwen: Thank you.Merlin: What for?Gwen: For coming to see me.Merlin: I'm sorry.Gwen:It's not your fault.Merlin: Well...Gwen: It's alright. Don't worry about me. There's no point crying about it. I mean...I mean, I'm not saying that you were going to cry about me. Obviously I don't think that.Merlin: Oh,Gwen. I can't have this happen.Gwen: Please. One thing. You...you don't have to, but...Merlin: What?Gwen: Remember me.Merlin: You're not going to die. I'm not going to let this happen. Merlin leaves, rushing up thewrought iron stairway.KING'S PALACE, COUNCIL CHAMBERUther is consulting his advisors.Uther: What if burning this witch doesn't stop the poison? How do I protect my people? My men have closed down the waterpumps.Gaius: But the emergency supply won't last for much longer. We have to find a way of cleansing the water of the disease.Uther: But how?Gaius: Well... The doors open and Merlin bursts in.Merlin: It was me! Itwas me who used magic to cure Gwen's father! The council stares at him.Merlin: Gwen is not the sorcerer. I am! Gaius stands up.Gaius: Merlin! Are you mad?Merlin: I cannot let her die for me (to Uther) I place myselfat your mercy.Gaius: He doesn't know what he's talking about.Merlin: I do.Uther: Then arrest him.Arthur: Father, please! I can't allow this! This is madness! There's no way Merlin is a sorcerer.Uther: Did you not hearhim?Arthur: Yes.Uther: He admitted it.Arthur: He saved my life, remember.Uther: Why should he fabricate such a story?Arthur: As Gaius said, he's got a...grave mental disease.Uther: Really?Arthur: He's in love.Merlin:What?Arthur: With Gwen. Uther grins.Merlin: I am not.Arthur: Yes, you are.Merlin: No way.Arthur: I saw yesterday with that flower she'd given you.Merlin: I'm not in love with her. Arthur puts his arm aroundMerlin.Arthur: It's all right. You can admit it.Merlin: I don't even think of her like that!Uther: Perhaps she cast a spell on you. Arthur looks at his father worriedly. Uther snickers. Other council members snicker, and"}
+{"doc_id":"doc_207","qid":"","text":"[sound of coughing]Ricky: We're going to make some good f*cking money here boys.Julian: Let's just f*cking get this over with, Rick.Ricky: My f*ck, this is a good time boys.Tell me that's not the best f*cking dope youever smoked Bubbs.Bubbles: Should I be getting baked for this, boys?Ricky: Yes, Bubbles, get high, this is fun.Bubbles: Walkie check Ricky.Ricky: Good check.Bubbles: That water bong's so smooth, you don't realizehow high you're getting until it's too late.Ricky: Bubbles, you're breaking up. Switch to channel two, okay. Just turn on the radio and relax, everything's fine.Bubbles: Channel Two? VHF, what's that now?[sound ofmusic from radio]Bubbles: [singing]Bubbles: [singing through PA system]Ricky: I know I'm baked but, doesn't that sound like it's coming through the PA?Julian: f*ck, it sounds like it man.[sound of Bubbles singingthrough PA system]Ricky: Bubbles, everything you say is coming over the PA right now.Bubbles: Ricky, I am f*cked up out here.I don't mean to interrupt your meat-stealing operation there boys but I need to keeptalking to you til you get back. I'm freaking out a little bit.Ricky: Bubbles, every f*cking word you're saying is coming over the PA.Julian: He must have his finger on the button man, he can't hear us.Bubbles:[singing]Bubbles: [singing over PA system]Ricky: f*ck! Meat dicks, meat dicks.Julian: These are just birthday presents. You have no right to look in them. We're going to leave now. Rick, let's leave, calmly, comeon.Bubbles: Oh, I'm f*cking high![music]Bubbles: Where do I know that big cocksucker from?Ricky: Don't even f*ck the mind who that is?Phil: What are you doing?Ricky: Get the f*ck out of the way with your stupidfish and your hockey stick!Bubbles: Ricky, I'm not selling meat in the liquor store parking lot again. I don't want anybody I know to see me.It's embarrassing.Ricky: Bubbles, just smoke some of this home made blenderhash, alright, and relax.Julian: Corey and Trevor should be doing this greasy sh1t, not us.Ricky: f*cking Corey and Trevor. Corey and Trevor just vanished. No idea where the f*ck they went. Just ran away on me.Disappeared about six months ago and left a stupid note saying they're ever, never coming back. Thanks guys. Now I'm in a liquor store parking lot selling f*cking meat instead of Corey and Trevor. What the f*ck areyou looking at?Phil: What are you doing here man? This is my parking lot! I sell mackerel and blueberries.Bubbles: [coughing] Great, Phil Collins is here.Phil: Hey, hey. Bubbles, Julian. How are you guys doing? Sellingstolen meat eh? Wanna buy some trout?Julian: Phil, would you get the f*ck out of here. Here, here, take this thing.Phil: Yeah, well alright, Julian. Ah, geez.Bubbles: Here Julian.Julian: f*ck!Bubbles: [singing] I am high!High, high.Woman: Julian? Don't you remember me Julian?Julian: Ah?Woman: Oh my, Bubbles. Is that you? It's me. Your grade three teacher, Mrs. Anderson.Bubbles: [coughing] Hi, hi Mrs. Anderson.Ricky: Oh mygod, I'm so god-damned high.Bubbles: Ricky, no Ricky.Mrs. Anderson: I better be going guys. You know, it's never too late to change the path you're going down in life, boys.Julian: Thanks, Mrs. Anderson.Bubbles:Let's get the f*ck out of here, Julian.Ricky: Forty-two bucks already today boys. I can't believe it. Where the f*ck are you going, Julian?Julian: I'm not stealing meat anymore man, it's f*cked.Ricky: Man, what the f*ckare you talking about? You're giving up seventeen, eighteen bucks a day.Julian: I gotta get a job or something man.Ricky: A job? Julian, we don't work. You know us.Bubbles: Ricky, think about what you just said.Maybe we should work. Getting a good job is a good idea Julian.Julian: Listen, if I don't start making some cash soon, I'm going to lose my f*cking trailer man. Seventeen bucks a day, not cutting it.Ricky: Why is he sof*cking worried about his trailer getting repositioned? We're doing good here man. More money for us buddy. See buddy, now this is what I'm talking about. Business.Jim Lahey: Hey Rick. Open for business?Ricky:How's it going Sir? What can I get for you?Jim Lahey: What do you got that's fresh?Ricky: Jim, we both know you came over here for more than just a box of meat.Jim Lahey: Well Ricky, I was hoping to get a fewgrams for Randy. But he, look, he doesn't want to pay twelve bucks a gram anymore. He's smoking a lot of dope Rick. He's a good customer. How about ten? Six grams, sixty bucks?Ricky: Oh my f*ck, Cheryl! What areyou doing? I told you to stay off the counter. Look, you can have this but that's it alright. Now take that and get the f*ck out.Ricky: My father grazed me to that, that other things like animals that live or like I that liveand I'm supposed to be the same to them and try to treat them good but I've got f*cking insects now coming to my trailer and frogs and f*cking these things that look like cats but they got these long beaky nosethings. They're all attracted to my dope. I can't sell my f*cking things coming in like crows. I nicknamed this one crow Cheryl and she's pretty cool but I have to give her a peanut butter sandwich so she'll stop stealingmy f*cking weed and it's just, it's making me lose my f*cking mind. I'm sick of all this sh1t. I gotta sell this f*cking dope soon or I'm going to snap.Ricky: I'm getting pretty sick of you and Randy showing up hereoffering me ten or eight or anything else. You know what, if you cops started doing your job and you busted some growers I wouldn't have problem. Nobody gives a f*ck about good dope. I'm sick of this sh1t Jim. Looklet me spelt it out for you. See what that says? Twelve bucks a gram, firms.Jim Lahey: Are you selling any of this dope, Ricky?Ricky: I sold a little bit.Jim Lahey: Well, I refuse to pay twelve bucks a gram when you canget it for six down at the mall.Ricky: Well, you know what Jim? Go down to the f*cking mall and get the shitty mall dope. You only get f*cking one joint out of a gram, it's sh1t.Jim Lahey: Okay, okay, okay, okay. Look,I'll take one gram.Bubbles: Hey Ray. What, are you redoing your plumbing?Ray: f*ck no. Son of a f*cking whore.[crashing sound]Ray: f*cking, I don't use this as plumbing Bubbles, you know that. f*cking selling it asscrap metal.You know, get my liquor money buddy.Bubbles: Ray! Ripping the plumbing out of your walls for liquor money is f*cked!Ray: No, Bubbs.Bubbles: Ray, do you ever wonder if you've chosen the right path inlife?[pipes clanging]Ray: What do you mean, like, if your rig is on the right road?Bubbles: Yeah, that type of thing.Ray: f*ck yeah, buddy. You kidding me.I think about that sh1t all the time. Every f*cking day I thinkabout that. You know, I'll be, I'll be perfectly honest with you buddy. I'm sick of working with Randy, running this park.Bubbles: Ray, all you really do is get drunk and drive around waving at people.Ray: Yeah, I knowbut I'd give it all up in a second buddy. If there was just some f*cking way back on the road. Like that's ever going to happen.Bubbles: Hey, do you think you can work with Ricky tonight? I just don't think I can.Ray:Why, are you guys having a problem or something?Bubbles: Ray, I love those guys like brothers, you know that. But, I just can't do this greasy small-time crime sh1t anymore.Ray: I know what you're saying Bubbles.It's a young man's game. That's why I got out of it. So here, if I were you, I'd do it one more time and then get the f*ck out of it. You know, get me five pounds of bacon and a half pound of regular beef too while you'reat it, would you?Bubbles: You know what Ray? I think maybe I should be doing my own jobs that I plan. I think it would be less stressful.Ray: You need a hobby like mine Bubbs.Bubbles: Hobby? What's your hobby,Ray?Ray: Drinking. Hey buddy, want a beer.Bubbles: I'd love a beer.Ray: Here, go ahead.Bubbles: Do you think I could get in on this scrap metal bullshit with you? I have connections in the cart world.Ray: f*ck yes. Icould use a hand buddy.Bubbles: Alright, let's do it.Ray: Let's do it.Bubbles: Want to keep it on the downsie though.Ray: Alright, no problem.Jacob: I can't believe we're working together. This is awesome.Julian: Yeah,thanks for the job Jacob.Jacob: Oh my god, Julian. Is this your car?Julian: Yup.Jacob: Monte Carlo. What a cool car. Is it an '86?Julian: '87.Jacob: f*ck, it's in great shape man.Julian: Thanks man.Jacob: Can you lighther up?Julian: I'll see what I can do.[tires squealing]Jacob: Yeah, light it up!BAM!See you later Julian.[knocking sound]Sam: Julian?Julian: Oh my f*ck.Sam: You're delivering pizzas now?Julian: No man, my cousin's carbroke down and ISam: Your cousin, yeah.Julian: Twenty-two bucks.Sam: Your cousin?Julian: Twenty-two bucks Sam.Sam: Yeah, okay. I got it right here.Uh, I got most of it.Julian: What do you mean?Sam: I got,twenty-one fifty.Julian: Sam, this is coming out of my own pocket, come on!Sam: I'm not made of money man. Come on, twenty-one fifty. Take it or leave it.Julian: [sighs]Police Officer George: Alright, next item.Harvey, Bern, all this luggage disappearing at the airport. What leads have you got? Nothing? You're off the case. Ted and I will take this one over. Hodgson, Chambers, want you to start laying down some muscle onthis meat stealing ring. I mean, come on guys, they're stealing meat. How hard can this possibly be? It's getting embarrassing. Alright, that's it. Don't f*ck around out there.Jim Lahey: Hey George, what aboutme?Police Officer George: Actually, you know what, hold up everyone! You know, Jim, there is something you can do for us.Jim Lahey: What's that George?Police Officer George: Take a run up to Horton's for theboys.[laughter]Jim Lahey: Every f*cking day.Police Officer Ted: Guess you thought being back in the force would be more exciting. Double double decaf, Boston cream.Jim Lahey: Double double. Triple single.That's onlyseventy five cents, Terry. For f*ck's sakes.[SCENE_BREAK]Ricky: Hey.Lucy: Hello. How are you?Ricky: Hey Trin.Sarah: Nice cooler Ricky. Is that yours?Ricky: Yeah.Sarah: Yeah? How can you tell?Ricky: What are youbook learning Trin?Trinity: Ah, mammals and stuff.Ricky: Cool.Trinity: Birds.Ricky: How's the little bottle of joy doing?Lucy: Fine.Ricky: Well, I got you some meat. Lots of meat. You got a bunch of pork chops andground beef. And bacon and this stuff, couple of those things.Lucy: You know what dude, as great as it is that you got all this stuff and I know that you're trying, you know what we really need? Some money.Ricky:Lucy, don't tell me you're going to start busting my cock too. You know what I'm going through right now. And Julian quit working for me today.Lucy: Uh-huh.Ricky: I'm trying to sell this friggin dope. What do you dowhen guys are selling dope down at the mall for six bucks a gram, even though it's sh1t, but people are buying it. I'm f*cking trying here Lucy.Lucy: Would you like a piece of licorice Sarah?Sarah: Sure.Lucy: There yougo. Enjoy. Chew on that.Sarah: Uh-huh.Ricky: I'm not trying to freak out. I'm sorry.Lucy: Uh-huh.Ricky: You got another baby on the way and that got me learning that I gotta become better. For the person that'sgoing to be born. You know that I always become a better person when the person that gets born is born. I'll do whatever it takes Lucy. That's what I'm talking about here. You think I want to be stealing f*cking meat,I'm doing it for you guys.Lucy: What happened to the guy I made love with in the bathroom of Kentucky Fried Chicken? What happened? Where is that guy, huh?Ricky: Lucy, please. We all know this is all Corey andTrevor's fault. I f*cking know you know where they are Sarah. I know you do. And if I ever see those guys again, it's f*cking on, big time!Sarah: That's right, Ricky.Ricky: You got one of those Corey and Trevor thingson your arm?Sarah: Yeah I did. I did, because I miss them, because I loved them. You drove them out of here. You know and you blame everything on them.Ricky: I drove them out of here? I gave them opportunitiesSarah to grow dope. You know what they did? They couldn't handle it and they had to run away.Sarah: I don't know where Corey and Trevor are Ricky. If I did, I wouldn't tell you. But I don't know where they are.Corey and Trevor are in a mental institution in an undisclosed location. Ricky had them so overworked last year growing dope that they had complete nervous breakdowns.Ricky: f*ck Corey and Trevor. I mean, I wasalways there for those guys. I helped them. I taught them how to steal cars, how to steal gas. Showed them how to grow dope. I cared for them. I fed them. I was as good a friend to Corey and Trevor as anybody was.I was basically like their f*cking dad. Nobody showed those guys more love than me. Knock knock boys.Trevor: Who's there?Julian: So, we're cool?Trevor: Yeah man.[gun shots]Ricky: Let's go, smokes. You're f*ckinglucky.Corey: f*cking snakes dude. f*ck no.[music]Sarah: The doctors strongly recommend that Corey and Trevor never come back to Sunnyvale again, not even for a visit.And they're dead set against them ever talkingto Ricky again or they say they could lose their minds completely.Ray: Hey buddy.Ricky: Where the f*ck are you guys coming from?Ray: Just up at Shitty Bills.Bubbles: Are you hungry?Ricky: Yeah. I am f*ckinghungry.Ray: Are you hungry enough to blow 23 bucks on pizzas with the old man buddy?Ricky: Where the f*ck did you get that kind of money?Ray: I'm telling you Rick, you should rip the plumbing out of your placetoo. You would not believe the f*cking money I make in scrap metal, look at that.Ricky: It's crazy.Ray: Crazy? Better than delivering pizzas like f*cking Julian, Ill tell you that.Ricky: What are you talking about?Ray: Hedidn't tell you?Ray: He's delivering pizzas.Ricky: Is that true Bubbs? Julian's delivering f*cking pizzas? That's his new job?Bubbles: Ricky, don't be teasing him.J-Roc: Hey pizza boy. Jules? What you doing heredawg?Julian: What are you guys doing here? Cleaning floors J-Roc?J-Roc: No you man, just filling in for some ma-fuckers. What you doing here?Julian: Just, it's uh, this charity thing I'm, it's a pizza run, it's, for thekids, it's uh, you know.Tyrone: Charity pizza run?Julian: Yeah, charity.J-Roc: What are you talking about, you man? Last I heard, you were stealing meat, you know what I'm saying. Which is already whack. Not tomention it was with that snuffleupagus, walrus-ass manatee Phil Collins. But now you delivering pizza B? Eh, you want a pipe?Julian: J- Roc, twenty-nine dollars.Bubbles: Alright, look. Here's the meat pre-list. 15 ribroasts, 30 ten pound bags of hamburger, 12 turkeys, 40 chickens, 50 sirloin steaks, 2 dozen pot roasts and 20 LOLs, otherwise known as legso lamb. Can we pull this off? That's theft over a thousand?Ricky: Bubbles,don't worry about it. I promise you. We're not going to go to jail. All we gotta do is order some pizza.Bubbles: Got me Ricky. Walkie check, walkie check. You got me now?Ricky: Yeah, that's a lot better Bubbs. You'reclear.Bubbles: Let's get this bullshit over with.Ricky: Alright, see you in five or ten minutes man. This is the most meat we've ever stealen in one time so the trick is, go to a specialtilization meat store and get a man onthe inside. So basically Bubbs is the man on the inside. He goes in and sneaks in the freezer, waits til th close, and comes and opens the door, and we take all the f*cking meat we want, it's perfect.Bubbles: AlrightRicky, I'm in the freezer. Hurry up, I don't like being cold.Ricky: Just hang in there man. I'll have some warm stuff for you when you get out. Hot chocolate, whatever.Bubbles: Is the clerk leaving yet or what?Ricky:Open 9 til 9. What the f*ck! Uh, Bubbles, bit of a problem. It seems like they're open later than they used to be. I don't know what happened. I thought I checked it but you're going to have to be in there for a little bitlonger than expected. Not that bad, not that much longer though okay?Bubbles: Define a little bit longer!Ricky: Hopefully only like twenty minutes. I don't know yet.Bubbles: That doesn't make any sense Ricky. Thatmeans they'ren til 6:20? Nobody closes at 6:20.Ricky: It's not that bad. It's just, you know, it's like being in a freezer I guess. It's cold, or draw some things in the frost. Pretend it's winter time, you're building a snowman out of meat and cats are running around playing. And Bubbles: Ricky! Do you realize what you just said to me?Ricky: Bubbs, let me tell you a little story. When I was twelve years old, me and my dad were stealingmeat. I was in the f*cking freezer for seven hours. He couldn't get me out and the locks were all different and Bubbles: Ricky, I don't care how long you were in a meat freezer!Ricky: I did seven f*cking hours buddy.You can do three. The first two hours are going to suck, I'll tell you right now. But after that, it's really not that bad. Jacob, where the f*ck is that pizza man? I ordered it forty-five minutes ago.Julian: Did you order apizza?Ricky: Hey, pizza guy. Over here.Julian: [sighs] What the f*ck is wrong with you?Ricky: What are you talking about?Julian: Do you think it's some kind of a joke that I'm working here Ricky?Ricky: Julian, you'replaying pizza games. I got a better offer for you. We can make two thousand dollars in meat tonight. Two grand. Bubbles, it's okay to come out now man. Come on out. Bubbles? f*ck, he must not hear me.Julian: Howlong's he been in there?Ricky: Not that long, ten, twenty minutes. Well, yeah, close to three hours, I guess.Julian: Three hours?[glass smashing]Ricky: Alright Bubbles, start gathering up the meat.We're inside. Heybuddy. Aw, f*ck! God, Bubbles can you hear me?Bubbles: Yeah, I can hear you's boys. Little disappointed in yas.Julian: Help me get him out of here Ricky.Ricky: We're not leaving here without meat.Julian: f*ck themeat! Go find a coat or a blanket or something, we gotta warm him up Ricky.Bubbles: Very cold, very cold. Oh, yes. Oh, yes. That bread feels wonderful Ricky. Wonderful.[moaning]Ricky: I'm so f*cking sorry, whathappened tonight.Take tonight off and we'll get back at her tomorrow, alright?Bubbles: Back at her? f*ck that Ricky. I'm not working with you and Julian anymore. Sorry, but that's it. I'm done. I gotta go to sleep boys.Just sleepy times.Julian: Two pounds. What a f*cking waste.Ricky: Holy f*ck! Raykins. That's what those furry little bitches are Julian that are f*cking you over, raykins. On top of the mold, I'm going to snap man, Ican't deal with this sh1t. Two pounds of dope going up because of mold. Great. Man, I hate to keep blaming Corey and Trevor, it's their f*cking fault. They should be here dealing with this sh1t, not me.Julian: Soundslike you miss them Rick.Rick: Yeah, maybe I do f*cking miss them Julian. I f*cking miss Corey and Trevor alright, I said it.Julian: Get over it, cause they're never coming back. Listen, we're going to sell this dope. Butwe have to be patient and sit on it. Wait for the right person to smoke it okay? And Ricky, we gotta lower the price to ten bucks a gram.Ricky: Oh f*ck! Alright, I'll go to ten, but no lower than ten. It's still f*cking twelvefor Lahey and Randy."}
+{"doc_id":"doc_208","qid":"","text":"[ EXT. Massacre Site - Day ]( A sizable river runs by and birds sing in the trees. It is a beautiful day, despite the carnage at the surveyors' camp. Scalped bodies lay on the ground, the sound of FLIES heavy in the air.Some of the bodies have been loaded into the back of a buckboard wagon by two men. The CHICAGO TRIBUNE REPORTER is documenting the scene with his camera. His flash-pan WHOOSHES loudly. The horse hitchedto the buckboard is startled by the sound and WHINNIES. )( The reporter looks up from his camera towards the ridge to see a party of three men riding on horseback. One figure, on a white horse, rides ahead of thetwo other men. The two men with the reporter chamber rounds in their weapons. )Reporter: It's Durant.( DURANT dismounts, as do the two men. )Reporter: ( to himself ) What the hell's he doing here?( Durant walksup to the Reporter. )Durant: Are you the Chicago Tribune reporter?Reporter: YesDurant: Did you photograph this body?Reporter: Y-yes, sir, Mr. Durant, but just-just the one body.( Durant looks at the man, disgusted.)Durant: What's wrong with you, man?Reporter: I'm sorry. I thought...Durant: Just the one won't do.( The Reporter is confused. )Durant: ( to the men by the buckboard ) Get those bodies off the wagons. Come on,snap to, boys.( The men drag one man, the sentry who was shot first, from the wagon. They drag the sentry back to the field as Durant continues to talk to the reporter. )Durant: I want this scene photographed exactlyhow you found it. I want an unblinking look at the horror perpetrated here.( The Reporter is still confused. )Durant: More arrows. We need more arrows.( Durant gathers arrows and sticks them into random corpseslying in the meadow. He attempts to stick one into a man lying in front of the Reporter but it won't go in. Durant pushes it slowly in with a SQUISH, much to the Reporter's disgust. Durant looks up at him. )Durant: Hecan't feel anything. He's dead, for God's sake.( Durant turns as a man, identified as DURANT'S MAN, walks from the tree line. )Durant: The maps. You find them?Durant's man: ( shrugs ) No, sir. Nothinganywhere.Durant: Keep looking.Durant's other man (O.C.): Mr. Durant, over here![SCENE_BREAK][ CUT TO: Woods ]( Durant and his men walk towards two bodies, one being Sun Bear, the brave killed by Lily Bell.Durant kneels and rolls over the other. It is Robert Bell. )Durant: Robert. ( stands ) Pack up everything. Bring it all back to Hell on Wheels.( Durant is about to leave when something catches his eye in the grass. Hebends to pick up the object. It is a silver pocket watch. He opens the hunting case and turns it to see the inside of the cover. There is a black and white photo of Lily Bell stuck to the watch cover. He looks at the photo along while. )[SCENE_BREAK][ EXT. The Cut - Day ]( Men, both Negro and white, are working in the cut. BOHANNON walks along the top of the cut, monitoring work. He looks at ELAM before continuing on. Two menapproach on horseback at a gallop. One, Dix, has long brown hair. The other, BOLAN, has short, sandy hair and a beard and wears a Union jacket. Bohannon notices them and puts his hand on the grip of his gun. Elamclimbs out of the cut and stands next to Bohannon as Dix and Bolan approach. )Elam: ( quietly ) They found Johnson's body. Everybody back in camp talk 'bout it.( Bohannon turns to Elam. )Bohannon: Get the hell backin that cut.( Elam doesn't move. Bolan arrives first and pulls his horse to a stop. )Bolan: You Cullen Bohannon?( Bohannon and Elam stare at Bolan. )Bolan: You hear about Daniel Johnson's murder?Bohannon: Whowants to know?Bolan: ( raises eyebrows and smirks ) Why you so spooked, son?Bohannon: I guess I still ain't cottoned to the sight of Union blue riding up on me.( Bolan chuckles and smiles. He turns to Dix, who givesa small smile. )Bolan: You ought to be happy to see us.Bohannon: Yeah? And why's that?Bolan: Boss wants to talk to you about taking Johnson's job.( Bohannon sighs and looks at Elam )[SCENE_BREAK][ EXT. Hell onWheels - Same Day ]( Town is bustling with activity after the move to a new location. People are setting up their tents. MICKEY is pulling up a pole that forms part of the framework for the Magic Lantern Show tent. )(SEAN exits the Starlight Saloon with two bottles of liquor. He crosses the street to Mickey and hands him a bottle. )Sean: Here you go, Mickey. ( puts his arm around Mickey's shoulder ) Yeah.( Near the rail line,Bohannon rides his horse, following Dix and Bolan. Bohannon is smoking a cigar. )( CLOSE ON man hanging from a makeshift gallows )( The trio arrive at their destination and dismount. Bohannon follows Bolan up thesteps of a caboose. Bohannon removes his hat and puts out his cigar with his boot before entering. )[SCENE_BREAK][ CUT TO: INT. Caboose ]( A large, imposing man dressed in a black waistcoat sits praying over apiece of hardtack at his desk. This is THOR GUNDERSEN. The hanged man can be seen through the window behind him. )Swede: We thank thee Lord for this bounty you have placed before me.( He finishes and looks upat Bohannon. He indicates a chair across from his desk. )Swede: Sit down.( Bolan pulls up a chair across from the Swede's desk. The Swede dips the hardtack in a bowl of liquid. )Swede: Sit down.( Bohannon doesn't sitbut eyes the Swede. The Swede calmly takes a bite of hardtack. Bohannon looks out the window at the hanged man. )Swede: ( nods towards window ) Horse thief. Tor Gundersen, head of security for Mr. ThomasDurant.( The Swede extends his hand. Bohannon shakes. )Swede: They call me the Swede. ( beat ) I'm Norwegian but no matter. ( shrugs ) We are all Americans now, even you Rebels, yes?( He smiles but Bohannondoes not return it or respond. )Swede: Hmm...Daniel Johnson told me that the two of you was cut from the same cloth.Bohannon: ( scoffs ) Yeah? I don't think so.Swede: ( bits into hardtack ) Why is that? Did you notlike him?Bohannon: ( shrugs and shakes head ) He was my boss. That's about all there was to it.Swede: And drinking companion, yes?Bohannon: ( nods ) We tore it up some.Swede: I understand the two of you was\"tearing it up some\" on the night he was murdered. In fact, you was seen leaving the saloon with him. Hmm?( The two men stare each other down for a moment. Bohannon smirks. )Bohannon: Yeah. ( looks towardBolan and Dix ) I'm not here to talk about Johnson's job, am I?Swede: ( laughing ) Is that what they told you?( Bolan and Dix stand near the door, chuckling. Bolan has placed himself in front of the door. The Swedecontinues to chew on the hardtack. )Bohannon: You a lawman, Mr. Swede?Swede: Hmm?Bohannon: 'Cause I don't see no badge.Swede: ( brushes off his clothes ) Oh, no. There's no official law out here yet.Bohannon:Then what authority you got to be interrogating me?Swede: ( looks up ) Mr. Durant has appointed me to bring some order to the chaos out here.Bohannon: When's the last time you took a look outside, Mr. Swede? (beat ) Looks to me like chaos is winnin'.Swede: Well, when harlots and dipsomaniacs are killed, I lose not a minute's sleep. But Daniel Johnson was a valuable asset to Mr. Durant.Bohannon: Daniel Johnson was hatedby just about every man who worked for him.Swede: ( with interest ) Any with a reason to kill him? ( beat ) Perhaps one of the Negroes. ( nods ) I heard he had some trouble with them. Hmm?Bohannon: I wouldn'tknow nothing about that.Swede: ( skeptical ) Hmm...Ja, ja.( He sweeps the crumbs from the hardtack with his pinky and he mutters in Norwegian. He looks up at Bohannon. )Swede: Well, that leaves only youthen.Bohannon: ( beat ) You know what? I'm done here. This ain't no court.( The Swede grips a double-barrel, pistol-grip coach gun that is holstered to the underside of his desk. Bohannon moves towards the door. Ashe passes, Dix pulls Bohannon back by his coat pocket. Bohannon unsheathes a knife and nicks Dix. He holds the knife to Bolan's throat. The unmistakable CLICKS of the hammers going back on the shotgun stopsBohannon in his tracks. )( The Swede holds up the gun, the word \"BEAUTY\" carved on the side of one barrel. )Swede: This here's Beauty.( Bolan swings Bohannon's knife away from his throat. He pulls out his pistol andcocks back the hammer. He straightens his jacket, indignant. )Swede: She's an old piece, but she still shoots true.[SCENE_BREAK][ CUT TO: INT. Pig Car ]( The Swede shoves Bohannon into the car. Bohannon hits thefar side of the cart and falls. The Swede holds him by the neck. He puts on manacles that are tethered around one of the floor boards. )( Bolan stands near the door, his pistol trained on Bohannon. )Swede: We gonnagive you a chance to confess to this crime.( He nods and Bohannon looks up at him in fear. The Swede slowly turns away and leaves. Bolan holsters his pistol and slides the door shut. The CLANK of the chains can beheard as he locks Bohannon in. )( Bohannon waits a moment before pulling at the chain looped around the floor board. The board CREAKS but it doesn't budge. He pulls again but falls on his backside. He looks out atthe hanging man and sighs, his eyes wild. )[SCENE_BREAK][ EXT. Nebraska Territory - Day ]( LILY BELL walks slowly near a river, the map case tucked under her arm. She is disheveled and covered in blood. She hearsthe SNORT of a horse and looks around. )( Through the trees, she sees several men on horseback. )( She drops to the ground, wincing in pain. )( The men ride out of the trees. There are three Cheyenne men. )( Lilycrouches behind a fallen tree, peering through the branches. )( The men dismount and hitch their horses to a large tree. Two of them begin to gather fuel for a fire while the third, PAWNEE KILLER, looks towards the logLily is hiding behind. She crouches, terrified. )[SCENE_BREAK][ INT. Pig Car - Same Day ]( Bohannon sits with his back against the wall. He digs with his heel at the straw strewn on the floor. He sees a large nailsticking up from the floor boards. Bohannon moves to kneel near the nail and starts to scratch at the wood around it. He grips the nail and starts to pull at it. )[SCENE_BREAK][ INTERCUT BETWEEN ][ FLASHBACK -INT. Bohannon Farmhouse - Some time before 1864 ]( FROM Bohannon's POV )( The camera pans down a hallway and moves towards the front porch of the house. A woman with auburn hair is sitting in a chair crossstitching. )[SCENE_BREAK][ INT. Pig Car - Same Day ]( Bohannon continues to pull at nail. )( FLASHBACK INT/EXT. Bohannon Farmhouse, Porch - Sometime before 1864 )( PUSH IN on woman's cross stitch. It is apicture of a yellow farmhouse with a magnolia tree blossoming in front of it. )[SCENE_BREAK][ INT. Pig Car - Same Day ]( Bohannon continues to work at nail )( FLASHBACK I/E Bohannon Farmhouse, Porch - Sometimebefore 1864 )( The woman looks up as someone puts his hands on her shoulders. She smiles as she looks up at Bohannon. This is Mary Bohannon, his wife. He smiles down at her. )[SCENE_BREAK][ INT. Pig Car - SameDay ]( Sweat beads on the end of Bohannon's nose as he strains at the nail. )[SCENE_BREAK][ EXT. Nebraska Territory - Same Day ]( Lily dozes, leaning against the fallen tree. )( Pawnee Killer and his men are campedout only a few feet away from Lily's hiding spot. One man brushes his hair with a silver brush while the other puts more wood on the fire. )( JOSEPH walks out of the woods towards the camp. The men do not hear himapproach. )Joseph: Where is she?( The three men jump to their feet at the sound of Joseph's voice. )Pawnee Killer: Hello, little brother. What are you doing way out here?( Joseph takes the brush from the men.)Joseph: Where's the woman?( He holds out the brush to Pawnee Killer. It was Lily's once. )Pawnee Killer: We don't have her. Yet.Joseph: You kill white men, that's one thing. But you take one of their women and you'llhave every damn one of them hunting you down.Pawnee Killer: ( nods ) Good. I'll count coup and get more scalps.Joseph: I hope it was worth it.( Joseph turns and starts to walk away. )Pawnee Killer: What about thescalps you took?( Joseph stops and looks over his shoulder. )Pawnee Killer: You act so pure now, but I remember a time when you loved the taste of blood.( Joseph turns more fully towards Pawnee Killer. )Joseph: (nods ) Jesus has forgiven me for that.Pawnee Killer: ( nods ) Jesus may have forgiven you but do you think your white friends would?( Joseph stays silent and walks away. )Pawnee Killer: ( calling after Joseph ) Youbetter find her before I do.[SCENE_BREAK][ INT/EXT. Hell on Wheels, Pig Car - That Night ]( Bohannon is still struggling to pull up the floorboard. He grunts as he strains at his chains. )( Elam walks up to the car.)Elam: Hey. Hey.( Bohannon stops and looks up, confused. )Elam: You'd be surprised how fast you get used to the feel of them things.Bohannon: What the hell are you doing here?( Bohannon goes back to working onhis chains. )Elam: Wanted to know if you be fixing to testifying on me.Bohannon: I don't know. Ain't decided yet.Elam: I know about that sergeant.( Bohannon stops and looks up again. )Elam: Heard Johnson say someother things, too. Things about men getting killed in churches and such.( Bohannon goes back to work. )Bohannon: Yeah, what's your point?Elam: Point is, I be hanging for Johnson, you gonna drop down right besideme for the folks you done killed.( Bohannon moves to the side of the car so he can look Elam in the eye. )Bohannon: Tell you what, you tell your story and then I'll tell mine and we'll see who they believe.Elam: ( nods )Yeah, who'll believe some nigger slave over a white man?Bohannon: ( chuckles ) Relax, son. Ain't nobody hanging nobody.( Bohannon moves back to pull at the floorboard. )Elam: I ain't your damn son.Bohannon: Well,I'll be out of her by tomorrow.Elam: I imagine that's what that horse thief done said.( Bohannon looks up at Elam. Elam hears a wagon coming and runs off. )[SCENE_BREAK][ INT. McGinnes Brothers' Magic LanternShow Tent - Same Night ]( A crowd is leaving after another successful magic lantern show. SEAN leans against table holding the magic lantern while MICKEY holds open the tent flap, seeing patrons out. The Swede sitssilently on a bench, still staring at the screen. Mickey and Sean look at each other and then the Swede. )Mickey: Did you enjoy the show, sir?( The Swede doesn't look up, instead admiring the projected image of abridge over a river. )Swede: Very moving images of home, boys.Sean: But you don't sound Irish.Swede: I ain't, but my heart was moved nonetheless. ( sighs ) We all yearning for our homeland out here in this strangeplace.Sean: ( pulls out the slide ) Excuse me, sir, have we met?Swede: We have not. ( rises and turns to the brothers ) Folks 'round here call me the Swede. ( extends his hand to Mickey ) You got yourself a primelocation here, boys.Mickey: ( steps forward and shakes the Swede's hand ) Yes, siree. Right between the whores and the liquor.( Sean looks worried. )Mickey: ( laughs ) Picked it out meself.Sean: What is it you want,Mr. Swede?Swede: I like that. Right to the point. And the point is nice location like this got a nice price attached to it.( Sean nods, realizing why the Swede is there. Mickey is suddenly very grave. )Sean: I should haverealized there was a reason this spot wasn't taken. I should have seen this comin'.Swede: I take it you're the smart one.Sean: Aye.( Mickey makes a protesting sound. )Sean: So how much you want, Mr.Swede?Swede: Ah, once again, right to the point. Uh, two dollars a week. First payment due this Friday.Mickey: ( incensed ) But that's half our flippin' take!Swede: ( loudly ) And for this two dollars you shall have myprotection against all the villains that surround you in this wicked place.( Sean looks skeptical. )Mickey: And what if we don't pay?Swede: Well, you can always move down to the slaughterhouse.Sean: ( defiantly ) Andwhat if we refuse to move?Swede: ( smiles ) And I thought you was the smart one.[SCENE_BREAK][ EXT. Hell on Wheels, Near the Pig Car - Next Day ]( A rooster CROWING and hens CLUCKING can be heard. The dirtroads in town are now mud, some places simply deep puddles from rain. People slowly go about their morning business. )[SCENE_BREAK][ CUT TO: INT. Pig Car - Day ]( Bohannon is still trying to pry up the nail. Hehears the CLANK of the chains on the door and looks up to see the shadow of someone about to open the door. He throws straw around the nail and quickly sits with his back to the wall. )( The door slides open. Thecamera pans up from a pair of black boots to reveal the Swede. He has removed his coat. A silver charm of Thor's hammer hangs from his pocket watch chain. He smiles as he surveys the pig car. He pulls a crate acrossthe room and sits down. The crate CREAKS under his weight. The Swede looks at Bohannon for a moment before carefully beginning to eat. )Swede: I used to be a bookkeeper.Bohannon: You look like abookkeeper.Swede: Hmm. I was always more comfortable around numbers than people. I could control numbers.Bohannon: The war put a stop to that, didn't it?( The Swede chews for a moment and looks atBohannon. )Bohannon: You're suffering from the Soldier's Heart, Mr. Swede. Yeah, I can see it in your eyes. You're still fighting them battles.Swede: I saw no battles. I was a quartermaster. More numbers. I never evensaw the enemy 'til our supply train was captured and I become prisoner of war.Bohannon: Andersonville?Swede: ( nods ) That's right. Way down in the great state of Georgia. Total chaos ruled. Thirty thousandprisoners, fourteen thousand dead. I weighed two hundred pounds when I went it, and eighty-six when I come out. I just couldn't make them numbers add up.( He pulls up left sleeve to reveal a large red scar )Swede:I awoke one night to find one of my own men trying to eat the flesh from my arm. He thought I was dead. But I realized that night I had to control people like I control numbers and I learned to practice a sort ofimmoral mathematics. And I did some... ( whispers ) horrible...not so good things in Andersonville, Mr. Bohannon. Ja? In the end, I found I was able to make them numbers add up.( He finishes eating and rests spoonagainst bowl rim. )Swede: ( brighter ) So, have you thought about that confession?Bohannon: I figured by your math you're gonna hang me either way.Swede: Ja.( The Swede slowly rises and turns to go. )Bohannon:You know why the man didn't finish eating your sorry ass?( The Swede turns around and steps closer to Bohannon. )Swede: Hmm?Bohannon: 'Cause you Yankees all taste like sh1t.( Bohannon suddenly kicks out andknocks the bowl and spoon from the Swede's hands. The Swede shouts in anger. Bohannon prepares himself for retribution but the Swede gets hold of himself. )Swede: ( calmly ) Get right with your Maker, Mr.Bohannon. Soon as we cut down the horse thief, you gonna hang.( The Swede exits and shuts and locks the door. He stares down Bohannon between the slats of the car before leaving. Bohannon waits a momentbefore he moves towards the spoon and bowl the Swede left behind. They are beyond the reach of his hands. He kicks the bowl away and drags the spoon towards him with his foot. The spoon gets caught between twofloorboards. He strains but can't get it free. He scissors it between his feet and lifts it from the crevice. Grabbing it from his feet, he quickly brushes away the straw from the nail. Using the spoon as a lever, he starts pryit up. He chuckles to himself as it pulls slowly from the wood. He holds the nail in his hands, looking at it. )[SCENE_BREAK][ INT. Pig Car - Same Day ]( The Swede cuts down the horse thief from the gallows with thehelp of Dix. Bohannon pulls out another nail and then another. He stands and pulls at his chains. After a moment, the board comes free. Bohannon looks out of the train car and sees the Swede approaching. Using theboard he's pried loose, Bohannon levers another board free. He pulls another loose with his hands. )( The Swede is unlocking the door. )( Bohannon slips through the hole in the floor. He reaches up and feels around forhis hat for a moment before grabbing it. )( The Swede pulls open the door and sees that Bohannon has escaped. He looks through the hole in the floor. He is distraught. )( Bohannon crouches under the train platform.He loops the chain around his wrists and hides his still manacled hands in his hat. Bohannon slips through camp. )( The Swede has Bolan and Dix with him and they search around the platform looking for Bohannon buthe has already moved on. )( Bohannon blends in with a group of workers. )[SCENE_BREAK][ EXT. Nebraska Territory-Same Day ]( Durant's party and the Reporter and his party are on their way back to Hell on Wheels.Durant's men ride on horseback, one leading Durant's white horse along. )Durant (O.C.): Write this down: outnumbered five to one, eight white Christian souls were brutally slaughtered by the marauding, bloodthirsty"}
+{"doc_id":"doc_209","qid":"","text":"[In the opening scene, we see Drew Boyd, freaking out during the photo shoot for the Brown Athletics underwear ad.]Drew: (talking into his cell) I don't give a sh1t. I need to talk to him now! (Pacing around) Stuart. Ican't do this.Brian: What the f*ck is going on here?Photographer: Your subject is being most uncooperative.Ted: He said he made a big mistake. He's talking to his agent.Brian: Well, did you remind him that he has acontract?Ted: Yeah, I did remind him.Drew: No, I'm not gonna grin and bear it! You're gonna get me out of this!Brian: Anything I can do to help?Drew: Yeah. You can get me my pants.Brian: Before I do that, why don'twe discuss your concerns?Drew: There's nothing to discuss. I'm not doing it!Brian: It's a little bit late for that, isn't it?Drew: I'm Drew Boyd. I call the shots.Brian: Except when I have the ball.Drew: I'm feeling kind ofexposed, you know? I'm not used to standing around in my shorts.Brian: What about in the locker room? You stand around in a lot less.Drew: In the locker room everyone's showing their ass.[Brian smiles. Cut to Drewposing in his underwear, the photographer snapping away. Panning around the room, we see that everybody's in their underwear. Most everybody's in black, but Brian's wearing those long gray jockey shorts. And Tedhas boxers.]Ted: Christ, he's hot. What a pity he's straight.Brian: Well, even if he weren't, do you think he'd f*ck you wearing those? (He casts a derisive glance at Ted's boxers).Ted: I wasn't expecting to be standingaround in my shorts.Brian: I don't know if he's gonna sell any underwear, but he sure as hell is gonna sell a lot of Kleenex.[Cut to post-coital Emmett and Drew in a motel room.]Drew: Once I got used to everybodystaring at me in my shorts, it got to be a real turn-on.Emmett: But only I know what's under them. Guess we'd better get up!Drew: What's your hurry?Emmett: Well, soon as we're through you always bound out of bedand race to the showers, so I just assumed -Drew: I wanna just lie here.Emmett: You sure?Drew: You see me moving?Emmett: (settles back down, with his head on Drew's rock hard abs) Mmm...what's the worldcoming to? First a kiss, then stickin' around... next thing you know, you'll be asking me to the big game. Yeah, I said too much, didn't I?Drew: You know the rules.Emmett: I know. What goes on in this room is betweenyou, me and the four walls and must never leave here under penalty of death.Drew: You got it, sport.[He smacks Emmett's butt and gets up to take a shower.][Michael frantically tries to reach Hunter on his cell phone,while Ben grades papers.]Michael: Straight to voice mail. What's the point of getting him a cell phone if he's not gonna pick up?[Just then, the prodigal foster son returns.]Michael: That's me going off in your pocket!How about answering it for a change?Hunter: What's up your ass?Michael: It's past 11:00.Ben: You missed your curfew again. Where you been?Hunter: Studying with a friend.Michael: Every night this week?Hunter:We're working on a project.Ben: Who is this friend?Hunter: Someone from school.Ben: And the project?Hunter: It's for science.Michael: Penicillin's already been discovered. What have you found?Hunter: What's with allthe f*cking questions?Michael: We would like an honest answer.Hunter: I told you the truth. If you don't wanna believe me, that's your problem.[He slams into his room.]Michael: I hate to say it -Ben: You don't haveto. I know what you're thinking.Michael: If he's out hustling again, I'll f*cking rip his balls off, as my dear mother would say.Ben: Let's hope we've instilled more self-respect in him than that.Michael: After the way he'sbeen acting?Ben: Whatever it is, we'll find out eventually.Michael: Then what?Ben: We'll just have to deal with it.[Lindsay is a jittery mess. Her hands are shaking so badly that she can't even get the key in the lock toopen up the gallery. Sam strolls up, smoking a cigar.]Sam: Need any help?Lindsay: No. Thanks. I can do it. I do it every morning. (She drops the keys). sh1t![Sam picks up the keys, bending down painfully.]Sam: Myback's been killing me ever since I did that goddamn mural. Hope Michaelangelo had a good chiropractor. Why haven't you returned my calls?Lindsay: I've been busy. The show's been a huge success. Isn't it great?Almost everything sold.Sam: Another month of alimony payments! My wives will be eternally grateful. I want to see you.Lindsay: I can't.Sam: Why not?Lindsay: Why not? Try, 'I'm married.' I have a child and anotherone on the way. Oh, and did I happen to mention lest we forget that I'm a lesbian?Sam: Did I mention that you sure don't f*ck like one?[Lindsay closes her eyes briefly, draws a deep breath.]Lindsay: Jesus Christ, Sam.Why do you have to be so crude?Sam: You didn't mind the other night, rolling around on the floor, rutting like a -Lindsay: What happened the other night was a mistake. A huge mistake.Sam: Was it?Lindsay: Yes, itwas. Look, Sam. You inspire me. You challenge me. You make me laugh. I admire you so much. I guess I got confused, you know? And I crossed a line I shouldn't have.Sam: When I was a kid, I didn't respect the lines.In my coloring books, I always crossed the lines. I didn't play the rules at all. I don't think that's always such a bad thing.Lindsay: For an artist, no. But for a person, sometimes it makes sense to read the manual andfollow instructions, dull as that may sound to you.Sam: What about the part of you that secretly yearns for something else, the part of you that both of us know is there?Lindsay: My house has many rooms; I occupybut a few. The rest go unvisited.Sam: Who said that?Lindsay: I did.[She enters the gallery.][Apparently, Vic left some furniture to a local AIDS hospice in his will. Vic's furniture is delivered by the rather unlikely team ofMichael, Justin, Ted and Melanie.]Guy: Nice chest.Michael: I think he's talking to the furniture.Guy: [looking at Justin] That too.Michael: Uncle Vic brought this to the hospice as well.Director: He was always a goodfriend and a great supporter.[Mel and Ted enters the hospice.]Direcotr: [to Mel] Oh, I can't tell you how much we're appreciate this. We need all the help we can get.Mel: Hopefully this new event coordinator will comethrough.Director: He'd better.Ted: They say he raised over $1 million for a hospice in Cincinnati.Director: A million? My God. If we raise half that, we'll be in heaven.[At the diner, Deb calls out to a guy sitting at thecounter reading the sports section.]Debbie: Hey, Freddy! How about those Ironmen? Are they somethin' else?\"Freddy\": (in a gruff voice) Yeah, they're something else, alright.Debbie: You oughta take something for thatcold.[She peeks behind the paper. It's not Freddy; it's Emmett!]Debbie: Emmett! What are you doin' with the sports page?! Let me get you the style section, honey!Emmett: No, no, Deb! These days, the sports pagewill do me just fine.[A cop sits down at the counter.]Cop: Hey, Deb.Debbie: Hey, Bob. I haven't you seen an age. Where have you been?Cop: Well, I had some trouble, but I'm on my feed again. So you seeCarl?Debbie: No, not lately.Cop: You're there tonight?Debbie: Where?Cop: Policeman's ball. He took you last year.Debbie: Yeah.Cop: I remember. You're looking real nice.Debbie: Thanks. I guess he must be takingsomeone else.Emmett: Excuse me, officer? Anyone can go to the Policemen's Ball, am I correct?Cop: Anyone who buys a ticket. I'll take the Pink Plate Special. Only make mine blue.[He wanders off.]Debbie: Don't tellme you're thinkin' of goin'.Emmett: If I can find a date.Debbie: Good luck.Emmett: Hey - what about you?Debbie: Me? What are you, out of your f*cking mind?Emmett: Why not?Debbie: You just heard, Carl's gonna bethere! Probably with that lady he's been seeing.Emmett: So? That's no reason not to go! In fact, all the more reason to be there! Show him what he's missing!Debbie: Not much.Emmett: Now, now! Let's keep ourself-esteem - and our tits - up.Debbie: Even if I wanted to go, \"with my tits up,\" I've got nothing to drape 'em in.Emmett: Just leave that to your fairy god- no, I'm not even gonna say it. Too trite. However [wavesstraw like magic wand], you will look fabulous. I guarantee it.[Wracked by guilt, Lindsay confides in the one person least likely to judge her. Who needs a minister or therapist when you've got Brian?]Lindsay: Whathave I done? Now he wants to see me again and of course I told him no, it's out of the question. I can never, never do that again.Brian: Is he hung?Lindsay: Brian!Brian: I'm just curious. You're the last person I everthought I'd discuss dick with.Lindsay: This isn't about dick!Brian: Since when?Lindsay: I love Melanie.Brian: Sure you do.[He puts a reassuring hand on her shoulder.]Lindsay: How could I have -Brian: f*cked aguy?Lindsay: It's not possible!Brian: It's possible. Explaining it is the tricky part.Lindsay: But I've always been -Brian: A carpet muncher.Lindsay: Except for that one time in college when you and I -[Brian looks away,pained; he'd rather not be reminded.]Lindsay: But that was just -Brian: Midsummer madness.[They both laugh.]Brian: Still, there is a part of you that, once every decade or so, doesn't object to a stiff prick. Believeme, I understand.Lindsay: I'm not so sure Melanie would.Brian: Then don't tell her.Lindsay: You're a big help.Brian: Hey. It's okay to like cock! And it's okay to like pussy, just not at the same time. So - which one doyou like?[He shows her the pics of Drew.][Hunter pays a visit to Mikey at the comic store.]Michael: Well, look who it is! Come to shoot the breeze? A little heart-to-heart? Spend some quality time with your dashing newdad?Hunter: I need $20.Michael: What do you want it for?Hunter: My upwardly mobile lifestyle. Being a teenager is expensive.Michael: You should have thought of that before you became one.Hunter: So can I haveit?Michael: Why should I reward you for missing your curfew and being disrespectful to us?Hunter: How the f*ck am I being disrespectful?Michael: By not telling us the truth.Hunter: I told you![Michael shows him themoney.]Michael: I'm not above paying for information. But first you've gotta come clean.Hunter: I took a shower this morning.Michael: Are you hustling?Hunter: If I was hustling, would I be asking you for 20bucks?Michael: Good point. (He starts to give Hunter the money, then takes it back). But then again, maybe you're just trying to throw me off the track.Hunter: For Christ sakes. I'm kind of dating someone,okay?Michael: Really.Hunter: Yeah, really. Is that so hard to imagine?Michael: No, not at all! It's great - but why didn't you say so?Hunter: You know how kids are at my age. We're trying to develop a sense of self,which often manifests itself in a reluctance to communicate with parents and other authority figures.Michael: Here's $30. Go to the movies.Hunter: Sweet![He grabs the money and leaves. The minute he's gone, Michaelphones Ben.]Michael: Ben? I hope you're sitting down. Guess what? Our boy has a boyfriend.[Deb and Emmett at the Policemen's Ball. Deb is, um, resplendent in a red gown.]Debbie: Are you sure I don't look like a firehydrant? I wouldn't want any dogs to make a mistake!Emmett: You do not look like a fire hydrant. You're positively glowing.Debbie: Never mind glowing. Long as I'm not radioactive. (She catches site of Horvath, with adowdy brunette dangling from his arm). sh1t! There's Carl! What do I do?Emmett: What do you mean, what do you do? Just stand there and glow![He fake laughs and pulls Deb over to engage her in fake animatedconversation. Carl and the Other Woman approach.]Debbie: (with hearty fake surprise) Oh, hi, Carl!Carl: Debbie. Emmett. What are you doing here?Debbie: Well, it's a ball to raise money for the cops, isn't it? I'vealways had a soft spot for men in uniform.Emmett: And I've always had a hard spot![That earns him a sharp jab in the ribs from Debbie.]Carl: Debbie, Emmett, this is Katherine, the person I told you about.Katherine:Nice to meet you both. You're certainly just as colorful as Carl said you were.Debbie: Thanks.Katherine: If you excuse me for a moment?[There's an awkward pause.]Emmett: Can I bring you a drink?Debbie:Yes.[Emmett leaves.]Carl: I - uh - I wasn't expecting to see you.Debbie: I hope it doesn't make you uncomfortable.Carl: No, no! I like - I mean, it's nice - I don't know what the hell I'm tryin' to say.Debbie: You lookvery handsome.Carl: You look very -Debbie: Red.[They both laugh, which breaks the ice a little.]Carl: I'm glad to see you're gettin' out, enjoying yourself.Debbie: Well, life goes on. Got no choice but to go on with it.[she listening a song] That song. They played it last year.Carl: Yeah, they play it every year. They oughta get some new material.Debbie: We danced to it.Carl: I know.Debbie: You're very good on your feet. We couldtake a quick spin around the floor. As friends, of course![Just then Katherine returns. She takes Carl's arm with a proprietary air.]Katherine: (to Horvath) Shall we go now?Carl: Sure.Katherine: Nice to meet you,Deb.[Carl and Katherine walk away, arms around each other, leaving Deb standing there alone. Just Emmett comes back, carrying too many drinks. Deb looks forlorn.][It's Bike Night at Babylon. You heard right. NotDyke Night, bike night. It's a fundraiser for the Liberty Ride. Ted and Justin are walking around with clipboards, soliciting donations.]Ted: Sign up here for the Liberty Ride! If you can't ride, we gladly accept donations.How we doing?Justin: 37 riders so far. And one guy offered me $1,000 if I'd show him my cock.Ted: I hope you said yes![Justin has the check to prove it. Ben and Melanie are emceeing the event.]Ben: Can we haveyour attention please, everyone?Mel: Thank you so much for coming out tonight in support of Liberty Ride![Cheers from the crowd.]Ben: The profits will be going to help keep the Liberty House hospice open, so let's tryand raise as much money as we possibly can![More cheers from the crowd. But not from Brian, who's standing there drinking a bottle of beer, a cynical expression on his face.]Mel: In order to do that, the Center hasenlisted one of the top fundraisers in North America. A man who gave up a lucrative law practice in Toronto to make millions for various organizations with his walkathons, danceathons, marathons, triathlons - youname it, he's found a way to make money out of it.Ben: We're fortunate to have his help and support, so let us introduce you to - Jeffrey Pendergrass![More cheers.]Jeffrey: Thank you all very much. It's great to behere in Pittsburgh! I'm grateful to the Gay and Lesbian Center and all of its supporters for asking me to help make this the best and most profitable event ever. So I hope you all sign up, get on your bike and cross thefinish line, but tonight, let's all have a good time![More applause from the crowd, a kiss from Mel and a handshake from Ben. Everybody loves Jeffrey Pendergrass - everybody except Brian, that is. Brian is leaningagainst the bar when Pendergrass comes up for a refill.]Brian: Buy you a drink?Jeffrey: It's an open bar. Party's on me.Brian: Nothing is free.Jeffrey: (offering his hand) Jeffrey Pendergrass.Brian: Brian Kinney.[Theyshake.]Brian: Just an observation, Jeffrey, but wouldn't the money that you're spending here tonight saying \"hello, Pittsburgh hello!\" be better spent keeping the hospice open?Jeffrey: Actually, Brian, I find when thedrinks flow freely, so do the donations.Mel: This guy bothering you, Jeffrey?Jeffrey: No, not at all. Just revealing some of my underhanded business practices. Well, I better go work the room. Hope we can count on yourpledge, Brian.[He shakes Brian's hand again.]Mel: What the hell was that all about?Brian: You know me, Mel, always stirring up the sh1t.[Hunter and somebody making out in an SUV. It's a girl! We later learn that hername is Callie.]Callie: You want me to suck you?Hunter: Uh... no. That's okay.Callie: Has everybody ever sucked you before?Hunter: Yeah.Callie: A lot of girls?Hunter: No.Callie: I've only done it twice. Once at summercamp and once with my lunch boyfriend. You don't think that makes me a slut, do you?Hunter: Hardly!Callie: Besides, it's not real s*x. Ever had real s*x yet?Hunter: Not really. But I think about it.Callie: Me too. But Ipromised to discuss it with my parents first. We're like best friends. How about yours?Hunter: I don't think I'll tell them.Callie: How come?Hunter: They're not like your folks.Callie: In what way?Hunter: They're twoguys.Callie: You mean they're gay? That's so cool!Hunter: I don't know how cool they'd be if I told them about you and me.Callie: Well, they don't expect you to be gay just because they are?Hunter: I don'tknow!Callie: Well, I'll be glad to tell them you're straight if it ever comes up.[They go back to making out.][Lindsay is sitting in bed in her jammies, drinking tea and trying to read a book. Melanie returns from theBabylon fundraiser.]Mel: Hey.Lindsay: How did go?Mel: Oh great. Jeffrey Pendergrass will help us raise sh1t out of money.Lindsay: That's good.Mel: Sad that you weren't there.Lindsay: Me too, but I had a steamheadache.Mel: Any better?Lindsay: A little.Mel: I blame Sam for it.Lindsay: What?Mel: Well, the show, living to his expectations as well as yours. But you did it.[Mel tries a massage on her shoulders.]Lindsay: That feelsnice.[Mel goes up to her breast.]Lindsay: Mel. Mind if we do it later?Mel: Sorry. I'm just the ordernary pregnant demon. I look it on Gus. You want me to get you hot tea? This one is cold.[She stands up and leaves.Back sits a concerned Lindsay.][Deb and Emmett in the diner.]Debbie: I kept my tits up, just like you said. I practically threw 'em at him! It didn't do much good.Emmett: Don't despair! You'll just have to think upanother way to get his attention, that's all.Debbie: Well, we better think fast, because that woman's got 'marriage' in her eyes![Ted comes in waving a ticket.]Ted: I've got an extra ticket for the Ironmen's game onSunday! Who wants to go?[Dead silence in the diner.]Ted: I've got an extra ticket for \"42nd Street.\" Who wants to go?[There's a chorus of \"Me! Me! Me!\"]Ted: Just testing. How about you, Em? Skybox! A thank you giftfrom the star quarterback himself!Emmett: I don't think so.Ted: C'mon, you're the one who turned me onto him in the first place. Ever seen him play?Emmett: Not on the field.Ted: He's fast and he's strong.Emmett:Much as I'd like to go, I promised I wouldn't.Ted: Promised who?Emmett: But then again, how many seats does that stadium hold?Ted: I don't know, 80,000?Emmett: 80,000? Wow. Hardly pick out a face in thatcrowd, huh?[He takes the ticket.]Debbie: Say, Teddy, I was just wondering. Do you think you could score an extra pair of those tickets for me?Ted: I could try!Debbie: I have a friend who might like to go.[JeffreyPendergrass pays an unannounced visit to Brian at Kinnetik.]Brian: What?Cynthia: [via phone] \"Mr.Pendergrass wants to see you. He says he doesn't have an appointment.\"Brian: He wants to hit on me.Cynthia: [viaphone] \"Who doesn't?\"Brian: Except you wants money. Send him in.Cynthia: [via phone] \"OK.\"Jeffrey: They tell me you're the guy to get into bed with.Brian: Well, you'll have to come back after office hours forthat.Jeffrey: I know you're a busy man, so let me cut to the chase.Brian: Christ, I hate that expression.Jeffrey: I understand you're one of the most successful gay businessmen in Pittsburgh.Brian: Whoever told youthat was dead wrong. I'm THE most successful gay businessman.Jeffrey: All the more reason then. I'd like your clients to be corporate sponsors for the Liberty Ride.Brian: I see. Let ME cut to the chase. What's in it forthem? More important, what's in it for me?Jeffrey: Two very good questions.[He pulls up a chair and makes himself at home.]Jeffrey: First, your clients' contributions will generate publicity and good will that advertisingcan't buy, plus they'll be cultivating product loyalty in a market that has hundreds of billions of disposable income.Brian: I already know that. My second question: What's in the Cracker Jack box for me?Jeffrey: A verypersonal thank you from me and a warm, gooey feeling inside.Brian: (laughs) Oh, Jeffrey, you disappoint me! I thought you'd come up with something more original than that. So - do we have time for one lastquestion? What's in it for you?Jeffrey: A living.Brian: Finally, an honest answer. How refreshing.Jeffrey: Anything wrong with that?Brian: Not at all. I'm all in favor of people making money. What I'm not in favor of istelling others how to spend it.Jeffrey: It's for a worthy cause. Besides, they can afford it.Brian: Very true. But that's not a reason why they should give it to you.Jeffrey: Well, how about this, then? It wouldn't be verygood for your clients' PR if they were perceived to be homophobic. And it wouldn't help your reputation much if word got out that you were insensitive to the neediest members of your community.Brian: Why, Jeffrey,are you turning the screws on me?Jeffrey: Of course not. I'm merely pointing out why it's so important that we all open our hearts and checkbooks and give as generously as we can.[SCENE_BREAK][So as we cut to the"}
+{"doc_id":"doc_210","qid":"","text":"Scene: The apartmentPenny: Hey, can I ask you a question?Leonard: Sure.Penny: You've had this dart board since I've known you, but I've never seen you play.Leonard: Oh, uh, we played, once. I broke awindow.Penny: What window?Leonard: That one over there.Sheldon: Leonard, where are the Skee-Ball tickets?Leonard: Skee-Ball tickets?Sheldon: Yeah, from when we went to the arcade three years ago? I finallydecided what prize I want. Hurry up.Leonard: Uh, if I still have them, they're probably in the junk box.Penny: Ooh, what are you gonna get?Sheldon: None of your business. But when you see me wearing a flower in mylapel later, you are most welcome to sniff it.Leonard: Yup, oh, here you go.Sheldon: Oh, thank you. Here, get yourself an eraser for your troubles.Leonard: Oh. I forgot about this. My aunt made it for me when I startedcollege.Penny: Aw, did she hate you?Leonard: Why? Because I got an ugly, itchy sweater, and my brother got a car? No, I was her favorite.Sheldon: I seem to be a few tickets short. Are there more in the box?Leonard:Hmm, I think I got them all. Nope, they're not in there.Sheldon: Well, you barely looked. Let me see.Leonard: No, no, no, I, I looked, and there's, there's, there's no more tickets.Sheldon: Leonard, let me look in thebox.Leonard: Okay, okay. I'm gonna show you what's in the box. But just promise not to flip out.Sheldon: Why would I flip out? Is it a spider? It's a spider.Penny: No, if it was a spider, Lenny would've flippedout.Leonard: Okay, Sheldon, I know I was supposed to return this DVD a long time ago, and I know we rented it on your card. But it's been, like, seven years and clearly nothing bad has happened. So in-in-in-insteadof being a giant pain in the ass like you always are, what if this one time you just tried staying calm?Sheldon: That seems like a reasonable request. Although so did, hey, Leonard, would you mind returning thatDVD?Leonard: I'm sorry. I'll, I'll take care of it.Sheldon: Okay.Leonard: I mean it, I'm going to.Sheldon: I believe you.Leonard: And you're going to stay calm?Sheldon: I said I would.Leonard: How about that?Sheldon's being reasonable.Penny: Yeah, it's freaking me out. I'm gonna go. Credits sequence.Scene: The apartment.Leonard: So, when you say you're not going to freak out about the DVD, here's what that means.Don't fixate on it. Don't wake me up in the middle of the night. Or nag me through the door while I'm on the toilet.Sheldon: Okay, first, talking to you while you're on the toilet isn't exactly a picnic for me either, okay?Remember, when you can hear me, I can hear you. And second, you completely disregard how uncomfortable unresolved issues are for me. It's, it's like, a, an itch in my brain I can't scratch.Leonard: When I broke myarm I used to stick a coat hanger down there. You ever try that? Maybe go in through the ear?Sheldon: You wouldn't make jokes if you could feel the way I feel.Leonard: Well, I don't know how to do that.Sheldon: Howabout this? I promise I won't pester you about the DVD. You can defecate in peace. That's a win for both of us. But, until this matter is resolved, I would like you to wear this sweater. With nothing underneathit.Leonard: That's stupid. Why?Sheldon: You say it's itchy and uncomfortable. I say situations like this make me feel the same way.Leonard: I'm telling you, try the hanger.Sheldon: Put it on. Let's share theexperience.Leonard: You got it. If this sweater shuts you up, I'm gonna make a fortune selling them to everyone we know. Now all I need to do is head down to the video store and return the DVD.Sheldon: Oh, did Iforget to tell you? That store went out of business years ago.Leonard: Really?Sheldon: How those nipples feeling, chief?Scene: The cheesecake factory bar.Bernadette: Penny, can we please get our drinks?Penny: Yeah,hang on, just give me sec.Amy: At work today, I did an in vivo stereotaxic surgery.Bernadette: Cool. At my lab, I performed ten laser capture micro-dissections.Penny: I scraped gum off the bottom of that table. Only'cause my manager saw me put it there.Amy: Oh, my gosh. That's the girl that broke Rajesh's heart.Bernadette: That's Lucy?Penny: I don't know why but I always pictured her as Indian.Bernadette: I think thatreason's called racism.Penny: I'm gonna go talk to her.Bernadette: Why? What are you gonna say?Penny: I'm not gonna say anything. I just want to check her out. Because she hurt my friend. My Indian friend. Who'sracist now?Bernadette: You because you just called him your Indian friend.Penny: Yeah, well, you're short.Amy: We're never getting our drinks.Bernadette: No, but we knew that.Penny: Hey, can I start you off withsomething to drink?Lucy: Oh, water would be great.Penny: Okay. Um, you're Lucy, right? I'm a friend of Raj Koothrappali's. Actually Amy recognized you.Lucy: Wow. How's he doing?Penny: Oh, you know, he'sgood.Lucy: Great.Penny: Yeah, this is none of my business. But why did you break up with him in an e-mail?Lucy: Oh, I don't know. I guess I thought it would be easier.Penny: Yeah, I get that. I'll go get you yourwater. When you say easier, you mean easier for you, right? 'Cause it certainly didn't make it easier for him.Lucy: Any chance I can get a different waitress?Penny: I'm sorry, this is rude of me. I will go get that water.See, see, see, see. Just now you expressed your feelings to my face. How come you could do that with me, but not Raj?Lucy: I don't know your e-mail.Penny: You know what the worst part is? You're sitting here,perfectly happy and he's at home, a blubbering mess.Lucy: Oh, I thought you said he was okay.Penny: Well, I also said I was getting you water, but look at me still standing here. You know, I may be a bad waitress,but you are a bad person. Now, you want to hear the specials?Scene: The apartment.Howard: So, you can never take it off?Leonard: No.Raj: Not even to sleep?Leonard: No.Howard: So, you're just an idiot?Leonard:It's called proving a point.Howard: Is the point that you're an idiot?Sheldon: Gentlemen, please. Leonard is trying to walk a mile in my metaphorical shoes. He can't walk in my actual shoes. He has the feet of atoddler.Raj: So, how are you gonna return the DVD if the store went out of business?Leonard: Monday morning I'll go downtown, look up the owner's information and send him the DVD. Pay the late fee, and prove toSheldon that you can have a problem and solve it without acting like a complete lunatic. Ah!Howard: And the man impersonating a bear would like everyone to know that only you can prevent forest fires.Raj: I don't getit.Howard: You didn't have Smokey the Bear in India?Raj: No. Oh, is he anything like, uh, Mun-Mun the Mongoose? He taught us not to play with cobras.Howard: You had to be taught not to play with cobras?Raj: Youhad to be taught not to burn down the forest?Scene: Penny's apartment.Penny: Hey, if you guys were hungry, why didn't you order something at the restaurant?Bernadette: We did, you never brought it.Penny: Oh,that's right. Nachos and a turkey club.Amy: Not even close.Penny: Well, I was too busy standing up for my friend to worry about your, I want to say salmon.Amy: You want to say sorry.Bernadette: So, how are yougonna tell Raj abut what you did?Penny: What do you mean how? What's the big deal?Amy: You told Lucy he was a pathetic mess.Bernadette: Then you made her cry and leave.Penny: Okay, you guys are overreacting.Raj is gonna appreciate how I had his back.Scene: The same, later.Raj: What is wrong with you, Penny? You ruined any chance I had of getting back with Lucy. Now she knows I'm a desperate mess instead of justbeing pretty sure. (Phone text sound) It's Lucy. She wants to meet for coffee. I love you, Penny.Scene: Sheldon's office.Howard: Hey, what're you working on?Sheldon: I'm thinking about how one could use the factthat a rapidly rotating mirror turns virtual photons into real ones as a method of observing dark energy.Howard: That's a pretty cool idea.Sheldon: Yeah. It's great you're here. I'd love to get an engineer'sopinion.Howard: Sure.Sheldon: This chair is squeaky. Now, do I fix it or get a new one?Leonard: Well, Sheldon, it took me all morning, but I found the owner of the video store. And I am happy to report that he diedpeacefully in his sleep, drunk at the bottom of a pool. Anyway, there is no one to return the DVD to, so this issue is resolved. Ah! And I'd just like to point out that even though the sweater was uncomfortable, I didn'tuse it as an excuse to antagonize everyone around me.Howard: You know, you could reimburse the video store owner's next of kin.Leonard: Or it's resolved.Sheldon: Hey, that next of kin thing sounds prettygood.Howard: I believe this is yours.[SCENE_BREAK]Scene: Howard and Bernadette's apartment.Raj: Can I ask you guys a question? So, I'm seeing Lucy tomorrow night, and I've never hung out with someone whobroke up with me. How do you do it?Howard: You can't let her know you're hurting. You know, the key is confidence.Raj: Why is the key always confidence? How come it's never love handles and flop sweat?Bernadette:If this girl hurt you so much, are you sure you want to see her again?Howard: Well, if I may, he has so little self-respect and is so desperate for the smallest crumb of affection, she could literally sleep with his ownfather in his own bed and post the video to YouTube, and he'd still buy her flowers and ask her to be his bride.Raj: He's right. But in my defence, if we could survive that, we could survive anything.Bernadette: Well, ifyou're sure you want to do this, it's only coffee, just relax and see what happens.Raj: Well, can I say she looks nice?Bernadette: Sure.Raj: Can I tell her I miss her?Bernadette: Maybe, if she asks.Raj: Oh, can I showher an oil painting I made of us surrounded by our children and grandchildren?Bernadette: I'd save that for the second date.Raj: Good, good. 'Cause no matter how hard I try, I cannot get the twins to look alike.Scene:Penny's apartment.Penny: What are you doing?Leonard: Oh, I'm just trying to find the stupid next of kin to this stupid video store owner so I can return the DVD and see the look on Sheldon's stupid face when he seesthat I didn't let this get to me.Penny: Sheldon's not here. Why don't you take the sweater off?Leonard: There's a principle at stake.Penny: Which is?Leonard: Oh, I don't know. Who cares? Look at me.Penny: Oh, myGod! Is that sweater made of bees? Come on, take it off. I won't tell.Leonard: No, no, honey, if I take it off, Sheldon wins.Penny: Sweetie, every night you don't kill him in his sleep, he wins.Leonard: No, it's, it's almostdone. I just, I have to find the next of kin, and send 'em the DVD and then just wait for someone with my complexion to die so I can get a skin graft.Penny: Smile.Leonard: What is that? What is that for?Penny: So youcan send it to Princeton and get your money back.Scene: The apartment.Amy: I must say, Sheldon, you're handling this DVD business with an impressive amount of maturity.Sheldon: I don't know why that surprisesyou. I'm a grown man. As should be evident by this sport coat and very real flower in my lapel.Amy: Is there some kind of new coping mechanism you're employing?Sheldon: The more interesting question you shouldbe asking is, what does this flower smell like?Amy: I'm gonna go with sad. So what's the story with you and this DVD?Sheldon: There's nothing to tell. Maybe I purchased a book entitled Don't Sweat the Small Stuff andI followed its wise suggestions, one of which was stop and smell the flowers.Amy: Seriously?Sheldon: Please. Ha-ha, Oh.Scene: A coffee shop.Lucy: Hi.Raj: Hello. Oh, it's so good to see you.Lucy: You, too.Raj: Please,sit. I, uh, I got you a cappuccino. I remembered it was your favourite. I also got crumb cake, but I remembered it was my favourite and I ate it. Anyway, uh, how are you?Lucy: I'm pretty good. Listen, I just wanted toapologize for breaking up with you in an e-mail.Raj: Well, and I ate all the crumb cake. We both made mistakes.Lucy: Okay.Raj: I'm so happy you asked me here, and I hope we can hang out again sometime. Youknow, as friends, lovemaking partners, whatever.Lucy: Oh, uh, I'm kind of seeing someone.Raj: I think I know the answer to this, but just to be clear, it's not me, right?Scene: Penny's apartment.Raj: This is all yourfault, I should've listened to Mun-Mun because I've been playing with a cobra and her name is Penny. Why are you so cruel? Do you enjoy my pain?Penny: There's a girl at the Cheesecake Factory I can set you upwith.Raj: I love you, Penny.Scene: The apartment.Sheldon: How is it I can conceptualize a methodology of examining dark matter in the universe but can't figure out how to fix a novelty squirt flower?Amy: I think thereal question is, why do you waste your time with cheap, childish pranks?Sheldon: There's probably a deep reason. Which I'd be happy to discuss with you over some peanut brittle in a can.Leonard: Okay, Sheldon, Iam out of options. Video store owner, Nursis Manookian, has no next of kin.Sheldon: Well, you seem hot under the collar, or is that the sweater?Leonard: Oh, oh, no, no. It's because I spent all afternoon at theArmenian church where his funeral mass was held. According to Father Solakian, no one attended. Luckily, my trip wasn't a complete waste. I lit a candle and prayed for your death but I'm not Armenian, so it probablywon't work. This is over, right?Sheldon: Oh, not necessarily. I suggest you look for long-lost relatives either in Armenia or Lebanon.Leonard: Listen to me, Sheldon. I am not going to Lebanon to return Super MarioBrothers the movie.Sheldon: You know, it might be fun. You love hummus.Leonard: Why isn't this bothering you? Isn't your brain getting itchy? This is on your card. This could be ruining your credit score. Why isn't thismaking you crazy?Sheldon: Leonard, I have something to tell you, but I want you to promise not to flip out.Leonard: What?Sheldon: Seven years ago, I found out the DVD was late and I paid for it.Leonard:What?Sheldon: I was going to mention it at the time, but then I thought, some day, this might be a teachable moment.Leonard: Aaaah! I, you, how can, what!Amy: Sheldon, that was diabolical.Sheldon: I know. And itwasn't easy. Do you have any idea what it's like to wait for years and never know if you're going to finally get satisfaction?Scene: A coffee shop.Raj: Wow. You're even prettier than Penny said. I can't believe a girl likeyou doesn't have a boyfriend.Girl: Well, I don't.Raj: I don't believe you, you're lying to me.Girl: What?Raj: Oh, it's okay. I have no morals and I'm desperately lonely. I'll be the other man if you want a littlesomething-something on the side.Scene: The cheesecake factory.Girl (to Penny): What is wrong with you?Scene: Penny's apartment.Penny (to Raj): What is wrong with you?Scene: Raj's apartment.Raj (to a mirror):What is wrong with you?"}
+{"doc_id":"doc_211","qid":"","text":"-[Fairy Tale Land - Past]-(Hook, wearing a cloak to disguise himself, walks up the stairs leading to a tower in the Evil Queen's castle. Along the way, he encounters a guard on the stairs.)Guard: Halt.Hook: Food for theprisoner.Guard: It's not mealtime. Who are you? Identify yourself, slave!(Hook easily defeats the guard in a fight.)Hook: Slave? I prefer Captain.(He takes the keys from the dead guard and continues his way upwards.At the top, he enters a room, where Belle is being held captive.)Hook: Hi... You must be Belle.Belle: The Queen sent you, didn't she? She wants you to kill me.Hook: I'm not here to kill you, love. I'm here to rescueyou.(Hook begins to unlock her shackles.)Belle: Rescue me? Who are you?Hook: A friend. We haven't much time. Your father's life is in danger. He's being attacked by the very same monster who stole you away fromyour family in the first place.Belle: What, Rumpelstiltskin?Hook: The Dark One - he must be stopped. You spent more time with him than anyone. There are rumours of a magical weapon that has the power to killhim.Belle: No, no, no, no. Let... Let me talk to him. He's not a monster.Hook: Belle, your father's life hangs in the balance. I need to know what that weapon is, and where to find it.Belle: I don't know what you'retalking about, and I have no idea how to... How to kill Rumpelstiltskin.Hook: You don't?Belle: No. And... And nor would I.Hook: Hm. Then, I'm afraid I'm not here to rescue you.(He backhands Belle, rendering herunconscious.)Hook: So pretty... Yet, so useless.(Hook raises his arm, preparing to kill her with his hook, but is stopped by the Evil Queen. She enters the room and magically removes his hook.)Evil Queen: No. Notuseless. She's a valuable chess piece.Hook: Do I look like I'm playing a game of chess? My hook, if you please.Evil Queen: No.Hook: The asking was me being a gentleman.Evil Queen: Is that any way to address aqueen? Even a pirate should have better manners than that. Yes... I know who you are... Captain. I know why you came here from Neverland. And I know all about the crocodile you wish to skin.Hook: Then you alsoknow, that I'll stop at nothing.Evil Queen: So dedicated and resourceful. No one has been able to fight their way past my defenses before. She can't help you kill Rumpelstiltskin, Hook. But I can, if you do something forme. Care to join me for a drink?[SCENE_BREAK](The Evil Queen pours out two drinks and hands one to Hook.)Evil Queen: Things are about to change in this world. Radically. I have plans to enact a curse that will takeeveryone to a far-off land.Hook: How will that help me?Evil Queen: This new realm? It's a land without magic. Where the Dark One will be stripped of his powers. There, you won't need any magical weapon to kill him.You can do it with a mere flick of your wrist.Hook: Tell me what I have to do.Evil Queen: There's one person I don't want following me to this new land. You're to see to it that doesn't happen.Hook: An assassination.Who is it you want me to dispose of?Evil Queen: My mother.-[Storybrooke]-(In Mr. Gold's shop, Regina checks on David, who is still under the sleeping curse.)Mr. Gold: Any change?Regina: No. He's not improving. Heneeds true love's kiss. He won't wake up until Mary Margaret comes back.Mr. Gold: Until? Well, that's rather optimistic, isn't it?Regina: What are you talking about?Mr. Gold: They're up against your mother. The onlychance Snow and Emma have of defeating her, is with the squid ink.Regina: Which is why you sent the message through David.Mr. Gold: Which would be beneficial, if we knew that message were delivered. But alas,given the Prince's condition, we don't know. As such, it's important we take precautions. We have to consider the possibility that, when that portal opens, it won't be his family that come through. It'll be Cora.Regina:And neither one of us wants that.Mr. Gold: We have to find where they're coming through, and destroy that portal.Regina: But whoever came through would die.Mr. Gold: Exactly. But, I'm confident between the two ofus, we can summon up enough magic to complete the task.Regina: Well, what if we're wrong? What if that portal opens up, and it's not my mother? What if Mary Margaret and Emma do defeat Cora, and go throughit?Mr. Gold: Well, I believe in this world, they call that a win-win.Regina: How exactly is that?Mr. Gold: If we stop Cora, you are protected from your mother's wrath. If, on the other hand, we stop Snow and Emma,well... You become the only mother in your son's life, now don't you? Look, magic is unpredictable in this world. If something unfortunate were to happen while you were attempting to help... Henry could hardly blameyou for that, could he?Regina: No. I can't lie to him. I am trying to be a better mother.Mr. Gold: You won't be able to be a better anything if Cora comes through. And if she does, she will be a threat to everyone -including your son. So, if you truly want to be a good mother to Henry - to protect him - if you want to be better, prove it.-[Fairy Tale Land - Present]-(Mary Margaret and company arrive at Rumpelstilskin's cell.)MMB:Rumpelstiltskin's cell. I haven't been here since before Regina's curse. This is where he told us you were going to be the saviour.Emma: He knew?MMB: It was prophesized. Come on.(Inside, they find the cell completelyempty.)Aurora: The squid ink - it's not here.MMB: Gold said we would find it.(They begin to check the crevices of the walls.)Mulan: Well, was there anyone else in here with him? Could they have taken the ink?MMB: No,he was kept alone. Visitors were forbidden. He was too dangerous to allow any human contact.Emma: How'd he keep from going crazy?(Aurora finds a piece of paper tucked into the wall.)Aurora: He didn't.MMB: Whatis it?Emma: Is that a message?Aurora: Yes. And I think it's for you.(Aurora hands Emma the paper.)Emma: Why would you think... That.(On the paper, 'Emma' is written over and over again, and nothingelse.)-[Storybrooke]-(Henry is reading the 'Snow White' story to David from his book. Regina enters.)Regina: I think this time, it'll happen the other way around.Henry: You think so?Regina: I do. Which is why I needyou to stay here and watch David for a little while.Henry: Where are you going?Regina: Mr. Gold and I need to prepare for Emma and Mary Margaret's return. Coming through the portal won't be easy. We need to makesure everything's in place.Henry: Really? You're really going to help them?Regina: I promised you I was going to do better - to be better. So, yes, I'm going to do everything in my power to see to it they come homesafely.Henry: Wow. You really have changed.Regina: Be back as soon as I can.[SCENE_BREAK](Regina and Mr. Gold enter the mines. Everyone else has already left.)Mr. Gold: I'm really glad you, uh, came to yoursenses.Regina: Let's just get this over with.Mr. Gold: It's right through here.(They arrive to where the dwarves had found the diamonds.)Mr. Gold: Ah, yes. Should suit our purposes, no?Regina: How much do weneed?Mr. Gold: All of it.Regina: How are we going to do that?Mr. Gold: With a little help from a fairy.(He takes out a wand.)Mr. Gold: Dead one. Believe me, no one mourns her.(He waves the wand and magicallyabsorbs the power from the diamonds. The diamonds disappear, and the wand glows with magic.)-[Fairy Tale Land - Past]-(The Evil Queen waves her hand over Hook's hook, causing it to glow. She hands it back tohim.)Evil Queen: It's now... Enchanted. It will enable you to rip out her heart. I believe you've seen it done before.Hook: Yes.Evil Queen: The enchantment will only allow you to rip out one heart, so make sure you do itright.Hook: What could she have possibly done to warrant such brutality?Evil Queen: That's my business. Yours is to kill her, and bring her body back to me.Hook: Easy enough. When will I set forth on this murderousjourney?Evil Queen: Immediately. But you won't be going alone.(She walks over to the sitting area, where there is a blanket covering something large on the chair. She pulls it back, revealing a corpse.)Evil Queen: Youremember Claude?Hook: Can't say that I do.Evil Queen: You killed him in the cell block.Hook: Ah, yes. I didn't recognize him without my hook in his neck. Forgive me, but isn't he a bit of dead weight?Evil Queen: Ibanished my mother to a far-off land some time ago. You're going to need a portal to get to her.(She pulls out the hat box containing Jefferson's hat.)Evil Queen: The rules are simple - one goes in, one comes back. Or,in this case, two in, two back. You'll arrive with Claude, and you'll return with my mother.Hook: Now tell me... Which far-off land do I have the pleasure of visiting today?Evil Queen: Wonderland.Hook: Happily named,I'm sure. How will I find her?Evil Queen: Oh, don't worry. She'll find you.(The Evil Queen spins the hat on the floor, creating a purple vortex.)-[Wonderland]-(In Wonderland, Hook has been captured and is escorted byseveral guards to the Queen of Hearts and various other citizens of Wonderland. Her face is obscured by a mask.)Knave of Hearts: Kneel, before the Queen of Hearts.Hook: Appreciate the warm welcome.(The Queen ofHearts uses the tube to speak through. The Knave of Hearts relays her message.)Knave of Hearts: The Queen wants to know why you've come to Wonderland.Hook: I'm in search of someone. In her native land, shegoes by Cora.(The crowd begins to whisper as the use of the name 'Cora'. The Queen of Hearts removes her mask, and reveals herself to be Cora.)Cora: In this land, she goes by Your Majesty. Leave us.(Everyone exits,leaving Cora and Hook alone.)Cora: Your name, pirate?Hook: Hook.Cora: What a clever nickname.(Hook pulls a pearl necklace out of his pocket and approaches Cora.)Hook: I come bearing gifts, if you allow me.Cora:This hat - your portal... If I understand correctly, the same number who travels through, must also return. You arrived with him, but who shall you return with?Hook: You.(Hook throws the necklace over his shoulder,and plunges his hand inside her chest. However, nothing happens.)Hook: What?Cora: I'm the 'Queen' of Hearts. Do you really think I'd be so careless, as to keep my heart where everyone else does? This...(Cora sticksher hand into Hook's chest, causing him to grimace in pain.)Cora: Is how it's done. Tell me - who did this? Who sent you here to kill me? Who?Hook: Your daughter.Cora: Regina? She... Wants me dead? You're nowgoing to tell me everything, and do exactly what I want. Because when you hold a heart, you control it. You have the power.-[Fairy Tale Land - Present]-(The group is still scouring the cell in search of the ink. Emma isstill looking at the paper.)Emma: What does this even mean?MMB: He was obsessed with you, Emma. You were the key to breaking the curse.Aurora: We've looked everywhere. There's no ink in this cell.MMB: Well, ithas to be. He told David.Emma: You were in a Netherworld. Maybe something got lost in translation.Mulan: No. She heard right.MMB: You found it?(Mulan holds up an empty bottle.)Mulan: In a manner of speaking.There was ink in the cell.Emma: Son of a bitch...(Suddenly, Aurora grabs a rock and throws it against a lever just outside of the cell. The door to the cell falls down, trapping the four of them inside.)Emma: Aurora, whatare you doing?!(Cora and Hook arrive.)Cora: Helping me.(Cora magically summons the compass to her.)Emma: No!Cora: No. Don't waste your energy, dear. Rumpelstiltskin himself couldn't escape from this cell. Thankyou, Aurora. We couldn't have done it without you.Emma: Why would you do this?MMB: How could you?Cora: Don't blame her. She was only doing what she was told.(Cora pulls out Aurora's heart.)Emma: You took herheart?Hook: Actually, I did. It was a gift.(Cora squeezes the heart, causing Aurora to yell out in pain.)Cora: Forgive us. We'd love to stay, but Storybrooke awaits.(The two of them turn to leave, but Emma calls out toHook.)Emma: Hook. Wait. Please don't do this. My son is in Storybrooke. He needs me.Hook: Perhaps you should've considered that, before you abandoned me on that beanstalk.Emma: You would've done thesame.Hook: Actually, no.Hook: Do you know what this is, Emma?(He takes out the mummified bean that the giant had on his necklace.)Emma: The bean that the giant kept.Hook: Yes, indeed. A pirate always keeps asouvenir of his conquest, but this... Well, this is much more than a mere trinket. This is a symbol. Something that was once magical, full of hope, possibility... Now look at it. Dried up, dead, useless. Much like you. Thetime for making deals is done, just as I'm done... With you.-[Storybrooke]-(Ruby frantically runs into the mine, where she finds Leroy staring vacantly up at the ceiling where the diamonds once were.)Ruby: Leroy!What is it? What's the emergency? Leroy.Leroy: They're gone. They're all gone.[SCENE_BREAK](Henry is still reading by David's bedside. Ruby, Leroy, and the rest of the dwarves enter.)Ruby: Where are they? Reginaand Gold.Henry: What's going on?Ruby: All the magic has been drained from the mines.Henry: They stole it?Leroy: They snuck in after our shift and took everything. Nobody steals from a dwarf!Doc: Except theQueen.Happy: ...And Rumpelstiltskin.Henry: If they're not helping Emma and Mary Margaret that... That means my mom lied to me.Ruby: I'm sorry, Henry.Henry: We need to find her. We need to stop them. We needto help Emma and Mary Margaret.-[Fairy Tale Land - Present]-(Emma is futilely banging the door of the cell with her sword, while the rest of them watch.)MMB: We aren't going to break it down, Emma. It wasenchanted to hold Rumpelstiltskin. We don't have a chance.Aurora: This is my fault.Mulan: No, it's mine. Cora stole your heart because I failed to protect you.Emma: That's very sweet, but I believe it's my fault. I'm thesaviour, and I'm not doing much saving, am I?MMB: We're going to win this fight, you know. Good always defeats evil.Emma: You sound like Henry.MMB: Guess optimism runs in the family.Emma: I think it skipped ageneration.MMB: You should know better than anybody. You broke the curse.Emma: What have I done since then? I got us stranded over here, burned down the wardrobe, let Cora get the ash, and now, the compass.The only reason I ever broke the curse, was because it was exactly what Gold wanted me to do. I had nothing to do with it.MMB: What are you talking about?Emma: He told you I was the saviour. It was his plan. Once Ifulfilled that role, maybe that's all I was ever meant to do. Everything I've ever done... He had it all mapped out before I was even born. I'm not powerful. I'm... I'm not... A saviour. I'm a name on a piece of paper. I'ma pawn, and that's exactly why we are in here. And Cora's on her way to Storybrooke.[SCENE_BREAK](Meanwhile, Cora and Hook are traveling through a field.)Hook: Where are we going?Cora: Lake Nostos. The legendsays its waters hold the power to restore what was once lost. It'll return magic to what remains of this wardrobe. And then, we'll be able to cross worlds.(They arrive at the dried up Lake Nostos.)Hook: I may be asimple pirate, but... I know one thing - lakes have water.(Cora waves her hand, and a small vortex magically forms in the middle on the former lake. Suddenly, a geyser of water shoots up from the ground.)Cora: Aftereverything we've been through, why do you still doubt me?-[Wonderland]-(In Wonderland, Cora still has her hand in Hook's chest.)Hook: I've told you all I know. Now have some honour, and kill me.Cora: Honour? Forthe pirate who snuck into my palace to assassinate me?Hook: At your daughter's behest.Cora: She should've come. She should've killed me herself.(Cora removes her hand from his chest, but leaves his heartintact.)Hook: Mercy seems a bit out of character.Cora: Oh, not mercy, Hook. You're going to help me. Regina knows my methods better than anyone. If I was controlling you, she'd know. This has to be yourchoice.Hook: Why should I?Cora: Because, my dear, I'm the only one who can give you what you want.Hook: Is that so?Cora: This curse my daughter plans to enact? This new land she's taking everyone to? You won'tremember who you are. So tell me, Captain - how do you expect to kill someone, when you can't even remember him? But, if you do what I say, I'll make sure you not only kill him, but that you remember every singlemoment.Hook: Well, what shall you have me do?Cora: Get me close to my daughter. And then, I'll rip her heart out.-[Fairy Tale Land - Past]-(Cora and Hook return to the Evil Queen's castle. Cora lies in a casket andpretends to be dead. Hook brings the Evil Queen in to show her the results.)Hook: Satisfied?Evil Queen: Did she put up a fight?Hook: Nothing I couldn't handle.Evil Queen: Thank you. Now leave us. I'd like a momentalone to say goodbye.(Hook exits.)Evil Queen: I'm sorry, mother. Without you, I never would've become the person I am now. But I had no choice. I had to do this. After you killed Daniel, you told me something I'venever forgotten. Love is weakness. Well, mother, you are my weakness, because I love you. That's why I couldn't risk taking you to the new land with me. Your grip on my heart is just too strong. And for what I need todo... I can't have any weakness.(She places a rose on top of Cora's body.)Evil Queen: Goodbye, mother.(When the Evil Queen exits the room, Hook emerges from the shadows.)Hook: What happened? You didn't killher.Cora: There's been a change in plans.Hook: What would that be?Cora: My daughter's curse is coming. We have to protect ourselves.[SCENE_BREAK](The Evil Queen's curse rips through the Enchanted Forest, thesmoke quickly progressing across the land. Cora and Hook watch from a distance as it approaches. Cora strikes the ground with her sceptre, creating a beam of light that shoots up towards the sky. Eventually, thebeam scatters, creating a domed shield around a small section on the land.)Hook: Wouldn't it have been easier to reconcile with her before her curse destroys the land?Cora: Regina doesn't need me - not now. Notwhen she thinks she's about to win. But I still have a place in her heart. And the curse won't last forever. It will end. In twenty-eight years, there'll be a saviour. And she'll break it.Hook: Twenty-eight years?Cora: Youwon't even notice. You'll be frozen, like all those in this corner of the land. But, when the curse ends, our quest will resume. And, when it does, Regina will truly have lost everything, and then she'll need me. That'swhen we'll go to this new land. You'll get your revenge. And me, I'll... Help her pick up the pieces.-[Storybrooke]-(Regina and Mr. Gold are walking through the woods towards the 'wishing well'.)Regina: You're certainthe portal's going to open up all the way out here?Mr. Gold: There. This is where things once lost are returned to us. This is where Cora's going to come through.(The two of them look inside. The water below isbubbling.)Regina: Unless, it's Mary Margaret and Emma.Mr. Gold: I highly doubt it.-[Fairy Tale Land - Present]-(Emma's group is still stuck inside the cell. Mary Margaret is analyzing the paper.)MMB: We are going toget out of here.Emma: How? By staring at that scroll? It's not like it's going to magically open the door for us.MMB: Yes, it is.Emma: What?MMB: When I was a little girl, I used to sneak into Cora's chamber and watchher practice magic. She had a spell book and, Emma... The spells were in the book.Emma: Yeah, isn't that what a spell book is? A book that has spells in it?MMB: Watch.(Mary Margaret gently blows on the paper,causing the words to lift off the page.)Emma: Whoa. Squid ink. Gold wrote the scroll in squid ink!(Mary Margaret blows the words toward the door of the cell. The inked words magically create an exit.)MMB: Told you.Good always wins.Aurora: Wait. I can't go. You have to tie me up.Mulan: No. I'm not leaving without you.Aurora: I can't be trusted. Not as long as Cora has my heart.Mulan: Then I will get it back for you.Aurora:Mulan...Mulan: I will.Emma: Mulan. We got to go.Aurora: Do it.(Mulan takes a piece of rope, and ties Aurora to what remains of the cell's bars.)Aurora: Good luck.MMB: Thank you. Good luck toyou.[SCENE_BREAK](The geyser at Lake Nostos gradually subsides, leaving behind a small lake. Cora takes out the vial of ashes.)Cora: And now, the ashes. Would you care to do the honours?(Hook takes the ashes andsprinkles them into the lake. A whirlpool magically forms in the center of the lake.)Cora: Here we go. We'll be in Storybrooke soon enough. I really look forward to seeing my daughter.-[Storybrooke]-(Mr. Gold andRegina continue to stare down the well, until they see a change in the water.)Mr. Gold: It's time.Regina: So, what are we waiting for?(They step away from the well, and Mr. Gold takes out the fairy wand. He holds it uptowards the sky and summons a thunderstorm. A clash of green lightning strikes the well, which creates an electric barrier of sorts.)Mr. Gold: Doesn't matter who comes through now. No one can survive this.-[Fairy"}
+{"doc_id":"doc_212","qid":"","text":"(SGH)(Derek is in the OR performing surgery on a patient. The gallery is empty aside from Meredith who is standing by herself)MVO: As doctors we're trained to skeptical because our patients lie to us all the time. Therule is: every patient is a liar until proven honest.(Cristina enters the gallery and gives Meredith a wry smile and Meredith smiles back. Cristina walks up to the window to peer and looks down into the surgery)Meredith:Why aren't you prepping for rounds and stealing all the good cases?Cristina: Well why aren't you prepping for rounds and stealing all the good cases?Meredith (shrugs): No reason.Cristina: No reason?MVO: Lying is bad.Or so we're told. Constantly, from birth. Honesty is the best policy.(Cristina sits down next to Meredith)MVO: The truth shall set you free. I chop down the cherry tree. Whatever.Meredith: I'm waiting forMcDreamy.Cristina: I'm avoiding Burke.Meredith: Why are you avoiding Burke?Cristina: He thinks I moved in with him. Why are you waiting...Meredith (interrupts): McDreamy is doing me a favor. Burke thinks youmoved in with him?Cristina: Wait you're calling him McDreamy again?(Cristina shakes her head at Meredith)MVO: The fact is, lying is a necessity.(Trauma room where Meredith is sitting on a table as Derek draws outher blood)Meredith: Thank you for doing this. With the needles and the blood. They won't accept her without a full family history.Derek: I'm happy to get your mom into the clinical trial. Even with the needles andblood.(He stands up and they 'gaze' into each others eyes)Derek: All done. How's that feel?MVO: We lie to ourselves because the truth, the truth freaking hurts.Meredith: Feels good.(Cristina is standing in a hallwaywaiting for Meredith. Meredith walks up to her and they start walking down the hall together)Meredith: Burke thinks you moved in with him? What does that mean?Cristina: Ok it's not important. You're calling Derek,McDreamy again.Meredith: It's nothing.Cristina: All right, what are you doing?Meredith: What are you doing?Cristina: Stop repeating what I say.Meredith: Stop asking me questions.(They stop and look out over therailing of the mezzanine and hear some banging. George is banging on a window of the hospital with Izzie standing next to him, arms crossed holding a leash with Doc on it.)George (yells): Cujo has to go!(Intern lockerroom where the interns are getting for rounds. Meredith is sitting down on a bench, already in her scrubs with Doc laying next to her)Izzie: He peed on my bed. My bed, Meredith!Meredith (defensive): He's ourdog!George: No, he's not my dog. You two bought him, without even asking me.Meredith: We rescued him from certain death. (She pouts) Come on you guys.George: I'm putting my foot down. Either the dog movesout or I do. Foot. Down. Now. Me or the dog, which is it?(Meredith looks down at Doc contemplating and then back up at George)George (shocked): You hesitated! She hesitated!Izzie: You hesitated?!?Meredith: I didn'thesitate. I was thinking.George: You have to think about it, fine! I'm moving out right now.(He heads to the door to exit the room but as he opens the door, Bailey is revealed standing there. He swivels back towards hislocker)George: Later. I'm moving out later because right now I have rounds.(Bailey walks into the room)Bailey: Tell me that is not a dog.All: It's not a dog.(Bailey's pager goes off)(Bailey is standing outside theemergency double doors with Cristina, George, Meredith, Alex, and Izzie. An ambulances double doors open up and paramedics start wheeling out a patient, including Tony the paramedic)Tony: Rick Freeark. 29.Severed 3 fingers on his left hand. Controlled the bleeding in field. Vitals stable. Gave him 5 of morphine on the way in.(They all start wheeling the patient down the hallway)Bailey: The fingers?Tony: Had some troubleretrieving them so we took off. Rich behind us found them. They're iced and ready to go. 10 minutes out.Bailey: Continue with IV fluids and start a course of antibiotics.(Bailey stops Cristina)Bailey: Yang, wait outsidefor the fingers.(Cristina heads back out)(Rick's trauma room)Rick: You can sew them back on right? Cause they sewed that guy's pen1s back on after his wife chopped it off, right?Bailey: Penises and fingers. Like applesand oranges.George: How did it happen?Rick: I was loading my gear onto my truck for a gig and my hand got caught in the lift gate.Alex: You're a musician?Rick: I play the friggin guitar. (to Bailey) You can sew themback on right? It's not that big of a deal right? Oh dude I better not be out of the band.(Trauma room, where now there are only scrub nurses and Derek checking on Rick's fingers. Cristina enters the room with Rick'sdetached fingers in a towel)Derek: Well the cuts look clean. That's good. Clean and severed makes reattachment easier. I'm not going to lie to you, if the surgery is successful; we're looking at a long recovery. Lots ofphysical therapy. (Rick looks pained at this) You smoke?Rick: Why?Derek: Cigarette smoke constricts the blood vessels. I've seen really good grafts fail over a few cigarettes.Rick: So what are you saying? I, I smoke acigarette after my operation and boom my fingers fall off?Cristina: No first they turn black and necrotic and then they fall off.(Derek smiles apologetically at Rick)Rick: Well I don't smoke, so ...Cristina (holding up onedetached finger): Really? Cause judging by the nicotine stains, your fingers do.(Rick looks alarmed at the idea of having to give up smoking)(George is rifling through some charts at the nurses station when he hears avoice call out from a patient room)Sophie: Anybody out there? Hello!(George shoots a glance to Nurse Debbie who is also at the desk)Debbie: Don't look at me! She had hip replacement surgery a month ago and wasdischarged last week.George: Then why is she still here?Debbie: Because I am not a bouncer and this is not a nightclub! I am doing what I can (Richard walks up and Debbie walks directly to him) with extremely limitedstaff and resources and if you have a problem with that take it up with 'Chief!'(She storms off. You can hear Sophie sing now)Sophie: Don't know why, there's no sun up in the sky ...(Richard shoots George alook)Richard: Mrs. Larson's got to go.George: If she refuses to leave what can I do?Richard: She's 78 and non-ambulatory. You have the upper hand here. Use it.(Bailey, Izzie and Alex walk up to them)Richard: Karev,can I talk to you for a second?(He and Alex walk off to the side and he hands him an envelope)Richard: The results of your medical board exam.Alex: Thanks.(Richard walks off as Izzie looks on curiously. George dumpsa bunch of charts into Izzie's arms and heads off. Bailey looks on disapprovingly. Alex walks back up to Bailey and Izzie)Izzie: Aren't you going to open it?Alex: Yeah, I'll open it.(George is entering Sophie Larson'sroom. An elderly yet very vibrant and energetic woman)Sophie (sings): I'm weary, all the time.(George claps loudly)Sophie: Oh, thank you. Thank you.George: Ok, Mrs. Larson I'm Dr. O'Malley.Sophie: Oh an Irishman!I love the Irish. They have a sparkle. You can see it in the eye and the swagger. Come on Dr. O'Malley, show me the swagger.(George looks slightly uncomfortable but swaggers half-heartedly up to Sophie'sbedside)Sophie: The eyes are right, but uh you'll have to work on the swagger.George: Mrs. Larson...Sophie: Call me Sophie. Now, be a doll and bring me a remote. (She holds up and shakes it in front of him) Thisone's busted.George: Sophie, I can't bring you a new remote because you are no longer a patient at this hospital. Now according to your chart you have a room waiting for you at the Sugar Maple Nursing Home.Sophie:I'm staying until my daughter's house is ready. She's converting her den into my bedroom. She's doing it a shade of pink. Now bring me a remote Irish. I'm going to sing until you get back. (She starts singing loudly)Can't go on. Everything thing I have is gone! (George holds out is hand and she slaps a remote into it) Stormy weather-George: Coming right up.(He leaves)(Trauma room where a young Asian woman named Yumi sitson a bed continuously hiccupping. Yumi's Coach, Mr. Kamaji is also in the room)Alex: Ah Yumi Miyazaki. 22. She presented this morning with persistent hiccups.Izzie: She was given 50 chlopromazine which stoppedthem for a while but then the hiccups returned so she needs a surgical consult to rule out esophageal perforation.Bailey: When did your hiccups start?Mr. Kamaji: A few days ago. She doesn't speak English.Bailey: Areyou her boyfriend?Mr. Kamaji: Her coach.Alex: Oh she's an athlete.Mr. Kamaji: Ah, Yumi is a competitive eater.Izzie: Eating is a sport?Alex (nods): Miyazaki ... yeah, yeah. She's like a Rock star in Japan.Izzie: Again,eating is a sport?Alex (to Mr. Kamaji): Tell her I saw her on TV. Tell her that I'm an athlete too. I'm a wrestler.Mr. Kamaji (in Japanese to Yumi): The young doctor wants you to know he's a wrestler. I think he's flirtingwith you.(Yumi gives Alex an appraising look)Yumi (in Japanese to Kamaji): Tell him I eat little boys like him for breakfast.Mr. Kamaji (to Alex): She wonders how a wrestler got smart enough to be a doctor. Mostwrestlers she knows are dumb.(Alex and Izzie smile. Izzie more of a oh my god smile)Alex: Just tell her that she hasn't been hanging around the right gyms.Bailey: How bout instead you tell her that persistent hiccupcould be an indication of something much more serious. (To Alex and Izzie) Schedule an esophogram.Mr. Kamaji: Oh she's competing this afternoon at the 'Taste of Seattle'. Can't you just give her a stronger dose ofthat drug? It seemed to work.Bailey: Did the hiccups come back?Mr. Kamaji: Yes, but...Bailey: Then it didn't work.(She moves and starts to walk off, but stops suddenly clutching her stomach in pain)Izzie: Dr.Bailey.Bailey: Be quiet.Izzie: Dr. Bailey, are you ok?(Bailey tries to shrug it off, but she still seems to be in pain)Bailey: All right somebody page Addison Shepherd.(Izzie moves off quickly while Alex stays withBailey)(Bailey is lying down being given an ultrasound by Addison in an exam room)Addison: There he is. Heartbeat's strong. Since there's no dilation or effacement, looks like nothing more than Braxton Hicks.(Baileysits up)Bailey: Except I know the mild concerned tone. I've used it myself from time to time.Addison: Sometimes false labor is the body's way of telling you to slow down.Bailey: I'm a surgeon.Addison: I understand therealities of your job but you need to understand the realities of your pregnancy and take it easy. Is there anything I can do to help?Bailey: Uh, yeah for starters you can help me get up off this table.(Izzie knocks on thedoor and enters)Izzie: Dr. Bailey. The GI lab has a couple of questions about Miss. Miyazaki's esophagram.Bailey: Well let's go.(Bailey walks out of the room)Addison: Dr. Stevens.(Izzie stops following Bailey)Addison:Keep an eye on her today. Watch out for any painful contractions. More than 5 in an hour. Anything that could indicate pre-term labor. (Izzie shakes her head) The favor is not for me Stevens, you know that.(Izzie nodsand walks off)(Patient room where a middle aged woman named Naomi Cline lies on the bed looking very happy. Meredith and Burke are at the end of Naomi's bed. Tom Cline, Naomi's husband is also in theroom)Meredith: Naomi Cline. 43. Had her tricuspid valve replaced 3 years ago with a porcine valve, sir.Burke: Ah Naomi, surprised to see you back again so soon. Pig valve usually holds up 10 to 15 years. But yoursseems to be degenerating a little too quickly for my comfort.Naomi: Oh, heart valve, schmart valve. (excited) I got married Dr. Burke! (She laughs) I found him. My true love. My 'you jump, I jump'. (Burke andMeredith exchange looks. She holds out her hand to show her wedding ring) Look. Isn't it beautiful? And look, look at that beautiful, beautiful man.(Meredith and Burke turn around to see a middle aged balding mannamed Tom Cline.)Tom (uncomfortable): Heh. We ah meet in the grocery store.Naomi: Oh honey ...(She gestures for him to come be by her bedside)Burke: Oh, congratulations. It's good to see you so happyNaomi.Naomi: Yeah.(Tom comes by her bedside and Naomi becomes very affectionate)Tom: So Naomi's heart valve, what does this mean?Burke: Well there's an underlying cause for your wife's valve failure thatremains undiagnosed. Theories, Grey?Meredith: Rheumatic fever, chronic use of migraine meds- (A large bark from Doc in the hallway interrupts her) or IV narcotics could all cause uh valve disease sir.Naomi (smiling):Oh I don't use drugs. Don't need them. I've got Tom, he's my drug. Aren't you baby?(Meredith looks weirded out by Naomi's happiness)(Meredith and Burke are walking out of Naomi's patient room walking down thehall)Meredith: She's high Dr. Burke.Burke (chuckles): Oh, she's in love. She's happy.Meredith: Nobody is that happy. She's on drugs.Burke (sighs): Run a tox screen but Naomi doesn't strike me as a liar. If she says nodrugs, then it's no drugs. You develop a sixth sense about these things.Meredith (shrugs): Everybody is a liar.(Doc barks loudly again from the hallway)Burke: Dr. Grey, is that a dog?Meredith (shakes her head):No.(Derek is with Rick in the trauma room.)Derek: Look, we need to keep this elevated ok?Rick: Ok.Derek: I'll be back to check on you in a little bit.(Derek heads out of the room into the hallway where Cristina isdumping some waste into a waste bin. They start walking down the hall together)Derek: Yang, you were a little harsh in there.Cristina: He was lying. Besides your harsh is another man's refreshing.Derek: Well he's inshock. The man's lost his fingers and his only remaining habit in one day. We need to be compassionate.Cristina (looks upset): Compassionate?Derek: Yes. It's an emotion. Have you ever heard of it?CRISTINA: Oh,have you? (Derek looks shocked at Cristina's audacity) She's barely back on her feet and you've got her calling you McDreamy again. You know I was just telling the patient the truth. So you might want to try itsometime.(Cristina walks off)(George is standing on some shelves rummaging around a utilities room. Richard walks by but double backs when he realizes what George is doing)George: Remotes. (He pulls out a stackfrom a box) More remotes.Richard: O'Malley?George: I'm getting a remote for Mrs. Larson.Richard: What happened to the upper hand?George: Have you met Mrs. Larson, sir?Richard: Why do you think she's been herethis long? In a private room?George (amused): She handled you, too?Richard: Well, she sang for the troops, you know.George: Can't we just keep here until her the room in her daughter's house is ready?Richard: Nowe can't. Not on surgical service, anyway.George: Oh, ok... but some other service?Richard: I'm the Chief, O'Malley. I can't condone turfing patients onto other services. You hear me O'Malley?(Richard walksoff)(George is entering Mrs. Larson's room smiling)Sophie: I'm ah, I'm missing my program Irish and I don't see a remote in that hot little hand.George: I noticed that urine output has increased slightly since yesterday.I'm going to have to take you to gynecology to make sure you don't have a prolapsed uterus.Sophie: Honey my uterus hasn't been an issue for 30 years.George: I know, but it might be an issue now. ... You know onethat could keep you here in the hospital for tests.(Sophie grins broadly and grabs the metal triangle in front of her for grip)Sophie: You drive, I'll ride shotgun.(Izzie comes to the door as George prepares to move Mrs.Larson's bed)Izzie: You're not moving out, George.George: Oh yes, I am. I gave an ultimatum. Threw dawn the gauntlet. I drew my line in the sand.Izzie: Well un-give, un-throw and un-draw.George: A man does notgive an ultimatum and then back down.(Izzie helps George move the bed out of the room and down the hallway)George: Meredith had a choice and she chose the dog.Sophie (shocked): A girl chose a dog overyou?George: Yes.Izzie: No.(Izzie and George stare at each other)(Hospital outdoor cafeteria. Alex is sitting at a table by himself looking over the envelope Richard gave him. There is also an unusually big pile of hotdogssitting in front of him. He puts it away quickly as Cristina and Izzie come up and sit down at the table as well. Cristina also has a large plate of hotdogs)Alex: Are we gonna do this or what?Cristina: Yeah, let'sgo.(George comes up running with his own plate of hotdogs)George: Don't start without me.Alex: We're not gonna start if Izzie doesn't focus.Cristina: Izzie, come on.Izzie (ignores this): What should I put on theflier?George: I don't know.Cristina: Destructive, aggressive, uh hell dog available.George: That's not helping.Cristina: Fine, uh playful, protective puppy needs loving home.Izzie (approvingly): Good.(Meredith comeswith her own set of food and Doc on a leash. She sits down)Meredith: Hey, George.George (looking down at his food): Don't talk to me! You'll only make me mad. You're gonna mess up my game and I'm in thezone.Meredith: Okay. (To Izzie): What are you doing?Izzie: Oh it's a flier that I'm gonna put it up...Cristina (yells): Izzie, come on! George (yells at the same time): Izzie!Izzie: Okay! Keep your panties on!(Izzie picksup a stop watch as George, Alex and Cristina all prepare to have a hot-dog eating contest)Izzie: All right.(George picks up one of his hotdogs)Cristina: No touching!(George puts down his hotdog making a face atCristina)Izzie (struggling not to laugh): Go!(George, Alex and Cristina start wolfing down their hotdogs. Though Cristina opts for eating the actual hotdog meat first quickly, rather than bun and dog like Alex andGeorge)Meredith (looks at the flier): You're advertising for a home for Doc? I said I would do it.Izzie: And you haven't and you won't. And I don't want George to leave.(She makes a funny face when she looks atGeorge's eating)Meredith: Well at least put down he's not house-broken. (Izzie gives her a look) What? It's the truth.Izzie: Ok, so you want me to put the truth. Fine.(Cristina has now finished her hot dog meat and onlyleft with the buns with she is now wetting down with water, mushing up and then stuffing into her mouth)Izzie: Vicious, hyper devil mutt is available. And will pee on the bed.Meredith: He's your dog too. We got himtogether.(She gives the others a weird look at their eating contest. It seems Cristina is winning, Alex followed closely behind, and George is pretty much screwed)Izzie: We got him together, please. He's not your dogeither. He doesn't even know us. We are not home enough for him to know us.(Cristina stuffs the last of it down her mouth and shouts victorious. Though it's very muffled and hard to understand since she still has amouth full of bread. Alex and George also protest muffled as she hasn't chewed it all down. Cristina stands up and starts gloating and making hand gestures)Cristina: You want to be! You want to be me but you can't beme! You want to be me...(She stops abruptly and looks like she's gonna chuck)George: Uh, oh.(She sits back down woozy)Izzie: Crap, she's gonna blow.(They all stand up quickly and run off, leaving Cristina sitting byherself trying not to throw up)(Patricia and Richard are walking down a hallway together. Patricia is reading from some papers)Patricia: The surgical floor has become a dumping ground for patients who aren't evensurgical. We are overworked and exhausted. This makes for un...Richard (interrupts): The nurses again? Can't you do something about this? You used to be one of them. Don't you speak nurse?(Richard stops in front ofthe OR board)Patricia: That's why you don't get any respect from the nurses; surgical arrogance.Richard (huffs): I'm not arrogant.Patricia: You're killing them with that workload. Look at the board!(The board isabsolutely filled)Richard: What? That's a beautiful board.Patricia: That's a crowded board. (She hands Richard the paper she was reading from) We need more nurses.(She walks off)(Exam room, where Yumi is lyingdown on a table undergoing an ultrasound. Izzie, Bailey, Alex and Mr. Kamaji are in there. Yumi is still hiccupping)Bailey: Mr. Kamaji, this is probably what's causing her hiccups. (Izzie points to a screen) A tear in thelining of her esophagus.Mr. Kamaji: Can you fix it?Bailey: Yes, surgically the sooner, the better.Mr. Kamaji: Ah, after the competition today her schedule is clear until March.Bailey: No her schedule is clear now. Shecan't compete today. And if she enjoys the taste of solid food, I recommend giving up the sport for something a little less aggressive. Say boxing.(Yumi just lies on the table looking scared and at Mr. Kamaji to tell herwhat's going on)Mr. Kamaji: I see. Could you give us some privacy please?(The three doctors all exchange looks and leave the room)Bailey: Karev, get the translator up here. Let's make sure she's getting the wholetruth.[SCENE_BREAK](Patient room where Rick is. Cristina comes in and finds Rick's band mates and friends in the room, smoking and drinking)Band Mate: BustedCristina: Put that out!Band Mate: Sorry.Cristina: I"}
+{"doc_id":"doc_213","qid":"","text":"Prologue: In every generation there is a Chosen One. She alone will stand against the vampires, the demons and the forces of darkness. She is the Slayer. Sunnydale High School at night. A man in a suit with abriefcase is walking past a school building at a brisk, determined pace. He stops for a moment and looks around. Behind him to his left a door opens, and a school custodian comes out with a trashcan.Custodian: Can Ihelp you?Philip: Rupert Giles! I need to see him!Custodian: Mr. Giles, uh, he's our librarian. Next building over, first door on your left. Philip rushes off without a word of thanks.Custodian: (sarcastically) You're welcome.(dumps the trash) Philip continues at his brisk pace and finds the outside library door. He continues toward it, but stops in his tracks when he hears a twig being crushed behind him and turns to look. He hears a moan,but sees nothing and checks the other way again. Behind him he hears breathing and turns back again, and sees a woman in the shadows.Philip: Oh, God! Slowly she walks into the light. She is dead and rotting. Hereyes flash yellow briefly.Philip: Diedre?Diedre: Philip. Philip quickly backs up and doesn't see the curb behind him. He trips over it and falls, dropping his briefcase. He scrambles to his feet and runs to the library door.He pounds on it and yanks at the doorknob, but it's locked.Philip: Help! Help! Somebody, please! Diedre slowly advances on him.Philip: (to himself) God, no! (loud) Help! Cut inside. Buffy is doing step aerobics to atechno beat. Giles is sitting at the table with his hands to his ears, not relishing the music. He raises his head.Giles: (loudly over the music) Must we have this noise during your calisthenics?Buffy: It's not noise! It'smusic!Giles: I know music. Music has notes. This is noise.Buffy: I'm aerobicising! I must have a beat!Giles: (under the music) Wonderful. You work on your muscle tone while my brain dribbles out of my ears. Cutoutside. Philip is still pounding on the door.Philip: Help! Help! Please! Diedre continues to advance on him.Philip: Help me, somebody, please! Diedre has closed the gap. Philip turns to face her with horror in his eyes.She puts her hands up to the door on either side of him to prevent his escape. He trembles with fear as she moves her hands onto his neck and begins to choke him. Cut inside. Buffy has finished her aerobics. Shestrolls to the table and turns off her boom box.Giles: Ahhh! Very good. And the rest is silence. Cut outside. Philip falls from Diedre's grip, dead. A moment later Diedre collapses next to him. After she hits the pavementshe disintegrates into a puddle of slime. The puddle spreads out and into Philip. Opening credits roll. Buffy's theme plays. ~~~~~~~~~~ Part 1 ~~~~~~~~~~ A nightmare. Giles is flashing back to his youth. He hasvisions of rituals and tattooing.Young Giles: Time to go to sleep! (screams) A vision of a demon. Cut to Giles' bedroom. He wakes with a start. He looks around as he sits up in bed, concerned but relieved to find it wasonly a nightmare.Cut to school. The camera pans down from above a tree to Buffy and Willow sitting on a bench.Buffy: I'm on a beach, but not one of those American beaches, one of those island beaches where thewater's way too blue, and I'm laying on my towel, and it's just before sunset, and Gavin Rossdale's massaging my feet!Willow: Oh, that's good! Uh, I'm in Florence, Italy, I've rented a scooter that's parked outside, andI'm in a little restaurant eating ziti, and there are no more tables left, so they have to seat this guy with me, and it's John Cusack!Buffy: Ooo! Very impressive. You have such an eye for detail.Willow: 'Cause with theziti!Xander: (shows up) What are you two up to?Buffy: Just having a quick game of 'Anywhere But Here'.Xander: Ooohhh. Amy Yip at the waterslide park.Willow: You never come up with anything new.Xander: I'm justnot fickle like you two, okay? I'm constant in my affections. Amy Yip at the waterslide park!Willow: (to Buffy) Do you think Giles ever played 'Anywhere But Here' when he was in school? They see him coming towardthem.Xander: Giles lived for school. He's actually still bitter that there are only twelve grades.Buffy: He probably sat in math class thinking, 'There should be more math. This could be mathier.'Willow: C'mon, you don'tthink he ever got restless as a kid?Buffy: Are you kidding? His diapers were tweed. Xander chuckles. Buffy sees Giles about to walk by and calls out to him.Buffy: Giles!Giles: (turns and sees them) Oh! There you are.(comes over)Buffy: Hey, morning. Say, is that tweed? (stares at his jacket)Giles: (preoccupied) What? Oh, uh, yes. Um, now, uh, look, tonight is very important, um... (heads inside)Buffy: (follows) Now, that's asurprise.Cut to the halls. They follow Giles to the library.Buffy: So, what's on tap tonight that's so important? Uprising, prophesied ritual, preordained deathfest?Xander: Ah, the old standards!Giles: Um, a medicaltransport is delivering the monthly supply of blood to the hospital.Buffy: Mm. Vampire Meals-On-Wheels. (stops at her locker)Giles: Hopefully not. Uh, we'll meet outside the hospital at 8:30 sharp. I'll bring theweaponry.Buffy: I'll bring the party mix!Giles: Just don't be late.Buffy: Have I ever let you down?Giles: Do you want me to answer that, or shall I just glare?Jenny: (finds them) Morning, England.Giles: Oh, hello, Ms.,uh, uh, tuh, Jenny.Willow: (to Xander, smiling) Feel the passion!Xander: (smiles back) Mm-hm!Jenny: Willow...Willow: (coughs) Coughing, not speaking. (coughs more)Jenny: (to Willow) We still on for tomorrow?Willow smiles and nods.Xander: What's tomorrow?Jenny: I'm reviewing some computer basics for the couple of students who've fallen behind. Willow's helping out for extra credit.Xander: (chuckles) Those poor schlubshave to attend school on Saturday! (smiles)Jenny: 9am okay with you, Xander? Xander's smile fades. Willow bobs her head in amusement.Buffy: Got a bit of schlub on your shoe there.Xander: Heh, heh.Jenny: Well,Cordelia's gonna meet us.Xander: (dripping with sarcasm) Ooo, gang, did ya hear that? A bonus day of class plus Cordelia! Mix in a little rectal surgery, and it's my best day ever!Jenny: (to Giles) Walk me toclass?Giles: (a smile on his face) Pleasure. Jenny and Giles head for her class. The others watch them go.Buffy: Look at them.Xander: A twosome of cuteness.Willow: Can't you just imagine them getting together? Theirexpressions all change to ones of being grossed out. Cut to Giles and Jenny walking.Jenny: Oh! Thank you so much for loaning me the Forrester book. It's wonderful!Giles: Well, I'm glad you enjoyed it!Jenny: Yeah, itwas so romantic, so evocative.Giles: That edition was my father's. I, I, I must've read it... twenty times.Jenny: Yeah, y'know how you have to, to dog-ear your favorite pages so you can go back to them?Giles: Uh, uh,uh, what?Jenny: Well, I mean, I-I practically had to fold back every single page. So finally I just, I just started underlining all the pages I really wanted to discuss.Giles: U-u-underlined...?Jenny: But then, of course, Ispilled coffee all over it, I can't even read it...Giles: (can't believe it) It's a first edition!Jenny: I'm lying, Rupert. (smiles) The book's fine. (holds it up) I just love to see you squirm. (hands him the book)Giles: (smiles inrelief) Yes, well, I, uh... trust I gave good... squirm.Jenny: Did anyone ever tell you you're kind of a fuddy-duddy?Giles: Nobody ever seems to tell me anything else.Jenny: Did anyone ever tell you you're kind of a sexyfuddy-duddy?Giles: Well, no. Actually that, that part usually gets left out. (smiles) I c-can't imagine why.Jenny: This weekend.Giles: Would you like to go out?Jenny: Mm, no, I think I'd like to stay in. They drawtogether for a kiss as the bell rings. They touch lips, but break it off as students begin pouring into the halls.Giles: Uh, this, (clears his throat) Saturday, then.Jenny: Saturday night. (clears her throat) I'll see if I canmake you squirm. They look at each other for a moment before Giles heads off to his library.Cut to the library. Giles walks in to discover a detective and two police officers there.Det. Winslow: Rupert Giles?Giles:Yes?Det. Winslow: Detective Winslow. You're gonna have to come with me.Giles: Why?Det. Winslow: There was a homicide on campus last night. The victim had no identification, but he was carrying this slip of paperwith your name and address on it. (holds up the slip in a baggie)Giles: (sets down his briefcase) My name? Cordelia walks into the library.Cordelia: Well, evil just compounds evil, doesn't it? First I'm sentenced to acomputer tutorial on Saturday, now I have to read some computer book... There are books on computers? Isn't the point of computers to replace books?Giles: (cuts her off) Cordelia, I'm a little busy right now. (pointsout the detective)Cordelia: Oh! Great! (steps up to Det. Winslow) Can you help me with a ticket? It's totally bogus. It was a one-way street. I was going one way.Giles: (raised voice) Cordelia!Cordelia: What?! Why doeseveryone always yell my name? I'm not deaf! And I can take a hint. (unsure) What's the hint?Giles: To come back later.Cordelia: Yeah, when you've visited decaf land. (leaves)Giles: (to Det. Winslow) Where do youwant me to go?Cut to the city morgue. The coroner opens one of the body storage doors and pulls out the drawer.Attendant: Have you had your breakfast?Giles: No.Attendant: That was probably a good idea. He pullsback the sheet to reveal Philip's body. It's bruised all over, with two especially dark bruises on the throat. Giles looks down at him in recognition.Det. Winslow: Do you know him?Giles: (whispers) Yes. Yes. I-I mean, Idid. His name's Philip Henry. He was a friend of mine in London. I... I haven't spoken to him in twenty years.Det. Winslow: Can you think of any reason why he might've wanted to contact you?Giles: No. He sees thetattoo on Philip's right arm near the inside elbow.Det. Winslow: Do you know what that is? The tattoo.Giles: (lies) No. No, I don't.Cut to the hospital ER entrance that night. Buffy is waiting on Giles.Buffy: (exhales)'Don't be late.' Sheesh. She walks over to a pay phone to try calling, but stops when she sees the blood van pull up. The driver gets out with his clipboard as two ER doctors come out to meet him.Driver: Hey,fellas.Doctor: Hey.Buffy: All's well that ends with cute ER doctors, I always say. She watches them go to the back of the van and get out the insulated container. They start back with the driver, and he gets back into thevan. Buffy realizes something's wrong.Buffy: Since when do doctors take deliveries? The van backs out of the ambulance slot. The doctors wave to the driver.Doctor: See ya. The van drives off, and behind it a carengine starts and a pair of headlights come on. The old convertible pulls up into the light as the doctors set the container down. One of them opens the lid, takes out a bag of blood and begins to suck on it. The driver ofthe car gets out.Driver: Hey! No sampling the product! The doctor vampire hisses, but puts the bag back down and drops the lid closed. Buffy runs to attack. She kicks the first doctor vampire down, then the second,and does a roundhouse kick to the driver's face. The first one gets up, and she tries kicking him again, but he grabs her leg and throws her onto the hood of the car. She scissor kicks him in the neck, and he staggersaway and falls. A fourth vampire runs up as Buffy gets up and takes out a stake. She turns to attack him.Buffy: Angel!Angel: Buffy! Look out! He jumps up onto the car's hood and leaps off to tackle the driver vampirecoming at her from behind. Angel punches him in the face, but he stays up. The second vampire jumps up onto the hood and swings at Buffy. She ducks the punch and jabs him in the chest. The first vampire jumps upon the hood, too, and Buffy knocks him back off with a punch to the face. She punches the second one in the face, too, and he falls down on the hood on his back. She jumps off of the car and thrusts her stake into thefirst vampire as he tries to get back up. The second one is off the car again and grabs her by the shirt from behind. She swings around with the stake and gets him in the chest also. Angel, in the mean time, roundhousekicks the driver and sends him spinning into the car. The vampire quickly sits up in the driver's seat and floors it as Angel tries to chase him. The car races off, leaving Angel and the blood behind. Buffy opens the lid tocheck on it.Buffy: How did you know about this?Angel: It's delivery day. Everybody knows about this. They only ruined one bag. Buffy stands up and looks after the car, which is long gone. Angel kicks the lid backclosed.Buffy: Do you think you could make sure the hospital gets the rest? She realizes whom she's just asked to do that and raises her eyebrows at him. Angel just nods, not insulted by the query.Buffy: Thanks. I'mworried about Giles. He was supposed to meet me here.Angel: Maybe he's late.Buffy: Giles? Who counts tardiness as, like, the eighth deadly sin?Angel: Right. Go. She gives him a final look and hurries off.Cut to Giles'apartment building. Buffy walks to his door and knocks. Giles opens the viewport and looks out at her, then opens the door.Giles: Buffy. I-it's late. Uh, are you alright?Buffy: I was gonna ask you the same thing.Giles:Yes, I'm fine, fine. Look, I'm, uh, I'm rather busy a-at the moment, so, uh, I'll see you on Monday at, at school. He starts to close the door. Buffy holds it open with her hand.Buffy: Giles, did you forget? The hospital,vampires, handy carryout packets of blood?Giles: Oh! Yes, uh, are you alright? W-were you hurt?Buffy: No. I mean, my feelings a little. What's wrong?Giles: Nothing, nothing, nothing's wrong. I-I'm just in the, uh,middle of something extremely important, and, uh, I'm sorry, but I'm gonna have to say good night now. He closes the door in her face, leaving her confused and taken aback. She can hear Giles on the phone, butleaves him alone to his work. Cut inside.Giles: Yes, I'm, I'm sorry to disturb you. It's, uh... I-I realize it's, uh, five in the morning there, um... Uh, I-I'm trying to reach Diedre Page. My name is Rupert Giles, uh, uh, sheknows me. It's, it's very important. (listens to the bad news) I'm terribly sorry. I... I-I didn't know. W-when did she, uh, pass away? (listens more) Ohhhh. That recently. (sits at his desk) Um, yes, yes, um, we werefriends when we were young. My condolences. He hangs up the phone and stares off into space with his fingers to his lips while he considers and remembers. He takes off his glasses and reaches for his drink. The bottlenext to it is in almost half empty already. He gulps the rest from the glass and sets it back down. He thinks another moment before grabbing his pen and crossing Diedre's name off of a list of five names: ThomasSutcliff, Philip Henry, Diedre Page, Ethan Rayne, Rupert Giles. He gets up and goes into his bathroom to the sink in front of the mirror. He rolls up his sleeves, and on his left arm just above the inside elbow is the sametattoo that Philip had. He reaches into the sink full of water, cups his hands and splashes some on his face. He looks up at himself in the mirror.Giles: So. You're back.Cut to the city morgue. The camera slowly closes onthe body storage drawers. Cut inside Philip's drawer. He reaches up and pulls the sheet off of his face. His eyes glow yellow. ~~~~~~~~~~ Part 2 ~~~~~~~~~~ The city morgue. The morgue attendant is goingthrough some paperwork and checking on bodies. He opens one storage bay, checks the toe tag, and closes it. He does the same for the next one. Then he opens Philip's, and discovers him missing. Suddenly a bodybag comes down over his head. He tries to struggle, but Philip is too strong for him. Philip forces him into the storage bay and slams the door shut. He slowly starts to make his way out of the morgue.Cut to the hall atSunnydale High. Jenny, Xander, Willow and Cordelia head for the computer classroom.Cordelia: This isn't right. School on a Saturday. It throws off my internal clock.Xander: When are we gonna need computers for reallife anyway?Jenny: Hmm, let's see. There's home, school, work, games... (unlocks the classroom door)Xander: Y'know, computers are on the way out. I think paper's gonna make a big comeback.Willow: And theabacus.Xander: Yeah, you know, you don't see enough abaci. They all go into the room. Willow, Xander and Cordelia each take a seat in front of a PC. Cordelia takes the one next to Xander.Jenny: Alright, guys. The firstthing we're gonna do is... Buffy! Buffy follows Jenny into the room.Xander: Huh? Did I fall asleep already?Willow: Aw, you miss your friends?Xander: Uh, sit here, Buffs! (stands up) Demilitarize the zone between meand Cordelia!Cordelia: Yeah, and delouse him while you're at it.Buffy: (to Jenny) Actually I wanted to talk to you for a second?Jenny: Something wrong?Xander: Is there some crisis that requires instant action? Very farfrom here?Buffy: It's Giles.Jenny: Well, he's alright, isn't he?Buffy: I don't know. Uh, he didn't show up when he was supposed to last night, and then, when I went over to his place, he was acting... well, veryanti-Giles. He wouldn't let me in, and he looked really bad. I-I think he might've been... (doesn't want to believe it) I think he was drinking.Jenny: He was home alone drinking?Willow: But... tea, right?Buffy: Wasn't tea,Will.Xander: Yep, yep, I knew this would happen. Nobody can be wound as straight and narrow as Giles without a dark side erupting. My Uncle Roary was the stodgiest taxidermist you've ever met by day. By night, itwas booze, whores, and fur flying. Were there whores?Buffy: He was alone.Xander: Give it time.Buffy: So, none of you guys have noticed anything different lately?Willow: No!Jenny: Not really.Buffy: Uh, you haven'tseen anything weird?Xander: Nope.Cordelia: No, he seemed perfectly normal yesterday when I saw him talking to the police. Everyone stares at her.Buffy: And you waited till now to tell us this because...?Cordelia: Ididn't think it was important.Xander: We understand. It wasn't about you.Jenny: Well, what were the police talking to him about?Cordelia: Oh, don't tell me, I know this one. Um... (thinks) Something about... ahomicide.Buffy: That's it. I-I'm calling him right now. She goes to find a phone. Jenny rubs her head with worry.Cut to the library. Buffy heads for Giles' office when she hears something in the stacks and stops in hertracks to look. She sees a shadow move across one of the bookcases in the anteroom. She goes up the stairs and through the French doors. Slowly she walks down the main aisle, looking around and down each sideaisle. As she passes one a man watches her search. Buffy keeps looking. He sees her through a gap in the books and puts his hands against the bookcase to push it over onto her. She looks up and sees it's Ethan, anddashes away just in time to avoid being crushed under the bookcase. Ethan tries to make his escape, but he's limping heavily and can't run. She grabs him by the arm and turns him around.Buffy: I know you! You werein that costume shop.Ethan: Oh, I'm pleased you remember. (tries to go)Buffy: (stops him) You sold me that dress for Halloween, and nearly got us all killed!Ethan: But you looked great. She punches him squarely inthe jaw.Ethan: Owww! (straightens back up holding his jaw) So now we're even?Buffy: I'll let you know when we're even. What're you doing here?Ethan: Snooping around.Buffy: Honesty. Nice touch.Ethan: It's one ofmy virtues. (smiles) Not really.Buffy: I've got a great idea: why don't I just call the police and have you arrested for breaking and entering, and then I can get back to my fun Saturday?Ethan: Yes, the police. Well,they'll have all those questions, and they'll really need Rupert to answer them all.Buffy: You know Giles.Ethan: We go back. Way back. You don't happen to know where he is, do you?Cut to Giles' nightmare. The tattooon his arm. Visions of a demon, of Diedre in her rotted state, of eyes glowing yellow. His phone rings. Cut to his apartment. He stirs at his desk and fumbles with the phone, managing to pick up the receiver.Giles:Hello.Buffy: (cut to her) Giles, it's me.Giles: (cut to him) (exhales) Buffy, u-unless this is an emergency, I'll see you on Monday.Buffy: (cut to her) What's the Mark of Eyghon?Cut to Giles. He is surprised to hear thosewords from her. Cut to the library.Buffy: Giles?Ethan: Cat got his tongue?Buffy: I'm in your office with someone who claims to be an old friend of yours. (cut to Giles) Ethan Rayne?Giles: He's there with you? Listen,Buffy, you're... you're in grave danger while Ethan's there. I want you to (cut to Buffy) put the phone down and get out of the library as soon as possible.Buffy: I'm not going anywhere until you give me some answers!Philip comes crashing through a window in Giles' office. Ethan steps behind Buffy and holds her in front of him.Giles: Buffy?Cut to Giles' apartment. He grabs his glasses and runs from his apartment. Cut to the library.Philip comes out of Giles' office and straight for Buffy. She kicks him in the chest and rolls over the counter. He comes through the door and at her again. Ethan climbs over the counter, too.Philip: Ethan! Xander comes"}
+{"doc_id":"doc_214","qid":"","text":"THE TALONS OF WENG-CHIANGBY: ROBERT HOLMESPart OneRunning time: 24:44[SCENE_BREAK]JAGO: Mister Chang. Wonderful, wonderful. Words fail me, sir. Words quite fail me.CHANG: You are mostgenerous.JAGO: Have I ever, in my thirty years in the halls, seen such a dazzling display of lustrous legerdemain? So many feats of superlative, supernatural skill? The answer must be never, sir. Never.SIN: Honourablemaster is kind to bestow praise on humble Chang's miserable, unworthy head.JAGO: Dashed clever, the way you work the little fellow. Wires in the sleeves, I dare say. But I'll not pry, Mister Chang. The secrets of theartistes are sacrosanct.BULLER (OOV.): Hey, you!JAGO: What the deuce?BULLER: Where's my Emma? What have you done with her?JAGO: You've got no right to burst in here.BULLER: Out of my way! It's him Iwant.CHANG: Your Emma?BULLER: She come in here last night and nobody ain't seen her since.JAGO: I'll have the fellow ejected.BULLER: Now I'm asking you, mister, what's happened to her?JAGO: Call the stagehands, Freddy.CHANG: It's all right, Mister Jago. Please, come with me.JAGO: Courteous coves, these Chinese. I'd have propelled him onto the pavement with a punt up the posterior.[SCENE_BREAK]CHANG: Yourwife?BULLER: Emma Buller. And don't deny she was here, cos I saw her with my own eyes.CHANG: Many ladies come to theatre. Why should you thinkBULLER: Not round the side door, they don't. Now, look. I waspassing in my cab and I saw her plain, and I know it was you she was calling on. She's been acting queer ever since you put the 'fluence on her last week, so don't try coming the innocent, Mister. I want to know whereshe is or I'm calling the law. Clear?CHANG: Your wife came on stage?BULLER: Last week. Levitated her, you did. She's not been the same since. It's done something to her reason, I shouldn't wonder. And she was herelast night.CHANG: Not to see me.BULLER: Don't come the cod. She's disappeared. Nobody's seen her, not since she come here last night, so what about it, eh?CHANG: In my country we have saying. Man who goes tooquickly may step in bear trap.BULLER: Right, I'm getting the Peelers.[SCENE_BREAK]LEELA: These clothes are ridiculous. Why must I wear them?DOCTOR (OOV.): Because you can't go walking around Victorian Londonin skins. You'll frighten the horses.DOCTOR: Anyway, we don't want to be conspicuous, do we?LEELA: A swamp creature. That was it's attack cry.DOCTOR: Oh no, it was a ship on the river. Excellent. It means we can'tbe far away.LEELA: From where?DOCTOR: From where we're going.LEELA: Doctor, you make me wear strange clothes, you tell me nothing. You are trying to annoy me.DOCTOR: I'm trying to teach you, Leela. Surelyyou'd like to see how your ancestors enjoyed themselves? Splendid. That's why I'm taking you to the theatre. Li H'sen Chang. Hmm, pity. I'd rather hoped we'd catch Little Tich. Never mind. If we hurry we'll just catchthe second house.[SCENE_BREAK]JAGO: You'd better get your tail pinned on. Linens up in five minutes. Casey, have you got the oopizootics coming on?CASEY: Mister Jago, I've seen it. I've seen it again!JAGO: Bequiet. I told you before.CASEY: Horrible, horrible it was, Mister Jago. A great skull coming at me out of the dark.JAGO: Damme, you don't want to bankrupt me, Casey. Keep your voice down. Threadbare in Carey StreetI'll be if people get the notion there's anything wrong with this theatre.CASEY: Chains clanking, nine foot tall.JAGO: You've been drinking.CASEY: Not a drop, sir.JAGO: Well, it's time you started.JAGO: Now pull yourselftogether, man.CASEY: I ain't never going down that cellar again. There I was, fixing the trap, when this apparition rose out of the ground in front of me. Hideous, it was. Hideous.JAGO: That's enough.JAGO: It's yourimagination.CASEY: Never.JAGO: A cat or something must be trapped down there making noises. Tell you what I'll do, Casey. I'll come down with you this evening, as soon as the house is clear, and we'll have a goodlook round. Now how's that?CASEY: It was no cat, Mister Jago. I seen it!JAGO: Please, Casey, remember, mum's the word.[SCENE_BREAK]LEELA: This is a big village.DOCTOR: Yes.LEELA: What's the name of the tribehere?DOCTOR: Cockneys.LEELA: The sound of death!DOCTOR: You stay here.DOCTOR: Excuse me, can I help you?QUICK (OOV.): Hold you there.QUICK: Now then, what's all this?LEELA: Touch me and I'll break yourarm.QUICK: Now don't be foolish, miss.DOCTOR: Good evening.LEELA: Keep back, Doctor. Blue guards!DOCTOR: Good evening, Constable.QUICK: Good evening, sir. You know this young female, sir?DOCTOR: Oh yes,yes. We were attacked by this little man and four other little men.QUICK: When I got here, sir, he was being strangled with his own pigtail, sir.DOCTOR: Really? Girlish enthusiasm, officer?QUICK: You might call it that,sir. I call it making an affray. I must ask you to come down the station with me.[SCENE_BREAK]CHANG: Please to see, ladies and gentlemen, subject now in state of deep hypnosis.AUDIENCE: Oh!SIN: Sheasleep.CHANG: She not asleep, Mister Sin.SIN: She been slugging type of toddy.CHANG: I will prove young lady not asleep.SIN: She's lying on metal bar.CHANG: Not lying on metal bar.SIN: I've seen it donebefore.CHANG: I will prove young lady not lying on metal bar.SIN: She's held up by wires.CHANG: Enough.SIN: You can't fool me.CHANG: Silence!SIN: Don't touch me! Help! Police! Murder!CHANG: You see? No wires,Mister Sin. I will now demonstrate art of levitation raising most beautiful lady high above own topknot.[SCENE_BREAK]KYLE: Name, sir?DOCTOR: Doctor. Leela.KYLE: Place of residence, sir?LEELA: We've only justarrived here.DOCTOR: We're on our way to the theatre, do you see.KYLE: Your home address will do for the moment, sir. You do have a permanent address, sir?DOCTOR: No, Sergeant. We're travellers.KYLE: I see.Persons of no fixed abode.DOCTOR: No, no, no, no. We do have an abode. It's called a TARDIS.KYLE: A TARDIS.DOCTOR: But it's not fixed.KYLE: I can give you and the young lady a fixed abode, sir. Quiteeasily.DOCTOR: Flat footed imbecile.KYLE: What was that, sir?DOCTOR: It was nothing complementary. Get on with it, Sergeant.KYLE: Now look, sir. We've got our hands full here, all these girls going missing in themanor, so if you'd just oblige us by answering any questions we'll get on a lot better. And a lot quicker.DOCTOR: Sergeant, all this is irrelevant. I've come here to lay evidence.KYLE: We'll come to that in goodtime.DOCTOR: We'll come to that now, Sergeant. We've just prevented a kidnapping, a robbery or even a murder. My friend here caught one of the attackers. Let's come to it now, shall we?KYLE: We've only your wordas to what he did, Doctor.DOCTOR: Tell him. Tell him.LEELA: The man they were carrying was dead. He had been stabbed through the heart!KYLE: Really, Miss. And how can you be sure of that?LEELA: I am a warrior ofthe Sevateem. I know the different sounds of death. Now put our prisoner to the torture!KYLE: Well, if that don't take the biscuit. Torture, eh? This isn't the Dark Ages, you know.LEELA: Make him talk.KYLE: He's aChinese, if you hadn't noticed. We get a lot of those in here, Limehouse being so close. Him jaw-jaw plenty by and by, eh, Johnny? I've sent for an interpreter.DOCTOR: That won't be necessary. I speak Mandarin,Cantonese, all the dialects.KYLE: Oh yes?DOCTOR: Yes. Ne how ma? Ni chi mao cora (and so on)KYLE: Yeah, very remarkable, I'm sure, Doctor, but since you're a party to the case, it isn't proper.KYLE: Now what? Thatcome from the river.[SCENE_BREAK]WOMAN: Look, there it is, guv. See? Look.QUICK: Hurry with that boat hook.WOMAN: It's a floater, all right. You've got it, guv.WOMAN: On my oath, you wouldn't want that servedwith onions. Never seen anything like it in all my puff. Oh, make an 'orse sick, that would.[SCENE_BREAK]KYLE: Good of you to come so prompt, sir.CHANG: Not at all, Sergeant. I'm always happy to be of service to thepolice. What can I do for you this time?KYLE: A complaint against this man, sir. The lady and gentleman here swear they saw him, in concert with others not in custody, carrying what appeared to be a body, sir.CHANG:Indeed.KYLE: A European body as I understand them, sir.CHANG: What happened to the others?LEELA: They got away. I caught this one.CHANG: You caught him? Remarkable.DOCTOR: Don't I know you?CHANG: Ithink not.DOCTOR: Yes, I've seen you somewhere before.CHANG: I understand we all look the same.DOCTOR: Are you Chinese? Yes, that's it. We must have. No, I haven't been in China for four hundred years.CHANG:Are you taking this matter seriously, Sergeant?KYLE: We are, sir. Will you question the man, sir?CHANG: Very well.CHANG: Can I have paper and pencil, please, Sergeant?KYLE: Certainly, sir.DOCTOR: Got it! Li H'senChang.CHANG: What?DOCTOR: The Master of Magic and Mesmerism. Show us a trick.DOCTOR: Very good. Very good.KYLE: I think he's dead, sir.DOCTOR: How did you do it?CHANG: I did nothing. What are yousuggesting.DOCTOR: Scorpion venom.KYLE: Scorpion venom?DOCTOR: Highly concentrated scorpion venom. It killed him almost instantly.DOCTOR: The Tong of the Black Scorpion.KYLE: Don't know that one,sir.DOCTOR: One of the most dangerous politico-criminal organisations in the world. Wouldn't you agree, Li H'sen Chang?CHANG: You seem remarkably well-informed, Doctor. Alas, I know nothing of these matters.Most regrettable incident. Goodnight, Sergeant.KYLE: Thank you, sir.CHANG: I'm sure we shall meet again.LEELA: Yes.CHANG: Perhaps under more pleasant circumstances.KYLE: Well, I don't know what to do aboutthis lot.DOCTOR: Then I'll tell you what to do, Sergeant. Organise a post-mortem. I want an analysis of the organs.KYLE: You want what, sir?DOCTOR: Well naturally I'm going to help. If the Tong of the Black Scorpion'shere in London, you're going to need all the help you can get. Now cut along and do as I say. Now!KYLE: Yes, sir.[SCENE_BREAK]CHANG: Faster, man, faster.[SCENE_BREAK]JAGO: Twinkle, twinkle, out in front.CASEY:Eh?JAGO: Gallery lights still burning.CASEY: I'll just go and see to them now, Mister Jago.JAGO: Everyone gone?CASEY: Aye, just locked up, sir.JAGO: I hope those girls go straight home to their digs.CASEY: Oh, thatthey will, sir, with all this in the papers. Nine are missing now, you know.JAGO: Nine. There was some fellow in here earlier blaming Chang of all people for some girl's disappearance.CASEY: Just vanished off thestreets, they have. Mostly in this area, too. What do you think's happened to them, Mister Jago?JAGO: Nothing good, Casey, nothing good. That's a stone certainty.CASEY: Oh, it says in the paper how it could be jollyJack at work again.JAGO: Jolly Jack?CASEY: The Ripper, Mister Jago.JAGO: The horrendous hyperbole of Grub Street, Casey.CASEY: Eh?JAGO: Newspaper gossip. They're probably just stony and scarpered. Cut alongnow. I'll wait for you here.[SCENE_BREAK]JAGO: I was right. It was blood. Blood all over the hand and wrist. How did that get there?CASEY: Ready, Mister Jago.JAGO: Oh, Casey. Don't ever do that to me again. If thecelestial Chang caught me trying to pinch his tricks. I had an idea that his dummy was a midget dressed up, but it's just an ordinary vent's doll.CASEY: Are we going to look down the cellar, Mister Jago?JAGO: Ofcourse, Casey. Of course. When I promise to do something. Determination, character. After you.[SCENE_BREAK]DOCTOR: They're what's known as a very dangerous bunch. Fanatical followers of an ancient Chinese godcalled Weng-Chiang.LEELA: The Tong of the Black Scorpion?DOCTOR: Yes. His followers believe that one day he'll come back and rule the world.LEELA: So what's he like, this Weng-Chiang?DOCTOR: Oh, very pleasantcompany. They say he blew poisonous fumes from his mouth and that he killed men with a white light that shone from his eyes.LEELA: Magic!DOCTOR: Superstitious rubbish. Here we are.QUICK (OOV.): They're inthere now, sir.[SCENE_BREAK]QUICK: Taken from the river not half an hour ago. Professor Litefoot's conducting his examination now, sir.DOCTOR: Yes, well, our case is much more urgent.QUICK: I wouldn't go in thereif I was you, sir.DOCTOR: Don't you worry about it. Don't you worry.[SCENE_BREAK]LITEFOOT: Thank you.LITEFOOT: Who the devil are you, sir.DOCTOR: I'm the Doctor, come to help you.LITEFOOT: When I needanyone's help in pathology, I'll ask for it.DOCTOR: The constable suggested a drowning case.LITEFOOT: Fished from the river, but he wasn't drowned.DOCTOR: By the look of those marks, an animal.LITEFOOT: Exactlywhat I think, but what kind of animal leaves mutilations like those?DOCTOR: Chisel-like incisors. A rodent?LITEFOOT: Yes, but that's impossible. Look at the size of them.DOCTOR: Hmm. Have you established the causeof death?LITEFOOT: Yes, that's another curious thing. All this happened after death.DOCTOR: Really?LITEFOOT: He was killed by a knife blow to the heart.DOCTOR: Are those his clothes?QUICK: Yes, sir. I'm just takingthem for examination.DOCTOR: Hold that.LITEFOOT: He was carrying no personal documents, but this indicates he was a licensed cab driver.)LITEFOOT: Easy enough to identify the poor chap by his number.LEELA:Doctor, those are the clothes the man we saw was wearing.DOCTOR: What I'd like to know is, what do you think of these?LITEFOOT: Some sort of hair.DOCTOR: Yes. I think they're rat hairs.LITEFOOT: Rat hairs? Doyou know what you're saying, man?DOCTOR: Yes, of course I know what I'm saying.LITEFOOT: But they're nearly three inches long. Hairs on a rat can't be more than what, quarter of an inch?DOCTOR: Interesting,isn't it, because I've just remembered something else about Weng-Chiang.LEELA: What?DOCTOR: He was the god of abundance. Yes, he made things grow. Can I borrow that?DOCTOR: Thank you.LEELA: Where are wegoing?DOCTOR: Stay there, Leela.[SCENE_BREAK]DOCTOR: Were you trying to attract my attention?DOCTOR: What's this?LEELA: A Janis thorn.DOCTOR: Yes. I thought I told you not to carryLEELA: He was trying tokill you.DOCTOR: Oh. Oh, well, in that case you'd better come along.LEELA: What is it?DOCTOR: The entrance to the sewers.LEELA: Blood. Is this where they took the body?DOCTOR: Yes.LEELA: Where's itgo?DOCTOR: Into the Thames eventually. All the sewers are connected.[SCENE_BREAK]LEELA: What are those creatures?DOCTOR: Rats.LEELA: They don't look very dangerous.DOCTOR: No, they're not. They're verycunning though. They're probably more afraid of us."}
+{"doc_id":"doc_215","qid":"","text":"[Scene: The Hospital, Ross and Rachel, who's in a wheelchair, are arriving in the waiting room for the maternity ward.]Ross: All right! (Checking his watch) Yes!! From home to the hospital in under seven minutes! Wedid it!!Rachel: (deadpan) Yes, the hard part is truly over.Ross: No, but come on, we're off to a great start aren't we? I knew I'd get you here fast, but this has got to be some kind of a record!(Phoebe and Monica walk infrom getting some coffee.)Phoebe: Oh you made it!Rachel: Hi! (Ross is stunned.)Monica: How are you doing?Ross: Wait a minute! How-how the hell did you beat us here?Monica: We took a cab. Did you guyswalk?Ross: N... No! We took a cab too, but I did test runs!(Chandler and Joey enter from the vending machines carrying sodas.)Chandler: Hi!Joey: Hey! You made it!Ross: Okay is there...some kind of magic tunnel tothis hospital?!Rachel: Ross, you stay here and talk, I'm gonna go have a baby.Ross: Okay. Okay. (To the nurse behind the desk.) Umm hi, this is Rachel Green. I'm Ross Geller. We-we called from the car.Nurse: Right!We have a semi-private labor room waiting for you. So in just a minute...Rachel: (interrupting her) Whoa-whoa-whoa-whoa! I'm sorry, semi-private? We (Laughs), we asked for a private room.Nurse: Yes, I see thathere. Unfortunately we can't guarantee a private room and currently they're all unavailable.Chandler: Man, if only you'd gotten here sooner. (Ross turns and glares at him.)Nurse: I'm sorry. Semi-private rooms are allwe have.Rachel: Okay. Just give us a second. Ross! (They walk away from the desk.)Ross: Yeah?Rachel: Give her some money.Ross: I really think they're out of rooms.Rachel: They're not!! Ross, they're just savingthem for the important people!! Okay?! What-what if I was the president?!Ross: Well then we'd be in a lot of trouble, you don't know where any countries are. (Rachel glares at him.) Okay. (He goes over to the deskfollowed by Rachel.) Uh, say would you umm... Would you mind checking again to see if any umm, private rooms may have (Handing her some money) opened up?Nurse: This is a hospital.Rachel: (standing up) Okay.Y'know what? I'd have to say I really don't care for your tone. And this is not the only hospital in this city and we have no problem to-Whoa! (She starts a contraction) Oh gosh! Whoa!Ross: What-what?Rachel: Ow! Ow!Contraction. (Sits back down.) Ow-ow! Ow-ow! (Starts breathing heavily.)Nurse: Would you like to see a semi-private room?Rachel: Yeah, it couldn't hurt to look.Opening Credits[Scene: The Semi-Private Labor Room,Rachel is in bed, Ross is fooling around, and Dr. Long is checking on Rachel.]Dr. Long: Well you're only two centimeters dilated and we need to get to ten. It'll be a while.Rachel: Oh, okay.Dr. Long: I'll be back in anhour to check you again.Ross: Thank you.Rachel: Thank you. (Dr. Long exits.) Well, I guess we have some time to kill.Ross: Yeah, guess so. Whew! Check these out! (He's looking at the stirrups on the other bed in theroom and Rachel groans. Ross then hops into the bed and puts his legs into the stirrups.) Never done this before.Rachel: Yeah well it looks great!(A nurse shows another couple into the room.)Man: Thank you verymuch.Woman: Thanks.(They stop when they see Ross who has to struggle to get out of the bed.)Ross: Hi! Hi, I'm uh Ross. I'm here to ruin this magical day for you.Man: Oh no-no, not at all.Woman: Don't worry aboutit.Man: Marc Coreger, this is my wife Julie.Ross: Hi Julie.Julie: Hi.Ross: This is Rachel. (Points at her.)Rachel: Hi!Marc: Oh hi Rachel.Rachel: How are you?Julie: Hi. Is this your first?Rachel: Yeah it is.Julie: Well, littleJamie here is our third. So, if you have questions or you need anything at all, just holler.Rachel: That's so sweet.Ross: Yeah.Rachel: Oh.Ross: Umm say, I-I opened this earlier (The privacy screen) but let me give youguys some privacy.Marc: No nonsense! We're all in this together.Julie: Yeah, we are going to share every moment of this with you. And I think we're gonna have some fun.Marc: Yeah.Ross: Oh, okay.Marc: Hey! Smile!(Points his camera at Ross and Rachel.)Rachel: Oh no, I really don't want any-(He takes the picture)-Oh! Thank you. Oh. Oh Ross...Ross: What?Rachel: Here comes another contraction.Ross: Oh. Okay, justbreathe.Julie: Oh honey, I think I'm having one too!(During the mutual contraction Julie takes a moment to point out they're having a contraction at the same time.)Marc: Look at this! (Takes another picture) There wego![Scene: The Waiting Room, the rest of the gang is lounging around.]Phoebe: (looking at the clock) Oh wow, three hours and still no baby. Ugh, the miracle of birth sure is a snooze fest.Monica: Hey, you wanna seesomething?Phoebe: Sure! What?Monica: Umm, this is going to be fun. Watch me freak out Chandler. Honey?Chandler: Yeah?Monica: Listen uh, I-I've been doing some thinking, and I don't know whether it's becausewe're here or Rachel's giving birth but umm, I think we should try to have a baby.Chandler: Okay.Monica: (freaking out) What-what-what's that now?!Chandler: Okay. I've been thinking about it too, and I, I think we'reready.Monica: What?! Are you kidding me?! You-you-you think we're ready to have a baby now?!Phoebe: Oh, this is fun.Joey: You're ready to have a baby? My boy's all grown up!Chandler: But you said you were readytoo.Monica: Yeah but I was just screwing with you to try to get your voice all high and weird like mine is now!Chandler: Yes, but haven't you wanted a kid like forever?Monica: Okay, just back off mister! Whoa. (Pause)'Cause I am ready to have a baby. I just want Joey to be the father.Joey: (voice all high and weird) What?! Are you crazy?!Monica: That's it! Right there! Is all I wanted![Scene: The Semi-Private Labor Room, timelapse, Ross is massaging out a cramp on Rachel's hip as Marc opens up the privacy screen.]Marc: I am so sorry. The doctor insisted on closing the curtain for the exam.Rachel: Oh, that's very-Really very-veryokay.Marc: Julie's cervix is dilated a seven centimeters, that's about four fingers. The doctor let me feel it myself.Julie: Have you felt Rachel's cervix Ross?Rachel: (simultaneously as Ross) No, I don't think we'll be doingthat.Ross: (simultaneously as Rachel) We're not gonna do that.Julie: Well, if you like you can feel Rachel's and then feel mine to compare.Mrs. Geller: (entering) Am I interrupting?Ross: Uh yes! Thank you.Rachel: Oh.Oh wait no.Ross: Later.Rachel: No-no-don't! Don't leave me here with these people.Ross: Oh uh, I'm sorry. (Runs out.)Rachel: No Ross! Ross! Ross! My child has no father![Scene: The Hallway, Ross comes out andhugs Mrs. Geller.]Ross: Hi! I'm so glad you're here, but it's gonna be a while. I-I wished you'd called first.Mrs. Geller: Oh that's all right, I'm coming back later with your father.Ross: Oh good.Mrs. Geller: I actuallyneeded to talk to you before the birth.Ross: Okay, what's up?Mrs. Geller: I brought something that I want to give you, assuming of course that you want it. (She holds up an engagement ring.)Ross: Ma, you're askingme to marry you?Mrs. Geller: This is your grandmother's engagement ring, I want you to give it to Rachel.Ross: Mom no, come on! Thank you.Mrs. Geller: Just hear me out!Ross: N-no! Okay? We've been through this!We're not gonna get married just because she's pregnant, okay?Mrs. Geller: Honestly! Ross, this isn't just some girl you picked up in a bar and humped. A child should have a family.Ross: Mom, y'know what? I-I can'tdeal with this right now. I'm sorry...Mrs. Geller: Just...think about it. If you don't, I'll talk more about humping.Ross: Gimmie! (Takes the ring and puts it in his coat pocket as Rachel enters the hallway.)Rachel: Hi!Mrs.Geller: Oh hi dear!Rachel: Oh, thank you so much for coming. Ross, get in here!(Mrs. Geller leaves as Ross re-enters the room.)[Scene: The Waiting Room, Ross is explaining to the gang what happened with hismother.]Ross: ...she came and dragged me out of the labor room to ask me why I'm not with Rachel.Phoebe: Yeah. (Pause) Why aren't you with Rachel?Ross: Are you kidding? Look, we're not gonna be together justbecause we're having a baby. Okay?Phoebe: But y'know what? It just seems that you two belong together.Ross: Okay, stop it! I can't deal with this right now. I have to go have a baby.Phoebe: Right. And with whoagain? (Ross exits.)Joey: God. He's crazy! Why doesn't he want to be with Rachel?Phoebe: I know!Joey: I mean seriously, she's like the perfect woman. I mean I know she turned me down, but if she hadn't and wantedto be with me, I would take her in my arms and... (Realizes everyone is staring.) I haven't bummed you guys out like this in a while have I?[Scene: The Semi-Private Labor Room, Ross is returning to find anothercouple has taken the place of Marc and Julie.]Ross: (To Rachel) Hey. Who's that?Rachel: New people.Ross: What happened to the Disgustingtons?Rachel: They're having their baby! It's not fair Ross we got here first!Right after you left they wheeled her off into delivery. Oh but not before she gave me a juicy shot of little Jamie just crowning away.Ross: Wow! Sorry. So uh, how are the new people?Rachel: Well they have uh, someunusual pet names for each other. Including umm, evil bitch and uh, sick b*st*rd. Oh God oh! Contraction!Ross: Yeah? Okay.Rachel: Ooh! Ow!!Evil Bitch: Are you looking at her?!Sick b*st*rd: No!Evil Bitch: Don't youlook at her you sick b*st*rd!Sick b*st*rd: Honey I swear! I wasn't looking at her!Evil Bitch: She's in labor! You like that you sick son of a bitch!Ross: Umm. Umm, I'm-I'm just gonna-(Closes the privacy screen.)EvilBitch: See? See? It was because you were looking fat pervert!Ross: No-no, I'm...I'm sure no one was looking. Just want some privacy. (He closes the screen and stares wide-eyed at Rachel.)Evil Bitch: You miss yourgirlfriend?Ross: Just ignore them.(Sick b*st*rd sits down in a chair that enables him to look around the screen and stare at Rachel.)Rachel: Ross.Ross: What? What?Rachel: He's looking at me.Ross: (to him) Hey! Youwanna live to see your baby?!Evil Bitch: Don't you talk to my husband like that you stupid b*st*rd!(Ross shrugs his shoulders to Rachel and Sick b*st*rd closes the screen all the way.)[Scene: Outside the Nursery,Chandler is looking at the babies as Monica walks up.]Monica: Oh good God! If you want a baby so bad just go steal it!(The nurse attending to the babies hears this, turns and stares at Chandler. Chandler moves Monicato the side and away from the nurse.)Monica: What is going on with you? Since when are you so crazy about babies?Chandler: I'm not crazy about babies. I'm crazy about us.Monica: What?Chandler: Look, we'vealways talked about having babies someday. I'm not saying it has to be right now, but I'm starting to think that we can handle it. We're good. We're really good.Monica: We are pretty good.Chandler: But nothing has tohappen until your ready.Monica: Well maybe I'm ready now. I mean, it's a little scary, but maybe it's right.Chandler: What?! It's not right! We're not ready to have a kid now!!Monica: What?!!Chandler: I'm kidding. Thisis going to be fun.Monica: So we're gonna try? I mean, are we trying?Chandler: We're trying to get pregnant. (They start kissing, but Chandler stops it.) Y'know I'm not really comfortable doing this in front of thebabies. So, when do you want to start trying?Monica: Okay, hold on a sec.Chandler: Period math?Monica: Yeah.Chandler: Yeah.Monica: Well, we could start trying. Now.Chandler: Right here?Monica: No, not here.Maybe here.Chandler: Wait a minute, it's perfect. We got a lot of time to kill and we're in a building that's full of beds!Monica: And it's so clean!!(They run off in search of a bed.)[SCENE_BREAK][Scene: The VendingMachines, Phoebe is buying a soda and Joey is shaking the candy machine.]Joey: Come on you stupid machine! Come on!Phoebe: Oh, it ate your money?Joey: (looking at her) No.Phoebe: All right, I'll see youdownstairs then.Joey: All right.Phoebe: All right.Joey: Hey I got one! I got one![Cut to the elevator lobby, Phoebe walks up and sees a man in a wheelchair with his broken leg extended.]Man: Hi!Phoebe: Hi.Man: Oh uh,up or down?Phoebe: Oh down please. (The guy tries to reach the button, but can't.) I-I hate to be a ball buster can I just do it? (She pushes the button.)Man: Could you press up too please?Phoebe: Sure! I feel so badfor you; I broke my leg once too.Man: Oh yeah? How'd yours happen?Phoebe: Well, it's a long story. It's kind of embarrassing. Let's just say there was a typographical error with a s*x manual. (The guy laughs.) Howabout you?Man: Car accident.Phoebe: Oh.Man: Oh, let me guess some idiot on a cell phone wasn't paying attention?Man: Yeah. Me. (The elevator door opens.) Oh hey, that's me. (Rolls onto the elevator.) Hey uh, Itake it you're just visiting someone.Phoebe: Uh-huh, yeah.Man: Well umm, if you have sometime y'know and maybe you might want to visit someone else...Phoebe: Oh yeah! I-I would like that.Man: I'm in themiddle... (The elevator door closes, cutting him off.)Phoebe: Wait! What?! No!! Elevator!! No!Joey: (standing behind her) Uh, you gotta press the button. (Does so.)[Scene: The Semi-Private Labor Room, Evil Bitch andSick b*st*rd are gone and Ross has just finished talking to a nurse as Rachel stands and stretches.]Ross: The nurse said they're bringing in another woman.Rachel: Ugh, is she pregnant yet? She doesn't need to be;she'll still have the baby before I do. Oh Ross, another contraction! (Leans back on Ross for some support.)Ross: That's it. That's it.(The next couple enters.)Woman: Oooh, that sounded like a bad one.Rachel: Yeah itwas.Woman: Mine haven't been so bad. Oh! Here comes one now. (Hums then squeals a little bit.) Oh, that was a big one!(Rachel motions for Ross to close the privacy screen, which he does.)[Scene: Another WaitingRoom, Phoebe and Joey are trying to find out where the guy with the broken leg is.]Phoebe: (to the nurse) Excuse me? Could you help me with something? The patient I'm looking for has a broken leg and is in awheelchair. And umm, he's like early to mid-thirties, very attractive.Nurse: I think I know who you're talking about.Phoebe: Oh yay! Great! Okay, what room number is he in?Nurse: I'm sorry, that information isrestricted to hospital staff...Joey: (walks up) Uh, she's with me. (Introduces himself) Dr. Drake Remoray.Nurse: Dr. Drake who?Joey: Remoray. It's Portuguese. We need that information; I'm a doctor.Nurse: A doctorat this hospital?Joey: Damnit woman we're losing precious time! Now do you want this man's blood on your head?Phoebe: Hands.Joey: Hands! It is absolutely essential that you tell me what room the man my assistantdescribed is staying in. He's a patient of mine, I've been treating him for years!Nurse: He's in room 816.Joey: 816, thank you!Phoebe: Thank you. (Starts to exit.)(Joey starts to leave, but stops.)Joey: And what is hisname?Phoebe: (coming back for Joey) No! (Grabs Joey and drags him away.)[Scene: An Empty Hospital Room, Chandler and Monica enter.]Monica: I think we found a place.Chandler: Okay. (They start kissing.)Monica:Umm, wait! Do you want to set the mood a little?Chandler: Okay. Uh, we'll dim the lights, dim the lights. (He goes to the light switch and finds it's not a dimmer switch when he flips the lights off.) Or turn them out alltogether. Uh, no scented candles. Okay here. Here we go. (He sprays an aerosol air freshener above her.)Monica: Okay! Okay! Make me sterile, but okay.(He hops onto the bed and they start making out.)Monica:Okay. Let's hurry-Oh wait! Do we have a condom? (He looks at her.) Oh right! (Laughs and they resume making out when a nurse catches them in the act.)Chandler: Yes, 98.6. You're gonna be fine.[Scene: OutsideRoom 816, Phoebe and Joey are approaching.]Phoebe: Ooh, this is it! (Looks in the window.) Oh, that's him! That's him!Joey: Great! Go get him.Phoebe: Wait a second, or maybe you can go in first.Joey: (looks in thewindow) He's not really my type.Phoebe: No not you, Dr. Drake Remoray. You can ask him questions and see what's he like. People tell doctors everything.Joey: But you said he was this great guy!Phoebe: But lately allthe guys I meet seem really nice at first, then they turn out to be the biggest jerks.Joey: You do attract some stinkers.[Scene: The Semi-Private Labor Room, Dr. Long is checking on Rachel again.]Rachel: Dr. Long, I'vebeen at this for seventeen hours! Three women have come and gone with their babies, you gotta give me some good news! How many centimeters am I dilated? Eight? Nine?Dr. Long: Three.Ross: Just three?! I'mdilated three!Dr. Long: We are moving along, just slowly. (Rachel lies back and sighs.) Don't worry, you're doing great. I'll be back soon. (Exits.)Rachel: Hey, y'know what? I'm not waiting! I'm gonna push this babyout! I'm doing it! I mean it's what? Three centimeters? That's gotta be like this! (Holds her hands a couple inches apart.)Ross: Actually it's more like this. (Pushes her hands to less than an inch apart.)Rachel: Oh stupidmetric system!(Another woman with a nurse and doctor enter, the woman is screaming.)Doctor: Oh my. We're gonna need to take you straight to the delivery room.Rachel: Oh for the love of God!Woman Giving Birth:(yelling from the hallway) It's coming! It's coming!Doctor: And here it is! (The baby cries.)Rachel: Oh come on!![Scene: Room 816, Dr. Drake Remoray is entering.]Joey: Hi! I'm Dr. Drake Remoray and I have a fewroutine questions I need to ask you.Man: Really? I've been dealing with Dr. Wells.Joey: I know, but I'm a neurologist. And just to be on the safe side, Dr. Wells wanted a more comprehensive overview of you status sohe sent me.Man: Dr. Wells is a woman.Joey: That was a test. Good response. All right, full name.Man: Clifford Burnett.Joey: Date of birth?Cliff: November 16th, 1968.Joey: Age?Cliff: Can't you figure that out based onmy date of birth?Joey: I'm a doctor Cliff, not a mathematician.Cliff: I'm 33.Joey: Okay. And uh, are you married.Cliff: No.Joey: Oh really? So, 33 and still single, would you say you have commitment issues?Cliff: Are allthe questions this personal?Joey: (checking the list) Yes.Cliff: Well uh if you must know I'm a widower.Joey: Oh that's terrible. I'm-I'm really sorry.Cliff: Yeah.Joey: Hmm. Do you sleep with women and never call themagain?Cliff: No.Joey: Excellent! Excellent! And uh, finally, are you into any weird stuff y'know, sexually?Cliff: No!Joey: Oooh, wrong answer. (Exits.)[Scene: The Semi-Private Labor Room, they're brining in yet anotherwoman.]Nurse: (calling to the woman) This room's available.Rachel: Okay! Okay wait! You listen to me! You listen to me! Since I have been waiting four women, that's four, one higher than the number of centimetersthat I am dilated, have come and gone with their babies! I'm next! It's my turn! It's only fair! And if you bring in one woman and she has her baby before me I'm going to sue you! Not this hospital, I'm going to sue you!And my husband (Points at Ross) he's a lawyer!Ross: Uh Rach...Rachel: Go get back on that case honey!Nurse: I don't think the next patient is very far along.Rachel: Okay, well then bring her in.(Another nurse wheelsthe next pregnant woman in.)Woman: OH....MY....GAWD!!! (Uh-huh, it's Janice.)(Ross and Rachel are, needless to say, stunned at the arrival of Janice.)[SCENE_BREAK][Scene: The Semi-Private Labor Room, continuedfrom earlier.]Janice: I....can't....believe this!Ross: And yet somehow it's true!Janice: I mean this is so great! We're gonna be baby buddies! (Does the laugh.)Ross: (To Rachel) Squeeze your legs together and cover thebaby's ears!Man: (entering, carrying a pillow) Hi sweetie!Janice: Hi! Hi sweetheart! This is my husband Sid, I don't think you've met him. Ross, Rachel, this is Sid. I nabbed him a year ago at the dermatologist's office.Thank God for adult acne huh? (Does the laugh.)Sid: I still can't believe it! I'm the luckiest guy in the world!Ross: (softly) Really?Sid: (To Janice) What'd he say?Janice: Oh y'know what? You have to speak very loudlywhen you're talking to Sid, because he's almost completely deaf.Rachel: Oh!Ross: Oh there you go!Rachel: I get it!Janice: So? Congratulations you two, I didn't even know you got married.Rachel: Oh we-wedidn't.Ross: No-no. We...Janice: What?!Ross: Um uh...We're-we're just having this baby together but uh, uh that's all.Janice: Why?!!Ross: Uh well umm...we're just not in that place, y'know? But we're very excitedabout this.Janice: Oh. Well then shut me up. (Does the laugh.)Rachel: Just tell me how.Janice: Uh-oh, I feel another one coming. (She makes a sound like a goose during the contraction.)Ross: Sid you lucky deafb*st*rd.[Scene: Outside Room 816, Joey is briefing Phoebe on Cliff.]Phoebe: What else? What else?Joey: Uh, well he's 33.Phoebe: Oh. Ah-uh.Joey: A widower.Phoebe: Oh.Joey: He seemed like a stand up guy. Oh, andhe's not into anything weird sexually.Phoebe: Enter Pheebs.[Scene: Another Hospital Room, Chandler and Monica enter and start making out.]Chandler: Should we tell Rachel there's an empty private room right next"}
+{"doc_id":"doc_216","qid":"","text":"EXT. CRUCasey : So, if the light we're seeing is millions of years old, then the stars might already be dead.Max : But it's not just the stars that are in the past. It's everything. Even you looking at me now.Casey : So,you're not you?Max : No, I'm me. But you're seeing me one billionth of a second ago.Casey : So... everything is history and relationships are just memories.Max : Except for the light.Casey : Which is in its own present,our past and someone else's future.Max : The Hawking of Hearts.Casey : You know what that means?ZBZ HOUSE - Casey & Ashleigh's room Casey just wakes up. She was dreaming...Casey : What? Why are you staringat me?Ashleigh : You were making out with your pillow.Casey : No, I wasn't!Ashleigh : Must have been an awesome dream. You were drooling.Casey : I don't drool! Much. KT HOUSE - Living roomRusty : All right.Lightning round. Loves rainy sunday mornings, is a Pisces, and can't live without cuts two, three and eight from \"The Best of Sting\". Ferret.Pickle : He is such a romantic.Rusty : Afraid of apricots?Ben Bennett :Wingnut!Pickle : That's Heath.Rusty : Heath is correct. Wingnut?Ben Bennett : This active recognition test is gonna be tough. I mean, likes, dislikes, embarrassing secrets...Pickle : I know more about the actives nowthan I ever wanted to know.Rusty : Except for this guy. Joshua Whopper.Pickle : Isn't that the guy who's always carrying a knife?Rusty : Whoever it is, we better figure it out or we're scrubbing toilets untilinitiation.Beaver : Empty your wallets.Ben Bennett : Why?Heath : Lunch buffet.Rusty : You're shaking us down for a strip club?Beaver : It's not just any strip club. It's Gentlemen's Choice. We need to make a Cappietrip.Rusty : Last time Cappie went to the strip club was when he was... Oh, no.Heath : No one mentions Rebecca.Rusty : Hey, Cap, so you broke up with Reb...Ben Bennett : You weren't supposed to...Cappie : What'sgoing on?Beaver : Nothing. Why?Cappie : Beaver. I'm fine.Pickle : So, I can get my money back then?Beaver : No.Cappie : Any last minute questions on the active recognition test? ART's in two days.Rusty : I haveone. I took the liberty of downloading National's list of current actives.Ben Bennett : Suck up.Rusty : There's an active on the list no one has ever seen. Or ever met. Who's Joshua Whopper?Cappie : Extra points forbeing industrious, Spitter, but don't worry about him. He's not on the test.Rusty : OK, yeah, but according to the rules of the Arts, each pledge must know every active.Cappie : But not Joshua. Trust me. Leave theWhopper alone. Credits ZBZ HOUSE - Dining roomAshleigh : Rebecca's been eating her feelings since 7:00 this morning. It's her second box of cereal.Casey : I wonder if she'll give away her clothes. I wouldn't mind thatMarc Jacobs cocktail dress. It was already pretty tight on her.Ashleigh : She and Cappie broke up.Casey : What? Really?Ashleigh : Looking for a job is way harder than I thought. What about babysitting?Casey : Andwhat about your irrational fear of little people?Ashleigh : Good point.Casey : You know, I'm actually thinking of hiring an astronomy tutor.Ashleigh : I could help. I love looking at the stars Casey :. That's what I thoughtthe class was going to be about when I signed up for it. But all we're learning about is black holes, dark matter, alternative universes.Ashleigh : Why don't you drop it?Casey : I still need one science course for generaled. So, who do you think I can get to help me?Ashleigh : Ivy took it last semester.Casey : Ivy? I think we're in a fight or something.Ashleigh : What about Rusty? He's science-y.Casey : And that worked out so well thelast time.Ashleigh : Oh, wait. What about Max?Casey : Max? Rusty's friend Max.Ashleigh : He must know all about astronomy. He worked for NASA or something I think.Casey : He's probably pretty busy.Ashleigh :Yeah, you're right.Casey : Still, it couldn't hurt to ask. Thanks. KT HOUSE - HallwayBen Bennett : Joshua Whopper looks exactly like Abraham Lincoln.Rusty : You see the problem?Pickle : The 16th president of theUnited States was a Kappa Tau?Rusty : Guys, get the fact that Abe is about 200 years old and was not a Kappa Tau. This is a trap. We have no idea who Joshua Whopper is. Which means, when Cappie said, \"Trust me,\"he probably meant, \"Don't trust me. Which means Josh Whopper is going to be on the active recognition test. And after every one of us fails we're going to be breaking out the gas masks, Hazmat suits, and we're gonnago on porcelain patrol until initiation. We gotta find the Whopper.Ben Bennett : How do we do that?Pickle : We look for a guy with a beard and a funny hat. CRU - Max's roomMax : Oh. It's you.Casey : Yes. And you'reyou? You're probably wondering what I'm doing here.Max : Would... Actually, I was thinking about... That's not really relevant now. So...Casey : I really need a tutor for Intro to Astronomy. And I know it's not yourmajor specifically, but Rusty mentioned you had some connection to NASA. Which got me thinking... I really need help with the class. Max... NASA... So I'm here.Max : Maybe this isn't such a good idea. It didn't go toowell with blackjack and Casino Night.Casey : Well, I'm big on second chances. Actually, I'm big on third and fourth chances, too.Max : Could you do tonight? 8:00 here?Casey : Sounds... intimate.Max : Well, it's just...where I live. CRU - AdministrationPickle : Excuse me, Miss Brown? Sorry. I'm the new guy. And I don't want to be a nark or anything, but I just saw a woman from admissions throw away her recycle bin 'cause she saidshe hated the Earth.Woman : Was it Constance? Big redhead? Show me, please. Thank you. I can't stand her. I mean, who does that? I've talked to her before about this... While Pickle and the woman leave, Rusty andben Bennett come...Rusty : Password protected.Ben Bennett : How long is this gonna take you to hack in?Rusty : Well, with the 256 bit encryption and double coded keys, between two hours and never. I need herpassword. Uh... Jordan. Sarah... Arlo...Ben Bennett : Hey, you know what I always do? I always tape my password to my top drawer.Rusty : No one does that anymore.Both : Password.Rusty : All right, we're in. JoshuaWhopper. Physics 405, English Lit 320, Chemistry 401. Straight A's?Ben Bennett : Wait a second. There's a Kappa Tau that's smarter than you?Rusty : Yeah, it appears so. And he has a class tomorrow at Lasker ParksHall. Let's go.MICHAEL'S HOMECalvin : \"40 Year Old Virgin\" is a masterpiece. Although \"Knocked Up\" runs a close second.Michael : But don't you think Judd Apatow's movies can be... a little misogynistic, kind ofhomophobic?Calvin : Was it the chest waxing thing?Michael : No, it was the \"you know how I know you're gay\" thing. It objectifies gay life.Calvin : So now you're gonna teach me about being gay? If I recall, last night Itaught you a few things.Michael : A point taken. But how many other gay people do you hang out with? I mean, besides me?Calvin : Is that a trick question? Fine. None.Michael : Then you have to admit that your worldview is slightly limited. Which is... why I was thinking we could go to Gentlemen's Choice.Calvin : You want to go to a strip club?Michael : No, the other Gentlemen's Choice. The hottest... Well... only gay bar in Cyprus.We'll meet up with some of my friends, we'll hang out.Calvin : Trash Judd Apatow...Michael : You've never been to a gay bar, have you?Calvin : I just don't really like tight shirts and guys in Daisy Dukes.Michael : Don'tmock what you don't know. Besides, that's not Gentlemen's Choice. Come on. It wouldn't hurt you to actually hang out with other gay people every now and then. Who knows. Maybe you'll even meet a friend or two.It's time to broaden your horizons.Calvin : Spread my big gay wings?CRU - DormtromsMax : So you break through the line and no one touches you, you keep on rolling. That's inertia. That's Newton's first law ofmotion. Then you power right through an undersize fullback. That's Newton's second law, force.Guy : Hell, yeah.Max : OK. Then the third law. You hit the quarterback, knock him out cold. For every action there is anequal and opposite reaction.Guy : Hell, yeah.Casey : Max, I was hoping to understand gamma ray bursts.Max : OK, yeah. That's a rocket of electromagnetic energy created by a collapsing star. Kind of a good and badthing if one heads our way.Casey : Bad first.Max : Well, the world would plunge into darkness, polar ice caps would melt and deep sea creatures would rule the earth.Casey : And the good?Max : Well, no more studentloans.Casey : Got it. But that would never happen, right?Max : Casey. No matter how invested you are in your view of the universe, you have to be prepared for things to change.Casey : Are we talking about gammarays or something else?Max : I don't know... Maybe neither.EXT. CRURusty : That's not something you see every day.Ben Bennett : What?Rusty : Cappie on campus.CRU - ClassRusty : Dr. Shapiro?Teacher : If youhave any questions about today's lecture, my office hours are this afternoon from 3:00-5:00.Rusty : No, I'm fine with today's lecture. Actually, I'm not even in your class. I just had a question about one of yourstudents. I'm looking for Joshua Whopper.Teacher : It's a lecture class. I don't know everyone individually.Rusty : Are you sure?Teacher : Well, anyone with an A in my class doesn't come to office hours. Sorry,gentlemen.Ben Bennett : Well, we're dead. Cappie's gonna ask us who Joshua Whopper is, and we got zip.Rusty : Wait. It's crazy. What if Josh... No. Cappie on campus...Ben Bennett : Why are you talking to yourself?I'm standing right here.Rusty : OK, Joshua's smart. He's secretive. He has dozens of majors. He hangs out at Lasker Parks Hall. What if Joshua Whopper is Cappie?EXT. CRUAshleigh : Wow. That sounds great. I'mgonna be a naturalist intern.Casey : You'll have to wear hiking boots.Ashleigh : So, how was your tutoring session?Casey : I'm less confused about astronomy and more confused about Max. OK, here it goes. I kind oflike him.Ashleigh : Oh, he's cute. Weird, but cute. So, how was it? Was it all gushy and romantic? Or did he get all science-y and weird?Casey : Neither. Both. I don't know. Honestly, I'm not sure whathappened.Ashleigh : Wait. He's not just an Evan/Cappie in a dork suit, is he?Casey : No, that's the strange thing. He's totally unlike Evan or even Cappie. Max is so far outside my normal dating pool, I can't read him atall. It's like all the usual fraternity/sonority dating rituals have been tossed out the window. We're from different planets.Ashleigh : You need a translator. Someone who can speak both Greek and geek.KT HOUSE -Cappie's roomCappie : French maid, hers. Amazon princess, hers.Rusty : What happened with you and Rebecca?Cappie : We figured we were headed in different directions, so better to cut it off now before anyone gothurt. Devil temptress, hers. Super chick. That's mine. Where are the bracelets?Rusty : And you're OK?Cappie : You mean do I need to go and get hammered at Gentlemen's Choice, pay a bunch of naked girls to pretendthey love me? No. That sounds like fun.Rusty : You're not joshing me?Cappie : Nope. I'm not joshing you. Oh, let's see. Margaret Thatcher. Mine.Rusty : Margaret Thatcher was one whopper of a prime minister? Maybeshe was listening to Josh Groban, watching Judge Wapner.Cappie : I'll bite.Rusty : I know who Joshua Whopper is.Cappie : No. You don't.Rusty : Oh, yeah, I do. Dozens of majors, secretive about his name, smarterthan he lets on and he was walking out of Lasker Parks Hall. I saw him. He's you. You're him.Cappie : Rusty, you don't want to go there.Rusty : Why not? I figured it out, didn't I? I know your real name.Cappie : Youdon't. Because if you dug a little deeper, Nancy Drew, you would have discovered that Joshua Whopper has been a student at CRU since 1984, which just so happens was a dark time for the Kappa Taus. \"Thanks to theinvention of the microchip, CRU was finally able to track grades by computer. And the administration began to enforce Greek minimum grade point averages. It didn't appear that the Kts would survive. The only personin the house making grades was a pledge. Lasker Parks, a computer science geek.\"Rusty : Lasker Parks? He invented the...Cappie : Uh, Spitter, don't interrupt. \"So, Lasker enlisted his pledge class for help. They stolethe password to the university mainframe and for their pledge project they created Joshua Whopper, a computer program. A safeguard to ensure that the Kts will never again fall prey to grade standards. Everysemester the program chooses random large classes and enrolls Joshua Whopper and awards him an A.\"Rusty : So, the less attention Joshua Whopper gets, the better.Cappie : Yeah. And don't tell the pledges abouthim. This is something you're supposed to learn as an active.Rusty : Well, why do we even need him? It's...Cappie : Have you seen our grades? Without Josh they would have shut us down years ago. So, youunderstand why this has to remain a secret?Rusty : Totally. Oh. Hey, you forgot this.Cappie : Nope. That's mine.EXT. CRUAshleigh : So, it turns out a food service coordinator is actually...Calvin : The guy who makesthe French fries.Ashleigh : Exactly. Which is why I told him I'd go broke keeping my pores clean.Calvin : I'm sure they understood.Ashleigh : I know, right? Plus, if I took the job I'd have even less time to see you.Calvin: Yeah, I know. It has gotten pretty intense with Michael and me.Ashleigh : I knew you guys would hit it off. Hey, why don't we all go to Dobler's tonight? You treat this time and then I'll pay when I get a... Maybe...Maybe I could be a bouncer.Calvin : I'm actually hanging out with Michael tonight.Ashleigh : That's... good.Calvin : But you should come.Ashleigh : Really?Calvin : Yeah. I wouldn't mind the company. We're going toGentlemen's Choice.Ashleigh : The strip club?Calvin : No, the other one.Ashleigh : Oh. Yay !CRU - Dale & Rusty's roomDale : ... is afraid of the color green, has never eaten chicken, and likes to chase geese?Rusty :Jeremy.Dale : Dude, do you honestly want these guys to be your brothers? I don't even know how most of these kids got into CRU. And what kind of parents name their kid Ferret?Rusty : You promised not todisparage.Dale : I'm sorry. I'm just not impressed, that's all. Here's a winner. \"Barks at parked cars.\"Rusty : That's Pillbox.Dale : Sadly correct. This guy has some promise. Smart, stable, good family life. Realname?Rusty : I don't know. I give up.Dale : Joshua Whopper. Someone knock on door...Rusty : I think we're done.Dale : Who is this guy? Is he smarter than me? Rusty opens the door...Dale : Hey, Casey. Just...helping out your little brother here. You know, 'cause I care.Casey : Rusty, can I talk to you for a sec? In private?Rusty : Sure.Dale : No, no. You guys don't have to leave. I'll just, uh, listen to my music. You know,meditate. Expand my mind.Rusty : What's up?Casey : Rusty. There's someone on the honors engineering floor who I kind of like.Rusty : Here?Casey : I kind of like... Max.Rusty : I should warn him.Casey : What do youmean?Rusty : 'Cause you date like Sherman marched, Casey. With scorched Earth and broken spirits left in your wake.Casey : OK, A: ouch, and B: all I need you to d is find out if he likes me. That's it.Rusty : That'sjust way too junior high dating strategy.Casey : How would you know?Rusty : OK, A: ouch. And B: because I read your diary.Casey : Fine. Please, Rusty. Please, Rusty, please!Rusty : OK. Stop, stop. All right, I'll doit.Casey : I knew I could count on you, little brother.Rusty : I'm the best.Casey : Yes, you are. Casey leaves...Dale : Max? Really? The guy's a freakin' loser. KT HOUSE - Hallway Someone ring the frontdoor bell...Cappieopens the door...Woman : Hi. I'm looking for Joshua Whopper.Cappie : Why would you... Why would you need to do that?Woman : I'm Claire Golan, Dr. Shapiro's TA, and after some students came to Dr. Shapirolooking for him she checked her midterms. His test is missing, which means Dr. Shapiro's gonna kill me.Cappie : Well, Claire, I'm sorry to hear that, but it was nice knowing you.Woman : Then she'll take it to theGender Studies Review Board, then the Academic Review Board.Cappie : All those people will have to meet Joshua Whopper?Woman : Yes, they would. Unless I can get this all cleared up.Cappie : Today's your luckyday, because... I'm Joshua Whopper.Woman : You are? Great. Then would tonight be OK, 9:00?Cappie : Sure. For what?Woman : For the make up midterm. While the material's still fresh?Cappie : Tonight,tonight?Woman : That's so cool of you. You're a total lifesaver.Cappie : Hey, Claire, I'm taking two gender studies classes with Dr. Shapiro. Which one is this again?Woman : The Phallus. CRU - Max's roomRusty : So,you're tutoring my sister now?Max : Yeah, we only did it once. No, I mean tutoring. I'm not... I didn't... I wasn't saying that...Rusty : OK, thank you. Good to know.Dale : I've won a lot of awards too, Max. A lot biggerthan the... National Science Foundation gold medal.Max : Oh, that one. I assisted Professor Lowy with his work on fuel cell technology. Dale, maybe you can answer this. Why do they always put the environmentalawards on the wooden plaques?Dale : Nobody likes a show-off, Max.Rusty : But with all that studying and tutoring, I bet you don't have much time to date.Max : No. Not really.Dale : European Science FoundationLegion of Honor?Max : Ah, the Neues Schloss Hotel in Zurich is pretty cool.Rusty : It's hard to tell if they like you as much as you like them. So you test the waters...Max : Agreed. Maybe... maybe it'd be smart to... aska family member. See if the other person's interested...Dale : For heaven's sake, will somebody just say what they really mean? Max, I demand to know your intentions.Max : Is he all right?Rusty : Apparently not.Who's that? She's pretty. Is that your sister?Max : Girlfriend.Dale : Thank you. ZBZ HOUSE - Living roomCasey : I don't get it. I asked him to tutor me. Why didn't he just say he had a girlfriend?Rusty : Why would hedo that?Casey : You're kidding, right? Asking him to tutor me meant I was interested in going out. If he has a girlfriend he should have said no.Rusty : What would you say if you just wanted him to help you with yourclass?Casey : That I wanted him to tutor me. You really didn't pay very close attention to my diary. You know what? I'm bowing out before this gets super complicated. This is what you get when you try to dateamateurs. Will you make sure Max gets it? I owe him for an hour of tutoring. Rusty's cellphone rings...Rusty : Hey, Cap ! What's, uh... OK, I'll be right there. A few minutes later...In the dining room...Ashleigh : Lookslike we have a 1066 here.Rebecca : Serial killer?Ashleigh : Major crime alert. I'm thinking of becoming a student security officer.Rebecca : Their uniforms are hideous.Ashleigh : OK, you know what you need?Rebecca :A bigger spoon?Ashleigh : An evening out with me and Calvin at Gentlemen's Choice.Rebecca : The strip club?Ashleigh : No. The other one.Rebecca : I'll take a pass. I'm not in the mood to hang out in a bar packed withguys.Ashleigh : But these guys are exactly what you need. Gay bars are tailor made for depressed straight girls. There's lots of great music, hot guys that don't hit on you, and all night they tell you you're fabulous. KTHOUSE - Cappie's roomRusty : All right, lightning round. Who said a male's masculinity is defined by his relationship with not only his but a woman's phallatical display?Cappie : I have no idea, but it sounds kind ofhe-she.Rusty : No offense, but we're screwed. This books are scary thick and I can't even wrap my head around the class description in the syllabus. \"The thrust of the phallus is how perceptions of masculinity affectpsycho, social and interpersonal relationships.\"Cappie : Rusty, don't go soft on me.Rusty : Cap, I'm beat. This class is really hard. I just can't cram it in fast enough.Cappie : All right. We need a helping hand. Reachunder those books.Rusty : What are you thinking?Cappie : We get everybody in here, we bang our heads together, everyone pitches in. If Joshua Whopper's going down he's not taking the rest of us with him. Clearlywe've all taken gender roles for granted.[SCENE_BREAK]KT HOUSE - Living roomBeaver : I've never had such clarity before. Maybe we'd be better brothers if we treated each other as sisters.Heath : An open exchangeof feelings.Beaver : Sadly, it appears our phalluses have led us astray.Cappie : I'm gonna miss you. I'm gonna miss you, too.Beaver : Now I know I have a heart... because it's breaking.Cappie : And, uh... I think I'mgonna miss you most of all, Scarecrow.Rusty : I'm going with you.Cappie : Right. Sorry.Heath : Hey, Beav, are you... Are you crying?Beaver : Yes, and I don't care. But I didn't get you anything.Ben Bennett : Later.Just take a sip.Pickle : We were thinking about going to the backyard, just blowing some stuff up.All : Yes! ZBZ HOUSE - HallwayMax : Hey, Casey? Sorry to bother you. I came to return your check. I can't cash it.Casey"}
+{"doc_id":"doc_217","qid":"","text":"Produced by: Robert Carlock & Wendy Knoller[Scene: Central Perk. Everyone's sitting on the couch and Phoebe enters.]Phoebe: HiAll: Hey! Hi!Rachel: How was the honeymoon?Phoebe; Oh, incredible! Oh! Champagne,candle-lit dinners, moonlight walks on the beach, it was sooo ro-man-tic!Rachel: Oh!Chandler: So, where's Mike?Phoebe: Oh, he's at the doctor, he didn't poop the whole time we were there!Joey: Well anyway, I'm gladyou're back, I really need your help.Phoebe: Oh, why? What's up?Joey: I have an audition for this play and for some of it I have to speak French. Which, according to my résumé, I'm fluent in.Ross: Joey, you shouldn'tlie on your résumé.Monica: Yeah, you really shouldn't. (to Ross, sarcastically) By the way, how was that year-long dig in Cairo?Ross: (whispering) It was ok...Rachel: I did not know you spoke French.Phoebe: Oui, biensur je parle Français! Qu'est-ce que tu penses alors?Rachel: Oh... you're so sexy!Joey: Well, so, will you help me? I really wanna be in this play.Phoebe: Sure! Tout le plaisir est pour moi, mon ami.Rachel: Seriously stopit, or I'm gonna jump on ya.OPENING CREDITS[Scene: Monica and Chandler's apartment.]Chandler: Hey.Monica: Hey.Chandler: Why are you wearing my apron?Monica: I'm making cookies for Erica. And oh, by theway, we have to leave for the airport soon, her plane comes in about an hour.Chandler: Oh, hey, when she gets here, is it ok if I introduce you two as \"my wife\" and \"the woman who's carrying my child\"? (she's notamused) No? Divorce?Ross: (he enters) Hey.Monica: Hey.Ross: You guys know where Rachel is?Monica: No, we haven't seen her since this morning.Ross: So unbelievable. She was supposed to meet me half an hourago with Emma. (he tries to take a cookie but Monica slaps his hand)Monica: Hey!Ross: Hey!Monica: These are for Erica!Ross: What? She's gonna eat all those cookies?Monica: Well, I want he baby to come out all cuteand fat!Ross: So, why is Erica coming to visit?Monica: Well, because we want to get to know her better and she's never been to New York so she wants to see all the tourists' spots... you know, Statue of Liberty, EmpireState Building...Chandler: Oh, those places! There's always so many people, their being corralled like cattle, and... you know, there's always some idiot who goes \"Mooooo\"!Monica: Well, if it annoys you so much, thenwhy do you do it?Ross: (looking at Rachel entering with Emma) Oh, hi! Hi! Thanks for showing you up thirty minutes late!Rachel: Ross...Ross: No, no, no, I'm sure you have a great excuse, wh-was it a hairappointment, a mani-pedi or was there a sale at Barney's?Rachel: My father had an heart attack... (crying) ...while I was at Barney's.Ross: Oh my God.Monica: Honey.Chandler: I'm so sorry...Ross: Is-is he ok?Rachel:Yeah, they said he's gonna be fine, but he's still heavily sedated.Ross: Ok, ok. I'm gonna come out to Long Island with you, I mean, you can't be alone right now.Rachel: No, come on, I'm totally ok. (hugging him) Idon't need you to come! I can totally handle this on my own.Ross: Still-still, let me come... for me.Rachel: Ok. If you really need to.Ross: I bet someone could use one of Monica's freshly baked cookies.Rachel: Oh, Ireally could.Ross: Oh!Rachel: Ohh... (Ross mouths HA-HA at Monica and takes two cookies and she looks at him angrily)[Scene: Central Perk. Phoebe's trying to teach Joey French, so she's sitting in front of him withthe script in her hands.]Phoebe: All right, it seems pretty simple. Your first line is \"My name is Claude\", so, just repeat after me. \"Je m'appelle Claude\".Joey: Je de coup Clow.Phoebe: Well, just... let's try it again.Joey:Ok.Phoebe: Je m'appelle Claude.Joey: Je depli mblue.Phoebe: Uh. It's not... quite what I'm saying.Joey: Really? It sounds exactly the same to me.Phoebe: It does, really?Joey: Yeah.Phoebe: All right, let just try itagain. Really listen.Joey: Got it.Phoebe: (slowly) Je m'appelle Claude.Joey: Je te flouppe Fli.Phoebe: Oh, mon Dieu!Joey: Oh, de fuff!Monica: (entering with Erica and Chandler) Hey you guys.Phoebe: Hi!Joey:Hey.Monica: I want you to meet someone really special. Phoebe, this is Erica. And this is the baby!Phoebe: Oh!Monica: Joey. Erica, baby!Joey: Hi.Monica: Everyone. Erica, baby!Chandler: Monica. Calm, self.Erica:Thank you. It's really nice to meet you guys, I can't believe I'm here!Joey: Welcome to New York City! Or should I say \"ghe deu flooff New York City\"?Chandler: Why would you say that?Phoebe: Ok. What are you gonnabe doing today?Erica: I wanna see everything! Times Square, Coney Island, Rockefeller Center...Joey: Oh, you know what you should do? You should walk all the way at the top of Statue of Liberty.Erica: Oh yeah, let'sdo that!Chandler: Great! (to Monica) This baby'd better to be really good.[Scene: Hospital.]Rachel: (stopping a nurse who's coming out of a room) Oh, uhm, excuse me, I'm here to see my father. My name is RachelGreen.Ross: And I'm Doctor Ross Geller.Rachel: Ross, please, this is a hospital, ok? That actually means something here.Rachel: Can somebody please go in?Nurse: Absolutely.Ross: Rach, I think I'm gonna wait outhere, because my throat is feeling a little scratchy, I don't want to infect him.Rachel: Ross, please, don't be so scared of him!Ross: I'm not scared of him, I'm really sick!Nurse: He's under sedation, so he's pretty muchout.Ross: I'm feeling better.Rachel: Oh! (They enter. Rachel sees his father, lying on a bed, with tubes, drip and everything) Oh! Oh my God! Ohhh, ohhh, wow, that ear and nose hair trimmer I got him was just moneydown the drain, huh?Nurse: Miss Green, your father's doctor is on the phone if you'd like to speak to him.Rachel: Oh, great, Are you gonna be ok?Ross: He's unconscious, I think we'll be just fine!Rachel (leaving):Ok.(Ross goes into the room where Dr. Green is laying unconscious. He turns on the TV, puts his feet on the bed and starts watching a dinosaur movie where the dinosaur is caught by two cowboys. Dr. Gellerawakes.)Ross: Did the TV wake you?Dr. Green: No, when you put your feet up in my bed, you tugged on my catheter.Ross: Ouchy.Dr. Green: What are you doing here, Geller?Ross: Well, I came with Rachel, whoshould be back any second! (pause) So what's new?Dr. Green: Ooh, I have a little heart attack.Ross: Right, is it painful?Dr. Green: What, the heart attack or sitting here talking to you?Ross (he buzzes for the nurse)Let's see if we can get that Rachel back here.Dr. Green: So what's new with you, uh, knocked up any more of my daughters lately?Ross: Nope, just the one. RACH![Scene: Joey's apartment. Phoebe is trying to teachJoey French.]Phoebe: Je m'appelle Claude.Joey: Je do call blue!Phoebe: Noooo! Ok, maybe if we just break it down. Ok, let's try at one syllable at a time. Ok? So repeat after me. \"je\".Joey: je.Phoebe: m'apJoey:mahPhoebe: pelleJoey: pel.Phoebe: Great, ok faster! \"je\"Joey: je.Phoebe: m'apJoey: mahPhoebe: pelleJoey: pel.Phoebe: Je m'appelle!Joey: Me pooh pooh!Phoebe: Ok, it's too hard, I can't teach you!Joey: What areyou doing?Phoebe: I, I have to go before I put your head through a wall. (she leaves)Joey: (he goes out calling her) Don't move! Don't go! I need you! My audition is tomorrow! Shah blue blah! Me lah peeh! Ombrah!(he gives up). Pooh.[Scene: Green's mansion. Rachel's Room. Rachel's is combing her hair; Ross's coming into the room]Ross: Hey!Rachel: Hi!Ross: I was gonna make us some dinner but all I found in your dad's fridgewas bacon and heavy cream. (pause) I think we solved the mystery of the heart attack.Rachel: Uh. (pause) Did you call your parents?Ross: Oh, yeah. Emma's doing great.Rachel: Oh good.Ross: Wow.Rachel:What?Ross: Just can't believe I'm in Rachel Green's room.Rachel: What do you mean? You've been in my room before!Ross: Yeah, sure, right! Like I've ever been in Rachel Green's room.Rachel: Ok I gotta tell ya, it'sreally weird when you use my whole name.Ross: Sorry. (Rachel sits on her bed). You ok?Rachel: Yeah.Ross: You had a rough day, uh?Rachel: Yeah, just so weird seeing him like that, you know? I mean he is a doctor,you don't expect doctors to get sick!Ross: But we do! (pause) It's gonna be ok, Rach!Rachel: (she's sad) Ow. I don't want him to wake up alone! I should go to the hospital!Ross: What? No, no! Hey, hey, heylook...Rachel: What?Ross: They gave him a lot of medication, ok? He wouldn't even know if you were there. Look, we'll go see him first thing in the morning, ok?Rachel: Really, I shouldn't feel guilty?Ross: No, God!Hey, Rach, you've been an amazing daughter, ok? Right now you just need to get some rest.Rachel: Ok, maybe you're right.Ross: (he kisses her on her forehead) Good night.Rachel: Wait, wait, wait, wait. Would youstay here with me for a little while?Ross: Sure!Rachel: Ok. (She sits on the bed and Ross sits near her) Thank you for coming with me today.Ross: Oh, of course...Rachel: Rachel Green is very happy you're in herroom!Ross: Me too. Come here. (They hug)Rachel: I just don't want to be alone tonight.Ross: Ok, well, uh, I can maybe grab a sleeping bag, or...(There's one of those moments. They're staring at each other, no worduttered, and then she leans toward him in order to kiss him, but he ducks and avoids her more than once.) Oh, oh. (he then hugs her and when she tries to kiss him again, he stands up and she falls down on the bed).No, Rach! I'm sorry, I just don't think this, this, this is a good idea.Rachel: Wait, we won't know that until we do it, will we?Ross: No, look, uh. You are upset about your father and you're feeling vulnerable and I justdon't feel it would be right, I'd feel like I'd be, you know, taking advantage of you.Rachel: Taking advantage? I'm giving you the advantage, enjoy!Ross: Look, I'm sure it would be great, but I-I think one of us has to bethinking clearly, so, I'm gonna go!Rachel: Wow. Ok.Ross: I'll see you in the morning (he leaves).Rachel: Mhm-mh!Ross: (outside her room, talking by himself) Haven't had s*x in four months, I should get a medal forthat![Scene: Monica's apartment. Monica and Erica have just arrived.]Erica: Thanks so much for taking me to all those places. I had a great time.Monica: Oh, I'm glad. Listen, I want to apologize about Chandler,though. I just did not see this coming.Chandler: (enters the room wearing an \"I love New York\" t-shirt, a \"Statue of Liberty\" hat and carrying bags) New York is awesome!Monica: What is with you?Chandler: Yeah, I'vebeen to these places before, but I've never really seen them, you know.Monica: Yeah, you miss alot, when you're moo-ing.Erica: Thanks so much for showing me around.Monica: Oh! It was our pleasure. We are somuch enjoying getting to know you.Erica: Well, if there is anything else you wanna know... (Monica and Chandler look at each other)Chandler: Oh, uhm, okay, uhm, do you mind if we ask you some questions about thefather?Erica: Oh, sure. Yeah, well, he was my high school boyfriend. Captain of the football team, really cute and he got a scholarship and went off to college. (Monica and Chandler are smiling from ear to ear)Chandler:That's great.Erica: Yeah... it's almost definitely him. (Monica and Chandler look confused now)Monica: How's that now?Erica: Well, there is a chance it's another guy. I mean, I have only ever been with two guys, butthey sorta overlapped.Chandler: So, what does the other guy do? Does he go to college too?Erica: No, he's in prison. (More shocked looks from Monica and Chandler)Monica: Was he falsely accused of something? (Theylook hopeful)Erica: No... he killed his father with a shovel. (Monica and Chandler's jaws drop) But other than that, he's a great guy.Chandler: I'll bet his dad doesn't think so.(Time lapse. Chandler and Monica are in bednow)Monica: Are you awake?Chandler: Of course I'm awake. Assume from now on that I'm always awake! (He turns the light on)Monica: Alright, we don't know that it's him. I mean, it could be the footballguy.Chandler: Honey, it's us. Of course it's the shovel-killer.Monica: Alright, lets say that it is him, would we not want the baby? No! Would we treat him any differently?Chandler: I'd keep an eye on him! We have tofind out which one the father is.Monica: How?Chandler: I dunno, aren't there tests for these things, right?Monica: Yeah, but maybe we're just over-reacting.Chandler: Pff, easy for you to say, he's a father killer. Heprobably loves him mommy. He's probably got a tattoo that says \"mom\" on his shovel-wielding arm![Scene: Joey's apartment. He is sitting on the barcalounger holding a French study book and listening to a Frenchlearning tape.]Tape: We will now count from one to five. Un, deux, trois, quatre, cinq.Joey: Huh, un, blu, bla, flu, flenk!Tape: Good job.Joey: Thank you.(Phoebe enters)Phoebe: Hey Joey.Joey: Hey!Phoebe: Listen, Ifeel really badly about yesterday and I thought about it a lot and, and I know, I was too impatient. SO lets try it again.Joey: Oh, no, that's okay, I don't need your help. I worked on it myself and I gotta say, I am prettygood!Phoebe: Really, can I hear some of it.Joey: Sure, sure. Ok, (clears his throat and starts to read from his script. He starts talking in a fake French accent, making gestures with his hands) \"Bleu de la bleu, de la blubla bleu\" (Phoebe looks astonished, annoyed and disgusted, Joey seems very proud though) See?Phoebe: Well, you're not, (she tries to smile and contain her anger, but loses it) You're not... you're not... again, you'renot SPEAKING FRENCH!Joey: (offended) Oh well I think I am, yeah and I think I'm definitely gonna get the part.Phoebe: How could you possibly think that?Joey: For one thing, the guy on the tape said I was doing agood job![SCENE_BREAK][Scene: The hospital. Rachel is pouring her self a cup of coffee. Ross approaches from behind.]Ross: Hey Rach, can you grab me a cup of coffee?Rachel: (She turns around very slowly, looks athim for a second and then turns back to her coffee) Sure. (She gives him the cup she was pouring for herself without looking at him)Ross: You've been quiet all morning. Is everything okay?Rachel: Hmm-hmm. (startsto pour herself a cup of coffee, never looking at Ross)Ross: You sure you're alright?Rachel: (coldly) Yep.Ross: (knowing she's not alright) O-kay. Well, I'm gonna go grab us some breakfast. (He starts to leave)Rachel:FYI..Ross: (knew this was coming) There it is... (he comes back)Rachel: In the future, when a girl asks for some ill-advised sympathy s*x... just do it. (she smiles fakely at him)Ross: (half amused) Wait, wait, (looksaround a little) You're mad at me about last night? I was just trying to do the right thing.Rachel: (sarcastically) Really? Well, it seems to me if you'd done the right thing, I would not have woken up today feeling stupidand embarrassed, I would have woken up feeling comforted and satisfied!Ross: (acknowledging the last part of her sentence) Well...Rachel: Oh stop that!Ross: I can't believe this. I was just being a good guy. I treatedyou with respect and understanding.Rachel: (sarcastic) Oh, that is so hot. She walks around him to the other side)Ross: Hey, I was looking out for you.Rachel: Oh, really, well Ross, you know what? I am a big girl. Idon't need someone telling me what is best for me.Ross: I gotta say, I have not had s*x a lot of times before, this is the worst ever.Rachel: Oh, really, really? Well, it wasn't very good for me either. (She turns to leaveand Ross over takes her and stands infront on her, his back to the row of doors leading to the hospital rooms)Ross: Hey you know what? You know what? To avoid this little thing in the future, let's just say, you and me,never having s*x again.Rachel: What?Ross: That's right, s*x is off the table. (The door starts to open behind him and Dr. Green emerges) I am never having s*x with you again. (Rachel stays quiet and after a fewmoments Ross realizes what has happened. He turns abruptly) Dr. Green, are you feeling better? (Rachel's dad glares at him with a deadly look)[Scene: Monica and Chandler's apartment. Monica and Erica enter,Chandler is in the kitchen.]Chandler: Hey! How was lunch?Erica: (To Chandler) We had a good time. By the way, I wanted to ask you something. It would really mean a lot to me, if the baby was a boy, that you namehim after my father, Jiminy Billy Bob (Monica smiles at Chandler and his he looks shocked and scared, getting no support from his wife)Chandler: (struggling) Oh, really?Erica: No! (To Monica) You we're right, that wasfun! I'm gonna go finish packing.Chandler: O-okay. (steps closer to Monica and speaks softly) So, is she gonna take the test?Monica: Nope, she doesn't have to, I found out who the father is.Chandler: Oh God. It'sshovely-Joe, isn't it?Monica: (smiling) No it's not.Chandler: How do you know?Erica: Well, it turns out that Erica didn't pay much attention in s*x Ed class, because the thing she did with that prison guy... it'd be prettyhard to make a baby that way.Chandler: Oh God! What was it? The thing that we hardly ever do or the thing we never do?Monica: The thing we never do.Chandler: (nods in appreciation) Shovely Joe![Scene: Thetheatre where Joey is auditioning. Phoebe enters when Joey's on stage and she sits down. He hasn't seen her.]Director: Whenever you're ready Joey.Joey: Right. (clears his throat) Dja bu bu Claude. Uh, c'est la pu lesla lu blah bloo.Casting assistant: I'm sorry, what's going on?Joey: Dude, come on! French it u-up!Director: Joey, do you speak French?Joey: Toutes la smore! Bu blu-ay bloo blah ooh! Pfoof!Director: You know what. Ithink this audition is over. (Joey looks disappointed, but understands.)Phoebe: (in a French accent) Uh, excuse me. Uh, I am Reginé Philange. I was passing by when I heard this man speaking the regional dialect of myFrench town of Estée Lauder.Director: You really think this man is speaking French?Joey: Sa-sa-saw!Phoebe: Écoutez, je vais vous dire la vérité. C'est mon petit frère. Il est un peu retardé. (Translation: Listen, I will tellyou the truth. He's my little bother. He's a bit retarded.)(The director looks at Joey and he nods.)Phoebe: Alors, si vous pouviez jouer le jeu avec lui... (Translation: So, would you please just humor him?)Director: (toJoey) Good job, little buddy. That was some really good French. But I think we're gonna go with someone else for the part.Joey: Ah. All right. But my French was good?Director: It was great.Joey: (to Phoebe) Oh-hoh!Ha-hah! See!Phoebe: (to the director) Merci. Au revoir. (Translation: Thanks, goodbye.)Joey: Yeah-hah. Toute-de-le-fruit.[Scene: Joey and Rachel's apartment. Rachel is sitting at the kitchen counter and Ross entersfrom Rachel and Emma's room.]Ross: Emma's down for the night.Rachel: Oh, good.Ross: So uh... I guess I wanna take off.Rachel: Okay... Hey listen, just before you go I-I again, I just wanna say \"thank you\" forcoming with me.Ross: Oh, no problem.Rachel: And also, you know I uh, I was thinking about what you said, you know, about the whole s*x thing and... it's probably not a great idea to go down that road again.Ross:Thank you. I'm glad you agree.Rachel: It's a shame though, I mean, when we did it, it was pretty good.Ross: Yeah... Yeah, that's true.Rachel: Hey uhm, do you remember that one really great time...?Ross: Oh,ye-ah!Rachel: You know it was you're uhm... birthday...Ross: ...Valentine's day...Both: (long pause, they realize) Oh yeah!Rachel: Well, I guess that's all in the past, now.Ross: Hmmm-mmmm.Rachel: (after a pause)Not even one more time?Ross: Not even once.Rachel: No matter how much we want it.Ross: Even if we want it really bad.Rachel: That's what we decided.Ross: Uhm, right!Rachel: ...It's kinda hard though!Ross:Yeah.Rachel: You know, when two people have a connection, you know, that's... just seems like such a... waste.Ross: ...I hate waste.Rachel: ...Ross?Ross: Yes?Rachel: Just so you know... With us... it's never off thetable. (she enters her room and closes the door.)Ross: Damn it. It's never off the table. (he leaves the apartment)[SCENE_BREAK][Scene: Joey and Rachel's apartment. Phoebe and Joey are \"updating\" Joey'sresumé.]Phoebe: Okay, can you really tapdance?Joey: No.Phoebe: It's off the resumé. (she strikes it through with a pencil)Phoebe: Archery?Joey: No.Phoebe: Horseback riding?Joey: Would fall off a lot.Phoebe: You candrink a gallon of milk in 10 seconds?Joey: That I can do.Phoebe: Come on! You can drink a gallon of milk in 10 seconds?Joey: All right, watch me! (he takes a full container of milk from the fridge) Okay, you time me.Ready?Phoebe: Ready... GO!(Joey takes the plastic container to his mouth and starts to drink. Most of the milk gushes from the bottle down his chin and over his clothes to the floor. He keeps \"drinking\" and all of asudden he lifts it up and half the bottle of milk pours out in an instant. He then continues to drink the rest. He then puts the empty container down on the counter.)Phoebe: (checking her watch) You did it!"}
+{"doc_id":"doc_218","qid":"","text":"3.01 - Those Lazy-Hazy-Crazy DaysOPEN IN LORELAI'S BEDROOM[Lorelai is asleep in bed when her alarm goes off. She shuts it off, and a second later, several others start going off around her bedroom.]LORELAI: Youare hilarious![She gets up and walks down to the kitchen, where Luke is at the stove making breakfast]LORELAI: Okay, see, last night, when I said to you, \u0000Tomorrow, no matter what, make sure I get up at seven,'what I actually meant was, \u0000Tomorrow, no matter what, make sure I have the option of getting up at seven in case when seven comes, I actually wanna get up,' which \u0000 as it happened \u0000 I didn't. Therefore, you'recurrently responsible for the great alarm clock slaughter of 2002.[She pulls a container of coffee out of the freezer]LUKE: No survivors?LORELAI: The one shaped like a bunny escaped with a mild decapitation. [smellsthe coffee] This is decaf.LUKE: What are you talking about?LORELAI: You switched my coffee again.[Lorelai searches the kitchen for the regular coffee]LUKE: I'm a busy man. I don't have time to sneak around switchingyour coffee. I have a diner to run, I have shipments to order, I have things to flip and fry. Will you stop that?[Lorelai finds the bag of regular coffee under the sink]LORELAI: Ha, haha, hahaha! Under the sink, veryclever, but not clever enough bucko.LUKE: Okay, fine, you know what? I give up.LORELAI: Woo hoo!LUKE: Go one day without coffee.LORELAI: That's not giving up.LUKE: I'll put a toy in your cereal.LORELAI:Dirty!LUKE: [hands her a plate of food] Fine, here, you win.LORELAI: Thank you.LUKE: You're welcome. Now you're up, you're fed, I'm leaving.LORELAI: Oh, hey, we need q-tips.LUKE: I'll alert the media.LORELAI: See,that's better with the accent.LUKE: The reference is enough, you'll learn that one day. I'll be home early, anything besides the q-tips?LORELAI: Um, cotton balls, world peace, Connie Chung's original face back.[Lukekisses her]LUKE: Goodbye crazy lady. [to Lorelai's stomach] Goodbye Sid and Nancy.LORELAI: Leopold and Loeb.LUKE: What?LORELAI: I changed my mind, don't tell Rory.LUKE: Decaf.LORELAI: Never.LUKE: They'llboth have two heads.LORELAI: More to love.[They kiss again and Luke walks out the back door]CUT TO LORELAI'S BEDROOM[In the middle of the night, Lorelai wakes up suddenly from her dream. She falls out of thebed reaching for the phone]LORELAI: Whoa! Ugh![She calls Rory at her dorm in Washington]RORY: Hello?LORELAI: You have to come home.RORY: Mom?LORELAI: You're gone and the house is quiet and Bill Maher'scanceled. The name of the show was Politically Incorrect for God's sake. Didn't anybody read the title? He was supposed to say those things, dammit!RORY: You had another dream.LORELAI: Yes.RORY: The doctor isin.LORELAI: Okay, I'm lying in bed and I'm sleeping and I'm wearing this fabulous nightgown, and like thirty alarm clocks go off, and so I get out of bed and I walk downstairs, and there, standing is the kitchen, isLuke!RORY: Was he naked?LORELAI: No! He was making breakfast.RORY: Naked?LORELAI: Okay, you've been in Washington way too long.RORY: Sorry. Go ahead, he was making breakfast. . .LORELAI: Eggs andpancakes and bacon, and he put decaf coffee in my regular coffee bag, which of course I knew immediately.RORY: Hi, the nose.LORELAI: Exactly. So eventually I find the real stuff under the sink. He hands me mybreakfast, and then . . .RORY: What?LORELAI: He kissed me and talked to my stomach!RORY: Why would he do that?LORELAI: Because apparently I'm pregnant!RORY: What?LORELAI: With twins! [pause] Saysomething.RORY: You are going to be so fat.LORELAI: Just analyze my dream, please.RORY: Okay. Well, your dream was telling you that you are secretly in love with Luke and you wanna marry him and have histwins.LORELAI: Uh, no, try again.RORY: What do you mean, try again? You asked me to analyze your dream, I analyzed your dream.LORELAI: Yes, well, I reject that analysis, so I'd like another one, please.RORY: Youcan't just reject an analysis and try again. You're not shopping for bathing suits here.LORELAI: Give me another analysis or I'll put your Taylor hula-hooping dream into a whole other context.RORY: I told you, Taylorwas supposed to be Dean. I could tell by his freakishly thick head of hair.LORELAI: I'm waiting.RORY: Okay, maybe you're still upset about what happened with Dad and you're jealous of Sherry because she's having hisbaby and not you. Mom?LORELAI: I miss you.RORY: I miss you, too.PARIS: [sleeptalking in background] Woodward. . .Bernstein. . .Harry Thomason.LORELAI: Is that Paris?RORY: Yeah, she talks in her sleep. . . longin-depth arguments. I'm so glad I only have one more day here.LORELAI: Me, too. What do you have on your agenda for tomorrow? Or, today, actually.RORY: We have a breakfast mixer with members of Congress andthe Senate.LORELAI: Cool. See if you can steal me something off of Tom Daschle's fruit plate.RORY: I'll see what I can do.LORELAI: See you Friday, doc.RORY: See you Friday.[Rory walks to her desk and sits down,where she tries to work on a letter to Jess]PARIS: [sleeptalking] I did not have sexual relations with that woman.[opening credits]CUT TO SOOKIE AND JACKSON'S HOUSE[Lorelai and Sookie are sitting at the kitchentable]LORELAI: No way.SOOKIE: I swear.LORELAI: Huh, Kosher bacon.SOOKIE: Beef not pork.LORELAI: I am so Jewish.JACKSON: [from other room] Hey Sookie, where's my \u0000SOOKIE: Jackson, hold on! Lorelai'shere!LORELAI: [covers eyes] Oh, Jackson, I'm in the kitchen! I'm eating bacon, so don't . . aye - eh - da - ahhh!JACKSON: [walks into kitchen] Will you stop it? I'm dressed.LORELAI: Uh, well, how do I know youweren't showering and the hot water went out and you rushed down here with nothing but a teeny tiny towel in front of ya.JACKSON: Once, that happened once.LORELAI: Well, once was enough.SOOKIE: Oh, hey,honey, I got those paint chips that we were talking about. Do you wanna look at them now?JACKSON: Nope.SOOKIE: But it'll only take a minute and I actually went though and picked out a couple of colors foryou.LORELAI: What are you painting?JACKSON: Nothing.SOOKIE: The house.LORELAI: The whole house?JACKSON: No.SOOKIE: Just the inside.LORELAI: Ah, that's a pretty big undertaking.JACKSON: It's not such a bigundertaking since we're not undertaking it.SOOKIE: I know, but it'll be fun.LORELAI: Rory and I'll help if you want.JACKSON: Okay, if you're gonna come over here everyday, you have to actually hear both ofus.LORELAI: Oh. Well, tell me why you're not painting just the inside of the house?SOOKIE: Because it was my house and now it's our house and I want it to feel like our house.JACKSON: I'm totally happy with the waythis house feels.SOOKIE: How can you be? There's flowers everywhere.JACKSON: I like flowers \u0000 I'm a produce guy.SOOKIE: The curtains are ruffly.JACKSON: I like ruffles.SOOKIE: How can you like ruffles?JACKSON:Because I'm very, very gay.SOOKIE: Jackson!JACKSON: Judy, Vincent has to go to work now. Goodbye Lorelai. Tell her I'm fine, I like things just the way they are.LORELAI: I'll try.[Jackson leaves]LORELAI: All right,I've only got a minute and then I have to leave. Is there any more bacon?SOOKIE: Have mine. What do you think about mahogany for the living room and then midnight blue for the hallway and the bedroom?LORELAI:Sookie, Jackson just said he's fine with how everything is. I don't think it's bugging him.SOOKIE: Well, he may not think so now but it'll bug him eventually and then he'll resent this place and me by extension and Iwould like to avoid that. And I can \u0000 I just need to butch the place up a little. Now, help me pick a color.LORELAI: Okay, I can't now, but I'll do it later.SOOKIE: Okay.LORELAI: Thanks for breakfast, it was amazing, Ilove you, I love the bacon. Oh, hey, bacon's manly. Why don't you just nail a bunch of packages of Kosher bacon on the walls, huh? Smells like meat blessed by a rabbi \u0000 now that's a manly house.SOOKIE:Buh-bye.LORELAI: Okay, but if you're still thinking paint, you're still thinking like a chick.CUT TO OUTSIDE[The town square is being set up for a festival. Lorelai walks toward Taylor, who is in an electric wheelchairgiving orders to people.]TAYLOR: Watch those streamers! And not too much red near that tree \u0000 light touch, light touch, light touch.LORELAI: Hey Taylor, how's the leg?TAYLOR: It's just fine.LORELAI: Still haven'tfound out who put that banana peel on your doorstep, huh?TAYLOR: No, but I have a list of suspects.LORELAI: Hey, um, what's all this for?TAYLOR: This, young lady, is for the first annual Stars Hollow End of SummerMadness Festival.LORELAI: You finally found a way to fill September, didn't ya?TAYLOR: This is gonna be a very exciting day. I'm really gonna go all out for this. I even think you'll be impressed.LORELAI: Really, evenme?TAYLOR: Yes-sir-ee, mini-me, I did not put the word madness in the title for nothing. This place is gonna be crazy, wild \u0000 food, games, we've even got a band coming all the way from New York!LORELAI: New York\u0000 that's just nuts!TAYLOR: And wait \u0000til you see the banner I ordered. It's gonna make every other banner we've ever had look downright embarrassing.LORELAI: Taylor, you're on fire.TAYLOR: Oh, I love thisbanner!LORELAI: I can't wait to see it.TAYLOR: Well, come on Friday. [to girl walking by] Uh, excuse me, uh, young lady. . .young lady? You know I'm talking to you. The blonde woman with the ribbons, please slowdown. I'm in a wheelchair, young lady, I can't run after you.[As Taylor follows the girl off camera, Lorelai stares into Luke's Diner then sadly walks away]CUT TO WASHINGTON[At the Junior Leadership breakfast, Parisis talking with Senator Barbara Boxer]PARIS: I mean, come on, Senator Boxer, as one of our foremost Democratic leaders, I ask you \u0000 do you really think it looks good to have the American Secretary of the Treasurytraveling around with Bono? I mean, I know apparently he's a saint, he's going to save the world, yada, yada, yada, but my God! He never even takes the sunglasses off. We have an image to maintain, don't we? Imean, aren't we at least trying to pretend we're the superpower in this world? I mean, why not just send Carson Daly over to the Middle East next time Cheney goes, huh? Or hey, hook up Freddie Prinze Jr. with ColinPowell next time he meets with NATO. I mean, hell! Let's hear what Freddie has to say, right?[A man walks by and the Senator grabs his arm]SENATOR BOXER: Oh, great, Doug. Uh, Paris, do you know RepublicanCongressman Doug Ose from California? You don't? Great. You two will have so much to talk about. Bye. [walks away]CONGRESSMAN OSE: Uh, BarbaraPARIS: Ose, right?CONGRESSMAN OSE: Yes that's right.PARIS:Let's take a walk.[cut to Rory at one of the food tables. As she gets herself some coffee, a boy walks up to her]JAMIE: Last day here.RORY: Yup.JAMIE: So, in your opinion, how was our nation's capital?RORY: Well, Igot to see Archie Bunker's chair at the Smithsonian Museum, so it was a big thumbs up for me.JAMIE: Yes, there are times when this country's priorities are exactly right. So, where's Paris?RORY: Hm, not quite sure.Last time I saw her, she was beating the will to live out of our nation's representatives.JAMIE: She is a hammer, isn't she?RORY: Actually, she's the entire toolbox.[Paris walks up to them]PARIS: Damn. I always seemto catch the most interesting politicians right when they have to use the bathroom. Hey Jamie.[Paris walks over to another table and Jamie follows her]JAMIE: Paris. Just came over to let you know I got a little sneakpeak at the final debate pairings for today. It seems like you and I are going to be on the same side this time.PARIS: You're kidding? You'd think they'd like to give someone else a fighting chance for once.JAMIE:Apparently not.PARIS: God, I love this. You don't realize how unqualified most of America's youth is until you gather them all up in a room and make them speak. So, who are we up against?JAMIE: Jason Roundsevaultand Ty Fredericks.PARIS: Perfect. Jason's got asthma and Ty cries.JAMIE: Okay, so we should meet early and go over strategy, make sure you bought enough Kleenex.PARIS: Good, good.JAMIE: And then tonight weshould get together and celebrate over dinner.PARIS: What if we don't win?JAMIE: Don't lose it on me now.PARIS: You're right.JAMIE: So, dinner?PARIS: Sure.JAMIE: Good, I'll swing around for you about seven.PARIS:Fine.JAMIE: Okay, see you at the slaughter.[Jamie walks away and Rory walks over to Paris]RORY: Wow!PARIS: Yeah, can you imagine pairing me with Jamie? I mean, why not just line the hallways with self esteemcounselors right now.RORY: Paris?PARIS: What?RORY: What do you mean what? He just asked you out on a date.PARIS: He did not.RORY: Yes, he did. You're having dinner with Jamie tonight.PARIS: It's a victorydinner, that's it.RORY: Paris, if he just wanted to celebrate winning a debate, you guys could've had coffee afterward, but he asked you out on a date.PARIS: He did?RORY: Yes.PARIS: Did I accept?RORY: Yes.PARIS:I'm going on a date?RORY: Yes, you are.PARIS: Oh man, I can't believe this! I finally get asked out on a date and I missed it? Was it a good ask-out?RORY: It was a very good ask-out.PARIS: God, I wish I'd beenthere.RORY: Well, you'll be there tonight.PARIS: Tonight? Tonight I have a date. Tonight I have a date with Jamie \u0000 a Princeton man. I can overlook that. Oh my God, I can't believe it. . .I have a date.CUT TOINDEPENDENCE INN[Michel is at the front desk talking to Kirk]KIRK: One day it occurred to me, cows never wrinkle.MICHEL: Mmhmm.KIRK: Think about it \u0000 have you ever seen a wrinkled cow? No, not once. So Ithought to myself, \"That is weird.\"MICHEL: Yes, that and other things.KIRK: So I decided to do a little research. I studied cows, I studied humans, and finally I discovered the secret \u0000 the secret of the cows.LORELAI:[walking up to them] Michel, could you, uh. . .hi Kirk.MICHEL: Oh, good, just in time. Kirk here is about to tell us the difference between cows and humans.LORELAI: You mean, other than one's a cow?MICHEL: Shh. Goahead, Kirk.KIRK: Hay.LORELAI: Huh?KIRK: Hay, it's hay \u0000 cows eat hay. And after some experimentation and a great deal of research, I developed what I believe to be the next great skin care product to sweep thenation. [shows them a bottle]LORELAI: [reads the label] Hay There.KIRK: A complete line of creams, balms, toning lotions, and cleansing liquids.LORELAI: Kirk, we already have a skin care line here, I'm sorry.KIRK: Iam willing to give you three cases of \"Hay There\" skin products absolutely free of charge. Try them, you will see what I'm talking about.LORELAI: Well, uh, thank you very much, Kirk. . . but, I'm sorry \u0000 don't cows eatgrass?KIRK: Sometimes, but \"Grass There\" is a bad name. [leaves]MICHEL: So sad not to have a cocktail in your hand every time he comes by, no?[the phone rings]LORELAI: [answers] Independence Inn, Lorelaispeaking.EMILY: What day is this?LORELAI: Mom?EMILY: What day is this?LORELAI: Mom, I have a group of \u0000EMILY: It's Thursday.LORELAI: Thank God. Now, could I possibly \u0000EMILY: Thursday the what,Lorelai?LORELAI: It's \u0000EMILY: Thursday the third. And what was happening Thursday the third, Lorelai?LORELAI: I believe it was the day I was supposed to chew my own head off.EMILY: Your father and I were cominghome from Martha's Vineyard.LORELAI: I know you were.EMILY: And you said that when we got home, you were going to call us.LORELAI: I know I did.EMILY: Well, we're home, and yet there's no call, no message, nocard.LORELAI: Mom, it's eleven o'clock in the morning. I said I would call you on Thursday, I didn't say when on Thursday, I just said Thursday. Technically I haven't screwed up for another twelve hours.EMILY: Lorelai,everyone knows that you are supposed to call people as soon as they have arrived home. That's the polite way to do it.LORELAI: You didn't tell me what time you were coming home.EMILY: Well, you never asked whattime we were coming home.LORELAI: Yes, but you never told me so there's no way I could know, so even though I didn't ask I still didn't know and it's only elev. . .I'm sorry.EMILY: Apology accepted. Now I assumewe'll be seeing you and Rory for dinner tomorrow?LORELAI: Uh, you'll see me but Rory doesn't get back \u0000til Saturday.EMILY: Oh, what a shame. I thought she was coming back tomorrow.LORELAI: Nope, she's comingback Saturday.EMILY: Well, I'm very disappointed. I had it written down for tomorrow.LORELAI: Well, you must've written it down wrong, Mom. She's coming home Saturday.EMILY: Your father thought it wastomorrow, also.LORELAI: See you at seven.EMILY: Hold a moment, Lorelai. Do you know where Christopher is?LORELAI: Um, why?EMILY: We wanted him to come with you and Rory tomorrow, even though apparentlyRory's getting back Saturday, though I couldn't sworn it was tomorrow.LORELAI: Christopher's away on business but I'll tell him you invited him.EMILY: And tell him to come with you two next week. I wanna see thethree of you together.LORELAI: Yes, that would be a nice picture.EMILY: All right, see you tomorrow.LORELAI: Yes, you will. Bye.CUT TO WASHINGTON DORM ROOM[Rory is on the phone with Dean while Paris getsready for her date]RORY: My plane gets in at three.DEAN: I'm in at six.PARIS: Red, purple, green \u0000 where the hell is it?RORY: That gives me three hours to look presentable. Hm, perhaps I'll go blonde.DEAN: I stronglyrequest that you don't.RORY: Afraid of change?DEAN: No, I just like what I have.RORY: I like a man who settles.DEAN: I miss you.RORY: I miss you, too.PARIS: Hey, hey, stop being cute. I need help here.RORY: Ihave to go. Paris is melting down.DEAN: Why?RORY: She has a date tonight.DEAN: Really?PARIS: Don't sound so surprised.RORY: How do you know he sounded surprised?PARIS: Because I'm a genius, Rory. I havedeep and powerful clairvoyant abilities.RORY: Oh boy.PARIS: For example, I can instantly deduce that when someone hears the name Paris in the same sentence with the word date, jaws will drop, confused looks willcover faces, words like \u0000how' and \u0000why' and \u0000Quick, Bob, get the children in the minivan because the world is obviously coming to an end!' will immediately fly out of people's mouths.RORY: I have to go.DEAN: Areyou sure it's safe?RORY: I'll be fine. I'll see you Friday.DEAN: See you Friday. I love you.PARIS: That's it, I'm shaving my head.RORY: Gotta go. [hangs up] Okay, Paris, you have got to calm down.PARIS: I had a blacksweater and now it's gone.RORY: I'm not just talking about right now \u0000 in general, you need to calm down.PARIS: He's almost here, I'm not dressed, my makeup's not done, and I haven't gone through the Zagat yet topick out a restaurant.RORY: Why don't you just let him pick out the restaurant?PARIS: What if he doesn't have a Zagat?RORY: Well, then he'll wing it.PARIS: Wing it? How come other girls get planned out dinners?Flowers, candy, rose petals thrown on the floors \u0000 and I get wing it?RORY: Well, you don't know that you've got wing it.PARIS: No, I do. I've got wing it. I can't do this.RORY: What?PARIS: Date. I can't date. I'm notgenetically set up for it.RORY: Not true.PARIS: I get no pleasure out of the prospect or the preparation. I'm covered in hives, I've showered four times, and for what? Some guy who doesn't even have the brains to buya Zagat so we don't wind up in a restaurant that's really just a front for a cocaine laundering ring?RORY: Sit.PARIS: It's a dare. He was dared to take me out. I bet Trent Lott was behind this.RORY: Trent Lott did notdare Jamie to take you out. Close. Jamie likes you and he asked you out because he likes you. Now look up.PARIS: Maybe I shouldn't go. I mean, what if I fall for him and he doesn't like me?RORY: Then you'll findsomeone else.PARIS: But what if there is no one else?RORY: Then you'll buy some cats.PARIS: I wish I knew if he was right for me, you know? So I don't put myself through all of this for nothing. I mean, women fall formen who are wrong for them all of the time, and then they get sidetracked from their goals. They give up careers and become alcoholics and, if you're Sunny von Bülow, wind up in a coma completely incapable ofstopping Glenn Close from playing you in a movie.RORY: I think you should wear your hair down.PARIS: How do you know if a guy is right for you?RORY: You just have to feel it.PARIS: All I feel is my back breakingout.RORY: You'll know, okay? You just have to let it happen. And then, probably when you're not looking, you'll find someone who compliments you.PARIS: Meaning?RORY: Someone who likes what you like, someonewho reads the same books or listens to the same music or likes to trash the same movies. Someone compatible.PARIS: Okay.RORY: But not so compatible that they're boring.PARIS: Someone who's compatible but not"}
+{"doc_id":"doc_219","qid":"","text":"DSR Rambaldi artifact storage facility Guard is walking around and he gets tackled by a man. Man kills guard. Not quite sure how.Man 1: (to radio) I'm in. We see an assault team on the roof. They blow the locks off thegates and steal all the Rambaldi artifacts. Including the nightingale coil, and a ball, which turns out to be the sphere of life. Sydney's apartment. Sydney comes inside.Sydney: Hey, there's a cab waiting outside.Nadia:She wouldn't let me drive her to the airport. (she's standing next to Sophia/Elena)Sydney: Is everything okay?Nadia: The Lisbon police called. It's safe for Sophia to go home.Sydney: Oh, that's great. (gives Sophia abig hug) I'm so glad you came.Sophia: Thank you.Sophia/Elena: Look at the two of you. Such beautiful and smart women. Before I make a fool of myself. . .(gives Nadia a hug)Nadia: Promise you'll come back.Sophia:Nadia, for you, anything. APO Vaughn is watching Jack in his office. Jack is on the phone. Vaughn starts walking toward Jack's office. Marshall stops him.Marshall: Oh, hey, Vaughn. Could you sign this? It's for Weiss.His grandfather died. (wouldn't Vaughn already know something like that?)Vaughn: Yeah, actually, can I do it in a little bit? I need to ask Jack something first.Marshall: Oh, sure. No problem. (follows Vaughn as hecontinues to Jack's office)Vaughn: Where are you going?Marshall: Well, I thought I'd go with you to get Mr. Bristow to sign this while we're in there.Vaughn: You know what? Actually, I need to see him alone. It's kind ofpersonal.Marshall: Oh. Uh, since when can you tell Mr. Bristow something you can't tell me?Vaughn: This is something I need to ask Jack. If you were Sydney's father, I could ask you, but you're not.Marshall: No, I'mnot. I still don't understand what me not being Sydney's father has to do with you-Vaughn: (pulls out the ring and shows it to Marshall) Understand now?Marshall: Oh, my God. Hey, man. Congratulations. That'sfantastic. I'm sure Mr. Bristow's gonna be thrilled.Vaughn: Really? I'm just hoping he doesn't shoot him on the spot. (he goes to Jack's office)Jack: (on the phone speaking in foreign language) No. You're not listening,General. (Vaughn walks in) We're not going to pay you. Because I don't believe it exists. Fine (he hangs up and speaks to Vaughn in English) As if weapon-grade anthrax grows on trees. What is it?Vaughn: Oh, if this isa bad time, I can-Jack: No, please. After dealing with that Cechnyan lunatic for the past couple of hours, whatever business you have will be a welcome relief.Vaughn: Well, we've, um. . .I know you're a man who- Iknow you're a man who respects tradition. As I do. And-Jack: Please get to the point, Agent Vaughn.Vaughn: I'm gonna ask Sydney to marry me, and I'd like your blessing.Jack: Perhaps you believe my recent illnesshas rendered me less coherent than before, or that my cognitive faculties have been somehow dulled or diminished. Allow me to clarify the facts for you, Agent Vaughn. While I've come to believe you're not as uselessas I first imagined, I still don't feel you have- (alarms go off) CIA agents come in carrying boxes.Agent: Everyone please remain where you are. This is a warranted search.Jack: May I see that?Agent: (hands Jack apiece of paper) We've been authorized to confiscate all relevant materials.Jack: It's been signed by Director Chase. Sydney's apartment. Director Chase and CIA agents knock on the door and Sydney answers.Chase:Where's your sister?Sydney: What?Chase: I expect your full cooperation. (Chase and agents enter with boxes)Sydney: If Nadia's in some kind of trouble-Chase: Where is she?Sydney: In the shower. Agent enters thebathroom. We hear water running. Nadia, wrapped up in a towel, knocks him out and takes his gun. She slowly walks out.Chase: Stand down, Agent Santos. (Nadia gives her the gun)Nadia: What's this about?Chase:(to Nadia) Men are dead. Things are gone, and you've got some explaining to do. The agents continue to search the apartment. They find numerous guns and knives hidden throughout the apartment. Nadia sits in arobe being interrogated by Chase.Chase: (shows Nadia's laptop to Nadia) Is this yours?Nadia: Yes.Chase: Does anyone else use it or have access to it?Nadia: No.Chase: Not even Sydney.Nadia: I said no. Sydney hasher own laptop. She also has- We see an agent interrogating Sydney.Agent: -an assault rifle, a 12-gauge shotgun, four handguns, two tazers, and a . . .secret drawer of knives. Let's start with the knives.Sydney: Let'sstart with you not wasting my time. Director Chase says men are dead. What men? What does she think Nadia did?Chase: (to Nadia) We know you overrode the DSR security system tonight.Nadia: What?Chase: Alarmson an access door were deactivated. We traced the override command to your laptop. And you just told me that you're the only one who uses it.Nadia: Yes, but I didn't do it.Chase: We also have evidence that tonight'sincident isn't the only one that leads back t o you and this laptop. An agent uses a scanner on a bookshelf. He opens a jewelry box and sees the necklace Sophia/Elena gave to Nadia. He brings the necklace to Chase.Jack and Sloane enter the apartment.Jack: (to an agent standing at the door) We have clearance.Sydney: Micro transmitter?Chase: In the medallion. When did she give you this?Nadia: Few weeks ago. Why shouldSophia do something like that?Jack: It would help explain why several missions were compromised.Sloane: I personally investigated Sophia Vargas when she first arrived. Prints, background- everything came backclean.Chase: Well, somebody tapped into Agent Santos's laptop. And because of it, five agents are dead. And several Rambaldi artifacts are gone.Nadia: I don't believe it. I won't.Sydney: Why would she do this?Jack: Ithink our clue lies in what was stolen.Sloane: You're reaching for straws, Jack.Jack: Am I? Who else would be capable of pulling this off?Chase: What are you talking about?Jack: Elena.Sydney: You think Sophia Vargasis connected to Elena Derevko?Jack: No. I think Sophia Vargas is Elena Derevko. Arvin and I have been searching for her for months. I believe she found us first. Has been using us to achieve her own end.Sydney: Youmean the journal of Vaughn's father, Sloane Clone-Jack: McCullough, everything. It's been Elena all along.Sydney: Oh, my God.Nadia: You're saying it's all a lie? That she spent all these years, all this time, so she couldsteal some Rambaldi artifacts?Jack: She is a Derevko. Her sisters possessed that same single-minded purpose.Sloane: If Jack is right, if Elena has gathered Rambaldi artifacts, her final step would be to assemble them.We can't let that happen. APO Sloane's office. Nadia walks in.Nadia: She never made it to the airport. The cab dropped her off a few blocks from our house.Sloane: Have Marshall check traffic cams in the area.Nadia: Ialready did. I also notified the FFA to check flight manifests, and I updated train and bus stations with her current I. D.Sloane: Good. We'll find her.Nadia: I brought her into my house. This is my fault.Sloane: No,Nadia, it's mine. It was my obsession with Rambaldi that pulled you into this. It's my mess. It's my responsibility to clean it up. I can only imagine how hard this must be for you- the betrayal.Nadia: I'm just glad wefound her. That I know the truth.Sloane: Yeah. So, if Elena has all the Rambaldi pieces, there is only one place she can go.Nadia: To see Lazlo Drake.Sloane: Yes.Nadia: I'm on it.Sloane: Nadia? We'll find her. I promiseyou. I will end this. China, one year earlier. Nadia and Sloane are in a car, being driven.Nadia: I don't understand. Why are we in China when I already told you Rambaldi's sphere of life is buried in Siena?Sloane:Because I need answers to a few final questions. Lazlo Drake is the only man in the world who can provide that. The car stops, there are people passing with animals, in the road.Driver: (in foreign language) Sorry, sir,it will be a few minutes.Sloane: (to driver in foreign language) Okay. (to Nadia in English) Before he went into hiding, Drake was a professor of European history. He built his reputation on the single most importantdiscovery of his life- a manuscript. In effect, a template describing how Rambaldi's creations were to be assembled in order to bring forth his final prophecy. Just know that we're gonna make the world a better place,and we need Drake to do it. Later, nighttime outside, somewhere. We meet Drake.Sloane: Professor Drake, my name is-Drake: Arvin Sloane. Yes.Sloane: You know who I am?Drake: How could I possibly not know ofyou, Mr. Sloane? Your appetite for all things Rambaldi is almost legendary.Sloane: This is my daughter, Nadia.Drake: My God. (he looks at her) I am honored to meet you.Nadia: Thanks.Drake: Lovely. Please. (they sitdown around the campfire on various logs) You have no idea what it is like to be in your presence. It is like meeting the virgin Mary.Nadia: What do you mean?Sloane: Drake, you know why we're here.Drake: You havecollected the Sphere of Life.Sloane: No, not yet. But we know where it is.Drake: If it is not in your possession, we have nothing to discuss.Sloane: You have the only known translation of Rambaldi's Vademecum-instructions for how the pieces fit together. I need to know.Drake: That is information I will share with whoever has all the artifacts in his possession. Your visit is premature, Mr. Sloane. I suggest you come back, whenyou have retrieved all the items, including the Sphere. (to Nadia, he takes her hand) You will come back too, won't you? I would like that.Sloane: (breaks their hands apart) Nadia, I wonder if you would let me speak tothe professor alone. (Nadia gets up and walks away)Drake: I never thought I would see, let alone touch with my own hands, a living embodiment.Sloane: My daughter is not an artifact.Drake: So protective ofher.Sloane: She is my daughter.Drake: You brought her on this journey for one reason- only she can retrieve the Sphere of Life. Only she knows its secret location. You know that.Sloane: I didn't come this far to quit.Siena Sloane and Nadia are wandering around on some hills.Nadia: This is it. (they enter a cave, and walk down some stairs)Sloane: Rambaldi wrote that a man would come and discover the true meaning of his work.And in doing so would change the world. I always wanted to be that man. They come to a room. Sloane lights a torch, which causes the other torches to light up. We see a Rambaldi eye made up of small shards ofglass. In the center of the eye is a stand holding the Sphere of Life.Sloane: It's made of glass. Think of it. You and I are the first ones to set foot in here in almost 500 years. Do you have any idea how many lesserpeople have dreamed of this moment? And only you can complete this.Nadia: What?Sloane: Nadia, this is the part of the journey that I can't take. You have to bring the box.Nadia: I don't understand.Sloane: Rambaldihad a role for you to play. I need you to do this Nadia. I need you to bring me that Sphere. Nadia, we can change the world. Go. (pause) Go. Nadia steps out carefully onto the glass. You can hear the shards scrapingagainst each other.Sloane: Have faith, sweetheart. (She reaches the stand) Yes. (she opens the box) No, Nadia. Bring the box to me. Nadia touches the box and sees visions of what happens in the finale. IncludesSydney and Nadia fighting, the red ball, and the sound of a horse neighing.Nadia: (to Sloane) You lied. It was not about peace. (she leaves the box where it is and goes back to Sloane)Sloane: Nadia, I am your father.You will go back there and bring me the box. (he grabs her roughly) You get back there. I want that box.Nadia: (crying) You think you can control this power, but it's poisoning you. Don't you see it? You don't have todo this. Please. Let's just walk away. You and I, together.Sloane: Coward! (he pushes her)Nadia: Please, let's just go.Sloane: I don't need you. (he steps out onto the glass) He chose me. (he slowly closes the box backup) See? (the glass breaks and he falls threw) and down the hole) Nadia finds him at the bottom of the hole. There are some glass shards sticking out of him. Nadia pulls the shards out.Sloane: You're still here.Nadia:Try not to talk. You've lost a lot of blood.Sloane: I didn't think that you would be here after I-Nadia: You're my father. I'm going to get you out of here.Sloane: Thank you.Nadia: That shard of glass in your chest- when Imove you, it might kill you. I need to pull it out.Sloane: Okay. (she pulls it out) Ahhh! APO Briefing room. Gang around the table including Chase.Chase: Who's Lazlo Drake?Sloane: He is the self-appointed keeper toRambaldi's endgame. For Elena to complete her plan, she will have to contact him. He has what amounts to the instruction booklet.Vaughn: I'm sorry, maybe it's only me, but what do you mean when you say\"Rambaldi's endgame\"? I mean, what is it? Is it a scenario? A weapon?Sloane: In Elena's hands, most likely an apocalypse.Jack: Which is why we need to get to Lazlo Drake before she does.Nadia: Drake's completelyoff the grid. The manuscript has made him a target. He never stays in one place too long. We saw him in China. He could be anywhere.Sydney: If Drake's gone underground, he needs a source of income.Nadia: That'sthe path I've been pursuing. Greyson Wells, billionaire financer.Vaughn: Organized crime. Money laundering. CIA's been watching him for years.Nadia: He's also the man who financed most of Drake's early researchinto Rambaldi.Jack: If they're in communication, he might know where to find Drake.Sloane: Agreed. Coordinate with ops. Draft up a plan to approach Wells. I'll start preparations to talk to Lazlo Drake myself once wehave his location.Dixon: I believe you're forbidden from participating in cases involving this particular subject matter.Chase: Agent Dixon has a point.Sloane: Yes. I'm aware of the agreement. But I have a history withDrake.Sydney: So does Nadia.Sloane: I'm sure Nadia would agree that her presence would only complicate matters.Nadia: He's right.Sloane: Drake will talk to me. If we approach this tactically, his security force willrespond. We can not let this turn into a firefight. Our timetable is too critical.Chase: Proceed as instructed. Once you have a location on Drake, you'll relay it to Director Sloane. That's it, people. Be safe. Cannes Sydneywalks into a jewelry shop, wearing a white fur coat.Doorman: Bonjour. (speaks French, Sydney hands him her purse)Sydney: Don't touch the fur. (pause) All right, you may touch the fur. (she holds out her arm)Once.Doorman: (touches the fur) Merci. Sydney walks on. She takes a glass of champagne from a waiter. She continues walking and brushes up against Greyson Wells. She continues over to the jewelrycounter.Doorman: Please, let me know if there is anything in particular you would like to see. (Sydney taps on the glass at a bracelet) Ah, very good. Platinum Liana. (Sydney goes to sit) Fully paired with the flawlessbrilliance. (brings her the bracelet) Can be worn as a bracelet or an anklet.Sydney: (she lifts up her ankle) Put. (he does) Hm. (to Wells) What do you think? Ankle or wrist?Wells: Well, to be honest, I've always foundanklets to be a bit vulgar. Though, admittedly, you are making me rethink my position. I think I'd have to see it on your wrist before I gave an informed opinion.Sydney: Do. (Wells comes over and unattaches thebracelet from her ankle and, when he takes her wrist, we see they both have the Rambaldi eye tattoo on their hands) Something wrong?Wells: It appears we have a mutual interest. (he puts the bracelet on herwrist)Sydney: So it seems. (she goes and stands in front of a mirror) Hm.Wells: Better as a bracelet. Will you allow me to buy it for you?Sydney: You trying to impress me?Wells: Well, that depends. Is itworking?Sydney: Sweetheart, it's not your money I'm interested in.[SCENE_BREAK]In another room, Sydney is still in her disguise talking on the cell phone.Sydney: (to phone) I'm going with you to see Drake.Sloane:This is not your call Sydney.Sydney: It is now. I have his location. I'll go alone if I have to.Sloane: Well, he's not gonna talk to you.Sydney: Then I suggest you get on a plane. Solana airfield. Outside Mexico City. 0800hours. I'll be there when you land, and we'll go see Drake together. (she leaves and we see Wells sitting in his boxers and tied up in a chair) APO Marshall's lab. He's taking apart the necklace Elena gave toNadia.Marshall: Well, all the parts are pretty generic. I mean, it's really difficult to track where it came from. Sorry.Nadia: It's all right. I just feel stupid I trusted her.Marshall: Hey, I don't blame you. I mean, she waslike family. You know, but don't put this on your self. I mean, hell, I trusted Sloane for 6 years before I found out he was evil. You know. . .not that he's evil, per se. . .We have a long history together. Look we're gonnafind this Sophia/Elena woman person. Your dad's totally on it. Mexico Sydney stands near the runway as Sloane's plane lands. Sloane gets out of the plane and goes to Sydney. They start walking.Sloane: This is areckless course of action.Sydney: Try calculated. I'm not letting you meet with a man who's gonna tell you how to put the Rambaldi contraption together.Sloane: That's ridiculous. I had everything I needed last year,and I gave it up. You know that, Sydney.Sydney: You didn't have everything.Sloane: You're putting yourself in danger by coming with me.Sydney: I know what I'm doing. I just hope you do, because I swear if this isabout you and your twisted beliefs-Sloane: Do you have any idea about what Nadia has been through. Betrayed by the woman who raised her. I would never do anything to put her in any more pain. I'm here for onereason alone- to put an end to this nightmare once and for all.Sydney: I wish I could believe you. They drive to a trailer out in the middle of nowhere.Sydney: Looks cozy. (they walk up to the doorway and see a deadman underneath a tree)Sloane: Elena got here before us.Sydney: (she opens the door and we see Drake, dead, in a chair) It's Drake.Sloane: He's dead, isn't he? If I didn't have to rendezvous with you, I would havebeen here hours ago.Sydney: If it weren't for you, we wouldn't have to be here at all. (Sydney walks around the trailer, looking around)Sloane: What are you doing? Sydney sees a camera in the tree. They go inside thetrailer. Sydney opens cabinets looking for something. She finds a tv screen. She finds the remote. She turns it on. The screen shows her and Sloane standing there.Sloane: See if you can rewind the feed. She rewinds itand we see Elena sitting talking with Drake. Sloane stands behind her.Sloane: (he takes the remote from Sydney) Here, let's start over again at the beginning.Drake: I have to admit, I did not think it would beyou.Elena: You thought Arvin Sloane would have all the artifacts.Drake: He nearly completed the work once before.Elena: And failed. He threw it away. And for what? The girl.Drake: Do you have a secure facility toassemble everything.Elena: I do. A factory outside of- Sloane turns the tv off. He tranqs Sydney before she can react.Sloane: I'm sorry, Sydney. I'm so sorry. (he lays her gently on the floor) APO Jack's office. Hisphone rings. He answers.Jack: Yes?Sydney: Sloane tranqed me. That b*st*rd knocked me out before I could get Elena's location.Jack: Are you alright?Sydney: I saw this coming and he still beat me.Jack: Sydney, areyou sure you're okay?Sydney: Dad, I'm okay.Jack: I'll notify Director Chase. We'll find him. Stairwell Dixon is standing and Chase comes in.Chase: Agent Dixon.Dixon: Why didn't you stop Sloane when you had thechance?Chase: I understand your reaction.Dixon: You just opened the door to temptation and let Sloane walk through it?Chase: End of discussion. (Dixon goes to leave) Hey. . .Dixon: This man's taken lives.Chase: Idid what I thought was best.Dixon: I know. In spite of all this, it's good to see you.Chase: Yeah. (they kiss) Weekends aren't enough.Dixon: Tell me about it. Sydney's still in Mexico.Sydney: (answers phone) Yes? Ihave an idea but you're gonna hate it.Jack: You want me to talk to your Aunt Katya. (Jack is walking down a corridor)Sydney: How did you know that?Jack: First you said I would hate the idea, and you're correct.Second, I arrived at the same conclusion myself. We're at a complete impasse here. Time is running out and she's the only Derevko we have. Call you afterwards. Jack is at Katya's cell. He enters.Jack: Lock the doorbehind me.Katya: (sitting on her bed) Is that look on your face supposed to be intimidating? You forget, Jack- I've seen your tender side.Jack: I need everything you know on Elena's operations- right now.Katya: Whatmakes you think I know anything?Jack: Call it an instinct.Katya: Do you intend to torture me?Jack: If I have to.Katya: While I know that would be enjoyable for both of us, I should warn you, I have quite a bit ofstamina. But you already know that about me.Jack: What do you want?Katya: Full pardon. Immediate release.Jack: I don't have that authority.Katya: You'll find a way.Jack: If the information you provide leads us to"}
+{"doc_id":"doc_220","qid":"","text":"Act 1 Scene 1 - KACL Fade in. Frasier is on the air.Frasier: Welcome back, Seattle. Thank you for joining us for this, our two thousandth show. Hard to believe, isn't it Roz?Roz: No, that feels just about right.Frasier: Ah,yes, well what a festive day this is. No stop has been un-pulled. I would like to take this opportunity to acknowledge the anniversary luncheon spread supplied by our friends at Senor José Fong, home of the sweet andsour taco.Roz takes a bite of one.Frasier: And don't forget, a little later, we'll have Microsoft chairman Bill Gates, live in studio to congratulate me on my two thousandth show. Apparently, I hear through the grapevine,he is a big fan. Roz, what do we have next?Roz: It's time for another blooper.Frasier: Oh, well, I believe we're up to number four, as voted by you, the listeners. Here's what happened when a certain producer... [Rozgrins sheepishly] didn't realize her microphone was on, during the show...Roz plugs in a cart.Roz: [on tape] Now what the [beep] is this!? You call this a [beep] paycheck?! How the [beep] am I supposed to live on this[beep]!? I'm gonna have a little word with that [beep]- damn station manager, walking around here like he owns the mother-[beep]-ing place!Kenny has entered during this last sentence. As Frasier and Roz arecracking up listening to the tape, he leans over the guest mike.Kenny: Can't believe that wasn't voted number one.Frasier: Ladies and gentlemen, it's our station manager, KACL's own Kenny Daly.Kenny: Listen, Doc, Igot a special someone out there who'd like to say \"Hello\".Frasier: By all means, let's bring him in, Kenny. Ladies and gentlemen, our special guest has finally arrived. Please welcome...Bulldog Briscoe comes in andloudly barks, then hits his air horn.Frasier: ...Bulldog!Bulldog: Great to see you, Doc. Hey, Roz.Roz makes a gesture of greeting that looks suspiciously like \"Up yours.\"Frasier: Well, ladies and gentlemen, it's our oldfriend and former colleague, Bob \"Bulldog\" Briscoe. Thanks for coming down and helping me celebrate my two thousandth show.Bulldog: Yeah, yeah congrats. I didn't' think you'd last two weeks. Listen up, sports fans,Bulldog here! I know what you're allthinking: Bulldog's been gone too long. How can you get me back on the air? Okay, listen up. You send your cards and letters of support to Kenny Daly, KACL, PO Box....Kenny stepsin and waves to Frasier and Roz. Bill Gates is with him.Frasier: Bulldog, our special guest has arrived.Bulldog: PO Box 451, Seattle...Frasier: Bulldog! Would you and your noisemaker wait in Roz's booth?Bulldog: This isan air horn, Doc.Frasier: Yes, I was referring to that flapping hole above your chin, now get out!Bulldog leaves and Bill Gates comes in.Frasier: Ladies and gentlemen, let's please welcome Microsoft chairman Bill Gates.Good to see you, sir.Bill sits down in the chair in front of the other mike.Bill: Sorry I was late.Frasier: That's quite all right.Bill: I was just talking to an old friend.Frasier: Yes.Noel passes by the window and flashes Billthe Vulcan \"Live Long and Prosper\" sign. Bill gives him a thumbs up as Frasier and Roz share a surprised look.Frasier: Well, I've got so many questions to ask you, why don't we just dive right in? I've been wondering,when did you first become a fan of my show?Roz: Excuse me, Warren from Kirkland is on line two.Frasier: Yes, Roz, I won't be taking any calls until after Mr. Gates has left.Roz: Actually, it's for Mr. Gates.Frasier: Well,go ahead, caller, you're on with Mr. Bill Gates.Warren: [v.o.] Yeah, hi, Mr. Gates. I bought your new Windows XP program and I'm about to install it as an upgrade. Do I have to make a boot disk?Bill: That's a very goodquestion, you don't need to make a boot disk. You just put the CD in and it'll upgrade.Frasier: I hope that answers your question, Warren...Bill: It's a feature of XP, very quick, very smooth. Hey, this is fun.Frasier:Thank you for calling, Warren. Now, where were we?Roz: Can Mr. Gates take a few more calls? The board is lighting up! Wow, who knew we had a line seven?Frasier: Roz, I believe Mr. Gates is probably anxious to geton with the interview?Bill: No, no, I'm happy to.Frasier: Very well. Go ahead, caller.Estelle: [v.o.] Wow, Bill Gates, this is so cool!Bill: Thank you.Estelle: Hey, I have a question about multi-lingual user interfaceadd-ons. What are those?Frasier takes off his headphones and goes to Roz's side of the booth.Bill: Well, the multi-lingual add-ons let you run Windows in different languages. You can use it in German or...Frasier: Canyou believe that egomaniacal gasbag? He's taking over my show!Roz: Don't you think you're exaggerating just a bit?Bill: Who do we have next, Roz?Roz: We have Bob, from Freemont. He has a question about hislaptop.Bill: Go ahead, Bob, I'm listening.The others happily watch as Frasier stands there, fuming. FADE OUT. Scene 2 - Frasier's ApartmentFade in. Frasier comes into his bedroom, lays his jacket on the bed and openshis briefcase. He takes out a tape.Frasier: Two thousand shows.He walks to the armoire and opens it, revealing a collection of all his shows. He put the tape in the next open slot and reverently passes a hand across thecollection. Niles calls from the living room.Niles: Hurry up, Frasier, we're gonna miss the reservations!Frasier: Yeah, I'll be right there.He goes to his dressing room and puts on a different jacket. Coming back, he closesthe armoire and heads for the living room, only to stop short, a disturbed look on his face. He goes back and opens up the armoire, then jerks in shock and gasps.CUT TO: the living room. Niles, Daphne and Martin arewaiting for Frasier.Daphne: Two thousand shows. That's quite a milestone.Niles: It certainly is. Can anyone tell me what happened today? I forgot to listen.Martin: I just listened for five minutes in case he asks me whatmy favorite part was.Daphne: I just say the call from Tacoma. There's bound to be a call from Tacoma.Frasier comes out.Frasier: Excuse me, could I see all of you in my room for just a jiff? They follow him off.Martin:But I'm hungry!CUT TO: Frasier's room as the all come in.Frasier: Okay, are we all here? Good.Martin: What's wrong?Frasier: Something is amiss.He dramatically opens the armoire.Niles: I'll say. I always thought thatwas a sweater cubby.Frasier: Well it's not. It's a collection of all my shows. I was just examining my collection when I realized that someone had placed one of my tapes upside down.Martin gasps.Martin: What kind ofsick, twisted... well, turn it right side up and let's go eat! You probably did it yourself!Frasier: All right, conceivably, but... I guarantee you I would never remove my tape from the case and replace it with \"The Best ofHall and Oates.\" All right, I won't be mad, just tell me: who did this?The others just stand there.Frasier: Nobody did this?Martin: Tell you what, I did it. Now can we go eat?Frasier: Not so fast, Dad. Okay, let's examinethe evidence.The others all let out groans. Martin sits down on the bed, Niles takes the desk chair, Daphne wanders back.Frasier: A Hall and Oates tape. That rules you out, Dad. And it definitely rules out Niles.Daphne:[in tears] Dr. Crane...Frasier: Or does it? Perhaps the tape is just a red herring, meant to throw me off the scent. A psychological game. There's only one of you that would combat me on that level.Daphne: I didit.Frasier: Ah-ha!Niles: You can't say \"Ah ha\", you thought it was me.Frasier: Why'd you do it, Daphne?Daphne: I didn't mean to. I was trying to listen to a tape in that boom box you gave me for Christmas. Only Iwasn't getting any sound and I didn't know if it were the tape or the boom box and I didn't have any other tapes so I grabbed one of your tapes just to test the boom box out and it turns out it was the boom box afterall. Only then I couldn't get it out of the boom box so I used a screwdriver to pry it out and I broke the tape, I'm so sorry.She sits down on the bed in tears, Niles gets up to comfort her.Niles: There, there,Daphne...Frasier: Stand down, Niles.He sits on the bed next to Daphne.Frasier: Daphne, do you realize what you've done? This isn't like any other tape you can go down to your local music shop and purchase, it'sunique. And irreplaceable.Niles: Can't you just get the station to make you a copy?Frasier: Unless I get the station to make me another copy. Which of course I can. The only transgression here is that Daphne didn'tcome to me with the truth.Daphne: I'm so sorry, Dr. Crane, I will never to you lie again.Frasier: Well, if that's what you've learned, it was all worth it. So, what are we all sitting here for. I believe we all have a twothousandth show to celebrate.Frasier closes the armoire and they all get up and head out the door.Niles: Hear, hear.Frasier: So, did you all listen?Niles: Oh, did we.Martin: Great.Daphne: I especially liked that call fromTacoma.Frasier: Oh, which one?[SCENE_BREAK]Scene 3 - KACL Fade in. Frasier and Roz enter a room filled with boxes.Frasier: You know, in nine years this is the first time I've been down to the archives.Roz: Oh, myGod, I remember this place.Frasier: Really?Roz: I came down here once after a Christmas party.Frasier: Whatever for?Roz: Well, I had a little too much champagne, and you know how you get a little lonely around theholidays?Bulldog comes from the back and smacks Roz on her backside.Bulldog: Brings back memories, huh, Roz?Frasier: Bulldog!Bulldog: That was some Christmas, huh? When Santa left a bit of Bulldog in yourstockings?Roz: You're disgusting!Bulldog: What, I went too far? Why don't you come back here, I'll slip you an apology.Roz slaps him.Bulldog: Bulldog's still got it!Frasier: Bulldog, what the hell are you doinghere?Bulldog: Oh, this is my new job. I, uh, catalogue the archive. You know, I clean up a bit. But I figure I'll be back on the air in no time, as long as I attack this job with my trademark \"Can Do\" attitude.Frasier:Great, then. We're looking for a copy of my show, episode 893.Bulldog: No can do.Frasier: What?Bulldog: What? I've only been here an hour, I don't even know where the john is. Where's my Powerbar? I had aPowerbar here.SOMEONE STOLE MY POWERBAR! THIS STINKS! THIS IS TOTAL B.S.! THIS IS... oh, here it is.He grabs it and goes out the back door.Roz: Frasier, here's a box marked \"Best of Crane\".Frasier: Oh, thanksRoz, let's have a look. Ah, good.He opens the box and finds it almost empty.Frasier: There's just a few tapes in here. All right, keep looking. Kenny comes in.Kenny: Oh, hey, Doc.Frasier: Kenny, just the man I waslooking for. Listen, where are all the tapes of my shows kept?Kenny lifts the lid of the box.Kenny: You got 'em. Right there.Roz: Well, where are the rest of them?Frasier: Yes!Kenny: There are no rest. We record overthem. I mean, look around, Doc, we've got a space problem down here.Bulldog comes in the back door.Bulldog: Hey, Kenny, where do you want me to put these snow tires?Kenny: Oh, put 'em right to my kids' bikes.Hehappily heads out the door. FADE OUT.IT'S A FANCY WAYTO SAY \"FAVOR\"Scene 4 - KACL Fade in. Frasier is on the air.Frasier: Good afternoon, Seattle. Before we go to the phones, I have a boon to ask of you. If any ofyou happens to have in your possession a tape of my broadcast from June 14, 1996, I am in need of a copy. You see, I understand that from time to time, people who call into my show record it, perhaps in order toreview my advice or even to play it for some friends. Now, I realize this is a bit of a long shot, but it is the only missing tape of my collection and therefore of course has great sentimental value. Thanks for yourconsideration. Now, Roz, who's our first caller?Roz: We have Joe from Bachon Island on line one.Frasier: Go ahead Joe, I'm listening.Joe: [v.o.] About that missing tape...Frasier: Yes, yes?Joe: I know what you're goingthrough. A couple years ago, I was in a taxi cab and lost a gold cuff link.Frasier: Yes, and this relates to my missing tape how?Joe: Well, it's missing and I'm bummed. It had the initials \"J.S.\" on it. If anyone finds it, I'dlove to have it back.Frasier: Yes, I'm sure you would, but unless it's about my missing tape, well then I would prefer to stick to calls about mental and emotional issues as usual. Thank you for your call. Who's our nextcaller, Roz?Roz: We have Phyllis from Green Lake.Frasier: Phyllis, go ahead, I'm listening.Phyllis: [v.o.] My cat ran away last Wednesday. She's orange with a white chest and one white paw...Frasier: Phyllis, all right.Hold on, hold on a minute! All right now, listen to me people. I don't want to turn this show into the lost and found bin of the airwaves. Phyllis, I'm going to let you finish your description of your cat and then we're goingback to our regular show, all right?Phyllis: Okay. She has green eyes, a rhinestone collar, and when she's happy...The scene DISSOLVES to later.Frasier: Let's recap: in the last three hours, we have located a missingengagement ring, one lost cuff link, two missing cats, and we've actually reunited Eric from Belltown with his biological parents. Still, sadly, no sign of my missing tape. To that end, listeners, please scour you attics,basements, hope chests, whatever. Meantime, this is Doctor Frasier Crane wishing you good day and good mental health. And don't forget to look behind things.He takes off his headset as Roz comes over from herside.Roz: I'm sorry, Frasier.Frasier: Oh, that's all right, Roz. It'll turn up, I mean it's only the first day. Word'll get around, I'm sure somebody has that tape.Roz: I just don't want you to get your hopes up too high.Chances are, that tape is gone for good.Frasier: Well, if that's the case, then so be it. Life will go on.He heads out the door.[SCENE_BREAK]Scene 5 - Frasier's bedroom. Frasier is trying to sleep, tossing and turning, butstill staring at the empty spot in his collection.[SCENE_BREAK]End of Act 1 Act 2THE LOST WEEKENDScene 1 - Frasier's Apartment Fade in. Frasier comes into the living room in his bathrobe.Daphne: Hello, Dr. Crane.How was your nap?Frasier: Lovely. Daphne, could you make me a cup of tea, please, and whatever meal would be appropriate for this time of day?He plops down on the couch. Eddie puts his head in his lap whileDaphne sits on the arm of the couch to comfort him.Daphne: Dr. Crane, you've been in bed all weekend. How about going for a nice walk?Frasier: No, thanks.Daphne: Well, how about going to a movie then? Take yourmind off your troubles.Frasier: My car's in the shop.Daphne: You could take public transportation.Frasier lets out a little laugh, then quiets down again. The doorbell rings.Daphne: Oh, I wonder who this could be? [Sheopens the door.] Oh, look, it's your brother Niles, here for a visit.Niles: [entering, he speaks very slowly and clearly] Hello, Frasier, how are we today?Frasier: What the hell is wrong with the two of you? You'd think I'dbeen found walking in the park in my underwear, talking to pigeons.Daphne: Would we like a walk in the park?Frasier gets up and heads for his room. Niles follows. They meet Martin coming into the living room.Niles:All right, Frasier, Frasier wait...Martin: Hey, lookin' good, buddy.Frasier just keeps walking.Martin: Not any better, huh?Daphne: No, and I feel just awful. This is all my fault.Martin: Oh, come on.Daphne: I'm the onewho ruined his treasured collection.Martin: Oh, all his crap is treasured. But look, don't feel bad. I've broken lots of his stuff.Daphne: I've never heard of you breaking anything.Martin: That's because I know how tocover my tracks. Take a look at that fertility god statue over there. It used to be a lot more fertile, if you know what I mean.Daphne goes over and looks closely.Daphne: Oh my God! This is a Tootsie Roll! That'sbrilliant!Martin: Aw, that's nothin'. Here, check out this vase. [he pulls down a piece of pottery] Two years ago Eddie and me were horsin' around and I knocked it over, it took me hours to glue it back togetheragain.Daphne: Why, you can't even tell. I had no idea you were so devious.Martin: Come on, I'll show you how to make ginger ale look like fifty year-old brandy.CUT TO: Frasier's bedroom. Frasier is back in bed, Nilesis sitting on a chair next to him.Frasier: Listen, Niles, I appreciate your concern, I really do, but frankly I am in no mood to endure therapy with my younger brother, no matter how well-intentioned.Niles: I am nottrying to butt in, I'm just curious as to why this tape matters so much to you. Do you ever listen to these?Frasier: Once. When I had a date over. Proved a useful mood setter.Niles: Okay... Well, tell me this, then: doyou ever intend to listen to any of the others?Frasier: Don't know.Niles: So, why is it so important to you to have each and every one of them?Frasier: Because it's a collection, Niles. That's what a collection is.Niles: Isit possible that a harmless collection has become an unhealthy obsession?Frasier: It's, it's just a hobby. All right?Niles: Or an obsession.Frasier: An eccentricity.Niles: Or an obsession.Frasier: You know, it's a quirk.That's it, I'm quirky. I'm delightfully quirky.Niles: Do you realize that your delightful quirk has brought your life to a standstill?Frasier: Niles, I've just finished my two thousandth show. I'm exhausted, physically andemotionally. I believe that I am entitled to an entire weekend of doing nothing, don't you?He rolls over.Niles: Do you know you have your pajamas on backwards?Frasier: Another delightful quirk of mine.Niles: Not fromwhere I'm sitting.Martin comes in, holding a piece of paper.Martin: Hey, Fras! The station called, some guy has your tape.Frasier: Oh, uh, well, thanks, Dad. Yes, well, I'll tend to this by and by...He sets the paper down.Niles grabs it.Niles: All right, I'll get the car.Frasier: I'll put on some pants.Niles: Zipper goes in front.He leaves, Frasier glaring after him. FADE OUT.[SCENE_BREAK]Scene 2 - Tom's ApartmentFade in. Tom is bringing aplate of snacks out of the kitchen when there is a knock at the door. He answers it to find Frasier.Frasier: Hello.Tom: Hello, yes, Dr. Crane. Please come in. Please make yourself at home.Frasier: You must be Tom.Tom:And you must be the greatest radio talk show host ever!Frasier: You can call me Frasier.Niles: I think I'll wait outside.Tom: I didn't know you were bringing someone.Frasier: Oh, Tom, this is my brother Niles.Tom:Oh.Niles: Hello, Tom.Tom: Hi, yes. Uh, didn't you fill in on Frasier's show a couple of times?Niles: Well, yes actually I did.Tom: Yeah, yeah, you were all right.Niles: You flatter me.Tom: So, what's it like?Niles: Excuseme?Tom: Being Frasier Crane's brother? Being able to talk to him whenever you want, having access to that great brain twenty- four hours a day?Niles: You know, I think I left my lights on.Tom: No, no please, don'tleave yet. Please, if you don't mind, I was hoping you'd take a picture of Frasier and I.Frasier: Well, of course he doesn't mind. Actually, I've even brought along an eight by ten photo, personalized, of course.Tom: Oh,my, that's really, I don't know...Frasier: Yes, I thought you might like that.Tom: I'll have to do some rearranging, but don't worry, I'll find some room for it somewhere.He opens the curtains on the back wall to reveal awall full of signs, posters and photos of Frasier. He pins the new one in place.Niles: I, uh, thought that was a window.Tom: Yeah, well it was. Okay, I'm gonna go get the camera.He heads off.Niles: Frasier, this man isdeeply disturbed.Frasier: Why? Because he has a few pictures of me on his wall?The phone rings.Niles: This man is obviously obsessed with you.Frasier: What is it with you? I'm obsessed, he's obsessed. I think you'rethe one who's obsessed with being obsessed.Niles: All right, I apologize. He's delightfully quirky.The answering machine picks up the phone. The outgoing message is Frasier's voice, recorded from the show.Machine:Go ahead caller, I'm listening.Caller: This is your mother, call me - and change that stupid message already!Tom comes back in the room with an instant camera.Tom: Aw, mom, get a life, why don't you? Here we go.[he sits on the couch, his arm around Frasier] Now I want to record this historic moment, because I don't want to wake up tomorrow and find out this was all part of a dream. Because I've had this dream before. Manytimes. Sometimes we're in London, sometimes we're in Paris, sometimes we're riding mules down the Grand Canyon.Frasier has begun to look nervous at this, but Niles takes the picture.Tom: Oh my God! This is gonnabe the jewel of my collection. I'm gonna get a special frame for it and I'm gonna look at it while I'm listening to the show and I... Oh, wait a minute. Uh listen, uh Frasier's brother, your thumb was in front of the lens. Ifyou don't mind, just one more. And you know what, bring that chair closer come over here for a second, sit there, this is gonna be great. [He urges Frasier over to the chair.] Sit there, just like that, and this time, whydon't you act like you're giving me advice.Frasier: Right, all right. Tom, I was just wondering, have you ever called into the show?Tom: Me? Why would I call the show?Niles takes the picture again.Tom: Ooh! Did yourhead just touch that?Frasier: Yes, I'm sorry.Tom: Don't be.Tom grabs a plastic container and takes the doily from the back of the chair.Frasier: Oh, so, Tom. I take it you've been listening to the show for some"}
+{"doc_id":"doc_221","qid":"","text":"[EXT. LAS VEGAS (STOCK) - DAY][EXT. APARTMENT COMPLEX - DAY][SCENE_BREAK][INT. APARTMENT COMPLEX - HALLWAY - DAY](The resident manager enters the darkened hallway of the apartment complex withtwo prospective renters, STEVE and NANCY.)Stu Evans: You'll like this apartment. My wife says it's the best of the lot. Now, the tenants moved out kind of quick so I don't normally show apartments before I've had achance to look, so ... use your imagination.(He unlocks the door to apartment #103 and pushes it open for STEVE and NANCY to look at. They both step inside ... aghast at what they see. There's blood on the walls andon the floor.)Nancy: (to STEVE) Oh, my god. Call 911.[SCENE_BREAK][INT. APARTMENT #103 - DAY](Camera close up of BRASS.)Brass: I worked in a slaughterhouse one summer. Looked a lot like this.(GRISSOM isalso standing in the middle of the room. He's not looking at the walls, he's busy testing the blood.)Brass: (V.O.) The lease is in the name of Clifford Renteria. He lived here with his girlfriend till they snuck out in themiddle of the night. Gee, I wonder why.Grissom: For all we know, this is animal blood.Brass: Yeah, sure. Deer, sheep, llama.Grissom: A deer hunter comes home from the mountains drunk decides to play butcher cleanhis kill. Chops his game up into oven-sized pieces for the winter. I mean, what does he care? He's renting.(GRISSOM drops a small sample of the mixture into the hand-held test and waits for the results. BRASS uses hisflashlight and shines it on the test. Results of the test indicate that the victim was definitely \"human\".)Brass: Victim's human.Grissom: And a human has only eight pints of blood. So, whoever the victim is ... is nowdead.HARD CUT TO END OF TEASER. ROLL TITLE CREDITS.[SCENE_BREAK][INT. APARTMENT -- DAY](GRISSOM is looking through a small instrument used to measure the blood spatter.)(QUICK CGI through the end ofthe instrument, up to GRISSOM'S eye, fade back down to the end of the magnifying lens to measure the blood spatter where 1 DIV = 1 MM. 20X. Flash to white. Resume on GRISSOM looking at the blood on thewall.)Sara: (o.s.) Any uniformity in the spray?Grissom: Well, by and large, the average diameter is about one millimeter.Sara: Blood drops this size are characteristic of high-velocity impact like gunshot trauma butthere's no bullet strikes on the walls ... ruling out murder by gun.Grissom: Just acquaint yourself, Sara. Don't interpret just yet, okay?(SARA continues to look around the room. WARRICK is busy spraying luminol on theentire floor. When he's finished, he puts the spray canister down.)Warrick: All right. Show time.(GRISSOM closes the shades disturbing a single fly which buzzes off. SARA, WARRICK and GRISSOM wait while the luminolbegins to glow.)Sara: This looks like a multiple. More than one vic. Acquainting myself.Warrick: Check out these \"voids.\" That's the real evidence.(From the top view of the room, the entire floor glows except for certain\"voids\".)Grissom: Couch? We've only got 30 seconds till this luminol disappears.(SARA starts taking pictures of the \"voids\" and anything else pertinent. GRISSOM kneels to get a better look at the \"voids\" where he'sstanding.)Grissom: Television, maybe? A magazine?Sara: Triangle ... coat rack?Warrick: Guys ...(Right where WARRICK is standing is an irregular shaped \"void\".)Grissom: What do you think that is?Warrick: Looks likeit could be an electric saw.Grissom: High-velocity, small spray.(Close up on the \"void\" of the electric saw as it disappears ... )[SCENE_BREAK][EXT. MOJAVE DESERT NEAR LAKE MEAD -- DAY](On the other side of thepower lines, the hills are on fire. A helicopter flying by drops water on the flames. The camera travels low along the ground and moves upward as the helicopter with red bucket passes by.)(In the background we hearradio static and various radio dispatch transmissions.)Radio Dispatcher: 76 ROMEO, approaching ETS 4-NINER-SIX.Pine Ridge Command: 76 ROMEO, you're right on it.76 ROMEO: Pine ridge command, go to white firethree. Dozer tender 1441. Air attack 140. O.V. Tens on order. Report to willow springs.[SCENE_BREAK](NICK and CATHERINE carrying their CSI kits, pass by a group of fire fighters to get to the crime scene.)Nick: Zerohumidity, record highs. 'Tis the season.(They both meet up with DET. O'RILEY.)Catherine: Hi.Det. O'Riley: Hey. I don't even know where to start with this one. Take a look at that. A scuba diver ... up a tree.(True toform, there's a dead person in scuba gear stuck up in a tree. The CSIs, DET. O'RILEY and DAVID PHILLIPS all look up at the figure in astonishment.)Nick: Wow.Catherine: How the hell he'd got up there?(CATHERINE isholding yellow evidence markers in her hand and is looking on the ground for anything unusual.)Nick: He couldn't have climbed up there with all that crap on.Det. O'Riley: He got up there somehow.Nick: Well, you know... Lake Mead is just over the hill and the copters are dropping water.(CATHERINE looks up at the helicopter and bucket whirring by. She turns to NICK.)Catherine: You're serious?(NICK smiles.)Catherine: That's a totalurban legend. We're scientists, Nickie. No way that happened.Nick: (looking up) Okay.(Cut to CGI POV of a scuba diver in Lake Mead and a large red bucket being dropped into the lake. End of CGI POV. Resume onCATHERINE.)Catherine: And I suppose you believe in Santa?Nick: After today ... oh, yeah.[SCENE_BREAK][INT. APARTMENT COMPLEX - HALLWAY JUST OUTSIDE APT #103 - DAY]Brass: When I said Cliff Renteria andhis girlfriend skipped out in the middle of the night, I didn't have the whole story.Stu Evans: I haven't seen Alison in over a month.Brass: Any idea where she might be?Stu Evans: Renteria said she left town.Brass: Soyou noticed that she was gone?Stu Evans: I manage the complex. I notice everything.Grissom: Did you notice if Mr. Renteria left a forwarding address?Stu Evans: No. He just wrote the letter saying he was moving on.Listen, if you find him, you tell him he is not getting his deposit back, okay? The blood'll never come out.Grissom: Hopefully not. That's all the evidence we have.[SCENE_BREAK][EXT. MOJAVE DESERT NEAR LAKE MEAD-- DAY](CATHERINE searches the grounds for evidence. A helicopter whirs (o.s.) overhead. CATHERINE finds something and puts evidence marker #1 next to the scuba diver's pressure gauge. The needle is frozenstuck. She takes pictures of the pressure gauge.)(Cut to NICK as he crouches low to the ground. CATHERINE approaches.)Nick: What do you make of that void? Green vegetation.Catherine: There's a consistent burnover this whole area.Nick: Except for that one spot.Catherine: Well, the chief said that the original fire was a class \"C.\" Downed power line. Winds keep shifting hot spots breaking out all over.(NICK looks around andnotices a burned cigarette butt and matchbook.)Nick: Well, well ... downed power line, huh?(He motions to CATHERINE. She looks at it.)Catherine: Good eye.(CATHERINE puts down evidence marker #3 next to thematchbook and snaps a photograph of it. NICK picks the matchbook up.)Nick: Matchbook time-delay device.Catherine: Don't touch it. It'll disintegrate.Nick: That's the only reason I carry this stuff.(NICK pulls out anaerosol can.)Catherine: Hair spray. Extra hold?(CGI POV Close up of Hair spray adhering to the burnt matchbook sticks, coating them.)Nick: The difference between walking and running. Guy lights a cigarette, sticks itin a matchbook takes a stroll.(CGI POV of a newly lit cigarette being wedged under the matchbook sticks. Flash to white. Close up of the matchbook and cigarette on the ground. Flash to white. Close up of fireconsuming both the matchbook and the cigarette. Flash to white. Resume on NICK and CATHERINE.)Catherine: It buys an arsonist a five-minute head start.Nick: Mm-hmm.[SCENE_BREAK][EXT. MONACO RECEIVING --DAY](BRASS exits his car (Nevada license #IEP-353). He and GRISSOM approach CLIFFORD RENTERIA.)Brass: Monaco Receiving. Clifford Renteria, platform manager.Grissom: Gee, Brass, all in one shift. I'mimpressed.Brass: Are you Clifford Renteria?Clifford Renteria: Cliff. Who are you?Brass: Las Vegas police. With the crime lab. Do you have any knowledge of the whereabouts of Alison Scott?Clifford Renteria: She's inCanada visiting her parents. Why?Grissom: We just came from your old apartment. We found some disturbing evidence there. Would you care to explain that?Clifford Renteria: Hey, he had it coming. I'll tell you thatright now. Apartment stank, there were flies everywhere, no water. So I trashed the place.Brass: Who had it coming?Clifford Renteria: The apartment manager. The lazy b*st*rd. Serves him right.Grissom: Mr.Renteria, your apartment walls are covered in human blood. Are you aware of that?Clifford Renteria: Yeah.Grissom: Do you have an explanation?Clifford Renteria: It's my blood.Grissom: Your blood?Brass: You got astigmata?Clifford Renteria: No. I get nosebleeds.Brass: Nosebleeds?Clifford Renteria: From Hepatitis C. I got blood to spare. My nose is like old faithful. Finally came in handy.Grissom: You expirated blood from yournose all over your apartment walls to get back at your manager?Clifford Renteria: Yeah. I hope I made his clean-up job hell.(A noise from behind him distracts CLIFF RENTERIA. He turns around and sees aworker.)Clifford Renteria: (to worker) That's not supposed to go anywhere.Brass: This guy blows ten quarts of blood from his nose onto his wall? You want to ask for a demonstration?Grissom: He's lying. Expiratingfrom your nose would leave oval-shaped blood patterns. The ones we found in his apartment were V-shaped.Brass: Mr. Renteria. We're going to need a sample of your blood -- from your arm, not your nose -- and avisit to your new apartment.(CLIFFORD RENTERIA motions to the large truck #84438 behind them.)Clifford Renteria: That's home to me now. Been staying there about a week.Grissom: Well, may we see yourfurniture?Clifford Renteria: Sure.[SCENE_BREAK][INT. TRAILER](From inside the truck, the back opens and we see all CLIFFORD RENTERIA'S worldly possessions crammed in the back of the trailer-truck.)(Camera cutto looking into the truck from the outside. We immediately see an electric saw in front of a large monitor-sized box with the label DM(TM) 604 S2.)Grissom: Electric saw.Clifford Renteria: Used to do somelandscaping.Grissom: Interesting lamp.Grissom: Mr. Renteria, with your permission, I'd like to move some of your property to my lab for a closer inspection.Clifford Renteria: Hey, save me $250 a week truck rental.Keep it as long as you want. I'll sleep in the break room.Brass: That's after you come down and give us that blood sample.(The truck door closes to black.)[SCENE_BREAK][INT. CSI - LAB](Four people carrying variousthings walk by the glass lab wall. WARRICK walks into the lab carrying a large white box with the words \"PROPERTY OF FIREARMS\" written in black on the side. WARRICK is wearing a white jumper suit. SARA is alsowearing the same type of white jumper suit.)Warrick: You check nosebleed's tools yet?Sara: No observable blood. Not even with pheno.Warrick: That's because he probably ditched them after using them on the victim.Now we've just got to figure out which one.(WARRICK puts the box down. It's filled with various types of electric saws.)Sara: How long did Firearms give us these for?Warrick: Twenty-four hours, then we've got to getthem back. Clean.Sara: Let's do it.[SCENE_BREAK](WARRICK zips up his white jumper, secures his gloves, turns the radio up.)(Cut to SARA zips up her white jumper. WARRICK puts on his head gear with goggles.)(Cutto SARA with her head goggles on mixes the paint they're going to use.)(Cut to WARRICK pouring the paint in a large plastic container that they'll be dipping the saws in.)(Cut to SARA dipping in a saw with a smallround blade into red paint. Behind her, WARRICK is holding a different kind of saw.)(Cut to SARA holding the saw with paint against a clear pexi-glass board backing. She turns the saw on and lets the paint spatter ontothe backing.)(Cut to Close up of a saw blade being dipped in paint.)(Cut to WARRICK holding the electric saw against a clear pexi-glass board backing. He turns the saw on and it spatters paint onto thebacking.)(WARRICK and SARA repeat this test using the different saws in the box.)[SCENE_BREAK][INT. CSI - GREG'S LAB](Close up on GREG.)Grissom: (o.s.) So?(GREG looks up and sees GRISSOM standing there. Hedidn't hear him enter.)Greg: DNA results, um ... sixteen samples from the apartment walls and the one we just took from the guy's arm.(GREG puts aside what he's working on, finds the file and hands it to GRISSOM.GRISSOM opens the file to review the findings.)Grissom: This cannot be right.Greg: Hey, I always double-check your stuff. But all the results are pointing one way.Grissom: What about the blood on the lamp?Greg:That is my next run. Just a little backlogged.Grissom: Well, get through it.(GRISSOM leaves. GREG sighs.)[SCENE_BREAK][INT. POLICE DEPARTMENT -- HALLWAY](GRISSOM and BRASS walk through the hallway.GRISSOM is holding the file folder.)Brass: I thought you said the blood on those walls couldn't be his.Grissom: I also thought the metric system would catch on. Look, everything that starts with a faulty premise isbound to fail. I saw \"V\" patterns and I foolishly ruled out the nose.Clifford Renteria: I told you I had a condition, Hepatitis C. I was diagnosed when I was 18.Brass: And this relates to your magic nose, how?Grissom:Hepatitis C destroys the liver and a whole host of clotting functions. Cliff, indeed, has blood to spare.Clifford Renteria: Thanks for coming around to my side. Which way is out?Brass: Nobody released you.SHORT TIMECUT TO:[SCENE_BREAK][INT. POLICE DEPARTMENT -- INTERROGATION ROOM]Grissom: Mr. Renteria, I can't sign off on a case until I fully understand it. So, let me get this straight. You had a beef with your landlordand you decided to pay him back by blowing blood out of your nose all over the apartment walls. Is that about right?Cliff Renteria: Yeah.Grissom: A day? A week? A couple of months? How long did this take?CliffRenteria: I don't know. About a month.Grissom: So, you get up in the morning, make coffee and go \"I think I'll blow some blood on the kitchen wall today.\" Get out of the shower grab your towel, go \"Hey, this looks likea nice spot to expirate a couple of pints.\"Cliff Renteria: It wasn't like that. Something would set me off. The disposal was backed up, no hot water, the toilet was broken ... I knew the landlord wasn't going to fixit.Grissom: So, you made your statement through your nose?Clifford Renteria: I wasn't getting anywhere with words. Look, if it'll get me out of here any quicker, I'll show you.(BRASS and GRISSOM sit back in theirseats. CLIFF RENTERIA stands up and looks around for the necessary materials. He picks up a sheet of newspaper and hangs it up on the blackboard behind him.)Clifford Renteria: Um ... it's really not that big adeal.(GRISSOM stands up and moves closer to where CLIFF is. CLIFF turns around.)Clifford Renteria: You might want to back up.(GRISSOM takes a small step backward and CLIFF takes a deep breath, holds a hand upto his nose and ... )(OFF BRASS as we hear a loud spraying sound. BRASS has his head turned away and eyes sideways toward the test.)[SCENE_BREAK][INT. CSI -- LAB](Camera on the newspaper with CLIFFRENTERIA'S latest artwork hanging clipped to a board. The camera moves to show us that next to the newspaper sample, is a photograph of a blood spatter from the apartment wall with ruler measurement. Next tothat is a photograph of one of the electric saw glass spatters. Next to that is a photograph of a plastic trash can with spatters on that.)Sara: (o.s.) Same high-velocity spray.Warrick: Same short \"v\" pattern, too.Sara:Didn't you say expirating through the nose made oval patterns?Grissom: Yeah, well ... as it turns out our guy stands very close to the wall and blows almost sideways.Warrick: This is on the real. You actually saw himdo this?Grissom: Right through his Jimmy Durante. Ambidextrous, both nostrils.Sara: Great. Our big murderer's a nosebleed.(GREG enters holding a paper with test results. He hands it to GRISSOM.)Greg: Oh, notnecessarily. Sample from the nosebleed's lamp. It's not his blood. And I don't know whose blood it is but the amelogenin came back with something pretty interesting: \"XX.\"Warrick: Female blood.Greg: Mm-hmm.Sara:Our guy's girlfriend is still missing.Grissom: Two things which may have nothing to do with each other.Sara: Or everything.(Camera holds on GRISSOM'S look.)[SCENE_BREAK][EXT. LAS VEGAS CITY (STOCK) -NIGHT][SCENE_BREAK][INT. CSI - FORENSIC AUTOPSY ROOM]Catherine: So you got an ID on the scuba guy?Robbins: Jacques Cousteau. Kidding. Coroner's humor. But I'll tell you what I do know. He didn't die in thatfire. No carboxyhemoglobin in his blood.Catherine: Means he didn't inhale any carbon monoxide.Robbins: Tells us he stopped breathing before the fire started. Guy was probably killed someplace else and dumped.Nick:Oh, he was dumped all right ... out of a chopper. Right, doctor?Robbins: Victim's injuries are inconsistent with a fall of that magnitude. No fracture of the pelvis no compression of the lumbar vertebrae no shortening ofthe body.Catherine: There goes your theory, Nick. Good try, though. So what was the cause of death?Robbins: His heart stopped beating.Nick: Heart attack ... consistent with being scooped out of Lake Mead.Robbins:The human heart beats in a four-beat rhythm like a fox-trot. The two atria contract, then the two ventricles. Ba-boom, ba-boom.Nick: So, what happened to this guy?Robbins: Commotio cordis. Cardiac concussion. Theguy short-circuited. It's rare, but I've seen it. Couple of years ago a minor leaguer took a line drive to the chest.(CGI POV of a baseball hitting the center of a \"Blaster's\" jersey. Camera moves forward through the jerseyand into the heart where it starts to beat irregularly. Flash to white. Resume to present.)Robbins: Interrupted the impulse to the heart turning it into a bag of worms. Fibrillation.Catherine: So, our scuba diver took oneto the chest.Robbins: Definitely.Nick: He could've been clipped by the chopper's Bambi Bucket. Did you find anything between his toes? Like sand from ...Robbins: ... Lake Mead. Sorry, Nick. But I did find somethingbetween him and his wetsuit. Soap residue. Like he started to shower. Soaped up never soaped off.[SCENE_BREAK][INT. CSI -- LAB](Close up of NICK taking a swab of the soap residue from the dive suit. He looks atthe tip of the swab. Close up of swab with the residue on it. NICK notices as GREG stands in the doorway.)Nick: Something on your mind, Greg?Greg: No. I heard about your case. Sounds interesting.Nick: Yeah. Youwant to make yourself useful, drop this off at trace.(NICK hands the container with swab within to GREG. GREG looks at the suit.)Nick: Must be some kind of soap. Robbins got me halfway there.Greg: Bet it's liquiddishwashing soap.(GREG turns to leave and is nearly to the door with NICK stops him.)Nick: Yeah? State your source.Greg: Well, you know I used to do a little diving myself actually. Belize, Maui, Great Barrier Reef ...Okay, maybe I took that one a little too far. But the point is, that these rubber suits aren't very easy to put on. Neoprene and skin need a little romance to get together. And a capful of liquid soap works like acharm.Greg: So, you check this safety valve?Nick: Sealed closed.Greg: And what about the pressure gauge?Nick: Hose melted. Catherine found it at the base of the tree.Greg: It's 3,000 psi; that tank was full.Nick:Guess it's like anything pressurized. These things blow for one of two reasons: Too much air or too much heat.(NICK stops as it hits him. He looks at GREG. GREG looks back at NICK.)Nick: You just made yourselfuseful, my friend.Greg: (smiles) Yeah?Nick: Oh, yeah.Greg: How?[SCENE_BREAK][INT. APARTMENT -- HALLWAY](GRISSOM and SARA return to the apartment complex. They're both carrying their CSI kits.)Sara: Whatare we looking for exactly?Grissom: Same thing we're always looking for evidence of a crime. Failing that, we'll have to release this apartment.Sara: What about Nosebleed's missing girlfriend? You heard Brass.[INT.APARTMENT #103]Sara: He got a-hold of Alison Scott's parents in Canada. They said she never arrived. They had no idea she was even going to see them.(They enter the apartment and put their kits down.)Sara: Whatif nose man blew blood all over these walls to cover up Alison Scott's blood?(GRISSOM considers the thought. He gets up and goes to the nearest wall. He scrapes the blood of a random sample.)Grissom: I don't see anyevidence of that.Sara: You're not finding another layer of blood under there?Grissom: No.Sara: You don't think maybe he off'ed his girlfriend?(A fly buzzes by distracting GRISSOM. He looks up.)Grissom: How many flies"}
+{"doc_id":"doc_222","qid":"","text":"MYSTIC FALLS HIGH SCHOOL[The Mystic Falls High School football field is all decked out for the commencement ceremony. It is deserted except for Kol, who stands at the podium, and the dead hybrids and witchesfrom the Expression triangle sacrifices who approach him. He taps the microphone before speaking.]Kol: Welcome back. It was our deaths that allowed this day to come to pass - massacres performed in the name ofresurrecting the immortal, Silas. Twelve hybrids, twelve witches, the slaughter of innocents by the so-called hero protectors of Mystic Falls. They risked unleashing hell on earth for their own selfish gains. And todaythat's exactly what they're going to get.TITLE CARD AND OPENING CREDITSSALVATORE BOARDING HOUSE[Lexi is dancing and rocking out to Bon Jovi in the parlor while Stefan drinks some bourbon straight from thebottle. Damon enters.]Stefan: Damon! Help me celebrate my 17th high school graduation. [Damon turns off the music.] Hey, you remember my friend, Lexi, of course?Damon: Lexi, back from the dead. Goody.[Lexivamp-runs at Damon and pins him against the wall with a hand over his neck.]Lexi: What's up, buzzkill?Damon: [strained] Stefan, you're just gonna sit there and let her enact her ghostly revenge?Stefan: You reapwhat you sow, buddy.Lexi: Let's be very clear: whatever time I have left here, I sure as hell don't plan on wasting on you. You got me?Damon: Yeah. Got ya.[Lexi releases Damon and he gasps.]Damon: So if you andRic and little Gilbert are all flesh-like and real-seeming, that means something went horribly wrong when Bonnie tried to put that veil up. And here you two are, having dance party USA.Stefan: You're right. How selfishof me to be indulging in these precious moments with my formerly dead best friend. I should be sacrificing my own happiness for the good of others, right? I should be upstairs grooming my hero-hair.Damon: Are youdrunk?Stefan: I don't know, Mom, am I?[Taking the bottle from Stefan, Lexi chuckles. Damon snatches the bottle from Lexi.]Lexi: Okay.Damon: Well, I guess that's one way to celebrate our supernatural apocalypse.[He takes a swig from the bottle.] Now, care to hazard any guesses on what the hell went wrong?MYSTIC FALLS HIGH SCHOOL[Bonnie is in the boiler room at the school, on the phone with Caroline who is manning theyearbook table in a hallway of the school. The shots alternate between them.]Bonnie: I hit kind of a snag.Caroline: A snag? A snag is a bad yearbook picture. You hit a tsunami. Where are you?Bonnie: I'm trying to fixit, but I'm running into some trouble. I need to wait until the full moon tonight to have enough power to put the veil back up.Caroline: Are you telling me that we might graduate right smack in the middle of aghost-filled Expression Triangle?[Bonnie glances down at her body lying on the floor. Her grams is with her, looking at it, too.]Bonnie: Maybe we should just cancel.Caroline: No, we are not going to cancel. Graduation isthe most important event of our lives, the last ceremony of our youth. It is our rite of freaking passage! Hell will freeze over before I let anyone cancel graduation.Bonnie: Can you not make jokes about hell freezingover? We're not that far off from that already.Caroline: Just promise me that today is a friend day.Bonnie: Okay, I promise. I love you.Caroline: I love you, too.[They hang up.]Sheila: Go. I'll make sure no one findsyour body. But Bonnie--Bonnie: I know. Okay? I know I need to tell them, I just can't. They've been through too much already.Sheila: I know, child. I was just going to say that... Make sure you say yourgoodbyes.[Bonnie smiles sadly.]THE CEMETERY[Alaric, Jeremy and Elena are eating lunch together.]Alaric: [through a full mouth] Mm. Oh, my god.[Elena laughs.]Jeremy: Mm.Elena: No grease on the Other Side,huh?Alaric: You have no idea how much I've missed this. [holds up a bottle of bourbon] And this.[Elena takes the bottle.]Alaric: No, hey. Hey![Elena takes a swig.]Jeremy: She just got her humanity back. Let her live alittle.[Jeremy reaches for the bottle but Elena holds it away from him.]Elena: Hey, you wish.Jeremy: I'm dead - what are they gonna do, throw me in juvie?Alaric: Well, at least you'd have a place to live.[Smiling, Elenastarts throwing food at them.]Elena: You both suck!Alaric: Hey! Now there it is - that smile. I wasn't sure we were gonna see that again.[Elena is still smiling, but more sadly, her eyes glistening.]Elena: I did somepretty terrible things.[She takes a deep breath.]Jeremy: Hey, no. No tears. If Caroline was right, we only have until tonight. We need a no-crying rule.Elena: But the crying's good. It means that I'm finally feelingsomething, and right now I... [she takes their hands in each of hers] I feel happy.[They smile back at her. Elena's phone starts ringing. She takes it out and looks at it.]Elena: It's the Grill - it must be Matt. [answers it]Hey, you went AWOL this morning - what happened?[It's a familiar, unexpected voice.]Connor: Hello, Elena. It's your dead friend, Connor. You remember me?[Elena is shocked.]A PARKING LOT[Matt and Rebekah are awary audience to Alexander as he unloads weapons from Connor's trailer.]Alexander: A hidden compartment filled with advanced weaponry. Man has evolved from his days of throwing stones.Rebekah: There is nothingwe can do for you Alexander. Please, let us go.Alexander: I'm not holding you here. Although, I have a feeling that exploding contraption will have a hard time parting with your handsome friend intact.[Matt is standingon a weight-sensitive explosive device.]Matt: Just go, Rebekah. I'll be fine.Rebekah: I'm not leaving you.[Alexander examines a bottle of venom, smiling in awe.]Alexander: The soldier, Connor, found a way to siphonvenom from a werewolf.Rebekah: What do you want from us?Alexander: To fulfill my destiny. The brotherhood of hunters was created for one reason, and one reason alone.SALVATORE BOARDING HOUSE[Damonopens the door to find an unexpected visitor.]Damon: Vaughn?[Vaughn lifts a guns and shoots Damon in the shoulder. The force of it causes Damon to step back and he groans in pain.]Vaughn: Got a little message foryou, laddie. Straight from the mouth of the witch Qetsiyah.MYSTIC GRILL[Connor is still on the phone with Elena. The shots alternate between the Grill and the cemetery.Connor: We want Silas, and we want thecure.Elena: I don't know where they are, so I guess I can't help you.Connor: Huh. Well, you know who's gonna need some help? Grandma and Grandpa Jones, in town for the big high school graduation, along withAuntie Sue and Uncle Mark...[Alaric motions to Elena that he's going to do something. Elena nods.]Connor: Matter of fact, everybody here at the Mystic Grill for graduation brunch. You either give me what I want, orthey die.SALVATORE BOARDING HOUSE[Damon groans as he pulls the bullet out of his shoulder. Vaughn checks his gun.]Vaughn: Yeah, borrowed it from my jarhead friend, Connor. Shoots wood like lead.Damon:Come on, man. I didn't kill you.Vaughn: No, but you left me in that well on that island, where I starved to death. There I was, all alone on the Other Side, till Qetsiyah found me and reminded me of my supernaturaldestiny - to cure Silas, and then kill Silas. End of story--[Suddenly Vaughn gags and falls to the floor. Stefan stands behind him, Vaughn's bloody heart in his fist. Damon gapes at him; Stefan merely raises hiseyebrows.]MYSTIC GRILL[Elena is still talking to Connor over the phone. The shots alternate between them.]Elena: Please, don't hurt anyone. I'll find Silas and I'll get the cure.Connor: Good. Get it done.[He hangs up.Alaric shows up behind him.]Alaric: So, you get off on terrorizing innocent people?Connor: And who might you be?Alaric: The guy responsible for the 18-year-old you just threatened.Connor: Well, that 18-year-oldsnapped my neck with her bare hands.Alaric: And I'm also the guy who showed her how to do that.[Connor chuckles.]Connor: That's ironic. You must not know a damn thing about fighting if you're trying to intimidate adead guy packing C4.[Connor opens his jacket slightly to reveal he's strapped with explosives.]Alaric: This is my bar, pal. Nobody's gonna blow it up.[Connor grins and lifts a detonator in his hand. It clicks and Alaricgrabs him with vampire speed and takes him out of the Grill. He explodes offscreen, though they only get far enough that the explosion causes damage to the edge of the restaurant. The Grill patrons scream in fright.]APARKING LOT[Matt is still trapped standing on the explosive device while Rebekah stands beside him. Alexander sits in the doorway of the trailer.]Alexander: Go ahead, sweet Rebekah. Use your vampire powers towhisk him away. I'm sure you can survive the blast of six of these... automobiles. Can he?Matt: Just ignore him. All right? Let's think about something else. Like graduation. What are your plans - college? Travel? Justbecause I'm never getting out of this town doesn't mean you shouldn't see the world.[Rebekah, who has been watching the device nervously as Matt's weight shifts on top of it, looks back up at him.]Rebekah: It's justbeen settled. I'm gonna show you life as you've only dreamt it. We'll start in Italy. There's a lovely little church-- [she glances back at Alexander] -- outside San Vittore in Brienno.Alexander: [nodding] Romantic spot.Popular for weddings.[Rebekah turns back to Matt.]Rebekah: And then I'll show you the Northern Lights in the springtime, the Simatai Gorge from atop the Great Wall of China, every inch of the Louvre.Matt: [smiling]China, Paris, the Northern Lights... It's a date.Rebekah: We'll see it all when we're done here because we can. We're alive. [She looks scornfully back at Alexander.] We're not gonna be stuck as ghosts in misery on theOther Side.[Alexander angrily gets up.]Alexander: All right, you're done now.[He throws the dagger he's holding at Matt. Rebekah moves to catch it and does, but starts to knock Matt off balance. He teeters atop thedevice as Rebekah regains her footing, bracing against Matt. She throws the dagger away to the ground.]Rebekah: I've got you.[Matt laughs nervously at the close call.]MYSTIC FALLS HIGH SCHOOL[Bonnie walks downa deserted hallway, wearing her graduation gown and holding her cap. Katherine joins her smoothly from a side corridor.]Katherine: I don't think red's really your color, Bon-Bon.Bonnie: And here I was hoping theghost of anyone would've killed you already.Katherine: Funny you should mention death, because I'm here to collect that immortality you've promised me.Bonnie: Funny you still think you're going to get it. I told you,Qetsiyah's the only witch who knows the immortality spell. If she was a no-show, you're out of luck.[Katherine moves to block Bonnie's way and they stop walking.]Katherine: See, here's the thing, Bonnie: I can'tdisagree with you, because I have been feeling out of luck lately. But you know who has been getting all of my luck? My beloved doppelgänger, Elena. My shadow-self is living a better life than I am, so if I don't get thatimmortality, I may just have to get rid of her altogether.Bonnie: Did you just threaten my best friend?[Katherine makes a face.]Bonnie: I could crush your skull without even flinching.Katherine: Go ahead. Make yourmove.[As she speaks, a group of students enters the hallway. Bonnie turns to look at them, and Katherine disappears.]SALVATORE BOARDING HOUSE[Damon is rubbing his shoulder uncomfortably as he checks himselfin the mirror in his room. Elena knocks on the doorframe to announce herself.]Elena: Hey.Damon: Hey.Elena: So, I think there's some stuff you and I need to talk about.Damon: Yes, we do. But first-- [He walks over tohis bedside table, opens a small chest and pulls out a box. Walking over to Elena, he presents her with the cure.] Consider it a graduation present.Elena: Damon, I can't take that.Damon: Sure you can. Looks like itmight be cherry-flavored.Elena: [laughing] I'm not saying I don't want it - obviously I want it. But... that's the only one. There's only one cure. And the hunters have made it pretty clear that they're willing to killeveryone in Mystic Falls until they get it.Damon: Elena-- [he puts the cure into her hand and folds her fingers over it] --take the damn thing. I want you to take it.[Elena hesitates over it, but finally puts it back inDamon's hand.]Elena: I can't.Damon: Well, I guess that answers the sire bond question. [The floor creaks. Damon looks over Elena's shoulder.] You gonna help a brother out, or are you just gonna lurk?[Elena turns tosee Jeremy leaning against the doorframe.]Jeremy: Look, Elena. You're my sister and I love you, no matter what you choose.Damon: How is it even when you're dead, you're the bane of my existence?[Downstairs, Lexicrouches near Vaughn's body while talking to Stefan, who empties a blood bag into two glasses.]Lexi: So, the veil's down until tonight, he dies and goes to the Other Side, and what? Comes back all over again? Howlong does that take?[Stefan hands a glass of blood to Lexi.]Stefan: What, they don't give you a rulebook over there?Lexi: [laughing] You know, you're missing your chance to weigh in on the Great Elena Gilbert CureDebate.Stefan: What am I supposed to do, tell her it's her choice? Because that worked out so well. You know, it's funny, those two are in there arguing about how to protect the world, and they have yet to addresstheir biggest issue.Lexi: Enlighten me.Stefan: The sire bond's gone. Elena's emotions are back. She finally knows exactly how she feels.Lexi: And what if whatever she feels is for you?[Stefan considers the question for amoment.]Stefan: She's the love of my life. I'd go back to her in a heartbeat. But, if that's not how she feels, then maybe that's exactly what I need to hear to get my ass out the door. Maybe I will move to Australia. Ican live in a yurt.[Lexi laughs.]Lexi: Cheers to that.[They clink glasses. Suddenly Vaughn revives and stands up.][Upstairs, Damon and Elena are still arguing while Jeremy observes.]Damon: Come on, we don't needthe cure for Silas - he's a calcified statue.[Damon groans uncomfortably.]Elena: What was that?Damon: Nothing.Elena: Take off your shirt.Damon: Elena, there are children present.Elena: Fine.[She pulls the collar ofhis shirt down to reveal the wound in his shoulder. He cringes in pain.]Elena: Damon, why isn't this healed?Damon: Because the bullet was laced with werewolf venom, okay? The hunters are dicks.[Elena turns awayand starts pacing.]Elena: We need Klaus. We need his blood.Damon: Klaus would rather see me die. Plus, Klaus is a thousand miles away sipping Hurricanes on Bourbon Street.Elena: That wound will kill you!Jeremy:What about the cure?Elena: Jeremy's right. If you're human, the werewolf venom won't hurt you.Damon: And here I was, so moved by your speech to save mankind. [feigns listening] Sounds like Vaughn's awake. [Hewalks past Elena.]Elena: Damon, wait.[Downstairs, Vaughn is facing Stefan and Lexi when Damon enters behind him. Vaughn turns around.]Damon: Here.[He tosses the cure to Vaughn, who catches it.]Stefan: The hellare you doing?Damon: Digging up Silas. [He turns and walks to the front door.] You coming, Vaughn, or not?[Vaughn follows Damon out the front door; Elena arrives just as the door shuts. She turns to Stefan and Lexi,speechless.]THE QUARRY[Damon leads Vaughn to the edge of a cliff overlooking the quarry.]Damon: Here we are.Vaughn: What is it?Damon: It's where I dumped Silas. Closed off to hikers, no food for animals,endlessly deep water.Vaughn: I'm not following you, Damon. Where exactly did you put the body?[Damon humorously explains each step to Vaughn, indicating direction as necessary.]Damon: Well, um... well, let mesee. So I dragged his stone ass through here, I flung him in that general direction, then he tumbled down into those weeds... I kind of lost him in the rocks. The thing about physics... wait, what is it? It's, ah, distanceequals velocity times time? Guess I should've told you to bring some scuba gear, huh?A PARKING LOT[Rebekah and Matt are still braced against each other while Alexander circles them.]Alexander: Don't you two lookcozy?[He walks into the trailer, leaving the two alone for a moment.]Matt: So... he seems nice.[Rebekah starts to laugh but stops herself.]Rebekah: Don't make jokes - I'll laugh and you'll fall.[Matt speaks in a low voiceonce Alexander is out of sight.]Matt: I'm wearing the Gilbert ring. I can't be killed by anything supernatural, so maybe if you're the one who detonates the bomb, then I won't die.Rebekah: Absolutely not. You'll blowinto a billion pieces, the ring with it.Matt: There's only one way to find out.Rebekah: [nodding] Fine, okay. The first rule of truly living: do the thing you're most afraid of.[She kisses him passionately. When they breakapart, Matt looks down to see that Rebekah has stepped onto the device in his place.]Matt: What are you doing?Rebekah: I can't be killed and you can't miss graduation. Please, go.Matt: No.Rebekah: Run![He hesitatesa second longer, glances at the trailer, then takes off running. Alexander comes back out of the trailer, angry.]Alexander: What have you done?Rebekah: I finally chose one of the good ones.[Rebekah runs off thedevice with vampire speed and the parking lot explodes.]SALVATORE BOARDING HOUSE[Elena is pacing while discussing with Stefan what to do next.]Elena: We have to do something. If those hunters give the cure toSilas--Stefan: They're not giving it to Silas. Wherever Damon is taking Vaughn right now, it's to stall, because Damon hasn't had time to bury Silas' body yet. [Elena stops pacing.] And that's all you need to know rightnow.Elena: Okay, fine. We're stalling the hunters, but Damon is still dying.Stefan: It was one bullet, and it was only laced. We still have a little bit of time. I will go to New Orleans myself and I will beg Klaus if I haveto.Jeremy: Then it's settled. You're going to your graduation. [Jeremy enters the room carrying Elena's cap and gown.]Elena: Gradua-- no, Jer, I never even sent in my college applications.Jeremy: I don't care. Momand Dad would kill you if there wasn't a photo of you in your graduation getup.Elena: Jer, no. Not if you can't be there.Jeremy: Lexi'll keep me company. You're going.[Elena finally relents and walks over to him to takeher cap and gown.]Elena: Let's go graduate.[They smile at each other.]MYSTIC FALLS HIGH SCHOOL[The students, all in caps and gowns, are milling about the football field getting ready for the ceremony. Caroline isleaving a message on Klaus' voicemail.]Caroline: Klaus, now is not the time to decide that you are over me. I'm gonna call you every 10 minutes until you get your ass here to save Damon's life.[She hangs up as shereaches Bonnie.]Caroline: Where is everyone?Matt: [arriving suddenly] I'm here.Caroline: Where have you been?Matt: Oh, you know, making plans for the summer, dodging death by vampire hunter.Bonnie: Where'sElena? We can't do this without her.[Elena arrives right then with Stefan.]Elena: I'm here. [She hugs Bonnie.] Thank you for today.Caroline: I can't believe it. We're actually all here. We are all here together! BonnieBennett, are you crying?Bonnie: It's our last hurrah before you guys go off to college.Caroline: Before we go off to college.Elena: I... kinda sorta missed the deadline. You know, being an emotionless bitch.Caroline:Well, the perks of being a vampire - we can go wherever we wanna go. We can choose our own roommates. We could - we could get a triple room![Elena and Stefan chuckle at Caroline's enthusiasm, while Bonniesmiles with tears in her eyes.Bonnie: I'm happy we're all here.Caroline: Aw - group hug!Stefan: Ah, I don't - I don't hug...Caroline: Oh, get over yourself![The five of them close in for a joint hug. Mayor Hopkins opensthe ceremony.]Hopkins: Welcome parents, family, and friends. What a beautiful day for a graduation. Thank you for joining us today on this special day, as we celebrate our graduates. So let's get started. JohnAlbrecht. David Bance. Sarah Beasley. Um, not to play favorites, but I am especially proud of this next graduate, my lovely daughter: Bonnie Bennett![Bonnie walks up onto the stage and hugs her father.]Hopkins:Congratulations. I'm so proud of you, sweetie.Bonnie: Thanks, Dad.Hopkins: You're welcome.Bonnie: For everything.[He seems to sense something off about Bonnie's mood, but she smiles and leaves thestage.]Hopkins: Savannah Davis. Matt Donovan. William Duncan. Caroline Forbes. Congratulations.Caroline: Thank you.Hopkins: Matt Freeman. Elena Gilbert. Congratulations.Elena: Thank you.[In the audience Bonnie,seated among the students, claps for Elena when Kol suddenly leans forward from the row behind her to speak in her ear.]Kol: Greetings, little witch.Bonnie: [not looking at him] I thought Stefan got rid of you.Kol: Hedid, and I spent the night crawling out of a cement grave. [He looks behind his row.] Isn't that the witch your friend Caroline killed?[Bonnie turns and is surprised to see Aja sitting a few rows back.]Kol: And over there,"}
+{"doc_id":"doc_223","qid":"","text":"[Scene: Magic School. In the great hall, Chris stands on the ladder and pulls out a book from the bookshelf. Paige and Gideon are below, writing a spell.]Chris: You know, your time travel section is due for a seriousoverhaul. I mean, I can find more information Googling.Gideon: Googling?Chris: Never mind. (Chris steps down.) Any luck with that spell yet?Paige: You mean since the last two minutes you asked me?Chris: Look, I'mjust getting nervous here, okay? My birthday is in two days, and if I'm not outta here before I'm bornPaige: What? Something bad you don't know about could happen?Chris: I just don't want to take any chances.Besides, I came here and did what I had to do, and that was to save Wyatt. Now it's time for me to go home.(Piper and Leo walk in. Leo's pushing Piper's suitcase.)Paige: Sooner than you might think.Chris: Oh, no. No,no, no. Not yet. You're early.Piper: Oh, relax. I'm just getting a jump on things. I'm not in labor. I'm sending some stuff back to the house.Chris: Just don't scare me, okay?Leo: What's the matter? Isn't the spellready?Gideon: I think it's ready. It should work.Leo: Should work? What do you mean?Gideon: Well, there are no guarantees with time travel, Leo. You should know that better than anyone. Sorry. There's always achance that something might go wrong.Leo: All right. We're not taking any chances.Chris: We might have to. I'm running out of time here.Leo: No. I'm not sending you through a one-way portal unless I know whereyou're gonna land.Gideon: You can never be certain, unless, of course, you went too. And even thenLeo: All right. Let's just forget the spell and start to work on that potion again.Gideon: But the spell has a betterchance of working. It's the Power of Three.Leo: Yes, but if something goes wrong, he'll have extra potion with him and he can come right back.Piper: I agree. It sounds safer, so why don't you guys get to work on that?Paige, can you orb these home for me? Just squeeze them into the nursery or something.Paige: Nursery?Piper: You did clean out the nursery, right?Paige: Yeah. No. I was working on the spell. I'm sorry.Piper: Well, youbetter hurry, or else Baby Chris will be sleeping in your room.Paige: Yeah, don't worry. I'm all over it.(She goes over to the bags and orbs out.)Piper: Don't forget diapers. Lots of diapers.Chris: Okay. Gotta get outtahere.[Scene: Gideon's office. Gideon comes in and closes the door. He goes over to a curtain and pulls it back, revealing a mirror.]Gideon: They're preparing to send the boy home. (Gideon sits down in a chair. Hisreflection, Evil Gideon, stays standing.) It's time.Evil Gideon: For our plan to work, we have to get the sistersGideon: And Leo and Chris out of the way. Don't worry. We will.Opening Credits[Scene: Outside HalliwellManor. Phoebe gets out of her car and heads toward the Manor. A woman walks over to her.]Woman: Hello, Phoebe. Excuse me, Phoebe. Hello.(Phoebe stops and turns around.)Phoebe: Hey, Mrs. Noble. What's up?Mrs.Noble: What's up is you parked in my driveway again.Phoebe: Yeah. Unfortunately, there's nowhere else to park.Mrs. Noble: So I should suffer?Phoebe: Well, you know, Piper's brining home the baby in a couple ofdays, and I did a little shoppingMrs. Noble: This is getting to be a real problem.Phoebe: You know what? Just do me a favor. Let me run inside and put these bags down, and then I'll come outside and move the car. (Apolice car pulls up.) You called the patrol guy?Mrs. Noble: This is the third time this week you've blocked me.Phoebe: Yeah, well if your dumpster didn't take up half the block, then I wouldn't have to park in yourdriveway.(Mrs. Noble's jaw drops. The patrol officer comes over.)Mrs. Noble: This is against neighborhood association rules.Phoebe: (To Patrol Officer) Excuse me, can you write her a citation for that ugly eyesoredumpster there, please?Patrol Officer: Homeowner's got a permit.Phoebe: I don't have time for this.(She leaves. Patrol Officer places a ticket on Phoebe's car.)[Scene: Piper's bedroom. Paige is trying to put the bassinettogether. Phoebe enters.]Phoebe: Oh, look at how cute. I remember when baby Wyatt used to fit in there.(Phoebe puts down her bags.)Paige: This is not cute. This is the bassinet from hell. Do you know how to put thistogether?Phoebe: No, that would be a Leo thing. I still can't believe we're bringing home a baby.(Paige sits on the bed.)Paige: Yeah, well, this baby's not gonna have anywhere to sleep.Phoebe: I know. What made uswait so long to do this baby room?Paige: We were busy trying to keep Wyatt from turning evil.Phoebe: Here, let me help you.(She takes off her jacket.)Paige: Yeah, which I'm glad we did, but it just means that he'sgonna need a bedroom.(Phoebe picks up the bassinet.)Phoebe: Yeah, well, even if he was evil, we'd need another bedroom.Paige: Yeah, but now with everybody coming home plus one, we're a room short.Phoebe:Well, I guess I can sleep on the couch. I just really think we need to focus on the baby right now.Paige: And on getting Chris home. Oh, remember him? You know? The nephew? The one you've been avoiding?Phoebe: Iam not.Paige: Okay, so why weren't you helping Gideon and I with the spell?Phoebe: Because I was helping Leo trying to find the burdock root. It was very hard to find. It's back-ordered everywhere. (She puts thebassinet down.) You're right. You know what? We're just gonna get Chris a new bassinet.(She sits on the bed.)Paige: I'm gonna miss him, too, you know.Phoebe: It sucks. I mean, I know he's going back to a betterfuture and all. It's just we're just getting to know him you know?Paige: I know.(The doorbell rings.)Phoebe: I forgot to move my car.(She leaves the room.)[Cut to downstairs. Phoebe answers the door.]Phoebe:Sheila.(Sheila is standing in front of her, crying.)Sheila: It's getting to be a habit, isn't it? Me showing up a wreck.[Time lapse. Phoebe and Sheila are sitting on the couch in the living room. Phoebe hands Sheila a box oftissues. She takes one.]Sheila: We never fight, that's the thing. At least we never used to, but lately, Darryl's just been so on edge, you know?Phoebe: Any idea why?Sheila: Actually, I was hoping you mightknow.Phoebe: Me?Sheila: I went to his work the other day just to say hi and I saw an arrest warrant on his desk, for Chris.Phoebe: Chris? Are-are you sure?Sheila: I'm positive. I even asked him about it, if he wasgonna make it go away, and that's when he just lost it. He told me to stay out of it and stay away from you girls from now on. Did something happen that I don't know about?Phoebe: A couple of weeks ago, Darryl gotreally scared when he was trying to cover up for us, and we felt horrible, you know, but obviously, it really affected him.Sheila: Enough not to cover for Chris?Phoebe: He got really scared. Maybe you just need to givehim some time.Sheila: Yeah, but that doesn't help you right now, and it doesn't help Chris. Look, I-I love Darryl, and I-I know this is eating him up inside, but you girls are like family to us. You don't turn your back onfamily.(Phoebe smiles.)[Scene: Magic School. Chris draws a large triquetra symbol with chalk on the wall.]Chris: I wonder how different the future's gonna be, how much different my life is gonna be. (Chris steps back.Leo walks up to him.)Leo: I just want you to get home safely. Now remember, if anything seems different, we have another vial of this to get back right away. (Leo gives him a potion.)Chris: You worry too much, youknow that? I'll be fine.Leo: I'm your father. It's my job to worry. Now listen, when you get back there, you gotta take it easy on Wyatt, okay? You can't hold a grudge.Chris: Hey, as long as he's not Ruler of All Evil, I'mcool.Leo: I'm serious. He's gonna be different. Good. He's not gonna remember he wasn't. So if you really want to change the future, you gotta start with a clean slate.Chris: Okay. Okay, I get it. How about you? Areyou starting with a clean slate?Leo: How do you mean?Chris: Like you and mom. Look, all I'm saying is I'd like to know where you two are headed before I go back, that's all.Leo: It's complicated. I'm an Elder. I made acommitment.Chris: So? It's not like you haven't broken the rules before. I'm living proof of that.Leo: Yeah. We'll see. Listen, we have enough of this stuff if you want to try a dry run before everybody gets here. What doyou think?Chris: Yeah. Let's do it.(Leo throws the potion at the triquetra. Before it hits the wall, the potion breaks. Leo and Chris fold their arms.)Leo: That should have worked. I'll get you home, buddy, I promise.(Leoturns away. After a moment, Chris does too. Drops of blood appear on the floor, heading out the door.)[Scene: Gideon's office. The door opens. Gideon appears as he pulls down his hood. He has a cut in his left palm.He TKs the door close. He TKs the curtain open. Evil Gideon is licking the blood of his cut on his right hand.]Evil Gideon: Their potion almost certainly would have worked.Gideon: We stopped them just in time, thoughitEvil Gideon: Wasn't supposed to hurt. (They pull a large glass shard from their palms.) Shall we?(They put their palms up toward each other and heal each other.)Gideons: Thank you.Gideon: At least now they'll beforced to use our spell.Evil Gideon: The sooner the better. Wyatt's magic grows stronger by the day.Gideon: That much power in one beingEvil Gideon: Is bound to turn himGideon: Evil.Evil Gideon: Good. We have toget those that protect him out of the way.Gideon: Starting with Leo and Chris. (There's a knock on the door. The door opens and Leo pokes his head in.)Leo: (Echo) Gideon? (He sees him.) Hey, it looks like we're gonnaneed that spell after all. Is there an echo in here?Gideon: It's poor acoustics. Have Piper gather her sisters, and I'll get the spell.Leo: Okay. You know, I don't understand what happened. That potion should haveworked.Gideon: Like I said, time travel is tricky. You will still be escorting your son?Leo: Well, I think so. I think it's safest, don't you?Gideon: Absolutely. Gather everyone together. I'll be right along.(Leo leaves. Gideongoes back to the mirror and meets Evil Gideon.)Gideons: Here they come.[Scene: Outside Police Station. A police car pulls up into the drive. Phoebe and Paige run to Darryl.]Phoebe: Darryl.Paige: Hey Darryl.Phoebe:Darryl. Stop. (They stop in front of Darryl.) We just need to talk to you.Darryl: We have nothing to talk about.Paige: Look, Chris is going home today to his future home.Phoebe: Yeah, and we were hoping you know,that you could find it in the goodness of your heart, even though we know that you're mad at us, you know, just, throw away his file.Paige: The one with the little arrest warrant in it.Darryl: Apparently, I haven't mademyself clear. I am done covering for you. Done. Now if you'll excuse me.(Darryl tries to walk past them, but Phoebe stops him.)Phoebe: Darryl, think about it. Okay? The cops are gonna come for Chris, and what arethey gonna find? They're gonna find a little itsy-bitsy baby.Paige: And then they're gonna find us, which risks exposure.Darryl: Well, maybe you should have thought of that before you broke Chris out of jail. InspectorSheridan thinks that Chris' breakout was an inside job, which, if I'm not careful, could point back to me. I've got a family to think about, too, you know. (He sees Inspector Sheridan.) Great. (She stops next to him.)Inspector Sheridan.Sheridan: Have you seen Chris lately?Phoebe: Chris who?Sheridan: (To Darryl) When you have a minute.(Sheridan and Darryl walk into the office.)Paige: At least Chris isn't gonna have to deal withher in the future.[Scene: Magic school. Leo pushes Wyatt into the Great Hall. Piper walks in. Chris is there.]Chris: Where are Phoebe and Paige?Piper: I'm sure they'll be here soon.Chris: Soon? Soon is when Dad and Ihave to go.Piper: Dad? What do you mean? (To Leo) Wait, you're gonna go too?Leo: Just long enough to make sure he gets where he needs to be.Piper: And when exactly where you gonna tell me about this?Chris: Itold him he didn't have to come. I don't need him.Leo: No. It's too dangerous. Remember the last time you went through a portal? You were almost dinosaur kibble. I have to go.(Gideon comes in.)Gideon: Sorry. I justwanted to go over the spell one more time, make a few tweaks.Piper: Tweaks? Let me see that.(Piper takes the spell from Gideon's hands. Phoebe and Paige orb in.)Chris: Finally. Where have you two been?Paige:Sorry. We were a little, uh held up.Phoebe: But we're here now, so let's get this show on the road, you know? The clock's a-tickin'. Tick-tock, tick-tock.Piper: Since when are you in such a hurry to say goodbye?Phoebe:Well, since something happened with the thing, and the thing, with the thing.Chris: Huh?Phoebe: There's a warrant out for Chris's arrest.Leo: What?Paige: Yeah. I tried to get Darryl to bury it, but he's not on our sideanymore.Phoebe: It's okay. We've been through worse. We'll get through this. We'll figure it out. And if you get back to the future and we're in jail, you just have to bust us out. (She smiles.) You just go back to thatbeautiful, peaceful world that you helped create. (She and Chris hug.) I'm really gonna miss you.Chris: I'll miss you too.Paige: Aw. Here comes the huggin' part.(She gives him a hug. Chris hugs Piper.)Piper: Thank youfor coming here. I love you.Chris: I love you so much, mom.Piper: Now go on. Hurry. You be safe.Chris: Thanks for all your help.Gideon: You did a noble thing in coming here.(Chris looks at Wyatt and makes a shootingsound.)Chris: Pow. Be good.(They turn to the triquetra.)Piper/Phoebe/Paige: In this place and in this hour, we call upon the ancient power, open the door through time and space. (The portal opens.) Create a path toanother place. (Chris and Leo walk into the portal.)[Scene: Magic School. Leo and Chris walk through the portal and see the Evil Charmed Ones and Evil Gideon standing in front of them. Evil Gideon has a hand on EvilPhoebe's shoulder.]Chris: Where are we?[Cut to Magic School. The portal closes. Evil Leo and Evil Chris are there.]Evil Leo: I have no idea.[SCENE_BREAK][Scene: Magic School. Takes off from before. Gideon walks uptoward Evil Leo.]Gideon: Something's gone wrong. Don't let them leave.(Evil Leo pushes him backward into Phoebe. They fall down. Chris makes a Darklighter's crossbow appear. He fires an arrow at Paige. Piperfreezes it.)Piper: Are you out of your mind?(She knocks the arrow down.)Evil Leo: (To Evil Chris) Follow me.(They dark orb out. Piper gasps.)Phoebe: What the hell was that?(She and Gideon stand up.)Gideon: I'm notsure.Paige: You're not sure? Chris just tried to kill me, and you're not sure? We were supposed to send him back to the future, not turn him into a Darklighter.Piper: Excuse me, people. Those were black orbs. Where didthey get black orbs from?Phoebe: Breathe. Breathe, Piper. You don't wanna go into labor yet.(Phoebe rubs Piper's stomach.)Paige: Well?Gideon: Perhaps the spell wasn't specific enough.Phoebe: Meaning what?Gideon:Meaning it worked, obviously. It opened up a portal. Not to another time, but to another world. A parallel world, not just any parallel world. One that's the exact reverse of ours.Paige: Reverse like what? Reverse likeevil?Gideon: Precisely. You see, it's all part of the grand design. A universe destined to maintain balance. Light and dark, yin and yang, good and evil. For good to prevail in this world, then an equally evil world mustalso exist.Paige: Well, that's quite a faulty design, isn't it?Gideon: No, it's not Paige. Balance is everything. Without it, the cosmos doesn't spin.Piper: Are you telling me that when our Leo and Chris stepped in there,their evil selves stepped out?Gideon: Yes. It's a mirror world. Whatever happens there happens here.Phoebe: So our Leo and Chris are in their evil world.Piper: Well, we gotta go get them.Phoebe: You can't go getthem. You're not going anywhere.Paige: Besides, what about those evil fellas that just came through here?Piper: We'll go get them later.Gideon: Actually, I think you should go after them now.Phoebe: Why?Gideon:Because for every second that they're in our world, they risk throwing off the balance by doing something evil.[Scene: Golden Gate Bridge. Evil Chris drinks some beer as Evil Leo stands by.]Evil Leo: You ever seeanything so good?Evil Chris: It's disgusting. Can you believe all the liquor stores are closed in the mornings here? What's up with that?Evil Leo: Didn't stop you from kicking down the door to get in. (Evil Chris nods.)Why didn't you orb in?Evil Chris: What's the fun in that?(He takes another drink. Evil Leo chuckles. Evil Chris drops the beer bottle.)Evil Leo: Strange. Everything seems the same, but kinda different, you know? It'scleaner, it's happier, it's more civilized.(A car crash is heard.)Evil Chris: Now that's what I'm talking about.Evil Leo: This place makes me sick. I gotta get out of here.Evil Chris: Gives you an idea of what kind of awful,saccharine future I came from, why I had to come back and change it so bad.Evil Leo: And I'll always be proud of you for that. You saved Wyatt from turning good. You gave us a second chance. The least I could do isget you back to your future, back to evil.Evil Chris: Thanks, dad.Evil Leo: First we gotta get back to our world, though. We're gonna need the Power of Three to do that.Evil Chris: Well, we can't trust those Pollyannawitches. They're too good. God, who do I have to kill so we can get out of here?Evil Leo: I think I might know somebody, somebody we can use to force the sisters to help us.[Scene: Manor. Attic. Phoebe is scryingwhile Paige gets the crystals.]Phoebe: I don't understand. If they're just like our Leo and Chris, then why do we need a crystal cage to trap them?Paige: So they don't try to kill us again, for one thing.Phoebe: Yeah, Idon't think they were trying to kill us. I think that they were just surprised, like we were.Paige: Yeah, well, I am not taking any chances. Hey, did you get any hits yet?Phoebe: No, nothing. They must not be doinganything evil.Paige: Yeah, well, if Gideon's right, it's just a matter of time. (In British accent) Besides, we wouldn't want the cosmos to stop spinning, would we?Phoebe: It's so weird to think that there are evil twins ofus out there doing the exact same things as we are right now.Paige: I can't think about that. It hurts my brain.(The crystal drops on the map.)Phoebe: Oh! I got them.[Scene: Alleyway. Evil Chris smashes the garbagelid over Darryl, being held by Evil Leo. Darryl's already beaten up. He falls down. Evil Chris tosses the lid aside.]Darryl: What the hell's wrong with you? I'm a cop.Evil Leo: Pretty wimpy-looking one too, if you askme.Evil Chris: Nothing like our Darryl. I think that's the cheapest suit I've ever seen. What's the matter, huh? Girls not paying you enough?Darryl: Paying me? What has gotten into you?(Evil Chris grabs him by thecollar.)Evil Chris: Let's just say I don't like you coming at me in either world. (He throws him across the alley.) This almost isn't any fun.(Darryl point a gun at them.)Darryl: I don't care if you are under some kind ofspell. Come any closer, I'll shoot. I swear.Evil Chris: Gun. (The gun black orbs out of his hands and into Evil Chris' hand. He laughs.) Now this is fun.(He points the gun at Darryl.)Evil Leo: Not yet. We still need him forleverage. He's no good to us dead. Not yet, anyway.(He hands Evil Leo the gun. Paige and Phoebe orb in behind Evil Leo and Evil Chris. Paige puts two crystals down.)Darryl: See? This is the crazy-ass kind of stuff thatmakes me not wanna have anything to do with you people.(Paige orbs out.)Evil Chris: Who are you talking to?Phoebe: Us.(They turn around. Phoebe kicks the gun out of Evil Leo's hands.)Evil Leo: That's not gonna stopus.(Paige orbs in behind them.)Phoebe: No, butPaige: This will.(Paige puts the crystals down, activating the cage.)Evil Leo: Son of a bitch.(He powers up an energy ball. He throws it. It bounces of the cage and theyduck.)Paige: Nice firepower, Leo. I didn't know you had it in you.Phoebe: Don't go anywhere.(Phoebe and Paige go to help Darryl. He gets up.)Darryl: Stay away from me.Phoebe: Darryl, let us take you to Gideon. Hecan heal you.Darryl: No! Stay away!Paige: Darryl, please.Darryl: I said no! Damn it! Leave me alone. I don't wanna have anything to do with you people anymore. Don't you understand?(He leaves.)Phoebe: Well, Idon't think that helped our cause any.[Scene: Gideon's study. Gideon and Evil Gideon are playing chess at the mirror.]Gideon: My Charmed Ones will be joining you soon. Are you certain you can keepEvil Gideon: Mineaway? Absolutely, I told them to wait at the manor for the good Leo and Chris to come to them. I'm taking your knight.(Black knight moves over and smashes the White knight into pieces.)Gideon: I knew you'd do that.So the next move, of course, isEvil Gideon: Piper. Once she's in labor, we'll have a clear shot at the boy.Gideon: If we impress upon her the extent of the danger her sisters are inEvil Gideon: It will expeditematters.Gideon: But everything has to happen quickly. We're tinkering here with the grand design, risking its tenuous stabilityEvil Gideon: By creating an imbalance of power on one side. I know. But it's a far greater"}
+{"doc_id":"doc_224","qid":"","text":"(In a very odd dungeon-like room,the boys watch on a monitor as some scruffy cutie jerksoff in separate area of the very odd dungeon-like room.)Ted: Internet Access, $38.00. Adult p0rn sitemembership,$29.95.Michael: Watching men jerk off in the comfort of your ownhome? Priceless.Brian: m*st*rb*t* the possibilities.Michael: All you're showing is a twink beating his meat.Ted: And you're pointbeing?Michael: Well there must be 8 dizillean gay p0rn site.Em: I personally had think about 7 dizillian p0rn site.Michael: What makes you're any different?Ted: Oh Ye of little faith. OK, imagine you're at you'redesk andwork for even Worthshafter and you're working onyou're calculations. It's do it 5, but you're alreadydone. Let's be honest, you give a sh1t aboutcalculations.Em: Who's calculations?Ted: So, you're log on for a littleafternoon delight.But suddently Mr.Workshafter bargins in and shot,\"Where is that file?\" [he push \"F10\"]And voila.Brian: A non-cubicle dweller, that's really slick.Michael: Ultimate in safe s*x.Ted: JerkAtWork.net! Forguys who don't only work...atwork.Em: I say he need something.. bigger.Brian: He looks like he's doin' alright to me.Ted: Bigger, huh? OK, Robby it's time for you're break.[Robbie huffs. Robbie puffs. And Robbie blowshis wad allover himself. The Boys are impressed.]Michael: Holy cumshot!Ted: Don't forget, you're back in ten minutes!Michael: He can come again in ten minutes?Ted: With withness by the jizzball. Proving thatthehandjob is quicker than the eye.Brian: Yeah, well leave it to you to figure out how tofake an orgasm.[Cut to the Comic Book Store thatMichael brough, where Emmett and Vic are helping Mikeclean up andorganize.]Vic: The Squid?Michael: Uh, Issue and Year?Vic: Issue 21, 19...Michael: ...67. Right wall, row three.Em: You know, I think they should be classified by thesuperhero's fashion sense. Superheroes withtaste,superheroes that clash --Vic: Let's hope they never let you near the Library ofCongress.Michael: How did Buzzy run this place? Nothin' catalogueand inventory not existing. There is no in caps andwindow display.This place is a f*cking mess.[Debbie comes in with drinks for all.]Debbie: Yeah and I would have killed him when there's notbe a pleade either.Michael: What was I'm thinking to buy this place?Debbie: Who the hell Iknow? Shity old story with allmusty comics.Michael: Thanks for the pepp talk, Mom.Debbie: But it's your dream, sweetheart, and that's allthat matters.[A six foot something, blue button-down shirt, bluejeans, beatenbrown leather jacket, glasses guy comes in.Sandy hair, chin cleft. Emmett gets so distracted by thatguy that he runs into Michael's chair and stubs his toe.]Michael: Em, what are you looking?Em: At him. This glasses. Ijust love the boyish type.Vic: There's so much to learn between the covers.Em: So, what do you think?Vic: Mike?[He eats some food.]Michael: Huh?Vic: Gay or nay?Em: Mmmh, the jacket and the shoes, the classicstuff. Isay straight.Michael: Sandman, Batman, Superman. If he picks up anX-Men, I say he's gay.Vic: I've go with Michael. Comic sense over fashionsense.[The man goes to Debbie.]Man: Excuse me, I'm looking forWonder Woman.Deb: You found her! Just kidding. You're looking for myson. He's the owner. Michael! You're got a customer!Michael: Hi, can I help you?Man: Yeah, yeah, I'm hope so. I'm looking for somecomicbooks.Michael: Good thing you didn't go next door, or you wouldhave gotten Lebanese takeout. Anything particularly?Man: Yes, actually. I'm looking for works based on theirnarrative, their graphics, culturalreferences,subtextual points of view, that one might regard as --Michael: Gay?[Behind them, Emmett accidentally rings the counterbell.]Man: Right. Right.Michael: Um, well let me see you're choices here. Can Imakesome suggestions?Man: Please.Michael: You may try Alpha Flight No. 106, whereNorthstar takes in a boy with AIDS or a highly recommandX-Force No. 56, where Rictor and Shadowstar are describedas being 'morethan friends.' There is one destiny you'relooking at.Man: Good.Vic: That's amazing how much Michael knows.Debbie: What can I say? My kid is a genius![Art School. Dean Ryerson looksat some examples of Justin'slatest works. Posters ofexploding heads, exploding cars, dismembered stuff, inharsh black, white, and red.]Dean: These drawings are, uh, very disturbing.Justin: That supposed to be.Dean: A quite different with thework you submitted whenwe accepted you.Justin: Well, I don't see things the same way.Dean: Professor Stanly tells me, you're using a computer.Justin: It's the only way I can work.Dean: We're expect our studentsare master thetraditional disciplines.Justin: Sometimes the traditional disciplines can be ahandicap, too. And as much as I'm not loose my hand, Ithough I can never be an artist again. But instead, thishas taught menew ways to be an artist -- ways that Inever would have thought of, otherwise.[Debbies kitchen. Debbie asksJustin. Everyone is in there. Around the table.]Debbie: So, what they say?Justin: All my application wasapproved. He said I canstay.[Everyone claps, cheers, and/or gets in line tohug/kiss.]Brian: What's with all the kissing? Are you trying toturn him straight?[He kisses Justin with deep passion.]Debbie: Oh, sh1t, they'regoing to do it right here.Vic: I'll get my camera.Mel: Better you go in a room.Michael: Save it for Ted's website.Ted: Yeah, if you didn't mind a few bucks.Brian: Don't put any ideas in his head.Vic: Or mine.Mel: Maybewe could do it. Help pay for the wedding.Whaddaya think, Teddy?Ted: Sure thing, Mel. Just draw yourself in a 9 inchcock...Lindsay: Can we just talk other than s*x? For just a fewminutes?[They look at each other.Anyone? No?]Em: If the twink jerks off for more than eight hours,does he get overtime?[Justin gets up to clear the dishes.]Debbie: Don't you buzz here, honey! You aren't in thediner. Sit down.Justin: Okay. Nevermind. Brian would you grab one?Brian: That?[He reaches to his croatch.]Justin: At the plate, please.Brian: Yes, dear.Debbie: Holy crap, they're like f*cking newlyweds!Mel: I'll never thought I would live to seethis.Lindsay: I think it's wonderful.Ted: Yeah. Ten bucks says they don't last a month.Vic: I give it three weeks.Michael: Call me romantic. Five.Em: I'll raise at ten and say... two.Mel: God, you're all pussies!Seventy-two hours![Lindsay sees shocked to Mel.]Ted: Deb?Debbie: I don't put a price on people's happiness.Considering all they've been through, I'd think thattheir friends would vote for the house, instead ofagainstit.Ted: That's a good point. So, Linds, you're in or out?Lindsay: We have to go.Deb: Wait a minute. We have dessert.Lindsay: We must be home at nine. Mel!Mel: Sorry.Debbie: I made a pie![In front of the house. MelandLinds are all alone.]Mel: Linds? You're ok?Lindsay: I'm fine.Mel: Cramps?Lindsay: No!Mel: You're crankier than Gus when he needs a nap.Lindsay: I just need to get out of this all.Mel: I know Teddy's tchotchkes canyou drive you crazy,too.Lindsay: This isn't about tchotchkes. This is about theconstant stream of sexual innuendo all evening. Andfrankly I didn't find a remorial at Ted's website atleast been amusing.Mel: But I wasn'tserious! When did you become such aprude?Lindsay: I'm not a prude! OK, maybe I am. A little.Mel: A little.Lindsay: I don't understand people spreading their legsfor the whole world to see! The idea of anyone Iknowbeing a part of it really bothers me. C'mon.[Mel rubs her hand thoughtfully over her chin.][The Comic Book Store. The guyfrom yesterday's back.]Michael: Back so soon? And don't tell me you want throughallthose comics I gave you already.Man: Yeah, well, I'm pretty fast. I mean, I read quickly.I don't waste a time. Life's too short. Who knows whatcould happen tomorrow -- or even five minutes from now?Michael: Uh,that's true. Is anything else I can help youwith?Man: Uh, yeah, I hope so. I should explain. My name isBen... Ben Bruckner.Michael: Michael. Novotny.Ben: I teach Gay Studies at Carnegie Mellon.Michael: I knew it!Ben:You knew what?Michael: With all that talk about cultural references, Iknew you had to be...uh, a professor.Ben: Oh, okay, anywhere we're exploring Homoerotic in thecultural from greek to... roman up to and includingcomiccultural, modern comic book cultur, so I'll do a littleresearch.Michael: Research, right. Got it. Let me see if I foundsomething else for you.Ben: Actually I already found what I want.Michael: Yeah?Ben: You.Michael:Me?Ben: Yeah, I'd like to come and speak to me class.Michael: [laughs] About what?Ben: Well, when it comes to comics you're obviously theexpert, so...Michael: I wouldn't say that. It's some known about sinceI werea kid.Ben: No, no, it's differently more than knowing. When youtalk about them, you have a passion. So, whaddaya say?Will you come?[All of a sudden, Mike's face fades into a comic bookpanel, and a little balloon popsup over his head, whichsays, \"Oh, Ben, take me away with you!\" Mikebounces back to reality.]Michael: Um, I'd love to come.[Grocery store. Brian stands atthe opposite end of a vegetable display from anotherguy.Brian picks up a zucchini. The other guy picks up alarger one. Brian's like, okay, and picks up an evenlarger zucchini. The other guy picks one up that's evenlarger than that. Brian picks up the biggest one ofall.]Justin: Check it out. There got a second box of pennewith a coupon.Brian: You clip coupons?!Justin: Yeah. Until I save money.Brian: I didn't know you were so tight.Justin: [see the other man] Sure you did.Brian:Why you didn't take these two boxes of penne backand get one box of rigatoni. f*ck the fifty cents. Andbuy some Crisco, even if it's not on sale!Man#1: [to another] See that guy? That's Brian Kinney. Heused to be thehottest stud on Liberty Avenue. Now? He'sin a relationship.[JerkAtWork.net. Ted's going overthe books while Robbie looks over his shoulder.]Robbie: Did you include my expenses?Ted: What is you're expenses?Robbie:Body care lotion. Is was 8,50.Ted: You have a receive? [Robbie looking in his pocket.]Yeah, it's okay. I'll take you're word for it. OK,percentage of total subribers and you're time online atto you're base. Come to a grandtotal of... 18.72$.Robbie: Are you telling me I spend 8 hours wacking offfor 18 dollars?Ted: A lot of people do it for free, you know.Robbie: Yeah, but you said I gonna make like 500 $ a day.Ted: That was based on thethird-quarter projectedearnings.Robbie: OK, what about this quarter?Ted: You know, when you commit to a fledgling enterprise,it's not about the money; it's about investing in thefuture and nurturing growth.Robbie:You know you can tell that to my dick, Ted.Because it's worn to a nub!Ted: Well, I know a good physical therapist.Robbie: Is that covered by the company health plan?Ted: Company health plan?Robbie: What about the401k you was offered, too.Ted: OK, we need to discuss that.Robbie: You know, I know when somebody is jerking mearound. I quit.Ted: But you're walking out a golden opportunity here.We're around the grand floor ofit, creating of indever.[he slams the door behind him.][Justin and Daphne walk back tothe loft, sharing a joint. In public.]Daphne: My roommates, never pick up the clothes or makethe bed or ups wash the dish!Justin:We have a cleaning lady that comes by twice aweek.Daphne: I have to wait for hot water when I get to thebathroom. And when I got in there there's not hot waterleft.Justin: We're shower together to savewater.Daphne: They're play the music to loud I can hear myselfthink.Justin: That sounds awful.Daphne: Yeah, it's wonderful.Justin: I'm glad to living with Brian.Daphne: Yeah, but don't get to comfortable. Youdon'tknow how long it lasts.Justin: Mmmh, that's what everbody says but he's changed.Like today. There is a really cute guy with the goatieand leather jacket at the shopping sale. Normally wewould left me in thecheckout line. This time there evenleft.Daphne: Sounds like you check him out, too.Justin: I'm on my sexual peak. From here on in it is alldone here.[And Justin's so high, he almost passes the building.Daphne andJustin giggle all the way up to the loft andthrough the door, and Justin picks up a green apple offthe floor. They're still giggling when they find Brianhaving s*x with Zucchini Man on the sofa. Then thegiggling stops.Justin tries to plaster an acceptingsmile on his face, but his eyes aren't having it.][Liberty Diner. At the counter,Ted's working on his books, Mike's working on hislecture, and Emmett in the middle.]Em: I told you so. Itried to warn you. Didn't I try towarn him? Did I said or didn't I said something? But youwon't listen.Ted: If I don't come up with something quick I'm gonnaloose my condo, my car, my ass.Em: You are not listening. Imight as well be aninvisible man. Or worse, a mime.Michael: He said I should start my speech with a joke.How about this one? How can you tell if a superhero isgay? His boots match his purse.Em: [laughs] Soundsfunny.Ted: Not funny.Michael: It stinks.Em: OK, is no one going to acknowledge my presence?Ted and Michael: Can you pass the creme?[Emmett deliberately passes the cream to Ted and the jamto Mike. Mike and Tedlook up and snort.]Ted: He never listens.[Debbie walks up with the coffee pot. About her T-Shirt\"If you think my attitude stinks, you should smellmy fingers.\"]Deb: Okay, get 'em up, boys! The coffee cups, that is.[Brianshows up, kisses Mike on the cheek, grabs Emmettfirmly by the shoulders.]Brian: Good morning, Deb. A flop, two, sinkers, and somesuds.Ted: Flop, sinker. My life is a breakfast combo.Deb: Two eggs, a donut, andcoffee for \"Mr.Wonderful.\" Someone got lucky last night.[Mike starts to read his speech from a set of blue indexcards, which he holds up really close to his face.]Michael: Homoerotism in comic books. The male formisbeing worshiped from Mickeangelo to Captain Astro.Brian: [to Deb] What's he doin'?Deb: What's he doin'? Michael's given a lecture atCarnegie goddamn Mellon. That's what he's doin'!Brian: I'm impressed, Mikey.Next you'll be receivingyour honorary doctorate.Michael: I don't think so. Especially when the closestI've come to higher education is when I f*cked thattextbook salesman from Cleveland.Ted: Well according mycalculation I've got just enoughmoney left for my funeral.Em: Don't ask me to deliver the eulogy. No one wouldlisten.Brian: Deb! My breakfast!Deb: Workin' on it![Justin pouts on over with Brian's donut.]Brian: Goodmorning, Sunshine.Justin: Can I get you something else?Brian: Uh, yeah. Come and think about it.[Brian tries to inhale Justin's face. Justin pulls away.]Justin: I've be late for class.[Mikesenses that something's up.Mike catches up with Justin outside.]Michael: Hey, you're mother teachin' to crossin' thegreen? What did he do now?Justin: Nothing!Michael: Cut the sh1t! I know that face. That's the'Brian Kinney just f*cked me'face.Justin: Yeah, except it wasn't me he was f*cking. It wassome other guy. At home on the f*cking couch!Michael: Another hurricane off the coast of Florida,another earthquake in Peru -- so what else is new?Justin: Iguess, I just though that now we're together...Michael: ...this things will be different. Brian is nevergonna change. You know that.Justin: Then why I am there?Michael: Maybe because you got bashed in the head and hefeels guilty? [Justin runs away.] Sorry, I didn't mean for the sound like that! Sorry.[SCENE_BREAK][Zee Gym. Shots of men doing bicep curls on a bench, one after another.]Ted: Eight thousand down the drain...ninethousand down the drain...Em: Stop fredding, Teddy. I have a plan.Ted: At this point, I am so desperate that I actuallystop what I'm doing, turn to you with a plaintiveexpression, and ask, 'You do?'Em: Of course! Afteryou lose everything you have in theworld, you move in with Michael and me. We have aninflatable mattress and a spare key.Ted: Ten thousand down the drain...eleven thousand downthe drain.[Emmett sees ZackO'Tool across the room.]Em: OK, I have another idea.Ted: Does it involve begging at an off-ramp or sleepingin a cardboard box?Em: No, no. Actually it involves...[Ted's looking at Zack.]Ted: Zack O'Tool.Em:Remember how I told you that you needed somethingbigger? Maybe now you'll listen.[Emmettand Ted trot over to join the crowd of men surroundingthe massive p0rn star. Emmett pushes his way through.]Em: Zack,so good to see you again.Ted: Did you really expect a p0rn star of his magnet toremember you?Em: Well, maybe he'll remember this.[He opens up his mouth really wide.]Zack: Oh, yeah. You were the guy who wassupposed to blowme.Ted: Yeah and I'm the guy who paid you to do it.Em: So, what brings you to town?Zack: Workin' on my new film. It's a football epic.\"Backsides in Motion\". Jerk it off.Em: Well, I love anything withshoulder pads. So...Zack: I got to go.[TheSteam Room. Naked men wander around, dick shots abound,etc. Ted and Emmett peer around the corner to stare atO'Tool.]Em: Didn't I tell you that he was even bigger inperson?It's huge.Ted: It's gargantuan.Em: It's just what you need. He need what everbody needs.C'mon.[They sit down on either side of Zack.]Em: Hey Zack.Ted: Hay Zack.Zack: Now what?Em: Well, my friend hasthis live website...Zack: I'm not interested.Em: Oh well, since you have a legend of fans...Zack: Not interested.Ted: What better to plug your new picture?Zack: Whacking off on the web is for amateurs, boys.Em: Wegive you a thousand bucks, and a limousine,champagne and, uh, you're own personal fluffer.Ted: [whispers] What did you saying? That will cost me afortune.Em: Would you rather lose one?Ted: So, Zack, how wouldyou like to share your memberwith our members?[Brian drives Mike to CarnegieMellon in his jeep.]Michael: Sexy, perfect body, aloof, desirable, yetunattainable.Brian: Okay, that's enough about me.Michael: I wasrefering about Silver Surfer. This speechis for sh1t.Brian: Why did you agree?Michael: The professor is very cute.Brian: Really?Michael: Oh, you can put that idea right out of you'remind, mister. I saw him first. Besidesyou're living withsomeone.Brian: He's living with me.Michael: Whatever. Either way, you're all comfy and cozy.Except when you're f*cking other guys.Brian: Who I f*ck is out of you're business or his.[When they pull upto the school, Mike panics.]Brian: Get out.Michael: What the f*ck is the matter with you?Brian: This is it.Michael: This is a really damn idea. C'mon, let's go outof here.Brian: Don't be pathetic. You made a commitment,nowyou're gonna go through with it.Michael: Like you know about making commitment.Brian: This why I never do.Michael: What if I make fool about myself?Brian: Who gives a sh1t -- it's f*cking college! Now, goshowthe frat boys what real men are made of, and get mesome phone numbers while you're at it. Bye![On hisway to class, Mike tries not to be intimidated by hissurroundings. Following behind him are three students,one ofwhom is reading the title of Mike's lecture.]Student#1: Homoeroticism Themes and Imagery as Depictedin the Graphic Novel.Student#2: You mean a comic book.Student#1: I can just picture the big essay questiononthe final: compare and contrast Michel Foucault withBatman and Robin!Student#2: [laughs] How can you compare homoeroticimagery in comic books with Gide and Genet?Student#3: Proust or Wilde?Student#1:Baldwin or Williams?Student#2: Who's giving this lecture anyway? Spiderman?Student#3: There is this guy who rent a comic book store.Student#1: Well, he should be a real brain trust.[Everyone laughs derisively asthey walk in the door tothe lecture hall. Mike's pretty much frozen at theentrance.][Mel and Lindsay's House.Lindsay's on the couch, eating cookies and rippingpictures out of bridal magazines. Melanie comes homefromwork. Lindsay gives her a big hug and kiss.]Lindsay: So, what do you think? Sexy, timeless.Mel: Gee, you want wearing wedding dresses?Lindsay: What else?Mel: Well, we could always wear strap-ons, andgetmarried on Ted's website.Lindsay: I don't think that's funny. How could a nice,intelligent person do something like that? C'mon let's gothose magazines together.Mel: Alright.[Melanie leaves the room for a secondand returns with abig cardboard box.]Lindsay: What do you doing?Mel: After I came out, in fact I was in college my dadcut my off. He told me that he never want to see meagain. And I figured that I had to find a way tosupportmyself. But you know how Jewish parents are. 'Forever'turned out to be three weeks. By then I made up enough topay for the rest of the year's tuition and the next.[Mel come out with the Oui magazine. That'sa magazine offemale pornography.]Mel: It's not exactly modern bride.[Lindsay takes the issue Mel offers her and thumbsthrough it cautiously. And there Melanie is, buck naked,tummy sucked in, back arched, and lipspursed, fingersintwined in a string of pearls.]Lindsay: Oh my god! Oh my god! Oh my god, Mel![The dungeon.]Ted: 503 people already logged on to see Zack O'Tool.Em: Is that good?Ted: Do the math. 29.95 times 503"}
+{"doc_id":"doc_225","qid":"","text":"[PREVIOUSLY_ON]Freya: If this prophecy is fulfilled, you will all fall... One by friend, one by foe, and one by family. I suspect Niklaus is with your sister. Wherever you go, Aurora follows. I knew you would find me.Hello, my sweet love. I'm here for the same reason Lucien and Tristan are, to protect my sire. I need to know... Where in the hell is Rebekah?Rebekah: I will use the advantages this body has while I search for a way tobring back Kol, and then who knows?Marcel: My guys stayed on Tristan's trail, followed him to a secret storehouse, and you'll never guess who just bought that storehouse. One Lucien Castle. They've been workingtogether the whole time. In the wrong hands, this stuff could destroy the city. Property of Nola PD. Evidence in a murder case. From the forensics from tonight's crime scene, only prints on the victim are yours. CamiO'Connell, you're under arrest.Aurora: In the moments before you asked me to flee with you, I saw your brother. He's lied to us all. And yet I love him. You must only see him as the wretched monster that he truly is.What you did to Aurora, to me. You set my course! You want a fight, so be it.[SCENE_BREAK]Aurora: What are you doing over there? Come closer.Klaus: I think it's best you remain out of arm's reach.(Sighs)Aurora: SoI take it you've heard about the busy day everyone's had. Let me take away that scowl. I'll tell you everything I know.[SCENE_BREAK](Church bells ringing)Rebekah: I told you this was better than exchanging stuffy,old letters.Freya: Well, a drink with my sister beats sire line drama any day.Rebekah: Lucien's always been a pain in the ass, though he pails compared to that stuck-up twit Tristan.Freya: Oh, and don't forget about TheStrix. There's more of them in the quarter every day. I may yet join you here in the flesh.Rebekah: Well, I would love the company, but I might not be here much longer. I have a meeting with a Santeria witch who mayknow the key to bringing back Kol.Freya: We may unite the family after all.Rebekah: Now tell me, how are you managing with them?Freya: Oh, Niklaus and Elijah are on intermittent speaking terms, which I've decidedto consider progress.Rebekah: Just wait, luv. The weather will change. Now I am off to a witch rendez-vous.Freya: Stay safe.Rebekah: Here's to family, every bloody one of us.Rebekah: A warning, sir. If you're lookingfor trouble, you might want to think twice.Aya: That's the problem with a witch's body. You can't put up much of a fight when the real monsters come out.[SCENE_BREAK](Footsteps)Elijah: Aagh!(Thump)Freya: May Iask what happened?Klaus: We had a little chat about the past.Elijah: I politely informed Niklaus that I'm not his enemy, and though they entered the city under the guise of peace, Tristan and Lucien in truth are alliedagainst us, a fact that required a little bit of gentle persuasion.Klaus: And so I reminded our brother who angered them in the first place.Freya: And after all of this civil discourse, what understanding did you cometo?Elijah: That we expose and destroy our first sired.Klaus: Couldn't agree with you more. You see, gentlemen know when it's time to call a truce and turn our fury in a more pertinent direction.[SCENE_BREAK]Will:Come on. For someone always giving me an earful, that was a very quite ride.Cami: What do you want me to say, detective? Well done! The streets of New Orleans are safe.Will: What I'd love to hear is a confession. Itwould make my job easier.Cami: I am not a serial killer, and while you're wasting time with me, the real murderer is still out there.Will: Well, if I'm missing something, show me. Prove to me you're the victim, and I willprotect you.Lucien: Ah, ah, ah, ah. A cold-blooded killer? Camille, what a shocking turn of the cards!Cami: (Gasps) Ahh.Will: You should rest. We've got a big day ahead of us.Lucien: There we are.[SCENE_BREAK]Hey,Davina. It's me. I, um... I'm running a little late. I should be there soon. On second thought, I'll be a little longer.(Clattering)You're not very good at tailing, are you? My talents lie elsewhere. Ah! Unh!Aah!(Groans)(Chokes)(Growls)Agh![SCENE_BREAK]Elijah: Ah, yes. Drinking with Rebekah. Always an adventure.(Grunts)Freya: You seem more annoyed than usual.Elijah: It's Aurora. Her influence frightens me, andyet our hideously deluded brother seems to believe that she might be the key to ending this wretched prophecy.Freya: If she's aligned with her brother, what chance does Nik have?Elijah: None. Still, Niklaus believesthat she can be swayed, although his perspective of family loyalty is schizophrenic at best.Freya: Well, I don't get why Lucien and Tristan are working together. Aren't their sire lines direct enemies?Elijah: Well, a mutuallack of goodwill toward our family might not be entirely unjustified. Hatred's a hell of a thing, Freya.Freya: Why? All you did was sire them. They don't seem to be complaining. Elijah... What exactly did you do?Elijah: Icompelled Lucien to believe that he was Niklaus, Aurora to believe that she was Rebekah, and Tristan myself... After I'd sired him of course. This had been a period of mayhem for us. It was the 11th century, father washunting us mercilessly, so I compelled them, and then I told them to run.Freya: You made them bait.Elijah: Not the kindest thing I ever did, if I'm perfectly Frank with you, Freya. So while we found respite in thesleepy, yet charming vineyards of Tuscany, father hunted the decoy Mikaelson children to the far reaches of Europe for the better part of a century. Then we were inconveniently daggered. The compulsion was broken,here we are. How's the head?Freya: Spinning. I don't think it's the hangover.Elijah: Freya, something you must understand about this family. Under threat, we take action, for better or worse, whatever it takes toprotect our own.Freya: So you're telling me their days are numbered.Elijah: If indeed they're working against us, yes, without question. Perhaps a little hair of the dog might be more effective, wouldn't you say? What isit?Freya: Something's wrong. We need to call Rebekah now.[SCENE_BREAK](Jazz playing)Aurora: What a lovely necklace. That emerald would really flatter my eyes, don't you think?Woman: I think my necklace wouldflatter your eyes.Aurora: Thank you. You shouldn't have.Klaus: Will you be taking candy from a toddler next?Aurora: If I should happen to be in the mood for something sweet.Klaus: Come with me. And don't worry. Ipromise I won't bite.Aurora: So am I to receive a stern talking to for my poor behavior?Klaus: On the contrary. I've cleared my calendar for the day. I want to show you my city.Aurora: Is this your attempt to discernwhose side I'm on.Klaus: I'd love to know whose side you're on, but it would be rude of me to ask such blunt discourse from so beautiful a woman without first buying her lunch. Wouldn't you agree?Aurora: Well, it doesseem like most men have lost their manners these days. That shall be lovely.Klaus: Heh.[SCENE_BREAK](Moans)Lucien: I took the liberty of removing your handcuffs... Unless you're the type that likes to be restrained.Please take it. Consider it an apology for the rough start to our day. I see no reason we cannot begin anew.Cami: I only drink with friends, and, unless this isn't abundantly clear, I don't like you.Lucien: Fair enough.Later on, I Hope you'll remember this all could have gone so much easier. Detective Kinney, come on in and start cutting up the mirepoix.Cami: You compelled him?Kinney: What the hell is going on?Lucien: Why don'tyou focus on the cutting? We don't want you to lose any fingers while we talk. Did you know that Will's mother's side is full of chefs? He's going to make us his grandmother's Grillades and Grits I took the liberty oftexting your nosey friend Vincent on your behalf. After leaving police care without incident, he believes you have a date with \"the real housewives\" at home in your PJs.Cami: What the hell kind of point are you trying tomake?Lucien: Detective, do me a favor. Throw your blade at her pretty face.Cami: Ohh!Lucien: Now that I have your attention, my point is simple. I'm looking for a particular dark object, a small bronze medallion withrunic markings. Since you're on vervain, I'm going to ask nicely that you help me find it. Should you refuse, the parlor tricks will get increasingly less fun. Carry on. There's a girl.[SCENE_BREAK]Elijah: She's still notanswering.Freya: Touve mon se kavo. Touve mon se kavo. There's nothing to connect to. She's gone.Elijah: What do you mean she's gone?Freya: I can't find her, which means her witch body, her connection to magic,it's as if it just vanished.[SCENE_BREAK]Rebekah: (Gasps) Bloody hell.Rebekah: Not only did you slit my throat, you stole my bloody phone.(Footsteps)Aya: Hello, Rebekah.Rebekah: Aya, of course. Elijah's littleprotege. Let me guess. You were tasked with finding my Original body, you couldn't do your job, so you did this to my other one to lure me out. Clever but ill-advised. You see, I needed that body, and now you owe mea hell of a lot more than an apology.Aya: I don't owe you anything. I'm here to claim the unattended Mikaelson. I only had chains enough for one of you.Rebekah: Heh. Is that all you brought?Aya: I met your specialfriend... Marcel Gerard. It's been amusing getting to know him. Maybe I'll send him one of your heads as a souvenir.Rebekah: Enough with the idle chit-chat. Are you gonna throw the first punch or what?Aya: Respectmy elders. You first.[SCENE_BREAK]Lucien: Mmm. I find the Cajun cuisine almost as delicious as their people. Well done, William.Kinney: Not like I had a choice.Lucien: Hmm.Kinney: The moment I do, I'm gonna usethis knife, I'm gonna stab you in the heart.Cami: You couldn't if you tried. You've been compelled to do everything he says. It's like hypnosis. Vampires use it against humans to do their bidding.Kinney: We're using the\"V\" word now? Great. Might as well embrace the insanity. What else you gonna force us to do?Lucien: Well, Camille here consumes vervain, so I can't force her to do anything, but in exchange for preventing futurebloodshed, I'd ask that you find me that pretty, little medallion.Cami: Like I've told you, I have cataloged everything. What you're looking for is not here.Lucien: It's there. Just hidden, built into something else. Findit!Cami: And then what? Some shiny ornament helps you get your revenge on Klaus? Don't tell me this is all because he stole your girl.Lucien: He did a lot more than steal my girl, Camille. He stole 100 years of my life.Now that gives me a thought. Loss is a great motivator. Slice open your arcuate artery.Cami: No!Kinney: Ugh!Lucien: Ooh. That's a nasty wound. He'll bleed out if that's not treated. Tick-tock,Camille.[SCENE_BREAK]Aurora: Mmm. That was delicious.Klaus: I aim to please.Aurora: No. Darling, you aim to suck me dry of information, but you fed me well, so I suppose I owe you a favor. What would you like toknow?Klaus: Well, it's quite simple really. I find being in your company again wonderfully intoxicating. So my question is do you feel the same?Aurora: Nik, I am not your enemy, nor Rebekah's. After all, she's my sire,but I do hate Elijah, given what he's done to me and to you.Klaus: So you choose to ally with the brother who locked you in a prison and the stable boy who, until now, was always so far beneath you?Aurora: You know,the 3 of us spent one hundred years working together and running together, believing we were the Mikaelsons, and you knew your father. It was no easy task to avoid him, and yet we survived, and when thecompulsion ended, it was as if someone had peeled off our skin. We lost everything of who we were and what we'd become in a single moment, and even though we now knew we were little more than an elaborate redherring, Mikael was still after us, so Tristan swore he wouldn't rest until we made you pay. So the 3 of us swore a pact of vengeance. For centuries, we scoured the world looking for weapons that would kill the lot ofyou, but Lucien and Tristan never quite got over their hatred of one another.Klaus: Seems a little short-sighted. If my family dies, so do all of you.Aurora: Well, that's the beautiful mystery, isn't it? I... I think I'd likedessert. Perhaps you can take me for a walk, show me what it is you like about this strange, little city.[SCENE_BREAK]Hayley: You might remember him from that pretentious excuse for a party.Marcel: Shen Min. 800years old. According to Tristan, he was a torture consultant for genghis Khan.Hayley: I don't care if he's a gemini who likes long walks on the beach, Marcel. Why was he following me?Marcel: I don't know.Hayley: Youdon't know, or you're sworn to the code of silence.Marcel: Hey. Easy. We're on the same side here.Hayley: Then prove it.[SCENE_BREAK]Mikaelson blood tracks Mikaelson blood. I should be able to find her. I don'tunderstand. Why bring Rebekah into this? They want all 3 sires. Tristan and Lucien kept us occupied here while they hunted Rebekah. She's strong. She cannot be killed. The prophecy says otherwise. Sang bis najitttrouver. Sang bis najitt trouver. Sang bis najitt trouver. Sang bis najitt trouver.[SCENE_BREAK]Unh! You're a bit out of sorts. Been in a coffin for 6 months. I'm just getting warmed up. Besides, I think I'm in the lead,not that anyone's keeping score. I guess I should be flattered. I can't leave you alone for 5 minutes. Menedek qual suurentaa.(Necks snapping)Not bad. Now what? Run.[SCENE_BREAK]Lucien: Hasn't yet. The huntcontinues.Cami: How you holding up?Kinney: Well, I'm gushing blood into a bucket because the vampire who kidnapped us doesn't want to stain his floor, so pretty great.Cami: I got you into this mess. The least I cando is stop the bleeding.Kinney: No. Don't beat yourself up. I'm tenacious. Would have gotten into this mess with or without you.Cami: (Gasps)Kinney: I have a feeling you shouldn't come any closer. More tricks fromMr. Transylvania. This is what happened to your brother, isn't it? Your family got mixed up in the supernatural world. Someone made him do something he never would have done. No one should have to go throughthat. Listen. I... I have a sister. If I don't make it...Cami: No. We're walking out of this.Kinney: At this point, limping out of this is gonna be a challenge.Cami: I still have leverage. I'm the only one who can find whatLucien needs, so let's find it.[SCENE_BREAK]Aurora: Why would you bring me here? It's so morbid.Klaus: They call these graveyards The Cities of the Dead, elevated mausoleums meant to honor those who've passedon. It's a very human attempt to overcome fear of mortality by celebrating death. Morbid, certainly, but pure.Aurora: Oh. Pure. Like your intentions.Klaus: My intentions are quite the opposite. How about yours?Aurora:Hmm. You know... Over the long centuries, I would dream of you, my bright light in an ocean of darkness, a kindred whose despair mirrored my own and whose love brought me a joy I had not felt and have never feltsince. But if only it were real, this charming stroll through your melancholy preoccupations, but I know it's really an interrogation under the guise of pleasantries.Klaus: My desire for answers is only fair. We are on thebrink of war, but if you doubt the veracity of my feelings for you... Then our tour has one final stop.[SCENE_BREAK]Elijah: She can't stay there. Rebekah cannot fight them alone. I tried. She's of no mood to listen.Perhaps you'll have better luck.(Cell phone vibrating)Elijah: It's Marcel. Your timing's perfectly horrendous.Marcel: Yeah? Well, I need your help. Hayley caught one of Tristan's guys tailing her, knocked him out, broughthim to the gym for a little Q&A. Problem is, it's Shen Min.Elijah: Marcellus, do I need to remind you that Shen Min was know as the Red Sorrow before he was a vampire? You execute himimmediately.Elijah.(Humming)So what, you gonna sleep all day?Elijah: Before he wakes, tear that heart from his chest. Sang bis najitt trouver. Sang bis najitt trouver.Rebekah: It's good to see you, Elijah, even ifyou're not flesh and blood.Elijah: It's time to come home, Rebekah.Rebekah: No. I'm too close to bringing Kol back.Elijah: You're even closer to bringing about your own destruction.Rebekah: I'm not leaving withoutthat spell. Kol will have to wait, sister. The Strix are making their move.Rebekah: What happened?Elijah: Hayley had an encounter with Shen Min. She and Marcel are dealing with this matter accordingly.Rebekah: Whatthe hell are you doing here? Go and save them before that lunatic gets free!Elijah: Give me your word. Come home now. No detours.Rebekah: Fine, but my niece's mum and that handsome fool better be alive when Iget back.Elijah: You make certain she returns. I'll see you tonight.[SCENE_BREAK]Hayley: Hmm. About time. Now we can get started.Shen Min: Yes, we certainly can.Hayley: There's still time. If you talk, maybe I'lleven get you healed. Why were you following me?Shen Min: Because we have a use for you, or is it some other reason? You'll never know, and it won't matter because when I get free, I'm going to break your jaw asyou did mine and slowly pull your intestines out from your body.Marcel: Hey. How about we just calm down?Shen Min: And you. The others were so pleased when you joined our ranks, but I knew from the start youwere filth. You've proven it by siding against us. For that, I will end you, but not before you watch her die, screaming.Marcel: Right. Well, ok. That's about enough of that. Sorry, Hayley. Your turn's over. He's got to die.Unh!Marcel: Take him. Unh! Agh! Agh!Shen Min: How poetic. Two warriors fighting side by side dying together. Unh!(Gasping)Elijah: Are you ok?Marcel: Oh, I'm fine. Thank you for asking.Elijah: Marcellus, next time Iask you to take out the trash... Try not to dally.[SCENE_BREAK]Rebekah, we have to go. I'll get you on the first flight out.Rebekah: I can't give up now, not when the answers to bringing out brother back are just a fewstreets away. You promised Elijah.Rebekah: And what about my promise to Kol? I've already lost my witch body. I can't go home with nothing. Well, I suppose arguing with you would be a waste of already precioustime.Rebekah: See? You're fitting into this family like a glove.[SCENE_BREAK]Aurora: So is this your family home?Klaus: Please forgive the detritus. My brother and I had a slight disagreement over you, as a matter offact.Aurora: Oh! A duel in my honor. How chivalrous, but I'm afraid if this is what you wish to show me, it's...Klaus: If you want to know what's been in my heart for the past few centuries, come withme.[SCENE_BREAK]Klaus: Life is like a city, built in layers. No matter what new experiences come along, the foundation remains.(Gasps)Aurora: What is this?Klaus: 200 yeas ago, it was my art studio. It became atomb for my memory of you. I thought if I painted what haunted me I could free myself of you forever. In all my years, I have never been more wrong about anything.[SCENE_BREAK]Marcel: Between blood loss andthat bite, I'm not sure you have enough time to get answers.Elijah: Then let's make the most of it. I have questions. I want answers. Why were you following Hayley?Shen Min: I was ordered to remove her from theplaying field. She is an obstacle to the thing we truly want.Elijah: Which is what?Shen Min: Davina Claire.Elijah: What do you want with Davina Claire?Shen Min: Tristan needs her to activate a weapon to use againstyour family.Elijah: What weapon? Forgive me. I'm having a little difficulty hearing you right now. Speak.Shen Min: I'd... Rather... Die.(Daylight ring clatters)[SCENE_BREAK]Lucien: Have you found it yet? Because asfar as deadlines go, well, yours seems almost dead.Cami: You've made your point. You win, humans lose. Now let him go.Lucien: So you have found it?Cami: Maybe. I'll only show you if you heal him now.Lucien: Showme first.Cami: Heal him. It's ok. You can drink it. It will heal you. I've checked everywhere else. This is the only place it could be.Lucien: Aah! Ohh! Ohh! I can see why Nik is so fond of you. You do have spirit, but yourheart skipped a beat just before I healed your friend. I think you know exactly where my medallion is, you crafty girl. Knife to your throat, mate.Cami: No. Don't do this, please.Lucien: Are you trying to appeal to mymerciful side? I hate to tell you, darling, I don't have one.Kinney: Don't give him a damn thing!Lucien: Oh, enough! Go on. Slit your...Cami: Wait! Take it. Just take it. It's in here.Lucien: Heh. Had it all along. How aboutthat? Turns out we make quite a team.[SCENE_BREAK](Moroccan music playing)Rebekah: There it is. This has got to be it.Freya: If you were told to meet this witch here, where is she?Rebekah: Doesn't matter to meas long as I get what I need. This is it. This is the spell. It makes perfect sense. Now all we need is Kol's ashes and the blood of two siblings.Freya: Rebekah, we need to go now.(Door opens)Rebekah: Took you longenough.Mithil rata dans hofos. Mithil rata dans hofos. Mithil rata dans hofos. What the hell is going on?Aya: A fitting end to a spoiled bitch.Rebekah: (Grunts) Clearly you didn't get the hint earlier. You can't beat"}
+{"doc_id":"doc_226","qid":"","text":"\"A Boy in a Bush\"[SCENE_BREAK][Fade in: Auditorium. From a podium on stage, Dr. Brennan is giving a lecture to a large group of anthropology students. Behind her shines a slide showing a variety of what look to beskull fragments.]BRENNAN: As far back as 1938, the director of the F.B.I., J. Edgar Hoover, wrote to the then curator of the Jeffersonian Institution, Professor Daniel Payne, to aid in the evaluation of specimens whowere thought to be irrefutably human. This was the result.[She changes the slide, and a drawing of an ape appears. The students laugh.]BRENNAN: Despite this early disagreement, the F.B.I. and the Jeffersonian haveforged a mutually beneficial, if somewhat tense, relationship which survives to this day. Thank you.[The students applaud and Goodman steps to the podium.]GOODMAN: Thank you, Dr. Brennan. Are there anyquestions?[A girl in the audience raises her hand.]OS: GOODMAN: Yes?[She stands.]FEMALE STUDENT: How much money have you made from your book?BRENNAN: I don't really know. I have an accountant and anagent-GOODMAN (cutting her off): That's not really the kind of question we're looking for from an anthropology student.[A boy in the hand is called on.]OS: GOODMAN: Yes?[He stands.]MALE STUDENT: Did you getyour agent before or after you wrote the book?[Brennan moves toward the podium to answer, but Goodman speaks first.]GOODMAN: People, Dr. Brennan is an accomplished forensic anthropologist who writes books onthe side.[In the audience, Booth stands from among the students.]BOOTH: I have a question regarding role of the F.B.I. in your book: Who do you base the brilliant and insightful Special Agent Andy Listeron?GOODMAN: Oh, for God's sake.BOOTH: Because, you know, I'm pretty sure it was me.BRENNAN: What are you doing here, Booth?[Cut to: Outside the building, Brennan and Booth are walking side-by-side towardthe parking lot.]BOOTH: Local police got an anonymous call saying that there were human remains in a field behind a mall in the suburbs.BRENNAN: I did an anthropological profile of the suburb as a grad student. Thewhole notion of a created community, a modern utopia with its own mores and rules... It's fascinating.BOOTH: Fascinating to who?BRENNAN: To \"whom\".BOOTH: Whom. (He sees the shiny, silver sports car they'vewalked up to and laughs) You've got to be kidding.BRENNAN: What? My publishers gave it to me.BOOTH: Gave it to you?BRENNAN: Book sales are pretty good. It's supposed to be a nice car.BOOTH: Gave it toyou?BRENNAN: Yeah.BOOTH: Well, why'd you park crooked?BRENNAN: Well, the guy said to always park it like that.BOOTH: He's wrong. It makes you look like an idiot.BRENNAN: How about I drive for once?BOOTH:No, I cannot show up at a crime scene in that.BRENNAN: Why?BOOTH: Because it would detract from the gravity of my F.B.I. presence. Especially if you parked crooked.BRENNAN: Why is the F.B.I. involved in thesearch for human remains behind a suburban mall?[Booth pulls a paper out of his jacket and hands it to her.]BOOTH: Because this boy is missing.[The paper is a missing person flier with a picture of a young boy onit.]BRENNAN: Oh... A child.BOOTH: Yeah.[Cut to: The field behind Clayton Hills Mall. The parking lot is filled with vehicles, among them squad cars and a coroner's van. Booth, Brennan, and Zack are speaking with apolice officer.]POLICE OFFICER: Anonymous call came in a couple hours ago. No sign of him yet.BOOTH: How do you know it wasn't a prank?[The officer starts a recording of the call.]GIRL (on cassette player): Youhave to come right away! There's, like, a dead kid here, all rotted away! It's in the field behind Clayton Hills Mall. You better come!BOOTH: Well, that rings true.BRENNAN: Why anonymous?POLICE OFFICER: Kids comehere to party, misbehave.BRENNAN: Adolescents and preadolescents tend to seek out their own space to establish their own society, to counter parental influence.POLICE OFFICER: You mind if I make anobservation?BRENNAN: No, of course not.POLICE OFFICER: In your book, the cops come off as very one-dimensional. Why is that?BRENNAN: You mean two-dimensional.ZACK: One-dimensionality exists only in theoryas a mathematical value.POLICE OFFICER: Okay. Really looking forward to your next book.[He exits.]BRENNAN: Did you bring the thermal imager?ZACK: I don't think we need it.[Brennan gives him a look.]ZACK: Itmakes me look like the Great Gazoo.BRENNAN: I don't know what that means, but we definitely need it, Zack.[He sighs and walks off.][Cut to: A bit later, in the field. Zack is wearing the thermal imager, which lookslike a large orange and yellow helmet over his head. We see Booth and Brennan through his point of view, in yellows, greens, and reds based off of thermal heat.]BOOTH: How's it going there, Darth? See anything onSaturn? (off of Brennan's look) Oh, please tell me you've seen at least one Star Wars movie.BRENNAN: When I was seven, and leave Zack alone.[Back to normal view.]ZACK: Can we please hurry up? It's stuffy inhere.[They begin to walk.]ZACK: I should be able to see any heat residue released from decomposing bodies.[They happen upon a small area where there obviously used to be a fire. Some crates and various garbagesurround it.]OS: BOOTH: Party central.BRENNAN: Because suburbs are so homogeneous, adolescents tend to rebel in predictable and uniform ways. Fire, illicit substances, wayward behavior.BOOTH: Do you think thatwayward behavior would include abducting a six-year-old child?BRENNAN: It's pretty extreme. Adolescents are more likely to drink alcohol and listen to culturally inappropriate music at high volume.ZACK: I'm pickingsomething up.[From his POV, we see mostly green as he walks through grass, but then a patch of yellow, signifying some heat, appears.][Back to normal view, Zack takes the imager off of his head.]ZACK: Oh myGod.BOOTH: What? Why'd you stop?ZACK: You can turn on your flashlight. Aim it over there.[He pulls back some high grass and we see the mostly decomposed body of a young child.][SCENE_BREAK][TITLECREDITS][Fade in: The Jeffersonian Medico-Legal Lab. The child's body is laid out on a table on the raised center platform.]BRENNAN: Before proceeding with maceration, any general observations? Zack?ZACK:Epiphyseal fusion puts the age at approximately six to ten years, though the stature suggest younger.BRENNAN: Good. I concur. Cause of death?ZACK: Blunt trauma to the chest.[Brennan walks over to Angela,concerned.]BRENNAN: Are you all right?ANGELA: He's so small. That's all. Go on with your work. I'm okay.[Brennan returns to the table.]HODGINS: The remains were significantly degraded by insect and animalactivity, mostly dog and rodent. Despite the condition of the body, he's been dead between only thirty-six to forty-eight hours.BRENNAN (gesturing towards the victim's clothes): These were found a few yards from thebody. Notice that they are in perfect condition. What does that tell you?ZACK: The victim wasn't wearing them when he was killed.BRENNAN: Which suggests he was sexually assaulted.[Angela approaches the table andhands a sheet of paper to Brennan.]ANGELA: I'm done.[Brennan takes the sketch and walks to a computer screen, where the missing flier is displayed, to compare.]BRENNAN: I think we have a match. The clothingmatches. It's Charles Gregory Sanders.[Cut to: The Sanders house.]OS: BOOTH: On behalf of the F.B.I., we're extremely sorry for the loss of your son.[Cut to: Inside. Booth is talking with Charles' mother, MargaretSanders, and one of the Sanders' neighbors, Ellie Nelson.]BOOTH: And I have a few questions, I mean, only if you're up to it.[Margaret nods.]BOOTH: You have two other sons?MARGARET: Foster sons. Though I try notto make the distinction.ELLIE: Shawn and David Cook. They are brothers. I live right next door.BOOTH: Charlie was your own?MARGARET (voice breaking): Yes. Charlie was mine.BOOTH: What about Mr.Sanders?MARGARET: We divorced shortly before Charlie was even born. He works overseas.ELLIE: He doesn't even send child support.BOOTH: You mind if I ask how you afford this nice neighborhood?MARGARET: ChildServices wouldn't allow a single mother to foster if she worked. I live off the proceeds of a generous trust fund my parents set up long ago.BOOTH: And the day that Charlie disappeared - all three boys went to thepark?ELLIE: It's two blocks away. It's a very safe neighborhood. They walk farther to school.MARGARET: We all keep an eye out for each other around here. People are good neighbors, take an interest.[A door opens inthe background.]OS: SKYLER: Mom?MARGARET: In here, Skyler.[Skyler Nelson enters with Shawn and David Cook.]ELLIE: This is my son, Skyler.SKYLER: Dad told me to bring the boys back. We gotta go on ajob.DAVID: There's nothing to do here.SHAWN: Our video game's broke.MARGARET: Shawn, David, this is Agent Booth. He's gonna find out what happened to Charlie.DAVID: How're you gonna figure it out?BOOTH:Oh, I'm in the F.B.I. We always figure it out. Boys, I mean, if it's alright with your mother, maybe I could help you out with your video game.[Margaret nods, and the boys head off with Booth following behindthem.][Cut to: Brennan's office. All the squints are gathered there.]GOODMAN: These are invitations to a banquet.[He hands an envelope to Brennan.]BRENNAN: You called a special meeting to invite us to aparty?GOODMAN: Don't this of it as an invitation, consider it a summons. It's for donors.[He moves to Hodgins, who stands.]HODGINS: Meet and greet, press the flesh, butt kiss...GOODMAN: I don't like it any morethan you do, but these people fund our research, and all they want in return is to rub elbows with a scientist every once in awhile.[He walks toward Angela.]HODGINS: I can't make it.BRENNAN: Yeah, meneither.ANGELA: I have a date that night.GOODMAN (handing her an invitation): You don't even know when it is.[Zack raises his hand.]GOODMAN (passing him an envelope as well): Yes, Mr. Addy?ZACK: What kind offood will there be?GOODMAN: When I said you should think of this invitation as a summons, I understated. It's a subpoena. A grand-jury subpoena. Ignore it at your own peril.BRENNAN: You're not gonna fire us if wedon't go.GOODMAN: No, not fire you, but I can move your parking spot to Lot M. Enjoy the shuttle ride.ZACK: The shuttle smells like feet.BRENNAN: I know when I'm beat. I'm in.ANGELA: What the hell, it's aparty.ZACK: Do I have to wear a tie?GOODMAN: Formal wear. I've arranged for a limo to pick us up here.HODGINS: Not me. I'm not afraid of parking or feet.ZACK: Wait, you drive me to work. You can't just think ofyourself.GOODMAN: Repercussions and consequences, Dr. Hodgins. I'm your boss, and you will go to this banquet.[Hodgins snaps a rubberband that's around his wrist as Goodman exits, and Angela takes notice.][Cutto: The Sanders house. Booth is helping the kids with their video game.]DAVID (as Booth puts a controller back together): Do you know what you're doing?BOOTH: Yeah. I can fix anything.DAVID: Cool.BOOTH: Youguys, uh, you guys have girlfriends?DAVID: I do.SHAWN: Her name's Leila.BOOTH: Leila. Leila.DAVID: I thought you were gonna ask us questions about Charlie.BOOTH: Yeah, so which one of you puny mortals wantsto challenge me first?SHAWN: Oh, me![They start playing, and Shawn eyes Booth a bit suspiciously.][Cut to: The Jeffersonian, Zack's office.]BRENNAN: You about to clean the bones?ZACK: Yes. I'm warming up theboiler now.BRENNAN: Something wrong?ZACK: These are the smallest remains I've ever worked on.BRENNAN: That's a valid observation, Zack, but it's not helpful to the investigation.ZACK: Sorry, Dr.Brennan.BRENNAN: I was at Waco, Branch Davidian compound. I helped identify children who had been killed in the fire. Seventeen of them.ZACK: So, you're saying I'll get used to it?BRENNAN: No, I'm saying you'llnever get used to it. We're primates. Social creatures. It's coded into our DNA to protect our young. Even from each other.ZACK: So, I'm always going to feel terrible?BRENNAN: What helps me is to pull backemotionally. Just... put your heart in a box.ZACK: I am not good with metaphor, Dr. Brennan.BRENNAN: Focus on the details.ZACK: Details. Yeah, I can do that.[They walk over to where the bones are laid out on atable.]ZACK: No trauma to the skull. No compound fractures. Charlie was not beaten to death or dismembered.BRENNAN: It helps not to refer to the victim by name.ZACK: Greenstick fractures on ribs four, five, six,and seven. And the sternum is snapped transversally from the tip to the xiphoid.BRENNAN: Okay, what does that indicate?ZACK: The victim's chest was struck by a heavy, blunt object.BRENNAN: Are you completelycertain we've learned everything we can from the body at this stage of decomposition?ZACK: I've been over everything at least three times.BRENNAN: Smell the mouth.[He does so.]BRENNAN: Anything behind thetypical smells of decomposition?ZACK: Some kind of chemical. Chloroform. Something used to render the boy unconscious.BRENNAN: Take samples from the mouth, jaw, sinuses, and... what's left of the esophagus.Kids make it harder, Zack.[She exits, and he looks down at the body for a moment.][Cut to: Outside the Sanders house, Booth exits with Shawn, David, and Margaret.]BOOTH: All right, look, you beat me bad.DAVID:No wonder you don't have a girlfriend.MARGARET: David!BOOTH: It's okay, Mrs. Sanders. It's alright. No, I do have a girlfriend.SHAWN: Is she pretty?BOOTH: Nah, she's butt ugly. Got a glass eye, snaggly back teeth.So, was Leila with you the day that Charlie disappeared?DAVID: Uh, yeah, actually. We stopped and played some video games at the arcade.BOOTH: That must've been before you and Charlie went to thepark.MARGARET: You didn't go to the mall that day, David.[She looks at David, who looks away.]MARGARET: Shawn?DAVID: Don't ask Shawn, mom.BOOTH: You met Leila at the mall, didn't you? You left Charlie withShawn at the park.DAVID: Well, just for a few minutes, and then they came back to the mall.MARGARET: David!DAVID: Shawn let go of his hand for a second, Charlie was gone like that![Across the street, Skyler andhis father load up a truck to go off on an extermination job.]DAVID: And then we came straight home.BOOTH: Charlie wasn't taken from the park, he was snatched from the mall. We've been looking in the wrongplace.OS: MR. NELSON: Come on, son. Let's go.[Cut to: Jeffersonian lab. Hodgins places the victim's jawbone into a plastic box and replaces the lid. Angela approaches.]ANGELA: What's with the rubberband?HODGINS: Methyl oxide vapor in this chamber will bind to whatever compound Charlie breathed in before he was killed.[Angela reaches over and snaps the rubber band.]HODGINS: Ouch!ANGELA: It's an angermanagement technique, right?HODGINS: The key there is management, which is what I'm doing. Managing my anger.[The box fills with vapor.]HODGINS: There'll be a color change. Red for pnictogens and chalcogens,and blue for halogens.ANGELA: I get that you're a little off-kilter. Mad at the government, conspiracy of dunces, all that. Maybe even furious that you've had to mount a little boy's jawbone inside a box to find out whatkilled him. What I don't get is why going to a banquet makes you angry.[The vapor starts to clear, and the bone glows blue in areas.]HODGINS: Halogens it is. I'm gonna scrape off the particles and see if the massspectrometer can identify what type of halogen.ANGELA: Anger is only fear, turned inwards.[She moves to leave, but stops to snap the rubber band against his wrist one more time. He flinches, and she exits.][Cut to:Angela's office. Brennan, Angela, and Booth are looking at her computer monitor.]ANGELA: There are twenty surveillance cameras taking stills every two seconds throughout the mall, including access corridors andparking lots. I concentrated on the ones aimed at the public concourse.BOOTH: Okay, ten thousand people a day go through that mall. How are we gonna find one small kid?BRENNAN: Angela designed a massrecognition program to apply body types to skeletal remains.ANGELA: Endomorph, ectomorph, mesomorph, that sort of thing. I modified it to scan two dimensional images. In this case, we're looking for body massesroughly congruent with Charlie, Shawn, and David.[She points at the screen.]ANGELA: There's David.BOOTH: You're actually one of them.ANGELA: One of who?BOOTH: A squint. I mean, you look normal and you actnormal, but you're actually one of them.ANGELA: This whole mass recognition program was Brennan's idea. I'm completely normal. Really.BOOTH: Yeah, maybe before you got this job. But now... BRENNAN (pointing atthe screen): I see Charlie.BOOTH: Oh. That's him, all right.ANGELA (whispering): Oh, God.BRENNAN: Ange? Are you okay?ANGELA: It's just... these are probably the last pictures of this little... guy alive. Why is healone? Why isn't anybody with him? (pause) Sorry. Max resolution is X-40 by 480 pixels per square inch.BOOTH: No, wait, he's not alone. Someone's calling him over. Can't you just zoom in?[On the screen, we seeCharlie walk over to a person, who's obscured by a banner.]ANGELA: The fewer pixels that make up an image, the more the picture degrades once we zoom in on it. Did that sound too squinty?BRENNAN: Any way toenhance it?ANGELA: Well, I wouldn't bet a date with Colin Farrell on it.BRENNAN: I know him. He's funny.ANGELA: Funny is Will Ferrell, sweetie. Hot is Colin Farrell.BOOTH: Now look, wait. The kid was definitely movingtoward someone. He wasn't struggling. He wasn't trying to get away. You know, I want to add the neighborhood kid Skyler Nelson to the list of possible suspects.ANGELA: I have one other angle, but our bad guy is stillobstructed in it.[They all look at the screen.]BOOTH: Who the hell are you?[Dissolve to: Jeffersonian hallway. Angela's sitting on a bench. Brennan approaches.]BRENNAN: Are you thinking of leaving theJeffersonian?ANGELA: I'm not really this person.[Brennan sits down.]BRENNAN: What person?ANGELA: I'm not like you. I'm not driven by the need for justice and all that. I'm a good-time girl.BRENNAN: We have goodtimes.ANGELA: Cracking jokes over murdered skeletons is not good times.BRENNAN: I know it's harder on you than it is for the rest of us.ANGELA: No it's not. (pause) Why?BRENNAN: Because you look at their faces.We look at everything else. It's more clinical for us. For you - it's personal. When we see a murdered child-ANGELA: Honey I... I'm, no offense, I'm really not up for one of your 'it takes a village' anthropology lessons.This is the longest I've ever had a job. That's because of you.BRENNAN: If this is about hours, or time to do your own art, then-ANGELA: Just let me work on it, okay? I'm an artist. I used to draw naked guys. Now Idraw dead guys.BRENNAN: Just don't decide anything without talking to me.ANGELA: Of course I won't.[She leans back and sighs. Brennan leans back as well.][Cut to: Jeffersonian lab. Booth and Brennan walk downthe corridor.]BRENNAN: I'm afraid Angela might quit.BOOTH: I'm amazed she stuck it out this long.BRENNAN: Why?BOOTH: Oh, because she's human.[Brennan gives him look.]BOOTH: I'm sorry, Bones, it's just that,you know, uh... Angela didn't get the same training that the rest of you got on, uh, planet Vulcan.BRENNAN: I don't know what that means.[They enter a room where the skeleton is laid out and Zack is waiting.]BOOTH:She's more sensitive.ZACK: Who's more sensitive?BRENNAN: Angela.BOOTH: She likes puppies and kitties and ducklings, and, you know, Jell-O shots and, you know, dancing on bars.[He makes some music and dancesa little.]BRENNAN: I know that. She's my best friend. And Angela's not the only person in the world who likes baby animals.ZACK: I never got the big attraction.BOOTH: I rest my case. She's more sensitive.ZACK: Wecross-referenced the length and density of Charlie's leg bones with other children his age. The victim, I mean.[Booth stares at the skeleton for a moment, and is obviously emotionally affected by it. Zack notices.]ZACK:The thing to do is concentrate on the details.[There's a pause.]BOOTH: Let's do that.[He clears his throat.]BRENNAN: We found some abnormalities. They're bowed, and abnormally short.ZACK: Also, the victim's showfreezing of the joints at the hip and knee.BOOTH: Are you saying Charlie was crippled?BRENNAN: The victim was disabled, yes.BOOTH: His mother never mentioned that.ZACK: The ribs are broken in two places, whichis not typical of blunt-force trauma.BRENNAN: How do you explain that?ZACK: I'd attribute it to his medical condition and the corresponding brittleness of his bones.BRENNAN: I agree. What is that condition?ZACK: It"}
+{"doc_id":"doc_227","qid":"","text":"Scene 1: Fangtasia - Longshadow, Eric, Pam, Bill, Sookie, GingerLongshadow tries to strangle Sookie. Ginger is shouting.Pam: Ginger, enough.Eric: Thank you.Before Longshadow could bite Sookie, Bill kills him. Gingerscreams and vomit.Eric: Humans. Honestly, Bill, I don't know what you see in them.CreditScene 2: In the toilets of Fangtasia - SookieSookie cleans up.Scene 3: Fangtasia - Pam, Ginger, Eric, BillGinger is cleaning thefloor.Ginger: How did I end up with you people? Jesus. Mother Mary in heaven. I'm so sorry, Mama. I'm so sorry.Eric: When Ginger is finished, glamour her for me.Pam: Are you sure? She's been glamoured one toomany times already. Who knows how much of her is left.Eric: It's either that or turn her. You want her?Pam: Please, I'm not that desperate. Glamour it is.Eric: Excellent. (To Bill) Come. I'll buy you a Blood.Scene 4:Fangtasia, in Eric's office - Eric, BillEric gives a bottle of True Blood to Bill.Bill: Thank you.Eric: How do you stomach that stuff? Don't you find it metallic and vile?Bill: I don't think about it. It's sustenance, that's all. (Ericlaughs) What?Eric: If you're their poster boy, the mainstreaming movement is in very deep trouble. Tru Blood. It keeps you alive, but it will bore you to death.Bill: Let's cut to the chase, shall we?Eric: You killed avampire, Bill. For a human. What are we gonna do about this?Bill: What do you have un mind?Eric: I'll take the girl.Bill: No. You can have anyone. Why do you want her?Eric: Why do you want her? You're not in livewith her, are you?Bill: Sookie must be protected.Eric: That sounds like an edict. But it couldn't be, because I would know about that. Admit it. You love her.Bill: If I hadn't done what I did, would you have let hisdisloyalty stand?Eric: Whatever I did to Longshadow, I would not have done in front of witnesses. Especially not vampire witnesses. Not smart, Bill. Not smart at all.Scene 5: In Jason's truck - Jason, Amy, EddieJason:All I'm saying is, Lafayette didn't have to kidnap him. And I'm pretty sure he left with some V.Amy: Hey. If you wanna make the same arrangement with Eddie Lafayette's done, have at it. This is just the only thing Icould think of to get you blowing your first vampire.Jason: You done this before, haven't you?Amy: Done what?Jason: This. Kidnapping vampires. Jesus. I should have known something wasn't right the second youwalked into my life carrying that big bag of crazy. Any woman with a purse that big's bound to have something in it I don't wanna know about.Amy: Jason. Baby, you're sweet, but you've gotta mellow out.She turns theradio on.Jason: The f*ck is this hippie music?Amy: Shh.Scene 6: In the toilet of Fangtasia - Sookie, Pam, GingerSookie continues to clean up. Pam arrives and gives her clothes.Pam: Put these on.Sookie: Oh, thankyou, but I'm fine, really. I'm just gonna dry out my hair and be on my way.Pam: You're not going anywhere. Eric and your boyfriend aren't nearly done talking just yet.Sookie: Os Bill in some kind of trouble?Pam: That'sfor the boys to figure out. Right now, what you need to do is change out of your clothes. There's vampire in your cleavage.Sookie: Okay.Pam: Allow me.Pam removes the peace of vampire of Sookie's cleavage.Sookie:Thank you.Pam: I'm beginning to understand the fuss everyone's making over you.Ginger enters.Ginger: Oh, hey there, Pam. Oh, who's your new friend?Pam: Ginger, Sookie. Sookie, Ginger.Ginger: Nice to meet you,Sookie.Sookie: Right. Nice to meet you too.Ginger: Oh, you don't have to be so scared. They're really very nice here.Scene 7: At Jason's basement - Jason, Amy, EddieJason: You got him?Amy: Yeah. Tape the windowsshut. Here. Clear this out. We gotta clear all this sh1t out.Jason: Lift his legs.Amy: Ready?Jason: How's this gonna go?Amy: Tie his arm there. (She finds an oxygen masque) What?Jason: I guess I got a little paranoidafter 9/11.Amy: No, because after New York and D.C., terrorists were gonna come to Bon Temps.Jason: And I said I was paranoid.Amy: Get his feet.Eddie: What are you gonna do to me?Jason: Yeah, I was kind ofwondering that myself.Amy: We're gonna drink from him.Jason: And then what?Eddie: Yeah?Jason (to Eddie): Dude, I got this. (To Amy) What's the plan?Amy: Jason, can you please try to live in the now withme.Jason angry: I do live on the now. In fact, I've gone entire months without thinking about sh1t. But the truth is, right now, the now kind of sucks. And if we both can't admit that, then we are 100 percentf******.Amy takes some blood from Eddie.Amy (showing the blood she took): Who wants the first taste?Jason: I ain't doing it. Not like this.Eddie (whispering): Thank you.Jason: I said, stop talking to me.Amy: Comewith me, baby. Don't let your fear get in your way.Jason: Look, it ain't fear, all right? It's just... (low so that Eddie can't listen) He's looking me right in the eye. It ain't right. Look at him.Amy: Fine. I'll see you when Iget back.Jason stops her before she can swallow some blood.Jason: Wait, wait, wait. Ain't you supposed to cut it with aspirin?Amy: No, there's no risk of clotting when the V's this fresh.She swallows the blood that is inthe plug.Amy: My God.Jason: You look... really happy.Amy: Come on, baby. Come with me.She gives him the plug.Eddie (to Jason): Don't. Don't do it.Jason: I said, don't talk to me.He takes the plug and drinks the restof the blood.Scene 8: At Miss Jeanette - Miss Jeanette, TaraTara: What exactly did you do to my mama?Miss Jeanette: You were here. You saw it.Tara: Yeah, but I wanna know exactly how and why it worked. CauseI'm already taking a monster leap of faith even considering this demon crap.Miss Jeanette: Fine, then. It's like this. Your mind, your body... it's just a physical manifestation of your soul. And your soul is sick.Tara: Mysoul don't wanna get ripped off.Miss Jeanette: How's your mama doing?Tara: She's doing great. But she believes in sh1t like this. I don't.Miss Jeanette: If you don't believe, then why did you come all the way heretonight?Tara: How much it'll cost me?Miss Jeanette: Seven-ninety-nine, ninety-five.Tara (shocked): What?Miss Jeanette: Seven-ninety-nine, ninety-five. Cup of rum's on the house.Tara: Well, my mama paid less thanhalf that.Miss Jeanette: What I do takes varying amounts of energy and involves varying amounts of risk. Now, what you got inside you is much more powerful than what your mama had. Much more dangeroustoo.Tara: I'm worse than her? I once found that woman on the ground, eating her own vomit because she didn't wanna waste the alcohol she lost bringing it all up.Miss Jeanette: Think about it. But not for too long. Youcan't afford to keep pushing people away. Your loneliness is spreading to your eyes. It's becoming a part of who you are.Tara: You're one hell of a saleswoman, aren't you?Miss Jeanette: Next time you're alone, stand inthe mirror and count backwards from 10. If you can get all the way down to zero, then I'm wrong. But if you can't stand your own company for 10 seconds, how you gonna expect to do it for the rest of your life?Scene9: In front of Sookie's house - Bill, SookieSookie and Bill are walking from his car to Sookie's house.Sookie: So you're not in any trouble?Bill: A simple slap on the wrist, that's all.Sookie: You swear? Pam made it soundlike...Bill (interrupting her): Pam was turned almost a hundred years ago and yet somehow still behaves as though every day were Halloween. She's all drama and theatrics. I assure you, everything's gonna befine.They enter Sookie's house.Sookie: I'm gonna take a shower. I still feel like there's blood all over me.She turns on the light and sees blood on the wall.Bill: Don't look up.Tina is on the ventilator, dead.Sookie(shouting): Aaaaaaaaaaaaah!Scene 10: At Jason's - Jason, Amy, EddieJason and Amy are naked, kissing, under V.Amy: Wait, wait, wait. First, we have to thank the vampire for the gifts that he's bestowed upon us. (ToEddie) We are grateful...Eddie: F*** you.Amy: ... for your gift to us. (To Jason) Ignore him.Jason and Amy imagine their selves in a beautiful forest. They are swimming in the air, naked.Amy: Can you see it?Jason:Where are we?Amy: Nowhere. Everywhere. Together.Eddie look at them, and is crying blood.Scene 10: At Sookie's - Bill, SookieThey are on Sookie's bed.Bill: Aren't you tired?Sookie: Every time I close my eyes, I seeher face.Bill: Your cat?Sookie: Gran. But now that you mention it, Tina's in there too.Bill: You do know that I'm not gonna let anything happen to you? That I am here for you to protect you.Sookie: And what if I don'twanna need to be protected? What if wanting to be protected makes me feel like the helpless little girls I used to be all over again?Bill: Sookie. All of the things that you need to be protected from, all of the troubleyou're in, you're in because of me. So you needing to be protected has nothing to de with you or who you are. All of it is my fault. So why don't you just go to sleep and let me be the one to worry about it?Sookie: Bill,all the trouble I'm in, it's mine. I chose it. I chose it when I chose you.Bill: Yes, but...Sookie: Don't you think I wanna blame somebody else? But what I did to my Gran and now to poor Tina, it's my fault. And it's sweetof you to try to take it on for me, but if I let you, I'd be so mad at you, I'd never be able to look at you again. And right now your face is just about the only thing getting me by. So why don't you just leave it on me,okay?Bill: Very well.He kisses her.Sookie: Night, Bill.Bill: Night, Sookie.She closes her eyes and sees her Gran on the kitchen's ground, dead in her blood. She opens her eyes suddenly.Scene 11: At Jason's garden -Amy, Jason, EddieAmy is in the garden, and someone is watching her.Someone: You're a f*cking dead woman.Amy (screaming, fainting to be scared): Oh, my God!Jason jumps and laughs.Amy (smiling): Honestly, youare like a little boy.Jason: Did I scare you?He takes off the oxygen mask and put it on his head,Jason (smiling): YeahAmy: Come here, lie down. I wanna show you something.He lies down near her on a cover, nearher,Jason: What are we looking at?Amy: The trees. But we're not just looking, we're listening too.Jason: Listening to the trees?Amy: Can you hear that?Jason: It's like the leaves are talking!Amy: They'relaughing.Jason: Yeah, because they're ticklish.Amy: That's right.Jason: Amy?Amy: Yeah, baby.Jason: We still high?Amy: No, baby.Jason: Because I don't normally talk like this. Plus, I'm feeling kind of lightheadedtoo.Amy: You're talking like this because your mind is starting to open up. And you're lightheaded because you haven't eaten anything. So here. (She sits and gives him to eat) Have an almond, they're raw.He eats thealmond.Jason: Oh, my God. These crazy good.Amy: We gotta change the way you eat. Raw foods. Nothing processed. Because the cleaner the body, the cleaner the soul, the cleaner the experience.Jason: Cleaner thanlast night?Amy: Much cleaner.They kiss.Eddie (shouting from the house): Amy!Amy: He'll stop. He'll stop.Eddie (shouting): Jason!Jason stops kissing Amy.Jason: Ain't you worried somebody's gonna hear him?Amy:You live in the middle of nowhere of the middle of nowhere.Jason: Yeah, I guess but...Amy (interrupting him): He isn't a person, Jason.Jason: Did I say he was? All I'm saying is... My truck, for example. It ain't a personeither. But I still fill it with gas and give it oil from time to time.Amy: You're saying we should feed him now?Jason: Ain't he gonna die if we don't?Amy: Who cares?Jason: I just... I still think we should have a plan,that's all.Amy: I do have one.Jason: Oh, yeah?Amy: And here it is. Everything's gonna work out, because it has to.Jason: That ain't a plan.Amy: Because when I'm with you, what I feel... I've never felt that withanybody else ever before. And I'm a person that a lot of bad stuff has happened to in the past and so I deserve this. I love you. (Jason doesn't answer and drinks) Oh, my God. Oh, my God. I mean, why is it we all needto be loved but then when somebody finally says, \"I love you\", people just run scared. I love you, Jason Stackhouse, whether you like it or not. I'm not afraid to admit it.Jason: Know what? You're right. F**** it. I loveyou too.They kiss.Amy: Say it again.Jason: I love...Amy: Come on.Jason: You get it once, that's all.Scene 12: At Tara's house - Tara, Letti Mae, SamTara is in her bathroom, in front of the mirror.Tara: Ten, nine, eight,s...Letti Mae comes in.Tara (shouting): Don't you knock? What if I was doing something private?Letti Mae: I taught you that was a sin against God. If I walk in on you doing it, it's your problem.Tara: What do youwant?Letti Mae: Sam Merlotte's here to see you. You ain't sleeping with him?Tara get out of the bathroom and goes in the entrance, her mother follows her.Tara: What makes you jump to that conclusion?Letti Mae: Hebrung flowers. Men only bring flowers if they already slept with you and looking again. That especially goes for white men, as black men are less prone to grovel.Tara opens the door.Tara: What do you want, Sam?Sam:To apologize for what I said that hurt your feelings and sort things out between you and me.Letti Mae: That's a load. It's s*x he wants.Tara: Mama.Tara goes out.Sam: She drinking again?Tara: No. That's her,stone-cold sober. Look, you should go.Sam: Why?Tara: Because I'm just too f*****-up for this.Sam: You're not even the most f*****-up person in this house, much less this town.Tara: What do you think this isbetween us? We were clear from the beginning it was just gonna be us f******.Sam: It's too late for that.Tara: What are you, a masochist?Sam: No, not at all. But I've spent my life running away from people orpinning my hopes on somebody I can't have. I'm done with that. Like it or not, you've reminded me that I'm a social animal. I'd rather deal with your f*****-up sh1t than be alone.Tara: Here's some f*****-up sh1t foryou. Do you know that right now I have myself thinking I have a demon inside me? The only way to get it out is have some lady who lives in a bus in a swamp perform 800$ exorcism on me that there's no way in hell Ican afford?Sam: Waw.Tara: Yeah. So go ahead. Now tell me you still want something more with me.Sam: Not if it's gonna be like this. But I'd like it if we could...Tara: Well, we can't, all right? Look, just go, okay? Getout of here and save us both a lot of misery.Sam: All right, I'll see you at work.She goes back home and he throws the flowers on the ground.Scene 13: At Merlotte's - Amy, Arlene, SamAmy is looking at Arlene'sring.Amy: Oh, my God, it's beautiful.Arlene: I know, right?Amy: So you guys having an engagement party or what?They are at the bar now.Arlene (loud enough so that Sam could hear them): We'd like to, but I don'tknow where we'd throw it. You know, our place isn't big enough.Sam: You could have it here, if you like.Arlene: Oh, thanks. But I wouldn't wanna put you out.Sam: You wouldn't be. It'd be like any night, except I'dclose the place to the public for you and your dearest.Arlene: Oh, wow, Sam, that would be amazing. Except I was thinking could we do it in the warehouse next door? Or even outside? Because if we did it in here, it'dfeel like work, you know?Sam: You were thinking, huh? About the party I only just now offered to throw for you?Arlene: You are a spectacular man, Sam Merlotte.Sam: And you are one hell of a conniving suck-up whenyou need to be. I'll cover the catering and the band. The alcohol and all the other incidentals are on you and Rene.Arlene: Got it. And I may be conniving but I still mean it. You are gonna make some woman extremelyhappy one day.Sam: Maybe someday I'll meet a woman willing to take that chance with me.Sookie arrives, furious.Sam: Morning, Sookie.Sookie: Ain't nothing good about this morning.Scene 14: On the road, atJason's job - Jason, Lafayette, Rene, HoytJason is eating on his truck, listening to the trees.Hoyt and Lafayette are on another truck, eating.Lafayette: \"Secret Sauce\"? Who you f****** kidding? Since when is it right tocall mayonnaise a f****** secret?Hoyt: I don't know. I kind of like it, though.Lafayette: You can like it all you want to. It's still mayonnaise.Jason (shouting to Rene): What are you thinking?Rene: Thinking f*cking rootsshould learn where to grow.Jason removes his helmet.Jason: What?Rene begins to dig the root with the chain saw.Jason: What? Rene. What? (He jumps from his truck and run to stop Rene) Hey! Hey! Rene!Jason makeRene fall.Rene (shouting): The f***, man?Hoyt and Lafayette run to them.Hoyt (shouting): Shut it down.Rene: Get the f*** off me.Lafayette pushes back Jason.Lafayette (to Jason): What the f*** is wrong with you?You got a screw to loose?Rene (shouting): You could've killed me.Jason: I'm sorry, I know, but it ain't just some root growing out of nowhere. It's connected to that tree. Everything we see, man, it's all connected.Rene:The f*** you talking about? You some kind of treehugger now? You gonna kill your buddy to save a tree?Lafayette (to Rene): Chill, son.Rene (shouting): I could give a f*** if you're sorry. I'm about to get married.There are people that count on me.Lafayette (to Rene): Okay, come on, let's get you cleaned up.Rene and Lafayette go.Jason: S***.Hoyt: Hey. Is everything all right, J?Jason: t, were you on the football team?Hoyt:No.Jason (taking him by the shirt): Were you on the football team?Hoyt: No, I wasn't.Jason put him down.Jason (shouting): Then you do not call me J. you got that?Hoyt pushes him.Hoyt: Yeah. Yeah. I'm... Yeah, I'msorry.Hoyt goes.Jason: Goddamn it. Goddamn it.Scene 15: At Merlotte's - Andy, Sookie, AmySookie: What can I get for you today?Andy: Your boss around?Sookie: Tell him you're looking for him. What can I getyou?Andy: Don't know, I haven't decided yet.Sookie sit in front of him.Sookie: Then while you make up your mind how about I tell you what you can get for me? I would love whoever's killing off my family's head on aplatter. Think you could arrange that for me?Andy: I don't appreciate your tone, Miss Stackhouse.Sookie: I don't appreciate officers of the law enjoying casual lunches while there's a killer trying to hunt me. Did youknow he got into my house again last night?Andy: He did?Sookie: Yes, and he killed my cat. Cut her head off and took it with him.Andy: Jesus. How come you didn't call the station?Sookie: All the station would've doneis send you. You'd still be here acting as though you don't know what you're gonna order even though you always wind up having the cheeseburger.Amy: Hey there, detective Bellefleur, I'll take you order.Sookie: No,it's my table.Amy: I got it. Just take a break. It'll do you some good.Sookie leaves.Amy: What can I get for you?Andy: Go with the goddamn cheeseburger and fries.[SCENE_BREAK]Scene 16: Outside the Merlotte's -Amy, SookieSookie is on a bench when Amy joins her.Amy: Hey, you. Listen, you all right?Sookie: Sometimes I wish I smoked, you know? So you could sneak outside without anybody knowing something's wrong withyou.Amy: Okay. I'm really sorry about your cat.Sookie: Maybe I shouldn't have come in today.Amy: Yeah, I was gonna say, why did you?Sookie: I don't know. Maybe because lately it seems like if I called in sick everytime somebody I loved got murdered I'd never make it in for a day of work.Amy: Don't you think Sam would understand?Sookie: I guess. But if I went home, what would you do?Amy: Me? What's it got to do withme?Amy seats near Sookie.Sookie: With Arlene doing nothing but showing off her ring you'd be the only one waiting tables.Amy: Yeah, she is gonna be a handful, that one.Sookie: Can you imagine what she was likethe first time she got married? What about you? You ever been married?Amy: Is this the part where the sister asks what the girl's intentions are with her brother?Sookie: Because right now, I am all about protectingJason.Amy: He misses you, Sookie.Sookie: Right.Amy: No, he does. I mean, between your grandma passing and then what happened afterwards with you...Sookie: He told you about that?Amy: He couldn't not. Imean, he's a mess about it.Sookie: Well, you wouldn't know it.Amy: Look, I know what you must think of him. And I get why you're mad at him, I do. But he loves you. You still got people around you who love you. Andall I can hope is that maybe one day, I can be counted in among those people.Sookie: You are way too good for him. You know that, right?Amy: Of course I know that. I'm not stupid.Scene 17: At Jason's - Jason,EddieJason arrives home and turns on the tv.Tv Reverend Whitley: You can call me all the names you want, but I am confident in my position that when the day comes I meet my Maker, it is I would be allowed to passthrough the gates into the glory of eternity.Tv animator: Thank you, reverend Whitley. Miss Flanagan, would you like to turn the conversation back to the Vampire Rights Amendment?Jason: Shut up, shut up.TV NanFlanagan: After the massacre of three of our kind in Louisiana this week, I think the world should take notice of the fact that we have not retaliated. And we will not. Which leaves us with the question of exactly who is"}
+{"doc_id":"doc_228","qid":"","text":"VERONICA VOICEOVER: Previously on Veronica Mars Veronica runs to the edge of the cliff in the wake of the bus crash in 201 \"Normal Is the Watchword.\" Dick and Beaver are standing back from the edge, gazing down.Gia is standing at the edge, stunned.GIA: It just went straight off the cliff. They're all dead. Veronica finds the audio file attached to the message \"Kill incorporation or else\" on one of the little used computers in theGoodman house in 221 \"Happy Go Lucky.\"PETER: Woody's a pervert. He's sick. What he did to us is wrong. Veronica plays the audio for Keith.VERONICA: Two of the boys who died in the bus crash were on Woody'sLittle League team. Keith challenges Woody in Woody's office.KEITH: Most adults keep their hands off of other people's children. Lamb sits back at his desk, refusing to take action against Woody.KEITH: You'll be theguy who let a child-molester and a murderer get away. In the courtroom, Lamb gives Keith the bad news.LAMB: Woody's gone. He took his private plane. At the high school, Weevil talks to Veronica.WEEVIL: Mygrandmother asked me for one thing, my whole life. She wants to see me walk across that stage at graduation. A cloth-filled hand pops out from behind a vehicle, catching Thumper and covering his mouth and nose in217 \"Plan B.\"THUMPER: [offscreen] It's Weevil, I'm telling you! Weevil stands over the unconscious Thumper at the back of the vehicle and takes his drug money.THUMPER: [offscreen] He set me up! Thumper,handcuffed to a urinal at Shark Field Stadium, pleads.THUMPER: I got something on you. A cloth is stuffed in Thumper's mouth by Liam Fitzpatrick. Cut to Logan depressing the plunger to detonate the explosives tobring the stadium down. At the sound of the first explosion, Thumper realises his fate. Cut to a confessional.WEEVIL: Bless me, Father, for I have sinned. Veronica dresses in the doctor's office in 220 \"Look Who'sStalking.\"VERONICA: I've got what?DOCTOR: Chlamydia.At the front door of his house, Terrence hands Wallace a note in 221 \"Happy Go Lucky.\"TERRENCE: Jackie left for France this morning. At the alterna-prom,Logan, having poured in the booze, pours out his heart to Veronica in 220 \"Look Who's Stalking.\"LOGAN: I thought our story was epic. He moves in slowly to kiss her. Veronica panics.VERONICA: I have to go. Veronicastands at Logan's door the next morning.VERONICA: I don't want to lose you from my life. Kendall makes an entrance in her bikini in 201 \"Normal Is the Watchword.\" At Neptune High, Beaver tells Veronica about hisstepmother as they walk across the empty lunch area in 203 \"Cheatty Cheatty Bang Bang.\"BEAVER: My stepmom. She's a gold digger. Aaron has a deal for Kendall in 215 \"The Quick and the Wed.\"AARON: You'recash-strapped. I can help. But...quid pro quo, Mrs. C. Kendall takes a hair from Duncan's shower.AARON: [offscreen] Quid pro quo. Aaron stares triumphantly at Veronica in 221 \"Happy Go Lucky.\"JURY FOREMAN:[offscreen] We find the defendant not guilty. Veronica is near to tears. End previouslies.EXT - COUNTY BUILDING - DAY.There is a huge crowd outside the building that houses the courtroom. Most of the crowd aredelighted, cheering and clapping.VOICE IN THE CROWD: Aaron! There are other various shouts and the crowd, fronted by the cameras and microphones of the press, surges forward as Aaron comes out with his lawyers(except for Lavoie).VERONICA VOICEOVER: So this is how it is. The innocent suffer. The guilty go free. And truth and fiction are pretty much interchangeable. Aaron acknowledges the crowd happily.REPORTER: Mr.Echolls, how do you feel about your acquittal?AARON: I-I feel relieved to have my name cleared of this, this...horrible crime.The crowd cheers and claps anew.VERONICA VOICEOVER: There is neither a Santa Claus noran Easter Bunny, and there are no angels watching over us. Veronica and Keith are in the crowd, neither cheering nor clapping. Veronica is staring at Aaron, her arms crossed in front of her, miserable. Keith tightens hishold on her.KEITH: Hey. He gently touches her chin to turn her head away and starts to lead her out of the crowd.VERONICA VOICEOVER: Things just happen for no reason. Aaron continues to enjoy the adulation of thecrowd, holding up the victory V sign with both hands.INT - MARS INVESTIGATIONS (MI) - DAY.This image is what appears on the front page of the Neptune Register newspaper, under the heading \"Echolls Acquitted.Movie star found not guilty in teen's murder.\" Veronica slaps the paper down on her desk.VERONICA VOICEOVER: And nothing makes any sense. Veronica, sitting at her desk, stares down at the paper. Keith is standingnext to her.KEITH: We will not do this. Keith reaches over her to take the paper.KEITH: You can't let this stick in your head. He has to tug to get it out of her hands.KEITH: However wrong it turned out, it's done. We'repeople with lives, and we will not obsess. We move on. Aaron Echolls will get his justice in his own way. VERONICA: You really believe that?KEITH: Yes. Now, come on. We're running a business here.He taps her armwith the folded up newspaper.KEITH: Look alive. Keith returns to his own office. He sits down, but it too wound up himself to do anything other than pick up the paper and start to read it. Outside in the main office, thebuzz of an in-coming fax is heard. Veronica gets up to collect the fax. She reads it. In his office, Keith is agitated as he reads the paper. Veronica appears at the door and sees what he is doing.VERONICA: Whathappened to moving on? Caught in the act, Keith closes up the paper and tosses it aside.VERONICA: Posted today: Meg's dad offering twenty grand for the capture of Woody Goodman. She hands him the fax.KEITH:Well, I'm sure someone will get him. Keith glances at it before handing it back to her.VERONICA: Didn't you say something about \"we have a business to run\"? Keith nods his head, taking on an innocentdemeanour.VERONICA: Shouldn't you be out hunting him down like the dog he is?KEITH: I also said something about us being people with lives. See, I have this kid who's gonna graduate from high school. I don'twanna miss it.VERONICA: This is Woody Goodman. He blew up a bus and molested children. KEITH: Guess I'm just sentimental.INT - JAVA THE HUT - NIGHT.Wallace is at one of the small tables. There is an untouchedpiece of cake on the table, pushed away from him. In his hand is Jackie's note. Veronica, in her work gear, slides into the seat opposite him. She has a file in her hand which she sets down on the table.VERONICA: Whenthe management gives you free cake, you're supposed to eat it. I thought you were prepared for Jackie going.WALLACE: Never figured it'd go down like this.VERONICA: She left you a note?WALLACE: \"But I was afraid ifI saw you, I wouldn't be able to get on a plane. I'll always....\" Well, then it's just a bunch of private stuff.Wallace, dispirited, puts his elbow on the table and rests his face on his bunched-up fist. He looks atVeronica.WALLACE: What can you do about that?VERONICA: You could use a method time-tested by women throughout the ages.Veronica points to the cake.VERONICA: Gorge on cake. Wallace glances down at it, nottempted. Veronica spots something behind Wallace.VERONICA: I'll be right back. She picks up the file and walks towards the entrance. A boy is standing there.VERONICA: Johnny Ludden? Thanks for droppingby.JOHNNY: Sure. Free gelato just to show up? Why not.From the file in her hand, Veronica pulls out a picture. It is a blow up of the picture from Woody's wall of the eleven boy Little League team. On it, Veronica haswritten the names of the boys she has identified: Jamie Leahy, Tyson Richarsdon (sic), Johnny Ludden, Jordan Taylor, Michael Curry, Peter Ferrer, Franklin Carvahlos, Justin Mize, Robin Luddington and Marcos Oliveres.There is one boy on the far left that she has not identified. She shows Johnny the picture, her finger pointing to the boy she has identified as Johnny.VERONICA: Is this you in Woody's old team? JOHNNY: Yeah. So, do Ihave to eat here, or could I get the gelato in a carton?VERONICA: Just a few more questions first.INT - MARS RESIDENCE - NIGHT.Veronica enters the apartment, staring at the photograph. Keith is in the armchair,reading.KEITH: Hey, honey.VERONICA: Hey, Dad.Neither have glanced up, both intent on their activities. The phone rings. Veronica answers.VERONICA: Hello? VINNIE: [on the phone] Hey, Veronica Mars! Is your dadhome? Veronica grins and holds out the phone.VERONICA: You've got a call... Keith looks up curiously.VERONICA: ...from Vinnie Vanlowe. Keith makes an exaggerated \"huh\" face.INT - SHERIFF'S DEPARTMENT -NIGHT.VINNIE: So, of course you know about the bounty on this Goodman guy.KEITH: I'm aware of it, yes.VINNIE: Twenty Gs? That's big-boy money. Gonna be a lot of top guys out there for it. I had a thought. Weteam up. Mars and Vanlowe. Pool our resources. Split the cash.KEITH: Sheriff got you on video breaking into Woody's house.Vinnie beckons Keith closer and steps forward, revealing that Vinnie is in a jail cell.VINNIE:[quietly] But Johnny Law don't know what I got.KEITH: What do you got?VINNIE: All his records: tax, medical, corporate, the whole enchilada. We nail him, we split sixty-forty. I'm the sixty, by the way.KEITH:Fifty-fifty, if the stuff you got pans out and no action until after my daughter's graduation.VINNIE: I'm in jail! I deserve sixty.Keith holds up his hand and rubs his thumb and forefinger together.VINNIE: I risk my life tobring a fugitive to justice and you're giving me world's tiniest violin.KEITH: Guess I'm just heartless.VERONICA: [offscreen] He's got, like...INT - MI - DAY.Keith and Veronica are working at her desk, going through pilesand piles of papers.VERONICA: ...ten credit cards in different corporate names. We're gonna have to put a trace on all of them. Veronica picks up another file and opens it.VERONICA: And he has a pilot's license.KEITH:Seasonal allergies, bad arches...Keith flips up the paper he's reading to the sheet underneath.KEITH: ...and he had the clap. Hm. Veronica freezes.KEITH: Treated twice for Chlamydia. Didn't see that in his campaignmaterials. Veronica is uncomfortable. Keith carries on, oblivious.KEITH: Bingo. Heart arrhythmia.VERONICA: So that's our strategy? Just wait for him to drop dead?KEITH: He has to take a pill every day. There any wayyou can find out Gia Goodman's cell phone access code?VERONICA: Gia's cell?KEITH: Woody's lawyer is also an old college buddy of his. If he'd call anyone, it'd be him. If we had Gia's code and could forward her calls...VERONICA: I guarantee you she hasn't changed it from the factory default.KEITH: Then I have a plan.DREAM: INT - MARS RESIDENCE - DAY.An alarm placed on a white bedside table goes off at 6:30am. Also on thetable are some pictures, some candles, a spray bottle, a diary, and a porcelain dog (or pig). The room is bathed in pale pink light. Without opening her eyes, Veronica pulls a small pillow over her head, sighing. Sheremoves it on the sound of a knock at the door.LIANNE: Up and at 'em, honey. Lianne marches in, carrying folded clothes. The room is not Veronica's bedroom at the apartment, but in a different house. Lianne sets theclothes on top of a chest of drawers. She is grinning ear to ear.LIANNE: Can you believe the big day is finally here? Lianne exits the room. Veronica, still half asleep, is confused as she gets up. Cut to a little later.Veronica, dressed in a strapless summer dress with a petticoat frill, walks out into a smart kitchen. At the end is a breakfast table. Keith is there, in his sheriff's uniform. He watches her as she approaches thetable.KEITH: There she is. Veronica pauses a moment before taking her seat.VERONICA: The eyes are bright, the tail is bushy. Lianne puts pancakes on Keith's plate and then on Veronica's.VERONICA: Pancakes, Mom?Are you trying to give me an early jump on the freshman fifteen. Lianne laughs.LIANNE: Eat up. You think the dining halls at San Diego State are gonna feed you like this? She puts the empty plate from which sheserved the pancakes down on the kitchen counter just in time as Keith grabs her around the waist and pulls her onto his lap.KEITH: Hmm. I love pancakes.LIANNE: Well...They start to kiss. Veronica stares at them inmixed wonder and bewilderment. Keith looks over at her.KEITH: What? A comment? \"Get a room\"? You just gagged in your mouth? Lianne giggles.VERONICA: No, it's nice. Lianne pulls herself up from Keith's hold andleans forwards to feel Veronica's forehead.LIANNE: Are you okay?VERONICA: All right.Lianne laughs again and goes to the kitchen. Keith busies himself preparing his pancakes.VERONICA: So how's the sheriffbusiness?KEITH: Pretty sweet. We've got Otis sleeping it off in cell one and Lamb has to wear the Clete, the Crime-Fighting Canine costume to all the elementary schools this week.Lianne returns with a camera. She sitsdown on Keith's lap.LIANNE: Um, listen. After the ceremony, don't run off with that boy because we want to take pictures, and lots of them.VERONICA: And I can't wait.LIANNE: Okay, then you should practice. Say\"cheese.\"Lianne points the camera.GIRLS: [offscreen] Cheese! The scene shifts to...EXT - NEPTUNE HIGH SCHOOL (NHS), LUNCH AREA - DAY....a camera as it flashes. A girl takes a picture of friends as Veronica passesbehind her. She is heading for one of the tables where Logan is sitting on top of it and Duncan is sitting on its bench. Both have their graduation caps on. Duncan, and many of the students milling around them arewearing their gowns. Duncan and Logan are laughing.VERONICA: They gave me the wrong cap and gown. Logan pulls the cap off of his head and looks inside it.LOGAN: Yeah, how exactly can you tell? As Dick wandersover to join them, Veronica holds up the plastic bag containing the cap and gown she has been given.VERONICA: It's got someone else's name on it.DICK: Guess who's going commando?DUNCAN: Must we?VERONICA:Does anyone know Wallace Fennel?Veronica mispronounces \"Fennel.\"DUNCAN: I do, he's in my PE class. Awesome baller. I think he works at Sac-n-Pac.VERONICA: \"Awesome baller.\" That doesn't really help me. Canyou point him out?DICK: You didn't hear what happened to him? Sac-n-Pac got held up when he was working.Logan smiles and looks down.DICK: The robber forced him into the walk-in cooler...he gotfrostbite.DUNCAN: Yeah, dude lost three fingers.VERONICA: [horrified] Oh my god, that's awful.Duncan and Dick erupt into laughter, congratulating themselves. Logan slips off the table and walks towardsVeronica.LOGAN: Aw, sweetie, I love you. But you have to be the most gullible girl I've ever met. He kisses her.VERONICA: I'm trusting, sue me. Duncan points into the distance.DUNCAN: There he is, that's Wallace.Veronica looks behind her. Wallace, wearing glasses, is carrying another cap and gown.VERONICA: Wallace? Veronica leaves the boys to chase Wallace. Behind her, Dick is showing the next table what's underneath hisrobes, causing Logan to spin around and laugh.VERONICA: Wallace. Wallace?WALLACE: Yeah.VERONICA: I think I have your cap and gown.WALLACE: That must make you Veronica Mars?VERONICA: It does.Theyswap.WALLACE: So. Lookin' forward to gettin' out of here?VERONICA: I guess. I don't know. High school was a blast. Right?WALLACE: Oh, you're one of those.VERONICA: What's that supposed to mean?WALLACE:Nothing. Have a good life. I'm sure you will.Wallace walks away. Veronica worries over the scene for a moment but is distracted when she sees someone by the fountain and runs to her.VERONICA: Lilly!LILLY: Hey!Theyhug.VERONICA: Tell me about everything! Tell me about this new guy. Tell me about Vassar.LILLY: The guy is gone. We had a little screaming over fooling around with his ex.VERONICA: That b*st*rd.LILLY: Oh no, no.It was, um, it was me.She laughs. Veronica looks shocked.LILLY: I kinda fooled around with his ex. I mean, you'd think that guys would dig that, right? What? It's college. It's expected. You'll see.VERONICA: God, it's sogood to see you.LILLY: What is this?Lilly points behind her.LILLY: A Lilly Kane memorial fountain? Do you smell bacon?END DREAM. INT - MARS RESIDENCE - DAY.In her own room, Veronica is woken by Keith pokinghis head into her room.KEITH: Graduation day! Get up! Lots to do! I'm making breakfast. Keith belatedly knocks on the door on his way out. Having raised her head slightly, Veronica lets it fall back on the pillow.Opening credits.EXT - NEPTUNE STREETS - DAY.A man in a business suit, carrying a briefcase, strides towards and enters a building. He is being watched by Keith, parked on the other side of the street. Keith talks intohis cell.KEITH: Get ready.INT - LEE'S OFFICE - DAY.The man, Woody Goodman's lawyer Bill Lee, is met by his assistant in front of his office.ASSISTANT: Morning Mr. Lee. Gia Goodman asked you to call her on her cell.She proffers him a slip of paper.LEE: It's all right. I got the number. He goes into his office and sits down at his desk. He fits an earpiece and then dials a number from memory. It rings on the other end.LEE: Gia? BillLee.VERONICA AS GIA: [on phone] Hey, so, I'm trying to get a message to Dad...INT - MARS RESIDENCE - CONTINUING. Veronica, dressed in a black, halter-neck dress, is at her desk.VERONICA AS GIA: But he didn'tleave us a forwarding...it's just, we got a call from Dr. Hoover and I guess his heart pills are fifty mil-something this time instead of a hundred...EXT - NEPTUNE STREETS - CONTINUING.In his car, Keith is listening andmonitoring the call with some fancy tech equipment.VERONICA AS GIA: [on phone] So he has to take two. It's really important. LEE: [on phone] Got it, Gia. I'll see what I can do. You take care, honey.INT - LEE'SOFFICE - CONTINUING.Lee leans forward at his desk to dial another number.EXT - NEPTUNE STREETS - CONTINUING.In the car, Keith can listen in on the call.VOICE ON PHONE: [on phone] Quail Creek Lodge.LEE: [onphone] I need to leave a message for Mr. Underhill please.Keith places one device over another. Against the sound of a ringing phone of the call being forwarded, Keith gets a number: 775-555-0122.KEITH: Bingo. INT- NHS, GYM - DAY. The camera looks down onto the cap of a student on which is written \"Neptune High Class of 2006\" in chalk. The student walks on and the camera pulls up to reveal the room which is decorated witha large arch of green and gold balloons. Visitors are taking their seats in the stands. The students who are graduating are to sit in the middle of the auditorium, in front of a small stage set up on the opposite wall to thevisitors. Proceeding amongst the crowd is Keith and Veronica in her cap and gown. She has a large gold medallion around her neck.KEITH: After you talked to Woody's lawyer, he immediately called the number for QuailCreek Lodge, twenty miles outside of Reno. It's a stocked hunting ranch, rich businessmen shooting captive birds. VERONICA: You think Woody's there?KEITH: I checked Google Earth. Satellite photos show a landingstrip and a building big enough to hold a plane. I'm on a flight to Reno, leaving an hour after graduation.VERONICA: I don't know if I like the idea of you running around a place full of armed, drunk businessmen.KEITH:That's why I rarely go to Texas. I'll be fine. [repeats in a whisper] I'll be fine.He leans forward and kisses her.KEITH: I'll call as soon as I have him. Keith grins proudly and goes to take his seat in the stands. Veronicawatches him, and then notices Weevil escorting two small children and his grandmother to their seats. His grandmother, who, if she is Leticia Navarro, has aged considerably, is using a walker to slowly make her way tothe stands. Veronica gives a little smile as Weevil's grandmother reaches up to adjust his cap. Cut to a little later. The band plays \"Pomp and Circumstance\" throughout the ceremony and Clemmons is in the middle ofcalling the students up one by one.CLEMMONS: John Enbom. There's applause as John Enbom makes his way left to right across the stage.CLEMMONS: Wallace Fennel. The cheers are louder for Wallace. Alicia is in thestands and rises to applaud her son. Veronica puts her hands to her mouth to use as a megaphone for a big whoo-hoo, clapping strenuously. Alicia does the same (without the hands) from the stands. Veronica is stillclapping when a finger pokes her in the shoulder. Mac is sitting in the same row and they are separated by a male student. Veronica leans back so she can talk to Mac behind his back.MAC: Guess what?CLEMMONS:Stacey Fields.VERONICA: What?MAC: Beaver got us a room at the Neptune Grand for tonight.VERONICA: Oo-la-la.MAC: Any advice?VERONICA: Close your eyes and think of England?Mac is not impressed.CLEMMONS:Howard Grigsby.VERONICA: Just relax.Mac grins and returns her attention to the front. The entire row stands up and starts to make their way to the side of the stage.CLEMMONS: Hadley Klein. Veronica pauses at the"}
+{"doc_id":"doc_229","qid":"","text":"(pans clanging)Man: Wakey, wakey! Rise and shine.Man 1: Who wants to fight, huh? Come on, get up. Pathetic. You're all pathetic! Who wants to fight? How about you? Come on! Hey, you!Man: Hey, leave us alone!Getup here, come on! Pathetic! Pathetic, pathetic! Hey, hey, hey. Hey, hey, hey, where's the fire, old-timer? Hey, hey, hey, hey. Come on, man, stick around. Have ourselves a good old-fashioned bum fight. I'm talking toyou! Come on! Fight me! Huh? I said, Fi...(man sobbing)(screaming)(grunting)(breathlessly): Okay, okay.(groaning)(Taser crackling, man grunting)\u0000 NCIS: LA 6x08 \u0000 Original Air Date on November 17,2014[SCENE_BREAK]Sam: Yeah. Oh, that's good, baby.That's really good. Now, you remember the difference between obtuse and acute angles?Girl: Uh, not really. Okay, think about it, we went over this last night.Now, when something's small it's cute. So, an angle that's smaller than 90 degrees...Girl: It's acute.Sam: There you go. You're gonna ace this math quiz.Girl: Yay! All right, Daddy's got to go, I lo...Girl: Love you,Daddy. Huh? I love you.Sam: I love you, too.Girl: Bye, Daddy. All right, beautiful. Bye-bye.Girl: Bye. Wow, that's, uh... father-of-the-year material right there.Callen: You know, if you're not careful, she's gonna end upa mathlete just like her old man. Junior Math Olympian. How many times do I have to tell you that? Till it stops being funny. Which is never.Sam: Okay, laugh all you want, but that's not what makes me father of theyear, this is. You've put a GPS tracker on your daughter. We gave her a cell phone. Huh. Isn't she kind of young? The world's kind of dangerous. A cell phone lets me know where she is at all times, and she can contactme in case of emergency. You know, it's about peace of mind, simple as that. All right, you know, as long as you're not smothering her.(cell phone buzzes)I don't smother. Hey, baby, you okay? Something wrong? Hey,Daddy, can we have spaghetti for dinner tonight? You want spaghetti for dinner tonight. I want spaghetti for dinner tonight.Girl: Yeah, with meatballs.Sam: With meatballs. I'm coming over, I'm bringing Monty.Girl: Canyou do it?Sam: Okay, Daddy can do that.Sam: Daddy will get you some spaghetti and meatballs.Girl: Are you sure? Daddy can do anything, Daddy's a superhero. Thank you, Daddy, I love you!Sam: Okay, all right. Ilove you, too. Okay, bye-bye. Bye! Well, peace of mind-- spaghetti crisis averted. You know, she's just starting, uh... She just got it, she's new to it. In a couple of days, you know, she'll...(cell phone buzzes)Hmm. Sureshe's not smothering you, Super Daddy? Baby, I have... Daddy, listen-- Knock, knock. Okay, who's there? Doughnut. Doughnut who? Doughnut ask, it's a secret. Great, look... You like it? You have to go to class, andDaddy has to go back to work.Girl: I love you.Sam: I love you, too. All right, sweetheart. All right, bye-bye.Girl: Bye, Daddy. Bye. Doughnut who? What's the punch line?(whistling)Granger danger. All hands ondeck.Deeks: Come on, what's the punch line? Sam-dog, what's the punch line? Don't do this, don't leave me hanging here. What's the punch line? Doughnut ask, it's a secret. Oh.(laughs)Oh, that is... that's actuallypretty funny. That's a cute joke!Eric: Early this morning, LAPD was alerted to the body of a homeless John Doe in a North Hollywood alley. No I.D., no police record, and no fingerprints on file. Well, that rules out aMarine or Navy vet. Not exactly, Agent Hanna. The man's fingerprints are on file, (cell phone buzzes) just not in any law enforcement database. When LAPD scanned John Doe's fingerprints, it triggered a classified DoDalert.Granger: His name's Harrison Goodsell. Marine, member of the CIA Special Activities Division. Over the past two decades, he's worked dozens of classified ops. Afghanistan, Russia. Even Iran and North Korea. Thepeople who worked with Goodsell called him The Grey Man. Wait, what's... what's \"The Grey Man\"? It's a term used in special ops. A Grey Man is someone who has the skills to blend into any environment and remainunnoticed. Unknowable. Best way to avoid confrontation in hostile territory. But not 100 percent effective. M.E. reports that Goodsell was tortured before his killers finished him off. Cut his throat. You're worriedsomeone got to the secrets in Goodsell's head. Years later, that kind of Intel could put American lives at risk. We should talk to some of his friends in Special Activities. I'll handle the CIA, Agent Callen. Your team shouldfocus on the murder investigation. Sam and I'll check out the crime scene. Kensi, Deeks-- get his photo around to all the shelters, see if anybody knew him. Report all findings to me.Kensi: Sir? Do we know whyGoodsell ended up living on the street? Well, CIA reports he had a breakdown last year. Diagnosed PTSD, multiple traumatic brain injuries. You know how the story goes. Yeah, yeah. Let's get moving. All right, thanks,Eric. Keep looking. Down here. Thanks. Goodsell has no family. Parents are deceased, no kids, never married. Typical Grey Man. They don't punch out at the end of the day. It's not conducive to starting a family. Youdid. (chuckles) I'm not a Grey Man. You, on the other hand... Have a girlfriend, have a home. I'm doing just fine, thank you. You're welcome. Five years ago-- different story. I put a lot of work into you, G. Oh, so what,am I like Charlene, your, uh, car you used to restore in your spare time? I'm saying it's about having a support system, a safety net. Grey Man works without them. When he falls, he hits the ground hard. Ends up here.May I? Sure. Lot of stuff here. Not sure if any of it's gonna be helpful.Sam: Yeah. No cameras on either end of the alley. Or the adjoining streets. Perfect place for a body dump. They got a fingerprint and a downtownarea code for Civic Sushi. I'll send a copy of the print to Eric, see if it matches our Grey Man.Kensi: Civic Sushi has four-and-a-half stars on Yelp, all you can eat till noon. You realize that you just had breakfast in thecar, right? That wasn't breakfast, that was, uh... Second breakfast? Elevenses? What, bath meal? Hey, when you've gone days without eating like I have, you learn to appreciate food. I'm just saying it's kind of hard toappreciate something when you devour it. Literally, I blinked, and the burrito was gone. Welcome to Civic Sushi. Please, have a seat anywhere. We're actually not eating. We're just here to ask some questions to themanager. I'm the manager. Hideo. Great. In that case, do you recognize this man? Yes, he is a customer. A regular. He ate here? That's very charitable of you. No charity, he paid like everyone. Tipped well, too. I'msorry, the homeless man tipped you? Homeless? No, he wore a nice suit, tie. Talked on his phone, he was a businessman. Why don't you look at the picture one more time. Ah, come, I'll show you. He's in this photo Itook of DJ Salmon Run. KZPZ-- best hip-hop in town. That's him. That's Goodsell. The hell was this guy up to?Eric: Using the downtown sushi place as a starting point, we scanned traffic cams within a five block radius.And in the 72 hours leading up to his death, we spotted Goodsell four times. All within the vicinity of Grand Park.Eric: Here he is yesterday, crossing the street toward Civic Sushi for a late lunch. And here he is, one dayearlier, appearing in two different areas of Grand Park. Hmm. Back to being homeless. And finally, only six hours before that... One block away from the park. Again, in a business suit. Okay, not to be insensitive, butGranger did say that Goodsell suffered multiple traumatic brain injuries. I know guys with TBI who can't tie their shoelaces. Goodsell looks quick, purposeful. He's working an op. Question is-- for whom? This area he'scovering is full of government agencies. You got the DEA, the USCIS. There's even a federal courthouse. He could be working for a foreign agency. The sushi manager doesn't know anything about him? No, and theshelters we talked to don't recognize him, either. But maybe their clients will. I mean, homeless people don't like to talk to law enforcement, but they do talk to each other. As do the suits grabbing coffee at the park.So, maybe that's our plan. You go doll up with your casual business wear, and I'll get Artie out of the freezer. We'll make a day of it. Oh. I'm sorry, who's Artie? He named his smelly undercover jacket.Deeks: I did. It'sa funny story, actually. 'Cause when Actually, we were... it's not, it's really gross. So, let's go, get out of here. I wore that thing, it gave me a rash. That's part of its authenticity, man. Where's your dedication to the artform? You thinking what I'm thinking? I'm trying not to think about your rash.Callen: If Goodsell didn't have a breakdown, then either Granger got bad information... Or he lied to us. Where's Granger? He went out.Didn't say where. Mr. Hanna, your daughter called me twice this morning. I told her not to use your number unless it was an emergency. Oh, but it was. She said, um, Forget the spaghetti. She'd rather have lasagna fordinner. Ouch. I mean, twice the prep, not to mention the cook time, of course. All right, good. Well, the quicker we solve this case, the better. Oh, yes. The elusive Grey Man. Unfortunately, Owen has, um, revoked myaccess on this case. Why would he do that? I think you'll have to ask him. I overheard him say something about going out to have froyo with his good friend, Claude Rains. \"Claude Rains\"? Isn't that the actor fromCasablanca? Yes. And Notorious and The Invisible Man and Mr. Smith Goes to Washington. Quite a career Mr. Rains had. Hetty? Pretty sure he's dead. True. But that doesn't necessarily mean you can't have froyo withhim.[SCENE_BREAK]Oh... Just keep moving, Barnes. Just pretend we're still old friends. We were never friends, Granger. You're right. My mistake. So, this is about our Grey Man, isn't it? (grunts) I want to hear thetruth, Barnes, straight from your lying mouth. The truth? Since when is the CIA in the truth-telling business? Fine. Then we'll just pick up where we left off in Afghanistan. No weapons. No tricks. Just you andme.(grunts)Callen: Ouch!Believe it or not, you landed on Robert Ripley.(grunting)Get up. All right, hand him over. Yeah, how about we make a trade? That's not how this works. Today it is. Him for some answers. Iguess we're both in the truth-telling business now, huh, Granger? Shut up. Put your hands behind your back. Hey. Hi, sir... with the bubble wrap? Sir, I see you're very busy. I'm just wondering if you'd seen my buddy?That's him on the left. We served together in Afghanistan. And he said he was gonna be living down here. No? Okay. You... Kensilina? I'm striking out here. No one remembers Goodsell. Or they're too, uh... disturbed ortoo high to remember anything.Kensi: Hey, he left his wallet on the table and I tried the address, but he doesn't live there anymore-- do you know him? Nah. No. No? Okay, thank you. I can't... Sorry. Have any luckdown there, Kens? That would be a negative. And I'm on my third cup of coffee. I'm not sure how much my bladder can it take anymore. I could kill for a cup of coffee right now. You want to switch me? And put on thatjacket? No, thank you. I wouldn't let Artie touch me. Well, I'll have you know that you're not really Artie's type anyway. I used to be. What? What do you mean? You know, I lived on the street down here after my daddied? Um, no. No, I didn't, uh... No, I didn't know that. You're lying to me. I know Hetty told you. Hetty? No, come on. Hetty didn't tell me anything. Actually, she specifically said that she didn't tell me anything. Youcan fool everyone else, Deeks. Can't fool me. So, you want to talk about it? Not really. Like it was even me anymore. Just a... just a different person. Well, I wish I would've known her. No, you don't. Excuse me... sir,I'm looking for somebody... Uh, it's not gonna... His name's Paul Barnes, CIA. He handled Goodsell's covert ops. You think he had him killed? Why? He led the manhunt for Jack Simon in Afghanistan. The White Ghostmission. Since then, I've been keeping tabs on Barnes. So, when I learned he flew into town last night, I started looking for reasons why. Friend at the DoD tipped me off to Goodsell. And like Simon, Goodsell's a specialoperative who'd gone off the grid. But he didn't have a breakdown. No. That was just the cover story. Goodsell went AWOL last November. The CIA lost him. That's why you kept Hetty on the sidelines. Because of theway she handled Afghanistan. I was trying to protect her from another inter-agency quagmire. But as usual, she couldn't resist stirring the pot. You're too close to this. Meaning what, Agent Hanna? Meaning we'll handlethe interrogation. All right. Five minutes. There are a handful of Grey Men out there. But none of them were like Goodsell. You know, I worked with the guy for over a decade, and I couldn't tell you the first thing abouthim. No personal connection. Makes it easier to have him killed. (laughs) Nicely done. I like how you turned that around on me. The only problem is I didn't do it. Although I will admit that the world is a safer place withhim dead.Callen: All right. So, if you're not here for the hit, why are you here? Hmm? Is this a vacation? (laughs) Ha-hardly. I hate Los Angeles. I hate the people. I hate the sun. You know, I got sunburned so badly inAfghanistan that I had to be hospitalized.Sam: Okay, this is a waste of time. Let's bring Granger in. Okay, relax, relax, relax. Relax. Let's everybody take a deep breath.(exhales)The reason that I am here is becauseyesterday Goodsell contacted me through one of his old handles. You don't believe me, check my phone. You try and wipe this... I know, I know. You'll let Granger come in here and kill me. Believe me, Agent Callen. Iwouldn't give him the satisfaction. \"Need to meet tomorrow, \"Los Angeles. You help me, I'm back in.\" Goodsell may have been valuable dead. But he was much more valuable alive. I came here to bring him in. He alsosent you photos. Who are they? Uh, the women, I don't know. Although I wish I did. The men, they're from the Peña Cartel.Sam: Did Goodsell operate inside of Mexico? Mm-mm. Interact with the cartels? Never. Never.But I don't think our Grey Man died for old secrets. I think they killed him for something new.Deeks: Wow, you're, like, assaulting that burger.Kensi: You have no idea. It's so good. Yeah, wow. Go easy. Mmm. It lookspretty delicious. Why? You hungry? Yeah, I'm starving. French... Oh, you're offering...? You want me to have...? Thank you. French fry. It's still warm. Getting free french fries over here. Hey, so, I'm looking for my, uh,my buddy. We were in the war together. This is him. You haven't...? You haven't seen this guy? My buddy, have you seen...? You're not listening to me.Man: Good day, miss. Oh, that's why you're not... Good day. Youwant me to stand? Yeah, I'll stand. What do we, what do we do now? Hats off. Good day, miss. Fine weather we're having. My, don't you look lovely. You look lovely. We think you look lovely.Man: We do.Deeks: Wow,dinner and a show. Well done, old-timer. You got the world figured out here, don't you? Another french fry. Don't mind if I do. Deeks, check out the woman in the red skirt.Deeks: Uh, it's hard not to.Kensi: Calm down. Igot pictures from ops of two women who might be linked to the Peña Cartel. She's one of them. Wow, yeah. She's a hot tamale.Kensi: Oh, you've got to be kidding me. See those guys she's joining? I was checkingthem out earlier. They got badges and concealed weapons. They're DEA. Looks like Goodsell wasn't the only spy working the area.Kensi: Want to know why the Grey Man died? I say we start with her.Eric: We putGoodsell's photos through facial rec. We I.D.'d the first woman as Bonnie Flores. She has prior run-ins with LAPD for prostitution. She's currently at the Grand Park food court. Kensi and Deeks are keeping an eye onher. What about the second woman? It's, uh, not a clear shot. So nothing on facial rec so far. Any connection to the Peña Cartel?Eric: No. And since Mexico arrested Domingo Peña seven months ago, the cartel's beenrelatively quiet. Now, Peña's nickname is El Ojo, or The Eye. One, because, well, he wears an eye patch. Which, for the record, he didn't even need. Just thought it made him look tough.Nell: And two, because he haseyes everywhere in the Mexican government, aiding in his drug empire. The DEA and the U.S. Attorney's Office have been working to extradite Peña from Mexico ever since his arrest. Kensi said the woman was talkingto DEA agents and lawyers. Cartel could be trying to target someone involved in the Peña case, hoping to sabotage the extradition6 Classic honey trap. Espionage through seduction. If we warn the DEA, they mayoverreact, tip off the cartel. Same thing will happen if we try to arrest this woman in broad daylight. Yeah. We need to bring her in without disturbing the waters.[SCENE_BREAK]Hetty.Hetty: Gentlemen. I may have anidea. Oh, back in the game. Owen and I have, uh, reached an understanding. This is one cat you don't put in a bag. Meet me in wardrobe. Okay.(camera shutter clicks)Eric, I'm sending you another photo now.Deeks:All right, Kensilina, I'm ready. Ready for what? My homeless act. How am I doing? Hit me.A \"B.\"A \"B\"... All right, I'll take that. Minus. B-minus? Aw, come on!Kensi: Come on? Artie's doing all the work. You're just, uh...riding his coattails. Wow. Riding his coa... You should be ashamed for that play on words. Now there is something you don't see every day. What? Look... it's under Mexican jurisdiction. it's as simple as that. There'snothing simple about it. He will never make it to trial in Mexico.Sam: You don't know that. You want to bet? Peña will be out on bail within one week.Sam: Look, all I'm saying is it'll mean something to the people there.It's not gonna mean anything if the guy doesn't make it to trial! I'm sorry. My friend's a little stressed. My apologies.Callen: I'm not stressed. Yeah. I'm fine. I'm sorry. Stressed. Sounds like you two could use a break.Oh, you have no idea. Ooh, taking the bait.Deeks: Wow, that skirt is working. You should probably borrow that from her.(Southern accent): You'd look real nice. Finer than a new set of snow tires. Stop talking.Deeks(southern): All right. Bonnie. Hi. I'm an admin assistant in the IRS office. How you doing? Ouch. I thought we had it tough. What do you do?DEA.Keep that between us.(giggles)So are you working on somethingsecret?Kensi: You know what that is? That's A-plus undercover work. I'll give 'em that. That was smooth. Don't be jealous of those coats, Artie, just because they're new and probably don't smell like a dead buffalo.You've got character, all right? You're pretty. I like you. You are talking to your clothing. You know what? I stand corrected. You do belong down here.Sam: You know what, you're right. I do need a break. Or a drink.You free? I might have some free time. Who's buying? Uncle Sam, naturally. (giggles) I haven't done anything wrong. I kept my clothes on and no money changed hands. We're not concerned with your escort work,Bonnie. It's your tradecraft that interests us. My what? The past few months, you've targeted DEA agents, State Department officials, even a judge's clerk. You want to tell us why? Men in high-stress jobs, little freetime... they make the best clients. I work where the need is greatest. And there's a lot of need there. In here, too. You two look like you haven't had any in awhile. I think you're confusing horny with hungry. Weskipped lunch today. Tried to eat, couldn't keep anything down. Yeah. Not after looking at these. This is what's left of the women that work with the Peña Cartel. Not much, is there?Sam: Look. You can be tough,Bonnie. But tough only gets you so far. It was a normal job. I got a call about a man. A regular. But when I got there, it wasn't him. There were four of them. And they made it very clear that I couldn't say no. Whatwere your instructions? They told me who to target. Make conversation, steal documents. Tablets, cell phones... anything to do with the Peña Cartel. Did they say what they were going to use the information for?Sam:Bonnie... Do you know her? Only by her first name. What is it? Monica. She used to work the park, like me, but later she just focused on one guy.Eric: Kevin Turner. He's the federal prosecutor leading the case againstDomingo Peña. If the cartel gets to him, we can kiss extradition good-bye. Now, his office says he left the courthouse after lunch, claiming he had a family emergency.Only problem is: Turner doesn't have any family.No children, his mom died last year and his dad was never in the picture. His car is currently parked outside his home in Hollywood. (sighs) Hey, uh... Kevin, it's Hank from next door. I got some of your billsaccidentally. Hey, Kev! These, uh, these bills look important. Like overdue bills, like, \"they're gonna shut off your water\" kind of bills. Ooh. Ouch. Uh, you okay? Uh, fine. You have some of my mail? Yeah. This got putinto my mailbox by mistake. Thanks. Um... it's just the two? Just the two.Kensi (over earwig): Callen and Sam, I got a guy in the dining room. Got it.Callen: I got the second, Sam. On my mark.Deeks: So, listen, Jeanie"}
+{"doc_id":"doc_230","qid":"","text":"Scene: The comic book store.Leonard: It's from Game of Thrones. What do you think?Sheldon: I don't know. If we're going to start a fantasy sword collection, and I've long thought we should, is this really the sword tostart with?Leonard: What did you have in mind?Sheldon: Well, off the top of my head, I'd have to go with Excalibur. It gives you the right to rule England.Leonard: It would be a replica of a movie prop.Sheldon: Fairenough. It'd give you the right to rule a replica of England.Leonard: Well, they don't have an Excalibur here, so what do you want to do?Sheldon: Mm. Tough decision. There's no weaponry from Lord of the Rings, forgedin a Chinese sweatshop?Leonard: Just Bilbo Baggins' sword over there.Sheldon: Two grown men with a hobbit's dagger; wouldn't we look silly? Okay, let's go for it.Stuart: Oh, I see you guys have found my littletreasure.Leonard: Yeah. It's okay, I guess.Sheldon: Okay? It's magnificent.Leonard: Buh-buh-buh-buh! What do you want for it?Stuart: Oh, it's hard to put a price on something that's a copy of something that was onpay cable. But for my friends, let's say 250?Leonard: Oh, that's pretty steep.Stuart: Well, it's a limited edition. They only made 8,000 of these bad boys.Sheldon: Only 8,000? We're wasting precious time. Buyit.Leonard: Hang on. Can you do any better?Stuart: Are you kidding? I'm already giving you the friends and family discount.Sheldon: Oh, did you hear that? We're getting the friends and family discount. We arehonoured and we will take it.Leonard: Slow down. Two hundred.Sheldon: What are you doing? Two fifty is already the discounted price.Leonard: Will you shut up?Stuart: Tell you what, I'll go two thirty-five.Leonard:Nope. Maybe another time.Stuart: Okay, two twenty five, my final offer.Sheldon: Take it, take it.Leonard: Two hundred.Stuart: Man, you're killing me!Sheldon: Killing you? I can't breathe.Stuart: Two ten, and I'mlosing money.Sheldon: Oh, now, we can't let him lose money, Leonard. I'm so sorry.Leonard: Two ten and you throw in the Iron Man helmet.Stuart: Are you crazy? That helmet's signed by Robert Downey Jr.Leonard:So?Stuart: Okay, if you're going to question the importance of an actor's signature on a plastic helmet from a movie based on a comic book, then all of our lives have no meaning!Leonard: Okay, fine. Just the sword,two ten.Stuart: Thank you. I can eat meat this week.Leonard: See that? I just saved us forty bucks.Sheldon: I've long said, what you lack in academic knowledge you make up for in street smarts.Stuart: You want meto wrap it?Leonard: No, it's okay. I'm gonna stab my friend in the chest.Wil Wheaton (entering): Hey, Stuart.Stuart: Ah, hey, Wil.Sheldon: Hello, Wil Wheaton.Wil: Hi, Sheldon. Nice sword.Sheldon: It's part of my swordcollection. Do you have a sword collection?Wil: No.Sheldon: I'm not surprised.Stuart: Here's the Batman 612 with the Jim Lee alternate cover that you wanted.Wil: Awesome. What do I owe you?Stuart: Forty bucks.Wil:Good deal.Sheldon: Sucker. Didn't even ask for the friends and family discount.Wil: Hey, I'm having a party at my house on Friday, and I was hoping you would stop by.Stuart: Will there be girls there?Wil: Yeah, ofcourse.Stuart: 'Cause there wasn't last time.Wil: There will be girls. You guys are invited if you want to come by.Leonard: Thank you.Wil: All right, great. Later.Sheldon: I see what you're doing. You accept an invitationto a party at the home of my sworn enemy, he tells everyone we're going to be there, and when we don't show, he looks the fool. Fiendishly clever.Leonard: I was actually thinking about going.Sheldon: And thendeclaring the party a fiasco and storming out, leaving him humiliated in front of his guests. Love it.Leonard: No, I was gonna grab Raj and Howard and have a good time.Stuart: Oh, great, more guys. It's gonna beanother Wil Wheaton sausage-fest. Credits sequence.Scene: The apartment.Leonard: Sheldon, can you grab me a water?Sheldon: Possibly.Leonard: Can you or can't you?Sheldon: It's not that simple, Leonard.Leonard:It never is, is it?Sheldon: At this moment, our relationship exists in two mutually contradictory states. Until you either do not go or go to Wil Wheaton's party, you are simultaneously my friend and not my friend. I'mcharacterizing this phenomenon as Schrodinger's Friendship.Leonard: Got it. Can I have my water?Sheldon: Of course. Now get it yourself, you traitor.Penny: Wait, what is going on?Sheldon: In case you haveforgotten, Schrodinger's cat is a thought experiment...Penny: No, no, no, no, I didn't forget. Um, there's this cat in a box and until you open it, it's either dead or alive or both. Although, back in Nebraska, our cat gotstuck in my brother's camp trunk, and we did not need to open it to know there was all kinds of dead cat in there.Amy: Homespun stories, knowledge of physics and a bosom that defies it. You're the whole package,aren't you?Howard (arriving): Sorry I'm late. Uh, I got great news. NASA picked my team's design for the deep field space telescope that's going on the International Space Station this spring.All: Wow.Bernadette:Howie, that's wonderful! Congratulations!Howard: It gets better. Someone has to go up with the telescope as a payload specialist, and guess who that someone is.Sheldon: Mohammed Lee.Howard: Who's MohammedLee?Sheldon: Mohammed is the most common first name in the world, Lee, the most common surname. As I didn't know the answer, I thought that gave me a mathematical edge.Howard: It's me, Sheldon. It's me. I'mgoing up in space! Technically, I'm an astronaut.All: Wow, that's amazing!Bernadette: Hang on a second. NASA doesn't have a shuttle any more. How are you going to get up there?Howard: Oh, well, it's really cool. Youfly to Moscow, they take you out to Kazakhstan, and then you get into a Russian Soyuz rocket which shoots you into a low earth orbit. Or just sits there on the launch pad because the Kazakhi mafia sold the rocket fuelon the black market.Bernadette: Are those Russian rockets safe?Howard: Well, I mean, safe as it can be when it was built by the good folks who brought you Chernobyl.Leonard: I'd like to propose a toast. The dream togo up into space is one we all share, and Howard's making that a reality. We're all very proud of you.All: Cheers.Sheldon: That was a lovely toast. Kudos.Leonard: Thank you.Sheldon: Simultaneously, a festival ofcloying clichés. You sicken me.Scene: Bernadette's car.Howard: You're really quiet. Is everything okay?Bernadette: Fine. Just a little tired.Howard: I hope not too tired, because I'm feeling particularly masculine rightnow. All systems go, if you catch my drift.Bernadette: I always catch your drift.Howard: All right, well, something's obviously bugging you. What is it?Bernadette: I just can't believe you signed up for the space programwithout even talking to me.Howard: Oh, I get it. You're worried about me. That is so sweet. You know, there's a saying we have at NASA. What makes the right stuff so right is that it always comes home.Bernadette:Just stop talking, Howard.Howard: This isn't the reaction I expected when I told you I was gonna be an astronaut.Bernadette: What did you think was going to happen?Howard: Honestly? s*x.Bernadette:Howard.Howard: Do you realize what a big deal this is? What an honour it is to be chosen to go into space?Bernadette: Yeah, I get it. I just wish you included me in the decision. We're supposed to be partners. We'resupposed to be a team.Howard: I'm sorry. You're right. Okay, let's try this again. Bernadette, an opportunity has come up that impacts both of us, and I'd like to discuss it.Bernadette: Okay.Howard: I've been offered achance to go up to the International Space Station for three weeks. What are your thoughts on that?Bernadette: Well, first of all, thank you for including me in the decision-making process.Howard: Hey, we're a team.So, what do you think?Bernadette: No.Howard: No?Bernadette: No.Howard: Well why not?Bernadette: Howard, my father was a police officer. We never knew from one night to the next if he was going to come homealive. It was horrible. And I don't want to live that way with you.Howard: Hey, my father abandoned me and my mother when I was 11. We never saw him again.Bernadette: Oh, boo-hoo, you're not going tospace!Scene: The apartment.Leonard: Pretty cool about Howard, huh?Sheldon: Don't talk to me as if nothing's happened between us. And yes, it sure is, buddy.Leonard: For God's sake, will you stop with theSchrodinger stuff.Sheldon: Would you prefer a simpler application of Heisenberg's uncertainty principle, in which I could either know where you are or whether I like you, but not both?Leonard: You never stop talking,do you?Amy: I don't understand. What differences does it make if Leonard goes to Wil Wheaton's party?Penny: Wil Wheaton is Sheldon's mortal enemy.Amy: Mortal enemy?Penny: Mm-hmm.Amy: Sheldon, I knowyou're a bit of a left-handed monkey wrench, but, you really have a mortal enemy?Sheldon: In fact, I have 61 of them. Would you like to see the list?Penny: Oh, say no, say no, say no, say no.Sheldon: You just got offthe list. Would you like back on it? This'll just take a moment. It's on a five and a quarter inch floppy.Amy: A floppy disk?Sheldon: Well, I started the list when I was nine.Amy: How did Wil Wheaton get on the list?All:Oh! Oh, God!Sheldon: As a child, I loved Wesley Crusher, Wil Wheaton's character on Star Trek. So, I drove for hours by bus to a Star Trek convention at which Wil Wheaton was scheduled to appear, so that I could getmy Wesley Crusher action figure signed. But he never showed, because apparently, it was cooler for him to be the lower-left corner on Hollywood Squares. Oh, damn! The floppy failed. Well, whoever was in charge ofquality control at the Verbatim Corporation in 1989, congratulations, you just made the list.[SCENE_BREAK]Scene: Howard's bedroom.Bernadette: Howard?Howard: Change your mind about s*x? I'm still mad, but I'lldo it.Bernadette: No, I've just been thinking. It doesn't matter if I'm afraid for your safety. I don't want to be the person who stands between you and your dreams.Howard: Really?Bernadette: Really. If going intospace means that much to you, I will never say another word about it.Howard: Thank you.Bernadette: I love you.Howard: I love you, too. So, s*x now?Bernadette: Okay. I just forgot to brush my teeth. I'll be rightback. (Exits)Mrs Wolowitz (off): Over my dead body my son goes into outer space!Bernadette: I'm ready.Scene: The cafeteria.Leonard: Wait, let me see if I got this right. You actually asked Bernadette to leave yourhouse in the middle of the night?Howard: What choice did I have? She went behind my back and turned my own mother against me.Raj: Wow. You're not only our first astronaut. You're also the first one of us to kick agirl out of bed. You're like a rock star.Howard: Little bit.Leonard: I hate to say it, but she did kind of betray you.Sheldon: Interesting. You see betrayal in others, but not yourself.Leonard: Going to Wheaton's party isnot betraying you.Sheldon: Oh, of course you would have to believe that. Evil always thinks it's doing right. Excuse me, Stormtrooper. These are the droids you're looking for.Leonard: I'm going to a party. I'm notturning R2-D2 and C-3PO over to the empire!Sheldon: Not yet.Raj: So, what's gonna happen next? Are you and Bernadette going to break up?Howard: I don't know. If we're going to get back together, she's going tohave to apologize and accept that I'm a grown man who can make his own decisions.Raj: Then she's going to have to convince your mother to let you go into space.Howard: Obviously.Scene: Penny'sapartment.Bernadette: I had no choice. I had to tell his mother. He can't go to space. He's like a baby bird. Do you know he once got an asthma attack from reading an old library book?Amy: You're kidding.Penny: No, Iwas there that day. Sheldon threw his back out handing him that book.Bernadette: I don't know what I'm going to do. I don't want to break up over this.Penny: Okay, why don't you just tell him you made amistake?Bernadette: Do you guys think it was a mistake? Am I the bad guy in this?Amy: It's not for us to judge. We're just here to provide comfort and support while you come to grips with what a despicable thingyou've done.Bernadette: Oh, God, you're right. I took our love and threw it under his bus-sized mother. I need to apologize.Penny: Well, that, that's good. I'm glad you came to that. But before you do, let me just askyou a big picture question.Bernadette: What?Penny: Are you a hundred percent positive you love and want to marry Howard Wolowitz?Bernadette: I do, with all my heart.Penny: Got it. Just had to check.Amy: He'sgreat.Scene: The apartment.Leonard: All right, Sheldon, we're going to Wil's. This is your last chance.Sheldon: No, Leonard, this is your last chance. One day, a historian is going to come to you and say, is it true youwere friends with Dr. Sheldon Cooper? And you're going to have to choke back a hot sob of regret and humiliation as you mumble, I was, but I chose to go to a party thrown by the one kid from Stand By Me that no oneremembers.Leonard: You want to drive?Raj: Sure.Leonard: Hey, Sheldon?Sheldon: Oh, good. You picked me, you picked me.Leonard: No, I just got a text from Stuart. Brent Spiner is at the party.Sheldon: BrentSpiner?Leonard: Yes.Sheldon: I don't care.Leonard: Really? Brent Spiner, Mr. Data himself. You love him.Sheldon: I did, but I think I've kind of outgrown Star Trek. You know, stock characters, ludicrous plots, beam meup. What a load of hooey.Leonard: I'm going. Live long and prosper, Sheldon.Sheldon: Yeah, even that. You look like a dork.Scene: Howard's bedroom.Mrs Wolowitz (off): Howard, Bernadette's here!Howard: Tell herI'm not home!Mrs Wolowitz (off): What kind of a schmuck play is that? She can hear you shouting!Bernadette: Can we talk?Howard: You can. I have nothing to say.Bernadette: All right. I just wanted to tell you I'msorry I said something to your mother.Howard: I was gonna tell her eventually, but you went behind my back.Bernadette: I know. I'm sorry. I got scared.Howard: If you're gonna love me, you're gonna have to love thewhole package, the tenderhearted poet and the crazy daredevil.Bernadette: I know.Howard: Well, don't say it if you're not gonna mean it, 'cause I'm not just gonna stop with the space station. Yeah, I want to go to theMoon, I want to go to Mars. I want to take a one-man sub to the lowest depths of the ocean.Bernadette: Really? You got seasick on Pirates of the Caribbean.Howard: Well, those big kids were rocking it.Bernadette: Ijust did what I did because I love you so much, and the thought of losing you is more than I can handle.Howard: Really?Bernadette: You're my soul mate. This is where you kiss me.Howard: Right, right.Mrs Wolowitz(off): Make up all you want! Your tuchus is not leaving this planet!Scene: Wil Wheaton's party.Raj: Hey, you know that beautiful actress who plays the Borg Queen in First Contact?Leonard: Yeah.Raj: Well, I just mether gynaecologist!Leonard: What are you doing here?Sheldon: Fighting for our friendship. As peculiar and annoying as you can be, you're still my little buddy. I'm not going to let that end here tonight. Now put downthat drink, let's meet Brent Spiner and go home.Wil: Hey, Sheldon, I'm so glad you made it. I found something I think you might like.Sheldon: What I'd like is for him to have a more depressing home. This is quitelovely.Wil: This is for you.Sheldon: An original mint-in-package Wesley Crusher action figure.Wil: I remembered your story about the time you went to a convention when you were a kid to get one signed, and I didn'tshow up.Wil: Look at what I wrote.Sheldon: To Sheldon, sorry this took so long. Your friend, Wil Wheaton.Wil: It's my last one. I want you to have it.Sheldon: Look, everyone. Wil Wheaton is my friend!Brent Spiner:Oh, wow. I haven't seen one of these in years. (Rips open action figure packaging) Remember how we used to make these things look like they were m*st*rb*t*ng?Sheldon: Brent Spiner, what have you done? Thatwas an original mint-in-package Wesley Crusher action figure signed by my close personal friend, Wil Wheaton.Brent: Sorry, Slim. I've got some Mr. Data dolls in the trunk of my car. You want me to sign one foryou?Sheldon: You've already signed something, Brent Spiner. Your name on my list. From this moment on, you are my mortal enemy.Wil: Don't worry. It doesn't take up a whole lot of your time.Sheldon: Come on,buddy. Let's not waste another second on this loser. Love your house.Leonard: Can we get autographed dolls?Brent: Sure. Twenty bucks.Leonard: Ten.Brent: Eighteen.Leonard: Twelve.Brent: Sixteen.Leonard: Two forthirty. And you come to my birthday party.Brent: Done."}
+{"doc_id":"doc_231","qid":"","text":"VERONICA VOICEOVER: Previously on Veronica Mars Lamb joins Keith and Veronica at a diner (from 102 \"Credit Where Credit's Due\").LAMB: If it isn't my predecessor and mentor. Are you doing anything special tomark the one year anniversary of Lilly Kane's murder?KEITH: Tell me again how you solved the crime. An anonymous tip. Did anybody show up to collect the reward? Do'ya find that strange?Cut to Mac locked out of hercar and Veronica opening it for her (from 108 \"Like a Virgin\").MAC: Damn it! Wow. That's really criminal of you.VERONICA: I'm Veronica, by the way.MAC: Mac.Cut to Veronica at her mother's safety deposit box,looking at the pictures of her lined up in a gun sight and her observing Wiedman from her car as he enters Kane Software (audio from 109 \"Drinking the Kool-Aid\", visuals from 105 \"You Think You Know Somebody\" and109 \"Drinking the Kool-Aid\").VERONICA VOICEOVER: I know who's responsible for scaring Mom away from Neptune. Clarence Wiedman. The man who took surveillance photos of me. So if Jake Kane is my biologicalfather, that information is going to be worth millions End previously. Open at the Mars apartment as Veronica comes out of her bedroom, into the kitchen area where Keith is standing.VERONICA: Good morning.Keith isintent on something he is reading and doesn't respond. Veronica looks over at himVERONICA: Or not.KEITH: You don't go to the oceanside bars that the college kids hang out at, do you?VERONICA: I prefer the bikerbar by the train station. I get more attention there.Keith isn't amused.VERONICA: I'm kidding. Why would you ask me that? Keith holds up a newspaper, the headline of which reads: E-String Strangler StrikesAgain.KEITH: Twenty year old co-ed washed up dead on the beach. Veronica comes closer to take the paper and read the story.VERONICA: Scary. Wait. Wasn't this your case? I thought they caught this guy in Oaklandtwo years ago.KEITH: Well, apparently they didn't. Everyone wanted to believe the Oakland strangler committed the Neptune crimes too. It never quite fit. Oh, but it was so important for the mayor and the Chamber ofCommerce to put that scare behind us.Veronica casts a concerned glance at her father. Cut to Neptune High. Veronica and Wallace are threading their way through the students in the outdoor lunch area, hot dogs inhand.WALLACE: People are really freaking out about this E-String Strangler. My mom is scared to drive home alone. I told her this time she can be happy she's not the guy's type.VERONICA: My dad barely let me out ofthe house this morning.Another student, Jackson Douglas, butts in just as they reach an empty table.JACKSON: I hear you do detective stuff for people.VERONICA: I do favours for friends.JACKSON: I canpay.VERONICA: Sit down, friend. What can I do for you?JACKSON: I was hoping that you could find some dirt on my parents.VERONICA: [In southern accent] Why Jackson Douglas, I do declare! [Normal voice] Youwant me to dig up dirt on your own parents.JACKSON: I need leverage. They're crazy strict. They grounded me for two months for smoking up in my room.WALLACE: Apparently you've never spent time in a blackwoman's house. Be glad you're still walking.JACKSON: Yeah, well, they act like they were always perfect. And every little thing I do wrong is catalogued so they can rub my nose in it later.VERONICA: Sure you canhandle the truth? The '70s and '80s were not pretty decades for people. We've all seen the pictures.JACKSON: I can handle it.VERONICA: Now as for the small matter of compensation.They are interrupted by the soundof a string quartet playing the Beatles \"Happy Birthday\". They turn to watch as Madison Sinclair arrives at a table of her 09er friends and gasps.MADISON: I love my parents. She hands flyers out at the table.MADISON:All right. Come to my party. No need to bring gifts. Madison gasps again as a waiter arrives with a large birthday cake and sets it down on the table.MADISON: Happy birthday to me. Madison, horribly coy and entitled,blows out her candles as Veronica and Jackson watch.VERONICA: The rite of fall. Madison Sinclair's birthday.JACKSON: Best party of the year and I can't go because I'm grounded.WALLACE: Her parents must loooveher.VERONICA: They really loved her, they would've gotten the real Beatles.Cut to a piece of paper upon which is written: Jackson's Parents' Jocelyn Aardwick Douglas Alan Douglas Veronica is working at her laptop inMars Investigations until interrupted.LAMB: [Offscreen] Veronica Mars. She looks up to see the sheriff standing before her in the company of a man in a suit. This man is the mayor of Neptune.LAMB: Is your daddy here,or is he busy peeking in people's windows?VERONICA: You stop dressing up like Little Bo Peep, he'll stop peeking.MAYOR: Your father?Veronica, vaguely petulant, rises from her desk and sticks her head into Keith'soffice.VERONICA: [Deliberately] Deputy Lamb is here. He's got the mayor with him.KEITH: Show him in.VERONICA: Yeah, sure. I'll just have Rod Serling wait out here on the couch.Veronica throws open the door toKeith's officeVERONICA: The detective will see you now.The mayor casts Veronica a disapproving look before entering Keith's office. Keith rises from his desk and shakes hands with the mayor. Veronica watches fromthe door.MAYOR: It's been a long time, Keith.KEITH: I know.MAYOR: Good to see ya. I wish it were under better circumstances.KEITH: Sit down.The men sit.VERONICA: Can I get anybody anything? Water? Coffee?[Directly herself to Lamb] A banana?LAMB: We're good.VERONICA: Okay. Just leaving.Veronica makes a big play of shutting the door, then stands by it, trying to eavesdrop.KEITH: So how can I help yougentlemen.MAYOR: You know the situationVeronica walks back to her desk but glances continually at the closed door. Finally, it opens and Keith comes out first, followed by the mayor and an unhappy SheriffLamb.MAYOR: Thank you Keith. Appreciate it.KEITH: See you tomorrow, Lamb.LAMB: Um-hmm. Can't wait.The men leave.VERONICA: What was that about? What's tomorrow?KEITH: The day I go back to work at thesheriff's department.Veronica's jaw drops. Opening credits. Resume at Mars Investigations as Veronica follows Keith into his office.VERONICA: You're going back to work at the sheriff's department?KEITH: It'stemporary. I'm just there to work on the E-String Strangler case.VERONICA: And you're teaming up with Lamb?KEITH: It's a bitter pill, I know but they're paying me my normal hourly.VERONICA: And Lamb agreed tothis? His head didn't explode.KEITH: The mayor didn't give him a choice. I'm the closest thing they have to an E-String Strangler authority and it's a big priority for the mayor. A killer preying on partying college girlstends to kill the Spring Break business.VERONICA: So this is all about tourist revenue. God bless America.KEITH: Well, whatever their motive, I'm glad to be involved.VERONICA: Hey, if you're working at the Sheriff'soffice, you'll have access to the Lilly Kane files. We can finally get our hands on that Crime Stoppers Hotline recording, find out who the anonymous source was, the one who fingered Abel Koontz.KEITH: Veronica, thatwon't be on my agenda.Veronica is disappointed. Cut to Veronica in her 'office' at Neptune High. She is consulting the file she is holding.VERONICA: Here are the highlights. Your dad was busted trying to buy an eightball from an undercover cop at an Eagles concert in '74, your mom had five speeding tickets and a collision on her record before she graduated high school. She hands the file to Jackson who is standing before her. He isimpressed.JACKSON: I don't care what they say about you, Veronica Mars. You rock.VERONICA: Yes, I do. I also take cash.Veronica holds out her hand. Cut to the outdoor lunch area. Another student, Jasmine,approaches Veronica.CRYSTAL: I hear you can dig up dirt on parents. Veronica smiles. Cut to the sheriff's department. Keith is standing in front of the incident board with pictures of the victims. He is presenting thecase to a group of deputies, including Sacks and one who will later be identified as Leo D'Amato, sitting and standing around a table that fills the room. Lamb is standing on the other side of the board.KEITH: The firsttwo victims, Katherine Wills, Andrea Sims were found in 2001 and 2002 respectively. They had certain shared characteristics. Both were undergrads on break, both were attractive social girls, both had-LAMB: Hardpartiers.KEITH: Both had high levels of alcohol in their blood and both were abducted on Friday nights.LAMB: Technically, early Saturday morning from midnight to closing time.KEITH: The bodies were found in the bay.A single nickel-plated guitar string tied around their necks. The latest victim, Amy Polk, was killed with the exact same MO.LEO: So he kills them with the guitar strings?KEITH: Naw, that's just-LAMB: It's his signature.His mark.Keith, who has done his best to ignore Lamb's constant interruptions and attempts at a pissing contest, takes a deep breath.KEITH: The girls are asphyxiated. The strangler thing came from the press, it's amisnomer. There's evidence that these women have been held for 48 hours in a contained space, basically suffocated.LAMB: The murders are reminiscent of the Hillside Strangler case.KEITH: Except the HillsideStrangler actually did strangle the girls.LAMB: Party girls, like ours. Picked up outside of bars. Killer leaves his mark.KEITH: Okay, except for the asphyxiation, the imprisonment, the body disposal, these cases have alot in common.LEO: What do we know about the killer?KEITH: He hates women, he craves attention, he's a luuser.Lamb sighs heavily.KEITH: The weekend killings suggest the guy has a traditional job.LAMB: Amy Polkwas found with wrist bands from local bars on her wrist and smudged ink on her palm that looked like it could be a phone number. Lab boys in LA are trying to decipher it.SACKS: Imagine the poor sucker waiting forthat phone call.Cut to Veronica, back in the Neptune High girls' room, giving another report.VERONICA: Your mom sued her parent for emancipation when she was sixteen and then moved to Hollywood. According tothe Internet Movie Database, she went on to play such roles as \"Trucker's girlfriend\", \"Screaming maid\" and \"Bi-curious room mate\". Veronica hands the file to Jasmine, who grins. Cut to Veronica making another reportto a different student.VERONICA: Your mother was married in 1985 for 36 days.JASMINE: Shut up.She grabs the file from Veronica as Mac exits one of the cubicles and glances over to see what is going on. Sheobserves through the mirror as she washes her hands.VERONICA: To a pro-skier she met on Spring Break. They drove to Vegas, did it drive-through style and she had it annulled.JASMINE: And she calls me boy crazy.You just made my year.Veronica smiles. Cut to Mars Investigations. Mac enters the outer office.MAC: Hey.VERONICA: Hi, Mac.MAC: Hope I'm not interrupting anything.VERONICA: Come on in.Mac sits down oppositeVeronica.VERONICA: It's a spiffy new Beetle you're driving these days.MAC: Yeah. Well, the purity test was probably my finest hour but that's nothing compared to what this could be. It's time to think global and actlocal.Mac opens her laptop to show Veronica a site she has designed. The home page reads: Get the Dirt.MAC: Okay, you're exposing parental secrets for fifty bucks a pop. We create this website, double the fee, wehave no overhead because I've already bought the domain name. With your sleuth prowess and my programming skills, I don't think it's an exaggeration to say that we would rule the entire known universe.As Mactalks, Veronica explores the site. The next page reads: Parent. There is then a page where a skeleton exits a closet. There is a form headed: Let's Start Digging!VERONICA: I can barely handle school and my cases as itis.MAC: Think about it. This isn't just a college fund. Potentially this is our retirement fund.VERONICA: I will definitely think about it.Mac closes the laptop and hesitates.MAC: There is just one more think, about my folksthat I was wondering about. You PIs have access to search engines that would take me weeks to hack into, so I mean I have cash.VERONICA: Gotcha. Keep your money. It's a professional courtesy.Veronica opens herown laptop.MAC: It's not that they're bad parents. They just...don't get me. They're nachos and NASCAR people and I'm more...VERONICA: Falafels and Fellini?MAC: Exactly.VERONICA: Your last name's Mackenzie,right?MAC: Um-hmm, Natalie and Sam, 9715 Colony Place.The results load and return a marriage database with her parents names, dates of birth (21 November 1955 for Samuel and 11 July 1958 for Natalie) andSocial Security Numbers.VERONICA: Mom is Natalie Franklin?MAC: Yep.VERONICA: Oh, you had a birthday a couple of days ago.MAC: Yeah, one more year until I can leave home.VERONICA: Okay.On Veronica's laptop,a list appears of various items. Under the heading: Division of Motor Vehicles 01-13-1973 - $250 Fine (Paid) - Speeding 55mph in 25mph Zone 10-24-1985 - $155 Fine (Paid) - Failure to Observe Traffic Signal04-11-1992 - $120 Fine (Paid) - Illegal Passing Manoeuvre Under the heading: Internal Revenue Service 06-22-1989 Audit - Insufficient Data for Recourse Under the heading: Subscriptions 11-21-2002 - Outdoors, Inc.- 96-week subscription 09-10-2003 - Adventure Camper - 2-year subscription 10-27-2003 - NASCAR the Magazine - Renewed through 10-27-2010 Natalie's subscriptions are: 05-01-2001 - Home & Garden - Renewedthrough 05-01-2006 01-01-2001 - National Geographic - 3-year subscriptionVERONICA: Sam's had a few tickets, tax audit, nothing strangeVeronica scrolls down to the last entry under the heading: External Income05-12-1992 - Neptune Memorial Hospital - $1 million awarded in lawsuit.VERONICA: huh, except that.MAC: What?VERONICA: According to this, they won a million dollar lawsuit against Neptune Memorial Hospital in'92.MAC: No way. That's got to be a mistake.VERONICA: Hello? Sleuth prowess.MAC: Come on, they hate lawyers and they never even go near the hospital.VERONICA: You want me to look into it?MAC: Yeah, I do.Cutto Veronica using the microfiche at a library.VERONICA VOICEOVER: Neptune isn't short on millionaires but I figure a judgement that big against the local hospital might have made the papers. It's beginning to look likeI'm wrong.She whizzes past a headline then backs up to it. The headline is: Hospital Takes Hit on Baby-Swap Case. Judge order hospital to pay $1 million in damages to each family. The story is written by thenewspaper's staff writer, Charles Martin and has the following passages: \"After five years of bitter legal battle ensnaring the lives of two Neptune families appointed in our state's legal system for allowing this to proceedas far as my court,' Judge Pockett remarked. The court verdict also contained specific lies to retain custody,' Sarah Epstein, the Plaintiff' lawyer, explained. 'Too much upheaval would have\"VERONICA VOICEOVER: Holdthe phone! I was expecting something like \"Woman Accidentally Receives Pig Heart\" but no, I have to find out the one thing that can completely wreck Mac's life.Veronica focuses on a particular passage: \"the children'sprivacy. Also, both families have agreed to keep their non-biological children. Neptune Memorial Hospital spokes-\"VERONICA VOICEOVER: How do you live a normal life once you find out you were switched at birth.Cutto Lamb and Keith entering a guitar store. The sound of a session booms out.KEITH: [Shouts] Hello Cleveland. Lamb looks at him as if he has gone mad.KEITH: [By way of explanation] \"Spinal Tap\".LAMB: What?KEITH:The movie \"Spinal Tap\". You've never seen \"Spinal Tap\"?LAMB: No.KEITH: That explains a lot.They head for the counter behind which is a room from which the noise is emanating as three guys play.LAMB: Is theresomeone that actually works here? One of the guys playing, who is called Gabe, turns and shouts at them above the noise.GABE: Dawg, look like you need help. Keith nods, smiling. Lamb is bored and impatient.KEITH:He's waiting for you to throw your panties. Gabe comes to the counter, still playing.LAMB: Can we lose the noise?GABE: Noise! [Dodgy Britpunk accent] All I hear are sound waves woven into melodic poetry.Gabe givesa shout and carries on playing. Keith leans forward and puts his hand on the guitar's string. Gabe is forced to stop.KEITH: Hey! We can do this here or down at the sheriff's department. Maintaining his open mouthedrocker style, Gabe walks back to the entrance to the room behind and slides the glass door shut. The noise is immediately and effectively muted. Gabe smiles and goes dorky.GABE: So what's up? You lookin' for a bandto play the policeman's ball? Keith holds up an evidence envelope with a guitar string enclosed.KEITH: We're looking for a murderer. Found this guitar string tied around the neck of his last victim. Is there anythingspecial about it? Gabe takes and examines it.GABE: This exact string? This is a triple nickel antioxidant special order string we get for just one customer. A guy we call Devil Dave.LAMB: [Excited] Do you know where wecan find this Devil Dave?GABE: [Calls out] Devil Daaaave?DAVE: Huh?A nerdy look guy strumming an acoustic guitar in the shop looks up.GABE: Did you kill anyone this week?DAVE: Uh-uh.KEITH: Your basic guitarstring?Gabe laughs manically.GABE: Same as any other string. Betcha the criminals in town are shakin' in their boots knowin' you're on the case. Mental note: put in a security system.KEITH: Right.Keith and Lamb turnto go but Gabe wants to bait them and hooks Lamb back.GABE: So ya, ya think the killer's a guitar player? That is brilliant. I think guitar players are a little too busy nailin' women to strangle 'em. Ooooww!LAMB: Eventhe wannabes and losers living in Neptune who don't realize if they haven't made it by the time they turn thirty it's because they're not going to? They're too busy?Gabe adopts an offended look. Lamb glances at a fullscale cartoon of a guitar player behind Gabe.LAMB: Nice art work. Yours? Gabe steps back and strikes the pose of the subject of the cartoon.GABE: Guitar players, the heroes of our modern age.LAMB: Strappin' on aguitar. Does it get rid of feelings of inadequacy?GABE: Does strappin' on a gun?Lamb winks in an \"I've got you number\" sort of way and turns to go. Cut to Veronica, arriving at the door of a house, looking concerned.The door has a Christmas wreath on it. Mac opens the door.MAC: Hey.VERONICA: Got a minute?Mac gestures for her to enter. In the lounge is a huge Christmas tree.MAC: Ho, ho, ho. There are more, and garish,decorations as she leads Veronica to a short hallway. A ball misses her. She looks up to see her little brother, gun in hand. He giggles and runs back into his room, slamming the door behind him.MAC: [Shouts afterhim] Ryan, open that door and you'll know pain like you've never known in your pathetic little life. Mac gives Veronica an apologetic grin then opens the door to her room. It is covered with art posters, looking more likea gallery. She has books everywhere.MAC: Enjoy the peace. Lasts about seven minutes tops. Veronica is seriously impressed with the room.VERONICA: Whoa. Who's your curator?MAC: You like it? It's my own littlecave. Whenever I run out of space, my dad just builds me more shelves.There's a knock on the door immediately followed by Mac's mother, Natalie, bringing in a tray.NATALIE: Knock, knock. You must be Veronica. Iwasn't sure if you were a normal eater or one of those freakball vegans, like Cindy.VERONICA: Uh, more normal than freakball, thanks.Natalie smiles and wants to stay and chat.MAC: Okay, thanks Mom.NATALIE:Okay.Natalie gets it and goes, leaving the girls alone.VERONICA: Cindy?MAC: It won out over Barbie. So what did you find out? Has to be pretty big for you to come deliver it in person,VERONICA: [Sighsheavily]UmMAC: Suspense effectively built. Hit me.VERONICA VOICEOVER: Dad always says, this is the job. Telling people stuff they might not want to know or might be better off not knowing.Veronica slowly pulls upa chair and sits in front of Mac, who is now sitting on her bed.VERONICA: It is big, like, life-altering big, so you should really think about if you want to hear it or if you'd rather just forget it and go on with your life. Andmay I suggest option B.MAC: I'm adopted, aren't I? Go ahead and tell me, it would explain a lot.VERONICA: [Slowly] Well, yes and no, um, the Mackenzies aren't your biological parents.MAC: So what does thatmean.VERONICA: [Sighs again] You were sent home from the hospital with the wrong family.MAC: Oh my god.VERONICA: And there's more.MAC: More than that?VERONICA: Another family was awarded a milliondollars at the same time.MAC: Okay.VERONICA: Um, another baby girl, born the day after you were and your biological parents took her home.MAC: Another girl, born a day after me. [Comprehension dawns] I was"}
+{"doc_id":"doc_232","qid":"","text":"[Scene: Capeside High, classroom. Dawson and Joey are in English class and the teacher is discussing Shakespeare.]Teacher: The Two Gentlemen of Verona. Not one of the bard's best, but an interesting apprenticepiece nonetheless. In the high-spirited Silvia, we see the first version of a character we're later going to come to know as Juliet. In the 2 male characters Proteus and Valentine\u0000[Drue plays with Joey's hair]Joey: Nexttime, I draw blood.Drue: It's your own fault. I'm new here, and you're not being very nice to me.Joey: I'm not trying to be.Drue: But then again you don't strike me as very popular, so you can turn around now. You'reof no use to me.Teacher: I hate to interrupt, Miss Potter, but maybe you could tell us what the two gentlemen of Verona is all about.Joey: Uh, well, it's a\u0000Teacher: could you raise the volume a notch? I don't speakmumble.Joey: It's about a girl who comes between 2 guys.Teacher: Right you are. 2 guys, a girl, and no pizza place. [no one laughs]Uh, how did the play make you feel, Miss Potter?Joey: I didn't think it was veryrealistic. I mean, Valentine is this cardboard-cutout hero, and Proteus is unfairly painted as a villain. I just think these scenarios are actually a lot more complicated.Dawson: [Chuckles]Teacher: Mr. Leery, do I sense anopposing viewpoint in your little chortle?Dawson: No, no. It was nothing.Teacher: Please, please. Elaborate.Dawson: Well, um, I don't think it's a story about a girl coming between 2 guys. I think it's about thefriendship between the 2 guys.Joey: Which fails when the girl comes between them.Dawson: It fails because one friend betrays the other. I mean, Proteus is a lousy friend.Joey: Valentine isn't such a great guy. I mean,he's so fixated on his honor that he totally loses sight of everything else around him.Dawson: He was willing to make the ultimate sacrifice. He gave up the girl he loved. You think that's a bad thing?Joey: I think nothingabout this topic is black and white, Dawson.[Drue raises his hands]Teacher: Drue.Drue: Gene and roger here have a fantastic energy, but they're sort of all over the place. Now I for one would love to see them engagein a prepared debate about the merits of the play.Joey: Would you mind your own business?Teacher: I think that is a splendid idea. I've never generated so much heat out of what is arguably Shakespeare's worstcomedy. And you know what would make it even better? If you teamed up with them, Drue, threw your own viewpoint into the mix. I look forward to a lively debate from the 3 of you... Tomorrow.[OpeningCredits][Scene: Inside Gram's kitchen. Jen comes out of her bedroom and walks into the kitchen sher Grams is there holding an umbrella.]Grams: Jen, look at that. It's almost time for me to be picking you up atschool.Jen: I'm not even an hour late yet. That doesn't break my record.Grams: Skipping school is no way for a young lady to handle her problems.Jen: I had a lot of any femme music to weed through this morning,and I happen to resent the interruption.Grams: Those songs you listen to only exacerbate your sadness.Jen: Well, then you're missing the point 'cause I'm not sad. No, I've moved on from sad. I am currently in thethick of pissed off.Grams: Good! Then you'll recognize my attitude if you pull this routine one more time.Jen: What happened to the kinder, gentler grams? I miss her.Grams: Oh, Jennifer, I'm not so old that I don'tremember how important seeing your fall term is.Jen: Old enough to call it fall term.Grams: Much of what your next 4 years will be decided now, Jennifer, and I will not let a momentary heartache squander anyopportunities you may have. I'm hereby putting a 48 hour cap on your melancholy.Jen: You can't cap my melancholy.Grams: Watch me. Now here. Stay dry.Jen: Have you looked outside today? 'Cause it happens to bebeautiful.Grams: Today is a red-letter day in the farmer's almanac. Rain is definitely predicted.[Scene: Capeside High Hallway. Dawson and Joey are walking out of class and stop by her locker.]Dawson: So, leery manoror the B&B? Where you want to get together?Joey: Dawson, are you ok with this?Dawson: Well, rather than debate the awkwardness of the situation, I'd much prefer we just got it over with.Joey: Ok. Well, um, I haveto work. So you're going to have to come down to the yacht club.Dawson: Ok. Are you going to be able to, uh, focus down there?Joey: Ha. Yeah. The place is a tomb on Thursday nights. Well, except for one old geezerwho always shows up for the prime rib special.Dawson: All right. Sounds cool. I'll see you later.[Pacey walks towards them with Jen and upon seeinf him, dawson leaves]Pacey: Someone couldn't have high-tailed it outof here fast enough.Joey: And you are in such a race to start conversation with him?Jen: Mmm. She's right, Pacey. One day one of you is going to have to put an end to this great era of silence.Pacey: But not me andnot today. Today I am celebrating.Joey: Celebrating?Jen: Pacey done good.Pacey: Oh, Pacey done very good. Pacey got his first \"A.\"Joey: Hmm? Good omen, yeah?Pacey: And I couldn't have done it without you.Joey:I was but a mere study aide.Pacey: Sure you were. So now, you're going to come sailing with me this afternoon, because this afternoon is the absolute last beautiful day of the season, and you have been conscripted tobe my deck hand.Joey: I'd love to, pace, but I have a project to do.Pacey: Put it off for one day?Joey: It's due tomorrow. And...Pacey: Am I missing something here?Joey: It's with Dawson. It wasn't planned. It wasassigned.Pacey: Well, isn't that cute?Jen: I'll go with you if you want. I mean, maybe the open horizon will serve to lift my spirits a bit. Huh?Pacey: Really?Jen: Yeah.Joey: There you go. Willing victim.Jen: Oh, 2 things.First of all, I absolutely refuse to make out with you, and second of all, there's a distinct possibility that I'll puke.Joey: What do you know? Those are my 2 things.[Scene: Andie's Bedroom. Andie is there fixing her hairwhen Jack walks by her door.]Andie: Hey, wait! Jack, Jack! Come here.Jack: Ok.Andie: So. Up like this? Or down?Jack: Don't ask me hair questions.Andie: Jack! Eh, you know what? Down. It's more relaxed. You know,I've got that interview today at the yacht club, so...Jack: I didn't know you were looking for a job.Andie: Duh, Jack! College interviews.Jack: Oh, yeah. Right. Yeah. It's that time.Andie: For those of us who started theapplication process, yes.Jack: This one for Harvard?Andie: No. Uh, you know, that guy Drue? Well, his mom, Miss Valentine, she's one of the alums of the backup schools I'm looking at. So, uh, you know it's alwayscrucial to make a good first impression.[Andie almost falls over.]Jack: Whoa! Andie! You ok?Andie: Yeah, yeah. I just got a little dizzy. That's all.Jack: Here. Why--here. Sit down.Andie: Yeah.Jack: It's that new drugyou started, isn't it?Andie: Yeah, Nardil. Yeah, it's actually working pretty well. Better than anything else I've tried.Jack: I know this is preventative, but are you sure you're ok with it?Andie: It is a little scary, but it'sjust like dr. Newman said-- \"in times of high stress, it can't hurt to have an extra line of defense.\"Jack: You can always try my tactic. Just forget altogether that you're a senior.Andie: [Laughs] yeah, right. Only, I wasn'tborn with those genes. Ok. How do I look?Jack: Like you should be interviewing her.[Scene: Dawson's living room. Mitch and Gale come downstairs and sit on the couch, wrapped in blankets and carrying tissues.Dawson walks in to the room behind them.]Dawson: Oh, so you're sick now, too?Mitch: Uh, I got the sniffly part.Gale: Oh, I still got that nauseous part.Dawson: Well, you know, maybe if you two kept your tongues outof each other's throats for 2 seconds, you'd stop passing this thing back and forth.Gale: Take a good look, honey. This is marriage.Dawson: All right. I've got to go to the yacht club. I got some homework to do.Mitch:Mmm. A sociology report on the wealthy?Dawson: No. I've got a project to do with Joey. Wasn't our idea. We got assigned.Mitch: Are you ok with that?Dawson: Why does everybody treat me like my head is going tospontaneously explode every time her name is mentioned?Gale: Because it did.Dawson: 3 months ago. Which in teenager time is like a decade. Joey's got her life and I've got mine.Gale: And Pacey?Dawson: I seeyou've joined dad in your great Pacey watch 2000. Sorry I don't have any updates. Oh, except for the fact that he seems to hate me even more since I let Joey know about his grade situation. Thanks for the tip,pop.Mitch: You did the right thing.Dawson: Well, I'm all out of right things as far as Pacey's concerned. You guys want me to get you anything before I go?Mitch: No. On your way out, would you shut the windows backthere? The wind's starting up.Dawson: Will do. All right.[Scene: On the deck of the True Love. Pacey and Jen are sailing around. Enjoying the beautiful weather.]Jen: It'll be hard as hell to turn this boat around andcome back to reality.Pacey: That's an understatement.Jen: Oh, you can just forget about the world out here.Pacey: Yeah. You could almost forget that your girlfriend's spending the entire afternoon with herex-soulmate.Jen: Pacey, you know, I am probably the last person on earth that you should be out here with.Pacey: Oh, that's not true. Ever seen Dougie in a Speedo?Jen: I mean, I love you and Joey, but if you'rehaving doubts whether a teenage couple can sustain a relationship, I'm probably not the best person to talk to.Pacey: Lean over!Jen: Oh, what's that?Pacey: That is a gift from the gods.Jen: Did you check theweather?Pacey: Yeah, of course. I checked it this morning, and it said that the storm system is headed up the coast, but it's going to pass us right overhead.[Scene: The Capeside Yacht Club. Dawson, Joey and Drue aresitting around a table talking about the debate they have to give.][Cell phone rings]Drue: Hello. Hey, gorgeous.Dawson: Unbelievable.Joey: Unacceptable. Hello. Gorgeous is it? Hi. Yes. This is Drue's doctor, and he'sgoing to have to get back to you when the syphilis clears up, ok? Bye-bye.Drue: That was rude.Joey: Oh, ruder than taking cell phone calls when we're supposed to be working on a project that you got us into? I don'tthink so.Drue: Excuse a brother for picking up on the intense, dare I say, sexual vibe between the two of you. Must be the Star Wars thing.Dawson: Star Wars Thing?Drue: Star wars thing it's classic. You are obviouslyLuke to this Pacey guy's Hans Solo. See, you're the stuff of pre-teen daydreams. Cute. Smart. Non-threatening. Which is great and all, but not for princess Joey here who's clearly smack dab in the middle of herbad-boy phase.Dawson: And where do you fit into this whole scenario, Drue?Joey: Jabba the Hutt, I think.[Mr. Brooks comes into the room.]Mr. Brooks: Hmm. Hmm. Ahem.Joey: Hello, Mr. Brooks.Mr. Brooks: My usualtable please.Joey: Mmm. Sorry, it's taken.Mr. Brooks: If the opening act is over, I'd like to sit down now.Joey: So will you be having the prime rib special this evening?Mr. Brooks: Yes, and I'll have it quick. I want to getmy boat home before the storm.Joey: Storm?Mr. Brooks: A weather phenomenon where the skies darken and rain falls.Joey: Um, I'll be back with your water.[Joey goes to get his water and finds Drue at the barwatching TV.]TV actors: Sorry...Quick. No, no, no. It's my fault. I didn't\u0000Joey: Mr. Brooks said that there's a storm coming.Drue: Mr. Brooks lives alone on the edge of town with a 3-legged dog named boo.Joey: Well,have you seen any storm reports?Drue: Nope. [Gun shots on TV] you'd think those things would impede her ability to use an Uzi.Joey: Just let me know if you hear anything.[Cell phone rings]Drue: Hello. Hey,gorgeous. Nah. Don't worry about it. She's crazy. What's going on?[A message about the storm goes by the bottom of the TV][Scene: The Capeside Yacht Club office. Andie is there getting her interview from Mrs.Valentine.]Mrs. Valentine: Well, Andrea, your academic record is certainly outstanding.Andie: Thank you. Oh, and Andie's fine.Mrs. Valentine: Oh, a nickname. How charming. Any idea what you'd like to study inschool?Andie: Well, everything. At least at first. History. Philosophy. English. You can never underestimate the value of a well-rounded liberal arts education.Mrs. Valentine: If you could have dinner with one person,living or dead, whom would you choose?Andie: Eleanor Roosevelt.Mrs. Valentine: Ohh. Most students say Jesus. Well, let's see. You worked on the yearbook, the newspaper, you directed a play.Andie: Yes. Barefoot inthe park by Neil Simon. It was completely a pre-feminist, but it held up surprisingly well. We took sort of a\u0000Mrs. Valentine: I see only one red flag here. At the end of your sophomore year you took a medical leave ofabsence?Andie: Yes, I did. Um, but I was able to make up my finals, and none of my grades suffered.Mrs. Valentine: Nothing serious, I hope. Your illness?Andie: I was having some emotional problems.Mrs. Valentine:Emotional problems? So this was a mental illness? Would you like some tea, dear?Andie: Sure.[Scene: The Capeside Yacht Club. Joey and Dawson are sitting at the table trying to go over the debate items.]Joey: I justthink that if Valentine and Proteus came to some mutual understanding... Oh, god. What?Dawson: Joey, we are trying so hard not to talk about Pacey, he's become the subtext of this whole damn play. What do you saywe just get it out in the open once and for all?Joey: Ok. Let's.Dawson: Pacey and I are not going to be friends again. End of story. I know everybody seems to think that it's time we made up, but that's not going tohappen.Joey: Well, since you did bring this up, why not?Dawson: What's done is done.Joey: After 10 years of friendship, what's done is done?Dawson: No, after the greatest betrayal of my life, what's done isdone.Joey: Dawson, I was a part of that betrayal.Dawson: Yes, and you apologized for it. You really showed some sort of remorse for what happened. Pacey could care less. Which is fine. It's just not the kind of personI'm going to race out and be friends with again. And it's time for everyone to just accept that reality and move on with their lives, starting with you and me talking about this play without referencing him. [Thunder] Canwe do that?Joey: Yeah, ok.Dawson: What?Joey: I'll be right back.[Joey goes to the bar, where Drue is still sitting. She grabs the remote and starts changing channels.]Drue: Oh, anxious much?Joey: You're supposed tobe watching this.Drue: Whoops, I forgot.[Mr. Brooks comes up to them.]Mr. Brooks: Ahem. I want my check. Excuse me.Joey: Just a second. [Sighs]Mr. Brooks: I'm leaving for home this instant, and I want mycheck.Joey: Drue, can you get him his check?Drue: Notice my reclining state. That would imply I'm not working.Joey: Would you get him his check?!Weatherman: We have not seen a storm like this in over 30 years.We'll have another weather update at the top of the hour.[Scene: The deck of the True Love. Jen and Pacey are starting to get a little worried about the weather.]Pacey: Man, this came up out of nowhere!Jen: I thoughtyou said the storm was heading out to sea!Pacey: Well, it did.Jen: It did, but it came back!Pacey: Well, if someone hadn't used all the batteries on the portable marine band, we could have got the storm report!Jen:Yeah, well, if somebody owned something other than Zeppelin tapes 1 through 4, we wouldn't have needed the radio.Pacey: Hold this. Let me grab the jib sheet.Jen: Got it.Pacey: Let me set the course, I'll get on thevhf, and then we'll get the weather report.Jen: You'd never be first to admit it.Pacey: What? Admit what?Jen: You'd never be first to admit it's getting scary!Pacey: This is nothing. I've seen this before.Jen: Where, inthe perfect storm?Pacey: Nah. I saw something like this off of Nags Head this summer. We'll just get the weather report, find out where the worst of it is, and go around.[A wave washes over board and some water goesinto the boat shorting out the radio.]Jen: Ok. Oh! Aah!Pacey: Did that happen in Nags Head?[Scene: The Capeside Yacht Club office. Andie is still interviewing for the school with Mrs. Valentine.]Andie: I guess I wouldsay that my greatest strength is my tenacity. Which is probably my greatest weakness, too. My brother jack is always telling me I don't know when to quit.Mrs. Valentine: I see. But what about your illness? Isn't that aweakness?Andie: No. Actually I consider it a strength. It taught me the importance of being able to ask for help when something's too tough to handle on your own. We seem to keep coming back to this topic, don'twe?Mrs. Valentine: Is that a problem?Andie: No. Not at all. In fact, most teenagers go through similar experiences. It's nothing to be ashamed of. It's just that I prefer to concentrate on the present and the future. It'sjust one part of my life. It does not define me as a person.Mrs. Valentine: Well, although I'm sure you consider yourself recovered, perhaps someone with your background would do better in a less competitiveenvironment.Andie: Less competitive?Mrs. Valentine: Perhaps a state school.Andie: So, you want to disregard all of my accomplishments and achievements because I had a problem in the past?Mrs. Valentine: Andie,try and understand the position you've put me in. I've been given the task of judging your ability to handle the ardent pressures of one of the most difficult collegiate environments in the country. My name is on theline.Andie: You know what? You're right. My background does have a bearing on my ability to handle pressure. I had a problem, I recognized that, sought treatment, and recovered. And the fact that I had the courageto face my problems and get help I think only makes me better prepared to face the pressures of college than most of my peers.[Thunder]Mrs. Valentine: [clears throat] I wish you all the best. And now, if you'll excuseme.[Scene: The bar at the Capeside Yacht Club. Joey, Drue and Mr. Brooks are watching the TV.]Weatherman: Folks, this means severe beach erosion, 20 to 30-foot seas, and winds that'll certainly exceed hurricaneforce in certain areas.Mr. Brooks: Did he say hurricane force?Weatherman: With gusts over 100 miles per hour...Joey: He said exceed hurricane force.Mr. Brooks: Damn it! I'll never get home now.[Dawson walks up tothem carrying his books.]Dawson: Joey, I'm outta here, if you actually want to work later, let me know.Joey: Dawson? They're out there.Dawson: Who's out there?Joey: Pacey and Jen are out on the boat.Dawson: Allright, no wonder you've been so out of it. Why didn't you say something like an hour ago?Joey: Well, it wasn't this bad an hour ago.[Jack come into the bar from outside.]Jack: Hey, guys, have you seen Andie? I'msupposed to pick her up here.Andie: Hey, jack, I'm here.Jack: Look, I came early. It's really getting ugly out there.Andie: Not half as ugly as it got back there.[Bruce enters the bar are from outside]Bruce: Whew. Drue.Yeah? Where's your mother?Mrs. Valentine: What's the matter, Bruce?Bruce: All the boats from the club are secure at the docks except for 3, and those 3 have radioed in their position, and they'll need assistance intothe harbor.Joey: Is one of those boats the True Love?Andie: The True Love is out there?Bruce: There's no slip registered under that name.Jack: Whoa, whoa, Pacey's out there?Joey: Pacey and Jen. Look, Pacey doesn'thave any registration. He always just uses whatever slip is vacant.Bruce: Well, I haven't heard anything of the True Love on any of the radio bands.Joey: Look, I know that it's out there. It is definitely outthere.[Window shatters][SCENE_BREAK][Scene: The deck of the True Love. Pacey is looking at the pump when Jen comes inside to join him.]Pacey: crap! Well, the radios are definitely blown, but I think I got this bilgepump working. Aren't you supposed to be on watch?Jen: There's nothing to watch out there but water.Pacey: Oh, man!Jen: Damn it, Pacey! The boat's going to capsize!Pacey: She's not going to capsize, all right?Jen:Really? Then why am I flat on my ass?!Pacey: She'll come over. All right? It's what she does. There you go. Just put that on, all right?Jen: All right.Pacey: I'm gonna have to reef the main.Jen: English, please?Pacey:We're gonna have to trim up the mainsail so that we don't get knocked over again.Jen: Isn't that just gonna slow us down?Pacey: No, we're not going back into port. It's too dangerous. We might hit a dock or anotherboat.Jen: Wait, so, what--we're just gonna hang out here and catch some rays?Pacey: No, we'll go to this little cove I know and ride out the storm. It'll give us some protection.Jen: What cove?Pacey: I don't know thename of it, but I know where it is.[They climb out and he begins taking down the sail.]Jen: Well, how far away is it?Pacey: Not that far. We'll ride out the storm there. It's the safest thing to do.Jen: Pacey, what happensif this gets worse?Pacey: It's not gonna get any worse.Jen: Pacey!Pacey: If it gets any worse, they'll send someone for us.Jen: We have no radio, and we're heading for a cove that you don't know the name of. Who the"}
+{"doc_id":"doc_233","qid":"","text":"Scott: Damn it.Scott: Oh, crap.Scott: No. No, stop.Derek: You're dead.Scott: What - what the hell was that?Derek: Said I was gonna teach you. I didn't say when.Scott: You scared the crap out of me.Derek: Notyet.Scott: Okay, but I was fast, right?Derek: Not fast enough.Scott: But - but the car alarm thing, that was smart, right?Derek: Till your phone rang.Scott: Yeah, but that was - I mean - Would you just stop? Please?What happened the other night, Stiles' dad getting hurt, that was my fault. I should have been there to do something. I need you to teach me how to control this.Derek: Look, I am what I am because of birth. You werebitten. Teaching someone who was bitten takes time. I don't even know if I can teach you.Scott: What do I have to do?Derek: You have to get rid of distractions. You see this? This is why I caught you. You want me toteach you? Get rid of her.Scott: What, just because of her family? Wait - wait - whoa - whoa!Derek: You getting angry? That's your first lesson. You want to learn how to control this, how to shift, you do it throughanger, by tapping into a primal animal rage, and you can't do that with her around.Scott: I can get angry.Derek: Not angry enough. This is the only way that I can teach you. Now, can you stay away from her? At leastuntil after the full moon?Scott: If that's what it takes.Derek: Do you want to live? Do you want to protect your friends? Yes or no?Scott: Yes. If you can teach me, I can stay away from her.Allison: Take it off.Scott:You're okay with that?Allison: Are you okay with it?Scott: You're asking me if I'm okay with taking off your clothes?Allison: Stupid question.Scott: Like, world record stupid.Allison: You first.Allison: Just a second.Kate:Allison.Allison: Uh, coming. Coming. Okay, uh.Kate: Hey.Allison: Hey.Kate: What's up?Allison: Uh, nothing. Just doing homework, sending some emails.Kate: Emailing the boyfriend?Allison: No. I'm emailing peta abouthow my wing nut father gunned down an innocent mountain lion in the school parking lot.Kate: And that wouldn't have anything to do with the fact that you're grounded and you can't see Scott?Allison: I'm not gonnabe one of those whining teenagers who looks at her father and says, \"I hate you. I wish you were dead.\"Kate: But -Allison: But - I hate him and I wish he was dead.Kate: See, now you're starting to sound like a normal,angry teenager. What are you working on? Can I help?Allison: Uh, a history project, and I just want to be left alone, actually.Kate: Come on. What kind of history project?Allison: I have to come up with a report thathas some relevance to my own family history.Kate: Specific to your family?Allison: Why? Do you have any ideas?Kate: Type this in: \"La Bete du Gevaudan.\"Allison: The beast of Gevaudan. What is this?Kate: It's an oldFrench legend that, believe it or not, has something to do with your family.Allison: \"In 1766 in a province of Lozere, la Bete killed over a hundred people.\"Kate: Mysterious animal attacks, just like a certain town calledbeacon hills.Allison: So what was it? The animal?Kate: Nobody knows for sure, but I can tell you one thing. It definitely wasn't a mountain lion. What's it look like to you?Allison: It looks like - A wolf.Scott: Derek? I - Iknow I said I would stay away, but you broke my phone. I had to at least tell her why I wasn't answering. Derek?Scott: You seriously need to stop doing that.Derek: So what happened? Did he talk to you?Scott: Yeah.We had a nice conversation about the weather. No, he didn't talk.Derek: Well, did you get anything off of him? An impression.Scott: What do you mean?Derek: Remember your other senses are heightened.Communication doesn't have to be spoken. What kind of feeling did you get from him?Scott: Anger.Derek: Focused on you?Scott: No, not - not me. But it was definitely anger. I could feel it. Especially when he drew thespiral.Derek: Wait, the what? What'd you just say?Scott: He drew this spiral on the window of my car, in the condensation, you know? What? You have this look like you know what it means.Derek: No, it's - it'snothing.Scott: Wait - wait - wait - wait a second. You can't do that. You can't ask me to trust you and then just keep things to yourself.Derek: Doesn't mean anything.Scott: You buried your sister under a spiral. Whatdoes it mean?Derek: You don't wanna know.Scott: Stay away from Allison. Stay away from Allison. Stay away from Allison. Stay away from Allison. Must stay away from Allison. Just stay away from Allison. Stay awayfrom Jackson. Just stay away from Jackson.Lydia: Hey, Scott.Scott: Oh, come on!Scott: Still not talking to me? Okay, can you at least tell me if your dad's okay? It's just a bruise, right? Some soft tissue damage?Nothin' that big - You know I feel really bad about it, right? Okay. What if I told you that I'm trying to figure this whole thing out, and - That I went to Derek for help?Stiles: If I was talking to you, I'd say that you're anidiot for trusting him. But obviously I'm not talking to you.Stiles: What did he say?Stiles: Wh - he wants you to tap into your animal side and get angry?Scott: Yeah.Stiles: All right, well, correct me if I'm wrong, butevery time you do that, you try to kill someone, and that someone's usually me.Scott: I know. That's what he means when he says he doesn't know if he can teach me. I have to be able to control it.Stiles: Well, how'she gonna teach you to do that?Scott: I don't know. I don't think he does either.Stiles: Okay. When are you seeing him again?Scott: He told me not to talk about it. Just act normal and get through the day.Stiles:When?Scott: He's picking me up at the animal clinic after work.Stiles: After work. All right, well, that gives me to the end of the school day then.Scott: To do what?Stiles: To teach you myself.Lydia: The what ofwho?Allison: The beast of Gevaudan. Listen. \"A quadruped wolf - like monster, prowling the Auvergne and south Dordogne areas of France during the year 1764 to 1767. La Bete killed over a hundred people, becomingso infamous that the King Louie the 15th sent one of his best hunters to try and kill it.\"Lydia: Boring.Allison: \"Even the church eventually declared the monster a messenger of Satan.\"Lydia: Still boring.Allison:\"Cryptozoologists believe it may have been a subspecies of hoofed predator, possibly a mesonychid.\"Lydia: \"Slipping into a coma\" bored.Allison: \"While others believe it was a powerful sorcerer who could shape - shiftinto a man - eating monster.\"Lydia: Any of this have anything to do with your family?Allison: This. \"It is believed that la Bete was finally trapped and killed by a renown hunter who claimed his wife and four childrenwere the first to fall prey to the creature.\" His name was Argent.Lydia: Your ancestors killed a big wolf. So what?Allison: Not just a big wolf. Take a look at this picture. What does it look like to you? Lydia? Lydia.Lydia:It looks - like a big - wolf. See you in History.Stiles: I think the book's making it more obvious. Besides, she's reading, anyway.Scott: So did you come up with a plan yet?Stiles: I think so.Scott: Does that mean youdon't hate me now?Stiles: No. But your crap has infiltrated my life, so now I have to do something about it. Plus I'm definitely a better Yoda than Derek.Scott: Okay, yeah, you teach me.Stiles: Yeah, I'll be yourYoda.Scott: Yeah, you be my Yoda.Stiles: Your Yoda I will be. I said it backwards.Scott: Yeah, I - I know.Stiles: All right, you know what? I definitely still hate you. Uh - huh. Oh, yeah.Allison: Scott. Scott, wait. Hey,Scott. Sc -Scott: This is not gonna be easy.Stiles: Okay. Now - put this on.Scott: Isn't this one of the heart rate monitors for the track team?Stiles: Yeah, I borrowed it.Scott: Stole it.Stiles: Temporarily misappropriated.Coach uses it to monitor his heart rate with his phone while he jogs, and you're gonna wear it for the rest of the day.Scott: Isn't that coach's phone?Stiles: That, I stole.Scott: Why?Stiles: All right, well, your heart rategoes up when you go wolf, right? When you're playing lacrosse, when you're with Allison, whenever you get angry. Maybe learning to control it is tied to learning to control your heart rate.Scott: Like the IncredibleHulk.Stiles: Kind of like the Incredible Hulk, yeah.Scott: No, I'm like the Incredible Hulk.Stiles: Would you shut up and put the strap on?Scott: This isn't exactly how I wanted to spend my free period.Stiles: All right. Youready?Scott: No.Stiles: Remember, don't get angry.Scott: I'm starting to think this was a really bad idea. Oh, man. Okay, that one - kind of hurt.Stiles: Quiet. Remember, you're supposed to be thinking about yourheart rate, all right? About staying calm.Scott: Stay calm. Staying calm. Staying totally calm. There's no balls flying at my face -Scott: Aah! Son of a bitch!Stiles: You know what? I think my aim is actuallyimproving.Scott: Wonder why.Stiles: Don't get angry.Scott: I'm not getting angry.Scott: Stop. Just - can we just hold -Stiles: Scott? Scott, you started to change.Scott: From anger. But it was more than that. Was like,the angrier I got, the stronger I felt.Stiles: So it is anger, then. Derek's right.Scott: I can't be around Allison.Stiles: Just because she makes you happy?Scott: No, because she makes me weak.Stiles: Alright, you stayaway from her for a few days, you can do that.Scott: But is it a few days, or is it forever?Stiles: You know, this whole \"women make you weak\" thing is a little too spartan warrior for me. It's probably just part of thelearning process.Scott: Yeah, but you've seen Derek. I mean, the guy's totally alone. What if I can, like, never be around her again?Stiles: Well, if you're not dead, that could be a good thing.Scott: Rather bedead.Stiles: All right, you're not gonna end up like Derek, all right? We'll figure it out.Scott: 'Kay.Stiles: Come on. Let's get out of here.Scott: Something smells terrible in here, anyway.Stiles: Really? In a boys' lockerroom? That doesn't make any sense at all.Scott: No, it's like something's rotting or dying.[SCENE_BREAK]Jackson: What are you reading?Allison: Oh, hey. Just stuff for a history project. You have a free period, or-Jackson: No, I - I just don't like sitting through Chem.Allison: Understandable. Did - did you want something?Jackson: Actually, um, yeah. I wanted to talk. I realize that I've been a jerk to you. And especially to Scott.And I wanted to say that I'm sorry. I'm serious.Allison: Okay. I - I believe you're being serious, but I'm not so sure I believe you're being sincere.Jackson: Do you know what it's like to be the best player on the team?To be the star? To have every single person at the game chanting your name? And then - some kid - Some kid just comes along, and then everyone starts looking at him instead of you. Do you know what that feelslike?Allison: No, I don't.Jackson: Well, it feels like something's been - It feels like something's been stolen from you. And then you start to feel like you'd do - anything. Anything in the world to get it back.Allison:Haven't you ever learned there's no \"I\" in \"team\"?Jackson: Yeah, but there is a \"me.\" Ha. That was a joke. Gosh. You must really, really hate me.Allison: Not at all.Jackson: You sure? Because - I'm not a bad guy. Imean, yeah, I make stupid mistakes. A lot, but - I'm not bad. I really like you. And - and Scott. I really - I really like you both, and I want you guys to like me. I want to get to know you guys better. So - what are youreading?Coach: Let's go. Sit, sit, sit, sit. We got a lot to cover today. Let's go. Quicker.Scott: Hey, Stiles, sit behind me, dude.Allison: I haven't seen you all day.Scott: Uh, yeah. I've been, uh, super busy.Allison: Whenare you gonna get your phone fixed? I feel like I'm totally disconnected from you.Scott: Uh, soon. Real soon.Allison: I changed lab partners, by the way.Scott: Oh. To who?Allison: To you, dummy.Scott: Me? I mean,are you sure?Allison: Yeah. This way I have an excuse to bring you home and study. You don't mind, do you?Scott: I just - I don't want to bring your grade down.Allison: Well, I mean, maybe I can bring your grade up.Come to my place tonight. 8:30?Scott: Tonight?Allison: 8:30.Coach: Let's settle down. Let's start with a quick summary of last night's reading. Greenberg, put your hand down. Everybody knows you did the reading.How about, uh - McCall.Scott: What?Coach: The reading.Scott: Last night's reading?Coach: How about, uh, the reading of the Gettysburg Address?Scott: What?Coach: That's sarcasm. You familiar with the term\"sarcasm,\" McCall?Scott: Very.Coach: Did you do the reading or not?Scott: Uh - I think I forgot.Coach: Nice work, McCall. It's not like you're not averaging a \"D\" in this class. Come on, buddy. You know I can't keep youon the team if you have a \"D.\" How about you summarize, uh, the previous night's reading? No? How about the, uh, the night before that? How about you summarize anything you've ever read - In your entirelife?Scott: I - I, uh -Coach: No? A blog? How about, uh, how about, uh, the back of a cereal box? No? How about the adults only warning from your favorite website you visit every night? Anything? Thank you, McCall,thank you. Thank you, McCall! Thank you for extinguishing any last flicker of hope I have for your generation. You just blew it for everybody. Thanks. Next practice you can start with suicide runs. Unless that's too muchreading. All right. Everybody else, settle down.Stiles: It's her.Scott: What do you mean?Stiles: It's Allison. Remember what you told me about the night of the full moon? You were thinking about her, right? Aboutprotecting her.Scott: Okay.Stiles: Remember the night of the first lacrosse game? You said you could hear her voice out on the field.Scott: Yeah, I did.Stiles: Well, so that's what brought you back so you could score.And then after the game in the locker room, you didn't kill her. At least not like how you were trying to kill me. She brings you back, is what I'm saying.Scott: No, no, no, but it's not always true, because literally everytime I'm kissing her or - or touching her -Stiles: No, that's not the same. When you're doing that, you're just another hormonal teenager thinking about s*x, you know? You're thinking about s*x right now, aren'tyou?Scott: Yeah. Sorry.Stiles: That's fine. Look, back in the classroom when she was holding your hand, that was different, okay? I don't think she makes you weak. I - I think she actually gives you control. She's kindof like an anchor.Scott: You mean because I love her.Stiles: Exactly.Scott: Did I just say that?Stiles: Yes, you just said that.Scott: I love her.Stiles: That's great. Now, moving on -Scott: No, no, no, really. I think I'mtotally in love with her.Stiles: And that's beautiful. Now, before you go off and write a sonnet, can we figure this out, please? Because you obviously can't be around her all the time.Scott: Yeah, yeah, yeah. Sorry. Sowhat do I do?Stiles: I don't know. Yet.Scott: Oh, no. You're getting an idea, aren't you?Stiles: Yeah.Scott: Is this idea gonna get me in trouble?Stiles: Maybe.Scott: Is this idea gonna cause me physical pain?Stiles:Yeah, definitely. Come on.Scott: What are we doing?Stiles: You'll see. Hold on. Okay. Stand right there. Do you have your keys? Perfect. Hold 'em up like so. Now, whatever happens, just think about Allison. Try to findher voice like you did at the game. Got it?Scott: Okay.Stiles: Just - keep holding it right there. Hey, hey, hey, dude! What do you think you're doing to that truck, bro?Guy: What the hell?Stiles: Ow! My God.Wow.Stiles: Ah, come on, stay calm. Stay calm. Oh, that's not okay. Scott. Come on, buddy.Allison: Studying with a friend. Yes, that friend. We're lab partners.Harris: Stop! Hey, stop it right now. What do you idiotsthink you're doing?Derek: I need your help. If you can hear me, I need you to give me a sign. Blink. Raise a finger. Anything. Just - Just something to point me in the right direction, okay? Someone killed Laura. Yourniece. Laura? Whoever he is, he's an Alpha now. But he's one without a pack. Which means he's not as strong. I can take him. But I have to find him first. Look, if you know something, just give me a sign. Is it one ofus? Someone else make it out of the fire? Just give me anything. Blink. Raise a finger. Anything. Say something!Nurse: Let him go. You think after six years of this, yelling at him is going to get a response?Derek: Got abetter method?Nurse: Patience. He'll respond if you give him the time.Derek: I don't have any more time.Scott: Excuse me, sir? Uh, I know it's detention and all, but, uh, I'm supposed to be at work, and I don't want toget fired.Scott: You knew I would heal.Stiles: Yep.Scott: So you did that to help me learn?Stiles: Yep.Scott: But partially to punish me.Stiles: Yeah. Well, that one's obvious.Scott: Dude, you're my best friend, and Ican't have you being angry with me.Stiles: I'm not angry anymore. Look, you have something, Scott. Okay? Whether you want it or not, you can do things that nobody else can do. So that means you don't have achoice anymore. It means you have to do something.Scott: I know. And I will.Harris: All right, both of you, out of here.Scott: Thank you.Deaton: Scott, you're late again. I hope this isn't getting to be a habit. Can I helpyou?Derek: Hope so. Want to know about the animal you found with the spiral on its side?Deaton: Excuse me? What animal?Derek: Three months ago. The deer. You remember this?Deaton: Oh, yes. It's just a deer.And I didn't find it. They called me because they wanted to know if I'd ever seen anything like it.Derek: What'd you tell 'em?Deaton: I told them no.Derek: Did you hear that?Deaton: Hear what?Derek: The sound ofyour heartbeat rising.Deaton: Excuse me?Derek: It's the sound of you lying.Deaton: Oh, God.Derek: Are you protecting someone?Deaton: All right. The key to the drug locker is in my pocket.Derek: I don't want drugs.I want to know why you're lying.Deaton: I don't know what you're talking about. What are you doing to me? What do you want?Derek: I want to know who you are or who you're protecting.Scott: What are youdoing?Deaton: Scott, get out of here!Scott: Stop! Stop!Derek: Look, when he's conscious, he can keep himself from healing, but unconscious, he can't.Scott: Are you out of your mind? What are you talkingabout?Derek: You want to know what the spiral means, Scott? It's our sign for a vendetta, for revenge. It means he won't stop killing until he's satisfied.Scott: You think he's the Alpha?Derek: We're about to findout.Scott: Hit him again, and then you'll see me get angry.Derek: Do you have a plan?Scott: Just give me an hour.Derek: Then what?Scott: Meet me at the school. In the parking lot.Stiles: This is a terrible idea.Scott:Yeah, I know.Stiles: But we're still gonna do it?Scott: Can you think of something better?Stiles: Well, personally I'm a fan of ignoring a problem until eventually it just goes away.Scott: Just make sure we can get inside.He's here. Where's my boss?Derek: He's in the back.Stiles: Oh, well, he looks comfortable.Derek: Wait. Hey. What are you doing?Scott: You said I was linked with the Alpha. I'm gonna see if you're right.Stiles: Okay,one question. What are you gonna do if the Alpha doesn't show up?Scott: I don't know.Stiles: And what are you gonna do if he does show up?Scott: I don't know.Stiles: Good plan.Scott: All right. You said that a wolfhowls to signal his position to the rest of the pack, right?Stiles: Right, but if you bring him here, does that make you part of his pack?Scott: I hope not.Stiles: Yeah, me too. All right. All you.Derek: You've got to bekidding me.Scott: Was that okay? I mean, that was a howl, right?Stiles: I - yeah, technically.Scott: Well, what did it sound like to you?Stiles: Like a cat being choked to death, Scott.Scott: What do I do? How am Isupposed to do this?Stiles: Hey, hey. Listen to me. You're calling the Alpha. All right? Be a man. Be a werewolf, not a teen wolf. Be a werewolf. Do it.Derek: I'm gonna kill both of you. What the hell was that? What areyou trying to do, attract the entire state to the school?Scott: Sorry. I didn't know it would be that loud.Stiles: Yeah, it was loud. And it was AWESOME.Derek: Shut up.Stiles: Don't be such a sour wolf.Scott: What'd youdo with him?Derek: What? I didn't do anything."}
+{"doc_id":"doc_234","qid":"","text":"Isaac: Um - so far it's an \"A\" in French and a \"B\" minus in Econ.Mr. Lahey: Oh. What about chemistry?Isaac: I'm not sure. Uh, midterms are in a few days so it could go up.Mr. Lahey: Well, what's it at now?Isaac: Thegrade?Mr. Lahey: Uh, yeah.Isaac: Uh, I'm not sure.Mr. Lahey: But you just said it could go up.Isaac: I just - uh, I meant generally.Mr. Lahey: You wouldn't be lying to me, would you, Isaac?Isaac: No.Mr. Lahey: Thentell me your grade.Isaac: I just told you, I don't know.Mr. Lahey: You wanna take this little conversation downstairs? No? Then tell me the grade, son.Isaac: Dad, this semester's only half over.Mr. Lahey: Isaac?Isaac:There's plenty of time -Mr. Lahey: Isaac.Isaac: It's - it's a \"D\".Mr. Lahey: All right. It's a \"D\". I'm not angry. You know I'm gonna have to find a way to punish you though. You know, I have my responsibility as a parent.So we'll start with something simple, like, uh - Tell you what, you do the dishes and you clean up the kitchen, okay?Isaac: Yeah.Mr. Lahey: Good. Because I - I'd really like to see this place spotless. Know what I'msaying? You know? I mean this entire kitchen. Yeah! Yeah, absolutely - Spotless. Well, that was your fault.Isaac: You could have blinded me.Mr. Lahey: Shut up! It's a scratch! It's hardly even - Isaac. Isaac!Jackson:Freaks.Mr. Lahey: Isaac! Isaac! Isaac. Isaac? Isaac? Okay, that's enough. Let's go! That's it, grab your bike and let's go! Isaac? Holy - ! Aah! No! No! No! Aah! No! Aah! No! No! No! No!Allison: Hey.Scott: What are youdoing?Allison: Just trying to find you.Scott: Did anyone see you leave?Allison: No. No one, I was careful. What's wrong? Is it the full moon tomorrow night?Scott: No. No, it's not that. Um, I just wanted to ask you somethings. About your - um, your family. Actually, your grandfather.Allison: Okay, but I don't really know him. I mean, he's kind of just a guy who sends a check in the mail every year for my birthday.Scott: Does he knowabout me? About us?Allison: No, my dad hasn't said a thing. What is it? Did something else happen?Scott: We just need to be a lot more careful now.Allison: They're not gonna split us apart.Scott: Not us. Sure no onefollowed you?Allison: Totally, absolutely, 100 million percent sure. My parents are out, anyways.Scott: Out?Allison: Yeah, it's date night.Principal: Can I help you?Chris: Well, I hope so, Principal Thomas. As a concernedparent, uh, I was wondering - how long has it been since your last performance review?Principal: What?Chris: We were wondering.Victoria: Are you aware there's been an alarming drop in academic achievement andtest scores over the past few semesters?Principal: Excuse me?Victoria: It's led the parents of Beacon Hills to the unfortunate conclusion that you may no longer be suited to the position of school principal.Principal: Youcan't fire me.Victoria: True. But we can torture you.Isaac: Derek? Derek!Derek: What's wrong?Isaac: My dad. I think he's dead.Derek: What did you do?Isaac: That's the thing. It wasn't me.Scott: I'm serious. It's notlike the last full moon. I don't feel the same.Stiles: Oh, does that include the urge to maim and kill people like me?Scott: I swear I don't have the urge to maim and kill you.Stiles: You know, you say that now but thenthe full moon goes up and out come the fangs and the claws and there's a lot of howling and screaming and running everywhere, okay? And it's very stressful on me and so yes, I'm still locking you up.Scott: Okay, fine.But I do think I'm in more control now. Especially since things are good with Allison.Stiles: Okay, I'm aware of how good things are with Allison.Scott: They're really good.Stiles: I - thank you, I know.Scott: I mean, like,really good.Stiles: All right, I get it! Just please shut the hell up before I have the urge to maim and kill myself.Scott: All right, did you get something better than handcuffs this time?Stiles: Yeah, much better.Coach:Part of me wants to ask. The other part says knowing will be more disturbing than anything I could ever imagine. So - I'm gonna walk away.Stiles: That's good. That's a wise choice, coach.Stiles: You okay? Scott.Scott:There's another. In here, right now.Stiles: Another what?Scott: Another werewolf.Allison: You really don't remember anything?Lydia: They called it a fugue state, which is basically a way of saying \"We have no idea whyyou can't remember running through the woods naked for two days.\" But personally, I don't care. I lost nine pounds.Allison: Are you ready for this?Lydia: Please. It's not like my aunt's a serial killer.Allison: Maybe it'sthe nine pounds.Scott: It was kind of like a scent, but I couldn't tell who it was.Stiles: What if you can get him one - on - one? Would that help?Scott: Yeah.Stiles: Okay. I think I got an idea.Matt: You need a digitalcamera?Jackson: Yeah. And something that can record in low light. All night long.Matt: What are you recording?Jackson: Something in low light. All night long. Do you have the camera or not?Matt: You have a hundredbucks?Jackson: I drive a Porsche. What do you think?Matt: I think your parents have a hundred bucks.Jackson: Just get me the camera.Stiles: I told coach you're switching with Danny for the day.Scott: But I hateplaying goal.Stiles: Remember when I said I had an idea? This is the idea.Scott: Oh.Stiles: There we go.Scott: What's the idea?Stiles: I seriously don't understand how you survive without me sometimes.Coach: Let'sgo! Line it up! Faster! Make daddy proud.Scott: Here we go.Scott: Let me help you up.Coach: McCall!Scott: Yeah.Coach: Usually the goalie stays somewhere within the vicinity of the actual goal.Scott: Yes,coach.Coach: Let's try it again.Matt: What the hell, man?Scott: My bad, dude.Coach: McCall! The position's goal keeper. Not goal abandoner.Scott: Sorry, coach.Coach: Let's go!Coach: Stilinski, what the hell is wrongwith your friend?Stiles: Uh, he's failing two classes. He's a little socially awkward and if you look close enough, his jaw line's kind of uneven.Coach: That's interesting. Let's fire it up.Danny: It's Armani.Scott:Huh?Danny: My aftershave. Armani.Scott: Oh. It's nice.Coach: McCall! You come out of that goal one more time and you'll be doing suicide runs till you die. It'll be the first ever suicide run that actually ends in asuicide. Got it?Scott: Yes, coach.Coach: Yeah.Jackson: Uh, coach, my shoulder's hurting. I'm gonna - I'm gonna sit this one out.Isaac: Don't tell them. Please don't tell them.Scott: His father's dead. They think he wasmurdered.Sheriff: Come on.Stiles: Are they saying he's a suspect?Scott: I'm not sure, why?Stiles: Because they can lock him in a holding cell for 24 hours.Scott: Like, overnight?Stiles: During the full moon.Scott: Howgood are these holding cells at holding people?Stiles: People, good. Werewolves, probably not that good.Scott: Stiles, remember when I said I don't have the urge to maim and kill?Stiles: Yeah.Scott: He does.Scott:Why would Derek choose Isaac?Stiles: Peter told me that if the bite doesn't turn you it could kill you. And maybe teenagers have a better chance of surviving.Scott: Doesn't being a teenager mean your dad can't holdhim?Stiles: Well, not unless they have solid evidence. Or a witness. Wait. Danny. Where's Jackson?Danny: In the principal's office talking to your dad.Stiles: What? Why?Danny: Maybe because he lives across the streetfrom Isaac.Scott: Witness.Stiles: We gotta get to the principal's office.Scott: How?Harris: Everyone please turn to page 73. Who in the hell did that?Sheriff: Listen to me, you're telling me that you knew Isaac's fatherwas hitting him?Jackson: Hitting him? He was kicking the crap out of him.Sheriff: Did you ever say anything to anyone? A teacher, parents, anyone?Jackson: Nope. It's not my problem.Sheriff: No, no, of course not.You know, it's funny that the kids getting beaten up are always the ones who least deserve it.Jackson: Yeah. Wait, what?Sheriff: I think we're done here. Hi, Scott.Scott: H - yeah.Gerard: Boys. Come onin.[SCENE_BREAK]Gerard: Scott McCall. Academically not the most accomplished, but I see you have become quite the star athlete. Mr. Stilinski. Oh, perfect grades but little to no extracurriculars. Maybe you should trylacrosse.Stiles: Oh, actually I'm already -Gerard: Hold on. McCall. You're the Scott that was dating my granddaughter.Scott: We were dating but not anymore. Not dating, not seeing any of each other or doing anythingwith each other - At all.Gerard: Relax, Scott, you look like you're about to crack a cyanide pill with your teeth.Scott: Just a hard breakup.Gerard: Oh, that's too bad. You seem like a pretty nice kid to me. Now listen,guys. Yes, I am the principal, but I really don't want you to think of me as the enemy.Stiles: Heh, is that so?Gerard: However, this being my first day, I do need to support my teachers. So unfortunately someone isgoing to have to take the fall and stay behind for detention.Lydia: It's just - we haven't really talked since that night and well - Jackson, can you, like, look at me for half la second? They said if you hadn't found me andcarried me back, I could have died. So I just - I wanted to say thank you.Jackson: Lydia, we're not getting back together.Lydia: What?Jackson: And just because I kept you from bleeding out on a field once, don'texpect me to come running every time you start screaming.Lydia: I never said -Jackson: I'm not responsible for you. Okay? But I will give you one piece of advice. If I were you, I'd stay home tonight.Lydia: What doesthat mean? What's tonight?Jackson: It's a full moon.Derek: Get in.Scott: Are you serious? You did that. That's your fault.Derek: I know that. Now get in the car and help me.Scott: No, I've got a better idea. I'm gonnacall a lawyer. Because a lawyer might actually have a chance at getting him out before the moon goes up.Derek: Not when they do a real search of the house.Scott: What do you mean?Derek: Whatever Jackson said tothe cops, what's in the house is worse. A lot worse.Gerard: I'm not interested in whether they locked up a 16 - year - old kid. I'm interested in what's going to happen to that 16 - year - old when the moon hits its peaktonight. Do we have proof?Chris: Is the next step killing him?Gerard: The next step is eliminating the threat. Do we have proof?Chris: I haven't been in history class for a while, but I'm pretty sure straight - up genocidehasn't worked out too often.Gerard: Do we have proof or not?Chris: Not irrefutable. But not insignificant. The driver's side door of Lahey's car was pried off.Gerard: Pried off?Chris: Ripped off.Matt: I'm starting to feel alittle weird about this.Jackson: No, no, no, no. What you're feeling is a hundred dollars richer. Give me the camera and go buy yourself another fancy lens or light meter or whatever gives your photography geeks a hard- on.Matt: This doesn't have anything to do with Allison, does it? I saw you two at the dance the other night and I kind of figured that you two were, you know, together.Jackson: Aw, you have a little thing for Allison,Matt? A little - a little crush?Matt: No.Jackson: You think I'm gonna waste my time by doing something as unbelievably ordinary as making a s*x tape?Matt: Then what are you doing?Jackson: Documenting history. Myhistory. And I want to be able to see it happening. All of it. You'll get it back tomorrow.Scott: If Isaac didn't kill his father, who did?Derek: I don't know yet.Scott: Then how do you know he's telling the truth?Derek:Because I trust my senses. And it's a combination of them. Not just your sense of smell.Scott: You saw the lacrosse thing today.Derek: Yeah.Scott: Did it look that bad?Derek: Yeah.Allison: Sorry.Chris: Allison?Gerard:Come in. We'd like to talk to you.Allison: I'm supposed to study with Lydia, I really don't have time to chat.Chris: Actually, that's who we want to talk to you about, sweetheart.Derek: You wanna learn? Let's startnow.Scott: What's down there?Derek: Motive.Scott: And what am I looking for?Derek: Follow your senses.Scott: What happened down here?Derek: The kind of thing that leaves an impression. Open it.Stiles: Hey,sorry, Harris literally just let me out of detention. Literally. And he had my phone the whole frickin' time.Allison: Well, we need to do something right now. They were asking me all these questions about Lydia and howshe was bitten by Peter, and then they sent this guy out.Stiles: Wait, what guy?Allison: He was dressed as a Sheriff's deputy.Stiles: They're sending him to the station for Isaac.Allison: He was also carrying this boxwith something on it, like, um, like a carving or something.Stiles: What was it?Allison: Hold on, hold on. It's in one of these books. I'm taking a picture. Did you get it?Stiles: Yeah, wolfsbane.Allison: What does thatmean?Stiles: It means they're gonna kill him.Scott: This is why he said yes to you.Derek: Everyone wants power.Scott: If we help you, then you have to stop. You can't just go around turning people intowerewolves.Derek: I can if they're willing.Scott: Did you tell Isaac about the Argents? About being hunted?Derek: Yes, and he still asked.Scott: Then he's an idiot.Derek: And you're the idiot dating Argent's daughter.Yeah. I know your little secret. And if I know, how long do you think it's gonna take for them to find out? You saw what happens to an omega. With me, you learn how to use all of your senses. With me, you learncontrol. Even on a full moon.Scott: If I'm with you, I lose her.Derek: You're gonna lose her anyway. You know that.Scott: Wait. I'm not part of your pack. But I want him out. He's my responsibility too.Derek: Why?Because he's one of us?Scott: Because he's innocent.Stiles: Hey, did you slow him down?Allison: You could say that.Stiles: All right, well, uh, I'm headed to the station right now.Allison: Where's Scott?Stiles:Isaac's.Allison: Does he have a plan?Stiles: Yeah, but not a very good one. And unfortunately we don't really have time to come up with anything better.Allison: Scott? Are you sure we have to do this?Scott: Yes.Allison:Where?Scott: Please. I don't want to hurt you.Stiles: Okay, now the keys to every cell are in a password protected lockbox in my father's office. The problem is getting past the front desk.Derek: I'll distract her.Stiles:Whoa, whoa, whoa - you? You're not going in there. I'm taking my hand off.Derek: I was exonerated.Stiles: You're still a person of interest.Derek: An innocent person.Stiles: An - you? Yeah, right! Okay, fine. What'syour plan?Derek: To distract her.Stiles: Uh - huh. How? By punching her in the face? Unh.Derek: Heh, by talking to her.Stiles: Okay, all right. Give me a sample. What are you gonna open with? Dead silence. Thatshould work beautifully. Any other ideas?Derek: I'm thinking about punching you in the face.Deputy: Good evening, how can I help - you?Derek: Hi.Deputy: Hi.Derek: Um, I had a question. Um, sorry I'm a little - alittle thrown. I wasn't really expecting someone -Deputy: Like me?Derek: Oh, I was gonna say \"so incredibly beautiful\" but, yeah, I guess that'd be the same thing.Allison: It's done. It's locked.Scott: Go.Allison: Scott, Ican't -Scott: Just go!Stiles: Oh, no.Stiles: Oh. Uh, just looking, um - Oh, sh -Scott: Allison. Allison! Allison!Stiles: How did you do that?Derek: I'm the Alpha.Allison: Come on. Come on!Allison: What the hell wasthat?Scott: I don't know.Stiles: Uh, he did it.Mrs. Whittemore: Jackson, what is it? What happened?Jackson: Nothing happened. Nothing at all."}
+{"doc_id":"doc_235","qid":"","text":"[ Enchanted Forest - Past Year ][SCENE_BREAK](A carriage, escorted by knight, crosses a forest. It is stopped by Hook.)Knight: Whoa! And just who might you be?Hook: I'm the man who's going to relieve you of thatchest full of gold you are transporting.Knight: You and what army?Hook: Well, I'm glad you asked.(Lights are lit.)Hook: Your choice. Save your lives or the gold.Knight: Retreat!(The knight leaves.)Hook: Smee?! Thosearrows took a lot longer to light than discussed.Smee: It wasn't easy lighting all of them by ourselves, captain. Maybe if we had an actual army...Hook: And share in the spoils? I think not.Smee: I got to say, it's good tobe at your side again, sir, and... Not as a rat.Hook: Well... that's a lovely side effect of the curse breaking for you, I'd imagine.Smee: I did like the mobility, but being a human is good, too.Hook: What did I tell you,mates? You don't need a ship to be a pirate.[SCENE_BREAK](At the tavern.)Hook: One more, one more!(Oh!)Hook: To the most clever, dastardly band of pirates to ever set sa... Stride on the open roads!Smee: Tocaptain Hook!Everybody: Hey!Smee: Wait, wait, wait, wait, wait, wait, wait, wait! The boys and I chipped in...Hook: Mm-hmm.Smee: And got you something.Hook: Oh. Mr. Smee. How did you know?Smee: Enjoy. Tocaptain Hook!Everybody: To Hook!Smee: Come on. One more.(Outside the tavern. Hook gives the prostitute some money.)The prostitute: I don't... Understand. Your men took care of me.Hook: And tomorrow, youshall tell them that you had a grand time. Good night.(Hook is walking in the street and he is hit by Ariel.)Hook: Aah.Ariel: Move, and I'll slit your throat.Hook: Not a good plan for you. I'm guessing you don't know whoI am.Ariel: I know exactly who you are, Captain Hook.Hook: Well, then, I'm at a disadvantage.Ariel: My name's Ariel. And you're gonna pay for what you've done.[SCENE_BREAK][ Storybrooke ][SCENE_BREAK](AtCharming Family's loft.)David: I've seen enemy battle plans that were easier to decode than this.Emma: Let me see. All right, it says \"take screws 'E' with washers 'D' \"through bar 'C' using wrench 'F, '\" which is... Notprovided.Mary Margaret: Why don't you just call Marco? He's really good at this sort of thing.Emma & David: No!David: No. We're fine.Mary Margaret: Should we even be doing this? Ever since the showdown betweenRegina and the Wicked Witch, we haven't seen Zelena or Gold at all. Shouldn't we be focusing on her next move?Emma: We are. We just can't stop living.David: And this crib is a statement. We're not gonna loseanother baby.(Regina comes in.)Regina: And, thanks to me, you won't. I'm finished.David: So? Did it work? Were you able to put up a new protection spell?Regina: One that can't be undone by blood magic, whichmeans Zelena won't be able to put her hands on that baby.Mary Margaret: Any idea why she would want to?Regina: The number of spells involving baby parts would surprise you. That greenie is clearly one twistedwitch. But as long as we're in here, we're safe.Emma: That's useless. I think we need to stop playing defence and start taking the fight to her.Regina: Did you not see how I barely outwitted her yesterday? She hasmagic... Powerful magic.Emma: I have magic, too. You've seen me use it. I just can't always control it. But if we teamed up, if you... Taught me...Regina: Now, why does this feel so familiar?Emma: I'm ready thistime.Regina: Okay. But if we do this, we do this my way. This isn't drinking stale coffee at a stakeout or... Whatever you did as a bail bondsperson. This is a way of life. You have to fully commit to it.Emma: Not aproblem.Regina: Meet me at my vault in two hours.(Regina leaves.)Emma: And no complaining. I'm doing this. It's the only way. And yes, I will be careful.Mary Margaret: We know.David: Don't worry. We'll watchHenry when he gets back from the store.Emma: Actually... I'm not sure that's the best idea.Mary Margaret: What? What is it?Emma: Well, you guys are tired. You need to rest.Mary Margaret: I'm pregnant. I'm not sickwith the flu.Emma: Yeah, I know. It's just, um... Well, it's... \"Cradle cap.\" Last time you guys had him, you overwhelmed him with baby tips. He's 12. He's doesn't want to talk about pregnancies. It's not fun.MaryMargaret: Oh, we're fun.Emma: Well, I'm just saying maybe Henry disagrees.Mary Margaret: No!Emma: He'll get there. You got to remember, he doesn't know who you are.David: Well, if we're not fun, whois?[SCENE_BREAK](Hook is waiting for Smee at the harbour.)Smee: Captain Hook. Captain.Hook: It's about time, Mr. Smee. You know how much I abhor waiting. What is it that's so urgent?Smee: It's just, um, me andthe men were talking about how we haven't seen much of you since we all ended up back here.Hook: Is there a point to that rather odd observation?Smee: What's keeping us from crewing up again hitting the highseas, getting back to pirating?Hook: You mean other than being attacked and turned into flying monkeys? Have you forgotten? There's no safe passage out of this town. You've already been a rodent, Mr. Smee. Doeslife as a simian interest you, as well?Smee: Of course there's safe passage. We could outrun them.Hook: Not with that torso of yours.Smee: If we had a fast enough ship. The Jolly Roger, for instance. You still haven'ttold me whether you found her during the time none of us can remember.Hook: What happened during that time isn't important.Smee: Because you remember. Is our ship okay? What... What happened to it?Hook: Myship. All you need to know, Mr. Smee, is that the Jolly Roger isn't here. So there will be no outrunning of anything.Smee: I mean, what if we found another ship? Any one of these...Hook: Mr. Smee, I've tried letting youdown easy. Now let me be more direct. I have no intention of leaving this town.Smee: Captain, I agree with you This place has its bright spots. I have never tried anything quite like frozen yogurt before. But the WickedWitch is here. And with that sort of danger, what possible reason do you have to stay?Hook: My reasons are my own. Question them again at your peril.(Emma and Henry arrive.)Smee: Sir.Emma: Wait here, okay?Didn't he used to be a rat?Hook: Aye. In many ways, he still is. To what do I owe the pleasure, Swan?Emma: Um... I was wondering if you could take care of Henry again.Hook: If you want to get close to me, you justneed to ask. There's no need to use the lad as an excuse.Emma: Why am I not surprised you're making this about you? I need your help, 'cause Regina needs to train me in magic. We think together, we might be ableto defeat the Wicked Witch.Hook: That's the first reasonable plan I've heard since this all began. Magic is a part of you, Swan. Don't forget... I was there when Cora tried to steal your heart. I saw the power inside ofyou. It's about time you embraced it. It's what makes you the Saviour.Emma: I'm not embracing anything. I need to learn magic to defeat Zelena and make sure everyone here is safe. After that, I'm done.Hook: Donewith what, exactly?Emma: He doesn't belong here... Not anymore. He belongs in the real world, in New York, and the life that he remembers. It was good. And it didn't involve vile villains.Hook: What about the life youremember? You can't just pretend like this never happened. Trust me. I spent the last year trying to do just that... Return to the person I used to be... And it didn't work.Emma: Why? What happened over the last yearthat you're not telling me?Hook: It matters not. Just take it from me just this once. No matter how much you wish you could go back to your old life... You can't.[SCENE_BREAK](Mary Margaret and David are walking onthe beach.)David: We can't just sit back and do nothing.Mary Margaret: You're right. We can be as fun as... As any pirate captain.David: Exactly. Henry obviously did a lot of growing up in the past year. We just haveto... Adjust accordingly.Mary Margaret: What's going on?(A group surrounds Ariel.)Somebody: Does anyone know what happened?Somebody: She just washed up onshore.Mary Margaret: Who did? Who's here?Ariel?[SCENE_BREAK](On the beach.)Mary Margaret: Where have you been? We thought you'd been turned into a monkey.Ariel: A monkey? No. I'm a girl that turns into a fish.David: Yeah, we... We know. Whathappened to you?Ariel: I've been under the sea... Searching. I've travelled to every known realm looking for Prince Eric.David: So he's missing? For how long?Ariel: After Pan failed, I woke up here, like everybody else.I... I couldn't find him. I didn't understand what happened until I overheard everybody saying that we had all gone to the Enchanted Forest and been there for a year without knowing it.David: So you still don't knowwhat happened to him?Ariel: That's why I came back here. I thought maybe I'd overlooked something, that he'd be here, but... Obviously, you haven't seen him.Mary Margaret: We're sorry. We've been trying to piecetogether what happened. All we know is that we're up against Regina's sister, the Wicked Witch.Ariel: Do you think that she might be responsible for Prince Eric's disappearance?Mary Margaret: Without our memories,it's impossible to know everything.David: Maybe for us, but what about Hook?Ariel: The pirate?Mary Margaret: Yes. He wasn't part of the witch's curse. He has his memories. Maybe he can... I don't know... Shed somelight on what happened to Prince Eric.Ariel: Well, do you think he'd help me?Mary Margaret: He helped us save Henry. I don't know why not.[SCENE_BREAK][ Enchanted Forest - Past Year ][SCENE_BREAK](In thestreet.)Hook: Fear of adding insult to injury, would you mind catching me up on your particular grievance?Ariel: You kidnapped Prince Eric, and you're gonna return him to me. Now on your feet!Hook: Kidnapping aprince does sound like something I would do, but... I'm afraid you've got the wrong pirate. Or should I say the wrong pirate has you?Ariel: Go ahead... Kill me. But I still know you're lying. One of Eric's men escaped, soI know the ship that took him was yours... the Jolly Roger.Hook: The Jolly Roger? Are you certain? Answer me!Ariel: You really didn't take him.Hook: What else do you know about who's captaining my ship? Did thatman tell you anything else?!Ariel: Only that he was able to escape with a weapon that he stole from the armoury... The dagger that's against my throat.(Hook watches the dagger, he laughs andleaves.)[SCENE_BREAK](Mr Smee is sleeping in the tavern. Hook enters.)Hook: Rise and shine, you bilge rats! No offense, Mr. Smee.Smee: None taken. I keep dreaming of cheese. What is it?Hook: I know who has theJolly Roger, and we're gonna take her back.Smee: Whose funeral shall we be attending, sir?Hook: Black Beard.Smee: Black Beard? But... He's the most cutthroat pirate ever to hoist a sail. Uh... After you, ofcourse.Hook: Which will make it all the more satisfying when I take my ship back and make him walk her lovely plank.Smee: Let's not be hasty. We've been having fun robbing carriages. Getting rich from it, too. M...M... Maybe we should forget about the Jolly Roger. You said it yourself. We don't need a ship to be...Hook: She's not just a ship.Smee: I'm fairly certain she is.Hook: She's more than that. I haven't been myself sincewe've returned. I should have realized the reason why. It's because I don't have her.Smee: \"Her\"? You talk about the vessel as though she's a woman.Hook: Women come and go, Mr. Smee, but a pirate's life... It'sforever.Smee: Still, captain... I doubt we could even find Black Beard...Hook: Don't be a coward! I know where he moors his vessels. It's less than a day's trek. And then I'll have my ship again.Ariel: And I will have myprince.Hook: Few people have held a dagger to my throat and lived to tell the tale. I'd leave before I change my mind.Ariel: No. I've crossed paths with enough pirates to know your code. Any valuable information apirate captain ascertains shall be compensated in equal favour.Smee: I think she's right.Ariel: So... When do we leave?[SCENE_BREAK][ Storybrooke ][SCENE_BREAK](Hook and Henry are at Granny's Diner. They dice.Hook always wins.)Hook: You want to know the secret to winning?Henry: Practice?Hook: No, my boy. Loaded dice.Henry: That's cheating.Hook: Only if you get caught.Henry: I think it's cheating either way.Hook: Pointis, you win. \"Practice,\" huh?(David, Mary Margaret and Ariel enter in the Diner. Hook goes see them.)David: Uh, Hook, this is a friend of ours... Ariel. She's looking for someone who didn't return to Storybrooke with therest of us.Ariel: He's from a maritime kingdom, and he loved to sail. Perhaps... You came across him on the high seas? His name's Prince Eric.Hook: Sorry, lass. I wish I could help, but I've never heard ofhim.[SCENE_BREAK](At Regina's vault.)Regina: Don't touch anything.Emma: How am I supposed to learn magic if I can't touch anything?Regina: The same way I did with Rumple. We're going to create a solidfoundation first and then build your skills from the ground up. I said \"don't touch.\" So, while we're here, who's looking after Henry? The Un-Charmings?Emma: Actually, Hook is.Regina: Well, those two have beenspending a lot of time together lately.Emma: Hook's good with Henry, and Henry likes him.Regina: He's prone to violence, impulsive, and has a hook for a hand. What about him would a 12-year-old boy not like?Emma:I trust him. He brought me back to Storybrooke, and he didn't have to.Regina: Oh. Of course he brought you back.Emma: What's that supposed to mean?Regina: Seriously? You're going to pretend everyone doesn'tsee the yearning looks and doe-y eyes?Emma: I don't yearn.Regina: Well, maybe. But he does. Let's start with roots for incantations.(Regina shows Emma her mother's book of magic.)Emma: Are you kidding me rightnow? What language is this... Spanish?Regina: We're not making tapas. We're making magic. It's Elvish. Well, half Elvish.Emma: I'm never gonna get this. Is this how Rumple taught you? Just think about your training.What other methods did he use?Regina: Rumple was a bully. He didn't suffer fools, and he certainly didn't coddle his students. And if he tried to teach you how to swim and you couldn't learn, you drowned.Emma:Drowned?Regina: That's it.Emma: That's what?[SCENE_BREAK](Regina used her powers to transport Emma and her on a bridge.)Emma: What the hell are you doing?!Regina: Teaching you to swim.[SCENE_BREAK](AtGranny's Diner.)David: Come on. Think hard, Hook. Are you sure you can't remember anything that can be useful?Hook: My apologies, mate, but if I'd run across a prince during my adventure, I think I'd rememberit.Ariel: I just... I don't understand. How could he vanish without a trace?Mary Margaret: That's it. Maybe he didn't.David: What do you mean?Mary Margaret: When the curse brought us back here, it brought our things,too. Gold's shop is filled with them.David: And if we find something of Eric's, we can use a locator spell to track him.Ariel: Let's go.Hook: Sounds like a plan. Best of luck with that.Mary Margaret: Oh, wait, no. Youshould come with us. You might remember something that we won't... Or can't. You'd be far more helpful than us.Hook: Well, someone has to keep an eye on the boy.David: Well, Mary Margaret and I can take over.Could we... Have a talk for a moment?(Hook and David go apart.)David: What is it?Hook: You sure this is such a good idea, mate? Let's be honest... There's only one obvious explanation why the little mermaid herecan't find her prince. He's dead. There's no reason to ply her with false hope.David: In my experience, there's no such thing. You just have to believe. Now go. Good luck.[SCENE_BREAK][ Enchanted Forest - Past Year][SCENE_BREAK](Hook, Ariel and Mr Smee are walking into the woods.)Ariel: Trudge, trudge, trudge. If you ask me, there's nothing more boring than land travel. I'll take my tail in the ocean any day.Hook: That's onething we can agree on... Minus the tail, of course. You won't be bored for much longer. Our destination is just past this rise.Ariel: Then it won't be long until I'm reunited...Hook: Here. Allow me.Ariel: You've rippedit!Hook: It's a cloak.Ariel: It's Eric's cloak. And he's had it since before we met. He left it with me while he was away to keep him close, and now you have ruined it!Hook: If mending a cloak is our biggest obstacle, we'rein fine shape. You realize you might not find him... Or survive?Ariel: I will.Hook: Didn't you see the fear Black Beard's name struck into my crew? You don't become a pirate captain through mercy. If I were you, I wouldprepare myself for the worst.Ariel: Why? What are you saying... That you would kill Eric if you had him?Hook: You don't believe that?Ariel: Well, honestly, I was a little surprised to hear that you might be responsible forEric's kidnapping... After the stories that I've heard.Hook: What stories?Ariel: Well, the ones of you helping reunite Snow White and her family in Neverland. Some people say that you're a hero.Hook: Don't believeevery story you hear.Ariel: Being good is nothing to be ashamed of. People change. Look at me. I have legs, and I fell in love with a human. I don't think anyone saw that coming.Hook: You may have changed. Ihaven't. I'm a pirate, and I always will be.[SCENE_BREAK][ Storybrooke ][SCENE_BREAK](At Mr Gold's shop.)Ariel: Belle?Belle: Ariel? Where... Where have you been? I... I was... I was worried I'd never see youagain.Ariel: I've been looking for Eric. He's been missing since we all returned.Hook: We were hoping we could find something of his here.Belle: Oh, of course... To see if he's in Storybrooke.Ariel: Have you seenanything of his?Belle: I, um, I only just started sorting through things, but, uh... Don't despair. Let's... Let's start looking.(They start to look.)[SCENE_BREAK](Hook enters in the back room.)Hook: I've been wonderingwhere you went.(He uses his telescope and the button of Eric's cloak. Ariel and Belle enter.)Ariel: That's Eric's. How did you know that was his?Hook: I, uh... I wasn't sure. I saw the sea-creature clasp and rememberedhe was from a maritime kingdom.Ariel: He is. He was. And now he's here.(Ariel hugs Hook.)[SCENE_BREAK](On the bridge.)Emma: Are you out of your mind?!Regina: Every time you've exhibited your power, it's beenspurred by your instincts. So today, we're going to push those instincts until you master them.Emma: A little reading doesn't sound so bad now.Regina: You can stop me.Emma: Stop you from what?Regina:This.(Regina destroys the bridge.)Emma: What the hell are you doing?!Regina: Making the bridge collapse. You can either stop it... Or die.Emma: Aah! Regina! Enough! Stop this!Regina: No, you stop it. No morehand-holding. You have to do this. Reach into your gut. You know you can do this. It's inside you, Emma. Save the bridge. Save yourself.Emma: Aaaaah!(Emma falls but she uses her powers to build a bridge whichbrings her to Regina.)Emma: Did I... Did I just do that?Regina: Yes. When all I wanted was for you to retie the rope.Emma: It was like you said... Instinct. Why are you pissed? I did it. Why does it matter how?Regina:You think I'm mad because you didn't listen to me? I'm mad because... Look at all this potential inside of you, and you've been wasting it.[SCENE_BREAK](At Mr Gold's shop. Belle pours a potion on Eric's cloak.)Belle:This is a locator spell, so whatever object it's poured on becomes enchanted and returns itself to its rightful owner.Ariel: Thank you, Belle. I know that you've been busy trying to find a way to break your Mr. Gold out ofthe Witch's control. You didn't have to do this.Belle: No, I... I did. You know. Perhaps a little good news around here will be contagious.(The cloak flies away.)Ariel: Let's go![SCENE_BREAK][ Enchanted Forest - PastYear ][SCENE_BREAK](On the docks, near the Jolly Roger.)Hook: Up close, she's even more beautiful than I remember. Don't worry, my dear. You'll soon be back in my loving arms.Ariel: You do realize you're talking toa boat?Hook: You have your love. I have mine.Smee: So, how are we gonna get on board, Captain? Black Beard's crew outnumbers us.Hook: I'll show you.(Hook stands up. He stuns a pirate and goes on board.)Hook:Stand at attention, mates! Now boarding the ship... The rightful captain of the Jolly Roger. Now, if the coward who tried stealing her from me would kindly show his face, I'll give him the punishment he deserves.BlackBeard: Gladly. But it's not me who'll be punished. You want your ship back? Then take it.Hook: With pleasure.(Hook and Black Beard fight.)Black Beard: I was afraid you weren't gonna show up. Word on the waterwaysis Captain Hook had gone soft.Hook: The only thing soft will be your guts spilling on this deck. I'd never give up the Jolly Roger without a fight.(Hook and Black Beard continue the fight.)Hook: You think you know theship?Black Beard: Oh, every inch of it... I assure you.Hook: If that was the case... You'd know not to step there!Black Beard: Aah!(Black Beard is trapped.)Hook: Oh, I've been meaning to fix that.Black Beard: Finish"}
+{"doc_id":"doc_236","qid":"","text":"\"To Serve and Protect\" 33rd Episode of RoswellProduction Code: 2ADA11[SCENE_BREAK](Episode opens on Max and Isabel at home flipping through television channels)Isabel: There's nothing on.Max: We must have50 channels.Isabel: Crap. . .Crap. . .Max: Uh Huh.Isabel: Boring.Max: Uh Huh.Isabel: I'm going to take a stroll; see what people are dreaming.Max: Haven't you been over doing that lately?Isabel: Take it easy. It'sharmless.Max: It's just not a very nice thing to do.(Isabel leaves, Max yells after her.)Max: Stay away from Liz, please.(He continues flipping through channels)Max: Crap. . .Crap. . .Crap. . .(Isabel is on her bed lookingthrough her yearbook and stops at Liz's picture. We enter Liz's dream at the Crashdown. A young man enters.)Brad: Hello, Liz.Liz: Hello, Brad.(Brad lifts her up, and sets her on the counter. Liz lies down.)Liz: Wouldyou like fries with that.(Brad and Liz start kissing. Max shows up behind the counter)Liz: I'm with Brad now.Max: Brad doesn't even exist. Besides, you want someone who can do this.(Max gestures toward the ceilingand rose petals start to fall. Liz and Max kiss.)Liz: Oh my!Isabel: Even her romantic dreams are boring.(Back to Isabel's room. She looks through the yearbook again and stops on Kyle.)Isabel: Kyle's got to be moreinteresting than that.(We enter Kyle's dream. He's on a mountaintop in a Lotus position with BUDDHA.)Buddha: Remember young blossom, my most important words.Kyle: Yes, master.Buddha: To thine own self betrue.Isabel: It's Shakespeare.Buddha: With every inhale find the center of yourself. With every exhale release the ties that bind your energy. Inhale. . .Exhale. . .Inhale. . .(BUDDHA is interrupted by a cell phonebeeping.)Buddha: Excuse me. BUDDHA here. Yeah. When? Prepare the ship. Standby to beam us aboard.Kyle: Master?Buddha: Our enemies have arrived, Kyle. We must leave Earth and face the dark legion.Kyle: No,no, no, no. I'm here for inner peace, not that science fiction crap.Buddha: Max Evans changed you when he saved your life. You know that. You're an alien now Kyle. Dude, like, accept you destiny.Kyle: No, I'mnot!(Kyle looks down at his hand and it has become green and slimy.)Kyle: Ahhhhh!(Switch back to Isabel's room, where she enters another dream in a forest with flashes of light.)Isabel: Where am I? Kyle, who'sdream is this?(We see a man dragging a screaming girl in a black plastic bag. Isabel wakes up in a panic.)(Opening credits)(Open on Sheriff Valenti's office, the next morning.)Voice (O.C.): Excuse me. I'm looking for abroken-down, old, war-horse somehow managed to make Sheriff of Roswell, New Mexico.Valenti: Hansen, send that sanctimonious paper-pusher in here before I have him arrested for vagrancy.(Man enters)Dan: Damnson, you are getting old.Valenti: Real police work will do that to you, Dan. You should try it some time.Dan: Now, that hurts. Long time, Jimbo.Valenti: Too long. So, I take it this isn't a social call.Dan: The state policeboard wants to review the Hubble shooting. VALENTI: Hubble? Well, it's an open and shut case. Crazy old man with a gun in the desert. It was over a year ago. Why investigate that?Dan: Wheels of justice grindslowly.Valenti: Do I need a lawyer?Dan: Whoa, easy, no need to get all riled up now.Valenti: That was a clean shoot, Dan.Dan: If you say so.(Change to Crashdown. Tess is having breakfast with Kyle. She poursTabasco sauce on her waffles with whip cream and strawberries, and in her orange juice.)Kyle: That's a very alien thing, isn't it? The very sweet, very spicy? TESS: Uh huh.Kyle: Can I try a bite?Tess: You won't likeit.Kyle: Oh, I hope not.(Kyle takes a taste)Kyle: Oh my God.Tess: I told you.Kyle: No,no,no. It's not completely horrible. It's almost tasty.Tess: Oh well, here. Have some more.Kyle: No, no, I can't. This is so wrong. I'mnot ready for this.Tess: Not ready for what?Kyle: For the change. Not ready to be, like, a half-human, half-alien freakazoid.Tess: Uh, we prefer the term 'hybrids'.Kyle: I'm serious. Look, I never bargained for this. Oneminute I'm a normal guy with my whole life ahead of me the next thing I know, Max Evans transmogrifies me into something not-of-this-Earth.Tess: Whoa, whoa, trans-what?Kyle: Look, I never asked for this.Tess:Well, I suppose he could have let you die. Is that what you want? KYLE: If I had died, I would have transcended the mortal plane and been reincarnated into the next stage of my life.Tess: Reincarnated as what,exactly?Kyle: Like, just another person or animal, maybe.Tess: An animal? Like, you could have ended up a gopher or something! KYLE: Look, we're getting off the point. I really need some help.Tess: What do you wantfrom me? I don't know what's going to happen to you. You know, maybe nothing will happen. Or maybe you could develop superpowers and start flying all over Roswell in a big cape. I don't know!(Kyle reaches for Tess'waffles.)Kyle: Could I have another-Tess: No!(Isabel and Max are talking to Sheriff Valenti in his office.)Valenti: Alright, let me get this straight. You can go into people's dreams?Isabel: Yes. But usually I choose whosedreams I go into. This one just came to me.Valenti: Well, how do you know this was real, not just somebody's nightmare you stumbled into?Isabel: I don't know, but it felt real. She needs help.Max: Sheriff, when Tesswas being tortured Isabel got flashes from her, and that's how she knew Tess was in danger. That's how we saved her life. We should check into this.Valenti: It's a little hard to look for a missing girl without a name or aface.(Dan knocks and enters)Dan: Hey, Senor Chows for lunch?Valenti: Yeah, that'd be fine.(Dan looks with interest at Max and Isabel.)Dan: Hi.Max: Hi.Valenti: I'll see you at 1:00, Dan.(Dan exits)Max: Who wasthat?Valenti: From the State Police Board. He's reviewing the Hubble case. Max: Hubble?Valenti: It's no big deal. Dan's an old friend. I'll tell you what. I'll look into it, Okay?Isabel: Thank you.(Dan and Valenti arehaving lunch at Senor Chows.)Valenti: When I ordered him to put his weapon down, he uh. . . he refused, brought the gun up. I felt my life was in imminent danger, so I fired.Dan: Hmm, just like it says in your report.(Dan signals a waiter) Uh, could we have more of these sweet and sour tortillas? They're good, different, but good. So, uh, who were those kids in your office this morning?Valenti: Nobody. Stolen bike.Dan: Hmm, Whatwere their names again?Valenti: Max and Isabel Evans. DAN: Max Evans. . .hmm, I got a statement here says that Hubble was last seen in a car with Max Evans, before the shooting.Valenti: Whose statement?Dan:Was Max Evans there that night?Valenti: No.Dan: Okay Jim, that's all I need to hear.(Move to the Crashdown. Liz is serving food to some customers)Liz: Okay, Umm, we have a Saturn Rings and a Galaxy Sub, hold theMax. (Liz looks at Maria as she realizes her mistake) Okay, so I'll be right back with the Cokes.(Maria pulls Liz aside.)Maria: Okay, what just happened?Liz: I need help. I'm sick, Okay. I am an obsessed person.Maria:Okay, is this a general freakout or should I be concerned?Liz: No, I have Max on my brain 24 hours a day. Okay, I dream about him, I think about him, and now I'm saying his friggin' name without even realizing it.What am I going to do?Maria: You're in love that's all.Liz: I know, but it's not getting me anywhere.Maria: Okay relax, relax, Liz. It's not that bad. I promise.Liz: Not that bad? Really? Why don't you look at this?(Lizpulls out two pictures of Max from her apron pockets.)Liz: See! Obsession, obsession, obsession, obsession!Maria: Okay, okay, you're a Max-aholic. I'm here for you. What can I do?Liz: Get me a life.(a new guy entersthe Crashdown.)Maria: Oh, you gotta be kidding me. When did you get out?Sean: This morning.Maria: You didn't break out did you?Sean: I got a release, good behavior.Maria: That's a first. You don't think that you'regoing to stay with us do you?Sean: Oh, uh, Aunt Amy already gave it the thumbs up.Maria: She is such a soft touch, isn't she?Sean: Hi, Liz.Liz: Hey, Sean.Sean: All grown up. Like it. I'll see you at home.Maria: It's notyour home.(Evans House. Grant Sorenson is flipping through TV channels as Max walks in with a look of distrust.)Max: Grant.Grant: Hey, Max.Max: You're uh. . .Grant: Waiting for Isabel.Max: Oh, right. I'll go check onher.(Max enters Isabel's room. Isabel is hurriedly going through her closest of clothes picking out something to wear.)Max: You know, Grant's downstairs.Isabel: I know.Max: Do you really like that guy?Isabel: Don'tstart with me, Max.Max: What's wrong?Isabel: I just. . .I've been thinking about that girl all day. You know? It was different. It was like she was dreamwalking me.Max: You mean, like, she's an alien?Isabel: No, no, Idon't think so.Max: Well, maybe you should cancel your date.Isabel: You know how many times I have cancelled in the last month? I have no more excuses.Max: Well, tell him the truth. You've been battling evil aliensfor control of the planet and it's hard to fit him in.Isabel: Funny. No, no, I want a normal date with a normal guy tonight. I'm going, so just. . .just tell him I'll be ready in five minutes. Okay? Five minutes.Max: Fiveminutes.Isabel: Yeah, five minutes. Okay? Thank you.(Valenti living room. Kyle is sitting in front of the TV, which is off. He tries out his alien powers by raising his hand toward the screen. Tess walks up behind him andsees what he is doing, so she picks up the remote control and turns the TV on.)Kyle: Oh God, jeez.(Tess laughs quietly to herself and Kyle tries again.)Kyle: Channel 15.(Tess changes the channel with the remote.)Kyle:Channel 23(Tess changes the channel)Kyle: Unscrambled p0rn.(Tess changes again, and Kyle jumps up in triumph.)Kyle: I have become -(he turns and sees Tess behind him.)Kyle: an idiot.Tess: Oh, but a cute one.Hey(Tess tosses the remote to Kyle)(Switch to the movies with Isabel and Grant. Isabel rolls her head from side to side.)Grant: You sore?Isabel: Yeah.(Grant massages her neck.)Isabel: Thank you.(Isabel lays her headon Grant's shoulder and closes her eyes. Suddenly she gets another flash of a young blond girl being kidnapped as she goes to her car. We see drugs and a syringe. Next we see her being dragged in a black bag, by aman. Isabel sits up with a yell.)Grant: You okay?Isabel: Yeah, I'm fine. I'm fine. I'm sorry.(Isabel and Max are in Valenti's livingroom later that night.)Isabel: I need to find her. She's in trouble. She's going todie.Valenti: I thought you weren't sure.Isabel: It's real Sheriff. I know it's happening.Max: You have to find her.Valenti: Find who? What missing girl? No one's been reported. I don't know what she looks like. I don'thave any leads. . .Isabel: I saw her car. It's silver.Valenti: Did you see the plates?Isabel: No, but it's a Honda, or a Toyota, or something. I'm not good with cars.Valenti: Okay, I guess I could start looking through theabandoned vehicle reports. See if it's turned up. Okay?Isabel: Thank you. I'm sorry for barging in like this.Valenti: Hey, hey. It's Okay, alright?Isabel: Thank you.(As Isabel leaves Max talks to the sheriff.)Max: I knowhow all this must look.Valenti: I believe her. I do. I just don't know how realistic it is to think that I'm going to be able to find this girl with this evidence.Max: I know. Thanks.(As Max leaves the sheriff makes a phonecall.)Valenti: Hansen, I'm coming in.(Valenti enters the Crashdown on his way in to the station and sits at the counter by a woman.)Valenti: Large coffee and a warp wrap to go please.Judith Foster: Working lateJim?Valenti: YepJudith Foster: Great match your boy had the other night.Valenti: Yeah, two take downs. Not bad, huh?Judith Foster: Just like his father. Remember that match against the Rangers?Valenti: My God, howdo you remember these things?Judith Foster: I had a crush on you, or didn't you notice?Valenti: I noticed your boyfriend.Judith Foster: I like to call him my husband now.Valenti: How's your girl?Judith Foster: Melissa?Fine, just fine. . . I think.Valenti: Something wrong?Judith Foster: No, it's nothing I'm sure. She went to visit some friends in Santa Fe yesterday and she hasn't called home yet. I know I shouldn't be concerned, but shealways calls. Oh, I'm being silly.Valenti: Melissa drives a silver car doesn't she?Judith Foster: Yeah, Toyota. Why?(Sheriff's station later that night. A deputy is interviewing the woman as Sheriff Valenti enters givingorders.)Valenti: You contacted all the Foster girl's friends yet? I need to know if she turns up.Deputy: OKAY(Valenti turns to another officer.)Valenti: Get highway patrol on the horn. I want every inch of 285covered.(Valenti hands papers to another officer)Valenti: Plate numbers. Run them.(Switch to Mrs. Foster being interviewed)Mrs. Foster: She had an overnight bag and a cosmetics case. Deputy: Does she have a cellphone?Mrs. Foster: No. I took it away from her. She was spending too much money.(Dan enters)Dan: Hey, how's it going?Valenti: Busy. Judith, you have that picture?Mrs. Foster: Yeah, it's right here.(Valenti turnsback to Dan.)Valenti: What's up?Dan: Heard about the missing girl. You're really circling up the wagons here.Valenti: Just doing my job. Excuse me.(Valenti opens his office door.)Dan: Who you got in there?(Valentiturns back and looks at Dan but doesn't answer, then continues into his office and closes the door. Max and Isabel are waiting. He hands Isabel a picture of Melissa Foster.)Valenti: Is this her?Isabel: The hair's the rightcolor. I think so.Valenti: Are you sure?Isabel: I never saw her clearly, but it's her. It has to be.Valenti: I hope you're wrong. I've known the Fosters for years.Max: Well, I don't recognize her.Valenti: She goes toGoddard High.Isabel: The terror. I felt it so clearly in the last dream. We have to get her back. I need to.Valenti: You and me both.(Change to the next day in the Crashdown where Maria is serving Sean.)Maria: In caseI haven't told you this. You dine n' dash here, you die.(Sean reaches into his pocket and lays money on the table.)Maria: Is there a tip in there?Sean: Just give me the burger.Maria: How about a little talk, hmmm?Alright, in our house there are rules, and as strange, unimaginable, and bizarre as it may seem - we live our lives by these very simple rules.Sean: Okay.Maria: Rule one, toilet seat is left down. Rule two, underwear arenot left on the floor, no. Rule three, milk is poured into a glass, not directly consumed by the carton. Rule four -Sean: There a lot of these rules?Maria: Don't worry, I'll write them down for you, assuming of course, thatyou can read.Sean: Of course.Maria: Now, pay attention please. Rule four is very important. Leave Liz alone.Sean: Why, is she part of that house too or something?Maria: I am not kidding, Sean. She is way off limits toyou. Okay? Way, way, off limits.Sean: Way.Maria: Look, I saw the way you looked at her, alright? 'All grown up. I like it' No, it's not going to happen, Sean.Sean: Okay.Maria: She's in a very delicate and fragile place inher life right now.(We hear Liz yelling off camera)Liz: Dammit Eddie, where's my order?(Sean looks questioningly at Maria)Maria: I'm serious.Sean: I hear you, alright? Leave her alone. I get it. What do you want fromme?Maria: I'll give you the list by the end of the day.[SCENE_BREAK](Switch to Isabel in her room. She lies on her bed and tries to dreamwalk. After some restless tossing she sees the blond girl again being dragged inthe forest. This time we see the face of the man and it is Grant Sorenson. Isabel wakes up very upset and Max is shaking her.)Isabel: No! Oh, no! It can't be!Max: You started crying Isabel. What happened?Isabel: No,Oh God! It's Grant! It's Grant. I saw him. I saw him. Oh God! Oh God. No.(Change to Valenti's Office, where Isabel and Max are talking to the Sheriff.)Valenti: Sorenson?Isabel: I'm positive.Valenti: Alright, I'll take careof it.Max: You want us to help?Valenti: Not this time.(Switch to a daytime shot of a golf course. Valenti is calling to a judge who is playing golf.)Valenti: Your honor! Your honor!Judge: Hello, Sheriff.Valenti: The womanwho came forward is positive she saw Grant Sorenson with Melissa Foster.Judge: You have a history with this Sorenson character don't you? Uh, he filed a complaint?Valenti: That was a misunderstanding, sir.Judge:Yeah, you searched his room without a warrant, shoving a gun in his face.Valenti: Your honor! Your honor! A girl could be dying here!Judge: You hurry and get me probable cause, then you'll get your warrant;otherwise, you're ruining my handicap.(Change to Grant Sorenson's campsite as The Sheriff and Hansen drive up.)Valenti: Check the car. We're looking for a large vinyl bag; seven foot by three.Grant: What the hell'sgoing on here?Valenti: We need to do a little looking around Mr. Sorenson.Grant: For what? My igneous rock collection?Valenti: Do you know Melissa Foster?Grant: I heard she was. . . What is this? Every time someonedisappears I become your number one suspect?Valenti: What were you doing last Friday night?Grant: I drove to Carlsbad. That's the opposite direction from Santa Fe. VALENTI: How did you know Miss Foster went toSanta Fe?Grant: It's common knowledge. The whole town is talking. Sherrif, you got a warrant?Valenti: What were you doing in Carlsbad?Grant: I went to pick up some equipment.Valenti: We heard you were out herein the middle of the night.Grant: That's not a crime.Valenti: Depends upon what you were doing.(Valenti comes to Grant's tent and opens the flap. He sees a large black vinyl bag like the one in Isabel's visions, andpulls it out.)Grant: Don't touch that.Valenti: What are you doing with this bag?Grant: Transporting equipment.Valenti: I need to see what's inside it. Open it up.Grant: I can't do that.Valenti: Well if you won't then I will.Step aside.Grant: Sheriff, this is ridiculous.Valenti: Back off!(Grant moves aside and the sheriff unzips the bag to find equipment.)Valenti: What is this?Grant: It's equipment, photosensitive equipment. They use it incaverns like in Carlsbad. That's why I work at nights. It's the only time to get proper readings. You don't have a warrant do you?(Switch to Valenti's office where Dan is waiting for him.)Valenti: Dan.Dan: Okay, cards onthe table, Jimbo. What's going on here?Valenti: I'm in the middle of an investigation.Dan: Where you been the last four hours?Valenti: Following a lead. Checking out a suspect. Anymore questions? DAN: Yeah, you geta warrant for Sorenson this time?Valenti: You always know more than you let on, don't you Dan. I should have remembered that the day you walked through my door.Dan: It's part of my job, Jimbo, and what I knowright now is you disappear for days on end and you spend a lot of time lately with teenage kids. That's awful strange behavior.Valenti: This isn't about the Hubble case is it? What the hell is going on here?Dan: The StateBoard has had you in their watch file for a long time now, what with your reputation for chasing UFO's and what not. But right now it's your own men that are talking, and they want to know what's happened to theirsheriff.Valenti: I don't owe them an explanation.Dan: You owe me!(Valenti and Dan start yelling at the same time.)Dan: You're crossing a lot of lines and I want to know why!Valenti: I haven't been able to carry on aninvestigation. A girl's life is on the line.(The two men are interrupted by a knock on the door.)Valenti: What!Hansen: Uh, Sheriff. I'm sorry but, uh. .(Hansen shows a young blond girl into Valenti's office.)Dan: Can wehelp you?Girl: Yeah, hi. I'm Melissa Foster. I heard you were looking for me.(Switch to an alley outside the Sheriff's station where Valenti is talking to Max and Isabel.)Valenti: Girl said her car gave out halfway to SantaFe. Next day she had it towed. No kidnapper, no needles, no bags and no desert.(Isabel hangs her head.)Valenti: Isabel, it's alright. Melissa's safe. Her family's happy. Nobody got hurt.Max: What about you?Valenti: I'llhave some awkward questions to answer but I'm sure it will blow over.Isabel: Sheriff, I am so sorry. I don't know how I could have been so wrong. I . . .Valenti: Hey, you didn't do anything wrong. You have gifts therest of us don't, and I trust those gifts. And if anything like this ever happens again, I want you to come to me. I'll be fine.(Back in Valenti's office where Dan and the Judge are questioning him.)Judge: What the hell iswrong with you? You conduct an illegal search after I say no!Dan: You know, Sorenson has filed a 15 million-dollar civil suit against the city.Valenti: For what? Because I ruined his stupid experiment? He's gonna belaughed out of court.Judge: I'm half tempted to have you thrown into your own jail on a contempt citation.Valenti: I'm sorry. Okay, I was wrong. I had a hunch. I had to follow it. JUDGE: A hunch! You told me you had awitness!Dan: You told Judith Foster you had two witnesses! You terrified that family! I spent all day trying to calm them down.Valenti: There are two witnesses, but I promised them anonymity. I can't break thatpromise.Dan: We talking about those kids again.Valenti: NoJudge: What kids?Dan: Max and Isabel Evans.Valenti: This has nothing to do with them.Judge: Then who? I want names and I want them now.Valenti: I'm"}
+{"doc_id":"doc_237","qid":"","text":"5:50pm - 6:15pm[SCENE_BREAK]1: EXT. KING PRIAM'S PALACE. BALCONYCASSANDRA: Then woe to the House of Priam. Woe to the Trojans!PARIS: I'm afraid you're a bit late to say 'whoa' to the horse! I've justgiven instructions to have it brought into the city.[SCENE_BREAK]2: EXT. PLAIN OF TROY(The horse moves slowly forward to the city. At its feet, the excited, but doomed crowd can be heard.)[SCENE_BREAK]3: INT.CHAMBER OF KING PRIAM'S PALACE(All except VICKI have come back from the balcony and back into the chamber. She is nowhere to be seen but her absence is not immediately noticed.)CASSANDRA: Of all the idiocy!To have it brought into the city!PARIS: (Despairing.) Why? Th...that horse is in the image of one of our gods!CASSANDRA: It's a trick. My dreams have always been right and they foretell disaster.(PARIS laughs in asneering fashion.)PARIS: Now were they right about that little temple? That has brought us nothing but good luck.CASSANDRA: Good luck you call it. The whole family besotted by that sorceress!PRIAM: Oh, I do wishyou'd stop calling Cressida that. And I would call it luck to have the entire Greek army removed from our shores. Peace, at last! Though the arrival of the horse is a little puzzling.PARIS: Well, Cressida probably arrangedit and the very sight of it just...just frightened the Greeks away.(TROILUS looks round at this reminder.)TROILUS: (Puzzled.) Where is Cressida?(The others also glance round the room.)PARIS: Oh, she's probably downin the square watching them bring in the horse.TROILUS: Oh, then I'd better go and look for her. I don't like her to go wandering round the city on her own.PRIAM: No, bring her back up here again she'll get a betterfulview.(As TROILUS leaves and PRIAM and PARIS go back up to the balcony, CASSANDRA moves to the back of the room where KATARINA, a handmaiden, is standing and whispers to her.)CASSANDRA: Katarina! Go andlook for the sorceress. I don't trust my lovesick brother.KATARINA: But great priestess, the auguries said that...CASSANDRA: (Hisses.) Do you dare to question me?!(KATARINA hangs her head in fear.)KATARINA:No.CASSANDRA: Very well then, go and watch for that girl.(KATARINA leaves the throne room worriedly as CASSANDRA goes back onto the balcony.)[SCENE_BREAK]4: INT. KING PRIAM'S PALACE. DUNGEONS(VICKI isdescending into the gloom. STEVEN sees her approaching through the bars.)STEVEN: What's going on up there?(VICKI unbolts the door.)VICKI: They're just bringing the horse into the city. Follow me.(STEVEN leavesthe cell and follows her as instructed.)[SCENE_BREAK]5: INT. WOODEN HORSE(The Horse is still banging from side to side with a very uncomfortable DOCTOR within...)DOCTOR: Oh, I'm still very worried about thosefetlocks!ODYSSEUS: Be happy that's all you have to worry about. Ah! Of all the undignified ways of entering a city this takes the flying phoenix.DOCTOR: If only you would have allowed me another day to fit shockabsorbers.[SCENE_BREAK](The DOCTOR is almost knocked from his feet by the movement of the horse as it suddenly stops.)ODYSSEUS: Zeus be praised! We've arrived.DOCTOR: (Relieved.) Oh! Well now, what is ityou propose to do, hmm?ODYSSEUS: We wait Doctor, without movement.(The DOCTOR makes a noise as he does move.)ODYSSEUS: (Whispers loudly.) In absolute silence![SCENE_BREAK]6: EXT. TROY. MAINSQUARE(The towering Horse stands in the main square. A chattering crowd can be heard below it.)[SCENE_BREAK]7: EXT. KING PRIAM'S PALACE. BALCONY(PARIS is rather pleased with himself as he, the King andCASSANDRA look down on it from the balcony.)PARIS: There, father, the horse is safely installed. And you may notice my sister that nothing, er, \"disastrous\" has occurred.CASSANDRA: Wait and see. There's time yetand mark my words that horse will be the doom of Troy.PRIAM: It's a little more rough-hewn than I had expected. Well, since it's here, we'd better take a closer look.[SCENE_BREAK]8: EXT. MAIN SQUARE OFTROY(STEVEN and VICKI are moving behind pillars to avoid the inhabitants of the city who themselves are heading in the direction of the Horse. The two companions reach the edge of the square and look up at thetowering structure. STEVEN is impressed.)STEVEN: That's some horse.VICKI: If you can call it that.STEVEN: The Doctor said...(He cuts off as a group of Trojan citizens begin laughing close by. STEVEN realises he is stilldressed as a Greek and pulls VICKI away back from the crowd and into better cover.)VICKI: It'd be pretty silly if they caught you again.STEVEN: Hmm, and you!VICKI: What do you mean?STEVEN: Well, if they find ustogether they'll know you let me out.(VICKI indicates the Horse.)VICKI: They think I invoked that thing. I'm all right.STEVEN: Yes, only so long as they think it's a gift from the gods. They'll know very differently oncethe Doctor and company come out of it.VICKI: Do you think he's in it?STEVEN: Well, it's likely, isn't it? I mean he'll be worried about getting back to the TARDIS.VICKI: He must be able to see he's got nothing to worryabout. That thing is so rickety it must be full of people.STEVEN: Oh right, you'd do better in the time they had? Now, I wonder why he didn't delay like we asked?VICKI: He must have a plan of escape - to rescue us.Cyclops must have told him where we were.STEVEN: If Cyclops got through.VICKI: Look!(VICKI suddenly notices KATARINA moving through the crowd as if searching for something or someone.)VICKI: That is one ofCassandra's girls.STEVEN: (Whispers.) What?VICKI: That girl, I've seen her with Cassandra. She's a handmaiden at the Temple or something.STEVEN: Then she must be looking for you. Look, you go back. I'll findsomewhere to hide around here.VICKI: Look they trust me, I'd...STEVEN: (Interrupting.) Better go! In any case, Troilus will die of jealousy if he knows you're with me.VICKI: And what is that supposed tomean?STEVEN: (Laughs.) Oh come off it, Vicki. The way you two were carrying on back there in the...VICKI: (Interrupts angrily.) Troilus has been very kind to me and I'm very fond of him and if all you can do is makeremarks like that...STEVEN: (Laughs.) I'm sorry, I'm sorry!(He sees that VICKI is upset and adopts a more gentle manner.)STEVEN: No really, I am sorry. Okay, but look, if you really are that fond of him, you'd bettertell him to get out of the city.VICKI: Why?(She looks again towards the horse and the realisation of what is to come dawns on her.)VICKI: You mean when they come out of that thing they...Steven!STEVEN: It's possibleisn't it? Tell him to get out of Troy, just to be on the safe side.(The TARDIS sits small near the looming and ominous Horse.)[SCENE_BREAK]9: INT. CHAMBER OF KING PRIAM'S PALACE(TROILUS comes running into thechamber where PARIS, PRIAM and CASSANDRA are gathered. The noise of the crowd reaches them from outside.)TROILUS: Diomede! He's gone.PARIS: Gone?TROILUS: His cell's empty. The guards were locked in by atrick so they say.CASSANDRA: That Cressida! Troy's doom is nigh!TROILUS: But how could it be? She's one girl!CASSANDRA: (Spits.) A girl you call her, you love sick fool! But I know she's a witch and must be burnt,along with that horse out there.(CASSANDRA suddenly sees VICKI entering the room.)CASSANDRA: See! There she stands.(TROILUS and PARIS both start shouting at once.)TROILUS: ... !PARIS: Now did you ever seesomeone so unlike a witch?PRIAM: (Interrupts.) Now, now quiet all of you. (To VICKI, gently.) Come here my child, where have you been? We've been worried about you.VICKI: I've just been out.PRIAM: Yes, butwhere?TROILUS: Look you didn't free Diomede did you?VICKI: Diomede?PRIAM: Yes - your friend, the Greek prisoner, he has escaped. Did you set him free?PARIS: Oh, that's nonsense. I mean how could shehave?CASSANDRA: By sorcery.VICKI: I am not a sorceress - really I'm not.PRIAM: Yes, I...I'll believe you my child, but you must forgive us if we are naturally suspicious. This has been a long and difficult war and peacewill take a little bit of getting used to.CASSANDRA: My handmaiden Katarina will stay with her.PRIAM: Very well. Come my children, our people have gone to the square of ot...oratory. We must go and join them thereand I must speak. And we must also make plans for the celebration. (To VICKI.) Thank you, my dear, see you later.VICKI: Thank you, thank you for being so kind to me.PRIAM: My dear child, this city owes its salvationto you.(PRIAM and the others depart leaving VICKI alone with KATARINA. VICKI is anguished.)VICKI: Oh no, let it not happen.KATARINA: Did you want something?VICKI: No, thank you.[SCENE_BREAK]10: INT.WOODEN HORSE(Inside the Horse, the DOCTOR is agitated while ODYSSEUS stares into space.)DOCTOR: How you can sit there so peacefully defeats me, hmm! Have you no feelings, mm? No emotionshmm?ODYSSEUS: I was thinking, Doctor.DOCTOR: Hmm!ODYSSEUS: That with any luck, either Agamemnon or Achilles will not come through.DOCTOR: You mean they'll desert us, hmm?ODYSSEUS: No...DOCTOR:Hmph!ODYSSEUS: ...die. Just a hope. One less finger in the pie, a greater share of the booty for me.DOCTOR: That is a most immoral way of looking at life, hmm!ODYSSEUS: Nonsense! It's the reason that I've beenhere for ten long years fighting all the time.DOCTOR: Yes, well, I must get out of here at once.ODYSSEUS: You can't.DOCTOR: (Sarcastically.) Ahh! I've only got to pull that lever...(The DOCTOR taps a woodenlever.)DOCTOR: ...and I can get back down into the square.ODYSSEUS: (Laughs.) Yes, yes. But as I happen to be sitting on the rope, you'll fall forty feet and break your neck.DOCTOR: (Shouts.) I will not be party toyour schemes! (Quieter.) You forced me to invent this contraption.ODYSSEUS: I'm very glad I did, Doctor.DOCTOR: Hmm?ODYSSEUS: Up to now, it's been very satisfactory.DOCTOR: You had no right to bring me hereat all. I'm utterly useless to you.(ODYSSEUS laughs heartily, and sarcastically the DOCTOR joins in.)DOCTOR: You must let me out of here! You're selfish, greedy, corrupt, cheap, horrible. Your one thought is foryourself and what you can get out of it.(ODYSSEUS places a sword at the DOCTOR'S throat. The DOCTOR starts.)ODYSSEUS: Be quiet, old man.DOCTOR: I will not be quiet! You may stay here if you wish to have yourinsignificant win. Your victory or whatever you call it, but you must let me out of here.ODYSSEUS: One more word out of you and I shall kill you! You would be my first victim in Troy.(The DOCTOR steps away from thehatch and ODYSSEUS lowers his sword.)ODYSSEUS: That's better. About now our ships should be returning...as you planned.(The DOCTOR snorts in a derisory manner.)[SCENE_BREAK]11: INT. CHAMBER IN KINGPRIAM'S PALACE(KATARINA is asleep in a chair. VICKI comes down the steps from the balcony as TROILUS enters the chamber.)TROILUS: Cressida.VICKI: Oh! Oh, I'm so glad you've come.TROILUS: I had to seeyou.VICKI: Troilus, dear Troilus, will you do something for me?TROILUS: Anything.VICKI: Leave the city.TROILUS: Why?VICKI: It's Diomede.TROILUS: Diomede?VICKI: I'm sure he's out on the plain. You've got to goand look for him and find him. If you bring him back you'll prove yourself the warrior you really are, he'll be your prisoner then as well as Paris'.TROILUS: But he may have been rescued by the Greeks by now.VICKI: Nono no, Paris said they'd all gone away and that was before he even escaped.TROILUS: (Suspiciously.) Why this concern for Diomede? Is he? Do you? I mean...are you in love with him?VICKI: No, he's just afriend.TROILUS: Then if he's your friend, why do you want him captured? To be a prisoner of war's considered very bad form.VICKI: But... Oh, why won't you see? Go out and search for him on the plain!TROILUS:Cressida, I said I'd do anything for you and a Trojan stands by his word, but please, why do you want me to leave the city and go and search for a highly skilled Greek warrior?VICKI: He isn't armed. I wouldn't send youout there if I thought anything could happen to you. I just want you to...I just want you to catch your own prisoner.TROILUS: Did you mean that? About not wanting me hurt?VICKI: Of course I did, I wouldn't ask you todo it otherwise.TROILUS: Oh, Cressida.VICKI: You haven't got time, you've got to go now.(VICKI'S tears well in her eyes.)TROILUS: Don't worry, everything's going to be all right.(They embrace and TROILUS leaves.VICKI remains tearful)[SCENE_BREAK]12: EXT. MAIN SQUARE OF TROY (NIGHT)(It is night and the city is quiet. A sentry walks past the Horse. After he has gone, a rope descends from the immense wooden horse, andthe Greek soldiers drop to the ground. Eventually the DOCTOR comes uncomfortably down the rope followed by ODYSSEUS.)ODYSSEUS: ... ! Come!(As the Greeks move along, they silently kill a sentry.)DOCTOR:Ahh!ODYSSEUS: This plan of yours, Doctor...is going to be a great success. Stay close to me.(ODYSSEUS motions his men and the DOCTOR to move out across the square.)[SCENE_BREAK]13: EXT. PLAIN OF TROY(NIGHT)(Outside the walls of Troy, TROILUS is searching frantically.)TROILUS: Diomede!(ACHILLES, who has been watching from behind some rocks, comes into view of the young Trojan.)TROILUS: Diomede where areyou!ACHILLES: What ails you, petty Princeling? Lost some plaything? The one you call for is long dead.TROILUS: You're a Greek! I thought you'd sailed away. Who are you?ACHILLES: You should not ask. My name isAchilles.TROILUS: My brother's murderer!ACHILLES: So Prince Troilus, is it? Well, I killed your brother fairly. Fought him man to man. Alas I cannot do the same for you. This would be the murder of a boy!TROILUS:Has Cressida played me false? Very well, I'll fight my brother's murderer for I only live to kill Diomede!ACHILLES: Who is already dead. So follow him, Trojan!(They draw swords and fight ferociously, as they wheelround and round. ACHILLES is surprised by TROILUS' ability and strength for his slender frame but the Trojan is determined to avenge the death of his brother. ACHILLES trips and falls and TROLIUS moves in with hissword and stabs at the Greek. ACHILLES cries out in pain.)TROILUS: So died my brother.(He pushes his sword in again.)TROILUS: The wheel has spun full circle.(He goes to complete the task but ACHILLES, althoughwounded, manages to strike at TROILUS before he dies. TROLIUS staggers away from the body.)TROILUS: Diomede, I live to call down wrath for love of Cressida.[SCENE_BREAK]14: EXT. MAIN SQUARE OF TROY(NIGHT)(A single Greek soldier pushes open the immense main gates of Troy. As he does so, the Greeks outside pour into the city with a cry.)[SCENE_BREAK]15: INT. CHAMBER IN KING PRIAM'S PALACE(In the palace,PRIAM is pacing nervously as he hears the destruction of his city outside. CASSANDRA waits angrily by the window. A terrified female scream reaches them.)PRIAM: What noise was that?(PARIS can be heard outside theroom in a fight. He enters the chamber, bleeding and exhausted.)PARIS: Father!PRIAM: What are you doing?PARIS: It's the Greeks! They were inside the horse and our gates are open to the enemy.CASSANDRA: Andnone of you would listen to me!(ODYSSEUS enters steeped in triumph, he is enjoying himself. He laughs heartily as his soldiers follow him in. PRIAM, CASSANDRA and PARIS turn to run.)ODYSSEUS: Flee hornets intheir nest! (Laughs.) Kill them!(His soldiers run after the King and PARIS as CASSANDRA is thrown into ODYSSEUS' arms and he grabs her laughing.)[SCENE_BREAK]16: EXT. TROY(The city is now onfire...)[SCENE_BREAK]17: EXT. MAIN SQUARE OF TROY(The DOCTOR has managed to give the Greeks the slip and has made his way to the TARDIS. VICKI sees him and runs towards him, KATARINA following.)VICKI:Doctor!(She runs into his arms.)VICKI: Oh, Doctor!DOCTOR: Oh, my dear child! (He laughs.) Oh, how lovely to see you! Where have you been all this time, hmm? And where's Steven?(VICKI points across thesquare.)VICKI: (Frantically.) Doctor he's over there, but I've got to talk to you.DOCTOR: Oh now one thing at a time child. Where's the young man?(VICKI calls over to the waiting handmaiden.)VICKI:Katarina?DOCTOR: Hmm?(The Trojan handmaiden steps forward.)VICKI: Katarina, this is the Doctor. Now go and find the man you call Diomede. He's hiding amongst those pillars over there.KATARINA: You're from theother place?DOCTOR: But who is this child? Now pull yourself together, we've got to go, hmm?VICKI: Katarina, go and find Diomede - he will be there. Bring him to...my temple, quickly.DOCTOR: We must all go andfind him, come along!VICKI: No, Doctor, into the TARDIS. Quickly.(She desperately pushes the DOCTOR towards the door of the TARDIS.)DOCTOR: Yes, but my dear child, the boy, the boy...VICKI: Open the door andlisten to me please!DOCTOR: Yes, yes, but be patient.VICKI: Steven is safe, Katarina will bring him...(The DOCTOR talks over VICKI as he unlocks the TARDIS door.)DOCTOR: Yes I know, patience, patience...VICKI:Come on, I've got to talk to you!(She pushes him into the TARDIS.)DOCTOR: Oh![SCENE_BREAK]18: EXT. ANOTHER PART OF THE MAIN SQUARE(STEVEN'S hiding place is not safe at all - his Greek soldier's robes havecaught the attention of a Trojan warrior and they are fighting. Steven is wounded in the shoulder but another Greek enters the fray and the two move off fighting. STEVEN has fallen to the floor which is where he isfound by KATARINA.)KATARINA: Diomede, Cressida has sent me.STEVEN: Who are you?(He is badly wounded and has very little strength left. KATARINA helps him up.)KATARINA: I've come to take you to your temple.Oh, come, quickly.STEVEN: I can't.KATARINA: Lean on me.(She holds the weakened STEVEN and leads him away.)[SCENE_BREAK]19: EXT. MAIN SQUARE OF TROY(Across the square, the door to the TARDIS opensand VICKI steps sadly out. She walks off. A moment later, the DOCTOR emerges and watches her go.)[SCENE_BREAK]20: INT. CHAMBER IN KING PRIAM'S PALACE.(PRIAM and PARIS lie dead. ODYSSEUS hasCASSANDRA by the shoulders and is shaking her violently as she resists.)ODYSSEUS: Stop struggling woman! You are reserved for Agamemnon and he's welcome to you!CASSANDRA: Tricksters! You Greeks will neverlearn to fight honestly!ODYSSEUS: But we win!CASSANDRA: Not for long. The day will come when you will perish as you made us do!ODYSSEUS: Take her away.(He throws her to his soldiers.)ODYSSEUS: Thehigh-born are reserved for Agamemnon! I can't wait to see him enjoy a talk with this one.CASSANDRA: (Spits.) Ten long years we fought you, Odysseus! And ten long years it'll be before you see your homeagain!ODYSSEUS: To Agamemnon with her!CASSANDRA: Oh!ODYSSEUS: To his ship. A personal present from me.(CASSANDRA is dragged struggling away.)CASSANDRA: Keep your hands off me! Keep your...hands offme! Oh![SCENE_BREAK]21: EXT. MAIN SQUARE OF TROY(The DOCTOR helps KATARINA to get STEVEN to the TARDIS.)DOCTOR: Now then, you sure it's just the shoulder, hmm?(KATARINA nods.)DOCTOR: Right well,steady, steady, hold tight, hold on.(The DOCTOR steadies STEVEN with KATARINA as he tries to get his key out.)DOCTOR: Yes, Careful, just a minute, careful, careful with him.(He opens the door.)DOCTOR: Oh dear,dear, this business. There we are. Now, come on bring him in...bring him in there.(He points at to the open door of the TARDIS. KATARINA helps the almost unconscious time traveller into the TARDIS. The DOCTORcalls to them from outside.)DOCTOR: Gently, carefully, that's it, that's it, put him on the couch.(As the DOCTOR is about to enter the TARDIS, ODYSSEUS rushes in with his troops with swords drawn. He turns awayfrom the open door.)ODYSSEUS: Stand still old man - or you die! I claim your machine as part of my share!DOCTOR: Share of what?ODYSSEUS: The spoils of war!DOCTOR: Now you stand back. I've gone far enoughwith you, my Lord Odysseus. You go adventuring on your own. Be off with you!(He laughs and rushes into the TARDIS. ODYSSEUS yells to his soldiers.)ODYSSEUS: Seize it! Come on, move! Quickly...a cart!(TheTARDIS begins to dematerialise.)ODYSSEUS: (In a rage.) Doctor!(As ODYSSEUS and the soldiers watch in awe, the ship fades away.)ODYSSEUS: Zeus! (Laughs.) I wonder...were you really Zeus, afterall?[SCENE_BREAK]22: EXT. PLAIN OF TROY(TROILUS is bereft as he watches his beloved city burn in the night.)TROILUS: Cressida! Cressida! Could you have betrayed us?(He almost screams in pain...)TROILUS:Cressida!(He sinks to his knees as someone stands next to him. He looks up and sees VICKI.)VICKI: I came to find you.TROILUS: Cressida what are you doing here. Where's Diomede?VICKI: He's gone...with...another"}
+{"doc_id":"doc_238","qid":"","text":"LUCAS: Mom![LUCAS' HOUSE. KAREN is working at the table. LUCAS walks into the room, whering a robe and a towel around his neck, shampoo still in his hair]LUCAS: Mom, did you forget to pay the water bill?KAREN:No, of course I paid the water bill. [She sees LUCAS and walks over to the sink and tries the water there. It doesn't work] See? This is what we need the emergency Visa for. Something must've broken. I'll take care ofit. Come on, lets get you rinsed.[LUCAS leans over the sink and KAREN pours a water jug over his head. She laughs]LUCAS: How is this funny, Mom?KAREN: How is this not funny?[THE SCOTT'S HOUSE. DAN andNATHAN walk into the kitchen to find a WOMAN preparing a salad]WOMAN: Hey. Check it out. It's called 'dinner.'DAN: Who is that lady? Is that my wife?[NATHAN looks pleasantly surprised]DAN: I didn't think you weregetting back until Monday.WOMAN: I wasn't. Until I sweet talked Ziodex into doubling their 'Gift to AIDS'research. It took me all of one meeting.DAN: Wow, I'm impressed. You sure you don't want to quit saving theworld and come sell cars with me?DEB: Mmm, thanks, but I like the Frequent Flyer miles.[DEB walks over to NATHAN and gives him a hug]DEB: Hey. How's my boy?NATHAN: I have warm-ups, Mom.DEB: Oh, come on,sit. Dinner's almost ready and I haven't seen you from weeks.NATHAN: I can't. I got to go. Don't wait up.DAN: Nathan. Remember what I told you. He can't shoot if he doesn't have the ball.[THE GYM. The RAVENS areall gathered around WHITEY and the cheerleaders are chanting]WHITEY: Damnit, this is a team, not a Chinese fire grill. Scott, you're plain selfish. Getout there and pretend you know each other.TIM: Ravens on three.One! Two! Three!TEAM: Ravens!WHITEY: Lets go, lets go, lets go![THE GYM. PEYTON and BROOKE are supposed to be cheering off to the side]BROOKE: Hey, can I catch a ride with you to Nathan's party later.PEYTON:I didn't think you were going. I figured you'd be hiding out in Lucas' backseat again.BROOKE: Jealous.PEYTON: No.BROOKE: What? I could see it. You're both so broody. You could brood together.[THE GYM. The game'sgoing on. As they play, the announcer's announcing]ANNOUNCER: Now the Ravens in bound with the ball. Looks like they're trying toisolate Nathan Scott on the baseline. The Masenberg defense tightens on him. Scottbattles through, still working hard to get open down there. Now Tim Smith, with the ball, working over on the wing. He's dribbling, looking for Nathan underneath, but he's not there. And now- Oh! Oh! A cross courtpass putting Lucas Scott over the basket.[KAREN'S in the audience. She's grinning. DAN, on the other hand, is not]ANNOUNCER: So much for the putty grip on that one as the Ravens fall back on the bench.NATHAN:[Screaming at TIM] What was that?ANNOUNCER: And I tell you what, Lucas Scott is really starting to gel with this team.[THE GYM. The game's over, and most of the people have already filtered out. NATHAN and TIMare walking across the gym, and NATHAN'S angry]TIM: He had a better angle. I'm sorry. Nathan, come on, Man. I'm just trying to win.[THE GYM. KAREN'S standing with LUCAS]KAREN: So are you excited?LUCAS:What? That we won?KAREN: No, because there's running water in the locker room. We're gonna be roughing it until tomorrow.[LUCAS laughs]LUCAS: It's okay...[THE GYM. NATHAN walks up to DAN]NATHAN: What'sup, Dad?[DAN looks at him then walks away. DEB walks up to NATHAN]DEB: Nice game, sweetie.[NATHAN looks toward the direction in which DAN walked away]NATHAN: Try telling that to Dad.[As NATHAN walks overto LUCAS, he hears a woman say to her son \"I'm proud of you. I'll see you later\"]NATHAN: Two decent games in a row, man. Getting better or just lucky? [Pause] Team's got a party tonight. My parents' beachhouse.LUCAS: Why are you tell me that?NATHAN: Because I said the team, didn't I? [Pause] Look, it's kind of the off season. Might as well deal with it.[THEME SONG PLAYS][A STREET AT NIGHT. LUCAS is driving theBody Shop truck and HALEY'S sitting in the passenger street]HALEY: The guys kidnapped you, trashed your court, threatened you with bodilyharm. Party, yeah. Sure, why not?LUCAS: Okay, listen, I know it's all asetup, alright? But I'm not gonna let him screw with me. Whatever he dishes out he's going to get back double.HALEY: Do you think maybe- I mean, just maybe- he's had a change of heart?LUCAS: Hmm. That requiresa heart.[THE STREET IN FRONT OF NATHAN'S PARENTS' BEACH HOUSE. PEYTON pulls to a stop. BROOKE'S in the passenger seat]BROOKE: Every time I ride with you, I swear I'm never going to do it again.[PEYTONgets out of the car, and BROOKE follows]BROOKE: Keys?PEYTON: Tempt fate.[TIM walks up to PEYTON]TIM: Peyton. You've got to talk to him. Lucas had the better shot. You saw it, right?BROOKE: Tim? Are you beingpathetic?[TIM rolls his eyes and turns around just as LUCAS' truck pulls to a stop]TIM: What's he doing here?[NATHAN walks over]NATHAN: I invited him. I mean, since you guys are such great friends now.PEYTON:What are you trying to pull?NATHAN: Nothing.[LUCAS and HALEY get out of the truck and walk over]NATHAN: I wasn't sure you'd come.LUCAS: That makes two of us.NATHAN: [To HALEY] Hi. I'm Nathan Scott.[Heholds out his hand and HALEY shakes it]HALEY: Um, yeah, I know, I'm Haley.[NATHAN walks inside with LUCAS and HALEY, passing PEYTON on the way. She looks suspicious][INSIDE THE BEACH HOUSE. NATHAN,PEYTON, BROOKE, and TIM walk into a room]BROOKE: Tonight's gonna be great.[TIM smiles and the four walk past the camera, right as LUCAS enters. He's looking around. HALEY whistles]HALEY: Well. I bet theirplumbing works.[LUCAS laughs]HALEY: I'm just saying...LUCAS: Alright, thanks.HALEY: Yeah.[BROOKE walks up to TIM, PEYTON, and NATHAN, and another guy and girl who are standing elsewhere in the room.BROOKE'S holding a newspaper]BROOKE: Have you guy's seen this?GIRL: Uh-uh.BROOKE: The High School Fearleader. It's a comic strip. [Pause] Wait, this is insulting, right?GUY: My dog can draw better thanthis.BROOKE: Really, what guy keeps his hat on during s*x?[NATHAN looks at PEYTON]BROOKE: Who is this socky person anyway?NATHAN: [Still looking at PEYTON] Yeah, I wonder.PEYTON: It's just a stupid comicstrip. Who cares, right?BROOKE: It's more like sucky. Whoever it is doesn't know the first thing about it. It's like so...LUCAS: Shallow?[PEYTON looks at LUCAS]PEYTON: Where's the keg?[NATHAN'S ROOM. As DANpasses the door, he noticed DEB is in there. He steps in]DAN: You okay?DEB: He used to ask before he put stuff up. Now... I don't even know what he's interested in. [Pause] Besides basketball.DAN: Basketball. Yeah,seems like it changes from day to day.DEB: Mmm. [Pause] He talks to you, Dan. How's he been doing?DAN: Well, he's holding up considering Whitey's moved him out of his position, but it's probably temporary.DEB: Iasked you how he is, not how he's playing. It must be confusing for him withLucas on the team now. [Pause] Were we going to talk about that?DAN: I think that's probably temporary too.DEB: You think or you wish?[Pause] Um I, I saw Karen at the game tonight, but then... I've never really spoken to her.DAN: I know this is hard on you, Deb.DEB: No, not really. I think it's harder for you and Nathan.[BEACH HOUSE PARTY. LUCASand HALEY are walking]HALEY: So, I know you're like, having the time of your life, but can we please makelike a tree and get out of here?LUCAS: We just got here.HALEY: Whatever. You let me know when you'veproved your point. I'm going to go to one of the eighteen bathrooms in this place.LUCAS: Gonna be back in five?HALEY: Yeah.LUCAS: Alright[HALEY leaves]RANDOM GUY: Hey, good game, man.LUCAS: Hey,thanks.[LUCAS walks into the dining room, where BROOKE, NATHAN, PEYTON and a few others are playing a game]BROOKE: Lucas. Come play.LUCAS: What's the game?BROOKE: I never...GUY: And yet apparently youhave.BROOKE: Shut up, Vegas.NATHAN: Alright. So the game is, we all take turns saying things that we've neverdone, and anybody at the table who has...bam![NATHAN holds out a cup]LUCAS: Drinks.[NATHANnods]LUCAS: Yeah.[LUCAS takes the cup from NATHAN and takes a sip]NATHAN: Alright, Theresa, you're up.THERESA: Okay. Lets see. I've never... had s*x with anything made out of plastic.[BROOKE takes a sip andeveryone laughs]BROOKE: Okay, my turn. I've never... no I did that, um...[BROOKE laughs]NATHAN: Alright. My turn. Oh, lets see. Um... I've never... I've never had a dad whowished I was a stain on the bedsheets.[PEOPLE laugh, somewhat uncomfortably. PEYTON looks at LUCAS. LUCAS glares at NATHAN, then walks over to NATHAN. He places his cup in front of him]LUCAS: Then you're welcome to mine.[NATHANlaughs. BROOKE and PEYTON look after LUCAS, worried][A BATHROOM door. PEYTON goes to open it]VOICE: Hang on a minute.[PEYTON lets go and a toilet flushes. HALEY comes out]HALEY: Sorry.[She starts to walkby PEYTON[PEYTON: How's the tutoring going?[HALEY stops]PEYTON: You're tutoring Nathan, right? [Pause] It's okay. He tells me everything.HALEY: Yeah. You know, he um... said he needed some help.PEYTON:Maybe you could teach him to stop being such a jackass.HALEY: I will... put that on my lesson plan.PEYTON: Just be careful, okay.HALEY: Yeah... sure.[HALEY starts to walk away]PEYTON: Does Lucas know you'rehelping Nathan?[HALEY doesn't answer]PEYTON: You know... you say a lot when you keep your mouth shut.HALEY: I'm... okay.PEYTON: I keep mine shut too.[A ROOM full of trophies. HALEY picks up a picture, andLUCAS knocks down another]HALEY: What happened?LUCAS: Oh, same old crap. You know, he thinks that if he keeps hammering me, I'llquit the team.HALEY: Oh. What did he do this time?LUCAS: He made somefeeble comment. Not gonna let it get to me.HALEY: Yeah, obviously that's working out for you.[LUCAS laughs]HALEY: Luke... have you guys ever actually talked?LUCAS: Yeah, sure. We trade emails too.HALEY: I'm justsaying you're so hypersensitive around each other. And... I get it. Ijust think that maybe everything he says, you take the wrong way, and vice versa.LUCAS: Okay, there is no misunderstanding what he said. And whyare you defending him?HALEY: I'm, I'm just, I'm trying to bring some perspective. I mean...It's a really screwing situation and I'm sure having you around isn't any easier for him than it is for you and I think maybe ifyou guys could just talk...LUCAS: Okay, tell me that I'm not hearing this.HALEY: Then what are you doing here, Lucas? Obviously, you're looking for something, right?LUCAS: I'm not going to let him win.HALEY: Fine.Don't let him win. I'm gonna go.[HALEY starts to leave]LUCAS: Haley!HALEY: Nope.[As HALEY walks out of the room, she runs into NATHAN]NATHAN: Are you leaving?HALEY: Nathan...we had a deal. You promised youwere gonna be nice.NATHAN: I- I am nice. I invited him to this stinking party, didn't I?HALEY: Well, what for? So you could pick on him in public? What did you say anyway?NATHAN: Oh, man. Is that what- I made alame joke. I mean, look, the guys...sometimes we get kind of raw with each other. I was just trying to include him. He took it the wrong way.HALEY: Well, maybe you need to rethink your approach.NATHAN: Well,you're his friend. How do I handle this?HALEY: It's easy, stop being such a... [Whispered] joke. [THE PORCH OF THE BEACH HOUSE. LUCAS walks outside and PEYTON'S sitting on a swinging chair]PEYTON: He reallyslammed you.LUCAS: I don't care what he thinks.PEYTON: Neither do I.LUCAS: Oh yeah? Then why are you drinking?[PEYTON takes another sip][THE DOOR TO THE PORCH. NATHAN walks by and sees LUCAS withPEYTON. He sees Tim at the video cabinet]TIM: Nathan! I can't believe your parents don't have any decent p0rn.NATHAN: Wait. I've got something.[He joins TIM at the video cabinet and hands TIM a movie]NATHAN:Put that in.GUY: What is it?NATHAN: It's a comedy.[THE PORCH. LUCAS is kneeling across from PEYTON, talking to her]LUCAS: So I'm confused. You want to be anonymous...and you let the world watch you on a webcam.PEYTON: The world isn't watching me... but I guess you are.LUCAS: Okay, the point is... you want to express yourself but you don't want peopleto know it's you.PEYTON: I guess I'm just a riddle wrapped in amystery inside a @#%$.LUCAS: Or maybe just a tortured artist.PEYTON: Look, I don't need you defending me and my work. I don't need you analyzing it or interpreting me either. And in fact, I'm pretty sure I don'tneed you at all.LUCAS: Pretty sure?[LUCAS freezes as he hears his mother's name inside][TELEVISION. There's video tape playing, showing KAREN and DAN as Prom King and Queen]WOMAN: Tree Hill High's SnowballCourt King and Queen, Daniel Scott and Karen Roe.Karen, what's the secret to your success?[LUCAS and PEYTON walk in. LUCAS is upset]KAREN: Um, the secret to our success. Hmm. I don't know. Good question.Dan?DAN: Good s*x![The audience laughs]KAREN: Be serious.WOMAN: Karen, do you think you guys will get married?KAREN: DO I think Dan and I will get married? Hmm... who knows. I mean...BROOKE: Oh my god,the hair!KAREN: But he really is the sweetest guy in the whole world. So I'm thinking, yes.Come visit us in 10 years and I bet you can meet the kids and get a tour of our big house and see how happy we are.TIM:Who's the girl?WOMAN: Okay ladies and gentleman, there's your Prom King and Queen, Dan Scott and Karen Roe.LUCAS: That's my mom.NATHAN: At least their dreams came true for one of them, right?LUCAS: Yeah,except for the happy part, right?[LUCAS slams NATHAN against a wall as he walks by. NATHAN and his friends laugh, but BROOKE and PEYTON don't][SCENE_BREAK][THE PIER BY THE WATER AT THE BEACH HOUSE.HALEY'S sitting on the railing when NATHAN comes up]NATHAN: I thought you left.HALEY: Yeah, uh, I tried to. If the stupid cab would ever get here.NATHAN: Well, I'm glad you stayed. [Pause] I want to thank you forholding back?HALEY: What do you mean?NATHAN: Jerk is pretty tame. You could've called me a lot worse. I probably deserved it.HALEY: Look, I've been thinking a lot about this tutoring thing. [Pause] I'm sorry. Idon't, I just don't think it's a good idea.NATHAN: Because of Lucas?HALEY: Well, obviously, yeah. I don't know what I was thinking. There's no good that can possibly come of this.NATHAN: Really? I thought I saw youguys fight back there.HALEY: Meaning what, that I should keep tutoring you to stick it to him? Maybe that's how they do things in Nathan land, but I'm not going to do that to my best friend.NATHAN: Maybe you'redoing me a favor then.HALEY: What does that mean?NATHAN: Sometimes I think it would be easier if I got kicked off the team. Especially with my dad.HALEY: I should go find, um, Lucas, and just, just try and smooththings over.NATHAN: He left a while ago.[HALEY nods]HALEY: Great. Well, I guess I'm walking.[THE STREET BY THE FRONT OF THE BEACH HOUSE. NATHAN and HALEY emerge next to the stairs]NATHAN: Let me giveyou a ride.HALEY: It's not that far.NATHAN: Forget it, you're not going to walk. We'll take Peyton's car.HALEY: I- I'm really fine.NATHAN: You're a little high on yourself, aren't you? Going around telling people you're allfine. Look, please, at least take the ride. It's the least I can do.[HALEY gets in the car and NATHAN shuts the door][THE SCOTT'S HOUSE. DAN is in the living room, watching a game. DEB comes in]DEB: Dan. We shouldtalk.[DEB grabs the remote and turns the TV off]DEB: You know, I try to let these things roll off my back. You shut down and walk outmid-conversation. I swallow it and let it churn around in my stomach until it makesme sick.DAN: What? Because I don't want to rehash Karen and her son for the ten-thousandth time? Frankly, I'm talked out.DEB: It's about Nathan.DAN: What about him?DEB: He's just so surly and distant lately and Ifell powerless to do anything about it. And the way you're pressuring him since Lucas joined the team seems to make it worse.DAN: Me? Did you ever stop to think the problem was you?DEB: Oh.DAN: Maybe if youcared to spend more time at homeDEB: I'm gone ten days out of the month, tops.DAN: And when you are here, you work 'til all hours.DEB: And you want to know why, Dan? Let me tell you. Because ever since youstarted this basketball thing, I feel like you've slowly been stealing him from me. You've made me feel irrelevant. I go out and I raise money for good causes and I matter out there. But at home you shut me out of hislife.DAN: Shut you out? Work has always come first with you?DEB: That is not fair. You know how hard I've tried to balance both. But, I swear to God, I never would've done it if I knew how he'd turn out.DAN: He's agood kid.DEB: Based on what? His scoring average?DAN: Deb, I just want what's best for our son, what makes him happy.DEB: Well, then, something's not working, Dan. Because that kid I saw tonight is anything buthappy.[DEB leaves][BEACH HOUSE PARTY. BROOKE stumbles down the stairs drunk]BROOKE: Don't let me have another beer unless I beg you. The same goes for beers.[Pause] What are you doing?PEYTON: Justwondering if we're all going to end up like Karen.BROOKE: Who is Karen?PEYTON: That's Lucas' momBROOKE: Not without proper birth control we won't.PEYTON: That's not what I meant. She was our age when thattape was made, Brooke. We're just like her. Don't you think it was awful how she just let Nathan's dad treat her like crap?BROOKE: Yeah. But honey, that doesn't mean we're like her. Maybe it mean's you're like her.[INFRONT OF HALEY'S HOUSE. HALEY and NATHAN are still in PEYTON'S car. HALEY has taken the hat she was wearing earlier off]HALEY: Yeah, this is my house. Um, we're staying here while we renovate themansionNATHAN: It's not like I was trying to show off.HALEY: Isn't that your default setting. [Pause] Sorry.NATHAN: Can I be honest with you?HALEY: Uh, yeah. I don't know. You tell me.NATHAN: What I said at thebeach... that was a lie. I'm really lucky to havebasketball. It's pretty much my shell to everything from here on out. If I lose it, it's over for me.HALEY: So, don't lose it.NATHAN: Well, that's just the thing. With mygrades, I'm close to being ineligible to do the one thing that I'm actually good at. It's not just my life, either. It's my dad's, too. It's like he's still got something to prove to Whitey. And if I screw it up, it's gonna destroyhim. [Pause] And it will destroy me. Look, I know you have no reason to do this, and I know it's just going to complicate things with Lucas, but [Pause] I really need your help.HALEY: And I will find you someone else. Ipromise.NATHAN: No. I came to you because you're the best tutor at the school. And you're not going to tear me down. It's not exactly easy having everybody know you're failing. It's you or nobody else.HALEY: I...[Pause] Okay. I will, um... I will get you through the semester. [Pause] And then you've got to be on your own. I'm serious.NATHAN: That's totally fine with me.HALEY: Okay, um... great, so we'll start on Monday.[Pause] Lay off Lucas.[HALEY gets out of the car and NATHAN sighs][A STREET. Just as LUCAS is pulling to a stop in the Body Shop truck, he sees PEYTON'S car fly by. He follows is. As NATHAN changes the radiostation, he crashes into a parked car and ruins PEYTON'S car. LUCAS jumps out of his truck, thinking PEYTON was driving]LUCAS: Peyton! You okay?[NATHAN gets out]NATHAN: Yeah, she's fine. Can't say the same forher car though.[NATHAN pulls a bag out of the car]NATHAN: And what the hell were you doing following my girlfriend?LUCAS: I wasn't. Look, I thought she was driving and she was drinking.[NATHAN starts toleave]LUCAS: Hey, where are you going?NATHAN: Back to the party, dumbass.LUCAS: What, are you gonna leave her car like this?NATHAN: Yeah, and if you stand there you can watch me.LUCAS: You know this is acrime.NATHAN: So call the cops.LUCAS: Nathan, you can't walk away from this. [Pause] I saw you do it.NATHAN: No you didn't see me do it. Because I was with Tim the whole time. Which is exactly what he's going tosay if anybody asks him. He owes me. [Pause] So it looks like its your word against ours now. You can guess how that's going to go down.LUCAS: So you're just going to lie and walk away. What about Peyton? Youknow, your girlfriend? The car's registered in her name.NATHAN: Yeah, and you know what? Come to think of it, like you said, she was really drunk last night. Maybe she did this. But then again, all I see is a wreckedcar... and you.[NATHAN walks away, leaving LUCAS with the car][BODY SHOP. KEITH and LUCAS are looking at PEYTON'S car]KEITH: Hit and run, huh? That's beautiful. I could lose my license for this.LUCAS: I didn't"}
+{"doc_id":"doc_239","qid":"","text":"At the murder sceneJane: Oh, it's lovely.Lisbon: It's a crime scene.Jane: It's a lovely crime scene.Rigsby: Hey. Couple joggers found our John Doe on their morning run. Body's still pretty fresh, so it must've happenedlast night. No signs of an entry or exit wound means cause was probably a blunt force trauma to the head .Lisbon: And they brought in the grown-ups because they couldn't decide whose sandbox it was?Rigsby: Right.Body's right on the city line. The only thing they can agree on is that it was a carJacking gone wrong. Wallet, watch, wedding band- everything gone.Jane looks at the body and finds a cuff linkJane: Oh, not everything.Kkiller would have been very frustrated to not be able to take this.Lisbon: Looks like a wheel.Jane: Motorcycle wheel.Lisbon: I don't buy it as a carJacking. maybe the murderer was covering it up as one, but if you'reafter someone's car and valuables, you grab and bolt. You don't waste time taking off a cuff link.Rigsby: A gunshot or a stab wound Is more likely than a beating.Lisbon: Beating like this takes time. The murder waspersonal.Jane: No surprise there. The haircut, the suit, the cologne- This man had enemies.Rigsby: His cologne tells you he had enemies?Jane: Sure. okay, confrontional. Finishing touch on a wardrobe that says, \"payattention. show respect.\" This was an extrovert tough guy, a professional, a backroom politician or a lawyer, a fixer, the type that's good with people, making people do things they maybe don't want to do.Lisbon: Uh,what he is, is useless until we know who he is.Jane: Well, I can do that, too.He finds a headsetRigsby: Oh, no, Jane. I, uh, I checked. the phone's not on him.Jane: The signal light's still on. Phone's in range.Lisbon: Hisassailant probably threw it in the trees. What are you doing?Jane: I'm making a call.Lisbon: But you don't have the phone.Jane: I have my voice.Lisbon: You still need the phone. Want to use the voice activation? Youneed its names and numbers.Jane: There is one name programmed into every phone, particularly into one belonging to a middle-aged man that was wearing a wedding band. Home.The cell phone ringsWoman:Hello?Jane: Hello. This is Patrick Jane from the California Bureau of Investigation. I was wondering if you knew a man 6-feet tall, mid 40s, salt and pepper hair, gray custom-made suit, weighing about 192, give ortake?Woman: That's my husband Gordon Hodge.Jane: Gordon Hodge, hmm.Woman: You said you're from CBI? Is something wrong?Jane: Uh, just a sec. (He gives headset to Lisbon) It's for you.The team is Hodge'shomeNina Hodge: I knew something like this would happen, sooner or later.Lisbon: Well, was your husband having some sort of trouble lately?Nina: Gordon was a criminal attorney with a very special practice. He hadonly one client- the Sinner Saints.Jane: Bikers, are they?Rigsby: Yeah, they're one of the top biker gangs in the state. They run some legit businesses, but mostly they're into drugs and prostitution, low-rent protectionrackets, that kind of thing.Nina: For years, I begged him to get out, but Gordon said that a lawyer never abandons his client. it's unethical. It's what he always called them- never \"the gang, \" always \"the client.\"Lisbon:When was the last time you saw him?Nina: Yesterday morning, before work. Gordon used to meet these people at all hours- That's how they are. So we didn't get worried when he didn't come home last night.Lisbon:Had he been acting differently lately?Nina: He'd been more on edge the last week or so. I think something happened at work, but I'm not sure what.Lisbon: Did you ask him about it?Nina: No, never. Work wasoff-limits.Lucas Hodge: He said it was boring.Jane: What was the real reason? Do you think he was ashamed, or he sensed your shame?Lucas: He wanted to protect us.Lisbon: Would his colleagues at the office haveknown what was going on?Nina: No. He was a one-man shop. Didn't even have a secretary. Gordon didn't trust anyone with his business.Lisbon: Any idea who might have wanted to kill him?Nina: Well, you might wantto ask his client. He knew all their secrets. He probably learned something that he shouldn't have.Rigsby: Either of you ever meet any of those scumbags?Lucas: No.Jane: You two must be very torn- living in such abeautiful home, driving nice cars, going to good schools, 'll paid for by dangerous criminals, Or, uh, \"scumbags, \" as my colleague says.Nina: Do I wish that Gordon would've defended civil rights leaders? Yes, of course !But he believed that everyone had a constitutional right to have a good defense. He had his principles.Lisbon: Thank you for your time.They go out of the houseLisbon: Did you go to some interview school I've neverheard of? Next time, get the facts, save the editorial.Rigsby: Yes, ma'am.He looks at JaneLisbon: I know. Jane did it, too. He's not a CBI agent. From you, I expect professional standards.Rigsby: Yes, boss.ChoarrivesCho: That was the captain of the local c. h.i. p.s. Hodge's car was just fished out of a lake about a mile from the murder scene- no good for prints. He said that two weeks back, they busted Hodge at a highwayrest stop, walking to his car with 2 ounces of coke and 2 ounces of meth in his pockets. Nailed him with felony possession...Rigsby: Nice.Cho: Only the d. a. dropped the charges. There was some unlawful searchtechnicality.Lisbon: Either Hodge is a great lawyer...Cho: Or the d. a. turned him in exchange for dropping the charges-planned to use him as an informant.Rigsby: Well, if the saints found out-Cho: Yeah, they'd kill him.they did know about the charges. Their boss, Von Mcbride, posted Hodge's bail.Lisbon: Well, talk to your friends at the D.A. Find out what the story is there. Jane and I will go talk to the Sinner Saints.Cho: Okay, becareful.Rigsby: You want me to come for backup?Lisbon: Uh, no. talk to forensics about the car. Jane, let's go. now, please? Come on.Jane and Lisbon are in front of the Sinner Saints BarJane: (Speaking aboutmotorcycles) Beautiful, huh?Lisbon: No, not really. I fail to see the charm.Jane: It's the glamour of mobility. That's why the girls went for Cain and not Abel.Lisbon: Is that right?Jane: Yeah. nomads- sexier thanfarmers. They have romance.The Lisbon's cellphone rings. She picks upLisbon: Lisbon.Cho: I spoke to my friend in the D.A.'s office. They didn't make a deal with Hodge. They let him go 'cause the case was less thanironclad, and they've already lost too many to hodge and the saints. Last 10 years, they've beaten the rap in over 50 cases- Murder, rape, drug-trafficking. they're bulletproof.Jane: Nobody's bulletproof.Cho: Well, myfriend says to stay away from them. That they're bad news.Lisbon: Good, sound lawyerly advice. I'll take that under advisement. (She hangs up) You ready?They enter the bar. Bikers look at themLisbon: (To Jane)There's romance for you. (To bikers) We're with the CBI. We're looking for Von Mcbride.Xander: Not here, which is where you need to be.Lisbon: Well, can you tell us where he is?Xander: No. I cannot.Lisbon: Listen,we're here for information, Not trouble, boys.Xander: Well, we've got nothing to say.Lisbon: I can take you in if you want me to. I prefer to talk here.Xander: Like I said, there's nothing to talk about. We're not doinganything illegal.Jane goes to the back room where a man playsJane: Mr Mcbride?Lisbon: (To Xander) It was nice talking to you.Jane: Your focus on this pressing matter suggests you're the man in charge here.McBride:Yeah, well, keep on walking, blondie.Lisbon: We just have a few questions for you. It won't take long.McBride: Yeah, well, I'm sorry. I don't, uh, talk to police officers on the advice of my lawyer.Lisbon: Your lawyer'sdead.McBride: Yeah, I heard that. But his advice is still good.Xander: Means your business here is done.Jane: Oh. You don't want to know who the informant is, then?Xander: What informant?Jane: Oh, I'm sorry. ForgetI spoke.Xander: You messing with me?Jane: Yeah, I'm messing with you. There's no informant.Xander: Come here.Lisbon: You touch him, and I'll arrest you.Xander: I would love to see you try and do that.Jane: What'syour name?Xander: Xander.Jane: Xander, your threats are empty. She's a state agent. You're not gonna lay a finger on her, and you know that, so why play tough? W-where's that come from, this need tointimidate?Xander: I'm a sadist, and I bore easily.Jane: Oh. me, I see a difficult childhood- Bad parenting, a lot of torment. But I also see how that suffering gave you great powers of empathy and a strong creativeside, and those are the qualities you should try and nurture in yourself. Not this brutish character you try to hide behind.McBride: Oh, that's Xander, all right. Full of empathy. You guys want a drink?Jane: Sure.Later,Lisbon and McBride are sitting at a table. Jane plays billardsMcBride: So what's this crap about an informant?Lisbon: How long have you know about hodge's taste for coke and meth?McBride: Couple years. Guy liked toparty, but he could still do his job.A woman arrives and sits at their tableJane: Couldn't have been too thrilled when he got busted.McBride: Case got dropped.Jane: Must've wondered why.McBride: Illegal search.Jane:Yeah. Either that or Hodge, uh, flipped on you.Diamond: That son of a-McBride: Hold on a second, Diamond. He didn't flip. There is no informant.Lisbon: Where were you last night?McBride: Right here. And I got 30other brothers who will vouch for me and each other. Look, man, none of my guys did this. We loved Gordon, man. he was like a member of the club.Diamond: You know, he couldn't ride worth a damn.McBride: No, hecouldn't, huh? He tried, though.Lisbon: Who killed him?McBride: My guess? Probably some other motorcycle club looking to put us out of business- Chaos Brigade, Bolos Plata.Shouting from front of the barWoman: Getyour hands off of me! get off me! Help! get your hands off of me! Get off of me! Get off of me!Lisbon: Let her go, and back away! Back away now!Woman: Get your hands off me! You're murderers! All of you!Lisbon:Ma'am, take it easy. I'm CBI. Ma'am!But the woman run awayIn the bar, are McBride and JaneJane: Who was that?Sshe a friend of yours?McBride: Never seen her before. Mentally deranged, seems like. Poorthing.Jane: You know, you're a very good liar. Most people subconsciously signal dishonesty, but you? there's nothing. No inner conflict. Usually, that's the mark of what shrinks like to call a sociopath.McBride: Well, ifby \"sociopath, \" you mean that if you cross me, I would enjoy watching you suffer pain before I kill you... Then, yeah, I'm a sociopath. See ya.Jane: Bye.In the CBIRigsby: So we talked to the gang unit. There's no otherbiker gang would cross the saints and run the risk of starting a war that they couldn't win.Jane: This is incredible. you should see this.He is sitting on the sofa reading a paperLisbon: Hold on. Anything on the woman inthe parking lot?Jane: Sinner Saints have their own web site.Lisbon: (irritated) Really?Jane: Yeah.Cho: We cross-checked registrations of the truck model and color with driver's license photos fitting her description. Nohits. truck must be registered to her husband or other family member.Lisbon: Mcbride's clamming up about her means he's hiding something.Jane: He's merged two other gangs into the saints in the last five years. It'sthe fastest growing gang in the nation.Lisbon: Go to Hodge's office. See if you can find anything on the gang's operation that pops. And have the deerfield P. D. Issue a bolo on the woman's pickup truck.Cho:Okay.Jane: You can buy logo merchandise- sinner saints coffee mugs, Decals, beach towels. whoa! And some various other interesting little knickknacks.Lisbon: Nice.Jane: Yeah. well, if they do it, we should do it. Arange of casual wear, maybe? Sensible shoes?Lisbon: (ironic) I'll get right on that.Jane: Okay. Lisbon loafers.Van Pelt: (computer beeps) Found something, boss. These are Gordon Hodge's cell phone calls from thenight of the murder. All were routine business calls- Von mcbride, other lawyers, court officials. But it's the last call that bumps. 7:23, incoming from a constance hoyt. Current address unknown.Lisbon: Must not wantpeople finding her.Van Pelt: Well, I went back three months- A lot of calls between her and hodge.Lisbon: Did you try the number?Van Pelt: Twice. got one of those computer voice mail messages. Plus, I ran her namethrough the d. m.v. For registration of a black pickup truck. She's not your parking lot woman.Lisbon: Check Von Mcbride's cell phone records. See if he had any contact with this constance hoyt.Van Pelt: Bingo. Coupleof chatty cathys.Lisbon: Talking three or four times a day. Either she's his mom, or...Van Pelt: His girlfriend.Lisbon and Van Pelt arrive front of the bar. Diamond leaves it.Lisbon: Constance? we just have a couplequestions for you.But Constance rides off on the motorcycleLisbon: I'll drive!Van Pelt: No time! Boss, seat belt. go!Tires screech. Engines revvingLisbon: Bike's got too much muscle. you're gonna have to-Van Pelt cutsher path and stops ConstanceLisbon: Do not even think of moving. (To Van Pelt) I gotta get you out of the office more.Rigsby and Cho are going in Hodge's officeRigsby: Got hodge's office key?Cho: So what's yourproblem with bikers?Rigsby: I hate bikers.Cho: Why's that?Rigsby: My dad was a biker.Cho: Really? I didn't know that.Rigsby: No? I thought you read my file.Cho: Well, it says he was a big-time criminal. Didn't specifyany affiliations.Rigsby looks at the doorknobRigsy: Jimmy marks on the doorknob.Cho: Doubt that was part of the original decor.The get their guns and enter. Nobody is there but the offide is a mess.Rigsby: Doorclear.Cho: Clear.Rigsby: Desk clear. Cracks are on the outside of the window. Means a previous break-in attempt. Think they were looking for something, or just trying to send a message?Cho looks behind the doorCho:Message was definitely a part of it.On the wall: \"Burn in hell\"Interrogation RoomJane: Do you prefer \"Constance, \" or \"Diamond\"?Constance: I prefer to get the hell out of here.Lisbon: You ran from the police,endangered the lives Of two agents. you could be here a couple of days.Constance: I don't think that's right.Lisbon: why'd you run?Constance: I ran because I'm dead if anyone sees me talking to cops. The Saints areall paranoid about informants now, which is why I'm not saying a word.Jane: Tell us about your affair with gordon hodge.Constance: I wasn't sleeping with Gordon.Jane: Oh. Uh... yes, you were.Constance: It was only afew months. we were just having fun. It's not like von doesn't sleep around on me and... Gordon treated me nice.Jane: You had genuine feelings for him.Constance: He was decent. He never looked down on you. Justgot sucked in too deep with the Saints.Lisbon: Did you know he was arrested for possession?Constance: Told him a hundred times to be careful, but he got dumb about it.Jane: Ah, well, drugs simply make peoplecareless. You had to be a little concerned about mcbride finding out.Constance: It would've made things complicated.Jane: \"complicated\" is one way to put it.Lisbon: So you called him that night. Then what happened?Did you go and see him?Constance: No! no. I called to break it off. I heard him answer the phone, and I'd tried to talk to him, but the line went dead.Lisbon: What about the woman in the parking lot?Constance: I don'tknow. Von doesn't talk gang business with me.Lisbon: Had you seen her before?Constance: she's come around a few times last couple of weeks, same thing- Lots of crazy yelling, then taking off. Look... You, um... Yougotta promise that Von doesn't find out about me and Gordon.Lisbon: He keeps his cards close. He could already know- Killed Hodge out of jealousy.Constance: Trust me. If Von knew, Gordon's wouldn't be the onlydead body. Only one other person knew. And that was bad enough.Lisbon: Who was that other person?Lisbon is in Hodge's and talks with his wifeLisbon: We have information that suggests you knew about gordon andanother woman.Nina: Yes, I did.Lisbon: How?Nina: About four months ago, I found a valet stub on the driveway from the deerfield inn. So one night, I followed him and saw him go in with that biker girl.Lisbon: Did youconfront him?Nina: More like yell and hit him. He promised he'd stop seeing her. I took him at his word, and I never asked him about it again.Lisbon: why not?Nina: Because I didn't want to hear him lie to me.Lisbon:Mrs. Hodge...Nina: What?Lisbon: If you picked up on your husband's affair, you must've suspected about his other illicit activities.Nina: I knew about the drugs and the partying. He was surrounded by it.Lisbon: Whydidn't you tell us about this earlier?Nina: Because Gordon is dead. Anything that I said or did would not bring him back. My son draws stares and whispers because of his father, agent lisbon. Both of us- we deserve togrieve without shame and scandal, don't we?Lisbon: Yes, you do.[SCENE_BREAK]CBILisbon: And if she'd followed her husband once before, She could've tailed him again and killed him.Jane: No, she didn't do it. Sheloved him.Lisbon: She was a prisoner of her husband's life. She gets rid of him, gets a fresh start.Jane: People trapped in miserable lives. Always talk about escaping. few actually do it. It's easier just to close your eyesand pretend the misery doesn't exist.Rigsby: Boss, you might want to see this.Cho looks at videoCho: This is from a security camera across the street. It was the third incident in two weeks. Building owner said hodgedidn't want to report the earlier ones because he didn't want deerfield P. D. combing through. His office and accidentally finding something in his sinner saints file. There.Lisbon: Magnify. The woman from the parkinglot.In the barMcBride: Chaos Brigade controls distribution over in rancho rosa, but I figure if we move right now, we can move into stratton.Jane: What's up, my brothers?Lisbon: We just have one quick follow-upquestion for you.McBride: I've exceeded my quota of answering cops' questions. And my quota of crazy.Lisbon: The woman in the parking lot.McBride: Uh, like I said, she must've mistaken me-Lisbon: She was seenvandalizing hodge's office.McBride: She find anything she shouldn't have?Lisbon: His files were intact. she got nothing.McBride: We have nothing further to talk about, then.Lisbon: The sooner this case is closed, thesooner we're gone and you're back to business as usual.McBride: Last name is Guthrie. She's the sister of a gentleman I was accused of killing. Falsely, of course. Trial was a couple of weeks ago, Gordon hit a homerun. Got me off.Lisbon: And you weren't eager to I. D. her because you didn't want us poking around your case?McBride: Hey, all I know is that she's been coming around From time to time, saying some very offensivethings.Lisbon: Thanks for your cooperation.McBride: You think she killed Gordon?Lisbon: Like I said, thanks for your cooperation.Jane: I've got one last question. If Hodge wasn't the informant in your gang, who do youthink it is? I mean, I tried asking the D.A., but he's kind of a secretive b*st*rd, huh? What do you think?McBride: Mr. Jane, we're a motorcycle club, not a gang. And I can assure you there is no informant.Jane: Well,you'd know best.Xander: Why does he keep going on about this informant?McBride: He's just talking. Let's get down to business.Interrogation Room, Cho asks questions to Felicia Guthrie.Felicia: Von McBride should besitting here, not me.Cho: Court docs say your brother Rick was an auto mechanic. McBride blamed him for screwing up a repair, and your brother refused to redo it. Mcbride allegedly got angry and killed him.Felicia:Not \"allegedly.\" He killed him. He beat him to death with a crowbar. He murdered him.Cho: And the jury disagreed. McBride acted in self-defense, right?Felicia: That's because that lawyer Hodge made it look like it wasmy brother's fault. He started throwing around all these lies about my brother, saying that my brother was a druggie, that he was aggressive, that he was mentally unstable.Cho: So you get all worked up, harass thegang, trash Hodge's office, right?Felicia: You want to arrest me for that, go ahead. I'm not gonna fight you. I'm too tired.Cho: You ever try hodge's home?Felicia: Once. But his kid came outside. I don't have a beef withhim, so I took off before I could do anything.Cho: And what were you gonna do?Felicia: I don't know. I was... I don't know. I wanted hodge to understand what he had done to me and to my family.Cho: When wasthis?Felicia: Two days ago.Cho: The day of the murder. Where were you that night?Felicia: Home.Cho: Can anyone verify it?Felicia: I live alone, but I didn't-Cho: Now six months ago, you were arrested in a road rageincident. Got out of your car at a red light, attacked a man in an s. u.v.Felicia: What does this have to do with anything?Cho: You're an angry person and you express it physically.Felicia: I'm not angry, I am sad. Mybrother was a good man. The only crime he committed was standing up to that b*st*rd McBride.Cho: Hodge blackens the name of your dead brother and gets von mcbride off. Now maybe trashing his office didn't give"}
+{"doc_id":"doc_240","qid":"","text":"THE INVISIBLE ENEMYBY BOB BAKER AND DAVE MARTINPart OneRunning time: 23:09[SCENE_BREAK]An asteroid field with a shuttle very cautiously and wobblingly entering.A wider shot of the asteroid field with theshuttle moving more confidently.Flying asteroids!Inside the shuttle we see Safran and Silvey in comfy chairs. Then we see Meeker at the bridge.MEEKER: Going to manual.SILVEY: What for?MEEKER: Why not? If we'regoing to be slammed around, I'd sooner do it myself.SILVEY: It's still telling you what to do.MEEKER: Yes, but at least I'm doing it.SILVEY: Come on, Meeker.SAFRAN: You're off course.MEEKER: Yes, sorry,skipper.SAFRAN: Put it back on automatic, please.Meeker tries various controls and it's obvious there's a problem.MEEKER: Eh? I can't!SAFRAN: Titan shuttle captain. New course for Titan, please.He climbs up towardMeeker.SAFRAN: All right, Meeker, that is enough.MEEKER: What?SAFRAN: Off watch. Please.Safran takes the pilot's seat.MEEKER: Look, I qualified for exploration eight years ago, and what am I? Glorified garageattendant on some planetary filling station.SILVEY: Your turn'll come. You'll be glad enough of refuel bases then.MEEKER: All I'm saying is that I want a realSAFRAN: Not now, Meeker.COMPUTER: Unidentified organism.Changing course to avoid.The shuttle is caught in some kind of weird webby thing with lightning.SAFRAN: What was all that about? There's nothing there. Titan shuttle captain. Report please.Silvey turns to theothers.NUCLEUS (OOV.): Contact has been made.SAFRAN: Contact?[SCENE_BREAK]In the TARDIS Leela carries the hatstand and sets it down. The Doctor enters.LEELA: We've never been in here before.DOCTOR:You've never been in here before.LEELA: What is it?DOCTOR: Number two control room has been closed for redecoration. I don't like the colour.LEELA: White isn't a colour.DOCTOR: That's the trouble with computers.Always think in black and white. No aquamarines, no blues, no imagination.LEELA: Have we stopped?DOCTOR: No, we haven't stopped.The scanner opens.LEELA: Have we materialised?DOCTOR: Yes.LEELA:Where?DOCTOR: Solar system, between Jupiter and Saturn. About five thousand AD. Five thousand AD? We're still in the time of your ancestors.LEELA: Ancestors?DOCTOR: Yes. That was the year of the greatbreakout.LEELA: The great what?DOCTOR: Mmm. When your forefathers went leapfrogging across the solar system on their way to the stars. Asteroid belt's probably teeming with them now. New frontiersmen,pioneers waiting to spread across the galaxy like a tidal wave. Or a disease.LEELA: Why disease? I thought you liked humanity?DOCTOR: Oh, I do, I do. Some of my best friends are humans. When they get together ingreat numbers, other lifeforms sometimes suffer.[SCENE_BREAK]The shuttle approaches Titan. We see the landing area as the shuttle comes in.Cut to a close-up of gloved hands operating the controls of the shuttle.We see the shuttle coming down from its nosecone.Then we see the shuttle land on the pad and the pad begins to sink into the ground.The hands switch off the controls.The pad rotates, with the shuttle on board.Thepad begins to move carrying the shuttle with it.The space-suited crew walk through the bridge (we can see through the shuttle cockpit window beyond).COMPUTER: Docking. Docking. Contact. Alllocked.[SCENE_BREAK]As the crew head through the door, they each take a blaster. They holster the blasters and go through the inner door.MAN (OOV.): Hey, are we glad to see you. Welcome to Titan. You're welcometo it. We're in the mess. Come on down.The crew head toward the doors.The first door is the wrong one, and the leader gestures to another when they hear laughter from behind it.The door slidesopen.[SCENE_BREAK]MAN: Come on in. Join the party. Our last supper on Titan. Well, come on. Get your gear off and relax. You're going to be here forThe crew pull their blasters and aim at the three in the mess.MAN:Hey, what kind of a joke is ...The crew fire at the men who fall to the floor dead. Safran lifts his visor.His face is covered in green scales.SAFRAN: There is one other. The station supervisor. We must find him, destroyhim.SAFRAN: Then we can make this the ideal place in which to breed and multiply.[SCENE_BREAK]LOWE: Shuttle relief crew. Shuttle relief crew. Come in, please. Shuttle relief crew, this is Supervisor Lowe. Pleasereport. Relief crew, this is the supervisor. Where are you?He activates a remote camera monitor to see what is happening in the mess.He pans his camera around.LOWE: My God, what's happened? Hello? Hello?LOWE:What is it? What's gone wrong?SAFRAN: Wrong? There is nothing wrong. This is most suitable for our purpose. What, what purpose? Safran. Safran, is that you? What has happened?SAFRAN: Who is this Safran?Lowelooks horrified.LOWE: Mayday! Mayday! Mayday! This is Titan Base. Mayday! Mayday! Mayday!Meeker and Silvey approach through the halls and reach the supervisor's door as Lowe ducks into the IMURJINSEEEGSIT.They burn through the lock and enter the room.MEEKER: The supervisor has escaped.SAFRAN: Leave him. Let him suffocate.Safran punches the distress signal to silence it.[SCENE_BREAK]Back in the TARDISLeela is practicing her handwriting on chalkboard.DOCTOR: As soon as I've reset these coordinates, we'll go somewhere really interesting.LOWE (OOV.): Mayday! Mayday! Mayday! This is Titan Base. Mayday! Mayday!Mayday!LEELA: What was that?DOCTOR: Distress call. From Titan. That message took half an hour to get here.LEELA: Is Titan really interesting?DOCTOR: What does that matter? What's important is that someoneneeds help!We briefly see the webby thing in space again. Then the Doctor is setting controls.DOCTOR: Quadrant six two. W H I one two one two nine nine zero E X four one. What's the matter?LEELA: I'mtroubled.DOCTOR: About what?LEELA: I can feel something.DOCTOR: Hey.SAFRAN (OOV.): Titan. This is Titan Base. All vessels, repeat, all vessels disregard mayday. I say again, disregard mayday. All undercontrol.DOCTOR: There we are.SAFRAN (OOV.): Our apologies. Our apologies.LEELA: That's it!DOCTOR: That's what?LEELA: That's something evil.SAFRAN (OOV.): Titan Base out.DOCTOR: What?LEELA: It was not ahuman speaking.DOCTOR: It wasn't?The TARDIS gets caught in the webby stuff.There is an explosion on the console as the Doctor leans over, and he briefly glows purple.LEELA: What was that?DOCTOR: Static.Nothing important.LEELA: There was a sort of glow all around you.DOCTOR: There was? Oh. Well, a kind of Saint Elmo's fire. It happens at sea.LEELA: Saint Elmo's?DOCTOR: Yes, it causes a sort of halo effect roundthe masts of ships.LEELA: Halo?DOCTOR: Why do you keep repeating everything I say? You're not a parrot, are you?LEELA: Parrot?DOCTOR: Yes. A parrot's a bird that repeats things. Move over.LEELA: (deep) Moveover.DOCTOR: That's it.Another explosion.LEELA: I thought you said there was nothing wrong.DOCTOR: Well, there isn't anything wrong. Well, there isn't anything important wrong, but I've got to check it, haven'tI?LEELA: I can still feel it.DOCTOR: Come on, old thing. Come on.Something zaps the Doctor's eyes.He takes a step back and his vision blurs.NUCLEUS (OOV.): Contact has been made.He falls to thefloor.[SCENE_BREAK]Back on the base.SAFRAN: Incubation will start here.NUCLEUS (OOV.): Contact has been made. The nucleus has found a host. Prepare for his coming.[SCENE_BREAK]The TARDISmaterializes.Inside, Leela gets zapped in the eyes too, but it doesn't affect her.LEELA: Doctor, wake up. We've landed. We've materialised.[SCENE_BREAK]The crew approach the TARDIS down the corridor.SAFRAN:There is one other with the host. She has been rejected. We must destroy her and dispose of her body with the rest. Take up your positions.[SCENE_BREAK]The Doctor wakes up.DOCTOR: Hello, Lally.LEELA: Are you allright?DOCTOR: Rightly perfect, thank you yet, Lally.LEELA: What did you say?DOCTOR: I said, I'm perfectly all right, thank you, Lally.LEELA: My name is Leela.DOCTOR: Hmm? I know your name. Leela.LEELA: Whathappened?DOCTOR: Must have had a bot of a shik.LEELA: What?DOCTOR: A bot of a shik.LEELA: Doctor, what is it? What's the matter?DOCTOR: There's a voice or something in my head.LEELA: The evil thing.DOCTOR:Nonsense. Just a nasty turn. Come on, we're on Titan. Let's take a look.He opens the doors and walks into one of them.DOCTOR: That was odd.LEELA: Doctor, don't go out.DOCTOR: What?LEELA: It's out there.Evil!Lowe has returned to his quarters and grabs a blaster.DOCTOR: We must go. We've had a mayday.LEELA: No. I can feel it is wrong.DOCTOR: What, intuition?LEELA: I don't care what you call it, Doctor. I knew. Iknew before that. Before you were affected.DOCTOR: What are you talking about, affected?LEELA: Well, before you were knocked out.DOCTOR: Leela, listen to me. I'm perfectly all right. Move over.[SCENE_BREAK]Outin the corridor Lowe comes up behind the crew outside the TARDIS.LOWE: Drop your weapons. I'm arresting you. All of you!They turn to fire, but Lowe fires first and Silvey drops to the floor. Lowe dashes back downthe corridor and goes in to a cryogenics room.SAFRAN: Close the door. Turn off the oxygen supply.The Doctor opens the outer doors, peeks out and slams them again.A moment passes and slowly he opens the dooragain, looking down. Cautiously he exits, Leela behind.DOCTOR: Nobody around. Not a soul.He blows a bird call.DOCTOR: Anyone home?LEELA: Doctor, look.They kneel down by Silvey's body.DOCTOR: Disregardmayday. He said disregard mayday. Why?LEELA: It is still warm.DOCTOR: Don't be gruesome.LEELA: I am a hunter.DOCTOR: You're a savage.LEELA: Perhaps. I'm not ashamed of what I am and I tell you, Doctor, I cansmell danger.DOCTOR: What did you say?LEELA: I said, I can smell danger.DOCTOR: Evil again?LEELA: Everywhere. In this place.DOCTOR: We'd better find it before it finds us.LEELA: Right.DOCTOR: Stay here.LEELA:I'm no coward.They both go off in different directions, but the Doctor backs up again.DOCTOR: Now listen, whatever happens...He turns to see Leela has gone, then he sets off again.[SCENE_BREAK]SAFRAN: Settemperature and humidity rate for optimum breeding conditions.MEEKER: Set temperature and humidity rate for optimum breeding conditions.The Doctor comes upon them.DOCTOR: Excuse me, you don't know me.Let me introduce myself.SAFRAN: There is no need. We are preparing the hives now.DOCTOR: People call me the D. Hives?SAFRAN: For the nucleus which you carry within you.DOCTOR: Are you all right? I answeredyour mayday.They turn to look at him.SAFRAN: You answered the call?DOCTOR: That's right, that's right. Has someone been hurt?SAFRAN: It is of no consequence. The physical envelope is of no importance.MEEKER:Of no importance.DOCTOR: What do you mean, of no importance? I just found a dead body out there.Meeker shoots him in the eyes with his lightning glance.MEEKER: Now that you have arrived.DOCTOR: I havearrived.SAFRAN: All that matters is that the reject should be destroyed.DOCTOR: Reject should be destroyed.SAFRAN: And breeding begin.DOCTOR: And breeding from my nucleus begin.Out in the corridor Leelaapproaches the Cryogenic sekshun.She opens the door and a frozen Lowe falls out. She drags him away. Safran hands the Doctor a blaster.DOCTOR: Leela the reject will not suspect me.SAFRAN: One of us willfollow.DOCTOR: That is not necessary.SAFRAN: The nucleus within you must not be harmed.MEEKER: Must not be harmed.DOCTOR: Very well.The Doctor exits followed by Meeker.[SCENE_BREAK]In the mess Leelahelps a recovered Lowe with a hot drink.LOWE: Who are you?LEELA: We answered your mayday.LOWE: They tried to kill me. The relief crew. They're insane. They've already killed these poor devils.LEELA: But why?Are they your enemies?LOWE: No. I know them. At least, I thought I did. But they've changed.LEELA: How changed?LOWE: Their eyes, their manner, their whole behaviour is different. One of them saidsomething.LEELA: What?LOWE: Their purpose. This place will be suitable for our purpose. For our purpose, whatever that is.LEELA: The Doctor will know. He'll be here soon.[SCENE_BREAK]DOCTOR (IN CORRIDOR):Leela? Leela, where are you?[SCENE_BREAK]LEELA: That's him. That's the Doctor.LOWE: No, wait. It could be a trap, if they've caught him.LEELA: What are we going to do?LOWE: Hide.DOCTOR (OOV.): Don't worry,Leela, it's only me. Listen to me, Leela. There's nothing wrong with this place. It's most suitable. It's a good place. A good place.[SCENE_BREAK]DOCTOR: Come on, Leela. I'm waiting. Please leave me. Please. I can'tdo it. I can't do it.MEEKER: Think of the purpose. She is a reject. She must die.DOCTOR: I can't.MEEKER: Think of the purpose!DOCTOR: I can't.MEEKER: The purpose is all important!Inside the mess Lowe makes anoise.DOCTOR: The reject is here.MEEKER: Stay. The nucleus does not wish to be harmed. I shall destroy her.DOCTOR: Yes. Kill her. Kill her.[SCENE_BREAK]The door op ens and Meeker enters.Lowe points his blasterbut Meeker shoots it out of his hand. Meeker steps forward, not noticing Leela alongside the door.As Meeker moves into the room, Leela throws her knife into Meeker's back.She runs from the room as Lowe bends overtoward Meeker.LOWE: Meeker, this purpose, what is it?[SCENE_BREAK]Meeker lifts his head and zaps Lowe in the eyes, then falls dead.Lowe leaps up with his blaster and runs into the corridor where Leela isprowling.LOWE: Leave it to me. I know this place!He dashes off down the corridor."}
+{"doc_id":"doc_241","qid":"","text":"1.11 - Paris is Burning(Lorelai and Rory are walking down the street)RORY: L?LORELAI: L-laryngitis. M?RORY: Mumps. N?LORELAI: Narcolepsy! O?RORY: Are we going to have to go through this every time we decidewho cleans out the refrigerator?LORELAI: Do you want to go back to thumb wrestling?RORY: Osteoporosis. P?LORELAI: (gasps) Puppies! (runs across the street)RORY: That's not a disease. Oh boy. (runs afterher)LORELAI: (to all the puppies) Hi! Oh hi! Hi! Oohh! Rory look at the baby! (in front of one)RORY: Mom.LORELAI: Aw, Buttercup was found cold and wet hovering under a hydrangea bush along highway 26. It's a sadhighway.RORY: As compare to all the other happy highways she could've been abandoned by.LORELAI: Her lineage includes cocker spaniel, golden retriever, bouvier des flandres -RORY: GesundheithLORELAI: Thankyou - and rottweiler.RORY: Buttercup is a special dog. She's extremely skiddish and tends to react badly towards blonde haired females, brunette males, children of either s*x, other animals, red clothing, cabbage oranyone in a uniform.(Luke walks up to them)LORELAI: (to Luke) Hey, we just found the doggy version of you.MAN: Can I help you?LUKE: Do not let these two anywhere near a dog. They can barely feedthemselves.LORELAI: Shut up you! We'd be excellent pet owners, thank you.RORY: You cannot be serious.LORELAI: We could get him a pretty bowl...RORY: It's a her.LORELAI: ...and a new name...RORY:Mom.LORELAI: ..cause this 'Buttercup' thing really has got to go.RORY: Do I need to remind you of Skippy?LUKE: Skippy?LORELAI: I can't believe you would bring up Skippy.RORY: Skippy was our hamster.LORELAI:He doesn't care.LUKE: What happened to Skippy?LORELAI: Nothing happened to Skippy.RORY: Every time mom would put her hand in his cage, he'd bit her.LORELAI: And laugh.LUKE: Hamster's can't laugh.LORELAI:Oh this one laughed - trust me.RORY: So finally she got fed up.LUKE: Of being laughed at by a hamster?LORELAI: Well yeah.RORY: So she stopped cleaning it's cage. Instead everyday she would stuff some Kleenex inthere.LUKE: You didn't?LORELAI: It was the quilted kind (with a small smile)RORY: So this keeps going on and the cage is just a cage full of Kleenex that moves a little, and the smell? Really good.LUKE: I canimagine.LORELAI: Oh no you can'tRORY: So then she takes the cage to the place where we bought him, waits for the sales guy to go behind the desk and dumps it on the counter then bolts.LUKE: You abandoned yourhamster.LORELAI: Look, I know it was bad, but this was a vicious hamster. This was like a Damien hamster with little beady eyes and a big forked tail and...a cape with a...hood...and bye bye Buttercup. ByeLuke.RORY: You did the right thing. (both walking away from the puppies with arms around each other)LORELAI: Oh (in a whiny tone). I want a pet.RORY: You have me.LORELAI: You won't bring me my slippers in themorning.RORY: I might if you had slippers.LORELAI: Will you wear a collar?RORY: No.LORELAI: It'll be pink!RORY: You're sick.LORELAI: Hey watch how you talk to me. Remember what happened to Skippy.(Cut to MaxMedina's apartment. He's cleaning while Lorelai sits on the counter eating out of a pot.)LORELAI: Mmm...God this is good!MAX: OK. Correct me if I'm wrong.LORELAI: Salt please.MAX: Twenty minutes ago we weresitting at the dinner table were we not?LORELAI: Yes we were.MAX: There were candles and flowers and plates and knifes and cloth napkins.LORELAI: I love the little sombrero napkin holders, very ole.MAX: And thewhole time we were at said dinner table, you ate two maybe three bites of this amazing dinner I made for you.LORELAI: Pass the bread.MAX: And yet, as soon as that dinner's over and I start cleaning up, suddenlythat's when you're starving.LORELAI: What can I say - watching someone work makes me hungry. If I hadn't stopped watching \"This Old House\" I'd be 500 lbs right now.MAX: Hmm.LORELAI: What are you doing?MAX:Passing these to you?LORELAI: In the dish please. Ha ha ha. (as Max puts food into pot.)LORELAI: So where did you learn to make osso bucco anyway?MAX: Um, from this very old Italian woman...who used to liveupstairs...um, s-she had lost her husband a couple of years before and she kinda looked at me as like a son.LORELAI: Sweet!MAX: She was.LORELAI: So an old girlfriend huh?MAX: Yep.LORELAI: Mm hm.MAX: So wouldyou like some coffee?LORELAI: Yes please. (Walks by Max and their faces come very close together)(Lorelai walks over to his desk)LORELAI: Hey did you read Rory's paper yet?MAX: Not yet.LORELAI: It's reallygood.MAX: I'm sure it is.LORELAI: Oh and look! It's right on top.MAX: Isn't that a coincidence?LORELAI: (laughs) Wow, there are some really big words in here. I just hope you have a dictionary with you when you readit.MAX: Oh I will.LORELAI: You know I could just save you the time and uh, put an 'A' on it for you.MAX: Well that really wouldn't be fair to the other students who's mothers aren't here tonight would it?LORELAI: Yesyou're right. (pause) Although, life isn't fair and the sooner those kids learn that the better.MAX: Well I'll take that advise into account.LORELAI: (giggles). (turns around to look at his books) Wow these are beautiful!.Hm, I never read Proust, I always wanted to. Every now and then, I'm seized with an overwhelming urge to say something like \"As Marcel Proust would say..\" but of course I have no idea what Marcel Proust would sayso I don't even go there. I could do, uh, \"As Micheal Crichton would say..\" but it's not exactly the same you know.MAX: Well, take it.LORELAI: Oh no! It-it looks so valuableMAX: It's a book. It's meant to beread.LORELAI: You sure?MAX: Take it, read it.LORELAI: Ok, I will.(She takes the book and sits down and starts to read)MAX: (laughing) Not now!LORELAI: What?MAX: I'd rather you didn't read it now.LORELAI: Butum, what about (Max kisses her) my required reading (stands up, moving towards the bedroom, between kissing..) But I won't make the cheerleading squad! (kissing) Mr. Medina, is this my extra credit work becauseMissy just had to take a test!?! (laughing through kisses. Door closes.)(Cut to Lorelai sneaking in with shoes in hand)(Rory's waiting up on the couch)RORY: Where do you think you're going?LORELAI: Hi.RORY: It's oneo'clock in the morning.LORELAI: I know but my watch stopped during a terrible car wreck and I had to save kittens and small children and four baby chicks.RORY: Did you have a nice time?LORELAI: Not bad.(smiling)RORY: That's a very big smile for a not bad night. (Lorelai sits on the couch)LORELAI: Yeah well...Hey he loaned me a book.RORY: What book?LORELAI: 'Swann's Way'RORY: Aren't we ambitious.LORELAI: Yeswe are.RORY: You know what it means when a man loans you a book don't you?LORELAI: That he's already read it?RORY: Yep.LORELAI: (laughs a little) How was your night?RORY: Homework.LORELAI: How manytimes did Dean call.RORY: Not that many.LORELAI: How many?RORY: Three (Lorelai looks at her)...Five.LORELAI: (laughs) Not an all time high but very respectable. I'm going to bed. You staying here?RORY: Yeah. I'mcomfortable. I've got the pillows in a perfect mushed position.LORELAI: Ok. Night mom. (kissing Rory)RORY: Yeah you just go think about what you've done.LORELAI: (with big smile) I will.RORY: Hey.LORELAI:What?RORY: You look happy.LORELAI: I am kid.RORY: Just checking.(Cut to Chilton - Mr. Medina's class)MAX: \"There's a certain slant of light, winter afternoons that oppresses like the heft of cathedral tunes.\" That, myfriends is the first verse of a poem by Emily Dickenson. Now read some of those tonight, and as you do, consider the fact that Emily Dickenson writes convincingly about passion and about the world in spite of the factthat she lived as a virtual recluse. It'll help you appreciate her mind. (bell rings)MADELINE: I could listen to him talk about passion all day. Do you think he's dating anyone?LOUISE: Of course he is.MADELINE: Ateacher?LOUISE: Please.MADELINE: Why not?LOUISE: Have you seen teachers?MADELINE: He's a teacher.LOUISE: Male teachers are different. They can still be mysterious.MADELINE: I bet his girlfriend'spretty.LOUISE: I bet she's dumb.MADELINE: Why?LOUISE: Dumb girls crave smart men. It's that whole Marilyn Monroe - Arthur Miller syndrome.MADELINE: I still think she's luckyPARIS: Whoever he's dating is a loser,who doesn't care that he's a teacher in this ridiculous school making a ridiculous teacher's salary. (to Rory) What are you looking at? (walks away)LOUISE: Guess someone read the paper today.MADELINE: I know.Paris' parent's divorce is getting very ugly!LOUISE: Her dad should've just paid her mom everything she wanted and this whole thing would've been over.MADELINE: That's what my dad did. (to Rory) Hi!LOUISE:Hi.RORY: Hey.MADELINE: Is it true Paris' mom had the entire back of her body surgically reconstructed?LOUISE: Well it doesn't match the front now does it?(Cut to Grandma's house)(Dinner time)GRANDMA: How's thesquab?RORY: It's good.GRANDMA: Lorelai?LORELAI: It's the best tiny, weird bird I have ever eaten.GRANDMA: I'm glad.LORELAI: Why are you smiling like that?GRANDMA: What are you talking about?LORELAI: You'resmiling.GRANDMA: I'm happy.LORELAI: That's not your \"I'm happy\" smile.GRANDMA: Well what smile is it Loerlai?LORELAI: That's your \"I've got something on Lorelai\" smile.GRANDMA: Rory your mother must be verytired.RORY: She works a lot.LORELAI: I grew up with that smile - I know that smile.GRANDMA: Tell me about school.RORY: Well, my French final went pretty well.LORELAI: You can change the subject. I know thesmile.GRANDMA: Whatever you say dear.LORELAI: I've used it a few times myself.RORY: Mom.GRANDMA: So tell me about parent's day?LORELAI: What?GRANDMA: Parent's day? Next Wednesday? When all theparents are supposed to go to the classes with their children all day long?LORELAI: The Chilton newsletter came out today!RORY: Yup.LORELAI: Right.GRANDMA: You didn't read yours?LORELAI: Not yet.GRANDMA:Ah.LORELAI: But you knew that -GRANDMA: Well -LORELAI: Hence the smile.GRANDMA: Lorelai, you're really being silly. There's no evil plan a foot here. I simply brought up a subject I thought we could all talkabout.LORELAI: Oh right.GRANDMA: I'll try another subject - the colour blue is very pleasant isn't it?LORELAI: Mom not everybody can wait outside the mailbox for the Chilton newsletter to arrive and then instantlymemorize the contents in three seconds.RORY: I'd like to weigh in on the blue colour subject please.GRANDMA: You have your priorities far be it from me to question them.LORELAI: Just because I don't read thenewsletter doesn't mean I don't care about my daughter.GRANDMA: So are you going?LORELAI: To what?GRANDMA: To parent's day!LORELAI: Why don't we talk about it next Friday when I've actually read thenewsletter. I guarantee it'll be more fun.GRANDMA: We could except for the fact that parents day is next Wednesday.LORELAI: Wednesday?RORY: Yup.GRANDMA: If we talked about it on Friday then you would'vemissed it.LORELAI: Wednesday huh?RORY: It's ok mom, you don't have to be there.GRANDMA: I guess we can talk about how you missed it.LORELAI: I'm won't miss it.RORY: Mom it's not a big deal, you'rebusy.GRANDMA: You know what - I'll go!LORELAI: What?GRANDMA: Why not? You have to work. I, as you have insinuated, have no life, therefore I will go sit with Rory at parent's day.LORELAI: I'm not busy, I'mgoing. I will be there - that's it. End of story ok?GRANDMA: Fine.LORELAI: Fine.GRANDMA: So did you read on page two about the mother/daughter talent show?(Lorelai chokes on her food)RORY: You ok? (smiling)(Cutto Gilmore house)RORY: Mom I have to go! It's almost 8 o'clock!(Lorelai running around her room getting ready)LORELAI: Wait! Have you seen my orange suede clip thingy?RORY: Top right hand drawer.LORELAI: It'snot there.(Rory huffs and goes upstairs to help)RORY: Did you check in your purse?LORELAI: Yes.RORY: Under your scarves?LORELAI: Yes.(at the bedroom door)RORY: In your sock drawer?(Lorelai looks in the sockdrawer and finds it.)LORELAI: (gasps) I love you.RORY: I'm gone.LORELAI: Bye (give Rory a kiss)LORELAI: Hey wait!RORY: What?LORELAI: Blue disco sequence bag?RORY: No!LORELAI: Why?RORY: Bad.LORELAI:Really?RORY: Bye.LORELAI: Bye! (pause) Wait-wait-wait!RORY: Mom come on! Mr. Medina's going to be here any minute!LORELAI: Ok, just tell me one more thing. Where's the silver dangly bracelet?RORY: I'mwearing it.LORELAI: Why are you wearing it?RORY: Because it's mine.LORELAI: Oh...right...Hey can I borrow your silver dangly bracelet?RORY: I'll leave it on the table for you.LORELAI: Thank you.(Rory heads for thedoor and the doorbell rings)LORELAI: What was that?RORY: The door bell rang?LORELAI: Why did the door bell ring?RORY: Because someone's at the door.(Lorelai comes down the stairs while Max listens fromoutside.)LORELAI: It's 8 o'clock. Who shows up at 8 o'clock for an 8 o'clock date?RORY: I don't know, maybe a Chilton teacher?LORELAI: Everybody knows that 8 o'clock means 8:20, 8:15 tops!RORY: Well obviously hewas raised in a barn.LORELAI: I tell you, he's cute but this punctuality thing has knocked 10 points off the dream guy quotient.RORY: Mom what do I do? I'm not even supposed to be here.LORELAI: Ok so go!(Roryturns to leave)LORELAI: Oh wa-wa-wait! You have to get the door.RORY: What?LORELAI: Yeah, because I'm not ready.RORY: I'm not supposed to get the door remember, we agreed. I don't get the door when youhave a date.LORELAI: I know but...RORY: I'm not even supposed to be here. That's the first rule of the 'Gilmore Dating Handbook'. (as Lorelai fiddle with her skirt zipper). Daughter shall be nowhere near house whensaid man materializes. It's a good rule, it 's been working.LORELAI: Ok, but he's standing out there and it's cold and my slip is now completely stuck in my skirt zipper and they'll have to bury me like this.RORY:Mom!LORELAI: Just this once! (as she runs upstairs)(Rory opens the door)RORY: Hi.MAX: Rory.RORY: Come on in.MAX: Thank you (clears his throat)RORY: Can I get you something, I mean we don't really haveanything but if you wanted something and we had it, I'd be happy to get it for you.MAX: I'm fine.RORY: We have water.MAX: That's ok.RORY: It's not bad water actually. I mean it's not a funny colour or anything.MAX:I'm good. Really.RORY: We have bottled water.MAX: No thanks,RORY: One bottle actually.MAX: I-it's quite alright.RORY: We really need to go to the store.MAX: So..should we...RORY: Sit? Right. Yeah let's sit.(Theymove into living room)MAX: So, uh, what are your plans tonight?RORY: I'm going over to my friend Lane's house.MAX: Sounds good.RORY: And you guys are...?MAX: Dinner, movie - the usual.RORY: Right.(Both lookupstairs. Max clears his throat.)MAX: This is a little uncomfortable.RORY: Yes it is.MAX: But the thing is, if things go well, the way I hope they're going, then we might be doing this again.RORY: Sittinguncomfortably?MAX: (laughs) Seeing each other outside of school.RORY: That's ok. I am fine with this whole you and my mom thing.MAX: Well good. I'm glad.RORY: Well, better go. (gets up to leave)MAX: It's good totalk to you Rory. (standing up)RORY: You too Mr. Medina. (She turns to leave)MAX: why don't you call me Max? Just when we're out of school.RORY: (turning back) I don't think I can do that.MAX: Why not?RORY: Itjust sounds wrong - disrespectful. I mean, you're my teacher Mr. Medina, and if I start to think of you as a 'Max' - even as a part-time 'Max', it just seems lit it would get too confusing.MAX: How 'bout then, we'll comeup with non-Chilton names for each other. When we're not in school, I'll call you Rebecca.RORY: Rebecca.MAX: And you'll call me...RORY: Norman?MAX: Norman?RORY: Well...MAX: I look like a Norman to you?RORY:I'm sorry, 'Psycho' was on earlier and it was just the first name that came to mind. I'll think of something else. How about Alfred?MAX: You know what...Norman's fine.RORY: Are you sure?MAX: I'm positive, I love it. Imight make a legal change.RORY: Ok. Well I better go.MAX: I hope you and Lane have a good time.RORY: Thanks. Oh, would you give this to my mom for me?MAX: Absolutely.RORY: Thanks.(Rory starts toleave.)RORY: Oh and Norman - have her home by 10.(Max waves her off)(Cut to Luke's)(Rory's sitting at the counter as Sookie and Jackson enter)SOOKIE: I can't believe you won't just sell them to me.JACKSON: And Ican't believe you're being so small minded.SOOKIE: My stuffed fried squash blossoms are extremely popular with the customers.JACKSON: Yes I know.SOOKIE: People come from all over and demand the fried stuffedsquash blossoms.JACKSON: That's exactly my point!SOOKIE: What'll you have sir? Anything that comes with the stuffed fried squash blossoms. That's what I hear day in and day out.JACKSON: Yes, great, I know, butall I'm asking you is to try stuffing something a little different this time huh? (holds up a zucchini tush)SOOKIE: A zucchini tush?JACKSON: Just a temporary name.SOOKIE: You want me to serve my customers agenetically engineered vegetable that's named after a butt?JACKSON: Hey this is an all natural vegetable hybrid that's perfectly safe, completely delicious, and yes it looks a little odd but you can put in on themap!SOOKIE: I want the blossoms.JACKSON: Fine. You wanna think small, think small. I'm done. (leaves)(Sookie sighs and sits next to Rory)RORY: Jackson invented a new vegetable again?SOOKIE: Yup.RORY: It's toobad that bowling league didn't work out for him.SOOKIE: Yeah.(Lorelai enters with skates over her shoulder)LORELAI: Hey, look I found them.RORY: Where?LORELAI: They were in that drawer with the roastingpans.RORY: Cool.SOOKIE: Oooh skates!LORELAI: Rory and I have a skating date.RORY: I'm Nancy Kerrigan.LORELAI: And I'm Tonya Harding. I'm gonna do the whole shoe lace coming untie - nervous break - let mestart again act and everything.LUKE: (laughing) When was the last time you put those things on?LORELAI: Oh, you are constantly trying to ruin my fun.LUKE: Do they even fit anymore?LORELAI: Yes they fit.LUKE:They look rusted.LORELAI: Well...can I just have some coffee please?LUKE: (sighs) Hand them over.LORELAI: Why?LUKE: I'm gonna clean them and tighten the blades.LORELAI: Really!?!LUKE: Yes.LORELAI: Can youmake them really shiny?LUKE: The skates please.LORELAI: Maybe add a couple of pompoms.LUKE: Just hand them over.LORELAI: Thank you!SOOKIE: You get really good service here.LORELAI: Yeah I do.(Sookie'spager goes off.)SOOKIE: Gotta go.LORELAI: Anything wrong?SOOKIE: Too much yeast, too little bowl.LORELAI: Enough said.LORELAI: (to Rory) So I think I'm just going to go for it and wear the fur-trimmed skatingskirt, pride be damned.RORY: Hey, what if we invite Max to go skating with us?LORELAI: M-max?RORY: Yeah, I thought maybe he'd want to go.LORELAI: When did you start calling him Max?RORY: Well the other nighthe said that I should probably call him something other than Mr. Medina when we're outside of school. Which makes sense, so I'm getting used to saying 'Max'.LORELAI: W- you don't see him that much outsideschool.RORY: No, but I probably will since you guys are obsessed with each other.LORELAI: Yeah, well I wouldn't say 'obsessed'.RORY: No. It's ok, I mean of all the guys to have hanging around, he seems like a goodchoice. I like him.LORELAI: Good, well that's good.RORY: So what do you think about the skating?LORELAI: What?RORY: Mr. Medina - I'm sorry, Max? Do you think he'd wanna go?LORELAI: I don't thin he skates. (toLuke) Thanks.RORY: Well maybe we could all do something else together.LORELAI: Yeah, good. Something else is good. I love something else.(Cut to Gilmore house)(Kettle whistles.)SOOKIE: Ok, tea is ready. How arethe feet?LORELAI: I don't know. They stopped talking to me.SOOKIE: What on earth were you thinking?LORELAI: That I could still skate.SOOKIE: It's not like riding a bike you know.LORELAI: Now you tell me.SOOKIE:So, (sitting at table) what are you up to tonight.LORELAI: Well, I'm going to do a little line dancing, then run a 10K, then just jump up and down really hard for about an hour.SOOKIE: No Max?LORELAI: No.SOOKIE:Taking a night off?LORELAI: I don't seem him every night Sookie.SOOKIE: He seems like a great guy.LORELAI: He is.SOOKIE: That didn't sound very convincing.LORELAI: No, he is. He is a great guy - forsomeone.SOOKIE: For someone?LORELAI: Yes.SOOKIE: Someone else?LORELAI: Yes.SOOKIE: Someone else who is not you although you're the person spending every waking hour with him.LORELAI: Right.SOOKIE:"}
+{"doc_id":"doc_242","qid":"","text":"OPEN AT LORELAI'S HOUSE[Rory pulls up in her car, grabs some bags from the trunk, then walks into the house. An alarm starts blaring.]LORELAI: Oh, crap! [tries to turn off the alarm]RORY: What's going on? Is it thesmoke detector? Are we on fire?LORELAI: It's not the smoke detector, it's the alarm!RORY: What alarm?LORELAI: Our alarm.RORY: We don't have an alarm.LORELAI: Well, then, we have really angry rats. Did you cutyour hair?RORY: Well, I just trimmed it.LORELAI: You didn't tell me you were cutting your hair.RORY: It was a spur-of-the-moment thing.LORELAI: A spur-of-the-moment, \"let's not tell my mother I'm pulling a G.I.Jane\"?RORY: Are we seriously gonna have this conversation now during the air raid?LORELAI: You're right. Come on. [leads her to the other side of the room]RORY: What are we doing?LORELAI: I figured out that thereis a motion detector, and if you stand over here, it can't see you and calms down.RORY: Great, so what now?LORELAI: We wait. So why didn't you tell me you were getting your hair cut?RORY: It's just a trim.LORELAI:To the Braille Institute, it's just a trim.RORY: Do you like it?LORELAI: Will you put it back if I don't?RORY: Mom!LORELAI: Yes, I like it.RORY: Thank you.[the alarm stops]RORY: Oh, thank God.LORELAI: Feels goodwhen it's over, huh?RORY: This is crazy. When did we get an alarm?LORELAI: Well, apparently, Kirk. . .RORY: Oh, no.LORELAI: . . .has recently joined the Stars Hollow Security Company.RORY: Oh, no.LORELAI: Andapparently, now that I'm the pretty spinster living all alone, he's concerned for my safety.RORY: Did he tell you all this?LORELAI: Do you think I labeled myself the pretty spinster?RORY: What did you say?LORELAI: Ihaven't talked to him face-to-face. I come home to this and there was a note and his card and his gun.RORY: Oh, jeez!LORELAI: Yeah, and then when I called the alarm-response center to complain about the alarm, noone answered. I had to leave a message with Meg - she sweeps up.RORY: I can't even believe there's a security company in Stars Hollow. Nothing ever happens here.LORELAI: Oh, that is not true. Plenty happenshere.RORY: Like what?LORELAI: Like, people now break into your houses and install alarm systems.RORY: I heard about that.LORELAI: And we have a new mail carrier.RORY: We do?LORELAI: Yeah, so now if youwanna get your mail, you just have to go see Miss Patty.RORY: Why?LORELAI: 'Cause that's where he brings it. He brings Babette's mail to Andrew's, Norma's mail to the deli, and Taylor still hasn't found his mail, whichI have to admit is kind of fun.RORY: I rescind my previous statement. This place is hopping.LORELAI: So, did you eat yet?RORY: Nope. I thought I'd let you feed me.LORELAI: Sure. I can feed you, but I can't know ifyou're getting your hair cut.RORY: I will never do anything again without telling you - happy?LORELAI: I don't know. I'm finding this whole guilt thing rather satisfying. [Rory starts to walk away] No, no, where are yougoing? [The alarm starts blaring again] Agh! Why did you do that?RORY: I was gonna get my laundry!LORELAI: You made it mad!RORY: I didn't mean to!LORELAI: Back in the corner, back in the corner!RORY:Oh.LORELAI: No place like home, huh?RORY: Yeah.[opening credits]CUT TO LORELAI'S HOUSE[Lorelai is making a trail of Post-It notes on the floor through the house; Rory comes out of her bedroom]RORY:Mom?LORELAI: Follow the Post-It's.RORY: Does our life seem at all ridiculous to you?LORELAI: I spent all morning carefully tracking that motion detector.RORY: What an excellent use of your time.LORELAI: We're goodas long as we stay on the path.RORY: So I should follow the yellow stick road?LORELAI: We'll be here all week, try the veal. Stop.RORY: What?LORELAI: Read.RORY: \"Crouch down and hop.\" Oh, come on.LORELAI: Themotion-detector beam at the top of the staircase dips very low over there.RORY: You seriously want me to crouch down and hop?LORELAI: Like a little hunchbacked bunny.RORY: You know, I had decided that if I everwent to therapy, I was gonna leave you out of it, but now. . .LORELAI: Okay, you can stand up.RORY: Did you at least call the stupid security company again?LORELAI: Yes, Meg sends her love. Don't worry - I'll stop byon my way to the inn. And what are your plans today, Persis Khambata?RORY: Well, today, I'm going to do nothing but hang out in town, read, veg, drink coffee, and have the perfect Stars Hollow day.LORELAI: Lookout. I get to go over to the inn and hear a contractor laugh at me every time I say, \"But that won't cost too much more, right?\"RORY: Enjoy.LORELAI: Late lunch at Luke's?RORY: You're on. So, uh, which way do Igo?LORELAI: Oh, just follow the Post-It's.RORY: But they're going in two different directions.LORELAI: They are?RORY: Look.LORELAI: Oh. I must have kicked some out of the way by accident.RORY: Well, which one doI take?LORELAI: Which looks more intentional?RORY: No Post-It path looks intentional.LORELAI: I'm drawing a complete blank.RORY: You seriously don't remember?LORELAI: Sorry.RORY: Well, how are we supposedto get out of our house?[Lorelai, imitating Jeannie from I Dream of Jeannie, crosses her arms, nods her head, and blinks]LORELAI: Unng!RORY: I hate Kirk.CUT TO THE GAZEBO[Rory is sitting on the bench reading andlistening to music. A man walks up and sets down a box]RORY: Whoa. What's going on?MAN: I'm just setting things up for tomorrow.RORY: Oh, tomorrow. What's -MAN 2: Heads up![another man throws a package oftablecloths to the man in the gazebo]RORY: Whoa.MAN: I think you may need to move.RORY: Yeah, I kinda got that. Excuse me. What's tomorrow?[Across the lawn, Lindsay and her mom are talking with a weddingplanner]LINDSAY: . . .tons of tulle so that everything looks like frosting.MRS. LISTER: She's our only daughter - frost the town.LINDSAY: Now, where should we put the poster? I want to make sure everybody seesit.MRS. LISTER: Oh, what about next to the cake?LINDSAY: Yes, next to the cake.[Rory walks away in the other direction]CUT TO KIM'S ANTIQUES[Rory walks in]RORY: Lane.LANE: Rory.RORY: Have you heard of aphone? Because as my friend, it is your responsibility to use it to call me and tell me that my ex-boyfriend's wedding is on Sunday so I'm not accidentally in it.LANE: What?RORY: I'm sitting out in the gazebo, reading,and this guy almost brains me with a stack of tablecloths.LANE: Oh, that's right, they're having their reception in the town square.RORY: Yes, and Lindsay was out there holding a giant picture of her with Dean, and. ..LANE: Oh my God, did she see you?RORY: I don't think so. I do a pretty good idiot run when I need to.LANE: I'm sorry, I meant to tell you. I just didn't know you were coming home this weekend. It totally slipped mymind. Things have been so crazy. I just figured I'd tell you when we talked, and then we didn't, and. . .oh, I'm sorry, can you hold on for a sec?[She opens an armoire. Zach and Brian are inside]ZACH: Not cool,Lane.LANE: I'm sorry, guys.BRIAN: Fourth time today.LANE: Well, I thought Rory was my mom.ZACH: The resemblance is uncanny.BRIAN: We should get your mom a bell like a cat.RORY: What's going on?LANE: We'rehaving a band meeting. We need to figure out what to do about a guitarist.BRIAN: I think I got a splinter.ZACH: You know that a splinter can get into your bloodstream, go straight to your heart, and kill you.BRIAN:Why would you tell me that?ZACH: Whatever, dude. This is lame. I'm gonna bail.LANE: Zach, come on.BRIAN: We need to find a guitarist.LANE: That's right. We have come too far to let the band fall apart just becauseDave -ZACH: Hey, do not say the \"d\" word, Lane.LANE: But -ZACH: Don't.LANE: Dave -ZACH: Dave is dead to me. Comprendo? Dead. Cover the mirror, rip a shirt, that guy doesn't exist.BRIAN: He just went to college,Zach.ZACH: No, he did not just go to college. He walked out on his art, man. He walked out on his sound. Do you think a sound is so easy to find? Did you ever see that Glenn Miller movie? For two hours, JimmyStewart's walking around, \"I gotta find a sound. I gotta find a sound.\" Well, we had a sound and Dave took that sound to freaking California. You don't come back from California, man. It changes you.LANE: What didyou expect him to do - not go to college?ZACH: No true rock 'n' roller goes to college!RORY: Mick Jagger went to the London School of Economics.ZACH: What?RORY: Yeah, and, uh, Dexter Holland of The Offspring gothis PhD in molecular biology at USC. Greg Ginn of Black Flag graduated from UCLA. The guy from Bad Religion got his masters in geology from UCLA, and he's working on his PhD in evolutionary biology atCornell.ZACH: Lane, she's your friend.RORY: I'm sorry. Um, I'm going. I'll call you later.LANE: Hey, are you mad?RORY: No, I'm not, I promise. I'm just - I'm just a little surprised. I mean, Dean's wedding. . .LANE: Iknow.RORY: But it's okay. It just means that I have to be a little more careful about where I go this weekend, that's all.LANE: Okay, well, I'll see you tomorrow. We're using the garage - guitar auditions.RORY: Okay, I'llsee you tomorrow.ZACH: Shut up, shut up, shut up. Weezer did not go to Harvard.BRIAN: Not the whole band, just the lead -ZACH: Get away from me! I mean it.RORY: Bye.LANE: Bye.[Rory leaves. She sees Dean outfront on the sidewalk]RORY: Hi.DEAN: Hi. Uh, were you. . .RORY: Oh, I was at, uh, Lane's.DEAN: Right, Lane's. Um.RORY: Um.DEAN: So, you're home this weekend.RORY: Yeah, I, uh, I ran out of clean clothes andquarters, so. . .how are things?DEAN: Good. You?RORY: Good.DEAN: You like Yale?RORY: I love Yale.DEAN: I figured.RORY: And Connecticut State?DEAN: It's. . .it's good.RORY: Oh, good. I'm glad it's good. I mean,not that I would have had any recourse if it wasn't, but, uh, this makes my lack of recourse a lot easier to deal with. So, I see you've taken over the town.DEAN: Oh, yeah. Uh, well, Lindsay thought. . .she likes thegazebo, and. . .RORY: And it's her wedding.DEAN: It is her wedding.RORY: And your wedding. I mean, it's your wedding, too.DEAN: Yes, it is. It's my wedding, too.RORY: Well, it's nice. It's, um, it's pretty. It looks likeheaven or a Victoria's Secret commercial, which, to some people is basically the same thing.DEAN: I didn't know you'd be home this weekend.RORY: It was just a spur-of-the-moment thing.DEAN: Because if I hadknown, I would have, you know, invited you.RORY: Oh. Oh, well, it's. . .DEAN: I mean, I didn't want you to think I was just not inviting you.RORY: No, I didn't think that.DEAN: I just figured you'd be at school.RORY:'Cause you're logical.DEAN: I just didn't know.RORY: No, I know you didn't know.DEAN: I didn't want you to think -RORY: No, I didn't think. I don't think. I go to Yale now. They think for you.DEAN: But, hey, since youare here, come.RORY: Come?DEAN: To my wedding. Come to my wedding.RORY: Oh, Dean. . .DEAN: You and Lorelai, I want you to.RORY: Well. . .DEAN: Chicken or beef?RORY: What?DEAN: Wait, beef. Of course,beef. I mean, the two of you are definitely beef. I mean, not like you resemble beef or anything.RORY: You know, you don't even have to -DEAN: Okay, so, noon at the church. I'll be the one in the tux. And don't worry,we didn't write our own vows and no one's singing opera. I know you think that's lame.RORY: Oh, no, well, it's a wedding. It's supposed to be. . .operatic.DEAN: Okay, so, I better get over there. Lindsay's expectingme. Uh, so, I'll just see you two tomorrow.RORY: But. . .CUT TO LORELAI'S HOUSE[Lorelai is in the living room staring at the alarm system control pad]KIRK: [calls from upstairs] Now?LORELAI: Nothing.KIRK: Whatabout now?LORELAI: No, nothing.KIRK: Okay. Now?LORELAI: Nothing. Kirk, what's supposed to happen?KIRK: What?LORELAI: I don't know what I'm supposed to be looking for. Kirk?KIRK: I'm not sure.LORELAI: Kirk,please come downstairs.KIRK: Are you going to hurt me?LORELAI: Kirk.KIRK: [walking downstairs] I swear, they told me it would be self-explanatory. I just had to get in the main box, and in seconds, this thing wouldbe disabled. They didn't tell me that I needed a key or that if I didn't have a key, that I would be mildly electrocuted, and then, after all that, when I got in the box, there's nothing self-explanatory about it.LORELAI:Kirk.KIRK: I was trying to do a nice thing.LORELAI: I know.KIRK: And Jimmy said he would install it for me because I do not have those skills yet. The class was full by the time I got there.LORELAI: That's okay.KIRK:Damn my constant tardiness.LORELAI: Kirk, please, what can we do right now? The alarm is just so loud.KIRK: Yeah, that's my fault, too. I asked Jimmy to really crank it up.LORELAI: Well, he did.KIRK: If you're gonnahave an alarm, you need it loud. You don't want some crazed, knife-wielding gunman at your throat and the neighbors are going, like, \"Is that a fan? Did I leave the water running?\" You want them to know, \"Hey, that'san alarm.\"LORELAI: Your imaginary attacker has a knife and a gun?KIRK: And a really dirty tank top.LORELAI: Okay. So, uh, Jimmy's out of town, but until he gets back, we can. . .KIRK: Change the code.LORELAI:Really? To something I know?KIRK: You can pick it.LORELAI: You know how to do that?KIRK: Yes, I do.LORELAI: That is perfect.KIRK: Okay, here we go. Just punch in a 7-number sequence.LORELAI: You got it.[Sookiewalks in]SOOKIE: Hey.LORELAI: Hi.SOOKIE: Did you know your phone's not working?LORELAI: What?SOOKIE: I've been calling you for an hour. I had the operator check it. She said it's cut off or something.LORELAI:It was working this morning.KIRK: I'll be right back.LORELAI: Kirk!KIRK: I have tape. [goes upstairs]SOOKIE: You look tired.LORELAI: Yeah, well, Kirk.SOOKIE: Right. Hey, listen, I got a call today.LORELAI:From?SOOKIE: Michel. A very upset Michel.LORELAI: Why?SOOKIE: Well, apparently, he called you and you never called him back.LORELAI: When did he call me?SOOKIE: He said he called you in July.LORELAI: I wasin Europe in July.SOOKIE: I think that he thinks we're trying to ease him out of the Dragonfly.LORELAI: Oh, come on. Why would he think that?SOOKIE: I don't know, but he was so hysterical that his voice got into thathigh-pitched squeal he does, and all I could make out was \"fire\" and \"abandon me\" and something about not receiving a thank-you card for the Statue of Liberty.LORELAI: That is crazy. He knows we always intended totake him with us. I mean, we love Michel, right?SOOKIE: Right. He's the best concierge in the world.LORELAI: Absolutely. A little abrasive.SOOKIE: Kind of impatient.LORELAI: But charming.SOOKIE: And great at whathe does, knows the community.LORELAI: Willing to go that extra mile.SOOKIE: Tiny bit obnoxious.LORELAI: Makes you want to scream, \"life's too short!\" two, three times a day, but. . .SOOKIE: Picture life without him.We do need him, right?LORELAI: Let's just go down there and talk to him.SOOKIE: Right.CUT TO FANCY HOTEL[Lorelai and Sookie walk in]LORELAI: Well, we know where all those Calvin Klein ads went to die.SOOKIE:They look like they all had the same mother.LORELAI: That must be one tired supermodel.[a woman walks by]LORELAI: Excuse me, we're look-[the woman ignores her and keeps walking]LORELAI: I wouldn't talk to useither.SOOKIE: Hey, talk to a boy. A boy will be nice to you.LORELAI: Okay.[they walk up to the front desk]LORELAI: Hi. Excuse me, we're looking for Michel Gerard.CONCIERGE: The corner of Mercer andBroom.LORELAI: Excuse me?[the man points to his headset]LORELAI: Oh, Janet Jackson's on the phone.SOOKIE: Oh.CONCIERGE: Uh huh, no worries. Hi.SOOKIE: Us?CONCIERGE: Yes.LORELAI: Oh.SOOKIE: We'relooking for Michel Gerard.CONCIERGE: Michel.SOOKIE: Yes, Michel Ger. . . Janet again.LORELAI: She's very needy lately.CONCIERGE: You have some guests at the front desk. Uh-huh. No worries. He comes like thewind.LORELAI: Thanks. He doesn't need our thanks.SOOKIE: Well, he has Janet, so. . .[Michel walks through the lobby toward the front desk talking on a headset]MICHEL: You have reservations at Tamtam at 7:00. Donot order the duck because it will take forever and you will miss the curtain. If you have any problems at all, you have my pager number. Just call me. Goodbye. [to Lorelai and Sookie] Well, look who the cat draggedin.LORELAI: Hi, Michel. We've missed you.MICHEL: Yes? Well, I have missed you, too.LORELAI: This place is wonderful.SOOKIE: You look so important, walking around, talking to yourself. But you're not really talking toyourself. You're actually talking to someone else in a headset with your headset.LORELAI: How are you?MICHEL: Me? I am wonderful, and yourselves?LORELAI: We're great, and we're breaking ground on the inn onMonday.MICHEL: Oh, yes. Is that still happening?LORELAI: It is still happening.MICHEL: Well, that's lovely. There's a small charge for the use of the internet. All instructions are in the minibar. I'm so pleased.LORELAI:Listen, Michel, I know you're a little upset with me.MICHEL: Upset? I don't think so.SOOKIE: It's okay, I told her about the call.MICHEL: What call?SOOKIE: The call you made to me yesterday, the one where you toldme that you called Lorelai and she didn't call back.MICHEL: I make so many calls.SOOKIE: The one where you cried.MICHEL: Are you sure it wasn't another Michel?SOOKIE: You called me! You kept me on the phone forover an hour. I missed the beginning of Queer Eye for the Straight Guy, and by the time I got back, they were all gay.LORELAI: Okay, it doesn't matter. We just want you to know if there was any misunderstandingabout wanting you to come with us to the Dragonfly, well, we're sorry.SOOKIE: I'm not.MICHEL: Well, that's very sweet of you to say. Thank you.LORELAI: Unless you don't want to come with us. I mean, this place isvery impressive, and I would understand if you didn't want to leave.MICHEL: Yes, this place is impressive, isn't it? I mean, the uniform alone - like working in your jammies. And these headsets, are they not fabulous?Especially when, for example, you're in the bathroom, a place one would normally choose to be alone, then suddenly, bang, someone is yakking in your ear. How delightful. You can never get lonely.LORELAI: I supposenot.MICHEL: And the people who work here. . .a joy. So young, so talented. Some of them are actors in ambitious off-Broadway revues. They play cockroaches and derelicts and do Shakespeare dressed like punkrockers. It gives me chills just thinking about it. Yes, extra towels are complimentary, Matthew, and stop asking me who the hottie I'm talking to is. I'll tell you what, I'll think about it and get back to you,okay?LORELAI: Nice to have you aboard, Michel.MICHEL: I'm busy, go. Thank God. Matthew, what?CUT TO LUKE'S DINER[Lorelai and Rory are sitting at a table]LORELAI: So, he invited us to his wedding.RORY: Andwe're having beef.LORELAI: Well, what was his body language like?RORY: Tall.LORELAI: No, I mean, did he squirm or back away when he invited you or was he all darty-eyed?RORY: Not much squirming, no backingaway, but there was a little bit of darty-eye.LORELAI: So, he was nervous.RORY: Well, we were both nervous. I mean, we didn't expect to run into each other, and I think he probably just invited us 'cause he felt like hehad to, to be nice.LORELAI: That does sound like Dean.RORY: So, what do we do? Do we go?LORELAI: Oh, I can't decide this. He's your ex-boyfriend.RORY: It seems weird that we go.LORELAI: Then we don't go.RORY:But if we don't go, it may look like we're trying to make some kind of statement.LORELAI: Then we go.RORY: If I had just stayed at Lane's for two more minutes. . .LORELAI: Yeah, fate.RORY: Yes, it is fate. Do weignore fate?LORELAI: I don't know. Do you have any important papers due soon?RORY: Why?LORELAI: Just in case.RORY: Fate's gonna flunk me?LORELAI: It's always a possibility.RORY: Well, then that's it. We aregoing.LUKE: Going where?RORY: Dean's wedding. Fate's making us.LORELAI: I hope fate will cough up forty bucks for a salad spinner for him.LUKE: Please, there is no fate.LORELAI: What do you mean there is no fate?Of course there is fate.LUKE: There is no fate, there is no destiny, there is no luck. Astrology is ridiculous. Tarot cards tell you nothing. You cannot read a palm. Tea leaves make tea and nothing else. Jim Morrison is nothanging out with Elvis, and the Kennedys did not kill Marilyn.LORELAI: I totally knew you were gonna say that.LUKE: I came over here. My fault.LORELAI: I read your mind. It spoke to me. We're psychic.LUKE: Enjoythe fries.LORELAI: So where does this leave us?RORY: Well, I think that Dean's gonna expect us to go, and it is his day, and I don't want him to feel like I don't care about him.LORELAI: I know.ORY: I just want him tobe happy.LORELAI: Okay, we'll get him a salad spinner first thing tomorrow morning.RORY: Thank you.[Miss Patty walks in]MISS PATTY: Oh, there you are. Honey, I've got your mail.LORELAI: Oh, great.MISS PATTY:"}
+{"doc_id":"doc_243","qid":"","text":"[Genevieve and Celeste (in Sabine's body) stroll through the cemetery]GENEVIEVE: Oh, I remember this cemetery. Hmm. Hasn't changed a bit.SABINE / CELESTE: I've been coming here over a century, wearing oneface or another.FLASHBACK--LAFAYETTE CEMETERY, 1919[Genevieve approaches a woman kneeling in front of a tomb, praying to her ancestors]GENEVIEVE: Clara Summerlin, will you come on? We're gonna misseverything.[The two walk over to where a crowd of witches are standing around a bonfire, playing congo drums and watching as a witch dances around the flames. Papa Tunde walks out with an albino python aroundhis shoulders, which he hands to his sons after clapping in order quiet the crowd]GENEVIEVE: Told you. Every witch in the Quarter is here to see the great Papa Tunde.PAPA TUNDE: Witches of the French Quarter, thankyou for your welcome. It is good to be among people of the faith. I, too, practice ancestral magic, honoring those who walked the path before us. From them, we draw strength. And you will need strength, for a greatdarkness is coming. The city your forefathers left you is now overrun by pirates, beasts, and vampires.[Papa Tunde takes the python from his sons and throws it into the fire, and many of the witches gasp in surpriseand fear]PAPA TUNDE: I practice other magic, as well. Sacrificial magic, channeling power from the lives of my offerings. I use this strength to vanquish my enemies, and I will punish your enemies for their greed. Inreturn, you will accept my family into your coven, and me as your leader.FLASHBACK--A MEETING ROOM, 1919[Two men enter the room and join Elijah and a police officer at a table]ELIJAH: Gentlemen, makeyourselves at home. Mayor O'Connell appears to be running late, but there's much to discuss, so I shall begin.KLAUS: [walks down the stairs to join them] One moment, please, brother. You know how much I enjoythese illicit, little gatherings.ELIJAH: [to the men] Do not be troubled. Despite my brother's reputation, I can assure you, we've invited you here to broker in peace. You have my word.KLAUS: And, lucky for you, mybrother always keeps his word. You two are from the Guerrera crime family, a brutish pack of thieves and killers. And that's nothing compared to what you become on a full moon, is it?ELIJAH: Yes, yes, yes. Of course,a bite from your kind is not lethal to an Original. Conflict between us would not end well for you at all. Let's state our proposal here. My brother and I control the ports of the city, but with Prohibition soon to be the lawof the land, there'll be a certain uptick in the kind of federal presence we prefer to avoid. Therefore, I'd like to suggest a system whereby, under our supervision, of course, the Guerrera family can traffic alcohol into thecity of New Orleans for a profit. We would still be in charge, but our rule would remain a secret.[Papa Tunde walks into the room with his sons following behind him]PAPA TUNDE: This all sounds very good, but tell me,how will it benefit the witches?ELIJAH: I am sorry. This is a private meeting.PAPA TUNDE: Yes, for kings of the city, but I, too, am a king, and I have rules.KLAUS: I'm impressed. You're either quite ambitious or quitemad. What's your name, mate?PAPA TUNDE: I am Alphonse Bellatunde Delgado, Papa Tunde to my followers, and I come to ask that the witches be granted fair tribute for allowing your existence in our city.ELIJAH: Areyou suggesting that you speak for the french quarter witches?PAPA TUNDE: I do now, and I expect our future negotiations to go very smoothly. As a guarantee, I brought a gift. I await our next gathering.[A smallleather case is placed on the table. Papa Tunde and his sons leave. Everyone else gathers around as Klaus lifts the lid on the trunk to reveal a head inside with a symbol carved into his forehead]KLAUS: Well, I supposewe'll need a new mayor.PRESENT DAY--THE ABBATOIR COURTYARD[Marcel comes down the stairs into the courtyard with a bottle of bourbon in his hand. Diego sees him enter and approaches him as Marcel walks overto sit down at a table]DIEGO: Hey, Marcel, maybe you know what's going on. Klaus ordered us to meet here, and now he's a no-show.MARCEL: What do you want from me? It's a new regime. Get used to it.[Klausenters the room with Thierry and makes an announcment]KLAUS: Dearest brethren, your attention, please. No doubt, you're all surprised to see Thierry Vanchure, who's supposed to be rotting in the Garden for thecrime of killing one of our own, and I personally decided to issue him with a pardon. I hope you'll all welcome home Thierry.[Thierry smiles and gives Diego a hug]DIEGO: Welcome home, man.MARCEL: [to Klaus]You're in a good mood. You should visit Mystic Falls more often.KLAUS: Well, as much as I might like to, I have pressing responsibilities here. [turns to address the crowd of vampires] Now, as you all know, the witchDavina is no longer with us. Without Davina, we can no longer monitor the activity of our witch neighbors. However, since their Harvest failed, their magic will soon be gone forever. Until then, I say we keep them ontheir toes. Diego, I wonder if you might lead a rousting in the cauldron.[Diego smiles and starts to plan with the other vampires. Marcel grabs his bottle and goes to storm away, but Klaus stops him in thedoorway]KLAUS: Marcel, I'd hoped you would join Diego.MARCEL: Nah. I'm gonna take a personal day. [He pushes past Klaus and leaves]IN THE FRENCH QUARTER[Rebekah and Elijah walk through the streets of theQuarter as they talk about recent events]ELIJAH: Now, you may doubt him, but today, I saw Niklaus demonstrate mercy towards an enemy. Tell me that's not progress.REBEKAH: Please, Elijah. Who do you thinkconvinced Klaus to let Thierry out?ELIJAH: Why would you do such a thing?REBEKAH: Because, despite Klaus' reprieve, Thierry despises him. I like that about Thierry. I also like that he used to date a witch, so heknows about French Quarter covens. Maybe he can lead me to whoever stole off with the Harvest magic.ELIJAH: Rebekah, we are all devastated by the outcome of this ritual.REBEKAH: That's just it. There was nooutcome. We both know that power like that doesn't just vanish. I say someone stole it. I'd like to know who, and then I'd like to make an ally out of them.ELIJAH: To what end, exactly?REBEKAH: I'm tired of beingthreatened and controlled by our tyrant brother. If you want to stop a bully, you need the power to stand up to them.ELIJAH: I expect such behavior from Niklaus. It's so very disappointing when it comes from you,Rebekah. Do you not see that, in his way, he's making an effort here? He's invited us back into our family home. He yearns for our family to be reunited.REBEKAH: Yes. He's in a brilliant mood now, but for how long?It's his trick, Elijah. He lulls you into a false sense of camaraderie and kinship, and then he turns on you like a snake. I fall for it every time and wind up with a dagger in my chest for my trouble. No more.ELIJAH: Ibelieve that he is approaching some semblance of peace here. Leadership may, in fact, be a good thing for him. Now, sister, please, I ask you, if you cannot support him, then at least do nothing to provoke him.THEABBATOIR COMPOUND[Klaus enters one of the rooms of the compound and finds Marcel, still drinking alone as he sits on a couch]KLAUS: Ugh, is this what's it's come to? I bear the full weight of our kingdom while youpout like a child.MARCEL: You wanted to be king. Besides, you look like you got it covered.KLAUS: If the men see you shirk your duties, they're likely to do the same.MARCEL: I told you, I am not in the mood forvampire hijinks.KLAUS: No. You'd rather sit wallowing in sorrow for your lost little friend.MARCEL: [stands up and points a finger at Klaus] Don't push me right now.KLAUS: I am sorry Davina is gone, ok? I'm sorry, butthis mournful attitude is unworthy of you, and it's boring to me.[Diego enters the room to join them, looking worried]DIEGO: Hey, guys, we got a problem.THE CAULDRON[Thunder rumbles overhead as Diego leadsMarcel and Klaus to the Cauldron to show them what he found]DIEGO: We came to mess with the witches, just like you said. And these two, they went missing. Found them like this, not even staked. Justdead.MARCEL: That's two more of my guys gone. Nice job, Captain.[Marcel takes one look at his dead men, puts his hood up, turns around, and starts to walk away]KLAUS: Where are you going? Someone has toaccount for this!MARCEL: You want revenge, get it yourself. That mark is tied to some bad mojo. Any of y'all got any brains, you'll head back to the compound and stay the hell out of this.[Marcel walks off. Klaus turnsto Diego]KLAUS: We're gonna find whoever did this, and I will show them what suffering is.A WAREHOUSE AT THE DOCKS[Thierry and Rebekah walk into a warehouse to investigate]THIERRY: Used to run things downhere for Marcel. Thought you'd like to see what I found before Klaus did.REBEKAH: [smirks] Not a day out of the Garden, and you're already proving yourself useful.THIERRY: We made a deal, and if it screws things foryour brother, I'm all for it. Though, to be honest, this stuff makes my skin crawl. I've never seen anything like this.[They stop in front of another salt circle on the ground with two dead vampires inside. Both aredesiccated and have the same symbol carved into their foreheads]REBEKAH: I have, a long time ago. Somebody is copycatting a very dangerous witch. They draw their power from sacrifice.THIERRY: I just don'tunderstand why someone would leave it here for us to find.REBEKAH: Unless they wanted it to be found.[Papa Tunde appears from the shadows behind them. Rebekah notices him in shock and horror]PAPA TUNDE:Mademoiselle Mikaelson.REBEKAH: That's not possible.PAPA TUNDE: Sure, it is, chére. It's magic.[Rebekah speed vamps toward him to try to kill him, but Papa Tunde simply reaches out and grabs her by thethroat]PAPA TUNDE: Symbole du masque et de l'ombre, embrace-toi. Embrace-toi. Symbole du masque et de l'ombre, embrace-toi. Embrace-toi. Symbole du masque et de l'ombre, embrace-toi. Embrace-toi. Symboledu masque et de l'ombre, embrace-toi.[Rebekah starts to desiccate, and thick gray veins pop up all over her face and neck. Terrified, Thierry speed vamps and disappears out of the warehouse]COMPOUNDCOURTYARD[Klaus, Elijah, Diego, and many of the other vampires are congregating in the courtyard, discussing their current situation]KLAUS: Ah! Someone will die for this.ELIJAH: Remarkably, I don't disagree.However, I would like to know where they learned such dark magic.KLAUS: I had hoped never to see that symbol again. I recall it is the signature of a fool who once stood against us.ELIJAH: Clearly, some upstart witchis salvaging old tricks.KLAUS: I'll do for him as I did the other. [turns to Diego] Diego, when night falls, I want you to gather every vampire in the Quarter. Get me the head of whoever did this and put it on astick.DIEGO: Yeah. That's gonna be a problem. Everyone is freaked out, man. We haven't had witches killing vampires in a long time. Marcel made sure of that.KLAUS: Marcel has run off like a scared child. You lot areleft with me. Now, who of you will fight to defend our home? [looks around to see that no one comes forward] Not a single one of you will stand with me, so afraid are you of this new threat? You should know better. I'llhandle this myself.[Klaus storms off]ROUSSEAU'SCAMI: [on the phone] Sophie, the restaurant is an epic disaster again. Do you think maybe you could come in today and... [the voice mail interrupts: \"User's mailbox isfull.\"]CAMI: [annoyed] Good-bye.MARCEL: Looks like I should've been here last night.[Cami, startled, looks for anything she can find to use as a weapon, finally settling on an empty liquor bottle]CAMI: Before you tryanything, I'm on vervain.MARCEL: Yeah, Klaus mentioned you broke free of his compulsion. Good for you. Sophie around? CAMI: No. Why?MARCEL: Got a witch problem. Thought she might have answers. [he sitsdown] Mind if I wait? [he grabs a bottle off the bar and pours himself a drink]CAMI: It's a little early for day drinking. Let me guess, Klaus problems. I thought you'd be on top of the world now that you have Davinaback.MARCEL: Davina is gone.CAMI: [shocked] Was it Klaus? I told him, if he hurt her...MARCEL: It wasn't like that. The power that she had was too much. We tried to fix her with this crazy-ass ritual, and somethingwent wrong. Now she's...I don't know, floating in limbo, or waiting on her ancestors.CAMI: Marcel, I'm sorry.MARCEL: Yeah, me, too.THE ABBATOIR--DAVINA'S OLD ROOM[Elijah walks into the room to find Hayleylooking at Davina's old sketches]ELIJAH: There you are.HAYLEY: Here I am.ELIJAH: [gestures to the sketches] Davina's drawings.HAYLEY: Yeah. Morbid, I know. I was just thinking, we never figured out why she drewthose pictures of Celeste. Anyway, I'm just killing time, now that I'm on vampire lockdown.ELIJAH: Whoever did this, we will deal with them. It won't be long.HAYLEY: I'm not worried. Just think it's kind of funny that ittook some big, supernatural threat for you to even come into the same room as me.ELIJAH: I do apologize if you feel neglected. I have been occupied. My siblings are in some quarrel. Niklaus remains agitated. You'llrecall that even our slightest interactions seem to infuriate him.HAYLEY: So Klaus is a dick, and you want to be a good big brother. So we can't hang out. That sum it up? I get it, Elijah. It just seems like a really crappydeal.ROUSSEAU'S[Marcel is still sitting at the bar with Cami when his phone rings. It's Klaus. He hits the ignore button and returns to his drink]CAMI: El presidente?MARCEL: He likes to keep track of his people.CAMI:Why are you loyal to him, exactly?MARCEL: For someone who says she can't stand the guy, you sure ask a lot of questions about him.CAMI: My interest is purely academic.MARCEL: I know what you're doing. You'remad he used you, and you want to get back at him. Maybe you're hoping I'll let slip some chink in his armor. Friendly advice--don't do that. It won't end well. Let me tell you a story about someone who went up againstKlaus.FLASHBACK--THE ABBATOIR, 1919[Marcel returns home in his military uniform to find a party being held at the compound. Marcel sees Rebekah sitting at a table with an unknown gentleman, and walks towardher]MARCEL (VOICEOVER): This was right after I returned from World War I. I'd been trying to get away from New Orleans for a while. Something kept drawing me back.KLAUS: Why don't you get me some Martinis?Thank you.MARCEL: [to Rebekah] Aren't you gonna welcome me home?REBEKAH: I wouldn't want you to think that I was happy to see you.MARCEL: How long you gonna hate me?REBEKAH: You left me in a box forfifty-two years. Twice that seems like a good start. Come on, boys.KLAUS: [approaches Marcel] There he is. Our war hero, triumphantly returned. Oh, good to have you back, Marcellus. Welcome home. [They drink]Mm.ELIJAH: Ha ha! The prodigal son has finally learned to hold his liquor.MARCEL: The Army'll do that to you.ELIJAH: Well, it's good to have you back. Niklaus was beside himself in your absence.KLAUS: Now that youare here, perhaps you could help settle an argument. You see, you've traded a war abroad for one here in the Quarter. Some rogue witch wants a piece of the city we built, and Elijah, for reasons beyond mycomprehension, insists that negotiation is our best recourse.ELIJAH: Yes.KLAUS: On the topic of your failed comprehension, you neglect, as a soldier, Marcel has seen not only how small the world has become and howfast news can travel, but also the very horrors of war itself. Surely, Marcel would agree with me.ELIJAH: The best way for us to defend our home is by exercising discretion.MARCEL: So who's the witch you want tokill?KLAUS: His name is Papa Tunde. I think he's a charlatan.ELIJAH: Well, Marcel shall be able to decide that for himself. You invited him here.KLAUS: Of course. We're not savages, are we?[Papa Tunde arrives at theparty, and Klaus immediately approaches him]KLAUS: Thank you for accepting our invitation, and welcome. I hope you'll allow me to play the role of host. If there's anything you need- Anything at all...PAPA TUNDE:Pleasure before business, then. Ha ha ha! Ha ha ha!PRESENT DAY--ROUSSEAU'SMARCEL: I didn't get it at first. Klaus was the one who wanted to go to war.CAMI: So, why was he inviting his enemy into his home? Whybe so generous to someone who he's gonna have to kill?MARCEL: But, you see, that's the thing. It was all part of Klaus' plan. He was sussing the guy out, learning his weaknesses, his strengths, getting him to let hisguard down. That's how Klaus does it. Then he goes in for the kill.CAMI: Because he's a two-faced sociopath. There's nothing enviable about what Klaus does. He is a monster.MARCEL: We're all monsters, Cami. Ifyou're powerful like Klaus is, you just don't have to bother hiding it.CAMI: Davina was powerful. She wasn't a monster.[SCENE_BREAK]THE DOCKS[Papa Tunde finishes doing his spell on Rebekah, who lays desiccatedin a circle of salt, with his symbol carved into her forehead. He stands back and admires his work]PAPA TUNDE: It is done. The power of the Original sister flows through me.CELESTE: And will that be enough to makeKlaus suffer?PAPA TUNDE: I will hurt Klaus Mikaelson as he hurt me. When I am done, he will wish that he could die.ROUSSEAU'SMARCEL: You gonna open this place today?CAMI: And risk you eating theclientele?MARCEL: Oh, and here I thought you were starting to like me again. [Marcel's phone rings again. He answers it]KLAUS: Ah, you've deigned to break your despair long enough to pick up the phone.MARCEL: Ifigured you'd just keep calling.KLAUS: I'm in the Cauldron now. You could meet me here, we could start burning passersby at the stake.MARCEL: Sorry. I'm gonna chase down my own lead.KLAUS: And where mightthat be, the bottom of a bottle of scotch?MARCEL: I'm at Sophie Deveraux's place. I figured I'll sit here and drink 'til she shows.KLAUS: Or, you could snap out of this funk and come and help me end this. [Marcel hangsup the the phone]THE ALLEY[Sophie Deveraux appears in the alley, drunk, stumbling around with her own bottle of liquor as she approaches Klaus]SOPHIE: Big, bad Klaus Mikaelson.KLAUS: Sophie. Just the witch I waslooking to brutalize. [he speed vamps toward Sophie and grabs her in a chokehold] Perhaps you could explain the attacks on my men.THE ABBATOIR COMPOUND[Hayley and Elijah are in the courtyard. Hayley watchesas Elijah tries to call Rebekah]ELIJAH: Rebekah is not answering her calls.HAYLEY: You worried about whoever killed those daywalkers still being out there?ELIJAH: Frankly, I'm worried that she had something to dowith this. She's very displeased with Niklaus, perhaps even conspiring with others.[Elijah notices Thierry drinking alone at a table and joins him]ELIJAH: Thierry, is it?THIERRY: That's right.ELIJAH: My sister is ratherfond of you. Strange, she's not typically drawn to unremarkable men. Would you care to explain your sudden magnetism?THIERRY: I don't know what you're...[Elijah, annoyed, grabs him by the throat and pushes himagainst the wall]ELIJAH: You can either tell me what you know, or I can distribute tiny pieces of you throughout the Quarter.THIERRY: [reluctantly] She asked me to keep an eye out on witch stuff. I found something,and when I showed her, we were jumped by some guy. He desiccated her with his touch.ELIJAH: [angry] Like a coward, you left her.THIERRY: What was I supposed to do, fight some warlock that took out anOriginal?ELIJAH: Where was this, exactly?THIERRY: The docks, warehouse 57. I was just doing what she asked. You cannot tell Klaus about this. [Elijah throws Thierry against the wall. He's unconscious]ELIJAH: I shalltake that into consideration.HAYLEY: [worried] I'm coming with you.ELIJAH: No. Stay here. The compound is safe.HAYLEY: Rebekah is in trouble. I'm going.ELIJAH: [considers this, and sighs] Do not leave my sight.Understand?[Hayley nods, and the two leave for the docks]ROUSSEAU'SMARCEL: Me calling things off with you wasn't lack of interest. I was hoping to save you from all this.CAMI: Well, thanks, Romeo, but I'm in it. So,when are you gonna get to the good part with Klaus and that Papa guy?FLASHBACK--1919MARCEL (VOICEOVER): Papa Tunde said he wanted to empower the witches. Mostly, he wanted money and territory. Klaus andElijah weren't about to give him either. He didn't like that, so he went on a rampage. [We see flashes of him sacrificing his offerings] No one was safe. Not the humans in the faction. [We see Papa Tunde killing them]Not the Guerrera werewolves. He even went after the witches who opposed him. Elijah offered a truce. He gave his word, in fact, but Klaus, being Klaus, he had another idea.[Papa Tunde is waiting in their meeting place"}
+{"doc_id":"doc_244","qid":"","text":"[PREVIOUSLY_ON]Nikki is with a girl. She's pissed off after Jenny who threw her away.The girl: Baby, don't be sad. It's so boring.Nikki: Get off of me! Who the hell does she think she is?! She called me, she wanted me!And then she goes all Paris and Britney on me just like: \"Oh, I never liked you and it was a showmance!\" Can you believe that? She f*cks me all night long and then she has the nerve to say that's a showmance! Imean, I don't even know what the f*ck that is!An other girl: I'm googling. Oh, it's, uh...Oh, it's, uh...\"Phony romance that happens during a movie or a TV show\" \"usually between two stars, but it can\" \"also be betweena star and\"...Nikki: You know what? I got it, alright? Do you know how many times has she said that she loved me? She's officially a liar and I officially hate her! You know what? f*ck her, alright?! I got over 16 millionon my opening week end and she can't even get in at the premiere of my next movie. She payed someone.The first girl: God! Makes wonder who broke her heart. I can't believe she told you it wasn't you. That was soharsh! You must feel horrible.Nikki: You know what? You are out of my 5!The girl: Nikki, you're my best friend!Nikki: No, get out! Right now! Get out! Everyone, get out! Everyone! You know? You and you, and you, getout! Get out! Now! Move! Jenny Schecter is a liar and a user. And trust me, you are not gonna get away with this. You are dead meat, Schecter. Dead. Credits. At the Hit Club.Helena: And this is where we're gonna putthe new DJ booth. So, if you need anything, just let us know. We'll get you all the right equipment.The drag-queen: Oh, I'll send you a list. I love these colors.Kit: We love them too.Helena: We got morroconess out of\"Casablanca\" theme.Kit: It's our favorite film.The drag-queen: Oh, say no more. I love...Kit: So, what do we have to do to get the fabulous Sunset Boulevard to come and spin at Hit?The drag-queen: Just keeping thefabulous Kit Porter. You know you're my ultimate R&B goddess?Kit: Oh, I don't know about the ultimate. Ooh, somebody's been working out! Not that we're the type... you know, we're, uh...We've both swore offmen.Helena: Ages of it.The drag-queen: Good for you. You two got a good thing going here. You don't need some man in here messin' it up.Kit: Okay, let me show you all of the textures and plans. At the PlanetAlice:Oh, I'm vanilla and fruit.Tasha: Breakfeast burrito. Thanks.Jenny: Excuse me. I didn't order that.Waitress: Oh, they're from her.Kit: Jenny, Shane wants you to know that she made them especially for you.Jenny:Excuse me, Alice? Do you mind just mentionning to Shane that I don't want her waffles?Alice: She doesn't want your waffles.Tina: How much do you love the New Valley service?Bette: Oh, my God, Helena's taking thisplace to a whole new level. Jenny comes with the waffles.Tina: Oh, and waffles! Look! I know that I love waffles. I'm getting waffles. She throws it away.Bette: Or not.Kit: Haven't you heard that there are peoplestarving in this world?Jenny: I'm sure they don't want waffles, Kit.Bette and Tina: Rock, paper, scissors, shoot!Bette: sh1t! Okay, that's one to one.Bette and Tina: Rock, paper, scissors, shoot!Bette: f*ck! I alwaysloose.Tina: 'Cause you're always rock. Always.Bette: Is that what it is? Have fun with the martyrs.Tina: Have fun with the cheaters.Tina: Wow, everyone's so industrial. What are you doing?Tasha: Learning.Jenny: I'mwriting my new treatment.Tina: What are you writing, Alice?Alice: A treatment.Jenny: A treatment for a film?Alice: I just... I had this kinda killer idea so I thought I'll just write a great screenplay and then sell it formillions and buy a house in Malibu?Tasha: I don't like Malibu.Alice: You've never been to Malibu.Tasha: I have been there.Tina: I didn't know you wanted to be a screenwriter.Alice: Well, I mean, you know, I neverreally did. Really, but I thought how hard can it be? Right? Jenny? I mean, it's like, you get paid big time.Jenny: Well, if you, if you actually, Alice, if you would to amortize the payment of the 17 drafts that I did on \"LezGirls\", you'll see that you actually don't get paid very much. So... Bette send a sms to Tina.Bette: Alice is writing a treatment for a script. Hope we're not in it.Shane: Amen to that.Tina: Actually, writing a goodscreenplay is what's really hard. And Jenny's become a very good screenwriter.Jenny: Thank you, Tina.Tina: You should ask her to read your treatment.Alice: Sure. Sure, sure, sure.Jenny: I would love to give younotes.Tasha: What? I need the carbs for training.Alice: But do you need them that fast? You have them all over your suit.Tina: Wow, you look amazing.Tasha: Thank you.Alice: I dressed her. Do a little spinzy, comeon.Tasha: No.Alice: It's her first day at the police academy, so...Tina: Excited?Tasha: Yeah, I am, actually. All my friends had the training, it's really, it's really rough.Alice: I tried to dress her in my morning, but shejust thought she looked like a girl.Tasha: It was inappropriate.Alice: You looked so good in that. You know it. You just hate to look good or something.Tasha: What the f*ck is that supposed to mean?Alice: There is like alack of effort.Bette: (receive a sms) Tell me about fashion. Fashion for... I don't know.Tina: When you guys are gonna go to therapy?Tasha: There is a thing called privacy, Alice.Bette: Privacy.Alice: Well, I see you atDan Foxworthy's at 6. There's parking on the...Helena: Wow, look at you! You look a million dollars!Alice: f*ck, you know? Bad vibes. You and Shane should work your sh1t out, 'cause this place is becoming like theblack hole of Calcutta.Helena: It's good to see we're still asunder; nothing like a little dyke drama to tear the place out.Alice: That's what I'm saying. Bad vibes, man.Jenny: Helena, why don't you come and sit withus?Helena: No, I'm not picking sides, alright? I love you both. Going for a run.Kit: Go Swizerland!Tina: We have some good news.Bette: Yeah, we have good news.Tina: Yeah, good news. Do you wanna tell them?Bette:Why don't you tell them?Tina: Bette and I are registered with three different agencies and they said the chance of us getting a baby within the next six months is really good.Alice, Shane: What?!Jenny:Congratulations.Bette: And we're starting construction on the second storey 'cause we need an other bedroom.Alice: But I thought you guys were talking about selling?Tina: We're staying.Bette: We couldn't sell. Notnow. I mean, with the poperty values, plumbing and everything. So...Jenny: When were you gonna tell me about construction?Tina: We're telling you now. We have to. We need a room for the baby.Jenny: How am Isupposed to write with all that noise?Tina: I'm sorry, Jenny. We will do our best not to disturb you. But you might wanna get some earplugs.Jenny: I have to get a new roomate. This is gonna be impossible with yourracket.Shane: Jenny, please! You don't need a new roomate! You have not spoken to me in a week. Would you just talk to me? I know we can work this out.Jenny: Oh, right. So, you want me to forgive you because youmade me waffles?Shane: Well, why wouldn't you?Jenny: Because you create this trail of destruction you don't take any responsibility for it. Why should you be the only one that doesn't pay?Shane: I am paying.Jenny:You are so full of sh1t.Alice: The black hole. At Jenny's home.Max: How you're doing?Tom: Hi, Shane.Max: So you're putting in those flower boxes Jenny wanted, huh? How many more things you're gonna do forher?Shane: I don't know yet.Jenny: There's something wrong with my computer and I wondered if you could fix it.Max: You know what? I can't 'cause I'm going to my final consult today.Shane: Good luck.Max: Thanks.In the studio of the production of LezGirls. We are going to see a picture with a girl and a boy.A men: Alright. Are you ready for this?The productor: Do it. I love it. Love it.A woman: Love it!The men: We thought youwould.The woman: \"The Girls\", it's so f*cking hot. This thing is gonna make \"s*x in the city\" like a Disney movie.Tina: What's \"The Girls\"? The movie is called \"Lez Girls\". \"Lez\".The productor: I haven't had a chance totalk to Tina about the market research. I'll full you in in a minute. In the meantime, why don't you just give me a briefing on the release.The woman: After the initial two weeks, we'll go wide. We have 2000 screensnation wide and select cities in here.The men: France is gonna eat this up.Tina: No.The productor: No what?Tina: No way. I am not gonna let you get away with this. I'm not gonna let you market this as some bullshitboy meets girl love story! That's not what this is!The woman: It's more than that. It's boy meets girl, boy almost looses girl to girl...The men: But in the end the audience wants love to prevail. That's the winner hear.The new ending tested through the roof.Tina: What? The new...What you mean the new ending tested? When did you have a test screening?The productor: Get on board, Tina. Train's not going to Lezzie town. AtPhyllis, Bette and Jodi's work.A woman: This is amazing. Art General uses the correlation about how she uses human emotions like pieces of scrapped metal, words like found materials.A men: It works on so manylevels. I mean, here is the Curator who told people their work wasn't worthy. The gallerist who wouldn't show an artist and now the Dean who rejects applications.Jodi: (Tom speaks) Exactly. A woman who has stood injudgment of our art her entire career is now being thrust into the spot light as the art...The woman: It's brilliant.Phyllis: This kind of praise is fantastic for our program. I can guarantee that we're gonna see...Bette: Shearrives. We could use the same material throughout and...I can't talk right now. Alright. bye.Bette: Forgive me. I had the contractors on the phone. Do you know we're doing that second storey on the house for thebaby...Jodi: Phyllis, would you mind just finishing what you were saying?Phyllis: What I was saying was that based on C.U. associations with Jodi, I wouldn't be surprised if we see a significant increase in applicants thiscoming semester. Max is seeing the doctor.Max: So one of my goals is to be able to take my shirt off at the beach within a year. That's my goal. Feel my pecs. I've been doing like 200 pushings today. Feel like I'malready bigger. That's awesome.The doctor: Very good. That's very impressive.Max: Yeah, I think I'm doing good with the contour. I just, I hope I grew more chest to cover the scars.The doctor: Well, I think Dr.Stanhouse is gonna try to do the key whole procedure on you?Max: Yeah, I'm hoping so.The doctor: And is your schedule for surgery on wednesday?Max: Yeah, he called me this morning and he said that as soon as hegets the lab reports we're gonna be able to...The doctor: I'm afraid there's a problem.Max: What's the problem?The doctor: You're pregnant.Max: No, I can't, I can't be pregnant. No, I've been taking testosterone.Thedoctor: Have you had intercourse? Have you and Tom had unprotected s*x?Max: Yeah, but we've been both tested for H.I.V. We've been monogamous.The doctor: If you and Tom have had vaginal s*x. I know youmight not call it that, but unfortunately, that doesn't stop it from working the same way. Taking testosterone doesn't shut down the reproductive system.Max: What about my surgery?The doctor: We're gonna have topostpone your surgery. We're gonna have to find out how far along you are and you're gonna have to decide what you wanna do about it.Bette: We'll have your budget done by the end of the week. We cannot afford tohave the art department last... again. Thank you.A men: (to Jodi) Can I ask how she responded? Our Dean? How did she respond to the work?Bette: He asks how I responded to your work.Jodi: I don't know.Jodi: Howdid you like the show?Bette: signs See you in my office.Jodi: But I can't. I have paints.Bette: Can I talk to you, please?Phyllis: Sure, let's go to my office. I hope Preston didn't bother you. He's an old fool with a... forgossip.Bette: It wasn't really about Preston. I mean, the truth is that Jodi's behaviour was completely inappropriate... They enter in the office.Joyce: Baby, when it comes down to it, this is all I have to offer you. And ifyou can't love this...Phyllis: Joyce! Cover your junk!Joyce: Sorry, Bette.Bette: We reschedule?Phyllis: Joyce, what are you doing? You can't just pop out from behind a plant butt naked. We have rules here.Joyce: Ichecked first to make sure you didn't have anything. I was acting with my heart. I'm a woman in love. Please, take a lot of. Phyllis Eleonore Victoria Kroll, you are one hell of a woman. While the law in the state ofCalifornia continues to acknowledge our love, I would like to ask you to take my hand in holy matrimony.Phyllis: I don't know what to say.Joyce: Say yes.Phyllis: How many carats is this?Joyce: Four! Say yes!Phyllis:How much did you spend? This must have cost a fortune.Joyce: I've got a friend who has a friend... Say yes, Phyllis, please.Phyllis: But I said I never wanted to get married again.Joyce: We'll go to San Fransisco, we'llget married on... of City Hall, Gavin said he'd marry us.Phyllis: Gavin Newsom? The mayor of San Fransisco?Joyce: That's right. We raised a lot of money for that guy. Say yes, Phyllis. I'm freezing.Phyllis: Yes.Joyce:Damn, lady! Come here, you! You've made me one happy woman. At the therapy for Alice and Tasha.Dan: Who wants to tell me why you're here?Alice: Oh, we're just here for a tune-up.Dan: Does that seem like anaccurate assessment to you, Tasha?Alice: She's the one who called it that. We've just had a couple of little, little things come up lately.Dan: What sorts of little things?Alice: Money, I make a lot more than shedoes.Dan: How's that make you feel, Tasha?Alice: Resentful. She doesn't want me to spend this much because she can't afford it.Dan: Is that true?Alice: Absolutely. We couldn't even get a bigger appartment becauseshe couldn't share the rent fifty-fifty. And I also think she resents me because I don't clean as much as she does.Dan: Do you?Alice: Oh, look, now she's mad. Is there anything else? Tasha broke up with me lastweek.Dan: Really? Why did you break up with Alice, Tasha?Alice: Because she thought I cheated when I didn't even kiss the girl.Dan: Did you think about it?Alice: Yeah, but, I mean, she wouldn't have even known if Ididn't tell her. So I think that mere fact that I disclosed the information should count to something. Right?Dan: But if you knew Tasha's feelings about the subject of cheating, why did you choose to tell her? I thinkwe're past it. I think what we have to work...Dan: Alice, this is called couples' therapy for a reason. Now, Tasha, this process works much more effectively if you participate. Why do you think Alice told you?Alice: Shedoesn't even wanna be here.Tasha: I think that she told me because she wanted to break up with me and bringing this woman between us was the easiest way to do that. She knew how I felt, she knew that I wouldbreak up with her and when I did, she got scared. That's why we're here. Max goes to a hospital.Receptionist: Can I help you?Max: Uh, yes, I have an appointment? I called in earlier? Hi, I'm Max Sweeney. I have anappointment.Receptionist: For your girlfriend, or...Max: No. It's for me. I need an abortion.People: What did he say?The receptionist: If this is your idea of a joke it's not funny.Max: I'm not joking, alright? I'mpregnant.The receptionist: Sir, if you don't leave now, I'm gonna have to call the security.Max: Look, I'm a F.T.M. transsexual, alright? Yeah, that's right! Take a good look! I'm a man and I'm pregnant. It happens.Don't you read the f*cking tabloids?! Can I have my appointment now, please? Jenny is writing.Jenny: I'm trying to write. Shane is washing Jenny's car with music. Can I have my keys?Alice: I promise to make room inthe apartment for your things.Tasha: And um, I promise to try to see things through your point of view. And to not talk to you with so much judgment. And tomorrow when I wake up, for work, I'm gonna make youbreakfeast.Alice: I love that! It's good, right?Tasha: Yeah, I know, it's good.Alice: So, um, are you gonna give us more exercizes or...? I mean, maybe some homework. I think we're ready for some homework.Tasha:Yeah. Yeah, I'm ready. Bring in on.Dan: I'm not gonna give you homework. I don't think you two should be in therapy.Tasha: That's what I said. See?Alice: We rock.Dan: You two have so little in common. I really don'tthink you belong together. They leave.Alice: I mean, what the f*ck? It's like, we spent what, 55 minutes with this guy? Where is he f*cking go off?Tasha: I told you. Therapy's bullshit.Alice: It's bullshit, you'reright.Tasha: He knows nothing about what we do and don't have in common.Alice: What the hell is he talking about? We don't have anything in common. Really? Dan? Tasha:I know, it's crazy. Give me my helmet.Alice:I don't know. Tasha:Thank you.Alice: Upsetting. I'll see you tonight?Tasha: Come here. They make love in the car. Tom arrives to the hospital.Tom: Hey, are you okay? Sorry, I couldn't get any sooner. Should you beop already?Max: They wouldn't do it. I'm too far along already.Tom: How far along?Max: Four months.Tom: How did this happen?Max: How the f*ck do you think it happened?!Tom: But, I didn't think you could. You'vebeen...Max: Yeah, I thought if I was seeking testosterone, I couldn't get pregnant, okay? I was wrong.Tom: Why wouldn't your doctor tell you something like that?Max: I don't know. Maybe because she didn't think Iwas stupid enough to let some faggot f*ck me!Tom: Hey, f*ck you! Don't blame this on me!Max: Who the hell am I supposed to blame, huh? Who the hell has his dick been inside me?Tom: How am I supposed toknow?Max: You got me pregnant, you faggot! It was you!Tom: I can't do this, Max. I'm not ready. At Alice's home.Alice: Clear the desk.Tasha: What kind of a list?Alice: Pros and cons list. My mother used to make thisall the time to kinda decide whether she's gonna divorce her ex-husbands.Tasha: And that's the model we're gonna follow?Alice: Well, she had very successful divorces. Pro.Tasha: Hold on. Why con gotta be blackthough?Alice: It's not a race thing. It's just... Red is happy. Red is like pro...Tasha: No, red represents the devil.Alice: Fine. I'm writing down \"color weirdness\". Tina and Bette visit a gallery.Bette: The work is reallygood but the show is uneven.Tina: This is, uh... This is weird.I think it's weird.Bette: Hey, someone spent some money, huh?David: Yes, she's spent a small fortune.Bette: Really? God, I would kill to have a piece likethis when I have my own gallery.David: Me too.Bette: Do you know who Kelly Wentworth is?John: A rich divorcée. She walked away with 80 million dollars of Dick Wentworth's fortune.Kelly: And decided to spend it onmaking herself a presence in the art world. Do you like my vanity project?John: It's lovely.Kelly: Thank you. Oh, it was 89 million. Bette Porter? Kelly Wentworth.Bette: Please to meet you. It's really a spectacularspace. You've been here a long time?Kelly: You really don't remember me?Bette: Juicy f*cking Freemont?! Jesus! Oh my God!Kelly: I swear to f*cking God, you look better than you did in college. Bitch!Bette: Look atthat biatch! The blond looks so good on you.Kelly: Thank you. Look at your body. Are you still a runner?Bette: I mean, sometimes. Not, not really often. God, what the hell are you doing in L.A.? I thought you weremarried to New York forever.Kelly: Well, I thought I was married to Dick Wentworth forever. Holy f*cking sh1t! I'm so, so happy to see you.Bette: Oh my God... Oh, God, I'm sorry. This is Tina Kennard, mypartner.Tina: Hello.Kelly: Still gay, hey, Porter?Bette: Yeah, well, I lack of imagination in some areas. Not many. This is Kelly Frimont. The Kelly Frimont! Oh, Kelly Frimont, the college roomate!Kelly: Right.Tina: Well,I've heard a lot about you.Kelly: Did you tell Tina about you and me?Bette: Well, I told her that you let me kiss you once and were so ceased by a deep and abiding homosexual panic that you moved out of the houseimmadiately.Kelly: She got over me in two minutes.Bette: Ten.Tina: This piece is beautiful.Kelly: I know.Tina: You have great taste.Kelly: I love the tonality. I just ordered a roadster in this colour. I did!Bette: Well,we're gonna go see the rest of the show.Kelly: Okay, but, don't leave without saying goodbye.Bette: I will.Tina: We will. It was nice to meet you.Kelly: You too.[SCENE_BREAK]Alice: There is way more cons thanpros.Tasha: Alright, let's say this, like \"doesn't cook with pepper\" ever, right? It, uh, it shouldn't be, it shouldn't count as many points as, like, \"makes me wanna be a better person\". Right?Alice: It's pretty good.Tasha:So we should do it on a point system. Like, \"doesn't cook with pepper\" should get what, two points, and...Alice: Like a point system?Tasha: Yeah, like a point system exactly. And then \"is spontaneous\", I just pick thatone 'cause I, I really appreciate that about you.Alice: \"Likes to get spanked\" you should add.Tasha: Okay, this would get like 8 points.Alice: Okay, that is so smart. Very smart. I mean, you're smart. You're smart. Give"}
+{"doc_id":"doc_245","qid":"","text":"Detective Taylor: A specialist escort agency for the very rich.Danny: Alex didn't use escorts.Alex: I have to buy a battery for my laptop.Danny: I stole something... from the attic. It's a locked cylinder. It needs acode.Scottie: Which you don't know?Danny: No. I've gone over every conversation, every word.Scottie: Danny, you've got to figure it out, you're the only one who can.Scottie: Did you know that I suffer fromdepression?! Did you know that in the past I drank?!Claire: I didn't know Alex well personally. There are not many students who start their degree at 15.Danny: He was murdered.Claire: So I take it you want to speakto his professor?Danny: Marcus Shore.Journalist: Why did they murder him?Danny: I don't know.Scottie: Whatever Alex discovered, whatever it was, whatever it is, no-one wants in the open. We're not up against oneintelligence agency, we're up against them all.Danny: I need information.Scottie: What does it mean? It means we are quite alone.Rich: Get in the car. It's for you. Not here!( Mobile phone rings )Distorted voice: You'relooking for answers. But are you ready for them? Get in the hotel. Room 116.[SCENE_BREAK]Distorted voice: The bathroom. Get in. Clothes on.Distorted voice: Now you're clean, we can talk a little freer. Get changed.Outside.[SCENE_BREAK]Danny: Where are we going?Distorted voice: Do you want to know who Alex was or not?Distorted voice: The doors are locked, Danny. No way out. No way back. I want to take you on ajourney... into Alex's past.[SCENE_BREAK]Distorted voice: Remember this place? Are you sure you know what really happened in there? Walk.( Distant laughter )Distorted voice: A reservation. For two.( Phone beeps)Waitress: There you go. Menu.Doppelganger: Here I am. Alex's past.[SCENE_BREAK]Doppelganger: Well... this is weird. Never done anything like this before.Danny: Like this? What is this?Doppelganger: Being paid totell someone how I... their boyfriend. They said you wouldn't believe me.Danny: Who are they?Doppelganger: Who are they? They are the people pulling my strings. I have no control over what I'm about to do. Likethis... No control. Alex... ate breakfast here... almost every morning.Danny: You can even tell me what he liked to order?Doppelganger: What? Oh, to be convincing, you mean?Danny: You watched him?Doppelganger:Serving.Danny: A waiter?Doppelganger: Me? No. Please. I was pretending. The service... it's very expensive because the people, we... don't know that we are... escorts.Danny: How is that possible?Doppelganger: Wepretend. We pretend to meet them by chance, we pretend to be won over by their charms... we pretend to... for pleasure... which takes some serious pretending.Danny: Who pays you?Doppelganger: Our clients aren'tthe people we... We report back. So and so... likes it like this. So and so... likes a little of this. ( He sniffs )Danny: Blackmail?Doppelganger: But that's not my business.Danny: You just do the f*cking.Doppelganger: Ijust do the f*cking.[SCENE_BREAK]( Alex gasps )Doppelganger (O.C.): They told me to meet him... in the way you met him.Doppelganger: I'm sorry...Doppelganger (O.C.): An accident. They told me to be like you.They told me to act like you.[SCENE_BREAK]Doppelganger: In the end, Alex wasn't so tricky. He just needed to believe... he was being good... all the way up until he was being... a little bit bad. How do you seduce agood man?Doppelganger (O.C.): My approach was simple. I told him a sad story.Doppelganger: I tell him it's the will and last testament of my mother. And my mother, she never loved me, bitch. In her will, the bitchleaves just three things to me. Just three paintings. That's all. And Alex, listening like a puppy dog. And I tell him, heartbroken... they are the three paintings I painted for her. I'm an artist, I say... No, not yet an artist,aspiring to be.Danny: Pretending to be.Doppelganger: That's a true story. I am an artist.Danny: What?Doppelganger: What do you think? I grew up wanting to be an escort? Enough, Danny. Enough with not believing.What do you need? I'll give it to you? Hmm? You need those little details? A birthmark on the inside of his thigh? Something whispered? Something moaned? He had a thirst, I can tell you that. Like a man crawling outof the desert. Yeah? Throat dry. Lips dry. Gulping up all those missed years.Danny: Where?Doppelganger: My place.Danny: Your place?Doppelganger: My fake place.Danny: Why did he come round?Doppelganger: Tosee my paintings, of course.[SCENE_BREAK]Danny: What did you do?Doppelganger (O.C.): You hate yourself for asking.Doppelganger: So...Doppelganger (O.C.): But you had to know.Doppelganger: I'll be right back,OK? Give me a second.Doppelganger (O.C.): You had to ask... what did we do?Doppelganger: We played a game. How long can we talk without mentioning the only thing we were both thinking about? The first gamelasted an hour. The second game... lasted a little longer...( Alex pants )[SCENE_BREAK]Doppelganger: I rang him afterwards, but he didn't answer. The client wanted more. But Alex wasn't interested.Danny: Whywouldn't you tell me that he kept coming back?Doppelganger: Because I can see you're good at sniffing a lie. So, I told you the truth.Danny: Why did they hire you?Doppelganger: I don't know, I don't care. It's just ajob.Danny: He's dead. Your job. He was murdered. You think you're not involved? Because you seem like a loose end to me.Doppelganger: I was told to pay for our dinner.Danny: Hey? How else are you going to letthem know what a great job you did?Doppelganger: I can see strings on you too.[SCENE_BREAK]Danny: What are you thinking?Alex: Say it again.Danny: What are you thinking?Alex: Nothing.[SCENE_BREAK]Scottie:You were Alex's first experience of love. If he enjoyed a second, would you seem less important? Could the thrill of the new replace the comfort of the old? Watergate wasn't just about bugging the opposition. They usedprostitutes to collect information on rival candidates to shame them, manipulate them, destroy them. s*x has always been a means of control. In the end, your relationship became a threat to their relationship withhim. He changed you, you changed him, priorities altered, loyalties altered. I noticed it in our friendship. The two of you were besotted. The rest of the world ceased to exist, but Alex was one of their most importantminds. Did you imagine they'd just allow him to drift away?Danny: I didn't think about it.Scottie: It's all THEY would've thought about. What binds this brilliant young man to us? The Queen? Our history? Hisparents?Danny: I accept that I didn't know anything about his...work. His job. The truth is, I didn't really know him as a person either. I didn't know him.Scottie: Of all the attacks they've used, including your health,the one that has proved most effective is smut. For you, of all people.Danny: He made a mistake, that's not it. But why didn't he tell me? Some of it? Any of it?Scottie: Because you wanted him to be perfect. He sawthat more clearly than you.[SCENE_BREAK]Danny: It was his funeral last week. Do you know how I found out? I heard about it on the news. He was buried at a private ceremony for... close friends and family.Scottie: Ican't count how many men I've comforted when their partners were dying and the family wouldn't allow them into the hospital, or the church where they're buried. I'm tired of it... tired of hearing about it. He wasn'tclose to his parents, he was close to you. Hold your own funeral, say your own goodbye.Danny: That's what I should be doing. Saying goodbye.[SCENE_BREAK]Danny: What am I doing all this other stuff for? BecauseAlex discovered some government secret? So what? Cos they lied about a war? They spy on us? Who..? What's it got to do with me?[SCENE_BREAK]Danny: And you know, I don't know any code. I don't.Danny (O.C.):So, I don't know...Danny: Maybe, whatever those secrets are, maybe they weren't meant for me.Scottie: Then, that's that.[SCENE_BREAK]( Distant seagulls )Danny: Do you believe in soul mates?Alex: No. Not only doI not believe in them... it's not even a nice idea.Danny: Not a nice idea?Alex: That there's only just one other person out there for you. What are the odds this person would be in the same country? Or the same city?That their paths would even cross? It would mean almost everyone in the world is with the wrong person. If it's a way of saying, \"we're good together\", why not just say... \"we're good together\"? But if you mean itliterally...Danny: You think there are better people out there for you?Alex: There might be. For both of us. But since we don't know them, it's just a theoretical.Danny: Yes. It's... a sentimental idea. The maths doesn'tadd up. But... we're by the fire, we're under a night sky. Couldn't you just have said \"yes\"?Alex: Is that what your soul mate would've done?[SCENE_BREAK]Danny: Can it be opened?Silversmith: If you know thecode.[SCENE_BREAK]Alex: This is us.Danny: Oh, I've done a lot of things with a lot of different people and... that's part of the reason I'm sure... that we're something special. But, for you, it... I don't want you to staywith me just because I'm the first. So, you should see other people. You should.Alex: I don't want to.Danny: I only meant...Alex: I don't need to.Alex: .. that there's only just one other person out there foryou.[SCENE_BREAK]( Dog barks )( Doorbell rings )Danny: Scottie? Scottie?! Scottie?( Faint murmuring )Danny: Scottie?! Scottie?Scottie: I was just remembering.Danny: Huh?Scottie: A place. I was remembering... aplace.Danny: Right, we need to get you to the hospital.Scottie: Will you just listen to me, for once, Danny?!Danny: You were remembering... a place.Scottie: A place where no-one cares.Pathetic.[SCENE_BREAK]Danny: Thank you.Scottie: My parents used to chide me. \"You were such a happy child.\"Danny: How long?Scottie: Like this? Three weeks. Worse and worse each day. Now as bad as it's everbeen. It can't be coincidence, can it? 30 years I've been OK and, now, like this?Danny: Why might someone who's managed depression for 30 years suddenly suffer a relapse? For no reason?[SCENE_BREAK]Danny:This is what we're going to do. We'll get new pills. Real pills from a different doctor. You can keep them on you at all... Unless they switch them before they give them to you. I'll get them illegally. I know someone. Hecan get anything.Scottie: On your shell. Until they find a crack. A frailty. A vulnerability. No matter how small. And then they pick away.Scottie: How do you kill an alcoholic? With alcohol. How do you kill a drug addict?With drugs. How do you kill a depressive?Danny: Where'd you get them?Dealer: People tell the doctor whatever story, collect a prescription, sell it to me. They're good. It's all good. Always good from me. Do you wantsomething else?Danny: No. Nothing else.[SCENE_BREAK]Scottie: Thank you. Have you examined the contents?Danny: We're going to need help.Scottie: With help comes risk. The more people you involve... Look whatthey've done to us. That was before they knew we had this.Danny: I can do this alone.Scottie: There are rumours. About how the... Kremlin guarantees the loyalty of its most important citizens. Under the pretext ofcelebrating an election to the State Duma, the individual is treated to the finest meal Moscow has to offer. At some point during that night... this prized individual blacks out... waking in a hotel suite, on a bed, beside aterrified naked child. Before he can say anything, the FSB storm the room, arrest him, and take him to an interrogation cell in Moscow's Butyrka prison, where the individual swears he is not a paedophile. \"My drinkmust have been spiked!\" \"I, I've been framed by my enemies!\" He doesn't know. He can't explain. \"But it is a mistake!\" And, to his surprise... the FSB officer agrees that it is a mistake, but it is a mistake they will holdon record forever, a mistake no-one will ever see, unless... the individual makes a mistake of a political kind. And, with that, the man's choice is clear - privilege or disgrace. Destruction or survival. The FSB officerbelieves he's won. The individual believes he's lost. But those systems of oppression... as ruthless as they appear, as unbeatable as they seem, never hold, never last, never survive, for we will not live in fear. I wouldlike to finish this particular adventure with you, Daniel Edward Holt. If you'll have me.[SCENE_BREAK]Scottie (O.C.): We're being watched. We will be followed. So we separate. Shake them off. And meet up at a place...where no-one can follow us without revealing themselves.Danny: The place where no-one cares?Scottie: I've always taken comfort from the idea that people don't care. That they have better things to think about, thatthere are more important matters to worry about. I like it when people walk past me and couldn't care less what I'm wearing, or whose hand I'm holding. The place where no-one cares. When I was young, I spent a lotof time searching for it, and I promised myself, if I ever found it, if it ever existed, that's where I'd make my home.[SCENE_BREAK]Danny: What do you think?Scottie: Ambition. But no conviction. You skip from shortstories to lyrics, from poems to sketches, hoping the world will tell you who you are. You must tell the world.Claire: There you are.Scottie: Well done.Danny: You weren't followed?Claire: Well, I hope not.Scottie: So, willMarcus help us?Claire: He didn't say. Keep back, and then that gives you your 'B' for 'Baritone'. Oh, I see - no, four, of course.Scottie: Yes.Claire: And that's got...Danny: Where did you two meet?Scottie:Cambridge.Claire: We shared a flat. I was the first person he shared the secret of his sexuality with.Scottie: At that time, it was illegal. And there were rumours.Claire: So, then, I...agreed to play the part of...his lover.And we walked around arm in arm, and we... had picnics in the scholar's garden and... it was supposed to last about two months or so.Scottie: It lasted two years.Danny: Are you gay?Claire: No.Danny: Did you seeother people?Claire: No.Scottie: I tried to become the man I was pretending to be. You know, I prayed for the right kind of desire? A sham romance, you might say.Claire: No.Scottie: No, no. We're friends. We havebeen ever since. We can't be sad about that. I refuse to be sad about that.Marcus: It's all very touching.Claire: Marcus... This is Danny, Alex's partner. And Scottie.Marcus: Where is it?Danny: Cheers.Marcus: You didn'tknow, did you? How smart he was?Danny: I knew.Marcus: But not really.Danny: Not in the way you did, no.Marcus: His partner... without any appreciation of his intellect. Beyond some generalised idea that he wasgood with numbers. Love without knowledge. Popular culture might depict that as a romantic notion, I suppose.Danny: He never spoke about his work.Marcus: What did you talk about?Danny: Everything else.Marcus: Isee. No, I don't. I don't see at all.Danny: Well, what did you two talk about? Outside of work?Marcus: We didn't. Look, try to understand, I was sure, absolutely certain that he was going to change the world in someway. Not my world. THE world. Can you imagine the enormity of that feeling? Being in the company of someone like that?Danny: We knew different people.Marcus: Hmm. The man I knew was exceptional. The man youknew was not.Danny: The...Marcus: Unless you're going to tell me how many sugars he took in his tea, or how he liked to be f*cked. Are these the details that define us?Danny: I think that... being admired islonely.Marcus: You're right, I'm sure. But that was the price he had to pay. The ordinary world wasn't for him. And his flirtation with it... was always going to end badly.Danny: Professor? I miss him, too.Marcus: He didit. The 9/11 attackers sent e-mails using pre-arranged code words. \"The Faculty Of Urban Planning\" was the World Trade Center. The, uh, The Pentagon was \"The Faculty Of Fine Arts\". Mohammed Atta's final messageto the other terrorists referred to their semesters beginning in three weeks at the faculties of Urban Planning and Fine Arts.Two e-mails. In this one, \"zoo\" means zoo. In this one, it means airport. How do you tell themapart? When... people... who go to the zoo also visit... museums. They watch animated movies. Buy children's clothes. And donate... to animal charities. Convert our entire online history into numbers, and a visit to thezoo... looks... like this. A coded message looks... like this. The 9/11 terrorists used innocent words, but they didn't use them like the rest of us. We like to think of ourselves as individuals. But we're not. We're a pattern.We are... married, gay... straight, professional, rich, poor. Our online DNA, revealing... our true nature... even... when we lie. I told him he would change the world. I just didn't tell him how dangerous it would be. Alexdecided to apply his concept to speech. Words don't occur in isolation. They're part of a series of actions. Your intake of breath, facial gestures, pupil dilation, hand movements. Alex theorised they formed patterns, andthese patterns would be different if we were telling the truth or telling a lie.Claire: A lie detector?Scottie: Important lies are told by important people.Marcus: They'd never consent to a test of any kind. Alex didn't needtheir consent. They've already provided all the information. The most important people in the world are also the most documented. Study every word they've ever spoken. Mundane, profound - it doesn't matter. Analyseevery variable possible. Translate that information into numbers, and identify the patterns. A fingerprint... for our truths and our lies.Claire: We'd be able to analyse every statement.Marcus: Every political claim. Er,every case for war. Every court case verdict.Scottie: The end of lies.Marcus: If the four of us survive a week, I'd be very surprised.Marcus: You're a thoroughly nice guy, aren't you, Danny? So was Alex. For all hisintellect, an innocent, really. When he told me he was going to work for GCHQ, I knew it was a mistake. He didn't belong in that world. And I could feel him wanting me to tell him so.Danny: Why didn't you saysomething?Marcus: We didn't have that kind of a relationship. I take it you have some kind of plan?Scottie: We must prove it works.[SCENE_BREAK]Danny: You don't have a plan, do you?Scottie: No. He needed tobelieve I did. And we need him. You see? Proof - the orderly functioning of society depends on our ability to lie. Given the choice of no lies, or lies, every organization, every person of power, without exception, willchoose lies.Danny: Maybe Alex imagined a better way of doing things.Scottie: I wonder when he began work on this project.Danny: Why does that matter?Scottie: Maybe he was ashamed of the lies he'd told you.Ashamed that your relationship was built on lies. Maybe on some level, he thought he was making amends.Danny: To who?Scottie: To you.[SCENE_BREAK]Scottie: Danny!Danny: I'm to blame.Scottie: I'm sorry.Danny:I'm to blame.Scottie: I never said \"to blame\".Danny: He did it for me?Scottie: It's possible.Danny: I never asked for it.Scottie: He knew you'd find out that he'd lied about much of his life. He must have worried thatyou'd end up hating him. He must have worried about that moment every day. Would you still love him if you knew? Could you still love him if you knew? Would you re-examine your love story - Alex's only love story...and decide, in the end, it was nothing but a lie?Danny: He was never sure.Scottie: How could he be?Danny: I wish I could've told him. That none of it mattered. The lies, the mistakes. That I loved him, just the same.That I, I love him. Still. Now. Knowing it all. I wish he could've heard me say it.Scottie: Yes.Danny: He'll never know.Scottie: No.[SCENE_BREAK]Danny: This is going to sound a, a bit... But...it occurred to me I'd neversaid it out loud before. I love you. Very much.[SCENE_BREAK]Detective Taylor: You're not going to be charged.Danny: Is that it?Detective Taylor: You're free to go.Danny: You brought me here like this to tell me that?Will anyone be charged?Detective Taylor: Danny... for you... this is over.Danny: This isn't over. This isn't over.[SCENE_BREAK]( Applause )( Phone rings )Danny: Scottie?Scottie: Danny. Danny...Danny:Scottie?Scottie: There will be a note.( Applause )( He begins to cry )"}
+{"doc_id":"doc_246","qid":"","text":"Lucifer is drinking and watching over his mother. Amenadiel comes.Amenadiel: Lucifer, we need to talk about something.Lucifer: What... Can it wait? I'm busy keeping an eye on our mercurial mother.Amenadiel: No,it's important. I think you might be in danger.Lucifer: Is it the Yakuza? The Nephilim? One Million Mums?Amenadiel: It's Maze. She's angry with you, brother.Lucifer: Well, is it Tuesday already? Anger is Maze's defaultsetting, sort of baked into her demon DNA.Amenadiel: No, this is different, Luci. I think you really need to talk to her.Lucifer: She'll get over it; she always does. Right now, we have bigger issues to deal with, likewhether or not Mum is wasting our time.Amenadiel: If she believes her client has found another piece of the Flaming Sword, so do I.Lucifer: Oh, such a loyal son. But Mum hasn't adapted to this world as well as youmight think. This chap could be conning her... I think I'm gonna go make sure...Amenadiel: She seems to be doing just fine. Charlotte puts a briefcase on the table.Lucifer: That's not the money, is it?Amenadiel: Ofcourse not. She wouldn't bring it to the meeting.Lucifer: Oh, no. Of course not. I mean, that would be absurd, wouldn't it?Amenadiel: She's just showing it to him. I mean, it's not like she's gonna hand it to him beforeshe... Gets the piece. That's great. The guy takes the money and leaves.Lucifer: And now she's letting him leave. Marvellous. Lucifer and Amenadiel join Charlotte.Charlotte: Well, that went well.Lucifer: Oh, you thinkso, do you?Charlotte: I do. He has what we need in his safe in the back room.Lucifer: Oh.Charlotte: He's going to get it right now.Lucifer: Mum, you just handed him a briefcase full of cash with no proof whatsoever hehas what we need.Charlotte: And?Lucifer: You've been conned.Charlotte: He's a client of mine, darling. I don't think he'd be that foolhardy.Lucifer: Oh.Charlotte: Well, I'm sure he'll be right back... Maybe we should gocheck just to be sure.Lucifer: I think that's a good idea, don't you?Charlotte: Oh. Lucifer, Charlotte and Amenadiel enter in the office manager of the restaurant. The man is dead.Charlotte: Huh. See? He didn't conme.Lucifer: Look, instead he's dead, and someone robbed him of what's ours... Much better. Well, the good news is, after this spectacular bungling, I happen to work with a homicide detective.Charlotte: If you find thekiller, then you'll find our piece of the Flaming Sword.Amenadiel: Hey, but, Mom...Lucifer: The challenge is... Making sure we catch the case before some other detective.Amenadiel: But what about...Charlotte: I may beable to help.Lucifer: Really? I'm all ears. Lucifer and Charlotte leave. Maze enters in Linda's practice.Maze: Is everything all right here?Linda: Yeah, everything's fine, Maze. You can, uh, you-you can put away theknives.Nigel: We'll be in touch, Dr. Martin... Excuse me.Linda: Uh, Maze. Maze. Oh, my Lord.Maze: Who the hell was that?Linda: That was the chairman of the ethics review board.Maze: Are you okay?Linda: No. No, Iam not. No, Maze. No, no, no, don't, don't. That won't do any good.Maze: What happened?Linda: A couple of weeks ago, I maybe, sort of... Helped Lucifer break out of a mental institution... Using my own name. It'smy fault, really.Maze: No, it is not your fault. It is Lucifer's fault. It's always Lucifer's fault. First, I find out he's ditching me to go to Heaven, and now he's hurting you... Look, I'm gonna fix this, Linda. And then him andI are gonna have a little talk. At the station, Lucifer is waiting. Chloe is working.Lucifer: Hey, I should get my own desk.Chloe: Not happening.Lucifer: Right next to yours would probably be best.Chloe: Definitely nothappening. Why are you hovering over me?Lucifer: I'm not hovering. I'm just spending time with my partner.Chloe: Oh, well, since you're here, why don't you help me with this paperwork. I could really get used tothis, partner.Lucifer: Right. Yes, on second thought, maybe a desk in the far corner might...Chloe: Mm-mm.Lucifer: Oh! Ms. Richards.Charlotte: Detective Decker. Just the woman I was hoping to see.Chloe: Well, I feelthe opposite. If you'll excuse me.Charlotte: Hear me out. A client of mine called. He sounded very worried. I think he might be in terrible danger.Lucifer: Oh, that's awful. Detective, we should do something.Charlotte:He's at a bar downtown. Would you come with me and make sure that he's okay?Chloe: Nope.Charlotte: Nope?Chloe: I'm a homicide cop. I do not go around checking on worried criminals like a nanny, Charlotte. So ifwe're done here...Charlotte: I heard... Things... On a... On-on the phone call.Chloe: Like?Charlotte: Fingers... Pointing.Chloe: You heard... Fingers pointing?Charlotte: Very angrily. Yes... Also, a gunshot. Sounded likehe was... Dying, or, um... Melting? It's hard to tell.Chloe: Charlotte...Lucifer: It sounds worth our time, actually.Chloe: Agreed. Why didn't you just lead with that? Chloe, Lucifer and Charlotte enter in the crimescene.Chloe: The lock's damaged.Lucifer: Is it?Chloe: Looks like you're right. He's been dead about an hour.Lucifer: Oh? Impressive guess, Detective. Uh, I'm assuming from the... Discoloration... Well, that wasn't acomplete Dumpster fire, but now that we're finished, you can see yourself out.Charlotte: I'll do nothing of the sort.Lucifer: Fine. I'll show you out, if you insist.Charlotte: I'm not going anywhere.Lucifer: But thedetective and I have got everything handled now.Charlotte: This is far too important to leave to just the two of you. I will stick around.Lucifer: Mum.Charlotte: Besides, we'll get to work together. Won't that be fun? Ellais here to exam the body.Ella: We're running tests for gunshot residue and cocaine. Should have those in, like, five minutes.Chloe: Okay. Good... Oh, Charlotte. You're still here, huh?Charlotte: Well, he was my client. Ithought I might be of help to the case.Lucifer: But if not, we could always get her to shoo along and we can carry on with our business.Chloe: No. I'm sure she could be very helpful. So tell me, why does Zeke Moore, amanager at an import/export company, have you representing him?Charlotte: Because I'm the best.Chloe: At getting criminals off.Charlotte: Well, that's not true. I haven't slept with any of my clients.Chloe: What? Yourepresent the worst of the worst. So why was Zeke a client?Charlotte: Because he works for Bianca Ruiz.Lucifer: What? The tequila magnate?Chloe: Bianca's tequila empire is a front. She uses the distribution routes tosell guns, drugs, and, oh, yeah, people. So we've been after her for a long time.Charlotte: Who do you think did this? A rival of some sort?Chloe: Well, that's actually a good question. Ella, what do we have?Ella: Well,no smoking gun, but poor Zeke here got shot twice. First in the thigh... Bullet winged him... And then another went through his hand hitting him in the chest. Probably trying to defend himself. Too bad you can't catchbullets.Lucifer: Well, he can't maybe.Chloe: I don't think this was a professional hit. Maybe a robbery gone wrong.Charlotte: And idea of what was taken?Ella: Well, trace elements point to cash, cocaine, gunpowderresidue, indicating weapons... All your basic bad guy stuff. No sign of forced entry, though.Chloe: Which means the killer either knew the combination, or he just waited for the vic to open it to strike.Ella: Mm-hmm.Hey, I got something here. Cell phone. No dust on it, so it hasn't been there long.Chloe: Well, Zeke had his phone on him, so this one could be the killer's. Maybe he dropped it during the fight or just didn't have time toretrieve it.Ella: Passcode protected, of course. But the home screen is... Two eyes?Charlotte: Human female breasts.Lucifer: No. That is a woman's perfectly freckled rump.Chloe: So our lead on the killer is a pair ofbutt-boob-eyes. It's a great start. At the station, Daniel studies Bianca Ruiz's file. Charlotte comes.Charlotte: Hello, Daniel.Daniel: What are you doing here?Charlotte: Ms. Ruiz there... Is my client.Daniel: Well, she's areal piece of work.Charlotte: Trying to make me jealous?Daniel: What do you want from me? You seduce me, you betray me, now you're back. You have to want something, I just can't figure out what.Charlotte: I dowant something, you're right. And I'll tell you. Just somewhere private.Daniel: I'm not having s*x with you here.Charlotte: But I need something to pass the time until we get a lead.Daniel: I don't understand you. Allright, whatever this is between us.Charlotte: Well, it's simple, Daniel Espinoza... I like you. Music comes from the lab.Ella: You guys, it's a record label. The symbol on the phone we found is the label's logo.Lucifer: Andthey choose to publish this music of their own free will?Ella: It's a vanity label. It exists only to make this one guy's music.Chloe: Okay, well, who owns it? And can you please turn it off?Ella: Chet Ruiz.Charlotte:Bianca's youngest son. Half our billing goes to keeping him out of jail.Chloe: So Bianca's own son robbed and killed one of her most loyal soldiers?Daniel: The files barely mention Chet. I didn't know he was actually partof the family business.Charlotte: He's not. Bianca tries to keep him as far away from it all as possible.Chloe: Maybe he started to resent that, decided to make a play?Lucifer: And then dropped his phone, proving justhow right his mother was about him.Chloe: Well, if Chet is the killer, this could be our chance to take down Bianca, as well. Cut off the head of her entire operation. This could be huge.Ella: Yeah. Bummer is the phoneproves that Chet was in the room but doesn't definitively tie him to the murder.Chloe: Dan, why don't you work on hacking the passcode. I'll have a chat with Chet. And, Charlotte, thank you so much for your help. Butnow that one of your clients is our main suspect, it's best you go.Charlotte: I don't think I have to go quite yet.Chloe: Maybe not, but I think you should.Charlotte: Bianca's having a party today. It's the launch of hernew tequila. I'm sure Chet will be there, and... I'm invited.Chloe: Why do you want to help us now?Charlotte: Because we all want the same thing: to find out who robbed and killed Zeke.Daniel: You know, Chloe, itwould be a good chance for us to go undercover. Gather some intel before they even know we're onto them.Chloe: All right.Lucifer: Fine. Good. It's settled. The Detective and I will go, so thank you so much for yourhelp.Charlotte: I don't think so. The invitation is under my name. I will go. Perhaps Detective Espinoza should join me.Lucifer: No. Yes, that's not happening. Uh, very well. I'll go with you...Chloe: No, I'll go withCharlotte.Lucifer: But, Detective...Chloe: No more argument.Charlotte: Very well. But I suggest you go shopping. This isn't the kind of place you can attend in pajamas.Lucifer: This is ridiculous.Chloe: Pajamas?Ella:What if Ella goes to the party? That sounds like a great idea. Oh, my God. Thank you so much for thinking of me. But you know what? I'm so busy. Lucifer enters in Linda's practice. Maze is waiting for him.Lucifer: Ihave been sidelined by my own mother and the Detective. It's absurd. I won't stand for it. I am gonna find a way into that party.Maze: Do you always whine like this? I don't know how she puts up with it.Lucifer:Where's Dr. Linda?Maze: Suspended. Because of you. Because you have been a terrible, selfish friend... To her. Now you're gonna fix it.Lucifer: Well, gladly, once I figure a way back onto the case.Maze: No, Lucifer.Now!Lucifer: But I suppose they can handle things without me for the time being. What's the plan? Daniel is on the phone at the station.Daniel: It'll take two hours to scan the phone... I'll come to you. I'll kill some timetill it's done. See you soon. Daniel sees Amenadiel.Daniel: Hey, man. You looking for your brother?Amenadiel: Or my m... Um... Charlotte? Listen, um... Are they here? Because I haven't been able to reachthem.Daniel: No, they took off. Couple hours ago.Amenadiel: Of course they did. And why would they bother to let me know?Daniel: I could try to call them for you.Amenadiel: Don't worry about it, Dan. I mean, with abrother like Lucifer, I really should be used to this, right?Daniel: Hey. What are you doing right now? Charlotte arrives at the party.Charlotte: Charlotte Richards. Have you seen my plus one? She's a tired-lookingblonde. Probably dressed in something freshly-plucked from the floor. Mm-mm. Hmm? Chloe enters.Chloe: Let's get this pajama party started. Chloe and Charlotte are talking.Chloe: I still don't understand why you'rehelping us. Bianca's your client.Charlotte: I'm not the same woman I was when she hired me.Chloe: Hmm. Did you have a change of heart?Charlotte: No, the same heart. Completely different soul, though.Chloe: Hmm.There's Chet. I'll go talk to him.Charlotte: You know, that's wise. You seem more his type than me, and you're not particularly intimidating, so that should help.Chloe: Help what?Charlotte: Well, in seducing him, ofcourse.Chloe: I'm not gonna seduce him, Charlotte.Charlotte: Not with that posture you're not. Fine. I'll do it.Chloe: No. No. There's gonna be no seducing. We just need to get Chet to talk, have him incriminatehimself, then we can arrest him and flip him on Bianca.Charlotte: You expect him to betray his own mother? One that's given him everything he's ever wanted?Chloe: Not all kids appreciate what their parents havegiven them.Charlotte: Well, that I agree with.Chloe: I just think with a little pressure, he'll crack. Oh, bodyguard. Maybe he's not as easy to get to as I thought.Charlotte: Why would an overprotective mother bring hermurderous son to a tequila-fuelled party?Chloe: Well, if her son killed Zeke, she has no idea... Okay. I've got an idea. Maze and Lucifer are talking to the chairman of the ethics review board.Maze: Dr. Linda Martin is anamazing therapist and an incredible woman. You can't do this to her.Nigel: Well, I'm afraid that she brought this on herself. So, unless there's something... Specific that you can tell me, there's very little that I cando.Maze: Hmm. Well, how about proof of all the good she's done? Like this guy. Lucifer Morningstar.Lucifer: Oh, that's quite flattering.Maze: The worst patient anyone could ask for. He is a back-stabbing, selfish,narcissistic little devil. He's greedy...Nigel: Is there a-a point to this?Lucifer: Yes, I'm wondering the same thing.Maze: The point is, despite all of that, she went out of her way to help him.Lucifer: Yeah, she's right. Thedoctor has seen a side to me that I hide because it's, well, terrifying. But she accepted me nonetheless, and she's helped me through issues that I thought insurmountable.Nigel: I appreciate the testimonial, and I willinclude it into the notes.Maze: That's it?Nigel: Unless you have more evidence to submit.Lucifer: Well, she's generous. As a, as a therapist, as a lover, a friend...Nigel: Wait. You slept with your therapist.Lucifer: What?O-only in the beginning. Then she decided that I shouldn't pay for therapy with s*x. So, such strong morals, don't you think?Maze: Let's go!Lucifer: What the...? Oh, no, no, she saved my life. I mean, granted, shekilled me first, but I did ask her.Maze: Oh, my God. Lucifer. At the party, Charlotte goes to speak with Bianca.Bianca Ruiz: We actually have been trying to get the formula for... Charlotte. Excuse me. Oh. So glad youcan make it. How are the children?Charlotte: They're angels. But speaking of children... What did Chet do now?Bianca Ruiz: Run out on another tab?Charlotte: The police suspect him of killing Zeke Moore.Bianca Ruiz:That's impossible.Charlotte: I have it from a very good source.Bianca Ruiz: I'll get to the bottom of it. Thank you, Charlotte.Charlotte: As always. Of course.Bianca Ruiz: Enjoy. Bianca is going to speak with herson.Bianca Ruiz: What did you do?Chet Ruiz: What could I do? You won't let me drink, my bank account's pretty low lately...Bianca Ruiz: Zeke Moore. What did you do?Chet Ruiz: I took care of a problem. You'rewelcome.Bianca Ruiz: You don't work for me.Chet Ruiz: But I should. Look what I can do.Bianca Ruiz: Yeah, remove one of my best earners?Chet Ruiz: You see, this is why you need me, Ma. I found out that Zeke wasbuilding up his own business. Smuggling up rare artifacts on the side.Bianca Ruiz: And I was making 30%.Chet Ruiz: Oh. Well, I would have known that if you had just given me...Bianca Ruiz: How do the police know itwas you?Chet Ruiz: I may have... Dropped my phone.Bianca Ruiz: Chet, what was on your phone? Let's go somewhere quieter.Chet Ruiz: No, Mom. Mom, Mom. They go apart.Bianca Ruiz: The whole business?ChetRuiz: I was just trying to learn how the financial part worked, Ma. You know, prove to you I could be a part of this.Bianca Ruiz: So you saved it on your phone, which the police now have.Chet Ruiz: Don't worry. I'malready taking care of it. Won't be a problem... What? Bianca Ruiz stops Chloe who was trying to leave.Bianca Ruiz: Hello. Daniel and Amenadiel are having a drink in a bar.Amenadiel: Improv? Really?Daniel: Come on,man, you promised me you wouldn't laugh. I went through a lot this last year. And improv sort of helped me reorient myself.Amenadiel: How?Daniel: Well, it took stepping outside of myself to figure out who I reallywas. You know, stop defining myself by other people... Chloe. Lucifer.Amenadiel: I see. So you think I'm defining myself by my brother, yeah?Daniel: Well, I know from experience, the dude casts a pretty big-assshadow.Amenadiel: Well, if there is one constant in the universe, it's that Lucifer's the favourite. No matter what I do. No matter how hard I work or how much he screws up...It's never gonna change.Daniel: You guysmust have competed over everything, huh?Amenadiel: I mean, he would never admit it, right? But yeah. Yeah, everything.Daniel: Even women? Eh, I just noticed that you and Lucifer have a weird relationship withCharlotte Richards. I just thought maybe you guys...Amenadiel: No, Dan, we are not competing over Charlotte. Trust me. At least, not in the way you think. And if we are, well, obviously I lost. Because I'm here, withyou. No offense.Daniel: Yeah, none taken. Oh, man. They couldn't crack the passcode. But, uh, for what it's worth, I like you a hell of a lot more than I like your brother. At the party, Bianca asks some questions toChloe.Bianca Ruiz: I know everyone here except you. What are you doing here?Chloe: I, uh... I'm... Uh, was... I came because, well... I love your son's music. Hi, Chet. Chet, you're so good. You're amazing.BiancaRuiz: Oh, please. I've seen the sales. Nobody actually listens to that... Stuff.Chloe: Oh, I listen to it, big-time. Chloe starts to sing.Bianca Ruiz: I've heard enough.Chloe: Yeah.Guard: That's enough, ma'am.Chloe: Chet,you're so good. You're dope!Guard: Let's go.Chloe: I love you. I...Chet Ruiz: I love you more. Chloe phones Daniel.Chloe: Dan. Hey. Look, that phone... I think it is way more important than we thought. It might be thekey to taking down Bianca. Maze and Lucifer are walking in the street.Lucifer: Great. Now that we've solved that, I can get back to the case and... Maze hits Lucifer in the belly.Lucifer: Ooh! God! What?!Maze: What?You just made everything worse. Why am I surprised? Just leave. Since that's been your plan all along anyway.Lucifer: Is that what all this has been about? Amenadiel told you about our trip back to Heaven, didn'the?Maze: Don't you blame him. You... She hits him again.Lucifer: Aah!Maze: Should have told me.Lucifer: Well, if you understood the full picture... She punches him in the face.Lucifer: Oh! Stop hitting me.Maze: Thenexplain.Lucifer: Well, I'd like to, but you have a tendency to get emotional about things. She punches him in the face again.Lucifer: Aah! Case in point.Maze: So I needed to be controlled, is that it? What the hell am I,Lucifer... A pawn in some plan of yours?Lucifer: No, I wouldn't put it like that.Maze: Of course you wouldn't, because that would actually require you understanding how you affect people. How you hurt them. She hitshim in the nuts.Lucifer: Oh! Aah! You seem to be the one doing the hurting at the moment.Maze: You don't care about anyone other than yourself. Unless they can be of use to you. Sound familiar?Lucifer: Tread verycarefully, Maze.Maze: You're just like your parents. They fight.Lucifer: Aah!Maze: Aah!Lucifer: Oh! Maybe... Maybe we should just take a time-out so that... You can catch your breath.Maze: Yeah, so you can catch yourbreath. And then, I'll get back to kicking your ass.Lucifer: See, now... I had no idea that you were this mad at me.Maze: You were gonna leave me.Lucifer: I would never do that.Maze: But you told Amenadiel and yourmom that y... You were going with them to Heaven.Lucifer: Well, I didn't say how long for. Huh? Or what I was gonna do when I got there.Maze: You're playing your own angle... And you didn't tell me... Because youneeded me to be angry with you so you could sell your story.Lucifer: Exactly! So, all this... Was for nothing.Maze: Lucifer, that's even worse. At the station, Ella, Chloe and Daniel are talking about the phone.Ella: Thisphone could be the key to taking down the entire Ruiz empire.Daniel: Yeah, but how do we crack it if cyber couldn't even do it?Ella: Time. That idiot didn't install a program that can remotely wipe the phone. And it's an"}
+{"doc_id":"doc_247","qid":"","text":"Scene: The apartment.Amy: This is nice, that we all get to eat together.Leonard: Absolutely.Amy: Hmm. Can we maybe put the phones down and have an actualhuman conversation?Sheldon: We can, but thanks toSteve Jobs, we don't have to.Penny: Guys, guys, you're never gonna believe this.Leonard: What happened?Penny: I just got a part on a TV show.Amy: Congratulations.Leonard: What? That's great. Guys.Howard: Oh,yeahSheldon: Yay, Penny.Amy: What's the show?Penny: Um, NC... II... or, you know, NCSTD... I don't know, it's, it's, you know, it's the one with the letters and I'm gonna be on it!Leonard: That's amazing.Penny:Yeah.Howard: What's your part?Penny: Um, I play a customer in a diner and I flirt with Mark Harmon.Raj: Ooh, Mark Harmon, he's a dreamboat.Leonard: So it, it's just flirting?Penny: Well, yeah. Why?Leonard: Uh, noreason. I just think it's sexier when things are left to the imagination.Amy: He's wrong. Credits sequence.Scene: The Cheesecake Factory.Raj: So I read a study that says a man with a dog is three times more likely toget a woman's phone number.Leonard: Is it true even when the man lets his dog lick peanut butter off his tongue?Raj: I don't see why not.Howard: If you're really desperate to meet women and like having food eatenout of your mouth, I could set you up with my mom.Sheldon: Why is that funny? That's just unhygienic.Leonard: It's a joke.Sheldon: I don't think so. I believe that a joke is a brief oral narrative with a climactichumorous twist. For example, uh, Wolowitz's mother is so fat that she decided to go on a diet, or exercise, or both. See? The twist is that people don't usually change. Well, they don't.Penny: Hey, guys, don't forget, myepisode's on TV tomorrow night.Howard: We'll be there.Raj: Can we bring anything?Penny: Oh, that's so sweet of you, but I was gonna steal food from here. You know, my treat.Sheldon: Wait, if Howard's mother iscoming, then you should also steal marbles. Because she's obese, and hippos are obese, and in the popular board game Hungry Hungry Hippos, they eat marbles. Maybe I need to dumb these down for you.Scene: Thestairwell.Sheldon: Leonard, do you think I'm funny?Leonard: No. Do you?Sheldon: I think I'm hysterical.Leonard: I take it back. That was funny.Sheldon: The philosopher Henri Bergson says it's funny when a humanbeing behaves like an object.Leonard: I bet that bit killed at The Chuckle Hut.Sheldon: Oh, he didn't perform stand-up comedy, he was a philosopher.Leonard: You know, I think we're zeroing in on yourproblem.Sheldon: Perhaps I'll spend some time developing a unified theory of comedy, which will allow me to elicit laughter from anyone at any time. Unless they're German, 'cause that's a tough crowd.Leonard: Areyou set on people laughing with you? 'Cause if you're cool with at you...Sheldon: I don't get it.Scene: Bernadette's car.Bernadette: Raj, when you said you were gonna bring a date to watch Penny's thing tonight, Ididn't think you meant Stuart.Howard: Really? I never for a second thought it'd be anything else.Raj: I almost met someone last night, but I blew it. I was walking Cinnamon and this girl introduced herself, but she wasso cute I panicked and said, wouldn't it be easier if instead of talking we could just sniff each other's butts?Bernadette: Well, Stuart's cute in his own way.Stuart: When I was a baby, my mother called me her littlepossum.Raj: Are possums cute?Stuart: Not at all.Howard: If you're so intimidated by talking to attractive girls, maybe you should practice by talking to regular people.Raj: You mean like fatties and uggos?Bernadette:Or maybe just stop talking.Howard: I'm serious. Go to the mall, talk to anybody, practice, that way when you eventually do talk to a cute girl, it won't be so scary.Bernadette: Or just keep dating the possum.Scene: Theapartment.Voice on television: Parsa doesn't have those kind of resources.Second voice: No, and that's why he had Erin Pace rewire it...Leonard: I'm so proud of you.Penny: We haven't even gotten to my sceneyet.Leonard: I know, but you're going to be a TV star and you haven't left me yet. That takes guts.Sheldon: I don't know about you, but I'm very uncomfortable with all this.Amy: Why?Sheldon: I've never seen thisshow before and now I'm starting with episode 246? It's unnatural.Amy: Just think of the first 245 as the prequel.Sheldon: All right.Penny: Okay, shh, guys, guys, this is it.Man on TV: I guess it's you and me, kid.MarkHarmon on TV: What are you doing?Woman on TV: I'm trying to make peace.Mark Harmon on TV: We're good.Woman on TV: Good.Mark Harmon on TV: Really? Because...Penny: Are you kidding me?Leonard: What'swrong?Penny: Well, the diner scene. Where's my diner scene?Sheldon: Well, don't ask me. Until I see the prequel, I'm lost.Penny: No, there was supposed to be a big scene with me and Mark Harmon, but it'sgone.Bernadette: What happened?Penny: They must've cut it.Leonard: Oh, Penny, I'm, I'm sorry.Howard: That stinks.Raj: I'm sure you were great.Penny: This doesn't make any sense. I mean, I, I thought I did a, areally good job, I... Excuse me.Sheldon: I've been studying how to make people laugh. They say that comedy is tragedy plus time. Let's tickle some ribs.Scene: Penny's apartment.Penny (on phone): No, Dad, I don'tthink they cut me out of the show because I was too pretty. No, I don't need you to come out and kick Mark Harmon's ass. Daddy, I gotta go. I love you. Bye.Leonard: How you doing?Penny: Ugh, this is such a disaster.My parents had all my relatives over. They got one of those six-foot sandwiches, and got my brother a day pass out of rehab and now he's missing and the sandwich is missing, and they're probably in Mexico by now.So humiliating.Leonard: You still got the part. That's a huge accomplishment.Penny: Yeah, but this was supposed to be my break, okay? People were gonna see me in this show and it was gonna lead to bigger things.More auditions, more parts. Now none of that's gonna happen.Leonard: Honey, you only had, like, three lines. That wasn't gonna happen anyway.Penny: Unbelievable.Leonard: Oh, come on, no, that's not what Imeant.Penny: Then what did you mean?Leonard: I don't, look, you know, words don't always have to mean things.Penny: I think you meant that you don't believe in me.Leonard: Nope. Uh, uh, I might not know what Imeant, but I know that I didn't mean that. Not this guy. Oh, no way.Penny: I want you, right now, to give me your 100% honest opinion.Leonard: Right.Penny: Do you think I have what it takes to really make it as anactress?Leonard: Yes.Penny: So you think I'll be on TV and in movies and win awards.Leonard: Honestly?Penny: Yes, honestly.Leonard: I don't.Penny: How could you say that?Leonard: I don't know, I got all confusedwhen you said honestly.Penny: Oh.Leonard: Look, do I think that you are talented and that you are beautiful? Of course I do. But isn't Los Angeles full of actresses who are just as talented, just as beautiful? All right,look, we'll come back to that.Penny: No, please. Don't stop, go on. Tell me how I'm gonna be a waitress for the rest of my life.Leonard: That is not what I said. Look, I think you're really good. I truly do. But this is anincredibly hard thing that you're shooting for. I mean, the odds of anyone becoming a successful actor are like a million to one.Penny: Wow, thank you.Leonard: Should've let Sheldon come.Scene: Theapartment.Sheldon: This is interesting. Apparently, a key component in some forms of humour is the element of surprise.Amy: Well, that makes sense. The prefrontal cortex is responsible for planning and anticipation,and patients with brain lesions on their...Sheldon: BRAIN LESIONS!Amy: Sheldon, you scared me. That wasn't funny.Sheldon: Or maybe you have a stick up your prefrontal cortex.Amy: Okay, the notion that you canread a few books and come up with a definitive theory of comedy is absurd. I mean, humour is a complex neurological... (Sheldon drops his trousers) Okay, that's pretty good.Sheldon: Excellent.Scene: The mall.Stuart:How about her?Raj: No. No pretty girls. The point is to talk to regular people and work our way up to pretty girls.Stuart: Fine. How about that old lady with the walker?Raj: That depends. On any level, do you think she'shot?Stuart: We'll find somebody else.Scene: The apartment.Sheldon: Kumquat?Amy: I guess.Sheldon: Ointment?Amy: Sure.Sheldon: Now, would you say ointment is more, equal to, or less funny than kumquat?Amy:I don't think I want to go out with you anymore.Sheldon: Will you please stop joking around? I'm trying to figure this out.Amy: Sheldon, how many words are you gonna go through?Sheldon: All ofthem.[SCENE_BREAK]Scene: Penny's apartment.Penny: You didn't get your part cut.Voice on TV: All right, baby, here's the deal.Penny: And you didn't get your part cut. Yep, bunch of old guys rocking out in a band, allwith erectile dysfunction, you didn't get your part cut!Leonard: Hey. Can we talk?Penny: We can, but the part of Penny might get cut.Leonard: That was really crappy of me. What you're trying to do is hard, but peopledo make it, and I really do believe you could be one of them.Penny: Thank you.Leonard: And to show you how much I believe in you, I kind of got you an audition.Penny: Are you serious? For what?Leonard: The newStar Wars movie.Penny: What? How did you manage that?Leonard: There's this thing online, you put yourself on tape and just send it in, anyone can do it.Penny: Come on Leonard, this is just a PR stunt.Leonard: So?Even if it is, you have a huge advantage because you're an actual actress. Most of the people doing this are just weirdoes and nerds. Wolowitz sent his in two days ago.Penny: Really, let it go.Leonard: Look, maybe it isa long shot, but sometimes long shots happen. Luke Skywalker was only given one chance to destroy the Death Star. He had to get a torpedo into an exhaust port that was only two meters wide, but with the help ofThe Force, he... wow, I can feel you hating me right now.Scene: The mall.Stuart: How about that lady in the sweat suit, speed-walking?Raj: Yeah, she seems friendly and easy to... never mind, she's gone. You know,maybe talking to people is too hard.Stuart: We could go over to that department store, practice on the mannequins.Raj: I don't know. They're dressed very stylishly. They're probably stuck-up. This is ridiculous. Thenext person that walks by, no matter who it is, they're the one. We're gonna die here.Scene: The Cheesecake Factory.Amy: Hello.Bernadette: Hey.Howard: Where's Sheldon?Amy: He's home trying to use science todetermine the basis of humour.Bernadette: That's interesting.Amy: It's exhausting. Do you have any idea how hard it is to laugh at a knock-knock joke that starts with knock-knock-knock, Amy, knock-knock-knock,Amy, knock-knock-knock, Amy?Bernadette: If you want him to stop, sometimes the easiest thing to do is just fake a laugh.Howard: Fake a laugh? Do you ever do that with me?Bernadette: No, of course not.Howard:Well, I'd be able to tell anyway.Bernadette: I don't think you would.Howard: Please, I've made plenty of girls laugh, sometimes just by asking them out. (Bernadette laughs uncontrollably) Yeah? Well, I fake myorgasms.Scene: The apartment.Leonard (on phone): Yes, how much for a hundred long-stemmed red roses? Really? How much for three?Penny: Hey.Leonard: Yeah, I'll call you back.Penny: Look, I know you were justtrying to help with your Star Wars thing. I didn't mean to call it idiotic.Leonard: Well, I don't think you called it idiotic.Penny: Oh. Sorry, I meant to. Anyway, um, I was just upset with myself. I wasn't mad at you. I justfeel like everything is falling apart.Leonard: Come on. It's okay.Penny: No, it's not okay. Look at me, okay? I took a temp job as a waitress forever ago, and I'm still doing it. I can't quit, because guess what? I can't doanything else. And I finally get my big break, and it goes away. I'm such a mess.Leonard: No, you're not.Penny: Really? 'Cause this morning at Starbucks, a pair of old underwear fell out of my pant leg. And it wasn'tthe only one in there.Leonard: Okay, listen to me, this is just a minor setback.Penny: No, it's not, okay? I've been out here for, like, ten years. I've nothing to show for it.Leonard: Well, you have me.Penny: You're right.I do have you. Mm. Let's get married.Leonard: What?Penny: Ooh. Leonard Hofstadter, will you marry me?Leonard: Um...Penny: Did you seriously just say um?Leonard: Look, you know I love you but, but you're, you'redrunk and sad and feeling lost.Penny: Okay, so, so you don't want to marry me?Leonard: That is not what I said.Penny: No, forget it. I take it back. Offer's off the table.Sheldon: Who's in the mood to laugh?Leonard:Really not a good time.Sheldon: But I used science to construct the perfect joke.Penny: I'm gonna go.Leonard: Penny, don't.Penny: No, no, I just need to be alone.Sheldon: So, a sandwich, a rabbi and yo mama walkinto a bar. Where are you going?Leonard: To my room.Sheldon: Should I follow you?Leonard: No.Sheldon: Leonard, wait.Leonard: What?Sheldon: I forgot to tell you the sandwich is promiscuous.Scene: Themall.Stuart: How about those guys on that bench over there? They look pathetic. I bet we could talk to them.Raj: That's a mirror.Stuart: Oh, yeah.Security Guard: Hey, fellas, mall's closing.Raj: Sorry.Security Guard:Yeah. Good night.Raj: Uh, excuse me.Security Guard: Yeah?Raj: Uh, do, do you like being a mall security guard?Security Guard: It's all right.Raj: Okay, nice talking to you.Stuart: Smooth.Scene: Theapartment.Sheldon: Can't sleep?Leonard: No.Sheldon: Would you like to talk about it?Leonard: Penny proposed, and I didn't say yes.Sheldon: Why not?Leonard: That's a good question.Sheldon: Does that mean therelationship is over?Leonard: I don't know.Sheldon: Why don't you ask her?Leonard: Because I'm afraid to know the answer.Sheldon: Well, I'm sorry.Leonard: That's it? You're not gonna make some dumb joke or someinappropriate comment?Sheldon: No. You're my friend, and, I'm sorry.Leonard: Did you just put a kick me sign on my back?Sheldon: No. That wouldn't be funny at all.Scene: Howard and Bernadette'sbedroom.Howard: Star Wars audition, take one, starring Howard Joel Wolowitz, real-life astronaut. Vader is here, now, on this moon. I felt his presence. He's come for me. He can feel when I'm near...Bernadette: Howmany times do I have to tell you to replace the toilet paper when it's empty?Howard: I'm in the middle of something.Bernadette: So am I."}
+{"doc_id":"doc_248","qid":"","text":"Angel: \"Previously on Angel\"Wesley: \"Angel's son is part of the prophecy. Everyone and everything will be coming for him.\" Fred is holding Connor.Wes: \"Adorable.\"Gunn: \"So sweet.\"Wes: \"I meant the baby.\"Gunn: \"Imeant the hot mama.\"Wesley: \"She is a rather extraordinary young woman.\" Gunn and Fred kiss. Wes' face reflected in the polished metal as he sees them.Lorne: \"We got a little term back in Pylea -kyrumption...\"Angel: \"I know it.\"Pylean Priest: \"Everyone is very anxious for her majesty to com-shuck with the Groosalug.\"Gunn: \"Sounds dirty if you ask me.\" Cordy runs across the dungeon to hug Groo.Cordy:\"That's not terrible, that's wonderful!\"Groo: \"Your visions shall pass to me.\"Cordy: \"I can't give up my visions!\" Cordy lounges in Angel's doorway, dressed up for the ballet.Lorne: \"Cordelia?\"Angel: \"What abouther?\"Lorne: \"You got to let her know what's brewing inside, because you don't wanna miss that shot!\" Possessed by the mystical energy in the ballerina's dressing room, Angel and Cordy go at it.Angel: \"You've becomea truly extraordinary woman. I think that we...\"Cordy: \"Groo?\"Angel: \"Yes! We grew - closer together and I think...\" Cordy runs past him.Cordy: \"Groo!\"Groo: \"Princess!\" They hug.Cordy: \"Oh god, I can't believeit!\"Lorne to Angel: \"He just showed up\" Fred (voice-over as Angel goes to check on Connor): \"I thought for sure she was meant to be with Angel. I guess you never can predict those things.\" Angel is leaning on Connor'scrib, looking down at his son. Lorne comes up beside him.Angel: \"It's strange.\"Lorne: \"Hmm.\"Angel: \"I remember him being taller.\"Lorne: \"A trick of the light. They don't actually get smaller until they're very, veryold.\"Angel: \"I didn't mean the baby.\"Lorne: \"I know you didn't.\"Angel: \"I meant the Groosalug.\"Lorne: \"I know you did.\"Angel: \"Did he seem, ah, - I don't know - short?\"Lorne: \"Oh, absolutely. Clearly the guy shrank -all over, probably. (Lorne helps Angel out of his tux jacket) Why, he's nothing but a muscley midget. I'm sure once Cordelia gets him home, she'll just pop him into a smallish drawer, and that will be that.\"Angel,adjusting his cuffs: \"She took him home. Well - well, that's good. At least we won't have to put him up here. The place was starting to turn into a hotel.\"Lorne: \"So - so you don't have a problem with that then?\"Angel:\"Of course not. Why would I?\" Lorne sniffs Angel's tux jacket.Lorne: \"Oh, I don't know. Maybe because I don't remember you wearing this perfume when you left this evening?\" Angel takes the jacket from him.Angel:\"Okay. There may have been some magic.\"Lorne: \"There. You see?\"Angel: \"Actual *magic,* Lorne. Whatever happened, it was a spell. It's worn off now. There's nothing between Cordelia and me.\"Lorne: \"Sure there is.And it got arms like steel cables and a deeply ironic sense of timing.\" Angel goes to hang his jacket into a closet.Angel: \"You know, it's good that the Groosalug showed up when he did. You were right. Cordelia deservesa champion, and now she's got one.\"Lorne: \"Well, what about you?\"Angel: \"I'm fine. I've been a solo-act most of my two hundred fourty plus years. And when I wasn't? Never turned out well. I like being alone.\" Thecamera frames Angel and Lorne from inside the closet as Angel hangs up the jacket.Lorne: \"Fine, Ms. Garbo. Have it your way. Be alone.\" The closet door closes, and the screen goes dark - only to show us Angel againas he opens the door again a moment later. Angel reaches in, takes out the jacket on its hanger and sniffs at it for just a moment before hanging it back up and closing the door as he turns away. The camera looks outof another closet, this time at Cordy changing out of her evening dress.Cordy: \"So, ahem, you got deposed, huh?\" Groo, pacing in her living room: \"Yes.\"Cordy: \"Huh. That sucks.\"Groo: \"The people turned againstme.\"Cordy: \"Yeah, well, they'll do that.\"Groo: \"Endless committees were formed. Committees splintered into factions, the factions into coalitions, the coalitions turned into subcommittees, until finally the more radicalelement, spurred by a charismatic leader, did the dance of revolution.\" Cordy comes out of her bedroom, wearing a red sweater and jeans.Cordy: \"And here you are.\"Groo: \"Yes.\"Cordy: \"So - you don't miss it? Youknow, the power, castle, concubines, and the royal chippies.\"Groo: \"There was never anyone else.\"Cordy: \"Oh.\"Groo: \"I welcomed the overthrow. The tedium of government was too much to bear after a life on thebattlefield.\" Cordy, running a finger down the side of Groo's face: \"Your heart wasn't really in it.\"Groo: \"No. That left when you did.\" Groo slowly leans forward and they kiss. The camera circles around them and as wecome back to see the Groosalug's face he has suddenly turned into an ugly, spiny, black monster. Cordy pulls back, staring at him. Groo's voice coming from the monster: \"Princess?\" Cordy takes a step back.Groo,looking like himself again: \"Is something wrong?\" Intro Angel comes down the stairs into the lobby, carrying Connor. Wesley is moving about behind the reception counter.Angel: \"Hey.\"Wes: \"Morning.\"Angel: \"You, ah,you're the only one here?\"Wes: \"So far. - How's young Connor today?\"Angel: \"He's good. Cordelia, she's - usually in by now, isn't she?\"Wes: \"It's early. I imagine she and Groosalug where up late. They have a lot ofcatching up to do.\"Angel: \"Right. Ah. 'They.'\" Angel goes to put Connor down in a bassinet in Wes' office. Wes follows him.Wes: \"Actually, I was hoping you and I could talk before the others got here.\"Angel: \"Sure.What is it?\"Wes: \"Well - it's the fact of him. I know his sudden arrival was something we all needed a moment to digest. - Still, there are questions.\"Angel: \"You're suspicious.\"Wes: \"'Cautious' might be a betterword.\"Angel: \"You think he's evil.\"Wes: \"Evil?\"Angel: \"Okay, maybe not evil, but - he's definitely hiding something. Does he seem shorter to you?\" Wes glances down into the bassinet.Wes: \"We are both talking aboutConnor, aren't we?\"Angel: \"What about Connor.\"Wes: \"He shouldn't exist.\"Angel: \"His birth was foretold. How many people can say that?\"Wes: \"He has a role to play, that's true, but we still don't know what that role is.- Angel, we can't be afraid to ask the questions, because your enemies, *his* enemies, certainly won't be.\"Angel: \"You're right. We should be prepared.\"Wes: \"I'm glad you agree. However, with the loss of the NyazianProphecies, we'll probably have to look elsewhere for our answers.\"Angel: \"Well, we both know where those prophecies went. Maybe it's time to make another assault on Wolfram and Hart.\"Wes: \"That might not benecessary. Not yet, anyway. There should be other sources. Ancient works accumulate scholarship, commentary over the years.\"Angel: \"Huh. You think somebody else has already done the work for us.\"Wes: \"That'smy hope. I've been looking into it. I just... I felt you should know.\"Angel: \"I wanna be involved, completely.\"Cordy: \"Involved with who?\" Angel spins around to see Cordy put some stuff down on the reception counter,and walks out of Wes' office.Angel: \"You're here. And...(Sees Groo standing in front of the weapons cabinet, trying out one of the swords) ... so is he.\"Groo: \"Angel. Your weapons are most impressive.\"Angel: \"Thanks.Thank you. (Grabs a hold of Cordy's arm, never taking his eyes off Groo) Can you, uh, ask him not to handle my weapons?\"Cordy: \"Oh, relax. If there's one thing Groo knows, it's how to handle a weapon. - Poor guy.Looks like that's about all he's gonna be handling.\"Angel: \"You mean, ah, you two didn't...\"Cordy: \"I got him home last night and we started... you know. - But then - I couldn't go through with it.\"Angel: \"Youcouldn't?\"Cordy: \"No. Not after seeing that disgusting, spiny thing!\" Angel throws a look at Groo before following Cordy into Wes' office.Angel: \"Spiny?\"Cordy: \"Right up in my face! That's what the visions are like now.No pain, less artsy, sometimes floaty, though not lately, and very often stinky.\"Wes: \"You had a vision?\"Cordy: \"Yeah. Big as life (Shows them a sketch she drew of the monster) last night, while Groo and I were gettingreacquainted. Kind of a mood killer, I got to say.\"Wes: \"You should have called one of us.\"Cordy: \"Oh, please! Like I'm gonna bother you guys in the middle of the night because I want s*x and can't have it.\"Wes:\"Actually, I meant the vision.\"Cordy: \"Oh. That. Well, it's not rising up until sometime later today.\"Wes: \"Oh. Why can't you have s*x?\"Cordy: \"I could lose my 'visionity.'\"Wes: \"If you wanna play it that way.\"Cordy:\"*Vision*-ity! The visions. When that one hit my last night, it hit me. In Pylea the visions were supposed to pass to Groo if we ever did the royal com-shuck. How do I know that won't happen here?\"Angel: \"Good point.You really don't.\"Wes: \"But your recent transformation could have changed all that. It might be possible to...\" Angel kicks the side of Wes' desk as he moves his foot.Angel: \"Still, you know, better safe than sorry. (ToCordy) You're doing the right thing.\"Cordy: \"I know. I know. I can't risk it. It's just - I'm so... (Looks out of the office to where Groo is still swinging that sword) And he's such a... Rrrr.. (Turns to smile at Wes and Angel)Don't you think?\" Angel and Wes both look down.Angel: \"Yeah, sure.\"Wes: \"Certainly.\"Cordy: \"I mean, there's gotta be other things we can do to relieve the tension!\"Angel: \"Jogging could be the thing.\"Wes: \"Perhapssome form of paranormal prophylactic...\"Angel: \"Because, you know, jogging...\"Cordy, still watching Groo: \"I guess we could probably 'com' without actually 'shucking.'\"Angel: \"Well, I don't know. That could be aslippery slope that once you're on, that you could - slide.\"Cordy: \"At least I won't be upsetting the average around here. Nobody in *this* office is ever gonna get any.\" Gunn is sitting across from Fred in a diner,watching her eat.Gunn: \"It's funny.\"Fred: \"The way I chew?\"Gunn: \"No. Until that kiss last night, I would have thought you and Wesley had a thing for each other.\"Fred: \"Wesley?\"Gunn: \"Yeah.\"Fred: \"No, we're justgood friends.\"Gunn: \"You want another order of those?\"Fred: \"Yes, please.\" Fred puts a hand on Gunn's wrist as he looks around for a waitress.Fred: \"Oh. No. No, I'm not hungry.\"Gunn: \"You sure? I love watching youeat.\"Fred: \"Wow. (They both look down, fidgeting and smiling) - We should probably go. People might start to talk.\"Gunn laughs: \"Why would they?\"Fred: \"Well, you know, us.\"Gunn: \"'Us' has been doing breakfast forweeks now. Everyone knows that.\"Fred: \"I know, but now that we've kissed, things are different. - I mean, they are, right?\"Gunn, smiling at her: \"Oh yeah.\"Fred: \"So - so you don't think they can tell?\"Gunn looksaround: \"From here?\"Fred laughs: \"I'm sorry. I'm being ridiculous, I know. It's just - I don't have a lot of experience in this area. I spent the last five years in a cave.\"Gunn: \"Yeah, I know what that's like.\"Fred: \"Howcould you?\"Gunn: \"Because now everything's so bright my eyes hurt.\" As they get lost in each other's eyes, the waitress drops the tab on the table.Waitress: \"Here you go.\"Fred: \"Thank you.\"Gunn: \"Thanks.\" They bothreach for it without losing eye contact, and their hands touch.Fred looks down: \"How are we gonna work this?\"Gunn: \"Like we always do. We split it.\"Fred: \"But you hardly ordered anything. I'd be getting so much morevalue.\"Gunn, smiling: \"I think I'm making out okay.\" They lean across the table to kiss when their beepers go off. They both fumble for them and look at the number.Both: \"Wesley.\"Wes: \"We've identified the demonfrom Cordelia's vision as a Senih'd. (Hands Gunn an open book) We believe it will rise in the mid-city area sometime before nightfall.\" Gunn looks at the illustration, then hands the book over to Fred, sitting beside him.Wes notices their smiles as their hands linger during the hand-off.Wes: \"The Senih'd manifests in its physical form for one purpose only - to feed.\" Fred hands the book to Cordy.Cordy: \"Seen it.\" Cordy passes the bookto Groo, standing beside her.Wes: \"Immediately upon rising it will go to ground to search for a victim. We've got to make sure it doesn't find one.\" Angel comes to look at the book as Groo is holding it. He glances atGroo. Lifts up on his toes for a moment, then drops back down.Wes: \"Angel will take the sewer tunnels. The rest of us will go by car to Sorensen Park. We'll enter the underground from the water treatment plant there,double back. Hopefully by the time we meet up again...\"Groo: \"I know this creature. It resembles the Bleaucha, which nest in the scum pits of Ur. I've slain many.\"Wes: \"Really?\"Groo: \"Tracking it will be simple. Killingit, more difficult.\"Angel: \"Well, yeah.\"Wes: \"Alright then. Groo, you go with Angel. Lets move out.\" Everyone starts to leave as Angel stares at Wes, turns to look after Groo, then turns back to Wesley.Angel: \"I don'tthink that's such a good idea, me and him. You know, I'm more of a loner. Plus, he's so - bulky. He could really slow me down!\"Wes: \"He's an experienced warrior. He should be a great asset.\" Angel looks over to wherethe others arm up in front of the weapons cabinet. Sees Cordy hand Groo a sword.Cordy: \"Here's a nice one.\"Angel: \"That's my favorite broadsword!\"Wes: \"You'll be fine, Angel.\" Wes pats Angel on the shoulder andwalks past him.Cordy to Groo: \"Are you sure you're gonna be warm enough? The sewers are pretty damp.\"Groo: \"I shall be fine.\"Cordy: \"Okay. (Hands Angel a weapon without taking her eyes of Groo) Here.\" Angelturns the ax in his hand, looking at the small head on it. Looks at Cordy, only to see her kiss Groo's cheek.Angel, turning away: \"Lets go.\" Angel and Groo walk off together.Groo: \"I shall present this beast's head to myprincess as a token.\"Angel: \"Right. 'cause she'll love that.\" Angel and Groo are walking along some dark sewer tunnels.Angel: \"You sense anything?\"Groo: \"A deep sadness.\" Angel stops and turns to look back atGroo.Groo: \"My princess. She is unhappy. I fear I am the cause.\"Angel: \"No. No, she's not unhappy you're here, Groo. She's - thrilled.\" They walk on.Groo: \"Then what keeps her from me? There is a distance - as if herheart is not free.\"Angel: \"I-I think, that maybe she's afraid to get too close. - She's, ah, scared if she does, she'll, ah, lose something.\"Groo: \"But I would give myself to her.\" We hear a low growling sound. Angel holdsup a hand to stop Groo, then takes a couple steps forward and crouches down. Angel touches some liquid spots on the ground, then rubs his fingers together, looking at them.Groo: \"It is wounded. It bleeds.\"Angel: \"It'sbetter than bread crumbs. Lets go.\" Angel and Groo enter what looks like the water treatment plant Wes was talking about. The Senih'd drops off of some pipes behind them. Angel and Groo turn and attack the demontogether. The Senih'd manages to disarm both of them fairly early into the fight, but neither Angel nor Groo let that slow them down. Angel is taking a bit more of a beating than Groo, but other than that they're doingabout the same against the monster. Until it lets out a scream and breaks through the wall to escape into the sunny park outside. Angel scrambles back out of the sunlight streaming in through the opening. Groo picksup his dropped sword, then holds out a hand to help Angel up.Groo: \"Come.\" Angel just looks at Groo, not moving. Screams sound from outside, and Groo turns to run after the Senih'd. Angel slowly gets up andwatches as Groo goes to rescue the young woman the Senih'd has grabbed. The demon tries to use the woman as a shield against Groo's sword, but Groo manages to knock them apart. Cordy, Wes, Gunn, and Fredcome running over a rise in the park, just in time to see Groo catch the woman in one arm, while knocking the Senih'd down and stabbing it deep into the back of its neck. The demon dissolves into an oily black puddlethat seeps away into the ground. Angel watches the rescued woman cling to Groo.Wes: \"Well, done.\" Angel watches as Cordy throws her arms around Groo, a big smile on her face.Wes: \"I must say, excellent work.\"The people in the park gather around them, applauding. Wes reaches out to pat Groo on the shoulder.Wes: \"Well done.\" Wes turns and looks towards the hole in the side of the building. He sees Angel standing in theshadows of it, watching them. BreakMs. Frakes voice over: \"You think you know someone. You think your place is secure and that there's a future there.\" Angel is sitting across from Ms Frakes behind Wes' desk,watching Groo as he reenacts his fight with the demon for Cordy, Gunn and Fred.Ms. Frakes: \"And then something happens. No, strike that. Some *one* happens! (Angel watches Groo drop down beside Cordy, catchingher in a hug) They insinuate themselves, pushing you out, taking your place.\" Angel turns his attention back to Ms Frakes.Angel: \"And what makes you think this other woman is a witch, Ms - Frakes?\"Ms. Frakes: \"Whyelse would Jerry cheat on me? We've been engaged for eight years! She had to have put some kind of a spell on him.\" Wes is talking on the phone, while also watching the group out in the lobby.Wes: \"I'm looking forthe original Greek if it's at all possible.\" Watching as Fred is laughing at Groo's antics, Wes slowly moves backward until the wall beside him hides Gunn, sitting beside Fred, from his view - leaving only Fred and Cordy inhis sights.Wes: \"You do? Excellent. Ah, can I get a quote on that?\" Angel leans back in his chair.Angel: \"Well, if you give me the woman's name I'll have someone check her out. See if we can find out if she's a -witch.\"Ms Frakes: \"HotBlonde37159 (She hands Angel some papers) I got these off the e-mails that I took from Jerry's computer.\"Angel: \"It's, ah, gonna... (glances us as Wes walks into the office) uh, it's gonna bepretty difficult to find her based solely on this.\"Ms Frakes: \"Well, just follow Jerry! I'm sure he'll lead you right to her.\"Angel looks up at Wes: \"Ms Frakes here wants us to stake out her fiancé. I was trying to explain toher that...\"Wes: \"I think we can spare someone to keep an eye on Ms Frakes' fiancé. Gunn! (Gunn gets up from the settee) If witchcraft is involved we should probably look into it.\"Gunn: \"What's up?\"Wes: \"Ah, Gunn,Ms Frakes here needs some surveillance work. I thought, if you were free...\"Gunn: \"Yeah, not a problem.\"Wes: \"Good. (Takes the papers from Angel and hands them to Gunn) She'll give you the details. I'll leave it inyour hands.\" Wes takes the printed up e-mails form Angel and hands them to Gunn.Gunn: \"Sure thing.\" Fred smiles at Wes as she comes into the office.Fred: \"We won't let you down.\" Angel and Wes are entering therare books shop.Angel: \"I don't know. Maybe they should just do it, you know? Get it over with.\"Wes: \"I'm sorry?\"Angel: \"Cordy and Groo. She's being all noble for the good of the team. She should just make it with thecom-shuck. That's what she wants.\"Wes: \"Oh.\"Proprietor: \"May I help you?\"Wes: \"Yes. I phoned earlier about Grammaticus Third Century Greek Commentaries.\"Proprietor: \"Of course. The G.T.C.G.C. I'll be just onemoment.\"Wes: \"Thank you.\"Angel: \"I mean, why not? You know, life is short. Okay, not mine, but, you know, most people's. And if Groo does it for her, she should go for it. (Walks over to a shelf to flip through somebooks) Make him happy. Make her happy. (Almost inaudible) Make everybody happy.\"Wes: \"But still - office romance - complicates things. What if they should have a row, or break up?\"Angel: \"All of us fight with eachother at some point. It's not like anybody else is having a romance. I don't see it changing things much.\"Wes: \"Well - (leans closer to Angel and drops his voice after a glance around) she said it herself. It could risk thevisions.\"Angel: \"Okay. So the visions pass to Groo. He gets them instead of her. So what?\"Wes: \"Are you suggesting Groosalug could replace Cordelia?\"Angel, still browsing the books: \"Maybe not Cordelia.\"Wes: \"I see.- You think he could replace you.\" Angel slowly puts the book he's holding back on the shelf and turns to face Wes.Angel: \"I don't know. Seems to me, here is a guy who can do everything I can - and a few things Ican't.\"Wes: \"That's not true.\"Angel: \"You saw what happened this afternoon. If Groo hadn't been there...\"Wes: \"Then the rest of us would have. - Angel, - you're the reason we've all come together. It's your missionwhich animates us. We each contribute, it's true, but you - you're unique. (Indicates the shelves) You're like one of these rare volumes. One of a kind.\" Angel smiles ever so slightly. The proprietor walks through inbetween them, carrying three old books.Proprietor: \"I've got three of them.\" Angel blinks, smile gone as his brows draw down for a moment. Groo is sitting in a chair in Wes' office with Cordy leaning down for akiss.Cordy, pulling back a little: \"Are you sure?\"Groo: \"I'm sure.\"Cordy: \"Good. Don't worry. I practiced plenty on Cousin Timmy when we were kids.\" They smile at each other. Cordy takes a step over towards the desk,then turns back.Cordy: \"Oh, wait. It's not like your strength is in your hair, or anything like that, right?\"Groo: \"No. I - believe it is in my muscles.\"Cordy laughs: \"Okay. So, we lose the \"Battlefield Earth\" hair, and get"}
+{"doc_id":"doc_249","qid":"","text":"Open on three cheerleaders running in a busy High School car park as Veronica drives in, parks up and heads towards a crowd in front of the school.VERONICA VOICEOVER: This is my school. If you go here, yourparents are either millionaires or your parents work for millionaires. Neptune, California. A town without a middle class. If you're in the second group, you get a job. Fast food, movie theatres, mini-marts. Or you couldbe me. My after-school job means tailing philandering spouses or investigating false injury claims. The crowd is gathered around, staring at something ahead.MALE VOICE IN THE CROWD: Who'd that guy rat out? Thefocus of the crowd's attention is a young black man, taped to a flagpole. He is naked, although his dignity is preserved by the tape and 'Snich' is painted in large letters across his chest. We will subsequently learn hisname is Wallace.BOY IN THE CROWD: The bikers.GIRL IN CROWD: Why doesn't somebody cut him down?ANOTHER BOY IN THE CROWD: [Sarcastically] Yeah! I'll do it. I wanna be the guy up there tomorrow!No one ishelping him and one particularly obnoxious individual approaches him with a camera, taking a photograph of himself with the humiliated captive.JERK: All right, say cheese. Smile. Veronica is unimpressed with thepassivity of the crowd or the jerk and approaches them.VERONICA: [To the jerk] Move.JERK: Who died and made you the quee-His posturing is cut off by Veronica's production of a small knife and he leaves as Veronicastarts to slice through the tape around the boy's lower body.JERK: [Exiting] You ARE a freak.VERONICA: [To the lad, as she cuts him down] You're new here, huh. Welcome to Neptune High.School bell rings.VERONICA:[In mock enthusiasm to the quickly dispersing crowd] Go Pirates! Overhead shot of event cuts to the front of a class room in session. As the teacher (who in the future we will learn is Mrs Murphy) walks forward, thestudents are exposed, including Veronica, whose head is on the desk and who looks to be asleep.MRS MURPHY: This is advanced placement. We expect more. It's called 'An Essay on Man' but what Pope's really talkingabout is faith. Right? Anybody? Did anybody complete the reading? Veronica? Veronica Mars! Veronica's head comes up. She wipes her eye, waking up.VERONICA: Um-humMRS MURPHY: Congratulations, you're myvolunteer. Pope. An Essay on Man. Epistle I.VERONICA: \"Hope springs eternal in the human breast; Man never Is, but always To be blest: The soul, uneasy and confin'd from home, Rests and expatiates in a life tocome.\"MRS MURPHY: And what do you suppose Pope meant by that?VERONICA: Life's a bitch until you die. [The class titters.]MRS MURPHY: OK, thank you Ms Mars for that succinct and somewhat inappropriateresponse.Veronica returns her head to the desk as the teacher carries on.MRS MURPHY: I think what Pope's saying is that the thing that keeps us powering through life's defeats is our faith in a better life yet tocome.Cut to Veronica coming from around the corner to an empty school hall with successive sets of lockers on the side between classroom doors.VERONICA VOICEOVER: Random locker searches. It's the latest tacticthe administration has adopted in their losing war on drugs except the searches aren't really random. In front of Veronica are a tall, besuited man and a deputy who holds the leash of a German Shepherd. We willsubsequently learn that the deputy's name is Sacks.VERONICA VOICEOVER: I know when they're gonna to happen before Vice Principal Clemmons does.DEPUTY SACKS: Veronica Mars, this should be good.CLEMMONS:Veronica, would you please open your locker.As Veronica is turning the combination of her locker, the dog barks.VERONICA: [To the dog] Buster. The dog gives a little whine and obeys her. The surprised deputy looksdown at the dog. Veronica opens her locker. It is completely empty save for a picture on the back of the door. It is a picture of Vice Principal Clemmons framed in a heart.VERONICA: [With feigned embarrassment]Wow. This is a little embarrassing.Cut to an unappetizing dinner tray of meatloaf, gravy and mixed peas and corn. Veronica stabs at it unenthusiastically as the camera pulls back to reveal her in an outside eating areain the school, sitting alone at one of the tables. People fast motion around her until it rests on a table across from her. There are a number of students there, taking delivery of pizzas.VERONICA VOICEOVER: I used tosit there. At that table. It's not like my family met the minimum net worth requirement. My dad didn't own his own airline like John Enbom's [paying for the pizzas with a gold card] or serve as ambassador to Belgiumlike Shelley Pomeroy's but my dad used to be the sheriff and that had a certain cachet. Another boy approaches the pizza table.VERONICA VOICEOVER: Let's be honest, though. The only reason I was allowed past thevelvet ropes was Duncan Kane. Son of software billionaire, Jake Kane, he used to be my boyfriend. Flashback to a long haired Veronica and Duncan walking down the school hallway. Duncan's arm is around Veronica'sshoulders and they kiss as they walk.VERONICA VOICEOVER: Then one day, with no warning, he ended things. Veronica, still with long hair, closes her locker and turns, smiling, to see Duncan walking past, another boywhispering in his ear. Duncan cuts her dead. Cut back to the present as Veronica continues to stare at Duncan. The whispering boy from the flashback is there and notices.VERONICA VOICEOVER: And let's not forgetLogan Echolls. His dad makes twenty million a picture. You probably own his action figure. Logan sits on Duncan's knee and starts rubbing his chest in a faux-lecherous manner. Duncan pushes him off. Logan laughs,sits down and points mockingly at Veronica.VERONICA VOICEOVER: Every school has an obligatory psychotic jackass. He's ours. Veronica is so intent on out-staring Logan that she doesn't notice that Wallace has joinedher table.WALLACE: You okay.VERONICA: What?WALLACE: You look, I don't know, hypnotised.VERONICA: Did I say you could sit here?Looking fed up, Wallace puts his orange back in his lunch bag and stands,preparing to go.VERONICA: [Relenting] Wait a minute. Of course you can sit here. Sit wherever you want. He sits back down.WALLACE: That-that was cool, what you did, getting me off of that pole.VERONICA:WellFrom behind Veronica comes a head-shaven, tattooed biker. We will subsequently learn that this is Weevil.WEEVIL: [To Wallace] My bitch. Weren't you supposed to wait for me at the flagpole. I'm not sure I couldhave made that any clearer. Weevil plonks himself down next to Wallace, deliberately getting in his face. Wallace takes a deep breath and lets out an uncomfortable laugh.WALLACE: OK, I get it, a'right. Veryfunny.WEEVIL: Yeah.WALLACE: I guess we're even now. Right?WEEVIL: [Aggressively] You get what boy? You get that you're a dead man walking, is that what you get?VERONICA: Leave him alone.Weevil turns hisattention to Veronica and moves to stand over her.WEEVIL: Sister, the only time I care what a woman has to say is-is when she's riding my big old hog but even then it's not so much words just a bunch of oohs andaahs, you know?VERONICA: So it's big, huh?WEEVIL: [Indulgently] Legendary.VERONICA: Well let's see it. I mean if it's as big as you say, I'll by your girlfriend. We could go to prom together.Her refusal to beintimidated surprises and amuses him and he laughs as he looks around at his fellow bikers. One of them we will subsequently learn is called Felix.VERONICA: What? What seems to be the problem. I'm on a schedulehere, vato.FELIX: [Not so amused] Dude, Weevil. Don't let blondie talk to you like that!VERONICA: Sounds like your buddy here wants to see it too.FELIX: Ah, hell, I'll show you mine.Felix gets closer to Veronica andmakes to drop his pants. He is interrupted by the arrival of the Vice Principal.CLEMMONS: Felix Toombs. What on God's green earth is going on here? All right gentlemen, move it along. Veronica, why does trouble followyou around? Veronica smiles blandly as the bikers and the Vice Principal move on, leaving Veronica and Wallace alone again at their table.VERONICA: So what did you do?WALLACE: [Not comprehending]What?VERONICA: Why are you a dead man walking?Cut to a scene in a small convenience store where Wallace sits at checkout, reading a comic. Two bikers comes in and head to the chilled units at the back.WALLACE:[Offscreen] Oh yeah, I work at Sac-n-Pac. Last night I was working by myself. Couple of those guys came in. The Latin biker, who we will subsequently learn is named Hector, takes out a large beer bottle and hands itto the other who puts it in his coat as Hector does the same with another bottle.HECTOR: Oh man, happy birthday bro.ASIAN BIKER: Oh thanks man.The bikers continue to pocket the beer.WALLACE: [Offscreen] Theyjust walked right to the back of the store and started stuffing all these forties into their pockets. So I hit the silent alarm. Wallace can see the bikers head towards him on the surveillance screen at checkout. Hector picksup a small packet of gum and both head for the checkout. They lean in.HECTOR: [Reading the badge] Wallace. Hector carefully smoothes a dollar bill and slaps it on the counter.WALLACE: [Offscreen] I guess the dudethought a one dollar bill would cover it.HECTOR: Keep the change.They laugh and leave.WALLACE: [Offscreen] That's when the police came. Cut back to Veronica at the table.VERONICA: We don't have the police here.We have a sheriff's department. Cut back to the Sac-n-Pac flashback as the gum-chewing Sheriff walks in.SHERIFF: [Dismissively] You, come on. Wallace follows the Sheriff outside and is taken aback by the presence ofa whole gang of bikers, including Weevil and Felix, watching from their bikes.UNSEEN BIKER: What's up snitch?SHERIFF: Come here. They say they paid.The two bikers who took the beer are handcuffed and in thecustody of the deputy. Hector is grinning. Wallace is intimidated that this is going down in full view of the gang.SHERIFF: Well, did they?WALLACE: Yeah.HECTOR: Like I said. [Laughs]SHERIFF: [To the bikers] Shut up.[To Wallace] But you pressed the alarm anyway.WALLACE: It was an accident.The Sheriff stalks off in disgust, re-enters the store and retrieves the surveillance video. Wallace watches him as he comes backoutside.SHERIFF: [To the deputy] Sacks, get 'em outta here. Get 'em outta here. We got enough. Sacks grabs the shoplifting bikers and heads for the car. The Sheriff gets up close just behind Wallace's right shoulderand sniffs derisively.SHERIFF: You need to go see the wizard. Ask him for some guts.VERONICA: [Offscreen] \"Go see the wizard\", he said that.The scene returns to the lunch table.WALLACE: Yeah.VERONICA:Congratulations, sport. In your short time here, you've already managed to piss off the motorcycle gang and the local sheriff.Cut to a small L-shaped, two-storey apartment complex around a small pool. Music is playingfrom one of the apartments. Veronica enters through a small gate into the pool area. Her reverie is interrupted by a sound of from one of the open windows. It's Peter Yorn's \"Just Another\".SONG: You and I, we're twoof a kind I hate to say it but you'll never relate What makes you tick? It makes me smile. You said that I should get away from it all And bury my head in the sand if I want to I think you should thank me now You werelying wide awake in the garden Trying to get over your stardom And I could never see you depart us And you're my baby You're just another girl You're just another girl.She flashes back to the sound of a splash and thesight of Duncan Kane in a pool, pulling up to the side of it and staring up at her.DUNCAN: Hey baby, it's our song. From behind her, still within the blue-toned flashback, laughing sounds. About ten people aroundVeronica's age, including Logan Echolls, who has his arm around a girl we will come to know as Lilly, surround an older woman carrying a large birthday cake. Some have presents. We will learn the woman is Veronica'smother, Lianne.FRIENDS: Happy birthday VeronicaLIANNE: Happy birthday Veronica.LIANNE: Are you surprised?LIANNE/NEIGHBOUR: Veronica.VERONICA: Mom?Veronica is forced back to the present by asmoky-voiced black woman, loaded with two grocery bags, stopped at the small gate Veronica entered earlier.NEIGHBOUR: Veronica, it's me. Honey can you give me-can you give me a hand? Veronica glances back atthe pool then heads over. Cut to the inside of an apartment. The door opens and Veronica enters, greeted by a large brown and white pit bull.VERONICA: Hey, who's a big boy? Who's a big boy?Cut to a beach whereVeronica unleashes the dog and throws a ball for him.VERONICA: [On the dog returning the ball] Good boy. She spots Wallace on the beach with a model airplane. Wallace waves. She hesitates, then gives a small waveback, looking thoughtful. Cut to a street. Veronica pulls up in her car behind a red Jag convertible with the licence KANE 2.VERONICA VOICEOVER: I was shocked to discover Celeste Kane's car outside Dad's office.Duncan's mom. She hates me almost as much as she adores her son. Veronica enters the lower door for 'Mars Investigations' situated over a pawn shop. The main office area boasts a couch, a desk and some filingcabinets. There is a small kitchenette off the end and a door leading into another office, marked with the name 'Keith Mars'. Veronica heads straight for the closed door, attempting to eavesdrop. The main office doorbursts open and a man carrying a briefcase and file enters. He looks and will prove to be a slightly seedy lawyer, named Cliff McCormack.CLIFF: Veronica Mars.VERONICA: [Heading away from the closed door to thedesk] My dad's with a client.CLIFF: Apparently. That's okay, I'm happy out here chatting with you.Cliff heads for the desk and they both sit down.VERONICA: Like I said, my dad's with a client.CLIFF: I heard you butyour dad's out tracking down bail jumpers half the time and yet somehow all the cases that come in here still get handled. How is that?VERONICA: We're efficient.CLIFF: Very efficient. Um look, I'm just going to leavethis file here, open on your desk and if you decide to take a look at it, cool. One of my clients, Loretta Cancoon, dances at the Seventh Veil\u0000VERONICA: Classy.CLIFF: These are my people, V. She was busted forvandalism, taking a baseball bat to the washing machine that stole her quarters at Suds'n'DudsVERONICA: And Johnny Cochran was booked.CLIFF: [Smirking] I make no apologies. I like this case, it's tawdry. MissCancoon says the Seventh Veil has an interesting way of keeping their liquor licence [getting to his feet] despite their rather lax ID policy. [Heading for the exit] She wants to make a deal. If your dad has time, heshould look into it.Cliff leaves. The inner office door opens and a well dressed women enters the main office and turns straight for the exit.CELESTE: [Imperiously] Don't get the wrong idea Mr Mars. I don't like you.Following her out of the office is Keith Mars, listening impassively as she walks away. She turns and notices Veronica for the first time.CELESTE: [To Keith, although staring disdainfully at Veronica] I hate the fact thatI'm here [returning her attention to Keith] but I do know if anyone would be dogged and resourceful in this matter, it'll be you. Don't call me at home, I'll call you. And I'll need it right away. She casts anotherunpleasant look at Veronica then turns and marches out. Keith and Veronica look at each other.KEITH: [Quietly] Hi. He goes back into his office and closes the door. Veronica stares at the closed door for a moment thenmoves to the window to watch Celeste Kane get into her car and drive away.VERONICA VOICEOVER: Sure she's a bitch, but can you blame her. After all Dad did try to send her husband to jail for life.Cut to later. Keithand Veronica are in the main part of the office, sitting at the desk eating from plastic containers.KEITH: [Innocently] How's school?VERONICA: If you think we're going talk about my school day and not the fact thatCeleste Kane was in your office ten minutes ago, you're deluded.KEITH: Um-hm. You making good grades?VERONICA: Kane's got something on the side, doesn't he?KEITH: [On a forkful of macaroni cheese] You knowwhat? Say what you want about real cheese, I am a fan of the orange powder packet stuff.VERONICA: My grades are fine and I like the orange powder too but can we please talk about Mrs Kane.KEITH: [Giving in] Yes,she thinks he's seeing someone. Late nights, motel matches, the usual.VERONICA: Sexual appetite?KEITH: [Horrified then resigned to his daughter's understanding] Gone.VERONICA: Did you take the case?KEITH:Well, we need the money, VeronicaVERONICA: Good, I would have been pissed if you hadn't.KEITH: Well, I wouldn't have cared if you were. Give me some of that apple.The phone rings. Veronica grabs it.KEITH: Awdon't\u0000VERONICA: [Into the phone] Mars Investigations. Um-hm. Just a sec. [Hands over the phone, whispering] It's Andy.KEITH: Keith Mars. Yeah, how long ago. [Gesturing to Veronica for pen and paper] What's hedriving? I'll get the 7:30 out of San Diego and I'll meet you by the thing by the fountain. Good work. Thanks. [Ends call. To Veronica] Our guy's on the move. Andy picked him up in El Paso. Another day and he'llprobably try to cross the border so I gotta head out.VERONICA: You go. I'll have the flight booked by the time you get to the airport. Do you want a rental car in Texas?KEITH: Yeah, nothing fancy this time, Veronica.SeriouslyVERONICA: A Blazer is not fancy and we can bill it anyway. [Off his look] Fine, I'll get you a Crown Vic. Once a copKEITH: Don't do anything on the Kane case, I'll handle it.VERONICA: OKKEITH: Given ourrelationship with that family, I justVERONICA: Fine, I said okay.KEITH: OK. If all goes well, I'll be back tomorrow night. If not, the night after. I'll call and I'll check in.VERONICA: You always do.KEITH: AndVeronica.VERONICA: YesKEITH: [Holding her head gently] When you go after Jake Kane, you take backup.VERONICA: I always do.Keith snorts, kisses Veronica on the forehead and exits. Veronica sits back and finishesher sandwich.VERONICA VOICEOVER: By the time Dad's plane landed in El Paso, I'd already picked up Jake Kane at his house and followed him to his office.Cut to Veronica watching a person in a large brightly lit officefrom her car. It's dark and a man is leaving the office.VERONICA VOICEOVER: Streaming video was invented and perfected here at Kane Software. The day the company went public, Jake Kane made a billion dollars.Everyone who worked for him in fact, right down to the secretarial pool, became millionaires. He's beloved here. Half the people in this town owe their fortunes to him.Cut to flashback. It's a sponsored car wash. Playingover the scene in the background is Grandmaster Melle Mel with \"White Lines\" .SONG: (Ooh White Lines) Vision dreams of passion (Blowin? through my mind) and all the while I think of you (Pipe cries) a very strangereaction (For us to unwind) the more I see, the more I do (Something like a phenomenon) Baby!(Tellin your body to come along, but white lines blow away)Lilly is washing a car with a long haired Veronica.VERONICAVOICEOVER: And I knew the family well. Jake's son, Duncan, was my first and only love. His daughter Lilly was my best friend.VERONICA: [Teasing] God Lilly, I see the Prozac's working.LILLY: [Happily] High on life,Veronica Mars. I've got a secret, a good one.CAR WASH ORGANISER: Girls, less talk, more scrub.LILLY: Later.VERONICA VOICEOVER: Those were the last words Lilly and I ever shared.Cut to flashing lights on top of aSheriff's Department car. Keith, in Sheriff's uniform, heads into the Kane house while Veronica waits in the car. Duncan is sitting in the entrance, disconnected and rocking back and forth.VERONICA VOICEOVER: Laterthat night as I was driving home from picking up dinner with Dad, a call came in over the radio. All the dispatcher said was that there was a disturbance at the Kane estate. [Exiting the car] Dad gave me specificinstructions to stay in the car but the moment I saw Duncan, I knew that this was more than a disturbance.VERONICA: [Kneeling before Duncan] What happened? Duncan, what happened?Duncan is completelyunresponsive. Veronica looks around and then back at Duncan.VERONICA: Where's Lilly? Duncan reacts by looking distressed. Cut to Keith as he approaches the body of Lilly Kane, lying by a pool. Keith is saddened.Jake Kane, a sobbing Celeste Kane and a deputy, the man who subsequently replaces Keith as Sheriff, stand in the background.VERONICA VOICEOVER: But everyone knows this story. The murder of Lilly Kane. It wason the cover of People magazine. It made 'Entertainment Tonight'. The town flooded with journalists. Cut back to flashback Veronica and Duncan.VERONICA: Duncan, talk to me, please. Veronica gives up with Duncan"}
+{"doc_id":"doc_250","qid":"","text":"Act 1 Scene 1 - Cafe NervosaFade in. Niles is sitting at a table, Frasier is ordering at the counter.Frasier: Cranberry muffin, please. And, uh... a vanilla latte.Niles: Oh, dear, comfort food. What happened?Frasiersits.Frasier: Niles? Do you think I'm elitist?Niles: Of course I do. You needn't worry about that.Frasier: No, not in the good way. At work today, I discovered an injurious graffito about me. Scrawled on the men's roomwall.Niles: No.Frasier pulls a piece of toilet paper from his pocket to read from.Frasier: Yes. Quote: There once was a man, Frasier Crane, Who says he can feel your pain. But he acts like a snob, To the guys at his job,And I think he's totally lame.Niles: That's terrible! There's a tense shift, an approximate rhyme, the scansion leaves a lot to be desired...Frasier: Niles, you're missing the point! I have always striven to be approachable,the embodiment of the words \"If you can talk with crowds and keep your virtue...\"Niles: \"Or walk with kings, nor lose the common touch.\"Frasier: Exactly!The waiter brings Frasier's coffee and muffin.Frasier: Thankyou. If maligner truly knew who I was, he'd have found that a more apt characterization than \"snob.\"Niles: Assuming he's familiar with Kipling.They snicker.Frasier: What are the odds?Roz stops in the doorway to kissher boyfriend goodbye before he heads off.Frasier: Well, Roz. I'd ask you to join us, but I see you've already had happy hour. Well, here, please, join us.They rise and make room for her and they all sit.Frasier: So?Roz:Well, his name is Roger, and we've been kinda goin' out for the last couple of weeks.Frasier: All right, tell us about him.Roz: He's very sweet - and he's a garbage man, so go ahead and make your jokes.Frasier: Whatjokes? Why does everyone assume I look down on the common man?Niles: Oh, I've got a good one: So, even in his off time, he's taking out the trash.Roz laughs along with him.Frasier: Technically, that's really moreabout Roz. Now if I were to make a joke about him, which of course I wouldn't, I'd say he has a thing for Roz's can.Roz: You two finished?They nod as she gets up.Roz: And don't worry, I won't get dumped. She turnsand goes to the counter.Niles: I'd already passed on that.Frasier: Yes, it's a bit on the nose.They laugh. FADE OUT.HE KICKED SPASSKY'SBUTT IN REYKJAVIKScene 2 - Frasier's ApartmentFade in. Daphne and Martinare in the living room, going through boxes. Niles comes in the front door.Niles: Dad, Daphne.Daphne: Hey. [she holds up a photo] Look what your father found: a picture of you in a teddy bear costume.Niles: Why doyou have all this out?Martin: Well, I was makin' room in the storage closet and I found some of your old stuff.Niles: What else is in here?Martin: Well, here's your cap and your blazer from Bryce academy.Niles sits nextto Daphne.Daphne: Oh, I bet you were the cutest thing in that.Niles: Oh, well, here's a picture of me in it.Daphne: [a bit flat] Oh.Niles: [picking up a plaque] Oh, oh, oh, oh. Bobby Fisher's autograph.Martin: Well, son,it's been enough years, I can probably tell you the truth about that.Niles: [holding the plaque to his chest proudly] What?Martin: [covering] Oh, look! A picture of you in your first little league uniform. [wistfully] Don'tknow why I said \"first.\"Daphne: [taking it] Was that your game face?Niles: Oh, no, no. I'd just lost a tooth to an errant pitch.Martin: Tell her who was pitchin'.Niles: I was.Daphne puts her arm around him to comforthim and kisses his cheek.[SCENE_BREAK]Scene 3 - KACLFade in. Frasier is sitting at his desk, Roz comes in with a bouquet.Frasier: Flowers from your new beau?Roz: Yeah.She carries them over to her side.Frasier:Must be nice to be liked.Roz: [coming back] Are you still obsessing over that limerick?Frasier: People are making additions. Good lord, I've read anthologies with fewer contributing authors.Roz: I'm sure they'll all washright off.Frasier: If only there were a solvent that could remove the stains they've left on my spirit.Roz heads back to her side.Roz: It was a joke. What's the big deal?Frasier: [following] Oh, yes, I know. Being writtenup on the bathroom wall is no big deal to you. But that limerick made a point, as all good limericks do. It seems to have resonated with everyone around here. I want these people to know the real Frasier Crane.Roz:Wouldn't it be better if you tried to make them like you?Frasier: Yes. And to that end I was thinking along the lines of... oh, say a little party. For the entire staff, at my place. Hey, you could bring Roger!Roz: Thanks.But I think it's a little too soon. I don't want to put any pressure on him.Frasier: Oh, come on, Roz. You're always saying you don't have a date for these things.Roz: There's gonna be a lotta radio talk, and I'm not surehe's gonna be that comfortable with this crowd.Frasier: Who is? Come on, Roz, I'd like to meet him.Roz: I don't know. Maybe next party.Frasier: Does this have anything to do with his occupation, you know, his being arefuse collector?Roz: No, I am completely comfortable with his job. I just don't want him to feel awkward around other people.Frasier: Okay.Roz: Not that he should. Or would.Frasier: Yes, all right, fine, fine. If youchange your mind, he's more than welcome. It promises to be a real wing-ding. If being a snob is the reputation I've built around here, then this party will be the wrecking ball of congeniality that tears it down.Roz:Yeah, say stuff like that.Getting her point, he smirks and heads back to his side. FADE OUT. Scene 4 - Roz's Apartment Fade in. Roger comes in the front, carrying Alice and roller blades.[N.B. The first appearance ofAshley Thomas as Alice May Doyle.]Roger: Say \"Come on, Mom.\"Alice: Come on, Mom.Roger: Say \"Don't be a wuss.\"Alice: Don't be a wuss.Roz comes in.Roz: I'm not a wuss. Roger puts Alice down and collapses nextto her.Roger: Ohh, I know you said you were gonna make dinner, but why not just open a can of something?Roz: How'd you think I was gonna make dinner? Alice, go pick out some PJs.Roger: [pulling a book from hisbackpack] When you're ready, I've got a special book for you. It's called \"Make Room for Monkeys.\" Now hurry up, get outta here, go on.Alice hurries off. Roz picks the book up and sits down.Roz: \"Make Room forMonkeys\"? Where did you find this? You know it's out of print.Roger: Yeah, well, a certain very bad skater told me it was her favorite book when she was growing up, so I kept my eyes open and I found it in a pile of oldbooks.Roz: [nervously] You mean like at the dump?Roger: No, not a dump! Please, it's a secret underground landfill accessible only to garbage men. And the Mole People who live there. I used to be one of them, butthen I decided to join the surface dwellers and find my queen.Roz kisses him and leans against him.Roz: Thank you. That's very thoughtful.Roger: And you will make an excellent Mole Queen. Of course, after a yearunderground, your eyes will fuse shut. Your sense of smell will stick around...Roz: Okay, stop, stop, stop. Do you joke around about your career because you're uncomfortable talking about it?Roger: You mean deeplyand utterly ashamed?Roz: Whatever, your words.Roger: I don't know, I've never really thought about it as a career. I mean, it's just a job to me. You know, it's got great benefits, and afternoons off and... when I havea family, I'll get to spend a lot of time with them. How sweet will that be?Roz: Would you like to go to a party with me on Saturday?Roger: I'd love to. I found a great pair of shoes this morning. They damn nearmatch.She slaps him playfully and leans back against him. FADE OUT. Scene 5 - Frasier's ApartmentFade in. The staff of KACL is at the party and Frasier is greeting newcomers at the door.Frasier: Good to see you, gladyou could come, make yourselves at home. Martin comes over.Martin: Hey, Fras, why don't you introduce me some of your friends?Frasier: I wish I could, Dad. I don't know any of these people myself.Martin: Youdon't? I better go hide my beer in the crisper.He heads to the kitchen as one of the employees walks up.Jason: Hey, Frasier, thanks for inviting me to your party.Frasier: Well, it's my pleasure... man.Jason: Did you seethe game today?Frasier: Actually, I did not.Jason: Aw, man, it was a real squeaker. U-Dub pulled it out at the end with a last minute field goal. It's all about special teams, am I right?Frasier: Ah, right. You know, I thinkthey prefer the term \"challenged.\"The employee looks confused as Frasier notices Roz at the door.Frasier: Roz, Roz! Come on in, Good to see you. And you must be Roger.Roger: Yeah.Frasier: Lovely to meetyou.Roger: Hey, Jason.Frasier: Right. Jason, this is Roger. Yeah, the ol' J-man here and I were just shootin' the breeze, ya know. This guy. Okay, so enjoy yourself there. [He turns to Roz as Jason heads away.] So, Rozum... Roger, do you suppose I could borrow Roz for just one minute?Roger: Yeah.Frasier: Thank you so much.He pulls Roz aside.Frasier: Roz, please, don't leave me alone here, I don't know any of these people'snames.Roz: Frasier, I can't leave Roger alone in a room full of nosey strangers.Frasier: Oh, look, look, he's already met Dad. He knows as many people as I do.Roz: I'm sorry. You're gonna have to find yourself anotherpatsy.She walks away.Frasier: Well where the hell am I supposed to find another... [noticing] ...Kenny!CUT TO: Roz as she walks by Martin's chair. Noel is sitting in it and gets up.Noel: Hey Roz! Lookin' su-weet!Roz:Hey, Noel.Noel: So, that's the competition? Or, are you just using him to make me jealous?Roz: Actually, I forgot you were gonna be here.Noel: I'll bet you regret bringing the arm candy now. So, uh, what's he do?Roz:He... works for the city.Noel: So, in a manner of speaking, I pay his salary. Which makes me his boss. Does that turn you on?Roz turns away with a very disturbed look. She goes up to Roger.Roz: Roger, would you likesomething to drink?Roger: Yeah, I'll come with you. Nice meeting you, Martin.They head for the drinks table and meet up with another worker, Cheryl.Cheryl: Hey, Roz.Roz: Hey, Cheryl.Cheryl: Introduce me to yourfriend.Roz: Roger, this is Cheryl.Roger: Hey, Cheryl, how you doing?Cheryl: Hi, nice to meet you. I think I know you from somewhere.Roger: Yeah? Maybe I work in your neighborhood.Cheryl: Oh, what do you do?Roz:What doesn't he do? He sends me flowers and gives me massages and he's just great.Cheryl: Really? You know she has a kid, right?Roz: Okay, Cheryl!Cheryl takes the hint and walks away.Roger: So, uh, why didn'tyou tell her what I do?Roz: And have her stalking you at work? I don't think so.CUT TO: Frasier talking to some guests, Dennis and Emily. Emily is a bit overweight. Kenny is behind him, whispering names.Dennis: Greatparty, Frasier.Frasier: Thanks. Glad you could come...Kenny: Dennis.Frasier: Dennis. You too...Kenny: Emily.Frasier: Emily. Say, when are you expecting?Kenny: NNNOOO!Frasier: ...this weather to change?CUT TO:Noel meeting up with Roger.Noel: Well, you're not the first rustler who's tried to cut my filly from the herd.Roger looks very confused.CUT TO: Frasier talking to Dennis and Emily.Frasier: So, did you guys happen to seethe game today?Dennis: No, I missed that. Who won?Martin walks up behind him.Frasier: Actually, it was a real squeaker. U-Dub pulled it out at the last second with a real clutch field goal. Say Dad, what's goin'on?Martin: I don't know.CUT TO: Kenny talking to Roger.Kenny: Yeah, the station manager's sort of the head honcho. You know, the go-to guy. You could replace virtually everybody at the station except for me. [henotices Roz behind him] And Roz! So, uh, what do you do?Roger: I'm a...Roz: Roger, could you please get me a sandwich?Roger: Yeah, okay.Kenny: So I take it handsome's not in the biz, huh? So, what's he do?Roz:What difference does it make Kenny? Why are people so obsessed with what you do? Every party you ever go to, all anyone ever asks you is \"What do you do?\" \"What do you do?\"Roger returns behind her.Roz: Youknow, not everyone has a job they're proud of, did you ever think of that? Why can't you ask him about music or sports or books, for God's sake. \"Have you read a good book, lately?\" Why don't you ask him thatinstead of embarrassing everybody.Roger: Here's your sandwich, Roz.Kenny: So, have you read any good books lately?Roger: No, actually, us garbage men don't have a lot of time to read books. We've gotta get uppretty early in the morning, so I guess I'd better get out of here. Bye, Roz.He heads for the door.Roger: Hey, Frasier, thanks a lot.Frasier: Right.Roger: It was really nice meeting everyone.He heads out.Frasier: [calling]Goodbye.Kenny: [whispering] Roger!Frasier: I know that.[SCENE_BREAK]End of Act 1[SCENE_BREAK]Act 2 Scene 1 - KACL Fade in. Roz is at her desk, Frasier in the hallway behind her.Dennis: Hey! Crane man!Frasier:Dennis, Lisa. Hi. Patty, lookin' good.He chuckles as he comes in and closes the door.Frasier: Kill me.Roz: What are you talking about? You're Mr. Popularity.Frasier: Yes. And it's a living hell. I have spent the entiremorning exchanging fake pleasantries with a bunch of people that I have absolutely nothing in common with. I miss being unapproachable.Roz: I thought you wanted to be loved by the common man.Frasier: Yes, butcouldn't they have sent just one representative?He heads for his side of the booth. Roz follows, but stops to stare out the window at a janitor emptying a waste basket.Frasier: Roz?Roz: I'm sorry. Ever since Roger and Ibroke up, I can't look at trash the same way.Frasier: Do you want to talk about it?Roz: No, it's okay. It's just so weird. You go through life meeting people who are all the same, you know. And they just think you're thesame, too. And then one day, you meet this guy, but he's not the same, because he actually sees that you're not the same. And he knows, because he's the same way.Frasier: Roz, sounds to me like you're in love.Roz:I can't be. I know this is shallow and I hate myself for it, but I can't be in love with a garbage man.Frasier: Well, then, you need to move on and realize that you've learned something about yourself.Roz: Great. Ilearned that I'm a snob.Frasier: No, no. Just that you have certain standards that it may be difficult for others to live up to. You know, Roz, it seems you and I are more alike than we thought.Roz: Okay, now I'm reallymiserable. Look at me, I'm a mess.Frasier: Well, tell you what, we've got a few minutes before the show starts, just go clean yourself up.Roz: Okay. Thanks.She heads out. Jason, Noel and another worker come in theother door.Jason: Hey, hey.Noel: Dr. Crane, what's goin' on?Frasier: Uh, my show, actually, in about two minutes. What can I do for you gentlemen?Jason: Sue invited us all over to watch the fight on pay perview.Frasier: Right. Well, as tempting as that sounds, I'm going to have to decline.Jason: Okay, we'll catch you next time.Frasier: Well, actually, you won't. Jason, Noel... you there. I've been living a lie. Let me tell youa little something about a few things I don't like: Boxing for one. Sporting events of any kind. Barbecues, office parties, buddy movies. Any dish made with marshmallows. Things that I DO like: the opera, thesymphony, Elizabethan revenge dramas et cetera. So, if you're not inclined toward any of these interests, well, then, our association can be civil at best. Are we all clear on this concept?They turn away.Noel: I toldyou.The three leave the booth, muttering. Frasier sits at his desk with a self-satisfied look. FADE OUT.Scene 2 - Frasier's ApartmentDaphne is going through some boxes again and Martin is reading the paper. Nilescomes in.Niles: Hey, what's going on?Daphne: I found another box of pictures from your childhood.Niles: Oh, no.Daphne: Oh, look at this one, you're adorable.Niles: Yes, it's all adorable. My retainer and themembership card to the young magician's club and that picture of me in my choo-choo jammies.Martin: Yeah, with your caboose hangin' out.Daphne: Adorable.Niles: Can we just give my childhood a rest for a while? Imean, how would you feel if I took your most humiliating moments and put them on display?Daphne: You know, I think I've got the perfect picture frame for this one.She heads off to her room, Niles sits on thecouch.Martin: So she puts a few pictures out, what's the big deal? There's a whole part of your life she missed out on.Niles: I guess.Martin: Besides, I like seein' your old stuff.He pulls a piece of paper from the coffeetable.Martin: Ah, no one around here draws pictures any more. What the hell is this supposed to be, anyway?Niles: [coming over to him] Oh! That is an Egyptian battle scene from \u0000Aida.\u0000 That's Radames and that'sthe jealous Amneris... Oh, I misspelled \"Amonasro.\" Oh, to be six again.Martin gets up and heads for the kitchen as Daphne returns carrying a box.Niles: Oh, what is that?Daphne: Some things from my childhood. Youasked how I'd feel if the shoe was on the other foot, go ahead, take a look.Niles pulls a drawing from the box.Niles: Okay. Ooh, well, that's a wonderful drawing of a... uh... turtle.Daphne: No, that's me Dad crawlinghome from the pub.Niles: Well why did you sign it \"Dappy\"?Daphne: Oh, me Mum did that. My family called me \"Dappy\" because I couldn't say \"Daphne.\"Niles: Really?Daphne: Yeah, I hated it. My brothers would sing\"Dappy, Dappy, wet her nappy.\"Niles: Well, I think it's precious... Dappy. I'm gonna call you that from now on... Dappy.Daphne: No you won't.Niles: Well, how about I call you \"Dappy\" until you put my mementos backin the box. How does that sound, Dappy?Daphne: Well, that's not fair.Niles: Oh, Dad. [Martin comes back in with a beer.] You'll never guess what silly nickname Daphne was called as a child.Martin: [heading for hisroom] Was it worse than \"Piles\"?Niles gets a defeated look on his face as Daphne smiles.Daphne: Well, that can't bring up fond memories.[SCENE_BREAK]Scene 3 - Roz's ApartmentFade in. Roz is working with acleaning lady, Alice is sitting on the couch reading \"Make Room for Monkeys.\" There is the sound of a truck outside.Alice: Roger's here. She gets up and runs for the door.Alice: Let's go see him.Roz: I don't think so,sweety.Alice: Why?Roz: Well, it's hard to explain.Alice: Why?Roz: It's complicated.Alice: Why?Roz goes over, picks up Alice and sits on the couch with her.Roz: Mommy works in an office and Roger works in a truck.And people in offices and people in trucks... it's complicated.Alice: I like Roger.Roz: I know, honey.Alice: Do you like Roger?Roz: Yes, but...She realizes.Roz: Yeah.Alice: Okay...Roz: Okay. Sarah, can you look afterAlice? I'll be right back.She sets Alice down and heads out the door.CUT TO: the outside of her apartment building.Roz: Roger! He's just climbing on his truck and turns to her.Roger: Hi.Roz: I'm so sorry that I've beensuch an idiot. I don't know what's wrong with me. All I know is that I miss you like crazy. Do you still have an opening for a Mole Queen?Roger: You sure?She climbs on the back of the truck and kisses him. The truckpulls down the alley to the next stop. Roger gets down to grab the cans, Roz helps him. FADE OUT.[SCENE_BREAK]Roz waves goodbye to Roger as the truck moves down the alley. It stops and Roger gets down to grabthe garbage. Roz keeps waving when he gets back on the truck."}
+{"doc_id":"doc_251","qid":"","text":"Recap of the first half of the seriesEXT. CORN FIELD, DAYBirds are singing and suddenly a Mini drives through the stalks.INT. MORRIS MINI, DAYAMY is holding what appears to be a map and gives directions toRORY.AMY: OK, left, sharp turn!EXT. CORN FIELD, DAYRORY turns and they cross a previous path.INT. MORRIS MINI, DAYAMY: OK, right! No, no, no I mean left. (turns the map around) No, sorry right, right! Idefinitely meant right.EXT. CORN FIELD, DAYRORY continues driving.INT. MORRIS MINI, DAYAMY: Now loop the loop!EXT. CORN FIELD, DAYRORY drives.INT. MORRIS MINI, DAYAMY: Stop! Stop!RORY slams on thebrakes.EXT. CORN FIELD, DAYAMY and RORY get out of the car to see the DOCTOR and the TARDIS in the middle of the crop circle they just made. The DOCTOR holds up the Leadworth paper with a headline that reads\"Leadworth's Crop Circle\".DOCTOR: Seriously?The camera pulls upwards and we get an aerial view of the field. The \"circle\" reads \"Doctor\".RORY: You never answer your phone. (closes car door)AMY: (walks to theDOCTOR) OK, you've had all summer. Have you found her? Have you found Melody?DOCTOR: (hands RORY the paper) Permission?RORY: Granted.DOCTOR: (hugs AMY) You know who she grows up to be, so you knowI WILL find her.AMY: (ends the hug) But you haven't yet?RORY: Hang on, what's this bit?The picture in the newspaper shows an extra line through the word.AMY: That wasn't us.The DOCTOR grabs the paper fromRORY and tries to locate where it would be. The DOCTOR stops and lowers the paper, AMY and RORY standing behind him, as they hear an engine and see a red Corvette coming straight at them. They scream and diveout of the way. The car stops, inches away from the TARDIS. A young black woman steps out of the car. AMY and RORY stand and the DOCTOR is lying on the ground at her feet.WOMAN: You said he was funny, younever said he was hot.RORY: Mels?AMY: What are you doing here?MELS: Following you, what do you think?The DOCTOR uses the car to stand up.RORY: Um, where did you get the car?MELS: It's mine...Police sirenswail in the distance.MELS: ..ish.AMY: Oh, Mels, not again?RORY: You can't keep doing this. You'll end up in prison.DOCTOR: Sorry, hello, Doctor not following this. Doctor very lost. You never said I was hot?!MELS:(points at the TARDIS) Is that the phone box! The bigger-on-the-inside phone box? (caresses the TARDIS) Time travel - that's just brilliant.The DOCTOR leans against the TARDIS next to MELS.MELS: Yeah, I've heard alot about you. I'm their best mate.DOCTOR: Then why don't I know you? I danced with everyone at the wedding. The women were all brilliant, the men were a bit shy.MELS: I don't do weddings.The police sirens soundcloser.MELS: And that's me out of time. (pulls a gun on the Doctor)AMY: Mels!RORY: For God's sake!AMY: What are you doing?MELS: I need out of here, now!DOCTOR: Anywhere in particular?MELS: Well, let's see!You've got a time machine, I've got a gun. What the hell - let's kill Hitler.[SCENE_BREAK]Matt Smith Karen Gillan Arthur Darvil\"Let's Kill Hitler\" by Steven MoffatProducer Marcus WilsonDirector RichardSenior[SCENE_BREAK]A LONG TIME AGO IN LEADWORTH....INT. AMELIA'S BEDROOM, DAYAMELIA is going through her box of Raggedy Doctor crafts as MELS watches.MELS: Is he hot?AMELIA: No, he's funny.MELS:But how can he travel in time?AMELIA: Because he's got a time machine, stupid!RORY enters the room.RORY: I thought we were playing hide and seek. I've been hiding for hours!AMELIA: Well, we just haven't foundyou yet!RORY: OK. Hi, Mels.MELS: Hi, Rory.RORY leaves.INT. CLASSROOM, DAYMELS is standing as she is questioned by the teacher.TEACHER: Mels, did you not understand the question? I'm asking you why theTitanic sank.MELS: Because the DOCTOR didn't save it. Except you don't know about the Doctor because you're stupid!INT. SCHOOL HALLWAY, DAYMELS exits the Head Teacher's office. AMELIA is waiting andfollows.EXT. SCHOOL PLAYGROUND, DAYAMELIA questions MELS as they walk through the playground.AMELIA: Why are you always in trouble? You're the most in trouble in the whole school, except for boys.MELS: Andyou.AMELIA: I count as a boy.They walk past a blindfolded RORY.RORY: Am I getting warm?AMELIA: Yes, Rory.INT. CLASSROOM, DAYMELS and AMY are now teenagers. MELS is standing being questioned by anotherteacher.TEACHER: Mels?MELS: A significant factor in Hitler's rise to power was the fact that the Doctor didn't stop him.INT. SCHOOL HALLWAY, DAYMELS exits the Head Teacher's office. AMY is waiting and follows.AMY:I can't keep doing this!INT. POLICE STATION, HALL, DAYMELS is released from her cell and AMY is waiting.AMY: Mels! (runs after her)INT. AMY'S BEDROOM, DAYMELS flops on the bed and picks up the toy TARDIS.RORY is sitting in a chair and AMY paces.MELS: It was late, I took a bus.RORY: No, you stole a bus.AMY: Who steals a BUS?MELS: I returned it.RORY: You drove it through the botanical garden.MELS: Shortcut.AMY:Why can't you just act like a person? Like a normal LEGAL person?MELS: I don't know, maybe I need a Doctor.AMY: (takes the TARDIS) Stop it!RORY: Er... I'd better go, I'm on earlies tomorrow. (packs schoolwork intobag and stands)MELS: It's all right for you. You've got Mr Perfect keeping you right.AMY: He's not even real. Just a stupid dream when I was a kid. (tosses the TARDIS to MELS)MELS: I wasn't talking about him. (looksat RORY as he opens the door)AMY: What, Rory? How have I GOT Rory?RORY: (stops at his name and turns) Yeah, how... how's she got me?AMY: He's not mine.RORY: No. No, I'm not hers.MELS: Oh, come on!Seriously, it's got to be you two. Oh, cut to the song, it's getting boring.AMY: Nice thought, OK? But completely impossible.RORY: (looks hurt) Yeah, impossible!AMY: I mean, I'd love to, he's gorgeous, he's my favouriteguy, (pats him on the back) but he's, you know?RORY: A friend.AMY: Gay.RORY: (looks at AMY) I'm not gay.AMY: Yes, you are.RORY: No. No, I'm not.AMY: Course you are, don't be stupid!MELS watches from the bed,amused.AMY: In the time I've known you, when've you shown the slightest interest in a GIRL?MELS: (softly) Penny in the air!AMY: I've known you for, what, 10 years? I've seen you practically every day. Name one girlyou've paid the SLIGHTEST bit of attention to?RORY can't answer and runs from the room.AMY: (realizes) Oh, my God! Rory! (runs after him)MELS: And the penny drops! (gets up)AMY: (distant) Rory!MELS: Catch youlater, Time Boy! (tosses the TARDIS into the air)EXT. DAYAbove the cornfield, the TARDIS spins out of control. There is a gunshot.DOCTOR: (V.O.) You've shot it!INT. TARDISThe DOCTOR is staring at a bullet hole inthe time-rotor casing. AMY, RORY are clinging to the console and MELs is hanging onto the railing.DOCTOR: You shot my TARDIS! You shot the console!MELS: It's your fault!DOCTOR: Argh! How's it my fault?!MELS: Yousaid guns didn't work in this place. You said we're in a state of temporal grace.DOCTOR: (frantically works the controls)That was a clever lie, you idiot! Anyone could tell that was a clever lie!EXT. DAYThe TARDIScontinues to spin out of control and AMY screams.EXT. REICH CHANCELLERY, BERLIN 1938, DAYThe imposing façade is adorned with a stylized eagle, wings outstretched, above a wreath inside which is a swastika. Toeither side of the main entrance are large, draping red banners bearing the black swastika within a white circle. A general, ZIMMERMAN, enters the building.INT. REICH CHANCELLERY, CORRIDOR, DAYZIMMERMANstrides down the hall past a janitor mopping the floor. The JANITOR stops and turns his head slowly and we hear mechanical whirring.INT. SHIP, BRIDGE, DAYWe see the OFFICER from the JANITOR'S POV as seenthrough a viewscreen. A computer scans him. The Captain, CARTER, watches.CARTER: OK, we like him.A female crewmember, ANITA listens to her headset.ANITA: Costume want to know about the suit.CARTER:Colour, shape, nothing detachable.Another crewmember, JIM, enters the bridge and heads to his station.JIM: Musculature good to go.CARTER: That was quick.JIM: Showing off. Art department want to talk skin tone.Anolder woman, HARRIET, enters the bridge.HARRIET: Yes, I do. I don't trust sensors, I want to take a look myself.JIM: We're in a hurry, we're not trying to win an award.HARRIET: That's what you said when we madeRasputin green!CARTER: OK, get your fat one up there. Run!HARRIET: Yes, Captain. (leaves)CARTER: (sits in command chair) Harriet's going to eyeball. Everyone else, good to go, please!INT. REICH CHANCELLERY,ZIMMERMAN'S OFFICE, DAYZIMMERMAN is standing at his file cabinet looking through a file as the door opens and the JANITOR enters and closes the door behind him.ZIMMERMAN: What do you want?The JANITORwalks forward until he is face-to-face with ZIMMERMAN.ZIMMERMAN: What are you doing?INT. SHIP, BRIDGE, DAYANITA: Musculature on line.JIM: Five foot 11, confirmed.INT. REICH CHANCELLERY, ZIMMERMAN'SOFFICE, DAYThe JANITOR grows until he is the same height as ZIMMERMAN. ZIMMERMAN stares, stunned.INT. SHIP, BRIDGE, DAYCARTER reaches up and grabs a microphone.CARTER: Harriet, are you up thereyet?INT. SHIP, LIFT, DAYHARRIET stands in the lift. Just as the doors are about to open, the light on her wristlet changes from green to red and alarms begin to sound. The doors slide open.AUTOMATED VOICE:Welcome. You are unauthorised. Your death will now be implemented.INT. SHIP, BRIDGE, DAYCARTER: Harriet, have you updated your privileges?INT. SHIP, LIFT, DAYHARRIET: Yes, of course I have! (presses buttonson wristlet until the light changes back to green) Look, I'm staff, see? Look, staff!AUTOMATED VOICE: You are authorised. Your existence will continue.INT. REICH CHANCELLERY, ZIMMERMAN'S OFFICE,DAYZIMMERMAN: I don't understand.The JANITOR'S clothes change to ZIMMERMAN'S uniform like scales flipping over all the way down his body.INT. SHIP, CORRIDOR, DAYHARRIET runs along the hallway.CARTER:(over radio) Harriet, shift!HARRIET: (into radio) Five seconds to eyeball.HARRIET reaches the end of the corridor and opens an iris by pressing her hand on a panel. She looks out.HARRIET: Shades 44 to 89, peaking at60. Standard density. He's sweating a bit, so compensate.The camera pulls out and we see that HARRIET is literally looking out of the JANITOR'S eye.INT. REICH CHANCELLERY, ZIMMERMAN'S OFFICE,DAYZIMMERMAN: Wh-What are you?INT. SHIP, CORRIDOR, DAYThe iris closes behind HARRIET and we see her walk slowly back. There are a number of corridors-which are more like enclosed catwalks-at differentlevels.CARTER: (over radio) All hands, prepare for tessellation. Prepare for tessellation.INT. REICH CHANCELLERY, ZIMMERMAN'S OFFICE, DAYThe JANITOR'S face changes to a duplicate of ZIMMERMAN. ZIMMERMANgasps and falls back against the cabinet. The duplicate reaches out a hand and takes his glasses putting them on its own face.INT. SHIP, BRIDGE, DAYCARTER: OK, clean up.INT. REICH CHANCELLERY, ZIMMERMAN'SOFFICE, DAYA beam of light shoots out from the duplicate's right eye, miniaturizing ZIMMERMAN.INT. SHIP, CORRIDOR, DAYZIMMERMAN falls to the floor just inside the iris.INT. SHIP, BRIDGE, DAYThe crew watchesZIMMERMAN on a monitor.CARTER: Who is he?ANITA: Eric Zimmerman. Loyal member of the Nazi Party, guilty of Category Three hate crimes.CARTER: Well, then. Leave him to the Antibodies.INT. SHIP, CORRIDOR,DAYZIMMERMAN stands. His vision is blurry without his glasses. He slowly walks forward. There is an electronic buzzing as something rises from the floor behind him. ZIMMERMAN slowly turns around and sees whatlooks like a metallic jellyfish complete with dangling tentacles floating towards him. It is an ANTIBODY.ANTIBODY: Welcome. You are unauthorised. Your death will now be implemented.ZIMMERMAN runs and isconfronted by another ANTIBODY.ANTIBODY: Welcome. You will experience a tingling sensation and then death.ZIMMERMAN tries another corridor.ANTIBODY: Remain calm while your life is extracted.ZIMMERMANscreams as the tentacles reach out for him and he disappears.INT. REICH CHANCELLERY, OFFICE, DAYThe DUPLICATE ZIMMERMAN enters a large wood-panelled office and shuts the door. We only see the man at thedesk from behind.MAN: What do you want? Who let you in here?The DUPLICATE walks forward.INT. SHIP, BRIDGE, DAYInside, everything shakes and CARTER'S mug falls to the floor.CARTER: What's wrong with theshock absorbers?JIM: Problem in the knees.CARTER: Let's hope we don't have to run.INT. REICH CHANCELLERY, OFFICE, DAYDUPLICATE: Do not call for help. This room has been sound screened. You have been foundguilty. Justice mode activating.The DUPLICATE opens his mouth and a beam of light wraps the man at the desk who cries out in pain.INT. SHIP, BRIDGE, DAYJIM: Hang on! This is 1938. We're too early, we need to golater in his time stream.ANITA: Something else! We've got incoming!CARTER: On screen!INT. REICH CHANCELLERY, OFFICE, DAYThe DUPLICATE closes his mouth and turns to the window.INT. SHIP, BRIDGE,DAYCARTER: What the hell is that?INT. REICH CHANCELLERY, OFFICE, DAYThe TARDIS bursts through the window, knocking the duplicate to the floor.INT. SHIP, BRIDGE, DAYSparks fly as they reel from being knockedover by the TARDIS.INT. REICH CHANCELLERY, OFFICE, DAYThe TARDIS bursts through the window, knocking the duplicate to the floor. The DOCTOR exits the TARDIS followed by RORY, AMY and MELS. All arecoughing from the smoke.DOCTOR: Out, out, out! Everybody out. Don't breathe the smoke, just get out!AMY: Where are we?DOCTOR: A room.RORY: What room?DOCTOR: I don't know! I haven't memorized everyroom in the universe. I had yesterday off. (sees MELS standing at the open TARDIS door) Mels, don't go in there! (takes her gun)MELS: Oi!DOCTOR: Bad smoke! Don't breathe the bad, bad, smoke. Bad, deadly smoke,because somebody shot my TARDIS!RORY: (sees the DUPLICATE on the floor) Doctor, this guy, I think he's hurt.INT. SHIP, BRIDGE, DAYCARTER: Transmit normal life signs!JIM: Artificial gravity holding. We should getupright when we can.INT. REICH CHANCELLERY, OFFICE, DAYRORY: No, hang on. No, he's... he's fine.The DOCTOR doesn't know what to do with the gun. He finally puts in in a fruit bowl on the desk. The MAN who wasattacked climbs up from behind the desk.DOCTOR: Ooh, hello! Sorry, is this your office? Had a sort of collision with my vehicle. Faults on both sides, let's say no more about...(the MAN turns around and the DOCTORsees who it is) ...it.AMY and RORY come up beside the DOCTOR.AMY: Is that...? No, it can't be, Doctor?HITLER: Thank you. Whoever you are, I think you have just saved my life.DOCTOR: Believe me... it was anaccident.HITLER: (sees the TARDIS) What is this thing? (walks to it)AMY: What did he mean we saved his life? We could not have saved Hitler.DOCTOR: You see? You see, time travel, it never goes to plan.HITLER: Thisbox, what is it?DOCTOR: (walks toward HITLER) It's a police telephone box from London, England. That's right, Adolf, the British are coming!Behind the DOCTOR, the DUPLICATE stands.HITLER: No, stop him! (pulls hisgun and fires at the DUPLICATE)INT. SHIP, BRIDGE, DAYMore sparks as they suffer from the impact of bullets.CARTER: Damage report! Damage report!INT. REICH CHANCELLERY, OFFICE, DAYRORY punches HITLER onthe chin, knocking him to the floor. RORY picks up the gun and aims it at HITLER.RORY: Sit still, shut up.HITLER puts his hands up. AMY helps the DUPLICATE.AMY: Are you OK?DUPLICATE: Yes, yes.INT. SHIP, BRIDGE,DAYCARTER speaks into a special microphone and his words are echoed by the DUPLICATE.CARTER: Yes. I'm fine.INT. REICH CHANCELLERY, OFFICE, DAYDUPLICATE: I think he missed.HITLER: He was going to killme.RORY: Shut up, Hitler!DOCTOR: Rory, take Hitler and put him in that cupboard over there now. Do it!RORY: Right, putting Hitler in the cupboard. Cupboard, Hitler. Hitler, cupboard. (pulls HITLER to his feet)Comeon.HITLER: But I am the Fuhrer!RORY: Right, in you go! (shoves him into the cupboard)HITLER: Who are you?RORY closes the door. The DOCTOR studies the DUPLICATE.DOCTOR: Are you OK?INT. SHIP, BRIDGE,DAYThey watch the DOCTOR on screen as he peers at the DUPLICATE'S face.ANITA: Sir, what do we do now?JIM: Suggestion: we should go into surveillance mode.CARTER: Agreed. Let's faint.INT. REICHCHANCELLERY, OFFICE, DAYDUPLICATE: Oh, I... (falls backwards in a faint)RORY: I think he just fainted.DOCTOR: Yes, that was a faint. A perfect faint.AMY: (notices MELS has a hand on her stomach) Mels?MELS:Hitler...DOCTOR: What about him?MELS: Lousy shot. (falls to the floor)All three run over to MELS.AMY: Mels! Mels!DOCTOR: Rory!RORY: No, no, no! I've got to stop the bleeding!INT. SHIP, BRIDGE, DAYJIM: Sir, thatblue box... I've got a match. (the screen shows information about the TARDIS) We're trying to bag war criminals, we've got the biggest one ever right under our noses. Forget Hitler. We take this one down, the JusticeDepartment will give us the rest of the year off.CARTER: Are you sure?JIM: There's no question. (looks at CARTER) It's her.INT. REICH CHANCELLERY, OFFICE, DAYAMY is stroking MELS' hair as RORY tries to stop thebleeding.AMY: How bad is it? Rory, what can we do?RORY: Just keep her conscious! Stay with us, Mels.DOCTOR: Hey, look at me. Just hold on.MELS: I used to dream about you. All those stories Amy told me.DOCTOR:What stories? Tell me what stories. Vampires in Venice, that's a belter.MELS: When I was little, I was going to marry you.DOCTOR: Good idea, let's get married. You live and I'll marry you, deal? Deal?MELS: Shouldn'tyou ask my parents permission?DOCTOR: Soon as you're well, I'll get on the phone.MELS: Might as well do it now, since they're both right here.The DOCTOR, AMY and RORY exchange glances.MELS: Penny in theair.The DOCTOR stands as MELS begins to glow with regeneration energy.MELS: Penny drops!RORY: What the hell's going on?DOCTOR: (grabs AMY and RORY, pulling them away) Back! Back! Back! Get back!MELS:(stands) Last time I did this, I ended up a toddler in the middle of New York.The DOCTOR, AMY and RORY are standing against the desk.AMY: OK, Doctor, explain what is happening? Please!DOCTOR: Mels. Shortfor..?MELS: Melody.AMY: Yeah, I named my daughter after her.DOCTOR: You named your daughter... after your daughter.MELS: Took me years to find you two. I'm so glad I did. And, you see, it all worked out in theend, didn't it? You got to raise me after all.AMY: You're Melody?RORY: But if she's Melody, that means she's also...MELS: Oh, shut up, Dad! I'm focussing on a dress size.MELS gives in to the regeneration and screamsas the change takes place. When it is over, she is in the now-familiar form of RIVER SONG-though she doesn't know it. She pants as she regains her breathing and becomes familiar with her new body.MELODY: Right,let's see, then. Ooh, it's all going on down there, isn't it? The hair! (runs to a mirror) Oh! The hair, it just doesn't stop, does it? Look at that! Everything changes! Oh, but I love it, I love it!(faces the others) I'm all sortof... mature! (puts her foot on a piece of furniture, attempting to look seductive) Hello, Benjamin!DOCTOR: (covers his eyes briefly)(to AMY) Who's Benjamin?MELODY: The teeth!(looks back in the mirror) The teeth,the teeth! (runs to the others) Oh, look at them! (forces herself on the DOCTOR) Watch out! That bow tie! Excuse me, you lot, I need to weigh myself! (runs to the restroom)The DOCTOR, AMY and RORY sit on the edgeof the desk, stunned.AMY: That's Melody?RORY: That's River Song.MELODY stands in the doorway.MELODY: Who's River Song?They turn to look at her.DOCTOR: Spoilers.MELODY: Spoilers? What's spoilers? Hang on,just something I have to check! (runs back into the other room)RORY: Is anybody else finding today just a bit difficult? I'm getting a sort of banging in my head.AMY: Yeah, I think that's Hitler in the cupboard.RORY:That's not helping.The DOCTOR stands and walks across the room. AMY and RORY join him.DOCTOR: This isn't the River Song we know yet. This is her right at the start. Doesn't even know her name.MELODY: (O.C.)Ah, that's magnificent!They turn to see her leaning with her hand against the door jambMELODY: I'm going to wear LOTS of jodhpurs!INT. SHIP, BRIDGE, DAYCARTER: That's her, all right. Melody Pond...the womanwho kills the Doctor.INT. REICH CHANCELLERY, OFFICE, DAYMELODY: Well, now, enough of all that! (pulls a gun and aims It at the DOCTOR) Down to business.DOCTOR: Oh, hello. I thought we were getting"}
+{"doc_id":"doc_252","qid":"","text":"[PREVIOUSLY_ON]John: I thought you weren't done with me yet.Tituba: Depends on you, witch hunter, whether or not you can see how well our interests are aligned.John: It's hard to see what we've got incommon.Tituba: Love and betrayal.Sebastian: My mother would have your father's book of shadows.Anne: Tell her the book is mine, and I will not give it to her until I choose.Cotton: Lay aside your science,Wainwright, and fall to your knees. This is what they plan for us.Wainwright: They? Who?Cotton: Witches.Wainwright: And this orrery, like some celestial clockwork, tracks the comet overhead?Mary: What is it you wantfrom me?Wainwright: I want in.Countess Marburg: My dark lord is already inside the boy. And come the comet... We shall let him out.Mercy: What kind of mother would abandon her only child to the woods? The nightis our playground.Mary: You said that once you were sure, you would tell me the secret tor destroying Countess Marburg. You spoke of an object.Increase: She keeps it close.Mary: Where? On the ship?Increase: It isthe ship.Sebastian: This is the boy who sets my mother's heart ablaze. It's time to meet your queen.[ Clicking ][ Bubbling ]Wainwright: I must have more of you and your unfathomable secrets.Mary: Mm, do not fear.You will in time. My dear doctor, I really thought that no man could find his way into my affections. But you have surprised me in so many ways. In return, you have had a small taste of the ecstasy and insight thatawaits you down the crooked way. I warn you... It leads far from the comfortable main roads of civilization.Wainwright: Well, then let me begin my journey at once.Mary: Patience. Before you can continue your journey,you must go before the dark powers and strike your own bargain. At the witching hour, at midnight... Your journey begins then. In the meantime, you must make yourself useful.Wainwright: Anything. I am yourhumble servant.Mary: Destroy all your work... Everything you have written or gathered on the plague. All of it must be burned.Wainwright: [ Chuckles ] A scientist's notes are his life blood and the building blocks of allof his work.Mary: I told you last night... We are at war. Your observations on the plague are proof of my witchcraft. If Cotton Mather were to find it...Wainwright: You ask too much of me.Mary: But in return, you shallhave so much more.Wainwright: [ Sighs ] It's true. Mather did all but promise to lead a crusade against the witches of Salem, and they would treat you far worse than the Inquisition treated Galileo. They would burnyou like Bruno.Mary: Well, then unless you wish to see me martyred for our science, there can be nothing that leads back to me.Wainwright: It is not my papers that will lead him back to you but what we saw in thecrags.Mary: Leave the crags to me.Wainwright: [ Sighs heavily ][ Indistinct conversations ]Tituba: Shall I bring the young master his breakfast?Mary: No. No, I have another task for you.Tituba: Increase Mather!Mary:The one and only. I used it to summon his soul.Tituba: Risking necromancy without my aid is dangerous enough, but to raise Increase Mather from the dead...Mary: Your aid? I have new allies. Do not worry yourcowardly mind. I've already sent him back from whence he came. But his specter proved quite useful. Apparently our Countess has a weakness... Her ancient, rotting corpse is the secret to her longevity. Increase toldme where to find it, and at the right moment, it and she will be mine.Tituba: You trust him?Mary: Rather than you? I dare say. Now, for once, can you just do your job? You may start by disposing of that. Time to wake,John. Seize the day, my love. John?Countess Marburg: Lost something? How careless.[ \"Cupid carries a gun\" plays ]\u0000 Pound me the witch drums \u0000 \u0000 witch drums \u0000 \u0000 pound me the witch drums \u0000 \u0000 pound me thewitch drums \u0000 \u0000 the witch drums \u0000 \u0000 better pray for hell \u0000 \u0000 not hallelujah \u0000Mary: Where is he?Countess Marburg: Our little lamb is safe and sound.Mary: Tell me what you've done with him or I will rip the truthfrom your heart.Countess Marburg: [ Chuckles ] My heart? Better you should search your own.Mary: Oh, to hell with your riddles. Speak plainly or choke on my wrath. What have you done with my son?CountessMarburg: Perhaps it was the genius of those hags and your dusky caretaker to keep you in such ignorance.Mary: Ignorance? Of what?Countess Marburg: Poor dear. Of everything. Surely you knew that no great workingcan take place without a sacrifice.Mary: No.Countess Marburg: For this, the greatest of all workings, only the greatest of all sacrifices will do. Your son was born precisely that he should be the vessel for the dark lord'sreturn.Mary: You are lying. It cannot be.Countess Marburg: I know this must seem... a terrible betrayal. Do you not think that the other Mary felt betrayal when she realized what God intended for the son he gave her?The Angel of the annunciation failed to mention that she would end up weeping at the foot of the cross beneath her slaughtered son. Now, like that other Mary, you must look beyond the deceit and embrace the gloriousgift. And what an honor to sacrifice one's own to such a cause. It's a sacrifice I sought to make many years ago with my own son, Sebastian. I would have given anything for that honor, for him as well as for me. Alas, itwas not meant to be.Mary: [ Crying ] There must be another way.Countess Marburg: I'm afraid not. When the comet blazes overhead tomorrow night, little John will be baptized in the river of hell-blood and granted theinfinite honor of using his mortal frame to bear his dark force.Mary: [ Sobbing ] No. No, I won't do it.Countess Marburg: The choice is yours. Join us at the crags tomorrow and baptize him, allow our little prince to fulfillhis destiny... Or I will bathe in his young blood as I have so many others.Mary: Kill him and the Grand Rite is over.Countess Marburg: For a time, yes. C'est la vie. But I am everlasting, unlike you, and when the starrymessenger returns, it will be I who completes the Grand Rite.Mary: So either way, if I do as you say, my boy dies.Countess Marburg: He was only born to be a vessel. Do not deprive him or yourself of that honor.Mary:[ Crying ][ Indistinct conversations ][ Knocks on door ]Cotton: [ Groans ] Go away! I'm in no state for visitors, especially the likes of you. How dare you.Hathorne: My god, man. If pigs could read, this is how they'dlive.Cotton: I owe you no explanation. This is my home. Now get out of it.Hathorne: I have this morning received a communication from Boston telling me of your banishment.Cotton: [ Laughs ]Hathorne: Our eldersforbade your returning to Salem.Cotton: It's of no consequence. I was... meant to come back.Hathorne: You believe the law does not apply to you.Cotton: I live by the law, sir... The highest law. God's calling faroutweighs the rules of a few narrow-minded bostonians.Hathorne: So, you think you're divinely summoned to be in our village?Cotton: For all our safety, I must be here to fight the witches. In my father's own words,save my very soul.Hathorne: Your father no longer breathes the air of Salem, and soon, neither shall you. Gentlemen, escort him away.Cotton: [ Scoffs ] Hathorne, listen to me. This is much bigger than our rivalry overAnne Hale.Hathorne: I am not here as a man but as a magistrate... To do my duty.Cotton: Then let me stay here. As magistrate, it is your duty to protect this village. I have proof that the witches spread this pox andwill use it to damn all of our souls to Hell.Hathorne: What is your proof?Cotton: You know the dead were sent to the crags?Hathorne: Yes. Against my wishes.Cotton: There the cadavers have turned into a kind of... Evilblack pitch. It forms a portal to Hell.Hathorne: Hell? Sounds like the ramblings of a lunatic 'neath the full moon.Cotton: Or a man in terror who has seen it with his own eyes. I expect little trust from you. But put yourfaith in Dr. Wainwright. His reputation cannot be assailed. He was with me and witnessed the same. He will tell you that.[ Door opens ]Wainwright: Mather. I'd no doubt enjoy one of our stimulating philosophical jousts,but my time at the moment is quite short.Cotton: Then I'll be brief. I need you to relay our treacherous situation to the magistrate.Wainwright: Well, in fact, I have some surprisingly good news. Today marks the first24-hour period since I arrived in Salem without a single new infection. I do believe the worst may be past and this pox may finally be dying down.Hathorne: [ Clears throat ]Cotton: I've, um, spoken to him of thehorrors we witnessed yesterday.Wainwright: Yes, well, [Chuckles] It's not often that I allow a novice to join my research, but Mather insisted on accompanying me to investigate the victims burry hellgrounds.Wainwright: [ Sighs ] Little of any help. I had hoped to locate something to better fight off this parasitical pox.Cotton: Tell him about the black pitch.Wainwright: Black pitch?Cotton: What we both saw at thecrags... Bodies disintegrating into an ungodly black pitch. A most unnatural substance you said you'd never eyed before. For god's sake, man, it set a branch on fire.Inwright: My dear Mather, we'd both had a fair bit todrink the night before, and in the light of day, I can't really say what I saw.Cotton: You saw what I saw, and now I need you to tell the magistrate about it.Wainwright: Be reasonable, friend. We saw nothing that can'tbe explained by the condition of those who saw it. Gentlemen, this pox may nearly be over, but I still have much work to do.Hathorne: What say you about this discrepancy, Mather?Cotton: He's lying! For all we know,he is under some witch's control!Wainwright: Mather, I like you, truly, but you go too far, and I've had enough. You have the word of a royally certified physician or a failed divine known for his drunken rages whoattacked even you, so believe who you will.Cotton: Or believe your own eyes. As magistrate, you owe it to the people of Salem to investigate yourself. Come with me to the crags and then decide who speaks the truth.You want to save this town. You want to be Salem's leader. All I ask is that you see for yourself.Wainwright: I won't have any more of this nonsense.Hathorne: N-no, doctor. We shall go, all three of us.Wainwright: Withall due respect, Magistrate...Hathorne: As magistrate, it is not your respect I require but your obedience.Wainwright: As you will. The Angels of Revelation said: \"Come. See. Hell is here.\"Wainwright: Birds often die in aflock. It's grotesque, yes, but hardly unnatural.Cotton: God in Heaven...Wainwright: Just as I said.Hathorne: Where is your devilish black pitch?Cotton: It's the witches' doing. They've made it disappear.Hathorne: Orperhaps your gin consumption has finally caught up with you.Wainwright: In all fairness, my dear friend has suffered much lately... The loss of a father, banishment. And the strains of life can sometimes make the mindplay vicious tricks.Cotton: It is not my mind playing vicious tricks but your lying mouth.Wainwright: My dear Mather, you said not two nights ago you'd seen your dead father. You must recognize that that hallucinationwas brought on by your own distressed soul. And I believe this was just more of the same.Cotton: Who got to you? What did they offer you?!Hathorne: Take him away.Cotton: You've sold your soul! You will go to hell.Let go of me! [ Grunting, breathing heavily ] You will burn in hell, Wainwright! Hell!![SCENE_BREAK]Sebastian: [ Claps ] Bravo. I always say a beautiful woman should break her mirror early.Mary: Come to twist yourmother's dagger?Sebastian: Oh, no. No, my mother doesn't know I'm here. I've just come by to... to help you see things more clearly.Mary: Very nice. Can you do that with my life?Sebastian: If you'd let me, I justmight.Mary: My son is all that means anything to me.Sebastian: And to my mother.Mary: She wants...Sebastian: We both know what she wants. Do you know what I want? You. I saw you with him last night. Imaginewhat that would feel like with a fellow adept rather than a novice.Mary: Take my body, just give me back my son.Sebastian: Hold that thought. [ Door opens ] Speak of the devil and he appears.[ Knock on door]Wainwright: Am I interrupting?Mary: [ Sighs ]Wainwright: I'm sorry. I'll come back.Mary: No, uh, come in, Doctor. We were just...Sebastian: Speaking of you. Mary has told me everything. Mary and I share manythings, except, it would seem, her bed. That delight apparently is yours and yours alone.Wainwright: It seems I may have tread upon territory once marked by another.Sebastian: No. Indeed no. It would seem thebetter man has claimed the prize. Do not worry. I... Mary trusts me enough to keep your nighttime dalliances to myself. So can you. And please rest assured there is no ill will between us, and there are no secretsbetween the three of us now. Follow my lead. Be careful what you say. As for your boy, anything is possible... For good or for ill.Mary: The baron is one of us. He would advance our cause. You may speakfreely.Wainwright: Well, I've just come back from the crags with Mather and Hathorne. I don't know how you did it, but Mather was utterly baffled. And no one, Hathorne least of all, will believe anything he saysnow.Mary: We call it glamour.Sebastian: Yes, a minor, but effective tool.Wainwright: [ Chuckles ] Minor? It's beyond the conception of our greatest minds. I must know more.Sebastian: And so you shall. Mary and Iwere just discussing that. Think of me as a guide who, along with Mary, will lead you to explore your new horizons. You understand it is not easy for a woman of her standing to move about with a man such as yourself.People would talk. She has asked me to act in her stead. And I can assure you, sir, I am skilled at the highest order of the dark arts and sciences. I am to lead you to the woods for your initiation.Wainwright:Now?Sebastian: But of course. Why waste any time? A man of your caliber will be of inestimable use to us. And the sooner you are initiated, the better.Wainwright: Is this your will, ma'am? Should I followhim?Sebastian: You can't save everyone. Think of your boy. If you ever want to see him again, leave the good doctor to me.Mary: Yes. Yes, he will show you the way.Wainwright: Excellent. The sooner I tear the veilaway, the better. I'm positively giddy as a schoolboy.Sebastian: Time enough for all that later. Come. There are secrets of the universe to unveil.[ Brown Jenkins squeaks ]Mr. Hale: My dearest daughter, if you arereading this, then I am dead, and you have gone some way down the dark path. I sealed this work so that you could only read it if you had attained some skills and a familiar. But what awaits is yet more significant andtreacherous. Perhaps I was mistaken in keeping this all from you, but I dreamt I could save you from your fate. Now the lessons I should have taught you, you'll have to learn without me. But my heart and love are withyou always. Know that you are not alone.[ Insects buzzing ]Sebastian: Mary certainly chose her protégé well.Wainwright: How so?Sebastian: Most men fear two things... The demon-haunted night and the woods filledwith Indians and far worser beasts. And yet, here you are, and you're not the slightest bit afraid.Wainwright: My mind is not shackled by the petty superstitions and fairy tales of religion.Sebastian: Well, let us just saythere are accurate superstitions and true fairy tales. As you will soon learn, all true knowledge once came from the one they call the devil. He attempted, eons ago, to bestow this knowledge on a man andwoman.Wainwright: Adam and Eve?Sebastian: As I said, some fairy tales are real. Are you ready to take a bite out of that forbidden fruit?Wainwright: I am. At whatever cost, I am. It's all that I've ever wanted fromlife... Answers.Sebastian: Rest assured, dear doctor, after tonight, all the secrets of the universe will be laid out before you and all your questions answered. That is, of course, should you complete your initiation withyour sanity intact.Wainwright: I have so much to learn. I thank you, sir. Really. I believe my entire life has been leading to this very moment. Ever since I was a child, I-I've dreamt of nothing more than seeking out thehidden places in nature. Now I feel like... An explorer on the edge of an undiscovered continent. But not this continent... Something far greater.Sebastian: So you are, my optimistic friend. Now let your explorationbegin.Wainwright: [ Screams ]Sebastian: To your exploration, sir. You shall be the first man since Dante to enter Hell alive. Fear not. I will be there to comfort Mary in your absence.Tituba: You wanted to see me?Mary:He is gone.Tituba: Who's gone?Mary: My son. You remember him. The one you spent all those years lying to me about. The Countess has him and prepares him for a sacrifice, but you know all about that, don't you? Iseem to be the only one who didn't. Why? Why did you deceive me for all those years?Tituba: If I'd have told you, you never would have gone through with any of it. I did what was necessary.Mary: You were myfriend.Tituba: Was I? Or was I never anything but your property? Your good father owned me like a horse or a cow, and I was to care for you. And I did. You were just a girl. What would you have done with achild?Mary: I would have loved him. I do love him.Tituba: And how long would your love have sustained you both in the wilderness?Mary: So you gave him away.Tituba: No. No, I didn't give him away. We sold him tothe devil himself like I was sold as a slave time and time again. But unlike me, he fetched a great price. I told you then... In return, all the world would be yours. And so it is. And so it will be if you could just learn toharden your heart.Mary: What if I never wanted the world? What if a heart, a real heart, and the love that goes with it, is all I ever wanted?Tituba: Tell me, did you find any last night when you were spreading your legsfor the good doctor while they snatched your child?Mary: [ Exclaims ]Tituba: Good. Let's see this true heart of yours. Go on. Do it. Cut mine out. Kill the only person who's ever devoted themself entirely to you. Go on.Do it.Do it. If you think killing me will bring back any of the love you've lost, you're wrong. Only sparing me will.Mary: How?Tituba: John Alden is alive.Mary: John. I can't imagine what you must think.John: [ Inhalesdeeply ] It's easy. I just keep asking myself... \"How did I ever love you?\"Mary: I thought you were dead. I had no idea you were held here like this. Yes, I am one of the witches, but...John: No. No. You were never justone of them. You rule them. Why?Mary: Would it make a difference?John: Maybe. Maybe make me think that you were worth loving once upon a time.Mary: War. War against all our enemies. The very ones whosedemise we dreamt of in our youth... The black-cloaked hypocrites who branded our friends, forbade our love, crushed all our hopes and dreams. I did nothing on my own behalf but everything for the world I thought weboth wanted. And if it took their blood, all of their blood, to build it, then so be it.John: Bullshit. You... You've been lying to me from the moment I first left Salem. And you've never ceased lying since.Mary: If so, I havebeen repaid in lies a thousandfold, used by the other witches to do what I would never, ever do.John: And what's that? Hmm?Mary: Kill our son.John: Our son?Mary: I have no life worth saving and nothing I've plannedwill ever come to be. I have no lies left, John, only an awful truth.Tituba: Wait. I know that he looks weak, but do not be deceived. He will kill us both. He's the witch killer. He's not the man you once loved.Mary: Well,none of us are who were once were, are we?John: [ Grunts ]Mary: Kill me if you must, but it will not alter the facts. We do have a son. And they mean to kill him.Cotton: I need to speak to Anne Hale. She would want tocome with me.Hathorne: Oh, isn't that just like the scoundrel? To doom an innocent with his own misery and punishment.Cotton: She is to be my wife.Hathorne: Perhaps. But that was before she knew just how faroutside the bounds you'd step. But don't worry. I'll make sure she's informed of your situation. And when she cries over your predicament, I promise my own comforting shoulder will await her. Tell anyone who asks thecoach was attacked by Pequot. Make sure he's dead by the time you reach Amherst.Mary: This is John's room. He asked who his father was. I told him you were the very best of men, as was your father before you. Heasked your name, and he claimed it for himself. When you went to war, I was a woman alone with child.John: Why didn't you tell me? If I'd known...Mary: You would have stayed and died at George Sibley's order. No.No, I had no escape till Tituba offered me salvation.John: You gave him up?Mary: Yes. I gave up our unborn child's life so that I might have a life of my own with you someday. What was I to do, John? I thought youdied in the war. I had no word from you. You left me with no choice. For seven long years, I have lived with the guilt that I left our unborn child for dead in those woods, never to take his first breath, never to see his"}
+{"doc_id":"doc_253","qid":"","text":"(Seattle Scenes)MVO: My college campus has a magic statue.(SGH Façade)MVO: It's a long-standing tradition for students to rub it's nose for good luck.(Doctor is writing on OR board)MVO: My freshman roommatereally believed in the statue's power...(Meredith and Addison in scrub room)MVO: ...and insisted on visiting it to rub it's nose before every exam.(Meredith watches Addison take off her wedding ring and pin it to herscrubs. After pinning them on, Addison pats them for good measure.)(Burke is speaking with a nurse.) Burke: Are you sure my scrub caps weren't in the laundry delivery?Nurse: I triple-checked.Burke: You'resure?Nurse: Yeah, I'm sure.MVO: Studying might have been a better idea. She flunked out her sophomore year. But the fact is we all have little superstitious things that we do.(Derek is getting ready to startoperating)Derek: All right, everybody. It's a beautiful morning to save lives. Let's have some fun.MVO: If it's not believing in magic statues, it's avoiding sidewalk cracks, or always putting out left shoe on first.(Bailey isat an operating table, she takes a few breaths before starting)Bailey: Ok.MVO: Knock on wood.Bailey: Ten blade.(Addison and Meredith's surgery)MVO: Step on a crack, break your mother's back.(A blood vessel burstsand the monitor starts beeping)(Burke's OR)Burke: Paddles.(Cristina hands him the interior heart paddles)Burke: Ten joules.(The monitor starts beeping)(Derek's OR)Anesthesiologist: He's having a reaction. I have totake him off.Derek: I'm in the middle of his brain.(Monitor starts beeping)(Bailey's OR)Bailey: We're losing him.(Monitor starts beeping)(Derek's OR. A nurse is removing his head gear, the patient has obviouslydied.)(Burke's OR. A nurse is removing his head gear, the patient has obviously died.)(Bailey's OR, the patient has obviously died)Bailey: Time of death...(Burke's OR)Burke: Time of death...(Derek's OR)Derek: Time ofdeath...(Addison's OR)Addison: Call it, Grey.MVO: The last thing we want to do is offend the gods.Meredith: Time of death 8:17.(The interns are in the locker room, changing.)George: Four surgeries, four fatalities andthe day has barely started. (To Cristina) Can I have a bite of that?Cristina: No. You're in my apartment, you don't get to be in my food.George: Dr. Burke gave me a protein bar, this morning.Cristina: Burke packs hislunch for him. Did I mention?Izzie: I talked to the morgue guy this morning.Meredith: The one with the unibrow?Izzie: The one with the like teeth thing. And he said that surgical fatalities come in threes and sevens.Says there'll be three more before midnight.Cristina: Well, ok then. Since \"dead tooth\" morgue guy said so.Izzie: He's the morgue guy. He knows things about death.(Meredith picks up something from the floor andtries to hand it to George)Meredith: You dropped this. (George doesn't take it and walks away) He's still ignoring me.Cristina: Ignore him back.Meredith: Derek says I should apologize until he listens.Cristina: Dereksays?Meredith: It's good advice. He's my friend. That's good friend advice.(Alex walks up and pulls Izzie aside)Izzie: What?Alex: Did you sneak out last night?Izzie: Yeah. I, um...I couldn't sleep.(Bailey enters)Bailey:Come on.Meredith: Where?Bailey: ER.George: All of us?Bailey: We've all had deaths. Let's all go save a life.(They all begin walking through the hall, as they walk by the nurse's station Addison stops them.)Addison: Uh,Dr. Bailey. (Hands her a cup) Here you go.Bailey: What's this?Addison: Hot cocoa. It's a little ritual we had in New York. Four surgeries, four deaths, I figure we could all use a little good juju.Bailey: And cocoa equalsjuju how?Addison: Hey, hey, hey. Don't question the cocoa. Carry on. (They all start to walk away, Meredith is trailing behind.) Meredith. (Hands her a cup) Thank you for your help this morning.Meredith: Oh. Thankyou, Addison.Addison: Yeah. Thank you.(Derek observes the exchange between Meredith and Addison. After Meredith leaves he walks up.)Addison: Here you go. (She hands him a cup)Derek: Juju.Addison: Yep.Derek:You jujued Meredith.Addison: I did. In the spirit of friendship.Derek: Hmm.Addison: What? Are we not being friends with Meredith anymore?Derek: No, no, we are. Meredith and I are friends.Addison: And you and I aremarried. So then, by proxy, Meredith and I are friends.Derek: That's very big of you.Addison: Yeah.Derek: You don't have to do that. It's not like I'm gonna be friends with let's say, uh...Mark.Addison: Yeah, well,neither am I. Now finish your juju before somebody else dies.Derek: Hmm.(Meredith enters a room where she throws away the cup of juju.)(Burke is walking through the hallway talking on his cell phone.)Burke: Thereare ten of them. Music notes. Colorful patterns. They were sent out last night.(Burke walks up to the OR board where Richard is standing)Richard: Sorry to hear about your valve replacement, this morning.Burke: Thelaundry misplaced my scrub caps.Richard: You know, there's some foolish talk going around about fatality clusters in threes and sevens.Burke (On phone): Look, are you sure they weren't sent to anotherhospital?Richard: (To Nurse who is erasing the OR board) How many electives have they canceled today?Nurse: This is our third.Richard: And what have the surgeons' been giving as their reasons?Burke (On phone):Because I prefer my own caps.Richard: You're not pushing your surgeries because you don't have your personal caps. You understand me?Burke (Looking confused): I didn't push any surgeries. (On phone) No, no. Thequestion is: when will you find them?(Burke walks away)Richard: No one changes that board unless they talk to me. No one.(Bailey and her interns are gathered around a silent ER)Cristina: Great. No blood, no guts, nolives to save. It's dead quiet.Bailey: Did you really just say that?Izzie: Cristina...Cristina: What?George: You said the Q-word.Izzie: It's like saying Macbeth in theater.Cristina: Please. You think because someone saysit's quiet that it'll mean...(ER doors open)Woman: Can somebody help us here? She's coughing up blood.Bailey: O'Malley! Take that.(Everyone's pagers start beeping)Alex: Denny Duquette.Izzie: I got it.Alex: He's mypatient.Bailey: He's both your patients. Answer the call.Nurse: Two incoming.(Ambulance bay)Bailey: Ok, uh, Yang, first one's yours. Grey, take number two.Paramedic: Jesse Fannon, 32, unrestrained driver in a rearend collision. There was spider webbing on the front windshield where his head hit. BP's 120 palp. Pulse 75.Bailey: Well, what do you want to do, Yang?(Man is counting on his fingers)Cristina: Primary and secondarysurvey. Uh, head CT and X-ray.Bailey: Ok. Page Shepherd when you get there.Jesse: Wait! I'm counting the siren whoops. We can't go until it reaches 33.Paramedic: He also seems to have a touch of OCD.(Otherambulance)Paramedic: Nikki Ratlin, 30, erratic BP in the field. Complaining of chest and leg pain.Meredith: What happened?Nikki: I got struck by lightning.Cristina: Can anyone spell coincidence?(ER)Nikki: Myhoroscope said, \"Stay close to home today.\" Aries couldn't have been any clearer. Ok, I guess it could have said, \"Don't leave the house today unless you want to get struck by lightning.\" Ouch.Bailey: See, Ms. Ratlin,you have no sign of wounds from lightning.Nikki: It was a sign. Clearly getting struck by lightning is a sign. I sign that I shouldn't have left my house.Meredith: Nikki, normally people struck by lightning have a woundwhere the bolt entered and exited the body.Nikki: Well...well, I wasn't struck struck. The tree was struck and it fell on me.Meredith: A tree fell on you?Nikki: A big, like, branch or limb, Whatever. Samedifference.(Bailey scribbles on the paper that she had been writing on and crumbles it up.)Bailey: No, actually, medically, it isn't the same difference. And it would be helpful if from now on you told us the wholetruth.Nikki: You want to know the truth? My boyfriend loves that tree. He's totally going to freak out. Ow.(George runs up to Richard in the hall)George: Chief? There's a Ms. Warner down in Admitting. She's asking foryou.Richard: Who?(Richard and George get in the elevator)George: Um, Olive Warner? Fifties. Uh, blonde hair. She said she's known you for about 20 years.Richard: Are you talking about Ollie?George: Right. Ok. Uh,Ollie Warner. She presented with upper GI bleeding. And she had a TIPSS procedure last month for esophageal varices.(Richard and George exit the elevator, he walks up the woman who had been coughing upblood.)Richard: I'll take this from here, O'Malley.George: Happy to help, sir.Richard: No, thank you. I got this myself. (To Woman) Ollie.Ollie: Hi, Richard. Good to see you.(Alex and Izzie are in Denny's room)Alex:Sinus tachycardia, low-grade fever, pulse ox 75.Izzie: I'm hearing rales in your lungs.Denny: Yeah. A freight train rolls through at noon.Izzie: How bad is the pain?Denny: I don't know. A five or six when I breathe.Alex:Which means a seven or eight when you're not trying to impress your doctor.Denny: Heard, uh, four people died in surgery this morning. Sid they were expecting three more.Alex: You get that from a nurse?Denny:Never reveal my sources. Just like to avoid the OR. (Alex and Izzie exchange looks) And I'm not liking that look.(Izzie sits on the edge of Denny's bed)Izzie: This could be a pulmonary embolism, Denny. A complicationfrom the LVAD surgery. We gonna have to talk to Dr. Burke.(Alex clears his throat and Izzie stands up)(Meredith and Cristina are in the elevator with their patients)Meredith: I got hot chocolated. The She-Shepherd hotchocolated me. It's her juju.Cristina: I don't like people who say juju.Nikki: I say juju.Jesse: Juju, juju, juju. Juju, juju, juju. Juju, juju, juju.Meredith: I didn't drink it.Jesse: Juju, juju, juju.Nikki: You're not obligated tohonor someone else's juju.Jesse: Juju, juju, juju.Cristina: Thought you were being friends.Jesse: Juju, juju, juju.Meredith: I am. With him. Do I have to be friends with her too?Jesse: Juju, juju, juju.Nikki: Definitelynot.Jesse: Juju, juju, juju.Cristina: Maybe.Jesse. Juju, juju, juju.Meredith: I'll, uh, call psych for you.Cristina: That'd be good. Thanks.Nikki (Screaming): Ow! Ow!(Callie is setting Nikki's broken leg.)Callie: All right.That's the worst of it.Nikki: Oh, I never should have gotten out of bed. But I really wanted to surprise my boyfriend before he left for school. He had a huge exam today and I just, you know, I wanted to wish himluck.(George enters the room)George: Dr. Torres. Hey. Hi. Uh, can I give you a hand?Callie: You missed the boat, George.George: You mean on this case or...?Callie: Or...a hot chick gives you her number, you'resupposed to call.Nikki: Yeah.George: I...I was...I mean, I am.Callie: Too late.Nikki: Ouch. Don't give up. I mean, if you really like her.(Meredith enters)George: Uh...ok.(George leaves)Nikki: Ok, the plot thickens.Callie:Nikki, Dr. Grey here is going to take you upstairs for a CT. But before she does, I have to ask: you're bruised all up and down your left side. You sure a tree branch did all this?Nikki: You think my boyfriend did this? Hewould never hit a woman. Ever.Callie: Mm-hmm. The bruises doesn't look like a tree branch hit you.Nikki: Fine. Ok, you guys are going to think I'm really weird, but I was sort of up in the tree when the lightning hit.And...I fell.Callie: You climbed a tree in a thunderstorm?Nikki: I really wanted it to be a surprise, you know, for my boyfriend. And...um, I just...I had to see if his psycho dog was in the yard because of, like, the barkingand stuff and...I know. It sounds really weird. Does it sound really weird?Meredith: Not at all.Callie: No.Nikki: and this thing is, I mean, he wasn't even there.Meredith: The dog?Nikki: No. My boyfriend. He wasn't evenhome. I really shouldn't have gotten out of bed.(Derek walks by Cristina, she stops him)Cristina: Oh, Dr. Shepherd. I've got a 34-year-old male with a blunt head trauma and severe case of OCD.Derek: Oh, really. Didyou call for a psych consult?Cristina: Yes.Derek: Let me know when you get a CT.Cristina: Ok.Derek: Thank you.(Derek walks away and Burke walks up)Burke: Hey.Cristina: Hey. Hey, uh, sorry about that, uh, valvereplacement.Burke: Oh, thank you. Laundry lost my caps.Cristina: The guy didn't die because you weren't wearing one of your caps.Burke: I know that. I just prefer to operate wearing my own. It's a comfortthing.Cristina: Huh, well...I prefer having George out of our apartment. So I guess we both have comfort things.Burke: Yeah, what are you saying?Cristina: Uh, you know, um...I have one of your caps in mylocker.Burke: Why do you have one of my caps...Cristina: That's not the point. You know, the point is, um, is that I think I'm going to keep it hostage. So you kick Bambi out and you get your cap back.Burke: Oh, well.I don't do well with ultimatums.Cristina: Maybe you should think of it more as a...trade.(Cristina walks away and George exits the elevator)George: Dr. Burke. I've got free time. Do you have any cases, do you needhelp...Burke: Actually, I do.(They both get into the elevator)Burke: Cristina has something of mine and I need you to get it back.(Richard enters Ollie's room. A young lady is in the room with Ollie.)Richard: Gretchen,would you mind leaving us alone for a minute?Gretchen: Ok.Richard: Thank you.Ollie: She's my new baby. Six months sober, she's already on the ninth step.Richard: You must be proud.Ollie: Always.Richard: You're ona transplant list, Ollie?Ollie: A couple of years now.Richard: The cirrhosis prevents blood from flowing into your liver. So it's backing up into your esophagus. Causing the ruptures. It's serious, Oll.Ollie: Well, of course itis. I mean, you don't puke blood if it's not serious. The question is: can you treat it?Richard: Maybe. Surgically. We'll have to run more tests and...whatever we do, it's a stop-gap. You need a new liver.Ollie: Yet anotherreason I should've laid off the sauce. You look scared.Richard: I am scared, Ollie.Ollie: Haven't seen you at a meeting in a while.Richard: I know, I know.Ollie: How've you been?Richard: We're talking about you.Ollie:Now I'm asking about you.Richard: Ellis Grey's daughter's working at the hospital. Ellis is in a nursing home with Alzheimer's. I try to go see her every chance I get.Ollie: You're having an affair with the woman whodrove you to your alcoholic bottom.Richard: Ollie, we're not having an affair. She's sick.Ollie: You're lying to your wife?Richard: I'm not lying.Ollie: You're lying by omission. You are having an emotional affair. And nowyou're lying to your sponsor about it.Richard: You haven't been my sponsor in years.Ollie: I still have the right to bust your ass if I see you slipping.Richard: I'm not slipping.Ollie: Not yet. But you're making a pretty bigmess. (Richard stands up and sighs) How many years you have now?Richard: Just passed 17.Ollie: I'm proud of you. And I'm scared too.Richard: You got me sober, Ollie. You walked me through it. (He takes her hand)And I'm going to walk you through this.(George is digging through Cristina's locker)George: Ok. That's...(Cristina enters the locker room)George: She still has...Cristina: You're a pervy little boy, George. And you're notfinding the cap.George: I'll do your dishes for a month.Cristina: I don't do dishes.George: I'll do your laundry.Cristina: I don't do laundry.George: Maybe that's why Burke likes having me around.Cristina: Interesting,interesting. Are you having s*x with him?George: No.Cristina: Then he likes having me around more.George: Why's it always have to be a competition? What do you want for the cap?Cristina: You out of theapartment.George: I'm not leaving until Burke says I have to leave.Cristina: Then you're not getting the cap. Now clean up my crap.George: No.(Bailey and Meredith are looking at CT scans)Meredith: Wow. Is that herspleen?Bailey: Looks like a grade three laceration. Maybe a four. What was she doing standing under a tree in a thunderstorm?Meredith: She wasn't standing under it. She was climbing it.Bailey: Why?Meredith: Uh...I'mgetting the feeling she's a little bit of a stalker.Bailey: Do we need to call the police?Meredith: I don't think so. I think she's more a gentle stalker than a \"kill you with a knife\" stalker.Bailey: Right. Well, let's hope shelives to gently stalk another day.Meredith: Hey, you don't believe in that seven fatality thing, do you?Bailey: I believe this girl needs her spleen removed immediately. Go pick up the labs and get her on the board. Thenwe'll break the news.(Denny is breathing heavily, on a OR table)Izzie: It's almost over.Denny: You like horses, Izzie?Izzie: Everybody likes horses.Denny: That's not true. You know, horses are a great judge ofcharacter. You don't like horses, means they don't like you.Izzie: Huh.Alex: I've got an uncle that's a rodeo cowboy.Denny: Huh. No kidding.Burke: This is a big clot, Denny. I can't get it with the catheter. I'm sorry.We're gonna have to open your chest again.(Cristina is taking Jesse to CT)Jesse: I was counting the clicks. The...turn signal clicks. I couldn't move until it hit 333. The light was green, but I couldn't move. I can't blamethem for hitting me.Raj: How long have you been feeling these compulsions?Jesse: A little bit all my life, but it's been out of control the last three years.Raj: Onset at 30 is typical.Jesse: Ruined a marriage. I can't hold ajob...Cristina: Ok, Mr. Fannon, do you...Jesse: Is it clean? I need to know if it's clean.Cristina: It's very clean.Raj: Any relatives with OCD?Jesse: My mother. Killed herself at 38. Ruined her life. Now it's ruiningmine.(Cristina clears her throat)Jesse: Clean, clean, clean?Cristina: Uh, we clean it between each patient.Raj: I think he needs you to say \"clean, clean, clean.\"Cristina: It's clean, clean, clean.Jesse: Thank you. I knowit's annoying. I can't help it.(Cristina walks past the window and sees George watching from the other side)Jesse: Uh, find a penny, pick it up, all day long you'll have good luck. Find a penny, pick it up, all day longyou'll have good luck.Cristina: Ok, Mr. Fannon, do you...Jesse: Find a penny...Raj: Repetitive rhymes, prayers. It's classic. He needs to say it a specific number of times. Probably a multiple of three.Cristina: Let's gethim in before he decides to start again.Raj: Is everything all right with, uh...that?(Raj nods to the window where George has his face pressed against it)Jesse: Find a penny, pick it up, all day long you'll have goodluck.Cristina: Just, uh, don't look at him.(Meredith is walking through the halls, highlighting a book. She walks up to Derek, at the same time Addison exits a nearby elevator.)Meredith: Hey.Derek: Hi.Meredith:Hey...Addison: Oh, hey.Meredith: Hi.Derek: Hi.Meredith: I, uh...have to...Derek: Yeah.Addison: Yeah.(Meredith walks away)Derek: I do too.(Derek walks away)Addison: Yeah, I got...something too,so...[SCENE_BREAK](Richard is in Ollie's room, talking to Ollie and Gretchen.)Richard: I wish I had good news. The TIPSS procedure you had last month failed.Gretchen: What does that mean?Ollie: It means you'relucky you got sober young.Richard: Ollie, it means I'm going to have to put in a portacaval shunt. It's complicated. It has only a 50% survival rate.Ollie: What's my other choice? (Richard just looks at her) Ok, then.Um...you'll be the one to do it?Richard: I've performed this surgery nine times. Had four patients survive.Ollie: It's perfect then. I'll be your five out of ten.(Bailey and Meredith enter Nikki's room)Nikki: I'm not havingsurgery today.Bailey: You have a ruptured spleen.Nikki: And I'm sure that the spleen is very important. But I'm not having surgery today. You can operate after midnight but not one minute before.Bailey: Miss Ratlin, ifI thought it would be safe I'd be more than happy to wait until after midnight. However, I have a husband and a baby at home who won't be happy. You know who else won't be happy? You. Your spleen is bleeding.Spleen trumps horoscope.Nikki: But it was more than just my horoscope. I went out to my car this morning. Flat tire. That's a sign, but I just changed the tire. Then there's a wreck on the freeway. Do I turn around andgo home like it's telling me to? No, I detour an hour out of my way so that I can get to Kevin's house. And when I get to Kevin's house, I get struck by lightning!Meredith: But you weren't struck by lightning.Nikki: I'lldie, ok? If you operate on my today I will die because I know I will. Please, just...just call my boyfriend and tell him that I'm having an operation at midnight. Because he will want to be here.Meredith: Ok.Nikki:Please.(Bailey and Meredith start walking out of the room.)Meredith: Should I call psych?Bailey: You can give it a shot. In the meanwhile, get her down to ICU. Poor girl's going to kill herself trying not to die.(Alex isdrawing Denny's blood)Alex: Izzie paints a pretty picture because she likes you, you know?Denny: Ok.Alex: I'm just saying she likes you. Which is going to be hard on her.Denny: You mean...when I die? Come on. I'masking you...man-to-man.Alex: With a clot in your pulmonary artery, it'll cut off the oxygen to your lungs and you'll die of hypoxia. If the hypoxia doesn't kill you, the strain on your heart will.Denny: And the"}
+{"doc_id":"doc_254","qid":"","text":"Act One.Scene One - KACL Frasier and Roz are in Frasier's booth. Roz is sorting some carts, while Frasier opens his mail.Frasier: Oh look, Roz, Roz, my brochures are here! Oh, god, very exciting! Vacation!Roz takesone of the brochures from Frasier.Roz: Wow! The Golden Door Spa!Frasier: Ooh, yes!Roz: Look at those accommodations! That is nice!She gives the leaflet to Frasier.Frasier: I plan to leave Dad and Eddie to fend forthemselves while I go off and spend an obscene amount of money being pampered like a spoiled child. I know it's self-indulgent, but what else are vacations for? By the way, what are you doing for your week off?Roz:Oh, I'm taking my mom to Ireland to stay in the sod house where her mother was born.Frasier: Why don't you just write the words \"bad son\" on my forehead!Roz: Listen, there is nothing wrong with pampering yourselfon your vacation. After all, you do work three hours a day.Frasier stands up, annoyed, turns his back on her, and begins to sort through his brochures on the side bench of the studio.Roz: I'm sorry. That one evensurprised me!She walks into the adjoining producer's suite. Frasier follows her through.Frasier: You know, it's just that when I think of the relationship I have with my dad I can't help but envy the relationship you havewith your mother.Roz: Well, it didn't just happen. We work at it, spend time together...Frasier: Roz, are you forgetting that my father lives with me? How much more time together could we spend!Roz: Day to day livingis different. You know, there is nothing better than taking a trip together. You get to have a little fun, you get to relax... you get to see a whole different side to the other person.Frasier: You know, in his entire life, mydad has never been to Europe. It would be a way of connecting with him if I were the one to give him that. [looks questioningly at Roz] So, what would you charge me to take him to Ireland with you?Roz looks at himwith a wry smile on her face and shakes her head.[SCENE_BREAK]Scene Two - Frasier's Apartment Fade back in. Niles is sitting with his face down on the table as Daphne massages his back. Martin is sitting in his chairwith the paper in one hand, and is stroking Eddie with the other.Niles: [moaning with pleasure:] Ahh... I should have known this would happen. I always throw out my back when I try to lift Maris's luggage.Daphne:Why didn't you hire a skycap?Niles: Oh, we did for most of it, but Maris won't trust strangers with her makeup case, ever since a ham-handed porter dropped it and broke three vials of rare Swiss lamb placenta. On theupside, the calfskin lining of her case was never more soft and supple.Daphne lifts him to sit up straight, puts her arm around his neck and proceeds to massage his back with the fist of her right hand.Daphne: Wheredid Mrs. Crane go, anyway?Niles gives more moans of pleasure, and Martin looks round at him in amusement.Niles: She's making her annual pilgrimage to the holy land.Martin: I thought she was going to Dallas to visither sister.Niles: That is her holy land. It's the site of the first Nieman- Marcus.Martin turns back to his paper, shaking his head. Niles produces more moans of ecstasy. Frasier enters the apartment, carrying hisbriefcase.Daphne: Oh, Dr. Crane...Niles: [still moaning] Oh, call me Niles!Frasier casts his usual look of disapproval and disappointment in Niles's direction, and Niles, noticing him, stands up.Niles: Thank you,Daphne.Frasier: Dad, I've had an idea and I hope you're as excited about it as I am. [opens his briefcase and takes out the holiday brochures] I want to take you on vacation!Martin: [suspicious] Why?Frasier: Well, Ithought an adventure might do us good, give us a chance to have some fun, maybe get reacquainted, even do a little bonding.Martin: What'd you have in mind?Frasier: Well, this isn't about where I want to go, this isabout where you want to go.Frasier fans out the leaflets and lays them on the table by his father in an extravagant gesture.Frasier: Dad, I give you the world!Martin: [reading one] The Galy-pay-gos islands, huh?\"Where iguanas, sea-lions and giant tortoises live in eternal harmony.\" [to Frasier] Is it important they get along?Frasier: No, I suppose not.Niles has also been looking through the leaflets.Niles: Oh, how about this!India and Nepal! Trek the foothills of the Himalayas!Martin: [tapping his cane] I think you're forgetting about my old pal here.Niles: No problem. Frasier can just hire a really tough little Sherpa to carry you on hisback.Martin looks at him stupidly.Niles: They don't mind.Frasier: Well, we obviously haven't struck the right chord yet, but we will, we will. Dad, why don't you just suggest something?Martin: You really want to go on atrip with me?Frasier: Yes I do! I'll go anywhere you want to! Anywhere!Martin: Okay. Well, maybe I'm not as sophisticated as you, but I think I should see America first!Frasier: Great! We're Americans, we should seeAmerica!Martin: And I want to see it in a Winnebago!Frasier stands up in horror, but with feigned enthusiasm.Frasier: A Winnebago! Hot damn, that has a real ring to it! He crosses to pour a drink.Martin: Yeah! It'ssomething your mother and I always dreamed about doing when I retired.Frasier: Then that is exactly the trip we are going to take!Martin: You really mean it?Frasier: Absolutely!Daphne: This calls for acelebration!Daphne exits to kitchen, Frasier crosses to fire place and Martin also exits towards the kitchen.Martin: Yeah, let's pop open a couple of beers! I think I've got a bag of pork rinds in here too!Frasier: Oh, thefinal touch! I almost feel like I'm in a trailer park already!He hangs his head in horror, leaning on the mantelpiece in despair. Niles crosses the room towards him.Niles: [mockingly] Oh, Winnebago Boy? Make sure tohang a lot of beach chairs on the back and give it a really cute name like... \"The Whoopin' Cranes!\"He dissolves into laughter.Frasier: Oh, Niles. When I agreed to see America with Dad I thought we'd be staying infive-star resorts! When I said together I meant adjoining suites!Niles: Just tell him you think it's a bad idea.Frasier: I can't do that, he's counting on this trip too much. It was his dream, he was going to go on this tripwith Mom.Niles: Yeah, but she lucked out and died! [laughs]Frasier pulls Niles to the corner of the apartment to be sure they can't be heard from the kitchen.Frasier: [in desperation] Niles listen, listen. If Dad and I getinto a Winnebago together only one of us will come out alive. You've got to come with us!Niles: Frasier, you're my brother. That entitles you to my bone marrow and one of my kidneys, but THIS is an imposition!Cut toMartin and Daphne in the kitchen. Daphne is chopping cheese, and Martin sits opposite her.Martin: You've got to come with us!Daphne: Why?Martin: Well, Frasier and I don't have anything to talk about! I always feelmore comfortable when there's someone else around, or the TV's blaring.Daphne: Then why did you suggest it?Martin: Well, it sounded like a good idea when it came out of my mouth, but the more I think about it... Imean, can you really see me and Frasier together all day and then crawling into our bunks at Night, lying head to head... bonding? [shivers] Eew! I'll pay you! I've got pension money!Cut back to Niles andFrasier.Frasier: I remember a car trip we took when I was nine? We drove from Seattle to Spokane. The only thing he said to me was, \"I think we've got a problem with your brother Frasier.\"Niles: Those were awful,those family driving vacations. Dad insisting on covering as many miles as possible in a day. The two of us tiny hostages in the back seat, clutching our car sickness bags... straining to see something out of the windowas the landscape whizzed by... I was thirteen before I realized cows aren't blurry!Cut to Martin and Daphne.Daphne: Why don't you just tell him you don't want to go?Martin: Oh, you heard how he wants to go. I don'twant to disappoint him!Cut to Niles and Frasier.Frasier: I don't want to disappoint him!!Niles: I'm sorry Frasier, I am not a Winnebago person.He begins to cross to refill his drink.Niles: Whenever I see one on thehighway I look into the driver's eyes, hoping to see something that would explain why in God's name he would ever want to do something like this! All I see is a death stare under the brim of a hat made out of Miller Litecans. This is my final word: I'm-not-going.Martin and Daphne re-enter. Daphne is carrying some cheese chunks on a plate.Martin: Hey, great news, Daphne's coming too!Niles: And so am I!He eats a cheesechunk.[SCENE_BREAK]THE WHOOPIN' CRANESScene Three - A Winnebago. The Crane clan, plus Daphne, are traveling along in their rented Winnebago. The north-western American countryside is visible out of the rearwindow. Frasier is driving, and Martin is in the passenger seat videotaping the view. Daphne is sitting behind them. Niles appears to be absent from the scene.Martin: It's everything I'd hoped it'd be, only better! It's likesitting in your own living room watching TV! Only it isn't TV, it's America!Frasier: Yes Dad, it's the ultimate in virtual reality programming - actual reality.Martin: [Looking at map] Okay, we've got a turn-off coming up inabout five miles, so start slowing down.Frasier: Righto, Dad.Daphne: How does it feel behind that wheel, Dr. Crane?Frasier: Manly! This is mine, and it's big!There is a flushing sound, and Niles appears from the back ofthe vehicle.Niles: Oh my God! It's like being sealed upright in a Formica coffin!Martin: Remember the old days, Niles? [to Daphne] When they were kids, all they had in the back seat was a mayonnaise jar.Frasier: Yes,it took quite a bit of skill to use it successfully at seventy miles per hour! Never really been fond of mayonnaise since...Niles: Or speed bumps.Martin: Okay, turnoff's coming up now, we're about four miles away, getready, it's coming up! Alright, you're okay on the right! It's never to early to move over!Frasier: You know, Dad, I was wondering. What inspired you to choose that uniquely American man-made wonder, MountRushmore?Martin: Well, we've got a week off, right? That's as far as we can go in three and a half days and still make it back. We get there, get out, walk around the Valley of the Presidents, drive back, boom! Anotherfine landmark under our belts!Daphne: Well, you've certainly got this trip well-planned, Mr. Crane! Whenever I take a holiday I just grab a fresh pair of knickers and see where the wind takes me!At this comment Nilesproceeds to look back at Daphne's backside.Frasier: [noticing] Niles... Niles!Frasier then pulls hard right on the steering wheel making the vehicle swerve sharply left. Everyone else remains in the same place but Niles,caught off balance, crashes left into some overhead cupboards, right into a chair behind Daphne and then falls spectacularly onto the floor whilst clutching at the kitchen sideboard. He quickly attempts to retake hisplace behind Frasier, before Daphne and Martin notice.Unsuccessfully. Martin looks strangely at Niles, not realising why Frasier swerved, then looks curiously at Frasier as if to say, \"What the hell was that!\" Frasier,however, drives on happily with a large smile on his face.Frasier: You know, what Daphne is saying is what we should really be doing!Martin: What are you talking about?Frasier: Well, you know, why should we be sobeholden to maps and schedules? We should roam! America has always been enchanted with the romance of the open highway. Jack Kerouac went \"on the road,\" Buzz and Todd got their \"kicks on Route 66!\" Theadventure is in the journey! We should just ramble!Niles: Good golly, I'm inspired. I'm going to put on a baseball cap.He proceeds to put on a cap, backwards.Martin: Frasier watch it, you're going to miss the turnoff!!Frasier: So?Martin: We'll get lost!Frasier: Lost from where? We're in a house on wheels! Wherever we go, we're home!Martin: No! It's coming up! [tugging at Frasier's arm] It's coming up! Alright, turn here![frantically] This is it! Turn! Turn here...! We missed it!!Daphne and Niles look on in amusement.Frasier: Dad, we didn't miss anything!Martin: [horrified] Oh my God!Frasier: We are now on the road less traveled. Fromnow on there is a new order! We dance to the rhythm of the road.Martin: [panicking] Alright, now don't panic! There's got to be an access road leading back onto that turn off...He proceeds to hunt around the map,frantically.]Martin: Where is it? Where is it! [finds it] Oh, it's always in the crack!Frasier: So is life, Dad.End Of Act One (Time: 10:23) Act Two.Scene One - Winnebago Fade in. Several hours have elapsed, and Martin isnow driving. Niles and Frasier stand behind the two front seats, for Eddie is sitting in the front passenger chair.Martin: I've got to say, I was pretty anxious, but I'm starting to like this free spirit stuff!Frasier: [pointingout of window] Oh Dad, Dad look! There's a historical marker up ahead! Let's stop! Let's go see it, huh?Martin: Yes, just driving wherever you feel like it...Niles: It's educational Dad, there! There! There! There! There!Dad!The Crane boys are pointing excitedly, but Martin drives right past. Niles and Frasier follow it as it whizzes by, and then turn back to the front disappointedly.Niles: What did it say?Frasier: I don't know. The onlyword I saw was \"Legendary.\"Niles: [spotting another attraction on the other side of the road] Oh, oh look, a roadside stand! Fresh fruit, homemade apple cider! Dad, Dad, Dad, Dad...Both: Dad, Dad, Dad, Dad, Dad,DAD!Martin once again drives right by and the boys turn to look at the stand as it whizzes by. Once again they turn back disappointedly, and Niles punches the back of Martins chair lightly.Frasier: Look Dad, you seemto be missing the freewheeling concept.He tries to sit down but Eddie is in the chair. He sits down anyway and Eddie is squashed to the side of the chair, then sits on Frasier's knee.Niles picks up the camcorder andbegins to film the view out of the front of the van.Frasier: We're supposed to go where the wind blows us, for god's sakes!Martin: It's blowing, we're going, why are you moaning?Frasier: [angrily] What is this obsessionyou have with covering a certain distance?Martin: It's just the way I relax!A car drives past, horn blaring. Martin leans out of the window to shout at it.Martin: Hey, watch it! I've got my kids in the car!As he has beenshouting he has veered to the left. He straightens out quickly by swerving to the right, sending Niles once again crashing into the overhead lockers. Niles reels back, stunned.Frasier: What you call relaxing seems like aman with an obsession to me! Don't you think so, Niles?He turns to Niles, who has started to videotape Daphne, who is sleeping.Frasier: Niles! What are you doing?!Niles: I'm making a vacation video, something thatwe can look at years from now, over and over and over and over again...Frasier stands up and takes the camera from him.Frasier: Just give me that!Martin: Okay, you guys want to stop so bad, we'll stop. See that signover there?Niles: \"Have your photo taken with a live grizzly bear - Marvella's souvenirs and gifts - one mile.\"Martin: Yeah! I always wanted to have my picture taken with a bear!Frasier: Well, some dreams cannot bedenied! [looking into the passenger side view mirror] Okay dad, alright, you're good here, you're good on my side, dad. Alright, just go ahead, ease it right over, it's never to early to change lanes... [realising what he issaying] Oh my God, it must be genetic.[SCENE_BREAK]Scene Two - inside Marvella's souvenirs and gifts. The Frasier gang enter, and Eddie starts to bark at a full-size, stuffed grizzly bear propped up in front of apainted view of a mountain surrounded by trees. The rest of the store is full of various souvenirs and junk items. There is a woman standing behind a counter.Marvella: Get your dog away from my bear! I just had himcleaned!Daphne: He's stuffed!Frasier: You know, your sign said \"a live bear.\"Marvella: It's an old sign.Martin: [looking at picture behind bear] Would you look at that view! It's like we're really there!Frasier: Yes, but ifwe were actually there dad, we'd be whizzing past at fifty miles per hour!Niles: Oh Frasier, look! It's the gourmet food department!Frasier: Oh! Homemade deer jerky!Niles: [reading notice with a sarcastic laugh] Nosampling...Frasier: No problem!Martin and Daphne are standing in front of the bear.Martin: Okay! [to lady] Excuse me! Would you take our picture, please? Niles, Frasier, come on up here! Okay, everybody, alright,here we go! Everybody ready? Now, what should we do?Frasier: Well, how about this? [he puts his hands up and opens his mouth wide as if he's scared of the bear]Martin: Yeah! That's great, I like that! Okay,everybody! Eddie?Marvella: Now, before I take it, you know it's ten dollars Canadian.Frasier: Oh, for a treasured memory like this, what's money?Everyone puts on their \"scared\" faces.Marvella: Okay, one...Daphne:Why would she want Canadian dollars?Marvella: Two...Martin: Because we're in Canada.Marvella: Three!On \"three,\" Daphne screams loudly as Marvella takes the picture. Everybody looks at her as she steps forward offthe photo platform.Daphne: We're in Canada?!Martin: Yeah, we crossed the border a while ago, when you were taking a nap.Daphne: But we can't be in Canada! I'm not allowed to leave the United States!Frasier:Why?Daphne: Because I don't have my green card yet! Oh, this is just perfect! Three months until my final interview, the one thing they told me not to do was to leave the country! And what do you do? Wait until thefirst time I fall asleep and drag me across the bleeding border! They're never going to let me back in!Niles: They have to take you back, it's not your fault. [He crosses to comfort her]Frasier: [to Martin] This wouldn'thave happened if you weren't so hell-bent on getting so many miles under your belt today!Martin: Well, you're the one who had to go where the wind blows!Martin and Frasier proceed to yell at each other loudly andangrily. Niles attempts to butt in to calm them down but can't find an appropriate break in the argument to make himself heard. Daphne grabs a duck call and blows it loudly to grab their attention, near-deafening Nilesin the process.Daphne: Never mind whose fault it is, I'm stuck here! What am I going to do?Niles: We'll just go to the authorities and explain. I'm sure mishaps like this happen all the time.Martin: Oh, get real Niles,they've got the rules!Frasier: Oh, then what's your solution dad?Martin: Just sneak her back across the border.Niles: That's called smuggling!Martin: [very sarcastically] Oh, thanks Niles. I knew it was something badguys did, I just didn't know the technical term!Frasier: Dad, I can't believe that you of all people, a former policeman, are actually suggesting that we commit a felony!Martin: Oh, I cross this border plenty! Ninety-ninetimes out of a hundred the guards just peek in the door and wave you through. It's no big deal. Now let's get out of here!Niles: Well, what if they pull us over?Martin: Then Daphne's just got to convince them that she'san American.Daphne: Bloody right! It beats having me bum bounced back across the pond! Let's give it a bash.The others exit and Frasier is left holding the door.Frasier: Oh, yes. This is foolproof... Frasierexits.[SCENE_BREAK]THE HOLE IN THE HEAD GANGScene Three - The Winnebago Back in the motor home, heading for the border. Frasier is driving, Niles and Daphne are sitting at the table. Martin is pacing up anddown the van.Niles: I'm about to defraud the United States Immigration Department. Not just me, my father and my older brother. People who should be role models for me. It's not my fault; I'm the product of a badenvironment.Martin: [to Daphne] Now listen, on the off chance that the guard asks you a question, can you say anything in an American accent?Daphne: [in a poor imitation of a U.S. accent] Sure.Martin: Okay,what?Daphne: You just heard it!Martin: What?Daphne: [repeating the accent] \"Sure.\" That's it, that's all I can say! [Martin looks horrified] Oh, I need a cup of tea!Frasier: TEA! Why don't you just wave a crumpet in theair and start singing, \"God save the Queen\"!!Niles: Don't you snap at her, Frasier, you're a psychiatrist. You should be in better control of your emotions. [panicking] Oh my God, there's the border! I can see the line ofcars!Martin: Alright, now everybody calm down, we're going to be fine. Just remember that they'll be looking for suspicious behavior. [Niles is rocking back and forth with his head resting on his arm.] Niles, thatqualifies! Alright, now if the guard pokes his head in here, what did we say he's going to see?All: Four carefree Americans.Daphne: I've never been so nervous.Frasier: I don't think there's any need to be. They'rewaving everyone through... they're not even asking any questions!Niles: Oh, please, please, please!Frasier: They're waving us through... they're waving us through... they're pulling us over... they're pulling us over!Thegang look mortified. Niles resumes rocking back and forwards.[SCENE_BREAK]CHECKPOINT CHARLIEScene Four - Winnebago. The van has stopped, and the guard is approaching.Martin: Here comes the guard.Daphne:"}
+{"doc_id":"doc_255","qid":"","text":"[Scene: Monica, Chandler, and Phoebe's, everyone is there having breakfast and Joey enters carrying a loaf of bread.]Joey: Hey!Ross: Hi!Joey: Who wants French toast?Ross: Oh, I'll have some!Joey: Good, me too.(Tosses him the loaf.) Eggs and milk are in the fridge. Thanks.Monica: (entering from her room) Oww!Chandler: What's the matter honey?Monica: I don't know, my hand feels weird. I guess it's because, I'm engaged!(Shows off the ring.) How long before it starts getting annoying?Phoebe: It starts?Rachel: Yeah, so let's get started on the wedding plans!Monica: Okay! (Runs off.)Chandler: (incredulous) Already?!Rachel: Yeah, we gota lot to do! We gotta think about the flowers, the caterers, the music...Chandler: Oh, I got some thoughts on that.Rachel: Oh wait Chandler, too many cooks...Ross: Take it from me, as the groom all you have to do isshow up and try to say the right name.Monica: (returning) Okay! (Sets down a huge 3\" 3-ring binder on the table.)Chandler: What in God's name is that?!Ross: Oh my God, the wedding book?! I haven't seen that sincethe forth grade!Monica: This baby has got everything. Take y'know, locations for instance. (She opens up the binder to the locations chapter.) First, organized alphabetically, then geographically, then by squarefootage.Phoebe: That is so smart! (To Chandler, under her breath) Break it off. Break it off now.Opening Credits[Scene: A Classroom, Ross is giving a lecture.]Ross: And that should conclusively prove that I had theidea for Jurassic Park first! Now let's take a look at... (Phoebe rushes in.)Phoebe: Hey! Ross!Ross: Phoebe, oh my God! Wh-wh-what are you doing here?Phoebe: I need to talk to you, it's pretty urgent. It's about Monicaand Chandler.Ross: Oh my God! Of course, of course. (To the class.) Umm, would you please excuse me for a moment? Umm, do you know each other's hometowns? Why don't you... (Motions that they should learneveryone's hometown.) (To Phoebe) Wh-what's going on?Phoebe: Well, umm, not much. But, I was just thinking that since those guys just got engaged that maybe it would be nice if they had some privacy, y'know?So, could I just move in with you for a couple days?Ross: Umm, okay, yeah, sure. But wh-what's wrong with Monica and Chandler?Phoebe: Nothing-Why?!Ross: Phoebe, you said it was urgent!Phoebe: Oh yeah it is! I'mgoing to the movies and it starts in like five minutes.Ross: Do you realize I have a classroom full of students?Phoebe: (to the students) Oh, I'm sorry. I'm so rude. Does anyone want to come to the movies?[Scene:Monica, Chandler, and Phoebe's, Rachel and Monica are pretty much telling Chandler what the wedding plans are.]Monica: All right, so I haven't cleared the budget with my parents yet, but tell me how this is formusic.Rachel: Okay.Monica: All right umm, a string quartet for the procession.Rachel: Aw.Monica: A jazz trio for cocktails. The Bay City Rollers for dancing. Wait, that was from my sixth grade wedding.Chandler: Well,you couldn't get them anyway. Ian doesn't play anymore and Derrick... (Off of Rachel and Monica's looks) And Derrick is a name I shouldn't know.Joey: (sitting up from the couch) Hey Mon, do you have another pillow?(Holds up one.) Y'know, something a little snugglyer?Chandler: Why are you napping over here instead of over at your place?Joey: Well, the duck...Rachel: What?! The duck?! What the hell did the damn duck donow?!Joey: Uh, well he did not get sick somewhere in there and it was immediately found and properly cleaned up!Chandler: Now, do I get to look at this book or is it just for people who are actually involved in thewedding?Monica: Of course you can look at it! Yeah, I want your opinion too!Chandler: Okay.Monica: Here you go! What do you think about centerpieces?Chandler: Centerpieces!Monica: Yeah! Roses or Lilies? (Holds upa picture of each.)Chandler: Definitely roses. (Monica and Rachel exchange a look.) Well, I just think they're a little more weddingy. (Monica holds the Lily picture closer to him.) But Lilies are the clear choice.Monica: Ohmy God! It's like one mind.Chandler: Uh-huh!Joey: (sitting up again) Guys! Guys!! You gotta let me nap! Ugh, I'm gonna get cranky!Rachel: Joey, there is a perfectly good couch across the hall!Joey: Yes it is perfectlygood, and it is not one of the places the duck got sick!Rachel: What?!Joey: All right, I'm gonna go! (Gets up and heads for the door.)Rachel: Now Joey, what did the duck do?!Joey: I don't know! But he did not eat yourface cream![Cut to Joey and Rachel's, Joey enters and heads for his bedroom. He pushes open the door to find the duck.]Joey: Hey little buddy, how are you feeling? (The duck does not get sick and Joey recoils inhorror and heads for the couch.) What the hell is in that face cream? (He's about to try out the couch but notices the bed in Rachel's room. He walks into her room and feels the bed.) That's so soft. (He pulls back thecomforter.) Pillowcases! (He climbs in and groans in delight. Suddenly, he feels something under him and pulls out a little beat up paperback book. He opens it and starts to read from it.) (In his head.) Zelda looked atthe chimney sweep. Her father, the vicar...(Stops reading and thinks.) The vicar? (Continues reading) ...wouldn't be home for hours. Her loins were burning. She threw caution to the wind and reached out and grabbedhis...(Out loud.) Whoa! (Reads on in silence.) Whoa-ho-ho-ho! This is a dirty book! (Continues to read.)[Scene: Ross's apartment, Phoebe has moved in and has a massage client on the table she's set up in the livingroom. Ross enters and is shocked to see a naked man lying on the table.]Ross: Uh, Phoebe...Phoebe: Oh Ross, hi.Ross: Phoebe, what are you doing?Phoebe: I'm sorry, I'm with a client right now.Ross: Phoebe!Phoebe:Okay, let's talk outside.(They go into the hall.)Ross: Phoebe, you can't massage people in my apartment!Phoebe: What's the big deal? I did it at Monica and Chandler's!Ross: And they knew about it?Phoebe: (pause asshe considers it) Okay, well Ross, what is this really about?Ross: Look, this is my home and I want to be able to come and go whenever I want!Phoebe: Okay, I will find someplace else to do the rest of myappointments. I just don't know what the big deal is!Ross: The big deal is I don't want naked, greasy strangers in my apartment when I want to kick back with a puzzle-beer! Cold beer.[Scene: Joey and Rachel's, Joey issweeping up as Rachel enters.]Rachel: Hey Joey, what 'cha doing?Joey: Sweepin'. Why? Turn you on?Rachel: No.Joey: Huh. What if I was sweeping a chimney?Rachel: Joey, did you eat my face cream?(She walks intoher bedroom.)Joey: Where are you going? The vicar won't be home for hours.(She comes back out.)Rachel: Joey, (nervously) where did you learn that word?Joey: Where do you think, (pause) Zelda?Rachel: (gasps)You found my book?!Joey: Yeah I did!Rachel: Joey, what-what are you doing going into my bedroom?!Joey: Okay, look I'm sorry, I went in there to take a nap and I know I shouldn't have, but you got p0rn!Rachel:Hey-hey, y'know what? I don't care! I'm not ashamed of my book. There's nothing wrong with a woman enjoying a little...erotica. It's just a healthy expression of female sexuality, which by the way, you will neverunderstand. (She goes into her room.)Joey: You got p0rn![Scene: Ross's apartment, Ross is coming out of the living room carrying his salad and a puzzle-beer! Cold beer. And he decides to fold up Phoebe's massagetable, but being Ross has trouble with it as there is a knock on the door. He sets the table back up and opens the door to reveal a beautiful woman.]Ross: Hello.Woman: Hi, is uh Phoebe here?Ross: Uh no-no, she-she'sout for the night.Woman: Ohh great.Ross: Can I, can I help you with something?Woman: Well, I don't know. Are you a masseur?Ross: (deadpan) Yes I am.Woman: Great! (Calls down the hall) Dad! (Her old fatherwalks in.) Thank you so much, I'll be back to pick him up in an hour. (She walks away.)(Ross isn't happy and closes the door slowly.)[Scene: A Restaurant, Monica and Chandler are having dinner with her parents.]Mrs.Geller: So Chandler, your parents must've been thrilled when you told them you were engaged.Chandler: Oh yeah, I should probably call them.Mr. Geller: I remember when we first got engaged.Chandler: Oh, I don'tthink I ever heard that story.Monica: Oh dad, really you don't need to...Mr. Geller: (ignoring her) Well, I'd gotten Judy pregnant. I still don't know how that happened.Mrs. Geller: (incredulous) You don't know how thathappened?! Your dog thought my diaphragm was a chew toy!Chandler: What a sweet story.Monica: Well, at least you're not hearing it for the first time at your fifth grade Halloween party.Mr. Geller: What?! Theywanted a scary story!Monica: Anyway, we're really excited about our wedding plans, and well I guess pretty soon we'll be making a big withdrawal from the Monica wedding fund. (She and Chandler laugh, but herparents don't.) What?Mrs. Geller: You tell her Jack, I can't do it.Monica: What happened? You still have the Monica wedding fund don't you?Mr. Geller: We have it. Only now, we call it the beachhouse.[SCENE_BREAK][Scene: A Restaurant, scene continued from before the break.]Monica: I don't believe you spent my wedding fund on the beach house!Mrs. Geller: We're sorry honey, but we just assumed if yougot married after you turned 30 you'd pay for it yourself.Monica: You bought the beach house when I was 23!Mr. Geller: Which means you had seven years of beach fun and you can't put a price on that sweetie.Mrs.Geller: We really do feel bad about this though.Mr. Geller: We started saving again when you were dating Richard and then that went to hell, so we redid the kitchen.Monica: What about when I started datingChandler?Mrs. Geller: Well it was Chandler! We didn't think he'd ever propose!Chandler: Clearly I did not start drinking enough at the start of the meal. (Starts to make up for lost time and takes a big swig of hisdrink.)Monica: I can't believe it! That there is no money for my wedding?!Mrs. Geller: We might still have some money, if your father didn't think it was a good idea to sell ice over the Internet.Mr. Geller: It seemed likesuch a simple idea.Mrs. Geller: Stupid Jack, the word is stupid.Mr. Geller: All right, enough! I don't want to hear about it anymore! (Under his breath) Good luck, Chandler. (Chandler takes another drink.)[Scene: Ross'sapartment, his massage client is on the table and Ross is reluctantly starting his massage. He spreads some lotion in his hands, and doesn't like it.]Ross: Okay! Now, I'm going to touch you. (He does so, very gingerly.)Ohh, that's soft. (He starts poking him and notices his salad spoons and starts to massage him with those.)[Scene: Monica, Chandler, and Phoebe's, Monica and Chandler are returning from dinner, Rachel is alreadythere.]Monica: I can't believe this. Do you think that your parents could help pay for it?Chandler: I don't know, my mother spent most of her money on her fourth wedding. She's saving the rest for her divorce. And anyextra cash my father has he saves for his yearly trips to (Pause) Dollywood.Rachel: Well what happened at dinner?Monica: My parents spent the money for our wedding!Phoebe: (gasps) My God! What did youorder?!Rachel: Wait, but there's no money! Well this is terrible! You guys are gonna have to get married in like a, rec. center!Chandler: Honey, it's gonna be okay.Monica: No! No it's not! It's not gonna be okay! Itsucks! No swing band! No lilies!Rachel: No, y'know what? It's gonna be okay. I mean you don't have to have this rustic Italian feast. Y'know? And-and you don't need, you don't need this custom-made, empire-waisted,duchess, satin gown; you can wear off the rack. (She starts to cry, as does Monica.)Chandler: Look, it really is gonna be okay. The important thing is that we love each other and that we're gonna get married.Rachel:Do you even understand what off the rack means?!Phoebe: Look, why don't you just pay for it yourself?Monica: How? I don't have any money.Chandler: Well, I have some.Monica: How much?Chandler: Well, close to...(Notices Rachel leaning in to hear and decides to write it on a piece of paper and hand it to Monica as Phoebe averts her eyes.)Monica: Whoa!!! Are you kidding me?!Rachel: Well what?! How-how much is it?!Monica: It'senough for wedding scenario eight.Rachel: Ohh! (Whispers.) Really?!Monica: (To Chandler) How great are you, you little saver?! I mean, the-the amount you have is exactly the budget of my dream wedding!Rachel:(starting to cry) Ohh, you guys are so made for each other.Chandler: Well, you're not suggesting that we spend all of the money on the wedding?Rachel and Monica: Ah, yeah!Chandler: Well, come on, I've been savingthis money for six years and I kinda had some of it earmarked for the future, not just for a party.Phoebe: (reading the slip of paper) Wow! (In a sultry voice) Hello, Mr. Chandler.Monica: This is the most special day ofour lives.Chandler: No, I realize that honey, but I'm not gonna spend all of the money on one party.Monica: Honey, umm I-I love you, (laughs) but umm, if you call our wedding a party one more time, you may not getinvited. Okay? (Laughs) Listen, we could always earn more money, okay? But uh, we're only gonna get married once.Chandler: Look, I understand, but I have to put my foot down. Okay? The answer is no.Monica:You-you're gonna have to put your foot down?Chandler: Yes, I am!Phoebe: Wow, money and a firm hand. Finally a Chandler I can get on board with.[SCENE_BREAK][Scene: Central Perk, Joey and Ross are there asRachel enters and sees Joey sitting there.]Joey: Hey Rach.Rachel: (quietly) Joey.Joey: Hey Rach, do you smell smoke?Rachel: Uh-huh, I get it, smoke, chimney, chimney sweep, very funny, ha-ha.Joey: No-no-no, I'mserious. You don't smell it? Something's on fire.Rachel: Well no, I don't smell anything.Joey: Oh, y'know what? It's probably just your burnin' loins.Ross: (sitting down) Hey, what are you guys, what are you guys talkingabout?Rachel: Nothing!Ross: (takes a drink) Damn, this coffee's cold! Hey Rach, do you mind if I heat this up on your loins? (Joey and he both laugh.)Rachel: Y'know, I can not believe you told him, Joey!Ross: So Iguess you bought that book after we broke up huh?Rachel: Uh-huh, yeah I did, because I wore out my first copy when I was with you. (Exits.)Ross: (chases her) Oh yeah, yeah? Well uh, when we were going out, I readtons of porno magazines! (Realizes a table of women overheard him.) (To that table.) 'Sup?Phoebe: (entering) Ross! How could you do that to an old man?!Ross: (looking at the table) Excuse me ladies. (To Phoebe) I'msorry?Phoebe: My massage client, Arthur? His daughter called and said that some guy that worked for me gave him a really weird massage this afternoon.Ross: (incredulous) I gave him an extremely professionalmassage!Phoebe: He said you poked at him with wooden spoons.Ross: Okay, so it wasn't uh, a traditional massage. But I did give him acu-pressure with a pair of chopsticks. And, and I gently exfoliated him with, with amop.Phoebe: Well, he's never coming back! Okay? You just cost me eight dollars a week!Ross: Hey, y'know what? This is your fault! You're the one that didn't move his-his appointment.Phoebe: Oh, it's my fault?! Youdidn't have to massage him! You could've sent him away! You could've not rolled Tonka trucks up and down his back!Ross: He said he liked that!! Oh you're right, you're right. I'm sorry.Joey: Dude, what are youmassaging an old man for?Ross: His daughter was hot.Joey: Gotcha.[Scene: Monica, Chandler, and Phoebe's, Chandler is looking at the wedding book as Monica enters.]Monica: Hey.Chandler: Hey.Monica: Listen umm,I've been thinking, it's not fair for me to ask you to spend all of your money on our wedding. I mean, you work, you work really hard for that.Chandler: Ehh.Monica: Eh, you work for that.Chandler: Look, I thoughtabout it too, and I'm sorry. I think we should spend all of the money on the wedding.Monica: You do?!Chandler: Yeah, I'm putting my foot down. Yeah look, when I proposed I told you that I would do anything to makeyou happy, and if having the perfect wedding makes you happy then, then that's what we're gonna do.Monica: Oh, you're so sweet. (They hug and kiss.) Oh, but wait, what about our, what about the future andstuff?Chandler: Eh, forget about the future and stuff! So we only have two kids, y'know? We'll pick our favorite and that one will get to go to college.Monica: You thought about that?Chandler: Yeah.Monica: How manykids were we gonna have?Chandler: Uh, four, a boy, twin girls and another boy.Monica: What else did you think about?Chandler: Well, stuff like where'd we live, y'know? Like a small place outside the city, where ourkids could learn to ride their bikes and stuff. Y'know, we could have a cat that had a bell on its collar and we could hear it every time it ran through the little kitty door. Of course, we'd have an apartment over thegarage where Joey could grow old.Monica: (laughs) Y'know what? I-I don't want a big, fancy wedding.Chandler: Sure you do.Monica: No, I want everything you just said. I want a marriage.Chandler: You sure?Monica:Uh-hmm.Chandler: I love you so much.Monica: I love you. (They kiss.) Hey listen umm, when, when you were talkin' about our future you said cat, but you meant dog right.Chandler: Oh yeah, totally!Monica: Ohgood.Ending Credits[Scene: Joey and Rachel's, Rachel is balancing her checkbook as Joey enters from his room wearing a hockey helmet, gloves, and shin guards.]Joey: Hello, Zelda.Rachel: Who are you supposed tobe?Joey: The vicar!Rachel: Do you even know what a vicar is?Joey: Like a goalie, right?Rachel: (sarcastically) Yeah. Look Joey, it's enough alright?! You keep making these stupid jokes and this sleazy innuendoes andit's-I'm not-it's just not funny anymore!Joey: All right, I'm sorry. Rach I-Rach I'm sorry. Okay? I'm sorry! Maybe I can make up for it by, taking you roughly in the barn. (Giggles.)Rachel: All right! Y'know what? That'sit! You wanna do it?! Let's do it!Joey: Huh?Rachel: (starting to move closer to him) That's right, I wanna do it with you! I've been trying to fight it, but you just said all the right things.Joey: (nervously backing away)I-I-I-I did? (He puts a stool in front of her.)Rachel: (moves the stool out of the way) Yeah! Ohh, I've been waitin' so long to get on that body!Joey: This body? (He backs into the kitchen.)Rachel: Yeah that's right! Comeon Joey; s*x me up!Joey: Hey-hey, you're startin' to sound like the butcher's wife there in-in chapter seven.Rachel: Oh, come on now, don't keep me waiting. Get those clothes off! But, I would keep that helmet onbecause you're in for a rough ride! (He backs into the door.)Joey: I don't want to, I'm scared.(Rachel walks away, pleased with herself.)"}
+{"doc_id":"doc_256","qid":"","text":"[PREVIOUSLY_ON]Julian : I decided not to produce the movie. There's this girl that... I'm kind of in love with, and... I couldn't be away from her for another day.Haley : I know the label's gonna run a lot smoother withyou at the helm.Miranda : I'm not here to run the label. I'm here to close it.Mouth : You're mad because I want you to move out, but it's only because I'm trying to step things up with Millie.Skills : You trying to get ridof me with your naked ass. It ain't gonna work.Quinn : You know earlier when... when I said I miss David?Haley : What happened, Quinn? You said he...Quinn : I left him.Clay : Does that girl look familiar to you?Nathan: Yeah, she was at the party today. Why?Clay : She says she slept with you on the road, Nate, and she's going public.AT BROOKE'S HOUSEMan : And where will you run... back to the life of a peasant harlot?Alex :Perhaps I will. But should I return to a life of more meager means, I will do so with my dignity intact, my heart pure and true.Man : And yet you had no dignity nor purity in my bed a fortnight ago.Alex : Meager means,indeed.Man : Harlot! Leave the dress!Brooke : Millie was right. Alex Dupré is the perfect choice to be the face of the new campaign. She's smart. She's talented. She is crazy beautiful. Julian?Julian : I'm shaving!Brooke: How come this movie never came out?Julian : Because smart and talented and beautiful got all hopped up on goofballs and had to be checked into rehab. By the way, those dailies are top secret. I had to call in abouta dozen favors to get 'em.Brooke : Aww, my baby's so good to me. Damn. I am really gonna like this living-together thing. I want you to move your stuff in, okay? This is our house now, not just mine.Julian : Good.Well, then how would you feel about going back to our bedroom for a little while?Brooke : I'd make a joke about meager means, but... it would simply be untrue.ON THE BEACHClay : Hey. You know I'm not judging you,right?Nathan : Clay, listen, man, you've known me for a long time now. I don't care what that woman says. I did not sleep with her, all right?Clay : All right.Nathan : It's unbelievable to me that she could just show upand spout a bunch of lies, and the next thing you know, I'm in the headlines, my family's in the headlines, and I'm guilty before I'm innocent.Clay : Don't freak out. You're not in the headlines yet. And believe it or not,this kind of thing, it happens a lot. You're a public figure, and they know you make a lot of money.Nathan : I'm in a contract year, Clay.Clay : I know. So, here's what you're gonna do. You're gonna stay in shape, you'regonna stay focused, and you're gonna let me handle it. All right?Nathan : All right.*yeah*AT SCOTT'S HOUSEHaley : It has been ringing off the hook.*waves crash along*Haley : Quinn, what happened? I mean, whatactually happened between you and David?Quinn : He just changed, you know? I mean, he used to see the world exactly the way I saw it. He just doesn't anymore.Haley : But he still loves you.Quinn : I know. But Idon't know if that's enough.Haley : I'm sorry. I got to go. I got to go down to the studio and take care of this whole \"shutting us down\" mess.Quinn : Do you need my help?Haley : No. You just stay here and enjoy yourday. I'll see you later.Quinn : Okay.Haley : It's gonna be okay, Quinn.Quinn : I love you.Haley : I love you, too. *keep your hello* *don't think about it at all*AT MOUHT'S APPARTMENTMillicent : Is it okay?Skills :You're good.Millicent : Damn it, Skills!Skills : What up, Millie?Millicent : You and Marvin need to stop this ridiculous naked standoff!Skills : Hey, look, he started it, trying to get me to move out.Millicent : Okay, look...I'm going to pick up Alex Dupré from the airport. I'm gonna work a full day, and when I get home, you two idiots better have your pants on!IN THE CARJamie : So, what are you gonna do?Skills : I ain't moving out.That's for sure.Jamie : Why not? If Chester hopped around without his fur on, I'd probably move out.Skills : Yeah, well, it's a long story. So, you ready for the beach?Jamie : Totally. You think I can bury you and MissLauren in the sand?Skills : Cool with me. Oh, and, um, don't tell Miss Lauren about the whole moving-out stuff, all right?Jamie : Why not?Skills : Just don't. Wait. Uh-Oh, here she comes.Lauren : Hey, boys. Ready forthe beach? What are you guys up to?Skills : Nothing.Jamie : Nothing.Lauren : Huh.*that girl's a genius* *whoa oh oh oh oh oh oh*TV BROADCASTDan : Never believe that you can deceive. You might think that you canget away with it. You might actually get away with it... for a while. But your life is made up of choices and decisions.AT BROOKE'S HOUSEPaul : Hi, Julian.Julian : Dad. What are you doing here?Paul : I came to talk youout of the worst decision of your life.TV BROADCASTDan : Poor choices, poor life. Bad decisions... bad life.AT RED BEDROOM RECORDSHaley : Come on. Where is it?Miranda : Page 7, item 4... It's the part of thecontract that basically says we can acquire the label whenever we'd like.TV BROADCASTDan : Wickedness... As you know, I've been there. I'm not alone. My wife was, too. She was deceptive and manipulative. Sheabused drink and drugs. She was promiscuous. But today she stands beside me a changed woman, a caring woman, a better woman. Ladies and gentlemen, my wife, and the love of my life.*my girl's ready to takecontrol* *she just blows my mind* *she only listens to the radio*Dan : I love you, honey.Rachel : I love you, honey. *yeah* *she wakes up scared of getting old*AT BROOKE'S HOUSEJulian : I didn't make a baddecision, dad.Paul : Is that right? You walked away from a potential blockbuster movie days before production, and for what?Julian : For love.Paul : Love... with Brooke Davis.Julian : Be careful, dad.Paul : Julian, she'sBrooke Davis! I read the tabloids. This is a fling for her, and it could cost you your career!Julian : I think you need to leave.*behind the tv screen I've fallen to my knees*Paul : Your career was one movie away frombeing prestigious... This movie. And you walk away. For what? A promiscuous fashion designer. *I need to get away* *blanket of silence* *makes me want to sink my teeth in deep* *burn all the evidence*AT REDBEDROOM RECORDSMiranda : Oh, this glass is gonna look amazing in my loft in Los Angeles.Haley : All right, Miranda, I know that you have a legal right to shut down the label, but you don't have to be a total bitchabout it.Miranda : You're the producer, Haley, and, potentially, a great artist, but you don't have time to record because you're running what is essentially a vanity label.Haley : Va... vanity la... You guys would not haveMia Catalano if it wasn't for this label. You wouldn't have had the time or patience or interest to develop an artist like her. That's what small labels do. We develop and nurture artists. It's something corporate labels willnever do.Miranda : I've always wanted a pool table.AT BROOKE'S HOUSEBrooke : I can't believe your dad just came all this way to tell you he thinks you're making a mistake. He couldn't call or text or tweet that toyou?Julian : He's a movie producer, Brooke. He loves the dramatic.Brooke : Well, what else did he say?Julian : He wanted to know what my game plan was... was I still actively producing, do I have a development stafffinding me new properties, and...Brooke : That is some poster.Julian : What? Oh, right. You like it?Brooke : Yeah. It's... different for the living room.Julian : He was just so crazy, my father.Brooke : Do you think maybeyou would like that better in the spare bedroom or in your office? We could get you an office for that.Julian : Look, my dad just flew five hours to ask me if I'm quitting the business and getting married.Brooke : Whatdid you say?Julian : I asked him to leave.Brooke : No, about the \"marriage\" part.Julian : I told him he was crazy. We're not getting married. We just moved in together. I... I don't... I don't know what the hell got intohim.*I ain't got no other place to hide* *chained down like a sitting duck* *just waiting for the fall*TV BROADCASTRachel : Hey, you.Dan : The clock... it was a good idea. I think it reminds people that every secondcounts.Rachel : It's easy. People don't have to work that hard to get it. We have that dinner tonight with the investment guys from Texas. I think you should tell them the whole \"phoenix rising from the ashes\" story.They'll love it.Dan : It was a good show today. I think we might have reached some people. Do you think it was a good show?Rachel : I'll let you know after I see the ratings. I got to go.Dan : Hey. I love you.Rachel : Iknow, baby. Wear your gray suit tonight. You always look good in that suit.AT THE AEROPORTAlex : Guys.Fan : Right here!Alex : Hey. There you go.Fan : One more.Tanya : Miss Dupré? Miss dupré? Could I get anautograph?Alex : Oh, yeah, sure, you pretty thing. What's your name?Tanya : Tanya.Alex : Tanya?Tanya : I loved you in \"Heart so true\". You were so brave in that.Alex : Oh, thank you, sweetie. But that's just acting.You're the brave one.Tanya : Thanks.Alex : Bye. Bye bye.Millicent : Alex, Millicent Huxtable, Clothes Over Bros. Welcome to Tree Hill.Alex : Thank you.IN THE CARMillicent : Can I just say that I am your biggest fan?And it's because of things like that... that you would take the time to inspire that poor girl in the wheelchair after such a long flight.Alex : They kind of creep me out.Millicent : What?Alex : Cripples and, like, retardedpeople. They're always, like, drooling and smiling really weird. It's so gross. Water, water, water. Um, is there any wine in here?Millicent : Um, I thought you were sober. You just went to rehab.Alex : Ugh, do notremind me. They took my phone away. Besides, wine's not even alcohol. It's like grape. Ugh, it's so hot out there. Where the hell are we? It's like the devil's ass in this place. When do I get paid?Millicent : I think youragent takes care of that.Alex : Can I just tell you... I hate that woman. She's like a complete alcoholic, and her fingers look like chicken feet. Btw, I am starving. Is there any food?Millicent : Well, I read that you onlyeat organic food, so we have an entire organic feast waiting at the hotel.Alex : Yeah, I just make that stuff up. Can you drive through a Mickey d's? I could totally eat the butt off a skunk right now.Millicent : Um, driveon... please.ON THE BEACHClay : Nate, it's gonna be okay. You know, we haven't heard from this woman since the one e-mail. So, until it's real, it's not real. You know, and besides, who the hell would want to sleepwith you, anyway? Okay, I know it's bad timing, but damn.Nathan : Dude, quit checking out my sister-in-law.Quinn : Hey, dumb and dumber.Clay : Hey.Quinn : Nice day, huh?Nathan : I don't know. Maybe you're right.Maybe it's nothing.Clay : Actually, uh... now it is something.Lauren : Hey Jamie can you scratch my noze. Aah, thank you. Oh! My hat!Jamie : I'll get it.Lauren : Ohh.Skills : Can you move?Lauren : Not a muscle.Skills :Me neither. Man, I hope that knucklehead come back.AT RED BEDROOM RECORDSHaley : So, listen, Peyton, here's the thing... Uh, you know how I... insisted that you keep that 1 % of the label? Well, it... it kind ofkilled the label. But, Haley... Okay, okay, I'm sorry. I can see that I'm upsetting you, and I don't want to do that. So, um, let me just, uh... Talk to Lucas. Geez, Haley, I... I... I... I... I don't know, you know? This hasreally meant a lot to... Peyton. I know. I know. I'm a terrible friend, and there's nothing that I can do unless I... You might be a genius, Haley. Thank you, Haley.* am I * * am I losing my mind? *ON THE BEACHJamie :Oh!Quinn : Jamie?Jamie : Aunt Quinn!Quinn : Hey! Who let you off your leash?Jamie : Uncle Skills, but he didn't bring the leash today.Quinn : Okay, where is he?Jamie : He's over there. Miss Lauren, too. This is herhat. Cool.Quinn : Well, I was just on my way to go get a snack. Can I tempt you?Jamie : Sure.Quinn : Yeah? You should probably tell them you're with me.Jamie : Denzel, this is Macaulay. Denzel, this is Macaulay. I'mgoing for a snack with my aunt Quinn. Over. Okay, all set. Stupid, crazy nanny.Quinn : Hop on. Whoop! There we go. What do you want?ON THE STREETDan : Hey, give me a sec, okay?Rachel : Okay.Dan : Mind if I joinyou?Man : Spare a few bucks?Dan : First... you mind telling me how you got here?Man : You must be one of them religious guys or something.Dan : No. I got nothing against religion. If you ask me, the one man yougot to believe in... is you.Man : I stopped believing in me a long time ago.Dan : Why? You made some mistakes? You failed sometimes? Listen. No matter what mistakes or failures you had, they weren't even close tomine. There's a book you should read.Man : You're talking about the bible.Dan : No, man, it's not the bible. It's this book. Listen. There's a used-book shop around the corner. Now, you can take this book, sell it for afew bucks, buy yourself a bottle, and feel good for a few minutes. Or you could read it and feel better for the rest of your life.Man : Hey. What your name is, man?Dan : My name is Dan Scott. And I believe in you.ATCLOTHES OVER BROSMillicent : He probably didn't mean it.Brooke : It was just the way he said it, as if the very idea of us ever getting married was somehow completely ridiculous to him. And then he hung this uglyarmy-man poster in the living room. I have to talk to him.Millicent : Okay, but he might freak out a little if you start talking marriage so soon.Brooke : No, about the poster, you dork. It has to go. I am really excited tomeet Alex, though. How is she?Millicent : Um... she's really... something. She just wanted to freshen up. You're gonna love her.AT THE HOTEL ROOMMillicent : She's gonna hate you!Alex : Go away, you witch.Millicent :\"Witch\"? \"Witch\"?! Look, missy, my ass is on the line here!Alex : You mean your big ass.Millicent : Really? Really? Get up!Alex : I'm tired!Millicent : Well, you better get un-tired because you're going over to ClothesOver Bros, and you're gonna convince Brooke Davis that the half-million dollars she's paying you is not a waste!Alex : Half a million dollars?AT THE RESTAURANTClay : So, you want to talk? Talk.Renee : What, no\"hello\"? No introductions?Clay : Your name's Renee. I recognize you from the picture you took when you trespassed at a 7-Year-Old's birthday party. You have a last name?Renee : You're kind of hot when you're allfired up.Clay : I know he didn't do it. I don't know what your angle is, and I don't know why you targeted Nathan Scott, but what I do know is that he didn't do it.Renee : You're quite the party boy, aren't you?Clay : I'msingle. He's not.Renee : Oh, like that matters.Clay : Maybe not to girls like you, but to Nathan it does.Renee : \"Girls like me.\" You know what's so great about justice? It doesn't discriminate against \"girls likeme.\"Nathan : What do you want from me?Clay : Whoa, walk away, Nate.Nathan : Huh?Renee : Hi, Nathan.Nathan : You need to stop this.Clay : Outside.Nathan : You need to stop this now, okay? Do you hear me? Whyare you doing this to me?Clay : Come on.Clay : What the hell is wrong with you?Nathan : I just wanted to talk to her.Clay : In public? In front of a roomful of people with camera phones and video, you wanted to talkwith her, just thought you'd have a little chat?Nathan : I'm sorry. I screwed up.Clay : Yeah, you screwed up, Nate!Nathan : What does she want?Clay : I don't know. I was about to find out until Nathan Scott stormed inlike a madman!Nathan : Look, I said I was sorry, jackass. Let it go.Clay : I'm gonna see if she'll sit down with me again. In the meantime, you just, um... Try not to get thrown through a window, all right? Damn it,Nate.AT CLOTHES OVER BROSMillicent : Brooke? Please don't fire me. Please don't fire me.Alex : Shut up. I'm an actress. I got this.Brooke : Alex, hi, I'm Brooke Davis. It's so nice to meet you.Alex : Oh... my... God.You are so beautiful.Brooke : Thank you.Alex : Can I just say that I'm so happy to be here? And I think it's so great that you make designer clothes for plus-sized girls. I never knew it was based on you, but I thinkthat's so sweet.Brooke : Uh, no, I'm normal-sized.Alex : Oh, I know, but I have the best diet for you. You're so gonna lose that weight.Brooke : Okay. How was your flight? You flew private, right?Alex : Uh-Huh. Theylet me ride in the cockpit. It was so rad.Brooke : In the cockpit?Alex : Totally. They let me steer the plane and everything.Brooke : They let you fly the plane.Alex : I know! I'm so a cockpit girl.Brooke : That's what shesaid.Alex : Who?Brooke : Who what?Alex : You... you said she said something, but I don't know who you mean.Brooke : No, it's... it's an expression. When someone says something that sounds sexual, you say, \"that'swhat Alex : she said\".Alex : Oh. Right.Brooke : Okay.Alex : Why don't we show Alex the new line?Brooke : Great. You're gonna love it. It's kind of elegant and kind of edgy, and the pieces are a lot like this one.Alex :No, I don't like that.Brooke : Why?Alex : Uh, first of all, it's purple. When I was a little girl, there was this dinosaur thing, and it totally freaked me out, and it was purple.Brooke : You mean Barney?Alex : Yeah. That'swhat she said.Brooke : Okay. That's totally wrong, but...Alex : I know. I'm so funny, huh? My best friend, Kimmy, told me I should totally do more comedy. She says most people are really uptight, but I'm not tight atall.Brooke : That's what she said.Alex : Who? Oh, Kimmy? Yeah, she said that. She said I'm so much funnier than Cameron Diaz. I mean, plus, have you seen my ass? Come on. Way better than hers. Like way.Brooke :Could you excuse us for just... One minute?Alex : Sure. I have to pee, anyway.Brooke : Great. Second door on the left.Alex : Okay.Millicent : I'll just clean out my things and go.ON THE BEACHJamie : Remember thattime I stayed with you and uncle David for a whole week?Quinn : Yep, and we made pancakes every morning with chocolate sauce and whipped cream?Jamie : Maybe if David comes, we could do that again.Quinn :Yeah. Maybe. Hey, are you sure Skills and Lauren won't be worried about you?Jamie : Oh, man!IN THE CARJamie : At least I got your hat.AT RED BEDROOM RECORDSHaley : So, can I talk to you?Miranda : Would youlike to speak with me or talk to me?Haley : Oh, brother, you are a piece of work. So, you're excited about my record, right? John Knight's excited about my record, which is why you guys want to close Red Bedroom...to free me up to record?Miranda : In part, yes.Haley : If you close Red Bedroom, I'm not gonna make an album.Miranda : Haley, you need to remove the emotion from this. It's a business decision. It's notpersonal.Haley : It is personal. Everything about this label is personal... why Peyton started it, why she made me her partner... It's as personal as it gets.Miranda : If you don't record with us, you don't record at all. Wehave a contract with you. We own you.Mia : But you don't own me.Miranda : It's a pleasure to meet you, Mia. I've seen you perform a few times, but we've never been formally introduced. Miranda Stone.Mia : Haley'stold me a lot about you.Miranda : Red Bedroom records will always be important to us, but at the moment...Mia : Can we just cut to the chase?Haley : How is Chase?Mia : He's good. He says hi. Thanks.Haley : Aww, Iwas there at your first date.Mia : Oh, I know. You and Nathan were so great. I sold more records than any artist on our roster last year. But if this label goes away, so do I.Miranda : How so?Mia : You distribute myrecords, but I record for Red Bedroom, exclusively. Peyton made sure of that.Haley : It's true. I checked.Miranda : Wow. Everyone has their price.Mia : No, actually, not everyone. Peyton and Haley are responsible formy career, and you can't put a price on that. And even if you do, I won't accept it. So, congratulations. You're about to lose your biggest-selling artist. Does that pretty much do it, Hales?Haley : Yes. Thank you.Mia : Sogood to see you.Haley : Oh, good to see you, too. You look so cute.Mia : Thanks. I'll let you two talk.Haley : Yeah? Who's the bitch now, bitch?AT CLOTHES OVER BROSMillicent : I'm so sorry. I should have met with herfirst. I thought she was the girl from her movies.Brooke : It's okay. I thought so, too. She has been in that bathroom a really long time.Millicent : What are we gonna do?Brooke : I'll tell you what we're not gonna do.We are not gonna pay that dum-dum $500,000. We'll just have to... tell her something. We'll say the company went bankrupt or... Or maybe... we should just start speaking Spanish and she'll get really confused andshe'll just leave.Millicent : I don't think that's gonna work.Brooke : It might. She is really dumb.Alex : Brooke?Brooke : Buenos dias. Tenido mucha cerveza.Millicent : Ay, mucha cerveza.Alex : It's okay. I, uh... I knowI'm not what you expected. You don't have to pay me. It's just...Brooke : That's one of my designs.Alex : Since rehab, this dress is all I have. When I felt like I was nothing, it gave me strength and dignity. So, nomatter what happens to me or where my life takes me, I'll wear this dress... your dress... and I'll be fine.Brooke : It's okay. Of course we will pay you. I... I think you look beautiful in that dress, and I think you're"}
+{"doc_id":"doc_257","qid":"","text":"EXT. - L.A. - WAREHOUSE BUILDING - DAY[The sound of slow breathing. The scene fades in with klezmer music. Jenny gets out of her car which is parked next to a warehouse by the freeway. Car traffic and policesirens are heard in the distance.][Title card: Los Angeles, California, present day][Jenny walks up to the warehouse. A sign on the building reads \"Howling Coyote\".][Jenny goes in. The breathing sound in thebackground begins to speed up. Jenny walks through a corridor to a main area with a small stage. A woman sits at a table. A big man looking at a clipboard walks past.]Woman: Hey, Victor. She's here.[Victor looks atJenny.]Victor: Yeah. So? (shrugs)Woman: Trust me. She's a very sick girl.[The breathing stops. Jenny smiles.][Opening credits]INT. - SHANE AND JENNY'S HOUSE - JENNY'S ROOM - DAY[Jenny sings softly in Hebrew.She slowly flips through the pages of a sketchbook, wherein is drawn disturbing pictures of a naked young woman: urinating in a bowl, being shouted at by a young man wearing a clown t-shirt, and standing on a stagein front of a crowd of cheering, shouting men, lifting her skirt. The title of one of the drawings reads \"Skokie, Illinois, 1989\". The sound of men cheering and whistling loudly is heard in the background.][The men in thecrowd look vicious, like animals, as they shout at the young girl on stage. Jenny has drawn many of the men in the crowd with warped, bizarre faces, as they jeer and show their teeth at the girl on the stage. Some ofthe men stare hard; others have their mouths open, shouting.][Cut to live-action footage of men crowded around a small stage, shouting and banging on the stage animalistically. The men are almost uncontrollable.The scene goes back and forth between live-action shots and the drawings.][We see a drawing of a young Jenny, stripped down to her underwear, standing alone as hands reach for her. The sounds of cheering andshouting finally drift away. Jenny still sings softly.]INT. - BETTE'S HOUSE - LIVING ROOM - DAY[Deliverymen are bringing in a hospital bed for Melvin. Kit sits nearby. Bette moves furniture around.]Bette: Just right inthe middle of the living room.Kit: Not a good decorating choice. You're going to be sorry.Bette: I just had to get him out of the hospital. It was killing him.Kit: Cancer's killing him.Bette: (to deliverymen) That's great.Right there. Can you guys hook that up for me, please?Deliveryman: Really not our job, ma'am. Here are the instructions.[The deliveryman hands Bette a slip of paper before leaving. Bette reads it.]Kit: Do you haveany idea what you're taking on? Are you prepared to watch our father die right here in your living room?Bette: He could go into remission, Kit. Don't put him in the ground quite yet.Kit: He's refusing treatment.Bette:His doctors give him four to six weeks. I give him as long as he wants to stay alive.Kit: And what about work?Bette: (sighs) Don't worry about work, Kit. I just... want to make sure that Daddy's set up. I'll figuresomething out.Kit: I don't think you know what you're in for. This is going to eat you alive.Bette: I didn't know that I would be taking it on all by myself.Kit: Then you should have talked to me. You should have includedme in this huge decision you made about how our father's going to leave this earth.INT. - SHANE AND JENNY'S HOUSE - JENNY'S ROOM - DAY[Jenny still sits, looking at the sketchbook, still singing softly in Hebrew.Shane walks in with coffee and a muffin and sits down next to her.]Jenny: Thank you. That's nice.Shane: They're from Mark.Jenny: No, thank you.Shane: Look, he asked me to bring it.Jenny: I'm not going to let theb*st*rd redeem himself.Shane: Look, I doubt he thinks that coffee and a muffin's going to redeem him.[Jenny says nothing, continues looking at the sketchbook. Shane gets up and walks to the door.]Shane: Look, Ihate to bring this up, but... we have rent -Jenny: No, no, no. I know.Shane: You know, Jen, I'd - I'd cover you if I could -Jenny: No.Shane: You know, Mark offered -[Jenny turns around to Shane.]Jenny: No.[She turnsback to her sketchbook.]Jenny: I'll pay my own rent.Shane: Okay.[Shane leaves.]EXT. - BETTE'S HOUSE - FRONT PORCH - DAY[Shelly, the nurse, walks to the front door.]EXT. - SHANE AND JENNY'S HOUSE - FRONTPORCH - DAY[Mark is busy scraping old paint off the house with a paint scraper.]INT. - BETTE'S HOUSE - LIVING ROOM - DAY[Bette is taking down some of the more suggestive art she has in her house. Shelly knocksat the door.]Bette: Come in.Shelly: (entering) Hi.Bette: Oh, thank God you're here. Can you figure out how to hook that thing up?Shelly: Oh, yeah, sure. (pointing to her bags) Is there anywhere that I can...Bette: Oh,there's a spare bedroom around the corner, at the end of the hallway.Shelly: Okay.THE BABY'S ROOM -[Shelly walks into the spare bedroom and sees the glass mobile and a baby's crib. She sets down her bag andwalks back out to the living room.]LIVING ROOM -[Bette is now putting up pictures that were in a box of her and Tina. She looks at a picture a moment, and then sets it on the nightstand. Shelly enters.]Shelly: I seeyou have a baby.Bette: No, not yet. Maybe. I mean, yes, in 10 days. My ex. My ex, she's due in 10 days.Shelly: You have a lot on your plate.[Bette begins dialing a number on her phone.]Bette: That's nothing new tome.Shelly: Have you thought about what's going to happen if your father's still alive when the baby's born?[Bette looks a little confused.]Bette: He will be. (phone) Hi, James, it's me.[Bette paces as she talks. Shellyprepares the IV by the bed.]Bette: (phone) Can you call my father's housekeeper and have her send out my father's family photographs? Just have her overnight them to me. Okay. Okay, great. Thanks.[Bette hangs upand sighs, and turns to Shelly.]Bette: I was looking at my father's medication chart. Why is he taking Prednisone? Isn't that some kind of steroid?Shelly: Yeah, it can help with mental clarity when there's inflammationor swelling around the brain.[Bette stares at Shelly, seemingly struck by the gravity of the words.]Shelly: Towards the end, it'll get very... confusing and frightening. And not just for the patient.[Bette looks sad.]INT. -THE PLANET - HELENA'S TABLE - DAY[Tina, Dana, and Alice walk in. They pass Helena and Leigh who are at a table together, staring into each other's eyes and holding hands. Helena sees Tina.]Helena: Tina![Theyunclasp hands.]Helena: Dana, Alice. Do you know Leigh Ostin?[Leigh waves at the gang.]Dana: No, hi.Leigh: (re: Tina's belly) Oh, my God. You're so close. How are you feeling?Tina: Oh, hungry.[Everyone chuckles.Helena grins.]Leigh: Hey, is this Bette Porter's baby?Tina: Well, our baby.Leigh: Oh, I just met her recently. She is great.Helena: Didn't she ask you out?Leigh: (smiling uncomfortably) Yeah.[Helena smiles a bitvindictively at Tina. Tina gives a little laugh.]Tina: Uh, we're going to go sit down.Alice: Yeah.Helena: See you.Dana: Bye.Helena: Oh, but I'll see you here later tonight, yeah?Tina: Oh, um, maybe. I just feel like a hotbath and my own bed tonight.Helena: Well, we'll make it an early one.Tina: We'll see. (to Leigh) It was nice seeing you again.Leigh: You too.Helena: Bye.Leigh: Bye.Dana: Bye.[Helena watches after Tina as she goes toanother part of the cafe and sits down; she looks somber, somewhat hurt.]AT TINA'S TABLE -Dana: Okay...[Everybody picks up a menu and starts looking at it.]Dana: So... so you're okay with that, huh?Tina:What?Dana: (nodding head toward Helena) That.[Tina looks over. She doesn't seem upset or anything.]Tina: Oh. Yeah, I'm okay with it.Dana: Oh.[Alice looks distant.]Alice: I wouldn't be okay with it.[Lara suddenlyappears out of nowhere.]Lara: (to Dana) I was wondering when I would see you in here. You haven't come in for dinner.Dana: (shocked) Oh, my God!Lara: Can I have a hug?Dana: Yeah![Dana gets up and they hugvery happily.]Dana: (hugging) Hi, wow, look at you![Alice stares at them, dumbstruck. She looks a tad put off.]Tina: Hi, why don't you sit down?[Dana and Lara sit down.]Lara: Yeah, okay, just until Kit gets here. We'replanning a new lunch menu.Dana: (confused) You work here?Alice: Lunch! Wow! You're going to be here so much! And Gabby will probably be here, and -Lara: We're not together.[Silence. Alice nods absently, and thenstares at her menu. Tina watches Alice. Lara redirects her attention back to Dana.]Lara: I am so proud of you. You came out, big time.Dana: (grinning) Yeah. Well, sorry I didn't do it any sooner. (chuckles)[The two ofthem grin and stare at each other like a couple of lovesick teenagers. Lara looks off into the distance. Alice looks completely crushed.]Lara: Oh, you know what? Kit's here. I should probably go, but... can we havedinner?[Alice cocks her head. Dana's seems a bit surprised. She carefully defers to Alice.]Dana: Yeah - I'd love to. Would that be okay with you, babe?[Alice's mouth is frozen open.]Lara: Oh. Oh, you guys aredat...Alice: Well... (smiles)Lara: (laughs) Oh, my God. I'm sorry.[Lara, smiling, now seems as surprised as everyone else. She looks at Dana.]Alice: Um... (fidgeting) Dana, you don't have to get permission from me togo out to dinner with your ex. You guys should be friends. (nods) Best, best friends.[Alice's smile is big and fake.]Lara: Okay, well.Alice: (smiling) Uh-huh!Lara: (to Dana) I'll, um... I'll talk to you after.Dana: Okay.Lara:Okay. It was good to see you guys.Alice: (super fake smile) Uh-huh, you too! Okay.Lara: Bye.[Lara gets up and walks off. Dana grins.]Dana: Wow.[Alice flips her menu over and blows out a breath, avoiding eye contactwith Dana.]Alice: Whew, okay.INT. - BETTE'S HOUSE - LIVING ROOM - DAY[Shelly walks from the kitchen into the living room, with a handful of pill bottles and a large days-of-the-week pill sorting box. Bette is in theliving room, making her father's bed.]Shelly: So, I've organized his meds into times and dosages so you can keep to the schedule when I'm not here, and I'll show you how to clean and insert the I.V. catheter.[Shellysets the pill bottles on the nightstand next to the bed. Also on the nightstand is a picture of Bette hugging Tina. Bette looks at the picture, and at the pill bottles. Footsteps are heard on the porch.]Shelly: Speak of thedevil. Here he is.[Melvin is wheeled into the house on an ambulance gurney by two paramedics.]Shelly: Welcome home, Mr. Porter.[Bette is a little taken aback at the scene. She closes the door.]Bette: How are youfeeling, Daddy?Melvin: Who is this woman?Bette: Uh, that's... Shelly. She was in the hospital with you yesterday. You remember? She's your nurse?[The paramedics move Melvin over to the hospice bed Bette'sprepared. His IV and oxygen are in place. Melvin stares at the four people standing around his bed looking at him.]Melvin: Am I on display?[The paramedics leave with their gurney.]Melvin: (shouting) Can't a man havea bit of privacy?Shelly: (to Bette) I suggest hospital curtains. I can order them.[Shelly hangs up Melvin's IV.]Bette: Curtains are so ugly and depressing. Get some of those Japanese screens and make a room within aroom. Hey, why don't you pick some of those up at Ikea?Shelly: Um, maybe you can get your assistant to do that.[Bette looks confused.]INT. - JENNY & SHANE'S HOUSE - KITCHEN - DAY[Mark is working on the sink.Jenny is putting things in her purse.]Mark: Seriously, Jenny, if you're short on rent this month, it's not a problem.Jenny: f*ck you.Mark: I don't expect that it would fix everything.Jenny: (calmly) Like you can buy me offwith money and good deeds, like I'm some kind of a whore?Mark: That's not what I meant.[Jenny grabs her purse and leaves.]INT. - BETTE'S HOUSE - KITCHEN - DAY[Franklin is sitting at the table, having a glass oftea. Bette is putting things away and organizing Melvin's pills on the countertop.]Bette: I was planning on coming in this afternoon, but he just seemed a little disoriented, so I just didn't feel comfortable.Franklin: You'redoing the right thing, Bette.Bette: After this week, I should be able to get back to some... semblance of a normal schedule.Franklin: Listen, we - we don't want you to feel pressured, uh... You take however much timeyou need.Bette: (smiles at him) Thank you. I appreciate that.Franklin: We just, uh, need to put some... structure in place, uh... no, I - I'm sure the board would support a temporary leave of absence.[Bette stops andturns to Franklin, confused.]Bette: A leave of absence? What about the Allyn Barnes retrospective?Franklin: (smiling) Well, we have Leo. Things won't totally fall apart while you're gone.Bette: (agitated) I hired a nurse.I wasn't planning on taking a leave of absence. I'm sure that as soon as he trusts her -[Shelly comes in.]Shelly: I'm sorry to interrupt, but I need your help.Bette: (to Franklin) I'm sorry. Excuse me, just...[Bette followsShelly into the living room.]Franklin: Sure.LIVING ROOM -[Shelly and Bette stand on opposite sides of the bed. They are going to turn Melvin over.]Shelly: So we have to do this every few hours. Just take his shouldergently, under here, like that.[They start to move him. Melvin grumbles.]Bette: Is that okay?[Melvin groans as Bette pulls him onto his side and holds him there. Shelly puts a pillow at his back.]Shelly: Yeah. Use a pillowto prop him.[Franklin enters.]Franklin: Sorry, I - I have to go back to the office.Bette: Just one second...[They get Melvin situated and covered up. Bette walks over to talk to Franklin by the door.]Franklin: Your father'slucky to have you, Bette.Bette: Thanks.Franklin: Uh, just - let me know what you want to do.Bette: About what?Franklin: Uh, about the leave of absence.Bette: (sighs) Can I have until Monday to decide?Franklin: Ofcourse. Take the weekend.[Franklin leaves. Bette closes the door and sighs.]EXT. - THE PLANET - NIGHT[Cars zoom past. A doorman stands in the doorway. People sit outside on the patio.]INT. - THE PLANET - HELENA& TINA'S TABLE - NIGHT[Helena and Tina, and Dana and Alice, are having dinner. A blonde woman sits on the other side of Helena. Helena hands a menu to the waitress.]Helena: (to waitress) Ask Lara to - (to Dana) itis Lara, isn't it? Your chef?Dana: Yeah.Helena: (to waitress) Ask Lara to bring us a selection of small tastes, whatever she thinks is most delicious.Alice: (to Dana) \"Your chef\"? That's nice.Blonde woman: Wow. This ismy favorite way to eat.Helena: You should stick with me, then.[Helena is being openly flirtatious right in front of Tina. Tina looks very uncomfortable.]Dana: Alice, if you don't want me to go out with her, just -Alice: Isaid it was okay.[Helena is turned completely to the other woman, fully engaged, her back completely to Tina. Helena and the woman are flirting big time.]Blonde: I'm a surveillance photographer. I work for divorcelawyers, wives trying to find their husbands cheating on them, that kind of thing.Helena: That's brilliant. I should bring you with me to New York. You can spy on my ex.[Both laugh.]Tina: I'm going to go.Helena:(surprised) Why? We haven't even eaten.Tina: (smiling) I can't keep my eyes open. But please stay. I'll take a cab.Helena: You okay?Tina: Besides having to pee like a horse?Helena: You know what I mean.Tina:Helena, I'm tired. I just want to go home and be alone.Helena: Fine. Enjoy being alone.Tina: I will. I want to enjoy it while I can.[Tina stares daggers at Helena before getting up.]Tina: Bye, guys.Alice: Okay, I'll see youlater.Dana: Bye.[Helena looks like she's having second thoughts. She stands.]Helena: Tina...[Helena embraces Tina, gives her a kiss on the cheek. In the hug, she gets close to her ear.]Helena: (whispering) You won'tbe alone, but you'll still get lonely.[The hug ends. Tina looks a little hurt and walks away. Helena smiles a bit smugly.]INT. - BETTE'S HOUSE - LIVING ROOM - NIGHT[Bette and Kit sit next to their father's bed. Melvinsleeps quietly. His EKG machine beeps quietly in the background. Bette is reading a poem - \"The Negro Speaks of Rivers\" by Langston Hughes.]Bette: (reading) \"I looked upon the Nile and raised the pyramids above it.I heard the singing of the Mississippi when Abe Lincoln went down to New Orleans, and I've seen its muddy bosom turn all golden in the sunset.\" (Bette sighs) (reading) \"I've known rivers, ancient, dusky rivers. My soulhas grown deep, like the rivers.\"[Bette puts the book down and gets up.]Bette: Daddy, it's time to turn you over. I'm just going to try to do this by myself, okay?Melvin: (weakly) Uh-huh...[Bette doesn't see that Tinahas walked into the room. Bette starts to lift up her father's shoulder.]Bette: I'm just going to lift up...Tina: Let me help you.[Bette is surprised to see Tina. Tina goes to the other side of the bed and helps Bette roll herfather over.]Bette: If you could just... take the pillow...Tina: Okay.Bette: And I'll hold his shoulder here.Tina: (putting pillow behind Melvin) Kit made you dinner. I promised her I'd make you sit down and eat it.[Melvinis finally situated. Bette rolls him back onto the pillow. Melvin grunts.]Bette: That's good.[Tina looks down at her would-be father-in-law. He stares back up at her. Bette watches.]Tina: Hello, Melvin. It's Tina. \"Ms.Kennard.\"Melvin: I know who you are.Tina: Kit's at work. She'll be here as soon as she can.Melvin: Who?Bette: Katie, Daddy. She said she's going to be here soon.Melvin: (to Bette) How does she know Katie?[Tina isn'tsure what to say.]Bette: (to Melvin) I'm going to go get you a glass of water. Okay? I'll be right back.Tina: (to Bette) I'll fix you dinner.KITCHEN -[Bette and Tina walk in. Bette gets a glass of water, and Tina preparessome of the food Kit made. Bette starts to walk back into the living room.]Tina: I'm sorry... if I was selfish the other night.Bette: It's okay.[Bette returns to the living room.]LATER - LIVING ROOM -[Melvin is sleeping.Tina sits next to Bette as Bette stares at her father.]Bette: I put him in the living room. I didn't want to put him in the baby's room, in case...[Bette gets teary-eyed. She leans back in the chair, and lays against Tina'sshoulder. Tina has her arm around her. They watch Melvin sleep. Bette relaxes into her embrace and Tina pets her hair.]Bette: We've never done this before.Tina: I've never held you?Bette: In front of my father.Tina:He's asleep.[Melvin's eyes open. He looks at the two women.]Melvin: (very pleased) Now, that's what I like to see. (to Tina) Now, promise... you'll take good care of my girl.[Tina looks a little dazed, as Melvin has neveraddressed them openly about their relationship. Bette smiles up at Tina.]Tina: I promise.Melvin: (to Bette) And you... you take good care of your mother, too. You hear me? Maxine... don't run away again...[Betteseems let down and heartbroken at the same time. She leans forward and puts her face in her hands, crying.]Melvin: Stay... with our little girl. I know I let you down, Maxine. I was weak. (sobbing) I didn't meanto.[Bette goes to sit on the edge of his bed and comfort him.]Bette: Oh, Daddy.Melvin: But I need you...Bette: Daddy...Melvin: ... to stay... and look after my girl...Bette: Daddy...INT. - THE PLANET - NIGHT[Kit isserving patrons in the bar. Dana and Alice are in the corner, talking. Shane walks up.]Shane: Hey, Carmen called me. Is she really here?Alice: Who?[The lights go down and music starts. Cheering and applauseensues.]Shane: It's Peaches. C'mon, let's go![A performer named Peaches sings a song. Shane and Carmen are in the crowd a few feet from each other. Every few seconds they glance at each other then glanceaway.]INT. - BETTE'S HOUSE - LIVING ROOM - NIGHT[Melvin is sleeping. Bette sits on the edge of his bed, worrying.]Bette: I can't face it. I can't face it.[Tina smoothes Bette's hair back from her face. Bette sobs softly.Bette stands up. Tina hugs her as she cries.]MOMENTS LATER -[Tina leads a crying Bette back into the bedroom. Bette sits on the edge of the bed and starts to take her clothes off. Tina pets her hair and helps her getundressed. Bette looks up to her. Tina leans down and kisses her softly.]Bette: (sobbing) Can we just sleep?Tina: (smiling) Yes, please.[Bette lays down on the bed. Tina lays down with her and they sleep.]INT. - JENNY& SHANE'S HOUSE - KITCHEN - MORNING[Jenny walks in and gets a box of cereal from the top of the fridge and a bowl from the sink. She ignores Mark, who's making coffee. Jenny sits and eats.]Mark: Want somecoffee?[No reply. Mark shakes his head.]EXT. - BETTE'S HOUSE - BEDROOM WINDOW - MORNING[We see Bette and Tina still sleeping, through the window. Bette stirs and sits up, still looking exhausted.]INT. -BETTE'S HOUSE - LIVING ROOM - MORNING[Bette tiptoes in. Melvin's EKG beeps. Kit is laying in the lounger next to her dad, asleep. She stirs awake when she hears Bette.]Bette: Hey. What time did you get here?Kit:A little after midnight. (stands) He had a rough night. He was awake, but he didn't talk. He was in so much pain.Bette: I feel like he's giving up.[Kit stands next to Bette. They look at their father.]Bette: Uh, Shelly'sgoing to be here in an hour. She said she wants to give him a sponge bath this morning.Melvin: No, she will not. That's an indignity I am not prepared to endure.[Bette pours a glass of water.]Melvin: You can help me to"}
+{"doc_id":"doc_258","qid":"","text":"\"The Intern in the Incinerator\"[SCENE_BREAK]TEASER(Interior - Day - Sirens are blaring and lights are flashing in a brick basement at the Jeffersonian. Two men in overalls enter and walk down the corridor)JANITOR#1: Smoke comes out of the vents in the first floor break rooms.JANITOR #2: You're sure you turned the flame down last night?JANITOR #1: Totally, one hundred percent guaranteed, positively sure. Alarms gone offbefore but the smoke was always gray.JANITOR #2: One time a possum got caught in the shaft, smoke came out like this.JANITOR #1: Dr. Addy was conducting an experiment on a pig yesterday. I told all themeggheads not to toss dead animals down the incinerator shaft.JANITOR #2: (They stop in front of the incinerator door) Since when do they listen to us. (Opens the incinerator door)JANITOR #1: Holy crap! (Covers hismouth, coughing)JANITOR #2: (Looking inside) Definitely not pork!(Camera pans into the incinerator. A burnt body lies inside above the flames. Cut to later, fire is out and Brennan and Cam are lookinginside.)BRENNAN: At four hundred degrees, bone chars in six hours and turns to ash in eight.CAM: Charring, no ash. Six to eight hours? Dumped into the incinerator between one and three a.m. (Booth enters behindCam and Brennan, who do not notice )BOOTH: Ugh. Alive or dead before he or she went into the incinerator?CAM: Can't tell yet.BRENNAN; (Turning to Booth and notice a file in his hand) What's that?BOOTH: Guest log.((Looking at the file) No visitors checked out after nine thirty-six last night, and no one checked in before eight o' two this morning.CAM: Meaning the victim probably works here.BRENNAN: Meaning the killer doestoo.(Interior - Day - Autopsy room at the Jeffersonian. Brennan is looking at the computer screen while Cam examines the remains.)BRENNAN: Pubic bone is female.CAM: There's no carbon in the trachea. (Pulls out thetrachea and unrolls it like a fruit rollup) She was dead before she was thrown down the chute.BRENNAN: Extensive fissures, fractures and breaks to the entire skeleton. I'll have Zack determine which were caused byheat and which by trauma. (Angela enters)ANGELA: Heads up, they called Bancroft in from a hearing on the hill.BRENNAN: Who's Bancroft again?CAM: God.ANGELA: The supreme honcho of the Jeffersonian.BRENNAN:I think I met him once.ANGELA: Okay, I am ready to start the facial reconstruction. (Brennan removes the skull from the rest of the remains and places it on a surgical tray)BRENNAN: I haven't put on tissue depthmarkers yet.CAM: I haven't finished removing all the carbonized brain matter. (Angela comes to a halt in front of the skull, and stares at it intensly, horrified)BRENNAN: Once you've done that, Zack can clean the skull.(As Angela stares at the skull it changes from burnt to a whole, healthy female face.) Angela? Angela? Angela?ANGELA: Yeah?CAM: Are you alright?BRENNAN: What's wrong?ANGELA: (Looking anxiously at the skull)Um . . . Uh . . I'm fine. I'll start after the tissue markers are . . . Let me know. (Angela exits.)CAM: What the hell was that about?ACT I(Interior - Day - Angela's office at the Jeffersonian. Angela is looking at an image ofthe skull on her computer. Brennan enters.)ANGELA: You won't like it.BRENNAN: Like what?ANGELA: I've ID'd the victim.BRENNAN: That's impossible.ANGELA: I told you you wouldn't like it.BRENNAN: There are notissue markers, you can't just look at a skull and see the person.ANGELA: Sweetie, I've done hundreds of these reconstructions: the depressed labella, the narrow nasal aperture, the chipped lateral incisor.BRENNAN:You can see a face from that?ANGELA: The chipped tooth was from a skiing accident when she was sixteen.BRENNAN: Ange. You know the victim personally?ANGELA: (sighing and pulling up an image of an young,attractive blonde on the computer) Kristen Reardon. She's an intern, we had coffee a couple of times. (Walking over to the couch) She didn't want to be a scientist. She wanted to go into design. She was jut here tomake her father happy. She was young and eager and keen and . . . she was just really, really young.BRENNAN: Wait, Reardon. (Walking to Angela) As in Dr. Ted Reardon?ANGELA: Yeah, he used to work here. (Sittingdown on the couch)BRENNAN: I took a course from him in ancient pharmacology. (Sitting in the chair across from Angela)ANGELA: Look, I know that we can't say anything until you do the tissue markers and we gothrough channels, but, I'm telling you, I know this is Kristen.BRENNAN: Poor Ted.ANGELA: You wanna know something else? She was seeing somebody who worked here.BRENNAN: Is that relevant?ANGELA: Well,Booth will think so. Especially since it was a married man.BRENNAN: Well, did she tell you?ANGELA: No, just that they had had their first kiss at the opening of that Egyptian exhibit and that it had been hot and heavyever since.BRENNAN: I'm sorry, Ange.ANGELA: No, I'm-I'm sorry. I'm just really freaked out by this one.BRENNAN: Because you know the victim.ANGELA: Well, and the killer! I mean, look around! Do you like thinkingthat somebody we see every day could've thrown Kristen down the incinerator?(Interior - Day - Platform above the Main Examination area at the Jeffersonian. Bancroft and Booth are standing across from each other,Booth leaning against the table.)BANCROFT: How can I aid your investigation?BOOTH: Well, Dr. Bancroft, I'd like print outs from the Jeffersonian's security detailing who was and was not in the building BANCROFT:Done.BOOTH: I'd also appreciate it if you'd tell your people to cooperate with the FBI. (Bancroft moves toward Booth)BANCROFT: Yes, of course, Agent Booth. I don't know if you've had much cause to work withscientists; difficult people, by nature, combative, skeptical, resistant.BOOTH: I've noticed.BANCROFT: Have you identified the victim yet?BOOTH: Unofficially? (Bancroft nods) An intern by the name of KristenReardon.BANCROFT: No relation to Ted Reardon?BOOTH: His daughter. Dr. Reardon left the Jeffersonian for George Town University?BANCROFT: In the interest of full disclosure I was instrumental in that move.BOOTH:You fired him.BANCROFT: I facilitated a necessary change.BOOTH: Necessary change.BANCROFT: Excellent scientist, poor administrator. Does Reardon know about his daughter?BOOTH: Dr. Brennan is informing himnow.BANCROFT: I'd like to be kept in the loop on this, within the constraints of the law of course. (Raises his hand for Booth to shake it.)BOOTH: (chuckling, and shaking hands) Sure.(Interior - Day - Main examinationarea of the Jeffersonian. Cam and Booth are watching through the window as Brennan tells Reardon about his daughter.)CAM: Ted Reardon? Victims's father?BOOTH: Yep, Bones is telling him his daughter's dead.CAM:Rumor has it, Bancroft banished Reardon from the Jeffersonian because he felt threatened, politically.BOOTH: I know. Let's leave Bones to it. (They walk away)CAM: Would it be insensitive to mention that my father'ssixtieth birthday is coming up?BOOTH: Sixty already? Wow!CAM: Uh-huh. We're having a big birthday dinner for him on Thursday night.BOOTH: Alright, you give him my best!CAM: You do it yourself. You have to comewith me!BOOTH: What? No! Not your family.CAM: I can't spend the night defending the fact that I still live alone to my family.BOOTH: You never told them we broke up?CAM: You wanna' make a man miserable on hissixtieth birthday.BOOTH: You want me to pretend that I'm your boyfriend?CAM: Yes, between six-thirty and ten on Thursday.BOOTH: (Groaning) Camille, you're an adult. You can't live your life afraid of what yourfamily thinks!CAM: Seeley, it's not going to be like this forever. One day he'll die! (Cam exits)(Interior - Day - Bone storage room. Booth is standing outside the door, talking to Brennan who is going inside)BOOTH:Tough going in there?BRENNAN: I've never had to tell someone his child is dead. I mean, I've been there when you did it, but, to actually . . . it's extremely unpleasant.BOOTH: Yeah. (Moving from the doorway into theroom) Listen, did you get a change to, uh, ask him about his daughter's love life?BRENNAN: Yes, he said as far as he knew she wasn't seeing anyone.BOOTH: Kristen was lying to her father.KLIMKEW: (A slight man withglasses, Dr. Klimkew, enters) Dr. Brennan, is it true? Kristin Reardon is dead?BRENNAN: Evan, special agent Booth. He's in charge of the murder investigation. (To Booth) Dr. Evan Klimkew, Kristen Reardon'ssupervisor.KLIMKEW: Murder? Kristen was murdered?BOOTH: What does Kristen Reardon do?KLIMKEW: Authentications. Other museums and high end collectors use us to authenticate their acquisitions.BOOTH: That abig department?KLIMKEW: Three to five interns, all doctoral candidates, my assistant and myself. That's it.BOOTH: It's a competitive environment, right?KLIMKEW: Of course. You put a bunch of neurotic, Type-Aoverachievers together and you dangle a prize over their head.BRENNAN: Dr. Klimkew is referring to the Bates fellowship.KLIMKEW: The top intern receives seventy-five thousand dollars and a gold star on theirresume. Kristen was the frontrunner.BRENNAN: I had heard that her heart wasn't in it.KLIMKEW: Didn't show in her work. God, this is terrible. Does her father know?BOOTH: Who was the main rival for the Batesmoney?KLIMKEW: Uh, that would be Neil Tyler.BOOTH: Neil Tyler. Where can I find him?KLIMKEW: We're authenticating the artifacts in you're serial killer vault.BOOTH: So, what does your wife think of these, uh,(pointing at Klimkew's wedding ring) you know, these late hours?KLIMKEW: (Puts his hands in his pockets) I'm separated. That's your answer.BOOTH: Seeing anyone now?KLIMKEW: Are you serious?BRENNAN: It's amurder investigation Evan.KLIMKEW: No, I'm not seeing anyone.BOOTH: Thank you, Dr. Klimkew.(Interior - Day - Serial killer vault (\"Gormogon\") at the Jeffersonian. Neil Tyler, young, African-American, is bent overan artifact with a magnifying glass. Booth and Brennan are standing and watching)TYLER: The spinner appears to be Masonic in origin: bloodstone, gold. What's interesting is, in the center, instead of the traditional \"G\"for God, there's a skull.BRENNAN: Gormogon iconography.TYLER: Strange, huh?BOOTH: Gormogon? Okay, what's that?BRENNAN: It's an eighteenth century . . .TYLER: It's an extinct group (standing) dedicated toeradicating the influence of the Free Masons and Illuminati in Europe in the eighteenth century. That could be the largest collection of Gormogon artifacts in the world.BOOTH: That's great. You and Kristen Reardon werehere last night?TYLER: That's right. Kristen worked there. (Pointing to Kristen's desk) I signed out around midnight. Kristen stayed longer, like always.BOOTH: Okay, a little resentful, there?TYLER: I worked my waythough state college. I've got a second job, which is why I had to leave early. Kristen went to an Ivy League School and her dad's got connections. Who do you think needed that Bates fellowship more?BOOTH: Well, theway I hear it, you're next in line for a big payday, pal.TYLER: I liked Kristen and she liked me. Check the logs, I wasn't here. (Brennan moves to examine Kristen's desk)BRENNAN: Do you know who Kristen wasseeing?TYLER: You mean like romantically? No. Only that it was an older guy and she said I was gonna' be really surprised when I find out who it was.BOOTH: How about you? You married?TYLER: (Chuckles) I'm gay,Agent Booth. Excuse Me. (Tyler exits. Brennan picks up a bag from the desk)BOOTH: What do you got?BRENNAN: Kristen Reardon's bag.BOOTH: Ah, a cell phone . . . logs. (Booth looks through the recent calls)(Interior- Night - The walkways above the main examination area at the Jeffersonian. Booth and Brennan walking through)BRENNAN: The bag tells us that Kristen was leaving the museum when she met with her killer.BOOTH:Look at that, a lot of calls to the same number. Let's hope it's our cheating husband.BRENNAN: Kristen was authenticating exhibits from the Gormogon vault.BOOTH: Let's not go there.BRENNAN: If Gormogon killedher, then Gormogon is one of us, somebody who works at the Jeffersonian.BOOTH: You went there.BRENNAN: What? (Booth and Brennan come to a halt in front of a window)BOOTH: You went there and you gave him anickname! (A body falls outside the window) That just happened, right? You saw that? (Brennan nods and they both run)(Exterior - Night - Outside of the Jeffersonian. A small security vehicle, sirens blaring approachesa group of security guards. Brennan and Booth hop out. They run towards the guards)BRENNAN: Who is it?BOOTH: Is he dead? (The guards are holding Zack and Hodgins, arms behind their backs)ZACK: Yes, but onlybecause he was never alive.BOOTH: You gotta be kidding me.HODGINS: Look at this, the Gestapo's interfering with free inquiry.BOOTH: Guys, just let him go and if they try to escape, shoot 'em! What's with thedummy, dummies?ZACK: Not a dummy, it's an ersatz skeleton made from glass and reinforced nylon, which breaks exactly like human bone.HODGINS: We threw it from the top floor.BRENNAN: Explicate your process,please.ZACK: Using bone density tables, we duplicated Kristen's exact height and weight.BOOTH: For God's sake, why?!HODGINS: To prove that Kristen Reardon was dead before her skull fractured from falling downthe incinerator shaft!BOOTH: We already know that!ZACK: We recreated her bone density and found that her skull would not have fractured the way it did from a fall less than twenty-five meters.BRENNAN: Oh!BOOTH:Oh, what?! English, please!BRENNA: That tells us the body was put in the trash chute on the top floor of our building.HODGINS: The office suites. It's always the suits, baby.BOOTH: Hey, I wear suits.HODGINS: Yes,yes you do.BOOTH: (To Guards) Alright, that's it, no shooting of the squints tonight, sorry. Alright, good work. (Dispersing the crowd of guards and onlookers) (To Brennan) Let's go Bones. (Booth and Brennan exit,Hodgins and Zack bump fists).(Interior - Night - Autopsy room at the Jeffersonian. Cam and Booth are looking at a screen showing the remains)CAM: Kristen Reardon was stabbed to death; aorta and left lung bothpunctured.BOOTH: Whoa. She bleed a lot?CAM: Through the wound, through her mouth, copious amounts. (Moving toward her desk, Booth following)CAM: Booth, everyone's coming around to the opinion that KristenReardon's death had something to do with the Gormogon vault.BOOTH: Oh, no, no, no, no, no. See we-we gotta squelch that one 'cause that will totally shift the focus of this investigation.CAM: You might've noticed butthese people are tough to squelch.BOOTH: You know what, they're always telling us not to jump to conclusions.CAM: When they do it, it's called a \"quantum leap.\"BOOTH: Jump, leap, tomato, \"tomato\", what's thedifference? Look, um, does the name (pulling his note pad out of his jacket pocket) Aldridge mean anything to you?CAM: Rings a bell, yeah, why?BOOTH: 'Cause there was no blood near the incinerator chute on the topfloor.CAM: The body could've been wrapped in plastic or transported in a tub (pulling a picture on the computer). There's a Dr. Kyle Aldrige heads up the middle east department, why?BOOTH: Hm, do they have officesin this building?CAM: Middle east department is in building S, but it joins up to this building by skyway, why?BOOTH: What floor does the skyway connect with?CAM: Top floor, and I'm gonna' ask why again and yourgonna' tell me.BOOTH: Yeah, this guy Aldrige's number is all over Kristen's cell phone. Just hold on. (Pulling out his cell and making a call) Yeah, it's Booth, check out all the office in the adjoining building on the topfloor and start with a Dr. K. Aldrige. (Flips the phone shut) Cam, this case . . .CAM: Yes, you still have to come to my father's birthday dinner.BOOTH: I didn't even bring that up, I'm just saying . . .CAM: Nicetry.BOOTH: Nice try, what?CAM: Zip! (Making a zipping motion over her mouth)BOOTH: I didn't even . . .CAM: Tzz!(Interior - Night - Above the main examination area at the Jeffersonian. Booth and Dr. Kyle Aldrige aresitting at the table. Booth is looking at a picture of Aldrige in a magazine.)BOOTH: Ah, the good life. Dr. Kyle Aldrige. Mansion next to Teddy Kennedy on Dupont Circle. A sixty foot yacht and a vacation home in theHamptons. Wow. I wish I'd paid more attention during science class.ALDRIGE: Intelligence is not a matter of will, Agent Booth. So it's not a character flaw to be less intelligent than someone else.BOOTH: Yeah, listen, Iappreciate the pep talk. Listen, our first suspect would usually be your wife but since she's been in Venice for a month . . . Venice. So, how is it that somebody who makes eighty grand a year can lend Ted Kennedy hislawn mower and afford to send his wife off to Venice?ALDRIGE: My wife's family is very generous.BOOTH: How generous do you think they would be if they found out you were boinking an intern?ALDRIGE: They teachyou that technique at Quantico? Spring vulgarities on the unspectign suspect and he will confess all?BOOTH: Are you confessing all?ALDRIGE: To the affair or to murder? (An FBI Agent enters)AGENT #1: Excuse me,Agent Booth, there's something your gonna' wanna see in Dr. Aldrige's work room.(Interior - Night - Dr. Aldrige's work room. Agents, Booth, Brennan and Aldrige stand around a spot on the floor)AGENT #1: Lights,please! (When the lights turn off the blue light Agent #1 is holding shows blood on the floor, he moves to shed light on a wheelbarrow that is in the room.)BRENNAN: Look at all that blood. That explains how the bodywas transported over to the incinerator shoot. (The light shines behind the wheelbarrow, exposing a path of blood leading to the desk) This must be where Kristen Reardon was actually murdered.BOOTH: Alright, putthe lights on. (Booth pulls out his handcuffs) Dr. Aldrige I'd like to ask you a few questions about the murder of Kristen Reardon. We gonna' go willingly?ACT II(Interior - Day - Main examination area at the Jeffersonian.Hodgins is examining a sample, Angela looking at her clipboard, sitting on a stool and Zack working at the computer.)HODGINS: I never liked Kyle Aldrige.ZACK: He told me once that having a high I.Q. was no excusenot to bathe.ANGELA: I don't believe it.ZACK: No, those were his exact words, \"no excuse not to bathe\"(Cam enters)CAM: What do you got? (Zack raises his hand)ZACK: (moves to point to the damage on the skeletonwhich is standing up like a medical dummy) Consistent with the trauma to the left lung and aorta, C-7 vertebra and the fifth rib were both nicked at a sixty-seven degree angle suggesting a single point of entry.CAM:Through the back? (Zack nods)ANGELA: The serial killer eats human flesh, Kyle Aldrige is a vegetarian.HODGINS: So was Hitler!ZACK: We're calling him Gormogon now.HODGINS: Excellent name! And, historicallyaccurate.CAM: People! You have to stop assuming that Gormogon was in any way involved in Kristen's death.ZACK: Why? It's somewhere between a possibility and a probability.ANGELA: Kyle Aldrige is not acannibal.CAM: But he may have killed his girlfriend, do you see the difference?HODGINS: Mm.CAM: So, eyes on the evidence, okay? (Claps her hands twice) Go.HODGINS: (Angela moves off the stool and Hodginsmoves over to the computer) Zack provided me with the fragments.ZACK: Retrieved from the fifth rib.HODGINS: Running it through the GC Mass Spec.CAM: What about the incinerator?HODGINS: I analyzed the ashesin the incinerator and found carbonized traces of cedrus libani. It's a species of cedar fir from Lebanon.ANGELA: The middle east is Aldrige's area of study.HODGINS: And the Mesopotamians used cedar as an odorneutralizer to mask the smell of burning flesh?CAM: Can you see Aldrich committing a crime of passion and using his knowledge to cover it up?ANGELA: I guess. He's kind of (begins making unrecognizable gruntingsounds. Zack looks confused, Hodgins smiles).CAM: Exactly, how well do you know Aldrige?ANGELA: We had drinks. I don't sleep with married men.ZACK: You're married and you sleep with men beside your husband.What's the difference? (Hodgins, looking irritated, smacks Zack in the back of the head.)(Exterior - Day - FBI Headquarters.)(Interior - Day - FBI Headquarters. Booth and Brennan exit the elevator.)BRENNAN: Why doyou want me to interrogate Aldrige?BOOTH: Because he thinks I'm stupid.BRENNAN: You're not!BOOTH: Thanks, Bones, I know. Listen, during the interrogation, always refer to the victim by her first name.BRENNAN:Well, you're the one that told me that personalizing the victim doesn't work with sociopathic serial killers. They lack all empathy. (Poking Booth) You told me that!BOOTH: We are not looking for gorgonzolatoday!BRENNAN: Gormogon. Gor-mo-gon.BOOTH: We're looking for someone who murdered one girl and tossed her down an incinerator chute. Entirely different kind of a guy, so, inside. (shooing her into the"}
+{"doc_id":"doc_259","qid":"","text":"Prologue: In every generation there is a Chosen One. She alone will stand against the vampires, the demons and the forces of darkness. She is the Slayer. The cemetery. Buffy is sitting on top of the gravestone ofStephan Korshak playing with her yo-yo.Buffy: C'mon, Stephan, rise and shine. Some of us have a ton of trig homework waiting. The camera cuts to her right and approaches her from behind.Angel: Hey. Buffy inhales aquick startled breath and turns around to face her stalker.Angel: Is this a bad time?Buffy: Are you crazy? You don't just sneak up on people in a graveyard. You make noise when you walk. You stomp or... yodel.Angel: Iheard you were on the hunt.Buffy: I'm supposed to be, but... lazy bones here doesn't wanna come out and play.Angel: When you first wake up it's a little disorienting. He'll show.Buffy: It's weird to think of you goingthrough that.Angel: It's weird to go through. So, uh, you're here alone?Buffy: Yeah! Why?Angel: I just thought you'd have somebody with you. Xander or someone.Buffy: Xander.Angel: Or someone.Buffy: Nope. (hopsdown off the gravestone) Why? Are you jealous?Angel: (chuckles) Of Xander? Please. He's just a kid.Buffy: Is it 'cause I danced with him?Angel: 'Danced with' is a pretty loose term. 'Mated with' might be a littlecloser.Buffy: Don't you think you're being a little unfair? It was one little dance, which I only did to make you crazy, by the way. Behold my success.Angel: I am *not* jealous.Buffy: You're not jealous? What, vampiresdon't get jealous? Stephan has come out of the ground, and looks at them from behind his gravestone.Angel: See? Whenever we fight you always bring up the vampire thing.Buffy: Well, I didn't come here to fight. Thevampire lunges at her and knocks her into Angel. They fall to the ground, but Buffy quickly gets up.Buffy: Oh, right, I did. Stephan throws a few punches which Buffy easily blocks. She punches him in the face severaltimes and kicks him in the jaw, sending him stumbling into a large adjacent gravestone. She looks around frantically.Buffy: Where's my stake? I-I know I had a stake!Angel: I didn't see a stake! The vampire grabs ashovel that was lying by the other gravestone and comes at them again. Angel attacks, but Stephan brings the shovel up and hits him in the side of the face, knocking him onto his back. He leaves Angel lying there andsteps toward Buffy. She meets him and jumps over the shovel when Stephan swings it at her legs. He swings it at her again, but she catches it, hits him again and breaks the handle. She spins around with her half andjams the broken handle into his chest. He falls over backward and bursts into ashes as he hits the ground. Angel gets up holding the side of his head.Buffy: (out of breath) What do you mean he's just a kid? Does thatmean I'm just a kid, too?Angel: Look, obviously I made a mistake coming here tonight. (turns and leaves)Buffy: Oh, no you don't. You can't just turn and walk away from me like that. (starts following himdeterminedly) It takes more than that to get rid of me. She falls into an open grave with an open and empty coffin at the bottom.Buffy: Oof! Uhhh... Angel comes over and bends down to look.Angel: You okay?Buffy:I'm fine. (sits up and exhales) Gee, I wish people wouldn't leave open graves laying around like this. (stands up slowly)Angel: So. Another vampire has risen tonight. She pokes her head out of the grave and looksacross the grass.Buffy: I don't think so. Look at those tracks. Whoever was buried here didn't rise from this grave. She climbs out of the grave and finds a girl's shoe.Buffy: She was dragged from it. Opening credits roll.Buffy's theme plays. ~~~~~~~~~~ Part 1 ~~~~~~~~~~ Sunnydale High School. Cut to the library. Buffy and Xander walk in and see Giles sitting in a chair and talking to another empty chair across from him.Giles:(clears his throat) W-w-w-what I'm proposing is, um... and I-I don't mean to appear indecorous, is, is, um, a, a-a-a social engagement, um, a, a, a, a-a date, if you're amenable. Buffy and Xander stop and listen to him.Giles is displeased with himself.Giles: You idiot!Buffy: Boy... Giles is startled and quickly gets up and faces them.Buffy: I guess we never realized how much you like that chair.Giles: I-I-I was just working on... (knocksover a few books)Buffy: Your pickup lines?Giles: (bends down) Um, in a manner of speaking, yes. (picks up the books)Buffy: Then if you wouldn't mind a little Gene and Roger, you might wanna leave off the 'idiot' part.Being called an idiot tends to take people out of the dating mood.Xander: Hmm, it actually kinda turns me on. (looks at Buffy)Buffy: (to Xander) I fear you. (goes to the table) You also might wanna avoid words like'amenable' and 'indecorous', y'know. Speak English, not whatever they speak in, um...Giles: England?Buffy: Yeah. You just say, 'Hey, I got a thing, you maybe have a thing, maybe we could have a thing.'Giles:(sarcastically) Oh, thank you, Cyrano.Buffy: I'm not finished. Then you say, 'How do you feel about Mexican?'Giles: About Mexicans?Buffy: Mexican. Food. You take her for food, for which you then pay.(sits at thetable)Giles: Oh. Right.Xander: So this chair-woman. We are talking Ms. Calendar, right?Giles: W-what makes you think that?Xander: (sits) Simple deduction. Ms. Calendar is reasonably dollsome, especially for someonein your age bracket. She already knows that you're a school librarian, so you don't have to worry about how to break that embarrassing news to her.Buffy: And she's the only woman we've actually ever seen speak toyou.Add it all up and it all spells 'duh'.Xander: Now, is it time to have a talk about the facts of life?Giles: You know, I'm suddenly deciding this is none of your business.(starts up the stairs)Xander: Y'know, because thatwhole stork thing is a smoke screen.Giles stops and looks back at him. Buffy laughs to herself.Giles: So, um, how did things go last night? Did Mr. Korshak show up on schedule?Buffy: More or less. Angel and I took careof him.Xander: Angel.Buffy: (gives Xander a look) There's something else, though. We found an empty grave.Giles: Another vampire?Buffy: No. No, this one was dug up and the body was taken out.Giles: Graverobbing? That's new. Interesting. (comes back down to the table)Buffy: I *know* you meant to say gross and disturbing.Giles: Yes, yes, yes of course. Uh, terrible thing. Must, must put a stop to it. Damn it.Xander: So.Why does someone want to dig up graves?Giles: Well, I'll, uh, collect some theories. Uh, it would help if we knew who the body belonged to.Buffy: Meredith Todd. Ring a bell?Xander: No.Buffy: She died recently. Shewas our age.Xander: Drawin' a blank.Giles: Why don't we ask Willow to, uh, fire (indicates the PC) this thing up and, uh, track Meredith down?Cut to the halls. Sign-ups for the science fair are going on. Willow is writingin her entry. Eric comes up to her with a camera and points it at her.Eric: Smile! (takes her picture)Willow: Hey! He turns around and sees another girl.Eric: Oh, look at those legs! (goes to take her picture)Willow: No,thank you. Chris comes up behind Willow.Chris: Eric, will you knock it off? Eric looks at him, upset to have his fun spoiled.Willow: (smiles) Hey, Chris!Chris: Hey. He picks up a sign-up sheet. She watches what he'swriting. He looks up at her.Willow: Oh, I, I was just wondering what you were gonna do this year.Chris: Why?Willow: 'Cause every year you win and I place second, so I just thought I'd see what I'm up against.Chris:You know what the key is? If Dr. Clark doesn't understand your experiment he gives you higher marks so it looks like he understands your experiment. (reads Willow's entry) 'The Effects of Sub-Violet Light SpectrumDeprivation on the Development of Fruit Flies'? (smirks) That should do the trick.Cordelia: (shows up and signs up) Okay, I'm doing this under protest. It is not fair that they're making participation in this year's sciencefair mandatory. I don't think anyone should have to do anything educational in school if they don't want to.Willow: (reads) 'The Tomato: Fruit or Vegetable'?Cordelia: I wanted to do something I could finish in aweekend, alright? Eric flashes a picture of Cordelia.Cordelia: Stop it! What are you doing? (Eric takes another picture) We are under florescent light, for God's sake.Eric: The camera loves you!Cordelia: I didn't thinkyearbook nerds came out of hibernation till spring.Eric: (snaps another picture) It's for my private collection. (winks)Chris: Eric! Will you quit it?Buffy: Comin' through. Sorry. (Eric takes her picture) Uh, sorry tointerrupt, Willow, but it's the Bat Signal.Willow: Okay, sure. See you later, Chris. Thanks for the tip.Chris: Okay. Cordelia watches them go. Eric raises his eyebrows at her.Cordelia: (disgusted) Uhhh! (leaves)Eric:Cordelia's so fine. Y'know, she'd be just perfect for us.Chris: Don't be an idiot. She's alive.Cut to the library. Willow sits down in front of the PC.Willow: This shouldn't take long. I'm probably the only girl in school whohas the coroner's office bookmarked as a favorite place.Cordelia: (coming in) Hi. Sorry to interrupt your little undead playgroup, but I need to ask Willow if she'll help me with my science fair project.Willow: It's afruit.Cordelia: I would've asked Chris to help me, but then that would've brought back too many memories of Daryl.Willow: I found it! Meredith Todd died in a car accident last week.Cordelia: Of course I have learned todeal with my pain.Buffy: How was her neck?Willow: Fine, except for being broken. Giles comes out of his office.Cordelia: Hello! Can we deal with my pain, please?Giles: There, there. He pats her on the shoulder andcontinues up into the stacks.Willow: It says that Meredith and two other girls in the car were killed instantly. They were all on the Fondren High Pep Squad, on the way to a game.Buffy: You know what thismeans.Xander: That Fondren might actually beat Sunnydale in the cross-town body count competition this year?Buffy: She wasn't killed by vampires. Somebody did dig up her corpse.Cordelia: Eww! Why is it that everyconversation you people have has the word 'corpse' in it?Xander: Okay, so we got a body snatcher. What does that mean?Giles: Uh, h-here's what I've come up with. Demons who eat the flesh of the dead to absorbtheir souls. Or, i-i-it could obviously be a, a voodoo practitioner.Willow: You mean making a zombie?Giles: Uh, zombies, more likely. For most traditional purposes a voodoo priest would require more than one.Buffy: So,we should see if the other girls from the accident are AWOL, too. Maybe we can figure out what this creep has in mind if we know whether or not he's dealing in volume.Xander: So, we dig up some gravestonight?Willow: Oh, boy! A field trip! Are you gonna call Angel?Buffy: I don't think so.Xander: Yeah, why bother him, huh?Buffy: Angel and I have been, um... Never mind. As far as Angel's concerned, I'm taking thenight off, okay?Xander: So, we're set then. Say, nineish? BYO shovel?Willow: And I'll pack some food. Who else likes those little powdered doughnuts?Xander: Me.Willow: Cordelia?Cordelia: Darn, I have cheerleaderpractice tonight. Boy, I wish I knew we were gonna be digging up dead people sooner. I would've canceled.Xander: Alright, but if you come across the army of zombies, can you page us before they eat your flesh?Cordelia huffs and leaves the library.Giles: Xander?Xander: Huh?Giles: Zombies don't eat the flesh of the living.Xander: Yeah, I knew that. But did you see the look on her face?Cut to the cemetery that night. Giles andXander are digging while Buffy and Willow relax and watch.Buffy: I couldn't believe Angel. He was acting all jealous, and he wouldn't even admit it.Willow: Jealous of what?Buffy: Of Xander.Willow: Because you did thatsexy dance with him?Buffy: Am I ever gonna live that down?Willow: No. (munches a doughnut)Buffy: Anyway, he was being totally irrational.Willow: Love makes you do the wacky.Buffy: That's the truth.Xander:Y'know, this might go a lot faster if you femmes actually picked up a shovel, too.Giles: Here, here.Buffy: Sorry, but I'm an old-fashioned gal. I was raised to believe that men dig up the corpses and the women have thebabies. (to Willow) So, speaking of the wacky, what was Cordelia's whole riff about painful memories? Who's Daryl?Willow: Daryl Epps. Chris' older brother. He was a big football star. All-State two years ago. He was arunning... He was a running... Uh, someone who runs and catches.Buffy: Was he a studly?Willow: Big time. All of the girls were crazy for him.Buffy: And he broke Cordy's heart? Thus possibly proving itsexistence.Willow: He died. Rock climbing or something? He fell.Buffy: Man, that's lousy. Poor Chris.Willow: Ever since then Chris has been real quiet. Kind of in his own world. I heard their mother doesn't even leave thehouse anymore.Giles: I think we're there. Buffy and Willow get up and go over to the grave.Willow: By the way, are we hoping to find a body, or no body?Xander: Call me an optimist, but I'm hoping to find a fortune ingold doubloons.Giles: Um, body would mean flesh-eating demon, no body would point towards the, uh, army of zombies thing. Take your pick, really. Right, then, uh... (to Xander) Go on. (indicates the casket)Xander:You're closer.Buffy: Pathetic much? (climbs down) Move over. She opens the casket.Cut to the school after cheerleading practice. The cheerleaders are heading home.Cordelia: Guys, if we don't get this down bytomorrow, no one's gonna be led by our cheers. Practice.Girl: Okay. See ya later. Cordelia continues on to her own car as the others get in theirs. They drive off before Cordelia reaches her car. She hears something bythe fence and stops to look around.Cordelia: Hello? She continues to her car and starts to dig in her pack for her keys. She gets them out and runs the rest of the way to her car. She nervously fumbles with thelock.Cordelia: Xander Harris, if this is some kind of joke... She drops her keys and they roll under the car. She kneels down and reaches for them frantically. On the other side of her car she can see someone in blackshoes approaching. She quickly gets up and starts to run. The man follows her. He walks past a dumpster. When he's gone the lid opens, and Cordelia checks to see if the coast is clear. She pushes the lid up all the way,then turns around again to hop out, but is startled by Angel.Angel: Cordelia. This is the last place I expected you to hang out.Cordelia: (quietly) Oh, God! God, it's you. Why were you following me?Angel: I wasn't sure itwas you at first. I'm looking for Buffy.Cordelia: Buffy? Well, she's, uh... big shock, she's at the graveyard.Angel: She said she'd be home.Cordelia: Well, she lied. Isn't she a rascal? Well, you're in luck. It just so happensthat my night is free. (tries to get out) Uh, hold on, my skirt is caught. She reaches behind her and gets her skirt loose.Cordelia: There. She picks up what was holding her skirt and sees it's a hand. She drops it andscreams. ~~~~~~~~~~ Part 2 ~~~~~~~~~~ The library. Xander can be heard outside in the hall.Xander: So, both coffins are empty. That makes three girls signed up for the army of zombies. They come inthrough the doors.Willow: Is it an army if you just have three? Angel gets up from the table and faces them. Cordelia clings to his arm and gets up, too.Buffy: Zombie drill team then.Angel: You're back.Buffy:Angel!Angel: Xander.Xander: Angel.Angel: (to Buffy) I thought you were takin' the night off.Buffy: I, I was, um, but something came up.Angel: Cordelia told me the truth.Xander: (chuckles) That's gotta be a first.Giles:Um, as long as you're here, perhaps you could be of some help. Hmm? (to Buffy) Hmm?Buffy: We were investigating. Somebody's been digging up the bodies of dead girls.Angel: I know. We found some of them.Buffy:You mean, like, two of the three?Angel: I mean, like, some of them. Like parts.Cordelia: It was horrible. Angel saved me from an arm. God, there were so many parts, they were everywhere. Why are these terriblethings always happening to me?Xander: Karma! (coughs to cover it)Willow: So much for our zombie theory.Giles: So much for all our theories.Buffy: I don't get it. Why go to all the trouble to dig up three girls only tochop them up and throw them away? It doesn't make any sense. Especially from a time management standpoint.Angel: Well, what I saw didn't add up to three whole girls. I think they kept some parts.Buffy: Could thisget yuckier?Willow: They probably kept the other parts to eat.Buffy: Question answered.Giles: Why dispose of the remains five miles from the cemetery at a school, of all places?Buffy: Maybe because whoever did ithad some business in the neighborhood. Like, say, classes?Giles: Oh. Ah.Angel: This was no hatchet job. Whoever made those incisions really knew what they were doing.Giles: (disbelieving) Yes, really. What studenthere is gonna be that well versed in physiology?Willow: Well, I can think of five or six guys in the science club. And me.Xander: So, Will, come clean. Promise to never do it again, and we'll call it a night. (no response)He joked! (smiles)Buffy: Willow, why don't you get these guys' locker numbers so we can do some checking?Cordelia: No. I have to go home now. I have to take a bath and burn my clothes.Xander: (in mockdisappointment) You have to go? Aw, too bad. Keep in touch. Buh-bye.Cordelia: I don't wanna go alone. I'm still fragile. (to Angel) Can you take me? Angel is in open-mouthed shock, and looks at Buffy. She gives him astare of disapproval.Cordelia: Great! I'll drive? She leads the way out of the library as Angel gives Buffy another helpless look.Xander: How about that? I always pegged him as a one-woman vampire.Cut to Chris' house.His mother is sitting in front of the TV watching videos of Daryl's games. His trophy sits on top of the TV. Chris comes out of the basement.Chris: I'm going out, Mom. She doesn't even look up. She just blows outanother lungful of cigarette smoke. Chris walks over to the front door.Chris: I'll be back later, okay? Mom? Still no response. She takes another drag from her cigarette. Chris lets out a sigh of frustration and leaves thehouse. On the video Daryl just scored a touchdown, and the team is holding him up high as the cheerleaders jump and wave their pompoms.Video: Dar-yl! Dar-yl! Dar-yl! Dar-yl! Dar-yl! Daryl takes his helmet off andholds his fists up in the air, laughing and enjoying the moment.Cut to the halls at school. Xander is working a locker combination from a list. Giles comes down the other hall.Giles: You understand, in my capacity asschool official, this search is completely unauthorized, and I, I cannot condone it.Buffy: Fine, your butt's covered. Wanna grab a locker? (hands him a sheet)Giles: Uh, yes, yes, of course. (takes the sheet)Buffy:(approaches a locker) Okay, Eric. Let's see what's on your annoying little mind.Willow: (at another locker) Nothing in here but back issues of Scientific American. Ooo, I haven't read this one! (starts to read)Giles:Nothing remarkable here.Xander: (opens one) Guys! They all go over to see.Xander: Your friend Chris Epps' locker.Willow: (reads off book titles) 'Grey's Anatomy', 'Mortician's Desk Reference', 'Robicheaux's Guide toMuscles and Tendons'. Giles reaches in and pulls out a newspaper folded open to a picture of the three cheerleaders. The title above the picture reads 'Tragic Accident Kills Three'.Giles: I think it's fair to say Chris isinvolved.Xander: He's into corpses alright, but we still don't know why.Buffy: Yes, we do. She opens Eric's locker door and shows them a collage of a woman made from parts of various pictures.Cut to Chris' basement.Eric sings while Chris works on a body.Eric: I guess you'll say / What can make me feel this way? / My girl / Talkin' 'bout my girl / My girl... How's my baby?Chris: She's not your baby.Eric: She's not gonna be anybody'sbaby if we don't finish her soon.Chris: I'm working on it.Eric: So am I, friend. So am I. He hangs up freshly developed pictures of Buffy, Willow and Cordelia to dry.Cut to the balcony. Buffy comes up to Willow andXander sitting on the railing.Xander: Any sign of our suspects?Buffy: Not yet. I don't get it. Why would anybody wanna make a girl?Xander: You mean when there's so many pre-made ones just laying around? Thethings we do for love.Buffy: Love has nothing to do with this.Xander: Maybe not, but I'll tell you this: people don't fall in love with what's right in front of them. Willow gives Buffy a sad, knowing look.Xander: Peoplewant the dream. What they can't have. Willow looks over at Xander longingly. Buffy understands only too well.Xander: The more unattainable, the more attractive. Willow hops down from her perch.Willow: And for Ericthe unattainable would include everyone. That's alive. She walks around Xander to head down the stairs. Buffy joins her.Buffy: Uh, Eric's sick enough to do something like this, but what about Chris? He seems like ahuman person. Xander follows them.Willow: I dunno. That thing with his brother was really hard on him. And he talked about death a lot. Maybe he just wanted to get one-up on it.Buffy: But it's not doable. I mean,"}
+{"doc_id":"doc_260","qid":"","text":"[The woods](Jules wakes up. She's naked. She gets up, walks and finds bodies mutilated. She dresses up with some of the camper's clothes and puts the limbs together so she can make a fire. She's starting the firewhen a policeman arrives. He gets out of his car and come towards her. She pretends to be crying)Policeman: good morning. Is everything alright here?Jules: It was an animal. Fragment (consider revising) He came atus at the nightPoliceman: Are you okay?Jules: Yes but my friends! They're all deadPoliceman: I'm calling item(He goes towards his car but Jules hits him really hard with a wooden stick two times. She killshim)[Salvatore's house](Elena enters Stefan's bedroom)Elena: Stefan? Stefan? You're standing right behind me, aren't you?Stefan: Yep(She turns herself and kisses him)Stefan: Good morningElena: I don't want us tobe apart anymore. NeverStefan: Me neither, but...Elena: Don't ruin the moment(They kiss again but Stefan stops)Elena: You're about to ruin the moment, aren't you?Stefan: I'm totally ruining the moment. Look, Ican't just pretend like everything is okayElena: Katherine's locked away in the tombStefan: I know but we've still this pressing little issue of you being Klaus' human sacrifice(She opens one of Stefan's drawer and takesa foil with vervain and opens it)Elena: Yeah but Elijah promised to keep me and everyone else safe as long as we'd play by his rulesStefan: Right. As long as you'll play by his rules(She puts the vervain in a glass)Elena:Please don't go after IsobelStefan: Katherine said Isobel could have some answers and I just have a couple questions, that's all(She pours water in the glass with the vervain in it. She drinks)Elena: Stefan, I made adeal with ElijahStefan: Right, you made a deal with him. I didn't make one. You should keep your dealElena: Stefan, I don't want anyone else to get hurtStefan: When have I ever wanted somebody to get hurt?(Sheshows him the glass)Elena: Vervain. I made it late but are you sure? Just because Katherine build up a tolerance...Stefan: Yes, bottoms up(He takes the glass and drinks but he coughs)Elena: Are you okay?Stefan:YeahElena: How can Elijah compel another vampire?Stefan: He's an original. I don't really know what that means. I don't think anybody really knows what that means. Well, except maybe Isobel. I'll maybe we shouldask her(He kisses her and leaves)(Rose is in the library, she seems sick. Damon rejoins her)Rose: I was born in 1450, that makes me 560 years oldDamon: Well, if you were a bottle of wine...Rose: So I can die. I'velived long enoughDamon: You know, if you're gonna be morn, I'm just gonna kill you myself just to put me out of your misery.(He pours blood in a glass)Damon: Come on, it's just a little werewolf biteRose: Just alethal, fatal to a vampire werewolf biteDamon: Well, according to a legend which is notoriously unreliable source. Drink out(He gives her the glass of blood)Damon: Blood heals(She drinks)Rose: Yeah, it does feel likeit's workingDamon: Let's have a look, come on. Let me see(he looks at the wounds but it's kind of infected and worse)Rose: How is it?Damon: Definitely better. Right, Elena?(Elena is in the room and seems chocked byRose's wounds. Rose looks at her)Elena: Uh, it's not bad.Damon: Where's Stefan?Elena: He left. I need you to talk to him. He's convinced that he has to find Isobel but I think that's gonna upset ElijahDamon: No, can'tdo. I'm with Stefan on this one but if you could play nurse for a little while...Rose: It's not necessaryDamon: It is necessary. Elena is a do-gooder. It's in her nature, she just can't resist(He leaves the room. Elena looksat Rose and rejoins him)Elena: Damon. Is she gonna die?Damon: Probably. The wolf bite caused some kind of infection and it's getting worseElena: Like poison?Damon: I don't know, Elena. I'm not an expert in thefieldElena: I'm sorryDamon: Death happens. We come, we go. Sooner she dies will better. It's gloomy as hell in here[Mystic Falls' high school](Everyone is preparing the booster club barbecue. Caroline rejoinsTyler)Caroline: How are you feeling?Tyler: I'm okay. I'm sore, every muscle hakesCaroline: You did it. You know, you... your first full moon and you didn't hurt anyone. It'll get easier. You'll get better at it, you'll learnhow to control it and it won't hurt so muchTyler: Well, we don't know any of that for sureCaroline: No but small victories, Tyler. Last night was a victory. You know, let's take itTyler: Look, I really want to thank you. Idon't know what I would have done if you hadn't been there(She smiles)Caroline: Yeah, anyway, uh... next month we should probably reinforce the wall because you almost got me that one time and it just would havebeen, uh...Tyler: What?Caroline: Never mind, it's...Tyler: Hey, no, hey. What is it?Caroline: Well, it's not a big thing, it's just that one bites and it's... you know, curtains for meTyler: What are you talkingabout?Caroline: The legend says that a bite from a werewolf can kill a vampireTyler: How do you know that?Caroline: I... read it somewhere...(Matt rejoins them)Matt: Caroline, you got a second?Tyler: Hey,MattCaroline: Yeah, sureTyler: I'll see you guys later(He leaves so they can be alone)Caroline: That was nothing, okay? There is nothing going on between Tyler and I, we were just talking...Matt: I believe you. Look,Caroline, you're a lot a things but you're not a liar. You've always been strait with me, I believe youCaroline: Well, goodMatt: And that's why I want to be strait with you because I... I think we have some wires crossedhereCaroline: Oh, okayMatt: And you know how tauter I get and I don't like this. Whatever this is that's going on between us and I... I just want to...(He kisses her )Caroline: Hey, you can'tMatt: Why?Caroline: That'sjust...Matt: But Carrie...Caroline: No Matt, okay?(She leaves)[Mystic Grill](Jules rejoins Sheriff Forbes at the bar)Jules: Sheriff Forbes, hi. I'm Mason Lockwood's friend from FloridaSheriff: Jules, right?Jules: Is there anynews?Sheriff: No one's heard from him. I've opened an investigation. As soon as I hear anything I let you know(Alaric is looking at them. He calls Damon)Alaric: Hey, Damon. The wolf is at the grill(She sits down at atable. Stefan rejoins him)Stefan: Is it the....?Alaric: Yeah, yeah. I just left Damon a messageStefan: So you're doing his dirty work for him nowAlaric: She could have a cure for Rose. I couldn't find anything in Isobel'sresearch except that it's fatalStefan: Do you still have a way to get in touch wit Isobel?Alaric: Even if I did, she isn't gonna helpStefan: Katherine said that Isobel knew of KlausAlaric: So this isn't about Rose, it's aboutElena. I have an old number, probably out of serviceStefan: No harm in giving it to me then?Alaric: You know you can't trust Isobel, even when it comes to ElenaStefan: I know thatAlaric: Alright. I'm gonna see if I canfind the number. If I do, I'll text it to you(He leaves)[Salvatore's house](Rose and Elena are in Damon's bedroom. Elena puts her in the bed)Rose: I hate this. I'm a vampire, I've never had a cold in five centuriesElena:Just get in the bedRose: We don't get sick. When we die, it's fast and sudden and it's certainly not drawn out in illnessElena: You're not gonna dieRose: It's such a human thing to say(Elena looks around her)Rose:You've never been in Damon's room before, have you?(She takes a book and looks at it. Its ''Gone with the wind'')Rose: Not what you expected?Elena: It's just a room with a bed. Maybe I expected them to be silksheets(They smile)Rose: You're lucky, you know. No one's ever love me the way you're lovedElena: I doubt thatRose: Trevor was my best friend. Nothing more. I spent all this years on the run from Elijah. I just neverthought it was a good idea to set up roots. The whole idea of family is not exactly compatible with being a vampire. Why are you so eager to give up?Elena: I'm not giving up on anything(She gives her a glass ofblood)Rose: What do you call this all deal with Elijah?Elena: I call it my best optionRose: It's the easiest optionElena: That's not fairRose: Do you really think that your witch friend destroyed the moonstone?Elena: Ispoke with Bonnie. I know that she had the help of another witch; unless you mean it's Elijah's witch so no, I don'tRose: You really are determined to die, aren't you? At least I ran, you're not even trying(She closes hereyes)Rose: I'm so tired(Elena is leaving but Rose is talking in her sleep)Rose: No, stop, wait. Tell them to prepare the horsesElena: It's okay Rose. Just get some sleep. You'll feel better when you'll wake upRose:Trevor, don't be so stupid. You'll never going to make it there before the sun(Suddenly she sits down. She's in pain)Rose: Elena, Elena, I need more bloodElena: Yeah, of course, here(she gives her the glass of blood.Rose drinks but threw everything up)Elena: It's okay, everything's gonna be alright(She rushes to the bathroom. When Elena comes back, Rose's not here anymore. When she turns herself, Rose is here and pushes herhardly against the wall)Rose: Everything's your fault, Katerina. You Katerina, you did thisElena: No Rose, I'm ElenaRose: You betrayed us!Elena: I'm not Katherine!(Rose releases her)Rose: Elena?Elena: It's me, it'sElenaRose: Oh my god Elena. I'm so sorry. I don't know what's happening to me. I'm sorryElena: You're gonna be alrightRose: My mind, I'm...Elena: It was just for a secondRose: I'm sorry, don't be scared of meElena:I'm not. I'm not but you need to rest(Rose lays on the bed)Rose: I'm scaredElena: You're not alone. I'm right hereRose: Here, where's here?Elena: Damon's bedroom, you're in Damon's bedroomRose: I want to gohomeElena: Tell me about itRose: St.Austell, 30 kilometers of the south of London. With fields and trees and horsesElena: Sounds beautifulRose: When you live long enough, everything disappears. So much timewasted, I just wish I wouldn't have been so afraid[Mystic grill](Jules is eating. Stefan's looking at her. He looks at his phone, Alaric's texted him the number. He calls but no one answers. He leaves a message.)Stefan:Isobel, it's Stefan Salvatore. I need to speak with you, it's about Elena. Please know that it's important(He hangs up and sees Damon. He sees Jules and goes toward her but Stefan stops him)Damon: What are youdoing here?Stefan: I was waiting for you. Listen, there's a lot of people hereDamon: Oh, damn. My plan was to rip her spleen through her backStefan: Hey, listen, I know you're upset about RoseDamon: Why doeseveryone think that I'm upset about Rose? I'm fine. I don't know if you know this but sometimes, vampires die. I'm gonna have a friendly chat with lady wolf, brother. Ease up(He rejoins Jules. The number Stefan'scalled is calling. He answers and leaves)Jules: Well, if he doesn't the one I meant to kill...I'll have to get that right next timeDamon: You won't leave to see another full moon unless... unless you tell me how to cure awolf bite and then I won't kill youJules: Promise?Damon: YesJules: Bite me(She gets up but Damon catches her arm)Jules: I'm not afraid of youDamon: Then you are very, very stupidJules: How's your friend? Rose, isthat her name? have the chills started? The unbearable pain?Damon: If there's a cure, tell me or start watching your backJules: Did I mention the dementia? It'll eat away her brain. Soon she'll be rabid. You want acure? I'll tell you the only cure that exists: take a stake and drive it through her heart(She leaves)[Salvatore's house](Elena enters Damon's bedroom with new sheets)Elena: I brought some clean sheets(Rose is nothere. Elena leaves the room to see where she is. She enters the library and calls Damon)Elena: It's Elena, I'm worried about Rose. I think you should come home(She hears a noise and go towards it. She finds Rosedrinking blood from a bag. There's a lot of empty blood bags around her)Elena: Oh my godRose: KaterinaElena: No(Rose goes after her. Elena runs)Elena: Rose, stop, stop, it's Elena. I'm not Katherine(Rosestops)Elena: You're hallucinating. I'm not Katherine(Rose catches her and pushes her on the floor. Elena opens the curtain. Rose is hurt by the sun so Elena runs. She tries to gets out of the house but Rose stops herand tries to bites her but Elena catches her wounds. Rose screams and Elena runs. She goes in Stefan's bedroom, locks the door and puts a furniture behind it. She opens the window so the sun can enter the room andbreaks a wooden chair to make a stake. Rose tries to open the door)Rose: Elena? I know that's you and not Katerina. Elena, please, I need your help[Mystic Falls' high school](Caroline is in a corridor. Matt rejoinsher)Matt: Caroline. Why?Caroline: Why what?Matt: I kissed youCaroline: I know, I was thereMatt: So why did you run away?Caroline: You got me off guardMatt: Yeah?Caroline: What did you except me to do?Matt: NotthatCaroline: Well, I'm sorryMatt: And...?Caroline: And what? What do you want me to say, Matt?Matt: Something, anything. How did you feel? Anything in the roam of truth right now would be niceCaroline: Okay, Ifeel... like I.... I love youMatt: I love you then what's the problem? What are you keeping from me, Carrie? Look, if you love, you'll tell me so what is it?(She doesn't say anything. A cheerleader arrives)Dana: Hey Matt,we need more burgersMatt: Yeah, not now Dana(When he turns himself to talk to Caroline, she's not here)[SCENE_BREAK][Salvatore's house](It's night. Elena doesn't hear anything so she leaves the room and goesdownstairs. The main door is opened. She turns herself and sees Damon. She still have the stake in her hand.)Damon: Are you okay? Where's Rose?Elena: I don't know[Mystic Falls' high school](Rose is here, in theparking lot. A man is here and sees her)Man: Excuse me, are you okay?(He comes closer. She bites him and drinks her blood. He falls on the floor, he's dead.)(Damon rejoins the sheriff. The police's found thebody)Damon: HeySheriff: Thanks for coming so quicklyDamon: No, I was close by Liz, what happened?Sheriff: A vampire. Luckily one of my deputies discovered the body before anyone else saw himDamon: You haveto secure the area thenSheriff: I take the east side of the school, you go west?Damon: Sure, okay(Elena Is here too. She leaves a message to Stefan)Elena: Hey, Stefan, it's me. I don't know where you are but pleasecall me. It's important(Damon rejoins her)Elena: Hey. Have you heard from him? Do you know what he's up to?Damon: My baby brother is not exactly my priority right now. Take this(He gives her a stake)Damon:Come on, let's go(They leave)(Two students are going to their car)Boy: Hey, what was going on back there with the police?Girl: Some maintenance man had a hard attack. He was drop dead(she goes into the car andwaits for her boyfriend but he doesn't arrive)Girl: Eddie?(His body falls on the car. The girl screams. She goes out of the car but Rose is here and bites her. Damon arrives)Damon: Rose, stop!(She rushes toward himbut he catches her and puts her on the floor)Damon: Rose, Rose! It's me, it's Damon(her face is normal again. She looks at The girl's body)Rose: Did I do this? I never meant to heart anyone. I never wanted to hurtanyoneDamon: I know(She looks at Elena)Rose: I'm sorry, I'm so sorryDamon: Come on, let's get you homeRose: no, I don't have a home, I didn't had a home in so long(She cries)Rose: Oh make it stop, please makeit stop!(He takes her in his arms and they leave)[Salvatore's house](Rose and Damon are in his bedroom. She's in the bed)Damon: Hi thereRose: I'm sorryDamon: You went on a murder drop age. It happens(Elenaenters the room)Rose: I'm sorry, Elena. I don't like taking human lives, I never haveDamon: You shouldn't be hereRose: It's the worst part about it: the hunt, the need to kill, the thirst, the pleasure it brings youafterwards. I wasn't meant to be evil. It hurtsDamon: Stop talking about itRose: Damon's a lot like me. He wants to care but when he does he runs away from it. I'm sorry for what I've done todayElena: I knowRose:And you need to fight. I know you're scared but you have to do it anyway(She coughs. Elena comes closer and puts her arm under her neck)Rose: Why are you so nice to me?Elena: Us humansRose: You can't neverforget it, what it's like to be human. It haunts me. It's the only thing that keeps me going. It doesn't hurt much anymore(Suddenly she's hurt and screams)Elena: What do we do?Damon: GoElena: Damon...Damon:Just go, I got this(She leaves. Damon goes in the bed with Rose and takes her in hi arms)Rose: Oh god! Make it stop, make it stop! I can't take it anymore, make it stop![Caroline's house](Tyler is waiting for Caroline.She arrives)Tyler: Hey. Where have you been?Caroline: At school. What's up? What's going on?Tyler: We need to talkCaroline: Why? What's wrong with you?Tyler: I just don't understand one thingCaroline:What?Tyler: Why would you risk it? If a werewolf bite kills a vampire... why would you risk it?Caroline: Because you needed helpTyler: I could have killed youCaroline: But you didn'tTyler: I don't understand you,CarolineCaroline: Why is it so hard for you to let someone else help you?Tyler: That's not itCaroline: Yes it is, Tyler. It's like you don't want anyone to care about you and I'm sorry I cared. I care Tyler so forgive me if Ioverstepped my boundaries by actually giving in(He kisses her)Caroline: You can't do thatTyler: I'm sorry, it's...Caroline: Everyone just need to stop kissing me!(She goes inside and shot the door)[Salvatore'shouse](Damon is still with Rose)Rose: Who would have thought you'd be nice?Damon: I'm not nice. I'm mean. I like itRose: You're lyingDamon: Shut, shut, just sleep. Just sleep[Rose's dream](Rose is in a dress, herhair are long. There are horses. She runs and sits down next to Damon)Rose: This was my favorite place to comes ago. How did you know?Damon: Word gets around. You told ElenaRose: Am I dreaming?(She closesare eyes and breath)Rose: The sun is so warm. I miss this. I miss being humanDamon: Humanity is not all cranked off to beRose: I had friends, I had a family, I matteredDamon: You still doRose: no but you do. Youbuilt a life whether you want to admit it or not. I spent 500 years just existingDamon: You didn't have a choice, you were running from KlausRose: There's always a choiceDamon: You know, you're ruining our perfectday with your strange philosophical babbling(She embraces him)Rose: I'd like to enjoy the fresh air. Would you enjoy it with me?Damon: For a whileRose: Thank youDamon: For what?Rose: The pain's goneDamon: I'mgladRose: Will I see them again? My family?Damon: I think you'll see whoever you want to seeRose: That would be nice. Maybe I'll see Trevor too. I'm not afraid anymore(She gets up)Rose: I'll race you to thetreesDamon: Well, you'll loseRose: I'm older and fasterDamon: Oh, you think?(He gets up)Damon: Well, I'm compelling this dream. Maybe I'll cheatRose: On the count of three. One, two, three[Salvatore'shouse](Damon takes a stake and drive it through her heart. He cries. Rose's dead)[Middle of nowhere](Sheriff Forbes rejoins Damon. He opens his trunk)Damon: Here's your vampire(Rose is in the trunk. The sheriff issurprised)Sheriff: How did you find her?Damon: It doesn't matter. What matters is that it's overSheriff: Thank you Damon. Once again, you've help keep this town safeDamon: I'll take care of burying the body(Hecloses the trunk)[Mystic Grill](Tyler rejoins Jules)Jules: Thank you for comingTyler: So what do you want from me?Jules: Just to be your friend. Mason would have wanted that. I know about Mason and youTyler: Youknow what?Jules: I know you're a werewolf and I know your little friend Caroline is a vampireTyler: How do you know about Caroline?Jules: You can't sniff them out?(He doesn't answer)Jules: Oh my god. You're brandnew. How many times have you turned?(he doesn't answer)Jules: Hey, I can help youTyler: Do you know where Mason is?Jules: He's dead, Tyler. He was murderedTyler: NoJules: You want to know who murderedhim?Tyler: Just stopJules: Your little blond vampire didTyler: No, Caroline would never do thisJules: She and her little vampires friends were behind it, TylerTyler: Caroline is the only vampire in townJules: Is that whatshe told you? She lied, this town is crawling with vampires but don't worry, we'll get themTyler: Who are you?Jules: I'm your friend. There are others like us and they're on their way[Salvatore's house](Damon arrives.Elena's here)Damon: You were supposed to leaveElena: I did but then I came back to make sure that you're okay(She gives him a glass of scotch)Damon: I appreciate the gesture. I'm just glad it's over(Hedrinks)Elena: You know I don't believe thatDamon: Go home, Elena. Get some rest. It's a whole new day tomorrowElena: Damon, I'm you're friendDamon: I'm well aware of thatElena: And a friend usually knows whenher friend is hurtingDamon: What do you want to hear? That I cared about Rose? That I'm upset? Well I didn't and I'm notElena: There you go, pretending to turn it off, pretending not to feel. Damon, you're so close,"}
+{"doc_id":"doc_261","qid":"","text":"•I do not own the characters or situations of BTVS, and I claim no credit for the content of this episode. I have merely transcribed what appeared on my screen, with help from the closed captions. •I prefer that you linkto this transcript on the Psyche site rather than post it on your site, but you can post it on your site if you want, as long as you keep my name and email address on it. Please also keep my disclaimers intact. •You canuse my transcripts in your fanfiction stories; you don't have to ask my permission. (However, if you use large portions of episode dialogue in your fanfic, I recommend you give credit to the person who wrote theepisode.) •I apologize in advance for my lame transcription of the fight scenes. I don't know the names of different punches and kicks. Use your imagination.[SCENE_BREAK]GILES VOICEOVER: Previously on Buffy theVampire Slayer...Dawn stealing a coin from the magic shop. Buffy and Dawn in Dawn's bedroom.DAWN: You're never here. You can't even stand to be around me.BUFFY: That is not true.DAWN: You didn't want to comeback. I know that. You want to go away again. The demon poker game.SPIKE: I'm in.LOOSE-SKINNED DEMON: Ante up. Kittens mewing.BUFFY: You're gonna play cards?! Halfrek appearing in the living room.HALFREK:I have been called, and vengeance shall I wreak. Anya gasping.HALFREK: Hello.ANYA: Halfrek!HALFREK: Anyanka? Anya and Halfrek squealing and hugging.ANYA: How are you?XANDER: You two, you know eachother?ANYA: Funny, Halfrek, I didn't summon you to kill Xander, I called to invite you to our wedding. Willow and Tara outside the magic shop.WILLOW: Tara. What are you doing here? Uh, it's okay for you to be here ifyou have things that ... you have to be here for. I'm doing better. No spells for 32 days. Tara and Buffy in the living room.TARA: Buffy, I promise, there's nothing wrong with you.BUFFY: There has to be. Why do I feellike this? Why do I let Spike do those things to me? Buffy and Spike kissing.TARA: Oh!BUFFY: Don't tell anyone, please.TARA: I won't.[SCENE_BREAK]Teaser[SCENE_BREAK]Open on a small table with several stakesand daggers on it. Reveal Buffy who begins putting the weapons into a bag. We're in the Summers living room. Dawn stands behind Buffy.BUFFY: (sighs) I'm sorry.DAWN: It's okay.BUFFY: No, we're gonna sit down andhave a real dinner. Someday. I hate having to run out in the middle, it's just, you know, there's this thing out there. Definitely non-vampire.DAWN: (smiling) I understand. Buffy picks up the bag, goes toward thedoor.DAWN: Well, maybe when you get back we can set up for your party tomorrow.BUFFY: Yeah. Uh, this could take a while though, I-I wouldn't wait up. (putting on her coat) Besides, Willow promised to be onbirthday patrol, so there's nothing left for us to do. (smiling)DAWN: Right.BUFFY: Okay, so, finish dinner, homework, and don't stay up too late, all right?DAWN: Okay.BUFFY: Okay. Buffy turns to go. Dawn watcheswith a smile. As soon as the door closes behind Buffy, Dawn stops smiling. Stands there, alone, looking unhappy.Cut to graveyard, night. Buffy walks along holding a large axe with a metal handle. Suddenly a largedemon with red skin and a spiny crest on its head leaps out behind her. Buffy whirls around. The demon swings a large sword at her. She ducks, then blocks with her axe. The demon's sword bends the axe handle, thenpulls it out of Buffy's hand. It flies off and lands in the ground. The demon swings at Buffy again and she gets hold of his sword arm, twists it around behind his back. Suddenly the demon shimmers and disappears.Buffy looks around in confusion. The demon reappears behind her. She kicks him in the face, punches him, kicks again. He falls back. His sword goes flying up into the air. Buffy catches the sword on its way down. Thedemon charges her. She stabs him right in the stomach. Blue light flashes out in a circle from the wound. The demon roars and grabs his stomach. Buffy pulls the sword out and falls back onto the ground. The swordlands point-down in the ground. The demon falls to his knees, still roaring. He shimmers and turns into a bolt of silver light that shoots over to the sword and into it. We can see his face reflected in the sword's blade.Buffy is still on the ground, facing the other way.BUFFY: Run off, huh? Afraid to face a true warrior? She gets up and sees the sword.BUFFY: Ooh, shiny. She smiles, pulls the sword out of the ground and twirls it around.Walks off, holding it. Wolf howl, opening credits. Guest starring Kali Rocha, Ryan Browning, and Amber Benson as Tara. Written by Drew Z. Greenberg, directed by Michael Gershman.[SCENE_BREAK]ActI[SCENE_BREAK]Open in the magic shop. Anya stands by the shelves dusting statues.ANYA: Do you think we should set up lots of candles for Buffy's party tomorrow? Pan over to reveal Xander and Willow sitting at asmall round table doing paperwork.XANDER: Not if they're that horrible slug kind you keep trying to unload.ANYA: (walking past) I don't know why people get so turned off by slug.XANDER: Honey, slugs get turned offby slug. (to Willow) Oh, actually, I wanted to talk to you about that.WILLOW: Slugs?XANDER: No, the party. Or, Tara ... at the party.WILLOW: Oh.XANDER: It's just ... Buffy really wants her there. It seems important toher, so I told her I'd ask you.WILLOW: (smiling) Oh ... yeah, of course, she should totally be there. It'll be great. Dawn enters. She wears a red t-shirt with a beige sweater over it, and has a red coat over herarm.DAWN: (smiling) Hey!WILLOW: Hey, Dawnie. Buffy, uh, out patrolling already? (Dawn nods)XANDER: So, uh, anything new about Warren and the Nerd Herd?DAWN: No, just a big monster hunt.XANDER: Man, anerd goes into hiding, he really goes into hiding.DAWN: Does anybody want to come to the mall with me for birthday presents?WILLOW: Oh, I would, honey, but ... I've got my group. You know, the whole SpellcastersAnonymous thing? We're still looking for a better name.DAWN: Oh. Well, yeah, uh, no, that-that's good. You should ... do that. (beat) So what about you guys?ANYA: Stuck in doing-the-books-ville.XANDER: Aw, I'dlove to go with you, but I gotta finish this new shift schedule for the crew by tomorrow morning. Dawn looks disappointed.WILLOW: Sorry, it just looks like one of those nights. You know?DAWN: Yeah.WILLOW: Youokay going on your own?DAWN: Yeah. Somehow I'll, uh, manage to pull it off. Willow gives her a little smile. Dawn grimaces, turns to leave.Cut to: overhead shot of Sunnydale, night.Cut to: exterior shot of theSummers house.Cut to inside. Dawn enters the front door, cautiously, looking around. She is wearing the red coat. Pan across the foyer into the empty dining room.DAWN: Buffy? Dawn starts up the stairs.Cut toDawn's bedroom. Overhead shot of Dawn as she enters, closes the door behind her, turns on the light. She puts her purse on the bed and reaches into her coat pockets.Cut to a closer shot as she pulls a handful ofjewelry from the pockets, still with the price tags attached. She looks at the handful for a moment, puts it on the bed, takes out another handful of jewelry and puts that on the bed too. She takes off her red coat,revealing a tight shiny leather jacket that she wears over the red t-shirt. She goes over to the closet, opens the door revealing a full-length mirror. She checks out the jacket in the mirror. We can see the price tag stillhanging from the sleeve. She pulls the jacket tightly around her.Cut to: high school classroom, next day. Pan across bored students.TEACHER: ...if we can come up with things Jim lost during his years in Shanghai, andthings he gained. (Shot of Dawn doodling)STUDENT: Excuse me.TEACHER: Who wants to- A student comes in and gives the teacher a piece of paper.TEACHER: Dawn. Dawn looks up, alarmed.TEACHER: They need youin the guidance office. Dawn continues looking alarmed as she gathers up her stuff.Cut to: long shot of Dawn walking down an empty hall lined with lockers.GUIDANCE COUNSELOR VOICEOVER: I'm sorry, I didn't meanto scare you.Cut to the outside of the office. Through opened venetian blinds we can see Dawn sitting across the desk from the guidance counselor woman.GUIDANCE COUNSELOR: Just a follow-up after your ... yourloss. And since I'm new here, I thought it would give us a chance to know each other.Cut to inside the office. The guidance counselor is a fairly young woman wearing a small blue pendant around her neck.DAWN:Great.GUIDANCE COUNSELOR: So, I've been looking through your file (shuffling papers on her desk) and, um ... your grades have slipped a little.DAWN: I have really hard classes this quarter.GUIDANCE COUNSELOR:Yeah, still. Teachers say that you seem a little distracted lately.DAWN: I'm not. I-I'm fine.GUIDANCE COUNSELOR: Okay. It's just, you know, I know it must seem weird, (small laugh) talking to a stranger about stuff,but, um ... I want you to know that if something's going on, something's up, my job ... the most important part of my job ... is looking out for you. She smiles. Dawn looks surprised, returns a very small smile of herown.DAWN: I'm really okay. The counselor nods slowly, sits back.GUIDANCE COUNSELOR: I know there's been ... a lot of loss. Dawn looks down.DAWN: (quietly) Yeah. Kinda. (looks up) I-I mean, yes. People keep ...people have a tendency to go away ... and, I miss them. And sometimes ... I wish I could just make them stop. Going away. The counselor smiles. Dawn pauses, waves her hands dismissively.DAWN: But seriously, it's,it's no big deal. I'm fine.Cut to: close shot on a table laden with several trays of hors d'oeuvres.XANDER: (OS) We're feeding an army!BUFFY: (OS) No, they couldn't make it. Pan out to reveal that it's the island inBuffy's kitchen. Anya is preparing the food while Buffy sits opposite. Xander stands beside Anya.XANDER: So, who's coming, you invite anyone else?BUFFY: Just you guys. Willow, Tara. The gang. Oh, and Sophie fromwork. Xander and Anya look at her, exchange a look.BUFFY: What? Like I'm one of those losers who can't make friends outside her tight little circle? No. I'm friendly. We bonded instantly. Peas in a pod. Bondedpeas.ANYA: Really? Um, what's Sophie's last name? Buffy thinks for a moment, frowns.BUFFY: (pouting) Okay, shut up.XANDER: Don't worry about it, we're all over the new friend thing. (Anya smiling)BUFFY: What ...new friend thing?ANYA: (smiling) Well, well ... we invited someone for you. Buffy looks horrified.ANYA: (whispers) A guy.DAWN: (entering) For Buffy? Really? (smiling)XANDER: Ahh, don't worry, it's not a setup.ANYA:(grinning) Right. No. Just an attractive single man, with whom we hope you find much in common. (Buffy looking annoyed) And if you happen to form-XANDER: Ahn-ANYA: -a romantic relationship leading tobabies-XANDER: Ahn-ANYA: -and many double dates with us so we have someone else to talk to, yay! Xander looks uncomfortable.BUFFY: I assume this was an act of kindness? (Xander looking embarrassed) That'llhelp with the not throttling. Buffy gives Xander a meaningful look. He gives a fake laugh.XANDER: Hey, I'm just gonna get this stuff out there, people should be here soon. He picks up some of the food.Cut to the foyer,later. Buffy opens the door to reveal Tara, holding a small gift box.BUFFY: Hey! You made it! They smile and hug.TARA: Of course, sweetie. (pulls back) So, how're you doing?BUFFY: Oh, you know. Better. Mostly. (Taralooking sympathetic) Sometimes.TARA: So, is, um... (looks around) Spike coming?BUFFY: No. He may be a chip-head, but ... he still doesn't play too well with others. Tara smiles, turns to put down the gift and hang upher coat.BUFFY: Besides, I'm definitely not ready to, to...TARA: (turns back) Come out.BUFFY: (smiles) Yeah. I'm all ... stay-inny. Tara smiles and nods.Cut to upstairs. Willow is standing in front of a mirror, verynervously adjusting her clothing. Cut back to downstairs.BUFFY: How are you doing?TARA: (anxious) The word \"gulp\" comes to mind.BUFFY: (sympathetic) Just remember, we're all here...to... Willow appears at the topof the stairs, coming down. Tara looks nervous.BUFFY: ...I have to, with the thing that I, uh... Coming! Buffy exits ungracefully. Tara and Willow face each other nervously.WILLOW: Hey.TARA: Hey.WILLOW: Hey.(pause) How are you?TARA: Fine, thanks, I'm ... I'm fine. I, how are you?WILLOW: (smiling) Great! I mean... (stops smiling) Fine. I'm, I'm ... finey McFine. Fine.TARA: Y-you look...WILLOW: (smiles) Thanks. (stopssmiling, looks embarrassed)TARA: I mean ... great.WILLOW: (embarrassed) Thanks. You do too. Is that a new-TARA: Oh, yeah. (glancing nervously at her dress)WILLOW: It's nice.TARA: Thanks. Very awkwardsilence.TARA: I-I'm gonna get something to drink.WILLOW: Oh, yeah, great. You should. Tara exits toward the kitchen.WILLOW: (muttering to herself) You don't wanna get thirsty.Cut to the kitchen. Buffy is fillingpaper cups from a large pitcher. Tara enters.BUFFY: Hey, how did it-TARA: Yes please. Tara takes a cup from Buffy's hand and drinks. Buffy looks surprised. Knocking at the back door. Buffy stands up. Spike enters,holding a 6-pack of beer under one arm. Someone else enters behind him but we can't see who it is.BUFFY: (surprised) Spike.SPIKE: Yeah. Willow mentioned the shindig ... figured we're all part of the team. We seethat Spike still has a large bruise over one eye from being beaten by Buffy in \"Dead Things.\" Buffy gives Tara a nervous look.SPIKE: Thought I'd, uh, swing by. Reveal the other person behind Spike. It's theloose-skinned demon from the poker game in \"Life Serial.\" Buffy frowns.BUFFY: Wait, what kind of team is this?DEMON: Hi. We met once before.BUFFY: Yes, yes we did.SPIKE: You know, more, merrier, that wholething.DEMON: (to Tara) Hi, I'm Clement. Clem.TARA: Tara. Xander enters with a young hunky blond man wearing a red shirt (Star Trek fans, take note).XANDER: Buffy, Richard.BUFFY: (smiling) Hey.XANDER: He waswondering where the best place was to park his car.BUFFY: Oh, that's easy, just-(pointing)XANDER: Buffy will show ya. Xander shoves Richard toward Buffy. They look at each other nervously.BUFFY: Okay, uh... (toTara) I'll be right back. Over Richard's shoulder, Buffy looks at Spike. He raises one eyebrow. Buffy takes Richard's arm and leads him toward the front. Richard pauses in the doorway.RICHARD: (whispers) Uh ... theguy with the...BUFFY: Skin condition. He doesn't like to talk about it. Buffy leads Richard away.SPIKE: Stupid git! (closing the back door)TARA: I don't know. He seemed ... cute. W-was he cute? I mean, I'm not a verygood judge, but... Spike scowls.TARA: (grinning) I think he seemed cute.CLEM: (agreeably) I think he seemed cute, yeah. Spike gives them both a look of outrage.Cut to the living room. Xander sits on the sofa; Dawnand Anya stand nearby.DAWN: If we get Buffy, can, can she start on opening the presents? It's been enough time, hasn't it?ANYA: Not yet, sweetie.XANDER: I think Buffy's busy right now.ANYA: (as if talking to a smallchild) Buffy's making a new friend. A grown-up friend.DAWN: What, you mean the guy you invited to set her up with?ANYA: Nothing.DAWN: It's not like I don't understand why you invited him. I was there, remember?I can hear you when I'm in the room, you know? (Anya just nodding) I do understand these things.ANYA: (patronizing) Yes you do! (patting Dawn on the head)DAWN: You know I'm in high school, right?ANYA: Yes youare! Dawn stares at Anya in disbelief.Cut to Buffy coming down from upstairs. Spike intercepts her in the foyer and backs her into a corner.SPIKE: You wanna slip away for a minute, luv?BUFFY: What?SPIKE: I'll let youblow out my candles.BUFFY: Here. Now? I don't think so.SPIKE: Oh, what, you worried about Richard? You don't wanna make your new boyfriend jealous, huh?BUFFY: (grinning) Shut up. He's ... sweet.SPIKE: (teasing)\"Oh, shut up, he's sweet.\"BUFFY: Maybe he's not the jealous one. Spike looks surprised. Buffy moves past him and away.SPIKE: You think he'll take you out on his ten-speed, pet? (to himself) Maybe he'll let you ride inthat little basket in the front. (scoffs) Jealous my ass. He sighs, looks around in frustration.Cut to later. Buffy sits on the sofa, looking skeptically at a device with a large head with two round knobs on it.BUFFY: Uh... Wesee Willow sitting on Buffy's right. Dawn sits on Buffy's left, fidgeting very obviously.WILLOW: See? i-it's a battery-operated back massager. And it's portable so you can take it with you on patrol.BUFFY: (dubious)Wow.WILLOW: (smiling) It's like, instant gratification for all your little acheys. Buffy looks over at Spike leaning in the doorway. Spike raises his eyebrow and gives his best suggestive smirk.BUFFY: (quickly) Great!Thanks! (puts the massager aside) Uh, what's next?DAWN: (excited) Here, do mine. Dawn turns to pick up a large flat box behind her, gives it to Buffy. Buffy begins unwrapping it. Shot of Spike watching, glancing overat Clem. Shot of Clem and Tara watching. Buffy removes the paper to reveal a plain white box. She opens it and looks inside.BUFFY: (surprised) Dawn. Close shot on the box, containing the black leather jacket thatDawn was wearing earlier.DAWN: (smiling) Do you like it?BUFFY: (lifting it out of the box) It's ... gorgeous.DAWN: I was so nervous. I was afraid you wouldn't like it. Buffy looks at the jacket, frowns. Close shot on thesleeve which has the security tag attached.BUFFY: I-it still has the security tag on it. Dawn looks alarmed, covers quickly.DAWN: Huh. That's so weird. I can't believe they didn't take that off. Buffy stares ather.XANDER: (OS) Happy birthday, Buffy! Everyone turns to see Xander and Anya wheeling in a large wooden chest.BUFFY: Oh my god! Xander and Anya place the chest in the middle of the room and gestureproudly.BUFFY: Did you guys make that? Buffy gets up, thrusting the box with the jacket into Dawn's lap. Dawn looks dismayed.ANYA: Uh, well, uh, Xander did the building. (Dawn still looking upset) I offered helpfulsuggestions while observing from a safe distance. Buffy kneels down to open the chest. Xander holds the lid open and leans over to speak softly so Richard won't hear.XANDER: Holds basic weapons, (Buffy smiling) plusa few non-basic ones too. (loudly) Plus, there's a handsome CD holder. Shot of Dawn looking disgusted, folding the jacket back into the box.ANYA: (OS) We wanted you to have something no one else wouldhave.BUFFY: (OS) A Xander Harris original. Sound of the doorbell ringing.BUFFY: I love it. Thanks, you guys! Buffy leans across the chest to kiss Xander on the cheek. In background we see Tara opening the frontdoor.TARA: Buffy? Buffy hugs Anya, turns around.BUFFY: Oh! Sophie! We see a nervous-looking young woman standing in the doorway.BUFFY: Welcome! (Sophie exchanging smiles with Tara) Uh, we're somewherebetween, uh, presents and cake. (to Anya) There is gonna be cake eventually, right? (Anya nodding)SOPHIE: (walking into the living room) Hey. Uh, my mom told me to say thank you right away, 'cause, otherwise Iusually forget. So, thank you. Buffy and Anya listen to this politely. We see Spike in the background watching.SOPHIE: And, also, um, I can't have any, any chocolate, or, or peanuts or egg yolks.ANYA: (whispers toBuffy) Is this the friend you brought from work?BUFFY: Yes.SOPHIE: A-and sometimes dairy.BUFFY: No problem. Sophie looks around at the others. Clem gives her a friendly smile and wave. Tara smiles too.ANYA:(whispers to Buffy) Our friend is better. Dawn gets up and moves toward the foyer as Sophie moves farther inside. Spike remains leaning against the door frame.BUFFY: (OS) Uh, we can do official introductions nowthat everyone's officially here. Dawnie, you mind getting the door? Dawn goes past Spike and Tara to the open door.BUFFY: (OS) Sophie, this is Anya ... and Willow... Shot from on the porch looking in. Dawn stands inthe doorway, looks unhappily back at the party, then outside. Slowly, she closes the door. Pan across the outside of the door to the porch. Dawn's guidance counselor walks out of the shadows, on the porch. She walksover to the front door, smiling slightly. She stops walking and her face morphs into demon-face -- she is Halfrek. She speaks in her deep resonant demon voice (see episode \"Doublemeat Palace\").HALFREK: Wishgranted. Blackout.[SCENE_BREAK]Act II[SCENE_BREAK]Open on the party. Loud rock music is playing. Pan across Sophie and Clem dancing together. Pan across Willow sitting in a chair with Xander sitting on its arm,both talking and moving to the beat. Pan to the sofa where Anya sits waving her hand to the beat. Dawn sits beside her, looking bored. Zoom in on Dawn. She looks like she's trying to pretend she's enjoying herself.She experiments with a couple of different smiles.Cut to the foyer. Buffy comes out of the dining room and encounters Richard in the hall.RICHARD: Hey.BUFFY: Hi.RICHARD: Great party. Everyone's havin' fun.BUFFY:"}
+{"doc_id":"doc_262","qid":"","text":"THE BRAIN OF MORBIUSBY: \"ROBIN BLAND\" (TERRANCE DICKS REWRITTEN BY ROBERT HOLMES)Part OneRunning time: 25:25[SCENE_BREAK]SOLON: You were quick, Condo. Were there no survivors?CONDO: One,an oxygen breather.SOLON: Humanoid? Excellent. Let me see.SOLON: No, that won't do. Even if the ganglia could be. No, the cranium's too narrow, the cerebrum undeveloped. That is an insect! Even a half-wittedcannibal like you can see it won't do!CONDO: But the big head's not come, master. Not to Karn.SOLON: It must, Condo. One day, a true humanoid species, warm blooded, with a central nervous system. One suchspecimen, just one, and I can complete my work here.[SCENE_BREAK]DOCTOR: Come out, meddlesome, interfering idiots. I know you're up there so come on out and show yourselves!DOCTOR: Messing about with myTARDIS. Dragging us a thousand parsecs off course.SARAH: Oi, have you gone potty? Who are you shouting at?DOCTOR: The Time Lords, who else? Now, you see? You see? They haven't even got the common decencyto come out and show their ears.SARAH: They're probably afraid of getting them boxed, the way you're carrying on.DOCTOR: It's intolerable. I won't stand for any more of it.SARAH: Oh look, why can't it have just gonewrong again?DOCTOR: What?SARAH: The TARDIS.DOCTOR: What? Do you think I don't know the difference between an internal fault and an external influence? Oh, no, no, no. There's something going on here, somedirty work they won't touch with their lily white hands. Well, I won't do it, do you hear!SARAH: There's something ominous. Where are we, do you think?DOCTOR: I don't know and I don't really care.SARAH: Oh, comeon. Come on, stop being so childish.DOCTOR: I'm just going to sit here and do nothing.SARAH: So there.DOCTOR: Yes.SARAH: Look, Doctor. Oh, come on, have a look at it. I mean, you don't know what you might bemissing. Well, do you know what it is?DOCTOR: Yes. Ejection bubble.SARAH: A what?DOCTOR: A space parachute.SARAH: Pardon?SARAH: Hey, Doctor, quick. Come and look at this! There must be about a dozenwrecked spaceships out there. It's like the Sargasso Sea.DOCTOR: Fancy.SARAH: It's incredible. I mean, why should they all have crashed here?DOCTOR: I've no idea.SARAH: Well, I think you should take a look.Coming?DOCTOR: No, thanks. I'm just going to sit here and practise my double loops.SARAH: Well, please yourself. I'm going anyway. Are you sure?DOCTOR: Yes.SARAH: I suppose it was the crash?DOCTOR: Not thecrash. Afterwards.SARAH: After? So it was deliberate?DOCTOR: Looks as if he escaped in the ejection bubble, and while he was wandering around dazed someone or something attacked him. Poor Mutt.SARAH:Mutt?DOCTOR: Yes, a mutant insect species. Widely established in the Nebula of Cyclops. I thought I recognised the stars.SARAH: You've been here before?DOCTOR: I was born in these parts.SARAH: Nearhere?DOCTOR: Well, within a couple of billion miles, yes.SARAH: Hey, look!SARAH: Come on. At least it's civilisation.SARAH: Oh god. Come on.[SCENE_BREAK]SOLON: Motor reflexes seven tenths.SOLON: Condo!Condo, fetch some lamps.SOLON: Condo![SCENE_BREAK]MAREN: Two of them?OHICA: A male and a female, Maren, in the valley below.MAREN: Our senses reach beyond the five planets. They were notOHICA: Theyare here.MAREN: No ship can approach Karn without detection. Even the silent gas dirigibles of the Hoothi are felt in our bones while still a million miles distant.OHICA: There was no ship, Maren. The last was the cruiserof the Mutts.MAREN: Then how? How, Ohica?OHICA: I do not know. I say only what my eyes have seen.MAREN: Is it as I feared? For months now I have had a dream that the Elixir of Life would be taken fromus.OHICA: Taken?MAREN: Next to myself, Ohica, you are the oldest of our sisterhood. Come, let me show you.OHICA: The Flame of Life! Maren, what is wrong? Why is it so low?MAREN: The Flame dies, Ohica. Everymonth, every day, it sinks lower.OHICA: How can this be? At our ceremonies the Flame has burned brightly, higher than my shoulder.MAREN: A deception. For many months past, before each ceremony, I have secretlyfed the Flame with powdered Rine Weed.OHICA: But if the Flame dies, there will be no more Elixir.MAREN: It has been low now for over a year. The vessel remains empty.OHICA: Then we are doomed. Our sisterhoodwill perish.MAREN: We are only servants of the Flame. If the Flame dies, then so must we.OHICA: Maren, should not the others know?MAREN: Not until the end is certain. As you know, Ohica, the secret of the Life Elixiris known only to our sisterhood and the High Council of the Time Lords. Since the time of the stones we have shared the Elixir with them. Now there is none to share.MAREN: The few phials that are left I have kept forourselves. But for months I have felt the Time Lords would come to rob us of these last precious drops.OHICA: You think the two I saw have been sent to steal the Elixir?MAREN: If that is so, we must deal with them.Summon our sisters. We will form a circle.[SCENE_BREAK]SOLON: Where have you been?CONDO: Master.SOLON: I asked you, you stupid ox, where have you been?CONDO: I go find food, master.SOLON: You're lying.You can't deceive me, Condo. You've been looking for that arm again, haven't you. I've told you before. You get the arm back when our task here is finished. You serve me well and I'll put it back as neatly as I took itoff. But if you fail me, you'll keep this for the rest of your life. Do you understand?CONDO: Yes, master.CONDO: The door. Somebody ring.SOLON: Answer it, you fool.DOCTOR: Can you spare a glass of water?SARAH:Can we come in?SOLON: Humans. At last. Humans!SOLON: My dear sir. My dear, dear sir. You have no idea what a pleasure this is. It's so long since we've. Condo, take their clothes.SARAH: Well, if we could justshelter for a while, that would be fine.SOLON: Great heavens, you can't go walking on a night like this. I wouldn't dream of letting you proceed one step further. Condo, stir yourself. Our guests are cold and tired andwet and. Let me take your hat, sir. There. Oh. What a magnificent head.SARAH: What?SOLON: Superb head.DOCTOR: Well, I'm glad you like it. I have had several. I used to have an old grey model before this. Somepeople liked it.SARAH: I did.SOLON: What?DOCTOR: I said, some people liked it, but I prefer this model.SOLON: Forgive me. What a surly host you must think me. Please, come in, come in. Make yourselves at home.Warm yourselves and sit down. Condo, pour the wine.SARAH: Oh, it's very kind of you. Thank you.SOLON: Not at all, not at all. It's an honour to offer you whatever comforts my humble abode can provide. As you see,the amenities here are rather antiquated.SARAH: Oh, no, I think it's veryDOCTOR: Interesting.SARAH: Oh, yes, yes.SOLON: Well then, tell me, tell me about your adventures.SOLON: It's so rare that anyone arriveshere on Karn.DOCTOR: Karn, is it? I should have known.SOLON: You mean you arrived here without knowing?SARAH: Oh well, we often go on a sort of mystery tour, don't we, Doctor? Doctor?DOCTOR: You seem verykeen on heads, Mister er.SOLON: Solon.DOCTOR: Mister Solon.SOLON: Mehendri Solon.DOCTOR: It's very good.SOLON: Yes, I. Modelling is one of my hobbies, you know, but unfortunately this is not a very goodexample.DOCTOR: Oh no, I thought I recognised the face.SOLON: No.DOCTOR: No?SOLON: You made a mistake.DOCTOR: Talking of heads, or their absence, we found a headless body lower down themountain.SOLON: How distressing.DOCTOR: Yes, it was.SOLON: It must have been from one of those crashed spacecraft, no doubt.DOCTOR: Yes, that's another thing. How many did we count, Sarah?SARAH:Fifteen.DOCTOR: Fifteen. The wreckage of fifteen ships all in this one area.SOLON: There's a belt of magnetic radiation.DOCTOR: Magnetic radiation?SOLON: Oh, I don't know anything about it, but I believe that is thetheory. In fact, Karn has become quite notorious.SOLON: Ah, here we are. Now, let's hope that Condo has brought something special. Thank you. Condo, how many times have I told you the wine must be opened andallowed to breathe.DOCTOR: Oh, please, please.SOLON: No, no, no. So would you please do as you've been instructed? Hurry.SOLON: He's an excellent fellow, very devoted to me, but his intelligence is not thehighest.SARAH: What happened to his arm?SOLON: Oh I, er, many years ago I dragged him from the wreck of a Dravidian starship and his arm? Well, amputation was the only way of saving hislife.[SCENE_BREAK]SISTERS: Flame. Sacred fire. Sacred Flame. Sacred fire.SISTERS: Sacred.MAREN: I see it.SISTERS: Flame.MAREN: I see the machine of our enemy.SISTERS: Sacred fire. Sacred Flame.MAREN:Concentrate, sisters. More power!SISTERS: Sacred fire.MAREN: Bring the machine here.SISTERS: Sacred Flame. Sacred fire. Sacred Flame. Sacred fire. Sacred Flame. Sacred fire. Sacred Flame. Sacred fire.SacredMAREN: Enough. Enough. It is done.MAREN: I was right, Ohica. It is a time machine.OHICA: Of the kindMAREN: A TARDIS. Only the Time Lords know the secret of such machines.OHICA: Then the one I saw is aTime Lord.MAREN: Sent here to steal the Elixir.OHICA: Maren, what can we do? Alone among all the races in our galaxy, the Time Lords are our equals in mind power.MAREN: That is true, Ohica. Other races we candestroy from within. We can place death in the centre of their beings, send them mad with false visions. But with this one such powers would have no effect. He would close his mind to us.OHICA: Then we arelost!MAREN: There are other ways. But first we must find him. Form a circle, sisters.SISTERS: Sacred fire. Sacred Flame.[SCENE_BREAK]SOLON: One never really overcomes the nostalgia for one's planet of origin.Sometimes at night I look up at the sky and I think, will I ever see Earth again?SARAH: I know the feeling.DOCTOR: What made you settle on Karn?SOLON: Well, nobody lives here. Nobody bothers me. I can get onwith my work.SARAH: What kind of work is that?DOCTOR: Microsurgical techniques into tissue transplant. It was the title of the book you published.SOLON: You know something of my history, Doctor.DOCTOR: One ofthe foremost neurosurgeons of your time. Considerably after your time, Sarah. Yes, your disappearance caused quite a stir. It was said by some you'd joined the followers of the cult of Morbius.SOLON: Malice. Academicjealousy. I just had to get away.[SCENE_BREAK]SISTERS: Sacred fire. Sacred Flame. Sacred fire. Sacred Flame. Sacred fire. Sacred Flame. Sacred fire.MAREN: So, our enemy thinks himself safe in Solon'scastle.SISTERS: Sacred fire. Sacred Flame.[SCENE_BREAK]SOLON: You know, I always knew that one day I'd have a guest with a head for such a fine vintage.SARAH: What was that?SOLON: Oh, just a freaksquall.DOCTOR: Or a telekinetic visit.SOLON: What?DOCTOR: From the Sisterhood of Karn.SOLON: What do you know of the Sisterhood?DOCTOR: I know who that reminds me of now. One of the Time Lords.Morbius.SARAH: Doctor, are you all right?DOCTOR: One of the most despicable criminally minded wretches that ever lived.SARAH: Doctor!SOLON: There are some of us who would not agree with that, Doctor.SOLON: Itworked, Condo. He is ours!CONDO: We take head now?SOLON: You put that away. This will be no crude butchery. A head such as this, a head that will soon command the universe, must be taken with care and skill.Every step must be planned. Every suture, every small incision has to be perfect. This will be my great triumph, Condo. A thousand years from now, people will remember Solon's last and greatest operation.CONDO:Not last, master. Me last.SOLON: What?CONDO: Arm. You made promise.SOLON: Any third rate hack can fix an arm, but a head, the centre of the nervous system, that takes more than just skill. That takesgenius.CONDO: Girl.SOLON: What girl?CONDO: Her.SOLON: Kill her.SOLON: Condo! I am anxious to get on. Now take him to the laboratory. I want to start my work.SOLON: Mind his head.[SCENE_BREAK]SOLON: Asecondary cardiovascular system. So he's a Time Lord. I thought as much. That's excellent, because we have no problem of tissue rejection.CONDO: Time Lord dangerous.SOLON: What?CONDO: Much power,master.SOLON: Rubbish! The Time Lords are spineless parasites. Morbius offered them greatness once but he was betrayed and rejected. They'll pay for that mistake, Condo. These pacifist degenerates will be the firstto feel the power of his revenge.SOLON: What's that for? Do you think I'm going to operate in this light? We need proper lighting and power for the instruments, so we have to repair the generators.Come.[SCENE_BREAK]SOLON: There is a lot to be done. I have to remove the Doctor's brain before I can start the operation. Hurry![SCENE_BREAK]SARAH: (quietly) Doctor? Is that you?SARAH: Oh, Doctor, wake up."}
+{"doc_id":"doc_263","qid":"","text":"SCENE: Storybrooke. Present time. Mines.[SCENE_BREAK](Men whistling \"Heigh-Ho\")Grumpy: Our yield's way down, boys. I know Dopey's a tree, but we got to be more productive since he can't.Happy: He's producingoxygen. (Laughter)Grumpy: Hey. Let's stay focused.Emma: Yes. No one wants a nasty surprise.Grumpy: You're not getting any dust, sister.Emma: Actually, I'm shopping for something else today. Something with...edge.Happy: My axe.Emma: Oh, Happy, there's something I learned as the Dark One. If your name is on something, hold on to it.[SCENE_BREAK]SCENE: Camelot. Six weeks ago. Merlin'stower.[SCENE_BREAK]Regina: If we're going to free Merlin, we need witchbane.Belle: Yeah, but the labels are all faded.Emma: Forget the decloaking potion. It's not a glamour anyway.Regina: You sure?Mary Margaret:If I'm getting this right, the tree could actually be him transfigured, right?Belle: We could find out with a sample.Regina: Yeah, and when we snap off a twig and it turns into a finger, who's crying then? Come on,someone. Witchbane.Emma: You guys sure you don't want me to just wiggle my nose and get him out of that tree?Mary Margaret: No.Regina: Your magic is dark now. It's not worth it. I'll just keep pretending to be thesavior destined to free him, and we can do this together.David: Regina's right, Emma.Arthur: I heard someone say a woman is right. That's always a safe assumption, isn't it, David?King Arthur: How are youprogressing, Madame Savior?Regina: Um... progress. Slow but sure.Belle: It's, uh... marvelous having Merlin's own books to work with. It's like talking with the master.Mary Margaret: Oh. What if we could talk tohim?Emma: What?Regina: Yes. (Chuckles) You are... very occasionally... a genius.Belle: Yes, if we talked to him, he can tell us how to get him out.David: A mushroom.Regina: Toadstool, actually. Deadly poison.Extremely useful in communicating across barriers, even through spells. Says here it's called the Crimson Crown.King Arthur: Yes, I know this name. It's rumored to grow in Brocéliande, the Forest of Eternal Night. Itsexistence is the stuff of legend, though. Almost certainly fiction.David: People say the same thing about us. How far?King Arthur: A half day's ride. But if it is there, it'll be protected by magical forces.Mary Margaret: Youknow what, David? Wait until we know more.David: It's not like I'm needed here. It's a chance.Mary Margaret: Oh. Aww.David: I'm taking it.(Indistinct conversations)King Arthur: Hold!David: Your Majesty. Don't try totalk me out of this.King Arthur: I wouldn't dream of it. I just wanted to propose, Prince David, if it's quite all right with you, that I come along and lend aid. Come with me and we can get ourselves outfitted, and then wecan quest together as brothers.[SCENE_BREAK]SCENE: Storybrooke. Present time. Sheriff's station.[SCENE_BREAK]Regina: This question mark... That's my handwriting. I must've marked this page in Camelot. I don'tknow if this is the right answer, but these books came from there. I think we were looking at this for answers.Grumpy: We've been violated!David: What's the problem?Grumpy: What do you think it is? Your kid.Happy:She took my axe.Regina: Uh, dwarfs are your department. I'll stay on this.Mary Margaret: What do you want us to do about it, Leroy?Grumpy: Help us. We know she's your daughter, but you got to do something,'cause if you won't, we will.Mary Margaret: Do not hurt her.David: It's okay. They can't.Grumpy: Like that's all that matters? Stop being a scared parent. Be our sheriff again. We need you.David: I'll see about gettingthe axe back. Thanks for letting us know.Grumpy: Looks like just another insult for us to swallow down. For now.(Sighs)(Indistinct conversations)Mary Margaret: Why does she need an axe? That's alarming,right?David: I don't know. I mean, what could she do with an axe that she couldn't just do with her powers?(David kicks a chair)Mary Margaret: David!David: Just wish she'd talk to us.Mary Margaret: I know. Me,too.David: Worst part is... we can't save her.Mary Margaret: Yet. We're trying.David: How? What am I doing?Mary Margaret: You're leading.David: Nobody seems to be following.Mary Margaret: Oh, don't worry aboutthe dwarfs.David: I'm not. I'm worried about Emma and how this is my fault.Mary Margaret: She made the choice to save everyone.David: I should've stopped her. I am her father, and now I'm... I'm paralyzed. There'snothing I can do, for her, for you, for anyone.Mary Margaret: You are doing something. You are helping our people the best you can.David: That's kind of the problem.Mary Margaret: Hey. In any world, you are myhero. Remember?David: Of course. Go. I've got it.(Door opens)King Arthur: Good morning to you, Sheriff.David: Your Majesty. How can I help you? Any luck finding your blade?King Arthur: No luck finding Excalibur,I'm afraid, but I'm coming to you with something far more urgent. Our reliquary's been robbed.David: I'm sorry, your what?King Arthur: Magical relics collected by the Knights of the Round Table. They're all veryprecious. I had no idea it was here until it turned up in this land nearly empty.David: When you say precious...King Arthur: There was a magic bean inside. This bean can take my people home in an instant. I have to tellyou I will find it if I have to search every residence in your city.David: You don't have to do anything alone.King Arthur: You can help?David: I'll get you back to Camelot. I promise.King Arthur: Thankyou.[SCENE_BREAK]SCENE: Storybrooke. Present time. Emma's house. Basement.[SCENE_BREAK](Emma goes to swing the dwarf axe at the Stone of Destiny which is holding Excalibur.)Darkness: A dwarf axe. Now,that's a creative path to failure.Emma: Dwarf axes cut through everything.Darkness: Nothing cuts through magic. Except maybe a kiss. Have you thought about kissing it out?(Laughs as the axe breaks on thestone)Darkness: You're running out of options, deary. You see, we want you to, uh, snuff out the light. So, we need a hero to pull Excalibur from the stone. Now... and let's face facts that's not gonna be you. So, whydon't you stop messing around and go get the hero we need? Oh, and, uh, you and I both know who that is.[SCENE_BREAK]SCENE: Camelot. Six weeks ago. Merlin's tower.[SCENE_BREAK](Sighs)Robin Hood: It's allright. You'll get it. Perhaps it's time for a spot of tea. Calm nerves lead to clear thoughts.Regina: You're here so I can keep an eye on you, mute handmaiden. I don't need you rolling your eyes at me. We need to clearthe air. Fine. (Whoosh)Zelena: Ah! (Laughs) Oh, there you are, my lovely voice. It's so... light and feminine.Regina: Enough. Now... let's have a little chat about you trying to escape back to Oz. Zelena... you know youcan't take that child away from Robin.Zelena: Can you blame me? You're going to take it from me. This child could be my only chance for someone to truly love me, and... you got a second chance. Why can't I?Regina:Oh, I'm sorry. But you've had a second chance and a second second chance. You can't keep painting yourself as a victim. It's absurd.Zelena: You can tell me that life is fair all you want. All I can tell you is that from inhere, I'm still seeing one sister with all the toys...(whoosh)Regina: Be quiet and listen for once in your life.Zelena: (Stomps foot)Regina: You forgot who I am. The Evil Queen. I can be a far greater nightmare than youcan possibly imagine. But now... my gift to you is a promise. I will make sure your baby is fine and loved and safe. Just as I promise... The same will certainly not hold for you.[SCENE_BREAK]SCENE: Camelot. Sixweeks ago. The Round Table.[SCENE_BREAK]David: Wow.King Arthur: I like to be prepared.David: Is that... Percival chair?King Arthur: Yes. But no need for more apologies. A leader does what needs to be done. I'llfind a man worthy to fill that seat.(Arthur gestures to the tallest chair at the table.)King Arthur: This is the one that will stand empty forever.David: I assume that was your chair. Suitable for a king.King Arthur: No.Mine is no different than the others in the same way that the table is round. Many of our order are kings and princes in their own realms. Nonetheless, happy to sit shoulder to shoulder with the rest of their knights. Noone of us above the other. Except for this one. This is the Siege Perilous. Reserved for the knight with the purest heart, the one destined to carry out the most sacred quests. Belonged to a man I trusted more than abrother. But he betrayed me. It's been vacant since.David: Lancelot.King Arthur: You've heard of him.David: Well, all of you are kind of legends.King Arthur: Really? I shudder to think what our tale must be.David: Oh,only one of the greatest romances of all time. Your love for Guinevere was ripped away by your best friend, Lancelot. It's a tragic story that clearly had a happy ending. The two of you seem like all that's in the pastnow.King Arthur: Yes. Lancelot was a good man. The situation was difficult.David: I understand. Actually, Snow... Mary Margaret and I, we met him.King Arthur: You did? How is he?David: I'm... very sorry to tell youthis, but we... learned that he died. I'm sorry.King Arthur: Lancelot failed to resist temptation, but he was a good knight. He tortured himself for his sins far more than I would've done. I wished him happy. Just not withmy wife.(Door opens)Arthur: (Clears throat)(Trunk thuds)King Arthur: Careful. This... is our reliquary, containing our sacred magical items our knights have recovered.David: I've never seen magic like that.King Arthur:It's the Unquenchable Flame. Said to be part of the burning bush itself. This will light our path, and where we're going, we're gonna need it.[SCENE_BREAK]SCENE: Storybrooke. Present time. Camelotcamp.[SCENE_BREAK]Squire: The reliquary, Your Majesty.David: So, you're the one who found this broken into? Any theories?Squire: Me? Oh, well, um... everyone speaks of the Dark One in this place. Perhaps...KingArthur: Stop being a fool, man.David: Arthur, to be honest, she did take a dwarf axe.King Arthur: And, as you're about to say, the Dark One doesn't need tools. This lock was pried open. You can see thescratches.David: You're right.King Arthur: This is your land. What are you thinking?David: I'm thinking I may not know who did this. But I think I have a good idea of what their next move willbe.[SCENE_BREAK]SCENE: Storybrooke. Present time. Granny's.[SCENE_BREAK]Hook: Ah, I know that look. Button on the top turns it on.Robin Hood: I know how to use a phone.Hook: What's that, then?Robin Hood:It's a picture from up inside Zelena.Hook: Whoa, mate.Robin Hood: No, n-no. It's of the baby. They... they call it a sonogram.Hook: Oh. Mixed emotions, I bet.Robin Hood: (Sighs) I mean, I know it's painful for Regina.Her evil sister carrying my child. It's painful for me. And yet there's some part of me that can't help but feel happy. It's my child. And I sure don't want Regina to know that. I don't want her to misconstrue my happinessfor, well...Hook: You got yourself a complex situation there, that's for sure.Robin Hood: Hmm. Unlike your simple love life.Hook: Ha. About that. She's not the same. Her new house, there's a door in there that shedoesn't want me anywhere near. What do you suppose she's hiding? I was thinking that may...Granny: Order up.Hook: Order? I didn't order anything.Robin Hood: What does it say?Hook: \"Meet me on your ship.Emma.\"Robin Hood: You're right. Things are complicated all over.[SCENE_BREAK]SCENE: Storybrooke. Present time. Jolly Roger (the real Lady Washington) at the docks.[SCENE_BREAK](Hook enters the cabin.)(Floorcreaks)Hook: That's not funny appearing like that.Emma: Sorry.Hook: What's going on?Emma: I know this has all been really confusing and I have not made it any easier. I wanted to apologize for overreacting lasttime. I know you're just trying to help. So, I thought... We could just talk and have lunch, like old times.Hook: I'd like nothing more. But this is hardly like old times.(Hook sets the bag of food down on the table, whichis transformed into a banquet with a checkered table cloth. Emma is now in her pink dress, with her undyed blonde hair in a pony tail.)Emma: Better? Come on. You know you can trust me.[SCENE_BREAK]SCENE:Camelot. Six weeks ago. Brocéliande, the Forest of Eternal Night.[SCENE_BREAK]David: What is it, noon? You weren't kidding about eternal night. I'm glad we have a torch.King Arthur: I'm glad we sent Grif home withthe horses. These woods would make him restless.David: Your squire works hard, Your Majesty.King Arthur: \"And you don't thank him enough.\" I can hear you saying it even when you don't. You're right, though. Idon't even have the excuse of ignorance. I was born a common man and I've been in service myself.David: You weren't born noble?King Arthur: (Chuckles) I'm as peasant as they come.David: Shepherd.King Arthur:Ah. (Chuckles) I can feel my backbone relaxing already. Let's stop with the \"Your Majesties,\" shall we?David: Of course.King Arthur: As for my squire, I assure you Guin more than makes up the difference. Showeringhim and the others with gifts. She really is the kindest woman I've ever met.David: Sounds like my wife. When she decides you're family, she'd die for you.King Arthur: That's not to say Guin doesn't have her fierceside. With a bow and arrow, I've seen her take out the eye of a dove in flight.David: Mary Margaret could do that. She wouldn't, but she could.King Arthur: We should have a tourney. Get them to compete.David:(Chuckling) Right. 'Cause I'm sure they'd love to be pitted against each other to let us feel good about ourselves.King Arthur: Here. Then perhaps there are better ways for me to show off.David: You're a competitiveman for someone with a round table. I thought the idea was you didn't want to sit above anyone.King Arthur: Someone who isn't competitive doesn't need a two-ton table to remind him to be humble.David:(Chuckles)King Arthur: I know my weaknesses. Lancelot and Guinevere weren't the only ones to blame for what happened to them. I was a difficult man to live with. But I made a conscious decision to fix things.David:I understand that.King Arthur: This way.[SCENE_BREAK]SCENE: Camelot. Six weeks ago. Brocéliande, the Forest of Eternal Night. Lake.[SCENE_BREAK]King Arthur: Look upon that, brother.David: So it is real. CrimsonCrown. (Spyglass closes)(David steps on the bridge, and sinks into the water.)David: It'll never take both of us. I'll go.King Arthur: I'll wait here. Let the torch be your beacon back.David: Thank you.(Woodcreaks)(Chuckles softly)(Wood cracks)(David starts to cross the bridge, and falls. Armor shines in the water.)[SCENE_BREAK]SCENE: Storybrooke. Present time. Gold's shop.[SCENE_BREAK]David: How's hedoing?Belle: Not well.David: I'm sorry.Belle: Yeah. But I-I found a healing spell in one of his old notebooks, and I've got everything put together except for one last ingredient. I, uh, I need an object that touched himwhen he was still a man, before he became the Dark One.David: You must have something.Belle: Well, nothing I can find. Still more to look through, though.David: You want me to get you some help?Belle: No. I'm theonly one who knows this place, knows his things, and I need to keep doing something.David: Well, then we'll make this quick. Has anyone come in to pawn anything today?King Arthur: Especially a magic bean.Belle:Uh, a bean? No. No one's come in. Sorry.David: Ah, it was worth a shot. That's all right. You have something else I need. May I borrow this?(David picks up a silver chalice.)Belle: Uh, yeah.David: Good. This is gonnapoint us right at our culprit.King Arthur: What is it?Belle: It's not magic, though. It's just a souvenir from Doc's birthday party. It says \"Doctoberfest\" on it.David: I'm very well aware. Don't worry. I've got this.(Belljingles)[SCENE_BREAK]SCENE: Storybrooke. Present time. Camelot camp.[SCENE_BREAK]David: Attention, subjects of Camelot! In my hand, you see the Chalice of Vengeance. There's been a theft in yourencampment.(Murmuring)David: The chalice will tell me which among you is the thief. So, line up for your chance to drink from the sacred cup.(Footsteps running)(Crowd gasps, murmurs)(Horse neighs)Squire:Hyah!(King Arthur's squire rides off on his horse, and David grabs his truck to pursue. King Arthur calls shotgun.)David: Hold on!Squire: Hyah! Hyah!David: Take over! Speed is feet, direction is hand.(David climbs intothe back of the truck as King Arthur takes the wheel.)(Horse neighs)David: Circle around!(Horse neighs)(Panting)(Gasping)(David uses a wooden plank as a joust to knock the squire off thehorse.)[SCENE_BREAK]SCENE: Camelot. Six weeks ago. Brocéliande, the Forest of Eternal Night. Lake.[SCENE_BREAK](David cuts the mushroom from the island, while the armor underwater starts to move. The armorrises out of the water and attacks David. One armor pulls David underwater, and King Arthur saves him by pulling David up.)David: Thank you.King Arthur: Think nothing of it. It would appear you did it. Welldone.[SCENE_BREAK]SCENE: Storybrooke. Present time. Jolly Roger (real Lady Washington). Cabin.[SCENE_BREAK]Hook: I have questions.Emma: You want to know if I'm still the same Emma.Hook: I imagine that'snot a simple answer, so let's start easy. Your new house. What's behind that locked door?(Emma just looks at Hook.)Hook: You know I want to trust you, Emma. Why don't you help me?Emma: So trust me. With mypowers, I could hide anything from your prying eyes, anyway.Hook: Well, you've answered my first question, too. You're not the same Emma. She didn't play games.Emma: (Clears throat) Yes. I'm different. I'mbetter.Hook: As the Dark One.Emma: I used to be scarred and judgmental and closed off. Took me forever to see the magic in this place. And now I... I see things clearly. I'm not scared anymore. Honestly, I'm an openbook, if you're willing to take that trust step.Hook: Are you really suggesting that we move forward in a real relationship?Emma: Gold and Belle loved each other.Hook: I don't think you should use the Crocodile as yourexample.Emma: But think about it. He was born a coward. He didn't find true love until he was the Dark One. You told me how the man he was groveled and cried on the deck of this ship. He changed for the better,too.Hook: You're wrong. I was the villain in that little drama, Swan. He was a good man trying to keep his family together. I took this cutlass and put it to his head and taunted him. I was the only one there who'schanged for the better. He became an evil, manipulative killer.Emma: Do you remember when we were in the Storybook and I taught you how to swordplay?Hook: More games. Enough, Swan! All I wanted was yourhonesty. But I'm done... humoring you. Answer me. And start by why you brought me here. It wasn't because this is what we used to do, because that you isn't here. You need something, Dark One. Tell me what itis.Emma: All I need is your trust. I promise.Hook: I liked you the way you were. I liked your walls. I liked being the one to break them down.Emma: The person you found inside is still me. I have a question for you foronce. Do you love me? If you tell me you don't love me, I will let you go.Hook: I loved you. I guess I'm either steering home or swimming home. Tell me which.Emma: The ship's yours.[SCENE_BREAK]SCENE: Camelot.Six weeks ago. Brocéliande, the Forest of Eternal Night. Lake.[SCENE_BREAK](Both panting)King Arthur: David, what is it?David: The toadstool. It's gone. Either the phantom knights took it, or it was lost in thebog.King Arthur: We could search for it.David: No. It's gone.King Arthur: The word \"quest\" means to seek, not to find. It's the seeking that matters.David: You believe that?King Arthur: Not truly, no. If the finding iswhat makes a difference in this world, then that's what I want. I'm sorry.David: (Laughs) My father, he drank his life away. My brother accomplished nothing but evil. There was a time I thought I'd be different. Changethe world. But I just... I don't want to only be remembered as the man who kissed a sleeping princess awake 30 years ago.King Arthur: I understand.David: You do?King Arthur: (Sighs)David: You're King ofCamelot.King Arthur: (Chuckles) Yes, some large rock decided I was a hero. Prophecy fulfilled.(Both chuckle)King Arthur: But since then, I've had victories and I've had losses. And I've learned that it's the losses thatrequire us to be brave. So, if anything will make us heroes...David: It's the never giving up. Even after a loss.King Arthur: Indeed.David: Well, we might as well get out of here. There's work to be done. And it's nothere.King Arthur: Good man. David, if you want to be part of something, do something that matters, I have a place for a man like you.[SCENE_BREAK]SCENE: Storybrooke. Present time. Camelot"}
+{"doc_id":"doc_264","qid":"","text":"5:50pm - 6:15pm[SCENE_BREAK]1: INT. SPAR SHIP(KATARINA mutters to the Trojan Horse-god. The sound of the ship's engines start to rise...)KATARINA: Great One, don't leave us! Don't let the strange beings catchhim!BRET VYON: He's been caught! We've got to leave!STEVEN: No! He said we had to...(VYON tries to operate the controls for take-off. STEVEN pulls him away.)BRET VYON: No!(He turns and knocks STEVEN to thefloor, then resumes preparations for take-off.)KATARINA: Stop! You can't leave him! He can't reach the place of perfection!BRET VYON: He won't! We're going without him!(BRET activates more controls and the shipstarts to power up further.)BRET VYON: We're going into countdown!(BRET looks at a countdown indicator on the control panel which nears zero...)(Suddenly STEVEN points to a light winking on the hatchpanel.)STEVEN: What's that light?BRET VYON: It's the outer door! It's not fully shut. Quick, or we'll all be sucked out!(STEVEN rushes to the airlock and is pressing the switches to close the door when he sees someoneoutside. He yells back at BRET.)STEVEN: Hold countdown! It's the Doctor!(BRET holds the countdown sequence as STEVEN and KATARINA help the breathless DOCTOR up through the airlock and into the ship.)DOCTOR:Get us off, Bret! Get us off! Get us off!BRET VYON: Right.(He starts to resume the held countdown.)DOCTOR: Take off, man!BRET VYON: Stand by, everyone! Take off!(The airlock door closes. They all desperately grabhold of anything close as the ship rises swiftly into the air, leaving the planet of Kembel far below. The breathless DOCTOR eyes VYON with austere reproof.)DOCTOR: Oh! Oh! This is rather a violent acceleration, youngman! Hmm![SCENE_BREAK]2: SPACE(The SPAR shoots into space...)[SCENE_BREAK]3: INT. KEMBEL. DALEK CITY. CONTROL ROOM(The DALEK SUPREME enters the DALEK control room. Normal scanners and consolesline the room which is dominated by a central piece of machinery. The DALEK SUPREME hovers in anger as the DALEKS report the readings off the consoles.)FIRST DALEK: Altitude: five sections. Speed: Threethousand.SECOND DALEK: Vessel attained gravitational escape velocity.DALEK SUPREME: Cut in automatic trackers.SECOND DALEK: All is ready for their space extinction.DALEK SUPREME: Do not destroy! That vesselmust not be destroyed!SECOND DALEK: Trackers operating.DALEK SUPREME: Prepare neutronic randomiser.(The FIRST DALEK, at its console, obeys...)FIRST DALEK: Stand by randomiser.DALEK SUPREME: Theintruders must be caught alive![SCENE_BREAK]4: INT. SPAR SHIP(Things have calmed down somewhat on the stolen SPAR ship.)DOCTOR: Well done, Bret, well done. You got us off very well.(He laughs tohimself.)BRET VYON: Thanks. I thought you weren't going to make it.DOCTOR: Of course I was. You're far too pessimistic. Now, where's that little box of mine, hmm?(STEVEN picks up the box holding up the TaraniumCore.)STEVEN: This one?DOCTOR: Yes.(The DOCTOR takes the box.)DOCTOR: Ah, splendid, splendid. The Daleks' plans are utterly useless without this.STEVEN: Why? What did you find out at the Councilmeeting?DOCTOR: They've allied themselves with the rulers of the outer galaxies... to take over the Universe!BRET VYON: (Shocked.) Universe?DOCTOR: Yes, their first objective being Earth and then... the solarsystem.STEVEN: Then we've got to warn Earth and fast!BRET VYON: But what about Mavic Chen?DOCTOR: Oh, he's one of them, my friend. By sacrificing the Solar System, he hopes to gain more power.BRET VYON:That's impossible!DOCTOR: Oh, no it isn't, no it isn't. Therefore we must get back to Earth before him.KATARINA: (Timidly.) But how can we return to Earth? We've already left it.DOCTOR: Yes, I know, my dear, but thisis not Earth... as we... think of it. It's something very different.(VYON is more puzzled than ever by KATARINA and speaks quietly to STEVEN.)BRET VYON: What's the matter with this girl? I mean, where's shefrom?STEVEN: (Casually.) Oh, it's quite all right - she helped us in Troy. She doesn't really understand.BRET VYON: (Puzzled.) Troy?STEVEN: (Smiles.) Yes.(He rejoins his companions.)STEVEN: Well, come on, Doctor,what's so special about that box?DOCTOR: Well, as I said before, my boy, the Daleks' plans are utterly useless without this.STEVEN: (Pleased.) Then we've won!(STEVEN picks up the box and is about to open it whenthe DOCTOR stops him.)DOCTOR: No, no, no, no! Don't open it, please.STEVEN: Why not?DOCTOR: It'll burn your eyes - you'll go totally blind! That is a full emm of Taranium!BRET VYON: (Shocked.) What?(He stepsforward.)DOCTOR: Taranium.BRET VYON: That can only be found on the planet Uranus. A full measure would take years to mine!DOCTOR: Fifty years, to be surprice... to be precise. And Mavic Chen has given this tothe Daleks to complete one of the most evil weapons ever devised - their Time Destructor![SCENE_BREAK]5: INT. KEMBEL. DALEK CITY. CONTROL ROOM(ZEPHON stands before the DALEK SUPREME. MAVIC CHEN isalso present, as are several other DALEKS.)DALEK SUPREME: Representative Zephon! You deny that your negligence caused the loss of the Taranium Core?ZEPHON: (Arrogantly.) Had the Daleks made full securityarrangements, the invaders would not have reached this city.MAVIC CHEN: Had the master of the Fifth Galaxy been less arrogant, he would have gone with me to the meeting. Instead he preferred to keep us allwaiting.ZEPHON: I believe the intruders came from the Solar System.MAVIC CHEN: Did you see them?ZEPHON: No.MAVIC CHEN: Did they speak and tell you so?ZEPHON: No.MAVIC CHEN: Then your accusation ispreposterous.ZEPHON: How was it the intruders knew that the Taranium was here and that it was to be handed over, if they did not come from the Solar System? None of the others knew what it was thatrepresentative Mavic Chen was bringing here!(All eyes are now on MAVIC CHEN.)DALEK SUPREME: Have you nothing to say?MAVIC CHEN: Oh, this is absurd. Why should I arrange that fifty years be spent secretlymining to acquire this mineral - only to have it stolen?ZEPHON: The quest for power. Perhaps you wanted to use the Core for yourself!MAVIC CHEN: How? Only the Daleks know how to assemble the Time Destructor. Ionly provided the vital ingredient - the core.ZEPHON: (To the DALEK SUPREME.) I did not know about the Core. How could I?DALEK SUPREME: You knew about the intruders.ZEPHON: We all did. You were going to dealwith them, or so you said.DALEK SUPREME: (Angrily.) Silence! It is agreed that you are guilty of negligence.(MAVIC CHEN moves and stands behind the DALEK SUPREME in a show of support.)ZEPHON: If I go, theMasters of Celation and Beaus go with me!DALEK SUPREME: (Warningly.) You threaten our unity?ZEPHON: I have nothing to say.(He turns for the door.)ZEPHON: I will leave now.(ZEPHON starts to walk from the room,but he is stopped by DALEKS closing in from each side of the doorway. ZEPHON trembles violently as he looks round for an escape route.)DALEK SUPREME: Execute!(Caught in the crossfire at close range, ZEPHONcrumples to the floor. The DALEK SUPREME turns and glides to one of its subordinates at a console.)DALEK SUPREME: Where is the ship?DALEK: Course seven-oh-seven. It is approaching the influence of the planetDesperus.DALEK SUPREME: Prepare pursuit ships. Stand by randomiser.[SCENE_BREAK]6: INT. SPAR SHIP(Having found special guards for their eyes, the DOCTOR, STEVEN, KATARINA and BRET VYON are looking atthe Taranium. A brilliant white flare shimmers around the mineral inside the open container causing them all obvious discomfort.)STEVEN: That is Taranium?DOCTOR: Yes, the rarest mineral in the universe.STEVEN:Funny, It makes your eyes feel strange even with these on.(STEVEN indicates their eye-guards.)STEVEN: It's like looking into the sun for too long.(The DOCTOR closes the container. They all remove their glasses andrub their eyes.)DOCTOR: Oh, don't complain, young man. You're a very privileged person. Do you realise that very few people have seen this in this universe, hmm?STEVEN: All right, Doctor. But now that we've got it,what are we going to do with it?DOCTOR: Well, for the moment, nothing.STEVEN: Well, that doesn't make sense. I mean, you said yourself that the Daleks have the most dangerous weapon ever devised.DOCTOR: Wehave the Taranium, so for the moment we do nothing. And by doing nothing, we do everything. Do I make myself clear?(He laughs.)STEVEN: Come off it, Doctor. What's all that supposed to mean?DOCTOR: Oh, mydear young man, you ask so many questions.(He laughs and looks at KATARINA who is stood across the room looking over one of the consoles.)DOCTOR: Look at Katarina over there. She doesn't ask questions - shejust looks and learns. Now, why don't you try the same thing, hmm?(The DOCTOR takes a moment to look over the control room of the SPAR.)DOCTOR: You know, I find all this extremely fascinating. Hmm! It's a littleprimitive, of course, but it's still very fascinating, hmm!(STEVEN tries to bring him back to the point.)STEVEN: Look, Doctor, I'm sorry, but can't we do anything?DOCTOR: Yes.(He turns to BRET at the mainconsole.)DOCTOR: Bret, can you find me something to play a magnetic tape, hmm?BRET VYON: Yes, Doctor. Here.(He points to part of the console.)DOCTOR: Well, my dear fellow, that's magnificent. Huh, it's all soconvenient, isn't it? (Laughs.) Now play that tape I gave you, before I went to the Daleks' conference.STEVEN: What tape's that?(VYON produces the capsule from his uniform pocket.)DOCTOR: Oh, I found a small tapebeside a skeleton, and it, er, might be able to tell us something.(He notices KATARINA who is still looking over the control room.)DOCTOR: Er, Katarina, come over here, my child.(She does so.)DOCTOR: Now, have alook at another wonder.(KATARINA looks about her.)KATARINA: Everything is so strange. This isn't like your TARDIS.DOCTOR: No, my dear, no.STEVEN: Yes, but Doctor, surely, I mean, the Daleks aren't going to leavea tape around with their plans on it?DOCTOR: No, no, no! Bret here was searching for someone and the skeleton I found was humanoid. Well, whoever it was may have learned something that we haven't.BRET VYON:(Exclaiming.) Marc Cory! You found him? Well, Kert and I searched that jungle but we could find no trace.DOCTOR: Oh, and did you search that bearing twice, hmm?BRET VYON: How do you mean?DOCTOR: Well, it sohappens that that kind of jungle is apt to lead you back to the same place more than once.BRET VYON: Yes, but we were methodical, or as methodical as the Daleks would...DOCTOR: (Interrupts, irritated.) Oh yes, nodoubt you were, and I suppose I was lucky! Now play the tape. Come along, come along, stop all this talking!(YVON looks annoyed but activates the tape as instructed. It begins to play and Marc Cory's long-dead voicecomes from the speaker.)MARC CORY: (On tape.) This is Marc Cory, Special Security Agent, reporting from the planet Kembel.STEVEN: You've cracked it!MARC CORY: (On tape.) The Daleks are planning the completedestruction of our galaxy. Together with powers of the outer galaxies, a war force is being assembled and...(The tape and the voice break off.)STEVEN: That's all?BRET VYON: Poor Marc. He never got through.DOCTOR:But we must! The Daleks will stop at anything... to prevent us.[SCENE_BREAK]7: INT. KEMBEL. DALEK CITY. CONTROL ROOM(The DALEK SUPREME and a DALEK are watching the instruments that are tracking theSPAR.)DALEK: Ship now at closest point to planet Desperus.DALEK SUPREME: Operate Randomiser![SCENE_BREAK]8: INT. SPAR SHIP(On board the ship, the escapees are discussing what they should do next. Astrange buzzing noise starts up, but nobody on board notices it.)DOCTOR: Yes, yes, you must find someone you can trust. Someone in a high enough position that may be able to help.BRET VYON: Well, Karlton is theman in charge of all Space Security. But he's very close to Chen.STEVEN: Yes, well, this chap Karlton, he may be part of the plan with the Daleks.BRET VYON: It's possible...DOCTOR: Yes...(Suddenly the buzzing soundincreases and the ship lurches to one side. All its occupants are thrown off their balance and clutch onto the console for safety.)KATARINA: Oh, Doctor, what's happened?(The DOCTOR looks up at the scanner.)DOCTOR:I think we're changing course.(BRET VYON wrestles with the controls.)BRET VYON: The steering boosters won't fire! I can't get her round.STEVEN: Switch to manual control!BRET VYON: I can't... we're picking upspeed!(The DOCTOR continues to peer at the monitor screen.)DOCTOR: You know, I believe we're approaching the... gravitational point of that planet.(He points at the screen. VYON casts a glance at the rapidlynarrowing gap between them and a planet showing on the scanner.)BRET VYON: Desperus!DOCTOR: Mmm!(BRET attempts to once more master the controls.)DOCTOR: Has it any kind of atmosphere, hmm?BRETVYON: Yes, but we can't get off there, we'll never be able to get off again.STEVEN: Why not? What's wrong with it?BRET VYON: Desperus is the penal planet of the Solar System.DOCTOR: Well, if it's one of your prisonplanets, surely there are guards and warders there to help us?BRET VYON: They're aren't any. The only craft which stop there are prison ships, bringing other criminals. If we crash there, we'll be left there to rot therest of our lives away.DOCTOR: You must try to land softly somewhere.BRET VYON: I can't! This vessel is out of my control!(They all look at the planet on the scanner that is growing larger andlarger.)[SCENE_BREAK]9: INT. KEMBEL. DALEK CITY. CONTROL ROOM(The DALEK SUPREME glides up to several DALEKS manning controls.)FIRST DALEK: Space vessel's instruments now randomised.(Another DALEKreports.)SECOND DALEK: On course for planet Desperus. Impact in point six.THIRD DALEK: Remote control standing by.DALEK SUPREME: Cut in remote control.FIRST DALEK: Now under Dalek control.DALEKSUPREME: Reduce descent velocity. Vessel must make soft landing.FIRST DALEK: I obey.DALEK SUPREME: Pursuit ships to stand by.(MAVIC CHEN has been watching. He approaches the DALEK SUPREME.)MAVICCHEN: A highly effective operation. May I congratulate you?DALEK SUPREME: Dalek technology is the most advanced in the Universe.MAVIC CHEN: (Slyly.) You... still haven't recovered the Taranium.DALEK SUPREME:We shall.(The DALEK SUPREMES' eye-stalk swings to look straight at MAVIC CHEN.)DALEK SUPREME: It is strange that the intruders took your space vessel. Perhaps they were indeed creatures from Earth?MAVICCHEN: My SPAR was the last to arrive here, so consequently was in the best position to leave quickly. But to set your mind at rest, I will return to Earth now, and if I find that the intruders do come from there, they willbe dealt with - quickly and without arousing any suspicion.DALEK SUPREME: Very well. A vessel similar to your own craft will be put at your disposal.MAVIC CHEN: I will return here as soon as all final preparations forthe take-over are completed.DALEK SUPREME: All will be in readiness.(The DALEK SUPREME turns back to the monitors.)MAVIC CHEN: Good. We don't want any more mistakes.(CHEN stalks from the room, with anarrogant smile on his face.)[SCENE_BREAK]10: INT. SPAR SHIP(BRET VYON and STEVEN look over the controls in puzzlement.)STEVEN: We've slowed right down.BRET VYON: We're going to be able to make a softlanding. I don't understand it.DOCTOR: (Worried.) Yeah, and I'm afraid I do - only too well.STEVEN: The Daleks?(The DOCTOR nods.)STEVEN: Oh, yes. Some sort of remote control, I suppose. We'd all better preparefor landing.DOCTOR: You're quite right, my boy, quite right.BRET VYON: Well, if it's the Daleks, it can only mean one thing.DOCTOR: Yes, it means they're coming after us again.[SCENE_BREAK]11: INT. DESPERUS.CAVE (NIGHT)(In a cold dank cave, three men stand looking over a crude table which has a long thin knife dug into it. KIRKSEN, whose long, light, tangled hair and beard cover his face, is the youngest. GARGE is aburly man with dark hair and a beard. BORS, also bearded, is the eldest of the three. KIRKSEN makes a grab at the knife but GARGE smashes his hand away and tries to go for it himself but BORS is quickest and grabsthe weapon.)BORS: It's mine again!(He nods at two decrepit women in the corner of the cave.)BORS: And they stay where they are.GARGE: With the soft life you lead, I'll be able to beat you one day.BORS: Out onguard!GARGE: Why is it always me?BORS: I am the leader. I have the knife. Do you want to argue about it?(GARGE looks at BORS in a surly manner and then leaves the cave. BORS settles down tosleep.)[SCENE_BREAK]12: EXT. DESPERUS (NIGHT)(GARGE walks out of the cave. He starts his guard duty as, above him, he hears the screams of creatures flying in the air.)[SCENE_BREAK]13: INT. DESPERUS. CAVE(NIGHT)(Later on, all is quiet. BORS is asleep near his women and some other prisoners but KIRKSEN is not. He notes that BORS is asleep and makes his way quietly across the cave to where the \"leader\" lies. Hereaches for the knife but BORS wakes in an instant and grabs the young man roughly on his wrist, the knife in his other hand.)BORS: And you can build up the fire.(KIRKSEN starts to gasp in panic. He is obviouslyslightly deranged.)BORS: Kirksen! Like the knife, would you? Then you'd be leader. You could tell Garge what to do, like I do. You could tell me what to do!KIRKSEN: I'll get it next time!BORS: Who knows, perhaps youwill. Now, get out and get the fuel.(KIRKSEN points at the women as the sound of the landing SPAR starts to be heard.)KIRKSEN: Why don't you send one of them?BORS: (Screams.) Get it!(KIRKSEN looks upwards atthe sound of the ship and then looks enquiringly at BORS.)BORS: I can hear it. Now get out! Do you want one of the new lot to come here and take over our place?(GARGE has come through the entrance.)GARGE: It'sno prison ship!BORS: What?GARGE: It's strange. I haven't seen one like it before.BORS: Where's it landing?GARGE: The swamp by the look of things.KIRKSEN: It's a strange ship. We can kill the crew and takeover.BORS: Possibly.KIRKSEN: We can use it to get away!BORS: (Sharply.) It may be a crash landing!KIRKSEN: You can kill the crew with your knife!(KIRKSEN starts to laugh in an insane fashion.)BORS: Shut up! We'dbetter get over there right away. Others will have seen it too! Now, on your way!(BORS gives GARGE a shove towards the cave entrance and they move out into the darkness, carrying lighted torches.)KIRKSEN: Well,what about me? If you're leaving this filthy planet, so am I.(KIRKSEN also grabs a torch and follows them out.)[SCENE_BREAK]14: EXT. DESPERUS (NIGHT)(The convicts make their way out of the cave. Above them,the creatures still cry in the darkness.)[SCENE_BREAK]15: INT. SPAR SHIP (NIGHT)(KATARINA stands in the airlock doorway, gazing at the dark landscape outside while BRET and STEVEN try to make repairs to theship.)DOCTOR: (To VYON.) Now, you sure you've got spare parts for this, hmm?BRET VYON: Certain - it's safety regulations.DOCTOR: Hmm! Ah, that's the worst of these... out-of-date and primitive spaceships - onelittle bump and they all fall to bits.BRET VYON: (Annoyed.) Doctor, what are you talking about? This is a SPAR - the most technically perfect craft in the history of space travel.DOCTOR: Oh, yes, quite so. That's why weare stranded on this pimple of a planet, whilst you footle with that fuse box, mm?STEVEN: Oh, come on, Doctor, the TARDIS isn't exactly perfect, is it? I mean, you can't even control where we're going.DOCTOR: Now,you listen to me, young man. Don't you start to criticise my TARDIS! And as for space travel, you're still wet behind the ears. Oh do get on with it, both of you!(He storms off to join KATARINA, snorting as he goes.BRET turns to STEVEN.)BRET VYON: What's the matter with Grandpa?STEVEN: (Smiling.) Oh, it's nothing. We all have our own obsessions, don't we? Now come on.(They crouch down at an inspection panel.)STEVEN:Look, do you think we're going to have enough drive-force to lift off here and get us back to Earth?BRET VYON: We've got to. Now, as the Doctor said, let's get on with it.[SCENE_BREAK]16: EXT. SPAR SHIP(NIGHT)(Just outside the airlock door, KATARINA shivers with cold. The DOCTOR steps out and admonishes her.)DOCTOR: What are you doing out here, child? I thought I told you to keep these doors closed.(KATARINApoints out into the night.)KATARINA: There are lights out there.DOCTOR: Mmm?(The distant light of three torches move through the darkness.)DOCTOR: Good gracious, so there are. Two - no - three. Yes, we must get"}
+{"doc_id":"doc_265","qid":"","text":"Originally written by Alexa Junge Transcribed by Josh Hodge.[Scene: Monica and Rachel's apartment. Rachel is on the phone.]RACHEL: Mom, would you relax. That was 10 blocks from here and, the, the woman waswalking alone at night, I would never do that. Mom, c'mon, stop worrying. This is a safe street, this is a safe building, there's nothing [a pigeon flies in the window and lands on the table] OH MY GOOOD, oh my God, ohI gotta go, I gotta go, I gotta go. [hangs up] OK, that's fine, you just read the paper, I'm gonna get a pot, it's not for you. [grabs a pot and lid] OK, that's fine, read the Family Circus, enjoy the gentle comedy. [puts potover the pigeon] Aaahh, oh my God, oh my God, oh my God, oh my God, oh my God, oh my God, oh my God, oh my God, aaaaahh. [knock at the door] It's open you guys.[a stranger enters with flowers]STRANGER:Hi.RACHEL: Hi, hi can I help you?STRANGER: Yeah, I'm looking for Phoebe, does she still live here?RACHEL: Uh, no she doesn't but I can, I can get a message to her.STRANGER: Great. Uhh, just tell her her husbandstopped by. [leaves flowers on bar]RACHEL: What? [in surprise she forgets she has the pigeon in the pot and lets it get away]STRANGER: Hey, how, how did you do that?OPENING TITLES[Scene: Monica and Rachelsapartment. The whole gang is there.]JOEY: This is unbelievable Phoebs, how can you be married?PHOEBE: Well, I mean, I'm not married married, ya know, he's just a friend and he's gay and he's just from Canada andhe just needed a green card.MONICA: I can't believe you married Duncan. I mean how could you not tell me? We lived together, we told each other everything.PHOEBE: I'm sorry Monica but I knew if I told you, you'dget really, like, judgemental and you would not approve.MONICA: Of course I wouldn't approve, I mean, you were totally in love with this guy who, hello, was gay. I mean, what the hell were you thinking?ROSS: Yousee, and you thought she'd be judgemental.PHOEBE: OK, I wasn't in love with him and I was just helping out a friend.MONICA: Please, when he left town you stayed in your pajamas for a month and I saw you eat acheeseburger.ALL: Huuh.MONICA: Well, didn't you?PHOEBE: I might have.MONICA: I can't believe you didn't tell me.PHOEBE: Oh, c'mon, like you tell me everything.MONICA: What have I not told you?PHOEBE: Oh, Idon't know. Umm, how about the fact that the underwear out there on the telephone pole is yours from when you were having s*x with Fun Bobby out on the terrace.RACHEL: What!MONICA: Wait a minute, who toldyou? [turns to Chandler who's looking sheepish] You are dead meat.CHANDLER: I didn't know it was a big secret.MONICA: Oh it's not big, not at all, you know, kinda the same lines as, say, oh I don't know, having athird nipple.PHOEBE: You have a third nipple?CHANDLER: You bitch.ROSS: Whip it out, whip it out.CHANDLER: C'mon, there's nothin' to see, it's just a tiny bump, it's totally useless.RACHEL: Oh as, as opposed to yourother multi-functional nipples?JOEY: I can't believe you. You told me it was a nubbin.ROSS: Joey, what did you think a nubbin was?JOEY: I don't know, you see somethin', you hear a word, I thought that's what it was.Let me see it again.ALL: Yeah, show it. Show it. The nubbin, the nubbin, the nubbin.CHANDLER: Joey was in a porno movie.ALL: Huuh.CHANDLER: If I'm goin' down, I'm takin' everybody with me.ROSS: You were in aporno?JOEY: Ahh, alright, alright, alright, I was young and I just wanted a job, OK. But at the last minute I couldn't go through with it so they let me be the guy who comes in to fix the copier but can't 'cause there'speople havin' s*x on it.MONICA: That is wild.ROSS: [to Chandler] So what's it shaped like?PHOEBE: Yeah, is there a hair on it?JOEY: What happens if you flick it?[Scene: Central Perk. Chandler, Ross, and Julie aresitting on the couch.]ROSS: So, uh, does it do anything, you know, special?CHANDLER: Why yes Ross, pressing my third nipple opens the delivery entrance to the magical land of Narnia.JULIE: You know, in somecultures having a third nipple is actually a sign of virility. You get the best huts and women dance naked around you.CHANDLER: Huh? Are, uh, any of these cultures, per chance, in the tri-state area?ROSS: You know,you are so amazing, is there anything you, you don't know?RACHEL: [to Monica at the counter] Ooh, Julie's so smart, Julie's so special.MONICA: Look honey, I wanted you to hook up with Ross as much as you did. Buthe's with her now and you're just gonna have to get over it.RACHEL: Ohh, I'm gonna have to get over it. God, see I didn't know that's I had to do, I just have to get over it.[Phoebe enters all dressed up]ALL:Woah.JOEY: Foxy lady.JULIE: Where you goin'?PHOEBE: Um, I'm gonna go meet Duncan, he's skating tonight at the Garden, he's in the Capades.JOEY: The Ice Capades?CHANDLER: No, no the gravel capades. Yeah,the turns aren't as fast but when Snoopy falls. . . funny.MONICA: I can't believe you're dressing up for him. I mean, you're just, you're setting yourself up all over again.PHOEBE: OK, no. For your information I'm goingto see him so I can put all those feeling behind me. OK, and the reason I'm dressed like this is because I think it's nice to look nice for your gay husband.ROSS: [holding cream pitcher] Oh, darnit, we're all out of milk.[holds pitcher in front of Chandler's chest and flips the lid] Hey Chandler, would you fill me up here?CHANDLER: Oh I see, I see, because of the third nipple thing. Ha ha ha ha. . .[Scene: Central Perk close to closing.Ross and Julie are still there. Rachel is cleaning tables.]ROSS: OK sweetie, I'll see you later.JULIE: See you later Rach.RACHEL: Bye-bye Julie. [Julie leaves][Rachel is still cleaning, Ross is laying on the couch. Ross kicksRachel in the butt.]RACHEL: Hey.ROSS: Hey.[Ross kicks her again]RACHEL: Hey, c'mon, cut it out.ROSS: Hey?RACHEL: What?ROSS: Can I ask you somethin'?RACHEL: Sure.ROSS: Naa.RACHEL: What? C'mon, talk tome.ROSS: OK, what's the longest you've been in the relationship before ha, have, having the s*x?RACHEL: Why? Who's not having. . . Are you and Julie not, are, are you and, are you and Julie not having s*x?ROSS:Technically, huh, no.RACHEL: Wow. Is it, is it 'cause she's so cold in bed. Or, or is it 'cause she's like, kinda bossy, makes it feel like school?ROSS: No, no, she's great and it's not like we haven't done anything. I mean,uh, uh, we, we do plenty of other stuff, lot's of other stuff, like uhh. . .RACHEL: No, no no no, don't need to know the details.ROSS: It's just, it's, it's me. You, you know I've only been with one woman my whole life andshe turned out to be a lesbian. So now I've got myself all psyched out, you know, and it's become, like this, this thing and I. . . Well, you just must think I'm weird.RACHEL: No, no, no, no I don't think it's weird, I think,I think umm, in fact, in fact you know what I think?ROSS: What?RACHEL: I think it's sexy.ROSS: Sexy?RACHEL: Let me tell you something. As a woman there is nothing sexier than a man who does not want to haves*x.ROSS: No kidding?RACHEL: Oh yeah. In fact you know what I'd do?ROSS: What?RACHEL: I'd wait.ROSS: You'd wait?RACHEL: Yes, absolutely. I would wait and wait. . . then I'd wait some more.ROSS:Really?RACHEL: Oh yeah, I don't care how much she tells you she wants it, I don't care if begs, she pleads, she tells you she, she's gonna have s*x with, with another man. That just means it's working.ROSS: Womenreally want this?RACHEL: More than jewelry. [Rachel struts off, extremely pleased with herself][Scene: Madison Square Garden. Duncan's dressing room.]PHOEBE: Hi.DUNCAN: Phoebe!PHOEBE: Ta-da.DUNCAN:Hey.PHOEBE: Hi.DUNCAN: Ahh, look at you, you look great.PHOEBE: Do I? Thank you, so do you.DUNCAN: Thanks.PHOEBE: Sparkly. So, wow, this is pretty wonerful, huh. Mr. major capades guy. I, I remember whenyou were just, like, King Friday in Mr. Roger's Ice is Nice.DUNCAN: You always said I'd make it.PHOEBE: Yeah, well, ya know, I'm kind of spooky that way. Wooo.DUNCAN: I missed you. [they hug] I'm gonna getchanged.PHOEBE: OK.DUNCAN: Um, now. Phoebs.PHOEBE: Oh, right, OK. Ole.DUNCAN: What?PHOEBE: Um, the matador. [Duncan leaves] Ole, ha ha ha.[Scene: Ross's apartment. Ross and Julie are setting thetable.]ROSS: Julie, can you hold this for a second, thanks. [hands her a bowl and kisses her][Chandler, Monica, Joey, and Rachel enter. Ross and Julie don't notice.]CHANDLER: Uh, Julie.JULIE: Yeah?CHANDLER: Sorry,you had a paleontologist on your face. But, uh, it's gone now, you're alright.ROSS: Hi everyone.ALL: Hi.ROSS: [pulls Rachel aside] I just, I wanted to thank you for our uh, our little talk before.RACHEL: Oh, God, noproblem. So you're gonna go with the uh, waiting thing?ROSS: Well, I was going to, but after I talked to you, I talked to Joey.RACHEL: What did, what did he say?ROSS: Basically he told me to get over myself and justdo it, ya know. So I though about what you said and I though about what he said and, well, his way I get to have s*x tonight so. . .[Scene: Ross's apartment. After dinner. Chandler enters.]CHANDLER: What's this inmy pocket? Why it's Joey's porno movie.ROSS: Pop it in.JOEY: I'm fine with it, I mean, if you're OK watching a video filled with two nippled people. [Chandler puts the tape in]RACHEL: Great, people having s*x, that'sjust what I need to see.ROSS: What's wrong with people having s*x?RACHEL: Well, well um, you know, these movies are offensive and uh, degrading to women and females. And uh, and the lighting's alwaysunflattering. And, Monica help me out here.MONICA: Hell, I wanna see Joey.[video starts with the cheesy p0rn disco music][SCENE_BREAK]JULIE: So is there like a story or do they just stard doing it right. . . oh, nevermind.CHANDLER: OK, now wait a minute. That is the craziest typing test I've ever seen.MONICA: All I say is, she better get the job.ROSS: Looks to me like he's the one getting the job.JOEY: Shh, OK, here I come, hereI come. See I'm comin' to fix the copier, I can't get to the copier, I'm thinkin' what do I do, what do I do. . . so I just watch 'em have s*x. And then I say, wait, here's my line, [Joey from TV] you know that's bad fo r thepaper tray.CHANDLER: Nice work my friend.JOEY: Thank you. Wait wait wait wait, you see me again. Hang on, the guy's butt's blockin' me. There I am, there I am, there I am, there I am, there I am. . .[Scene:Madison Square Garden, Duncan's dressing room. Phoebe is fixing her hair and Duncan enters.]PHOEBE: So um, so what's up, you came to see me yesterday.DUNCAN: Oh, yeah, um, alright, I kinda need adivorce.PHOEBE: Ohh. . .K. How come?DUNCAN: Umm, actually, I'm getting married again.PHOEBE: What?DUNCAN: Oh God, I don't know how to tell you this. I'm straight.PHOEBE: Huuh.DUNCAN: Yeah, I know,I.PHOEBE: I, I don't, I don't understand, how can you be straight? I mean, you're, you're so smart and funny and you throw such great Academy Award parties.DUNCAN: I know, that's what I kept telling myself but youjust reach a point where you can't live a lie anymore.PHOEBE: So how long have you known?DUNCAN: Well I guess on some level I always knew I was straight. I though I was supposed to be something else, you know,I'm an ice dancer, all my friends are gay, I was just tryin' to fit in.PHOEBE: And um, and there's actually a, a woman?DUNCAN: Her name's Debra.PHOEBE: Oh. Well is she, is she the first that you've beenwith?DUNCAN: Well, I've never told you this but, there were one or two times, back in college, when I'd get really drunk, go to a straight bar and wake up with a woman next to me. But I, I, I told myself it was theliquor and e-everyone experiments in college.PHOEBE: Sure.DUNCAN: But now I know I don't have a choice about this, I was born this way.PHOEBE: I, I don't know what to say. I mean, you know, you're married tosomeone for six years and you think you know him and then one day says, 'Oh, I'm not gay.'DUNCAN: I'm, I'm still me.PHOEBE: Why couldn't you have just figured this out six years ago?[Scene: Ross's apartment.Everyone is sitting around. Monica enters from bathroom.]MONICA: You know, it still smells like monkey in there.JULIE: That saves us a conversation.CHANDLER: Well, listen, this has been great but I'm officiallywiped.JOEY: Me too, we should get goin'.RACHEL: No, no, I mean, no, c'mon you guys, I mean, c'mon look it's only eleven thirty. Let's just talk, we never just hang out and talk anymore.MONICA: Rachel, that's all wedo.RACHEL: Maybe that's all we do, what about Julie?JULIE: What about Julie?RACHEL: Well, you have been in our lives for nearly two months now and we don't really know you. I mean, who is Julie? I mean, what doyou like, what don't you like? We wanna hear everything.JULIE: Well, that could take a while.RACHEL: So. I mean, who here does not have the time to get to know Julie?CHANDLER: I got the time to get to knowJulie.JOEY: I got time.MONICA: Rach, I know her pretty well, can I go? [Rachel gives her a look from hell] That's fine.RACHEL: OK Julie, so now let's start with your childhood, what was that like?JULIE: Well, in anutshell. . .RACHEL: Nah, uh, uh, uh, uh.[Scene: Madison Square Garden, Duncan's dressing room. Phoebe is signing the divorce papers.]PHOEBE: So, um, have you told your parents?DUNCAN: No, but it'll be OK,they're pretty cool, my brother's straight so. . .PHOEBE: [handing him the papers] Here you go. You know what, I just have one more question, um, if you had figured this out sooner and um, I had been around, do youthink that I would have been the one who. . . no, um, I'm sorry, don't tell me, I don't th ink either answer would make me feel better.DUNCAN: I love you Phoebe. [they hug and kiss]PHOEBE: So your brother's straighhuh? Seriously.[Scene: Ross's apartment. Julie is telling her live story.]JULIE: And my second grade teacher was Ms. Thomas, and my first grade teacher was Mrs. Cobb.RAHCEL: Mrs., Mrs. Gobb?JULIE: No Cobb, as incobb salad.RACHEL: Now, what exactly is in a cobb salad?CHANDLER: I'm goin' home.RACHEL: What?[Outside in the hallway, Chandler, Joey, and Monica exit]JOEY: Boy that Julie's a talker, huh?ROSS:Goodnight.RACHEL: So, it's pretty late, you're probably uh, not still planning on. . .ROSS: Oh, no no, I am.RACHEL: Oh, well, are hey, are you nervous?ROSS: Um, no, I uh, I have done it before.RACHEL: Uh, OK, Imean uh, what, how are you gonna handle it. I mean, are, are ya gonna, are ya gonna talk about it before hand, are you just gonna pounce?ROSS: I uh, I don't know, I guess I'm just gonna see, see whathappens.RAHCEL: OK, gook luck.ROSS: Wha, uhh, what?RACHEL: Nothing, I mean, um, it is your first time with her and, you know if the first time doesn't go well, well then that's, that's pretty darn hard to recoverfrom.ROSS: OK, now I'm nervous.RACHEL: Maybe you should put it off.ROSS: No, no, I don't wanna put it off, I just, God I just, I spent last year being so unbelievably miserable, ya know, and now, now I'm actuallyhappy. You know, I mean, really happy. I just, I just don't wanna, I don't wanna mess it up, ya know.RACHEL: I know, yeah, sorry.ROSS: What, it's not your fault.RACHEL: Maybe it, maybe it doesn't have to be thistough. I mean, maybe you were on the right track with this whole, you know, spontaneous thing. I mean, women really like that.ROSS: Really?RACHEL: Yeah, I mean, you know it, I mean, if it were me I, I, you know,I'd want you to, I don't know, like catch me off guard, you know, with like a really good kiss, you know really, sort of um, soft at first, then maybe um brush the hair away from my face, and look far into my eyes in away that let's me know that something amazing is about to happen.ROSS: [being drawn in by her talk] Uh-huh.RACHEL: And then, I don't know, I mean you'd pull me really close to you so that, so that I'd be pressedup, you know, right against you. And, um, it would get kind of sweaty and uh, and blurry, and then it's just happening.ROSS: Ohh. . . Thanks Rach, goodnight. [goes back in apartment]RACHEL: Ohh, God.CLOSINGCREDITS[Scene: The next morning on the street. Ross is dancing along, Singing in the Rain is playing. Two old ladies are sitting on a bench.]ROSS: Good morning.OLD WOMAN: Well, somebody got some lastnight.ROSS: Twice."}
+{"doc_id":"doc_266","qid":"","text":"Mae: Previously on Mars.Hana Seung: When you believe in a goal the way we believed in Mars, conviction alone will sustain you through almost any test.Leslie Richardson: Robert! If you find evidence of a secondgenesis.Marta Kamen: Evolution can begin again.Ed Grann: I've got faith.Paul Richardson: You know, I used to stand in the doorway of the farmhouse where I grew up looking at all of the crops, thinking about all thepeople they'd feed.Joon Seung: If you push too hard too fast, something's gonna break.Ed Grann: If they fail, everyone's out.Hana Seung: But faith doesn't guarantee success.Paul Richardson: Without plants we'renothing.Hana Seung: The real test is what happens when you fail.\u0000 [THEME MUSIC PLAYS] \u0000[SCENE_BREAK]Leslie Richardson: Richardson, Leslie. Phase 2, personal entry.[HEAVY BREATHING]Robert Foucault: Damntragedy. Oh God.Hana Seung: The entire west section is destroyed.[SCENE_BREAK]Leslie Richardson: Paul was always late. He would get so caught up in his work that he would just lose time, completely forget aboutit. And then he would show up hours later, filthy, like a kid that had been playing out in the mud all day. And always with that look on his face, that look as if he knew that he was in trouble. But it was all worth it. Therewas this one night I remember, It was while we were living out in South America, he was still in the forest collecting samples. He was late, as usual. But somehow it was different. Morning came. Another day went by.Finally I could hear his footsteps approaching. So, I rushed out to meet him. And all of the sudden all of that fear and worry that I'd felt turned into anger, rage. I couldn't believe how selfish he'd been. And then heappeared.Javier Delgado: Victor. There he is.Leslie Richardson: Covered from top to bottom in mud. With that look on his face... that look. And all I could say was, \"I love you.\"Paul Richardson: Without plants we'renothing.Javier Delgado: We are not nothing, my friend.[SCENE_BREAK]Hana Seung: We'd lost seven of our own. The lab and the greenhouse were destroyed. Olympus Town was on complete lock down until the nationsof the IMSF decided on the fate of our mission. Was Mars going to be a giant leap forward, or just a passing novelty. It wasn't the first time humankind had faced this question.Ann Druyan: We accomplished theimpossible by stepping on the Moon. This was, the first hop. And there would be a skip, and a jump afterwards. And we'd keep going and going and going, and the future would be one of endless possibilities, where theCosmos was ours.Man: What do you think about this Moon landing?Man 2: Well it's the beginning of a new frontier, a gateway to Mars.Ann Druyan: That came to a very abrupt halt.Roger Launius: A major turning pointfor Apollo was the Apollo 13 mission in 1970.Man: Alright Houston, we've got a problem.Reporter: There is a bulletin from ABC news. The Apollo 13 spacecraft has had a serious power supply malfunction. A late reportsays the spacecraft now is operating on battery power alone, all unnecessary equipment is being turned off.Man: Let's everybody keep cool. Let's not make it any worse by guessing.Roger Launius: We came close tolosing astronauts. And it scared the living daylights out of lots of people. And some leaders at NASA said we gotta stop this. This is too risky.John Logsdon: We all lived through that in real time. We were all wrapped upwith the fate of the astronauts. It was a close call to get them back and that really spooked Nixon. It soured him on the notion of sending humans away from Earth into deep space. So it was a catalytic turning point inattitudes towards space exploration.James A. Lovell: Jack and Fred and I are very proud and glad to be back here in Texas tonight. There were times when we really didn't think that we'd make it back here. After theanomaly on 13, I thought that our space exploration would continue to go. But the extreme rate of progress slowed down.Peter Diamandis: Apollo was this massive promise of what was going to be going on, right? Wewere going to the Moon, not to stop. There were plans beyond the Moon but all this got killed as the political will petered out and was gone.Roger Launius: On a Mars mission there may be some loss of life in theprocess, there may be failures along the road, but people will take it on. One of the things that you have to ask is: 'Are the rest of us willing to allow them to do that?' Space exploration is subject to public opinion, andpolitical support. There's no question about that. If you send astronauts to Mars and they die there, I guarantee you, public opinion will prohibit you from ever doing it again.Hana Seung: As we buried our friends, thefate of the mission was back on Earth in the hands of my sister and the IMSF.Joon Seung: Hi Ed.Ed Grann: How long until we know?Joon Seung: I told the press everything I know; the nations are meeting to discusshow to proceed and then we'll make an official announcement.Ed Grann: You can't let them give up. You just can't. They knew something like this was a possibility, we all did.Joon Seung: Seven of the world's mostbeloved scientists and astronauts are dead. Does that mean anything to you?Ed Grann: Of course it means something to me. What are you talking about? It's a time to be strong, to make a statement that says we'rehere to stay.Joon Seung: You're not going to influence my recommendation to the committee.Ed Grann: We've come too far Joon.Joon Seung: If the train is derailing, there's nothing I can do to keep it on the tracks.EdGrann: The nations respect you, they will listen to you; you can inspire them to stay the course.Joon Seung: Even if we can Ed, I'm not sure that we should.Ed Grann: What?Joon Seung: I'm not sure that we should.EdGrann: Me, I'm sure of one thing. I won't let go.John Logsdon: Dreamers of space have always had their eyes, their hopes, their aspirations, on getting to Mars.Casey Dreier: Mars has been the goal since Wernher VonBraun got involved with NASA.Mission Control: Liftoff, we have a liftoff!Stephen Petranek: Von Braun overbuilt entirely the rocket to go to the Moon. Saturn 5 is the largest, longest, and heaviest machine ever built byhumans. It's absolute overkill for going to the Moon. And the reason is, Von Braun didn't wanna go to the Moon. He wanted to go to Mars. The only reason he got involved in rocketry was because ever since he's a littlekid, he's focused on this idea of getting to Mars. He invented the V2 rocket when he was in his late twenties and it was the first thing that ever went into space from Earth.Man: Von Braun surrenders to US forces. Heand his fellow rocket scientists actually welcomed by the Americans.Stephen Petranek: After the war, he writes a book called 'das Marsprojekt', which is basically a manual on how to build a fleet of ships that can get toMars and get humans back. He's worked out all the equations, all the details, of how it could actually be done. And it captured the mind of the world. Nobody was thinking about going to the Moon; they were allimagining going to Mars.Man: This closes a golden chapter in the age of space exploration.Stephen Petranek: At the end of the Apollo program, NASA's beginning to lose its focus: what do we do next? And there are twoproposals on Richard Nixon's desk. One proposal is that we build a spaceplane, called the Space Shuttle. The other proposal was from Von Braun and he was really storming the halls of Congress, to say that we can goto Mars.Interviewer: When would you see a man on Mars?Wernher Von Braun: We could land a man on Mars in a little over 10 years if we really wanted to do it.Casey Dreier: Richard Nixon was never that big of asupporter of the space program. He came in wanting to cut the budget to lower taxes, and space just was not a high priority for that administration. Basically they just wanted fewer leaps for mankind, right? smallsteps, small steps.Stephen Petranek: So Nixon chooses the Space Shuttle over going to Mars. Von Braun quits NASA, and within a few years has cancer and dies.Interviewer: It must have taken a great deal ofdetermination to carry on and, in view of some the early failures that you've had.Von Braun: Well, yes uh, you just have to, shouldn't give up. It's very simple, something blows in your face, try again, try again, tryagain. One fine day you'll wind up on top.Hana Seung: After the devastation to the west section we needed to scavenge from our other resources to rebuild, even the old workshop.Javier Delgado: Figure we use thehousings to patch the corridor the best we can. If we can get the section sealed with scrap, my team can start working on the damage done to Olympus Town.Marta Kamen: Mm-hmm, Javier!Javier Delgado:What?Marta Kamen: Ven mira.Javier Delgado: Que, what is that, corrosion?Marta Kamen: It looks like, uh, aragonite crystal.Javier Delgado: Possible the metal catalyzed perculate carried by the storm?Marta Kamen:Unless something reacted with the water that came out of the condensation filter. It would be nice if I had a lab. It's getting dark. Let's get out of here. Phobos and Deimos.Javier Delgado: Fear and terror, good namesfor the Moons of Mars.Russian Member: We lost two of our finest cosmonauts to this catastrophe; the support of the Russian people is fading.American Member: We've known this since Apollo: once the novelty passes,so does public support, and no one ever died on the Moon.British Member: Is this not the time to make a statement that we're here to stay? We have committed resources, delivered speeches. Giving up now could be agreat embarrassment.American Member: More embarrassing than another tragedy? We only accepted the risk in the 60s because it was a matter of national defense.Committee Member: People love space, but notwhen it means watching heroes die.Russian Member: Secretary Seung, you are as personally invested as any of us. I would like to hear your recommendation to the committee.[SCENE_BREAK]Hana Seung: May I? I'mso sorry. Paul was my responsibility.Leslie Richardson: We don't need to do this.Hana Seung: They all were.Leslie Richardson: You didn't kill them and neither did Paul.Hana Seung: And neither did you. I gave thatorder, not you. We didn't have a choice Leslie.Leslie Richardson: Paul was right in front of me and I didn't see him.Hana Seung: If we have any chance in this place we need you with us.Joon Seung: Hana... they askedme to make a choice, whether to keep pushing, or to bring you home. I tried to go back to that feeling, that feeling we had, staring up at those stars imagining what was beyond.Hana Seung: Unnie, do you rememberthat recurring dream I used to have? Walking along the regolith under the twin Moons before I even knew it was Mars I was dreaming about.Joon Seung: When I think about you up there, if it had been you in thatcorridor...Hana Seung: If it had been me in that corridor, I only hope someone else would have done the same. This mission, it's bigger than all of us. I've made my peace, and I'd do it again if I have to. That dream Iused to have about Mars. I could never tell Mom why I would wake up crying every time. It wasn't because it was a nightmare. It was because the dream was over.Joon Seung: Hana, I told them to bring you home. I'mgoing to make a public announcement next week. I'm sorry.Hana Seung: The mission had failed, I'd failed the crew, I failed Ben.[HANA CRYING]Ben Sawyer: Oh man, this reminds me of a place I used to go with myfather when I was a kid.Hana Seung: So beautiful.Ben Sawyer: Yeah.Hana Seung: You know, they can give us a rover; put us in EVA suits, but that blue sky, gonna miss that. There's really no way of knowing if weactually make it up there, is there?Ben Sawyer: Nope, but... What good would we be if we didn't even try? Let's get moving.[SCENE_BREAK]Ann Druyan: The tragedy, for me, of the shuttle... it was as if we'd lost ournerve. Instead of building on the technology that had gotten us to the Moon, and saying okay, let's go to Mars, we ended up to a shuttle which was going nowhere.Casey Dreier: We went into lower Earth orbit for thenext forty years. And I think a lot people felt a certain amount of betrayal. So far, the previous generations since Apollo have not picked up that torch and carried it forward.Robert Zubrin: We're approaching the 50thAnniversary of the Apollo Moon landing. People who watched it happen are still around and still remember a time when we did things like this. And if anybody had told me that I would be 64 and we wouldn't be on Mars,I would have thought they were crazy.John Mccain: Dr. Zubrin, you're mad that this vision has been stolen from a generation?Robert Zubrin: Yes, we turned our back on the whole Apollo vision. It's like Columbuscoming back from the New World and Ferdinand and Isabella saying, \"ah, so what, forget it, burn the ships.\" The purpose of space ships is to actually travel across space and go to new worlds. Mars is where the scienceis, Mars is where the challenge is, and Mars is where the future is. That if we say no, that is beyond us, then it would really indicate that we have become less than the kind of people we used to be and that is somethingthat this country cannot afford.Hana Seung: As the others prepared Olympus Town for the official evacuation order, Robert and I took a trip to visit an old friend, we needed her help taking us back. There she is.RobertFoucault: Never thought we'd be trying to take her back.Hana Seung: Me neither. It looks like she's been through a war.Robert Foucault: She has.Ed Grann: This is it, your home for the seven-month journey and thefirst two years you'll be living on Mars surface, when the time comes to face the unknown, there has never been another suit of armor more skillfully crafted than this one. Take good care of her. She'll take good care ofyou.[SCENE_BREAK]Ben Sawyer: I want you to stop and ask yourself what really is important to you about this mission; and if the answer to that question is not the most important thing in your life, then I'm gonnainvite you to walk out that door and pursue that thing, whatever it is. And don't ever look back, because no one will ever have the right to hold it against you. Well alright, welcome home.Robert Foucault: External solararrays are online.Hana Seung: Initializing for start up on my mark...[SCENE_BREAK]Robert Foucault: Engage.Mae: Pressurizing.Joon Seung: No pressure now Hana, this is all of humanity relying on you.Ben Sawyer:You ready for this?Robert Foucault: Three.Hana Seung: Are you?Robert Foucault: Two, one, ignition.Mae: Pressurization complete.Robert Foucault: NDEs are registering no micrometeoroid damage. She'll need the newparts to address the damage from landing, but Cygnus brought everything we need to get her flight-ready.Hana Seung: How will it be?Robert Foucault: What's that?Hana Seung: Going home.Robert Foucault: I'malready home.Leslie Richardson: Marta... I thought you might be interested in this. It was Paul's. I'd like you to have it. Is there anything I can do to help?Marta Kamen: Thank you.Leslie Richardson: When Paul wasworking on his early climate resistant hybrid studies, I went with him to the western highlands of Guatemala. We knew that if we didn't plan our lives around our work we'd never see each other at all. He was alwaysgone, sometimes weeks. Because on top of his own research, he also decided that he could figure out how this particular pathogen was spreading through local communities, so I barely got to see him. And I resentedhim for it. It was as if, plants were more important to him than human beings. Certainly to my mind, more important than me. Eventually I understood that for Paul, every time he looked at those plants, he could see allthe people they could feed, all the people they could heal.Marta Kamen: So how did he figure it out?Leslie Richardson: Figure what out?Marta Kamen: The pathogen. How was it spreading?Leslie Richardson: Paulrealized that the outbreak pattern followed the same vectors as one of the airborne blights he'd been tracking. He'd also been mapping these very complex wind flows from the mountains. And from that, he was able toconclude that the pathogen must have mutated, and it was able to survive in the air Both: and travel on... the wind.Leslie Richardson: Yeah.Announcer: By executive order, all non-evacuation related extra-vehicularactivity is now prohibited.Javier Delgado: The biggest failure in history... biggest failure in history. It's easy... yeah, easy. Four years of my life...20 years preparing. Very good and it's over.Amelie Durand: Hey.LeslieRichardson: We'd be looking for another location with moisture to replicate the reaction use on the WAVAR so we'd be following the wind patterns.Hana Seung: Wind patterns.Marta Kamen: Javier and I foundsomething. The samples were too contaminated to analyze but I figured it blew in from the east in the storm because of the easterly arc of the wind, no way to track its source. Your story made me think. Even though Imay not be able to pinpoint where it came from, I can figure out where else it might have blown to. The way the Tharsis Plateau affects the wind flow, it would have blown straight into the recurring slope lineae. Onthese elevated bedrock outcrops just to the west.Leslie Richardson: If there wasn't a moratorium on nonessential EVAs...Hana Seung: What moratorium?Robert Zubrin: The history of space exploration begins withindividuals taking the road not taken, with people with a vision.Wernher Von Braun: I really never had any doubts that it was possible to go to the Moon. Today I know.Robert Zubrin: People being able to see with theirminds what others had yet to be able to see with their eyes.Peter Diamandis: There is a direct correlation between the dreams and the works of science fiction and the reality. We as humans over and over again createthe future, we create the future we envision. And then we bring to bear our resources, our capital, our technology, our friendships, and then we make it real.Kai Musk: What is this building called?Elon Musk: This is thelaunch tower, so this is where the astronauts would go up, and then there would be a big arm that would swing over to the spacecraft, and then they'd walk down the gangway, climb in the spacecraft, go to space. Thisisn't floors, this is feet. the long-term goal of SpaceX is to establish a self-sustaining civilization on Mars. Pretty cool. It's always seemed like we should have gone there by now, that's what everyone expected. We justkind of lost our way. It's a long way down. But now we're gonna get back there.Mission Control: SpaceX Falcon 9 go for launch.Mission Control 2: Stage 1 tanks pressing for flight.Mission Control: VC verify F9 is instartup.Mission Control 2: F9 is in startup.Mission Control: T-minus 4 minutes.Mission Control: SpaceX Falcon 9 go for launch.Mission Control 2: Vehicle's in manual.Mission Control: T-minus 1 minute.Elon Musk: This isa return to flight launch. We'd had a failed mission on June 28 of 2015. [EXPLOSION] After the failure, the whole launch program ground to a halt. That obviously put a lot of strain on the company.Mission Control: Allstations verify ready for launch. T-minus 30 seconds.Stephen Petranek: Elon Musk has said the key to get to Mars is the reusability of rockets. He wants to be able to fire a rocket into orbit, launch a payload into space,and then fire retro rockets and bring that rocket down to land vertically, and reuse it. That's an extremely difficult concept. If he cannot make rockets truly reusable then he cannot launch a new civilization on Mars. Sothe stakes for every rocket launch are huge.Misson Control: T-minus 20 seconds. Stage Two tanks pressing for flight. Flight computer has control of the vehicle.Elon Musk: Do we see anything on the sensors that's aproblem?Woman: No, nothing.Man: They all say go for launch.Mission Control: T-minus 10, 9, 8, 7, 6...[SCENE_BREAK][CROWD CHEERING]Elon Musk: It's gone, baby. Let's go, check it out.Man: Speed 1.2 kilometersdown range distance 11 kilometers. Shortly after main engine cut off, we're going to separate the stages and begin the second stage ignition.Elon Musk: Come on.[CROWD CHEERING]Man: Main engine cut off. The firststage is returning to land as the second stage powers the OrbComm satellites to low Earth orbit. The fairings have successfully deployed. The first stage will soon begin its series of three burns to head back towardsCape Canaveral.Elon Musk: Oh... where is it going? Okay, this is bad. Potentially bad.[CROWD CHEERING]Woman: That is that first stage, coming back down. History in the making guys.[CROWD CHEERING]Elon Musk:It's standing up! Coming in, it sounded like an explosion. Yeah man!Lee Rosen: Oh my God! Look at this, look at this! It's just sitting there, look at that.Elon Musk: What... holy smokes man.[CROWD CHEERING] It'skind of amazing that this window of opportunity is open for life to go beyond Earth. And we just don't know how long that window is going to be open. The thing that gets me most fired up is that creating a"}
+{"doc_id":"doc_267","qid":"","text":"Amy: Previously on \"Heartland\"...Wade: Your mom's a grown woman. She's the only one who can get herself out of this. I got her in the best rehab I could find. I'm gonna go see her in a couple days. I'll let you knowhow she's doing.Tim: I've decided that it's time for me to give back to the rodeo world. I'm starting a rodeo school right here in Hudson.Jack: I support this.Tim: Thanks, buddy.Jack: Plus those kids are gonna eat youalive and I definitely support that. There it is. Thank you.Jade: Ungh!Tim: What the hell?(Horse whinnies) Tim: Jade!Jade: Oh!Jade: Ungh!Tim: Jade? Jade!Jade: Beat that, boys!(Truck rumbles to a halt)(Door opensand bangs shut)(Phone rings)Ty: Hey, Wade.Next week? Uh... Well, it's a little short notice.(Birds chirp)Okay. Um... Yeah, I'll see what I can do. Okay. Talk to you soon.(Phone beeps off)(Spectators on video cheer andshout)Hey. You ready to go?Amy: Yeah... you okay? Yeah, yeah. I'm fine, I just uh... What- what're you watching? Oh, you gotta check this out. Commentator:...is my favourite part of the great plainsrelay.Commentator 2: Here they go, 'round the bend.Ty: Huh. Is one of those guys Scott's nephew?Amy: No. I'm just watching whatever I can find online. I thought I better see what the great plains relay actually lookslike.Ty: What're they doing?Amy: This the transition zone, where they switch horses.Ty: Looks like complete chaos. (Horse grunts loudly) Whoa! Well, that was incredible.Amy: When it works. Watch this guy.Ty: Oh,geez, come on, buddy! Hold on. ...see that transition? They must have been working on that for a year...Ty: Come on. Come on, you got it, you got it! Commentator:...so smooth.Ty: Oh! Ouch!Amy: Yeah, it's totallycrazy.(Crowd cheers in the video)Man: He's right off!Ty: Wow, I can't believe Scott used to do this.Amy: I know, right?Ty: So you think you can help his nephew?Amy: I hope so.Scott says he's having trouble with theexchange.Ty: Yeah, well, I don't blame him.Amy: Oh, wow. Okay. (Taps keyboard) Come on. Let's go.(Knock at the door)Georgie: Oh, he's here! And you know what he likes to do.Katie: Tickle!Georgie: Yeah!It's open.Oh, he's coming! You better run, Katie! Jade! What're you doing here?Jade: Nice to see you too. I was just taking my new car for a cruise, thought I'd drop by. What a coincidence, exactly when he's supposed to gethere. He? Who's \"he\"? Give it up, Jade. You know exactly who's coming.Jade: Is that today?Georgie: Nice try. But I don't want you hanging around and drooling all over him.Jade: Oh, please.Jeff: Hello?!Georgie:(Gasps) Jeffie!Georgie: Hi!Katie: Jeffie!Jeff: Ooh, Katie - and you!Jade: Hi.Jeff: Hi.Jade: I'm Jade.Katie: She likes to drool.(Georgie laughs)Jeff: (Snorts softly)(Hard thump) Man: Whoa, Barega!Emmett: Hmph!Ungh!Somebody grab him. Emmett, you all right?Emmett: I'm so sick of screwing this up for everybody. Hey, it's a team sport. Yeah, and I'm the weak link.Scott: C'mon, let's go back and try the exchange one moretime.Emmett: I'm done.Scott: Fine. We'll call it a day.Emmett: No. I mean for good. I'm quitting the relay.S08E14\u0000 and at the break of day you sank into your dream \u0000 \u0000 you dreamer \u0000 \u0000 oh, oh, oh... \u0000 \u0000 Youdreamer... \u0000 \u0000 You dreamer... \u0000Scott: Emmett, these are a couple of friends. Amy and Ty.Amy: Hi.Scott: Amy works with horses. She might be able to help you with your problem.Emmett: It's already fixed.Scott:Come on, you can't quit now. Finals are only a week away. And cause another wreck? I'm gonna get somebody killed out there. Emmett, what happened?(Birds chirp)(Sighs) I don't know. My legs are all spaghetti bythe time I make the last exchange. I just can't get up on the horse clean.Amy: It's always the same horse?Emmett: Yeah. Barega. She's the fastest on the circuit, but she's wasted on me. Well, like Scott said, I'd behappy to give you a hand. What do you know about the relay?Scott: She knows enough about horses, and riders, that she might be able to help you get through this. Sure. You wanna waste your time, makes nodifference to me.(Low hum of chatter, birds chirp)Ty: I'm gonna go talk to Scott for a bit.I'll be right back.Amy: Okay.(Door bangs shut)Hey, Scott.Scott: Hey, so you'll help out tomorrow?Ty: Yeah. Yeah, I'll be here.Um... things are pretty crazy at the clinic next week, huh?Scott: No different than usual. Well, I mean, we got a couple of surgeries, and a ton of field calls, and... That big shipment of supplies coming in, right?Scott:Ty, what are you getting at?Ty: Uh... it's nothing. I was just... thinking about going to see my mom, but, you know, it's bad timing, so.Scott: Ty. Go see your mom. We'll be fine.Ty: Are you sure?Scott: Yeah. Okay.Thanks.(Tailgate bangs shut)Tim: Well! Look who's back. The pride of Fort Mac.Casey: Hi, I'm Casey.Jeff: Jeff. Georgie's brother.Casey: Nice to meet you.Oh, sorry we're late. I had to sort out Tim's rodeo schoolschedule. He's got himself double booked all over the place.Tim: What can I say, I'm a big picture kind of guy.Casey: Yeah? Is that why you added private lessons into the mix?Ty: Private lessons? What kind of privatelessons?Casey: Oh, some rich oil guy's kid. I thought you were only interested in serious up and comers?Tim: Like you?Jade: Yeah. You know, I rode a bronc.Tim: I have not problem coaching some wannabe if his dad'sgonna throw sponsorship money my way.Amy: But, dad, how are you gonna manage this? It's just you and Caleb.Tim: Caleb? Pfft! Kid's on the road twenty-four-seven.Ty: Well, Jesse's been riding him pretty hard tofind some new stock, so.Tim: Caleb is useless to me.Georgie: Well, Jack could help out. He's got some serious rodeo cred. I'm not interested in training the next generation of weekend cowboys. But if you need a handwith those real rodeo kids I would consider pitching in.Tim: Yeah, those kids'd be saying, when was that guy's last rodeo? When they were bucking dinosaurs?(Ty laughs) Jack: This coming from a guy who won his lastbuckle before these kids were even born. So you still raking in the cash up north?Jeff: Yeah. Same 'ol, same 'ol.Georgie: Come on, Jeff, tell 'em about your big promotion!Jeff: Honestly, it's no big deal.Georgie: No bigdeal? He's running his own crew...Jeff: Uh, Georgie, just... Let it go. I mean, come on, no one wants to hear a bunch of... boring work talk, right?Jade: Cute and modest.Ty: So I'll pick you up on my way to the tracktomorrow?Amy: Yeah, that sounds great. It should be an interesting session.Ty: Yeah. Emmett doesn't seem too keen, does he?Amy: No. That's an understatement.Ty: Hmm.Amy: Hey... you okay?Ty: That's thesecond time you've asked me that today. Well, it's just... You seem a little bit more... up in your head than normal. Uh... Wa... (Sighs) Wade called me this morning and um... Family day at the clinic is next week. Yougonna go see your mom?Ty: Yeah... I was kinda hoping Scott wouldn't give me the time off. I hate going to those places, Amy. She must be happy you're coming. Yeah, well, she doesn't really know quite yet. I have tocall Wade first thing in the morning. It'll be okay.(Brief kiss) Amy: Good night.Ty: Good night.(Receding footsteps)(Birds chirp)Emmett: (Blows out his breath)Ungh!Amy: And again.Emmett: Ungh.(Blows out hisbreath)Emmett: Ungh!Amy: Nice! Okay.One more time. One more time. Ugh! Haven't you seen enough? I'm beat. Sorta like you are on the final exchange. But you're landing this perfectly every time.Ty: Barega'sstaying good and still too.Amy: So far, you guys are totally in sync. I don't see anything that would cause you to miss in the exchange. So what's next?Amy: Let's try it for real.Emmett: (Sighs heavily) (Barega snortsnervously) Easy, Barega. Easy. Easy...Amy: Okay, Emmett, bring him in.Emmett: Yah! (Hooves thunder)Ty: Whoa, whoa. Hey, hey, hey. Easy. Easy now! Come on!(Barega snorts nervously, hooves thunder)Emmett:(Breathing hard)(Barega snorts and grunts) Ty: Whoa, whoa! Emmett!Emmett, are you okay?Emmett: (Frustrated grunts) Why can't I land it?! You can't be so hard on yourself. I keep choking under the pressure. No!No, it's not you. It's your horse. It's Barega.Emmett: (Sighs heavily)(Door bangs shut, engine rumbles nearby)(Tailgate thunks loudly)Tim: Hey! So guess who just got approved for a whole series of clinics at the highschool rodeos.Jack: Well, good for you.So what did you want to talk to me about then? Oh. I've been thinking about your offer.Jack: My offer?Tim: To help lighten my workload.Jack: Well, I thought I was... tooprehistoric to work at your rodeo school. Agh! And I know Casey's been joking about how disorganized I am, but I got it all worked out. No, no. I need help with Maggie's.Jack: M-Maggie's?Tim: Well, Lou's still away.The place won't run itself. You want me to work at the diner? I need a watch dog. No. I-I need someone to oversee it.(Door bangs shut)Make sure things are running smoothly.(Engine rumbles)Amy: You did everythingright.Your dismount was clean, and your approach was great.Emmett: Then why did I end up back in the dirt? Because Barega took off too soon.Ty: Yeah, I couldn't even hold her back.Amy: She sees the other horseslined up and she knows what's coming. Barega loves to run so much that you can't hold her back. She just takes off.Scott: This is good news. Now that we know what the issue is we can deal with it.Emmett: How? She'sa gamer. That's what makes her so good. We can't take the race out of the horse.Amy: Maybe you start the relay on her... And that way you don't have to jump on Barega at all. No. Barega runs anchor. Your best horsealways runs the last lap.Scott: Since you know everything, what do you think we should do?Amy: Take off your jacket.Ty: What?Amy: I think I might have a way to hold Barega back in the exchange.Ty: You really thinkthis is gonna work? Let her smell it first.Ty: There you. Hey... Easy now... I'm just gonna put this over your head. Really slowly... Just like that.Amy: Okay, we're ready! Yah! (Hooves thunder)Amy: Okay, wait for it...Now!(Barega snorts)Emmett: Yes!Amy: That's it!Scott: Woo! Nice exchange!Well, you finally got him out of bed. It's nice to be able to... sleep in for once. I thought you packed it in right after dinner last night? Ah,must be the country air.(Jack chuckles)So what do you two have planned for today?Jeff: Well, she's abandoning me for some trick riding practice.Georgie: Well, I told you, I could skip it.Jack: Have fun, whatever it is.No, that's fine. I'll hang out here until you get back.Georgie: Really? Yeah... what? Well, don't you usually go rent exotic cars and... rip around on your motorcycle? I guess I've mellowed in my old age.(Knock at thedoor)Georgie: Oh, look who it is.Just happened to be in the neighborhood?Jade: Uh, I just left my jacket here last night.Georgie: Of course you did.Jade: Hey, Jeff.Jeff: Hey.Jade: Nice hair. Yeah, barn loftspecial.(Self-conscious chuckle)Don't you have somewhere to be? No. Actually, I'm gonna go to this arts and music festival. I thought you might wanna go. Uh... yeah, I got a little free time on my hands. Whynot?Jade: Cool.Jeff: Well, I better run a comb through this though, huh?Georgie: Okay. (Sighs)Ty: Well, I can't believe what a difference that made. That was great.Scott: Yeah, the exchange was perfect every time.But Emmett's team can't be using your jacket during the race.Amy: No, that's why we'll use blinders for the real thing, right? That'll block out all the craziness that's happening around her.Scott: Well, looks like you'reback on track for the championships.Amy: Hey, good luck at the finals. And you... You wait for him, okay? All right, take care.Ty: See ya, guys.Scott: You're not gonna thank her?Emmett: For putting a jacket over herhead? She just saved your butt. You could win this whole thing. That's what everyone keeps saying back home. They want me to be a champion, like you were. But nobody cares what I want. And what would that be? Ialready told you. You weren't listening. I wanna quit. I'm leaving the reservation. To go where? Moving to the city, like you did.(Clucks his tongue)Tim: Ha! He just said, \"no,\" then he... he drove off in a huff.Really?That doesn't sound like Jack. I mean, he's the one who offered to help in the first place. Yeah, and I really need help at Maggie's. Maggie's? Are you kidding me? What? I didn't ask him to wait tables. I asked him towatch over the place.Casey: See right here? These are the famous Tim Fleming people skills at work.Tim: What does that mean?Casey: It means I don't why you're trying to push him away. You just took on all thesehigh school rodeos, you could use Jack's help here. I have got it under control. I've even carved out a little Casey time...Casey: Yeah?Tim: Yeah, you and me, we're going fly fishing, tomorrow.Casey: You can't afford totake a day off, mister.Tim: You know what they say? All work and no play...Casey: Please!Tim: Come here.Casey: Woo! (Laughing)(Kissing)(Birds chirp outside)(Approaching footsteps)Jeff: Hey!Georgie: Oh, hey.You're back early.Yeah, the bands were pretty lame. This your new horse? Yeah, yeah, Checkers. Phoenix must be all jealous. Well, as long as there's someone to jump him, he's pretty happy. My friend Stephen'shelping out with that. Stephen, huh? How good a friend we talking here? Really? This guy's your... boyfriend? No. He's not my boyfriend. All right. So... Jade, what do you think of her? Yeah, she seemed pretty cool fora... one of those university types.Georgie: University?Jeff: Yeah, she was going on about her classes at the U of C, but... I can never understand why people blow their cash on philosophy courses and basket weavingwhen... they could all be making money in the real world.Georgie: Hmm. What? Nothing. Come on, Georgie, what's wrong? Just... I hate when people pretend to be something they're not. I guess you know your brotherpretty well by now. Uh... yeah, I guess. You're probably wondering why I've been acting so strange? Well, yeah. You have been acting a little different lately. Well, the truth is... I... I got fired.Georgie: Fired?Jeff: Don'tworry, I'll-I'll be fine. But I don't really wanna get into it, so I'd prefer if you didn't tell anyone, okay? 'Kay.(Screen door opens, snaps shut)Jack: Hello, Georgie!Oh, you're not talking. You all right? Yeah. Actually, no.No, I'm not. Well, what's wrong? Well, you know when you think things are going a certain way, but... then you find out they're the exact opposite? Mm... what happened? Um... I'm sorry, Jack. I can't... I can't sayanything. I'm sorry.(Truck rumbles to a halt)(Gearshift clunks, engine cuts out)Well, you did great out there, Amy. I couldn't have done it without your jacket.(Amy and Ty chuckle, kiss)Amy: See ya.Ty: Okay.Amy: Oh,hey! Did you talk to Wade this morning and tell him you can make it to family day?Ty: Uh... not yet.I thought you were gonna call him first thing? I know. Um... I will... do it. Why don't you just tell me what's going on?Amy, I just don't like those places, all right? So...(Door bangs shut)I'm listening. All right. Um... I haven't been able to sleep the last couple of days. I uh... I can't get these memories out of my head. Memories... Likevisiting your mom in rehab? Yeah. First time, I was... eight years old and I didn't even know what the place was. My mom was so sick, um, I thought she was dying. I can't even imagine. Yeah... When I got older, Ithought she was doing it to herself... And there was nothing I could do about it. Truth is, there still isn't, so... I'm gonna go with you. Amy, that's... that's not the point. I'm not...Amy: Yeah, yes, it is. You have adifferent life now, Ty, and I am a part of it. So I'm gonna face this with you, okay?Ty: Hey, Wade. It- yeah, I'm good. Listen, about next week. It looks like Amy and I will both be able to come out, so-(birds chirpoutside)Uh... okay. Are you sure? Oh. Uh... Thanks for letting me know. Okay. Bye. (Phone beeps off)[SCENE_BREAK](Dogs bark)Ty: Good morning.Scott: Hey.Field call? Yeah, it won't be long though. So, uh, it turnsout I won't need that time off after all. I told you we'd be fine. I know. Just a... change of plans.(Bag rustles)Ty: So, uh, how's Emmett doing?He's still here, actually. Says he's not going back home. What do you mean?He wants to move to Edmonton, quit the relay.Ty: Well, what'd you say to him?Scott: What can I say? I left home and quit the relay when I was way younger than he is. He's just following in his Uncle's footsteps.(Dogsbark)Georgie: Yes, Lou. I've checked all her clothes before putting them in the dryer.Jack: (Whispering) Georgie! don't hang up.Georgie: (Whispers) Okay.Yeah. Yeah. Jack wants to talk to you. Okay. Okay. Okay, I loveyou too. 'Kay, bye. (Phone beeps off)Georgie: She is on a walk in Stanley Park with Peter. She says she'll call you back later. What? Lou said she'd call you back.Jack: No, no, it's not that. It's Georgie. Yesterday, sheseemed a little out of sorts, but she didn't wanna talk about it, so I let it go. I don't know, you think she's worrying about Lou and Peter? Well, you can't blame her for wondering what's going on. Lou's been away a lotlonger than expected. I hope everything's going all right. A romantic stroll in the park sounds promising. Yeah... hopefully she's not having too much fun.Jack: Why's that?Amy: Well, if Lou loves Vancouver as much asPeter, then she might move the whole family there.(Horse nickers, birds chirp)Jade: Hey, kid.What's with you?Georgie: University?Jade: I was just trying to look smart, okay?Georgie: Okay, well then wear a pair ofglasses or something. Just stop pretending to be older. Well, he might think it's weird, you know, dating someone in high school.Georgie: Dating?Jade: It's possible.Georgie: Okay, well, in this fantasy world, where mybrother is your boyfriend, when are you gonna tell him the truth? At the prom? Just chill out, okay? It's no big deal.(Door bangs shut nearby) Georgie: He's gonna find out.(Footsteps thud on the stairs)Jeff: What wasthat all about?Nothing. So I've been looking through the want ads. A lot of great jobs out there for a guy with a high school education. Short order cook, house painter, barista, Oh, and newspaper deliveryman.(Chuckles, sighs heavily)(Footsteps clunk on stairs)(Car doors open)Jack: Hello there. Can I help you?Rodney: Rodney Cantrell. I'm here to see Tim Fleming.Oh. Well, I think you got the wrong place. He's over atBig River. Oh, I know, but he told me to meet him here... For my son's roping lesson. Oh, he did, did he? Okay, just uh... Let me sort something out real quick. Hang on.Derek: Come on, dad, he's not here.Rodney:Why don't you just be patient? We'll sort it out.Jack: Okay, I don't know where you are, but it looks like one of your big wig sponsor is here and I'm not gonna bail your butt outta this.(Snaps phone shut)Jack: Here's thething...Rodney: Now you're not gonna tell us we drove all the way out here for nothing.Jack: Well, actually...Rodney: Oh, geez.You know I almost invested in this school? What is it? Some kind of a sham or something?Uh, no, of course not. I uh... It's my mistake. I thought that you were coming tomorrow is all. Yeah, so... I'm Jack. I'll be teaching the roping lesson.Rodney: Uh, Derek?Derek: Hi.Jack: Jack.(Dogs bark, cats meow,approaching footsteps)I got your text. Look, I know this is your decision to make, but...Ty: Amy... I really think you should reconsider. I think we should go see your mom.Ty: I do too.Amy: Oh? It's my mom... Shedoesn't wanna see me.Amy: What?Ty: It's like Wade said. She wants to keep things \"low key.\" It's her choice, right? She must just be afraid. You know, she doesn't want you to see her like that either.Ty: Well, it iswhat it is. Everybody's got their family issues. And after all the work you did yesterday, Emmett's quitting the relay, if you can believe it.Amy: Really? Well, he's gotta just be afraid of another wreck. Well, I can't saythat I blame him. What if you never got back on your motorcycle after the accident? I mean, you can't just live life in fear. Well, seems like that's exactly what Emmett's doing right now. Yeah... and your mom.Jack:Yeah, see you're not rolling your wrist enough.Derek: Yes I am.Jack: Well, no you're not. That's why you're having trouble keeping your loop open.Derek: Can I just throw it already?Jack: Not until you get your swingdown.Derek: (Annoyed sigh)(Rope whooshes)Jack: Okay, here. I'll show you one more time.Now watch my wrist. And when I roll it, i can see the back of my hand, you know? Now point your finger down the spoke likeI showed you and roll your wrist.(Rope whooshes)Ugh! How am I supposed to point my finger and twist my wrist at the same time?Jack: It'll come.Derek: No it won't. This is impossible!Jack: Okay, look, I can see thatyou're frustrated, but you're gonna have to put in a little effort here. Otherwise, you're wasting both our time. Wasting your time? My dad paid good money for this. Listen. I'll work for free if you show me just a little bitof grit. Now cowboy up, son. Or would you rather give up, go back to the city?(Rope thunks on ground)Rodney: I'll call you back.Derek: This is a waste of time.What the hell did you say to my kid? Oh, he'll tell you all"}
+{"doc_id":"doc_268","qid":"","text":"LUCAS (voiceover) : My name is Lucas Scott. Four years ago, I graduated from high school with my friends. Brooke Davis moved to New York City and found success. Peyton Sawyer went to Los Angeles. Success didn'tcome so easily. I wrote a novel and fell for my editor, Lindsey. My brother Nathan saw his dreams vanish... leaving his wife, Haley, and their son, Jamie, more fractured than ever. Things have changed in four years. Butin many ways, this is just the beginning.BROOKE : I missed you, P. Sawyer. We're home now.PEYTON : Come on.LUCAS'S BEDROOMBrooke sneaks inside the room and jumps on the bedBROOKE : You're notLucas!LINDSEY : You're Brooke Davis!BROOKE : Yeah. Hi. You're... wearing me. Clothes Over Bro's is my line.LINDSEY : Yeah, I love it.BROOKE : Thanks.LINDSEY : And you are so pretty in person.BROOKE : Thanks.So are you.LINDSEY : Okay, this hasn't happened to me since college.BROOKE : Right. Okay.(Lucas walks in)LUCAS : Wow, this hasn't happened to me since college.BROOKE : Hi, Luke.LUCAS : Brooke Davis. Oh, Imissed you.DOWNTOWN TREE HILLSkills is with JamieSKILLS : So, what do you want to do today?JAMIE : I don't know. Play, I guess.SKILLS : Yeah, me, too.JAMIE : Don't you have a job?SKILLS : What are you, theman? I don't see you paying any rent.JAMIE : That's because I don't have any money.SKILLS : Well, that makes two of us. Now, let's just go over the drill. If we see any hot chicks today, who are you?JAMIE : I'm anorphan who needs surgery, and you're paying for it, 'cause you're rich.SKILLS : Good man.JAMIE : Whoa...(Jamie sees a small racer)SKILLS : Soapbox Derby. Man, when I was a kid, I always wanted to do this.SKILLS :Me, too. It's a good thing you're still a kid, 'cause we got two days to pimp your ride.JAMIE : Can uncle Mouth help me pimp my ride?SKILLS : I don't think so. See, uncle Mouth finally got a j-o-b.JAMIE : That spells\"job.\"SKILLS : Man, you're getting way too smart. It was a lot easier when you was 3.MOUTH'S NEW JOBMouth walks in a recording studio and sits behind the desk, like if he was the sports announcer.MOUTH : Goodevening, ladies and gentlemen. I'm Marvin McFadden, and sports is coming up next.(a women walks in)ALICE : What, exactly, are you doing?MOUTH : Oh, the station called about the field-reporter position?ALICE :Field reporter... little ambitious, don't you think? The job that we called you about is an entry-level logger position. We could hire a monkey to do that but the freaks at Peta would more than likely picket.MOUTH : But Iguess I assumed...ALICE : First door on the left. You watch the games, you highlight the best plays, and you leave thelog for on-air. If you cannot accomplish that, you are currently wasting my time.MOUTH : I'm sorry,but you are still looking for a reporter, aren't you?ALICE : The answer to your question, yes. Let us be honest... you don't really have the face for it, do you?CLASSROOM IN TREE HILL HIGHHaley is starting herclassHALEY : All right, good morning. This is actually my first official day as a teacher, and you're my first official class. So, congratulations. My name is... Haley... James...QUENTIN : That is some fine ass.HALEY : Allright, first of all, that's no way to talk to a girl, any girl, and second of all, that is absolutely no way to speak to a teacher.QUENTIN : I'm sorry. It was me. Just trying to give you a compliment.HALEY : What's yourname?QUENTIN : Quentin Fields.HALEY : Okay. Sit down, Quentin.QUENTIN : Yes, ma'am. Won't happen again, miss James.HALEY : Actually, it's Mrs. Scott.QUENTIN : Damn, that ass.HALEY : Okay, all right. Get out.You need to go to the office.QUENTIN : Oh, to the office. Maybe we could go together. Maybe you could just spank me right here.STUDENT : Yeah, Mrs. Scott!QUENTIN : Ooh, harder, Mrs. James-Scott!HALEY : All right,settle down.QUENTIN : Spank me, Mrs. James-Scott!HALEY : I said, \"settle down!\"HALEY : Class!STUDENTS : Class!HALEY : I have just...STUDENTS : I have just...(Haley leaves the classroom)QUENTIN : Baby, comeback!RIVERWALKBrooke joins PeytonBROOKE : HeyPEYTON : heyBROOKE : Hey, how much do you love me? I went to see Lindsey, Luke's girlfriend. I have good news and bad news.PEYTON : Luke and I haven't beentogether for three years. It's not why I'm home.BROOKE : I totally believe you. Fine.(Brooke's phone rings)BROOKE : Ooh, the office. They're just figuring out I'm not in Milan. I bet Victoria's having a cow.PEYTON : Youthink maybe you should call and let her know you're alive?BROOKE : No. No, I have a more important question to ask you. What happened after Lucas finished his book?FLASHBACK, 2 YEARS AGO, LOS ANGELES/ TREEHILLPeyton is walking in the street, her cell phone rings. On the other side, Lucas is at home.PEYTON : Hello?LUCAS : Hey, it's Lucas. I know it's been awhile, but... I'm having a book signing in L.A. on a couple ofdays.PEYTON : Yeah, I know. I mean, I read about it.LUCAS : Yeah, I've been pacing the house for the last hour wondering if I should call, considering how we left things.PEYTON : No, it's okay. It's actually really goodto hear your voice.LUCAS : Yours, too. Well, I was hoping... I'd love to see you if you're not too busy.PEYTON : Yeah... yeah, okay. Sure, I'll be there.LUCAS : That's great, Peyton. Well, then, I... I'll see you soon,then.PEYTON : See you soon.END OF THE FLASHBACKINTERIOR TREE HILL GYMLucas is talking to the basketball players with SkillsLUCAS : My name is Lucas Scott. I'm the new head basketball coach of the Tree HillRavens. This is Antwon Taylor. He's the new assistant head coach. You want our credentials? They're hanging right there. (showing the flag of their state championship victory) I must congratulate you. For some of you,it took only four years to destroy the legacy coach Durham took 35 years to build. Nice work. So, as of today, all 12 roster spots are available. It doesn't matter if you played last year. In three days, we'll have our finalroster. If you want to be on it, then I would advise you go hard. Skills?SKILLS : I would definitely go hard.LUCAS : One-on-two drill.SKILLS : Everybody line up at half court. Haley walks into the gym, takes Jamie who'ssitting on the bench and walks to LucasJAMIE : Mama, I'm gonna race in a soap-opera derby.HALEY : What?LUCAS : How was your first day?HALEY : Um, horrible. My first class, like, attacked me, and I ran out in tears,and principal Turner had to finish the rest of my classes.LUCAS : I'm sorry, Hales.HALEY : They were awful, so mean... especially this one kid, who was, like, sexually harassing me.LUCAS : What? Who was it?(Quentinenters the gym)HALEY : Him.QUENTIN : Hello, there, Mrs. James-Scott.HALEY : We'll see you later, okay?LUCAS (to Quentin) : You're late.QUENTIN : Yeah? I'm also your leading scorer.LUCAS : No, you might havebeen a leading scorer on a team that won three conference games all last season. But you are not my leading scorer... not yet.(Quentin takes a ball and makes a dunk)OUTSIDE NATHAN AND HALEY'S HOUSENathan isalone, thinkingSPORTS ANNOUNCER (voiceover) : Seattle is on the clock right now. We'll get to the commissioner in regards to their pick. They going big? They going small? Somebody help! Somebody!(Peyton andBrooke walk in)PEYTON : Well...BROOKE : Well. Don't look away. The second and third greatest nights of your life just walked back into your world.PEYTON : You looking all rock star totally does it for me.BROOKE :Very heroin chic, Nate. I like it.NATHAN : What are you guys doing here?BROOKE : Well, Lucas tells me that you can walk, but you need a little incentive. So we have come up with a drill.PEYTON : For every step youtake... we kiss.(They hug him)PEYTON : Hey, it's good to see you.BROOKE : We missed you.HALEY : Nathan...(Haley is coming outside with Jamie. She stops when she sees her friends)PEYTON : HeyBROOKE : HiHALEY: Hi... What are you guys doing here?BROOKE : We came to see you and...HALEY : Oh, Jamie, sweetie, come here. There's people I want you to meet. Come on, it's okay. This is Brooke and Peyton, and this is our son,Jamie.PEYTON : Hey, Jamie. How are you?BROOKE : He is beautiful(Nathan leaves)BROOKE : Nate?(The three girls hug)BROOKE : We missed you.BOYS APARTMENTLucas and Skills are with Jamie, taking care of hisracerLUCAS : Man, I've always wanted one of these things.SKILLS : Yeah, me, too.JAMIE : Me, too.SKILLS : I think we should paint it red. You know, the red racer. Yo, kid, talk to me about the cape. What's thereal?JAMIE : I'm a superhero.SKILLS : Is that right? Why don't you fly to the kitchen and get me a beer?LUCAS : So, what's your take on the team's former leading scorer?SKILLS : Quentin? The kid's prettygood.LUCAS : The kid's really good. Now we just got to figure out if we can get him to play a team game, you know?JAMIE : Can I have pudding?SKILLS : You can read, right?SKILLS : If the pudding says \"Junk\" or\"Fergie,\" you can have it.JAMIE : Thank you.LUCAS : Hey, and just one, okay? No, I mean, it's like, I don't know if they lost all those games because they didn't have enough guys on the team like him.SKILLS : Ormaybe they just lost because of him.LUCAS : You know who he reminds me of.SKILLS : Yeah.OUTSIDE NATHAN AND HALEY'S HOUSEJamie and Haley join NathanJAMIE : Hi, daddy. Did you see my basketball?NATHAN: No.HALEY : You okay?(Nathan doesn't answer)HALEY : \"I'm fine, wife. How was your day? You know, husband, my day really sucked, but thanks for asking.\"NATHAN : And mine didn't?HALEY : That's just a littleselfish, don't you think?NATHAN : No. No, I don't think. And I didn't see you lose your dream.HALEY : Maybe you need to open up your eyes.Where's Jamie? Jamie? Jamie!CARRIE (bringing Jamie back) : This belong toyou?BOYS APARTMENTBrooke visits MouthBROOKE : Wine delivery from New York City.MOUTH : Wow, I called for that wine two years ago. Get in here! Come on.INSIDE NATHAN AND HALEY'S HOUSEHaley'sinterviewing CarrieHALEY : Can I just ask why you decided to become a nanny?CARRIE : Honestly, because I get paid to work with some really great kids. Eventually, I'd like to maybe go back to school and study to bea pediatrician... someday, when I have someone else's life and income. Look, Haley, I know when you go to interviews like this, both sides are trying to figure out how crazy the other person is.HALEY : Are you doingthat, too?CARRIE : I get it, but I've taken enough of your time. You have my references, and Jamie seems like a wonderful boy, so just let me know. Either way, it was great meeting you. It was great to meet you, too.Thank you so much.(Jamie enters the kitchen with mud all over him)JAMIE : Look, mama! Me and daddy made mud!HALEY : I'm sorry. Who am I kidding? How soon could you start?BOYS APARTMENTSkills sneaksinside Mouth's room, where Brooke and Mouth are sleeping, still dressed. He lies down beside Brooke and take a picture. That awakes Brooke.SKILLS : Well, imagine that. Brooke Davis.BROOKE : What time is it?SKILLS: Like, 8:30.BROOKE : Oh, no.(Brooke stand up)BROOKE : I told Haley I'd take Jamie!(Mouth wakes up too)SKILLS (to Mouth) : That was some wild night, baby.MOUTH : What time is it?SKILLS : Like, 8:30.MOUTH :Oh, no, I'm late for work!BROOKE : Jamie, have you seen my shoes? I'm supposed to go and pick up... Jamie...What are you doing here?JAMIE : Mommy brought me over. She said not to wake you.BROOKE : Right.You ever had a wine hangover? I had a floppy-eared bunny named Chester.MOUTH : I got to go. I'm late for work. It's great to see you, Brooke. Hi, Jamie!MOUTH'S OFFICEMouth arrives at work. Alice sees himALICE :Well, well, well. Somebody just got strike two.MOUTH : Look, Alice, I think we got off to the wrong start. I just want you to know that I'm honored to be a part of your staff, and I'm looking forward to working for youand learning...ALICE : I really don't like you.MOUTH : Well, what can I do to change that?ALICE : Quit... before I fire you.BOYS APARTMENTBrooke and Jamie are talking about his racerBROOKE : Jamie, this thing isreally awesome.JAMIE : Yeah.BROOKE : Yeah? What? Aren't you excited about your big race?(Brooke put Jamie inside the racer)JAMIE : I guess, but it's suppose be my car, and they're not letting me doanything.BROOKE : Well, then, you better stand up for yourself, huh?JAMIE : What do you mean?BROOKE : Well, like, what color do you want it to be?JAMIE : Red and blue like daddy's, but they want it red, like Elmo.And I hate Elmo. Grover's so much better. Grover's blue.BROOKE : I so agree with you. Blue it is. You've got to take a stand, Jamie. If you start giving in now, it's just gonna get worse, trust me.JAMIE : I'm glad you'remy godmother.BROOKE : Me, too, buddy. Now let's go get some paint. Come here! I got you!TREE HILL HIGHHaley arrives in her classroom. Principal Turner is waiting for herHALEY : Hi, principal Turner.TURNER :Haley, I thought I'd join you for a few days.HALEY : I can do this on my own.TURNER : I know, but you're young, and sometimes, the students take advantage of that. Let's get you walking, and then you canrun.INTERIOR TREE HILL GYMPracticeSKILLS : Run, run, run! Pick it up!LUCAS : Blue team, two-on-two zone!QUENTIN : We don't play no zones, coach.LUCAS : You do, if I say so.QUENTIN : You stay in man to man, Ican do this.(Quentin makes a dunk)TREE HILL HOSPITALPeyton is taking Nathan to the pediatric wardNATHAN : Just take me home, Peyton, okay? I'm not feeling this today.PEYTON : Maybe not, but the doctorsare.NATHAN : The doctors weren't the ones with a piece of glass in their spine and nerve damage four f'ing months ago. Anyway, it's not like I'll ever play basketball again.PEYTON : You know what? First of all, shut upand take a look around. You have a life that any one of these kids would die for. And what's really sad is that most of them probably will.(Peyton leaves Nathan in the middle of the ward)INSIDE CLUB TRICBrooke,Peyton and Haley are at the barBROOKE : So, that morning, I'm reading an article about how she's recently sober, and that night, she's in the booth next to me at a club, wasted.PEYTON : And then my label signs herto a record deal. I'm sorry. I can't be a part of that.BROOKE : Ladies, here's to not being a part of it.HALEY : Here's to taming my demonic english class.BROOKE : No, no, we're not going there 'cause this song isinsane.PEYTON : Yeah.(The three girls go on the dance floor and find Mouth)BROOKE : Mouth!MOUTH : My boss hates me.BROOKE : So, shut up and dance.HALEY : I think that's Lindsey. Hey. Hey.(Lindsey joins thegroup)HALEY : Hey, come here! Hi! How are you?BROOKE : Hey, you. I want you to meet my best friend...(She's looking for Peyton who disappear)BROOKE : ...not that guy. I don't know where she went.RACE PLACE,NIGHTLucas, Skills, Fergie, Junk are with JamieSKILLS : So, here's the plan. I figured we'd do a couple test runs, you know, work out the kinks. Then tomorrow night, Big-Game James here gonna smoke all those littlebrats.LUCAS : Yeah, boy.SKILLS : All right, I give to you the red racer!LUCAS : The blue bullet.JAMIE : Brooke helped me.SKILLS : Yeah. Look, well, it don't matter. You ready to try it, Flash?(Jamie shake hishead)Figured that much. So, check this out. We're gonna use this mannequin for the first run. All right. Let's roll!(They let go the racer, but it loses one of its wheel and the mannequin loses his head)SKILLS : Oh, man,we gonna have to fix that.INSIDE CLUB TRICPeyton is alone, Lindsey comes to see herLINDSEY : Hi.PEYTON : Oh, hi.LINDSEY : Lindsey.PEYTON : Peyton.LINDSEY : I know this is awkward, but I just wanted to say hi.And I know I don't know you, but I feel like I do. At least, the version of you from the book. You seemed really brave.PEYTON : Thanks.LINDSEY : Anyway, I hope to see you around, Peyton. Take care.(Lindsey leavesand Brooke joins Peyton)PEYTON : Damn it, I really didn't want to like her.BROOKE : I know, but she's great, right? Sorry.Carrie sees Haley in the clubCARRIE : Haley?HALEY : Oh, Carrie, hi.CARRIE : Hi. Oh, my gosh, Iprobably look like a boozehound. I was just celebrating with some friends. You look fine. You look great.MOUTH : Really great.CARRIE : Thanks. Listen, I just want you to know that I appreciate you taking a chance onme. I'm gonna take good care of Jamie, I promise.HALEY : Oh, I know you will. You're gonna do just fine.CARRIE : Thanks. Well, I'll see you soon.HALEY : Okay, you have a great night.CARRIE : Bye.HALEY :Bye.MOUTH : Bye.(Carrie leaves. Brooke and Peyton join them)BROOKE : And, Mouth, who was that?HALEY : Oh, that's Carrie. She's our new nanny.BROOKE : I'm sorry. Have you lost your mind? She cannot be yournew nanny.HALEY : Why?PEYTON : Well, for starters, have you looked at her? She is way too hot.MOUTH : Okay, you two need to stop. Why does everything have to be about looks? Maybe she's a great nanny or agreat field reporter. Shouldn't that be the point and not her looks?Besides, if Haley doesn't hire her, I won't get to see her in a bikini.HALEY : Nice.MOUTH : Damn, she was hot.HALEY : All right. I've got to go, you guys.I need to check up on Nathan.[SCENE_BREAK]RIVERCOURT, AT NIGHTBROOKE : Seems like another life.PEYTON : It was, for you. I mean, I appreciate you coming back and everything, but considering the way yourphone's been blowing up, you have a very busy, very great life to get back to.BROOKE : Okay. I have a very important friend who needs me.Why did you come home, Peyton?PEYTON : I guess I was looking for thatinspiration I felt when we wrote our names here, you know? I was fearless then, Brooke.BROOKE : So, what happened to that girl?PEYTON : That girl became assistant to the assistant.BROOKE : So, if you want to bethe girl you thought you could be back then, start a label, Peyton. Do it yourself. I am serious. Peyton, I want to invest in your label. I believe in you. Okay?(Lucas arrives)BROOKE : Unless that's not really why youcame home. I'm gonna return those phone calls real quick.(Brooke starts leaving)BROOKE (to Lucas) : Ask about the record label.LUCAS : I'm supposed to ask about the label.PEYTON : Yeah, Brooke wants me to startmy own label here.LUCAS : Are you gonna do it?(She doesn't answer)PEYTON : I met Lindsey tonight. She seems wonderful. How long have you two been together?LUCAS : Why didn't you come to the book signing inL.A. two years ago?FLASHBACK, LOS ANGELES, TWO YEARS AGOLucas' book signing. He is waiting with LindseyLINDSEY : Wow. This is a great turnout. Listen, Luke, I know this is your first book as an author, but itwas also my first book to edit, and I had the best year doing it. So, I just wanted to say thank you and I'm proud of you.(Lindsey kiss Lucas on his check)LINDSEY : Okay, you ready?LUCAS : Yeah. I guess everybody'shere that's coming.END OF THE FLASHBACK, RIVERCOURTPEYTON : Luke, I knew we weren't meant to be.(Lucas seems really affected)LUCAS : I should get home. See you.LUCAS' HOUSELindsey is sitting on thecouch, Lucas comes homeLUCAS : Thought you'd be asleep by now. How was your night?LINDSEY : Good. I met Peyton. Let me ask you something. Do all of your ex-girlfriends have to be so damn pretty?LUCAS : Notlike all my current girlfriends.LINDSEY : \"All\" better mean \"one.\"(they kiss)LINDSEY : Do you know if they're back for a while? Brooke and Peyton?LUCAS : I don't know. Brooke wants to help Peyton start her ownrecord label, maybe in Tree Hill.LINDSEY : You think she'll be good at it?LUCAS : Yeah, she'll be great at it.LINDSEY : Then if she needs help, you should help her. And I'll try my best not to be insanelyjealous.EXTERIOR NATHAN AND HALEY'S HOUSENathan is in front of the pool, Haley arrivesHALEY : Hey, as soon as Brooke and Peyton get here, we're gonna take off, okay?NATHAN : I'm not going.HALEY : What?James is counting on you.NATHAN : I don't want anybody seeing me like this.HALEY : Has it occurred to you that this isn't about you?INTERIOR NATHAN AND HALEY'S HOUSEBrooke and Peyton arriveBROOKE : Haley,we're here!HALEY : HeyPEYTON : HeyBROOKE : Hi... So, I have a surprise. You're gonna like it. I made Jamie a little something for his race.(Jamie run into the living room)JAMIE : Look, mama!HALEY : Oh, mygoodness, look at this! This is a real racing suit!BROOKE : And I even made you a sponsor, P. Sawyer.PEYTON : Oh, yeah? \"Peyton Sawyer, unemployed.\" Thank you very much.BROOKE : You're welcome.JAMIE : I can'twait for daddy to see me!HALEY : Oh, baby, listen, daddy's just not feeling very well today. I'm sorry.JAMIE : He's not coming?HALEY : No. I'm sorry. But everybody else is gonna be there.PEYTON : Oh, yeah, I hearyour uncle Lucas is coming, and Skills and Mouth and all the guys. I'm pretty sure he's gonna have the biggest crowd there.BROOKE : Absolutely.HALEY : Yeah, okay? Okay, come on. Come on.PEYTON : Let's do it,"}
+{"doc_id":"doc_269","qid":"","text":"(Lorelai and Rory are sitting on the couch on the porch in front of the house. Lorelai is painting Rory's toenails red. Rory squirts whipped cream into her mouth.)Lorelai : (sarcastically) That's nice.Rory : Thank you.L :Don't move, please.R : So, Why are you insisting on doing this.L : Well, because you're going to be starting private school tomorrow.R : Yes, but I'm going to be wearing shoes. Nobody's going to see my feet.L : Okay,But everybody knows that private school girls are bad. And bad girls always wear red nail polish.(There is a lull in the conversation.)L : Are you nervous?R : About what?L : About starting Chilton.R : Well I wasn't until Iheard about all those bad girls.(They both laugh.)(Lane Kim, Rory's friend runs up.)Lane : You guys! XTC. Apple Venus Volume 2.(Lorelai and Lane run into the house.)R : But you only finished half my toes!L : Whocares?! You're going to be wearing shoes anyway!(Rory rolls her eyes and goes into the house.)(Opening Sequence Starts.)(Commercials)(Shows an opening shot of the house.)(Lorelai is sleeping. Rory, dressed in herChilton clothes, opens the door to her mom's bedroom.)R : Mom!L : (gasps) What? God! Hi. (in a whiny tone)R : What are you doing?L : Having a heart attack.R : I thought you were up. It's 7:10!L : What?R : It's7:10.(Rory grabs her pillow.)L : Stop it! It's a quarter to six. (grabs back pillow)R : No it's not!L : Yes it is! I set the clock for a quarter to six so it's..(Rory grabs clock and shows her the time.)L : It's 7:10!(Lorelai jumpsout of bed and stumbles around, disoriented. Rory slams down clock.)R : I can't be late on my first day of school. Do you know what happens to people when they're late on their first day?(Lorelai is rummaging franticlythrough her dresser for clothes.)L : It's shorter?R : They're labeled 'The late girl'.L : Ohh! So dramatic. Where's the bathroom?(Rory takes her by the shoulders and steers her through the door.)R : We have to go! Whatif there's traffic? Mom!(Lorelai runs into the bathroom and shuts the door.)L : I had this all planned. I was gonna get up early. I was gonna get coffee. I was gonna take a shower. I was gonna pick up my clothes fromthe dry cleaners.(Lorelai opens the door.)L : (sighs) Oh my god. My clothes.R : What?!(Lorelai walks down the hall with Rory trailing after her.)L : I don't have any clean clothes.R : It's 7:15.L : All my nice things weredirty.R : It's 7:16.(Lorelai look in her closet, then turns away.)L : I was gonna wear my blue suit with the flippy skirt. I look so great in the flippy skirt.R : It's 7:17.L : You know what, time lady? Why don't you godownstairs and warm up the car? That would be really super. Thank you.R : Just hurry!(Rory goes downstairs, Lorelai rummages through a drawer.)L : This sucks! This sucks!R : It's 7:18 (Rory calls from below.)L : Oh,for the love of god! (sighs) She sits on the bed and puts on socks. This is the last time I ever buy anything just because it's furry. (talking about clock)(scene changes)(Lorelai is running down the steps in cowboy boots,really short frayed shorts, and a bright pink tye-dyed tight tee-shirt. She's hurriedly putting her hair into a messy ponytail. Rory is standing at the foot of the stairs and looks up.)R : It's 7--L : Don't even think offinishing that sentence. (sighs) What?!R : Nothing. I just didn't know the rodeo was in town.L : All right, that's it. (grabs a picture frame) I'm bringing the baby pictures.(Lorelai runs out the door with Rory in pursuit.)R :No! I'm sorry! I love the rodeo! The rodeo rules!(scene changes)(camera pans through town, finally settling on the jeep, and then the Stars Hollow sign.)L : I am so done with plans. I am never ever making one again.It never works. I spend the day obsessing over why it didn't work and what I could've done differently.(scene changes)(inside jeep, Lorelai is driving, Rory sitting in passenger seat.)L : I'm analyzing all my shortcomingswhen all I really need to be doing is vowing to never ever make a plan ever again which I'm doing now. Having, once again, been the innocent victim of my own stupid plans.(they go past her old school and Rory looksout at all the kids having fun.)L : God, I need some coffee. (sighs)(screen shows Jeep driving down several different roads, and then a road sign that says Hartford, 14 miles.)(screen switches to show differentgargoyles, and then the outside of Chilton.)(Rory and Lorelai sit in Jeep, peering out at Chilton.)R : I remember it being smaller. (she looks worried)L : Yeah. And less.. (she looks intimidated)R : Off with their heads.L :Ah. (tilts her head, peering up.)R: (glancing at her mom, does the same.) What are you looking at?L : I'm just trying to see if there's a hunchback up in that bell tower.R : So, how do I look?L : (sighs, sits back andbeams with motherly pride.) You look great.R : Really? (skeptical)L : Really. You are an amazing kid. You have earned this. You just go in there and show them what smart really is. I love you. Call me if you need me.(reaches for gear)R: (looks worried) You're kidding, right?L : No! Call me if you need anything. I'm great at making up dirty cheers.R : You have to go in with me.L : Rory, come on. (looks at her clothes meaningfully.)R: You have to meet the headmaster.L : Well, look at me! I can't meet anyone who does anything in there. I look like that chick from the 'Dukes of Hazzard'.R : This is my first day. You are not getting out of going inthere with me.(Rory and Lorelai get out of the jeep. Two moms walking by stare at Lorelai, who drops her coat. They scurry away.)L : Good morning!L : (to Rory) Oh, well, we're gonna be best friends.(Lorelai puts hercoat on as they walk into the Chilton courtyard.)L : So, where do we go.R : (looks at paper in her hand) Uh, the Ambroise building.L : Which is?R : The big, scary one.L : Oh great! Thanks for the input.(man walking bylooks over at them, especially with some interest to Lorelai.)(they look around, slightly bewildered)Man : lost?L : Oh, yeah. We're looking for the headmaster's office in the Ambroise building.Man : Ah, okay. Well, this isit right here. (he points beside them) Down the stairs, make a left and the headmaster's office is at the end of the hall.L : Great. Thank you.Man : You're welcome.(Rory grabs Lorelai's arm to go, but the man extends ahand.)Man : Uh, I'm Ian Jack. My daughter Julia goes to school here. (they shake hands)L : Hi! I'm Lorelai Gilmore. This is my daughter, Rory. (Rory looks slightly uncomfortable.)Ian : Your daughter? Really.(surprised) Wow, that's great. Uh I mean, daughters are a great thing.L : We're big fans. (they're flirting)Ian : (laughing) Yeah. So, is your husband here? I'd love to meet him.L : Um, no. I'm not married. I'd love tomeet your wife, though.Ian : I'm divorced.L : Shame.R : Excuse me. I really got to..L : (grabs Rory's arm) Right! We gotta go meet the big guy, and I gotta get back to work.(they rush off)Ian : (calls) Where do youwork?L : (rushes back) At an inn. The Independence Inn. I run it.Ian : Really?L : In a different outfit, of course.Ian : Ha. Well, It was nice to meet you, Lorelai. Good luck in school, Rory. I'll tell Julia to look out for you.R: Great, thanks.Ian : See you.(Lorelai waves a little, smiles, mouths 'bye'.)L : What a nice, nice man.R : You're feeling pretty good about yourself right now, aren't you.L : Yeah (still smiling)R : Do you want me to getyou a mirror?L : I'm back. Let's go. (smile is gone, they rush off)(scene changes)(Lorelai and Rory are walking down the stairs in Chilton. They look around.)L : Oh, good. More big stuff. (sarcastically)R : Turn left.L :Oh(Rory and Lorelai walk out of the screen. The camera is on three sour looking girls, staring after them. They roll their eyes, look expressively at one another, and continue on their way.)(screen changes)(Lorelai andRory are walking down a hallway, almost to the headmaster's office. They look at their surroundings with apprehension. They get to the door and stand in front of it, just staring.)L : You ready?R : No.L : You ready?R :Yes.(They open the doors, and step into a room that contains a desk with a strict looking woman wearing library glasses sitting at it. They stop in front of her.)L : (clears throat) Um.. Excuse me. (Secretary looks upsuddenly. She jumps back slightly.) Oh! How.. Wow. Hi. I.. I'm Lorelai Gilmore. This is my daughter, Lorelai Gilmore. I named her after me. I was in the hospital all whacked out on Demerol. (glances at Rory, realizesshe's rambling.) Never mind. B-B-But we call her 'Rory'. It's short for Lorelai or even 'Hey, you' depending on the.. (Rory nudges her) Is the headmaster here?Secretary : (gets up, removes her glasses) One moment.(Walks briskly away.)(The Gilmores watch her until she closes the door.)L : (whispering) See, that's what happens when you go to bed with your makeup on.(Rory grins, Lorelai sighs)(Door opens behind them,Secretary stands there stiffly, as if announcing a guest.)Secretary : Headmaster Charleston will see you now.L : (clears throat) Great. Thanks.(They walk into room, secretary shuts door.)Headmaster : (extending hand)Ms. Gilmore, I'm headmaster Charleston.L : Hi. Wow. It's really nice to meet.. (looks around, looks again at corner, sees her mother on couch) Mom. Uh, ex.. What are you doing here?Grandmother : (sweeps pastLorelai) I came to wish my granddaughter luck on her first day of school. (Lorelai looks exasperated) Rory, you look wonderful in that uniform!L : You didn't have to come all the way out here, Mom.Grandmother : Thisgave me a chance to make sure that Hanlin here takes good care of Rory.L : (gestures to Headmaster) You're Hanlin.Headmaster : Hanlin Charleston.Grandmother : Hanlin's wife and I are on the symphony fundraisingcommittee together.L : Wow. That's great.Headmaster : Your father and I are golf rivals. We're still fighting it out to see which one is worse.Grandmother : Oh, yes. We're all old friends.L : Well, there's nothing likefriends. Especially if they're old.(Everyone looks a tad oddly around at her remark.)Headmaster : Would you like to take off your coat and have a seat?L : (looks frightened) Oh, no. No, I'm fine.Headmaster : I'm afraidthey were a little overzealous with the furnace this morning. It's quite warm in here.L : I like it warm. (nodding her head like an idiot)Grandmother : Lorelai, take off your coat and sit down. You don't want Hanlin tothink you're rude. (commanding tone of voice)L : (looking extremely uncomfortable and embarrassed, takes off coat. Everyone stares, grandmother rolls her eyes. Exhales loudly.) Laundry day.Grandmother : Hanlin,did you know that Rory has a 4.0 grade point average?L : I'm sure he does, Mom.Grandmother : This is a very special girl. You take good care of her.Headmaster : We'll do our best, Emily.(everyone sits down)L : Rory'snot going to be a problem. She's totally low maintenance. You know, like a Honda. You know, they're just easy, just.. (Rory looks embarrassed) Nice office.Grandmother : Well, I don't think we should take up anymoreof your precious time. It was lovely to see you. Give Bitty our love. (kisses cheeks with headmaster)Headmaster : Tell Richard I'll see him at the club Sunday.Grandmother : Have a wonderful day, Rory. I want to hearall about it. Do you need a ride or is your horse parked outside? (to Lorelai) (walks out of room)L : It's so nice to meet you. (shakes hands with headmaster, kisses Rory's forehead.) Have a great day.Headmaster : Oh,you don't want to forget your coat.L : (turns) Oh no, 'cause that would be embarrassing. (laughs, walks out of office.)(scene changes)(Lorelai and Grandmother are walking down the hall.)Grandmother : How do youleave the house looking like that? What kind of an impression did you think you were gonna make?L : (sighs) What are you doing here, mother?Grandmother : I told you, I came to put in a good word for Rory.L : Shedidn't need a good word.Grandmother : I'm not allowed here, is that it?L : I didn't say that.Grandmother : I'm allowed to pay for it. But I can't actually set foot on the premises. I just want to get the rules straight. Howabout the street. Can I drive down the street? Maybe I should just avoid the neighborhood altogether. Although my doctor is right down the block. Maybe I can get special permission if I'm bleeding.L : (lookingincredibly annoyed, her patience is wearing thin.) I'm sorry. I was just surprised to see you here.Grandmother : I thought it was important for this school to know they had a Gilmore amongst them.L : A very goodthought.Grandmother : And that some of the Gilmores actually own clothing.L : And on that note, I have to get to work. I'll see you later.Grandmother : Dinner, Friday night. No spurs, please.(Lorelai walks away,thrusts out her arms in annoyance.)(Commercials)(Shows opening shot of the outside of Chilton.)(Headmaster and Rory are sitting in his office.)Headmaster : You're obviously a bright girl, Miss. Gilmore.Rory : Thankyou.Headmaster : Good grades. Teachers like you. Not a lot of social activities, though.Rory : Oh, well, just living at Stars Hollow is kind of a social activity, actually.Headmaster : Nothing in your school appealed toyou?Rory : I work at my mother's inn after school sometimes. And I was in the German Club for a while. But there were only three of us. Then two left after seeing \"Schindler's List\".Headmaster : What are youraspirations?Rory : I want to go to Harvard to study Journalism and Political Science.Headmaster : On your way to beingRory : Christiane Amanpour.Headmaster : Really?Rory : Yes.Headmaster : Not Cokie Roberts?Rory: No.Headmaster : Not Oprah, Rosie, or one of the women from 'The View'?Rory : No.Headmaster : Why do you wish to be Christiane Amanpour?Rory : I don't wish to be her, exactly. I just want to do what shedoes.Headmaster : Which is?Rory : Travel, see the world up close, report on what's really going on, and to be part of something big.Headmaster : And to be a part of something big you have to be on TV? Why not leadthe police on a high speed chase, it's a quicker way to achieve this goal.Rory : Being on TV has nothing to do with it. Maybe I'll be a Journalist and write books or articles about what I see. I just want to be sure that Isee something. (Headmaster looks at papers.) You'll notice the debating teams also missing from my resume.Headmaster : (nods and stands up) I've known your Grandparents for quite some time.Rory : Iknow.Headmaster : In fact, I was at a party at their house just last week where I had the most delicious lobster puffs I've ever eaten. I'm very fond of them.Rory : That's nice.(Headmaster sits down across fromher.)Headmaster : None of this, however, will be of any benefit to you. Chilton has one of the highest academic standards of any school in America. You may have been the smartest girl at Stars Hollow, but this is adifferent place. The pressures are greater, the rules are stricter, and the expectations are high. If you make it through, you will have received one of the finest educations one can get. And there should be no reasonwhy you should not achieve all your goals. However, since you are starting late, and are not used to this highly competitive atmosphere, there is a good chance that you will fail. That is fine. Failure is a part of life. Butnot a part of Chilton. Understand?R : (looking more and more unsure of herself.) So, you liked the lobster puffs, huh.Headmaster : Take this to Miss. James in the administration office across the hall.(he hands her thefolder, she takes it and leaves the room, he puts on his glasses.)(scene changes)(Rory walks into the administration office, she goes up to the desk and puts down the folder.)R : Hi, I'm looking for Miss James?MissJames : Name?R : Lorelai Gilmore. But I go by Rory.Miss James : Fill this out, please.(Miss James takes the folder and gives Rory a sheet and a pencil. Miss James puts down the folder on a desk to the side. The girl atthe desk looks around and stealthily takes the folder and gives it to somebody out the window.)(scene changes)(It is in the bushes, outside the window. There are three girls there, the same ones that stared at Rory onthe stairs.)Girl 1 : Well?Girl 2 : Shut up.Girl 3 : Hurry. Please. Spiders.Girl 2 : Lorelai Gilmore.Girl 1 : Nice stripper name.Girl 2 : Formerly of Stars Hollow High School.Girl 1 : Where's that?Girl 2 : Make a left at thehaystacks and follow the cows. Perfect attendance, 4.0 grade point average.Girl 3 : Bugs, dirt, twigs.Girl 2 : She's a Journalism major.Girl 1 : That means she's going out for the school paper.Girl 2 : Not necessarily.She's got a thousand recommendations in here. Popular with the adults.Girl 1 : And going out for the school paper.Girl 2 : You don't know she's going out for the paper. She'll never catch up. She's a month behind.Girl 1: You can tutor her. Be like a big sister.Girl 2 : You're funny.Girl 3 : Okay, lizard, goodbye.Girl 2 : Why are they letting all these extra people in? They just take up space and screw up the curve. We don't need any newkids here.Girl 1 : Too late.(Girl 2 says psst out the window, someone takes the folder.)(scene changes)(back in the office, Miss James is giving stuff to Rory.)Miss James : Here's your locker number, here's yourschedule. Here's the rules of the school and the Chilton code of honor. Here are the words to the school song, which must be recited upon demand. This an happen anytime, anyplace. If you do it in Latin you get extracredit. Do you have any questions?R : Uh, not at the moment.Miss James : If you do, you can make an appointment with your guidance counselor, Mr. Winters. He handles everything but Bulimia and pregnancy. Forthat, you have to go to the nurse, or Coach Rubens. Welcome to Chilton.(scene changes)(Lorelai is walking down the road by Luke's diner with her dry cleaning. She goes into the door and passes a man on his way out,smiling at him.)L : (sighs) I already had the longest day of my life and it's only ten o'clock.Luke : (fixing what looks like a toaster) There's no coffee.L : That's not funny.Luke : I can give you herbal tea.L : This is not anherbal tea morning. This is a coffee morning.Luke : Every morning for you is a coffee morning.L : This is a jumbo coffee morning. I need coffee in an IV.Luke : I can give you tea and a balance bar.L : Please, please,please tell me you're kidding.Luke : I'm kidding. (goes back and gets the coffee pot.)L : You're sick.Luke : Yep.L : You're a fiend!Luke : For here or to go.L : To go please.Luke : You want to know what this stuff does toyour nervous system?L : Do you have a chart? Because I love charts.Luke : Maybe next time. What happened this morning that was so awful.L : Rory started Chilton.Luke : Really?L : Yeah. (sees him looking at herstrangely) What?Luke : That's how you dressed to take Rory to Chilton? That's a fancy school.L : My clothes were at the cleaners. I had the fuzzy clock and it didn't purr on time.Luke : It didn't purr?L : It's fuzzy. Itpurrs. Never mind. I gotta go. I had a plan, damn it.Luke : Me too. Next time you're getting tea.(Lorelai stalks out of the diner. Luke pulls what looks like a chicken bone out of the toaster.)(scene changes)(Miss Patty isstanding next to the street and lots of little girls in pink outfits are twirling batons.)Miss Patty : Visualize, Ladies. It's thanksgiving day parade. You're standing on fifth avenue. There's 100 beautiful boys marching inplace behind you. And there you are. You are out in front with your fabulous legs and your perfect tush. Your baton is on fire and the crowd goes nuts! Okay, cookie time. (looks around and sees Lorelai walking downthe street) Lorelai, hi.L : Hi, Patty.Miss Patty : Isn't today Rory's first day at Chilton?L : Oh, yeah, she's there now. I just got through dropping her off.Miss Patty : Is that what you wore?L : Oh, look at the time. Seeyou, Patty.Miss Patty : Bye.(Lorelai walks around the jeep and gets in. Miss Patty walks back into the studio.)Miss Patty : Ladies, what do I see. Naked girls. No, no, keep those leotards on. This is not Brazil.(scenechanges)(Jeep is pulling up to the Gilmore house. Lorelai gets out of the car somewhat uncoordinated with her coffee and her dry cleaning, dropping clothes everywhere. She staggers up to the house and goes in. Thephone is ringing, she struggles to find the cordless. Finally finding it in a heap of junk and falling back down onto the couch.)L : Hello?Grandmother : Lorelai?L : Mom?Grandmother : I'm going shopping this afternoonand I'd thought I'd pick up a few things for Rory.L : Like what?Grandmother : A couple of extra skirts and tops for school.L : Ok, I already took care of that Mom. I got her two skirts and a bunch of tops.Grandmother :But there a five days in a school week.L : Are you sure? My days of the week underwear only go till Thursday. (is struggling to pull cowboy boots off.)Grandmother : Is that a joke?L : Two skirts are fine. Don'tbother.Grandmother : What if she gets one dirty?L : Well, then, she'll wear the other one.Grandmother : What if she gets them both dirty?L : We'll use this newfangled thing called a washing machine. The town justchipped in and bought one. My turn's Tuesday.Grandmother : What about socks? Chilton has these special logo socks. Rory should have them. And what about the school sweater. She might want that. And there's a"}
+{"doc_id":"doc_270","qid":"","text":"(Capeside High School - Dawson and Joey are walking down the hallway talking.)Joey: Correct me if I'm wrong Dawson, but don't you already own a camera?Dawson: A video camera, yeah.Joey: And the differenceis?Dawson: Well, imagine Schindler's List shot on a family camcorder. Alright, I mean, it... video is a great format to learn on, but the look and the feel is strictly amateur. Film is key, and if we can find her we can giveit another spin.Joey: \"Her\"?(They enter a room, not noticing Nikki, who is messing with a film camera.)Dawson: The Aeroflex. Capeside High's one and only 16mm camera.Nikki: She is a beauty, Dawson.Dawson: Nikki!Hey, what are you doing here?Nikki: Extra credit for joining this film class. Plus, I get to be near all the equipment.Dawson: Ah, how very earnest of you.Nikki: Joey, right?Joey: Right. Hey. I heard wonderful thingsabout your film.Nikki: Really? From who?Dawson: Um, speaking of equipment, hand her over.Nikki: Sorry, Dawson, she's checked out.Dawson: That's highly unlikely...Nikki: Yet completely true.Dawson: Well, how longhas it been checked out for?Nikki: About seven days.Dawson: Then it's due back today.Nikki: Nope. She's checked out for the next four weeks straight.Dawson: There's a one week maximum.Nikki: I cleared it with MrJordan.Dawson: You did.Nikki: Hmm-mmm.Dawson: You checked out the camera?Nikki: Me checked out the camera, yes.Dawson: Well, there's a project I want to start working on.Nikki: There's a project that I AMworking on.Dawson: OK. Well then when can I have the camera back, exactly?Nikki: When I'm done.Dawson: And when will that be?Nikki: (rolling the camera out the door) Filmmaking is not fast food, Dawson. Youcan't rush it.(Commercial break. Grocery Store - Jack and Jen push a cart through the store, tossing items in as they walk down the aisle.)Jen: Wait a minute. Three boxes of cereal, Jack? You're gonna need anexplanation before you put those in the cart.Jack: OK, fine. First, we have our Grape Nuts; combination of taste and sufficient nutrients to make the perfect day-starter. (tossing it in the cart) From there we move ontothe premier afternoon snack. The, well, underrated, but, uh, ever-tasty, Cocoa Pebbles. (tossing it in the cart) And then, we round out the, uh, cereal lovers perfect day with a yummy, late-night staple... CaptainCrunch! (tossing last box in)Jen: (removing the last two boxes) If there was ever a concern that you are not Andie McPhee's brother, it's been solved.Jack: Whoa! What are you...? Come on!Jen: You're a good man,Jackie Brown, but as a grocery shopper, you blow. I'm afraid I must leave you with the Grape Nuts.Jack: Fascist.Jen: (walking off to return the cereal) Pig.Ethan: (walking up) At least you fought the good fight. HeyJack.Jack: Uh, Ethan. From the... from the train Ethan.Ethan: I prefer just plain Ethan.Jack: Wow, uh, what are you doing here?Ethan: Food shopping. I hear it's pretty standard in one of these places.Jack: Uh, I meant,I thought you were going back to school last weekend?Ethan: I did. I came back for Capefest.Jack: Oh. Uh... what is that, I mean, is... is it like a, uh, a feed the poor type of thing?Ethan: Which one of us lives here year'round? It's a concert. A free concert in the park.Jack: Oh, OK, so it's like a Lala Palooza type deal?Ethan: Moshing, stage diving, overpriced bottled water. Anyway, umm, there's a camp site outside the concert whereeveryone hangs out. I'm going down to get a spot tomorrow.Jack: Oh, well cool, that sounds like a blast.Ethan: Well if you're a fan, you should come.Jack: Uh, yeah, I'm a total fan.Ethan: Telltale fan quiz: Who's yourfavourite Foo Fighter?Jack: Courtney Love.Ethan: You're in the alternative nation, just not quite in the right zipcode. (seeing Jack's dissapointment) You should come anyway.(As Ethan leaves, Jen walks up.)Jen:Cute!Jack: Yeah.Jen: Aren't they all.(Capeside High school - Andie walks up to a teacher who is closing up his classroom.)Andie: Excuse me, Mr. Broderick, can I speak with you for a minute?Mr Broderick: (rudely) Andyou are?Andie: Andie McPhee.Mr Broderick: And you want to waste my time about?Andie: The school play.Mr Broderick: I see. Auditions are after school, so if you don't mind...Andie: No, but if you can just give me aminute...Mr Broderick: I am not auditioning at this time, comprende? I am eating lunch. I assume you eat lunch on your planet, do you not?Andie: But I'm not here to audition.Mr Broderick: I know, you want to star inthe show.Andie: (showing him the play flyer) Assistant Director.Mr Broderick: I'm very familiar with the scenario.Andie: Look, Mr Broderick, I want to be Assistant Director. I'm smart, bossy, and super efficient. And thetruth is, you need me.Mr Broderick: Why didn't you just say so?(Leery Residence - Dawson and Joey walk into the house.)Dawson: (acting like Nikki) Filmmaking is not fast food, Dawson.Joey: She's entitled to theequipment too.Dawson: Look, if you check out a camera, you return the camera in a timely fashion, that's all I'm asking.(Joey follows Dawson into a family room empty of furniture. Gale is there picking up abox.)Dawson: Uh, mom? What's going on?Gale: Hey. Uh, look, honey, I'm going to be taking some furniture over to my place.Dawson: Oh, OK.Gale: Just from the family room and the guest room. It's part of thesettlement. I asked your dad not to say anything because I wanted to explain myself.Dawson: Mom, you don't have to explain yourself, that's how it works.Gale: I need you to keep being as positive as you can be aboutthis, honey. It's going to make it so much easier on all of us.Dawson: Well, I aim to please.Gale: Thank you for understanding.(Gale walks off with the box. Joey looks at Dawson, knowing he's very affected bythis.)Joey: Do you want to talk?Dawson: (shrugs) What's there to say?Joey: About what you're feeling.Dawson: I'm thinking my parents are divorced and I'm glad it's finally over.Joey: Dawson, I said what you'refeeling.Dawson: (walking away) I'm still working on that one.(Cape Fest - Jack and Jen are carrying their stuff, looking for a spot to camp out. Actually, Jack is just looking for Ethan.)Jack: This is gonna be great, Imean, sleeping out under the stars, fresh breeze off the ocean, call of the wild...Jen: It's the call of nature I'm worried about. Jack, where are the chemical toilets?Jack: I dunno. What do you say we set up here?Jen:God, I thought I'd go to extreme measures to get into some guy's pants.Jack: Whoa, whoa, whoa, I am not trying to get into his pants. For crying out loud, this is the first gay guy that I've actually conversed with,excuse me for wanting to get to know him.Jen: Jack, I know. Just be aware that you're venturing into new territory here. And that before you take this great big emotional leap, Jack, you should be willing to admit thatyou're taking it. Don't just try and brush it off as simply wanting to get to know somebody.Jack: I'm telling you, it's all it is.Jen: OK. Even still, take my advice - play it cool. Let him come to you.Jack: I think I'm gonnasee if I can find him.(He walks off, leaving Jen with all the equipment.) (Capeside High Auditorium - The audtions have started, and quite frankly, they are terrible. Mr. Broderick and Andie make faces as the cameragoes through various people reading lines off the script.)Student 1: (passionately) Okay Cory, maybe you're right, maybe love isn't enough, maybe two people should have to take more than a blood test...Student 2:(monotone) ...maybe love isn't enough...Student 3: Okay Cory, maybe you're right, maybe love isn't enough... Student 1: (passionately)...maybe two people should have to take more than a blood test, maybe theyshould be checked for common sense...Student 2: ...maybe they should be checked for common...Student 3: ...common sense, understanding...Student 1: ...maybe they should be checked for common sense,understanding, and emotional maturity.Student 4: (this one isn't nearly bad as the rest) Okay Cory, maybe you're right, maybe love isn't enough, maybe two people should have to take more than a blood test, maybethey should be checked for common sense, understanding and emotional maturity.Andie: (to Mr. Broderick) I like him. What do you think?Mr Broderick: I think I'm getting a migraine.Andie: I think he's got a certaindramatic flair.Mr Broderick: I've got someone else in mind.Andie: Who 'someone else'? We are out of someone else's.Mr Broderick: Granted, the boy I know is a deplorable student and he has the ethics of a billygoat.Andie: We've already cast our Cory and Valasgo, please don't let our only Paul slip away.Mr Broderick: Have no fear, Miss McPhee. I cut a deal with one of my students. The kid is a natural with comedy.Andie:Okay, Mr Broderick, if I may be so bold. From my limited perspective, I see but two kinds of actors - those with talent... and those with the ability to expand on that talent. Which requires maturity, which requires asense of responsibility, which requires the ability to come both prepared and on time.Pacey: Hey you guys, I'm sorry I'm late. I'm here to read for the role of Paul. Pacey Witter.Mr Broderick: That's him, that's ourPaul.(Andie has this, 'you gotta be kidding' look on her face. Nikki's House - she is sitting on a porch swing reading when Dawson walks up.)Nikki: Dawson, tell me this isn't an attempt to repossess the camera.Dawson:I just want to reiterate something.Nikki: Reiterate away.Dawson: Okay, I get this little ego trip. I know you're the principal's daughter, but that does not give you the right to be selfish or rude...Nikki: Dawson. I didn'tknow you wanted to use the camera. But... you're just gonna have to get used to it.Principal Greene: I thought I heard a familiar sounding voice. If it isn't my second favourite student filmmaker. How are you,Dawson?Dawson: Principal Greene. Good.Principal Greene: So I understand you and Nikki have become fast friends.Dawson: Yeah, yeah.Principal Greene: I had a feeling you two would hit it off. Hey listen, why don'tyou stay and join us for supper?Dawson: I couldn't, I gotta...Nikki: Oh, Daddy, I'm sure Dawson has other plans.Principal Greene: Now wait a minute. As your father and as your principal, I think I'm gonna have to pullrank here. Besides, how often do I get a chance to have a nice meal with one of my students? And I promise not to talk too much about my lovely little daughter. Come on.(Dawson follows the two inside. Cape Fest -Jack is looking for Ethan.)Ethan: (up in a tree, what is now a hippy?) Hey there. So you decided to show.Jack: One small step for man, one giant leap for mankind.Ethan: You here by yourself, or with?Jack: Um, with...a girl. She's, uh, a friend of mine. She's setting up our tent. What about you?Ethan: All by my lonesome.Jack: Umm, ah...Ethan: So, you want to go grab a bite to eat, take a walk, what?Jack: Yeah. Uh, to both.Whatever.Ethan: Come on, I'll lead the way.(Scene cuts to Jack and Ethan walking on the beach talking.)Ethan: After the train ride I thought for sure you'd ask for my number.Jack: Yeah well, typical paranoia set in.Hey, what can I say?Ethan: I figured as much.Jack: How come you didn't ask for mine?Ethan: Because I could. It's more important that you learn to ask. You're the newbie, remember?Jack: Yeah, newbie. Barely 'outed'gay kid soon to have his heart broken, right?Ethan: Good recall!Jack: Well there's not much I'm gonna forget about that conversation, it was a first for me.Ethan: It was your first time talking to another gay kid?Jack:Yeah, well, unless you count the Internet.Ethan: I... I don't.(Cape Fest - Jen is wrestling with the tent when a kid walks by eating a burger. Jen looks hungrily at him.)Jen: Hey man, where'd you get that?Guy: (pointingbehind him) Over there. This guy's like a genius with a veggie burger.(Jack walks up to a crowd of people, someone yelling \"Veggie burgers! Get 'em while they're hot!\". As the crowd parts, Henry is seen behind a BBQgrill, making burgers. He doesn't notice Jen.)Henry: (not looking up) You want your bun toasted?Jen: I thought you'd never ask.(Hearing Jen's voice, he looks up at her.)Jen: Hey. Henry: (softly) Hey.Jen: It's quite acrowd you have here.Henry: Listen, I... I really don't have time for small talk at the moment. Did... did you want a burger, or not?Jen: Yes. (pause) You know, I was wondering if you could give me a hand with my tent.I was never much of a girl scout.(Jen smiles at him, but Henry doesn't return one.)Henry: Stanley? Take over here for a minute, will you?(He follows Jen as she walks back to her tent.)Jen: So you never told me youwere a vegetarian.Henry: You never asked.Jen: Do I detect a note of ambivalence in seeing me?Henry: That would be correct.Jen: Any particular reason?Henry: You... you mean besides the fact that you led me on forthe sole purpose of crushing me underfoot?Jen: That's not true Henry, and you know it.Henry: Well, you could have fooled me.Jen: What are you talking about?Henry: Don't tell me that you're not taking some smallsatisfaction in...Jen: In what?Henry: Being on the requited side of unrequited love.Jen: Henry, I thought that you and I agreed to be friends?Henry: Friends? You haven't even noticed, have you?Jen: What? Noticedwhat...Henry: That we haven't even spoken in over a month. For the past four weeks I've been giving you the silent treatment, and it hasn't even registered on your radar screen. Hell, I could have fallen off a cliff tenthousand feet for all you care...Jen: That's not true... Henry: You know what? You can put up your own damned tent.(Henry walks off, leaving Jen quite confused. Principal Green's House - the three are sitting at thetable eating.)Principal Greene: Dawson, you're looking at possibly the only little girl in America who wanted a super eight camera for her tenth birthday. Nikki, should I tell him the name of your first cinematicachievement?Nikki: Oh, don't you dare!Principal Greene: 'A Day in the Life of Daddy'. She followed we around all day long.Nikki: James Cameron of third grade.Principal Greene: So tell me, has she enlisted your for hernew film?Dawson: Uh, no, she hasn't. I don't even know what it's about.Nikki: That's between me and my crew.Dawson: So in order to bask in the glory of this mind-bending idea of yours, I have to offer myservices?Nikki: Is that an offer?Dawson: Are you asking for my help?Nikki: I don't need any help, Dawson.Principal Greene: I think it would be a great idea for you two to work together.Nikki: Forget it.Dawson: I don'tthink that...Principal Greene: Sorry I mentioned it.Dawson: Yep.(Cape Fest - Jack and Ethan are walking off the beach back into the camp sites.)Jack: You knew that young you were attracted to men?Ethan: No, I knewthat young that I was different. Being gay isn't about what s*x you're attracted to, it forms so much of what and who you are.Jack: You lost me.Ethan: I'll make it simple. You haven't talked to another gay kid, so youdefinitely haven't kissed one, right?Jack: No.Ethan: But you still know you're gay.Jack: Sure.Ethan: How?Jack: I just know, I guess.Ethan: Everyone always wants to define gay and straight by who you sleep with. It'snot about that. It... it's about moments, it's about being too nervous to ask for my number. It's about conversations like this, alright? It's about who and what you love, and that's why you can't erase it, because it's notjust a part of your life... it's everywhere. (look at his camp site) Unlike my stuff.Jack: What?Ethan: My camping gear. It's gone.(Capeside High Hallway- They both come around different corners, about to walk up thestairs.)Pacey: Well, after you.Andie: I want you to quit.Pacey: Listen, he saw my potential, okay?Andie: No, no, no, no, no. This was my after school activity.Pacey: But I'm the lead in the play.Andie: I want you toquit!Pacey: Listen, the guy said he'd give me a C in English, what do you want?Andie: Oh, and that's what it's come to? Anything for a C? What's happened to you?Pacey: OK. Not that any of this is your concern, but MrBroderick says he thinks I might actually be good at this and so do I.Andie: OK, listen. Mr Broderick may be a lousy English teacher, but as a theatre director, he is probing new lows, Pacey. Rumour has it that he hasbotched every school play for the past five years. And, it's only been by sheer force of will that the past student theatre geeks have managed to sandbag his bi-hourly nervous breakdowns.Pacey: So what's yourpoint?Andie: My point is, I got into this to get over you, okay? To give myself a new focus, and instead your presence is giving me perpetual myopia.Pacey: What? We haven't even done one rehearsal yet. You want meto throw my whole theatre career to the wind?Andie: Ooh. OK, listen, Sir Barrymore, our director is irrational. And your lack of ability, though not apparent to him yet, is enough to send him over the proverbial edge,and me with him.Pacey: Fine. You quit then.Andie: I most certainly will not...Pacey: I'm not going to quit. Witter's aren't quitters.Andie: Oh, oh that's really cute. You know what? Fine, just... don't.Pacey: Fine. I won't.(Principal Green's house - Dawson enters Nikki's bedroom to get his coat, but then stops to notice the decor. Nikki enters.)Nikki: Dawson?Dawson: Hey. I must say, film-geekdom is definitely not evident in yourbedroom decor.Nikki: Your room, let me guess? Wall-to-wall Spielberg film sheets?Dawson: Ahhh, yeah. More or less a shrine.Nikki: I figured as much.Dawson: You say that like it's a bad thing.Nikki: Oh, it's not, it'sjust... there's so much to be passionate about, it seems kind of silly to focus on just one.Dawson: Yeah, but if you're lucky enough to find that one thing, why not immerse yourself in it?Nikki: Don't get me wrong,Dawson, I love film. But I love it because it allows me to explore all of the other subjects that interest me. If all you care about is film, then you're just going to end up making movies about other movies. What good isthat? I'm really sorry about my father. Um, ever since the divorce, he does this really aggressive thing when it comes to me making friends. It's so weird. But, you know, I try to cut him some slack.Dawson: So, soyou're cool with it? The... the divorce?Nikki: Ummm, constant shuttling between living quarters? The continually veiled and not so veiled comments my parents make about each other? The, umm, never-endingexpectation that I look on the bright side of things? Oh, sure, I'm just dandy.Dawson: That's the oddest thing. I mean, judging from how well put-together you come off, I would have just assumed that you were notaffected by it all.Nikki: It's a well crafted disguise, Dawson. Inside, I'm just another angry kid.Dawson: How angry?Nikki: Angry enough to make a film about it.Dawson: So that's what your movie's about?Nikki: More orless. It's about the, ummm, \"American Family\". What makes them functional, or as more often seems to be the case, dysfunctional.Dawson: That should provide you with a healthy supply of material there.Nikki: Whatabout you? Your parents are divorced. How do you feel about it?Dawson: Ummm...Nikki: I, ummm, I didn't mean to probe. I'm sorry.Dawson: No, no. I mean, you... you were honest with me, right? Ummm, truth is,most of the time I'm fine with them not being together. You know, I mean, maybe I'm just... self-obsessed, but I... I just don't think about it that much, you know? And then, ummm, other times it... it just kinda sneaksup on you, you know? I mean, it's... like a disappointment of being the product of something that didn't work out. Because that's what our parents are. They're our... our primary examples of love, and... in my exampleit just wasn't I guess, strong enough to... Umm... (he stands to leave)Nikki: Dawson?Dawson: Yeah, I should keep going. Ummm, tell you dad thanks.[SCENE_BREAK](Cape Fest - Jen sits on the tent which sheobviously had no success with. Jack walks up.)Jen: Oh, Jack, thank God you're back from your stalk... walk. You're never going to guess who I ran into here of all... (she sees Ethan behind Jack) Hi.Ethan: Hello.Jack:Ethan, Jen. Jen, Ethan.Jen: Nice to meet you.Ethan: It's nice to meet you. Looks like you could use a little help with this tent.Jen: Yes. Please. Relieve me of all of my feminist delusions about the equality of the sexesconcerning spatial relations.Jack: Uh, listen (he pulls Jen off a bit, out of hearing range of Ethan) All of his stuff got stolen, okay, all his gear. So, uhh, he needs a place to stay tonight.Jen: And you, being thekind-hearted soul that you are, offered him a spot in our tent.Jack: Yeah, so could you, uhhh, go take a walk for a couple of hours? Come back around, say, midnight?Jen: You're kidding me?Jack: No. Go mix, mingle.Write a few letters for Amnesty International. You'll probably make a lot of nice new friends.Jen: You know what, I got a better idea. How about me and the car, we go back to Grams' house and we pick you up in themorning? Besides Jack, I thought that you two were just getting to know each other.Jack: Hmm-mm.(Disgusted, Jen walks off. Suddenly she hears music and she walks over to a camp fire where people are listening to"}
+{"doc_id":"doc_271","qid":"","text":"[ The cafeteria ]Leonard: Have you guys heard about this research team that's trying to transgenically manipulate chicken DNA to create some sort of chicken dinosaur?Sheldon: Oh, I think that soundswonderful.Howard: What? You're afraid of both dinosaurs and chickens.Sheldon: Yes, but tell me a dinosaur chicken salad sandwich wouldn't hit the Mesozoic spot.Raj: Hey, guys.Howard: Hey.Sheldon: Hello.Raj: Westill on for tomorrow night?Leonard: Yeah. I'm excited to finally meet your girlfriend.Sheldon: Speaking of which, according to a recent study out of Oxford University, when someone takes on a new romantic partner,that person loses one or two close friends.Howard: Since when do you read social science?Sheldon: I go to the bathroom like everybody else.Raj: Why would I lose friends just because I started datingsomeone?Leonard: Yeah, you didn't lose anyone when you met Amy. Yeah, well, no, this study refers to romantic partners. Not the way I would categorize the two of us.Raj: You guys kiss and hold hands.Leonard: I'veseen him do it. It's not romantic.Raj: Look, I'm not the kind of guy who drops his friends just because he's in a relationship.Leonard: What happens if she doesn't like us?Raj: Well, hey, you're my dear friends. You'll geta Christmas card for a couple of years, and then you're dead to me.[SCENE_BREAK]\u0000 Our whole universe was in a hot, dense state \u0000[SCENE_BREAK]\u0000 Then nearly 14 billion years ago expansion started... Wait!\u0000[SCENE_BREAK]\u0000 The Earth began to cool \u0000[SCENE_BREAK]\u0000 The autotrophs began to drool, Neanderthals developed tools \u0000[SCENE_BREAK]\u0000 We built the Wall \u0000[SCENE_BREAK]We built thepyramids[SCENE_BREAK]\u0000 Math, Science, History, unraveling the mystery \u0000[SCENE_BREAK]\u0000 That all started with a big bang \u0000[SCENE_BREAK]Bang![SCENE_BREAK]\u0000 The Big Bang Theory 8x04 \u0000 Original Air Dateon October 6, 2014[SCENE_BREAK][ The apartment ]Amy: So, Howard, is Stuart still living with your mom?Howard: I don't want to talk about it.Bernadette: But he's going to.Howard: My mom got him cable. In mywhole life, growing up in that house, no cable. Do you know how many HBOs that leech had my mother get him? Seven. Seven HBOs. Seven.Bernadette: Long story short, they have seven HBOs.(knocking)Raj: Hey,guys.Sheldon: Hello.Raj: Emily, you know almost everybody here.Emily: Hi.Raj: And this is Leonard, this is Penny.Emily: Oh, it's so nice to meet you.Leonard: Nice to finally meet you, too.Penny: Hi.Emily:Hello.Leonard: Wow, Raj, you were not lying about her.Raj: I told you she exists.Penny: Hey, I hear you're a dermatologist.Emily: Uh, yeah, I'm a resident at Huntington Hospital.Sheldon: Oh, I like their emergencyroom. Yeah, even if it turns out you don't have Dengue fever, they still let you take a lollipop.Bernadette: You know, Penny just started training to be a pharmaceutical sales rep. Maybe she can practice on you sometime.Penny: Oh, it would be great to practice on a real doctor.Emily: Yeah. I'm sure that'd be fine.Sheldon: I have some odd freckles on my buttocks. Can I make an appointment for you to look at them?Emily: Um,okay, I guess.Amy: I'm with him three years, nothing. She's with him two minutes, and he's taking his pants off.[SCENE_BREAK][ Penny's apartment ]Bernadette: Last night was fun. What did you think ofEmily?Penny: I don't know. I kind of got the sense she didn't like me.Bernadette: Did she say she didn't like you?Penny: Of course not. No one ever says they don't like you straight to your face.Amy: We have leddifferent lives.Bernadette: You guys just met. Why would she feel that way?Penny: It's just this vibe I got.Bernadette: I'm sure you're worried about nothing.Penny: Yeah. You're probably right. I used to think my highschool P.E. teacher didn't like me, but it turned out, she liked me a little too much.Bernadette: Really?Penny: Yeah. It was fine. We went to a Melissa Etheridge concert, I got an A, it all worked out.Bernadette: Whenyou go to Emily's office to practice, you'll see. It's fine.Penny: Yeah, I hope you're right.Amy: You really went your entire life without anyone saying I hate you to your face?Penny: Yeah.Amy: I'd say it now, but look atthose cheekbones.[SCENE_BREAK][ Capital Comics ](rock music playing)Sheldon: I miss Stuart's place. All this loud music and exposed brick. What, is this a comic book store, or a rave at the third little pig'shouse?Howard: Yep, I wish Stuart would reopen. I hate this place, too.Leonard: Okay, him I believe because he's an 80-year-old man in a 15-year-old's tee shirt. But you're just upset about Stuart and your mom andall their HBOs.Howard: Yes, I am. You know, I can't even watch Game of Thrones now without thinking of mother saying, Stuart, which one is Thrones?Raj: You know, he might not reopen. He didn't get a lot of moneyfrom the insurance company.Sheldon: Oh, boy, if there is one thing that gets my goat, it's those dad-gum insurance companies.Leonard: Why? Because they won't get off your lawn? Is Stuart trying to get a loan, or, orfind investors?Howard: All I know is, he's got my mother buying four-ply toilet paper. I mean, four-ply. If his butt is so delicate, why doesn't he just use an angora rabbit?Sheldon: For starters, they shed andbite.Leonard: Hey, here's a thought. Why don't we put up the rest of the money that Stuart needs?Raj: So, we'd be, like, owners of a comic book store?(all chuckling)Leonard: It's kind of a dream come true.Howard:That does sound fun.Raj: Ooh, maybe we could come up with a business plan to compete with this place.Sheldon: I'll give you a plan right now. Step one, open comic book store. Step two, start rumour this comic bookstore gives you genital warts. Step three, buy a big bag to put the money in.Leonard: It's not that bad.[SCENE_BREAK][ Emily's surgery ]Penny: Hey.Emily: Hi.Penny: Thank you so much for letting me practice mysales pitch on you. I really appreciate it.Emily: Sure.Penny: Um, I brought coffee. I wasn't sure what you like, so I got a regular, a cappuccino and a Chai tea. Since you like Raj, I thought you might be into that.Emily:Thanks. If we could get started. I'm a little busy.Penny: Oh, yeah, sure. Let me just get out my materials. Leonard gave me this briefcase. He used to carry it around in high school. You can still see the dent where theywhacked him with it. Okay, I would like to talk to you about our new birth control pill, Femevra.Emily: Great.Penny: So, Femevra's triphasic design provides balanced hormonal exposure.Emily: All right.Penny: It hasalso been shown to cause significantly fewer side effects than other oral contraceptives. Although it can cause acne, which, if you ask me, kind of increases its effectiveness as a contraceptive.Emily: Funny.Penny: Okay,I'm sorry. Did we get off on the wrong foot? Because since the other night, I kind of feel like you might have a problem with me.Emily: No, it's fine.Penny: Are you sure, because it doesn't seem fine?Emily: Okay. If youreally want to talk about this, I do have a problem.Penny: Oh, my God. Tell me, what did I do?Emily: Look, it's nothing. It's just, Raj told me that a while ago, you two hooked up.Penny: What? Oh, why would he saythat?Emily: Did it not happen?Penny: Well, I wouldn't exactly call it a hook-up.Emily: Did you kiss?Penny: Yeah.Emily: Were you naked?Penny: Yeah.Emily: So, it was a hook-up.Penny: No. Yeah.[SCENE_BREAK][ Theapartment ]Sheldon: So, what are some ways we could set our comic book store apart from the competition?Leonard: Oh, kids buy comic books. It would be great to figure out a way to get more kids in thestore.Howard: You know, when I was a kid, I loved going there, but I could never get a ride.Raj: Ooh, what if we got a van and drove around and picked kids up?Sheldon: Nice. You mean, like at parks andschools?Howard: Toy stores, puppet shows.Leonard: Hold on. So, your idea is to get a van and cruise the streets looking for kids to pick up?Sheldon: Yes.Leonard: And are you gonna use candy to lure them in?Raj: Weare now.Penny: You told Emily we hooked up?Raj: Um, well, in my defence, I tell everybody.Penny: Why would you say that?Raj: We were having a conversation about past lovers.Penny: We weren't lovers. Come on.Everyone knows we didn't sleep together. We got drunk and fooled around. Why couldn't you just leave me out of it?Raj: Well, we were being honest. You would leave me out of the conversation with the next guy if youdumped Leonard?Leonard: Why say it?Penny: Yes.Raj: Well, I would never leave you off my list, and not just because, without you, we're playing fast and loose with the word list.Penny: Well, good job. Now she hatesme. Ugh.Raj: Great.Sheldon: On the bright side, that Oxford study was right. One friend down. I wonder who you're going to lose next.Raj: You, okay? It's you. You're, you're next.Sheldon: No. You're crazy aboutme.[SCENE_BREAK][ Penny's apartment ]Penny: I don't know what Emily's so upset about anyway. Even if I had slept with him, so what? Everyone has a past.Amy: Hmm-hmm.Penny: Almost everyone has apast.Bernadette: Come on, look how pretty you are. I'm sure this isn't the first girl to hate you.Penny: It's not.Bernadette: And I'm sure you can turn it around.Penny: How? You can't force someone to like you.Amy:What if you just hang around and act like her friend until you wear her down? I mean, next thing you know, you're in her home, you're eating her food, drinking her wine.Penny: No, that won't work.Amy: You're right.Cheers.Bernadette: Oh, I know. Why don't you use your sales training to go back down there and sell yourself?Penny: What?Bernadette: Yeah. But instead of selling a drug, you'd be selling Penny. it's cute.Penny: It'sstupid.Bernadette: Well, maybe people would like you more if you didn't crap all over their ideas.Amy: I'm gonna go with Penny on this one. Then again, why wouldn't I? I mean, we go way back.Penny: Oh, my God. Ididn't used to like you.Amy: Shh. Amy's here now.[SCENE_BREAK][ Capital Comics ]Sheldon: You know, the more I think about it, the more intrigued I am about having our own store.Howard: We'll get to see all thenew stuff before it hits the shelves.Sheldon: And we'll get to have fun interactions with our customers. Like, this isn't a library, buy it or get out.Howard: You say things like that all the time.Sheldon: Yes, but as a storeowner, I'll finally have a good comeback to, You don't work here, shut up.Leonard: Uh, do you know how Penny told Raj he should have left her off his list?Howard: Yeah.Leonard: Well, do you think when she and I hadthat conversation, she left people off her list?Sheldon: I'm sure she did.Leonard: Why?Sheldon: Because if she hadn't, she'd still be wading through the list.Leonard: Will you stay out of this?Sheldon: If only Penny hadsaid that once in a while.Howard: Hey, what difference does it make? You're the one she wants to marry.Leonard: That's true.Howard: Yeah, and I'm not sure that complete honesty is always the best thing for arelationship.Sheldon: Yeah, he's right. Once, in a moment of candour, I told Amy that her hair reminded me of a duck caught in an oil spill. She stormed out. Which was sad, because we were playing Scrabble, and Ihad all the letters to spell persimmon.Leonard: Why are you even part of this conversation? You don't know anything about women.Sheldon: I know that if I had a wife or a fiancée, I'd ask her first before I investedmoney in a comic book store.Howard: He's right.Sheldon: Yeah, well, of course I am. I was also right about her hair. It did everything but quack.[SCENE_BREAK][ The stairwell ]Leonard: There's something I wanted torun past you.Penny: What's up?Leonard: Mm, the guys and I were thinking about investing in Stuart's comic book store. Is that okay?Penny: Why are you asking me?Leonard: Well, you know, we're engaged, and it'skind of a big deal financially. It seems like something we should talk about.Penny: Oh. Well, would you consider mounds of credit card debt kind of a big deal financially?Leonard: Yeah.Penny: Huh.[SCENE_BREAK][Howard and Bernadette's apartment ]Howard: Mm. So, me and the guys were talking about this great investment opportunity.Bernadette: Nope.Howard: But you didn't hear what it was.Bernadette: I know.Howard:Oh, come on.Bernadette: Fine. What is it?Howard: It's to help reopen the comic book store.Bernadette: Nope.Howard: Well, hear me out.Bernadette: Howard, you know we're saving up for a house.Howard: I know, butall the guys are doing it. We're splitting it four ways, so it's really not that much money.Bernadette: It just seems like a risky investment.Howard: I get that. I, okay, look, the real reason this is important is, before mydad left me and my mom, he used to take me to the comic book store. It was one of the few things we did together.Bernadette: Oh. Howie, I had no idea.Howard: Well, I don't like to talk about it.Bernadette: Oh, baby.That story's made up, isn't it?Howard: That's how much buying a comic book store means to me.[SCENE_BREAK][ The apartment ]Sheldon: I'd like your honest opinion on something.Amy: Of course.Sheldon: Now,before I start, I need you to know that I'm very excited about this, and anything you say that isn't enthusiastically supportive will throw our entire relationship into question. So, keep an open mind.Amy: I'm feeling alittle backed into a corner, Sheldon.Sheldon: Perfect. Now, I'm considering investing in Stuart's comic book store.Amy: Interesting. Can you see how a grown man, an accomplished scientist, who invests in a store thatsells picture books about flying men in colourful underwear might be wasting both his financial and intellectual resources?Sheldon: No.Amy: Then I think it's a terrific idea.Sheldon: Great. Wait till you hear about ourvan.[SCENE_BREAK][ Penny's apartment ](knocking)Raj: Hey.Penny: Hi.Raj: Thanks for inviting us over.Penny: Oh, thank you for coming.Emily: Uh, listen, Penny, before you start, I just want to apologise for being sorude the other day in my office.Penny: No, no. No need to apologise.Raj: Excuse me, can I say something? I just love both you guys, and I want you to get along. And when I say love I meant as a friend. And, uh, waytoo soon, right?Penny: Okay, sit down. Listen, Emily, what happened between me and Raj was a long time ago.Raj: It was, and I may have made it seem like a bigger deal than I should have.Penny: Yeah, and Leonardand I are engaged now, and I'm just hoping we can put this whole thing behind us.Emily: Mm. I'd like that, too. Yeah, I thought I'd be okay with it, but then I saw how pretty you are.Penny: Oh, that's so sweet. I mean,look at you, you are gorgeous.Raj: It's true, you're both gorgeous. Kind of says something about the man who could bed you both. You get why I've been alone most of my adult life.[SCENE_BREAK][ Mrs Wolowitz'shouse ]Stuart: So, what brings you by?Howard: Well, I don't need a reason, it's my house.Stuart: Technically, it's your mom's house, but we certainly want you to feel welcome.Howard: I'm always welcome.Stuart:Mm, just try and call first.Bernadette: Okay, let's get down to business. Howie was thinking about putting up some money to help you reopen the store, but before that happens, I have a few questions.Stuart: Oh. Iappreciate the offer, but actually your mother already gave me the money.Howard: What?Stuart: Yeah. I told her it was too much, but she said she was happy to help out her bubala.Howard: Excuse me. Ma, you arecancelling that cheque, and Stuart is not your bubala, I'm your bubala. You can't have more than one bubala.Stuart: I don't know who he's talking to. She's at Target, buying me shirts.[SCENE_BREAK][ Penny'sapartment ]Raj: I'm so glad we could work this all out.Penny: Yeah, me, too.Emily: You know, we should have dinner one night with you and Leonard.Penny: Oh, we would love that.Raj: Great.(both chuckle)Penny:Okay, good night, guys.Emily: All right, night.Penny: Bye.Emily and Penny (simultaneously): I hate her.[SCENE_BREAK][ The apartment ]Raj: I'm really disappointed we're not gonna have our own comic bookstore.Leonard: I know. I was looking forward to it.Sheldon: It would've been so nice to have a place that was ours, where we could just sit and read comics in peace.Howard: With comfy seats.Raj: And snacks.Sheldon:Well, I guess it was too good to be true.Leonard: Yeah.(all sigh)"}
+{"doc_id":"doc_272","qid":"","text":"Act 1Scene 1 - The Radio Station. Fade in. Frasier is on the air.Frasier: Go ahead, Sophie, I'm listening.Sophie: [v.o.] Hi, Dr. Crane. My husband's having some of his friends over to watch the game Sunday, and I thinkit'd be nice if I could have some of my girlfriends over too.Frasier: Sounds reasonable.Sophie: Exactly. I mean, it's just football.Larry: [in the background] Not football, Einstein, the Super Bowl.Frasier: Ah, that wouldbe your doting husband now.Sophie: Larry, this is a private conversation. And for God's sake, use a plate!Frasier: Sophie, why don't you put your husband on the line?Sophie: Pick up.Larry: Ah, geez. [picks up, louder]Hello!Frasier: Larry, I gotta tell you, I'm afraid I side with your wife on this one.Larry: That just proves you don't know the first thing about football.Frasier: What I do or do not know about football has...Larry: OK,how's this: My wife's friends can come over if you can answer even one little football question. Like...Frasier: Now, I don't see that that's in any...Larry: You're down by six, you're on your own forty, three seconds left,what do you do?Frasier: Well, all right, you would...Roz gets his attention and grabs two telephone handsets.Frasier: You would take your receivers, [Roz sets them together] and line them up, [she pretends to throw]and then throw a pass. [big throwing gesture] A long, long pass.Larry: Yeah, and what's the name for that?Roz gets down on her knees, crosses herself, and prays with an innocent look on her face.Frasier: A Hail Mary.[Roz gives him the thumbs up.] Sophie and Larry, I hope you enjoy the game. In the meanwhile, this is Coach Crane saying, I'm listening.Roz comes over to change some tapes on Frasier's console.Roz: I'm impressedyou're so good at charades.Frasier: I'm impressed you could mime a virgin. So, Roz, you walkin' out?Roz: No, I got stuff I gotta do. I've got some carts to rack, and I want to put together some Best of Cranetapes.Frasier: Oh, your mother's still in town?Roz: In town, in my apartment, and when I left this morning, in my refrigerator, smelling my milk!Frasier: Oh, lord.Roz: I, I love her, I just wish I could get a couple ofhours to myself one night.Frasier: Well, why don't you just ask her? She might enjoy a little time to herself. I know my dad does.Roz: You are so lucky. I wish my mother drank alone.They walk over to Roz'sside.Frasier: You know, Roz, your mom's about the same age as my dad, isn't she?Roz: Yeah, I guess.Frasier: Does she date much?Roz: Since my father left, practically never... no, hang on...Frasier: No, no, hear meout, Roz. Now, Dad hasn't dated anybody since he and Sherry broke up, I'm starting to worry he's lost his nerve. A date with your mom could be a tremendous favor to him.Roz: I don't know.Frasier: Oh, come on, I'lltell you what: I know it's awkward but there's a way to minimize that. Niles and I are having dinner with him tonight. We'll take him to McGinty's, he'll feel comfortable, you and your mother can just happen by. We'llsee what transpires, you know, they'll never even know it's a fix-up.Roz: Oh, what the hell, I'll give it a shot, I guess. How's five sound?Frasier: Five? Your mother is ready for dinner at five?Roz: I keep her on Wisconsintime, that way she's in bed by eight.Frasier walks out. FADE OUT.A.K.A THE LAST ONIONOUT OF POMPEIIScene 2 - McGinty's Fade in. Niles and Frasier are sitting at a table, Martin brings a plate over.Martin: Hey, lookwhat I got here, boys! A Funion Onion. The chef sent it over with his compliments.Frasier: I wonder what his insults are like.Martin: [to a waitress] Hey, Bonnie!Bonnie: Hey ya, Marty. Oh, you must be Frasier, the bigradio star.Frasier: Oh, yes. Hello.Bonnie: Your dad is so proud of you, he talks about you all the time. Who's your friend?Martin: Now, what's wrong with you? I told you about my other son.Bonnie: [shaking Niles'shand] Oh, of course, what am I thinking? Nice to meet you, Eddie.Martin: This is Niles. How 'bout some beers, Bonnie?Bonnie: Coming right up.Niles: Oh God, look. The group coming in the door, they're from theShangri-La.A group of guys come over and punch Niles on the shoulder. He puts up his fists and weaves back and forth.Jimbo: Whoa, it's the Coyote!Niles: Evening, evening, Jimbo. Check you later.The guys go over tothe bar.Martin: Wow, you got a nickname down there already. That's great! The Coyote?Niles: Yes.Frasier: And how did you earn that honorific?Niles: Oh, it was quite the merry road. Yes. It evolved from Niles to Nilesyto Niley to Nile E. Coyote and now simply \"The Coyote.\"The guys at the bar start howling at him.Niles: Oh, well, just when I thought it couldn't be refined any further.Roz and her mother, Joanna, come in.[N.B. EvaMarie Saint's first (and Oscar-winning) film role was as Edie Doyle, Marlon Brando's love interest in 1954's \"On the Waterfront.\"]Frasier: Oh, goodness, look who's here! Roz!Roz: What? We don't see enough of eachother during the day?Frasier: Hello, Joanna.Joanna: Nice to see you again, Frasier.Frasier: Nice to see you again, too. Please, won't you sit down and join us?Joanna: Oh, no, we don't want to intrude.Frasier: Oh, no,no, please, the more the merrier.Roz: All right. Mom, this is Frasier's dad, Martin Crane. This is my mom, Joanna Doyle.Martin: Very nice to meet you. And this is my other son, Niles.Niles: How do you do?Joanna: It's apleasure.DISSOLVE TO: after dinner. Martin and Joanna have cleaned their plates, while the others still have food.Frasier: Roz, will you just look at the two of them.Roz: How did you two manage to finish allthat?Joanna: Oh, please. This is how our generation ate every day. I used to live on cigarettes, whiskey sours and bacon cheeseburgers.Martin: Yeah, and what about breakfast? Fried eggs, sausage patties, hashbrowns...Niles: My God, last night I ate a profiterole and lay awake 'til dawn waiting for my heart attack.Joanna: Those were simpler times, weren't they, Marty?Martin: Oh yeah, we didn't worry about dumb things likecholesterol. We worried about puttin' food on the table, keepin' the yard clean and the car shiny.Joanna: And the H-bomb.Martin: Well, yeah, that.Frasier: Say, Roz, we better be going if we're going to get that workdone tonight.Niles: Oh, I should be going too.Roz: Mom and me are going to that jazz club on Fifth.Frasier: But we promised to finish those promos tonight.Roz: Oh, right. Mom, I'm sorry, I totally forgot.Joanna: It'sOK.Frasier: Wait, I've got an idea. Uh, Dad, since I'm kidnapping Roz, why don't you take Joanna to the jazz club?Martin: Well, sure, I'd love to.Roz: Is that OK with you, Mom?Joanna: If Martin's game, I'mgame.Frasier: Oh, well, perfect. OK, you kids just have some coffee, we'll see you back at the apartment later, OK?Joanna: All right.Niles: Very, very nice to meet you.Joanna: Thank you.Roz, Frasier and Niles go to paythe check.Joanna: Look at them. They think we don't know this is a setup.Martin: Well, how could we figure it out? We're just a retired detective and an attorney general. [they laugh]CUT TO: Roz and Frasier by thebar.Roz: You were absolutely right, they didn't suspect a thing.Frasier: I told you Roz, just leave it to the master.[SCENE_BREAK]Scene 3 - Frasier's Apartment. Fade in. Daphne is sitting in Martin's chair eating popcornand watching television. Roz brings another bowl in from the kitchen. Frasier is on the couch.Roz: God, I thought they'd be home by now.Frasier: Roz, will you please relax and watch the pageant with us? They're rightin the middle of the talent competition.[She sits next to him.]Daphne: It's shameless the way they're sucking up to the international panel of judges. Miss Germany just played \"Lady of Spain\" on a French horn.Frasier:Roz, you're gonna chew that nail right off. Stop it.Roz: I can't help it. I'm nervous. Do you think it's gonna turn out OK?Frasier: Who cares?Daphne: Not for Miss Brazil. Look at the tree trunks on her. She's her own littlerain forest.Roz: I just keep worrying that she's gonna have a lousy time, and it will be all my fault. Screwing up, like always.Frasier: Oh, come on, Roz. Your mother doesn't think you're a screwup.Roz: Oh, yeah? Inhigh school, I ran my own informal shoplifting clinic. In college, I dropped out of pre-law because it interfered with Bruce Springsteen's touring schedule. And now I'm an unwed mother. What would you callme?Daphne: Tramp.Frasier: Daphne!Daphne: It's Miss Venezuela. If that dress of hers was slit any higher, you could see Caracas.Frasier stares at the set, Roz has to nudge him to get his attention.Frasier: Oh, oh, Roz.You know what? So what if they don't get along? So we made a mistake.Roz: [getting up for some sherry] You don't understand. My mother doesn't make mistakes. She does everything well. She's smart, successful,classy... oh, what the hell was I thinking?Frasier: [rising] About what? Setting her up with my father?Roz: No, that's not what I meant.Frasier: That is exactly what you meant!Roz: Well, OK, Frasier. No offense, yourfather is a very niceman, but let's face it: My mother was the attorney general of Wisconsin.Frasier: Well I hope he remembers to curtsey before the Dairy Queen!Daphne: [getting up] This is ridiculous. I'm going towatch this in my room. Miss Finland just laid out her plan to end world hunger, and I missed it!She goes off to her room. There is the sound of the key in the lock at the front door.Frasier: Oh, lord. He and Roz hurry tosit on the couch.Frasier: Oh, Roz, that is the best promo of all.Roz: Oh, hi! How was your evening?Joanna: Oh, the jazz was first rate. But I'm afraid I talked Martin's ear off.Martin: Oh, you're crazy. Your mother tellswonderful stories, Roz. I could have listened to her all night.Joanna: You are either too kind or a little tipsy. But thank you. Come on, Lammy. I really had a lovely time.Martin: Well, I can't remember when I had abetter time. We're gonna have to do this again.Joanna: Bye, Frasier.Frasier: Goodnight, Joanna. Lammy.They leave and Frasier turns to Martin.Frasier: [grinning] So... Tell me all about it.Martin: Well, being agentleman, I don't want to go into the details, so suffice it to say, it STUNK!Frasier: What?Martin: [putting up his coat] That was the dullest evening of my life. The way she drones on and on. Do you know how manymetric tons of eggs Wisconsin produces every year?Frasier: No.Martin: Well, I do!Frasier: Oh...Martin: Look, Frasier, I know you meant well, but if you ever set me up again, I'll kill you in your sleep. Goodnight.He goesoff to bed. There is a quiet but insistent knocking at the door. Frasier opens it to reveal Roz.Roz: [excited] I told my mom to meet me downstairs. I just had to come up and tell you. She had the best time! She can'twait to go out with your father again. Will you tell him to call her tomorrow? Oh, Frasier, this whole thing worked out like a dream!Martin: [crossing to the kitchen] It's amazing! Her voice is still echoing in myhead!Frasier: Yes, it's like a fairy tale over here, too.Roz leaves. FADE OUT. End of Act 1 Act 2Scene 1 - Cafe Nervosa. Fade in. Frasier and Niles are standing at the counter.Frasier: I've just got to find some way to tellRoz.Niles: Why? It's just going to hurt her mom's feelings.Frasier: Her feelings are going to be hurt anyway. She's here 'til Sunday. She's expecting him to call. Oh, dear God. At least this way Roz can let her downeasy.Their coffees come.Niles: Looks like both of us have difficult conversations ahead of us.Frasier: What's yours?Niles: All week long, I have been getting less coffee and more foam in my cappuccino. It's about timefor someone to raise a little hell. Who's on steamer duty?Frasier: Well, it's that hulking fellow, Thad. The one who doesn't react when his arm touches the steamer nozzle.Thad comes from the back. He is huge.Niles:Where is that suggestion box? He walks over and Roz comes in.Roz: Oh, hey Frasier.Frasier: Hi, Roz.Roz: Double espresso to go, please. [Roz and Frasier sit.] Listen, I really need to thank you again. My mother had thebest time last night. And when we got home, WE started talking. We ended up staying up half the night.Frasier: Oh, Roz I'm glad for you, but...Roz: It was like a wall came down. She just opened up to me. She startedtalking about how hard it was on her when my dad left, and how lonely she's been, and it was like she was talking to a girlfriend instead of her screw-up daughter. So, has Martin called her yet?Frasier: No. But he will.Soon. Uh, he had a really busy morning.Roz: Well, how does this weekend look? 'Cause she's leaving Sunday night.Frasier: Sunday? Oh, well let's see, tonight is poker night, that's no good. Saturday he's made plansto, uh, drive Duke to Tacoma for that all day... Tacoma-Fest.Roz: Well, on Sunday we go to a matinee and then I drive her to the airport.Frasier: Oh, darn.Roz: Wait a minute. I can give my ticket to Martin and they cango together.Frasier: No, no, Sunday's no good, because that's the, uh...Roz: Oh right, it's the Super Bowl!Frasier: Right, the Super Bowl. You know how Dad is about football, it's like a religion with him. In fact, he'smade Niles and I promise that we'd watch it with him this year.Roz: Oh, well, OK. Let's just forget about the tickets and we'll come over and watch the game. Is there any reason why that won't work?Frasier: Not that Ican come up with.Roz: That's great, my mom's going to be so excited. [She turns to pay her bill, Niles takes it and puts it on the counter.] Oh, thank you, Niles. I'll see you Sunday at your Super Bowl party.She leavesand Niles sits.Niles: [sitting] I see you told Roz the news and she went insane.Frasier: Couldn't do it. Told her we were watching the Super Bowl with Dad and she and her mother are coming over.Niles: This is anightmare!Frasier: I know. I've got to find some way to tell Dad.Niles: I have to watch the Super Bowl?!Frasier: I suppose the sooner I tell him, the better.Niles: Oh, not necessarily.Frasier: What do you mean?Niles:Well, you know Dad. If you warn him Joanna's coming over, he'll just bolt to McGinty's. If I were you, I'd wait until five minutes before game time and then spring it on him. That way he has no choice but tostay.Frasier: I think I owe him more than five minutes' warning. Besides, Dad would never deliberately hurt Joanna standing her up. He is first and foremost a gentleman.Martin comes in.Martin: I saw Roz, so I hidoutside in case that old gasbag of a mother was with her. Well, I guess she wasn't, everybody's still awake.[SCENE_BREAK]ROUGHING THE PASSERScene 2 - Frasier's Apartment Fade in. Martin is watching thepre-game as Frasier paces nervously.Martin: Look at those guys in the locker room. Nervous, hearts pounding, probably a little sick to their stomachs, poor kids.Frasier: Yes. Until I got out of high school, I didn't therewas any other way to feel in a locker room.Martin: What's the matter with you? You keep looking at your watch.Frasier: Was I?Martin: Yeah. Is there something on your mind?Frasier: No, no, but there's something Iwanted to talk to you about, but now's not the time.The doorbell rings.Frasier: Now's the time.Martin: Just let me get the door.Frasier: No, Dad, Dad, that's what I have to talk to you about. You see, that's going to beRoz and her mother.Martin: What?Frasier: Well, Joanna had such a good time with you the other night, and you did say that you would see her again, and rather than send her home with her feelings hurt, I had to tellher you wanted her here.Martin: What, like a date?Frasier: Well, that's the beauty of it. It's like a date, but it's not a date. Just, you know, make small talk, you pass the dip.Martin: No, Frasier, you don'tunderstand...Frasier: Now, Dad, I know you found her a little less than scintillating, but please, it'll be over before you know it.Frasier opens the door, Bonnie is there.Bonnie: Hey, Frasier.Frasier: Hi, Bonnie.Bonnie:Martin.Martin: Hey, Bonnie, glad you could make it. Let me hold this. See, this is what I was trying to tell you, Frasier, I invited Bonnie.Frasier: [taking her coat] Oh, how nice.Martin: Well, what do you got here?Bonnie:Oh, it's my special deviled ham in the shape of a football. But I still need to put on some macaroni laces.Martin: Oh, the kitchen's right down there, just holler if you need anything. [She heads over.]Frasier: What didyou invite her for?Martin: Well, because I like her, and I thought I might want to ask her out, and I thought if she came over for the game it might be a step in the right direction. I mean \"like a date but not a date.\"Thedoorbell rings again.Frasier: Now that's gonna be Roz and her mother.Bonnie: Should I put some coffee on while I'm in here?Martin: You better, we're gonna need it.Frasier: Would you come on, Dad? Would it kill youto be civil for the length of one Super Bowl? What is that, an hour out of your life?He opens the door to Joanna and Roz. Alice is with them.Martin: Hi! [The ladies shush them and motion to the baby.] Sorry. Come onin.Joanna: Thanks so much for inviting us.Martin: Wouldn't be fun without you.Roz: Frasier, could you show Mom where Alice can finish her nap?Frasier: I'm sure Dad would love to.Martin: My pleasure, just come thisway, Joanna. So, you a big football fan?Joanna: No, actually I've never even seen a game. I was hoping you'd explain as we go along.They head down the hall, Martin pauses to glare at Frasier.Bonnie: [coming from thekitchen] OK, who's hungry? Oh, hey, I'm Bonnie.Roz: Hi, from McGinty's. I didn't know you were coming.Bonnie: Yeah, Martin invited me. He was real cute about it. He checked with all the waitresses to find out if I wassingle.Roz: Oh. [She looks questioningly at Frasier.]Frasier: Yes, well you know how Dad is always trying to, ah...Niles comes in.Bonnie: Hey, the Coyote!Frasier: Find a new girl for Niles. Niles, you remember Bonnie.She waited on us at McGinty's.Niles: Oh, of course. I'll have a vodka martini, very dry.Frasier: Don't be silly, Niles. Bonnie is here as our guest.Roz: Yeah, your dad thought you two might hit it off.Niles: [not enthused]Oh.Bonnie: [even less enthused] Oh.Niles: The Superbowl and a date. Hot diggity!Bonnie: Well, come here, you're just in time for my specialty.Niles: Oh, I... [She pops a cracker in his mouth.] Mmmm! Isn't thatinteresting! Something formerly ham.Daphne: [coming from her room] Well, I'm off to the cinema.Niles: You're not staying for the game?Daphne: Sorry, but Ameican football's not for me, and they're showing\"Wuthering Heights\" downtown. I think it's the most romantic movie ever made.Niles: You're going alone?Daphne: Yes, unfortunately. It's more fun to go with someone, except of course it always ends the same way:Me weeping all over me date's shoulder while he does what he can to comfort me.Bonnie: Oh, you should have seen me cry putting onions in this ham loaf. I must've gone through a whole roll of toilet paper.Daphne:Well, enjoy your game.Niles: Frasier, may I see you in the kitchen?Martin and Joanna come back.Martin: That's amazing! You do all you do and you still have time to be a docent at the cheese museum on theweekends? Frasier, can I see you in the kitchen?Frasier: Just a second, Dad, I gotta take drink orders in here.Cut to the kitchen. Martin comes in as Niles is rinsing his mouth at the tap.Niles: Thanks for setting me upwith that Spam-happy tootsy.Martin: What are you talking about?Niles: Bonnie. Frasier told me you invited her here for me.Martin: I invited her here for me. He probably said I invited her for you because he didn't wantto upset Miss Boring's feelings.Frasier: [entering] Now, now, no private conversations. Your dates are waiting.Martin: They're not our dates!Niles: We hate them!Frasier: Now listen. I realize that this is a very difficultsituation, but if we all cooperate, we can send everybody home happy. Dad, if you would like, you can discretely take Bonnie aside and tell her what's going on.Martin: Bonnie, can I tell you something?Frasier: I saidDISCRETELY!Cut to the living room.Joanna: I think the game is about to start.Roz: Oh, that reminds me, I want to get Alice's bottle warming.Bonnie: Oh, you have a baby?Joanna: Oh, the most adorable littlegirl.Martin: Oh, she's a real beaut! You oughta see her, Bonnie.Roz: You can come with me if you want when I feed her.Martin: No, you go ahead and get that ready, I'll show Bonnie, it's right through there.Frasier:Now, Dad, don't you get fresh with Niles's girl, there.Martin: Oh, I won't if he won't.He and Bonnie head to the bedroom.Joanna: Your father is really smitten with that baby, isn't he?Roz: I think he's just got a weakspot for the Doyle women.Joanna: Oh.Frasier: Yes, well, he may appear to have a crusty exterior, but deep down inside, Dad's just an old softy.Martin and Bonnie's voices come from the baby monitorMartin: [v.o.]Well, there's the kid. Kind of a goony-looking thing, isn't she?Niles: Is that Dad?Martin: Look, Bonnie, I gotta tell you somethin'. I didn't ask you here for Niles, I asked you here for me.Frasier: It's the baby monitor! Weshould just...Joanna: [grabbing it away from Niles and Frasier] Shh. I want to hear this.Bonnie: But I thought you were with Joanna.Martin: No, no. Frasier and Roz set us up last week. I told Frasier I thought she was a"}
+{"doc_id":"doc_273","qid":"","text":"FLASH OPEN:[EXT. VARIOUS LOS ANGELES CITY LIGHTS (STOCK) - NIGHT][HOLLYWOOD STREET SIGN]WHITE FLASH TO:[EXT. VARIOUS HOLLYWOOD (STREET) - NIGHT](Various shots of prostitutes walking thestreet in front of various establishments.)Dakota: Hey.\"JERSEY\" (ELLIE): Hey. You get anything?Dakota: No.(A car pulls up alongside them.)\"DAKOTA\": My, uh, knight in shining German armor has arrived.\"JERSEY\"(ELLIE): See if he has room for two.(Dakota sighs. They lock pinkies as Dakota heads for the car.)\"JERSEY\" (ELLIE): Careful.(Dakota leans over the curb and looks into the car.)Dakota: Hey. You wanna party?(Dakotalooks back at \"Jersey\". Dakota gets into the car and closes the door. She waves back at \"Jersey\".)(\"Jersey\" signals for Dakota to give her a call. The car drives away.)FLASH TO:[INT. POLICE DEPARTMENT - DESK -MORNING](\"Jersey\" is at the police station. The officer at the desk isn't too interested in what she's saying.)Officer: It's only been a few hours.\"JERSEY\" (ELLIE): Dakota always calls me. We have a system. Somethingis wrong.Officer: Why don't you go home, Jersey? Eat something for once, get some sleep.(Disgusted, \"Jersey\" turns to leave. With a last look at the officer, she slaps her hand on the counter in frustration, thenleaves.)[SCENE_BREAK][EXT. SIDEWALK - DAY](Walking along the sidewalk, \"Jersey\" takes out her cell phone and dials.)INTERCUT WITH:[INT. (LAS VEGAS) POLICE DEPARTMENT - BRASS' OFFICE - DAY](Brass isworking when his phone rings. He puts the pen down and answers it.)Brass: (to phone) Hello.Ellie Brass: Hello, Dad?Brass: Ellie. Are you okay?SMASH CUT TO: END OF TEASER ROLL TITLECREDITS[SCENE_BREAK][EXT. LAS VEGAS CITY (STOCK) - DAY][INT. POLICE DEPARTMENT - HALLWAY -- DAY](Brass steps out of his office and looks both ways down the hallway. He sees the sheriff and heads over tohim.)Brass: Oh, hey, Sheriff. I'm glad I caught you.(Brass stops in front of the sheriff.)Brass: Um ... I got to take some emergency leave. It's a ... it's a family matter.Sheriff Burdick: I didn't know you had afamily.Brass: Well, you're new. We haven't had a chance to talk. Um ... I, uh, briefed my lieutenant on my cases. He'll cover for me for a couple of days.Sheriff Burdick: This is not a good time for family problems. Allthe narco guys are at a HIDTA conference. I got no backup. I'm still learning the ropes here.(Brass chuckles.)Brass: Well, it's never a good time to have a family problem, Sheriff. Look, I don't ask for time off normally.I'd appreciate the courtesy.Sheriff Burdick: Do I have a choice here, Jim?(The sheriff continues down the hallway.)Sheriff Burdick: (over his shoulder) Get back here as soon as you can.(Brass watches the sheriffgo.)[SCENE_BREAK][EXT. MIKE'S DINER (STOCK) -- DAY][INT. MIKE'S DINER - DAY](The waitress takes the money off the counter. Brass stands in front of the small counter-top display and picks up acellophane-wrapped gift with a small pink bear near the ribbon tie on top.)(Brass puts the small gift on the counter. He counts out the bills and pays the cashier.)[SCENE_BREAK][EXT. LAS VEGAS CITY (STOCK) -DAY][HIGHWAY](Top view down of the highway.)[EXT. LAS VEGAS CITY (STOCK) - HIGHWAY - DAY][EXT. CITY (STOCK) - DAY][EXT. POLICE DEPARTMENT BUILDING - DAY](Brass walks up to the front of thebuilding.)[INT. POLICE DEPARTMENT - OFFICE - DAY](Brass and Annie Kramer hug.)Annie Cramer: You look good, Jimmy.Brass: You do, too, Annie.(Annie Kramer goes to sit behind her desk.)Brass: L.A. seems toagree with you.Annie Cramer: Oh, yeah, well, I couldn't take another Jersey winter.(She sits down. Brass sits down across her desk.)Annie Cramer: Or another Jersey cop.Brass: You stay in touch with the oldcrew?Annie Cramer: You know, dirty cops don't like to hang with clean ones.Brass: So that's why they called me squeaky?Annie Cramer: I thought what you did took a lot of guts. Integrity is, um, hard to come by invice.Brass: Yeah, it's the only detail where you're told to drink, gamble and pick up hookers, all the while carrying a gun.Annie Cramer: Garden of Eden. Temptation kills you, or it compromises you.Brass: So, you gotmy message? My daughter Ellie and her friend Dakota were out partying and Dakota got in some guy's car. Ellie was able to pull a partial. Something about a whale tail.(Brass hands Annie Kramer the notebook paperwith:CA PLATE1TA )Annie Cramer: California Coastal Commission specialty plates. I'll run it through DMV. Cross reference with BMWs. In the meantime, I pulled Dakota's rap sheet.Brass: She has a sheet?AnnieCramer: They both do.(Brass nods.)Annie Cramer: She, uh, works a stretch on Hollywood Boulevard between Highland and Vine.(She hands the file to Brass. He opens it and sees a photo of Dakota holding the IDnumbers:POLICE DEPTAnnie Cramer: When was the last time you saw Ellie, Jimmy?Brass: About three years ago. Um, she got into some trouble in Vegas. Hanging around with a bad bunch.(Brass looks at the rapsheet:REYNOLDS, SASHADOB: 03/04/83 s*x/F RAC/C WGT/120 EYE/BROAKA: 01 DAKOTAKNOWN ASSOCIATES: BRASS, ELLIEAKA: JERSEY )(Brass catches a glimpse of the name and looks away.)Brass: Looks like hertaste in people hasn't changed much.(He shuts the file. Annie hands Brass a slip of paper.)Annie Cramer: Here. Last known address. In case you don't have it.[SCENE_BREAK][EXT. STREET -- DAY](Brass pulls up thefront of a dingy apartment building. In the background, a dog barks. Brass gets out of the car and looks at the building. Graffiti litters the walls. He looks up and sees Ellie step up to the open window.)(He reaches intothe car and grabs his cell phone. We note the pink bear gift in the front seat. With his eye on the window, he makes the call.)Brass: Ellie, it's your dad.Ellie Brass: (to phone) How'd you get this number?Brass: Relax,take it easy. I got it off caller I.D.Ellie Brass: (to phone) Oh, okay. So did you make the call?Brass: Yeah. LAPD's looking into it.Ellie Brass: (to phone) Thanks.Brass: Hey, how are you doing?Ellie Brass: (to phone)Great, actually. Livin' at the beach, temping, waiting tables. Got some really good friends.(As Brass watches, a man steps up to the window next to Ellie. He's smoking a pipe and offers it to her. She inhales. He alsoinhales.)Ellie Brass: (to phone) It's a big bowl of cherries.(She smiles. The man puts his arm around her waist and lingers.)Brass: (to phone) Okay, um, I'll call you when I hear something, all right?(Brass hangsup.)[SCENE_BREAK][EXT. (KOREATOWN) - NIGHT](Cops are parked around an area. Brass gets out of his car and meets with Annie Kramer.)Annie Cramer: Hey, Jim.Brass: Hey.Annie Cramer: We found the beemer.Found these two kids trying to hotwire it. Whale tail license plate starting with One-T-A.Brass: Let's talk to them.Annie Cramer: I'll talk, you listen.(Annie and Brass walk up to the two kids.)Annie Cramer: All right, whatthe hell's the matter with you? You looking to die young? 'Cause you can do it inside in lock-up or outside with this wanna-be gang banger stealing cars crap.Kid 1: We weren't stealing nothing. Window was alreadybusted. Car wouldn't even start. We were just playing around.Annie Cramer: You like playing with cars, huh? LAPD's having a car wash fund-raiser on Saturday. You just signed yourselves up. You're welcome.(Shesteps up and motions to the officer nearby.)Annie Cramer: Come on.(The officer unlocks the kids' handcuffs.)Brass: So, no Rudy Giuliani broken windows theory here, huh?Annie Cramer: Jimmy, windows are alreadybroken. Someone's got to fix 'em.(They walk up to the BMW for a closer look. Brass notices a sticker on the broken windshield.)Brass: Hey, check this out. B-H-G-C?Annie Cramer: Looks like a country club orsomething. Doesn't read like Koreatown. I'll have my guys run the plates.Brass: Anybody checked the trunk?Annie Cramer: Not yet.(Brass opens the hood.)(The spare tire is missing.)Annie Cramer: Doesn't look goodfor Ellie's friend.(Annie takes out her cell phone and dials.)INTERCUT WITH:[INT. LOBBY (HIDTA CONFERENCE) - NIGHT](Matt Glazer answers his phone.)Matt Glazer: (to phone) Glazer. Yeah, we're just finishing up. Notraffic. I'll be there in about twenty minutes. Okay.(He hangs up and taps Warrick on his shoulder.)Matt Glazer: Vegas?(Warrick turns around.)Warrick: Hmm?Matt Glazer: You know a Jim Brass?[SCENE_BREAK][EXT.VARIOUS LOS ANGELES CITY LIGHTS (STOCK) -- NIGHT][EXT. (KOREATOWN) -- NIGHT](Warrick and Matt Glazer arrive at the site.)Warrick: Where he at?Matt Glazer: (points) (garbled) Over there.(Warrick walks overto Brass.)Warrick: Jim.Brass: Rick. Rick, what are you doing here?Warrick: I'm here for the HIDTA conference. Buddy of mine from L.A.P.D. told me there was a new captain in town, stirring things up. What are youdoing here?Brass: Ah, it's a long, sad story, man.Warrick: Have anything to do with a feisty little blonde named Ellie?Brass: She's not a blonde anymore. Let's check out the car.(Brass and Warrick head over to the car.Annie Kramer stands near the trunk. Brass makes the introductions.)Brass: Captain Annie Kramer, this is Warrick Brown from Las Vegas.Annie Cramer: Good to meet you.(They shake hands.)Warrick: Good to meetyou.Matt Glazer: (to Brass) Matt Glazer, L.A.P.D. Crime lab.Brass: Hey, Jim Brass.(They shake hands.)(Warrick looks at the car.)Warrick: Well, I thought L.A. was all about car culture. This reminds me of home.MattGlazer: Trunk's been stripped clean.Warrick: Too clean.Matt Glazer: Oh, they missed a spot.(Camera zooms in to the spot that was missed.)Matt Glazer: Looks like two large caliber bullet holes.Warrick: But a bullet holewouldn't make those markings. What is that?Matt Glazer: I don't know.Warrick: It looks like a tool marking.(Quick flash of: A crowbar-like tool is in the hole being jammed in and twisted around, leaving the areascratched up. End of flash. Resume to present.)Matt Glazer: Let's haul it back to impound and find out.(Matt Glazer picks up his things and heads out. He looks at Annie Kramer.)Matt Glazer: I'll be in touch.AnnieCramer: Thanks.Warrick: Hey, you know, uh, Jim, I'm here all weekend. If you need anything, don't hesitate to call. (to Annie) Pleasure meeting you.Annie Cramer: Same here.(Warrick walks past Brass.)Warrick: (toBrass) Remember, what happens in L.A., stays in L.A.(Warrick leaves. Brass looks at Annie.)Annie Cramer: You still a scotch man?Brass: I'll take a rain check, okay.(He smiles and winks at her. Brass turns and walksaway.)[SCENE_BREAK][EXT. HOLLYWOOD (STREET) - NIGHT](A car pulls up to the curb. Ellie gets out; the car leaves. She starts walking along the sidewalk.)(Another car pulls up to the curb. She walks up to the carand knocks on the glass.)Ellie Brass: Hey, baby, you want to party?(Brass rolls down the window. Ellie looks at her dad.)Brass: Ellie ...Ellie Brass: Oh, I can't ever trust you. All I did was ask you to make a call.Brass:How's the beach house?Ellie Brass: Go to hell.Brass: I have information about your friend, Dakota. Get in.Ellie Brass: All right. But I'm not playing twenty questions with you.(Ellie slips into the car.)(Just then, a cop carpasses, lights flashing.)Ellie Brass: So, did you find her body?(Brass looks at Ellie.)Brass: No. But we found the car.Ellie Brass: So she could still be alive?Brass: We found blood in the trunk.Ellie Brass: No, no, no, she'salive. I can feel it.Brass: Look, do you have anything with her DNA on it, like a hair brush or toothbrush or ... ?Ellie Brass: No. We keep all that stuff in our purse.Brass: How about clothes or sheets or pillowcases, likethat?Ellie Brass: We share everything else.Brass: Even the bed?Ellie Brass: I told you I'm not playing that game.Brass: If the lab doesn't have anything to match the blood to, then we'll never know. That's it.(She looksaway and sniffs.)Brass: Come on, let's get some dinner, huh? You look hungry.Ellie Brass: Wait. Blood. We went and got tested last week at the free clinic on Ivar. Maybe they keep it.Brass: Tested for what?Ellie Brass:What do you think?Brass: Don't you use protection?Ellie Brass: Guys pay extra for bareback.(She looks away. Brass sighs.)Brass: You're a lot smarter than that, Ellie. Come on.Ellie Brass: Yeah, well, just because youwant me to be smarter and sweeter and safer doesn't mean I am. And I got to go. Guess you know how to find me if you hear anything.Brass: Don't go away. Don't-don't leave, don't leave.Ellie Brass: You're one totalk. All my life, that's all you did, walk out. Now we're gonna Norman Rockwell it? Look around, Dad. It's too late.Brass: Don't leave.(Ellie gets out of the car.)Ellie Brass: Leave me alone.(She slams the door andleaves.)Brass: Ellie. Ellie!(Camera holds on Brass.)[SCENE_BREAK][EXT. FREE CLINIC -- DAY][INT. FREE CLINIC - HALLWAY -- DAY](Brass and Annie talk with the doctor at the Free Clinic.)Doctor: Here at the clinic, wepride ourselves a confidential relationship with our patients. This is a highly unusual request.Annie Cramer: I understand, but we're investigating a possible homicide here.Brass: We found blood in the trunk of a car. Wehave reason to believe it could be Sasha Reynolds', street name Dakota.Annie Cramer: We're not interested in whether it's positive or negative. We need it for the DNA.(A young blonde woman walks up to thedoctor.)Doctor: How many do you need?Woman: Ten.(The doctor looks at her. The woman looks sheepish.)Woman: Twelve.(The doctor looks at the clerk who hands her the condoms. The doctor hands the condoms tothe woman.)Brass: Is that all the help they get?Doctor: These kids come from all over the place with stars in their eyes. While they're waiting to be discovered, they still got to pay their rent. They do a bump to turntheir first trick. Next they're turning tricks to get their next bump. We do what we can. You do what you do.(Annie's phone rings.)Annie Cramer: Excuse me.(She steps away to answer it. The clerk hands the doctor azip-loc bag with the vial of blood in it. The doctor hands it to Brass.)Annie Cramer: (to phone) (o.s.) Yeah. Kramer.Doctor: Good luck.Brass: Good luck to you, too, doctor.Annie Cramer: (to phone) You're kidding me.Terrific. Okay. We're on it. Bye.(She hangs up as Brass steps up to her.)Annie Cramer: We got an R.O. on the car.[SCENE_BREAK][EXT. HOLLYWOOD SIGN (STOCK) - DAY][EXT. PICCONE RESIDENCE - FRONT DRIVE -DAY](Annie Kramer and Brass walk up the front drive of the large home. Brass picks up the paper and follows Annie to the front door.)[EXT. PICCONE RESIDENCE - FRONT PORCH - DAY](Annie rings the doorbell. Thedoor opens. A young, well-dressed man in a suit and tie answers. He smiles at Annie.)Todd Piccone: Captain Kramer.Annie Cramer: Hey, Todd.(Todd glances at Brass.)Todd Piccone: What's up?Annie Cramer: I, uh,stumbled across something. Thought I'd pay you a house call. You missing a car?Todd Piccone: Yeah, it was stolen.(Again, Todd glances at Brass.)Annie Cramer: You didn't report it.Todd Piccone: No, I didn't.AnnieCramer: What's that about?(Todd turns and looks at Brass.)Todd Piccone: Who are you?(Brass smiles at Todd.)Annie Cramer: I'm sorry, this is an old friend of mine, Captain Jim Brass, Vegas P.D.(Brass gives Todd hisnewspaper. Todd puts the paper aside.)Todd Piccone: Off the record?Annie Cramer: Okay.Todd Piccone: I went down the hill. I was, um ... lonely. Partook of the services of a certain kind of young lady. And while wewere getting acquainted, I was carjacked.(Quick flash of: [NIGHT] Todd Piccone and Dakota are in the car when someone carrying a gun taps on his window.)Dakota: Just relax.(End of flashback. Resume topresent.)Todd Piccone: I was set up. It was probably her pimp or drug dealer.Brass: How'd you get up the hill?Todd Piccone: Took a cab.Brass: They didn't take your wallet?Todd Piccone: Oh, the car was worth morethan the cash. They knew what they were doing.Brass: It's a pretty sweet ride. I'm still hung up on why you didn't report it.Todd Piccone: Captain, maybe I should introduce myself. Todd Piccone, Assistant CityAttorney. Let's just say that my reputation is worth more than my car.Brass: Then maybe you should stop having dates in your front seat.(Annie turns and looks at Brass.)Todd Piccone: You're right. Lesson learned.Thank you, officer.(Todd turns back to Annie.)Todd Piccone: So the car was stripped, I'm sure, uh ... South Central? Koreatown? East L.A.?Annie Cramer: Koreatown.Brass: How would you know that?Todd Piccone:'Cause, Captain, that's where good cars go to die in Los Angeles.Annie Cramer: Hey, Todd, I don't suppose we could take a look around?Todd Piccone: Uh, yeah. You know, I'm expecting company. Now's not a goodtime.(He closes the door on them.)[SCENE_BREAK][EXT. CAR (MOVING) - DAY]Brass: We need to get a warrant to get into that house.[INT. CAR (MOVING) - DAY](Annie drives.)Annie Cramer: Oh, yeah? Well, we don'thave enough.Brass: Enough for a city attorney?Annie Cramer: You know, give me a break. You know how many cars get jacked in L.A. every day? He admitted to being with a prostitute. What makes you think he's nottelling the truth about the rest?Brass: He's hinky. I can feel it.Annie Cramer: Your gut can talk to my Judge. Or better yet, talk to Ellie. You should. You should get the 4-1-1 on Dakota from her.Brass: There's anunreliable witness. So what do we do now?(She sighs.)Annie Cramer: We eat steak.[SCENE_BREAK][EXT. MUSSO'S GRILL (STOCK) - DAY][INT. MUSSO'S GRILL - DAY](Annie leads Brass into the restaurant.)AnnieCramer: Tony, how are you doing? Table for two, please, in the back, if you could.Brass: What are we doing here again?Annie Cramer: I'm doing you a big favor.(As they head toward the back, they come across a largetable with various well- dressed powerful men. Judge Silvio Peters stands up to greet Annie.)Judge Silvio Peters: Annie, hello.Annie Cramer: Hey, Judge Peters. What a nice surprise.Judge Silvio Peters: Nice to seeyou.Annie Cramer: Good to see you. How's that porterhouse?Judge Silvio Peters: Eh, I haven't started yet.(Annie introduces Brass to the group of men.)Annie Cramer: Gentlemen, I'd like you to meet an old friend ofmine, Captain Jim Brass, LVPD.Brass: Hey.Annie Cramer: This is Judge Silvio Peters, Councilman Joe Cohen.Brass: Judge, Councilman.Annie Cramer: Comptroller Daniel Reichmann, and Vic Patterson.(Brass shakes VicPatterson's hand.)Brass: Hey, Vic, how are you doing?Vic Patterson: Soon to be mayor.(Vic Patterson laughs.)Vic Patterson: Hey, you know what? We shot a couple episodes of my show in Vegas. You remember that?Right?Brass: Right.Vic Patterson: The Eagle. Yeah, you guys were great. You always treated us really well.Brass: Well, we try.Annie Cramer: Remember how great he was as that cop?(Vic Patterson laughs.)AnnieCramer: Like he was playing you.(The others around the table laugh.)Brass: Well, that's not easy.(As they continue talking, Annie walks over to Judge Silvio Peters and speaks to him quietly.)Annie Cramer: (to JudgeSilvio Peters) Listen, since I happened to run into you ... we found Todd Piccone's car just off of Vermont. Had bullet holes and blood in the trunk. He claims it was stolen, but I'm hoping that I could get a look around hishouse a bit ...Vic Patterson: Oh, you know what? Let me get you an autograph or something. Little something for me. And a little something for you.(Vic Patterson reaches into his jacket pocket for a pen. Brass happensto catch the tie clip he's wearing with the letters B-H-G-C on it.)Judge Silvio Peters: If you had enough for a warrant, you wouldn't be here. You'd be on your cell phone, calling me from Tommy Burger.(Annie suspectedas much.)Annie Cramer: Finish your steak before it gets cold.(Vic Patterson gives Brass the napkin with his autograph on it.)Vic Patterson: There you are.Brass: I'm touched. Thank you, man. Thank you.Gentlemen.Annie Cramer: Enjoy your lunch, gentlemen. Nice to see you.Judge Silvio Peters: You as well.(Annie and Brass leave the table.)Annie Cramer: (to Brass) Strike one, your turn.[SCENE_BREAK][EXT. LASVEGAS CITY (STOCK) - DAY][INT. HALLWAY - DAY](Annie and Brass walk through the hallway. We hear a television set playing loudly. They stop at apartment 2-F. Annie knocks on the door.)(Ellie opens the door.)EllieBrass: Oh. Well, if it isn't Dick Tracy and his little sidekick, Nancy Drew.Annie Cramer: We're here on official business. Just let us in.(Annie steps into the apartment. Ellie turns around and heads inside. Brass stepsinside. On the television is an ad for Vic Patterson's campaign.)Vic Patterson: (from tv) Vote Vic Patterson. Put some action back in government.(Ellie sits on the bed.)Announcer: (from tv) Vic Patterson has a plan forLos Angeles. He wants to restore trust in City Hall. Vic Patterson has the energy it takes to get Los Angeles back on track ...Annie Cramer: You and Dakota have the same pimp?Ellie Brass: No. We don't have a pimp."}
+{"doc_id":"doc_274","qid":"","text":"EXT, SEA, NIGHTA group of four pirates row the long boat back to their ship through still waters through dense fog. The ship is still as there is not enough wind to fill the sails though a small breeze blows the array ofcharms hanging like chimes.EXT. SHIP'S DECK, NIGHTThe pirates climb aboard and are greeted by another.PIRATE 1: What's wrong?PIRATE 2: Man wounded.Stunned, PIRATE 1 looks at the wounded man even as hepoints to the aft of the ship.PIRATE 1: Wake him.PIRATE 2 leaves.INT. SHIP, CAPTAIN'S CABIN, NIGHTWe see gold and jewels spilling over chests. The pirates are there, waiting on the CAPTAIN'S decision.PIRATE 1: Heslipped in the bilge water, Cap'n, and fell on to the rigger. His hand... I don't know if he'll survive.The CAPTAIN turns around and looks at the WOUNDED MAN'S hand. There is a small scratch on his finger.CAPTAIN:You're a dead man, McGrath.The CAPTAIN turns over McGRATH'S hand to reveal a black spot on his palm.CAPTAIN: Same as all the others.A hypnotic woman's voice can be heard singing.CAPTAIN: She's here.PIRATE1: Oh, save our souls.McGRATH: I've got to escape! (runs from the cabin)PIRATE 1: Don't go out there! McGrath! Don't listen for God's sake. The siren is a-calling.EXT. SHIP'S DECK, NIGHTMcGRATH runs onto thedeck, tripping on coiled rope.INT. SHIP, CAPTAIN'S CABIN, NIGHTThe CAPTAIN locks the cabin door. He then takes a pendant from his neck and wraps the leather strap around the door handles. On one side of thependant is a carved relief of a mermaid.EXT. SHIP'S DECK, NIGHTMcGRATH holds his knife in one hand, ready to strike. He uses his other hand to try and block out the singing.INT. SHIP, CAPTAIN'S CABIN, NIGHTTheothers hear his scream as the pendant slowly swings at the lock.EXT. SHIP'S DECK, NIGHTThe other pirates come out on deck. There is no sign of McGrath, only his pistol.CAPTAIN: (picks up pistol) Same as all theothers. No sign of a struggle. No bones or blood.PIRATE 1: We're shark bait, every single one of us. Stuck on the ocean, waiting until the wind changes. There is a banging from one of the hatches.CAPTAIN: What'sthat?PIRATE 1: The creature, it's returned.The pirates approach cautiously, the CAPTAIN aims the pistol. The hatch bursts open to reveal the DOCTOR, RORY and AMY.DOCTOR: Yo ho ho! Or does nobody actually saythat?[SCENE_BREAK]Matt Smith Karen Gillan Arthur Darvil\"The Curse of the Black Spot\" by Steve ThompsonProducer Marcus WilsonDirector Jeremy Webb[SCENE_BREAK]INT. SHIP, HOLD, NIGHTThe TARDIS restsamong the storage.INT. SHIP, CAPTAIN'S CABIN, NIGHTThe CAPTAIN is questioning the presence of strangers on his ship.CAPTAIN: We made no signal.DOCTOR: Our sensors picked you up. Ship in distress.CAPTAIN:Sensors?DOCTOR: Yes. OK. Problem word. Seventeenth century. My ship automatically, er..noticed-ish... that your ship was having some bother.CAPTAIN: That big blue crate!?The DOCTOR snaps his fingers.PIRATE 1:Tis more magic, Captain Avery. They're spirits. How else would they have found their way below decks?DOCTOR: Well, I want to say multidimensional engineering, but since you had a problem with sensors I won't gothere. Look, I'm the Doctor, this is Amy, Rory. We're pirates, same as you. Arghhhhh!The DOCTOR turns to look at the pirates behind them and when he turns around, AVERY has a pistol aimed at his head.DOCTOR:Except for the gun thing. And the beardiness.AVERY: You're stowaways! Only explanation. Eight days, we've been stranded here. Becalmed. You must have stowed away before we sailed.PIRATE 1: What do we do with'em?AVERY: Oh, I think they deserve our hospitality.EXT. SHIP'S DECK, NIGHTThe DOCTOR is standing at the edge of a plank jutting over the side of the ship. The pirates laugh.DOCTOR: I suppose that laughing likethat is in the job description. \"Can you do the laugh?\" Check. Grab yourself a parrot. Welcome aboard.AVERY: Stocks are low. Only one barrel of water remains. We don't need three more empty bellies to fill. Take thedoxy below to the galley. Set her to work. She won't need much feeding.One of the pirates \"escorts\" AMY to the stairs that lead below-decks.AMY: Rory, a little help?RORY is being restrained by another pirate.RORY:Hey, listen right. She's not a doxy.AMY: I didn't mean just tell him off. Thanks anyway.The pirate forces her below.AVERY: If you're lucky you'll drown before the sharks can take a bite.DOCTOR: If this is just becauseI'm a captain too, you shouldn't feel threatened. Your ship is much bigger than mine. And I don't have the cool boots. Or a hat, even.AVERY: (aims pistol) Time to go.DOCTOR: A Bit more laughter, guys? (motions withhand)INT. SHIP, BELOW-DECKS, NIGHTAMY opens a chest and finds it filled with swords. She takes one out and as she's testing the feel of it in her hand, she sees a long coat and a tricorne hanging on a peg.EXT.SHIP'S DECK, NIGHTDOCTOR: Where are the rest of the crew? This is a big ship. Big for five of you. I s'pose the rest of them are hiding some place (holds his nose) and they're going to jump out and shout \"boo\".AMY:Boo!The men turn around to see AMY wearing the coat and hat, sword pointed at AVERY's throat.AMY: Throw the gun down.AVERY drops the gun to the deck and AMY kicks it away.AMY: The rest of you, on yourknees.DOCTOR: Amy? What are you doing?AMY: Saving your life. OK with that, are you?AVERY: Put down the sword. A sword could kill us all, girl.AMY: Yep, thanks. That is actually why I'm pointing it at you.One of thepirates comes at AMY with a wooden handle, surprising her and forcing her back from AVERY. When the DOCTOR tries to intercede, AVERY pushes him back into the rigging. When AMY advances on the pirates with thesword, they back away, gasping in fear. AMY shows off a little, swishing the sword through the air. The pirates take advantage and push forward again. AMY fights them off. One advances on her with a rope, backing herinto a corner. AMY swings through the air on a piece of rigging, swing her sword. She cuts one of them as she passes before landing on a barrel.PIRATE 3: You have killed me.AMY: No way. It's just a cut.A black spotappears on PIRATE 3's hand.AMY: What kind of rubbish pirates are you?AVERY: One drop, that's all it takes. One drop of blood and she will rise out of the ocean.AMY: Come on. I barely even scratched him. What areyou all in such a huff about?One of the pirates approaches her and she swings out on the rope. He stops her and the sword flies from her hand. RORY tries to catch it, but cuts his hand. A black spot appears on hispalm.RORY: Doctor? What's happening to me?AVERY: She can smell the blood on your skin. She's marked you for death.RORY: She?AVERY: A demon, out there in the ocean.DOCTOR: OK. Groovy. So not just piratestoday. We've managed to bagsy a ship where there's a demon popping in. (looks at RORY'S hand) Very efficient. I mean if something's going to kill you, it's nice that it drops you a note to remind you.The SIREN'S songstarts again.PIRATE 1: Quickly now. Block out the sound.The others put their hands over their ears.RORY: What?AVERY: The creature. She charms all her victims with that song.RORY: Oh, great, so put my fingers in myears. That's your plan? Doctor, come on let's go lets get back to the...back to the... (starts acting dopey and giggles)PIRATE 1: The music. It's working on him. Look.RORY: (to AMY) You are so beautiful.AMY:What?RORY: I love your get up. That's great. You should dress as a pirate more often. Cuddle me, shipmate.AMY: Rory, stop.RORY: Everything is totally brilliant isn't it? Look at these brilliant pirates. Look at theirbrilliant beards. I'd like a beard. I'm going to grow a beard.AMY: You're not.AVERY: The music turns them into fools.RORY and the other wounded pirate continue to act like they're drunk or high.AMY: Oh, my God.Offthe starboard side of the ship, a section of the water glows green. Everyone watches and soon a woman rises from the water. She, too, glows green. RORY'S jaw drops at the sight of her. AMY grabs his arm and holdshim back as the SIREN floats down to the deck. PIRATE 3 walks towards her and the others half-heartedly grab for him as they, too, are entranced. The SIREN has her arm outstretched and PIRATE 3 reaches for herhand. Still held back by AMY, RORY reaches for her. As soon as PIRATE 3's hand touches the SIREN, his body is dispersed. RORY breaks free of AMY.RORY: I have to touch her. Let me touch her.AMY pushes her waypast RORY and faces the SIREN.AMY: Sorry, but he is spoken for.The SIREN hisses and turns red. She sends AMY flying backwards to land on the deck.DOCTOR: (goes to AMY) Amy! Everybody into the hold.The pirateshead to the hold. RORY stands there, still entranced.DOCTOR: Rory!The DOCTOR makes sure AMY is safe before grabbing RORY.RORY: Hey!INT. SHIP, HOLD, NIGHTThey make their way down into the hold, splashingthrough the gathered water.AMY: What is that thing?AVERY: The legend. The siren. Many a merchant ship, laden with treasure has fallen prey to her. She's been hunting us ever since we were becalmed. Picking off theinjured.PIRATE 1: Like a shark. A shark can smell blood.DOCTOR: OK. Just like a shark. In a dress. And singing. And green. A green singing shark in an evening gown.AVERY: The ship is cursed.DOCTOR: Yeah right.'Cursed' is big with humans. Means bad things are happening but you can't be bothered to find an explanation.RORY: She's the most beautiful thing I've ever seen.AMY: Actually I think you'll find she isn't. We have toleave. Right now.AVERY: That thing of yours really is a ship?DOCTOR: Well, it's not propelled by the wind.AVERY: Show me. Weigh anchor. Make it sail! (pulls gun)DOCTOR: And the gun's back. You're big on the gunthing aren't you? Freud would say you're compensating. Have you ever met Freud? No? Comfy sofa.PIRATE 4: Leave the cursed one, Captain. The creature can have him.RORY: Yes, please.AVERY: We don't want thesiren coming after us.The pirates cry out and one lifts his leg from the water. There's something on it.AMY: It's a leech!DOCTOR: Everyone out of the water!Everyone climbs out of the water onto the crates. PIRATE 4pulls the leech from his leg.PIRATE 4: It's bitten me, I'm bleeding. (the spot appears)DOCTOR: She wants blood. Why does she want blood?AMY: What were you saying about leaving the cursed ones behind?DOCTOR:It's OK. We're safe down here. No 'curse' is getting through three solid inches of timber.The SIREN appears behind the DOCTOR and begins to sing.DOCTOR: Ah. Hello again.AMY holds back RORY but PIRATE 4 walksforward.AVERY & DOCTOR: No! No! No!PIRATE 4 touches the SIREN'S hand and disappears. His hat falls to the floor. Everyone rushes from the hold, the DOCTOR pushing RORY, PIRATE 4's hat in hand.INT. SHIP,BELOW-DECKS, NIGHTThe DOCTOR bolts the door behind him.AMY: Safe?DOCTOR: I have my good days and my bad days.AVERY: How did she get in?DOCTOR: (uses sonic on hat) The bilge water - she's using waterlike a portal, a door. She can materialise through a single drop. We need to go somewhere with no water.AMY: Well, thank God we're not in the middle of the ocean.The DOCTOR puts on the hat.RORY: Did you see hereyes? Like crystal pools.AMY: You are in enough trouble.AVERY: The magazine!AMY: What?DOCTOR: He means the armoury where the powder's stored.AVERY: It's dry as a bone.DOCTOR: Good let's go, there.AVERY:(pulls gun) I give the orders.DOCTOR: Ah. Worried because I'm wearing a hat now?! (heads for the magazine) Nobody touch anything sharp!AMY: Come on Rory. (pulls him by the arm)In another section below-deck,PIRATE 1 takes out a ring of keys to open a locked door.AVERY: Quickly, man.PIRATE 1: The key, 'tis gone, Cap'n.AVERY: How can it have gone?DOCTOR: (pushes the door open) Someone else had the same idea.INT.SHIP, MAGAZINE, NIGHTThey enter the room cautiously. The room is empty.AVERY: Barricade the door. Careful of that lantern! Every barrel is full of powder.DOCTOR: Who's been sleeping in my gun room?AVERYhears a muffled coughing and removes the lid of one of the barrels. He reaches a hand in a pulls out a young boy.AVERY: You fool. You fool, boy. What are you doing here?PIRATE 1: Who is he?DOCTOR: What, he's notone of the crew?AVERY: No. He's my son.A few moments later, the BOY is sitting on a bench, AVERY next to him. Everyone else stands and looks on.AVERY: What in God's name possessed you, boy? Your mother will besearching for you. (the BOY looks down) When?BOY: Last winter. Fever. She told me all about you. How you were a Captain in the Navy. An honourable man, she said. How I would be proud to know you. (coughs) I'vecome to join your crew.AVERY: I don't want you here.BOY: You can't send me back. It's too late. We're a hundred miles from home.AVERY: It's dangerous here. There's a monster aboard. She leaves a mark on men'sskin.BOY: The black spot?The BOY shows the palm of his hand. There's a black spot. AVERY grabs his son's hand. The BOY coughs. A little later, AMY, the DOCTOR and RORY are sitting while the pirates stand. RORYrubs the spot on his palm.AVERY: There's nothing wrong with the boy. He has no scars.DOCTOR: Yep. Ignore my last theory.AMY: He has his good days and his bad days.DOCTOR: It's not just blood. She's coming forall the sick and wounded. Like a hunter chooses the weakest animal.AMY: OK, look He's got a fever.DOCTOR: The siren knows it. Humans. second-rate. Damage too easily. It's only a matter of time before everyonegets bruised. My ship. it can sail us all away from here. You and me, we fetch it. Let's go. (stands)AVERY: (pulls out pistol) You're not the Captain here, remember?The BOY opens one of the barrels to reveal water. TheSIREN reaches through with her arms. The DOCTOR forces the lid back on.AVERY: The water's dangerous. That's how she gets through. One touch of her hand and you're a dead man!PIRATE 1: We're all cursed if westay aboard!DOCTOR: It's not a curse. Curse means game over. Curse means we're helpless. We are not helpless! Captain, what's our next move?AVERY drapes the pendant around the BOY'S neck.AVERY: Wait withthe boy.PIRATE 1: Captain we're all in danger here.AVERY: I said wait, and barricade the door after we've gone.AMY: Sure you want to go?DOCTOR: We have to get Rory and Toby away. She's out there now, licking herlips, boiling a saucepan, grating cheese.AMY: OK, well remember, if you get an itch, don't scratch too hard.DOCTOR: We've all got to go some time.AMY and RORY exchange a look, remembering what they saw inUtah.DOCTOR: There are worse ways than having your face snogged off by a dodgy mermaid. (pats RORY on the shoulder)INT. SHIP, BELOW-DECKS, NIGHTThe DOCTOR and AVERY step out of the room and AVERYputs his gun away.AVERY: D'you want to draw lots for who's in charge, then?DOCTOR: Darkness. Demon. You can have first go. (pats AVERY on the chest)They make their way back to the hold. AVERY slips and nearlyputs his hand down on an exposed nail. The DOCTOR grabs his hand just in time.DOCTOR: Nearly. Phew!INT. TARDISThe DOCTOR runs up to the console while AVERY stands just inside the door.AVERY: By all the...(walks slowly to the console)DOCTOR: Let me stop you there. Bigger on the inside. Don't mind, do you, if we just skip to the end of that moment? Oh, and sorry I lied by the way, when I said yours was bigger. Kitchenthat way. Choice of bathrooms - there, there, there.INT. SHIP, MAGAZINE, NIGHTTOBY sits on the floor, coughing. AMY looks at him.RORY: What's wrong?AMY: The most beautiful thing you've ever seen.RORY: Oh, tellme I didn't really say that.AMY notices the two pirates removing the barrels blocking the door.AMY: What's going on?PIRATE 1: We're not staying here to mollycoddle the boy. The Captain's gone soft, it's time for us toleave.INT. TARDISThe DOCTOR is typing on the console when AVERY starts pointing and touching controls.AVERY: What's this do?DOCTOR: (pointing) That does very very complicated. That does sophisticated, thatdoes whoa, amazing, and that does whizz bang far too technical to explain!AVERY: Wheel?DOCTOR: Atom accelerator.AVERY: It steers the thing.DOCTOR: No...Sort of...Yes.AVERY: Wheel. Telescope. Astrolabe.Compass. A ship's a ship. Oh...INT. SHIP, MAGAZINE, NIGHTTOBY gets up.TOBY: He told you to wait, you dog. He's your Captain, a Naval Officer. You're honour-bound to do as he tells you.PIRATE 1: 'Honour-bound'?Do you know what kind of ship this is? Do you know what your father does?AMY puts her arms about TOBY'S shoulders.AMY: Don't listen to him, Toby.PIRATE 1: We sail under the black flag. The Jolly Roger.TOBY:Liar!(lunges) He's no wicked pirate!PIRATE 1: Oh, you think so? I've seen your father gun down a thousand innocent men.INT. TARDISDOCTOR: This is how the professionals do it.The DOCTOR sets the TARDIS inmotion. Its machinery groans and goes nowhere.DOCTOR: It's stuck. Not responding.AVERY: Becalmed?DOCTOR: Mm-hm. Apparently. That's new. You had to gloat, didn't you?AVERY: I'm not gloating.DOCTOR: I sawthat look just now. Ha-ha his ship is rubbish.AVERY: True.INT. SHIP, MAGAZINE, NIGHTPIRATE 1: (to PIRATE 5) Get what treasure you can I'll meet you in the row boat.TOBY comes forward, a sword pointed at PIRATE1.TOBY: You're going to remain at your post.PIRATE 1: I am not playing games with you boy, you put that down.TOBY: One more step and I'll use this, you blaggard.PIRATE 1: You don't know how to fight with acutlass, boy.TOBY: Don't need to, do I?TOBY lunges forward and cuts PIRATE 1 on the hand.PIRATE 1: Ah! (breathes heavily) No...INT. TARDISThe DOCTOR checks the controls.DOCTOR: It can't get a lock on theplane.AVERY: The what?DOCTOR: The space we travel in. The... ocean. Sort of ocean but not water. The TARDIS can't see. It's sulking because it thinks the space doesn't exist. Without a plane to lock onto we're notgoing anywhere.AVERY: I'm confused.DOCTOR: It's a big club. We should get T-shirts.There is an explosion and rumblings.DOCTOR: What's happening?INT. SHIP, MAGAZINE, NIGHTPIRATE 1: (turns his palm over toreveal the spot) You little swabber!AMY: Congratulations. Made it to the menu. Probably shouldn't go out there now.PIRATE 1: (pulls pistol) You scurvy ape.RORY: Don't shoot! The powder will blow and kill us all.PIRATE2 takes the key ring from PIRATE 1's belt.PIRATE 1: Mulligan, what are you doing?MULLIGAN leaves.AMY: No honour among pirates.PIRATE 1 lowers his gun and begins to pile the barrels back in front of the door.INT.TARDISThe DOCTOR frantically works the controls.DOCTOR: OK. She's had her little sulk. Now she's heading for the full-on screaming tantrum.AVERY: Can you fix it?DOCTOR: The parametric engines are jammed.Orthogonal vector's gone. I'm almost out of ideas.AVERY: Almost?DOCTOR: Well, we could try stroking her and singing her a song.AVERY: Will that help?DOCTOR: Hard to say, never has before.The DOCTOR flips aswitch in the hopes of regaining control but it doesn't work. The TARDIS rocks.DOCTOR: Argh! I've lost control of her, she's about to dematerialise we could end up anywhere!AVERY: That sounds bad.DOCTOR: Yes, itis! Out! Now! Abandon ship! ABANDON SHIP!The DOCTOR grabs AVERY and pushes him out the door as the console begins to explode, shooting sparks.INT. SHIP, BELOW-DECKS, NIGHTThe DOCTOR and AVERY run outof the TARDIS and as far from her as possible in the cramped space. They turn around to see the TARDIS enveloped in a green light as it disappears.DOCTOR: OK, OK, OK. TARDIS runs off on its own. That's a bit of anew one. Bang goes our only hope of getting them out of here.AVERY: Not much of a Captain without a ship, are you?The DOCTOR and AVERY head back to the magazine and are stopped by MULLIGAN who holds twopistols on them. He also carries treasure, a crown around his arm.AVERY: Mulligan? What are you doing? This is mutiny.MULLIGAN: She doesn't want me. She only wants Toby and the scrawny looking fellow. (runsoff)DOCTOR: He's got the last of the supplies. We should go after him.AVERY: Never mind the damned supplies. What about my treasure?AVERY and the DOCTOR follow MULLIGAN. MULLIGAN fires but they takecover.DOCTOR: Don't get injured. Don't get injured.INT. SHIP, STOREROOM, NIGHTThey chase MULLIGAN back to the hold. He locks the door behind him. Using flint, he lights a fire in a small hand-held paddle. drops itwhen the flames burn his hand.AVERY: (through door) Come out of there you mutinous dog!MULLIGAN burns his hand and drops the paddle, leaving him in darkness.MULLIGAN: Ow!INT. SHIP, BELOW-DECKS, NIGHTAsthe DOCTOR is using the sonic on the lock, they hear the SIREN singing. The DOCTOR and AVERY begin checking each other for injury. The look to the door and see green light through the cracks.DOCTOR: She's"}
+{"doc_id":"doc_275","qid":"","text":"•I do not own the characters or situations of BTVS and I claim no credit for the content of this episode. I have merely transcribed what appeared on my screen, with help from the closed captions. •I prefer that you linkto this transcript on the Psyche site rather than post it on your site, but you can post it on your site if you really want, as long as you keep my name and email address on it. Please also keep my disclaimers intact. DONOT POST MY TRANSCRIPT ON YOUR SITE WITHOUT MY NAME ON IT! • I apologize in advance for my lame transcription of the fight scenes. I don't know the names of different punches and kicks. Use yourimagination.[SCENE_BREAK]No teaser. Episode opens right where \"Two To Go\" left off.[SCENE_BREAK]Act I[SCENE_BREAK]Open on Buffy lying on the floor of the Magic Box. She lifts her head, sits up and starestoward the door.BUFFY: Giles? Giles just stands there with a grim expression. Anya, on the floor in another part of the magic shop, also looks over as she stands up.ANYA: Giles? Giles still doesn't respond to either ofthem.WILLOW: (O.S.) Uh oh. Reveal Willow still lying on the floor where Giles's blast of magic threw her.WILLOW: (sarcastic) Daddy's home. I'm in wicked trouble now. Willow sits up and wipes her bloody nose with herhand, looks at the blood, wipes again. Her hair is still black and her face still covered with dark veins, although her eyes are normal.GILES: You have no idea. (Willow sitting up) You have to stop what you'redoing.WILLOW: (fake smile) Uhh, sorry. Can't do that. (Giles walking closer) I'm not finished yet. Willow starts trying to get up, somewhat shaky.GILES: Neither am I. Stay down. Giles gestures at Willow with one handand she falls back onto the floor, wincing.ANYA: (softly to Giles) How'd you do that? Giles ignores Anya, still completely focused on Willow.WILLOW: (small laugh) That's borrowed power. No way is it gonna be strongenough-GILES: I'm here to help you.WILLOW: (rolling eyes) Thanks, but I can kill a couple geeks all by myself. (Giles walking slowly closer) But, hey, if you'd like to watch ... I mean, that's what you Watchers are goodat, right? Watching? Butting in on things that don't concern you?GILES: You concern me, Willow. Stay on this path and you'll wind up dead.BUFFY: Willow. Listen to him. I don't want to fight you anymore.WILLOW: Idon't want to fight you either. (looking at Giles) I wanna fight him. Willow starts to get up again, not normally but with magic, rising up to her feet without apparent effort.GILES: Stay down. Giles makes his gestureagain but Willow makes one of her own and blocks him.WILLOW: No. Giles looks a little alarmed. Buffy looks wary, moves over to stand beside Giles.WILLOW: Remember that little spat we had before you left? (shot ofAnya watching nervously) When you were under the delusion that you were still relevant here? (walking closer) You called me a rank, arrogant amateur. Well buckle up, Rupert... Anya, Buffy, and Giles continue towatch Willow uneasily. Suddenly a magic light from nowhere begins to light up Willow's body, and her eyes go black again as a humming noise begins to rise in pitch and volume.WILLOW: (deep resonant voice) 'CauseI've turned pro. The humming/whirring noise continues as Willow begins a spell.WILLOW: Asmodea, bring forth--GILES: (gesturing) Vincire! Green magic energy shoots from Giles's hand and forms a band aroundWillow's torso, pinning her arms against her body. It glows with a green light that makes Willow's skin appear green too.WILLOW: What? No! Get off! (struggling) Solvo, libero... Giles continues holding out his handtoward her. Suddenly Willow throws back her head and closes her eyes, apparently unconscious. Her body floats up into the air and hovers about a foot off the ground. The band of magic holding her changes to a morecontained blue-grey color. Anya and Buffy watch warily. Buffy moves closer to Giles. Willow continues to float in midair.BUFFY: What did you do?GILES: Contained her and her powers within a binding field. It puts her ina kind of ... stasis for the time- Giles looks at Buffy for the first time, pauses. Buffy continues staring at Willow.GILES: You cut your hair. Buffy looks at him, gets teary and hugs him. Anya watches them hugging. Shewalks up behind them and fidgets for a moment.ANYA: I'm blonde. Giles and Buffy look at her, still with their arms around each other.ANYA: I, I colored my hair. (pauses) Again. I'm blonde.GILES: Yes, I noticed. Gilesholds out one arm and Anya joins the hug. After a moment Giles disengages from Anya and Buffy, looks at Willow again. He walks over to Willow who is still floating in the air, unconscious, with her head hangingback.GILES: I'm very sorry about Tara. Giles looks sad, stands there for a moment, starts to walk away.WILLOW: This... Giles pauses, looks at her in surprise. Willow opens her eyes a little and cranes her neck towardhim.WILLOW: ...won't hold me ... forever. Giles looks a bit alarmed. Buffy and Anya look grim.Cut to later. Buffy and Giles are in the workout room at the back of the magic shop. Buffy stands by the pommel horsewhile Giles is picking nervously at the practice dummy in a corner.GILES: I came as soon as I heard.BUFFY: The Council?GILES: The Council haven't a clue. About much of anything, really. (walking toward Buffy, leaningon the horse) No, there's an ... an extremely powerful coven in Devon. They sensed the rise of a dangerous magical force here in Sunnydale. A dark force, fueled by grief.BUFFY: Willow.GILES: I'd so hoped it wasn't her.(pauses) And then a seer in the coven told me about Tara. That's when the coven ... imbued me with their powers.BUFFY: And sent you here to bring Willow down.GILES: (looks at her) Buffy, what's happenedhere?BUFFY: (pacing) God. I don't even know where to start.GILES: Well, Willow's clearly been abusing the magicks.BUFFY: (nods) She has. She was ... and I barely even noticed. Giles, everything's just been so...(sighs) Xander left Anya at the altar, and Anya's a vengeance demon again... (Giles looking shocked) Dawn's a total klepto ... money's been so tight that I've been slinging burgers at the Doublemeat Palace ... (looksdown at the floor) And I've been sleeping with Spike. Buffy pauses, looks up at Giles, looks as if she can't believe she just said that. Giles stares at her. She looks away again, embarrassed. Suddenly Giles startslaughing. He covers his mouth with his hand but can't stop. Buffy stares at him, pouty.GILES: (trying to calm down) Sorry. He bursts out laughing again. Buffy rolls her eyes, now just looks amused. Giles keepslaughing and slowly Buffy starts to laugh too. They both stand there laughing.Cut to the main Magic Box room. Anya is cleaning up some of the debris on the floor. She puts a bunch of stuff into a small basket andcarries it toward the counter, past the still floating Willow. Willow's eyes open slightly and she watches Anya walk across the room. Her voice echoes between them although her mouth doesn't move.WILLOW:(telepathically) Anya... Anya turns around, looks at Willow nervously.ANYA: Willow.WILLOW: (telepathically) I need you, Anya. I need you to do something for me. Anya twists her hands together nervously, gathers hernerve and moves a little closer to Willow.ANYA: I know what you're trying to do. And I hate to burst your bubble, but that mind control mojo doesn't work on vengeance demons, so why don't you just-WILLOW:(telepathically) Stop talking and listen.ANYA: (nods) Okay.WILLOW: (telepathically)You need to free me.ANYA: (uncertain) No. Anya turns and starts walking toward the back.WILLOW: (telepathically) You don't want tocall out to them. (Anya stops) You want to take away this binding spell.ANYA: (turns back toward Willow) I don't know how.WILLOW: (telepathically) I do. Do you want me to tell you? Anya hesitates, looking anxious.Cut back to the workout room. Buffy and Giles are still laughing helplessly. Buffy is leaning over the pommel horse.GILES: (laughing) Duct tape?BUFFY: (laughing) On their mouths. So the demon could eatthem...GILES: Because they were figments. More laughing.BUFFY: All of it! You, Sunnydale ... And I was just some nutcase in L.A.GILES: (still laughing) Of course. Why didn't we see it before? Slowly they stoplaughing, and look much calmer than before. Buffy holds her stomach. GILES Can you forgive me?BUFFY: For what?GILES: I should never have left.BUFFY: No. You were right to leave. We're just ... stupid.GILES: Iknow you're all stupid. (Buffy smiling) I should never have abandoned you.BUFFY: No. Giles, you were right about everything. It is time I was an adult.GILES: Sometimes the most adult thing you can do is ... ask forhelp when you need it.BUFFY: Now you tell me. They smile. Giles chuckles a little.BUFFY: (quietly) I guess ... I wasn't ready before. It took a long time for that feeling to go away ... the feeling that I wasn't really here.It was like ... when I clawed my way out of that grave, I left something behind. Part of me. I just... (pauses, looks Giles in the eye) I don't understand ... why I'm back.GILES: You have a calling.BUFFY: But it was mytime, Giles. Someone would have taken my place. (Giles grimacing) So why? Giles looks away, pensive, not answering.BUFFY: Right. (sighs) What's gonna happen to Willow? Giles looks at her, straightens up.GILES:Well, the coven is working on a ... way to extract her powers without ... killing her. And, uh, should she survive, you ought to know, Buffy, that there's no guarantee she'll ... be as she was. (Buffy looking concerned)Willow has killed a human being. How will she be able to live with herself?WILLOW: (O.S.) I wouldn't worry about that. Giles and Buffy turn toward the doorway. We see Anya hovering in the doorway, apparentlyunconscious. Giles and Buffy stare in alarm. Willow moves out from behind Anya. Her eyes are black again.WILLOW: Willow doesn't live here anymore. Willow lets go of Anya and she falls to the floor. Zoom in on Buffylooking alarmed. Blackout.[SCENE_BREAK]Act II[SCENE_BREAK]Open on the same scene. Willow stands in the doorway over Anya's unconscious body. Buffy looks at Giles, then starts forward to attack Willow. Willowlifts her hand and sends a bolt of magic at Buffy, who flies back, crashes against the wall opposite, and falls to the ground. Giles watches this with alarm, then starts toward Willow himself.GILES: Vincire! Giles holds outa hand toward Willow, sending another binding spell toward her, but she waves her hand at it.WILLOW: Solutum. The binding field dissolves. Giles lowers his hand. Willow takes a few steps into the room.WILLOW:(small smile) Fool me once... On the wall behind Willow we see a variety of knives and throwing-weapons hanging in a case. They suddenly lift off the wall and hover in the air.GILES: Willow...WILLOW: (shaking afinger) Shame on you. The knives begin to fly toward Giles. He looks to his left and yells something. The practice dummy flies over in front of Giles, and all the knives slam into it. Willow makes an angry face and wavesher hand. The dummy falls aside. Giles looks determined, makes a ball of magic in his hand and throws it at Willow.GILES: Excudo! Willow flies backward into the brick wall and through it into the main Magic Box roombehind. She slams into a pillar that supports the upper loft, and falls to the floor in a shower of bricks, debris, etc.Cut to: exterior residential street, night. Dawn and Xander walk along, with Jonathan and Andrew behindthem.DAWN: Where are we going?XANDER: I have no idea.DAWN: What?XANDER: I don't know, okay? I can't even run away well. And that's something I'm usually good at.DAWN: Maybe we should we go back andhelp.XANDER: Yeah, 'cause I've been such a big help already. Standing around like a monkey while Buffy gets shot. Tara's dead ... and Willow ... losing...DAWN: (annoyed) Well, feeling sorry for yourself isn't helpingeither, Xander, okay? Beat. Dawn has a calculating expression.DAWN: You know, if Spike were here, he'd go back and fight.XANDER: Sure, if he wasn't too busy trying to rape your sister. Dawn stops walking andstares.DAWN: What?! Xander pauses, then continues walking, shaking his head.XANDER: Forget it.DAWN: (following) I don't believe you.XANDER: Fine.DAWN: (uncertain) He wouldn't do that.XANDER: Is this blindspot like a genetic trait with the Summers women? The only useful thing Spike ever did was finally leave town.Cut to the cave in Africa. Weird screaming and screeching noises, sounds of punching. Something goesflying across the dark cave, hits the ground and rolls into a convenient patch of light. It's a bald demon head with big pointy ears. Pan up to reveal Spike who strolls in holding another demon head in one hand. He'sbare-chested and bruised in many places.SPIKE: Well, that was a bloody doddle and piece o'piss. He staggers and goes to his knees wearily, but maintains his sarcastic tone.SPIKE: Got any more ruddy tests for me, youponce? I'll take anything you can throw at me, if it'll get me what I need to take care of the Slayer. Give her what's coming to her. (sniffs angrily) So you just bring it on. Bring on the whole- He pauses, looks confused.Weird skittering noises.SPIKE: Bloody hell. We see Spike from the waist up as lots and lots of large black insects, maybe beetles, start crawling up his body. They swarm up his chest and neck and onto his face as hesqueezes his eyes shut and grunts in distaste.Cut to: magic shop, main room. The pillar is lying on the floor and furniture, sparking occasionally with electricity. Pan slowly across the wreckage of the shop, which hastaken quite a beating from all the fighting. Pan down to reveal a large wooden piece of furniture (bookcase?) lying on its side. Next to it is a pile of books, some of which are on fire. A pair of feet walk up next to thebooks. Pan up to reveal Willow. Still wearing all black (though her clothes are now dirty), still with the veiny face and the black hair. Her eyes are normal. There's a cut across her cheek. She smiles.WILLOW: That allyou got, Jeeves? Reveal Giles standing in the doorway to the workout room. He looks very tired and bruised. His clothes are dirty also.WILLOW: 'Cause, I could stand to go another ten rounds. Whereas ... you canbarely stand.GILES: (wearily) Your powers ... may be undeniably greater. But I can still hurt you if I have to.WILLOW: Boy, you just don't get it, do you? Nothing can hurt me now. She lifts a hand to indicate her bloodyface.WILLOW: This? She waves her hand in front of her face and the cut heals.WILLOW: ...is nothing. It's all ... nothing.GILES: I see. If you lose someone you love ... the other people in your life who care about you...Buffy appears in the doorway behind Giles, watching.GILES: ...become meaningless. I wonder what Tara would say about that.WILLOW: (grimly) You can ask her yourself. Willow lifts her hand and sends a bolt of magictoward Giles. Buffy rushes forward, pushes Giles forward and out from under the loft. And just in time, as the latest magical blast destroys the loft's stability and the whole thing comes tumbling down. Buffy and Gilesland in a heap on the floor, books and rubble raining down on them. Buffy lifts herself up on her elbows to look at Willow.WILLOW: You're always saving everyone. It's kinda pesky. Willow looks down at the burning stuffnext to her. She bends down and picks up a ball of flame in her hand. Buffy stares.WILLOW: You probably even think you're buying escape time for Jonathan and the other one. Well, I got a little secret for ya. (Buffylooking upset) I can kill them from anywhere I want. (looking at the ball of flame) With this. Willow waves her other hand over the ball of flame and it begins to grow.WILLOW: It'll find them. It'll bury them. (Giles liftinghis head painfully) Along with anyone helping those Dead Men Walking. Buffy gets painfully to her feet, staring at the ball of flame.BUFFY: Don't.WILLOW: (mockingly) Unless ... somebody, somehow ... can get there intime to save them. (pause) Huh. Oh, well. She throws the ball up into the air. It bursts through the ceiling, leaving a large hole.WILLOW: Fly, my pretty, fly. The ball of fire disappears through the hole. We can see starsabove.WILLOW: (to Buffy, smiling) See what I did there? Buffy looks down at the injured Giles.GILES: Go. Buffy runs past Willow and toward the door.WILLOW: Good luck. Willow turns her attention back toGiles.WILLOW: Thought she'd never leave. (walking toward him) Now I finally have you all to myself.Cut to the street. Buffy runs out onto the sidewalk, looks up and sees the fireball flying away several dozen feet offthe ground. She runs after it. Cut back to the magic shop. Willow paces back and forth.WILLOW: You're such a hypocrite. Waltzing in here with your borrowed magicks. So you can tell me what? Magic's bad? Behave?Be a good girl? (chuckles) Well, I ... I don't think you're in any position to be telling me what to do. Willow looks up. Pan up to reveal Giles pinned against the ceiling, groaning in pain.WILLOW: Do you? Willow gestureswith one finger and Giles falls to the floor. He lands hard, on his stomach, and stays there making pained faces. He still has blood all over his face.WILLOW: (scornful) I used to think you had all the answers. That I hadso much to learn from you.GILES: Willow... She gestures again. Giles flies up to the ceiling again, groaning as he slams into it.WILLOW: (looking up at him) You were jealous. Still are. Just couldn't bear that I was theone with power. That's why you ran away.GILES: Incurso! Green magic flies from Giles's mouth and hits Willow.WILLOW: That's why you- She stumbles backward from the magic blow, and Giles falls to the flooragain.WILLOW: (panting) That ... was rude! Now I forgot what I was saying.GILES: (painfully) Perhaps you're not as strong ... as you think you are. Willow glares at Giles as he struggles to get up.GILES: You'reexpending way too much of your mystical energy to maintain your powers. At this rate you're going to ... burn out. And up.WILLOW: (annoyed) Blah blah blah.GILES: (on his knees) Willow, you ... you need tostop.WILLOW: What I need... Suddenly she moves forward with magic speed and is next to Giles, grabbing him.WILLOW: ...is a little pick-me-up. She puts her hand on Giles's chest and it glows with orange-red energy.Giles gasps in pain. Close shot on Willow's hand as she drains energy out of Giles. Suddenly she lets him go and staggers backward. Giles falls over on his back.WILLOW: Whoa. Head rush. She stumbles against thecounter and slides down it to sit on the floor, her image blurring. She gasps and pants with pleasure.WILLOW: Wow. Whoa. Who's your supplier? This is ... wow. Shot of Giles lying there barely conscious.WILLOW: It'sincredible. (panting) I mean, I am so juiced ... Giles, it's like ... no ... mortal person has ... ever had ... this much power. Ever. It's like I, I'm connected to everything ... I can feel ... it feels like ... I ... I can feel... Shepauses and her smile begins to fade.WILLOW: ...everyone. Oh. Oh my God. All the emotion. All the pain. No, it, it's too much. It's just too much.GILES: (weakly) Willow ... It doesn't have to be ... like that. You ... youcan stop it. Willow is bent over now with her hands on the floor as if in pain.WILLOW: (panting) Yeah. I, I can. I have to stop this. (getting up) I'll make it go away.GILES: Willow...WILLOW: Oh, you poor bastards!Magic begins to swirl around Willow and she lifts into the air. Lightning flashes around her body.WILLOW: Your suffering has to end. A cloud of magic like a tornado gathers around her and she disappears.GILES: No...Blackout.[SCENE_BREAK]Act III[SCENE_BREAK]Open on a close shot of a wall or door, and a foot kicking it.XANDER: (O.S.) Ow. (kicks again) Ow.Cut to wider shot. We're in a cemetery and Xander is kicking the doorof a crypt, repeating \"ow\" with each kick. A few yards away Dawn stands watching. Pan past Dawn to discover Jonathan and Andrew at another crypt, using their swords in an attempt to pry the door open.JONATHAN:Ow! Son of a bitch!ANDREW: Buttwipe!JONATHAN: I wasn't talking to you.ANDREW: Oh. Reflex.XANDER: (still kicking) Man, they've really tightened security up here lately. One too many squatters from the Hellmouth.Andrew and Jonathan walk toward Xander.ANDREW: (sarcastic) Hide out in the cemetery. What a fantastic idea.XANDER: Yeah, I'm working on a whole \"shut the hell up\" pitch you might like too.DAWN: (noticingsomething above and behind them) Xander?XANDER: (to Andrew) I've had just about as much as I can stand baby-sitting a couple of social retards who don't appreciate-DAWN: Xander!XANDER: What?DAWN: What isthat? Xander moves closer to her and looks up where she's looking. The Nerds look too. We see Willow's fireball flying toward them.BUFFY: (O.S.) Get out of there! In the distance we see Buffy running toward theothers, leaping over headstones and such.BUFFY: Move! She leaps forward and grabs both Jonathan and Andrew, pulling them to the ground. The fireball hits the ground between them and all five are thrown to the"}
+{"doc_id":"doc_276","qid":"","text":"[Press conference](Alicia and Peter are walking in a hall and they are going into the press room. There are a lot of journalists.)Peter: Good morning. An hour ago, I resigned as State's Attorney of Cook Country. I didthis with a heavy heart and a deep commitment to fight these scurrilous charges. I wanna be clear. I've never abused my office. I've never traded lighter senses for financial or sexual favors. At the same time, I need toatone for my personal failings with my wife, Alicia, and our two children. The money used in these transactions was mine and mine alone. No public funds were ever utilized. But I do admit to the failure of judgment inmy private dealings with these women. Alicia and I ask the press, please respect our privacy. Give us time to hear. With the love of God, and the forgiveness of my family, I know I can rebuild their trust. I wanna thankthe people of Chicago; it has been an honor to serve you. And I pray that one day, I may serve you again. Thank you.(Alicia and Peter leave)Journalists: Sir! Are you still involved with prostitutes, sir? How many werethere, sir? Will you ever try to hold public office again? Sir! Answer the question![In a hall]Press agent: We have interviews set up with the Tribune and Channel Four.Peter: Absolutely not! I'm not doing any moreinterviews. I want you to cancel all of them. That's it!Press agent: I'll tell Channel Two, we don't have a comment at the present time but we emphatically question the authenticity of this thing.(Press agentsleave)Peter: Hey, you all right?(Alicia slaps Peter and then, leaves)Journalists: Mrs.Florrick, how long have you know your husband was having an affair? How are you going to protect your children?[6 months later; inan office](Alicia is waiting and a girl passes in the hall)Alicia: Oh excuse me, isn't the staff meeting at 9.30?The girl: You're in the wrong conference room. It's up one floor.Alicia: Oh, God!(Alicia takes her stuff and runsto the other floor. She enters into a room)A voice (Will's voice): This is a major class action. A case that could propel us to the top rank of full service firms, and I don't think I need to remind you what that will do toyour year-end bonuses. Anyway, Sheffrin-Marks fired their last firm because they took their eyes off the ball. So, until further notice, your personal lives have been cancelled.Another voice (Diane's): So, we'll needsome of you to help with the lower profile client work to free up our top litigators.Will: Ed, you take the witness prep on highway redistribution. Don, you take the Brighton criminal and Alicia will take the pro bono.Everyone else, your task is to show Sheffrin-Marks our 'A' game, ok? Let's do this!(End of the meeting- Alicia and Will are in the hall and they're walking)Alicia: Will.Will: Alicia.Alicia: Hey.Will: I'm sorry I didn't introduceyou in there. Everything is moving real fast with this class action.Alicia: Well, I just wanted to say thank you for the opportunity. It's a real life saver.Will: No, glad you could come aboard. Hope you're all right with thispro bono. How'd it sound?Alicia: Interesting.Will: Good. Don't be nervous. You worried about the gunshot residue?Alicia: No...oh, god! (phone rings)Will: Nice ring tone. Who gets that?Alicia: Oh, my mother-in-law. Mydaughter programmed it.Will: What's yours?Alicia: I don't wanna know! So, the gun residue.Will: Diane, you're briefing Alicia, right? Good. So you're in good hands. So, let's catch up, have dinner.(Diane arrives, Willleaves - Diane and Alicia walk in the halls)Diane: So, Will speaks highly of you. He says you graduated top of your class at Georgetown. When was this?Alicia: 15 years ago.Diane: Hum, hum...and you spent 2 yearsat?Alicia: Crozier, Abrams & Abbott.Diane: Good firm. Will says you clocked the highest billable hours there. Why did you leave?Alicia: Well, the kids and Peter's career.Diane: Hum...Brian, can you get Mrs. Florrick thefiles?Brian: Sure!Diane: I want you to think of me as a mentor, Alicia. It's the closest thing we have to an old boys' network in this town.[Diane's office]Diane: Women helping women, ok?Alicia: Ok.Diane: When I wasstarting out, I got one great piece of advice. Men can be lazy, women can't. And I think that goes double for you. Not only, you're coming back to the workplace fairly late, but you've some very prominent baggage. But,hey, she can do it, so can you!(Brian enters in the office)Diane: Thanks Brian! Like many law firms, we donate 5% of billable hours to pro bono. Sadly, I'm long past my quota on this one: Jennifer Lewis, 26 years old,taught second grade. Accused of killing her ex-husband. Prosecution thought it was a slam dunk 45 years, but the jury came back last week, deadlocked. 6 jurors voted to convict, 6 not; I'm not even sure why the StateAttorney is re-trying except he wants...Justice! He wants to prove himself! So, stick with my strategy from the first trial. The police focused on Jennifer so early in the investigation, they never even looked for thecarjacker. Deadlock a jury a second time, they'll never re-try a third, ok? Ok, our investigator can get you up to speed for the bail hearing at 3. Cormac, I'm ready!Alicia: The hearing's today?Diane: Well, we coulddelay, but that would leave Jennifer incarcerated for another month. Don't worry, you'll be fine! The ASA's not going to argue against a recognizance release. Let's go, meeting at 10.30.(Diane leaves and Aliciafollows)[In the hall, Alicia hears the TV from Brian's office. It's the speech of Peter]Sound from the TV: But I do admit to a failure of judgment in my private dealings with these women.Brian: Sorry.Sound from the TV:...mine and mine alone. No public funds were ever utilized. The recent news...(Alicia leaves)[In the hall of the offices]Cary: Hey, let me help.Alicia: No, I'm fine.Cary: I'm heading that way. I'm Cary, the other newassociate.Alicia: Oh right, Alicia.Cary: Yeah, look, I know we should be hate each other's throats, but I just wanna say I really respect what you're doing here. Raising a family and then, jumping back into this. My mum,she's thinking of doing the same thing.Alicia: Great.Cary: Yeah. So, you're on the pro bono, right?Alicia: Humhum.Cary: Yeah, that's great! I interned last summer at the Innocence Project. My dad's best friend is BarryScheck and it was just amazing: helping people. Here, they got me on the Sheffrin-Marks. I'm sure it will be challenging, but at the end of the day, what have you really done? Saved a corporation of few billiondollars?Alicia: You wanna trade?Cary: I would, but I guess they have other plans, so...(An assistant arrives in the hall with some field)An assistant: I'm almost done, Cary. The last one is on your desk.Cary: Thankyou.The assistant: Hi, Mrs. Florrick.Cary: Looks like we share an assistant, so tell me when I'm hogging her, ok? And let the best men win!Alicia: Excuse me?Cary: Let the...nothing! It's nothing. I...It's nothing![InAlicia's office]Alicia: Oops...(There is someone in her office)Kalinda: Don't worry. It's yours!Alicia: Oh!Kalinda: Kalinda Sharma. I'm the in-house.Alicia: Oh, the investigator.Kalinda: You're Peter Florrick's wife.Alicia:That's right!Kalinda: I worked with him at the State's attorney's office three years. He fired me.Alicia: Ok.Kalinda: So what do you know?Alicia: The client is a second-grade school teacher, Jennifer.Kalinda: Lewis.Alicia:Arrested for killing her ex-husband.Kalinda: Making it look like a botched carjacking. Gunshot residue was found on Jennifer's face and hands. (They walked outside the office) That's why the cops started to think it wasa murder disguised as a carjacking. According to them, Jennifer shot her ex-husband and wiped down the gun.Alicia: And the motive?Kalinda: He remarried and wanted custody of the 3 years-old. Witnesses saw themarguing a week before the murder.(In an elevator - Alicia's phone rings)Rings: hey, mom, pick up the phone. Hey, mom, pick up the phone.Alicia: Sorry, it's my daughter.(On the phone)Alicia: Hi, Grace.Grace: Hey,mom. I want to ask you a question, but I don't want you to freak out, ok?Alicia: Oh, oh.Grace: Forget it! I'll ask Zach.Alicia: No, no! What?(See Grace on the phone)Grace: All right, well, some girl said that slept with ahooker my age. And I just...(Alicia is in the hall at the Court)Alicia: What?A guardian: Madam, you'll have to turn that off.Grace: They were playing the tape in the computer lab, and some girls said her dad's a cop andhe said one of the hookers was a teenager.Alicia: Ok, first of all, they were all over 20 and second, where is the teacher?Grace: It's no big deal, mom. Look I've got homework. I'll talk to you later.(Alicia arrives in frontof the door)Kalinda: What?Alicia: Last time, I was in court was 13 years ago.Kalinda: Wow, I was 12.Alicia: Thanks![In the court]A voice: The judge reaches into his pocket, pulls out a check, handing it to the plaintiff.I'm returning 5 grand and we're going to decide this. It's Florrick's wife. Alicia? My god. Matan, from the department Christmas party. You're at Stern, Lockhart & Gardner?Alicia: Yeah, first day.Matan: Oh, this is SandraPai. She's new since Peter. How is he doing by the way?Alicia: Peter? Fine!Matan: Say hello for me, will you? Look at all this. You're gonna to bury us. I don't know how you do it, Alicia. I'd be huddled up in a ballsomewhere. Well, back to work.(The judge arrives)Matan: Good luck.(Jennifer, the client, arrives)Jennifer: Where's Diane?Alicia: Diane asks me to step in for her. Jennifer, I'm Alicia Florrick. I'm one of the other layerswith the firm.Jennifer: Step in? For how long?Alicia: For the retrial.Jennifer: Oh my god!A voice: All right, man. The Criminal Court of Cook County is now in session, the honorable judge Richard Cuesta presiding.Thejudge: Be seated! Ok, let's hear it!Alicia: Your honor, I just...Matan: Your Honor, just to refresh your memory, the accused was deemed a flight risk due to an earlier custody hearing in which she threatened to run offwith her daughter.The judge: And yet just last week a jury deadlocked on these murder charges six to six, Mr.Brody. Now, I know our new state's attorney wants to look tough, but why are you fighting this?Alicia: YourHonor, I just wanted to...Matan: The people are prepared to retry this case right now, your Honor. If Mrs.Florrick is so intent on getting her client out, why doesn't she agree to a speedy trial?The judge: Mrs.Florrick?Alicia: Yes, your Honor.The judge: The wife of the esteem Peter Florrick? You husband and I never quite saw eye to eye, madam.Alicia: Your Honor.The judge: Mrs.Florrick, don't talk! But if the prosecutionthinks that this will in some way prejudice me against your client, he is sorely mistaken. Nice try, Matan. So Mrs. Lewis is granted pretrial release with an electronic monitoring. She is restricted to temporary housingattorney's offices, and transit in between. And given that this is rerun, I'll set the trial date for the 25th. Now, are we all happy? Good!Jennifer: Thank you!Alicia: Sure.(Lockhart's office - meeting between Jennifer, Aliciaand Kalinda)Jennifer: We had a nice time. Michael talked about missing his daughter; the life we had together. We were driving home and uh... We got a flat. He was getting out to fix it, and I saw...a red pickup truck. Aman came up to Michael. I didn't see the gun until.(Flashbacks of the moment - we see Jennifer screaming)Jennifer: Michael!(In the office)Jennifer: And I saw Michael's face. It was, um...Alicia: Do you need to take abreak?Jennifer: No, just...if there is some water.Alicia: Sure.(Alicia leaves - Kalinda and Jennifer stay in the office)(Alicia speaks to her assistant)Alicia: Sonia, we need some water in here.Sonia: It's going to be about 5minutes, but then I've got to do in his depot upstairs.Alicia: Ok, uh, tell me when you're done.(In the office with Kalinda & Jennifer)Kalinda: You stay this man ran to a red pickup truck here, and took off in this directionacross the parking lot. There is a surveillance camera here. And the prosecution played it to make you look like a liar.Jennifer: I'm not lying.(Alicia is coming)Kalinda: But there is no truck on the tape, and that's whyyou're facing retrial how and not an acquittal.Alicia: I think what Kalinda is trying to say, Jennifer is, is it possible that you were mistaken and that the car went this way...not that way? Is that your daughter?Jennifer:They won't let me see her. Michael's parents have custody. What am I gonna do?Alicia: You're gonna take one day at a time. We got your housing. You're going to go there, take a shower, take a nap. Don't turn on theTV. You like reading? I'm going to get you some books. Fiction is best. You won't feel like it, but put on nice clothes and makeup. Force yourself to. Not for court, for you. Is the superficial things that matter most rightnow.Jennifer: Does it ever get easier?Alicia: No! But you do get better at it.(In front of the elevator - discussion between Alicia and Kalinda)Alicia: What?Kalinda: You identify with too many clients, you burn out!Alicia:Why don't you tell me when I do something right, ok?Kalinda: Sure. You go and interview the jurors and I'll try to figure out how a surveillance camera can lie.[In a hospital](Alicia is asking some questions to a woman,one member of the jury)A woman: That's right. I was the jury foreman.Alicia: And you don't mind answering a few questions for us, doctor? It helps us refine the case for the retrial.A woman: No problem. I don't thinkyou'll need much refining. Your case was very strong, very logical. In fact, I'm not even sure the other side went to trial. I voted for conviction right from the start.Alicia: Good. You mean acquittal?A woman: No,conviction.Alicia: But I'm with the defense.A woman: Oh.(The woman leaves)[In a school](Alicia is talking to a man, one member of the jury)The man: She was lying about the pickup truck. She had the gunshot residueon her hands.Alicia: Can I ask you how many voted for conviction from the start, sir?The man: Eleven.Alicia: What?The men: There was only one holdout: Juror number 9. We argued with her for 3 days.Alicia: But thejudge polled the jury and they deadlocked 6 to 6.The men: Yes, well, the judge would only declare us deadlocked if we were evenly split. So some of us agreed to change our vote to not guilty just to get out of there! Ifit hadn't been for juror number 9, we would have convicted. She didn't convince us. She exhausted us.[In a house](Alicia is speaking to Mrs. Duretsky, juror number 9)Alicia: No tea for me, Mrs. Duretsky.Mrs.Duretsky:Suit yourself.Alicia: So the other jurors said you were a holdout. Is that correct?Mrs.Duretsky: Mm-hmm. They all thought they were so much smarter than me. My vote counted just as much as theirs.Alicia: Uh-uh.What exactly in the defense's case convinced you?Mrs.Duretsky: Well, the whole thing, really. I tend to look at a person and size them up pretty quickly. That lady, I liked her.Alicia: The defendant,Jennifer?Mrs.Duretsky: No, that lawyer lady. She never puts on airs. I like that!Alicia: Just so I'm clear: the defense expert argued that the gunshot residue on Jennifer's hands came from the struggle. Is that why youheld out?Mrs.Duretsky: Oh, I don't know about that! I just tend to get a feeling. Don't I, Cyrus![In Alicia's car](The phone rings - conversation between Alicia and Jackie)Alicia: Hi, Jackie. What's wrong?Jackie: Nothing'swrong. I was going through the laundry and I think some of Grace's school clothes you would find inappropriate.Alicia: We just moved away. Grace has left all her friends. I need you to go easier on her.Jackie: All I saidwas I could take her shopping and help her find pants that would make her look slimmer.Alicia: She's at the perfectly healthy weight. I don't want her to have body image issues.Jackie: She'll only have body imageissues if she keeps gaining weight.(Will knocks on the car)Will: Alicia.(Alicia to Jackie)Alicia: We'll talk about this when I get home later, ok?Jackie: All right!Alicia: Bye.(Alicia and Will are walking in the parking lot)Alicia:You know the new associate, Cary?Will: The one in the Brioni? What? I'm an observant.Alicia: Yes, the one in the Brioni. He said to me \"may the best man win\". What exactly does he mean by that?Will: What he meansis something I thought we weren't making public.Alicia: What?Will: Look, we only have one associate position open. So we agreed to hire 2 applicants, and in 6 months, decide which one to retain.Alicia: So this is acontest between me and Cary?Will: It was either that or a cage match. I'm just happy your pro bono is going well.[In prison]The guardian: Visiting hours are almost over.(Alicia calls on Peter)Peter: They said a visitor. Ithought mum.Alicia: I've been busy.Peter: It's good to see you.Alicia: I need you to sign some things.Peter: Ok.Alicia: We didn't get everything we wanted on the house. It's a bad market to sell!Peter: I see that!Alicia:We used most of it for your court costs. The rent will come out of my salary and the kids are going to have to stay in public school.Peter: How are they? Mother says that she's helping out around the house.Alicia:They're good. Grace argues over clothes with your mother, and Zach is using you to make friends at school which I don't know is that's a healthy thing or something worse.Peter: Using me?Alicia: \"Funny or die\" has askit about you. It's cool, I guess. Oh...here.Peter: Alicia, I know this has been hard on you, but you've to believe me. I'm innocent of the abuse of office charges.Alicia: You think I give a damn about that, Peter? Theywere playing a tape in Grace's computer lab of you sucking the toes of a hooker. You think I care about the small print in your employment contract?Peter: Come on, I was set up. The state attorneys...Alicia: Come on!I don't wanna talk! I'm not gonna fight. I didn't come here to fight!Peter: Mum says you're on a case. Congratulations! The fake carjacking, right? Who's the judge?Alicia: Richard Cuesta.Peter: You're kidding! He hatesme.Alicia: I know.A voice: Visiting hours are now over.Peter: You know there was something weird about the case, don't you? The Lewis' case? There was a rumor going around that something got buried, pitted.Alicia:What?Peter: Evidence or testimony.Alicia: I should go.Peter: Hey, listen. Thanks for playing the breadwinner for a while. It's not gonna last forever. Lawyers think that the appellate court is going to hear my case. Ifthey overturn it, everything goes back to normal.Alicia: Peter, it's never going back to normal.[In a car](Alicia and Kalinda are talking)Alicia: As soon as the cops found gunshot residue on Jennifer's hands, they hadtheir suspect. So what if they pitted everything else?Kalinda: And what if they didn't? Arguments are cheap. What's that?Alicia: Page 1 of the crime lab summary. Look at the top of the corner.Kalinda: Looks like astaple.Alicia: It is a staple.Kalinda: And that's odd because...Alicia: There's no page 2. Why do they need to staple if there is no page 2?Kalinda: You think the cops kept something out the discovery that pointed toanother suspect?Alicia: Well, I think either they did or it would be helpful in court to imply that they did.Kalinda: 2 days away from trial and you're thinking of dropping the old strategy?Alicia: Diane barely convinced acat lady to acquit.Kalinda: So, a pickup truck is seen racing through a well-lit, empty parking lot. How's a truck missed by that surveillance camera?Alicia: Mismarked surveillance tape.Kalinda: Yeah.Alicia: What are youdoing?Kalinda: Working. These are better than subpoenas.[In a firm](Kalinda and Alicia ask some questions to a guy working in the firm near the place where the murder happened)Kalinda: We just need to see how thesurveillance system works, and we'll be out of your hair in 5 minutes.A guy: 5 minutes?Kalinda: Uh-uh.A guy: Ok, it's down here.Alicia: Why did my husband fire you?Kalinda: He accused me of working 2 jobs.Alicia:Were you?Kalinda: Oh, yeah!A guy: The computer automatically records the surveillance, marks it with date and time.Kalinda: Is that the night of the murder?A guy: Yeah. I mean even if the computer did mismark it, Imake an hourly tour of the lot, and I didn't see a pickup truck. Look that's me! 11:03 just before the murder.Kalinda: Can we have copies of these?(The guy calls his assistant)A guy: Sure. Lanie, Lanie!Lanie : what ?Aguy : give me some disks.Lanie: All right!(Alicia to Lanie)Alicia: Your machine spit out an extra one. Would you like it? Oh, beautiful children.Lanie: 2 kids, 2 grandkids.A guy: Lanie, how about those disks?Alicia: Is healways so charming?Lanie: He's just a lazy mall cops, he spends all the day surfing p0rn, and with night shift, he can't get his skinny ass out of his chair. I'm always waking him up in the morning.Alicia: Oh,men![Alicia's house]Jackie: I talked to Peter. He said you dropped by.Alicia: I did.Jackie: I'm glad. He's hurting in there. He's very brave but he's hurting. He needs you to forgive him, Alicia.Alicia: Jackie, I spent 15years doing his laundry, cleaning his house, never asking a single question because I didn't think I had to. And he took everything I thought we had and he just put it out there for everyone.Jackie: He didn't want that!The press...Alicia: Oh, Jackie! Stop it, please! Peter wasn't thinking of us.Jackie: It takes time Alicia. Give it time.Alicia: Any time I have right now is for them.[SCENE_BREAK][Grace's room]Grace: I want her"}
+{"doc_id":"doc_277","qid":"","text":"Michael: Hup! [throws cheese puff to Ryan who catches it in his mouth][SCENE_BREAK]Pam: Things are a little slow here. And there's only so much cold-calling you can do in a day. Turns out there's no limit to thenumber of cheese puffs you can throw at someone's face.Michael: Hup! [throws cheese puff to Pam who catches it in her mouth]Pam: We're getting pretty good at it.[SCENE_BREAK][Pam and Ryan throw cheese puffsto Michael, Ryan and Michael throw cheese puffs at each other, Michael throws a cheese puff over his shoulder to Ryan, all three throw cheese puffs to one another, give high-fives][SCENE_BREAK][Pam yawns, twocheese puffs thrown at her, one sticks in her hair][SCENE_BREAK]Jim: Andy put down a bunch of deposits on stuff for his wedding with Angela, but then she was sleeping with Dwight for... several years. Wait, no, thatcan't be right.Pam: The timeline's messy.Jim: Anyway, now we are going bargain hunting in the haunted graveyard of their love.[SCENE_BREAK]Andy: This is my solo. [stereo plays Andy imitating bass guitar, acappella starts singing 'You Can Call Me Al']Pam: I'm confused. Am I walking down the aisle to 'You Can Call Me Al?'Andy: Trust me. You will not be walking. You will be boogie-ing.Jim: I am extremely interested. So,how much will all of this cost?Andy: Well, 12 guys, airfare, three nights in a hotel, food per diem, table up front for merch... $9,000.Pam: I don't know. It seems like a lot for an a cappella group from a college we neverwent to.Andy: Did you even hear the music I just played for you?Pam: Mm-hmm.[SCENE_BREAK]Phyllis: What's wrong with you?Dwight: These sleeves are cutting off my circulation. Not enough blood getting to myhands.Phyllis: I think you look nice.Dwight: Doesn't Charles know he's compromising my attack readiness? It's not a dress code. It's a death sentence.Charles: Looking good.Dwight: 'Kay, thank you. It's a straightjacket! [knocks things off shelf with arms] Okay.[SCENE_BREAK]Dwight: When Michael was in charge, this place was like the Roman Empire. And the Wild West. And war-torn Poland. And Poland. There was just a lotgoing on, so what you wore to work was the least of anybody's worries. And in that chaos, I soared.[SCENE_BREAK]Michael: Hey.Dwight: Hey. Ed's Tires is thinking of making a change.Michael: [gestures to 'Bed &Breakfast' magazine] Is this good?Dwight: They have some great kitchen ideas.Michael: Oh. Okay. Ed's Tires, huh?Dwight: It's small, I know.Michael: I really appreciate it.Dwight: Thanks, Michael. [Michael palmsDwight cash in their handshake] Wait, what is this?Michael: It's for your trouble.Dwight: Wh- I don't need $6 to help a friend.Michael: No, no, listen, as a friend, I want you to have this.Dwight: Michael, you know I can'ttake this.Michael: Yes, I do.Dwight: But don't forget you owe me $10.Michael: That was four years ago. Why don't you let it go?Dwight: Michael.[SCENE_BREAK]Andy: What was up with Pam being all pushy andnegative in there?Jim: I think she just didn't want a crucifix cake.Andy: It scares me to see you going down a road that I went down.Jim: Am I going down a road?Andy: When I see her bossing you around like that, itjust makes me wonder if this thing really has the legs to go the distance.Jim: It's so scary how right the things you're saying are. And you're coming at it with almost no knowledge, so of course I trust your opinion onthis.[SCENE_BREAK]Andy: I know a few things about love. Horrible, terrible, awful, awful things.[SCENE_BREAK]Jim: I was going to use today to purge my inbox, but now something much more pressing has comeup.[SCENE_BREAK]Michael: Ed's Tires. Why don't you tell them that we have fewer clients, so we can spend more time with each of them. Also, try to discuss it over Indian food, and try to mention how you distrustwomen.Pam: I'm not gonna do that.Michael: That is smart. That would not seem genuine. Ryan?Ryan: I can get there.Michael: Good, you take the lead on this one. Also, do not forget that he has just gone through amessy divorce.Ryan: Oh, awesome.Michael: Bring it in. Morning cheer. [clears throat]Michael, Pam & Ryan: U-G-L-Y, you ain't got no alibi! You ugly, huh huh, you ugly! You mama says you ugly! Hey! Go Michael ScottPaper Company![SCENE_BREAK]Pam: I'm here. I'm a part of this now.[SCENE_BREAK]Dwight: You needed to speak to me?Charles: Dwight, take a seat.Dwight: I prefer to stand. Less blood clots.Charles: Nah, that'sweird. You're gonna sit. [Dwight sits] Great. You know, Dwight, it has been quite a transition for all of us. Are you happy with the way things have been runnin' lately?Dwight: Do you mean compared to the ways thingsran with other bosses? Comparisons are hard.Charles: I've just been impressed with your performance and I wanted to make sure good work doesn't go unnoticed.Dwight: Your concern is noted.Charles: Yeah, I likeyour work ethic. You're so... focused.Dwight: Like a wolf. Thank you.Charles: And I wanna start givin' you more responsibility. What do you say you and I go out for a drink this week?Dwight: Really?Charles:Definitely.Dwight: [sighs] It's firm.[SCENE_BREAK]Michael: [on phone] I need you to get me the prices that you're charging Ed's tires so I can undercut Dunder Mifflin.Dwight: I don't know that I can do that now. Youknow, uh, something's come up.Michael: Oh n- Is it Mose? Did you put the cover on that well?Dwight: No, Mose is fine. I roped it off. It's not about Mose. Listen, things are changing here, Michael, they're changingfast.Michael: I'm not following you.Dwight: Imagine... Someone has a personal hero they really wanna help. But then there's this new guy. Very cool, very Will Smith-esque, who would not like it if he helped hishero.Michael: Personal hero, cool new guy. Okay, I think I'm getting your drift.Dwight: Good, do you see what I'm saying?Michael: Crystal clear. So is this for a movie that you're writing?Dwight: No.Michael: Can I useit? [Pam holds up note saying \"He's talking about you!\"]Dwight: No.Michael: [Michael dismisses note, Ryan and Pam point to notepad] Dwight, are you talking about us?Dwight: It is possible that I could be talking aboutus.Michael: Someone could say that it is like the situation that we are in now?Dwight: It is the situation that we are in now.Michael: So I would say that the old boss has always been good to Dwight, and he was therefirst, so he has dibs. You respect dibs, don't you?Dwight: I'm not a barbarian.Michael: Good. Will you meet me in 20 minutes at the spot?Dwight: I will.Michael: Dwight?Dwight: Yes?Michael: Is the cool new guyCharles?Dwight: I've said too much.Michael: Is it Stanley?[SCENE_BREAK]Jim: Hey, Andy. You know I've been thinkin about what you said-Andy: 'Noishe.'Jim: -I just don't know if I can do it.Andy: That's interesting,because I hear what you're saying is that you want to do it, which means you can do it. Believe me, I broke up with Angela, and I'm like, the happiest guy ever. I mean, I'm so happy. I'm so happy. Like, total freedom,you know?Jim: It's just that Pam gets me through the day, you know? I really rely on her. I'm pretty emotionally needy.Andy: And you know what? I am here for you. Let me be your traveling pants. [imitates punchingon Jim's fist] Ah, what'd you do that for?Jim: [both laugh] You know that I was doin' this.Andy: [fist pound each other] Totally.Jim: Okay.[SCENE_BREAK]Michael: Hello, Dwight. What's with the shirt? Are youalright?Dwight: I'm sorry, MichaelCharles: [Charles comes from around corner] Hi, Michael.Michael: Oh my God! Run! Run! It's a setup. Setup!Charles: No, Mich-Michael.Michael: Dwight, run!Charles: Michael, no, let'sbe cool, ok?Michael: You be cool.Charles: Yes.Michael: Just-what's going on?Charles: We need to talk about our two companies, and how we should behave. Dwight tells me you've been pestering him for companyinfo.Michael: Mm-do... Dwight would not-Charles: He did.Dwight: I did, Michael. I was upset about the shirt sleeves at first, but now I'm okay with it.Charles: Michael, I want you to stop pestering my salesmen, and Iwant you to leave Dunder Mifflin alone. Do you understand?Michael: I. Understand. Nothing.[SCENE_BREAK]Michael: [Michael storms into office] Wow.Pam: Michael, are you alright?Michael: It was a setup. Dwight toldCharles. He told him.Pam: Tell us what you're talking about.Ryan: Yeah.Michael: It's like, a girl says she'll make out with you, but then her boyfriend is waiting around the corner with a pee-filled balloon.Pam: We can'thelp you if you don't just tell us what happened.Michael: I got hit in the face with a pee-filled water balloon, Pam, ok? I don't know how they did it. They filled the balloon with pee. A funnel? I don't know. Is that clearenough for you?[SCENE_BREAK]Andy: Hey, Jim.Jim: [Jim slams lunchbag on table] I just totally blew a sales call.Andy: Bro, I do that all the time.Jim: Yeah, well, with you it's different, okay? Cause I just- I just suck. Ijust- I suck!Andy: Tuna, be nice to my friend Jim, ok?Jim: Why? When I look in the mirror, I don't like the face that looks back.Andy: Well, so what? Your body's a ten.Jim: Forget it.Andy: Jim.Jim: I said forget it. [dropkicks lunch across room, stomps on it][SCENE_BREAK]Dwight: [on phone] Dwight Schrute.Michael: Hello, traitor.Dwight: I think you have the wrong number, Michael.Michael: I want you to listen to me, friend, and Iwant you to listen to me good. I am going to come at you, and I am going to come at you hard. I am going to steal all of your clients, and then I am going to kill them in front of you.Pam: Michael!Michael: I'm justgetting hardcore with him.Ryan: Finally.Michael: Yes, and hear me, Dwight, when I say I brought you into this world, and I can take you out. [hangs up] Bill Cosby.[SCENE_BREAK]Dwight: [on phone] Mr. Schofield,please?Secretary: He's in a meeting.Dwight: Dammit! [hangs up][SCENE_BREAK]Michael: [on phone] Is Mr. Schofield there?Automated phone voice: If you'd like to reach an outside line, please dial nine first. [Michaelsighs, hangs up phone][SCENE_BREAK]Stanley: So, you think Michael's going after the whale, huh?Dwight: I have a long term relationship with Harper Collins publishers and Mr. Schofield. I'm not worried.Phyllis: Yousound worried.Dwight: And you have bad skin. Oh, look everyone, we're all making observations! [gibberish sounds][SCENE_BREAK]Michael: [on phone] Well, if you could do me a big favor and tell Mr. Schofield thatMichael Scott has tickets to the Wilkes-Barre Penguins game this weekend, and if he would like to join me... Hello, Daniel. How are you? Uh-huh. I sure do. Yes. [referencing rolodex card] Wanted to ask, did Kathy evermake JV?Ryan: Look at that old dude and his rolodex go.Pam: I spent a month putting that rolodex on his Blackberry, which he now uses as a nightlight.Michael: Wow. High score?[SCENE_BREAK]Dwight: And no, Icannot lower my current prices. [phone rings] Hold on. Hello? Mr. Schofield, thank you so much for taking the time to talk. I wanted to discuss your contract with us- oh, you're considering him. I thought Michael Scottleft the paper business after his nervous breakdown.[SCENE_BREAK]Dwight: Michael has been talking to my biggest client. Master and apprentice pitted against one another for the fate of the greater Scranton areapaper market. So it's not exactly like 'Highlander,' but still...[SCENE_BREAK]Michael: Hello, Dwight, I've been expecting your call. What do you want?Dwight: I would like to arrange a truce.Michael: So you heardSchofield is considering a switch, and you want mercy?Dwight: Meet me in our spot in four minutes.Michael: No. No. You think I am going to fall for that? There's no-Dwight: Michael.Michael: Meet- Ok, go to the spotand then walk 100 feet.Dwight: In which direction?Michael: Toward the sun.Dwight: At what time?Michael: Noon.Dwight: That-Michael: You have two seconds. [Dwight starts running][SCENE_BREAK]Dwight: [lookingat his watch] Michael. [Madge walks by] Sorry.Michael: Dwight.Dwight: Michael.Michael: I hope you're not recording this conversation. [Dwight drops his pants and lifts up his shirt] Good. I cannot believe that you sidedwith Charles.Dwight: You were making me do things that were not all right.Michael: So you just rat me out? You could have said no.Dwight: And not come through for you?Michael: If you want a truce, I will give you atruce.Dwight: I want a truce.Michael: I do too.Dwight: Let me take you and your whole company out for lunch at Alfredo's.Michael: Cooper's.Dwight: I had fish yesterday.Michael: Damn it.[SCENE_BREAK]Michael:[Michael, Ryan and Pam sitting at restaurant, phone rings] Oh. Dwight-elicious. Where you at?Dwight: Oh, hi, Michael. I'm so sorry I'm late. I got stuck in traffic.Michael: Really? That's weird. We didn't see any.Dwight:I hit a bear.Michael: What?Dwight: He's technically fine. I imagine the true horror will be when he wakes up in a zoo. [throws a fish into the vent at Michael's office] Hey, listen, will you do me a favor and order themeatball parm for me, with extra cheese?Michael: Yeah, sure.Dwight: Ok, I will see you very soon, alright? [takes all the items off Michael's desk and puts them into briefcase, including rolodex]Michael: Okay, see youin a bit. Dwight hit a bear. He'll be here in a sec.[SCENE_BREAK]Pam: [Pam, Ryan and Michael enter office] Sounds neat.Ryan: We can spend a couple days there.Pam: Oh my God, I think we've been robbed!Michael:[Michael answers phone] Yeah.Dwight: Did you enjoy your lunch?Michael: Dwight, not now, we've been robbed.Dwight: No, Michael, you were sabotaged.Michael: No, Dwight, we were robbed. How would you evenknow? You're still stuck in traffic. [Pam holds up sign saying \"Dwight did it!!\"] You?Dwight: Me.Michael: What about our truce?Dwight: I broke it.Michael: On purpose?Dwight: Yes.Michael: Why?Dwight: You think this issome kind of game? No, this is a war, and I will not stop, I will not rest. You have no idea what kind of enemy you've created. You have unleashed the wolf!Michael: Be that as it may, I have your meatball parmsandwich here, and I am going to eat it.Dwight: And I knew that you would do that. The meatball parm is their worst sandwich!Michael: Oh. [bites into sandwich, looks disgusted] b*st*rd![SCENE_BREAK]Dwight: Hithere. Dwight Schrute here. I was just calling to see if Michael Scott Paper was meeting all of your paper needs, and how is [reading off rolodex card] Brenda, age four, ponytail, and Simon, age 7? Oh, you don'tsay.[SCENE_BREAK]Dwight: [holding up rolodex card] Schrute comma Dwight. And on the back he wrote, \"great salesman, better friend.\" [turns card over] \"Tall\" and \"beets.\"[SCENE_BREAK]Dwight: And say hello toCheri, who is your black wife. [hangs up and answers cell phone] I see you're begging for mercy, huh? Well, you will find none here.Michael: Dwight, do you mind if we talk?Dwight: Sure. That'd be fine.Michael: If youkeep coming after us, the Michael Scott Paper Company cannot succeed.Dwight: This is war and that is what happens.Michael: Oh, one more thing. I'm going to have you listen while I steal your biggest client.Dwight:Oh, no. No. No. No. No.Michael: Oh, uh oh, I'm turning you down right now.Dwight: Michael! Michael!Michael: You can hear me, but I can't hear you.Secretary: Mr. Schofield's ready to see you now, Mr. Scott.Michael:Oh, great. Mr. Schofield's ready to see me. Thank you so much.Dwight: Don't let him in! He's a traitor! Michael!Michael: Walking in the door...Mr. Schofield: Michael, good to see you.Michael: Mr. Schofield, good to seeyou. And I'm closing the door. [Dwight runs out of the office][SCENE_BREAK]Michael: [on speakerphone in Dwight's car] Now, when Dwight tells you that he will keep prices steady for a year, I think he is speaking outof turn.Mr. Schofield: Really?Michael: Yes. He does not have the authority to say that. I, on the other hand, am the president, the owner, and the founder. It is like you are buying software from Bill Gates.Dwight: Areyou saying you invented paper?[SCENE_BREAK]Andy: [hugging a crying Jim] Okay, okay.Jim: Oh, God.Andy: Okay, Tuna.Kelly: Hey, guys.Jim: Hey.Andy: Hello.[SCENE_BREAK]Andy: Excuse me, can I have yourattention, everyone? Here's the deal, everybody, Jim Halpert is very upset and disturbed. I don't know if it was something you did, something you said, a look you gave him, maybe it was nothing at all, but here's thedeal, ok? It stops now.Kevin: I guess I could be nicer.Phyllis: Andy, I think Jim is messing with you.Andy: Oh, really?Phyllis: Mm-hmm. [looks over to Jim smiling through windows to the kitchen][SCENE_BREAK]Jim:Okay.Andy: Yeah, okay, what the heck is happennin' here?Jim: Two things I need you to understand. One, Pam and I are very happy together.Andy: Uh, that's not what was-Jim: And two, that stuff that happened withyou and Angela is a bummer, and I know you don't think you're ever gonna find someone else, but you will. I promise you, you will.[SCENE_BREAK]Andy: Oh man, he got me so good. I learned something about myselftoday. Yeah. I wish this was a sofa, cause I feel like I could sit here and talk for hours.[SCENE_BREAK]Michael: What is that thing that Dwight always says? Paper is the soil in which the seeds of business grow?Dwight:It's not the soil! It's the manure! Paper is the manure! On-time delivery is the soil! Aah! [runs into office]Secretary: Uh, hello, Dwight.Dwight: Spin move.Secretary: Oh-Dwight: Ha ha! April 13th, 2002.Mr. Schofield:Dwight, I'm in a meeting.Michael: That's very rude.Dwight: I barge because I care. April 13th, 2002, that is the date when you tried to switch paper providers for an obscure sociology textbook, but were hung out to drywhen the price of glossy stock increased.Mr. Schofield: Maybe we should schedule a meeting on our-Dwight: La la la! Continuing. Notice my persistence and recall. Continuing! You called Dunder Mifflin, and your orderwas filled within an hour!Michael: I'm going to pull a date out of the air right now. April 13th, 2002. That is the last day that you evaluated your paper needs. Is it not? We all know that the economy is bad, and bloatedcompanies like Dunder Mifflin...Dwight: Come on.Michael: Are going to fall by the wayside. Two of their branches have closed within the last year. The Michael Scott Paper Company, however, has opened a new branchthis very month.Dwight: What he's not telling you is that he will abandon you.Mr. Schofield: Why don't you guys just e-mail me your best offers and we can finish it up that way?Michael: That sounds like a fantasticidea. I will see you this weekend for the Penguins. Box seats as usual.Mr. Schofield: Uh, ok, sure.Michael: Good, good, good. I will see you.Dwight: Thank you, Mr. Schofield, for your time. Much appreciated. Oh, andtell me, um, how's your gay son?Mr. Schofield: Excuse me?[SCENE_BREAK]Michael: I color code all my info. I wrote \"gay son\" in green. Green means go, so I know to go ahead and shut up about it. Orange means\"Orange you glad you didn't bring it up?\" Most colors mean \"Don't say it.\"[SCENE_BREAK]Dwight: How is Tom, the homosexual sophomore?[SCENE_BREAK]Michael: I wanted to start a company, not a war. Because ina war, you always fight those you are closest to. And the great tragedy of the civil war is that brother fought against brother. For what? What purpose did that serve? Apart from abolishing slavery? In that case, war wasthe right choice. This doesn't feel as important though. That's just how the world works, I guess.[SCENE_BREAK][muffled speech, Ryan, Michael, and Pam all have mouths stuffed with cheese puffs, Michael answers thephone and talks with mouth full]"}
+{"doc_id":"doc_278","qid":"","text":"\"DANCE\"CastDawson: James Van Der BeekGrams: Mary Beth PeilJoey: Kaite HolmesBessie: Nina RepetaPacey: Joshua JacksonMitch: John Wesely ShippJen: Michelle WilliamsGail: Mary-Margaret HumesAndie: MeredithMonroeJack: Kerr SmithHomecoming Dance*Dawson's room: Andie is dancing and watching \"Footloose\" on Dawson's TV while Pacey, Dawson, and Joey sit on the bed and watch her dance and laugh.*Andie: Oh myGod! I love \"Footloose\"! Don't you guys love to dance? I am so excited about the homecoming dance next weekend.Pacey: The homecoming dance? *Andie nods*Pacey: Oh my God, we're hanging out with MarciaBrady.Andie: I don't understand. What's wrong with the school dance?Dawson: I think what Pacey's actually saying is that we're not exactly the school dance type.Joey: We'd rather watch a movie about a high schooldance than actually set foot in an over-decorated gym.Pacey: Actually, this enditement of high school conventions isn't limited to dances. It covers the whole spectrum of school-sponsored events. Case-in-point: Joey,how many high school football games have you been to?Joey: None.Pacey: Mm-hm. And Dawson? How many pep rallies have you loyally attended?Dawson: Zero.Pacey: Mm-hm.Andie: Uh! You guys are a bunch ofcynics, you know that? I mean, what kind of memories are you going to have if all you did in high school is bitch and moan about it?Joey: Bitching memories.Dawson: Moaning memories. *Joey looks over and smiles atDawson.*Andie: You guys are completely sabotaging your high school experience.Pacey: Guilty as charged. Now, Dawson, if you don't mind, could you turn the video back on? 'Cause I really want to see who'sresponsible for Kevin Bacon's rougueish, devil-maker, hair do(?). *He smiles at Andie as the tape comes back on. Andie walks over and stands in front of the TV*Andie: You mean you would rather watch a movie aboutsomething than doing it yourselves?Dawson and Joey: Correct. *Andie walks over and sits on the windowseat*Andie: Okay, what about s*x? *Dawson, Pacey, and Joey look over.*Andie: I mean, you guys are missing amajor opportunity here. Why do you think the (?) were so adament about outlawing dancing? They believed it to be sinful.Dawson: Are you saying dancing equals s*x?Andie: No. But dancing could possibly be reallygreat foreplay. *Joey looks at Dawson*Pacey: I love the way you think.Andie: So...who's going with me on Saturday?*Joey looks at Dawson again and scratches her head. Pacey makes a face like 'Whoa'**Cut to Bessieand Joey pulling up to Capeside High. Joey's getting out but she stops*Bessie: Okay. We're here. You gonna get out?Joey: I was thinking.. *Bessie rolls her eyes*Bessie: What is it this morning? General teen angst orsomething specific?Joey: If I tell you something will you respond with nothing but sisterly advice and/or concern?Bessie: Of course.Joey: Okay...Jack kissed me. *Bessie starts laughing*Bessie: Oh my God!*laughing*Joey: Look I don't think cackling qualifies as concern or advice.Bessie: I'm sorry Joey, but Jack? Choreboy down at the Icehouse?Joey: Yes.Bessie: He kissed you?Joey: It was nothing, really. It happened andthen it was over.Bessie: So what's the problem then?Joey: Dawson?Bessie: Oh...you didn't tell him, did you?Joey: No. I mean, here's the thing. I mean, this is a classic example of what I would tell Dawson, the friend,but since Dawson, the friend, has become Dawson, the boyfriend, the concept of newsworthy events has become a little blurry.Bessie: Okay, look. Here's the way I see it. Jack kissed you, right? It was a 1 way kiss,right?Joey: Yeah.Bessie: Surprise whenever(?), completely uninvited, all-in-all no big deal. You didn't do anything wrong. Don't beat yourself up over it. If you want my advice, just put it behind you, concentrate onDawson, pretend it didn't happen.Joey: What didn't happen?Bessie: Exactly.Joey: Thanks, Bess. See ya!Bessie: Okay *She drives off* *Cut to Abby and Jen*Abby: No way those are real.Jen: What? You think those areman-made?Abby: Yes! Jen, please! Physical enhancement caters not only to size. It can improve shape, direction, perk factor..that girls had some work done.Jen: Yeah, well, Brett sure doesn't seem to mind.Abby: Oh,please. Brett Tompkins is just a dim bulb with good hair and tight pants. A classic him-bo. In other words, perfect.Jen: If that's your type.Abby: Aw, what's the matter, Jen? Brett's too much man not enoughtouchy-feely film amateur(?). Full market down(?). Come Saturday night, Brett and Kristy will be history. Saturday, Brett will be mine.Jen: Abby, that's pathetic. You're going to the homecoming dance to hit onsomebody else's boyfriend?Abby: Well, my guidance counselor told me to set goals for myself.Jen: You're on your own.Abby: Fine. Suit yourself. Stay at home and read Scripture with Grandma. Brett and I will drop youa line from Vegas. *Cut to Brett and Kristy.*Brett: Don't pull me away like I'm some stupid dog on a leash!Kristy: Well, how about acknowledging me when you see me outside, huh! *Dawson walks by listening to themheading towards Joey at her locker.*Dawson: Promise me we will never air a relationship crisis about anything like that. I can't think of anything more embarressing and immature.Joey: Deal.Dawson: Okay. *Theykiss*Dawson: Now, remind me again how Andie McPhee convinced us to go to this homecoming dance.Joey: I think by promising us that dancing always ends in taudry smud-action(?).Dawson: Oh. Could that possiblybe our first mention of s*x since we've been together?Joey: Possibly.Dawson: Why is that? When we were friends we talked about s*x all the time.Joey: I think because we wanted to ease into the subject to make thetransition from friend to lover..unconfusing.Dawson: Ah, if we are confused about the transition from friend to lover, I can only think of one thing that would truly cinch it.Joey: What do you suggest?Dawson: That youput on your dancing shoes. *Joey smiles* *Jen and Abby walk by*Jen: Hey guys.Dawson: Hey Jen.Abby: Wipe the drool, Dawson.Joey: I don't like the two of them being so chummy. I mean, Abby is not a goodinfluence for Jen.Dawson: *laughing* Is this genuine concern I'm hearing for Jen Lindley?Joey: Well, I feel sorry for her, I mean, her grandpa just died. Maybe we should invite her to the dance. I mean, we're going as agroup. Might be fun for her.Dawson: Joey Potter, I applaude you. You earn major humanity points for this. *Joey smiles and shrugs*Dawson: But, um, don't you think it may make her feel worse than she alreadydoes?Joey: I don't know. All I know is that it's really hard to lose a family member, Dawson, and I just think it might be fun for her. It's up to you. Your call.Dawson: I'll see you later.Joey: Okay. *They kiss* *Joey seesJack enter the building and stares and then turns and walks away.* *Cut to Andie and Pacey outside*Pacey: So since I'm in charge of transportation Saturday, would you like me to pick you up at your house or meetsomewhere.Andie: Let's meet somewhere.Pacey: Cool. How's your mother doing anyway?Andie: She's having a good week.Pacey: Listen, Andie, if there's ever anything I can do, you can just ask me, right?Andie: SoWitter. I hope you have your dancing moves polished and ready 'cause I plan on making a dancing fool outta you.Pacey: Sorry, McPhee, no can do, I don't dance.Andie: What do you mean you don't dance?Pacey: Imean, I don't like it and I'm really not any good at it. I mean, it's bad enough that I'm just going on Saturday but don't expect me to get out there and start bustin' a move 'cause it's just not going to happen.Andie: Youdon't dance. You are beyond immature.Pacey: You're overbearing.Andie: Boring.Pacey: Hyper-sensitive.Andie: Vulgar.Pacey: Pick you up at 7?Andie: Great.Pacey: Okay. *Dawson walks up*Dawson: Are you two havinga spat?Pacey: No, just our usual passive-aggressive banter.Dawson: Okay.Andie: No, actually we were talking about the dance, and, hey, if you guys don't mind, I'd really like to invite my brother Jack to come along.You know, he's kind of a loner and I think it would be good for him.Dawson: Actually, why don't we also invite Jen Lindley?Andie: Jack and Jen? A set-up.Dawson: I mean, I'm not sure they're a perfect match butthey're both single.Andie: I like it.Pacey: No, guys. This is a bad idea.Dawson: You never know. It could work!Andie: Let's do it.Pacey: No, don't, come on. Whenever you fix up two people who don't even know eachother, it's a recipe for disaster. This can only end badly. I promise you. Please.Andie: I'll set it up.Dawson: Great.Andie: Buh-bye.Pacey: Am I invisible? *Cut to Dawson's house. Dawson's parents are on the porch.Dawson walks in.*Dawson: Hi.Mitch: Dawson, have a seat.Dawson: Okay. What's going on?Mitch: Well, I know things got a little out of hand the other night, and, well, I'm not sure what the segway is here, but yourmother and I, after much talk, after much consideration, have decided--Gail: Um, honey, sometimes you focus so hard on the solution that when you step away and you pull back, only then does the solution trulyappear.Mitch: Yes. Right. And as improbable as this approach might seem, sometimes it's the only one left and, um, and in this case, it's the only one left.Gail: What we're trying to say is that...is thatMitch: Your motherand I have decided to spend some time apart.Dawson: Well, it looks like you two have given this quite a bit of careful thought.Gail: Yes, we have.Dawson: And the suggestion from me for you to go back to counselingwouldn't make any difference.Mitch: We've tried it.Dawson: So my suggestion that you make a more concerted effort at trying to find a solution. Maybe improve communication, possibly, family outings, truthsyrum.Mitch: Dawson, your opinion is important to us and we love you. But we're not open to suggestions on this one. This is a conclusion. A conclusion that we've reached.Dawson: Yeah, well I conclude that yourconclusion sucks. *Dawson walks off* *Cut to Jack and Andie*Jack: Why didn't you just let Pacey pick us up at the house?Andie: You know why, Jack.Jack: Did you strap Mom in for the evening?Andie: It's notfunny.Jack: She's not getting any better, you know?Andie: You know, Jack, I want a night off. Just one night off. One attempt at fun. Can we do that please?Jack: Well, maybe I shouldn't be around, I'll just bring youdown, Andie. I hate dances. I don't do good at these things.Andie: Don't be silly. It will be fun, okay? Besides, it's time we got you out and you met some of Capeside's cuties. And who knows? You might meet thewoman of your dreams tonight.Jack: Maybe. Maybe I already have.Andie: Oh good, here's Pacey. *Pacey pulls up in his cop car*Jack: Quite a car.Andie: It's his dad's. They have a complex relationship. *Cut to Mitchloading suitcases into the jeep*Mitch: Look, I should get going. Gail, this is just a trial, okay? Only temporary.Gail: Absolutely. Only temporary. Um, look, are there rules? Can we talk to each other?Mitch: Of course wecan talk to each other! You can call me whenever you need to.Gail: Go.Mitch: Bye Gail. *He leaves and Gail starts crying* *Cut to Dawson coming down the stairs into the kitchen where his mom is cuttingonions.*Dawson: Mom, are you alright?Gail: *with hints in her voice that she's been crying* Uh, yeah, Dawson, I'm fine. It's just the onions.Dawson: Mom, I don't have to go to this dance. I'll stay home if you want meto.Gail: No, honey, everything's fine. I'm fine.Dawson: Can you turn around and tell me that?Gail: Why don't you go pick up Joey, honey? So you're not late for the dance. Go on.Dawson: Okay. *He leaves* *Cut to theschool.*Andie: The light was clearly red, Pacey.Pacey: Oh no, it was turning red. I agree with you, red means stop. But if a light's turning red it's like an invitation to hit the gas.Andie: What? Dawson, Joey, hey!Dawson, you know my brother, Jack.Dawson: Yeah, we've met, unofficially.Andie: And Joey? *Joey nods and smiles, obviously awkward*Pacey: So...Dawson: Jen, hey! *Jen walks up*Jen: Dawson...everybody.Andie:Jen, this is Jack, my brother.Jen: Hi Jack, Andie's brother.Jack: Um, it's just Jack.Andie: So shall we?Joey: *to Dawson* Let's go.Dawson: Ready?Joey: Yeah.[SCENE_BREAK]*Cut to people dancing. timelapse. moredancing. Joey and Dawson are dancing and Dawson dips Joey and they smile and laugh. Jack and Andie are dancing and Andie waves Pacey to come dance and he shakes his head no. Cut to Abby walking towardsJen.*Abby: So. You decided to slum it after all.Jen: Hey Abby.Abby: I have to tell you, I love your dress. In fact, I have the same one...in a smaller size. *Cut to Joey and Dawson dancing. Joey bumps into Jack*Joey:Sorry.Jack: My fault. *slow song comes on*Dawson: Ah, more my speed. *Cut to Andie getting Jen*Andie: Jen, I have an idea. Why don't you dance with my brother Jack?Jen: Hi Brother Jack.Jack: It's actually justplain Jack...plain Jack.Jen: Oh, well let me ask you something just plain Jack. Do you get the feeling we're being set up here? *Jack looks over and Andie and Pacey. Andie waves enthusiastically.*Jack: Yeah. Whatmakes you say that? *Cut to Pacey and Andie*Andie: Yeah, she's cute.Pacey: She's cute...he's cute..they've never met before, they're completely opposites and it's going to get ugly in about 20 minutes.Andie:Nu-uh.Pacey: Uh-huh. *Cut back to Dawson and Joey dancing*Dawson: So my dad drove off leaving my mom crying over the kitchen sink. God, what I wouldn't give now for them to go back to their coffee table s*xantics.Joey: I'm sorry, Dawson.Dawson: You know, I'm just going to let them work out their adolescent traumas on their own. Steer clear, but there is a bright side.Joey: What's that?Dawson: The coffee table's nowavailable. *Cut to Jack and Jen dancing. Dawson is watching while he dances*Dawson: Well, well, well. I dare say they like each other.Joey: Jack and Jen?Dawson: Mm-hm. Andie and I played matchmaker tonight.Joey:Why would you do that Dawson? That's the stupidest thing I've ever heard of.Dawson: They both need to meet new people. They're both single.Joey: Yeah, but Jack is this nice, sweet guy and Jen is this baracuda. Itwould never work.Dawson: Why are you getting so worked up about this?Joey: I'm not worked up, I just have an opinion that's all.Dawson: Well, alert the media. *They kiss* *Cut to Pacey and Andie*Andie: Come on,Pacey, what do you say? Wanna dance?Pacey: I told you McPhee. I don't dance.Andie: I don't believe you. I think you're holding out on me in some power move to keep control in this relationship.Pacey: Whatrelationship?Andie: Ha ha. Come on, please, just a slow dance.Pacey: I told you, McPhee. I don't dance. This includes dances of all speeds, all types, and all cultures, including, but not limited to, fast dances, slowdances, and whatever Patrick Swayze was doing in Dirty Dancing.Andie: You know, Pacey, you can be so stubborn sometimes. Fine. If you don't want to dance with me, I'll just find someone who will.Pacey: Don't hurtthe poor guy, would ya? *Pacey watches Kristy Livingstone dance with Brett.* *Cut to a slow song. Andie walks up to Jack and Jen.*Andie: Okay, time to switch partners.Jen: Actually, um, I think I'm going to gooutside and get some air, but thanks for the dance, Jack.Jack: Sure anytime Jen. Andie: *she takes Jack over to Dawson and Joey* Okay, Dawson, guess it's just you and me because I do not intend to spend the entireevening dancing with my brother, so Jack, sweep your boss off her feet.*Andie and Dawson start dancing and Joey just stands there. It's awkward*Jack: So..uh..it's..*he puts his hands on her waist and she still juststands there*Jack: Look, Joey, I know you've been avoiding me.Joey: I haven't been avoiding you Jack!Jack: No, it's, I want you to know I take full responsibility.Joey: Full responsibility?Jack: For kissing you. I crossedthe line.Joey: Yeah, you did, Jack. Because I have a boyfriend and you know that. And now because of kissing you, I feel guilty over nothing. In fact, I don't even think we should be having this conversation. *She walksoff and Dawson watches her and Jack follows* *Cut to the hall. Joey is leaning against a wall. Jack comes out*Joey: Did I mention that you weren't supposed to follow me?Jack: I just want to apoligize.Joey: Okay, youapoligized. Noted.Jack: Wait, what are you so angry about?Joey: Why am I so angry? Because you didn't respect me or my relationship.What you did was so rude and inappropriate.Jack: No, no, I think there'ssomething else going on here.Joey: What?Jack: It's all this anger you're expressing. It doesn't make any sense. It doesn't add up.Joey: What are you talking about?Jack: I don't think you're angry at me for kissing you.I think you're angry at yourself for kissing me back. *Jack turns to walk away and Dawson is standing there with an angered expression. Joey notices and her face falls. She runs to the bathroom* *Cut to the danceroom. Abby is dancing with Brett*Abby: You know what I admire most about you, Brett? That you work each of your muscle groups equally. *Cut to Jen and Andie*Jen: Um, I wanted to thank you for inviting metonight. I actually had a surprisingly good time.Andie: Why are you talking in past tense I mean the party's still going.Jen: I think it's about over for me. If you don't mind, I think I'm going to head home.Andie: Mind?Of course, I mind. We were just in the middle of a very interesting conversation sharing and getting to know each other and now you want to leave, just like that? *Jack walks up*Jack: I think I'm going to takeoff.Andie: Perfect! You can walk Jen home.Jack: Yeah. You wanna go? *Dawson comes up.*Dawson: Jack, what the hell happened?Jack: Look you really need to talk to Joey about this.Dawson: Yeah, I'm askingyou.Jack: Look, it was a weird night. The moon was full. It just happened.Dawson: You kissed my girlfriend.Jack: Yeah, I did. I'm not going to apoligize for it, man, cause truth is, I'd do it again so let's just not makethis into a high school romp alright? 'Cause neither of us are the type. *Dawson slugs Jack*Andie: Oh my God!Jen: Dawson, what are you doing?! *Dawson walks off*Abby: Nice punch, champ. I never knew he had somuch testosterone. *Cut to Pacey walking out of the men's restroom and he sees Kristy standing in the hallway.*Pacey: Uh...hey Kristy! What are you doing out here all by yourself?Kristy: Thinking, you know.Pacey:About what?Kristy: The usual. Why my boyfriend will flirt with anything in a short skirt and why his self esteem won't stop him.Pacey: Well, if you need a boost you came to the right place. I know about 800 guys whowould line up to replace Brett if he exited the picture. And that's just in this school. If you added the neighboring school districts we could probably triple that number.Kristy: Right..Pacey: Are you joking? Look, I maynot hang out with the beautiful people of Capeside but I like to think that I have the finger on a pulse of the common man and, believe me, that pulse quickens considerably when you walk by.Kristy: You'reembarressing me, Pacey.Pacey: I'm sorry. I just, I thought you should know. Well, have a good night Kristy.Kristy: Pacey?Pacey: Yeah?Kristy: Are you one of them?Pacey: Excuse me?Kristy: I was just wondering if youwere one of those quick pulses.Pacey: Yeah. Of course I am. I think you're incredible Kristy. You already know that.Kristy: You know, as lame as school dances can be, there's always that one moment that seems tomake it worth while. So, what do you say Pacey? Will you dance with me?Pacey: Yeah. *They start dancing. Cut to Mitch in his hotel room staring at the phone. Gail in the Leery house sitting there. The phonerings*Gail: Hello? Hello?Mitch: Would you believe that I now have access to the Home Shopping Network 24 hours a day?Gail: *laughs* Hi.Mitch: How are ya?Gail: We have a big house. I never realized just how big ourhouse was until tonight. I, um, I can still call it our house, can't I?Mitch: Yes. It is our house.Gail: I don't know, Mitch. I don't know if I can do this.Mitch: Yes you can because you have toGail: But why? Why do I haveto?Mitch: Because no matter how big our house is, right now it's far too small for the two of us.Gail: Well, just remember, Mitch. The door to this house is always open.Mitch: I will. Have a good night, Gail.Gail: Bye.*They hung up. Cut to Andie, Jack, and Jen*Andie: Are you guys going to get home okay?Jack: Yeah, we'll be fine. Nice work on the punch.Andie: Yeah, I see. Well, you better get out of here in case he wants arematch. *They start to walk off*Jack: Hey, um, I'm sorry.Andie: *to Jen* You take care of him, okay?Jen: 'Kay. Bye. *Andie sees Pacey dancing with Kristy and she runs off as Pacey sees her* *Cut to Dawson exitingthe school and Joey sits on the steps and follows him*Joey: Dawson...Dawson! Where are you going?Dawson: Home.Joey: No, look, I want to talk about this.Dawson: First you run away and now you want to talk.Joey:"}
+{"doc_id":"doc_279","qid":"","text":"[ The cafeteria ]Leonard: Oh, hey, oh, we ran into your mom at Benihana last night.Howard: Oh, yeah, she loves that place. Every time they flip a shrimp in the air, she practically leaps out of her seat to catch it. That'swhy I don't take her to SeaWorld.Leonard: I know you-you don't want to hear it, but she was there with Stuart.Howard: That's fine. I don't care.Raj: It doesn't bug you when they go out on dates?Howard: They're notdating. They're just two friends who went out to dinner.Raj: And then went back to the home they share where they probably fell asleep in the matching pajamas she got them because they both just lovepenguins.Howard: Hey, lots of people wear matching pajamas who aren't dating.Raj: Like who?Howard: Like you and your dog.Leonard: Don't rule out the dating.Howard: Fine, it bothers me. You happy?Sheldon: Youthink you've got problems. The gibbon is the only member of the ape family not classified as a great ape.Howard: How is this helpful?Sheldon: All the non-human apes are classified as great apes except one. Thatmeans taxonomists created the entire category of lesser ape just to single out the poor gibbon as the weird kid on the playground. Now there's a hairy little fellow with a genuine beef.Leonard: But the gibbon doesn'tknow what it's categorized as. It doesn't even know it's called a gibbon.Sheldon: True. Sorry, kid, you've got it worse than a gibbon.[SCENE_BREAK]\u0000 Our whole universe was in a hot, dense state \u0000[SCENE_BREAK]\u0000Then nearly 14 billion years ago expansion started... Wait! \u0000[SCENE_BREAK]\u0000 The Earth began to cool \u0000[SCENE_BREAK]\u0000 The autotrophs began to drool, Neanderthals developed tools \u0000[SCENE_BREAK]\u0000 We builtthe Wall \u0000[SCENE_BREAK]\u0000 We built the pyramids \u0000[SCENE_BREAK]\u0000 Math, Science, History, unraveling the mystery \u0000[SCENE_BREAK]\u0000 That all started with a big bang \u0000[SCENE_BREAK]\u0000 Bang!\u0000[SCENE_BREAK][ Penny's Apartment ]Amy: Hi.Penny: Hey.Bernadette: We brought snacks for movie night.Penny: Oh, great. I don't suppose you also brought napkins, clean bowls, utensils and a roll of toiletpaper.Bernadette: Right here.Penny: Ah, You guys are the best.Amy: What's with the clothes?Penny: Well, with all the new stuff I bought for work, I needed to make room in my closet.Amy: I meant why are theyfolded? But whatever. Ooh, what's this?Penny: That, believe it or not, is my prom dress.Bernadette: Wow, you still have it? I just assumed it was balled up in the corner of a barn somewhere.Penny: What kind ofteenager did you think I was?Bernadette: Slutty.Amy: Easy.Penny: The word is popular.Bernadette: How was your prom? Did you go?Amy: No, but I was on clean-up crew.Penny: Aw, that's sad.Amy: No, it was okay.The DJ let me dance one slow song with my mop before he shut down. Whenever I see a bucket of dirty water, I still hear Lady in Red.Bernadette: My prom was pretty terrible, too. I was so excited about my date, but itturned out he only asked me 'cause he liked my friend. He spent the whole night talking about her.Amy: Okay, we get it, you had a friend and a date. Stop bragging.Penny: Doesn't matter. Prom is sillyanyways.Bernadette: Easy for you to say; you probably went with the captain of the football team.Penny: No. I just made out with him a little while his date was puking.Amy: My date would've had to clean thatup.Bernadette: Ooh, I have an idea. Maybe we can have, like, a prom do-over.Amy: Oh, that would be so much fun. We could decorate the roof and make the guys wear tuxedos.Bernadette: Ooh, and get our hair done,and slow-dance.Penny: Okay, guys, trust me, as someone who's been to, like, seven proms, it is never as good as you want it to be.Amy: You went to seven proms?Penny: Yeah, let's see. Uh, four Under the Seas, twoEnchanted Evenings, and one Night to Remember that I cannot remember for the life of me.[SCENE_BREAK][ The apartment ]Howard: Hey.Raj: Hey.Leonard: Hey, where's Bernadette?Howard: She and Amy are outdress shopping for their prom thing.Raj: Oh, yeah, I got that Evite. Ever since I saw Pretty in Pink, I've wanted to go to an American prom. But then I saw Carrie, and I did not want to go to an American prom. But thenI saw Never Been Kissed, and I'm back on the prom bandwagon. This prom thing's been a real roller coaster.Howard: Bernie's really excited. I could tell because her voice got so high, the beagle next door startedhowling.Raj: Did you go to your prom?Sheldon: No. I had a date with a proper education. Instead of a tuxedo, I dressed myself in good habits. Instead of spiked punch, I enjoyed the intoxicating flavour of knowledge.Instead of dancing in a gym, I shook my bootyto the seductive rhythms...Penny: Okay, okay.Shldon: ...of AP Calculus.Raj: How come you're not shopping with Amy and Bernadette?Leonard: Let me guess, you think thewhole idea is lame?Penny: Well, who cares what I think? What do you think?Leonard: Hmm, to be honest, it's kind of a dream come true to go to even a fake prom with a woman as beautiful as you.Penny: Ugh, thanksa lot.Leonard: What?Penny: Well, now I can't blow this thing off without being a bitch.Raj: That sounds like a yes.[SCENE_BREAK][ Howard and Bernadette's apartment ]Bernadette: Ooh, every single person RSVP'dyes. This is so exciting. Isn't this exciting?Howard: Yep.Bernadette: Look, even Stuart's bringing a date. I wonder who it is.Howard: You know exactly who it is. He's gonna bring my mom. Why did you even invitehim?Bernadette: Because he's our friend, and you two need to get along. And why can't he take your mom? You took her to your prom.Howard: I didn't take her, she was a chaperone.Bernadette: I saw a picture of youtwo dancing together.Howard: What was I gonna do? They were playing our song. I can't take this anymore.Stuart (on phone): Hello.Howard: Stuart, we have to talk. This thing with you and my mom, I hate it. It'smaking me crazy. You and I were friends for years, and now you're bringing my mother to a party I'm going to? What the hell?Stuart: I'm not bringing your mother, I have a date.Howard: Oh, so now you're cheating onmy mother?Stuart: Whoa, whoa, whoa, whoa, whoa. What are you talking about? There's nothing weird going on with me and your mother.Mrs Wolowitz (O.C.): Stewie, your bath is getting cold!Stuart: I got to go,bye.[SCENE_BREAK][ Penny's apartment ]Sheldon: (Knock, knock, knock) Penny? (Knock, knock, knock) Penny? (Knock, knock, knock) Penny? (Knock, knock, knock) Penny? (Knock, knock, knock) Penny?Penny: Youknocked more than usual.Sheldon: Next time I might be in a rush, it's good to have a few in the bank.Penny: Okay, what's up?Sheldon: I'd like to discuss this party that Amy and Bernadette are throwing. Since you andI are both reluctant to go, I think I've come up with a perfect way for us to enjoy it.Penny: Great, how?Sheldon: We pretend we're aliens. I'm not the best at reading facial cues, but I'm gonna say that you love it andwant to hear more. Now, in the beloved novel Hitchhiker's Guide to the Galaxy, an alien named Ford Prefect pretended to be human in order to blend in so that he could write an entry about Earth for The Hitchhiker'sGuide to the Galaxy, which is a travel book within the actual book, which is also called The Hitchhiker's Guide to the Galaxy.Penny: Okay, just one question. What?Sheldon: My point is, pretending to be an alien is avaluable coping mechanism I've used many times. I did it the first time I went to see you in a play. You had no idea Commander Umfrumf of Ceti Alpha Three was in the audience. Oh, don't worry, he gave you seventhumbs up.Penny: Here's a question, as an alien pretending to be human, are you planning to engage in any post-prom mating rituals with Amy?Sheldon: There are post-prom mating rituals?Penny: Not always. Unlessyour date drives a van with an air mattress, then always.Sheldon: Well, if it's part of the prom experience, then I'm open to it.Penny: You're kidding.Sheldon: I may be an alien, but I have urges. If Amy wants tocopulate by firing her eggs into space, well, then, I will happily catch them with the reproductive sac on my upper flermin. I'm not the best at reading facial cues, but I can see that you're a little turnedon.[SCENE_BREAK][ The apartment ]Leonard: You know, if you're not gonna learn how to do this, they make some pretty good clip-ons.Sheldon: Bruce Wayne doesn't wear a clip-on.Leonard: Bruce Wayne doesn'tmake his roommate tie it for him.Sheldon: His name is Alfred, and, yes, he does.Leonard: There, perfect.Sheldon: What, are you sure? It's my first prom, I want to do it correctly.Leonard: I thought you were gonnapretend to be an alien.Sheldon: I was, but Penny didn't want to. You didn't want to. Bernadette, Amy, Koothrappali and Wolowitz didn't want to. And even I knew it was weird to hire somebody.Leonard: Was that aflask?Sheldon: Yes. I've decided to embrace all of the traditions associated with prom, including spiking the punch.Leonard: You're gonna put alcohol in the punch?Sheldon: Oh, no, this is pomegranate juice. It's all thefun of high school high jinks with the cell-protecting zip of antioxidants.Leonard: If you had ripped jeans and a leather jacket, you'd be like the toughest kid on the Disney Channel. So, anything else planned fortonight?Sheldon: Oh, everything. Getting our picture taken, slow-dancing, being elected prom king. Pointing out that kings aren't elected. It's gonna be off the hook.Leonard: And while you're at it, I know that at thisage your hormones are raging, but just because all your friends are having s*x doesn't mean you have to.Sheldon: Why would you say that?Leonard: You know, 'cause, 'cause a lot of people lose their virginity on promnight.Sheldon: Penny implied the same thing. Is this true?Leonard: Just relax, it's a joke. You don't have hormones.[SCENE_BREAK][ Penny's apartment ]Leonard: Wow, you look amazing.Penny: Thank you, so doyou.Amy: Sheldon, you look so handsome.Sheldon: Thank you.Penny: Sheldon, doesn't Amy look hot? That's got to put some starch in the upper flermin.Amy: What's that?Leonard: Oh, it's a scaly genital organ thatgrows between his shoulder blades. Try not to touch it when you're dancing.Sheldon: Excuse me.Amy: Where are you going?Sheldon: I can't do this. And for your information, Leonard, the upper flermin doesn't growbetween my shoulder blades, it grows out of the belly button on my neck.Leonard: He's right, I was thinking of the lower flermin.[SCENE_BREAK][ A limo ]Raj: Ooh, I'll, uh, text Stuart, let him know we'reclose.Bernadette: That's a neat tattoo.Emily: Oh, thanks, it's Sally from Nightmare before Christmas.Bernadette: Aw, that movie's so cute.Howard: Do you like her because you both have red hair?Emily: Uh, a little, butmore that she's covered in scars and can pull her own limbs off and sew them back on.Bernadette: I like Cinderella.Emily: Did you know, in the original book, the sisters cut off their toes with knives in order to fit in theglass slipper?Bernadette: I like Bibbidi-Bobbidi-Boo.Raj: Hey, here comes Stuart and his date.Emily: Oh, she's cute.Howard: Oh, my God.Bernadette: What?Howard: That's Jeanie.Bernadette: That's Jeanie?Emily:Who's Jeanie?Howard: Don't say it.Raj: That's Howard's cousin that he had s*x with.Howard: She is my second cousin. We were 15, I just said, don't say it.Emily: No, it's okay. He told me that story a long timeago.Howard: Raj.Raj: It was our first date, there was an awkward silence. What was I supposed to say?[SCENE_BREAK][ The rooftop ]Penny: Oh, it's beautiful.Leonard: Oh, the girls really did a nice job.Penny: Aw, Iknow I wasn't into this before, but I'm so glad I get to take you to your first prom.Leonard: What makes you think I didn't go to my prom? I went.Penny: Well, who'd you go with?Leonard: I took a little lady I like to callloneliness.Penny: Aw.Leonard: Oh, it's all right. We ended up having a threesome with her friend humiliation, so...Penny: Well, if I would have been there and saw you alone, I would've asked you to dance.Leonard: No,you wouldn't have.Penny: Well, you don't know that.Leonard: It was before my growth spurt.Penny: What, that already happened?Leonard: Very funny.Penny: Well, you wouldn't have asked me either.Leonard: I wouldhave asked you. In my head. On the way home. While I was having a good cry.[SCENE_BREAK][ Sheldon's bedroom ]Amy: Sheldon, can I come in?Sheldon: I don't think that's a good idea.Amy: Why not?Sheldon:According to an online message board, I may be having a panic attack. SoccerMom09 had similar symptoms. But to be fair, the twins were a real handful that day.Amy: You're making me worry. What's goingon?Sheldon: What's going on is we're about to go to a prom. And there's a great deal of pressure on young couples like us to engage in what Mr. Bob Eubanks called making whoopee.Amy: What pressure? All I said wasyou look handsome. Can you please open the door?Sheldon: It's not just that. Leonard and Penny also made comments about it. And I'm not blind. Even I looked twice when I saw my posterior in these tuxedopants.Sceme: The limo.Stuart: So, I met Jeanie at your Aunt Gladys'. She passed me the Manischewitz, I took one look at this punim, and I almost plotzed on the kugel.Rajj: Is this what I sound like when I talk aboutIndia?Howard: So, my mother's okay with this?Jeannie: Why would your mother have a problem with me and Stuart?Howard: 'Cause they have a weird, inappropriate relationship.Jeannie: Weirder than what you and Idid in my dad's Corolla?Raj: This is so messed up.Emily: I know, I'm having the best time.Howard: Why would you even come to this? Didn't you know I'd be here?Jeannie: It was a long time ago, Howard.Stuart: Andyou're only second cousins, who cares?Bernadette: So, you knew and you brought her anyway?Stuart: Oh, so she's good enough for Howard, but not for me?Howard: Yeah.Bernadette: Yeah, go have weird relationshipswith your own mother and cousin. This is his turf.Howard: Yeah.[SCENE_BREAK][ The rooftop ]Penny: Well, I might not have asked you to dance then, but I will ask you now.Leonard: There's no music.Penny: I don'tcare. We'll make our own music.Leonard: My God, who's the dork now? Thank you for wearing your flats.Penny: Thank you for wearing your heels.Leonard: Look at me. Dancing with the prettiest girl at the prom.Penny:Want to take a picture of us and send it to your old friends in the chess club?Leonard: I sent them a bikini shot of you years ago. This is nice. I kind of wish no one else was coming.Penny: I know, me, too. But it will befun to have a prom without all the drama.[SCENE_BREAK][ The limo ]Bernadette: Howie, get off of him.Howard: Not until he stops humping his way up my family tree.[SCENE_BREAK][ Sheldon's bedrooom ]Amy:Sheldon, this is silly. I'm not missing another prom. I'm going upstairs now. Good-bye.Sheldon: I really did think you looked pretty.Amy: You did?Sheldon: Yes. So much so that I started to panic.Amy: Well, you canrelax. Just because you think I look pretty doesn't mean we have to spend the night together.Sheldon: Were you hoping we would because it's prom?Amy: I'm always hoping. But tonight I just wanted to have a nicetime with you. And maybe dance with someone who has arms.Sheldon: Thank you for understanding.Amy: Of course I understand. Sheldon, there's something else I've been wanting to say, but before I do, I just, Iwant you to know that you don't have to say it back. I know you're not ready, and I don't want you to say it just because social convention dictates...Sheldon: I love you, too.Amy: You said it.Sheldon: There's nodenying I have feelings for you that can't be explained in any other way. I briefly considered that I had a brain parasite. But that seems even more farfetched. The only conclusion was love. I know what's happening.This is a panic attack. SoccerMom09 says to lie down with your feet elevated.Amy: Okay.Sheldon: Whoa, whoa, whoa, whoa. Just because I love you doesn't mean girls are allowed in my room.[SCENE_BREAK][ Therooftop ]Raj: Okay. Here we go... Say \"Cheese\"! Say \"Cheese\"! Say \"Cousin\"! Say...Stuart: Oh, sorry. Hang on, sorry. (On phone) Hey, Debbie. I, yeah, yeah, I'm here with Jeanie. Okay, but we're just friends. It's,yeah. I got to go."}
+{"doc_id":"doc_280","qid":"","text":"Scene: The lobby.Penny: Oh, damn, they cancelled my Visa. Oh, yay, a new MasterCard!Sheldon: Uh-oh.Penny: What?Sheldon: I was going to get my mail.Penny: Okay. Are, are you hoping to get ittelepathically?Sheldon: I think you mean telekinetically. And no, I just wasn't sure of the proper protocol now that you and Leonard are no longer having coitus.Penny: God, can we please just say no longer seeing eachother?Sheldon: Well, we could if it were true. But as you live in the same building, you see each other all the time. The variable which has changed is the coitus.Penny: Okay, here's the protocol, you and I are stillfriends, and you stop saying coitus.Sheldon: Good, good. I'm glad we're still friends.Penny: Really?Sheldon: Oh, yes. It was a lot of work to accommodate you in my life. I'd hate for that effort to have been invain.Penny: Right.Sheldon: Just to be clear do I have to stop saying coitus with everyone or just you?Penny: Everyone.Sheldon: Harsh terms. But all right, I'll just substitute intercourse.Penny: Great.Sheldon: Orfornication. Yeah. But that has judgmental overtones, so I'll hold that in reserve.Penny: So, how you been?Sheldon: Well, my existence is a continuum, so I've been what I am at each point in the implied timeperiod.Penny: You're just coitusing with me, aren't you?Sheldon: Bazinga.Penny: Mmm. How's Leonard doing?Sheldon: He seems all right. Although he does spend a disturbing amount of time looking at photographs ofyou and smelling the pillow you slept on. Oh, but now that I think of it, he asked me not to tell you that.Penny: I'll pretend I didn't hear it.Sheldon: I'd rather you pretend I didn't say it. I see you bought Mama Italiamarinara spaghetti sauce.Penny: Yep.Sheldon: That's the sauce my mother uses. She likes cooking Italian because according to her, that's what the Romans made Jesus eat.Penny: Interesting. I'll have to have youover for spaghetti some night.Sheldon: I'm hungry now.Penny: Oh. Um, okay. Why don't you give me an hour and come over?Sheldon: Will you cut up hot dogs into little chunks and mix them in with the sauce?Penny:I don't have hot dogs.Sheldon: Oh, it's all right, I do. Oh! You're in for what my mother calls a real Eye-talian treat. (Enters apartment).Leonard: Hey, where you been?Sheldon: I was talking with Penny.Howard: What'swrong with you? You can't hang out with your roommate's ex. That's totally uncool.Leonard: No, no, it's fine. I don't care. I'm over it.Raj: Yeah, he's over it, that's why he's been whining all day about trying to inventthat memory-wiper gizmo from Men in Black.Sheldon: Is he making any progress? Because I'd like to erase Ben Affleck as Daredevil.Howard: So would Ben Affleck. The point is, in a situation like this you got to picksides. You're either on Team Leonard or Team Penny.Sheldon: Which one picks last?Howard: What?Sheldon: Well, usually I'm on the team that picks last. Unless there's a kid in a wheelchair.Leonard: Sheldon, I got youyour tangerine chicken. I hope you're hungry.Sheldon: Well, of course I'm hungry. And as I have no plans to eat with any other team, I will consume my tangerine chicken with the appropriate gusto. Mm, mm,mm!Leonard: Okay.Sheldon: Just out of curiosity, do we still have hot dogs?Leonard: I don't know. Why?Sheldon: Just making dinner conversation. Go, Team Leonard! Credits sequenceScene: A few momentslater.Howard: Oh, God, this is good.Raj: Let me ask you a question. Do you believe you're going to go to hell for eating sweet and sour pork?Howard: Jews don't have hell. We have acid reflux.Leonard: Do you want thelast dumpling, Sheldon?Sheldon: Certainly. It's not like I have to moderate my food intake because I'm planning on eating again very shortly. Mm, mm, mm!Leonard: So, you guys want to do somethingtonight?Howard: Nah, I can't. I got to pick up my mom from her water aerobics class. 18 overweight women flapping their arm fat in a swimming pool. Looks like the manatee tank at Sea World.Leonard: What aboutyou, Raj?Raj: Oh, there it is, now that you don't have a girlfriend, you want to hang out with me again.Leonard: I never stopped hanging out with you.Raj: Oh, please, we all know I'm the friend you call when you haveno other options. If we were the Justice League, I'd be Aquaman.Howard: I wish you were Aquaman. Then I could send you to scoop my mom out of the old lady tank.Sheldon: Excuse me, I'm thirsty, so I'm going to goto the refrigerator and get myself a refreshing beverage.Leonard: You know what? I'll just spend the evening alone.Raj: What, suddenly I'm not good enough for you?Sheldon: Ah, I do so love beverages. Now I think I'lltake my after-dinner walk.Leonard: Since when do you take after-dinner walks?Howard: Yeah, since when do you take walks?Sheldon: I read a study online that walking after a meal not only aids in digestion, butincreases serotonin, and you know me, if there's one thing I like more than a refreshing beverage, it's serotonin. Bye-bye.Howard: Hold on. I'll walk down with you.Sheldon: Oh, that's not necessary. You can gofirst.Howard: Or we could go together.Sheldon: I can't think of a reason why not.Howard: Let's go.Sheldon: Hold on. Nope, no reason.Raj: I've missed you.Scene: The lobby.Sheldon: All right, say hello to your motherfor me.Howard: Okay.Sheldon: What?Howard: You said you were going for a walk.Sheldon: I didn't say outside.Howard: So what, you're just gonna walk up and down the stairs?Sheldon: No, of course not. That wouldbe odd and suspicious behavior.Woman's voice: Here Bubbles. Here boy.Howard: Which way are you going?Sheldon: Which way are you going?Howard: I parked my scooter down the block.Sheldon: I'm going the otherway. Bye.Howard: Bye. Actually, I'm this way. Do I smell hot dogs?Sheldon: No. I mean, I have no idea what you smell.Howard: I definitely smell raw hot dog.Sheldon: Perhaps you're getting a brain tumour.Howard:All right, have a nice walk.Sheldon: I shall. Have a nice scoot.Howard: You might want to stand back. I'm sitting on top of 13 horses here.Sheldon: Oh. Hello, doggie. Nice doggie. I bet you think you smell hot dogs.Look, a cat!Scene: Penny's apartment.Sheldon: (Knock, knock, knock) Penny, (knock, knock, knock) Penny. (Long pause, knock, knock, knock) Penny. (Penny opens door. A dishevelled Sheldon is holding up one hotdog.) Here. I had to trade the others for my life.Scene: The apartment.Raj: Hey, Leonard?Leonard: Yeah?Raj: I haven't had s*x in a year.Leonard: Where you going with this, Raj?Raj: Don't flatter yourself, dude. Iwant to go out and meet a woman.Leonard: So, go.Raj: Well, I need a wingman. I don't want to come off like a lonely loser.Leonard: And you think my presence will help with that?Raj: Well, I do. Next to you, I'll looklike a catch.Leonard: I'm not going out tonight, Raj.Raj: All right. Would you mind if I went to your room and downloaded some Asian pornography?Leonard: Very much.Raj: Doesn't have to be Asian.Leonard: Don'tworry. You'll meet a girl someday.Raj: No, I won't.Leonard: Yes, you will, and she'll be beautiful, and kind and sexy and funny and everything you ever wanted in a woman.Raj: You really think so?Leonard: I do, andyou'll fall hopelessly in love and give her your heart. And she'll take it and grind it into pathetic, little pieces.Raj: But we'll have s*x first, right?Scene: Penny's apartment.Sheldon: Mmm, mmm, mmm. That'sEye-talian.Penny: So, um, was Leonard okay with you coming over?Sheldon: Oh, yes. In fact, he said, I'm fine, I don't care. And he in no way said it in a manner which would lead one to believe that he was covering upfeelings of anguish and betrayal.Penny: Well, good.Sheldon: I'm also pleased to report that he's all cried out over you.Penny: He's been crying?Sheldon: Oh, I believe that was something else I wasn't supposed tomention.Penny: Oh, God, I feel terrible.Sheldon: Do you have a stomach ache, too?Penny: No. Why, do you?Sheldon: No.Penny: Why did you ask if I had one, too?Sheldon: Just making polite dinner conversation. Yourturn.Penny: All right. So, what's new in your life?Sheldon: Well, my new shoes are not made for running.Penny: Have you been running?Sheldon: No. It's just a suspicion I have. Mmm, mmm, mmm.Penny: I'm so gladyou like it.Sheldon: I do. Leonard never cooks for me.Penny: Well, maybe that's 'cause Leonard can't cook.Sheldon: You can't cook and you made me this.Penny: Whatever. Ooh, I'm gonna get the cheesecake out ofthe fridge.Sheldon: Oh, Lord, I'm in Jewish hell.[SCENE_BREAK]Scene: The apartment.Raj: Look at this. Do you think she's really doing that or is it PhotoShop?Leonard: I'm pretty sure Martha Stewart never got nakedwith a room full of big, fat Japanese guys.Raj: You don't know that. Prison changes people.Leonard: Hey, where you been?Sheldon: I told you, walking.Leonard: For an hour and a half?Sheldon: I got lost.Leonard: Howcould you get lost? Your phone has GPS.Sheldon: Satellites are down. Solar flares.Raj: There are no solar flares right now.Sheldon: Yes, there are.Raj: Dude, I'm an astrophysicist. If there were solar flares, I'd be all upin it.Sheldon: I'm sorry. I misspoke. What I meant to say was my battery died.Leonard: What the hell was that about?Raj: I don't know. Do you think this is really Hillary Clinton doing it with Oprah?Leonard: Oh, wereally need to get you a girl.Scene: Leonard's bedroom. Leonard is asleep.Sheldon: (Knock, knock, knock) Leonard, (knock, knock, knock) Leonard, (knock, knock, knock) Leonard.Leonard: Oh, just come in!Sheldon:Thanks for seeing me on such short notice.Leonard: What do you want, Sheldon?Sheldon: Maybe this isn't a good time.Leonard: Tell me why you woke me up or I swear to God I will kill you.Sheldon: Do you really thinkdeath threats are an appropriate way to begin this conversation? Sometimes your lack of social skills astonishes me.Leonard: What do you want?Sheldon: You may want to sit down.Leonard: I'm in bed!Sheldon: Pointtaken. You may want to sit up.Leonard: Sheldon!Sheldon: I've been seeing Penny behind your back.Leonard: Okay, when you say seeing Penny, what exactly does that mean?Sheldon: We had dinner last night. Shemade me spaghetti with little hot dogs cut up in it. Well, little hot dog. I gave up the other five hot dogs to a real dog. A real, big dog. A hell hound. Tangential to the primary story. How about I circle back to it?Leonard:Fine. Why did you have dinner with Penny?Sheldon: I told you, she made spaghetti with little hot dogs. I like spaghetti with little hot dogs.Leonard: Then why did you have Chinese food with us?Sheldon: I didn't want toupset you. Howard made it very clear that my allegiance should be to male comrades before women who sell their bodies for money.Leonard: Is it possible he said Bros before Hos?Sheldon: Yes, but I rephrased it toavoid offending the hos.Leonard: Sheldon, I don't care if you want to be friends with Penny.Sheldon: Oh. Well, so the emotional turmoil that's been keeping me from achieving REM sleep was entirelyunjustified?Leonard: Yes.Sheldon: Well then as my meemaw would say, looks like we butchered a pig, but nobody wanted bacon.Leonard: I guess not.Sheldon: And now, as promised, the tangent. Sheldon and the HellHound, or How I Lost My Hot Dogs.Scene: The laundry room.Penny: Oh, um, I, I can come back.Leonard: D-don't be silly. We're neighbours, we're going to run into each other, may as well get used to it.Penny: Yeah, Iguess you're right.Leonard: You used to it yet?Penny: Nope.Leonard: Me neither. Oh, Sheldon seemed think that I would be upset about you hanging out with him. But I just want you to know it's fine.Penny: Oh, oh,good, because, um, his mother called me.Leonard: His mother?Penny: Yeah, she wants me to take him shopping for sheets and towels.Leonard: I was going to do that.Penny: Oh, well, then you, you do it.Leonard: No,I don't want to do it. You can do it.Penny: Okay, you can take him for shoes.Leonard: I just took him for shoes.Penny: Well, all I know is he says they hurt his feet.Leonard: Fine. I'll take him for shoes nextSaturday.Penny: Oh, no, no, no, a bunch of us from work are going to Disneyland next Saturday and Sheldon wants to come.Leonard: You're taking him to Disneyland?Penny: Well, he heard me making plans on thephone. Was I going to say no?Leonard: All right. But let me know if you're going to stuff him with junk food. I don't want to bring home a nice dinner for him and see it go to waste.Penny: We're going to Disneyland.He's going to eat junk food.Leonard: All I'm saying is give me a heads-up.Penny: Okay, whatever.Leonard: And don't let him go on Space Mountain after he eats. He'll say he can handle it, but I promise you'll end upwith churro puke on your shoes.Penny: All right, got it. Is there anything else?Leonard: Yeah, don't let Goofy near him. He'll have nightmares and I'll have to deal with it.Penny: What's the problem with Goofy?Leonard:Wish I knew. He's fine with Pluto.Scene: The apartment.Raj: Hey, do you think the elastic woman in The Incredibles needs to use birth control or can she just be a diaphragm?Howard: Well, that's it. We're officially outof things to talk about.Penny: We're home.Leonard: It's ten o'clock, where have you been?Sheldon: We stayed for the California Adventure water show. It was pure Disney magic.Leonard: I was going to see that withhim.Penny: How was I supposed to know that?Sheldon: It's all right. I'll see it again with you.Leonard: And I have food here. You said you were going to call.Penny: I know, I know.Sheldon: I can still eat.Penny: No,you already threw up once. Go put on your PJs and brush your teeth.Sheldon: Okay, but just don't fightLeonard: We're not fighting.Penny: Just go.Leonard: Aren't you going to thank Penny for taking you toDisneyland?Sheldon: Thank you, Penny.Penny: You're welcome, sweetie.Leonard: Want a cup of coffee?Penny: Oh, um, I should probably get going.Leonard: Come on. It's just a cup of coffee.Penny: Yep, okay. Howard(to Raj, who has whispered to him): Oh, yeah, the whole thing seems a little twisted to me, too.Leonard: What am I smelling?Penny: Sheldon's churro on my shoes.Scene: Sheldon's bedroom.Penny: He's such an angelwhen he's asleep.Leonard: Yeah. Shame he has to wake up.Penny: I think we can do it.Leonard: Smother Sheldon in his sleep? Wouldn't that be wrong?Penny: No, be friends. You and me.Leonard: Oh. Sure.Absolutely.Penny: Good. I'm glad.Leonard: Here's an idea. I'm just throwing it out there, friends who have s*x.Penny: Good night, Leonard.Leonard: Kidding. Just a couple of friends goofin' around.Sheldon (in hissleep): No, Goofy, no."}
+{"doc_id":"doc_281","qid":"","text":"MUSIC IN:EXT. STREET - DAY(SFX: SIRENS B.G.)RICK: Let's move! Let's go! Get those BAs up. Pull a cord and a half! Let's get ready to roll! Davis, get those utilities turned off, quickly! Move it!DAVIS: (MUFFLED) I'mon it, Sir!RICK: (V.O./MUFFLED) We're in front. You start in back!FIRE FIGHTER: (V.O./MUFFLED) Come on, Scotty. You're with me. Let's move.(KNOCK ON DOOR)RICK: (SHOUTS) Fire department! Let's go.(SFX:DOOR BURSTS OPEN)[SCENE_BREAK]INT. HOUSE - DAY(SFX: FLAMES B.G.)(SFX: SMOKE ALARM BEEPING B.G.)RICK: (V.O./MUFFLED) You two spread out. Clear the bedrooms! I'll take the kitchen!FIREFIGHTER:(V.O.) We'll cover these down here!(SFX: FIREFIGHTERS VOICES B.G.)(SFX: RICK BREATHES HEAVILY B.G.)[SCENE_BREAK]INT. KITCHEN - DAYRICK: (V.O./MUFFLED) Every damn time. False alarm, fellas. Justanother overcooked bird. Or something. (ON CAMERA) Tough to tell after six hours in the - oh dear.(MUSIC UP AND OUT)(THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT)MUSIC IN:INT. COFFEEHOUSE - DAY(SFX: ESPRESSO COFFEE MACHINE B.G.)LANDON: Double Americano for Thom. (BEAT) Aren't you Thom?MCGEE: Yes, thank you. Sorry.LANDON: You must need that badly. Don't even recognize your ownname. Medium mocha coming up.MCGEE: It's my other name.LANDON: Two names, huh?MCGEE: Well, two jobs. It's Thom when I'm writing. Not that I've actually written anything in weeks.LANDON: Writer'sblock?MCGEE: Creative stifling. I am crumbling under the pressure of expectations.LANDON: Oh, you're Thom E. Gemcity! Your photo's on the back cover! I loved Deep Six.MCGEE: Thanks... Landon. Thankyou.LANDON: Can't wait to see what happens next.MCGEE: You and me both. Two weeks until my deadline. I'm stuck here in chapter seven.LANDON: Well, it could be worse.MCGEE: How's that?LANDON: It could bechapter six. Okay, we've got a half caf percent latte and a medium double decaf for Whitney.(SFX: CELL PHONE RINGS)MCGEE: (INTO PHONE) McGee. Yeah. (TO LANDON) The other job.LANDON: Goodluck.[SCENE_BREAK]INT. HOUSE - DAYTONY: Ferris Bueller's Day Off, a John Hughes masterpiece. Now there's a guy that didn't have time for writer's block, Probie. Sixteen Candles, Uncle Buck, The BreakfastClub.MCGEE: I do not have... I'm just struggling to find out the most efficient way to tell my next story.TONY: Now, do you think Hughes writes on a computer or does he use an old-fashioned typewriter, likeyou?MCGEE: Well, I'm sure he uses a computer, Tony. Most writers do.TONY: Did you ever consider converting?MCGEE: I don't think that's the reason for my ...TONY: Were you going to say... writer's block?MCGEE: Ilike my typewriter.TONY: But it doesn't like you. It's a classic tale of unrequited love between a boy and his machine. You can use that if you want. But remember, you've got to have a love story. I can see the posteralready.[SCENE_BREAK]INT. KITCHEN - DAY(SFX: CUPBOARD DOOR OPENS)ZIVA: The house is leased to Petty Officer Darren Cove. No roommates, but according to the neighbors, he is rarely alone.(DOORCLOSES)GIBBS: I can tell. He's got a fridge full of beer. No hard alcohol.ZIVA: Except for this. Ooh! If smells could kill, I think we just found our murder weapon.GIBBS: I'm more concerned with where they camefrom.ZIVA: Neighbors said this was a notorious party house. Maybe someone brought in the mixers.GIBBS: And they left with them, too.ZIVA: Seems like a lot of effort for a couple of drinks. Wastedeffort.[SCENE_BREAK]INT. LIVING ROOM - DAYMCGEE: (V.O.) The blood starts at the ping-pong table.TONY: Beer pong.MCGEE: Huh?TONY: This is tragic. Don't tell me you've never played beer pong before, Probie?What did you do at MIT?MCGEE: Studied.TONY: That figures. Well, beer pong is a drinking game, the object of which is to take the ping pong ball and try to get it into the other team's cups.MCGEE: (BEAT) Show mehow it's done.TONY: This is a crime scene, not a frat house. You hearing voices, Probie?MCGEE: I figured you saw Gibbs coming.TONY: I just don't think this is the time or the place to showcase my beer pong skills.(BEAT) What?MCGEE: It seems out of character.TONY: (LAUGHS) Yeah. Yeah. No, you may not use me to get over your writer's block.ZIVA: McGee has writer's block?MCGEE: No, McGee does not.ZIVA: Just do whatyou did last time. Write about us.MCGEE: Okay, I've told you guys a million times. The book is not about you.TONY: No, of course not. It's about Special Agent Tommy.ZIVA: And Officer Lisa.GIBBS: (V.O.)Dinozzo.TONY: And L.J. Tibbs.MUSICAL BRIDGE TO:INT. BEDROOM - DAYGIBBS: Get this.TONY: Looks like McGee wasn't the only writer here todayGIBBS: Bag it.NOTE: ONE DOWN, TWO TO GOMUSICAL BRIDGETO:INT. SQUAD ROOM - DAYMCGEE: Petty Officer Cove joined the Navy three years ago, right out of high school. His C.O. says he's a little immature, but basically a good kid.TONY: A good kid with a criminal record.Since enlisting, he's been arrested twice. Both misdemeanors. Public intox in oh-four, and a noise ordinance violation last July.MCGEE: He works to live, and lives to party. It's his C.O.'s words.TONY: Guys in hisCommand call him Darren \"Diddy\" Cove.GIBBS: Why?MCGEE: Uh, it's a reference to Sean \"Diddy\" Combs.TONY: The Puff Man. P-Diddy. Rap impresario. Went out with J-Lo. Petty Officer Cove was on dutyyesterday.MCGEE: Left the base at eighteen hundred. Hasn't been seen since.TONY: And neither has his blue Ford Ranger. It should be in his garage, but it's not.MCGEE: Which means his attacker took it.GIBBS: OrPetty Officer Cove went for a drive.MCGEE: Well, with that amount of blood loss, it's doubtful he was conscious.GIBBS: If it was all his blood.TONY: Well, Abby'll tell us, because Cove's blood sample is in his medicalrecords.ZIVA: (V.O.) Thank you.MCGEE: I'm going to go check the BOLO, see if he's got a hit on the pickup.ZIVA: That's not necessary, McGee. Norfolk Police just found it abandoned along Highway Five.MUSICALBRIDGE TO:EXT. RAVINE - DAYZIVA: I've noticed oversized dice like these in numerous vehicles. Do they serve a purpose? Hello? Tony?TONY: What?ZIVA: Do they serve a purpose?TONY: Fuzzy dice? Pretty goodredneck indicator. Other than that, no. They don't serve a purpose. We've got a lot more blood back here, Boss. Think this was used to cover the body?GIBBS: Yeah. Or bodies.(SFX: CELL PHONE RINGS)GIBBS: (INTOPHONE) Yeah, Abs. I'm listening.(GIBBS WALKS O.S.)ZIVA: (LONG BEAT) McGee, you look like you've seen a goat.MCGEE: Huh? Oh, ghost. Seen a ghost. Yeah, do you know what déja vu is?ZIVA: Bien sur. My Frenchis better than my English.MCGEE: Right.ZIVA: So?MCGEE: What?ZIVA: The déja vu?MCGEE: I can't place it.ZIVA: (LONG BEAT) By any chance, did you start dating someone, McGee?MCGEE: Dating? Please. I spendevery spare minute I have writing.GIBBS: Hang on a second. McGee, get this towed back to lock-up. (INTO PHONE) Yeah. Go on, Abs.TONY: Abby's got something.[SCENE_BREAK]INT. ABBY'S LAB - NIGHTTONY:Watch out! It's Halloween at Coyote Ugly. Piper Perabo!ABBY: Oh, if you liked that one you're going to love this. It's... it's a Sciuto original. I like to call it \"Bottoms Up.\"ZIVA: Oh! I had no idea you were a bartender,Abby.ABBY: Well, my Uncle Teddy used to own a bar on Canal Street. And I used to bartend on the weekends.GIBBS: The case, Abby.ABBY: Gibbs, you haven't even seen my famous \"Fire Bomb!\" It can wait. So Itested the blood that was in Petty Officer Cove's house. Most of it was his, but one sample did not match.ZIVA: It could have been from a prior accident or an altercation at one of his parties.TONY: Or it could be thekiller's.ABBY: I also removed prints from our mystery cocktails. One half of our drinking duo was definitely Petty Officer Cove.GIBBS: The other half?ABBY: Well, it's a work in progress, Gibbs.GIBBS: Tell me you havemore to this, Abby.ABBY: Have I ever let you down? Don't answer that. Um, I'm using my mass spectrometer to break down the molecular structure of the cocktails in question.TONY: Guessing that's where all thesecome in.ABBY: Well, you guess correctly. I think I've made over one hundred delightful beverages trying to find... the match. The weird thing is, this baby isn't in any bartending guide, anywhere. It's made out ofJagermeister...MCGEE: Cherry soda, vanilla vodka, lemon juice, and a plash of Tabasco. It's called a \"Hairy Hangover.\"TONY: And you came to know this how, McGee?MCGEE: I created it. Our missing Petty Officer is acharacter in my next book.(MUSIC UP AND OUT)MUSIC IN:INT. SQUAD ROOM - DAYMCGEE: (READING) \"Cameron Meyer is a good old boy from Northern Virginia. He was born with not much, raised with even less. Allhe wants out of life is a good girl and a great truck. As of yesterday, he's halfway there. He dropped his life savings on a blue Ford Ranger.\"TONY: That's it?MCGEE: Tony, it's all here. The fuzzy dice, the cinnamon rolls,red track jacket. Petty Officer Cove is Cameron Meyer.ZIVA: Uh, but how is that possible, McGee?MCGEE: My writing isn't entirely fiction, okay? My stories are...sometimes I base my characters on people I...TONY:Work with?MCGEE: See. People I see.GIBBS: You've seen Petty Officer Cove before?MCGEE: Every morning at my coffee shop.ZIVA: But how come you didn't recognize his photograph?MCGEE: He only uses thedrive-thru. To me he's just the \"large coffee, with the cinnamon roll\" guy in a blue pickup truck. I never saw his face.TONY: Whoa, whoa, whoa. Wait a minute. Back up. Your coffee shop has a drive-thru? That's... that'snot important.ZIVA: Just because you based your character on a person who is missing does not necessarily mean the two of them are related, McGee.GIBBS: Yeah, it does. You created the drink.MCGEE: Made it upabout a month ago.GIBBS: How did two glasses of it get from your head to inside Petty Officer Cove's house?TONY: Someone's read your book.GIBBS: Are your papers under lock and key?MCGEE: Well, I sent mypublisher a copy a couple weeks ago, but, you know, I'm sure she...GIBBS: Address.MCGEE: (BEAT) Um...Boss, there's more. After Deep Six hit stores, my publishing firm received a ton of emails addressed to Thom E.Gemcity.TONY: Tons?MCGEE: Most of them were autograph requests, or feedback on the novel. But in the last couple weeks, my publisher says that we've gotten some really weird letters. Borderline obsessive. I didn'tsay anything because I assumed they were harmless.GIBBS: Dinozzo, with me. McGee, you stay here with Ziva. Start going through your book.MCGEE: What exactly am I looking for?GIBBS: Answers, McGee!MUSICALBRIDGE TO:INT. CRAWSHAW'S OFFICE - DAYRYDER: Miss Crawshaw will be with you shortly.TONY: Oh, you've got to be kidding me!RYDER: Is there anything else I can get you while you wait?TONY: Yeah. A barfbag.RYDER: I'm sorry?CRAWSHAW: Todd, black tea, lemon, crab salad, arugula. (TO GIBBS) You're Timothy's people.GIBBS: A few weeks ago, he sent you a draft of his next book.CRAWSHAW: Partial. It wasn'tfinished yet.TONY: Yeah, it still isn't, is it?GIBBS: How many of your people here have read the book?CRAWSHAW: Zero. No one in my agency has access to advance material without the writer's consent.GIBBS: Exceptyou.CRAWSHAW: Writers are notoriously insecure. Soft, even.TONY: Well, that doesn't sound like our little Timmy McGee, now, does it?CRAWSHAW: Whether they ask for it or not, I provide coddling, prodding,protection. Anything it takes to keep those elusive muses singing.... Agent...GIBBS: Gibbs.CRAWSHAW: Here you go. Rock Hollow; The Continuing Adventures of L.J. Tibbs. How's this connected with yourinvestigation?TONY: A person's missing. We believe it's related to the contents of that book.CRAWSHAW: Oh, I guess I just made myself your prime suspect.GIBBS: Sounds about right.CRAWSHAW: I may be the onlyone in the firm who's read it, Agent Gibbs, but I can guarantee you I'm not the only one in the city.TONY: McGee hasn't given the book to anyone else, Ms. Crawshaw.CRAWSHAW: Obsessed fans always find a way toget material early. They dig through trash, hack computers, anything short of writing it themselves. And believe me, Timothy has some of the craziest fans I've ever seen.GIBBS: Yeah, we know about theletters.CRAWSHAW: Yeah, there are three that stand out. Todd! Bring me those three...RYDER: Gemcity letters?CRAWSHAW: No return addresses. Each one's stranger than the last. I bet the psychopath you're lookingfor is somewhere in that envelope.TONY: What makes you think we're looking for a psychopath?CRAWSHAW: Don't you read crime novels? They are always psychopaths.[SCENE_BREAK]INT. AUTOPSY LAB -DAYDUCKY: (READING) \"I am sending this letter to express my gratitude for the literary gift you've given me. The majesty of your writing is far beyond anything this planet has ever seen.\"(SFX: DOORS SLIDEOPEN)GIBBS: A rave review.DUCKY: Rave indeed, Jethro. Yeah. In fact, it's quite possible that Michael is Timothy's greatest admirer.GIBBS: Admirer or stalker, Duck?DUCKY: At this point I'd say he is no immediatethreat to himself or anyone else.GIBBS: At this point?DUCKY: Well, one does not become a predatory stalker overnight, Jethro. The mind typically goes through three stages. This letter, strange as it may seem, is onlyat stage one. The attraction stage.GIBBS: And the other two?DUCKY: Well, on the surface, this letter written by Andrew, would appear more normal. But phrases like \"I breathe for your words,\" and \"you need me,\"might suggest...GIBBS: .... otherwise.DUCKY: But because of that sense of desperation, I'd categorize that letter as stage two; obsession.GIBBS: What's stage three?DUCKY: Well, read for yourself.GIBBS: (READS) \"Iknow you think of me often, just as I think of you. Please don't make me do something we'll both regret.\"DUCKY: Now that letter has an aggressive and threatening tone. For that reason, it falls into the final stage;destruction.GIBBS: Three letters. Three stages.DUCKY: I know what you're thinking, Jethro. That it's no coincidence. Although the letters may appear to be very different, the writing style is nearly identical in allthree.GIBBS: The same person wrote all three?DUCKY: And judging by the postmarks, the letters were written and sent over a period of several weeks, during which time the writer became increasinglydelusional.GIBBS: Motive?DUCKY: Oh, I can't say for certain. But I say the answers can be found in Timothy's new book. The writer believes that Timothy's fiction is very much real.MUSICAL BRIDGE TO:INT. SQUADROOM - NIGHT(MUSIC OVER ACTION/TONY AND ZIVA READ THE SCRIPT)MCGEE: Tony, about....TONY: (PAUSE) Done.MCGEE: So?TONY: I'm confused.MCGEE: This isn't a critique, okay? We're trying to find somethinguseful - confused by what?TONY: The plot, the back story. Pretty much everything. The whole thing doesn't make sense.MCGEE: Ziva, what about you?ZIVA: Um... not as confused as Tony.MCGEE: Well, I haven'tfinished it yet. It's just a rough draft.ZIVA: Very rough. I'm sorry, McGee.TONY: Who's the killer anyway?MCGEE: I don't know yet.TONY: There's your problem. I mean, you always have to know where your story isgoing. That's fiction writing one-oh-one.MCGEE: Not the way I choose to write, Tony.TONY: And he wonders why he has writer's block.MCGEE: Can we focus on the problem here? We've got a missing person, and ouronly lead is my book.ZIVA: Well, that's not much of a lead.TONY: She's right. We don't even know how the book factors in.GIBBS: (V.O.) We do now! (ON CAMERA) The letters were written by the same person. Hethinks the book is real.ZIVA: And believes Petty Officer Cove is a part of it.GIBBS: It means we're going to have to go everywhere he's been.MCGEE: Well, we've already done that, though. His home, work, hangoutspots.GIBBS: I'm not talking about Petty Officer Cove. I'm talking about your good-old-boy with the pickup truck, Cameron Meyer.MUSICAL BRIDGE TO:EXT. HIGHSIDE CREEK - DAYZIVA: High side Creek is whereCameron goes to clear his head.MCGEE: Well, thematically, this location is very important, Boss.TONY: You've been saying the same thing all morning, McGee.GIBBS: Spread out.TONY: Why would Cameron come to apicnic area to think?ZIVA: In his book it's not a picnic area, it's his favorite fishing hole.MCGEE: Thank you, Ziva.TONY: Don't you think it's kind of a cliché to have your character alone, staring into the serenewilderness?MCGEE: No. If it was, I wouldn't have written it, Tony.TONY: I mean, knowing Cameron, if he was bummed out, wouldn't he just go to the Wing Shack with some buddies and toss back a few brews?ZIVA: Ortalk to a priest? Don't forget that he's very religious now that his father died.TONY: Good point!MCGEE: No, it isn't. Cameron keeps his emotions bottled up. When he's upset, he comes here. Afterwards, he always feelsbetter.GIBBS: Not always.MCGEE: (PAUSE) That's him. That's Petty Officer Cove.ZIVA: Then who is this?!MCGEE: (LONG BEAT) That's Jerrod Brenner. That's another character from my book.(MUSIC OUT)MUSICIN:EXT. HIGHSIDE CREEK - DAYDUCKY: Two bodies, both with nearly identical stab wounds in the chest and abdomen. It appears that Petty Officer Cove may have put up a bit of a struggle. Note the remnants of skintissue and blood under the fingernails. Now, both men have been deceased for less than twenty-four hours.ZIVA: That is not all they have in common, Ducky.TONY: They're also both characters in McGeek's nextbook.DUCKY: Yes, from what I hear, Timothy, in your next novel, L.J. Tibbs has a love interest. Yes, I hear that it's an Army...MCGEE: Ducky, I don't think we need to talk about that...GIBBS: Army what,McGee?MCGEE: Uh...Lieutenant... Colonel.... Lieutenant Colonel...GIBBS: We got a murder weapon, Duck?DUCKY: Yes, well that's where things get interesting, Jethro. Both wounds are circular, about one inch indiameter.TONY AND ZIVA: (IN UNISON) Javelin.MCGEE: Chapter Four, my characters Cameron Meyer and Jared Brenner - they murder a convenience store clerk to cover up an extortion.TONY: Javelin. Believe it ornot.DUCKY:DUCKY: That is for what they were originally intended, Anthony. A javelin is a modern day murder weapon. I applaud your creativity, McGee. Of course, well, given the circumstances... oh, dear. (CONT.)Now I'm going to have to read his new book.[SCENE_BREAK]INT. SQUAD ROOM - DAYTONY: Petty Officer Darren Cove and Adrian Corbette - the inspiration behind two of McGee's characters, Cameron Meyer andJerrod Brenner.GIBBS: Any other connection?MCGEE: Not that we've found. Corbett worked as a valet at Alfonso's Steakhouse.TONY: Your favorite.MCGEE: That's how I got to know him. For my book, I borrowed hisphysical details - the nose ring, birthmark on the face and the neck.GIBBS: Where's his job?MCGEE: Valet at a steakhouse. But I did change the name of the restaurant.TONY: From Alphonso's to Alfredo's. You don'tneed to be Sherlock Holmes to figure that one out.GIBBS: The note from Petty Officer Cove's apartment.TONY: \"One down, two to go,\" means the killer's not finished.GIBBS: How many more of your characters did youbase on real people? (BEAT) Hey! How many?MCGEE: Just the team. You, Tony, Ziva, everyone. Are you happy, Tony? I finally admitted it. I based both my novels on your guys.GIBBS: That means we're all potentialtargets.MCGEE: Boss, I'm sorry!GIBBS: Ducky, Abby, Palmer... twenty-four hour security detail until we find this psycho.ZIVA: Twenty-seven javelins sold in the D.C. area in the past six months. Twenty-one were paidfor by credit cards. All by track coaches and athletic directors.GIBBS: What about the last six?ZIVA: Cash transactions.(SFX: CELL PHONE RINGS)GIBBS: Yeah, Gibbs.ABBY: (V.O./FILTERED) I've got something for you,Gibbs.GIBBS: (INTO PHONE) I got it, Abs. We'll be right down. (TO TONY) Go! Go! (TO MCGEE) Not you.MCGEE: Two men are dead because of me, Boss.GIBBS: You got a javelin, McGee?MCGEE: No, but I own atypewriter.GIBBS: It's a typewriter. Not a shotgun.MCGEE: It caused two men their lives because I based my fictional book on real people.GIBBS: Then put these on.(SFX: HANDCUFFS CLATTER TO THE TABLE)GIBBS:You just confessed, right?MCGEE: Not exactly.GIBBS: There's no mid-ground, McGee. You either put on the cuffs, or you find who's responsible.MCGEE: How?GIBBS: This guy's inside your head. You get insidehis.MCGEE: Boss, it's not that simple. I still don't even know what my story is!GIBBS: You figure it out, McGee! You write the ending to this, or the killer will!MUSICAL BRIDGE TO:INT. ELEVATOR - NIGHTZIVA: Well,"}
+{"doc_id":"doc_282","qid":"","text":"Teleplay by: Andrew Reich & Ted CohenStory by: Sherry Bilsing & Ellen Plummer[Scene: Monica and Chandler's, Monica, Chandler, Ross, and Rachel are sitting around the table.]Monica: I'm glad you're here, we have acouple of things to ask you about the wedding ceremony.Rachel: (starting to cry) Ohh...Ross: What's the matter? You okay?Rachel: Yeah, it's just y'know...Chandler: (To Ross) Monica said wedding.Monica: Uh, soanyway, we thought one of you could read something during the ceremony.Rachel: Oh! I would love to read a poem.Chandler: Do you think you could get through a poem?Rachel: (crying) It'll be a short one.Monica:Okay, so Ross will be doing the reading.Rachel: Ohhh...Ross: Okay. Yeah, I guess, I guess I could do that too.Chandler: Too?Ross: Yeah, I kind of uh, have something else planned for you guys.Monica: Do you mindtelling us what it is?Ross: Sorry, I'm kinda keeping this one on the Q.T.Chandler: Well, whatever it is, I hope it involves winking. (Winks in a spy-type manner.)Joey: (entering, excited) Hey!All: Hey!Joey: So I justtalked to one of the DOOL writers today, and...Monica: What is DOOL?Joey: Days Of Our Lives. Anyway, you're not gonna believe it! My character is coming out of his coma!!All: Oh!!Chandler: That's great!Joey:And-and-and not only that, I'm gettin' a new brain!!Chandler: So great things are happening at work and in your personal life!Rachel: Wait, what do you mean you're getting a new brain?Joey: Oh well, they're killing offone of the characters on the show, and when she dies her brain is being transplanted into my body.Ross: What? A brain transplant?!Joey: (seriously) Yes, it's a highly controversial procedure.Ross: It's ridiculous!Joey:Well, I think it's ridiculous that you haven't had s*x in three and a half months.Ross: (to Monica and Rachel) It's winter, they are fewer people on the street. (Rachel and Monica smile and nod, knowingly.)Monica: Whoare they killing off?Joey: Uh Cecilia Monroe, she plays Jessica Lockhart.Rachel and Monica: Noo!!Monica: She's my favorite character on DOOL.Joey: Nice.Rachel: She is so good at throwing drinks in people's faces, Imean I don't think I've ever seen her finish a beverage.Monica: And the way she slaps all the time!Rachel: Oh!Monica: Wouldn't you love to do it just once?! (Raises her hand towards Chandler.)Chandler: Don't doit.Rachel: Cecilia Monroe man, what a great actress.Joey: Oh, tell me about it. And she's been on the show forever, it's gonna be really hard to fill her shoes.Ross: Yeah-yeah, help me out here, when you come out ofthe \"brain transplant,\" you are going to be her?Joey: Yes, but in Drake Ramoray's body. (Ross laughs unbelievably.) Why is this so hard for you to get? I thought you were a scientist!Opening Credits[Scene: Phoebe andRachel sitting on the couch in Central Perk]Phoebe: (Clears Throat) Rach, so, that guy there. Straight or gay?Rachel: (They both look behind them.) Well, I'd have to say gay.Phoebe: Yeah? Why?Rachel: Well mainlybecause he's kissing that other guy.Phoebe: Oh no not that guy there. That guy right there. (Pointing to an attractive man sitting at a table behind them.)Rachel: Oh yeah he's too cute to be straight.Phoebe: (A womanwith large breasts walks in the door) Ohh knockers will help us figure it out. (She walks by and he checks her out.)Rachel: All right, straight, and not subtle. (The man gets up and leaves.)Phoebe: Ohh, he left his cellphone.Rachel: Oh, well, we can hand it to Gunther and he'll put it in lost and found.Phoebe: Or we could use it to call China. See how those guys are doing.Rachel: What if, um, if he calls his own cell phone to find outwho found it and I answer and we start talking and we fall in love. I mean wouldn't that be a great story? Kind of like a fairy tale for the digital age.Phoebe: Yeah... That does sound great. I'm going to get the phone.(They both get up.)Rachel: What? Wait! Why...why do you get the story?Phoebe: I don't know. I haven't been out on a date in so long.Rachel: Phoebe, you had a date three days ago.Phoebe: That wasn't a date! Thatwas, that was just friends getting together...(quietly) having s*x.Rachel: Okay. Okay, see? I get the phone.Phoebe: No way! No way! You just broke with Tag a week ago.Rachel: Yeah! (Breaking up) And until now, Ididn't think I'd love again.Phoebe: Nice try.Rachel: Oh hey-hey wait! How do we fairly decide who gets the phone?Phoebe: I don't know.(They edge closer to the phone on the table.)Rachel: Well umm, maybe we coulduhh... (Grabs the phone) Ah-ha! Too slow!!(She holds the phone out and starts taunting Phoebe. Phoebe calming knocks the phone out of Rachel's hand and catches it.)Phoebe: Ah-ha! Too cocky![Scene: SilvercupStudios, Joey is watching Jessica Lockhart perform a scene.]Dina: I'm going to keep dating him Mother, and there's nothing you can do about it!Jessica Lockhart: Oh yes there is!Dina: What are you going to do? Killhim? Like you did with Charles?!Jessica Lockhart: (gasps) That was an accident! And so were you.Dina: Well, at least I'm not a murderer! (Jessica slaps her.)Jessica Lockhart: (crying) Oh, my baby! (Hugs Dina, butmoves Dina's head to her other shoulder so that she's the only one in the picture.)The Director: Cut!(Joey walks up to Cecilia Monroe who plays Jessica.)Joey: That was a great scene! And-and-and that slap looks soreal! How do you do that?Cecilia: Oh, just years of experience.Dina: (crying) Can I get some ice here?!Joey: Oh anyway, I just wanted to say how wonderful I think you are.Cecilia: You're not the fan who's dying areyou?Joey: Say what?Cecilia: I'm supposed to meet and hug a fan who's dying, but that's not supposed to be until (to no one in particular) later!Joey: No. No, I'm Joey Tribbiani; we did a scene together yesterday. I-I'mthe guy in the coma!Cecilia: Oh that was a real person?!Joey: An-an-anyway I-I just wanted to say that since I'm getting your brain when you leave the show, I was wondering if there was any tips you can giveme...Cecilia: I-I-I'm leaving the show?Joey: (quickly) I don't know. Why? Did you hear something?Cecilia: Who told you that?Joey: Oh uh, one of the writers.Cecilia: Which one? Was it bald or was it tall?Joey:Umm...Cecilia: Y'know what? It doesn't matter! Because it is not true!Joey: Okay.Cecilia: And if it were true, how dare you come to me ask me for tips about a character that I've been playing for 20 years-I'll give you atip! (She throws her drink in his face.)Joey: Ms. Monroe... (She slaps him) Oh there you go. (She storms off, leaving Joey standing next to Dina. They share a nod at the ferocity of the slap they just received.)[Scene:Central Perk, Phoebe and Rachel are still arguing over the phone.]Rachel: No Phoebe! You cannot get the phone that way; that's not fair! Okay look, I have an idea. Why don't we, why don't we see what kind of numberhe has on his speed dial, and then from that we can tell who has more in common with him. And then whoever does gets the phone.Phoebe: Or, we can decide by whose ever name is closer to the word phone.Rachel: Idon't think so.Phoebe: (handing Rachel the phone) Fine all right, but I'd bet you'd be singing another tune if we were fighting over a ratchet.Rachel: (checking the speed dial) All right, first name on the speed dial ismom.Phoebe: Ohh, I lost my mom to suicide.Rachel: Okay no way, you cannot use that to get the cute guy and the last blueberry muffin.Phoebe: Did I use that already today? I'm sorry.Rachel: Yes okay. (Checking thespeed dial again.) Well now see this isn't telling us anything. (Reading the speed dial) Joe. Carlos. Peter. Ooh! Peter Luger! T hat's a steak house!Phoebe: Okay, a meat eater. Fine, that's one for you.Rachel: (looking atthe speed dial) Oh, I win! He's got Barney's on his speed dial.Phoebe: So you don't know that's Barney's the store! That can be y'know his friend's house, or a bar. Who has Barney's the store on their speed dial?Rachel:(showing Phoebe her phone) His new girlfriend![Scene: Monica and Chandler's, Monica and Chandler are eating lunch, when they start to hear a horrible screeching noise. It sounds like someone is skinning acat.]Monica: What is that?Chandler: I think it's the dying cat parade.Monica: It sounds like it's coming from across the street.Chandler: (turning around and looking) Oh my God!Monica: What?Chandler: Y'know thatthing that Ross was gonna do at our wedding?! He was hanging out with me yesterday and he turned to me and said, \"You're half Scottish right?\"Monica: Nooo!!Chandler: Yes!![Cut to Ross's apartment, he is playing theBagpipes, badly. He's worse than that whole keyboard thing a few years ago.][SCENE_BREAK][Scene: Monica and Chandler's, scene continued from earlier. They both get up and move to the window.]Monica: No, thereis no way! It can not be Ross! (She looks through the window and sees Ross practicing and fumbling around with the pipes.) Unbelievable! Why is your family Scottish?!Chandler: Why is your family Ross?!Monica: Hecannot play at our wedding! I mean everyone will leave! I mean come on, that is just noise! It's not even a song!Chandler: If you listen very carefully, I think its Celebration by Cool and the Gang.[Scene: Phoebe'sapartment, Phoebe is putting out some Sunflower seeds as Rachel enters.]Rachel: Hi Pheebs!Phoebe: Hi!Rachel: How are ya?Phoebe: Good.Rachel: Umm Pheebs, remember when we were in the coffee house wedecided that I was going to keep the uh, the cute guy's cell phone?Phoebe: Yeah.Rachel: And remember how I said I was going to keep it in my purse so that if it rang I could just pick it up?Phoebe: Yeah!Rachel: Anddo you remember going into my purse and stealing the phone?!Phoebe: Ooh, now you lost me.Rachel: You stole the phone!Phoebe: No I didn't!Rachel: No? So you're saying that if I called it, it wouldn't ring?Phoebe:No. Umm, okay. But while you dial, let me show you the features of my new ringing handbag. (Rachel dials her phone and Phoebe's bag starts to ring.) Oh, it does work! (Rachel grabs the phone and takes it out ofPhoebe's handbag.)Rachel: Phoebe!Phoebe: That is a different phone.Rachel: Oh is it?! (She answers the cute guy's phone.) Uhh, hello? (On her phone) Yes hi, is Rachel there? (On the other phone) Yes she is, just onemoment please. (To Phoebe, holding out both phones.) It's for me!Phoebe: That is damning evidence.(The cute guy's phone rings.)Rachel: Oh my God! I bet that's him. My digital fairy tale is about to begin. I wonderhow I should be? Should I be uh (In a sexy voice) Hello? Or should I be (Happily) Hi! It's Rach... (Phoebe knocks the phone out of Rachel's hand, catches it, and answers it.) Would you stop doing that?!Phoebe: (onphone) Hello? (Listens) Yes, I'm the one who found your phone.Rachel: Phoebe! You can't do th...Phoebe: (To Rachel) Shhh! I'm on a call! (On phone) Umm well yeah, you can pick it up tonight, say 8:30? At-at myapartment. It's umm, it's umm 5 Morton Street, Apartment 14, umm and then maybe y'know after we can grab a bite to eat or whatever. (Listens) Okay, well okay I'll see you then. (Listens) Bye. (Hangs up.)Rachel:You do know that I will be here when he comes over.Phoebe: Oh? And how will you know what time to come over?Rachel: You just said it!Phoebe: Oh. Okay, well I-I was kinda hoping that I would just...be alone y'knowto think about my mom and her suicide.Rachel: Oh Phoebe!Phoebe: What?! That's the first time today!Rachel: Ohh! (Exits.)[Scene: Silvercup Studios, Dina is at the craft services table getting some food as Joey walksup.]Joey: So you like the nachos uh? Myself I'm partial to...Dina: (interrupting) I'm 16.Joey: See you in 2003. (She walks away.)Cecilia: (walking up) You're absolutely right they are writing me out of the show. Theydon't know exactly when it's going to happen, but apparently it's going to be very soon and that's it.Joey: I'm so sorry. Look, if it was up to me you would never leave the show.Cecilia: Yeah, thanks.Joey: No I mean it! Ican't believe they would do this to you! And to your fans! I mean they are going to be devastated! Heart broken! They love you so much!Cecilia: Oh you're right. Thank you! What's your name again?Joey: Joey.Cecilia:Joey, well thank you. That is so sweet. Oh, excuse me. (She throws her drink on a passing writer.)The Writer: It wasn't my decision!Cecilia: (to him) I'm having a conversation here! (To Joey) You were saying?Joey: Uhyeah-ye-ye-ye-ye-ye-l-l-l-l-l-look the-the-the only reason that I, that I came up to you before was because well, I'm really nervous about-about being you. Y'know if you can help me capture the essence of thecharacter. Y'know? Help me keep Jessica alive. Please?Cecilia: All right Joey, I will help you. Not because I-I owe it to this stupid show, but because I owe it to Jessica.Joey: Oh that's great! Oh thank you somuch!Cecilia: You're so welcome.Joey: Hey! Now, I've been watching some tapes, how's this? (In a British accent.) \"Jessica Lockhart will never set foot in this place again! Ever!!\"Cecilia: Is that supposed to beme?Joey: Yeah.Cecilia: Yeah but Jessica doesn't have an English accent.Joey: (shocked) I can do an English accent?! That baby's going on my résumé![Scene: Central Perk, Monica and Chandler are sitting on thecouch. Ross is sitting on the armchair.]Chandler: Well, I feel like a snack!Monica: Do you want some shortbread? Eh that's Scottish like you are.Chandler: Oh no thanks. I don't like anything from my Scottishheritage.Ross: What?!Chandler: Well it's just my entire family was run out of Scotland by...Vikings. Anyway, lots of bad memories. (Makes a few unintelligible noises.)Ross: Oh well, it sounds to me like your family isready to uh, rediscover its Scottish roots.Monica: No! No-no they're not. They're still very angry! But y'know Chandler is also half-Swedish. You know what the Swedish people are famous for? Sitting down and beingquiet.Ross: Well yeah-yeah the Scottish history is so much more...Monica: (interrupting) You can not play bagpipes at the wedding!!Ross: How did you know about that?!Chandler: We heard you play all the way fromyour apartment!Ross: Were you the ones called the cops?!Chandler: That's not really important right now. What is important is; while we appreciate the gesture, we just don't feel bagpipes are appropriate for ourwedding.Ross: Why not?Chandler: Because we hate them.Ross: Come on that's not fair! I mean you haven't even heard me play!Chandler: We have heard you play.Ross: No, you've heard my practice. Okay? Just-justgive me a chance to perform for you and then decide whatever you want. And I'm not going to tell you what song I'm gonna play either. But uh, let's just say when it's over I'll bet there will be a wee bit o'celebration.[Scene: Silvercup Studios, Joey is getting pointers on how to play Jessica Lockhart.]Cecilia: So, the essence of the character is rooted in her confidence. So, when Jessica enters a room for instance, sheowns everything and every person in that room. (Joey is nodding.) You try.Joey: Okay! (He scurries out the set door and re-enters, extremely impressed) All right!Cecilia: No, he already knows that he owns everythingin the room! He's not finding it out for the first time! So, try it again.Joey: Okay. Okay. (He goes out and comes back in, glaring at everything.)Cecilia: Right. He's not angry at the room either. Try it again, he owns it!He owns the room. It is his. He owns, owns, owns, owns the room! He owns it!! (Joey gets a snooty look on his face.) All right, it's a little weird, but it's getting better. (Joey is pleased.) Oh well, I'm gonna miss thiswoman so much. I don't know what I'm going to do! I mean, it's been 20 years of my life.Joey: Oh well-Hey-hey! Maybe, maybe uh, maybe this is a good thing. Y'know? It'll-it'll give you a chance to shake things up,play different characters. You're so talented.Cecilia: I am. I am, but I don't know, you know. An actor of a certain age is not that easy.Joey: Hey that's not true! Look at uh, look at Angela Lansb-Angelina Jolie!Cecilia: Iprobably should've just left years ago when the offers were pouring in, but y'know I just got so comfy here! And... Ohh, I turned down some amazing work!Joey: Like-like what?Cecilia: Well, let's just say if I left 15years ago, the landscape of Mexican cinema would be very different today!Joey: (impressed) Wow!Cecilia: But... Well now, now's a different time for me. (Starts to cry.)Joey: Oh hey come on, don't-don't-don't do this!Umm, look let-let me tell you something, okay? Now when I watch you do a scene, I'm thinking, \"Boy, she-she is a great actress!\" (She's not buying it.) Uh but-but, I am also thinking, \"She is hot!\"Cecilia: (intrigued)You think I'm hot?Joey: You own the room. (She smiles and stares longingly into his eyes.) We should probably get-get uh...Cecilia: Oh yeah-yeah, we should get the... (Pause) So when Jessica kisses a man, sheusually puts umm, both her hands on the man's face. (She does so.)Joey: Yeah-yeah, I noticed that! Is that 'cause she's so passionate?Cecilia: No! It's because that way the camera only sees her! (She takes her handsoff his face.) Do you wanna try it?Joey: Yeah! Okay. (He puts his hands on her face and they kiss.)Cecilia: That was good, that was really good. But I-I think your hands may be a little off, they should be maybe rightlike... (She grabs the back of his neck and kisses him passionately causing them to fall onto the couch.)[SCENE_BREAK][Scene: Phoebe's apartment, Phoebe and Rachel are waiting for the cute guy to show up for hiscell phone. Rachel is putting on perfume by spraying it ahead of her face, and moving into it. Phoebe tries to steal some.]Rachel: Hey! Hey!(There is a knock on the door.)Phoebe and Rachel: (simultaneously) Who isit?Guy: Hi! It's Tom, I'm here to pick up the phone.(Rachel excitedly jumps up and heads for the door.)Phoebe: Whoa! Why do you get to answer the door?Rachel: Well why shouldn't I?!Phoebe: Because it's myapartment!Rachel: Well, then I get to give him the cell phone.Phoebe: Okay. All right. (Hands her the phone.) Good luck explaining all the calls to China.(Phoebe opens the door and Tom, an older gentleman with whitehair, enters.)Tom: Hi!Phoebe: (To Rachel) Wow! How long were we arguing for?Rachel: (laughs) You're not the man who left the cell phone.Tom: No that's my assistant.Rachel: Is-is he coming? (Looks hopefully out thedoor.)Tom: Umm, no.Phoebe: Could you-could you umm, give us one second?Tom: Sure!Rachel: We'll be right back sir.Tom: Sure.(They walk into the living room.)Phoebe: Wh-what do we do?Rachel: I don'tknow!Phoebe: Can you believe this? (Rachel exhales in amazement.) We were waiting for a hot guy and then an even hotter one shows up!Rachel: I know! (Realizes what Phoebe said.) What?!Phoebe: Hmm, they justdon't make 'em like that anymore!Rachel: (turning and looking at Tom again) No-no they do but, you just have to wait.Phoebe: Rachel, listen-I mean, if you let me have him then I will really owe you one.Rachel: (fakedisappointment) All right. All right Phoebe I will let you have him, but you owe me; you owe me big!Phoebe: Yeah! You're such a great friend!Rachel: Ohh...Tom: So, which one of you lovely ladies am I going to take todinner huh?Phoebe: Oh that'd be me. Sir. (Hands him the cell phone.) After you.Tom: Okay. Okay. (Exits and Phoebe checks him out.)Phoebe: (whispering) Nice![Scene: Joey and Rachel's, Cecilia is entering the livingroom from Joey's room followed by Joey.]Cecilia: Well, you certainly own that room.Joey: Actually I rent the whole place and, I just got what you meant. Thank you.(She laughs as Rachel enters.)Rachel: Hi.Joey:Hey!(Rachel stops dead in her tracks when she sees whom Joey is with.)Rachel: Oh my God! Oh my God!! Ohh, Jessica Lockhart!! In my apartment!! I am such a huge fan! I am such a huge fan!Cecilia: Well, it's nice toknow that you...Rachel: (screaming) MONICA!!!! MONICA!!!! (Runs to Monica's.)Joey: That uh, that is my roommate Rachel.Cecilia: Oh that explains all the women's underwear.Joey: (shrugs) Sure. Yep.Monica:(entering with Rachel) Oh my God! It's true!! Oh my God you are so amazing! Oh my God, can I just ask you to do me oh, just one favor?Cecilia: Certainly.Monica: Would you slap me? Would you slap me right here inthe face?! (Points to her cheek.)Cecilia: I'd love to, but my lawyer said I can't do that anymore.Rachel: God. You seem really, really nice.Joey: Okay, bye-bye.Rachel: I mean n-not-not fake at all like most famouspeople.Joey: All right, here we go. (He grabs them and starts to pull them out of the apartment.)Rachel: Okay.Monica: (breaks away) Oh wait, just one more thing! One more minute! (To Cecilia) Umm, you're a stupidbitch.Cecilia: I really can't slap you. (Monica walks away angrily)Rachel: You are so beautiful.Monica: Nice to meet you! My God you're great!Joey: Thanks for stopping by. See ya! (Throws them out and closes thedoor.) (To Cecilia) I-I am so sorry. I...Cecilia: Oh no-no-no-no, being adored. I'm used to it, don't worry about it.Joey: (notices something in the mail that Rachel brought in) Oh my God!Cecilia: What?Joey: They sent"}
+{"doc_id":"doc_283","qid":"","text":"Moirira and Johnny: (Moans of passion) Oh yeah! Yeah. Yeah.David: Could you spare some a... Oh my go-oh my God!Moira: (Shrieks) David!Johnny: Where's my robe?!David: Oh my God. Oh my God. Oh my God. Ohmy God, what's happening? I saw hell is what's happening. Oh my God. What? (Door opens)David: Oh my God.Johnny: David, what you just saw was your mother and me...David: I know what I saw.Johnny: having anintimate moment.David: I cannot unsee that!Alexis: Oh my God, you poor thing!Johnny: Okay, and I refuse to feel guilty about being in bed with my wife.Alexis: Ew! Ew! Ew!Moira: I hate to be the one to tell you, buthaving s*x is not just about making children so they can grow up and make you feel bad about having s*x. Oh my God, can you stop this please?!Moira: I will not be shamed. Shame on you.David: Shame on you forattempting that position at 8 o'clock in the morning.Moira: John?Johnny: You know what?David: Oh my God. Do you know how difficult it is for us to share a wall with you two?David: I do now.Johnny: Yes, well, if youdon't mind, we are now going back into our room and don't even think about opening that door!Moira: Are you serious?Johnny: Next time.David: (Under his breath) Oh my God. (Gags)Alexis: (Whimpers) No, no,no...S01E05 \"The Cabin\"Johnny: Roland, I just need the door fixed.Roland: Mm-hmm?Johnny: Okay? My family can't keep living like this. My wife and I, we have no privacy. Okay, all right. I get what this is about. Youand the wife wanna bump the old uglies, huh?Roland: (Laughs)Johnny: I have no idea what that means. Having a little problem down there below there, Johnny boy, huh? No, there's no problem, Roland, I just need thelocks fixed! It's okay, I get it. I get it, captain. You've been a out to sea for a while you wanna bring the boat into port and maybe... get your mast scrubbed. What're you guys down to now? Like... twice a day? Okay,this is a conversation you and I will never have, all right? I just need the door fixed. Well, how 'bout I do you one better? We got a cabin up by the lake. It's just a little love nest for the lady and me. You know, when wewanna spark the old spark from time to time. My gift to you and yours for the night. So generous, but I'm gonna take a pass.Jocelyn: Hey, Johnny.Johnny: Jocelyn?Jocelyn: How are you?Johnny: Uh, good.Good.Roland: s*x life's in the crapper. I just offered him the cabin. That is so not true.Jocelyn: I knew something was wrong.Johnny: N-nothing is wrong. You should take the cabin. I wouldn't wanna see yourrelationship get any worse. No, our relationship is fine. It's just a privacy issue...Roland: Johnny, Johnny, come on, come on, come on, come on. Take the cabin, okay? And feel free to use the restraints. We keep 'emunder the bed, so...Johnny: Thank you. Thank you.Jocelyn: Pick a safe word.Roland: Mm.Johnny: (Sighs) I, for one, think we should take them up on their offer. I can't believe what I'm hearing here. We're talkingabout Roland's place. Who knows what the hell we're gonna find up there?Moira: Well, we can't share any real intimacy here in this internment camp, John, and I don't want to turn into my parents. Separate beds,separate rooms. Well, separate countries. Exactly! A bad marriage! Hey, if you're willing to give this a shot, I'm game.Moira: You're game.Johnny: Yeah.Moira: Okay. I'll play. Actually, I have a good feeling about this,John.Johnny: You know, I'm starting to get a pretty good feeling myself. Are you?David: Oh my God! Am I being punished for something? David, are you dirty peeping tom? I don't' think parenting books would approveof you saying that to me. I'm here to grab a magazine, and go back and leave you guys to whatever disgusting...Moira: Stay.Johnny: Stick around, stick around.Moira: Alexis?Johnny: Alexis! They're done! Your fatherand I have some very important news. If you tell me that you're pregnant, I'm gonna vomit on this floor right now.Moira: Oh, can you imagine?Johnny: We're planning a trip.David: Okay.Johnny: Just to a cabin,overnight... And we request that the two of you not try to contact us for the next 24 hours. I really appreciate you doing that for me. I'm doing it for us. Well, it's to my benefit.Alexis: Um, why don't you guys stay at thecabin for longer? Oh, I would never just abandon you two in a motel in the middle of nowhere.David: Didn't you once take the wrong baby home from preschool? Alexis looked Chinese as an infant. How many timesmust I defend myself? So we're good then? Thank you.David: No, thank you.Johnny: No, thank you.David: Honestly, thank you.Johnny: Enough, David!Moira: Thank you so much for the loan of your cabin and yourtruck.Roland: Looks like you folks got a lot of gear here, huh? Is that the tickle trunk? (Smarmy laugh) It's just clothes.Roland: Yeah, okay, but just keep in mind there's only 60 amp service there, so don't be pluggin' alot of gadgets in all at once, if you know what I mean. Yet another disturbing look into his world.Roland: All right, directions. Super easy, Johnny. Here's what I want you to do. Okay, I want you take highway 10 to LoonLake Road north, okay? I want you to take a right there. There's gonna be a split in the fence, I want you to go left at that split, and keep going. Go through the intersection of Loon Lake Road south, okay? And thenyou're gonna find Pine Road. Now you go up Pine Road, I want you take a right at that big oak tree, all right? It's old, it's big, you can't miss it. You go down the hill to the left and we're the third cabin on the right,okay? The key's under the mat.Johnny: Got it.Moira: Really?Johnny: Key is under the mat. So I think I'm gonna go next door because your mess is making me anxious. What mess?David: You know how clean myapartment was in New York. It was so clean. It was really clean. Well, it was very clean because you had a maid to keep it very clean for you. No. I kept it clean after Cecilia cleaned. Anyway, I think it's best if we justtake some space and um... I am looking forward to sleeping in a bed that his not... made for a toddler. Okay. I'll just chill here in my own space and...David: Yeah.Alexis: Maybe I'll do a mask or something and... checkin with myself and see how I'm doing... Okay, so we're good?Alexis: Yeah.David: Okay. See you tomorrow. Okay. (Door closes)(Bedding rustles)(Relaxing sigh, book pages rustle)(Door creaks shut)I'm out of mask. Iwas so bored in there! I'm sorry to hear that.Alexis: Okay, so I think that we should take advantage of mom and dad being gone.David: I am.Alexis: Okay, but like throwing a party or something.David: No. Absolutelynot.Alexis: Just a tiny, little, casual motel party. Okay, Alexis, I have no interest in finding out what types of people are attracted to \"casual motel parties.\"Alexis: But you do have an interest in lounging on a bed thatmom and dad have had s*x all over?David: Why would you do that to me right now? David, I just... I miss my life! And I miss doing things. And I miss being surrounded by loose acquaintances who think that I'm...funny, and smart, and charming. Will you? Just a few people. Please. You can't tell me that you don't wanna hang out with people other than me.David: Obviously.Alexis: Okay, so...?David: Okay, fine. Somethingsmall.Alexis: Yes!David: Like a little games night. Yes, like a small, little games night party. No. Like a little games night period. Okay, fine. And then, if it turns into something else, it turns into something else. Well, itwon't 'cause there's only six people invited. Any more and game play gets too yelly. It gets very yelly. Okay, this party is gonna be...David: It's not a party.Alexis: awesome!David: It's not a party.Alexis: So. Much. Fun!I'm so excited!(Door bangs shut)(Insects chirp, birds Twitter)(Truck rumbles to a stop)(Engine cuts out, doors creak open and bang shut)Johnny: Hey, not bad! Rustic but nice, huh?The great outdoors, Moira. I amshocked and delighted. Yes. I have to say I was nervous about this, but I've gotta hand it to Roland, he came through. He's moron!(Pots and dishes clatter)Key's under the mat, is it? The key is under the mat!(Rippingsound)Agh! That's great! Lying son-of-a...(pan crashes on floor)Agh! Idiot man! Moron! Ha! Oh, good.Moira: John?!Johnny: Yeah! Coming, honey! I'm coming.(Blows out his breath)(Lock clicks)Well hellooooo. Oh, mycar broke down and it's raining, and I wondered if I might spend the night. Well, first let's get you out of those... dry clothes and we'll see where the night takes us.David: So I need to flesh out this games night thing.Between you and my sister, and the barn guy and that girl in the restaurant, we have 5, and obviously we need an even 6 for ultimate game play.Stevie: Well, what if I'm not a games person?David: We're far toosimilar for you not to be, so... Options, please. Obviously they need to be funny, and smart, and have well-rounded sense of humour and a wide range of knowledge. Oh, all those types of people move away fromhere.David: That's funny.Stevie: No, I'm serious.Stevie: Ooh, what about Eric?David: Hmm? He finished high school. I don't love his look. Oh, looks are important? Oh... Why don't we throw a pageant? Trust me, if Ihad time, we would, but we don't, so... What about Sarah? She's cute and speaks english. Hmm? Mm... She get it?Stevie: Get what? Like \"get it\" get it. It, like the vibe. Understand that games night needs to run acertain way, otherwise it won't work. Can I be on your team? You sound really fun.David: Listen, you don't have to help me out if you don't want to.David: I can find someone else.Stevie: Really?David:Mm-hmm.Stevie: Okay.David: Well, it's-okay.Stevie: Have fun.David: Okay.Stevie: My money's on the other team.(Receding footsteps, cars rumble by)[SCENE_BREAK](door opens)David: Hi. (Door clicks shut)Can Ihelp you? Yeah, I just uh... Came to apologize. For what? For uninviting you to games night. You did not uninvite me. I uninvited myself. Mm-hmm. Okay, well, um... I would really like it if you came and I would reallylove it if you could bring... one other person of your choosing. So it doesn't matter if they don't blend? M-mm-mm. And this doesn't have anything to do with the fact that you couldn't find anybody else to come?(Scoffs) No. What? No. I... You are a very bright, funny person, with a wide range of useful knowledge and the fact that we don't have an ideal number for team style game-play, is not... not why I'm here. You're such aliar. And I was bluffing when I said I wasn't coming. I just wanted to see you beg, so...David: Okay.Stevie: I'll put out some feelers, but, you know, such short notice, all the town hotties will have plans. I'll see youtonight! Yeah, thanks.David: Thank you.Stevie: Welcome.Moira: This place is almost charming. Very rustic cottage. I was half expecting early unibomber.Johnny: Oh, look! Roland and Jocelyn.Moira: Who are the othertwo?Johnny: Well, that's Bob. He's on the town council.Moira: And his partner? Roland has gay friends! Again, shocked and delighted. I think that's his wife.Moira: No, they're both called husband. Look at the themsmiling away. What have they got to be so happy about?Johnny: Well, they have no money issues. That's why they're so happy. Yeah, they just don't know any better.(Birds sing, crickets chirp)David: So, Eric, how doyou know Stevie?Eric: She used to be my babysitter.Great. Wow. Okay. And how are your... Trivia skills?Eric: My what?David: Oh my God. Okay. Good choice. Good choice.(Knock at the door)Alexis: (Squealsexcitedly)(Door opens)You guys came. Together. That's so cute! Come in! Twyla, you look amazing! Mutt, you look like a mill dollars.Twyla: Okay, so I brought this pie from work but on the way, I realized I didn't checkwhat kind so there's a 50/50 chance there's meat in it.Alexis: Oh my God, that's so cute. Thank you.David: Okay, so it's 8:15. It's 8:15. We should have started at 8. So... fifteen minutes late, let's sit down and I will...explain the game.Alexis: And I would just like to thank everybody so much for coming. This is the first social thing that I've done in like a really long time, so let's just have so much fun and we'll just see where thenight takes us.David: Well, it'll take us to a three part games night that ends at 10.Alexis: Okay, well, we'll see.David: Okay, so let's start.Alexis: Okay.David: Let's start by putting down 10 famous names onto thepieces of paper in front of you.Mutt: I don't think I can fit ten names on this piece of paper.David: That's funny. That's funny. No. One per piece of paper. Ten pieces of paper, ten names.Eric: Who should I putdown?David: I can't tell you that, Eric, 'cause that would wreck the game.Eric: So then how do I know what to put?David: Oh my God.Stevie: (Whispers) Relax.Twyla: Can you put yourself down?Alexis: Oh, okay, whowants a shot? Because I do.David: No, we need to finish putting the names down first.(Knock at the door)David: Who's that?Alexis: Okay, I may or may not have invited a few other people.David: What kind-who?Idon't know. I met them on the way home.(Running footsteps, door clicks open)Alexis: Hey!Dane: Hey.Alexis: How are you?Dane: Good, good.Alexis: Good. Hey!Dane: Hey, kids.Stevie... Mutt... Twyla.Stevie: Hey,Dane.David: Who the... Bleep... is this? He's the worst, okay? So just breathe through it.David: Hi. David Rose. Oh... 'Kay. So we have split into teams and that's an odd number, so we're... stuck. No worries. We'rehere for the party. Keg's in the truck. What kegs? No one ordered a keg. David, can you please not be rude in front of...Dane: Dane.Alexis: Dane?Eric: So now what?David: (Jumps) Oh, God! In the bowl, Eric. Put themin the...(Papers rustle, pen clatters)(Crickets chirp)Johnny: Wow.Moira: Yeah.I can't see out of one eye. But I'm still alive, that's the main thing. (Sighs) I'm hungry. Should I go get... No! No. You don't have to getanything. I will get some food, I will get the wine. You... have done more than enough.(Wine glasses clink)Bob: Oh good, you're done.We uh... we didn't wanna interrupt.Johnny: What're doing here?Bob: Oh, justfinishing off the latest Harold Zable novel. (Chuckles) You ever read him? How long have you been here? Quite a while. Yeah, you seemed to have a little trouble there, getting going. And, uh, well, we uh... We didn'tthink you needed the extra pressure on you, so...Gwen: Oh, hi! You're good.Moira: And you are?Bob: I'm Bob, this is my wife Gwen, and, uh, this is our cabin.Johnny: Oh, no, no, no. This is Roland and Jocelyn'scabin.Gwen: No, they're a mile up the road.Bob: Big tree, a fence. You can't miss it.(Awkward silence, Johnny sighs)David: She died! She's a dead person!Twyla: Marilyn Monroe!David: No! She helps people!Twyla:Oprah.Stevie: Calcutta! Calcutta!David: Calcutta! The lepers!She's the mother... She's a mother...David: It's not your turn, Alexis!Twyla: Princess Diana.Stevie and David: No! She's...David: The lepers in Calcutta, shehelps them.Stevie: Lepers! Lepers!David: There's all these lepers.Alexis: Stop yelling at her though!David: It's the point of the game is the yell! She's a mother and has your cousin's name.Twyla: Teresa?Twyla: MotherTeresa!Alexis: Yes!David: You can't say mother! You can't say mother!Mutt: She wasn't getting it.David: That's the point! Anyway, no points for them. We have to start this again.Dane: This party's terrible.David:Excuse me?Alexis: Okay, so then, hey, why don't we do something else, like a drinking game.David: No! Absolutely not! Every time the vein in my brother's eye twitches, we take a drink.David: Why would you bring upmy eye in front of all these people?(Knock at the door)David: Who is that?!Alexis: Calm down.Dane thought he should just invite over a few more of his friends, so...David: Oh, did he?Alexis: Yeah.Dane: Who's up forstrip poker?David: Okay, you know what? I'm out. No, that's it. I'm gonna call it a night. I'm gonna pack it in. Eric, don't look at my eye!Alexis: Why are you being such an old woman? I'm sorry that I wanted to havefun tonight and invite a few random guys over and try and make out with them, okay? You're not the only one dying in this town. It is boring and I am just trying to make the best of it. I'm really sorry everybody. Nooffense, okay?Twyla: I'm well-versed in family conflict...David: I'm sure you are. Alexis? If you want to party, have a party. But I have a queen bed next door with my name on it and I have been looking forward tosleeping in that bed all day, so...Mutt: Maybe we should go.Alexis: No. You know what, guys? It's totally fine. David, I would love it if you would come and party with us, but it's totally up to you.David: And I'm totallygonna go. So everybody have a good night. I don't know who you are! Dane, put that down and get off my bed! No one on my bed tonight. And don't-no one throw up!(Door slams shut)So his eye twitched five times, sodrink up, bitches!Guys: All right!Alexis: Woo!Dane: Shots! All right. Ready and...Johnny: And once again, my apologies.Moira: And I'm sorry, I don't know how to make a bed.Johnny: And I may have damaged yourcorkscrew, Bob.Bob: You broke it in half.(Door rattles as Johnny struggles)Johnny: Okay, the door, it won't open. The door won't open.Bob: It's locked.Johnny: Oh, it's locked.Moira: What do you want from us?Bob:Yes, it's... it's locked to prevent strangers from coming into the cabin.See, uh, we didn't realize that, uh, strangers would already be in the cabin when we locked it.Johnny: I see. Oh. Okay.Moira: Bye!Johnny: There wego.Moira: Thank you. Bye.Johnny: You've been consummate hosts, really. Fantastic day.(Door bangs shut)(Music plays)Twyla: Hey, Mutt, can you pass me a drink? Um...(Door bangs shut, muted chatter throughdoor)Stevie: Sorry. Hey!David: Hi!Here's the thing. Um, I'm sorry that you and your sister are in a domestic, and I'm sorry that I invited Eric. That joke was funnier in theory. Bad joke. But I'm gonna need you to comeback in there.David: Why? Because I don't really like most of those people and, believe it or not, we are in the middle of a very intense game of drunken charades and my team is losing. Badly. Well, that's not really mything. It's not my thing either, but you were right; We're way too similar and I am having a very hard time losing, so... I will happily let you get back to this big queen bed if you'll just help us win a few more rounds.Just need somebody sober.David: I can't...Stevie: Please. Go back in there. It's embarrassing. They are way too drunk to remember.(Sighs)Just two winning rounds and then it's over. Then you can go back to yourbook.David: Fine. Fine. Two rounds.Stevie: You can go back to sleep.David: Quick. Quick rounds.Stevie: Thank you.David: Fine.Stevie: Thank you.Stevie: And just don't look at the stain on your bed, and we'll mimesomething special.David: What stain?Stevie: Uh...David: You're lucky I'm good at this game.Dane: Yes! A mexican...Alexis: Just get this one!Moira: Are you sure you don't want to call a tradesman or someone, John?Moira, I don't need a tradesman. I can handle a screwdriver, okay? This is working out just... fine. (Grunts of effort) And... that... is... in. Look at this.(Opens and closes door)Instant lock.Moira: Yes, let me tell you,Eddie. You look awfully good in that blue collar.Johnny: (Voice-breaking twang) Well, thank you very much, Mrs. Rose. I don't often get compliments when I'm fixing doors. Oh, Edward, I'm afraid I must tell you, Ishan't be able to pay you today. (Voice-breaking twang) Well, that's okay, Mrs. Rose. Maybe there's um... some other way you can pay me, if you get my drift.(Door rips open, lock jingles uselessly)Did you take mymask? Thank you.(Door bangs shut)(Voice-breaking twang) Well, maybe I'll use a bigger screw, Mrs. Rose. Don't you go anywheres.Moira: I'll be right here, Eddie."}
+{"doc_id":"doc_284","qid":"","text":"[PREVIOUSLY_ON]Mulder (O.C.): My name is Fox Mulder. In the 1990s, I began investigating paranormal science cases through a unit of the FBI known as the X-Files. My partner in this pursuit was Agent Dana Scully,a medical doctor and scientist. In 2001, we had a child together...Scully (quietly): William.Mulder (O.C.): ...but had to put him up for adoption to hide him from those who wished him harm. In 2002, the FBI closed theX-Files. 14 years later, circumstances have arisen which demand new X-Files investigations...Mulder (O.C.): Are you saying you have alien DNA?Mulder (O.C.): ...bringing Scully and I backtogether.[SCENE_BREAK](electronic whirring)Female electronic voice: Good day, Dr. Sanjay.Sanjay: Yeah. Good morning.(scanner wand squeaking)Sanjay! (laughs) Oh. You okay? Rough weekend?Sanjay: Ahumdinger. Work or pleasure?Sanjay: I haven't known pleasure for quite some time.(wry laugh)(tone ringing)Are you okay?Sanjay: It's nothing.[SCENE_BREAK]Hill: The Founder looked at the data. He sent a messagethis morning. \"Do over.\"Cynthia: That's it? We spent months on those trials. We've tried every new source of pluripotent stem cells, including samples from amniotic fluids. We need more than just pronouncements fromabove. We need direction! What about a meeting with the man?Hill: You want the Founder to tell you how terrible your data is face-to-face? The guy is a recluse. No one here's even seen him for years. (distorted): Forall we know, he didn't even read the stuff.Hill (distorted): I can assure you that Augustus Goldman is (slows, distorts): fully engaged. But the Founder has other interests that keep him occupied. Yeah, what about that?Doesn't that creep you out, that he's referred to as \"The Founder\"?(Crows fluttering)(glass rattling)(Pencil snaps, cracks)(fingers thudding)(eyelids shudder and crackle)Cynthia: ...do it.Hill: Now. It's necessary.Data...is the key.Hill: Don't hesitate. Go. Go now. Go!(tone ringing)(distorted): No... no!(glass rattling, clattering)Can't anyone hear that?(tone stops)Sanjay: (gasps) Sorry. Excuse me.[SCENE_BREAK](typing rapidly)Cynthia:Do it.Hill: Now.Rogers: Data... is the key.(knock echoing)Rogers (muffled, distorted): Sanjay! Sanjay!Hill (O.C.): Sanjay, come on! Open up!(insistent banging on door)Hill (muffled): Open the door, Sanjay!Rogers(distorted): Sanjay! Sanjay, open the door!Hill: It's not opening!Rogers (O.C.): Open the door! Sanjay!Hill: Something's wrong with the system!Rogers: Sanjay, open the door!(tone ringing)(tone intensifies)(Sanjaywhimpers)(gasping)(muffled): Sanjay?(muffled): Sanjay! Sanjay!(tone continues)(crackling, squishing)(brief whimper)[SCENE_BREAK](camera shutter clicking)Mulder: What do you make of this, Scully?Scully: Well, itseems that Dr. Sanjay had a psychotic break and committed suicide. Note the letter opener sticking out of his head.Mulder: Noted.Scully: All the witnesses I spoke to have consistent accounts.Mulder: I mean the room.He chose the most secured place in the building to kill himself. He was trying to access something. These are isolated servers, so the only way to get to the data is through this terminal, which is also protected.Scully: Isthat why we're here? You're interested in the server? What are you looking for, Mulder?Guard: Unhand the hard drive, sir.Mulder: This is evidence.Guard: It's classified.Scully: The reason why we're investigating, ratherthan the local police is because we have security clearance.Guard: To be in the room. Not to look inside this. That is property Department of Defense.Mulder: We need to conduct a few more interviews, then, before weconclude our investigation.Guard: The individuals pertinent to this incident have already been interviewed by your colleague.Mulder: We'd like to talk to Augustus Goldman.Guard: That's impossible. Dr. Goldman wasnot even on campus when this happened.Mulder: Well, if you won't let me look at the drive, then I have to talk to Goldman about what the deceased was trying to access before he died.Guard: I'm not authorized toconfirm that I have knowledge of the whereabouts of the Founder.Scully: Can you confirm that you have security cameras watching over the entire complex? There's that one, and I saw a few more out there.Guard:Yes.Scully: In that case, I'd like to see all of the tapes. As soon as possible.Guard: All right. I'll have those sent over. But for now, remove this body so we can secure this room.Scully: Sorry, we're not finished--Mulder:Oh, we are finished. We are finished.[SCENE_BREAK]Scully: Mulder, that's not your phone.Mulder: You know me, Scully. I'm old-school.Scully: Riley vs. California. The Supreme Court ruled that you needed a warrant tosearch a mobile phone.Mulder: That's for a suspect. Sanjay's the victim.Scully: Well, there is no victim. He killed himself.Mulder: Well, then, I'm sure he won't mind me talking to some of his friends. Here's someone hetalked to every night. \"Gupta.\"Scully: Dr. Sanjay is from western India. Gupta's a Marathi word. It means \"secret.\"Mulder: How do you know that?Scully: I'm old-school, Mulder. Pre-Google.[SCENE_BREAK](blues songplaying in background)\u0000 tell me, baby... \u0000Mulder: Gupta? Thanks for meeting me. My name is...Gupta: No... no names, please. You're Sonny's friend?(no voice)Gupta: Is that guy bothering you?Mulder: Notyet.Gupta: What... do you... want?Mulder: I want to talk. Can we go somewhere more private?Gupta: I don't... know you well enough.Mulder: I'm safe. You can trust me.Gupta: Come on.Mulder: Oh, whoa, whoa,no.Gupta: Well, you said you wanted to \"talk.\"Mulder: Yes. I-I don't think that means exactly what you think it means. Or... or I'm not...Gupta: You guys are all alike, you know? You say you want to walk on the wildside, but when it comes down to it... you're repressed. I finally let go of all that, that self-loathing and that judgment and I'm free. Stop tormenting yourself. The truth is in here.Mulder: Yeah, I've-I've heard somethinglike that. Hey, listen, I-I-I gotta tell you... (clears throat) Sanjay is dead.[SCENE_BREAK][ FBI MORGUE WASHINGTON, D.C. ][SCENE_BREAK]Scully: Deceased is a male, 35 years old, five-foot-eight and three-quartersinches, 180 pounds. (sighs) The probable cause of death is the introduction-- self-propelled-- of a letter opener into the cerebral cortex by way of the ear canal. (sighs, groans) I will now commence with my overallexternal examination.[SCENE_BREAK]Gupta: The last couple of weeks, he was... he was distant. He was... he was troubled. I... I thought it was me, you know? We hadn't gotten together for a while. I mean, he'd callme every night, but nothing...Mulder: .. physical. Did he talk to you about his problems? About work?Gupta: Yeah. Yeah, he said he was upset about his kids. He said they were dying.Mulder: His kids? He wassingle.Gupta: I didn't push it. I just tried to make him feel better.Mulder: Well, I saw where he lived. There was nothing there. He lived an antiseptic life.Gupta: He lived two lives. In two separate places.(phonebuzzing)Mulder: Excuse me. Yeah.Scully: Mulder, you gotta see this.[SCENE_BREAK]Scully: I had to break his fingers to pry them open. But he wrote that on the palm of his hand before he died.Mulder: \"Founder'sMutation.\"Scully: The Founder is what they called Dr. Goldman at Nugenics. Is that why you wanted to talk to him?Mulder: I don't think that's the mutation Sanjay was referring to. Did you find anything else on theautopsy?Scully: Well, there were no abnormalities in Dr. Sanjay's brain. The opener destroyed the acoustic nerve and then went into the cerebral cortex.Mulder: It's weird, because the opener goes in at 90 degrees andthen it veers off at 60 degrees up into his brain, like he was hunting for something.Scully: Yeah. It ended up in the auditory cortex. You know... he blurted something out at the meeting, before his suicide. He said,\"Can't anyone hear that?\"Mulder: Hmm.Scully: But nobody else could hear a thing.Mulder: Well, ultimately, hearing is just nerve impulses interpreted by the brain. What if those same impulses could be generatedwithout actual vibrations striking the ear drum?Scully: Hmm.Mulder: Well, anyway. If he left a note on his hand, maybe he left other clues.Scully: But where? We've checked out every square inch of hisapartment.Mulder: Well, he leased a place that only Gupta knew about. I think we should go to where he actually lived.[SCENE_BREAK][ DUPONT CIRCLE WASHINGTON, D.C. ][SCENE_BREAK](indistinctconversations)Scully: It's hard to imagine, in 2016, that Sanjay had to keep his lifestyle preferences a secret.Mulder: Being gay wasn't his only secret.(tires screech, man grunts)[SCENE_BREAK]Scully: Mulder?(distant): I found something.Mulder: His kids.Scully: Yeah.Mulder: Sanjay was afraid they were dying. These kids, they look so young. None of them look older than ten. Look at the backgrounds.Scully: It's a clinicalsetting. It looks like it might be a hospital.(car doors shut in distance)Scully: The police are coming up. We must have triggered a silent alarm.Mulder: All right, look around-- he's bound to have kept some informationon them somewhere.(tone ringing)Mulder: (groans)Scully: Mulder? Mulder, are you okay?(footsteps approach)Scully: They're coming. Mulder.Man (distant): Police officer!Officer (distorted): Lady, put your hands whereI can see 'em!Scully (distorted): FBI.(tone continues ringing)(nails scraping)(tone ringing, nails scraping, no voice)(tone stops)Scully: (distorted, indistinct, then:) ...find her.(distorted): Help me.(distorted): Find her.(echoing): Find her... Find her... Find her...(tone ringing, increasing in intensity)[SCENE_BREAK]Skinner: Do you have anything to add to this, Agent Scully?Scully: If you look at the files that we found in Dr. Sanjay'sapartment...Skinner: No, I can't look at those.Scully: They're right over there.Murphy: These files are classified. They're the property of the Department of Defense.Mulder: Well, I've had a look at them. Those files arethe medical records of children with grave genetic abnormalities. How those children relate to Dr. Sanjay's suicide is the object of our investigation.Skinner: Well, considering the fact that you just lost access to thosefiles, your investigation is closed. I'll submit the report on the suicide to the proper authorities. We're done here.Murphy: (clears throat) Let me remind you, Agents Mulder and Scully, dissemination of any classifiedmaterial, either internally or publically, will be dealt with harshly.Mulder: I'm familiar with Edward Snowden.Skinner: I assume you made copies.Mulder: I managed some top sheets before the DoD took over. I thinkthose children are failed experiments.Skinner: So you suspect the Department of Defense is experimenting with genetic modification on humans? What do you think?Scully: I think there were many troubling details tothis case, and, um... if Agent Mulder has nothing more to add...Mulder: I don't.Scully: .. then I think we need time to prove his theory.Skinner: The bureaucracy in the FBI has become increasingly complex andinefficient. It might take days for your incident report and order to close the investigation to make it through the proper channels. Welcome back, you two.[SCENE_BREAK][ FOX MULDER - Special Agent (sign on officedoor) ][SCENE_BREAK]Mulder: Surveillance footage?Scully: Yeah, from Nugenics. I've been working on syncing all the cameras to the exact time code of Dr. Sanjay's suicide. (sighing) There. What happened to you atSanjay's apartment, Mulder? I can understand why you wouldn't want to tell Skinner, but I was there, I saw you on your knees in pain.Mulder: I heard sounds. It was a high-pitched frequency, like-like a steel spikebeing driven through my head. And then it focused into two words... \"Find her.\"Scully: There were no sounds. I didn't hear anything.Mulder: Look at those birds.Scully: Maybe they seeded the lawn that morning.Mulder:Infrasounds, Scully. Vibrations inaudible to the human ear but known to drive the worms up through the soil to the surface, in response to them.Scully: Mulder, how are these connected? The birds, the suicide, the kids,the genetic anomalies. What are you hiding?Mulder: Augustus Goldman is the only one who might know how it all fits together. We gotta talk to him. What are you hiding?(keyboard clacks)Scully: Sanjay heardsounds... right before he committed suicide. That could be you, Mulder. This is dangerous.Mulder: (scoffs) When has that ever stopped us before?Scully: I might know how to get to Goldman.[SCENE_BREAK][ OURLADY OF SORROWS HOSPITAL WASHINGTON, D.C. ][SCENE_BREAK]Sister Mary: Augustus. Yes, I know him well, but he's a very private person. Some would say reclusive. Without him, we wouldn't have the resourcesto help these women in need. He's a true champion of the unborn.Scully: Dr. Goldman is a blessing. That's why we're here today. I've become aware of a situation that I wanted to share with you. Dr. Goldman is underinvestigation.Mulder: Obamacare.Scully: We wanted to spare him the indignity of having the government knock at his door unannounced. I was wondering if we could meet with him in private.Sister Mary: Dana, I'mafraid Our Lady of Sorrows cannot be a conduit for the FBI to one of our biggest donors.Scully: Sister Mary, I've worked here for seven years. You know me.Sister Mary: Yes, and I know your heart's in the rightplace.Scully: I wouldn't ask if it weren't important.Sister Mary: I have a number I can call. I'll agree to relay a message.Scully: Thank you.Mulder: Ask Dr. Goldman if he'll talk to us about the Founder's Mutation.SisterMary: Stay here.(tapping on glass)Agnes: I got to get out of here.Mulder: What's your name?Agnes: Agnes. You got a car?Scully: Do you want to call someone?Agnes: You think if I could call someone I would be askingyou? Just forget it. I knew you weren't gonna help me.Scully: Agnes. Wait. I'm a doctor. You can tell me anything.Agnes: I don't belong here. Not with these sheep. I don't care what I signed.Scully: The hospital is onlyconcerned with the health of the mother and the baby.Agnes: My baby.Scully: Of course, your baby.Agnes: I changed my mind. I'm not giving it up. I don't care if he's sick.Mulder: Sick?Agnes: My baby's not right. Theysaw it on the... ultrasound thing, and I had a feeling, you know, ever since I got pregnant. But everybody here has the same story. Just don't say anything. I was just kidding around, okay?Mulder: If you ever want totalk.Sister Mary: I've spoken to Augustus. He said he'd be happy to meet you.Scully: Thank you.Mulder: Sister Mary, how are the patients chosen to be here?Sister Mary: They're homeless, damaged in one way oranother. Alcohol, drugs, no fathers in the picture. Men and their lies. No offense. Desire is the devil's pitchfork. But as long as there's a need and an innocent child, we'll provide for each and everyone.[SCENE_BREAK]Mulder: It's insidious, Scully. A ward for pregnant women paid for by Augustus Goldman, the founder of a company with deep ties to the Department of Defense. This could be another phase of theproject-- their experiments in eugenics. Those women in there... could be incubators.Scully: Mulder... I'm not a fragile little girl.Mulder: Scully...Scully: This is what you suspected all along, but were afraid to articulate.Is this what you believe happened to me 15 years ago? When I got pregnant, when I had my baby? Was I just an incubator?Mulder: You're never \"just\" anything to me, Scully.Scully: Do you ever think aboutWilliam?Mulder: Yes, of course I do, but I've... I feel like I've had to put that behind me.Scully: He'd be 15 years old now. And I've missed every single year of his life. And sometimes... I hate myself that I didn't havethe courage to stand by him.Mulder: You did what you did to keep him safe. His adoption is secret, his location is unknown because you had to protect him.Scully: Do you believe he was an experiment?Mulder: I don'tknow.Scully: What if he's out there somewhere, like one of those kids on Sanjay's wall, fighting for his life?Mulder: All we can do, Scully, is pull the thread, see what it unravels.[SCENE_BREAK](class bell ringing,student chatting)Scully: It's the first day of school. Are you nervous? Your hands are sweaty.William: Ew! That's you.Scully: (laughs) What's the most important thing to remember?William: Sit still, listen, say \"excuseme\" if you fart.Scully: (laughs) The most important thing to remember is that I love you. That's all you have to remember. Come on, let's go say hi to your teacher. Thank you.[SCENE_BREAK](bell ringing, kidschattering)William: Hi, Mom. Bye, Mom.Scully: Be home in time for dinner![SCENE_BREAK]Scully: (quietly): Will...William: I'm scared.Scully: You're gonna be fine. You've just broken your arm. Does it hurt anywhereelse? Okay, we're gonna get you to the hospital, and take some X-rays to make sure you don't have a concussion, okay, honey?[SCENE_BREAK]William: Mom! Mom, please! Mom!Scully: (gasps)William: What'shappening to me?[SCENE_BREAK][ GOLDMAN TECHNOLOGY WASHINGTON, D.C. ][SCENE_BREAK]Dr. Goldman: \"Founder's Mutation.\" Intriguing message.Mulder: It's what Sanjay wrote on his hand.Dr. Goldman: Yes,before his unfortunate act of self-destruction. Very dramatic, but meaningless.Scully: I've read everything you published, Dr. Goldman. It seems your research deals primarily with genetic manipulation.Dr. Goldman:Let me try to explain to you what we do here. It's no secret. We're trying to save children. I won't tell you their last names, to protect their privacy, but I can tell you what they are fighting against-- Proteus syndrome...Crouzon syndrome... all kinds of cancerous tumors... epidermal displasia... Pitt-Hawkins syndrome, ichthyosis, Marfan syndrome, among others. We are a cutting-edge research facility for these unfortunate patients.There's absolutely no cost involved to be treated here. Would you like to talk to him?Scully: Sure.(switch clicks)Dr. Goldman: Adam?Dr. Goldman (over speaker): You have a visitor.Scully (over speaker): Hi,Adam.Scully: My name is Dr. Scully. How long have you been here, Adam?Adam: Forever.Scully: And where are your parents?Adam: I don't have any.Dr. Goldman: He was sent to us as a baby. Adam has a form ofCrouzon syndrome.Scully: And why is he in a sealed room? All of the children. He has a genetic disorder. He's not contagious.Dr. Goldman: Thank you, Adam. We are working with therapies unavailable anywhere in theworld. We need to eliminate the environmental factors that could affect the outcome. I am searching for the key that was the seed to all of these terrible genetic abnormalities.Scully: Alien DNA? Is that why theDepartment of Defense is funding your research?Dr. Goldman: Dr. Scully, I was told that you were the rational one.Molly: No! Let go!Man: Molly! Oop!Molly: Let go of me! No! No! No! No! No!Dr. Goldman: I'm afraidthat that is all the time that I have. Sarah will show you out.Sarah: This way, please.Scully: He didn't answer my question.(Molly screaming)Molly: Let go of me!Man: Molly! Molly!Molly: No! No! No! No!(Molly continuesscreaming and yelling)Scully: Did you see that, Mulder?Mulder: Interesting.(beeping)Mulder: Something's happened to Agnes.[SCENE_BREAK]Officer: We found the victim with your card in her pocket. Hit and run-- carwas moving pretty fast. Skid marks from back there up to the point of impact.(siren approaching)Officer: We're checking cameras in the area. No witnesses.Scully: What about the baby?Officer: What are you talkingabout?Scully: She was pregnant.Mulder: The baby's gone.(siren wailing)[SCENE_BREAK]Scully: Mulder...Mulder: Hmm?Scully: Agnes died from blunt force trauma. Most likely from the impact of the car. Her right ulnawas broken in two places, her lungs were lacerated by broken ribs, and her skull was crushed.Mulder: What about the baby?Scully: Surgically removed. I couldn't tell if the fetus was still alive when it was taken from herwomb, but... they took it, Mulder. To get rid of evidence. Agnes wanted to talk. She left the hospital. That baby was the only proof that she was part of Goldman's experiment.Mulder: What if the baby was stillalive?Scully: Mulder, that car hit her so hard that a, an adult woman with the benefit of a mature skeletal structure wasn't able to survive the impact. It's highly unlikely that the baby would remain viable.Mulder:Unlikely for human fetuses. In 1973, the Syndicate was convened to assist in a project to colonize the world by creating alien/human hybrids. The project was ultimately unsuccessful. I doubt they ever stoppedtrying.Scully: But what you're talking about is changing the genetic makeup of a population. That's the next step in evolution.Mulder: Every new species begins with a Founder's Mutation. One child with the correctcombination of DNA could be a start.Scully: There was a study published last year in Nature Communications, by Batini and Hallast, that found that Y chromosomes in the majority of European men could be traced back"}
+{"doc_id":"doc_285","qid":"","text":"[EXT. LAS VEGAS CITY (STOCK) - NIGHT][EXT. LAS VEGAS CITY (STOCK) - BARBARY COAST HOTEL-- NIGHT][SCENE_BREAK][INT. SUV - NIGHT](A speeding SUV peals around the corner.)(Cut to a train running onthe tracks.)(Cut to the SUV speeding down the road. MEGAN TREADWELL, the driver of the SUV, looks to the side and notices the train. She hears the train whistle blow. Still, she steps on the gas, hoping to beat thetrain across the track.)Megan Treadwell: (urgently) Come on, come on, come on, come on. Come on, come on!(The train crossing bell ring a warning. The train is approaching.)(The SUV brakes screech. The trainapproaches. MEGAN TREADWELL steps of the breaks again, the car tires screech and still her car moves forward. Her car moves forward slowly, slowly through the crossing guard rail.)(The SUV stops on the tracks. Thetrain approaches. MEGAN TREADWELL looks out the car window and screams as the train smashes into her car.)[SCENE_BREAK][EXT. TRAIN TRACKS - NIGHT](Scene opens with a close up of a power saw cuttingthrough the SUV door.)(CATHERINE approaches the scene carrying her CSI kit. BRASS turns around when CATHERINE reaches him and starts filling her in on the case.)Brass: Paramedics pronounced twenty minutesago. Megan Treadwell. I ran her plates. Thirty-three tomorrow.Catherine: One-on-one with a train. Did she think that she could beat it?(CATHERINE looks at BRASS, then heads toward GRISSOM, who is checking thetrain out. She puts her kit down.)Catherine: Hey.(GRISSOM is busy looking at something on the front of the train. CATHERINE leans in for a better look.)Catherine: Door handle.Grissom: Point of impact: Passenger-sidedoor.Catherine: Dead center.(They look on the side as Forensics carry the bagged body away on a gurney.)Grissom: Question is: Why did the SUV cross the tracks?Catherine: (deadpans) To get to the otherside.(GRISSOM looks at CATHERINE.)HARD CUT TO BLACK. END OF TEASER. ROLL TITLE CREDITS.[SCENE_BREAK][EXT. TRAIN TRACKS -- NIGHT](CATHERINE walks down the steps of TRAIN #4009. When she gets tothe ground, GRISSOM is on his cell phone. He hangs up.)Grissom: Sheriff says we're holding up trains all over the country. This entire railroad division depends on keeping the main line open.Catherine: Well, it's not likewe can take this back to the garage.Grissom: Well, unfortunately, his priority is clearing this train from the tracks. You have two hours.(GRISSOM turns to leave. CATHERINE calls out to him.)Catherine: Where are yougoing?Grissom: Suspicious circs in town. This one's all yours.Catherine: Thanks, but you got to give me some guys.Grissom: Sara's all you get.Catherine: All I need.[SCENE_BREAK][INT. WESTERN STATE HISTORICALSOCIETY (LIBRARY) -- NIGHT](GRISSOM enters the library. He's met up by DET. RAY O'RILEY, who fills him in on the scene. In the background, the alarm continues to ring.)O'Riley: \"Burglary in progress\" call. Once wemade entry, we found the victim downstairs. Never knew this place existed.(O'RILEY and GRISSOM continue down the stairs to the lower level.)Grissom: The Western States Historical Society. It's not on a lot of touristmaps.(The alarm stops ringing.)Det. Ray O'Riley: I had them cut the wires.Grissom: We need to identify the source of the alarm, Ray. Security company said it was downstairs. The body's there, too.(DET. O'RILEYopens the door and walks in. GRISSOM follows.)[SCENE_BREAK][INT. WESTERN STATE HISTORICAL SOCIETY (LIBRARY) - NIGHT -- CONTINUOUS](O'RILEY and GRISSOM enter the lower room.)O'Riley: (looking up atthe ceiling) Trying to get them to turn some more lights on in here.Grissom: There are no more lights, O'Riley. It's a controlled environment. Notice how you're not sweating? It's probably sixty-six degrees in here.Thirty-five percent relative humidity. Too much light, too much heat degrades the books.(In front of them, two firemen cut try to cut the lock on the cage.)Grissom: What-- nobody's got a key?O'Riley: The curator'sacross town. He's on his way. She looks dead to me.(The firemen put the cutters away and one gets out a power saw. He starts cutting the lock.)(The door is unlocked. The fireman opens the door and GRISSOM stepsaside for the paramedics.)Grissom: You got first touch.(The two paramedics enter the cage. They put their cases down and work on the woman on the floor. GRISSOM also walks inside after them and kneels in close tolook at the body.)Medic: 10:48. MEDIC: Red foam, blue tint.Grissom: Foam could be from blood in her lungs. Edema. Skin is cyanotic. Maybe a blood disease. Leukemia. Meningitis. We'll know after the post.(GRISSOMstands and gets out his camera. He starts to take pictures of the body. The camera flashes several times. Behind GRISSOM, outside the cage, a young man protests.)Aaron Pratt: Don't do that.Grissom: (turns around)Excuse me?Aaron Pratt: These are very rare books.Det. Ray O'Riley: Aaron Pratt. Librarian. Only other person here when the alarm sounded.Grissom: Did he tell you what he was doing here?O'Riley: Oh, yeah.Watching her. Set off the alarm, trying to get in the cage.[SCENE_BREAK][INT. WESTERN STATE HISTORICAL SOCIETY (LIBRARY) -- NIGHT](GRISSOM questions the Librarian, AARON PRATT.)Aaron Pratt: I wasn'twatching her. I always say \"good night\" to Veronica because I have to leave at 8:03 to catch the 8:10 bus. It's three blocks away. And sometimes the bus comes at 8:08, so I have to rush to catch it.Grissom: So youwent down to the basement to say good night.Aaron Pratt: \"Good night, Veronica.\" \"Good night, Aaron.\" Sometimes she ... w-walks me to the bus.Grissom: Did she walk you to the bus tonight?Aaron Pratt: \"Are youcoming?\" \"No. You go ahead without me. I have more work to do.\"(AARON gets very serious as he remembers what happens next.)Aaron Pratt: Then ... a uniball pen ...(Quick flashback to a camera close up ofVERONICA BRADLEY'S hand holding the pen and the pen slipping out from her fingers. This happens in slow motion. The pen falls. The pen rolls across the table.)Aaron Pratt: (V.O.) rolled across the desk ... fell onto thechair ...(End of flashback. Resume to present.)Aaron Pratt: ... hit the floor ...(Quick flashback to the pen still rolling in slow motion.)Aaron Pratt: (V.O.) and stopped rolling at the wastebasket.(The pen stops rolling. Endof flashback. Resume to present.)Aaron Pratt: Then water ... water falls into her eyes.Grissom: You mean she was sweating?Aaron Pratt: From her forehead.(Quick flashback to a veil of water falling from VERONICA'Sforehead past her eyes.)Aaron Pratt: (V.O.) Lots ...(End of flashback. Resume to present.)Aaron Pratt: ... and then, she grabs her stomach ... with both hands.(Quick flashback to VERONICA BRADLEY dropping the bookand clutching her abdomen.)Veronica Bradley: Aaron ...(End of flashback. Resume to present.)Aaron Pratt: ... \"Aaron\" ... Then she put on her new face. Shelley's Frankenstein. Up and d-down ... flopping around like...(Quick flashback to VERONICA BRADLEY falling to the floor in seizures.)Aaron Pratt: (V.O.) ... a salmon on my uncle's fishing boat.(End of flashback. Resume to present.)Grissom: She was convulsing.Aaron Pratt: I ...couldn't help her ... because the cage is locked and I don't have a key.(NICK approaches the table.)Nick: Hey, there. Warrick's got three residential burglaries, so ...Grissom: Mr. Pratt, will you excuse me for amoment?(NICK and GRISSOM walk to the back of the room..)Nick: According to O'Riley this guy's body language says he's guilty.Grissom: I think he's autistic.Nick: Autistic? You mean like Rain Man?Grissom: Rain Manwas a savant. Extremely rare. Aaron Pratt is a high-functioning autistic man with superior right-brain ability.Nick: Kind of sounds like you.Grissom: The crime scene's in the basement.(NICK leaves to go to thebasement.)[SCENE_BREAK][EXT. ROADWAY BY CRASH SITE - NIGHT](CATHERINE and SARA walk side-by-side with their eyes glued to the road trying to look for evidence.)Sara: Man, I hate rushing through a crimescene. Two years from now, no one is going to care that the Sheriff turned this into a \"scoop and run.\"Catherine: Call was made above our heads. Just document the time in your notes.Sara: Yeah, well, I'll let youtestify on this one.Catherine: Thanks.(Off to the side of the road, a little dog comes running toward them. Both CATHERINE and SARA kneel to get the dog.)Catherine: Aw ...Sara: Hey, little guy. Hey. Hey. Let'ssee.(SARA checks his collar.)Sara: His name is Maverick. He lives on Martingale Street in Henderson.Catherine: That's not that far from here.Sara: Guess I'll go call animal control.Catherine: Okay.Sara: I'll be rightback.(SARA picks up the dog.)Sara: Hey. Come on, boy. Let's get you home.[SCENE_BREAK][EXT. ROADWAY BY CRASH SITE - NIGHT -- CONTINUOUS](BRASS questions the TRAIN ENGINEER.)Brass: So let me getthis straight, all you saw was a car trying to beat the signal?Train Engineer: I'm putting 55 miles an hour. It's dark. I got an oil leak, can't figure out where. I looked up and I saw something.Brass: The SUV.TrainEngineer: Like I said, it was dark. I thought it was stopping. I turned my head for one second. Next thing I know, it's in the middle of the tracks. With all due respect we've got the right of way out here.Brass: Thanks foryour time.(BRASS nods. The TRAIN ENGINEER leaves. SARA walks up to BRASS carrying MAVERICK in her arms.)Brass: That's not yours, is it?Sara: I am collecting evidence. Do we have an address on the vicyet?Brass: 855 Martingale.Sara: Vic had a passenger. Say hello to Maverick.[SCENE_BREAK][INT. CSI - FORENSIC AUTOPSY -- NIGHT](GRISSOM walks into the room. ROBBINS is washing his hands. He turns off thefaucet.)Grissom: Have you finished with our lady of the library?Robbins: As finished as I'm going to be. You were right. Cyanosis. Blood was unable to oxygenate her tissue.(Quick CGI POV as the camera travels to thedeceased's face. The deceased's head rises and eyes open. The camera continues down her mouth as it opens slightly. It travels down her wind pipe where the muscles closes the passage. End of CGI POV. Resume topresent.)Grissom: Explains the blue face. Underlying cause?Robbins: With blood in her lungs, asphyxiation's out. I found vomit in her throat, bloody stool, hemolysis and some irritation of the mucous membrane on hertongue. I won't know more till I get the blood test back. Could be blood-borne disease.Grissom: I'm thinking about homicide.Robbins: Then you know more than I do.(ROBBINS looks at GRISSOM who's looking at thebody. GRISSOM looks up at ROBBINS.)[SCENE_BREAK][INT. WESTERN STATE HISTORICAL SOCIETY (LIBRARY) - THE CAGE -- NIGHT](NICK is in the cage dusting for prints on the books. In the background, awell-dressed man descends the stairs.)Officer: Excuse me, sir.Stanley Hunter: It's fine.Nick: Whoa, whoa, whoa. Sir, you can't come in here.Stanley Hunter: I told the officer upstairs. I'm Stanley Hunter.(At NICK'Sblank look, he continues.)Stanley Hunter: The curator. Do you have any idea the damage you're causing? With your dust, flashbulbs. You see that?(STANLEY HUNTER points to a book behind NICK. He walks forwardtoward it to emphasize it's importance.)Stanley Hunter: Right there, behind you. That is a 17th century text by Johannes Van Den Avelen. It's one of two volumes in the world. Now, do you go to the Louvre and putyour hands all over the Raft of the Medusa?Nick: Officer, Mr. Hunter would like to give a statement to Detective O'Riley.Stanley Hunter: Statement?Nick: Mm-hmm.(Behind them, DET. O'RILEY and GRISSOM enter theroom and stand just outside the cage as STANLEY HUNTER continues to talk to NICK.)Stanley Hunter: I just got here. I don't even know what happened. But what I do know is that these are masterpieces. One of akind.Grissom: They're evidence in an active criminal investigation -- also one of a kind.Det. O'Riley: Mr. Hunter, why don't we go upstairs and talk?(STANLEY HUNTER leaves with DET. O'RILEY. GRISSOM puts his gloveson and looks around the room.)(From a round POV, he views the table to the chair to the floor and he sees the pen near the wastebasket. GRISSOM walks over to it and picks it up. He looks at it.)Grissom: The goodnews, Nick? We had a camera in here.Nick: There's no surveillance system.Grissom: Yeah, there is -- Aaron Pratt. We just have to figure out how to get the film out of his head.[SCENE_BREAK][EXT. ROADWAY BYCRASH SITE - NIGHT](The tow truck takes the damaged SUV away. CATHERINE and SARA continue to take photographs of the crime scene.)(Between evidence markers #16 and #17, there's a piece of glass.CATHERINE picks it up and looks at it.)Catherine: Filament.Sara: Train probably busted out her headlights. First thing on our list when we get to the tow yard.(SARA looks at the treadmarks on the road. Somethingpuzzles her about it.)Sara: Catherine ... check this out.(SARA snaps a photo of it.)Catherine: Two sets of skid marks.Sara: One set going forward ...(Quick flashback to the SUV stopping and skidding to a stop. End offlashback. Resume to present.)Catherine: These skid marks are about seven feet shy of the gate.(SARA walks over to the next set of skid marks between evidence markers #18 andSara: The second set of skid marksare darker more rubber residue.Catherine: Could be an overlay.(SARA snaps several photos.)Sara: Looks like the tires were spinning in place.(Quick flashback to the SUV burning rubber. Cut to a close up of the tiresrunning in reverse.)Sara: (V.O.) In reverse.(End of flashback. Resume to present.)Catherine: Burning rubber. Going nowhere.Sara: So ... which set of skid marks are telling the story?Catherine: Maybe they bothare.[SCENE_BREAK][INT. WESTERN STATE HISTORICAL SOCIETY (LIBRARY) - THE CAGE -- NIGHT](GRISSOM is questioning STANLEY HUNTER inside the cage.)Grissom: So, all of your chemicals in here arealkaline?Stanley Hunter: We're not dealing with the far ends of the ph range. See, old book pages are slightly acidic. The acid eats away the paper. We neutralize them by a solution that's slightly basic.Grissom: Toreach \"7,\" the neutral ph.Stanley Hunter: Exactly. Imidazole. Fifteen percent ammonia. That's the sort of thing we work with here. It's all about preserving the books. No, not that you could even assign a value but doyou have any idea how much each of these books is worth?Grissom: No.Stanley Hunter: The first printed book was a Gutenberg Bible. It sold at Christie's for $5.3 million. Lewis and Clark's elk skin journal sold for$500,000. We have an illustrated Audubon, The Birds of America, which is worth an estimated $30,000.Grissom: All of that and you never thought about beefing up your security?Stanley Hunter: You know, specialcollections are kept in the vault. Any rare book removed from the vault gets scanned through a coder. If the book is to be read it's delivered to a secure room upstairs. And if Veronica was going to work on it, it stayeddown here.Grissom: Is this one of the books that Veronica was restoring?Stanley Hunter: Yes. It ... it was published in 1797. The author was a British Botanist. It's worth an estimated $300,000. It's really not adangerous profession.[SCENE_BREAK][INT. WESTERN STATE HISTORICAL SOCIETY (LIBRARY) -- NIGHT](AARON PRATT reshelves books. DET. O'RILEY walks up to GRISSOM.)Det. O'Riley: We got a situation. You knowthat weird guy?Grissom: He's not weird, O'Riley, he's autistic.Det. O'Riley: Whatever. First on the scene, and he's got sticky fingers.(DET. O'RILEY hands GRISSOM a book.)[SCENE_BREAK][INT. LIBRARY --NIGHT](GRISSOM stands next to AARON PRATT as he works.)Grissom: \"But I will wear my heart upon my sleeve / for daws to peck at. I am not what I am.\"Aaron Pratt: Othello, act one, scene one. Line 61 and 62, Iagoto Roderigo.Grissom: Very good, Aaron. Now, you want to tell me how Othello ended up in your briefcase?(AARON looks around.)Aaron Pratt: It's my ... favorite Shakespeare tragedy.Grissom: I like Hamlet myself. AndI bet Mr. Hunter is into King Lear. He's very concerned with property rights. He tells me the rare books are kept in the vault and they're not allowed off-site.Aaron Pratt: Mr. Hunter doesn't like me.Det. Ray O'Riley: Idon't think the rule was made with you in mind.Aaron Pratt: He breaks the rules all the time.Grissom: He takes the books home?Aaron Pratt: No. He... eats his lunch in his office. Carrots, celery tuna on whole wheat ...and Veronica.Grissom: What do you mean, \"and Veronica\"?Aaron Pratt: She's eating and he takes her sandwich ...(Quick series of flashbacks. Veronica sighing as STANLEY HUNTER kisses her neck. Cut to his hands onher breasts. Cut to his hands running down her thighs. Cut to them kissing at his desk. In the background near the door, AARON PRATT watches.)Aaron Pratt: (V.O.) and he puts his hand on her breast. And then heputs his tongue ...Grissom: (V.O.) (interrupting) Aaron ...(End of flashback. Resume to present.)Grissom: I get it. Did they know that you were watching them?(AARON PRATT looks away.)[SCENE_BREAK][EXT. DUMPSITE - NIGHT](CATHERINE and SARA check the SUV out after it's been towed. SARA notices something.)Sara: Hey, you know that filament you picked up?Catherine: Yeah.Sara: The lamp cover's smashed, but thefilament's intact.Catherine: So what, the filament's from another car?Sara: Well, taillights have different filaments, so ... yeah.(CATHERINE kneels to examine the back bumper. She finds something.)Catherine: Painttransfer.Sara: Recent?Catherine: Hard to say.(SARA peers inside the car and notices a bag of gourmet doggie treats from \"Vegas Finest\". They're Bac'n'Chees flavored. SARA gets into the front seat of thecar.)Catherine: You know, this right rear tire's lost a lot of rubber.(SARA finds a cell phone on the driver side floor. She checks it out.)Sara: I got a cell phone. Battery's dead.(SARA also notices something elsestrange.)Sara: Hey, Catherine ... her emergency brake is still on.Catherine: Maybe her brakes failed or she had to engage it for some reason you know, I'm thinking that maybe another vehicle was involved.Sara:Engineer didn't mention anything about a second driver.Catherine: Maybe he didn't see it.[SCENE_BREAK][INT. CSI - HALLWAY TO LAB -- NIGHT](ROBBINS walks down the hallway to the lab where NICK is testing thechemical bottles from the cage. ROBBINS enters the room.)Robbins: Fifteen minutes before my next post. Bottled chemicals from the library?(NICK nods his head.)Robbins: Hey. Great room. Great table. I could usethis. Lay out all the body parts. Get a real overview. Is that a light under there?Nick: Do you have something for me?Robbins: Oh, your vic. Poisoned. Substance as yet unidentified.Nick: Well, there's no smoking gun inany of these bottles. What's on the label is what's in the bottle. Isopropyl alcohol ... 15% ammonia solution ... imidazole ... bleach.(NICK gets up and walks to the doorway.)Robbins: When you isolate the toxin you'llhave a better idea where it came from. Nick ...Nick: Hmm?(NICK turns around.)Robbins: I love this table.(NICK smiles and nods.)[SCENE_BREAK][INT. CSI -- LAB](SARA is looking at the filament that they found on theroad. CATHERINE is fiddling with the cell phone.)Sara: There's no glass on the filament.Catherine: 10:30 at night?Sara: Crim 101. If a guy's driving along at night with his lights on ...(Quick CGI POV to loud tirescreetching. The camera heads toward the light glass, through the light and down to the filament. A piece of glass melts.)Sara: (V.O.) gets in a wreck, glass breaks fuses to the filament.(End of flashback. Resume topresent.)Sara: Instant evidence. But there's no glass on the filament. His headlights weren't on.(CATHERINE stands up and walks to the scope to look.)(Cut to the scope view of the filament with no glass melted on it.CATHERINE thinks about it for a moment.)Catherine: Black car ... headlights off.Sara: Easy for an engineer to miss.Catherine: So he hit our SUV. Accidental or intentional?Sara: Hard to tell.Catherine: Maybenot.(CATHERINE looks down at the cell phone in her hands.)[SCENE_BREAK][INT. AARON PRATT'S RESIDENCE](AARON PRATT straightens a picture on the wall, then turns and watches as GRISSOM and NICK gothrough his things. GRISSOM looks through the books and NICK is looking through his mail.)Grissom: These books are from the Historical Society.Aaron Pratt: (nervous) That's my mail.Grissom: Aaron, what aboutthese books?Aaron Pratt: Don't ... don't mix those up.(AARON grabs the mail from NICK and puts them back on the shelf.)Aaron Pratt: I have two bills due tomorrow -- gas and electric -- and I have to mail them on myway to work. Don't.(NICK calmly picks the mail up to continue to look through them. AARON grabs them from him again.)Aaron Pratt: (frustrated) You're messing everything up.(GRISSOM walks over to them.)Grissom:"}
+{"doc_id":"doc_286","qid":"","text":"[PREVIOUSLY_ON]Wes: \"The host reads their souls, senses their futures.\"Cordy: \"Yes, but he can only do it when they sing Karaoke.\"Cordy: \"Imagine what could have happened if you'd gone nuts and slept with Darla!\"Angel throws Darla through the glass doors. Angel and Darla on the bed kissing and ripping each others clothes offAngel: \"You know I would never do that.\" Angel wakes beside Darla and jerks upright in bed.Angel:\"Get dressed and get out, because the next time I see you I will have to kill you.\"Shaman: \"I can not help you. No one can. This is not meant to be known.\"Darla rubbing her pregnant belly: \"Well, I guess there's onlyone thing left to do. Time to go visit daddy.\" Rome 1771 Some rats scurry along an underground sewer tunnel. Angelus runs by. He looks behind him and sees a group of monks carrying torches coming his way. Turns acorner, only to see other torch carrying groups of monks down a couple other branches. Angelus comes up on a sewer grate. He pulls the center grating loose, steps through, then wedges it back in place behind him. Ashe turns, he stumbles, tumbles down the slanting tunnel, crashes through another grate and lands on the floor of some underground chamber lit by torches. He is surrounded by monks with crossbows aimed at him. Apair of double doors swing open behind him, letting in bright sunlight. Angelus throws himself to the ground out of the direct light surrounded by a thin cloud of smoke. A rider brings his horse to a stop just inside thedoors and dismounts. One of the monks leads the horse away as the rider makes his way over to a red robbed priest, while Angelus is picks himself up from the floor.Holtz: \"Mille grazie, Monsignore. Sono nel vostrodebito.\"Subtitles: \"Thank you, Monsignor. I am in your debt.\"Monsignor (st): \"No, this animal murdered your family. (Points at Angelus) Hold the beast!\" Chains wrap around Angelus upper arms and chest.Holtz stepscloser to Angelus: \"Monsignor Rivalli, performed the ceremony when Caroline and I were wed. You remember Caroline?\"Angelus: \"Pretty lass. Hearty screamer.\"Holtz: \"The good monsignor has since then beenexcommunicated. The order he founded, Inquisitore, adheres to the old beliefs. They're traditionalists and quite good at their work. Let's get started, shall we?\" Holtz takes a sharp hook and some knives from one of themonks. We see the hook digging into the side of Angelus' neck, hear some cloth ripping.Angelus: \"Ah. Aah!\" We see the sun rise and set while hearing Angelus' screams in the background. The monsignor is walkingcross the room, reading a book. Holtz is sitting on a bench, drinking from a cup. We hear some monks recite in the background and Angelus gasping in pain.Holtz: \"You lost me in North Africa. I knew you'd come back toEurope, but *Rome* Angelus? (Gets up and walks around Angelus, suspended from the ceiling by chains around his wrists) Why in Gods name would you come to the seat of all that's holy?\"Angelus: \"Darla - she lovesthe Sistine chapel.\"Holtz: \"Michelangelo?\"Angelus: \"Not him. She's mad about Botticelli's frescos. (Groans) The Temptation of Christ is her favorite - probably because of the leper. (Sighs) What do you want, Holtz?\"Holtz picks up a three-pronged claw and looks at it.Holtz: \"I don't want anything. My family is gone. I don't trust you to give me Darla, although I *will* find her, you know that. My only desire here - is to discover if athing such as yourself can be made to pay for its sins. (Holtz digs the claw-thingy in somewhere below Angelus waist (off screen) and Angelus groans in pain) You're a demon. It is your nature to maim and kill. But youwere also once a man. If we beat and burn the demon out of your living flesh, will there be anything left? (Holtz digs the claw in again and Angelus groans in pain) Anything at all? I doubt it. But I'm willing to spend thenext fortnight of my life finding out. - In either event - you have no soul, you can not be saved.\" A flaming arrow streaks across the room and buries itself in one of the monks.Darla: \"Sorry it took me so long darling.\"Darla is standing in a tunnel opening, holding a crossbow loaded with another flaming arrow. There are other vampires with her.Darla: \"Kill them.\" Darla fires her flaming bolt, hitting Holtz in the shoulder. The vampiresstreak past her and attack the monks. Several vampires get staked by the monks during the fight, but that doesn't slow the rest of them down. Monsignor confronts Darla with a cross held in front of him.Monsignor:\"Vai' all inferno, demonio lordo! (caption) Go to hell foul demon!\" Darla pushes the cross aside, then sends the Monsignor flying into a wall.Darla: \"No, grazie, padre.\" The double doors that Holtz rode in through ispulled down and a horse and carriage driven by a blanket shrouded vampire trot in. Darla unclips Angelus chains. Two other vampires catch him under the arms and drop him onto the back of the cart. Holtz tries to getup. Darla knocks him across the chin, then joins a groaning Angelus on the cart.Angelus: \"Darlin'?\"Darla: \"What?\"Angelus: \"Shouldn't we be killing Holtz?\"Darla: \"I know, but it's just so much fun ruining his life. He'slike family now.\" Angelus pulls Darla into a kiss as a vampire covers them with a tarp. The wagon heads out into the sunlight, with the blanket shrouded vamp at the reins. A public bus (Downtown LA - Hollywood) pullsover to the side of a dark and deserted street in LA.Darla: \"Right here is fine. (To bus driver) Thanks for the lift. That didn't take long at all. (Gets off the bus) And they say there is no public transportation in LA.\" Thebus driver turns slowly and looks towards the back of the bus. Three passengers are slumped in their seats with twin puncture wounds visible on their necks. Four other people are huddled down in the back of the bus.Bus driver fumbles out his radio: \"Help! We got a code twelve on the 5-8 line! We need help here now, for god's sake. Now!\" Darla walks away across the street. Intro Cordy is arranging some flowers in a vase down inthe basement of the Hyperion. Angel walks into the training area and sees that there are several vases of them scattered around the room.Angel: \"What's this?\"Cordy: \"Oh, it's just so dark and lifeless down here, Ithought I'd brighten it up a little for you. (Angel picks up one of the vases) You can't exactly go out and enjoy the sunny fields of nature, but that doesn't mean we can't bring a little bloom into your darkness.\"Angel:\"They're fake.\"Cordy: \"Yeah. You put something real in this hellhole and it die (snaps her fingers) like that.\" Angel puts the flowers down, looking at Cordy.Cordy: \"Thank you, Cordelia?\"Angel: \"You know, I've beenaround a long time...\"Cordy: \"Which reminds me. Next birthday, you think we could skip the two-hundred and fifty odd candles on the cake and the inevitable fire marshal and just go and just go with a littlesong?\"Angel: \"And I've never known anyone like you.\"Cordy: \"Well, duh! Times a wasting, big guy. Can we do it? (Takes on a stance) Hi-yeah!\"Angel chuckling: \"Okay. Last time we were working on not pulling yourpunches and your kicks. Right? Don't worry about me. (Cordy hits him and he deflects the punch with his arm) That's good. (Cordy swipes at him again) Good! Where is your weight? (Angel looks down) Balls of yourfeet?\" Cordy swings and hits him across the face full force.Cordy: \"Oops! Oh god, you said that... (Angel straightens back up, smiling) Are you okay?\"Angel: \"I'm a vampire. You can't hurt me. Good.\" Angel turns awayfrom her and makes a face, gingerly feeling his nose.Cordy: \"You're off your game. It's because of the prophecy Wes and Gunn are trying to get their hands on. You think the end is coming.\" Angel turns back to faceher: \"The end is not coming. Someone is always uncovering some ancient scroll, and they're always saying the same thing: that something terrible is coming. Do you know how many of these things I've seen in my verylong life?\"Cordy: \"Four?\"Angel: \"Three. But there's nothing to worry about.\"Cordy: \"Then way are Gunn and Wesley breaking and entering right now?\"Angel: \"Breaking and entering is such a negative term. They aresimply retrieving some missing pieces from the Nyazian Scroll. Just to make sure...\"Cordy: \"That the end is coming. - Well, all we can do is live each moment to the fullest and be grateful that we didn't throw too muchmoney at the NASDAQ.\" Angel blinking his eyes and lifting a hand towards his face: \"Am I swelling?\" Camera sweeps over some big houses, surrounded by big gardens on a sunny plateau with some mountains in thebackground. Pans past some old oil paintings and statuary to show Wes, dressed in black, sneaking up on the window and look into the window from outside. Wes motions and Gunn walks up beside him.Wes: \"Stepone: Dobermans are happily gnawing on the steak. Alarm and vid lines are disabled (pulls out a scanner and looks at its display) no infrared. Caught a break there. Step two: we cut a hole in the glass, snake in themini-cam and scan the interior.\" Gunn walks over to look in the glass door while Wes pulls glasscutter with a suction cup out of his duffel bag and attaches it to the window.Wes: \"If it's all clear, we disable the locks andbolts on the side door thus completing... (Gunn tries the door and it swings open) ...step three.\" Wes closes up his duffel and moves over to follow Gunn inside, then hurries back to detach the suction cup from thewindow and stow it in his bag while Gunn waits for him inside. Wes hurries in and motions for Gunn to close the patio door. They open the doors into an adjacent room, in which all sorts of things are on display. Gunnlooks around and whistles.Wes: \"Can you believe this?\"Gunn looking around: \"Some guys collect old cars, some guys collect...\" Gunn flinches back as he spots a misshapen, one-eyed demon head in a glass case. Thenhe and Wes lean in for a closer look.Gunn: \"It's like - the eye follows you wherever you go.\" Wes walks over to a bottle sitting on a pedestal, pulls out the stopper and takes a sniff before closing it again.Wes: \"Alright. Ifyou were the priceless remnants of the lost Nyazian Scroll, where would you be?\"Gunn: \"If I was priceless - I'd be in the vault.\"Wes: \"The vault? Your snitch never said anything about a vault!\"Gunn: \"I got a bad feelingabout this.\"Wes: \"We figure something out. It's just a - vault.\"Gunn: \"Actually my bad feeling is more about the man standing behind you with the large revolver.\" Wes turns to see a guy standing in the door aiming agun at them.Man: \"Move and I'll kill you. The man edges into the room and reaches for the telephone with one hand while still aiming the gun at them with the other.Wes: \"I hope you're calling the police.\"Man: \"You betI am.\"Wes: \"Good. You can explain to them why you keep so much GHB on hand. (Wes walks over to the bottle on the pedestal) You know, Rohypnol, the date rape drug.\"Man: \"What?\"Wes indicates the bottle: \"MuslokTrancing Amalgam. Under the microscope it's virtually indistinguishable from GHB.\" The man slowly puts the receiver back down.Man: \"Alright. I won't call the police.\"Wes: \"I'm glad we understand each other.\"Man:\"Until after I kill you.\"Wes: \"Oh.\" Gunn picks up four red glass balls out of a bowl on another stand.Gunn: \"Hey, these worth a lot?\"Man: \"Yes. They're Cyopian conjuring spheres.\"Gunn: \"How much? Four figures each?Five? (Starts to juggle two of the balls with one hand) More?\"Man: \"Stop that!\"Gunn: \"Put the weapon down.\" When the man hesitates, Gunn lets one of the balls drop and it shatters with a liquid splash as it hits thefloor.Gunn: \"Kind of delicate. (Juggles the remaining three with both hands) Look, we're not thieves, we're investigators. Now, we need to look at your Nyazian Scrolls. Put the weapon down, because - I'm getting kindof tired here.\"Man: \"Alright!\" Man puts the revolver down on a glass case and Wes retrieves it. Gunn drops another ball (the owner lets out a fearful gasp) only to bounce it off his foot and catch it again.Gunn: \"I alwayswanna give them a big finish. Fred comes down the basement stairs of the Hyperion.Cordy: \"Ow. That doesn't feel right.\"Angel: \"Just relax. You have to bend.\"Cordy: \"I don't bend there. - Okay. Now that's downrightunnatural.\"Angel: \"I know it feels strange, but if an attacker comes at you from behind, you wanna be able to shift all your weight immediately to your other foot so you can spin and kick. Here, you try it.\" Cordy spinsand kicks up against Angel's chest. Angel catches her, one arm around her leg another around her waist to keep her from falling.Angel: \"Whoa! Easy. Alright. That's alright. (Lowers her leg and lets go of her) That'sbetter. We'll keep - working on it. Okay. That's probably enough for today.\"Cordy: \"Yeah, well, we could do more of it, but then I'd have to ice every bone in my body. See you.\" Cordy walks towards the stairs, one handpressed against the small of her back.Cordy: \"Hey, Fred.\"Fred: \"Hey! - Kye-rumption.\"Cordy walking up the stairs: \"Well - back at you.\"Angel: \"What did you say?\"Fred: \"Kye-rumption. It's the one nice word Iremember from the Pylean hell dimension.\"Angel: \"What's it mean?\"Fred: \"It's when two great heroes meet on the field of battle and recognize their mutual fate. It's also a kind of grog made out of the ox dung butthat's archaic.\"Angel: \"Oh, ah, that's interesting.\"Fred: \"When I see you and Cordelia sparring Kye-rumption always comes to mind.\"Angel after a beat: \"Me and Cordelia.\"Fred: \"I know. She's such a hero, with thevisions and the courage. It's only natural that you and she would be drawn to one another. - Oh! Plastic flowers! (Hurries over to one of the vases) My favorite! They never fade, you know.\"Angel: \"Oh, whoa, wait aminute. There's nothing going on between me and Cordelia.\"Fred: \"Nothing but Moira.\"Angel: \"Who's Moira?\"Fred: \"Moira is the gut physical attraction between two larger than life souls.\"Angel: \"Ha. No, there is noattraction. Cordelia is a friend. Someone I work with. That's all.\"Fred grinning: \"See? You're being chivalrous. Because you 're a hero, just like her. You got Kye-rumption!\"Angel: \"Stop using that word!\"Wes: \"What'sgoing on down here?\"Angel: \"Nothing.\"Wes: \"I believe Fred's been through enough recently without people shouting at her.\"Fred: \"He didn't mean anything by it.\" Wes just stands there, looking at the floor.Angel: \"Isthere something you wanted?\"Wes: \"Yes. (Looks at Fred) Gunn and I were hoping you could give us a hand with the Nyazian Prohecies. We need someone who can do the math.\"Fred: \"Sure!\" Fred starts up thestairs.Wes looks around: \"Who gave you all the flowers?\"Angel: \"Nobody.\" Gunn is throwing darts at a board in the office at the Hyperion. Wes is sitting at the desk, writing. Fred is sitting beside him, working on thelaptop. Cordy is at her own desk.Gunn: \"So, how are you doing there, Fred?\"Fred: \"Oh, it's a simple equation, really. The ancient Roman calendar has fourteen hundred and sixty-four days in a four-year cycle. TheEtruscan, Sumerian, and Druidian each have their own cycles. You work forward from the presumed day of the prophecy under each calendar, factoring in our own three hundred and sixty-five day calendar andaccounting for a three day discrepancy for every four years and...\" Angel walks into the lobby, he sees Cordy sitting at her desk and stops before anyone notices he's there.Fred: \"Oh. - That can't be right. - Unless theworld ended last March.\"Gunn: \"So, are we talking Armageddon - or bad house number? (Sits down in the chair in front of Wes desk) Is it a bad event - or a bad guy?\"Wes: \"It's not clear on that. It predicts the arrivalor arising of the Tro-clan, the person or being that brings about the ruination of mankind.\"Gunn: \"So it's a two for one. Isn't that nice.\"Wes: \"And I'm not sure on the translation. Ruination may in fact meanpurification.\"Gunn: \"Purification? So this Tro-clan is a good thing?\"Wes: \"I doubt that. But it's purification in Aramaic, ruination in ancient Greek and in the lost Ga-shundi language it means both.\"Cordy: \"And you don'twant to make the same mistake twice.\" Cordy looks up from her desk at Wes, who looks down at his papers.Wes: \"No.\"Fred: \"What mistake?\"Wes: \"There was another prophecy a while back. It seemed to be aboutAngel and contained the word 'Shanshu' which I thought meant to die and I - sort of told Angel...\"Cordy: \"...that we was going to die.\"Fred: \"Oh, no.\"Wes: \"Then I found out it also meant to live. It meant to die and tolive.\"Fred: \"So - which is it?\"Wes: \"Both. In his case it meant that some day the vampire in him might die, but the human in him might live.\" Angel is standing at a corner in the lobby, listening.Fred: \"That he would belike a normal man?\" Angel slowly lifts his head and looks at Cordy working at her desk.Wes: \"Yes.\"Fred: \"Wow. What would we do if that happened?\"Cordy: \"I'd buy him some plaid shirts and take him to the beach. Theboy needs some color.\" Fred goes back to typing on the laptop.Fred: \"There. That came out better. - Oh. No it didn't. It's still very preliminary, but - if these calculations are correct, this bad thing should already behere. (Looks around) Well, I-I guess not right here, but - here in LA.\" Angel walks into the reception area and sits down.Fred: \"Let me run these numbers again.\"Cordy: \"Hey.\"Angel: \"Hey.\"Cordy after a while: \"Why areyou looking at me like that?\"Angel: \"Ah, no reason.\" After a moment Cordy gets up and walks past Angel to pour a cup of coffee.Cordy: \"Okay. It's getting creepy now.\"Angel: \"I was just thinking about things. - People.You know. How they relate. Take you and me for instance. We're very different. *Very* different. Obviously (points at Cordy) human (points at himself) vampire. (points a Cordy) Woman (points at himself)man...pire.\"Cordy: \"Has someone been putting vodka in your blood?\"Angel laughs: \"See? You're funny! And I, well I get off a good one every once in a while, but you...\"Cordy, sipping her coffee: \"Angel, are you tryingto say you love me?\"Angel: \"What?\"Cordy: \"I love you too.\"Angel: \"You do? When did this...\" Cordy yells towards Wes open office door: \"Angel loves me. I love him.\"Angel: \"Oh, my god!\"Cordy: \"You guys love us andwe love you.\"Fred, Wes and Gunn chorus: \"We love you Angel.\"Cordy: \"They were all saying it earlier. Just in case this prophecy comes true and we all die. - You're not gonna wanna hug, are you?\" Angel clears histhroat and sits back shaking his head: \"No.\" Cordy goes back to her desk: \"God knows we've been through a lot together.\"Angel: \"That's really all I was trying to say, that we've been through so much together, you andme, as *friends.* You've seen the - good, - and the not so good.\"Cordy: \"Just like you have in me. And for the record: the good I've seen far outweighs the bad.\"Angel after a beat: \"Thanks. You, too.\"Cordy: \"Hey, whatare friends for?\"Darla: \"If you ask me, they're for knocking you up and leaving you high and dry.\" Angel spins around to see a very pregnant Darla standing on the top landing leading down into the lobby fromoutside.Darla: \"Hello, lover. Long time no see.\" BreakAngel: \"Darla.\"Cordy: \"Darla?\"Wes: \"Darla!\"Fred: \"Who's Darla?\"Gunn: \"Angel's old flame from way back.\"Fred: \"Not the one that died?\"Gunn: \"Yeah. No, not thatone. The other one that died and came back to life. She's a vampire.\"Fred: \"Y'all have a chart or something?\"Gunn: \"In the files. I'll get it for you later.\"Angel: \"Well, when did this happen?\"Darla comes down the steps:\"You know *exactly* when it happened.\"Cordy: \"Angel - did - you and Darla...?\"Angel: \"Uh...\" Cordy turns to look at him.Angel: \"This is impossible.\"Darla: \"Tell me about it - daddy!\"Cordy: \"You slept with her?\"Angel:\"Vampires can't have children. Wesley?\"Wes: \"Ah, no, he's right. It's not possible.\"Cordy: \"That's not what I asked.\"Darla: \"You know we can't. I know we can't. But - we did.\"Fred: \"I wonder if this might not be thatbad thing we were expecting.\"Darla: \"What did you do to me?\" She hits Angel across the face and he stumbles back against the weapons cabinet behind him. Cordy steps between Angel and Darla: \"Stop that!\"Angel:\"It's okay. It's alright. I'm okay.\"Cordy: \"You'll hurt her! Haven't you done enough? (Turns to Darla) Here, sit down. You should get off your feet.\" Cordy leads Darla over to the round settee, then looks back at theothers.Cordy: \"Can we get her some water?\" Fred turns to go get it.Angel: \"Cordy that's *Darla.* Maybe you don't want to...\"Cordy: \"Did you or did you not look me in the eye and say that you would *never* do athing like this with her?\"Darla: \"Oh, he lied? What a surprise.\" Fred carrying a glass of water: \"Hi. I'm Fred. Is water okay, or did you want some blood?\" Darla takes the water as Wes gently pulls Fred back away fromDarla.Angel: \"Cordy. I'm sorry - I lied. It was just - it was a very dark time.\"Cordy: \"Oh! You used her to make *you* feel better during *your* dark time. Well, that makes it *all* heroic.\"Angel: \"It wasn't like that. Itjust - happened. It wasn't like I went *evil* or anything, I just...\"Cordy: \"You just went male. (brushes the hair out of Darla's face) Have you been to a doctor.\"Darla gives her a look: \"No. But I have been to every"}
+{"doc_id":"doc_287","qid":"","text":"Lucas: Do you ever wonder how long it takes to change your life? What measure of time is enough to be life altering? Is it four years like high school? One year? An eight-week rock tour? Can your life change in amonth, or a week, or a single day? We're always in a hurry, to grow up, to go places, to get ahead. But when you're young, one hour can change everything.Karl: How are we doing this mornig seniors? Did anyonewake up with their clothes on from the night before still drunk with strange big hangover? Anyone? Well I guess that was just me. Actually last night was UNO night at my house, and it was a blood bath but I cannotdiscuss it with you right now, so we won't. But let me ask you guys a question: does today's class really matter? Or is it just a fifty-minute requirement designed to get your grades so you can go on to college or a joband the rest of your lives, anyone?Brooke: If we say yes, can we have the grade and go on with the rest of our lives?Karl: Mouth, using one word describe how your classmates see you.Mouth: Ugh, awesome?Lucas:Yep!Karl: Ok. Let's say that there are five universal terms to describe everyone in high school, okay? Let's say jock, prom queen, geek, loaner, and ...?Brooke: Slut?Karl: Okay, considering that awesome is not acategory, Shelly Simon, describe Mouth in one word.Shelly: I don't really know him, but, nice, I guess.Karl: Nice. I suppose we could find 'nice' under friendly, but since friendly doesn't mean friendly that would makeMouth a slut. You have four other choices.Shelly: Geek I guess.Karl: Geek? You're joining the club Mouth. Okay, class, Nathan five choices?Everyone: Jock.Karl: Lucas?Everyone: Jock.Karl: Brooke?Everyone: Promqueen.Karl: Rachel?Everyone: Friendly!Rachel: Hey!Karl: Peyton?Everyone: Prom queen.Peyton: Oh come on I am so a loaner!Glenda: Right, a loaner cheerleader who's dating a jock. No offence but I'm a loaner,you're a prom queen.Karl: Like it or not, you are who you classmates see you as. But here's the good news: that's gonna change soon. Because prett y soon you're gonna be going out into that big, wild world and youcan erase all those [...]. Now for some of you shading this image is gonna be a great thing. And for some of you, not such a great thing. But what matters is that you know who you really are. And you know how youwant the world to see you. Well, you've been together for what? For four years? Haley? What's Lucas' middle name?Haley: Eugene. Ohh, I'm sorry I'm so sorry.Karl: Lucas what's Glenda's last name?Lucas: I don'tknow. Sorry.Karl: Okay everyone on this side of the room I want you to write your name on a piece of paper and put it in Nathan's cap. Okay, hurry up. Everyone on this side of the room is gonna draw a name. And thename that you draw will be the person that you will spend the rest of the class with. Maybe we'll find out if fifty minutes can matter. Okay pass the hat around. Shelly who do you have?Shelly: Mouth.Karl: Karma's afunny thing isn't it? Haley?Haley: Skills...ington.Karl: Rachel?Rachel: Bevin.Karl: Glenda?Glenda: Gotta love karma... Lucas.Karl: Nora?Nora: Oh, I have Noriah.Karl: Emma?Emma: I've got Zach.Karl: Michael?Micheal: Igot Fedde.Karl: Brooke?Brokke: I have Chase.Karl: Peyton?Peyton: I have... Nathan.Karl: Okay here's the deal, everyone pair up, you can leave the class but not the campus. At the door you'l find a camera, I wanteach of you, at the end of the class to take a picture of your partner. This picture represents how you see them. That picture is going into the year book for the rest of time. Now for some of you this is an opportunity toreinvent youself starting today.Brooke: Do we have to reinvent ouselves, cause I think most of my friends see me as fabulous!Karl: Maybe so. But my friend Mr Miller sees you as the girl who's failing calculus. Okayeveryone go and get a camera and get out of here. Oh wait one more thing, with the cameras a list of instructions at the end of the class I want you to tell me what you learnt about your partner. You have fifty minutes,go.Mouth: Well I guess you're stuck with the geek.Skills: Okay Haley J.S. Let me make a deal with you, as long as you don't give birth early, we're good.Bevin: I don't get it.Lucas: I'm Lucas...Glenda: Scott. Right. Atleast i know your last name.Nathan: This is kinda like the Boy Trade, actually we won't be kissing and the partial nudity.Peyton: The hour is still young.Brooke: So about this whole calculus thing...Lucas: Glenda!Glenda. I'm sorry about not knowing your name. Can we just do the assignment? Look the first thing on the list it's huh... 'share something personal with your partner'.Glenda: Farell, my last name's Farell. Is thatpersonal enough for you?Brooke: Will you just listen to me please?Chase: So what? You accidently forgot to tell me that you were failing calculus when you started tutoring me... in calculus. How did you get that A Isaw on your test anyway?Brooke: It's complicated trust me.Chase: Trust you... I already did that. And now I find that my tutor is doing worse in calculus than I.Brooke: It's a long story okay?Chase: Well don't tell meother story Brooke! Tell me the truth. Or is that even possible for you to do?Brooke: Okay. Come on.Mouth: You know you shouldn't judge people like that. You called me a geek!Shelly: It was the only category that fit.I called you nice first.Mouth: Well how do you know I'm nice? Maybe I'm not nice.Shelly: I can see that.Mouth: We're supposed to tell each other something personal. Like... huh... my middle name is Leonardo, after mygrandpa Leo. I guess that's kinda geeky.Shelly: Wow you really got personal there.Mouth: Well it's not like you're gonna tell me anything real either right? It's just an assignment.Shelly: Before I started Clean Teens, Iwas in a serious relationship with this guy I met at summer camp. I was pretty intense. And then, we couldn't see each other for the rest of the summer. My parents, they wouldn't let me talk to him or... anything. But Iknew I'd see him when we'd got back to school on the fall. And, the night before we got back I couldn't sleep. This is the spot I was standing at when I finally saw him again... with his new girlfriend. He looked at me,you know, he looked right at me, and then he just walked away, without a word. It was just over. That's the moment I thought of Clean Teens. Like you said, it's not like I'm actually gonna tell you anything real.Haley:Okay pregant girl on the roof!Skills: Come on, [...] we had a deel, no early delivers!Haley: Right!Skills: Now check it out you're gonna love this view, it's the [...]Haley: Wow, this view really is the [...].Skills: You seethat factory way out there? I might possibly work in this [...] graduate in Tree Hill. Six days a week on [...]. So we're supposed to tell each other something personal right?Haley: Yeah.Skills: Ok, well, here's mine.There's a job waiting for me in that place, if I don't get a scholarship to college.Haley: It's not gonna happen Skills. I can feel it!Skills: I'm glad you're so sure.Haley: NO, the baby's kiking I can feel it! Here!Skills: It'slike a step show.Haley: Something personal right?Skills: Yeah!Peyton: So I guess I was right about the partial nudity thing. Boys lockroom?Nathan: Just following the assignment.Peyton: Ok.Nathan: You see this [...]?The summer I decided t really dedicate myself to basketball, my dad said I was way too skinny to ever be a great player. He said I wasn't tough enough, that I wasn't stong enough. So to prove him wrong, I spentevery single day in this training room. It was like a thousand degrees in it, but I wasn't gonna let him be right.Peyton: Anger's motivation.Nathan: Anger and inspiration. Everytime I benched another ten pounds, Iscratched two letters, under the plate.Peyton: What does it say? PS?Nathan: It was the same summer we started dating. We were pretty good together weren't we?Peyton: Gimme your hand. Ok, I want you to feelthis.Nathan: Geez what happened?Peyton: I broke that neckle punching something after we've broken up for like the twentieth time! We were horrible together!Nathan: Yeah, I know, I was kinda hoping youforgot.Peyton: No.Bevin: Ok so I don't get it. We're supposed to do these stuff on the list and then take a picture for the year book.Rachel: That's the plan!Bevin: Well I already took my photo for the year book, and myhair looked really pretty that day.Rachel: It's not that kind of photo... and anyway it doesn't matter because this assignment makes me wanna get high.Bevin: Seriously.Rachel: You're not listening, see: this assignmentmakes me wanna get high.Brooke: I got a copy of the key and I stole the test.Chase: It's great Brooke, anything else?Brooke: I don't really believe in Clean Teens I just stayed in it because of you. That's the one thing Iwas really truthful about: my feelings for you.Chase: Well it doesn't matter now does it?Mouth: Anyone for starting over?Shelly: Hey. I'm sorry about judging you. You seem like a really nice guy.Mouth: Ok you gottastop saying that!Shelly: Why?Mouth: Because that's part of the problem! I hate being the nice guy, the little brother, the great friend. For just once, I'd like to be a little dangerous you know. Not so safe.Shelly:Yeah.Mouth: So, what's next on the list?Shelly: Ok: lighten up. Do an impression of a celebrity or a famous character.Mouth: This is gonna be awesome baby! He's a [...], a [...] magician! It's Dick Vitale. He's a sportsannoucer. He's really famous.Lucas: You seem so familiar love. Have I threatened you before? I'm captain Jack Sparrow.Haley: So my sister Mary Kate was like: Ashley, you really need to eat something.Lucas: MerryChristmas you [...]!Nathan: I like you, do you like me?Peyton: I like sexytime explosion!Haley: I'm sorry Dawson, it's just, I love Pacey.Brooke: Happy Birthday Mister President.Haley: Say hello to my littlefriend!Nathan: My wife, she's very nice. Hi 5!Lucas: My precious, oh my precious gotta keep it from the hobbitses, oh the hobbitses!Glenda: You do a really good Elmo.Shelly: Admit something that worries you orsomething you're afraid of.Mouth: You.Shelly: Me? Why?Mouth: Because you're really pretty. And it's kinda intimidating.Nathan: I walked a hundred times in the gim, thousands of fans screaming at me, taunting me, Inever flinched. I just take it all and [...]. No fear. But the thought of being a father scares the hell out of me.Haley: I love the idea of being a mom. I really do. But, I just, I still wanna leave my mark on this world.Skills:That what scares you? Not having the chance to do that?Haley: Yeah, a little. And clowns. Clowns really scare me.Bevin: What are you afraid of Rachel? Rachel?Rachel: I'm afraid, I'm way too high to care.Brooke: I wasworried I wouldn't be enough for you. That's why I lied. That's what I'm afraid of. Not being enough. Not good enough, not smart enough, not pretty enough, not...Chase: Brooke, you're the student council president,captain of the Cheerleaders and probably one of the most popular girls of the school! How is that not good enough?Brooke: I don't know you should ask my parents, considering they haven't called in a month. A monthand a half, actually. Not a single call, or texto, or email so what do you suppose that says about me?Chase: I think it says more about your parents.Brooke: You haven't told me what you're afraid of.Glenda: I'm afraidof my mom.Lucas: Come on, is she really that bad?Glenda: You see these diamond earings? I can only wear them at school because I stole them from her.Lucas: Why?Glenda: Because she loves them more than me.How about you?Lucas: I'm killing two birds in one stone. Something personal and something I'm afraid of. This is the first draft to a novel I'm writting. This is the personal part.Glenda: Who knew?Lucas: No one.Glenda:How come?Lucas: My first dream was to play professional basketball, I already gave that up. You're holding my second dream. If this thing sucks it's gonna be kinda hard to find a third one.Bevin: Ok, where do you planto be in ten years?Rachel: In ten years, I plan to be twenty eight.Bevin: Not at this rate.Brooke: I want my fashionline to be hugely successful.Chase: I'd like to be a pilot. I always wanted to fly. Shat off to far awayplaces.Brooke: Milan.Chase: Why not? That or be an X Game champion. That would make Clean Teens a bad ass![SCENE_BREAK]Nathan: Oh I hope in ten years, Haley's got a bunch of platine albums, my dad learnthow to be a great grandparent, my mom's alive and sober and hopefully my son will have a kickass of a drible!Peyton: Ok, but the question is about you duffus! Where do you plan to be in ten years?Natan: I know, butif everbody else's dreams come true, then, I'll be fine.Peyton: Nate, I think it's great that you take care of Haley, and that you're worried about your family, but if you don't start putting yourself first every once in awhile, and chasing your own dream, then, I'm scared you're gonna wake up one day, and have to wonder what could have been, like Dan. Don't be haunted like that Nate.Skills: You know basketball is global now right?I mean, everybody thinks being a pro is just NBA. Me I'd be happy just playing backetball oversea somewhere. So we [...] on a world tour, we'll remember this day and [...] a laugh about it.Haley: Ohhh man, I'd love toplay music for living, but, if that doesn't happen I'll also be happy.Skills: Yeah? Doing what?Shelly: You know I don't know yet. But, whatever it is it's gonna be ok because I'll have a great group of friends, that I canlaugh with and a few secret comforts that keep me sain, like I want a grey big [...] cat that greets me when I come home. And a boy, that I'm in love with. Yeah, in ten years I'm definitely in love.Lucas: Oh if I don'tmake it as a writter I can at least come back here and coach the Ravens. I mean Whitey's retired, my mom's here, and besides I love this place.Glenda: Not me. I can't wait to get out of here. I'm going as far away as Ican get, and I'm gonna try to forget this place ever existed.Haley: I never thought about teaching until now but, I thing I could be really happy doing that. When I tutor someone, and I watch them get it like that lightgoes on, it just feels really good. Anyway.Skills: So look we got one more thing to do, before we take our pictures. Tell your partner a secret. This one will do some damages.Brooke: Rachel bet me that I couldn't sleepwith you within three dates.Chase: Well.Brooke: But I need you to know something. I would have never ever asked you to compromise what you believe in or try to presure you out of it. That's the truth. And I just needyou to know it. Even though I kno I don't have a chance with you now.Chase: Is that it? No more secrets?Brooke: That's it. I promise.Chase: Well here's one more. You are enough Brooke. And if I just get you to quitlying, I think i'm gonna like the real you. But shhhh, don't tell anyone. It's a secret.Rachel: What time is it? It feels like we've been in here for ever.Bevin: Well, that's because you're wasted. I don't suppose you wannatell me a secret and actually participate.Rachel: I'll tell you a secret, not because of class, just because. I never really felt anything with the guys I slept with. When I got my new body I thought it would changeeverything. Maybe it did for the boys, but not for me.Bevin: You know, I always wanted to know what it was like to be a dude, like walking through the halls in jeans and a [...] tee shirt or bad ass, you know, talkingsmack and checking out checks and stuff.Rachel: Checking out checks. Maybe that's my problem. Maybe I'm into girls. What the hell are you doing?Bevin: Did you feel anything?Rachel: No!Bevin: Then you're not intogirls! Trust me Rachel, I'm a really good kisser, and you'd totally be into me right now.Skills: It's my shcolarship offer, or not, I mean, I haven't had the courage to open it yet.Haley: Skills, you can't keep this secret.Come on I've got a really good feeling about it open it!Skills: Ok just give me a few minutes though.Haley: Ok.Skills: Won't you tell me your secret? Now we talk.Haley: Sometimes I feel incredibly disconnected, reallyuncomfortable in my own skin. Kind of, like I don't fit in to this wolrd. Like I was born at the wrong time, and I don't belong. I just think about my son, and it scares me because I don't ever want him to feel like hedoesn't belong. I don't know if my heart could bear that.Skills: Nah, he'll belong. The kid's gonna rock this place.Haley: You think so?Skills: Oh yeah I do. Cause his mom got his back, and if she don't, I do, Ipromise.Glenda: Ok. Here.Lucas: You're on the pill.Glenda: No I'm not on the pill.Lucas: You have the pill, but you're not on it, that's very secretive.Glenda: When my mom was in high school, she was one of the Prettyand Popular. And I think her greatest dispointment is that I'm not! Sometimes she teases me about it, and not in a fun way like, like why can't I loose some weight, and how I'll never get a boyfriend.Lucas: Thatsucks.Glenda: Yeah. Anyway, one day I got some flowers from my boyfriend.Lucas: So you have a boyfriend.Glenda: No, I made him up, and I sent the flowers to myself. He was pretty awesome though he sent me allkinds of things.Lucas: Your imaginary boyfriend.Glenda: Anyway, I told my mom we were getting serious, and that maybe I should go on the pill. And in my head I thought it would be this binding experience like, she'dsecretly be happy for me, sit me down and coucil me about being safe or just tell me to wait or ... just be my mom. Instead she took me to the doctor, got me the pill, when we left the pharmacy she hanged me theprescription and she said 'I don't know who'd sleep with you but here you are!'Lucas: I'm sorry Glenda.Glenda: It's ok. So I looked at her and I said 'I don't know who'd sleep with you either but here I am!'. And wehaven't spoken since, not a word.Lucas: How long has it been?Glenda: Like 8 weeks. She just drives me off to school and picks me up, and we just don't talk. There's just silence, silence and disappointment.Nathan: Mymom tried to kill herself.Peyton: What?Nathan: She sucked a bunch of pills. I haven't told anybody. Just Haley.Peyton: Nathan I'm so sorry.Nathan: The worst point about it is when I found out that she might die,there's a moment, there's just a fraction of a second, when I actually, I felt relieved, like maybe it was for the best. You believe that? A kid actually feeling relieved at the thought of loosing his mother? What kind ofperson does that make me, Peyton, that I can feel that?Peyton: I can't whistle. Nothing.Nathan: That's terrible! How can you not whistle?Peyton: I know okay I'm pathetic.Shelly: I've got a pair of leather pants in mylocker that I'd be dying to wear!Mouth: Nice. You should totally rock those.Shelly: I can't. I'm a Clean Teen. Doesn't exactly fit the image.Mouth: Then change the image.Shelly: Mouth before I, took back my virginity, Iwas kind of... friendly. It just figures, everyone saw me as a slut, and now I am this radical virgin who can't wear a pair of leather pants. Sometimes I just wish they'd see me as a girl, you know, just a girl, nice, coolsometimes, [...].Mouth: Beautiful.Shelly: So, how do you know about all this media stuff?Mouth: Oh, hum, me and Jimmy...Shelly: Jimmy Edwards?Mouth: He was my friend. I miss him a lot. I have to keep it secretbecause he killed Lucas' uncle Keith and I loved Keith. But, it doesn't mean I don't miss my friend you know, especially with graduation coming up.Shelly: Sorry. I never told you what I'm afraid of, second question onthe list. I'm kind of afraid of being here with you.Mouth: Why?Shelly: Because I'm a Clean Teen, and your hot.Brooke: I'm sorry I lied Chase. It's just you're a Clean Teen, and you're hot, and...Mouth: You were seriousabout me being decent looking or, are you just trying to make up for the geek comment?Chase: I didn't say decent looking. I said hot. Mouth, I'm a Clean Teen.Mouth: So what?Glenda: So I've been thinking about yourmanuscript. You need to give it to someone who won't go easy with you, someone who's gonna tell you the truth...Lucas: Someone like you?Glenda: I haven't actually been that truthful, I mean not about school. Thetruth is I'm gonna miss this place. And it's all my fault. I just wish I would have tried harder, and I just didn't wanna look like an idiot.Lucas: I think everybody feels that way sometimes. You know like people don't seethem for who they really are. It's not just you.Glenda: You would have made a great goth you know? A little tortured, a bit of a loaner, but kind. Hey, I have an idea for your picture.Rachel: Thank God, this ridiculousclass is almost over.Bevin: I liked it.Rachel: That's because you're too blisfully stupid to resist.Bevin: I know poeple think I'm stupid. But I'm not dumb. I just let you and the other girls have your way because how youneed it to be. But I think Carl's right. Pretty soon we're all gonna graduate and, I can start over. But it'll be harder for the people who need this place to make themselves so special. People who use highschool to buildthemselves up and then find out that the real world doesn't care so much about who you were in high school, people like you. Ok, so, what are we gonna do for our pictures?Mouth: You need to go get those leather"}
+{"doc_id":"doc_288","qid":"","text":"5:50pm - 6:15pm[SCENE_BREAK]1: INT. THE RILL CENTRE. CENTRAL CHAMBERDOCTOR: I don't think he's quite awake yet!(VICKI laughs but the good mood is shattered as she lets out an ear piercing scream. Frombehind a frosted glass partition in the black spaceship wall, a pair of hideous round alien eyes are starting out at them...)[SCENE_BREAK]2: INT. THE RILL CENTRE. PASSAGEWAY(A CHUMBLEY moves along thepassageway.)AIRLOCK(It reaches the end of the passageway and turns the corner into another.)WILLIAM EMMS[SCENE_BREAK]3: INT. THE RILL CENTRE. CENTRAL CHAMBER(The DOCTOR and VICKI turn as they hearthe sound of the CHUMBLEY approaching.)DOCTOR: There's a Chumbley coming! Quickly!(They both rush toward one of the passageways and pull to a halt as they see it is the one that the CHUMBLEY is movingdown.)VICKI: Oh, Doctor!DOCTOR: Hurry! Quick!(They turn and flee down another passageway. The CHUMBLEY enters the central chamber. It pauses and then goes down the passageway taken by the DOCTOR andVICKI.)[SCENE_BREAK]4: INT. THE RILL CENTRE. PASSAGEWAY(The DOCTOR and VICKI hurry along, the sound of pursuing CHUMBLIES not far behind them.)DOCTOR: Come on!VICKI: (Breathlessly.) Come on,Doctor!(The DOCTOR sees the exit to the outside.)DOCTOR: (Breathlessly.) This way out. Come on! We'll make it!(They reach the entrance. The DOCTOR is a little way ahead of VICKI, who turns to look behindher.)[SCENE_BREAK]5: EXT. THE RILL CENTRE(The DOCTOR emerges and turns back to VICKI. As she is about to exit, a heavy iron grill slams down in front of her. She grips the bars frantically and looks out.)DOCTOR:Oh! Ah!VICKI: Oh! Doctor!(The DOCTOR runs over and examines the bars.)DOCTOR: (Breathlessly) I can't move it! It's immovable! Wait, wait, wait! I have an idea.(The DOCTOR looks around and sees the mechanismon the wall he examined before.)DOCTOR: I might be able to sabotage them. Now be patient.(He moves across to the mechanism and takes out a screwdriver from his pocket. VICKI waits, grasping the bars whilelooking behind her, expecting the CHUMBLEY at any minute. The DOCTOR quickly examines the air-converter unit.)DOCTOR: We know what this machine's for. This is to convert air into ammonia gas.VICKI: (Withdesperation) Doctor, hurry up!DOCTOR: Yes, now, have patience child.(He starts to take it apart.)DOCTOR: When I've finished with...this machine, I'm sure they will release you.VICKI: Never mind about that, releasethese bars!DOCTOR: No! No! That's the last thing we do. This is the thing that gives them the gas to breathe with.VICKI: You don't know that for certain!DOCTOR: My dear child, the Rills can't go outside. It's a foregoneconclusion.(VICKI turns once more and looks down the passageway.)[SCENE_BREAK]6: INT. THE RILL CENTRE. PASSAGEWAY(Two CHUMBLIES moves along the passageway and reach VICKI. The DOCTOR appears onthe other side of the bars and looks in. The CHUMBLIES make signs just as the one they first met did.)VICKI: (Fearfully.) Doctor! They...I think they...want me to go with them.DOCTOR: Well, I think you... you'd betterdo what they want, hmm?VICKI: (Nervously.) But Doctor, that thing in there - that thing looking out of the window, what...DOCTOR: Yes, that was one of the Rills, I suppose.VICKI: (Softly.) Doctor, I'm soscared.DOCTOR: Now, look, you go with them, quickly, but don't cause any trouble. It'll give me time to see if I can help you. I think perhaps I can do something with that machine, but I must have time! Hmm?Yes?VICKI: All right. Be quick.DOCTOR: All right, don't worry. Goodbye!(VICKI eyes the CHUMBLEY and moves toward it. The CHUMBLEY backs away. VICKI moves down the passageway followed by the CHUMBLEY.Another CHUMBLEY moves to meet her, and they nudge her toward the central chamber.)[SCENE_BREAK]7: EXT. THE RILL CENTRE(Having watched her go, the DOCTOR moves away from the bars and resumes workon the air-converter with his screwdriver.)DOCTOR: Dah![SCENE_BREAK]8: INT. DRAHVIN SPACESHIP(STEVEN is still in the padded corner. He is lying down, apparently asleep.)DRAHVIN TWO: Maaga, shall wego?MAAGA: Where?DRAHVIN TWO: To patrol.MAAGA: I see no need.DRAHVIN TWO: To see what the other two are doing.MAAGA: No.DRAHVIN TWO: But, Maaga...MAAGA: Can you hear me?DRAHVIN TWO: We alwaysgo out on patrol at this time.MAAGA: Yes, but not now.(The three DRAHVINS look uneasily at one another.)MAAGA: Soldier Drahvins, you can't understand anything that's different, can you? You are made unintelligent,and you remain that way for the rest of your lives.(MAAGA turns away and sighs, talking almost to herself.)MAAGA: I told them soldiers were no good for space work. All they can do is kill. But they wouldn't listen. Ifyou are to conquer space, they said, you will need soldiers. So here I am confronted with danger. I'm the only one able to think!(She turns back to the others.)MAAGA: Very well. I am your...commanding officer. I amyour controller, am I not?DRAHVIN TWO: Yes, Maaga.MAAGA: And you obey my orders?DRAHVIN TWO: Yes, Maaga.MAAGA: Why?DRAHVIN TWO: Because you are our leader.MAAGA: And?DRAHVIN TWO: Youthink.MAAGA: And you don't know what that means.(The DRAHVINS are silent.)MAAGA: But because I think, I order that there will be no patrol now. We have a prisoner. In order to save him, the other two must helpus.(She looks towards STEVEN.)DRAHVIN ONE: I do not understand why they would want to help a friend.MAAGA: I know you don't.DRAHVIN ONE: We would not. We would leave him here.MAAGA: Yes... (Laughs.)...we would. But I have heard of creatures like these. They help one another.DRAHVIN THREE: Why, Maaga?MAAGA: I don't know. I have heard, that on occasions, they even die for one another.(The DRAHVINS lookconfused.)DRAHVIN THREE: Die? For their friends?MAAGA: There are many strange things in the universe.DRAHVIN TWO: I do not understand.MAAGA: (Harshly.) I know you don't. But, despite that, you will obeyorders!(The three DRAHVINS bow their heads submissively. After a pause, MAAGA speaks softly, almost to herself.)MAAGA: It may be that we shall kill neither the Rills nor these Earth creatures. Not with our ownhands, that is. It may be better for us to escape in the Rills' spaceship and leave them here. (Softly excited.) And then...when we are out in space, we can look back. We will see a vast, white, exploding planet...andknow that they have died with it!DRAHVIN ONE: But we will not see them die.MAAGA: (Softly.) You will not! But I, at least, have enough intelligence to imagine it. The fear...the horror...the shuddering of a planet in itslast moments of life! And then they die. (Sighs.) But that is for later.(She turns back to the DRAHVINS and issues instructions to them each, in turn.)MAAGA: Attention! (To DRAHVIN TWO.) You will rest. (To DRAHVINTHREE.) You will guard the prisoner. (To DRAHVIN ONE.) You will go out and look for the Earth creatures. Open the door.(DRAHVIN THREE moves round the table, picking up her gun as she does so. She crosses to achair near STEVEN and sits down, the gun across her lap. DRAHVIN TWO goes into the inner room whilst ONE goes outside. MAAGA goes over and looks down at STEVEN.)DRAHVIN ONE: He sleeps.MAAGA: But you willnot! He must not move!(MAAGA goes into the inner room. As she does so, STEVEN opens his eyes slightly and squints up at DRAHVIN THREE, who is staring straight ahead.)[SCENE_BREAK]9: INT. THE RILL CENTRE.CENTRAL CHAMBER(A CHUMBLEY backs in followed by VICKI. She searches about her and looks nervously at the place where she saw the watching eyes. The shutter on the door is closed. Another CHUMBLEY comes outof the passageway. The two CHUMBLIES chatter to themselves for a moment, then, from the CHUMBLEY facing VICKI, comes a high-pitched sound. VICKI stares at it blankly. It stops, twitters at her once or twice more,then falls silent. The CHUMBLEY behind VICKI nudges her. She puts up with this for a few moments then angrily reacts.)VICKI: Oh, stop doing that! What do you want, anyway?(At once, a series of varying soundscomes from the CHUMBLEY, which resolve into a repeat of VICKI'S question speeded up, then repeated but slower, over and over again...)RILL VOICE: What do you want anyway? What do you want anyway? What doyou want anyway? What do you want anyway?(Finally, the statement comes out of the CHUMBLEY at a normal rate in a deep sonorous male voice.)RILL VOICE: What do you want anyway?(Then from the CHUMBLEY, asthough it has now deciphered VICKI'S words, comes intelligible speech.)RILL VOICE: We are sorry to separate you from your friend, but it was necessary.(VICKI is surprised. She jumps as the shutter in front of theglass slides open. The eyes can be seen looking through at her and they are attached to a tusked creature which is wreathed in smoke. VICKI looks from the window to the CHUMBLEY.)VICKI: (Fearfully.) Who areyou?RILL VOICE: Who are you?VICKI: (Fearfully.) We're, er...we're time travellers. From the planet Earth.RILL VOICE: (Suspiciously.) I see. You were sent here by the Drahvins?VICKI: Yes.RILL VOICE: (Threateningly.)To do us harm?VICKI: (Fearfully.) No! No, you see...the Drahvins are...keeping a friend of ours...prisoner. So, we had to do as they said.RILL VOICE: What was that?VICKI: (Reluctantly.) To capture your spaceship.RILLVOICE: Why do they want to capture it? We have offered to take them with us.VICKI: They didn't tell us that!RILL VOICE: No. They would not. They would rather kill. They hate us.VICKI: Well, you did kill one ofthem.RILL VOICE: (Shouts.) We kill no one!VICKI: But they...(VICKI suddenly gathers her courage.)VICKI: Look, who is talking? Is it...is it this Chumbley, or is it...(She looks toward the open shutter.)VICKI:...someone else?RILL VOICE: You call the machines Chumblies?VICKI: Yes.RILL VOICE: The Chumblies have a speaker in them. They are transmitting our thoughts.VICKI: Your... your thoughts?RILL VOICE: We do notspeak like you. We have no vocal chords. We communicate in thought.VICKI: Who are you?RILL VOICE: We are the Rills.VICKI: Why can't I see you?RILL VOICE: It is better that you do not. Not all the dominant speciesin the universe look like humans. Our appearance might shock you as it shocked the Drahvins.[SCENE_BREAK]10: EXT. THE RILL CENTRE(The DOCTOR has now removed some of the top plates from the air converterand is peering in. He is hard at work with his screwdriver.)DOCTOR: Hmm![SCENE_BREAK]11: INT. THE RILL CENTRE. CENTRAL CHAMBERVICKI: (Firmly.) The Drahvins said that you attacked them.RILL VOICE: That isshort of the truth. We were investigating outer space when we encountered a strange ship. Rills do not attack or kill without good reason, so we stopped our ship. Their ship also stopped. We hung in space facing eachother. We could have turned and gone away, but we were afraid that we would be attacked.VICKI: Yes, what happened?RILL VOICE: For four dawns we hung there. Then we decided to turn. As we were doing so theDrahvins fired. Immediately we did the same, and both ships crashed. When we escaped from our ship we discovered that we could not breathe the atmosphere here, but we had a small supply of our own, and set outto help the Drahvins.(As the RILL speaks through the CHUMBLEY, what happened appears as a flashback through the RILL'S eyes.)[SCENE_BREAK]12: EXT. PLANET (FLASHBACK)(Glimpses of other RILLS can be seen,but none clearly, as they are at the edge of vision. As the RILL looks around, a Drahvin is seen, lying face down on the ground.)RILL VOICE: (OOV.) The first one we found was badly injured.(The RILL moves in on thewounded Drahvin.)RILL VOICE: (OOV.) We started to help the soldier.(The RILL looks up - a cold-faced MAAGA is approaching.)RILL VOICE: (OOV.) Then Maaga, their leader, appeared. She started to shoot at us, so weleft.(MAAGA fires at the RILLS who start to back off.)RILL VOICE: (OOV.) We could have fought back. Our weapons are superior to theirs. But, we do not kill! The Drahvins do!(MAAGA aims her gun at the injuredDrahvin and fires.)RILL VOICE: (OOV.) When we looked back, we saw Maaga kill the injured soldier.[SCENE_BREAK]13: INT. THE RILL CENTRE. CENTRAL CHAMBERVICKI: But all the Drahvins believe that you didthat!RILL VOICE: We know. That is why they keep attacking us.VICKI: Would you really have taken those people off with you?RILL VOICE: Why not? What do we gain if they die?(VICKI looks at the Rill through the openshutters.)RILL VOICE: We will help you rescue your friend.(VICKI does not respond.)RILL VOICE: Something is worrying you?VICKI: Yes, I...I wish I could see the whole of you.RILL VOICE: It is better that you don't.Besides, we cannot come out. In order to live we must have ammoniac gas. So we live in here in a compartment where it is filtered in.VICKI: (Horrified.) You mean you can't breathe oxygen at all?RILL VOICE: No. Ourhome planet...(VICKI tries to leave, but the CHUMBLEY blocks her path.)RILL VOICE: What is it?VICKI: (Desperately.) You must let me out quickly, or you'll all be killed!RILL VOICE: (Horrified.) Killed? By whom?VICKI:By the Doctor - he's trying to wreck your machine for making ammoniac gas!(The CHUMBLEY moves out of the way and VICKI dashes off.)[SCENE_BREAK]14: EXT. THE RILL CENTRE(The DOCTOR is still working at theair-converter mechanism. It is now partially dismantled.)[SCENE_BREAK]15: INT. DRAHVIN SPACESHIP(STEVEN is still pretending to be asleep, but is squinting at the DRAHVIN that is guarding him, who is herselfnodding off to sleep. Slowly, STEVEN eases himself up into a sitting position. He eases his legs down to the floor. There is a creak. The DRAHVIN reacts slightly but continues to doze. STEVEN slowly reaches toward theDRAHVIN'S gun. With one movement he snatches the gun, clasps a hand over the DRAHVIN'S mouth, and keeps moving forward so that the DRAHVIN and the chair she is sitting on topple over backwards. Holding thegun, STEVEN prepares to cover the DRAHVIN, but he realizes that the fall has knocked her unconscious. He listens. All is silent. He moves toward the lever that opens the door. There is a humming sound and the doorbegins to slide open. At the same time, MAAGA enters the main room, gun in hand.)MAAGA: He's trying to escape!(STEVEN leaps toward the outer door, but it is closed. He turns back to see MAAGA, by now joined bythe other DRAHVINS, approaching. He points his gun at them.)STEVEN: Stop!(They halt. MAAGA comes forward.)MAAGA: Don't shoot. You can't escape. Give up and we will not harm you.STEVEN: Oh, I'd be a fool tobelieve that, wouldn't I?[SCENE_BREAK]16: INT. DRAHVIN SPACESHIP. AIRLOCK(He glances to the side and sees two buttons on the wall. While still pointing his gun at the DRAHVINS, he presses one button and theinner door slides shut, sealing him off from the DRAHVINS. He presses the other button, and the outer door opens. He exits.)[SCENE_BREAK]17: EXT. DRAHVIN SPACESHIP(STEVEN emerges and looks warily about. Heis about to move off when he sees a CHUMBLEY approaching. He stares at it, gun at the ready, then looks back at the spaceship. He makes his decision and heads back into the airlock.)[SCENE_BREAK]18: INT.DRAHVIN SPACESHIP. AIRLOCK(He presses the button to close the outer door, and as it closes behind him, the CHUMBLEY moves in and waits. He turns toward the inner door and, through the porthole in the door, isstartled to see MAAGA standing there, a cruel smile on her face.)[SCENE_BREAK]19: EXT. THE RILL CENTRE(The DOCTOR is reaching into the machine. With a grunt of pleasure he brings out a small metal plate anddrops it on the ground. Then he peers in again. Afterwards, he picks up the screwdriver and poises it over the machine. He soon starts to cough at the smell of ammoniac gas.)VICKI: (OOV: Inside the Rill centre.)Doctor! No!(The DOCTOR turns in surprise and sees a desperate VICKI running down the passageway towards him.)VICKI: Don't do it, Doctor! Doctor!DOCTOR: (Coughing.) Oh! Child!(The DOCTOR, coughing, movesaway from the machine. VICKI and the CHUMBLEY walk out of the passageway as the bars slide up out of sight.)VICKI: (Breathlessly.) Oh! Oh! I was going to be too late.DOCTOR: Are you sure you're all right, child,hmm? Hmm? Hmm.VICKI: Yes.DOCTOR: Hmm. hmm.VICKI: And the Rills won't harm us. They want to help.RILL VOICE: We were told your friend is in danger.(The DOCTOR starts back, surprised by the fact that theCHUMBLEY can talk.)DOCTOR: Er... (Stutters.) ...is that a Rill talking?VICKI: Yes.DOCTOR: Hmm!VICKI: Well, answer him.DOCTOR: (Shouting.) Oh yes, you were told correctly!VICKI: (Smiles.) Doctor, they're notdeaf!DOCTOR: Oh, I...I...oh, I'm sorry. I beg your pardon. I...I thought you couldn't hear.RILL VOICE: We are not deaf, you know.DOCTOR: (Embarrassed.) Ah.RILL VOICE: Perhaps you will both come inside.DOCTOR:Ah, yes. It does occurs to me that, er, if we do that we, er, might be trapped, hmm?VICKI: Doctor, if the Rills wanted to harm us, the Chumbley could shoot us now.DOCTOR: Ah, yes. Indeed. Of course, child. Yes,that's quite true, quite true. Yes. Well, lead the way! Ah...er, lead the way. (Laughs.) As it happens, I'd like to take a look round.(They walk into the passageway.)[SCENE_BREAK]20: INT. THE RILL CENTRE.PASSAGEWAY(Another CHUMBLEY passes them moving out of the centre.)DOCTOR: Er, what's this? What's this fellow doing, hmm?RILL VOICE: Going to repair the damage you have done.DOCTOR: (Embarrassed.) Ah,yes. Quite so.(He laughs nervously to himself, looks apologetic, and grimaces at VICKI. They move down the passageway.)DOCTOR: Tell me, what do these Rills look like, hmm?VICKI: They won't show themselves,Doctor.DOCTOR: Oh? Why ever not?(The CHUMBLEY halts and turns.)DOCTOR: Hmm?RILL VOICE: Because our appearance would not be pleasant to you.DOCTOR: Oh, what nonsense! We're not children, youknow?RILL VOICE: It is best you do not see us.(The CHUMBLEY turns and moves off.)DOCTOR: Oh, very well. Carry on, carry on. (To VICKI.) Oh, what utter rubbish, isn't it? (Laughs.)(They move off after theCHUMBLEY.)[SCENE_BREAK]21: INT. THE RILL CENTRE. CENTRAL CHAMBER(The CHUMBLEY enters and halts, followed by the DOCTOR and VICKI. The DOCTOR looks around.)DOCTOR: Oh, yes. This... uh, this drillrigging here. Eh, tell me, what is it you're drilling for, hmm?RILL VOICE: Power. We must have power for launching our spaceship. The suns are too weak to supply this power, therefore, by drilling we may find some inthe ground.DOCTOR: Very well, if you take my advice, you'll get a move on. There's very little time left.RILL VOICE: You know about the explosion of this planet?DOCTOR: Oh, yes! We know more than you. Your timingis wrong. The disintegration of this planet is not fourteen dawns away. It is now less than two dawns.RILL VOICE: (Agitated.) Two dawns!DOCTOR: Two dawns.RILL VOICE: Then we have no chance of survival!VICKI:But you've repaired your ship.RILL VOICE: Yes, but the only power we find is a gas, and that is of no use to us. We have no means of converting it into the sun-ray power we need.DOCTOR: I think I might be able tosupply you with the power you need. Yes, I think I'll help you, since you're so willing to help us.RILL VOICE: We would be deeply grateful.DOCTOR: Hmm!VICKI: You keep saying we. How many of you are there?RILLVOICE: Four.VICKI: That doesn't seem many for manning a spaceship.RILL VOICE: We were twelve. Eight of us died in the crash.DOCTOR: First I will need some metal-cored cable.RILL VOICE: We have some.DOCTOR:Splendid. Splendid. I think I can put into effect the transference of power from my ship to this. Now, first of all, I must...I must have a conversion. Now is that possible?RILL VOICE: We shall do all that you say, you areour only...(The CHUMBLEY stops talking and starts chittering. There is the sound of machinery, as though from a control panel in the RILLS' chamber.)RILL VOICE: Ah.VICKI: What's that?DOCTOR: What's the matter,hmm?RILL VOICE: We have just received a message from a machine.VICKI: A Chumbley?RILL VOICE: It is by the Drahvin spaceship. It reports that a being, not Drahvin, came out of it.VICKI: (To the DOCTOR.)Steven.RILL VOICE: It detected that he was a friend of yours, but before contact could be made, he went back in again.VICKI: He still thinks the Chumblies are dangerous, you see. (To the DOCTOR.) Doctor, let me goand tell him...DOCTOR: (Interrupting.) That won't be necessary, my dear. He's quite capable enough of looking after himself. (To the CHUMBLEY.) Now, the cable, please, the cable![SCENE_BREAK]22: INT. DRAHVIN"}
+{"doc_id":"doc_289","qid":"","text":"Opening scene - We open on incredible aerial shots of the coast. then we stop outside the pool house to see Ryan and Seth walking outSeth: so you're saying you won't help meRyan: I got a physics quiz, i'm kindabusySeth: Ryan!Ryan: what?Seth: please man this is a crisis ok Zach an Summer, there full on dating now an that means I need a new girlfriend prontoRyan: so your gonna start dating someone jus to show upSummer(they are now inside the Cohen kitchen)Seth: those are not the reasons (Ryan looks at him) I can't think of em right now, listen, hold on a second let's break bread, let's discuss broads (throws a bagel toRyan)Ryan: (catches bagel) ooooh my graphing calculator, I left it in your roomSeth: you know what else is in my room(walking out of the kitchen)Ryan: what, what is in your room (throws the bagel up and catchesit)Seth: my year book (Ryan frowns) full of new ideas for fresh faced loved ones what'do you say we whittle down the list to like twenty finalists by homeroomRyan: that's a bad idea (?)Seth: and you can keep my leftoversRyan: no, no thanks i'm not datin this year, that's the game plan(?) (goes up stairs)Seth: yes you areRyan: (off screen) nope!Seth: you absolutely are, i'm not entering this new era alone (follows)(in thebackground Kirsten and Sandy are walking down the hall)Sandy: it is a new era, gettin the axe is the best thing that coulda happened to me, now the only person I answer to (points to himself) is me(they are nowentering the kitchen)Kirsten: and my father (Sandy groans) all i'm saying is that he's your only client, isn't heSandy: yeah, an you work for his wife (shakes his head) what was your father thinkinKirsten: you can askhim, you'll be hangin with him all daySandy: if I can win this case get my practice off the groundKirsten: you can...spend your entire career defending (smirks) my father's rich clientsSandy: your not bringin me downhoney, nope you heard Seth...it's a new era(Ryan and Seth come back into the kitchen, Ryan with his calculator and Seth holding his yearbook)Seth: sure is father an guess what, I jus think I found a newgirlfriendKirsten: here in the kitchenRyan: ah no, in the new era Seth shops for girlfriends in the year bookSeth: (reading) Tina Woo member of the acapella group, co president of the improv team shenanigans (nods)she's musical she's witty hopefully she's free for lunchRyan: dude shenanigansSeth: (smiles) I knowKirsten: a-are you sure your ready to start dating sweetie, I mean after everything you've ben through withSummerSandy: o- better he should mope (to Seth) don't listen to them, if it was up to your mother id still be workin at Partridge, Savage an Con, comin home bitchin about high price law suitsSeth: (nods) totally, Ryanwould you rather I go for the Woo or or keep talkin about Summer(Ryan and Kirsten look at each other, Ryan smiles)Kirsten: (smiles) here's to the new era(they all clink coffee cups)Sandy: ah-menTheme Song -California by Phantom Planet Harbor school - Ryan and Seth are walking up the stairs outside, 'screening' girls that walk by themRyan: alright so the Tina Woo thing didn't happen, jus move onSeth: y'know a simple nofrom the Woo would've ben sufficient...I think the added laughter...was just unnecessary (to Tiffany) heyTiffany: hey SethRyan: (looks back) what about herSeth: Tiffany Rosenberg? no we have a history (Ryan looks athim) third grade a class field trip to sea world I tried to sort of talk to the dolphins she over heard there was taunting, it was really bad, the bus ride home was a little boringRyan: ah-huh, how bout I point out a girl youtell me whether or not you'd date herSeth: how bout I tell you whether or not she would date meRyan: yeah exactlySeth: okRyan: (looking) uhhhh got her, right there (points to 2 girls)Seth: (looks) uhhhh yeah, annoRyan: no? (nudges Seth in the elbow)Seth: uhhhh no, yeahRyan: yeah? (Seth shrugs)(Lindsay walks up)Lindsay: are you shopping for girlfriends in the quadsame time:Seth: yeahRyan: noLindsay: (laughs) classy an(shakes her head) not remotely demeaningRyan: uh (points) Lindsay Seth, Seth LindsaySeth: oooh heyLindsay: so how does this work, is there a ranking system or is each girl judged on her individual merits, an bymerits I mean her rack and or assRyan: it's a simple yes no surveySeth: yes, no, surveyLindsay: I see, well in that case (looks at Seth) no (looks at Ryan) and no (Ryan nods) ill see you in class (walks away)(Ryansmiles and waves)Seth: I can't believe I finally met herRyan: LindsaySeth: Lindsay Cohen, it's got a nice ring to it don't you think, will you hook that up for meRyan: n-noSeth: why not, unless hey I mean d-do you likeher?Ryan: oh n-n-n-n-n-no no its jus she's-she's argumentative, bossy, difficultSeth: yeah that's my type (nods)Ryan: yeah believe me, you should just hold out for somethin elseSeth: no absolutely not I need thatone, an I need you to make that happen for me ok, can you make it happen, can you hook me up, help a brother outRyan: (closes his eyes) (reluctantly) I can hook it upSeth: that's what I like to hear, thankyou (makesfists at Ryan then walks off)CUT TO: Marissa and Summer walking togetherMarissa: this is a new era Summer, for the first time in my life I have like no boy dramaSummer: wait that is not possible, you are a magnetfor boy dramaMarissa: i'm serious, Ryan an I just friendsSummer: hmm an DJ? (Marissa looks at her) (gasps) what with the deltoids an the trapazoids(?)Marissa: he...wants...nothing ta do with meSummer: well didyou apologiseMarissa: (shrugs) I have no idea where he is, after he quit working for my parents he went totally MIASummer: he can't be that hard ta find (thinks) doesn't he work for the Henderson's...see totallyaddicted to boy dramaMarissa: like you don't have issuesSummer: (smug) actually right now my love life is totally trauma freeMarissa: so lunch went well with Zach an your dadSummer: amazing, none'a that mannerCohen chatter, or that incomprehensible Cohen mumbling, if Cohen is the virus Zach is the cure, he is the anti-CohenMarissa: hmm (looks) (gasps) speak'a the devil(Zach walks up behind Summer)Summer:Cohen?Marissa: ZachSummer: right, great, better (turns around) heyZach: hi (Summer hugs him) ooh (laughs) that's a firm hugSummer: (smiles) sorry duckyZach: ...ducky?Summer: (to Marissa) we have nicknames(Marissa looks at Zach)Zach: we do?Summer: yesssMarissa: (smirks) ducky, that's-that's cuteSummer: so anyways ducky, Marissa here is totally bumming out because she doesn't have anyone in her life as perfect asyouMarissa: thanks, Sum (starts walking, Zach and Summer follow)Zach: well I know lots'a eligible bachelors, you want me to set you upMarissa: (laughs) oh no, that's ok, really, i'm fineCUT TO: Club (as its referred toin the ep guide) im assuming its like a country club - Caleb and Sandy are there togetherCaleb: y'know this is the start of a new era for us sandman, working together on the same side'a the law, over coming ourdifferences, battling the oddsSandy: you're bringin a tear to my eye Cal, now let's talk about what we know at this point in the gameCaleb: are you hungry, they do a delicious frittato here, you a frittato manSandy: i'mfine now you 've ben funneling money every month to a trust, an the person who runs this trust happens to be an associate of the city councilman's office, the same city councilman that issues building permits to peoplewho build lots of buildings (sits at the table, Caleb sits) people like youCaleb: I do build lots of buildings, i've done very well for myself, started off with nothing an still I strive for more never satisfied...what do they callthatSandy: greed, as you can see, on the face of it (shakes his head) this looks like briberyCaleb: what about a round of drunks huh, what'do you say huh ManhattansSandy: its ten a.m, now focus, why did ya set upthe trustCaleb: charity, tax benefitsSandy: right what about the woman who runs the trust... Renee WheelerCaleb: I don't know her, your very grumpy today, I think its cause your hungry, frittato coming rightupSandy: the DA wants you to spend your twilight years in a five by nine cell, an all you can think about are frittatasCaleb: no one is going to jail, this thing won't even make it to court... (frowns) PhyllisSandy:Phyllis?Caleb: yeah my-my old secretary she retired three years ago, she set up the trustSandy: you couldnt'a told me this on the phoneCaleb: then I wouldnt'a gotten to see you (Sandy looks at him in disbelief) letsget you that frittata, scuse meCUT TO: Harbor school - Ryan and Lindsay are in class together. they are sitting at separate tables. Ryan turns and looks at Lindsay who is busy studying. Ryan turns back then gets upand walks over to her table and stands thereLindsay: you're lurkingRyan: right sorry um (crouches) look uh for all I know you have a boyfriend (Lindsay looks up from the book) (sighs) so there's no point in me evenasking-Lindsay: I don't...um (Ryan looks at her) I don't have a boyfriendRyan: (a little too happy) oh you don'tLindsay: yeah don't rub it in!Ryan: right well I was wondering if you...would maybe wanna (Lindsay raisesher eyebrows) m-maybe an-an feel free to say no... go out on a dateLindsay: (raises her eyebrows) ok, sureRyan: (suprised) yeah (smiles) uh great so you'll go out with SethLindsay: (thrown) w-whatRyan: you uhyou'll go on a date with SethLindsay: yes uh Seth you...want me to go out with Seth...and I said yes sooo yes (nods)Ryan: great, great (softly) great, you sure?Lindsay: I am positive, ah tomorrow night (laughs) thesooner the better rightRyan: (laughs) right(they both stop smiling)Lindsay: uh thanks(Ryan looks down then walks away, Lindsay looks back at her book then looks up at Ryan who goes back to his seat and sits down.Ryan looks back over at Lindsay quickly)CUT TO: Kirsten's office - Kirsten is at her desk working and Julie walks in with a plantJulie: (cheery) look who has a new ficusKirsten: uhhh I-I have a ton'a work to do if-if youcouldJulie: I figure now that i'm in charge I could introduce a little more life into this place (puts ficus down) y'know a ficus here an orchard there next thing you know we are-Kirsten: a rain forest, thanks for the plantbut right now this company is one failed deal away from total ruin, which means I have'to ficus (correcting herself) u- focusJulie: ficus focus oh honey you are all over the place but no need to worry the boss is here, letme lighten your load (walks over to Kirsten) what're you readingKirsten: (looks at Julie) ...budget projections for next year its-its very denseJulie: which you think I am, denseKirsten: no I-Julie n-no...look the key togood leadership is delegation so why don't you delegate this kinda stuff to me so that your free ta-Julie: continue being stupidKirsten: Julie...all i'm saying is that we have an extremely important presentationtomorrowJulie: yes, clearly I have alot of reading up to do so I can be ready for the presentation (picks up ficus) y'know running this company is about more then just plant life Kirsten, even you should know that(Julieleaves and Kirsten stares after her in disbelief)CUT TO: Henderson's garden - DJ is working and Marissa pulls up in her car. Marissa watches him for a few seconds then goes over to himMarissa: hey (DJ looks at her,then away) I saw your truck an I thought id stop by an say hi, how are youDJ: (indifferent) busyMarissa: right...well you can't be busy all weekend long, the Killers are playing tomorrow night an there really goodDJ: sowhat, are we friends nowMarissa: judging by this conversation (shrugs) probably not (DJ looks at her) but id really like to try...an be somethingDJ: and how does your boyfriend feel about thatMarissa: he's not myboyfriendDJ: I guess that explains what you're doing here talking to meMarissa: ...when you an I (DJ looks at her) I didn't know Ryan was coming backDJ: (scoffs) i'm glad I could help you kill time until he didMarissa:you know that's not what it was(DJ looks away, Marissa turns to walk away then stops)Marissa: Bait shop tomorrow night, ill be there if you decide to stop by(Marissa walks away, DJ watches her for a few seconds thenlooks away)CUT TO: The Bait shop - Seth is pushing some sort of case across the floor, you can tell it's heavy. Ryan walks in on the top floorRyan: hiSeth: hey, I think all this manual labors affecting my vibe, seemtougher to you(?)Ryan: (thinks) you don't want me to answer that (walks down the stairs)(Seth finishes pushing the case and his shoes slip and he sort of falls flat then gets up)Ryan: alright so guess what (points) youhave a date tomorrowSeth: (suprised) I do, with whoRyan: Lindsay...the future Mrs. Seth CohenSeth: nooo (shakes his head) man I said I wanted to marry her not date her ok (frowns) I didn't really think she wouldsay yes this changes everythingRyan: well i'm not gettin you out of itSeth: well i'm not going...unless (points) you go with me, I will do thatRyan: what you want me to go with you on your date as what yourchaperoneSeth: no we'll double, ill set ya upRyan: with all the single women you know (Seth makes a 'very funny' face at Ryan)Alex: Seth (comes in) there's a clogged toilet in the men's room that's got your name onitSeth: sweetAlex: (to Ryan) heyRyan: hi(Alex walks away and Ryan looks at her, then turns back. Seth is looking in Alex's direction so Ryan looks again then looks back at Seth)Ryan: noSeth: yes! (makes a fist)Ryan:noSeth: yes! (makes a fist)Ryan: (softly) no way (frowns) there's no way she'd even go out with me anywaySeth: are you kidding me, her with the tattoo you with the wristband that's like the ultimate wrong side of thetracks love story, seriously you are the Sid to her Nancy, Kurt to her Courtney Fifty cent to her...Mrs. centRyan: no, i'm done dating I told you thatSeth: Ryan kids our age don't even date any more they hang out ingroups an then they peel off to hook upRyan: you've never done thatSeth: no I know but I read about it in (?) times magazine, my guess is that Alex loves the group hangCUT TO: Alex's office - Seth is in there with hertalking about the double dateAlex: group - hang, that's the lamest thing i've ever heardSeth: but...later we peel off an...Alex: an do what, go to chucky cheese, mini golf I swear mentally you are seven years oldSeth:that was last year, this year i'm eight an three quartersAlex: anyways this is my night off why would I wanna spend it here...with youSeth: ill tell ya exactly why, look at me (Alex looks at him) i'm a youth in need ok(over dramatic) somebody stomped on my sandcastle and my ball rolled out into the middle'a the street an my kite is caught in a tree an I cant-Alex: I get it!Seth: an you know what else, my friend Ryan he's really coolok he's very anti-establishment he enjoys uh sunset walks on the beach, punching people and not smilingAlex: an that's how you see me?Seth: yeah only with less smilingAlex: you're out of your mindSeth: well maybeI am Alex, maybe i'm like sooo far out of my mind that I'm in yours an I think I know what your thinkin right now, your thinking I cant wait to go, that's what your thinking maybe is it huh (tries to tickle Alex) is thatwhat your thinkingAlex: (gives in) ok ok ill go just to get you outSeth: stop freakin out its okAlex: of my office (pushes Seth towards the door)Seth: I will hook you up its fine, look at your smiling I like, it's gonna bereally funAlex: (smiles) get out, get outSeth: alright (walks out then turns around) hey (points) tomorrow night at eight(Alex slams the door)Seth: (yells) it's gonna be awesomeCUT TO: Newport group - Kirsten and abunch of business people are in the board room having a meeting. Kirsten is sitting at the head of the tableKirsten: so while I can appreciate your apprehension, let me assure you that the dip in company earnings isonly a temporary one(Julie comes in)Julie: good morning (Kirsten looks at her) so sorry i'm late (shakes everyone's hand) i'm glad you didn't wait for me, Julie Cooper Nichol CEO of the Newport group, helloKirsten:Julie, I was just going over our investment pitch for Mr. Herbert's new mall development...feel free to jump in if you think i've missed anythingJulie: don't be so modest Kirsten, ill jump in now. are there any questions Icould answerKirsten: Julie this isn't the Q an A portion-Mr. Herbert: well I do have a couple'a questions Mrs. Cooper Nichol (Julie smiles, Kirsten looks at Julie) our primary concern is how will Caleb Nichol's potentialindightment affect the roll out of our developmentJulie: it won't, because we won't let it will we Mr. HerbertKirsten: w-what I think Julie meant Mr. Herbert is that the success of the Newport group is not contingent onthe ideas an opinions of any one personJulie: I think Mr. Herbert an I can take it from here Kiki (Kirsten looks at her) will you get me a copy of this document (slides it over to Kirsten) I need it on my desk tootsuite(?)Kirsten: Julie, that's the lunch menu (Julie makes a 'shoo' motion to Kirsten) thankyou all for your time, scuse me (leaves)Julie: (sits where Kirsten was) so what's your next questionMr. Herbert: how do youexplain the company's failure to hedge its portfolio against the rise of long term interest ratesJulie: (blinks)...yes...CUT TO: Harbor school - Ryan and Seth are walking down the stairs, outsideRyan: so Alex said yes tothe date huhSeth: uh it's not a date ok it's a group hang with an eye towards peelin off withRyan: SummerSeth: I don't know if id be cool with that quite yetRyan: on your leftSeth: (realises) oh, oh oh(we see Summercoming up behind them)Ryan: (whispers) don't mention the dateSeth: right no sure take the high road uh-hmSummer: Cohen (touches Seth on the chest)Seth: SummerSummer: hey RyanRyan: heySeth: (tries to keepquiet but cant) (yells) I have a date!Summer: (turns back) wow hey I hope you an Captain Oats have funSeth: (scoffs) actually its with a girl (Summer laughs)(Marissa walks up behind Summer)Marissa: hey guysRyan:(smiles) heySummer: Coop, you just missed a mile stone here Cohen has a date with a real live human girlMarissa: oh well uh that's...great, I guess (looks at Summer) whenSeth: uh tonight so you know don't waitupSummer: oh don't worry Zach (raises her eyebrows) an I 'll sleep just fine, thanks (walks off)Seth: (yells) good! cause ill sleep just fine tonight too...with (thinks) I would love to remember her name right thereRyan:high road huhSeth: (sighs) not my proudest moment (walks off)Marissa: so if Seth is abandoning you for his big date tonight then what're you gonna doRyan: uh...Marissa: cause if you wanted to...do somethingRyan:yeah well I um...Marissa: you have a date tonight tooRyan: no it's not a date it's more of a group (Marissa looks down)...hang um how're things with you an DJMarissa: there...not um but I should probably get to youknow, but have fun tonight on your date or hang(Marissa walks off and Ryan watches her leave)CUT TO: Jimmy's yacht - Jimmy is there and Julie comes on boardJulie: heyJimmy: hey, what're you doin hereJulie: guesswho brought you a lobster roll from the Crab Shack (holds it out)Jimmy: (takes it) my heroooo (Julie laughs) whoa my favourite sandwich, suprise pop in (holds his hands out as if to say 'what')Julie: yes its workJimmy:(joking) don't tell me, you screwed up, power went straight to your head, you rocked the boat too hardJulie: (not impressed) you can stop (Jimmy takes a bite of his lunch) I have found it challenging, truth is beingCEO...is a bitchJimmy: hmm you think you'd be a naturalJulie: I tried to google myself today an crashed the entire computer network then our most important investor ran out on his meeting with me an I don't blamehimJimmy: wow, I never heard you admit to having faults before this is-this is funJulie: I was hoping you'd give me a confidence boost I suppose I don't have that comingJimmy: sure you do, listen, you may not haveKirsten's experience or well let's face it any experienceJulie: get to the boostJimmy: but you are savvy ok an that goes a looong way in this business, hell if I had your instincts I-I never would'a lost a dimeJulie: so youthink this is fixableJimmy: if there's one thing that your good at, its getting money from rich - old - men you just, you've gotta do it the Julie Cooper way (Julie frowns) you know I don't mean sleep with him rightJulie:(laughs) you know what (smiles) I think you've just given me the confidence to execute plan BJimmy: an you have given me a delightful - snack, I love this new era, we should've gotten divorced years agoJulie:(smiles) thankyou JimmyCUT TO: the Bait shop - its now night, Ryan and Seth walk in and stand on the top floor looking down on everyone. Seth sees Lindsay belowSeth: (looking down) oh hey there she is (points)(Lindsay is standing with her arms folded looking for Seth) awesome, hey why don't you go talk to her for like an hour or five an just key me up(?)Ryan: (looks at Seth) she's your dateSeth: yeah, details, i'm gonna gofind Alex(Seth walks off, Ryan watches him then the next shot we see is Ryan down stairs walking up to Lindsay)Ryan: (touches Lindsay's shoulder) heyLindsay: what're you doing here...chaperoning?Ryan: I uh have a"}
+{"doc_id":"doc_290","qid":"","text":"With adjustments by: Shay Fitzpatrick[SCENE_BREAK][Scene: P3.]Phoebe: Oh, I cannot believe this heat wave. It's 2 a.m. How can it be so hot when there's no sun.Piper: Tell me about it. (Phoebe gets an ice cube andrubs it it on her neck.) The Cranberries are playing an animal right benefit here on Saturday and it's gonna be a million degrees in here. (Piper notices Phoebe with the ice.) Uh, Phoebe... you keep making like you're onred shoes diaries and I'm gonna have to bust out a can of man repellent. (Two guys are staring at Phoebe.) All right, people, move a long. Nothing to see here. Goodness. Am I going to have to hose you down?Phoebe:I can't help it. It's not my fault. I'm in a highly excited state right now. Not that I'd mind being hosed down with water. I feel like I'm on fire. Feel my forehead.(Piper touches Phoebe's forehead.)Piper: Phoebe, you'reburning up.Phoebe: I know, tell me about it. (Piper gets a wet towel.) Something's happening to me, Piper. Something really freaky.Piper: Sweetie, Uh, I think you need to call a Doctor.Phoebe: But I... I... I don't feelsick. (Piper hands the towel to Phoebe.) I just... I feel... I feel... hot, aroused. Uh... I've been having this dream, Piper. This... s*x dream. It's not like I haven't dreamt about s*x before, because I have, you know. Butthis... this is different. This feel real. Swank penthouse love den, candles, satin sheets...Piper: Okey-Dokey. I get the point.Phoebe: But every night it's with a different man... telling me that I'm irresistible and thenwe... lets just say we could win the golden medal in the hugh hefner Olympics.Piper: And this is a bad thing?Piper: No. It's a good thing. It's... it's a very good thing. Until I kill them.Piper: That's how your dream ends?You kill the guy?Phoebe: Each and every night, Piper. I told you, something is wrong with me.Piper: There's nothing wrong with you. It's a dream. A metaphor for a extreme sexual frustration. Trust me, I shouldknow.(Prue comes in.)Prue: Oh, good. We're decoding men.Piper: Prue, what are you doing here?Prue: I can tell you what I'm not doing. I'm not lighting candles. I'm not getting a back rub and I'm not running a hotbubble bath for two.Phoebe: Hmm. Things didn't go well with Alan?Prue: Well, see, that's the thing. I'm not really sure. I mean, third date, hot night, romantic dinner, and then he drops me off with barely even a kissgood night. I'm a little confuse.Piper: Well, that's not necessarily an officially rejection. I mean, when they say \"I'll call you\" that's the kiss of death. Maybe he just got nervous.Prue: Yeah or maybe he's just notinterested. I mean, I gave out all the signals for him to move forward and he ran away. Men don't just run away when you give them all the signals, right? So, what gives?Phoebe: Okay. That's enough talk about menfor me! I need to go home and take a long, cold shower and have a good night's sleep. I hope.Piper: Sweet dreams. Don't kill anyone (to Prue) Don't ask.(Phoebe leaves.)[Scene: Manor. Phoebe's bedroom. Phoebe'sasleep. We see her dream. We can see a guy laying on the bed.]Guy: I can't believe we're doing this. You've gotta be the most beautiful woman I've ever laid eyes on. Either I'm dreaming or I'm falling in love. Oh, man,I'm definitely falling in love. Where have you been my entire life. You're irresistible.(As he says that, the woman's tongue goes down the man's mouth. Phoebe awakes and she screams.)Opening Credits[Scene:Bucklands. Prue walks in her office. She gets a little mirror out of her purse and checks her hair and make-up. She walks back outside and looks at an auction item. She sees Alan.]Prue: Ooh, Alan, hi!Alan: Hi. Man, it'shot, huh? Bad day for the a/c to be on the fritz.Prue: Yeah, bad day. Uh, listen, Alan.Alan: Hey, Davis, can you hold the elevator, please? Thanks. Sorry, I'm late for meeting.Prue: Okay, uh, Alan, just out of curiosity.Did something happen on our date last night to upset you... or something?Alan: Upset? No, no, not at all. Actually, I had a great time. We should do it again. I'll call you.(He leaves.)Prue: The kiss of death.(Morriscomes in.)Morris: Speaking of deadly kisses, I need to speak to you, Prue.Prue: Sure, Darryl.Morris: Everything okay?Prue: You know, you're a guy. Maybe you can explain this to me. Why is it that one moment guysare sending out all these signals and then, the next, they just turn them off like a switch? What do you men want anyway? (They stand outside Prue's office.) Well, it's nice to see that while romance may be dead,chivalry isn't. So, what's up, Morris?Morris: Four men have been killed over the last four nights ever since this heat wave started. I think the murders are gonna continue but I don't have any suspects.Prue: Oh, I'msorry to hear that.Morris: Look. You and I have got this game we play, right? You know that I know you've got a secret. You also know I don't wanna know what it is. But if any way it can help stop this ...(He shows herthe pictures of the victims.)Prue: Oh my god. What happened to them?Morris: Severe cerebral trauma. Although the medical examiner can't figure out exactly how. He also can't figure out how of the men were drainedof all their testosterone. That's not something you find everyday. I need help on this one, Prue. The kind of help I think only you can provide.Prue: Do the victims have anything else in common?Morris: They were eachmembers of a dating service called \"Fine Romance\". I've already got the place staked out. But they've got too many clients for me to watch and too many potential and too many potential suspects for me to track. If thepattern continues, somebody's gonna die tonight. I know it and I can't stop it.Prue: I'll see what I can do.Morris: I don't want you to get hurt. Find out what you can, slip it to me. The brass is watching me on this one.This can't turn out to be another unexplained case.[Scene: Manor. Living room. Phoebe's lying on the couch with the fan going. Piper brings Phoebe some juice.]Phoebe: I'm telling you, Piper. Last night's dream was nodream. Or premonition even. It was real. I felt it. I was so turned on and then.. and then... I killed him. (she drinks the juice)Piper: Phoebe, you didn't kill anyone.Phoebe: I could feel his body shake uncontrollablybeneath mine.Piper: And now you're making me sick.Phoebe: How do you think I feel? I'm living it. I can still taste his blood.(Piper puts the thermometer in Phoebe's mouth.)Piper: Okay!(Prue walks in.)Prue: Isanybody home?Piper: In here. It's not lunch yet. What are you doing home?Prue: Morris came to visit (She sees Phoebe with the thermometer). Pheebs, are you ok?Phoebe: I'm so hot. (Prue touches her forehead.)100.5 degrees hot.Piper: But she won't go see a Doctor. What did, uh, Morris want?Prue: Help.(She hands Piper the files with the victims' pictures.)Piper: Oh.(Phoebe recognizes the men in her dreams.)Phoebe: Oh myGod. It's the guys. All of them.Piper: Phoebe, you were dreaming.Phoebe: Of each and every one of the victims? I don't think so. I could see them through my own eyes. Feel every touch, smell every smell.Prue: Howlong have you had this feeling?Phoebe: The last four nights.Prue: Since the murders began.Phoebe: Coincidence? I think not.Piper: Well, maybe your powers are growing. Maybe you can get premonitions in your sleepnow.Prue: Or maybe you're just psychically linked to the demon on its wavelength or something.Phoebe: Or maybe I'm the killer. Come on you guys. It's not like there's no precedent. Piper turned into a werewolf once,remember?Piper: A Wendigo.Phoebe: Whatever.Prue: Look, if you are psychically connected, maybe you can go to the dating service, touch some of the tapes of the potential suspects, see if you can get a psychicflash.Piper: It's worth to shot. Then I'll stay here and see if I can find anything in the Book of ShadowsPhoebe: I'm sorry. Wait a minute. I tell you that maybe I'm some kind of man-killing demon and you want me to goto the bachelor central?Prue: Phoebe, we have to do something. Otherwise someone else is going to die tonight.[SCENE_BREAK][Scene: Outside Fine Romance. Morris and his partner, Smith, are watching somesuspects in the car. They see Prue and Phoebe and Smith starts taking photos of them.]Smith: Oh, man. Look the racks on those babes, huh?Morris: Just do your job, Smith, okay?Smith: I am doing my job, Morris. I'mtaking pictures of potential suspects. And if you ask me, those two suspects got a lot of potential.[Cut to inside Fine Romance.]Darla: Hi, welcome to Fine Romance. I'm Darla. How can I help you?Phoebe: My sister Pruewould like to sign up.Prue: I would?Phoebe: Yes you would while I look around.Prue: Right.(Phoebe walks away from her.)Darla: Well, Prue, today is your lucky day. Because we are running a special. One year,unlimited access to our internet and video library, with a money-back guarantee, for only $3,500.Prue: 3,500 bucks? Okay, I could buy a man for that.Darla: Oh, I can always tell the frustrated ones. You've been havingman troubles lately, haven't you?[Cut to Phoebe. She bumps into a guy.]Phoebe: Oh... oh.Owen: I'm sorry. I'm so sorry.Phoebe: I'm sorry. I didn't... I didn't see you.Owen: Oh.. it's not a problem... it's not a problemat all.Phoebe: Uh... uh... do you work here?Owen: No, actually I just, uh, I just signed up.(She laughs.)Phoebe: Really?Owen: Yeah.Phoebe: I mean, it's just that... you don't seem like the type that needs help findingdate.Owen: Ditto. Oh, um, I'm Owen. Owen Grant.Phoebe: Phoebe .(As she touches his hand, she gets a premonition of him been killed.)Phoebe: Uh, uh... I have to... I have to go. Okay, I'm sorry. Excuse me.Owen:But, Phoebe.Phoebe: Sorry.[Cut back to Prue.]Darla: Congratulations, Prue. Your days of having trouble with men are over. See you at tonight's mixer?Prue: Okay, you know, for your information, I do not have mantroubles. Financial ones, now, yes. But definitely not man troubles.(Phoebe comes in.)Phoebe: We're out of here.Prue: She... you.Phoebe: Okay.. it's okay... it's all right.Prue: I don't. Honestly. (to Phoebe) Tellher.Phoebe: She doesn't.(They leave.)[Scene: Manor. Piper is watching Dan washing his car through the window. Prue and Phoebe walk inside.]Prue: Piper?Piper: You're back.Phoebe: Did you find anything in theBook?Piper: The book?Prue: Or were you too busy looking at something else?Piper: Uh, I was looking. You should see what I found.(Prue and Phoebe look out the window.)Prue: Oh, I see what you found, all right.Great tan, nice body.Piper: (reading the Book of Shadows) \"When a witch renounces all human emotions and makes a pact with darkness to protect herself from heartbreak, she becomes a Succubus... a sexualpredator.\"Phoebe: Let me see that (reading the book) \"She seeks out powerful men who become helpless against her magic, then feeds on their testosterone with her razor-sharp tongue.\" So, this monster is an evilsexually-charged witch?Prue: Yeah, but it's not you, Phoebe. Because you didn't make a pact with Darkness, right?Piper: And as far as we know, you don't have a razor-sharp tongue. Here's a spell to attract theSuccubus and destroy it with fire.Phoebe: (reading the book) \"A flaming death for yours truly\"? I don't think so.Prue: Well, we have to catch this thing, right? So, what if I cast a spell to attract it and if it turns out to beyou who's attracted to me, then Piper will freeze the room and we'll go from there. Fair enough?[Cut to the attic. Drawn on the floor with chalk is the symbol for male. There's lit candles around it and Prue's sittinginside with the Book Of Shadows.]Prue: \"By the forces of heaven and hell, draw to us this woman fell, rend from her foul desire, that she may perish as a moth of fire\".(Fire burns around Piper.)Piper: See? I knew itwasn't you.Phoebe: I didn't burn. I'm okay.Prue: (with a man's voice) I'm not.(They turn and see Prue as a man.)Phoebe, Piper: Oh! Oh my God.Piper: I don't believe it.Prue: We have a newproblem.[SCENE_BREAK][Scene: Manor. Outside Prue's bedroom.]Piper: Prue, please come out.Prue: Not until you reverse this spell.Phoebe: Come on. It's been over an hour already. (to Piper) Do you think she'stouching herself?Piper: The book doesn't say anything about a reversal. Maybe you're supposed to stay a man until you attract the Succubus.Prue: Well, I'm not going anywhere.Phoebe: See?Piper: Shh... (to Prue) Youdon't really have a choice. I'm thinking we need to get you to the dating service since that's where the Succubus picks her victims.Phoebe: That's actually a really good idea. She could... he can sign up like the rest ofthe guys.Prue: Hey, I'm not signing up for anything.Piper: Lives are at stake, Prue. Innocent men are going to die... we're your sisters, Prue. You don't have to be embarrassed. We're not gonna laugh.(She/he opensthe door.)Prue: How can I save anyone? Okay, I look ridiculous. I'm wearing clothes from the ex-boyfriend's pile. (Phoebe starts to laugh.) I have hair in strange places and I have pen1s. (to Phoebe) This is notfunny.(She/he closes the door again.)Piper: What's matter with you?Phoebe: I'm sorry. I couldn't help it.Piper: Prue, you don't have actually to date anyone. All you have to do is make yourself seen andavailable.Phoebe: You know, Prue, the sooner you trap the Succubus, the sooner you'll become a woman again.(She opens the door.)Prue: It's easier said than done.[Cut to downstairs.]Piper: Okay, confidence. Thewalk, the talk, the handshake. It's all about confidence.Phoebe: Sports. Men like sports.Piper: And sincerity... that's the key.Phoebe: But what really makes a man is the clothes he wears, the car he drives and themoney he earns... according to Cosmo.Prue: Okay, helping, you're supposed to be helping.Phoebe: Okay. Let's work on your walk.Piper: All you have to do is visualize a man that you admire and then you emulate him.You know, the walk will follow.Prue: A man that I admire... all right... I got that.Piper: Okay.(She/he walks and then does a girlie turn at the end.)Piper: The man you admire is Richard Simmons?(Piper and Phoebelaugh. Doorbell rings.)Phoebe: Okay, I'll get Morris' files. Try to put together a list of attributes the Succubus is attracted to. You two get the door.Prue: What?Phoebe: Well, think of it as a practice run for the datingservice. Oh, oh... I know. Tom Hanks... everybody loves Tom Hanks. Think of him.Prue: Tom Hanks.Phoebe: Everybody loves him.(Prue and Piper answer the door.)Piper: Dan.Dan: Hi, I didn't mean to interrupt but myfreezer broke and I wanted to see if I could get some ice from you... guys.Piper: Uh, oh, Dan, this is... this is... this is Manny. Manny Hanks. He's my... uh... he's my friend.Dan: Well, it's nice to meet you.(Dan shakesPrue's hand.)Phoebe: (screaming from the kitchen) Piper, come in here, quick.Piper: Okay, coming. I'll be right back with that ice.Prue: (to Piper) Oh, wait, no.Piper: (whispering to Prue/Manny) He's a good man.(Pipergoes to the kitchen.)Dan: Have we met before? You look familiar.Prue: Hmm.Dan: So, have you known the sisters long?Prue: I'm, uh, the brother they never had.[Cut to the kitchen.]Piper: What happened?Phoebe: Oh,I just... I had one of those hot flashes, the Succubus visions. Piper, I think I really am psychically connected to that thing. I see what she sees, feel what she feels. I felt excited.Piper: Excited happy or excitedaroused?Phoebe: Piper, she's in heat, okay. And so am I.Piper: Well, that explains why you are burning up. Your libido must be connected to the succubus'Phoebe: Yeah, it's like I have no control over.(She gets a newflash.)Phoebe: It just happened again. I saw egg sacs. Oh my God. I think she's pregnant or ready to hatch.Piper: You mean, there's gonna be a whole brood of them killing men?Phoebe: Unless we stop her, I thinkthat's exactly her plan.[Cut back to the foyer.]Dan: So, Piper isn't seeing anyone?(Prue tries to copy Dan's moves.)Prue: No, not really.Dan: So Piper is seeing someone?Manny/Prue: No, not really...God. I would justhate to see her with a guy who, oh, lets say on the third date just runs away. Don't you just hate men like that?Dan: I don't know any men like that.Manny/Prue: Oh... ha... How about those \"niners\"?(Piper and Phoebewalks in)Piper: Ok, here's your ice.Dan: Thanks.Phoebe: Oh, you're welcome. Ok, bye bye. Take care. Tell Jenny we said \"hi\", ok? All right, good.(He leaves)Piper: So?Manny/Prue: We're in big problems... huge.[Scene:Fine Romance. Video area. Prue/Manny is doing her videotape.]Manny/Prue: You know, I think that it's the smaller things that I look for in a relationship, you know, like... listen to your partner, kindness, respect, Imean, as far as I'm concerned there's nothing sexier, nothing hotter than someone who respects him... herself, because, you know, if she respects herself, then she respects others.Jan: Can I just say that you arereally in touch with your feminine side.Manny/Prue: You have no idea[Fine romance. Reception desk.]Phoebe: His name is Owen. He signed up earlier today.Darla: Hm. Dr. Owen Grant.Phoebe: Doctor? Hmm.. yeah. Iguess that's him. Do you have any way I could get in touch with him? It's really important.Darla: Well, you could join for $3,500 and view his tapePhoebe: Hmm... huh! Piper?Piper: Hmm? Hmm!(Piper freezes the room.Phoebe gets Dr. Owen's file. Then she sees Dan's files.)Phoebe: I do not believe it.Piper: What?Phoebe: Looks like neighbor Dan signed up, too... interested?(Piper smiles. Phoebe hands her Dan's file.)Phoebe: Let'sgo.(They leave)[Outside Fine Romance.]Smith: Boy, a guy could do some serious damage in there, you know? Just drop all the pretense and go all caveman.Morris: You're really something, you know that,Smith?Smith: I know it. That's what ladies tell me... Man, it's boiling.Morris: Yes, it is.Smith: I think I'll do a little investigating inside.Morris: Oh, Whoa! No. You're not going anywhere.Smith: Come on. It's a mixer,right? I want to go inside and mix it up.[Inside Fine Romance.]Phoebe: Do you think the Succubus already got the Owen? I mean, what if we're too late?(Piper is looking at Dan's file)Piper: You would have had a psychicflash if we were and since you haven't, we're not.Phoebe: Oh, there he is... hey, you know... maybe I should take him back to the manor to keep him safe.Piper: You and him? At the Manor? Alone?Phoebe: Well, I'mjust gonna talk to himPiper: Well, we can just talk to him here. I'm gonna go back to the video area and, uh, check up on Prue.Phoebe: Uh, huh... don't forget Dan's tape. (Piper grabs Dan's tape and leaves.) HiOwen:Hi[Video area.]Prue: So, what are you saying is my video will now be available to all of your clients. So what with internet acess, I should be able to meet women as soon as when?Jan: Mr. Hanks. Something tells methat you could be dating as soon as tomorrow. This is one great tape.[Scene: Later. Video area.](Piper is watching Dan's tape.)Dan: I'm sorry.. I.. I.. I just... I can't do this.Jan: Oh, come on. Your sister paid for this,Mr. Gordon. You can do it.Dan: Oh.. this just isn't me.Jan: Give it a try. Just speak from your heart. What are you looking for in a woman?Dan: What do I look for? I don't know. I'm an old-fashioned, I guess. I look forthe girl-next-door. Someone with a good heart, good personality, and looks to match. The kind of girl that... when I leave for work in the morning... I wait just... a little bit... till she leaves for work too. Just to catch aglimpse of that long dark hair, that great smile, hoping that maybe, one day... she'll notice that I'm watching her. Then she'll smile back at me.(Piper just smiles.)[Scene: Mixer.]Owen: Do you, huh, do you wanna getout of here and take a walk or somethingPhoebe: Uh, I...I...I... would... I would love to. Really. But... but I can'tOwen: You can't. Why?Phoebe: Uh, it's it's hard, I mean, to explain, you know? Is it really hot inhere?Owen: You know what? I'm gonna get you something to drink. I'll be right backPhoebe: Ok(She gets a new flash)Phoebe: Oh, no... she's here... Piper!Owen: Hey, what's going on? Are you ok?Phoebe: Yeah. Weneed to get you out of here, fast. Okay? Follow me. Uh, if you could just stand here for a minute and just stay in my sight, ok?Owen: Okay.Phoebe: Uh (Piper) She's here. I felt her.Piper: What? Where is she?Phoebe: Idon't know but she's in the room, somewhere. She could be after Owen.Piper: Well, then get him out of here. Fast!Phoebe: Ok.(Smith grabs Phoebe's wrist)Smith: Oh, where are you going, honey?Phoebe: Excuseme.Smith: I'd like to have a little talk with you... in private.(She gets a new flash)Morris: What the hell's the matter with you, Smith? Let her go.Phoebe: Manny, it's Owen... take him out. Fast(Manny/Prue punchesOwen)Piper: What are you doing? Your... Your powersSmith: Hey hey, that's enough, all right. You're under arrest(Manny/Prue punches him too)Morris: That's it. You're under arrest, pal. Get up and cuff the other,Smith.Piper: This is... this is bad. This is really bad.(Phoebe gets a flash.)Phoebe: It's getting worse.Piper: Huh?Phoebe: The Succubus isn't attract to Owen, anymore. She's attracted to Prue.Piper: Perfect.[Scene:"}
+{"doc_id":"doc_291","qid":"","text":"Opens on a breathtakingly beautiful shot of the coast Cohen's house - Kitchen - Kirsten is pouring juice & Seth is sitting at the kitchen table.Kirsten: first day of school, are you excited? (Seth gives her a look) You knowI ask you questions in the hopes of eliciting an actual responseSeth: I feel I convey more with a look (makes puppy dog eyes at her)Kirsten: you look adorable!Seth: noKirsten: cute?Seth: noKirsten: dope?Seth:noKirsten: RAD!Seth: PLEASE, please this is so painfulKirsten: ah, I'm-I'm-sorry-sorry (Sandy walks in) How was surfing?Sandy: cut it short, I wanted to see the boys offKirsten: doesn't Seth look rad (Sandy kisses herhead)Sandy: oh you do look rad, bad props son(Seth is shaking his head in horror, Ryan walks in)Seth: thank god man, are you ready to goSandy: (to Ryan) first day, are you excited?(Ryan gives him a look, like Sethtried to do earlier with Kirsten)Sandy: enough saidSeth: how do you do that by the way, how do you convey everything with just a look(Ryan gives it to Seth)Seth: again!Kirsten: (to Ryan) how're you doin?...are younervous?Ryan: why would I be nervous?Seth: because we're going to school with like three hundred Luke's minus the redeeming social qualities (Ryan looks at him) I got it, sorry you make me more nervous (?)CUTTO: Jimmy's house - Marissa and Summer are sitting on the sofa, Jimmy walks in with French toastSummer: don't be nervousMarissa: uh I'm not nervous I'm just not goingSummer: Coop you have to go, you own theschool and what about kick off carnival your still the social chairMarissa: hmm let's see, be humiliated in front of the entire school or hire someone to do balloon animalsSummer: Huh, you have to hire the guy whomakes the balloon octopus (Marissa gives her a look) So your boyfriend cheated on you and yes you almost died in Mexico and, OK there is that whole scandal with your dadMarissa: If you're trying to make me feelbetter...Summer: ok the point is there's no such thing as bad publicity(Marissa smells something)Marissa: Is that something burning?Jimmy: Ok so uh new oven, haven't quite figured out how to make FrenchtoastSummer: Not in the oven, would be a good place to start!Jimmy: since no one will hire me I've got plenty of time, I'm gonna go out and buy a cook book (Marissa smiles) come on, it's good its, there crunchy,seeMarissa: umm no thanksSummer: yeah...I don't know who I'm more worried about hereJimmy: well I think it's safe to say that this year is...going to be differentCUT TO: Cohen kitchen - Kirsten and Sandy arestanding at the sink, Seth & Ryan are getting ready to leaveKirsten: you know maybe this year'll be different you know, betterSeth: yeah that's the mantra every year, and every year some big water polo player endsup uh peeing in one of my shoes (Sandy looks at him) nah I'm just kidding, they pee in both. Ryan has Mr. Schmidt for uh pre cal(they all look at Ryan)Ryan: what's wrong with Mr. Schmidt?Seth: nothing, say hi to hismom for me!Sandy: well, at least you have each otherSeth: that is very wise dadSandy: thankyou sonRyan: (looks worried) we're doomedCUT TO: Theme Song - California by Phantom PlanetThe Harbor School - Seth& Ryan are walkingSeth: the master race, it's been perfected Ryan and they all go to our school (to passing jocks) Hey, fellas (the jocks knock into him as they walk passed, and say nothing) Alright, don't get yourspeedos in a bunchRyan: This is a nightmare Still Harbor School, Summer & Marissa are walkingMarissa: This is a nightmareSummer: I bet like no one even knowsMarissa: are you kidding?(they walk passed a group ofgirls talking about Marissa)Girl: I heard she died down there; she looks pretty good for a dead girlSummer: Hey whores, why don't you go work another cornerMarissa: Sum, (walking away) maybe I should just gohome, you know help my dad unpackSummer: no Coop that is as bad as it's gonna get (sees Seth & Ryan walking towards them) I spoke to soonSeth: Hello Summer, what does your schedule look like todaySummer:FullSeth: oh really, ok, alrightCUT TO: Marissa & RyanRyan: Hey, a friendly faceMarissa: Hey, how's it goin?Ryan: not good, you?Marissa: oh worseRyan: so uh, why don't we just get outta here, right now just get inyour car and go down to the pierMarissa: I can't dean Kim would call my dad, or worse my momRyan: ok, how about after school?Marissa: I'm suppose to help chair the kick off carnival committee...I know I've beenlooking for an excuse to get out of itRyan: well I think you've found oneMarissa: (smiles) ok, I'll meet you out frontRyan: something to look forward to(Summer walks up)Summer: Coop, can we go please(they bothwalk away from Ryan and not realising, towards Luke)Luke: hey, could we maybe talk or(a shot of Ryan looking worried, Marissa backs away)Summer: stay away from her!Luke: how am I spose to do that we all go tothe same schoolSummer: oh well maybe you should of thought about that before hooking up with one of her best friends! Ass!(Ryan catches up to Marissa)Ryan: hey, are you ok?Marissa: yeah, I just have to get use toit...this I guessRyan: but, we're still on right?Marissa: yeah, something to look forward to! (smiles and walks away)Summer: Coop (catching up to her)Seth: see ya Summer (to Ryan) slowly I thaw her icy heartCUT TO:Cohen house - Sandy & Kirsten's bedroom - Sandy is fixing his tie in the mirror, Kirsten is watchingKirsten: Look at you!Sandy: if I mustKirsten: new suit, new scent, mm new lookSandy: I feel like this is headinsomewhereKirsten: new girlfriendSandy: ohh, and there it is, you still wont forge(Kirsten kisses him and pushes him back onto the bed)sandy & Kirsten: mm, ooh, mmSandy: oh god, I shoulda found an attractive coworker years ago (Kirsten looks at him) it was a figure of speechKirsten: Rachel's attractive?Sandy: is that her name? its context only you know in relation to which she invokes amorous feelings in my far more,extremely more attractive wifeKirsten: good answer (she kisses him again, they sit back up) mornings use to be our timeSandy: (with his head buried in her neck) oh I remember them wellKirsten: mm, whathappened? (they kiss again)(mobile phone rings)Sandy: oh, work happened (he tries to get his phone out of his pants pocket) I can't get it just hang on one sec (lays back on the bed and rolls Kirsten to his side) justhold on, wait, I got itKirsten: (looks at the phone) how did she know? (sighs) your not going to answer it are you(Kirsten's phone rings now)Kirsten: ooh, it's my dadSandy: Hey, RachelKirsten: Hi dad (sighs)CUT TO:Harbor school - Seth & Summer are walking inside, down stairsSeth: so Summer if you would care to join me for lunch today I can arrange to have an empty chair available at my tableSummer: there's nothing butempty chairs at your tableSeth: (gasps)(off screen)Anna: Seth Cohen!Seth: Anna! (gives her a hug) hey how're you doinSummer: (looks jealous) um excuse me we were talking hereAnna: oh, so insulting him countsas conversationSeth: yeah well if it doesn't then we've never spoken, Summer you remember Anna right, she's moved here from PittsburghSummer: how could I forget (walks away)Seth: oh hey so we're gonna, we'regonna still be on for lunch today right... (to Anna) she probably didn't even hear meAnna: Seth, what are you doing? I thought you got passed this whole Summer thing at CatillionSeth: Right, and I know Anna that itseems like not alot of progress has been made but I have to tell you, well yeah not that much progress has been made despite all my best judgements I cannot, not like herAnna: you are such a boy!Seth: well,whatever. I don't see what the problem is I'm nothing but available to that girlAnna: alright, right there, that's your problem. girls like to be chased by guys that aren't into themSeth: and that sounds a little bit like agame to me Anna and I don't really like to play games ok, unless we're talking about a little-a little Saturday night jenga, a little-little magic gathering. LOVE magic gatherAnna: maybe you just don't know how toplaySeth: well, your a gir...l rightAnna: yeahSeth: uh huh and we're friends rightAnna: sureSeth: ok awesome so then why don't you train me in the ways of women huh, give me a little adviceAnna: I don't understandthe mind of chicks like SummerSeth: ill teach ya how to play jengaAnna: (sighs) do you really like herSeth: (nods) since I was tenAnna: (giving in) fine...but I make no promisesSeth: trust me I cannot do any worsethen I've been doingAnna: that I trustSeth: You're my girl!CUT TO: Sandy's office - Sandy is looking at case files, and Rachel walks inRachel: heySandy: heyRachel: what were you doing this morning when I called yousound um, did I wake you?Sandy: uh, huh I was spending some time with my wifeRachel: oh yeah, how'd that go?Sandy: well I got to work on time didn't I?Rachel: to bad, it might be a while before your wife is in themood for loooveSandy: oh yeah, something you know I don'tRachel: well I know lots that you don't but in this case, are you familiar with the Balboa wetlandsSandy: yeah, it's the largest coastal wetlands in California,home to the blue heron and the brown pelican and my personal favourite something called the swamp roseRachel: right, the wetlands are key to water quality in the county and not to mention, they're kindaprettySandy: so naturally they must be destroyedRachel: The Balboa heights are 250 acres of land that sit above said wetlandsSandy: yeah, every developers been going after the heights for yearsRachel: wellsomebody got it, and they're looking to tear it up, put in condos, a golf courseSandy: (sarcastically) oh thank god cause you know the lack of golf courses around here is, it's tragicRachel: This is a policy changing careermaking piece of litigation here, a tree hugging crusader like yourself would probably kill for a case like thisSandy: and you wanna share this with meRachel: yesSandy: why?(Rachel hands him the file)Sandy: oh, mywife's company is the plaintiffRachel: it's her fathers companySandy: so why even tempt me with this, it's a conflict of interest I, I'm not even sure it'd be ethicalRachel: well the client, the Balboa land trust not onlywaived the conflict of interest they insisted that you take the case. your politics, your passion, your severe dislike for your father in-law, your the ideal advocateSandy: I suspect my wife is gonna have a different spin onall thisRachel: look, you came to this firm because we have the resources to help you make a difference, they're gonna teach this in law school...so what's it gonna be? Your s*x life or the swamp roseCUT TO: Harborschool - Marissa walks into a class, and she sees Holly & a group of girls gossiping and laughingHolly: (whispering) did you know that she overdosed on vicadin(Marissa tries to ignore it)CUT TO: Ryan walking into hisclass, he sees Luke at the table, neither looks impressedCUT TO: Dr Kim's office - Marissa is talking to her about quitting social chairDr Kim: you are not quitting your post as social chair Marissa, you were elected by thestudents, you've held the position for 2 yearsMarissa: I know Dr Kim but that was before everything that's happened this summerDr Kim: I understand you are going through alot of change right now but you're a leaderhere at Harbor that doesn't have to change. you're a wonderful example to your fellow students they look up to youMarissa: not anymore they don'tDr Kim: putting aside the issue of how walking away from yourextracurricular responsibilities will affect your college transcript. people are always going to talk, may as well give em somethin good to talk about. Don't disappear Marissa, this is your school, your life, your futureCUTTO: Ryan waiting for Marissa out the front, Seth & Anna walk upSeth: Hey what're you doing?Ryan: you haven't told me about summer reading?Seth: who does summer readingRyan: apparently everyone in myclassSeth: oh, yeah sorry about that one. so listen Anna here has convinced me to join the plank, it's the literary magazineAnna: I needed an extra curricular activity and apparently you don't have to wear a sports brato be on the lit magSeth: See it's appealing on many levels, plus I feel I uh have a few limericks that are ready to be shared with the worldRyan: well have fun, I'm gonna hang with MarissaSeth: school might not suckthis year(Seth and Anna walk away, Marissa walks over)Marissa: Hey, so it turns out I have to plan this carnival thing after allRyan: oh...okMarissa: yeah I mean I talked to the dean and I think getting involved inschool again might not be such a bad idea...I know that sounds lameRyan: uh yeah, no, no, it's cool. so uhMarissa: can we rescheduleRyan: absolutelyMarissa: what about the carnival, I'll save you a ride on the ferriswheel (grinning)Ryan: no ferris wheels, I don't, I don't do heights, but uh we'll figure somethin outMarissa: are you sure your gonna be...Ryan: Fine I just got a, alot of reading to do, like five hundred years of itsoMarissa: ok, so I'll see ya!CUT TO: Cohen house the next morning - Sandy & Kirsten's bedroomSandy: morningKirsten: hey, I didn't hear you come in last nightSandy: uh I didn't wanna wake you, you lookniceKirsten: dads demanding a company breakfast, some kind of crisis. so if this is how its gonna be after a couple of weeks of work we're just gonna be likeSandy: two ships passing in the morningKirsten: hmm, whathave they got you working on?Sandy: a big uh high profile caseKirsten: uh, how bout lunch today, ill pay. you know what actually you can pay your the one thats working on a high profile caseSandy: how boutFriday?Kirsten: ill have my people call your people, I love you (kisses him on the cheek)Sandy: love you tooCohen kitchen - Ryan is drinking coffee and reading, Sandy comes inSandy: hey kid...how did school go forya?Ryan: fine, just behindSandy: after one day, nice work...oh its brutal you're brave to face those preppy little savages and I mean the teachersRyan: I don't think it was a good idea, me and private schoolSandy: yourone of the smartest kids they've gotRyan: it's not the work, its just (sighs) everybody's got somethin, except meSandy: well you've got SethRyan: Seth's got his womenSandy: (shocked) Seth Cohen? (Ryan nods) ok s,really? So you need something, and activity, a sport(Seth walks in)Seth: LadiesSandy: don juan we're trying to figure out an extra curricular activity for Ryan hereSeth: okSandy: Harbors got a great archery program(Ryan looks at him) fencingSeth: what century are you in open your mind for a second here dad this isn't me we're talking about. with Ryan we have an opportunity to have a real athlete in the familySandy: trueSeth:somebody to achieve all that your Jewish ness has prevented me from accomplishing, hey I always wanted to play soccerRyan: I use to play soccerSeth: doneSandy: glad I could helpCUT TO: Jimmy's house - He andMarissa are in the lounge roomJimmy: I didn't get around to gettin those cookbooksMarissa: yeah I guess it's better to play it safe thoughJimmy: so how's sleepin on the uh, on the sofaMarissa: it's... fineJimmy: youknow it's just temporaryMarissa: I know, I can handle itJimmy: did you uh, talk to your mom (Marissa shakes her head) I'm sorry about all this sweetheartMarissa: I just wish you would of told meJimmy: I know, Iknow but things, things 'll be different now (doorbell) Hey, don't get to excited, the phone company is installing an actual phone line (Marissa smiles at him) It's a very big day(Jimmy opens the door)Luke: Hey Mr.CooperJimmy: LukeLuke: yeah so uh is this your new place it looks greatJimmy: not buyin it LukeLuke: right uh, can I talk to MarissaJimmy: No, you can'tLuke: come on Mr. Cooper its me if I could talk to her for aminute or soJimmy: yeah she told me what happened and uh I don't think she wants to talk to you right nowLuke: come on, I mean if anybody knows about being in the dog houseJimmy: don't say itLuke: what can Ido?Jimmy: you can leaveLuke: alright well tell her, sorryJimmy: ok (shuts the door)Marissa: (smiling) thanksCUT TO: Harbor school - corridor, Ryan and Marissa bump into each otherRyan: heyMarissa: hiRyan: how didit go with the carnival?Marissa: oh, very exciting. so maybe if I get out of my meeting early, I think we're voting on cotton candy versus funnel cakesRyan: cotton candy no questionMarissa: my thoughts exactlyRyan:uh but I cant today, I got soccer practiceMarissa: you do?Ryan: yeah, gonna try out, figured getting involved in school might not be such a bad ideaMarissa: (smiling) yeah and plus now we both get out at five right. illmeet you in the quad after schoolRyan: ill see you thenCUT TO: Seth walking into a class, Anna is already in thereSeth: helloAnna: heySeth: is this seat takenAnna: it is nowSeth: cool (sees Summer walk in) you uh,you can sit here if you want SummerSummer: thanksAnna: Seth, come sit here by meSeth: are you sure? you don't mind the whole ah one cheek on one cheek offAnn: SITSeth: sitting (to Anna) OH oh my god, ok sowe didn't talk about this, tell me about TahitiAnna: ooh, it was incredibleSeth: was it (to Summer) ah Anna just sailed to TahitiSummer: (scoffs) sailing is like so not the fastest way to get anywhere, I mean if you wouldhave flown you would of gotten there alot soonerAnna: you should be on the debate teamSummer: ugh (gives Anna a look)CUT TO: Sandy's office, Kirsten is waiting for himSandy: HiKirsten: (icy) Hi, nice officeSandy:it came furnishedKirsten: brought ya lunch (she throws it at him)Sandy: well it's not a lump of coalKirsten: Sandy when were you gonna tell meSandy: soonKirsten: not soon enough, I signed a deposition thismorningSandy: oh, honey, I-I-I-I'm not even sure if I'm gonna take this caseKirsten: there IS no case! (folds her arms)Sandy: we're talking about destroying one of the most biologically productive ecosystems in theworld, its like selling off the rainforest to profit a few wealthy individuals and asking generations and generations of others to pay for itKirsten: we have proposed to protect three hundred and fifty acres of wildlife refugeand a natural parkSandy: you'll still add thirty percent more traffic and ten tonnes of air pollution daily, not to mention what you'll do to the water supplyKirsten: your gonna take this, ISandy: n, noKirsten: oh Sandy, itisn't even ethicalSandy: I feel pretty comfortable comparing ethics with your fatherKirsten: Well as long as you're comfortable! I gotta go, I gotta keep this off my fathers radar he's gonna lose hismind[SCENE_BREAK]CUT TO: Harbor school - soccer field, Ryan is there to try outCoach: alright move, don't wait for it (to Ryan) hey, you Atwood (Ryan nods) alright what position you comin out for?Ryan:strikerCoach: striker, alright I tell you what, you see that kid out front that's Luke, he's our captain he's also our striker, well let's go, show me somethinCoach: hey Ward, you got a little competitionCUT TO: Marissafinishing up her meetingMarissa: ok thanks you guys, so tomorrow we'll figure out event parking, hey and make sure the bands booked, no last second suprises(Luke is standing at the door as Marissa goes to walkout)Luke: we need to talk MarissaMarissa: believe me you do NOT wanna hear what I have to sayLuke: yes I doMarisa: No, all you want is for me to tell you that everything's ok now, but I can't, its notLuke: I know, Iknow and-and I'm so sorryMarissa: I DONT CARE, (getting teary) I don't care how you feel, or what your going through because you sure as hell didn't care about me!Luke: that's not trueMarissa: I slept with you! andthen you went and slept with one of my best friends! I waited for you and you lied to me! you humiliated me (goes and sits down)Luke: Marissa I (sighs) it's just(a shot of Ryan walking into the corridor and seeing Lukewith Marissa through the window)Luke: I'm so sorry, do you have any idea how hard it is to come to school every day and not be able to talk to youMarissa: you think it's easy for me?Luke: lets just, startover...please...I don't know what I'd do without you...and just because I ruined everything it doesn't mean that I didn't love you because I did... I-I do(Ryan sees Luke take her hand)Marissa: ...you know what theworst part is...if I hadn't caught you...I'd still love you to...I gotta go(Marissa leaves, and sees the main door moving)CUT TO: Cohen house morning, Sandy is out the front & Kirsten walks out to talk to himSandy: oh Iknow that lookKirsten: I was trying to keep this from my dad, I was trying to protect us and now it's on the front page! (hands Sandy a newspaper, the heading reads: Wetlands lawsuit turns personal) I thought wecould at least settle this privately, you and meSandy: this was not spose to go to the pressKirsten: it's your firm, and now the entire community knows we're fighting (walks away)Sandy: well I guess they got the storystraight!(Kirsten slams the door)CUT TO: The pool house - Ryan just got out of the shower; he comes out & sees SethRyan: what're you doing?Seth: Morning ritual Ryan, coffee-bagel-arts and leisureRyan: you have a"}
+{"doc_id":"doc_292","qid":"","text":"[September 2007 - The appartment]Lily and Marshall (laughing): Oh my god!Ted (gets out of his bedroom): I have a tattoo!Barney: oh, that's not a tattoo. That, dear boy, is a tramp stamp!Ted: a tramp stamp?![Title:present day -in a tatto remote clinic]Narrator: kids, too often in life, we make decisions that we're not prepared to live with. (a man with a tattoo \"rex&evelyn forever\" cries) This is a story about those decisions, and theconsequences that follow. (Ted is in the clinic, hidden derriere a newspaper)[the appartment - Ted/Marshall/Barney]Ted: Say goodbye, kids, 'cause it won't be around much longer. (He shows his tattoo)Lily: oh, butTed, if you get rid of the butterfly, how's everyone gonna know you're a stripper fron reno with daddy issues?Ted: yes, yes, enjoy these final moments of mockery because in just ten surprisingly expensive sessions,Stella is gonna zap that butterfly right off the face of my lower back.Lily: Stella?Ted: Dr Stella Zinman. She's the best in the business. And she's rather cute in fact. In fact... we're going to a movie togethertonight.Barney: what?Ted: I asked her out.All: Ted, why would you do that?Barney: what's matter with you?Ted: What? What do you mean?Barney: Dude... don't poop where you eat.Ted: oh, no, this doesn'tcount.Marshall: If it's someone you see on a regular basis, and you can't avoid them...Lily: and in this case, you're paying them... then yes, it counts.Barney: You've heard of the golden rule, right? \"love theirneighbor?\"Ted: uh, actually, it's \"do unto others as you would have them do unto you.\" It's from the bible.Barney: Damn it Ted, i've worked out this whole thing where the golden rule is \"love thy neighbor\", ok?... Nowthe golden rule is \"love thy neigbor\". But, there's one rule above it: the platinum rule: \"never ever, ever, ever, love thy neighbor.\"Ted: Well, that's cute. But she's not my neighbor, she's my doctor. So if you'll excuseme...Robin: Wait, Ted, Barney has a point. Remember what happened with me and curt down at the station?Marshall: Oh, yeah, and remember what happened with us and the gerards across the hall?Barney: Need iremind you about me and Wendy the waitress?Ted (combs his hair): yeah, i don't have time for this. I'm out the door as soon as i'm finished with my hair.Barney: good, then we've got a solid half hour. And in thattime, we will convince you not to set foot out that door. It's a story older than time, my friend, and it always plays out in the same eight steps. Step 1: Attraction.[TITLE: ATTRACTION - November 2005- The bar-Barney/Robin/Lily/Marshall/Ted/Wendy the waitress]Barney: It's true.Marshall: That's not even possible.Barney: 12 of them.Marshall: There's no way.Wendy: Here's your gin and tonic.Barney: Thanks.wendy: O gosh!Look at that. (She leaves scrubing a stain in her shirt, Barney starves at her with interest)[December 2006 -The hall- Lily/Marshall - They gets out of their apartment]A man: Oh, hey! You must be our new neighbors.I'm Michael.A women: and i'm laura.Marshall: Oh, hi, welcome to the building. Yeah.Laura: Do you guys know any good brunch places around here?Lily: We love brunch![October 2007 - set of Metro news 1 -Robin/ahost]The host: You must be Robin.Robin: yeah!The host: Curt \"the iron man\" irons. I'm gonna be doing sports.Robin: Oh, welcome. You look really familiar. Are you a former athlete?Curt: Hockey.Barney (off voice):The attraction is instant and undeniable.[Present- The apartment]Barney: But you know better. You've seen your friends make the same mistakes before. You've laughed smugly at them.(laughs) Idiots! But still, youthink, \"this is different. The platinum rule doesn't apply to me.\" And that step 2! Bargaining.[TITLE: BARGAINING- 2007- The bar- All]Robin: I think i've got a little crush on our sports guy.All: NO! no, no, don't doit!Robin: I know, i know but he used to play hockey, and i'm canadian. I can't help it. If he were missing some teeth, i probably would have already hit that.Lily: Robin, it's a mistake. Remember what happened with meand Marshall? The Gerards across the hall?[2006- The bar- All]Lily: Michael and LAura. They're awesome. We're gonna invite them over for dinner.The others: Oh no, no guys guys! Are you insane?Ted: This is NYC.Youdon't get close to the neighbors. You nod at them politely in the hall. You call the cops if you haven't seen them in a while and you smell something funny, and that is it.Lily: we're not gonna date them. We're just gonnabe friends with them.Barney: That's the couples version of dating.Robin: And you've got the couples version of the hots for them. Oh, yeah, you want to browse at pottery barn with them. You want to go antiquing withthem, don't you? Oh, yeah, you want to antique the crap out of them.Barney: Need i remind you what happened with me and Wendy the waitress?[2005- The bar- All]Barney: I've decided to seduce Wendy thewaitress.The others: No! Don't do it!Barney: Request denied! What rule is there that say's i can't seduce the waitress at my favorite bar?Lily: I don't know. I'd expect you to have one already.Robin: Yeah, with somesort of catchy name.Barney: Well, i don't. I don't have one and i never will be because it's a great idea. Come on, guys! She's gullible. I'm bored. We're perfect for each other.Ted: Barney, we love this bar. If you screxwover Wendy the waitress, you're going to kill the bar.Robin: Bar killer.Marshall: Don't kill the bar, dude.Barney: yeah, well... I think it'll be okay.[2006- The bar- All]Barney (to Marshall and Lily): And it was a hugemistake.Marshall: yeah, well, i think it'll be okay.[2007- The bar]Lily (to Robin): And it was a huge mistake.Robin: yeah, well... I think it'll be okay.[Present day- The apartment]Robin: And it was a huge mistake.Ted:yeah, well... I think it'll be okay.[How i met your mother - Credits]Barney: Ted, trust me. You don't want to do this.Ted: Look, Stella and i are adults; we're both smart, mature people capable of making gooddecisions.Robin: You have a butterfly tramp stamp.Ted: We're just seeing a movie. If it seems at all weird, i'll back off.Barney: That's what everyone thinks and then along comes step 3: Submission.[TITLE:SUBMISSION- Closing of the bar- Barney/Wendy the waitress]Barney: Good night!Wendy: Hey Barney! Carl had to take off. You mind giving me a hand?Barney: Not at all.[Set of metro news 1- Robin/Curt]Curt: Robin!I got 2 tickets to the rangers. Center ice. Want to go?[The hall of the appartment- Marshall/Lily/Laura&Michael]Laura: and then we discover the movers lost all our kitchen boxes. We don't have a single pot orpan.Michael: Guess we're ordering take-out.Lily: Want to have dinner with us tonight?[Barney kisses Wendy/ Robin and Curt are in the hockey match/ Lily&Marshall cook with Laura&Michael/ Barney and wendy haves*x on the bar/ The 2 couples play mime/ Robin kisses Curt][Barney and Wendy, just after they had s*x]Wendy: That was an intersting use of the beverage gun.Barney: Club soda can get anything off.Wendy: It finallyhappened, all this time, every drink i brought you... I always felt there was this unspoken connection between us. And i was right!Barney: hey, can i get a gin and tonic?[Present day- the apartment]Ted: See, i bet youdidn't pay for that gin and tonic.Barney: oh, i paid for it.Ted: But you got to admit, there is an upside to breaking the platinum rule. Like maybe as her boyfrien, i could get a discount on treatments.Barney: Oh, Ted, ofcourse there's an upside. At first, that's step 4: Perks.[TITLE: PERKS- 2007 The bar]Robin: we can split a cab to work together. We always have a standing lunch date. And last night, at the hockey game, Curt got usinto the locker room, and i met Mason Raymond. Left wing for the Vancouver canucks.Barney: What the opposite of name-dropping?Robin: Damn it you guys, be psyched. Yes, we see each other every day, but i thinkit's going really well.Lily: That's what we thought.[2006 - The bar]Lily: And it's so conveniant. They're right across the hall. Say it's sunday and we want to have a brunch double date with someone.Marshall: We just goacross the hall.Lily: And say we want to have a dinner party exploring the wine and cuisine of France's Loire Valley.Marshall: We just go across the hall.Lily: Say we want to play a game of charades...(Marshall mimessomething)Barney (guessing): you just go across the hall? (Marshall agreed)Lily: Come on people, get excited for us! We've got a great thing going here.Barney: That's what i thought.[2005 - The bar]Marshall: Dude,you got to flick it.Barney: you don't have... (Wendy the waitress comes and serves food to Barney)Wendy: Hi, sweetie. I had the kitchen whip these up, no charge. (They kiss) Okay. Bye. I mean, not bye. I'm notleaving. I'll be over there. okay. (She leaves)Barney: Come on, guys, free nachos. What?Ted: We like this bar.Marshall: Don't kill the bar, dude.Ted: Barney, we love this bar.Marshall: Don't kill the bar, dude.Ted: Thisbar is like home to us.Marshall(at the same time): Don't kill the bar.Lily: You're killing the bar.Barney: I'm not killing the bar. Wendy the waitress has seen how i operate in this place. It is perfectly clear to everyoneinvolved that this is nothing more than a temporary fling. (Wendy starves him, lovely) It's fiiine.[2006 - The bar]Barney (to Lily and Marshall): But it wasn't.Marshall: It's fine.[2007 -The bar]Lily (to Robin): But itwasn't.Robin: It's fine.[Present day -the appartment]Robin: But it wasn't.Barney: Which brings us to step 5: THE TIPPING POINT.[SCENE_BREAK][TITLE: THE TIPPING POINT- set of metro news 1-Curt/Robin]Curt:...but he should be back on the mound by spring training and that's sport. Back to you, Robin.Robin: Thanks iron man we'll be right back.Productor: and clear.Robin: So you want to do somethinglater?Curt: Oh, so you're talking to me now?Robin: What are you talking about?Curt: I'm talking about last night. You said you'd call and you didn't. I missed you and i waited up, but you didn't call. That reallyhurts.Robin: oh, um, i'm sorry, i-i guess i just forgot.Curt: I'm sorry Sweetie. I don't want to fight tonight. It's our first weekiversary. (he hugs her)[2005- The bar- Barney/Ted/Marshall]Marshall: on my suggestion,you... (Barney looks at a girl)Barney: hey, Wendy, uh, do me a favor and send a glass of champagne to that pretty young girl over there.Wendy: What? (Ted and Marshall starve Barney, anxious)Barney: over there...YOU... you're the pretty young thing...is what i meant. Champagne? Would you? on me.Wendy: Oh, okay, thanks sweetie. (She kisses him)Barney: okay. All right.[2006- The apartment- Lily/Marshall- They want to goout, lily opens the door]Michael: hey, neighbors.Laura: We bought all the fixings for a mexican fiesta.Lily: um, well, we actually have tickets...Michael: and no fiesta would be complete withoutMarshall: Dude, actually,we made other plans, so... okay (Michael mimes) one word. 2 syllables. Sounds like... parades: charades.Michael: charades!Laura: What do you say?[3 plans on the same time: Curts hugs Robin on the set/Lily&Marshall sit down the couch, looking the couple mime/ Barney and Wendy at the bar]All: Oh no![Present day- The apartment]Barney: which brings to step 6.Ted: Yeah, listen i'm leaving so if you want to write therest of these down, i will read it tomorrow.(Ted wants to go out, Barney stops him)Barney: Don't do this Ted.Ted: You want to get out of the way?Ted: Don't do this Ted. Don't (He brushes his hair in a mess)Ted: Dude!ya! It was perfect! You're such a jerk!Barney: Which brings us to step 6. You finally realize you've made a huge mistake and now you have to live with it. Step 6 is called purg... wait for it. Keep waiting. Keep waiting forthe eternity only to dicover there's no escap-atory.[TITLE: PURGATORY - 2007 - The bar- All]Robin: God, i'm such an idiot.Marshall: yeah.Robin: Curt \"the iron man\" irons keeps leaving me love notes on post-its. Onthe teleprompter, on my desk, on the coffee-maker, on the jar of sugar packets next to the coffee-maker.Lily (reads a post-it): \"here's some sugar for my sugar.\"Robin: The iron man. oh!Marshall: I rememberthat.[2006- The bar- All]Marshall: Ro! we are such idiots!Barney: Yeah!Lily: Every time we step out the door, they're out there waiting for us. Sometimes, we'll send Ted out first as a scout. Nobody's there. Then we'llgo out one second later, and there they are.Marshall: It's freakin' supernatural. Are they ghosts? Can only we see them?Lily: \"Hey neighbor!\" \"Hey, neighbor\"\"Hey neighbor.\"Barney: I remember that.[2005 -The bar-All]Barney: How could you guys let me date Wendy the waitress?All: oh you are kidding me?! What?!Marshall: Don't kill the bar dude!Lily (same time): We said \"don't do it!\"Barney: tss (He looks at a girl but Wendy isright behind, she smiles, he looks desperate)My own bar. I can't hit on women in my own bar. Remember the old Barney? He was a lion, the king of the jungle, stalking whatever prey he chose, going in for the kill.Ted:You've got a whole meat locker at home full of corpses, don't you?Barney: Now look at me. Declawed. Neutered. What was once my jungle is now my zoo and i am forced to mate with the same old lioness again, andagain, and again while families pay to watch.Ted: yeah, this metaphor's really falling apart.Barney: Put a bell around my neck and scratch my belly kids, for i am just a docile housecat now. Miaou!Lily: Well, we love thisbar. You can't dump her. Marry her if you have to.Robin: Wendy the waitress hyphen Stinson.Marshall: don't kill the bar dude.[Present day- The apartment]Barney: And so, inevitably, you have to do the thing you'vebeen dreading all along. Now, a relationship-ectomy is a delicate surgery as it is, but in the case of the platinum rule, it takes a very, very steady hand, and that's step 7: CONFRONTATION.[TITLE: CONFRONTATION-set of metro news 1]Robin: Curt, we need to talk. I like you...[The hall- Lily/Marshall/the couple]Marshall: guys, we like you a lot...[The bar -Barney/Wendy]Barney: I don't like you.Robin: We're pretending this works,but it doesn't. And i'm getting a little sick of the whole charade.Lily: We're getting a little sick of charades.Barney: I mean, i don't like you that way. I used to like you that way but now that i've seen everything there isto see, i don't know, i kind of want to see those same parts just on other girls.Robin: So maybe we could go back to just being coworkers.Marshall: Maybe we should just go back to being neighbors.Barney: other girlsand you, if you're into that but the other girls have to be there, too. That's the important part.Wendy: Gosh, you're just terrified of ever getting close to anyone, aren't you?Barney: or that. Let's say it's that. So can iget a gin and tonic?[Present day]Barney: And in any other relationship, that would be it. End of story. But because you have to see this person again, there's a step 8: FALLOUT.[TITLE: FALLOUT- set of metro newsone]Robin: And now, here's Curt \"the iron man\" irons with sports. Curt? (he's demoralized) Curt?Curt: Well, the Knicks lost. It's sad, really. They had a real shot. Then, out of nowhere, game over. And why? WhyRobin?Robin: Uh, well, their perimeter shooting has been a little bit off this season...Curt: The knicks lost because they were afraid of getting hurt. So they didn't even try. Well, you know what i think? I think the knicksdidn't deserve my love to begin with. Kincks suck! (He gets out, on tears)Robin: And that's sports.[camera looks inside the boudha of the apartment]Lily: Do you see anything?Marshall: I think we're clear.Lily: ok go gogo. (They go out but the door of the Gerards opens, they gets in quickly)Marshall: That was close.Lily: Too close. (Someone knocks on the door) You've got to be kidding me. What do we do?Marshall: I have no idea. (itknocks again)Ted: guys, are you here? I forgot my keys. Can you open up?Lily: It's just Ted!Marshall: Wait! (He looks at the judha: Ted is alone)Ted: Hello? Guys? (Marshall looks again and see the Gerards go out theirapartment)Marshall: Baby, we only have one choice.Lily: Okay, hurry! (They come down to the rescue ladder) Michael and Laura are probably...Laura: Hey, neighbors.[The bar]Wendy: Barney, i just want you to know, ihave no hard feelings. It wasn't the best idea for us to get involved. I hope we can still be friends.Barney: Thanks Wendy. Of course we can.Wendy: If you need anything else, let me know.Ted: waouh. I've got to handit to Wendy the waitress that was very mature of her.Barney: She's gonna try to kill me. This is poisoned.Ted: What? You're being ridiculous.Barney: Yours is poisoned too. She's trying to kill me and everyone close tome.Ted: What are you talking about?Barney: Ted! Look at the facts. I dump her and she says \"no hard feelings\". She's a psycho! What other explanation is there?Ted: Uh, that you're letting yourself believe she's crazyso you don't have to face the far more likely possibility that she doesn't want to date you either?Barney: Where did Marshall get that hamburger?Ted: I don't know, i guess Wendy the Waitress brought it to him.Barney(in slow motion, comes towards Marshall): Noooooooo! (He throws his hamburger away)Marshall: Dude.Barney: You're welcome.[Present day]Robin: Wait a second. You've been sitting here, pretending to be the experton all this, but the truth is, this was no real fallout from your breakup at all?Barney: Yet.Robin: You're an idiot.Ted: All right, i'm taking off.Barney: What?Ted: I have a date. (Barney brushes Ted's hair in a mess)Ted:You're such a jerk!Barney: Ted, have you not been listening? Attraction, bargaining, submission, perks, tipping point, purgatory, confrontation, fallout! These things will all happen to you as surely as they happened toall of us! It's a rule of nature.Ted: Well, i'm sick of all the rules! There's too many of them! The hot/crazy scale, the lemon law, the platinum rule! If everyone in the world followed every one of your rules, the humanrace would cease to exist. Yes chances are to Stella and I are not going to live happily ever after the overwhelming odds have it ending badly. And when that happens, it'll be for one of a million possible reasons. Butthat doesn't mean i'm not gonna try. And when it does fail, so help me god, it's not gonna be because of some rule. (He watches himself in th mirror) PS: you just made my hair look awesome. Good night. (Heleaves)Narrator: So Stella and i went on our date. But here's the funny thing: turns out, it wasn't actually a date.[TITLE: 3 hours later- The apartment- All]Marshall: So what do you mean \"it wasn't a date\"?Ted: Shethought we were seeing a movie just as friends.Marshall: Why would she think that?Robin: Did she see your tattoo and assume you were gay?Ted: Apparently, there's a rule that says i can't date Stella.Barney: Exactly,the platinum rule. Stella reads my blog.Ted: No, this rule comes from the american medical association. Doctors aren't legally allowed to date their patients.Lily: Oh, sorry Ted.Ted: It's okay. What are you guyswatching?Narrator: So that was the end of the story between me and Stella, at least for the time being. But i don't know, looking back on the platinum rule, i think there's a ninth step. We'll call it coexistence. It's themoment you realize that all that anger and resentment just isn't useful.[Set metro news one]Robin: Thanks for watching.Curt: Good night.Narrator: and you start to let go of it.[The hall]Marshall&Lily (toMichael&Laura): Hey guys!Lily: So what do you guys have going on tonight?Laura: We're going to have a few friends over.Michael: gonna play some charades.Marshall: Have fun.Narrator: And move on with yourlife.[The bar- All]Narrator: It just takes a while.(Wendy comes to the table and offers a drink to Barney): On the house.Barney: Thanks. (She leaves and he throws the drink) Crazy!END."}
+{"doc_id":"doc_293","qid":"","text":"[CHARMED LOGO: TRIQUETRA]HOLLY MARIE COMBS (NARRATOR): Previously, on 'Charmed' ...FLASH TO:[Scenes from 8X01: Still Charmed and Kicking][INT. MANOR - ATTIC -- DAY](Phoebe throws something into thepotions pot. The contents explode.)PHOEBE: Viola! New identities.VICTOR BENNETT: How is it you can see your other selves reflected in themirror?PHOEBE: It's part of the spell.[MIRROR'S REFLECTION](They all look attheir reflection in the mirror. They see their 'new' selves.)PIPER: You know, this just might work.TRIQUETRA FLASH TO:[INT. MANOR - KITCHEN DOOR - DAY](Phoebe and Paige peer out the kitchen door. Phoebe'slooking at Dex Lawson.)PAIGE: Who is he?PHOEBE: I don't know his name. It's some guy that I used to see in theelevator all the time at work.[SCENE_BREAK][INT. THE BAY MIRROR - ELEVATOR - DAY](Phoebeintroduces her new self to Dex Lawson.)PHOEBE: I'm Julie, Phoebe's cousin.DEX LAWSON: Dex. Dex Lawson.PHOEBE: Dex Lawson. Nice to meet you, Dex.DEX LAWSON: You, too.(They shake hands. Phoebe has apremonition.)(Quick premonition of: [EXT. MANOR - FRONT PORCH - DAY] Phoebe is in a weddingdress; Dex is in a tux. And they're kissing. They look at each other and smile.)(Dex carries Phoebe over the thresholdand into the house.)(End of premonition. Resume to present.)TRIQUETRA FLASH TO:[INT. MANOR - MAIN HALL - NIGHT](A new girl is fighting three demons. Paige shouts a warning to the new girl.)PAIGE: Behindyou!PIPER: Shh!(Billie turns and throws the athame at Haas who flames out. The athame misses him.)(Billie quickly runs out the front door, disappearing into the night.)HAAS: (v.o.) It could be ...[SCENE_BREAK][INT.UNDERWORLD]HAAS: ... that The Charmed Ones are still alive.[SCENE_BREAK]END OF PREVIOUSLY ON.[SCENE_BREAK][INT. MANOR - UPSTAIRS BATHROOM - DAY](Piper brushes her teeth.)PIPER: What if a demonattacks while I'm out?LEO: (o.s.) They're not going to attack, all right? They think you're dead.PIPER: No, I don't mean here, I mean anywhere, in general.(Leo walks into the bathroom.)LEO: What do you mean, likeanywhere around the city?(She spits into the sink.)PIPER: Yeah. What am I supposed to do, just ignore it?(Leo looks at his reflection and notices how short he is compared to Piper.)LEO: I should've gone taller. I alwayswanted to be taller.PIPER: Are you listening to me?LEO: Yes. Just ignore it. Why'd you go blonde?PIPER: I don't know. I didn't have a lot of time to think about it. Besides,I kind of like it.(Paige walks into thebathroom.)PAIGE: (moans) Leo, the jingling is back. Can you help me get rid of it?LEO: Just ignore it.PIPER: That's his advice for the day. Excuse me.(Piper walks out of the bathroom. Paige curls her eye lashes whileLeo continues to try to make himself taller.)PAIGE: I can't ignore it. It's relentless. What does that little witch want anyway?LEO: I don't know. Maybe she doesn't even know she's calling you. You know, sometimes newcharges don't. Sometimes it's just subliminal.PAIGE: How am I supposed to get my life back, then?(Phoebe walks into the bathroom.)PHOEBE: Your life? What about my life?PAIGE: What about it?(Phoebe sits up on thesink counter.)PHOEBE: How am I supposed to marry a guy I just met in an elevator?PAIGE: Excuse me, but I was obsessing first.(Piper returns to the bathroom with her lip gloss.)PIPER: No, no, no. Excuse me. No,actually I was.PHOEBE: I think marrying a complete stranger wins. I mean, he doesn't evenknow who I really am.PIPER: Ok, but he's a really, really cute stranger. And, you know what, guys, do you mind?PAIGE: Atleast he's not driving you crazy.LEO: Maybe you should try meditating.PHOEBE: I just got my life back. I don't want to get hitched yet.PIPER: There's nothing wrong with getting hitched. Now, guys, really, okay? Backto my life.PAIGE: Maybe I should go to Magic School to get rid of it.PHOEBE: I mean, he is cute and all.PAIGE: But then again, you know, I could risk exposure.PHOEBE: I don't even know what he does.(Piper whistlesloudly, startling everyone silent.)PIPER: Family meeting now!(Piper leaves the bathroom.)PAIGE: If she didn't want to go to Magic School, all she had to do was tell me.PHOEBE: You're in trouble.PAIGE: What todo?(Everyone steps out of the bathroom.)WHITE FLASH TO:[INT. MAGIC SCHOOL - GREAT HALL -- DAY](Haas walks through the hallway. He pushes the damaged double doors open and steps into the Great Hall. TheGreat Hall is damaged - furniture overturned and broken, paper litters the floor. He meets up with other demons.)BLACK HEART: It's abandoned. No one's here. Although they could still be invisible. This is magic schoolafter all.HAAS: No. The magic here is all ours now.BLACK HEART: Are you sure?HAAS: Hah! (Haas throws a power ball at the large column. It explodes, leaving large black scorch marks on the structure.)HAAS:Hyah!(He throws another power ball at the table, splitting it clear in two.)HAAS: Hah!(He throws another power ball at the desk across the room, damaging the books stacked on it.)(Nothing happens. He turns and looksat Black Heart.)HAAS: Positive.(Haas smiles.)[SCENE_BREAK]END OF TEASERROLL TITLE CREDITS(COMMERCIAL SET)[SCENE_BREAK][EXT. HALLIWELL MANOR (STOCK) - DAY][INT. MANOR - LIVING ROOM --DAY](Piper, Phoebe, Paige and Leo meet for a family meeting. Piper is pacing the floor as she talks.)PIPER: Okay, people, we got to get a grip here. Otherwise, what are we doing? We might as well just go back tofighting demons again.PAIGE: Even if they think we're dead?PIPER: It was a rhetorical question.PAIGE: No, it wasn't.PIPER: Paige!PAIGE: What?LEO: Look, I think the point is that we need to take it slow, you know, bepatient.PHOEBE: Yeah, well, tell that to my premonition.PAIGE: And my stupid charge.(Piper whistles loudly, startling everyone silent.)PHOEBE: Ohh. Uhh.PIPER: Don't even start.LEO: You know, you're gonna belate.PAIGE: Late for what?PIPER: My spa day. I'm supposed to be having a facial and a massage and aseaweed wrapping thing.PAIGE: I'm so jealous.PIPER: Well, it was Phoebe's idea. We were watching \"s*x and theCity\" and ...PHOEBE: Speaking of which, did Carrie ever have to marry a man that she did not know, huh?LEO: Carrie?PAIGE: Don't ask. They're on \"s*x and the City\" again.PHOEBE: Yeah. No. The answer is no. Shedid not. (She picks up the DVD case and looks at it wistfully.) Why can't we live our lives like they did?PAIGE: Uh, didn't one of them sleep around a lot?PHOEBE: No. She was a free spirit, which, by the way, can onlyhappen when you're free.(Piper whistles loudly, again.)PHOEBE: (annoyed) God, is that really necessary?PIPER: Apparently. Look. Okay. Nobody said this was gonna be easy. We needto get a little perspective here.How bad can things be when we don't have demons to worry about anymore? (Phoebe grudgingly nods in agreement.) Thank you. Look. (to Paige) You, you need to focus on something else. You got to get that chargeoff your mind.PAIGE: Well, people, I am open to suggestions.PIPER: Do what Gram said. Get out there. Ignore the signs of your old life and look for signs that lead you to your new life. Try anything.(Piper whirls aroundto Phoebe.)PIPER: And you, you're all about signs. So, isn't that exactly what a visionis anyway?PHOEBE: Yeah, but --PIPER: (warns) Don't make me whistle. Last year you had a premonition that you were gonna havea daughter, which means then this year you're gonna have to have a little s*x and get pregnant. And since Dex, which coincidentally rhymes with s*x, could be the father ...PHOEBE: God.PIPER: Look. I suggest you getto know him ... well and fast. Because this may be the one sign you can't ignore. All right? Everybody good? People? Great. See you later. (Piper heads out. Leo and Paige head upstairs. Phoebe sits in her seat gazing atthe \"s*x and the City\" DVD cover.)PHOEBE (THINKING): (v.o.) Maybe Piper's right. I mean, if there's one thing we've learned, it's that we're being guided ... and signs always lead the way. The question is, where doyou start looking for them?(Piper returns and walks across the main hall to the front door.)PIPER: Start with Dex. See if you even like him.WHITE FLASH TO:[INT. MAGIC SCHOOL - GREAT HALL - DAY](Haas throws abook down on the floor on top other books. The Great Hall is completely trashed.)BLACK HEART: Isn't the fact that we could take this place over proof enough that The Charmed Ones are really dead?HAAS: Unlessthey're in hiding.BLACK HEART: They would not leave magic school unprotected, or leave its powers for us to take.HAAS: Perhaps not, but then again, that's the mystery we're trying to solve. Isn't it? Speaking of which,any progress on that front?BLACK HEART: We've lured three teenagers so far, turned them all, and yet no sign of the witches.HAAS: They won't be able to ignore the cries for long. If the sisters are alive, they will cometo the rescue. It's in their blood.BLACK HEART: Unless your plan is too obscure for them to notice.(Haas finds a book and picks it up.)BLACK HEART: Maybe you give them too much credit.HAAS: Demons have usedmortal fairy tales to trap them before.(He opens the book.)HAAS: It's in the textbooks - (He gives Black Heart the book.) -- howCinderella nearly turned The Charmed Ones into pumpkins. Humans are raised on theseinsidious tales. They tap into universal themes, common emotions, fears. That's why we can lure the victims so easily. Don't worry. Sooner or later, The Charmed Ones will follow, and when they do, we will havethem.BLACK HEART: But what if they don't take the bait? What if they live no more?HAAS: Well, then we mess up a few kids. And that's fun all by itself, isn't it?(They both laugh.)HAAS: Time to find our next\"Alice\".[SCENE_BREAK]PHOEBE: (v.o.) Signs, of course, can be good or bad. But they should never beignored.[EXT. UNIVERSITY (STOCK) - DAY]TAYLOR: (v.o.) I'm telling you, something really weird's going on.[INT.CAMPUS - BILLIE'S DORM ROOM - DAY](Billie is putting on her make-up as Taylor talks to her.)TAYLOR: I mean, come on, why aren't the cops doing something about this? It'stotally whacked.BILLIE JENKINS: I don'tknow. They probably think it's just drugs or something.TAYLOR: It's not drugs. No way. This is something way more scary, but they just don't care.BILLIE JENKINS: Nobody cares. We're teenagers.TAYLOR: No, that girlAllyson just turned twenty.BILLIE JENKINS: Who's Allyson?TAYLOR: Allyson. The sorority chick that went missing, then was later found walking around like her hard drive had just been erased.BILLIE JENKINS: Her harddrive?TAYLOR: This isn't funny, Billie. This is serious. Some creep's out there preying on kids like us, and nobody's doing jack about it. Don't you even care?BILLIE JENKINS: Actually, what I care about right now is notbeing late for metaphysics, which I'm failing.(Billie gets up and picks up her backpack.)TAYLOR: Unbelievable. Whatever. All I got to say is that somebody better dosomething before anyone else gets hurt.(Taylorleaves.)(Billie drops her backpack down on her bed and closes the door. She goes to her desk drawer and takes out three newspaper clippings. The headlines read, \"Missing Teen Found,\" \"College Woman Missing,\" and\"Missing Teen Found, Catatonic.\")(Billie's been following the missing teens story.)(She picks up her athame in the desk drawer and fiddles with it as she thinks about it.)PHOEBE: (v.o.) Signs don't always mean what wethink they do. They can, after all, be confusing, ...[SCENE_BREAK][EXT. THE BAY MIRROR (STOCK) - DAY][INT. THE BAY MIRROR - HALLWAY/ ELEVATOR - DAY]PHOEBE: (v.o.) ... especially in today's world wherewe're constantlybombarded by them. Still it's up to us to interpret them the best way we know how. It's called survival. (Phoebe presses the elevator button and waits. The elevator doors open and people walk out.Phoebe looks inside the elevator - looking for Dex. She doesn't step on the elevator. The man standing in front looks at her.)MAN IN ELEVATOR: You goin' up?PHOEBE: Yeah. But ... not right now. It's okay. Goahead.(The man in the elevator presses the button and the doors close.)PHOEBE: (v.o.) Unfortunately, waiting for just the right sign to come alongcan be frustrating, especially when you're in a hurry to conceive ...(Phoebe steps to the side and looks at her very different reflection in the glass covering the building directory.)PHOEBE: (v.o.) ... which is why sometimes you have to ... (The turns to the other elevator. It opens andDex Lawson is standing inside. Phoebe smiles at him.)PHOEBE: Hi.DEX LAWSON: Hi.PHOEBE: (v.o.) ... help make the signs come to you.(Phoebe steps into the elevator.)PHOEBE: Uh, it's, uh, Dex. Right?DEX LAWSON:(nods) Yeah. That's right. And ... you're ... Julie?JULIE: You remembered.DEX LAWSON: How could I forget?[SCENE_BREAK]PHOEBE: (v.o.) On the other hand, some signs come to you even when you wishtheywouldn't.[EXT. STREET - DAY](A police car with flashing lights stops curbside. The officer gets out of the car.)(Paige is behind her steering wheel. She groans.)PAIGE: Great. Just great.(Paige engages the brakes andturns her engine off.)POLICE WOMAN: License and registration, please?PAIGE: What did I do?POLICE WOMAN: You rolled through a stop sign.(Paige gives her, her license and registration. The officer looks atit:CALIFORNIA DRIVER LICENSE 200I4209EXPIRES: 11-17-?JOSEPHINE BENNET1985 MANNING AVE.LOS ANGELES CA 90025s*x F HAIR BRNHT 5-09 WT 120DOB 11-17-82POLICE WOMAN: You from L.A.?PAIGE: Yeah.Yeah. Um ... my cousins died, so I just came up here to helpout.POLICE WOMAN: Wow. Sorry.PAIGE: Well ...yeah. It's a little harder than I thought it would be, you know, adjusting to a new city ... and all.POLICEWOMAN: What'd you do before?PAIGE: You could say I helped people.POLICE WOMAN: Yeah? Maybe you should become a cop.(She chuckles as she looks at the officer's badge: SAN FRANCISCO POLICE 8675.)(Shealso notices the officer's arm patch, SAN FRANCISCO POLICE.)RADIO: All available units, code 2. Assist suspect search. 920 in PorteroDistrict. Over.POLICE WOMAN: Unit A-10. Roger that. ETA five minutes.Over.PAIGE: What's a 920?POLICE WOMAN: Missing person found. Probably another one of those kids. Looks like it's your lucky day.(She hands Paige's license and registration back to her.)PAIGE: Can I ask you aquestion?POLICE WOMAN: Make it fast.PAIGE: What do you like most about your job?POLICE WOMAN: Catching the bad guys.(The officer leaves as Paige smiles at that thought.)[SCENE_BREAK](CC) PHOEBE: (v.o.)And some signs, though seductive, should absolutely neverbe followed.[EXT. ALLEY - DAY](Black Heart is wearing a cut t-shirt with WHITE RABBIT written on front with a rabbit logo. Behind her, a college studentfollows.)ALASTAIR: I thought you said we were going to a garden party of something.BLACK HEART: We are, Alastair. We are.ALASTAIR: Yeah? You ... sure this is the way?BLACK HEART: You don't want to be late, doyou?ALASTAIR: Well, no, but --BLACK HEART: Because ... we're very, very late.ALASTAIR: Late for what? Look, maybe this wasn't such a good idea. Okay? I mean, I really don't even know you.(She grabs his shirt andkisses him.)BLACK HEART: Promised you an adventure, didn't I? It's down there.(She points to a black hold in the ground.)ALASTAIR: What's down there?BLACK HEART: See for yourself. (He hesitates.) Come on.Aren't you the leastbit curious?(He leans forward and he is sucked into the black hole.)(Black Heart looks down and smiles. Footsteps approach.)(She black orbs out just as Billie enters the alleyway. She doesn't seeanyone. She sighs and removes her shades.)(She looks down and sees a rat scurrying across the ground.)BILLIE JENKINS: Rats.[INT. SEWERS - DAY](Down in the sewers below, Alastair looks up at the grill above andcalls out for help.)ALASTAIR: Help! Anybody!(He looks around.)ALASTAIR: Where am I?(Haas and Black Heart appear.)HAAS: You're down the rabbit hole. Alastair in Wonderland. Close enough.(Haas smiles atAlastair.)[SCENE_BREAK](COMMERCIAL SET)[SCENE_BREAK][EXT. THE BAY MIRROR (STOCK) - DAY][INT. DEX'S STUDIO -- DAY](Dex shows Phoebe his various sculptures.)DEX LAWSON: This one I got the inspirationfor a few years ago while I was, uh,flying over Africa. I was looking out the window, you know, painfully aware of the struggles below me, and yet I was up in the clouds feeling at peace. It's, uh, supposed to remind usof the delicate balance between, you know, life -- good, evil ... agony, ecstasy. All that. All my work is ... uh, you know, life's precious. It's supposed to be enjoyed in the moment. After all, that's all we really have, isn'tit?PHOEBE: Hmm. I tend to live too much in the future. I can't help it, though. It's in my blood. Anyway, it's -- it's great. I mean, it's all great.DEX LAWSON: Thank you.PHOEBE: Everything is great. And here I thoughtall this time you were a lawyer or something.DEX LAWSON: But I thought you just got to town after Phoebe died.PHOEBE: Oh, yeah. You know. I -- I did. It's ... just that's what Phoebe ... said. Uh, that's what she saidthat you did. You know ... (She takes a deep breath to stop talking.) It's all very sad.DEX LAWSON: Oh, um ... I'm sure it must be hard.PHOEBE: But life goes on. Right? Isn't that the lesson in all of this?(She motions tothe art sculptures around them.)DEX LAWSON: Well, I don't know about lesson, but, uh --PHOEBE: No, really. It's one I can stand to learn. I've actually often saidthat the worst part of modern technology is ... the wayit robs you of the found moments ... you know, those little discoveries ... even intimacy.(He looks at her.)PHOEBE: What?DEX LAWSON: I was just thinking that ... that's exactly what Phoebe once said.PHOEBE: Really?That's ... odd.DEX LAWSON: I--I mean wrote, uh, in her advice column. That was, like,verbatim.PHOEBE: Well. I don't know. It must run in the family, huh?DEX LAWSON: Yeah, it must.PHOEBE: You really read hercolumn, didn't you?(He nods.)DEX LAWSON: Would you like to go get a cup of coffee?PHOEBE (THINKING): (v.o.) It's not dinner ... or lunch, even. But it's notbad.PHOEBE: I'd love to.(Phoebe and Dex walkout.)PHOEBE (THINKING): (v.o.) When you're in a hurry, you can't be too picky aboutthe signs. As long as it causes a few sparks, what more can you ask for?[SCENE_BREAK][INT. P-3 - DAY](The neon P-3 sign blinks,sparks, then surges and sparking sending the entire club into darkness.)PHOEBE: (v.o.) Unfortunately, not every spark is a positive one.[BACK OF THE CLUB NEAR CIRCUIT BOX](In the darkness, we hear a voice.)BUD(ELECTRICIAN): Uh-oh.PIPER: Uh-oh. What do you mean, \"uh-oh\"? Is that bad?(The electrician flicks on his flashlight and looks at the circuit box.)BUD (ELECTRICIAN): Uh, I think your transformer's shot.PIPER: Well,ok. Fix it.(He turns and looks at Piper.)BUD (ELECTRICIAN): Well, I can't. You need a new one.PIPER: Well, can you go get a new one and replace it?BUD (ELECTRICIAN): Well, it has to be ordered. Could take couple ofdays.PIPER: A couple of days? I don't have a couple of days. This is a night club.We've got music and lights and credit card machines. I need electricity.BUD (ELECTRICIAN): Wish I could help you. But, uh ... I couldn'teven get an inspector out here before tomorrow anyway.PIPER: An inspector? What inspector? For what?BUD (ELECTRICIAN): Well, it has to be done to code. You want to wait here while I give him a call?PIPER: No, Idon't want to wait here. I'm not even supposed to be here. I'm supposed to be getting a manicure and a pedicure and a facial and something else!(She sighs as he stares unsympathetically back at her.)PIPER: You don'treally care, do you?BUD (ELECTRICIAN): I'm just an electrician, ma'am.PIPER: (sighs) All right. You know what? \"Bud\" ... is it? I don't reallycare. Okay? Do whatever it takes. Get some solar panels, rent a generator,whatever. But you know what? I need to have a little itty bit of light. Okay? Just a little teeny tiny teeny light! Is that ok with you?!(He stares unsympathetically back at her.)PIPER: Ahem! Sorry.(He puts the clipboard infront of her.)BUD (ELECTRICIAN): Sign, please?PIPER: Yeah.(Piper takes the pen and signs.)PHOEBE: (v.o.) Of course, in the cosmic scheme of things, signs tend to balanceeach other out.BUD (ELECTRICIAN): Gotenough light?(She finishes signing it and hands both pen and clipboard back to Bud.)PHOEBE: (v.o.) For instance, when one says \"closed\" ...[SCENE_BREAK][INT. POLICE ACADEMY - RECRUITING OFFICE -DAY](CLOSE-UP: The poster on the wall has a large slogan, \"Join the Force.\")PHOEBE: (v.o.) ... another says \"come on in.\"(Paige stands in front of the poster, staring at it.)RECRUITMENT OFFICER: Can I helpyou?PAIGE: Oh! Uh, hi. I'm just checking stuff out for a friend.RECRUITMENT OFFICER: Oh. Does he want to become a police officer?PAIGE: She, actually, and I think she's exploring her options.RECRUITMENT"}
+{"doc_id":"doc_294","qid":"","text":"The Kerwin house - KitchenToby: Last Day of school, here I come. When he enters the kitchen, he takes from Ashley the muffin she was eating.Jeff: Ash, we're going to drop you and Toby off on our way, ok? (To Kate)You ready?Kate: I'll be there in a minute.Jeff: Ok. Come on Tobs. Oh, working the muscles I see? You're going to be such a girlie boy. (As they go out the door) Come with me! Let me eat you! Ashley laughsKate: Here'sMrs. Rehn's number, in case you need anything.Ashley: Stop worrying. Toby and I are going to be fine. You're just going overnight.Kate: I know. I'm a being a mother. Ok, so tonight...?Ashley: I know. One friend overeach and no parties. I heard.Kate: Good for you for being so responsible. Degrassi - Ms. Kwan's ClassMs. Kwan: A student I'll never forget. Even after years and years of therapy. Who could that be? (Spinner gets up toget his award)Spinner: I'll never forget you either, Ms. Kwan.Ms. Kwan: Have a good break, Mr. Mason Media ImmersionMr. Simpson: Well what can I say? It's been great teaching all of you. (Emma raises her hand)Emma?Emma: We're gonna miss you too, Mr. Simpson. So, look at the screen. (Everyone crowds around) See the present icon? Click it. (When he does, we hear kids shout \"Thank you Mr. Simpson\" and the grade 7'sheads pop up, saying great things about him)Mr. Simpson: This is incredible. Ms. Kwan's ClassMs. Kwan: This one needs no explanation. The student of all students. Drumroll please. (Jimmy does one on the desk)Ashley Kerwin. (Ashley gets up to get it)Ashley: Thanks, Ms. Kwan.Ms. Kwan: (Hugs Ashley) I'm gonna miss you. (Ashley sits back down)Ashley: Student of all students? That is so lame.Terri: I think it's sweet. (Paigesticks out her tongue, puts her finger in her mouth pretending to gag, to Hazel)Ms. Kwan: This next award is for Dave, because he puts the capital G in good student. Media Immersion Mr. Simpson is looking at whatthey gave him, very happy, when the bell rings.Mr. Simpson: Ok, go. Go clean out your lockers and have a great safe vacation.Liberty: Bye Mr. Simpson.Mr. Simpson: Adios.Kid: Ciao, Mr. Simpson.Mr. Simpson:Bye-bye. Hall Ashley, Paige and Terri are cleaning out their lockers.Paige: Wow, the Kerwin/Issacs prison. What's Jimmy gonna say when he finds out?Jimmy: Finds out what? (Kind of spins Ashley around)Ashley: That Ican only have one friend over tonight.Paige: And she invited Terri. Not you or me.Jimmy: Oh, ok.Ashley: I thought you'd be upset.Jimmy: (With his hand in Ashley's hair) Rules are rules, right? We'll do somethingtomorrow. Jimmy leaves.Ashley: Ok, am I missing something here?Paige: No, just the chance to hang out w/ me + have way too much fun.Ashley: Paige, if you really want to come over, whatever. (She leaves. Paigeshrugs and goes back to cleaning her locker) HallJT: So girls, what are your plans for this very momentous eve?Emma: Girls' night at my place. Meaning no boys allowed especially boys named Sean. (He walks by asshe said that) Hall(Toby and JT are being a trash can to their lockers to clean them out)Toby: Maybe she's learned that bad boys only lead to heartache.JT: And now she's looking for a good boy? One named Toby? Notlikely. What you need is a new approach. (Sean walks by) Sean's approach. Hey Sean! Toby here is having the boys over tonight. To play some cards, talk girls, guy stuff. Wanna come?Sean: No. (He starts to walkaway)JT: You know Emma's gonna be there.Sean: (As he turns around + stops walking) Emma?Toby: Yeah we're...JT: Having the girls over...later.Sean: Ok. (He leaves)Toby: (Pushes JT up against a locker) Are youinsane?JT: After tonight's little tutoring session, Emma will be all yours. Trust me.Hall(Ashley and Terri are walking. Terri is throwing some things out as they pass trashcans)Ashley: Do you think Jimmy's reaction wasweird? About tonight?Terri: No I think he was just trying to be a good boyfriend.Ashley: A good boyfriend would wanna come over no matter what. My parents are away... he should... never mind.Terri: Anyway Ithought you were cooling on it.Ashley: Exactly the opposite. After you've been going out for awhile, things get deeper.Terri: Oh.Ashley: Unless he's cooling on me.Terri: I don't think that's how it is.Ashley's Paige andHazel are outside. Ashley clears her throat to get their attention.Paige: Ok, before you go all parental on me, I forgot. Hazel and I had plans tonight. I didn't think it would be a problem.Ashley: No, it's fine. There is loudnoise heard and Toby and JT come outside, all dirty from whatever it was. They are coughing. Toby wants to go back inside but JT stops him.Toby: Ash.Ashley: Ok, I know Mom + Jeff said only one friend each...JT: Butnothing Ashley. It's our pleasure to share this fine evening with such lovely young ladies. (Before going inside, he winks at Paige)Paige: Did that... THING... just wink at me? Everyone laughs. Inside Ashley They arewatching a scary movie wearing 3-D glasses. Hazel screams and covers her eyes when something happens.Terri: Guys I can't handle this.Paige: Do you really think the star's gonna die?Ashley: Paige, you're ruining themovie. There is a knock at the door.Paige: I didn't invite anyone else honest. Sean comes in. They all look.Ashley: Sean? What are you doing here?Sean: Toby invited me.Ashley: Toby? Little scammer. They're upstairs.(He leaves) Ok, Toby's hanging out with Sean? That's weird.Paige: Has Sean become such a total babe since that fight or what? (They laugh then all scream because of the movie) Toby's Room Toby, JT, and Sean areplaying cards.JT: So Sean girls. Care to share your expertise?Sean: Wh-what?JT: You know on how you score like Sundien.Sean: I don't.JT: Come on. Girls like drool over you.Sean: I don't know. I just act like myself, Iguess. Why? Who do you like?Toby: So guys we gonna play or what?Sean: Emma knows I'm here, right?JT: Yup.Sean: And she's fine with this?JT: Of course. Even more fine is this. I brought us a little party favor boys.(He takes out of a bag a drug)Toby: Aspirin.Sean: Ecstasy.Toby: E? JT, what'd...JT: Ecstasy is the love drug, right? There's a whole room of girls down there needing some love.Sean: I don't know man. This stuff'spretty intense.JT: Better be, I paid my cousin 2 weeks allowance for it. Let's split it.Sean: Ok give me the pill. (JT hands it to Sean) I'll do it. (He leaves the room)JT: What?Toby: Not a good idea. Kitchen Ashley ispreparing food and drinks for her and her friends when Sean comes in.Ashley: Hey Sean. Having fun upstairs?Sean: A little too much fun. (Throws her E)Ashley: Is that...? Sean you brought drugs?Sean: Not me,JT.Ashley: JT? Toby? They're way too young to be experimenting with drugs. Sean gets an aspirin and cuts it in half with a knife.Sean: Flush it down the sink. They'll never know the difference. (He leaves) Ashley looksat the E. Toby's RoomJT: Toby, come on. Wanna be a bad boy? Start acting like one.Sean: (Opens food) Bad boy?Toby: Ignore him. (Takes the aspirin) Let's just do it.JT: Sure you don't wanna join us?Sean: Yeah mysocial worker would kill me.JT: Ok. (Eats it)Sean: Hey wait. Chew it slowly. Gives you a better high. Kitchen Ashley picks up the E and sticks it in her apron. She picks up the food when Paige comes in the kitchen.Paige:Terri's slipping in video numero two. Sorry, but uh, this get together, is getting seriously lame.Ashley: Ok then. What do you wanna do?Paige: Invite Jimmy over. Just stop being boring and break a rule for once.Ashley:I already did.Paige: Then invite him again. Hun, you just need to live a little. 'Cause you're pretty cool when you do honest. (She leaves) Ashley sets the food down and calls Jimmy.Ashley: Jimmy come over. We'll havefun, together. (Takes the E out of her apron as she talks. After she hangs up with Jimmy, she takes the E and gags from the taste after she swallows it) Toby's RoomJT: Toby, I'm floating, on a fluffy white cloud.Toby:Right.JT: Can't you feel it? How can you not feel it?Toby: I'm starting to, I think. JT puts his hands on the lava lamp and makes buzzing sounds. Sean watches it and can't believe what JT is doing)Toby: Dude, this isincredible.JT: Dude, this ecstasy. I'm feeling the love. It's time to call.Sean: Emma? (Gives JT the phone)JT: (Has the phone upside down, but flips it and then dials) Girls say hello to your destiny. Downstairs Ashleyenters and steps on Hazel's hands.Hazel: OW! Ash, my hand.Ashley: Sorry. (She lays down. She watches the movie and screams really loud)Paige: Ok now I'm officially deaf.Ashley: Oh that was so scary. I bet you theyheard my scream al the way in China. (They look at her weird as she laughs and then screams again) Outside Ashley's Emma, Liberty, and Manny are outside.Manny: Guys, this is gonna be great. A real party. But if mydad finds out I'm here, I'm gonna be grounded until my wedding day. Ashley comes out.Ashley: Hey you're not Jimmy and Spinner. Unless they had a s*x change. (She laughs) Liberty I didn't invite you. How did youknow? Was I sending out psychic vibrations?Emma: Uh, no. JT and Toby called.Ashley: (Laughs) Yeah, one in inviting too many people. Liberty, I've wanted to tell you this for like forever. But I get you. You're like meonly sorta not, you know?Liberty: Uh... Inside Ashley'sAshley: You guys look who's here: Liberty. (Ashley shuts off the movie and turns on music)Terri: Ash... When she turns on music she starts dancing withLiberty.Ashley: Get down Liberty! (She laughs as she takes off her apron and whirls it around)Terri: Ash wanted to have fun tonight. I guess she's having fun. As she dances, Ashley breaks a vase. Paige starts to laugh,but stops.[SCENE_BREAK]Toby's Room JT is spinning around on a pole when there is a knock at the door. JT opens it.Emma: Hello. (JT moves his tongue around) Toby?JT: Welcome to the Issacs Zone of Invanite Loveand Harmony. Sit.Manny: Thanks, uh, for inviting us. Toby sits next to Emma.JT: (Puts his hands as if he's praying) Shalom. Downstairs Jimmy and Spinner and some friends come in. Spinner has a watermelon.Jimmy:Hey. What's going on?Ashley: (Putting her hands in the air) Hey!Spinner: This is my kind of party.Ashley: Jimmy you're here, finally.Jimmy: When did you decide to have a party? I thought your parents...Ashley: Isn'tthis just incredible? (Hugs him)Jimmy: Ash you're burning up.Ashley: Oh I know. So hot in here.Jimmy: Have you been drinking?Ashley: No. (Near his ear) A...B...C...D...E.Jimmy: Ecstasy? Where'd you getecstasy?Ashley: Toby, JT. One of them.Jimmy: do you know how stupid that is?Ashley: Stop being so melodramatic. I'm having fun you can too.Jimmy: You need to drink water and lots of it. (Grabs her hand but shelets go) I can't believe you could take E.Ashley: Ok calm down Dad. Paige is right loosen up a little bit.Paige: (Whispers) Ecstasy?Jimmy: Ash what...?Ashley: I'm going upstairs to the bathroom. I'll drink some waterfrom the toilet. (She laughs as she leaves the room. When she leaves everyone laughs except Jimmy) Toby's Room Sean enters.Sean: Emma. Emma leaves.Sean: Emma. Emma.Emma: Sean, just leave me alone. If Iknew you were gonna be here I would've stayed home.Manny: I'll go find Liberty. (She goes downstairs)Sean: Emma, can we talk, please?Emma: There's nothing to talk about.Sean: Emma you're not being fair.Emma:Sean you went too far. We're over, as in finished. (She goes downstairs) Ashley comes out the bathroom.Ashley: Sean. Are you ok? (He looks at her and he is crying) You need to talk to someone. Come on. (They gointo a room)Sean: This is so stupid.Ashley: I know what you're going through.Sean: How?Ashley: Ok, everyone thinks you're bad, right? Well everyone thinks I'm this perfect boring girl. (They sit down)Sean: I justthought Emma was so different.Ashley: Why? She's just like Jimmy. She only sees...Sean: What she wants to see.Ashley: Exactly! Sean, don't cry. Don't cry. (She looks at his face and then she kisses him. After shekisses him, they kiss again, laying themselves down on her bed) Downstairs Everyone else is hanging out having fun. Toby comes downstairsToby: Hey Jimmy, have you seen Emma?Jimmy: There you are, Mr. DrugDealer.Toby: What?Jimmy: Don't you know that E leads to harder things, like my fist?Toby: What do you care if I did E?Jimmy: 'Cause you didn't. Ashley did. And she said she got it from you.Toby: Sean switchedit.Jimmy: Sean? Sean's here?Toby: Yeah, he's upstairs. Jimmy runs upstairs. While she drinks, Paige watches. Upstairs. Jimmy goes in a room but doesn't find Sean. Sean comes out of another room.Jimmy:Sean...what...? As Sean goes downstairs, Ashley comes out of the same room Sean did.Ashley: Jimmy, oh. (Jimmy looks at how her hair and clothes are messed up and goes downstairs so she follows him)OutsideToby: Emma? (He sees her sitting) There you are. Look, it was stupid of me to invite Sean. And I want you to know the only reason I did is because... (Sean comes outside and leaves. When Emma sees him, shelooks sad. When Sean looks back, he sees Emma hug Toby) Inside Ashley'sJT: 1...2...3... (He jumps and they catch him)Jimmy: Where's Sean?Ashley: Jimmy stop.Jimmy: Where's Sean, Spinner?Spinner: He left, like 2minutes ago. Jimmy starts to leave but Ashley stops him.Ashley: Jimmy stop. Ok, I know you're upset, but what just happened was the most intense experience of my life. It was like this telescope and I saw me, thereal me.Jimmy: Look, you don't know what you're saying.Ashley: What?Jimmy: it's not you, it's the drugs.Ashley: Oh yeah keep going Dad. Keep telling me who I am.Jimmy: Ash look...Ashley: No, this is exactly whyme and Sean just...he gets me, you...Terri: Ash, stop.Ashley: Ter, I love your shirt. It's so shiny, like stars.Jimmy: I'm outta here.Ashley: What I should have done is broken up with you on your birthday like I wasgoing to.Paige: Ash would you stop being such a hag already?Ashley: Paige you are a hag. On two fronts: your looks and your personality. (She laughs) Paige gets a mean look on her face and leaves.Ashley: Jimmy,just you don't have what Sean has and you never will. You're just not enough for me, sorry. Oh now you're upset, don't be, it's ok, it is, it's all good, it is. (As she talks she goes up to him but he pushes her away andthen leaves and then everyone else does)Spinner: Nice Ash.Ashley: Guy, where are you going? Come on it's a party. Come on. Where's everyone going? Come on guys. Guys. (She dances and laughs) Come on.Downstairs - The next day Terri and Toby are cleaning when Ashley comes in the room in a bathrobe.Ashley: Hey. When did that break?Toby: While you were dancing with Liberty. When you were strung out on E. Whatwere you thinking Ash?Ashley: What was I thinking? What were you and JT doing with it in the first place?Terri: Guys, it doesn't matter.Ashley: Was I really that bad? (They don't answer) What if I just call Jimmy?Terri:Ash, Paige won't talk to you. Do you really think Jimmy will?Ashley: I'm such an idiot. How am I ever gonna face everyone again? (There is a knock at the door. Ashley runs to the door) Jimmy? (Someone comes in andit's Spinner with a box)Spinner: here Jimmy doesn't want this stuff anymore.Ashley: Spinner how is he?Spinner: Just take it and don't call him. (He leaves) Ashley closes the door.Terri: Ash?Toby: Ok, somebody getthis place cleaned up. (He goes in the other room) Ashley falls on the floorToby: They'll be home soon. I mean come on... Ashley is crying with Terri next to her.Toby: Ash? You ok? (He goes back to where Ashley andTerri are and he goes next to her and hugs her)"}
+{"doc_id":"doc_295","qid":"","text":"Chick: It's not all kitchen scraps. It is one-third kitchen scraps. It is two-thirds browns, which are leaves, hay, straw, sawdust. But, you know, we're low on browns 'cause folks don't bring us browns. So who's ourbrowns guy?Chick: Well, we get donations from the woodshop, but, you know, we're always in need of browns. All right. Let's see what we can do about it.Chick: We used to have a compost guru. - Ernie. - Oh yeah? Heset this whole operation up. He educated all the gardeners, on greens, on browns, ratios, you know, all of that. And then, there was one Sunday and he was... He was comin' in and he was carrying these coffee groundsfrom the café across the street, and he stopped right there. Right there. And we just all said, \"What's the matter, Ernie? What's the matter?\" And, uh, he didn't say anything. He just looked at us with his bug eyes andthen he just keeled over and died. Oh my God, that's so sad. Yeah. But you know what? He was very excited about being compost when he died, and he got his wish. - So that's nice. Yeah.- The Guy: Yeah, that's nice. -I didn't know you could do that with your remains. - Oh yeah. But he's not in this compost, is he? Oh. He's all over the garden! You're joking, right? Yeah. Yeah. I'm joking. - Okay. - Mm-hmm. I'm jokin'! - Funny. -(phone chimes) And so it begins. All right, Chick. I gotta go see a man about, um...- Chick: A horse? - Sellin' him some weed. - Oh. You're welcome. - Uh... Thank you, Chick. Is this your dog? Oh my gosh. Oh, you're avery sweet dog, aren't you? Oh, you're one of those.(laughs)I know your type. All right, well. Listen, I'm gonna go, okay? See you around. Whoa, hey! Dude. Hey! What are you doin', dude? That's not safe. Hey. Whyare you following me? [\u0000\u0000] Dude, why are you following me? - (barks)- (laughs): What are you doin'?[\u0000\u0000] (sighs)All right.(dog barks)You're the most presuming dog that a human could know. Come on, get out ofthe street. You're f*ckin' crazy.Ira Glass: How is she planning to?Nancy: ...including the composting, whatever sound that makes. Like, I don't know if we'd wanna watch her die, but the conflict with the family, that's astory, like... Have we done something like recycling, but in like a broad sense?- Ira: Recycling as a metaphor. - As a show.Emanuele Berry: Well, like, what about actual recycling stuff? Like, do you guys know about therecycling in this building? - Wait. They don't recycle the recycling?- Nancy: There is none. No. I thought that was true. - There just isn't recycling. - It's sorted downstairs. - It's not! - (laughing)Sean Cole: We thinkwe're recycling and we're not recycling. We're living a lie. We are all...Nancy: You're the only one who still thought that there was recycling.- Elna Baker: No, I didn't know that. - I've known this for a while. - I thoughtwe all knew that?- Elna: I didn't know that. I thought we all knew that, but I do like that some people don't know. It feels like telling them that Father Christmas is, like, not real.Ira: Which is the one thing you can't sayon the radio. You can't say that Santa isn't real on the radio, we run across this every Christmas.Sean: Warnings before a Santa-is-not-real set. Well, screw that then!Elna: Wait. What if we did a \"It's Not Real\" show? -Yeah. - Yeah. Okay, so there's this test that's a BDSM test, like a kink test, uh, and I took it, and I found out I'm a rope bunny. - (laughing) - Oh, God. You said that like it's a thing!(laughing)Zoe: What is a ropebunny?It's somebody who likes to be tied up during s*x.Zoe: I feel like that's like a lot of women.- Lily: It's like a personal...- Bim Adewunmi: You see?(laughing)But then anyway, it turns out none of it's real. Like theBDSM community... Wait, wait, wait. But I just wanna understand. You're saying you took a test. It told you you're a rope bunny. Now you find out the test is not real. So are you not a rope bunny? Um... I don'twanna... I don't know why I'm any saying any of this.(laughing)Ira: I'm going back to recycling.Okay, can I just pitch recycling. What about like, like, recycling a relationship? Like somebody who comes back to arelationship. I don't know what that's like at all.- Ira: Do you have that story?- Sean: No, I'm not getting... Well, my, my, uh... My parents lied to me about getting divorced.- Ira: Wait. Seriously?- Yara: Yeah, yeah.Um... When I was 17, my mom and dad, they got legally divorced, but they didn't want to tell me until after I graduated high school, so... they pretended to stay married. But wait. They still lived together?Yara: Yeah,they still lived together, and they pretended to stay together. Anyways, at my graduation, when I got my diploma, and I was walking back to my chair, I look up to my parents, and they're sitting in the bleachers and,uh, they're not looking at me, they're fighting. You know, I don't even know if they saw me graduate. And, uh, all of a sudden I see my dad, he storms off away from my mom, and he goes up to the top of thebleachers. He says that he must've leaned against a railing that was loose because, uh, he ended up falling on to the cement, 30 feet.- Ira: What?!- Yara: Yeah, and he lived! He lived. He lived. Um, and my mom, who Ifelt like had completely given up on my dad, uh, she made the choice to nurse him back to recovery. - And, uh... and they remarried.- Woman: Oh wow, that's crazy.- Ira: Wait. That made them fall in love again? -Yeah. Yeah. - No! - Wow. - It had a happy ending.- Woman: Yeah. - I like a happy ending. - Aw.Ira: Would they talk about it like on tape? - Do you think they would tell the story? - Yeah. - Sure, yeah.- Ira: Sold. Movin'on.Yara: Yeah, Dad, this is really exciting. It's a really big deal for me. It's my first story on the radio.Yara's Dad (over phone): Oh, what is it? Well, I wanna tell the story about when you fell off the bleachers.Yara'sDad: I don't think that's a good idea.Yara: Dad doesn't wanna talk. He asks me to talk to Mom before talking to him, which leads me to believe that Mom has some information that I don't. - Maybe there's some...-Woman: We have to go! - (couple arguing) - Just, I... Stop! Stop. I really like the happy ending, period. So is this a story about how vulnerability opens us up to love, question mark. Or is it about accepting, acceptingpeople warts and all? - (keyboard clacking) - (Yara muttering) Mami, it's a really beautiful story.Yara's Mom (over phone): That's a very painful time of my life, mija, and I don't wanna go there. Listen, I'm happy foryou - but I like my privacy and respect that, okay? -(door buzzes)Yara: Please, can you just think about it?Yara's Mom (over phone): The answer is no. I'm sorry. All right. I gotta go, I gotta go. He's here.Yara's Mom:Okay. Give Owen a kiss for me. - Have fun. - Okay. Bye. - Hi, Smoothie! - Hey, Smoothie. - How was your flight? - Good. - Ah. Thank you for these. - Yeah. - They're like five bucks a pop out here. - Oh, my God. - Yourplace is really coming together.- Yara: Thanks, Smoothie. Oh, my God, I gotta tell you the coolest thing happened at work today. Oh, hey. Happy anniversary. Happy anniversary, Smoothie. - (Owen moaning)- Yara:Okay. Aah.(bed squeaking)Owen (panting): All right.- (Yara sighs)- Owen: Woo.(sighs)Oh, I think my mom regrets remarrying my dad. What makes you say that? Something she said on the phone. You need anything,Smoothie? Nah, I'm good, Smoothie. - How are we gonna celebrate tonight, dinner? - Sure. I don't want to get dressed up though. I'm fine with whatever you want. Uh... you want to just get stoned and order in?Sounds very romantic. Cool. I'll text him. Honestly, I didn't even like the, the prequel. But I'm saying, if you're gonna, like, do that franchise, you should probably f*ckin' step it up. [\u0000\u0000] You're kind of heavy. You knowthat? Whew! How are you back there? Comfy? This is Bushwick.[\u0000\u0000] (both howling)- Yara: Are you finished yet?- Owen: So many questions.\"I enjoy feeling like a prey hunted by a predator\"? What the f*ck is that?-Yara: (laughs) It's a thing. Don't knock it. - I don't get it. Uh, I think I'm done. - Uh, I am...- Yara: I can't wait for this. ...99 percent vanilla. - Mm-hmm. - Ninety-five percent daddy-mommy?- Yara: Okay, Daddy. -(both laugh) And 95 percent rope bunny. Elna got rope bunny too. - What about you? - (door buzzes) A hundred percent hunter-prey.- Owen: Really? - Mm-hmm. - Hello?- The Guy (over intercom): Hi. I got a dog withme, but she's nice. Is it okay? Oh yeah, sure! Bring her in. That's fine.- Owen: Really? - What? It's just a dog. This is why I go to dispensaries. - (dog barks)- Both: Hey. Oh, sorry about that. - Hey. Relax. - (dogbarks)Yara: Hi. No, it's okay. Hi baby! What happened to her eye?The Guy: I don't know. She just started following me, - and then, uh... I don't know, I got Annie'd.- Yara: Aw. I got same old... indica, sativa,cartridges, edibles, all of which you like. I want a dog so bad. - Since when do you want a dog?- Yara: Since always! I've seriously been thinking about it.Owen: Yeah, but you work all the time, and this place is way toosmall for a dog. Oh, wait, you think I'd be a bad dog owner? No. I'm not saying that. I'm just saying that it's a cute dog and now you're having pet FOMO. - Fear of Missing Ohho. - (Owen laughs) - You like that?- Owen:Yeah, that's a good one.- The Guy: It's a terrible joke. - (Yara laughs) Um, do you have any, like, beef jerky or anything like that? I mean, it's highly processed. I don't think, like, - it's good for a dog. - Right. Right.Cool. Cool. Cool.- Owen: Right. - Cool, cool, cool... Okay, a hundred and twenty.Owen: I know I'm terrible at gifts, but I think this time, I... - nailed it. - (Yara chuckles) - Happy anniversary. Yep. - Mm-hmm. - Hey, I'llbe the judge of that. - Yeah? I saw it and it totally reminded me of you, so. What's wrong? What?(laughs)What's wrong? - Oops. - Oh...(laughs)Is this why it reminded you of me? You're f*cking kidding me?(bothlaughing)Actually, it's a really funny story. I'm sorry. Well, I'll take care of it. - What? - I'll take care of it. Take care of it... f*ck. - f*ck. Hold on. - What? No, I'm-I'm sorry. I'm just having like a... like a stoner moment.Um... Okay. Can I, can I tell you? - Uh...- Owen: Yeah. All right. So my-my mom... she didn't have a choice, she had to take care of my dad because she's a woman, and she's supposed to be a caretaker. And if shedidn't do it, then he would have been pissed at her, and then I would have been pissed at her too, and everyone would have been pissed at her. I mean, everyone may have been pissed for like a little bit, but... No, no,no, no. Still... Listen. It makes total sense. If I take care of you, then no one will be mad at me. I'm... I mean, that's... I don't think that's how it is anymore, though... Owen, come on, please. That's how it is forwomen. You don't know how it is. Yeah. But, I mean, you and your mom are like... two totally different people. It's different times and... Yeah, but I was literally conditioned, my whole life, to believe that my purposewas to nurture and support a husband. And the only way that I could justify not doing that was by... working really hard and making something really important. And so, I became this workaholic. And I'm pretty muchthe same as my mom then. Like, like, I have to... I have to do something so that people will love me. No, I mean, you don't have to do anything for anyone to love you. I love you, Smoothie. Well, yeah, I know. I know,and that is totally on purpose like... God, you are... You are nothing like... I mean, you don't even need me to take care of you, like... You're literally in nursing school, you're a natural caretaker. And your-yourambitions... Your ambitions are smaller. Like I genuinely believe that you're the only person in my life who is a man who will not take away my purpose. God, and that is so great. That is... that is so good for mebecause it's safe.(keyboard clacking)Owen: Ouch.Why ouch? What are you talking about? I mean, you just said my main selling point is that...(laughs)that I'm not ambitious. - And, you know, I can... - Wait. No, no, no,no, no, no, no. First of all, you're the one that said you didn't want to be a doctor. - And then, I can just take care of you.- Yara: I was just quoting you. But I work my ass off, so... Yeah, I know, we both work our assesoff. What I'm saying is that you're not like my dad and that's a good thing. It's not a codependent relationship.(sighs)It's not about being your dad or not being your dad. It's the fact that you just said that like I'm-I'mnothing... Are you f*cking kidding me with the mic? - You're f*cking recording this? - I'm sorry. I'm sorry. You just laid out on me and then this is what I get? I'm sorry. I'm stoned. I'll turn it off. Well, yeah. You'redefinitely f*cked up.(scoffs)Can I ask you some questions or... - does it go one way? - No. Sure. Of course. What did you get me for our anniversary? Yeah. Happy anniversary, Smoothie.(microphone clatters)(doorslams)- (banging on door) - Come on, Leyla. It's been 20 minutes. Let's go! - Um, I called it after her. - I gotta be at work by 10:00. - It's 9:45 right now. - What?Arnold: Bah-gock! Where's Kyra?Bah-cock-a-doodle-doo! You can have custody when you buy more than one set of sheets for your home!Man (over phone): You don't know what's going on with my body anymore, Kyra. I've been looking all over thisfarm for Kyra! Is that you? Bah-gock! (in the melody of \"Old MacDonald Had a Farm\"): \u0000 It's your birthday, here we go \u0000 \u0000 I heard you're 49 \u0000 \u0000 No one's getting younger now \u0000 \u0000 You're runnin' out of time \u0000 \u0000With a hemorrhoid here and a bad back there \u0000 \u0000 Better get yourself better medical care \u0000 \u0000 Old Miss Kyra's 49 and runnin' out of time! \u0000 (laughter and cheering)Man (over phone): What the f*ck is going on overthere? So fun. So colorful. - Great face. - Thank you. Honestly, thank you. Honestly, I work for tips. Oh... okay. - Well, let me go see about that. - Yes. Thank you. Chicken's got a full day. Excuse me. Can I use yourrestroom? Mm-hmm.Arnold (mutters): f*ck.[SCENE_BREAK]- (elevator dings)- Automated Voice: Doors opening. Open to enter.- Woman: Hi.- Man: Hello.Automated Voice: Doors closing. Doors opening. Open toenter.[\u0000\u0000] (screaming)This isn't a changing room. Sir, people f*ck in here! Okay? I'm just trying to get ready for work! Get off my dick! [\u0000\u0000] \u0000 I'm a trouble alone, one \u0000 \u0000 I'm trouble to you, two... \u0000 (gasps) Youscared me. These balloons aren't sized well. You're trying to sabotage me! Where's Barbara? I see you. \u0000 Happy birthday to you... \u0000 Stop filming me.(wailing)- I'm a baby! - (crowd laughing) \u0000 When I sing \"mydarling spinning top...\" \u0000 \u0000 Kids all say they love you, Happy anniversary \u0000 - Yee-haw! Come on now, give me a tip! - (laughing) Or at least let me change my pants!Man: I see you with that lasso! \u0000 How sweet, mychubby little Twinkie \u0000 \u0000 This dog looks like a Twinkie \u0000 \u0000 You have a backpack full of Twinkie \u0000 \u0000 My doggy backpack full of Twinkie \u0000 - \u0000 My chubby one-eyed doggy \u0000 -(dog howls) See you later, man. - Zack? -No.(to the melody of \"Bingo\"): \u0000 Your girlfriend knows that you're a dog \u0000 \u0000 And cheated like a lame-o \u0000 \u0000 It's time to go \u0000 \u0000 'Cause you're a ho \u0000 \u0000 She threw your sh1t out the window \u0000 \u0000 'Cause you're af*cking bozo \u0000 (howls)Now how about a tip? Wow, man. You got a whole thing going on. Yeah. Come on, tip me. I'm not Zack. I'm sorry. Why would you let me get through the entire song? I was into it, man. You gotsomethin'! Zack! \u0000 Your girlfriend knows that you're a dog... \u0000 You don't have to sing. You don't have to sing. Come on, Jane paid for the song. Well, I heard it so, thank you, I guess. Listen, man. I don't get paid if Idon't sing. - So just let me get... - Sorry, am I supposed to worry about you? - f*ck you! - You know what? Jane was right. You're a f*cking bozo! I understand why that mix-up happened now. Hey, man. You weregood. Here... Here.(to the melody of \"Bingo): \u0000 There was a man on Instagram \u0000 \u0000 Who was suffering from FOMO \u0000 \u0000 FOMO \u0000 You thirsty, baby? Let's have some drink!(cell phone chiming)Hello? Yes, yes. That wasme. Uh, thank you so much for calling me... Okay. Wow. Um, is there a family? Okay, well, thank you for calling. Okay. Bye.[\u0000\u0000] (cooing)(whispers): f*ck![\u0000\u0000] Excuse me. Excuse me. Excuse me. Come on! Kids'daisy chain? There are nine million people in New York! - (balloon pops) - (car alarm honking)Arnold: Oh, no. sh1t!(car alarm continuing)- Arnold: Bathroom?- You've gotta buy something. Yeah, doi! I'm gonna buysomething! f*ck.(panting rhythmically)(up-tempo dance music playing)(sighs)(exhales sharply)[\u0000\u0000] (shouts)(grunts)[\u0000\u0000] (grunts)[\u0000\u0000] (music tempo slows)(grunts)- Ah! - (music continuing)(laughs)[\u0000\u0000] - Yeah. -(music fades) - (water splashes) - Oh my God!(chuckles)Wow. - (sighs) - (phone chimes) Oh, that sounds fun.(Arnold sighs)I'd give it a minute. Thank you so much. And sorry about earlier. I had to poop. I've beenthere. - What would you like? - What do you like? - The blondies are amazing. - I'll take one of those. And a latte, with four shots of espresso. You got it.Owen: Are you f*ckin' kidding me with the mic? You're f*ckin'recording this?Yara: Oh I'm-I'm sorry. I'm stoned. I'll turn it off.Owen: Yeah, you're definitely f*cked up! Can I ask you some questions? Or does it go one way?Yara: No. Sure. Of course.Owen: What did you get me forour anniversary? Yeah. Happy anniversary, Smoothie.(microphone clatters)(sighs, murmurs)Chana Joffe-Walt: Yara, are you okay?Yara: Um...We're not talking. - (murmurs)- David Kestenbaum: I'm sorry. All right.Wanna go around? Susan?Susan Burton: I mean, it's really different than the story you pitched. I mean, it's not really about your parents anymore, you know? - (all agreeing)- Ira: What happened... What happened tothe idea of you getting your parents on tape talking about this? Well, I... I tried to talk to my mom but, um... she didn't wanna talk, she didn't wanna do it. And so, Owen and I started talking about it on tape. And,um... Yeah, it led to this.David: I'm trying to think how it works without your parents. Like maybe it could go in like a wrong-ending show or something?Chana: You seem like you're being very genuine and expecting aresponse from him that is different than the one he gives, and it feels surprising when it happens, when he says ouch, but, yeah, I feel like we'd need more setup to understand what that moment means.Robyn Semien:Do you think she could write it though? Like what if she just wrote through all of the story of what her parents did.Chana: Maybe, but you would write about your parents though. I think you'd have to write about yourparents' story. I couldn't like... I didn't actually understand what was going on. But I think it's kind of amazing that... like, sorry... It's kind of amazing to hear a breakup unfold in real time, in this accidental way, andthat to me felt like, oh, that's special tape. But because I was so lost at the beginning, the fact that it turns and suddenly you're fighting. I'm like, I'm still trying to catch up to the first conversation.Ira: Yeah, I have thesame feeling. I just think it's one of those things where a big important thing happened, you have this dramatic moment on tape, but I just think it's not gonna work as a radio piece. And I'm sorry. Yeah, okay. - It'sokay... - Hey, I'm looking for Yara.- Arnold: Yara?- (laughing): Yo! What? Um... Yara, I have a singing telegram from Owen.(all exclaiming)Oh, my God. \u0000 You know the bed feels colder \u0000 \u0000 Being here alone \u0000 \u0000 Istill have dreams of us older \u0000 \u0000 Doing anything we want \u0000 \u0000 You think you got the best of me \u0000 \u0000 You think I gave you my best parts \u0000 \u0000 And you think everything good is gone \u0000 \u0000 Thought you seen me brokendown \u0000 \u0000 Thought that I'd come running back \u0000 \u0000 Smoothie, you know me \u0000 \u0000 That's what this is \u0000 (laughter)(Arnold vocalizing)\u0000 'Cause what doesn't kill us makes us stronger \u0000 \u0000 Be a little kinder \u0000 \u0000 Helpeach other be better than on our own \u0000 \u0000 I love to see you be inspired \u0000 \u0000 Rub your feet when you are tired \u0000 \u0000 To me you are the feeling of being home \u0000 \u0000 I love you as you are-a \u0000 \u0000 You're Yara \u0000 \u0000 And tome you are a star \u0000 \u0000 Let's stay together, Smoothie \u0000 \u0000 Stay home and watch a movie \u0000 \u0000 Or tie me up like a rope bunny \u0000 \u0000 I love you as you are-a \u0000 \u0000 You're Yara! \u0000 (cheering and applause)- Arnold: Lookwho's here!- Elna: Wait. Is he here?- Woman: Oh.- Elna: Oh, my God, that's him.Ira: Is that the boyfriend?All: Aw!Ira: So when you came to New York, what did you think you were going to be doing?Arnold: Not this. Imoved here with my BFA, and I just wanted to perform, and this is one of the jobs where you get to perform. I don't have the privilege of not working. - This is what I do. - I don't know. Like, how often is itgood?(sighs)You know.I'll say this: Every day is different, every day is hard, but it has its moments.Ira: The way I think of Arnold's job is like the weirdest recycling job ever. Taking these songs, changing them arounda little, and performing them in a setting they were not made for. Repurposing them for this audience that usually does not want them. Honestly it's hard to imagine a tougher room, a more hostile crowd than the one"}
+{"doc_id":"doc_296","qid":"","text":"Act OneMAMMA MIA!Scene One - Café Nervosa. Frasier and Niles are sat chatting.Niles: Oh, I got your message about the wine club, Friday night, and yes, I will be there.Frasier: Oh, good, Dad's kicking me out of thehouse that night so he and Sherry can have a little party. [laughs] Oh, I don't know. Life really is a circle, isn't it? I'm letting Dad use my place for his friends to get together, and just a few years ago it would have beenDad who'd have to leave his house for my parties.Niles: Yes, if you'd had any parties when we were young that would be filled with irony!Daphne enters and sits with them.Daphne: Thank goodness you're here, I've gotsome rather shocking news.Niles: What is it?Daphne: I found a ring in your father's underwear drawer.Frasier: [shocked] What on earth would leave a ring around his underwear drawer?Daphne: Not around, in! Anengagement ring in a jewelry box.Niles: An engagement ring? Dad must be about to ask Sherry to marry him. Do you know what that means?Frasier: Yes, we're going to hear what Mendelssohn's \"Wedding March\"sounds like on [in horror] the banjo!Niles: It means she's going to be our mother. What are we going to do?Frasier: Well, there's nothing we can do, Niles. It's what Dad wants.Niles: But... what do we even callher?Frasier: Well, I suppose she'll want us to call her \"mother.\" No, that's too formal. \"Mama\"... no, \"Ma!\"Niles: [in dread] Ooh, better still. \"Don't you look nice, Ma.\" \"Yes, I'd love another corn dog, Ma.\" \"Off to theroller derby, Ma'?\"Daphne: That's typical of you two. Your father is about to get married and all you two can think about is how it will affect you. [pause] What about me?!Frasier: What about you?Daphne: Sherry'snever exactly liked me. You don't think she'll try to make your father get rid of me, do you?Frasier: Oh, Daphne, of course not. He'd be lost without you.Niles: Yes, and even if by some chance that were to happen,Daphne, I could always use you. [realizing innuendo] I, I would know of a position you could take... [digging into a hole] ...services that you could perform. [holds himself, then:] I would know of an opening... [realizesthe path he has taken and takes up the check] This is on me.Daphne nods at him in confusion.[SCENE_BREAK]Scene Two - Frasier's Apartment. Niles and Frasier are sat on the sofa as Sherry and Martin prepare fortheir party.Sherry: Marty, you need to stir the dip more, it's got whole lumps of soup mix in it.Martin: Sorry.Frasier: My, my, my, quite a little shindig you two are planning for tonight. We have the cheese logs, theerotic fortune cookies. For after dinner, a bloopers tape: \"Too Hot For Hee-Haw.\"Niles: I see that Martha Stewart party book I gave you really paid off.Sherry: Oh, this old crowd, they wouldn't go for that fru-fru stuff.Get 'em liquored up, put out some corn nuts and they can go all night.Frasier: When you say all night-?Martin: [finishes stirring] There you go, smooth as silk.Sherry: [kisses him] Thank you.Niles: Who's going to beattending this soirée?Sherry: Oh, just some old friends I'm dying for Marty to meet. Now, let's see, there's Ray and Lola Sherwood - well, I worked with them in Atlantic City when they had a knife-throwing act. Oh,now, Marty, try not to stare at her eyes, she gets self-conscious. And, let's see. Oh, and Edith's coming with her new fiancé.Martin: Oh, she finally met him, huh?Sherry: Mm, just this week.Niles: They're engaged andthey just met this weekend?Sherry: Well, you see, up until now, it's been kind of a pen-pal relationship. He's been... detained the last few years.Frasier: Well, you know, you're going to need some room for those cornnuts, why don't I just get this pesky priceless sculpture out of your way!Frasier hurriedly removes the Chihuly to his room.[N.B. Since the Chihuly is a genuine work of art, valued at upwards of $75,000, it is alwaysremoved from the set before any scene that involves rough-housing in the living room.]Sherry: Marty, I never heard back from Vic and Linda, did you get a message?Martin: No.Sherry: Oh, gee, maybe they left one onmy machine.Sherry phones through to her machine.Martin: So, what are you guys up to tonight?Niles has just read one of the fortune cookies, and is gaping when he suddenly realizes Martin's question.Niles: Em, ourwine club is having a vertical tasting at the \"Opus One.\"Martin: Oh, well, don't drink too much.Niles: [laughs] It's not like that, Dad, you don't actually drink the wine. You just swish it around and spit it out.Martin: Weall did that at Duke's New Year's Eve party. Of course, it wasn't wine, it was egg salad!Frasier enters as Sherry hangs up.Sherry: You know, that is so weird. I just got a message from my manager down at McGinty's.Some guy came in asking a lot of questions about me.Martin: What kind of questions?Sherry: Well, like where I used to work, the people I used to date, and the weirdest part is, my neighbor told me somebody camearound asking her about me too.Martin: Sounds like somebody's checking up on ya'.Sherry: Like a detective?Martin: Oh no, it's probably a credit card company, something like that, I wouldn't worry about it.Martin getsup from the table and casually walks toward Frasier and Niles, as Sherry goes into the kitchen.Sherry: Well, still, it is a little scary. I wish I knew who it was.Martin: Oh, forget about it, I've been through this before.Private investigators never leave a trail. Really, it could be anyone.Sherry: If you think so.Once she's into the kitchen, Martin rounds on Frasier and Niles.Martin: [whispering furiously] Which one of you hiredhim?!Frasier: Well, that is just crazy!Martin: Oh, come on, who else would have the money to do something like that?Frasier: I have no idea, we have nothing to do with it. Do you really think that we would hiresomeone to spy on Sherry? My God, I'm insulted!Niles: As am I!Martin: Well, all right. Maybe I was jumping to the wrong conclusion.Frasier: You most certainly have!Martin: I'm sorry, boys.Frasier: It's all right,Dad.Niles: Just forget about it.Martin exits to the kitchen. Frasier rounds on Niles.Frasier: [whispering furiously] You hired a detective, how could you?!Niles: I have never been so insul-!Frasier: Niles!Niles: Okay, I'msorry. I was just looking out for Dad here. I mean, what do we really know about this woman?Frasier: She makes Dad happy, that's all we need to know.Niles: Is it? Some people do get married before they know allthey should. Remember Cousin Donald? He was married two years before he found out his wife used to be a man.Frasier: Yes, well, Cousin Donald is a very rare case. First, most people don't have a hidden past; andsecond, most people have a better eye for details than Cousin Donald. For God's sake, the woman could pick up a watermelon with one hand!Niles: I was just simply trying to get some background information.Frasier:Well, stop it. Call it off right now, Niles.Niles: Consider it done.Frasier: All right.Niles: We gotta run.Frasier: Yeah. [shouts through] Goodbye.Martin: [o.s] Bye, boys.Sherry: [o.s] Have a nice time you two, we'll saveyou some cake.Frasier: Thank you. [to Niles] You see that, how sweet she is? My God, I can't believe you're actually having that woman investigated. You know, try to have a little trust in people!Frasier quickly takesone of his precious African art sculptures from the table and into his jacket for safety before leaving with Niles.[SCENE_BREAK]Scene Three - Café Nervosa. Roz enters as she meets Frasier. Niles is sat on a front tablediscussing matters with a detective.Roz: You see someone following me?Frasier: Yes, you can play along now.A female police officer enters as Roz and Frasier sit. The officer has a rather large stomach.Police: Ah,excuse me, ma'am, I saw you cross against the light. I'm going to have to write you a ticket.Roz: [winded voice] Oh, well, I'm really sorry about that. It's just that it's so cold out there and the pollution, I just didn'twant to expose my unborn child to the elements any longer than I needed to. [Roz stands revealing her bump]Police: You're pregnant? Well, I know a little bit about that myself.Roz: Then you know exactly what I'mtalking about. Society doesn't go easy on pregnant ladies, does it? [pats officer's \"bump\"] So, when are you due?Police: I'm not pregnant!Roz: [submitting] That's Roz Doyle.Police: Would you step over here?Roz:R-O-Z.Frasier goes to Niles and the detective.Frasier: Hello, Niles.Niles: Oh, hello, Frasier. May I borrow your pen?Frasier: Certainly. [hands it over as he shakes the detective's hand] How do you do?Niles: [writescheck] I appreciate all your hard work and I am sorry to have to break off the investigation in the middle.Detective: That's all right, people change their minds all the time.Niles: I'm sure they do. [hands it over] Thereyou are.Detective: Thank you.The detective leaves.Frasier: There now, don't you feel better?Niles: I suppose so.Frasier: You have to admit, I was right on this one. There was absolutely no justification for giving intoyour baser instincts of prying in Sherry's past.The detective comes back.Detective: I almost forgot. I wrote up a little report on what I found out so far. That's one interesting lady.He hands them a brown envelope andexits.Niles: Well, I should have just told him to drop that in the trash. After all, we're concerned with Dad's happiness. Sometimes, Frasier, you are like the beacon piercing the fog of my baser instincts. [to waitress]Excuse me, would you just drop that in the...Frasier snatches it off of him as she disperses.Frasier: I see your point. [opens the envelope] I hate myself for what I'm doing.Niles: Frasier, we're doing it for Dad's owngood.Frasier: [reads document] Oh, so far, so good: graduated from high school; almost paid off her Subaru; you know she's been married.Niles: Yes, she mentioned that, to Johnny Dempsey.Frasier: There were twoothers. Ned Foley, Mark Wallace...Niles: That's a bit troubling, three previous marriages.Frasier: ...Vincent Mayhew, Guiltham Mandel, Waltz...Niles: Just give me the total!Frasier: Six that we know of. God, you had togo and fire that detective before he finishes reporting!Niles: Six? [reads them]Frasier: Yes, she's obviously incapable of remaining in a relationship. That doesn't bode well for the marriage, does it?Niles: And on theother hand, it does bode well for Dad getting a \"yes\" when he proposes. He has a right to know about this.Frasier: But we already told him we weren't involved in the investigation, we can't just tell him now we werelying!Niles: Maybe there's some way to impart the information without explaining how we came by it. You know, just sort of drop it casually in the conversation.Frasier: And how would that go? [deadpan:] Oh, Dad, yougoing to the Sherry Ex-Husband Convention this year? Besides that, you know, Dad may know everything already.Niles: I think we need to find that out. How would we feel if we let Dad marry this woman, and in ayear's time he's tossed aside like Danny Mitchell.Frasier: Who's that?Niles: Page five, engaged but never married.[SCENE_BREAK]End of Act One[SCENE_BREAK]Act TwoScene One - Frasier's Apartment. Daphne andNiles are sat on the couch whilst Frasier is standing as Martin walks in wearing his best clothes from his room.Martin: Hey, boys. [they greet him] Daph', what do you think about this jacket? I don't know, it just -something doesn't quite feel right.Daphne: I think it's nice.Martin: Really?Daphne: Yes.Martin goes to the powder room to smarten himself.Frasier: You know, Dad, I was talking with a lady today down at the café and Ihappened to mention that I'd been married twice before, and a look clouded over her face as if I'd confessed to some unspeakable sin!Niles: Makes you wonder what people go through who've been married even moretimes than that. Quite a taboo they face.Daphne: Oh, I don't know, some...The boys quiet her, the she looks confused.Frasier: You know, Dad, I think it harkens back to the puritanical streak that still runs through thiscountry. What do you think?Martin: [enters] There's a yakkety-yak streak that runs through this family. Maybe, it's the shirt, do you like this shirt?Daphne: Yes, it's nice.Frasier: That'd make a good topic to discuss onmy show. Niles, you know the hurdles that are faced by people with multiple marriages.Niles: Of course, the hard part would be rounding up enough people who've been married a significant number of times. Do youknow anyone?Frasier: No, I don't.Daphne: You know, Mrs. Krabs upstairs-Frasier: How about you, Dad?Martin: Oh, yeah, sure, I know some people.Frasier: Really? You do.Martin: Well, I think.Niles: You think.Martin:Well, maybe I do, maybe I don't, who cares? I hate this shirt, I better go change this shirt!Martin exits.Frasier: Well, that was fruitless!Daphne: I'll tell you one thing I'm sure of.Daphne stares into space as Frasier andNiles look at her inquisitively.Frasier: Yes?!Daphne: Oh, I'm allowed to talk now, am I? [pause] I've never seen your father so nervous. He's meeting Sherry at McGinty's, I bet he's planning to pop the question.Niles:Well, that's it Frasier, we're just going to tell him what we found out.Frasier: Yes, but we still don't know what he knows.Niles: Don't you think if she had told him she had been married six times, then he wouldremember?Daphne: Who, Sherry?They nod as Martin enters in the same shirt but a different jacket.Martin: You know, maybe this shirt isn't so bad. Especially with this new jacket. What do you think of this newjacket?Daphne: I think it's nice. Sherry's been married six times?Martin: Who told you that?Daphne: [realizing her mistake] They did. [points to brothers]Niles and Frasier look guilty.Martin: What's this allabout?Frasier: You know, Dad, I'd love to see that first shirt with the second jacket.Martin: Oh, come on. You got this from the investigator - you did hire him, didn't you?Niles looks shocked as Frasier decides toconfess.Frasier: All right, I guess there's no use denying it. Yes, yes, we did hire him. Although the word \"we\" is not entirely accurate.Niles: Frasier, I am shocked...Frasier: Oh, shut up, Niles! Look, Dad, we were justconcerned about you. We know about the engagement ring.Martin: My ring? Which one of you went through my drawers?Frasier: Right now, pointing fingers is not going to do us any good.Martin: What the hell is thematter with you two?Frasier: She did it! [points to Daphne]Martin: Well, it's nice to know there isn't a single person in this house I can trust. Sherry told me about her marriages the first week of our dating! I didn't tellyou because it's none of your damn business, just like it's none of your damn business who I marry or who I don't marry! I don't know why I'm even wasting my time talking to you!Martin exits.Daphne: Do you seewhat I get for confiding in you two blabbermouths! The next time I find something interesting in your father's underwear drawer, I'm just gonna sit on it!Daphne exits to Martin's room as the boys give each other alook.Niles: Well, this evening is an entire disaster. I'm already late for dinner with Maris. I just don't know how this could have happened. [goes to door but doesn't open it]Frasier: Yes, who'd have guessed thatsomething so innocent as spying on a man's girlfriend and rifling his underwear drawer can turn so ugly!Niles: Well, there is one consolation. We told Dad the truth and we were able to bear his anger. That's the nicething about our relationship, we're all adults. We can talk things through, we're not afraid of confrontation...Frasier: Stop stalling, Niles! Dad must be on the elevator by now!Niles checks through the spy-hole, nods inconfirmation and exits as Daphne enters.Daphne: Look what I found in your father's jacket.Frasier: I do not want to know about it.Daphne: He forgot the ring! This is going to be embarrassing for him. I suppose I couldtake it down to him.Frasier: [takes ring] No, no, Daphne. I should do that. It will give me an excellent opportunity to show him just how happy I am that he's marrying Sherry.Daphne: That would be very nice.Frasier:Yes. I just can't figure out why he would propose in a place like McGinty's! It seems like such a shabby setting. [looks at ring] Well, I guess he was just trying to match the ring.Frasier exits.[SCENE_BREAK]GIVE ME ARING SOMETIMEScene Two - McGinty's. Sherry and Martin are sat on the front table chatting.Sherry: So I told her that you and I would take a trip up there this spring. [Martin is quiet] Well, you like my sister,right?Martin: Yeah, sure.Sherry: Oh, now, come on, Mart'. You can't hold one little embarrassing moment against her. She didn't know you were in there!Martin: No, no, I don't. I like your sister.Sherry: Well, then whatis wrong with you? You're being so quiet.Martin: I got something on my mind.Sherry: Well, what is it?Martin: I've been thinking a lot about us and... where do you see us going?Sherry: Gee, I don't know. I mean, I'mhaving fun the way things are. You have your life, I have mine. No pressure.Martin: That's what I thought you'd say.Sherry: There's nothing wrong with us just having fun.Martin: No. It's just that we've been justhaving fun for a long time now. Let me ask you something, where do you see us in a year? Five years?Sherry: Oh, gee, I don't know, I try not to look too far ahead.Martin: Well, I guess that's the difference between us.Because I can't stop thinking that far ahead. You know, I've come to realize, Sherry, that I want to get married again. And you know it's not anything you're interested in.Sherry: Well, can you blame me? I mean, Martyyou know my track record, I've been down that road a lot of times! I mean, I've learned the hard way, I'm not looking for forever.Martin: I am.Sherry: So... so you're breaking up with me?Martin: We're just looking fordifferent things, Sherry. I'm sorry.Sherry and Martin try to hold back their emotions.Martin: It's hot in here.Sherry: Yeah.Martin takes out a handkerchief and brings it to his forehead, but he drops it on the floor. Martingoes down to the floor to pick it up. Frasier sees him from the door and it looks like he is getting down on bended knee to propose. Frasier runs in.Frasier: Dad, Dad!Martin: What?Frasier: I'm glad I've seen you.Martin:Get out of here. [sits]Frasier: Dad, Dad, I've got something that I think you might like to have before you tell Sherry whatever it is you want to tell her.Sherry: Oh, he's already told me.Frasier: He has? Well, that is justwonderful and may I say, it's about time! I couldn't be happier for you.Sherry: That's nice to know.Martin: Frasier!Frasier: I'd like you to know that everybody is one hundred percent behind this decision - my God,we're all so excited.Martin: FRASIER!Sherry: Well, I'm so glad that you're so happy your father's breaking up with me.Frasier: [realizes] Breaking up? [pause] I had no idea.Sherry: And you get paid to help peoplethrough their difficult moments?Frasier exits in embarrassment.[SCENE_BREAK]Scene Three - McGinty's. Time has lapsed. Sherry and Martin are at the door bidding their farewells.Martin: It isn't easy to say goodbye, isit?Sherry: No. It doesn't get any easier either, I should know. Listen, Marty, this is usually the time people say, \"Well, let's be friends\" and then, oh, there's a phone call or two but they never see each other again and,well, I just want you to know I am around for you if you ever get lonely or you just need to talk.Martin: Thanks. [they hug]Sherry: Oh, and when you call, if a man answers - hang up.Martin laughs with her as sheleaves. Martin goes to the bar and stares up at the game on the television whilst contemplating life without Sherry. Frasier enters and sits with him.Frasier: Hi, Dad. The only reason I came down here was to bring youthis. [hands over ring] Obviously I made another colossal blunder in a week full of them. I'm really sorry, Dad. [Martin is silent] I guess you don't really feel like talking.Martin: You know, Frasier, sometimes I just feellike sitting here and watching the game, all right?Frasier: Fine, I can do that.Martin: Yeah.Frasier: Sure. [looks up] So the, er, Sonics and the, er, Bulls. That Jordan, he's really something, huh? Yeah. The way he scoresthose points and gets the ball back when the other team misses... Wow! That's incredible. He made the same impossible shot twice in a row!Martin: It's the instant replay. [pause, looks at ring] You know, I was carryingthis thing around for a month.Frasier: Really?Martin: Yeah, but at the end of every night I just couldn't pop the question, and then I realized I knew what the answer would be. She didn't want to get marriedagain.Frasier: I'm sorry, Dad.Martin: Oh, it's all right. Maybe it wouldn't have worked out between us anyway. Your mom's a hard act to follow! I never went through anything like this with her. We knew we were meantto be together and that was that.Frasier: It's hard to find that out, Dad. I've been trying for a while.Martin: [pats him on the shoulder] You'll get there. I hope we both do.Frasier: Well, Dad, in time.The father and sonlook up at the television together.Frasier: Well, that was quite a shot!Martin: Patton's been pretty hot lately.Frasier: What's the score here, anyway?Martin: Sonics are only down by five, they've still got a chance if they"}
+{"doc_id":"doc_297","qid":"","text":"Broadcast 23 November 1963Duration: 23 minutes 10 seconds[SCENE_BREAK]1: EXT. TOTTERS LANE (NIGHT)(On a dark foggy night a lone policeman patrols his beat through the empty streets of London. Nearby aclock chimes 3 a.m. The policeman walks up to a pair of tall shabby wooden gates on which is paintedI.M. ForemanScrap Merchant Totters Lane The policeman shines his torch onto the gates then proceeds into thenight. Behind him, one of the gates creaks open revealing that hidden within the scrap and junk of yard is the incongruous shape of a London police box. That is strange enough in itself, but even stranger is the fact thatthe box is emitting a low electronic hum.)[SCENE_BREAK]2: INT. COAL HILL SCHOOL. CORRIDOR(The ringing of the bell brings an end to another day at the school. The students spill out of the classrooms, chatteringto each other. A woman, BARBARA WRIGHT, follows the students out, calling back into the classroom.)BARBARA: Wait in here please, Susan. I won't be long.(Various pupils say \"Good night, Miss Wright as they walkpast BARBARA. Two female students walk along the corridor, very interested in the paper they're reading. A young male student comes up, mocking their excited tones. The girls roll their eyes. One whispers somethingnaughty to the other, they smile and move along. BARBARA walks up behind them up to another classroom door. With a quick knock, she walks in.)[SCENE_BREAK]3: INT. COAL HILL SCHOOL. LABORATORY(Insideanother teacher, IAN CHESTERTON sits at a lab bench, marking some papers. He looks up as BARBARA enters.)IAN: Not gone yet?BARBARA: Obviously not.IAN: Ask a silly question...BARBARA: I'm sorry.IAN: It's allright. I'll forgive you this time.(BARBARA walks up to the bench and sits.)BARBARA: Oh, I've had a terrible day. I don't know what to make of it.IAN: Oh? What's the trouble? Can I help?BARBARA: Oh, it's one of thegirls: Susan Foreman.IAN: Susan Foreman? Oh ho. She your problem too?BARBARA: Yes.IAN: And you don't know what to make of her?BARBARA: No.IAN: How old is she, Barbara?BARBARA: fifteenIAN: Fifteen...shelets her knowledge out a bit at a time, so as not to embarrass me: that's what I feel about her. She knows more science than I'll ever know. She's a genius! Is that what she's doing with history?BARBARA: Somethinglike that.IAN: So, your problem is whether to stay in business or hand over the class to her.BARBARA: No, not quite.IAN: (Laughs.) what then?BARBARA: Ian, I must talk to someone about this, but I don't want the girlto get into trouble. And I know you're going to tell me I'm imagining things.IAN: No, I'm not.BARBARA: Well, I told you how good she is at history. I had a talk with her, and I told her she ought to specialise. Well, sheseemed quite interested 'till I said I'd be willing to work with her at her home. Then she said that would be \"absolutely impossible\" as her grandfather didn't like strangers.IAN: (Getting up and walking around to a sink.)He's a doctor, isn't he? It's a bit of a lame excuse.BARBARA: Well, I didn't pursue the point. But then recently, her homework's been so bad.IAN: (Washing his hands.) Yes, I know.BARBARA: Finally, I was so irritatedwith all her excuses, I decided to have a talk with this grandfather of hers and tell him to take some interest in her.IAN: Oh, did you indeed? And what's the old boy like?BARBARA: Well, that's just it. I got her addressfrom the secretary - 76 Totters Lane - and I went along there one evening.(IAN finishes washing his hands.)BARBARA: Oh Ian, do pay attention!(He walks across the room to dry his hands.)IAN: Sorry. You went alongthere one evening...BARBARA: Well, there isn't anything there. It's just an old junkyard.IAN: Well, you must've gone to the wrong place.BARBARA: Well that's the address the secretary gave me.IAN: Well the secretarygot it wrong then...BARBARA: No. I checked. There's a big wall on one side, houses on the other, and nothing in the middle. And this 'nothing in the middle' is No. 76 Totters Lane!IAN: Mmm...that's a bit of mystery.Well, there must be a simple answer somewhere.BARBARA: Well, what?IAN: (Grins.) Well, we'll have to find out for ourselves, won't we?BARBARA: (Grins.) Thank you for the \"we\". She's waiting in one of theclassrooms. I'm lending her a book on the French Revolution.IAN: What's she going to do - rewrite it?(BARBARA rolls her eyes, and the two teachers get up to leave.)IAN: Oh, all right! (He grabs his coat.) What do wedo? Ask her point blank?BARBARA: No. I thought we could drive there, wait 'till she arrives and see where she goes.IAN: (Puts his coat on.) Oh...all right.BARBARA: Well, that is, if you're not doing anything.IAN: No,I'm not. (He opens the door.) After you...[SCENE_BREAK]4: INT. COAL HILL SCHOOL. CLASSROOM(15-year old SUSAN FOREMAN - the subject of the teacher's conversation - is listening to a little pocket radio, puttingit up to her ear. She's a slim beauty with elfin features, unusually short dark hair and unusual eyes. She dances strangely to the music by making abrupt movements with her right hand and fake strumming a guitar.Behind her, IAN and BARBARA walk in. She's oblivious to them. Both smile with amusement.)BARBARA: Susan?SUSAN: (Putting down the radio.) Oh, I-I'm sorry, Miss Wright! I didn't hear you coming in. Aren't theyfabulous?BARBARA: Who?SUSAN: I-It's John Smith and the Common Men. They've gone from 19 to 2.BARBARA: (Not understanding a bit of it.) Hmm. (She looks puzzled.)IAN: (Laughing.) \"John Smith\" is the stagename of the honourable Aubrey Waites. He started his career as Chris Waites and the Carollers, didn't he, Susan?SUSAN: You are surprising, Mr. Chesterton. I wouldn't expect you to know things like that.IAN: I have anenquiring mind...(Motions to the loud radio.) and a very sensitive ear.SUSAN: Oh, (Turning the radio off, slightly flustered.) I'm sorry.IAN: Thank you.SUSAN: (Noticing the book that BARBARA is holding.) Is that thebook you promised me?BARBARA: (Hands it over.) Yes.SUSAN: Thank you very much. It will be interesting...I'll return it tomorrow.BARBARA: Oh, that's not necessary. Keep it until you've finished it.SUSAN: (She picksup her school bag.) I'll have finished it.(IAN and BARBARA glance at each other in surprise.)IAN: Oh, where do you live, Susan? I'm giving Miss Wright a lift. I've room for one more.SUSAN: Er...no thank you, Mr.Chesterton. Er...I like walking through the dark. It's mysterious.BARBARA: Be careful, Susan. There'll probably be fog again tonight.SUSAN: (Arranging things in her school bag.) Hmm.BARBARA: See you in themorning.SUSAN: I expect so. Good night.BARBARA: Good night.IAN: Good night, Susan.(IAN and BARBARA leave the room. SUSAN looks behind her at the closing door then picks up her book - \"The French Revolution,\"and starts to read a page at random. A moment later, she blinks at the book, startled.)SUSAN: That's not right...![SCENE_BREAK]5: EXT. TOTTERS LANE. (NIGHT)(IAN and BARBARA are in his car as it arrives in TottersLane.)BARBARA: Over there!(The car comes to a stop before the old wooden gate to the junkyard. The two teachers remain in the vehicle.)IAN: Lucky there was no fog. I'd never have found this.BARBARA: Well, shedoesn't seem to have arrived yet. (She pauses nervously.) I suppose we are doing the right thing, aren't we?IAN: You can't justify curiosity.BARBARA: But her homework...IAN: Bit of an excuse, really, isn't it? I've seenfar worse. The truth is, we're both curious about Susan, and we won't be happy until we know some of the answers.BARBARA: Well, you can't just pass it off like that. If I thought I was just being a busybody, I'd gostraight home! I thought you agreed she was a bit of a mystery!IAN: Yes, but I think you'll find there's a very simple explanation to all this.BARBARA: Well, I don't know how you explain the fact that a teenage girl doesnot know how many shillings there are in a pound.IAN: (Surprised.) Really?BARBARA: Really! She said she thought we were on the decimal system.IAN: The decimal system?[SCENE_BREAK]6: INT. COAL HILLSCHOOL. BARBARA 'S CLASSROOM (FLASHBACK)(The whole of BARBARA'S history class is laughing at SUSAN'S naiveté. A visibly stung SUSAN turns her back on the other students and stares directly at BARBARA - thescene is seen from her point of view.)SUSAN: I'm sorry, Miss Wright.BARBARA: (OOV: Cross.) Don't be silly, Susan. The United States has a decimal system. You know perfectly well that we do not.SUSAN: (In a shockof understanding.) Of course - the decimal system hasn't started yet![SCENE_BREAK]7: EXT. TOTTERS LANE. (CONTINUED)(IAN rubs his chin in thought.)IAN: I suppose she couldn't be a foreigner...no, it doesn't makesense! Nothing about this girl makes sense. For instance, just the other day, I was talking about chemical changes. I'd given out the litmus paper to show cause and effect...BARBARA: ...and she knew the answer beforeyou'd started.IAN: Well, not quite. The answer simply didn't interest her...[SCENE_BREAK]8: INT. COAL HILL SCHOOL. LABORATORY (FLASHBACK)(A nervous SUSAN at the lab bench, again surrounded by her fellowpupils, addresses IAN, who's walking toward her - again it is from the teachers point of view.)SUSAN: Yes, I can see red turns to blue, Mr. Chesterton, but that's because we're dealing with two inactive chemicals. Theyonly act in relation to each other.IAN: (OOV, Exasperated.) But that's the whole point of the experiment, Susan.SUSAN: Yes, it's a bit obvious, isn't it? Well, I-I'm not trying to be rude, but...couldn't we deal with twoactive chemicals? Then red could turn blue all by itself and we could get on with something else.(Her expression turns sheepish as she glances at her fellow pupils and she speaks more quietly.)SUSAN: I'm sorry. It wasjust an idea.[SCENE_BREAK]9: EXT. TOTTERS LANE. (CONTINUED)IAN: She means it. These simple experiments are child's play to her.BARBARA: You know, it's almost got to the point where I want to deliberately tripher up.IAN: (Laughing quietly.) Yes...something like that happened the other day. I'd set the class a problem with A, B, and C as the three dimensions...[SCENE_BREAK]10: INT. COAL HILL SCHOOL. LABORATORY(FLASHBACK)(SUSAN is clearly upset. For the final time she faces IAN full on.)SUSAN: It's impossible unless you use D and E!IAN: (OOV.) D and E? Whatever for? Do the problem that's set, Susan.SUSAN: I can't, Mr.Chesterton! You can't simply work on three of the dimensions!IAN: (OOV.) Three of them? Oh. Time being the fourth, I suppose. Then what do you need E for? What do you make the fifth dimension?SUSAN: (Quietlyand somewhat mysteriously.) Space...[SCENE_BREAK]11: EXT. TOTTERS LANE. (CONTINUED)BARBARA: Too many questions and not enough answers.IAN: Too stupid...or just doesn't know. So, we have a fifteen-yearold girl who is absolutely brilliant at some things and excruciatingly bad at others.BARBARA: (Pointing out of the cars windscreen window.) There she is!(At the entrance to the junkyard, SUSAN, in her hat and coat withher bag over her shoulder, looks round furtively, then pushes open the gate and enters the yard.)BARBARA: Look, can we go in? I..I hate to think of her, alone in that place.IAN: If she is alone. Look, she is fifteen...shemight be meeting a boy. Didn't that occur to you?BARBARA: I almost hope she is.IAN: What do you mean?BARBARA: Well, it would be so wonderfully normal.(Both teachers laugh. But BARBARA growssombre.)BARBARA: It's silly, isn't it? I feel frightened...as if we're about to interfere in something that is best left alone...[SCENE_BREAK]12: EXT. JUNKYARD. 76 TOTTERS LANE(SUSAN walking through the junkyard,puts something to eat in her mouth. A tailors dummy with a broken head stands behind her.)[SCENE_BREAK]13: EXT. TOTTERS LANE(IAN opens up the car door.)IAN: Come on, let's get it over with.(He and BARBARAget out of the car, and start toward the gate. BARBARA is getting more and more uneasy, and hangs back.)BARBARA: Well, don't you feel it?IAN: I take things as they come, come on.(The two teachers walk towardsthe gates.)[SCENE_BREAK]14: EXT. JUNKYARD. 76 TOTTERS LANE(With a creak of the gate, IAN and BARBARA enter the junkyard. IAN switches on his torch and they stare at the mounds of junk. SUSAN is nowhere insight. They briefly examine the tailors dummy.)IAN: What a mess. I'm not turning any of this stuff over to find her...BARBARA: (Points.) Over there?(IAN starts in the direction indicated, only to stumble over one of thepieces of junk. He picks himself back up.)IAN: Blast! I dropped it!BARBARA: What?IAN: The torch!BARBARA: Well, use a match!IAN: No, I haven't got any. Oh, never mind.(The two teachers continue their explorationof the junkyard - now somewhat in darkness.)BARBARA: Susan?IAN: Susan? Susan?(IAN starts up a short flight of stairs which lead to the building at the back of the yard.)IAN: Susan?(He comes back down.)IAN:Susan! Mr. Chesterton and Miss Wright!(He looks behind the stairs then, quietly to himself.)IAN: Can't have got out without us seeing her?BARBARA: Ian...look at this!(BARBARA has found the Police Box, which standsnext to the stairs.)IAN: Well, it's a police box! What on earth's it doing here? Well, these things are usually on the street...(IAN has put his hand on the box's side whilst saying this but he stops dead in surprise. Hetouches it with his full hand, more firmly.)IAN: Feel it! Feel it!(BARBARA quickly puts the back of her hand on and off the side of the box.)IAN: Did you feel it?BARBARA: It's a faint vibration...(He takes a step back fromthe box.)IAN: It's alive!(IAN quickly walks around the back of the box as BARBARA waits.)IAN: It's not connected to anything, unless it's through the floor.BARBARA: Look, I-I've had enough. Let's go and find apoliceman.IAN: Yes, all right...(A coughing sound echoes through the junkyard from outside the gates.)BARBARA: Is that her?IAN: That's not her...(The gate creaks open.)IAN: Quick!(They hide behind the stairs. AnOLD MAN walks into view. Seemingly in his mid seventies, with straight, slightly long white hair, wearing an Astrakhan hat, cloak and scarf. He coughs and waves a handkerchief to clear the air. He walks up to the box,pulling out a key and, holding a slim pen flashlight in the other hand, starts to insert the key into the lock set into the box's door.)SUSAN: (OOV.) There you are, Grandfather!BARBARA: (Whispering but shocked.) It'sSusan!IAN: Shh!(The OLD MAN has heard them. He pockets the key and shines the torch on the stairs as IAN comes out of hiding.)IAN: (Sheepishly.) Excuse me...OLD MAN: (Shining the pen torch at his face.) Whatare you doing here?IAN: Uh, we're looking for a girl.OLD MAN: We?BARBARA: (Stepping into view.) Good evening.OLD MAN: What do you want?IAN: Um...one of our pupils, Susan Foreman, came into this yard.OLDMAN: (A smile on his face.) Really? In here? Are you sure?BARBARA: Yes. We saw her from across the street.OLD MAN: (To himself.) One of their pupils. Not the police, then...IAN: Er...I...I beg your pardon??OLD MAN:(He fixes IAN with a stare.) Why were you spying on her? Who are you?IAN: We heard a young girl's voice call out to you...OLD MAN: Your hearing must be very acute. I didn't hear anything.BARBARA: (She points atthe box.) It came from in here!OLD MAN: (A flash of fear crosses his face.) You imagined it.BARBARA: I certainly did not imagine it!(The OLD MAN pulls IAN by the arm to one side.)OLD MAN: Young man...Is itreasonable to suppose that anyone would be inside a cupboard like that, hmm?IAN: Would it therefore be unreasonable to ask you to let us have a look inside?(The OLD MAN'S attention is suddenly drawn to a paintingamid the junk.)OLD MAN: (Picks the painting up.) I wonder why I've never seen that before. Now, isn't that strange? Pretty damp and dirty...hmm...BARBARA: Won't you help us? We're two of her teachers from theCoal Hill School. We saw her come in and we haven't seen her leave. Naturally, we're worried...OLD MAN: (Not paying attention and muttering to himself.) Have to be cleaned... (He suddenly seems to notice her again.)Mmm? Oh, I'm afraid it's none of my business. I suggest you leave here.(He puts the painting back down and walks back to the Police box.)IAN: Not until we're satisfied that Susan isn't here and, frankly, I don'tunderstand your attitude...OLD MAN: Oh, yours leaves a lot to be desired.IAN: Will you open the door?OLD MAN: There's nothing in there!IAN: Then what are you afraid to show us?OLD MAN: Afraid? Oh, go away!IAN:(To BARBARA.) I think we'd better go and fetch a policeman.OLD MAN: Very well.IAN: And you're coming with us.OLD MAN: Oh...am I? (He chuckles.) I don't think so, young man. No, I don't think so...BARBARA:(Whisper.) We can't force him!IAN: (Whisper.) But we can't leave him here! Doesn't it seem obvious to you he's got her locked up in there? (BARBARA nods.) Look at it!(The OLD MAN is standing away from them again,now seemingly examining a small jug but his real attention is occupied by the teachers conversation as IAN examines the box's door.)IAN: There's no door handle...must be a secret lock somewhere.BARBARA: That wasSusan's voice.IAN: Of course it was! Susan...Susan? Are you in there? It's Mr. Chesterton and Miss Wright, Susan!OLD MAN: Don't you think you're being rather high-handed, young man? You thought you saw a younggirl enter the yard. You imagined you heard her voice. You believe she might be in there. It's not very substantial, is it?BARBARA: But why won't you help us?(He puts the jug back down and faces the teachers.)OLDMAN: I'm not hindering you. If you both want to make fools of yourselves, I suggest you do what you said you'd do. Go and find a policeman.IAN: While you nip off quietly in the other direction.OLD MAN: (Momentarilycloses his eyes.) Insulting. (He faces them again.) There's only one way in and out of this yard. I shall be here when you get back. I want to see your faces when you try to explain away your behaviour to apoliceman.IAN: Nevertheless, we're going to find one. Come along, Barbara.(The two teachers turn their backs on the OLD MAN, toward the gate. They've taken only a step when the door of the box opens.)SUSAN:(OOV.) What are you doing out there?IAN: She is in there!(Suddenly the OLD MAN rushes at the two teachers, trying to hold them back.)OLD MAN: Close the door!IAN: Barbara!(As IAN struggles with the OLD MAN,BARBARA dashes through the box's open door...)[SCENE_BREAK]15: INT. POLICE BOX(...and into a large brilliantly lit white room. The walls are covered with circular, indentations. A hexagonal-shaped control consolewith a cylindrical tube inset in the centre with machinery visible inside. Various antiques decorate the place. A monitor is set into the upper wall. A shocked SUSAN walks from behind the console. The OLD MAN and IANwalk inside behind BARBARA.)OLD MAN: Close the doors, Susan.(SUSAN activates a switch on the console, and the large double doors behind the group close with an electronic hum.)OLD MAN: (To SUSAN.) I believethese people are known to you.SUSAN: They're two of my schoolteachers! What are you doing here?BARBARA: (Looking around in wonder.) Where are we?OLD MAN: They must have followed you. That ridiculous school- I knew something like this would happen if we stayed in one place too long.SUSAN: But why should they follow me.BARBARA: Is this really where you live, Susan?SUSAN: Yes.OLD MAN: And what's wrong with it?IAN:But it was just a telephone box...OLD MAN: Perhaps.BARBARA: And this is your grandfather...?SUSAN: Yes.BARBARA: (To the OLD MAN - the DOCTOR that she spoke of earlier with IAN.) Well, why didn't you tell usthat?DOCTOR: I don't discuss my private life with strangers.IAN: But it was a police telephone box. I walked all round it! Barbara, you saw me!(The DOCTOR crosses to an antique ormolu clock on a nearbystand.)DOCTOR: You don't deserve any explanations. You pushed your way in here, uninvited and unwelcome.BARBARA: I think we ought to leave...IAN: (To Barbara.) No, just a minute. (He crosses to theDOCTOR.)DOCTOR: (To himself as he examines the clock.) Dear, dear, dear, this is very....IAN: I know this is absurd, but I feel...I walked all around it!(The DOCTOR'S attention is still occupied by the clock.)DOCTOR:It's stopped again, you know, and I've tried... (He takes notice of IAN.) Hmm? Oh, you wouldn't understand at all.(He walks back to the console. IAN follows him.)IAN: But I want to understand!DOCTOR:(Uninterested.) Yes, yes, yes, yes, yes, yes.(The DOCTOR sheds his cloak and scarf over an old chair, keeping his hat on.)DOCTOR: Oh by the way Susan, I've managed to find a replacement for that faulty filament. Bitof an amateur job, but I, er, I think it'll serve.(The DOCTOR takes an electronic object out of his pocket and walks to the console. He starts to insert the object into the console, effecting repairs.)IAN: It's an illusion. It"}
+{"doc_id":"doc_298","qid":"","text":"[Caroline wakes up. Her blow is covered with blood. Damon sleeps in her bed. She gets up and tries to leave the room, but Damon wakes up too.]DAMON: Good morning.CAROLINE: Please... Don't.DAMON: Don't dothat. Ah, ah, ah.CAROLINE: No! No! No! Get away from me! No!DAMON: This could have gone a completely different way.[Front of the school.]BONNIE: I'm not saying don't date the guy. I'm just saying take itslow.ELENA: You were the one who said to go for it.BONNIE: Now I'm saying take it slow.ELENA: Why the about-face?BONNIE: It's not an about-face. You're single for the first time in your entire high school career. It'sthe perfect time to play the field.ELENA: Oh, because I'm so that girl. Seriously, what are you not saying?BONNIE: It's stupid.ELENA: Bonnie...BONNIE: What?ELENA: Spit it out.BONNIE: I accidentally touched Stefan.And got a really bad feeling.ELENA: Is that it? Bonnie.BONNIE: It was bad bad!ELENA: Is the whole witch mojo thing again?BONNIE: You know what? I'm just concerned. This is me expressing concern about my bestfriend's new boyfriend.ELENA: And I love you for it, I do. But I feel good. It's been a hard year, and I'm starting to kind of feel like things are getting back to normal again. And you know what? Stefan is a big part ofthat.VICKI: I rock. I scored 2 tickets to the Posers Saturday night. They're playing at the Rat.JEREMY: You and Tyler have fun.VICKI: Don't be like that. Come on. I want you to go.JEREMY: You're not worried everyone'sgoing to know you're screwing the stoner geek? Oh, wait... everyone already knows.VICKI: Yeah. But it's not like that anymore, so now we can be friends and just hang.JEREMY: Tell me something, was it the drugs?Were you sleeping with me because of the drugs?VICKI: Screw you.JEREMY: No, if there's another reason, please, I'm all ears.STEFAN: Good morning, Elena. Good morning, Bonnie.BONNIE: Hey, um, I gotta findCaroline. She's not answering her phone. So I'll see you guys later.ELENA: Bonnie, wait...STEFAN: She doesn't like me very much.ELENA: She doesn't know you. She's my best friend. She's just looking out for me. Butwhen she does, she will love you.TYLER: Look... there's Elena and her new boyfriend. Now, what are they doing? Oh, they're walking, walking, walking. Yep. Right into the sunset.MATT: You're a dick.TYLER: While youjust stand there looking like one of those little yard trolls.MATT: Gnomes.ELENA: Here's what we're going to do. Are you free tonight?STEFAN: Yes.ELENA: Perfect. Dinner, my house. 8:00. You, me, and Bonnie. You twowill spend some quality time and she'll get to see what a great guy you are. Mission accomplished.MATT: Hey, what am I supposed to do, Ty? She made her choice.TYLER: Let her know she made the wrong one.MATT:What are you doing? Ty, don't. Ty, don't! Ty! Don't!Tyler throws the ball on Stefan, but Stefan catches it with an impresionnante speed. He throws the ball to Tyler who moves back under the shock.ELENA: That throwwas insane. I didn't know you played football.STEFAN: I used to. It was a long time ago.ELENA: So why don't you try out for the team?STEFAN: Yeah, I don't think so.ELENA: So you don't like football?STEFAN: No, Ilove football. I think it's a great sport. But in this case, I don't think football likes me. You saw Tyler over there, and we both know how Matt feels.ELENA: They don't know you. To them, you're mysterious loner guy.Wouldn't hurt to be part of. Make some friends.STEFAN: Says the girl who spends her alone time writing in a cemetery.ELENA: Hey, come on. There's more to me than just gloomy graveyard girl. There's a whole otherElena that you have yet to meet. She was into everything, very busy.STEFAN: Well, I look forward to meeting her. And when will that be?ELENA: Soon. She's working on it.[In History's class. Bonnie is writing numberson her book. \"8\", \"14\", \"22\".]TANNER: World war II ended in... Anyone got anything? Miss Juan? 1945.ELENA: Psst. Fyi... Our team sucks. They could use you.STEFAN: Can't.TANNER: Pearl Harbor.STEFAN: I'm aloner.TANNER: Miss Gilbert?ELENA: Hmm? Pearl Harbor?TANNER: Um...STEFAN: December 7, 1941.TANNER: Thank you, Miss Gilbert.STEFAN: Anytime.TANNER: Very well. The fall of the Berlin wall.STEFAN: 1989. I'mgood with dates, sir.TANNER: Are you? How good? Keep it to the year. Civil Rights Act.STEFAN: 1964.TANNER: John F. Kennedy assassination.STEFAN: 1963.TANNER: Martin luther King.STEFAN: '68.TANNER:Lincoln.STEFAN: 1865.TANNER: Roe vs. Wade.STEFAN: 1973.TANNER: Brown vs. Board.STEFAN: 1954.TANNER: The battle of Gettysburg.STEFAN: 1863.TANNER: Korean war.STEFAN: 1950 to 1953.TANNER: Ha! Itended in '52.STEFAN: Uh, actually, sir, it was '53.TANNER: Look it up, somebody. Quickly.STUDENT: It was 19... 53.ELENA: How did you know all of that?STEFAN: Years and years of crossword puzzles. It's a lonerthing.[The Soccer field. Stefn looks the team. Elena is with the cheerleaders.]MATT: Nice job! Nice job!TANNER: Mr. Lockwood, is there anything you're good at? 'Cause it isn't history, and it sure as hell isn't defendingthe ball!TYLER: Yes, coach.TANNER: Now do it again!BONNIE: Oh, my God! You're here!ELENA: Yep. I can't be sad girl forever. The only way to get things back to the way they were are to do things that were. Oh, andyou're coming to dinner tonight.BONNIE: I am?ELENA: Mm-hmm. You, me and Stefan. You have to give him a chance.BONNIE: Tonight's no good. Have you seen Caroline? I texted her like a hundred times.ELENA:Don't change the subject, Bonnie Bennett. You're going to be there.BONNIE: Fine. I'll go.ELENA: Good.TANNER: Varsity trials were last spring, Mr. Salvatore.STEFAN: I wasn't here then, sir.TANNER: And you're nothere now, as far as I'm concerned.STEFAN: Mr. Tanner, I realize that you and I didn't get off to the best start, And I want to apologize for that. I've played football before. Wide receiver, mostly, and I'm prettygood.TANNER: Well, I won't be asking you who won the super bowl in '71.STEFAN: '71 was the... Sorry. I... I understand that, sir.TANNER: Just to see you get knocked on your ass. Borrow some gear. Go! Before Ichange my mind. Let's run it again!MATT: First my girlfriend, now the team?TYLER: Dude, this is an opportunity. Football's a contact sport. Sometimes people get hurt. Whoo! Ha ha!BONNIE: Seriously, where isCaroline?ELENA: I don't know. It's not like her. Try her again.Caroline arrives in Damon's car.ELENA: Uh...BONNIE: Oh, my God. That must be the mystery guy from the grill.ELENA: That's not a mystery guy. That'sDamon Salvatore.BONNIE: Salvatore, as in Stefan?CAROLINE: I got the other brother. Hope you don't mind. Sorry I'm late, girls. I, uh, was busy. All right, let's start with the double pike herkey hurdler, what do yousay? And 5, 6, 7, 8. 1, 2, 3, 4, 5, 6, 7, 8. 1, 2, 3, 4, 5, 6, 7, 8. Elena, sweetie, why don't you just observe today? Ok? Keep going! Ok. Do it again from the top. And 5, 6, 7, 8. 1, 2, 3, 4, 5, 6, 7, 8.MATT: Blue lady! Bluelady! Set, hut! Go! Come on, Tyler, cover it! Let's do it.TANNER: Get it.MATT: Line up!MATT: I hate to say it, but he's got skills.TYLER: I think he needs a buddy pass.MATT: Really? You don't get to walk on the field andact like you own the place after 5 minutes.TYLER: Just hang one up there and I'll take care of the rest.TANNER: Do it again.MATT: All right, let's huddle up. Set, hut!TYLER: Oh! Whoo! Welcome to the team,buddy.TANNER: You gonna live, Salvatore?STEFAN: Yeah.TANNER: Walk it off, son.MATT: Hey. That was my bad.STEFAN: It's all right.MATT: Hey.TANNER: All right.[Stefan's bedroom.]DAMON: How were tryouts? Didyou make the team? Very Emerson, the way you reveal your soul with so many... Adjectives.STEFAN: What are you doing here?DAMON: I've come to apologize. I've been doing some thinking, some soul searching,and... I want us to start over. We need to put the past behind us. You're my little brother, and if you want to live a normal, happy human life, then I want that for you. Maybe I can do it, too. That I can learn to be anon-living living person. Maybe there's hope for both of us.STEFAN: You know, it doesn't have to be this way, Damon.DAMON: Of course it doesn't. I saw Elena today, btw. That means \"by the way.\" She was atcheerleading practice. She looked so perky in her little short shorts. Just... simmer down, I didn't even go near her. I've got my own cheerleader now. Ooh, that reminds me... I gotta run. I have a date. Sweaty palms.Wish me luck.[Elena's kitchen.]BONNIE: You explain it. Last night, I'm watching Nine-o, a commercial breaks come on and I'm like, I bet it's that phone commercial. And sure enough, it's that guy and the girl with thebench, he flies to Paris and he flies back. They take a picture.ELENA: Oh, come on. That commercial's on a constant loop.BONNIE: Fine. Well, how about this? Today I'm obsessed with numbers. 3 numbers. I keepseeing 8, 14, and 22. How weird is that?ELENA: Maybe we should play the lottery. Have you talked to your grams?BONNIE: She's just gonna say it's because I'm a witch. I don't want to be a witch. Do you want to be awitch?ELENA: I don't want to be a witch.BONNIE: And putting it in a nice bowl isn't fooling anybody.ELENA: Ok, serving spoons. Where are the serving spoons?BONNIE: Little drawer on your left.ELENA: Ok, so you'vebeen in this kitchen like a thousand times.BONNIE: Yeah, that's it.They hear the doorbell.ELENA: Ok, he's here. Don't be nervous. Just be your normal loving self. Bonnie stays alone in the kitchen.BONNIE: Birthdaycandles. She opens a drawer and find the candles[Elena's living room.]ELENA: Did Tanner give you a hard time today?STEFAN: Well, he let me on the team, so I must have done something right.ELENA: Bonnie, youshould have seen Stefan today. Tyler threw a ball right at him, and...BONNIE: Yeah, I heard.ELENA: Why don't you tell Stefan about your family?BONNIE: Um, divorced. No mom. Live with my dad. Hmm.ELENA: No,about the witches. Bonnie's family has a lineage of witches. It's really cool.BONNIE: Cool isn't the word I'd use.STEFAN: Well, it's certainly interesting. I'm not too versed, but I do know that there's a history of celticdruids that migrated here in the 1800s.BONNIE: My family came by way of Salem.STEFAN: Really? Salem witches?BONNIE: Yeah.STEFAN: I would say that's pretty cool.BONNIE: Really? Why?STEFAN: Salem witchesare heroic examples of individualism and nonconformity.BONNIE: Yeah, they are.They hear the doorbelln, again.ELENA: I wonder who that could be.CAROLINE: Surprise! Bonnie said you were doing dinner, so webrought dessert.ELENA: Oh.DAMON: Hope you don't mind.STEFAN: What are you doing here?DAMON: Waiting for Elena to invite me in.ELENA: Oh, yeah, you can...STEFAN: No, no, no. He can't, uh... he can't stay. Canyou, Damon?CAROLINE: Get in here.STEFAN: We're just... finishing up.ELENA: It's fine. Just come on in.DAMON: You have a beautiful home, Elena.ELENA: Thank you.CAROLINE: I cannot believe that Mr. Tanner let youon the team. Tyler must be ceiling. But good for you. Go for it.DAMON: That's what I always tell him. You have to engage. You can't just sit there and wait for life to come to you. You have to go get it.CAROLINE: Yeah,Elena wasn't so lucky today. It's only because you missed summer camp. God, I don't know how you're ever going to learn the routines.BONNIE: I'll work with her. She'll get it.CAROLINE: I guess we can put her in theback.DAMON: You know, you don't seem like the cheerleader type, Elena.CAROLINE: Oh, it's just 'cause her parents died. Yeah, I mean, she's just totally going through a blah phase. She used to be way more fun. AndI say that with complete sensitivity.DAMON: I'm sorry, Elena. I know what it's like to lose both your parents. In fact, Stefan and I have watched almost every single person we've ever cared about die.STEFAN: We don'tneed to get into that right now, Damon.DAMON: Oh, you know what, you're right, Stef. I'm sorry. The last thing I wanted to do was bring her up. Mmm.[SCENE_BREAK][At the grill.]VICKI: Don't do that. Not while I'mworking. I'll see you later.TYLER: I'll be right back.MATT: She's my sister and I love her, but sometimes she can really make you work for it.JEREMY: I find it pretty easy.JERMEY: All right, I get it. Hitting me to impressher. That's... That's real nice.TYLER: I don't need to impress her. I already won. Now you're dead.JEREMY: Am I? 'Cause it seems like I'm standing here waiting for you to man up.MATT: Ty, don't!TYLER: The next time Isee you, Gilbert...JEREMY: No, next time I see you.MATT: What are you doin', Vick?[Elena's kitchen.]DAMON: One more.ELENA: Oh, thank you. Nice save.DAMON: I like you. You know how to laugh. And you makeStefan smile, which is something I haven't seen in a very long time.ELENA: Earlier, did you mean... Katherine?DAMON: Mm-hmm.ELENA: How did she die?DAMON: In a fire. Tragic fire.ELENA: Recently?DAMON: Well, itseems like it was yesterday.ELENA: What was she like?DAMON: She was beautiful. A lot like you in that department. She was just very complicated and selfish and at times not very kind, but very sexy andseductive.ELENA: So which one of you dated her first?DAMON: Nicely deduced. Ask Stefan. I'm sure his answer differs from mine. I'd quit cheerleading if I were you.ELENA: Why do you say that?DAMON: Oh, I saw youat practice. You looked miserable.ELENA: You saw that?DAMON: Uh-huh.ELENA: I used to love it. It was fun. Things are different this year. Everything that used to matter doesn't anymore.DAMON: So don't let it. Quit,move on. Problem solved. Ta-da.ELENA: Some things could matter again.DAMON: Maybe. But... seems a little unrealistic to me.ELENA: I'm sorry. About Katherine. You lost her, too.BONNIE: Hey. Need somehelp?DAMON: Sure, why not?[Elena's living room.]CAROLINE: Matt tries, but he's just having a really hard time. You have to understand that they were each other's first. You know, like, from the sandbox.STEFAN:That's a really nice scarf.CAROLINE: Mm. Thank you, it's new.STEFAN: Can I see it? I mean, would you mind taking it off?CAROLINE: Oh, I can't.STEFAN: Why not? You ok?CAROLINE: Um... All I know is that I can'ttake it off.DAMON: What are you two kids talking about?STEFAN: I was just commenting on her scarf.DAMON: Hmm. Hey, you know, um, Elena and Bonnie are finishing up the dishes. Why don't you go see if you canhelp?CAROLINE: Does it look like I do dishes?DAMON: For me?CAROLINE: Hmm... I don't think so.DAMON: Go see if Elena needs help in the kitchen.CAROLINE: You know what? I'm gonna go see if Elena needs somehelp in the kitchen.DAMON: Great.STEFAN: They are people, Damon. She's not a puppet. She doesn't exist for your amusement, for you to feed on whenever you want to.DAMON: Sure she does. They all do. They'rewhatever I want them to be. They're mine for the taking.STEFAN: All right, you've had your fun. You used Caroline, you got to me and Elena, good for you. Now it's time for you to go.DAMON: That's not a problem.Because... I've been invited in, and I'll come back tomorrow night and the following night and I'll do with your little cheerleader whatever I want to do. Because that is what is normal to me.[Elena's bedroom.]ELENA:Tonight wasn't so bad. I had fun.STEFAN: Hmm. That makes one of us.ELENA: Come on. Your brother isn't as bad as you make him out to be...Stefan kisses her. When he removes his shirt, he turns into Damon. Elenascreams. She wakes up, it was a nightmare. There was a crow at the window[Stefan's bedroom. He is writing on his diarie.]STEFAN: There must be a shred of humanity left inside my brother. Somewhere. I keephoping. But how do I make him see it? And how do I protect her?[Later. The Soccer game.]ELENA: Ooh. Look at you. You look hot in your jersey.STEFAN: What happened? No more cheerleader?ELENA: I quit. I'm aquitter.STEFAN: No, hey, you're not a quitter. You suffered a great loss. You're not the same person. You should be looking ahead. You should be starting over. Ok? I hope you don't think this is too soon or too weird,but... I, uh, I wanted you to have this.ELENA: Oh, my God, it's beautiful.STEFAN: It's something that I've had forever, and, uh, I've never wanted to give it to anyone until now. I'd very much like it if you'd wear it forme, for... good luck.ELENA: Is that rose that I smell?STEFAN: No, it's, uh... it's an herb. It's nice, huh?ELENA: I love it.STEFAN: And, uh, I wanted to thank you for pushing me to try out for the team. It feels reallygood.ELENA: We're a pair. I quit, you start.STEFAN: Right. We're a work in progress. We'll figure it out.Elena kisses him.CAROLINE: And you're not in uniform because...[Later.]TANNER: Wait, wait, wait, Wait, wait,wait, wait, wait, wait, wait. Wait. Let's be honest here. In the past, we used to let other teams come into our town and roll right over us! But that is about to change. We've got some great new talent tonight starting onthe offensive line, and I'm gonna tell you right now, it has been a long time since I have seen a kid like this with hands like these.TYLER: This blows. He can't start the guy. He just got here.TANNER: That have beenwaiting for us to put a check in the win column, I have only one thing to say to you... Your Timberwolves are hungry.VICKI: Hey, you. What's wrong?TYLER: Nothing.TANNER: And the central high lions are what's fordinner!TYLER: Is that Jeremy?VICKI: Wait, no! Ty! No.TYLER: Oh, what do you care? Don't look so down. You can have her when I'm done.Jeremy strikes him. The two boys begin to fight.VICKI: Tyler, stop it! Tyler!Tyler, stop! Stop it! Stop, you're hurting him! Tyler! Tyler, stop! Tyler! Stop it! Tyler, stop!STEFAN: Hey, he's down! Enough!ELENA: Jeremy, no!MATT: Get off me! Stop!ELENA: What the hell, Jeremy? Put your head up,you're bleeding.JEREMY: I'm fine!ELENA: Yeah, you smell fine.JEREMY: Just stop, ok?MATT: Come on, man. Come on.ELENA: Oh, my God, your hand.STEFAN: No, no, no, it's fine.ELENA: Is it deep? How bad is it?Come on! Stefan's hand hasn't scar.ELENA: But... I saw it, it was...STEFAN: He missed. It's not my blood. See? I'm fine.ELENA: No, no, no. I... I saw it. The glass cut your hand. It was...STEFAN: It's ok. I'm ok. It'salmost kick-off time, all right? So, um, I'll, uh, I'll see you after the game.CAROLINE: Hey, Tiki, it's all wobbly. Can you stand straight, please? Could someone please help Tiki?BONNIE: Hey! Where you been?ELENA:Can I ask you a question and you give me a really serious no-joke response?BONNIE: Of course. What is it?ELENA: The bad mojo. When you touched Stefan and you had that reaction...BONNIE: You know what, forget Isaid that. Your little dinner party plot totally won me over.ELENA: No, Bonnie, seriously. What was it? Did you see something, Or...BONNIE: It wasn't clear like a picture. Like today, I keep seeing those same numbers Itold you about... 8, 14, 22.ELENA: Yeah?BONNIE: When I touched Stefan, it was a feeling. And it vibrated through me, and it was cold, and it...ELENA: And what?BONNIE: It was death. It's what I imagine death to belike. Elena goes to her car.ELENA: You scared me. What are you doing here?DAMON: I'm hiding from Caroline.ELENA: And why is that?DAMON: I needed a break. She talks more than I can listen.ELENA: That could be asign.DAMON: Well, she's awfully young.ELENA: Not much younger than you are.DAMON: I don't see it going anywhere in the bigger picture. I think she'd drive me crazy.ELENA: Caroline does have some really annoyingtraits, but we've been friends since the first grade and that means something to me.DAMON: Duly noted. I'm sorry if I make you uncomfortable. That's not my intention.ELENA: Yes, it is. Otherwise you wouldn't put analternate meaning behind everything you say.DAMON: You're right. I do have other intentions, but so do you.ELENA: Really?DAMON: Mm-hmm. I see 'em. You want me.ELENA: Excuse me?DAMON: I get to you. Youfind yourself drawn to me. You think about me even when you don't want to think about me. I bet you even dreamed about me. And right now... You want to kiss me. She strikes him.ELENA: What the hell? I don't knowwhat game you're trying to play with Stefan here, but I don't want to be part of it. And I don't know what happened in the past, but let's get one thing straight... I am not Katherine.[Later.]MATT: You gonna be able toplay?STEFAN: Oh, yeah, I'm good.MATT: Uh, what you did back there... you had Jeremy's back.STEFAN: Ah, he's a messed-up kid. Somebody's gotta look out for him.MATT: I know. This week at practice I was adick.STEFAN: Had your reasons.MATT: No excuse. Good luck tonight. We're lucky to have you.DAMON: Isn't that nice? Stefan joins a team, makes a friend. It's all so, \"rah, rah, go team, yeah!\"STEFAN: Not tonight. I'mdone with you.DAMON: Nice trick with Elena. Let me guess... vervain in the necklace? I admit, I was a bit surprised. It's been a while since anyone could resist my compulsion. Where'd you get it?STEFAN: Does it"}
+{"doc_id":"doc_299","qid":"","text":"\"Surprise\" 25th Episode of RoswellProduction Code: 2ADA03[SCENE_BREAK](Episode begins with Isabel in an abandoned building. She finds Tess on the ground, badly beaten)Isabel: Oh, God! Tess! Oh, god, Tess!Tess! Tess, wake up! Oh, God. Wake up!Tess: Isabel?Isabel: Ok, come on. Come on, Tess. I'll get you out. It's ok. Ok. Ok. Come on. Come on. I'll get you out of here. It's ok. It's ok. We'll make it. I promise. We'll makeit. Ok.(Isabel moves Tess into a room and bolts the door)Isabel: Tess. Stay with me. Stay with me, damn it. Don't die on me now. Don't die on me now.(The door unlocks and swings open. Isabel recognizes theperson)Isabel: It's you.(Opening credits)(Isabel is on her way to the Crashdown, where her friends have prepared a surprise party. She's wearing a party dress)Everyone: Surprise!Mrs. Evans: Oh, happy birthday,sweetheart!Isabel: Oh, my God! Oh! I could kill you all.Mrs. Evans: Kill your brother. He's the one who planned the entire thing.Max: Happy birthday, old lady.Isabel: Max, I can't believe you did this with everythingthat's happening.Max: It's still your birthday.Isabel: Max, you're the worst, really. I don't know what to say.Maria: Say that you're surprised, 'cause he was totally, totally stressing that you'd figure it out.Isabel: I hadno idea.Max: Really?Michael: Alex told you to come by so he could give you back a book. I mean, what a lame excuse. How could you not figure that out?Isabel: Where is Alex, anyway?Maria: He's, um, he's still gettingdressed.(We see Courtney using her alien power to fill some empty glasses with beverages)Mrs. Evans: Can you believe your brother did all of this in, like, 3 days' time?Isabel: No.Courtney: Happy birthday toyou.Isabel: Oh, thank you.Courtney: Mm-hmm.Mrs. Evans: Oh, honey. You know, your dad is beside himself that he's still stuck in Minneapolis.Isabel: That's ok. Poor guy.Mrs. Evans: By the way, honey, why are youwearing that dress?Isabel: Um, oh...Michael: Yeah. If you really didn't know about the party, then how'd you know to dress up?Isabel: I...I didn't. I...actually, I had, um, other plans.Grant: Isabel. Sorry I'm late. I didn'tknow there was going to be a party.Isabel: Neither did I. Purple are my favorite.Grant: So I heard.Michael: No, wait. Who's ever heard of purple roses? What, did you, like, dye them or something?Isabel: They'resterling roses, Michael. They're...they're really rare and expensive.Grant: Well, I'm impressed. No one's ever given me a surprise party.Mrs. Evans: Oh, when's your birthday?Grant: December 7th.Mrs. Evans: And whatyear might that be?Isabel: Mom!(Isabel notices some blood on the back of Grant's neck)Isabel: Oh, you...you're bleeding on your...Grant: I am?Isabel: Oh, here. Let me.Isabel (to Mom): Here, mom. Will you...(Isabelhands Mrs. Evans the glass the was holding)Grant: Must have happened when I slipped down the ravine on the dig today.(Isabel has an incoherent vision)Grant: What?Isabel: Nothing. No, nothing.Grant: Well, thisobviously isn't a good time for a date.Isabel: Well, you're welcome to stay.Michael: Or go.Grant: Actually, I have some samples I should drop off at the lab tonight anyway. I'll call you.Isabel: Ok.(Grant leaves and Mrs.Evans is visibly upset)Mrs. Evans: You know, honey, not now and not tonight, but pretty soon you and I are gonna have to have a little talk.Max: Ditto.(Isabel has a vision of Tess in an accident. She drops herdrink)Isabel: Oh, God.Mrs. Evans: Are you all right?Isabel: I'm just so clumsy tonight.Courtney: I'll get that.Isabel: Are you sure? I can...I can get it.Courtney: This is your night.(In Whitaker's office, Liz is dancing a bitwhile organizing some files. Whitaker comes in and wonders what's going on)Liz: Oh! I'm sorry.Whitaker: Where'd you get that?Liz: Oh...um, there were just some CDs out on your desk. I can put them back.(As Lizturns off the boombox, Whitaker locks one of the file cabinets. Liz notices this)Whitaker: No, it's fine. Run lola run, huh?Liz: It's a great soundtrack.Whitaker: Yeah. It's really cool. I loved this movie. Story of my life.Liz:I know what you mean.Whitaker: It's after 7:00. What are you still doing here?Liz: Oh, um, I was just gonna finish up these reports.Whitaker: They'll be here tomorrow. Go home. Here, take Lola.Liz: Oh, really? Thatwould be so great, because I have this party I want to get to.Whitaker: Oh, really? There's a party?Liz: Yeah. Um, it's just this small birthday party for a friend of mine at the Crashdown.Whitaker: That cafe your parentsown. Oh, I adore that place.Liz: Thank you.Whitaker: You know, it would be great to finally meet them.Liz: Oh, I don't think that they're gonna be there.Whitaker: I'll just pop my head in for 5 minutes. Never hurts tomingle with my constituents.Liz: Yeah, sure. Uh, that'd be great.Whitaker: I'm just gonna hit the powder room...freshen my lipstick.(Liz uses a letter opener to unlock the cabinet that Whitaker locked. She finds a CDlabeled \"Parker Liz, Date: Sep 6-19\". She puts the CD in the boombox and listens via headphones)Liz: I can't just go to a movie in the middle of the day, Maria.Maria: Tell her you got a doctor's appointment.Liz: Andanyway, I don't want to run into him anywhere. That's why I took this job.Maria: Him, him, him. Ever since you broke up, he's become this pronoun instead of a person.Liz: Let's keep it that way.(Liz hastily turns off theboombox as Whitaker comes out of the powder room)(Max eavesdrops on Isabel as she calls Grant on her cell phone)Isabel: Listening to my private conversations?Max: Why you calling him? He just left.Isabel: Uh, Iwas just leaving him a message to thank him for the flowers.Max: You already thanked him.Isabel: Yeah, and you guys made him feel really welcome.Max: He wasn't invited.Isabel: I invited him before I ever knewthere was a party.Max: Don't do it again.Isabel: Excuse me? Are you forbidding me?Max: You can't let anyone new in. It's too dangerous.Isabel: Like it was too dangerous to let Liz Parker in.Max: That's different.Isabel:Yeah, it was. You want to know how? Because I can date someone and keep my mouth shut at the same time. You couldn't.Max: That was the past. We've got to think about the future, the one our mother talkedabout.Isabel: Right, right. The king. I'm sorry. How could I forget? All I know is...Max, you may be the king, but I am not bowing down to you, not in this lifetime.(Isabel sees some visions, among them a \"RED'S\"sign)Isabel: Uhh.Max: What is it?Isabel: Had this headache on and off all day.Max: You're sweating.Isabel: I'm fine. It's...(Maria interrupts)Maria: Ahem. Isabel, you better come out. There's a policeman here to seeyou.Isabel: A policeman? What's going on?Maria: He's asking for you.Max: You better go.(Isabel enters the main Crashdown area, followed by Max and Maria. Alex has dressed up in a policeman uniform and startsremoving his clothes)Alex: You love that!(Mrs. Evans is appalled by this striptease. She walks up to Alex)Alex: Hi, Ms. Evans. Great party.(In one of the back rooms, Courtney walks in as Michael is trying to finishmaking Isabel's cake)Courtney: So, did you, uh, make that all by yourself?Michael: No. Betty Crocker came on by and whipped it up.Courtney: Betty Crocker would've used eggs.Michael: Eggs.Courtney: Sorry.Michael:My first cake.Courtney: Well, guys don't make cakes for just anybody. In fact, guys don't make cakes at all.(Courtney sticks her finger in the cake and tastes it)Michael: Hey.Courtney: What flavor is thisanyway?Michael: It's a combination of a few things.Courtney: It tastes like Tabasco. Did you put Tabasco in a cake?Michael: Well, what if I did?Courtney: I like that.Michael: Just move.Courtney: So, what's a chick gotto do to get a cake out of a guy like you?Michael: Nothing you could handle.(Courtney tastes the frosting)Courtney: That's too bad. Mmm. You gonna frost it or what?Michael: Yeah, I'm gonna frost it.(Maria stops by tocheck up on the cake)Maria: How's the cake coming?Courtney: It's coming.Michael (to Courtney): Maybe you should finish it.(Michael leaves and Maria and Courtney start arguing over him)Maria: Michael. Taken. Orhaven't you noticed?Courtney: I noticed he didn't make this cake for you.Maria: It's not my birthday.Courtney: Small detail.(Alex comes in and starts lamenting about how his striptease dance turned out)Alex: Youknow, I can't believe I let you talk me into that!Maria: Me and Michael go way back.Alex: That was the most humiliating experience of my life!Courtney: You sew your name into the back of his jeans?Maria: You'll neverfind out.Alex: I did a striptease in front of her mother! Are you listening to me?Maria: One nipple does not constitute a striptease, Alex.Alex: She saw my nipple? Oh, God.Courtney: Chill out, NYPD blue.Alex: Chill out?Chill out? I spent $150 to rent this costume. And do you have any idea how it feels to walk around all day with a thong up your ass?Maria & Courtney: Yes.(Back in the main Crashdown area, Kyle is complaining to hisbuddies about Tess)Kyle: Seriously. So, she's got her underwear and her bras and her girlie things all over the bathroom. Every time I go in to shave, I feel like I'm walking into Victoria's Secret.Michael: So what's notto like?Isabel: Kyle, where is Tess?Kyle: She went to Jensen's to get your present. Anyway, she's taken over television, the computer, my phone. If some chick's gonna be yelling at me about keeping the toilet seatdown, she better at least be doing me.(Mrs. Evans walks by and reacts to Kyle's last words)Kyle: Doing me...a favor.Mrs. Evans: Hi. I'm, uh...I'm Isabel's mom.(Max grabs Michael)Max: I need to talk to you.Michael:We have nothing to talk about.Max: I need you to back me up on something.Michael: You make decisions without asking my opinion, and now you expect me to back you up?Max: I think Isabel's getting serious withthat Sorenson guy.(Michael apparently agrees with Max this time and talks to Isabel about it)Michael: He gave you an order.Isabel: I don't take orders from Max.Michael: He's our leader. He's right.Isabel: Since when?You two are barely speaking. And when you do talk, you don't even agree.Michael: Well, we agree on this.Isabel: I bet you do.Michael: What's that supposed to mean?Isabel: Am I supposed to be alone for the rest ofmy...of my life...Michael: Isabel, you are not alone.Isabel: Not even talk to other guys?Michael: Works for me.Isabel: I don't think so.Michael: Isabel, you do not belong with him.Isabel: No. I belong with you. But Idon't think either one of us wants to think about that too much.(Isabel sees more visions of Tess)Isabel: Unh!Michael: What's going on?Isabel: Nothing. Nothing. It's just my headache.(The cake is brought out.Everyone starts singing \"Happy Birthday\", but during the song, Isabel sees Tess repeatedly asking her for help)Tess: Isabel! Help me, please help me! Isabel! Help me, Isabel! Please help me! Isabel!(Isabel explains hervision to Max and Michael in the back room)Isabel: It was like she was really here. She was hurt and crying for help.Max: Who was the last person to see her?Michael: Kyle said she went to Jensen's to buy apresent.Isabel: She's in danger.Michael: Yeah. It's got to be Nasedo's killer. He's after Tess.Courtney: Trust me, nobody's after Tess. All that blond hair and eye shadow? She's like Dolly Parton without the jugs.Michael:Could you just go refill the ketchups or something?Isabel: We've got to find her.Max: I think we should start with Sorenson. He showed up here bleeding. Could've been struggling with someone.Isabel: Grant hasnothing to do with this, Max.Max: I'll be the judge of that.(Liz and Maria enter the back room)Liz: We've got a problem.Max: I know. Tess is missing.Maria: Oh, boo-hoo. Sorry.Liz: She's missing?Michael: Isabel had avision that she was in trouble.Maria: That's weird.Liz: Here's something else weird - Whitaker has been taping my phone conversations at work. I found a CD. But the thing is how come she hasn't busted meyet?Michael: Maybe because she hasn't given up alien-hunting after all.Liz: She's out there right now.Isabel: At my party?Liz: Yeah...um, she sort of invited herself.Courtney: So, the real party's in here.Maria: Couldyou, like, go refill the ketchups or something?Courtney: Done.Maria: Sugars, then.Michael: Maybe Whitaker's got something to do with this Tess thing.Max: Michael, you go to her office...see what you can find. I'mgoing to get Valenti. We'll check out Sorenson.Isabel: What should I do?Max: Make sure Whitaker stays here so Michael can search her office.Isabel: I can't just stay here knowing everything that's happening.Max: We'llhandle it. Just...just try to enjoy your party.Isabel: Like I can, Max. I'm the one who saw the visions. I'm going after her.Max: Let me take care of it.[SCENE_BREAK](Outside in the main Crashdown area, Whitaker ismingling)Whitaker: So you must be the birthday girl.Liz: Oh, Isabel, this is Congresswoman Whitaker.Whitaker: Hmm.Isabel: Hi. It's nice to meet you.Mrs. Evans: Hello. I'm Diane Evans, Isabel's mother. Such an honorto have you here.Whitaker: Not at all. Saves me from an evening of senate budget proposals and Jay Leno. Isabel...that is such a beautiful name.Isabel: Thank you.Mrs. Evans: Well, why don't we open the rest of thepresents?Mrs. Evans (to Whitaker): Won't you join us?Whitaker: Yes. Ok. Thank you.Mrs. Evans: Great. Ok. Come on, everybody. It's time to open the...all of this. Oh. You're popular. Ok. Which one first?Isabel: Um,this.(Isabel opens the box to find a small alien stick figure)Isabel: Oh. Ho ho ho. Who's this from?Mrs. Evans: Who's the comedian?Isabel: Just what I always wanted, guys. Thank you.Mrs. Evans: Here. This one's fromyour dad.(Isabel gets another vision of Tess in trouble)Isabel: Ahhh.Mrs. Evans: What's wrong, honey?Isabel: Noth...nothing. I...you know, I've...I've had this headache all day. I think there's aspirin in the back.(Isabelgoes to the back room, followed by Liz and Maria)Liz: Did you have another vision?Isabel: Give me your keys.Maria: No way. Last time I lent out the Jetta, an uzi took out the back window.Isabel: Then drive me.Maria:Where?Isabel: To look for Tess. I saw a sign - RED'S.Liz: There's no \"RED'S\" in Roswell.Isabel: I know Tess isn't your favorite person. We've all treated her pretty badly. I'm not proud of the way I've acted.Liz: I can'thelp it, Isabel. I don't trust her.Isabel: Then trust me.Maria: Ok. I think I know where it is. Let's go.Liz: No. Max said not to leave.Isabel: Max isn't here.Liz: Ok. Fine. I'll go with you.Isabel: No. No. You have to cover forme.(Max and Sheriff Valenti search through Tess' stuff, trying to find out where she was and who may have last seen her)Sheriff: Address book. Evans. Evans. Guerin. Not a wide circle of friends.Max: Tess never hadanyone but Nasedo.Sheriff: And you three.Max: Isabel was the only one she was really ever close to.Sheriff: What about you?Max: It was...it was too complicated.Sheriff: She wanted to jump your bones, huh?Max:Something like that.Sheriff: Screws things up every time.Max: Happen to you?Sheriff: Yeah. In my dreams.Max: Is that her cell phone?(Max presses the redial button)Grant: Hello.Max: Hi. I'm calling from the phonecompany. We're checking the lines.Grant: What lines? This is a cell phone.Max: Right. I mean, we're checking the service. This is 555-0188?Grant: Yeah. You got it.Max: And the number is billed to?Grant: GrantSorenson.Max: Sorenson. Right. That's what I have. Thank you.(Michael breaks into Whitaker's office and starts looking around. He finds a file for Courtney and takes a picture from the file. Michael sees Whitakerunlocking the office door and makes a hasty retreat just before she enters)(Maria drives Isabel to a rundown restaurant called Fred's. The \"F\" on the neon sign isn't lit up)Maria: There's your \"RED'S\".Isabel: That'sit.(Isabel sees Tess' car, which has been damaged. It's been abandoned)Isabel: Shoot. Where is she?Maria: Maybe she was thrown out of the car.Isabel: I don't think so.Maria: Um, maybe the paramedics alreadycame.Isabel: No.(Isabel finds a piece of skin on Tess' car. It disintegrates in her hand)Isabel: No. She was taken.Maria: Ahh, I can't get a signal this far out.Isabel: I see some tracks. 2 sets of tires, see? But look here.They swerve near Tess' car...then go out in that direction.Maria: Straight into nowhere.Isabel: Nowhere's where we're going.Maria: Note to self - get 4-wheel drive.(Maria and Isabel arrive at Chavez County ElectricPower Facility - Plant #2)Isabel: She's in there.Maria: Oh, no. No. No. Now, you don't know that.Isabel: I feel it.Maria: We need to get Max and Michael.Isabel: Then go get them.Maria: No. No. No. You're not going inthere by yourself.Isabel: I have to.Maria: No. I'm not gonna leave you.Isabel: Look. Go get Max and Michael, all right? Just go. But I can't wait. I have to go in.Maria: All right. Here. Take the flashlight.Isabel: Ok.(Isabelrips her dress as she climbs through the fence. She takes off her shoes)(Max and Sheriff Valenti break into Grant Sorenson's motel room and start searching for anything that might give them a hint as to Tess'whereabouts)Sheriff: Stop right there!Grant: Whoa! Whoa. Sheriff, what are you doing in my room?Sheriff: When's the last time you saw Tess Harding?Grant: Who?Sheriff: Tess Harding. And don't lie to me.Grant: Ibarely know the girl.Max: Then why'd you call her cell phone today?Grant: She's a friend of Isabel's. I wanted to ask her advice on a birthday present.Max: And what did she tell you?Grant: She said she was going toJensen's to pick something up.Max: That's what Kyle said.Grant: I knew I'd be on the dig all day and was pressed for time, when she suggested flowers. She said purple roses were Isabel's favorite.Sheriff: Sorry.Procedure.Grant: Procedure? You break into my room and stick a gun in my face?Sheriff: Tess Harding is missing.Grant: Well, then maybe you should be out looking for her instead of harassing innocent people.Sheriff:Look, Mr. Sorenson...Grant: No. You look, Sheriff. There's obviously no evidence. I don't appreciate you and deputy dog here accusing me.Sheriff: Nobody's accusing you of anything.Grant: You got a searchwarrant?Sheriff: I can get one.Grant: Then get it, but until then, get out.Sheriff: If you hear from her, you call me.Grant: Right.(Courtney goes outside to smoke a cigarette. Michael confronts her)Courtney: Worriedabout my health?Michael: Who are you?Courtney: What?Michael: You know what I'm talking about.Courtney: Are you, like, high or something?(Michael shows her the picture he found in Whitaker's office)Courtney:Where'd you get that?Michael: From your file in Whitaker's office.Courtney: Get out of my face.Michael: You're gonna tell me exactly what's going on.Courtney: No, I don't have to tell you anything.Michael: So, youworking with her? You spying on us? Is that what you're doing?Courtney: You're a big man, aren't you?Michael: Don't jerk me around. If you're not working with Whitaker, then why does she have photos ofyou...documents, huh? Why is she watching you? Why is a U.S. Congresswoman interested in a waitress from Roswell?Courtney: Because I was sleeping with her stepson, that's why!Michael: Stepson.Courtney: That'sright. He screwed his life up with drugs, and I screwed my life up with him. When we got busted, do you know who went down for that? I spent 2 years in Buckman, and the only reason why I got out of there is becauseI promised that bitch that I would never see him again. So I guess that she's just making sure I keep that promise.Michael: All right. Thanks.Courtney: Thanks?(Courtney slaps Michael)Courtney: Jerk!(Maria pulls up inthe Jetta just as Michael has his hands on Courtney's shoulders)Maria: Michael, we got to go. Isabel's in trouble.(Isabel searches through the power plant, frequently hearing sobbing noises. She eventually finds Tess,battered and bruised on the floor)Isabel: Oh, Tess. Oh, God. Tess. Oh, God. Wake up. Oh, wake up.(Maria and Michael are on the way to the power plant)Michael: I can't believe you let her go after Tess alone.Maria:She didn't give me a choice.Michael: Well, where's the phone? I'm gonna call Valenti. Get him and Max to meet us there.(Back at the Crashdown, Liz is trying to get in touch with Maria)Liz: Come on. Someone answerthe phone...anyone.Mrs. Evans: Liz, have you seen Isabel?Liz: Isabel?(Back at the power plant)Isabel: Come on, Tess. I'll get you up. Come on, I'll get you up.(Back at the Crashdown)Liz: She, uh, spilled punch...youknow, on her dress.Mrs. Evans: Oh, my.Liz: But she had to leave because she had to go take care of it. It was...it was upsetting her.Mrs. Evans: Sometimes, honey, if one hair is out of place, she won't leave thehouse.(Back to Isabel and Tess. Isabel moves Tess to an empty room, and bolts the door)Isabel: There. Tess. Tess, stay with me. Stay with me, Tess. Damn it. Don't die on me now.(The bolts on the door slide over bythemselves. Someone is opening them from the other side with an alien power. The door swings open and we see Congresswoman Whitaker)Isabel: It's you.Whitaker: Impressive.Isabel: What?Whitaker: You. Coming"}
+{"doc_id":"doc_300","qid":"","text":"(Someone throws a rock at the window of an abandonned house and shatters it. A young girl, Addie, standing on the front lawn of this house turns around.)Bryan : Hey, Troy. You're a dork.Troy : Hey, shut up. Hey,freak.(On his way to the front door, Bryan blow some kisses at Addie who stares back at him)Addie : Excuse me. You are going to die in there.Troy : Shut your mouth, or we're gonna kick your ass!Bryan : We gotbats.Troy : I hate trees!(The boys enters the house)Addie : You're gonna regret it. You're gonna regret it. You're gonna regret it.Troy : Yeah!Bryan : Yeah!(While the boys smash everything they found inside with theirbats, a song sung by children can be heard)SONG: \u0000 I know / I know / You belong / To some / Body new / But tonight / You belong / To me /Although / Although / We're apart / You're part / Of my heart / And tonight /You belong / To me / Just to little old me. \u0000Bryan : Troy.Troy : Awesome. (A door swings shut) Go.Bryan : No, you go, shithead.(The boys go down some stairs)Troy : Check it out.(They find a room full of jars filledwith human's and animal's parts. Troy picks up a jar containing an ear and drops it. It shatters onto the ground)Troy : It stinks in here. It stinks like sh1t. You remember last summer when we get the raccoon stuck inour chimney? That's what it smells like. Let's go find it.Bryan : No, it smells bad... I'm getting out of here.(Troy go further into the room, poping his crackers, while Bryan turns around, up the stairs. Suddenly, thepopping stops. Bryan stops his ascension)Bryan : Troy?(A bottle rolls across floor)Bryan : Troy? Who's down there? Cut it out, Troy. Cut it out.(Bryan finds Troy on the ground, his throat slashed. Troy is reaching out tohim, unable to utter anything. Bryan turns around and sees a creature, Infantata, running in their direction. Bryan starts screaming. We are suddenly outside the house, Addie is still on the front lawn)-[Today]-(Agynecologist, dr. Day is examining a woman, Vivien. A nurse is assisting)Dr. Day : So, are your periods regular again?Vivien : Every other month. Not that I'm really complaining. After all that blood. Ben hates blood.Dr.Day : You having issues with arousal?Vivien : Not when I'm by myself.Dr. Day : Lie back. Well, I've recently had some success with women your age using bioidentical treatments and hormones.Vivien : For what?Dr.Day : Well, it's a sort of a preemptive strike. See, your body is like a house... you can fix the tiles in the bathroom and the kitchen, but if the foundation is decaying, well, you're wasting your time.Vivien : What are theside effects?Dr. Day : You can sit up. Well, the... BHRTs are great for your skin, organs. Most of the women I give these to tell me they make them feel ten years younger.Vivien : I don't know. You know, I don't evenlet my family drink out of plastic bottles. Taking a bunch of hormones when I don't even know what the side effects are, I just...Dr. Day : Feel and look ten years younger.Vivien : I don't need hormones, Doctor. I'm justtrying to get control of my body again, after what happened.Dr. Day : And I'm offering you something to help you get that back.Vivien : I'm not a house.Dr. Day : Vivien, what are you so afraidof?[SCENE_BREAK](Vivien comes home. She puts down her errands on the counters of the kitchen. She hears a soft thud coming from upstairs. She calls the police)Police Officer : 911.Vivien : I have an intruder in myhouse.Police Officer : Are you sure it's not a member of your family?Vivien : No. Nobody is home.Police Officer : What's the address?Vivien : 35 Drummond Road.Police Officer : We're sending a patrol car.Vivien : Pleasehurry, please.(Vivien picks up a kitchen knife and goes upstairs. We can hear something squeaking. Vivien slowly opens a door)Ben : Oh, my God. No, Viv. No, no.(Vivien stands still a few seconds, watching inside theroom, then turns around. A man, Ben, comes out of the room, trying to stop Vivien)Ben : Viv, I'm sorry. I'm sorry. No.(Vivien slashes his arm)Ben : Aah!Addie : You're going to regret it. You're going to regret it. You'regoing to regret it.-[OPENING CREDITS]-(Vivien, Ben and their daughter, Violet, are driving down a freeway)Vivien : The light is different out here. It's softer.Violet : It's called smog.Ben : You should be excited, Vi. Youcan stop sneaking cigarettes and just start taking deep breaths.Violet : I need to go to the bathroom.Ben : We're almost there.Violet : I need to go.Ben : Vi, it's a freeway. Really, where do you want me to pull over?Maybe the Honda next to us has a bathroom or something.Violet : Bet if the baby had to sh1t, you'd find somewhere.Vivien : Really? Violet, I hate that word, unless I'm saying it.Ben : I'm really glad we named youViolet, instead of our second choice.Violet : Which was?Vivien : Sunshine.(They all start chuckling)Ben : It's funny. Come on, you gotta admit it's funny.(Ben trys to hold Vivien's hand, but she takes itback)[SCENE_BREAK](Ben rings a doorbell)Ben : I love it. Don't you love it, hon? I mean, it looks even better than it did online.(We have a view of the house, it's the abandonned house from 1978, but restored)Vivien :Yeah, it's interesting.Violet : Great. So we're the Addams Family now.Ben : Hey, crabby pants. Come here.Vivien : What are you doing?Ben : Isn't this place amazing?(Marcy, the realtor, opens the door)Marcy :Welcome. It's a classic L.A. Victorian. Built around 1920 by the doctor to the stars at the time. It's just fabulous. These are real Tiffany fixtures. As you can see, the previous owners really loved this place like a child.They restored everything.Vivien : Gay?Marcy : What do you think?Ben : Tiffany. Wow.Marcy : Do you cook?Ben : Viv is a great cook. I got her cooking lessons a few years ago, and she ended up teaching the teacher afew things.Marcy : Cooking lessons... romantic. Aren't you a psychologist?Ben : Psychiatrist. You said something on the phone about there being a study that I could use as a home office? I'm planning on seeingpatients here, so I can spend more time with the family.Marcy : How refreshing.(Vivien puts her dog down, and it goes running outside the kitchen, yapping)Vivien : Violet, honey, would you go see where Hayley went?Thank you.Violet : What are you yapping at?(after several unsuccesful attempts, Violet gets the door the dog was yapping at to open. She goes down the stairs. Our view changes, from behing some kind of grate, wecan now watch Violet looking aroung the basement, then go back upstairs)[SCENE_BREAK](Marcy is still showing the house to Ben and Vivien)Ben : When I saw the pictures of this room online, I thought maybe youcould use it as your music room.Marcy : Are you a musician?Vivien : I was. Cellist...Ben : very good one, in fact.Marcy : Why did you quit?Vivien : This wallpaper is peeling over here. Looks like maybe there's a muralunderneath it.Marcy : The last owners probably covered it up. They were modernists. Speaking of the last owners, full disclosure requires that I tell you about what happened to them.Vivien : Oh, God... they didn't diein here or anything, did they?Marcy : Yes, actually, both of them. Murder-suicide. I sold them the house, too. They were just the sweetest couple. You never know, I guess.Ben : That explains why it's half the price ofevery other house in the neighborhood, I guess.Marcy : I do have a very nice mid-century ranch, but it's in the Valley, and you're going to get a third of the house for twice the price.Ben : Right.Violet : Where did ithappen?Marcy : The basement.Violet : We'll take it.[SCENE_BREAK](A couple of movers carry a couch into the house, while Marcy puts a \"Sold\" sign on the front lawn stand and sighs heavily)[SCENE_BREAK](Vivienand Ben are in their bedroom. She is still unpacking)Ben: Come on, babe, let's go to bed. Leave that for the morning.Vivien : I'm a little bit worried about Violet, you know, these kids here are very different. I don'tknow if she can handle another year of not fitting in.Ben : You mean... you can't?Vivien : Can't believe this place doesn't freak you out a little bit. 'Cause of what happened here?Ben : My repulsion is tempered by thefact that this house is worth four times what we paid for it, so let's not think about it.Vivien : This is your professional advice, Doctor, just denial?Ben : Come on, let me give you a little love. Moving here, buying thishouse was the exact right thing to do for us and our family. It's a good thing and we deserve some good after all the sh1t we've been through.Vivien : I've got some stuff I want to... unpack down in the kitchen. Iappreciate that you're trying. I'm trying, too.Ben : Okay.Vivien : It's just gonna take some time.(Vivien leaves the room)[SCENE_BREAK](Violet, smoking, is crossing the yard of her new high school. She walks past agroup of girls talking)Leah: So I let him.Becca : You coke off your nipples?Leah : They were numb for, like, two days.(Leah sees Violet smoking and walks after her)Leah : Hey! Student council passed a rule againstsmoking in public spaces.Becca : Secondhand smoke kills.Violet : I'm new, I didn't know.(Violet drops her cigarette end and crushes it)Leah : What the hell is wrong with you? People sit here, they eat here.Violet : Youdon't know me. Why are you doing this?Becca : Leah's grandmother died of lung cancer. She takes this stuff pretty seriously.(Leah picks the cigarette up)Leah : Eat it... eat it or I'm gonna kick the sh1t out of you.Violet: No. What?Abby : Come on, Leah, that's enough.Leah : No, no, no, I want to see her eat it.Violet : No. No.Leah : Eat it, eat it.Becca : Leah, seriously, she's like 12.(Leah tries to force the cigarette into Violet's mouth,but Violet spits at her. Leah screams)Leah : You are dead! You are dead![SCENE_BREAK](Vivien is removing the living room's wallpaper)Vivien : Whoo!Addie : You're going to die in here.(Vivien, startled,screams)Vivien : Who are you? What are you doing? What are you doing here?(A woman, Constance, comes into the living romm)Constance : Adelaide. Adelaide. Adelaide. Adelaide, I put on \"Dora the Explorer\" for you,so you would sit and watch it.Addie : It was \"Go, Diego, Go!\" I don't like it.Constance : Oh, brown cartoon characters... you can't tell the difference.Vivien : Excuse me.Constance : Hi.Vivien : Hi.Constance : I'mConstance, your neighbor from next door, and this is my girl Adelaide.Vivien : Hello.Constance : Go home, Addy, now. That girl is a monster. I love her and I'm a good Christian, but Jesus H. Christ. You know, if theyhad invented some of those tests a few years ago, I would have...Vivien : How'd you get into my house?Constance : You left your back door open. Although I have to tell you, Addie will always find a way in. She has abug up her ass about this house, always has. You have the loveliest things.Vivien : Thank you.Constance : Have you got a dog?Vivien : I-I do have a dog, yes.Constance : I run a little kennel out of my house, doggy daycare kind of a thing.Vivien : How nice.Constance : Well, I prefer purebreds. I adore the beauty of a long line, but there's always room in my home for mongrels. Oh... Oh, my. Look at those earrings. Are those realdiamonds? Not that Home Shopping sh1t.Vivien : No.Constance : I used to have diamonds like that. Different pair for every day of the week. Did your husband give them to you?Vivien : He did.Constance : Hmm?Vivien: Mm-hmm.Constance : They always do when you're young and pretty.Vivien : Are you Southern?Constance : Proud Virginian. The Old Dominion, born and bred. Thank you for noticing. I came out here to be a moviestar. Did the screen tests and everything, but... nudity was the big deal then. The morals were just beginning to collapse, and I wasn't about to have my green pasture flashed 70 feet high for every man, woman, andchild to see, so I took that little butterfly of a dream and put it in a jar on the shelf, and, uh, soon after, came the Mongoloid and, of course, I couldn't work after that.Vivien : It has been so great to meet you. I just...you know, I wasn't prepared for guests at all.Constance : I'm gone. Oh, I brought you this. You know, a little, um, housewarming.Vivien : Thank you.Constance : Addie wanted to bake you a pie, but she tends to spit inthe cooking, so I thought this would be better. Help get rid of some of that bad juju. I don't remember your name.Vivien : Right, no, I never got a chance to tell you my name.Constance : Oh.Vivien : My name is VivienHarmon.Constance : Anyway... relax and enjoy. Let me know if you need any help with that pup.Vivien : Will do.Constance : I'm glad you're getting rid of that wallpaper. I thought those people were supposed to bestylish. It's sage... for cleansing the spirits in the house. Too many bad memories in here.[SCENE_BREAK](Vivien lights up the sage and wlk down the corridor. She sees a string coming down the ceiling. She pulls on it,a trap opens. She follows the stairs and reaches the attic. She turns on the light and discovers a rubber suit dangling from the ceiling right in front of her. She screams. Ben rushes to her side)Ben : What happened? Youokay? Oh, I guess these guys were into the kinky stuff, huh? Would you like to try it on?Vivien : That's not funny.Ben : I think you'd look good in it.(Violet joins them)Violet : What happened? Holy sh1t.Vivien : Let's getrid of it. Come on, let's go downstairs. Come on. Watch the steps.[SCENE_BREAK](Ben throws the suit into the trash can outside the house)[SCENE_BREAK](Ben is having a counsel session with a young man, Tate)Ben: So, Tate, these fantasies started two years ago, three years ago, when?Tate : Two years ago. It's always the same. It starts the same way.Ben : How? Tell me.Tate : I prepare for the noble war.(We can see a tattoedTate walking down a school's corridor. The music \"Twisted Nerve\" is playing in the background. We can hear Tate talking to Ben at the same time)Tate : I'm calm, I know the secret, I know what's coming, and I knowno one can stop me, including myself.Ben : Do you target people who have been mean to you or unkind?Tate : I kill people I like.(Tate enters a studying room. all the students raise their head)Teacher : Can I helpyou?Tate : Some of them beg for their life. I don't feel sad. I don't feel anything. It's a filthy world we live in. It's a filthy goddamn helpless world, and honestly, I feel like I'm helping to take them away from the sh1tand the piss and the vomit that run in the streets. I'm helping to take them somewhere clean and kind. There's something about all that blood, man. (We can see Violet cutting her wrist with a razor blade in abathroom) I drown in it. The Indians believed that blood holds all the bad spirits, and once a month in ceremonies they would cut themselves to let the spirits go free. There's something smart about that. Very smart. Ilike that. (He sees himself standing behind Ben, blood running down his head) You think I'm crazy?Ben : No. I think you're creative. And I think you have a lot of pain you're not dealing with.Tate : My mother's probablyworried about me, right?Ben : I'm sure she is.Tate : She's a cocksucker. I mean, literally, a cocksucker. She used to suck the guy off next-door, all the time. My dad found out, and he left. He left me alone with acocksucker. Can you imagine? How sick is that?Ben : I've heard a lot worse.Tate : Cool. Can you tell me some? I like stories.Ben : No. I can't.Tate : The world is a filthy place. It's a filthy goddamn horror show. There'sso much pain, you know? There's so much.[SCENE_BREAK](Violet is still cutting her wrist. Tate is watching her from the doorstep)Tate : You're doing it wrong. If you're trying to kill yourself, cut vertically. They can'tstitch that up.Violet : How'd you get in here?Tate : If you're trying to kill yourself, you might also try locking the door.(Tate pulls the door shut)[SCENE_BREAK](It's night. We can hear a man whispering indistinctly,distantly. Ben gets up, naked, he is sleep-walking. He comes down the stairs, into the livingroom, put the gaz on and lights up a match and throws it into the fireplace. Vivien, awake, comes after him)Vivien : What areyou doing?Ben : Am I on a trip?[SCENE_BREAK](An old woman dressed in black, Moira, approaches vivien who is spreading her sheets outside to make them dry)Vivien : Can I help you?Moira : I'm Moira O'Hara. I'mthe housekeeper.Vivien : Oh. I didn't know the place came with a housekeeper.Moira : Why are you hanging your sheets with a perfectly good electric dryer inside?Vivien : I don't like all those chemicals in the fabricsofteners, so I just like to do it naturally.Moira : I work Monday through Thursday. Thanksgiving on, Christmas off.Vivien : Um...Moira : That was the deal with the last fellows.Vivien : I'm sorry. I'm just not sure thatwe're gonna need a housekeeper.Moira : What have you been using to clean the floorboards?Vivien : Murphy's Oil Soap.Moira : Oh, no. White vinegar. Oil soap kills the wood.Vivien : I like that better. It's morenatural.Moira : Have you ever owned a house this old before?Vivien : No.Moira : It has a personality, feelings. Mistreat it, and you'll regret it. May I come in? My cab's left, and I'd like to callanother.[SCENE_BREAK](Vivien and Moira are talking in the kitchen)Vivien : So, you worked for the previous owners?Moira : I've been the housekeeper here for years. They come, they go, I stay. They were both niceboys, the ones before you. I found the bodies.Vivien : What happened? I mean, I hate to gossip...Moira : They fought a lot. Money, I think. But who can know when something so horrible happens? Sometimes peoplejust go mad. I cleaned the mess. You'd never know.Vivien : Can I ask you a personal question? Do you ever get tired of cleaning up other peoples' messes?Moira : We're women. It's what we do. I just get paid forit.Vivien : Yes.(Ben enters the kitchen)Vivien : Oh, hey, this is my husband Ben. Ben, this is Moira O'Hara. She was the housekeeper for the previous owner.(We see Moira from Ben's point of view. She's a gorgeousyoung woman)Ben : Nice to... meet you.(A car horn honks)Moira : That's my cab. (We are back to Vivien's point of view) I'll use the lavatory first, if you don't mind.Vivien : Sure. What do you think?Ben : What?You-You... You want to hire her?Vivien : Yeah, I mean, she's a little kooky, but she seems trustworthy, she knows the house really well, and I feel like I could just use the help. So... can you start tomorrow?Moira :Thursday's better, but I'll make it work.Vivien : Okay. And you know, Moira, you don't have to wear the housekeeper's uniform. You can just wear your own clothes.Moira : I don't like cleaning peoples' houses in myown clothes.Vivien : What?Ben : Nothing. Just... You just always surprise me. I like that.(Ben starts kissing her. She lets him at first, but then pushes him away)Ben : You're gonna have to forgive me oneday.[SCENE_BREAK](Ben is in his office with Tate)Ben : You mind if I tape this?Tate : No.Ben : You taking your medications?Tate : Yes.Ben : Any side effects?Tate : I was taking them at night, but they kept me up.Ben: And what did you do?Tate : Started taking them in the morning.Ben : Light sensitivity is pretty common.Tate : Maybe. Yeah, I think so.Ben : When I was in medical school, they brought in this CIA interrogator to helpus better identify who was lying. This guy was, like, six foot, 50, crew cut. He must have been one hell of an interrogator, because I'll tell you something. I'd be terrified to lie to him.Tate : You think I'm lying to you?Ben: Light sensitivity isn't a side effect of Lexapro, Tate.Tate : So you lied to me.Ben : What is important... that is if you're telling the truth about doing these things to your classmates. If you were actually a danger tosociety, the law says that I have to report you to the police.Tate : Did you call them?Ben : Not yet. I've treated psychotics before, and people with the right combination of chemical imbalance and psychological damagethat can't be reached.Tate : You think that's me? You think I can't get better?Ben : You? (scoffs) You kidding me? You're hopeless.(They both starts laughing)Ben : Everybody can get better, Tate. Everybody. I justthink you're scared. Of what, I'm not sure yet. Maybe rejection. Certainly because of what your father did to you.Tate : I was afraid my big dick wouldn't work.Ben : What?(Tate laughs)Tate : Yeah, that's why I didn'ttake the meds.Ben : Tate.Tate : I was afraid my dick wouldn't work. Because I met someone.[SCENE_BREAK](Tate is showing his scars to Violet)Tate : This one I did after my dad left. I was ten, I think.Violet : Lastweek, first day at my new school... sucks.Tate : Westfield, right? The worst. I got thrown out of there.Violet : I hate it here. I hate everyone. All there bourgeoisy designer bullshit. East Coast was much cooler. I mean,at least we had weather.Tate : I love it when the leaves change.Violet : Yeah, me, too.Tate : Why did you move here?Violet : My dad had an affair. My mom literally caught him in the act.Tate : That's horrible. If youlove someone, you should never hurt them... never.Violet : Right? I know. And the worst part is that six months earlier, my mom had, like, this brutal miscarriage. (Tate writes \"TAINT\" on Violet's chalkboard) The baby"}
+{"doc_id":"doc_301","qid":"","text":"Open to dark deserted back street. A blond girl is running past looking behind her occasionally before ducking into an alley. She looks back around the corner, then steps back on the street to continue only to begrabbed by the shoulders and thrown back into a trash container.Rachel: \"Lenny... please... don't.\"Lenny: \"You think I'm not going to find you,... after you humiliated me... again ?\"Rachel: \"I didn't do anything ! Iswear ! I'd never...\"Lenny: \"No ! I know what you do. I see. The men,... the lies,... this is the last time, damn it !\" Rachel, stepping towards him with a smile: \"What are you on, Baby ? You only get like this when you...\"Lenny hits her with a growl.Rachel: \"What are you going to do ? Pulverize me right here ? Someone is going to hear me scream.\"Lenny, laughing: \"In downtown LA at night ? Nobody is going to hear. Nobody who cares.Besides (pulls out a revolver and points it at her face) this will all be over fast. (cocks the gun)\"Rachel: \"Lenny.. please... no !\"Lenny: \"I'm sorry. (Rachel cowers back from him) I just can't take this anymore.\" Angelgrabs him from behind and makes him drop his gun.Angel: \"Poor Lenny. The burden of terrorizing your girlfriend too much for you ? (hits him) Lucky for you I can make it stop.\" Lenny grabs a 2x4 and tried to hit Angel.Angel ducks and cold cocks him.Angel: \"Rachel, are you alright ?\"Rachel: \"Is he...\"Angel: \"It's okay. He's not getting up for a while.\"Rachel, getting up: \"I can't believe you actually showed up.\"Angel: \"Well, that was thedeal, right ?\"(Camera pulls back to reveal Spike watching them from a rooftop above them.)Spike in high voice: \"How can I thank you, you mysterious, black-clad hunk of a night thing ? (low voice) No need, little lady,your tears of gratitude are enough for me. You see, I was once a badass vampire, but love and a pesky curse defanged me. Now I'm just a big, fluffy puppy with bad teeth. (Rachel steps closer to Angel, and Angel stepsback warding her off with his hands) No, not the hair! Never the hair! (high voice) But there must be someway I can show my appreciation. (low voice) No, helping those in need's my job,... and working up a load ofsexual tension, and prancing away like a magnificent poof is truly thanks enough ! (high voice) I understand. I have a nephew who is gay, so... (low voice) Say no more. Evil's still afoot ! And I'm almost out of thatNancy-boy hair-gel that I like so much. Quickly, to the Angel-mobile, away !\"Spike lights a cigarette while he watches Angel lead Rachel away.Spike: \"Go on with you. Play the big, strapping hero while you can. Youhave a few surprises coming your way... The ring of Amarra... a visit from your old pal Spike,... and, oh yeah,... your gruesome, horrible death.\" (He smiles.) *Intro.* ***** Cut to Oz driving his van through the night.***** He pulls up in front of Angel's apartment.Radio: \"Another uninterrupted 40-minute-block. You are listening to LA's only alternative KLA-Rock. It's 11:05, do you know what your karma is ?\" ***** Cut to Angel'soffice. ***** Cordelia is typing away on the computer. Doyle lounges in the background reading a newspaper.Cordelia: \"This is so awesome. Our first walk-in client. Everything is going according to plan ! See girl indistress,... see Angel save girl from druggy/stalker boyfriend,... and see (pulls a paper out of the printer and holds it up) Invoice ! Ta-da !\" She shows the invoice to Doyle who looks less then impressed.Cordelia: \"What?\"Doyle: \"Nothing. You're doing a lovely job there. Looks very official.\"Cordelia: \"So why are you not rejoicing at out first paying client ?\" Doyle, getting up and walking over to her desk: \"Because that's not moneyyou're holding in your hand there, darling, that's mail. There's a big difference between that and actually getting paid.\"Cordelia: \"But she has to pay !... Invoice ! That's the rule of our whole, like, society !\"Doyle, leaningon the desk: \"Defaulting ? That's another popular rule in our society... especially with the down-and-outs. Not that I've perpetrated said heinousness myself...\"Cordelia: \"So what are you saying. Why bother ?\"Doyle:\"All I'm saying is that if we're ever going to take that cruise to the Bahamas together, we're going to need a lot more clients of means.\"Cordelia: \"And an alternate reality in which you are Matthew McConaughey.\"Oz,walking into the office: \"Hello, LA.\"Cordelia, getting up: \"Oz ? Oh, my god. (walks around the desk) Oz. It's so good to see you. (hugs him while Doyle watches askance) Good old Oz ! Oz. (turns to Doyle and points atOz) Oz !\"Doyle: \"Let me just take a stab at it, you'd be Oz ?\"Oz: \"Good guess.\"Cordelia: \"This is so cool! I mean, here you are in LA, and you're the total embodiment of all things Sunnydale.\"Oz: \"It's a burden, but Imanage.\"Cordelia: \"We have some serious catching up to do. How is everything ? How's... how's the bronze ?\"Oz: \"The same.\"Cordelia: \"And the gang ?\"Oz: \"They're good.\"Cordelia: \"Good ?... Good !... Good.\" Theylook at each other for a moment.Oz: \"Are we done ?\"Cordelia: \"Completely.\" (Doyle coughs.)Cordelia, going to sit down: \"Oh, this is Doyle. He... works here.\" Oz, reaching over and shaking Doyle's hand: \"Hey.\" Oz,sticking his hands in his pockets: \"So, I heard the rumors, but you guys can fill me in on the real deal here. So you guys are... like detectives ?\"Cordelia: \"No, I'm an actress !\"Doyle: \"And quite a captivating one atthat.\"Cordelia: \"And between my many gigs, I sometimes choose to help Angel.\"Doyle: \"He's the detective.\"Oz: \"Does he have a hat and gun ?\"Cordelia: \"Just fangs.\"Oz: \"Well, that works... Where is he ?\" ***** Cut toAngel's apartment. ***** Angel walks through his downstairs apartment, looking through a book as the three come down in the elevator. Angel, without looking up from his book: \"Hey guys.\"Angel, looking up:\"Oz.\"Oz: \"Hey.\"Angel: \"Nice surprise.\"Oz: \"Thanks.\"Angel: \"Staying long ?\"Oz: \"Few days.\"Doyle: \"Are they always like this ?\"Oz, to Doyle: \"No, we're usually laconic.\"Angel: \"Come on in. (they walk further into theapartment) So,... good to see you.\"Oz: \"I came primarily for a gig, but also to give you this.\" (Holds out a ring to him.) Doyle, going to take a closer look: \"Wait a minute, is that what I think it is ?\" Angel, making nomove to take it: \"It's the gem of Amarra.\"Oz: \"One and the same. (tries to hand it to Angel, who after a moment accepts it) Buffy wanted you to have it.\"Cordelia: \"Hey, Buffy. How is good old Buffy anyway ?\"Oz: \"Sheis...\"Cordelia: \"What ? Still the brave little Slayer or is she moping around in the dark like... (gets a look from Angel) like nobody around here. (holds up a hand and shakes her head) Hm-mm.\" Angel turns and walksaway form them looking at the ring in his hands.Oz: \"She is good... She is Buffy.\"Doyle, holding up a hand: \"And I'm sure we'll be interested in that later, but right now can we concentrate on the mother-load Angel justhit ?\" Angel leans on the table turning the ring in his hand and looking at it.Doyle: \"What are you waiting for, man ? Put it on !\"Cordelia: \"Okay, you're getting weird about this ring. Since when did you go all versaceabout accessorizing ?\"Doyle: \"Since the accessory is priceless and renders it's wearer 100% unkillable if he's a vampire.\"Cordelia: \"Unkillable ? Whew. You mean not even stakes ?\"Doyle: \"Not nothing. Not stakes, notfire, and the best thing is not even sunlight. (to Angel) I mean just think of it man. Poolside tanning, bargain matinees,... plus I know a couple of strip clubs that have a fabulous luncheon buffet, I mean, it's... I'veheard.\"Angel, still looking grave: \"And it's from Buffy.\"Oz: \"Yeah. Your buddy Spike dug up Sunnydale looking for it. He got a fist full of Buffy and left it behind. She wanted to be sure it was in good hands.\"Angel,looking to the side: \"So she sent you.\"Oz: \"I was heading this way.\"Cordelia, to Oz: \"And she didn't even send a note ? Wow. That's really... (Angel looks at her)... this is one of those times when I should just shy awayfrom the topic, isn't it ?\"Doyle, walking over to Angel: \"Come on I have something that will boost your spirits. (picks up a stake) Why don't you put it on and I'll stake you. It'll be fun !\" Angel, still playing with the ring inhis hand and looking off to the side: \"Maybe later.\"Doyle: \"What, are you out of your mind ?\"Angel: \"I said, maybe later.\"Doyle: \"Yeah...\"Angel: \"Doyle.\"Doyle, walking towards the elevator: \"Okay, you have it yourway, man. But I'm still going to celebrate with a drink down at the pub.\"Cordelia, to Oz: \"He'd celebrate the opening of a mailbox with a drink at the pub. (waves at Angel as she follows Doyle) You coming, Oz ?\"Oz, stillwatching Angel: \"Yeah. I could eat something.\"Angel: \"Go ahead.\" After a beat Oz turns and follows the others. Angel keeps looking at the ring. Finally sticks it in his pocket and goes down in the sewers. He takes it outof his pocket and hides it under a loose brick next to a pipe. ***** Cut to the office, the next day. ***** Cordelia is getting a cup of water for Doyle from the water cooler and sits down at the desk across fromhim.Doyle, moaning: \"Oh, god. You know what would feel really good right now ? One of those mind-numbing, head-cracking visions that I get from time to time, (he struggles to get some pills out of a bottle) becausethat would really kill me now. Is there some kind of trick to this ?\" Cordelia, taking the bottle from him: \"I think the trick is laying of the ale (pulls out the cotton wad out of the bottle and shakes some pills into herhand) before you start quoting Angela's Ashes and weeping like a baby man.\" Doyle, accepting the pills and washing them down: \"Hey, that's a good book.\"Cordelia: \"So I've heard. But I doubt that the main charactersare Betty and Barney Rubble as you so vehemently insisted last night. Also I don't think Oz appreciated being called my little Bam-bam all night.\" ***** Cut to Angel's apartment. ***** Angel is doing some Tai-chi. Thephone rings and he goes to pick it up after the second ring.Angel: \"Hello ?... Hello.\"Rachel: \"Angel ?\"Angel: \"Rachel. Are you alright ?\"Rachel: \"They let Lenny out... The lawyer said something about atechnicality.\"Angel: \"I'll be right there.\" ***** Cut to the underground garage.***** Angel walks up to his car. As he reaches for the door handle a beam smashes into his head sending him tumbling back against thewall.Spike in vamp face: \"Angel. I believe you have something I'm looking for... a shiny, little bauble ?\"Angel, picking himself up: \"Might as well go home, Spike. The gem of Amarra stays with me.\" Spike swings atAngel with the board. Angel catches it, hits Spike across the chin, in the stomach, then kicks him to the floor. Spike slowly getting back up, board in hand: \"Why ? Because you are vampire detective now ? What's next ?Vampire cowboy ? Vampire fireman ? Oh, vampire ballerina.\" He charges Angel with the beam.Angel: \"I do like to work with my legs.\" He grabs an overhead pipe and swings both feet into Spike's chest. Spike quicklypicks himself back up and keeps stabbing at Angel with the beam, while Angel dances around him like a boxer, dodging the board. Spike tries to pin him onto the hood of the car but Angel kicks him off, taking the beama way form him in the process. Angel, twirling the beam in his hands: \"We duke it out, huh ? Is this your big strategy to get the ring back ?\"Spike, attacking again: \"Hey, I had a plan !\" Angel, fending him off with thebeam, then pinning him onto the car: \"You ? A plan ?\"Spike: \"A good plan. Smart. Carefully laid out... But I got bored. (hits Angel and pins him up against the wall) All that watching, waiting,... my legs started tocramp. (throws Angel up against the door leading out) Enough with the hit'n'quip. Just tell me were the damn ring is.\" Angel, turning around in vamp face: \"It wouldn't go with your outfit.\" He hits Spike around for awhile and finally throws him against the wall just as Cordelia and Doyle run in behind Angel. Spike, slowly getting back to his feet: \"Cordelia. You look smashing. Did you lose weight ?\"Cordelia: \"Yes, there is this greatgym at... hey !\"Spike, to Angel: \"I'll get that ring. This isn't over until one of us is a pile of dust, mate.\" (Runs off.)Cordelia, to Angel: \"Are you okay ?\" Angel walks off a ways from then (still in vamp face) then turnsaround.Doyle: \"More importantly, how's the ring ?\"Angel: \"It's fine. (morphs into his human face) I can't say the same for you two though. You better get out of sight until this thing is over. Spike is out for blood. (toDoyle) Take her to your place.\"Cordelia: \"His place ? Why can't I just go home ?\"Angel: \"Because he knows you, Cordelia. If he wants to he'll track you down.\"Cordelia: \"Yeah, but he's not invited, right ? He can't comein.\"Doyle: \"No, but he can burn the place to the ground.\"Cordelia: \"Okay then. Doyle's place it is.\"Doyle to Angel: \"What about you, man. You know he'll be coming back for you before long.\"Angel: \"I know.\"Cordelia:\"So what are you going to do ?\"Angel: \"Find him first.\"Cordelia and Doyle: \"Alright, let's go.\" They leave as Angel wipes at the blood at the corner of his mouth. ***** Cut to Doyle's apartment. ***** He is talking onthe phone, while Cordelia is pacing the floor.Doyle: \"Not Spice, that's the bird down on Broadway. Spike, like in railroads... Uhuh,... yeah, vampire, right... No ?... Okay, then. Thanks.\" (Hangs up.) Doyle, marking hisopen address book: \"Frankie Tripod ? A big no.\"Cordelia: \"Frankie Tripod ? Oh, I get it. Some kind of three-legged monster, right ?\"Doyle: \"No, he's human.\"Cordelia: Then why is his name... Oh...\"Doyle, getting up:\"Hey listen, why don't you sit down. Get comfortable. Angel said I should go through every name in my book until I get a bead on where Spike is hiding out. Could be a while.\"Cordelia: \"Please. I couldn't getcomfortable in here if the floor was lined with mink. I mean, how can you live like this ?\"Doyle: \"Well, I didn't until last week. Then I saw what you did with your place and I just had to call my decorator.\"Cordelia: \"Noway. My apartment is nowhere near this yucky. (sits down on a chair. Paper rustles. She gets up brushes it of the chair and sits back down while Doyle picks some laundry of another chair) It smells like bong water inhere.\"Doyle: \"Okay a couple of laundry might be a couple of days over due, but...\" Telephone rings and Doyle goes to get it.Doyle: \"Yeah ?... Hey, Kizzy. Yeah, vamp named Spike. No ? Okay. What, a \"C\" note ? Iabsolutely paid that back, man ! Hey, no, sorry, there goes my other line.\" He slams the phone down.Doyle: \"He was mistaken, but I didn't have time to get into it, right ?... I'm on a mission here !... So what about thisSpike ? Is he as bad as all that ? I mean should I be sweating ?\"Cordelia: \"He's really not... (sighs)... sweat.\"Doyle: \"That's what I figured.\" ***** Cut to Rachel's apartment. *****Rachel: \"You keep showing up likethis and I'm going to think you're a man of your word.\"Angel: \"Stranger things...\"Rachel: \"Not many.\" Goes into the kitchen. Angel, following her, carefully skirting a patch of sun: \"So we'll get you out of here. There areplaces you can go, where you'll be safe.\"Rachel: \"Like a shelter ?\"Angel: \"It's a start. He won't be able to find you, I swear.\"Rachel: \"No, it's not the shelter it's just... ah... Half the time, you how this whole thing startsup again, Lenny and me ?\"Angel: \"You call him.\"Rachel: \"I... I... I just start to jones for him. The way he jones for rock. And I call, or I find him in some dive, and I drag him home, - and it's *good* for a while.\"Angel,shaking his head: \"But it doesn't last. This last time he would have killed you.\" Angel watches with a sigh as she tries not to cry.Rachel: \"I'm scared, Angel, I'm more scared of me right now than I am of him.\"Angel:\"You're at a crossroads, I know. It's either go for the easy fix and wait for the consequences, or take the hard road and go with faith.\"Rachel: \"Oh, god. You're not from that freaky church on Sunset, are you ?\" Shesteps away from him.Angel: \"In yourself. That kind of faith... What I'm saying is: if you leave Lenny for good, it'll hurt. But eventually you'll be stronger for it. And maybe you'll find your way to the kind of love youdeserve.\"Rachel: \"You mean the kind of love that comes without 911 calls ?\"Angel: \"That's the general idea.\" ***** Cut to Doyle's apartment. *****Cordelia, eating popcorn: \"Oh, yeah, Spike's nearly done Buffy in afew times. I mentioned that he's killed two Slayers already ?\"Doyle: \"You did.\"Cordelia: \"Oh, and this one time he and Dru raised this demon that burned people from the inside. It was this whole weird thing with anarm in a box.\"Doyle spellbound: \"An arm in a box ?\" Cordelia nods. The phone rings and Doyle picks it up.Doyle in a nasal voice: \"House of Pies.\" Angel in his apartment checking the mechanism of his wrist sheathes:\"Doyle ? Is that you ?\"Doyle: \"Oh, sorry man. Just laying low. All those calls to past acquaintances stirred up a few, uh, old resentments.\"Angel: \"I hope it was worth it.\"Doyle: \"Yeah, well, listen Manny the Pig said hedidn't know anything about a vampire called Spike.\"Angel: \"So ?\"Doyle: \"So he said that before I mentioned anything about Spike. You'll find him at a joint down on third called the Orbit Room.\"Angel: \"Okay. I'll startwith Manny the Pig then.\"Doyle: \"Work your way down.\"Cut to Angel slamming a guy down on a table.Guy: \"He left for the club.\"Cut to Angel smashing a different guy up against the wall with his hand around histhroat.Guy: \"Try the game.\"[SCENE_BREAK]Cut to Angel slamming the Pig down on a poker table. Angel is grabbing him by the throat and getting right in his face. Three other guys there draw their guns and pointthem at an unfazed Angel.Pig to the guys: \"Put them down. (they lower the guns. To Angel) He'll kill me if I talk.\"Angel: \"How healthy do you think it'll be to stay quiet ?\"Pig: \"He's out back.\"Cut to Angel coming out theback door. He sees Spike snacking on a girl.Angel: \"Let her go !\" Spike, looking up at him in vamp face: \"Did anyone ever tell you you were a real buzz-kill, mate ?\" Spike throws the girl into Angel and stalks off indisgust.Angel to girl: \"Run.\"Cut to Angel running after Spike. Spike comes up against a chain fence at the end of the alley. Spike, turning around says sounding bored: \"Caught me fair and square, White Hat. (slowly lifthis hands up over his head) I guess there is nothing to do now but to go quietly and pay my debt to society.\"Angel, closing with him slowly: \"You think you can come to *my* town and pull *this* crap ? You never learn,Spike.\"Spike with a smile: \"I maybe a slow learner...\" Chains rattle behind and as Angel turns around a guy in white whips a chain around Angel's neck and drags him to the ground. Spike, watching the guy hog tieAngel: \"But eventually I learn.\" ***** Cut to Doyle's apartment. ***** Cordy is sitting by the phone, Doyle is pacing.Cordelia: \"Angel should have called by now. (sighs) this is bad!\"Doyle: \"Maybe not. Maybe he didaway with Spike in short order, and decided to give a go at surfing ?\"Cordelia: \"Right !... What am I worried about ? Angel has the ring, right ?\"Doyle: \"Right ! I bet he is out hanging 10 right about now, out on thesandy shore at. Wind in his hair...\"Cut to Angel hanging in a couple of chains by his wrists in a warehouse. Doyle voice over as camera pans down Angel's body: \"Bikini babes a whistlin'\" The white-clad guy form thealley puts on a classical LP the opens a trunk and takes out torture tools.Spike: \"Marcus is an expert. Some say artist, but I've never been comfortable with labels... He's a bloody king of torture, he is. Humans,demons,... politicians, makes no difference. (starts to circle Angel) Some say he invented several of the Classics,... but he won't tell me which ones... beneath the cool exterior, you'll find he is rather shy... Except withkids. (to Marcus) You like kids, don't you Marcus ?... Well, likes to eat. (leans in close to Angel) and other nasty things.\" Angel thrashes in his chains and Spike pulls back with a satisfied smile. Marcus puts on wire-rimglasses as he walks over to Angel. He rips his shirt open and stares at his chest.Marcus: \"His skin...\"Spike: \"Annoying isn't it ? Still attached.\"Marcus: \"Over 200 years of living and so little external damage... Whatabout internal ?\"Spike: \"Do you two need to be alone, or can we go on to the ouchy part ?\" Marcus, laying his hand on Angel's heart: \"He's known love.\"Spike: \"Yeah, and with a Slayer no less. How is that for perversion?\"Marcus: \"And he has a soul.\"Spike bored: \"Right, vampire with a soul. Cursy-cursed to walk the earth trying to do good. That's not going to be a problem, is it ?\"Marcus: \"On the contrary. Creatures with souls havesomething to lose.\"Spike: \"Souls, fingers, toes... Let's get chopping, will you ? I want my damn ring !\"Marcus, to Angel: \"What do you want, Angel ?\"Angel: \"Are you going to torture me, or just bore me to death ?\"Marcus goes to pick up a poker that has been heating in a fire-barrel and stabs it clear through Angel's lower right chest. Angel suppresses a scream.Marcus: \"Probably a little of both.\"Spike with a smile: \"Someone'shaving shish kabob.\"Cut to later. Angel has several metal pokers sticking through different parts of his body.Marcus, playing with some pliers: \"What do you want Angel ?\"Angel, gasping: \"A house in the country, a pair"}
+{"doc_id":"doc_302","qid":"","text":"Act One.Scene One - Café Nervosa. Frasier is flicking through some magazines when Roz comes to join him.Roz: [sitting] Oh hey, Frasier. Catalogues?Frasier: Yes. I'm trying to find the perfect wedding gift for Daphneand Donny.Roz: Oh, right. Well, I guess now that they've set a date, I'll be getting my bridesmaid draft notice.Frasier: You know Roz, she might not even ask you.Roz: [positive] Oh, she'll ask me. They all do. The nextthing I know I'm wearing some revolting puffy-sleeved dress made from the same material that keeps the space shuttle from burning up on re-entry.Frasier: You know, Roz, Daphne might just surprise you and pick adress you like.Roz: Oh, impossible. They're always ugly; that's why the bride makes sure she's the prettiest one at the wedding.Frasier: That's awfully cynical.Roz: Oh yeah, when was the last time you found yourselfstaring at the bridesmaid instead of the bride? [signals to the waitress]Frasier: That would have been at my wedding to Lilith.Roz, not getting the attention of the waitress, heads over to the counter. Then Niles entersand sits with his brother.Niles: Hello Frasier.Frasier: Oh, Niles.Niles: Frasier, do you remember the time the Kreizel brothers tied me to their Great Dane and lobbed meatballs down their gravel driveway?Frasier: I'vetold you Niles, I would have helped you, but their sister was holding me down.Niles: No, my point is - [to waitress] Cappuccino, please [to Frasier] - even that experience was less painful than the date I was just on. Shewas... [takes a cat hair from his jacket and puts it on the floor] ...a cat person. She brought her cat on our date. Well, she had good reason, it was Mr. Waggles's birthday. Actually his birthday party. Actually, hissurprise birthday party.Frasier: I'm sorry, where on earth did you meet this woman?Niles: At Nordstroms. We both reached for the same cashmere throw and she said she needed something to keep her waggles warm.I thought it was a coy euphemism. [the waitress brings his coffee] Thank you.Frasier: Well, Niles, I certainly understand your being upset, but you know, you've got to keep on looking.Niles: Well, trust me, with Daphnegetting married, I have no choice but to press on. But I'm going to change my strategy. Do you recall, the other day at the health club, Tony Hubner gave me that phone number?Frasier: Dear God, Niles, not a datingservice?Niles: No, it's not a dating service. An \"Introduction Network\" for busy professionals. I've given them my vital statistics, there's an extensive screening process, they bill me at the end of the month.Frasier:Niles, please. They are all money-grubbing con-artists who prey on the pathetic and the lonely. God's sakes, you sign up with visions of some Ph.D., and what do they deliver? A buck-toothed librarian who needs helpwashing her mother! Are you really that desperate?Niles: Half an hour ago, I had my back leg tethered to Mr. Waggles's forepaw and we came in third in the five-legged race.Frasier: Geez, you'd think they'd let him winon his birthday.[SCENE_BREAK]Scene Two - Frasier's Apartment. As Frasier enters he hears Daphne on the phone to her mother.Daphne: I know, mum, but it is my wedding. I've given into you on so many things.Couldn't this one thing go my way? [pause] I just don't like those tiny corns in my salad. [pause] No, I don't hate you. [pause] Well, that's just not true. I'm glad you're alive. [pause] All right, all right, tiny corn it is.I've got to run now, cheery bye. [hangs up] That was mum, she had a thought about the salad.Frasier: Something tells me yesterday's crouton skirmish wasn't the end of it.Daphne: I suppose she can be a bitoverbearing. But as she often points out, she is paying for the wedding and I am her only daughter and giving birth to me was so painful she did bite through a kitchen spoon.Frasier: Daphne, just don't let you motherguilt you into having the wedding she wants instead of the wedding you want.Daphne: Oh, don't worry, mum already promised me I could have the wedding I want, as soon as I have a daughter who getsengaged.Daphne exits to her bedroom. Frasier enters the kitchen where he finds Martin with a box of jerky.Frasier: Hiya, Dad.Martin: Oh, Fras. You'll love this stuff I got from the farmer's market. This guy takes thejuiciest cut of filet mignon, slices it real thin and makes jerky out of it.Frasier: Look Dad, I don't...Martin throws it into his mouth, you can tell he is disgusted.Frasier: Yes, if only I had a nice powdered Cabernet to gowith it. Listen, have you given any thought to Daphne's wedding present?Martin: Now Frasier, not everyone likes jerky as much as you and me.Frasier: No, I just want to get her something special, especially since hermother seems to be taking all the joy out of it for her.Martin: Oh, well, how about a nice piece of luggage? You know, a good hard suitcase, like the kind people used to put stickers on to show everybody where they'vebeen. Remember your grandad's? His whole life was on it: Topeka, Sioux Falls, Biloxi... it was like a map of the world.Frasier: What a loss to us all that he failed to write his memoirs. I'm thinking of something thatwould matter to Daphne. [hiccups] Oh, something that shows her how we feel. [hiccups] Good Lord, that's a little spicy, isn't it? [gets a bottle of water from fridge] You know, maybe we should get something for herwedding.Martin: Like what?Frasier: Well, I don't know, her flowers, say? That's it, we could offer to pay for her wedding flowers.Martin: That's a bit pricy, isn't it?Frasier: Well don't worry about it, Dad. [hiccups] Youjust donate what you can and I'll pay for the rest. [hiccups] God, what was in that jerky?Martin: Well, you just ate it too fast. Next time you have to savor it a little.Frasier: Dad, I'm never going to taste that vile stuffagain. [hiccups] Oh, spoke too soon.Frasier enters the room to find Daphne.Frasier: Daphne, may I have a word with you, please?Daphne: What is it, Dr. Crane?Frasier: Well, it's about you wedding gift. Now, I knowit's not traditionally the role of a friend but we consider you family, so please don't say no. Dad and I would be honoured to pay for your wedding... [hiccups]Daphne: [taking it in] Pay for my wedding?Frasier: [holds outhis hand but hiccups]Daphne: How wonderful! [hugs a hiccuping Frasier] I could never imagine.Martin enters with the jerky.Martin: What's all the hubbub?Daphne: Dr. Crane, just told me about your incredible weddingpresent. You people are heaven-sent.Martin: Well, I'm glad you like it. You know what, we're going to throw in a piece of luggage as well.Daphne: [tearful] I'm just so overwhelmed.Daphne exits to the kitchen.Martin:See, I told you, everybody loves luggage.Frasier: Dad, she thinks we're paying for her whole wedding.Martin: What?Frasier: Well, I tried to say wedding flowers, but then I hiccuped.Martin: Well, I'm not paying for herwedding.Frasier: Of course not, I'm just going to clear this whole thing up right now before it goes any further. [calls] Daphne!Daphne enters.Daphne: You know what this means, don't you? Now that mum's not paying,she can't make me have it in England. I can have my wedding how I want it, where I want it: right here. You've answered my prayers. [cries in delight and exits back to kitchen]Frasier and Martin look at each other.The doorbell sounds.Daphne: [o.s] Could someone let Donny in?Martin: Well look, Donny's a very traditional guy. He's not going to let us pay for his wedding.Frasier: Right, you saw how he proposed to her; on bendedknee. He's nothing but a hopeless romantic.And so Frasier opens the door to hear Donny on the phone saying:Donny: Any idiot knows you've got to pay a hooker in cash! I'm at a meeting, I'll call you later, bye. [hangsup and greets the rest] I've got this client, he's in the middle of a divorce, right, and his wife finds all these charges from this place called \"Executive Match.\" It turns out to be a call girl service. When she gets throughwith him she'll have his house, his car, she'd have his beach house too if I hadn't already taken it. Women!Then Daphne bursts in and hugs Donny, still excited.Donny: Hi, honey.Daphne: Hi sweetie. [kisses him] Havethey told you yet?Donny: Told me what?Daphne: You're not going to believe this, but Dr. Crane and his father have offered to pay for our entire wedding.Donny: [takes it in] Is this a joke?Frasier: It could be.Donny: Imean, it's one thing for us to let your family pay, they're your parents, it's traditional. But this is...Frasier: Going too far? Being presumptuous?Martin: Yeah, we don't want to step on any toes.Daphne: I didn't thinkyou'd be uncomfortable with this.Frasier: Well, he clearly is, Daphne.Martin: Donny's right! We're not family.Frasier and Martin try to get out of it until Donny realises his bad manners.Donny: Wait, wait, wait, what am Idoing? Here you guys, you're making this lovely gesture and I'm just insulting you. I mean if you guys are not family to Daphne, then who is? Course you can pay for the wedding. Thank you, thank you.Donny hugsFrasier and Martin who cringe at the thought of the cost.Daphne: I just knew he'd see how much this meant to you. I'm tearing up again.Donny: No, don't start with the water works because you're going to get megoing. [notices jerky] What's this? Jerky? Can I have some of that?Martin: Help yourself.Donny: [reads box] Made from filet mignon. How much did this stuff set you back?Frasier: You have no idea!End of Act One. ActTwo.Scene One - Café Nervosa. Daphne is going through her plans for the wedding with Frasier.Daphne: Now, as far as the reception goes, I've narrowed it down to two places. I'm leaning towards \"Captain Jonah's.\"The view of the water's lovely. But you have to walk through a whale's mouth to get inside.Frasier: I hesitate to ask how you exit.Daphne: I've got to run. I've a meeting with the DJ.Daphne leaves. The woman seatedbehind Frasier, covering her head with a newspaper puts her read down, revealing herself as Roz. She comes over.Roz: I thought she'd never leave!Frasier: Good God, Roz, how long have you been there?Roz: Sinceyou two walked in and trapped me.Frasier: Aren't you taking this a bit too far just trying to avoid an unflattering dress?Roz: Yeah, I thought you'd say that. That's why I've been carrying around this picture of the lasttime I was a bridesmaid.Roz hands her photo to Frasier.Frasier: Good Lord, Roz, you look like you've been tented for termites. Roz whips the photo back again.Roz: Well, it sounds like she's having fun planning herwedding.Frasier: Yes, well, now that she can have things her way and not her mother's.Roz: She's lucky you came along.Frasier: Well, yes and no. You know, I sit here and let her make questionable choices and I saynothing because I know it's going to cost me less. I'm sorry, I've got to change my thinking about this whole thing. What good is my money, if I'm denying her the best gift I have to offer: my taste and expertise?Frankly, what Daphne really deserves is the gift of Frasier.Roz: Suddenly that crock pot I'm giving them doesn't sound so bad.Frasier: Oh, shut up!Roz exits as Niles appears from the back of the café with a delightfulsmile upon his face.Frasier: Hello, Niles. You look like a man who's been waiting to be asked why he's grinning.Niles: Oh, I was just thinking about the other day when you said how you thought dating services were alla big con. Well, I just got conned into meeting the most enchanting woman.Frasier: I don't know what to say.Niles: And I owe it all to \"Executive Match.\"Frasier: Now I do. The name of this service is \"ExecutiveMatch?\"Niles: Right, and you thought these women all beneath me.Frasier: Beneath you and countless others. Niles, do you have any idea...Then Sabrina walks in. She looks like the average ditzy blonde. She is on hercell phone. Niles calls her, but Sabrina signals him to pipe down and she'll be with him in a second.Niles: She's always on the phone. Whatever it is she does for a living, she's in great demand.Frasier: So you have noidea what line of work Sabrina's in.Niles: I'm guessing high-priced lawyer. I heard her quote her hourly rate on the phone. Believe me, you don't want to be on the receiving end of that bill. [laughs]Frasier: Niles, I feel Imust warn you...Niles: Oh please, spare me your condescending advice. Why can't you simply say you were wrong?Frasier: You have no idea what you're doing!Niles: I know exactly what I'm doing! And you could learna thing or two from me, Mister One-Date-And It's Over. I am taking it slow with Sabrina.Frasier: You mean you haven't?Niles: ...haven't?Frasier: Haven't...?Niles: Oh, please! Are you mad, you don't proposition awoman like that on the first date. Last night, I dropped her home after dinner with nothing more than a courtly kiss on the wrist. Tonight may proceed to hand holding. If all goes well, in two weeks I shall storm thecitadel of her womanhood.Sabrina comes over. Niles stands and kisses her wrist.Niles: Sabrina, this is Frasier.Frasier: Hello, lovely to meet you.Sabrina: Nice to meet you. You really have a great brother. He's charmingand witty and intelligent and handsome. [laughs]Niles: I paid her to say that. [laughs]Frasier: Of course you did![SCENE_BREAK]THE GIFT OF FRASIERScene Two - Frasier's Apartment. The room is full of things for thewedding. The dinner table is complete with tablecloths, flowers and food. There is a harp next to the piano. Frasier is just showing the florist out as the doorbell sounds. He opens the door to the dove man (who has abox of doves with him) and Daphne.Frasier: Finally, the doves have arrived. Come in, come in. [he does] [to florist] Lathbert, thank you so much for coming, lovely flowers, I'll let you know.Daphne: [enters and closesdoor] Dr. Crane, was that the florist for my wedding?Frasier: In his dreams! God, the man's arrangements are one big cliché. Look at this, his answer to everything is baby's breath, baby's breath, baby's breath. [pointsto flowers]Daphne: Does that woman with the harp have something to do with my wedding too?Frasier: No, Daphne, she's selling them door to door. Of course it's for your wedding. She's auditioning.Daphne: Dr.Crane, I really don't think...Then Martin enters from his room.Martin: Oh good, Daphne, you're here too. Listen, I want to show you guys a little something I thought up for the wedding. [acting as a minister] It is nowthe time in the ceremony for the rings. May I have them, please?Eddie runs in with a little basket containing two rings. He runs up and jumps on the couch, allowing Martin to take them.Martin: Course, it's a lot moreeffective when he's in his little tux.Frasier: Dad, please, it's all just a bit much, isn't it? We don't want to turn this wedding into a circus. Now, the dove man.Daphne: Dr. Crane, about the doves...Frasier: Just picture it,Daphne. Aren't they something? As you and Donny exit the church one dozen white birds of peace will be released and circle above. Of course, we'll use fourteen in actuality - the power lines always take out afew.Frasier lets the dove man out.Daphne: Dr. Crane, about the doves, well it just seems a little grand. I mean, what's wrong with throwing a bit of rice?Frasier: Well, if you want rice, of course, you'll have rice. [then]Sometimes it seems nothing I do is good enough.Daphne: No, no, no, I suppose doves will be fine.Martin: [noticed a reverend in the kitchen] Frasier, is that Reverend Franklin in the kitchen?Frasier: Yes it is,Dad.Martin: You're auditioning our minister for the wedding?Daphne: Don't you think Donny and I should have a say in who marries us?Frasier: Of course, Daphne, I'm just whittling down the possibilities. The finalchoice is yours.Chef Marco then enters with some cooked mushrooms from the kitchen.Marco: Who's tasting the first course?Frasier: Oh, that would me. [Marco exits]Daphne: Who's that?Frasier: That's Chef Marcofrom the Mercer Club, Daphne. Today we'll be sampling each of our four courses.Daphne: No, I was planning on serving a buffet. That way people can mingle, it's more festive.Frasier: We are talking about yourwedding, not brunch with all the fixin's at \"Billy Bob's Blackjack Boomtown.\"The doorbell sounds. Frasier opens the door to Niles on the arm of Sabrina.Niles: Hello, Frasier, you remember Sabrina.Frasier: Yes, of course,lovely to see you. Niles, what are you doing here?Niles: Oh, we're out for an afternoon of bird watching. It's the start of mating season, you know. [winks at Frasier] Just wanted to introduce my new girlfriend to Dad.Dad, this is Sabrina.They give their greetings.Martin: [impressed] Hey, nice to meet you.Sabrina: Nice to meet you too. I should really call my office, about how long do you think we'll be gone?Niles: Er, about eighthours.Sabrina: Great!Sabrina goes off to the hallway as Frasier responds to Sabrina's last remark. The doorbell sounds again. Daphne answers it to Roz, who tries to get away quickly. She has papers in her hand.Roz:Oh, Daphne, I didn't know you were going to be here. I just want to drop these off for Frasier. [hands them to her]Daphne: Roz, I'm glad you dropped by, I need to talk to you about my wedding. Do you mind if wespeak in the hallway?Roz: Actually, I don't have much time.Daphne: [follows her into hallway and shuts door behind her] Well, then I'll get right to it.However the elevator opens to a delivery man with adress.Deliveryman: Excuse me, do you know where Dr. Crane lives?Daphne: Right here, can I help you?Deliveryman: I'm dropping off this bridesmaid dress.Daphne: Oh, I'll take that. I'm the bride.The delivery mangoes back down in the elevator. As Daphne goes on with her speech, Roz examines the beautiful silk wedding dress. She is hardly listening to Daphne.Daphne: What I need to ask you is, how do you ever get Dr. Craneto listen to you...Roz: Is this the bridesmaid dress?Daphne: He's driving me mad. He doesn't listen to anything I say...Roz: The woman you ask to be bridesmaid gets to wear this?Daphne: And the worst part is...Roz: Isthat silk?Daphne: Well, he's just like my mother, controlling and stubborn. I mean, what am I going to do?Roz: [then] Well, Daphne, it's your wedding. Just tell Frasier how you feel.Daphne: Yeah, well that's a bitdifficult for me. You see, there was no talking to my mother. Anytime I sort of tried all I hear is \"Just do it my way, you'll thank me later.\" Every time she said that I just wanted to explode.Roz: Look, Frasier's areasonable guy. Just go in there and be direct.Daphne: You're right, I'm going to and... Roz, I was going to ask you if you wanted to be one of my bridesmaids?Roz: [obvious acting] Oh my God, are you serious? This iscoming out of nowhere. I'd love to.They hug.[N.B. In fact, Jane Leeves was a bridesmaid at Peri Gilpin's wedding to her husband, artist Christian Vincent.]Daphne: Don't worry. Once I'm in charge you won't have towear this thing Dr. Crane picked out. I mean, he calls this a bridesmaid dress! The sleeves aren't even puffy.Daphne enters the apartment as Roz angrily presses the lift button. Meanwhile, Martin and Sabrina arechatting away.Martin: So, how long have you guys been seeing each other?Sabrina: Let's see. Since we've met it's been about seventeen, no, eighteen hours.Niles: She actually counts the minutes we've beentogether.Frasier: Niles, may I see you in the kitchen?Niles: Excuse me.Frasier heads to the kitchen with Niles. Daphne stops them.Daphne: [confronting] Dr. Crane, I need to talk to you.Frasier: Not now,Daphne.Daphne: [nervous] All right.Niles and Frasier enter the kitchen.Niles: All right, what is it?Frasier: Niles, it's about Sabrina. She's a prostitute.Niles: Frasier, I don't like lawyers anymore than you do, but frankly aman whose face is plastered on every bus in town should be careful what terms he bandies about.Frasier: Niles! \"Executive Match\" is an escort service. One of Donny's clients was caught using them.Niles: I don'tbelieve you.Frasier: Niles, does Sabrina laugh at everything you say, is she fascinated by everything about you, even your collections?Niles: Well, yes. Actually, I even showed her my rarely-seen collection of eighteenthcentury Portuguese bud vases.Frasier: And how did she react?Niles: Well, if you must know, she was rather aroused. She said she loved a man who collected porcelain and- [clicks] Oh my God, I'm dating a whore! Theyhave my credit card number, I've been running up a tab! [looks at watch and calculates bill] I've got to get her out of here!Niles rushes into the living room with Frasier. The gang are in with Reverend Franklin.Niles:Sabrina, we should be going.Martin: What's the hurry? We're having a nice conversation.Sabrina: Yeah, I love your dad.Frasier: Did I mention he used to be a police officer?Sabrina: Maybe we should go. [getsup]Franklin: Surely you can stay a little while, I haven't seen Niles in ages. [to Sabrina] You know, I used to teach him in Sunday school.Martin: Oh, you know Reverend, I can still remember dropping him off for his firstclass. It seems like only yesterday.Suddenly harp music begins playing. The type that is used in movies when they are having a flashback. Everybody thinks this weird and starts looking around only to find it to be the"}
+{"doc_id":"doc_303","qid":"","text":"[PREVIOUSLY_ON]John: Isaac?Isaac: Isaac, the fornicator. Coming home to Salem to get out of the war is like jumping in the ocean to get out of the rain.Isaac: You can't leave Salem just yet. Something you've got tosee.Mr. Hale: Someone broke our circle.Mary: Who saw us?Mr. Hale: I do not know.Mary: I waited for you. Years and years.John: Come with me.Mary: I can't. It's impossible.Tituba: The grand rite has begun, and theearth cries out for innocent blood.Mary: I know well my duties.George: [Grunts] The only thing that keeps me alive is the look on your face when John Alden finds out what you really are.Bridget: [Screaming]Anne:Father, you know Bridget. How could you think her guilty of this?Mr. Hale: It isn't a matter of what I think. What a mess you've made of things.Bridget: [Gasping]Anne: [Sobbing]Mary: I don't want you here.John: Ialmost believe you.[Insects chirping]Cotton: You're so beautiful.\"Fear no man's war, for only a war from hell could destroy Salem.\" The devil was never going to let a promised land be built here without a battle.Mary:Do you know what killed nearly every woman buried here? Love.Cotton: And witches armed with deadly malice...Mary: Most died in childbirth. So love is to a woman...Cotton: Are the most malignant and insidiousweapons in that battle...Mary: What war is to a man. The most deadly thing, they'll do.Cotton: That war for the body and the soul of a nation.Mary: Only a fool runs quickly to war...Cotton: Imagine a foe you can'tsee...Mary: Or love.Cotton: Armed with weapons unknown...Mary: I can teach you...Cotton: And the ability to appear as anyone.Mary: About life and death and many things in between.Anne: Stop it! Just stop it!Stop.Cotton: Shh. Judge not, lest ye be judged.[Gasps][Water splashes][Indistinct shouting][\"Cupid Carries a Gun\" plays]\u0000 Pound me the witch drums \u0000 \u0000 witch drums \u0000 \u0000 pound me the witch drums \u0000 \u0000 pound methe witch drums \u0000 \u0000 the witch drums \u0000 \u0000 better pray for hell \u0000 \u0000 not hallelujah \u0000[indistinct shouting]Man: Burn in hell![Shouting continues]Woman: Sin!Isaac: Be assured, Mrs. Bridget... ones that are weepin' faroutnumber the ones that might spit or curse.Man: Burn in hell! Burn![Indistinct shouting]Tituba: You would do well to pay that boy extra to take them bodies a more circuitous route.Mary: Spectacle is fuel for ourfire.Tituba: And doubt is indulged by the rich and spoiled only.Mind that you was born neither.Woman: \"Give me to die with thee that I may rise to a new life, \"for I wish to be as dead and buried to sin, toselfishness...\"Mary: By all means, Reverend... do not offer prayer or comfort or words of encouragement. No, stand as a bewildered statue amongst the people of Salem and offer them absolutely nothing.Cotton: Whatwould you have me do?Mary: What I brought you here to do. Guide and support us in our great hour of need. Warm our hearts with your words of wisdom. Assure us it is God's will we do in ferreting out the devil. Or atthe very, very least... Pray.Mr. Hale: Tragic day.Mary: Tragic but necessary.Mr. Hale: Tragically necessary. Surely, the grieving of the masses gives you pause.Mary: Most spit and curse while summoning the burningflames of hell.Mr. Hale: There are also those who weep for her and find her hanging unfounded.Mary: Not enough to divert our intentions. A panic's success relies on its escalation. The grand rite has begun. We look toour next victim.Mr. Hale: And that I disagree, that I strenuously and most vehemently oppose means nothing to you? We were seen at our sabbat. And you throw caution to the wind.Mary: And have you identified whosaw us? Perhaps your disagreements and vehement opposition might hold more weight if you could be relied on to complete a simple task. Good day, Hale.[Indistinct shouting]Cotton: What must I do to be saved?It isimpossible to ask a more weighty question. Lest we perish eternally.John: How's it feel?Cotton: How does what feel?John: Killing two innocents in as many days.Cotton: The evidence against Miss bishop... woman: Theorphanage! Help! They're looting the orphanage![Glass shatters]Anne: Get out!It's not yours![Baby crying]Get John: Next one's to your head.[Children crying]Are you okay?Anne: It's awful. It's too awful.Mr. Hale:W-what's happened?John: Thieves have come to ransack the orphanage now that the town sees fit to hang its guardian.Mr. Hale: Easy, son.John: This is what comes of your witch panic.Mr. Hale: Are you all right?Anne:This is your fault! And his.Mr. Hale: [Sighs] Forgive her. She's distraught.Anne: I'm right! See me home.Mr. Hale: Captain, if you wouldn't mind, hmm?John: Yes. Of course.Anne: Where have they taken her?John: Foulspot where they rest the unwanted.Anne: Is it very terrible?John: Yes.[Bell tolling]Anne: Thank you...For your heroism and your candor.[Horse whinnies][Door opens]Petrus: [Laughs] Welcome, welcome, welcome!Acup of tea? A touch of port?Mr. Hale: No time. Who saw us in the woods?Petrus: It was... He who is marked. He of the \"F\" that furrows his brow.Mr. Hale: Isaac?Petrus: The fornicator.Mr. Hale: The idiot.Petrus: Onemore thing. Isaac was not alone.Mr. Hale: Who else was with him?Petrus: I don't know. I could not make out the face.Mr. Hale: You don't know. What good are you? A seer who can't see.Petrus: It's not an exact art.Mr.Hale: Evidently not.Petrus: [Chuckles]John: Hello?[Metal scraping][Crow caws]Hello?[Dog growling][Snarling][Grunts][Breathing heavily]John: What the hell was that place?Mr. Hale: The shack belongs to Petrus, anexpert on creatures both feral and otherwise.John: Yeah, well, they looked dead... Until they didn't.Mr. Hale: No dead animal could threaten a storied soldier such as yourself, Captain.John: It could, if powered by forceswe don't understand.Mr. Hale: Such as?John: Witchcraft.Mr. Hale: Nonsense.John: Is it?You know him well, this Petrus?Mr. Hale: You'll find no man more ordinary than Petrus. To say that he's mundane is to overstatehis passion.John: And what ordinary task brought you deep into the forest to seek his mundane counsel?Mr. Hale: Easy, son... Or I might suspect your presence here as more than a coincidence, that, perhaps, forreasons of your own about which I'm sure you'd rather I not inquire, you might have followed me here. And what a shame... To have suspicion overtake the grace I owe for the kindness you showed my daughter.John:Consider it repaid.Mr. Hale: Right.George: [Gagging]Mary: George, really. [Scoffs] You are worse than a child.George: [Groans]Mary: He serves at my behest, not yours. He won't come out for you. Ohh. There, there,little man. Oh, pay the beast no mind. Rest now, and I'll see to your feeding later.Tituba: Isaac's brung the master's potions.Mary: Tell him to wait.[Sighs]Ohh, George. Your nightdress thoroughly drenched in sick. Stewin that for the day, my sweet.George: [Gurgles]Isaac: For Mr. Sibley.Mary: Oh, and not a moment too soon. Just now, he suffered a fit of sorts.Isaac: If you don't mind me saying so, ma'am, it's a burden you've tookon... a burden and load, carried out without cry or complaint.Mary: My burdens can't compare to that of Salem itself. How do you find the spirits on the square?Isaac: Low, ma'am. Awful low.Mary: Perhaps there issolace to be found in remembrance of times when we've both shouldered worse. Who could have imagined that a single night could have consequence for so many? Not all scars can be seen. But they existnonetheless.Isaac: Next morning, she was gone. Run away and disappeared.Mary: Oh, your sweet Abby.Isaac: I'll admit to wondering on occasion what it might be like to one day see her again or know of her or hearher fate. Would it be better or so much worse?Mary: I can assure you, Isaac... if you were to see her again, you would find those feelings buried too deeply for hope of resurrection. Good afternoon, Isaac.Isaac: G'day,ma'am.[Indistinct conversations]Aah![Grunting][Insects buzzing]What is that? What is that? What are you... what are you doing? Please. Please.[Muffled screaming][Gasps][Breathing heavily]Pigman: What did you seein the woods?Isaac: [Screams]Pigman: We knew you weren't alone.Woman: We know!We know! We know!Isaac: [Cries]Woman: Who was there?! Who was there?!Isaac: I was alone! I was alone!Mr. Hale: Get it all.Want no trace of our efforts. The fault must lie with him alone.[Crow caws]And put these in his pockets. If he's to be found a witch, the good reverend will require proof... evidence to seal his fate, hmm? What is it? Isthis sympathy that I'm sensing? One outcast to the other? Is that what you feel, you decrepit deformity?Ghoul: Mary!Mr. Hale: So now even you would question me? Do as you're told! Does your great Mary know whatit is to watch witches burn? Nothing of the old ways while she's whipping us toward the new. A spell of vitae cupido, and then we send him to the one place in town that will certainly deny him entrance. That should gettheir attention.Gloriana: [Sniffles]Cotton: You're crying.Gloriana: [Chuckling] I'm not.Cotton: You are. What's wrong?Gloriana: If they can hang a woman like Miss bishop, what does that mean for someone likeme?Cotton: Nothing is going to happen to you.Gloriana: How can you be so sure? Just yesterday, it was me that they put before the Lewis girl. Would you have come forward had I been accused?Cotton: I follow everyprotocol. I adhere to every letter of what my father taught me. No one is convicted without incontrovertible evidence.Gloriana: So you're certain Miss bishop was a witch?Cotton: I am certain... Of the evidence.Gloriana:Why do you do it?Cotton: Why?Gloriana: Is it that you believe that you're doing good? Or is it that you wish to please your father?[Screaming, glass shattering]Gloriana: It's Isaac! He's mad![Glass shatters][Screamingcontinues]Cotton: I can't be seen here.Isaac: [Laughs] Let me touch you![Women screaming]Get up!Woman: Isaac, no!Isaac: Ha ha! Ah ha ha![Women screaming]Isaac: [Laughing maniacally][Isaacscreaming]Gloriana: Isaac, what are you doing?Isaac: What do you see?!Cotton: Isaac!Isaac: Oh, there you are!Cotton: Isaac![Women screaming]Isaac: Isaac the fornicator! Isaac the fornicator!Hide your wives! Hideall your sheep! Isaac the fornicator will get them when they sleep! Isaac the fornicator! Hide your wives! Hide your wives! Hide all your sheep! Isaac the fornicator! Hide your wives!John: Isaac!Isaac: Hide your sheep.Isaac the fornicator.John: Stop! Isaac!Isaac: Jonathan, it's no good. It's no good!John: What is no good?Isaac: They saw us. They saw us. They saw us in the woods. They saw us. They saw us in the woods. They sawus.John: Shut up.Mr. Hale: Take him to the jail.Isaac: They saw us in the woods. They saw us.John: Shh.Mary: Magistrate.Mr. Hale: Mrs. Sibley.Mary: What have you done?Mr. Hale: The idiot saw us in the woods.Mary:Isaac. So, you did this without consent?Mr. Hale: He wasn't alone. We'll find out who was with him, and he will burn.Mary: No, you will do nothing further.Mr. Hale: But...Mary: Nothing! Go home, Magistrate. You reekof the woods.[Horse neighs]Find me Rose.Isaac: [Groans]John: A drunken romp, that's all... a young man's prerogative.Cotton: And yet no smell of spirits on him.John: Oh, well, burn him, then. Why wait?Cotton: If hewas spelled, he's blameless in his actions.John: Yet you still hold him. Why?Cotton: Found on his person. Likely stolen to cast a spell on its owner.John: One minute, he's speller. The next, he's bewitched. Make up yourmind, Reverend. Is he a witch or a victim of the craft?Cotton: Chief ingredient of a witch's brew.John: Isaac took me into those woods. He risked his life to show me the witches. Why, if he was one?Lamb: I've, uh,administrated a tonic that'll settle him down and, uh, end the fits.Cotton: What is your surgeon's opinion of the boy's condition?Lamb: I can't say for sure as to cause or source, but going by his babble, that boy is goodand touched.Mr. Hale: Every benefit of the doubt, every Avenue explored. The boy is one of our own. Outcast and shunned as he may be, he still resides in the bosom of Salem. I'll, uh... I'll speak with himpersonally.Lamb: [Laughs] Not tonight, you won't.Mr. Hale: And why not?John: Lamb gave Isaac a tonic to help him sleep.[Horse neighs]Cotton: Probably best, Magistrate, to return in the morning.John: Yes,Magistrate. You can have your personal talk with him then.[SCENE_BREAK]Mary: Rose, absent the magistrate, what chance have I of harnessing the body's allegiance?Rose: [Sighs] The others are split between old andnew. Difficult to predict the outcome of such a divide.Mary: You're old and yet somehow not governed by this fear.Rose: It is not age that divides us, but ambition.Mary: [Chuckles] Well, he's not without ambition.Rose:It chafes him to bend to a woman, but he does so that our greater purpose may live.Mary: It was to be me that led us.Rose: It was and it is.Mary: Questioned and challenged at every turn, each and every decisionsoliciting doubt and scrutiny.Rose: Much as we may wish it, primacy does not live in the abyss.Mary: It cannot have all been in vain.Rose: Sibley.Your baby.Mary: It cannot have all been in vain. This life, my...Rose:Choices.Mary: Was there a choice? Or was choice taken from me?Rose: It's too late now to think of such things.Mary: Is it?Rose: It mustn't have been easy seeing him again. It is yours to decide, my girl, what is in vainand what is not.Mary: And you will stand behind my decision?Rose: Up to a point.Mary: Hmm.Rose: The magister's roots are old. He has seen much and suffered greatly. Do not underestimate him.[Thunderrumbles]John: Mrs. Sibley.Mary: Captain Alden.John: Isaac is not a witch.You do nothing, he'll be hung for one. We have to stop this. There's nothing left in you. No feelings, no heart. You're not the girl I onceknew.Mary: Have they questioned him?John: No. That's because he was given a sleeping tonic.Mary: So he's said nothing.John: Nothing. But Cotton is eager, and the magistrate was hard to turn away.Mary: Hale? Wasthere?John: He came straight to question him.Mary: You have my complete allegiance.[Horse neighs]Cotton: \"Our opportunities to do good are our talents.\"My father said that. The great increase Mather. To stayimpartial, to weigh without bias... is this the good I am meant to do? I don't want your life in my hands. Half of Salem takes you for a fool. The rest dismiss you as a pervert. Am I mad to think I saw something in you?Something of a man? And just the sort Salem needs to fight the devil.[Thunder rumbles]Abigail: [Echoing] Isaac, Isaac. Isaac, Isaac.Oh, sweet Isaac.Isaac: Abby? [Laughs] Abby?Abigail: Isaac.Isaac: How didyou...Abigail: Shh. My sweet. Tell me... who was with you in the woods?Isaac: Who was what?Abigail: The other night. Who was with you?Mary: Who was with you, my sweet Isaac?Abigail: Who was with you, my love?No one can hear us. If you love me, you'll tell me.Isaac: I can't.Abigail: Tell me, and we'll be together again, just like we were.Isaac: [Sighs] I can't.Abigail: You can.Isaac: I can't.Cotton: You can't what?Abigail: Youcan. It's okay. Who was with you, my love?Isaac: It was John Alden.[Door opens][Door closes]Mary: Good morning, Magistrate.Mr. Hale: Good morning, Mrs. Sibley.What an unforeseen delight. Will you join me in somecoffee? W-we've been experimenting with a new Brazilian brew.Mary: May we speak?Mr. Hale: The ladies are at prayer.Mary: He was alone... Isaac.Mr. Hale: You questioned him? How?Mary: He was alone in the woods.And that ends this persecution.Mr. Hale: And you're absolutely certain that Isaac was telling the truth?Mary: The circumstances were such that a lie would not...could not... cross his lips.Mr. Hale: Well, then, that leavesnothing but to task the selectmen to a vote and hang the boy for witchcraft.Mary: No.Mr. Hale: Salem will be no poorer for one less nitwit.Mary: No.Mr. Hale: [Sighs]We will never truly know what he saw, and what hesaw could get us all killed.Mary: I can control Isaac.Mr. Hale: And what of the grand rite? You wanted another victim, and now you have one. Tick-tock, Mrs. Sibley. The next moon fast approaches.Mary: I will not letthis happen.Mr. Hale: You're powerless to stop it. The council will rule overwhelmingly against it.Mary: You will not do this! [Plate rattles]Mr. Hale: It can only be sentiment that's stopping you. Such raw emotion. Itmakes you vulnerable. Don't let it cloud your purpose. He has to go.Anne: Mrs. Sibley.Mary: Good morning, Anne.Isaac: They ain't mine. I've said it 10 ways from Sunday!Cotton: Then how did they come to be on yourperson?Isaac: I don't know. The pigman must have put them on me. Or that blasted specter from the crags.Cotton: The pigman?Isaac: He saw us that night in the woods. That's why they're doing this to me. Don't yousee? They know I seen something.[Horse neighs][Sighs]Cotton: What else do you remember?Isaac: From the woods?Cotton: No.From the other night. At... at the rod?Isaac: The whorehouse? Nothing. I-I-I don'tremember anything. I told you...Mary: Captain, a word. Magistrate Hale will be here soon for Isaac. He's prepared to force a vote and hang him. You will stop him.John: How?Mary: Any way you must.Mr. Hale: Well, thebusiness of Salem awaits no man.Anne: I know what you're doing, and I hate you for it.Mrs. Hale: Unacceptable language. Utterly and completely horrid sentiment.Anne: My friend is dead. And you rush out to killanother.Mr. Hale: Darling, you must understand...Anne: Even Mary Sibley, with whom I share not a single common opinion, finds your actions vile!Mr. Hale: And just how much of my conversation did you feel yourselfentitled to?Anne: Enough to know that this persecution of Isaac is folly! Will you kill another, father? Is that the \"business\" you're so eager to attend to?Mr. Hale: Everything I do, I do for this family... For its well-beingand for the greater good of this town.[Door opens][Door closes]Anne: What?No \"how dare you?\" Or \"mind your elders\"?Mrs. Hale: For once, my daughter, I agree with you.Anne: You do?Mrs. Hale: But if I were you, I'dfind an Avenue around your distaste for Mrs. Sibley in order to absorb her manners and ways.Anne: She's despicable. I could never be like her.Mrs. Hale: She is a woman who has found her way to a voice.Anne: Lookhow she uses it.Mrs. Hale: You could use yours any way you like, but you have to find it first, unless you want to spend the rest of your life shouting at your father... Or... Your husband.Cotton: What did Mrs. Sibleyrequire?John: Are you convinced of Isaac's innocence or guilt?Cotton: I am not convinced of either.John: Then stay the hell out of my way.Mr. Hale: We shall take the boy to trial.John: That path leads to the gallows.Mr.Hale: It's in no one man's hands.John: Really? Whose hands is it in?Mr. Hale: God's, of course.John: No.Mr. Hale: Need I remind you, son, that you are impeding the very same man who only yesterday was yoursavior?John: Yeah. That was yesterday. You want Isaac today... You got to go through me.Mr. Hale: The great John Alden disappears for a decade and then dares to come back and dictate how to run our town? Takehim.[Footsteps]Tituba: He is not worth this Isaac.Mary: This has nothing to do with Isaac.Tituba: I know. Which means it has to do with John Alden.Mary: The Magistrate will learn who leads us, and he will acceptit.Tituba: Or?[Snake hisses][Gasps][Gasping][Choking]John: [Grunting]Cotton: Help him.Isaac: [Screams]Messenger: Magistrate Hale, your daughter!Mr. Hale: Stop! Get him back in the cell!Stop! Stop! Get him backin the cell! What? What's happened?Isaac: [Grunting]Lamb: Has she et something strange from the garden or the woods?Mrs. Hale: No.Lamb: Was she bit by an insect or a critter?Mrs. Hale: No, no! Please!Mr. Hale:What's happened?Mrs. Hale: She... she can't breathe!Mr. Hale: For God's sakes, man, do something!Lamb: She is beyond my arts.[Anne choking]Mrs. Hale: Where...[door opens]Mr. Hale: Stop it! Make it stop!Mary:Magistrate, good afternoon.Mr. Hale: I beg of you. Isaac can go free, whatever you want.Just make it stop.Mary: You will not question him.Mr. Hale: No.Mary: You will get out of my way. You will let me lead withoutfurther interference. I will choose who lives and who dies.Mr. Hale: Yes, yes. Help her.Mary: You see, Magistrate, I've lost everything in this town that I ever cared for. You, however, you have everything left to lose...asentiment that makes you vulnerable.Mr. Hale: [Sighs]Please. My daughter. My daughter.[Indistinct conversations]Mrs. Hale: She's improved.Mr. Hale: [Sighs]I never understood it before... how my parents could sendme away. What could be worse than being apart? Certainly not death. Now I know a parent will do anything for the life of their child.Mrs. Hale: What did you do?Anne: What happened?Mr. Hale: It's all right,darling.Everything's going to be all right.[Smooches][John groans]Cotton: A confession...I've thought, on occasion, my character might've been improved by the infrequent tussle.John: Oh, yeah. Beating's done you a"}
+{"doc_id":"doc_304","qid":"","text":"Kevin: To me, the Sixers are a five seed tops.Jim: I think they're going to the conference finals.Kevin: No.Jim: Bynum, obvious monster and the three point shooting, don't even-... [Jim bites his lip][SCENE_BREAK]Jim:I bit my lip at lunch today.[SCENE_BREAK]Darryl: Sucks. Anyway, I just don't see it. The Knicks are tough.The Nets are tough.Kevin: Oh, the Nets are super tough. [Jim in pain from his lip][SCENE_BREAK]Jim: Now Ihave this big bump in my lip that hurts. I hate it.[SCENE_BREAK]Kevin: The Hawks are terrible. They're always terrible.Jim: Okay, you need to think about it before you come with the... [Jim bites his lip again andpounds on table][SCENE_BREAK]Jim: Whatever. It's not a big deal. You know I always tell my three year old, if this is the worst thing that's gonna happen...[Jim bites his lip again] You gotta be kidding me! Ok! Pam!That's it, I'm going home![SCENE_BREAK]Erin: Good morning, Meredith.Pam: What?Erin: Oh, sorry, Pam. Yikes.[SCENE_BREAK]Pam: Jim's been spending a few days a week in Philly and I'm not gonna lie, it's beenchallenging. Yesterday, things took a turn for the worse. I found out Cece has lice. So I was up all night disinfecting every sheet, towel, toy, item of clothing in the entire house. I'm exhausted. But don't tell Jim. He hasa huge meeting today, under a lot of pressure and he's doing it all for the family.[SCENE_BREAK]Jim: I am meeting Dr. J today, otherwise known as Julius Irving, famed 76er and my own personal hero. But i have to becareful not to rub it in Pam's face because let's be honest, how would I feel if I was at home stuck with the kids while she was go carting with John Stamos.[SCENE_BREAK]Jim: [talking on phone] You sound tired.Everything ok?Pam: Great. Everything's great. Hey are you nervous about your big meeting?Jim: Uhh, a little bit. It's a lot of pressure, you know, but that's what I signed up for right?Worker: Jim, limo's here.Jim: Uh,you know what, I gotta hop off because my, uh, taxi is here to take me to the meeting.Pam: Oh, call me later!Jim: OkPam: Good luck!Jim: Thanks!Pam: Love you.Jim: Love you too. Bye.[SCENE_BREAK]Val: How youdoing?Darryl: Alright. I mean, it's what you want, so...Val: It's how it has to be.Darryl: I know, I know. It's just hard.[SCENE_BREAK]Darryl: Me and Val were going nowhere and if I'm gonna be working in Philly, I'mgonna need my freedom. So, I convinced Val to breakup with me. Here's how you do it. You say, \"What are you gonna do, breakup with me?\" Like it's a joke, and then you gain a lot of weight.[SCENE_BREAK]Darryl: I'llnever be sorry, not for a moment of it.Val: Me neither. Come here. [she hugs Darryl, and Darryl smiles behind her back][SCENE_BREAK]Pam: Hey Meredith, I need your supplier requests today.Meredith: Jeez H. in themorning. Will you stop your nagging already? No wonder Jim left you.Pam: He didn't leave me. He just went part time. [Meredith scratches her head vigorously] Can you just fill out the form please?Meredith:Yes.[SCENE_BREAK]Pam: I'm sure she's just confused. People scratch their heads when they're confused. Not always like an ape, the way Meredith just did, but it happens.[SCENE_BREAK]Meredith: Hurry upalready.Erin: [checking Meredith's head] Trust me, I know what I'm doing. Between the foster homes and the orphanage, I had lice 22 times.Erin: Holy wow, that's a big one. Alright, pencils down everyone, we gotlice!Angela: Oh God, Meredith, lice? Did you not sign a pledge to shower?Dwight: What? Lice? Oh my god. Lock the doors, we are on full quarantine.Pam: Dwight, relax. It's just lice. Maybe, possibly.Dwight: Just licePam?[SCENE_BREAK]Dwight: Of all of the vermin in God's great green kingdom, lice are the ones I detest the most. My first day of school, I had lice, and no one would play with me. For 15 years, they called me freakand four eyes and sci-fi nerd and girl puncher. All because I had lice when I was 7.[SCENE_BREAK]Dwight: Make way, nope, inspect me.Erin: Oh, this is the cleanest scalp I've ever seen. You are all clear.Dwight:Should be. I use lice shampoo every morning. [Dwight starts spraying everyone with disinfectant]Pam: Stop that!Angela: Dwight!Erin: Next!Angela: [getting her head checked] Geez Meredith, you know, this is an officenot one of your bean bag orgies.Pam: Alright, let's give her a break. We don't know for sure this is Meredith's fault.Oscar: Pam, really? Come on.Meredith: Hey, what do you want? I know who I am. Nobody's takenMeredith Palmer to the opera to meet the queen.Erin: Lice. More lice. [Angela shrieks in disgust] Angela has lice.Angela: Ew! Oh.Erin: [checking Stanley's head] Ooh yabber, lice!Erin: [checking Pam's head] Yikers,lice.Pam: No! How? I'm so clean!Erin: [checking Oscar's head] Oh yeah, big time lice.[SCENE_BREAK]Oscar: I wash my hands at least six times a day. Toilet seat covers? Yes, thank you, even when I pee. Apparently,none of that is protection enough. Not when it comes to Meredith.[SCENE_BREAK]Phyllis: What are you wearing?Dwight: It's a Hazmat suit. That stands for hazaderous materials men's suit wearing. If you rent morethan four times a year, it just makes sense to buy. Is there anyone else here that is lice free? [Phyllis, Kevin, Darryl. and Nellie raise their hands] Excellent. Do you have your own hazmat suits?Nellie: No.Kevin:No.Dwight: Renters. Ok, I'm gonna need you to gather your belongings, retreat to the warehouse, conduct your business there until the infected have been deloused. Let's get going. I'm gonna stay here and fight. Ifyou don't hear from me by lunch, call me. I might want lunch.[SCENE_BREAK]Darryl: Alright, we're going down to my warehouse, that means we're playing by my rules. No messing with the baler and be cool in front ofme and Val. We just broke up.Phyllis: You got dumped?Darryl: Yeah, she ended things.Nellie: Breakups are the worst. The only thing that got me through mine are large amounts of shepard's pie and Brandy. Thesinger, not the drink.Kevin: Here man. [Kevin hands Daryll some chocolate] You need that more than me.Darryl: Thanks, man.Kevin: Yeah [kisses Darryl on the cheek][SCENE_BREAK]Pam: Guys, I think we should allease up on Meredith. This has got to be hard for her.Angela: Oh, no no no no no. I have not yet begun to shame.Stanley: That's it. I'm getting my stuff. I'm leaving for the day.Erin: No! Stanley! If you leave now thenyou'll get it in your car and then you'll get it in your house! [Erin jumps on Stanley's back]Stanley: Get off me!Erin: I'm trying to save you from yourself!Stanley: Alright, I'll stay! There's a pencil broken in myrolls.[SCENE_BREAK]Pam: Maybe it was Meredith. Maybe she brought in lice that are totally different than the lice that i got from Cece. So let's not jump to the simplest conclusion that she got her lice from me. That ishow wars get started. Fine, I'll tell her it was me.[SCENE_BREAK]Jim: Oh man, that's fresh squeezed. And, uh are all the snacks complimentary?Limo Driver: Yeah, take some home if you want.Jim: Oh no, no, no.That's ok. [Jim shoves some snacks in his pocket as he gets out of limo] Um I'm sorry, is this the conference center?Limo Driver: No, Mr. Irving called. Said he'd rather meet you at his private court.Jim: You gotta bekidding me.[SCENE_BREAK]Pam: Hey, Meredith I need to tell you something.Meredith: [shaving her own head] Yes, Pam what do you want?Pam: Oh my God, Meredith what are you doing!?Meredith: Baking a cake,what does it look like I'm doing? Getting rid of the lice.Pam: Oh stop! I am so sorry!Meredith: Oh, can you hold that thought? That's my wax. You know, I think these critters migrated from down south. What were yousaying?Pam: Nothing.[SCENE_BREAK]Pam: I am going to tell her, but now is clearly not the time. I will buy her a wig, we'll have a few laughs. There's a right way to do this.[SCENE_BREAK]Dwight: Scalp leeches, skullvampires, follicle gypsies, hair lawyers. One thing is clear, it's kill or be killed!Erin: No, no. It's more of a nuisance really. It's not that big a deal. So, I collected your hats and your coats...Dwight: To be burned!Erin: Tobe washed.Angela: What do we do about our heads?Dwight: I'm not gonna lie. Lye!Erin: No, all we need is mayonnaise.Angela: Excuse me?Pam: She's right, it works. I would imagine.Erin: Yes, it helps to suffrocate thelittle buddies and it's a really healthy alternative to the chemicals found in most lice shampoos.Oscar: I can appreciate that. I also only eat local, organic produce.Meredith: [walks in conference room] Shaboom! How doyou like me now!?Angela: Oh.Oscar: Wow.Meredith: Take a picture. It will last longer.Angela: We don't want it to last longer. It's horrible.Creed: Bald people make me sick.Meredith: Yeah, yeah, everybody pile onMeredith. But I'm the only one with the balls to show them lice who's boss.Erin: Ok, nobody panic. If everybody just follows my instructions, then nobody else needs to end up bald. Not that it looks bad, Meredith. Itlooks...It looks awesome. You look like a baby who suddenly aged 50 years. A cute baby, but something sucked the life force out of it. I'm so sorry. We need mayonnaise! We need it now.Pam: Oh! Uh, uh I'll go.Angela:Okay. Oh, thank you.Oscar: You're a saint, Pam.Pam: No, no, it's not a big deal, please. No. Um, Meredith can I get you something special while I'm at the store, candy, or...or one of those stylish turbans?Meredith:Thanks Pam! I'll take a pack of Nicorette gum and a pack of Kools.Pam: Okay.Dwight: Let's talk pubes, people.[SCENE_BREAK]Val: Hey, Darryl.Darryl: Oh, hey Val.Nellie: Oh, that was tragic, Oh, that was like a carcrash. I couldn't look away. You two clearly still have feelings for each other.Darryl: Yeah.Phyllis: What's gonna make you feel better, big guy?Darryl: When I was a kid, my grandmother used to make me chocolate cakewhen I wasn't feeling good. She's not around to do that anymore. I'm sorry, I just need a moment to myself just to clear my head.Nellie: Aw, poor Darryl. I can't bear to see him suffer like this.Kevin: I think he needssome hugs, and maybe some chocolate cake.Phyllis: Mmm, this won't help him, it's a muffin, not cake.Nellie: Listen, let's try and get Darryl the one thing in the world he clearly wants and needs the most.Kevin: AnEscalade.Nellie: Or what's her name.Phyllis: Val.Nellie: Let's get Darryl Val.[SCENE_BREAK]Julius Irving: I hope you don't mind me bringing you out here. I can't get my knees under a desk.Jim: Are you kidding me? Ican literally scalp tickets to this.Julius: Well, do you think you can sink one from deep?Jim: Listen, I don't mean to intimidate you, but I did play a little high school ball.Julius: Okay. [Jim shoots the basket and it goes in]Wow, Halpert's got game.Jim: Alright. [Jim's phone rings] Oh, sorry. I'm so sorry. It's my wife, can I take this?Julius: It's your wife? You better take it.Jim: Right! [Jim laughs as he answers the phone] Hey, what's up?Everything ok?Pam: Oh, no everything's great! Um, I was just calling to see how the meeting went.Jim: It's still happening right now actually, so uh...Pam: He's really making you work for it, huh?Jim: Yes, it is verystressful. You sure everything's okay?Pam: Great. I am killing it over here. [drops mayonnaise on the ground] Jim, I gotta go.Jim: Okay, bye. [Jim turns back to Julius] So sorry about that.Julius: No problem. Hey Jim,what size do you wear, man? I got a pair of japanese Nikes with your name on them. What do you think?Jim: I love it.[SCENE_BREAK]Erin: [handing out mayonnaise jars] Once it's all over your head, just leavr it therefor four hours. That will be enough time for the lice to fall asleep, suffrocate, and then pass away.Dwight: Oh sure, and when you're ready to get serious, come to me to get it done right. [Dwight holds up a pair ofscissors]Stanley: Put those away before you hurt yourself.Dwight: [swings the scissors around and puts them into his pocket, putting a hole in his Hazmat suit] Oh God, oh no. No. No. No! No! No! No! No!Erin: Okay,it's easier with a buddy, so everybody pair up.Angela: Oscar, do you want to be my partner?Oscar: Yeah, yeah, sure. I'd love to..Creed: Hey, uh, mayo buddy, five dollar tip, you unclog my ears. Okay?Erin: Oh, Creed,I'm so sorry. I'm...I'm already partners with Pete, right Pete?Pete: Uh, yeah. We promised each other if we ever got lice, we'd buddy up. Sorry, man.Pam: Hey, Creed, wanna be my buddy?Creed: Oh God. Stuck withthe weirdo.[SCENE_BREAK]Oscar: [Angela is slapping mayo on Oscar's head] Angela.Angela: You don't want bugs. You know? Who knows where those bugs will end up?[SCENE_BREAK]Meredith: [putting mayo onStanley's head] You're getting a bargain. I ain't got no hair no more.[SCENE_BREAK]Pam: [putting mayo on Creed's head] Creed, I'm all done. My turn.Creed: I'm sorry, Pam. It looks a little messy.Pam: Well,wait.[SCENE_BREAK]Pete: [putting mayo on Erin's head] How's that?Erin: I feel it working. [Erin and Pete playing around with the mayo] Eiffel tower![SCENE_BREAK]Val: Can I help you?Phyllis: Well, we don't want topry but we heard you broke up with Darryl.Val: Yeah, that's true.Phyllis: We think you made a big, big mistake.Kevin: Big mistake.Nellie: Quite enormous.Phyllis: He's a real catch and you should take him back.Val: Ok,thank you. Is that all?Nellie: No. No, that is not all. Let me tell you what real life is like. The men dry up, and the nights get lonely. The only calls on your machine are for collection agencies about that pair of motorcycleboots you never even wore. You stalk your old high school boyfriend online, go to his daughter's soccer games, and make a scene. You buy a diamond ring for yourself, wear it on your right hand, and tell yourself,you're all you need. One day, you're alone, tired. At your feet, a dying bird. But where did it come from? Why did you kill it? Is it because in some strange way it is you?Val: Thank you all for your concern, but I'm gonnahave to ask you to leave, okay?Kevin: So does this mean you're gonna take Darryl back?Val: No.Kevin: Well, then, what do you say to you and me hitting the town? 'Cause I'm free, literally forever.[SCENE_BREAK]Val:Yeah, Kevin asked me out. I was kinda feeling good about reentering the dating pool, but then Kevin asked me out. Thought I might trade up to a new level of man. Then Kevin asked me out.[SCENE_BREAK]Pam:[phone rings] Hello?Helene: [on speaker phone] Hi, honey, it's mom. Look, Cece's school just called. She still has lice.Pam: What, no. That can't...I don't...Helene: Now, don't worry, don't worry. I'm on my way to pickher up, but you might have lice too. You know, lice can be tricky. Sometimes lice, like...[Pam hangs up phone]Angela: Oh my God.Meredith: Shave her head. Shave her head![SCENE_BREAK]Pam: [everyone yelling atPam]You guys, I am so sorry! It's just been so chaotic with Jim gone, that...Meredith: Yeah yeah, Princess Fancypants let Jane 12-pack over here take the fall.Dwight: [talking through the loud speaker] She's rightPam.Pam: Is there a volume knob on that thing?Dwight: Yeah there's a volume knob on that thing.Pam: Meredith, I am so sorry.Angela: Well, a lot of good your sorrys are doing her now, Pam. She's a monster.Pam: Imeant to say something earlier. I just...Meredith: Just? Just what? Just forgot?[SCENE_BREAK]Meredith: Who's the one who didn't bring lice into the office? Meredith. Sure I gave everybody pink eye once, and my exkeyed a few of their cars, and yeah I BMed in the shredder on New Years. But I didn't bring the lice in. That was all Pam.[SCENE_BREAK]Dwight: Attention, people of the office. You have exactly 60 secondes toevacutate the bull pen. At that time, I will be tossing this powerful insecticidal grenade, which contains piperonyl butoxide, as well as...[Dwight drops the grenade and it goes off inside Andy's office]Erin: Dwight, are youokay!?Dwight: Whoa. Hypertoxide has a mild hallucigenic effect, but I don't think it's kicked in yet. I'm gonna count down from ten. Nine, yellow, cold, sad, purple. [Dwight collapses]Erin: Wow. He got topurple.[SCENE_BREAK]Oscar: [Angela rinsing Oscar's hair, and she bumps his head] Ow!Angela: Sorry.Oscar: You're waterboarding me!Angela: Oops.[SCENE_BREAK]Kevin: [shoving large amounts of bubble wrap intothe baler, as a warehouse worker passes] No, this is fine. We are allowed to do this. This is okay.[SCENE_BREAK]Erin: You're up.Pete: Yeah, I'm kinda sad to see this baby go.Erin: You do kinda look like Elvis, but weshould probably wash all the dead lice out.Pete: Okay.Erin: Okay. Okay. [rinsing Pete's hair out] Is that too cold?Pete: No, it actually feels kinda nice.[SCENE_BREAK]Kevin: I wonder what happened over there. I'vebeen sitting here the whole time. [as the baler crushes the bubble wrap, making loud noises][SCENE_BREAK]Val: Okay.Darryl: Huh?Val: Let's give it a shot. Let's make it work.Darryl: Oh, no. I mean, I want to, Ijust...I don't want to force you into something you don't want to do.Val: You're not. I believe in us.Darryl: But... [Val kisses Darryl][SCENE_BREAK]Darryl: I'm back together with Val. Yay...[SCENE_BREAK]Dwight: Ihad a pretty good day today. Not everything went exactly according to plan, but lice if you are watching, I am ready for you anytime, anywhere. [Dwight gets into his car and another insecticidal grenade goesoff][SCENE_BREAK]Pete: Hey, did Erin already take off?Oscar: I guess so.Pete: Okay.[SCENE_BREAK]Julius: You're Kareem, coming to help.Jim: Okay, I'm Kareem. That makes total sense. I'm Kareem. You're Dr. J.Just sounds weird to say out loud.Julius: And it went like this. [Jim's phone starts ringing]Jim: And that's all?Julius: That's it.Jim: No one will believe this back home, but that's okay. Let me show you how it'sdone.Julius: Yeah, you show me how.[SCENE_BREAK]Jim: [Jim's phone goes to voicemail] This is Jim Halpert, leave a message.Pam: Hey honey, it's me. Just trying to catch you before going home. Um, oh, well justgive me a call whenever. Hope your day got better. Love you.Meredith: Hey, what you doing right now?Pam: I'm just gonna go home. My mom's been watching the kids all day.Meredith: Let her stay another hour. Let'sgo get a beer.Pam: Really? A beer sounds incredible right now.Meredith: No duh. Let's go. You're buying.[SCENE_BREAK]Pam: Meredith, I am so sorry about today.Meredith: Forget about it.Pam: I just did not realizehow hard it was gonna be without Jim. I mean, I really respect you for being a single mom all these years. It whipped my ass in half a week. I have to say, there are not a lot of people who could pull off a shaved head,but you are rocking it.Meredith: Right. I got the bartender's phone number when you were in the john. I'm gonna take that freak to bone town before the night is over.Pam: Get it, girl![SCENE_BREAK]Pam: [Pam andMeredith singing karaoke] This one's for all you ladies out there.Meredith: [starts singing] I come...Pam: Not yet.Both: [singing] I come home in the middle of the night. My mother says when you gonna live your liferight? Oh Mother dear, we're not the fortunate ones. And girls, they want to have fun. Oh girls just want to have fun."}
+{"doc_id":"doc_305","qid":"","text":"ACT ONEScene One - Apartment The doorbell rings. Daphne opens the door to Roz, who is carrying Alice.Roz: Hey, Daphne.Daphne: Hello, Roz, Alice. What brings you here?Roz: We're borrowing Frasier's car.Daphne:Oh, I see. And you're leaving Alice here as collateral.Roz: Actually, he's being very nice about it. Mine's in the shop, and I'm taking Alice and a few of her friends to an ice cream party.Frasier: [emerging from hallway]You told me it was your friends, and the Science Center!Roz: He said, she said, we'll never know what really happened. Frasier, don't be so uptight. I'm not gonna hurt your precious car.Frasier: I am not uptight, it'sjust that I've had some unfortunate experiences before loaning out my car.Daphne: [going to the hall] I left an umbrella in the trunk.Frasier: It was a wet umbrella!Roz: Can I have the keys?Alice whines softly,prompting Frasier to take them out.Frasier: [sighs] Yes, yes. [drops them in her hand] After all, what are fine possessions for if not to be used and enjoyed? [lugubrious] And who better to enjoy them than the delightfulsouls of small children?Roz: I'll put a tarp in the backseat.Frasier: Oh, bless you.Roz turns to leave and runs into Niles.Niles: Hey Roz, hello Alice. What brings you here?Roz: Oh, Frasier loaned me his car, I backed mineinto a telephone pole.Frasier: You said you were getting a tune-up!Roz: [as the elevator doors close] It needs one, trust me!Niles: Is, uh, Daphne ready?Frasier: Uh, actually I think she's in her room. You two haveplans?Niles: Yes, I am taking her to the botanical gardens. Can you believe she's never been before?Frasier: Didn't Donny take her to the botanical gardens last year?Niles: Can you believe she's never beenbefore?Daphne comes out with Eddie on a leash.Niles: Hey, Daphne!Daphne: Hello, Niles.Niles: Ready to go to the gardens?Daphne: Yeah, I'm afraid I'm gonna have to take Eddie for a walk first.[kisses him]Niles:Where's Dad?Daphne: I don't know, he's been gone all morning.Niles: Oh well, here, I'll take him for a quick walk.Daphne: Oh no, he's gonna need more than that, or he'll go stir-crazy. He's gonna need a full hour atthe dog park.Niles: [checks his watch] We don't have time to go the dog park, the-the Tour of Succulents starts promptly at twelve. Uh, hey, Frasier, can you take him?Frasier: No, I'm sorry, Niles. Roz has my car, yousee, and Lana's coming by to pick me up for a tutoring session with Kirby.Daphne: I'll just get Eddie's toys. [leaves]Frasier: [on phone] Hello, this is Dr. Frasier Crane, I need to make an emergency appointmenttomorrow, for a complete cleaning of my BMW. June 10th?! But I've got a Clean Team Privileges Card! Yes, of course it's a platinum one! [takes it out and looks] No, no there are no diamonds on the corner. Well, thenyes, I'd like to become a member of the Diamond Alliance immediately. Fine, put me on the waiting list. I'll see you in June. [hangs up]Niles: [needling] You're not in the Diamond Alliance?Frasier: Don't dothat![SCENE_BREAK]Scene Two - Park Niles and Daphne are sitting together on a bench in the park, with Eddie. All around them are dogs playing with their owners.Niles: So this is it.Daphne: Mmm-hmm.Niles: I'dhardly call this a dog park. [looks around] It's more like a dog... orgy. Whose beagles are those?Daphne: Don't stare, it only encourages them.Niles: Well, hurry up, Eddie, there's lots of exciting depravity to explore.[Eddie doesn't move]Daphne: [takes out a short piece of thick rope] He wants to play a little fetch.Niles: Oh.Daphne: Well here, you throw it.Niles: With my bare hands?Daphne: Oh come on, it's fun.Niles: [takes it]Ready? Here we go. And, fetch!He tosses the rope about two feet away. Eddie quickly picks it up and brings it back.Niles: All right, I didn't give you enough of a challenge. Here, ready, ready? And, ho! [throws itfarther] Go get it! [Eddie runs after it] I'm sorry, I was a bit of a grouch. This is actually a fine way to spend the day.Daphne: Yeah...Niles: In fact, it's kind of...He trails off as a huge hound comes back with the end ofthe rope hanging from his jaws.Niles: Hello. Do you suppose the rest of Eddie's in there?Jim, a tall, handsome, athletic man, follows the hound. Eddie follows him.Jim: Good boy, good boy! Sorry about that, Daphne, butwhat with the organic vitamin paste I've been feeding Tank here, Eddie can't keep up with him.Daphne: It's no problem, Jim. Uh, Niles, this is Jim Grady and Tank. This is Niles, my boyfriend.Niles: [shaking hands]Pleasure.Jim: Boyfriend? Ah, I should have known. It seems like every time I'm single you're in a relationship, and every time you're single I'm in a relationship.Daphne: Yeah, that's true.Jim: I guess we just don'thave-Daphne: Timing!Jim: -good... [Daphne laughs] And I'm a drummer!Niles: Which, uh, makes it even more ironic!Tank starts climbing Niles's leg, to his horror.Jim: Tank, that's rude! Now, chill. [Tank obeys]Niles:Wow.Daphne: Wow, you've really got him trained. That's the problem with Eddie. He only listens when he thinks he's gonna get food.Niles: Or one of my socks! [laughs, no one else does] But mostly food.Jim: Well, it'sall in the voice tone, really. Any dog can learn to respond to it, even an old wheezer like Eddie. You, uh, want me to show you?Daphne: I'd love it.Jim: Come on. [she gets up]Niles: Yeah, we'd all love it!He gets up tofollow them, but his cell phone rings.Niles: Oh uh, you guys, uh... [but they're gone] Be right back. [sits and answers] Hello?!SMASH CUT TO: A close-up of Martin, dressed in a dark suit and talking on a mobile:Martin:Hi Niles, it's me. I just wanted to make sure Daphne took Eddie for a walk, I completely forgot about it this morning.Niles: Yeah, yeah, we're in the dog park now. Uh, where are you, anyway?The camera widens to showMartin seated at a table in a nondescript room. It looks a little like a canteen. In the background are two people in suits, conferring.Martin: Uh, I'm at the track. Uh, had an itch for it when I woke up, and so just Idropped everything and went. Uh, I'm at the window... [puts the phone to his shoulder] I'll have a trifecta in the eighth. [into phone] All right, gotta run.Niles: Wait, uh-Martin hangs up. He looks verypensive.[SCENE_BREAK]MR. HAPPY PANTSScene Three - House Lana opens the door to the house, and Frasier follows her in.Frasier: Well, I didn't realize that I was going to be selling houses with you today! Why didn'tyou just drop me off and then come on your own?Lana: Stop whining! It'll only take a minute. I hope we don't run into the sad sack who owns this place.She notices some framed family pictures on the otherwise bareshelves, and quickly removes them to a box on the floor.Lana: I've been trying to sell this house for over a year! But he keeps driving away every potential buyer.Frasier: How does he do that?Phillip, the world's saddestman (judging by his unshaven face and filthy clothes) lumbers in carrying a box.Phillip: Oh... hi. I heard a woman's voice, I thought it might be my wife coming back to me.Lana: [as if to a child] No. She lives inPortland now, with her new husband, Lamar, remember? [Phillip nods sadly] Oh, excuse me, Frasier Crane, Phillip Donovan, the current owner.Frasier: Hello.Phillip: Hi.Lana: Well, see you later Phillip!Not seeming tohear her, Phillip puts the box on the floor and sinks onto the couch.Phillip: Anyway, my wife just left with the kids. No talking, no explanations, just ripped my heart out and threw it to the dogs - which she alsotook.Frasier: Well, uh, at least you're... getting out at the top of the market!Lana: Actually, this is a very good time, Phillip, and I think today is the day!Phillip: [opening the box] Oh, no!Lana: Oh, God!Frasier: What'swrong?Phillip: The damn basement must have flooded again. Everything in this box is ruined. Little Suzy's cap she wore home from the hospital, ruined; Danny's first soccer uniform, ruined!Frasier: Well, you know, Ihave an excellent drycleaner-Lana: [hissed] No!Frasier drops his coat onto a chair and sits beside Phillip on the couch.Frasier: Once, actually, I spilled butter on a pair of white velvet pantaloons. [off their looks] Well,it's a long story. But, uh, he had it out in under a minute!Lana: Frasier, just give him the address.Frasier: Yes, yes...Phillip: [shows him some pictures] I have two sons and two daughters. The perfect American family...until that b*st*rd Lamar showed up to snake our drains. Now all I have left are weekend visits, and a few treasures from their childhood.He takes out a popsicle stick house and puts it on the coffee table.Phillip: Likethis house little Danny and I made at day camp. Oh, thank goodness, it made it through unscathed. Just a little water damage in the basement. Just like this house...Frasier: Phillip, you are still their father. I mean, Iknow things seem difficult right now, but believe me, it'll get easier.Phillip: Oh, it's already easier. I mean, look at me, I'm dressed.Lana: Phillip, you know what would really cheer you up, is to make a killing on thishouse! Now, don't you think you should get back to work?Phillip: I guess. That air traffic isn't gonna control itself. [gets up]Lana: OK, here we go. [he heads toward the front] No, not the front door! Let's go out the sidedoor. [steers him] It's good to see you again, Phillip, I'll call you when we sell the place, bye!She shoves him out.Frasier: Good lord, that man is obviously in pain, the least you could be is a little sympathetic!Lana: Ihave been sympathetic for fifteen months! I had him over for Thanksgiving! He got drunk the first half-hour and cried himself to sleep in my coat closet! And I consider that one of our good days!Frasier: Well, so whereare these so-called buyers of yours? You told me they'd be here in a few minutes.Lana: Well, they're obviously running late, OK? It'll give us time to go over the plan.Frasier: What, what, there's a plan?Lana: Well, sure.When the Smolenskis get here, you act like you want the house. You know, a little competition, put a little pressure on the deal.Frasier: You're asking me to be your shill?Lana: [slaps her forehead in mock surprise]That's the word! Yes, yes! Now listen, you don't have to say anything!Frasier: I'm sorry, no!Lana: Well, why not?! Well, look, OK, all you have to do is walk around with an interested look on your face. You know, they'llfill in the rest!Frasier: I will do no such thing!Lana: Why won't you help me?!Frasier: Because I refuse to lie for you!Lana: Oh fine, then go wait in the car!Frasier: I never wanted to leave the car!Lana: Oh, just getout!She grabs his coat and flings it at him, hitting the stick house and shattering it into a hundred pieces. They are both horrified.END OF ACT ONEACT TWOScene Four - House Lana is picking up the pieces. Frasiercomes in the door with a grocery bag.Frasier: All right, I got some cream-sicles, and fudge-sicles, and something they call, uh, \"Bomb Pops!\"Lana: I called the Smolenskis, I bought us a little extra time.Frasier: Right,good, good. All right, let's spread out some paper and then build us a house!Lana: So Frasier, with all your talk about honesty, how do you justify faking this thing?Frasier: Well... we're simply protecting the feelings ofan innocent man. Nothing dishonest about that.Lana: Uh-huh. [holds up a piece] So, uh, are you gonna write, \"I love you, Daddy\" or am I?Frasier: [It's a dirty job, but] I'll do it.[SCENE_BREAK]Scene Five - ParkDaphne watches, delighted, as Tank obeys Jim's every command.Jim: Sit. Wave, wave. All right, hide your eyes, hide your eyes. Hide 'em...Niles and Eddie are sitting on the bench watching them. In his loneliness, Nileshas begun to pet Eddie.Niles: Hey Eddie, don't worry about that other dog. He may be bigger and flashier and better-looking, but...you have substance. She knows that.Daphne: [coming back] How amazing is Jim? He'sso connected to animals, it's almost magical.Niles: Daphne, I've been musing about you and me, and I have a thought.Daphne: Yeah?Niles: In every healthy relationship, I may ask for an occasional - very occasional -irrational demand.Daphne: What do you mean?Niles: Uh, a thing we insist the other do or not do, and the other one has to do it or not do it, without question.Daphne: Is that fair?Niles: It is. Because we each get one,and only one, for our whole relationship.Daphne: Well, if it's important to you.Niles: Then it's agreed?Daphne: Agreed.Niles: Good... oh, I've got mine!Daphne: Already?Niles: Yes. Uh, I want you to promise never tocome to this dog park again.Daphne: What?Niles: I know it sounds extreme, even unreasonable - but that's the beauty of the irrational demand.Daphne: Is this about Jim?Niles: The, uh, demand cannot be scrutinized.It is, by definition, irrational.Daphne: And are you sure this is how you want to use your only one?Niles: Absolutely. I've thought this through, a lot. Irrationally, of course.Daphne: OK, if you're sure. I promise never tocome to this dog park again.Niles: Thank you. I knew you'd understand. [kisses her]Jim and Tank come over.Jim: All right, we're going home. Tank needs to re-hydrate, and, oof, I'm late for a deltoid workout.Daphne:Well, I guess this is goodbye, Jim.Jim: Yep, by this time next week I'll be leading my first raft tour in Chile.Niles: Really?Jim: Yeah.Niles: Wow, when do you get back?Daphne: Oh, he's not coming back. He's movingthere. [to Jim] Good luck, Jim.Jim: Yes, you too. [hugs her; to Niles] And, uh, stay cool, buddy.Niles: Oh, you know it.Jim and Tank leaves.Daphne: [sighs] I wonder how I'll use my irrational demand... oh, what's myrush? I've got years to think it over.Niles looks very nervous.[SCENE_BREAK]Scene Six - Waiting Room Martin is still seated in the waiting room. Joanne, a woman in her early 50's, comes in and sees him. They seemcomfortable with each other, but nervous about something else.Joanne: Hi, Martin.Martin: Hello, Joanne.Joanne: How have you been?Martin: Pretty good. Oh please, have a seat.Joanne: Thanks. [sits] I was worried Iwas going to be late with all that construction going on.Martin: Yeah, I know, it's a mess.Joanne: How's your hip?Martin: Ah, you learn to live with it.Joanne: I think about you a lot, you know. I've wanted to call, but... Idon't know.Martin: I understand, it's OK.Joanne: So... another year has gone by.Martin: Yeah. Time really flies.Joanne: I guess it goes a little slower for me.Silence.[SCENE_BREAK]Scene Seven - House Frasier andLana are eating popsicles and finishing their new house, which is now only lacking a roof.Frasier: How's our roof coming?Lana: Almost done.Frasier: Good. [looks at her] You know, there was a time back in high schoolwhen I would have paid a thousand dollars to watch you eat a popsicle.She just looks at him with the popsicle in her mouth... and bites off the end, making him flinch.Frasier: It was a long time ago.Lana: I think it'skind of funny that we became friends.Frasier: We're friends?Lana: Well, sure we are. Why wouldn't you think so?The end of Frasier's popsicle falls off and dribbles down his shirt.Frasier: Oh, dear...Lana: Nice going,dipstick! [takes a tissue and wipes his shirt]Frasier: It's a brand-new shirt.Engine noises outside.Lana: I hear a car. It's the Smolenskis. [gets up] OK, keep working.Frasier: Right.Lana: I gotta go up to Phil's room andspray some air freshener around. His room reeks of... I don't know, despair!She leaves the room. Frasier, before resuming work, takes the scissors and cuts a hole in the middle of a large piece of wall-paper on thefloor, and puts it over his head as a smock, all the while holding the popsicle in his mouth.As he resumes, the elderly Smolenskis come in.Mrs. Smolenski: It's even nicer than I remember!They see him - a grown manwearing a huge paper smock, glueing sticks together and sucking on a popsicle.Mrs. Smolenski: Well, hello there! Are you having fun making your little house?Frasier, mouth engaged, is unable to reply. Lana comesin.Lana: Oh, there you are! Hi - oh, I see you've met Frasier. I am so glad you came today, because the interest on this place is really heating up!Mr. Smolenski: Well, we're certainly interested as well, but we've- we'veheard that a lot of homes in this area have a flooding problem. Now, what do you know about the basement here?Lana: Honestly?Mr. Smolenski: Yes.Lana: This house is sixty years old, and I have only heard of itflooding once.Mr. Smolenski: Oh!Frasier clears his throat loudly.Lana: And I could tell you for a fact that the permanent owner stores some of his most cherished keepsakes in that basement.Frasier makes a hackingcough.Mrs. Smolenski: Are you choking on your lolly?Frasier: [takes out popsicle] No. I am choking on something far more dangerous and destructive than a simple sugary treat. It's a prolific and powerful poisonknownas: deception!Mrs. Smolenski: He's very verbal!Even from within his smock, Frasier manages to look righteous and accusing.Lana: Oh, you know, I just remembered! Gosh, you know, the owner did mention somethingabout a recent little moisture problem downstairs. Tell you what, why don't I give him a call and see if he'll come down just a tiny bit in the price?Mrs. Smolenski: Oh, that'd be wonderful!Mr. Smolenski: If he could giveus a break in the price, I'm sure we'll make an offer.Lana: Oh, great! I'll call you tonight.Mrs. Smolenski: Thank you.Mr. Smolenski: [to Frasier] Bye, sonny.Lana: [as they leave] Call you tonight!She closes the door.Frasier has placed the roof on the house.Frasier: There now, you see? You did the right thing. That wasn't so bad, was it?Lana: I guess not. Oh, look at our little house, it looks great!They start cleaning up, putting theirsupplies in the grocery bag.Frasier: Say, you know, we got a few extra popsicle sticks left, why don't we add on a half a bath?Lana laughs. Frasier heads for the side door, then stops and turns back.Frasier: You know,Lana, I think the house should go the other way around - with the door facing the couch. [off her look] Feng Shui!Lana: Fine, fine, fine, fine.He leaves the room. Lana lifts the house - and the coffee table comes with it.She tries again, without luck. She braces the table with her legs, and tugs. Nothing.Making a rapid decision, she lifts the coffee table and turns it around so the door is now facing the couch. Frasier comes back.Frasier:Ah, perfect.Lana: Perfect.Frasier: Now you see, doesn't it feel good to tell the truth? It's like breathing a breath of fresh air, and-Lana: Yeah, yeah, yeah, let's go!Frasier: Oh, all right.They go out thedoor.[SCENE_BREAK]MOMMIE DEARESTScene Eight - Apartment Roz steps off the elevator carrying Alice. She kneels down and stands Alice opposite her.Roz: OK, Alice, before we see Uncle Frasier, let's remembertogether what really happened.ALICE'S P.O.V. - Her mother looking straight at her.Roz: Now, did you throw up in Uncle Frasier's car? Alice shakes her head from side to side.Roz: No-you-didn't. That smell was therebefore, wasn't it? Nods up and down.Roz: That's-my-girl. [holds out a pack of M&M;'s] There you go.[SCENE_BREAK]Scene Nine - Hearing Room David Hicks, a man in his 20's, is sitting in a chair, wearing a denimprison uniform.In front of him are the three members of a Parole Board. Behind him, the room is empty except for Martin, Joanne, and a guard.David: And besides the library assignment, I've been taking a computerclass on Wednesdays. I hope to get a job with computers... when I get out.1st BM: Can you tell us what consideration, if any, you've given this crime?David: Well... I regret it, everyday. I was young at the time, and Iwasn't thinking - you know, about the consequences. And I'm very sorry.2nd BM: The victim is here. Mr. Crane? [Martin stands up] Would you like to make a statement?Martin looks at Joanne, then shakes hishead.Martin: I have nothing to say. [sits back down]3rd BM: Would you give us a moment?The Board confers with each other in whispers.3rd BM: Mr. Hicks, the board commends you for your participation in thein-house programs to better yourself, and for your record of excellent conduct. We have weighed this against your conviction of shooting a police officer during the commission of a robbery \u0000 and find that the length ofyour time served has not yet met the standards for proportionality, equality, and justice as required by state law. Parole is denied.As the Parole Board gets up and leaves the room, the guard comes forward to takeDavid back to his cell. Joanne begins to cry, softly. Martin rises, considering whether or not to say anything to her - and then decides to leave quietly.END OF ACT TWO[SCENE_BREAK]Park: Daphne throws the piece ofrope again, but Eddie doesn't move. Niles gets up and comes back with it. She takes the rope and playfully tousles his hair as if petting a dog. Playing along, he wags his leg like a tail."}
+{"doc_id":"doc_306","qid":"","text":"[Brian and Justin are in bed, kissing. Justin is straddling Brian. Looks like our s*x drought is about to end. Ummmm... not so fast. As they continue to kiss, Brian has a sudden flashback to the surgery.]Woman: Relaxand count backwards from ten, Mr. Kinney.[Brian tries to get down to the business at hand. He rolls Justin over and tears open a condom, which evokes an image of the incision. Obviously, this is not an actual memory;it's Brian's imagination, reminding him of what's no longer there. He looks down, checks the equipment, which seems to be malfunctioning. The moans of pleasure are gone; on his face is a look of intense concentration,not to mention stress and aggravation. But he's not ready to concede defeat. He applies lube. At the moment he tries to push inside Justin, he visualizes the diseased ball being sucked out of his body. Brian gives up. Heslides off Justin and sits on the edge of the bed.]Brian: Don't say anything.Justin: Look, I'm sure it's just a temporary malfunction. It takes time for your body to heal itself and for you to regain your strength. Bepatient. (Rubbing Brian's shoulder). Everything'll be up and running again in no time.Brian: Thanks for not saying anything.[At the Novotny-Bruckner household, life proceeds as usual. Intent on spending Mikey'snewfound riches before they're earned, Hunter nags for a new wardrobe.]Hunter: I wanna get those cool Pumas and a pair of Diesel jeans, maybe two.Michael: Hey, whaddaya think I am, made of money?Hunter: Likeyeah! You're having a movie made.Michael: We hope. And I didn't work my ass off so I can put expensive jeans on yours!Hunter: Ben. I wanna get a couple pairs of Diesel jeans.Ben: Pull up your pants. I can see yourshorts!Hunter: That's the f*ckin' point!Michael: We're taking Hunter to buy some new clothes.Hunter: And have pizza and go to a movie.Michael: Not a Brett Keller movie. So - tomorrow night? The mall? The three ofus?Ben: Sure, fine. (His cell rings) Must be Mark. He has the flu; he asked me to cover his class. (Talks into the phone) Hello? Hey! Uh-huh. Sure. Uh, breakfast, lunch, whatever. Yeah, see you then.Michael: Forsomebody who's laid up with the flu, he has a pretty healthy appetite.Ben: Oh yeah, that wasn't Mark, that was Anthony from the library. Remember I told you about him?Michael: Yeah, how could I forget? He only callsyou every hour!Ben: That's not true.Hunter: Maybe he has a crush on you!Ben: That's not true, either. He's just a nice kid who wants to be a writer. We get together and discuss books. That's ALL. So - tomorrow night,pizza, movie and Diesel jeans.Hunter: Tight!B: (eyeing Hunter's ghetto-fabulous baggy jeans) Yeah. Loose.[Emmett and Drew making the beast with two backs in a motel room.]Emmett: Touchdown![He rolls offEmmett and goes into the bathroom to towel off.]Emmett: My, how the boy can score!Drew: I got a good kicker.Emmett: I'll say.Drew: That's a quarterback's secret weapon.Emmett: Speaking of secrets, does yourfiancee know?Drew: Know what?Emmett: That you're -Drew: That I'm - ?Emmett: Do I really have to say it? That you're - the \"H\" word.Drew: Hard-bodied? Hot? Hung? Yeah, she knows all that.Emmett: I meanthomosexual? Gay? Queer?Drew: I'm not a fag!Emmett: Did I use that word?Drew: A fag's a sissy, a girl, a pansy. You think I'm that?Emmett: Hardly!Drew: A fag can't even throw a ball. You know how far I canthrow?Emmett: I reckon a country mile.Drew: I'm a hero to millions. Name one fag who's a hero. Name one fag who gets a call from the President saying, \"Great game!\" Name one fag that's f*cked every Dallascheerleader - and I don't even play for Dallas. Name one fag who every kid wants to grow up to be.Emmett: Harvey Fierstein?Drew: (laughs) So why would anyone think I was a fag?Emmett: Maybe cause you had yourdick up my ass?Drew: So I like to f*ck guys. It doesn't mean that I love them, or want to kiss them or even know them. It's just for fun, to get off. No one's to ever hear about this. Understand?Emmett: Who'd believeme if I told them?[At the gallery, Auerbach is being interviewed by a perky girl reporter about his show which is opening tomorrow. Girl reporter is flirting with Sam. He flirts back. Lindsay looks on, plainlyjealous.]Reporter: Tomorrow your exhibition opens here. Tell me, Mr.Auerbach, why did you use Pittsburgh?Sam: Well, I didn't know a goddamn reason to come here, either will be.Reporter: I think that's all we need.This was great. Thank you.Sam: [kisses her hand] Anytime, honey.Sam: How was I?Lindsay: OK, I guess. I wasn't really listening. I was working.Sam: Glad I didn't distract you.Lindsay: Not hard.Sam: You know, Ihave a strange feeling that I'm being ignored. Strange because I mean, let's face it, I'm not used to being ignored. In fact, I think the last time it happened I was 14, Susan Schroeder was her name. She ditched me ata Tastee-Freez for a guy with a triple scoop. Broke my heart.Lindsay: Well, you needn't worry. I haven't been to a Tastee-Freez in years. So why don't you go over and flirt with that nice girl reporter and leave me to mywork?[Brian is back in the saddle again - at Kinnetik, at least.]Brian: (phone rings) Harvey! When have I ever let you down? Name one time! OK, name a second. Hold on. Mr. DeCarlo, sorry to keep you. Right onschedule. Looks great. When? Hold on. (Talks into intercom) Tell Jacob that if the art for Dandy Lube isn't on my desk by 9 a.m. Friday, he'll be teaching remedial finger-painting to kindergartners. (Back to phone) Mr.DeCarlo? How does 10 a.m. Friday sound? (Back to Harvey) Harvey, did you think of a second? See, I told you! Stop worrying, I'll get you the back cover![Ted walks in just as Brian is hanging up.]Ted: Jeez, with an actlike that you should be in Vegas, making tigers vanish into thin air!Brian: Throw me a bone, I'm trying to juggle 15 balls at once![Ted throws Brian a look.]Brian: No remarks. That's a nice suit!Ted: Worked wonders onSon of Dandy Lube.Brian: You know, I like your new-found self-confidence, Theodore. Far preferable to your former lack thereof.Ted: So what's my next assignment, Jim?Cynthia: Congrats! Brown Athletics iscommitting a cool mil to snag a model for their new underwear line.Ted: Well, as luck would have it, I'm available!Cynthia: Unfortunately, they're looking for someone with a higher profile.Brian: Not to mention a biggerbasket!Cynthia: They want a famous sports figure.Ted: I happen to be Pittsburgh's 1986 junior class ping-pong champion! (A beat) Well, runner up.Brian: So at what hour of the day or night am I supposed to conductthis star search?Ted: I'll do it for you, Bri!Brian: You?Ted: Yeah! I landed Dandy Lube, didn't I? Look, I'll talk to some agents, a few managers, see who's interested and put together a short list. Final draft choice, ofcourse is yours!Brian: That sounds perfect, except for one itty-bitty detail. You don't know a f*cking thing about sports.Ted: But I know about s*x, what looks good in a pair of shorts. After all, I am a gay man and s*xis our national pastime.[Justin and Michael.]Michael: These drawings of Rage and JT are hot. Why can't we ever see Zephyr in a fuck-fest with some great-looking guy?Justin: Because nobody buys our comics to seeZephyr get laid.Michael: That is so not true! Just because you don't want to see it -Justin: It's not that I don't want to see it. It's that I can't imagine it!Michael: Well, I can. When he and his hunky boyfriend, theworld-famous paleontologist, Professor Ken Kirschner, get it on, they really rattle the old dinosaur bones! Except ever since the scientific community rejected the Professor's latest research findings, they haven't feltmuch like doing it.Justin: I know what that's like. JT hasn't gotten a rise out of Rage since Ice Tina zapped him with her radiation gun.Michael: You mean -Justin: Not since the operation.Michael: I thought the doctorsaid that -Justin: Nothing would be affected? Something sure as hell isn't working.Michael: Maybe he just needs some Viagra.Justin: You try telling him that!Michael: Okay! So how about we take a little trip toChinatown?Justin: I already ate.Michael: I meant to see Master Ni.Justin: Who's he?Michael: He's this herbalist Ben sees. He says he's a miracle worker. He gave him this stuff that actually helped lower his viralload.Justin: C'mon, you don't actually believe that!Michael: Chinese medicine has been working for thousands of years, who am I to doubt it? Besides, if he can help lower Ben's count, maybe he'll be able to raise-Justin: The Titanic?[Ben and Anthony are strolling along what passes for the Carnegie Mellon campus.]Ben: Give them an assignment to critique one of Tennessee Williams' plays and what do they do? They rip them toshreds like a pack of jackals!Anthony: Oh, you know how some queers are. They're not content to criticize. They have to seek and destroy.Ben: All I know is, it's a lot harder to create something than it is to tear itapart.Anthony: Like your book! That must have been like giving birth.Ben: Most people have no idea.Anthony: I do. Every sentence I write - or try to - is agony. I don't know why I do it.Ben: Probably for the samereason I do. You have no choice. If you ever want me to read anything, a story, chapter, sentence, just ask. I promise to be gentle.Anthony: I'm sure you would be. So what do you think about Edmund White?Ben: Hisessays and articles on being positive influenced me tremendously. But I particularly love his autobiographical fiction. In fact, \"A Boy's Own Story\" influenced me to write \"Are You One\"Anthony: Then how about comingwith me to his lecture tomorrow night? I've got an extra ticket.Ben: I would love to, but I already made plans with my partner and our foster son.Anthony: That takes priority. But in case something changes, I'll saveyou the seat.Ben: OK.[Lesbian s*x. Mel blowing Lindsay. But she look bored]Lindsay: Honey, that feels wonderful. But do you mind if...Mel: What?[Lindsay take a dildo from the table.]Lindsay: If we used this?Mel:We're haven't used this since many years.Lindsay: It's just I don't feel in the mood for this. But if you don't want to...Mel: No, no, it's what you want. Just give it a try.[Mel turns on the dildo.][Deb's done with her shiftfor the night. She brushes right past Brian, who's at the register, paying for his take-out order.]Waitress: Here you go.Brian: Thanks.Waitress: Take it easy, Deb'!Debbie: Yeah, you too, Betty honey. See yo.[Brianfollows her outside, he catches up.]Brian: In case you didn't notice, I was in the diner.Debbie: I noticed.Brian: Walk you home?Debbie: No, that's OK.Brian: It's late.Debbie: I've been doin' it on my own for 20 years. Ican take care of myself.Brian: And you've got a right hook to prove it.[He rubs his jaw. Deb's attitude softens, but only slightly.]Debbie: You're working late?Brian: Just gotta get the job done.Debbie: Used to be theonly reason you'd stay up was because it was still up.Brian: A lot of things used to be.Debbie: You're telling me.Brian: I shouldn't have said what I did. About Vic.Debbie: You're damn straight you shouldn't have! Notthat you were wrong. He was lucky he got those extra years. But it's the way you said it, just tossing it off like it didn't mean a thing! Like his whole f*cking life didn't mean a thing!Brian: I can see your point.Debbie:Yeah? So why didn't you see it then?Brian: Maybe because I didn't know I had cancer then.Debbie: What?Brian: You gonna make me say it twice?Debbie: I just wanted to be sure that I heard -Brian: You heardit.Debbie: sh1t! Are you - ?Brian: All right? They think. But - who the hell knows?Debbie: Well then, what the f*ck you doing out at two in the morning? You should be home, getting your rest, honey!Brian: I can't sleep,keep having these dreams.Debbie: Well, force yourself. And make sure you eat. You hear me? You gotta keep your strength up.Brian: Yes, mother.[She buttons his coat. Even superheroes need a little nurturingsometimes.]Debbie: Does she know?Brian: (shakes head). So far, just Michael and Justin. And - Theodore.Debbie: And nobody told me?Brian: I'm telling you.Debbie: How come?Brian: So that you'll forgive me andtake pity on me.Debbie: Son-of-a-bitch. (She stands on tiptoe and hugs him.)You gonna be OK, you hear me?][Lindz is making a shopping list.]Lindsay: I'm making a list for the grocery. Butter, pie, old milk. Can youthink of anything else?Mel: Batteries.Lindsay Huh?Mel: After last night we need more of them. You were hot, honey.Lindsay: Fruit, apples, bananas?Mel: By the way, I talked to Dusty and she said that we can drop Gusoff around 4:00, which gives us plenty of time to get ready and go to the opening. Do you want to go together or do you have to get there early?Lindsay: Oh, I don't need to be there at all.Mel: Oh, so you can be aguest, just like anyone else.Lindsay: I mean I've decided not to go.Mel: What are you talking about? It's your show, you put the whole thing together.Lindsay: I know.Mel: So wouldn't you want to -Lindsay: I've spentenough time on it, okay? It's time I started being more attentive to you, to our family. Michael even had to go to Lamaze for me.Mel: Hey, hey, hey. When I start feeling like I'm not getting enough attention, I'll let youknow. Now, I want you to go and get some of the attention you deserve.Lindsay: Well, maybe I'll stop by when it's over. See how it went. [They kiss.] Now, I'm up for the grocery.[Liberty Diner. Emmett is surprised tofind Ted poring over sports magazines in the diner.]Emmett: Since when did Ted Schmidt, reigning opera queen of Pittsburgh, trade in Puccini for pigskin?Ted: Since I told Brian I'd help him find a famous sports figureto model Brown Athletics' new underwear line.Emmett: Mmmm...sounds hot! So which hunky jock did you select to drop trou and smile for the birdie?Ted: I don't know who any of these guys are.Emmett: Perhaps I canhelp you out.Ted: You? Look, at least I know the difference between a football, a baseball and a basketball.Emmett: Balls are balls. What about him?Ted: Who?Emmett: Drew Boyd. Star quarterback for the Ironmen.62% pass completions, threw two touchdown passes last game and ran for two? Led all quarterbacks in the league in rushing yards. I mean, if he keeps playing the way he's been, he's a cinch to lead his team to aconference championship, then to the Superbowl. [Ted just stares at him.] What?Ted: How do you know all that?Emmett: Life's full of surprises. He's also gorgeous. Look at that smile! And those broad shoulders, thoseburly, burly arms. And that rock-hard butt.Ted: Alright, alright. You're drooling all over the magazine! He is hot. Too bad he's straight.Emmett: A girl can always dream![And now we have Justin and Mikey's ExcellentAdventure in Chinatown. At the herbalist's store, Michael approaches the old man behind the counter.]Michael: Excuse me, we're looking for something to improve performance.Man: You a singer? Dancer?Comedian!Michael: No, not that kind of performance. (Whispers) Sexual performance.Man: Eh?Justin: Sexual performance!Man: (Loudly) Sek-shul. Sek-shul? Sek-shul! (He calls over to woman)Woman: Sek-shal! (theyconfer in Chinese)Man: You not get hard. Come too fast?Michael: No, it's not for me, it's for my friend.Woman: Oh, that's what they all say, huh? Low chi. Exhausted chen meridian.Man: You have the crown of fire inyour gate of life. But no worry. We make you hard. Like rock!Michael: I told you - it's for someone else!Justin: It's for my boyfriend. He had to have a testicle removed and they gave him radiation.Woman: Oh, cancer.Edema.Man: Western medicine. Kill you before it cure you. Too much water. Drown out his fire.[They mix together a strange herbal concoction.]Man: Make a tea. Very good s*x!Michael: (to Justin) See? I told you![Thecouple confer in Cantonese. We see the dialogue in subtitles.]Man: Which one you think is the top?Woman: They both look like major bottoms to me![Michael and Justin stand there smiling like a pair of idiots, unawarethat they're being the topic of discussion.][Meanwhile, Brian has taken matters into his own hands (so to speak). He's in the steam room of the gym, with a towel covering the strategic places. A potential trick isaggressively cruising him, but Brian doesn't look too interested. This is not a blase act; he's really not into it, but he allows the guy to start fondling him. He's not here for pleasure; he's here for medicinal purposes!Brian keeps looking down, checking the equipment to see if it's working. No luck. Brian pulls away and leaves, a look of pained disgust on his face.][Drew and Emmett, they have no such problems. In yet another hotelroom, Emmett and Drew have yet another post-coital chat.]Drew: It's your turn.Emmett: I'm in not hurry. Have I ever tell you how hot you look in your undies?Drew: You and every women.Emmett: How many man?It's a shame the rest of the world can't see.Drew: See what?Emmett: How gorgeous you are!Drew: I know.Emmett: I'm serious. You should display your manly charms.Drew: Flash my cock in Playgirl?Emmett: I wasthinking more like - mmm, underwear ads?Drew: (laughs) You're kidding.Emmett: I have this friend who works for an ad agency? He says Brown Athletics is looking for a famous sports figure to be their new underwearmodel. And you are quite the figure.Drew: I'm not posing in my shorts. Everyone will think I'm a homo.Emmett: What everyone will think is, 'I wish I had a body like that and that someone would pay all that money toshow it off!' C'mon, pose for me.Drew: Here?Emmett: Why not? I'll snap your picture. C'mon, show me what you got. Yeah, make love for the camera. That's the way make me suck your dick.[Michael is getting a crashcourse in parenting annoying teenagers.]Michael: Will you stop nagging me already? I'm not gonna pay $150 for a pair of jeans?Hunter: Diesel is quality, man!Michael: They're ripped full of holes! They're gonna be ragsafter two washings!Hunter:Please, Dad? I mean, dude?[The conversation is interrupted by Ben's arrival home.]Michael: There you are! Hurry up and put down your books. We've gotta go to the mall.Ben: If it's OK withyou, I think I'll pass.Michael: No, it's not OK. We had this planned.Hunter: Trashy movie, greasy pizza, overpriced clothes! What more could a man ask for?Ben: I got invited to a lecture. Edmund White.Hunter:Who?Ben: One of our greatest gay writers.Michael: Who invited you?Ben: Anthony.Michael: Anthony.Ben: Look, this is important to me.Michael: And this is important to Hunter!Ben: It doesn't take two of us to buy hima pair of jeans.Michael: That's not the point!Hunter: Hey, hey! It's just the mall! In fact, how about you both not go and give me your credit card?Michael: Thank you for the thoughtful suggestion, but I'm still going. (ToBen) I'm sorry you're not.[Lindsay arrives at the gallery after the show is over]Lindsay: I'm sorry Sidney, I'm late. But I couldn't be helped. Mel had to work late, my hands are full.Sidney: So were mine. Exceptingcheques, VISA or Mastercard.Lindsay: Then it was a success?Sidney: Awesome! It's too bad you've missed it.Lindsay: Why you're goin' home? I'll close up.Sidney: Don't forget to turn on the alarm.[Sidney goes and sheturns out the lights. One, two - she bumps into Sam.]Lindsay: Oh my God! You scared me to death.Sam: Good thing I came back from the can. You would've locked me in.Lindsay: What are you doing here?Sam: Well, Ihad an opening tonight, in case you forgot.Lindsay: I didn't forget.Sam: Well then, where the hell were you?Lindsay: I had things to attend to!Sam: Don't give me that sh1t! This is the most important night of yourlife!Lindsay: Don't flatter yourself.Sam: Your Aunt Minnie could have died and you wouldn't have missed it.Lindsay: I don't have an Aunt Minnie.Sam: Yeah? Well, I do. And believe me, if you knew her, that's all themore reason you would have been here. So why weren't you?Lindsay: I already told you. Let me lock up so I can go home.Sam: What's your rush? You just got here.[He starts taking off her coat.]Lindsay: What are youdoing?Sam: Responding to my senses. That's what an artist does.Lindsay: Well, tell your senses to respond to this: Back off.Sam: You sure?Lindsay: Yes, I'm sure.Sam: Well, I'm not. As a matter of fact, I think you'vegot a lot of contradictory feelings going on here.Lindsay: Oh, is that so?Sam: Yeah. From the minute I met you, you wanted me to f*ck you.Lindsay: Why, you smug, arrogant - I want you to leave. Now!Sam: Sure. Butyou ain't fooling me, lady. And more important, you ain't fooling yourself, either.Lindsay: Don't you dare tell me how I feel! You have no idea how I feel! And it isn't true what you said!Sam: Liar, liar!Lindsay: I have nofeelings for you. I mean, how could I? I'm a lesbian.[He grabs her and kisses her.]Sam: That's how![She grabs him. They f*ck upside a painting.][Back at Anthony's apartment after the lecture, he and his little adjunctare sharing a bottle of wine.]Anthony: He was amazing! And to think I never would have heard of him if it hadn't been for your class.Ben: Oh, I'm sure you would have discovered his work eventually.Anthony: I thought"}
+{"doc_id":"doc_307","qid":"","text":"[The Nelson House - Emma's room.](Emma (a blond girl of about 12) is sitting at her computer with her best friend Manny (a brunette girl of about 12))Emma: Read it again Manny.Manny: Again? I've read it sixtimes.Emma: Just one more time. PleaseManny: Ok. \"Emma, you saved my heart and my project. If we protect the wildlife refuge, I owe it all to you. Love you, Jordan.\"Emma. Love you. Love you. (They both squeal)Let me see his picture again. (She scrolls down the screen on the computer and we see a cute brunette boy in several pictures) He gets cuter every time we see his face.Manny: Is that possible?Emma: Hey Manny.Don't wreck that. I want Caitlin to autograph it. (We see a magazine with a blond woman on the cover, who must be Caitlin)[The Nelsons' House Downstairs](We see a photograph, which must be of Emma + her momwhen Emma was little. The camera moves up and we see her mom put it in a box.)Spike (Emma's mom's nickname): Emma! Ready to go?Emma: Just a minute.Spike: We don't have a minute. J.T.'s waiting forus.(Emma minimizes her e-mail from Jordan. She is trying to close it. Her and Manny get nervous. Emma's mom enters the room.)[Emma's Room]Spike: Em, your room's a disaster. I thought you were going to clean itup.Emma: I will.Spike: And turn off that computer.Emma: I was just showing Manny your reunion website.(Emma brings up the reunion site. Spike takes the mouse and clicks on pictures of her and her classmateswhen they were at Degrassi.)Spike: (stops on a picture of a girl) I always knew she'd made it big. (Keeps going and stops on a picture of herself with blond Mohawk hair) How's that for a hair-do? Could I have been anycooler?Emma: Uh, yeah.Spike: My ten year reunion. Wow. It's gonna be great seeing everyone again. I'm getting as bad as you guys. Come on, let's go (as she leaves, she takes the hat off Manny's head)Manny: (toSpike) That's some pretty cool stuff you collected for the reunion.Spike: Thanks. Emma now! (Emma gets up to leave and sees she has a new e-mail) Emma! (Emma leaves)Theme song[Degrassi CommunitySchool]Spike: Thanks for dropping these off.Manny: No problem Miss Nelson. Gives us a chance to see the school.J.T.: Don't you think we'll be seeing enough of it over the next year?Spike: You sure you can handlethat?J.T.: I'm smug, but strong. Like bull.Emma: Speaking of bull...Spike: Thanks again, guys. And Em...Emma: Yes, I'll clean my room. She rushed me out of the house so fast, I didn't get a chance to read my newe-mail. I hope it's from Jordan. 'Cause in the last e-mail he told me that... (Walks away talking to Manny)J.T.: Guys! Help![Inside Degrassi]Manny: That sucks about the e-mail.Emma: I know. But, Jordan e-mailed melast night too.Manny: Really? What'd he say?Emma: (closes her eyes) \"I got over 6,000 names on my petition to keep the polar wildlife refuge untouched. Thanks for all your help with all this, Em, and your great idea.You're the best.\"Manny: Wow.Emma: I suggested the petition, but Jordan did all the work. He's so committed.Manny: Too bad he lives in Yellowknife.J.T.: Help! (He drops the boxes)Emma: J.T.! (Emma + Manny run tohelp him)(They start to pick stuff up. Emma picks up a photo of three guys, who were probably friends in a band.)Emma: People in the 80s' were weird.[Jeremiah Motors]Joey: This car is retro meets modernism, Lucy.It's got the zing of the past with the technology of the future. It's even got that little bug vase that you put the flower in. It's like, Peace man, like a hippie.Lucy: Joey, ideally I'd like a car that's bigger than my laptop.I've got to move to New Mexico in this thing.Joey: This car is bigger than it looks, Lucy, trust me, okay? Why don't we take her for a spin, we'll drop your stuff off at Degrassi, and when we get back you'll be begging meto make a deal.Lucy: Alright, alright. Tell me that's not Angela. (A little girl of about five walks up to them)Joey: Yeah.Lucy: Hey, cutie, you're practically a teenager.Joey: Can you say, \"Hi Lucy\"?Angela: Hi. (Shewaves)Lucy: Hi. (She waves back)Joey: She starts kindergarten next week, can you believe it? It's gonna be great. She really needs to be around other people.Lucy: Speaking of needing other people, I checked thereunion website last night. You're not confirmed.Joey: I know. I know.Lucy: Joey, we're all really sorry your wife died, but, it's been a year. I think that Julia would be upset if she thought you were cutting yourself offfrom people.Joey: Can we... uh... Why don't I go in, get the keys and we'll go out for a spin, okay? Angela, you wanna go for a spin? Yeah, we're gonna sell Lucy a car. Yeah, yeah, yeah. (Goes inside withAngela)[Degrassi]Emma: I really hope you're Mr. Simpson.Archie: I am. And you must be Emma. Wow. Wow. Wow. Spike found all of this stuff, it's amazing.Manny: Spike?Emma: My mom's nickname. Don't ask. (Theyput the Boxes down.)Archie: (Takes the hat off J.T.) And I can see Fedora's are making a comeback. (Puts the hat on his head) Great. Thanks a lot guys. Uh, listen, go and enjoy your last few days of freedom.J.T.:Spike? (Emma hits him) Ow! (They start to run)Archie: Hey guys, no running! No running! No running! Okay, just keep running. Don't listen to me. Alright.[Hallway](As they run, they hit the lockers. They stop runningin front of the Media Immersion Lab.)Emma: Holy...Manny: Look at all the computers.(Manny and J.T. start to walk away, but Emma stays.)J.T.: Emma? Let's go. Oh, I see. Gonna e-mail Jordan from here?Emma: Shutup!J.T.: (mimicking Emma) Oh, he can read into my soul. (Emma punches him) Ow.Mr. Raditich: And the jewel on the Degrassi crown, the Media Immersion Lab. Every computer here is connected to the internet viahigh speed telephone access.Jeff: Oh, you see Toby? Didn't have that at your old school.J.T.; Toby?Toby: J.T.?(J. T. goes up to Toby.)J.T. and Toby: Mickey hickey wampum, Mickey hickey yeah, Mickey hickey wigwam,North Creek summer camp.J.T.: Dude, what are you doing here?Manny: I guess they're friends.Toby: My dad moved in with his girlfriend and Degrassi was the closest school so...Mr. R.: I think we'll let you two getreacquainted and your father and I will finish filling out the forms in my office.Jeff: So, Toby, you gonna need a...Toby: I'm gonna walk home, ok?Jeff: Cool.J.T.: Oh, sorry. Manny, Emma, this is Toby. We were at camptogether.Emma: No, really?Toby: Nice to meet youEmma: Yeah. Ok, the coast is finally clear. Manny, you're coming in with me.Manny: No, no.Emma: You two stand guard.(Emma and Manny go inside the MediaImmersion Lab so Emma can check her e-mail.)Toby: So is your friend always like that?J. T.: Always.Toby: Really?(Manny runs up to the door and scares them by hitting it.)Toby: Kids.[Another part of Degrassi](Archieis looking through photos.)[Inside a black limo. A blond woman (Caitlin Ryan) is talking on her cell phone)]Caitlin: Keith, I know you're really overworked right now. But this weekends really, really important to me. (Asshe talks they show her on a magazine, then her actually talking) Come on, it's just one weekend. I want to show you off. Show us off. Please? Yeah, that's perfect. Great. 5:00. Thanks babe. I love you too.(She closesher cell phone. When she does, we see an engagement ring on her hand, which means, Keith is her fiancé.)[Degrassi](Caitlin gets out of the limo and enters Degrassi.)Caitlin: Thanks. (To the driver opening the cardoor)Driver: You're welcome.[Inside Degrassi]Caitlin: Snake!Archie: Caitlin. Oh my... (Drops his box he's carrying and gives her a hug) Wow. Hey. Oh wow, it's great to see you.Caitlin: Likewise. So you're a teacher atDegrassi. Ok, here (gives him a headband)Archie: Ok, now. This is your best memory of Degrassi?Caitlin: What? So I went through a headband phase. Come on, it was the 80s'. You were there.Archie: Speaking of the80s'... how about this? Joey's fedora.Caitlin: Ok. (Puts the hat on)Archie: Nice. Nice. It suits you.Caitlin: Where's the shirt?Archie: I don't know. I think Joey's still wearing it, you know?[Outside Degrassi]Lucy: (Seesthe limo) Oh, look at that. Why don't you sell a car like that, Jeremiah?(Joey looks inside Degrassi. He sees her and she sees him. She walks slowly when she sees him. (You can tell that maybe they were oncetogether))[Media Immersion Lab]Emma: Manny, would you calm down? If we're caught, I'll say I forced you.Manny: Ha, ha. What? What'd he say?Emma: Manny, Jordan's coming here. And he wants to meet me.Tomorrow.[Degrassi entrance]Caitlin: So what's your dinosaur's name?Angela: Ally.Caitlin: Ally?Joey: So you're getting married. Congratulations.Lucy: Yeah. When's the big day?Caitlin: Sometime next year. And wehaven't narrowed it down yet, but, um, you are all invited.Archie: Great. So when do we actually get to meet Keith?Caitlin: He's on an afternoon flight from L.A. He's dying to meet you guys.Joey: L.A. Is he in showbusiness?Caitlin: He's a director.Joey: I always knew you'd meet the guy.Caitlin: Well, I guess, um, I should probably go. Uh, check into my hotel. Uh, but, Joey, the reunion. You really not gonna go?Joey: No, I'mnot.Caitlin: Well, then at least come out for drinks with us tonight.Joey: I, uh...Lucy: You know what? He'd love to. We'll both be there.Caitlin: Great. So I'll see you guys later then. (Mr. Simpson takes the hat off her asshe leaves)Lucy: By Caitlin.[Playground.](Emma and Manny are on a tire swing.)Emma: I want to meet him. It's just I told him I was in high school.Manny: You almost are. Jordan's coming here. You have to meet him.It's fate.Toby: Who's Jordan?J.T.: Some creep Emma met on the 'Net. I bet he lives in Scarbrough + works in a video store. I bet he's 40 and drools.Emma: You still wet the bed and I'm friends with you.J.T.: Ha haha.Toby: Ok. If you're meeting a stranger you met off of the 'Net, that could be really dangerous.Emma: He's not a stranger. He e-mailed me his picture. I've known Jordan a lot longer than I've known you.Manny:Guys, it's cool. Jordan's 16. He's coming here on a school trip.J.T.: School trip? It's summer.Emma: He organized it back in the spring. He got to go at the last minute. Stop making it into something it's not.(They startspraying each other with water guns.)[The Nelson's House - Emma house](Spike and Caitlin are looking at the reunion website.)Caitlin: Oh my god. Wait. Wait. Go back. I wanna see that one again. Don't try and speedpast that one.Spike: (looking at Caitlin's engagement ring) I can't wait to meet Keith. He's got great taste in jewelry. That's a good sign.Caitlin: Well, thank you. Um, actually, I picked it out myself. 'Cause, he, youknow, was so busy with pre-production and all that kind of stuff, he just gave me his card and said, \"Go crazy.\"Spike: Can't complain about crazy.(Emma enters with a sandwich and drink.)Emma: Why are you on mycomputer?Spike: Excuse me, our computer.Emma: You're on the reunion site again? Next time can we try asking before trespassing?Spike: Next time can we be more polite to our guest? Em...Emma: Caitlin Ryan.Ryan's Planet! Birth date: March 2nd 1972. You're a Pisces right?Spike: And you're a stalker.Emma: I can't believe you're actually here, in my really messy room.Caitlin: Don't worry about it. Oh my god, it's great to seeyou. All grown up.Spike: She wishes. So... expecting an e-mail from your boyfriend?Emma: Did you...you hacked my e-mail? Haven't you ever heard of privacy?Spike: Relax, I couldn't hack my way out of a paper bag.But I can tell when my daughter's getting interested in boys.Emma: Mom. I'm not having s*x.Spike: I'm gonna have fun this weekend right?Caitlin: I promise. (They leave) Bye.(Emma closes thedoor.)[SCENE_BREAK][Emma's room - Later]Emma: Ok. We've gone through all the e-mail. No video store. No mention of missing teeth.Manny: J.T.'s just worried about you.Emma: J.T.'s just immature.Manny: ThatToby guy seems okay.Emma: He's fine, I guess. Yeah. Girls are so much more mature than boys. That's why I like Jordan. I've never had a boyfriend so smart, so thoughtful.Manny: Em, you've never had aboyfriend.Emma: I know.Manny: Maybe...Emma: What?Manny: What Toby said, about meeting strangers on the 'Net, Being dangerous...Emma: Manny I can take care of myself. You don't need to worry so much. We'llmeet somewhere in public.Manny: Maybe you should just talk to your mom. She's cool. She'd understand.Emma: She's not that cool. Are you saying you don't think I should meet Jordan?Manny: Hey![A Bar]Keith:Teaching. It's so noble. You know, giving back, etc. Actually, I'm, uh, working on a script about you guys, kind of a Dangerous Minds meets Footloose kind of thing. (Phone rings) Just a second. Let me take this. (Onphone) Yo, Frankie. Yeah. No, I'm in Toronto. No, I haven't seen any eskimos yet. Uh...Lucy: Caitlin, I watch your show every week. The situations you get yourself into, you're amazingly brave.Caitlin: Brave? So whatabout you?Lucy: What about me?Joey: Come on, don't be so modest. 2 years of physical therapy. Followed by an honors BA and a masters in anthropology?Spike: A Ph. D in one more year?Lucy: Guys, it's notbrave.Caitlin: Oh, yeah, you're right. It's just brilliant, awesome, and amazing.Lucy: It's not even awesome, it's just life. I survived the accident. I got off easy.Archie: Sorta like Wheels. Kills a kid. 10 years later,scot-free.Joey: (on TV) Hey! We got white ones. We got red ones We got big ones and we got small ones. I'm gonna give you a bumper to bumper warranty. That's right. At Jeremiah motors, if you find a lower priceanywhere else, I'll give you the shirt off my back (takes off his shirt)Lucy: Joey! That's awful!Joey: I needed a commercial, I made a commercial.Keith: Right on, man. And it makes or breaks a business. Just, just onemore second. Frankie, listen, listen to me. They're from a major. You're not going to sign the deal on some low rent pancake house. Fix it, ok? (Hangs up phone) But, uh, Joey, next time, hire a real actor. You know,avoid this sifty used cars salesman vibe. I mean, that's what I would do.Joey: No, thank you, Keith.Keith: No problem. That's what they pay me the big bucks for.Archie: It's funny, it's classic, it's...Everyone else: It'sJoey!Caitlin: Keith, if you had seen Joey in high school, total ham, the whole way through. I think it's great, despite everything you've been through, you're still the same old Joey.Joey: Actually, uh, I have changed. Andso have you. Excuse me.Keith: So....[Joey drinking at the bar.](Archie comes up to him.)Archie: (To Bartender) Can we have two more of those? Thanks. Joey, were you over there right now?Joey: Yeah I know. I'm justwaiting for my cab.Archie: What's going on here?Joey: Nothing's going on. I just knew this was a bad idea so I'm going home.Archie: Oh, Joey, come on.Joey: Snake, get off my back please. Don't start.Archie: Cuttingout the rest of the world isn't going to bring her back. You know that, right?Joey: Will you save the psycho 101 crap for your students? I'm not a child. I don't need you or anyone else telling me how to live mylife.Archie: Joey, we're your friends. We're worried about you.Joey: All I get is people feeling sorry for me. Why do you think I don't wanna go tomorrow night? It just makes me feel worse.Archie: So this has nothing todo with Caitlin?Joey: No! No it doesn't, all right? All right, I don't like her boyfriend.Archie: Fiancée.Joey: Whatever. And I don't like the fact she feels sorry for me. But, I'm fine. And frankly, I'm sick and tired ofeveryone trying to save me.Archie: You know what? I'd look and see who feels sorry for who right now.(Archie finishes his drink and goes back to the table, leaving Joey alone. Joey looks at them, then looks away.)[TheNelsons' House](Emma is asleep. Lucy, Spike, and Caitlin come in, singing a song.)Girls: ...everybody wants something they'll never give up. Everybody wants something that'll take you money and never give up. (Asong)Lucy: We still know the words. God help us.Spike: Who wants a glass of champagne?Lucy: I do.Caitlin: Hey, can we spike your hair now? Oh, come on, 80s' are back. Besides, the Go-Go's have reunited. Come on.(While their talking, Emma is coming downstairs)Spike: Emma, we woke you up.Caitlin: Sorry, Em.Spike: We promised to be quiet. Ladies bubbly?Caitlin: Just one glass though. Keith's waiting for me back at the hotel.Hey, Emma. How are you? It's so good to see you.Emma: Caitlin, can I ask you something?Caitlin: Sure. Let me guess... your boyfriend?Emma: My friends don't think I should be with him.Caitlin: Well, what do youthink? I mean, do you like him?Emma: Yeah, we get along so great. Sometimes, it's like he can read into my soul.Caitlin: Well, sometimes you just have to take a chance. Go for it. Even if your friends don't think it'sright.Emma: Like what you do for the environment?Caitlin: Yeah, exactly. If my family had their way, I'd be working in an office right now. Somewhere on Bay Street. Oh, what an awful thought. So, is he cute? Comeon, I want details. Details, details.[The kitchen.]Lucy: Hey, Spike, what do you think of Keith?Spike: Caitlin could do a lot better. (Lucy puts the hat on) Ooh, nice.[The stairs (Spike is listening to Caitlin and Emmatalk)]Emma: But, how do you know? I mean, when it's one of those times?Caitlin: Well, you know in here. (Meaning, your heart.) And it's usually right.(Spike comes up to them.)Spike: Oops. Bonding moment?Caitlin:Oh, no. No. Just boring Emma with tales of my environmental crusades.Emma: What you said....wow.Spike: Honey, do you wanna join us for a minute?Emma: No, I'm tired.Caitlin: Good night.Spike: 'Night, Em. So...what were you talking about?Caitlin: Wouldn't you like to know? Oh, she's so young.Lucy: Oh, and you're so old.Caitlin: What? I'm practically 30.Lucy: I refuse to have biological clock. Honestly, I don't even feelit.Spike: I wouldn't mind going out on a date.Caitlin: Oh my god that's the best thing about Keith. No more flirting with men in sandals over organic food and environmental chit chat.Lucy: Poor Caitlin. So many vegans,so little time.[Emma's bedroom. She is her computer, writing Jordan an e-mail that she wants to meet him. (It says: \"Dear Jordan, I am totally into meet tomorrow\" - Emma]Emma: Sometimes you just... (Sends himthe e-mail) go for it."}
+{"doc_id":"doc_308","qid":"","text":"[PREVIOUSLY_ON]Wesley: \"Angel's son is part of the prophecy.\"Linwood: \"The Nyazian scrolls said the child would never be born!\"Gavin: \"Darla died during childbirth.\" Darla dusts herself.Holtz: \"She sacrificed herselfto save the child.\"Angel: \"I'm his only family. My job now is to be everything for him.\"Gavin: \"We have to get that baby.\"Gunn: \"Boogie at the back door!\"Wes: \"Everyone and everything will be coming for him.\"Angel:\"No one is gonna put their hands on this child.\" Cordy gets thrown into the weapons cabinet by a vision.Cordy: \"These visions are killing me.\"Skip: \"Humans are not strong enough to harbor the visions! Demons are theonly ones who can withstand them.\"Cordy: \"So - demonize me already.\"Cordy: \"Right now we have to solve my vision. The one I'm having right now.\"Angel: \"Cordy...\" Cordy, floating a foot above the ground:\"What?\"Files and Records: \"Holtz, Daniel, vampire killer, ca. Seventeen fifty four.\" Holtz shows Justine the obituary of her sister, Julia Cooper.Holtz: \"Justine, I know what it's like to grieve. I want to help you.\"Justine: \"Iwant you to stay the hell away from me.\" Justine fights the vampire in the cemetery and Holtz stakes it before it can bite her.Holtz: \"I'm here to teach you how to fight.\"Justine: \"What's in it for you?\"Holtz: \"You helpme kill a vampire.\" Shot of Angel and the gang leaving the hospital with Connor in the stroller Gunn bought.Justine: \"You don't need me for that.\"Holtz: \"I do. This vampire is strong.\" Angel is counting loose change ashe puts it into a piggybank.Angel: \"Sixty, seventy, eighty. One, two, three.\"Cordy, holding Connor: \"Angel...\" Angel raises a hand to stop her as he picks up the piggy and locks it into the picture safe beside the desk.Fred looks up from her laptop.Fred: \"How is the Connor fund?\"Angel: \"There was a dollar eighty three in the cushions out there. That's perfectly good money just lying around. (Closes the safe) Now, how's itgoing?\"Fred: \"Moments away.\" Angel looks over Fred's shoulder at the new website for Angel Investigations and points at the 'No Case Too Small' under the 'We Help The Helpless\" part.Angel: \"Ah. Can you make thatbigger? Bold, but, you know, tasteful.\"Fred: \"Hmm. Tasteful. Sure.\"Cordy to baby: \"You are so cute! Yes, you are. You are just the best little boy in the whole world.\" Angel comes up behind her and smiles down atConnor over her shoulder.Angel: \"How's my little man?\"Cordy: \"Oh, he wonders where his father's been.\"Angel: \"Papa's got mouths to feed.\"Cordy: \"Ah. I have a mouth, too. Always have had one. Kind of known for itand we've fed it fine for years. Yeah.\" Cordy puts Connor down in a baby carry-bed.Cordy: \"Angel - I'm glad you wanna take care of your son. I am. I just wanna make sure we don't lose sight of the mission.\"Angel:\"Well, we have to earn a living. I mean, not just for Connor, but for all of us.\"Cordy: \"I agree. But first and foremost we work for the Powers, help the helpless. Promise me we won't neglect that.\"Angel: \"I promise.(Sees Gunn coming in) I promise. (Turns to Gunn) Well?\"Gunn: \"Well, we hired some guys. Six thousand of these babies all over town.\" Gunn holds up a flyer with 'Angel Investigations' and their logo on it. 'We help thehelpless. No case too small. Paranormal Specialists. 313-555-0126'Angel: \"Nice! (To Cordy) I'd call me, wouldn't you?\"Fred: \"Hey! The website's up. We're live.\"Angel picks Connor up: \"We're live, little guy. Come on.\"Angel walks over to the desk and turns the laptop so everyone can see the screen.Angel: \"There, beautiful. We're online. We got flyers, we got yellow pages. Ladies and Gentlemen, boys and girls, welcome to a newarea of Angel Investigations. All we have to do now is wait - for that phone to start ringing and the money to start rolling in. (To Baby) Because someone's got to clothe and feed and educate this little guy, yeah?(Connor yawns) Yep - all we have to do is wait. - Just a matter of time. (Connor fusses) Don't you worry, this town is full of people who have problems.\" A man is running through the pouring rain. He looks back over hisshoulder at some looming shadows following him on the wall of the alley behind him, and runs right into a pile of trashcans. As he picks himself back up, he sees one of Angel's new flyers. AI is still standing around thephone, waiting. The man, flyer in hand, runs over to a payphone, dials, listens to it ring.Man: \"Come on, come on, come on!\" Split screen - the phone at AI is *not* ringing. Triple split screen, a guy picks up the phonein what looks like a kitchen.Guy: \"Fabrizio's Pizza.\" Fred picks up a flyer form the desk and takes a closer look at it.Fred: \"Is this the right phone number?\" Everyone turns to look at Wesley. Intro Hyperion, day, Weswalks in, carrying a stack of flyers.Wes: \"That's the last of them. Six thousand new ones.\" Wes stops to see what has Gunn's attention so riveted. Fred is out in the lobby cuddling Connor.Wes: \"Adorable.\"Gunn: \"Sosweet.\"Wes: \"I meant the baby.\"Gunn: \"I meant the hot mama.\" Gunn and Wes look at each other. Angel comes in.Wes: \"Sorry about the mix up last night.\"Angel: \"It's not important. But we can't afford any moremistakes. Making mistakes cost money, and making money right now is our number one priority. (Lorne comes down the stairs in a silk housecoat) Hey, Lorne.\"Lorne: \"If this is about the baby formula that I snaggedfrom the fridge last night - sorry. I was feeling a little peckish and it was that or a glass of pig's blood. By the way, baby formula and Kaluha? Not as bad as it sounds.\"Angel: \"Lorne, I need you to use your contacts tofind out what Holtz is up to. He's out there somewhere. We can never forget that. Finding him is our number one priority.\"Gunn: \"I thought you said...\"Angel: \"Finding Holtz and making money are our two number onepriorities.\" Cordy walks by behind him and clears her throat.Angel: \"Helping the helpless, finding Holtz, and making money are out *three* number one priorities.\"Cordy: \"Hey, look! We got some hits on our website.\"The phone on Cordy's desk rings and Wes picks it up.Wes: \"Angel Investigations, may I help you?\" The phone on the counter rings and Gunn picks it up.Gunn: \"Angel Investigations, can I help you?\" Yet a third phonerings somewhere.Angel, smiling: \"We're in business!\" Justine is sitting at a small table in Holtz lair with Holtz pacing behind her.Justine: \"You should be thanking me.\"Holtz: \"For disobeying an order?\"Justine: \"Fordusting two vamps!\"Holtz: \"Two vampires from whom I had told you to walk away.\"Justine: \"Guess I misunderstood.\"Holtz: \"Which is why we're here.\"Justine: \"And speaking of here, would a couple of light bulbs andindoor plumbing kill you?\"Holtz: \"We are here to determine whether or not - you - have the commitment necessary for the work at hand.\"Justine: \"At hand? -That's a joke, right?\"Holtz: \"Why are you wasting mytime?\"Justine: \"What do you want from me?\"Holtz: \"I just told you: commitment. Something you must now convince me you have.\" The camera pans down from Justine looking up at Holtz to reveal that her left hand ispinned to the desk with an awl.Holtz: \"So I've explained why I'm doing this. Why are you?\"Justine: \"Let's just say, feeling something - is better than feeling nothing.\"Holtz: \"Take it out any time you like. If you're stillhere when I return, we'll consider the next phase of our - partnership.\" Justine watches Holtz walk out and slide the grate shut behind him. The Hyperion lobby is full of people (not all of them human). Fred takes aclipboard from one of the non-humans. Angel, holding Connor, walks up beside her.Fred: \"Welcome to Angel Investigations Mr. (looks at the clipboard) Blee - Lee - Shushngrung. Uhm, please have a seat and one of ourassociates will be right with you.\"Angel: \"Hey, Lorne. Non-human on deck.\"Lorne: \"Coming.\" Lorne is talking to three gray aliens, wearing long robes and silver facemasks in a language that seems to be mostly clicks,whirrs, and popping sounds. He leaves them to talk to Angel.Lorne: \"Hey, the guys with the chrome faceplates, they're called Nahdrahs. I speak their lingo, sort of. If I understand them correctly they've got a job forour leader and a great deal of money.\"Angel: \"Oh, let's not keep them waiting, huh?\"Lorne: \"Well, our leader in this instance being Wesley. They saw his web articles on DNA fusion comparisons in Tri-ped demonpopulations.\" Angel sees Wes coming out of the office with some other people and flags him.Angel: \"Hey, Wes. Wes, talk to the Nahdrahs.\" Gunn comes up to Angel leading a young blonde.Gunn: \"Hey, office free? It'skind of personal.\"Angel: \"Yeah. Go. (To Connor) If this keeps up, little guy, we may have to incorporate, huh?\" Cordy is sitting at the counter, phone in hand.Cordy: \"We're getting stretched a little thin here,Angel.\"Angel: \"Come on. Nonsense. We can handle it.\"Cordy: \"Really? Well, then why don't you handle it by picking up lines two, three and four?\" Angel shrugs and walks towards the phones.Angel: \"AngelInvestigations, your problems are our problems. - Okay. How urgent is it? Uh-huh. And what do you do for a living? That's a good company. You own it? Okay, hold on. (Puts down the receiver) Pen, paper, quick.\" Gunnis pouring some tea for the Blonde in the office.Ally: \"I don't sleep. I'm afraid to go out or answer the phone.\"Gunn: \"Yeah, I hate stalkers. Look, don't worry. We'll put a stop to it. (Hands her the tea) Have a seat.\"Ally:\"Thank you.\"Gunn: \"So, do you know who this guy is?\"Ally: \"Yeah, well, it's- it's Brian, my ex-boyfriend.\"Gunn: \"Have you - been to the police?\"Ally: \"Yeah. They act like I'm some kind of nut. Just - like I'm making it allup.\"Gunn: \"Yeah, you go to the cops for help they don't do a thing until somebody ends up dead.\"Ally: \"Somebody *is* dead.\"Gunn: \"Who?\"Ally: \"Brian. (Holds up the flyer) Isn't that the kind of stuff you guys dealwith?\"(The number at the bottom of the flyer now ends in 0162)Gunn: \"Yeah. All the time. So - Brian, your dead boyfriend, is stalking you?\"Ally: \"Well, I mean, he's not my boyfriend *now.*\"Wes is talking to theNahdrahs with Lorne translating.Wes: \"The Internet article I'm currently writing posits a formula for the genome mapping of creatures who don't have genes. - It's an exciting arena.\"Lorne: \"One I'm sure we can alldownload at 'I'll never know the love of a woman dot com.' (Wes gives him a look) Ah, can we get down to business? They want to buy your head. - Little rusty with the language. I should probably clarify that.\" Lorneclicks away at the Nahdrahs. One of them holds up a metal suit case.Lorne: \"They want your mind. They're celebrating their prince's, uh - it's - it's like a birthday, only they're not born so much as disgorged. They -they need you to solve one of their traditional puzzles so they can give it to him. It's quite an honor.\"Wes: \"Could be interesting.\" Fred has come up and looks at the Nahdrah's robes.Fred: \"Sure. These are puzzlepeople. Did you notice the designs on their tunics? (Traces the design) Geometric shapes. Each a prime number, if you count their edges, arranged in ascending order of exponential accumulation.\"Wes, smiling at her:\"Yes, I did - not - notice that at all.\" Fred grins back at him, while the Nahdrahs start clicking away at Lorne.Lorne: \"Ah, they wanna know why your girlfriend was pointing at them. I better tell them what she said beforewe have an international incident.\"Wes: \"Ah, she's not my...\" Lots of excited clicking going on by the Nahdrahs.Wes: \"Silly.\" The Nahrdahs leave in a hurry.Fred: \"Did I say something wrong?\"Lorne: \"No. No, they liked*you.*\"Fred: \"So much they ran away?\"Lorne: \"They either have to consult with their prince or go eat a cheese monkey. Did-did I mention rusty with the lingo?\"Gunn: \"Wes? I think I'm gonna need you on thisone.\"Angel on phone: \"Great. I'm on my way.\" Angel hangs up the phone and picks up the piece of paper from the desk. Walks over to Cordy and thrusts Connor into her arms.Angel: \"Big case. Got to run.\"Cordy:\"Oh...\"Angel, already leaving: \"I think he needs changing. Oh, and bottle, three o'clock.\"Cordy to Connor: \"Well, hi there.\" Shot of a car driving down a street at night. A man dressed in a suit is talking on a hands-freephone headset of a large office as Angel enters through the glass doors. The side wall of the window are large windows overlooking a manufacturing floor.Harlan: \"Yeah. Okay. That's good for us. Tell him a six monthmillion dollar guarantee and we'll cover the extra cost. Yeah. No, I get that, but we got to get a decision by tomorrow. Listen, somebody just walked in my office. I'll call you back. (Takes the headset off) Mr.Angel.\"Angel: \"Just Angel.\" Guy gets up to shake Angel's handHarlan: \"Harlan Elster. Thanks for coming to meet me.\"Angel: \"No problem. I know what it's like when your name's on the letterhead...\"Harlan: \"Hmm. Igot to say, you're not exactly what I pictured.\"Angel: \"No?\"Harlan: \"You're pretty well coifed, I guess. You're not afraid to get a little mussed, are you, Mr. Angel? Because 'mussed' you're gonna be just by stepping footin there.\"Angel: \"In where?\"Harlan: \"Eighty third and Vermont. (Hands Angel a folder) Used to be low-income housing. Now it's a nest. Boarded up windows. No Electricity. Sewer access. They like it dark.\"Angel:\"Vampires.\"Harlan: \"A whole gang of them. Those photos were taken by the last guy I had on this job.\"Angel: \"What happened to him?\"Harlan: \"He got mussed. You have much experience dealing withvampires?\"Angel: \"Some.\"Harlan: \"Yeah, well, not like these. They're not out for blood. They want money.\"Angel: \"Money?\"Harlan: \"Yeah. I know. Whoever heard of a vampire out to make a buck, right?\" Angel lets outa half-hearted laugh and drops into a chair.Harlan: \"Anyway, they've been putting the squeeze on some local business men. We pay them a protection fee and they don't eat our employees. They're demanding fivethousand dollars by midnight.\"Angel: \"Whoa.\" Harlan starts to make out a check: \"Now, I'm prepared to pay you ten to make this problem go away. Five thousand now (rips out the check) the remainder when the jobsfinished.\"Angel: \"That'll make ten - which is more than they're asking you for.\"Harlan: \"But this isn't about money.\"Angel: \"No, no, of course it's not - about - that. (Takes the check) Money. (Lets out a short laugh ashe looks at the check) I'll get right on this.\"Harlan shakes Angel's hand again: \"Thanks.\"Angel: \"Sure.\" Harlan watches the doors close behind Angel. A door behind Harlan opens and an older man walks in.Man: \"Whatthe hell are you doing in my office?\"Harlan: \"Mr. Elster.\" With that the imposter hauls back and knocks the real Harlan Elster out. Break Justine's head is resting on the table in Holtz' lair, her hand still pinned to thetable by the ice pick. Holtz walks in, crouches down and lays his head on the table, so their eyes are on a level.Justine: \"Decided to stick around.\"Holtz: \"You asked me what I wanted from you. (Wraps his hand aroundthe handle of the ice pick) I want you to go out and find others like you. People who have suffered as we have, people with the same rage, the same fire. You'll know them when you see them. Their eyes - will look likethis feels.\" Justine lets out a scream as Holtz pulls the ice pick free. Holtz hands her a handkerchief.Holtz: \"Are we clear? Have we learned our lessons, Justine?\" Justine wraps the handkerchief around her hand.Justine:\"We're clear.\" As Justine gets up she hits Holtz hard across the chin with her wrapped left fist, knocking him back.Justine: \"You son of a bitch.\" She drops back into her chair, breathing hard, as Holtz watches her,fingering his chin. Angel walks into the lobby of the Hyperion, which is deserted, except for some papers strewn here and there and Cordy and Fred sprawled on the settee next to Connor's bassinet.Angel: \"Is thiscountry great or what? Five thousand smackeroos and all I have to do to collect five thousand more, is clean out a vamp nest downtown. Where's Wes and Gunn? I wanna show 'em this.\"Cordy: \"Out on a case.\"Fred:\"There's a young woman whose dead boyfriend is stalking her.\"Angel: \"That's terrible. Did you...\"Cordy: \"I ran her credit. She's solvent.\"Angel: \"Nice. (Crouches to look into the bassinet) Hey, how's my little magnumcum laude, Notre Dame, class of two thousand twenty?\"Cordy: \"Angel - I don't think it's such a great idea to be working on so many cases at once. I mean, what if we're all out making money and some poor devilstumbles in here and needs our help?\" The doors open and Lorne stumbles in.Lorne: \"Bon giorno, everybody, bon giorno.\"Angel: \"You've been drinking?\"Lorne: \"Oh, I can hold my liquor, Mister. Unfortunately I can'tsay the same for my firewater.\" Lorne giggles.Fred: \"Aren't they the same thing?\"Lorne: \"Hey, Fred-girl! No, this is special firewater, used to loosen the tongue of my Gar-wak snitch. They light the water on fire andthere's chanting and a bong, and look out, Houston!\"Angel: \"Did you learn anything about Holtz?\"Lorne: \"Oh yeah. He is *really* not fond of you. I'm led to believe that he and his Grapplar demons had plans to (makessound and cutting motion across his throat) you. (Angel leans back a little closing his eyes for a moment) Is my breath stinky?\" Lorne exhales into Angel face.Angel: \"Yeah.\" Angel fans the air in front of him with thecheck in his hand and backs away.Angel: \"Holtz is using the Grapplars as soldiers.\"Lorne: \"Not anymore, Bucko. He poisoned them and he's looking for replacements. Humans.\"Angel: \"Do we know where he is?\"Lorne:\"Bro, I'm on it. I've got rats looking all over this town. Well, not actual rats - except two of them. Ooh, I don't feel so good.\" Cordy picks Connor up out his bassinet.Cordy: \"Uh, we've got company.\" Angel turns to seethe Nahdrahs walking in, clicking away as soon as they enter.Cordy: \"Lorne? It's all snap, crackle, pop to me.\"Angel: \"Ah, these are the guys that wanted Wesley.\"Lorne: \"Not anymore. Now they want Fred.\"Angel: \"Forwhat?\" Lorne clicks away to the Nahdrahs then turns back to Angel.Lorne: \"Her enormous brain. They're convinced she can solve the puzzle they wanna give to their prince. (To Fred) They weren't offended by youbefore, they were impressed.\"Fred: \"Really?\"Angel: \"Where would she have to go and how long would it take?\" Lorne after clicking to the Nahdrahs: \"They live on a barge, currently docked in the marina. And a day ortwo, depends no how long it takes her to solve it.\"Angel to Fred: \"You game?\"Fred shrugs: \"Sure.'Angel to Lorne: \"You'll have to go with her to translate. Tell 'em it won't be cheap. They're getting two of our topemployees. That's salary, per diem, overtime...\"Lorne: \"Okay, okay.\" Clicks and pops away at the Nahdrahs. One of them lifts the metal suitcase up.Lorne: \"They apologize for their paltry offering and hope you'll accept(the Nahdrah opens the case revealing bundles of cash) Fifty thousand dollars!?!\"Angel: \"Fifty...\"Cordy: \"...thousand...\"Fred: \"...Dollars?\" Angel reaches out and grabs the suitcase, a big smile on his face: \"We accept.\"Gunn and Wes are guarding the Blonde from earlier at her home.Ally: \"You know, I consider myself independent and it's hard for me to ask for help, but - it really feels good for you guys to be in the house. You knowthat woman you work with was right. You inspire confidence.\"Wes: \"Which woman?\"Ally: \"Brunette, really cute, Texan maybe?\"Gunn and Wes smile: \"Fred.\" Turn to look at each other.Gunn: \"Said I inspireconfidence.\"Wes: \"Actually, I-I believe the comment was directed at me.\"Gunn: \"Really? 'cause I don't think so.\"Ally holds out a photograph: \"Here, this is Brian. Not exactly a rocket scientist, but, ah, he's so sweet.You ever meet somebody and you just know that you belong together? It just feels...\"Gunn and Wes: \"Comfortable.\" They look at each other.Wes: \"You read all the same science journals.\"Gunn: \"You laugh at the samedumb jokes.\"Ally: \"And the s*x. Oh, god, do I miss the s*x.\"Gunn to himself: \"Tell me about it.\"Wes: \"Hmm.\"Ally: \"So, explain something to me. How can Brian be stalking me if he's dead?\" Gunn opens his mouth butWes, looking out the window answers before he gets a chance to say anything.Wes: \"There are any number of explanations. Witchcraft, black magic, voodoo, zombiefication, demon possession, even vampirism.\"Ally:\"But why? Why is he hanging around here? What does he want?\" Gunn tries to answer, but Wes beats to it again.Wes: \"Perhaps there is something he left unfinished, something he wants to tell you.\"Gunn: \"Or maybehe just wants to eat your intestines.\"Wes: \"Gunn. We don't know that he's a zombie, and besides the flesh eating is a myth. Zombies merely mangle, mutilate and occasionally wear human flesh. So there is no reasonto be frightened until we have a better idea...\" The door, beside which Wes is standing, cracks open and a pale hand grabs a hold of him. Wes throws himself against the door, trying to force it shut again.Wes: \"Gunn!\"Gunn runs over and starts to beat on what's visible of Brian with his baseball bat. Brian retreats and they slam the door shut.Wes: \"Right then. Zombie it is.\" Lorne moans as he and Fred climb on to the Nahdrah's"}
+{"doc_id":"doc_309","qid":"","text":"[EXT. LAS VEGAS CITY (STOCK) - LATE DAY][EXT. LAS VEGAS CITY - LATE DAY][SCENE_BREAK][INT. CHECKERBOX BAR & GRILLE - LATE DAY](People are eating at the local grille.)(ELAINE ALCOTT walks out of therestroom.)(HANK PEDDIGREW sits at a table.)(Friends wave to each other from their tables in front of the large picture glass windows.)(FRED LYCHOCK, the Restaurant Manager, smiles at the waiter. He turns and seesa car heading toward the restaurant at a fast speed. He stops smiling and watches the car.)(The car doesn't stop at the light, nor does it turn. It continues through the intersection and straight for the windows. TheRestaurant Manager takes note of it and watches the car approach the windows, helpless to do anything.)(The waiter drops the tray he's carrying, his eyes fixed on the speeding car. The beer glasses hit the floor andshatters.)(The car crosses the sidewalk and heads straight for the glass windows.)(The car hits the windows and doesn't stop. The people sitting at the tables in front of the windows crash to the floor. The car plowsthrough the windows, tables and people.)(Patrons scream as they dive to get out of the way of the speeding car.)(The car crashes through the establishments' tables. The waiter hits his head against the car'swindshield, blood spattering across the glass.)(The driver hits the car horn and it blares.)[SCENE_BREAK][INT. CHECKERBOX BAR & GRILLE -- NIGHT](The woman driver is slumped against the steering wheel. Firepersonnel use a crowbar to get the door open.)(It's raining outside. GRISSOM, SARA and CATHERINE walk in to the restaurant through the broken glass windows. Emergency personnel cart away survivors on gurneys.ELAINE ALCOTT is on the gurney, her neck in a brace, as it passes the CSIs.)(BRASS speaks to someone on his cell phone as the CSI's make their way toward him.)Brass: (to phone) Yeah, yeah. No. All right. Yeah, holdon, hold on. (puts phone aside) Happy hour. Joint was packed. Two fatalities, four critical.(BRASS pushes his way past them. CATHERINE stops him.)Catherine: How about the driver?(BRASS turns around to answerher.)Brass: Non-responsive.(BRASS heads out. Behind, we hear HANK PEDDIGREW giving instructions.)Hank Peddigrew: (b.g.) I've got a GCS of three. I need to intubate.(SARA turns around and sees HANK working onan injured patron on a gurney.)Catherine: (to GRISSOM) That's Sara's boyfriend.Hank Peddigrew: (looks up) Hey, Sara. Typical Thursday.(SARA looks around and notices his injury.)Sara: Hank? Your wrist isbroken.(HANK looks down at his wrist as if noticing it for the first time. He stops trying to intubate the patron.)Hank Peddigrew: Larry, take over, will you?Larry: I got it, Hank.[SCENE_BREAK](The Fireman gets the cardoor open with the crowbar.)Grissom: The car's dry. This must've happened right before the rain.(The Fireman checks out the old woman driver.)[SCENE_BREAK](HANK assists LARRY as he intubates the patron.)Sara:What happened?Hank Peddigrew: I was sitting at the table. Next thing I knew ...Fireman: (b.g.) I got a heartbeat!(HANK looks up and rushes to give aid. He hurries past SARA and heads for the car.)Hank Peddigrew:Excuse me.(He runs past CATHERINE and GRISSOM. They both watch him as he pushes the Fireman aside to check on the old woman driver.)Catherine: Some happy hour, huh?Grissom: I think happy hour's over.HARDCUT TO END OF TEASER ROLL TITLE CREDITS[SCENE_BREAK][INT. CHECKERBOX BAR & GRILLE - NIGHT](It's dark and still raining outside. The EMT and other Personnel are still processing the scene.)(GRISSOM is onhis cell phone looking into the car. CATHERINE takes pictures.)(LARRY is sitting down in front of HANK, attending to his broken wrist.)Sara: (to LARRY) Mind if I take over?Larry: No, go ahead.(LARRY stands up andSARA takes his place. She sits in front of HANK and continues to tape up his wrist.)Sara: You okay?Hank Peddigrew: Yeah. I didn't think I'd see you tonight.Sara: (smiling) So that's what all this is about.HankPeddigrew: Thanks.Sara: Any time.Hank Peddigrew: Listen, I got to head over to the hospital, and I'm sure you got to get back to work.Sara: Yeah, but ... will you call me if you need anything? My cell will be on.Anything.(SARA and HANK stand. HANK leaves. SARA turns around and walks toward GRISSOM.)Grissom: You and Catherine are running the evidence on this. Warrick just got done with Internal Affairs. He's on hisway.Sara: Okay.Grissom: You need to talk to the Restaurant Manager, too.Sara: Anything else?Grissom: No.Sara: Where are you going?Grissom: I got gas.Sara: (nods, but is still confused) Oh.(GRISSOM takes a steppast SARA, stops, and explains over her shoulder.)Grissom: Residential gas leak in Henderson.(GRISSOM leaves. SARA heads for FRED LYCHOCK, The Restaurant Manager who is finishing up with a PARAMEDIC.)Sara:Are you the Restaurant Manager?Fred Lychock (restaurant manager): Yes.Sara: I'm Sara Sidle, Crime Lab.(SARA holds out her hand. FRED LYCHOCK gets to his feet and extends his hand to grab hers, but stops whenhe sees she's still wearing latex gloves.)Fred Lychock (restaurant manager): Oh, hi. Fred Lychock. Ooh, sorry. Um ... your supervisor asked for a seating chart. (He unrolls the chart for SARA to look at.) Everything'scomputerized - software program. This here'll show you the number of people per table.(SARA takes the chart and looks at it.)Sara: Where were you during the crash?Fred Lychock (restaurant manager): I was at theregister, behind the bar.Sara: Did you see anything?Fred Lychock (restaurant manager): A blurry jaguar speeding through the intersection.(Quick flashback to the car speeding head-on toward the glass windows. End offlashback. Resume to present.)Fred Lychock (restaurant manager): I thought the car would slow down, but it kept right on coming. If you ask me, that's the reason why old people don't belong behind the wheel.Sara:Yeah, I didn't ask you. Thanks for your time.(SARA walks away from FRED LYCHOCK and heads toward CATHERINE who is examining the car.)Sara: I'm sorry. I got wrapped up in ...Catherine: Hank.Sara: Yeah. (SARAkneels and looks inside the car.) An old jaguar with a GPS unit. That's strange.Catherine: Yeah, not your granny's oldsmobile.[SCENE_BREAK][EXT. LAS VEGAS RESIDENTIAL AREA -- NIGHT]Grissom (prelap): (V.O.)We're cleared to go in?[SCENE_BREAK][EXT./INT. ARNZ RESIDENCE -- NIGHT]Lockwood: Yeah. Gas company shut off the valve at the street. Paramedics aired out the scene.(LOCKWOOD escorts GRISSOM and NICKinto the residence to the dead body.)Nick: Homicide radioed in a D.B.?Lockwood: Vanessa Arnz. She's in the master bedroom next to the son's room.Grissom: Thanks.[SCENE_BREAK][INT. ARNZ RESIDENCE -HALLWAY/BEDROOM - NIGHT -- CONTINUOUS](GRISSOM and NICK make their way toward the master bedroom where the dead body is located. They walk through the hallway.)Grissom: The gas company spikes itsnatural gas with mercaptan - smells like rotten eggs.Nick: I don't smell anything.Grissom: All's I smell is mothballs and stale tobacco.(NICK looks into the son's room.)Nick: Science geek. (He looks back at GRISSOMand smiles.) Takes one to know one, I guess.(He turns and they both head into the master bedroom.)[SCENE_BREAK][INT. ARNZ RESIDENCE - MASTER BEDROOM - NIGHT -- CONTINUOUS](GRISSOM and NICK enterthe master bedroom. On the bed is VANESSA ARNZ. DAVID PHILLIPS is already inside with the dead body.)Grissom: Hello, David.David Phillips: Hey. She's hot pink, like a maraschino.Grissom: Makes our jobeasier.David Phillips: Death was not the result of natural gas inhalation.Grissom: No, but carbon monoxide's still gas.Nick: Right, when carbon monoxide displaces oxygen in the blood, victim asphyxiates, turns ...pink.(Quick flashback to: VANESSA ARNZ is sleeping and inhaling gas. Her skin slowly turns pink. End of flashback. Return to present.)(NICK moves to get a closer look at the dead body.)Grissom: Was Mr. Arnz in bedwith her?David Phillips: Uh, yeah. Paramedics said they found them both in here.Grissom: So why is she dead and he's alive?(NICK looks up at GRISSOM. DAVID turns and looks at NICK. NICK stands up and explainsthe answer to DAVID.)Nick: You know, Dave, when I was a CSI-1, I would've tried to answer that, but now I know \"where\" before \"why.\" First step, find the source of the C.O. I'll grab the nighthawk, fire it up.(NICKleaves the room. GRISSOM looks down at the body. LOCKWOOD appears in the doorway.)Lockwood: Mr. Arnz has been stabilized. They're preparing him for transport.Grissom: I want to take a look at him.DavidPhillips: Yeah.[SCENE_BREAK][EXT. ARNZ RESIDENCE - NIGHT -- CONTINUOUS](GRISSOM and LOCKWOOD question MR. ARNZ. The paramedics are still checking him out.)Mr. Arnz: I wake up in the middle of thenight sometimes, if I get cold. Vanessa steals the covers. Uh, I woke up and my head was spinning. I think I'm coming down with something. Then I look over at her ...(Quick flashback to: MR. and MRS. ARNZ is in bed.MR. ARNZ wakes up gasping. He reaches over to check on his wife.)Mr. Arnz: Vanessa.(He realizes that she's not breathing. He reaches for the phone and dials 911.)Mr. Arnz: (to the OPERATOR) Tell them my wife isn'tbreathing.(End of flashback. Resume to present.)Lockwood: Do you remember anything else?Mr. Arnz: No, I don't remember hanging up the phone. I must've passed out. Next thing I know the paramedics are takingme out.(GRISSOM turns and notices the young man leaning against the car in the garage. He presumes this is the son.)Paramedic: We got to roll. Patient will be at Desert Palm.Mr. Arnz: Wait a minute. What about myboy?Paramedic: Peter seems fine. The kid's 18. Signed an AMA.(GRISSOM heads toward PETER ARNZ to talk with him. He ducks under the crime tape and stops in front of PETER ARNZ.)[INT. ARNZ RESIDENCE -GARAGE - NIGHT - CONTINUOUS]Grissom: Peter ... my name's Gil Grissom. I'm with the Las Vegas Crime Lab.Peter Arnz: You want to ask me questions. I was in my bedroom, asleep. I heard the doorbell. It was theparamedics. A few minutes later, the police showed up.Grissom: I'm very sorry about what happened to your mother.Peter Arnz: Why are you sorry? You're not responsible. You didn't know her. You don't knowme.(Camera holds on GRISSOM.)[SCENE_BREAK][INT. HOSPITAL - HALLWAY/WAITING ROOM -- NIGHT](SARA walks through the hallway. She passes by a young man sitting outside waiting. She stops in front of theGUARD standing outside the room of the old woman who drove the car.)Sara: How's she doing?Guard: Doctors are working on her right now. Doesn't look good.(Looking inside the room, SARA notices the old woman inthe hospital bed and the medical personnel working on her. She turns her head toward the young man sitting outside in the hallway.)Sara: Relative?Guard: Driver's been I.D.'d as Diane Lambert, that's her grandsonCorey.(SARA walks up to COREY LAMBERT.)Sara: Hi, Corey? I'm, uh, Sara Sidle. I'm with the Las Vegas Crime Lab. Mind if I ask you a couple questions?Corey Lambert: I don't even know why she was in Las Vegas. Welive in Laughlin. She hates it here.Sara: Corey, um... did your grandmother own a Jaguar?Corey Lambert: Yeah ... (sniffles) ... yeah, she won it in the, uh, quarter slots. First two coins and bingo. Triple stars.Sara: Shealso win the GPS?Corey Lambert: No. (beat) She hadn't been driving it much.(SARA notices HANK in the waiting room kneeling in front of a woman in a wheelchair.)Corey Lambert: Uh, she got lost a couple times and itscared her, so for her birthday last month, I bought her the unit.Sara: (smiles) Can you excuse me for a second?Corey Lambert: Yeah.(SARA walks away from the young man and heads toward HANK in the waitingroom. The nurse wheels the young woman away.)Sara: Hey.(HANK looks up and sees SARA. He stands up.)Hank Peddigrew: Hey.Sara: \"And the EMT of the year award goes to ...\"Hank Peddigrew: Not me. Death toll'snow three. Could climb to four. Elaine- - the girl in the wheelchair -- she's one of the lucky ones.Sara: You were amazing.Hank Peddigrew: Eight years in the rig, first time I've actually been a part of the scene. I can'tstop it going through my head.Sara: Yeah, you never know when your life's going to change.Hank Peddigrew: Listen, I ... I got to get out of here.(HANK moves to pass SARA. She grabs his hands to stop him.)Sara: Youneed a lift?Hank Peddigrew: No, I drove.(HANK turns to leave. SARA stops him.)Sara: Hank? (He turns around.) I'm really glad you're okay.Hank Peddigrew: (smiles) Thanks.(HANK turns and walks away. Camera holdson SARA watching HANK leave.)[SCENE_BREAK][EXT. CHECKERBOX BAR & GRILLE - STREET -- NIGHT](WARRICK and CATHERINE do a walk through of the car route into the restaurant. They examine thestreet.)Warrick: Plenty of tire treads, but nothing looks fresh.Catherine: So you going to tell me how it went?Warrick: I got called in by Internal Affairs. How do you think it went? Too many questions. (To the officer wholifts the crime tape up for them.) Thanks. (to CATHERINE) I wish I could've pleaded the fifth.Catherine: Yeah, you don't answer their questions, you're looking at more days off without pay, and that blows.Warrick:Yeah. (He looks up and sees something.) It's a red light camera. Did any of the witnesses see the driver run the red light?Catherine: Nobody mentioned it, but the camera's there. Big brother knows.Warrick: I'll put in acall.(CATHERINE notices a dark puddle on the curb.)Catherine: Motor oil.Warrick: Now, that looks fresh.(Quick flashback to: Camera close up of the curb as the car accelerates, hits it and leaves a puddle of motor oilbehind. End of flashback. Resume to present.)Catherine: Hitting the curb could've caused the car to buck.(CATHERINE turns around to look straight down the street.)(Quick flashback to: A ghost of the car acceleratesstraight toward CATHERINE. End of flashback. Resume to present.)Catherine: Traffic light, intersection, curb. Well, either the car wasn't working, or the driver wasn't.(WARRICK turns around and heads inside therestaurant. CATHERINE shines her flashlight on the ground and notices a void where something should be.)Catherine: Looks like the newspaper dispenser used to be here.(Quick flashback to: The speeding car jumpsthe curb and takes out the newspaper dispenser before crashing into the window. End of flashback. Resume to present.)(Inside the restaurant, WARRICK notices something on the ground.)Warrick: Catherine. (He pointsit out to CATHERINE.) Tire treads. That kills one theory. Car's brakes must've been working.Catherine: She tried to stop, but it was too late.[SCENE_BREAK][INT. CSI - FORENSIC AUTOPSY -- NIGHT](DOC ROBBINSgoes over the preliminary findings with SARA. They both stand over DIANE LAMBERT'S body.)Robbins: Let me guess: No air bags in the vehicle.Sara: No.Robbins: Preliminary cause of death, epidural hematoma. Herhead impacted the steering wheel.(Quick flashback to: The car jerks to a stop and DIANE LAMBERT'S head hits the steering wheel. End of flashback. Resume to present.)Robbins: Blood accumulated between the innertable of the skull and the dural membrane.(ROBBINS points to the impact wound on DIANE LAMBERT'S head. Camera zooms up close to the wound to the breakage in the scalp and hair. Camera zooms through thewound and into the brain where we see the artery. The artery break and blood leaks out.)Robbins: (V.O.) Her injury is consistent with a severed middle meningeal artery.(End of CGI POV. Resume to present.)Sara:What about pre-impact? At the risk of feeding a stereotype, she was 72. Any indication of stroke, Alzheimer's, heart attack?Robbins: I considered and dismissed all age-related factors. No arthritis, no significantimpairment of her senses. She has had part of her colon removed, probably due to injury or prior medical condition, but Sara, it's irrelevant to your case. I found no physiological explanation for the crash.Sara: Well,that's a bummer, 'cause at this point, we got no forensic one, either.[SCENE_BREAK][INT. ARNZ RESIDENCE - MASTER BEDROOM -- NIGHT](Camera opens close up on the Nighthawk Carbon Monoxide Alarm that NICKis holding to check on the Carbon Monoxide levels in the bedroom. LOCKWOOD is with him. The detector beeps steadily.)Nick: Carbon monoxide fills the air when any carbon-based substance is ignited. The kid checksout, so ... the point of ignition's probably this room.Lockwood: Now, the two most common causes of accidental household CO poisonings are: unvented space heaters and improperly maintained chimneys. I don't seeany heaters.(Using the tip, NICK turns to look at the bedroom fireplace.)Lockwood: (explains) My dad's a fireman. Last Christmas, he gave all the kids C.O. Detectors.(Immediately, the beeping picks up.)Nick: Would'vesaved this woman's life. 25 parts per million. That's the highest reading in the room.(NICK puts his kit down, takes out his flashlight and checks out the fireplace closely.)Nick: This is a natural gas burning fireplace.Burns clean. C.O. fumes should be minimal at best.(In the back of the fireplace on the ground, he finds some black rocks.)Nick: Foreign substance. Still warm.(Camera zooms in to show a close up of the blackrock.)Nick: There was something other than natural gas burning in here.Lockwood: If the gas company hadn't shut off the gas, whatever that is probably would have burned up.Nick: Chimneys are designed to funnelsmoke up and out ... if this fire was the source of the CO, the fumes should've traveled up the chimney instead of permeating the room.Lockwood: Unless the chimney isn't doing its job.(NICK reaches up and checks thechimney.)Nick: Damper's busted.(Quick CGI flashback to: The fire in the fireplace burns, the heat and fumes close the damper causing the fumes to funnel back into the room. End of CGI flashback. Resume topresent.)Nick: Foreign fuel source in a compromised chimney ... I think we just ruled out accident.[SCENE_BREAK][INT. CSI - AUDIO/VISUAL LAB -- NIGHT](GREG exits his lab, crosses the hallway and enters theaudio-visual lab where SARA'S working.)Greg: Hey, I hear you're working on Hank's case.Sara: I believe it's my case.(Leans in and rests his elbows on the table next to SARA.)Greg: Territorial. You know, guys don'tlike that.Sara: You're crowding me, Greg.Greg: Well, I have some information that could bring us even closer. (beat) (He stands up.) But you first. What are we looking at?Sara: I downloaded the memory from the GPSin the jaguar. She wasn't a local; I wanted to see if she got lost.Greg: Well, did she?Sara: Diane Lambert lives in Laughlin.(SARA stands up and heads to the large wall monitor)Sara: Excuse me.(Using her finger, she\"draws\" the path on the monitor.)Sara: She took 95 North to Summerlin parkway. Then she took parkway to Rampart, made a left on main street and headed straight to Meadows Lane -- 16 North Meadows Lane. That'swhere she was going, and that's where she ended up.Greg: So does that thing tell you why?Sara: What do you have, Greg?Greg: Well, maybe she had the \"munchies\". Tox screen came back. Mrs. Lambert testedpositive for cannabis sativa.Sara: Grass?Greg: (laughing, enjoying himself) \"Grass\"? So '70s, man. Sticky green, the dank, the chronic, the cush, happy stick, wacky-tobaccy ...Sara: Well, wait, wait, wait. Grandma washigh?Greg: (smiling) Yeah.Sara: Grandma was high ...(Putting two fingers to his lips as if taking a drag off of a joint, GREG inhales.)Greg: ... as a kite.[SCENE_BREAK][INT. CSI - FORENSIC AUTOPSY](SARA walks backinto the Autopsy room. ROBBINS is working at the scope.)Sara: Hey.Robbins: Return visit, huh? You're here about the tox screen.Sara: Yeah. Was Diane Lambert legally impaired?Robbins: Less than two nanograms ofTHC, so per nida, she wasn't.Sara: Oh. But if she were a long time user, her reaction time could've been slowed down, right?(He lifts his head and stands up. They both head up to the morgue units.)Robbins: I knowwhere you're going. Let me stop you. THC has no significant cumulative effect, so maybe the question is: Why was a woman her age doping up?(He opens the cabinet and pulls out the table with DIANE LAMBERT.)Sara:Okay, why was a woman her age doping up?(ROBBINS hands the scope to SARA.)Robbins: Tell you what-check out her optic nerve.(Quick CGI POV through the scope and down through the eye to show the nerve. Endof CGI POV.)Sara: Nerve's damaged. (SARA stands up and looks at ROBBINS.) She had glaucoma. I thought you said she was in good health.Robbins: That was before the tox screen came back. You know, it's notstandard procedure to check for glaucoma, but the mary jane tipped me off. People think it slows the progression of the disease, but it just reduces the pressure in the eye and that reduction's only temporary."}
+{"doc_id":"doc_310","qid":"","text":"Barney's OfficeTed from 2030: Kids, as you know, I was designing Goliath National Bank's new headquarters on the site of this old hotel, The Arcadian. Problem was, some people didn't want The Arcadian torn down.Even bigger problem, they were led by my girlfriend Zoey.(Outside, Zoey and her supporters are protesting)Crowd: G-N-B is the e-ne-my!Zoey: (She sees Ted at the window) Oh, hang on, hang on, hang on! Hey,sweetie! Are we still on for dinner at 8:00 at Valenzisi's? That's great! I can't wait!Crowd: That's great. I can't wait! That's great. I can't wait!Ted from 2030: But somehow, Zoey and I were making it work.At theBarBarney: Ted, why are you dating our arch-enemy?! I mean, Wile E. Coyote wasn't trying to sleep with the Roadrunner.Robin: Or maybe he was. Think about it. The way that she bats her eyelashes and shakes hertail feathers in his face? (chuckles) She wants it.Lily: Isn't it hard for you guys to be on opposite sides of something like this?Ted: Of course you feel that way, Lily. You and Marshall have basically melded into one bighermaphroditic blob. And that's fine for you guys. But some of us want a partner who challenges us to grow and evolve.Lily: You guys are in screaming matches all the time.Ted: Uh-uh, uh-uh, uh-uh. Growingmatches.Ted from 2030: It was true. Zoey and I loved to challenge each other.[FLASHBACKS](Ted and Zoey are watching the TV)Ted: The main character is a young spoiled prince thrust into leadership after the deathof his father. It's obviously a modern-day retelling of Henry IV!Zoey:Are you kidding me?! It's Don Quixote...the classic quest story with the hero-jester and his long-suffering manservant!Ted: Okay, clearly, when we'rewatching Tommy Boy, we're watching two different movies.(Later, Ted is on the phone with Zoey)Ted: No, you hang up.Zoey: No, you hang up.Ted: No, you hang up.Zoey: No, you hang up.Ted: No, you hang up!(Later) No, you hang up.Zoey: No, you hang up.Ted: No, you... (His phone starts beeping) Hold on. (beep) Hello?Robin: For the love of God, will one of you idiots hang up the phone?Ted: Why would you dothat?!Zoey:I-I thought you'd like it.Ted: Who likes that? Zoey:I like it.Lily: Your relationship sounds exhausting.Ted: Well, maybe yours is a bit lazy.Lily: Marshall and I have been together 15 years, and the only debatewe've had about Tommy Boy is whether it's awesome or super awesome. That's love, bitch.[OPENING CREDITS]Ted from 2030: Now around this time, Marshall had truly come to hate his job. He hated the paperwork.He hated the coffee. He hated the dirty jokes. He hated everything.At the BarMarshall: I have to quit.Barney: Quit GNB?! Why?Marshall: I need to do better things with my life, okay? There's-There's an opening for anenvironmental lawyer at the National Resources Defense Council. Sure, it pays less, but I'd be saving the oceans, saving endangered species...Barney: Saving chicken bones and an old boot to make hobo soup?Marshall, you can't pay your mortgage with Hacky Sacks and good vibes.Lily: Baby, you have my full support.Barney: Well, then, you're not going to be able to pay for that trip to Spain that you've been planning.(Barney snickers) Say good-bye to riding around in gondolas, and eating bratwurst and seeing the pyramids.Robin:I don't think you know what Spain is.Barney: Well, I know that a trip there costs some serious lira.Ted:It's dinero.Barney: Where? I want his autograph!Ted from 2030: So Marshall walked in the next morning all ready to quit. But then something weird happened. Suddenly, he didn't hate the paperwork. He didn't hatethe coffee. He didn't even hate the dirty jokes. Out of nowhere, Marshall actually liked GNB.Robin: It's graduation goggles.Marshall: What? Robin:Graduation goggles, like with high school. It's four years of bulliesmaking fun of all the kids with braces, even after the braces come off and they can walk just fine. But then, on graduation day, you suddenly get all misty because you realize you're never going to see those jerks again.I just had graduation goggles with that guy Scooby I dated.Lily: The guy who was basically a dog? Robin:He was the worst kisser I've ever been with. But the moment I decided to dump him...I suddenly got kind ofwistful. (as speaking to a dog): He was a good boy.Barney: Yeah. I've been there, too. Every time I'm done having s*x with a woman, at first,I never want to see her again. No, that's pretty much it. Robin:The point is,you can't trust graduation goggles. They're just as misleading as beer goggles, bridesmaid goggles, and that's-just-a-bulky, outdated-cell-phone in-his-front-pocket goggles. That one was a bummer.Marshall: You'reright. Tomorrow, I'm quitting GNB.Barney: No! You can't quit tomorrow! The lady with the big nipples is coming back to give another sexual harassment seminar, and I bribed one of the maintenance guys to keep theroom at a brisk 55 degrees!Lily: Baby, more than ever, you have my full support. (Lily and Marshall kisses)Zoey and Ted are in bed, in Ted's appartment / Lily and Marshall are in bed in their appartment / Barney is inbed with a girl in his appartmentTed: You know, sometimes I feel bad for Lily and Marshall.Lily: I'm starting to feel bad for Ted and Zoey.Barney: It starts with an... \"L?\"Girl: How can you not remember my name?Ted:It's like they never challenge each other. They just automatically agree all the time.Zoey: Well, they don't do that all the time.Ted:Yes, they do.Zoey: No, they don't. Ted:Yes, they do. It's like they... Lily andMarshall:... don't see eye-to-eye on anything! Totally.Girl: It rhymes with your name.Barney: And I said my name was...?At Lily and MArshall's appartment(Marshall comes in)Marshall: Baby, I did it! I quit. And then Iwalked right over to the NRDC, and I took that job.Lily: Oh, good for you, sweetie.Marshall: Yeah. It's a little less money than I was expecting. I mean, compared to what I was making at GNB, it's nothing. Actuallycompared to anything, it's nothing. It's nothing. The paid position just got filled, so all I can do is-is volunteer right now. You're cool with that, right?Lily: Baby, if this is what you need to do, we'll figure it out. How'sBarney handling you leaving?In Barney's office(Barney is burning a photo of Marshall; Ted enters)Ted: Hey, Barney, there's a bunch of models in the lobby, and the gossip is one of them is really a dude. You want toplay \"Who's Hot and Who's Scott?\"Barney: It's always the one in the turtleneck, Ted. And no, I don't want to play. Stupid Marshall-... ruined everything.Ted: Oh, come on. Everything's not ruined.(A man enters)Man:Guys, everything's ruined.Ted: What? Why?Man: Your girlfriend somehow got the Landmark Preservation Committee to agree to a hearing. If they declare the Arcadian a landmark, the whole project is dead. The goodnews is, I just got the phone number of a husky-voiced hottie in a turtleneck.(The man leaves the room)At the BarRobin:...so, if the Landmarks Preservation Committee sides with Zoey, your whole project goes downthe tubes? You must be furious.Ted: I'm furiously enjoying being challenged.Lily: Why don't you admit that your girlfriend challenging your every move is getting you a little murder-suicidey?Ted: Why don't you admitthat Marshall quitting his job and taking an unpaid internship is killing you?Lily: It's not.Ted: Lily, the downside to having giant, Japanese anime eyes is that they're easy to read. And yours are screaming, \"What aboutmy trip to Spain, deadbeat?\"Lily: Okay, Ted, the downside to having a woman's mouth is, your feminine pout gives away your true feelings. And yours is saying, \"Oh, Zoey, why can't I be on top just this once?\"Ted: Wetake turns! Sometimes.(Marshall comes in)Marshall: Hey, guys. Thanks. Hey. I just had the best first day at the NRDC.(Barney starts laughing)Barney: I'm sorry. Sorry. Something Hershel said at work today.Robin:Hershel?Barney: What, don't you guys know Hershel? Didn't I tell you? Oh, he's the new lawyer who replaced Marshall at GNB. He is so awesome and funny and tall... taller than Marshall... and he knows way morelaws.Lily: Well, I'm glad you like your new co-worker.Barney: There's no Hershel! I was just saying that to make you jealous! Why do you insist we play these games?Marshall: Barney, I'm not playing...Barney: Justcome back to GNB already!Marshall: I'm really loving my new job.Lily: Oh, and I'm loving seeing you this happy.Marshall: I'm so glad to hear you say that because I volunteered our apartment for a big NRDCfund-raiser tomorrow night. You're-You're cool with that, right?Lily: Baby, you have my full support.Marshall: Thanks, baby. (phone chirps) Oh. Ooh, I gotta go. The invitations are ready. The party's for a bunch ofenvironmentalists, so I found a guy downtown who makes biodegradable party invitations that can also be used as toilet paper.(Marshall leaves)Barney: That's how I'm gonna use mine.Robin: Why in the world do youcare so much whether Marshall works at GNB?Barney: Care? I don't care. I'm like, whatever. Marshall who? He's stupid. Hershel's way better.Robin:Okay, Barney, is it possible that with everything that's gone on withyour dad lately, you might have some unresolved abandonment issues you're transferring onto Marshall?Barney: Oh! Ugh! You are worse than my shrink. \"Barney, we have to talk about your father.\" \"Barney, I'm notgoing to teach you how to hypnotize people. You'll only use it for evil.\" \"Barney, I am not going to conduct a couples session \"between you and this woman. She's obviously a prostitute.\" I don't needthis![SCENE_BREAK]At Ted's appartment(Lily arrives)Ted: Ah, Lily Aldrin, half of the world's most perfect couple! I was thinking about that woman's mouth comment, and I have three good comebacks. One: your momdidn't seem to mind it last night on her...Lily: Okay, look, Ted, I need a favor. Would you mind driving out to Kennedy with me to pick up this famous ecologist for Marshall's fund-raiser? Apparently, he only speaksSpanish. And you speak Spanish, right? (Ted says something in spanish) Perfect. Let's go.At Barney's office(Barney is on the phone with Marshall)Barney: Hey, Marshall, it's me. Listen, I know I've been kind of a jerkabout your leaving GNB. I just wanted to call and say I'm sorry. No apologies necessary. We're good. Good. Um, hey, any chance you might maybe... I don't know... if you're not busy, uh, want to have lunchtoday?Marshall: Oh, buddy, I'd love to, but I can't.Barney: Oh, that's cool. No biggie. Another time.Robin: (Robin is standing at the door) Oh, my God!Barney: How long have you been there?Robin: You don'tremember?[FLASHBACK]Robin: Hey. I was in the neighborhood. I just wanted to check in on you. You seemed, um, you seemed really upset the other day.Barney: Oh, no, I'm fine.Robin: Okay. Well, um, you want togo grab some lunch?Barney:Sure. Hey, are you okay if I invite Marshall to join us?Robin: Yeah.(Barney makes a call to Marshall)[END OF FLASHBACK]Barney:Right. So, um... Chinese?In Ted's carTed: You know, justbecause Zoey and I are a different kind of couple than you and Marshall doesn't make us a worse couple.Lily: You're right. I-If you and Zoey are happy, then who am I to judge? I'm so sorry.Ted: Oh, my God, is thathow support feels? It's so warm and wonderful. Oh, Lily, I've been so unhappy.Lily: But I thought you liked being challenged.Ted: Nobody likes being challenged! Couldn't she agree with me just once, even onsomething little, like... like what movie to see or-or what topping to get on our pizza or... oh, I don't know, my lifelong dream of building a skyscraper in New York City?!Lily: Well, in her defense, hamburger pizza, Ted?What are you, 12?Ted: You were right, Lily. I mean, Zoey's great, but... sometimes I do wish we were a little more like you and Marshall. There he is. Here we go. (Ted says some incomprehensible things inspanish)Man: I'm sorry. I don't speak... whatever it is you're speaking.Ted: Um, he speaks perfect English.Lily: Yeah, I-I know.Ted: Then why did you ask me to come?Lily: So you can drive him to the fund-raiser.Supporting Marshall this much is driving me crazy. I'm going to Spain-- my flight leaves in 45 minutes. Adios, muchacho.Ted: W-Wait, what do you mean you're going to Spain?Lily: You were right. If I hear myself say\"Baby, you have my full support\" one more time, I swear I'm gonna murder someone!Ted: What are you gonna tell Marshall, huh? And when are you coming back?Lily: I honestly haven't thought it all the way through,and I don't intend to. All I know is that I'm a ticking time bomb, and if I don't do something for me right away, I swear I'm gonna explode!Ted: Wow, tha... that's an evocative metaphor to use for your nonthreatening,totally patriotic emotions. U.S.A.! Okay, Lily, I get it.Lily: Marshall's been asking a lot lately.Ted: But the thing to do is-is tell him you've had enough.Lily: I've never been good at that. And now, ever since his dad died,I-I feel like it's my job to just be fine with everything. But I'm not. I'm not fine that he volunteers our apartment for a giant fund-raiser and that he's not thinking about how we're gonna pay any of our bills and that,apparently, we've given up on trying to have kids.Ted: Lil...Lily: Look, I'm sorry, Ted, I just, I gotta do this. (Lily leaves)Man: My bag? Oh, no. I got it.At the BarBarney: There's nothing to talk about.Robin: You trashedyour office today. I mean, you obviously have some deep feelings you're not confronting. And I think they're about your dad.Barney: I don't want to talk about it, okay?Robin: Why not?Barney: Because I don't. And whyam I explaining this to you? You're the most secretive person I know. You never tell anybody anything.Robin: I've never... told anyone this before. Um... I was 16. I was awakened around midnight by the sound of myfather arguing with his business partner, Andy Grenier. As things grew heated... I watched my father's hand slowly coil around the heavy antique clock on his desk. The sun was just starting to rise over the brambleorchard as we packed the fresh earth down with the flats of our shovels. My dad and I got our stories straight. We walked back to the house in silence and... haven't talked about it since. But sometimes... on a stillnight... you can still hear that clock, ticking... ticking... (quietly): ticking.Barney: That's... the most harrowing story I've ever heard. Is it true?Robin: No. But it did get you to drink three scotches, which is why you'reready to spill your guts.Barney: Fine! The reason I'm upset about Marshall leaving GNB is... is...the meatball sub.Robin: Huh?Barney: It all started months ago in the GNB commissary. It was Meatball SubDay.[FLASHBACK]Barney: Oh, how I used to love Meatball Sub Day. And then, the most humiliating moment of my life.Marshall: Hey, buddy, I think you got a tiny little bit of marinara sauce on your tie there.(Marshalland his co-workers start chuckling)Barney: I plotted my revenge for weeks. But nothing seemed right. Then it hit me. The answer was so elegant and simple-- an exploding meatball sub. For months, I experimented.More... marinara sauce. Finally, the sub was perfected. The plan was in place. The snare was baited. And then...[END OF FLASHBACK]Barney:...he quit, Robin, he quit! It's Meatball Sub Day today, which is why Iwanted Marshall to come over and have lunch. But no. All that work wasted. (quiet sobbing) You want to make God laugh, tell him your plans, right?Robin: What is wrong with you?At Marshall's appartmentMarshall:Hey, Professor Rodriguez, thank you so much for coming.Prof. Rodriguez: Oh, my pleasure. I have to use the restroom. Do you have some extra invitations?Marshall: Right over there. Enjoy. Hey. Hey, thanks forpicking him up.Ted: Yeah, absolutely. Um, listen, something happened at the airport. Um...Marshall: What?Ted: Well, we got there, and, uh, Lily...(sighs) Lily...(Lily arrives)Lily: Marshall, hey. Sorry, I, uh, I had to parkand-and grab some ice. Sorry.Marshall: Oh, thanks, babe. You would not believe how much this one has done to help throw this party, Ted. I don't know how she does it. Can't be easy, huh, Lil?Lily: Yeah. Listen,Marshall, I-I need to talk to you about something.Marshall: No, you know what? Me, too. Um... I want to thank you for being so supportive of me in all this. I've been at the NRDC for less than a week, and I've alreadydone more to be proud of than in two years at GNB. I can't believe how good it feels. But now, it's time for me to find a way to help the Earth and get paid for it, because I can't put that burden entirely on you. So,starting tomorrow, I'll look for something with a paycheck. What do you think?Lily: Baby, you have my full support.(Marshall and Lily kiss;Ted notices Zoey at the other end of the room)Zoey: Ted.Ted: Hey! What areyou doing here?Zoey: This is really important to Marshall, so I came to show my support.Ted: This you can be supportive of?!Zoey: What is that supposed to mean?Ted: I have the chance to build a skyscraper in thebest city on Earth, and who's the one leading the charge to kill that dream? My girlfriend!Zoey: Whoa, whoa, whoa. What about my lifelong dream of not seeing every beautiful building in Manhattan bulldozed?Ted from2030: And in that moment, I realized, though I really cared about Zoey, I couldn't do this for the next 50 years. I had to break up with her. But then... Kids, some couples always support each other, and some couplesalways challenge each other, but is one really better than the other? Yes. Support is better. Way better. But I'd have to learn that the hard way.[Ten years later; at Barney's](Barney is in bed, looking very sick, Robin,Ted, MArshall and Lily are here)Lily: You're too young. This isn't fair.Marshall: We're not going anywhere, buddy. We're gonna stay here right till the end.Barney, weakly: Thank you, Marshall. (coughs weakly)Marshall... can I ask one final favor, my friend?Marshall: Yes, of course, of course... anything.Barney: Eat this meatball sub.Marshall: Wh-Where'd you get a meatball...Barney: I don't have much time!Marshall: Okay,yes, yes, of course. Of course. Does this have some sort of special meaning?(The sandwich explodes, throwing marina sauce all over Marshall; Barney leave his bed)Barney, with a mean laugh: I'm not sick, you idiots!I've racked up $30,000 of uninsured medical bills for symptoms I don't even have. Totally worth it! You should see the look on your face. Oh, wait, you can't-- 'cause it's covered in marinara sauce!Ted: Uh, Barney, yougot a little marinara on your pajamas.(Barney looks at his pajamas and stops laughing; his face decomposes itself)"}
+{"doc_id":"doc_311","qid":"","text":"[PREVIOUSLY_ON]Zachariah: What about Boyd?Boyd ain't nothing like Bowman.Zachariah: Yeah, he's a Crowder. That's awful strange talk seeing as you're here working for him.Ava: My uncle ... you sure he couldn'thave made it out of that mine?Carl: Even if he survived the blast, the rockfall cut him off from the entrance.Probably got turned around in the dark.Ava: Zachariah got turned around?Art: You want some advice? BringRaylan in. See if you can confirm what your gut is telling you.Rachel: Is that what you'd do? You'd let it go. Wouldn't risk the case just to save your own ass.Mike: When I asked you how long you'd been snitching to themarshals, you said, \"this time.\" The other time was about Grady Hale, right?Duffy: You just figured that out all by yourself, Mikey?[laughs]Duffy: Aah![handcuffs click]Mike: Ms. Hale, please call me as soon as you getthis.Boyd: Ripping you off ... that was her idea of payback for you murdering her husband.I just thought you'd wanna know. Baby?[gunshot][grunts]Raylan: What did you do?Ava: I gave you what you always wanted,Raylan ...Boyd Crowder bleeding at your feet. I'm gonna come after you.Ava: I know.Rachel: I know your deputies just got back to Atlanta, but we need as many as you can spare. We've got a new number one. AvaCrowder. Jerry, I'm gonna have to call you back.Art: [exhales sharply][indistinct conversations]Rachel: How bad is it?Art: Well... I shaved.The director called. Tried to tell her that I was the shot caller on this from mysickbed, that I just couldn't let it go, but apparently you'd already talked to her.Rachel: I'm the one who approved Ava as a C.I. and Raylan as her handler. It's only right I take the hit.Art: I wish you'd called mefirst.Rachel: Am I suspended?Art: Hell, no. Not gonna sideline one of my best manhunters in the middle of a manhunt. What the hell's the status with Crowder?Rachel: Nelson's sitting on him at Harlan regional medicaluntil they get the bullet out and we can move him.Art: Well, you do realize you accomplished something that I was never able to do all these years.Rachel: Let an untrustworthy C.I. get away with $10 million?Art: Yougot Boyd Crowder.Boyd: Aah! Aah, aah, aah.Doctor: Irrespective of you being shot, you are what doctors call one lucky son of a bitch.Yeah, well, I don't feel so lucky at the moment. [groans]Doctor: Slug splintered onyour collarbone. Hair South, your lungs'd be torn to shreds. We got in there, tied things up. It could be worse.Raylan: You give us a minute, doc?Doctor: You're not the one shot him, are you?Raylan: No, I'm the onewho got him here.Boyd: [exhaling deeply] Ain't exactly true, is it? What you told him about bringing me here. Well, I called it in, made sure they knew you were emergent.Boyd: You handcuffed me to a bumper, you leftme there without so much as a fare-thee-well.Raylan: You could hear the sirens on their way. Must have given you some solace.Boyd: I don't suppose you've come to tell me you've found her.Raylan: I found her trucksome down the road, abandoned. No sign beyond. Gotta suck, be that close to the prize, have it shot out of your hand. I kinda know how you feel.Boyd: No, you don't. I don't believe in a world where you know how Ifeel.Raylan: I didn't realize disappointment was a domain exclusive unto Boyd Crowder. Well, Raylan, if we're gonna play it that simple, then let's talk about your disappointments. What disappoints you, Raylan Givens?The fact that you weren't the one who got to shoot me? Where is she goin'?Boyd: Well, you wheel me outta here, I'll take you straight to her. [chuckles] That's funny.Boyd: Oh, well, it doesn't have to be funny. Comeon, Raylan. Me and you, one more ride together. See if we can't find a reasonable solution to our problem. But which is our problem, exactly? The money or Ava?Boyd: Well, ain't they the same problem, Raylan?Raylan:Are they to you?Boyd: I'm gonna get outta here, Raylan.Raylan: Mm-hmm.Boyd: Sooner or later, one way or another, I'm gonna get outta here, and when I do, I'm gonna go get that money.Raylan: Which sets me tothinking, How long you think she's got? Long enough for you to execute your great escape? Get to her before Markham and his boys do? Then I got to wonderin' further what they're gonna do to her if they get therefirst.Boyd: Well, maybe she has whatever that is coming.Raylan: Oh. I see. And you're cool with that? Them dishing out retribution however they see fit?Boyd: Are you?Raylan: My, my.Boyd: You know,Raylan...Zachariah Randolph.Raylan: Come again?Boyd: It's her uncle. I think that's the man you're looking for.[monitor beeping steadily]You think he's helping her?Boyd: Well, if he ain't died down one of those shafts,Raylan, then... I don't believe he has. That'd be my first stop.Raylan: See you at the arraignment.Tim: You get anything?Raylan: Maybe a place to start.Nelson: Heard she pulled Boyd's gun on you.Raylan: Shedid.Nelson: Man, I did not see that coming.Raylan: Anything changes here, drop me a line. You ever been down in a mine?Tim: I've been to Mordor, but not through the mines.Raylan: Is that a yes or a no?Tim:No.[music][birds calling]Zachariah: [grunts]Ava: Is that it? Way up there?Zachariah: Yeah!Ava: I thought you said it was close.Zachariah: [grunts][birds crying and chirping]Ava: How long's this place beenclosed?Zachariah: Oh, eight, nine years. They used it a... a supply station.Rescue would get the supplies in, trap miners as fast as possible. Regulations being so damn lax, they didn't build this thing till after the '83collapse.[both sigh]You think having closer supplies would have saved my daddy?Zachariah: God himself couldn't save your daddy on that day. That's why I stopped praying.Zachariah: [grunting] Yeah, yeah.[scrapingand thudding]Ava: [coughs]Zachariah: Get some heat in here.And I got... this here radio for backup. We'll know they're coming before they do. Give us some time to hightail it outta here, which is exactly what weshould be doing, so I'm gonna go over, see if I can get one of those old A.T.V.s running. Pack up these bags, and we be outta here by sundown! Now you do know those old moonshine trails up there, they just rollthrough those mountains like a...Ava: Maze?Zachariah: Yeah, maze. Now this Grubes guy we're going to see ... you sure he knows his way around?Ava: He knows the trails blindfolded.But I was thinkin'... Boyd knowsGrubes.Zachariah: Ah.Ava: If he's alive ...Zachariah: If he's alive, the marshals got him, and if he ain't... [claps hands] the more, the better.[title music]\u0000 On this lonely road, trying to make it home \u0000 \u0000 doing it bymy lonesome, pissed off, who wants some? \u0000 \u0000 I'm fighting for my soul, god, get at your boy \u0000 \u0000 you try to bogard, fall back, I go hard \u0000 \u0000 on this lonely road, trying to make it home \u0000 \u0000 doing it by my lonesome,pissed off, who wants some? \u0000 \u0000 I see them long, hard times to come \u0000Katherine: Where are you? Damn, I can't hear you.Mike: I'm in Richmond, close to E.K.U.Duffy: Give me the phone, Mikey. Let me talk toher.Katherine: I'll call when I get close. Keep Duffy there.I just need to get my purse.[cell phone beeps]Markham: You know, I can usually smell a rotten bud before it blooms. But your scent, my dear, has always beenpresidential kush.... your questions. And all that on my. [sighs]Markham: Got yourself a new purse.Katherine: Yeah, before we go down a whole road, I think you might be interested in the phone call I just had, whereinI learned that Wynn Duffy killed Grady.Markham: I didn't know that little cockroach was still alive.Katherine: Yeah. Well, I'm just going to change, then.Markham: How do you know this?Katherine: His bodyguard calledme. Wynn Duffy was a rat 14 years ago, and he's a rat today.Markham: You know, I knew you'd never leave your home state.That's why I came back. Nothing else mattered.You were the prize. But now I wonder if Iwasn't just a mark, someone for you to screw.Katherine: At first, yes, but... seeing you... being with you, - everything came flying back.Markham: Oh, don't tell me. Love?Katherine: Well, was it not the same foryou?Markham: Well, I've always loved you, Katherine. I just don't trust you.Katherine: Well, I accepted your proposal, Avery. Would it be so bad for the two of us to... live together, not trusting each other, just likeeverybody else in the whole wide world?Markham: You know, I understand your drive to avenge Grady's death, even when you thought it was me. And I hope when I'm your husband... you'd do the same forme.Katherine: [sighs] I'm gonna go shower. You wanna join me?Markham: Nothing I'd love more.But there's work to be done.Katherine: Goin' after your 10 million?Markham: Our 10 million.You know, I'm gonna makesure Boyd Crowder doesn't see another day.Katherine: Well, I'm gonna do the same to Wynn Duffy.Markham: Let me handle Duffy. I'll bring you his head for a wedding present.Katherine: Goddamn, Avery Markham. Ilove you.Markham: Love you, too.[classical music playing on radio]Duffy: I never knew you liked classical, Mikey.Mike: You'd know if you let me pick the music every once in a while.Duffy: That can change.A lot canchange. You want me to drive sometimes?You wanna be in charge of the TV? Mikey?What do you want, Mikey?Okay, point taken.You got a code. You're billy jack. I get it, okay?Can we end this? Mikey? I'll forget whathappened and we'll go back to the way things were.[radio volume increases][loudly] Okay, Mikey?! Hey!Take these goddamn cuffs off, or I'm gonna take that code, and I will shove it up your ass![whack]Uhh!Mike: Thisisn't just about some code. You were as close to family as I ever had. I believed in you, Wynn. End of the day, you're a rat. And rats get exterminated, period. And I hate being called \"Mikey.\"[door squeaks][bagthuds]Loretta: [sighs]Boon: Seat buckle.I'm just looking to keep my girl safe.[squeaks]Boon: Are you looking for this? [chuckles] Come on.When I was a kid... can't tell you how many falls your daddy and I had, angrypricks, one and all. Lay three hots and a cot with a side of ass whupping.I come to rely solely on my own wherewithal at a tender age, not unlike yourself.I'm hearing tales about all this money you supposedly got, nodoubt giving you a sense of confidence. But I can tell you what. Markham's got a lot more.Loretta: What's your point?Boon: Do you ever watch the History Channel?Days of yore, marriages weren't about love... orromance. Those sentiments didn't even factor in. They were about alliances to end wars, making each side stronger against enemies they had in common. You understand?Loretta: Man, I got no idea what in the hellyou're talking about.Boon: I'm saying, if I'd had a Mr. Markham by my side back then, I'd have jumped on it as fast as a bullet. I wanna offer you an opportunity, tuck in with us. You say yes, we'll always be watchingyour back.Loretta: I don't need anybody watching my back ... least of all, you.Boon: Got fire in your belly. What I adore most, girl. Be careful... lest it burn your brain, so you can't hear good reason.[music][indistinctconversations]Raylan: You got an escort down the mine shaft?Willits: He's on the way out now.Had to roust the owner out of the bed. He ... he was grumpy about it.Raylan: Well, you can tell him he can give me thewhat-for as soon as he gets us on a coal cart.Willits: You think she could have got down that mine shaft on her own?Tim: We think Ms. Crowder has an accomplice worked his mine most of his life.Raylan: What's that upthere? So I've got the claim more said, Earl's on A.K. we got that armored truck dead on our side.Earl: Next thing we know, cherries, man, everywhere.Carl: I'm telling it, Earl. All right? Sorry.Man: How'd the copsknow?Carl: Figure we got set up.Earl: By who?Carl: That Katherine chick and Duffy ... one or both of 'em. It's like that old saying, you know?Earl: \"Crime doesn't pay\"?Carl: God damn it, Earl. No. \"Ain't no honor amongthieves.\" Crime does pay. As long as the criminals you're working for don't screw you over all the time.Birch: Let's go, girls! You're moving to a new cell!Come on off your fannies![cell door clanks]Not you two. You got avisitor.Carl: Who?Birch: [whistles]Earl: Oh, no.Oh, hey! Hey, we can't be in here with them! Come on now! This sh1t ain't legal!Markham: Those cops aren't gonna help you, son. They're new friends of mine.Carl: I'mgonna tell y'all upfront right now, we ain't going down without a fight.Boon: Jenny here says you would.[bars rattle]And she's had the last word in many such a disagreement.Markham: Boon. I know Boyd is the brainbehind your attempt to rob me.You and your brother were just pawns.Carl: We were soldiers.Markham: No, you were pawns.He sent you out to attack that armored car while he executed his real plan ... kidnap myfiancée, extort the $10 million that way. He screwed you both.Earl: You're lying. Boyd wouldn't do that to us. Would he, Carl?Markham: Ever hear of Judge Zeke Baron?Earl: I know of Baron's pawn shop. That's JudgeZeke. He owns it. He got an office out back. Buy enough of his junk for double what it cost, he's amenable to signing a release, get you R.O.R.'d.Earl: What does that have to do with us? It means we're gettin' out ofhere. Means you're gettin' out of here. What about Earl?Earl: Yeah. Drop our ... is one man affort, Carl.Carl: Well, why me? Why not the hat kid? Boyd knows you. Ask him where my money is.If he knows, put a bulletbetween his eyes.If he doesn't know... put a bullet between his eyes anyway.Carl: What if I tell you Boyd's been good to me, huh? And I don't want your damn job.Markham: If you refuse, if you fail... or if you run offwhen you get into the outside world, then... Jenny will blow Earl a kiss.[taps]Carl: [sighs][music][animal chitters in distance][birds crying and cawing][door creaks]Tim: Clear.Willits: Clear.Tim: Somebody's beenhere.Willits: I imagine this place has been put to all sorts of use.Kids stealing, coming in here to hook up.Raylan: It's warm in here. You notice that? Like someone had a space heater.Tim: Drag marks right here by thedoorway. $10 million is a lot of weight.Willits: Maybe spied us, left in a hurry. If so, they ain't far, and they're not moving fast. We need to shift choppers and dogs to this ridge, set the perimenter around this point asground zero. You got any guys you can spare?Willits: I can ask. Uh, if so, you wanna ride on one of the helicopters? One of them's got F.L.I.R. Maybe get you a seat if you want.Raylan: Definitely.Vasquez: It's beyondbad, chief.It's career-ending ... mine... and yours.You were the one that told me to put Raylan in the lead.Rachel: Why did you call us in here, Vasquez?Vasquez: Where is he?Rachel: Where's who?Art: He's working thefugitive. As the closest deputy to the case, he is the most likely to find her.Vasquez: Oh, Jesus, Art. Seriously? I mean, really, seriously?God damn it, what ... what did he, promise you a cut?!Art: I'm gonna do you thegoddamn common courtesy of pretending I didn't hear that sh1t come out of your mouth. He was banging her in the past. He's almost certainly banging her now! His banging her in the past wrecked the criminal caseback then! And then here we are again now! History repeating itself. Then he lets her shoot his, uh, whatever-the-hell-you-want- to-call-Boyd. That's convenient. And this marshal, whom we've defended on countlessquestionable shootings, well, he decides this time, he's gonna holster his piece, and he's just gonna wave goodbye as she drives away.Art: [sighs]Vasquez: You take umbrage with me all you want, Chief Deputy Mullen.You give me that look like you wanna choke me right now. But eventually, the both of you are gonna have to come to grips with the reality.Rachel: And in your version of reality?Vasquez: Your marshal and his girlfriendhave stolen $10 million right out from under our noses.[sighs][telephone ringing in distance][helicopter approches][cellphone buzzing]Raylan: [loudly] Givens. I'm about to get on a helicopter.Art: [sighs]I need youback in Lexington now.Raylan: What? What? Hey, I ain't kidding about the helicopter. It's hovering above my head. Why I'm talking so loud.Art: Let the helicopter go. Let somebody else take a ride. I need you in theoffice.Raylan: What'd I do?Art: That's a long list.Raylan: I know that tone, Art. I know it too well, as a matter of fact. Just tell me.Art: Vasquez has voiced a concern.Raylan: Raised a concern or leveled anaccusation?Art: Look, you know where this is going. You tell me.Raylan: He thinks I conspired with Ava.Oh, tell me you ain't entertaining the notion that that is anything other than utter horseshit. [sighs] All I'm sayingis you're not giving me a leg to stand on here. I'm having trouble enough defending your actions even absent your and Ava's history.Raylan: Just let me get on the helicopter, take one pass, see if I can spot 'em.They're close, Art. I'm telling you, I can feel it. They're close.[helicopter whirring]Art: All right. You know me so well.I'm sure you can understand my tone when I say to you let the goddamn helicopter go and get yourass back to Lexington right now.[whirring continues][cell phone beeps][starts engine][under breath] God damn it.[music][whirring]Ava: Okay...[panting][SCENE_BREAK]Stiles: Are you Deputy Dunlop?Nelson: That'sme.Stiles: They say they got a deputy who wants to meet you outside. Givens, I think?Nelson: I could use a coffee anyway. Keep an eye on him for me for a minute?Stiles: Oh, yeah, you bet.Nelson: Thanks. [telephonerings]Stiles: [whispers] Let's go.Stiles: All right, now you're gonna have to make this look good, all right?[door closes]Stiles: How about you hit me?Boyd: Carl?[whack]Carl. Carl?Carl: [grunting][panting]That look goodenough to you, you son of a bitch?Boyd: Wha...Carl: Where's the money, Boyd?Boyd: Why are you pointing a gun at me? I'm infirm.Carl: I trusted you. You sold Earl and I out. You set the cops on us.Boyd: Who soldyou that wooden nickel? Son, I had every intention of meeting you ...Carl: Don't... lie to me, Boyd! Now where's the goddamn money?Boyd: Carl, I'm sorry. I-I made a bad decision. Trust me, son. And if I had to do itall over again, I'd do it different.[click]Carl: Last chance.Boyd: Hey, hey.Carl: Where is the money?Boyd: God damn it, I saved your life down in that mine.Carl: [breathing heavily]He's got my brother, Boyd. I ain't gotno choice in this.Boyd: Who's got your brother? Markham?Carl: [breathes heavily]Boyd: Well, damn, son, get me outta here.Let's go get that money. We'll get your brother.We'll kill that son of a bitch. I'll give you halfof everything that I put my hands on. Carl... Carl, I know that we have had a bad run of luck lately, but we can change it right now, god damn it. Contrary to everything that's happened, I care deeply about you andyour brother.$5 million?[exhales deeply]Now go get that key, son. Come on. [exhales deeply]Carl: Yeah.[siren whoops][reverse alert beeping][brakes squeal][radio chatter][clatter]Give me that jacket.Boyd: Where'she now?Carl: Earl is in the jail under guard. Markam bought a couple dirty cops. Do anything for him.Boyd: Let's go kill that skinny son of a bitch.Carl: Question is now, how we gonna get you out past the nurses' standwithout anybody noticing?Boyd: [sighs] It shouldn't be too hard with all the chaos.Carl: What chaos?[gunshot][alarm sounding]Boyd: We got a shooter on the floor! Everybody clear out!Woman: Get outta here!Man: Hesaid shooter! Come on![alarm continues sounding, people shouting indistinctly][police radio chatter]Raylan: Where's Nelson?Tim: Somewhere wishing he wasn't Nelson.Why didn't he get any backup?Tim: Everyone'sout looking for Ava.Raylan: Oh, my god.Tim: The word I got is you're supposed to be headed back to Lexington, face this Vasquez reckoning.Raylan: Yeah, I was headed back to Lexington. Then I got word Crowderescaped marshals' custody and reframed my priorities somewhat.Tim: And creepy how excited you seem right now, not that I am questioning your priorities.Raylan: My priorities are straight.Tim: Uh-huh. So you'regonna keep cool when I tell you you need to follow Art's orders and head back to Lexington.Raylan: Give me something here. Point me in the direction, couple hours.Tim: Oh, so the joke here is that I give you directionsback to Lexington, but since you know where that is ...Raylan: Who is this peckerwood here? Is this Carl?Jesus Christ, man. Carl.Tim: I know. It's weird, isn't it? Maybe you should ask him about that when you get backto the office. Raylan; Tim, can we stop pretending there's any version of this conversation that ends with me going to the office?Tim: If I help you out, you gonna cut me in on that $10 million?Raylan: [sighs][telephoneringing in distance]Man: # I wanna go back, #\u0000 I wanna go up and down \u0000 \u0000 over all the little trees and passes \u0000 \u0000 that make up our hometown \u0000Boon: Got word from the hospital.Markham: What?\u0000 it all camecrashing down \u0000Boon: Carl's dead. And ...Markham: And Boyd escaped.Markham: I told Carl what would happen if he failed in his job.A deal's a deal. Call our friends at the jail. Get little brother out.\u0000 we held each"}
+{"doc_id":"doc_312","qid":"","text":"TERMINUSBY: STEPHEN GALLAGHERPart ThreeFirst Air Date: 22 February 1983Running time: 24:39[SCENE_BREAK]DOCTOR: I'd appreciate some help.KARI: Is it a machine?DOCTOR: No. He's wearing radiationarmour. Keep him covered.KARI: My power pack's dead.DOCTOR: Come on.[SCENE_BREAK]DOCTOR: Let me have your radio.KARI: It's always the same pattern.DOCTOR: Well, at least the level's acceptable, for thetime being. Come on.[SCENE_BREAK]NYSSA: Are you in charge?EIRAK: Be quiet.NYSSA: Please listen.EIRAK: Shut the door.INGA: You'll get nothing out of them. They're not interested.NYSSA: I've got to make themunderstand.INGA: You can't even bribe them. The only thing they care about is Hydromel, the drug that keeps them alive.NYSSA: What are they going to do with us?INGA: Supposedly cure us, but I rather think they'regoing to let us die.[SCENE_BREAK]SIGURD: Lazar assessment from tank three, Eirak.EIRAK: Coloured water. They must think we're fools. They've even reduced the size of the consignment.SIGURD: Why thecutback?EIRAK: Maybe our performance is down.SIGURD: But we process everyone who comes here. Why doesn't the Company send someone to see the conditions we work under?EIRAK: Maybe they already have. Weare slaves. The Company doesn't need to tell us anything.VALGARD: Intruders. I saw two people down in the stockyard, a man and a girl. They went into the Forbidden Zone.EIRAK: Lazars?VALGARD: No. No, they weretoo fit. And they were armed.SIGURD: Agents from the Company.EIRAK: Why didn't you stop them?VALGARD: I tried.SIGURD: Why are they in the Forbidden Zone?EIRAK: The perfect place to hide. We never go there.As the Company has decided to cut back our supply of Hydromel, it is in our own interest to learn why. If the couple in the Forbidden Zone are from the Company, their knowledge is vital.VALGARD: How do we findthem?EIRAK: Someone must go after them.VALGARD: Why don't you? You're supposed to be our honoured leader.EIRAK: I'm needed here.VALGARD: So you keep telling us, although I sometimes wonder whether weneed you at all.SIGURD: Valgard!EIRAK: You think you could be better?VALGARD: Yes.EIRAK: All right, I'll make you an offer. Bring back the spies and I'll step down in your favour.VALGARD: I have your word onthat?EIRAK: You have the Vanir as your witness. Think of it as a bet. If you're ambitious enough, you'll accept it.VALGARD: All right, agreed.EIRAK: Then go!SIGURD: He'll die in the Forbidden Zone.EIRAK: He hatesme. He'll succeed.SIGURD: And you will give him what you say?EIRAK: Of course.[SCENE_BREAK]INGA: There's no way out, just as there's no cure. It's hopeless.NYSSA: Tell me about the Forbidden Zone.INGA: Youdon't give up, do you.NYSSA: Tell me.INGA: I only know what I've heard. It's where the radiation's too strong for them, and where we're supposed to be cured.NYSSA: And what's the Garm?INGA: You'll find out soonenough.[SCENE_BREAK]SIGURD: They're starting to move the Lazars. Tank three.OLVIR: I'll be down in a moment.[SCENE_BREAK]SIGURD: I've just come from the equipment store. I think we have a thirdintruder.EIRAK: Excellent. Carry on with those.EIRAK: It seems Valgard's mission was unnecessary after all. Come on, we'll apprehend this one ourselves.[SCENE_BREAK]DOCTOR: Why do the crew put up with such aradiation leak?KARI: It could be part of the cure.DOCTOR: Olvir said there wasn't one. So, why don't they repair it?KARI: They may not know how to.DOCTOR: Hmm. Radiation. Fallout. Now that's a thought.KARI:What?DOCTOR: Nothing. Just an idea worth pursuing.[SCENE_BREAK]EIRAK: You. Turn around.EIRAK: You fool.SIGURD: But it spoke.EIRAK: Perhaps you're developing the Lazar disease.[SCENE_BREAK]VALGARD:I'm going.[SCENE_BREAK]EIRAK: It's hardly touched. Take her first, then.SIGURD: You.NYSSA: No. No, wait. Others are worse than me.EIRAK: The fit ones go first. Take her.NYSSA: No. No, please.No.[SCENE_BREAK]DOCTOR: What is it?KARI: I can hear someone singing.[SCENE_BREAK]TURLOUGH: Tegan.TEGAN: What?TURLOUGH: If ever you had to kill someone, could you do it? Could you?TEGAN: No. I don'tknow. If it was important, to save my friend, to defend myself.TURLOUGH: But cold-bloodedly?TEGAN: You're weird, Turlough. What a subject to bring up at a time like this. Come on, let's find the controlroom.GUARDIAN (OOV.): You are a fool, boy.[SCENE_BREAK]KARI: Who is it?DOCTOR: Well, he seems happy enough. Let's find out.KARI: No.DOCTOR: He's hurt. Hello, I'm the Doctor. Can I help?BOR: Most kind. Yes.A burden is a, er, something or other. Most kind. Thanks. This way.BOR: The cold ground. Rest in peace.[SCENE_BREAK]TURLOUGH: Curious. What do you make of this?TEGAN: It's a map. Like one of those diagramswhen they thought the Earth was at the centre of the universe.TURLOUGH: Hmm. Strange, isn't it.[SCENE_BREAK]DOCTOR: Terminus entrance. At least we know where the radiation comes from.DOCTOR: Look at thedamage. Easy now.BOR: Thank you. Most kind. Most kind. My name is, er, Bor. I. Haven't we met somewhere before?DOCTOR: Indeed. I'm the Doctor.BOR: Short term memory's the first to go.KARI: He needs amedic.BOR: Do you know anything about engines?DOCTOR: A little.BOR: I tried to pull down the control cables. I picked the wrong ones. Power lines. As I couldn't stop the radiation, I had to try and wall it in. Nowthings are even worse.DOCTOR: In what way?BOR: The whole lot's unstable. Know what would happen if one of those exploded? It'd be more than just a loud bang.DOCTOR: Chain reaction.BOR: Nothing in the universewould be safe.KARI: What?BOR: Did I tell you? One of the engines has already exploded.DOCTOR: When?BOR: No, oh, it was a long time ago. It's all in the computer. That one will go next. I didn't find out why until Ifollowed the control cables.KARI: Why wasn't Terminus destroyed in the explosion?BOR: Terminus is protected.VALGARD: Tell them nothing, Bor. They're Company spies.BOR: Really? They seemed sofriendly.VALGARD: You forget our last encounter. The power pack is exhausted. I'm taking you back, but not before I've beaten some respect into you.BOR: My wall!KARI: Doctor![SCENE_BREAK]NYSSA: Let me go.Please, please, let me go.SIGURD: Don't you want to be cured? This is for your own good.NYSSA: Please, let me go.SIGURD: At least, that's what I'm told.[SCENE_BREAK]KARI: What's that?DOCTOR: Some sort ofsignal.DOCTOR: Come on.[SCENE_BREAK]NYSSA: No! What is that thing?SIGURD: Your cure. The Garm's found Bor.BOR: Most kind.SIGURD: Let's get him to Eirak while he can still talk.OLVIR: Let's see thatchain.NYSSA: No!OLVIR: It's me, Nyssa.NYSSA: Quickly! Quick.OLVIR: I can't, I'm not strong enough.NYSSA: Olvir![SCENE_BREAK]KARI: What are you looking for now?DOCTOR: The control lines. The ones Bor said hefollowed.[SCENE_BREAK]TURLOUGH: There must be a way to recreate the door we entered this ship by. Wait here.[SCENE_BREAK]KARI: This is a complete waste of time. Bor doesn't know what he's talking about. He'ssuffering from radiation sickness.DOCTOR: Yes, you're right about the sickness. I want to find out what he discovered.KARI: Does it matter?DOCTOR: I think it could be rather important.[SCENE_BREAK]SIGURD: Bor,can you hear me?BOR: Sigurd?SIGURD: Why did you do it? You knew you couldn't survive in the Forbidden Zone.BOR: Worth a try. The pilot's dead, you know.SIGURD: Pilot?BOR: Of Terminus.SIGURD: What?BOR: Buthe's still there. He's going to fire up the engines again and they won't take it and the big bang will happen all over again.EIRAK: Where's his helmet?SIGURD: He didn't have it. He's delirious. He needs Hydromel.EIRAK:There isn't any to spare.SIGURD: But he's dying.EIRAK: So why detain him?[SCENE_BREAK]GUARDIAN (OOV.): You have not destroyed the Doctor.TURLOUGH: I haven't found him yet.GUARDIAN (OOV.): Kill theDoctor.TURLOUGH: I will, I will. I have a plan.GUARDIAN (OOV.): You have nothing.TURLOUGH: I do! But I need to get back to the TARDIS.GUARDIAN (OOV.): Why?TURLOUGH: Trust me.TEGAN (OOV.):Turlough!TURLOUGH: How do I recreate the door?GUARDIAN (OOV.): Fail me againTURLOUGH: I won't, I promise.GUARDIAN (OOV.): Then search for an emergency bypass switch.TURLOUGH: Where?GUARDIAN(OOV.): You have skills. Use them. Look beneath your feet.TEGAN: What are you doing?TURLOUGH: Remember when we were underneath the floor? Well, I noticed something familiar. It's only just come to me what itwas. Come on.[SCENE_BREAK]DOCTOR: Terminus control.KARI: Look.[SCENE_BREAK]NYSSA: Olvir![SCENE_BREAK]DOCTOR: Do you remember Bor saying one of the engines had exploded?KARI: Did he?DOCTOR: Hewas wrong. It didn't come to that. Look at this. Terminus was once capable of time travel.KARI: So?DOCTOR: Well, to push a ship of this size through time would require an enormous amount of energy.KARI: What areyou getting at?DOCTOR: Well, think about what we've learnt. Terminus seems to be at the centre of the universe, yes? Now, imagine this ship in flight. Suddenly the pilot finds he has an enormous amount of unstablefuel on board. What would you do?KARI: Jettison it.DOCTOR: Perfectly normal procedure. Unfortunately, he ejects his fuel into a void.KARI: And it exploded.DOCTOR: Starting a chain reaction.KARI: How big?DOCTOR:Enormous. Biggest explosion of all time. Event One.KARI: The Big Bang?DOCTOR: Yes.KARI: It isn't possible.DOCTOR: A chemical reaction in a primeval swamp can create life on a planet. Why couldn't the universe becreated by a similar chance factor, hmm?KARI: But exploding fuel in space? It's almost too simple.DOCTOR: It only appears simple because the circumstances were exactly right.KARI: Well, if what you're saying isright, why wasn't Terminus destroyed in the explosion?DOCTOR: Well, the pilot time-jumped the ship forward before realising how unstable the fuel was. The resulting shockwave must have caught up with him,boosting the ship billions of years into the future.KARI: Killing the pilot and damaging the second engine.DOCTOR: Yes.KARI: If there was a second explosion, would it have the same effect as the jettisonedfuel?DOCTOR: Not quite. Whereas the first explosion created the universe, the second would undoubtedly destroy it.[SCENE_BREAK]TURLOUGH: There it is. Emergency bypass. We'll soon have that door open.TEGAN:Where's the light coming from?TURLOUGH: It's nothing.[SCENE_BREAK]KARI: What's happening?DOCTOR: I don't know. Oh, no.KARI: What?DOCTOR: It wasn't the pilot's decision. The computer's just started anautomatic sequence to jettison the unstable fuel. If we don't do something quickly, the whole universe will be destroyed."}
+{"doc_id":"doc_313","qid":"","text":"Spike: Come on Twilight, you can do it!Twilight: Okay, here goes.(poof)Spike: Ha-HA! You did it!Growing magic. That's number ! Twenty-five different types of tricks and counting. (pleased) And I think this is the besttrick so far. (suave) Hello, Rarity. What's that? Aw, it's nothin', just my AWESOME moustache!(chuckles)Twilight: Sorry, Romeo. As attractive and enticing as you look, it's just for practice and it's gotta go.Spike: Wait!(poof, crestfallen) Aw, rats...(Twilight giggles)(theme song begins) My Little Pony, My Little Pony, ah, ah, ah, ah,(My Little Pony) Twilight: I used to wonder what friendship could be (My Little Pony) Until you all sharedits magic with meRainbow Dash: Big adventurePinkie Pie: Tons of funRarity: A beautiful heartApplejack: Faithful and strongFluttershy: Sharing kindnessTwilight: It's an easy featAll: And magic makes it all complete,yeah (My Little Pony) Do you know, you're all my very best friendsSpike: Twenty-five, Twilight! Twenty-five different kinds of tricks and counting. I thought unicorns were only supposed to have a little magic thatmatches their special talent.Twilight: True, for ponies whose talents are for things like cooking or singing or math, but what if a unicorn's special talent IS magic?Spike: Like you, Twilight! And you know a TON ofmagic.Twilight: (embarrassed) Oh, Spike, stop. I'm sure there are lots of ponies right here in Ponyville that know just as much magic as me...Spike: Are you kiddin'?! I don't think there's another unicorn in all ofEquestria with your kind of ability, Twilight.Snails: (heavy Canadian accent) Gaaaangway! Comin' through!(Spike grunts)Spike: Snips...Snails...w-what's going on?!Snails: Why, haven't you heard?(Spike yelps,crashes)There's a new unicorn in town!Snips: (hyperventilating) Yeah! They say she's got more magical powers than any other unicorn EVER!Twilight: Really?Spike: Aw, no way. That honor goes to Twilighthere!Twilight: Where is this unicorn?Trixie: (amplified) Come one! Come all! (trilling r's) Come and witness the amazing magic of the Grrreat and Powerrrful Trrrrixie!(ponies ooh and ahh)(theatrical) Watch in awe asthe Great and Powerful Trixie performs the most spectacular feats of pony magic ever witnessed by pony eyes!(pyrotechnics burst, fanfare plays)Rarity: (unimpressed) My, my, my! What boasting!Spike: Come on, nopony's as magical as Twili- (flustered) Twi- Twi- O-oh! (clears throat)(bashful) Hey, Rarity, I, uh... MOUSTACHE!Twilight: There's nothing wrong with being talented, is there?Applejack: Nothin' at all, 'ceptin' whensomeone goes around showin' it off like a school filly with fancy new ribbons.Rarity: Just because one has the ability to perform lots of magic does not make one better than the rest of us.Rainbow Dash: Especially whenya got me around bein' better than the rest of us. (chuckles) Uh, I mean, (unconvincing) yeah, uh, magic-shmagic! Boo!Trixie: Well, well, well. It looks like we have some (neighing) neigh [nay] sayers in the audience!Who is so IGNORANT as to challenge the magical ability of the Great and Powerful Trixie?! Do they not know that they're in the presence of the most magical unicorn in all of Equestria?!Rarity: (raspberry) Just WHOdoes she think she is?Spike: Yeah! Since we all know that Twilight here is-Twilight: (whispering) Spike! Shh!Spike: What? What's wrong?Twilight: Did you see how they reacted to Trixie? I don't want anyone thinkingI'M a showoff!(drumroll, fanfare, pyrotechnics)Rainbow Dash: So, \"Great and Powerful Trixie,\" what makes you think you're so awesome, anyway?Trixie: (self-amused chuckle) Why, only the Great and Powerful Trixiehas magic strong enough to VANQUISH! THE DREADED!URSA MAJOR!(fanfare, pyrotechnics)(audience ahhs)Snips: What?! Snails: No way!Trixie: When all hope was lost, the ponies of Hoofington [Huffington] had noone to turn to,(robotic growling) but the Great and Powerful Trixie stepped in,(mechanical growling) and with her awesome magic(static fizzle) vanquished the Ursa Major and sent it back to its cavedeep within theEverfree Forest!Snips: Aw, sweet!Snails: Sa-weet!Snips: That settles it.Snails: Trixie really is the most talented, most magical, most awesome unicorn in Ponyville.Snips: No! In all of Equestria!Spike: How d'you know?!You didn't see it! And besides, Twi- (zip) Mmf! Mmf!(haughty chuckle)(stroking ego) It's true, my enthusiastic little admirer. Trixie is most certainly the best in Ponyville!(crickets chirping)Well then, I hereby challengeyou, (derisively) Ponyvillians:(boastful) Anything you can do, I can do better. Any takers? Anyone?Or is Trixie destined to be the greatest equine that has EVER LIVED?!(fanfare, pyrotechnics)Spike: (unzips mouth,pleads) Ple-e-ease! She's unbearable! You gotta show her! You just gotta! (sobs)Twilight: (whispering) There's no way I'm gonna use my magic now, Spike! Especially since-Trixie: Hmm...how about...YOU!(Twilightgulps nervously)Trixie: Well, how about it? Hmm?(condescending) Is there anything YOU can do that the Great and Powerful Trixie can't?!Twilight: (meekly) I...I...(banjo strumming)Trixie: Well, littlehayseed?Applejack: That's it! I can't stand for no more o'this!Spike: You show her, AJ!Applejack: Can your magical powers do...THIS?!(spirited country music, rope twirling)(ponies ooh)(spirited country music, ropetwirling)(spirited country music)(chomps, gulps, music ends)(ponies cheer raucously)Applejack: Top THAT, missy.Trixie: (unfazed) Oh ye of little talent.Watch and be amazed at the magic of Trixie!(Arabianmusic)Applejack: Whoa! (grunts, crashes into ground)(Arabian music)(ponies cheer)Trixie: Once again, the Great and Powerful Trixie prevails.Rainbow Dash: There's no need to go struttin' around and showin' off likethat!Trixie: Oh?Rainbow Dash: That's MY job!(rock music)(windmill grinds)(rock music)(repeated thumps)(rock music)(rock music)(rising pitch whoosh)(rock music)(whoosh, whoosh, whoosh)(rock music)(rising pitchwhoosh)(rock music)(windmill grinds)(rock music)(whoosh, brakes squeal)(rock music)(rock music ends)They don't call me \"Rainbow\" and \"Dash\" for nothin'!(ponies cheer)Trixie: When Trixie is through, the only thingthey'll call you is loser.(magical humming)(Rainbow Dash screaming)(sped up calliope music)Rainbow Dash: (weakly) I think I'm gonna be...sick...Trixie: Seems like any pony with a [Rainbow] \"dash\" of good sensewould think twice before tussling with the Great Trixie!(thunder, Rainbow Dash shrieks)(ponies laugh, Trixie laughs haughtily)Spike: What we need is another unicorn to challenge her!(hinting) Someone with somemagic of her own?Rainbow Dash: Yeah! A unicorn to show THIS unicorn who's boss!Applejack: A real unicorn-to-unicorn tussle!Twilight: Uh...Rarity: Enough. Enough, all of you. I take your hint, but Rarity is above suchnonsense. Rainbow Dash and Applejack may behave like ruffians, but Rarity conducts herself with beauty and grace.Trixie: (mocking) Ooh, what's the matter? (provoking) Afraid you'll get a hair out of place in that rat'snest you call a mane?Rarity: Oh. It. Is. ON. You may think you're tough with all of your so-called \"powers,\" but there's more to magic than your brutish ways. A unicorn needs to be more than just muscle.A unicornneeds to have style.(classical music)(classical music)A unicorn is not a unicorn without grace and beauty.(classical music, audience oohs)(magical humming)(classical music)Spike: Rarity won't let Trixie get the best ofher!(classical music)She's strong, she's beautiful, she's- (poof)(classical music)(ponies gasp and recoil)Rarity: (panicked) QUICK! I NEED A MIRROR! GET ME A MIRROR!(squealing) What did she do to my hair?! I knowshe did something terrible to my hair!Twilight: (nervously) N-nothing!Rainbow Dash: (hastily) It's fine!Applejack: (dazed) It's gorgeous!Spike: (tactless) It's green. What?Rarity: (tearing up) No! Green hair! Not greenhair! (sobs theatrically) That's an awful, AWFUL color! (sobs)Pony: Well, I never![supposed to be a green-haired female Carrot Top]Spike: Well, Twilight, I guess it's up to you. Come on, show her what you're madeof!Twilight: (deflecting) What do you mean? I-I'm nothing special...Spike: Yes you ARE! You're better than her!Twilight: I'm not better than anyone!Trixie: Hah! You think you're better than the Great and PowerfulTrixie? You think you have MORE magical talent? (provoking) Well, come on. Show Trixie what you've got. Show us all.Twilight: Who, me? I'm just your run-of-the-mill citizen of Ponyville! No powerful magic here. I, uh,think I hear my laundry calling. Sorry!Spike: Twilight?Trixie: Ha! Once again, the Great and Powerful Trixie has proven herself to be the most amazing unicorn in all of Equestria! (under breath) Was there ever anydoubt?Snips: Here's the smoothie you asked for! With extra hay! Just how you like it.Snails: (slow, dull speech) Mm, hay.(slurping)Trixie: (annoyed) Yes?Snips: Oh! Tell us another story, Great and PowerfulTrixie!Snails: Yeah, tell us about how you vanquished the Ursa Major!Trixie: (derisively) Hmph! TRIXIE is far too exhausted from performing feats beyond imagination.BEGONE with you until morning.Snails: Oh, ofcourse, Great and Powerful Trixie!Snips: Anything you say! We are at your beck and call!(sighs haughtily)Spike: What're YOU two doin'?Snips: Just bringin' the G. and P. T. a-Spike: ...The what?Snips: The Great andPowerful Trixie!Spike: Sheesh.Snips: Just bringin' her a smoothie!Spike: How can you fall for her lameness?! She's just a showoff.Spike: Unlike Twilight, who-Snips: The Great and Powerful Trixie vanquished an UrsaMajor.Can your \"Twilight\" claim that?Spike: Oh, really? Were you guys actually there?Snips: Well, eh...uh...no, but-Spike: But nothin'. The proof is in the pudding!Snails: (slow-witted laughter) I like pudding.Spike:...Look, unless an Ursa Major comes waltzing up the street for Trixie to vanquish, I am NOT gonna believe a word she says! And neither should you!Snips: Hmm! An Ursa walkin' up the street, eh? (a la Brain [Pinky andthe Brain]) Snails, you thinkin' what I'm thinkin'?Snails: (a la Pinky) Why is it they call it a flea market when they don't really sell fleas?Snips: Yeah! Uh... (doubletakes) Oh, uh...come on!Spike: Twilight, would you putdown that book and just listen to me?Twilight: Didn't you see how they hated Trixie's bragging, Spike? If I go out there and show off my magic, I run the risk of losing them as friends.Spike: It's not the same thing,Twilight! You'd be using your magic to stand up for your friends!Twilight: No, Spike! It's exactly the same!Spike: Come on, Twilight. Any one of these tricks, even the teeniest, would be enough to show upTrixie.Twilight: I don't wanna be seen as a bragger like Trixie!(door slams shut)Spike: (opens door) But you're the BEST!Twilight: (exasperated sigh) Please, Spike! I said, \"No!\"Spike: (sighs) If that's the way youwanna be, fine. (slams door)(door opens)(spooky theremin music)(owl hoots)(spooky theremin music)Snips: (apprehensively) Oh, how we gonna find an Ursa Major when I can't even see my own hoof in front of myface?!Snails: Hold on!(grunts fiercely)Snips: Oh! Heh, that's better.(low growl)(growling)(Snails screams)(Snails and Snips scream)(Snails and Snips scream, Ursa roars)(Spike kicking rock)(melancholy harpmusic)(Snips screaming)Spike: Hey, guys.(Snails panting) Where ya goin'?Snips: Can't talk now!Snails: Got a \"MAJOR\" problem!Snips: Yeah! URSA Major, to be exact!(roar)Spike: ...Huh?(paw impactsground)(roar)Snips and Snails: TRIXIIIIE!Spike: Twilight!(loud thuds, trees falling)(Snips and Snails banging on door and clamoring for Trixie)Trixie: (annoyed) Trixie thought she said the Great and Powerful Trixie didnot want to be disturbed!Snips: (nervous laughter) We-We have a...a tiny problem...Snails: (flatly) Actually, it's a big one.Trixie: WHAT is so important that you cannot wait until morning to disturb Trixie?!(distant roar,thud)(repeated thuds)[SCENE_BREAK](fierce roar)(Trixie screams)(Snips and Snails scream)(Ursa snarls, crushes cart)(roar)Spike: (frantic) Twilight! You've gotta come! Quick!Twilight: I've already told you, Spike! Idon't wanna show up Trixie!Spike: No! You don't understand! It's-(roar, thud)Twilight: (nervously) ...Uh, is that what I think it is?Spike: [Ursa] Majorly...Snips: Great and Powerful Trixie! You've got to vanquish theUrsa!Snails: (oblivious) Yeah! Vanquish so we can watch!Snips: It took a LOT of trouble to get that thing here!Trixie: Wait! YOU brought this here?! (gasps) Are you out of your little pony MINDS?!Snips: But...you're theGreat and Powerful Trixie!Snails: Yeah, remember? You defeated an Ursa Major!(Ursa roars)Trixie: (nervously) U-uh, okay...(gulps) Stand back...(Arabian music)(uncertain) Heh! Piece o'cake!(snap)Snips: Aw, c'mon,Trixie!Snails: (very Canadian) Stop goofin' around and vanquish it, eh?(Trixie gasps, gulps)(ominous music)(thunder)Snails: (flatly) Well. That was a dud.Snips: Yeah, c'mon! Where's all the cool explosions and smokeand stuff like earlier?! You know!(Ursa winces)(Ursa growls)Trixie: (meekly) Uh-oh.(roar)(ponies screaming)(Ursa roars)(Ursa roars, ponies gasp fearfully)(roar, crash)(ponies panicking)Twilight: What's goingon?!Snips: (proudly) We brought an Ursa to town!Twilight: You WHAT?!Snails: Don't worry! The Great and Powerful Trixie'll vanquish it!Trixie: (defeated) I can't.Snips and Snails: What?!Trixie: Uh, I can't. I neverhave.No one can vanquish an Ursa Major. I just made the whole story up to make me look better!Snips and Snails: Made it up?!(guttural growl)(roar)(ponies gasp)(Twilight gulps)(Ursa growls, paws impactground)(Twilight groans, wind blows)(lullaby-style music from cattails)(Ursa growls, subsides)(lullaby-style music from cattails)Spike: Nice use of Number !(rising volume magical chiming)(metal creaking)(waterflowing)(magical chiming)(cows mooing in contented surprise)Deeper-voiced cow: Call me, don'tcha know?Spike: ...That's new.(metallic clank)(Ursa growling sleepily)(Twilight grunting heavily)(Ursa slurping)(Ursasucking noisily)(loud magical humming)(sucking)(Twilight grunts exhaustedly)(ponies cheering)Spike: Unbelievable!That was amazing!Applejack: Heavens to Betsy! We knew you had ability, but not THATmuch!Twilight: I'm sorry! Please, please don't hate me!Rainbow Dash, Applejack, Rarity: Hate you?!Rarity: Why, whatever do you mean, darling?Twilight: Well, I know how much you all hated Trixie showing off withher magic tricks, and I just thought-Rainbow Dash: Whoa, whoa, whoa. MAGIC'S got nothin' to do with it!Rainbow Dash: Trixie's just a loudmouth.Rarity: MOST unpleasant.Applejack: All hat and no cattle.Twilight:So...you don't mind my magic tricks?Applejack: Your magic is a part o'who you are, sugarcube, and we like who you are. We're proud to have such a powerful, talented unicorn as our friend.Rainbow Dash: And afterwhuppin' that Ursa's hindquarters, we're even prouder!Twilight: You are?!Rainbow Dash: Uh-huh!Applejack and Rarity: Mm-hmm!Spike: Wow, Twilight! How'd you know what to do with that Ursa Major?!Twilight: That'swhat I was doing when you came looking for me! I was so intrigued by Trixie's bragging that I was compelled to do a little reading up on them.Spike: So, it IS possible to vanquish an Ursa Major all by yourself?Twilight:That wasn't an Ursa Major. That was a baby. An Ursa MINOR.Trixie: THAT was just a baby?!Twilight: And it wasn't rampaging. It was just cranky because SOMEone woke it up.(Snips and Snails groan bashfully)Spike:Well...if that was an Ursa Minor, then... (fearfully) what's an Ursa MAJOR like?!(Ursa Minor growls contentedly)Twilight: ...You don't wanna know.Trixie: (haughtily) Hah! You may have vanquished an Ursa MINOR, butyou will never have the amazing, show-stopping abilityof the Great and Powerful Trixie!(poof, hooves clop into distance)Rainbow Dash: Why, that little...!Twilight: Just let her go.Maybe someday she'll learn her lesson.Now...About you two.Snips: Uh, (nervous chuckle) we're sorry that we woke up the Ursa Minor...Snails: We just wanted to see some AWESOME MAGIC!Snips: Yeah! And the way you vanquished that Ursa Minorwas...AWESOME!Snails: We deserve whatever punishment you give us.Twilight: For starters, you can clean up this mess. And... What do you think, Spike? Should I give them... (ominously) Number ?Spike: Ohhh,Twenty-five, yes! And I think I deserve it, too.Snips and Snails: Huh?!Twilight: I think you're right.(humming)(three pops)Snips, Snails, Spike: Sweeeet!Twilight: (voice-over) \"Dear Princess Celestia,I have learned avery valuable lesson about friendship. I was so afraid of being thought of as a show-off that I was hiding a part of who I am. My friends helped me realize that it's okay to be proud of your talents, and there are timeswhen it's appropriate to show them off... especially when you're standing up for your friends.\"Spike: So, you finally admit that you're the most talented unicorn in all of Ponyville?Twilight: Well...yeah. But it's nothing tobrag about. But it's nothing to brag about. So, uh, how did it go with Rarity?Spike: (sighs) She didn't go for the moustache.Twilight: You know, Spike, that moustache has nothing to do with who you really are. Maybeyou should just try being yourself!Spike: Or...maybe the moustache wasn't enough! Maybe if I had a moustache AND a beard!Twilight: Oh, not THIS again...Spike: Okay, imagine me with a nice, long Fu Manchu typebeard. Or maybe a goatee. Or, no... (ending theme begins) My Little Pony My Little Pony(instrumental)My Little Pony, friends"}
+{"doc_id":"doc_314","qid":"","text":"PAUL ERICKSON & LESLEY SCOTT05:15pm-05:40pm[SCENE_BREAK]1: INT. ARK. CONTROL DECKZENTOS: (Shouts.) I invoke the special galactic law against them. Hold them! Take them into custody and later theywill be made to answer for the crime that they have committed!STEVEN: Look, listen to us...ZENTOS: Take them away!(The travellers are dragged away. ZENTOS steps down and goes over to where MELLIUM is tendingto her near-unconscious father. Other Guardians surround them.)MELLIUM: What about my father?ZENTOS: He may well die, but then again, so might all of us.(The other Guardians react with shock to thisstatement.)ZENTOS: In which case, it was pointless leaving.(He turns and looks at the giant monitor screen on which is shown the Earth as it travels on to its doom...)[SCENE_BREAK]2: INT. ARK. TRAVELLER'SROOM(The travellers have been placed in a basically furnished room. The DOCTOR is looking through a small window in the locked door. STEVEN rests on a padded bench whilst DODO sits at a table.)STEVEN: What doyou think they'll do to us Doctor?DOCTOR: (Turns.) Well, I'm not sure, dear boy. We shall just have to wait and see.DODO: (Upset.) It's all my fault. If I'd known it was going to be like this, I'd never havecome.DOCTOR: Well you did come, my dear, so it's too late to be worry about that - and stop sniffling!DODO: I'm not sniffling - it's me nose running again! Anyway, I'm feeling better now but I don't suppose anyonecares.DOCTOR: But of course they care, my dear. Now don't worry. It's not your fault at all. If it's anybody's, it's mine.STEVEN: Look, do you think this has happened before? That we've carried an infection from oneage to another, or even one planet to another?DOCTOR: Oh, I don't want to think it...about it, too...dear boy, it's too horrifying. Though I must say that we're usually very healthy.(DODO coughs and sneezes behindhim.)STEVEN: It'll spread through the whole ship, become an epidemic.DOCTOR: Well that depends on the strength of the virus infection.DODO: (Crying.) If it's half as bad as my cold was, it will.DOCTOR: Oh, do blowyour nose child! It's running all over the place.DODO: No, it isn't. I'm crying this time!(The DOCTOR is momentarily at a loss. Then he puts his arm and across the young girls shoulder and pats her gently.)DOCTOR:Well look, my dear, do try and rest, you know you may be feeling better but your far from cured, hmm?(He crosses to the door.)DOCTOR: Oh, if only those wretched Guardians would let us out of here. I'd be able tohelp, mm? Hmm![SCENE_BREAK]3: INT. ARK. CONTROL DECK(MANYAK signs to a MONOID as ZENTOS looks at monitor screens on the control desk.)ZENTOS: Look.(MANYAK signals to the MONOID to go, then heturns and joins ZENTOS in looking at a small monitor.)ZENTOS: That's another victim. It's not showing any signs of abating.(The monitor shows a MONOID on the transporter collapsing at the base of the statue. TwoGuardians rush to assist. ZENTOS adjusts a control and the image changes.)ZENTOS: And look!(The image now shows the jungle outside the TARDIS. A MONOID collapses against the ship...)[SCENE_BREAK]4: INT.ARK. JUNGLE(...and then falls on the jungle floor. It gives out agonised cries in its death throes, then lies still.)[SCENE_BREAK]5: INT. ARK. CONTROL DECKZENTOS: That's another victim...another death, and morehuman Guardians have also been taken ill. Thank heaven none of them has died yet.MANYAK: What will happen if one does?ZENTOS: It'll be disaster. Each man has his allotted task. No one had reckoned on thiseventuality.MANYAK: There must be something we can do about it.ZENTOS: Our micro-virologists are trying to find the answer. One of them is with the Commander now.(They look across the control deck to a closedroom, outside of which are two MONOIDS on guard.)[SCENE_BREAK]6: INT. ARK. COMMANDER'S ROOM(The COMMANDER lies delirious on his bed. MELLIUM tends him watched by RHOS, a micro-virologist and aMONOID. All three wear perspex mouth masks to protect them from the germs. RHOS takes MELLIUM to one side. They takes their masks off to speak.)MELLIUM: Is there nothing you can do?RHOS: Unfortunately, thedata covering this type of fever was lost long ago. In the primal wars of the tenth segment.COMMANDER: (Weakly.) Mellium...(She puts her mask back on and crosses to her father.)MELLIUM: Yes father?COMMANDER:(Weakly.) I seem to be drifting back and forth...unconsciousness...to moments of sudden clarity.MELLIUM: Perhaps it's better that you shouldn't talk.COMMANDER: No...must, I must... Promise me, Mellium, shouldanything happen to me...MELLIUM: Oh, you mustn't talk this way!COMMANDER: Should anything happen, do all in you power, along with the others...to make sure the voyage continues.MELLIUM: Of course,father.COMMANDER: What...MELLIUM: But soon, you'll get well.COMMANDER: What happens to me is not so important. Or you for that matter, or any one of us...but the voyage and the eventual landing of ourdescendants on the planet Refusis - that is! That's the only thing that's important. Remember that.MELLIUM: Yes father.(A slow drumbeat sounds starts up. RHOS and MELLIUM look round.)[SCENE_BREAK]7: INT. ARK.TRAVELLER'S ROOM(DODO, also hearing the sound, raises her head. She crosses over to the door where the DOCTOR watches.)DODO: What is it?DOCTOR: I don't know.DODO: It sounds likesavages.[SCENE_BREAK]8: INT. ARK. CORRIDOR(Four MONOIDS carry one of their kind wrapped in a burial shroud.)[SCENE_BREAK]9: INT. ARK. CONTROL DECK(They enter the control deck where Guardians watch inrespectful silence. ZENTOS stands on the COMMANDER'S dais.)ZENTOS: Proceed with the preparations for ejection. Commit the body to space burial.(MANYAK signals to the MONOIDS who take the body over to atransporter. Once the body has been placed on it, a MONDOID drives away. A door marked \"LAUNCHING BAY\" shuts behind it.)MANYAK: It is over.(He switches on a monitor on the instrument panel. The screen shows adoor sliding open on the curved exterior of the Ark, then the body is ejected and spins off into space. ZENTOS addresses the crowd from the dais.)ZENTOS: Guardians, Monoids, before it is too late, before we arestricken by the fever ourselves, we must make the strangers answer for the terrible crime they have committed.(The crowd agrees loudly, out of which can be heard the voice of one female GUARDIAN.)2nd GUARDIAN:Yes, they must be tried and punished.ZENTOS: A hearing will commence at once. As Deputy Commander, I will preside. Baccu has undertaken to put the charges.(ZENTOS points at BACCU. The crowd mutters inapproval.)1st GUARDIAN: ... best man for ...ZENTOS: Will anyone speak for the prisoners?(The Guardians look uncomfortably at each other. Seeing this, MANYAK steps forward.)MANYAK: I will.(MELLIUM joinshim.)MELLIUM: And I.(ZENTOS stares at her.)MELLIUM: My father would wish it.[SCENE_BREAK]10: INT. ARK. COMMANDER'S ROOM(A masked MONOID adjusts a wall monitor in the COMMANDER'S room in order thathe can watch proceedings.)MELLIUM: (OOV: On monitor.) His only desire was that justice should be done and a sensible solution to this crisis be found.COMMANDER: Yes...yes...![SCENE_BREAK]11: INT. ARK.TRAVELLER'S ROOM(A similar wall monitor in the time travellers room shows an image of ZENTOS addressing the Guardians on the control deck. He reads a document.)ZENTOS: (OOV: On monitor.) The law that hasbeen broken is the following...DODO: Look Doctor, they've switched the television on.ZENTOS: (OOV: On monitor.) In that the spaceship represents the only means by which Earth life may be extended andperpetuated, the Guardian for the time being in charge of the ship, shall have absolute power to punish or restrain any life-form that endangers...[SCENE_BREAK]12: INT. ARK. CONTROL DECKZENTOS: ...the success ofits mission, by expulsion from the ship, miniaturisation or such lesser penalty as he shall deem fit.[SCENE_BREAK]13: INT. ARK. TRAVELLER'S ROOMDODO: Some sort of trial?(The DOCTOR considers.)ZENTOS: (OOV:On monitor.) I call on Baccu to detail the charge.DOCTOR: Yes, my dear, and we are the accused, hmm!(MELLIUM appears on the monitor.)MELLIUM: (OOV: On monitor.) Doctor, Manyak and I believe your story. We'veoffered to speak in your defence but at least one of you must give evidence.DOCTOR: Of course.STEVEN: I must go.DOCTOR: What?(STEVEN stands but he is breathing heavily.)STEVEN: Doctor, I must. I'm gettingstifled in here. I must go and do something, even if it's only to show them how stupid they are wasting time with trials and speeches. After all, the only important thing now is to let you organise finding a cure.DOCTOR:Very well then, if only they'll listen.MELLIUM: (OOV: On monitor.) They'll probably ask you to speak next, Doctor.DOCTOR: My dear, I only want to help!(The image vanishes. The door to the room opens and a MONOIDenters. It gestures and STEVEN leaves the room. The DOCTOR and DODO turn back to the monitor on which the control deck is now shown, full of waiting Guardians.)[SCENE_BREAK]14: INT. ARK. CONTROL DECK(Thehearing has begun. BACCU approaches STEVEN who is held within a barred cage which is again covered with a plastic covering against the fever. ZENTOS presides from the COMMANDER'S dais.)BACCU: My contentionis that it was no accident that this disaster has happened. I say that you came here intentionally - to spread the disease...STEVEN: But that's utter nonsense. I mean how can you possibly...BACCU: ...and that you areagents of the planet towards which this spaceship is proceeding. That you came here to destroy us.STEVEN: Why? We're human beings like you are. Well, why should we?ZENTOS: (Shouts.) There is the crux of thematter. Do you expect us to believe that nonsense, that you manage in that ridiculous machine called the TARDIS, have managed to travel through time? Guardians, Monoids, these beings, whatever they are, place aheavy strain on our credulity.STEVEN: Well that's not very difficult! If your medical records are anything to go by, this segment of time, far from being one of the most advanced in knowledge, is one of theworst!ZENTOS: (Standing in anger.) We can cope with all things known to the fifty-seventh segment of Earth life, but not with strange diseases brought by you - as agents of the intelligences that inhabitRefusis!STEVEN: Are you still on about that? I've told you before; we know nothing of that planet!ZENTOS: My instincts, every fibre of my being, tells me differently.STEVEN: And that, unfortunately, tells me only onething.ZENTOS: What's that?(STEVEN is now sweating heavily.)STEVEN: That the nature of man, even in this day and age, hasn't altered at all. You still fear...the unknown, like everyone else beforeyou.[SCENE_BREAK]15: INT. ARK. COMMANDER'S ROOM(The proceedings are being watched in the COMMANDER'S room. The old man himself still lies weakly on his bed.)COMMANDER: That's true! True!ZENTOS:(OOV: On monitor.) That won't stop me from coping with it.[SCENE_BREAK]16: INT. ARK. CONTROL DECKSTEVEN: How? By destroying us? By ejecting us into space?ZENTOS: If that is the voted finding of this hearing- yes!MANYAK: Steven, prove to us your good faith. Would your friend, the Doctor, have any knowledge how to deal with this fever?STEVEN: Yes, he probably would if you'd let him out of that cell so that he had achance to experiment.ZENTOS: Yes, of course he would! He would love that...and by such means spread the fever even further and faster. Perhaps even kill one of the Guardians.(He turns to the Guardians.)ZENTOS:Are we to be fooled by such tricks?(The angry Guardians shout \"No!\".)ZENTOS: Are we to be taken in by such nonsense?(They shout \"No!\" again.)ZENTOS: Do these creatures have the outward appearance of humanbeings?(The Guardians are now extremely angry.)2nd GUARDIAN: They are enemies - they should be punished!1st GUARDIAN: That's right! Let them be taken to the ejector chamber! They must be thrown ...(STEVENis now hit hard by the fever.)[SCENE_BREAK]17: INT. ARK. TRAVELLER'S ROOMDODO: Doctor, look at Steven. Is he all right?DOCTOR: (Worried.) I hope so, my dear, I hope so.DODO: Do you think he may havecaught the fever?DOCTOR: Well, I'm afraid he may have. It appears that this virus is more virulent than I suspected.[SCENE_BREAK]18: INT. ARK. CONTROL DECK(MANYAK steps forward and tries to shout over theraging Guardians.)MANYAK: Guardians listen!(His words have no effect. He walks over and stands beneath the COMMANDER'S dais.)MANYAK: Guardians, listen to me. This is a court of law!(ZENTOS stands up andshouts.)ZENTOS: Let him speak!(The Guardians fall silent.)ZENTOS: This is a fair hearing.MANYAK: My view for reason in this matter is simple and direct. The Doctor and his companions have not denied that theybrought the fever among us. They said it was an accident, and I believe them.1st GUARDIAN: But that's nonsense...!MANYAK: For the simple reason that if they were in fact agents of the Refusians, they could havea...achieved their objective in a much simpler way. One in which they would not have exposed themselves to this danger.2nd GUARDIAN: But they're Refusians!1st GUARDIAN: That's no argument!MANYAK: Then Ihave another; the fever is here. We have no answer for it and it might well be that they are the only ones who can cure it.ZENTOS: Our micro-virologists may still find an answer.MANYAK: Perhaps...but if we were toagree that the Doctor and his friends could, what is the value in expelling them from the spaceship?[SCENE_BREAK]19: INT. ARK. COMMANDER'S ROOMCOMMANDER: (Still watching the monitor.) None at all. If Manyakand my daughter can see that, why can't they?[SCENE_BREAK]20: INT. ARK. CONTROL DECK(As the Guardians start to discuss the verdict amongst themselves, BACCU runs forward and joins ZENTOS on theCOMMANDER'S dais. He turns to the crowd.)BACCU: Guardians, listen to me! I've just had news of another disaster; one of our kind, one of the Guardians has died from the fever.(The crowd isshocked.)[SCENE_BREAK]21: INT. ARK. TRAVELLER'S ROOM(The DOCTOR'S face shows the trouble that they now find themselves in.)[SCENE_BREAK]22: INT. ARK. CONTROL DECKZENTOS: Do you want to hearmore? Never mind the arguments of the defender because now they are nothing - now that one of our own kind had died. So Guardians, what is your answer to the charge? Do you find the prisoner guilty or notguilty?(They all shout \"Guilty!\" except for MANYAK and MELLIUM who give the opposite verdict but their cries are drowned out.)ZENTOS: Is it your vote that we exact the full penalty of the special galactic law?(The criesare mostly \"Yes\" with the defendants shouting \"No\". ZENTOS jumps to his feet.)ZENTOS: So be it! They shall be taken from this place and expelled from the ship...and the privilege of execution, in that they were thefirst to be struck by the fever, will be granted to the Monoids.MELLIUM: But the verdict is wrong!MANYAK: Yes, but it is the voted verdict. There is nothing we can do about it.(Several MONOID'S approach the cage asSTEVEN collapses against the bars of the cage.)[SCENE_BREAK]23: INT. ARK. TRAVELLER'S ROOMDODO: Doctor, something is wrong with Steven![SCENE_BREAK]24: INT. ARK. CONTROL DECK(STEVEN falls to thefloor of the cage...)[SCENE_BREAK]25: INT. ARK. TRAVELLER'S ROOM(Two masked Guardians help STEVEN to the bench in the room. They are about to leave when...)DOCTOR: Stop! I demand fair play! This youngman is as ill as anyone of your own people. How do you expect him to plead in his own defence, hmm?(ZENTOS' voice calls out from the wall monitor. The DOCTOR spins round to look at his image.)ZENTOS: (OOV: Onmonitor.) The verdict of the court was passed that you are guilty.[SCENE_BREAK]26: INT. ARK. CONTROL DECKZENTOS: You and your party have been condemned by an overwhelming majority and your sentence isejection into space.(The DOCTOR similarly appears on ZENTOS' monitor.)DOCTOR: (OOV: On monitor.) Are you aware that you might be committing your entire community to a slow extinction? Trust me! Allow me,help me to find a new cure for this fever of yours.ZENTOS: The verdict has been given.(He switches the monitor off. He starts to walk off the dais but sees MANYAK and BACCU waiting for him.)ZENTOS: Well?MANYAK:You are right, of course.BACCU: Of course, there's no question.MANYAK: But can we not afford to take a chance? After all, the old man was the first to diagnose the illness. For that reason alone, he may be able to finda cure.ZENTOS: No. Sentence will be carried out. Baccu, assemble the Monoids, they may proceed.BACCU: Very well.(BACCU steps down and signals to a group of MONOIDS. They start to make their way off the controldeck when the voice of the COMMANDER echoes around the chamber.)COMMANDER: (OOV.) Wait! This has gone far enough.[SCENE_BREAK]27: INT. ARK. COMMANDER'S ROOM(MELLIUM and RHOS support theCOMMANDER as he sits up from his sick bed and uses his last vestiges of energy to re-assert his authority. MELLIUM holds up a microphone.)COMMANDER: Zentos, this is your Commander speaking. I order you torelease the travellers immediately. They will be given every facility for research. They may be our only hope. See to it.[SCENE_BREAK]28: INT. ARK. CONTROL DECK(ZENTOS switches on a communicator on theCOMMANDER'S dais.)ZENTOS: But the hearing decided differently, Commander. These people are dangerous![SCENE_BREAK]29: INT. ARK. COMMANDER'S ROOMCOMMANDER: Don't argue with me Zentos! Those aremy instructions. In case you are right, I wish the Doctor to use his young friend as a guinea pig. If he succeeds in curing him, then I will set aside the verdict of the court. Now - proceed.(Exhausted, the old man liesback.)MELLIUM: Thank you father.[SCENE_BREAK]30: INT. ARK. CONTROL DECK(Defeated, ZENTOS flicks off the switch.)ZENTOS: Very well. If he has not decided wisely, we will not live to know it.(ZENTOS nods toconfirm the order and strides off angrily.)[SCENE_BREAK]31: INT. ARK. TRAVELLER'S ROOM(The DOCTOR has been watching these undertakings on the monitor. He turns to two masked Guardians.)DOCTOR:(Energetically.) At last we're near a solution! We must waste no more time. Now you two, get the boy up to the table.(They lift an unconscious STEVEN off the couch and carry him across to the table. As the DOCTORstarts to write in a notepad, the door opens and MELLIUM runs in, taking off her mask.)MELLIUM: Is there anything we can do to help, Doctor?DOCTOR: Yes, cover him, we must keep him warm at once.MELLIUM:Warm? But he's already sweating with the fever in the same way that my father is?DOCTOR: My dear young lady, please do as you're told! Now, where is that other young woman I want?DODO: (Stepping forward.)Here I am Doctor.(The DOCTOR rips a sheet out of his notepad and passes it to DODO.)DOCTOR: Oh good, now look here - go to the TARDIS and bring these things back for me will you?(MELLIUM has taken thecoverings off the wall couch.)MELLIUM: Will these do?DOCTOR: Yes, certainly, fine, fine.(She takes them over to STEVEN.)DODO: (To the DOCTOR.) How will I know where to find them?DOCTOR: Well open your eyes,my dear child, otherwise you'll...you won't be any use to me will you?DODO: Okay.(She turns to leave.)DOCTOR: (Laughs, then.) What did you say?DODO: I said \"Okay\".DOCTOR: Yes, I thought you did. Now once thiscrisis is over, I...I'm going to teach you to speak English.(BACCU and RHOS are also in the room.)BACCU: I shall go with her.DOCTOR: Right, off you go.(They leave.)RHOS: Doctor, our virologists are willing to give youall the help you need. Can you describe the virus responsible?DOCTOR: Yes, I...MELLIUM: (Interrupting.) I've wrapped Steven warmly. Is there anything else I can do?DOCTOR: Yes, now I want you to find all the sickpeople in this spaceship and give them the same treatment.MELLIUM: You mean keep them warm?DOCTOR: Exactly, my child, yes.MELLIUM: Very well.DOCTOR: Oh, and my child?MELLIUM: Doctor?DOCTOR: That alsoincludes your father.(She leaves the room. The DOCTOR turns to BACCU.)DOCTOR: Now, this germ...this germ is...[SCENE_BREAK]32: INT. ARK. CONTROL DECK(ZENTOS watches silently as DODO, BACCU and fourMONOIDS return laden from their trip to the TARDIS. Nearby, RHOS and MANYAK talk.)RHOS: The vaccine was used as long ago as the twentieth century and then was lost in the time of the primal wars.BACCU: Is that"}
+{"doc_id":"doc_315","qid":"","text":"CASTJames Van Der Beek: Dawson LeeryKaite Holmes: Joey PotterJoshua Jackson: Pacey WitterMichelle Williams: Jen LindleyMeredith Monroe: Andie McPheeKerr Smith: Jack McPheeEvelyn \"Grams\" Ryan: Mary BethPeilGareth Williams: Mike PotterGail Leery: Mary-Margaret HumesMitch Leery: John Wesely ShippAbby Morgan: Monica KeenaWritten by Mike White Directed by David Semel(Outside Dawson's house -- Joey andDawson are walking back from the wedding.)Joey: (laughing) Dawson...(He laughs and they kiss, heading towards the ladder.)Joey: 'K, are you sure this is a good idea?Dawson: Jo, don't analyze this, okay?(They kissagain.)Joey: Right, don't analyze.Dawson: We don't need to discuss this.(They kiss again at the foot of the ladder, this time longer and more passionately.)Dawson: K? Let's go upstairs.Joey: (smiles) Okay.(She startsclimbing the ladder and Dawson stares up after her smiling. Cut to Joey climbing through his window and Dawson following, kissing and giggling the whole way, oblivious to Jen sitting on the bed. Dawson starts kissingJoey's neck and she notices her.)Dawson: Jen?Joey: What's wrong?Jen: (mumbling..almost deliriously) Abby...and I were on the dock and ....and we were up there ...and we...we were drinking ...and she ...fell backand hit her head ...and she ...she drowned. (pauses) Abby's dead.(Joey is shocked, as well as Dawson, and she goes and sits next to Jen on the bed and puts her arm around her as Jen starts crying.)(OPENINGCREDITS)(Cut to Joey looking through an old photo album of pictures of her with her mother. She has a tear rolling down her face. Her dad walks out.)Mr.Potter: (looking at the pictures) Seems like a lifetime ago. Yourmother loved that dress. I told her to take it back, too expensive. She went out and bought two of em just like it just despite me.(Joey cracks a small smile.)Mr.Potter: That was your mother. Why are you looking atthis?Joey: This girl at my school died on Saturday night. She drowned.Mr.Potter: Joey, that's terrible. Were you two close?Joey: No, not particularly. She was sort of a nightmare. But it's, uh, sort of got methinking...remembering.Mr.Potter: Joey, we, uh, never really talked about your mother or her death...Joey: (obviously avoiding) Well, uh, it's getting late and I have to be getting to school so...(She gets up and takesher cup back into the kitchen and grabs her bag. Cut to Capeside High. Jen's walking through the hallway to her locker and everybody's staring at her. Cut to a group of kids sitting in a circle around a counselor. Pacey,Andie, Jack, and Jen are included.)Counselor: Hi, my name is Elizabeth, and I'm a grief counselor. I'm here to facilitate a discussion about Abby. I know you've all be dealt a heavy blow, but by sharing your feelings witheach other, it could aid in the long, and difficult, process we call grieving.(Pacey's biting his nails, obviously unconcerned about the whole thing as Andie stares around the room and Jack just looks bored.)Girl: I'd like tomake an announcement. The Girls' Service League is distributing yellow arm bands that we're wearing in Abby's memory. If anyone would like an arm band, please meet me in the cafeteria at lunchtime.(Jen just laughsunbelievably at the concern. Jack scratches his nose.)Counselor: Jennifer. I was told that you were a close friend of Abigail's. Would you like to talk about some of the feelings your experiencing?Jen: No.Counselor:That's perfectly okay. I understand. Andie? Did you know Abigail?Andie: Yeah, I did.Counselor: Can you talk about your feelings?Andie: Well, um...I guess I'm feeling shocked. I mean she was so incredibly alive and shehad such a great spirit. It's-it's really a tragedy.(Jen is disgusted by these fake feelings of concern so she grabs her things and storms out.)Counselor: Jennifer?(Cut to the cafeteria. Dawson is watching the girl hand outthe yellow arm bands.)Girl: Thank you so much for honoring Abby's memory.(Joey comes over.)Joey: Hey.Dawson: (smiles) Hey.Joey: Listen, I know we have a lot to talk about concerning the other night but..Dawson:Listen, Joey, could we just not ...go there...right now? Because I mean there's ...a lot going on and we can analyze this to death later just...Joey: Right. (Joey kind of looks around and scoots in closer.) Dawson, thetruth is, I never really liked Abby.Dawson: Ditto.Joey: I actually despised her.Dawson: It's weird. I mean, Abby was weird, that she died was weird, the way she died was weird. I can't even imagine what the funeral'sgoing to be like.Joey: I'm not going.Dawson: You're not?Joey: The last funeral I went to was my mom's. I mean, I haven't even gone to her gravesite. I think going to Abby's funeral would just open this Pandora's Boxof emotions that, frankly, I'd rather keep sealed tight.Dawson: (tentatively) Joey...your mother died three years ago. If you have these feelings you haven't dealt with, how long were you planning on waiting?Joey: Idon't know. I guess I'm just...there's a part of me that's still holding on. That little girl inside is just waiting for her return. You know, that her death was just some cosmic error and eventually, God will realize he made aterrible mistake and he'll send her back to me like he did my dad. And ...(smiles) I'll have my mom again. (looks at Dawson) I know it sounds ridiculous.Dawson: No, no, it's-no. But, I mean, that's a child's false hope.Eventually, you're going to have to let it go.Joey: Yeah, but I don't want to let it go. (pauses) You don't know what it's like, Dawson.(Cut to Jen, in the bathroom, splashing water on her makeup-stained face. Andieenters.)Andie: Um, Jen? I've been looking all over for you. You just stormed out of class. Are you okay?Jen: If dealing with Abby's death isn't hard enough, but to watch everybody parade around like Abby was theirbest friend, it's sickening. Aside from me, Abby didn't have a single friend in Capeside.Andie: That's because she was a--(stops herself)Jen: A bitch! Come on, Andie, say it! Abby was a bitch.Andie: Well, I wouldn't gothat far...Jen: Yeah, well, you would've three days ago, but now that she's dead you wax poetic about her great spirit. It's so insincere!Andie: Well, I don't think it's appropriate to maline her character after she'sgone!Jen: It isn't malining if it's true! Believe me, it would have been easier for everybody if Abby had just been this wonderful person with this virtuous qualities but she wasn't! She was mean! And the least we can dois acknowledge who she really was.(Jen exits out the bathroom, Andie follows.)Andie: Jen, listen, I know this must be hard for you.Jen: And I am so sick and tired of people treating me like I'm some kind of celebrityjust because I happened to be at the scene of the crime. It's funny. Abby spent her entire life shattering our fragile egos and that's why people disliked her so intensely. Leave it to Abby. Even in her death she's stillexposing hypocrisy.Andie: Well, I feel bad but I always tried to reach out to her and everytime she rejected me.Jen: She rejected you?! If you hadn't rejected her at the wedding, none of this ever would havehappened!Andie: What?Jen: You kicked us out of the wedding, Andie. That's why we were at the docks in the first place.Andie: (slowly) Don't say that.Jen: I'm sorry, okay? I can't--I've got to go home.(She leaves downthe hall. Cut to Dawson coming in his front door, he spots his mom coming down the stairs.)Dawson: Hey!Gail: Hi honey! So...how was school?Dawson: Weird. Everybody's playing the beautiful mourners butunderneath there's this weird sense they're all munchkins finally freed from the spell of the wicked witch of the east. (Kristin's note: Wasn't it the wicked witch of the west?)Gail: Well, honey, I know you're dealing witha lot right now, but I have some news I need to share with you.Dawson: You sound serious.Gail: No, no, no, it's not bad news. It's good news. Remember the piece I did on the teenage girls?Dawson: Yeah.Gail: Well, Iwon the Peil Vision Award for Excellence for News Broadcasting.(Dawson hugs her.)Dawson: That's incredible, Mom! Congratulations!Gail: Oh, but that's not the news. The news is that because of the award, I've beenoffered a job as network correspondent. It's a lot of money, it's high profile, it's...in Philadelphia.(Dawson's face drops.)Dawson: Oh. Are you going to take it?Gail: Well, professionally, it's a huge leap for me. It's whatI've always worked for.Dawson: But I don't want to move to Philadelphia...Gail: Oh, I completely understand that. You're halfway through high school. No, I do not want to uproot you. If I took the job, I assume yourfather would move back in and I would come home as often as I could...Dawson: S-So what about you and Dad? Are you guys just throwing in the towel?Gail: Well, that's the last thing I want, but I'm hitting my headup against the wall here, honey. Your father doesn't seem to have any interest in making things work. So if I walk away from this career opportunity, and I lose this marriage, what do I have?Dawson: You still haveme.(She smiles. Cut to Grams walking in to Jen's room where Jen's lying on her bed wrapped in a blanket.)Grams: Jennifer, I'm worried about you.Jen: Don't be. I'm just tired.Grams: You know, I can't say I wasparticularly fond of your friend, Abby. I always had the distinct impression that she was mocking me.(Jen smiles.)Grams: She was, wasn't she?Jen: Don't take it personally, Grams. Abby was mocking everyone.Grams:But she was your friend. It's so hard to understand why God would take someone so young...with so much left to learn, so much left to live. It really tests one's faith.Jen: Yeah, well, maybe I didn't have any faith tobegin with.Grams: Well, rest assured, God may work in mysterious ways but He has a plan.Jen: Well, if God had a plan for Abby, she certainly wasn't following it.Grams: God has a plan for everybody, including Abby.Including you.Jen: Grams, I really don't want to have a religious discussion right now.Grams: It's times like this that--Jen: Grams, please! Okay?Grams: Alright, but...I'm here for you. Whenever you need me.(Cut toPacey and Andie in a deli-like restaurant.)Pacey: I can't believe Jen would accuse you of being responsible. She was drunk, she fell, she drowned. End of story. It was nobody's fault, least of all, yours.Andie: Yeah, but...I was so mean to her.Pacey: Oh, come on, you've got to be kidding me! (to cashier) Thanks! (to Andie) Abby Morgan was one of the most hideous creatures to ever haunt the streets of Capeside and you bent overbackwards to befriend her. You really shouldn't be taking this that hard, Andie.Andie: Don't tell me how I should be feeling. If I'm upset, then I'm upset. If I feel guilty, then I feel guilty. I think those are perfectly validfeelings.Pacey: You're right, I'm sorry. I just don't like seeing you like this, okay?(Two women walk by their table. Once they're out of earshot...)Andie: Oh, God, Pacey. Don't look now, but Abby's mother just walkedin.(Abby's mother turns and spots Andie and walks towards her.)Abby's mother: Don't I know you?Andie: Yes, Mrs. Morgan, I'm Andie McPhee. You drove me home once.Abby's mother: Oh, that's right. You're a friendof Abby's. She talked a lot about you.(Andie looks at Pacey, confused.)Andie: She did? Oh, Mrs. Morgan, I am so sorry about what happened.Abby's mother: Will you be coming to the funeral?Andie: Oh, of course...ofcourse I will.Abby's mother: You know, no one's offered to give a eulogy...and I'm not really familiar with any of her other school friends, you will be saying a few words about her, won't you?Andie: What?Abby'smother: Since she was so fond of you.Andie: Sure...sure...Abby's mother: Thank you.(She walks away. Andie looks at Pacey, worried.)Andie: A eulogy?(She stressfully rests her head on her hand on the table. Cut toPacey and Andie walking in the rain to Abby's house.)Pacey: You don't have to deliver this eulogy. Just lay low. Pretend Abby's mother you're too upset.Andie: No. I have to find a way to honor Abby's memory bothtruthfully and respectively. Her family deserves that much. I'll always remember the nice things people said at my brother's funeral.(They reach the house, it's nice.)Pacey: You okay?Andie: It just occured to me thatI've never even seen her house. It's so pretty.Pacey: Yeah, I know. I was halfway expecting this gothic castle, you know? The gargoyles leering down on you from the spires...(They enter the house. It's nice, lots offlowers.)Pacey: Okay, this is morbid. Explain to me again what this is going to accomplish besides making you even more freaked out?Andie: I just want to see her room...you know? Where she brushed her hair,(pauses) and planned her future.Pacey: Why?Andie: Look, we'll just say our condulgences and slip into her room.(Cut to Jen drinking liquor on the docks where there's a bunch of flowers and a cross. She takes abouquet and throws it over the side of the docks. Cut to Andie and Pacey entering Abby's room.)Pacey: Hey, what if Abby's mother saw us come in here together? She probably thinks I'm trying to get lucky in themiddle of her daughter's memorial.Andie: Oh, this is really strange. It's almost like the room is waiting for her to come back...Pacey: This is really creepy, Andie. Can we go now, please?Andie: (grabs a book) Wait aminute...this is her diary. The real thoughts of any girl is all in the confines of her personal diary.Pacey: (takes it) You know what? People's privacy deserves to be respected, even in death.Andie: (takes it back) Thisisn't for my curiosity, Pacey. This is for Abby. I want to be able to give her a eulogy that does justice to her character.(Andie's sitting on the bed. Pacey comes and sits next to her.)Andie: (flipping through the book)Hmmm. (picks one) \"Dear Diary, Another unbelievably annoying day here on Walton's Mountain. That slut Jen Lindley literally stole my new boyfriend and right out from under my nose. (looks at Pacey) She's ableach-blonde hoes-bag.\" She was probably just having a bad day.Pacey: Sure...Andie: (flips and finds another one) Okay..\"Dear Diary, My mother is driving me insane. I hate her so much I must be adopted. There'sno way I could share the same genes with that dried-up old wench.\"Pacey: I'm sure it's just another bad day, right?Andie: (nods) Yeah. (finds another) Okay. \"Dear Diary, That new girl Andie is such a (mad) psycho!How many ways can you tell a person you don't like them...\" What?! \"She just won't take a hint! God! And that boyfriend of hers is a--\"(Pacey grabs it away.)Pacey: You know what? I don't want to know. I don't want tohear it. Out the door now. Please.(Cut to Mitch in a classroom. Dawson walks in.)Mitch: Dawson, hey!Dawson: Hey.Mitch: I was just thinking about you...(Dawson sits down depressingly on the desk.)Mitch: You know,when I was young my first few experiences with death were...shocking. And as I get older, it doesn't get any easier but...it does kind of make you put your life into perspective. Makes you want to grab on to the peopleyou love and never let go.Dawson: And on that note...um, Mom was offered a job as a network correspondent in Philadelphia.(Mitch gets up and walks around the desk.)Dawson: Don't you have anything to say?Mitch:Um, I'll call her and congratulate her.Dawson: That's it? You're going to call up, say congratulations, and just let her walk out of your life. (Dawson gets up angrily) Grab on to those you love, huh?(He leaves the room.Cut to Jack and Joey at an empty Icehouse.)Jack: So, uh, Joey?Joey: Yeah?Jack: I've tried biting my tongue, but, uh, the $64,000 question has to be asked...(speaking into the mop handle) What's up with you andDawson?Joey: (smiles) Nothing.Jack: Oh, yeah, \"nothing\". You two shared a pretty conspicuous not-a-nothing kiss the other night. Come on...Joey: Yeah, well, we're putting it on hold. We have enough to deal withwithout adding our complicated relationship to the mix so...Jack: Alright, alright. I'll buy that...I'll buy that. So...how are you feeling otherwise?Joey: Um...okay. I've obviously had a lot on my mind lately but...how areyou feeling about this whole thing?Jack: Alright, I know this sounds a little morbid but...I keep thinking about how Abby and I kissed at Dawson's birthday party which means I'm probably the last person she everkissed.Joey: At least she went out with a bang!(Jack laughs. Joey laughs and covers her face with her hands.)Joey: I can't believe I just said that.Jack: I can't either.(They're cracking up. Cut to Dawson editing hismovie.)(Onscreen)Kim (Abby): Look, I am sorry if I threatened you and your safety net. And contrary to popular belief, I am not trying to ruin your life and I am trying so hard not to--(There's a knock at the door,offscreen. It's Pacey.)Dawson: Hey.Pacey: Hey, man. Working late, huh?Dawson: Yeah.Pacey: Your mom told me I could find you here.Dawson: So what's up?Pacey: I don't know, really. Mrs. Morgan asked Andie togive a eulogy indulging Abby's virtues.Dawson: How do you speak glowingly about a girl who rode to school on a broomstick.Pacey: It's just so frustrating, Dawson. I've been trying so hard to set everything straight forAndie, but I've got no control over these things.Dawson: I know what you mean. That's why I'm here.Pacey: It must be a sort of surreal experience editing a movie in which one of your leading ladies is nolonger.(Dawson presses play.)(onscreen)Kim (Abby): Look, contrary to popular belief, I did not come here to ruin your life and I am trying so hard not to do that...(Abby starts smiling, then laughing.)Abby: I'm sorrybut she has food in her teeth.(offscreen. Pacey and Dawson laugh. Cut to Jen walking into the kitchen at her house and Grams is cooking.)Grams: Perfect timing. Dinner's almost ready.(Jen walks over and leans overthe pan. Grams gets a whif.)Grams: Jennifer, have you been drinking again?Jen: Not only have I been drinking, but I am drunk out of my mind.Grams: Jennifer, don't do this to yourself! Don't mask your grief withalcohol! I try to feel your pain, this drinking will only make things worse.Jen: (smiling) Worse? Come on. Worse than what?Grams: Think of the good times you shared with Abby, she'd want you to remember her thatway.Jen: Well then you obviously didn't know Abby too well! She's probably down there with (missed name), doing tequila shooters and laughing at all of us!Grams: You have to believe that Abby is in God's hands. Hehas a special place in his kingdom for the children.Jen: Yeah? God's got a five-bedroom beach condo in Maui for dead kids?Grams: Jennifer!Jen: Okay, Grams, for the last time, there is no God and there is no heavenand there is no peace and there is no hope. The only truth that I know is pain. So you can just keep your Sunday School fables to yourself because they make me puke!Grams: Does it give you so much pleasure toshock and offend me?! I am trying to be understanding but you insist on disobeying my rules and polluting my house with your disrespectful blastering.Jen: I guess you're finally sick of me, huh? I guess your infinitepatience and compassion aren't as infinte as we thought. You know, if I can't just be myself and speak my mind...maybe I should just move out!Grams: Jennifer![SCENE_BREAK](Cut to Joey and her dad eatingbreakfast.)Mr.Potter: What are you thinking about?Joey: I've been trying to remember Mom and... I can't get a clear picture of her in my head. It was the scariest thing... I mean, it's like she's slowly fading away and...do you know what I mean?Mr.Potter: (nods) Joey, when I was in prison, I missed your mother. The loss combined with the guilt was almost too much for me. But...I look at you, and I know she's still here.(Joey looksat him, questionably.)Mr.Potter: You are so like your mother, Joey. She was tough ...and independent ...and funny. (laughs) In the same way you're funny. She was stubborn. Oh, she was stubborn. If you would tell herthe skies blue, she would say it was green.(Joey smiles.)Mr.Potter: She's not gone. She lives on in you. And that comforts me to know end.(Cut to Pacey and Andie walking down the beach.)Andie: Uh, it's only a fewhours til the funeral and I have no idea what I'm going to say.Pacey: Make something up. Tell them that Abby was a wonderful person and she'll be deeply missed, blah, blah, blah, blah, blah.Andie: You want me tolie?Pacey: Well, you could tell the truth. That she was a hideous abdomination and the world will be much better without her.Andie: Right and watch her mother have a heart attack and collapse into the aisle. God,Pacey, what am I going to do?Pacey: I'll give the speech.Andie: You'd do that for me?Pacey: I'd do anything to keep you from having a nervous breakdown.Andie: I'm not about to have a nervous breakdown.Pacey:Well, I'm about to have a nervous breakdown living vicariously through you, so...Andie: Really? Listen, Pacey, I know what it's like to love someone who has the propensity to become mentally-unhinged and I don'twant to be that person to you.Pacey: Andie, what am I supposed to do? Sit back and watch you agonize. If you're in distress, how can I help but come to your rescue?Andie: Well, if I'm drowning in the ocean, yes,"}
+{"doc_id":"doc_316","qid":"","text":"[Elena's car.]STEFAN (PHONE): Elena. It's Stefan. I know that picture must have confused you. But I can explain. I need to explain. Please, when you get this, call me.Elena has an accident. She collided a man. Her caris back to front but Elena has nothing. She sees the man getting up.ELENA: Aah! Aah! Aah! The man disappears.DAMON: How ya doing in there?ELENA: Damon?DAMON: You look stuck.ELENA: My seat lt.DAMON: Letme get you out of there. I want you to put your hands on the roof. Just like that. You ready? ...2, 3. I got you. Are you ok? Can you stand? Anything broken?ELENA: Uh-uh.DAMON: Whoa, you're fading fast, Elena.Elena, look at me. Focus. Look at me. Ok.ELENA: I look like her.DAMON: What? Upsy-daisy. Damon leaves with Elena in his arms.[Alaric's House.]ALARIC: I found one. After years of reseah and study, there it was rightin front of me. I was terrified. As I stared it in the eyes, I drove a stake through its heart. I was right about Mystic Falls. There is evil here. I can sense it. Feel it. It's everywhere.He is watching a photography of a yougwoman, probably his girlfirend.[Flashback.]ALARIC'S GIRLFRIEND: Mmm. It's not even 7:00 yet.ALARIC: Which means you shouldn't be awake for at least 6 hours.ALARIC'S GIRLFRIEND: I hate morning people.ALARIC:I'm going to be home te tonight.ALARIC'S GIRLFRIEND: Mm love you.ALARIC: And I love you too.[Damon's car. Elena wakes up]DAMON: Morning.ELENA: Where are we?DAMON: Georgia.ELENA: Georgia? No, no. No,we're not. Seriously, Damon. Where are we?DAMON: Seriously, we're-- we're in Georgia. How ya feeling?ELENA: I--I--DAMON: There's broken bones. I checked.ELENA: But my car. There was a man. I hit a man. Butthen he got up and--who was that?DAMON: That's what I would like to know.ELENA: Where is my phone? Ok. We really need to go back. Nobody knows where I am. Pull over. I mean it, damon. Pull over! Stop thecar!DAMON: Oh you were so much more fun when you were asleep.He stops the car.DAMON: Hey.ELENA: I'm fine. We have to go back.DAMON: Oh come on. Look. We've already come this far.ELENA: Why are youdoing this? I can't be in Georgia. I wrecked my car. I have to go home. This is kidnapping.DAMON: That's a little melodramatic, don'you think?ELENA: You're not funny. You can't do this. I'm not going toGeorgia.DAMON: You're in georgia. Without your magical necklace I might add. I can very easily make you...Agreeable.ELENA: What are you trying to prove?[Elena's cell phone rings.]ELENA: That's my phone.DAMON:Mmm. It's your boyfriend. I'll take it. Elena's phone.STEFAN: Where is she? Why do you have her phone? Is she ok?DAMON: Elena? She's right here. And, yes, she's fine.STEFAN: Where are you? Let me speak toher.DAMON: He wants to talk to you.ELENA: Uh-uh.DAMON: Yeah. I don't-- I don't think she wants to talk to you right now.STEFAN: Damon, I swear to god, if you touch her--DAMON: You have a good day. Mm-hmm.Bye-now.STEFAN: Argh!ELENA: Look. No one knows where I am. Can we please just go back?DAMON: We're almost there.ELENA: Where is there?!DAMON: A little place right outside of Atlanta. Oh, come on, Elena. Youdon't wanna go back right now. Do you? What's the rush? Time-out. Trust me. Your problems are still going to be there when you get home. Look. Step away from your life for 5 minutes.ELENA: 5 minutes. Am I goingto be safe with you?DAMON: Yes.ELENA: Will you promise not to do that mind control thing with me?DAMON: Yes.ELENA: Can I trust you?DAMON: Get in the car. Come on.[Jeremy and Alaric.]JEREMY: Hey, Mr.Saltzman.ALARIC: Hey, Jeremy. I, uh--can't find my ring. I took it off for the gym and thought I put it-- there it is.JEREMY: Losing family heirlooms-- bad.ALARIC: How's your extra credit coming? You pick a topicyet?JEREMY: Mystic Falls, the cil war era.ALARIC: What's the angle?JEREMY: My family-- I found a journal of an anstor who lived in the 1800s. And the Gilberts were one of the original founding families of Mystic Falls.So...ALARIC: That sounds good.[Stefan and Bonnie.]STEFAN: Bonnie.BONNIE: StefanSTEFAN: Hey.BONNIE: Hi.STEFAN: I haven't seen you lately. How are you doing with everything?BONNIE: I'm fine. It's allfine.STEFAN: Good. YeahBONNIE: Are you back in school?STEFAN: No. Actually I came here to find you. I s hoping you could help me with something. A spell.BONNIE: Stefan, look, I know Elena's ok with all of this, andI appreciate what you did to help me. But I'm not really ready to dive into it with you just yet.STEFAN: I understand. But I need your help. It's Elena. She's with Damon. I have Elena's necklace. I was just hoping youcould use this to make some sort of a connection. I just need to know that she's ok.BONNIE: How do you know I can do this?STEFAN: Because I've known a few witches over the years. I've seen what they cando.BONNIE: I'm still new at it.STEFAN: It's ok. Give it a shot.BONNIE: Ok. All right.She tries to feel something with the necklace.BONNIE: There's nothing. Nothing's happening. Usually there's an image or... Tell me ifanyone's looking.STEFAN: Ok.BONNIE: All right. She takes a leaf and tries to fly it.STEFAN: What is it?BONNIE: Something's wrong.STEFAN: With Elena?BONNIE: With me. There's something wrong with me. I have togo. I'm sorry, Stefan. I can't help you.[Damon's car.]ELENA: So, where's my car?DAMON: I pulled it off on the side of the road. I don't think anyone will bother it.ELENA: At about that man in the road? Was hea...?DAMON: From what I could tell. Yeah.ELENA: You don't know him?DAMON: If I've never met him, I wouldn't know him. I mean, it's not like we all hang out together at the vamp bar and grill.He stops the car infront of a bar.ELENA: You brought me to a bar? Damon, I'm not old enough. They're not going to let me in.DAMON: Sure they will.WOMAN: No. No, it can't be. Damon. My honey pie. She kisses Damon.WOMAN: Listenup everybody! Here's to the man that broke my heart, crushed my soul, destroyed my life, and ruined any and all chances of happiness! Drink up! Ahh. Whoo!WOMAN: So, how'd he rope you in?ELENA: I'm not roped in.Actually, I'm dating his--WOMAN: Honey, if you're not roped, you're whipped. Either way, just enjoy the ride.ELENA: Ok. So, how did you two meet?WOMAN: College.ELENA: You went to college?DAMON: I've been on acollege campus, yes.WOMAN: About 20 years ago, when I was just a sweet, young freshman I met this butiful man, and fell in love. And then he told me about his littleecret, made me love him more. Because, you see,I had a little secret of my own that I was dying to share with somebody.DAMON: She's a witch.WOMAN: Changed my world.DAMON: I rocked your world.WOMAN: He is good in the sack, isn't he? But mostly he's just awalkawayoe. So, what is it that you want?[Jeremy in a library.]He looks at books when some books fall him above. A girl arrives.GIRL: Oh my god. I am so sorry. There was this one book wedged between the other.And I pulled and then kaplunk, kaboom. Are you ok?JEREMY: Yeah, I'm fine.GIRL: Ohh! I'm Anna.JEREMY: I'm Jeremy.[Grams' house.]BONNIE: Thank god you're back.GRAMS: And hello to you, too. What's thematter?BONNIE: Powers are gone, Grams. I can't do anything, even when I concentrate. And there's nothing in in any of these books that can tell me how to get them back.GRAMS: Hang on, now. Just calm down. Tellme what happened.BONNIE: I can't.GRAMS: We keeping secrets now?BONNIE: I have to. I'm sorry. I promised. Please help me.GRAMS: Well, first of all, there's nothing in any of these that's gonna help you. If you'reblocked, it's in here. You gotta clear it out, then you're back in business.BONNIE: Clear what out?GRAMS: Whatever's got you so scared.[Elena phones.]ELENA: Hi, Jenna. I'm so sorry.JENNA: Where are you? Why didn'tyou call?ELENA: I was so tired last night. I fell asleep at Bonnie's. And then this morning, I just wanted to get to school.JENNA: Are you ok?ELENA: You know, Stefan and stuff.DAMON: Come on, there's gotta beanother way.WOMAN: After all these years, it's still only Katherine. How do you even know she's still alive?DAMON: Well, you help me get into that tomb and we'll find out.WOMAN: I already did. 20 years ago.Remember? 3 easy steps-- Comet. Crystal. Spell.DAMON: There's a little problem with number 2. I don't have the crystal.WOMAN: That's it, damon. There is no other way. It's Emily's spell.DAMON: What about a newspell with a new crystal that overrides Emily's spell?WOMAN: It doesn't work that way, baby. Emily's spell is absolute. You can't get into that tomb.[Bonnie in the wood.]BONNIE: Hello? Anybody here?! Aah!Bonniefalls.[Front of the bar. Elena's cellphone ringing.]STEFAN: Elena, is th you?ELENA: I'm here.STEFAN: Where are you?ELENA: You lied.STEFAN: Not until I explain, please.ELENA: So, you didn't lie?STEFAN: Just tell mewhere you are. So that I can comeet you.ELENA: How am I connected to Katherine, stefan?STEFAN: I honestly don't know.ELENA: And I'm supposed to believe that?STEFAN: It's the truth. I-- Listen--She hangs up.Damon is behind her.DAMON: You ok?ELENA: Don't pretend to care. I know you're gloating inside. Damon's friend phones.WOMAN: Hey, it's Bree. You'll never gonna guess who walked into my bar.[Bonnie, in thetomb.]BONNIE: Oww. Hello?! Anybody?! Ahh![Grams' house. Stefan is knocking.]STEFAN: Hi.GRAMS: Can I help you?STEFAN: I'm Stefan. I'm a friend of Bonnie's. Her dad told me that she might be here.GRAMS: Shewas. Not anymore.STEFAN: Do you know where she went?GRAMS: No. But you do.STEFAN: I'm sorry?GRAMS: I told her to face down her fear. And I'm sensing now that you know exactly why she was scared. Youknow what I am. And yet you offered me your hand, which means you wanted me to see that I can trust you.STEFAN: Can you?GRAMS: I just you'll keep her safe. You'd better be on your way, then. I'm not going toinvite you in. I'm sure you understand why.[SCENE_BREAK][At the library.]ANNA: This aisle is local and state history. And civil war is one over. What do you need?JEREMY: Local. 1860s. Do you work here?ANNA: Nope.You want reference. This way. Uh, home-schooled. I study here for a moc school environment. Ah, here we go. Original settlers, town archives, founders stuff. It's all here. So, what's your topic ?JEREMY: The town'sfear and hysteria surrounding the war and how it influenced certain writers of the time.ANNA: You might want to focus that.JEREMY: The origin of local folklore and myths.ANNA: You mean the vampires?[At thebar.]ELENA: Let's just say that I'm descended from Katherine-- Does that make me part vampire?DAMON: Vampires can't procreate. But we love to try. No. If you are related, it would mean Katherine had a child beforeshe was turned.ELENA: Did Stefan think that he could use me to replace her?DAMON: Kinda creepy if you ask me. Come on, what? You don't like pickl? What's wrong with you?ELENA: How can you even eat? Iftechnically you're supposed to be...DAMON: Dead. It's not such a bad word. As long as I keep a healthy diet of blood in my system, our body functions pretty normally.ELENA: This nice act. Is any of it real?BREE: Hereyou go, honey.DAMON: Thank you.ELENA: I'll have one too.DAMON: Hmm?ELENA: Time out, remember? For 5 minutes? Yeah, well that 5 minutes is going to need a beer.BREE: There you go.[In the library.]JEREMY:You're kidding me, right? There's no such thing as vampires.ANNA: Well, there's not a lot of documentation but the stories have been told since the civil war. My granddad used to tell me all these creepy stories when Iwas little. And he said that his granddad told them to him.JEREMY: Yeah. That would be folklore. Vampires are a metaphor for the demons of the day.ANNA: Which are?JEREMY: The union soldiers. I've read the storiesmyself. They talk about the enemy, the demons that attack night.ANNA: That sounds like vampires to me.JEREMY: Allegorical vampires. Which is what it is. Creative expression during a very volatile time. I mean, acouny at war doesn't want realism. They want fantasy. Thus, vampire fiction.ANNA: Man, you're smart. I gotta give it to you. When I first saw you, I missed it.JEREMY: Yeah. I've had a rough go of it lately. But I'm justnow getting back to my old self.ANNA: Well, good luck on the paper. I gotta get home. You know, my great grandfather actually showed me a journal once of an ancestor and he had written all of this creepy stuff aboutvampires. It was actually really believable.JEREMY: Wait. A journal?ANNA: Yeah? Why?JEREMY: Are you sure you have to go?[In the Tomb.]Bonnie tries to phone.BONNIE: Come on, phone! Great! Great. Someonearrives behind her.STEFAN: Bonnie!BONNIE: Get away from me!STEFAN: It's me. It's stefan.BONNIE: Stefan. The ground gave way and I fell.STEFAN: It's ok. It's ok. Calm down. Come on, let's get you out ofhere.BONNIE: How?STEFAN: Just close your eyes. Trust . He jumps.STEFAN: You can open your eyes now.BONNIE: Whoa.STEFAN: I didn't want to scare you.BONNIE: How did you know where I was?STEFAN: Well,your grandmother told me what you were doing. I guessed the where.BONNIE: I heard them. Down there. Behind the door. Are they in pain?STEFAN: In the beginning--yes. But not anymore. They've been starved tothe point of dessication.BONNIE: But if they have blood--STEFAN: That's not going to happen, Bonnie. They can't get out. Emily saw to that when she had you destroy the crystal. You're safe.[In the bar.]DAMON:Ready...BREE: Go!They drink.ELENA: That's 3. Do you need a bib?DAMON: Sorry I can't unhinge my jaw like a snake to consume alcohol.ELENA: Whatever. All right. Who's next? Another round, Bree.GIRL: Honey, youshould be on the floor.ELENA: I am not even drunk. My tolerance is, like, way up here.BREE: All right. Here you go.[At Mystic Grill.]JEREMY: So, you have no idea where the journal is?ANNA: Nope. Gramps died. And allthe kids split his stuff. I can ask.JEREMY: I just find it weird that our ancestors kept the same kind of journal. It's crazy.ANNA: Maybe it's based in some partial reality.JEREMY: No. It's gotta be a metaphorical. Myancestor wrote short stories.ANNA: So, that's why you're hung up on the fiction of it all.JEREMY: No, I'm hung up on fiction of it all because I've seen \"the lost boys\" and \"near dark,\" like, 50 times.ANNA: Are thosemovies? Hey. I've never seen them. Maybe we can have a fright night and rent a whole bunch of vampire movies.JEREMY: Uh, yeah, sure.ANNA: Why does that sound like a no way in hell? Sorry, I'm blunt.JEREMY: No,it's--I don't want you to get the wrong idea. I just recently got out of something. It's a little too soon, you know?ANNA: Oh please, sure. No worries. I meant as friends. Yeah. Look, I really gotta go. Nice meeting you,Jeremy.[In the bar.][Elena's cell phone ringing]ELENA: Hello?JENNA: Elena ?ELENA: Jenna? Hold on, it's loud in here.JENNA: Elena, where are you ? Are you ok ?ELENA: Huh? Yeah. No, I'm good. Eveything's fine. Holdon. I can't hear you.Elena falls.ELENA: Hello ? Someone arrives behind her and kidnaps her.BREE: Hey, where's your girl?DAMON: Hmm.BREE: She was right back there. Damon goes out of the bar. He finds Elena'scellphone on the ground. He goes behind sheds.ELENA: Damon, no. A man attack him.DAMON: What the hell?!ELENA: No! He beats Damon.DAMON: Who are you?MAN: That's perfect. You have no idea.ELENA: Whatare you talking about? What did he do?MAN: He killed my girlfriend. What did she do to you, huh? What did she do to you?! Nothing.ELENA: I don't understand.MAN: My girlfriend went to visit Stefan, and Damon killedher. Got it? He beats Damon.DAMON: Ugh!ELENA: Lexi? Lexi was your girlfriend? She told me about you. She said you were human.MAN: I was.ELENA: Lexi turned you?MAN: If you want to be with someone forever,you have to live forever.ELENA: She loved you. She said, \"when it's real, you can't walk away.\"MAN: Well, that's a choice you're not going to have to make.ELENA: Don't. Don't, please, don't hurt him--MAN: I'm doingyou a favor.ELENA: Lexi loved you. And she was good. That means you're good too. Be better than him. Don't do this. I'm begging you! Please. Lexi's boyfriend stop to beat Damon.ELENA: Thank you.MAN: It wasn't foryou.[Gram's house.]GRAMS: Well, now, look who's returned from battle. Can I talk to your friend for minute? BONNIE: Thank you.GRAMS: I appreciate your help, Stefan.STEFAN: You're welcome, Sheila.GRAMS: Iwasn't sure you remembered.STEFAN: October 1969.GRAMS: I was barely a teenager.STEFAN: And you were leading what was probably the only anti-war sit-in within miles of Mystic Falls.GRAMS: Hmm.STEFAN: Youknow when you spoke, people were mesmerized. I know I was.GRAMS: Until the cops showed up. You took a big risk coming to see me earlier. Letting me read you, realize who you were. It could have gone acompletely different way.STEFAN: Your family has a very long history of keeping my secret. I knew that I could trust you if you believed I waworthy of your trust.GRAMS: Bonnie knows, doesn't she?STEFAN:Yes.GRAMS: Please understand, our loyalty can only extend so far. This town won't be easy on any of us if they figure it out. And I'll protect my own before anybody else.STEFAN: I know that.GRAMS: As long as we'reclear, goodnight, then.STEFAN: Goodnight, Sheila.[In the bar.]DAMON: We were just leaving, and I wanted to sagood bye.BREE: Good to see you again, Damon.DAMON: No kiss?BREE: I'm full of vervain. I put it ineverything I drink.DAMON: And you're telling me this why?BREE: Lexi was my friend. How could you? The tomb can be opened.DAMON: You're lying!BREE: Emily's grimoire, her spellbook. If you know how she closedthe tomb the reversal process will be in her book. You can open that tomb.DAMON: Where is this book?BREE: I--I--DAMON: You have no idea.BREE: No. I'm telling you the truth.DAMON: And I believe you. My dear,sweet Bree. That's why I'm almost sorry.BREE: Ugh!He kills her.[In Damon's car.]ELENA: So, why did you bring me with you?DAMON: Well you're not the worst company in the world, Elena. You could give yourselfmore credit.ELENA: Seriously?DAMON: You were there in the road. All damsel in distress-like. And I knew it would piss off Stefan. And... U're not the worst company in the world, Elena.ELENA: I used to be morefun.DAMON: You did ok.ELENA: I saved your life.DAMON: I know.ELENA: And don't you forget it.[Salvatore's House.]ELENA: Hi.STEFAN: Hi.ELENA: You could have told me.STEFAN: I wanted to tell you.ELENA: You saidno more lies. Only the truth. I can handle the truth, Stefan. As crazy as it is, I can handle the fact that you are a vampire. And you have a vampire brother. And that my best friend is a witch. I can accept the fact thatthe world is much more mysterious place than I ever thought possible. But this--this lie, I can't take. What am I to you? Who am I to you?STEFAN: You are not Katherine. You are the opposite everything that shewas.ELENA: And when did you figure that out? Before you kissed me? Before we slept together?STEFAN: Before I met you.ELENA: What?STEFAN: The first day of school. We when met. It wasn't for the first time,Elena.ELENA: Then when was it?STEFAN: May 23, 2009.ELENA: But that was--STEFAN: That was the day your parents' car went off the bridge.ELENA: You were the?STEFAN: Every couple of years that I come backhere to see Zach and see my home. Last spring, I was out in the woods, by old wickery bridge. And I heard the accident. All of it. I was fast getting there, but not fast enough. The car was already submerged. Your dadwas still- he was still conscious. I was able to get to him, but he wouldn't let me help him, until I helped you.ELENA: Oh my god. When I woke up in the hospital, nobody could figure out how I got out of the car. Theysaid it was a miracle.STEFAN: I went back for them. But it was too late. I couldn't-- I couldn't save them. When I pulled you out, I looked at your face. You looked like Katherine. I couldn't believe the resemblance. Afterthat, I spent months making sure th you weren't her. I watched you. I learned everythi that I could about you. And I saw that you were nothing like Katherine. And I wanted to leave town, but, Elena, I couldn't. Icouldn't leave without knowing you. I'm so sorry that I didn't tell you. I wanted to. But you were so sad.ELENA: Why do I look like her?STEFAN: Elena, you've been through so much.ELENA: Why do I look like her,Stefan? What are you not telling me?STEFAN: It didn't make any sense to me. You were a Gilbert. She was a Pierce. But the resemblance was too similar. And then I learned the truth. You were adopted, Elena.[In thelibrary.]ANNA: There you are.JEREMY: Hey.ANNA: Hi. Ok, look. I know I don't know you, so don't ask me why I did this. I just, sometimes-- mostly all the time- I have this need to be right. So I googled and...JEREMY:"}
+{"doc_id":"doc_317","qid":"","text":"[Scene: The Hospital, Phoebe is arriving with Ross, Joey, and Rachel in tow.]Phoebe: (to the nurse) Hi.Nurse: Hi.Phoebe: Hi, yeah, hi! I'm umm, Phoebe Buffay, and I have babies coming out of me.Nurse: Okay. Haveyou started having contractions?Phoebe: Not yet. Umm, I heard they really hurt, do they hurt?Nurse: Well...Phoebe: Oh my God!Ross: It's all right.Nurse: Now, which of you is the father? (Points to Joey andRoss)Phoebe: Oh no, none of them are the father. The father is my brother.Nurse: (not sure what to do with that) Okay...Rachel: I am so gonna miss watching you freak people out like that!Joey: Okay, uh Pheebs,quick. Look! This (His video camera) is for the babies to look at someday, so is-is there anything you want to say? Y'know before it all starts?Phoebe: Oh, okay, umm, hi kids! Um, it's me, Aunt Phoebe. I can't wait tosee you. Please don't hurt me!(Monica and Chandler come running in.)Ross: Hey, what took you guys so long? Your cab left when ours did!(There's a pause as they figure out what to say.)Monica: Well, we-we had to goback because I forget my jacket.Chandler: That's right.(Both Rachel and Ross stare at her for a moment.)Rachel: You-you're not wearing a jacket.Monica: Oh man! I did it again!Phoebe: (standing up) Okay, so umm,somebody has to call Frank and Alice. (As she is talking Joey is sticking the camera under her skirt.) And then my mom wants to know-(notices Joey)-Joey, what are you doing?!Joey: I gotta get the before shot!(Sheshakes her head no.)Opening Credits[Scene: The delivery room, Rachel and Ross are entering.]Rachel: Hi, Pheebs? Okay, so just spoke to the nurse and the reason that your doctor is late is because uh, she's notcoming.Phoebe: What?!Ross: Apparently she fell in the shower and hit her head.Phoebe: Oh my God, she's so stupid!Ross: Look, Pheebs-Pheebs, it's gonna be okay.Phoebe: That's easy for you to say, I don't see threekids coming out your v*g1n*!Rachel: Honey, listen, y'know what? The nurse said the doctor is wonderful.Ross: Yeah, he's head of the department.Phoebe: All right--Ooh! Oh dead God, save me!Monica: What?Phoebe:I'm having my first contraction!Chandler: Oh no.Phoebe: Ooh, it's not bad.Chandler: Okay.Joey: Oh! (In an announcer type voice) And so the miracle of life begins, and aaiiyyyeeee! (He grabs his side and doubles overin pain.)Chandler: Hey! You okay?Joey: Ooh, something hurts!Phoebe: Ooh, it's sympathy pains. Ohh, that's so sweet!Joey: Are they? I didn't know I cared that much.(The doctor, Dr. Harad, enters.)Ross: Hello.Dr.Harad: Hi! Phoebe, I'm Dr. Harad, I'm going to be delivering your babies. I want you to know, you're gonna be in good hands. I've been doing this for a long time. I'll be back in a minute to do your internal, in themeantime, just relax because everything here looks great. And also, I love Fonzie. (Exits)Chandler: Did he just say, he loves Fonzie?Monica: That's what it sounded like.Chandler: All right...Frank: (entering) Hey!All:Hey!Frank: (To Phoebe) Hey! Am I late? Am I late? Nobody came out yet, right?Phoebe: No-no-no! We haven't started yet. Where's Alice?Frank: Uh, Delaware. She's on her way though, so until she gets here, I'mgonna be your coach. But don't worry, she told me all about the la-Mazada stuff.Chandler: Yeah, that's when if you get the babies out by the end of the month, they give you 2% financing.Frank: Yeah.[Scene: Thewaiting room, Monica and Joey are sitting there.]Rachel: (entering) Monica? You gonna be very proud of me. I just got us dates with two unbelievably cute nurses.Joey: Oh my!Rachel: They're male nurses.Joey: Not inmy head.Rachel: Anyway, they want to take us out Saturday night! What do you say?Monica: Umm. (Looks at Chandler who is using the phone.) Umm. Umm. I don't think so.Rachel: What? What are you talkingabout?! You-you're the one who's been telling me to get over Ross and move on. I'm moving on, and you're moving on with me. Come on, give me one good reason why you don't wanna go.Monica: Umm, why don'tyou give me something that would be a good reason and-and then I'll tell you if it's true.Rachel: What?Monica: Harder than it sounds. Isn't it?Rachel: Okay, you're coming with me, and I also told them that if we're stillhere when they get off that we'll go down to the cafeteria and have some Jell-O with them.Joey: (in a sexy voice) Yep! There's always room for Jell-O...Rachel: Joey, how do you make that dirty?Joey: Oh, it's easy.Yeah, I-I can do it with anything. Watch uh, (snaps his fingers and in a sexy voice) Grandma's chicken salad...[Scene: The delivery room, Chandler, Frank, and Ross are with Phoebe.]Joey: (entering) Ross! Get a shot ofthis. (He's carrying an issue of the USA Today and hands Ross the camera.) Hey babies! These are the headlines on the day you were born! Okay, now girl baby turn away and boy babies... (Throws the paper away toreveal a copy of Playpen, which is the TV version of Playboy Magazine.) Check it out, huh?! This is what naked women looked like the month you were born. All right, now let's dive right into the good stuff. (Joey opensthe magazine and Ross sticks the camera in it.)Phoebe: Oh, okay, I'm having another one! This one doesn't hurt either--Ooh, yes it does! Ow! Ow! Ow! Ow! Ooh! (Checks under the blanket.) Oh, I was kinda hoping thatwas it.Ross: Hey, where are Monica and Rachel anyway?Joey: Oh, a couple of nurses asked them out. Maybe they're with them.Chandler: Really? Male nurses?Joey: Yeah, I was bummed too.Chandler: So they're goingon dates? When?Joey: I think Saturday--(groans in pain again).Frank: (To Phoebe) What's with him?Phoebe: Umm, sympathy pains. I thought it was really sweet at first, but now I think he's just trying to steal mythunder.Dr. Harad: (entering) Okay!Phoebe: Hey.Dr. Harad: Let's see what we got here. Ohh, y'know, Fonzie dated triplets.Chandler: This-this Fonzie person you keep referring too, is that uh, is that another doctor?Dr.Harad: Oh no-no-no. Fonzie is the nickname of Arthur Fonzerelli. The Fonz.Chandler: All right.(Dr. Harad exits.)Frank: It's not that weird, is it?Phoebe: It's very weird! I don't want some guy down there telling me, I'my'know, dilatedamundo!Ross: To be fair, he doesn't seem to be impersonating Fonzie...Phoebe: (interrupting) What are you doing?!! Why are you defending him?! Just get me another doctor! One who is not crazy andwho is not Fonzie!Ross: Again, it's not that he...(Phoebe fakes pain to get Ross looking for another doctor.)[Scene: The waiting room, Chandler is looking for Monica.]Chandler: (spotting her) Oh-hey-hey-hey! There youare!Monica: Umm, listen there's something I think you should know.Chandler: Oh, is this about you-you dating the nurse? Yeah, Joey already told me, and I am so-so fine. I mean, you and I we're just, y'know, we'renothing, we're goofin' around.Monica: Umm, actually I was about to tell you that I was, I was going to get out of it, but hey, if we're just goofing around then uh, maybe I will go out with him.Chandler: Fine! Maybe Iwill too!Joey: (entering from the elevator caring gifts for the kids) Hey, you guys! Look what I found in the giiiiiiift shop. (He doubles over in pain in front an old man in a wheel chair.) Get up! Get up! Get up! (The oldman waves him away.)[Scene: The delivery room, Ross has returned with another doctor. This one, is well, younger.]Ross: Okay, Phoebe, this Dr. Oberman. He has no strong feelings about Fonzie or any of the HappyDays gang.Phoebe: Hi! And you're going into what grade?Dr. Oberman: Umm, I'm actually a first year resident, but I get that a lot, you see, I-I graduated early...Phoebe: (interrupting) Uh-huh, me too. Ross, maybe Ishould've specified that I'd be needing a grown up doctor.Dr. Oberman: Oh no, I'm fully qualified to...Phoebe: Shh! Doogie, shh! Doesn't anybody understand that I'm gonna be having babies soon? Huh? Go! Go littleboy, go!(He runs out and Frank watches him go.)Frank: Oh cool! You made him cry![Scene: Another hospital room, Joey has now been admitted and his doctor is about to break the bad news to him, Monica, andChandler.]Joey's Doctor: Mr. Tribbiani, I'm afraid you've got kidney stones.Joey: Umm, well, what else could it be?Joey's Doctor: It's kidney stones.Joey: Or?Joey's Doctor: Kidney stones![Scene: The delivery room, Dr.Harad is back and checking on Phoebe.]Dr. Harad: All right, you're getting there. Oh, and y'know, these babies are very, very lucky.Phoebe: They are. Why?Dr. Harad: They have the honor of being born on The Fonz'shalf-birthday.Phoebe: Happy birthday!Dr. Harad: Just-just to clarify, I'm not Fonzie. (Phoebe nods in agreement as he leaves.)Rachel: Honey, y'know I just gotta tell you, I think this is such a terrific thing you're havingthese babies for Frank and Alice.Phoebe: I know, it is.Rachel: Yeah!Phoebe: Can I tell you a little secret?Rachel: Yeah!Phoebe: I want to keep one. (Giggles in excitement.)Rachel: Ohh, I'm gonna be on thenews![SCENE_BREAK][Scene: The delivery room, continued from earlier.]Rachel: Okay, Phoebe, honey, you gotta be kidding. I mean, you know you cannot keep one of these babies!Phoebe: Why not?! Maybe I can,you don't know!Rachel: Yes! Yes! Yes, I do! I do know! Frank and Alice are gonna want to keep all of their children!Phoebe: Maybe not! Y'know? Seriously, three babies are a handful maybe they're y'know, looking for achance to unload one of them. Listen, I-I hate to miss an opportunity just because I didn't ask! Y'know?Rachel: Phoebe, no! This is, this is insane.Phoebe: Oh, just ask him!Rachel: Me?!Phoebe: I can't ask him! Do youhave any idea how inappropriate that would be?! All I'm saying is just talk to Frank. Okay? Just, y'know, feel him out!Rachel: No! Forget it! I am not gonna ask Frank to give you one of his kids!!Phoebe: You'reright.(There's an awkward silence then suddenly Phoebe gets an idea.)Phoebe: Tell him it's for you.[Scene: Joey's room, his doctor, Chandler, and Monica are there.]Monica: Feeling a little better sweetie?Joey: Well,maybe a little. I wish you hadn't seen me throw up.Monica: Me too.Ross: (entering) Hey! I just heard. What's up?Joey's Doctor: Kidney stones! Now, ordinarily Mr. Tribbiani, we try to break up the stones up with shockwaves, but they're to close to the bladder now. Which means we can either wait for you to pass them or else go up the urethra...Joey: (interrupting) Whoa-whoa! No-no-no-no-no, nothing is going up! Okay? Up, up isnot an option--what's a urethra? (Monica whispers what it is in his ear.) Are you crazy?![Scene: The delivery room, Rachel and Frank are there.]Phoebe: (To Rachel) So did you ask him?Rachel: No, I haven't had achance to be alone with him yet.Phoebe: Well, I'm kinda on a clock here.Dr. Harad: (laughing) Oh Fonzie.Rachel: Y'know who I always liked? Mork.(Dr. Harad drops what he's doing and stares at her.)Phoebe: Undo it.Undo it. Undo it.Dr. Harad: Fonzie met Mork. Mork froze Fonzie.Rachel: Yeah, but umm... Yes, but, Fonzie was already cool, so he wasn't hurt, right?Dr. Harad: Yeah, that's right.Monica: (entering with Chandler)Hey!Phoebe: Hi!Monica: (To Phoebe) How are you doing?Phoebe: Okay, doctor says any minute now.Frank: Hey, y'know, Alice is gonna be here so soon, you couldn't just like do me a favor and like, like hold themin?Phoebe: Sorry Frank, I'm kinda in the middle of the last favor you asked me to do.(A male nurse enters.)Male Nurse: Hey!Rachel: Hi!Male Nurse: Rachel.Rachel: Monica, this is Dan (points to him), one of the guysthat we're gonna be going out with on Saturday. (Mouths \"He's yours.\" to her.) Uh Dan, Monica.Dan: Nice to meet you.Monica: Hello Dan! I'm really looking forward to Saturday night! Really, really!Chandler: So Dan,nurse not a doctor huh? Kinda girlie isn't it?Monica: Chandler!Dan: Nah that's okay. I'm just doing this to put myself through medical school.Chandler: Oh.Dan: And it didn't feel so girlie during the Gulf War.Chandler:Sure. (Pause) And listen, thanks for doing that for us, by the way. (Retreats in defeat.)Monica: So, why wait 'til Saturday, are you free tomorrow?Dan: Sure! I'll get somebody to cover my shift.Monica: Oh,great!Chandler: (to another female nurse) Hey, how 'bout it? You, me, Saturday night?Delivery Room Nurse: No.Chandler: All right. Very good.Phoebe: Oo, this is a big one. Eww! Arghhhh!![Cut to Joey's room, who'sgoing throw his own contractions. Plus, he has Ross in a headlock.]Joey: Ohh, get these things out of me!Ross: Breathe! Breathe! Breathe throw the pain.(Joey starts breathing hard)Joey: I want the drugs Ross, I wantthe drugs! (He starts rocking back and forth, taking Ross with him.)Ross: I do too! I do too!Joey: Argh!Ross: Argh!Joey: Argh!Ross: Argh![SCENE_BREAK][Scene: The waiting room, Frank is on the phone as Rachelapproaches.]Frank: Yeah, I love you. Okay, bye! (To Rachel) Hi!Rachel: Hi!Frank: That was Alice's mom, she said she left five hours ago. She should be here by now!Rachel: Oh, honey, don't worry. She's gonna make iton time.Frank: Yeah.Rachel: Yeah. So Frank, three babies. Whew, that just seems like a lot, huh?Frank: (laughs) Not to me.Rachel: Yeah, fair enough.[Scene: The delivery room, later on, Rachel, Chandler, Monica, andFrank are there as Dr. Harad is checking out Phoebe.]Dr. Harad: Okay, you're at ten centimeters. Time to start having some babies. All right, I want only the father in here please.(They all kiss her and wish herluck.)Monica: Bye Dan!Dan: Uh, bye Monica.Chandler: Bye, momi-moo.(Everyone except Frank leaves.)Dr. Harad: All right, I need a clamp, sterile towel, and channel 31.Phoebe: What is that?(Dan turns on the TV andthe Happy Days theme song comes on.)Phoebe: Oh my God!Dr. Harad: Oh, no-no-no, it's a good one! Fonzie plays the bongos. All right, are you ready? It's time to start pushing.[Cut to Joey's room, his doctor andRoss are there.]Joey's Doctor: Are you ready? It's time to try peeing. (Joey makes a face like he is trying to pee.) Wait-wait-wait-wait-wait! It's almost time to try peeing. (Points at the bottle Joey is to pee into.)[Cut tothe delivery room.]Dr. Harad: Okay, now push! That's it push! Just concentrate on pushing! Yeah, here we go!Dan: I see the head.Frank: Yes, it has a head!Dr. Harad: All right. Keep pushing! Come on!Frank: I can'tbelieve there's somebody coming out of you right now. There's somebody coming out of you! Is it? Is it? It's my son.Dr. Harad: All right. Here's your first baby.[Cut to the waiting room, a triumphant Frank rushesin.]Frank: YESSSSS!!!!! We got a baby boy!!Chandler: Yes!Frank: Frank Jr. Jr.!!Rachel: Oh, how does he look? How does he look?Frank: So gross! (He runs back to the delivery room.)[Cut to the delivery room, Phoebeis about to give birth to the middle kid.]Dr. Harad: Okay. You ready to push again?Phoebe: I already had a baby. Leave me alone.Frank: Okay, okay, come on, you can do it. You can do it!(Phoebe screams in pain, andFrank screams with her.)[Cut to the waiting room, a twice triumphant Frank returns.]Frank: Yeah!! Little Leslie is here! We got another one! Oh my God, I can't believe I have two-two children. How scary is that? (Hereturns to the delivery room.)[Cut to the delivery room, Phoebe is at it for the last time.]Frank: Come on little Chandler, it's time to be born. Come on little Chandler! Come on!Dr. Harad: All right, he's coming. He'scoming!(They both stare at the newborn.)Frank: Hey, where's his thing?[Cut to the waiting room, a thrice triumphant Frank returns again.]Frank: Chandler's a girl!Chandler: Oh God, kindergarten flashback.Frank: Theymusta read the sonogram wrong. 'Cause they, 'cause they thought it was a boy, but Chandler's a girl! Chandler's a girl!Chandler: Okay, keep saying it!Alice: (running in from the elevator) Am I too late?!Frank: No-noah, everything's okay. Everybody's healthy there's 30 fingers and 30 toes.Alice: We have our babies?Frank: Yeah.Alice: (Starting to cry) Oh, we have our babies.(They hug. And quickly that hug turns into a heatedmake out session, right there on the waiting room couch. Chandler, Rachel, and Monica quickly make their exits.)[Scene: Joey's room, he is recovering from his birth.]Joey: Oh my God.Ross: You did it, man.Joey'sDoctor: Would you like to see them? (He hands Joey a little jar.)Joey: They're so small! (Both he and Ross look at them with satisfied looks on their faces.)[Scene: A hallway, Monica and Dan are talking.]Dan: So, I'llcall you tomorrow.Monica: Great!(Dan leaves as Chandler enters.)Chandler: So, are you really gonna go out with that nurse man?Monica: Well uh, you and I are just goofing around, I thought, why not goof around withhim.Chandler: Y'know, I don't know if you've ever looked up the term goofing around in the dictionary... Well, I have, and the technical definition is, two friends who care a lot about each other and have amazing s*xand just wanna spend more time together. But if you have this new fangled dictionary that gets you made at me, then we have to, y'know, get you my original dictionary. I am so bad at this.Monica: I think you're betterthan you think you are.Chandler: Really? Okay, so...Monica: (interrupting) Know when to stop.Chandler: Y'know, I sensed that I should stop. So we're okay?Monica: Yeah. All right, I'm gonna go tell Dan that it's notgonna happen. (They kiss and as she starts to leave, Chandler starts to dance. Without turning around.) Don't do the dance.Chandler: Right![Scene: The delivery room, everyone except Rachel is there. Phoebe, Monica,and Ross are holding the babies.]Monica: I think you're my favorite.Phoebe: Which one do you have?Monica: I don't care.Rachel: (entering) Hi. (To Phoebe) Hey, hi! So uh, Frank and Alice wanted me to tell you thatthey're still outside making phone calls.Phoebe: But umm, I mean, did you talk to them about, y'know...Rachel: Yeah, umm, no honey.Phoebe: Oh. It was a long shot. Hey, you guys can I just like have a second alonewith the babies.All: Yeah, sure yeah. Yeah.(They hand her the babies and leave them alone.)Phoebe: So, here you are. It seems like yesterday I was talking to you in that little petri dish. Everyone said labor was thehardest thing I'd ever have to do, but they were wrong this is. Oh, I had the most fun with you guys! I wish I could take you home and see you everyday. Okay, I'll settle for being your favorite Aunt. I know Alice'ssister has a pool, but you lived in me. Okay, so we're cool. Yeah, we're gonna be great. Little high fives! (Imitates the high fives.) Ahh! Ahh! Ahh! (One of the babies begins to cry.) Well, if you're gonna cry. (She startscrying.)Ending Credits[Scene: The delivery room, everyone is hanging out with Phoebe. Frank, Alice, and the kids aren't there.]Monica: Phoebe, we are so proud of you! You're amazing!Phoebe: I know.Rachel: So doesit really hurt as bad as they say?Phoebe: Yeah. You won't be able to take it.Chandler: So uh, now that little Chandler turned out to be a girl, what are they gonna name her?Phoebe: They're gonna call herChandler.Chandler: That's kind of a masculine name, don't you think?Phoebe: Works on you."}
+{"doc_id":"doc_318","qid":"","text":"PARADISE TOWERSPART FOURRun time: 24:21[SCENE_BREAK]1. EXT. PARADISE TOWERS[SCENE_BREAK](An exterior view of the Towers, high up in the sky. The glass walls and windows of the Towers reflect thefluffy white clouds hanging in the sky.)[SCENE_BREAK]2. INT. THE BASEMENT[SCENE_BREAK](The Cleaner pushes the Chief Caretaker towards his \"pet\" represented by the neon lights through the \"No Entry\"door.)VOICE: You have no choice. I am Kroagnon, the Great Architect, and I will put an end to you and everyone in Paradise Towers.(The Chief is pushed forward by the Cleaner and into a machine. An opaque cylinderbegins to descend on him and obscures him from view. As it does so, he lets out a loud scream. The Doctor and the Kangs come out from their hiding place and watch this happen.)BIN LINER: Ware Cleaners!THEDOCTOR: Back to the lift.(Fire Escape is hesitant, thinking she can use her weapon on a Kang, but the Doctor gestures for them to run.)FIRE ESCAPE: Wait, Doctor.THE DOCTOR: Back!(Fire Escape fires her weapon,hitting a Cleaner, but it has no effect on it. Taken off guard, another Cleaner appears. With its claw it grabs the Doctor by the throat and proceeds to strangle him.)DRINKING FOUNTAIN: Doctor! Now.(She fires herweapon and the arrow hits the Cleaner, causing a malfunction, and thus it loses its grip on the Doctor. The Doctor and the Kangs quickly run for the exit door and it closes, placing a barrier between them and theCleaners. Back in Kroagnon's lair, the large opaque cylinder rises, revealing what used to be the Chief Caretaker. His skin now has a silvery sheen and his clothing looks clean and shiny. Kroagnon now inhabits theChief's body. He steps out from the machinery and moves to address the Cleaners who gather around him.)KROAGNON: Attention all Robotic Cleaners. Attention all Robotic Cleaners. At last Kroagnon can leave thebasement prison they trapped his bodiless brain in and return in this borrowed body to the corridors and lifts of his own creation. They buried me away because I wanted to stop them using the Towers. And now you andI will destroy them.[SCENE_BREAK]3. INT. THE STREET[SCENE_BREAK](The Doctor and the mixture of Kangs race down the street. The Doctor is clearly out of breath lagging behind.)THE DOCTOR: Just a moment,please stop! Please! The immediate danger's over. And I wouldn't mind getting my breath back.(The Doctor sits down on an old crate at the side of the corridor. The three Kangs - Drinking Fountain (Blue Kang Leader),Fire Escape (Red Kang Leader) and Bin Liner (Red Kang) - kneel down beside him. A fourth Red Kang stands guard at the end of the corridor.)DRINKING FOUNTAIN: The Doctor really is ice hot.THE DOCTOR: Veryhot!DRINKING FOUNTAIN: Not a yawny Oldster.THE DOCTOR: Now, you understand the dangerous position we're in. We must gather all the Kangs together.FIRE ESCAPE: And is the Chief Caretaker really unalive?THEDOCTOR: As himself, yes. But you saw what happened. Up till now Kroagnon's simply been a mind without a body, as your parents must have left him. However, I fear he may have spent his time down there devising away of performing Corpoelectroscopy - a way of transplanting his brilliant brain to some host body.BIN LINER: And what's the come out, Doctor?THE DOCTOR: Oh, I can't be certain. But Kroagnon won't want to staylocked up in his basement much longer. He's bound to show himself in one form or another.[SCENE_BREAK]4. EXT. FLOOR 304 / THE POOL[SCENE_BREAK](Pex is sitting at the side of the pool whilst Mel bobs around inthe water, enjoying herself.)MEL: Oh, the water's really lovely. You really ought to come and join me, Pex. It'll do you the world of good. There's really nothing to be frightened of.(Mel fails to see the Yellow RoboticCrab-like Pool Cleaner as it comes up behind her. It grabs hold of her and she lets out a scream. Pex is alerted and jumps to his feet, uncertain of what to do.)[SCENE_BREAK]5. INT. RED KANGHEADQUARTERS[SCENE_BREAK](The hideout is bustling with activity. The Doctor rests against a large blue barrel. The Red and Blue Kangs are present.)THE DOCTOR: It's taking over the building floor by floor.(BinLiner is on the Talky phone.)BIN LINER: Return to Red Kang Base and Ware Cleaners! Build High for Happiness.(She replaces the receiver onto it's position on the Drinking Machine.)THE DOCTOR: Is Fire Escape goingto join us?(Bin Liner nods.)THE DOCTOR: Are all the Kangs here? Red? Blue?DRINKING FOUNTAIN: Yes. Except for those...THE DOCTOR: Those who've been made unalive. Yes. Well, when Fire Escape gets here wemust all make for the Great Pool in the Sky.[SCENE_BREAK]6. EXT. FLOOR 304 / THE POOL[SCENE_BREAK](The Yellow Pool Cleaner is attempting to drag Mel under the water. Her head goes under a few times but shestruggles to remain above the surface of the water. Pex runs around the side of the pool in a state of confusion and panic.)MEL: Pex, do something!PEX: But what should I do?MEL: Anything!(The Cleaner bobs up anddown in the water threatening Mel with its claws and mechanical tendrils that are wrapped around Mel's body.)PEX: Help! Help!MEL: Can't you think of anything else?(Again the Cleaner pulls Mel beneath to the surfaceof the water. When she struggles back up again, she makes a lunge in the direction of Pex, reaching for his gun.)MEL: Quick. Give me that!(She takes the gun from Pex and splashes her way out of the pool as theCleaner advances after her. She turns and fires directly at it causing an explosion. The Cleaner buzzes and crackle and sinks to the bottom of the pool. Mel stands panting on the edge of the pool with Pex.)PEX: Mel, Idid warn you.(Mel turns to look at Pex in frustrated disbelief.)[SCENE_BREAK]7. INT. THE CARETAKERS' HEADQUARTERS[SCENE_BREAK](The Deputy Chief Caretaker stands in front of the bank of monitor screens ashe addresses his fellow caretakers.)DEPUTY CHIEF CARETAKER: Attention all Caretakers. Regulation ZZZ is now in operation. This overrides all other rules and regulations. I repeat, this overrides all other rules andregulations. All Caretakers to act with extreme caution and get back here as fast as they can.(The monitor screens display various Caretakers running down the corridors in response to hisinstructions.)[SCENE_BREAK]8. EXT. FLOOR 304 / THE POOL[SCENE_BREAK](Mel and Pex are sitting on a lounger at the side of the pool. Mel has dried off and put her clothes back on. Pex looks very glum.)MEL:Pex.PEX: What?MEL: I'm sorry.(She is distracted by a sound coming from the other end of the pool - behind a curtain.)MEL: What's that?PEX: Where?MEL: Well there's a rustling sound coming from over there.PEX: Ionly checked it a few minutes ago.MEL: Shall I go?PEX: If you want.(Taking a deep breath, Mel puts her towel aside and walks as nonchalantly as possible towards the curtained-off area. Pex cautiously follows her,getting his gun out just in case. She pulls aside the curtains to see nothing there.)PEX: Nothing there?MEL: No.PEX: Sure?MEL: Of course. See for yourself.(Suddenly the Doctor bursts through the curtain, startling bothPex and Mel. Mel gasps but is then relieved.)MEL: Doctor!THE DOCTOR: I'm sorry to give you such a shock, Mel, but this is where the Cleaner service lift appears to come out.MEL: Oh, Doctor, it's so good to seeyou!THE DOCTOR: And you, Mel, and you!(The Doctor and Mel hug. The Doctor notices Pex and reaches out his hand and doffs his hat.)THE DOCTOR: Um, how d'you do?MEL: This is Pex.THE DOCTOR: Ah. I believeyou've met my friends before.(The Doctor steps back and pulls the curtain back to reveal the Kangs. Pex takes up a defensive stance and eyes them suspiciously.)[SCENE_BREAK]9. INT. THESTREET[SCENE_BREAK](Smoke starts to fill the corridor. A Caretaker appears at the end of it, clutching his throat and coughing. He falls to the ground dead. Kroagnon, inhabiting the Chief Caretaker's body, walksawkwardly down the corridor followed by a Cleaner that belches out smoke.)KROAGNON: Search hard, My Cleaners, search hard. Bring them all out! All the nasty human beings! The Caretakers! The Residents! TheKangs! All of them! We'll be back to collect the rubbish later.[SCENE_BREAK]10. EXT. FLOOR 304 / THE POOL[SCENE_BREAK](The Kangs are sitting in a united group along the side of the pool with Pex alone at the end.The Doctor and Mel are pacing up and down at the head of the pool.)MEL: Imagine building this beautiful pool and filling it with mechanical killers.THE DOCTOR: The rest of the Towers would have been like this pool ifhe'd had his way. A killer in every corner.MEL: And you're sure Kroagnon's been let loose again?THE DOCTOR: Oh, very much so. But we know so little about his plans. He had years to brood over what he wants to do.But we've no time to come up with a counter plan.(Fire Escape moves over to Pex to taunt him, with the other seated Red and Blue Kangs willing her on.)FIRE ESCAPE: Did Mel make the creature unalive foryou?DRINKING FOUNTAIN: And stop you being taken to the cleaners?(Pex nods his head shamefully.)FIRE ESCAPE: Then Mel is a Kang after all.(They all look around at the Doctor and Mel conversing at the other end ofthe Pool.)PEX: I'll show you all. I will put the world of Paradise Towers to rights.BIN LINER: Oh, yes?PEX: Yes!FIRE ESCAPE: You're a cowardly cutlet, Pex. You will always hide, always.(All the Kangs laugh at Pex. Meland the Doctor watch the unruly group.)MEL: They shouldn't treat him like that.THE DOCTOR: That's Paradise Towers in a nutshell, I'm afraid. The Red Kangs didn't trust the Blue Kangs. And none of them trusted theCaretakers. And the Rezzies, from your account, prey on whoever they can and trust no one either. And all of them despise poor old Pex. Oh, the Great Architect must be delighted. How are we going to unite the peopleof Paradise Towers to defeat him?MEL: We'll find a way. We have to.(The Doctor looks despairingly at Mel. All through their conversation, the Kang chants of \"He's a Cowardly Cutlet\" have been building, directed at Pex.Unable to take anymore, Pex storms off in the direction of the way out. He walks past the Doctor and Mel. She goes to follow him.)MEL: Pex, don't go. Pex!(All of those gathered around the pool are stunned into silenceand stillness at the unexpected arrival of three Rezzies, lead by Maddy. She steps timidly forward to address them all.)MADDY: I... that is we... we the Rezzies... the remaining Rezzies that is, want to talk to you all. Ithink we may need your help.[SCENE_BREAK]11. INT. THE CARETAKERS' HEADQUARTERS[SCENE_BREAK](The Deputy Chief Caretaker sits alone, solemnly staring at the floor. The main door to the room opens with ahum and what the Deputy thinks is the Chief walks in - Kroagnon. The Deputy jumps up looking pleased.)DEPUTY CHIEF CARETAKER: Well, Chiefy, I thought you were lost. I...(He stops as he sees two Cleaners throughthe doorway behind the Chief (Kroagnon). He notices the Chief's slightly odd appearance - he has a silvery sheen to his face and clothing. He starts to advance awkwardly towards the Deputy.)KROAGNON: The Towershave become appallingly dirty.DEPUTY CHIEF CARETAKER: Sorry?KROAGNON: The whole place is polluted with flesh, living flesh.DEPUTY CHIEF CARETAKER: Flesh? Did you say living flesh?KROAGNON: Yes.DEPUTYCHIEF CARETAKER: But Chief, you...KROAGNON: Deputy, may I remind you that there is a rulebook and the rulebook says that the orders of the Chief Caretaker are never to be questioned.DEPUTY CHIEF CARETAKER:Yes, yes. Of course, of course, Chief. Unless...KROAGNON: Unless...?(Kroagnon starts to advance menacingly towards the Deputy, who starts to back away in the direction of the door.)DEPUTY CHIEF CARETAKER: Well,I think you may recall that there are certain cases specified when the rulebook can be overridden, and that is when the Chief Caretaker...KROAGNON: Yes...?DEPUTY CHIEF CARETAKER: ...just isn't the ChiefCaretaker.(The Deputy Chief Caretaker turns around and runs out of the door. He leaps over the Cleaners that are in the way and races down the corridor. Kroagnon goes to the door and addresses theCleaners.)KROAGNON: Leave him. Leave him. We'll clean him up when we clean up all the others.[SCENE_BREAK]12. EXT. FLOOR 304 / THE POOL[SCENE_BREAK](The Doctor, Mel, Pex, the Red Kangs and the BlueKangs are all gathered around to hear the information provided by the Rezzies who are seated on a sofa.)MADDY: The Cleaners have reached about floor 115 now. All the Rezzies, that can, have moved up to the higherfloors, but not everyone was quick enough.(The Doctor points to the map on the table in the centre of everyone so that they can all see how high the Cleaners have reached.)THE DOCTOR: And you're sure that personordering the Cleaners to do this looks like the Chief Caretaker?(Maddy simply nods.)BIN LINER: But he's unalive, Doctor. We saw it.THE DOCTOR: Exactly. So the Great Architect has taken over his body.(Fire Escapeleans forward to cast accusations.)FIRE ESCAPE: Why should we believe her? Rezzies are full of untruth and Kangs. Rotten old rubber neck...THE DOCTOR: Please, please, be quiet. Be quiet.(He hushes the Kanggrumblings and reassures Maddy to continue as she consults, in hushed tones, with her fellow Rezzies.)MADDY: Of course, I know that we residents have not always been as neighbourly as we might have been. Butsome have been worse than others. And the worst have gone... down the waste disposal chute.(The Doctor looks disapprovingly at this. Mel and Pex exchange looks, remembering the event described.)MADDY: Butthose of us who are left want to let bygones be bygones. We're all in danger now and well, we're very sorry for what we did and we won't do it again. If we all survive that is. We need each other's help.THE DOCTOR:Well, you Kangs, what d'you say to that?(Drinking Fountain and another Blue Kang and Fire Escape and Bin Liner, representing the Red Kangs, get into a secret huddle to discuss, whilst the others wait. The huddlebreaks up and they address the group.)BIN LINER: I won't say Rezzies are Ice Hot but yes she's not telling untruths. And yes, we'll help each other.THE DOCTOR: All agreed? Pex?FIRE ESCAPE: Don't ask him. He's acowardly cutlet.THE DOCTOR: Fire Escape!! Pex?(Pex waits for silence and grimly nods his head.)FIRE ESCAPE: We work with Rezzies - no to-do. We work with Pex - no to-do. But the Caretakers?(All the Kangs get totheir feet to proclaim as one voice.)KANGS: Never, ever!!!(Suddenly they have to spin around as they are interrupted by the subtle coughing of the Deputy Chief Caretaker who stands behind them.)DEPUTY CHIEFCARETAKER: Excuse me. I'm sorry to intrude like this, but I wondered if I might have a word with you all.[SCENE_BREAK]13. INT. THE CARETAKERS' HEADQUARTERS[SCENE_BREAK](Kroagnon stands at a transparentmap of Paradise Towers and, with a highlighting marker pen, he marks the last floor that Cleaners have reached.)KROAGNON: 170. All the messy creatures will be moving up to the swimming pool zone on floor 304.Luckily they won't have time to make it too untidy before I destroy them. I have nothing to fear. Nobody knows my Paradise Towers better than I do.(He sits down at the desk and watches blankly at the monitorscreens displaying the Cleaners busily going about their killer sprees.)[SCENE_BREAK]14. EXT. FLOOR 304 / THE POOL[SCENE_BREAK](Everyone stands ready, awaiting the planning process. The Doctor checks hiswatch and pockets it again.)THE DOCTOR: We have very little time, so we must think clearly. Now Kroagnon, as we now must call the Chief Caretaker, is firmly installed in your headquarters. Am I right, DeputyChief?DEPUTY CHIEF CARETAKER: Yes, Doctor.THE DOCTOR: So we must find a way of getting him out again.BIN LINER: Set a trap for him!THE DOCTOR: Precisely.MADDY: We used to do that a lot with the rats.MEL:But what about the Cleaners?THE DOCTOR: First, we must immobilise as many as we can.DEPUTY CHIEF CARETAKER: Doctor?THE DOCTOR: Yes?DEPUTY CHIEF CARETAKER: I know it's against the rulebook to say this,but I suppose these are exceptional circumstances.THE DOCTOR: They could be described thus, yes.DEPUTY CHIEF CARETAKER: Well, on the 245 Sodium Street, Corridor 75, there's a secret emergency supply kept forpest going out of control.MEL: An emergency supply of what?DEPUTY CHIEF CARETAKER: Explosives.MEL: That'll do it.FIRE ESCAPE: Ice Hot!BIN LINER: With explosives and arrogance we can blow out the Cleaners, noproblem.DRINKING FOUNTAIN: Send the Cleaners to the Cleaners.ALL: Yes!!(They all laugh.)MADDY: Most of the Rezzies make table cloths. We could throw them over the Cleaners to slow them down for you toshoot.FIRE ESCAPE: Ice Hot, Maddy!THE DOCTOR: (to Mel) We seem to be getting somewhere at last.(Everyone seems jubilant at there ideas, there is lots of merriment and clapping.)[SCENE_BREAK]15. INT. THECARETAKERS' HEADQUARTERS[SCENE_BREAK](Kroagnon continues to make his marks on the transparent map.)KROAGNON: 163. Time to see what the human garbage is up to in the swimming pool zone.(He moves tothe desk and activates a control. One monitor screen goes blank and the computer voice speaks out.)COMPUTER VOICE: By express order of the Great Architect, surveillance of the swimming pool is not allowed. Notallowed.(Kroagnon growls with anger.)[SCENE_BREAK]16. EXT. FLOOR 304 / THE POOL[SCENE_BREAK](The inhabitants of Paradise Towers in the swimming pool area are so overjoyed at their ideas they forget theurgency of the situation and need the Doctor to calm things.)THE DOCTOR: Please! Please! We must move on to the main problem.(As silence is regained, the Doctor starts to wander around the pool to ponder. BinLiner and Fire Escape follow him.)THE DOCTOR: How to persuade Kroagnon to leave his safety and come to a place of our choosing where we can trap and defeat him.DEPUTY CHIEF CARETAKER: He'll never leave thereuntil we're all wiped out. We'll never manage to break. I should know that.THE DOCTOR: Well there is a way that might just work.FIRE ESCAPE: What's that, Doctor?THE DOCTOR: Well you see, Kroagnon isundoubtedly a very clever and very proud being, and like many clever and proud beings likes to be appreciated by his equals. Now, I think if he had the chance to meet such a person, he would leave his lair to doso.MEL: Doctor, you're not going to go and...THE DOCTOR: I've no choice, Mel. I mean, in all honesty, I am the only obvious candidate.MEL: You'll go out there and show yourself and be killed.THE DOCTOR: Oh no, no,no. That would be extremely futile. I will allow myself to be seen, and then somebody will go to Kroagnon and offer to lead him to me - right into our little trap. Now that person has a far more difficult and dangerousmission than I.(Everyone looks around awkwardly and goes silent until one person speaks out.)PEX: I will go to Kroagnon. I am Pex and I am the...FIRE ESCAPE: A Cowardly Cutlet.(All the Kangs laugh raucously. Pex ishurt but Mel looks on encouragingly.)PEX: Well you all have tasks to do. Caretakers, Residents, Kangs, why should only Pex be left out. Pex the trained fighting machine. Pex the only...BIN LINER: The scaredycat.(Again their riotous laughter silences Pex.)MEL: Pex, are you sure you want to do this?PEX: Yes, I am.THE DOCTOR: So be it.[SCENE_BREAK]17. INT. THE CARETAKERS' HEADQUARTERS[SCENE_BREAK](Themonitor screen continues to display the Cleaners going about their task of destruction. Kroagnon looks at his map but is interrupted by a bing from the control desk. Suddenly a screen comes to life and shows theDoctor's face. Kroagnon walks towards it.)THE DOCTOR: Hello, there, Kroagnon. This is the Doctor speaking. I don't believe we've met, though no doubt you've heard of me.(Kroagnon just growls at the arrogance.)THEDOCTOR: I thought so. Anyway, I'd heard so much about Paradise Towers I thought I'd come and take a look and, believe me, I'm very disappointed. It displays exactly what everyone says is your usual failure as anarchitect - not making allowances for people. Still, I'm sure if we managed to work together, we might just about make this place habitable. I've a few ideas which I might give to you if you can be bothered to listen.Bye for now.(The Doctor's screen goes black and Kroagnon again growls with anger.)[SCENE_BREAK]18. INT. THE STREET[SCENE_BREAK](A Cleaner moves into yet another corridor to gas yet more unfortunates.Maddy appears from one of the flats to address it. Behind Maddy are two other residents. It stops in its tracks to hear here speak.)MADDY: Oh, excuse me. Excuse me. I hope you don't mind my mentioning it, but I"}
+{"doc_id":"doc_319","qid":"","text":"[Woody's. Brian's playing pool. Justin rubs his dick over the corner pocket.]Brian: Would you move your dick? I can't concentrate.[Justin turns around and rubs his ass over the corner pocket instead.]Emmett: Youshouldn't have any trouble sinking into that hole.[Brian makes the shot and Justin moans with glee.]Ben: [to Michael] What given you me to concentrate at?[Ted is handing out flyers for a charity event, but nobodycares.]Ted: Come to the angel ball. f*ck you, too!Emmett: That wasn't very angelic.Ted: Who even take a goddamn flyer?Brian: Four hundred bucks for another boring fundraiser.Michael: Angels Over Pittsburgh isn'tjust another charity; when Vic was sick they brought a meal practically every day. My mom and I couldn't done without that.Ted: Unfortunately that's not what these guys doin'.Brian: They need a big attraction.Justin:Like Madonna. Or the Backstreet Boys.Ted: Yeah, it's just Pittsburgh, sunshine. Not your wildest dreams.Emmett: Hot about Pittsburgh's own Divina Devore? She's in town.Brian: Oh yeah, that's good. Another worn-outold drag queen.Emmett: What kind of homosexual are you?Brian: The kind that f*cks men.Emmett: Divina Devore it's a legend. She's performed before presidents.Brian: Ulysses S. Grant or Chester A. Arthur?Michael:Go got her. But you won't have trouble with your tickets.Ben: It's worth a shot.[Michael squats in front of the corner pocket. Ben shoots and the ball rolls towards Michael's mouth. Ben misses. Michael pouts. The boyslaugh.]Michael: Oh.[The kindergarten! We're at a center for early education/day care/fancy-pants place.]women: Here in center for early development we offered an unique education parently. Which creates a save andsupportive enviroment which are our degree candidates can inquire an invaluable learning and social skills.Mel: Degree candidates? There are pre-schoolers.woman: Therefore as much we would like to accept allapplicants in order to ensure maximum focus and individual attention we can only admit a select few.[Lindsay raises her hand]Lindsay: May I ask what determines the final decision?woman: The child's own uniquetalents and abilities will play a big part, but we're also trying to create the full spectrum of human diversity. Race, religion, socio-economic background.Mel: What about sexual orientation?woman: Oh yes, thattoo.Lindsay: Are any same-sex-parented children currently enrolled?woman: Not yet, but we're entend to make every afford to change that.[The diner wall changes artwork. Now it's all Justin's.]Debbie: [to a customer]The master piece that's what it is. For 50 bucks you'll buy the next Michael Angelo.[The guy just rudely walks off]Debbie: Ignorier miss.His does not know dick about art.Justin: It doesn't matter. You do.Jen: Justin, youdidn't tell me you has your own show.Justin: It's not exactly the Museum of Modern Art.Debbie: That's next![Justin and Jennifer hug.]Justin: You want something to eat?Jen: Uh, thanks honey. I just had lunch. I'm withyour father.Justin: I don't talk about him.Jen: Well, I just wanna talk either, but we'll do. He says he's not gonna pay for your school anymore.Justin: Wha... That lame-ass sh1t. What's his feeble excuse?Jen: The stockmarket and supporting two households. And he's a lame-ass sh1t. I don't want you to worry. I spoke to the accountant, I got a little of my savings, I can cash my IAR...Justin: I don't takin' your money. You and Mollyhad to live.Jen: You're sister and I'll be just... fine.Justin: No, forget it. I'll take care of myself.[Woody's. Divina Devore performing live at stage. Emmett, Ted, and Michael prance backstage right behind the stagemanager. (S)he finished.]Emmett: If you ask me, nobody makes a better woman than a gay man.Michael: What woman looks like that? Big, red wig, tons of jewelry, gaudy clothes?[Emmett, Ted, and the stagemanager all turn slowly to the screen.]Michael: My mother doesn't look like that![Divina leans back on the curtain as the audience politely applauds.]Divina: Thank you, Pittsburgh! For reminding me why I left!Ted: Ihope she's not be one of those maniac divas who thinks she's the center of the universe -- you know, snapping her fingers bossing people around.[Divina comes backstage.]Divina: [to the stage manager] Hey, you. Tellthe idiot, the one whos the lights the spot is suppose to be at my face. Not the left tit!Stage manager: Yes, ma'am. I mean, sir.Ted: Excuse me, Miss Devore.Divina: Yes?Ted: I just want to say... your performancetonight was... sparkling.Emmett: Bubbling.Ted: Effervescent.Divina: Stop, you'll make me burp.Michael: Miss Devore? Hi, I want to tell you your performance was really great.Divina: I'm flattering for receive so muchpraise from so a handsome young men. Now, if you excuse me.Ted: Wait. Uh, we wanted to ask you...Divina: ...for my autograph.Ted: And for your help. See, I'm organising a charity event...Emmett: It's for a verygood cause.Divina: Is it ever a bad one?Ted: It's for Angels Over Pittsburgh.Michael: They prepare home cook meals for homeless people who have AIDS.Ted: And I was hoping you were might...Divina: Perform? Oh,I'd love to!Emmett and Ted: You would?Divina: If I didn't already spend half my life doing benefits. If I do any more, they'll have to throw one for me.[Brian and Justin sit in a jeep.]Justin: I told you, I can pay forthis.Brian: With your secrets money?Justin: I'll get another job, a real job where I actually pay for it.Brian: They pay for a hundred a week?Justin: I still apply for a scholarship all alone.Brian: What are you use forcollection? Your ass? Stop being such a twat. I just trying to help you.Justin: You've helped enough. You did practically my entire life.Brian: What do you mean 'practically' ?Justin: Look, I don't want you feel like youhave always take care of me. And I don't want me to.Brian: Fine, then go ahead. Don't come claim to me when it's didn't work.Justin: I love that you do anything for me.Brian: Who said it was for you? I made aninvestment, I want to pay off.[Justin pulls off his seatbelt and gives Brian a blowjob at a red light. The man in the car next to Brian watches. Brian watches him back. Brian revs his engine.][Angels Over Pittsburgh signon the refrigerator.]Ted: Who the f*ck wants to see some worn-out old drag queen, anyway?Emmett: Honey, you find someone else.Michael: It's like Ben always says \"You have to be a positive energy for.\"Ted: Whatdid Ben do in this new google-dee gook?[Michael trows eat to Ted.]Ted: You know, I woldn't been Divina Devore in the Benefit even if I could her.Vic: Dvina Devore? Is she in town?Michael: Yeah, we beg her to performat the benefit but she turn us down.Vic: She always was a selfish prick.Emmett: You know her?Vic: Honey, I knew her when she was a him. He was Danny Devore then. We went to highschool together.Emmett:NO!Ted: You know, maybe if you use the personal connection we can convince her mind.Michael: Me?Ted: You're our only hope.Emmett: I thought you didn't even want her.Ted: Well, that was before I know that she isa friend of the family.Vic: I'm sure she wouldn't remember me.[Lindsay's in pigtails, shouting to Mel from the porch.]Lindsay: Mel! Mel!Mel: What's the matter?Lindsay: Look, a letter.Mel: Haven't you've seen thisbefore?Lindsay: It's from Gus new school.Mel: Hey, today the universe could be more to Harvert.Lindsay: Who said anything about Harvert?Mel: I thoughed everyone want a kid go to Harvert.Lindsay: I feel we shouldconsidered at least Brown.Mel: We'll continue this in 16 years. Just read the letter. What does she says?Lindsay: He didn't get in.Mel: What?! [she reads the letter] It's bullshit. They always made such a big deal aboutall different kinds of people.Lindsay: Apparently not our kind of people.Mel: What was all this crap about looking for a kid from same s*x parents?Lindsay: She didn't mean us.Mel: It's discrimination. That's what itis.Lindsay: Against our son. For something that has nothing to do with him.[Fotoshooting with Divina Devore! The photographer's talking in a voice-over.]Michael: I know your busy, Mrs.Devore.Divina: Then why areyou here?Michael: Well, I was hoping you were change your mind.Divina: I don't change my mind! Only my underwear. Now, if you kindly show yourself out!Michael: Guess my uncle was right.Divina: Excuseme?Michael: Nothing. Just something he said. He knew you back in Highschool.Divina: Oh really and who was that?Michael: You wouldn't remember. Vic Grassi?[Camera zooms in her face.]Divina: Vic Grassi. Oh, mygod, I remember Vic. I hear that he was sick.Michael: Yeah, he's doin' a lot better now. Now he's on a cocktail.Divina: I'm glad to hear it. Tell him I say hello. So, if Vic is your uncle then Debbie must be yourmother.Michael: Knew her?Divina: Knew her? I dated her!Michael: You? I mean...?Divina: Oh, back then I was a male impersonator. I did a really convincing act, too. How's she doin'?Michael: Practicallyundestructable.Divina: Did she became a nurse like she always wanted?Michael: I never knew that. Just a waitress.Divina: Jesus, I can still hear that laugh of her. She bring down a house. I wish she was in front of melast night. Oh, not complaint, I tell you kid, your momma was a real looker.Michael: Still is. Just, now there's more to look at.Divina: This benefit of yours, when is it?Michael: Friday night.Divina: I tell you what. I'll bethere after my show.Michael: That's so cool. You're doin' a really good deed. Thank you.Divina: Don't thank me, pay me.Michael: So how long's been you saw my mom?Divina: Not since the summer of my graduation.I... I left town after that.Michael: I bet you have some interesting stories about the two of you.Divina: Gentlemen don't reveal such themes. Especially gentlemens who are ladies.[Liberty Diner. Michael put on a sign ofthe poster with Divina Devore.]Ted: Where is he? Michael! [Ted kisses Michael] I cannot believe you got her change her mind.Brian: I can't believe Deb dated a drag queen. How anyone could tell them apart.Emmett:At least now we know who taught her how to do her hair.Brian: You realize it's makes your mother officially fag hag of all time. Then Vic, then you. Hey Debbie.Debbie: Hey guys. Hi baby.Brian: I hear your boyfriend isin town.Debbie: Michael, about who's he talking about it?Michael: It's someone you used to go...Debbie: Yeah? Who?Michael: Danny Devore.[Debbie is shocked, angry, and grumpy.]Debbie: Danny Devore.Emmett:Better known as Divina Devore.Ted: Michael got her agreement to perform on the Angel Ball.Emmett: Yeah, thanks to you.Debbie: What have I to do with it?Brian: She said she couldn't possible turn down the son of aformer flame.Debbie: You shout your mouth! He had no right talk to my kid about my personal life.Michael: We didn't say anything. He only said you two used to go out.Debbie: Yeah, it was like a million years ago. Ishould be over him.[Debbie walks away.][Babylon. Naked dancing boys. Sweet, toned flesh. Good flesh. Good music. Justin sticks a dollar in the g-string of a dancing boy. Brian snaps a dollar out of a different stripper'sg-string.]Brian: Shouldn't you been holding on on that?Justin: It doesn't much matter since it's my last one.Brian: Sort of like infections in the 19th century french noble been revive.Justin: f*ck off.Brian: Find ajob.Justin: I must have tried twenty restaurants and nobody hired.Brian: What does the financial aid office said?Justin: My f*cking father makes to much money.Brian: Well, my offer still stands.Justin: So does myanswer. Better do that on my own.Stripper: Give me a hand?Brian: See? Some people know how to accept help.[Justin roll his eyes. He watches the stripper pull money out of his crotch.]Justin: Looks like a goodnight.Stripper: It's nothing compared with the weekend.Justin: Really? Cause I've been looking for something. Are they looking for more dancers?Stripper: Gary's always looking.[Brian and Justin are quiet, thinking.Brian walks away.][Debbies house. In Michaels old room. Ben and Michael arm are there. Very geeky picture of Michael and Brian in high school with their arms around each other.]Michael: See what a dork I was?Ben:You weren't a dork. I was a dork.Michael: A fat ones.Ben: You have no idea how fat. You are more dweeb.Michael: Thanks.Ben: Brian on the other hand...Michael: I know, he was a total turn on.Ben: I would sayspaz.Michael: Is it better or worse than a dweeb?Ben: Oh, fare worse. Have I mention that I have a thing for dweebs?Michael: Later. Goin check my moms old stuff.Ben: Wait, that's kinda personal.Michael: Well, shenever really told me about that much. Everytime I ask about back then she said 'I did my homework and rest at my folk.' And you should do the dame.[Ben pulls out a pompon.]Ben: I didn't know she was acheerleader.Michael: Well, maybe those were Vic's. Oh, her yearbook. Check out the girls hairdos! Really boring.Ben: Really straight. Where is your mom?Michael: Grassi, grassi, grassi. There she is.[Deborah JaneGrassiAMB: Celebrate New Year's in every time zone!P.D.: Celebrate every New Year's right here in the Pitt.P.P.: Dishonest People.P.S.: \"S***, all my sayings have swears in them.\"ACT: Yearbook, S.C. rep., Spirit Club,Parties, Parties, Parties]Michael: Just as I said, mom was a real looker.Ben: What about he look like?Michael: Comes after a space.Ben: Oh, scare me.Michael: Danny DevoreAMB: Broadway SuperstarP.D.: NYC CabDriverP.P.: Stage FrightP.S.: \"Begone!\"ACT: Variety Show, Choir, Concert Band, Prom Committee, Spirit ClubBen: Oh, he's kinda cute.Michael: If you have a thing for dweebs.[Strip club. Gary the creepy strip-clubowner is doing \"paperwork\". Justin coughs some attention and.]Justin: They said I can talk to you about the job.Gary: Doin' what?Justin: Dancing.Gary: Ever dance professionally?Justin: No, but I dance here all thetime.Gary: Like a thousand other queers. What makes you special?Justin: I was King of Babylon.Gary: Who wasn't? Sorry, I'm too busy. No one position's are open.Justin: I'm sure if you saw me...Gary: Hey, I'llbusy.[SCENE_BREAK][Cut to naked Justin feet walking back along the bar. He stops over Gary.]Justin: One dance, that's all. If I suck, you can kick my ass out.Gary: You doesn't have much of a body. No packs, no abs,no biceps.Justin: I have a great ass and I'm blond. You have no idea how far that gets me.Gary: One dance. Make it good.[He does][Cut to Justin dancing over Brian's head. Same outfit. Brian's apartment. Brian stopsthe music and.]Brian: Try not to step into my Chinese food.Justin: He said I'd be pulling $200 to $300 a night.Brian: That'd better be all your pulling young men. And remember you still have your schoolwork todo.Justin: And what if I don't?Brian: Mmmh, you'd have to be spank.Justin: [laughs] Yeah, just try.Brian: You like it?Justin: Uh, I just kidding.[Brian pulls Justin over his knees, pulls down his underwear, and spankshim. Justin's enjoying it until Mel and Lindz just walk right into the apartment.]Mel: Oh.Brian: Oh, Note to self - make sure to lock the f*cking door.Lindsay: [to Mel] I don't care. I'm gonna asking anybody.Brian: [toLinds] Wanna chicken?Mel: [to Linds] Don't waste you time. Everytime we ask him to do something he turns us down.Brian: Ask me what?Lindsay: I want you to be my husband.Brian: You already have one.Mel: It's forGus. He got rejected by the Center for Early Development.Lindsay: And we think it's because he had two mommies.Brian: So now you wanna pass him to a product of a happy hetero homelife? f*ck that sh1t.Mel: I toldyou, he is a total heterophobe.Justin: That's true he is.Brian: It's true. I am.Lindsay: Brian, you know I would you never ask to compromise your values.Mel: Except that they are.Lindsay: You're always said it's notlying if they make you lying. You wants Gus to have the same advantages as kids you have a mommie and a daddie, don't you? You want him to go to the best schools and receive the best education? Then you got ushelp to make sure. They despite what other people may think of us - he's not the one who suffers. So we have to found another school. We have an appointment tomorrow.[Michael's grilling Vic as Vic pretends to read amagazine.]Michael: How long they go out?Vic: I... I can't remember.Michael: Was it serious?Vic: How do I know?Michael: Did she love him?Vic: She didn't say!Michael: Didn't say... It's nothing that mom doesn'tsay!Vic: Look, Michael, it was a long time ago. Why don't you ask her?Debbie: [comes home] Ask me what?Michael: About Denny Devore.Debbie: Christ, I haven't heard his name mention for thirty years and now all ofa sudden it's all he's here.Michael: I saw his picture in your yearbook.Debbie: Who said you can looking in my yearbook?Michael: You never said I couldn't! It's the picture of him! It looks a lot like me.Debbie: Who youtalking about? It doesn't look at the least bit of you.Michael: You don't have your reading glasses on.Debbie: Fine. Make me feel older than I really do. OK, I still don't see it. Vic? Do you see it?Vic: Can't say Ido.Michael: C'mon! We have the same eyes, the same nose, the same mouth. Tell me that's not my chin!Debbie: Not even close! And trust me, I know chins. I have serveral of it.Michael: Ma, I just want you to tellme...Debbie: Tell you what?Michael: Why I look so much alike Danny Devore!Vic: I get the clothes in the dryers.Debbie: Stay right there! What are you getting at?Michael: He said that you were out summer aftergraduation. That was 1969. I was born March 1970.Debbie: Ha! I don't believe what I'm hearing! Are you asking me if some old drag queen that I once knew in high school is your father? You know who your father is!This is your father![Debbie holds up a picture of John Michael Navotny]Debbie: John Michael Novotny. Lieutenant in the US army.Michael and Debbie: Died in Vietnam, 1970, two weeks after I was born.Michael: I know.You told me a million times. But this guy in the picture who doesn't even look like me is my dad. But that've all you told me!Debbie: What else do you wanna know?Michael: Who are my grand-parents?Debbie: They'redead.Michael: Aunts and uncles?Debbie: They weren't any.Michael: So he's just a war hero?Debbie: 'Just'!? They awarded him the purple heart! He was on a rescue mission, carving his way through the jungle when alandmine exploded.Michael: You've said it was a Jeep accident.Debbie: He was carving his way in a Jeep when it ran over a landmine.Michael: You can't even keep the goddam story straight!Debbie: Stop confusingme...!Vic: Look, it was a long time ago. It doesn't matter now.Michael: I just wanna know the truth.Debbie: Are you calling me a liar? Your own mother? I told you who you father was. And I expect you to believeme.[She wanders out of the room, tottering back and forth.][Better kids at this school. Lindsay and Brian goes inside.]Lindsay: Promised me to behave.Brian: I don't mention dick if you don't mention pussy.Lindsay:You know what I mean. I don't you getting into your moods.Brian: Yeah, yeah. I want a homo-hetero kid just as you do.Lindsay: That's it. Don't be nervous.Brian: If my heart gettin' low, I'll be dead.[Inside theschool.]woman: Hello.Lindsay: Hi, we are the...woman: Oh, the Kinneys. Uh, Mr. and Mrs.Kinney.Lindsay: Right!Brian: Sometimes she'll forgets, don't you, honey?Lindsay: [laughs] I don't forget. He's such akitter.woman: Oh, please. I tell Mrs.Harper you are here.[she leaves. Brian and Lindsay sits down. Brian plays with toys.]Lindsay: I told you to behave!Brian:You could send me to the principal's office, but I'm alreadythere.Lindsay: It's also strange. I mean I knew I'd have a child like Gus and he goes to a school like this one. And I never imagine it will be like this.Brian: Well, there's no predicting. Oops, I said dick, didn't I?Lindsay:Can't you be serious? For even a minute?[Brian sits down, checks her watch]Brian: You're on.Lindsay: There was even a time, when we first met that I thought this could be reality. Did you ever felt that way?Brian: No.You wanted me to be serious. That doesn't mean I don't love you.[Brian kisses Lindsay just as the principal comes to the door and calls them in.]Mrs.Harper: Mr.and Mrs.Kinney!Brian: [looks at the clook] Oh, theminutes up.Mrs.Harper: Oh, please, don't be emparest. It's always nice to see young parents express their affection. And I think it's important for children to see that to, don't you agree? Come in to my office, pleaseand we'll discuss Gus' future.[Debbie is standing at Divina's hotel door.]Debbie: I never in a million years known it was you.[She stands there. No wig, just scary makeup and tiny dagger nails. Red robe.]Divina: Thirtyyears is a long time.Debbie: Try thirty-one. But who's counting?Divina: So, come on in. You want a drink?Debbie: No. No, thanks. God, you have more sh1t than I do.Divina: These days it takes longer to lookfabulous.Debbie: Tell me about it. Is this real?Divina: Honey, I wish. So, how're you doin', my Divina?Debbie: So you called me in highschool.Divina: Now you have a son. He tells me you work in a diner. Vic was sick"}
+{"doc_id":"doc_320","qid":"","text":"EXT. MOUNTAIN ROAD - NIGHT(MUSIC OVER ACTION/CAR SPEEDS ALONG THE ROAD AND INTO THE WATER)(SFX: HUGE SPLASH)[SCENE_BREAK]UNDERWATER - NIGHT(MUSIC OVER ACTION/CAR SINKS TO THELAKE FLOOR)(FADE OUT)(THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT)MUSIC IN:INT. SQUAD ROOM - DAY(SFX: CELL PHONE RINGS)TONY: No, for the twenty third time.(SFX: CELL PHONERINGS)KATE: Are you going to answer that?TONY: I'm in hell, Kate.KATE: Well, do they have money there? Because you owe me... forty three dollars and eighty six cents for lunch this week.TONY: I will gladly pay youtoday if you'll answer this call for me.KATE: Yeah? Who is it?TONY: Crazy ex-girlfriend. Haven't seen her since college.KATE: Stalker?TONY: More like a stalk-him.KATE: What do you want me to say to her?TONY: I don'tknow. Tell her you're my wife or something. She's been calling nonstop for two days. So I'm begging you here, Kate. Please.KATE: You pay me back today.TONY: Sure.KATE: (INTO PHONE) Hello? Me? Oh, I am Tony'swife. Uh, yes. We got married a few years ago. (WHISPERS TO TONY) We have kids? (INTO PHONE) Two. Yes. And we're very, very happy. So please don't call back again. (TO TONY) I feel like I need a shower.(HANGSUP PHONE)TONY: Pay the lady, Probie.MCGEE: He bet me forty dollars he could get you to say you're his wife today.KATE: Tony, I'm going to kill you.GIBBS: DiNozzo, pull the case file on Lieutenant BrianMcAllister.TONY: McAllister? We going after more treasure hunters, boss?MCGEE: Treasure hunters?TONY: Before your time, Probie. McAllister disappeared two years ago. His family offered a million dollar reward toanyone who could find him.KATE: I had a few friends in the Secret Service who used to work that case on the weekends.TONY: It was the Holy Grail for every amateur detective on the East coast, Kate.MCGEE: So whathappened?TONY: Nothing - cold case.GIBBS: Not anymore.CINDY AMES: (ON TV) Thousands have searched for the heir to the McAllister Industries' fortune. Each hoping to collect the one million dollar reward offeredby his famous family. Today, private investigator Monroe Cooper believes he's one step closer to solving the mystery. Mister Cooper, is it true that you have finally found Brian McAllister?(SFX: TV CLICKS OFF)MCGEE:Whoa. Whoa. Boss, that was... that was Monroe Cooper! The man who can solve the unsolvable. He's a... a famous detective.GIBBS: Do I look like I care, McGee?MCGEE: No.GIBBS: Grab your gear. We're going toBlack Lake.[SCENE_BREAK]INT. VAN - MOVINGKATE: Lieutenant Brian McAllister, graduated Annapolis in ninety-seven, third in his class. He vanished somewhere between October fourth and the seventh, two thousandand two. No leads.TONY: Thing I don't get is why a guy worth millions would join the military in the first place.GIBBS: You think money has anything to do with patriotism, DiNozzo?TONY: No, I'm just saying if I wererich, you know, I would do nothing.KATE: I thought your parents were loaded.TONY: They are.KATE: So why do you work for the government then?GIBBS: Because they know what their son would do with themoney.TONY: I can't even get an advance on the will, Kate.GIBBS: Hey, McGee!MCGEE: Yeah, boss?GIBBS: What about that private dick, Cooper?MCGEE: Yeah. Uh... he's a former NYPD detective, works mostly forinsurance companies and celebrities now. He makes a lot of money solving cases like this. Guy's a... he's kind of a cross between Columbo and Sherlock Holmes.(SFX: VAN HITS A POTHOLE)KATE: You know, we reallyshould get a seat belt back there. Hey! What the hell are you doing?TONY: I'm looking for my fork.KATE: Well I can guarantee you...it is not there![SCENE_BREAK]EXT. BLACK LAKE - DAYGIBBS: Tony, grab the gear.See if McGee's still alive.TONY: On it, Boss.GIBBS: Special Agent Gibbs, Todd, NCIS.LESTER: We've been waiting for you to show up. Sheriff Deke Lester. That detective fella, Cooper, he thinks that missing McAllisterkid's in there somewhere.GIBBS: Yeah. Is he?LESTER: I can't say, but my divers found a Chrysler convertible sitting on the bottom.KATE: Lieutenant McAllister owned a Chrysler convertible. Disappeared with him,Gibbs.LESTER: I'm fixing to pull it out. Once we ID the vehicle we can decide on who's got jurisdiction.GIBBS: Works for me, Sheriff. Where is Cooper?LESTER: I don't rightly know. I imagine he's off detecting orsomething.RADIO: (V.O./FILTERED) Hey Deke, we've got the chains set here.LESTER: Let's haul her up.RADIO: (V.O./FILTERED) Yes, Sir.LESTER: You ready to see what we caught, Agent Gibbs?[SCENE_BREAK]EXT.TRUCK - DAYTONY: Hurry it up, Probie.MCGEE: You sure this is necessary? I kind of feel like a dork.TONY: You are a dork. No no no no. Bad move.MCGEE: What?TONY: If Gibbs catches you reading instead of working,you're history.MCGEE: It's not for reading. I'm hoping I can get Detective Cooper to sign it. The lead character in the book is based on him.TONY: \"Celebrity P.I.?\" Never heard of it. No!MCGEE: I'm not surprised youhaven't heard of it. There's no pictures in it.TONY: Did you say something, Probie?MCGEE: Yeah. I'm not a dork.TONY: Whatever you say, Sponge Bob.(SFX: HOIST)LESTER: Take it slow now, Charlie!TONY: I think it'ssafe to say that car's not going to run again.LESTER: All right, hold it right there.GIBBS: All right, Kate.KATE: The Lieutenant's tags, Gibbs.LESTER: Congratulations, looks like you found your missing sailor.GIBBS: Notyet.COOPER: I think you'll find that pile of bones is McAllister, Special Agent...GIBBS: Gibbs. And I'll wait for my M.E. to determine that.COOPER: Oh of course. Monroe Cooper.GIBBS: (READS) The man who solves theunsolvable.COOPER: So you've heard of me?GIBBS: No. It's on your card.COOPER: My publicist's idea. Works great with the yokels.GIBBS: How'd you track this vehicle to Black Lake?COOPER: Leg work. Luck. Mygut.GIBBS: Does it say that on your card, too?COOPER: I have a policy, Agent Gibbs. You share information with me, and I share it with you. We have a deal?GIBBS: That kind of goes against my policy,Cooper.COOPER: Which is?GIBBS: Throw people in jail who obstruct my investigations.COOPER: Uh-huh. I'll try to keep that in mind.MUSICAL BRIDGE TO:INT. NCIS AUTOPSY ROOM - NIGHTDUCKY: Well the dentalrecords are conclusive, Jethro. This is our missing Lieutenant.GIBBS: Any idea how he died?DUCKY: After two years in the water? Difficult to say. Do you suspect foul play?GIBBS: Oh, you know me, Duck. I suspecteverything.DUCKY: Yes, an admirable trait in an investigator. And also the reason your three marriages ended in divorce.GIBBS: Oh yeah? All these years I thought it was because I was a b*st*rd.DUCKY: Well, ofcourse, that didn't help. There is evidence of hairline fracture on the frontal lobe of the skull.GIBBS: Cause?DUCKY: Well, it's consistent with most vehicle accidents, possibly from contact with the steeringcolumn.GIBBS: What about drugs?DUCKY: Well, in this state, a toxicological screen would be useless. However, drugs are a possibility.GIBBS: Too many of those, Duck. Too many.DUCKY: Well, my current opinion isthat Lieutenant McAllister met with a tragic accident. Most likely he drowned.GIBBS: Keep looking.(SFX: DOORS SLIDE OPEN/ CLOSED)DUCKY: Your last boy, Yurich.JIMMY: Did you meet any of his wives?DUCKY: Iintroduced him to the last one.JIMMY: Really? What went wrong?DUCKY: It's difficult to say, Mister Palmer. She doesn't talk to me anymore.[SCENE_BREAK]INT. NCIS GARAGE - DAYTONY: (LAUGHS LIGHTLY) Youknow what movie this reminds me of, Kate?KATE: The Wizard of Oz?ABBY: I'll get you, my pretty!TONY: No. I meant the one they make you watch in high school. Thirty minutes of cops pulling dead teenagers out ofcar wrecks.ABBY: Oh, my god! I love those! Blood on the Highway. Drink, Drive, Die! I keep hoping they're going to release them on DVD.TONY: Yeah, me too.ABBY: Yeah.(SFX: DOORS SLIDE OPEN)GIBBS: What dowe have?TONY: Ah hey boss. I found a suitcase in back. Looks like he packed enough for about a weekend. Dive team will be back with the stuff from the debris field in a few hours.GIBBS: Abs?ABBY: The brake linesare corroded, but they're intact. Something's stuck. Whoa. Hey, Kate. I've got a present for you. I think it's one of your ex-boyfriends.TONY: It's a cold fish! Get it, Kate?MCGEE: I don't think this was an accident. It's abullet.GIBBS: McAllister was murdered.(FADE OUT)MUSIC IN:INT. LAB - DAY(SFX: MUSIC PLAYS LOUDLY B.G.)(MUSIC CLICKS OFF)GIBBS: Your speakers are broken.ABBY: Oh, Gibbs. That was the best part of thesong.GIBBS: Correction. Your ears are broken. What did the divers find?ABBY: Actually, it's more like what didn't they find. My theory is they're getting paid by the piece. They recovered everything within a twentymeter radius of the vehicle. Sunglasses, golfballs, Rick James eight-track, typewriter. I didn't see any point in bringing the Maytag up from the evidence lockup.GIBBS: Anything to do with the case?ABBY: As a matter offact, found directly beneath the vehicle... can you hear me now? I might be able to recover some data from the memory chip.GIBBS: What about the bullet we brought up from the wreck last night?ABBY: Forty fivecaliber, two hundred and thirty grain hardball. Lots and lots of stopping power. The grooving matches a Colt forty-five, old-school military version.GIBBS: Did you work up a trajectory, yet?ABBY: Of course. The bullet'sentry angle into the side of the door is obvious as Anna Nicole's implants.GIBBS: Who?ABBY: You know, married that old guy? Had a TV show? Got fat, got thin, got fat, got thin, fat, thin--GIBBS: Stop!ABBY: So usingthat angle, I back-traced the trajectory. The bullet traveled on this path. So unless he was driving with his feet from the backseat, which is something that I have tried but do not recommend...GIBBS: Abby?ABBY: Theround had to have gone through McAllister's body.[SCENE_BREAK]INT. LAB - DAYDUCKY: It's entirely possible, Jethro, but if Abby's animation is correct, the bullet passed clean through the thoracic cavity.Unfortunately, without leaving any evidence of its passing.GIBBS: Hell of a shot.DUCKY: Yeah.GIBBS: The vehicle had to be going over seventy to end up where we found it in the lake.DUCKY: Well, at that speed abullet passing through the ribcage without so much as glancing a single bone... huh! A hell of a shot, indeed.GIBBS: More like impossible. Thank you, Duck.(SFX: DOORS SLIDE OPEN)JIMMY: Doctor?DUCKY: He meansthe vehicle was stationary when Lieutenant McAllister was shot, Mister Palmer.MUSICAL BRIDGE TO:INT. SQUAD ROOM - DAYKATE: (V.O.) Lieutenant McAllister was last seen in Norfolk on a Friday. Then found threehundred miles away in Black Lake, Virginia. (ON CAMERA) Which would make sense if he was heading here to the McAllister Family compound in Shenandoah.MCGEE: So he was heading home for the weekend?KATE:Another twenty miles and he would have made it, McGee.GIBBS: DiNozzo?TONY:TONY: McAllister's military records are spotless, Boss. Been running background on his family. Mother died in ninety three. Father passedaway in two thousand two... three months after the Lieutenant disappeared. The only surviving next of kin is this guy. Thomas McAllister, his younger brother. (CONT.) Washed out of Annapolis freshman year. Arresteda bunch of times for suspected DWI and marijuana possession. Never convicted.KATE: Figures, the rich never are.TONY: Even richer now, Kate. He inherited everything. He's currently the CEO of his own airline.MCGEE:The Good Son and the Bad Seed.KATE: Very Biblical.TONY: The Navy notified him last night about his brother. CACO said he took it pretty well.NCIS WORKER: Lunch!KATE: Oh, thank you. I took the liberty of orderinglunch today. Something healthy for once. There you are. They're tofu veggie wraps. They're good, Tony. Abby and I eat them all the time.GIBBS: DiNozzo, track down the bad seed. I want to know what he was doingaround the time his brother disappeared.TONY: Yeah, I already set up an interview for later this afternoon, Boss.GIBBS: Take Kate. McGee, contact Cooper. I want to know how he found that vehicle.MCGEE: So we'regoing to cooperate with him?GIBBS: No, McGee, he's going to cooperate with me.KATE: I'll be right back. I'm just going to run this down to Abby. Enjoy.(SFX: ALL THROW VEGGIE WRAPS IN TRASHCAN)[SCENE_BREAK]EXT. HANGAR - DAY(SFX: CAR DOORS CLOSE)KATE: Beyond first class? You gotta be kidding me. You might as well call it Rich Jackass Airways.TONY: I think it sounds cool.KATE: You would.TONY:What's that supposed to mean?KATE: Nothing, Rockefeller.TONY: Oh, I get it. So because I grew up with money that somehow makes me bad. Very deep.KATE: Well, it's better than having to work everyday like I hadto.TONY: Listen, do you think money makes life easier? Huh? Everything was just a big ol' cakewalk for little Anthony DiNozzo? You tell me, Kate, because I really want to know.KATE: I'm sorry, Tony. I didn't meananything by it.TONY: Because do you want to know the answer to your question? Yes. Money makes a huge difference. Huge. I miss it every single day of my life so much it makes me want to cry.KATE: You'repathetic.TONY: It's part of my charm.KATE: Yeah.[SCENE_BREAK]INT. HANGAR - DAYTONY: All right, let's find this little twinkle toes .... Hey, there. We're looking for your boss, Thomas McAllister. Is hearound?THOMAS: You'll have to hold on a second. Could you pass me that socket wrench, please, Miss?KATE: Is he even here or shall we stop by a country club or something?THOMAS: I'm Tom McAllister.TONY: AgentsTodd, DiNozzo. NCIS.KATE: Do you always work on your own planes, Mister McAllister?THOMAS: Whenever I can find time in my busy social schedule down at the club, Agent Todd.KATE: I'm sorry about that. Ididn't...THOMAS: It's fine. You would have been right a couple years ago. And please, call me Tom.KATE: Kate. So, do you own all these planes?THOMAS: Me and the bank. That's my new one out there. I plan on takingit for a test flight today if you're interested.TONY: You don't seem too broken up for a guy who just lost his brother, Tom.THOMAS: I've known he's been dead for quite some time, Agent DiNozzo. The first week youexpect a ransom note. After a month you pray. A year... you just know.KATE: When was the last time you talked to your brother?THOMAS: About three months before the accident. Would you believe we grew up fishingat Black Lake?TONY: The thing is it wasn't an accident.THOMAS: The Navy, they said...TONY: Your brother was murdered.THOMAS: Are you absolutely positive about that?KATE: He was shot on the weekend of Octoberfourth, two thousand two. I'm sorry.TONY: Considering his body was found dumped twenty miles from your house, we'd like to know where you were the weekend he disappeared?THOMAS: Me? I was at home.TONY:Anyone who can verify that?THOMAS: I was with my father.TONY: Let me rephrase. Is there anyone who can verify that is still alive?THOMAS: No. Are you saying you think I did it?KATE: We're just following up on anyleads we can, Tom.THOMAS: Of course. Whatever I can do to help.[SCENE_BREAK]INT. SQUAD ROOM - DAYMCGEE: I can't tell you what an honor this is, Sir. Thank you.COOPER: Don't believe everything you read inthe book, kid. It's called fiction for a reason.MCGEE: I actually write a little myself. Is there any truth to the rumor that S.E. Eckhart is in fact you?COOPER: If I was a bestselling author, would I be crawling through theswamps of Virginia searching for reward money?MCGEE: No, I guess not.COOPER: Damn straight. Now tell me about your boss. Is he always such a hardass?MCGEE: Agent Gibbs? He's a lot like you, actually. In fact,the main character in my book is based on him.COOPER: Oh, yeah. I hope you got a better deal than I got.MCGEE: He doesn't know it... yet.GIBBS: Don't know what, McGee?COOPER: What a great guy I am,Gibbs.GIBBS: You ready to tell me how you found McAllister?COOPER: You ready to tell me what you pulled out of his car and his corpse?GIBBS: Depends.COOPER: On what?GIBBS: How bad you want that milliondollar reward.COOPER: Oh, considering how I don't collect 'til you put the murderer behind bards, oh, you got me by the short hairs here, Gibbs. Yeah. I figured the Lieutenant headed home that weekend. But the backroad that he liked to drive... I think it was washed out. Here, take a look at these weather patterns. I spent nine weeks getting these from the National Weather Service. Every Doppler readout, every satellite image Icould find. Pocket of storms, real tight, near the road.MCGEE: Enough to swell that creek alongside?COOPER: Yeah, but only on that side of the mountain, kid. My educated guess? I think McAllister doubled back, tookthis road to the other side where the storm hadn't reached yet. See, the locals only use that road when there are bad storms.MCGEE: It's right along Black Lake, Boss.COOPER: I figured if somebody wanted to kill him,they had to know the roads and the weather the way McAllister did. And they'd have to know he was coming. Am I right?(SFX: ELEVATOR DOORS SLIDE OPEN)TONY: I wouldn't have believed it if I hadn't seen itmyself.KATE: What?TONY: Kate Todd acting like a high school girl with a crush.KATE: He's not a murderer, Tony.TONY: I'm sorry, were you using the new NCIS magical murderer detector back there?KATE: Mygut.TONY: Ah. If you were a guy, I would say you were using--KATE: Don't even say it if you want to live!GIBBS: What did Thomas McAllister have to say?KATE: He hadn't heard from his brother in three months.TONY:Definitely hiding something, boss.KATE: My best guess, it was grief. There's no way he's involved, Gibbs.GIBBS: Abs, what do you have?KATE: The last three calls that came in on the phone from the lake were all madeon Friday, October fourth.GIBBS: Yeah?KATE: And they were all from his brother, Thomas McAllister. Sorry, Kate.(MUSIC OUT)[SCENE_BREAK]INT. NCIS GARAGE - DAY(SFX: TRUNK CLOSES)COOPER: This McAllisterfamily's got more skeletons than a North Korean prison camp, Gibbs. That's everything I turned up. Six months of leg work. Is it okay to smoke in here, sweetheart?KATE: It's Agent Todd, and no, Detective Cooper. It'sa federal office building.COOPER: It's a wonder you guys catch anybody working under these conditions.KATE: We manage.GIBBS: This supposed to be in some sort of order?COOPER: The order is up here, Gibbs. AndI'll be glad to lay it out for you once you tell me what you found in that wreck.GIBBS: Lieutenant McAllister was shot.COOPER: How many times?KATE: At least once.COOPER: You get the round?GIBBS: It was recoveredfrom the passenger-side door.COOPER: Uh-huh. Pistol, huh? Rifle would go clear through.GIBBS: Forty five.COOPER: Ah. Car must have been stopped. He was approached, but not alarmed. Know his attacker? Oneshot, point blank. Blam. Poor sap never saw it coming. You know how, Gibbs. Want to know why?(SFX: ELEVATOR DINGS/DOORS SLIDE OPEN)TONY: Ow! Angle your end down, Probie.MCGEE: I told you we shouldhave taken the legs off.TONY: Ow! Ow! I said down! What does Cooper need this thing for anyway?MCGEE: He's old school. It's part of his process. He has solved every case he's taken on, Tony. How many detectivesdo you know with a hundred percent batting average?TONY: You mean besides Gibbs?(SFX: TONY AND MCGEE STRUGGLE TO MOVE THE TABLE)TONY: Finally.GIBBS: Change of plans. We're doing this upstairs.(SFX:ELEVATOR DOORS SLIDE CLOSED)MCGEE: Maybe we should take the stairs.TONY: Maybe you should take the legs off like I told you to. I'm going to take the stairs.MCGEE: I'm the one who said that--TONY: Ah!Ah![SCENE_BREAK]INT. SQUAD ROOM - DAYCOOPER: Elaine McAllister, the mother. Into the occult in a big way. Psychic, séances, all that weird sh-stuff. She dies in ninety three, the family falls apart.GIBBS:How?COOPER: The old man. He took it pretty hard. He decided he was going to contact the dead wife. Starts neglecting the family business.GIBBS: What do you mean by make contact?COOPER: He consults this spacecadet, Saleena Lockhart. Claimed to be a psychic.KATE: I've heard of her. She used to have that tabloid astrology column.TONY: I don't buy it.KATE: Astrology?TONY: No, you reading tabloids.COOPER: She weasels herway into the old man's life. Next thing you know she's practically running it. McAllister Avionics starts to slide until it's almost bankrupt by two thousand.GIBBS: How much money did he leave her?COOPER: You'requick, Gibbs. Almost ten million. He changed his will two weeks after the Lieutenant went missing. The surviving brother, still fighting it in court.TONY: She's kind of like Anna Nicole.COOPER: Who?GIBBS: That's what I"}
+{"doc_id":"doc_321","qid":"","text":"ACT ONEScene One \u0000 Hallway Outside Frasier's Apartment[SCENE_BREAK]Roz is standing at the door to Frasier's apartment when the elevator opens and Frasier, Daphne, Niles and Mel get off. All four are dressed inblack.Frasier: Oh, hi, Roz.Roz: Oh, there you are. I brought something for Daphne and I was just gonna leave it with the doorman. [Daphne begins to cry]Frasier: Oh, lord.Reset to: Living Room They go in. Daphneheads into the powder room.Roz: Did I say something?Frasier: Well, actually our doorman, Morrie, passed away this week. We just got back from the funeral.Roz: Oh, my gosh, I'm so sorry. Is she going to be allright?Frasier: Well, you know, she's been a little high-strung all week, even before he died. I guess it's just wedding stuff, you know.Roz: Yeah.Daphne comes back.Daphne: Ooh, sorry 'bout that. So, you brought mesomething, Roz?Roz: Well, yeah. I figured you couldn't get married without wearing something borrowed. [Hands her a small box]Daphne: Oh! What a beautiful garter! Look at all the lovely detail.Niles: I especially likethe little odometer.Roz backhands him in the stomach as he grins.Daphne: Thank you so much, Roz.Mel: Does anybody besides me feel like a cup of coffee?Frasier: Oh, I'll brew a pot.Mel: Oh, don't be silly. I've beenhere enough times to know how to get the coffee made. Daphne, make us some coffee. [Then] Kidding!Niles laughs. She heads for the kitchen.Roz: [picking up a folder] The Wayside Inn. This is where you're havingyour wedding? Oh gosh, it's just so beautiful.Daphne: I hope it is, the planning's been a nightmare. I spent an hour today on the seating charts. Everyone has some demand. \"Don't sit me near the band\", \"Do you mindif I bring a friend?\"...Roz: Oh my God, you can't seat me next to him.Daphne: Exactly! Every selfish, whiny little thing...Roz: No, you cannot seat me next to Tim Walsh. I dated him all last summer and he dumpedme.Daphne: He's going with my bridesmaid Annie. I have to seat the bridesmaids together.Roz: This always happens to me. Is there no place I can go without running into some guy I've dated?Niles: I was readingabout a Trappist monastery in the Amazon that they somehow built into the treetop.Roz: Shut up, ya big doily! This is gonna be awful! Here I am at a wedding, sitting next to a guy who dumped me!Frasier: Oh, comeon Roz, you won't be alone. You'll be on the arm of a well-known Seattle boulevardier and radio star.Roz: Frasier, I can't go with you. I mean, going to a wedding with your boss is like going to the prom with yourbrother.Frasier: Niles and I did not go to the prom together! Our dates were sick and we went stag!Niles: In retrospect, yes, we should have canceled the horse-drawn carriage, but hindsight is20/20.[SCENE_BREAK]MEMENTO MORRIEScene Two - Frasier's Living Room[SCENE_BREAK]Martin enters carrying a gift bag.Martin: Hey, Roz.Roz: Hi, Martin. I'm really sorry to hear about your friend Morrie.Martin:Oh, thanks. Yeah, his wife just did the nicest thing. I guess she knew Eddie and I'd stop by and shoot the breeze with him, so she gave us something to remember him by.Frasier: Oh, well. [Reading the tag] \"For Martinand Eddie.\" Gee, isn't that nice?Martin: Yeah, I think it's some kinda wine.Frasier: Well, yes I'd say so, but...He pulls out the bottle, reads the label, and gasps.Frasier: My God, Dad! This is a 1945 ChateauPetrus!Martin: Oh, yeah? She said he got it from his uncle who was in France after the war.Frasier: Well, it's one of the rarest bottles in the world!Martin: Well, if you're good, maybe Eddie'll give you a glass out of hishalf.Martin exits to the kitchen as Niles comes over to examine the bottle.Niles: I've never even seen a '45 Petrus!Roz: Oh, poor Morrie. He probably waited his whole life for an occasion special enough to open thatbottle.Frasier: Yes. Perhaps this should be a lesson for us all. Morrie might be standing guard at the door to heaven right now, but he's buzzing us with one last message: Live life now. I'm reminded of a parable...Knockon the door.Daphne/Niles/Roz: Come in!The door opens and Simon (Daphne's obnoxious brother) enters with a duffel bag.Daphne: Simon!Simon: Hello, sis.Daphne: I thought you were in California.Simon: Yeah, well,those friends I went to surprise were out of town. So I decided to housesit for 'em, which was lovely. 'Til they came home last night. I don't know what all the screaming was about, I was the one in the tub! Whereshould I put this bag?Frasier: By the door so you don't forget it when you leave.Simon: Right. I think I know everyone here. [spots Roz] Or do I? And what would your name be then, Miss?Roz: Simon, you low-life idiot!You made a date with me last week and you stood me up!She crosses toward the door.Simon: Sorry, love, I need a bit more to go on.Roz: Maybe this'll refresh your memory.She slams the door in his face.Simon: Roz!Of course!Martin: [entering from kitchen] Well, look who's back!Simon: Well, who's this then? I'd say it was Marty Crane, but he's a bit too young and trim, eh?Martin: Oh, go on! Can I offer you a beer?Simon: Oh, Ihate to drink alone, could I have a sandwich with that?Martin and Simon exit to the kitchen.Frasier: If that beer-swilling boomerang thinks he's staying here, he's got another thing coming.Niles: Better get a move on,he's already got your address on his duffel bag.The phone rings, Daphne gets it and goes to her room. Mel enters from the kitchen with a cup of coffee.Mel: We'd better get going if we're going to reach the cabin bydark.Frasier: Cabin?Niles: Yes, Mel and I are celebrating our six-month anniversary by taking a little mid-week getaway to her friend's country place.Mel: Yes, no phones, no stress, just two days of rest and relaxation. Ido have to pick up a little anniversary gift, though, so give me nine minutes and pick me up at the northwest corner of Pike and Elm at 4:42.Mel and Niles refer to their watches.Mel: Coming up on 4:33...Niles:Synchronizing...Mel: Now! [Then] Good, I'm relaxing already.She kisses Niles and leaves. Martin and Simon enter from the kitchen.Simon: Thank you Marty, it's most hospitable of you.Martin: Well, you gotta have aplace to stay...Frasier: Stop right there! He cannot stay here! The man is loud, ill-mannered, and the last time he stayed here he killed a ficus tree on the downstairs neighbor's balcony by means which are best left tothe imagination!Martin: Frasier, I invited Simon to stay in my Winnebago! Come on Simon, I'll show you your new digs.Frasier: Oh, lord. Simon, you know I...Simon: Oh, no, forget about it. It's no worse than what Iwas just sayin' about you in the kitchen.Frasier: [chuckles] Good one.Simon: [sotto to Martin] He thinks I'm joking.Simon and Martin leave.Niles: Join me in a sherry, Frasier?Frasier: Oh, I think I will, Niles.Niles: Youknow, I have to admit, I'm a little bit nervous about this trip. I have a feeling Mel may make another push for us to live together.Frasier: Oh, my.Niles: She's been bringing it up quite a bit lately. She says it's a goodway for us to test our relationship.Frasier: You're afraid you'll discover things about each other that you won't like?Niles: Oh, no. No, no. We're past that stage. She knows my likes and dislikes. I've come attuned to hervarious quirks... eccentricities... bugaboos.... bκte noirs... night terrors. It's the fun of being in love. I don't know what's bothering me.Frasier: Is it possible that your foot-dragging might have anything to do with somelingering feelings for Daphne?Niles: Frasier, uh, you must realize I put that behind me months ago.Frasier: Just asking.Niles: I'm very happy with Mel.Frasier: Well then, what's your problem?Niles: Uh, well, let's see. Ijust got through with a rough divorce. I do have a tendency to be overly cautious...Frasier: This could be a chance to change all that.Niles: So you're in favor of it?Frasier: Well, I've never really been the president of theMel fan club, but she does seem to make you happy. And as we were reminded this morning, life is not to be taken in baby steps. Ask not for whom the doorman buzzes...Niles: Thank you. All right. That wasmuch-needed therapy.He gets up to leave.Frasier: Well, it was my pleasure. You're my brother, you get the family rate.Martin comes in as Niles gets to the door.Martin: Hey, guys. Got all the way down to theWinnebago and realized I had the wrong keys.Niles: See you guys in a couple of days.Martin: All right.Niles leaves, Daphne enters from her room on the phone.Daphne: You don't say, mum. Your phlebitis again? Shelooks pleadingly at Frasier and holds the phone out.Frasier: [bellowing] Daphne!Daphne: Got to go now, mum, Dr. Crane's on the warpath again. Bye. [Hangs up, then to Frasier] Thank you!Martin: Daph, I'm gladyou're here, because I was thinking about that wine of Morrie's. You know, that's something really for a special occasion. So, I'd like you to have for the wedding, enjoy it on your honeymoon.Daphne: [starting to cry]Oh, Mr. Crane!She hugs him and cries on his shoulder.Martin: Oh, Daphne, come on. Come on now, it's only a bottle of wine. I don't even know that much about it. Frasier? Help me out here, will you?Frasier: Well Dad,Chateau Petrus is a premier crux Bordeaux...Martin: No, no, no. No, I mean with Daphne.Frasier comes over and holds Daphne.Martin: There you go.Frasier: Oh, Daphne.Martin leaves.Daphne: I'm sorry to get soemotional like this.Frasier: It's all right. The funeral must've really upset you.Daphne: It's not that. Dr. Crane? I've wanted to talk to you about this all week, but I haven't known what to say. You promise you'll keepthis just between us?Frasier: Of course.Daphne: It's about your brother. You see, I know.Frasier: Know what?Daphne: I know about his feelings for me.Frasier: My God! How did you find out?Daphne: It's notimportant.Frasier: Somebody blabbed, didn't they? Why can't people just mind their own business? Who was the nattering gossip? Roz? Dad?Daphne: You.Frasier: What?Daphne: You were taking those pills for yourback and you blurted it out while I was giving you a massage.Frasier: Oh, well, they were very strong pills, you see...Daphne: Needless to say, it completely took my breath away. At first, I tried to forget about it, put itout of my mind.Frasier: Well, the bottle said just to take one, but I'm a big man...Daphne: Oh, will you shut up about those pills?!Frasier: I'm sorry. I'm sorry.Daphne: Anyway, after a while, I couldn't put it out of mymind anymore. I find myself thinking about him all the time.Frasier: Daphne... are you saying that you have feelings for Niles?Daphne: I think I do. Oh, I don't know! Even if I did, he may not feel that way about meanymore, he's with Mel now!Frasier: I-I don't know what to tell you, Daph. Uh, I, I, think the best thing is for you to, to try to find a way to talk with Niles.Daphne: Ugh. That's not an easy conversation to have.Frasier:It's easier now than after you're married.Daphne: You're right, I have to talk to him. And right away. I'm already making myself sick over this. If I leave it any longer, I'll be a complete basket case. Uh, did he mention ifhe was going home?Frasier: Well, ah, actually, um, ah, he's going, ah, somewhere else first. Um...Daphne: Where?CUT TO: the hallway. Martin and Simon are getting off the elevator.Martin: Get you some towels andyou'll be all set down there.Simon: Right.They enter the apartment, Daphne is again sobbing on Frasier's shoulder.Martin: Oh, geez, Daphne! It's just a bottle of wine!END OF ACT ONEACT TWOABSENCE MAKES THEHEART GROW FATTERScene One - Frasier's Living Room. The doorbell rings.Daphne: [v.o.] I'll get it![SCENE_BREAK]Daphne is in the apartment, eating cookies from a large bag. She puts the bag down, composesherself... and opens the door to reveal Frasier holding a lot of packages.Daphne: Oh. Dr. Crane! I didn't even know you'd gone out. I thought you might be your brother.Frasier: Well, I went down to get the mail and gotall these wedding gifts for you. But don't worry, Niles called and said he'd be coming by this afternoon.Daphne: [picking up the bag and eating another cookie] I don't even know how I'm going to begin thisconversation.Frasier: Well, I'm sure those chocolate-chip blackened teeth'll be a nice icebreaker.Daphne: I've been so nervous lately, I've done nothing but stuff myself with junk food.Frasier takes the bag and thedoorbell rings.Daphne: Oh, it's him!Frasier: All right, all right, fine. You're gonna be just fine. Okay? Remember to speak from the heart.She goes to the door, composes herself... and opens the door to Martin.Daphne:Mr. Crane!Martin: Thanks! Eddie started doing his \"I don't know how much longer I can hold this\" dance and I just ran out without my keys. Have you ever seen him do that dance?Frasier: Just the droll impression of ityou do at parties, Dad.Daphne: [again eating cookies] You know, Mr. Crane, Eddie seems awfully fidgety. I don't think he got enough exercise on that walk.Martin: Anybody needs any exercise, it's you, the way you'reeating now. You know, when they put \"Party Size\" on that cookie bag, they don't mean party of one.The doorbell rings again. Frasier takes the bag and Daphne composes herself again \u0000 then opens the door toSimon.Daphne: Simon! What do you want?Simon: Well, I've just come to borrow a pen so I can fill out this job application.Frasier: What? Oh, you're applying for work? Well here, allow me. [Gives him a pen] Gosh,we'll miss you around here, but onward and upward! [laughs] So, what's the job?Simon: Doorman.Frasier gasps and staggers, as Daphne supports him.Frasier: Dear God.Simon: Well, it's ideal for me, really. Nice cozychair, plenty of time to think the long, long thoughts of youth. Not to mention what the uniforms do for the ladies, ah? [laughs] If memory serves, a certain bellhop back in Manchester found that out with a young ladywho will remain nameless.Daphne: Simon! [to Frasier] I tell you, I'm this close to just poppin' him one!Frasier: Now, now Daphne. Daphne, you just have to calm down. Here, have a cookie. [Gives her the bag, she eatsone]Simon: What is up with your appetite lately? What, are you knocked up or somethin'?Daphne: Of course not!She storms toward him, Frasier grabs her.Simon: Now, now, you wouldn't be the first person in ourfamily to be walking down the aisle carrying more than just a bouquet.Daphne lunges at him, with Frasier holding her back. The doorbell rings again.Frasier: Uh, Simon, why don't you finish filling that out in the kitchenand help yourself to a beer?Simon: Well, great!He goes to the kitchen. Frasier takes the bag as Daphne composes herself again... and opens the door to-Daphne: Roz!Roz: Hi, guys! Hey, Frasier? I felt kinda bad aboutthe other day, dumping you as my wedding date...Frasier: You want me back, don't you?Roz: And I'm sick about it. But I can't find anybody else.Frasier: Sorry Roz, I already invited somebody else, she's driving up onSaturday to join me.Roz: Well, get rid of her! I need a date! I'm desperate!Simon enters from the kitchen with a beer.Simon: Well, well, somebody here is singin' my favorite song.Roz: Simon? There's a guy who lives inthe park across the street from me. He wears a cat suit and meows at people. If he's busy, maybe I'll call you.Simon: I'm prettying myself up, just in case. Speaking of which, Daphne, I borrowed your blow dryer for myjob interview.Daphne: I spent an hour looking for that! I thought I was losing my mind!Simon: Well, that does happen to women in your condition. You know, in the family way.Martin: [entering] You'repregnant?Daphne: I AM NOT PREGNANT!Simon: What, just another scare, then? Like that time back in school with that Pakistani chap?Daphne: [lunges at him] Right, that's it, you pig!Roz ducks out of the way. Frasiergets in front of her, scoops her over his shoulder and heads for the door.Daphne: Oh, put me down!Frasier: Daphne and I are going out for a breath of fresh air, perhaps retrieve her blow dryer. Oh, if Niles shouldhappen to stop by, keep him here. There's something important I need to discuss with him.He is going out into the hall as he says this.Reset to: Hallway He shuts the door.Daphne: Oh, for God's sake, put medown!Frasier: Not until you promise not to kill your brother.The elevator opens, he goes in and puts her down. There is a neighbor with a basket of laundry next to them.Daphne: Oh, all right! It's not as if he doesn'tdeserve it, telling everyone I'm carrying Donny's baby! Like I don't have enough to worry about today, waiting for Dr. Crane.Frasier: Daphne, Daphne, you have to calm down.Daphne: It's not easy. I don't even knowhow to begin with him. \"Would you like steak or salmon at my wedding? And by the way, I think I might be in love with you.\"Frasier: You'll find the words when the time comes, all right? [Glares at the neighbor] Anddon't pretend you're not listening, Mrs. Richman! Your laundry is not that interesting.[N.B. Mrs. Richman is Doris from [5.09], \u0000Perspectives on Christmas.\u0000]Back in the apartment, Roz is on the phone.Roz: Oh, comeon George, I'm desperate here. I promise you a good time. I mean a REALLY good time, if you get my drift. [Pause] You might have mentioned I was on speaker-phone!She disconnects.Simon: Listen to what you'redoing, Roz. It's not very dignified, is it?Martin: Come on Roz, give Simon a chance.Roz: So he can stand me up again?Simon: And miss my sister's wedding? Never! If you're worried about my appearance, I know whereI can get my hands on some very nice Armani suits.Martin: Or you could just grab one out of Frasier's closet.Roz: What did you think he was talking about? All right. But Simon, just remember my ex-boyfriend will bethere. If anybody asks, you're an internet millionaire.Simon: Right. I'll be the perfect, well-bred, up-market gentleman. Now, I'll walk you to the garage.Roz: Ah, you don't have to.Simon: No, it's no bother. I livethere.They go to the door and open it to find (at last!) Niles. He is wearing a large grin.Niles: Roz!Roz: Niles.Niles: Simon!Simon: Well, by the look of that smile on your face, I'd say somebody got himself a bit lastnight. [gestures lewdly with arms]Niles: [looking shocked and appalled] I find that remark rude, boorish and IMPOSSIBLE TO DENY! [Breaks out laughing]Simon: Brilliant!Simon gives Niles a punch in the arm, knockinghim back into the hallway. Roz just looks disgusted as they leave. Niles comes in.Martin: Niles, how was your trip?Niles: Oh, fantastic, Dad. Where's Frasier? I have some news.Martin: He'll be back in a bit. What'sup?Niles: Oh, well, uh, I should wait for Frasier, it was really his idea. Do you mind?Martin: I can wait.Niles: Okay, I can't!Martin: What is it?Niles: I'm married!Beat.Martin: Married?Niles: Yes, Mel and I elopedyesterday. [Martin is stunned] Well?Martin: [gets up to hug him] Well... congratulations, son! That's great. So, uh, you're happy, right?Niles: Oh, happy? I'm delirious!Martin: Yeah, you'd have to be, wouldn't you? So,you say this was Frasier's idea?Niles: Well, indirectly, yeah. Oh, oh, before I forget: it occurred to me, I think we should keep this from Daphne and Donny. I would hate for them to think we were stealing theirthunder.[SCENE_BREAK]Frasier comes in.Frasier: Oh, Niles.Niles: Frasier, three guesses what I did yesterday...Frasier: What?Daphne enters behind him (with her blow dryer).Niles: Daphne.Daphne: Dr. Crane.Niles:[to Martin] Oh, send Daphne away.Daphne: [to Frasier] Get rid of your father.Martin: Daphne, could you go to the drugstore? I'm all out of liniment and my back's gettin' kinda achy.Frasier: You know, Dad, that'sbecause you've been sitting in that chair all day. I'll tell you what, you know what you could use? A good walk to the drugstore. Do you a world of good. I'll go with you.Frasier grabs Martin's arm and cane and startsdragging him to the door.Martin: Well, okay, all right. Niles, why don't you come too?Niles: Yeah, we'll all go. [He starts to follow]Frasier: No, no, there's something very important I need to discuss with Dad, Niles. I'msure you understand.Martin: Fras...!Frasier slams the door behind them. Niles and Daphne look at each other a moment and then Niles's cell phone goes off.Niles: Oh, excuse me. [Answers phone] Hello? Mel, darling!Oh, just hanging out with Daphne.CUT TO: the hallway. Frasier and Martin are waiting for the elevator.Frasier: Honestly Dad, when will you learn to take a hint?Martin: I can't take a hint? Couldn't you see that Nileswanted to talk to you?The elevator opens and they get on. Mrs. Richman is there, without the basket, apparently going back for another load.Frasier: Well, whatever it is, it can wait.Martin: Oh, yeah! No big deal, hejust got married, that's all!Frasier: What?Martin: He eloped with Mel yesterday.Richman: Poor Daphne...Frasier: Would you please keep out of this, Mrs. Richman? We have got to get back up there. [Stabs at thebuttons]Martin: We're going to the basement.Frasier: I can't wait that long!The doors open on a lower floor. Frasier runs around the corner to the stairs.CUT BACK TO: the living room.Niles: [on phone] I'll see you later,"}
+{"doc_id":"doc_322","qid":"","text":"Andy: Alright everybody, great season of softball, I'm super proud of you guys and I think you're gonna like this little highlight reel that I put together. [Andy plays video]Group: Dunder Mifflin!Andy: Andy Bernardpresents: Summer Softball Epic Fails! [Kevin swings bat on screen, fart noise follows] Fail. [repeats] Fail.Kevin: That's me. [repeats]Andy: Fail.Oscar: Is this like a blooper reel?Andy: A blooper reel? What is this, 2005?I look like Bob Saget? Fail! [Points to video] Who's this guy? [Jim steps back and forth from plate on video as Andy sings Meow Mix theme]Look at him dance. Fail!Dwight: Fail!Jim: I deserved that.Andy: [Darryl runs inslow motion on video] Do do do do do do do.Darryl: That was a triple.Andy: Can't take the fail? Get out of the fail video!Darryl: My pleasure.[Clark and Pete are shown on screen]Video Andy: Hey, I'm Pete, puberty issuch a drag, man. And I'm Clark! I like to eat toilet paper. [Clark and Pete wave at camera] We fail! [Video shows memorial of Jerry]Andy: I'd like to take a solemn moment to remember Jerry in the warehouse whopassed away this year. [Screen flashes 'FAIL' over Jerry's face, accompanied by fart noise, repeats twice.] Well, that's all folks. [photo of Andy watersking shows on screen] Ski ya later everybody. Thanks for a greatseason. [Group claps halfheartedly]Oscar: What was that? That was just a normal video with you making vulgar noises.Andy: Well, I worked with what I had, Oscar. Next time do more failure stuff, OK?Jim: Uh, whathappened to that video I sent you?Andy: Oh that wasn't...that didn't work. That was not the right..[Group protests]Jim: I think I got it right here. [Cheering on screen, Andy struggles with lifting water cooler, then fallsover dumping the fluids on himself][Group laughs]Andy: That was not a fail.Group: Fail! Fail! Fail!...Andy: [Group continues chanting \"Fail!\"]That was actually a serious accident that could have resulted in severe bodilyharm. [Group keeps chanting] You're all failing right now. [Group continues] Congratulations on your epic fail of the use of the word fail! [Group claps and chants][SCENE_BREAK]Dwight: [Toby uses tester on wall asErin marks wall with red tape X] Oh, god.Phyllis: What's going on?Dwight: Nothing! Nothing is going on. Keep moving please.Stanley: What's he measuring?Dwight: OK, excuse me. I am the landlord. This is betweenme and the management, no one else. Please.Toby: It's an EMF hotspot.Phyllis: [Gasps] Oh my god!Oscar: It stands for electromagnetic field. Generally cause by a concentration of wiring in one area [Erin marks redtape X on the floor] Especially if they're poorly insulated. Dwight.Andy: Um, OK I'm just walking into this. Am I to understand there is a bee hive in the wall?Toby: You think I have a machine for measuring beehives?Andy: I was just asking a question, Toby. How are you not murdered every hour?Stanley: Well I'm not getting paid to work in a microwave oven.Dwight: OK, listen. Everything here is up tocode.[SCENE_BREAK]Dwight: [mocking] Oh, the wires need insulation. [normal voice] It's a wire people. I'm not buying it a fur coat.[SCENE_BREAK]Pam: [Jim rushes to open door for her] Thank you.Jim: You gotit.[SCENE_BREAK]Jim: Last week, I finally told Pam about the other job I took in Philly...the side job. And she was so incredibly cool about it. And now I just wanna do something huge for her. Like if we were in somebiker bar and she mouthed off to some bikers and they came lumbering over and I was like wham! [mimes punch] Gotta go through me first.[SCENE_BREAK]Nellie: Andy, could I have a word please? Um, it won't take amoment. It's extremely important and it really has to happen now.Andy: Fine. I will give you one minute.Nellie: Oh, please don't use the hourglass.Andy: You have one minute and your minute has begun and no timewill be added at the end, even to accommodate this sentence with all of it's baroque dependent clauses and cascading turns of phrase.Nellie: I'm trying to adopt a baby.Andy: A baby what? A human?!Nellie: Andthe...agency require a character reference from my employer.Andy: Oh.Nellie: You wouldn't have to do anything. I would write the letter myself and you just simply sign it. So.Andy: Oh, OK. And fall right into yourplagiarism entrapment scheme? I don't think so.Nellie: It's not..it's-Andy: And I happen to notice you're down to about thirty seconds here.Nellie: Well then if I could just convince...Andy: And those sand grains aretumbling..Nellie: You.Andy: With fury...Nellie: It's not..it's notAndy: Down the sides..Nellie: Entrapment if I'm..Andy: Of the hourglass..Nellie: ..writing..Andy: Time's up!Nellie: Fine.[SCENE_BREAK]Andy: Sure. I'll readher letter. And if she tells the truth about how evil and unfit to be a mother she is, then yeah. I'll sign that.[SCENE_BREAK]Dwight: [Reading from computer] \"Statistical correlations exist between EMF radiation andvarious health hazards. But mainstream studies are inconclusive!\" That means you can't make me do squat.Meredith: You better fix this. I already ditched my uterus and I ain't losing any more good parts.Dwight: Youpeople don't realize what you're asking. I'd have to rip open the walls. We'd have to shut this place down for a week.Pam: Week off. That'd be great.[SCENE_BREAK]Darryl: [Jim puts popcorn bag in microwave] Hey, ifyou don't want to teach me Power Point, just say so.Clark: I don't want to teach you Power Point.Darryl: Come on! Just show me the Power Point.Clark: Just do the tutorial.Darryl: You're the tutorial.Clark: No, dude,I'm not. I'm not the tutorial.Darryl: You could be.Clark: Mm-mm.Darryl: [to Jim] What are you doing?Jim: Getting my wife a week off from work.Darryl: You popped one kernel.Jim: Awesome, right? [leaves]Clark: SoCreed is that dude's step dad?Darryl: Correct.[SCENE_BREAK]Jim: Well, I don't know about the rest of you but I'm just gonna say it. I'm nervous. I have no idea what health problems this is all gonna cause. [groupagrees, protests]Dwight: What? Come on.Creed: I'm getting older. I'm losing my hair...Meredith: I'm not gonna grow a third arm![SCENE_BREAK]Dwight: I know what Jim is trying to do. He's trying to get big badDwight to shell out for a huge repair job while lucky Jimbo gets a paid vacation. Well sorry, lucky Jimbo, I can live very happily in a magnetic field. Most of my childhood heroes got their power thatway.[SCENE_BREAK]Jim: [reading from computer] \"Side effects of EMF include: headaches...\"Dwight: Had 'em all my life.Jim:\"..breast pain...\"Dwight: No nobbies, no probbies. Nice try Jim.Jim: Oof.\"Infertility.\"Dwight: [scoffs] Yeah right. [Dwight moves mouse pad over his crotch]Jim: Ah! There's my popcorn. Can you just grab that for me?Dwight: Psh. Keep your snacks on your side, Jim. Idiot. [notices poppedkernels in the bag] What the?Jim: What?Dwight: Some of these kernels have crowned.Jim: That's impossible, cause that's a brand new bag...[looks up to ceiling where there is a red tape X over Dwight's chair] Oh mygod.Dwight: Andy! [Jim mimes basketball shot][SCENE_BREAK]Jim: I'm gonna drive you up to the lake, give you a whole week on the water. Just you, me and the kids.Pam: Oh, can we stop by that pie stand on theway?Jim: You mean Laverne's Pies Tires Fixed Also? [Pam nods] Yes we will be doing that. We'll be getting a dozen.Pam: A dozen different pies? Cause that means rhubarb.Jim: Why would you say that? I meant 4apple, 4 blueberry, 2 cherry, 1 peach and 1 chocolate. I thought that was implied.Pam: Yeah, OK then.Andy: Ladies and gentlemen, I have heard your complaints and we reached a settlement.Dwight: So, we will beleaving the office for one whole week.Meredith: Nice job.Dwight: In my contract, it is stipulated that I provide a temporary work space. It will arrive in one hour.Jim: What?[SCENE_BREAK]Pam: What's this?Andy:Whoa!Jim: What?Dwight: [Bus pulls into lot] Bring it in![SCENE_BREAK]Dwight: Roll into the future with Work Bus. Say goodbye to wasteful buildings. These days a mobile office isn't just for hotshot politicians. Nowanyone can rent a work bus. [Meredith and Kevin bump chairs in bus angrily] If you've got a parking lot, a work space is just a phone call away. [Erin tapes candy dish to pole] In this age of belt tightening and lessempowered workers, a work bus is how tomorrow gets things done.[SCENE_BREAK]Stanley: [on phone] There are a hundred packs..Oscar: [On phone] No six after the eight, no....Stanley: Shh!Oscar: Shh!Stanley:Ninety nine cases..yeah.Oscar: Six. [Pete opens air vent over Angela, papers go flying]Angela: Ooh!Pete: Oh sorry! Sorry.Angela: Oh my god![SCENE_BREAK]Erin: [bumps into Meredith] Sorry.Meredith: Loseweight.Erin: I'm trying. Sorry.[SCENE_BREAK]Erin: [handing Nelly envelope] Oh, the Pennsylvania Department of Public Welfare Pre-Adoption Standard.Nellie: Oh of course, you were adopted.Erin: [laughs] I wish! No,I um, I made some short lists. I had a couple sleepovers, but I never managed to get in the end zone. I don't know what it was. Not loveable maybe? [laughs] Oh well.Nellie: Listen, I'm really struggling with this form.But as you know the system, you think maybe you could..?Erin: Absolutely. I know exactly what they want to hear. I would love to help.Nellie: Oh thank you so much!Erin: [whispers] Just don't tell Andy,because..Nellie: He hates me and thinks I'm a monster. Should go back to Loch Ness. [Erin nods][SCENE_BREAK]Clark: Stretch. Alright.Stanley: How many times do you need to take a stroll?Clark: I, my legs crampup! Ok, it's a circulation issue.Stanley: Boy, I will hammer spank your rear.Jim: Alright, alright, gang. Let's just settle down. You're yelling in her face.Clark: It's a medical thing.Jim: Just...you good?Clark: I'm good.I..Jim: [to Pam] I'm so sorry for all of this.Pam: It's OK. You know what they say, a change is as good as a rest.Angela: I, I need to get to the paper please. [Reaching for overhead bin above Pam, papers fall and Pamhas liquid spilled on her]Pam: Oh my god! Ah!Jim: I'll get you a napkin. Someone get napkins please!Pam: You know what? It's fine, it's fine. Let me just...it's fine. [Pam leaves work bus]Jim: Pam, I'm really sorry. I-I'm really sorry about...all that. [Dwight smiles at Jim] Really? Smirking?Dwight: What can I say? I love justice. You forced me to spend money on needless repairs, and uh now you're locked in a prison bus and yourwoman drips with beverage.Jim: Hey, Dwight. I was trying to do something nice for Pam. Can you just, help me out? Can we maybe take this thing somewhere? Or do something to not make this the worst dayever?Dwight: It's not my responsibility to solve your marriage problems by spending my money on gas.Jim: Andy!Andy: Yo. Dudeces.Jim: You're the boss. Don't you think we'd all be a lot more productive if while wewere doing work we looked up and saw the best rural pie stand in Pennsylvania?Phyllis: Oh, I know I'd be more productive.Kevin: As would I.Stanley: No question.Dwight: No. No! This is a work bus. The wheels are fortransporting the work space to and from the work site.Jim: What are you talking about? You're not the boss. Andy is. Andy?Phyllis, Kevin & Stanley: Pies! Pies! Pies! Pies! Pies!Andy: Alright! The fat people have spoken!Dwight, get this bus moving.Erin: Yes! [Group cheers]Jim: Next stop: Laverne's Pies Tires Fixed Also.Pam: Oh! Yes! [Group cheers, Dwight moves to driver seat]Jim: [To Dwight] So it looks like this work bus was apretty good idea after all, huh?Dwight: Get your foot behind the yellow line.Jim: You got it.Erin: Yeah Jim! [Group claps][SCENE_BREAK]Darryl: [Sitting outside building] Stop.Clark: Come back.Darryl: Too late.Clark:Mmm.[SCENE_BREAK]Group: Shabooyah, role call. Shabooyah, yah yah shabooyah, role call.Pam: My name is Pam.Group: Yeah!Pam: I like to paint.Group: Yeah!Pam: You think you're better?Group: Yeah!Pam: Oh noyou ain't!Group: Role Call! Shabooyah, yah yah shabooyah role call! Shabooyah, yah yah shabooyah, role call!Kevin: My name is Kevin.Group: Yeah!Kevin: That is my name.Group: Yeah!Kevin: They call meKevin.Group: Yeah!Kevin: Cause that's my name.Group: Role call! Shabooyah, yah yah shabooyah role call! Shabooyah, yah yah shabooyah role call![SCENE_BREAK]Creed: [Dwight pulls over to pick up hitchhiker]Thanks. Playing a little hookey from work today....Oh my god.[SCENE_BREAK]Andy: Dunder Mifflin road trip twenty twelve! [group takes pictures] Ah OK, now a serious one.Pam: Hey, where's Dwight? He should be apart of this. Has he been acting kinda weird to you lately?Jim: If by lately you mean the last twelve years, yeah.Pam: No, I mean he's sulking. That's not like him.Jim: He's just mad that we're all having fun.Pam: Thenwhy isn't he scheming? Or preparing to avenge?Jim: He's fine. He's indestructible.[SCENE_BREAK]Erin: Always say that a child is placed for adoption, never surrendered. We're not hostages.Nellie: [laughs] Well, I haveconsidered kidnapping one.Erin: Never say that.[SCENE_BREAK]Erin: I am so excited thinking about this child you're going to adopt.Nellie: I wish I could just wave a magic wand and make you a parentless five year oldagain. I would snap you up.[SCENE_BREAK]Stanley: Next stop pies! [group joins in]Group: Next stop pies!Kevin: Next stop pies!Jim: Let's go driver! [clapping] Laverne packs up the pie wagon at five so...Kevin: Atfive? That's only twenty minutes from now. The pie shop is thirteen miles away. So at fifty five miles an hour that just gives us five minutes to spare.Angela: So wait, when pies are involved you can suddenly do math inyour head?Kevin: Wh...Oscar: Hold on, Kevin, how much is 19,154 pies divided by 61 pies?Kevin: 314 pies.Oscar: What if it were salads?Kevin: Well, it's the...carry the four...and...it doesn't work.Dwight: I'm sorry tospoil Jim's fantastic voyage everyone, but we're almost out of gas.Jim: OK, well I saw a station about a mile back so, chop chop.Dwight: That name brand place? Nope forget about it, sorry. The tanks are so big on thisthing, five cents a gallon extra, that really adds up.Jim: Are you kidding me? Dwight, come on!Pam: Hey honey, I don't think we should push him.Jim: Oh no, I'm gonna push him. You know why? Because you're gettinga pie. Why? Cause you deserve it. And what is he doing? He's trying to drive us all around the countryside looking for gas because he knows we won't get there. Is that what we want?!Group: No!Dwight: Stop orderingme around, Jim!Jim: What do we want?!Group: Pies!Jim: When do we want it?!Group: Pies!Dwight: OK, fine. You win. Jim, you win. We have been battling for a long time, but you know what? You win, cause you arethe winner, you are the alpha male, there you go. [drops keys in Jim's lap] Alpha male, go buy your wife a pie. Go buy the whole world a pie.Jim: That's impossible. [Dwight climbs through ceiling hatch]Dwight!Meredith: Oh my!Jim: What are you doing?Meredith: Dwight, what the hell?Oscar: Dwight!Clark: What?Kevin: Well now I don't even feel like pie. Wait...no it's back.[SCENE_BREAK]Phyllis: [Dwight's footstepssound from the ceiling] Just drive away. Just..Pam: Phyllis! That's not safe.Kevin: Guys, we only have eighteen minutes left. At sixty one miles an hour we're just gonna barely make it.Pam: [to Jim] Go up and check onhim. He's upset.Jim: You know he's doing all this on purpose.Pam: Please? Just make sure he's OK? [Jim climbs through hatch]Stanley: Hurry it up for god's sake. They're gonna be out of banana cream!Andy: Bananacream is the first to go. We'll be lucky to get pumpkin at this point! [group gasps]Meredith: What?[SCENE_BREAK]Jim: Dwight? Why are you such a jerk? I am trying to do something for my wife and you keepderailing-Dwight: I'm barren, Jim.Jim: What?Dwight: My trouser hives are void of honey. I had congress with Angela and the child that she bore did not issue from my loins. I thought I would be a father and instead Iam a eunuch. Neutered by my own building.Jim: Is this about the popcorn? Or the X on the ceiling? Dwight, that was a prank.Dwight: You mean you flooded my building with dangerous electromagnetic radiation as aprank?Jim: No.Dwight: That's genius. That's the best prank you've ever done. [laughs]Jim: I'll take it.[SCENE_BREAK]Nellie: Andy?Andy: Who is it?Nellie: Um, is this a good time?Andy: Yeah. Perfect time. I'm right inthe middle of a rooftop crisis. [takes paper from Nelly] Fine, let me read it. What do we have here? Uh, ok, [reading] blah blah blah blah blah, dah dah dah dah dah dah, you've made this very easy for me. It'sunsignable.Nellie: Oh, why, is there something?Andy: It's inaccurate, dishonest and...in a word? Dongwater.Nellie: Ah well, perhaps I could rewrite some of the-Andy: Here's the thing, you asked me to do you a favor? Idid it. I read it. Thank you very much to me for my time. Good luck with your impossible dream.Nellie: Alright then.[SCENE_BREAK]Jim: Dwight, sometimes it takes couples years to get pregnant.Dwight: Really? Howlong did it take you and Pam to conceive?Jim: That doesn't matter.Dwight: What position did you use to conceive?Jim: Ok...that's not...Dwight: Regular? Or lady on her back? You used lady on her back, didn't you, youfreak. Yuck, gross. Never mind, Jim.[SCENE_BREAK]Andy: [To Pete. Crying sounds come from behind Nelly's curtain] British women. Famously overemotional. Am I right?Pete: I don't think that's Nelly.Andy:What?Nellie: Oh, oh no, no. Look, it's alright. [Erin cries, Nelly comforts her] It really isn't your fault. No, no. Look, it's...you were so kind. And it isn't anything to do with you.[SCENE_BREAK]Jim: Did you ever thinkthat because you own the building, everyone in it, we're all kinda like your children?Dwight: You know there's a phrase about that in German. Bildenkinder. Used almost exclusively by childless landlords to consolethemselves. But now? I really understand it.Jim: Well, now you have a bus full of real..bilden..kin..Dwight: Bildenkinder.Jim: OK. And they're all dangerously close to not getting pie. And there's only one guy who cansave them. It's not me.[SCENE_BREAK]Pam: Oh! [Jim reenters bus through hatch] Hey! How'd it go?Jim: It's pretty good actually.Pam: Yeah?Jim: We bonded. We got to- [Dwight starts dropping into the bus on top ofJim]Oscar: Whoa! Whoa! Dwight! [group reacts]Dwight: When you don't get out of the way! Out of the way!Pam: You feel OK now?Dwight: Oh, better than OK. [grabs Pam's shoulders] You know what honey? I'mgonna get you that rhubarb pie.Pam: Well, actually, rhubarb is-Jim: Don't..Pam: the one pie that I don't.Jim: Don't..Dwight: Everybody! Hang on! [Dwight pulls out quickly]Angela: Oh! [bus tears around corners asgroup crashes into each other][SCENE_BREAK]Jim: [Group chants along] Pie! Pie! Pie!Group: Pie! Pie! Pie! Pie! [cheers as they arrive][SCENE_BREAK]Nellie: Oh.Andy: I changed my mind. [gives Nelly papers]Nellie:Oh, you signed it?Andy: Yeah. Not as is, obviously. Made a couple changes. Added some sentences at the end. Trust me it needed it. [laughs] Well, yeah, whatever. So. [walks away][SCENE_BREAK]Nellie: [Reading]\"She's tough in business, but tender with the people she cares about. She'll make a wonderful mother to any child who can overlook weird accents.\"[SCENE_BREAK]Kevin: I insult you, Oscar.Oscar: What?Kevin: I insultyou! To your face!Oscar: I don't know what you're talking about.Kevin: Then why don't you do something about it?Oscar: [laughs] Kevin, are you trying to get me to hit you? In the face with my pie?Kevin: You don'thave the guts. You stupid, dumb, doo doo face! [Oscar pies Kevin] Yes![SCENE_BREAK]Pam: Oh my god. I'm getting so stuffed.Jim: We did it.Pam: You did it.[SCENE_BREAK]Andy: My name is Andy!Group: [bored]Yeah.Andy: I don't do drugs!Group: Yeah.Andy: Now check the style!Group: Yeah.Andy: Of Flatt & Scruggs!Group: Yeah. [Andy plays banjo]Pam: Role call.Phyllis: Role call.Oscar: Role call.Creed: What?"}
+{"doc_id":"doc_323","qid":"","text":"Genesis of the Daleksby: Terry Nation Part FiveRunning time: 23:27[SCENE_BREAK]HARRY: Doctor, please, don't tell. Doctor.DOCTOR: All right, all right! Just leave them alone.DOCTOR: The Dalek invasion of the Earthin the year 2000 was foiled because of an attempt by the Daleks to mine the core of the planet. The magnetic properties of the Earth were... Mars... the Daleks were defeated by a virus that attacked the insulation onthe cables in their electrical systems. ...In the space year seventeen thousand was halted by the intervention of a fleet of war rockets from the planet Hyperon. The rockets were made of a metal that was completelyresistant to Dalek firepower. The Dalek Task Force was completely destroyed.DAVROS: This seems an opportune moment to end this session. Nyder. Release the prisoners. Take them to the detention area.DAVROS:Interrogation will continue later. And I must thank you, Doctor. What you have told me will be invaluable.DAVROS: All this information, this foreknowledge, will be programmed into the Dalek memory banks. Take themaway.DAVROS: Doctor, stay a moment. Sit down. Let us talk together now, not as prisoner and captor, but as men of science. There is so much I wish to know. Nyder, take charge of the tape.NYDER: Immediately,Davros.DAVROS: It will be your responsibility, and remember, it is priceless. It's value beyond computation.[SCENE_BREAK]SARAH: Ah, thank you.HARRY: Who are you?GHARMAN: My name's Gharman.HARRY:Gharman?GHARMAN: Until a few hours ago I was head of the Military Elite Scientific Corps.SARAH: And now you're a prisoner like us? What happened?GHARMAN: Wait.GHARMAN: I was trying to organise a movementagainst Davros. He found out. Now, what's happening out there? Has there been any attempt to take away control from Davros?SARAH: Not that we know of.GHARMAN: Nothing?HARRY: He's still very much incharge.GHARMAN: I don't understand. You see, Davros tricked me into giving him the names of the group who were plotting against him. Have there not been mass arrests by now? Executions?SARAH: It all seemedpretty quiet out there.GHARMAN: But Davros knows that we're planning action against him. Why hasn't he moved to stop it? Why?HARRY: Perhaps that'd be too obvious, even for Davros.GHARMAN: Well, if that's true,he's being too clever for his own good. Every moment he delays, our movement grows in strength.SARAH: I hope you're right.GHARMAN: I know I am. Many of us believe that production of the Daleks must end. Ibelieve now that we are in the majority. If we act soon, we can break his power.HARRY: We're not in much of a position to act at the moment, are we.GHARMAN: If only I could get word to themnow.[SCENE_BREAK]SOLDIER: Halt! State your business.KAVELL: I wish to question the prisoners.SOLDIER: Nobody is allowed to communicate with the prisoners unless they have a pass signed by Davros.SOLDIER:Stay where you are!KAVELL: I seem to have mislaid it. I'll come back later.[SCENE_BREAK]DAVROS: Now, future errors will be eradicated. Defeats will become victories. You have changed the future of the universe,Doctor.DOCTOR: I have betrayed the future. Davros, for the last time, consider what you're doing. Stop the development of the Daleks.DAVROS: Impossible. It is beyond my control. The workshops are already fullyautomated to produce the Dalek machines.DOCTOR: It's not the machines, it's the minds of the creatures inside them. Minds that you created. They are totally evil.DAVROS: Evil? No. No, I will not accept that. They areconditioned simply to survive. They can survive only by becoming the dominant species. When all other life forms are suppressed, when the Daleks are the supreme rulers of the universe, then you will have peace. Warswill end. They are the power not of evil, but of good.DOCTOR: Davros, if you had created a virus in your laboratory, something contagious and infectious that killed on contact, a virus that would destroy all other formsof life, would you allow its use?DAVROS: It is an interesting conjecture.DOCTOR: Would you do it?DAVROS: The only living thing, a microscopic organism reigning supreme. A fascinating idea.DOCTOR: But would you doit?DAVROS: Yes. Yes. To hold in my hand a capsule that contains such power, to know that life and death on such a scale was my choice. To know that the tiny pressure on my thumb, enough to break the glass, wouldend everything. Yes, I would do it! That power would set me up above the gods. And through the Daleks, I shall have that power!DAVROS: Release me.DOCTOR: No, Davros.DAVROS: Don't touch that switch.DOCTOR:Why not?DAVROS: It controls my life support systems. I could not survive thirty seconds without them.DOCTOR: Order the destruction of the incubator section.DAVROS: Destroy the Daleks? Never.DOCTOR: I mean it,Davros. Next time I press that switch, it stays pressed. Now give the order!DAVROS: Even if I do this, there will be no escape for you.DOCTOR: I'll take that chance. Now give the order.DAVROS: Press thecommunicator switch.DAVROS: This is Davros. Elite unit seven will go to the incubator room. All survival maintenance systems are to be closed down. The Dalek creatures are to be destroyed.DOCTOR: Tell them theorder cannot be countermanded.DAVROS: This order cannotDAVROS: This is Davros, this is Davros. My last order is cancelled, repeat, cancelled. No action is to be taken.NYDER: What do you want done withthis?DAVROS: For the moment he must be kept alive. He has knowledge that is vital to our future, and I will drain every last detail of it from his mind. And then, he will learn the true meaning of pain.NYDER: I will takehim to the detention room.DAVROS: The dissidents. What progress are they making?NYDER: Feeling against you is rising. Many of the scientific corps are openly speaking against you. Even some of the military arejoining them.DAVROS: As I expected.DAVROS: They will take action soon?NYDER: Almost certainly. They outnumber those of us who are loyal. Davros, why don't you let me take a squad of Elite men I can trust? In anhour, I could wipe out their leaders.DAVROS: You think like a soldier, Nyder. Rebellion is an idea in the mind. Suppress it, and it hides away and festers. No. My way is best.NYDER: As you wish. On your feet!DAVROS:All Dalek units! All Dalek units![SCENE_BREAK]DALEK: Davros has commanded all Dalek units to disengage and return to the bunker immediately.DALEK 2: I obey.[SCENE_BREAK]BETTAN: Shush. There's somethingmoving out there.SEVRIN: The whole of the Thal city is burning. The Daleks are moving through it, section by section, hunting down the survivors.BETTAN: Then there's no one left?SEVRIN: No, I covered a fairly largearea and found no one. No one living, that is.BETTAN: So we're on our own.SEVRIN: You're still going to attack the main entrance though, aren't you?BETTAN: There's no point in delaying any longer. We'll move moresafely under the cover of darkness. Come on, get ready, we're moving out.[SCENE_BREAK]NYDER: Open up.HARRY: Not exactly as planned, Sarah.[SCENE_BREAK]HARRY: How's the Doctor?SARAH: I don'tknow.HARRY: He's a bit groggy but he'll be all right.GHARMAN: Come on, Kavell, we've a lot to do.KAVELL: What about the guards? Suppose they won't come over to our side?GHARMAN: They'll be disarmed and held incustody until we've presented our ultimatum to Davros.DOCTOR: No, wait, wait. Davros knows what you're planning. I heard him talking to Nyder.GHARMAN: If he knows, why hasn't he taken action againstus?KAVELL: Perhaps because he knows its futile. There are too many of us.DOCTOR: No, it's not that. I don't know what he's got prepared for you, but believe me, he's ready.GHARMAN: Well, even so, there'll still betoo many for him.DOCTOR: Just be careful. Be careful.KAVELL: I think we can take care of things. Thanks for the warning.SARAH: No point in telling you to rest, I suppose?DOCTOR: No, there isn't. We've got to recoverthat Time Ring.SARAH: Because without it, we'll never get off this planet. But where is it?DOCTOR: It's on the desk in the main laboratory. And then there's that tape recording that Nyder took. We've got to get it backat all costs. It would make the Daleks invincible. Come on.[SCENE_BREAK]GHARMAN: Ready? Now remember, we resort to violence only if there is no other way.GHARMAN: Stay perfectly still. Take theirweapons.GHARMAN: No! That was stupid. A stupid waste of life. Our intention has always been to make a bloodless revolution. There's been enough of killing and violence. All right, take him away and lock him up withthe others.GHARMAN: Start passing these out to our people.KAVELL: Gharman. Gharman, they're coming over to our side in droves. We've the backing of a good eighty percent now.GHARMAN: Good. Good. What aboutthe hard core Davros people?KAVELL: They've all been rounded up. We're winning, Gharman. We're winning.GHARMAN: Then let's finish it off.[SCENE_BREAK]NYDER: Davros, they're taking over. We must act quickly.In another hour they could be totally in control. Do you hear me, Davros? I have a dozen crack men hiding in section nine. Let me order them into action. Davros!DAVROS: I hear you.NYDER: Then what are we going todo?DAVROS: I want you to find their leaders and hand over your weapons to them.NYDER: Surrender?DAVROS: Order all members of the Elite guards still at liberty to do the same.NYDER: Do you know what you'resaying?DAVROS: I know precisely what I am saying. Now, I will command and you will obey. You will do as I order! You will inform the rebel leaders that I have given these orders to avoid bloodshed. Tell them I submit,and will listen to their demands. That is all.NYDER: Then we are admitting that we're beaten.DAVROS: That is what they will believe.NYDER: You mean thatDAVROS: You and they will find out exactly what I mean all ingood time. Now carry out my orders.[SCENE_BREAK]DOCTOR: Shush.DOCTOR: Useful. Ah. This is something rather more useful.SARAH: They're explosives, aren't they?DOCTOR: Yes. Explosives and detonators. Itseems almost providential.SARAH: Why? What are you going to use them for?DOCTOR: The Time Lord gave me three options. There's only one still open. Genocide.HARRY: Genocide?DOCTOR: Yes. I'm going to killeverything in the incubation room. I'm going to destroy the Daleks forever.[SCENE_BREAK]GHARMAN: Where is Davros?KAVELL: You said that Davros had agreed to meet us here.NYDER: He'll be here.DAVROS: Youhave something to say to me?GHARMAN: Davros, we wish to make our views plain to you concerning our work here.DAVROS: With what authority do you speak? With whose backing?GHARMAN: We speak for virtuallyall the Elite scientific corps and many of the military. We represent the majority.DAVROS: Very well. Continue.GHARMAN: Nobody disputes that in the past, under your guidance, we've made incredible progress in manyfields of science.DAVROS: You did not come here to flatter me. You came to offer an ultimatum. Confine yourself to the terms of that ultimatum.GHARMAN: Very well. The initial concept of the Dalek was to build a lifesupport system and a travel machine for the creature that we know our race will ultimately evolve into.DAVROS: You disapprove of that?GHARMAN: No, but we believe that concept has been perverted. You havetampered with the genetic structuring of the creature to create a ruthless power for evil. We cannot permit this to continue.DAVROS: Then what do you suggest?GHARMAN: All work on Dalek projects is to ceaseimmediately. The creatures that have been conditioned and programmed are to be destroyed. If these terms are met, we will then be proud to work under your guidance on the rebuilding of our society.DAVROS: And ifI refuse?GHARMAN: If you refuse, you will be placed under arrest. The Daleks will be destroyed and our work here will then continue under a new, democratically elected leader.DAVROS: Have you finished?GHARMAN:Well?DAVROS: You might at least do me the courtesy of giving me time to consider.[SCENE_BREAK]SARAH: The Daleks are in there?DOCTOR: The flesh and blood part of them. Indeed they are flesh and blood.HARRY:Some of them can move about.SARAH: Well, how do I see?DOCTOR: Press the button.DOCTOR: Pay it out quickly, Harry.SARAH: You're not going in there, are you?DOCTOR: They're harmless enough, I think. Justunpleasant.HARRY: You don't want me to come in, do you, Doctor?DOCTOR: There's no need, Harry. It just remains to put the charges where they'll do the most damage. It shouldn't take me more than a couple ofminutes.[SCENE_BREAK]DAVROS: I have made my decision. I accept your ultimatum. On one condition.GHARMAN: Go on.DAVROS: That you allow me to speak to a full meeting of the Elite, both scientific and military.Anyone you elect may speak against me. When this is done, a vote will be taken. I will abide by the decision of the majority.GHARMAN: You already know the decision of the majority. You will lose, Davros.DAVROS:With such confidence, you can hardly deny my request. It was you who introduced the word democracy.GHARMAN: Do we accept his proposition?GHARMAN: Very well, it's agreed.DAVROS: The meeting will take placein one hour from now. Arrange it. You may go.DAVROS: Ours is the victory, Nyder. We have won! They talk of democracy, freedom, fairness. Those are the creeds of cowards. The ones who will listen to a thousandviewpoints and try to satisfy them all. Achievement comes through absolute power, and power through strength. They have lost![SCENE_BREAK]SEVRIN: The entrance to the bunker is just beyond the next rise. That'swhere they must be heading.[SCENE_BREAK]SARAH: What's taking him so long?HARRY: It's a very delicate operation, Sarah. Still, he should have finished by now.SARAH: Doctor? Doctor, are you all right?DOCTOR:Sarah!"}
+{"doc_id":"doc_324","qid":"","text":"THE TWIN DILEMMABY: ANTHONY STEVENPart ThreeRunning time: 24:27[SCENE_BREAK](The Doctor appears. A bit.)PERI: Did you see that?LT HUGO LANG: I think so.PERI: Do Doctor, I ahhh are you here?LT HUGOLANG: What in heaven's name is going on? You're flesh and blood at least.PERI: Leave me alone.DOCTOR: Oh, that stupid girl's watch. How I hate these hit or miss performances.PERI: Doctor, thank heavens, whateverhappened?DOCTOR: Your watch stopped. I overcompensated, ended up in the wrong time zone. Ten seconds into your future.PERI: I thought you'd been killed.DOCTOR: You cared?PERI: Of course I did.DOCTOR: Youknow I'll never understand the people of earth. I have spent the day using, abusing, even tried to kill you. If you'd behaved as I have, I should have been pleased at your demise.PERI: It's called compassion, Doctor.It's the difference that remains between us.DOCTOR: Earthlings.LT HUGO LANG: Would someone like to tell me what is going on?DOCTOR: Ah, Corporal Lang, how are you?LT HUGO LANG: Lieutenant. I was fine, I'mnot sure any more. My ship.DOCTOR: You were lucky to escape, no one else did.PERI: I'm sorry. What went wrong?LT HUGO LANG: I don't know, the controls seized, after that I don't remember anything til I came to inhere. What is this place, who are you?PERI: I'm Peri, and this is the Doctor. He saved your life.DOCTOR: And we did not abduct the twins.LT HUGO LANG: Twins, what do you know about them?DOCTOR: Never mindabout that now, look, do put that thing away will you? If you ever hope to see them again your only chance is to come with us.LT HUGO LANG: Where to?DOCTOR At a guess, Jaconda.LT HUGO LANG: All right, you don'tleave me any choice, do you?DOCTOR: Not really.(On Jaconda.)ROMULUS: He was your friend.REMUS: That girl did you no harm.ROMULUS: You've left them there to die.AZMAEL: They will survive. Now if you don'tmind.REMUS: And your name isn't EdgeworthROMULUS It's Azmael.AZMAEL: Yes, yes, I agree, a small deception, now be patient and sensible.DRAK: Master.AZMAEL: What is it?DRAK: That blip on thescanner.AZMAEL: Yes. Very far ahead.DRAK: We're on the same course.AZMAEL: Oh, some merchant man. No concern of ours.NOMA: They will not survive. AZMAEL I don't understand.NOMA: The safe house. I set it toself destruct.AZMAEL: You madman, I gave no orders!NOMA: That is perfectly correct.AZMAEL: But it's murder! Why, Noma, why?NOMA: It is what the lord Mestor would have wished.(Back to the TARDIS.)PERI: Butwhy would he want to kill us?DOCTOR: I don't know.PERI: And if he's going to Jaconda, why stop off Titan Three?LT HUGO LANG: Oh, that was just to put us off the scent.DOCTOR: No no no no no. No, no. No nonononono. No, consider what we know. Azmael, or whatever he happens to call himself needs the genius of the twins, he crosses galaxies to possess their minds. He says he's no longer master of his planet, but hewants to save his people. And that I cannot help him to do so. Even if he does believe such unimaginable rubbish he must be faced by some unimaginable disaster which has unhinged his mind. Well. We shall soondiscover what it is.(On Jaconda.)MESTOR: Who is this creature?CHAMBERLAIN: A porter from the royal hatcheries, Master.MESTOR: What is his crime?CHAMBERLAIN: After routine search following his tour of duty, hewas found to have this concealed on his person.MESTOR: What does it contain?CHAMBERLAIN: Vegetables from the royal hatcheries, MasterMESTOR: The penalty is death. Have you anything to say?PRISONER: Mercy,great Master, mercy! My family is starving.MESTOR: Many are starving, it is no difference. Now your family will have to starve without your company. Stand aside, guards. You will suffer the maximum penalty - deathby embolism.PRISONER: No, no not that. Shoot me! Ah! Aaaaaagghh!MESTOR: Cold storage. ** CLAP ON! ** The carcass may be of use to our slaves if this famine continues. Azmael will soon be here?CHAMBERLAIN:Yes, Master.MESTOR: When he arrives, have him escorted to his laboratory with the earthlings. I will see him there.(On the surface. The TARDIS materializes.)DOCTOR: Haaaa. Jaconda the beautiful.PERI: You call thisbeautiful? Doctor, it's absolutely ghastly!DOCTOR: Oh no. It should not be true. The giant gastropods.LT HUGO LANG: What are you talking about?DOCTOR: Half humanoid, half slug, part of Jacondan mythology.PERI:So?DOCTOR: Well, just look around you, look at the devastation.PERI: Gastropods did this?DOCTOR What else?PERI: Are you sure your mind isn't wandering again?DOCTOR: Of course not. So, it wasn't a myth after all.Somewhere somehow their seed survived. Now they have returned.LT HUGO LANG: Nonsense.DOCTOR: You think so?LT HUGO LANG: Well of course it is.DOCTOR: I wish I could agree with you. This was once a forestgrove. Look at the trees! No trace of foliage. The very bark stripped of the trunks. And the soil! Barren. Nothing but these telltale tracks. The slime trails of the giant gastropods. I fear the evidence is quiteconclusive.PERI: Doctor. You're beginning to scare me.DOCTOR: I'm beginning to scare myself, Peri.PERI: Now what?DOCTOR: Into the TARDIS. I must think.(On the freighter.)AZMAEL: Freighter to Jaconda control.Freight to Jaconda control.FLIGHT CONTROLLER: Receiving you freighter.AZMAEL: Approaching re-entry, permission to touch down at omega intersection.FLIGHT CONTROLLER: You are clear to approach.AZMAEL:Thank you control.FLIGHT CONTROLLER: On arrival report to palace. Transport will be waiting. Out.(In the TARDIS.)PERI: What are you gonna do?DOCTOR: Panic at any moment.LT HUGO LANG: Where is Edgeworthlikely to have taken the twins?DOCTOR: The palace.LT HUGO LANG: Well shouldn't we go there?DOCTOR: And be killed?LT HUGO LANG: Just give me directions and I'll go alone, if you're afraid.DOCTOR: Me, afraid?LTHUGO LANG Well, aren't you?DOCTOR: You have a nasty habit of pinpointing the truth, young man.PERI: We we we can't let him go alone! DOCTOR Watch me.PERI: Well you know what's out there, hedoesn't!DOCTOR: Well then let him go to the palace, and he'll know as much as I do.PERI: Oh Doctor you must help.DOCTOR: Is this another attempt to teach me compassion?LT HUGO LANG: Just tell me where it isand I'll be happy to go alone.DOCTOR: It's all right for you! You're young, strong, fit of limb.You're confident in your mission,your energy's boundless, you're highly motivated to success. You even have a gun to enforceyour will upon others. Look at me, I'm old, lacking in vigour, my mind's in a turmoil, I no longer know if I'm coming, have gone or even been. I'm falling to pieces! I no longer even have any clothes sense!PERI: Oh, stopfeeling sorry for yourself!DOCTOR: Self pity is all I have left.PERI: You've got the TARDIS. You still know how to operate it. Take the Lieutenant to the palace!LT HUGO LANG: Now, if you please.DOCTOR: As youwish.(Underground.)PERI: That's the seediest looking stately home I've ever seen.DOCTOR: Well you didn't expect me to materialise in the throne room.LT HUGO LANG: Where are the twins likely to be?DOCTOR:Anywhere.LT HUGO LANG: Well, I won't find them waiting around here.DOCTOR: I'll come with you.LT HUGO LANG: No need, thank you for bringing me here.DOCTOR: You didn't give me much choice! Now look,Sergeant -PERI: Lieutenant.DOCTOR AND LT HUGO LANG Lieutenant.DOCTOR: Don't be smug with me. Now I've already explained my condition, I may be behaving like a manic barometer, but don't shrug off helpwhen it's offered. You can't afford to.LT HUGO LANG: I thank you for your offer, but frankly I find you unreliable.DOCTOR: So is most currency. Doesn't stop people from spending money wisely.PERI: The Doctor mightbe useful.LT HUGO LANG: Well, all right. But if you become unstable again, Doctor, I won't hesitate to kill you.(After the freighter lands.)ROMULUS: Where are you taking us?AZMAEL: You'll see.REMUS: Why do you liketo play the man of mystery?ROMULUS: It's a role you play very badly.REMUS It's so blatantly transparent.AZMAEL: Continue to provoke me and the matter that contains your genius will finish up as so much animalfodder!(Back to the Doctor.)DOCTOR: Hideous. Utterly hideous!PERI: Are you sure this is the right place?DOCTOR: Hm? Absolutely. Azmael showed me once. This passage leads to the center of the palace. Used to bean underground bolthole in times of danger. Ah, seems to be clear. Shall we go?PERI: I just hope you don't get us lost.(To Azmael.)DOCTOR: Oh, definite possibility that.AZMAEL: This is where I work. The palacelaboratory.CHAMBERLAIN: Greetings.ROMULUS What's in there?AZMAEL: Eggs. You're looking at Lord Mestor's incubator. The future citizens of Jaconda.REMUS: They're gastropod eggs.CHAMBERLAIN: Suchknowledge.ROMULUS: Who is this?AZMAEL: One of Lord Mestor's lackeys.CHAMBERLAIN: Not quite, Azmael. I am a humble servant of the Lord Mestor. I am his Chamberlain. Welcome to the planet Jaconda. I willinform the Lord Mestor of your safe arrival.AZMAEL: If you must, do so.CHAMBERLAIN: It's my duty, he's commanded me.AZMAEL: Well hurry then. And you too, Noma.NOMA: No I must remain, I too have beencommanded.AZMAEL: One day you will discover for yourselves that treason is universal. Let it not concern you now. And don't be afraid of what lies in store for us.(Back to the Doctor.)DOCTOR: This way. Come along.Ah, there they are. I don't know how old they are, but they tell the whole story. The Queen of Jaconda offended the sun god. This way. He inflicted a terrible revenge. He sent a creature, half humanoid, half slug. Thiscreature's offspring were numberless. They ravaged the planet, the population starved. When he saw what he'd done the sun god relented. He sent a drought which destroyed the slugs. The people of Jaconda survived.That's the story as Azmael related it.PERI: Now what do you think?DOCTOR: It was more truth than myth. I think some dormant eggs survived.PERI: For how long?DOCTOR: Too long, it seems. Shut off the torch.Listen.PERI: What is it?DOCTOR: The sound of giant slugs.LT HUGO LANG: What a stench!DOCTOR: Their gastric tracts. Rotting vegetables.PERI: Or rotting flesh.LT HUGO LANG: Doctor.DOCTOR: Whatever is it now?LTHUGO LANG: I'm ... I'm stuck!DOCTOR: Oh no, I should have thought of that! Their slime trails harden like concrete, only far faster.LT HUGO LANG: Well never mind that, just get me out of it, you!DOCTOR: Easier saidthan done.PERI Well we can't leave him here.LT HUGO LANG: Maybe if I turn my gun down low I can melt the stuff.DOCTOR: Oh, if you like, but try not to burn your feet off.(To Azmael.)MESTOR: So these are yourprodigies. They seem quite insignificant.AZMAEL: Their brains are not.MESTOR: We shall see. Have you told them why we need them?AZMAEL: Not in detail. So far they've simply worked to orders.MESTOR: I suggestthat you do tell them. If they know that our purpose is benevolent, they may prove to be less intransigent.AZMAEL: Very well.MESTOR: How far advanced are you?AZMAEL: We need another day.MESTOR: Very well, Iwill leave you.AZMAEL: Mestor. Do not monitor my thoughts.MESTOR: Why not?AZMAEL: It interferes with my concentration.MESTOR: They may be treasonable thoughts.AZMAEL: There can be no treason withoutfellow conspirators, and aI have none. You control the minds of all my most faithful subjects.MESTOR: I do not trust you.AZMAEL: A mistake, Mestor. The last hope for my people is the success of this undertaking. Iwouldn't allow my personal loathing for you to interfere with that.MESTOR: Very well.AZMAEL: Remove Noma, too.NOMA: Master.MESTOR: Until your work is done.AZMAEL: They don't trust you, either, that's whythey've left you here, to see the measure of your treachery.DRAK: But I'm not a traitor.AZMAEL: True, but I believe they think you are my friend.DRAK: I would value your friendship.AZMAEL It could cost you yourlife.DRAK: I could think of worse reasons for dying.AZMAEL: Thank you. Now. Pay attention. That is our sun, that is Jaconda. Those are two lesser planets. Now I once ruled Jaconda, but now Mestor has usurped me. Hiskind takes all and gives nothing, there is nothing left for my people.REMUS: What are we supposed to do?AZMAEL: Help me to provide the only possible solution.ROMULUS: You'd better tell us what it is.AZMAEL: Weneed new sources of supply. And we're going to bring those two planets into orbit around Jaconda.TWINS: What?AZMAEL: Oh yes. And then they will have the same atmospheres and climates, they will be the larders ofJaconda. Everything is in readiness. All we lack is what you two possess, that mathematical delicacy that will stabilise those two planets in their new orbit.(Back to the Doctor.)DOCTOR: Now, let me see. We follow thispassage to the end, flight of steps up to the palace hall, doorway at the left just up at the top. Yes, that's it. Private doorway into the back of his laboratory. That's where he's bound to be.PERI: Who?DOCTOR:What?PERI: Who will be there?DOCTOR: Me. Once I can get away from this fool. Will you hurry up?LT HUGO LANG: I'm doing the best I can.DOCTOR: Well it's not good enough! Look what you've done you stupid girl,you've ruined everything!PERI: It wasn't my fault!DOCTOR: Of course it was your fault, sheer carelessness! Switching off that torch when you did, don't argue with me!PERI: I will! I'm not letting a manic depressiveparanoid personality like you shut me up!DOCTOR: Manic depressive! Me!PERI: Well can't you hear yourself? You're having another of your fits!DOCTOR: Right that's it, I'm off!LT HUGO LANG Calm down,Doctor!DOCTOR: Calm down? Calm da, calm down? The fate of a whole planet hanging in the balance and he tells me to calm down.LT HUGO LANG: Look, I'll be free in a moment.DOCTOR: Oh, fend for yourselves!PERI Oh, Doctor!LT HUGO LANG: Don't waste your breath, we'll manage.(Back to Azmael.)AZMAEL: Everything is controlled from this panel. When the information you provide has been fed into the computer, we shalloperate this switch.REMUS: What happens if we refuse to help?AZMAEL: Then I shall have to kill you! I've already told you that this is the only way we can save my people.ROMULUS: Aren't you forgetting theconsequence of what you're asking!AZMAEL: Look, everything has been considered, how many times must I tell you!REMUS: He's mad.REMUS: Quite mad.ROMULUS: Azmael! Edgeworth!DOCTOR (OUTSIDE): We won'tdo it!TWINS: You'll do as I tell you!AZMAEL: Still bullying children, eh?(He enters.)DOCTOR: Villain! Murderer!DOCTOR: Doctor!AZMAEL: (shouts something)DOCTOR: That's enough, Doctor!AZMAEL:DOCTOR: Iapologize. However I still would like to know why you tried to murder us.DRAK: He didn't.ROMULUS: He didn't know.REMUS: It was Noma.AZMAEL: Look, I can't believe it. How did you escape?DOCTOR: That doesn'tmatter now. I think you better tell me what's going on here.(Back to Peri.)PERI: Pity about your boot.LT HUGO LANG: Never mind. Where to now?PERI: Find the Doctor.LT HUGO LANG: Right.(To Mestor.)PERI: No! No!Hugo! No! No! No! No!MESTOR: Who are these aliens on Titan Three?NOMA: A Time Lord and an earth girl.MESTOR: And Azmael would have let them live?NOMA: Yes.MESTOR: But now he knows them to bedead.NOMA: He does, I told him so.MESTOR: You have done well, Noma.NOMA: No more than is my duty.MESTOR: What have we here?NOMA: Impossible! She must have died!MESTOR: Is this the earth girl you sayyou killed? It seems you have not done so well after all. Where did you find her?JACONDAN GUARD: In a passage underneath the palace.MESTOR: Alone?JACONDAN GUARD: There was another with her. We left himhalf dead.MESTOR: This is a dangerous complication. Fetch him to me. At once! At once!(To Azmael and Doctor.)AZMAEL: That is the plan. Now what is your opinion?DOCTOR: You really intend to put it into operation?You know what'll happen, don't you?ROMULUS: We've already told him.AZMAEL The risks must be taken.DOCTOR: This is not a risk, Azmael, this is doomsday! One tiny error in your calculation you'll blow a small holein the universe.LT HUGO LANG: Doctor! Doctor, they've got Peri!DOCTOR: Peri? Peri!AZMAEL: Stop him!DOCTOR: No, leave me, I must go to her!AZMAEL: And tell Mestor everything and condemn my plan to certaindeath?DOCTOR: But I must help her!AZMAEL: No, Doctor, if necessary she must die.DOCTOR: No. Peri!"}
+{"doc_id":"doc_325","qid":"","text":"Michael: Jim, could you come in here please?Harvey: Hi, Jim.Jim: Hello.Harvey: I am Harvey, a computer. Jim sucks.Michael: Sorry, oh wow, that's so rude. I'm sorry, I can't control him.Jim: Yeah, you can.Michael:You know what? Get Pam.Jim: For this?Michael: Pam.Harvey: Pam, you look very hot today.Jim: Pam, meet Harvey. This is Michael's new friend.Pam: Great.Harvey: Me so horny. Me love you long tim.Michael: Oh, thatis gross.Pam: Who is 'Long Tim'?Michael: Damn it.Harvey: Long time. Me lobe yoy long time.Jim: Oh well, 'Yoy' should bring in 'Long Tim' in one day. Shouldn't he?Pam: I would love to meet Long Tim.Jim: Yeah.Right?Pam: Yeah.Harvey: You ruined a funny joke, you. Get out of my offive.Jim: Ok.Pam: Ok. Bye Harvey.Harvey: Boobs.[SCENE_BREAK]Kevin: Angela.Angela: What?Kevin: That was a voicemail that corporate leftlast night. They did not get our tax forms. Did you send them?Angela: They arrived this morning.Kevin: Are you sure? It is a big deal.Angela: Is it a big deal? Is it Kevin?Kevin: ... Do you really not know? Because it is abig deal.[SCENE_BREAK]Andy: Five of us transferred from Stamford. There are two of us left. Me and Karen. It's like we are touring Willy Wonka's Chocolate Factory and dropping off one by one. Well, guess what? I amnot falling in a chocolate river.[SCENE_BREAK]Angela: Everything ok? [Takes candy from Pam's desk]Dwight: Everything is fine. You are in the clear.Angela: Thank you. [Puts candy back] I... I don't wantthose.[SCENE_BREAK]Michael: Dwight, care to join us, finally? Thank you.Andy: Hey Dwight, pass the tardy sauce. Get it Michael?Michael: Yes. Ok, here is the dream team. My sales dream team. Today we are going toteam up for sales calls. Andy, since this was your idea, you get to pick first.Andy: Hmmm, well... let me think about this for a minute. Oh, I don't know. Michael Scott.Michael: Oh.Andy: Ph. D. Doctor of Sales.Michael:Well, I appreciate that. That is very gracious of you.Andy: Well, it is very gracious of you to accept.Michael: Well, thank you sir. Ok, now going by seniority. Phyllis, our resident senior.Phyllis: We're the same age and I'llpick... Karen.Karen: Oh, uh, thanks.Michael: Good. Next up, Superfly himself, Stanley.Stanley: Pass.Michael: You can't pass. You've got to pick somebody.Stanley: ... I'll take the kid.[SCENE_BREAK]Ryan: I am veryflattered. I was his second choice after \"Pass.\"[SCENE_BREAK]Michael: So that just leaves Dwight and Jim.Dwight: Ok, wait. Does anyone want to trade?Jim: Yup. I'll trade.[SCENE_BREAK]Jim: Dwight and I used to goon sales calls all the time. In fact, I have a picture to remember that time. Oh young Jim. There is just so much I need to warn you about. And yet, tragically, I cannot.[SCENE_BREAK]Andy: Sebring by Chrysler. Heck ofa... motor... carriage.Michael: Dwight?Dwight: Yup?Michael: Here ya go. [throws laundry]Dwight: Yeah! You want shirts on hangers?Michael: Please.Andy: He does your laundry?Michael: Long story. All right everybody,circle up. Here we go. You know what this is? This is the \"Amazing Race.\" [To Ryan and Stanley] And you guys are the retired marines. [To Phyllis and Karen] And you guys are the mother and daughter. [To Dwight andJim] And you guys are the gay couple. And we are the firefighter heroes. Are we ready to go?Karen: Wait, \"Amazing Race\" like, the biggest sale wins?Michael: No, we're just going to rush out, do the sales thing, andcome back.Ryan: Is there a prize?Michael: Just bragging rights.Phyllis: Then how is this \"Amazing Race\"?Michael: It's just... brrrrrr... It's \"Amazing Race,\" Phyllis. Okay? We're in teams of two and we are on a mission.All right, so, on your mark, get set, go. Let's do it.Dwight: Come on!!Phyllis: Michael. [Michael throws Phyllis' keys under the car.]Michael: Whoah, whoah. Oh hahahaha. Vamanos!Andy: Bueno.Phyllis: Do you have apole?Karen: Let's go get a broom.[SCENE_BREAK]Jim: Seriously? You're going to sit in the back?Dwight: Uh, yeah. It's the safest part of the car. In the event of a crash, the driver always protects his side of the carfirst.[SCENE_BREAK]Michael: Here we go.[SCENE_BREAK]Andy: In order to take down Dwight, I have to chip away at his ally, which, in this case, is Michael. Here's the good news. Every success I've ever had at my jobor with the lady-folk has come from my ability to slowly and painfully wear someone down.[SCENE_BREAK]Andy: What's the deal with Dwight doing your laundry?Michael: Ugh... that is a long story. Um, couple ofmonths ago, Dwight tried to go behind my back with Jan and get my job and I am now having him do my laundry as punishment.Andy: Wow, that is a long story, but quite well told, Michael. I find it very interesting.Especially about the part Dwight going behind your back and basically, like, being a terrible person. You know if you want your laundry done right? I used to work at Abercrombie. So, pretty goodfolder.[SCENE_BREAK]Angela: Hey Pam. Would you like to go with me to grab a coffee?Pam: Really?Angela: Yeah, I could use some fresh air. Might be fun.Pam: Ok. Sure.Angela: Ok.[SCENE_BREAK]Karen: Why are weturning in here, this is a beauty salon?Phyllis: Um-hmmm.[SCENE_BREAK]Ryan: Hey, do you mind if I take the lead on this one and then you can critique me after?Stanley: You want the lead?Ryan: Yeah, if you don'tmind.Stanley: Mind? Nothing would delight me more.[SCENE_BREAK]Dwight: Leave the keys.Jim: You still do that thing?Dwight: Leave the keys![SCENE_BREAK]Andy: I think you have assembled an amazing team atScranton. It's really a pleasure to be a part of it. It's like, everyone has their own special skill, you know, just like the Superfriends. Except for Dwight, who is more like a SuperDud. I mean, he would be a Superfriend ifthere was a Superfriend whose super power was always being late. You know?Michael: Hawkman.[SCENE_BREAK]Andy: My plan is taking longer than I thought but I don't give up easily. I have walked twomarathons.Michael: [Walks out of the Ladies' Restroom] Let's go. The men's room was disgusting.[SCENE_BREAK]Jim: After you sir.Dwight: No thank you, I never let anyone walk behind me. Seven out of ten attacksare from the rear.Jim: Ok, well, that still leaves a 30% chance that I will attack you from the front.Dwight: Uh, yeah, but it will be easier to stop. I can always block the blow. I can counter it with... [Jim slapsDwight][SCENE_BREAK]Pam: Angela, you seem so happy. I bet you wish you were like this all the time.Angela: This friend of mine - let's call her Noelle - she missed this deadline turning something in to Corporate inNew York. But then this gallant gentleman - we'll call him Kurt - he drove all the way to New York and handed it in for her. That's... I don't know. I guess he really just likes her a lot.Pam: That's great.Angela: Yes, it is.[Walks up to the counter where there is no employee] Hello?[SCENE_BREAK]Michael: Hey, did you catch that up at Lake Wallenpaupack?Buyer: Yep.Michael: You know, I used to go up there all the time with mystep-dad, and I never caught anything that big.Andy: Caught an eighty-pound shark off of Montauk. It's in the Hamptons. My dad's got a 42-ft Bayliner. Sniped it with a rifle from the crow's nest. Also shot a deeronce.Michael: You know what? Let's get right down to it. Dunder-Mifflin may be just two rooms and a warehouse, but what we lack in flash, we will make up for with hardwork and decency.Andy: Ok, this is the classicundersell because you should know we don't work out of a log cabin. We trade on the New York Stock Exchange. Ever heard of it? It's in New York.Buyer: Uh, I have to say I am a little wary with getting involved with abig company. We've had some problems in the past.Michael: I think what Andy is trying to express is that while we have the resources of a large company, we will give you the care and attention of a smallcompany.Andy: Oh, man, that is, like, poetry.Michael: No.Andy: I swear, this guy could sell paper to a tree.Michael: Stop it. [Puts his hand on Andy's shoulder] Stop it.Andy: Ow.[SCENE_BREAK][ Newpeat Quote][SCENE_BREAK]Pam: Dunder Mifflin, this is Pam. [excited] This is Pam. I did?[SCENE_BREAK]Andy: Oh man. Talk about your classic \"Lame dash O.\" Do we even want that guy buying our paper?Michael:Yes.[SCENE_BREAK]Andy: I... I'm so sorry man. I really screwed that up.Michael: Ah, no. Don't worry about it.Andy: I really 'Schruted' it.Michael: What?Andy: 'Schruted' it. It's just this thing that people say aroundyour office all the time. Like, when you screw something up in a really irreversible way, you 'Schruted' it. I don't know where it comes from though. Do you think it comes from Dwight Schrute?Michael: I don't know.Who knows how words are formed.[SCENE_BREAK]Phyllis: It's a big order. Thanks Kenny.Karen: Yeah, thank you.Phyllis: Hey, how's Annie?Kenny: Oh, she's great. This is us last year in Bermuda. Lovely place. Youever been to Bermuda?[SCENE_BREAK]Julius: Stanley Hudson.Stanley: Ah, Julius, how's it goin'?Julius: Great, great, great.Guy: Stanley.Stanley: So good to see you too. I'd like you fellas to meet Ryan Howard.Ryan:Hi.Stanley: I'm gonna let Ryan do a little pitch for you while I do my crossword. Ryan?Ryan: Um... [To the Buyers] Hi. Hi. Hi. Hi.Julius: Hello, Ryan. What do you have for us?Ryan: Oh...[SCENE_BREAK]Jim: We canoffer our biggest discounts on 30% recycled and ultra-premium laser.Man: 'Kay. 'Kay.Dwight: Can I use your phone?Man: Yeah, sure, go ahead.Dwight: Thanks.Jim: Let me talk to you about a few of the other thingswe can offer. Namely, we know the tax season is coming up, so by April 1st we can have you fully stocked.Dwight: [On Phone] One...Jim: We have discount prices on ink cartridges...Dwight: Three...Jim: And, also, anyforms that you are going to need...Dwight: Seven...Jim: We can custom make them.[SCENE_BREAK][ Newpeat Quote ][SCENE_BREAK]Pam: Yeah I did a watercolor of Frances Willard Elementary School for a contestthey were having. They were calling with the results. And I won. I won! My painting won. So I like to thank my mom for always encouraging me. And I like to thank my dad for buying me my first set of art pencils. AndI'd like to thank the sixth grade class that picked me.[SCENE_BREAK][ Newpeat Quote ][SCENE_BREAK]Pam: Hey Kev, guess what. I won an art contest today.Kevin: How much did you win?Pam: $100.Kevin: I won$400 bucks on the Celtics game last night.Pam: Cool. Congratulations.Kevin: Thanks, so sweet.[SCENE_BREAK]Stanley: Ha ha ha! And you just said, \"Hi! Hi! Hi!\" Ha heh ha! You sounded like my niece, and she's sixmonths old![SCENE_BREAK]Man: We'll I appreciate what you guys are saying but it, uh, makes more fiscal sense to go with one of the big guys.Dwight: Sure.Jim: Sure, that's true we can't compete with their prices.But let me ask you something. How important to you is customer service?Man: It's very.Phone: Please keep holding, your call is very important to us.Dwight: Erm, that's one of the 'Big guys.' Been on hold this wholetime.Jim: [Dials cell Phone] And this is Dunder-Mifflin.Kelly: Dunder-Mifflin customer service, this is Kelly.Jim: Hey, Kelly, it's Jim.Kelly: Oh my god, Jim. How are you ? I wanted to tell you ... . [Jim hangs up]Dwight:Here is my card. It's got my Cell number, my pager number, my home number, and my other pager number. I never take vacations, I never get sick, and I don't celebrate any major holidays.Man: All right, I get it. Wegot a deal.Jim: Thanks.[SCENE_BREAK][ Newpeat Quote ][SCENE_BREAK]Pam: Hey, Angela. I got good news today too. I won an art contest.Angela: That's great Pam. I like having these little moments with you. Youknow what? Sprinkles recently had kittens.Pam: Oh.Angela: I would like to offer you the dominant male. His name is Ash.Pam: Oh?Angela: Mmm-hmm.Pam: Hmm. I don't think so. But thanks. My building manager...is... You understand.Angela: Well then. Have a nice day.[SCENE_BREAK]Karen: Thanks. That was fun.Phyllis: Yeah, I really enjoy spending time with you. You are a very nice person.Karen: Thank you.Phyllis: I'm soglad you're with Jim. He was hung up on Pam for such a long time. Never thought he would get over her.Karen: That's nice.Phyllis: You can pay me back later for the makeover.[SCENE_BREAK]Andy: Hey boss. Got aminute?Michael: Yes, Andy.Andy: I forget, why did Dwight say he was late this morning?Michael: He didn't say.Andy: That's weird. Because I was just walking past his desk and I saw this, which is a tollbooth receiptfrom New York City, stamped really early this morning. So, why would Dwight go to New York without telling anyone? Do you think he went to see Jan? That's not like him. Is it? Someone told me a story about this,with, like, laundry and betrayal. Did you betray Dwight and try to steal his job or something?Michael: No, you are remembering it wrong.[SCENE_BREAK]Michael: Dwight betrayed me once before. So this is his striketwo. You know what they say? Fool me once, strike one. But fool me twice, strike three.[SCENE_BREAK]Dwight: I like Karen. She's pretty and appears intelligent.Jim: Well, I like pretty women who have the appearanceof intelligence.Dwight: My girlfriend is also beautiful and smart. She could be a model or a college professor which is intimidating to a lot of guys.Jim: We should go on a double date.Dwight: No thankyou.[SCENE_BREAK]Jan: Dwight's name is on the security sign-in sheet, but I don't know who he met with. And where it asks to state your business, he wrote \"Beeswax. Not yours, Inc.\"Michael: I knew it. [Dwight andJim walk in]Andy: Oh, doggie.[SCENE_BREAK]Karen: Hey, do you want to grab a coffee?Jim: Sure. Look at you!Karen: Yeah.[SCENE_BREAK][ Newpeat Quote ][SCENE_BREAK]Jim: Beesley, coffee?Pam: No, thanks. Ihad some already.Jim: All right.Pam: Oh, but, hey, Jim.Jim: Yeah.Pam: I won an art contest today.Jim: No way! All right Pam. Congratulations. [high five]Pam: Thanks.Jim: Which one was it?Pam: I sent in one of mywatercolors.Jim: Cool.Pam: It was the new one I did.Jim: OhKaren: You ready Jim?Jim: Yeah. Can I see it when I get back?Pam: Yeah.Jim: Congratulations.Pam: Thanks.Jim: Big deal.[SCENE_BREAK]Dwight: Hey, wenailed the sale!Michael: Where were you this morning?Dwight: I overslept. Damn rooster didn't crow.Michael: Why do you lie, liar?Dwight: I am not a liar.Michael: You are lying right now.Andy: It sure seems like he islying.Dwight: Stay out of this, you!Michael: I know that you went to corporate this morning, and I know that you lied about it. And given our history, I need you tell me this instant exactly what you were doing.Dwight:Michael, I cannot tell you what I was doing there. But you have to trust me, I would never do anything to hurt you or this company.Michael: Ok, you know what? I want you to think about your future in this company. Iwant you to think about it long and hard.Dwight: That's what she said.Michael: Don't. Don't you dare. I want to know what you were doing this morning by the end of the day.[SCENE_BREAK]Dwight: It's going to beok.Angela: How is going to be ok, Dwight? Everyone will know our business.Dwight: That's not the worst thing in the world. I'll just stand up in front of the office and reveal our true love. It won't be that bad. Look atKelly and Ryan.Angela: I hate those two people more than anything in the entire world.Dwight: Well, I don't have a lot of choices.[SCENE_BREAK]Karen: So, let me ask you a question.Jim: Ok.Karen: Did you ever havea thing for Pam?Jim: Pam? Did I ever have a 'thing' for her? No, why? Did she say something?Karen: I moved here from Connecticut...Jim: Yeah. Ok, here's the ... I had a crush on her before I left. And I told her aboutit and she didn't feel the same way. So, it didn't amount to anything, and I left. I'm really glad you're here. 'Kay?Karen: 'Kay.[SCENE_BREAK]Dwight: Ahem-hem-hem. May I have your attention please? This will onlytake a moment of your time. Although I love this company more than almost anything in the world, I have decided to step down from my post and spend more time with my family. I do not fear the unknown and I willmeet my new challenges head-on and I will succeed. And I will laugh in the faces of those who doubt me. It has been a pleasure working with some of you and I will not forget those of you soon but remember, whiletoday it is me, we all shall fall. In other words, I am quitting. So... .[SCENE_BREAK]Andy: Oompa-Loompa Doompity-Dawesome, Dwight is now gone which is totally awesome. Why was he gone, he was such a niceguy? No, he was not. He was a total douche. Doompity-doomp.[SCENE_BREAK]Dwight: I would like to give the rest of my belongings to Michael Scott. Just take them. Except this.Michael: Goodluck.[SCENE_BREAK]Ryan: Dwight will be missed. Not by me so much, but, he will be missed.[SCENE_BREAK]Angela: Dwight, from sales, was one of the most honorable and efficient employees this company has everhad.[SCENE_BREAK]Dwight: One of my life goals was to die right here in my desk chair. And today, that dream was shattered.[SCENE_BREAK]Jim: Hey man. [Dwight hugs Jim and leaves]Karen: What happened onyour sales call?[SCENE_BREAK]Andy: Um, am I happy the way things turned out? Oh, well, happy's such an ugly word. But, um, I saw what needed to be done and I did it and now I'm thrilled. So, it's pretty... [camerahad focused in on Angela watching] Hello? Pretty good."}
+{"doc_id":"doc_326","qid":"","text":"BLACK SCREEN: Previously OnGIBBS: (V.O.) Previously on NCIS. MUSIC IN:EXT. ROOFTOP - DAY(BEGIN FLASHBACK SCENES)ARI: Sorry, Caitlin.(SCENE CUT)GIBBS: Ari!(SCENE CUT)TONY: I found Ari's sniper's nest,Boss. Didn't police his brass.(SCENE CUT)KATE: I'm dead now, Ducky. Shouldn't be. I could have killed Ari right here.(SCENE CUT)GIBBS: Are you okay?ABBY: Yeah.(SCENE CUT)GIBBS: His sniping Abby means he'safter my people.(SCENE CUT)MORROW: I've been offered a Deputy Director's position with Homeland Security.GIBBS: Well who will be replacing you, Sir?SHEPARD: Hello, Jethro.(SCENE CUT)SHEPARD: On the job it isDirector Shepard or Ma'am.(SCENE CUT)ZIVA: I'm here to see Special Agent Gibbs.(SCENE CUT)GIBBS: You first.TONY: Ziva David. Mossad. She's here to stop you from whacking Ari.GIBBS: Director Jenny Sheppard,same mission.(SCENE CUT)ZIVA: Ari Haswari is a Mossad operative undercover in Hamas. He hasn't turned on us or you.(SCENE CUT)ARI: (IN HEBREW) Do you have the passport and money?(SCENE CUT)ZIVA: (INHEBREW) Yes.(SCENE CUT)ARI: (IN HEBREW) Use the drop.(SCENE CUT)ARI: (INTO PHONE) Doctor Mallard, I want to prove I didn't kill Caitlin.(SCENE CUT)DUCKY: (INTO PHONE) By taking Gerald hostage?ARI:(V.O./FILTERED) Gerald is free to go.(SCENE CUT)ARI: (INTO PHONE) Come alone, and you can exchange places.(MUSIC OVER ACTION/DUCKY WALKS IN THE STREET)(MUSIC OUT)(THEME MUSIC UP OVER OPENINGTITLE/SCENES/ CREDITS AND OUT)[SCENE_BREAK]EXT. STREET - FLASHBACKGERALD: You shouldn't have come, Doctor.DUCKY: Couldn't let the b*st*rd put a bullet in your good shoulder or you'd never return towork. Do you have your cell phone?GERALD: Ari took it.DUCKY: Keep walking. Don't turn back until you're behind the wheel. Where is Ari?GERALD: In the back seat.DUCKY: Well, when I reach your car, I'll lean inthrough the open window. That's your cue to drive off, fast!GERALD: Doctor Mallard...DUCKY: Go straight to NCIS. Tell Gibbs everything that's happened.[SCENE_BREAK]INT. SQUAD ROOM - NIGHTDUCKY:(RECORDED VOICE) You've reached Doctor Donald Mallard. Please leave a message and I'll get back to you as soon as I can.(SFX: BEEP TONE)GIBBS: (INTO PHONE) I said no one was to leave the building!ABBY: (INTOPHONE) Ducky, please call, okay? We're really worried--GIBBS: (LOUDLY INTO PHONE) No one includes you, Doctor Mallard!ABBY: (INTO PHONE) We're worried including Gibbs.... or he wouldn't be yelling. (TO GIBBS)Look Gibbs, it's not Ducky's fault, okay? He probably did Kate's autopsy on auto pilot and then just drove himself home the same way.MCGEE: Boss! An outside call came into autopsy twenty three minutes ago. I'mtracing the number![SCENE_BREAK]EXT. STREET - NIGHT(MUSIC OVER ACTION/GERALD RUSHES TO THE MORGAN/ DUCKY WALKS TO ARI'S CAR)(GERALD CLIMBS IN AND OUT OF THE CAR)ARI: You looksurprised.DUCKY: I expected to be shot.ARI: Doctor, please. I would never harm a fellow physician.(MUSIC OVER ACTION/GERALD ATTEMPTS TO DRIVE THE MORGAN)DUCKY: (SHOUTS) Use the clutch! Good God,man!! Use the clutch! You're stripping the gears!(SFX: GEARS GRINDING B.G.)ARI: This is too painful, Doctor.DUCKY: (SHOUTS) Gerald, turn it off!ARI: Obviously Gerald does not have an intimate relationship with astandard transmission.DUCKY: Unbelievable.ARI: The price of growing up in America. That was so unnecessary, Doctor. Gerald is free to leave... in his own car.MUSICAL BRIDGE TO:INT. SQUAD ROOM - NIGHTMCGEE:Boss, that call came from Gerald Jackson's cell phone!ABBY: I'd almost forgot about Gerald.MCGEE: He's been in rehab a year.ABBY: Maybe he heard about Kate and he called Ducky.MCGEE: They're in a pubsomewhere consoling each other.ABBY: Yes!GIBBS: I don't like it.ABBY: Why?MCGEE: (OVERLAP) Why?GIBBS: I don't need a reason why![SCENE_BREAK]EXT. STREET - NIGHTARI: Did you buy it in such pristinecondition?DUCKY: God, no. The frame had severe termite damage.ARI: That's right. The Morgan has a wood frame.DUCKY: Mm-hmm. The top was in rags. The body dented. The rocker panels rusted out. It was adisgrace.ARI: Who did the restoration?DUCKY: I did.ARI: Of course you did.DUCKY: Do you doubt me?ARI: Not at all, Doctor. I was thinking of the irony. That hands so skilled at dissecting the dead are also capable ofrestoring life... at least to a machine.DUCKY: What do you want, Ari?ARI: A test drive.(PHONE RINGS)ARI: Now who at NCIS could be calling Gerald at this hour? Hmm? Oh well... Gerald is sure to arrive there shortly.Doctor? Oh, your cell phone. Now buckle up, Doctor. It's a dangerous night.(SFX: CAR ENGINE STARTS)[SCENE_BREAK]INT. SQUAD ROOM - NIGHTMCGEE: I'm getting voice mail.ABBY: They probably can't hear theirphones because they're in a pub.MCGEE: Do you want to leave a message?GIBBS: No. Get a GPS fix.(BEAT) Snap it up, McGee!MCGEE: One second, Boss. Got it.GIBBS: Georgetown. Olive and Twenty-ninth. I knowthat street. That's mostly residential. Locate Ducky's cell.ABBY: See. They're together.GIBBS: There's no pub there.ABBY: Well maybe Gerald lives there.MCGEE: That's negative. He lives on Peabody.ABBY: So they'reparked. They're talking.MCGEE: Want me to go with you, Boss?GIBBS: No. Tony's out. Stay here with Abby.ABBY: For nobody leaving the building, there are a lot of people leaving the building.[SCENE_BREAK]INT.SWIMMING POOL - NIGHT(MUSIC PLAYS B.G.)KATE: Why don't you visualize her naked? Does she intimidate you?TONY: A woman hasn't been born yet who can intimidate Anthony DiNozzo.KATE: You're forgetting yourmother.TONY: Mothers don't count.KATE: And that lawyer. Marla?TONY: Divorce attorney. Worse than mothers.KATE: Well, Ziva's not your mother. She's not a divorce lawyer. She definitely intimidates you.TONY: Doesnot.KATE: Does too.TONY: Does not.KATE: Does too.[SCENE_BREAK]EXT. GEORGETOWN STREET - NIGHT(SFX: RAIN FALLING B.G.)GIBBS: Okay, where are they now?(BEGIN TELEPHONE INTERCUTS)MCGEE:(V.O./FILTERED) Same place, Boss.(SCENE CUT)MCGEE: (INTO PHONE) Olive and Twenty ninth.GIBBS: (INTO PHONE) Get a fix on my cell.(SCENE CUT)MCGEE: (INTO PHONE) Okay.(SCENE CUT)MCGEE:(V.O./FILTERED) You're right on top of them!GIBBS: (INTO PHONE) Damn it, McGee! They are not here!MCGEE: (V.O./FILTERED) They have to be, Boss.(SCENE CUT)ABBY: (INTO PHONE) Gibbs. Is there a pub?GIBBS:(V.O./FILTERED) No!(SCENE CUT)GIBBS: (INTO PHONE) There is no pub! No people - there are no cars!(SCENE CUT)ABBY: (INTO PHONE) Okay, I was just checking.(SCENE CUT)GIBBS: (INTO PHONE) How accurate isthis fix, McGee?MCGEE: (V.O./FILTERED) Within twenty five meters.(MUSIC OVER ACTION/KATE: It's going to happen again, isn't it? Ducky's going to take a bullet for you.GIBBS: He won't kill Ducky.KATE: Why not?Because you couldn't live with the guilt? Maybe Ari knows that. Maybe that's his plan. Maybe the only way to save Ducky, Abby, and McGee is to kill yourself.(MUSIC OUT)MUSIC IN:EXT. PARK - NIGHT(SFX: TELEPHONEBEEP TONES/ CELL PHONE RING TONE)[SCENE_BREAK]INT. SQUAD ROOM - NIGHT(PHONE RINGS)MCGEE: (INTO PHONE) Special Agent McGee.(BEGIN TELEPHONE INTERCUTS)(SCENE CUT)GIBBS: (INTO PHONE) Ifound Ducky and Gerald's cell phone in the park.(SCENE CUT)MCGEE: (INTO PHONE) Why would they leave their cell phones in the park?GIBBS: (V.O./FILTERED) They wouldn't McGee!(SCENE CUT)MCGEE: (INTOPHONE) Do you want me to come down there?GIBBS: (V.O./FILTERED) If I wanted you to....(SCENE CUT)GIBBS: (INTO PHONE) ... come down here, I would have told you so. Put a BOLO out on Ducky's Morgan. Gethis license plate from his file.(SCENE CUT)ABBY: (INTO PHONE) Gibbs, Ari has Gerald and Ducky.(SCENE CUT)GIBBS: (INTO PHONE) They're not dead, Abs.(SCENE CUT)ABBY: (INTO PHONE) How do you know?(SCENECUT)GIBBS: (INTO PHONE) Because Ari dumped their cell phones in the park, not their bodies.(SCENE CUT)MCGEE: (INTO PHONE) Ah... Boss? Gerald's here.GERALD: Ari's got....(SCENE CUT)GERALD: (V.O./FILTERED)...Doctor Mallard.(SCENE CUT)GIBBS: (INTO PHONE) How'd you get away?!GERALD: (V.O./FILTERED) I didn't.(SCENE CUT)GERALD: (INTO PHONE) Ari let me go.(END TELEPHONE INTERCUTS)[SCENE_BREAK]INT.SWIMMING POOL HOUSE - NIGHT(MUSIC OVER ACTION/TONY SEARCHES THE POCKET)DANA: Excuse me. May I?TONY: You certainly may.(DOOR OPENS/ CLOSES)[SCENE_BREAK]INT. NCIS SQUAD ROOM -NIGHTGERALD: I've never driven a stick.ABBY: Are you serious?MCGEE: What? You can drive a stick?ABBY: Yeah, since I was like ten.GERALD: What were you driving when you were ten?ABBY: A red forty-seven Fordhalf-ton pickup with four on the floor and Bubba riding shotgun.MCGEE: Bubba?ABBY: Ah, best damn coon dog in Jefferson Parish.(SFX: ELEVATOR DINGS/DOORS SLIDE OPEN)(BEGIN TELEPHONE INTERCUTS)GIBBS:(INTO PHONE) I don't believe in coincidences, Tony.(SCENE CUT)TONY: (INTO PHONE) I know, Boss.(SCENE CUT)TONY: (V.O./FILTERED/MUFFLED) You've beat that into me.GIBBS: (INTO PHONE) Haven't I beat thatinto you?(SCENE CUT)TONY: (INTO PHONE) That's what I said.GIBBS: (V.O./FILTERED) What did you say?TONY: (INTO PHONE) I said the reception sucks!(SCENE CUT)GIBBS: (INTO PHONE) Stay with them. I'm onmy way.(SCENE CUT)TONY: (INTO PHONE) What if they split up?(SCENE CUT)GIBBS: (INTO PHONE) What about your gut?(SCENE CUT)TONY: (INTO PHONE) It wants a pizza. (END TELEPHONEINTERCUTS)[SCENE_BREAK]INT. SQUAD ROOM - NIGHTGIBBS: Oh, god. What do we have?MCGEE: Ari picked up Gerald to force Ducky into a meet.GIBBS: You warn him?GERALD: I did. But you know Doctor Mallard.He came anyway.GIBBS: It's not your fault, Gerald. Ari's the b*st*rd. Ducky made the decision to go, not you. Debrief him. Write it up. I'll be with Tony at the Embassy Hotel.ABBY: Um, Tony's at the Embasero.GIBBS:Why did he say the Embassy?ABBY: Cell phone garble.GIBBS: All right, from now on everyone is using phonetics, like we did in the Corps.ABBY: Um... golf-India-bravo-bravo-sierra. Can I please go back to my lab? I'mflipping out here with nothing to do.GIBBS: Okay, but don't leave...ABBY: Don't leave the building. I know. Bravo. Yankee. Echo.(SFX: ELEVATOR DOORS SLIDE CLOSED)[SCENE_BREAK]INT. POOL HOUSE -NIGHTDANA: Mind if I join you?ZIVA: One more lap and you'll have it all to yourself.DANA: How's the water?ZIVA: Lovely. Have a nice swim.DANA: Thank you.(MUSIC OVER ACTION/TONY TAKES PICTURES)(ZIVAWALKS FROM THE POOL HOUSE/TONY WATCHES DANA)TONY: (SOFTLY) They're switching robes.(TONY RUSHES TO THE ROBE AND SEARCHES THE POCKET)DANA: Hey! What are you doing?TONY: Going for aswim.DANA: There's a locker room.TONY: I'm fine.DANA: Where's your swimsuit?TONY: Don't have one.DANA: I should call security.TONY: You didn't see the sign.DANA: What sign?TONY: I must have been blocking it.Uh... remember I was waiting outside and you wanted to come in?DANA: Oh, I remember.TONY: The Hackensack Nudist Society. From ten twenty seven until eleven fifty one the pool is ours. And it's our third annualconvention. Here's Agnes and Agnew right now. He's our President and Agnes is our social secretary. Hey guys. You look funny with clothes on.DANA: Inventive. Funny even. But I'm married.TONY: So am I!(DOOROPENS/ CLOSES)[SCENE_BREAK]EXT. STREET - NIGHTTONY: (INTO PHONE) Boss, can you hear me?GIBBS: (V.O./FILTERED) Across the street.TONY: (INTO PHONE) Boss?GIBBS: (V.O./FILTERED) Yeah!TONY: (INTOPHONE) Gotcha.[SCENE_BREAK]INT. CAR - NIGHTTONY: Ziva slipped a phony French passport and some cash (SNIFFS) to the woman with the Star of David (SNIFFS) I told you about. I love you, Boss.GIBBS: How doyou know the passport's a phony?TONY: Ari's photo, but not his name?GIBBS: What name's he using?TONY: Aren't you curious to know how I got it?GIBBS: I assume you improvised like a good agent should.TONY: Butwhat an improv! I swear to God I could get a gig on SNL. Okay, dig this. I pretend like I'm this real goofy guy trying to get--GIBBS: You pretended?TONY: That hurt, boss.GIBBS: What's the name?TONY: Well....GIBBS:The name?TONY: René Saurel. (SPELLS) S.A.U.R.E.L.GIBBS: Description?TONY: All I saw was the name and the photo.GIBBS: The woman?TONY: About five foot nine, dark hair, blue and white jogging outfit. Big gymbag. Real pretty girl. Looked enough like Ziva to be her sister. Real pretty.GIBBS: Maybe she is. Mossad's like the Mafia. One big happy family. (INTO PHONE) Hey, McGee. I've got a passport alert. Ari is traveling with aFrench passport under an alias, René Saurel. Sierra. Alpha. Uniform. Romeo. Echo. Lima.MCGEE: (V.O./FILTERED) Okay, what alert category?GIBBS: (INTO PHONE) Terrorism!MCGEE: (V.O./FILTERED) On it.TONY:That ought to get Custom's attention.GIBBS: Well, let's make sure he doesn't get that far.TONY: Boss, that's her.GIBBS: Stay with Ziva.TONY: What if this girl's meeting Ari? I mean, you're going to need backup. Letme rephrase that.GIBBS: Out!TONY: (V.O.) Thanks for the pizza, boss!GIBBS: Thank the night shift. I swiped it from them.[SCENE_BREAK]EXT. STREET - NIGHT(MUSIC OVER ACTION/GIBBS FOLLOWS THE TAXICAB)(GIBBS BRAKES TO A STOP)(SFX: CAR TIRES SCREECH)GIBBS: (SHOUTS) Ari! Get out, Ari!DUCKY: Good grief, Jethro. Put that weapon down. I've had enough excitement for tonight. Ari abducts me. Gerald stripsmy gears. And now you play chicken on a wet street.GIBBS: Where's Ari?DUCKY: Well gone I imagine. We were parked about ... well, a ways back. He received a cell phone call and then told me to drive down the streetfor ten minutes.GIBBS: (INTO PHONE) McGee! Congress Cab number seventeen picked up a female fare at the Embasero Hotel ten minutes ago. If he's en route, I need his twenty. If he's dropped his fare, then get mean address. And take the BOLO off Ducky's Morgan. He's safe.DUCKY: Our paths didn't cross by accident.GIBBS: Ari's cell call came from that woman in that cab I was tailing.DUCKY: He sent me down this street so thatyou would run into me.GIBBS: Yeah! A cab keeps going. Picks him up. They're gone!DUCKY: Ari abducts me to get you off her tail.GIBBS: Maybe. What'd you talk about?DUCKY: Well, my Morgan for a while. He wassurprisingly knowledgeable. Then Edinburgh Medical School. Yeah, we were both alumni. A few decades apart...GIBBS: Anything important, Ducky?DUCKY: He swore he didn't kill Caitlin. Made a very logical andpassionate defense.GIBBS: You believe him?DUCKY: He was very persuasive. Said he knows you'll never believe him.GIBBS: He's right about that.DUCKY: (OVERLAP) And that it's a shame that one of you has to die.He's arrogantly confident that it won't be him. But said on the off chance that it is, to keep looking for Caitlin's killer.GIBBS: He's a slick b*st*rd, Duck. But he's right. One of us is going to die.DUCKY: Jethro!Jethro!(SFX: CAR TIRES SCREECH)(GIBBS DRIVES O.S.)(FADE OUT)MUSIC IN:EXT. HOTEL - RAININGZIVA: Espresso? Take it. It's not a bribe.TONY: How long have you known I was...ZIVA: Following me? Since I leftthe Navy Yard.TONY: I don't think so.ZIVA: Blue sedan. You laid behind a white station wagon for a while, then a telephone van. You lost me at the traffic circle on...TONY: Okay. You knew.ZIVA: Take it. It's chilly outhere. You shouldn't feel bad. I was trained by the best.TONY: You know, that's what I like about Mossad.ZIVA: Our training?TONY: Modesty.ZIVA: Um... there's a slice in there. (BEAT) Toda.TONY: Prego.ZIVA: I lost mylittle sister, Tali, in a Hamas suicide bombing. She was sixteen and the best of us. Tali had compassion.TONY: I'm sorry.ZIVA: After Tali's death I was like Gibbs. All I wanted was revenge.TONY: Is that why you joinedMossad?ZIVA: I was Mossad long before Tali's death. Old...TONY: Family tradition?ZIVA: Israeli sense of duty.TONY: So come on. Who recruited you? Your father? Uncle? Brother? Boyfriend?ZIVA: Aunt. Sister. Lesbianlover.TONY: You're good. You almost got me off the question. Almost.ZIVA: I volunteered. Laila Tov.TONY: Buona notte.[SCENE_BREAK]INT. SQUAD ROOM - NIGHT(SFX: CABINET DRAWER OPENS)KATE: (V.O.) Whyhaven't you come down to see me yet? (ON CAMERA) If you don't peek at the back of my head, I'll just look like I'm asleep. (SIGHS) I'm so lonely I'd even welcome a visit from Tony.ABBY: McGee! Didn't Tony matchthe tire tracks to a Chevy Suburban?MCGEE: Uh, yeah. Bridgestone Duelers. Factory issue. Uh, what are you doing?ABBY: We caught a break. N-O-R orbited a new Keyhole. They're doing calibration tests using theseventh hole of the Norfolk Naval golf course.MCGEE: Why the seventh hole?ABBY: See? That's why I dig you, McGee. You think specific. Whatever the reason, we are grateful because that orbit took the Keyhole overNewport News! I inputted the warehouse coordinates...MCGEE: That's the rooftop! That's me... Tony, Gibbs, Kate.ABBY: Is that the building where Ari's sniper nest was?MCGEE: It is. Ari's not there.ABBY: What do youexpect? A video of him shooting?MCGEE: Well, I was hoping.ABBY: Only in flicks, McGee.MCGEE: Okay, then why are you so excited?ABBY: I don't know. Maybe it's being alone with you on a rainy night.MCGEE:Abby...ABBY: Oh, look! Could it be? A black Chevy Suburban driving down the alleyway.MCGEE: Uh... can you read the license plate?ABBY: That depends more on angle than resolution.(SFX: KEYBOARDING)ABBY: It'snot a dress, McGee. You can't look up it to see what you want. Ha! Yes! Yes! Yes! Yes! Yes! Oh, McGee!MCGEE: I'm sorry. I'm sorry. I've got to put a BOLO out on the plate.ABBY: We did good, huh?MCGEE: You didgreat.[SCENE_BREAK]EXT. STREET - NIGHT(MUSIC OVER ACTION/GIBBS WATCHES THE APARTMENT)(PHONE RINGS)GIBBS: (INTO PHONE) Yeah, Gibbs. Slow down, McGee. Take a breath. Start with the address.Seven, two, four, tango, Julia, alpha. Got it.(SFX: TELEPHONE BEEP TONES)(BEGIN TELEPHONE INTERCUTS)(SCENE CUT)(PHONE RINGS)SHEPARD: (INTO PHONE) Shepard.GIBBS: (V.O./FILTERED) I need a partnerfor the night. You up for it?(SCENE CUT)GIBBS: (INTO PHONE) Jen?(SCENE CUT)SHEPARD: (INTO PHONE) Jethro, don't you know any other women?(SCENE CUT)GIBBS: (INTO PHONE) None I can call for backup. Youdidn't think I meant...(SCENE CUT)SHEPARD: (INTO PHONE) That's what you have a whole team of agents for.(SCENE CUT)GIBBS: (INTO PHONE) Well, McGee's on protection duty with Abby.(SCENE CUT)GIBBS:(V.O./FILTERED) DiNozzo's tailing Ziva. And since I lost...SHEPARD: (INTO PHONE) DiNozzo's what?(SCENE CUT)GIBBS: (INTO PHONE) He's tailing Ziva.SHEPARD: (V.O./FILTERED) Well where are you?GIBBS: (INTOPHONE) Outside!(END TELEPHONE INTERCUTS)[SCENE_BREAK]INT. CAR - MOVINGSHEPARD: What are the chances that Ari is still at this house?GIBBS: Zero. Ducky was a diversion so your friend Ziva could pass cashand documents to him.SHEPARD: Ziva's a control officer doing her job. You'd do the same if the roles were reversed.GIBBS: She's using you, Jen!SHEPARD: And I'm using her. A half dozen Hamas suicide bombers willnot be blowing up our boys in Iraq because of Ziva.GIBBS: She's Metsada, isn't she?SHEPARD: The Mossad code name for that division is Komemiute.GIBBS: Whatever they name it, they specialize inassassinations.SHEPARD: Excuse me. Weren't you a Marine sniper?GIBBS: If I have to go through your friend to get Ari, I will.SHEPARD: Ziva knows that.GIBBS: You really do like her.SHEPARD: She's damn good. AndI owe her. She saved my life in Cairo two years ago.(PASSAGE OF TIME)SHEPARD: I can't believe this. I've been Director less than twenty four hours and I'm back on the street.GIBBS: It's great, isn't it?SHEPARD: No,Jethro. It isn't.GIBBS: Come on! Come on! You love it.SHEPARD: Truthfully? I'd rather be in bed. Sleeping.GIBBS: Remember that stake out in Marseille? August. Stuck in that attic with no air, photographing everyonewho boarded that Lebanese trawler. That second night... that's the first time we--SHEPARD: Okay. Shut up.GIBBS: Hand me the binocs. They're underneath the seat.SHEPARD: What?GIBBS: That's Ari's SUV.SHEPARD:(SHOUTS) Shooter!(SFX: GUNSHOT/ GLASS BREAKS)GIBBS: Stay down!(SFX: GUNSHOTS)(SFX: GLASS BREAKS)(MUSIC OVER ACTION)(SFX: GUNFIRE)SHEPARD: I expected Haswari to be older.GIBBS: He is.(MUSICOUT)MUSIC IN:INT. AUTOPSY ROOM - DAYDUCKY: (V.O.) Gunshot number three is located under the right clavicle. Appears to be a distant wound from the absence of sooting and stippling. Gunshot number four is"}
+{"doc_id":"doc_327","qid":"","text":"In the gymnasium during tryoutsKendra: Over here Liberty! Pass!(Ms Hatzilakos is watching the girls and jotting down notes when Kendra scores.)Kendra: Yes!Ms. Hatzilakos: Great stuff girls. Bring it in. Alright thefinal roster will be posted tomorrow. Not everyone made the cut, but today I was really impressed with all your effort. Good stuff everyone.(Everyone starts to leave.)Emma: You ready?Liberty: Yeah.Ms. Hatzilakos: UhLiberty nice effort out there.Liberty: I was pleased with my stick handling, though my scoring could have been better.Ms. Hatzilakos: You didn't score.Liberty: We'll need to work on that if I'm gonna lead our team tovictory.Ms. Hatzilakos: I know how much this means to you, but I'm sorry Liberty you didn't make the cut.Liberty: There must be a mistake. I've never lost anything in my life.Ms. Hatzilakos: Well you haven't lostbecause I do want you on the team.Liberty: To do what?Ms. Hatzilakos: The role of team manager. This team really needs you.Liberty: The team needs me, then I'm there.Ms. Hatzilakos: Great.In the hallway, theroster has been postedManny: Awesome I made it.Kendra: Great. Now for the initiation.Manny: Initiation?(Kendra and Emma start spraying Manny with silly string when Liberty walks over.)Liberty: Congratulations oneand all.Emma: Thanks. Sorry you didn't make the team.Manny: But you're manager. That's good.Liberty: That's great and believe me I'm gonna keep you girls in line.In history classTeacher: The outline for your essayis strong and thought-provoking.Liberty: Napoleon was fascinating. I only hope my essay does him justice.Teacher: I'm sure it will. You always accomplish what you set out to do.Liberty: Not always, but thank you sir.In a classroomTerri: A strong fate line means you know what you want to do.Hazel: But my lifeline's so faint.Terri: Your quest for meaning will be an eternal one.Ashley: Didn't you learn anything last year about playingwith dark magic?Paige: Wow. Déjà vu. Freaky occult and Ash freaking out.Ashley: You have to have a little respect.Paige: And I have to have a little fun, so Ter, read the palm.(Terri starts looking at Paige's palm andstops suddenly.)Paige: What's it say mystic oracle?Terri: It's, it's great. Your palm's perfect.Paige: Um hon. I was kind of looking for a reading.Mr. Armstrong: Morning class. Let's open our textbooks to chapter 12,polynomials.Paige: What do you see Terri?Mr. Armstrong: I see Paige Michalchuk in detention after school.Outside the schoolHazel: Ter! You've been avoiding me all day.Terri: Not you. Paige.Hazel: Why?Terri: Yourfate line was really faint. Paige's lifeline doesn't exist.Hazel: Her days are numbered?Paige: Whose days are numbered? Either you tell me what you saw in my palm or my nails get up close and personal with yourface.Terri: Okay your palm...no lifeline. You're gonna die. In the locker room Liberty is doing the team's laundry(She has a daydream about her leading the team to victory and everyone is cheering for her.)Mr.Armstrong: So Liberty, how do you like being team manager?Liberty: Great. I love it. How come the girls get to wear these ratty things and the boys get uniforms?Mr. Armstrong: That's because we didn't budget for agirls floor hockey team. We didn't think there would so much interest.Liberty: You do know boys teams get 80% of the athletics budget.Mr. Armstrong: That's because there's more boys teams. Money is tight for allteams these days.Liberty: There must be a way around it. What about fundraisers or sponsorships?Mr. Armstrong: Sure. That takes a lot of work.Liberty: Mr. Armstrong, work's my forte and I know exactly where tostart.Outside Joey's houseLiberty: Plus you can write the sponsorship off as a tax credit.Joey: Yes I know, but the boys have already asked me to sponsor their basketball team.Liberty: They don't need your help Mr.Jeremiah. We do!Joey: But the Panther's have done awesome all year.Liberty: Yes and we can too if we get the same full support. Look, say your daughter was on our team. Would you want her wearing this? We needthis Mr. Jeremiah.(She shows him the uniform the girls have to wear.)Joey: Okay look. I can't sponsor both teams, but I'll think about it okay?-In the gymnasium-Liberty: Our New Jersey design.Manny: Wow. That'sawesome Liberty.Emma: Yeah. That's really good.Liberty: Thanks. We do have to convince Mr. Jeremiah to sponsor us and not boys basketball, but a minor detail.Emma: Yeah like the boys need funding.Ms. Hatzilakos:I know girls you're excited about this, but even with sponsorship we're not gonna win anything unless we practice, okay? So take your positions. We're gonna do passing drills.(The girls get ready to practice.)Ms.Hatzilakos: Oh and can you clean the pinnies? They need washing.Liberty: I just washed them the other day.Ms. Hatzilakos: I know. They're dirty again. Okay girls come on! Can we focus please!In the media immersionlab, Hazel and Paige are on the computerHazel: Here. In palmistry no one indicator by itself is conclusive.Paige: Okay.Hazel: Which hand did she read?Paige: Um my left.Hazel: And you're right handed.Paige: And yourpoint is?Hazel: You're supposed to read someone's dominant hand. The one you use.Paige: Hey! I do have a lifeline.Terri: Here Paige. To express my grief.(Terri hands Paige flowers.)Paige: Um thanks.Terri: Anything Ican do for you in your time of need, let me know. Anything.Hazel: So when are you gonna tell her?Paige: About my miraculous recovery from the brink of death? Hmm I don't know.Outside the schoolEmma: Liberty wejust wanted to say that we really appreciate what you tried to do.Liberty: Thanks, but Ms. H put me in my rightful place, the laundry room.Jimmy: Van Zandt, what's up with trying to steal our sponsorship?Spinner:Yeah. Who cares about girls sports? Except of course mud wrestling.Jimmy: Look you girls are crazy. Jeremiah's gonna back us because we're a winning team.Liberty: You really think you're better than us?Spinner: Uhwelcome to the conversation. Yeah.Liberty: Then prove it. Floor hockey. Girls versus boys.Manny: Uh Liberty.Jimmy: Okay. Say um winner gets the sponsorship?Liberty: And loser does the other team's laundry for aweek.Spinner: Awesome. I sweat like a pig. Outside the schoolMs. Hatzilakos: So whose idea was this again?(The girls look at Liberty.)Ms. Hatzilakos: Well I'm not coaching you guys so you can get into a grudge matchwith the boys over bragging rights.Liberty: It's not about bragging right. It's about a sponsorship.Ms. Hatzilakos: Well why gamble for it? Let Mr. Jeremiah decide.Liberty: He can't so we have to do this.Ms. Hatzilakos:Look I know this is very important for you, but between school and preparing you girls for the actual competition, I can't help you with this. I'm sorry.Liberty: But we need a supervisor.Ms. Hatzilakos: Yes. Yes youdo.Manny: Great. Now who's gonna coach us?Liberty: I will and I'll lead us to victory like Napoleon in the battle of Leipzig.In a classroom, Liberty tosses a huge book on the tableEmma: 100 Days To Glory?Liberty: Ourstrategy. It outlines what we have to do to win the regionals.Manny: Yoga. Meditation...and no junk food?Liberty: To achieve perfection, one must envision perfection. Envision, achieve, win. A simple formula. In thegymnasium, the girls are complaining about Liberty's rules(Liberty walks in wearing an outfit like Napoleon's and they all stop talking.)Liberty: Napoleon said if you want authority you must dress the part. I look regal,commanding-Kendra: Stupid.(The girls laugh and Liberty blows her whistle.)Liberty: Silence!Manny: Liberty I can't practice today. I sort of have my period.Liberty: Manny a true champion doesn't let a silly, littlemonthly visitor stand between her and victory.(Liberty hands Manny a tampon.)Liberty: Now lets get started. Fall in positions!In the hallwayPaige: And then I realized I'll never have a driver's license or a senior prom.Ter I am too young to die.Terri: Don't cry. Can I get you anything?Paige: Sure and maybe you could even do my book report for Kwan. With all this stress you brought me how am I supposed to concentrate?Terri:You're right. I'm there. In the gymnasium, Liberty is going over the plays(Spinner and Jimmy are outside the gym watching the girls and laughing.)Liberty: You stay on the left wing allowing the fore-checkers to godeep in the offensive zone.Kendra: What's this play called again?Liberty: The left wing lock. It limits break out space and forces the opposition's defense to carry the puck or bank it up on the boards. Girls this is child'splay.(Manny starts giggling.)Liberty: Hey little Ms. Happyface. What's a neutral zone trap, huh?Manny: I don't know.Liberty: Page 16. Did you read it? Maybe you don't know how to read!Manny: Why are you picking onme?Liberty: Because you're the weakest link.In the hallwayLiberty: Don't test me Kendra.Kendra: Why not Napoleon?Liberty: If you want to win, you players need to pull together.Kendra: We're not going to winLiberty, not with you barking orders!Liberty: They're not orders. They're plays.Kendra: We don't understand them. They're useless, kind of like you as coach.(Kendra leaves and Liberty sees a boys jock string taped toher locker.)Liberty: Ew![SCENE_BREAK]In the media immersion roomTerri: Finished.Paige: Ter your head.Terri: Oh I get zits when I'm stressed. I just e-mailed your report. I didn't get mine done, but that's okay. I onlylose 10%.Paige: Are you sure? Thanks.Hazel: Who said dying wasn't any fun?(Ashley overhears them.)In the hallwayAshley: Hey Terri. What's up?Terri: Trying to figure out when I can get some sleep. Being Terri andPaige is hard work.Ashley: Can I talk to you about that?Terri: What?Ashley: Well let's just say when I tell you, you're gonna want to kill someone who's technically already dying. In the gymnasiumSpinner: Some girlsteam, eh? What are they doing, putting on their makeup?(The girls march in.)Liberty: Closed set. Everybody out.Spinner: Um it's just a hockey game, Liberty.Liberty: No Spinner it's your funeral. Last time,out!(Everyone starts to leave.)Liberty: You, Panther, scoreboard.JT: Ai captain!Liberty: Okay girls remember what Napoleon said. One must know when to leave the skin of a lion to take the skin of a fox(Nobody saysanything.)Liberty: So get out there and give it to them, right?!The girls: Right!(Joey blows his whistle to get the teams ready.)Joey: You ready? Ready? Let's go!(They start playing as Liberty watches and JT keepsscore.)Outside DegrassiHazel: We should totally go to that movie tonight seeing as your homework's already done.Paige: And maybe we could even get Terri to pay.(The girls see Ashley and Terri with a Ouijaboard.)Paige: Ashley on a Ouija board?Ashley: Terri told me the sad news. I thought that we should get a second opinion. Hey Terri wouldn't it work better if Paige was sitting here?Terri: Yes it would.Paige: Do I have todo anything?Terri: No. Just watch and read. Mystic oracle, is it true?(Terri makes the Ouija pointer move to 'yes'.)Paige: Is what true?Terri: That you and Hazel played me for a fool.(Terri makes the Ouija pointer moveto 'yes'.)Paige: Wow. I, I really better get going.Terri: You're dead Michalchuk. I'm gonna get you! Get back here!(Terri starts chasing after Paige.)During the game, the score is 4-1 for the boysLiberty: Manny take it in.Take it in!Manny: I can't!Liberty: Take it in now.(Spinner and Manny bump into each other and Manny falls down.)Joey: Hold on guys. Hold on. You okay? Help me get her up guys. Get her up. Get her up.Manny:Ow.Joey: Slowly. Where does it hurt?Jimmy: Are you okay?Manny: It's my wrist. I landed on it.Liberty: She's fine. You're fine, right?Joey: I don't want to take any chances. Manny go see the nurse.Liberty: No! She'sgoing back out on the floor where we need her.Joey: I'm the ref and I'm telling her to go see the nurse.Liberty: After this period.Joey: Get someone else to play.Liberty: Those girls, they're alternates for a reason Joey.No!Kendra: You're being a tyrant.Liberty: I'm doing my job!Emma: Liberty maybe you need to relax.Liberty: And maybe you need to shut up and do what I tell you! All of you!Kendra: Good luck trying to win short twoplayers, Liberty.Joey: Someone make sure Manny goes to the nurses office, please.Liberty: I can't believe you girls. I thought you wanted to win.Emma: Not like this.(The guys start cheering.)Joey: Hey game's not overguys. They can still come out and finish it.In the locker roomLiberty: I can't believe you're all quitting. This is a team.Kendra: We're not quitting the team Liberty. We're quitting you.Liberty: That's so unfair.Emma:Coaches are supposed to inspire people. You just bark at us.Kendra: And give us crazy textbooks. 1000 ways to make us miserable.Emma: And the stupid cape.Kendra: Plus that whole thing with Manny.Liberty: AlrightI get the point. Look you're a great team. Be mad at me, but don't let those guys win. Kendra your slap shot is dead-on. Emma you're a good offensive captain. Focus on getting Kendra to the net, let her do the scoringand it's your game.Kendra: She does have a point. We can't let those jerks get the jerseys.Emma: Let's get 'em!(They cheer and head for the gym.)Emma: Liberty we've got it covered, okay?Liberty: Alright. Well go get'em.(Everyone leaves except for Liberty.)Liberty: I'm the weakest link.Outside the gymMs. Hatzilakos: Hey Liberty.(Liberty doesn't say anything.)Ms. Haztilakos: The game is still going on. What are you doing outhere?Liberty: I ruined everything Ms. H.Ms. Hatzilakos: What are you talking about?Liberty: The girls all hate me.Ms. Hatzilakos: Did you push them too hard?Liberty: I really wanted them to win those jerseys.Ms.Hatzilakos: It's a worthy cause.Liberty: Yeah, but I think I squished out all the fun of playing.Ms. Hatzilakos: You know Liberty it's tough for any coach. Balancing winning with having some fun.Liberty: Yeah and it's sonot worth it.In the locker room, Liberty is doing the boys' laundryEmma: Having fun?Liberty: Yeah. So much.Emma: Sorry we didn't win.Liberty: You almost own. Losing by 1 point sucks, but impressive.Emma:Thanks.Liberty: Not impressive enough to get Joey's uniforms of course.Emma: I don't know about that...girls!(The girls all walk in wearing their new uniforms.)Kendra: Mr. Jeremiah said he hadn't seen such a greatbattle of the sexes since Billie Jean King beat Bobby Riggs.Manny: Whoever they are!Liberty: I don't understand.Emma: Joey's sponsoring both teams. We impressed him that much.Liberty: Wow. You girls lookincredible.Kendra: You mean we look incredible.(Kendra hands Liberty a jersey that says 'team manager'.)Emma: Try it on! It's perfect."}
+{"doc_id":"doc_328","qid":"","text":"(Izzie is laying in bed with George. She quietly tries to sneak out.)MVO: Surgeons always have a plan, where to cut, where to clamp, where to stitch. But even with the best plans, complications can arise, things canarise and suddenly you're caught with your pants down.(Izzie is in the kitchen at the sink when Cristina and Meredith walk in)Meredith: Wow, you and George were really going at it last night.Izzie: What?Cristina: Thelaughing, the drinking, the music. Nobody, I mean me, needs to hear George's rendition of \"Sexy Back\" at three in the morning.Izzie: Yeah, yeah. You should have said something or you know, banged on thewall.Cristina: It's like living in a youth hostel.Meredith: Well, the important thing is that she and George made up. You did right?(Alex walks in)Alex: I need to use your bathroom.Meredith: Why?Alex: Cause O'Malley'spuking in mine.Cristina: Ok, youth hostel.Meredith: George is still here?Izzie: Yes. Yes. But only because he was too drunk to drive home. You know, just totally impaired. Like no heavy machinery drunk.Alex: What'sher problem?Cristina: Still drunk.Alex: What's she doing here?Meredith: She's afraid she's ruining her engagement to Burke, so she's hiding from him.Cristina: I'm not anymore. I have a plan. Burke doesn't want me tomarry him just to appease him...Meredith: Which you are.Cristina: So...we don't get married. Simple, we go back to the way it was. Be kind, rewind. My plan has a name.Izzie: I gotta go. I gotta get to work. See youguys later.(She goes to leave and puking can be heard from the downstairs bathroom)Izzie: Is that George? You said he was upstairs, puking.Alex: So, now he's downstairs puking.(Izzie walks into the hall whereGeorge is)George: Izzie.Izzie: George.George: What the hell happened last night? Callie is gonna kill me. Did I at least call her before I passed out?Izzie: No. you don't...you don't remember?George: I remember thebourbon and the...I...where did you sleep?(Richard is walking through the hall with Colin)Richard: Big day. What time's your interview with the board?Colin: Three o'clock.Richard: Well if you have any questions,please...Colin: Yes, thank you. I think I have everything well in hand.Richard: That's a big folder. (Referring to the one Colin is carrying)Colin: It's nothing...it's just a few ideas I have for Seattle Grace. A ten-year plan.Which really is just a few, ah, tweaks. What did Einstein say? \"Newton did the work, I'm merely standing in his shoulders.\"Richard: And in this scenario I'm Newton.(George is in the locker room looking very nauseouswhen Callie enters)Callie: George. Hey.George: Hey. You look, uh, nice.Callie: I look insane. I'm wearing pearls. Listen...George: Listen, about last night, uh...Callie: Yeah. Well we're good enough for now because as ofright now you and I, we're the perfect couple. Ok, we are the perfect happily married couple who are perfect and, and never fight because my dad's in town.George: What?Callie: Yeah, my dad's in town and, uh, hewants to meet my husband.(Izzie enters)Izzie: Oh, hey. Hey, O'Malleys. Carry on, do your stuff, your married stuff. Yay!Callie: You told her about our fight.George: Just when exactly is he coming?Callie: Today, lunch,cafeteria. You know what, I think I might change it to Joe's so he might not be able to tell that stinks coming from you.George: No, it's ok. It's ok. Uh, I'm good with parents. Parents love me.Callie: Funny little man.Funny, funny little man. Funny little man who stinks. Just get in the shower, get in the shower, ok?George: I know it'll be ok. You'll see, he's gonna love me. Oh.(Cristina walks up to Burke at a nurse's station)Burke:Oh, what's this?Cristina: We bring each other coffee. This is what we do.Burke: No, this is what we used to do. Before you moved in and we started making coffee at home. You know, I'm not really interested in goingback to the way it used to be so unless you have something else to say to me...I've already had my coffee.(Burke walks away and she sees Colin in the hall. Cristina walks away and Colin comes down the stairs andsees Derek, Addison and Burke standing near the OR board.)Colin: Ahh, good morning, doctors.Derek: Good morning. How you doing?Colin: Big day today. Good luck to all and sundry.(Colin walks away and Richardwalks up)Richard: He has a ten-year plan.Burke: What?Richard: He's presenting the board with a ten-year plan for the surgical wing.Derek: He's only been here a day.Richard: Did you see that folder? It's full ofplans...tweaks for my hospital.(Seattle scenes)(Jane Doe's room, Mark is showing her images on a computer screen.)Mark: This is a computer approximation of your original facial structure. Based on the 3D CT scanswe did, it's what you could look like after reconstructive surgery. Or you could look like this...or this. You don't like them?Jane: It's not that...(Looks at Alex) How does this work exactly?Alex: He'll make an incisionalong your hairline and then...Jane: It's ok, I can take it.Alex: He'll literally pull your face off.Mark: It sounds a lot worse than it is. Your face is extremely elastic and pulling it down will allow me to correct the bonefractures underneath without any scarring. And once you've healed, no one will ever know you had the surgery. I'm that good.Addison: He is! It's annoying.Jane: The surgery won't affect my baby?Addison: I'll bemonitoring the baby throughout, ok?Jane: Ok. So...then I just have to pick one. Do I have to pick one now?Mark: Take a couple hours and think about it.Jane: Couple hours, yeah.(Bailey and her interns walk into thehall and up to Richard)Richard: Dr. Bailey.Bailey: Chief, Jane Doe's getting a new face today.Richard: Well, that's exciting. (To Meredith) How are you doing, Mer. You didn't take to much time off after...Meredith: I'mfine, sir. Really. I think working's the best thing I can do.Richard: Like mother, like daughter, huh?Mark: Dr. Grey, what can you tell me about reconstructive neuro floor?Meredith: Uh, you can create a new base fromthe eye socket by harvesting bone from the skull. Dr. Bailey, Dr Grey will be scrubbing in on the Jane Doe case. Come on, I'll show you how to do it without breaking the bone graft into a million pieces.Richard:Congratulations, Dr. Grey.Bailey: Come on, lets go people.(Bailey and her interns walk past a nurse's station where Callie is)Callie: Wait, wait, wait, I need to talk to you.Izzie: Why?Callie: To prepare you guys for whatyou're about to see.Izzie: You meant...you meant you like us, not me. You don't want to talk to me. You wanna talk to us, about a patient.Callie: That what I just said. This patient has a disease so rare that you'llprobably never see it again. FOP.Izzie: Oh, Fibrodysplasia ossificans progressiva.Callie: Uh, yeah. It's a skeletal disease. It turns muscle into bone, it turns you into a human statue. So just try to learn and not to stare.Ok?Nina: If you people are interns, you need to stand back.Cathy: Nina, please don't be rude.Nine: My mother still has movement in her face and hands. I'd like to keep it that way, so, please be careful. You press tohard during an exam or bump into her accidentally it causes a bone to grow where a bone shouldn't grow. So there can be no accidents.Callie: Ok, remember that when you're dealing with her today.Cathy: It's just astomach virus or the flu. I'm sure it's nothing. Nina insisted that I come in...Nina: She was vomiting blood. And going through her pain meds like they were candy. And she has new growths, on her back. No doubtcaused by come clumsy interns on her last hospital stay.Callie: Obviously, you're having a flare up of the FOP but really concerns me is the vomiting. So I'm gonna need a CT and see what's going on. (Sees a dollhouse)Oh, did you build that?Nina: My mom did.Cathy: No, Nina did it. I used to do it, I'm not able to.Nina: Keeps her active. When she's active she has fewer flare-ups. Plus it keeps her happy and relaxed.Callie: Good,ok.(Outside Nina's room)Izzie: Can I work in the clinic today?Alex: You don't want the FOP case?Cristina: Clinic, why? What's going on in the clinic?Izzie: Nothing. I just feel clinicy.Cristina: That's not a word. I'll takethe clinic.Izzie: Cristina!Bailey: You both can go to the clinic.(Callie is nearby smelling George)Bailey: The board's interviewing chief candidates all day today so were light on surgeries. O'Malley?George: Yes?Bailey:You're with Dr. O'Malley.George: Ok.Alex: What am I supposed to do?Bailey: Find Dr. Montgomery, see if you can help with Jane Doe.George: I showered twice.Callie: It's coming out of your pores, George. You, reek,you're trembling and there's no way I'm letting you near my patient right now. Dr. Bailey?George: Don't tell Bailey, don't tell Bailey.Callie: Bailey, with Mrs. Rogerson's limited mobility I'm gonna need an extra set ofhands.Bailey: Fine, Stevens. Yang will handle the clinic, you'll be with the O'Malleys today.(Izzie gets out of the elevator. Callie looks annoyed, Izzie looks terrified and George gives her a thumbs up)(Cristina is in theclinic with Doug Kendry)Doug: It's my foot. It hurts like crazy. I'm gonna need a pain killer, I can't spend the whole day propped on an ice pack.Cristina: You're gonna need to take off your shoe.Doug: No, no, no. I'vebeen down this route before. Just slip me a couple pain killers and I'll be on my way.Cristina: Sir, did you, uh, go to medical school? I did. Take off your shoe. You have type two diabetes.Doug: Ten years now.Cristina:Well, you inspect your foot every day, have you noticed anything?Doug: I noticed it hurts. Look, I've got ten guys sitting on their ass waiting for me to show up...Cristina: Sir, I get it. You're in a hurry. That makes twoof us. Sock.(Doug takes off his sock to reveal a very nasty sore)Cristina: You need to call your guys and tell them you're not coming in.(Jane Doe's room)Meredith: Did you choose a face?Jane: Not yet. I was hoping I'dsee one of them and I don't know, recognize myself. I don't recognize any of these women. What if I choose the wrong one? What if my husband or boyfriend or whose ever baby this is, shows up tomorrow with apicture of what I'm supposed to look like but it's too late, and I'm stuck with the wrong face for the rest of my life?Alex: Ok, that would suck but if you don't pick one...(He holds up a mirror)...this is gonna be your facethe rest of your life.(Derek is watching Meredith, who is at a computer)Meredith: Hey.Derek: Hey.Meredith: Shouldn't you be preparing for your board interview?Derek: I am.(He leans over her shoulder and he smellsher hair)Meredith: You're hovering.Derek: No, I'm breathing you in.Meredith: You're hovering.Derek: Fine, I'm hovering. If Cristina would sleep in her own bed, I wouldn't have to hover at work. I could hover in bed. Adifferent type of hovering perhaps. How bad is it today? On a scale of one to ten?Meredith: Seven maybe a six.Derek: Good.Meredith: You know what's gonna make it even better than that?Derek: Uh-huh,what?Meredith: Calverian bone harvest I get to do on Sloan's Jane Doe later.Derek: Sloan's gonna let you do a harvest? By yourself?Meredith: By myself. Which makes me very cool in the eyes of my dead mother, bythe way.Derek: Ok, then. I better let you study.Meredith: Better stop distracting me. I will not be cool in the eyes of my dead mother if I mame Jane Doe.(CT Room)George: We're gonna need you to lie very still Mrs.Rogerson.Cathy: I think I can do that Dr. O'Malley.George: Sorry about that, Mrs. Rogerson. I'm never gonna drink again. I can't believe I have to be presentable for Callie's dad at lunch.Izzie: Hours...hours...manyhours of our lives that are all I can think about and you...seriously don't remember? How can you not remember those many, many hours?George: Izzie, whatever I did, whatever I said. I was drunk, I didn't meanit.Izzie: George, I assure you, you meant it. You meant it a lot, you meant it more than once.George: Do you see that? Page Callie.(Cristina walks past an office where Colin is)Colin: You'll be pleased to here I'mproposing an expansion to the hospital board this morning. Give you quite a few more places to hide.Cristina: I'm not going to hide. I'm just trying to find my resident.Colin: I come here to Seattle to see you and youdon't even give me a moment.Cristina: You didn't come to see me, you came to get a job.Colin: I came here for both.Cristina: Well, you made a mistake.Colin: Are you gonna invite me?Cristina: Where?Colin: To thewedding.Cristina: Will you stop talking about the wedding?Colin: Most blushing brides to be love to talk about the wedding, what's the matter? Are we getting cold feet?Cristina: Please leave.Colin: If he's rushing you,you should tell him. When you marry, you wanna be ready, he should understand that.(Addison is standing in front of a mirror)Addison: Good afternoon, board. No. Good afternoon ladies and gentlemen of theboard...(Mark enters) I'm so grateful for this opportunity.Mark: Don't wear the glasses. You fiddle with them, it makes you look indecisive. And stop stressing, it will be like any other job interview. What do you consideryour strengths? What do you consider your weaknesses? What do you consider your weaknesses?Addison: I don't have any. I'm that good. What are yours?Mark: I'm an easy mark for evil redheads.Addison: Trust me,you have other weaknesses. Obviously, you are a man-whore.Mark: Correction, I was a man-whore.Addison: Yeah, well, while you're bragging about that to the board, Colin Marlow is pitching his ten-year plan.Mark:Ten-year plan? Is that a requirement?Addison: It is now.(Cathy's room)Callie: Mrs. Rogerson, according to your CT, you have severe internal bleeding. It was probably caused by your anti-inflammatorymedication.Nina: Does that require surgery because she can't have any.Callie: Obviously, any surgical procedure could cause more bone growth or do more damage than good. That's why Dr. Burke's here.Burke: Whatwe can do is inset a line into your groin and then float a catheter up and embalize the area.Nina: That's minimally invasive?Burke: As minimally invasive as possible but with your condition even this is risky.Cathy: I'm41 years old. Most FOP patients don't live to 45. I'm down to the use of my face and hands, pretty soon I won't have anything. So, what would happen if I refuse the surgery?Callie: You will bleed to death...within a dayor two.Cathy: Is that painful?Nina: Mom, stop, ok?Cathy: Nina, please let me think, I...Nina: The reason you've gotten this far...our treatment plan works. It will work.(Mark enters the conference room where Derekis)Mark: Burke is using PowerPoint. He's doing a PowerPoint presentation for the board, which is cool if it's like 1998. There's no swag is there? We're not allowed to give gifts?Derek: Why did you ask Meredith to do abone graft...on your Jane Doe?Mark: Because I'm her teacher and that's my job.Derek: You're doing it to impress the chief. You're setting her up. And she can't fail right now.Mark: Why don't you let your girlfrienddecide what she can or can't do?Derek: I will hurt you if this goes wrong for her.(Outside Cathy's room)Addison: Is...is that a...?Izzie: Dollhouse. Yeah, the lights work and everything, it's the perfect littlehome.Addison: Did you have a dollhouse growing up?Izzie: I had s*x last night...with the wrong person. But the thing is it didn't feel wrong at the time. It felt like everything was falling into place. So, what do Ido?Addison: What am I? The go-to person for adultery?Izzie: No...no...I just...I just don't know what to do.Addison: You stop, that's what you do.Izzie: Are you sure? How do you know, that it feels so right because it'sgods plan?Addison: God wants you to be an adulterer?Izzie: God got a virgin pregnant by magic. God is not playing by the rules.(Clinic, Doug is on the phone)Doug: Uh-huh, talk to Paul.Cristina: Mr. Kendry.Doug: No,Paul will get your drywall numbers.Cristina: Mr. Kendry.Doug: Ok, let me just right a couple notes about that call.Cristina: Mr. Kendry, we're gonna have to amputate your foot.Doug: What?Cristina: The infection is inthe bone and if we don't remove your foot, the infection will travel to your blood and that will cause sepsis and possible death. I'm sorry.Doug: How can you be so...I mean, I can't get around...No, no, you're not cuttingoff my foot.Cristina: Sir, diabetes as a manageable disease. If you had been here even a month ago, maybe...Doug: Ok, I screwed up. But you're telling me this is my only option because I was late getting in here? Thatthere is no way...Cristina: Mr. Kendry...Doug: No! Please, there's gotta be a way for me to get that month back. Tell me what to do. I'll do every line of every plan that you give me. Please. You gotta find a way to savemy foot.(Meredith is practicing her bone harvest when Derek enters)Derek: Hey, what do you think of a robotics lab as a goal for the hospital? Hmm?Meredith: Derek.Derek: You're harvesting.Meredith: I'm trying to besupportive but this graft, it's really tricky.Derek: Mm-hmm. You don't have to do it, you know. I talked to Mark and uh...Meredith: You what?Derek: I talked to Mark. I mean, Meredith this is, uh, it's a complexprocedure.Meredith: You don't think I can do it?Derek: When has Mark Sloan allowed his interns to do anything? Let alone harvest a bone graft?Meredith: He's in the race for chief. He's trying to prove he canteach.Derek: By teaching you. Your mother died and the chief is going to be watching you very closely. Mark is trying to gain points to play.Meredith: Using me.Derek: If it goes well, he gets the credit. But if it goespoorly, he gets the save.Meredith: So, this is about you one upping Mark?Derek: He's using you. I'm just trying to protect you.Meredith: You don't need to. Close the door on your way out.(Derek leaves slamming thedoor on his way out.)(Bailey walks up to Mark in the hall)Mark: Can I help you with those Dr. Bailey?Bailey: What do you want?Mark: See, that's what I like about you, you always get right to the point.Bailey: Make itquick, I'm headed over to the clinic.Mark: All right, what would you change about this hospital if you could?Bailey: Is this for your board interview? You want me to do your homework for you cause I'm not busy enough,is that it?Mark: All the other attendings are putting together ten-year plans, I was just looking for some input.Bailey: Input? You want...I have patients in need of medical attention right now. This guy, here, is about tohave one less appendage. I don't have a ten-year plan for him, I have a right now plan for him. Cut off his foot to save his life. So, you need to get out of my way right now, so I can do my job.Mark: Right now?Bailey:Right now.(Cafeteria, the interns are having lunch)Izzie: Hey, talk to me about blackouts. Are they real? Do you really not remember anything afterwards?Meredith: Iz, I'm fine. I'm not drinking, I'm not drowning mysorrows. Fine. Everybody needs to stop trying to protect me.Izzie: Um, this isn't really about you. I'm asking back when you had a best friend named tequila, did you actually ever blackout?Meredith: Once...twice.Alex:The stuff you don't remember is usually the stuff you don't wanna remember.Izzie: Right. Great, thanks.Cristina: Hey, I have type two diabetes. Patient let it go and the infection is in the bone. I have to find a fix or cutoff the foot. Anyone? Anybody?Alex: You get to cut off his foot? Cool.Cristina: Ok, no, not cool. The patient was neglectful, he made a couple bad calls. Does that mean he has no hope? Does that mean he can't have ado over?Alex: But you get to cut, do bonus stuff.Meredith: We're talking about Burke now.Alex: We are?Meredith: Operation be kind, rewind not going so well?Izzie: You need to fix it cause it seems like you guys have apretty good thing. And pretty good things are rare and hard to come by. Unlike really screwed up, complicated things which seem to be freaking everywhere.Cristina: You know what, things are great. I'm gonna getthings back to the way they were. Watch me.(Cristina storms off)Izzie: Has Jane Doe picked a face?Meredith: No, not yet.Izzie: How cool would that be? To get to pick your own face. Just disappear and start allover.[SCENE_BREAK](Alex enters Jane Doe's room)Alex: How you doing?Jane: How am I doing? I'm freaking out, Alex. That's how I'm doing. I can't do this. I can't pick. I can't.Alex: All right, ok, lets uh...lets meet thecontenders, all right? This...this is Maggie. Married her high school sweetheart, has two kids, boy and girl. Loves being a mom, you know, coaches her daughter's basketball team and makes an insane banana creampie.Jane: Banana cream pie?Alex: It's my favorite so shut up. And this...is Elizabeth. Graduated from Northwestern, met her husband at a rally where they got arrested and fell in love. She's all angry and fired up buteveryone forgives her because she means well. Ahh, this one, this ones Eva. She's funny, she's tough...a little neurotic some times but you get used to it. You can tell she's been through some tough times in her life butshe'll get through it.(George and Callie are at Joe's with Mr. Torres)George: It's just your daughter, she...she's sorta undeniable. And, uh, after I lost my father I realized that life is short...and it's long too. Short and"}
+{"doc_id":"doc_329","qid":"","text":"Act OneScene One - A Seedy Motel Room. Frasier is lying in bed, asleep, in the motel room. He awakens and finds that he has a tattoo on his arm that reads \"Chesty.\" There is a half-empty bottle of tequila on a tableacross from the bed. A shower is running, but then stops suddenly. Frasier props himself up on some pillows and folds him arms behind his head, expectantly.Out from the bathroom steps Gil Chesterton - wearing onlya towel.Gil: Well, look who's up!SMASH CUT TO: Frasier sits up in bed - his own bed. The previous scene had been a dream - or a nightmare, considering Frasier's panic-stricken reaction.[SCENE_BREAK]WHY GIL? WHYNOW?Scene Two - KACL. Frasier is listening to a young male caller, Jimmy.Jimmy: [v.o.] So it's my parents. I don't know, they're just like, really stupid.Frasier: [bored] May I ask how old you are?Jimmy:Fourteen.Frasier: Well, hang on, Jimmy. Your parents are going to be stupid for another seven years.Jimmy: Whoa! Seven years? That's like, longer than I'll be in high school!Frasier: I salute your optimism.[disconnects] We'll be right back after this.He goes off air as Roz enters his booth.Frasier: Oh god, Roz. A teenager who's embarrassed by his parents? I mean, please. Can't you come up with something a little morechallenging for me?Roz: Well, it was either him or our old pal, Rudy the Crier.Frasier: Oh, Rudy the Crier. Oh God. He's been on three times in the last month. You put him on again, he won't be the only one who'scrying. God, I'm in a dry spell. Where are the souls in genuine torment? The people teetering on the brink of genuine despair?Roz: Oh, they'll be back. The holidays are just around the corner.Frasier: Well, perhapsyou're right. Oh, Roz, I've got a question I'd like to ask you.Roz: Shoot.Frasier: Have you ever had a recurring dream of an intimate nature about someone... oh, a... well, a co-worker?Roz: [disgusted] Oh, no. Why'dyou tell me?Frasier: Oh, Roz!Roz: Oh, now it's gonna be creepy everytime you look at me through the glass!Frasier: Roz, not you!Roz: [intrigued] So who is it then?Frasier: Oh, I'm not going to go into the specifics.Roz:Gina in accounting?Frasier: Look, I'm not gonna do this!Roz: Sheila, the slow intern?Frasier: Forget I even mentioned it.Gil enters. He's hiding something behind his back.Gil: Knock knock...Frasier: [suddenly nervous]Gil? [Roz eyes Frasier suspiciously]Gil: Frasier, I've come to tempt you.Frasier: [scared] Really?Gil: I'm reviewing the new pastry chef at Chez Shea. [reveals aneclair] And I quote: \"His amaretto eclair is so sinful, it willsend you scurrying to your local padre for absolution.\"Frasier: Uh... no, thank you, Gil. I'm on a diet.Gil: Oh, come now! You know you want it...Frasier: [jumping up] Oh, no no no... I really don't! [shoos Gil out thedoor] Off you go. Bye-bye.Roz: [excited] Oh, my god!Frasier: What?Roz: It was Gil!Frasier: I never said that!Roz: Then why are you blushing?Frasier: Oh, don't be ridiculous!Roz: Your ears are turning brightred!Frasier: I am not blushing!Roz: You are!Gil then knocks on one of the windows. As they look at him he takes a big bite out of the eclair. Frasier hurriedly closes the blinds as Roz laughs.Frasier: Still not blushing!The scene DISSOLVES to another caller - Rudy the Crier.Rudy: [v.o.] ...just lying there in the hospital bed. She lifted her head off the pillow, looked up and said, \"I love you,\" and then she was gone. [cries]Frasier:Rudy, stop crying. We've gone over this before. What was our agreement about sad movies?Rudy: I shouldn't watch them. [cries]Frasier: Exactly. Now go get a cool washcloth and try to bring down the puffiness aroundyour eyes. Please... stay away from sad or depressing things... which, at this moment, includes listening to the Dr. Frasier Crane Show. [disconnects] Well, let's shoot it to the news. That's it for today. This is Dr. FrasierCrane. [he goes off air and Roz enters] Oh, my God! Well, close the record books. That was just the dullest three hours in the history of the Frasier Crane Show!Roz: Oh, come on. It wasn't so bad. What about thatwoman who was so concerned about her appearance she wouldn't leave the house?Frasier: That was a commercial! I believe Miss Clairol solved the problem! Well, I'll see you tomorrow. [he moves to exit, then turnsback] Oh! Oh, Roz... about that dream I mentioned to you earlier... uh... this goes without saying, but I'd rather you didn't share that with anyone else.Roz: Oh, sure.Betty: [passing by] Hi, dreamboy!Frasier: [to Roz] Ihate you! Couldn't keep your big mouth shut, could you? Just exactly when did you find the time to spread the news?Roz: You don't think I was listening to your show, do you?Bulldog enters.Bulldog: Comin' through!Oh, Doc... I got to rub this one in a little...Frasier: All right, look, Bulldog... before you start to ridicule me, yes, yes I had a dream about Gil. And yes, it had some erotic elements, but... [notices Bulldog's surprisedexpression] You have absolutely no idea what I'm talking about, do you?Bulldog: I do now! Whoa! [laughs]Frasier: Look, let's just forget it. What delightful little jibe did you have prepared for me?Bulldog: Oh, I wasgonna tell you your show today just broke the snooze meter, but now I want to hear about you greasin' Gil's cookie sheet! [honks horn]Frasier: I'm on a bus toHell.[SCENE_BREAK]PSYCHIATRIST...CRANE...FRASIER...NILES...IDIOTSScene Three - Cafe Nervosa. Frasier and Niles are standing at the counter. Niles is relaying a story to a bored Frasier.Niles: So I returned to thedry-cleaners yet a third time. I hardly need to tell you how the story ends.Frasier: Just tell me when the story ends.Niles: [miffed] Fine. They realigned my pleats, The End.Frasier: Sorry, Niles. [they get their coffeesand sit at a nearby table] I'm just a bit distracted today. You see, this morning, a... a man from my building approached me with a very intriguing problem. It seems he's been having a recurring dream.Niles: Oh,please. That little gambit didn't work when we were in knee socks. What was your dream, Frasier?Frasier: Oh, all right! It's been tormenting me. I haven't been able to sleep in weeks now. It's a bit hazy but... it startsout in a seedy motel room. I'm naked.Niles: Interesting.Frasier: Yes, well... I roll over and discover on my forearm a tattoo: the word \"Chesty.\"Niles: Interesting.Frasier: Then the shower turns off and out from thebathroom steps... a man. [pause] All right, go ahead, let me have it!Niles: Are you saying that now, or is that a quote from the dream?Frasier: [annoyed] Please? We're both too intelligent to waste time on the obviousinterpretation.Niles: Yes. But you must admit, it's rather intriguing. [chuckles]Frasier: Would you stop? It's obviously screaming for a Jungian interpretation. The sexuality in the dream is surely symbolic of somedeeper, non-sexual conflict.Niles: All right.Gil approaches the table with a smug grin on his face.Gil: Good afternoon, Frasier.Frasier: Gil.Gil: A little birdie tells me I was featured in your midnight movie.Frasier: That'svery clever. Off you go.Gil: Very well. I'll see you tomorrow. Or should I say, \"See you in your dreams\"? [exits]Niles: In this dream of yours, were there any cigars, bananas or short, blunt swords?Frasier: Would youstop it?! I'm 43 - a little late for latency.Rebecca, the waitress, comes over.Rebecca: You guys okay over here?Niles: Oh, we're fine.Frasier: [flirting] Well... you must be new here. I surely would have remembered sucha pretty face as yours.Niles: You're overcompensating.Frasier: Right. We're fine. Bye-bye. [she leaves] I'm just baffled, Niles. Obviously, Gil Chesterton explains \"Chesty\" but little else.Niles: Perhaps you should tacklethis from a free-association standpoint.Frasier: God, must we?Niles: Well, now... focus on any detail in the motel room. What's the first thing that pops into your mind?Frasier: Uh... a crescent-shaped lamp.Niles:Perfect - crescent-shaped lamp. Run with that. Crescent... moon... Daphne Moon... French maid... brass bed... satin robe...Frasier: Niles! This is my dream!Niles: I was just showing you the process.Frasier: You werethree words away from a cigarette!Niles: [outraged] Your turn!Frasier: All right.Niles: Crescent lamp.Frasier: Crescent... croissant... butter... apricot jam... hunger... food... diet! My God, I've been on a diet. Do youthink that's useful?Niles: You could stand to lose a few pounds.Frasier: Just wait a minute. Gil is a restaraunt critic - a gourmet. Perhaps he's symbolic of the food I've been denying myself.Niles: That would explain whyyou're naked in the dream. It's when we're naked that we're most self-conscious about our bodies.Frasier: Yes, and most vulnerable to the way society \"tattoos\" us with labels about our appearance! God, that's it, Niles!The dream is simply telling me that I've been too rigid about my diet!Niles: Well, you'll know tonight. If this is the correct interpretation, the conflict will have passed from your unconscious to your consciousmind.Frasier: Yes, the dream will have served its purpose.Niles: And you will no longer be plagued by it.Frasier: Oh, God, Niles. I've nailed it all right. I really have. Finally, for the first time in weeks they'll be no tequilabottles, no tattoo, no half-naked man in my bed. [he looks up to see Rebecca standing at their table] So then, the Rabbi says...[SCENE_BREAK]Scene Four - The Motel Room. Once again, Frasier is in bed. The tequilabottle is still there, and he still has the tattoo. The shower turns off and out from the bathroom steps a rather buxom woman wearing only a towel. Frasier looks pleasantly surprised.Woman: Oh, I'm sorry... wrongroom. [leaves]Frasier's expression turns to disappointment. Gil suddenly appears lying next to Frasier in bed.Gil: That does it. We're finding another motel.SMASH CUT TO: Frasier again wakes up from his dream in apanic. He notices something under the covers next to him. He cautiously pulls back the covers to reveal Eddie. He isn't any more pleased about this.End of Act One. Act Two.Scene One - The elevator at the Elliot BayTowers. Daphne and Martin are in the back of the elevator. The doors open and a woman gets on, standing in front of Daphne and Martin. Daphne says hello and they lapse into silence for a moment. She and Martinthen begin to speak to each other in a conspiratorial tone.Daphne: Someone followed me again last night.Martin: Ah, you're just being paranoid.Daphne: I'm telling you, they're onto me.Martin: Come on. Nobody couldrecognize you after all that plastic surgery.The woman becomes alarmed at this.Daphne: That's what Marlena thought.Martin: Marlena got sloppy. She never should have gone back to Zurich.Daphne: I just don't wantany more bloodshed.Martin: Relax. You're home free.Daphne: You don't know the Woodchuck and his ways.The doors open and the woman rushes out in fear. Martin and Daphne break down laughing.Daphne: Oh,we're terrible!Martin: We are? You are! \"The Woodchuck and his ways\"?Daphne: You know, we really should stop doing this. It's not nice.Martin: Ah, you're right. We won't do it anymore.The doors open and a manenters.Daphne: [as soon as the doors close, to Martin] How'd you get the stuff through Customs?Martin: They never check the wooden leg.CUT TO: Frasier's apartment. Frasier is pacing the living room as Niles sits atthe couch, poring over psychology textbooks.Frasier: The answer has got to be in there somewhere!Niles: Here's something. [reads] \"Dreams as an expression of wish fulfillment.\"Frasier: [grabs the book] Movingon.Daphne and Martin enter.Daphne: Goodness, are you two still here?Martin: What are you working on?Frasier: Nothing.Niles: I'm helping Frasier interpret a dream he's been having. You know, maybe Dad canhelp.Frasier: [alarmed] No, no, no... don't want to bore Dad with the details of this particular dream.Niles: Dreams can be rooted in childhood experience. Maybe Dad remembers something you've repressed.Martin:Gee, I don't know. If it's about when you were a kid I've repressed a lot of that myself. [exits to the kitchen]Frasier: Niles, this is not a dream I wish to share with Dad, thank you very much.Niles: Well, we've exhaustedevery other interpretation. So, I guess it's back to dreams as wish fulfillment...Frasier: Oh, Dad... [he moves to the kitchen where Martin is making a sandwich] Would you mind listening to my dream to see if it conjuresup any memories from my childhood?Martin: Oh, come on. You're making too much out of this. It's a dream. Dreams are weird.Frasier: Please, Dad. I wouldn't ask if it weren't really bothering me.Martin: Well, allright... go on.Frasier: All right... it starts out in a little motel room. I have a tattoo on my arm - \"Chesty\"...Martin: See? That's weird.Frasier: Yes. Then out from the bathroom steps a... All right, now before I continue,let me remind you that this is a dream. Not to be confused with reality. [Martin nods, still busy with his sandwich] Out from the bathroom steps a man... [off Martin's concerned expression] -eating lion!Martin: [relieved]Oh, see? There again, weird. Look, dreams come, they go. They don't mean anything. Except, you know, if you're lucky, every once in awhile you might have one that's a lot of fun. Like, you hit a home run in the WorldSeries or you're in the jungle with Jayne Mansfield and she gets bit by a snake.Frasier: Thank you, Dad.Martin: You know who Jayne Mansfield is, don't you?Frasier: Yes, Dad.Martin: You know what you do when you'rebit by a snake, don't you?Frasier: Yes, Dad. [leaves]Martin: [to himself] Wish I knew what I had for dinner that night.Frasier enters the living room to find Niles and Daphne on the couch, chatting about Frasier'sdream.Daphne: Oh, I get it. Chesty refers to Gil Chesterton.Frasier: Niles, you gossipy fishwife!Daphne: [standing] There's no reason to feel self-conscious, Dr. Crane. We've all had dreams like that. I had one about agirl I shared a flat with once - a gymnast.Niles: [standing] Go on, Daphne. This could be significant.Daphne: Well, I remember we were doing stretches in the gymnasium, when suddenly we decided to take off all ourclothes and go for a bounce on the trampoline. [giggles] The next thing you know, I'm chasing her around the pommel horse. Oh, never mind...Niles: [aroused] Don't stop now! [off their looks] This could help us.[sits]Daphne: Well, actually, I do have a theory of my own about your dream, if you'd like to hear it.Frasier: What the hell.Daphne: Well... in your dream, who was in the shower? Gil. What is a shower? Running water.Who needs water? Fish. What do fish have? Gills! Do you see where I'm going?Frasier: Insane?Daphne: It could be a dream about the loss of a beloved childhood pet.Martin: [entering from the kitchen with Eddie]Thanks a lot, Eddie. Forty-five minutes in the park, you don't have to go. I get one bite into my sandwich and you give me the look.Daphne: Mr. Crane, did Dr. Crane ever have a goldfish growing up?Martin: Afish?Daphne: Yes, as a pet.Martin: How would I know? That was Hester's department. [to Eddie] Come on, let's go. [leaves]Niles: Frasier, are you thinking what I'm thinking?Frasier: That Dad can interpret the looksfrom his dog and has only the spottiest recollections of our childhoods?Niles: No. No, no, no. Hester - Hesty. The tattoo - that's only one letter away from Chesty!Frasier: Niles, are you saying that the dream could havebeen about mother?Niles: Well?Frasier: I suppose I could have misread the tattoo. [rolls up his shirt sleeve] Yes, yes... this freckle pattern here on my arm could be mistaken for a \"C.\"Daphne: And what swims in thesea? Fish! [off their looks] All right, all right I'll go. [exits to her room]Niles: Well, so the tattoo could have said \"Hesty.\" But the problem is, I don't ever remember Dad calling her that.Frasier: But who's to say hedidn't?They both gasp and run to the elevator, where Martin is still waiting with Eddie.Both: Dad, Dad... Dad, Dad!Martin: What?Frasier: Did you ever have a nickname for Mother?Martin: Oh, for God's sakes! Is this todo with that stupid dream?Frasier: Dad, this is really important!Niles: Any pet name? A term of endearment?Martin: Well... when we were first married I used to call her \"Honey.\" And then... there was a time after thatthat I started calling her \"Sweetie.\"Frasier: I'm sure there's a delicious anecdote behind each one of those. But did you ever call her \"Hesty\"?Martin: \"Hesty\"?Frasier: [forcefully] Oh, come on, think, man! Even once!Once, in all the years you lived together?!Martin: [nervously] We-Well... I don't know. [elevator doors open] I- I guess...Frasier: Really?Martin: Yeah, maybe once... [stumbles into the elevator, disturbed]Frasier: Oh,thank you Dad! [doors close] Well, there it is! I must have heard him call her \"Hesty\" once and neatly tucked it away into my subconscious.Niles: Of course, it's so obvious! Gil is a food critic. Food, criticism...Both:Mother!Niles: It's the classic Oedipal dream!Frasier: Yes, yes... only I was so frightened by my sexual urges to be with my mother that I transformed her into a man! Oh, what a relief! I've been wringing my hands overnothing. I mean, it's okay. All I want to do is have s*x with my dead mother!Frasier turns to see that a woman has been standing by the elevator doors and has overheard him. He sheepishly enters hisapartment.[SCENE_BREAK]Scene Six - the Motel Room. The scene reveals a painting of bananas and swords above the bed where Frasier is sleeping. He awakens to find the tattoo of \"Chesty\" still on his arm and thesound of the shower running. He is exasperated. The shower stops and he turns to the bathroom door with a look of apprehension.Frasier: Mom? Mommy?Gil: [entering] Patience, Daddy!SMASH CUT TO: Frasier againwakes up from his dream in a panic and switches on the light in his bedroom.[SCENE_BREAK]THANK GOD HE WAS WRONGABOUT THAT \"MOTHER\" THINGScene Two - Frasier's apartment. The middle of the night.Frasier is poring over textbooks at the kitchen table. Martin enters from his bedroom, groaning.Martin: You'd think by now I'd know better than to have that third Slim Jim before going to bed. Couldn't sleep either,huh?Frasier: No. Frankly, I'm sort of afraid to go back to sleep. It's that damn dream again.Martin: Oh, what are you worried about? It's just a dream. Worst case scenario - the man-eating lion leaps on top of you andmauls you.Frasier: I'm sorry, Dad, I wasn't completely truthful with you before. The dream is really about me in a motel room with a male companion, Gil Chesterton.Martin: You don't care if I ever sleep again, doyou?He absentmindedly turns on the TV. Frasier turns it off behind him.Frasier: Dad, please, I'd really like to discuss this!Martin: No, Frasier, please. This makes me very uncomfortable.[he enters the kitchen withFrasier following him]Frasier: Dad, please...Martin: I know, I know... in your generation, men talk about everything. Everything's out in the open. [he begins to nervously clean the refrigerator and countertop, avoidingeye contact] You know what really drives me crazy is the way you all touch each other. Everybody hugs, you know? In my generation it was a... a handshake. That was good enough. Maybe if you felt especially close tosomeone you'd touch him on the shoulder, but never for more than two seconds. And don't talk to me about football players patting people's butts and everything, because that's different - that's sports, that's like war.Now, goodnight, son. [exits to the living room]Frasier: Dad...!Martin: Look, if you want to tell me something, write it on a post- it and stick it on the fridge.Frasier: Look, I really want to talk about this! [Martin finallystops and faces Frasier] I've exhausted every other possible interpretation of this dream. Is it possible my subconscious is trying to tell me something about my sexuality?Martin: Oh, that's ridiculous!Frasier: Is it? I wassensitive as a child; I didn't go in for sports. God, it's every cliche in the book. Surely it must have occurred to you at some point? You refused to take me to see \"West Side Story\" on my eighth birthday.Martin: Well,because of the gangs. That's scary for kids.Frasier: Even gangs that dance?Martin: Especially gangs that dance! [then] All right. Yeah... okay, yeah, I thought about it. But no, Frasier, no... I don't believe that. And youknow why? Because you would have known by now. Your unconscious or whatever the hell you call it could no more have kept its yap shut than the rest of you.Frasier: I suppose you're right.Martin: Yeah. Now, comeon, it's after 3:00. You're gonna be all worn out before your show tomorrow.Frasier: What a tragedy that would be.Martin: Now what are you complaining about?Frasier: Oh, I don't know. I just haven't had any reallyinteresting calls lately. I'm beginning to question whether I'm not bored with psychiatry. [sits at the table]Martin: Boy, you'd never know it with the way you got your nose stuck in all those books.Frasier: That's true.The one saving grace about this dream is it's given me a chance to flex my analytical muscle a bit.Martin: Ah, maybe it wasn't so bad after all.Frasier: Wait a minute. Could that be what this has been all about? I've"}
+{"doc_id":"doc_330","qid":"","text":"Scene: The apartment. The guys are studying a complex chart on the whiteboard.Leonard: Hmmm.Sheldon: The problem appears to be unsolvable.Raj: Maybe you could run some computer simulations.Howard: Thereare too many variables. It would take forever.Leonard: We've got to be missing something. Let's start again. The movie is playing here at 7:20, here at 7:40, here at 8:10 and here at 8:45.Sheldon: Right, thesetheatres have to be eliminated.Leonard: Why? They're state-of-the-art digital projection, 20-channel surround sound.Sheldon: Yes, but they have no Icee machines. Despite my aggressive letter-writing campaign, Imight add.Raj: What about the multiplex here? The seats are terrific.Sheldon: They have Twizzlers instead of Red Vines. No amount of lumbar support can compensate for that.Leonard: Well, it's gonna take at least anhour to eat, and I don't see a Sheldon-approved restaurant proximate to a Sheldon-approved theatre.Raj: We could eat after the movie.Sheldon: Unacceptable, the delay would result in tomorrow morning's bowelmovement occurring at work.Raj: Hang on, hang on. There's a 7-Eleven here. We smuggle Slurpies, which are essentially Icees, in under our coats, after having a pleasant meal either here, here or here.Howard: Wow.I don't see how we missed that.Sheldon: Excuse me, in what universe are Slurpies Icees?Raj: That's how we missed it.Leonard: Sheldon, would you be prepared, on a non-precedential basis, to create an emergencyad-hoc Slurpie-Icee equivalency?Sheldon: Oh, Leonard, you know I can't do that.Howard: Okay, I guess we only have one option.Raj: Yep, I don't see any way around it.Leonard: Bye, Sheldon.Howard: See ya.Raj:Later, dude.Sheldon: They're right, it was the only option. Credits sequence.Scene: The hallway. Sheldon is opening the apartment door. Penny comes running up stairs.Penny: Ooh, ooh, shut the door, shut thedoor.Sheldon: Why?Penny: Just do it! (Penny runs in. Sheldon shuts door. Penny opens door again) Get inside and shut the door.Sheldon: Well, you didn't specify.Penny: Is Leonard around?Sheldon: He went to themovies without me. It was the only option. I'm sorry, I don't understand which social situation this is. Could you give me some guidance as to how to proceed?Penny: The building manager's showing an apartmentdownstairs, and I haven't paid my rent.Sheldon: Oh, I see. Penny, I'm not sure I'm comfortable harbouring a fugitive from the 2311 North Los Robles Corporation.Penny: It's no big deal. I'm just a little behind on mybills because they cut back my hours at the restaurant and my car broke down.Sheldon: If you recall, I pointed out the \"check engine\" light to you several months ago.Penny: Well the \"check engine\" light is fine. It's stillblinking away. It's the stupid engine that stopped working. It cost me like twelve hundred dollars to fix it.Sheldon: You know, it occurs to me you could solve all your problems by obtaining more money.Penny: Yes, itoccurs to me, too.Sheldon: Hang on a moment. (He opens a jar. Snakes jump out. He then pulls out a large wedge of money) Here. Take some. Pay me back when you can.Penny: Wow, you got a lot of money inthere.Sheldon: That's why it's guarded by snakes. Take some.Penny: Don't be silly.Sheldon: I'm never silly. Here.Penny: No, I can't.Sheldon: Don't you need money?Penny: Well, yeah, but...Sheldon: This is money I'mnot using.Penny: But what if you need it?Sheldon: My expenses account for 46.9% of my after-tax income. The rest is divvied up between a small savings account, this deceptive container of peanut brittle and thehollowed-out buttocks of a superhero action figure who shall remain nameless for his own protection. Or her own protection. Take some.Penny: Really? I mean, are you sure?Sheldon: I see no large upcomingexpenditures unless they develop an affordable technology to fuse my skeleton with adamantium like Wolverine.Penny: Are they working on that?Sheldon: I sincerely hope so.Penny: Okay. Well, thank you. Oh, God,no, I can't. Sheldon honey, I don't want things to be weird between us.Sheldon: Won't it also be weird if I have to say hello to you every morning on my way to work and you're living in a refrigerator box and washingyour hair with rain water?Penny: I'll pay you back as soon as I can.Sheldon: Of course you will. It's impossible to pay me back sooner than you can. Assuming you subscribe to a linear understanding of time andcausality.Penny: I'm regretting this already.Scene: Entering the lobby of the building.Sheldon: You know, I've given the matter some thought, and I think I'd be willing to be a house pet to a race of super-intelligentaliens.Leonard: Interesting.Sheldon: Ask me why.Leonard: Do I have to?Sheldon: Of course. That's how you move a conversation forward.Leonard: Why?Sheldon: The learning opportunities would be abundant.Additionally, I like having my belly scratched.Leonard: Hey, Penny. How was work?Penny: Great. I hope I'm a waitress at the Cheesecake Factory for my whole life.Sheldon: Was that sarcasm?Penny: No.Sheldon: Wasthat sarcasm?Penny: Yes.Sheldon: Was that sarca..Leonard: Stop it!Sheldon: Penny, you appear to have a package here.Penny: Oh, thanks. This must be the beret I ordered. A couple of months ago. It wasback-ordered.Sheldon: Did you know the beret is an example of piece of women's fashion adapted from male military uniforms? Another fascinating example is the epaulet.Leonard: He's not lying, he does find thatfascinating.Penny: Okay, whatever. It's not like I'm running up and down the streets just buying myself berets. I bought one, like, a month ago, and it was back-ordered, look, it finally arrived, all right?Sheldon: Allright.Penny: Oh, my God, would you just get off my case?Leonard: Weird.Sheldon: Oh, good, that was an unusual interaction. I wasn't sure.Leonard: Did you guys have an argument?Sheldon: No.Leonard: Well, youclearly did something to aggravate her.Sheldon: I'm at a loss. If you like, you can review my daily log of social interactions and see if there's a blunder I overlooked.Scene: The apartment.Leonard: Here you go. Oh, youowe me another two dollars. The price of mu-shu pork went up.Howard: It's getting tougher and tougher to be a bad Jew.Leonard: Here you go, Penny. Shrimp with lobster sauce.Penny: Thank you, Leonard. What's myshare?Leonard: Don't worry about it. It's my treat.Penny: No, really, how much?Leonard: It's, whatever. Ten, eleven dollars.Penny: Well, which is it, ten or eleven?Leonard: Fourteen fifty, but it's no biggie, you'll getthe next one. (Raj whispers something to Howard)Penny: What?Howard: He was just wondering if he wore skintight jeans and a tank top if he'd get his shrimp lo mein for free.Penny: What are you saying? That I'musing my body to get dinner? That I'm some kind of Chinese food prostitute?Howard: Yeah, Raj, what are you saying?Penny: 'Cause let me tell you something, buddy, I pay my own way in this world, okay? I don't relyon anybody! (Raj runs out of the room) What was that about?Howard: He has a nervous bladder when he's stressed out. Kind of like a puppy.Penny: Here, Leonard, ten, eleven, twelve, uh, fourteen dollars.Leonard: Itwas fourteen fifty, but it's okay.Sheldon: Oh, good. Dinner's here.Penny: Yes, dinner's here, and I'm having some. I'm having takeout food.Sheldon: Okay.Penny: You're damn right it's okay. I've been having leftoversat the restaurant for like four days, and I wanted something different. So sue me.Sheldon: Forgive me, Penny, but that would be the very definition of a frivolous lawsuit.Penny: Sheldon, look, I will pay you back assoon as I can. You just have to give me more time.Leonard: Oh, wait, you lent her money?Penny: She needed money. You seem under pressure. Did I not lend you a sufficient amount? Because I can give youmore.Penny: Oh, you know, you would just love that, wouldn't you? Yeah. You would just love to open up your little snake can and throw some money at the girl who can't pay her bills.Leonard: Where are yougoing?Penny: Going home, where I won't be interrogated like a criminal. I forgot my fortune cookie.Sheldon: In case either of you have larceny in your heart, you should know that I've moved my money out of thesnake can.Leonard: But if you're ever short, there's always a couple of fifties in Green Lantern's ass.Scene: Penny's apartment.Leonard: Hey.Penny: Hey.Leonard: A little mood lighting, huh?Penny: Yeah. When I didn'tpay my bill, the Department of Water and Power thought I would enjoy the ambience.Leonard: Yeah, they're very considerate that way.Penny: I used Sheldon's money to pay my rent, then I had like fourteen dollarsleft over.Leonard: Fourteen dollars, huh?Penny: Put it back in your pocket, or I'll find some other place to put it.Leonard: Back in the pocket it goes. Look, you do understand that Sheldon really doesn't care when hegets the money back. It's actually one of the few idiosyncrasies that doesn't make you want to, you know, kill him.Penny: Yeah, well, that's not really my big problem.Leonard: So you're a little behind on your bills.Everybody gets behind on their bills.Penny: Yeah, I know, it's just, this wasn't the plan, it wasn't supposed to go this way.Leonard: Well, what was the plan?Penny: Um, waitress for six months and then become a moviestar.Leonard: Was there a plan B?Penny: TV star.Leonard: It's probably not as bad as you think. Let's take a look. Maybe we can find some corners to cut. Oh, here's something, if you don't have electricity, then youprobably don't need cable. Just a suggestion. 170 dollars for acting classes?Penny: Oh, no, I can't give up my acting classes. I'm a professional actress.Leonard: You've had an acting job where you got paid?Penny: Thatis not the definition of professional.Leonard: Actually, it kind of... let's keep looking. Whoa, what's eighteen hundred dollars to the Los Angeles County Superior Court?Penny: Oh, that's nothing.Leonard: Nothing? Itsounds like you got caught speeding going 4,000 miles an hour.Penny: Well, remember Kurt?Leonard: Your ex-boyfriend?Penny: Yeah. He got arrested for taking a whiz on a cop car.Leonard: What?Penny: He wasdrunk.Leonard: I would hope so.Penny: Anyway, he had a bunch of outstanding tickets and a bench warrant, so I, you know, I paid his fines.Leonard: Did he pay you back?Penny: No, but he will.Leonard: And that'sbased on the inherent credit-worthiness of people who get drunk and urinate on police vehicles?Penny: Leonard, I'm not gonna call up Kurt and ask him for money.Leonard: Well what are you gonna do?Penny: I don'tknow, but I may have to find a cheaper place to live.Leonard: Oh, no. Oh, you don't want to do that.Penny: Why not?Leonard: Well, moving is a big deal. You have to go to the supermarket and get boxes, and if they'renot clean, then your books smell like melons, and it's just, like... Why don't you just get a roommate and stay here?Penny: Well, do you know anybody?Leonard: Well, I'm sure the guy living with Sheldon wouldn't mindmoving in with you.Penny: Oh, Leonard, honey, if we started living together, I wouldn't be able to keep my hands off you.Leonard: Really?Penny: And you thought my acting lessons were a waste ofmoney.[SCENE_BREAK]Scene: The apartment.Howard: Ugh. This mu-shu pork's burning a hole through my duodenum.Raj: Leviticus 11:3: \"Only that which parteth the hoof and cheweth the cud among the beasts shallye eat.\"Howard: Hey, do I mock you with the Bhagavad-Gita every time you scarf down a Whopper?Leonard: Hey, what's going on?Raj: We're on a quest through the Valley of Fire to acquire the sacred crown.Howard:You want the Valley of Fire? It's right here.Leonard: Hey, you guys want to go on a real live quest?Sheldon: Outside? I just made cocoa.Leonard: - Come on. It'll be fun.Howard: What is it?Leonard: Do you guysremember Penny's ex-boyfriend Kurt? (They all hold their hands above their heads) Yeah, that's him. It turns out he owes Penny a lot of money, and I'm gonna go get it from him. Who's with me?Howard: Ooh, doublesixes.Leonard: Really? You're just gonna let me go by myself?Raj: Oh, cool, I got a sword.Leonard: I could use some help.Raj: Here.Leonard: You guys are unbelievable, you play a game to simulate adventure, butwhen there's real adventure out there in the real world, you just wimp out.Sheldon: Leonard, do you not recall the last time we visited this gentleman, we returned home without pants?Leonard: I do.Sheldon: Are yousure? Because your proposal suggests that you don't.Leonard: I'm not afraid of him.Sheldon: All right. Leonard fairly calls the question, who is in favour of abandoning our game and confronting Penny's steroid-infusedex-boyfriend in a suicidal mission to extract money from him? Say hi to Kurt for us.Leonard: Excuse me. When Frodo left the Shire to take the one ring to Mordor, didn't Samwise, Pippin and Merry go with him?Sheldon:They did.Leonard: Well?Sheldon: They had a terrible time of it, Leonard.Raj: Plus, no one stole their pants.Leonard: Fine. Just enjoy your little game. I'll make this quest on my own.Howard: Leonard, wait. Take ajacket, it's spritzing a little.Leonard: You guys suck. (Leaves. Comes back) Come on, please? He's so big.Scene: Outside Kurt's door.Leonard: Okay, is everyone clear on the plan?Howard: Yes. Koothrappali's going towet himself, I'm gonna throw up, Sheldon's gonna run away, and you're going to die. Shall we synchronize our watches?Leonard: Guys, there are four of us and one of him.Sheldon: Which means his triumph will beeven larger. Minstrels will write songs about him.Leonard: Okay, how about this? I'll do the talking, you just stand behind me and try to look formidable.Raj: I should've peed before we left.Kurt: Yeah?Leonard: Hi,Kurt.Kurt: Lenny, right?Leonard: I don't really go by Lenny, but that's okay. Um, you remember Sheldon, Howard and Raj.Kurt: No. What do you want?Sheldon: You don't remember me? How could he not rememberme?Leonard: Sheldon, not now.Sheldon: I remember him.Leonard: Okay, here it is. Penny's in kind of a financial jam, and the money that you owe her would go a long way to solving her problems.Kurt: And she sentyou to get it from me?Leonard: No, no, she's too proud to ask for the money. I, on the other hand, feel you should honour your debt.Kurt: You do?Leonard: Feel is a kind of a... it's a strong word. Um, I just think itwould be a nice gesture on your part.Kurt: She'll get it when she gets it.Howard: Well, there you go. Problem solved.Raj: A successful quest. Now let's go find a gas station with a clean bathroom.Leonard: No, theproblem isn't solved. He just blew us off.Sheldon: I've got it. He didn't remember me because the last time we met I was in a Halloween costume.Howard: Come on, Leonard, let's goLeonard: No. You can leave if youwant to. I'm gonna see this through.Howard: Okay. (They leave)Leonard: I guess, technically, that was my fault. (Knocks) I'm not leaving here without Penny's money.Kurt: What happened to your backup?Leonard: Idon't need backup. I have right on my side. And I'm wearing cargo shorts under my pants.Scene: Leonard's car.Sheldon: Congratulations. You may not have succeeded in getting cash, but you did secure a formalacknowledgment of the debt. (Leonard has \"I owe Penny $1800, Kurt\" written on his forehead.)Howard: Maybe we should have your head notarized.Raj: If anybody cares, I still have to pee.Scene: Outside theapartment. Penny knocks.Leonard: Hey.Penny: Hey, is Sheldon here?Leonard: Yeah. Hang on. Sheldon!Penny: Nice hat.Leonard: It's kind of a fashionable look these days.Penny: Maybe if you're working on a tunaboat.Sheldon: Hello, Penny.Penny: Sheldon, here is your money. Thank you very much. It helped a lot.Sheldon: Sarcasm?Penny: No.Sheldon: Darn. I can't seem to get the hang of that.Leonard: Hey, I know it's noneof my business, but where did the money come from?Penny: Well, I cut back my expenses like you said and picked up a few more hours at the restaurant, but the biggest thing was, out of the blue, Kurt shows up andgives me the money he owes me.Leonard: Really? Did he say why?Penny: Yes, he said he was feeling guilty and wanted to do what was right.Leonard: That's it? Did he give any reason as to why he came to this moralepiphany?Penny: Nope. I just think he's really changed. We're having dinner tomorrow night, and I get to wear my new beret. Bye, guys.Leonard: Bye.Sheldon: Well done, Leonard. The true hero doesn't seekadulation, he fights for right and justice simply because it's his nature.Leonard: Penny's hooking up with her jerk of an ex-boyfriend and I have indelible ink on my forehead!Sheldon: That's your badge of honour, yourwarrior's wound, if you will. I was wrong, minstrels will write songs about you.Leonard: Great.Sheldon (sings): There once was a brave lad named Leonard, with a fi-fi-fiddle-dee-dee. He faced a fearsome giant, whileRaj just wanted to pee."}
+{"doc_id":"doc_331","qid":"","text":"[Scene: The Capeside High Cafeteria. Jen and Jack are sitting at a table eating their lunch together.]Jen: Ok, please, just give me something. Anything. A small juicy little morsel just to tide me over so I can keep onliving vicariously through you.Jack: First of all, when discussing my love life, try not to use the word juicy or morsel. Ok? It cheapens me.Jen: Fine. Fine. But you and Tobey are going out again, right?Jack: Yes, we aregoing out again.Jen: And?Jack: And that's all you're getting.Jen: Might I remind you that it was me that got the 2 of you together?Jack: Mm-hmm.Jen: Don't make me beg. Because I'll do it and it won't be pretty.[Druecomes up and takes a seat at their table.]Drue: Actually, begging happens to be a great look for you. Especially when you stick out that pouty lower lip. It's very sexy.Jen: Well, I must be off my game, Drue. Normally Ican smell you coming a mile away.Drue: Be nice or you won't get your yearbooks.[He hands them each a yearbook.]Jen: Ooh!Jack: Nice.Jen: That is uncharacteristically nice of you. What's going on?Drue: Hey, howmany prom drownings do I have to rescue you from before you accept the new me?Jen: Maybe one...or two.Drue: Hmm. If we can all turn to page 53 in our prayer books, I think we should bow our heads in a momentof silence.[They open the books to see the picture of Pacey and Joey, Class Couple.]Jen: I wonder if they've seen this yet?Jack: Or if they're talking yet?Drue: I wonder if anyone besides you 2 cares?Jen: Well, as far asI know, they haven't said so much as a hello since the prom debacle.Jack: Same goes for Dawson and Gretchen.Jen: See, that confuses me. I mean, I was sure that they would've gotten back together by now. They'reso good for each other.Jack: Well, you know, long distance relationships can be tough. He's gonna be in L.A. You know, the way I see it, if anybody's getting back together, Joey and Pacey.Drue: Blah, blah, blah. All youguys do is talk. You know what? I say it's time we take some action.[Takes out some money and holds it in front of them.]Drue: [Chuckles] Who will live to suck face another day? Will it be Joey and Pacey? Gretchenand Dawson? Both...or neither?Jack: It's disgusting.Jen: Yeah, it's really inappropriate, Drue.Jack: Jen, spot me 2 bucks.Jen: I can do that. I got it here. I have a 20. Take it all the way, baby.[Dawson and Joey walk upand they quickly hide the money.]Dawson: Hey, guys, what's up?Jack: Whoa!Jen: Dawson, Joey.Jack: You guys eaten?[Jen shows Joey a picture]Jen: Cute, huh?Joey: Aw.[Opening Credits][SCENE_BREAK][Scene:Dawson's Bedroom. Dawson is working on his computer when his mother comes into the room]Gale: [Knock on door] Busy?Dawson: Oh, yeah. I'm just doing some last looks on this Brooks film before I send it off toUSC. If I got any chance at all of getting in their summer program this has to be out by tomorrow.Gale: Honey, have you talked to Gretchen yet?Dawson: [Sigh] There's not really much to talk about.Gale: But are youok with the way things were left between the 2 of you?Dawson: Well, I'm not doing cartwheels. But, you know, what do you expect? I'm sure we'll eventually find a way to restore our friendship.Gale: Well, I don't seehow you're gonna restore your friendship if you're not speaking.Dawson: Well, it's my friendship so I'll handle it.[Gale gets up to go but turns back to him]Gale: Gretchen's leaving town.Dawson: When? How do youknow?Gale: She gave her notice a couple days ago. Today's her last day at the restaurant. So it must be soon then. I just thought you'd want to know if you want to say good-bye.Dawson: Well, she didn't tell me shewas leaving. So obviously she doesn't want me to know.Gale: No. No, the truth is, Dawson, you don't know what Gretchen's thinking right now. So why don't you go over there and find out? You could, uh...ask her tosign your yearbook, that's always a good way to start a conversation.Dawson: Mom, I appreciate the effort, but aside from that being a painfully lame idea, that's such a thinly veiled attempt at a reconciliation I'm noteven sure there's a veil there.Gale: Well, then I'm sure you'll think of something better. But if you want to keep Gretchen in your life, honey, you're gonna have to talk to her, and you're gonna have to do itsoon.[Scene: Outside Pacey and Gretchen's Place. Pacey is fixing her car, when she comes out carrying a pop and a sandwich.]Gretchen: Hey. How's it going?Pacey: This baby should run for another 2,000-3,000 miles,easy. Though it wouldn't kill you to change the oil every once in a millennium.Gretchen: I'll try and remember that. Oh, I talked to the landlord, and we're officially paid up till the end of next month. And after that thelease is up.Pacey: Thanks for doing that.Gretchen: No problem.Pacey: Consider it payment for the work you've done on my car.Gretchen: You want this?[She hands him the sandwich]Pacey: Thanks.Gretchen: [Sigh] Sohow are you?Pacey: Uh...to tell you the truth, I've had better days. How about yourself? You talked to Dawson lately?Gretchen: No. I don't know if I'm avoiding him or he's avoiding me.Pacey: Yeah, I know what youmean.Gretchen: Joey?Pacey: Same thing.Gretchen: I'm really sorry, Pace.Pacey: Do you think it's possible that you and I might actually feel better if we were to deal with our significant exs instead of just holing up inthis cozy little beach house?Gretchen: Probably. But that doesn't mean I'm actually ready to go out there and cope.Pacey: Me neither. [Sigh] Maybe it's genetic.Gretchen: Mm-hmm.[Scene: Grams' House. A realtor isshowing a man and woman around the house when Jen comes inside.]Realtor: The House just went onto the Market a few days ago, and I don't think it will be on it for very long.Man: You know, I think if we tore apartthat upstairs room, it would make a great gym.Woman: Mmm. I was thinking the exact same thing. Lots of steel, maybe\u0000Jen: That's my room.Woman: And all this wallpaper would have to go.Realtor: Well, there'stons of possibilities. Why don't you take another look around? [The couple leave] You must be Jennifer. I've heard so much about you. And congratulations on Boston Bay College, by the way.Jen: I'm sorry, but who areyou?Realtor: I'm Dana Borkow. I'm the realtor. Didn't you know? Your grandmother's selling her house.[Scene: The Capeside Yacht Club. Joey is setting a table, when Mr. Kubelik comes walking up to her.]Mr. Kubelik:Joey Potter. I was hoping to run into you.Joey: It's nice to see you again, Mr. Kubelik.Mr. Kubelik: You're coming to my party tomorrow night, yes?Joey: I wouldn't miss it.Mr. Kubelik: And I hope that you're bringingthat charming boyfriend of yours. Pacey, was it? He certainly did liven up the last party.Joey: Oh, uh-- well, actually, um-- certain things have kind of changed since the last party. Um, Pacey and I, uh... we, uh... well,we-- we kind of broke up.Mr. Kubelik: Oh. Well, I'm sorry to hear that. Well, I take it you're still on good terms, huh?Joey: Yeah, sure. We talk all the time.Mr. Kubelik: I'm glad to hear that, because Dean Newman andI were hoping to chat with him tomorrow night about a rather pressing matter.Joey: The Dean of admissions?Mr. Kubelik: Yeah, we have an offer we want to discuss with him.Joey: Yeah, sure. I'm--I'm sure that Paceywould like to talk to you.Mr. Kubelik: Ok. Well, then I'll see you both tomorrow night then.Joey: Ok.Mr. Kubelik: Have a good day.Joey: You, too.[Scene: Grams' House. Grams and Jen are having a discussion aboutselling the house.]Grams: Forgive me, Jennifer, I didn't realize I needed your permission to sell my own house.Jen: Well, it's not about permission, but since you're basically doing this for me, why shouldn't I have a sayin the matter?Grams: What makes you think I'm doing this for you?Jen: Ok. I want you to look me in the eyes and tell me that this is not about sending me to college.Grams: Look, I admit that money from the housewill primarily go towards your tuition. But that is not the only reason for my decision.Jen: All right. Well, then by all means, enlighten me.Grams: [Sigh] You are moving on to the next phase in your life, and I need to dothe same. Which is why I've decided to move to La Brea Park.Jen: Ok. Run that by me one more time because when you say La Brea Park, I think retirement community with bunnies and lawn bowling tournaments, andaside from your habitual knitting and your penchant for Metamucil, you-- you're far too young and far too hip to be living in a place like that.Grams: Jennifer, just because a community has the word retirement in frontof it doesn't automatically mean it's a bad place. Oh, honestly, Jennifer, I didn't realize you were such an ageist.Jen: Oh, I'm not an ageist. I'm not an age-- an \"ist\" anything. I wanna go see this fabulous park ofyours.[Scene: The Leery Fish House. Gretchen is working at the bar, when Dawson comes in and slowly walks up to the bar carrying his yearbook.]Gretchen: Hey, you.Dawson: Hey. I thought you might want to signthat. [hands her the book]Before you leave town.Gretchen: Well, you're nothing if not direct.Dawson: Were you really just gonna slip out of town without even saying good-bye?Gretchen: I was thinking about it, yeah.Maybe.Dawson: You know what? Then in that case, just pretend I never did stop by.[He grabs the book and begins to leave]Gretchen: Or maybe I was thinking about how to say good-bye to you all week.Dawson: Sowhere are you going?Gretchen: Back to school. I signed up for some summer classes to make up some of the units I missed this year.Dawson: [Deep breath] How soon do classes start?Gretchen: Not for over amonth.Dawson: Ok.Gretchen: But I'm gonna take a little road trip before that. Do some traveling while I still have the time.Dawson: It, uh...sounds like fun.Gretchen: I leave the day after tomorrow.Dawson: Do you?That soon?Gretchen: I know.Dawson: That's--that's... that's really soon. I feel ill-prepared.Gretchen: Well, you still have a whole day and a half to come up with some fantastic going away speech for me.Dawson: Allright.[Dawson turns to leave]Gretchen: But I would like to sign that. Can I? [Dawson slides the book to her] Can I have some time with it?Dawson: Sure. Yeah. Just as long as you realize that the longer you have it, theless acceptable \"have a bitchin' summer\" is gonna be.Gretchen: Ok.Dawson: Ok.[Scene: Pacey and Gretchen's Place. Joey is standing outside the door, and finally knocks. Pacey comes to answer the door.]Joey: [Sigh]Hey.Pacey: I was beginning to wonder if you were ever gonna knock.Joey: You saw me standing out here?Pacey: No.Joey: Ok, um...[Clears throat] Here's the thing. Um... I ran into Mr. Kubelik today. Remember him?He's the Worthington guy and he remembered you, and he asked me to bring you to this party that they're having tomorrow night for all the new freshmen. And he thought that we were still together, and I said thatthings were weird between us. But then he said he had this offer for you and he mentioned the Dean of admissions, and I'm thinking what else could he be talking about other than Worthington and you. And, you know,maybe there's some loophole or he-- there's some special program and I\u0000Pacey: I miss you, Jo.Joey: I miss you, too.Pacey: You know, I've been... replaying everything that happened at that stupid prom. Wasn'tsupposed to end like that. We're not supposed to end like that. Right?Joey: I wish you'd come to the party with me.Pacey: Yeah. Of course.Joey: And, uh-- I'll see you tomorrow.[SCENE_BREAK][Scene: Outside thestore, Pacey and Gretchen exit the store and walk over to her car carrying bags of groceries.]Pacey: Ok. So riddle me this. How many Funyons can a tiny little woman like you possibly consume on one little roadtrip?Gretchen: Don't change the subject.Pacey: I'm not changing the subject. I'm just steering it in a different direction on purpose.Gretchen: Look, I just don't think you should go to the party tonight, pace. I mean,even if you and Joey are supposed to be together, you both need to take some time apart to figure out what went wrong. Otherwise you're gonna wind up making the same mistakes all over again. Trust me. I knowfrom whence I speak.Pacey: Trust you? Miss pack-up-and-leave-town? Forgive me if you're not exactly my relationship role model right now.Gretchen: I'm just trying to help, pace. I don't want to see you gettinghurt.Pacey: Well, it's too late for that. I'm already hurt. And that's exactly the situation I'm trying to rectify. That's why I gotta go to this party, just to see what the gods have in store for me.Gretchen: You meanKubelik and his mysterious offer?Pacey: Yeah. Look, I know as well as you do that this is a long shot. But what other choice do I have? I need a sign. I need someone or something to tell me what to do. To show mewhat's right 'cause I don't know what to do anymore. And if this guy's gonna offer me a chance to go to Worthington, then I have my answer and I know for sure.Gretchen: What will you know?Pacey: Well, that I'msupposed to be with her. Ah, look. Gretch? If it's all right with you I think I'm gonna walk home.Gretchen: Yeah.[He puts the bags in her car, then turns back to her.]Pacey: So, then... this is it. You're really gonna leavetomorrow morning?Gretchen: Well, long before you're up, snoozer.[He gives her a huge hug.]Gretchen: Hey! What's this? Ha ha.Pacey: I'm really glad you came home this year, Gretchen.Gretchen: Sure you are. Yougot a sweet beach house out of the deal.Pacey: Yeah, I did. But it would not have been the same if it wasn't for you. So, I just want you to know that, you know, your little brother-- well, you know.Gretchen: I love you,too, Pace.Pacey: Yeah.Gretchen: [Laughs] And even better than that-- I mean, all familial obligations aside-- I actually like you.Pacey: Well, you're not so bad yourself.Gretchen: Yeah, I know.Pacey: Good-bye,Gretchen.Gretchen: Good-bye.Pacey: Bye.[Scene: The La Brea Park. Grams and Jen pull up to the guard station and wait for the guard. A really old female guard walks up to the car.]Guard: Last name?Grams: Oh,hello. Um-- I was here a few days ago\u0000Guard: Last name?Guard: Ryan. Evelyn Ryan.[The Guard goes back to check her list]Jen: Huh. She's a crusty old broad. I wonder what she'd do if we just gunned it? I mean, howwould she catch us? In one of those little golf carts, you think? You know, I seriously think we could take her.Grams: Jennifer, please.Jen: Just making a joke.[Guard comes back with a pass]Guard: Here you go. Nexttime go to gate 3 first to get your pass.Grams: Oh, I'm sorry. I didn't realize\u0000Guard: Everyone needs a pass. Residents get a permanent pass. If they have visitors, they're supposed to call in advance to get a pass.Nobody gets in without a pass.[Scene: The Leery Living room. Mitch and Dawson have just finished watching his movie of Mr. Brooks.]Mitch: I don't know how you did it, Dawson, but you managed to make Mr. Brooksseem like Harrison Ford.Dawson: So it's ok then?Mitch: Well, as your father, I am prone to subjectivity, but when USC calls and begs you to join their program, remember you heard it here first. It is great. But I can seethat your mind's on other things.Dawson: [Sigh]Mitch: Want to talk about it?Dawson: Not really. But thank you for watching this. I really needed an opinion from somebody other than Brooks. You know? I mean, howcould a man with an ego that big not love a movie that's all about him?Mitch: That man was a real wild card, huh? I can't get over how much he reminded me of you.Dawson: I remind you of him?Mitch: Well, that partwhere he talks about that girl? How she jumped over the counter, they went off to California together, they didn't even know each other? Who does that?Dawson: Hitchhikers.Mitch: Risk takers. Dreamers. People whounderstand that every once in a while, an opportunity presents itself. And whatever they decide to do in that moment will change the rest of their lives forever. Brooks could have told that girl to get lost. He could havegone off to California alone like he planned, but he didn't.Dawson: No, he didn't.Mitch: Because he knew. Very few men are lucky enough to actually see those moments, Dawson. He was really an inspiration.Dawson:Yeah. I... I guess he is.[Scene: Outside the Potter B&B. Pacey comes walking up, to find Joey outside on the porch waiting.]Pacey: Hey. You know, you didn't have to wait outside for me. I would've rung the doorbelllike a proper gentleman.Joey: I've been ready for an hour, which has given me far too much time to look at myself in the mirror. Never a good thing.Pacey: Right.[She walks down the stairs and is about to kiss himwhen she stops herself.]Joey: Um...we should go.Pacey: Yeah. Good idea.[Clears throat][Sigh][Scene: Gram's House. Grams and Jen are talking about their visit to the retirement community.]Jen: You're not movingthere.Grams: I've looked at other places. They are simply not affordable. I'm sure with time I'll be able to acclimate to La Brae Park quite nicely.Jen: Ok, you're not listening to me. See, I'm not gonna allow you to makesuch an enormous sacrifice.Grams: This is not a sacrifice. This is my gift to you.Jen: Well, I don't want it.Grams: You don't want to go to college?Jen: No. No, not like this. The fact is is that I should've applied for astudent loan. Just because I wouldn't take money from my parents doesn't mean that I need to burden you with my entire college tuition. [Sigh] Look, when you offered to help me out, I--I assumed that you had somesort of savings. I didn't think that I was gonna put you into hock.Grams: Jennifer, this is not your problem. Look, can we please not have this conversation?Jen: I'm not going to Boston, and I'm not letting you sell thishouse.Grams: [Sigh][Scene: The Capeside Yacht Club. Joey and Pacey have arrived at the party, and find Mr. Kubelik there.]Mr. Kubelik: Hey.Joey: Hey. It's 7:00 and the party's already swinging. I'm impressed.Mr.Kubelik: Well, I take no credit. The promise of free food always draws a crowd. You look lovely, Joey. And I see you brought your friend.Pacey: It's good to see you again, Mr. Kubelik. Thanks for inviting me tonight.Mr.Kubelik: Oh, absolutely. I'm glad you're here.Joey: Oh, well, that's Pacey. He never misses an opportunity to show himself off in a suit.Brad: I think we've gathered everyone by the fireplace, sir.Joey: Wonderful.Mr.Kubelik: Joey, why don't you join Brad? We're taking a few photographs of next year's freshmen.[Brad takes her hand.]Brad: I'll lead the way.Joey: I'll be right back.Pacey: Ok.[Joey and Brad leave]Pacey: So. What doyou say you and I go find that dean of yours, huh?Mr. Kubelik: All right.[Scene: Gretchen and Pacey's Place. Gretchen comes out carrying a box, when Dawson comes walking up to the porch. It is night timeout.]Dawson: [Chuckles] I thought you weren't leaving till tomorrow.Gretchen: Hey, uh, no. I was just pre-packing the car. What's up?[He takes the box from her arms and puts it on the ground]Dawson: I want to gowith you.Gretchen: W-what? Why?Dawson: Because if you leave now, I am always gonna wonder \"what if?\" What if there were no pending college departures? What if there were no job offers in Boston? What if therewas no Joey. What if it was just you and me, on the open road, with nothing but our hearts to guide us? Would we have worked? You said the reason we broke up is because you don't belong here. Fine. Let's get out ofhere and just... see what happens.Gretchen: Dawson, this is crazy. I mean, come on, you can't just pick up and leave.Dawson: Why not? Give me one good reason.Gretchen: Ok, um, graduation. I mean, yourceremony's less than a week away.Dawson: You mean the ceremony where I sit there and listen to other people talk for 3 hours? Before I walk across the football field in a goofy cap and gown, to pick up a piece ofpaper, which isn't even a real diploma? I'm sorry, that experience is not rich enough to warrant me lying awake at night, regretting that I did not have the guts to take this trip with you.Gretchen: Fine. Ok, forgetgraduation. I'm gonna stick with my first reason.Dawson: Which was?Gretchen: This is crazy!Dawson: Yeah. It is. It's nuts! It's completely ludicrous. And you can't think of one good reason why I should not come withyou, Gretchen. Something in my gut is telling me that this is our moment. We can't let this slip by.Gretchen: Dawson, I\u0000[Dawson kisses her]Dawson: just say yes.Gretchen: Yes. It's not where you come from.[Theylook happy at their decision hugging each other][SCENE_BREAK][Scene: Dawson's Bedroom. Dawson is trying to writer a note to his parent about leaving, and all he has is \u0000Dear Mom and Dad\u0000 when Gale comes intothe room carrying the baby.]Gale: Dawson...Dawson: Hey, there, beautiful.Gale: Honey, I have got a crisis down at the restaurant. I was wondering, could you watch her for a few hours?Dawson: I would love to.Gale:She is so good with you. I swear, she knows you already. Oh, um, did you get a chance to talk to Gretchen yet?Dawson: Um, yeah. She's coming over tonight.Gale: Oh, good, honey. I'm glad you 2 are working things"}
+{"doc_id":"doc_332","qid":"","text":"[Scene: Mausoleum. Prue walks in.]Prue: Phoebe? Phoebe, are you in here? (She sees Phoebe asleep next to a crypt.) Hey, sweetie, wake up.(Phoebe wakes up.)Phoebe: Cole?Prue: No, it's just me. Come on, let's gohome.Phoebe: No, I have to wait here for Cole.Prue: Phoebe, you can't just wait here, alright. He will know where to find you. Come on.(Phoebe stands up.)Phoebe: I don't understand. He was supposed to go backunder so that they wouldn't be suspicious of him, but it's been over a week.Prue: He probably just hasn't found a safe way out yet, that's all.Phoebe: But what if he can't? What is the brotherhood found him out?Prue:Look, even if they did, he would put some sort of a spin on it to, you know, get out of it. Come on, you know Cole, he knows what he's doing. You don't make demon of the century without having a few tricks up yoursleeve.Phoebe: I just hope he's okay, Prue.(They walk out of the mausoleum.)[Scene: A cave in the underworld. Cole is lying on a large rock. Raynor and Tarkin are standing beside him. Raynor has his hand held outabove Cole's head, reading his thoughts.]Raynor: Seems our brother's suspicions are well founded.Tarkin: Why? What do you see?Raynor: Sickness. The kind that only comes from being under the world of light for toolong. It's contaminated him.Tarkin: That's impossible, Raynor. A demon as great as Belthazor.Raynor: It's not his demon half that's been infected, it's his human half. He's in love.Tarkin: The witch.Raynor: Not just anywitch, one of the Charmed Ones. But she's only loved him, she's turned him against us, sent him here to destroy us.Tarkin: Well, then we must destroy him.Raynor: You still have so much to learn, Tarkin. You don't justkill a demon like Belthazor.Tarkin: But he betrayed us.Raynor: And in so doing, he's acquired the knowledge of how to kill the Charmed Ones. Something no other demon's been able to accomplish. That with his powermakes a very precious commodity for us, one worthy of saving.Tarkin: But how can...?Raynor: How can we save him? Simple. We remove the only thing that's re-awakened his human half. His only foot hole to good.The witch's love for him.Opening Credits[Scene: Manor. Kitchen. Piper is sitting at the table. She pours dozens of books and and papers from a box onto the table, and starts looking through them.]Piper: Okay.(Leowalks in holding a French/English dictionary.)Leo: Oú est l' tour Eiffel. That is 'Where is the Eiffel Tower?'Piper: In my dreams if we don't get you a passport.Leo: Honey, we don't need a passport to honeymoon in Paris.With a blink of an orb, we can be sipping champagne at the Champs Sel Seasay.(Piper giggles.)Piper: Yes, as romantic as you make that sound, I would rather fly Air France, than Air Leo. Just like every other normalnewlywed.Leo: Well, great, except that we're not.Piper: Well, a passport for you could change all that, if I could just find... voila! Birth certificate. (She holds it up.)Leo: Where did you get that?Piper: From Dan's old file,the one he put together when he was suspicious of you. You remember him, don't ya?Leo: Let's see, perfect hair, cleft chin, tried to steal you away from me? Vaguely, vaguely. (Leo snatches the birth certificate off ofPiper.) This isn't gonna work, I was born in 1924.Piper: No, you weren't. (She snatches it back.) Okay, off-white background, black ink... Little trick I learned in high school.Leo: You're gonna forge my birthcertificate.Piper: No. Just going to change one little number. (She white outs the number.) So, 1924 becomes 1974. And just like that, you are fifty years younger. (She writes in the seven.) Wait a minute, that makesyou 27. That's younger than me. Maybe I should change another number.Leo: Piper, this is completely illegal.Piper: Yeah? Well, so is marrying a dead guy, okay? (She holds up his death certificate.) Let's not gettechnical now.(Prue walks in.)Prue: Morning. What's up?Leo: Well, probably three to five years jail if we're lucky.(Prue gives a confused look.)Piper: Never mind. Were you up late working again?Prue: No, I was uplooking for Phoebe. Three guesses where she was.Piper: Hmm, the mausoleum?Prue: Yeah, it's become like her second home.Leo: Still no word from Cole?Prue: No, and you know what? You would think he could takethree lousy seconds just to shimmer and let all of us know that he's okay.Leo: Maybe he can't, maybe he's afraid he'll get caught.Piper: Maybe he already has.[Scene: Cave in the underworld. Raynor and Tarkin walkover to Cole.]Raynor: Just follow my lead.(Raynor wakes up Cole.)Cole: Raynor.(He sits up.)Raynor: Good to see you're still with us, Belthazor.Cole: What happened?Raynor: I tried to kill you. Accidentally, of course. Ididn't recognise you in your human form, my mistake.Tarkin: Not many are strong enough to survive an energy bolt, Belthazor. You're lucky.Raynor: Forgive me.(Ranor holds out his hand. Cole hesitates for a moment,then shakes it.)Cole: How could I not? After all, you taught me everything I know.Raynor: Well, not everything.Cole: How long was I out?Raynor: Long enough for us to investigate reports that you crossed over to theother side.(Cole walks over to some water.)Cole: Rumours, not reports.Tarkin: Don't worry, we don't blame you for the failed hit last week. Even if you were seduced by one of the witches that thwarted our plan.(Colewipes some water on his neck.)Cole: I already explained to you that I was over her.Tarkin: Yeah, but you didn't explain that she was one of the Charmed Ones.Raynor: It doesn't matter that you're straight, Belthazor,as long as you're back. To that end, I have an assignment for you. Something that only your powers can achieve. I need you to get me a magical amulet, one that's hanging from the neck of a witch. Problem?Cole: Justthat it's a little bit risky, don't you think? Sending me after a witch with the Charmed Ones on my trail?Raynor: Tarkin will provide backup. That way if they show up you can catch them by surprise. That should takecare of all our problems now, shouldn't it?Cole: Where do I get the amulet? (Raynor waves his hand in front of Cole's face.) This shouldn't take long.(Cole shimmers out.)Tarkin: Think he'll actually get theamulet?Raynor: Yes, but not before he tells his beloved witch what he's about to do. Then that should plant the first seed of suspicion in her heart.[Scene: Manor. Phoebe's room. Phoebe is sitting in front of the mirrorputting on makeup. Cole shimmers in behind her. She sees his reflection in the mirror.]Phoebe: Promise me when I turn around you'll still be there.(She quickly turns around. She walks over to him and they kisspassionately.)Cole: I've missed you so much.Phoebe: I've missed you too.Cole: They've given me an assignment. One that if I turn down...Phoebe: What do you mean an assignment? What kind of assignment?Cole: Ican't tell you.Phoebe: Wh--(Cole sits down on the bed.)Cole: They've asked me to steal an amulet from a witch.Phoebe: A witch?Cole: Don't worry, I won't hurt her.Phoebe: Oh, well, that's good news, Cole. You can'tdo this!Cole: You think I want to, damn it! (He gets back up and walks across the room.) Phoebe, I just have to buy some time so I can figure a way out. In the mean time, I have to at least pretend like I'm evil.Phoebe:No, but don't you see? If you turn into Belthazor, then you will be evil.Cole: What makes you think I'll have to?Phoebe: Well, because an amulet protects. It takes someone of great strength to overcome that. Why doyou think they choose you?Cole: To set me up perhaps. (He sits back on the bed.) Raynor may be on to me.Phoebe: Who's Raynor?Cole: He's the head of the brotherhood. And my old mentor. He has the power to readthoughts, and if he's read mine...(Phoebe kneels beside him.)Phoebe: Prue and I will come with you, and watch your back.Cole: No, no, no, you can't. That could be exactly what Raynor's expecting you do. He could besetting me up to get to you. I have to do this alone.Phoebe: Cole, I...(He pulls her up on the bed and puts his arms around her.)Cole: Trust me, okay? I know what I am doing. Just concentrate on finishing the potion. Ifit works, Belthazor will disappear and Raynor won't be able to track me. Then, (they kiss) we can be together.(They kiss again and Cole shimmers out in the middle. Phoebe sighs.)[Cut to the stairs. Phoebe runs downthem.]Phoebe: Prue? Prue?(Prue runs in.)Prue: Hey, what's wrong?Phoebe: Cole's in trouble, I need your help.Prue: Uh, okay, anything.Phoebe: We need to scry for a witch, fast.Prue: Alright.(They run up thestairs.)[Cut to a Wicca shop. A witch is there. Cole shimmers in.]Witch: Who are you? How did you get in here?Cole: Just do exactly as I say and I won't hurt you. Just take off the amulet and put it down.Witch: I'vebeen sworn to protect it.Cole: And I've been ordered to steal it. (She backs away.) Don't fight me. I beg you.(He reaches out for the amulet. A blue light shoots out of it and he is thrown back into boxes. He gets backup.)Witch: You can't take it from me.Cole: Maybe I can't.(He changes into Belthazor.)Belthazor: But I can. (He walks over to the witch. A bright blue light shields the witch. He reaches through the shield and takes theamulet from around her neck. The shield disappears. He grabs her, then realises what he's doing and lets go.) Tell no one about the amulet. Not even your Whitelighter.(He shimmers out.)[Scene: Passport Agency.Piper and Leo are waiting in line. Leo is filling out a form.]Leo: Whitelighter. Is that my occupation or should I just put guardian angel?(An elderly lady waiting in the line in front of them turns around.)Piper: Hi, how youdoing? (She turns back around.) (to Leo) What's the matter with you?Leo: We shouldn't be here, Piper, this is wrong.Piper: Wanting a normal life is not wrong, okay? In fact, it couldn't be anymore right. For crying outloud, stop being so good all the time. (The lady gives her a look.) Ha, newlyweds, first fight. Eyes front.(The lady turns back to the front.)Leo: Piper...Piper: Leo, look, I love you, but I'm getting a migraine here, okay?Just, look, we're not hurting anyone, we're not breaking any commandments, okay? We just changed a lousy two to a lousy seven. So let go before I blow. (The line moves.) Okay, we're almost there.(The Elders callLeo.)Leo: Uh-oh.Piper: What? Oh no. No-no-no-no-no, no. You can not leave right now, okay. Pretend you're, pretend you're out.Leo: I can't do that.Piper: Yes, you can. Come on.Leo: I've gotta go.Piper: Leo, you can'tgo right now, okay. We've been in this line for two and a half freakin' hours! (She points at the clock and it blows up. Everyone in the line ducks. Piper looks around.) Uh-oh.[Cut to the Wicca shop. Raynor appears. Helooks around and sees the witch hiding in the corner.]Witch: Who are you? If you've come for the amulet, it's gone.Raynor: And yet you're still here. Living proof that Belthazor has indeed gone soft.Witch:Belthazor?Raynor: The demon that'll be blamed for your death.(He throws an energy bolt at her. She screams and disappears.)[SCENE_BREAK][Scene: Wicca Shop. Prue and Phoebe walk in. They look around.]Phoebe:Anything?Prue: No.Phoebe: Do you think maybe we scryed for the wrong witch?Prue: I don't think so.(Prue sees burnt curtains and black marks on the wall.)Phoebe: Scorch marks. Oh my god, do you think she'sdead?Prue: Unfortunately, I don't know what else to think.Phoebe: That doesn't make any sense. Cole said she wouldn't get hurt.Prue: Yeah, well, somebody sure fired an energy ball in here.Phoebe: Somebody likeCole, you mean?Prue: Phoebe, I'm not saying that it was Cole, okay? All that I'm telling you is what I see, what we both see. For what it's worth, I don't think it was Cole.Phoebe: Thank you.Prue: Alright, but if he didn'tdo it, who did?Phoebe: Well, Cole said that he thought he was being set up by his mentor. So maybe he is, maybe they're trying to frame him.Prue: Why?Phoebe: I don't know, but if it's true, that means his cover'sblown and we gotta get him outta there.Prue: Yeah. (Leo orbs in.) Leo.Phoebe: What are you doing here?Leo: Looking for you. The Elders called me because a powerful amulet has been stolen.Prue: Yeah, we know.Leo:You do?Prue: Yes, and the witch that had it has been killed.Leo: It's supposed to protect her, that's why they gave it to her. Only the most evil of demons could have had the power to take it away.Phoebe: And whywould a demon want that amulet so bad?Leo: Because it's one half of an ancient charm. Whoever connects the two amulets together, more than doubles, it protects your power. With it they become invincible.Prue: Oh,that certainly explains why the brotherhood wanted Cole to get it.Leo: Cole?Phoebe: Forget it. Who's got the other half?Leo: Another witch. The amulets were divided between two local covens for safe keeping, but thebearers have always been kept secret, guarded even from them.Phoebe: Well, obviously that's why the brotherhood wants them both.Leo: Only to destroy them so good can never use them. The amulet won't protectanyone evil.Prue: Alright, we need to find that other witch before they do.Phoebe: Okay, well, you go with Piper so I can work on Cole's potion.Prue: Yeah. Speaking of, where's Piper?Leo: Uh, she's at the manorrecovering from a little problem we had at the passport office.Prue: What problem?Leo: Uh, well, she sorta blew some of it up.[Scene: Cave in the underworld. Cole and Tarkin are waiting there. Cole is holding theamulet.]Tarkin: Nervous?Cole: Impatient. There's something you're not telling me, brother.Tarkin: Actually, I was about to ask you the same question, brother.(Raynor shimmers in.)Raynor: Sorry to keep you waiting,I had business to attend to. (He walks over to Cole.) The amulet. (Cole hands him the amulet.) Must feel good to be back in the game, it was such a beautiful death.Cole: What do you mean?Raynor: The witch. How didyou kill her?Cole: I didn't. I'd never risk alerting the Charmed Ones just for the thrill of offing a low level witch.Raynor: Too bad, I would and did. Don't make me clean up after you again.Cole: You shouldn't have killedher, Raynor.Raynor: You're right. You should have.Cole: You told me to just get the amulet, you didn't say kill the witch.Raynor: Some things go without saying.Tarkin: You want me to get the second amulet?Raynor:No, I want Belthazor to.Cole: Let Tarkin. My strength isn't back yet. I could barely fight through the magic of the first amulet.Raynor: You can do it, I know you. You're the great Belthazor, you can do anything youwant. You've seem to forgotten that. Find the witch. (He waves his hand in front of Cole's face.) But this time show no mercy.(Cole shimmers out.)Tarkin: You think he'll do it?Raynor: You keep pulling the bottle in frontof him, sooner or later he's gonna take a drink.Tarkin: What if he doesn't?(A bright glowing ball appears in Raynor's hand.)Raynor: Don't worry, I have insurance.[Cut to the manor. Prue, Phoebe and Leo walkinside.]Prue: Alright, I'll start scrying.Leo: I don't think it'll work. The amulet wards off magic, all magic.Phoebe: That must be why we didn't find the first witch in time. We didn't get a read on her until after the amuletwas stolen.Prue: Okay, but what happens if we don't find her before...(They hear a loud noise coming from the kitchen.)[Cut to the kitchen. Piper is there covered in pieces of watermelon. Prue, Phoebe and Leo walkin.]Phoebe: Piper?Prue: Uh, okay, was it a demon?Piper: No, it was watermelon!Phoebe: Honey, why did you vanquish watermelon?Piper: I didn't vanquish watermelon. I threw it up in the air and I tried to freeze it andit exploded.(She throws her hands up in the air and a pot plant explodes. She panics and the glass on the cupboards smash.)Leo: This is the little problem I was telling you about.Phoebe: Okay, Piper, slowly put yourhands down and no one will get hurt.(Piper puts her hands down.)Piper: Honey!Leo: Sweetie, it's gonna be okay, we're gonna figure it out.(Leo walks over to her.)Piper: No-no-no! Don't come near me, I don't wantanybody to get hurt.Prue: Okay, put these on. (Prue puts oven mitts on Piper's hands.) Maybe this will help. Put these on and... Okay, now try the teapot. Try the teapot. (Piper blows up the teapot.) Whoa! (Pruequickly pushes her hands down.) Okay, okay, it wasn't that bad.Phoebe: Alright, just relax, okay, just calm down because I think your emotions are making this worse.Leo: I'm gonna go check with the Elders, and see ifthey know what happened to your powers.Piper: Hurry!Prue: Hey, and ask them how we're supposed to... (Leo orbs out.) find the second witch.(Cole shimmers in.)Cole: I know where to find her.Phoebe: Cole.Cole: Ididn't kill her, Phoebe. I swear.(She goes over to him.)Phoebe: It's okay, I know. We believe you. You don't look so good. Are you okay?(She touches his face and he pulls her hand away.)Cole: I'm not sure.Phoebe:Come on.(Cole and Phoebe walk into another room.)Cole: What about the potion? How close are you?Phoebe: Uh, we're just missing one ingredient, billings root, whatever that is. But as soon as I find it, then I canfinish it.Cole: Well, I don't have much time, I'm kinda hanging on by my fingertips as it is.Phoebe: Well, you have to hold on a little longer.Cole: Ay-ya-yay.Phoebe: You can do it, Cole, I know you.Cole: Raynor says heknows me too.Phoebe: Cole, look at me. Look at me. (He looks at her.) You have to keep fighting it. You have to keep fighting him, you can not let him win.Cole: But fighting is how he does win. Raynor's just waiting forme to slip so he can drag me back in the fold, I know that's what he's doing.(She moves closer to him and touches his face.)Phoebe: He can't have you. I won't let him.Cole: Then save me, Phoebe. I've been ordered tokill the next witch. You have to get there first and stop me. Otherwise Raynor will win.[Scene: Park. Seven witches are sitting in a circle, around a small fire.]Witch: The birth and rebirth of all nature. The passing ofwinter and spring, we share in the life universal. Rejoice in the magical ring. I'll see you all next week. Blessed be.All: Blessed be.(They all stand up. Cole looks on from the bushes near by. Tarkin shimmers in besidehim.)Cole: What are you doing here?Tarkin: Just watching your back.Cole: Yeah, well, watching it's one thing, stabbing it's another.Tarkin: What's the matter? Don't you trust me?Cole: I don't trust anyone.Tarkin:Never did. That's probably what made you so great. No legences, no conscience, no hesitation. (All the witches leave, except one.) You know what Raynor wants. Just give it to him. You'll feel better after you kill thewitch.(The witch kneels down and starts to pack up her stuff. She hears a noise.)Witch: Who's there? (Cole comes out and changes into Belthazor. The witch stands up and holds out the amulet.) You can't hurtme.(Belthazor walks towards the witch and the protective shield from the amulet surrounds her. Belthazor reaches through the shield. Prue, Piper and Phoebe arrive.)Phoebe: Cole, don't!Prue: Piper, freeze him.Piper: Imight blow him up.(Prue uses her power on Belthazor. Phoebe runs over to the witch.)Phoebe: It's okay, we're witches too. (Tarkin gets ready to throw an energy bolt.) Piper!(Piper blows up a tree.)Prue: Okay, thatwas good, that was, that-that was fine.Tarkin: Kill them.Phoebe: No.(Belthazor throws an energy bolt at Phoebe and the witch. The amulet protects them and they are thrown into the bushes. Prue uses her power onBelthazor and he flies against a rock. Tarkin gets ready to throw an energy bolt and Prue uses her power on him. They stand up. Belthazor looks at Phoebe and then he and Tarkin shimmer out.)[SCENE_BREAK][Scene:Manor. Prue, Piper, Phoebe and the witch walk in the living room.]Piper: Leo!Prue: Uh, he's our Whitelighter.Phoebe: And our brother-in-law.Piper: I don't know what is up with me. Every time I try to freeze, Iflame.Prue: Uh, Leo!Phoebe: (holding her wounded arm) I'm fine, really, it's no big deal.Piper: Phoebe, it's a huge deal, Cole tried to kill you.Prue: He's the demon.(The witch nods.)Piper: And her boyfriend.Phoebe: Wehave very complicated lives.Witch: I'm just thrilled to meet you. I mean, I've heard of the Charmed Ones, of course, but I just thought I'd never dream I'd...Prue: Nearly die with us? Yes, well, welcome to ourlives.Witch: You saved me, and the amulet. That's enough. (to Phoebe) May I? (She looks at Phoebe's arm.) Well, the wound isn't deep. A salve would cleanse it and ease the pain. Would you allow me entrance to yourherb cupboard?Prue: Kitchen, she means kitchen.Piper: Hmm? Oh, right, sure, follow me.(Piper points.)Phoebe: Oh, hands down, hands down.(Piper and the witch go into the kitchen.)Prue: Come on, sit down, take iteasy.(They sit on the couch.)Phoebe: I'm fine, Prue, really. And Cole would not try to kill me. He knew that the amulet would protect me. He could've fired at you or Piper but he didn't. With the other demon there, hemade the only choice he could.Prue: And you really believe that, right?Phoebe: Yeah, I know it. I saw his eyes. They were filled with pain, not evil. Prue, we've gotta get him outta there before it's too late.Prue: Alright,"}
+{"doc_id":"doc_333","qid":"","text":"INT. TARDISPicking up where the last episode left off - Rose runs into the TARDIS and joins the Doctor.THE DOCTOR: Right then, Rose Tyler, you tell me, where do you want to go? Backwards or forwards in time.What's it going to be?ROSE: Forwards.The Doctor presses a few buttons.THE DOCTOR: How far?ROSE (picking random number): One hundred years.He pulls a lever and turns a knob. The engines lurch and then stopafter a few seconds.THE DOCTOR: There you go, step outside those doors, it's the twenty-second century.ROSE: You're kidding.THE DOCTOR: That's a bit boring though, do you want to go further?ROSE: Fine byme!The Doctor starts up the engines again. When they stop, he looks at her.THE DOCTOR: Ten thousand years in the future. Step outside, it's the year 12005, the New Roman Empire.ROSE (teasingly): You think you'reso impressive.THE DOCTOR: I AM so impressive!ROSE: You wish!THE DOCTOR: Right then, you asked for it. I know exactly where to go. (Revs up the engine, pumps a lever furiously). Hold on!The TARDIS hurtlesthrough the time vortex. With a pinging noise, the TARDIS stops.ROSE: Where are we?The Doctor gestures towards the doors. Rose smiles excitedly.ROSE (CONT'D): What's out there?The Doctor gestures again. Rosesteps outside the doors.INT. VIEWING GALLERYRose finds herself in some kind of wooden room. The Doctor follows her and with his sonic screwdriver, opens the shutters of an enormous window. They go down thestairs and find themselves looking down on the planet Earth.THE DOCTOR: You lot. You spend all your time thinking about dying. Like you're going to get killed by eggs or beef or global warming or asteroids. But younever take time to imagine the impossible. Maybe you survive. This is the year 5.5/apple/26. Five billion years in your future. This is the day... hold on... (Looks at his watch). This is the day the sun expands. Welcometo the end of the world.OPENING CREDITSEXT. PLATFORM ONETwo space shuttles zoom towards Platform One, essentially a huge space station.COMPUTER VOICE: Shuttles 5 and 6 now docking. Guests are remindedthat platform 1 forbids the use of weapons, teleportation and religion. Earth Death is scheduled for 15:39, followed by drinks in the Manchester Suite.INT. PLATFORM ONE, CORRIDORRose and the Doctor are walkingdown a corridor.ROSE: So, when it says 'guests' does that mean people?THE DOCTOR: Depends what you mean by people.ROSE: I mean people. What do you mean?THE DOCTOR: Aliens.ROSE: What are they doing onboard this spaceship? What's it all for?The Doctor starts to open a door with his sonic screwdriver.THE DOCTOR: It's not really a spaceship. More like an observation deck. The great and the good are gathering to watchthe planet burn.ROSE: What for?THE DOCTOR: Fun.INT. THE MANCHESTER SUITEThey enter a large observation gallery.THE DOCTOR: Mind you, when I said the great and the good, what I mean is, the rich.ROSE: But,hold on, they did this once on \"Newsround Extra\", the sun expanding, that takes hundreds of years.THE DOCTOR: Millions. But the planet's now property of the National Trust. They've been keeping it preserved. Seedown there? (Points out of the window at tiny glints of light orbiting the Earth). Gravity satellite. That's holding back the sun.ROSE (peering out of the window at Earth). The planet looks the same as ever. I thought thecontinents shifted and things.THE DOCTOR: They did. And the trust shifted them back. That's a classic Earth. But now the money's run out, nature takes over!ROSE: How long has it got?The Doctor looks at hiswatch.THE DOCTOR: About half an hour. And the planet gets roasted.ROSE: Is that why we're here? I mean, is that what you do? Jump in at the last minute and save the Earth?THE DOCTOR: I'm not saving it. Time'sup.ROSE: But what about the people?THE DOCTOR: It's empty! They're all gone. All left.Rose looks back to the window, realization spreading across her face.ROSE: Just me then.The Steward hurries towardsthem.STEWARD: Who the hell are you?THE DOCTOR: Oh! That's nice, thanks.STEWARD: But how did you get in? This is a maximum hospitality zone. The guests have disembarked! They're on their way any secondnow!THE DOCTOR: That's me, I'm a guest, look! I've got an invitation! (Flashes a small leather wallet at the Steward). Look, there you see? It's fine, see? The Doctor plus one. I'm the Doctor, this is Rose Tyler. She'smy plus one. That all right?STEWARD: Well... obviously. (Doctor grins). Apologies, et cetera. If you're on-board, we'd better start. Enjoy.The Doctor nods at him. After the steward walks off, the Doctor shows Rose thecard he had flashed at the steward. It is completely blank.THE DOCTOR: The paper's slightly psychic. Shows them whatever I want them to see. Saves a lot of time.ROSE: He's blue.THE DOCTOR: Yeah.ROSE:Okay...The steward is now speaking through a microphone at the other end of the suite.STEWARD: We have in attendance, the Doctor and Rose Tyler. Thank you! All staff to their positions.He claps his hands and a lotof little blue people (the staff) start scurrying around.STEWARD (CONT'D): Hurry now! Thank you, as quick as we can! Come along, come along! And now, might I introduce the next honoured guest, representing theforest of Cheem, we have Trees. Namely, Jabe, Lute and Coffa.Jabe, Lute and Coffa walk through the doors.STEWARD (CONT'D): There will be an exchange of gifts representing peace. If you can keep the roomcirculating, thank you. Next, from the solicitors Jolco and Jolco, the Moxx of Balhoon.The Doctor smiles cheerily, as Rose looks on bewildered.STEWARD (CONT'D): And next, from Financial Family Seven, we have theAdherents of the Repeated Meme.The Doctor chuckles at the look on Rose's face.STEWARD (CONT'D): The inventors of hyposlip travel systems, the brothers Hop Pyleen. Thank you!Enter new aliens.STEWARD(CONT'D): Cal 'Spark Plug'.Enter new aliens.STEWARD (CONT'D): Mr. and Mrs. Pakoo.Enter new aliens.STEWARD (CONT'D): The Ambassadors from the City State of Binding Light.Jabe approaches the Doctor. Eitherside of her, her companions are holding plant trays with little shoots in them.JABE: The Gift of Peace. (Takes a cutting, hands it to the Doctor). I bring you a cutting of my Grandfather.THE DOCTOR: Thank you! (Gives itto Rose). Yes, gifts... erm...He clears his throat and starts feeling his jacket for something, finding nothing, he says :THE DOCTOR (CONT'D): I give you in return, air from my lungs.He blows gently onto Jabe's face, whocloses her eyes briefly.JABE: How... intimate.THE DOCTOR (flirtatiously): There's more where that came from.JABE: I bet there is...Rose has the sort of look on her face that is to be expected of someone who has justwitnessed their companion flirting with a tree.STEWARD: Sponsor of the main event, please welcome the Face of Boe.A huge head in an equally huge jar is wheeled through the doors. The Moxx of Balhoon approachesthe Doctor and Rose.THE DOCTOR: The Moxx of Balhoon.MOXX OF BALHOON: My felicitations on this historical happenstance. I give you the gift of bodily saliva.He spits accurately into Rose's left eye.THE DOCTOR(laughs): Thank you very much.Rose rubs the spit out of her eye. Next, the Adherents of the Repeated Meme approach them.THE DOCTOR (CONT'D): Ah! The Adherents of the Repeated Meme. I bring you air from mylungs.He breathes heavily over them all.ADHERENT: A gift of peace in all good faith.He holds out a large silver egg, which the Doctor takes, throws up into the air, catches, and hands to Rose.STEWARD: And last but notleast, our very special guest. Ladies and Gentlemen, and Trees and Multiforms. Consider the Earth below. In memory of this dying world, we call forth The Last Human.The Doctor looks at Rose to see her reaction. Thesliding doors open and what looks like a vertical trampoline made of human skin is wheeled through. It has eyes and a mouth, and wears lipstick.STEWARD: The Lady Cassandra O'Brien Dot DeltaSeventeen.CASSANDRA: Oh, now, don't stare. I know, I know it's shocking, isn't it? I've had my chin completely taken away and look at the difference! Look how thin I am.The Doctor laughs silently but heartily andlooks at Rose, who looks shocked.CASSANDRA (CONT'D): Thin and dainty! I don't look a day over two thousand. Moisturize me, moisturize me.One of the two men in white body suits who wheeled her in is holding acanister, which he sprays onto Cassandra.CASSANDRA (CONT'D): Truly, I am The Last Human.Rose creeps closer for a better look.CASSANDRA: My father was a Texan. My mother was from the Arctic Desert. They wereborn on the Earth and were the last to be buried in the soil.Rose has been walking around to the other side of Cassandra, to get a good view of her from all angels. She is completely flat.CASSANDRA: I have come tohonour them and... (Sniffs)...say goodbye. Oh, no tears. (Bodyguard wipes her eyes). No tears. I'm sorry. But behold! I bring gifts. From Earth itself, the last remaining ostrich egg.One of the staff comes in and displaysthe egg to the room.CASSANDRA (CONT'D): Legend says it had a wingspan of 50 feet and blew fire from its nostrils.Rose looks mildly confused.CASSANDRA (CONT'D): Or was that my third husband?Rose rolls her eyesbut the Doctor laughs.CASSANDRA: Who knows! Oh don't laugh. I'll get laughter lines!She laughs and mumbles to herself for a few seconds. Behind her, a large jukebox is wheeled into the room.CASSANDRA (CONT'D):And here, another rarity. According to the archives, this was called an iPod. It stores classical music from humanity's greatest composers.Rose looks amazed.CASSANDRA (CONT'D): Play on!One of the staff presses abutton and a record falls into place. The 'iPod' starts playing Tainted Love by Soft Cell. The Doctor bops around appreciatively.STEWARD: Refreshments will now be served. Earth Death in 30 minutes.Rose has a lost,overwhelmed expression on her face. Everywhere she looks there are aliens, but no other humans. She rushes from the gallery. Concerned, the Doctor starts to follow her, but is stopped by Jabe.JABE: Doctor? (Shesnaps a photo of him when he pauses). Thank you.The Doctor proceeds on. Jabe walks in the opposite direction. The Adherents of the Repeated Meme are offering the Steward a silver egg.ADHERENT: A gift of peace inall good faith.STEWARD: No, you're very kind, but I'm just the Steward.The Adherents of the Repeated Meme holds the egg out more persistently.ADHERENT: A gift of peace in all good faith.STEWARD: Oh, yes. Thankyou. Of course.He takes the egg. Meanwhile, Jabe is trying to get her computer to identify the Doctor's species.JABE: Identify species. Please identify species.The computer makes a small whistling noise.JABE (CONT'D):Now, stop it. Identify his race. Where's he from? (After a moment, stares at the computer in disbelief, hushed). It's impossible.In a nearby glass cabinet, a metal robotic spider climbs out of one of the metal eggs thatthe Adherents of the Repeated Meme had been handing out.INT. PLATFORM ONE ROOM, SHAFTRose, in another part of the ship, looks out of a window at the raging sun. She jumps when another one of the staff comesinto the room, this one female. Her name is Raffalo.ROSE: Sorry, am I allowed to be in here?The employee looks around uneasily.RAFFALO: You have to give us permission to talk.She looks at Rose expectantly. Roselooks unsure.ROSE: Uh... you... have permission...?RAFFALO: Thank you! And, no. You're not in the way. Guests are allowed anywhere.ROSE: 'Kay.Raffalo goes to a panel in the wall and enters a code. Rose watchesher.ROSE: What's your name?RAFFALO: Raffalo.ROSE: Raffalo?RAFFALO: Yes, Miss. I won't be long, I've just got to carry out some maintenance.She kneels before an air vent.RAFFALO (CONT'D): There's a tiny littleglitch in the Face of Boe suite. There must be something blocking the system - he's not getting any hot water.ROSE: So, you're a plumber?RAFFALO: That's right, Miss.ROSE: They still have plumbers?RAFFALO: I hopeso! Else I'm out of a job!Rose laughs.ROSE: Where are you from?RAFFALO: Crespallion.ROSE: That's a planet, is it?RAFFALO: No, Crespallion's part of the Jaggit Brocade, affiliated to the Scarlet Junction, Convex 56.And where are you from, Miss? (Seems to remember herself). If you don't mind me asking.ROSE: No! Not at all. Erm... I dunno, a long way away... I just sort of, hitched a lift with this man. (Only just realising the riskshe's taken herself). I didn't even think about it... I don't even know who he is... he's a complete stranger...Raffalo looks slightly worried. Rose snaps herself out of it.ROSE (CONT'D): Anyway, don't let me keep you.Good luck with it!She begins to walk away.RAFFALO: Thank you, Miss. And... (Rose turns). Thank you for the permission. Not many people are that considerate.ROSE (smiles): 'Kay. See you later.Roffalo nods andsmiles. When Rose has gone, she takes the cover off the air vent.RAFFALO: Now then.She peers into the vent and then speaks into a small microphone attached to her collar..RAFFALO (CONT'D): Control, I'm atJunction 19 and I think the problem's coming from in here. I'll go inside and have a look. (Hears small tapping). What's that? Is there something in there?The metal spider we saw breaking out of the egg earlier appearsat the end of the shaft.RAFFALO (CONT'D): Oh! Who are you, then?The spider scurries away as if frightened.RAFFALO (CONT'D): Hold on! I... if you're an upgrade I just need to register you, that's all. Oh, come back!Ared beam of light falling on Raffalo's face tells us the spider has come back.RAFFALO (CONT'D): Ah, there you are. Now, I just need to register your ident.Another spider joins the first.RAFFALO (CONT'D): Oh, there'stwo of you! Got yourself a little mate! (Giggles). I think I'd better report this to control. How many of you are there? (A third spider appears, and then a fourth). What are you? Oh, no. No. Nooooo!She is dragged headfirst into the air vent.INT. STEWARD'S OFFICEThe steward enters and puts his egg on a nearby table and sits down. He listens to Control speaking.STEWARD: What's that? Well, how should I know? (Activatesloudspeaker).Would the owner of the blue box in private gallery 15 please report to the steward's office immediately. Guests are reminded that use of all teleportation devices is strictly forbidden under Peace Treaty5.4/cup/16. Thank you.While he is talking, a spider has broken out of his egg and run up the opposite wall.EXT. PLATFORM ONEWe are shown another shot of the burning sun and the satellite over the Earth.COMPUTERVOICE: Earth Death in 25 minutes. Earth Death in 25 minutes.INT. VIEWING GALLERYRose sits on the steps, throwing the egg up in the air and catching it again when she hears this announcement.ROSE: Oh,thanks.She puts the egg down and turns her attention to the cutting of Jabe's grandfather. She picks it up.ROSE (CONT'D): Hello! My name's Rose. That's a sort of plant. We might be related...She suddenly realizeswhat she is doing and hurriedly puts the plant down.ROSE (CONT'D): I'm talking to a twig.Behind her, the spider breaks out of the egg.INT. PLATFORM ONE, CORRIDORThe TARDIS is being dragged away by some ofthe staff.THE DOCTOR: Oi, now, careful with that. Park it properly. No scratches.One of them walks up to the Doctor, squeaks at him, hands him a card and walks away again. The Doctor reads it - it says 'Have a niceday'. The Doctor looks at the retreating staff's back as if he or she is completely off his or her rocker, and walks off. A few of the metal spiders scurry up the wall behind him. A few more are running along the airvent.INT. VIEWING GALLERYThe spider that came out of Rose's egg appears to be scanning her hand, but Rose is completely oblivious. It jumps and runs to the air vent when the Doctor's voice floats through thedoor.THE DOCTOR: Rose? Are you in there?The spider scrambles through the vent just in time, before the Doctor comes through the door.THE DOCTOR (CONT'D): Aye aye! (Sits on other side of stairs). What do youthink, then?ROSE: Great! Yeah... fine. Once you get past the slightly psychic paper...The Doctor laughs. There is a short pause.ROSE (CONT'D): They're just, so alien. (Doctor looks at her questioningly). The aliens. Areso alien. You look at 'em... and they're alien.THE DOCTOR: Good thing I didn't take you to the Deep South.ROSE (as if looking at him properly for the first time): Where are you from?THE DOCTOR: All over theplace.ROSE: They all speak English.THE DOCTOR: No, you just hear English. It's a gift of the TARDIS. Telepathic field, gets inside your brain, translates.ROSE: It's inside my brain?THE DOCTOR: Well, in a good way.ROSE (colder, starting to sound angry): Your machine gets inside my head. It gets inside and it changes my mind, and you didn't even ask?THE DOCTOR (thrown): I didn't think about it like that.ROSE (angrily): No!You were too busy thinking up cheap shots about the Deep South! Who are you then, Doctor? What are you called? What sort of alien are you?The Doctor sits up and looks away from her.THE DOCTOR: I'm just TheDoctor.ROSE: From what planet?THE DOCTOR: Well, it's not as if you'll know where it is!ROSE: Where are you from?!THE DOCTOR: What does it matter?ROSE: Tell me who you are!THE DOCTOR (suddenly angry): Thisis who I am, right here, right now, alright? All that counts is here and now, and this is me!ROSE: Yeah, and I'm here too because you brought me here, so just tell me!The Doctor gets up and walks down the steps awayfrom her.COMPUTER VOICE: Earth Death in 20 minutes. Earth Death in 20 minutes.After a few moments, Rose gets up and follows the Doctor down the steps.ROSE: Alright... as my mate Shareen says... don't arguewith the designated driver...The Doctor, with his back turned to her, smiles at that. Rose gets her mobile out of her pocket.ROSE (CONT'D): Can't exactly call for a taxi... there's no signal. We're out of range. Just abit!THE DOCTOR: Tell you what...He takes the phone from her.THE DOCTOR: With a little bit of jiggery pokery...He takes the back off the phone.ROSE: Is that a technical term, \"jiggery pokery\"?THE DOCTOR: Yeah, Icame first in jiggery pokery, what about you?ROSE: Nah, failed hullabaloo.THE DOCTOR: Oooh. (Fits in a new battery, hands phone back to Rose). There you go.Rose takes it and looks at him uncertainly. He nods. Rosegets her mum's number onto the screen and puts the phone to her ear. It rings.INT. TYLER'S KITCHENWe find ourselves in the Jackie's kitchen, 2005.JACKIE: Hello?ROSE: Mum?Jackie, at home, is putting somewashing into the machine.JACKIE: Oh, what is it? What's wrong? What have I done now? Oh, this red top's falling to bits! You should get your money back. Go on! There must be something, you never phone in themiddle of the day!INT. VIEWING GALLERYRose laughs.INT. TYLER'S KITCHENJACKIE: What's so funny?INT. VIEWING GALLERYROSE: Nothing! You all right, though?INT. TYLER'S KITCHENJACKIE: Yeah! Why wouldn't Ibe?INT. VIEWING GALLERYROSE: What day is it?INT. TYLER'S KITCHENJACKIE: Wednesday. All day. You got a hangover? Oh, I tell you what, put a quid in that lottery syndicate, I'll pay you back later.INT. VIEWINGGALLERYROSE: Yeah, um, I was just calling 'cause I might be late home.INT. TYLER'S KITCHENJACKIE: Is there something wrong?INT. VIEWING GALLERYROSE: No! I'm fine! Top of the world!The Doctor laughs.INT.TYLER'S KITCHENJackie puts the phone down.INT. VIEWING GALLERYRose lowers the mobile, stunned.THE DOCTOR: Think that's amazing, you want to see the bill.ROSE: That was 5 billion years ago. So... she's deadnow. Five billion years later, my mum's dead.THE DOCTOR: Bundle of laughs, you are.The ship shudders.THE DOCTOR (CONT'D) (rather pleased and curious): That's not supposed to happen...INT. STEWARD'SOFFICESTEWARD (to control): Well, what was it? I'm just getting green lights at this end. (Activates loudspeaker). Honoured guests may be reassured that gravity pockets may cause slight turbulence, thanking you.Assoon as it is switched off again, he speaks angrily to control again.STEWARD (CONT'D): The whole place shook! I felt it! I've hosted all sorts of events on platforms 1, 3, 6 and 15 and I've never felt the slightest tremor.I warn you, if this lot decide to sue... I'm going to scan the infrastructure. (Presses a few buttons). What's that?A spider scurries down the wall behind him.STEWARD (CONT'D): Control, I don't want to worry you, butI'm picking up readings... (Computer beeps). I have no idea! Well, they're small, and the scan says they're metal... (Computer beeps, frustrated). I don't know what they look like!Suddenly, he spots the spider, which isnow pottering around on his desk next to his mug.STEWARD (CONT'D): Although, I imagine they might look rather like that... you're not on the guest list... how did you get on board...?The spider looks at him almost"}
+{"doc_id":"doc_334","qid":"","text":"TERMINUSBY: STEPHEN GALLAGHERPart OneFirst Air Date: 15 February 1983Running time: 24:58[SCENE_BREAK]TURLOUGH: I'm scared. This place is like a maze. Where am I supposed to be going?GUARDIAN(OOV.): Your function is to obey, not question.TURLOUGH: I may not have must time. I don't think they trust me, especially Tegan.GUARDIAN (OOV.): The roundel behind you.GUARDIAN (OOV.): That one. Openit.GUARDIAN (OOV.): Operate the blue switches. Now you'll be able to remove the space-time element from beneath the console.TURLOUGH: Which switches will release the TARDIS to my control?GUARDIAN (OOV.):Do only as I say.TEGAN (OOV.): Turlough!GUARDIAN (OOV.): Quickly, close the roundel.TURLOUGH: Now what do I do?GUARDIAN (OOV.): Go to the console room.TURLOUGH: And? Where have you gone?TEGAN: Whowere you talking to?TURLOUGH: Oh, no one. I was singing. Not very well, I'm afraid.TEGAN: Why didn't you answer when I called?TURLOUGH: I'm very sorry, I didn't hear you.TEGAN: You're up to something, I can feelit.TURLOUGH: I'm simply looking around. The TARDIS is so very large.TEGAN: What have you been doing? Have you touched anything?TURLOUGH: You look so sweet when you get angry.TEGAN: I'm being serious.What have you been doing?TURLOUGH: Nothing. You're being foolishly and unjustifiably suspicious. Tegan, why do you dislike me so much?TEGAN: You're unreliable.TURLOUGH: You hardly know me.TEGAN: I heardthe way you were talking to the Doctor.TURLOUGH: Being friendly hardly makes me unreliable.TEGAN: It's the way you were doing it.TURLOUGH: Oh, you would prefer I used your sledgehammer tactics?TEGAN: Atleast I'm honest.TURLOUGH: Being rude isn't honest. Neither is overreacting. If I choose to smooth the way with a smile and a soft phrase, that doesn't make me unreliable. Charm, the way I use it, is to disagreeagreeably.TEGAN: You were using it to deceive.TURLOUGH: Oh, you're so typical of your planet, reduced to shouting if you can't have your own way.TEGAN: I am not!TURLOUGH: No? You seem unable to grasp thatthere are other approaches. To smile before asking.TEGAN: Don't patronise me, Turlough.TURLOUGH: I'm simply relating what I think.TEGAN: Turning an argument around is something you're very good at.TURLOUGH:Listen to yourself. You're so concrete in the way you think. Why can't you just agree to differ?TEGAN: I think you're dangerous.TURLOUGH: I think we should try and be friends.TEGAN: I'm going to tell the Doctor aboutthe roundel.TURLOUGH: Do so, but you'd only make a fool of yourself. I travel in the TARDIS too, now. I have no desire to kill myself. I had no reason to open that roundel. Where are you going?TEGAN: To show you toyour room.TURLOUGH: We're friends?TEGAN: Not yet.[SCENE_BREAK]TURLOUGH: Looks like a kid's room.TEGAN: It was Adric's.TURLOUGH: Who?TEGAN: Doesn't matter.TURLOUGH: I've had enough of children, whatwith that awful school on Earth.TEGAN: You can change things if you want.TURLOUGH: Right, all this can go for a start.TEGAN: It's your room. Do what you like.[SCENE_BREAK]TEGAN: He's got the manners of apig.NYSSA: The Doctor?TEGAN: The brat, Turlough.NYSSA: He'll settle down.[SCENE_BREAK]TURLOUGH: It's repaired itself.GUARDIAN (on scanner): Concentrate. You have work to do.[SCENE_BREAK]TEGAN: Whatare you doing?NYSSA: Synthesising an enzyme. I seem to need the practice.TEGAN: You've done it before.NYSSA: Adric did the calculation for me. My own figures aren't as good, as you can see.TEGAN: I'll see if I canfind his notes, before Turlough destroys them.[SCENE_BREAK]TURLOUGH: What will this do?GUARDIAN (on scanner): You are touching the heart of the TARDIS. Rip it free!TURLOUGH: What happens to me?GUARDIAN(on scanner): You will be safe. I am ready to lift you away.[SCENE_BREAK]TEGAN: Turlough?[SCENE_BREAK]TEGAN: Turlough?[SCENE_BREAK]TURLOUGH: It's stuck.GUARDIAN (on scanner): Continue.TURLOUGH:I'm trying. It won't move.GUARDIAN (on scanner): The break-up is beginning. I can sense it. Remove the space-time element!TEGAN (OOV.): Turlough?[SCENE_BREAK]TEGAN: Turlough? Oh, no. Doctor!DOCTOR:What is it?TEGAN: Quickly!TEGAN: What is it?DOCTOR: We're in trouble. I'll explain later.[SCENE_BREAK]DOCTOR: What was Nyssa working on?TEGAN: Nothing that could have caused this.DOCTOR: The rotor'sjamming. Well, there's a safety cut out.TURLOUGH: Is Nyssa safe?DOCTOR: Well, we'll see. I'm trying to refocus the exterior viewer on the interior of the TARDIS.TEGAN: It's just a mess.DOCTOR: Dimensionalinstability, that's the danger. Nyssa![SCENE_BREAK]DOCTOR (OOV.): Nyssa, can you hear me?NYSSA: Yes!DOCTOR (OOV.): Stay well back. There's nothing you can do. Nyssa?[SCENE_BREAK]TEGAN: What's that? Isaw something just for a moment.DOCTOR: Oh, no. The outside universe is breaking through.TEGAN: Look![SCENE_BREAK]DOCTOR (OOV.): Look behind you, Nyssa.[SCENE_BREAK]DOCTOR: Go through, Nyssa. It'syour only chance.TEGAN: Where are you sending her?DOCTOR: I don't know, but if she stays in the room, she'll die.DOCTOR: Nyssa, if you can hear me,[SCENE_BREAK]DOCTOR (OOV.): Keep moving. Keep moving,Nyssa. Stay ahead of it. If you don't, it will kill you.[SCENE_BREAK]TEGAN: What's that?DOCTOR: I don't know.TURLOUGH: Where does that door lead to?DOCTOR: Another spacecraft.TEGAN:Look![SCENE_BREAK]TEGAN: Where did the other spacecraft come from?DOCTOR: The TARDIS found it. There's a fail-safe. On impending break-up, it seeks out and locks onto the nearest spacecraft.TEGAN: You nevermentioned it before.DOCTOR: Well, it never worked before.[SCENE_BREAK]TEGAN: Well?DOCTOR: She's gone. Stay there.[SCENE_BREAK]TEGAN: Nyssa's gone.TURLOUGH: What was that?TEGAN: TheDoctor![SCENE_BREAK]TEGAN: Doctor? Doctor?[SCENE_BREAK]GUARDIAN: Follow them.TURLOUGH: I can't.GUARDIAN: Follow, and kill him![SCENE_BREAK]TURLOUGH (OOV.): Tegan?TURLOUGH: I wonder how thathappened.TEGAN: It seems we have no choice. We go on.DOCTOR: What have I sent you into, Nyssa?TEGAN: Come on, we can catch up with the Doctor. Come on!DOCTOR: Nyssa.NYSSA: Doctor!NYSSA: Where arewe?DOCTOR: I think it's some sort of old passenger liner.NYSSA: And those things?DOCTOR: Yes, well, some people have the strangest ideas about decor. Come on, let's get back to the TARDIS.KARI: Check the airseal.OLVIR: Secure.TEGAN: I'm positive that was Nyssa calling.TURLOUGH: You heard something. Your imagination did the rest.TEGAN: Maybe.TURLOUGH: Let's go back.TEGAN: No!TURLOUGH: Oh,no.[SCENE_BREAK]KARI: The whole ship's rigged to run on automatic, yet there's atmosphere. It doesn't fit the briefing at all.OLVIR: So what? We're only here for the cargo.KARI: Would it really surprise you if thereweren't any? This ship is dead.[SCENE_BREAK]DOCTOR: Ah. I don't remember this. We must have taken a wrong turn.NYSSA: What is it?DOCTOR: A massive plug. The hull must have been damaged at sometime.NYSSA: It's still soft.DOCTOR: Yes, I know. Come on, we'll try, er, this way.[SCENE_BREAK]KARI: Advance party to raider. We're coming back. This isn't the ship you described.OLVIR: We can't go back if hedoesn't link with the airlock.DOCTOR (OOV.): Er, this way.[SCENE_BREAK]NYSSA: We're lost, aren't we.DOCTOR: Certainly not.[SCENE_BREAK]DOCTOR: Oh, dear. So sorry, I didn't know it was private.KARI: That's allright. We're in the mood for company.[SCENE_BREAK]VOICE (OOV.): Help me.TURLOUGH: Over there.VOICE (OOV.): Help me.TEGAN: That's Nyssa![SCENE_BREAK]OLVIR: Kill them. We've enough problems.KARI: Bequiet. If you're not members of the crew, how did you get here?DOCTOR: We have a ship of our own.OLVIR: So they're after the cargo, too.KARI: Are you?DOCTOR: Unarmed?OLVIR: Kari.KARI: Watch them.OLVIR:That's our ship! He's running out on us!KARI: Shut up.KARI: Advance party to raider. Come in, raider. Come in. ... Is this your work?DOCTOR: Hardly.DOCTOR: Neither is that.[SCENE_BREAK]TURLOUGH:Engines.VOICE (OOV.): Please help me.TEGAN: Hold on, Nyssa. We must find something to lever the door open.TURLOUGH: Let's get out of here.TEGAN: Find a pry bar. Now!TEGAN (OOV.): Turlough, it'smoving!TURLOUGH: On my way.TEGAN (OOV.): Turlough!TURLOUGH: I'm coming!TEGAN (OOV.): Turlough!TEGAN: TurloughTEGAN: Help me!TURLOUGH: Are you all right? I found the doorway to the TARDIS.TEGAN:Where?TURLOUGH: This way. Come on.[SCENE_BREAK]NYSSA: Who are they?DOCTOR: Raiders, by the look of it. Probably an advance party to open the airlocks.KARI: You say you have a ship?DOCTOR: Yes.KARI: I'mcommandeering it.DOCTOR: I think not.DOCTOR: Stop bluffing. You haven't got a chance. Listen to the engines. Alignment manoeuvres. We're docking with another ship.KARI: Then I'm asking you, will you take us offthis ship?DOCTOR: If you put the guns away, please.DOCTOR: Thank you.TANNOY: All decks stand by. All decks stand by. This is a special announcement from Terminus Incorporated.DOCTOR: I think we should getout of here. Follow me.TANNOY: Primary docking alignment procedures are now complete. Passengers with mobility should prepare to disembark.[SCENE_BREAK]TANNOY: Anyone failing to disembark will be removed.Sterilisation procedures will then follow.TANNOY: There is no return. This is Terminus.OLVIR: Wait a minute.KARI: Olvir?OLVIR: I know where we are.KARI: Where?TEGAN: They're everywhere.TURLOUGH: Give me ahand. Come on, quickly.OLVIR: Now we know, don't we? Now we know what its all about.[SCENE_BREAK]OLVIR: This is Terminus, where all the lazars come to die.[SCENE_BREAK]OLVIR (OOV.): We're on a leper ship!We're all going to die!"}
+{"doc_id":"doc_335","qid":"","text":"Scene: The Cheesecake FactoryPenny: Hey, you guys ready to order?Howard: Uh..Leonard: SurePenny: Okay, Priya?Priya: Uh, I'll have the Shepherd's Pie. You want to split that with me?Leonard: Oh, no, no, no, hedoesn't.Priya: Why not?Leonard: Well, you have milk in the taters, milk in the gravy, parmesan crust. Your lactose-intolerant boyfriend will turn into a gas-filled Macy's Day balloon.Sheldon: Not quite accurate. TheMacy's balloons are filled with helium, whereas Leonard produces copious amounts of methane.Leonard: So, no, on the Shepherd's Pie. Can we move on?Penny: Yeah, a little tip: he says he can eat frozen yoghurt. Donot believe it.Leonard: Sea bass. I'll have the sea bass.Howard: You gotta like this, the girlfriend and the ex-girlfriend bonding over your rooty-tooty stinky booty.Leonard: Kill me.Sheldon: It wouldn'help. The humanbody is capable of being flatulent for hours after death.Bernadette: Guys, sorry I'm late. I have amazing news.Sheldon: Bernadette, before you change the subject, does anyone have any final comments on Leonard'sfaulty digestive system?Leonard: So, what's your news, Bernadette?Bernadette: The thesis committee accepted my doctoral dissertation. I'm getting my PhD.Penny: Oh!Sheldon: Oh, congratulations.Penny: Wow, sothat means you're a doctor, you're a doctor, you're a doctor, you're a doctor, and Howard, you know a lot of doctors.Howard: Congratulations, honey.Bernadette: Thank you.Leonard: So, Howard, tell us, how's it feelknowing that when you two get married, you'll be referred to as Mr. and Dr. Wolowitz?Sheldon: Unless he takes Bernadette's last name. And considering her advanced status, that could open some doors forhim.Howard: Please, this isn't about me. I'm proud of you.Bernadette: Well, you'll be really be proud of this. I was headhunted by a big pharmaceutical company. They're gonna pay me a buttload of money!Howard:What?Leonard: Bernadette, that's great. Howard, do you make a buttload?Howard: Better than what you've got a buttload of.Leonard: Hey, if I roll down the windows in the car, everything's peachy. If you do it, you'restill not a doctor.Penny: Yeah, just a heads-up on the car window deal. It helps, but everything is not peachy. Credits sequence.Scene: Raj's apartment.Raj (earphones in, singing): Oh, if there was a problem, you can'tsolve it, check out the hook while my DJ revolves it. Ice, Ice, baby. Ice, Ice, baby. (Removes headphones and goes to refrigerator).Priya (off): Oh, God, I feel ridiculous in this dress.Leonard (off): You look beautiful,Lieutenant Uhura. Now prepare for inspection.Priya (off): Shh, my brother's going to hear you.Leonard (off): Relax, he's got headphones on. And we're ten miles above Earth in a starship.Raj: Really, ten miles? You'reorbiting inside the atmosphere? Moron.Priya (off): I can't believe I'm wearing my brother's Halloween costume.Leonard (off): I can't believe you think he only wears it on Halloween. Open the landing bay doors, shuttlecraft approaching.Raj: Okay, gotta go.Scene: Howard's house.Howard: Hey, what's up?Mrs Wolowitz (off): Is that my future daughter-in-law, the doctor?Howard: No, Ma! It's Raj!Mrs Wolowitz (off): He's a doctor too,right?Howard: Yes!Mrs Wolowitz (off): Like Leonard and the skinny weirdo!Howard: Sheldon, yes! Everybody's a doctor but me!Mrs Wolowitz (off): Well, whose fault is that?Howard: What's up?Raj: Leonard's puttingdisgusting memories in my memory foam mattress. Can I stay here tonight?Howard: Sure, but I'm going out with Bernadette. It'll just be you and my mother.Raj: I guess that's okay.Howard: Ma, can Rajesh sleepover?!Mrs Wolowitz (off): Of course, he and I can play doctor!Raj: She's kidding, right?Howard: I don't know, she's pretty feisty since they put her on hormone-replacement therapy.Mrs Wolowitz (off): Paging Dr. CutiePie!Scene: The apartment. Sheldon is talking to Amy on webcam.Sheldon: I must say, Amy, I was very impressed to see that Bernadette got her PhD.Amy: It's indeed admirable. Although, it is microbiology.Sheldon:Your doctorate is in neurobiology. I fail to see the distinction.Amy: I'll make it simple for you. I study the brain, the organ responsible for Beethoven's Fifth Symphony. Bernadette studies yeast, the organism responsiblefor Michelob Lite. Is there something wrong with your neck?Sheldon: It's a little stiff. What a remarkably fragile structure to support such a valuable payload. Not unlike balancing a Faberge egg on a Pixie Stick.Amy:Have you considered massage?Sheldon: I'd like to respond to that sarcastically. Yes, I relish the thought of a stranger covering my body with oil and rubbing it.Amy: I was proposing you massage your muscles withyour own hands.Sheldon: Still sounds like a lot of unnecessary touching.Amy: Trust me. With your right hand, locate the spot where the scapula meets the acromion process.Sheldon: All right.Amy: Now push your thirdfinger along the ridge of the shoulder blade, making a small rotation as you do so.Sheldon: Rotating.Amy: You should feel a small node-like object rolling back and forth along the bone.Sheldon: You mean themyofascial point?Amy: Obviously. Now bear down on it like the seventh grade noogies we all know too well.Sheldon: Oh, dear Lord, yes, yes, oh, yes! Amy, I've never been touched like this before! Oh! Oh, my handsare magic!Amy: Don't flatter yourself. Your hands are blunt tools guided by my knowledge of the nervous system. I could just as easily have paralyzed you.Sheldon: There's someone at my door.Amy: That doesn'tinterest me. Goodbye.Raj (at door): Can I sleep here tonight?Sheldon: Why?Raj: Leonard's having astronomically inaccurate Star Trek s*x with my sister.Sheldon: I can see how that would be upsetting. Come in. I'llget the sheets and blankets for the couch.Raj: Oh, don't bother. I'll just sleep in Leonard's room.Sheldon: No, I can't authorize that.Raj: Well, he's in my bed. Why can't I be in his?Sheldon: The Hammurabic Code is aneye for an eye, not a bed for a bed.Raj: Come on, dude, I'm exhausted, and Tyra Banks says the most important item in your makeup bag is a good night's sleep.Sheldon: All right. This is a form indemnifying me fromyour use of Leonard's bedroom. Sign here, indicating that I tried to stop you and did so using a stern facial expression.Raj: Good night, Sheldon.Sheldon: Wait. Not yet. We still have to go over safety procedures. Now,the apartment has three emergency exits located here, here, and here. In the event of a power outage, luminous paint will guide you to the nearest exit.Raj: You're kidding.Sheldon: I never kid about safety.Scene:Leonard's bedroom. Leonard enters, and accidentally sits on Raj. Both exclaim.Leonard: What are you doing here?Raj: I was sleeping.Leonard: In my bed?Raj: Well, I would've slept in my own bed, but it was beingused to bring shame to my family. And the memory of Gene Roddenberry.Leonard: Oh, you heard?Raj: Scotty, I need more power.Leonard: Sorry. Does Sheldon know you're sleeping in here?Raj: Are you kidding? Hemade me sign a waiver, participate in an emergency fire drill and take a refresher course in CPR. Thank God he had a dummy.Leonard: Oh, yeah. Mouth-to-Mouth Mona. You know, she used to date Howard?Raj: Oh, myGod, she's that Mona? Why can't you and my sister spend your nights here?Leonard: We tried. She doesn't get along with Sheldon.Raj: Sheldon doesn't get along with Sheldon. It's still no reason for me to have to listento you arm your photon torpedoes every night.Leonard: Okay, well, how about this. Until Priya gets her own place, you stay here and I'll stay at your apartment.Raj: Can I bring girls here?Leonard: You? Sure. Bring asmany as you want.Raj: Okay, deal.Leonard: Just not against their will.Scene: The cafeteria.Leonard: Do you really think you should be eating that cake?Howard: Why?Leonard: If you're gonna be a trophy husband for arich wife, you might want to watch your waistline.Raj: He's right. A minute on the lips, a lifetime on the hips.Howard: Yeah, ha-ha. First of all, I'm not threatened by my fiancée's success. I'm proud of her. And secondly,I have my own career.Leonard: Until you have kids.Sheldon: Good news, Raj. I got the blood work back from the lab. You're okay to stay for a while.Raj: When did you take my blood?Sheldon: Not important. Yoursugar was a little high. I'd follow up with your regular physician. In the meantime, I have some paperwork here for you to go over.Raj: What the hell is this?Sheldon: Boilerplate stuff. A modified roommate agreementfor a temporary house guest. And a living will and durable power of attorney.Raj: This says you can make end of life decisions for me.Sheldon: As your friend, let's hope it doesn't come to that. Please sign.Raj: Did yousign this?Leonard: There's a reciprocity clause. You get to pull the plug on him, too.Raj: Well, that seems fair.Sheldon: Congratulations and welcome temporarily aboard. Here's your I.D. Card, your key and your lapelpin. Which Leonard was too cool to wear. FYI, part of your responsibilities as roommate pro tem will be to drive me to and from work, the comic book store, the barbershop and the park for one hour every other Sundayfor fresh air.Leonard: Bring a ball or a Frisbee, you know, something he can chase.Sheldon: Also, you're tasked with bringing home all takeout dinners. Tonight is Thai food. You'll find the standard order in appendix Bor downloadable from my FTP server. If you have any questions, here's the FAQ sheet, or if you prefer the human touch, I do a live web chat called Apartment Talk on Tuesday nights.Leonard: Nobacksies.[SCENE_BREAK]Scene: The apartment.Raj: Sheldon, dinner!Sheldon: What is this?Raj: This is the difference between eating and dining.Sheldon: Remarkable. I'm just realizing how much Leonard's beenskating by all these years.Raj: It's not a big thing. Just think of me as a brown Martha Stewart.Penny (at door): Hey, Sheldon, did you change your Wi-Fi password again?Sheldon: Yes, it's \"Penny, get your own Wi-Fi.\"No spaces.Penny: Thanks. Wow! What's with the fancy spread?Sheldon: My new roommate is bending over backwards to ingratiate himself to me. (Pointing to lapel badge) Uh, nice touch, by the way.Penny: What doyou mean, new roommate? What happened to Leonard?Sheldon: The same thing that happened to Homo Erectus. He was replaced by a superior species.Raj: I'm the new Homo in town. That came out wrong.Penny: Allright, let me try this again. Where's Leonard?Raj: He's living at my place, so I'm living here.Sheldon: You're living here provisionally. But I must say it's looking good.Penny: Woah, Leonard and Priya are living together?That's big.Sheldon: No. Origami napkin swans, that's the headline.Raj: It's a good thing.Scene: Bernadette's bedroom.Howard: So do you know what kind of research you'll be doing at this pharmaceuticalcompany?Bernadette: Well, there are a couple of opportunities available, but I volunteered for the premature ejaculation project. I mean, it's not like either one of us has heart disease. Oh, I almost forgot. I got you alittle present.Howard: Oh, Bernie, no. You didn't have to.Bernadette: I wanted to. Come on, open it.Howard: You bought me a Rolex? How much did this cost?Bernadette: Oh, you let me worry about the money. I justwant my baby to have pretty things.Scene: The apartment.Raj: More wine?Penny: Oh, no, no, no. I've had way too much already.Sheldon: Here's an interesting fact about alcohol.Penny: Hit me.Sheldon: Man is not theonly species that ferments fruit in order to become intoxicated. Can you guess what the other is? Hint, sometimes they pack the alcohol in their trunks.Penny: Monkeys.Sheldon: When does a monkey have atrunk?Penny: When a suitcase just won't do.Sheldon: Mmm, all right. It would appear as if alcohol is playing keep-away with your intelligence. Good night. Please note, it is now past ten p.m. Per our roommateagreement, kindly refrain from raucous laughter, clinking of glasses, and celebratory gunfire.Penny: Okay, explain something to me. You watch Leonard put up with that guy for years and years. What has to breakinside your brain for you to think, Oh, Krishna, I've got to get me some of that?Raj: Well, it's a lot better than having to wear noise-cancelling headphones in my own apartment.Penny: What? Oh, God, yeah. Yeah.Leonard's a noisy little dude in the sack.Raj: Every night.Penny: Really? Even during allergy season, when he has to alternate between kissing and breathing?Raj: It's my sister. Can we not talk about this anymore?Penny: Yeah. Sorry, sorry. Can I tell you a secret?Raj: Yeah.Penny: I screwed up. Leonard's a great guy. Never should have broken up with him.Raj: Well, uh, to paraphrase Shakespeare, It's better to have lovedand lost than to stay home every night and download increasingly shameful pornography.Penny: Oh, you poor baby.Raj: What's wrong with me, Penny?Penny: Nothing, nothing. You know, if we weren't friends, and youhadn't brought up that creepy pornography story, I'd be on you like the speed of light squared on matter to make energy.Raj: Hey, you totally got that right! E equals M C squared.Penny: I listen. I have no idea what itmeans, but I listen. To friendship.Raj: To friendship.Sheldon (off): Would you booze hounds please stop that infernal clinking? And the answer was elephant!Scene: Raj's apartment. Leonard and Priya arekissing.Leonard: Mmm. Mmm.Priya: Leonard, sweetheart, we're kissing, not eating hot soup.Leonard: Sorry.Priya (computer tone): That's my parents on video chat. Go hide in the bedroom.Leonard: Oh, come on! Whydon't we just tell them that we're dating?Priya: Oh, we've been through this. It's not the time.Leonard: When is the time?Priya: I've got five brothers and sisters. One of them is bound to screw up real big, and then I'lltell my parents about you. Now, shoo.Leonard: Fine.Priya: Hello, Mummy. Hello, Daddy.Dr Koothrappali: We heard there was a tornado in Kansas City. Is that close to you?Priya: No.Mrs Koothrappali: Where is yourbrother?Priya: Out with friends.Dr Koothrappali: I don't like it, a young girl alone in an apartment.Mrs Koothrappali: I'll sleep so much better when you move back here next month.Leonard: You're moving back toIndia?Dr Koothrappali: Who's that?Mrs Koothrappali: Oh, my God! There's someone in your apartment. Call the police in America!Leonard: When were you going to tell me about this?Priya: Oh, hello, Leonard. What apleasant surprise! Mummy, Daddy, you remember Rajesh's friend Leonard.Dr Koothrappali: I thought you said Rajesh was out with his friends.Priya: He has many friends.Dr Koothrappali: Rajesh has many friends?MrsKoothrappali: Why are you lying to us?Leonard: She's lying because she doesn't want you to know we're dating.Priya: Leonard!Leonard: Well, what difference does it make? If you're moving back to India, we'reobviously breaking up.Priya: You know what? I don't want to deal with this right now.Leonard: So. Hot in India?Dr Koothrappali: Of course it is. It always is. It's India. Now, what do you have to say foryourself?Leonard: Uh. That is a beautiful tapestry.Scene: Leonard's bedroom. Raj and Penny are in bed.Penny (waking up): Oh, God. Oh, God! Oh. Okay, look. This never happened. Do you understand me? (Raj nods)Really? Still can't talk to me?Scene: The living room. Leonard is asleep on the couch.Sheldon: What are you doing here?Leonard: What?Sheldon: I said, what are you doing here?Leonard: I live here.Sheldon: I havepaperwork that says differently.Leonard: Priya's going back to India.Sheldon: Irrelevant. Rajesh and I have a good thing going and you're not going to ruin it. (Knock on door) What are you doing here?Howard: I'vebeen up all night. I had a fight with Bernadette.Sheldon: Why?Howard: She gave me a beautiful watch.Sheldon: Leonard, do you understand this?Leonard: Yes.Sheldon: Talk to him. Penny (entering room dishevelled,with a half naked Raj behind): Damn.Leonard: What's going on?Penny: Oh. It's, it's not what it looks like.Sheldon: What does it look like?"}
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_0.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_0.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..b486e5079bda864d36c32111da11c66b5dd34400
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_0.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_1.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_1.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..f31facf06e6336d90490644355c378add1bfb9c5
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_1.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_10.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_10.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..2dcbcbe0489b7fb673babc2274dab4ef38930a4a
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_10.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_101.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_101.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..a076165eabcf6d310875e0957377bc8ce3326e30
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_101.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_102.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_102.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..6f60ce983ffcf2de1a9fbc9be3fdb650a0981dc3
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_102.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_103.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_103.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..de17a525abd2dbc33e158cc9756086eea039741f
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_103.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_104.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_104.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..3cc8189a83a2b3dd6b6024ee8aa9060d8ac7f487
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_104.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_105.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_105.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..0bc7ef47ceae6572c7830bd27dbe230f375cc68e
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_105.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_106.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_106.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..f10fe5472b09f23fc4ccbba45313038754a555ce
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_106.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_107.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_107.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..2bf899f3c7de65dbf63e10ce42d6b5aa1b4a3062
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_107.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_108.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_108.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..6a72e002ee739c5c2c630fde32801672a0114b44
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_108.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_109.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_109.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..560e6936e91131170aaa4a4a550e4865e1ab2111
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_109.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_11.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_11.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..b4d05898314bcdeecac12076126a2a8a4a01e7eb
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_11.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_110.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_110.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..c7cd4f6d31e943d49afd7978f48a7db7f25faaf8
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_110.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_111.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_111.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..8a2953e4fdce2feaf57bcb1b6aabb3957960d245
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_111.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_113.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_113.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..6c10b0ffcf4259b762277bcbfed9dde385dedd8f
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_113.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_114.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_114.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..ce8e0722246f198517322e33393a27cbfd59b418
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_114.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_117.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_117.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..d76f24f1a32f2ce3dd3c8058466f9f0884751153
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_117.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_118.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_118.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..4d895c9f7aeb5f9521fdd52073cddfdb1abbf5e7
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_118.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_119.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_119.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..0da91ea8489eef541a3d19ffd29285ee830a67f5
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_119.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_121.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_121.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..a116c011f99eadfd1074f7bf1f8385c5d83b7f8d
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_121.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_122.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_122.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..da2d4f542e1579f72f41d1a8e2cbbf0e47ff5859
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_122.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_125.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_125.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..357fafe2b82acf96c160f10a0118eec89ee9a596
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_125.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_126.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_126.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..30c0d40f1dfc659b5165c62e6af9456635ec7b58
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_126.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_127.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_127.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..416d65136ef677fb24fe7d79dce32418541d2ca2
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_127.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_128.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_128.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..44fc2dd5300d2a0733c6e758988a92eab9d577e3
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_128.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_129.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_129.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..e8fd29e058194ff757268af15c5a76f6dda559c9
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_129.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_13.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_13.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..24ce38a95b406bdd0c1ce91b3d5b5ec44ddab590
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_13.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_130.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_130.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..cdcd3eb61a1b9b77f920f33c5898f3cba92ff357
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_130.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_131.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_131.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..96eca3ae8333963e749ea70e8767915947c60156
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_131.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_132.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_132.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..f74b9f080843a5423a998b7e2446a38169e54c66
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_132.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_133.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_133.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..2dae4cda716e2afc330d4611038cd5d26af8305c
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_133.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_134.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_134.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..67c798f1681944a5a4d23f0b2adc3a5fba262af7
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_134.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_135.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_135.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..6c137e285cfadc6f16df207e8096dcc4a685ff9f
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_135.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_137.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_137.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..bd5cb820a9982ee5d7c7bfacf43f4b98c71bf5fe
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_137.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_139.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_139.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..27919a09c7e369af5e47f361ac4c91ddfb85dc05
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_139.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_14.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_14.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..6f82962d1ef341cd4687811f324201e231061d5c
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_14.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_140.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_140.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..1212c45b2e4948ab58d7361d60ef18983e6a132f
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_140.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_141.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_141.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..9167b84317a2a2e37ccd980e61105214d44378dc
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_141.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_142.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_142.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..ee82b99bce9b07f34530ae50370ce0071f83e2ed
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_142.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_143.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_143.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..d4de315dc5e243431a3cfb9dd20a85ac07d6fc7a
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_143.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_144.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_144.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..632ca6b4a611b497e0626554520e91baf6f7b444
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_144.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_145.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_145.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..f53a47abe9eb2f9081002819b8a81d3a4ffeecc0
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_145.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_146.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_146.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..457f829a9909209023a4d9d793e9164c62b635d6
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_146.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_147.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_147.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..13760a0f85540d42aaf8f9423c56b404ebadd3d7
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_147.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_151.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_151.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..e26b07bae582ad964526a0ebc0bb39ebbe27ddbe
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_151.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_152.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_152.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..4a9d310a8f5e1021961747b0f5b794c1d3dd0f74
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_152.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_153.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_153.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..b1aa98f3f54a3b355d338bc7678eb6de0ab4df74
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_153.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_154.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_154.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..d9d5e2b4f9901c08b5b0329ed13baf1503326212
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_154.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_155.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_155.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..9d79c3d30f03f8373b2fdfcb2b69ba453e876096
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_155.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_156.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_156.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..6a8c862b5b4ee6da39c198b0e682dd1a48991b27
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_156.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_157.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_157.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..52450291417d06fd40642cb63fe7e217e6fb8dae
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_157.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_158.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_158.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..50d60e179119992451ab1abd28cef72a95f6308f
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_158.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_159.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_159.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..17fb3feee8f4cfb1e9821ed8e6a01397473edb73
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_159.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_16.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_16.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..a9baa032fbd6ab89d5dbf01242315d05f3da9e6a
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_16.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_160.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_160.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..c47cd37eddc8a24792bf520369307e001fd17cba
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_160.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_161.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_161.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..6915021d2f49d800cd1bbe81cc40fb47c559eb70
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_161.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_162.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_162.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..4448cb8682c4a7eccdc15b8fc01a3e7568877b1d
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_162.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_163.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_163.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..8c50702e5a72f1fec03b1c930c854f2c9e84085f
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_163.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_165.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_165.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..09c1c2ac12ff8fb71a7c0caa45a0f4216b91108d
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_165.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_166.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_166.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..916c074915ded30a81dbaa449047a16515321114
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_166.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_167.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_167.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..3d87602aaff2afcbd3f0d83e8738076ec0b69e24
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_167.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_168.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_168.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..128c49c8bb8b34434490fd3c786f1ad5d2d058b1
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_168.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_17.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_17.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..33280c3a6a32003f47a0b84a39e1d7dac5fe9ae7
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_17.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_171.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_171.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..54deab3194df149751fedf6be845eba5bdc5af6c
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_171.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_172.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_172.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..db5e866f48021b7f5503b8746696b956dc070b17
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_172.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_173.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_173.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..47625a9691eb0192767402246d0124b98fe4240e
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_173.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_174.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_174.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..35289250df9a0b145bee054c37dc950e93a1b504
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_174.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_175.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_175.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..a49491710c94d7b289757d3f7f5633576ce897e9
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_175.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_176.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_176.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..49913c277c4263c3dc72a10666daccaa73c98ba2
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_176.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_178.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_178.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..f332fb1fc69615685383eb090096d8334d1f88ce
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_178.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_179.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_179.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..4a7f28d3d46e4066e82ec961dc0a926905f53c3e
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_179.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_180.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_180.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..475d739344addc5f5ed1b9c20c1f619acad33d4d
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_180.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_181.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_181.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..1fa38eebb7eeefb31aa297bcfe692830ab8beaf7
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_181.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_182.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_182.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..e54d0cbf39b697ba3d1e3c2abd0f60ac36c0bd7b
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_182.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_184.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_184.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..ae920079af8ec4d0be43e64f7f4c42a5a84b0211
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_184.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_185.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_185.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..55790a48aea3722eb8af1324824e6192bd0e10b6
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_185.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_186.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_186.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..18b4ee185a7b1bd3d78555de716c8e9ca66e8dc5
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_186.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_187.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_187.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..6646bd10d1b398504283d2037ac147196ab6452a
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_187.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_190.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_190.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..e60ff8283ddf40f5ec28e322c7227cabb75d2dbe
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_190.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_192.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_192.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..74dc5286ce31f837f5bcaa8a7d77c83eee535aa7
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_192.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_193.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_193.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..ed87d1c62c46e81262c41803b5cac765bd4b5a0c
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_193.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_194.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_194.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..88838e990d05092f4f8f3078200a41f3ed50612d
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_194.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_196.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_196.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..d3c3db9bbff942b2997687b3f09d2238cb00706e
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_196.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_197.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_197.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..9fba9e494c7f9329322b5e9d49eb70ee28433780
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_197.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_199.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_199.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..13b4a8214864566db0c87adac951bdb4d1fc8bc3
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_199.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_20.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_20.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..6b94e41c339ac92039b24bede83c6938a53393cd
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_20.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_200.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_200.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..2603fc860c4a758b0f1d6ca44d57a85ef564c536
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_200.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_202.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_202.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..ddb9e48585057a5245a869abea2bde99d876bfdc
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_202.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_203.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_203.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..5bc4dbd63e516a828ebb08584f832bbffbd7db6c
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_203.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_205.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_205.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..fc4c3eeab3d5404235b36e1a315016980be58f7a
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_205.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_206.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_206.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..b2bbeb82d300540c2bb15849ed33c209ebbd5d0c
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_206.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_208.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_208.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..f1d9d628825585796c236988c27b5d3f85c009b6
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_208.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_210.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_210.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..0b0240e805e29de30e9772e5d047b408c4bd8473
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_210.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_211.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_211.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..b57c20b4254d364d9a87cd061365470d90b89fc5
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_211.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_212.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_212.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..9f05474b77a1998ae52df7610fbbdd4737ee55a5
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_212.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_213.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_213.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..c334dbc4677ea973fff2ccd8782c9e2749df332e
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_213.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_215.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_215.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..632be1e87eeb2f3a92691985be231d5dbea8cbc9
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_215.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_216.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_216.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..25f84074d6d009b91498d28c86e7aff9ba0f0d17
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_216.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_217.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_217.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..9cc1f7056f20bcbc3dc7d55760e895b514fd5d0e
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_217.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_218.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_218.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..7dbd00fa5033b444ee17f9f13be1068145c01a3f
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_218.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_219.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_219.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..2a386718f0a2ada0a28c5c453366beda25357533
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_219.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_22.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_22.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..1fea23ff0723f3ef3760cb6616f3d6661e0e1a2b
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_22.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_220.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_220.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..4bf45254a093fece258292b1a1e31f1a539e9474
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_220.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_221.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_221.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..1a2d0a47ed4781ab9034ea9313c3436998162271
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_221.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_222.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_222.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..c676c9638ac66744fd824ac2bccc954a3dac613f
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_222.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_223.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_223.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..5e9581a473fd6440cdeeaa2fcc4a817162e98cb7
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_223.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_225.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_225.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..ae89a7dbc20133126dfd409d934e929fd745b3e7
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_225.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_227.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_227.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..53af6ab9a72770b9569a2f534a226dc325528268
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_227.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_228.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_228.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..b1a87100c7fcb982cd4e3678ee05672a25cf7533
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_228.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_229.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_229.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..24e09e4c2f33d8c7e237f81c59db2e2d9667c610
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_229.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_23.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_23.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..51a5f15f37023447e36616eafaa2b7c6964c95ef
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_23.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_230.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_230.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..b496a2df22953b32c985740525f364384644ca40
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_230.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_231.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_231.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..941535e908ed2d48f3e2085e060c92e8bbe8e454
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_231.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_232.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_232.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..db5bc950054d32bc412eebe5535f8e5575e63aa0
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_232.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_233.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_233.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..e8793b70fcead468128d8b0f7ac07f6324a1dab2
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_233.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_236.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_236.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..418b829ddb61125f337785015a93eb1320b91cae
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_236.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_237.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_237.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..3be9a2c455044147da547238cd52f2beecea5f31
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_237.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_238.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_238.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..39016c673148dbb08a47bc6c023d01ec126c28ac
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_238.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_239.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_239.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..bf6bfbfe56fc0201dac8363e8f736f98bf3cfad6
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_239.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_24.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_24.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..7548fa2bba0d13bb154270622f5696b7cf6ab854
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_24.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_240.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_240.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..3b0a812306400fd6c4e4034edf293882349e1f86
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_240.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_241.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_241.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..604d35c2a26e1bbed574bace5573f6018d699af8
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_241.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_244.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_244.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..12c078f3d6d37d0a72d7ec2118e09c947559f3e1
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_244.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_245.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_245.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..c7ff83b5eb87ce54935cc342972a61a58fb92e0f
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_245.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_246.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_246.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..03529bcdb8badc47a3104a0c54ac950028d3cf77
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_246.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_249.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_249.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..f24ef99f14677d6f3fa00feafb7bbb28b1910e00
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_249.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_250.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_250.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..784e7883628302a317e64d4693773239728aad86
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_250.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_251.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_251.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..b613d621b4963d246bda958bd0150beb01c68966
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_251.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_252.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_252.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..b2c0e08331603e37d8fc7e51ca7036e70ab92229
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_252.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_253.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_253.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..0da5953c29f260d94f1ab448c5caaaf46756e30d
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_253.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_254.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_254.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..c72326bdf9f19dcc651578ec8b97c1b114d7dbb2
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_254.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_255.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_255.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..21963efd3266322237379f98b2abdccee54b15ee
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_255.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_256.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_256.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..a9e40109c1668ccf00be8d3ed224dc2728bb7d4d
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_256.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_257.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_257.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..3bc5134f02b7b041ed62d0b55d13ee394eae1ade
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_257.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_258.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_258.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..8130b73c0ed8c542ae926a3031682125071d3200
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_258.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_259.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_259.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..148825ce3707b2878a87d7f7abbee546c891e4cc
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_259.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_26.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_26.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..a5ad38677c46b51c3583233de4516dcbc50fad49
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_26.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_261.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_261.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..36b9602b7485f4f13473575dfb9efaf6217ef36b
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_261.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_262.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_262.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..4f319fef7b74088948dc7eadcc0f5e6caaef215a
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_262.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_264.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_264.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..ecabc3ae5f00d4ef61f18e8f2967e26a9f68f1e7
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_264.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_266.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_266.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..d4d35625b263e44b5a1082569f58d6c3ec79ebf0
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_266.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_267.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_267.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..563a7fac55e519db5a4a9546238749cb1e30c9ca
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_267.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_27.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_27.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..f22a487198ad2a91a59a678fdb0228e60d1a2590
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_27.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_270.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_270.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..06344bdbc45f861fee79efe356032c7ecc393b6c
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_270.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_271.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_271.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..6350a6fec3dec206778aeb5287fbbc3be80e5c1d
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_271.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_272.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_272.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..a7b5208d9c80fd0a08b1cb370c2d3534ba9b34d2
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_272.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_273.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_273.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..25f9c3be2b083120e0a00fc315d3fe0cf882c888
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_273.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_276.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_276.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..7bd364067531be1f00072be4d32f1ea8a0aa7f2e
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_276.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_279.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_279.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..6393f70af403362103cbef3436b8dd4dd6e9e330
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_279.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_28.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_28.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..d69f234a1621913e7d55db38704437413a2deaaf
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_28.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_280.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_280.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..b332a42be9bd54ca08a653653e9d759e1bc272ed
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_280.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_282.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_282.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..c3b136a687e56f905fd3f1ec4314faeba01ad5ad
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_282.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_283.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_283.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..19a25b553f099ed57a38cdfabd45165aa4608875
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_283.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_284.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_284.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..3fe7e09d3dddce584f305b51c37a04b4b5c4e859
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_284.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_286.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_286.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..ac7ed59a926fe822ed7ffcab6064719e2d72610d
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_286.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_288.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_288.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..cda96ef892935c8fbe2ce5878cb4cd77b1ff7e66
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_288.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_289.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_289.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..bfbe8d04a6f810262ff3fcf3ef73e8d83b57b9e5
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_289.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_29.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_29.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..ae8895e80cb0b35fd6a8cfd40b2fc46033acea8f
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_29.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_290.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_290.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..c5818cee27689621b36fd27f9f5c4666fd3a0c41
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_290.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_291.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_291.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..be3eb30112b0cde97229ec56f98de6c86cbc3719
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_291.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_293.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_293.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..1613a4087f38e201f76ff36311d82803c794b73a
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_293.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_294.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_294.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..dca3615c006665d40ecdba5b208d434caf0d3f52
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_294.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_295.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_295.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..b90c51b0496f778d9a6333da7bdef104d2294fd7
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_295.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_296.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_296.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..f1be4e5d6550dfcacfaf89cd3a949172f6d9a6c7
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_296.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_297.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_297.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..7af4b0cb702ed8d1699b12fc1fd5014accb23994
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_297.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_298.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_298.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..724ebc2e6e07630324376e464ed5425ef19a03b5
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_298.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_299.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_299.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..c3a4769b9249b107ea7dab391883f53841a60f42
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_299.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_3.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_3.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..a9c5f10ff9e85473644f347a352e06d29ade2854
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_3.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_30.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_30.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..7d92e585719f2e3cca2e694eca25151172fdd80d
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_30.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_31.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_31.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..0d0974065b18643765b3f3b31b434d229ce2fb5f
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_31.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_32.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_32.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..fe1c9d4f92175134ffd33cb16f45658d098cb444
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_32.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_33.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_33.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..368ae382b26fa17c8043e767b1fac2dacac9883b
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_33.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_34.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_34.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..e44ce0a447b977b9aec3e970e41ee8256621f0a4
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_34.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_35.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_35.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..1d4d5e16113e04ceee448b97fb9c3eb622d3e368
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_35.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_36.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_36.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..34ec71abcfc4f8139e2984c2a0a95eb35a84e2f2
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_36.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_37.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_37.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..8e829b62d66dbec302fcad826701abf522a77a1e
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_37.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_38.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_38.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..6080a732b6f6d6488a4fd3b4010cdf5141dead85
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_38.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_4.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_4.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..11cdd7d4237956fee5095c7f7978077aa75baea7
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_4.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_40.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_40.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..a81884a9b2af665fa589017111db88b0703ec14b
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_40.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_41.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_41.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..fafed0b2a558b327292692faca587e5297bc4d5d
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_41.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_42.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_42.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..c1324211377f6a857731ecb3348aef12bb351230
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_42.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_43.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_43.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..8cf5cda33f957fbe9e93e0a36fc58e9b224daa8b
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_43.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_46.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_46.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..201d054c1cc726ceb6fc5510f138a844be7ad20c
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_46.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_47.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_47.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..50dc627e2ad6a0c584c2ac4e718656821b255839
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_47.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_49.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_49.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..5782ee53a98ed46a6a0ae5f81d95a5a292564915
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_49.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_5.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_5.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..a15aa7b245ae0666c18cce450d2fc21d1918f483
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_5.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_51.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_51.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..5477d43ba3f31e1f46422baada7c0f8544ede80a
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_51.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_52.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_52.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..bd5e3c7e1334b4a22b94c376e4e34e7aacd84085
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_52.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_55.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_55.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..a331103fddeed2966f9c1eaeca13033222ab7cec
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_55.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_56.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_56.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..995ca51ab000b6ec09991b252df82b5417abe021
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_56.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_57.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_57.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..3eed04c9385799eeb4cc73295d25b9d1b31adbd7
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_57.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_58.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_58.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..0ebd6595431f3671927a02eb3d950b444e43f0c5
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_58.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_59.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_59.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..f69d93250294cc8b687ed2272f370698690308d6
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_59.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_6.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_6.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..d3f2973bd15c9c566238b60767649ba60682d4d7
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_6.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_60.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_60.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..9931215d90d1ab6548cf609b22ec0b8286d0868a
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_60.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_63.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_63.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..3e677ce2da458aa5ddedd23dc050cb61964f0c3e
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_63.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_65.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_65.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..71ce87ceee82721115551391f0b86662264094f1
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_65.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_66.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_66.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..f58582b2e3032b4e56a2c29185d6b0fd913fb6fc
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_66.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_67.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_67.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..0bcf336f05b03a74dcaccea46fee39bb16c69cd7
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_67.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_71.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_71.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..1246f531808944ab2040931608381b9522ab23d5
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_71.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_72.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_72.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..89f54d8990925e017bac3a5bd18e01dce868b483
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_72.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_74.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_74.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..826f5d93a98ed4c6f1c8bb97e3fab428f0e398b9
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_74.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_75.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_75.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..f11c9a96ad55814ef6d42476581639a910443803
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_75.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_76.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_76.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..db067c0b45ded5b200a00cf9de8815442b1c5990
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_76.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_77.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_77.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..73633c1e73201689783d471782c55a38ab445033
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_77.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_79.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_79.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..984bbd2087261f7e8fca3312378708dd356b8758
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_79.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_8.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_8.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..eda5b2e2a64a1bdbae715137c0e7ee257aff4b0d
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_8.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_81.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_81.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..2d36fc6e8a57733c1a4332aceab15dbccd53fee2
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_81.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_83.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_83.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..d6e4f85afadc4084a4398a6f80f71005ede60754
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_83.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_85.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_85.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..7f667b6f02d5cbc484dde32e5cfa1ce2e59263c1
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_85.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_87.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_87.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..9c7cfdaa62e6132b8a2a9f7da15c9d6fb69969a3
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_87.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_88.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_88.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..29ac71d017002c35612096ce1a62c21275e12111
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_88.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_89.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_89.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..ac6c941c81ca655c24cde28039d5cce72d373fb4
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_89.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_9.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_9.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..229beb716f3fc95139b66ba11eaf2999b61030ec
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_9.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_91.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_91.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..2de17be9676948c168dc3c8185ee26407bb8b4b0
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_91.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_92.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_92.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..3b0a5c6dd3ea5f81d11102e1eb2a406c60fdf931
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_92.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_93.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_93.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..555c609c9d1ef30cfa23aa2e4b837571f1f9e60d
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_93.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_94.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_94.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..e9a2200fe0d549e131a3b67f06c30245026b389e
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_94.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_95.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_95.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..0bbc23ea2b5c05b232650b6855f0025c6547d0be
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_95.pdf differ
diff --git a/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_97.pdf b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_97.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..0f017b7654cba5296860c68fac845bae41973861
Binary files /dev/null and b/layout_cache/ps256x256/2wikimqa/pdf_first_pages/doc_97.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_0.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_0.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..1a97a03f6a6441f5380f614701246081cc4e489c
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_0.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_1.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_1.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..4723adb1f97ff0e4195d1f2ef719af89cbe7bb2f
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_1.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_10.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_10.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..f7c78ea72ff302798dc335a4e35d68cbf4d1a3a3
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_10.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_100.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_100.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..c0f015e4bb532b719ec7af2790bc1be1fc7d9ed2
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_100.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_101.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_101.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..b6e0179e62ebbc7f049695b515a1652a89b0a888
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_101.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_102.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_102.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..80069e9a9fa844725d0ad6af43a3211612321341
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_102.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_103.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_103.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..f4a0dc300dd8103a2f818fc4abc6e84b2d32fe5c
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_103.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_104.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_104.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..f5df11822ab26704f9840fcdbc95b87048a74fe5
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_104.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_105.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_105.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..528d89dd4132b8154c01e0dcdd0093a32d9369ad
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_105.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_106.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_106.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..2dc13f2abfcb3f8c97f4a6cd3925361ee95ae5c2
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_106.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_107.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_107.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..1cf09790734325983259c3bedbab5830555ba0e1
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_107.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_108.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_108.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..7f944c104a464513b43a535ae52a1bc1fe337be8
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_108.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_109.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_109.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..d2a0e601cabd2c65f1d53041da6e711543c4400a
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_109.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_11.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_11.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..d17e24a9159aa24f0d5da111e3b52cc70be879bc
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_11.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_110.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_110.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..2b4ccad39762257576fb8d5eb7346207cf09e169
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_110.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_111.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_111.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..41984d94538563cbc5d9cf8d8d3137869cfb02b8
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_111.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_112.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_112.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..779005660c659f7ff5c02ba5927509acd2e015f3
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_112.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_113.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_113.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..2d2d83b12bef4e74aafd529d11f25dedaa0c2903
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_113.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_114.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_114.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..1a740023a76b9a507974abba78f9c0f0d3e2b941
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_114.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_115.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_115.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..d70b24304288d59cd0f3d9977f9df631b8f9e5d2
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_115.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_116.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_116.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..772724bca292e4360ab9efe43fd5ac69693492c9
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_116.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_117.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_117.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..a08e9370266a6584d9b03dbdeb5bc10f7bb2e341
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_117.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_118.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_118.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..5dc6095b04ee58cc904a1f32fdab2ce161a8659b
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_118.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_119.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_119.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..e97856f1add327ac8db88c253778fb1557e31d45
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_119.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_12.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_12.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..bde274d40fc1cbb28e0d26f3d79bfc9e4abc42f5
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_12.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_120.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_120.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..f593fcc999f75dd663deae846c8ffc96d010347d
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_120.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_121.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_121.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..2fc5209f85fec13e925bb63cd8258a33a0c793d6
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_121.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_122.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_122.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..8c4e47571f621cdfa7abf00b9d76382e6bf027bf
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_122.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_123.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_123.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..9428e9b7b8838a9c76a882e4ae00123e6f783c22
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_123.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_124.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_124.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..13c00492311422fb2a78f07beb6c989fb8e4dfdc
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_124.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_125.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_125.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..8f85436cd2367cc8f08dae5ac0b8289d36711d11
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_125.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_126.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_126.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..763a720137bf9f7dc24074d8761276d3d19adfc4
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_126.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_127.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_127.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..41cf13c78f83b0da20e4e5e708e649d6be23a839
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_127.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_128.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_128.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..d2ea6c653361f1d33689df0b73fefc9f5a6af1c4
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_128.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_129.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_129.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..e67b7b589f74857d8d18c59492833b42d0ec720d
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_129.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_13.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_13.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..e7eb17269565584a7dcd798c9811dca81754bdbd
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_13.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_130.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_130.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..2d49b97f1ff4f30463aad9b9e3a703106c824061
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_130.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_131.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_131.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..de9c25b6140fb2a1d0271bd5617e1b2bf3a6bc15
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_131.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_132.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_132.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..500db9986bb786c2e0e1ad4269e88f97f13294e8
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_132.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_133.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_133.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..b094c48889fb6fe92baa126a5a10330f34c4c3ba
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_133.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_134.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_134.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..3a5519c0c302812ff492b73765cc0fb4bab77c42
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_134.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_135.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_135.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..dd2a6153da91a67bc5da8a86c018c22441b22415
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_135.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_136.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_136.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..400f95981b117e1c3fedd4cac0b629c015795a02
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_136.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_137.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_137.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..45f52cd0775d39c65f5cb9ce7269d61af9ea3cbb
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_137.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_138.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_138.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..5bf735837868c70df0dccba43d68f2213a81088e
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_138.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_139.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_139.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..daf6891e2d20110c6873fa25774a5b85f8164f21
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_139.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_14.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_14.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..9326fd64d99b254d5b5c9e0010911078a7e7265d
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_14.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_140.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_140.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..546aeb1f5499268566fdbbc213dcfa951905ca8d
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_140.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_141.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_141.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..bfe64baef942828b12615c8f8d1bc53b41c5b078
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_141.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_142.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_142.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..45dd8a229702749307954613a7cea38ef42a9e4f
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_142.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_143.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_143.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..c15afe7436227ba1a7fe686d97e0c157e92e5216
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_143.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_144.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_144.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..6454fa90e208da9b09cf966888e4d50efff6cffe
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_144.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_145.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_145.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..b8f7135f67cd9b844f5c79da690bcbe6b6704690
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_145.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_146.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_146.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..a683180b4a153d1cb065650c0a41e56a4933c284
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_146.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_147.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_147.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..45d96da657e8f9c45a441b378f6672955f1762fa
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_147.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_148.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_148.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..7633caeba2dc36066cdf14a195651ddb844577b5
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_148.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_149.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_149.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..aa43178ba9595c38ae1aeb1d671240895d28b3b0
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_149.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_15.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_15.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..0686f07caf788c6b76e588737472609074ae5597
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_15.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_150.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_150.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..237a05b96c19a3329c75a16d61bb1fe8c019ab95
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_150.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_151.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_151.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..7465072ca166ddaa4537b614c1b5ff6cdf7abb22
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_151.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_152.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_152.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..ea8c77ba3ac5e8e9a3744a4923ff635b509f1bbe
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_152.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_153.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_153.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..56d9ea5a035200e538b7e61bcdf19981a2e56aaa
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_153.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_154.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_154.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..bd995dd119637bd9086318ac8506e720fbf9e409
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_154.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_155.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_155.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..7103f96fa4a4f8cfc3c5a16d0343287f622a7ac4
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_155.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_156.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_156.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..7cf8d3dbfcbc7503ce2dc83f65302fd4f40e5be5
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_156.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_157.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_157.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..53a56104f4110727b98b930568d02b2ef521c946
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_157.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_158.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_158.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..38885e93d30c50b236bdfed4881bd36e24c85c08
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_158.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_159.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_159.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..8b135a76cd683b87f5e51bfd9f9bf483ba66768a
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_159.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_16.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_16.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..05ebb6ada0f916e76a9d83b4d342ff25612a5d5a
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_16.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_160.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_160.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..273163f3c4edf9a3220500aaed3b95ad8d3f470b
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_160.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_161.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_161.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..7672ac5f191a9c680ce4617ab50abdcc85cbfa78
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_161.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_162.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_162.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..00ded288ceaf2319be9151576fff8973e2d2b7d0
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_162.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_163.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_163.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..41f8c3d5cd81ee9d34548ab23c90d895be113528
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_163.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_164.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_164.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..6fb4ab7cf20521975b425e7f3cbf7366f0168268
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_164.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_165.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_165.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..dd151f6e74ec7eb7b6dcc4538d065fb2388eb00a
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_165.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_166.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_166.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..1ff0028ec65754d6769254d4f0d6f41dc72b4c9c
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_166.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_167.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_167.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..2bdc9821c6e15d57982df16e195cc41054c68e51
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_167.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_168.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_168.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..bc3cc986829e90b1020792e20bfed34ad7bab27c
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_168.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_169.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_169.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..65ad74d6bfa8ac18e994f3b8b2716192b9e5ff46
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_169.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_17.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_17.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..897e8f9a86606fbfeedc65a25b851211644a74e1
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_17.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_170.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_170.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..236f5ed3a75efc51637bc9406c9e515af56ee68a
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_170.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_171.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_171.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..c5da60a6db9c56dd722f6f4ac9ec7d3cb1cb721c
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_171.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_172.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_172.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..7ccd1bd5e6eec065310c76257fe066c2d7c2d6f3
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_172.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_173.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_173.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..eb0dc2c6b0bcd63b3ce3cf60b4b7e2529fa282fb
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_173.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_174.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_174.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..a2dc3efb45a2104a2b322a6e9512e409fc3dc775
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_174.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_175.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_175.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..0948a9e24098e584c02b16cfb85890a1868d1a57
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_175.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_176.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_176.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..8c16ad5960418039f4988082de032ea388986f46
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_176.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_177.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_177.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..d30ae4132cfe15560eea018f9aeaf170ace3c294
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_177.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_178.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_178.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..f349ff7692a05b0fcda45f59840a5ee8e8c0b940
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_178.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_179.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_179.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..31c6e07c39fb3c6a288af470c22d27274ef7fa6f
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_179.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_18.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_18.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..de1c3b33528aadcc50a6d076d5b56582d68116d7
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_18.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_180.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_180.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..af61c855815ee86ba7b48f26c805cd68072a46c3
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_180.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_181.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_181.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..23980f61bc718b8d07a460fdf6440d60f97b2484
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_181.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_182.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_182.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..e3fc4e0955a055990501f0ef2cfd9adb93987403
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_182.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_183.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_183.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..bf5ebf224b0f6cffc09d89bc67e8ad94b2859189
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_183.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_184.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_184.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..d274a63dc6f5b6d07cbd5c28e6ab016640a64f07
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_184.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_185.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_185.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..bff1b3e437bc5537af621827e77f944811ce48eb
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_185.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_186.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_186.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..e54e87c32689eed5a79510a5014315b824b6e6b3
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_186.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_187.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_187.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..f1ce4e98a00ddbd0149ff975262cc4a5f4390ea8
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_187.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_188.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_188.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..e564ed089fc600b43aefdc09101288bcfa6195b0
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_188.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_189.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_189.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..aa89c67c029bbc23bc0c9eb4c841f636f9e41a8e
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_189.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_19.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_19.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..fa280b65bbdf462000d17742de6c5ef3e6dbe20a
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_19.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_190.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_190.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..a6b687c6ac3c656e118a137071e95ec7d92a3c7a
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_190.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_191.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_191.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..931bd09ed8cfee5d93a68b3c2758093488b2bad3
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_191.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_192.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_192.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..5c009a8005174c208219d5c9c31938a1b33e53a6
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_192.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_193.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_193.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..5e0e721e0983ce0218255fc2a7a2cf4139d18a1c
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_193.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_194.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_194.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..b93af67a5c2e16b8d90d46df1cf92e30a613e6d1
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_194.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_195.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_195.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..d71a172dcdf7c58a5c56a70f2cb9aa14cb84d673
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_195.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_196.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_196.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..6758afb19ebd5f163ba20456562698385ac440f4
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_196.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_2.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_2.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..5fb9465fbfa8db2537366614ce76f3e32d676375
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_2.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_20.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_20.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..ec75b3aa5190dd529793322b22c41f4e63568c23
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_20.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_21.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_21.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..6fda42b0cdff48d39f53fde4214bbbb7233dc4a8
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_21.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_22.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_22.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..d4df57d32f98e3ca8c252a769d88f05e964c7b5b
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_22.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_23.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_23.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..aab1f3a310c4f62effdc6eaa0b310561f56af8ac
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_23.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_24.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_24.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..0cb75a5c5097a3b2a7581210ff33eb8b385f58d2
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_24.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_25.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_25.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..de639f9df553c17ee74a152b80732327c2d2705f
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_25.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_26.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_26.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..35abaa83108db6032f41de9c52bd7e42283bbe4c
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_26.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_27.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_27.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..16cdd58895fb0fdc5eb5fe702d52de3bc839500b
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_27.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_28.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_28.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..2fc1984af3a34c79703d7845ff0fb8de96543c53
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_28.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_29.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_29.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..06a5e5998d140d9b666b207ce4840c5394a3712e
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_29.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_3.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_3.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..ac0cdae539148d95a80477a2b4f180b6dc69e36b
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_3.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_30.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_30.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..baef78bc1418eccb4fc580ace860d0e153fa81a3
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_30.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_31.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_31.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..a55802cb74d7ab2406f487719c0c72e1d05949ee
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_31.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_32.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_32.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..4488b162fd5227ea96e990adb70119f3d1bf119b
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_32.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_33.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_33.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..1c79e7d9f59e29390a97860739a4d6e965adcabc
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_33.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_34.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_34.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..f0d0f442eea03e88003c2f78596987b6692f00fa
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_34.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_35.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_35.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..e2d7a529ca3d53607dcea0afa47092a6eb32e0b9
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_35.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_36.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_36.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..1fe7f0daaa6f933b6c6a65ea089e8997de280ac9
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_36.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_37.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_37.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..5c9e375223eb1c071958bb2ae25ed4a4288715c3
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_37.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_38.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_38.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..7471255432eb60cea5971fe90312521e84e0ce08
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_38.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_39.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_39.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..c03d4c472810607a258f7c3ad69bcd5b43c98d72
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_39.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_4.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_4.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..246c4be0e8b2c4a6b8e1aec60706f848d4373b9f
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_4.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_40.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_40.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..8116e622e9009ea0025a2ec4612358fcf944e140
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_40.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_41.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_41.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..66460d717e50d1658c92356aba57060c38b4d541
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_41.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_42.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_42.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..8071f45a6c9718f360a7399fccd110cf2f254245
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_42.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_43.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_43.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..5b4dda2bba431707a61bb6cbf5ce217f7674024f
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_43.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_44.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_44.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..7eda5f80ef225076f70f5335673a5a3fca569888
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_44.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_45.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_45.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..457f49cccc6b3961b8a52ac8ac06d3cba2e3f4c5
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_45.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_46.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_46.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..03b1e51e0f5bd1bb661f007c4b0eb73efe19962a
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_46.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_47.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_47.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..2139e10a90703bce0c45c8c3f545be24c2d4a484
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_47.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_48.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_48.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..3e0f5311bc4bc896f278760bee9a6568bac276f2
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_48.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_49.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_49.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..7fb6b5436c261a43be82cd27b62ece3211670760
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_49.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_5.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_5.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..2492644ee7726be4c4c13084d96a9b4682199f83
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_5.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_50.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_50.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..5cacc2c506e49f45b9d08961fe3f7791cc29224b
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_50.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_51.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_51.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..1ef2b1a714f1aa9810ef85b050ad661ca86bc22d
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_51.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_52.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_52.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..cdd11bc7b25efbae04965bbeaeb5b319ab4a0c3a
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_52.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_53.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_53.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..ab3a5fe512e453dca9f4c5ee8ddd87bb0c2a6106
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_53.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_54.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_54.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..93fadcacf58f3e3712f59760b7396ab9d08e831c
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_54.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_55.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_55.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..e5c86f4e5af1faeb76d64467c7dc6fd0baf2493a
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_55.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_56.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_56.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..aa9344a1e9253294c487367257818b5ebfda8be9
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_56.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_57.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_57.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..cd4f540868c3950d3bef457f022aa62bd7b53732
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_57.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_58.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_58.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..84be8cd88d48a6d03f9e1986ee93943381c9c372
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_58.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_59.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_59.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..c24b42e24e09b890208c7f40f72b96b95f557974
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_59.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_6.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_6.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..d9fa4556b6de207c27fd88bb18bb20109319bbb7
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_6.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_60.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_60.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..44a37ce4051ac7881daef800daca9e969a3e1fd9
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_60.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_61.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_61.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..4669d48934ea58ff5a8ab25da87cb75be2cd5144
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_61.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_62.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_62.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..eb974e5df4774e45a5c3c6190899345ffb6b28a6
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_62.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_63.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_63.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..6ec2080522d57e6d7ef42182256d5c3aca6cfce0
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_63.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_64.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_64.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..4f044ad90bfe3ba3e563b1654c615603396f60b4
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_64.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_65.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_65.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..132d158bb5e77d94dd39067757296b9b642f16a7
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_65.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_66.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_66.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..ad8402af5fd325b3e0bf87a7ef78e07f8e1633ed
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_66.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_67.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_67.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..6a6e25a517d17126ab5eb858b68272692997e31d
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_67.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_68.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_68.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..4e506b7d8cedea7260ba9577c6f1aa7c94bccfd9
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_68.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_69.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_69.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..677ad3d9ba0e74c7327f37d37fea9eb3405f15a6
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_69.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_7.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_7.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..2cbb655d422c4a4d67b0af5f99c51eda12646e94
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_7.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_70.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_70.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..efc70f35d1620779599e5eeaf2cf30076d2ab451
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_70.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_71.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_71.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..e29ebce324c2593f9afc04d2ac0e4f4f5024da6f
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_71.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_72.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_72.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..86a5fcf63cfbb964c56d88625f5759ceb047c5d3
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_72.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_73.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_73.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..27bc26a7123ff4b381892846fb3922e9af67d0de
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_73.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_74.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_74.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..ebff3626aaa709d0a00018ae5e4ea6968c6886c8
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_74.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_75.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_75.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..f07e45717e800a8387f655c7a34e5ba94069fd70
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_75.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_76.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_76.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..99c744e3f00f1993438c3ee065e9d405a44e0691
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_76.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_77.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_77.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..25f1f08578e524ae63c299524c8f4e5113a81ef4
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_77.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_78.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_78.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..d547b7d7e082d213355a799d33efd50f07621c6a
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_78.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_79.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_79.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..a7723bd6fe9d1c72267c691fc93cf0a7565af6ff
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_79.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_8.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_8.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..6d298dd6cc2c786d8adb776969cb3688db09ecc0
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_8.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_80.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_80.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..1a09eb9e665b1573cbd8877221fb769bed581f05
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_80.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_81.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_81.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..b2500cc4ada574a086d0cb12f1c5bb248f36d754
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_81.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_82.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_82.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..5c796be47c3bee009565c23a7d17843165049b07
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_82.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_83.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_83.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..17cdfab0f388da03b383c46a4969758b826ce753
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_83.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_84.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_84.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..ccca1e09894d178ec97f04d31e204c1de93afb34
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_84.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_85.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_85.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..a802c0c3cef4e46b2c3552a0f20561790c9748e7
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_85.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_86.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_86.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..9e52ed88eb92a6abd280b194d62c8a143f663e77
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_86.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_87.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_87.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..89fd0d35759a0259ccd760c6500258cc07454c31
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_87.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_88.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_88.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..0b93fa31fe6d4743463c2b2f4820d8a5b82727fb
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_88.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_89.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_89.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..a6c69afc48b75d6e4063fd678febc140bf084b54
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_89.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_9.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_9.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..820430bcde4c3732c434a45005b763e76e5cbbee
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_9.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_90.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_90.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..a7cc3c692322c37765539f1229e42575654a180b
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_90.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_91.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_91.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..66473666202578ae64660be549f8a48e82343e9f
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_91.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_92.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_92.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..a96db4a5f25b5b96e4a603f260753f3806f5af08
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_92.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_93.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_93.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..f0a1c3e09f655b7e6834d5d0085ed40f76cde794
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_93.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_94.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_94.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..e3b9b12007876cf61ea80385bfc925c5d8a38901
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_94.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_95.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_95.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..21efa7d2482b774b9f270049a3105c862822eca2
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_95.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_96.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_96.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..ffe6fbf308e4eb97d51d4a23b6122c99f8941465
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_96.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_97.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_97.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..484ed10001c16c3c0fbc812991d645a7e2a3d6d9
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_97.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_98.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_98.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..09ab200189c1d11f2bc11c34ac049dee0a574b13
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_98.pdf differ
diff --git a/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_99.pdf b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_99.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..bb27936f57c308ce5c71310fd35b988910256af2
Binary files /dev/null and b/layout_cache/ps256x256/qmsum/pdf_first_pages/doc_99.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_10.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_10.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..39f4ba9b2ede1d865e8e535aa7b22051f3071765
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_10.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_100.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_100.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..b8d79adb65fae348539f4e727a43ed94bdbeaaab
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_100.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_102.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_102.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..40c59867b93e5d4acd34c31faabc47e3f2f1fd64
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_102.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_103.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_103.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..6805554f7a2d118a1497662b6a33b6ff11ba94e5
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_103.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_104.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_104.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..0f7b9ff4362c658824a6289587ffdec6cc7e753a
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_104.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_105.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_105.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..86a9d8b97be3a58f3d6870e2e33fdd56e74c26ac
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_105.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_106.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_106.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..0cc090a44c945cb91b29150931ee70c85197ff99
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_106.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_107.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_107.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..545f7b1f6f29d6bc0603f9f3d84d85f893a0221d
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_107.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_109.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_109.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..51fb502c2e23e184d5969fa5fbfd910b97db2727
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_109.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_110.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_110.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..c4e38b45f42046c6bb2519683e57ab4e73d51f45
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_110.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_111.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_111.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..853533713a01bcc2271357d96eb348642d3c7cc3
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_111.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_112.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_112.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..17055e4e930baa74fb38ec1fbf5dad02ea540404
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_112.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_114.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_114.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..6ac6b62c43306ba0b697423e8d60231a71196eff
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_114.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_115.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_115.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..659d8f08acf719c8ff2e2d75fa4df912a0bb4340
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_115.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_116.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_116.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..87e08c1463d2b233b547d9796cba1a61acbed6d3
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_116.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_117.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_117.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..cdfe32b3cbe96058e4934b1a2af5135b5a4ad049
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_117.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_118.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_118.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..482a873403f48b7778f3ee8958b55ca98f39ac87
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_118.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_12.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_12.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..677866f51f0879c947d88fbc2b495c6d8a002605
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_12.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_120.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_120.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..36581d1102404e4614ba5773ddbe4e75e3257242
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_120.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_122.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_122.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..2516fc05aa50437c40cb4e8d9c0c092e7a848e66
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_122.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_123.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_123.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..32eedbbd63cbd6e8081f1f405e620958fe22926f
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_123.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_124.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_124.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..4f4bf831415a17a847cdfbfae180801db4dcb2d9
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_124.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_125.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_125.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..9a34d5c40b036b1e4eadab5544a76034d7e71be0
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_125.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_127.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_127.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..d944eabafcfc1da832426325dc3a5259dd43f4af
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_127.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_13.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_13.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..9057b6fa3768f5060e2819f0213db1742be32650
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_13.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_130.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_130.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..c10481d5d569413b875bcfc27f7b519a4a120dd6
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_130.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_131.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_131.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..f4510c9b19eb76e0288795e0a31c14df44e1619f
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_131.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_132.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_132.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..08c9a4524040c177983517d53fad72f00de4472d
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_132.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_135.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_135.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..26a5eae8e6f4b997d6403c3fd0880842557566cc
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_135.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_136.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_136.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..4ecf654f1f3ba1a88456e17059aafb20071f999b
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_136.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_137.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_137.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..7c7f25389b7cc93ed8a320aa8538806b8f187b8b
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_137.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_138.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_138.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..a262ce16b48b63c5331891cde07247ed80d0c63b
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_138.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_14.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_14.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..0e642e78bfc8fbbae5384f535f0d2b97da53c8ab
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_14.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_140.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_140.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..1c67c143b7edd6d76248adffa22f78ce4baf2ed6
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_140.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_141.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_141.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..048d33191e504e8180b11ed2155f1124f3db77e5
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_141.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_143.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_143.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..22e702d26acf0ee1d2248a3fe9ca37d1716330fc
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_143.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_145.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_145.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..48178c25d4344c85a9d7a02076dac186e8bcd935
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_145.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_147.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_147.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..36fc6ce36856160c781a4220bb9437d356f6525a
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_147.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_148.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_148.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..910e5fa8ea07122862b098319ddb18ad4a5598d3
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_148.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_149.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_149.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..afb331a3bda864c88c9f340e4e934f380713cb31
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_149.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_15.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_15.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..22d3588c7583170a2a0478093611972c473a97d9
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_15.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_150.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_150.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..c799baec0550c66528d23c86ed7f5df30a1df844
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_150.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_151.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_151.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..618bc684c2ed66ef3b2f931a69a7312c532a167a
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_151.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_154.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_154.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..74d94944d61be3f6f94e8108b111b315f1769a91
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_154.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_156.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_156.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..313d12bebb7aca566b574ad8600b079d525dd366
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_156.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_157.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_157.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..87d9fb89c506969de29d0bc0650acc108369f8e9
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_157.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_158.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_158.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..6ab894f769a250804c42f79a2585409847b0f6c0
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_158.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_159.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_159.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..0f8b8ea67e377c9d98feaf2b47da8c1e19f0e215
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_159.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_16.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_16.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..8b1ddd7a6591502e7e7687c2e4b52f332f90e9cc
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_16.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_160.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_160.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..66f26242c537ad6605165607350bbec311a9a4a5
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_160.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_161.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_161.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..f6a298e70fc31f2f39cfef5ee07a79b4a6ad8bac
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_161.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_162.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_162.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..a9b31288aa896f0fcbab855852cfb741cba0ddcf
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_162.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_164.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_164.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..08b5466f267ae9187e86d63b92c6f7e3ea715c45
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_164.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_166.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_166.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..0c89eef82c9d5e41f7d0a2f0b7978fcf220a7c2b
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_166.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_167.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_167.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..4e91e6040997f92d011bfd95ae7dca007a26c886
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_167.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_168.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_168.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..df7407ace8abd71c25330c8d2cc8158c6a481f16
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_168.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_169.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_169.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..567a2cab14bf326450ddab68be51b1740d86034e
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_169.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_170.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_170.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..58ba776a21f11192ee60baa0f0581a6ec1d75357
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_170.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_174.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_174.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..6a3877946effd514062a374f24e533aa9cbbbd18
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_174.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_175.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_175.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..68682d1425d347db857bb2a33548b427b253deb5
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_175.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_177.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_177.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..eafaa3eadb41b080349b4ac181810e0a0058fd74
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_177.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_179.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_179.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..724ad94cc5f59690787581e47e903cd88891b6fb
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_179.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_18.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_18.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..3027e55e024f45c09467c7e822f74fa21318ff74
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_18.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_182.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_182.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..ef3d9dda58e73f2105466c326bdc9431ccd942ee
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_182.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_183.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_183.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..e1cd0ff3ff538c2a473dd17d406f5696ccd27d11
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_183.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_185.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_185.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..9b204afe766910a35c7bb6292f006827a67b4157
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_185.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_187.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_187.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..83914bddfa5ea7d95e42c2cdf9296ee37841e267
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_187.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_188.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_188.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..664a693dde90462f606b08be310d7e4f498717cb
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_188.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_189.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_189.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..dce8462a2dbf4d82a080ffbe9b010dc3bad66790
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_189.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_19.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_19.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..d34849bca2ad9d95b25ff42e6c636c5f081c9a74
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_19.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_190.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_190.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..3907fb89daab42ba7d601425bc8859fe3e4fee84
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_190.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_191.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_191.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..525392025b610f8ddc6e581133be058c04a28709
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_191.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_195.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_195.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..d06b1924afcf67aa0ca31ee1e57a9a089fa59565
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_195.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_198.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_198.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..00c40b2b9243fc8dfc2fb3e335f11b17d41674d3
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_198.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_2.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_2.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..3d09471267ae52f85f71502ede71a3c8f0f0b6c5
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_2.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_201.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_201.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..d13795c3d5d4206c3a97e34603c51a69ff7b7aad
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_201.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_202.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_202.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..368978939a301fd81c024593e3fe8fa0ebf8d772
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_202.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_204.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_204.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..4964f0b59035c86e3467c22b2eb44cf2794d6e59
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_204.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_205.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_205.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..6d515b9a3cb940d59ea5542f66e2e5d29e7ad6a6
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_205.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_206.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_206.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..b11731471787dacbb5ae73e71c6c602b66f1e715
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_206.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_207.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_207.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..ac44506e77fd56b8862ee62e833dccf1bdd4999c
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_207.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_209.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_209.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..55fdcb5ea7f9bd42eaaf8c761c1a17ae7f3c9487
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_209.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_21.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_21.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..65c5332958888979a174709c9aff3fb8434c3cb8
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_21.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_210.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_210.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..5355f3ee3a6f67d6348139966eeb253e69cf5b4d
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_210.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_211.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_211.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..888fc3c4c27b53d1f8b5b23cafb8ee8ed2ef8e2b
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_211.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_212.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_212.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..e3fae7118d72fde220856e227697342c475d7b53
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_212.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_213.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_213.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..0b55147c2ca59eca15c5fd9f922d501a49179146
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_213.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_214.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_214.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..5e6f2c1c5c569e96c13b7ec0519843e2d7f44a7f
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_214.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_215.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_215.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..4f62a25fdc5f247596ec11e9cc691fedc6529d48
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_215.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_216.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_216.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..4c017d02a83f8c3e59bc0647b84984823cb03b19
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_216.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_218.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_218.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..2af89a066194d04cf97d2bf37d098286b28e3ef5
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_218.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_219.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_219.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..a6d99548e57513a2431b1e0f6133db9048b3adbe
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_219.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_22.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_22.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..7f85f229cd1f8b8c3f1b1c47e932c7869b674ffe
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_22.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_220.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_220.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..81f949b9d862701201af05553af2d55371000ac8
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_220.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_221.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_221.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..5a0bd4d7bb19b1ef14c375f45cf21a715d2e8bb7
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_221.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_222.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_222.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..127f247a8270807d839d5ab8c0a0494d4a5e6fb7
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_222.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_224.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_224.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..41457d0baddddb1872785f00130a8cdd6d51ac07
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_224.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_226.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_226.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..a465d4f218fca5deea9d805b700db6ae2aebaee3
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_226.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_227.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_227.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..97db07db5963a0a9bf569fba5127bfca82535996
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_227.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_229.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_229.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..60418332e21c1583885b2e0d128e2bc20ad95b9f
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_229.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_230.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_230.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..2caf009ed47d3cf18626d47b72495de9412801f9
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_230.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_231.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_231.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..91e4942f1c074e3ee8b2f5c37650188f59556329
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_231.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_232.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_232.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..bfcabf5cb83d10a2d1687939e86dd5ff33ddabe5
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_232.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_234.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_234.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..569d0f96cf9f4952969a5d4c5a1dc74d1c0667cf
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_234.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_235.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_235.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..137e6cfb6d84ad5daac5c3ea6a27e51b6e9733ea
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_235.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_236.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_236.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..941460928aa56a8d4b66ac5c7d9a6655286a7c24
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_236.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_237.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_237.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..ed184e068ed046cbdd7cb41e660a83ccd28f6285
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_237.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_238.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_238.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..912117e28073a77b2036daed3888ddce698c3a76
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_238.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_239.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_239.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..51faca1ed6a572c2427beb0381b403f2a858de26
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_239.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_24.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_24.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..2090af4b1c1d8b1567cf4f360afad2e8ff77eeeb
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_24.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_242.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_242.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..cf0ee07bddca9aa0468ff93ad98f869ba3c27b06
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_242.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_243.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_243.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..3dc464538db8c983a98505eb1b1c96d8b1617faf
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_243.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_244.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_244.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..9ec649bca3a25a10f7662ab2183f51616d83d9c9
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_244.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_246.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_246.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..a4e26721852f5cff5197bdde68d6b21fe98ff278
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_246.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_247.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_247.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..c26c985a17c9632fc7c928af4938da988e919994
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_247.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_248.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_248.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..91ea413ba6644db114f53826f82ee33ce72fd8b2
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_248.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_249.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_249.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..52e3165bd206eb5036a574fbb83236e57b5acd35
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_249.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_25.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_25.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..7cd1a1810cf45c4942a8219841b735f64690ed57
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_25.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_251.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_251.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..bcfec854bf45cc70530e488ccf28d5c6940997c9
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_251.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_252.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_252.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..6214f630f4067e83a731a7cb062ae93c4234109d
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_252.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_254.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_254.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..07ef447845d27f94f410f693f1aacaf7a7340c80
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_254.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_255.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_255.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..4fdd6c4613ea73f85af8ef2dd3e7304776aa47e2
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_255.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_256.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_256.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..5c6d69e19bc76e5dadeddfcab0572b457620bf3e
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_256.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_257.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_257.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..1c2f4261f081913e21714fce3989d28b85282e40
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_257.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_258.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_258.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..6f500b59e64c624c1bc6ca7e92505fa6c45e2fdf
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_258.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_260.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_260.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..16730619bd331c90232aeba656e42e3e9e66ff38
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_260.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_261.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_261.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..a979433e2cd19d85af18719f7b393c8fab3543e9
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_261.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_263.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_263.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..604db5dcbb6a20fe157fdbcfb6551c057141328f
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_263.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_265.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_265.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..b26decd262218dcc3512a4e203a124b552c18eba
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_265.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_266.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_266.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..238eab65bc09d7a7387d3181b8f4fb2bdd0bec2a
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_266.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_267.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_267.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..9ba721ccb5efab171280a30f82ee6a62a7ef7bcb
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_267.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_268.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_268.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..5a1b0ca1e0e2889c3d4d4546661803f79297ccec
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_268.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_269.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_269.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..3622b9abb71e5ae868deaace2eb7974f7ace43cd
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_269.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_27.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_27.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..298e98b6c1fe98ddd8765401b2972822e6956e81
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_27.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_270.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_270.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..c8eb378b00f25decbfc2a75ddbb428080752e2d7
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_270.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_271.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_271.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..2e26c76acbaa5f2cdfd7093d9602976528236e91
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_271.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_274.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_274.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..407006262f5359d2959cf618f41e15713af38d67
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_274.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_275.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_275.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..77c47b511c34046f3552acb27c622fc390a1f932
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_275.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_277.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_277.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..8124a899388801d9d94135e6162f905ad029c177
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_277.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_278.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_278.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..26e3f9554c1d5297720d4788188428c83c22ae20
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_278.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_279.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_279.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..72b362b13ca9e77009c6486bf346f121a03d3d35
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_279.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_281.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_281.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..6699eed48fe930038692820b3d04a9e1f4d87607
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_281.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_282.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_282.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..fe00dcc1a1513ad54031526b59183c22a3414143
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_282.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_283.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_283.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..9a4f7c0c9e676362cdd2d4dccd9bb4f481db7e9b
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_283.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_285.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_285.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..2fad9d6c450b842a10c5c279bb0dd2c789e9e9ce
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_285.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_287.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_287.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..7cbebb482e1b19e3f1286dc947d811bd1d61ea33
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_287.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_288.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_288.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..849affdf6e5af223077917c8e4aa1273a28181d2
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_288.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_289.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_289.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..277f800be6a461ff5a204a3c273d4a2a648f27e8
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_289.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_29.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_29.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..53b71e2cbaeb2ed0e5acd4cb0f8ea398461a5e78
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_29.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_291.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_291.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..650de51b3c59deac0f4252b6ad0f6400d141c488
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_291.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_292.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_292.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..fc420a3430f4828f2a04b44687d98f801c71834c
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_292.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_293.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_293.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..8f308efc3cbd9aec9fcde7d01f242b300482780e
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_293.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_296.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_296.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..7538236562026534670e022de39f5a23829046f6
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_296.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_297.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_297.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..d3a866910383a988bb4735bdd62dda114e914edd
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_297.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_298.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_298.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..9561e41d197d0241f08a1a468e346f339c184da4
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_298.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_299.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_299.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..74733828f5057563673371f39bb33cda4d74e6fe
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_299.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_30.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_30.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..58edfc18b1e383708c936b94a73f51c3463e8925
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_30.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_300.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_300.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..90c563cec3030482b33ca370aa3a9d3828247651
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_300.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_301.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_301.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..be63e7e3cce8dbd10b8109f0891eb423cd756a9d
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_301.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_302.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_302.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..f4650bb65fc2aa0ee656ecfc363dd300ffa4645b
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_302.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_303.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_303.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..9ef26655c32d6154a72a6378e2f4675e4f416d20
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_303.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_304.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_304.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..3b80c049bec091f8f766800ce457fbe99e537065
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_304.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_305.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_305.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..a4ce8e61b9545abbce38e88b5576dc9059122ef7
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_305.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_307.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_307.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..da87da3865df0f641c1b8476b6f9fafa750e0abc
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_307.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_309.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_309.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..72f5af367b131e29247669a334fc0d9188f917f7
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_309.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_31.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_31.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..ede51a74de7e07c35a586f45103267731af0dc2a
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_31.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_310.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_310.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..c0d0168735dc906b980137c70db2774307fdeeac
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_310.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_312.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_312.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..f042aa617e24b823f71a25af9536d486d111e5d6
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_312.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_314.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_314.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..f9300b1c0acdef4f994da6a18e2498f932dde5d7
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_314.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_315.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_315.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..cea97b96271cea8d547face5f65f10e8848a3727
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_315.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_316.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_316.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..9a9d7ec112597d5885bf447a58a191bf97353f71
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_316.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_317.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_317.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..ab26d7491002739e52e1bffa5276bfcda3a5bdd8
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_317.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_318.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_318.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..e59f7d10862142a03580ed22300abaf4ada1ffda
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_318.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_319.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_319.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..198a31894eb14f208906d0261b531d2a20912b36
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_319.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_32.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_32.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..eec79d09b2397011d2d9922bd4715602f4f6d8fc
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_32.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_320.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_320.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..fa442533199e63b90e9deb596b0171f3042747c5
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_320.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_321.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_321.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..6f09c5a1f2683acca7faa78e23a24a881e1d9c8b
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_321.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_322.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_322.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..3a436703d3844b38950774e9cce347f1131a68c4
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_322.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_324.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_324.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..333c362505b7dd0572dd6da62e141110e3f46bb6
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_324.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_326.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_326.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..83c96093bbbfae0fb78bd6593d2e4aa1411d5cb5
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_326.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_327.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_327.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..2e5df0c2c6f8961339bd3066c6d39bfd85a94d58
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_327.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_33.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_33.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..a51d4e50bf5e31c6fd8bd3eed70ffd414778e076
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_33.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_330.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_330.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..48704586fd977c9c888d33b6122df52a273d4cf1
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_330.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_331.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_331.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..e5981eaca7550110b1211185316038d24ffaadaf
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_331.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_332.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_332.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..a23813864af21df04f9c8b26c83676f48c4b14d3
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_332.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_333.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_333.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..bb117263d51dc4457e1d436f972d7bd106ef26c6
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_333.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_334.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_334.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..000d038c29c7a8ecf82f8438ed1e8fc8dd8cd8da
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_334.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_335.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_335.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..92748330c2af598637d1c4718c92662bb85d51c7
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_335.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_34.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_34.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..70d47c19eed771878f2b06784921fa356a92d6a6
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_34.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_35.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_35.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..45ddb959240efe0b37bdcce469556cce9e00a4d0
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_35.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_36.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_36.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..dccdf9c3266a0e8f6d3ed88ce2b9c7cb54e8401b
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_36.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_39.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_39.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..775d3f8b7a81b5a5ca2a16f14de685dbb2b91c07
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_39.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_4.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_4.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..775f327bf5f4e98e750ac8d9d200fef089e5603c
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_4.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_40.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_40.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..f12d9da0896cc1e6a002b9140fe99238f5937fd1
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_40.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_41.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_41.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..4fdeb025c3f1c22a5ad8297ed1be0764d200636f
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_41.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_42.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_42.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..021ba74ab989f4009b4fcbbc2a780510e464e953
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_42.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_43.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_43.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..8c9a2775860cd19d50fa85f96ad2fc7b231d7a4e
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_43.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_44.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_44.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..93676b9a58d486c772c46ce4624034cefc3b1cfd
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_44.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_45.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_45.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..01abb6e20de4a055c31897d763ac7a279568c159
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_45.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_48.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_48.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..4646753a59eb04b03117c07830ac46032c36c55b
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_48.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_49.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_49.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..08d6f5cec8f6d7450a143103691c810bdad3005b
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_49.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_5.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_5.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..86eb8a008563c34f485288068afcbc11c294f276
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_5.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_50.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_50.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..04803617332947180552a6b0e066c9b522ff1a65
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_50.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_52.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_52.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..882959a2e11d5530d40a6c5f4bed4fae8000db9d
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_52.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_53.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_53.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..1d8b16c22caecd95c56bd316b6c9cff2930cf00e
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_53.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_54.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_54.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..a71ab4e9ece730e226e1e2bb5178ebd27caab525
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_54.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_55.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_55.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..7e13fe5084d8b94489b0ae4eca6891a8c50fa5ba
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_55.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_57.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_57.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..aeb5dee569e0b74a348dda462a50ad6507f72d0f
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_57.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_60.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_60.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..d7a1b0d761e4912eb543a7e917a235c2f312cb53
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_60.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_61.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_61.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..0a2b1799ea294cc1472b96aa9d59fd515b6a6d7f
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_61.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_62.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_62.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..a35ddb8dacc594dbd78233d1efbcb44ee521815a
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_62.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_63.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_63.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..d4b8b44888875516bc825adfd3a0ff1e3ef80dcb
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_63.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_64.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_64.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..8b3d19b07eef46e12d3fa9dcd7ba4eb58c810256
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_64.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_66.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_66.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..b427207365f6b2817e584b1b1a499452f8e6f4c7
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_66.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_68.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_68.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..5742e7838c22b2494e6bb3c7d5d0ce864484d7cd
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_68.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_69.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_69.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..35db67cac9a302ca9ecbb1f3e4baa7d9d1636aab
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_69.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_7.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_7.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..4e2058d8df0de68602b2e0aedf982d6b1213c153
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_7.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_70.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_70.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..7d55752babbf9b85297ea1a7a13439fdf8f67564
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_70.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_73.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_73.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..6324ce98a6925b2379d811b6a5c6c95880a4433d
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_73.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_76.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_76.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..2e2a547267da76ae0905db37bc9ad7565e221cc7
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_76.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_78.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_78.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..fb8e2fabf05e6a7b56a380db502b0a8e8577e49c
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_78.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_80.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_80.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..4ff6bdd09dc33f896c5bae974e1d43222f519d1a
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_80.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_82.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_82.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..96296cfe11ea73da1154f6cb93a379f132ffc4a3
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_82.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_83.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_83.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..b47b9e308cf1f76c0fdd34dd930fa2930eae6361
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_83.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_84.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_84.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..ade759e89690b5a7dd2d0fe44f910cd5ffa1acfd
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_84.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_86.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_86.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..bf34d70555ba6a4e8d5c2454cbdf8d367b8ebac7
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_86.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_87.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_87.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..13dd161ef3083399f590ba8414d87c5aa743ca9b
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_87.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_88.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_88.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..e8fcd8ed2938c2b36a3d32bbf793118e78d21cd5
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_88.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_89.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_89.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..49f29520ffd08c222717018564a644b18b194fdd
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_89.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_9.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_9.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..2e4628b8131e8830d85d47217527c8d25940c28e
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_9.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_90.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_90.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..db0cfcbb3011c923e023ec207efc52dc80e3cbb6
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_90.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_95.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_95.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..c911b2c958f13933e42dd957bf2c2c7c1c7edb6e
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_95.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_96.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_96.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..b972be6f752fa97e5427a75fec8e755547bab003
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_96.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_97.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_97.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..86ca83b7cd3b79cad07beb68c75637a47992cb46
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_97.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_98.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_98.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..3f842b1d669f29942f8f2ba593bf33b4fdbe02b5
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_98.pdf differ
diff --git a/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_99.pdf b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_99.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..3dec5d2b3c9030dc6cbb9cd594580716bd9d04df
Binary files /dev/null and b/layout_cache/ps256x256/summ_screen_fd/pdf_first_pages/doc_99.pdf differ
diff --git a/layout_cache/ps512x512/summ_screen_fd/pdf_first_pages/doc_100.pdf b/layout_cache/ps512x512/summ_screen_fd/pdf_first_pages/doc_100.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..d35eb01e45e69a148a782a285695b7f2b1256b48
Binary files /dev/null and b/layout_cache/ps512x512/summ_screen_fd/pdf_first_pages/doc_100.pdf differ
diff --git a/layout_cache/ps512x512/summ_screen_fd/pdf_first_pages/doc_123.pdf b/layout_cache/ps512x512/summ_screen_fd/pdf_first_pages/doc_123.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..577b43df1656203ab052b9e2f18321119d3492bf
Binary files /dev/null and b/layout_cache/ps512x512/summ_screen_fd/pdf_first_pages/doc_123.pdf differ
diff --git a/layout_cache/ps512x512/summ_screen_fd/pdf_first_pages/doc_138.pdf b/layout_cache/ps512x512/summ_screen_fd/pdf_first_pages/doc_138.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..1c6870ae56bfb10a2bf6e53ca2a531dc469cd39b
Binary files /dev/null and b/layout_cache/ps512x512/summ_screen_fd/pdf_first_pages/doc_138.pdf differ
diff --git a/layout_cache/ps512x512/summ_screen_fd/pdf_first_pages/doc_224.pdf b/layout_cache/ps512x512/summ_screen_fd/pdf_first_pages/doc_224.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..c23a154734441d4a7858b7d94a1a5e346274633c
Binary files /dev/null and b/layout_cache/ps512x512/summ_screen_fd/pdf_first_pages/doc_224.pdf differ
diff --git a/layout_cache/ps512x512/summ_screen_fd/pdf_first_pages/doc_281.pdf b/layout_cache/ps512x512/summ_screen_fd/pdf_first_pages/doc_281.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..09cd9ce9ee366edfac050e620d43130d64127e0f
Binary files /dev/null and b/layout_cache/ps512x512/summ_screen_fd/pdf_first_pages/doc_281.pdf differ
diff --git a/layout_cache/ps512x512/summ_screen_fd/pdf_first_pages/doc_304.pdf b/layout_cache/ps512x512/summ_screen_fd/pdf_first_pages/doc_304.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..dda5f27c03204f8a8a61061f3a2659a441daec18
Binary files /dev/null and b/layout_cache/ps512x512/summ_screen_fd/pdf_first_pages/doc_304.pdf differ
diff --git a/layout_cache/ps512x512/summ_screen_fd/pdf_first_pages/doc_315.pdf b/layout_cache/ps512x512/summ_screen_fd/pdf_first_pages/doc_315.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..ae1ea3c23536217aa58e543a3ba43f6c1471ba4c
Binary files /dev/null and b/layout_cache/ps512x512/summ_screen_fd/pdf_first_pages/doc_315.pdf differ
diff --git a/layout_cache/ps512x512/summ_screen_fd/pdf_first_pages/doc_319.pdf b/layout_cache/ps512x512/summ_screen_fd/pdf_first_pages/doc_319.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..6e501c41a2b7f4bac3d55aa73b7c5e914bb56d8a
Binary files /dev/null and b/layout_cache/ps512x512/summ_screen_fd/pdf_first_pages/doc_319.pdf differ
diff --git a/layout_cache/ps512x512/summ_screen_fd/pdf_first_pages/doc_53.pdf b/layout_cache/ps512x512/summ_screen_fd/pdf_first_pages/doc_53.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..29e1f9382d223b721d1105a29f03b0c31c9124ce
Binary files /dev/null and b/layout_cache/ps512x512/summ_screen_fd/pdf_first_pages/doc_53.pdf differ
diff --git a/layout_cache/ps512x512/summ_screen_fd/pdf_first_pages/doc_82.pdf b/layout_cache/ps512x512/summ_screen_fd/pdf_first_pages/doc_82.pdf
new file mode 100644
index 0000000000000000000000000000000000000000..9845b5d2d7755b7bec661458fca38ced0639dcc6
Binary files /dev/null and b/layout_cache/ps512x512/summ_screen_fd/pdf_first_pages/doc_82.pdf differ